[{"data":1,"prerenderedAt":116561},["ShallowReactive",2],{"subject-shu-hua":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},39,"shu-hua","书画","书画画高清赏析","精选中国历代书画题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde4b7b8511dc946ec7aff2ab93b80a36.jpg",6,14621,[14,50,73,88,120,140,156,178,200,218,240,257,269,283,295,309,322,336,347,362,381,393,406,420,431,445,460,473,487,506,519,533,542,554,565,577,587,597,616,629,642,656,671,682,696,705,716,727,739,752,764,777,787,798,812,822,835,846,858,868,880,889,900,911,924,932,943,957,966,976,990,1003,1015,1030,1044,1054,1065,1076,1087,1097,1106,1117,1125,1137,1149,1159,1170,1181,1194,1204,1215,1227,1238,1248,1256,1266,1277,1286,1296,1307,1319,1331,1342,1356,1371,1384,1394,1405,1415,1434,1445,1456,1468,1480,1490,1500,1510,1519,1530,1540,1550,1562,1570,1583,1595,1606,1618,1628,1638,1650,1660,1672,1683,1696,1705,1715,1726,1736,1756,1764,1776,1788,1798,1807,1818,1829,1840,1851,1862,1870,1880,1889,1897,1906,1917,1927,1937,1948,1960,1969,1979,1989,1999,2009,2019,2028,2042,2053,2063,2075,2085,2095,2106,2117,2127,2137,2152,2160,2172,2182,2192,2201,2212,2224,2232,2243,2253,2264,2276,2286,2296,2307,2316,2327,2338,2345,2356,2366,2378,2388,2398,2407,2415,2425,2433,2443,2452,2462,2472,2483,2495,2504,2515,2529,2538,2549,2557,2568,2578,2589,2603,2613,2626,2636,2649,2661,2673,2683,2694,2703,2714,2723,2732,2743,2756,2765,2774,2783,2791,2799,2808,2818,2829,2840,2847,2858,2869,2879,2891,2900,2911,2923,2932,2944,2953,2964,2976,2989,3001,3010,3020,3029,3039,3049,3057,3066,3076,3086,3096,3106,3117,3126,3135,3144,3154,3165,3174,3182,3191,3202,3212,3222,3232,3243,3253,3263,3274,3285,3296,3304,3314,3325,3338,3349,3361,3369,3380,3391,3400,3410,3421,3433,3444,3456,3465,3475,3484,3494,3504,3515,3525,3535,3546,3555,3564,3572,3582,3592,3604,3615,3626,3636,3645,3656,3665,3673,3683,3692,3704,3714,3725,3736,3746,3756,3765,3772,3780,3788,3799,3807,3816,3828,3841,3851,3861,3871,3881,3890,3900,3910,3921,3930,3939,3950,3957,3967,3975,3985,3994,4002,4012,4022,4031,4040,4050,4061,4068,4079,4090,4100,4111,4122,4132,4141,4151,4158,4169,4179,4188,4198,4207,4216,4226,4234,4244,4257,4264,4272,4289,4300,4310,4319,4329,4339,4346,4357,4368,4375,4385,4396,4405,4412,4421,4431,4443,4452,4464,4477,4488,4499,4510,4518,4527,4535,4543,4554,4563,4574,4581,4591,4599,4609,4616,4626,4636,4646,4657,4668,4677,4687,4697,4707,4714,4721,4731,4738,4748,4756,4764,4772,4781,4791,4801,4811,4819,4829,4836,4848,4857,4868,4876,4886,4895,4905,4914,4924,4932,4941,4952,4961,4970,4978,4988,4997,5007,5016,5026,5035,5044,5055,5063,5072,5084,5094,5103,5112,5121,5132,5143,5152,5160,5169,5177,5187,5198,5207,5215,5226,5233,5244,5253,5262,5273,5283,5290,5298,5307,5317,5328,5337,5347,5353,5363,5373,5384,5393,5404,5414,5423,5432,5443,5452,5464,5476,5484,5493,5502,5511,5521,5529,5539,5549,5559,5566,5574,5585,5593,5603,5611,5619,5630,5638,5647,5658,5666,5674,5685,5692,5702,5712,5720,5728,5737,5746,5756,5766,5776,5784,5794,5805,5815,5823,5830,5840,5849,5859,5868,5875,5886,5897,5906,5913,5922,5934,5942,5952,5961,5968,5978,5988,5998,6009,6018,6027,6037,6048,6057,6066,6075,6085,6101,6110,6119,6131,6143,6152,6161,6170,6179,6189,6196,6206,6215,6223,6231,6241,6251,6258,6264,6283,6294,6304,6313,6327,6335,6344,6353,6363,6373,6382,6391,6400,6410,6419,6427,6443,6451,6461,6468,6478,6485,6494,6503,6513,6522,6531,6541,6550,6560,6568,6578,6588,6597,6607,6616,6626,6633,6644,6651,6660,6669,6680,6689,6698,6708,6715,6724,6732,6741,6748,6757,6767,6774,6783,6796,6805,6814,6823,6831,6838,6848,6861,6869,6878,6888,6898,6907,6916,6923,6932,6942,6953,6962,6970,6979,6989,6999,7009,7019,7028,7038,7049,7059,7075,7083,7091,7101,7112,7121,7130,7139,7148,7159,7168,7177,7186,7195,7204,7213,7226,7234,7244,7252,7261,7269,7278,7287,7296,7304,7315,7327,7338,7348,7356,7366,7374,7383,7392,7402,7414,7422,7431,7441,7450,7457,7465,7474,7485,7494,7503,7512,7522,7532,7540,7549,7559,7570,7579,7589,7600,7609,7619,7628,7636,7645,7655,7665,7674,7682,7692,7703,7712,7723,7732,7741,7749,7758,7767,7776,7786,7795,7804,7815,7829,7840,7849,7861,7868,7881,7890,7900,7909,7916,7925,7933,7942,7948,7957,7967,7976,7987,8000,8010,8019,8028,8036,8046,8055,8064,8074,8085,8095,8101,8110,8123,8134,8145,8155,8165,8175,8183,8193,8201,8207,8216,8226,8237,8247,8258,8265,8273,8282,8291,8300,8307,8319,8328,8338,8350,8359,8370,8379,8387,8395,8401,8410,8419,8427,8434,8443,8451,8460,8470,8479,8488,8496,8504,8514,8522,8531,8542,8552,8558,8569,8578,8587,8594,8604,8612,8621,8634,8644,8654,8664,8674,8682,8693,8703,8714,8723,8730,8739,8748,8757,8765,8774,8784,8793,8799,8808,8816,8826,8836,8845,8851,8859,8869,8883,8892,8902,8911,8920,8928,8936,8945,8954,8963,8972,8980,8989,8999,9009,9018,9028,9036,9044,9054,9063,9074,9082,9089,9097,9105,9113,9124,9132,9141,9148,9158,9169,9176,9186,9195,9204,9213,9223,9232,9239,9249,9259,9269,9277,9284,9294,9303,9312,9321,9331,9341,9348,9358,9368,9377,9386,9396,9407,9417,9429,9438,9446,9456,9464,9474,9487,9496,9506,9515,9525,9535,9543,9555,9564,9573,9581,9589,9595,9607,9618,9627,9637,9646,9655,9664,9674,9683,9692,9700,9711,9722,9730,9738,9748,9757,9767,9776,9784,9790,9800,9813,9822,9833,9843,9853,9860,9869,9878,9887,9897,9903,9913,9924,9933,9943,9952,9960,9969,9978,9985,9995,10005,10015,10025,10034,10043,10053,10065,10074,10083,10094,10103,10112,10121,10129,10137,10146,10155,10165,10173,10184,10192,10201,10210,10220,10228,10238,10247,10256,10264,10274,10285,10294,10303,10313,10322,10331,10340,10350,10358,10367,10375,10384,10394,10403,10412,10422,10431,10438,10447,10455,10464,10472,10480,10488,10497,10504,10514,10523,10532,10543,10552,10558,10567,10576,10586,10594,10603,10610,10618,10628,10640,10648,10658,10668,10678,10686,10695,10705,10714,10723,10730,10739,10748,10755,10767,10776,10785,10795,10807,10816,10826,10835,10844,10855,10864,10873,10880,10892,10901,10910,10919,10927,10935,10943,10952,10961,10969,10978,10987,11000,11007,11019,11027,11038,11049,11057,11066,11078,11087,11098,11105,11112,11120,11128,11139,11150,11159,11170,11178,11187,11196,11204,11212,11221,11233,11242,11251,11258,11266,11275,11283,11290,11299,11306,11316,11325,11335,11344,11353,11361,11369,11379,11389,11399,11408,11415,11423,11433,11442,11453,11462,11473,11481,11489,11498,11507,11517,11528,11537,11546,11557,11568,11578,11587,11596,11604,11611,11619,11627,11636,11645,11654,11664,11673,11682,11693,11702,11709,11720,11729,11737,11746,11753,11762,11772,11781,11789,11796,11806,11814,11824,11834,11843,11851,11860,11868,11878,11887,11896,11905,11915,11923,11931,11940,11948,11957,11966,11973,11983,11991,12002,12011,12026,12035,12044,12051,12058,12067,12075,12084,12093,12102,12111,12121,12130,12138,12147,12155,12163,12172,12184,12193,12202,12210,12217,12227,12235,12242,12252,12262,12272,12281,12291,12299,12308,12320,12328,12338,12348,12356,12365,12375,12383,12391,12400,12410,12416,12429,12438,12448,12458,12468,12476,12485,12493,12500,12514,12522,12531,12541,12549,12558,12568,12577,12588,12595,12604,12618,12628,12638,12646,12654,12661,12670,12682,12693,12703,12712,12721,12728,12735,12747,12755,12764,12772,12779,12787,12797,12806,12816,12826,12834,12843,12853,12863,12873,12880,12889,12897,12903,12912,12921,12929,12937,12944,12951,12960,12969,12981,12989,13002,13010,13018,13028,13038,13046,13056,13063,13070,13077,13084,13093,13102,13111,13121,13131,13139,13149,13158,13167,13176,13185,13193,13202,13211,13219,13228,13236,13243,13251,13261,13270,13279,13287,13294,13301,13311,13321,13329,13339,13348,13356,13364,13372,13381,13389,13397,13403,13421,13429,13443,13452,13462,13472,13481,13491,13501,13509,13518,13528,13538,13548,13557,13564,13572,13581,13588,13596,13607,13616,13624,13632,13644,13651,13661,13670,13679,13688,13699,13706,13712,13724,13730,13738,13746,13754,13762,13770,13779,13788,13796,13805,13815,13824,13834,13842,13853,13863,13874,13881,13888,13898,13905,13915,13924,13934,13942,13953,13963,13971,13980,13990,14000,14009,14018,14028,14034,14043,14051,14059,14068,14076,14086,14095,14104,14112,14121,14129,14136,14145,14153,14159,14166,14173,14184,14194,14203,14211,14220,14228,14236,14243,14251,14260,14270,14278,14286,14294,14303,14310,14318,14326,14336,14346,14356,14363,14373,14380,14391,14400,14409,14420,14429,14439,14449,14458,14467,14474,14484,14493,14501,14507,14516,14524,14532,14540,14546,14555,14565,14574,14583,14591,14599,14610,14619,14627,14635,14644,14652,14660,14668,14676,14685,14694,14701,14710,14720,14731,14744,14754,14764,14774,14783,14791,14800,14809,14815,14823,14833,14842,14851,14859,14866,14873,14882,14891,14901,14909,14920,14929,14939,14948,14957,14969,14978,14985,14995,15004,15012,15021,15029,15039,15048,15057,15067,15076,15086,15096,15105,15113,15122,15129,15138,15147,15155,15164,15173,15182,15192,15201,15210,15219,15227,15235,15243,15251,15260,15267,15275,15284,15293,15302,15310,15318,15325,15333,15343,15352,15359,15368,15377,15385,15391,15398,15407,15416,15424,15433,15442,15452,15460,15470,15478,15487,15496,15506,15515,15524,15534,15543,15556,15565,15572,15580,15588,15596,15605,15612,15621,15630,15640,15649,15659,15669,15678,15687,15696,15706,15716,15725,15733,15742,15751,15759,15768,15778,15786,15795,15805,15813,15823,15833,15840,15847,15857,15865,15873,15885,15893,15903,15912,15921,15930,15939,15947,15955,15964,15974,15983,15992,16003,16012,16019,16029,16038,16048,16056,16066,16077,16085,16093,16102,16111,16121,16131,16141,16149,16159,16167,16176,16186,16196,16205,16214,16222,16231,16239,16249,16257,16264,16272,16279,16287,16295,16303,16311,16320,16328,16338,16346,16355,16364,16375,16384,16392,16401,16409,16418,16426,16434,16442,16450,16459,16467,16476,16484,16492,16499,16507,16515,16522,16532,16541,16550,16559,16569,16579,16590,16599,16606,16616,16624,16632,16639,16648,16656,16664,16674,16683,16692,16699,16708,16718,16728,16737,16746,16755,16764,16773,16781,16790,16798,16806,16813,16823,16833,16842,16851,16858,16868,16877,16887,16896,16905,16914,16925,16937,16944,16952,16961,16969,16976,16986,16996,17006,17015,17021,17028,17036,17045,17053,17062,17071,17080,17089,17099,17108,17117,17127,17136,17145,17155,17165,17174,17183,17192,17201,17210,17219,17227,17236,17247,17256,17264,17273,17281,17289,17297,17305,17313,17322,17331,17340,17350,17359,17367,17376,17383,17392,17399,17408,17417,17428,17437,17446,17455,17462,17474,17485,17493,17502,17509,17517,17526,17534,17544,17552,17561,17571,17580,17589,17598,17607,17617,17627,17636,17644,17654,17664,17674,17681,17688,17695,17705,17714,17720,17729,17738,17745,17754,17762,17771,17781,17791,17799,17808,17818,17826,17835,17843,17853,17864,17873,17882,17889,17897,17905,17915,17924,17933,17940,17946,17953,17961,17967,17975,17984,17996,18004,18014,18022,18031,18041,18051,18060,18068,18077,18086,18096,18105,18115,18123,18131,18140,18150,18159,18168,18176,18185,18192,18199,18208,18216,18224,18233,18240,18248,18258,18269,18279,18288,18296,18305,18315,18325,18335,18345,18352,18360,18368,18376,18384,18391,18397,18404,18410,18416,18425,18433,18442,18450,18460,18470,18479,18489,18500,18509,18519,18528,18536,18546,18554,18566,18576,18585,18595,18604,18614,18621,18629,18637,18645,18651,18660,18669,18677,18685,18693,18704,18713,18724,18733,18742,18749,18758,18768,18775,18782,18787,18796,18805,18814,18821,18828,18835,18842,18852,18859,18867,18874,18882,18890,18898,18907,18915,18924,18932,18940,18949,18956,18965,18973,18980,18990,19000,19014,19024,19034,19043,19052,19062,19072,19081,19090,19100,19107,19116,19126,19134,19141,19151,19159,19166,19176,19183,19193,19203,19211,19220,19228,19236,19245,19252,19259,19268,19276,19284,19294,19303,19312,19320,19329,19338,19349,19358,19367,19376,19385,19393,19401,19411,19420,19429,19437,19445,19454,19464,19474,19484,19493,19500,19510,19518,19526,19535,19543,19552,19561,19572,19582,19589,19597,19606,19614,19624,19633,19642,19649,19657,19664,19671,19679,19687,19694,19701,19715,19723,19730,19736,19745,19754,19762,19772,19780,19792,19799,19810,19819,19827,19836,19845,19854,19862,19871,19880,19890,19900,19909,19916,19923,19932,19941,19950,19958,19966,19974,19981,19989,19996,20005,20013,20022,20033,20041,20051,20061,20069,20077,20087,20096,20116,20124,20139,20148,20158,20167,20175,20184,20192,20202,20211,20219,20228,20238,20247,20256,20265,20274,20283,20292,20299,20306,20313,20321,20329,20337,20344,20352,20360,20370,20381,20388,20398,20407,20417,20425,20434,20443,20453,20462,20471,20481,20491,20501,20508,20517,20523,20530,20537,20544,20552,20560,20568,20578,20586,20594,20604,20613,20623,20634,20642,20652,20661,20670,20678,20688,20698,20707,20716,20725,20735,20744,20751,20758,20768,20778,20788,20798,20806,20814,20823,20830,20838,20846,20855,20865,20875,20884,20893,20902,20910,20920,20929,20938,20947,20956,20964,20974,20981,20991,21000,21007,21018,21026,21034,21042,21050,21059,21066,21074,21083,21093,21103,21112,21119,21127,21136,21144,21153,21161,21171,21180,21188,21199,21208,21215,21221,21232,21242,21250,21259,21269,21278,21290,21297,21307,21314,21322,21331,21338,21346,21355,21362,21369,21378,21387,21393,21401,21408,21418,21424,21432,21442,21449,21457,21466,21474,21482,21492,21501,21512,21523,21532,21541,21551,21562,21571,21583,21592,21599,21607,21616,21625,21632,21643,21650,21660,21668,21679,21685,21693,21701,21711,21720,21730,21739,21748,21757,21765,21774,21783,21793,21801,21808,21817,21824,21833,21843,21852,21860,21869,21877,21887,21894,21901,21909,21916,21923,21930,21941,21950,21960,21969,21978,21986,21993,22000,22009,22017,22026,22034,22043,22051,22059,22066,22075,22084,22091,22098,22107,22114,22122,22131,22141,22151,22161,22169,22178,22187,22197,22205,22214,22222,22229,22236,22245,22252,22261,22269,22278,22286,22292,22300,22307,22315,22324,22332,22341,22349,22358,22368,22378,22387,22397,22408,22417,22426,22435,22444,22454,22463,22474,22483,22493,22502,22509,22517,22526,22535,22544,22554,22562,22571,22579,22587,22594,22603,22613,22621,22632,22641,22650,22660,22668,22676,22684,22693,22701,22710,22719,22726,22736,22745,22753,22763,22772,22782,22791,22800,22811,22820,22827,22836,22846,22855,22864,22873,22881,22890,22907,22915,22922,22929,22936,22942,22949,22955,22964,22975,22984,22990,22998,23007,23015,23024,23031,23039,23048,23058,23067,23076,23085,23093,23102,23110,23119,23129,23138,23148,23156,23165,23175,23182,23192,23202,23210,23219,23228,23234,23240,23247,23256,23264,23273,23282,23290,23299,23309,23318,23329,23338,23348,23357,23366,23375,23384,23393,23402,23410,23418,23428,23437,23446,23459,23468,23477,23486,23495,23504,23512,23520,23527,23535,23545,23552,23559,23568,23575,23584,23593,23602,23610,23618,23626,23634,23642,23651,23661,23671,23679,23689,23698,23706,23716,23725,23734,23745,23755,23764,23775,23785,23794,23804,23814,23824,23833,23841,23851,23859,23867,23877,23887,23896,23903,23912,23921,23929,23937,23946,23955,23964,23972,23981,23989,23997,24005,24013,24026,24033,24042,24051,24060,24067,24076,24085,24095,24103,24112,24121,24129,24137,24146,24155,24163,24175,24184,24191,24200,24208,24215,24222,24231,24239,24245,24254,24264,24273,24282,24289,24296,24304,24312,24319,24327,24335,24344,24355,24363,24371,24380,24390,24399,24407,24416,24426,24434,24443,24453,24462,24472,24482,24491,24500,24509,24519,24527,24536,24543,24553,24561,24571,24579,24589,24597,24605,24614,24622,24630,24638,24647,24654,24660,24669,24679,24688,24697,24706,24715,24724,24732,24740,24748,24756,24763,24772,24780,24788,24796,24805,24815,24824,24833,24842,24851,24858,24869,24877,24885,24894,24903,24912,24922,24930,24938,24945,24954,24962,24971,24979,24986,24993,25001,25009,25017,25024,25031,25038,25046,25056,25064,25073,25081,25091,25100,25113,25123,25132,25139,25149,25158,25167,25175,25185,25194,25204,25212,25222,25231,25240,25249,25259,25269,25279,25290,25299,25308,25316,25325,25333,25342,25351,25360,25368,25375,25384,25394,25403,25412,25422,25428,25435,25444,25453,25461,25469,25476,25494,25503,25511,25517,25524,25534,25543,25553,25563,25572,25579,25587,25595,25603,25610,25618,25627,25635,25644,25654,25662,25670,25679,25686,25695,25705,25715,25724,25734,25742,25751,25760,25769,25778,25787,25796,25804,25811,25822,25831,25841,25849,25858,25865,25875,25885,25894,25903,25910,25921,25930,25937,25945,25954,25963,25971,25978,25988,25997,26005,26013,26021,26029,26038,26047,26057,26066,26076,26088,26096,26105,26113,26121,26129,26136,26144,26152,26161,26174,26185,26195,26203,26213,26221,26230,26239,26249,26255,26262,26268,26277,26285,26294,26302,26309,26317,26326,26332,26340,26349,26356,26365,26373,26381,26389,26397,26406,26417,26426,26435,26445,26452,26462,26470,26479,26489,26498,26506,26514,26523,26531,26541,26549,26556,26564,26572,26580,26587,26594,26603,26610,26619,26628,26637,26646,26654,26663,26671,26679,26687,26695,26705,26713,26721,26731,26740,26749,26758,26768,26777,26786,26796,26805,26814,26823,26836,26845,26855,26864,26874,26883,26892,26901,26908,26916,26925,26934,26944,26953,26963,26972,26980,26987,26996,27004,27014,27022,27030,27039,27048,27056,27063,27070,27077,27086,27094,27101,27109,27119,27128,27136,27145,27154,27162,27169,27175,27182,27192,27200,27209,27218,27226,27234,27243,27251,27259,27268,27277,27286,27293,27300,27307,27318,27328,27337,27347,27355,27365,27374,27384,27394,27403,27412,27419,27428,27437,27445,27454,27463,27472,27484,27490,27499,27506,27514,27524,27531,27539,27547,27554,27562,27570,27578,27587,27593,27599,27606,27615,27622,27629,27638,27646,27654,27660,27670,27678,27686,27695,27705,27714,27723,27732,27740,27749,27756,27766,27775,27783,27792,27803,27813,27821,27830,27839,27848,27857,27865,27873,27881,27887,27894,27901,27910,27919,27926,27934,27941,27948,27957,27965,27974,27984,27991,27998,28007,28014,28023,28031,28039,28048,28057,28066,28074,28081,28090,28098,28106,28114,28124,28132,28141,28150,28157,28168,28177,28185,28195,28204,28213,28221,28229,28238,28245,28254,28264,28273,28282,28291,28300,28309,28318,28327,28335,28343,28354,28363,28374,28382,28391,28398,28405,28414,28423,28432,28439,28449,28457,28463,28471,28478,28486,28492,28500,28508,28515,28523,28530,28536,28544,28552,28563,28570,28576,28582,28590,28596,28604,28612,28621,28629,28639,28647,28655,28663,28671,28680,28688,28697,28705,28713,28720,28729,28737,28746,28754,28764,28774,28784,28793,28801,28810,28819,28828,28837,28844,28852,28862,28871,28881,28890,28898,28907,28917,28927,28935,28943,28952,28960,28969,28978,28985,28993,29000,29007,29014,29024,29031,29041,29050,29057,29065,29074,29082,29090,29098,29110,29120,29126,29133,29141,29148,29156,29162,29171,29180,29187,29197,29206,29214,29222,29231,29238,29246,29253,29261,29269,29277,29285,29293,29302,29312,29320,29328,29337,29347,29356,29365,29374,29383,29390,29399,29407,29416,29426,29433,29453,29462,29469,29479,29488,29497,29504,29511,29520,29529,29538,29548,29556,29565,29573,29581,29588,29595,29603,29611,29618,29627,29636,29643,29650,29658,29668,29675,29683,29691,29698,29705,29714,29723,29729,29738,29745,29753,29762,29768,29778,29787,29795,29803,29810,29818,29826,29834,29842,29850,29858,29866,29873,29881,29888,29897,29906,29915,29924,29933,29942,29949,29956,29964,29974,29983,29992,29998,30006,30015,30024,30033,30041,30049,30065,30074,30082,30092,30101,30109,30119,30126,30135,30144,30154,30163,30172,30179,30187,30195,30205,30213,30219,30225,30233,30242,30251,30258,30267,30275,30283,30292,30302,30310,30318,30326,30338,30347,30355,30364,30372,30380,30387,30395,30404,30412,30424,30432,30441,30452,30459,30468,30475,30482,30490,30499,30506,30515,30524,30534,30542,30550,30558,30567,30575,30585,30592,30601,30610,30621,30628,30636,30645,30654,30663,30672,30681,30690,30700,30709,30718,30727,30737,30746,30753,30762,30770,30777,30786,30794,30803,30812,30818,30826,30833,30841,30847,30853,30860,30868,30876,30886,30895,30902,30910,30917,30925,30933,30939,30947,30954,30962,30969,30976,30984,30992,31000,31009,31016,31027,31038,31045,31054,31063,31072,31081,31093,31103,31110,31119,31127,31136,31146,31154,31163,31176,31186,31195,31203,31210,31219,31227,31235,31244,31252,31260,31266,31273,31282,31289,31296,31304,31312,31321,31329,31337,31344,31350,31356,31362,31369,31376,31385,31391,31400,31409,31418,31425,31435,31443,31452,31460,31468,31477,31484,31492,31501,31510,31519,31529,31538,31548,31558,31567,31576,31586,31597,31605,31614,31623,31635,31643,31654,31663,31672,31681,31689,31698,31707,31715,31723,31732,31741,31749,31756,31765,31774,31782,31789,31796,31803,31810,31817,31824,31831,31838,31846,31854,31860,31867,31876,31885,31895,31902,31910,31919,31927,31940,31950,31959,31967,31975,31983,31993,32002,32008,32016,32024,32031,32039,32047,32055,32064,32072,32080,32088,32095,32103,32115,32124,32133,32142,32151,32160,32168,32177,32186,32195,32204,32215,32225,32233,32242,32251,32259,32266,32275,32283,32292,32300,32307,32317,32328,32335,32344,32351,32362,32371,32378,32385,32393,32401,32409,32416,32424,32434,32443,32449,32455,32464,32472,32479,32485,32491,32500,32508,32518,32527,32536,32543,32551,32559,32568,32576,32585,32592,32600,32608,32615,32624,32635,32642,32650,32659,32668,32677,32687,32696,32705,32714,32723,32731,32738,32747,32755,32763,32773,32780,32789,32797,32809,32820,32829,32837,32849,32859,32867,32875,32883,32890,32899,32908,32918,32928,32935,32942,32951,32959,32967,32975,32985,32992,33002,33009,33015,33024,33030,33039,33048,33055,33061,33068,33076,33084,33092,33100,33107,33116,33126,33135,33144,33155,33164,33172,33181,33189,33198,33206,33214,33221,33229,33237,33244,33251,33259,33267,33276,33284,33292,33302,33311,33321,33330,33339,33348,33359,33367,33375,33382,33388,33397,33408,33415,33425,33432,33440,33449,33458,33468,33477,33487,33496,33506,33515,33524,33533,33541,33551,33558,33566,33574,33581,33588,33598,33607,33613,33622,33635,33641,33649,33659,33665,33673,33680,33688,33695,33703,33711,33718,33728,33737,33745,33754,33765,33773,33780,33789,33798,33805,33814,33822,33830,33838,33845,33854,33862,33871,33880,33886,33897,33904,33912,33919,33928,33937,33947,33955,33964,33975,33985,33992,34002,34011,34020,34029,34039,34048,34056,34065,34074,34084,34093,34102,34111,34121,34129,34138,34147,34158,34166,34175,34185,34193,34201,34209,34216,34223,34230,34238,34247,34258,34266,34273,34283,34290,34301,34308,34318,34325,34337,34345,34353,34359,34365,34374,34381,34389,34398,34406,34412,34419,34427,34437,34446,34454,34463,34472,34479,34486,34494,34503,34510,34518,34526,34533,34541,34549,34560,34582,34589,34598,34607,34616,34625,34637,34646,34655,34666,34675,34685,34696,34706,34714,34722,34732,34741,34750,34759,34768,34776,34786,34795,34804,34812,34821,34830,34840,34848,34856,34863,34873,34880,34888,34897,34905,34914,34923,34933,34940,34949,34959,34966,34973,34982,34988,34994,35000,35008,35016,35024,35034,35040,35048,35057,35066,35073,35082,35091,35100,35109,35118,35126,35133,35141,35151,35158,35169,35177,35185,35193,35201,35209,35216,35223,35231,35239,35246,35254,35263,35272,35281,35289,35297,35305,35312,35321,35329,35336,35344,35351,35359,35366,35373,35382,35390,35400,35408,35418,35427,35436,35444,35455,35466,35475,35484,35492,35501,35509,35516,35526,35534,35541,35550,35558,35568,35574,35582,35590,35597,35604,35613,35620,35626,35632,35640,35646,35652,35658,35665,35672,35681,35689,35697,35705,35713,35720,35729,35738,35746,35756,35765,35774,35784,35790,35800,35808,35815,35823,35831,35839,35847,35855,35863,35871,35879,35887,35894,35903,35911,35919,35927,35935,35943,35952,35960,35968,35975,35983,35992,36001,36008,36015,36024,36034,36044,36052,36062,36072,36082,36091,36100,36108,36117,36126,36135,36145,36155,36164,36171,36180,36190,36199,36208,36216,36226,36235,36242,36249,36256,36265,36272,36279,36286,36293,36301,36309,36319,36325,36335,36342,36350,36357,36365,36374,36380,36388,36397,36407,36414,36421,36429,36437,36443,36449,36456,36462,36468,36477,36484,36493,36502,36509,36515,36521,36530,36539,36545,36553,36560,36566,36576,36584,36592,36600,36609,36617,36623,36630,36636,36642,36649,36655,36664,36670,36678,36686,36694,36703,36712,36720,36728,36736,36744,36752,36762,36770,36778,36786,36795,36803,36812,36821,36829,36838,36847,36856,36863,36870,36879,36888,36898,36907,36916,36925,36935,36944,36952,36963,36972,36982,36991,37000,37009,37017,37025,37034,37043,37050,37059,37066,37075,37082,37091,37100,37108,37115,37122,37129,37136,37143,37150,37159,37167,37175,37183,37190,37199,37207,37216,37224,37231,37238,37245,37254,37263,37272,37279,37288,37296,37304,37312,37318,37327,37335,37341,37349,37358,37367,37383,37392,37402,37409,37417,37425,37433,37441,37449,37457,37466,37474,37482,37490,37499,37507,37517,37525,37533,37542,37549,37557,37565,37573,37583,37591,37600,37610,37619,37628,37638,37646,37655,37662,37671,37680,37688,37697,37706,37716,37725,37735,37744,37753,37764,37773,37783,37793,37803,37814,37823,37832,37841,37850,37860,37869,37879,37889,37897,37906,37915,37923,37930,37938,37948,37956,37965,37974,37981,37988,37996,38003,38010,38019,38026,38036,38044,38053,38061,38068,38076,38085,38093,38102,38110,38118,38124,38132,38140,38149,38155,38161,38170,38176,38182,38191,38199,38207,38215,38225,38233,38241,38250,38260,38268,38276,38285,38292,38299,38307,38313,38322,38331,38338,38347,38355,38367,38375,38383,38391,38399,38407,38415,38423,38431,38439,38447,38455,38463,38471,38479,38487,38496,38503,38512,38522,38530,38539,38546,38554,38563,38570,38578,38588,38598,38608,38619,38628,38636,38645,38654,38662,38671,38680,38689,38696,38706,38715,38724,38733,38745,38754,38761,38770,38778,38785,38793,38801,38807,38814,38823,38831,38839,38846,38853,38859,38866,38875,38882,38889,38896,38905,38911,38917,38926,38933,38942,38949,38957,38966,38975,38984,38993,39000,39007,39015,39025,39031,39040,39048,39056,39064,39072,39080,39088,39096,39106,39115,39124,39133,39141,39150,39158,39166,39174,39183,39191,39199,39207,39215,39223,39230,39240,39248,39256,39263,39272,39282,39291,39300,39309,39318,39327,39336,39345,39355,39363,39372,39380,39389,39397,39407,39415,39425,39434,39444,39454,39462,39471,39478,39487,39496,39503,39512,39521,39531,39540,39549,39557,39567,39574,39581,39588,39598,39605,39614,39622,39629,39636,39645,39654,39660,39668,39675,39684,39691,39698,39705,39711,39720,39726,39732,39738,39744,39751,39759,39768,39774,39783,39790,39796,39804,39814,39821,39829,39838,39845,39852,39860,39868,39878,39888,39897,39906,39914,39921,39930,39937,39946,39953,39961,39968,39976,39984,39992,40000,40007,40015,40023,40030,40039,40047,40055,40063,40071,40078,40087,40093,40100,40108,40116,40124,40132,40150,40157,40164,40173,40181,40191,40200,40209,40222,40231,40241,40250,40257,40266,40274,40282,40291,40298,40307,40315,40322,40329,40339,40352,40361,40369,40378,40387,40395,40405,40414,40421,40428,40435,40442,40449,40456,40463,40471,40479,40487,40495,40503,40511,40521,40529,40535,40542,40550,40559,40567,40574,40581,40589,40596,40606,40614,40621,40628,40636,40644,40653,40661,40668,40674,40681,40688,40696,40704,40711,40720,40728,40737,40745,40751,40757,40763,40770,40779,40787,40796,40804,40811,40822,40831,40841,40850,40859,40868,40874,40880,40887,40896,40905,40914,40922,40931,40938,40946,40954,40963,40972,40979,40987,40994,41002,41010,41018,41025,41033,41042,41049,41057,41065,41073,41081,41089,41098,41107,41114,41122,41139,41149,41157,41166,41177,41186,41195,41204,41214,41226,41235,41244,41251,41259,41268,41278,41288,41298,41306,41315,41322,41329,41336,41343,41350,41358,41368,41375,41382,41389,41397,41406,41413,41420,41427,41434,41440,41448,41456,41464,41472,41480,41489,41497,41507,41515,41521,41534,41541,41551,41557,41563,41572,41579,41588,41596,41603,41610,41617,41627,41635,41643,41650,41658,41666,41674,41681,41688,41694,41703,41710,41718,41727,41735,41743,41749,41758,41769,41775,41781,41789,41798,41808,41817,41825,41833,41840,41848,41855,41863,41871,41879,41887,41895,41907,41915,41923,41932,41940,41948,41956,41965,41974,41982,41990,41997,42004,42011,42020,42029,42038,42044,42054,42061,42069,42080,42090,42101,42110,42119,42128,42136,42142,42150,42160,42169,42178,42186,42193,42200,42207,42214,42221,42228,42236,42244,42252,42258,42265,42272,42279,42290,42297,42306,42314,42321,42329,42336,42343,42352,42359,42366,42376,42384,42393,42402,42410,42417,42425,42433,42442,42449,42455,42463,42472,42479,42486,42494,42502,42511,42519,42527,42534,42545,42552,42560,42568,42577,42583,42592,42599,42608,42617,42623,42629,42637,42647,42655,42662,42670,42678,42686,42694,42701,42709,42716,42724,42732,42740,42748,42756,42766,42774,42781,42788,42795,42803,42812,42821,42829,42838,42845,42853,42861,42869,42877,42885,42893,42902,42911,42920,42929,42936,42946,42954,42963,42971,42980,42988,42996,43006,43015,43024,43032,43041,43050,43060,43070,43080,43088,43097,43106,43114,43122,43130,43139,43148,43157,43166,43175,43182,43189,43196,43203,43210,43217,43224,43231,43239,43250,43258,43265,43272,43281,43289,43297,43305,43312,43319,43327,43336,43344,43351,43359,43367,43373,43380,43387,43395,43401,43407,43413,43420,43426,43434,43441,43449,43458,43466,43476,43485,43493,43502,43509,43515,43523,43529,43536,43543,43550,43558,43566,43575,43581,43587,43594,43600,43609,43618,43626,43635,43643,43653,43661,43670,43678,43686,43697,43705,43712,43721,43730,43738,43748,43756,43764,43772,43779,43787,43795,43803,43811,43819,43827,43835,43843,43851,43860,43869,43878,43887,43896,43903,43909,43916,43925,43934,43942,43949,43957,43967,43977,43984,43994,44003,44011,44021,44031,44039,44049,44057,44066,44077,44086,44096,44105,44114,44124,44133,44142,44151,44159,44165,44172,44182,44191,44199,44206,44214,44222,44231,44239,44248,44255,44263,44271,44278,44286,44293,44299,44307,44315,44322,44329,44336,44345,44353,44360,44366,44372,44380,44387,44395,44402,44410,44418,44427,44435,44442,44449,44456,44464,44472,44480,44486,44494,44502,44508,44518,44524,44530,44539,44549,44558,44566,44572,44581,44589,44599,44607,44614,44621,44627,44634,44640,44647,44655,44666,44675,44681,44691,44700,44709,44717,44723,44730,44738,44747,44755,44763,44771,44784,44792,44800,44808,44816,44823,44831,44838,44846,44855,44865,44873,44881,44889,44897,44905,44911,44920,44927,44935,44942,44950,44958,44966,44975,44984,44993,45002,45011,45018,45026,45033,45042,45051,45060,45069,45078,45085,45092,45101,45114,45122,45130,45139,45145,45154,45164,45173,45183,45193,45203,45213,45220,45229,45236,45245,45253,45261,45268,45275,45281,45288,45295,45304,45312,45320,45328,45336,45343,45353,45362,45370,45379,45387,45396,45404,45411,45419,45427,45436,45445,45454,45462,45468,45474,45480,45487,45494,45501,45508,45515,45521,45529,45536,45545,45553,45562,45570,45576,45584,45592,45599,45608,45615,45622,45630,45637,45645,45653,45660,45667,45674,45683,45693,45699,45708,45717,45725,45734,45743,45752,45760,45768,45776,45783,45791,45798,45805,45813,45821,45831,45838,45845,45854,45862,45870,45877,45885,45893,45900,45908,45916,45926,45933,45942,45950,45958,45966,45974,45983,45992,46001,46010,46020,46028,46036,46046,46057,46064,46071,46078,46087,46097,46105,46114,46123,46132,46141,46149,46157,46165,46174,46183,46191,46199,46206,46213,46220,46227,46235,46243,46252,46261,46269,46278,46287,46296,46305,46315,46323,46333,46340,46347,46354,46361,46368,46375,46382,46390,46399,46406,46413,46420,46427,46436,46444,46452,46459,46468,46475,46482,46491,46499,46507,46515,46524,46531,46540,46547,46555,46561,46567,46577,46585,46597,46607,46616,46623,46629,46637,46645,46654,46663,46669,46675,46682,46691,46700,46707,46714,46722,46729,46737,46744,46752,46758,46765,46772,46779,46788,46796,46803,46811,46819,46828,46835,46841,46848,46855,46864,46870,46879,46885,46891,46901,46909,46919,46925,46934,46944,46952,46961,46969,46978,46986,46995,47003,47010,47018,47026,47034,47041,47049,47057,47066,47074,47082,47090,47097,47106,47114,47122,47129,47138,47146,47154,47162,47170,47178,47187,47195,47202,47210,47219,47227,47235,47243,47251,47259,47267,47274,47281,47289,47298,47307,47316,47324,47333,47341,47351,47360,47369,47376,47383,47389,47395,47404,47412,47421,47430,47437,47444,47454,47462,47471,47480,47489,47497,47504,47514,47524,47533,47543,47551,47560,47570,47580,47589,47598,47613,47624,47633,47641,47649,47657,47667,47676,47684,47691,47702,47711,47721,47729,47735,47743,47751,47759,47766,47775,47784,47793,47802,47810,47819,47827,47834,47840,47847,47854,47862,47871,47878,47886,47893,47899,47906,47913,47920,47927,47936,47943,47950,47957,47965,47974,47982,47988,47996,48003,48011,48019,48027,48034,48041,48048,48055,48063,48072,48080,48087,48095,48103,48110,48117,48124,48132,48141,48150,48159,48165,48171,48178,48184,48191,48199,48206,48212,48218,48224,48231,48239,48247,48253,48262,48268,48274,48284,48290,48298,48304,48311,48320,48330,48336,48343,48351,48358,48364,48372,48379,48387,48394,48403,48411,48418,48427,48436,48445,48455,48461,48470,48480,48489,48499,48508,48518,48525,48532,48541,48548,48557,48565,48573,48580,48588,48596,48604,48612,48619,48627,48634,48642,48650,48657,48666,48674,48682,48689,48697,48705,48713,48721,48729,48737,48743,48751,48759,48769,48777,48785,48794,48804,48810,48822,48830,48838,48845,48857,48864,48873,48880,48887,48894,48904,48911,48920,48930,48939,48947,48956,48965,48974,48983,48991,49000,49008,49017,49026,49034,49042,49051,49060,49071,49081,49091,49100,49109,49118,49125,49137,49144,49152,49160,49167,49174,49181,49191,49198,49205,49212,49219,49227,49235,49243,49252,49260,49267,49273,49279,49286,49293,49302,49309,49317,49325,49332,49339,49346,49353,49362,49370,49377,49385,49394,49401,49409,49416,49423,49432,49440,49447,49456,49465,49471,49478,49484,49490,49496,49502,49510,49517,49523,49531,49540,49548,49555,49564,49571,49580,49587,49594,49600,49608,49615,49622,49630,49639,49646,49652,49659,49665,49672,49680,49687,49695,49702,49709,49718,49728,49734,49742,49751,49760,49770,49779,49788,49798,49804,49810,49819,49826,49836,49845,49854,49864,49872,49882,49889,49897,49904,49911,49919,49926,49933,49941,49949,49957,49964,49973,49980,49987,49996,50004,50011,50019,50027,50037,50045,50053,50062,50070,50078,50086,50094,50102,50109,50117,50125,50134,50143,50151,50158,50165,50173,50180,50187,50194,50201,50208,50215,50222,50231,50241,50247,50256,50265,50274,50282,50291,50301,50309,50317,50326,50336,50343,50351,50358,50366,50371,50380,50389,50398,50407,50416,50424,50431,50438,50446,50453,50460,50467,50477,50485,50492,50499,50506,50513,50520,50527,50536,50545,50555,50563,50571,50580,50587,50596,50604,50611,50617,50625,50632,50640,50648,50655,50663,50672,50679,50688,50694,50701,50708,50715,50723,50732,50740,50750,50757,50764,50772,50779,50788,50796,50804,50812,50819,50827,50837,50844,50850,50856,50862,50869,50876,50882,50891,50897,50905,50912,50920,50928,50936,50942,50948,50955,50962,50968,50974,50982,50989,50997,51005,51012,51021,51028,51036,51042,51048,51054,51062,51070,51077,51085,51092,51099,51106,51112,51118,51125,51134,51142,51151,51159,51165,51172,51181,51188,51194,51203,51211,51217,51223,51230,51239,51247,51254,51260,51269,51278,51287,51295,51304,51312,51321,51329,51337,51345,51353,51362,51368,51375,51383,51390,51398,51407,51415,51423,51431,51439,51447,51456,51465,51473,51481,51489,51496,51503,51511,51520,51528,51536,51545,51553,51562,51570,51578,51585,51592,51599,51607,51615,51623,51630,51638,51646,51654,51662,51671,51680,51687,51696,51703,51710,51719,51728,51737,51746,51752,51761,51768,51776,51784,51794,51800,51807,51814,51823,51831,51839,51847,51856,51863,51870,51877,51884,51891,51899,51912,51919,51926,51934,51941,51948,51955,51962,51969,51977,51985,51994,52002,52011,52020,52028,52034,52042,52050,52057,52064,52071,52079,52087,52096,52104,52111,52118,52125,52135,52143,52150,52156,52163,52172,52179,52187,52194,52204,52212,52221,52229,52237,52246,52254,52261,52271,52277,52284,52290,52296,52304,52312,52318,52324,52330,52336,52345,52352,52358,52364,52370,52376,52382,52389,52397,52404,52412,52421,52431,52437,52447,52456,52463,52471,52479,52486,52493,52500,52508,52516,52522,52530,52538,52544,52550,52557,52563,52570,52579,52586,52592,52598,52605,52611,52617,52625,52632,52639,52647,52655,52664,52670,52678,52687,52693,52700,52707,52714,52723,52731,52739,52748,52757,52766,52776,52789,52797,52805,52813,52823,52832,52840,52849,52857,52865,52874,52881,52889,52897,52905,52913,52921,52928,52936,52943,52951,52959,52967,52973,52982,52990,52999,53006,53014,53022,53030,53038,53046,53055,53064,53073,53092,53103,53112,53122,53130,53137,53144,53154,53161,53170,53177,53187,53197,53208,53217,53226,53236,53244,53251,53258,53265,53272,53279,53287,53297,53305,53315,53322,53331,53340,53349,53359,53367,53376,53384,53393,53403,53410,53419,53428,53438,53445,53452,53459,53466,53473,53480,53487,53495,53502,53509,53516,53523,53530,53537,53545,53553,53562,53572,53580,53588,53596,53604,53611,53618,53625,53631,53638,53645,53652,53659,53667,53675,53682,53690,53696,53703,53710,53717,53723,53731,53739,53748,53755,53763,53770,53778,53788,53795,53803,53811,53825,53834,53841,53847,53856,53863,53870,53876,53882,53889,53898,53905,53914,53922,53930,53936,53942,53949,53955,53961,53969,53978,53986,53992,53998,54008,54015,54023,54030,54036,54042,54050,54058,54065,54074,54081,54090,54097,54107,54115,54123,54130,54138,54144,54152,54158,54164,54170,54176,54183,54190,54198,54206,54213,54223,54230,54237,54244,54253,54260,54268,54276,54284,54291,54298,54305,54312,54319,54328,54336,54345,54354,54360,54366,54375,54381,54390,54396,54402,54408,54414,54423,54432,54440,54448,54456,54464,54473,54480,54487,54495,54501,54509,54517,54525,54532,54540,54548,54557,54564,54572,54579,54587,54595,54603,54611,54618,54627,54636,54644,54651,54659,54666,54672,54679,54687,54694,54702,54710,54718,54725,54732,54739,54747,54755,54763,54770,54778,54788,54796,54802,54810,54818,54828,54837,54846,54860,54871,54881,54890,54897,54905,54913,54921,54929,54937,54944,54953,54960,54967,54974,54981,54989,54997,55005,55012,55019,55026,55034,55043,55052,55062,55071,55079,55086,55095,55102,55110,55116,55123,55134,55141,55147,55154,55163,55171,55179,55186,55193,55201,55209,55219,55229,55237,55245,55253,55262,55270,55277,55286,55294,55302,55310,55317,55327,55336,55344,55351,55359,55367,55373,55379,55385,55393,55401,55409,55417,55423,55430,55437,55444,55450,55456,55462,55468,55476,55482,55488,55494,55503,55509,55516,55524,55531,55539,55546,55555,55563,55570,55578,55585,55591,55597,55604,55611,55617,55625,55632,55639,55646,55653,55659,55667,55674,55682,55690,55699,55708,55717,55725,55734,55742,55751,55760,55768,55777,55786,55794,55801,55808,55815,55824,55833,55839,55845,55851,55857,55864,55872,55878,55886,55895,55904,55913,55921,55930,55939,55948,55957,55964,55971,55981,55989,55998,56007,56014,56023,56031,56039,56046,56054,56061,56069,56076,56084,56092,56100,56107,56115,56124,56131,56139,56146,56153,56161,56169,56177,56185,56193,56201,56208,56217,56225,56233,56240,56248,56256,56263,56271,56279,56287,56295,56303,56311,56320,56331,56342,56349,56356,56365,56372,56379,56389,56399,56408,56415,56422,56430,56439,56449,56456,56466,56475,56485,56492,56501,56508,56515,56522,56531,56539,56546,56555,56564,56573,56581,56591,56600,56610,56619,56628,56637,56644,56652,56659,56667,56675,56682,56688,56695,56702,56709,56717,56726,56735,56744,56753,56760,56770,56779,56785,56794,56802,56811,56820,56829,56836,56843,56851,56858,56866,56875,56881,56888,56894,56901,56907,56918,56926,56936,56943,56952,56959,56967,56977,56985,56993,57000,57010,57022,57029,57038,57047,57054,57061,57069,57076,57083,57091,57100,57107,57114,57120,57126,57132,57138,57144,57150,57156,57162,57168,57174,57180,57187,57194,57202,57208,57214,57221,57229,57235,57242,57248,57254,57262,57268,57277,57284,57293,57299,57306,57312,57319,57327,57337,57345,57353,57359,57365,57374,57381,57387,57393,57401,57408,57414,57420,57427,57435,57441,57447,57453,57459,57466,57474,57481,57489,57497,57503,57509,57517,57525,57533,57540,57549,57557,57563,57569,57578,57586,57592,57600,57609,57615,57625,57633,57640,57647,57653,57659,57668,57677,57688,57698,57704,57713,57719,57728,57738,57747,57759,57766,57776,57783,57790,57798,57807,57815,57822,57830,57840,57848,57856,57863,57871,57879,57887,57895,57903,57910,57918,57926,57933,57940,57946,57953,57960,57968,57976,57984,57992,58000,58006,58014,58021,58029,58038,58045,58053,58061,58067,58074,58082,58093,58101,58109,58116,58125,58132,58141,58151,58161,58170,58177,58185,58191,58199,58207,58214,58222,58232,58240,58247,58254,58261,58270,58278,58286,58293,58302,58311,58320,58328,58336,58346,58355,58361,58371,58378,58385,58392,58399,58406,58413,58421,58430,58440,58449,58457,58464,58472,58481,58488,58495,58503,58510,58517,58525,58533,58541,58550,58557,58563,58570,58577,58584,58591,58600,58608,58617,58626,58636,58646,58655,58663,58670,58681,58689,58697,58704,58716,58723,58729,58738,58745,58751,58759,58767,58775,58782,58790,58799,58807,58814,58823,58832,58841,58848,58855,58862,58870,58877,58884,58891,58900,58907,58916,58926,58935,58942,58950,58958,58968,58975,58984,58990,58998,59006,59012,59018,59024,59033,59039,59045,59051,59057,59066,59072,59080,59089,59095,59101,59107,59113,59121,59128,59136,59144,59150,59157,59165,59173,59181,59187,59194,59202,59208,59214,59220,59228,59237,59244,59252,59258,59266,59274,59281,59288,59294,59300,59308,59315,59321,59330,59337,59344,59350,59358,59366,59374,59380,59390,59398,59409,59416,59425,59434,59440,59450,59461,59467,59474,59481,59488,59495,59501,59507,59518,59525,59531,59538,59547,59556,59565,59571,59577,59583,59589,59596,59605,59614,59623,59632,59639,59648,59656,59665,59674,59683,59693,59702,59709,59717,59725,59732,59741,59749,59757,59765,59773,59781,59789,59797,59804,59812,59820,59827,59834,59842,59850,59858,59866,59873,59880,59889,59896,59903,59912,59920,59928,59936,59944,59952,59960,59968,59976,59986,59995,60004,60013,60021,60028,60035,60042,60052,60059,60068,60078,60088,60097,60105,60112,60118,60125,60132,60141,60148,60155,60165,60172,60182,60190,60199,60207,60215,60223,60231,60240,60248,60257,60264,60271,60279,60286,60293,60300,60307,60314,60321,60328,60338,60346,60354,60363,60370,60377,60384,60391,60398,60405,60414,60422,60430,60439,60449,60458,60467,60476,60484,60491,60498,60505,60514,60523,60530,60538,60546,60553,60560,60569,60577,60584,60594,60602,60611,60619,60625,60631,60638,60645,60653,60662,60669,60677,60685,60691,60699,60709,60719,60728,60736,60744,60751,60758,60765,60773,60782,60791,60799,60807,60814,60821,60829,60835,60844,60853,60861,60867,60873,60879,60885,60891,60897,60903,60911,60919,60930,60937,60943,60949,60956,60963,60969,60976,60984,60992,60998,61006,61012,61018,61024,61030,61036,61043,61049,61055,61062,61070,61076,61082,61091,61099,61107,61115,61122,61128,61135,61141,61148,61155,61162,61168,61175,61181,61193,61201,61207,61214,61220,61228,61234,61241,61250,61258,61265,61273,61281,61289,61296,61305,61313,61322,61330,61339,61348,61355,61362,61368,61375,61384,61393,61402,61408,61417,61424,61433,61440,61449,61457,61466,61475,61485,61495,61504,61512,61520,61528,61538,61546,61553,61561,61569,61578,61586,61593,61602,61609,61616,61623,61630,61638,61646,61656,61664,61671,61679,61687,61693,61701,61710,61719,61726,61734,61742,61750,61759,61766,61774,61782,61790,61802,61809,61816,61824,61832,61840,61848,61856,61864,61872,61881,61889,61897,61906,61915,61922,61930,61936,61942,61949,61957,61965,61972,61980,61987,61996,62005,62014,62022,62029,62036,62044,62051,62059,62067,62075,62082,62091,62100,62107,62114,62121,62131,62138,62146,62155,62165,62174,62181,62188,62195,62202,62209,62216,62224,62232,62240,62249,62257,62264,62271,62279,62286,62293,62300,62307,62314,62323,62331,62341,62350,62358,62368,62377,62386,62395,62404,62412,62419,62425,62435,62443,62450,62457,62464,62471,62478,62487,62495,62503,62510,62518,62525,62532,62539,62547,62556,62564,62571,62579,62588,62596,62604,62612,62620,62629,62637,62643,62655,62663,62672,62680,62687,62696,62705,62714,62723,62732,62739,62748,62755,62764,62773,62779,62788,62795,62804,62813,62820,62826,62832,62838,62844,62851,62857,62863,62869,62876,62882,62888,62894,62900,62906,62913,62920,62926,62933,62942,62949,62956,62962,62968,62974,62982,62988,62994,63000,63006,63014,63022,63029,63035,63041,63048,63054,63062,63069,63075,63082,63089,63095,63102,63112,63120,63128,63134,63140,63148,63154,63163,63169,63175,63183,63190,63196,63202,63208,63214,63220,63226,63233,63240,63247,63253,63260,63266,63272,63279,63286,63294,63301,63309,63315,63321,63328,63337,63346,63354,63362,63370,63378,63386,63392,63399,63407,63415,63423,63430,63436,63442,63451,63457,63463,63469,63477,63484,63490,63497,63504,63510,63519,63526,63536,63543,63553,63559,63566,63575,63584,63593,63601,63609,63618,63628,63636,63645,63654,63664,63673,63680,63688,63695,63703,63710,63718,63725,63733,63741,63748,63756,63765,63774,63782,63790,63798,63806,63814,63822,63829,63838,63846,63854,63861,63869,63877,63884,63892,63900,63908,63916,63924,63932,63940,63948,63956,63963,63971,63979,63989,63996,64005,64014,64023,64031,64037,64044,64053,64061,64069,64076,64085,64094,64101,64108,64116,64125,64134,64144,64152,64161,64168,64178,64185,64193,64200,64208,64216,64225,64233,64241,64249,64257,64267,64274,64282,64289,64297,64305,64313,64321,64328,64335,64342,64349,64356,64363,64370,64377,64384,64391,64400,64406,64413,64421,64430,64439,64448,64458,64468,64474,64480,64486,64494,64504,64511,64519,64528,64537,64546,64552,64561,64569,64576,64583,64590,64598,64605,64612,64619,64627,64634,64641,64647,64656,64664,64674,64681,64687,64695,64703,64710,64719,64728,64738,64747,64755,64762,64769,64776,64783,64791,64799,64809,64818,64825,64832,64839,64847,64855,64863,64869,64876,64882,64888,64895,64901,64908,64915,64923,64930,64936,64942,64948,64954,64962,64968,64974,64980,64986,64994,65002,65008,65014,65023,65030,65038,65044,65051,65059,65065,65072,65080,65088,65096,65103,65111,65117,65123,65131,65138,65146,65153,65159,65167,65174,65180,65186,65192,65199,65205,65211,65220,65227,65236,65244,65250,65257,65263,65272,65281,65287,65295,65302,65309,65315,65321,65329,65336,65344,65351,65360,65366,65375,65381,65387,65396,65405,65414,65420,65429,65435,65441,65447,65453,65459,65467,65474,65481,65490,65498,65504,65513,65523,65531,65540,65549,65557,65567,65575,65582,65591,65600,65608,65616,65624,65632,65642,65648,65656,65664,65672,65680,65688,65698,65705,65713,65720,65729,65737,65745,65754,65763,65771,65779,65785,65792,65799,65806,65814,65822,65830,65838,65846,65854,65862,65870,65877,65885,65893,65902,65911,65919,65928,65938,65947,65954,65960,65968,65974,65983,65990,65997,66008,66016,66025,66033,66042,66052,66059,66066,66075,66081,66088,66096,66105,66114,66121,66128,66135,66143,66150,66158,66165,66172,66179,66186,66193,66200,66207,66214,66221,66229,66236,66243,66250,66257,66264,66273,66281,66289,66297,66305,66313,66321,66329,66336,66343,66350,66357,66364,66371,66378,66386,66392,66401,66410,66419,66428,66435,66444,66453,66463,66471,66479,66487,66495,66502,66510,66519,66526,66532,66541,66548,66556,66564,66571,66580,66587,66593,66601,66607,66613,66623,66632,66639,66646,66653,66660,66669,66677,66686,66694,66701,66709,66718,66727,66736,66745,66753,66760,66767,66775,66782,66788,66795,66803,66811,66819,66827,66837,66845,66855,66865,66873,66881,66889,66897,66905,66911,66921,66929,66936,66942,66948,66957,66964,66972,66979,66986,66993,66999,67005,67011,67017,67023,67029,67035,67042,67050,67057,67063,67069,67076,67084,67090,67096,67104,67112,67118,67124,67131,67137,67143,67151,67160,67167,67173,67181,67187,67193,67200,67206,67212,67220,67227,67235,67242,67251,67258,67264,67270,67277,67283,67292,67299,67308,67317,67323,67330,67337,67344,67352,67358,67364,67372,67379,67386,67394,67400,67406,67412,67420,67427,67435,67441,67447,67453,67459,67465,67471,67477,67483,67489,67497,67505,67511,67517,67523,67529,67537,67543,67549,67555,67562,67568,67574,67580,67586,67595,67604,67612,67619,67627,67634,67640,67647,67656,67666,67675,67683,67691,67700,67710,67716,67723,67729,67735,67741,67747,67754,67761,67767,67775,67784,67793,67802,67811,67820,67828,67837,67845,67852,67860,67869,67878,67887,67899,67906,67914,67921,67929,67938,67946,67954,67962,67973,67981,67989,67997,68004,68012,68019,68028,68036,68043,68051,68061,68069,68077,68084,68092,68099,68108,68115,68123,68131,68139,68147,68161,68171,68179,68187,68193,68200,68208,68216,68224,68232,68241,68248,68255,68263,68272,68281,68290,68296,68304,68311,68318,68325,68332,68339,68347,68355,68362,68369,68376,68385,68395,68404,68411,68418,68428,68438,68447,68457,68464,68473,68482,68489,68496,68504,68512,68519,68528,68536,68543,68550,68557,68565,68573,68581,68588,68595,68602,68609,68622,68630,68637,68643,68650,68657,68664,68671,68677,68683,68691,68698,68705,68713,68722,68731,68739,68749,68759,68767,68776,68786,68796,68806,68815,68823,68832,68840,68847,68855,68863,68870,68880,68889,68896,68903,68910,68917,68925,68932,68941,68949,68957,68963,68971,68978,68985,68993,69000,69009,69017,69024,69031,69040,69046,69053,69061,69071,69082,69091,69105,69111,69120,69129,69136,69144,69151,69161,69170,69177,69185,69195,69204,69213,69220,69229,69237,69247,69254,69262,69270,69276,69282,69290,69297,69305,69313,69319,69325,69332,69339,69346,69352,69358,69365,69372,69380,69389,69396,69403,69409,69415,69421,69427,69435,69443,69449,69455,69461,69467,69473,69480,69486,69492,69501,69508,69514,69520,69526,69532,69539,69545,69551,69558,69564,69573,69579,69585,69591,69597,69603,69610,69619,69626,69633,69640,69646,69654,69662,69668,69675,69681,69687,69693,69701,69710,69716,69723,69729,69735,69744,69751,69757,69764,69772,69779,69787,69793,69799,69806,69813,69820,69828,69836,69845,69854,69860,69866,69873,69880,69887,69894,69902,69909,69915,69921,69927,69933,69939,69945,69951,69957,69965,69971,69977,69984,69990,69998,70004,70010,70016,70023,70031,70038,70044,70050,70056,70062,70068,70074,70083,70092,70099,70108,70117,70124,70132,70138,70144,70154,70163,70171,70177,70185,70191,70197,70205,70211,70217,70226,70232,70239,70246,70255,70261,70268,70274,70281,70288,70297,70304,70311,70318,70328,70337,70346,70355,70364,70372,70380,70387,70394,70403,70412,70419,70427,70435,70443,70452,70459,70467,70475,70485,70493,70501,70511,70518,70526,70534,70543,70551,70559,70567,70574,70582,70590,70598,70606,70614,70622,70630,70638,70647,70657,70665,70672,70679,70686,70694,70701,70709,70717,70725,70733,70741,70748,70755,70764,70773,70781,70789,70798,70806,70815,70824,70830,70837,70843,70852,70861,70867,70873,70881,70889,70899,70905,70912,70918,70925,70934,70943,70953,70960,70969,70978,70988,70998,71008,71015,71022,71031,71037,71047,71054,71061,71068,71078,71085,71094,71103,71110,71117,71124,71131,71140,71147,71154,71162,71170,71178,71186,71193,71200,71208,71216,71224,71232,71240,71247,71256,71262,71269,71276,71285,71293,71300,71307,71314,71321,71328,71336,71344,71352,71361,71370,71380,71389,71398,71408,71417,71426,71435,71444,71453,71463,71470,71477,71485,71493,71501,71510,71518,71526,71534,71540,71549,71558,71565,71575,71584,71591,71601,71607,71614,71620,71627,71634,71644,71651,71659,71666,71673,71680,71688,71698,71707,71716,71725,71735,71742,71749,71758,71765,71772,71780,71789,71796,71805,71812,71822,71831,71838,71847,71855,71862,71869,71877,71885,71895,71902,71912,71920,71927,71933,71939,71945,71952,71961,71968,71974,71981,71988,71995,72002,72009,72017,72023,72029,72035,72041,72047,72053,72059,72065,72071,72077,72083,72090,72097,72104,72111,72117,72123,72130,72136,72142,72148,72154,72161,72168,72175,72181,72189,72195,72203,72209,72217,72224,72230,72236,72242,72251,72258,72266,72272,72278,72284,72290,72296,72305,72314,72321,72328,72335,72341,72348,72354,72361,72367,72373,72379,72385,72394,72400,72406,72413,72422,72429,72435,72441,72448,72456,72465,72473,72479,72486,72495,72502,72509,72517,72524,72531,72539,72546,72553,72560,72568,72575,72583,72590,72597,72604,72611,72617,72624,72631,72639,72646,72655,72661,72667,72673,72679,72686,72692,72698,72704,72710,72716,72723,72729,72735,72741,72749,72755,72761,72769,72775,72781,72788,72795,72801,72807,72813,72819,72825,72833,72841,72849,72858,72865,72872,72878,72886,72892,72898,72906,72914,72920,72929,72936,72945,72953,72960,72968,72974,72980,72986,72994,73000,73007,73014,73023,73029,73035,73041,73047,73053,73062,73068,73074,73081,73088,73095,73101,73108,73118,73125,73133,73142,73150,73157,73166,73174,73183,73190,73198,73206,73214,73220,73228,73236,73246,73254,73261,73269,73275,73282,73290,73298,73305,73312,73320,73328,73336,73343,73351,73359,73367,73375,73383,73393,73401,73408,73415,73424,73432,73440,73447,73455,73463,73470,73477,73485,73493,73501,73508,73516,73524,73532,73540,73549,73558,73565,73575,73583,73592,73599,73608,73616,73624,73631,73638,73644,73652,73660,73669,73676,73683,73690,73697,73704,73710,73717,73727,73734,73741,73748,73756,73764,73772,73780,73788,73795,73804,73811,73818,73827,73835,73844,73852,73861,73869,73877,73885,73894,73901,73908,73915,73922,73932,73938,73945,73952,73959,73967,73976,73983,73990,73997,74004,74011,74017,74024,74031,74039,74047,74056,74065,74073,74082,74092,74101,74110,74118,74128,74136,74145,74153,74163,74171,74181,74187,74195,74203,74212,74220,74227,74234,74241,74249,74256,74264,74273,74280,74289,74296,74302,74310,74317,74325,74332,74339,74348,74357,74364,74371,74378,74386,74393,74400,74407,74414,74423,74431,74438,74447,74456,74464,74470,74479,74485,74494,74502,74509,74518,74524,74532,74539,74546,74555,74562,74571,74579,74588,74596,74603,74610,74617,74626,74634,74643,74652,74661,74668,74677,74686,74695,74705,74713,74720,74729,74737,74745,74751,74757,74763,74769,74775,74782,74788,74796,74804,74810,74816,74822,74828,74834,74840,74847,74854,74861,74868,74875,74881,74887,74893,74900,74906,74912,74918,74924,74930,74936,74942,74948,74955,74963,74969,74976,74985,74991,74999,75005,75011,75017,75026,75032,75038,75044,75050,75056,75062,75068,75076,75083,75090,75097,75103,75110,75117,75124,75130,75136,75144,75153,75159,75166,75173,75179,75185,75191,75197,75203,75209,75216,75223,75229,75235,75242,75249,75255,75261,75268,75275,75283,75291,75298,75305,75313,75320,75328,75335,75343,75350,75356,75362,75368,75374,75380,75388,75395,75402,75409,75415,75421,75429,75435,75441,75448,75458,75466,75472,75478,75484,75490,75496,75503,75510,75516,75522,75528,75534,75540,75546,75552,75559,75566,75572,75578,75584,75590,75596,75602,75608,75614,75620,75629,75635,75643,75650,75660,75666,75672,75678,75684,75692,75698,75704,75713,75719,75725,75731,75739,75746,75753,75761,75767,75773,75779,75785,75791,75797,75804,75813,75821,75830,75839,75849,75858,75866,75875,75884,75891,75900,75906,75912,75919,75926,75935,75941,75950,75956,75962,75969,75976,75982,75990,75997,76004,76013,76022,76029,76038,76047,76055,76063,76070,76077,76085,76093,76101,76111,76120,76129,76139,76148,76157,76166,76175,76183,76191,76200,76207,76215,76224,76231,76239,76248,76256,76263,76270,76278,76287,76295,76303,76311,76319,76327,76334,76341,76350,76358,76366,76374,76382,76391,76398,76406,76414,76423,76432,76440,76448,76456,76464,76472,76480,76488,76496,76504,76512,76520,76528,76536,76543,76551,76559,76566,76576,76586,76595,76604,76612,76619,76627,76635,76644,76651,76658,76665,76672,76679,76686,76695,76702,76709,76715,76724,76735,76741,76748,76757,76767,76777,76784,76791,76800,76811,76818,76825,76832,76839,76846,76852,76859,76866,76873,76880,76888,76898,76905,76913,76920,76928,76936,76943,76950,76957,76964,76972,76980,76987,76994,77001,77008,77015,77022,77029,77036,77044,77052,77060,77069,77079,77087,77094,77101,77107,77114,77122,77128,77134,77142,77149,77157,77164,77171,77180,77190,77199,77208,77217,77226,77236,77244,77254,77262,77271,77281,77290,77299,77308,77317,77326,77335,77344,77353,77362,77371,77380,77389,77399,77407,77416,77423,77431,77441,77448,77457,77466,77475,77482,77490,77498,77505,77512,77520,77530,77537,77545,77554,77561,77571,77579,77586,77593,77600,77607,77613,77620,77628,77635,77642,77649,77656,77663,77670,77678,77686,77694,77701,77710,77717,77724,77732,77740,77749,77755,77763,77772,77781,77789,77798,77807,77814,77822,77829,77837,77846,77853,77861,77869,77877,77884,77893,77900,77908,77917,77926,77933,77941,77948,77957,77965,77972,77981,77990,77997,78003,78012,78021,78028,78034,78041,78047,78053,78060,78067,78074,78082,78089,78095,78101,78107,78114,78120,78126,78132,78138,78145,78152,78159,78165,78171,78178,78187,78193,78199,78205,78211,78217,78223,78230,78237,78244,78251,78259,78268,78274,78280,78288,78295,78305,78313,78319,78325,78332,78338,78344,78350,78356,78362,78368,78374,78383,78389,78395,78404,78410,78416,78422,78428,78436,78442,78448,78454,78460,78467,78473,78479,78486,78494,78501,78507,78513,78519,78525,78531,78539,78546,78553,78559,78565,78571,78578,78586,78594,78602,78608,78614,78620,78627,78633,78639,78645,78651,78659,78666,78673,78679,78687,78693,78699,78705,78712,78719,78726,78733,78740,78747,78754,78761,78769,78777,78784,78791,78798,78806,78814,78821,78828,78836,78845,78853,78860,78866,78874,78880,78886,78893,78899,78906,78913,78921,78927,78933,78939,78945,78951,78958,78964,78971,78977,78983,78990,78996,79003,79010,79017,79025,79032,79040,79047,79054,79061,79068,79074,79080,79086,79092,79098,79104,79112,79119,79125,79131,79137,79143,79149,79155,79161,79167,79173,79180,79186,79195,79201,79207,79214,79220,79226,79235,79243,79249,79255,79261,79269,79277,79284,79293,79302,79308,79314,79322,79328,79334,79341,79347,79353,79359,79365,79371,79377,79383,79391,79400,79408,79415,79423,79432,79441,79449,79457,79467,79474,79482,79490,79498,79505,79513,79521,79529,79537,79545,79552,79560,79568,79575,79584,79592,79601,79609,79618,79626,79634,79642,79649,79656,79664,79671,79678,79686,79693,79701,79708,79715,79723,79731,79739,79746,79755,79763,79771,79780,79789,79798,79806,79814,79822,79830,79838,79846,79854,79862,79871,79880,79888,79896,79904,79913,79921,79930,79939,79947,79954,79960,79967,79973,79980,79989,79996,80005,80012,80020,80029,80036,80043,80050,80057,80066,80074,80082,80090,80096,80106,80113,80120,80130,80139,80147,80154,80161,80168,80175,80182,80189,80196,80203,80210,80217,80224,80230,80236,80242,80249,80257,80264,80271,80278,80285,80293,80300,80308,80315,80322,80331,80340,80347,80354,80361,80368,80375,80381,80388,80395,80403,80411,80418,80425,80432,80440,80447,80454,80461,80468,80475,80482,80488,80495,80502,80509,80516,80523,80531,80540,80549,80558,80567,80575,80583,80592,80600,80609,80618,80627,80636,80645,80654,80662,80669,80679,80687,80696,80706,80713,80722,80731,80740,80748,80757,80766,80775,80784,80792,80800,80809,80817,80826,80835,80844,80852,80861,80870,80879,80887,80895,80902,80909,80917,80925,80934,80941,80949,80955,80962,80970,80978,80986,80995,81003,81014,81022,81031,81039,81046,81052,81059,81066,81072,81079,81086,81094,81101,81108,81115,81123,81131,81138,81147,81155,81164,81172,81181,81190,81199,81206,81213,81221,81230,81237,81246,81252,81258,81267,81275,81285,81293,81301,81310,81319,81326,81335,81344,81352,81361,81370,81378,81387,81396,81403,81412,81421,81428,81436,81444,81453,81462,81471,81479,81487,81496,81506,81514,81523,81529,81536,81543,81549,81555,81562,81569,81576,81583,81590,81597,81604,81611,81618,81626,81633,81640,81647,81654,81660,81669,81677,81684,81691,81698,81705,81711,81717,81724,81731,81738,81744,81753,81761,81767,81773,81779,81786,81792,81798,81804,81810,81817,81823,81829,81835,81841,81847,81853,81859,81865,81871,81877,81883,81890,81897,81905,81912,81920,81927,81933,81941,81947,81955,81961,81967,81973,81979,81985,81991,81997,82003,82009,82015,82021,82027,82033,82039,82045,82051,82057,82064,82070,82076,82082,82088,82094,82101,82109,82115,82122,82128,82134,82140,82146,82152,82159,82166,82174,82180,82186,82193,82199,82205,82212,82219,82226,82232,82238,82246,82252,82259,82268,82277,82284,82290,82296,82302,82308,82314,82320,82326,82332,82338,82344,82351,82359,82368,82375,82381,82387,82393,82399,82407,82413,82419,82426,82433,82440,82447,82454,82461,82468,82475,82482,82489,82496,82503,82509,82516,82522,82528,82536,82545,82553,82560,82566,82573,82581,82587,82593,82599,82605,82612,82619,82626,82632,82638,82644,82650,82656,82662,82668,82675,82682,82689,82696,82702,82708,82714,82720,82726,82732,82738,82744,82751,82759,82766,82773,82780,82787,82794,82801,82807,82813,82821,82827,82833,82839,82845,82851,82857,82864,82870,82878,82885,82891,82897,82903,82909,82915,82921,82928,82934,82943,82950,82956,82966,82974,82980,82986,82992,82998,83006,83016,83024,83033,83040,83046,83052,83058,83064,83071,83080,83087,83093,83099,83105,83111,83117,83124,83132,83140,83147,83155,83162,83170,83176,83186,83194,83202,83210,83219,83228,83235,83242,83251,83261,83273,83281,83290,83299,83308,83315,83323,83332,83343,83351,83359,83368,83375,83383,83391,83399,83407,83415,83424,83432,83442,83451,83458,83466,83474,83482,83490,83498,83506,83514,83522,83531,83538,83546,83554,83562,83570,83578,83586,83594,83602,83610,83618,83624,83633,83641,83649,83656,83664,83672,83680,83688,83696,83704,83713,83719,83725,83743,83750,83758,83765,83772,83779,83787,83795,83803,83810,83817,83824,83831,83837,83844,83853,83861,83867,83878,83885,83892,83900,83907,83914,83921,83929,83936,83942,83948,83957,83964,83972,83985,83993,84000,84007,84015,84022,84030,84037,84044,84053,84061,84069,84077,84085,84092,84099,84106,84112,84119,84126,84134,84141,84148,84155,84162,84169,84176,84183,84190,84197,84204,84211,84218,84225,84233,84241,84249,84257,84265,84273,84281,84289,84297,84305,84313,84321,84330,84337,84344,84350,84357,84365,84372,84379,84386,84393,84400,84407,84414,84421,84428,84435,84443,84452,84461,84469,84479,84487,84495,84504,84512,84521,84529,84537,84546,84555,84564,84574,84584,84593,84600,84610,84618,84627,84636,84645,84654,84663,84673,84682,84691,84700,84708,84717,84726,84735,84745,84755,84764,84773,84781,84788,84795,84802,84810,84818,84826,84833,84840,84847,84856,84864,84873,84881,84889,84898,84906,84913,84921,84929,84937,84944,84952,84960,84967,84976,84983,84991,84999,85012,85019,85026,85033,85040,85048,85057,85066,85073,85082,85088,85096,85105,85112,85120,85129,85135,85145,85152,85158,85166,85175,85183,85191,85200,85209,85216,85223,85231,85239,85247,85259,85267,85276,85285,85294,85303,85312,85321,85330,85338,85345,85353,85361,85368,85375,85384,85390,85396,85405,85414,85420,85426,85432,85441,85448,85454,85460,85468,85474,85481,85487,85493,85499,85505,85511,85517,85523,85529,85535,85541,85548,85555,85562,85569,85576,85582,85590,85597,85604,85610,85619,85626,85633,85640,85647,85653,85660,85668,85674,85681,85687,85693,85700,85707,85714,85720,85726,85732,85739,85746,85753,85760,85767,85774,85781,85788,85795,85802,85809,85816,85823,85830,85837,85844,85852,85858,85864,85871,85877,85884,85890,85896,85902,85908,85914,85920,85926,85932,85938,85944,85950,85957,85963,85969,85975,85982,85989,85997,86004,86011,86018,86025,86032,86039,86046,86052,86058,86067,86076,86082,86089,86096,86105,86113,86122,86131,86139,86145,86151,86157,86163,86169,86175,86181,86187,86195,86201,86207,86213,86219,86226,86233,86239,86245,86251,86258,86265,86271,86278,86284,86290,86296,86302,86308,86314,86320,86326,86332,86338,86344,86350,86356,86363,86370,86376,86382,86389,86396,86403,86409,86415,86421,86427,86433,86439,86445,86451,86459,86465,86471,86477,86483,86489,86495,86501,86507,86515,86522,86528,86534,86540,86546,86552,86560,86567,86573,86579,86587,86593,86599,86606,86614,86622,86629,86635,86641,86647,86653,86659,86666,86673,86680,86687,86694,86701,86708,86715,86722,86729,86736,86743,86749,86755,86762,86769,86776,86783,86790,86798,86804,86810,86816,86822,86828,86834,86840,86847,86855,86862,86868,86874,86880,86886,86892,86898,86905,86911,86917,86924,86932,86940,86946,86952,86958,86965,86972,86979,86986,86993,87000,87008,87014,87020,87026,87033,87039,87045,87051,87057,87064,87071,87079,87090,87096,87102,87108,87114,87120,87126,87135,87143,87149,87157,87163,87172,87180,87188,87196,87204,87212,87220,87228,87236,87244,87250,87256,87262,87268,87277,87286,87294,87302,87310,87319,87327,87336,87346,87355,87361,87367,87373,87379,87385,87391,87398,87407,87413,87419,87425,87435,87441,87447,87453,87459,87468,87474,87480,87486,87492,87500,87510,87518,87526,87535,87543,87552,87559,87569,87577,87587,87595,87603,87612,87620,87627,87635,87642,87649,87655,87668,87677,87685,87694,87703,87711,87719,87725,87733,87740,87749,87756,87762,87770,87777,87785,87794,87802,87810,87818,87827,87834,87840,87848,87856,87864,87872,87880,87888,87896,87904,87913,87921,87929,87937,87945,87952,87960,87968,87976,87983,87991,87999,88006,88013,88022,88030,88039,88046,88055,88064,88070,88078,88091,88098,88106,88113,88120,88127,88136,88144,88153,88159,88166,88173,88185,88196,88205,88212,88219,88226,88233,88239,88245,88252,88259,88265,88272,88279,88286,88293,88300,88307,88314,88322,88330,88338,88346,88353,88361,88369,88377,88385,88393,88401,88409,88417,88425,88432,88439,88446,88453,88460,88467,88474,88481,88488,88495,88502,88509,88516,88523,88530,88538,88545,88552,88560,88569,88576,88584,88592,88600,88608,88617,88625,88633,88641,88649,88657,88664,88671,88678,88685,88693,88701,88709,88717,88725,88733,88741,88749,88757,88764,88772,88779,88786,88793,88801,88809,88817,88824,88831,88842,88849,88856,88863,88870,88877,88885,88894,88903,88913,88923,88932,88941,88951,88961,88969,88978,88987,88997,89007,89017,89026,89036,89045,89054,89063,89072,89081,89090,89099,89107,89116,89125,89134,89143,89151,89159,89167,89176,89185,89194,89203,89211,89218,89226,89235,89243,89253,89260,89267,89275,89283,89291,89299,89308,89315,89322,89330,89338,89346,89356,89363,89370,89378,89386,89394,89403,89411,89417,89425,89433,89441,89448,89455,89463,89472,89481,89489,89497,89505,89512,89518,89527,89535,89545,89554,89562,89571,89580,89589,89596,89605,89614,89623,89631,89638,89646,89654,89663,89672,89680,89687,89696,89704,89712,89719,89727,89736,89743,89749,89755,89762,89768,89777,89784,89792,89799,89808,89816,89822,89831,89839,89847,89853,89862,89871,89878,89887,89894,89903,89911,89919,89927,89935,89942,89950,89961,89973,89982,89991,90000,90006,90015,90024,90033,90040,90048,90057,90064,90071,90080,90087,90095,90104,90112,90118,90124,90132,90139,90147,90156,90163,90172,90179,90186,90192,90198,90205,90211,90218,90225,90232,90239,90246,90253,90260,90267,90273,90279,90286,90292,90299,90308,90315,90324,90331,90337,90343,90349,90355,90361,90367,90373,90380,90390,90397,90403,90410,90417,90424,90431,90438,90445,90452,90459,90466,90473,90480,90487,90494,90501,90508,90515,90522,90529,90536,90543,90550,90557,90564,90571,90577,90583,90589,90596,90604,90611,90617,90624,90631,90637,90643,90649,90655,90661,90667,90676,90682,90688,90696,90702,90709,90716,90723,90730,90737,90744,90751,90758,90765,90772,90778,90784,90793,90800,90807,90813,90819,90825,90831,90838,90844,90850,90857,90864,90870,90877,90883,90891,90900,90906,90912,90918,90924,90930,90936,90942,90948,90954,90960,90966,90972,90978,90984,90990,90996,91002,91008,91014,91020,91026,91032,91038,91044,91050,91056,91062,91068,91074,91080,91086,91092,91098,91104,91110,91116,91125,91131,91137,91143,91149,91155,91161,91168,91174,91180,91187,91194,91200,91207,91213,91219,91225,91231,91237,91244,91252,91259,91265,91271,91277,91283,91291,91297,91304,91310,91316,91322,91328,91334,91340,91346,91352,91358,91364,91370,91376,91382,91388,91394,91400,91406,91412,91418,91425,91432,91440,91446,91452,91458,91465,91471,91477,91485,91492,91499,91508,91514,91520,91527,91534,91541,91548,91554,91560,91568,91575,91582,91588,91594,91600,91607,91614,91621,91628,91635,91642,91649,91655,91661,91667,91674,91681,91688,91695,91702,91709,91716,91723,91729,91735,91741,91747,91754,91761,91768,91775,91782,91789,91795,91801,91807,91813,91819,91825,91831,91837,91843,91849,91856,91863,91870,91876,91884,91892,91898,91904,91911,91917,91924,91932,91938,91944,91950,91957,91964,91971,91978,91985,91992,91998,92004,92010,92017,92024,92030,92038,92045,92051,92057,92063,92071,92077,92083,92089,92095,92101,92107,92113,92119,92125,92132,92138,92145,92152,92159,92167,92174,92182,92189,92196,92202,92208,92215,92221,92227,92233,92240,92248,92257,92266,92274,92280,92286,92292,92298,92304,92311,92317,92323,92329,92335,92341,92347,92353,92360,92369,92375,92381,92387,92393,92399,92405,92411,92417,92423,92429,92435,92441,92447,92453,92459,92465,92471,92477,92483,92489,92495,92501,92507,92513,92519,92527,92533,92539,92548,92554,92560,92569,92576,92586,92595,92604,92612,92620,92628,92635,92644,92652,92660,92669,92678,92686,92693,92701,92708,92715,92722,92730,92738,92746,92754,92761,92769,92776,92784,92792,92800,92808,92816,92823,92831,92838,92846,92854,92862,92870,92878,92885,92893,92900,92908,92916,92924,92931,92939,92947,92955,92963,92972,92980,92988,92996,93004,93012,93021,93030,93038,93046,93054,93062,93069,93076,93085,93092,93100,93108,93115,93121,93127,93135,93141,93148,93154,93160,93168,93175,93182,93190,93197,93205,93214,93225,93234,93241,93248,93255,93262,93271,93278,93287,93296,93305,93313,93321,93328,93335,93341,93347,93353,93363,93369,93380,93390,93397,93404,93411,93419,93427,93435,93443,93451,93458,93465,93472,93479,93486,93493,93500,93508,93515,93522,93529,93536,93544,93552,93559,93566,93573,93580,93587,93594,93601,93608,93615,93623,93630,93637,93644,93651,93658,93665,93672,93679,93686,93693,93700,93707,93714,93721,93728,93735,93742,93749,93756,93763,93770,93777,93785,93793,93801,93808,93816,93824,93832,93840,93847,93854,93861,93868,93876,93884,93892,93900,93908,93916,93924,93932,93942,93951,93959,93971,93979,93987,93995,94003,94012,94021,94028,94035,94043,94050,94057,94065,94073,94080,94087,94094,94101,94108,94115,94122,94130,94137,94144,94154,94163,94172,94181,94189,94199,94208,94217,94225,94232,94241,94250,94258,94267,94276,94285,94293,94302,94310,94319,94328,94337,94345,94354,94362,94372,94381,94392,94401,94410,94419,94428,94437,94446,94454,94463,94472,94481,94490,94499,94508,94517,94527,94536,94544,94553,94559,94567,94575,94583,94591,94600,94608,94616,94625,94632,94644,94652,94662,94671,94679,94688,94696,94704,94711,94718,94726,94733,94742,94750,94759,94767,94775,94785,94793,94801,94810,94818,94827,94834,94841,94848,94855,94867,94876,94885,94892,94901,94910,94919,94928,94937,94945,94953,94962,94971,94981,94988,94997,95007,95016,95025,95032,95040,95049,95058,95067,95076,95085,95094,95102,95110,95119,95128,95135,95143,95152,95159,95168,95177,95187,95196,95204,95213,95219,95227,95235,95242,95251,95260,95267,95275,95281,95287,95295,95303,95312,95319,95327,95335,95342,95349,95356,95365,95373,95382,95388,95394,95402,95410,95418,95424,95431,95437,95446,95453,95461,95470,95479,95487,95495,95504,95510,95518,95524,95532,95538,95546,95552,95560,95569,95577,95585,95594,95602,95611,95619,95627,95636,95645,95654,95662,95671,95680,95689,95698,95707,95716,95725,95731,95738,95745,95754,95762,95769,95776,95783,95790,95799,95806,95815,95822,95831,95840,95849,95856,95863,95871,95880,95889,95897,95906,95912,95921,95928,95935,95942,95949,95956,95963,95969,95976,95984,95991,95998,96005,96011,96017,96023,96029,96036,96043,96050,96057,96064,96071,96078,96084,96090,96096,96103,96111,96119,96127,96135,96143,96151,96159,96166,96173,96180,96187,96194,96205,96211,96217,96223,96229,96235,96241,96256,96263,96270,96277,96284,96291,96297,96303,96309,96315,96322,96329,96335,96341,96348,96355,96361,96368,96375,96382,96389,96395,96401,96407,96413,96419,96425,96431,96437,96443,96449,96456,96463,96470,96477,96484,96491,96498,96505,96511,96517,96523,96529,96535,96541,96547,96553,96559,96565,96571,96577,96583,96589,96596,96603,96609,96615,96621,96627,96634,96640,96646,96653,96661,96669,96675,96681,96687,96693,96699,96705,96711,96717,96723,96729,96735,96741,96747,96753,96759,96766,96773,96780,96786,96792,96798,96804,96810,96816,96822,96828,96834,96840,96846,96852,96858,96864,96870,96876,96882,96888,96895,96902,96909,96915,96922,96929,96936,96943,96950,96957,96963,96969,96975,96981,96987,96993,96999,97005,97012,97018,97024,97030,97036,97042,97048,97054,97060,97067,97075,97081,97088,97094,97100,97106,97112,97118,97124,97130,97136,97142,97148,97154,97160,97166,97172,97178,97184,97191,97198,97205,97212,97219,97227,97234,97242,97248,97255,97263,97269,97275,97282,97289,97296,97303,97310,97317,97324,97332,97342,97348,97354,97361,97368,97374,97380,97386,97393,97400,97407,97414,97421,97428,97435,97442,97448,97454,97460,97466,97472,97478,97484,97492,97500,97507,97514,97520,97528,97535,97541,97548,97555,97562,97568,97574,97580,97586,97592,97598,97604,97610,97616,97624,97630,97637,97644,97651,97658,97665,97672,97679,97686,97693,97700,97707,97713,97720,97726,97732,97738,97744,97750,97756,97762,97768,97774,97780,97786,97792,97798,97804,97810,97819,97828,97839,97846,97854,97862,97870,97878,97884,97890,97896,97902,97908,97914,97920,97926,97932,97941,97950,97960,97969,97975,97981,97988,97996,98002,98008,98014,98020,98026,98032,98038,98044,98050,98056,98062,98068,98074,98080,98086,98092,98098,98104,98110,98116,98122,98128,98134,98140,98146,98152,98158,98164,98170,98176,98182,98188,98194,98200,98206,98212,98218,98225,98231,98237,98243,98249,98255,98261,98267,98273,98279,98285,98291,98297,98304,98310,98316,98322,98328,98334,98340,98346,98352,98358,98364,98370,98376,98382,98388,98394,98400,98406,98412,98418,98424,98430,98436,98442,98448,98454,98460,98466,98472,98478,98484,98490,98496,98502,98508,98514,98521,98527,98534,98541,98550,98558,98566,98575,98583,98591,98598,98606,98614,98621,98627,98636,98642,98651,98659,98671,98679,98686,98693,98700,98708,98716,98724,98732,98740,98749,98757,98766,98775,98782,98793,98802,98810,98819,98827,98835,98843,98851,98860,98868,98875,98883,98890,98898,98906,98913,98921,98930,98940,98947,98953,98960,98966,98973,98980,98986,98993,98999,99006,99013,99020,99027,99034,99041,99048,99058,99065,99072,99079,99088,99095,99102,99115,99125,99132,99139,99146,99152,99158,99165,99171,99177,99183,99193,99199,99207,99214,99221,99228,99235,99242,99249,99256,99263,99270,99277,99284,99292,99299,99306,99313,99320,99327,99334,99341,99348,99355,99363,99371,99378,99385,99392,99399,99407,99414,99421,99428,99435,99442,99449,99456,99463,99470,99477,99484,99491,99498,99505,99512,99519,99526,99533,99540,99547,99554,99561,99568,99575,99582,99589,99596,99604,99612,99619,99627,99635,99643,99651,99659,99667,99675,99683,99691,99699,99708,99716,99724,99732,99740,99748,99756,99764,99772,99780,99790,99798,99808,99816,99824,99832,99842,99850,99858,99866,99874,99882,99891,99899,99907,99915,99923,99931,99939,99947,99955,99963,99971,99979,99987,99995,100003,100011,100019,100027,100035,100043,100051,100059,100067,100076,100084,100093,100101,100109,100117,100125,100133,100141,100149,100157,100165,100173,100181,100189,100197,100204,100211,100218,100225,100232,100239,100246,100253,100260,100267,100275,100282,100290,100297,100305,100313,100320,100327,100334,100341,100348,100355,100362,100370,100377,100384,100391,100401,100409,100418,100426,100434,100442,100450,100459,100468,100476,100485,100494,100503,100511,100519,100528,100537,100545,100554,100562,100571,100580,100589,100597,100606,100614,100623,100632,100640,100649,100660,100669,100677,100684,100692,100702,100711,100720,100729,100738,100747,100756,100765,100774,100784,100793,100803,100812,100820,100829,100837,100846,100856,100865,100874,100883,100892,100900,100908,100916,100926,100935,100944,100952,100961,100970,100978,100986,100994,101002,101010,101018,101026,101034,101042,101051,101059,101068,101077,101083,101091,101099,101107,101115,101123,101131,101138,101147,101155,101163,101171,101181,101190,101199,101207,101216,101224,101233,101242,101248,101254,101261,101267,101274,101281,101288,101297,101306,101314,101323,101332,101339,101349,101355,101366,101374,101383,101390,101399,101408,101414,101420,101426,101436,101445,101454,101460,101468,101476,101484,101493,101500,101508,101516,101525,101534,101543,101551,101564,101573,101581,101587,101596,101605,101612,101621,101629,101636,101642,101649,101655,101663,101671,101679,101687,101696,101705,101713,101721,101730,101737,101746,101752,101759,101767,101776,101785,101791,101797,101803,101809,101818,101825,101834,101843,101852,101860,101868,101874,101883,101890,101898,101904,101913,101921,101929,101937,101945,101954,101962,101971,101980,101989,101995,102003,102010,102019,102027,102036,102044,102052,102060,102068,102074,102082,102088,102096,102104,102113,102121,102129,102137,102145,102153,102161,102169,102175,102183,102191,102200,102208,102216,102224,102232,102240,102249,102258,102266,102273,102281,102289,102296,102304,102313,102321,102329,102337,102345,102353,102359,102365,102374,102383,102392,102401,102410,102418,102426,102433,102441,102450,102458,102467,102475,102484,102492,102501,102509,102516,102525,102531,102538,102547,102555,102564,102572,102581,102587,102596,102604,102611,102620,102629,102637,102645,102653,102661,102667,102674,102682,102689,102696,102702,102710,102718,102724,102730,102737,102744,102750,102757,102764,102770,102776,102782,102789,102796,102802,102808,102816,102824,102832,102839,102846,102853,102860,102867,102874,102881,102887,102893,102899,102905,102911,102917,102923,102929,102936,102943,102950,102956,102963,102970,102977,102984,102990,102996,103002,103008,103014,103020,103026,103032,103038,103044,103050,103056,103063,103069,103077,103083,103090,103096,103102,103108,103114,103122,103129,103136,103143,103150,103157,103164,103171,103178,103185,103192,103199,103205,103211,103218,103225,103232,103238,103244,103253,103259,103265,103271,103277,103283,103290,103297,103304,103310,103316,103322,103330,103336,103342,103348,103354,103360,103366,103372,103378,103384,103390,103396,103402,103408,103414,103420,103426,103432,103438,103444,103450,103456,103462,103468,103474,103480,103486,103493,103502,103509,103517,103523,103529,103535,103541,103547,103553,103559,103565,103571,103577,103583,103589,103595,103601,103607,103613,103619,103625,103631,103637,103643,103649,103655,103661,103667,103674,103680,103686,103695,103704,103710,103716,103722,103728,103736,103742,103748,103754,103761,103767,103774,103780,103786,103792,103798,103804,103812,103820,103826,103833,103840,103847,103854,103861,103868,103875,103882,103889,103895,103904,103911,103918,103925,103932,103940,103946,103952,103958,103964,103970,103976,103982,103988,103994,104001,104008,104019,104027,104036,104042,104048,104054,104063,104069,104075,104081,104087,104093,104099,104105,104111,104118,104124,104130,104136,104142,104148,104154,104160,104166,104172,104178,104184,104190,104196,104202,104208,104214,104220,104226,104232,104238,104244,104250,104256,104262,104268,104274,104280,104286,104292,104298,104304,104310,104316,104322,104328,104334,104340,104346,104352,104358,104364,104370,104376,104382,104388,104394,104400,104406,104413,104419,104425,104431,104437,104443,104449,104455,104461,104467,104473,104483,104492,104500,104508,104515,104523,104531,104539,104547,104555,104563,104571,104579,104587,104595,104604,104611,104621,104629,104636,104644,104652,104659,104666,104674,104682,104690,104697,104704,104711,104718,104726,104734,104742,104749,104757,104765,104772,104779,104786,104795,104802,104810,104818,104826,104836,104844,104852,104860,104868,104879,104886,104893,104902,104909,104915,104922,104929,104938,104946,104954,104961,104968,104975,104984,104991,104998,105005,105012,105019,105026,105033,105042,105049,105056,105063,105070,105077,105084,105091,105098,105105,105112,105119,105127,105134,105141,105148,105155,105162,105169,105178,105185,105191,105197,105203,105209,105216,105222,105229,105235,105241,105247,105253,105259,105267,105273,105279,105285,105291,105297,105303,105309,105315,105322,105328,105334,105340,105346,105354,105361,105368,105375,105382,105390,105398,105405,105412,105419,105426,105433,105440,105447,105454,105460,105467,105474,105481,105488,105495,105502,105509,105516,105523,105530,105537,105544,105551,105558,105565,105572,105579,105586,105593,105600,105607,105614,105621,105628,105635,105642,105649,105656,105663,105670,105677,105684,105691,105698,105705,105712,105719,105726,105733,105740,105747,105754,105761,105769,105776,105783,105790,105798,105806,105814,105821,105828,105835,105842,105850,105858,105866,105874,105882,105890,105898,105906,105914,105922,105930,105938,105946,105954,105962,105970,105980,105988,105996,106004,106012,106020,106028,106036,106044,106052,106060,106068,106076,106084,106092,106100,106108,106117,106125,106133,106141,106149,106157,106165,106173,106181,106189,106197,106205,106213,106221,106229,106239,106249,106258,106266,106274,106282,106290,106299,106307,106315,106323,106333,106341,106349,106357,106368,106376,106384,106393,106401,106409,106420,106428,106436,106447,106455,106463,106471,106479,106490,106498,106508,106516,106524,106532,106540,106548,106556,106564,106572,106580,106588,106596,106604,106612,106620,106630,106638,106646,106654,106662,106670,106678,106686,106694,106702,106710,106718,106726,106734,106742,106750,106758,106766,106774,106782,106790,106798,106806,106814,106822,106830,106838,106846,106854,106862,106870,106878,106886,106894,106902,106911,106919,106927,106935,106943,106951,106959,106967,106975,106983,106991,106999,107007,107015,107023,107031,107039,107047,107055,107063,107071,107079,107087,107095,107103,107111,107119,107127,107135,107144,107152,107160,107168,107177,107185,107193,107201,107209,107217,107225,107233,107242,107250,107258,107266,107274,107282,107291,107299,107307,107315,107323,107331,107339,107347,107355,107363,107371,107379,107387,107395,107403,107411,107419,107427,107435,107443,107451,107459,107467,107475,107483,107491,107499,107507,107515,107523,107533,107541,107548,107555,107563,107570,107577,107584,107591,107598,107605,107612,107619,107625,107632,107639,107646,107653,107660,107667,107674,107681,107688,107695,107702,107709,107716,107723,107730,107737,107744,107751,107758,107765,107774,107782,107791,107800,107809,107818,107827,107836,107845,107853,107862,107870,107879,107888,107898,107907,107916,107925,107934,107942,107951,107960,107969,107978,107986,107997,108008,108018,108028,108038,108047,108056,108065,108074,108083,108091,108100,108108,108117,108126,108135,108144,108152,108161,108168,108176,108184,108194,108204,108213,108221,108230,108237,108244,108253,108263,108272,108281,108290,108298,108307,108315,108323,108332,108340,108349,108357,108366,108374,108383,108392,108401,108409,108418,108427,108436,108443,108451,108458,108465,108472,108479,108486,108493,108500,108507,108514,108521,108528,108535,108542,108549,108556,108563,108571,108579,108586,108594,108601,108608,108615,108622,108630,108640,108646,108654,108661,108670,108678,108685,108693,108702,108711,108717,108724,108732,108738,108744,108751,108758,108764,108770,108776,108782,108788,108794,108800,108806,108812,108818,108824,108830,108836,108842,108848,108854,108860,108866,108872,108878,108884,108890,108896,108902,108909,108915,108921,108929,108937,108944,108952,108959,108966,108973,108981,108989,108996,109003,109009,109016,109024,109031,109039,109047,109054,109062,109070,109078,109085,109093,109101,109109,109118,109124,109130,109136,109144,109152,109161,109170,109178,109186,109197,109205,109213,109221,109229,109237,109246,109255,109264,109273,109281,109289,109298,109307,109316,109324,109332,109339,109348,109355,109363,109370,109378,109387,109396,109404,109413,109422,109431,109441,109450,109458,109466,109474,109482,109490,109497,109503,109511,109519,109527,109535,109542,109549,109558,109567,109575,109584,109593,109602,109610,109619,109628,109636,109645,109652,109660,109668,109675,109683,109690,109696,109704,109711,109719,109728,109736,109744,109752,109760,109767,109776,109785,109793,109801,109810,109817,109823,109829,109837,109843,109849,109855,109861,109867,109873,109879,109885,109891,109901,109907,109913,109919,109925,109931,109937,109943,109949,109955,109964,109973,109982,109991,110000,110009,110017,110026,110034,110041,110049,110057,110065,110073,110081,110087,110096,110104,110111,110117,110126,110134,110141,110149,110157,110165,110173,110181,110189,110198,110206,110215,110223,110232,110240,110248,110257,110265,110274,110282,110290,110296,110306,110314,110322,110330,110338,110347,110355,110363,110371,110380,110388,110397,110406,110415,110423,110431,110439,110447,110455,110463,110471,110479,110487,110495,110503,110511,110520,110528,110536,110544,110552,110560,110568,110576,110585,110594,110601,110609,110617,110626,110634,110642,110649,110657,110664,110670,110677,110684,110693,110701,110708,110715,110723,110732,110741,110750,110759,110767,110776,110785,110792,110801,110810,110819,110827,110834,110843,110850,110858,110864,110872,110879,110888,110897,110905,110914,110922,110930,110938,110946,110954,110961,110967,110974,110983,110989,110998,111006,111012,111019,111026,111033,111040,111048,111057,111065,111071,111080,111089,111098,111106,111112,111118,111124,111130,111136,111142,111148,111154,111160,111166,111172,111178,111185,111191,111197,111204,111211,111218,111225,111232,111239,111246,111252,111258,111264,111270,111276,111282,111288,111295,111302,111309,111316,111323,111330,111337,111344,111351,111362,111369,111376,111383,111390,111397,111404,111413,111421,111427,111433,111439,111445,111451,111457,111463,111469,111475,111482,111488,111494,111500,111506,111512,111518,111524,111530,111536,111543,111549,111555,111561,111567,111573,111581,111588,111595,111602,111609,111616,111623,111629,111635,111641,111647,111653,111659,111666,111673,111679,111685,111691,111698,111705,111712,111719,111726,111733,111740,111747,111754,111761,111768,111775,111782,111789,111796,111803,111810,111817,111824,111831,111838,111845,111854,111866,111872,111878,111884,111890,111896,111902,111908,111914,111921,111927,111933,111939,111945,111951,111959,111968,111975,111982,111989,111996,112003,112010,112017,112024,112031,112038,112045,112053,112061,112069,112078,112086,112092,112098,112104,112110,112116,112122,112128,112134,112140,112146,112152,112158,112164,112170,112176,112182,112188,112194,112200,112206,112212,112218,112224,112230,112236,112242,112248,112254,112260,112266,112272,112278,112284,112290,112296,112302,112308,112314,112320,112326,112332,112338,112344,112350,112356,112362,112368,112374,112380,112386,112392,112398,112404,112410,112416,112422,112428,112434,112440,112446,112452,112458,112464,112470,112476,112482,112488,112494,112500,112506,112512,112518,112524,112530,112537,112543,112549,112555,112561,112567,112573,112579,112585,112591,112597,112603,112609,112615,112621,112627,112633,112639,112645,112651,112657,112663,112669,112675,112681,112687,112693,112699,112705,112711,112717,112723,112729,112735,112741,112747,112753,112759,112765,112771,112777,112786,112792,112798,112805,112814,112822,112830,112838,112846,112853,112859,112868,112875,112882,112889,112896,112903,112910,112917,112924,112931,112938,112945,112952,112959,112966,112973,112980,112987,112997,113004,113011,113018,113025,113032,113039,113046,113053,113060,113067,113074,113081,113088,113095,113102,113109,113116,113123,113131,113138,113145,113152,113159,113166,113173,113180,113187,113194,113201,113208,113215,113222,113229,113236,113243,113250,113257,113265,113272,113279,113286,113293,113300,113307,113315,113322,113329,113336,113343,113350,113357,113364,113371,113378,113385,113392,113399,113406,113413,113420,113427,113435,113443,113450,113457,113464,113471,113478,113486,113494,113501,113508,113515,113522,113530,113537,113544,113551,113558,113565,113572,113579,113586,113593,113600,113608,113615,113622,113629,113636,113643,113650,113657,113666,113673,113680,113687,113694,113701,113708,113715,113722,113729,113736,113743,113750,113757,113764,113771,113778,113785,113792,113799,113806,113813,113820,113827,113834,113841,113849,113856,113863,113871,113880,113888,113896,113904,113912,113920,113928,113936,113944,113952,113960,113968,113976,113984,113992,114000,114008,114016,114024,114032,114040,114048,114056,114068,114076,114084,114092,114100,114108,114116,114124,114132,114140,114148,114156,114164,114172,114180,114188,114196,114204,114212,114221,114229,114237,114245,114253,114261,114269,114277,114285,114294,114302,114310,114318,114326,114334,114342,114350,114357,114364,114372,114380,114388,114396,114404,114412,114420,114428,114436,114444,114452,114460,114468,114476,114484,114492,114500,114508,114516,114524,114532,114540,114548,114556,114564,114572,114580,114588,114596,114604,114612,114620,114628,114636,114644,114652,114660,114668,114676,114684,114692,114700,114711,114719,114728,114737,114745,114753,114761,114769,114777,114785,114793,114801,114809,114817,114825,114833,114841,114849,114857,114865,114873,114881,114889,114897,114905,114913,114921,114929,114937,114945,114953,114961,114969,114977,114985,114993,115001,115009,115017,115025,115033,115041,115049,115057,115065,115073,115081,115089,115097,115105,115113,115121,115129,115137,115145,115153,115161,115169,115177,115185,115193,115201,115209,115217,115225,115233,115241,115249,115257,115265,115273,115281,115289,115297,115305,115313,115321,115329,115337,115345,115353,115361,115369,115377,115385,115393,115401,115410,115418,115427,115435,115443,115451,115459,115467,115475,115483,115491,115501,115509,115517,115525,115533,115541,115549,115557,115565,115573,115581,115589,115597,115605,115613,115621,115629,115637,115645,115653,115662,115671,115679,115687,115695,115703,115711,115719,115727,115735,115743,115751,115759,115767,115775,115783,115791,115799,115808,115815,115822,115829,115838,115845,115852,115859,115866,115873,115880,115887,115894,115901,115908,115915,115922,115929,115936,115944,115951,115958,115965,115972,115979,115988,115996,116004,116012,116021,116030,116038,116047,116056,116065,116074,116083,116092,116101,116109,116118,116128,116138,116147,116155,116163,116172,116182,116191,116200,116212,116221,116230,116238,116249,116256,116263,116273,116281,116290,116298,116307,116314,116322,116331,116340,116348,116357,116366,116375,116382,116391,116401,116410,116418,116427,116436,116445,116454,116463,116472,116481,116489,116498,116509,116518,116527,116535,116544,116552],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":39,"material":40,"size":41,"collection":42,"collections":43,"showCount":46,"zanCount":47,"manualWeight":48,"mainColor":49},221381,"qian-li-jiang-shan-tu-juan-wang-xi-meng-221381","千里江山图卷","宋","王希孟","北京故宫博物院","《千里江山图》卷是北宋画家王希孟传世的唯一作品。此图描绘了祖国的锦绣河山。画面上峰峦起伏绵延，江河烟波浩淼，气象万千，壮丽恢弘。山间高崖飞瀑，曲径通幽，房舍屋宇点缀其间，绿柳红花，长松修竹，景色秀丽。山水间野渡渔村、水榭楼台、茅屋草舍、水磨长桥各依地势、环境而设，与山川湖泊相辉映。此卷以概括精练的手法、绚丽的色彩和工细的笔致表现出祖国山河的雄伟壮观，一向被视为宋代青绿山水中的巨制杰构。\n画家在构图上充分利用传统的长卷形式所具有的多点透视之特点，在十余米的巨幅长卷中将景物大致分为六部分，每部分均以山体为主要表现对象，各部分之间或以长桥相连，或以流水沟通，使各段山水既相对独立，又相互关联，巧妙地连成一体，达到了步移景异的艺术效果。高远、深远、平远多种构图方式的穿插使用更使画面跌宕起伏，富有强烈的韵律感，引人入胜。\n《千里江山图》卷在设色和用笔上继承了传统的“青绿法”，即以石青、石绿等矿物质为主要颜料，敷色夸张，具有一定的装饰性，被称为“青绿山水”。此种表现方法是我国山水画技法中发展较早的一种，在隋唐时期如展子虔、李思训、李昭道等许多画家均擅长青绿山水画。纵观宋代画坛，虽然也有一些画家用此法创作，但从目前存世作品看，尚无一件可以超越《千里江山图》卷。王希孟在继承前法的基础上，表现出更趋细腻的画风，体现了北宋院画工整严谨的时代风格。此图用笔精当，一点一画均无败笔。人物虽细小如豆，却动态鲜明。微波水纹均一笔笔画出，渔舟游船荡曳其间，使画面平添动感。综观全幅，又不失雄阔的境界和恢宏的气势，远观近睹均令人折服。在用色上，画家于单调的蓝绿色中求变化，虽然以青绿为主色调，但在施色时注重手法的变化，色彩或浑厚，或轻盈，间以赭色为衬，使画面层次分明，色如宝石，光彩夺目。元代著名书法家溥光对此卷推崇备至，在卷后题跋中赞道：“在古今丹青小景中，自可独步千载，殆众星之孤月耳。”此论可谓公允之见。\n从此卷所描绘的景物看，系以南方清丽秀润的山水为主体，在部分山峦的表现上加进了一些北方山水的特征，可谓集南北山水于一体的精心之作。从画面表现的建筑形式以及江南水乡的生活场景、生产劳作使用的工具等方面看，画家对江南地区有着较为深刻的了解，其艺术创作当来源于生活，而王希孟于18岁时即创作出如此宏幅巨制，不可能没有深厚的生活积累，由此笔者推测，画家王希孟应是江南人，至于具体籍贯便无从知晓了。",[23,24,7,25,26,27,28,29,30,31,32,33,34,35,36,37,38],"高清","国画","长卷","青绿","设色","工笔","山水","山峰","河流","湖泊","小船","树木","房屋","桥梁","云雾","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4787ef8c440e7ab09e9fddb2ac7117.jpg","绢本，设色","纵51.5厘米，横1191.5厘米","宋画精选",[42,44,45],"人物画精选","设色画精选",22979,181,0,"795548",{"id":51,"slug":52,"title":53,"dynasty":54,"author":55,"museum":56,"description":57,"tags":58,"thumbUrl":65,"material":66,"size":67,"collection":68,"collections":69,"showCount":70,"zanCount":71,"manualWeight":48,"mainColor":72},214707,"chun-hua-tu-ba-kai-yun-shou-ping-214707","春花图八开","清","恽寿平","上海博物馆","恽寿平画了八种春天的花，包括桃花、牵牛花、牡丹、绣球、萱草、月季、樱花和鸢尾花。这幅画是在他晚年的时候画的，当时他五十三岁，虽是没骨而近乎写意，用笔已是纯青。",[23,24,7,59,27,60,61,62,63,64],"册","没骨","花鸟","花卉","鸢尾","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fa759adc318004a833d99020a6068e6.jpg","纸本,设色","26.3x35.7","花鸟画精选",[68],14420,63,"BDBDBD",{"id":74,"slug":75,"title":76,"dynasty":54,"author":55,"museum":77,"description":78,"tags":79,"thumbUrl":83,"material":66,"size":84,"collection":68,"collections":85,"showCount":86,"zanCount":87,"manualWeight":48,"mainColor":72},214744,"hua-hui-ce-yun-shou-ping-214744","花卉册","私人收藏","恽寿平（1796-1873）是清代著名的画家，他擅长画花鸟，尤其是花卉。他的花卉册是他的代表作之一，包含了他对花卉的描绘和描写。\n\n恽寿平的花卉册以其精细的笔墨和精美的色彩著称，他善于捕捉花卉的细节和美感，并将其再现在画布上。他画的花卉通常都是生动传神，有时也带有一些象征意义。恽寿平还创作了许多花卉图谱，用来介绍各种花卉的特征和用途。\n\n恽寿平的花卉册不仅深受藏家的喜爱，也被认为是清代花卉画的杰出代表作之一。他的作品不仅为后人留下了宝贵的艺术瑰宝，而且也为我们展示了清代花卉画艺术的魅力。",[23,24,7,59,61,60,27,80,81,82],"紫藤","荷花","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab73f6dce929392ea6f25d5a923c813e.jpg","",[68],10967,60,{"id":89,"slug":90,"title":91,"dynasty":18,"author":92,"museum":20,"description":93,"tags":94,"thumbUrl":113,"material":114,"size":115,"collection":42,"collections":116,"showCount":118,"zanCount":119,"manualWeight":48,"mainColor":49},221320,"qing-ming-shang-he-tu-zhang-ze-duan-221320","清明上河图","张择端","《清明上河图》描绘的是清明时节北宋都城汴京（今河南开封）东角子门内外和汴河两岸的繁华热闹景象。全画可分为三段：\n首段写市郊景色，茅檐低伏，阡陌纵横，其间人物往来。\n中段以“上土桥”为中心，另画汴河及两岸风光。中间那座规模宏敞、状如飞虹的木结构桥梁，概称“虹桥”，正名“上土桥”，为水陆交通的汇合点。桥上车马来往如梭，商贩密集，行人熙攘。桥下一艘漕船正放倒桅杆欲穿过桥孔，艄工们的紧张工作吸引了许多群众围观。\n后段描写的是市区街道，城内商店鳞次栉比，大店门首还扎结着彩楼欢门，小店铺只是一个敞棚。此外还有公廨寺观等。街上行人摩肩接踵，车马轿驼络绎不绝。行人中有绅士、官吏、仆役、贩夫、走卒、车轿夫、作坊工人、说书艺人、理发匠、医生、看相算命者、贵家妇女、行脚僧人、顽皮儿童，甚至还有乞丐。他们的身份不同，衣冠各异，同在街上，而忙闲不一，苦乐不均。城中交通运载工具，有轿子、驼队、牛、马、驴车、人力车等。 车辆有串车、太平车、平头车等诸种，再现了汴京城街市的繁荣景象。高大的城门楼名东角子门，位于汴京内城东南。\n全卷画面内容丰富生动，集中概括地再现了12世纪北宋全盛时期都城汴京的生活面貌。\n此画用笔兼工带写，设色淡雅，不同一般的界画，即所谓“别成家数”。构图采用鸟瞰式全景法，真实而又集中概括地描绘了当时汴京东南城角这一典型的区域。作者用传统的手卷形式，采取“散点透视法”组织画面。画面长而不冗，繁而不乱，严密紧凑，如一气呵成。画中所摄取的景物，大至寂静的原野，浩瀚的河流，高耸的城郭；小到舟车里的人物，摊贩上的陈设货物，市招上的文字，丝毫不失。在多达500余人物的画面中，穿插着各种情节，组织得有条不紊，同时又具有情趣。",[23,24,7,25,95,28,27,96,97,98,99,100,101,102,34,103,104,36,105,106,31,107,108,109,110,35,111,112],"界画","人物","楼阁","小桥","流水","船","马","牛","街市","店铺","城墙","车","码头","货船","行人","商贩","道路","城门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4ecd57523f904bcb1af9f65a29b2cb.jpg","绢本，淡设色","纵24.8厘米，横528厘米",[42,117],"水墨画精选",8462,106,{"id":121,"slug":122,"title":123,"dynasty":124,"author":125,"museum":56,"description":126,"tags":127,"thumbUrl":134,"material":66,"size":135,"collection":136,"collections":137,"showCount":138,"zanCount":139,"manualWeight":48,"mainColor":72},214638,"wu-zhong-shan-shui-juan-shen-zhou-214638","吴中山水卷","明","沈周","画家画的是他家乡苏州的山水景象，山水构图平远，波光粼粼，山峦郁郁葱葱，被行人的小船打断了。图像没有任何标记，背面纸上有沈周写的长诗。",[23,24,7,25,128,27,29,98,99,129,130,34,131,35,132,64,133],"水墨","孤舟","亭","山石","皴法","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1fc32edd6049d9d044095077d4fe271.jpg","31.6x348","山水画精选",[136],7463,45,{"id":141,"slug":142,"title":143,"dynasty":144,"author":145,"museum":146,"description":147,"tags":148,"thumbUrl":150,"material":151,"size":152,"collection":136,"collections":153,"showCount":154,"zanCount":155,"manualWeight":48,"mainColor":72},220765,"fu-chun-shan-ju-tu-sheng-shan-tu-huang-gong-wang-220765","富春山居图-剩山图","元","黄公望","浙江省博物馆","《富春山居图》是元朝画家黄公望于1350年创作完成的纸本水墨画，被誉为“画中之兰亭”，是中国十大传世名画之一。\n该作品是黄公望为师弟郑樗（无用师）所绘，以浙江富春江为背景，全图用墨淡雅，山和水的布置疏密得当，墨色浓淡干湿并用，极富于变化。\n《富春山居图》，始画于至正七年(1347)，于至正十年完成。虽黄公望晚年定居今富阳市境内,但画卷内容对比宽敞平坦的富阳江和山峰峻奇峡谷雄伟的桐庐江,就可得知,富春山居图所画内容约80%在桐庐境内富春江的景色,20%为富阳的景色.，画面表现出秀润淡雅的风貌，气度不凡，以浙江富春江为背景，是黄公望的代表作。明朝末年富春山居图传到收藏家吴洪裕手中，吴洪裕极为喜爱此画，每天不思茶饭的观赏临摹。甚至在临死前下令将此画焚烧殉葬，幸被吴洪裕的侄子及时从火中抢救出，但此时画已被烧成一大一小两段，前段较小，称“剩山图”；后段画幅较长，称“无用师卷”。\n前半卷名称：《富春山居图·剩山图》黄公望《富春山居图·无用师卷》\n馆藏：浙江省博物馆尺幅：纵31.8厘米，横51.4厘米浙江博物馆《富春山居图》（《剩山图》）\n后半卷名称：《富春山居图·无用师卷》馆藏：台北故宫博物院尺幅：纵33厘米，横636.9厘米仿本名称：《富春山居图·子明卷》馆藏：台北故宫博物院名称：《富春山居图·沈周临摹本》馆藏：北京故宫博物院",[23,24,7,25,128,132,29,34,30,31,149],"村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3a787b3411565c7d5dc5dd29005c0c6.jpg","绢本","横51.4公分，高31.8公分",[136,45],6110,22,{"id":157,"slug":158,"title":159,"dynasty":54,"author":160,"museum":161,"description":162,"tags":163,"thumbUrl":172,"material":173,"size":174,"collection":44,"collections":175,"showCount":176,"zanCount":177,"manualWeight":48,"mainColor":49},214875,"gui-fei-chu-yu-tu-gu-jian-long-214875","贵妃出浴图","顾见龙","美国克利夫兰艺术博物馆","该图描绘了杨贵妃沐浴的情景，她赤身裸体，身披绣花红纱，身体半遮半掩，有古画人体的失落感，腿长，三寸金莲。戒指上有湖泊、石头和竹子以及红色的窗帘等奢侈的装饰，表示皇室和财富。画笔和颜料很重但不浑浊，金泥的中间轮廓很独特。",[23,164,24,7,165,28,27,96,166,167,168,169,170,171],"名画","立轴","美人","竹","荷","器","衣帽","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39bc5a717a934b272fce5bd0a4f3c219.jpg","绢本,设色","96.5x44.1",[44],5763,38,{"id":179,"slug":180,"title":181,"dynasty":182,"author":183,"museum":184,"description":185,"tags":186,"thumbUrl":193,"material":194,"size":195,"collection":44,"collections":196,"showCount":197,"zanCount":198,"manualWeight":48,"mainColor":199},223367,"ba-shi-qi-shen-xian-juan-wu-dao-zi-223367","八十七神仙卷","唐","吴道子","徐悲鸿纪念馆","古时以农业为主，稻生双穗，或稻产丰收，是一种祥瑞，也称之为嘉禾。 画中这一丛稻长得比一般的稻子高大，茎叶茂盛，稻穗饱满沉重，显现出丰收的预兆。在用笔上，除稻穗外，都用花青和赭石以没骨法染画而成。嘉禾顶立在画幅中央，构图非常单纯，主题强烈，有著简朴而新顷之感。 《八十七神仙卷》是我国美术史上极其罕见的经典传世之作，代表了中国古代白描绘画的最高水平，其艺术魅力堪与宋代张择端的《清明上河图》比肩，我国著名画家徐悲鸿认为此卷 “足可颉颃欧洲最高贵名作” 。它栉千年之风，沐五朝之雨，送给今人一份厚重的文化遗产，实在是艺术史上的一个伟大奇迹!\n该卷属于绢本白描人物画卷，长292厘米，画面主体有87位道教人物白描画像，其中有3位带有头光的主神、10名武将、7位男仙、67名金童玉女由画面右端向左端行进。画面没有任何文字。卷尾附有1948年重新装裱时的七段题跋，由前至后为：徐悲鸿跋之一、徐悲鸿跋之二、张大千跋、徐悲鸿跋之三、谢稚柳跋、朱光潜跋、艾克跋及冯至译义、徐悲鸿跋之四，加上题跋装裱全画总长超过10米。年湮世远的绢画，其绢丝已朽败至毫无韧性和筋骨了，往往一个轻巧的动作，甚至是众人的呼吸都有可能对它造成无法挽回的伤害。\n《八十七神仙卷》为一代画圣吴道子的冠世巨作，也是吴道子现世仅存的一部白描绢本。是至今存世屈指可数的中国古代重要艺术瑰宝，代表了中国唐代白描绘画的最高水平。\n因场面之宏大，人物比例结构之精确，神情之华妙，构图之宏伟壮丽，线条之圆润劲健，而被历代画家艺术家奉为圭臬。现保存在徐悲鸿纪念馆，并为镇馆之宝。",[23,24,7,25,187,188,96,97,189,190,191,192],"宗教","白描","祥云","飘带","仪仗","队列","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6de302348f3ee25a5f65f77fe3cfccd0.jpg","绢本白描","30x290cm",[44],5500,51,"F48FB1",{"id":201,"slug":202,"title":203,"dynasty":124,"author":204,"museum":205,"description":206,"tags":207,"thumbUrl":212,"material":213,"size":214,"collection":136,"collections":215,"showCount":216,"zanCount":217,"manualWeight":48,"mainColor":49},222209,"tao-hua-yuan-tu-quan-juan-chou-ying-222209","桃花源图全卷","仇英","美国波士顿博物馆","此大青绿山水《桃花源图》卷是明代画家仇英的作品。画作题材取自东晋诗人陶渊明所作《桃花源记》，描绘了文人理想中的隐居之乐，画卷大致可分为五个场景：发现桃源、桃源见闻、源中闲聊、桃源畅饮、离开桃源，卷前有清乾隆两处御题。此卷现藏于美国波士顿美术馆。\n桃源文化悠久绵长，不仅唐宋元时期都有相关诗文创作，而且李昭道、荆浩、关仝、郭熙、李唐、马和之、赵伯驹、伯骕、刘松年、赵孟頫、钱选、王蒙等人也都有桃源图流传，内容形式不尽相同，而且大部分已经遗失。至明代，桃源图再次流行兴盛，究其原因除了政治动荡引起的避世心理，主要是源于明人对自我觉醒和精神超越的思考与追问。\n存世的约三十六幅桃源图中有十余幅出自仇英之手，文征明之子文嘉的《钤山堂书画记》也证实了明代桃源题材绘画风潮确实肇始于仇英。这幅画卷以武陵渔夫的行踪为主线，贯穿全篇，画中绘有四十多个人物，他们形态各异、表情丰富，惟妙惟肖。其中有划船的渔夫、打柴的樵夫、扛锄的农夫、聊天的村民，每个人都快乐地做着自己的事情，怡然自得，展现出田园生活的无限乐趣。画中山水和人物完美结合，浑然一体，营造出景致优美、悠闲自得的人间仙境。\n第一段：由卷首至山洞口。起首处双松乔立，河流两岸，桃花落英缤纷，崇山连绵起伏，白云冉冉升起，河流尽头处，为岸边的一处洞穴，洞前停一舟，洞中见一人，即为武陵渔夫。\n第二段：山洞口之后到山顶凉亭。过此洞仍见一水流，水上有一艘捕鱼的小舟，画面到这里突然变得开阔敞亮了，这里土地平坦开阔，河岸上，稻田、人物往来其间，远山白云横锁缭绕。\n第三段：山顶凉亭之后到双层大宅院之前。在山林密荫处，可以看到这位外来的武陵渔夫与村中人会面、村人闻讯前来的情景。\n第四段：一双层大宅院到宴客所。其间可见乡人愉悦地往来于路途，男女的穿戴完全像桃花源以外的世人。老人和小孩都悠闲愉快，自得其乐的样子。\n第五段：宴客所之后到卷尾。画山石密林，崇山溪涧，武陵渔夫独自眺望。\n己未岁题赵伯驹桃源图，有云山春霭钞锣溪之句。越四十年，己亥题仇英桃源图，复用钞锣溪字，因失记数典以询内廷翰臣，自于敏中以下竟无知此事者。检之十余年，迄莫能得。每往来胸次，顷几暇偶阅旧刻元人所编陶靖节集《桃花源记》汤汉注中，始知本于桃源经，恍如重入仙源，顿逢旧迹，亦一快事。且知学问之道无穷尽也。仇英此卷即蓝本伯驹，笔意超秀，颇能神似，洵为合作，即书卷短，以识赏遇。（戊申小春御笔）\n锣溪接武陵源，峡口通人宛见村。望去陌阡鸡犬富，迎来老幼笑言温，传神别致超凡品。避世高情足静论，粉本问从谁所得，伯驹真迹石渠存。（已亥暮春御題）",[23,164,24,7,25,26,27,28,132,208,29,209,96,97,98,99,129,130,34,210,211],"印章","桃花","田园","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda1313fc94acb487839607902fcd9974.jpg","纸本重彩","33.0cm 472cm",[136,45],5479,37,{"id":219,"slug":220,"title":221,"dynasty":222,"author":223,"museum":224,"description":225,"tags":226,"thumbUrl":235,"material":173,"size":236,"collection":44,"collections":237,"showCount":238,"zanCount":239,"manualWeight":48,"mainColor":49},218243,"shui-yue-guan-yin-tu-yi-ming-218243","水月观音图","不详","佚名","美国大都会艺术博物馆","观音自在趺坐，披帛流云曳水，红裳金纹若焰，白纱轻透如雾。圆光笼身似月华轻泻，眉目低垂间慈悲满溢。净瓶插柳清寂，下方童子仰首献诚，水波微动处莲草点缀。线条婉转细腻，衣袂流转间庄严与温婉交织。水月之境的空灵与观音悲悯相融，静穆中藏生机，尽显古典造像的神韵雅致。",[23,24,7,165,187,28,27,96,227,228,229,230,231,232,233,234],"童子","水","石头","植物","明月","饰品","瓶","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ff68d9e4a23b4ea007f24b249a1fb16.jpg","102.9x51.8",[44],5238,25,{"id":241,"slug":242,"title":243,"dynasty":124,"author":204,"museum":244,"description":245,"tags":246,"thumbUrl":252,"material":253,"size":254,"collection":84,"collections":255,"showCount":256,"zanCount":71,"manualWeight":48,"mainColor":72},228451,"han-gong-chun-xiao-tu-quan-juan-chou-ying-228451","汉宫春晓图全卷","台北故宫博物院","《汉宫春晓图》以人物长卷画，生动地再现了汉代宫女的生活情景。其用笔清劲而赋色妍雅，林木、奇石与华丽的宫阙穿插掩映，铺陈出宛如仙境般的瑰丽景象，极勾描渲敷之能事，体现了作者积极向上、热爱生活的人文思想，亦表达了他对宫廷浮华美好生活的赞美。《汉宫春晓图》是仇英平生得意之作，为中国十大传世名画之一，亦被誉为中国“重彩仕女第一长卷”。",[23,24,7,25,28,27,95,96,166,97,247,34,131,61,248,249,250,251],"庭院","孔雀","栏杆","屏风","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd722d077e75673c4e2d4185ed0fe78d.jpg","绢","纵30.6cm，横574.1cm",[],4769,{"id":258,"slug":259,"title":260,"dynasty":54,"author":55,"museum":244,"description":261,"tags":262,"thumbUrl":264,"material":173,"size":265,"collection":68,"collections":266,"showCount":267,"zanCount":268,"manualWeight":48,"mainColor":72},214306,"mu-dan-ce-yun-shou-ping-214306","牡丹册","用宋人没骨法作此册，不是黄筌的美作，也不是赵昌的刻本，而是徐冲子的另一种画法",[164,24,7,59,27,60,61,263],"牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d1db57360d128a861a0d5e464c59ec1.jpg","41x38",[68,45],4567,18,{"id":270,"slug":271,"title":272,"dynasty":124,"author":273,"museum":244,"description":274,"tags":275,"thumbUrl":277,"material":278,"size":279,"collection":68,"collections":280,"showCount":281,"zanCount":282,"manualWeight":48,"mainColor":72},214824,"zhu-tu-wang-fu-214824","竹图","王绂","用几根竹子蘸墨画的，笔触粗糙但不狂野，与高克恭的墨竹遗风一致。梁永乐同时代人的长篇跋语有据可查，这幅画有当时文士的风采。",[24,7,165,128,276,208,64],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30c26dbe209417faf1c3e4d39aa6193e.jpg","纸本,水墨","127.2x40.2",[68],4356,29,{"id":284,"slug":285,"title":286,"dynasty":144,"author":287,"museum":77,"description":288,"tags":289,"thumbUrl":291,"material":66,"size":292,"collection":68,"collections":293,"showCount":294,"zanCount":177,"manualWeight":48,"mainColor":72},215032,"zhe-zhi-tao-hua-tu-qian-xuan-215032","折枝桃花图","钱选","折枝桃花图是元朝的一幅著名图画，由钱选创作。这幅图画描绘了一片茂密的桃花林，桃花盛开，绚丽多彩，令人感到惬意清新。此外，图画中还有蝴蝶、蜻蜓和鸟儿，营造出了一种自然之美的氛围。\n\n折枝桃花图是钱选的代表作之一，他的画风自然，线条流畅，富有生动的细节和深情的气息。钱选在这幅图画中结合了自然和人文的元素，表现了对自然之美的热爱。这幅图画被广泛收藏，并被认为是中国古代绘画艺术的杰作。",[24,7,61,28,27,209,290],"折枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d094b52284e651b1fe3ebcc695155dd.jpg","24x25cm",[68],4323,{"id":296,"slug":297,"title":298,"dynasty":54,"author":299,"museum":300,"description":301,"tags":302,"thumbUrl":305,"material":84,"size":84,"collection":84,"collections":306,"showCount":307,"zanCount":308,"manualWeight":48,"mainColor":72},224170,"he-hua-tu-xie-sun-224170","荷花图","谢荪","藏地不详","此作用淡赭铺就底色，晕染出古雅沉静的氛围。盛放粉荷为画面焦点，花瓣由尖部玫红渐次晕化为柔白，笔触细腻，尽显芙蕖舒展娇妍的姿态。\n\n枯荣并置，残荷蚀痕勾勒入微，带着清冷迟暮意，与挺劲草叶和鲜活芙蕖形成对照，错落间尽显荷塘幽谧生机。线条清隽秀润，配色温婉柔和，右上角题字秀雅致，与画面融为一体，将夏日荷塘悠然澹远的意蕴尽数铺展，于浅淡晕染中传递出清和雅致的风骨，尽显江南画派的秀润格调。",[23,24,7,61,28,27,81,82,303,304,208],"水草","清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F888fece7ea88a068223afc5c8664face.jpg",[],4288,26,{"id":310,"slug":311,"title":312,"dynasty":18,"author":313,"museum":244,"description":314,"tags":315,"thumbUrl":316,"material":317,"size":84,"collection":318,"collections":319,"showCount":320,"zanCount":321,"manualWeight":48,"mainColor":49},214197,"jun-cheng-shu-huang-ting-jian-214197","郡城书","黄庭坚","“郡城书”是宋代诗人黄庭坚的一部代表作。\n\n黄庭坚（1045年－1105年），字清涟，号文微子，汉族，江西庐山人，宋代诗人、文学家、书法家。他是宋代文学史上著名的诗人之一，在宋代被尊为“诗圣”。他的诗作风格清新、婉转，有浓厚的写实感，被认为是宋代文学中的经典之作。他的诗作中有许多关于郡城的描写，其中最著名的是《郡城书》这部诗集。\n\n《郡城书》是黄庭坚的一部代表作，也是宋代文学中的经典之作。这部诗集共有十三篇，分别描写了十三个郡城的风景。其中有许多细腻的描写，表现出黄庭坚对郡城风光的喜爱和敬仰。这部诗集也被认为是宋代文学中最好的郡城描写之一。",[23,164,24,7,64,133,165,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c96397356e3609d03ce6d50d8ba6d8.jpg","绢本,水墨","书法精选",[318],3854,30,{"id":323,"slug":324,"title":325,"dynasty":326,"author":327,"museum":300,"description":328,"tags":329,"thumbUrl":332,"material":84,"size":84,"collection":84,"collections":333,"showCount":334,"zanCount":335,"manualWeight":48,"mainColor":49},238127,"luo-shen-fu-tu-juan-song-mo-gu-kai-zhi-238127","洛神赋图卷（宋摹）","晋","顾恺之","此作以辞赋为魂，以丹青为骨，将人神相恋的缱绻与别离的怅惋缓缓铺展。以山石林木为天然段落，串联起相遇、慕恋、惜别全程。\n笔下洛神衣袂翩跹，凌波顾盼间尽是柔婉仙姿，曹植凝睇神伤，将求而不得的怅惘藏于眉目。线条如春蚕吐丝，清劲连绵；设色古雅沉静，晕染细腻雅致，虽经摹写，仍留存晋人飘逸高古的气韵，把辞赋里的浪漫诗意落于绢素，让纸上风月跨越岁月，将这段人神殊途的遗憾永远定格。",[24,7,25,330,28,188,27,208,64,133,96,166,129,29,99,331,130,211],"临摹","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc559154b02942ebb93772f3f28818bda.jpg",[],3737,24,{"id":337,"slug":338,"title":339,"dynasty":144,"author":145,"museum":244,"description":340,"tags":341,"thumbUrl":342,"material":173,"size":343,"collection":136,"collections":344,"showCount":345,"zanCount":346,"manualWeight":48,"mainColor":72},218995,"fu-chun-shan-ju-tu-wu-yong-shi-juan-huang-gong-wang-218995","富春山居图-无用师卷","《富春山居图》是元朝画家黄公望于1350年创作完成的纸本水墨画，被誉为“画中之兰亭”，是中国十大传世名画之一。\n该作品是黄公望为师弟郑樗（无用师）所绘，以浙江富春江为背景，全图用墨淡雅，山和水的布置疏密得当，墨色浓淡干湿并用，极富于变化。\n《富春山居图》，始画于至正七年(1347)，于至正十年完成。虽黄公望晚年定居今富阳市境内,但画卷内容对比宽敞平坦的富阳江和山峰峻奇峡谷雄伟的桐庐江就可得知,富春山居图所画内容约80%在桐庐境内富春江的景色,20%为富阳的景色.，画面表现出秀润淡雅的风貌，气度不凡，以浙江富春江为背景，是黄公望的代表作。明朝末年富春山居图传到收藏家吴洪裕手中，吴洪裕极为喜爱此画，每天不思茶饭的观赏临摹。甚至在临死前下令将此画焚烧殉葬，幸被吴洪裕的侄子及时从火中抢救出，但此时画已被烧成一大一小两段，前段较小，称“剩山图”；后段画幅较长，称“无用师卷”。\n前半卷名称：《富春山居图·剩山图》黄公望《富春山居图·无用师卷》\n馆藏：浙江省博物馆尺幅：纵31.8厘米，横51.4厘米浙江博物馆《富春山居图》（《剩山图》）\n后半卷名称：《富春山居图·无用师卷》馆藏：台北故宫博物院尺幅：纵33厘米，横636.9厘米仿本名称：《富春山居图·子明卷》馆藏：台北故宫博物院名称：《富春山居图·沈周临摹本》馆藏：北京故宫博物院",[23,24,7,25,128,132,29,34,131,99,129,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12c3aaea3b2aafed20e97198b6d6d088.jpg","横636.9公分，高33公分",[136],3513,21,{"id":348,"slug":349,"title":350,"dynasty":351,"author":352,"museum":244,"description":353,"tags":354,"thumbUrl":357,"material":173,"size":358,"collection":68,"collections":359,"showCount":360,"zanCount":361,"manualWeight":48,"mainColor":49},216771,"yu-tang-fu-gui-tu-xu-xi-216771","玉堂富贵图","五代十国","徐熙","画玉兰、海棠、牡丹、石竹等，花蕊繁复，枝干错综，珍石下一锦鸡，均以双钩填彩方式描绘，工致秀丽。空隙又以石青敷染，画面填满色彩秾艳的景物，极富图案趣味，院藏中另有一幅传宋赵昌的「岁朝图」也是同类风格作品，称之为「铺殿花」，原本作为装饰厅堂的屏风画。画幅左下角有「金陵徐熙」款，疑是伪添的。按徐熙（约活动于西元十世纪初）钟陵（南京）人，为南唐著名的花鸟画家，画史记载他长于以墨写枝叶蕊萼，然后上色称落墨花，独具风格。",[23,24,7,165,28,27,61,263,355,356],"鸟","玉兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11594ba216d09de7efa721c87d10457a.jpg","112.5x38.3cm",[68],3262,47,{"id":363,"slug":364,"title":365,"dynasty":124,"author":366,"museum":20,"description":367,"tags":368,"thumbUrl":377,"material":278,"size":378,"collection":68,"collections":379,"showCount":380,"zanCount":268,"manualWeight":48,"mainColor":49},214539,"si-shi-hua-hui-tu-xu-wei-214539","四时花卉图","徐渭","长卷以大写意方式绘牡丹、芍药、葡萄、芭蕉，以兼工带写绘桂花叶和松树，以烘托方式绘竹子、岩石和雪中梅花。从画卷末尾的自述中可以看出，艺术家是用物品来表达她胸中的郁闷。该卷的风格简洁明了，风格轻快，不急不躁。",[23,24,128,369,370,25,7,64,133,371,167,372,168,263,373,209,374,62,375,376],"写意","大写意","梅","松","芙蓉","水仙","兰","菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b359a71dcaf3445be4bdab0f5d74d69.jpg","29.9x1081.7",[68],3030,{"id":382,"slug":383,"title":384,"dynasty":124,"author":125,"museum":244,"description":385,"tags":386,"thumbUrl":388,"material":66,"size":389,"collection":136,"collections":390,"showCount":391,"zanCount":392,"manualWeight":48,"mainColor":72},214743,"ye-zuo-tu-shen-zhou-214743","夜坐图","这幅夜行女子的画是沈周的生活自画像。在画的上部有一段文字，记录了他的生活，讲述了他如何在半夜突然醒来，当时雨后初晴，月亮倒映在他的窗口。风声、狗声、鼓声渐渐传来，钟声也从黎明传来。沈周经常在晚上看书，但他总是要到第二晚才休息，思绪都在文字里，所以听不到也看不到什么，但这次他感到了冥想的力量。图意即绘夜坐之事，时年六十六岁。",[24,7,165,128,29,133,64,208,132,331,131,387,98],"屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff82bcb280b365901496be3ff0f122b.jpg","84.8x21.8",[136],3007,20,{"id":394,"slug":395,"title":396,"dynasty":18,"author":397,"museum":205,"description":398,"tags":399,"thumbUrl":400,"material":401,"size":402,"collection":42,"collections":403,"showCount":404,"zanCount":405,"manualWeight":48,"mainColor":49},221330,"mo-zhang-xuan-dao-lian-tu-zhao-ji-221330","摹张萱捣练图","赵佶","卷中绘唐装仕女、女仆、女童十二人，依次为捣练、圈线、缝衣、熨练的情景。人物姿态雍容，线描挺劲，赋色浓丽。画中无款识，前隔水细花黄绫上有金章宗完颜璟仿徽宗瘦金体书题「天水摹张萱捣练图」。\n卷后有明初张绅、清高士奇、近人罗文彬题跋。画卷上分钤金章宗明昌七玺，清高士奇、金望乔等鉴藏印。《江村书画目》《大观录》《墨缘汇观续录》著录。\n「天水」为赵氏郡望，历来将此作系于宋徽宗赵佶名下，但丛用笔赋色的细腻精巧等特征来看，应出自宣和画院画家之手，不是徽宗亲笔。此图虽系摹本，但结合传世的如《挥扇仕女图》等唐人作品考察，可推知应为比较忠实的摹古之作，保留了十分珍贵的唐代绘画资料。特别是在张萱原作不存的情况下，我们据此可以探究张萱的绘画风貌。",[23,24,7,25,28,27,96,166,330,234,170,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff64ccfee95d303f5ca82b607f6c92ef6.jpg","扇面画","纵：37厘米，横：145.3厘米",[42,44,45],2907,23,{"id":407,"slug":408,"title":409,"dynasty":144,"author":410,"museum":77,"description":411,"tags":412,"thumbUrl":416,"material":278,"size":84,"collection":136,"collections":417,"showCount":418,"zanCount":419,"manualWeight":48,"mainColor":72},214578,"shan-shui-ce-wang-meng-214578","山水册","王蒙","王蒙是一位中国元朝时期的著名文人、画家、书法家。他最著名的作品之一是《山水册》。\n\n《山水册》是一本包含王蒙的山水画作品的册子。这本册子包含了王蒙的许多杰出的山水画作品，其中包括他的著名作品《黄山图》。王蒙的山水画作品以其精细的线条、细腻的填充和浓郁的气氛而闻名。他的画作展现出自然界的美丽和神奇，表达了他对自然的敬畏和尊重。\n\n王蒙的《山水册》是中国山水画史上的一个重要里程碑，对后世的山水画家产生了深远的影响。这本册子被誉为“中国山水画的经典之作”，至今仍广为流传。",[24,7,128,132,59,29,413,131,414,415],"树","水面","远山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F017e23e37e6af2045b33457918225dce.jpg",[136],2834,13,{"id":421,"slug":422,"title":423,"dynasty":54,"author":55,"museum":424,"description":425,"tags":426,"thumbUrl":427,"material":66,"size":84,"collection":68,"collections":428,"showCount":429,"zanCount":430,"manualWeight":48,"mainColor":72},216593,"ou-xiang-guan-xie-sheng-ce-yun-shou-ping-216593","瓯香馆写生册","旅顺博物馆","《瓯香馆写生册》描写了四时的花果，从春到夏分别是桃花、海棠、碧海珊瑚、牡丹、枇杷、卷丹、洛阳花、凤仙花、菊花、梅花。除了梅花一开，作者写明是学杨补之的水墨画法之外，其余各开全用没骨法，完全不用墨线勾勒，直接用颜色点厾出花朵、叶片、果实，只以色线勾勒叶茎。落色点花的没骨花，既不同于细线勾勒再层层渲染的工笔花卉，也不同于水墨淋漓的大写意花卉，它介于两者之间，也被称作“小写意”花卉。工笔求逼真，写意求意趣，恽氏没骨花所求正在“似与不似之间”。着色花卉自然比纯粹的水墨更逼真，但直接点染的“落色花”比起层层渲染的工笔花卉又有更大的随意性，不必被物象的细枝末节所羁绊，可以放手表现花的风骨。就气质而言，没骨花介于工笔与大写意之间，既不刻画，也不放逸，清新洒脱。",[24,7,59,27,60,128,167,171,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed8966ba999269ca801a2d4a56096289.jpg",[68],2727,12,{"id":432,"slug":433,"title":434,"dynasty":18,"author":435,"museum":20,"description":436,"tags":437,"thumbUrl":440,"material":40,"size":441,"collection":84,"collections":442,"showCount":443,"zanCount":444,"manualWeight":48,"mainColor":49},232933,"han-xi-zai-ye-yan-tu-juan-song-mo-ben-song-gong-ting-hua-jia-232933","韩熙载夜宴图卷(宋摹本)","宋宫廷画家","原作为南唐画家顾闳中的绘画作品。此卷据各方面考证，当属南宋孝宗至宁宗朝（1163—1224年）摹本，其风格基本反映出原作面貌，且达到相当高水平，堪称流传有绪的古代绘画珍品。\n作品如实地再现了南唐大臣韩熙载夜宴宾客的历史情景，细致地描绘了宴会上弹丝吹竹、清歌艳舞、主客揉杂、调笑欢乐的热闹场面，又深入地刻划了主人公超脱不羁、沉郁寡欢的复杂性格。全图共分为五个段落，首段“听乐”，韩熙载与状元郎粲坐床榻上，正倾听教坊副使李家明之妹弹琵琶，旁坐其兄，在场听乐宾客还有紫微朱铣、太常博士陈致雍、门生舒雅、家伎王屋山诸人；二段“观舞”，众人正在观看王屋山跳“六幺舞”，韩熙载亲擂“羯鼓”助兴，好友德明和尚不期而遇此景，尴尬地拱手背立；三段“暂歇”，韩熙载与家伎们坐床上休息，韩正在净手；四段“清吹”，韩熙载解衣盘坐椅上，欣赏着五个歌女合奏；五段“散宴”，韩氏手持鼓槌送别，尚有客人在与女伎调笑。全卷以连环画的形式表现各个情节，每段以屏风隔扇加以分隔，又巧妙地相互联结，场景显得统一完整。布局有起有伏，情节有张有弛，尤其人物神态刻画栩栩如生，如“听乐”段状元郎粲的倾身细听动姿、李家明关注其妹的亲切目光、他人不由自主的合手和拍；“观舞”段王屋山娇小玲珑的身姿、德明和尚背身合掌低首而立的尴尬状等等，传尽心曲，入木三分。最出色的还是主人公韩熙载的刻画，长髯、高帽的外形与文献记载均相吻合，举止、表情更显露出他复杂的内心。一方面，他在宴会上与宾客觥筹交错，不拘小节，如亲自击鼓为王屋山伴奏，敞胸露怀听女乐合奏，送别时任客人与家伎厮混，充分反映了他狂放不羁、纵情声色的处世态度和生活追求；另一方面又心不在焉、满怀忧郁，如擂鼓时双目凝视、面不露笑，听清吹时漫不经心，与对面侍女闲谈，这些情绪都揭示了他晚年失意、以酒色自汙的心态。画家塑造的韩熙载，不仅形象逼肖，具肖像画性质，而且对其内心挖掘深刻，性格立体化，可以说真实再现了这位历史人物的原貌。\n作品的艺术水平也相当高超。造型准确精微，线条工细流畅，色彩绚丽清雅。不同物象的笔墨运用又富有变化，尤其敷色更见丰富、和谐，仕女的素妆艳服与男宾的青黑色衣衫形成鲜明对照。几案坐榻等深黑色家具沉厚古雅，仕女裙衫、帘幕、帐幔、枕席上的图案又绚烂多采。不同色彩对比参差，交相辉映，使整体色调艳而不俗，绚中出素，呈现出高雅、素馨的格调。",[164,24,7,25,330,28,27,96,166,438,439,170,208,169],"乐器","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f01749acfaf6449c0e92a8477239224.jpg","纵28.7厘米，横335.5厘米。",[],2675,16,{"id":446,"slug":447,"title":448,"dynasty":18,"author":449,"museum":450,"description":451,"tags":452,"thumbUrl":456,"material":173,"size":457,"collection":68,"collections":458,"showCount":459,"zanCount":239,"manualWeight":48,"mainColor":49},219009,"bai-he-tu-er-mi-fei-219009","白鹤图(二)","米芾","大英博物馆","白鹤振翅翩跹，白羽细笔晕染，层叠如霰，纹理分明若鳞；墨羽劲挺若锋，浓淡相间见层次。丹顶一点艳绝，长颈曲转，喙微垂，神态悠然。墨线勾勒的长腿矫健，爪尖似扣虚空，似将踏水而落。左下角虬枝盘曲，苔痕隐现，淡墨涟漪轻漾，衬得鹤影清逸。绢本底色古雅，笔墨细腻处藏灵动，简淡间蕴生机，动静相济，尽显禽鸟之姿与自然清趣。",[23,24,7,164,165,28,27,453,211,454,455],"白鹤","枯木","水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85286d792591c1fa8b6e849da1c7fd76.jpg","132.5x61.5cm",[68,42,45],2668,{"id":461,"slug":462,"title":463,"dynasty":182,"author":464,"museum":465,"description":466,"tags":467,"thumbUrl":468,"material":173,"size":469,"collection":44,"collections":470,"showCount":471,"zanCount":472,"manualWeight":48,"mainColor":72},214574,"li-dai-di-wang-tu-yan-li-ben-214574","历代帝王图","阎立本","波士顿美术馆","本卷绘十三位帝王：前汉昭帝、汉光武帝、魏文帝曹丕、吴主孙权、蜀主刘备、晋武帝司马炎、陈宣帝陈顼、陈文帝陈蒨、陈废帝陈伯宗、陈后主陈叔宝、北周武帝宇文邕、隋文帝杨坚、隋炀帝杨广。整个卷轴共有四十六个人物。\n线条强而有力，色彩厚重，具有很高的艺术水准。通过细节，画家表达了皇帝们的内心世界和经历，用画笔表达了有爱有恨的故事。这幅画在色彩的使用和人物服装的处理上受到了佛教艺术的影响。",[23,24,7,25,27,96,28,208,64,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb3ca2dbf330c36c9516b2bb0dec8242.jpg","51.3 x 531",[44],2607,27,{"id":474,"slug":475,"title":476,"dynasty":18,"author":477,"museum":56,"description":478,"tags":479,"thumbUrl":482,"material":173,"size":483,"collection":68,"collections":484,"showCount":485,"zanCount":486,"manualWeight":48,"mainColor":49},214284,"hua-hui-cao-chong-tu-yan-yan-nv-shi-214284","花卉草虫图","艳艳女史","花卉草虫图是宋代画家艳艳女史的一幅代表作。这幅画作描绘了花卉、草木和虫类的生活场景。\n\n在这幅画作中，艳艳女史巧妙地捕捉了花卉、草木和虫类的生活特征。她用浓墨重彩的画法，勾勒出了花卉、草木和虫类的形态。她还用细腻的线条勾勒出了花卉、草木和虫类的细节，让人感受到了花卉、草木和虫类的自然韵味。",[23,164,24,7,25,28,27,61,62,480,481,229],"草虫","蝴蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e8031ffdafeef83437ebb80105be86b.jpg","32.5x333.5",[68],2504,32,{"id":488,"slug":489,"title":490,"dynasty":18,"author":491,"museum":244,"description":492,"tags":493,"thumbUrl":501,"material":253,"size":502,"collection":42,"collections":503,"showCount":504,"zanCount":505,"manualWeight":48,"mainColor":49},221288,"zao-chun-tu-guo-xi-221288","早春图","郭熙","《早春图》采全景式构图，上下留有天地，远、中、近景则巧妙地布置于“十字形”架构内。\n主山画于中轴上方，山石先以圆笔勾勒轮廓，中锋、侧锋并用，再于阴暗面以湿笔皴擦，层层淡墨反复地渲染，强化量体感，这种技法俗称“云头皴”、“卷云皴”、“乱云皴”或“鬼面皴”，能真实反映沉积岩地貌，也可使画面产生如云雾般变幻的效果，很适合描写初春乍暖还寒，淡冶如笑的山野景象。山腰部分则隐于烟岚中，如临深山幽壑，更显主峰雄伟气势，是为“高远”。\n树丛委以虚、实来营造前后距离，腰间右侧的亭台楼阁，此时环伺于水墨山水中，其下山涧瀑布流泉，与左侧缓坡谷地融雪化成的涓涓源水，蜿蜒地流向前方的江湾，显示水流绵长及山坳纵深。而中景左方是一片旷野河谷，虚渺的远山咫尺千里，是为“平远”，其间一行旅人正从曲涧栈道一端越过小桥，欲达彼岸。而观画者正是透过“S 形”山势引导，将视线从后方的主峰、山岚，中景的楼阁、流泉、行旅等，顺势牵引至近景，空间铺陈手法，是为“深远”。\n干长挺拔的大松伫立岩盘上，佐以蟹爪为树枝、梢末，而浑厚的“鬼面皴”大石雄踞中轴下方，有助于画面重心的稳固。而时值日暮，右方的渔樵收拾起渔网、泊舟登岸，左岸手抱婴孩的妇女及随侧稚童，也笑迎肩挑两担鱼篓的渔夫归来，邻近搭建的房舍，则是一家人准备共进晚餐，享天伦乐的居所。\n综观全幅，赋予观赏者北方大山大水的真实感受，从而能引发可行、可望、可游、可居共鸣的乐趣。",[23,24,7,128,132,494,29,131,34,99,495,37,496,497,498,499,500],"三远法","瀑布","山峦","岩石","苔点","溪流","峰峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b56c53237741c6f94685ae05f95e012.jpg","纵158.3公分，横108.1公分",[42,136,117],2376,17,{"id":507,"slug":508,"title":509,"dynasty":18,"author":397,"museum":510,"description":511,"tags":512,"thumbUrl":513,"material":514,"size":515,"collection":42,"collections":516,"showCount":517,"zanCount":518,"manualWeight":48,"mainColor":49},221371,"mo-zhang-xuan-guo-guo-fu-ren-you-chun-tu-juan-zhao-ji-221371","摹张萱虢国夫人游春图卷","辽宁省博物馆","赵佶摹张萱《虢国夫人游春图》，中国北宋徽宗赵佶摹唐代仕女画画家张萱《虢国夫人游春图》。《虢国夫人游春图》是唐代中期仕女画的代表作品。此卷前隔水有金章宗(完颜璟)瘦金书“天水摹张萱虢国夫人游春图”题签。天水为赵姓的郡望，此处系指赵佶。卷后有明末清初书画家王铎题跋。此卷曾入金内府，“明昌”诸印玺俱全，又有宋时的官、私印记“台州市房务抵当库记”、“绍勋”及“封”字印等，还有明末王长垣、清初梁清标鉴藏印。",[23,164,24,7,25,330,27,28,96,101,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87a50b9e37f23291bf8e102561059d66.jpg","绢本设色","纵51.8、横148厘米",[42,44,45],2369,28,{"id":520,"slug":521,"title":522,"dynasty":54,"author":523,"museum":524,"description":525,"tags":526,"thumbUrl":529,"material":173,"size":530,"collection":44,"collections":531,"showCount":532,"zanCount":392,"manualWeight":48,"mainColor":49},219988,"chun-gui-juan-du-tu-leng-mei-219988","春闺倦读图","冷枚","天津博物馆","美人卷珠帘，深坐颦蛾眉。《春闺倦读图》图绘一身着长裙的仕女，发髻高挽，一手支颐，一手持书，侧身倚桌案而立。其神态文静闲适中略带倦意，大家闺秀清闲寂寞的生活，刻画得细致入微。",[23,24,7,28,27,166,527,263,169,170,528],"狗","卷轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F182d912c8259e91009a6158bea4db358.jpg","80*50",[44],2317,{"id":534,"slug":535,"title":536,"dynasty":144,"author":145,"museum":244,"description":147,"tags":537,"thumbUrl":538,"material":151,"size":539,"collection":136,"collections":540,"showCount":541,"zanCount":518,"manualWeight":48,"mainColor":72},220766,"fu-chun-shan-ju-tu-huang-gong-wang-220766","富春山居图",[23,24,25,7,128,132,29,99,129,34,131,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa873bf9c7d320f1bd285caf802d29cd8.jpg","画卷已经被火烧成一大一小两段，原卷首小段经过修补后称为“剩山图”，横51.4公分，高31.8公分，占原画1\u002F14，后段画幅较长，称为“无用师卷”，横636.9公分，高33公分，占原画12\u002F14",[136,117],2315,{"id":543,"slug":544,"title":545,"dynasty":54,"author":55,"museum":56,"description":57,"tags":546,"thumbUrl":550,"material":66,"size":67,"collection":84,"collections":551,"showCount":552,"zanCount":553,"manualWeight":48,"mainColor":72},214709,"chun-hua-tu-ba-kai-4-yun-shou-ping-214709","春花图八开-4",[23,24,7,59,27,61,60,547,548,549,62],"花","藤蔓","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F711decf5412e0d1bdf126cff504c08c8.jpg",[],2285,11,{"id":555,"slug":556,"title":557,"dynasty":54,"author":55,"museum":20,"description":558,"tags":559,"thumbUrl":560,"material":561,"size":562,"collection":68,"collections":563,"showCount":564,"zanCount":486,"manualWeight":48,"mainColor":72},220970,"jiu-lan-tu-yun-shou-ping-220970","九兰图","此图又名《建兰图》。建兰，亦称秋兰。图绘兰花数枝，苍秀挺拔，布满画面，构图简洁，画法新颖别致，作者不用一点水墨，纯用赭石、白粉和略加花青点画，只见色痕，为没骨画中具有新意之作。从画末自题可知，该图表现了作者对澹贻堂主人“闽海”离后的怀念之情。",[23,24,164,7,27,61,375,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2849227d424582c35a1dde4e843e4fcc.jpg","绢本 设色","23.4cmx60.8cm",[68,45],2213,{"id":566,"slug":567,"title":568,"dynasty":144,"author":569,"museum":20,"description":570,"tags":571,"thumbUrl":573,"material":278,"size":574,"collection":318,"collections":575,"showCount":576,"zanCount":419,"manualWeight":48,"mainColor":49},214293,"xiao-kai-luo-shen-fu-ce-1-zhao-meng-fu-214293","小楷洛神赋册-1","赵孟頫","笔触薄而有力，结体饶有兴味，风格清俊，让人在奢华中看到真正的朴素。",[23,7,64,572,59,128],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F786b735d9237c068e6f611d7dced6895.jpg","25.7x12.6",[318],2204,{"id":578,"slug":579,"title":580,"dynasty":54,"author":55,"museum":56,"description":57,"tags":581,"thumbUrl":583,"material":66,"size":67,"collection":84,"collections":584,"showCount":585,"zanCount":586,"manualWeight":48,"mainColor":72},214708,"chun-hua-tu-ba-kai-3-yun-shou-ping-214708","春花图八开-3",[23,24,7,59,27,60,61,209,582,549,64,208],"枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3854c4a04d540aad1f6fd4f84bc9fda.jpg",[],2124,9,{"id":588,"slug":589,"title":590,"dynasty":124,"author":125,"museum":20,"description":591,"tags":592,"thumbUrl":593,"material":66,"size":594,"collection":136,"collections":595,"showCount":596,"zanCount":553,"manualWeight":48,"mainColor":72},219219,"fang-huang-gong-wang-fu-chun-shan-ju-tu-juan-shen-zhou-219219","仿黄公望富春山居图卷","此图为沈周背临黄公望《富春山居图》之作。图中坡岗起伏，景物幽美，布局开合有度，用笔方圆兼备，刚柔并济，结合了披麻皴法与矾头皴法，对原作的临摹达到了形神兼似的境界，而笔力间又体现出沈周自己个人的特色。黄公望《富春山居图》后被焚毁作两段，分别辗转流传，今前一段藏于浙江省博物馆，后一段藏于台北故宫博物院。沈周此幅临作基本上保留了原作被毁以前的面貌，故这幅作品除具备本身的艺术价值之外，还带有重现黄氏原作的重要意义。尾纸有姚绶、董其昌、吴宽、文彭、周天球、谢凇洲诸家题跋。",[23,24,7,25,128,132,330,64,133,208,29,171,34,99,496,37,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1efe58b722df64f77e022a8a8fc2de6.jpg","纵36.8厘米，横855厘米",[136],1987,{"id":598,"slug":599,"title":600,"dynasty":18,"author":223,"museum":244,"description":601,"tags":602,"thumbUrl":610,"material":611,"size":612,"collection":42,"collections":613,"showCount":614,"zanCount":518,"manualWeight":48,"mainColor":615},221235,"hua-niao-chang-juan-yi-ming-221235","花鸟长卷","此作用笔精细柔婉，设色妍丽清润，将四季佳卉次第铺展：艳红牵牛绰约生姿，白牡丹雍容皎洁，紫藤垂缨如云似瀑，兰草疏朗清逸。草虫蛱蝶穿插其间，振翅的蝶、栖于花枝的蚱蜢，皆栩栩如生，满卷灵动生机。\n诗画合璧，题咏与花木相映成趣，尽显雅致意趣，细腻勾勒出草木的娇柔、虫羽的轻薄，藏着对天地生机的入微体察，尽显精工雅致的院体花鸟意韵，是隽永动人的佳作。",[23,164,24,7,25,27,28,61,80,263,603,604,605,606,607,373,481,608,609,208],"月季","菊花","兰花","牵牛花","玉兰花","蜻蜓","虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b146e686f41f360c24bf527a36e3be4.jpg","纸本","26x163",[42,68,45],1899,"FF9800",{"id":617,"slug":618,"title":619,"dynasty":18,"author":620,"museum":224,"description":621,"tags":622,"thumbUrl":625,"material":66,"size":84,"collection":68,"collections":626,"showCount":627,"zanCount":628,"manualWeight":48,"mainColor":49},216206,"feng-hua-tu-zhao-chang-216206","蜂花图","赵昌","蜂花图是赵昌的一幅画作，它来自宋朝（960年-1279年）。蜂花图是一幅绘画，它展示了一朵开放的花，周围有蜜蜂在采蜜。画中蜂花色彩明快，笔触流畅，富有装饰性。蜂花图被认为是赵昌的代表作之一。赵昌是一位著名的宋朝画家，他的作品通常以其精细的绘画技巧和生动的色彩著称。\n\n赵昌是宋朝时期的著名画家，他的蜂花图是他最著名的作品之一。赵昌以其精细的绘画技巧和生动的色彩著称，他的画作常常被认为是宋朝时期最优秀的画作之一。赵昌的蜂花图展示了一朵开放的花，周围有蜜蜂在采蜜，整幅画作充满了生机和活力。赵昌的蜂花图被认为是他的代表作之一，同时也是宋朝时期著名画作之一。",[164,24,7,25,28,27,61,547,623,624,603,208,64],"蜂","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F421d5c743749140ca64622b04a9065c3.jpg",[68],1789,15,{"id":630,"slug":631,"title":632,"dynasty":18,"author":633,"museum":244,"description":634,"tags":635,"thumbUrl":636,"material":637,"size":638,"collection":42,"collections":639,"showCount":640,"zanCount":641,"manualWeight":48,"mainColor":72},221509,"xi-shan-qing-yuan-tu-xia-gui-221509","溪山清远图","夏圭","《溪山清远图》描绘了江南晴日的湖山景色，图中有群峰、山石、茂林、楼阁、长桥、村舍、茅亭、渔舟、远帆，勾笔虽简，但形象真实。且景物变化甚多，时而山峰突起，时而江流蜿蜒，不一而足，但各景物设置疏密得当，空灵毓秀，富有节奏感和韵律感，达到了所谓的“疏可驰马，密不通风”的境地",[23,164,24,7,25,128,132,29,131,34,98,99,129,211,130,37,499,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca0db5d5e4bc1b3d562f46fcf75cc07.jpg","白纸本","纵46.5厘米，横889.1厘米",[42,136,117],1772,19,{"id":643,"slug":644,"title":645,"dynasty":54,"author":646,"museum":244,"description":647,"tags":648,"thumbUrl":651,"material":652,"size":653,"collection":68,"collections":654,"showCount":655,"zanCount":335,"manualWeight":48,"mainColor":72},219886,"er-shi-si-fan-hua-xin-feng-tu-shan-cha-yu-mei-hua-dong-gao-219886","二十四番花信风图-山茶与梅花","董诰","古人认为春风守信，如期而来，催开百花，称为“花信风”。春天自“小寒”到“谷雨”经历四个月，共八节气，每五天为一候，前后为二十四番花信风，以梅花居首，楝花居末。此套《画二十四番花信风图》册页十二开，共二十四幅，画二十四番花信风。",[24,7,59,28,27,61,649,650,64,208],"山茶","梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb14e79d824e99f28edc0d32bbad893b5.jpg","设色,纸本","20x14.2厘米",[68],1767,{"id":657,"slug":658,"title":659,"dynasty":144,"author":660,"museum":20,"description":661,"tags":662,"thumbUrl":667,"material":40,"size":668,"collection":136,"collections":669,"showCount":670,"zanCount":444,"manualWeight":48,"mainColor":49},221795,"chun-shan-tu-juan-shang-qi-221795","春山图卷","商琦","署款“曹南商琦德符”。鉴藏印钤清乾隆、嘉庆、宣统诸帝玺，共计8方。\n此图是商琦唯一存世的署款之作。远景峰峦叠翠，烟笼雾罩；近景丛林杂树，着春染绿；远景、近景之间衬以沙碛古桥，更添空阔苍茫之势。图中所绘物象众多，展现了作者较为全面的技法和营势造型的能力。近景山石刻画细致，先以浓墨勾轮廓，然后以汁绿晕染石面，既显示出岩石的纹理结构，更洋溢出山川间的一派春意。远景群峰则以浓淡墨或花青晕染为主，浑莽一片的山峦为全画烘托出雄伟壮阔的气势。点景树木皆苍郁深秀，但表现笔法富于变化，其近树以干、湿笔双勾树干和树叶，画法工整，近似于南宋院体绘画风格；远树或以侧锋横点，或以中锋竖点，只具树貌不具树形。近树、远树虽形态各异，但却共同装点出万物勃发、遍山染翠的春之景象。这是一幅形式美与意韵美高度统一的山水佳作。\n著录于清内府《石渠宝笈初编》。\n此卷原藏清宫内府，宣统年流入民间，解放后归国家文物局所有，后由文物局拨交故宫博物院。1958年，经由故宫博物院修复专家重新揭裱，令它恢复了旧貌。",[23,24,164,7,25,27,132,29,663,228,34,37,497,664,665,666],"山","远峰","近坡","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F548dc4fc12cf23b6dda3d1f9b39b1d44.jpg","纵39.6厘米，横214.5厘米",[136,45],1751,{"id":672,"slug":673,"title":674,"dynasty":54,"author":675,"museum":224,"description":676,"tags":677,"thumbUrl":678,"material":66,"size":679,"collection":68,"collections":680,"showCount":681,"zanCount":553,"manualWeight":48,"mainColor":72},216258,"jing-fu-si-qi-dong-jing-tu-qian-wei-cheng-216258","景敷四气冬景图","钱维城","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n拒霜因可入初冬，袅袅芳姿照浦秾。迴顾水华似相傲，耐寒还属木芙蓉。钤印：几席有余香",[24,7,61,28,27,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a25f1df3c06bf2bd6d2c19564df959a.jpg","21.9 × 30.2cm",[68],1731,{"id":683,"slug":684,"title":685,"dynasty":18,"author":686,"museum":244,"description":687,"tags":688,"thumbUrl":691,"material":692,"size":693,"collection":84,"collections":694,"showCount":695,"zanCount":419,"manualWeight":48,"mainColor":49},287579,"xi-shan-xing-lv-tu-fan-kuan-287579","溪山行旅图","范宽","该图主体部分为巍峨高耸的山体，高山仰止，壮气夺人。山顶丛林茂盛，山谷深处一瀑如线，飞流百丈。山峰下巨岩突兀，林木挺直。画面前景溪水奔流，山径上一队运载货物的商旅缘溪行进，为幽静的山林增添了生气。",[164,24,7,165,128,132,29,131,99,495,689,690,101],"古树","古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F414e846606ac903e66fdd1eda93147a0.jpg","未知","纵长206.3公分，横宽103.3公分",[],1669,{"id":697,"slug":698,"title":699,"dynasty":54,"author":55,"museum":56,"description":57,"tags":700,"thumbUrl":702,"material":66,"size":67,"collection":84,"collections":703,"showCount":704,"zanCount":444,"manualWeight":48,"mainColor":72},214704,"chun-hua-tu-ba-kai-2-yun-shou-ping-214704","春花图八开-2",[23,24,7,59,27,60,61,701,624,64,208],"樱桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6677b01b31ad3df8b7719f1993dc4829.jpg",[],1639,{"id":706,"slug":707,"title":708,"dynasty":144,"author":410,"museum":56,"description":709,"tags":710,"thumbUrl":712,"material":611,"size":713,"collection":136,"collections":714,"showCount":715,"zanCount":444,"manualWeight":48,"mainColor":72},220824,"qing-bian-yin-ju-tu-wang-meng-220824","青卞隐居图","《青卞隐居图》描绘画家故乡卞山苍茫景色，山上树木茂密苍郁，溪流回环，景色清幽，隐士行居其间。画法先以淡墨勾皴，而后施浓墨，再用焦墨皴擦，使得画面不迫不塞，元气淋漓，气势磅礴，创造了线繁点密、苍茫深厚的新风格。\n《青卞隐居图》主要描绘作者家乡吴兴的卞山景色。峰峦曲折盘桓，重叠峥嵘，气势雄奇秀拔。山间林木茂密，山径迂回，飞瀑高悬直注。山脚下有客曳杖而行，山坳深处茅庐数间，堂内一人抱膝倚床而坐。 有一老者策杖、踏着轻松缓慢的步伐，正在兴致勃勃地领略山林逸趣。密树深溪处一山麓水口，宽阔的河道上横卧山石和漫长的渚洲，在水中时隐时现。溪水潺潺，迂回流转。在崎岖不平的山地上，长有树木二十余株，浓荫密布。树木山势繁密充盈，气势雄伟。\n王蒙在创作《青卞隐居图》时的心境受到了社会环境、家庭环境的影响。《青卞隐居图》的创作年代正处于战乱的年代，人人处于恐慌，颠沛流离的状态。此画作于1366年，是王蒙成熟时期的作品。据画上收藏印推测，这幅画可能是作者赠给表弟赵麟的。\n《青卞隐居图》用笔以快、重、急、爽利为特点，锋毫微妙变化，都形成的曲直轻重、缓急等状态。线条质感的运用，在于透露画家情感的表达，或者老笔纷披，或润笔掩映，生命注于笔端，逸气也注于笔端。《青卞隐居图》的用笔还有一个显著特点就是曲律用笔，此笔法是披麻皴的变体在表达江南地貌的同时，也表达了画家焦虑的心情。《青卞隐居图》在用笔上王蒙继承了赵孟頫的“以书入画”用笔，树的轮廓线确定了这些形象的刚、柔、秀、雅。\n《青卞隐居图》以披麻皴、解索皴、牛毛皴为主，三者交替互用，画披麻皴时，运笔多带平行、快速爽利，行笔松动，给人略有飘浮的感觉。这一皴法大都用在画面顶部的山峰，由于笔法的轻盈，矾头的蠕动，因而给人一种气如云动，山岚飘浮的景象，同时不安定的感受也跃上纸面。\n画面中用笔有的像挺劲的行草笔线，虽然纤细，但却像有千斤之力，因其缠绕又能横冲直撞的形状而生动灵活，皴笔又能可以引领视线环游于画中形式，更添活泼的效果。山峦顶部则用渴墨苔点法。峦下山石树木给人以润湿之感，树干在勾勒上或笔直挺拔或倾折弯曲，而叶子的点染则是忽干忽湿、坡脚石头的皴擦也是忽浓忽淡。树木种类虽多却杂而不乱，树与树之间里让有度，用山之虚色来衬托树，以树的重墨来淡化山石，以小映大，以虚幻实，前呼后应，空间感极佳。石头与石头的交界施以皴擦或染又会构成另一个突起的石块，石石相连，绵延叠加。画山石树木的在技法上用的是浑点、破竹点、胡椒点、破墨点等。\n《青卞隐居图》整幅画面是“上留天，下留水”，采取高远构图法层层推远。作品用色细润典雅，山峦连绵不断，叠嶂起伏，气势雄伟秀拔，径路迂回蜿蜒。宛如一条游龙飞腾而上，山石刻画精细而奇特。林间树木茂密，山崖上高悬的飞瀑直注山谷。",[23,24,7,128,132,165,29,131,495,34,711,499,37,208,64,133],"茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff738956b75bf11ba249bc3609d336193.jpg","纵141厘米，横42.2厘米",[136,117],1622,{"id":717,"slug":718,"title":719,"dynasty":18,"author":449,"museum":450,"description":720,"tags":721,"thumbUrl":724,"material":173,"size":457,"collection":68,"collections":725,"showCount":726,"zanCount":505,"manualWeight":48,"mainColor":49},219012,"bai-he-tu-yi-mi-fei-219012","白鹤图(一)","画中仙鹤身姿卓然，长颈引向云端，喙尖轻启似欲鸣。白羽如霜，纹理细若鳞次；黑尾如墨，羽梢微扬带风致。修长鹤腿立于浅草间，与几丛翠竹叶相映成趣。右上角圆月朦胧，棕褐绢底衬得画面清寂雅致。笔墨间藏着文人的疏淡意趣，每一处细节都透着对自然生灵的细腻体察，仿佛能闻见竹林间的清风，看见月光下仙鹤独立的悠然之态，尽显古典绘画的空灵韵致。",[23,164,24,7,165,28,27,61,722,167,723],"鹤","月亮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75d2711fede74296897913b73c08612b.jpg",[68,45],1575,{"id":728,"slug":729,"title":730,"dynasty":54,"author":55,"museum":20,"description":731,"tags":732,"thumbUrl":733,"material":734,"size":735,"collection":68,"collections":736,"showCount":737,"zanCount":738,"manualWeight":48,"mainColor":72},220975,"shan-shui-hua-hui-tu-ce-mu-dan-yun-shou-ping-220975","山水花卉图册-牡丹","《山水花鸟图》是清代 创作的纸本设色画。\n\n每图各有 题识，分别钤“寿平”白朱文印、“正叔”朱文印、“寿平”白文印、“恽正叔”白文印、“寿平印”白文印等。\n\n每图各有乾隆皇帝题诗一首。\n\n鉴藏印有：“ 御赏之宝”、“淳化轩”、“石渠宝笈”、“臣庞元济恭藏”、“虚斋至精之品”等二十余方。\n\n本图册第三开、第十开分别署年款“乙卯秋”、“乙卯十月”。\n\n“乙卯”为清康熙十四年（1675年），此作应为恽寿平4岁时作品。\n\n此山水花卉图册分别描绘鹅群、荷花、山水、古木寒鸦、牡丹、乔柯急涧、夜雨初霁、菊花、兰花蝴蝶花、溪山行旅等。\n\n全册为作者临仿宋、元、明诸家。\n\n山水以宗董源、巨然、米芾、赵孟頫诸家为主，秀骨清幽，富有文人书卷之气。",[23,24,164,7,59,27,28,60,61,263,549,582,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F330e3e872b432c5d096fddbd7eafe407.jpg","纸本，设色","纵27.5厘米，横35.2厘米。",[68,45],1541,7,{"id":740,"slug":741,"title":742,"dynasty":18,"author":743,"museum":244,"description":744,"tags":745,"thumbUrl":748,"material":173,"size":749,"collection":42,"collections":750,"showCount":737,"zanCount":751,"manualWeight":48,"mainColor":72},216083,"qiu-kui-tu-li-shi-zhong-216083","秋葵图","李士忠","写秋葵一枝，工笔勾勒填彩，花瓣用粉细勾，叶用重绿，姿韵生动，重彩渲染，布局严谨。两朵开着的花与疏疏的叶子，充分表现出秋葵的神态，是南宋写生佳作。",[23,164,24,7,28,27,61,746,547,747,582],"秋葵","叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90e4f46a0ef378e801baa321bbe7168c.jpg","25x28cm",[42,68],10,{"id":753,"slug":754,"title":755,"dynasty":124,"author":204,"museum":524,"description":756,"tags":757,"thumbUrl":760,"material":561,"size":761,"collection":136,"collections":762,"showCount":763,"zanCount":628,"manualWeight":48,"mainColor":49},222208,"tao-yuan-xian-jing-tu-zhou-chou-ying-222208","桃源仙境图轴","此为明代“吴门四家”之一的仇英所作的青绿山水人物画\n仇英（1494—1561），字实父，号十洲，江苏太仓人，寓居苏州。漆工出身，后师周臣学画。善画人物、山水等，所绘山水以青绿重色为多，师法赵伯驹、刘松年。长于临摹，功力精湛，是明代中期画坛的巨擘。与沈周、文徵明、唐寅并称“明四家”。\n《桃源仙境图》的题材取自《桃花源记》。《桃花源记》是晋代脍炙人口的文学名篇。《桃源仙境图》即描绘了文人理想中的隐居之乐。画面远景峰峦耸峙，山间白云缭绕，殿宇楼台时隐时现，展现了恬静、远离世俗、虚幻缥缈的人间仙境。前景清泉沿石壁顺势而下，汇成宽阔的河面，曲折的古松、星星点点的桃花树，有三位白衣高士临流而坐抚琴清谈，两个书童随侍。全画作者用大青绿着色，山石以勾斫的笔法，较少皴染，色彩华丽而不艳俗，用笔工致而不呆板。\n此图画面右下角石上有行楷小字，款署“仇英实父为怀云先生制”，是仇英为其好友陈官（号怀云，江苏富豪）所作。据史料记载，仇英于四五十岁时受陈官延请至其家中驻馆作画。仇英为其所绘的作品中最著名的要数《桃源仙境图》轴和《职贡图》卷。仇英的传世作品较多，有关桃源题材的作品还有《桃花源图》《玉洞仙源图》《仙山楼阁图》《云溪仙馆图》等等。",[23,24,7,165,26,27,28,29,96,97,98,34,131,37,758,38,496,499,759],"建筑","仙境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14ade6201174dd570a6a6f1b1b739de8.jpg","纵175厘米，横66.7厘米",[136,45],1533,{"id":765,"slug":766,"title":767,"dynasty":18,"author":768,"museum":465,"description":769,"tags":770,"thumbUrl":773,"material":611,"size":774,"collection":42,"collections":775,"showCount":776,"zanCount":392,"manualWeight":48,"mainColor":49},221457,"jiu-long-tu-juan-quan-juan-chen-rong-221457","九龙图卷全卷","陈容","这样一个伴随着中国国运兴衰的图腾，艺术家们自然不会错过，从商周青铜器上的龙纹，到马王堆汉墓帛画，龙的形象始终跟随着中国历史的发展，而未有太大变化。画龙本身也成为了一个著名的典故既是“画龙点睛”。根据唐朝张彦远《历代名画记 张僧繇》记载：“张僧繇于金陵安乐寺画四龙于壁，不点睛。每曰：“点之即飞去。”人以为妄诞，固请点之。须臾，雷电破壁，二龙乘云腾去上天，二龙未点眼者皆在。\n可惜张僧繇并无任何作品流传下来，但在南宋，却有另一位画龙的天才与他的神品之作《九龙图》，惜世人知之甚少。\n陈容，这是位被历史埋没了的天才。\n关于他的生平只有寥寥数语，陈容（约1200年–1266年），字公储，号所翁，籍贯有福建长乐、福唐、临川（江西）三种记载。\n在他53岁知天命的年纪，方才考中进士，而后上任福建莆田担任太守，曾为国子监主薄、官至朝散大夫，即五品文官。目前流传下来的作品寥寥，现藏于广东省博物馆的《云龙图》，《五龙图卷》成为东京国立博物馆的镇馆之宝之一，而最为著名的《九龙图》，在民国时流失海外，藏于美国波士顿美术馆，可惜可叹。\n据传陈容的龙，大多是在酒醉的情况下创作而成，画至忘我时，泼墨做云，喷水做雾。然后摘下头上的头巾，沾上墨水信手涂抹，最后以渴笔描绘龙的身体。但这并不代表陈容仅仅是一个整天酒醉，两耳不闻窗外事的文人，在他的龙画中，寄托着他的家国情怀。",[23,164,24,7,25,128,64,208,369,771,772,37,228],"渲染","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690403e9d9f173b397b5b84a1217ee89.jpg","纵46.3厘米，横1096.4厘米",[42,68,117],1532,{"id":778,"slug":779,"title":780,"dynasty":351,"author":352,"museum":300,"description":781,"tags":782,"thumbUrl":783,"material":784,"size":785,"collection":42,"collections":786,"showCount":776,"zanCount":282,"manualWeight":48,"mainColor":49},221429,"mei-hua-cui-niao-tu-juan-xu-xi-221429","梅花翠鸟图卷","圖繪梅花翠鳥，滿樹梅花開放，粉色的茶花間插其中，鳥兒立於枝頭嬉戲，原來冬天可以這麼美！徐熙，五代南唐畫家，金陵（今南京）人，一說鍾陵（今江西進賢）人。出身於「江南名族」。生於唐僖宗光啓年間，後在開寶末年（公元975）隨李後主歸宋，不久病故。一生未官，郭若虛稱他爲「江南處士」。沈括說他是「江南布衣」。其性情豪爽曠達，志節高邁，善畫花竹林木，蟬蝶草蟲，其妙與自然無異。後人將其與後蜀黃筌並稱爲「黃徐」，有「黃家富貴，徐熙野逸」之評，爲五代、宋初花鳥畫的兩大流派之代表。」\n宋代沈括形容徐熙畫「以墨筆爲之，殊草草，略施丹粉而已，神氣迥出，別有生動之意」(《夢溪筆談》)。宋代《德隅齋畫品》中著錄徐熙《鶴竹圖》，謂其畫竹「根幹節葉皆用濃墨粗筆，其間櫛比，略以青綠點拂，而其梢蕭然有拂雲之氣」。米芾又謂他畫花果有時用澄心堂紙，用絹則「其紋稍粗如布」。這種題材和畫法都表現他作爲江南處士的情懷和審美趣味，與妙在賦彩、細筆輕色的「黃家富貴」不同，﹝指黃筌與黃居寀父子﹞而形成另一種獨特風格，被宋人稱爲「徐熙野逸」。然而《圖畫見聞志》中記徐熙爲南唐宮廷所繪的「鋪殿花」、「裝堂花」，於「雙縑幅素上畫叢豔疊石，傍出藥苗，雜以禽鳥蜂蟬之妙」，「意在位置端莊，駢羅整肅，多不存生意自然之態」。這種富有裝飾性的繪畫，也構成了徐熙繪畫的另一風貌。",[23,164,24,7,25,28,27,61,371,211,355,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b7029d7b97054b08ec5392ac417022c.jpg","絹本設色","33.8cm×236.2cm",[42,68,45],{"id":788,"slug":789,"title":790,"dynasty":18,"author":791,"museum":77,"description":792,"tags":793,"thumbUrl":794,"material":173,"size":795,"collection":42,"collections":796,"showCount":797,"zanCount":405,"manualWeight":48,"mainColor":49},218573,"lu-chi-zhuo-su-tu-wu-bing-218573","渌池擢素图","吴炳","吴炳，生卒年不详，南宋画家。毗陵武阳（今江苏常州）人。工画花鸟，写生折枝，妙夺造化，彩绘精致富丽。绍熙初（公元1131-1162年），宋光宗赵悼皇后李氏，赏识其画，授画院待诏，赐金带。。画风谨守院体，作品较多。画迹有《春池睡鸭》、《山茶鹁鸽》、《鸳鸯瑞莲》、《宝珠玉蝶》、《折枝绛桃》等二十六件，著录于《绘事备考》。传世作品有《出水芙蓉图》、《竹雀图》、《嘉禾草虫图》、《枇杷绣羽图》等。",[164,24,7,28,27,61,81,82,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6610c8fae2457627a5a08640bf940f45.jpg","25.4×26cm",[42,68],1495,{"id":799,"slug":800,"title":801,"dynasty":124,"author":802,"museum":77,"description":803,"tags":804,"thumbUrl":807,"material":173,"size":808,"collection":68,"collections":809,"showCount":810,"zanCount":811,"manualWeight":48,"mainColor":72},220230,"hua-niao-chong-cao-xie-sheng-ce-die-dian-chun-hua-chen-hong-shou-220230","花鸟虫草写生册-蝶点春花","陈洪绶","陈洪绶的绘画，尤其是他以之驰誉艺坛的双勾设色花鸟画，其特点有三，一是造型的古拙，二是色彩的古艳，三是线条的寓迟涩于劲挺，既厚重且圆润。",[23,805,24,7,59,27,28,61,209,481,62,806],"明代","昆虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d24e4e72e70775f7e4626a7a610564.jpg","21.5×16cm",[68],1477,14,{"id":813,"slug":814,"title":815,"dynasty":54,"author":55,"museum":77,"description":78,"tags":816,"thumbUrl":819,"material":66,"size":84,"collection":84,"collections":820,"showCount":821,"zanCount":11,"manualWeight":48,"mainColor":72},214742,"hua-hui-ce-2-yun-shou-ping-214742","花卉册-2",[23,164,24,7,61,59,60,27,817,818,62,624],"萱草","桂花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1be5a0e030dc2534dcd967c594f0154e.jpg",[],1468,{"id":823,"slug":824,"title":825,"dynasty":54,"author":55,"museum":224,"description":826,"tags":827,"thumbUrl":830,"material":831,"size":832,"collection":68,"collections":833,"showCount":834,"zanCount":405,"manualWeight":48,"mainColor":199},220992,"bai-hua-tu-juan-yun-shou-ping-220992","百花图卷","恽寿平的山水画造诣之高，受到历代画家的赞誉。然而，他到中年后却放弃了在山水画领域的成就，转向以画花卉为主。究其原因，历史上说法很多。",[23,24,7,25,27,60,28,61,62,263,828,376,81,209,373,603,374,605,829,80,481,806],"百合","芍药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29e1c97e998205c049e5c6f18799621.jpg","手卷，绢本设色","纵32厘米，横530厘米",[68,45],1418,{"id":836,"slug":837,"title":298,"dynasty":124,"author":366,"museum":244,"description":838,"tags":839,"thumbUrl":842,"material":278,"size":843,"collection":68,"collections":844,"showCount":845,"zanCount":419,"manualWeight":48,"mainColor":72},218732,"he-hua-tu-xu-wei-218732","这幅画的构图简洁明了，布局清新精致。荷叶用滴水不漏的方式画出，而荷花则是寥寥数笔，充满了情感和笔墨的意趣。",[24,7,165,128,369,64,208,840,81,82,303,841],"草书","莲蓬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe64b411afff5b620d7387710af664033.jpg","141.7x37.2cm",[68],1397,{"id":847,"slug":848,"title":849,"dynasty":124,"author":850,"museum":161,"description":851,"tags":852,"thumbUrl":854,"material":173,"size":855,"collection":44,"collections":856,"showCount":857,"zanCount":444,"manualWeight":48,"mainColor":199},214294,"xiang-shan-jiu-lao-tu-xie-huan-214294","香山九老图","谢环","谢环（1830-1888）是清代著名的画家，他的《山九老图》是其代表作之一。\n\n《山九老图》描绘了九位老僧依山而居的画面，通过精细的笔墨和巧妙的构图，勾勒出九位老僧与山林的和谐关系。谢环在画中运用了多种技法，如水墨浓淡、描边等，使作品充满了生动的质感。\n\n《山九老图》被认为是谢环画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《山九老图》也是收藏家们青睐的经典之作。",[23,24,7,25,28,27,96,29,130,413,131,853],"仙鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e446d85f920ac135920733919a6fd0a.jpg","29.4x148.2",[44],1379,{"id":859,"slug":860,"title":861,"dynasty":18,"author":397,"museum":510,"description":862,"tags":863,"thumbUrl":864,"material":514,"size":865,"collection":42,"collections":866,"showCount":867,"zanCount":405,"manualWeight":48,"mainColor":49},221339,"rui-he-tu-zhao-ji-221339","瑞鹤图","《瑞鹤图》描绘了鹤群盘旋于宫殿之上的壮观景象，绘画技法精妙，图中群鹤如云似雾，姿态百变，各具特色。\n《瑞鹤图》，其不仅具神性的光辉与君主的华贵，也有仙音袅袅、高雅灵动之感。一方面，皇宫殿宇端端正正置于画面下方，均衡对称，留出三分之二湛蓝天空，正大光远，大气天成，颇具皇家风范。围绕殿宇的祥云打破屋宇水平线，稳重端庄的画面于是气韵流转，一派天趣。另一方面，仙鹤有表明志向高洁、品德高尚之意。停留在屋顶上的两只仙鹤，袅袅婷婷，以静寓动，与空中缭绕的鹤群相呼应，款款生姿。整个画面又多了一分高洁隽雅、飘逸灵秀之气。",[23,24,7,25,27,95,28,572,211,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef20e4191bb4faf39fae804720c95f29.jpg","纵51厘米，横138.2厘米",[42,68],1376,{"id":869,"slug":870,"title":871,"dynasty":54,"author":872,"museum":77,"description":873,"tags":874,"thumbUrl":876,"material":278,"size":877,"collection":68,"collections":878,"showCount":879,"zanCount":553,"manualWeight":48,"mainColor":72},216924,"hua-niao-si-tiao-ping-zhu-da-216924","花鸟四条屏","朱耷","此四条屏作于其七十前后，(款字八作二折)或作风荷拳石;或作高梧疏竹;或作双凫戏于溪头，或作群鱼悠游涧中。意境静寂，动静生发。墨淡而厚，湿而毛;笔圆而劲，重而灵;苍莽朴茂之中，有清韵流衍;笔墨不多而意境丰满。荷塘一幅，以微风摇动之花叶，烘托凝重古质之拳石，雄豪活泼之气溢于画里画外。双凫一幅，极尽墨沈之灵变。禽羽之丰满润泽，仿佛若可触摸。崖石用虚淡之笔皴点，略以浓墨点苔竹，虽满纸空白，而情韵入微。所谓无处还有是也。而游鱼一幅尤佳绝，下方危石如奇峰倒立，已出人意表。其上悬崖兀起，其间秋水空阔，群鱼悠游，或伫滞水面，或倏忽水底，其状拙质，其形简古，而不失生趣。大小二十七尾，无一雷同，为八大画中绝品。八大四屏传世绝少，识者珍视之!",[23,24,7,165,128,369,61,355,875,131,547],"芭蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F700f64005b95bf5fc96a186eb8e59446.jpg","182.5×49cm",[68],1374,{"id":881,"slug":882,"title":883,"dynasty":54,"author":55,"museum":77,"description":78,"tags":884,"thumbUrl":886,"material":66,"size":84,"collection":84,"collections":887,"showCount":888,"zanCount":586,"manualWeight":48,"mainColor":72},214738,"hua-hui-ce-4-yun-shou-ping-214738","花卉册-4",[23,24,7,59,60,28,27,209,356,62,624,885],"红花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326abb94d57aaaefc22233506e6e8c26.jpg",[],1350,{"id":890,"slug":891,"title":892,"dynasty":54,"author":55,"museum":300,"description":893,"tags":894,"thumbUrl":896,"material":84,"size":897,"collection":68,"collections":898,"showCount":899,"zanCount":430,"manualWeight":48,"mainColor":72},233901,"hua-hui-shan-shui-ce-yun-shou-ping-233901","花卉山水册","恽寿平（1633-1690年），初名格，后以字行，又字正叔，别号南田，一号白云外史、云溪外史、东园客、巢枫客、草衣生、横山樵者。江苏武进人。清代著名画家。与“四王”、吴历并称“清初六大家”。其父恽日初诗文杰出，为“复社”中人。叔父恽向（道生）为著名山水画家，自创一派。恽寿平是清朝初期最享盛名的花鸟画家。其画作多写生，人称“写生正派”；更以徐崇嗣为宗，兼取各家之长，极大的发展了没骨画。所画花卉，很少勾勒，以水墨着色渲染，用笔含蓄，画法工整，明丽简洁，天趣盎然。恽寿平不仅画作出众，风格独具，而且兼工诗书，题句清丽流畅，诗格脱俗超逸，为“昆陵六逸”之冠。恽南田《山水花卉册》八帧，其中包括山水，花鸟及情景兼容的人物，攘括了恽南田所有的画种。画中有退耕堂藏印。退耕堂为徐世昌的室名。\n恽寿平一生坎坷，饱经困苦，他幼年聪颖玲利，遭遇战乱，与兄皆被俘，与父亲失散，后遇灵隐寺方丈相救，才得以与家人团聚，归家后，发奋读书学画。经刻苦钻研，于古文、诗词、书画无不精擅。他崇尚气节，誓不应科举，少时的忧患，留下深深的创痛，一生未尝忘情。却在绘画上取得了很高的成就；恽南田曾致书王（翚）说：“格于山水，终难打破一字关，曰‘窘’，良由为古人规矩法度所束缚耳。”又说：“君独步矣！吾不为第二手也”。于是恽寿平转攻花鸟，以后山水不过偶而为之。可见其艺术抱负。《山水花卉册》中的山水，取黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，吸取王蒙、二米等人之长，渐脱刻极。40岁左右作品最为精采，如43岁的《山水花鸟册》，技法灵活多变，表达各家风貌准确，艺术已臻成熟。他的花鸟画成就最为突出，取法徐崇嗣的没骨法，他的没骨花卉，揉合了黄（筌）、徐（熙）两派技法，既重视写生，力求形似，“每画一花，必折是花插之瓶中，极力描摹，得其生香活色而后已。”又强调“与花传神”。力去华靡，追求“ 澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[24,7,60,27,61,209,895,208],"柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10aa5773f16fa6bd4dd6b950a442d3b2.jpg","纵32.5厘米，横25.5厘米",[68],1349,{"id":901,"slug":902,"title":903,"dynasty":124,"author":204,"museum":244,"description":904,"tags":905,"thumbUrl":907,"material":173,"size":908,"collection":136,"collections":909,"showCount":910,"zanCount":553,"manualWeight":48,"mainColor":49},216757,"shang-lin-tu-juan-chou-ying-216757","上林图卷","这卷书也在台北故宫，有一个类似的形象。它似乎比第一幅好，只是皴笔更简略一些",[23,24,7,25,26,27,28,95,29,96,97,34,31,906,131,38],"宫殿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166b13b5b6a049210ce9da368f29e43b.jpg","44.8x1208",[136],1347,{"id":912,"slug":913,"title":914,"dynasty":18,"author":915,"museum":20,"description":916,"tags":917,"thumbUrl":919,"material":920,"size":921,"collection":42,"collections":922,"showCount":923,"zanCount":268,"manualWeight":48,"mainColor":49},221559,"pi-pa-shan-niao-tu-lin-chun-221559","枇杷山鸟图","林椿","图绘江南五月，成熟的枇杷果在夏日的光照下分外诱人。一只绣眼翘尾引颈栖于枇杷枝上正欲啄食果实，却发现其上有一只蚂蚁，便回喙定睛端详，神情十分生动有趣。枇杷枝仿佛随着绣眼的动作重心失衡而上下颤动，画面静中有动，妙趣横生。绣眼的羽毛先以色、墨晕染，随后以工细而不板滞的小笔触根根刻画，表现出鸟儿背羽坚密光滑、腹毛蓬松柔软的不同质感。枇杷果以土黄色线勾轮廓，继而填入金黄色，最后以赭色绘脐，三种不同的暖色水乳交融，从而展现出枇杷果成熟期的丰满甜美。枇杷叶用笔致工整细腻的重彩法表现，不仅如实地刻画出叶面反转向背的各种自然形貌，且将叶面被虫儿叮咬的残损痕迹亦勾描晕染得一丝不苟，充分反映了宋代花鸟画在写实方面所达到的艺术水平。\n《石渠宝笈三编》著录。",[23,164,24,7,28,27,59,61,918,211,208],"枇杷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F195499e5cd6dd07045004c96458c8a96.jpg","绢本 ，设色","纵26.9cm，横27.2cm",[42,68,45],1282,{"id":925,"slug":926,"title":685,"dynasty":18,"author":491,"museum":77,"description":927,"tags":928,"thumbUrl":929,"material":173,"size":84,"collection":136,"collections":930,"showCount":931,"zanCount":738,"manualWeight":48,"mainColor":49},218625,"xi-shan-xing-lv-tu-guo-xi-218625","画面层峦叠嶂，主峰巍峨耸立，次峰拱卫环绕，尽显山川雄浑气势。山石以卷云皴法勾勒，纹理如波似浪，赋予山体灵动质感，仿佛云气在岩间流转。山间路径蜿蜒，行旅队伍缓缓前行，或挑担或驱马，于溪畔林间留下鲜活身影。溪流潺潺，树木葱茏，屋舍点缀其间，既有自然野趣，又含人文暖意。笔墨刚劲中见细腻，墨色层次丰富，高远、深远、平远三远之法交织，使画面空间错落有致。观者仿佛可登山远眺层林尽染，可沿溪漫步听水声潺潺，于山水间体悟静谧与生机的交融，感受那份穿越时光的艺术魅力。",[164,24,7,25,27,132,128,29,131,34,99,129,96,690,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9968fd31d72f248e2d7e1d780f9d2aa4.jpg",[136],1280,{"id":933,"slug":934,"title":935,"dynasty":18,"author":223,"museum":20,"description":936,"tags":937,"thumbUrl":939,"material":173,"size":940,"collection":42,"collections":941,"showCount":942,"zanCount":751,"manualWeight":48,"mainColor":72},216772,"mo-gu-kai-zhi-luo-shen-fu-tu-quan-juan-di-yi-juan-yi-ming-216772","摹顾恺之洛神赋图全卷（第一卷）","传世为宋代的四件摹本，皆以曹植《洛神赋》诗意所绘",[23,24,7,25,330,188,27,28,64,133,938,208,96,166,29,129,97,99,34],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F699a206d77031cb7c4648c428ba8dcb3.jpg","27.1x572.8",[42],1270,{"id":944,"slug":945,"title":946,"dynasty":18,"author":768,"museum":300,"description":947,"tags":948,"thumbUrl":952,"material":317,"size":953,"collection":42,"collections":954,"showCount":955,"zanCount":738,"manualWeight":48,"mainColor":956},218607,"long-tu-chen-rong-218607","龙图","画面中龙的身形矫健盘绕，怒目圆睁，龙须飞扬，利爪遒劲，似欲破壁而出。水墨晕染间，云雾翻腾如墨浪奔涌，海浪卷动若白练横江，虚实相生中尽显龙的雄奇与威严。陈容以豪放笔法勾勒龙身鳞片，兼用泼墨与细描，浓淡干湿变化丰富，将龙的灵动与力量凝于绢素。整幅画作气韵生动，既存宋画的精工，又具文人画的写意豪情，把龙的神髓刻画得入木三分，为后世画龙范式立下标杆，尽显南宋绘画的艺术张力。",[24,164,7,165,128,132,772,949,950,951,228],"兽","云","海浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a9c956b8342baede8049fcb2307ef8f.jpg","103x64",[42],1255,"37474F",{"id":958,"slug":959,"title":960,"dynasty":54,"author":55,"museum":56,"description":57,"tags":961,"thumbUrl":963,"material":66,"size":67,"collection":84,"collections":964,"showCount":965,"zanCount":751,"manualWeight":48,"mainColor":72},214702,"chun-hua-tu-ba-kai-7-yun-shou-ping-214702","春花图八开-7",[23,24,7,59,60,27,61,828,962,208],"叶片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2389e1ac2ceb12e7d4b9e1c738856ee3.jpg",[],1232,{"id":967,"slug":968,"title":969,"dynasty":54,"author":55,"museum":77,"description":78,"tags":970,"thumbUrl":972,"material":66,"size":84,"collection":84,"collections":973,"showCount":974,"zanCount":975,"manualWeight":48,"mainColor":72},214734,"hua-hui-ce-6-yun-shou-ping-214734","花卉册-6",[23,24,7,164,59,60,27,61,62,229,28,971,128],"草本植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6add9c0b73e67c0dfd0de7e7d098a1.jpg",[],1228,5,{"id":977,"slug":978,"title":979,"dynasty":980,"author":981,"museum":982,"description":983,"tags":984,"thumbUrl":986,"material":253,"size":84,"collection":987,"collections":988,"showCount":989,"zanCount":268,"manualWeight":48,"mainColor":72},220450,"lian-chi-lin-yu-shan-220450","莲池","民国","林玉山","国立台湾美术馆","这幅《莲池》是民国画家林玉山的工笔花鸟佳作，可从以下几方面鉴赏：\n\n一、技法表现：工笔精谨，写实入微\n林玉山擅长工笔重彩，这幅画以精细工笔技法刻画物象：荷叶的脉络、荷花的瓣层、白鹭的羽毛都被细腻勾勒，线条匀净流畅，尽显工笔“精工细作”的特质；同时融入写实观察，让荷花、荷叶的形态、白鹭的动态都极具自然真实感，体现他“写生入画”的创作理念。\n\n二、构图布局：疏密有致，动静相生\n画面布局繁而不乱：大片荷叶荷花层层叠叠，疏密、虚实对比鲜明；左下角的白鹭成为视觉焦点，以其灵动姿态打破静态莲池的沉寂，形成“静（莲荷）动（白鹭）相生”的节奏，让画面既有满幅的丰富感，又有视觉的呼吸感。\n\n三、色彩格调：典雅和谐，层次丰盈\n采用工笔重彩设色法，背景的暖棕色调与荷叶的蓝绿色调形成雅致对比，荷花的粉白、白鹭的素净又在色彩层次中穿插呼应，既保留了传统工笔的富丽感，又通过色调调和营造出莲池清幽朦胧的氛围，尽显色彩的抒情性。\n\n四、意境与风格：传统意趣与现代写实的融合\n画面营造出“清幽雅致”的田园意境，莲池的静谧、白鹭的灵动，传递出自然生机与文人式的闲逸情致。同时，林玉山将西方写实技法融入传统工笔，既延续了中国花鸟画的装饰美感与意境追求，又以写实观察赋予物象鲜活生命力，是民国时期“传统笔墨现代化”的典型探索，展现了他在工笔花鸟领域“古今融合、中西通汇”的独特风格。\n\n综上，这幅《莲池》以精湛工笔、精妙构图、典雅色彩，勾勒出诗意莲池的生动图景，既是林玉山个人艺术风格的凝练，也折射出民国时期传统绘画在现代转型中的探索与成就。",[23,24,7,28,27,61,81,82,985,228],"白鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1ee7c758c3a5d09e9063bab49500b45.jpg","花鸟精选",[987],1224,{"id":991,"slug":992,"title":993,"dynasty":182,"author":994,"museum":20,"description":995,"tags":996,"thumbUrl":998,"material":999,"size":1000,"collection":84,"collections":1001,"showCount":1002,"zanCount":553,"manualWeight":48,"mainColor":49},227085,"hui-shan-shi-nv-tu-juan-zhou-fang-227085","挥扇仕女图卷","周昉","《挥扇仕女图》卷，传为唐周昉绘，绢本，设色，纵33.7厘米，横204.8厘米。\n无作者款印。引首清高宗弘历题“猗兰清画”四字。钤明韩世能 “韩世能印”、“韩仲子氏”、“世能”，清梁清标“蕉林书屋”、“蕉林居士”、“蕉林考藏”，清高宗弘历“古希天子”、“乾隆御览之宝”、“石渠宝笈”、“乾隆鉴赏”等鉴藏印，共31方。\n此图描绘了13位头挽高髻、细目圆面、长裙曳地的妃嫔和宫女形象。全幅以横向排列的形式展示了人物的各种活动：执扇慵坐、解囊抽琴、对镜理妆、绣案做工、挥扇闲憩等。作者注意画面横向疏密、松紧的韵律变化，纵向高低错落的层次变化，从而使得画面结构井然有序，并避免了构图上的单调呆板。图中色彩丰富，以红色为主，兼有青、灰、紫、绿等各色。冷暖色调相互映衬，显现出人物肌肤的细嫩和衣料的华贵。衣纹线条近铁线描，圆润秀劲，富有力度和柔韧性，较准确地勾画出了人物的种种体态。\n画家周昉出身于豪门显宦，因此，他对于贵族阶层绮靡奢华的生活非常熟悉。其仕女画不以烈女、贤妇、仙女等为表现对象，而是取材于现实生活中贵族妇女的行乐活动，具有强烈的时代感，从而迎合了中晚唐时期大官僚贵族们的审美意趣。其作品在张扬唐王朝繁华兴盛的物质生活的同时，亦揭示了贵妇们极度贫乏的精神世界。此图中嫔妃们体貌丰腴，衣饰华丽，但她们面含幽怨，举止慵倦，毫无生气。\n明张丑《清河书画舫》，清内府《石渠宝笈续编》，清阮元《石渠随笔》著录。",[23,24,7,25,28,27,96,997,166,208,170,169],"仕女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d64d42508b0dd39153cc6c8554c273c.jpg","纸本 ，设色","纵33.7cm，横204.8cm",[],1203,{"id":1004,"slug":1005,"title":1006,"dynasty":54,"author":55,"museum":244,"description":1007,"tags":1008,"thumbUrl":1010,"material":27,"size":1011,"collection":68,"collections":1012,"showCount":1013,"zanCount":1014,"manualWeight":48,"mainColor":72},220990,"mu-dan-tu-yun-shou-ping-220990","牡丹图","恽寿平（1633年－1690年），初名格，字寿平，改字正叔，号南田，又号云溪外史、白云外史，武进（今江苏常州）人，清代画家。\n恽寿平生于明崇祯六年（1633年），父恽日初为复社要人。寿平八岁能咏莲，少年遭遇战乱，随父参加抗清运动，兵败后与父失散，被总督陈锦之妻收留。陈锦遇刺身亡，寿平扶灵北归时，在灵隐寺与父相遇，留寺为僧，后回乡与家人团聚。\n子恽念祖，娶西营汤氏，汤谟孙女、汤自明次女。\n生前视钱如无物，晚年贫病交迫，卒于清康熙二十九年（1690年），由好友王翚出资安葬。",[23,24,7,61,27,60,263,62,1009,208],"题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b5f207c857db2c2b1912c82d5800ded.jpg","纵28.5公分 横43公分",[68,45],1162,8,{"id":1016,"slug":1017,"title":1018,"dynasty":54,"author":1019,"museum":20,"description":1020,"tags":1021,"thumbUrl":1026,"material":1027,"size":84,"collection":84,"collections":1028,"showCount":1029,"zanCount":11,"manualWeight":48,"mainColor":72},234149,"lin-shen-zhou-shan-shui-juan-cheng-zheng-kui-234149","临沈周山水卷","程正揆","此幅画秋景山水，是程正揆的精谨之作，图中层峦叠谳，怪石嶙岣，山路崎岖，烟水微茫，层舍俨然，再缀以溪水树木，其境地则很深邃幽奥。此图笔墨枯劲，画风静秀。",[23,24,7,25,330,128,27,29,132,64,133,131,34,99,98,130,35,415,96,499,1022,711,1023,1024,1025],"峭壁","小径","秋树","竹林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93fb462b100c634b5e8b6cacc9798383.jpg","纸本，水墨",[],1141,{"id":1031,"slug":1032,"title":1033,"dynasty":54,"author":55,"museum":524,"description":1034,"tags":1035,"thumbUrl":1040,"material":173,"size":1041,"collection":68,"collections":1042,"showCount":1043,"zanCount":11,"manualWeight":48,"mainColor":49},216110,"yun-shou-ping-hua-guo-shu-cai-ce-ye-yun-shou-ping-216110","恽寿平花果蔬菜册页","恽寿平花果蔬菜册页一共六开，绢本设色，以没骨写意画法依次描写了丝瓜、竹笋、竹子、葡萄、茄子、扁豆、白菜、芋头等日常蔬果，笔致灵动、色调雅致清新，描写入微，蔬果的叶尖、芽尖也刻画细致生动，尽显淡然天真之气，是恽寿平晚年描绘蔬果的没骨精品。 此册页每一页所绘蔬果都有刘墉相应赋诗一首，书法浑厚大气，古朴自然，自成一派，看似松散，实则丰貌骨劲。刘墉所描写蔬果诗文生动质朴，贴近生活，与恽寿平描绘的蔬果相应成趣，极大增加了观赏趣味。",[164,24,7,59,188,128,27,61,1036,1037,1038,548,549,1039],"蔬菜","花果","丝瓜","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2ff8d0ecdcd63604674ff7f8ad8ac1b.jpg","26.1x19.9cm",[68],1136,{"id":1045,"slug":1046,"title":1047,"dynasty":124,"author":125,"museum":20,"description":1048,"tags":1049,"thumbUrl":1050,"material":734,"size":1051,"collection":136,"collections":1052,"showCount":1053,"zanCount":975,"manualWeight":48,"mainColor":72},233832,"wo-you-tu-ce-qiu-shan-du-shu-shen-zhou-233832","卧游图册－秋山读书","此套图册分别绘仿倪山水、杏花、秋葵、秋柳鸣蝉、平坡散牧、栀子花、秋景山水、芙蓉、枇杷、秋山读书、石榴、雏鸡、秋江钓艇、菜花、江山坐话、仿米山水、雪江渔夫等山水、花鸟小景。\n根据末开画家自题，可知该册页的“卧游”之名源自南朝宋宗炳在居室四壁挂山水以当卧游的典故。然而不同于挂轴的是，该图册还可于卧床时仰面翻阅。 由此可见画家的绘制初衷和生活情趣。\n引首自书“卧游”，钤“沈氏启南”朱文印。鉴藏印：“士元珍藏”朱文印，“朱卧庵收藏印”朱文印，“查映山氏收藏图书”朱文印。\n仿倪山水，自题：“苦忆云林子，风流不可追。时时一把笔，草树各天涯。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印，“士元”朱文印，“昆山王成宪画印”朱文印，“映山珍藏”朱文印。\n杏花。自题：“老眼于今已敛华，风流全与少年差。看书一向糢糊去，岂有心情及杏花。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n秋葵。自题：“秋色韫仙骨，淡姿风露中。衣裳不胜薄，倚向石阑东。沈周。” 钤“启南”朱文印。鉴藏印：“士元”朱文印，“卧庵所藏”朱文印，“昆山王成宪画印”朱文印。\n秋柳鸣蝉。自题：“秋已及一月，残声绕细枝。因声追尔质，郑重未忘诗。沈周。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“䒶机流动”朱文印。“卧庵所藏”朱文印。\n平坡散牧。自题：“春草平坡雨迹深，徐行斜日入桃林。童儿放手无拘束，调牧于今已得心。沈周。”钤“启南”朱文印两方。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“之”“赤”朱文联珠印。\n栀子花。自题：“花尽春归厌日迟。玉葩撩兴有新栀。淡香流韵与风宜。帘触处、人在酒醒时。 生怕隔墙知。白头痴老子，折斜枝。还愁零落不堪持。招魂去、一曲（按：此字点去）阙小山词。右词寄小玉山，沈周。”钤“启南”朱文印，“吴言”朱文印。“石田翁”白文印。鉴藏印：“之”“赤”朱文联珠印，“朱卧庵收藏印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n秋景山水。自题：“淡墨疏烟处，微踪仿佛谁。梅花庵里客，端的是吾师。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印。\n芙蓉。自题：“芙蓉清骨出仙胎，赭玉玲珑轧露开。天亦要妆秋富贵，锦江翻作楚江来。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“卧庵所藏”朱文印、“昆山王成宪画印”朱文印、“竹南藏玩”白文印。\n枇杷。自题：“弹质圆充饤，蜜津凉沁唇，黄金作服食，天亦寿吴人。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印,“卧庵所藏”朱文印、“昆山王成宪画印” 朱文印。\n秋山读书。自题：“高木西风落叶时，一襟萧爽坐遥遥。闲披秋水未终卷，心与天游谁得知。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“卧庵所藏”朱文印。\n石榴。自题：“石榴谁擘破，群琲露人看。不是无藏韫，平生想怕瞒。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n雏鸡。自题：“茸茸毛色半含黄，何独啾啾去母傍。白日千年万年事，待渠催晓日应长，沈周。”钤“启南”朱文印，“白石翁”白文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印、“朱卧庵收藏印”朱文印。\n秋江钓艇。自题：“满池纶竿处处缘，百人同业不同船。江风江水无凭准，相并相开总偶然。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“卧庵所藏”朱文印。\n菜花。自题：“南畦多雨露，绿甲已抽新。切玉烂蒸去，自然便老人。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印，“昆山王成宪画印”朱文印。\n江山坐话。自题：“江山作话柄，相对坐清秋。如此澄怀地，西湖忆旧游。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印、“昆山王成宪画印”朱文印。\n仿米山水。自题“云来山失色，云去山依然。野老忘得丧，悠悠柱杖前。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n雪江渔夫。自题：“千山一白照人头，簑笠生涯此钓舟。不识江湖风雪里，可能干得庙堂忧。沈周。”钤“白石翁”白文印。鉴藏印：“昆山王成宪画印”朱文印、“卧庵所藏”朱文印。\n题跋。自题：“宗少父四壁揭山水图，自谓卧游其间。此册方可尺许，可以仰眠匡床，一手执之，一手徐徐翻阅，殊得少文之趣。倦则掩之，不亦便乎？于揭亦为劳矣。真愚闻其言，大发笑。沈周跋。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印，“芃园曹氏平生真赏”朱文印，“麓云楼书画记”朱文印，“康饴”朱文印，“只可自怡悦”白文印，“朱卧庵收藏印”朱文印，“依竹居士鉴赏书画印”朱文印。",[24,7,59,128,29,96,331,131,99,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59290bda967d3ca108bc1fdca4fbebb.jpg","纵27.8厘米，横37.3厘米",[136,68,45],1120,{"id":1055,"slug":1056,"title":1057,"dynasty":124,"author":1058,"museum":244,"description":1059,"tags":1060,"thumbUrl":1061,"material":173,"size":1062,"collection":44,"collections":1063,"showCount":1064,"zanCount":11,"manualWeight":48,"mainColor":49},216996,"sui-chao-tu-tang-yin-216996","岁朝图","唐寅","这幅画描绘的是元旦期间隐居在梅州山村，在节日前放松的情景。",[24,7,165,27,28,371,96,131,167,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fde0a52080c0f595740ed450c1c4367.jpg","125x49.7",[44,45],1119,{"id":1066,"slug":1067,"title":1068,"dynasty":54,"author":1069,"museum":424,"description":1070,"tags":1071,"thumbUrl":1072,"material":173,"size":1073,"collection":136,"collections":1074,"showCount":1075,"zanCount":11,"manualWeight":48,"mainColor":49},214434,"xiu-yuan-tu-wang-yun-214434","休园图","王云","画面采用分段取景，局部特写的艺术手法，表现了明末清初位于扬州的私家园林—“休园”的四季景观。所画楼台殿阁、曲院长廊、碧水亭榭、假山怪石无一不玲珑透剔，各尽其致。末段画面署款“康熙乙未六月至庚子清和图成。",[23,24,7,25,27,28,95,29,96,97,98,34,131,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc53c816996f71e8cca2630cc96ce0c65.jpg","纵54厘米，横129.5厘米",[136],1111,{"id":1077,"slug":1078,"title":1079,"dynasty":54,"author":55,"museum":77,"description":78,"tags":1080,"thumbUrl":1083,"material":66,"size":84,"collection":84,"collections":1084,"showCount":1085,"zanCount":1086,"manualWeight":48,"mainColor":72},214740,"hua-hui-ce-3-yun-shou-ping-214740","花卉册-3",[23,24,7,59,60,27,61,263,497,1081,649,1082,62],"腊梅","松枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c927f31d42dd0d26109d43256054d1e.jpg",[],1110,3,{"id":1088,"slug":1089,"title":1090,"dynasty":18,"author":1091,"museum":244,"description":1092,"tags":1093,"thumbUrl":1094,"material":151,"size":84,"collection":42,"collections":1095,"showCount":1096,"zanCount":430,"manualWeight":48,"mainColor":49},218786,"yu-zhu-tu-su-shi-218786","雨竹图","苏轼","展卷即见墨竹数竿，竹叶层叠如聚雨，浓淡相宜间，笔意随兴流转。竹枝以中锋行笔，挺而不僵，叶尖带露似垂非坠，尽得雨中之姿。墨色干湿互见，枯笔处显苍劲，湿笔处含润泽，如书家走笔般一气呵成。旁有题跋，字迹与竹枝笔意相通，墨痕交融，印鉴朱红点缀，更添古雅。整幅画无布景却意境丰满，竹之清劲与文人风骨相融，观之如闻雨声淅沥，见竹影婆娑，尽显文人画“以形写神”之妙，是笔墨与心性共生的典范，藏着宋元文人对自然与自我的深情观照。",[23,24,7,128,167,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb33b2f2b006aa2ac63f2963676954dbf.jpg",[42],1106,{"id":1098,"slug":1099,"title":1100,"dynasty":54,"author":55,"museum":77,"description":78,"tags":1101,"thumbUrl":1103,"material":66,"size":84,"collection":84,"collections":1104,"showCount":1096,"zanCount":1105,"manualWeight":48,"mainColor":72},214736,"hua-hui-ce-5-yun-shou-ping-214736","花卉册-5",[23,24,7,59,60,27,62,263,209,1102,304,164],"丁香","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab8c1fc721132cfdc39d78db2f67e138.jpg",[],4,{"id":1107,"slug":1108,"title":1109,"dynasty":144,"author":223,"museum":20,"description":1110,"tags":1111,"thumbUrl":1112,"material":317,"size":1113,"collection":68,"collections":1114,"showCount":1115,"zanCount":1116,"manualWeight":48,"mainColor":49},214260,"zhu-shi-tu-yi-ming-214260","竹石图","竹石图是一幅作者不详的元代画作。这幅画作描绘了竹林和石山的景象。\n\n在这幅画作中，画家巧妙地捕捉了竹林和石山的自然韵味。他用浓墨重彩的画法，勾勒出了竹林和石山的景象。他还用细腻的线条勾勒出了竹林和石山的细节，让人感受到了竹林和石山的自然韵味。\n\n此外，画家在这幅画作中还描绘了竹林和石山周围的景色。他用色彩丰富的画法，描绘了竹林和石山周围的山川和河流。这些景色与竹林和石山的自然韵味形成了鲜明的对比，让人感受到了自然与人类活动的和谐共存。",[23,24,164,7,165,128,167,171,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08730665024372a850d7031f0ea9663b.jpg","138x79",[68],1055,2,{"id":1118,"slug":1119,"title":1120,"dynasty":54,"author":55,"museum":56,"description":57,"tags":1121,"thumbUrl":1122,"material":66,"size":67,"collection":84,"collections":1123,"showCount":1124,"zanCount":11,"manualWeight":48,"mainColor":72},214706,"chun-hua-tu-ba-kai-6-yun-shou-ping-214706","春花图八开-6",[23,24,7,164,59,60,27,61,547,747,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0a989ce46045ab5e8868995eea818ba.jpg",[],1054,{"id":1126,"slug":1127,"title":1128,"dynasty":18,"author":915,"museum":244,"description":1129,"tags":1130,"thumbUrl":1133,"material":173,"size":1134,"collection":68,"collections":1135,"showCount":1136,"zanCount":628,"manualWeight":48,"mainColor":72},218892,"xie-sheng-hai-tang-tu-lin-chun-218892","写生海棠图","这幅画表现的是开花或含苞待放的海棠的一个单枝。花朵的颜色是白色粉末，带有一丝腮红，使它们变得精致而漂亮。",[23,24,7,1131,28,27,61,1132,549],"扇面","海棠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c6ee140dbb46294f76dd28443ed475a.jpg","23.4x24",[68],1048,{"id":1138,"slug":1139,"title":1140,"dynasty":124,"author":1141,"museum":244,"description":1142,"tags":1143,"thumbUrl":1145,"material":66,"size":1146,"collection":136,"collections":1147,"showCount":1148,"zanCount":419,"manualWeight":48,"mainColor":72},218464,"pin-cha-tu-wen-zheng-ming-218464","品茶图","文徵明","文徵明出身文人世家，一生大多优游山林，追求自然。作品中多为生活写照。一生嗜茶，曾自谓：「吾生不饮酒，亦自得茗醉。」他以茶入诗、入画、入书法，画中所表现的文人品茶，亦颇具代表性。　　此图绘与友人品啜雨前茶的场景。环境幽雅的草堂中，二人对坐品茗清谈，几上置茶壸、茶碗；堂外一人正过桥行来。茶寮内一童煽火煮泉，准备茶事，一场小型的文人茶会即将展开。",[23,24,7,165,27,28,133,29,96,1144,98,99,208,131,34],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cdac6d6888fc88e0be28c8cfb98e03d.jpg","88.3x25.2cm",[136],1044,{"id":1150,"slug":1151,"title":1152,"dynasty":124,"author":125,"museum":244,"description":1153,"tags":1154,"thumbUrl":1155,"material":66,"size":1156,"collection":68,"collections":1157,"showCount":1158,"zanCount":1105,"manualWeight":48,"mainColor":72},214361,"ping-zhong-la-mei-tu-shen-zhou-214361","瓶中蜡梅图","沈周是一个慷慨大方的人。他能写诗和书法，也善于绘画，山水、花果、鸟、鱼、动物、人物，他都了如指掌，他的作品有一种稚拙的形态，笔触钝而有力，墨色浓重，给人一种厚重感和力量感，有古人的趣味。在这幅《瓶中蜡梅》中，梅花的茎部被用笔触画出，就像山水中的一棵树，显示出它冷峻的姿态。",[23,24,7,165,27,61,371,169,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf9e9b4c56979665467b25f96882b252.jpg","140.6x31.6",[68],1021,{"id":1160,"slug":1161,"title":1162,"dynasty":144,"author":1163,"museum":244,"description":1164,"tags":1165,"thumbUrl":1166,"material":637,"size":1167,"collection":68,"collections":1168,"showCount":1169,"zanCount":430,"manualWeight":48,"mainColor":72},221741,"tai-ping-chun-se-zhou-zhang-zhong-221741","太平春色轴","张中","插花从花材的选择、色彩搭配、构图造型、乃至内涵意境都有了一定的要求。张中《太平春色》就是以插花为题材的绘画作品。",[23,24,7,165,28,27,61,263,169,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F056cf2082cbbbc43245d5e3aee80f4c8.jpg","99.1x41.1公分",[68,45],1017,{"id":1171,"slug":1172,"title":1173,"dynasty":18,"author":1174,"museum":161,"description":1175,"tags":1176,"thumbUrl":1177,"material":317,"size":1178,"collection":44,"collections":1179,"showCount":1180,"zanCount":586,"manualWeight":48,"mainColor":49},214927,"gui-qu-lai-xi-tu-li-tang-214927","归去来兮图","李唐","这幅长卷以陶渊明《归去来兮辞》的诗意风格绘制。它的开头是诗人放弃了他的官职，用一头驴子去了他的家，与他的家人团聚，云彩离开了山，抚摸着一棵孤独的松树，飘飘然。这首诗写在一条清澈的小河边，描述了诗人在隐居中的轻松生活。这是现存的几幅描绘陶渊明归隐的画卷之一，署名为 李唐，有北宋官印，说明是李唐在南下之前所做。",[23,164,24,7,25,128,27,132,29,96,97,98,99,34,130,210,35,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93bcea718693308f58c3eb85b4177b61.jpg","34.6x566.4",[44],1013,{"id":1182,"slug":1183,"title":1184,"dynasty":54,"author":55,"museum":1185,"description":1186,"tags":1187,"thumbUrl":1189,"material":1190,"size":1191,"collection":68,"collections":1192,"showCount":1193,"zanCount":505,"manualWeight":48,"mainColor":72},220996,"hua-hui-tu-ce-li-hua-yun-shou-ping-220996","花卉图册·梨花","美国纳尔逊阿特金斯艺术博物馆","《花卉图册》绘有荷花、梨花、水仙、桃花、山矾、罂粟、茶蘼、金萱石榴、牵牛、双凤、桂枝及雁来红等十二种花。画用新没骨法，不用墨线钩勒，而直接着色点染而成。点色的用笔很洒脱、飘逸。十二种花，各具姿色。色彩艳而不俗，色调的表情是清丽和冷艳，在秀雅之中含有一种凛然难犯的韵味。画册中，作者或题名或赋诗，那秀劲古逸、和婉密丽的书体，与这种艳雅的画风相结合，相得益彰，更具魅力。该图册是恽寿平绘画中的精品。\n恽寿平（1633—1690），初名格，字寿平，号南田，武进（江苏常州）人。其诗格超逸，书法遒劲，擅长山水画，尤精没骨花卉画，画笔生动。",[23,24,7,164,59,60,27,61,1188,624,208],"梨花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ced6b3440393ea70433c90398c4a22.jpg","纸本 设色","24.5×29.3cm",[68,45],1003,{"id":1195,"slug":1196,"title":1197,"dynasty":124,"author":204,"museum":244,"description":1198,"tags":1199,"thumbUrl":1201,"material":173,"size":254,"collection":44,"collections":1202,"showCount":1203,"zanCount":505,"manualWeight":48,"mainColor":72},219968,"han-gong-chun-xiao-tu-chou-ying-219968","汉宫春晓图","《汉宫春晓图》以人物长卷画，生动地再现了汉代宫女的生活情景。其用笔清劲而赋色妍雅，林木、奇石与华丽的宫阙穿插掩映，铺陈出宛如仙境般的瑰丽景象，极勾描渲敷之能事，体现了作者积极向上、热爱生活的人文思想，亦表达了他对宫廷浮华美好生活的赞美。\n《汉宫春晓图》是仇英平生得意之作，为中国十大传世名画之一，亦被誉为中国“重彩仕女第一长卷”。",[23,24,7,25,28,27,95,96,166,97,171,211,34,62,249,1200,250],"台阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72ef02bc84e372303950e1dc284071d3.jpg",[44],977,{"id":1205,"slug":1206,"title":1207,"dynasty":144,"author":1208,"museum":244,"description":1209,"tags":1210,"thumbUrl":1211,"material":278,"size":1212,"collection":136,"collections":1213,"showCount":1214,"zanCount":1105,"manualWeight":48,"mainColor":72},220150,"ni-zan-wang-meng-he-zuo-shan-shui-ni-zan-220150","倪瓒王蒙合作山水","倪瓒","独坐古松下。萧条遗世音（音字点去）心。青山列屏幛。流水奏鸣琴。安得忘机士。与我息烦襟。幽情寄豪楮。跫然闻足音。岁辛丑（西元一三六一年）四月五日东海倪瓒画松石望山图。并赋五言。奉寄文伯友兄。且以督屡约屡失期云。",[23,24,7,128,29,132,495,99,497,1144,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb857cc032888c84957bee595df2de89a.jpg","本幅 119.9x56.1公分、全幅 58公分",[136,117],972,{"id":1216,"slug":1217,"title":1218,"dynasty":54,"author":1219,"museum":146,"description":1220,"tags":1221,"thumbUrl":1222,"material":1223,"size":1224,"collection":68,"collections":1225,"showCount":1226,"zanCount":1116,"manualWeight":48,"mainColor":72},223230,"mei-hua-shi-nv-tu-ren-yi-223230","梅花仕女图","任颐","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[23,24,27,96,166,371,997,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09824e74b525459649eeeeac703e697c.jpg","纸本设色","103 1cmx36 6cm",[68,45],967,{"id":1228,"slug":1229,"title":1230,"dynasty":124,"author":1141,"museum":244,"description":1231,"tags":1232,"thumbUrl":1234,"material":66,"size":1235,"collection":44,"collections":1236,"showCount":1237,"zanCount":11,"manualWeight":48,"mainColor":72},214250,"shan-shui-tu-wen-zheng-ming-214250","山水图","画面上有一对夫妇坐在一个开放的亭子里，一个男孩拿着围巾站着，另一个男孩拿着门槛上的花瓶。在小屋的前后，竹子、松树和柳树被浓密的树荫包围。根据题词，这幅画似乎是对夏日家居生活的描写，而且画得非常好。",[23,24,7,59,128,27,28,132,34,331,1233,131,96,130,98],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9e62ddd3da73b17a21cd499e257c992.jpg","66.7x34.8",[44],964,{"id":1239,"slug":1240,"title":1241,"dynasty":54,"author":1242,"museum":77,"description":1243,"tags":1244,"thumbUrl":1245,"material":278,"size":84,"collection":117,"collections":1246,"showCount":1247,"zanCount":751,"manualWeight":48,"mainColor":72},216223,"han-mei-yi-zhi-hua-jin-nong-216223","寒梅一枝画","金农","金农（1862年－1930年）是清朝时期的画家，他以绘画寒梅花闻名。寒梅是一种以果实为名的花卉，它在冬季开花，而且十分耐寒，因此被称为寒梅。金农的画作中，寒梅通常是独自绽放的一朵花，或者是和其他花卉搭配使用。他的画风细腻，笔触细腻，很擅长描绘花卉的细微差别，并能真实地再现花朵的美丽和优雅。",[23,24,7,25,128,371,61,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11daab6d07b3e27d2714aa4ecfc5eece.jpg",[117],963,{"id":1249,"slug":1250,"title":1251,"dynasty":54,"author":55,"museum":56,"description":57,"tags":1252,"thumbUrl":1253,"material":66,"size":67,"collection":84,"collections":1254,"showCount":1255,"zanCount":1105,"manualWeight":48,"mainColor":72},214703,"chun-hua-tu-ba-kai-8-yun-shou-ping-214703","春花图八开-8",[23,24,164,7,59,60,27,61,603],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8d530ee660882b48ebb828a273983c9.jpg",[],925,{"id":1257,"slug":1258,"title":1259,"dynasty":18,"author":1174,"museum":244,"description":1260,"tags":1261,"thumbUrl":1262,"material":151,"size":1263,"collection":42,"collections":1264,"showCount":1265,"zanCount":751,"manualWeight":48,"mainColor":49},221574,"wan-he-song-feng-tu-li-tang-221574","万壑松风图","这幅画采取近观的“高远”表现法。近景为苍松石岸；中景为岗峦郁盘，穿插流泉悬瀑；远景的主峰突兀高耸，峰顶丛树密集，这三段景沿着画面的中轴线，由下往上堆栈，形成“高远”。画家藉由扩大前景，使画中的景物逼近观者，再将远景的主峰满塞画面，如一堵巨大的屏障，形成封闭的空间，让观者面对深幽的山谷，如临真景。",[164,24,7,165,132,128,27,29,1144,131,495,34,497,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F048d34f5c9c56804fbd20be818ef50e4.jpg","188.7×139.8公分",[42,136,117],912,{"id":1267,"slug":1268,"title":1269,"dynasty":124,"author":1270,"museum":56,"description":1271,"tags":1272,"thumbUrl":1273,"material":66,"size":1274,"collection":84,"collections":1275,"showCount":1276,"zanCount":1086,"manualWeight":48,"mainColor":72},216662,"hua-niao-ce-2-sun-ke-hong-216662","花鸟册-2","孙克弘","孙克弘的折枝画鸟画名重一时，是册共含牡丹、山茶、冬梅等花鸟画十六开，设色秀润清新，用墨精妙淡雅。孙克弘题引首：草木霑春。华亭克弘书。钤“雪居”朱文印、“汉阳长印”白文印。并自题“洞庭樵海张山人者，清贫守道，耻干谒人，真隐君子也。短褐一瓢，歌咏于青山白云中，消磨半生矣。兹老贫不能支吾薪水，因访余东皋雪堂，余又以贫不能为赠。聊写杂卉一册贻之。倘好事者以数斗易去，亦足为山人一箸之助也。汉阳守，华亭雪居孙克弘书并画。”",[24,7,59,27,28,61,547,747,171,548,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F331e0d82e712dc40afb5b3b91d67b4d4.jpg","纵31.7厘米，横61.8 厘米",[],911,{"id":1278,"slug":1279,"title":1280,"dynasty":54,"author":55,"museum":300,"description":1281,"tags":1282,"thumbUrl":1283,"material":84,"size":84,"collection":68,"collections":1284,"showCount":1285,"zanCount":1086,"manualWeight":48,"mainColor":72},235081,"yun-shou-ping-hua-hui-ce-yun-shou-ping-235081","恽寿平花卉册","此作为没骨写生，以清润淡彩晕染桃花，粉嫩花瓣层次自然，嫩枝新芽鲜活灵动，将春日桃花柔婉娇妍的姿态尽显笔底，不见勾勒之痕却形神兼备。\n\n画幅左侧搭配行书题诗，笔意舒展雅致，诗画相映，文心诗意融于花香之间，尽显文人花鸟画的清雅格调。整体设色明秀柔和，带着江南春日的温润诗意，把桃花轻俏柔美的娇态精妙铺展，笔墨间饱含悠然的抒情特质，尽显清隽雅致的文人意趣。",[24,7,59,27,61,209,208,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc05006248feb5fc43ca2e8c0e38ecde0.jpg",[68,45],908,{"id":1287,"slug":1288,"title":1289,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":1291,"thumbUrl":1292,"material":692,"size":1293,"collection":68,"collections":1294,"showCount":1295,"zanCount":1086,"manualWeight":48,"mainColor":72},239423,"shan-shui-hua-hui-ce-yun-shou-ping-239423","山水花卉册","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[24,7,59,60,27,62,63,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8eef68a8ee5bb0820ecadbf2acb5d76.jpg","Xcm*Xcm",[68,45],906,{"id":1297,"slug":1298,"title":1299,"dynasty":124,"author":125,"museum":1300,"description":1301,"tags":1302,"thumbUrl":1303,"material":611,"size":1304,"collection":136,"collections":1305,"showCount":1306,"zanCount":975,"manualWeight":48,"mainColor":72},220034,"dong-zhuang-tu-ce-zhi-bei-gang-shen-zhou-220034","东庄图册之北港","南京博物院","东庄是沈周的好友吴宽的庄园。原作有24幅，明末后只存21幅。",[23,164,24,7,59,128,132,29,413,168,99,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15ce1469f2e7f5176c41428873c3177e.jpg","纵28.6厘米，横33厘米",[136,45],904,{"id":1308,"slug":1309,"title":1310,"dynasty":54,"author":1311,"museum":56,"description":1312,"tags":1313,"thumbUrl":1315,"material":278,"size":1316,"collection":68,"collections":1317,"showCount":1318,"zanCount":11,"manualWeight":48,"mainColor":72},214687,"mei-hua-zhu-shi-tu-ce-wang-shi-shen-214687","梅花竹石图册","汪士慎","汪士慎（1785-1842）是清代著名画家，他的《梅花竹石图册》是他的一部杰作。\n\n这本图册包含了许多描绘梅花、竹子和石头的精美图画。汪士慎以其精湛的绘画技巧和对自然的热爱，捕捉了这些自然元素的精髓。他的作品常常被赞赏为具有浓郁的内涵和细腻的笔触。\n\n汪士慎的《梅花竹石图册》被认为是中国画的经典之作，并且被广泛收藏和展览。它们不仅展示了汪士慎的艺术才华，也提醒人们认识到自然界的美丽和精妙。",[24,7,59,128,188,371,167,1314,208],"石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F775e1c19a55ed4a95fa31138be1fa875.jpg","纵25 厘米 横31.5 厘米",[68],901,{"id":1320,"slug":1321,"title":1322,"dynasty":18,"author":1323,"museum":300,"description":1324,"tags":1325,"thumbUrl":1327,"material":173,"size":1328,"collection":68,"collections":1329,"showCount":1330,"zanCount":811,"manualWeight":48,"mainColor":49},218550,"lan-hua-tu-li-song-218550","篮花图","李嵩","篮中兰草姿态天然，素瓣轻舒似含清露，翠茎挺拔与垂落的花茎相映成趣。篮身纹理细密如织，经纬交错间见匠心，仿佛能触到竹篾的微凉。白花疏朗有致，或绽或敛，纤柔的藤蔓蜿蜒而出，添了几分野逸。沉褐底色晕染着时光的斑驳，更衬出花叶的洁净。笔致工细却不刻板，每一缕篮纹、每一片花瓣皆生动传神，清逸雅致的气息漫溢画面，如幽谷之风拂面，尽显宋画写实妙趣与诗意禅味。",[164,24,7,28,27,61,375,169,1326],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8408f396186afc2fca5cf5309eee9a8.jpg","26x23",[68],889,{"id":1332,"slug":1333,"title":1334,"dynasty":144,"author":1208,"museum":56,"description":1335,"tags":1336,"thumbUrl":1338,"material":611,"size":1339,"collection":68,"collections":1340,"showCount":1341,"zanCount":751,"manualWeight":48,"mainColor":72},219165,"yu-zhuang-qiu-ji-tu-ni-zan-219165","渔庄秋霁图","此图近景陂陀一片，五六株杂树如文士君子一般屹立其间，高洁清旷。中景湖水淡荡，空明澄净。远处几层矮坡，起伏有致，淡墨轻岚，没有一丝人迹，没有一声鸟语。该图静与道契，寂如枯禅，意境荒疏简远",[164,24,7,165,128,132,29,1337,171,415,414,497],"枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F470f625eec64440664af4e12339303f9.jpg","纵96厘米，横47厘米",[68],888,{"id":1343,"slug":1344,"title":1345,"dynasty":144,"author":1346,"museum":56,"description":1347,"tags":1348,"thumbUrl":1352,"material":278,"size":1353,"collection":136,"collections":1354,"showCount":1355,"zanCount":11,"manualWeight":48,"mainColor":72},214390,"yu-fu-tu-juan-wu-zhen-214390","渔父图卷","吴镇","这卷描绘了江南水乡的景象，地势辽阔，云山不分，水天一色。在苍茫的景象中，散落着十四个渔民快乐地来回操纵着他们的船，他们的动作各不相同，有的醉卧在夕阳下，有的独自在烟波中捕鱼，有的在网中捕鱼，有的在帐篷的窗户上听雨，丰富而生动。吴镇的技法成熟，墨色浓淡相宜，将精细的轮廓线与厚重的表现力结合起来，用阴沉的墨色和强烈的笔触，仅用有限的笔墨就描绘出长江以南广阔而混杂的风景。",[23,164,24,7,25,128,1349,132,129,1350,1351,34,496,31,33,133,208],"山水画","蓑笠","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd51c8d826dddc7c4be19c56c6b51be.jpg","33x651.6",[136],887,{"id":1357,"slug":1358,"title":1359,"dynasty":182,"author":223,"museum":300,"description":1360,"tags":1361,"thumbUrl":1368,"material":27,"size":84,"collection":44,"collections":1369,"showCount":1370,"zanCount":553,"manualWeight":48,"mainColor":49},219182,"dun-huang-yi-hui-guan-yin-tong-zi-tu-yi-ming-219182","敦煌遗绘观音童子图","画面氤氲着古朴慈悲的气息。观音端坐莲台，宝相庄严却含温婉，衣袂翩跹间藏着唐时雍容气度，手持净枝似欲洒下甘露。身后光环晕染开柔和光晕，将尘世喧嚣轻轻隔开。童子或捧莲趋前，稚手轻抬献清芬；或携枝凌空，小影翩跹逐流云，嬉闹之态与观音的静谧相映，更显佛法包容生机。岁月虽让色彩斑驳，却仍能窥见昔年绚丽，线条流畅如行云流水，每处细节皆藏敦煌艺术的厚重灵动，似在无声诉说千年信仰与美好。",[23,164,24,7,1362,187,27,28,1363,227,1364,1365,1366,1367],"壁画","观音","莲花","宝座","华盖","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc366f712b6d9c9d47ba3ab34ba8db06.jpg",[44],885,{"id":1372,"slug":1373,"title":1374,"dynasty":124,"author":1375,"museum":1376,"description":1377,"tags":1378,"thumbUrl":1379,"material":1380,"size":1381,"collection":136,"collections":1382,"showCount":1383,"zanCount":1014,"manualWeight":48,"mainColor":49},222322,"song-he-yan-nian-tu-tong-kai-222322","松鹤延年图","童垲","安徽省博物馆","此幅《松鹤延年图》寓意大吉，特别符合中国人对于吉祥、长寿的美好祈盼。画面中古树苍翠，松树蜿蜒摇曳；两只丹顶鹤身形高挑飘逸，如仙境来客一般；松树下开满吉祥的花朵，一派吉祥和谐的画意盎然纸上。",[23,24,7,164,165,28,27,61,372,722,131,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2b8b639eb9444922ba6b202fd5837fa.jpg","绢本，设色画","97.2CM*201.8",[136,45],884,{"id":1385,"slug":1386,"title":1387,"dynasty":124,"author":125,"museum":20,"description":1388,"tags":1389,"thumbUrl":1390,"material":173,"size":1391,"collection":44,"collections":1392,"showCount":1393,"zanCount":738,"manualWeight":48,"mainColor":72},218406,"cang-zhou-qu-tu-shen-zhou-218406","沧洲趣图","此图所绘沧州为明代属直隶河间府的沧州，地处北方，沈周未曾到过，他只是表现山川之性和趣，故图名“沧洲趣”。画面作平远布局，主要撷取江南水乡的景致，山丘逶迤，水面浩渺，坡岸伸展，杂树成林，一派南方山川秀丽风光。同时又融入了北方山峦雄阔之势，积叠的山石多尖峻的棱角，显得坚硬凝重，坡岸、平台亦转折尖直，棱角分明，其质地多呈北方石山的特征，无疑增添了山川的雄健宏阔气势。画法亦源自董巨，运用善于表现江南山水的披麻皴、点苔、圆润中锋和水墨渲染等技法，然运笔于中锋中时见外笔、侧锋，转折粗重，平台轮廓多整饬线条，细劲有力；披麻皴也变为研拂式的短笔皴，率意凝重；点苔亦墨深笔厚，圆横交错。总体笔墨形式刚柔相济，苍中带秀，既具董巨的秀润之韵，又呈较强的硬度和力感，恰当地表现了沈周心目中的沧州之趣。\n后纸自题是对本图艺术表现的很好的注脚。意即作为文人画家所崇尚的前贤董源、巨然，描绘自然山水犹如名医仓扁用药，是先了解本性，后求其形状，于是无往而不易，必深得山水之真性情。倘一味摹仿董巨的笔墨形式，则仅得董巨之外表形貌，自然山水的真性情却丧失了，所谓“求董巨而遗山水”。沈周创作此画，即从表现自身所熟悉的自然山水出发，并着重揭示其本性和真趣，在此前提下才灵活运用董巨的笔墨，故虽自谓“予此卷又非敢梦董巨者也”，实则却深悟了董巨山水之妙并得其遗意。可见沈周对“师法古人”和“师法自然”两者的认识是相当辩证的，也是他卓然有成的原因之一。",[23,24,7,25,128,132,29,171,98,99,129,331,130,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3340e8d4cf315e123b32737734c3c569.jpg","纵30.1厘米，横400.2厘米",[44,136,45],877,{"id":1395,"slug":1396,"title":1397,"dynasty":18,"author":223,"museum":244,"description":1398,"tags":1399,"thumbUrl":1401,"material":173,"size":1402,"collection":42,"collections":1403,"showCount":1404,"zanCount":346,"manualWeight":48,"mainColor":49},218717,"xin-shao-hua-niao-tu-yi-ming-218717","新韶花鸟图","画中山茶花、梅花、菊花和水仙花围绕着海石盛开，各种植物和叶子交相辉映，一对麻雀在一旁观望，画面十分丰富。除了画底没有鸟之外，这幅作品的构图和表达方式与宋代李迪的《花鸟图》和南唐徐熙的《玉堂富贵图》相似。宋代郭若虚的《图说》中提到，南唐时有一种用于悬挂在宫殿中的 亭花，这可能是后来明代的仿制品。",[23,164,24,7,165,28,27,61,62,1400,131,230,1039,355],"禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91b842f5975229d677278c15f942eb45.jpg","83.4x28.9",[42],864,{"id":1406,"slug":1407,"title":1408,"dynasty":54,"author":1409,"museum":56,"description":1410,"tags":1411,"thumbUrl":1412,"material":66,"size":84,"collection":44,"collections":1413,"showCount":1414,"zanCount":1105,"manualWeight":48,"mainColor":72},214611,"hong-lou-meng-ren-wu-ce-ye-yu-lan-214611","红楼梦人物册页","喻兰","喻兰(1742—1809)，字韵斋，号少兰，桐庐人。清代女画家。嘉庆三年(1798)，朝廷以命题考选画师，喻兰匠心独具，布景设色无不恰合题意，以第二名录取。不久，选入内廷，任画苑供奉职。喻兰擅画人物、仕女，用笔浓重，虽不脱画院派习气，却无纤弱之嫌。画楼台殿阁，往往参照西洋手法，信手画来，无不神韵毕致，惟妙惟肖。\n此册页所画为古典四大名著《红楼梦》第二十七回“埋香冢飞燕泣残红”中黛玉葬花的场景。",[24,7,59,27,96,166,171,99,331,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faab150ff0a3409c18b30e7aba25d52c8.jpg",[44],863,{"id":1416,"slug":1417,"title":1418,"dynasty":18,"author":397,"museum":244,"description":1419,"tags":1420,"thumbUrl":1430,"material":173,"size":1431,"collection":44,"collections":1432,"showCount":1433,"zanCount":1105,"manualWeight":48,"mainColor":49},214251,"wen-hui-tu-zhao-ji-214251","文会图","文会图是宋代诗人赵佶的一幅代表作。这幅画作描绘了文会图的美丽风景。\n\n文会图位于宋代的江西省，是一座著名的风景名胜。它有着壮丽的山水景色，群山环绕，江河纵横。这里的山川秀美，让人流连忘返。\n\n在这幅画作中，赵佶巧妙地捕捉了文会图的美丽景色。他用浓墨重彩的画法，勾勒出了文会图的群山和江河。他还描绘了文会图周围的古迹和古建筑，让人感受到了宋代文化的博大精深。\n\n总之，文会图是一幅精美的画作，描绘了文会图的美丽风景。它让我们感受到了宋代诗人赵佶对自然的崇敬之情，也让我们感受到了宋代文化的魅力。",[23,24,7,27,28,96,34,247,1421,1422,1423,1424,1425,64,1426,1427,251,1428,1429],"饮酒","桌椅","餐具","文人","聚会","场景描绘","细致写实","园林","题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d9e09405eba855cbe3e826712631928.jpg","184.4x123.9",[44],862,{"id":1435,"slug":1436,"title":1437,"dynasty":124,"author":1438,"museum":56,"description":1439,"tags":1440,"thumbUrl":1441,"material":278,"size":1442,"collection":68,"collections":1443,"showCount":1444,"zanCount":1105,"manualWeight":48,"mainColor":72},214646,"hua-hui-ce-1-chen-chun-214646","花卉册-1","陈淳","陈淳（1483—1544），字道复,后以字行,更字复甫,号白阳,又号白阳山人，江苏苏州人。曾从文徵明学画，但是不拘于师法，山水、花卉自具门径。花卉善写意，淡墨浅色，生动有致。与徐渭并称“青藤白阳”，代表明中期水墨写意花鸟画的新格调，是吴门画派的代表画家。\n用笔简洁，笔势潇洒，行笔迅疾，许多花卉草虫仅用深浅浓淡的不同墨色，却能完整地表达出物象的形状及立体效果，富有生意，具有强烈的笔墨情趣。",[24,7,128,369,61,263,624,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb58cc937edc184830f80264b72f580f3.jpg","纵28 厘米 横37.9 厘米",[68],853,{"id":1446,"slug":1447,"title":1448,"dynasty":18,"author":1449,"museum":300,"description":1450,"tags":1451,"thumbUrl":1452,"material":151,"size":1453,"collection":42,"collections":1454,"showCount":1455,"zanCount":586,"manualWeight":48,"mainColor":49},221182,"mei-zhu-tu-ye-ma-lin-221182","梅竹图页","马麟","绿竹丛中逶迤伸出白梅两枝，清丽冷艳",[23,164,24,7,59,28,27,61,371,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d26a148f7c6e0c7598c67b7543456d8.jpg","纵26厘米，横26.5厘米",[42,68,45],851,{"id":1457,"slug":1458,"title":1459,"dynasty":54,"author":1460,"museum":300,"description":1461,"tags":1462,"thumbUrl":1463,"material":1464,"size":1465,"collection":117,"collections":1466,"showCount":1467,"zanCount":1086,"manualWeight":48,"mainColor":72},224526,"ku-mu-zhu-shi-tu-juan-shi-tao-224526","枯木竹石图卷","石涛","石涛（1642一约1707），清代画家、中国画一代宗师。法名原济，一作元济。本姓朱，名若极。字石涛，又号苦瓜和尚、大涤子、清湘陈人等。广西全州人，晚年定居扬州。明靖江王后裔，幼年遭变后出家为僧，半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。",[23,24,7,25,128,132,454,167,1314,29,372,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e40f18081971367110555976691d9e.jpg","纸本墨笔","纵23.5厘米，横213.5厘米",[117],845,{"id":1469,"slug":1470,"title":1471,"dynasty":54,"author":1472,"museum":244,"description":1473,"tags":1474,"thumbUrl":1476,"material":66,"size":1477,"collection":68,"collections":1478,"showCount":1479,"zanCount":751,"manualWeight":48,"mainColor":72},219433,"teng-hua-shao-yao-zhou-zou-yi-gui-219433","藤花芍药轴","邹一桂","紫藤藤蔓虬曲伸展，紫蓝花穗垂落如串串玉珠，枝叶葱茏带露；下方芍药竞放，白瓣皎洁如霜，粉蕊柔婉似云，红苞艳若丹砂，叶片舒展有致，脉络清晰可见。设色清丽雅致，线条细腻灵动，花叶的姿态鲜活自然，尽显春日芳菲的生机与韵致。笔墨间藏着对自然的深情体察，每一处细节都透着工笔花卉的精妙之美，雅致中蕴蓬勃活力，宛如将春日一隅凝于绢素之上。",[24,7,165,28,27,61,1475,829,208,62],"藤花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46a37dff9eccfbfc632eca571c3b1785.jpg","129.1x60.8",[68],836,{"id":1481,"slug":1482,"title":1483,"dynasty":18,"author":223,"museum":244,"description":1484,"tags":1485,"thumbUrl":1486,"material":173,"size":1487,"collection":68,"collections":1488,"showCount":1489,"zanCount":751,"manualWeight":48,"mainColor":49},218394,"shan-cha-mei-hua-tu-yi-ming-218394","山茶梅花图","此幅绘腊梅，山茶，麻雀。设色雅丽，笔墨造型古拙，唯用笔布置更接近陈洪绶、王武画格，故宋画气息不足。",[23,24,7,165,61,28,27,649,650,355,624,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1719fc6f38b792b19b924b5c41056d6.jpg","33.6x46.7",[68],833,{"id":1491,"slug":1492,"title":1057,"dynasty":18,"author":620,"museum":244,"description":1493,"tags":1494,"thumbUrl":1496,"material":253,"size":1497,"collection":42,"collections":1498,"showCount":1499,"zanCount":419,"manualWeight":48,"mainColor":49},221299,"sui-chao-tu-zhao-chang-221299","与过年有关的节令画在古代多称之为“岁朝图”，大致兴起于宋代，徽宗时期宫廷绘画艺术得到了空前的发展。《岁朝图》的本质就是高级年画。所谓“岁朝”是一年之初的文艺叫法。历来的文人皇帝很喜欢用这样的画往来友人赏赐臣下，恭贺新禧。",[23,164,24,7,165,27,28,61,62,1495,1057],"奇石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda10c5d8b72f237927104c275194e0a4.jpg","103.8×51.2cm",[42,68,45],830,{"id":1501,"slug":1502,"title":1503,"dynasty":54,"author":1504,"museum":77,"description":1505,"tags":1506,"thumbUrl":1507,"material":278,"size":84,"collection":68,"collections":1508,"showCount":1509,"zanCount":738,"manualWeight":48,"mainColor":72},216366,"jing-ji-cong-lan-tu-zheng-ban-qiao-216366","荆棘从兰图","郑板桥","郑板桥是一位著名的清朝画家，他创作的《荆棘丛兰图》是一幅工笔画作品，以荆棘丛生的兰花为主题。这幅画用精细的笔法勾勒出了兰花的各个细节，如花瓣、花茎、花药和荆棘。整幅画给人以自然美的感受，同时也体现出了郑板桥在工笔画技法上的精湛技艺。",[23,24,7,25,128,369,64,133,208,375,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd1b681b72b4ba6f2e49e8cac42d39fb.jpg",[68],816,{"id":1511,"slug":1512,"title":1513,"dynasty":18,"author":19,"museum":20,"description":21,"tags":1514,"thumbUrl":39,"material":40,"size":41,"collection":42,"collections":1517,"showCount":1518,"zanCount":751,"manualWeight":48,"mainColor":49},221382,"qian-li-jiang-shan-tu-wang-xi-meng-221382","千里江山图",[23,24,164,7,25,26,27,28,132,29,496,31,98,34,1515,1516,37,38],"亭台","舟船",[42,44,45],809,{"id":1520,"slug":1521,"title":1522,"dynasty":124,"author":204,"museum":20,"description":1523,"tags":1524,"thumbUrl":1526,"material":40,"size":1527,"collection":44,"collections":1528,"showCount":1529,"zanCount":11,"manualWeight":48,"mainColor":72},222194,"ren-wu-gu-shi-tu-gui-fei-xiao-zhuang-chou-ying-222194","人物故事图-贵妃晓妆","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[23,24,164,7,28,27,96,166,97,34,249,1200,211,62,1525,170],"器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6305566e747339ff404852138f61f051.jpg","每开纵41.4厘米，横33.8厘米",[44,45],808,{"id":1531,"slug":1532,"title":1533,"dynasty":18,"author":223,"museum":56,"description":1534,"tags":1535,"thumbUrl":1536,"material":173,"size":1537,"collection":42,"collections":1538,"showCount":1539,"zanCount":1014,"manualWeight":48,"mainColor":49},218560,"ye-he-hua-tu-yi-ming-218560","夜合花图","画的是一枝两朵夜来香花，右枝花含苞待放，左枝花半开半合，洁白如玉，气质高雅。花朵被轻轻地勾勒和上色，用白色粉末点缀花蕊，用少量浅色墨水给拖曳的花朵上色。绿叶前后间隔，白花绿叶，色彩淡雅，让人赏心悦目。",[164,24,7,1131,27,28,61,547,549,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6405700bb70527a1c1a9640d967df709.jpg","23.9x25.4",[42,68],804,{"id":1541,"slug":1542,"title":1543,"dynasty":18,"author":1091,"museum":244,"description":1544,"tags":1545,"thumbUrl":1546,"material":278,"size":1547,"collection":318,"collections":1548,"showCount":1549,"zanCount":751,"manualWeight":48,"mainColor":72},214696,"huang-zhou-han-shi-tie-su-shi-214696","黄州寒食帖","关于黄州寒食的诗写于1082年，这本书肯定是在这个日期之后写的。在这首诗中，东坡自己的悲伤和感慨之情溢于言表，行与行之间的节奏变化也随着文本的各种情绪波动而变化。在这卷书法中，字的大小是结合在一起的，如 年、中、苇、纸 等字，最后一笔直下，形成长竖，在线条的设计和线条的气韵上，以及整个篇章上，形成了特殊的行间白。苏东坡是宋代商彝书风的代表人物之一。黄庭坚在1100年农历九月前为此卷写了一篇后记，字的大小比东坡的寒食诗要大。",[164,7,64,133,25,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7723c13ef48428ea30b7065ed74c254.jpg","34.2x199.5",[318],803,{"id":1551,"slug":1552,"title":1553,"dynasty":18,"author":686,"museum":524,"description":1554,"tags":1555,"thumbUrl":1558,"material":561,"size":1559,"collection":42,"collections":1560,"showCount":1561,"zanCount":738,"manualWeight":48,"mainColor":49},221395,"xue-jing-han-lin-tu-fan-kuan-221395","雪景寒林图","《雪景寒林图》描写北方冬日山川雪后壮美景象。图中通过群峰屏立，山势高耸，深谷寒柯间，萧寺掩映；古木结林，板桥寒泉，流水从远方迂回而下，峰峦沟壑间云气万千，真实生动地表现了秦陇山川雪后的磅礴气象。全画布置严整有序，笔墨质朴厚重。画家用“抢笔”笔法，密点攒簇，并参以短条子的笔道，来刻画北方山石的质感，使画面浑厚滋润，沉着典雅。",[23,24,7,29,132,128,165,1556,1557,131,34,228,130],"雪","寒林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc63124132a59c2b69ad427d2058e8b.jpg","纵193.5厘米 横160.3厘米",[42,136,117],800,{"id":1563,"slug":1564,"title":1565,"dynasty":54,"author":55,"museum":56,"description":57,"tags":1566,"thumbUrl":1567,"material":66,"size":67,"collection":84,"collections":1568,"showCount":1569,"zanCount":738,"manualWeight":48,"mainColor":72},214705,"chun-hua-tu-ba-kai-5-yun-shou-ping-214705","春花图八开-5",[23,24,7,59,61,27,60,263,549,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe56baf02b8d416236f5828d6ab4cc83.jpg",[],793,{"id":1571,"slug":1572,"title":1573,"dynasty":124,"author":1574,"museum":300,"description":1575,"tags":1576,"thumbUrl":1579,"material":173,"size":1580,"collection":44,"collections":1581,"showCount":1582,"zanCount":419,"manualWeight":48,"mainColor":49},216367,"ri-ben-chang-hen-ge-tu-juan-xia-juan-shou-ye-shan-xue-216367","日本· 长恨歌图卷(下卷)","狩野山雪","整套作品分为两卷，大约在1646年绘制，描绘了唐明皇和杨贵妃之间凄美的爱情故事。上卷描绘了从汉朝皇帝爱国到杨贵妃死在马嵬坡的爱情故事。第二卷主要讲述明朝皇帝对她的无尽思念。",[23,24,7,25,27,28,95,96,97,29,34,98,99,1516,1515,131,906,247,1577,372,1578,31,496,758],"人群","柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5351026af241a489e28ccc88099154e8.jpg","31.5x1070",[44,45],775,{"id":1584,"slug":1585,"title":1586,"dynasty":326,"author":1587,"museum":20,"description":1588,"tags":1589,"thumbUrl":1591,"material":278,"size":1592,"collection":318,"collections":1593,"showCount":1594,"zanCount":48,"manualWeight":48,"mainColor":72},214582,"yu-hou-tie-wang-xi-zhi-214582","雨后帖","王羲之","《雨后帖》传为王羲之所书的一通信札，所谈之事不可考，书字不够规范，个别字难于辨认。",[7,64,1590,840,208,128,59],"字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd65b1f972a6e224b50a9893ad0e555b0.jpg","25.7x14.9",[318],771,{"id":1596,"slug":1597,"title":1598,"dynasty":124,"author":125,"museum":510,"description":1599,"tags":1600,"thumbUrl":1601,"material":1602,"size":1603,"collection":136,"collections":1604,"showCount":1605,"zanCount":1086,"manualWeight":48,"mainColor":72},222103,"shan-shui-zhou-wei-yuan-ya-ji-shen-zhou-222103","山水轴魏园雅集","沈周在此画中营造了一种山水亭榭，林泉雅集的氛围。远处峰峦陡起，轻披薄雾。近处山顶与中部山腰，露出多处缓缓向上的台地，泉水从山涧飞流直下,汇成棕棕小溪。溪水旁有一小桥，茅亭内四人席地而坐，书童侧立一旁正听候主人吩咐，一老者拽杖而来。山上山下，草木葱，叶红似火的枫叶点缀其间，更添几分胜地雅集美景。\n《魏园雅集图》上端题有沈周、祝颢、刘珏、陈述等人的诗文。祝颢的题诗“城市多喧隘，幽人自结庐。行藏循四勿，事业藉三余。留客尝新酿，呼孙倍旧书。悠悠清世里，何必上公车”正是画家借描绘自然景色来传达自己想隐逸山林、过一种悠闲的田园生活的写照。\n在《魏园雅集图》中，沈周采取了不同于同类题材的处理手法。画中，会晤场景占很小一部分，人物多为点景式。画家主要借寓意性的自然景色来抒发友情。这幅画以山水为主：远处峰峦陡起，轻披薄雾；近处山顶与中部山腰，泉水飞流直下，汇成淙淙小溪；溪水旁有一小桥，岸畔置一茅亭。茅亭内，四人席地而坐，书童抱琴侍立一侧。山径上，一老者执杖而来。山上山下，草木葱茏，叶红似火的枫树点缀其间，为魏园增添了几分秀色。\n《魏园雅集图》主要沿袭董源、巨然的画风，辅以黄公望式的平台构图，布局实中有虚，有疏朗之感。从画中可以明显地看出画家对块面因素的苦心经营：山石施以披麻皴，显得粗犷有力；皴笔的疏密变化，加强了画面的黑白对比。尤其是画面中间那块留白较多、向右上方层层叠加的石坡将四周较暗的部分撑开，形成一种张力。在描绘山体的局部层次上，沈周采用视点移动的方法。这是他惯用的手法。他中年创作的《庐山高图》就采取了这种方法。《魏园雅集图》中，他取法王蒙，以浓墨点苔，用墨浓淡相间。沈周的山水画在表现形式上呈现早年细、晚年粗的特点。《魏园雅集图》的画风正处于由细变粗的时期，是他画风转变期的作品。\n该作品中营造了一种山水亭榭，林泉雅集的氛围。远处峰峦陡起，轻披薄雾。画家皴染兼施，构筑的画面气魄雄浑沉静，实为诗书画熔为一炉的山水佳作。",[23,24,7,165,128,132,64,133,208,29,130,96,331,663,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06bd050b49302cf802dccc628eaaae1e.jpg","纸本、设色。","纵145.5厘米，横47.5厘米。",[136],763,{"id":1607,"slug":1608,"title":1609,"dynasty":351,"author":1610,"museum":20,"description":1611,"tags":1612,"thumbUrl":1615,"material":151,"size":1616,"collection":136,"collections":1617,"showCount":1605,"zanCount":811,"manualWeight":48,"mainColor":49},221154,"xiao-xiang-tu-dong-yuan-221154","潇湘图","董源","本幅无作者款印，明朝董其昌得此图后视为至宝，并根据《宣和画谱》中的记载，定名为董源《潇湘图》，后入清宫内府收藏。\n“潇湘”指湖南省境内的潇河与湘江，二水汇入洞庭湖，“潇湘”也泛指江南河湖密布的地区。图绘一片湖光山色，山势平缓连绵，大片的水面中沙洲苇渚映带无尽。画面中以水墨间杂淡色，山峦多运用点子皴法，几乎不见线条，以墨点表现远山的植被，塑造出模糊而富有质感的山型轮廓。墨点的疏密浓淡，表现了山石的起伏凹凸。画家在作水墨渲染时留出些许空白，营造云雾迷濛之感，山林深蔚，烟水微茫。山水之中又有人物渔舟点缀其间，赋色鲜明，刻画入微，为寂静幽深的山林增添了无限生机。五代至北宋初年是中国山水画的成熟阶段，形成了不同风格，后人概括为“北派”与“南派”两支。董源此图被画史视为“南派”山水的开山之作。",[23,24,7,25,29,128,27,1613,31,34,1614,129,96,37],"披麻皴","沙洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F308d33bc50ae0832cf73078880eca1a6.jpg","纵50厘米，横141.4厘米",[136,117],{"id":1619,"slug":1620,"title":1621,"dynasty":18,"author":1622,"museum":300,"description":1623,"tags":1624,"thumbUrl":1625,"material":173,"size":1626,"collection":68,"collections":1627,"showCount":1605,"zanCount":11,"manualWeight":48,"mainColor":72},218581,"hua-niao-shan-shui-xiao-pin-ce-shan-cha-ma-yuan-218581","花鸟山水小品册-山茶","马远","分别绘茶花、牡丹、葡萄、桃子，色彩鲜艳，用笔精致。山水绘山阁远眺，策杖登高，孤棹泛波，意趣悠然。",[23,24,7,59,61,27,28,208,649,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e793eaf7b0fe061b674b3389ac383bd.jpg","33*19",[68],{"id":1629,"slug":1630,"title":1631,"dynasty":54,"author":1219,"museum":56,"description":1632,"tags":1633,"thumbUrl":1635,"material":173,"size":1632,"collection":68,"collections":1636,"showCount":1637,"zanCount":738,"manualWeight":48,"mainColor":72},218893,"fu-rong-bai-mao-tu-zhou-ren-yi-218893","芙蓉白猫图轴","纵134.2厘米，横47.8厘米",[23,24,164,7,165,28,27,61,373,1634,171],"猫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ad6bc3e192fef53d9ce6256744d731.jpg",[68],755,{"id":1639,"slug":1640,"title":1641,"dynasty":124,"author":1642,"museum":244,"description":1643,"tags":1644,"thumbUrl":1646,"material":151,"size":1647,"collection":136,"collections":1648,"showCount":1649,"zanCount":11,"manualWeight":48,"mainColor":49},222031,"chun-you-wan-gui-tu-dai-jin-222031","春游晚归图","戴进","这幅画的笔墨多取法自南宋时代的马远、夏圭一派，构图上虽然仍然旧沿袭著南宋院画体系风格，保留了大部分空虚的地方，但是画面比较平板，近景和远山几乎是在同一平面上，比较缺乏景致空间的深度。这也是浙派绘画的共同特色之一。画上并没有作者的落款和印章，但是从画风，再比照其它画作来看，似可推断是戴进在北京时期的作品。\n综合其它传世作品来看，戴进除了兼法宋、元诸家以外，受到南宋马远、夏珪「院体」一派画风的影响比较深。但是他继承古人传统，而不为成法所拘，能够发展变化，自出新意。这件作品为戴进基於马远、夏圭风格，而更近一步，大胆强调丰富笔墨效果的杰作。绘画技法功力深厚，笔墨灵活而变化多端，奔放中不失法度，严谨中又富有潇洒俊逸的格调，是代表戴进风格的典型作品之一。",[23,24,7,165,27,29,96,97,98,99,372,131,413,1645,130],"路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f535fa828d9c60097457ceb913a5fff.jpg","167.9x83.1公分",[136,117],752,{"id":1651,"slug":1652,"title":1653,"dynasty":54,"author":55,"museum":244,"description":1654,"tags":1655,"thumbUrl":1656,"material":637,"size":1657,"collection":68,"collections":1658,"showCount":1659,"zanCount":738,"manualWeight":48,"mainColor":72},220978,"hua-hui-shan-shui-he-ce-yun-shou-ping-220978","花卉山水合册","恽寿平传世作品极多，主要有《红梅山茶图》《桃花图》《 三友图》《林居高士图》等，笔墨润秀，神完气足。其没骨花卉画柔美秀雅，开创了一代新风，时人争相仿效。\n王翚有《康熙南巡图》(与杨晋等人合作)、《秋山萧寺图》、《虞山枫林图》、《秋树昏鸦图》、《芳洲图》（常熟博物馆藏）等传世。着有《清晖画跋》。",[23,24,7,164,27,60,61,62,59,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79d394a60f3fe31f74cc2a4529d753ab.jpg","43x29厘米",[68,45],750,{"id":1661,"slug":1662,"title":1663,"dynasty":144,"author":1346,"museum":20,"description":1664,"tags":1665,"thumbUrl":1666,"material":1667,"size":1668,"collection":117,"collections":1669,"showCount":1671,"zanCount":975,"manualWeight":48,"mainColor":199},220780,"mo-zhu-po-shi-tu-wu-zhen-220780","墨竹坡石图","此图绘平坡拳石，竹枝斜垂。图中平坡直以淡墨晕染，拳石则重墨勾画轮廓，复以浓淡相间的墨色加以皴染，笔墨浑厚苍润。画面上方几茎竹枝斜斜垂入画面，不仅得“意在画外”之趣，且其插入的角度与取倾侧之势的坡石相呼应，使画面趋于平衡。整体画面欹中寓平，稳中求变，表现出作者控制全局的高超技巧。\n全图取景简洁，意境清幽，正如时人孙大雅《墨竹记》中所云：“……其趣适常在山岩林薄之下，故其笔类有幽远闲放之情，殊乏贵游子弟之气……”正道出了此图意趣之所在。",[23,24,7,165,128,167,171,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F162c658d1d21976ed1ec52ed3d2446e9.jpg","纸本 墨笔","90cmx24cm",[117,1670],"竹石精选",747,{"id":1673,"slug":1674,"title":1675,"dynasty":54,"author":1676,"museum":1300,"description":1677,"tags":1678,"thumbUrl":1679,"material":173,"size":1680,"collection":68,"collections":1681,"showCount":1682,"zanCount":11,"manualWeight":48,"mainColor":72},220435,"yu-lan-mu-dan-tu-li-shan-220435","玉兰牡丹图","李鱓","此幅是李复堂较为工致的一幅写生花卉图，玉兰树极具生发之姿，玉兰花怒放，生机无限。巨石旁白牡丹，柔美富贵，体现了扬州画派与世相偕的入世画风。",[23,24,7,165,27,128,133,208,61,356,263,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9586eb66cdeb4091ec3d5d734d3a1a44.jpg","138.1×69.8cm",[68,45],738,{"id":1684,"slug":1685,"title":1686,"dynasty":980,"author":1687,"museum":1688,"description":1689,"tags":1690,"thumbUrl":1693,"material":84,"size":84,"collection":84,"collections":1694,"showCount":1695,"zanCount":975,"manualWeight":48,"mainColor":72},220495,"zhang-da-qian-lin-mo-dun-huang-bi-hua-wan-tang-ji-le-pu-sa-er-shen-xiang-heng-pi-zhang-da-qian-220495","张大千临摹敦煌壁画晚唐伎乐菩萨二身像横批","张大千","四川博物院","两位伎乐菩萨乘云飞渡，左者擎磬抬手，身姿劲挺，青绿朱红的飘带随风夭矫。右者怀拥弦乐，眉眼柔婉，暖橙长裙如流火舒展。\n\n配色沿用壁画古雅石色，石青与朱砂晕染出厚重的岁月质感，婉转游丝勾勒出菩萨丰腴端丽的体态，复刻出晚唐飞天雍容灵动的神韵，将佛国伎乐的缥缈清姿凝于素纸，让千年前的敦煌雅韵重绽华彩，尽显东方佛境的空灵曼妙。",[23,24,7,1691,330,1692,1362,27,96,187,438],"横批","敦煌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6710f185c0c825ce5735949a2356da6.jpg",[],735,{"id":1697,"slug":1698,"title":1699,"dynasty":124,"author":802,"museum":56,"description":1700,"tags":1701,"thumbUrl":1702,"material":173,"size":84,"collection":68,"collections":1703,"showCount":1704,"zanCount":751,"manualWeight":48,"mainColor":49},219749,"chun-feng-jia-die-tu-chen-hong-shou-219749","春风蛱蝶图","陈洪绶（1598-1652年），字章侯，号老莲，别号老迟、悔迟，浙江诸暨人。此图作于顺治八年（1651)，画赠老友戴茂齐。所绘山雀、竹枝、海棠、水仙、蛱蝶、怪石、梨花，设色妍丽，富有装饰意味。卷末有作者自题，据此可知：是年秋天，画家曾以一金购得文徵明画一幅，戴茂齐喜之，遂赠之。后数日，友人丁秋平之子病重，陈氏借戴一金，赠以资汤药。孟冬，画家又作《博古叶子》一本赠戴，时家中乏米，借戴一金，故作此卷酬之。",[24,7,25,27,28,188,208,64,61,371,375,167,374,481,355,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f9e4cf48118d09a7f3ae27d2908752.jpg",[68],712,{"id":1706,"slug":1707,"title":1708,"dynasty":124,"author":125,"museum":1300,"description":1709,"tags":1710,"thumbUrl":1711,"material":317,"size":1712,"collection":136,"collections":1713,"showCount":1714,"zanCount":1105,"manualWeight":48,"mainColor":49},219903,"shan-ju-du-shu-tu-shen-zhou-219903","山居读书图","沈周（1427—1509），字启南，号石田，自称白石翁，江苏苏州人。山水少承家法，凡宋元名手，皆能变化出入，而独于董源、巨然、李成尤得心印。中年以黄公望为宗，晚乃醉心吴镇、倪瓒。四十以前画盈尺小景，四十后始拓为大幅。其画以水墨山水为艺林绝品，浅绛者次之，其大设色者尤妙，但存世稀少。人物、花鸟，无一不入神品。本幅即为仿倪之作，笔法遒劲，风格萧疏。",[24,7,165,128,132,64,208,29,413,167,131,35,99,1337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad65f1285b34c33d679d0516bef2374a.jpg","纵116.6厘米 横28.8厘米",[136],708,{"id":1716,"slug":1717,"title":1718,"dynasty":124,"author":366,"museum":20,"description":1719,"tags":1720,"thumbUrl":1721,"material":1722,"size":1723,"collection":84,"collections":1724,"showCount":1725,"zanCount":975,"manualWeight":48,"mainColor":72},222235,"shui-mo-mu-dan-tu-zhou-xu-wei-222235","水墨牡丹图轴","本幅自识：“四月九日，萧伯子觞吾辈于新复之兰亭，时费先生显父至自铅山，李兄子遂父至自建阳，并有作。余勉构一首，书小染似伯子。命驾皆千里，流觞复九回。马嘶不出谷，鸟影屡横杯。分水邻封会，双珠明月胎。今朝修褉地，益见永和才。天池中漱者渭。铅建两道，首尾相接，共分水一关，故颈联云。”钤：“文长氏”（白文）、“天池漱仙”（白文）、“青藤道士”（白文）印。鉴藏印：“苏士伯安珍藏”（朱文）、“正气斋鉴赏印”（白文）。\n牡丹是徐渭最喜欢画的花卉之一。徐渭的大笔写意牡丹前无古人。他不用色彩，仅以泼墨为之，无论花头及叶皆大笔点染而成，仅枝茎及叶脉用线条画出。此作牡丹花头用蘸墨法点花瓣，花瓣内端深外端浅，花头中部浅周边深。花头点成后，趁湿用重墨点花蕊。整幅作品无论布局、笔墨，均泼辣豪放，气势逼人，立意鲜明，水墨润泽，极有生意。虽是水墨画成，却有富贵庄严之相，属徐渭代表作之一。",[23,24,164,7,165,128,61,263,549,64,208,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c1c40badc99d0d04f50672ffd7e4ff6.jpg","纸本，墨笔","纵109.2厘米，横33厘米",[],704,{"id":1727,"slug":1728,"title":1729,"dynasty":54,"author":55,"museum":56,"description":1730,"tags":1731,"thumbUrl":1732,"material":1733,"size":1734,"collection":68,"collections":1735,"showCount":1725,"zanCount":975,"manualWeight":48,"mainColor":72},219822,"hua-hui-shi-kai-yun-shou-ping-219822","花卉十开","此作以没骨法写就牡丹，不用墨线勾勒轮廓，纯以色彩晕染塑形。两朵粉牡丹或侧或正，花瓣由淡粉渐次过渡至胭红，层层叠叠，柔润舒展，仿佛凝着朝露尽显娇妍。叶片以深浅绿意晕染，脉络隐现，俯仰生姿，枝叶错落相依，衬得花头愈发雍容秀雅。\n\n整体设色清和柔润，褪去牡丹常有的艳俗，只留清雅端方的韵致，将春日盛放的花姿凝于绢上，带着恬淡平和的意趣，把草木的生机与温婉雅致尽数藏于笔墨晕染之间，淡而不薄，丽而不妖，尽显一花一叶的灵动情致。",[164,24,7,59,27,61,263,60,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee6f10f9ed98e171597fc55f333a01f8.jpg","设色,绢本","20.4×29.2厘米",[68],{"id":1737,"slug":1738,"title":1739,"dynasty":54,"author":1740,"museum":510,"description":1741,"tags":1742,"thumbUrl":1751,"material":1752,"size":1753,"collection":44,"collections":1754,"showCount":1755,"zanCount":751,"manualWeight":48,"mainColor":49},222820,"gu-su-fan-hua-tu-xu-yang-222820","姑苏繁华图","徐扬","画面自灵岩山起，由山下的木渎镇东行，过横山，渡石湖，入姑苏城。再自荮门出阊门外，转入山塘街，至虎丘山止。作者自西向东，由乡入城，重点描绘了一村（山前）、一镇（苏州）、一街（山塘）的景物，画笔所至，连锦数十里内的湖光山色、水乡田园、村镇城池、社会风情跃然纸上。明清时期的苏州是江南著名的大都会，但可能是由于城区内的狭小和管理问题，当时苏州最发达的商贸中心并不在城内，而是阊门城外至枫桥镇的那一段地区。\n《姑苏繁华图》将阊门作为重点加以描绘，并将这部分景致安排于图卷接近尾声的高潮位置。粗略计算，全幅画有各色人物1.2万余人，各色房屋建筑约2140余栋，各种桥梁50余座，大小官船、货船、客船、杂货船、画舫以及竹筏等近400多条，各种商号招牌200余块，涵盖了珠宝、鞋帽、凉席、乐器、盆景和丝绸等50多个手工行业。除了经营本地土产，店铺里所经营的更多是来自外地的名产，有些甚至来自国外，真是“山海所产之珍奇，国外所通之货贝，四方往来，千里之商贾，骈肩辐辏”。完整地表现了古城苏州市井风貌。",[23,164,24,7,25,27,28,95,96,97,98,99,1743,103,1744,1745,34,1746,758,107,109,108,1747,1748,1749,1750],"船只","商铺","河道","市井","民居","车船","茶馆","酒肆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61ae38c127eaa89b842ad3f8d842d7a.jpg","设色 纸本","全长1225厘米，宽35.8厘米",[44,45],696,{"id":1757,"slug":1758,"title":298,"dynasty":124,"author":802,"museum":244,"description":1759,"tags":1760,"thumbUrl":1761,"material":27,"size":1762,"collection":68,"collections":1763,"showCount":1755,"zanCount":738,"manualWeight":48,"mainColor":72},219452,"he-hua-tu-chen-hong-shou-219452","湖石嶙峋，瘦漏透皱间藏古拙意趣，墨色浓淡层叠，如老衲坐禅般沉稳。荷花亭亭，瓣尖染淡粉似晨露晕开，留白处见清灵；荷叶或卷或展，青绿间带赭石，随水波轻漾。线条如春蚕吐丝，劲挺却柔婉，将花叶石的形态勾勒得奇崛又生动。题跋墨痕流转，朱印点缀，添几分文人雅韵。整幅画浸在古绢暖光里，淡雅中藏倔强风骨，古意盎然却透着鲜活气，如无声禅诗，引人沉湎于那份清寂与悠远。",[24,7,165,28,27,81,171,82,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0331e9c85b7f539e58f688b2de6e8fb.jpg","75.8x39",[68],{"id":1765,"slug":1766,"title":1767,"dynasty":144,"author":1768,"museum":77,"description":1769,"tags":1770,"thumbUrl":1772,"material":173,"size":1773,"collection":68,"collections":1774,"showCount":1775,"zanCount":811,"manualWeight":48,"mainColor":49},218979,"xi-yuan-chun-se-tu-liu-guan-dao-218979","西园春色图","刘贯道","蛱蝶蹁跹于花草丛中，翅羽斑斓如霞，或振翅欲飞，或停驻吮香，姿态灵动鲜活。草叶舒展，花蕊微绽，淡彩晕染出春日的柔媚生机。旁侧书法笔墨流转，行草相间，墨色浓淡相宜，与工致的花鸟相映成趣。书画交织处，既有自然野趣的鲜活，又有文人笔墨的雅致，仿佛能闻春风里的花香，听纸间墨韵的轻响。整体气息清逸，将西园春日的盎然生机与文人雅兴融于一卷，尽显古典艺术的和谐之美。",[164,24,7,25,28,27,61,481,81,1771,62,609,133,64,208],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec39f61ffab9b2bf23461034a8902f3b.jpg","23x137cm",[68],694,{"id":1777,"slug":1778,"title":1779,"dynasty":1780,"author":1781,"museum":20,"description":1782,"tags":1783,"thumbUrl":1784,"material":692,"size":1785,"collection":84,"collections":1786,"showCount":1787,"zanCount":553,"manualWeight":48,"mainColor":49},288294,"you-chun-tu-zhan-zi-qian-288294","游春图","隋","展子虔","《游春图》是隋朝画家展子虔创作的绘画作品，绢本、青绿设色，画上有宋徽宗题写的“展子虔游春图”六个字，现存北京故宫博物院绘画馆。\n图中展现了水天相接的情形，上有青山叠翠，湖水融融，也有士人策马山径或驻足湖边，还有美丽的仕女泛舟水上，熏风和煦，水面上微波粼粼，岸上桃杏绽开，绿草如茵。\n画家用青绿重着山水，用泥金描绘山脚，用赭石填染树干，遥摄全景，人物布局得当，开唐代金碧山水之先河，在早期的山水画中非常具有代表性。 该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。",[164,24,7,26,27,29,96,209,99,690,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd7523abe5a9b1378dd5dd5ceda1a3ea.jpg","43×80.5cm",[],691,{"id":1789,"slug":1790,"title":1791,"dynasty":351,"author":352,"museum":244,"description":1792,"tags":1793,"thumbUrl":1794,"material":151,"size":1795,"collection":42,"collections":1796,"showCount":1797,"zanCount":975,"manualWeight":48,"mainColor":49},221430,"mu-dan-hua-hui-tu-ye-xu-xi-221430","牡丹花卉图页","五代當時名家輩出：花鳥畫之黃筌、徐熙，前後輝映，造就了五代. 的光芒。，他想買下，無奈錢不夠，因此而與丈夫趙明誠雙雙",[23,164,24,7,59,27,61,263,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4545b75f5270a81a2bbe98ab5c0643.jpg","41×33",[42,68,45],683,{"id":1799,"slug":1800,"title":1801,"dynasty":351,"author":352,"museum":300,"description":1802,"tags":1803,"thumbUrl":1804,"material":173,"size":84,"collection":68,"collections":1805,"showCount":1806,"zanCount":430,"manualWeight":48,"mainColor":72},219178,"hong-mu-dan-tu-xu-xi-219178","红牡丹图","徐熙，五代南唐杰出画家，金陵（今南京）人，一说钟陵（今江西进贤）人。出身于“江南名族”。生于唐僖宗光启年间，后在开宝末年（公元975）随李后主归宋，不久病故。一生未官，郭若虚称他为“江南处士”。沈括说他是“江南布衣”。其性情豪爽旷达，志节高迈，善画花竹林木，蝉蝶草虫，其妙与自然无异。",[23,164,24,7,61,263,27,28,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ffaf2140f2c68889a42d1ec443c4e02.jpg",[68],680,{"id":1808,"slug":1809,"title":1810,"dynasty":144,"author":145,"museum":20,"description":1811,"tags":1812,"thumbUrl":1814,"material":66,"size":1815,"collection":136,"collections":1816,"showCount":1817,"zanCount":1105,"manualWeight":48,"mainColor":49},218531,"kuai-xue-shi-qing-tu-huang-gong-wang-218531","快雪时晴图","《快雪时晴图》描绘了雪霁后的山中之景，其中除一轮寒冬红日外，全以墨色画成。高山上留有积雪，天边处有一轮红日，横带一抹红霞，生动表现出雪后初晴时明朗秀美的景象。该画用笔单纯而疏秀，洁净洗练。运用柔润的线条构建了宏大的山石结构，并且使之稳固清断。\n《快雪时晴图》画水墨雪景山水，层岩叠岭，奇峰寒林，白雪皑皑，寒气袭人。山下房舍数间，山间升起一轮红日。 画的中间是掩映在丛林中的几间茅屋，茅屋的两侧是绵延相连的断崖、山冈高低参差，错落有致，茅屋后而群峰耸立，挺拔秀美。山中的楼房里，有座香炉供奉着佛像。",[23,24,7,25,128,132,29,131,34,1813,133,208],"雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78cb267ee7419e8115bf1c5d1d95984d.jpg","纵29.7厘米，横104.6厘米",[136,45],675,{"id":1819,"slug":1820,"title":1821,"dynasty":144,"author":569,"museum":300,"description":1822,"tags":1823,"thumbUrl":1826,"material":84,"size":84,"collection":84,"collections":1827,"showCount":1828,"zanCount":430,"manualWeight":48,"mainColor":72},231008,"que-hua-qiu-se-tu-hua-xin-zhao-meng-fu-231008","鹊华秋色图画芯","鹊华秋色图，元代画家 于元贞元年（1295）回到故乡浙江为好友 所作的纸本水墨设色 ，现藏于 。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带 ，画境清旷恬淡，表现出恬静而悠闲的田园风味。\n采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。\n《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。\n在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。\n画题就是由这两座山而起的。\n鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。\n画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。\n水边轻舟数叶，舟中渔叟正安静地工作。\n其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。\n然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n《鹊华秋色图》上存在收藏者的众多题跋和印鉴。\n用御笔将“鹊华秋色”四个字题写于引首，并且加有“神品”“乾隆御览之宝”“古稀天子”“太上皇帝”等多枚玺印，上面还有“嘉庆御览之宝”“宣统鉴赏”等玺章。\n整个画面上加盖大小、形状各异的印章五十七枚，画面之右侧前隔水处有印章十六枚，画面左侧后隔水处有印章九十五枚。\n其中有作者题款，拖尾有爱新觉罗·弘历、钱溥、 、范杼、 等人题跋。\n作者在画中题款：“公谨父，齐人也。\n余通守齐州，罢官来归，为公谨说齐之山川，独华不注最知名，见于左氏，而其状又峻峭特立，有足奇者，乃为作此图，其东则鹊山也。\n命之曰鹊华秋色云。\n元贞元年十有二月。\n吴兴赵孟頫制。\n” 爱新觉罗·弘历题跋：“此卷久贮内府，已载入《石渠宝笈》。\n” 钱溥录 跋并题云：“吴兴公蚤岁戏墨，深得物外山水笔意。\n虽一木一石，种种异于人者。\n且风尚古俊，脱去凡迹。\n政如王谢子弟，倒冠岸帻，与天下公子斗举止也。\n百世后，可为一代规式，士大夫当共宝秘之。\n” 杨载题跋：“羲之摩诘，千载书画之绝，独兰亭序、辋川图尤得意之笔。\n吴兴赵承旨以书画名当代，评者谓能兼美乎二公。\n兹观鹊华秋色一图，自识其上，种种臻妙，清思可人，一洗工气，谓非得意之笔可乎。\n诚羲之之兰亭，摩诘之辋川也。\n” 范杼题跋：“赵公子昂，书法晋，画师唐，为一代之冠。\n荣际于五朝，人得其片楮，亦夸以为荣者，非贵其名而以其实也。\n今观此卷，殊胜于别作。\n仲弘所谓公之得意者，信矣。\n” 董其昌录张南诗题云：“弁阳老人公谨父，周之孙子犹怀土。\n南来寄食弁山阳，梦作齐东野人语。\n济南别驾平原君，为貌家山入囊褚。\n鹊华秋色翠可食，耕稼陶渔在其下。\n吴侬白头不归去，不如掩卷听春雨。\n” 董其昌题跋：“文敏一生得意笔，不减伯时《莲社图》”。\n另有题跋云：“吴兴此图，右、北苑二家画法。\n有底人之致，去其纤，有北宋之雄，去其犷。\n故曰师法舍短，亦如书家，以肖似似古人不能变体为书奴也。\n万历三十三年，晤画武昌公席题。\n其昌。\n” 从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。\n这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。\n与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。\n作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者虽然受召于元朝，遭到众多宋氏遗臣的诟病，却终其一生都对隐而不仕的南宋遗臣表达出相当程度的理解和尊重。\n从这个意义上说，《鹊华秋色图》也是在向那些对南宋一朝忠心耿耿而隐居不仕的士人传达作者自己的真实意图。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。\n两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。\n在刚柔对比中，更显得华不注山的险峻奇突。\n图中中景、近景表现出一片辽阔苍茫的景象。\n平川洲渚，红树芦荻，房舍隐现。\n图中林木种类颇多，红绿相间，枯润相杂。\n树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。\n在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。\n用笔似乎旋转，线条往复重叠，增添了树干的质感。\n画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。\n鹊山用披麻，皴法较密。\n华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。\n侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。\n汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。\n房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。\n作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。\n其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。\n明 《泥古录》：山头皆着青绿，全学王右丞与董源。\n在《鹊华秋色图》中，作者以深湛的笔墨功力诠释了即达放逸的山水意境，不仅丰富了文人山水画的表现手段和内涵，更初步确立了元代山水画坛清远自然的整体风格和蕴藉典雅的审美格调，为后世的中国山水画奠定了基础。\n1989年1月5日，中国台湾以横四连形式印制发行了《鹊华秋色图》邮票。\n《鹊华秋色图》由作者赠给周密后，周密又转送给一个名为君锡的人。\n到明代又相继为文徴明、文彭父子收藏，后又转到明代书画收藏家 手中。\n项元汴之后，又为宜兴吴之矩收藏。\n据画上印章，可知此画落到山东胶州张若、张应甲父子手里，不过很快又为书画收藏家 所有；后又辗转为 所得，传给其子 ；从纳兰性德手里，又落入收藏家梁青标之手。\n康乾年间，皇室征集民间书画名迹，梁青标遂将此图献归御府收藏。\n1949年，国民党撤离南京，退选台湾，将故宫等地文物也运往台湾，其中就包括《鹊华秋色图》。\n《鹊华秋色图》被运到台湾后，收藏于台北故宫博物院，直到今日。\n赵孟頫（1254—122年），字子昂，号松雪道人、水精宫道人。\n湖州（今浙江吴兴）人。\n宋太祖十一世孙。\n宋末时为真州司户参军。\n宋亡入元后，授兵部郎中，又历任渐江等地学提举，后官至输林学士承旨。\n赵孟頫不但精于音律、诗文曲，也是元代画家、书法家，著有《 》。",[24,7,25,27,128,132,208,133,64,29,663,413,35,31,33,1824,149,1825],"芦苇","平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6c66c5e8289621fa42a98cbcd5da28.jpg",[],666,{"id":1830,"slug":1831,"title":1832,"dynasty":18,"author":1833,"museum":300,"description":1834,"tags":1835,"thumbUrl":1836,"material":151,"size":1837,"collection":42,"collections":1838,"showCount":1839,"zanCount":1086,"manualWeight":48,"mainColor":49},221435,"qing-lv-shan-shui-ye-jing-hao-221435","青绿山水页","荆浩","荊浩（約850-911年），字浩然，號洪穀子，河內沁水(一説河南濟源人 ，一説山西沁水縣人， ）唐末五代時期著名畫家，北方山水畫派之祖。\n博通經史，博雅好古。乾符元年（874）前後，得到宰相裴休的關照，擔任小官。大中十年（856），罷官回鄉。躲避戰亂，常年隱居太行山 。善於山水畫，師從於張璪，吸取北方山水雄峻氣格，作畫“有筆有墨，水暈墨章”，勾皴之筆堅凝挺峭，表現出一種高深迴環、大山堂堂的氣勢，為北方山水畫派之祖 。\n\n著有《筆法記》山水畫理論的經典之作，提出氣、韻、景、思、筆、墨的繪景“六要”。作品《匡廬圖》《雪景山水圖》等",[23,164,24,7,59,26,27,132,29,98,34,131,99,758,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc5196ec6dccfebf217ece15bc124669.jpg","45x30厘米",[42,136,45],664,{"id":1841,"slug":1842,"title":1843,"dynasty":18,"author":1323,"museum":244,"description":1844,"tags":1845,"thumbUrl":1847,"material":173,"size":1848,"collection":68,"collections":1849,"showCount":1850,"zanCount":751,"manualWeight":48,"mainColor":49},218937,"hua-lan-tu-dong-li-song-218937","花篮图-冬","篮子上装饰着水仙花、韵草、绿萼梅、单花茶花和蜡梅，中央的朱砂茶花以其艳丽的红色取胜，周围是芬芳的花朵。",[23,164,24,7,28,27,61,169,62,373,208,1846],"宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55ed24f58dd4748fe5e7c6a5283a48e2.jpg","26.1x26.3",[68],662,{"id":1852,"slug":1853,"title":1854,"dynasty":124,"author":802,"museum":20,"description":1855,"tags":1856,"thumbUrl":1858,"material":173,"size":1859,"collection":68,"collections":1860,"showCount":1861,"zanCount":975,"manualWeight":48,"mainColor":49},221913,"he-hua-yuan-yang-tu-chen-hong-shou-221913","荷花鸳鸯图","此图以“出污泥而不染，濯清涟而不妖”的荷花为题，花朵清丽，或含苞，初绽、或怒放，多姿多态；枝叶带露，娉婷舒展，俯仰欹侧；湖石雄奇，锐利坚崚，厚重沉凝。两只彩蝶在空中翩翩起舞，一对鸳鸯在水面戏水悠然，打破了一池碧水的宁静。一只青蛙正隐伏于石后的荷叶上觊觎甲虫，弓身欲动，给画面平添了几许生机与意趣，从中可见画家善于观察的细心与状物精微的匠心。\n作品用笔工致而不显刻板，着色醇厚而不流于俗腻，画风素洁明快，既有应物象形的写生功底，又不乏变幻合宜的适度夸张，画面呈现出一种在繁与简，疏与密、刚与柔的对比变化中的合谐与统一。\n从署款和绘画风格上推断，当是陈洪绶中年的作品。",[23,164,24,7,165,28,27,61,168,1857,171],"鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31f77fc76433fcfb9a62c0f14dd26a0c.jpg","纵183厘米，横98.3厘米",[68,45],661,{"id":1863,"slug":1864,"title":1865,"dynasty":54,"author":55,"museum":1185,"description":1186,"tags":1866,"thumbUrl":1867,"material":1190,"size":1191,"collection":68,"collections":1868,"showCount":1869,"zanCount":586,"manualWeight":48,"mainColor":72},220998,"hua-hui-tu-ce-gui-hua-yun-shou-ping-220998","花卉图册·桂花",[23,164,24,7,59,27,60,61,62,818,582,962],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d3d4803a177ac67268b07a8c66a1114.jpg",[68,45],657,{"id":1871,"slug":1872,"title":1873,"dynasty":54,"author":872,"museum":20,"description":1874,"tags":1875,"thumbUrl":1876,"material":1027,"size":1877,"collection":84,"collections":1878,"showCount":1879,"zanCount":48,"manualWeight":48,"mainColor":72},233459,"mao-shi-tu-juan-zhu-da-233459","猫石图卷","此图为朱耷71岁所作。全幅景致简洁，绘一只白猫蹲于石巅上拱背缩身，与山石浑然合成一体。它闭目养神，全然无心观赏四周荷花、兰花等俏丽的景致。作者显然运用了象征隐喻的手法，将客观的意象与主观的意识作了巧妙而含蓄的结合。他以心静如水的猫暗喻自己在清王朝统治下不闻不问，远离世俗的隐遁行为。图中荷叶及无名花草以墨气淋漓的泼墨法绘成，与白描勾勒，寥寥数笔的猫、石形成视觉上的黑白对比，不同色调的深浅变化，丰富了画面的空间层次，从而使全卷既充实又空灵。",[24,7,25,128,1634,171,208,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0ca2edd6ab75301d011c83693dfa665.jpg","纵34厘米，横218厘米",[],656,{"id":1881,"slug":1882,"title":1883,"dynasty":18,"author":397,"museum":20,"description":1884,"tags":1885,"thumbUrl":1886,"material":40,"size":1887,"collection":42,"collections":1888,"showCount":1879,"zanCount":1116,"manualWeight":48,"mainColor":199},221329,"ting-qin-tu-zhou-zhao-ji-221329","听琴图轴","此幅作品描绘官僚贵族雅集听琴的场景。作者以琴声为主题，巧妙地用笔墨刻画出“此时无声胜有声”的音乐的意境。画面背景简洁，如盖的青松和摇曳的绿竹衬托出庭园高雅脱俗的环境，而几案上香烟袅袅的熏炉与玲珑石上栽植着异卉的古鼎与优雅琴声一道，营造出一种清幽的氛围。\n画面上方有宰相蔡京手书七言绝句一首，右上有宋徽宗赵佶瘦金书题“听琴图”三字。作品构图简净，人物举止形貌刻画生动传神，衣纹线描劲挺略带战笔，树石器具描写工致而毫无呆板，着色浑厚而不失清丽，是宋代宫廷人物画的代表作品。由于作品本幅有徽宗题名与画押，一度被认为是赵佶所画，后经学者考证，此幅为宣和画院画家描绘徽宗赵佶宫中行乐的作品，而图中抚琴者， 正是赵佶本人。",[23,24,164,7,165,28,27,96,372,167,438,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e608fe314a1f03d1034a41f0882fbf.jpg","纵147.2 厘米，横51.3 厘米",[42,68,45],{"id":1890,"slug":1891,"title":1892,"dynasty":124,"author":1270,"museum":56,"description":1271,"tags":1893,"thumbUrl":1894,"material":66,"size":1274,"collection":84,"collections":1895,"showCount":1896,"zanCount":11,"manualWeight":48,"mainColor":72},216660,"hua-niao-ce-4-sun-ke-hong-216660","花鸟册-4",[24,7,59,27,28,61,355,603,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F095894dcf84ab92db529b2bd1c9b78cf.jpg",[],655,{"id":1898,"slug":1899,"title":1230,"dynasty":124,"author":125,"museum":244,"description":1900,"tags":1901,"thumbUrl":1902,"material":66,"size":1903,"collection":136,"collections":1904,"showCount":1905,"zanCount":1086,"manualWeight":48,"mainColor":72},214745,"shan-shui-tu-shen-zhou-214745","这幅山水画，笔触逐渐圆润成熟，与山竹和醉酒后的风景并无二致。画中，云层破碎，森林苍茫湿润，是雨后的场景。一座小桥上面走着一个拄着拐杖的人，这可能是 雨后振孤策 这首诗的意思。作画时，他已经50岁了。",[24,7,165,128,132,208,64,133,29,331,98,99,387,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb112e375f985a0401a16509e37dd9e82.jpg","56.1x31.7",[136],653,{"id":1907,"slug":1908,"title":1909,"dynasty":18,"author":768,"museum":1910,"description":1911,"tags":1912,"thumbUrl":1913,"material":317,"size":1914,"collection":68,"collections":1915,"showCount":1916,"zanCount":975,"manualWeight":48,"mainColor":956},219263,"yun-long-tu-chen-rong-219263","云龙图","广东省博物馆","陈容是南宋画家,生卒年不详,其绘画很有特点。《云龙图》是一幅足以代表陈容艺术风格的佳作。画中绘有一气势非凡、腾空飞跃的巨龙,其凌厉的龙爪,飞扬的龙须, 突兀的眼睛,锋利的牙齿,粗壮强劲的躯体,无不揭示了这是一条充满力量和超凡脱俗功力的神化了的龙。画上有画家自题: “扶河汉,触华嵩。普厥施,收成功。骑元气,游太空。所翁作。”画上钤有几方收藏印章。",[24,164,7,165,128,772,950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35519b25bbea9229aa8a1232b23672c8.jpg","纵201.5厘米 横130.5厘米",[68],642,{"id":1918,"slug":1919,"title":1920,"dynasty":351,"author":1921,"museum":300,"description":1922,"tags":1923,"thumbUrl":1924,"material":692,"size":1293,"collection":84,"collections":1925,"showCount":1926,"zanCount":11,"manualWeight":48,"mainColor":956},287715,"guan-shan-xing-lv-tu-guan-tong-287715","关山行旅图","关仝","《关山行旅图》是一幅描绘北方深秋景色的山水画，不仅绘制了人物的行旅活动，又带有了一定的叙事性。既表现出了山川的雄奇，又反映了人们生活的艰辛",[164,24,7,165,128,132,29,131,98,99,97,1337,690,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff32d97bddf63ebed468f0b1cdb92e70b.jpg",[],641,{"id":1928,"slug":1929,"title":1930,"dynasty":18,"author":1931,"museum":244,"description":1932,"tags":1933,"thumbUrl":1934,"material":173,"size":1935,"collection":68,"collections":1936,"showCount":1926,"zanCount":11,"manualWeight":48,"mainColor":49},216777,"xue-zhu-wen-qin-tu-huang-quan-216777","雪竹文禽图","黄筌","在这幅「雪竹文禽」图中，画家将树石等主要实景置于幅左，而将江河与水鸭置于幅右。这种虚实对映的布局，不仅显示出南宋独特的审美趣味，也展现了自然生态活泼灵动的特质。画家绘以梅、竹，以及成对成双的游禽与飞鸟，不但点出了早春时序，更具有吉祥的祝幅之意。\n黄筌是五代后蜀的宫廷名画家，北宋时随着蜀主归宋后，便与其子黄居寀同入画院供职，对北宋初期花鸟画影响深远。黄筌喜用勾勒填彩，设色上也较为浓艳。本幅「雪竹文禽」的画风野逸简淡，以画风来看，可能不是黄筌真迹，而是南宋画院画家的作品。",[23,164,24,7,28,128,27,167,1400,229,1337,1556,171,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5f9706b1a724681c40f304326ac14e5.jpg","26.3 x 45.7厘米",[68,42],{"id":1938,"slug":1939,"title":1940,"dynasty":18,"author":223,"museum":1941,"description":1942,"tags":1943,"thumbUrl":1945,"material":173,"size":84,"collection":68,"collections":1946,"showCount":1947,"zanCount":1086,"manualWeight":48,"mainColor":49},214834,"ke-si-mu-dan-hu-die-tu-yi-ming-214834","缂丝牡丹蝴蝶图","美国弗利尔美术馆","缂丝牡丹蝴蝶图是宋代佚名画家的一幅著名图画。这幅图画描绘了一朵牡丹花和蝴蝶在相互追逐的场景。牡丹花象征着美丽和优雅，而蝴蝶则代表着自由和转化。这幅图画结合了自然与人文的元素，展现出一种优美的意境。画中蝴蝶的细腻写实和牡丹花的浓艳色彩相得益彰，使得这幅图画在宋代颇受欢迎。",[23,24,164,7,1131,61,1944,27,263,481,208],"缂丝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F263c73234939963e2722e8b4fcab0d10.jpg",[68],637,{"id":1949,"slug":1950,"title":1951,"dynasty":54,"author":1952,"museum":20,"description":1953,"tags":1954,"thumbUrl":1956,"material":514,"size":1957,"collection":68,"collections":1958,"showCount":1959,"zanCount":553,"manualWeight":48,"mainColor":72},223161,"song-mei-shuang-he-tu-shen-quan-223161","松梅双鹤图","沈铨","此画为作者晚年之作，笔触细致工整，造型生动准确，技法出自明代而又极具个人风格，笔墨工致，敷色浓艳，注重渲染，形象逼真，富有立体感。劲健、流畅的线条，细密的局部勾画，完美的画面构图，令人难以看出此乃年已古稀之人的手笔。\n将工笔、写意、兼工带写、重彩、淡彩、没骨、水墨、白描、勾勒填彩、钩花点叶等绘画技法在写生中灵活运用并加以发展，既重形似，又重神似。",[23,24,7,28,27,61,372,371,722,167,131,1955],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc931c0442a93ab3c28aef5baea6bb17.jpg","191cm×98.cm",[68],633,{"id":1961,"slug":1962,"title":1963,"dynasty":124,"author":1058,"museum":244,"description":1964,"tags":1965,"thumbUrl":1966,"material":253,"size":1967,"collection":44,"collections":1968,"showCount":1959,"zanCount":975,"manualWeight":48,"mainColor":49},222348,"xi-shan-yu-yin-tu-quan-juan-tang-yin-222348","溪山渔隐图全卷","《溪山渔隐图》中山石耸立，林木茂密，江上小舟数只。图中江干岩岸，杂林疏朗，渔舍水榭坐落于丹枫之中。岸石掩映间，水面舟艇数只，舟上渔人或垂纶放钓，或横笛足，或拍掌击节和歌；屋内则促膝对酌，或凭栏观钓，或策杖闲步。画法苍古，用笔劲利，设色明艳全画清雅幽丽，神采逼人，堪称为唐寅灵腕之妙品，富有艺术价值。",[23,24,7,25,27,29,1351,99,129,130,34,131,711,96,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2505dfe3d9352c8db98b286634abed6e.jpg","纵29.4cm，横351cm",[44,45],{"id":1970,"slug":1971,"title":1972,"dynasty":18,"author":223,"museum":244,"description":1973,"tags":1974,"thumbUrl":1976,"material":173,"size":84,"collection":44,"collections":1977,"showCount":1978,"zanCount":1086,"manualWeight":48,"mainColor":49},215043,"mo-gu-kai-zhi-luo-shen-fu-yi-ming-215043","摹顾恺之洛神赋","《洛神赋图》，相传是东晋名画家顾恺之根据曹植文学作品《洛神赋》的故事情节所创作的故事画。曹植原文借对梦幻之镜中人神恋爱的追求，抒发了爱情失意的自我感伤。",[23,24,7,25,28,27,330,96,166,772,949,208,1975],"云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72c126a717e9affa0b4017e209a0f9a9.jpg",[44],628,{"id":1980,"slug":1981,"title":1982,"dynasty":54,"author":55,"museum":244,"description":1983,"tags":1984,"thumbUrl":1985,"material":27,"size":1986,"collection":68,"collections":1987,"showCount":1988,"zanCount":11,"manualWeight":48,"mainColor":72},220988,"yu-zao-tu-ce-bai-he-yun-shou-ping-220988","鱼藻图册-百合","此套《瓯香馆写生册》共十幅，天津博物馆藏，描写了四时的花果，从春到夏分别是桃花、海棠、碧海珊瑚、牡丹、枇杷、卷丹、洛阳花、凤仙花、菊花、梅花。除了梅花一开，作者写明是学杨补之的水墨画法之外，其余各开全用没骨法，完全不用墨线勾勒，直接用颜色点厾出花朵、叶片、果实，只以色线勾勒叶茎。落色点花的没骨花，既不同于细线勾勒再层层渲染的工笔花卉，也不同于水墨淋漓的大写意花卉，它介于两者之间，也被称作“小写意”花卉。工笔求逼真，写意求意趣，恽氏没骨花所求正在“似与不似之间”。着色花卉自然比纯粹的水墨更逼真，但直接点染的“落色花”比起层层渲染的工笔花卉又有更大的随意性，不必被物象的细枝末节所羁绊，可以放手表现花的风骨。就气质而言，没骨花介于工笔与大写意之间，既不刻画，也不放逸，清新洒脱。",[23,24,7,59,60,27,61,828,549,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2762924bf1e1eee5608b789b14168bf1.jpg","37.8x60.5厘米",[68,45],626,{"id":1990,"slug":1991,"title":409,"dynasty":124,"author":125,"museum":244,"description":1992,"tags":1993,"thumbUrl":1994,"material":1223,"size":1995,"collection":136,"collections":1996,"showCount":1997,"zanCount":1998,"manualWeight":48,"mainColor":49},222101,"shan-shui-ce-shen-zhou-222101","沈周（1427-1509）明代杰出画家。字启南，号石田，又号白石翁、玉田生、有居竹居主人等。长洲（今江苏苏州）人。性情敦厚、博学多才，长于文学，亦工诗画，善画山水、花卉、鸟兽、虫鱼，皆极神妙。常草草点缀，即得意趣。亦常题诗词于画上，当时人称他为“二绝先生”。画宗黄大疾、吴镇，自成一家笔法。亦工墨笔花鸟，和他的学生文征明并称为“吴派”两大家。又与文征明、唐寅、仇英称“明四家”。他每画一画，落笔点苔，绝不苟且。他能从多方面摹习古人，又加自己的创造，更参以二米的笔趣，善用粗笔，圆润挺劲，厚重凝炼。出入于宋元名家，创作态度极为慎重。",[23,24,164,7,59,128,132,29,331,99,1350,1351,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea739b96b4accbcb710a3fa945b91db.jpg","37.4x58.8",[136,117],623,1,{"id":2000,"slug":2001,"title":2002,"dynasty":351,"author":1833,"museum":244,"description":2003,"tags":2004,"thumbUrl":2005,"material":151,"size":2006,"collection":84,"collections":2007,"showCount":2008,"zanCount":1105,"manualWeight":48,"mainColor":49},231954,"kuang-lu-tu-jing-hao-231954","匡庐图","全幅用水墨画出，画法皴染兼备，充分发挥了水墨画的长处。画幅上部危峰重叠，高耸入云，山巅树木丛生，山崖间飞瀑直泻而下，大有“银河落九天”之势。山腰密林之中深藏一处院落，从院落之中一路下山，山道蜿蜒盘旋，道旁溪流宛转曲折，最后注入山下湖中。山脚水边，巨石耸立，村居房舍掩映于密林之中。水上有渔人撑船，不远的坡旁路上，有一人正赶着毛驴慢行。画中只有两人，人物在画中只作为陪衬。其中有宋高宗所书“荆浩真迹神品”六个字，一般认为是其真迹。\n此画画中绝磴悬崖，平麓云林，虽看不出具体皴法。但笔墨间表现出了山的雄伟气势，烟岚的深远缥缈，比唐代山水大大前进了一步。\n图上有南宋高宗赵构所书“荆浩真迹神品”六字，另有元人韩屿和柯九思两人题诗。全图由下而上，由近至远，大致可分为近景、中景、远景三个层次，境界上也从“有人之境”渐入“无人之境” 近景处于侧面下端，一泓涧水间，有船夫悠然地撑着一叶扁舟欲停船靠岸，顺石坡而行，山麓中有屋宇院落筑立其间，竹篱树木环绕。屋后石径环山逶迤而上，长堤板桥，赶驴行人都被画家一一摄入笔端。中景里面，两崖之间有瀑布飞倾而下，击石溅花，轰然作响。瀑布之下座木桥横亘于溪涧之巅，一路上危壁嶙峋，松柏参差，这其间还坐落一方整庭院，可见画家幽居深隐的情感趋向。最高处的景致虽然深远，却格外醒目：画面中轴有主峰赫然而立，直入云霄，浩渺烟岚，尽出其下，远近如屏的诸峰环拥相簇，映衬着主峰的高险与威仪。群峦之间，一条白练般的瀑布直落山涧。\n中国山水画发展到晚唐、五代时，具备了更加丰富多样的表现形式，其中的水墨山水更是逐渐走向了成熟。\n荆浩提倡作画要忠实于自然对象，“远取其势，近取其质”，他善于创造富有概括力的形神兼备的艺术形象。除此之外，他还在学习传统的基础之上加以发展创造。他强调笔墨并重，曾对人说：“吴道子画山水，有笔无墨；项容有墨无笔，吾当采二子之所长，成一家之体。”他集唐人山水画法之大成，并努力创造革新，终成一代山水大家。荆浩在笔墨的结合上较前人进了一大步，他的《笔法记》是山水画的重要论著，其中山石皴法、树木画法的论述对山水画的发展起了很大作用。《匡庐图》便是体现他绘画理论的代表作。\n《匡庐图》画中的描绘山水究竟是太行山还是庐山尚存争议。\n这幅图的真实感很强，能够看出画家在隐居生涯中，对自然景观的深刻体验和虚怀若谷的淡泊情思。《匡庐图》营造了一幅雄伟刚劲与寂寞幽静相互交融的远离人间烟火的空灵世界。\n《匡庐图》采用的是立轴构图，鸟瞰式纵向全景布局，层次分明，山水壮阔。画家将“高远”、“平远”、“深远”结合运用，群峰耸峙的巍峨山峦与开阔平旷的山野幽谷，山径盘旋的山中小路及渐远渐淡的远处诸峰相映成趣，自然地呈现在画卷之中。\n在荆浩之前的山水画很少有表现雄伟壮阔的大山大水以及全景式的构图布局。而荆浩的《匡庐图》整幅画上面留天，下面留地。右下角临水浅坡，画的左下角至右面是静静的水面，远处和天色相连接，体现的是大山大水，开图千里的局面。他不满足于局部山水的描绘，而是放眼于广阔空间气势磅礴的自然景观。\n所谓的“全景山水”，其章法是指中心全景式布局，即主峰为中心，用云帕烟霞断白，衬托出中、前景的全局安排。此图以全景构图方式描绘出了山路蜿蜒、巨峰凌空、飞瀑如练，整幅画面体现出百尺危峰、屹立于青冥间的雄伟气势。全景式构图给人以旷远、峻拔、雄壮、博大而深远的审美感受。《匡庐图》大致分为三个层次，由远到近，虽为远景，但很醒目，突兀的主峰轮廓线与留白的天际相照应，峻伟耸拔的高峰在画而上部中央，是全画的视点，给人以开阔、博大、挺拔的意境。主峰被两侧缥缈的烟岚围绕着，主峰如屏，相互映照，充满张力的形式感把观者视野引向画外，联想到更辽远广阔的空间。中景画面丰富，既有飞瀑流水奔流于两崖之间，攀援而上，溪洞之巅横架一桥，两边用小斧劈皱描绘的岩壁，松柏古树参差之变，使画面富有节奏和韵律。近景表现一洗江水，一叶扁舟，树木描绘酣畅淋漓。整幅画而渲染着一种壮关、气脉相通的主旋律。\n此图在用笔上，勾、皴、染法并举，尤其是皴法的运用，是荆浩对山水画发展的重要贡献。画家以中锋画山石，边缘整齐，仿佛切割过般。山头和暗处用类似小斧劈的皴法，再施以淡墨多层晕染，表现出阴阳向背的质感，突出了画面的立体感和厚重感。在墨色变化上，画家注重用色浓、淡及黑、白的对比。且在画云时，一改前人细勾填粉的方法，仅以水墨渲染，衬托出云的空灵飘荡之态，画水也不再使用前人鱼鳞瓦片的勾线之法，而以淡墨烘染水面，显示出水面的明暗变化，兼用舟、桥等物象暗示水的存在，创造了水晕墨章的表现技法。\n《匡庐图》的透视方法，山峰用仰视，不仅令观者觉得山的高大，而且给人以庄严和雄伟的感觉。山腰的峰峦和庐舍、道路用平视，使自然景观给人以自然和亲切的感觉。山脚下的林木、树舍和山洞的流水、桥、松、房舍及行旅等用俯视，显示观者居高临下，给人以心旷神怡的感觉。尤其是山涧的布势，由于用平视，汀岸回转，伸向远方的山坳之中，不但增加了画面的力度，也增加了深度。\n在整幅画中，树的形态也是不一样的。树枝曲中见直，瘦劲有力。画中的树排列得很有曲线，群山把树林当做是一种屏障，而树林也把山当做是一种依靠。在树林森密的地方有一旅店，在旅店的旁边有一古渡，古渡旁边有水，水面显得十分宽阔。\n荆浩在这幅《匡庐图》中把后面的叠水以及水墨微妙的层次处理得很好，避免了山中的瀑布因为线条的处理而显得生硬，画采用了水墨晕染的方法，以丰富的层次体现了山、水、树和景物之间的距离\n画作通篇以中锋刻画山石，辅以侧锋“解索皴”、“钉头皴”、“豆瓣皴”等笔法烘托气氛，山头阳面和暗处皴法类似于小斧劈，间施以淡墨多层晕染，以表现阴阳向背之状。此方式能在唐代李思训父子的青绿山水中找到痕迹。荆浩则善于使用效、染兼具的复笔，错置排列又层次井然，多用小披麻皴，以各种点与效的笔形墨痕与峥嵘崔巍的景致浑然一体，将北方山石质地坚硬、结体曲致的表相，随笔墨运动的各种装饰性皴法，呈现主体心性与人格追求高度统一的“荆氏笔法”。\n五代韩屿：“翠微深处著轩楹，绝瞪悬崖瀑布明。”\n元代书画家柯九思：“岚溃晴薰滴翠浓，苍松绝壁影重重。瀑流飞下三千尺，写出庐山五老峰。”\n清代孙承泽：“其山与树，皆以秃笔细写，形如古篆隶，苍古之甚，非关、范所能及也。”\n现代中国书画理论家王伯敏《中国绘画通史》：“中国山水画的表现，在六朝时期即画有‘卧对其间可至数万里’的作品，到了荆浩的时期，获得更大发展，遂成为宋人所称的‘全景山水’……今传荆浩所作的《匡庐图》就体现了这种山水画的特点。《匡庐图》正是中国宋以前一件具有山水全景模式的典型作品。”",[24,7,165,29,128,132,496,495,34,497,37,499,1515],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80349a4e9c08adb4ee01161f322fb590.jpg","纵185.8厘米，横106.8厘米",[],621,{"id":2010,"slug":2011,"title":2012,"dynasty":124,"author":1438,"museum":244,"description":2013,"tags":2014,"thumbUrl":2015,"material":173,"size":2016,"collection":68,"collections":2017,"showCount":2018,"zanCount":811,"manualWeight":48,"mainColor":49},214726,"hua-hui-tu-chen-chun-214726","花卉图","这幅画描绘了在海石后面盛开的各种花朵，包括五种栀子花、玫瑰花、百合花、天竺葵和红丹参。花朵是用无骨笔描绘的，栀子花和百合花的白色花朵是用钩花和点叶描绘的。景观安排得很细致，着色柔和优雅，不显庸俗，有别于晚年放笔写意的习惯，应该是五十岁以前的作品。",[23,24,7,164,165,27,369,61,62,171,666,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c023ce4b74affaefcba3f3678377db.jpg","188x96.9",[68],619,{"id":2020,"slug":2021,"title":2022,"dynasty":18,"author":791,"museum":300,"description":2023,"tags":2024,"thumbUrl":2025,"material":84,"size":84,"collection":84,"collections":2026,"showCount":2027,"zanCount":738,"manualWeight":48,"mainColor":199},227811,"chu-shui-fu-rong-tu-ye-wu-bing-227811","出水芙蓉图页","《出水芙蓉图》页，宋， ，设色，纵2.8cm，横25cm。\n本幅无款。\n有残印一角。\n裱边贴签：“吴炳 ”。\n一朵盛开的粉红色荷花占据整个 ，在碧绿的荷叶映衬下抢眼而夺目，布局、设色端庄大气，将荷花“出淤泥而不染，濯清涟而不妖”的君子气质表现得十分完美。\n莲瓣的描绘技法类似后世的“没骨”法，不见勾勒之迹，渲染出花瓣既轻盈又腴润的质感。\n画家的写实功力极为扎实，每片莲瓣的形状、角度、色泽和光感都安排得无懈可击。\n至于瓣上红丝、蕊端腻粉，也一一仔细料理，微妙之处，使人叹为神工！ 旧题吴炳绘，无据。\n存《名笔集胜》册中。\n《虚斋名画录》著录。",[23,24,164,7,59,28,27,61,81,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F465d8a0e1d27a9d9e1ea0a726ac79344.jpg",[],616,{"id":2029,"slug":2030,"title":2031,"dynasty":18,"author":2032,"museum":465,"description":2033,"tags":2034,"thumbUrl":2038,"material":27,"size":2039,"collection":42,"collections":2040,"showCount":2041,"zanCount":586,"manualWeight":48,"mainColor":49},221468,"ji-xiang-duo-zi-tu-lu-zong-gui-221468","吉祥多子图","鲁宗贵","画面的确描绘了三种水果，彼此簇拥在一起，粗看起来有些凌乱，但仔细分辨后会发现画家布置得井井有条。\n按照前、中、后的顺序，斜向纵深排列开。前排是两只石榴，一只全部展现出来，并且成熟得果皮迸裂，露出饱满鲜红的石榴子，另一只隐藏在后面，露出尖尖的蒂。画面的后排也是一个圆球形的果实，这是橘。在石榴与橘中间，夹着一串颗粒饱满的水果。这是葡萄吗？画中的这串果实，大小虽然与葡萄类似，但颜色为棕黄色，表面有些粗糙。从形状上来看，大部分果实和葡萄一样是圆球形，但还有一些未完全成熟而泛出青色的果实，有尖尖的头。更为有代表性的是叶子。这串水果乃是从枝上新鲜折下，长条形的叶子连在枝上。这绝不是有裂片、像一个宽大鹅掌的葡萄叶。那么这究竟是串什么水果？答案是龙眼。龙眼，我们更习惯的名字是桂圆，在古代是珍稀水果，在现代也价格不菲。\n中国人对它并不陌生，但在欧美国家吃得却很少。可以想见，当初为这幅画确定英文名的人对龙眼十分陌生，所以才会将画中这串圆圆的果实误认作葡萄了。",[23,24,164,7,28,27,61,2035,2036,2037,549,208],"石榴","荔枝","果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c09eceb96eb51faf45b369858023ed.jpg","高24厘米，宽25.8厘米",[42,68,45],615,{"id":2043,"slug":2044,"title":2045,"dynasty":326,"author":327,"museum":510,"description":2046,"tags":2047,"thumbUrl":2049,"material":151,"size":2050,"collection":136,"collections":2051,"showCount":2052,"zanCount":586,"manualWeight":48,"mainColor":49},221043,"luo-shen-fu-chang-juan-gu-kai-zhi-221043","洛神赋长卷","中国东晋绘画作品。\n作者顾恺之。\n原作已佚，今存有宋代摹本5卷，皆绢本设色，分别藏于中国大陆、台湾台北及美国。\n纵27.1厘米、横572.8厘米，藏故宫博物院；另一纵26厘米、横646厘米 。\n\n该图以三国魏文学家曹植的《洛神赋》为依据，描绘了作者对洛水之神宓妃的爱慕以及神人殊隔、不能交接的惆怅。\n\n作品将不同情节置于同一画卷，洛神和曹植在一个完整的画面的不同场景中反复出现，以山石、林木及河水等背景，将画面分隔成不同情节，使画面既分隔又相联接。",[23,24,7,25,28,27,96,166,2048,29,34,950,211,130,208,64,133,938,164],"舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be74a2f3958ac41ec1cd6403d832e66.jpg","横572.8cm，纵27.1 cm",[136,45],613,{"id":2054,"slug":2055,"title":2056,"dynasty":54,"author":872,"museum":77,"description":2057,"tags":2058,"thumbUrl":2060,"material":278,"size":84,"collection":68,"collections":2061,"showCount":2062,"zanCount":1105,"manualWeight":48,"mainColor":72},216942,"yu-shi-tu-zhou-zhu-da-216942","鱼石图轴","朱耷的鱼石图轴是一件著名的绘画作品，它是朱耷在清朝时期创作的。这幅作品以细腻的线条和丰富的色彩，描绘了一幅生动的海洋图景，其中包括众多的海鱼和石头。鱼石图轴以其高超的绘画技巧和对海洋生物的生动描绘而闻名。",[23,24,7,165,128,369,2059,171],"鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F882d988e50b2be54a69df81067fcfd25.jpg",[68],610,{"id":2064,"slug":2065,"title":2066,"dynasty":18,"author":2067,"museum":2068,"description":2069,"tags":2070,"thumbUrl":2071,"material":514,"size":2072,"collection":42,"collections":2073,"showCount":2074,"zanCount":738,"manualWeight":48,"mainColor":49},221594,"hong-bai-fu-rong-tu-li-di-221594","红白芙蓉图","李迪","日本京都国立博物馆","该图画红、白芙蓉各一幅，线描有黄筌画风的精神。该画的描写写实，用笔纤细且色彩层次微妙，因而富于情趣。善用余白的画面空间也显得自然而静谧。\n《红白芙蓉图》是双幅画，描写红白芙蓉盛开的景色。红、白芙蓉各两朵，都画盛开时的花瓣，红色娇艳鲜嫩，白色粉白如玉，花叶为深绿色。",[23,24,7,61,28,27,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4a01f8634d699b1442498a83bf153de.jpg","纵25.2×横26.cm×2",[42,45,68],609,{"id":2076,"slug":2077,"title":2078,"dynasty":124,"author":125,"museum":77,"description":2079,"tags":2080,"thumbUrl":2081,"material":173,"size":2082,"collection":136,"collections":2083,"showCount":2084,"zanCount":1105,"manualWeight":48,"mainColor":49},217060,"lin-wu-zhen-xia-shan-yu-yu-tu-shen-zhou-217060","临吴镇夏山欲雨图","这是沈周的一幅山水画，用的是淡淡的紫红色的笔。笔法大胆简练，气势如虹。构图简单自然，气氛轻松悠远。屋前有几棵稀疏的树，中间的笔触很强。后峰叠云，如蟠龙出没，后延一峰，略加皴擦，水墨淋漓，远处的山峰也略加勾勒，水墨轻盈。本卷中的笔墨运用随心所欲，无拘无束，墨色清晰明快。",[164,24,7,165,128,132,330,29,131,34,35,98,99,495,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07d620b34209a6fc4cb19849a546e3d9.jpg","182x69.5cm",[136],606,{"id":2086,"slug":2087,"title":2088,"dynasty":18,"author":1091,"museum":244,"description":2089,"tags":2090,"thumbUrl":2091,"material":278,"size":2092,"collection":318,"collections":2093,"showCount":2094,"zanCount":1116,"manualWeight":48,"mainColor":72},214222,"su-shi-chi-du-su-shi-214222","苏轼尺牍","苏轼在奉旨前往凉州的途中，给他最好的朋友赵孟德写了这封信。这幅作品也被称为 "渡海帖"，是典型的苏轼风格，苍劲有力，沉着痛快，为其晚年的代表作。",[23,7,64,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61013e089b9077df0e32de8156aa212a.jpg","28.6x40.2",[318],601,{"id":2096,"slug":2097,"title":2098,"dynasty":18,"author":2099,"museum":244,"description":2100,"tags":2101,"thumbUrl":2102,"material":278,"size":2103,"collection":44,"collections":2104,"showCount":2105,"zanCount":1086,"manualWeight":48,"mainColor":72},214644,"long-mian-shan-zhuang-tu-li-gong-lin-214644","龙眠山庄图","李公麟","这幅画作于1077年，描绘了作者和他的朋友在他的家乡舒州龙眠山庄欣赏风景和喝茶的情景。风景迷人，画中的方形茶壶、篮子、茶烛和茶盘都是宋代的，可以作为宋代茶器的参考。",[23,24,7,25,188,29,97,98,99,130,34,96,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdffc405cec5883bd1b1559990728979.jpg","28.9x364.6",[44],600,{"id":2107,"slug":2108,"title":2109,"dynasty":124,"author":2110,"museum":244,"description":2111,"tags":2112,"thumbUrl":2113,"material":66,"size":2114,"collection":68,"collections":2115,"showCount":2116,"zanCount":346,"manualWeight":48,"mainColor":72},218793,"pi-pa-zhen-qin-tu-zhou-zhi-mian-218793","枇杷珍禽图","周之冕","画面中，枇杷枝叶舒卷，翠叶如盖，嫩黄果实攒聚枝间，饱满莹润。一只禽鸟栖于枝桠，羽色柔和，神态闲静，似在细赏花叶，又若欲振翅，姿态鲜活传神。画家运笔细腻，勾勒花叶轮廓精准，设色淡雅清逸；叶片脉络、果实肌理刻画入微，禽鸟羽毛层次分明，质感逼真。枝叶穿插自然，虚实相生，画面疏密有致，气韵流动。整体风格宁静雅致，融工笔之精丽与写意之灵动，尽显自然生机与闲适意趣，如同一帧鲜活的春日小景，引人驻足细品。",[164,24,7,165,28,27,61,918,624,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b876424f375b541ae9f0153ebc04f8d.jpg","71.4x30.4cm",[68],594,{"id":2118,"slug":2119,"title":2120,"dynasty":18,"author":223,"museum":300,"description":2121,"tags":2122,"thumbUrl":2124,"material":173,"size":84,"collection":42,"collections":2125,"showCount":2126,"zanCount":1105,"manualWeight":48,"mainColor":49},218608,"xian-tao-tu-yi-ming-218608","仙桃图","绢本之上，三枚仙桃饱满圆润，似凝脂般温润的底色晕开淡粉霞彩，如晨露轻染的娇羞。枝干以苍劲线条勾勒，转折间藏着自然生机，叶片墨色层次分明，脉络清晰如触手可及。背景素净无华，更衬出果实的鲜嫩与枝干的挺括。整幅画取境简约却意韵悠长，写实技法中透着宋人对自然的细腻观察与雅致情怀。每一处晕染、每一笔线条，都藏着古画独有的温润静美，仿佛能让观者在静谧里嗅到果实的清甜，沉浸于宋代花鸟画的空灵之境，感受那份跨越千年的自然诗意与艺术匠心。",[24,7,61,28,27,2123,624],"桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7de9cd90dd79570e54237657db38ac34.jpg",[42],588,{"id":2128,"slug":2129,"title":1230,"dynasty":144,"author":1208,"museum":244,"description":2130,"tags":2131,"thumbUrl":2133,"material":278,"size":2134,"collection":136,"collections":2135,"showCount":2136,"zanCount":975,"manualWeight":48,"mainColor":72},218740,"shan-shui-tu-ni-zan-218740","据王蒙在画上的题记，王蒙曾画过一幅倪瓒的《松石望山图》，倪瓒临摹了原作，交给了他的朋友文博，就是现在的这幅。后来，王蒙在他的朋友温家看到了这幅作品，并对其进行了补充，形成了这幅联合景观。",[23,164,24,7,165,128,132,2132,29,131,495,99,34,129,1350],"文人画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e6ce25e904b4cba0d3febbec489966b.jpg","119.9x56.1",[136],579,{"id":2138,"slug":2139,"title":2140,"dynasty":18,"author":2141,"museum":244,"description":2142,"tags":2143,"thumbUrl":2148,"material":173,"size":2149,"collection":42,"collections":2150,"showCount":2151,"zanCount":11,"manualWeight":48,"mainColor":49},219699,"nian-cha-tu-liu-song-nian-219699","撵茶图","刘松年","《撵茶图》为工笔白描，描绘了宋代从磨茶到烹点的具体过程、用具和点茶场面。画中左前方一仆设坐在矮几上，正在转动碾磨磨茶，桌上有筛茶的茶罗、贮茶的茶盒等。另一人伫立桌边，提着汤瓶点茶(泡茶)，他左手边是煮水的炉、壶和茶巾，右手边是贮水瓮，桌上是茶筅、茶盏和盏托。一切显得十分安静整洁，专注有序。画面右侧有三人，一僧伏案执笔作书，传说此高僧就是中国历史上的“书圣”怀素。一人相对而坐，似在观赏，另一人坐其旁，正展卷欣赏。\n刘松年传世作品很多，仅涉及到茶事内容的就有《斗茶图》、《卢仝烹茶图卷》、《茗园赌市图》、《博古图》、《撵茶图》等多幅，对了解宋代茶事有很高的学术参考价值。《撵茶图》从一个侧面充分展示了贵族官宦之家讲究品茶的生动场面，是宋代茶叶品饮的真实写照。",[24,164,7,28,27,188,96,2144,2145,2146,1424,2147,251],"茶具","桌案","棕榈","生活场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60e804e0a8eabdd2d17d440cc528efba.jpg","纵44.2厘米，横66.9厘米",[42,44],574,{"id":2153,"slug":2154,"title":298,"dynasty":54,"author":223,"museum":300,"description":2155,"tags":2156,"thumbUrl":2157,"material":84,"size":84,"collection":84,"collections":2158,"showCount":2159,"zanCount":1116,"manualWeight":48,"mainColor":72},223629,"he-hua-tu-yi-ming-223629","此作用笔秀润，设色清妍雅致。粉瓣荷花亭亭舒展，晕染出柔媚鲜活的层次，荷叶或苍绿如盖、或半卷含露，墨色浓淡尽显舒展生机。枯瘦莲蓬擎立，自带幽寂禅意。池中游鱼轻摆尾鳍，黑蜂振翅悬于淡赭素色的虚空，静中藏动，将夏日荷塘的鲜活气意晕开。整幅构图疏朗空灵，以浅淡底色晕出水汽氤氲的朦胧，不见满幅堆砌的繁复，将江南莲塘的清润宁和尽数铺陈，尽显文人画的悠然意趣，把溽暑里的荷塘清韵定格在绢素之上。",[23,164,24,7,165,27,28,61,168,82,841,2059,806],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d474cb4c4b95102723b2afdeb3c667a.jpg",[],572,{"id":2161,"slug":2162,"title":2163,"dynasty":18,"author":620,"museum":244,"description":2164,"tags":2165,"thumbUrl":2169,"material":173,"size":2170,"collection":68,"collections":2171,"showCount":2159,"zanCount":751,"manualWeight":48,"mainColor":72},218393,"xie-sheng-xing-hua-tu-zhao-chang-218393","写生杏花图","这是一幅单枝杏花的画作，盛开的杏花，显得春意盎然。笔触精致优雅，花瓣主要用白粉上色，只有花蕾用胭脂上色，给人一种半透明的感觉；花头用胭脂涂抹，颜色丰富，给人一种女性的感觉。",[23,164,24,7,1131,28,27,2166,61,2167,582,1039,2168],"写生","杏花","花蕊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa90c7d76318230f696dd0a532f0faf.jpg","25.2x27.3",[68],{"id":2173,"slug":2174,"title":2175,"dynasty":18,"author":2176,"museum":244,"description":2177,"tags":2178,"thumbUrl":2179,"material":278,"size":2180,"collection":68,"collections":2181,"showCount":2159,"zanCount":553,"manualWeight":48,"mainColor":72},215109,"sui-han-san-you-tu-zhao-meng-jian-215109","岁寒三友图","赵孟坚","莹净的纸面上，画家以墨笔画上一株饱结花朵、苞蕾的梅枝，继而交错、绕夹著如星芒般的松针与墨影般的竹叶，将它们横斜置於画面中央。这三株折枝植物的组合，不但是一件写生佳作，同时画中岁寒三友－松、竹、梅的组合，又代表当时文人认为应该具备的节操与美德。",[23,24,7,128,188,371,167,372,208,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb649cf50efa4be46ecb8b6ea14056db.jpg","32.2×53.4cm",[68],{"id":2183,"slug":2184,"title":2185,"dynasty":144,"author":569,"museum":20,"description":2186,"tags":2187,"thumbUrl":2188,"material":278,"size":2189,"collection":68,"collections":2190,"showCount":2191,"zanCount":1086,"manualWeight":48,"mainColor":72},219899,"zhao-shi-yi-men-san-zhu-tu-zhao-meng-fu-219899","赵氏一门三竹图","此图卷可分三段，分别为赵孟頫之妻管道昇、赵孟頫、次子赵雍所画竹三支。第三段赵孟頫所画之竹，自画卷后方斜出，并一直向前伸展，竹梢低头向下，整体成一弓形，其上细枝左右仲出，竹叶茂密。此竹主要以淡墨画出，浓墨加点，笔法温雅厚重，墨色变化细腻丰富。",[23,24,7,25,128,133,208,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11b327490001f9742b145ab2ea2c238a.jpg","纵34厘米 横108厘米",[68],566,{"id":2193,"slug":2194,"title":2195,"dynasty":18,"author":2099,"museum":1941,"description":2196,"tags":2197,"thumbUrl":2198,"material":278,"size":2199,"collection":42,"collections":2200,"showCount":2191,"zanCount":1998,"manualWeight":48,"mainColor":72},214884,"lian-she-tu-li-gong-lin-214884","莲社图","这幅画以白描手法画出人物和石头，然后用淡墨轻描淡写，使整幅画呈现出淡雅、古朴的气息。",[23,164,24,7,25,188,27,187,96,29,34,130,171,64,938,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2d809083d34a02228f290285b503fa7.jpg","30.1x595.8",[42],{"id":2202,"slug":2203,"title":2204,"dynasty":182,"author":464,"museum":20,"description":2205,"tags":2206,"thumbUrl":2207,"material":151,"size":2208,"collection":318,"collections":2209,"showCount":2211,"zanCount":586,"manualWeight":48,"mainColor":72},221064,"bu-nian-tu-quan-juan-yan-li-ben-221064","步辇图全卷","此卷为其贞观廿二年（648年）十二月十日手抄小乘佛教律部重要经典《善见律》。\n字作典型的唐代“经生体”，结构谨严优美，笔画挺拔腴润，使转灵活生动。\n全文二百六十余行，四千四百多字，一笔不苟，整齐匀净，表现了书者虔诚的心境与深湛的功力，实为唐人小楷上乘之作。\n今日所见唐人写经主要为百年前敦煌藏经洞发现，多出民间写手，且断烂残破。\n此卷则为千年传世之本，首尾俱全。\n卷末题名中有“赵模监”、“阎立本总监”字样，赵氏为宫廷“搨书人”，曾摹《兰亭序》；阎氏后官至右相，曾绘《步辇图》。\n研究者据此认定此卷是当时奉敕所作的皇家珍品。\n同样难得的是此卷的传承过程。\n它曾入南宋内府，钤有高宗“绍兴”、理宗“缉熙殿宝”二玺；元代曾归赵孟頫、皇姊祥哥剌吉两大藏家；明代华夏、董其昌及清初王鸿绪曾藏；入清宫后著录于《秘殿珠林续编》。\n卷后赵孟頫、冯子振、赵岩、邢侗、董其昌等大家的题跋相互辉映，为之增重不少。",[23,24,7,25,28,27,96,170,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F795330e305e920af26685bf0960da803.jpg","纵38.5厘米，横129厘米。",[318,2210],"碑帖精选",564,{"id":2213,"slug":2214,"title":2215,"dynasty":124,"author":204,"museum":300,"description":2216,"tags":2217,"thumbUrl":2221,"material":173,"size":84,"collection":44,"collections":2222,"showCount":2223,"zanCount":975,"manualWeight":48,"mainColor":49},216291,"er-shi-si-xiao-tu-ce-chou-ying-216291","二十四孝图册","二十四孝图是明朝时期著名的书画作品，由仇英创作。它描绘了中国传统文化中的二十四种孝道场景。二十四孝图的内容涵盖了人生各个阶段的孝道行为，从小学阶段的“孝悌忠信”到晚年的“慈孝双全”。这幅作品在明朝时期广受欢迎，并被视为一部重要的文化遗产。",[164,24,7,59,28,27,96,2218,2219,2220,230],"孩童","土墙","石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea9bda63260d3643cffa6017775670d8.jpg",[44],563,{"id":2225,"slug":2226,"title":1109,"dynasty":144,"author":1208,"museum":244,"description":2227,"tags":2228,"thumbUrl":2229,"material":317,"size":84,"collection":117,"collections":2230,"showCount":2231,"zanCount":975,"manualWeight":48,"mainColor":72},218759,"zhu-shi-tu-ni-zan-218759","简淡笔墨勾勒出一方清寂天地。嶙峋顽石以折带皴写就，骨力暗藏；几竿瘦竹用中锋挥毫，风神毕现。坡岸以淡墨扫出，不着繁饰却有山野之旷；竹叶疏密交织，寥寥数笔便见雅趣之浓。留白处似含虚寂之气，引观者神思悠远；笔墨间尽是淡远之怀，映画家澄净本心。无喧嚣之扰，无艳色之惑，简而不薄，疏而有致，于极简中藏深致，于清寂中见真趣。尽显文人画的空灵韵致，亦为超脱尘俗的精神气象凝于纸上。",[23,24,164,7,165,128,188,171,167,1337,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87a185b2b68c761e19a18f984e0eb2ee.jpg",[117],561,{"id":2233,"slug":2234,"title":2235,"dynasty":18,"author":491,"museum":20,"description":2236,"tags":2237,"thumbUrl":2238,"material":2239,"size":2240,"collection":42,"collections":2241,"showCount":2242,"zanCount":975,"manualWeight":48,"mainColor":49},221294,"ke-shi-ping-yuan-tu-juan-guo-xi-221294","窠石平远图卷","郭熙(11世纪)，字淳夫，温县(今属河南)人，其艺术活动约在北宋熙宁、元丰(168～185)间。\n擅长画山水。\n画巨石平坡，大小石块间杂生古树灌木，或枝叶繁茂，或枯枝败叶，平坡上有弯曲泉水流过。\n画右边一抹平沙，远处隐约有高山屏立。\n所作石块及平坡以卷云皴为之，树木多作蟹爪状，均为郭熙用笔造型的特点。\n全图以水墨为主，略施淡赭色烘染，描绘了秋日平远空旷的景色。\n画幅左侧作者自署“窠石平远”4字图名及“元丰戊午年郭熙画”款识，可知此图作于北宋神宗元丰元年(178)，为郭熙晚年作品。",[23,24,164,7,25,128,132,29,171,1337,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0556ced627d4bf0bc2eadd501a1dda33.jpg","绢本，墨笔","纵120.8厘米，横167.7厘米。",[42,136,117],555,{"id":2244,"slug":2245,"title":2246,"dynasty":144,"author":410,"museum":20,"description":2247,"tags":2248,"thumbUrl":2249,"material":1722,"size":2250,"collection":136,"collections":2251,"showCount":2252,"zanCount":1116,"manualWeight":48,"mainColor":72},220820,"wang-meng-xia-ri-shan-ju-tu-zhou-wang-meng-220820","王蒙夏日山居图轴","此图绘长松高岭，山坞人家。半敞的房舍中一位怀抱婴儿的妇女似正在来回踱步，哄儿入睡，极富生活情趣。王蒙的作品虽多描写高士隐居生活，但其中往往蕴含俗世的生活情趣，这在某种程度上可以说是画家入世情结的一种流露。\n画中山体施以细密而短促的牛毛皴，凸处和边缘处笔少而墨淡，凹处及深暗处则笔多而墨浓，借以表现出山峦的层次和体积感。松树以淡墨勾形，偶尔施以重墨，树身以干笔圈皴，松针先以淡墨写出，复施以浓重的焦墨，使之层次分明，愈显清峭挺拔之势。山间丛树用焦墨侧锋点染而成，与山体皴染融为一体，相辅相成，更增夏日青山浑厚华滋的质感。",[23,24,7,165,128,132,29,34,131,99,37,35,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7df20d546f8bf06fcb8d01422c5ba829.jpg","纵118.1厘米，横36.2厘米",[136,117],552,{"id":2254,"slug":2255,"title":2256,"dynasty":18,"author":2257,"museum":20,"description":2258,"tags":2259,"thumbUrl":2260,"material":514,"size":2261,"collection":42,"collections":2262,"showCount":2263,"zanCount":586,"manualWeight":48,"mainColor":49},221671,"jiang-shan-qiu-se-tu-zhao-bo-ju-221671","江山秋色图","赵伯驹","《江山秋色图》所绘是北方山水，群峰绵密，层峦叠嶂，仅在卷之前部有一条长河曲折蜿蜒而远逝，后卷但见崇山峻岭，错落连绵而如龙脉，起伏顾盼，开合揖让，虚实相生，盘桓而上。\n《江山秋色图》布局严谨，勾勒精细，设色绚烂，以石青石绿为主，兼用朱、赭、白等色，色调明快和谐。\n《江山秋色图》画面上重山复岭，层峦叠嶂，江河溪涧，深泽浅潭，飞瀑激落，错杂其间。\n在深秋的雾色中，楼观屋字，栈道廊桥，苍松古树，各得其宜，三三两两的步行者流连于山野之间，艄公正在江上张网摇船，劳累了的过路人停脚在松阴下歇息闲聊。\n《江山秋色图》钤有清内府“乾隆御览之宝”、“石渠宝笈”等印，以及梁清标鉴藏印。\n尾纸有明洪武八年（175年）朱标题跋。\n赵伯驹、赵伯骕兄弟承传唐代“二李”（李思训、李昭道父子）及宋徽宗画院学生王希孟《千里江山图》的风格，创作出了《江山秋色图》、《 》这类作品。\n画家在《江山秋色图》中重点表现了千岩竞秀的宏伟气势，以造成一种灵动而神秘的气氛，使人有一种身临其境的感觉。\n作者可能想描绘出一种文人的理想境界，使画面具有受到文人推崇的“士气”。\n虽然这幅画上出现的是一片太平、悠闲的景象，但却能从中体味出作者对失去故土的思念之情。\n笔法刚劲秀润，且线条的轻重、缓急、虚实，充满灵动之气，使画面富有韵律感。\n画中山石以流畅多变的长线条勾廓，并根据山石的脉络加以钩皴（多用“小斧劈皴”）。\n画笔尖细，但并不软弱轻浮。\n即使烘染重彩，却始终保持着线条的清晰度。\n此图在布局上用传统的“散点透视”法，将高远、平远和深远适当地结合起来，造成容量大、布阵奇、开合有度的效果，在多变之中得到一种和谐的整体感。\n也就是说，作者想给人的突出印象就是，画面充满了体积感。\n画中几条河流曲折而蜿蜒，平静自然地流向远方，表现出一种纵深感。\n作者还从不同角度描绘出山体左右正侧的造型变化以及山脉的逶迤连绵的气势。\n在用墨方面，是以石青、石绿为主调，重视远景与近景明部与暗部的色彩区别，整个画面给人的感觉是“亮”。\n近处山石、土坡、竹树多用重石绿兼赭石，阴影处多用石青和墨青。\n远处的山与树则用淡墨、螺青勾染。\n天、水部分用花青打底，敷以淡石青。\n重彩与淡彩的结合使画面具有了一种精微雅致的特色。\n中国美术学院艺术人文学院教授 ：《江山秋色图》的精神面貌与传为李思训派的《明皇幸蜀图》等有相接处，但显然比李思训的山水画精工丰富，成熟得多，在院体气格中还搀以文人画的韵致，最为院画，水平却非文人画家所易企及， 较之王希孟《千里江山图》也稍胜一筹。\n《江山秋色图》曾经明内府收藏，明初朱标题跋始定此卷为赵伯驹画。\n清代初年为梁清标收藏，图上有梁氏鉴藏印数方，后入清宫，有乾隆、宣统诸印玺。\n抗战期间由溥仪携往长春，东北解放后为人民政府所收，现藏于北京故宫博物院。\n217年9月15日至12月14日，《江山秋色图》在故宫午门正殿展厅举办的“千里江山——历代青绿山水画特展”中展出。\n赵伯驹，生卒年不详，字千里，为宋太祖七世孙，担任过浙东兵马钤辖。\n他擅长山水、花果、翎毛画，尤善金碧山水画。\n其山水画承继李思训父子，同时吸取了北宋文人画家水墨山水画的表现方式，逐渐形成了清幽淡雅、精工细酌的特色，又颇具文人的书卷气。\n他的山水画虽采用青绿赋色的表现形式，但对房舍、楼阁、树木等景物的刻画已具有北宋自然主义山水的体貌特征。",[23,24,7,25,26,27,29,131,34,31,97,1515,28,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6d5eca717593c1538b08a694bedb46.jpg","纵55.6厘米，横323.2厘米",[42,68,45],551,{"id":2265,"slug":2266,"title":2267,"dynasty":124,"author":2268,"museum":20,"description":2269,"tags":2270,"thumbUrl":2272,"material":1722,"size":2273,"collection":136,"collections":2274,"showCount":2275,"zanCount":1998,"manualWeight":48,"mainColor":72},220920,"fang-gu-shan-shui-tu-dong-qi-chang-220920","仿古山水图","董其昌","《董其昌仿巨然山水轴》是明代画家董其昌创作的一幅水墨画。\n本幅自题：“岚影川光翠荡磨，春风江上听渔歌。",[23,24,7,164,165,27,29,132,2271,663,228,1144,98,499,497,34,415,37],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31b52edc5116cc2683a64ad29378bccd.jpg","纵101.7厘米，横46.7厘米。",[136,45],549,{"id":2277,"slug":2278,"title":2279,"dynasty":54,"author":1504,"museum":161,"description":2280,"tags":2281,"thumbUrl":2282,"material":2283,"size":84,"collection":68,"collections":2284,"showCount":2285,"zanCount":1116,"manualWeight":48,"mainColor":72},223294,"lan-zhu-tu-zheng-ban-qiao-223294","兰竹图","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。\n郑板桥书法，用隶体掺入行楷，自称“六分半书”，人称“板桥体”。其画，多以兰草竹石为主，兰竹几成其心灵的郑板桥的书法艺术，在中国书法史上是独树一帜的。\n由他23岁写的《小楷欧阳修《秋声赋》和30岁写的《小楷范质诗》推知，板桥早年学书从欧阳询人手。其字体工整秀劲，但略显拘谨：这与当时书坛盛行匀整秀媚的馆阁体，并以此作为科举取士的标准字体有关。对此，郑板桥曾说：“蝇头小楷太匀停，长恐工书损性灵。”在他40岁中进士以后就很少再写了。郑板桥书法最被称道的是“六分半书”，即以“汉八分”（隶书的一种）杂人楷、行、草而独创一格的“板桥体”。\n“六分半”书，是郑板桥对自己独创性书法的一种谐谑称谓。隶书中有一种笔画多波磔的“八分书”，所谓“六分半”，其意大体是隶书，但掺杂了楷，行、篆、草等别的书体。《行书曹操诗》轴（如同，现藏扬州博物馆）可视为“六分半”体的代表作。此件写曹操《观沧海》诗，幅面很大，平均每宇有10平方厘米以上，字体隶意颇浓，兼有篆和楷；形体扁长相间，宅势以方正为主而略有摆宕。拙朴扩悍，恰与曹诗雄伟阔大的风格相似。郑板桥曾在《赠潘桐冈》诗中称道自己的书法：“吾曹笔阵凌云烟，扫空氛翳铺青天。一行两行书数字，南箕北斗排星躔。”\n郑板桥书法作品的章法也很有特色，他能将大小、长短、方圆、肥瘦、疏密错落穿插，如“乱石铺街”，纵放中含着规矩。看似随笔挥洒，整体观之却产生跳跃灵动的节奏感。如作于乾隆二十七年的《行书论书》横幅，时已七十高龄，乃晚年佳作。大意是说苏东坡喜用宣城诸葛氏齐锋笔，写起来十分如意，后来改用别的笔，就手心不相应。板桥自己喜用泰州邓氏羊毫笔，写起来婉转飞动，无不如意。于是把泰州邓氏羊毫比作宣城诸葛齐锋，最后说：“予何敢妄拟东坡?而用笔作书皆爱肥不爱瘦，亦坡之意也。”整幅作品结字大大小小，笔划粗粗细细，态势欹欹斜斜，点画、提按、使转如乐行于耳，鸟飞于空，鱼游于水，在一种态情任意的节律中显露着骨力和神采：清人何绍基说他的字“间以兰竹意致，尤为别]趣”。从这件作晶的章法、结体和笔画，不准看出他“波磔奇古形翩翩”的兰竹娄神。\n郑板桥出身于书香门第，康熙末年中秀才，雍正十年中举人，乾隆元年中进士，五十岁起先后任山东范县、潍县知县计十二年。“得志加泽于民”的思想，使得他在仕途对连年灾荒的平民百姓采取了“开仓赈贷”“捐廉代输”等举措，这引起了贪官污吏、恶豪劣绅的不满，被贬官。之后，他靠卖画维持生活。郑板桥的一生，经历了坎坷，饱尝了酸甜苦辣，看透了世态炎凉，他敢于把这一切都糅进他的作品中。郑板桥的题画诗已摆脱传统单纯的以诗就画或以画就诗的窠臼，他每画必题以诗，有题必佳，达到“画状画之像”“诗发难画之意”，诗画映照，无限拓展画面的广度，郑板桥的题画诗是关注现实生活的，有着深刻的思想内容，他以如枪似剑的文字，针砭时弊，正如他在《兰竹石图》中云：“要有掀天揭地之文，震电惊雷之字，呵神骂鬼之谈，无古无今之画，固不在寻常蹊径中也。\n①瘦劲竹子画：郑板桥画竹，“神似坡公，多不乱，少不疏，脱尽时习，秀劲绝伦”。《清代学者像传》说他一生的三分之二岁月都在为竹传神写影，自己曾有诗写道：“四十年来画竹枝，日间挥写夜间思，冗繁削尽留清瘦，画到生时是熟时”。后来他说：“凡吾画竹，无所师承，多得于纸窗粉壁日光月影中耳”。他通过观察和艺术创作的实践，提炼出“眼中之竹”、“胸中之竹”、“手中之竹”的理论。“眼中之竹”是自然实景，是对自然的观察和从中体验画意；“胸中之竹”是艺术创作时的构思；“手中之竹”是艺术创作的实现。他把主观与客观、现象与想象、真实与艺术有机地融为一体，创造了师承自然，而又高于自然的境界。\n自然之竹是客观存在的，画家看到眼里的竹已经和自然之竹有所区别了，然后要进行加工、主观处理，形成胸中之竹，这就是所说的意在笔先，等落到纸上，转化为手中之竹，“手中之竹”说的是画家所创出的一个“第二自然”，胸中之竹和手中之竹都是眼中之竹的升华，概括说就是画家把眼睛看到的客观形象，经过大脑的意象处理，最终经过技术加工物化为典型的艺术形象，是艺术创作的过程。\n当郑板桥任山东潍县知县，曾作过一幅画《潍县署中画竹呈年伯包大中丞括》，画中的竹子不再是自然竹子的“再现”，这诗题，不再是无感而发的诗题，透过画和诗，使人们联想到了板桥的人品，他身为知县，从衙斋萧萧的竹声，联想到百姓困苦疾声，说明他心中装着百姓，情感链系在百姓身上。这时画中的竹叶有了形象的扩展，郑板桥开仓赈贷，救济灾民的场景一幕幕地浮现在人们脑海里，“凝固的瞬间”在观众的脑海里变成了无限延续的故事，好似极富感染力的小说、影片那样，扣人心弦，发人深思。寥寥几笔竹叶，简练几句诗题，让人倍感作品中蕴藏着的深刻的思想、浓浓的情意。再有几幅是郑板桥被贬官后离开潍县，三头毛驴一车书，两袖清风而去，临行前后作的画，其一画竹图题云：“乌纱掷去不为官，囊囊萧萧两袖寒，写取一枝清瘦竹，秋风江上竹渔竿”，借竹抒发了他弃官为民、淡泊名利、享受人生的平静心态，其二《竹石图》画幅上三两枝瘦劲的竹子，从石缝中挺然后立，坚韧不拔，遇风不倒，郑板桥借竹抒发了自己洒脱、豁达的胸臆，表达了勇敢面对现实，绝不屈服于挫折的人品，竹子被人格化了，此时，“诗是无形画，画是有形诗”。类似的还有《墨竹图》《竹图》，这几幅墨竹图，都是借竹子抒发他遭贬官后，越发洒脱。郑板桥所画竹子和题画诗，大多是借竹缘情，托物言志，抒发了“衙斋卧听萧萧竹，疑是民间疾苦声”的情怀，表现出“立根原在乱岩中，任尔东西南北风”的坚劲，表达出“写取一枝清瘦竹，乌纱掷去不为官”的气节和气概，凡竹子的高风亮节，坚贞正直，高雅豪迈等气韵，都被他表现得淋漓尽致。这正是郑板桥作品不同于传统花鸟画之处，不同于前人之处。传统的兰竹大多数表现为欣赏性的、娱乐性的主题，画面主要追求自然形象的真与美、绘画技能的高与低、笔墨运用的娴熟与雅俗，而到了郑板桥的笔下，除了达到这些技能技巧外，题画诗还赋予这题材新的思想内容和深邃意境，使花鸟画亦能产生思想性、抒情性，给人以深刻的感受。\n郑板桥画竹独特，画石亦如此。自然界再无情的石头在他笔下也活了，如《柱石图》中的石头，这也是前人画中常用题材，但很少把它作为主体形象来表现的。而郑板桥在画幅中央别具一格地画了一块孤立的峰石，却有直冲云霄的气概，四周皆空没有背景。画上四句七言诗：“谁与荒斋伴寂寥，一枝柱石上云霄，挺然直是陶元亮，五斗何能折我腰。”诗点破了画题，一下子将石头与人品结合到一块儿，可谓“画不足而题足之，画无声而诗声之。诗画互相为用，开后人无数法门。”板桥借挺然坚劲的石头，赞美陶渊明。板桥赞美他刚直不阿、品格高尚的人格，同时似乎也有吐露他自己同样遭遇及气度的意思。画中的石头代表了人物形象，蕴藏着刚直不阿、气宇轩昂的品质，使人感到，此处画石头比画人更有意味，更能揭示深刻含义。\n③兰花图：郑板桥还有很多以兰花为主题的画，也表现了一些新的内容，借题画诗发挥，寓意对各种各样事物的看法。如：有的借兰花特征，透溢出做人胜不骄、败不馁，持平常心态的胸臆，题画诗云：“兰花与竹本相关，总在青山绿水间，霜雪不凋春不艳，笑人红紫作客顽。”由兰花让人产生联想，做人要像兰花一样幽静、持久、清香，不浮不躁，不争艳。咫尺画幅，拓展无限之大，意境深邃。又如：有的借一丛丛兰花，夹着一些荆棘的自然现象，抒君子能宽容小人之大度的气质。《荆棘丛兰石图》题画诗云：“不容荆棘不成兰，外道天魔冷眼看，看到鱼龙都混杂，方知佛法浩漫漫。”另一幅《荆棘丛兰石图》题云：“满幅皆君子，其后以荆棘终之何也？盖君子能容纳小人，无小人亦不能成君子，故棘中之兰，其花更硕茂矣。”板桥匠心独运，兰花中穿插几枝荆棘，画兰花与荆棘共存，表达了遇有小人，虚怀若谷、和睦共处，“历经磨练，方成英雄”的宽宏大量之胸怀，读画者亦受益匪浅。越读越感简单的植物具有高深的意境，乐趣无穷。纵观郑板桥笔下所画的兰竹石，细品题画诗，我们不难看出，他喜画兰竹石的缘由，正如他所云：“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”，而“为四美也”。“有兰有竹有石，有节有香有骨”。在他眼中，兰竹石，能代表人坚贞不屈，正直无私，坚韧不拔，心地光明，品格高洁等品格，因而其题画诗的字字句句，托物言志，意境深远。\n④题画诗：题画诗在他笔下，除了在内容上有思想性，抒情性以外，在形式上还更具有艺术性、趣味性。题画诗能充分体现“书画同源”“用笔同法”的艺术趣味，而传统画家的题款跋文，大多题于画的空白处，与画面起平衡作用，但“扬州八怪”的题款已脱传统国画以及“文人画”题款、题诗的窠臼，特别是郑板桥将书法与画糅合在一起，还成了共同表现形象的特殊手法，彼此关系不分割。如《兰石图》，郑板桥别具匠心地将诗句用书法的形式，真草隶篆融为一体，大大小小，东倒西歪，犹如“乱石铺街”地题于石壁上，代替了画石所需的皴法，产生了节奏美、韵律美，又恰到好外地表现了石头的立体感、肌理美，比单纯用皴法表现立体感更具有意趣。这倒成了不可或缺的表现方法，既深刻揭示兰花特征，寓意高尚人品的意境美，又有书法艺术替代皴法的艺术美。让人在观画时既享受到画境、诗境的意境美，又能享受到书法艺术的形式美，沉浸在诗情画意中。另在许多兰竹石的画幅上，他题诗的形式变化多端，不守成规，不拘一格，自然成趣，达到书佳、行款得体，画亦随之增色。所谓行款得体，即是视画面的实际，进行构思，讲究构图的形式美，因而他将题画诗或长题于侧，或短题于上下，或纵题、或横题、或斜题、或贯穿于兰竹之间、藤叶之间，断断续续地题，观其形态，参差错落，疏密有致。是书也是题，是画也是诗，是诗也是画，欣赏每幅画中题画诗，既是绝妙的书法再现，也是将书画相映成趣的综合艺术，书题与画面有机地交融在一起，构成了统一的诗情画意，给人以综合的完美的艺术享受。\n郑板桥情系百姓，与民同忧。乾隆六年（1741年）春，因科举及第考中进士的郑板桥被派往山东范县任县令，开始了他长达12年的官宦生涯。他为官力求简肃，视排衙喝道之类的礼仪为桎梏。为察看民情、访问疾苦，他常不坐轿子，不许鸣锣开道，不许打“回避”“肃静”的牌子，身着便服，脚穿草鞋到乡下察访。即便夜间去查巡，也仅差一人提着写有“板桥”二字的灯笼引路。因为他常常微服“陇上闲眠看耦耕”，以致“几回大府来相问”，竟找不到他的人影子。\n对于百姓的疾苦，他时时刻刻都挂在心上。他一生善于画竹，尤其善于据竹写诗。在潍县任县令时，他的顶头上司、山东巡抚包括向他索求书画，他画了拿手的竹子，并在上面题诗一首：“衙斋卧听萧萧竹，疑是民间疾苦声。些小吾曹州县吏，一枝一叶总关情。”\n乾隆十一年（1746年），郑板桥调署潍县，在潍县任上七年，竟有五年发生旱蝗水灾，生民涂炭，哀鸿遍野。他一面向朝廷据实禀报灾情，请求赈济；一面以工代赈，兴修城池道路，招收远近饥民赴工就食，并责令邑中大户轮流在道边开厂煮粥，供妇孺耄耋充饥。同时，责令囤积居奇者迅速将积粟按通常价格卖给饥民。他自己也节衣缩食，为饥民捐出官俸。在最危急之时，他毅然决定打开官仓放粮。乾隆十七年（1752年），他愤然辞官，回到故乡江苏兴化定居",[24,7,165,128,375,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F681d28d4f5f08cb75a05b07ab8eceef3.jpg","水墨纸本",[68,117],547,{"id":2287,"slug":2288,"title":2289,"dynasty":54,"author":2290,"museum":300,"description":2291,"tags":2292,"thumbUrl":2293,"material":84,"size":84,"collection":68,"collections":2294,"showCount":2295,"zanCount":553,"manualWeight":48,"mainColor":72},228928,"hua-hui-hu-die-tu-juan-ma-quan-228928","花卉蝴蝶图卷","马荃","此作工写相融，以没骨法绘就群蝶，翅翼薄如蝉翼，晕染出绒毛的柔润质感，墨色浓淡相宜，黑蝶沉雅莹润，白蝶清透灵动。群蝶翩跹往复，似循着花香振翅而来，各有姿态，灵动生趣。\n\n间缀芍药、佛手数处，设色柔婉秀雅，花叶舒展自然，与蝶影相映成趣，将花底群蝶相逐的春日清景缓缓铺展。引首题字娟秀端丽，书画合璧，将闺中细腻意趣融于笔底，晕开一卷悠然雅致的花间清梦。",[23,24,7,25,27,28,133,208,61,62,481,263,374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa61f6d45e4448610bc0d9227c8c99010.jpg",[68],537,{"id":2297,"slug":2298,"title":2299,"dynasty":18,"author":223,"museum":244,"description":2300,"tags":2301,"thumbUrl":2303,"material":173,"size":2304,"collection":44,"collections":2305,"showCount":2306,"zanCount":1105,"manualWeight":48,"mainColor":49},216215,"xian-yan-shou-lu-tu-yi-ming-216215","仙岩寿鹿图",""仙岩寿鹿图" 是宋朝时期的一幅绘画作品，其作者不详。这幅作品描绘了一处神奇的山洞，里面生活着许多寿鹿。寿鹿是一种传说中的动物，身体像鹿，有着长长的寿命。在这幅画中，寿鹿被描绘成了幸福、健康、长寿的象征。整幅画浓郁的山水意境，深深地吸引着观众的眼球。",[164,24,7,165,27,28,96,166,2302,949,171,497],"鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44803965d1305ff70dab68b3132a40c5.jpg","117.2x61.3cm",[44],533,{"id":2308,"slug":2309,"title":2310,"dynasty":144,"author":569,"museum":244,"description":2311,"tags":2312,"thumbUrl":2313,"material":173,"size":2314,"collection":44,"collections":2315,"showCount":2306,"zanCount":975,"manualWeight":48,"mainColor":49},214839,"yuan-ming-gui-qu-lai-ci-tu-zhao-meng-fu-214839","渊明归去来辞图","现在的画没有标记，据说是赵孟𫖯的作品，不过画风不一样。这幅画表现的是陶渊明在两个仆人的陪同下，带着他的法杖回来，一个人拿着琴和卷轴，另一个人拿着酒坛。门前的五棵柳树清楚地表明，画中的人是五柳先生。人物的衣着是快速、流畅和有力的笔触。柳树的树干被仔细地描绘出来，线条清晰可见。这幅画还用淡墨给水和天空轻轻上色，但很明显，暮色已经退去，秋天的空气铺天盖地。",[23,24,7,25,188,27,96,331,29,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d284481c01c8ff3b02e261ebb31a78f.jpg","27x72.5",[44],{"id":2317,"slug":2318,"title":2319,"dynasty":18,"author":2320,"museum":465,"description":2321,"tags":2322,"thumbUrl":2323,"material":173,"size":2324,"collection":42,"collections":2325,"showCount":2326,"zanCount":1014,"manualWeight":48,"mainColor":956},218605,"wu-bai-luo-han-zhi-shi-cai-pin-zhe-tu-zhou-ji-chang-218605","五百罗汉之施财贫者图","周季常","衣袂飘举间，罗汉群像神态各异：或持法器凝立，衣纹如流水般细腻；或低语相谈，眉眼间藏着慈悲的柔光。下方沟壑纵横处，贫者衣衫褴褛，匍匐劳作的身形佝偻着，困顿与艰辛在笔触里尽显。云雾缭绕的背景中，苍劲的树木与嶙峋的山石，悄然分隔却又勾连起上下两重世界。\n\n画家以写实之笔勾勒众生相，罗汉的从容与贫者的窘迫形成鲜明对照，似在无声传递施财济困的佛理。古绢底色晕染出岁月的厚重，每一处细节都浸着宋代佛画的庄重与温度，让慈悲之念在画面里缓缓流淌，直抵人心。",[23,164,24,7,165,187,28,27,96,131,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d79111b47df23f905bb3c17be404416.jpg","111.5x53.1",[42,44],530,{"id":2328,"slug":2329,"title":2330,"dynasty":124,"author":366,"museum":300,"description":2331,"tags":2332,"thumbUrl":2335,"material":84,"size":84,"collection":84,"collections":2336,"showCount":2337,"zanCount":738,"manualWeight":48,"mainColor":72},228763,"shui-mo-pu-tao-tu-zhou-xu-wei-228763","水墨葡萄图轴","《明徐渭山水花卉人物图》是明代画家徐渭的作品，该画为纸本、水墨，尺幅纵26.9厘米，横8.厘米。\n现藏于 。\n自书款一而：“万历戊子夏仲，偶闲，寓崇侄子云齐中，漫为捉笔，真儿戏也。\n青藤渭。\n”下钤“徐渭之印”等二方。\n另有吴俊卿、李详题跋二页。\n钤印诸方。\n该册十八页，其中画十五页，分别作写意山水人物、写生 ，内容有婴戏、对弈、 、 、稻穗螃蟹等等。\n笔墨简括豪放，随意自然。\n选其二页，可窥真趣。\n徐渭（1521~159年）明代杰出书画家、 。\n初字文清，改字文长，号天池、又号青藤道人、田水月等。\n浙江山阴（今绍兴）人。\n自幼聪慧，文思敏捷。\n且胸有大志。\n参加过嘉靖年间东南沿海的抗倭斗争和反对权奸严嵩，一生遭遇十分坎坷，可谓“落魄人间 ”。\n最后入狱七、八年。\n获释后，贫病交加，以卖诗、文、画糊口，潦倒一生。\n他中年学画，继承梁楷减笔和林良、沈周等写意花卉的画法，故擅长画水墨花卉，用笔放纵，画残菊败荷，水墨淋漓，古拙淡雅，别有风致。\n兼绘山水，纵横不拘绳墨，画人物亦生动，其笔法更趋奔放、简练，干笔、湿笔、破笔兼用，风格清新，恣情汪洋，自成一家，形成“青藤画派”。\n他自己尤以书法自重。\n自称“吾书第一、诗二、文三、画四”。\n袁宏道等称赞他的书法“笔意奔放”，“苍劲中姿媚跃出”，“在王雅宜、文征仲之上。\n他画的《黄甲图》，峭拔劲挺，生动地表现了螃蟹爬行、秋荷凋零的深秋气氛。\n作品流传至今的较多。\n著作有：《四声猿》、《南词叙录》《徐文长佚稿》、《徐文长全集》等。\n传世著名作品有《墨葡萄图》轴、《山水人物花鸟》册（均藏故宫博物院）、《牡丹蕉石图》轴，以及晚年所作《墨花》九段卷（现藏故宫博物院）等。",[23,24,7,165,128,369,370,2333,2334,548,549,64,840],"泼墨","葡萄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F504df223fc9470a5121ee4d43301b51c.jpg",[],528,{"id":2339,"slug":2340,"title":1109,"dynasty":54,"author":1504,"museum":300,"description":2341,"tags":2342,"thumbUrl":2343,"material":611,"size":84,"collection":68,"collections":2344,"showCount":2337,"zanCount":1086,"manualWeight":48,"mainColor":72},220050,"zhu-shi-tu-zheng-ban-qiao-220050","郑板桥(1693-1765)，原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。康熙秀才，雍正十年举人，乾隆元年(1736年)进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为扬州八怪重要代表人物。郑板桥一生只画兰、竹、石，自称四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人。其诗书画，世称三绝，是清代比较有代表性的文人画家。",[23,24,7,165,128,369,133,208,167,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb724f394a4ef707b4419ea206b3dbdac.jpg",[68],{"id":2346,"slug":2347,"title":2348,"dynasty":18,"author":2349,"museum":244,"description":2350,"tags":2351,"thumbUrl":2353,"material":66,"size":84,"collection":44,"collections":2354,"showCount":2355,"zanCount":975,"manualWeight":48,"mainColor":49},216963,"guan-fu-xi-ying-tu-su-han-chen-216963","灌佛戏婴图","苏汉臣","婴戏图即描绘儿童游戏时的画作，又称“戏婴图”，是中国人物画的一种。因为以小孩为主要绘画对象，以表现童真为主要目的，所以画面丰富，形态有趣。中国很早已有绘画婴孩的传统，到了唐宋时期技巧渐趋成熟，宋代更是婴戏图的黄金时期，使之成为中国绘画中极受欢迎的画类。\n\n宋代是婴戏图发展的全盛时期，不但取材多样化，而且描绘技巧高超。有的采用鲜艳颜色以衬托婴孩游玩时的愉快心情，营造热闹快乐的气氛；有的利用简洁的线描，刻划平民的市井风情。市井之民虽生于低下阶层，物质生活不甚丰富，但小孩的天真、贪吃贪玩的性情仍溢于纸上。在婴孩的形体构图方面，孩子面貌及身形比例准确，不再是“身小而貌壮”或“妇人之貌”。而且画家每每绘画小孩穿上轻纱薄衣，使观者能通过薄衣透视小孩丰满圆润的身段。婴孩面部表情亦十分丰富，喜怒哀乐活灵活现。宋代婴戏图的兴盛和成功，奠定了婴戏图的基础，亦创新了不少题材，使后世仿效之作甚多。",[24,164,7,28,27,96,263,167,413,2352,249],"假山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc85835c28e628810548dd2c93dbfbd.jpg",[44],525,{"id":2357,"slug":2358,"title":2359,"dynasty":54,"author":55,"museum":1185,"description":1186,"tags":2360,"thumbUrl":2363,"material":1190,"size":1191,"collection":68,"collections":2364,"showCount":2365,"zanCount":975,"manualWeight":48,"mainColor":72},221000,"hua-hui-tu-ce-dou-hua-shi-zhu-yun-shou-ping-221000","花卉图册·豆花石竹",[23,24,7,59,60,27,61,2361,2362],"豆花","石竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99e5a05a9a06168177d3bb7fda38b174.jpg",[68,45],523,{"id":2367,"slug":2368,"title":2369,"dynasty":54,"author":55,"museum":244,"description":2370,"tags":2371,"thumbUrl":2374,"material":253,"size":2375,"collection":68,"collections":2376,"showCount":2377,"zanCount":430,"manualWeight":48,"mainColor":72},220986,"yan-xi-yu-le-zhou-yun-shou-ping-220986","燕喜鱼乐轴","本幅以没骨法绘成，直接用色点染，再略加勾画叶脉筋络。全幅设色典雅，有脱俗的气质",[23,24,7,165,28,27,61,209,2372,2373,2059,211],"柳","燕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7813b61c4d298e29291dcdde76707c2d.jpg","120.5×61.2",[68,45],522,{"id":2379,"slug":2380,"title":2381,"dynasty":144,"author":223,"museum":244,"description":2382,"tags":2383,"thumbUrl":2384,"material":173,"size":2385,"collection":68,"collections":2386,"showCount":2387,"zanCount":1105,"manualWeight":48,"mainColor":49},216222,"hua-niao-tu-yi-ming-216222","花鸟图","一对锦鸡被描绘成在花朵和岩石间游动，而一对燕子和喜鹊则各自点缀着这一场景。雉鸡的羽毛鲜艳夺目，与盛开的鲜花交相辉映。这幅画的色彩斑斓和绚丽通过笔法的运用得到了加强。花和鸟的笔触相当细致，有一种优雅的品质。叶子的着色似乎是杂乱无章的，有几处已经模糊或剥落。这幅画没有标记，但仍有元代的题记。",[24,7,164,28,27,61,355,547,171,604,828,582,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ce90ed3be06a8274a00daaccbc1bec.jpg","167.6x101.9cm",[68],520,{"id":2389,"slug":2390,"title":2391,"dynasty":144,"author":1208,"museum":244,"description":2392,"tags":2393,"thumbUrl":2394,"material":278,"size":2395,"collection":136,"collections":2396,"showCount":2397,"zanCount":1086,"manualWeight":48,"mainColor":72},220794,"rong-xi-zhai-tu-zhou-ni-zan-220794","容膝斋图轴","倪瓒少小聪明，早年专意读书，家中清秘阁藏书数千卷，经史子集，佛道经典，他都专心阅读批校，所藏法书名画，亦悉心临学。其书法天然古淡，有魏晋人风格。倪瓒隐居于太湖四周的宜兴、常州、湖州、松江一带，常领略这里秀丽清幽的湖光山色，他的画也多取材于此。\n此幅成于洪武壬子（1372年），七十二岁所作。自署“壬子岁(1372)七月五日云林生写”。二年后再题谓：“赠寄仁仲医师。且锡山予之故乡也，容膝斋则仁仲燕居之所。”“他日将归故乡，登斯斋，持卮酒，展期图，为仁仲寿。”方知此图乃是寄放在医师仁仲之“容膝斋”，以备他日为仁仲祝寿之用。此帧先写赠其友檗轩，檗轩藏之三年，又寄赠医师仲仁，请云林补诗，容膝斋即仲仁居处，是先有画而后有题者也。此图写的是江南春景，平远山水。近处为山石陂陀，林木萧疏，作为近景与远景之间的过渡部分则多为大片空白，不着一墨, 是为湖水。图上侧远岫遥岑，横于波际。\n这种三段式的构图，是倪瓒山水的特征之一。其山水胎息于董源，矶头两点，石上横拖披麻，皴法清逸。其树法参差变，结体有骨力，而树头枝梢，每多生意。喜多作枯树，擦以枯笔，墨色浓淡错综而滋润浑厚。《容膝斋图》便是其晚年的精品，作于去世前两年，笔墨炉火纯青。典型的“三段式”构图：下方土坡上画杂树五棵，二棵点叶，二棵垂叶，一棵为枯槎无叶，树后是平坡茅亭；中间空白，茫茫湖水；上方画远山数叠。比之17年前画的《渔庄秋霁图》，虽章法相似，但用笔更刚劲洒脱，“折带皴”更显得老辣纯熟，风神飘逸。",[23,24,7,165,128,29,132,130,1337,171,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a1262bf8374934f412458d8adc28d76.jpg","74.7 x 35.5cm",[136,117],518,{"id":2399,"slug":2400,"title":2401,"dynasty":18,"author":223,"museum":300,"description":2402,"tags":2403,"thumbUrl":2404,"material":173,"size":2405,"collection":42,"collections":2406,"showCount":2397,"zanCount":1998,"manualWeight":48,"mainColor":49},214257,"yu-yuan-shi-chao-tu-yi-ming-214257","御苑市朝图","御苑市朝图是一幅作者不详的宋代画作。这幅画作描绘了宋朝的市场生活。\n\n在这幅画作中，画家巧妙地捕捉了宋朝的市场生活的繁华景象。他用浓墨重彩的画法，勾勒出了市场的熙熙攘攘的场面。他还用细腻的线条勾勒出了市场中出售各种商品的商贩，让人感受到了宋朝市场的繁荣景象。\n\n此外，画家在这幅画作中还描绘了市场周围的景色。他用色彩丰富的画法，描绘了市场周围的山川和河流。这些景色与市场的繁华场面形成了鲜明的对比，让人感受到了自然与人类活动的和谐\n共存。\n\n总之，御苑市朝图是一幅精美的画作，描绘了宋朝的市场生活。它让我们感受到了宋朝市场的繁荣景象，也让我们感受到了宋朝文化的魅力。",[23,164,24,7,165,95,27,29,97,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F672f72d901c08686f814955355d9dcad.jpg","107x52",[42],{"id":2408,"slug":2409,"title":2410,"dynasty":54,"author":55,"museum":244,"description":261,"tags":2411,"thumbUrl":2412,"material":173,"size":265,"collection":84,"collections":2413,"showCount":2414,"zanCount":1086,"manualWeight":48,"mainColor":72},214305,"mu-dan-ce-5-yun-shou-ping-214305","牡丹册-5",[24,7,164,59,27,28,61,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb3772de09b7a0a9f5b1dbfb42e2091f.jpg",[],516,{"id":2416,"slug":2417,"title":2418,"dynasty":144,"author":410,"museum":244,"description":2419,"tags":2420,"thumbUrl":2421,"material":66,"size":2422,"collection":136,"collections":2423,"showCount":2424,"zanCount":1998,"manualWeight":48,"mainColor":72},214820,"jing-xi-shi-cui-tu-wang-meng-214820","荆溪湿翠图","这幅画描绘了水流湍急的泾河、声音激荡的瀑布、色彩斑斓的山峦和长满松树的松树。面板上有王蒙的长篇后记，据说是后来加的。这幅画的风格与杜琼的风格比较相似，从杜琼在 旌表贞节之门 下的印章可以看出。",[24,7,165,128,27,29,99,34,131,495,96,132,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa69a4d460ff4b91c032f0a5094f977d7.jpg","142.6x42.9",[136],512,{"id":2426,"slug":2427,"title":2428,"dynasty":54,"author":55,"museum":1185,"description":1186,"tags":2429,"thumbUrl":2430,"material":1190,"size":1191,"collection":45,"collections":2431,"showCount":2432,"zanCount":1086,"manualWeight":48,"mainColor":72},220997,"hua-hui-tu-ce-zhu-shi-tu-yun-shou-ping-220997","花卉图册·竹石图",[23,24,7,27,59,60,167,171,1771,2037,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ddb009d00a9d8acb3b4ebc9060d819d.jpg",[45,1670],511,{"id":2434,"slug":2435,"title":2436,"dynasty":54,"author":55,"museum":424,"description":425,"tags":2437,"thumbUrl":2439,"material":66,"size":2440,"collection":84,"collections":2441,"showCount":2442,"zanCount":738,"manualWeight":48,"mainColor":72},216591,"ou-xiang-guan-xie-sheng-ce-3-yun-shou-ping-216591","瓯香馆写生册-3",[24,7,59,27,60,61,80,547,2438,548],"树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e60e3d8683439073039aa23e65ff0f.jpg","26x36cm",[],506,{"id":2444,"slug":2445,"title":2446,"dynasty":351,"author":1833,"museum":300,"description":2447,"tags":2448,"thumbUrl":2449,"material":692,"size":1293,"collection":84,"collections":2450,"showCount":2451,"zanCount":11,"manualWeight":48,"mainColor":956},287714,"kuang-lu-tu-tiao-se-ban-jing-hao-287714","匡庐图（调色版）","《匡芦图》是荆浩现存作品中比较可信的真作之一，图上有南宋高宗赵构所书“荆浩真迹神品”六字，另有元人韩屿和柯九思两人题诗。全图由下而上，由近至远，大致可分为近景、中景、远景三个层次，境界上也从“有人之境”渐入“无人之境” 近景处于侧面下端，一泓涧水间，有船夫悠然地撑着一叶扁舟欲停船靠岸，顺石坡而行，山麓中有屋宇院落筑立其间，竹篱树木环绕。屋后石径环山逶迤而上，长堤板桥，赶驴行人都被画家一一摄入笔端。中景里面，两崖之间有瀑布飞倾而下，击石溅花，轰然作响。瀑布之下座木桥横亘于溪涧之巅，一路上危壁嶙峋，松柏参差，这其间还坐落一方庭院，可见画家幽居深隐的情感趋向。最高处的景致虽然深远，却格外醒目：画面中轴有主峰赫然而立，直入云霄，浩渺烟岚，尽出其下，远近如屏的诸峰环拥相簇，映衬着主峰的高险与威仪。群峦之间，一条白练般的瀑布直落山涧。",[164,24,7,165,128,29,132,496,495,34,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a8ad00d8855331e31469eec858e44e4.jpg",[],505,{"id":2453,"slug":2454,"title":2455,"dynasty":124,"author":125,"museum":510,"description":2456,"tags":2457,"thumbUrl":2458,"material":611,"size":2459,"collection":84,"collections":2460,"showCount":2461,"zanCount":1086,"manualWeight":48,"mainColor":72},222135,"wei-yuan-ya-ji-tu-shen-zhou-222135","魏园雅集图","沈周在此画中营造了一种山水亭榭，林泉雅集的氛围。\n远处峰峦陡起，轻披薄雾；近处山顶与中部山腰，露出多处缓缓向上的台地，泉水从山涧飞流直下，汇成棕棕小溪。\n溪水旁有一小桥，茅亭内四人席地而坐，书童侧立一旁正听候主人吩咐，一老者拽杖而来。山上山下，草木葱茏，叶红似火的枫叶点缀其间，更添几分胜地雅集美景。画家皴染兼施，构筑的画面气魄雄浑沉静，画心连画家共 六人题咏，实为诗书画熔为一炉的山水佳作。\n本幅作品取材于五人山亭雅集之事，故这一场景被安置于图中极为醒目之处。",[23,24,7,128,132,133,64,208,29,130,96,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea5f7a0e13b04d0d1a1bef16fd387091.jpg","纵145.5厘米，横47.5厘米",[],503,{"id":2463,"slug":2464,"title":2465,"dynasty":124,"author":1141,"museum":244,"description":2466,"tags":2467,"thumbUrl":2468,"material":66,"size":2469,"collection":136,"collections":2470,"showCount":2471,"zanCount":11,"manualWeight":48,"mainColor":72},221977,"pin-cha-tu-zhou-wen-zheng-ming-221977","品茶图轴","此作为文徵明自绘与友人陆子傅於林中茶舍品茗的场景。\n图中草堂环境幽雅，小桥流水，苍松高耸，堂舍轩敞，几榻明净。堂内二人对坐品茗清谈，从跋文可知正是作者和友人陆子傅。几上置书卷、笔砚、茶壶、茗盏等。茶寮内泥炉砂壶，炉火正炽，童子身后几案上摆有茶罐及茗盏。",[23,24,7,165,27,29,96,133,208,28,132,663,1144,130,99,98,413,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed1341fed0de54ecd60de1c41932b58e.jpg","142.31X40.89cm",[136,117],498,{"id":2473,"slug":2474,"title":2475,"dynasty":351,"author":1610,"museum":205,"description":2476,"tags":2477,"thumbUrl":2480,"material":278,"size":2481,"collection":136,"collections":2482,"showCount":2471,"zanCount":975,"manualWeight":48,"mainColor":49},220441,"ping-lin-ji-se-tu-dong-yuan-220441","平林霁色图","此图绘山峦并峙，古寺深藏，山脚下有茅屋，行旅之人在平林小径间穿行。另一侧是开阔的水面，岸边有人等待泊舟。山石用短线皴，画法尚存北宋遗风，而与南宋画风无涉。董其昌将此图题为董源，实与董源的画法有较大的距离。近年有学者指出图中茅屋里的曲尺形炕是金元时典型的北方屋室特点，为推断此图系金代作品提借了有力的佐证。此图曾经清王时敏、张应甲、完颜景贤收藏。\n董源最擅长山水，其水墨及着色轻淡者，不为奇峭之笔，山石用麻皮皴，作峰峦出没，云雾显晦，溪桥渔浦，洲渚掩映的江南景色，评者以为平淡天真，唐无此品；其着色浓重者，山石皴纹甚少，景物富丽，宛然李思训风格。\n董源的水墨山水画，巨然加以发展，世称“董巨”，为五代北宋间南方山水画的主要流派，对元朝及其后画坛影响甚大，与李成和范宽并为“宋三家”。相传的作品有〈潇湘图〉、〈夏山图〉、〈夏景山口待渡〉、半幅〈溪山行旅〉和〈溪岸图〉等。",[23,164,24,7,25,128,132,29,2478,34,496,37,129,99,2479,130],"平林","岸渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2add91492c6c896c12d7f559661ce12b.jpg","37.5×150.8cm",[136,117],{"id":2484,"slug":2485,"title":2486,"dynasty":144,"author":2487,"museum":2488,"description":2489,"tags":2490,"thumbUrl":2491,"material":66,"size":2492,"collection":68,"collections":2493,"showCount":2494,"zanCount":751,"manualWeight":48,"mainColor":72},216741,"wu-wang-zui-gui-tu-ren-ren-fa-216741","五王醉归图","任仁发","上海龙美术馆","《五王醉归图》出自元代画坛巨匠任仁发之手，描绘唐玄宗登基前，与四位兄弟出游饮宴，醉后策马归途的景象。据《旧唐书》记载，唐玄宗登基前，在兴庆坊西南方置楼，常邀诸王宴饮，赋诗燕嬉，感情深厚。本幅便是描绘其身为临淄王时醉后策马的景象。画中主角包括李隆基长兄宋王李宪、二兄申王李撝、四弟岐王李范，以及五弟薛王李业，另尚有四名侍从，合乘九匹骏马。\n任仁发的画马成就，堪与同时代的赵孟頫媲美。 《五王醉归图》是其笔下罕见的纸本作品，宋笺纸质细密，包浆良好，色彩明亮；用笔轻松自然，整幅线条勾勒凝练潇洒，人马排列为平铺式构图，是唐人造型和元人用笔之结合。",[23,24,7,25,28,27,96,101,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3028cb21d01ead2581ac3d3aa2d0dcc1.jpg","35x368cm",[68],497,{"id":2496,"slug":2497,"title":2498,"dynasty":124,"author":204,"museum":161,"description":2499,"tags":2500,"thumbUrl":2501,"material":173,"size":2502,"collection":44,"collections":2503,"showCount":2494,"zanCount":1998,"manualWeight":48,"mainColor":72},214881,"du-le-yuan-tu-chou-ying-214881","独乐园图","北宋时期，司马光写了《独乐园记》，其中描述了他自己在洛阳的住所和花园。该卷按从右到左的顺序展示了司马光《独乐园记》中的主要园林场景。然而，司马光在现场反复出现，体现出他的“独乐”之趣。",[23,24,25,7,28,27,95,29,96,97,130,98,99,167,34,131,247,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabdf15eedcbab4e8bd1fe941d9144d1d.jpg","28x519.8",[44],{"id":2505,"slug":2506,"title":2507,"dynasty":18,"author":397,"museum":244,"description":2508,"tags":2509,"thumbUrl":2511,"material":173,"size":2512,"collection":42,"collections":2513,"showCount":2514,"zanCount":738,"manualWeight":48,"mainColor":49},219194,"ci-xiong-bai-ji-tu-zhao-ji-219194","雌雄白鸡图","红冠如焰，燃亮白羽霜华。雄鸡昂首振翅，尾羽若流云舒展；雌鸡依偎身侧，软羽轻覆，尽显亲昵。枝叶舒展间，墨色淡染，衬得禽鸟生动如活。笔锋细腻处，羽丝根根分明，冠色层层晕染，既见写实功力，更含脉脉温情。素朴背景中，生灵之趣与雅致之美交融，似闻晨啼轻响，恍见晨光微熹，尽显对生命意趣的细腻捕捉与诗意表达。",[23,164,24,7,165,28,27,61,2510,230],"鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d30065e7ab2d7ef0ea568cb41dfe6c1.jpg","纵152横37.4cm",[42,68,45],495,{"id":2516,"slug":2517,"title":2518,"dynasty":2519,"author":2520,"museum":244,"description":2521,"tags":2522,"thumbUrl":2525,"material":173,"size":2526,"collection":44,"collections":2527,"showCount":2528,"zanCount":11,"manualWeight":48,"mainColor":49},220434,"liu-chao-liang-zhang-seng-yao-xue-shan-hong-shu-tu-zhang-seng-yao-220434","六朝梁张僧繇雪山红树图","南北朝","张僧繇","全幅以淡墨勾勒物象，舍弃皴法，再敷以青绿、朱红、白粉等色彩。重复出现圆弧状造型的山体，呈现一种古拙感。　本幅原题为〈六朝梁张僧繇雪山红树图〉，据唐宋史籍所载，张僧繇（活动于六世纪前半）专长以外来的凹凸画法绘制佛道人物壁画。晚明时期流传许多张僧繇的「没骨山水」，且有董其昌、蓝瑛等人的临仿作品。此幅应是晚明时期对张僧繇画风的揣摩与想像。",[24,7,165,27,29,2523,2524,98,101,96,131,34],"雪山","红树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd533a6eb07070436caaa6f33827a741c.jpg","118x60.8",[44,45],493,{"id":2530,"slug":2531,"title":2532,"dynasty":144,"author":1346,"museum":244,"description":2533,"tags":2534,"thumbUrl":2535,"material":278,"size":84,"collection":68,"collections":2536,"showCount":2537,"zanCount":1105,"manualWeight":48,"mainColor":72},216597,"mo-zhu-pu-ce-ye-wu-zhen-216597","墨竹谱册页","吴镇墨竹谱册简称《墨竹谱》，共二十二页，每页纵40.3厘米，横52厘米，纸本，墨笔，现藏台北故宫博物院。前两页书苏轼撰文同偃竹记，后二十幅画各种姿态的墨竹，每幅都有图有文。作于1350年（元至正十年），时吴镇71岁，是画给儿子佛奴的。全册画竹诸态悉备，可谓得竹之真性情。册首隶书“万玉藂”三字，王一鹏所书，王为明弘治间贡生。\n\n二十幅图，分别画新篁、嫩枝、老干、垂叶、雨竹、风竹、雪竹、坡地竹林、崖壁垂竹，或粗竿挺拔，竹叶清劲，或细枝临风，摇曳生姿。每幅画的构图都有很大的区别，以画谱而言，称得上变化多端，诸法悉备，成为后之学者极好的借鉴。\n\n这套竹谱的图文组合最值得称道，画面上书与画的“经营位置”的创意：承前而启后。在宋以前，图上都不落文字，连作者的名款都没有。北宋开始，画上渐有作者姓名和时间的落款，开始时写得极小，或隐在画中，生怕影响了画面。至元代赵孟頫出，强调以书入画，不但注重用书法的笔法作画，而且其画上所题的诗、文也渐多，有时为记事甚至出现长题。吴镇此《墨竹谱》册，在其丰富多变的构图中可以清晰地感觉到作者在画之前已为题文预留位置。书与画开始在画面上平分秋色，相得益彰，形成了中国画不同于其他艺术的最具文化意义的特色之一。\n\n吴镇墨竹谱册从附图观之，图绘笋、粗竿、新篁、折枝共七八竿，错落有致。虽说吴镇墨竹宗文同，但他的画法与文同相比较，已经有了很大的改变：文同画竹，竹竿纡曲，竹叶密集，而以墨之浓、淡示叶面之正、反。吴镇画竹，却以墨色的浓、淡示竹竿之前、后，新篁以淡墨画枝，而以浓墨画叶。叶之长、短，似随意生发，但疏落简率，苍劲挺拔。短枝疏叶，笔不连而意贯，一似其题款草书，纵横跌宕，一气呵成。笔锋略秃，中锋撇去，凝厉而厚重。竹根植于土中，根畔短草丛生，前浓而远淡，增强了画面透视的纵深感。",[23,24,7,164,59,128,208,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb4166808e7bc40a42f776572d6d7608.jpg",[68],489,{"id":2539,"slug":2540,"title":2541,"dynasty":18,"author":791,"museum":2542,"description":2543,"tags":2544,"thumbUrl":2545,"material":173,"size":2546,"collection":42,"collections":2547,"showCount":2548,"zanCount":738,"manualWeight":48,"mainColor":49},218635,"shan-cha-tu-wu-bing-218635","山茶图","费城艺术博物馆","画面上画的是一枝山茶花，狭长的枝条上的叶子是深绿色的，边缘是黄色的，枝条上火红的花瓣，淡黄色的花药，伪装的色彩很鲜艳，很自然。",[24,7,164,61,28,27,649,582,549,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef7aab5fc08907b55afa575d2a696c4a.jpg","25.7x25.7",[42,68],487,{"id":2550,"slug":2551,"title":2552,"dynasty":54,"author":55,"museum":424,"description":425,"tags":2553,"thumbUrl":2554,"material":66,"size":84,"collection":84,"collections":2555,"showCount":2556,"zanCount":1105,"manualWeight":48,"mainColor":72},216592,"ou-xiang-guan-xie-sheng-ce-2-yun-shou-ping-216592","瓯香馆写生册-2",[24,7,164,59,27,60,2166,61,209,2372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F018de872e84372dbf68adb58dee36ac1.jpg",[],485,{"id":2558,"slug":2559,"title":2560,"dynasty":124,"author":2561,"museum":77,"description":2562,"tags":2563,"thumbUrl":2564,"material":278,"size":2565,"collection":136,"collections":2566,"showCount":2567,"zanCount":1105,"manualWeight":48,"mainColor":72},217038,"you-jian-xing-shan-tu-yao-sui-217038","幽涧行山图","姚绥","幽涧行山图 是明朝画家姚绥的一幅杰作。这幅画描绘了一座山的全景，非常细腻地表现了山的各个部分，包括山顶、山谷、溪流、森林、花草、岩石等。画中还有许多人物，每个人物都有自己的故事和生活经历。\n\n姚绥是明朝时期的一位著名画家，他的画风非常独特，以精细、细腻而闻名。他的作品多描绘自然风景，充分展现了他对大自然的敬畏和喜爱。 幽涧行山图 是姚绥代表作之一，被认为是中国画史上的经典之作。",[23,24,7,29,128,132,165,663,413,96,130,99,171,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd99cb6e6d918b6eb7b845ae72dee47aa.jpg","101x53cm",[136],484,{"id":2569,"slug":2570,"title":2571,"dynasty":124,"author":802,"museum":450,"description":2572,"tags":2573,"thumbUrl":2574,"material":66,"size":2575,"collection":44,"collections":2576,"showCount":2577,"zanCount":1116,"manualWeight":48,"mainColor":49},219532,"ma-gu-xian-shou-tu-chen-hong-shou-219532","麻姑献寿图","“麻姑献寿”是传统绘画特别是民间年画的常见题材。传说三月三日西王母寿辰，麻姑在绛珠河畔以灵芝酿酒，为王母祝寿。麻姑是神话人物，晋代葛洪《神仙传》说她是建昌人，修道于牟州东南姑余山。此画描写麻姑和侍女二人，均面相端庄美丽。麻姑一手执仙杖，杖端系有盛灵芝酒的宝葫芦，另一手执玉盘。衣纹用线钩勒粗简方折，而衣上带图案的银白色花纹却描绘得极工细匀整，既素雅又华丽，显示出人物的非凡身份和在祝寿的特定情境中对寿者(西王母)的尊敬和虔诚。麻姑身后的侍女双手捧花瓶，瓶插雪白的梅花和红艳的山茶花，与麻姑面向一致，目视前方，神情专注。",[23,24,7,165,28,27,96,166,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe811cb5aa985accd1f172e8ea3508614.jpg","190.2x104.6厘米",[44,45],478,{"id":2579,"slug":2580,"title":2581,"dynasty":54,"author":2582,"museum":300,"description":2583,"tags":2584,"thumbUrl":2586,"material":692,"size":1293,"collection":84,"collections":2587,"showCount":2588,"zanCount":751,"manualWeight":48,"mainColor":72},235526,"he-hua-liao-shi-tu-zhou-wang-wu-235526","荷花蓼石图轴","王武","王武，1632年生，1690年逝世，吴县（今江苏苏州）人。字勤中，晚号忘庵，又号雪颠道人。明代画家王鏊六世孙，精鉴赏，富收藏，擅画花鸟，风格工整秀丽，正如王时敏所云：“神韵生动，应在妙品中。”为清初院画的名家。亦擅诗文。传世作品有《水仙柏石图》、《红杏白鸽图》、《鸳鸯白鹭图》等。",[164,24,7,165,27,28,81,82,2585,228,1771,61],"蓼石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4adc90c09b933312107f54c136768ed.jpg",[],477,{"id":2590,"slug":2591,"title":2592,"dynasty":2593,"author":223,"museum":2594,"description":2595,"tags":2596,"thumbUrl":2598,"material":2599,"size":2600,"collection":84,"collections":2601,"showCount":2602,"zanCount":751,"manualWeight":48,"mainColor":72},223346,"ren-wu-yu-long-bo-hua-yi-ming-223346","人物御龙帛画","周","湖南省博物馆","描绘墓主人乘龙升天的情景。此幅非衣帛画上端有竹轴，轴上有丝绳，为一幅可以垂直悬挂的幡，应是战国时期楚国墓葬中用于引魂升天的铭旌，属于非衣性质的战国晚期帛画。",[164,24,7,2597,188,96,772,2059],"帛画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05743bae5cc6226f24ed9e35e6b3c675.jpg","绢本水墨淡设色","长37.5厘米、宽28厘米",[],473,{"id":2604,"slug":2605,"title":2606,"dynasty":182,"author":223,"museum":2607,"description":2608,"tags":2609,"thumbUrl":2610,"material":2611,"size":84,"collection":44,"collections":2612,"showCount":2602,"zanCount":1086,"manualWeight":48,"mainColor":49},217282,"jiang-mo-bian-dun-huang-tu-juan-yi-ming-217282","降魔变·敦煌图卷","法国国家图书馆","纤细灵动的墨线勾勒出神态各异的人物，衣袂飘举间藏着唐代绘画的潇洒韵致。残存的朱红、赭石色调虽经岁月晕染，仍可窥见当初设色的浓淡相宜。画面分段铺陈降魔故事：左侧人物群像或肃穆或专注，似在静待一场斗法开启；中间帐幔低垂，端坐者的静谧与周遭张力暗合；右侧则将神魔相搏的激烈瞬间定格，动态构图尽显情节跌宕。整幅作品以叙事性画面传递佛教义理，线条流转与情节起伏相映成趣，既是唐代佛教艺术的生动遗存，也为后世窥见当时审美与信仰世界的窗口。",[164,24,7,25,27,28,187,96,1692],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a40ea02cdf882170b7ef7d5d3e495f.jpg","设色,拓本",[44],{"id":2614,"slug":2615,"title":2616,"dynasty":18,"author":491,"museum":244,"description":2617,"tags":2618,"thumbUrl":2622,"material":253,"size":2623,"collection":42,"collections":2624,"showCount":2625,"zanCount":1086,"manualWeight":48,"mainColor":49},221293,"qiu-shan-xing-lv-tu-guo-xi-221293","秋山行旅图","《秋山行旅图》轴峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[23,164,24,7,165,128,29,97,98,2619,2620,2621,208,330,132],"村居","行旅","丛树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9265b0c3fd5f1ec85ce0abb8c558d348.jpg","纵141.6厘米，横97厘米",[42,136,117],472,{"id":2627,"slug":2628,"title":2629,"dynasty":124,"author":204,"museum":244,"description":2630,"tags":2631,"thumbUrl":2632,"material":1733,"size":2633,"collection":68,"collections":2634,"showCount":2635,"zanCount":1105,"manualWeight":48,"mainColor":72},220126,"shui-xian-la-mei-tu-chou-ying-220126","水仙腊梅图","仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[23,24,7,28,27,61,374,1081,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07c69768c6eb0147608000594b1c8c39.jpg","纵47厘米，横25厘米",[68],467,{"id":2637,"slug":2638,"title":2639,"dynasty":54,"author":2640,"museum":244,"description":2641,"tags":2642,"thumbUrl":2645,"material":66,"size":2646,"collection":68,"collections":2647,"showCount":2648,"zanCount":1105,"manualWeight":48,"mainColor":72},220335,"cao-chong-hua-hui-hu-shi-si-ping-zi-wei-ju-lian-220335","草虫花卉湖石四屏-紫薇","居廉","居廉对岭南画派的影响十分深远，岭南画派创始人高剑父、陈树人均师从居廉。“二居”所创立的十香园成为岭南画派发源之地，当时岭南绘画界八成以上的人都出自十香园门下或是经受过二居绘画艺术的熏陶，在中国美术史上垂名的杰出弟子多达三十余人。二居以革命精神开创的“撞水”、“撞粉”技法被后来者沿袭至今，二居、二高一陈富于创新的革命艺术精神更使得岭南画派开一时风气之先，在中国画坛独领风骚。",[23,24,7,61,28,27,62,480,171,548,2643,2644],"紫薇","螳螂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3161675f1c6cc75d7b4fb092b58090a4.jpg","113×26.5厘米",[68],464,{"id":2650,"slug":2651,"title":2652,"dynasty":54,"author":2653,"museum":244,"description":2654,"tags":2655,"thumbUrl":2657,"material":173,"size":2658,"collection":44,"collections":2659,"showCount":2660,"zanCount":751,"manualWeight":48,"mainColor":72},219480,"mai-jiang-tu-yao-wen-han-219480","卖浆图","姚文瀚","这幅画是市场上卖纸浆的场景。 十个人，男女老少，聚在一起，或搅炉熬浆； 或者提着锅卖掉； 对纸浆和器物的描述细致入微。 整幅作品色彩鲜艳、干净、美观，笔触细腻牢固，人物稍有浓淡，给人立体感。",[23,24,7,27,28,96,169,1746,2656,1367,2147,208],"民俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a90c6c57541d710ff9ec582ae42b876.jpg","59.3x108cm",[44,45],463,{"id":2662,"slug":2663,"title":2664,"dynasty":124,"author":125,"museum":2665,"description":2666,"tags":2667,"thumbUrl":2669,"material":66,"size":2670,"collection":136,"collections":2671,"showCount":2672,"zanCount":975,"manualWeight":48,"mainColor":72},219871,"zi-sang-zhao-yin-tu-shen-zhou-219871","紫桑招隐图","印第安纳波利斯艺术博物馆","首先这是一幅长卷，长卷的意思就是从右往左，一部分一部分的展开来看，首先我们看到的是山石和树木，一派江南景色扑面而来。\n沈周的画法是吴门画派的重要代表画家，吴门画派的风格传承自元代文人画，也就是元四家、赵孟頫等人，从这幅画里我们可以明显的看到山石、水面和远景的画法有元代文人画的痕迹地面的一些处理方法又让人想到赵孟頫的秋郊饮马图。\n继续往左边展览，有人物、屋舍、舟船，最后视线进入隔岸的平远之中。明代的文人画讲究逸气，就是恬淡自然的审美情趣。整个画面简约而不简单，树木、人物、山石等元素处理妥当，构思完整而成熟，笔墨潇洒，寥寥数笔一切就跃然纸上，富有生气的同时又辽远淡泊。\n这一点和宋代严整的画院风格是不同的，文人画到了沈周这个时期，算是正式成为中国绘画的主流审美。沈周下启文征明、董其昌，董其昌又下启王时敏等明清中国正统文人山水画，无疑对后世整个中国画的面貌和发展有深远的影响。",[23,24,7,25,27,132,29,129,96,711,2668,34,99,131,1351],"篱笆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0bd9c4c0f112994180bc96e1aa3296d.jpg","17.4x76cm",[136,45],460,{"id":2674,"slug":2675,"title":2676,"dynasty":326,"author":327,"museum":20,"description":2677,"tags":2678,"thumbUrl":2679,"material":1722,"size":2680,"collection":44,"collections":2681,"showCount":2682,"zanCount":11,"manualWeight":48,"mainColor":72},221041,"nv-shi-zhen-tu-juan-quan-juan-gu-kai-zhi-221041","女史箴图卷全卷","《女史箴》是西晋广武侯张华所写，文字内容是关于女子的德行操守，以教化训诫为目的。顾恺之将文中故事以图画的形式加以描绘，使之通俗易懂。现存《女史箴图》最早的画本是唐代摹本，原为清宫旧藏，现藏于大英博物馆。此卷为宋人摹本，全图有画11段，分别为“樊姬感庄”、“卫女矫桓”、“冯婕妤挡熊”、“班婕妤辞辇”、“防微虑远”、“知饰其性”、“出其言善”、“灵监无象”、“欢不可以渎”、“静恭自思”、“女史司箴”。本卷为白描人物，笔法流利，线条细劲连绵，比高古游丝描又多了几份挺健，更接近李公麟一派。人物形象有古意，此卷宋摹本较唐摹本画面内容多两段，对了解《女史箴图》母本及其流传，以及早期人物画法的演变具有重要的参考价值。",[23,24,7,25,188,28,96,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e325b86458ef996bbbc4b4e8cbd033.jpg","横601厘米，纵27.9厘米",[44,117],458,{"id":2684,"slug":2685,"title":2686,"dynasty":54,"author":2687,"museum":450,"description":2688,"tags":2689,"thumbUrl":2691,"material":173,"size":84,"collection":68,"collections":2692,"showCount":2693,"zanCount":1086,"manualWeight":48,"mainColor":49},219036,"mu-dan-yu-lan-tu-jiang-ting-xi-219036","牡丹玉兰图","蒋廷锡","画面铺展间，花木扶疏尽显生机。玉兰绽如雪团，缀于虬枝，禽鸟栖停顾盼生姿；牡丹热烈盛放，粉白紫三色交织，花瓣层叠如锦，墨绿叶片衬得花容更艳，一抹朱红点缀其间，添了灵动。树下顽石苍古，纹理拙趣，旁生细草闲花，柔媚与苍劲相映。工笔细腻见匠心，线条婉转，设色相宜，既有富贵雍容之态，又不失清雅灵动之韵，仿佛闻花间细语，观禽鸟轻啼，一派生机盎然的春日盛景跃然眼前。",[23,24,7,61,28,27,263,356,355,547,2690,747,131,1771],"枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed08238660ecdcb1bd2c392c1379139b.jpg",[68],456,{"id":2695,"slug":2696,"title":1109,"dynasty":144,"author":2697,"museum":20,"description":2698,"tags":2699,"thumbUrl":2700,"material":66,"size":2701,"collection":68,"collections":2702,"showCount":2693,"zanCount":1116,"manualWeight":48,"mainColor":49},214307,"zhu-shi-tu-li-kan-214307","李衎","这幅画中的竹子被整齐而优雅地画上了双色的轮廓，显示了大自然在春天的重生，老竹子旁边有两棵新竹子，让人想起雨后发芽的春笋。山坡上的悬崖被涂成漂亮的厚重的黑色，以突出形成的角落，岩石后面的小竹子和野树增加了多样性。",[23,164,24,7,165,128,132,167,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe05faafdaaa730a5ac24d211025a2689.jpg","185.5x153.7",[68],{"id":2704,"slug":2705,"title":2706,"dynasty":18,"author":1323,"museum":244,"description":2707,"tags":2708,"thumbUrl":2710,"material":151,"size":2711,"collection":42,"collections":2712,"showCount":2713,"zanCount":1014,"manualWeight":48,"mainColor":49},221490,"hua-lan-tu-li-song-221490","花篮图","图绘藤编花篮一只，竹篮编织精巧别致，里面盛满了各色鲜艳欲滴的花朵，白的、红的、粉的、淡黄的，有蜀葵、栀子、百合、广玉兰、石榴等，布置得错落有致，画家笔下一个小小的花篮，折射出的是繁花似锦的大自然，美丽而富有朝气，让人看了之后感到十分亲切，画家对自然、生命的热爱和关注由此跃然于绢上。",[23,164,24,7,59,28,27,61,169,2709,263,828,62,549],"花篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8587f02c9ca8d9b82abaf7122913f6ac.jpg","26.1 x 26.3公分",[42,68,45],454,{"id":2715,"slug":2716,"title":2717,"dynasty":124,"author":1141,"museum":56,"description":2718,"tags":2719,"thumbUrl":2720,"material":173,"size":84,"collection":44,"collections":2721,"showCount":2722,"zanCount":975,"manualWeight":48,"mainColor":199},219411,"hui-shan-cha-hui-tu-wen-zheng-ming-219411","惠山茶会图","这幅画描绘了文徵明与朋友在无锡惠山茶会的情景。惠山泉水甘冽，号称“天下第二泉”，相传曾为陆羽亲品，历来是煮茶的佳选。文徵明等于正德十三年戊寅（1518）在此举行了一次茶会并绘此图，卷后由吴门书家蔡羽楷书惠山茶会序。",[23,24,7,25,27,29,96,34,711,1144,64,133,208,28,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c42cd6efe145c59f556f00949dd7fff.jpg",[44,136],452,{"id":2724,"slug":2725,"title":2726,"dynasty":54,"author":1460,"museum":1941,"description":2727,"tags":2728,"thumbUrl":2729,"material":66,"size":84,"collection":68,"collections":2730,"showCount":2731,"zanCount":1998,"manualWeight":48,"mainColor":72},218128,"qiu-shui-he-ye-tu-shi-tao-218128","秋水荷叶图","石涛，法名原济，靖江王朱守谦十世孙，工书法，能诗文。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品。花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。",[23,24,7,164,59,128,27,369,168,82,1364,231,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cfdd37fcf60f013839a1cf9ac9c4700.jpg",[68],451,{"id":2733,"slug":2734,"title":2735,"dynasty":144,"author":569,"museum":20,"description":2736,"tags":2737,"thumbUrl":2738,"material":2739,"size":2740,"collection":318,"collections":2741,"showCount":2742,"zanCount":553,"manualWeight":48,"mainColor":72},220855,"luo-shen-fu-zhao-meng-fu-220855","洛神赋","赵孟頫是元代著名书画家，不仅绘画创一代新风，书法更是元代第一人，如元代书法名家鲜于枢所评：“子昂篆、隶、真、行、颠草为当今第一。”赵氏所创书风，后人称之为“赵体”。赵孟頫师承也极广泛，初宗宋人，学赵构、黄庭坚，继而由智永上溯锺繇、二王，晚年又取法李邕。他模拟古法力求微肖，书写十分熟练，尤倾心于二王，元虞集在《道园学古录》中指出：“楷法深得《洛神赋》而揽其标；行书诣《圣教序》而入其室；至于草书，饱《十七帖》而变其形。”赵孟頫的书法成就突出表现在楷、行书方面，创遒劲姿媚新风，对元人和后世均产生极大影响。\n此卷《洛神赋》即为赵氏行书代表作。行中兼楷的结体、点画，深得二王遗意，尤其是王献之《洛神赋》的神韵，即妍美洒脱之风致。如端正匀称的结构、优美潇洒的字姿、圆润灵秀的运笔、密中有疏的布局等；同时，又呈现自身的追求，象比较丰腴的点画，轻捷的连笔，飘逸中见内敛的运锋，端美中具俯仰起伏的气势，都显示出他博取众长而自成一体的艺术特色。故后纸诸家题跋如是评述此卷，李倜曰：“大令好写洛神赋，人间合有数本，惜乎未见其全。此松雪书无一笔不合法，盖以兰亭肥本运腕而出之者，可云买王得羊矣。”高启云：“赵魏公行草写洛神赋，其法虽出入王氏父子间，然肆笔自得，则别有天趣，故其体势逸发，真如见矫若游龙之入于烟雾中也。”",[23,164,24,7,25,133,64,1590,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7597768b3ca40f9e0dc49b46194d249f.jpg","纸本，行书","纵29厘米，横220.9厘米。",[318],449,{"id":2744,"slug":2745,"title":2746,"dynasty":124,"author":366,"museum":1300,"description":2747,"tags":2748,"thumbUrl":2752,"material":611,"size":2753,"collection":136,"collections":2754,"showCount":2755,"zanCount":48,"manualWeight":48,"mainColor":49},222233,"za-hua-tu-xu-wei-222233","杂花图","《杂花图》是明代画家徐渭所创作的一幅泼墨画，纸本作品，是南京博物院18件镇馆之宝中唯一一件书画作品。画中分别将牡丹、石榴、荷花，梧桐、菊花、北瓜、扁豆、紫薇、紫藤、芭蕉、梅、兰、竹共计十三种花卉绘于一卷。\n《杂花图卷》是徐渭传世的佳作，在这卷十余米的长卷中，徐渭以酣畅淋漓的“胶墨”分别绘制了牡丹、石榴、梧桐、菊花、南瓜、扁豆、紫薇、紫藤、芭蕉、梅兰竹等13种花卉蔬果。徐渭以其疾飞狂扫的豪放气势，纵横挥洒，信笔涂抹：画中牡丹含羞沾露，占尽风流；硕荷、梅兰、修竹、榴枝，笔触歪斜正侧，跌来倒去，随意点染，自如流畅。作紫藤逸笔草草、洋洋洒洒。忽而，又如狂风乍起，点线飞舞，纵横密集，线条速急癫狂。顷刻，笔住墨涸，嘎然而止，墨彩纷呈，留下满纸斑斓。体现了他用笔峭拔劲挺多变与用墨洒脱自如的艺术风格。画中尽显着交响乐一般波澜起伏的宏大乐章。时隔4个世纪，画中依然显出墨迹淫淫的湿润感。\n《杂花图》卷，全图以牡丹起首，按牡丹象征富贵，这与徐青藤的身世相左，故而他一变旧法而改以泼墨写牡丹“虽有生意，终不是此花真面目”，在这枝墨牡丹上我们确实很难寻找富贵的痕迹了。紧接着石榴一枝，充分体现了他用笔的灵动，而墨荷：则重在展示墨彩的缤纷 。梧桐以其肥硕的枝干稳住了这二小段的重心，这是全图的第一个高潮。以下菊花、扁豆、紫薇等只是逸笔草草，随意点染。就章法而言，疏密是相对而存在的，这一小段貌似不经意之笔，在全图的节奏处理上却起着关键的作用。紫藤如蛇的老干泼辣粗放，“一扫槎枒三丈绢”的气势，形成了全图的最高潮。紫藤的花叶更是水墨淋漓，走笔如飞而不乱，意犹跃出纸外。芭蕉是滋润而含蓄的，它与紫藤形成了动与静的强烈对比，貌与质的相依共存。接下来梅枝横斜傲骨铮铮，幽兰、纤竹寥寥数笔，是为尾声。艺术是相通的，我们从这卷《杂花图》中可以领略到诗的起、承、转、合，也像欣赏一部交响曲，从引子到尾声，节奏和韵味正是它们共同的内涵。我们更能通过此图触摸到青藤老人胸中激情的横流。",[23,24,7,25,128,370,64,263,2035,81,2749,604,2750,2751,2643,2334,167],"梧桐","南瓜","扁豆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2ccaec0a74bfab54d306d36724d1bcb.jpg","1053.5X30厘米",[136,117],448,{"id":2757,"slug":2758,"title":2759,"dynasty":144,"author":287,"museum":1941,"description":2760,"tags":2761,"thumbUrl":2762,"material":66,"size":2763,"collection":44,"collections":2764,"showCount":2755,"zanCount":738,"manualWeight":48,"mainColor":72},220289,"yang-gui-fei-shang-ma-tu-qian-xuan-220289","杨贵妃上马图","《杨贵妃上马图》描绘唐玄宗与贵妃杨玉环准备出游的情景，玄宗骑马在前，回头望着贵妃，贵妃在两侍女协助下正往马鞍上爬，娇态毕现。\n作品构图接近唐代，人物分组而呈错落有致的横向排列，以人物间的顾盼联系各段，将全画串联起来，犹同舞台效果。\n《杨贵妃上马图》收录于《石渠宝笼续编·御书房》，画卷上现在仍可以清楚看到“御书房鉴藏宝”、“乾隆御览之宝”、“嘉庆御览之宝”等印，居中位置可看到“宣统御览之宝”的字样。说明一直为皇室所收藏，但不见《佚目》记载，未便肯定为《佚目》外的“东北货”。清王朝覆灭后，“末代皇帝”溥仪对故官藏画进行整理时，此画还在官中。后来随着太监的盗卖、溥仪对弟弟溥杰的“赏赐”以及其他流失途径，流出宫外，为湖州张珩购得，后经其叔张叔驯携带到美国出售他人，此画便流出国门，后进入美国弗利尔美术馆。",[23,24,7,25,28,27,96,166,101,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff618d905a3604488c129f373b3e069d1.jpg","纵29.5厘米，横117厘米",[44,45],{"id":2766,"slug":2767,"title":2768,"dynasty":54,"author":2769,"museum":450,"description":2770,"tags":2771,"thumbUrl":2772,"material":173,"size":84,"collection":44,"collections":2773,"showCount":2755,"zanCount":586,"manualWeight":48,"mainColor":49},219574,"tian-nv-san-hua-tu-xu-mei-219574","天女散花图","徐玫","此作中天女身姿婉柔，发髻轻簪雅饰，宽袖长裙随云舒卷，衣带如流风回雪，将凌虚而行的轻盈尽显。她手托花盏，眉目低垂含婉，似正将满捧花雨播向凡尘。细劲灵动的墨线勾勒仙袂翩跹的柔美，淡彩晕染裙间纹饰，古旧绢底晕开朦胧云霭，愈衬得天女出尘脱俗，仿佛携着缥缈仙气自云间缓步而来，将神女温婉端丽与飘逸灵动融为一体，尽显清丽秀雅的仕女画格调，余韵悠然绵长。",[23,24,7,165,28,27,96,166,190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c2b641db2cfe3c536c5c9f958366b5.jpg",[44,45],{"id":2775,"slug":2776,"title":2777,"dynasty":18,"author":620,"museum":300,"description":2778,"tags":2779,"thumbUrl":2780,"material":84,"size":84,"collection":84,"collections":2781,"showCount":2782,"zanCount":1998,"manualWeight":48,"mainColor":49},231852,"song-hui-zong-ti-hua-niao-tu-zhao-chang-231852","宋徽宗题花鸟图","赵昌，生于970-1040年，字昌之，北宋画家，广汉剑南（今四川剑阁之南）人。工书法、绘画，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后来发展出自身画风，没骨花鸟自成一派，有徐熙、黄荃遗风。在北宋时期与宋徽宗赵佶齐名，是宋代花鸟画坛的杰出画家。\n赵昌，字昌之，北宋时期（公元11世纪)，广汉剑南（今四川剑阁之南）人，生卒年不详。性情爽直高傲，刚正不阿。时州伯邵牧争求笔迹，不肯轻与。\n工书，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后过其艺，亦效徐崇嗣“没骨法”，常于清晨朝露未干，围绕花圃观察花木神态，调色描绘，自号“写生赵昌”。当时盛行厚彩重色，而赵昌所作一片平滑，明润匀薄，活色生香。真宗大中祥符（1008-1016）间，声誉益隆。丁朱崖奉白金五百为寿，昌感其意，亲往谢之。此时，朱崖邀其至东阁，求画生菜数窠及烂瓜生果等，昌挥笔遽成而去。晚年其自矜所作，往往深藏不市，若见自家画作流落市井，则复自购以归之，故世罕传。",[23,24,7,165,28,27,61,371,167,355,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4595cc6a353626e75beccdda5e1c00e.jpg",[],447,{"id":2784,"slug":2785,"title":2786,"dynasty":54,"author":1460,"museum":1941,"description":2727,"tags":2787,"thumbUrl":2788,"material":66,"size":84,"collection":68,"collections":2789,"showCount":2790,"zanCount":975,"manualWeight":48,"mainColor":72},218131,"tao-hua-zhu-zhi-tu-shi-tao-218131","桃花竹枝图",[23,24,7,61,128,27,209,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82ae9fc9a5c2869c1270ee768459d876.jpg",[68],446,{"id":2792,"slug":2793,"title":2794,"dynasty":54,"author":223,"museum":300,"description":2795,"tags":2796,"thumbUrl":2797,"material":173,"size":84,"collection":44,"collections":2798,"showCount":2790,"zanCount":975,"manualWeight":48,"mainColor":49},216695,"hong-lou-meng-fu-tu-ce-yi-ming-216695","红楼梦赋图册","疏朗庭院间，虬枝松叶覆半面轩窗，雕花棂格透出彩绸轻曳。廊下女子或凭栏低语，或执扇凝眸；阶前二人衣袂相叠，似在话叙家常。坡上苔石生绿，丛花点染胭脂色，远处水榭隐于烟柳后，添几分悠远。淡彩晕染的笔触细腻勾勒园林景致，将红楼女儿的闲雅日常融于其间。温婉氛围如轻烟绕梁，既见深宅里的温柔情致，又藏着一丝难以言说的怅惘，似在静静诉说着那些藏于书页间的细腻心事。",[23,24,7,59,28,27,96,166,97,130,413,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf370b172b95445b5b66d2705d0e226e.jpg",[44],{"id":2800,"slug":2801,"title":2802,"dynasty":144,"author":223,"museum":510,"description":2803,"tags":2804,"thumbUrl":2805,"material":173,"size":2806,"collection":68,"collections":2807,"showCount":2790,"zanCount":738,"manualWeight":48,"mainColor":49},215142,"mo-mei-tu-yi-ming-215142","墨梅图","墨梅图是元朝时期的一幅名画，作者是佚名。这幅画描绘了一棵梅花树，梅花盛开，瓣瓣舒展，散发出浓浓的花香。画面上有几只蝴蝶，它们在梅花树周围飞舞，与花朵相互辉映。整幅画清新淡雅，浓轻相宜，富有诗意。墨梅图是中国古代山水画的典范之作，在历史上有很高的艺术价值。",[24,7,128,61,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f7caa3d46ac3b4a7bc205ebabf73b9.jpg","24.4x20.3cm",[68],{"id":2809,"slug":2810,"title":2811,"dynasty":18,"author":1174,"museum":20,"description":2812,"tags":2813,"thumbUrl":2814,"material":173,"size":2815,"collection":136,"collections":2816,"showCount":2817,"zanCount":975,"manualWeight":48,"mainColor":49},218443,"qiu-lin-guan-quan-tu-li-tang-218443","秋林观泉图","这幅画描绘了峡谷口水流湍急，两岸岩石嶙峋，两个高士坐在水边的斜岩上，静静地看着山泉流淌。倾斜的岩石都用强烈的笔触凿出，体现出岩石坚硬的质地；森林茂密，不留缝隙，显示出浓郁的树荫。画家用画笔画出了树叶，强调了色彩。坡上和水中的落叶点缀了秋景。",[23,24,7,25,128,27,29,1024,99,131,96,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ccc94015347c81f6c539b56469c6225.jpg","24.7x112.3cm",[136],445,{"id":2819,"slug":2820,"title":2821,"dynasty":54,"author":1460,"museum":56,"description":2822,"tags":2823,"thumbUrl":2825,"material":66,"size":2826,"collection":44,"collections":2827,"showCount":2828,"zanCount":975,"manualWeight":48,"mainColor":72},220358,"xi-yuan-ya-ji-tu-juan-shi-tao-220358","西园雅集图卷","此长图景物繁复。庭园中芳草如茵，劲松盘根虬曲，柳树成荫，石桥流水，曲径通幽，清溪深处翠荫茂密，处处雅静怡人。此图布局严密，繁而不乱，密而不塞。通过作者苦心经营，将诸多不同人物、树木、山石、草木、花木及一些陈设，巧妙地统一在这幅长卷中。全卷结构井然有序，运思精妙，布局停匀。通卷虽不留空白，而疏密有致。\n全图共写人物24人，神态不一，衣着各异，人物组合有疏有密，却与空间的景物浑然一体。人物形象均以墨线勾写，几乎全为白描，设色淡雅，衣纹等看似信笔率意而成，实则深具功力，笔笔送到。人物形象逼真生动，有的造形略有夸张。总体来说，此画用笔淋漓纵率之中显得工致缜密，沉着痛快，墨色浓淡得宜。人物俱用细笔，所谓一种“细笔石涛”，精气逼人。山石、松木、芭蕉等，均在工写之间，形象精到，而又意趣动人。故此画不但是石涛的代表作，更是清代人物画发展中的精品。",[23,164,24,7,25,27,132,96,29,98,99,413,1314,2824],"桌子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38f5d3c589f09a558783d6079a9170b7.jpg","纵36.5厘米，横328厘米",[44,45],443,{"id":2830,"slug":2831,"title":2832,"dynasty":18,"author":397,"museum":20,"description":2833,"tags":2834,"thumbUrl":2836,"material":151,"size":2837,"collection":42,"collections":2838,"showCount":2839,"zanCount":11,"manualWeight":48,"mainColor":49},221345,"fu-rong-jin-ji-tu-zhao-ji-221345","芙蓉锦鸡图","作为独立的画科，宋代的花鸟画无论在绘制技巧还是表现形式方面都已经达到高度的艺术水准，《芙蓉锦鸡图》便是其中的一幅精品。此图是描绘金秋景色的花鸟画作。图中芙蓉盛开，随风轻轻颤动，蝴蝶翩跹，相互追逐嬉戏，引得落在枝上的锦鸡回首凝视，目不转睛。本幅右上宋徽宗赵佶以瘦金体题“秋劲拒霜盛，峨冠锦羽鸡。已知全五德，安逸胜凫鹥”，右下书款“宣和殿御制并书”，草押书“天下一人”。鸡在中国向有“德禽”之称，《韩诗外传》载：“鸡有五德：头戴冠者，文也；足搏距者，武也；敌在前，敢斗者，勇也；见食相呼者，仁也；守夜不失者，信也”，可见其文武兼备、仁勇俱存、信守专一的性格为世人所激赏，难怪才艺绝代的一代帝王也会留下“已知全五德，安逸胜凫鹥”的诗句，流露出对安逸高贵之品格的赞许，由此体现了中国花鸟画的人文寓意。\n目前流传于世题为赵佶的作品中，艺术风格呈现出工致细丽与简朴生拙两种迥然有别的面目，工致细丽者如《芙蓉锦鸡图》、《腊梅山禽图》（台北故宫博物院藏）等，简朴生拙者如《柳鸦图》（上海博物馆藏）、《枇杷山鸟图》等。通过笔墨风格的比较分析，徐邦达先生指出前者不是赵佶所作，而是画院画家的作品，后者则为他的亲笔画迹，这一观点为多数艺术史研究者所认同。此外，现存记载南宋宫廷藏画的《南宋馆阁续录》卷三将此画列入与“御画”并列的“御题画”一类，表明《芙蓉锦鸡图》仅仅是由赵佶亲笔题诗的一幅花鸟画，并非其本人绘制。所以说，尽管图上有赵佶的题字，但此图作者却是一位没有留下姓名的画院高手。\n作为中国历史上最为关注艺事、醉心书画的帝王，宋徽宗赵佶在位期间广收名画巨迹，编纂皇家绘画收藏的书画著录——《宣和书谱》与《宣和画谱》，建立翰林图画院并完善其制度，还依据自己的审美观念亲自指导画院画家的学习与创作。关于绘画创作，赵佶在注重对被描绘对象细致入微的再现的同时，还要求画面蕴含诗歌的意境，令人观之有回味无穷的艺术体验，《芙蓉锦鸡图》无疑完美地体现出这位极具艺术修养的皇帝的美学思想。全图所用双钩法线条细劲，不仅花卉枝叶和锦鸡造型准确，芙蓉为锦鸡所压的低垂摇曳之态也能如实体现，加之色彩晕染得层次清晰，浓淡相宜，富丽堂皇中蕴涵端庄典雅的气质，堪称“形神兼备，曲尽其妙”。就构图而言，画幅左侧集中着芙蓉、锦鸡，与右上轻盈飞舞的蝴蝶遥相呼应，使得错综的布局显得密中见疏，揖让有度。以清瘦劲健的笔体写就的诗文和精致艳丽的图画更是互为辉映，相得益彰。",[23,24,164,7,28,27,61,373,2835,481,208],"锦鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05bfe5492760fd3a258b75e61f1a62fd.jpg","纵81.5厘米，横53.6厘米",[42,68,45],442,{"id":2841,"slug":2842,"title":2843,"dynasty":144,"author":410,"museum":77,"description":411,"tags":2844,"thumbUrl":2845,"material":278,"size":84,"collection":84,"collections":2846,"showCount":2839,"zanCount":48,"manualWeight":48,"mainColor":72},214577,"shan-shui-ce-2-wang-meng-214577","山水册-2",[164,24,7,59,128,132,29,331,131,415,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff325b98c3fa5098a784a9932e0c4b3b3.jpg",[],{"id":2848,"slug":2849,"title":2850,"dynasty":18,"author":2851,"museum":20,"description":2852,"tags":2853,"thumbUrl":2854,"material":173,"size":2855,"collection":42,"collections":2856,"showCount":2857,"zanCount":1105,"manualWeight":48,"mainColor":49},214887,"zhao-ling-liu-jun-tu-zhao-lin-214887","昭陵六骏图","赵霖","这幅画以唐太宗昭陵的六匹骏马为蓝本，分为六个部分，每个部分都有一匹马，并在侧面写有铭文。马匹的形状忠实于原作，但也注意到了画作的优势，通过有力的笔触和微妙的色彩，使马匹的皮毛更加逼真自然，战马驰骋疆场的雄姿也被生动地描绘出来。无论他们是奔跑、跳跃、行进还是站立，他们都被充分展现出来。",[23,24,7,25,28,27,330,101,949,96,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F790d6aa1f7279d174f484a829d34cfa3.jpg","27.4x444.2",[42],441,{"id":2859,"slug":2860,"title":2861,"dynasty":18,"author":768,"museum":2862,"description":2863,"tags":2864,"thumbUrl":2865,"material":173,"size":2866,"collection":68,"collections":2867,"showCount":2868,"zanCount":975,"manualWeight":48,"mainColor":49},219064,"shuang-long-xi-hai-tu-chen-rong-219064","双龙戏海图","圣路易斯艺术博物馆","绢本苍褐的底色上，云雾如墨烟般晕散，两条巨龙腾跃其间。上方龙身盘旋，鳞爪劲健，昂首欲飞；下方龙潜于汹涌浪涛，尾摆鳍张，与翻卷的浪花嬉戏。海浪以细腻线条勾勒，层层叠叠如奔雷涌动，龙鳞的纹理、龙须的飘逸皆刻画入微。整幅画将龙的威严与海的壮阔融于一体，云雾的虚渺与浪涛的实感相映，既见神兽的灵动神韵，又显自然的磅礴气势，笔墨间尽是沉雄与细腻的交织，意境深远，引人叹服。",[23,24,7,165,27,772,951,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbee6e92aaf60e4d5ceb8d3fada746dc.jpg","纵135.2cm横84cm",[68],438,{"id":2870,"slug":2871,"title":2872,"dynasty":144,"author":410,"museum":77,"description":2873,"tags":2874,"thumbUrl":2876,"material":278,"size":2877,"collection":136,"collections":2878,"showCount":2868,"zanCount":1105,"manualWeight":48,"mainColor":72},217744,"qiu-lin-mu-ai-tu-wang-meng-217744","秋林暮霭图","远处的山峰高高耸立，山泉从远处汇聚到山脚下，山间的小路崎岖起伏，河滩上人影绰绰。这幅画仍然是王蒙一贯的风格，山水繁复，皴擦繁复，不乱，体现了山林的氤氲，苍茫的景观。",[24,164,7,1349,128,132,29,34,2875,130,98,99,131,37,1645,38],"秋林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06704bae6c4c29291d15f3321cbbf1eb.jpg","85x35cm",[136],{"id":2880,"slug":2881,"title":2882,"dynasty":54,"author":1219,"museum":20,"description":2883,"tags":2884,"thumbUrl":2887,"material":66,"size":2888,"collection":68,"collections":2889,"showCount":2890,"zanCount":1116,"manualWeight":48,"mainColor":72},219288,"mu-dan-bai-tou-tu-ren-yi-219288","牡丹白头图","任颐（1840—1896），字伯年，别号山阴道上行者，清末著名画家。浙江绍兴人，寓居上海，以卖画为生，与任熊、任熏、任预并称为“海上四任”，是“海上画派”中成就最为突出者。他的绘画吸收了民间艺术的技法，人物、肖像、山水、花鸟无不精工。\n其人物画早年师法陈洪绶，造型夸张，装饰效果强，后变得较为奔逸。其花鸟画早年师法北宋诸家，后融汇了恽派、陈淳、徐渭、朱耷的写意画法，又吸收了西方水彩绘画的色调，设色淡雅，格调清新明快，对近现代花鸟画产生了深远的影响。",[23,24,7,165,27,2885,61,263,2886,171,2438,547,355,229],"兼工带写","白头鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31c3984c898ba3c385fce26f73cd95b.jpg","纵133.5cm，横64.8cm",[68,45],437,{"id":2892,"slug":2893,"title":1057,"dynasty":54,"author":2894,"museum":244,"description":2895,"tags":2896,"thumbUrl":2897,"material":66,"size":2898,"collection":44,"collections":2899,"showCount":2890,"zanCount":430,"manualWeight":48,"mainColor":72},214713,"sui-chao-tu-jin-ting-biao-214713","金廷标","它描绘了孩子们在梅花盛开的院子里玩耍的情景。根据乾隆对这首诗的题词，这似乎是一个训诫。",[164,24,7,27,28,96,2218,98,249,34,229,62,247,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd7359c4847fbcbefede1de57ca93a09.jpg","96x65.9",[44],{"id":2901,"slug":2902,"title":2903,"dynasty":351,"author":352,"museum":56,"description":2904,"tags":2905,"thumbUrl":2907,"material":317,"size":2908,"collection":68,"collections":2909,"showCount":2910,"zanCount":1086,"manualWeight":48,"mainColor":956},220365,"xue-zhu-tu-xu-xi-220365","雪竹图","描绘江南雪后严寒中的枯木竹石。石后三竿粗竹挺拔苍劲，其旁有弯曲和折断了的竹竿，又有一些细嫩丛杂的小竹参差其间，更觉情趣盎然、生机勃勃。此图无款识。画中大石右侧的竹竿上，有篆书体倒写“此竹价重黄金百两”八字。此画以线条墨色为主，工整精微而写实，构图新颖，层次丰富，为五代的佳作。",[23,351,24,164,7,2906,28,128,167,1314,413,1556],"落墨法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff22b918bbfe1d12ce62c14f33a7c8f3a.jpg","纵151.1厘米，横99.2厘米",[68],436,{"id":2912,"slug":2913,"title":2914,"dynasty":54,"author":2915,"museum":524,"description":2916,"tags":2917,"thumbUrl":2919,"material":151,"size":2920,"collection":68,"collections":2921,"showCount":2922,"zanCount":11,"manualWeight":48,"mainColor":72},222678,"si-ji-hua-niao-tu-ping-chen-mei-222678","四季花鸟图屏","陈枚","此花鸟屏共八条，绘四季花卉：春桃、夏荷、秋菊、冬梅，配以四时禽鸟。由于作者有西洋绘画的功底，所绘画鸟造型准确，赋色大胆艳丽，栩栩如生。西洋技法加上传统绘画的笔墨意趣，使画面韵律生动，极富表现力。作者为宫廷画家，此八条屏作于雍正丙午，即公元1726年，是年作者因供奉内廷有功，获赏内务府掌仪司员外郎衔。\n由于作者有西洋绘画的功底，所绘花鸟造型准确，赋色大胆艳丽，栩栩如生，将一年四季的美妙景色勾勒的惟妙惟肖，让人怦然心动。\n整幅图运用了西洋技法加上传统绘画技巧，笔墨细腻，充满意趣，使画面韵律生动，极富表现力。",[23,24,7,28,27,263,211,2918,582],"绿叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b9c1625db6482ffad4734737f73a34.jpg","139X41CM",[68],434,{"id":2924,"slug":2925,"title":2926,"dynasty":144,"author":1346,"museum":20,"description":2927,"tags":2928,"thumbUrl":2929,"material":2239,"size":2930,"collection":44,"collections":2931,"showCount":2922,"zanCount":1086,"manualWeight":48,"mainColor":72},220778,"yu-fu-tu-wu-zhen-220778","渔父图","《渔父图》画远山丛树，流泉曲水，老树平坡。坡旁溪水一泓，小舟闲泊。一渔父头戴草笠，一手扶桨，一手执鱼竿，坐船中垂钓。笔法圆润，意境幽深。\n《渔父图》，皆天空水阔，几只渔舟活动于其间，随意点染，意境或开阔，或幽深颇多变化，既画出了“放歌荡漾芦花风”，又描绘出“一叶随风万里身”的意境，吴镇以此寄托隐逸之意。\n此幅作远山丛树，流泉曲水，平坡老树。坡旁水泽，小舟闲泊。一渔夫头戴草笠，一手扶浆，一手执竿，坐船垂钓。对岸群山远岫，岗峦起伏，树木茂盛，溪流人家。\n远景诸峰峭拔而立，绵延起伏；中景坡石渐缓，相拥而卧，老树从中斜逸而出，枝干虬曲，树叶繁茂，一道幽泉从远山处蜿蜒而来，流水潺谖，汇人江中；近景的江面上，一渔父泛舟其上，他手扶桨一手执鱼竿，怡然自得地坐在船沿上垂钓，渔船两边沙碛点点，木盛草美，随风飘荡。\n图上正中草书“渔父辞”一首：目断烟波青有无，霜凋枫叶锦模糊，千尺浪，四腮鲈，诗筒相对酒葫芦。并款署：“至元二年秋八月，梅花道人戏作《渔父》四幅并题。”",[23,24,7,128,132,29,129,1350,413,99,131,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46b62bd0e9cbfbeeae4460213b63e1fd.jpg","纵84.7厘米，横29.7厘米",[44,117],{"id":2933,"slug":2934,"title":2935,"dynasty":980,"author":2936,"museum":2937,"description":2938,"tags":2939,"thumbUrl":2941,"material":84,"size":84,"collection":84,"collections":2942,"showCount":2943,"zanCount":1116,"manualWeight":48,"mainColor":72},220453,"hua-niao-ce-ye-pan-tian-shou-220453","花鸟册页","潘天寿","中国美术学院美术馆","这套册页诗书画印浑然天成，十余开铺陈开山野清趣。以浓墨大写鸲鹆，骨力雄健朴拙，墨色厚重凝练尽显沉郁气度；转而写幽花野卉，荷瓣清逸、牵牛含露，水墨晕染虚实相生，将草木舒展之态藏于简括笔意中。\n题跋笔势跌宕，篆隶金石气融于画中，以书入画，线条刚柔相济。每开或绘禽鸟踞枝，或写丛篁蔬果，删繁就简留白疏密得宜，把林泉间的清寂生机缓缓铺展，文人雅致与写意野趣交融无间，笔底带着山野间的灵动意趣，尽显大写意花鸟的诗画交融之妙。",[23,24,7,59,128,27,133,369,208,61,371,375,167,376,374,2940,2037,171,82],"乌鸦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1977491dcb09096c6f919e88e1d5b78a.jpg",[],429,{"id":2945,"slug":2946,"title":2947,"dynasty":18,"author":2099,"museum":300,"description":2948,"tags":2949,"thumbUrl":2950,"material":84,"size":84,"collection":84,"collections":2951,"showCount":2952,"zanCount":738,"manualWeight":48,"mainColor":72},227579,"wu-ma-tu-dong-jing-cai-ben-li-gong-lin-227579","五马图（东京彩本）","年初，日本东京国立博物馆举办的“颜真卿：超越王羲之的名笔”特展中，一度被认为毁于二战战火的北宋名画——李公麟所作《五马图》赫然在列，轰动艺术界。\n\n《五马图卷》是李公麟最重要的传世名迹，简约而生动，是宋画高再现性与高表现性的完美结合；上有黄庭坚题跋，曾收藏于南宋内府与乾隆手中，对宋画欣赏与研究极具价值，近一个世纪以来，流传过程也甚为坎坷。",[23,164,24,7,25,188,27,96,101,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc311a3828303adc5d60f6643579ac2af.jpg",[],427,{"id":2954,"slug":2955,"title":2956,"dynasty":18,"author":223,"museum":20,"description":2957,"tags":2958,"thumbUrl":2960,"material":40,"size":2961,"collection":84,"collections":2962,"showCount":2963,"zanCount":1105,"manualWeight":48,"mainColor":49},223552,"hai-tang-jia-die-tu-yi-ming-223552","海棠蛱蝶图","画面主题是阳春三月，蛱蝶翩翩起舞于海棠花枝间。画家着重表现海棠在乍起的春风中花枝招展的动感瞬间，花朵偃仰向背，叶片翻卷辗转，枝干呈“S”形的曲张之态；通过描绘有形的花叶，成功地渲染出无形的醉人春风和隽永的春意。\n图中花瓣先以墨笔双勾轮廓线，中锋行笔，线条圆润流畅。然后在花瓣外侧上部略点胭脂红，旋即以清水将色彩晕染开，最后罩上一层白粉，为海棠花亮丽的色调增添了几多妩媚意韵。叶片用工整的双勾填色笔法表现，作者根据叶片受光照程度的不同而填染以石绿、墨赭等颜色，从而充分表露出叶片“清如水碧，洁如霜露”的美感，显示出画家细致的观察力和深厚的写实功底。",[23,164,24,7,28,27,61,1132,2959,208],"蛱蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7991f6dba711f3f30a45cd512a1f8a61.jpg","纵25厘米，横24.5厘米",[],425,{"id":2965,"slug":2966,"title":2967,"dynasty":144,"author":2968,"museum":300,"description":2969,"tags":2970,"thumbUrl":2972,"material":173,"size":2973,"collection":45,"collections":2974,"showCount":2975,"zanCount":1014,"manualWeight":48,"mainColor":49},219227,"hu-lu-hua-ping-tu-chen-lin-219227","葫芦花瓶图","陈琳","葫芦形花瓶静立中央，上下两腹铺陈盎然生机：上腹花叶扶疏，禽鸟栖于枝间；下腹莲荷绽放，游鱼隐于水藻。工笔细描尽显物象之态，花瓣晕染得宜，鸟羽纹理纤毫可见，设色古雅温润，与背景暗纹相映成趣。瓶中世界仿佛自成天地，静谧中藏着灵动生机，尽显传统绘事对自然意趣的凝练与表达，观之令人心生悠然。",[23,24,7,165,27,28,61,62,251,2971,230],"葫芦瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26c245651b0116b5d744e49060ab67f7.jpg","86X41",[45],423,{"id":2977,"slug":2978,"title":2979,"dynasty":351,"author":1610,"museum":244,"description":2980,"tags":2981,"thumbUrl":2985,"material":253,"size":2986,"collection":136,"collections":2987,"showCount":2988,"zanCount":1116,"manualWeight":48,"mainColor":49},221156,"long-su-jiao-min-tu-dong-yuan-221156","龙宿郊民图","该图中以两重大山为主体，向画面的纵深走去。左边则是浩渺长江，也向画面的纵深流去，使画面很有深远感。该图在色彩的运用上也别具特色，作者将墨与青绿巧妙地合为一体，墨色和青绿色相得益彰却不相碍。作者用墨笔勾勒渲染后，在坡面峰峦等处略敷青绿，颇有郁郁葱葱，草木繁茂之意。",[23,24,164,7,165,29,27,1613,34,131,31,149,96,496,38,499,1747,2982,2983,514,2984,132],"自然景观","传统技法","南派山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F488a9480f5fb0b143be257ea8e941809.jpg","纵156厘米，横160厘米",[136,117],422,{"id":2990,"slug":2991,"title":2992,"dynasty":2593,"author":223,"museum":2594,"description":2993,"tags":2994,"thumbUrl":2996,"material":2997,"size":2998,"collection":84,"collections":2999,"showCount":3000,"zanCount":586,"manualWeight":48,"mainColor":49},223347,"ren-wu-long-feng-bo-hua-yi-ming-223347","人物龙凤帛画","表现的是龙凤引导墓主人的灵魂升天的情景。画中右下方有一位侧身而立的中年妇女，阔袖长裙，双手合十像在祈祷。妇人头顶上有一只腾空飞舞的风鸟，尾羽向上卷起。左侧是一条体态扭曲的龙，正向上升腾。画中所绘的龙的形象，因初发现时龙的左足破损，只见右侧足，而一度被认为是夔，该作品也曾定名为《夔凤人物图》。 [1] 该画是中国现存最古老的帛画。",[24,7,234,188,27,96,772,2995],"凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F875bb7f0c8c432a8d3b746c93c5ec5bd.jpg","绢本淡设色","纵31.2厘米，横23.2厘米",[],421,{"id":3002,"slug":3003,"title":3004,"dynasty":18,"author":1449,"museum":300,"description":3005,"tags":3006,"thumbUrl":3007,"material":514,"size":3008,"collection":42,"collections":3009,"showCount":3000,"zanCount":1998,"manualWeight":48,"mainColor":49},221183,"mei-zhu-tu-ye-2-ma-lin-221183","梅竹图页2","画幅构图空灵简逸，笔墨勾勒韵染逼真，敷彩凸凹清丽雅洁。深绿沉厚的双钩竹叶润染，更凸显出雪白洁净的梅花。寒梅数枝，绿竹穿行，劲挺横斜，偃仰扶疏，笔墨虚实，极具工致灵动之妙。",[23,164,24,7,59,28,27,61,371,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f445c4f5d50251bdb395a7dcb9cb889.jpg","26.5×26厘米",[42,68,45],{"id":3011,"slug":3012,"title":3013,"dynasty":144,"author":145,"museum":1300,"description":3014,"tags":3015,"thumbUrl":3017,"material":278,"size":3018,"collection":136,"collections":3019,"showCount":3000,"zanCount":975,"manualWeight":48,"mainColor":72},218260,"shui-ge-qing-you-tu-huang-gong-wang-218260","水阁清幽图","《水阁清幽图》画的是深山隐居之景。整幅画可分为远近两部分，景物以云气间隔。近景描绘一山间溪流从远处密林中涓涓而来，溪口有三座房子，房前有平台。溪流两岸，坡石层叠，树木成林，葱郁茂盛。山谷之间，云气弥漫，其后远景中一主峰耸立，形状如蹲似踞，两旁低峰回护，前伸山顶平台，使远近之景相互呼应。\n《水阁清幽图》画面右上角署款“大痴道人平阳黄公望画于云间客舍，时年八秩有一”，钤“黄氏子久”白文方印和“一峰道人”朱文方印。画面右侧另钤有梁清标“苍岩子”“蕉林居士”鉴藏印，右上有王时敏“西田”朱文印和王撰“颛菴”印及“董光裕印”白文方印各一枚。",[24,7,128,132,165,29,663,228,34,3016,35,99],"水阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa25bba667d059525d84d5bfdaa9f9e2d.jpg","纵104.5厘米，横67.3厘米",[136],{"id":3021,"slug":3022,"title":3023,"dynasty":54,"author":872,"museum":77,"description":3024,"tags":3025,"thumbUrl":3026,"material":278,"size":84,"collection":68,"collections":3027,"showCount":3028,"zanCount":48,"manualWeight":48,"mainColor":72},218421,"he-tang-tu-zhu-da-218421","荷塘图","泼墨荷叶恣肆铺陈，浓墨处似沉云压顶，淡晕间若轻烟漫散，笔触枯润交错里藏着自然野趣。奇崛湖石以焦墨勾廓、泼墨晕肌理，造型古拙却含灵动之气。瘦劲荷茎斜出，点染水草丛生，留白处似漾开涟漪，又像无尽空寂。整幅画以水墨浓淡干湿，写尽荷塘清寒与孤傲，墨色流转间藏着画家内心幽微与超脱，观之如临秋塘，凉意浸肤，心绪随之沉潜。",[23,24,7,128,168,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabe1cc52c0e7642c48fe19fea003a080.jpg",[68],412,{"id":3030,"slug":3031,"title":3032,"dynasty":18,"author":397,"museum":20,"description":3033,"tags":3034,"thumbUrl":3035,"material":40,"size":3036,"collection":42,"collections":3037,"showCount":3038,"zanCount":1998,"manualWeight":48,"mainColor":49},221336,"mei-hua-xiu-yan-tu-ye-zhao-ji-221336","梅花绣眼图页","本幅款识：“御笔”、“天下一人”。钤“御书”朱文葫芦形印一方。鉴藏印钤“阿蒙秘笈”。\n图中梅枝瘦劲，枝上疏花秀蕊，一只绣眼俏立枝头，鸣叫顾盼，与清丽的梅花相映成趣。此图虽然景物不多，却颇为优美动人。所绘梅花为宫梅，经过不断剪枝，人工修饰痕迹较重。此种梅的画法精细纤巧，敷色厚重，自有一种富贵气息，这样的风格趣味为宫廷所好尚，显然代表了皇家的审美意味。",[23,164,24,7,59,28,27,61,371,355,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3454d67dcf054bf343b75f96d35a1c22.jpg","纵24.5厘米，横24.8厘米",[42,68,45],408,{"id":3040,"slug":3041,"title":3042,"dynasty":54,"author":3043,"museum":56,"description":3044,"tags":3045,"thumbUrl":3046,"material":66,"size":3047,"collection":68,"collections":3048,"showCount":3038,"zanCount":975,"manualWeight":48,"mainColor":72},214283,"pi-pa-tu-xu-gu-214283","枇杷图","虚谷","枇杷图是清代画家虚谷的一幅代表作。这幅画作描绘了枇杷树的生长过程。\n\n在这幅画作中，虚谷巧妙地捕捉了枇杷树的生长特征。他用浓墨重彩的画法，勾勒出了枇杷树的树冠和树干。他还用细腻的线条勾勒出了枇杷树的果实，让人感受到了枇杷树的自然韵味。",[23,164,24,7,27,61,128,369,918,582,549,2037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c08115f1f5f8532ace747821d30036.jpg","112.5x52",[68],{"id":3050,"slug":3051,"title":1280,"dynasty":54,"author":55,"museum":20,"description":3052,"tags":3053,"thumbUrl":3054,"material":734,"size":84,"collection":84,"collections":3055,"showCount":3056,"zanCount":1116,"manualWeight":48,"mainColor":72},234300,"yun-shou-ping-hua-hui-ce-yun-shou-ping-234300","恽寿平（1633年-1690年），初名格，字惟大，后改字寿平，以字行。别号南田。作为明末清初著名的书画家，他开创了没骨花卉画的独画风，是常州画派的开山祖师。自小敏慧，却一生坎坷\n恽（yùn）寿平出生于官宦之家，又是书香门第，曾祖父、祖父、爹爹、叔父不是为官就是为学，从小敏慧，长相出众，8岁便有咏莲花之诗。清初遭遇战乱，年仅12岁的恽寿平随父远走浙、闽、粤几省，风餐露宿，历尽艰险。后参加了福建建宁王祈的抗清队伍。\n顺治五年（1648年），闽浙总督陈锦率六万清军强攻建宁，15岁的恽寿平坚守孤城。城陷后，与兄皆被虏至清兵营。陈锦无子，其妻见寿平聪明清秀，收为养子。恽寿平虽在总督府生活优裕，但思亲之情未绝。五年后，遇灵隐寺方丈相救，才得以与家人团聚。此后，他刻苦钻研学问，古文、诗词、书画无不精擅。",[24,7,59,60,27,133,208,263,62,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dc8ee0032281ae979767d6d432d5240.jpg",[],407,{"id":3058,"slug":3059,"title":3060,"dynasty":124,"author":366,"museum":1941,"description":3061,"tags":3062,"thumbUrl":3063,"material":278,"size":3064,"collection":68,"collections":3065,"showCount":3056,"zanCount":1086,"manualWeight":48,"mainColor":72},220099,"shi-er-mo-hua-tu-juan-xu-wei-220099","十二墨花图卷","此卷徐渭充分发挥了其高超的水墨表现力，以狂放的笔触，淋漓的水墨，变化多端的笔锋，泼墨、焦墨、破墨、双勾并用，寥寥数笔即勾画出了各种花卉的特征，简约却颇具神采。",[23,164,24,7,25,128,208,133,64,371,375,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e6906eeb6ef87e0a0207882c285c054.jpg","全卷32.8cm×544cm",[68],{"id":3067,"slug":3068,"title":3069,"dynasty":18,"author":1622,"museum":2488,"description":3070,"tags":3071,"thumbUrl":3073,"material":173,"size":3074,"collection":42,"collections":3075,"showCount":3056,"zanCount":1086,"manualWeight":48,"mainColor":49},218630,"song-yan-guan-pu-tu-ma-yuan-218630","松岩观瀑图","一个高士酒后半躺在一棵松树下，山上的树干虬结，树枝斜向伸展，长长的、稀疏的树叶自由伸展，在用大笔画渲染的树木和岩石之间，充满了生命力。",[23,164,24,7,29,128,27,96,372,3072,495,99,171,413],"岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a25dcebcb10f5241aac60004e04959.jpg","26.3x24.6",[42],{"id":3077,"slug":3078,"title":3079,"dynasty":124,"author":125,"museum":244,"description":3080,"tags":3081,"thumbUrl":3082,"material":278,"size":3083,"collection":136,"collections":3084,"showCount":3085,"zanCount":11,"manualWeight":48,"mainColor":72},219522,"ce-zhang-tu-shen-zhou-219522","策杖图","本幅采三段式构图，以河水来分隔画面，前景的树石与远景的山丘相照应，构图简约，显然脱胎于倪瓒之作。",[24,7,165,128,132,29,96,663,413,99,98,171,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaa190a0de0a4b64ed7875a8e251871f.jpg","纵159.1公分、横72.2公分",[136],406,{"id":3087,"slug":3088,"title":1057,"dynasty":124,"author":3089,"museum":244,"description":3090,"tags":3091,"thumbUrl":3092,"material":66,"size":3093,"collection":68,"collections":3094,"showCount":3095,"zanCount":11,"manualWeight":48,"mainColor":72},214731,"sui-chao-tu-bian-wen-jin-214731","边文进","仿古铜罐上装饰着十种花，包括梅花、兰花、茶花、水仙、天竺葵、灵芝、松树、柏树、柿子和如意，象征着十全十美。花瓶里的花的重心在较低的一侧，而上面的梅花的茎通向较高的一侧，这与现实相对应。",[24,7,165,27,28,61,371,372,169,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdd7df13b5b3b22f5b5a78294d592780.jpg","108x46.1",[68],404,{"id":3097,"slug":3098,"title":3099,"dynasty":18,"author":1622,"museum":300,"description":3100,"tags":3101,"thumbUrl":3102,"material":173,"size":3103,"collection":44,"collections":3104,"showCount":3105,"zanCount":1105,"manualWeight":48,"mainColor":49},218652,"song-xia-tan-qin-tu-ma-yuan-218652","松下弹琴图","这幅画的构图是马远的绘画风格，有岩石、松树和一个和尚，或者是 伯牙鼓琴 的典故。树木的叶子是用双钩和填充的方法进行层压和绘画的。石头的纹理是用斧头表达的，这使它们具有很好的质感。松针画得非常仔细，笔法严谨而纯粹。",[23,24,7,27,96,1144,131,34,227,438,132,28,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf693032a9cf5c8cec0275d6ef70b42.jpg","166.50x99厘米",[44],402,{"id":3107,"slug":3108,"title":3109,"dynasty":18,"author":3110,"museum":3111,"description":3112,"tags":3113,"thumbUrl":3115,"material":278,"size":84,"collection":117,"collections":3116,"showCount":3105,"zanCount":48,"manualWeight":48,"mainColor":72},216945,"liu-shi-tu-mu-xi-216945","六柿图","牧溪","日本京都大德寺龙光院","描绘了六个柿子，一前一后，一排五个。简洁的笔触，独特的墨色，以及随机但不凌乱的一排排柿子，给人留下了简单、朴素、宁静致远的禅意。这是一种简单、朴素、悠远的禅意。",[24,164,7,165,128,369,3114],"柿子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74f5ac03418f0bd72d3220bc771f9935.jpg",[117],{"id":3118,"slug":3119,"title":1006,"dynasty":18,"author":620,"museum":244,"description":3120,"tags":3121,"thumbUrl":3122,"material":173,"size":3123,"collection":68,"collections":3124,"showCount":3125,"zanCount":975,"manualWeight":48,"mainColor":49},219031,"mu-dan-tu-zhao-chang-219031","湖石下的鸢尾花、兰花和灵芝，以及湖石后盛开的牡丹，让人眼前一亮。虽然丝绸已经发黄发旧，但仍有光泽的感觉。",[23,164,24,7,28,27,61,263,549,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f8b5880085e0d0be159ea0e1946d21d.jpg","143.5x59.3",[68],397,{"id":3127,"slug":3128,"title":3129,"dynasty":18,"author":1622,"museum":77,"description":3130,"tags":3131,"thumbUrl":3132,"material":173,"size":3133,"collection":42,"collections":3134,"showCount":3125,"zanCount":1116,"manualWeight":48,"mainColor":72},218077,"song-di-ming-ti-ce-ma-yuan-218077","宋帝命题册","这画册共含十页，每页左侧为一幅绘画，右侧配一书法。画心尺寸长28厘米、高27厘米，设色绢本，水墨与青绿设色间有。\n在“开禧北伐”之后，宋败给了金国，还有了“嘉定议和”。议和之后的宋宁宗便失去了大权。之后，宋宁宗开始钟情于山水。本十开册页描绘的是当时临安凤凰山皇宫的十个不同景点。\n根据考证，图中的白衣高士均是宁宗的化身，他将自己融入到自然山水中，写下了这10幅诗，再命当时的御前画师马远配图。\n10幅画作皆是根据杨万里、王安石等前贤及宋徽宗的诗句而创作，册页里的10幅配诗书法作品皆为宋宁宗所书。",[23,164,24,7,59,95,27,132,29,97,1144,415,131,34,37,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f18219cdd8de698e8ca906fbb1bca8.jpg","纵28厘米、横27厘米",[42,136],{"id":3136,"slug":3137,"title":3138,"dynasty":18,"author":397,"museum":77,"description":3139,"tags":3140,"thumbUrl":3142,"material":173,"size":84,"collection":68,"collections":3143,"showCount":3125,"zanCount":1116,"manualWeight":48,"mainColor":49},216940,"yu-ying-tu-zhao-ji-216940","御鹰图","御鹰图是赵佶的一幅画作。赵佶是宋朝的一位著名的画家，他的画作被认为是中国画的典范，很受人们的喜爱。\n\n御鹰图描绘了一只雄健的鹰，看起来非常壮观。赵佶用细腻的笔法和精湛的技巧描绘了鹰的羽毛，使得整幅画看起来栩栩如生。\n\n赵佶的御鹰图被认为是宋朝画的代表作之一，它的风格独特，表现力强，被认为是宋朝画的典范。它被广泛收藏，并在许多艺术展览中展出。",[164,24,7,28,27,151,165,3141,1400,2438],"鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b3210a771bedb5e6e81fe9066e3c66e.jpg",[68],{"id":3145,"slug":3146,"title":3147,"dynasty":124,"author":3148,"museum":20,"description":3149,"tags":3150,"thumbUrl":3151,"material":278,"size":3152,"collection":68,"collections":3153,"showCount":3125,"zanCount":738,"manualWeight":48,"mainColor":72},216204,"zhu-qin-tu-lv-ji-216204","竹禽图","吕纪","此幅景物简洁，一竿修竹自左下斜出，呈对角线贯穿画面。主干秀挺，侧枝细劲，叶片疏密有致，是宋元文人画竹之法。两只喜鹊在枝头鸣叫，带有吉祥平安的寓意。作品构图明朗，风格清秀，用小写意笔法，设色清新淡雅，与吕纪其他作品富贵面貌有所不同。",[24,7,165,28,27,61,167,1400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b9dc4cfeb5b56018cf4b7bdb04e8a8c.jpg","纵148.5厘米，横467.7厘米",[68],{"id":3155,"slug":3156,"title":3157,"dynasty":144,"author":3158,"museum":224,"description":3159,"tags":3160,"thumbUrl":3161,"material":1223,"size":3162,"collection":136,"collections":3163,"showCount":3164,"zanCount":1998,"manualWeight":48,"mainColor":49},221810,"song-xuan-chun-ai-tu-zhou-zhang-yu-221810","松轩春霭图轴","张羽","此图表现了春山“纵使晴明天雨色，入云深处亦沾衣”的意态。近景处坡石曲折，树林阴翳，一湾溪水逶迤而过，茅舍数椽隐于林中，静谧无人；中景山腰白云缭绕，亭台楼阁闪现其间；远景画一主峰突兀，山色浓重浑然。山石的结构以披麻皴勾写，层次丰富，脉络井然；山体以米氏横点层层积染，并以墨点和色点相互交错。尤其是主峰的刻画，丰富而充满生机，能与高克恭相媲美。全图笔调粗放，墨色氤氲，青、蓝、墨、赭，融合于一片春色之中。",[23,24,7,165,128,27,29,1144,37,496,34,132,131,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bbf82b9a395bf951704715997109750.jpg","纵91.5cm，横31.5cm",[136,45],396,{"id":3166,"slug":3167,"title":3168,"dynasty":124,"author":1058,"museum":450,"description":3169,"tags":3170,"thumbUrl":3171,"material":173,"size":3172,"collection":44,"collections":3173,"showCount":3164,"zanCount":1105,"manualWeight":48,"mainColor":49},218350,"ren-wu-gu-shi-ce-tang-yin-218350","人物故事册","这是一本关于人物故事的小册子，每幅画中的明代题款似乎是一个人的作品，所以可以肯定这是清人伪托唐伯虎的画作，但画作本身还是很出色的，如果能刻上他的原名，那将是一套很好的人物画。",[23,24,7,59,27,188,96,166,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57f6934a53787d0888fc281c204938c0.jpg","32x40.5",[44],{"id":3175,"slug":3176,"title":3177,"dynasty":18,"author":3110,"museum":161,"description":3178,"tags":3179,"thumbUrl":3180,"material":317,"size":84,"collection":117,"collections":3181,"showCount":3164,"zanCount":48,"manualWeight":48,"mainColor":956},216203,"mo-long-tu-mu-xi-216203","墨龙图","《墨龙图》是一幅大型轴测图，画了许多墨龙和其他动物。这幅画是在宋代的牧溪创作的，他是当时著名的画家、书法家。《墨龙图》被认为是牧溪最著名的作品之一，具有极高的艺术价值。在画面中，牧溪用细腻的线条勾勒出了各种各样的墨龙，并用色彩丰富的技巧表现出了它们的生动形态。在这幅画中，牧溪还用简洁流畅的书法笔触写下了许多墨色的标题，使得整幅画更加美观。",[23,24,7,128,772,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F714c77b0db36c88aef70dba70858b677.jpg",[117],{"id":3183,"slug":3184,"title":3185,"dynasty":18,"author":633,"museum":244,"description":3186,"tags":3187,"thumbUrl":3188,"material":317,"size":3189,"collection":136,"collections":3190,"showCount":3164,"zanCount":1116,"manualWeight":48,"mainColor":49},214723,"shan-ju-liu-ke-tu-xia-gui-214723","山居留客图","该图像描绘了一块有云的岩石和一座延伸到水面的长桥。在一棵老松树下面，两个老人在森林里的房子里休息和喝酒，一个孩子和一个老妇人在治疗设备，一个仆人在担架上睡觉，一个人拿着一把古筝。这幅画的风格与明代画院的风格接近，怀疑这幅画不是真迹。山石都是用斧头凿出来的，笔法轻柔，通常用侧锋，以获得力道，但细腻和克制的程度有点欠缺，可能是出自明人模仿夏圭的风格。",[24,7,164,165,1326,128,132,29,331,97,98,96,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F687bcb8647a4f89cd2f269b229f4d848.jpg","164.7x102.8",[136,44],{"id":3192,"slug":3193,"title":3194,"dynasty":18,"author":3195,"museum":300,"description":3196,"tags":3197,"thumbUrl":3198,"material":151,"size":3199,"collection":44,"collections":3200,"showCount":3201,"zanCount":1105,"manualWeight":48,"mainColor":49},221325,"chao-yuan-xian-zhang-tu-wu-zong-yuan-221325","朝元仙仗图","武宗元","《朝元仙仗图》为北宋宗教画家 所绘制的一幅绢本白描长卷， 曾收藏于美国华人收藏家王季迁手中，在其去世后失窃下落不明。\n该画作描绘了五方帝君中的三个帝君，去往朝谒天上的最高统治者时的队仗行列。\n画家以流利的长线条描绘此图，画中人物栩栩如生，表情生动，描画出了不同的人物的不同的身份与形态特征，成功地表现出帝君的庄严、神将的威武和仙女的丰姿，是白描人物画的代表作。\n《朝元仙仗图》描绘的是五方帝君中的东华帝君、南极大帝、扶桑大帝，前往朝谒“主持天界之祖”——元始天尊的队仗行列。\n《朝元仙仗图》中的行列应该是由八十八位神仙组成，但是图中缺了最后一位神仙。\n八十七位神仙共分为四种类型：三位帝君，八名武装神，十名男神仙，六十七名女仙，这些女仙中有玉女，也有金童，但都着女装。\n众仙神态从容衣带随风飘舞，徐徐行进于蜿蜒的廊桥之上。\n队列左端最前由仗剑披甲的天神开路，最右端以甲卒、金刚、神王、力士等殿后，气象雄威；后面是仙官、侍从和乐队，高举旗幡伞盖，手捧美食佳肴，吹奏丝竹管弦；三位帝君，华服盛装，头衬圆光，神态庄重，前后左右是金童玉女，画中各神仙身旁还有长方格，内写该神仙的尊号。\n个个神情娴淑恬淡，沉稳慈祥，俊美动人，衣履装束和发髻头饰，各尽其态；队伍最后又是文武仙官，衣饰容貌也都各有特色，画幅上面云雾飘渺，下方丛生莲花、香蒲，所有神仙列成长队，过桥穿路，浩浩荡荡而来，热闹又庄重，仿佛能听到众神仙衣衫窸窣、环佩相碰之声。\n武宗元的活动时期正值宋真宗赵桓在位（公元997年5月8日－122年月2日）。\n宋真宗崇奉道教，大兴土木建筑道院，在汴京（开封）所建“玉清昭应宫”，凡二千六百一十楹，制度十分宏丽，屋宇稍有不合程式的，就拆掉重盖，夜以继日，七年才完工。\n又作“会灵观”，规模略如玉清昭应宫，以首相王但为“昭应宫使”，次相王曾为“会灵观使”。\n全国各地纷纷盖道观、立官职，把年老退职侍从大臣都授予道教的官衔，给以俸禄。\n在统治者这样如醉如狂地提倡道教的运动中，产生了许多以画道释人物著名的壁画家，专为装饰宫观，《朝元仙仗图》便是武宗元在此时期为玉清昭应宫创作寺观壁画所绘制的小样。\n《朝元仙仗图》中的线条勾勒看起来奔放有力，实则从构图、人物安排、物象聚合到线条组织都显示出“平”和“匀”的特点。\n以主像东华天帝君为例，图中的颈部线条为三根大致平行的圆弧线，距离匀称、平均、平稳，与衣领的关系模糊不清。\n通天冠顶部的一组珠饰的七颗宝珠形象相同，似乎为同一形象之复制，平均分布且排成一条僵硬的直线，图中插入头发中以固定头冠的玉簪导没有传达出物体互为垂直面的意义，而是画成一个含糊的多边形。\n整体画面强调照应，又适当注意变化，先是对于复杂重叠的衣褶采用了“铁线描”的手法勾勒，画中线条严谨、简练、流畅，有的线长达几米。\n线条长垂流畅，飘飘欲举，如有风吹拂，生动地表达队列进行中的动感；而人物的面部和头发的线条又变得柔和，纤柔曼妙，如同游丝，与衣纹的铁线形成对比，既表现了不同质感，又使画面具有丰富的线条美。\n面部表情能用各种不同的线来表现，眉眼特别有神，皱眉肌的变化，以及眼与其他各部的关系处理得准确巧妙，从而使同样严肃的面孔上显示出各种不同的个性。\n该画作整体画面色彩单纯明朗，以石青石绿为主，衣冠宝盖大量运用沥粉贴金，总体色调既灿烂又沉厚。\n该画作中共绘制了身份、等级各不同的八十七位神仙，其中东华帝君、南极大帝头带冕冠，脑后衬以圆光，轮廓丰腴，气质雍容，在队伍中尤其显眼。\n而同为五方帝君之一的扶桑大帝整体则显得较为朴素，但神情庄严、不怒自威。\n护卫的武装神或披甲仗剑，或长袍执戟，有的表情淡漠直视前方，有的怒目圆睁环视四周，形象鲜明。\n而对于人物动态一致、倾向一致，服饰大致相似的仙官，则通过微小的转侧和顾盼加以区分，得到相互之间的呼应。\n整幅作品人物安排参差有致，神采飞动，人物神情各异，构图整齐而不呆板，组织繁复而不杂乱。\n该画作中所塑造的诸神，是现实世界各种英勇、强健、崇高、恢宏、安详、美丽、静淑等人类最美的外形和性格的体现。\n从中可以发现作者在人物塑造上的卓越才能，他通过每一个人物的衣饰动作和表情，表现出各人不同的内在品质。\n再加以仪仗、供品、烟云、花草等的气氛渲染，就构成一个庄严华丽的神仙境界——当时人类想象中的美好境界。\n在构图上作者善于从统一中求其变化，在处理繁复的画面时又能做到协调而不杂乱。\n准确而生动的用笔，富于节奏感的线条，随心所欲地把作者想要表达的美感表达了出来。\n这都是这幅作品的成功所在。\n《朝元仙仗图》称得上是线条运用达到登峰造极的代表作之一 ，这样的白描作品一直是历代人物画家学习的范本，无论是线条勾勒的技法，人物的造型特征，衣纹穿插的规律还是人物组织构图的方法，无处不值得人们在自己的创作中借鉴应用。\n远至宋代白描大家李公麟、元代的赵孟頫、明代的陈洪绶、清代的任伯年等，在他们的作品中都能找到《朝元仙仗图》的痕迹，流传至今的元代永乐宫壁画更是对《朝元仙仗图》的直接传承。\n当代人物画家更是把该图作为学习传统人物画的必修课，诸多优秀的工笔画家如李少文、何家英、高云、戴敦邦等的作品以及画家李伯安的作品巨幅长卷《 》在创作时也深受《朝元仙仗图》的启发，特别是众多人物排列行进的场面与《朝元仙仗图》更是如出一辙。\n两宋之际，《朝元仙仗图》归翟妆文收藏。\n翟汝文之后《朝元仙仗图》归张氏收藏，张氏名字的最后一字很难释读，故其事迹不可知。\n元代时期，《朝元仙仗图》归张君锡收藏。\n张君锡之后，《朝元仙仗图》转归杭人崔氏。\n明清时代《朝元仙仗图》数百年流藏于广东境内，曾藏于广东顺德卢氏。\n民国时期，《朝元仙仗图》流入市肆，为“颍川飞凫人”所得。\n不久之后，《朝元仙仗图》归广东收藏家罗原觉收藏，之后罗原觉将此画卖给李尚铭。\n李氏又将其抵押他人，后来于七七事件之前流往日本。\n建国之后，2世纪5年代《朝元仙仗图》被美国人候时泰买去，之后归王季迁收藏。\n25年，《朝元仙仗图》被王季迁后人托管于上海一家银行的保险箱，29年发现其真迹已被人掉包，至今下落不明。\n武宗元（公元994年—15年），初名宗道，字总之，河南白坡（今河南孟津）人，北宋时期画家。\n他家世业儒，以荫得太庙斋郎，官至虞曹外郎，宋真宗景德年间，建玉清昭应宫，征全国画师三千多人，选中者百余人，武宗元名列第一。\n中选百人分二部，宗元为左部之长。\n擅画道释人物，17岁时画洛阳北邙山上清宫壁画，被世人评为“惊绝”，也曾为开封、洛阳各寺观作大量壁画，史称他的作品“神彩活动如草书”。\n其作品中仅有《朝元仙仗图》流传后世。",[23,164,24,7,25,188,187,96,97,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac7f35285bd62db636c782a85c5fb9d.jpg","纵44.3cm，横580cm",[44,117],395,{"id":3203,"slug":3204,"title":3205,"dynasty":144,"author":2697,"museum":20,"description":3206,"tags":3207,"thumbUrl":3208,"material":278,"size":3209,"collection":68,"collections":3210,"showCount":3211,"zanCount":1116,"manualWeight":48,"mainColor":72},214583,"si-qing-tu-li-kan-214583","四清图","它原本是一个长卷，但在明朝中期被分成了两卷。此副是故宫博物院的部分，即后卷。兰、竹、石、梧被称为四清，比喻君子的高贵品格。虽然枝叶茂密，但笔触优雅简洁，墨色自然多变。",[23,164,24,7,25,128,133,208,28,132,167,1314,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb3499d343c9e9aef13f39fb8034bcc7.jpg","35.6x359.8",[68],394,{"id":3213,"slug":3214,"title":3215,"dynasty":124,"author":204,"museum":244,"description":3216,"tags":3217,"thumbUrl":3218,"material":66,"size":3219,"collection":44,"collections":3220,"showCount":3221,"zanCount":1105,"manualWeight":48,"mainColor":72},219374,"guan-shi-yin-pu-sa-chou-ying-219374","观世音菩萨","“观音大师踩一朵青色莲花，捧一柳，一盏水杯，从云端而来。他头上的皇冠离开了梨花佛的位置，但他没有画佛像，说明此作 这幅画卷的色彩明快、纯洁、淡雅，除了用细致的线条勾勒出轮廓外，脸部、手部和衣服也被晕染，表现出立体的效果。虽然有秋影（ 约1494-1552年）画中不过，这支卷轴笔和秋影的笔触与描绘的精细度，还是有相当大的差距，应该是后人冒用秋影之名的作品。",[164,24,7,165,187,96,28,27,950,208,232],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7abb1842c0f8a808d878fbae1f0f0b1.jpg","纵104.2横52.5厘米",[44,45],393,{"id":3223,"slug":3224,"title":3225,"dynasty":54,"author":1952,"museum":77,"description":3226,"tags":3227,"thumbUrl":3228,"material":66,"size":3229,"collection":68,"collections":3230,"showCount":3231,"zanCount":738,"manualWeight":48,"mainColor":49},219131,"xi-que-shuang-xi-tu-shen-quan-219131","喜鹊双喜图","虬枝盘曲间，梅蕊初绽如雪，几点淡红晕染枝头，似早春私语。一只喜鹊翘尾立于枝上，羽色浓淡相宜，墨羽如缎，白腹似雪，喙尖微抬，似欲鸣春；另一只栖于老干，回眸相顾，长尾垂落如墨线，与枝干的苍劲相映成趣。旁侧新竹数竿，青影摇曳，添几分生机。工笔细描见匠心，枝干皴擦显古拙，花瓣晕染含雅致，禽鸟神态毕肖。动静之间，春意流转，喜意暗生。整幅画韵致清和，既有自然野趣，又藏吉祥寓意，尽显传统花鸟之雅韵，观之令人心生愉悦。",[23,164,24,7,165,28,27,61,371,167,211,1400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe247e4c33f78d42b4640f989a2d41eb8.jpg","131x53.5cm",[68],391,{"id":3233,"slug":3234,"title":3235,"dynasty":18,"author":397,"museum":77,"description":3236,"tags":3237,"thumbUrl":3239,"material":173,"size":3240,"collection":68,"collections":3241,"showCount":3242,"zanCount":1105,"manualWeight":48,"mainColor":49},218932,"you-hua-xiao-qin-tu-zhao-ji-218932","幽花小禽图","古绢底色如浸了岁月的茶褐，晕开一层幽淡气息。三丛菊花攒聚枝头，瓣瓣纤柔层叠，白蕊间泛着浅金，似把秋阳的暖融凝在花芯。枝叶以墨绿勾染，脉络纤细如丝，笔致细腻入微。一只小禽栖于枝侧，羽色褐棕相间，喙尖轻垂，仿佛正凝睇花叶，又似在聆听风过叶隙的轻响。鸟的灵动与花的静婉相映成趣，于静谧中暗涌着鲜活生机。整幅画工细却不板滞，色彩古雅而含清润，将宋人的审美意趣藏于方寸间——于细微处见天地，于幽花间蕴生机。",[164,24,7,28,27,61,376,3238,208],"禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5909a4d473eb21332f4d99779aadd870.jpg","22.5x26.6cm",[68],389,{"id":3244,"slug":3245,"title":3246,"dynasty":18,"author":2257,"museum":244,"description":3247,"tags":3248,"thumbUrl":3249,"material":173,"size":3250,"collection":136,"collections":3251,"showCount":3252,"zanCount":1116,"manualWeight":48,"mainColor":72},218894,"xian-shan-lou-ge-tu-zhao-bo-ju-218894","仙山楼阁图","这幅仙山仙阁的画作，色彩鲜艳，白云在山腰盘旋，显得格外高雅。这幅画是由黄君璧捐赠的。",[23,24,7,165,26,27,28,95,29,97,34,37,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e587eae532bf826f5b62f202f510946.jpg","159.9x84.2",[136],388,{"id":3254,"slug":3255,"title":3256,"dynasty":326,"author":1587,"museum":244,"description":3257,"tags":3258,"thumbUrl":3259,"material":637,"size":3260,"collection":318,"collections":3261,"showCount":3262,"zanCount":11,"manualWeight":48,"mainColor":72},221032,"kuai-xue-shi-qing-tie-wang-xi-zhi-221032","快雪时晴帖","《快雪时晴帖》共全文4行，28字。它是作为一封信札写就的，其内容是作者在大雪初晴时以愉快心情对亲朋友人的问候。其中或行或楷，或流而止，或止而流，富有独特的节奏韵律。其笔法圆劲古雅，无一笔掉以轻心，无一字不表现出意致的悠闲逸豫。即使偶尔重心忽左忽右，全局依然匀整安稳，不失平衡的美感。",[23,164,24,7,25,208,133,64,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c8116be7345d164d7d629112cd78e6.jpg","纵23cm，横14.8cm",[318,2210],387,{"id":3264,"slug":3265,"title":3266,"dynasty":144,"author":410,"museum":20,"description":3267,"tags":3268,"thumbUrl":3270,"material":734,"size":3271,"collection":136,"collections":3272,"showCount":3273,"zanCount":1116,"manualWeight":48,"mainColor":72},220822,"ge-zhi-chuan-yi-ju-tu-wang-meng-220822","葛稚川移居图","元代道教盛行，表现道教题材的绘画作品为数众多，此图描绘的是晋代著名道士葛洪携家移居罗浮山修道的故事，截取了葛洪在移居路上的一段情景。\n画面以山水为主体，重山复岭，丹柯碧树，飞瀑溪潭，茅亭草舍，一派深秋山林佳境。全画构图繁复，但层次井然，飞瀑、山径引导观者的视线层层深入，使画面气脉贯通，虽满而不迫塞。图中山石纯用水墨，皴擦点染兼参，干湿浓淡互用，勾画缜密，而树木、人物、屋宇则施以赭石、藤黄、花青，设色沉稳浑厚，极富古雅的韵致。整个画面谨严、深秀，创造出一幅理想的隐居环境。\n王蒙与葛洪虽然年代相隔久远且身份迥异，但在许多方面却有着相同之处：二人皆出自名门，都欲入世作官，却均遭世弃，最终都选择了避世隐居。此图是反映王蒙避世隐居思想的最具代表性的作品。",[23,164,24,7,165,27,132,29,96,101,102,98,99,1144,497,3269,35,208],"山路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1720976154baf26a78451dd84987d4a2.jpg","纵139厘米，横58厘米",[136,45],385,{"id":3275,"slug":3276,"title":3277,"dynasty":18,"author":3278,"museum":510,"description":3279,"tags":3280,"thumbUrl":3282,"material":173,"size":3283,"collection":68,"collections":3284,"showCount":3273,"zanCount":1086,"manualWeight":48,"mainColor":49},216925,"han-ya-tu-li-cheng-216925","寒鸦图","李成","画卷图绘冬日雪后塘林木间群鸦翔集鸣噪的景象，在山水画中寓有深意。元代赵孟頫谓此图“林深雪积，寒气逼人，群乌翔集，有饥冻哀鸣之态，亦可谓能矣”，对其构思及技巧甚为推崇。此图描绘虽甚精致， 鉴赏家认为是南宋初年画院中的作品。",[23,164,24,7,25,128,132,1337,331,211,3281,1813,29,171,208,64,133],"寒鸦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca99ea88715eb58baa22ab71da56e32d.jpg","纵27.1厘米 横113.2厘米",[68],{"id":3286,"slug":3287,"title":3288,"dynasty":54,"author":55,"museum":20,"description":3289,"tags":3290,"thumbUrl":3292,"material":66,"size":3293,"collection":68,"collections":3294,"showCount":3295,"zanCount":553,"manualWeight":48,"mainColor":72},220275,"tao-hua-tu-yun-shou-ping-220275","桃花图","图绘一花团锦簇的折枝桃花斜入画面。笔法轻快疏秀，设色淡雅清丽，充分体现了以没骨法点染物象的独特魅力，不仅表现出花之媚，叶之柔，同时表现出春光下桃花含烟带雾、“习习香熏薄薄烟”的诗意。",[23,24,7,165,3291,60,27,209,582,549],"花鸟画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd26c1e63df902ca04500cd59486069.jpg","纵133厘米，横55.5厘米",[68],384,{"id":3297,"slug":3298,"title":3299,"dynasty":124,"author":204,"museum":450,"description":3300,"tags":3301,"thumbUrl":3302,"material":173,"size":84,"collection":44,"collections":3303,"showCount":3295,"zanCount":11,"manualWeight":48,"mainColor":49},219568,"yan-le-tu-chou-ying-219568","宴乐图","仇实父画楼观人物，大都远宗顾陆，近接鸥波，此卷用意精深，造景超妙，又得之天真，使我敛手敬服，当以瓣香赠之。今为石川银台所藏，深得其主，后世未尝不与顾陆并传也。嘉靖丁亥（1527年）二月，徵明识。",[23,24,7,25,28,27,95,96,97,34,131,101,130,247,211,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb093140a79abe931a475190696310633.jpg",[44,45],{"id":3305,"slug":3306,"title":3307,"dynasty":18,"author":3308,"museum":244,"description":3309,"tags":3310,"thumbUrl":3311,"material":317,"size":3312,"collection":318,"collections":3313,"showCount":3295,"zanCount":1105,"manualWeight":48,"mainColor":72},214341,"shu-qi-yan-lv-shi-tie-zhao-gou-214341","书七言律诗帖","赵构","释文：暮春三月巫峡长，皛皛行云浮日光。雷声忽送千峰雨， 花气浑如百和香。黄莺过水翻回去，燕子衔泥湿不妨。飞阁卷帘图画里，虚无只少对潇湘。赐亿年。宋高宗早年书法黄山谷，后改习二王，是幅字体均匀，结构图活，章法疏朗，乃高宗本色书法，原书后方有赵吴兴补图，惜为后人剪去。宋朝书家，崇尚意趣，往往轻率下笔，任意著墨，将晋唐端严书风大肆更变，有识之士有鉴于此，纷纷改弦易辙，回归传统，高宗亦是其中之功臣也。",[23,64,133,208,128,7,59,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6641a026cecbe41cd716299031cc973.jpg","27.1x48.7",[318],{"id":3315,"slug":3316,"title":3317,"dynasty":124,"author":3318,"museum":56,"description":3319,"tags":3320,"thumbUrl":3321,"material":173,"size":3322,"collection":68,"collections":3323,"showCount":3324,"zanCount":975,"manualWeight":48,"mainColor":72},218891,"bi-ye-xiu-yu-tu-zhou-wen-chu-218891","碧叶绣羽图轴","文俶","文俶（1594-1634），字端容，文徵明孙文从简之女，丈夫是其父的弟子赵灵均。天性明慧，善绘花鸟虫草，鲜妍生动。\n是图署款“辛未小春天水赵氏文俶画。”为崇祯四年（1631）作者37岁时的作品。",[164,24,7,165,28,27,61,355,547,549,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7ef736a39cccb63352eef972c85eb35.jpg","纵78.5厘米，横49.5厘米",[68],381,{"id":3326,"slug":3327,"title":3328,"dynasty":124,"author":3329,"museum":3330,"description":3331,"tags":3332,"thumbUrl":3335,"material":173,"size":84,"collection":68,"collections":3336,"showCount":3337,"zanCount":1116,"manualWeight":48,"mainColor":49},219280,"feng-huang-mu-dan-tu-sun-yi-219280","凤凰牡丹图","孙忆","九州国立博物馆","凤凰顾盼生姿，翎羽层叠如锦缎铺展，青绿冠羽衬得朱喙明艳，蓝红翅羽与尾羽眼斑流转虹光，每缕纹理皆细腻入毫。牡丹雍容吐蕊，白瓣胜雪、红瓣似霞，枝叶缠络间缀细碎白花，与凤凰相映成趣。古雅绢本色调晕染出静谧祥瑞，工笔线条精准流畅，设色浓淡相宜，华贵中透着清雅。整幅画将凤凰的祥瑞之气与牡丹的富贵之姿融于一体，尽显盛世花鸟的雍容气象，笔墨间藏着对美好生活的祈愿，是工笔花鸟里兼具艺术性与寓意的佳作。",[24,7,28,27,61,3333,263,62,3334],"凤凰","翎毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8785c401d091b29709625d8b0cf4c0e9.jpg",[68],379,{"id":3339,"slug":3340,"title":3341,"dynasty":124,"author":204,"museum":77,"description":3342,"tags":3343,"thumbUrl":3345,"material":173,"size":3346,"collection":44,"collections":3347,"showCount":3348,"zanCount":11,"manualWeight":48,"mainColor":49},216111,"tang-ren-shi-yi-tu-ce-chou-ying-216111","唐人诗意图册","图绘四季时节帝王出游及行宫游乐题材，按图意依次为：“早朝入宫”、“卤簿云楼”、“帝王眺瞩”、“龙舟登阙”、“帝王览胜”、“云楼旌旗”、“御道行辇”、“端楼迎春”、“登楼望峰”、“青山云楼”、“楼船泛舟”、“帝王筵宴”、“龙舟竞渡”、“天子驾六”、“城堞赏春”、“琼殿迎新”。最后一图末尾有“仇英实父堇制”文字题款，每幅均有印章或一枚，或二枚，三枚不等。对幅有许初（公元16世纪）楷书题初唐应制诗三十二首，笔法出于颜柳之间，与绘画相得益彰，并篆书题引首“初唐应制”。册后有许初、文从简（1574 -1648）、许乃普（1787-1866）三人题跋。\n此册迭经明·王一鹏（生卒不详）、明·顾凝远（1580 -1645后）、清·何溥（19世纪）、清·李恩庆（?-1864）、清·许乃普（1787-1866）等人递藏。著录、出版先后见李佐贤《书画鉴影》卷十四， 1936年原田谨次郎编著的《中国名画宝鉴·明》与1985年艺术图书公司出版的《吴门画派》一书。全册格度严谨，精工巧丽之极，设色、山石、林木、人物，“资唐宋名家之长而浑合之”，种种臻妙，既有宋院体画的写实笔墨基础，又有文人画清雅脱俗的情怀气质。所用材质极为讲究，绢丝织造细密匀净，几近宫中“贡绢”，故本册具有极高的历史和艺术价值。书画鉴定大师徐邦达先生评仇英作品：“真笔不论粗细，无不具有文秀之致”。是品鉴本册绘画面貌的真实写照。",[23,24,7,59,28,27,95,26,29,96,97,130,99,129,98,211,331,3344,231,690,166,171],"夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b854ba2273f162517cfa4e4c6012e5.jpg","每开纵24厘米，横27厘米",[44],376,{"id":3350,"slug":3351,"title":3352,"dynasty":18,"author":3353,"museum":244,"description":3354,"tags":3355,"thumbUrl":3357,"material":173,"size":3358,"collection":42,"collections":3359,"showCount":3360,"zanCount":975,"manualWeight":48,"mainColor":72},219198,"ying-tao-huang-que-tu-ma-shi-chang-219198","樱桃黄雀图","马世昌","画中樱桃正熟，禽鸟顾盼，一派初夏光景。",[23,164,24,7,59,28,27,61,701,3356,211,624],"黄雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce24ced8f0f9757eb0cf1f98628ecd12.jpg","27x25.3cm",[42,68],375,{"id":3362,"slug":3363,"title":3364,"dynasty":124,"author":223,"museum":450,"description":3365,"tags":3366,"thumbUrl":3367,"material":66,"size":84,"collection":136,"collections":3368,"showCount":3360,"zanCount":1116,"manualWeight":48,"mainColor":72},217954,"ming-ren-shan-shui-hua-ce-yi-ming-217954","明人山水画册","明朝是中国历史上一个重要的朝代，它的艺术创作也十分丰富多彩。其中，佚名的《明人山水画册》是一部非常著名的山水画集，被认为是明朝山水画发展的里程碑之一。\n\n《明人山水画册》收录了许多佚名画家的作品，这些画家均擅长运用山水画的技巧，描绘出了美丽的山水景观。这些画作以其精细的线条和细腻的色彩闻名，能够表现出山水的神韵和灵动。\n此外，《明人山水画册》还收录了一些诗文，这些诗文与画作形成了很好的呼应。这使得这部画册不仅是一部艺术作品，而且是一部文学作品。\n\n总的来说，《明人山水画册》是一部十分珍贵的艺术作品，它为我们展示了明朝山水画的高超技巧和精湛工艺，同时也为我们呈现了明朝文化的瑰丽风貌。",[23,24,7,128,27,59,29,129,211,331,171,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0798af0135642660cfeaaa1dabecdcc.jpg",[136],{"id":3370,"slug":3371,"title":3372,"dynasty":124,"author":3373,"museum":77,"description":3374,"tags":3375,"thumbUrl":3376,"material":66,"size":3377,"collection":68,"collections":3378,"showCount":3360,"zanCount":1116,"manualWeight":48,"mainColor":3379},216264,"ming-za-hua-ce-wang-zhong-216264","明杂画册","汪中","汪中指的是汪建中（1501-1593年），他是明朝时期的一位著名画家。明杂画册是指他绘制的一组绘画作品集，通常指其中一部名为《汪中杂画册》的作品。《汪中杂画册》是一部非常著名的画册，由汪建中在明朝末期绘制而成。它共有24册，收录了许多他的绘画作品，包括花卉、山水、虫鸟、人物等。这些作品都非常精美，被认为是中国画史上的杰作。《汪中杂画册》目前被认为是中国明朝时期最重要的画册之一，并被认为是中国画史上的经典之作。",[24,7,59,28,27,61,167,169,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F334fee082046ab9e1386c51d5de90a35.jpg","30x27cm",[68],"FDD835",{"id":3381,"slug":3382,"title":3383,"dynasty":54,"author":1460,"museum":300,"description":3384,"tags":3385,"thumbUrl":3388,"material":84,"size":84,"collection":136,"collections":3389,"showCount":3390,"zanCount":1086,"manualWeight":48,"mainColor":72},224509,"shan-shui-tu-ce-8-kai-shi-tao-224509","山水图册8开","此作以淡墨晕染江波，留白铺就浩渺水色，似将朝雾笼于纸面。近岸以枯笔皴擦岩壁，赭石敷色晕出沙汀暖意，苔点错落点缀野趣。两间山居素净朴拙，静立崖边，与斜渡的赭帆渔舟相映成趣，暗合江天悠悠的闲逸氛围。\n\n笔致松秀灵动，虚实相生，将阔远山水缩于尺幅之间，题诗与画境相融，尽抒寄情丘壑的隐逸襟怀，淡远清和的意绪漫溢纸面。",[23,24,7,59,128,27,132,29,129,3386,3387,131,34,414,208],"帆船","小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40fd268d38073e0d113ca5d35047fc17.jpg",[136,45],374,{"id":3392,"slug":3393,"title":3394,"dynasty":18,"author":768,"museum":2068,"description":3395,"tags":3396,"thumbUrl":3397,"material":611,"size":3398,"collection":42,"collections":3399,"showCount":3390,"zanCount":1998,"manualWeight":48,"mainColor":49},221458,"wu-long-tu-juan-chen-rong-221458","五龙图卷","理宗端平二年（1235）进士，知平阳县。时与名士论文讲艺，敷绎大义，士习以兴。曾为国子监主簿、福建莆田太守，官至朝散大夫。诗文豪壮，暇则游翰墨，善画龙，宝佑（1253-1258）间名重一时。画龙善用水墨，深得变化之意，泼墨成云，噀水成雾。特别是醉余大叫，脱巾濡墨信手涂抹，然后以笔成之，或全体，或一臂一首，隐约而不可名状者，皆得妙似。贾似道尝招致宾幕，醉辄狎侮之，贾不为忤。兼写松竹，学李煜“铁钩锁”法。晚年笔力简易精妙，绛色者可并董羽。偶亦画虎，勾染斑毛极工细。有赝本托以流传。现存美国波士顿博物馆之《九龙图》卷，恐是元人摹本。\n陈容于中国美术史上占有重要一席，“所翁龙”成为后人画龙的典范，倍受国人特别是明清以来画家们的追捧。甚至在日本，几百年来凡有龙图案的画亦绝大部分是仿效陈容。日本著名画家小泉淳作曾由衷地评价道：陈容的龙富有魅力，像真的一样活泼跳动，只有天才才会画出这样的画！\n顺便说一下，陈容不仅擅画龙，还擅长画松、竹、鹤，偶亦画虎，垂老笔力简易精妙，故世有‘所翁龙’、‘所翁鹤’和‘所翁竹’之称。在当时，达官显贵、文人骚客以能得到“所翁龙”而倍感荣幸。以玩弄权术、巧取豪夺而著称的奸臣宰相贾似道，一世搜刮金银珠宝、珍奇古玩无数，然他至死也未能讨到一幅“所翁龙”。",[23,164,24,7,25,128,132,772,131,495,37,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b9fcadd53a3ef596d12b6f0dd8824f3.jpg","45.2×299.5",[42,136,117],{"id":3401,"slug":3402,"title":604,"dynasty":54,"author":3403,"museum":300,"description":3404,"tags":3405,"thumbUrl":3406,"material":734,"size":3407,"collection":68,"collections":3408,"showCount":3409,"zanCount":1998,"manualWeight":48,"mainColor":72},224230,"ju-hua-wu-chang-shuo-224230","吴昌硕","吴昌硕所作之菊，线条凝练遒劲，刚柔并济；墨色浓淡相间，不落俗格。并伴以山岩、野石、溪水，或插入孤高细瘦的古瓶，皆与秋菊幽独淡雅、冷逸傲世的情态相映成趣。",[23,24,7,165,128,27,61,604,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e716d104f298492c68ba5d730a09c32.jpg","235*50cm",[68,45],373,{"id":3411,"slug":3412,"title":3413,"dynasty":124,"author":1642,"museum":146,"description":3414,"tags":3415,"thumbUrl":3417,"material":514,"size":3418,"collection":136,"collections":3419,"showCount":3420,"zanCount":1998,"manualWeight":48,"mainColor":49},222032,"chun-geng-tu-zhou-dai-jin-222032","春耕图轴","这幅气度恢宏的作品取法两宋郭熙、李唐诸辈，笔法苍润，风格遒劲。形则春耕，实为寄寓淡淡哀愁与希望。其心志高远，胸怀宽壑，借春耕这一生活化的语言表达对社稷繁荣安定的渴望。画中一旁孤独思忖的老者，面对湍湍逝去的溪水，显出无奈寂寞的神情，俨然作者自身的写照。\n不知桥上玩耍的孩童，能否传承老者衣钵，以慰心志！ 此图由钱镜塘先生捐赠，该画上堂为沪上鉴定大家吴湖帆先生题鉴，下有钱镜塘先生亲笔跋文。",[23,24,7,165,29,96,102,98,99,413,132,27,3416],"春耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80401d4a9b5750d8677ebf9efd74019.jpg","144.2×105.1cm",[136,45],371,{"id":3422,"slug":3423,"title":3424,"dynasty":124,"author":2268,"museum":20,"description":3425,"tags":3426,"thumbUrl":3429,"material":3430,"size":3431,"collection":136,"collections":3432,"showCount":3420,"zanCount":48,"manualWeight":48,"mainColor":72},220902,"shan-shui-ce-2-dong-qi-chang-220902","山水册2","此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[23,164,24,7,1349,132,27,128,2132,29,1144,131,31,102,34,415,3427,499,3428,37,1955],"近树","坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1d5fcdccb54e4ad4c6519be4ed88cbc.jpg","纸本，水墨和设色","每开纵26.3厘米，横25.5厘米。",[136,45],{"id":3434,"slug":3435,"title":3436,"dynasty":54,"author":3437,"museum":244,"description":3438,"tags":3439,"thumbUrl":3441,"material":173,"size":3442,"collection":136,"collections":3443,"showCount":3420,"zanCount":1998,"manualWeight":48,"mainColor":72},214285,"fang-fan-kuan-shan-shui-tu-tang-dai-214285","仿范宽山水图","唐岱","唐岱（1779-1853）是清代著名的画家，他擅长仿范宽山水画，其作品被视为中国画史上的杰出代表作。\n\n唐岱的画风受到范宽的影响，他追求写实，注重山水造型的和谐美。他在画山水的同时，还注重人物的写实，将人物融入山水之中，使作品更加生动。\n\n唐岱的代表作有《山水图》、《松鹤楼图》、《赏鸟图》等。这些作品展现了他对山水的深刻理解和传统山水画的精湛技艺。他的作品常常被收藏家所喜爱，具有很高的收藏价值。",[164,24,7,165,27,29,132,330,208,30,37,34,1144,497,3440,496,38],"亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3962d8e255212dd550a88ad89458204f.jpg","287.2x155.2",[136],{"id":3445,"slug":3446,"title":3447,"dynasty":54,"author":3448,"museum":20,"description":3449,"tags":3450,"thumbUrl":3452,"material":734,"size":3453,"collection":68,"collections":3454,"showCount":3455,"zanCount":11,"manualWeight":48,"mainColor":72},236307,"pu-tang-qiu-yan-zhou-yun-bing-236307","蒲塘秋艳轴","恽冰","荷，是南方最常见的水生植物，以历代文人墨客吟之以诗，形之以画。作者以写实的手法，成功地刻画了蒲塘秋日的丽景：碧水之上萍藻点点，绿荷盈盈。\n荷花在荷叶的衬托下，以含苞、初绽、怒放的三种生命形态展示着自然美。整幅运用仿恽南田笔意的没骨法，萍藻以色彩直接点就，显现出灵秀生动的物性。荷花以粉红色点染花尖，旋即以清水迅速晕开，色阶层次丰富，色调深浅过度自然，真实地展现出花瓣清淡雅丽之美以及荷花“出淤泥而不染，濯清涟而不妖”的内在神韵。\n恽冰，字清於，号浩如，别号兰陵女史，亦署南兰女子；卒年不详，武进（今江苏常州）人。清代乾隆、嘉庆、道光年间深得家传的一位女画家，诸生恽钟隆次女，恽南田族玄孙女。善花果，芊绵蕴藉，用粉精纯，作已辄题小诗，名著吴中。乾隆初，江苏巡抚君继善以恽冰画进呈孝圣太后，乾隆帝题诗嘉奖。",[24,7,165,28,27,61,168,81,82,841,3451],"水生植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9622bb894e71ccc81a2bebb607fb57db.jpg","纵126.41cm 横56.4cm",[68,45],368,{"id":3457,"slug":3458,"title":3459,"dynasty":18,"author":92,"museum":300,"description":3460,"tags":3461,"thumbUrl":3463,"material":84,"size":84,"collection":84,"collections":3464,"showCount":3455,"zanCount":1086,"manualWeight":48,"mainColor":49},227585,"qing-ming-shang-he-tu-quan-juan-te-zhan-zhang-ze-duan-227585","清明上河图全卷(特展)","丝织长卷《清明上河图》，创下多项“吉尼斯”世界纪录的世界第一丝织长卷《清明上河图》，采用当今世界最先进的工艺技术特制而成，全图由2。\n88亿经纬组织点构成，以真丝纤维织就，气势宏大，制作精良。\n此卷长约1.28米，宽约25厘米，与宋代名画家张择端《清明上河图》原作的比例为1：1，现已被 等多家国家博物馆展藏，创造了多项“吉尼斯”世界纪录，具有独特的艺术魅力和收藏价值。\n创下多项“吉尼斯”世界纪录的世界第一丝织长卷《清明上河图》，采用当今世界最先进的工艺技术特制而成，全图由2。\n88亿经纬组织点构成，以真丝纤维织就，气势宏大，制作精良。\n此卷长约1.28米，宽约25厘米，与宋代名画家张择端《清明上河图》原作的比例为1：1，现已被 等多家国家博物馆展藏，创造了多项“吉尼斯”世界纪录，具有独特的艺术魅力和收藏价值。",[23,24,7,25,95,28,188,96,97,98,99,100,101,102,34,103,1744,106,3462,31,35,107,109],"轿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5edb1b2ed4d4bbbdb910d8c0180382a.jpg",[],{"id":3466,"slug":3467,"title":3468,"dynasty":144,"author":3469,"museum":450,"description":3470,"tags":3471,"thumbUrl":3472,"material":514,"size":3473,"collection":68,"collections":3474,"showCount":3455,"zanCount":975,"manualWeight":48,"mainColor":72},221855,"qian-kun-sheng-yi-tu-juan-xie-chu-fang-221855","乾坤生意图卷","谢楚芳","此《乾坤生意图》卷由元代谢楚芳绘。画卷内容主题为动物和昆虫捕食：画面中各类花草盛开，一只蟾蜍埋伏等待着正在肢解蝴蝶的蚂蚁，一只蜻蜓袭击蜥蜴捕获的一只小昆虫，以及螳螂捕蝉等六部分，每组画面看似生机勃勃，实则是动物为生存而绞杀捕猎场景。此卷现藏于大英博物馆。\n这幅精致而珍贵的工笔画是大英博物馆于 1998 年在国家艺术收藏品基金会和布鲁克史威尔永久基金的赞助下花巨资收购的，在丝质封套内有一枚英国人威廉巴特勒 ( Williambutler) 的入藏章，章上的日期标明为 1797 年，是目前所知英国人最早收藏的中国画，曾被大英博物馆列为 “最珍贵的十种馆藏中国文物之一，在英国的中国文物收藏史上占有特殊的地位。",[23,24,7,25,27,28,61,167,481,608,62,480,230,64,133,938],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e1c56124fe25c7b1d901efbb1fb8345.jpg","27.8x352.9cm",[68,45],{"id":3476,"slug":3477,"title":3478,"dynasty":144,"author":287,"museum":20,"description":3479,"tags":3480,"thumbUrl":3481,"material":734,"size":3482,"collection":136,"collections":3483,"showCount":3455,"zanCount":1014,"manualWeight":48,"mainColor":49},221710,"shan-ju-tu-qian-xuan-221710","山居图","卷尾作者自题：“山居惟爱静，日午掩柴门。寡合人多忌，无求道自尊。鷃鹏俱有志，兰艾不同根。安得蒙庄叟，相逢与细论。吴兴钱选舜举画并题。”钤“舜举印章”、“舜举”、“钱选之印”三方。卷后隔水有明人俞贞木、刘敏、周传等题记。\n作者以自己的隐居生活为题材创作此图。细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。\n《庚子销夏记》著录。",[23,164,24,7,25,26,27,28,132,64,208,29,663,228,413,1144,98,99,35,129,171,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb59edde58b928401f4e8dc20a01a633c.jpg","纵26.5厘米，横111.6厘米",[136,45],{"id":3485,"slug":3486,"title":3487,"dynasty":54,"author":223,"museum":450,"description":3488,"tags":3489,"thumbUrl":3491,"material":173,"size":84,"collection":44,"collections":3492,"showCount":3493,"zanCount":48,"manualWeight":48,"mainColor":49},219541,"luo-shen-tu-yi-ming-219541","洛神图","洛神凌波徐行，素色罗裙晕着浅蓝镶边，飘带随水波漾动缱绻，将乘虚而行的柔婉轻盈尽数勾勒。她手持灵草，眉含轻愁、眼波低垂，清冷眉目间带着神女独有的幽怨缱绻。暗沉底色衬出人物素洁清丽，线条秀雅工细，设色简淡古雅，将洛神出尘仙姿与脉脉情思揉入笔底，把缥缈神女的古典美感定格于绢素之上，尽显传统仕女画的含蓄温婉意韵。",[23,164,24,7,27,28,96,166,190,3490],"传统服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93171803f70c792a8db19d4ca0123d4b.jpg",[44],367,{"id":3495,"slug":3496,"title":3497,"dynasty":351,"author":1610,"museum":224,"description":3498,"tags":3499,"thumbUrl":3500,"material":151,"size":3501,"collection":136,"collections":3502,"showCount":3503,"zanCount":1998,"manualWeight":48,"mainColor":49},221159,"xi-an-tu-dong-yuan-221159","溪岸图","《溪岸图》描绘江南溪岸景象，上半部左右相对两座山峰，两峰之中远山隐现，两山夹壑中一条山溪自远而近，至山前汇成大溪。溪岸左有楼台水榭，水榭中有幽人雅士正观望溪景。左面山中亦有泉瀑飞注入大溪，画的最下方溪岸坡冈上杂树耸立。中景、远景山峦上丛林茂密，草木葱茏。\n《溪岸图》构图雄伟，笔法严谨，兼具北方派的气度和南方派的温润，是董源从唐人山水过渡到南方水墨山水阶段的作品。",[23,24,7,29,132,1613,128,27,497,34,99,495,130,415,3427,499,496,38,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdee3a8ea2ec5b0766e929d242272f70a.jpg","纵220.3厘米，横109.2厘米",[136,117],366,{"id":3505,"slug":3506,"title":3507,"dynasty":182,"author":3508,"museum":20,"description":3509,"tags":3510,"thumbUrl":3511,"material":734,"size":3512,"collection":84,"collections":3513,"showCount":3514,"zanCount":738,"manualWeight":48,"mainColor":199},232938,"wu-niu-tu-juan-han-huang-232938","五牛图卷","韩滉","本图无作者款印，本幅及尾纸上有赵孟頫、孙弘、项元汴、弘历、金农等十四家题记。\n《五牛图》是目前所见最早作于纸上的绘画，纸质为麻料，具有唐代纸张的特点。图画五牛，形象不一，姿态各异，或行或立，或俯首，或昂头，动态十足。其中一牛完全画成正面，视角独特，显示出作者高超的造型能力。作者以简洁的线条勾勒出牛的骨骼转折，筋肉缠裹，笔法老练流畅，线条富有力度和精确的艺术表现力。牛头部与口鼻处的根根细毛，更是笔笔入微。每头牛皆目光炯炯，作者通过对眼神的着力刻画，将牛既温顺又倔强的性格表现得极为传神。作品完全以牛为表现对象，无背景衬托，造型准确生动，设色清淡古朴，浓淡渲染有别，画面层次丰富，达到了形神兼备之境界。以牛入画是中国古代绘画的传统题材之一，体现了农业古国以农为本的主导思想。韩滉任职宰相期间，注重农业发展，此图可能含有鼓励农耕的意义。《五牛图》是其作品的传世孤本，也是为数寥寥的几件唐代纸绢绘画真迹之一，因此不论其艺术成就还是历史价值都备受世人关注。",[24,7,25,27,28,102,949,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51331287195c83fe7996d6c65918e66c.jpg","纵20.8厘米，横139.8厘米",[],364,{"id":3516,"slug":3517,"title":861,"dynasty":18,"author":397,"museum":300,"description":3518,"tags":3519,"thumbUrl":3522,"material":692,"size":1293,"collection":84,"collections":3523,"showCount":3524,"zanCount":975,"manualWeight":48,"mainColor":49},288330,"rui-he-tu-zhao-ji-288330","描绘了鹤群盘旋于宫殿之上的壮观景象，绘画技法精妙，图中群鹤如云似雾，姿态百变，各具特色。",[23,164,24,7,25,27,28,211,853,97,189,906,572,3520,64,3521],"瘦金体","祥瑞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78a2bced096b89031018940195e15452.jpg",[],362,{"id":3526,"slug":3527,"title":3528,"dynasty":182,"author":3529,"museum":244,"description":3530,"tags":3531,"thumbUrl":3532,"material":253,"size":3533,"collection":44,"collections":3534,"showCount":3524,"zanCount":11,"manualWeight":48,"mainColor":49},221075,"mu-ma-tu-han-gan-221075","牧马图","韩干","描画了一位虬须戴巾、腰插马鞭的奚官准备出外放牧的情景。主题明瞭，情节简单，图中黑白双马，奚官虬髻戴头巾，手执缰缓行。此图线条纤细遒劲，勾出马的健壮体形，黑马身配朱地花纹锦鞍，更示出其神彩；人物衣纹疏密有致，结构严谨，用笔沉着，神采生动。",[23,24,164,7,28,27,96,101,949,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8144ec5912ae9e8da1db7870cd9b68a.jpg","纵27.5cm，横34.1cm",[44,117],{"id":3536,"slug":3537,"title":3538,"dynasty":980,"author":3539,"museum":3540,"description":3541,"tags":3542,"thumbUrl":3543,"material":3544,"size":84,"collection":84,"collections":3545,"showCount":3524,"zanCount":1998,"manualWeight":48,"mainColor":72},220527,"li-ma-li-zhou-xu-bei-hong-220527","立马 (立轴)","徐悲鸿","中央美术学院美术馆","此作以水墨写意勾勒骏马，笔力雄健遒劲。浓墨重绘鬃尾，似随风张扬，将骏马桀骜意气尽数铺展；淡墨晕染躯干，干湿浓淡间晕出皮毛的柔润光泽，筋骨起伏暗藏于晕染之中，肌肉的张力呼之欲出。\n骏马昂首伫立，双耳尖竖，目光远眺，静立间自带着即将驰骋的勃发之势，把骐骥的雄骏英武神态刻画得入木三分。画家以形写神，将胸中激荡的意气托于骏马，寥寥数笔便将写实造型与水墨意趣相融，尽显写意之精妙。",[23,24,7,165,128,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F292911d57410c905d2fb580f3804218d.jpg","纸本水墨",[],{"id":3547,"slug":3548,"title":3549,"dynasty":54,"author":3448,"museum":20,"description":3550,"tags":3551,"thumbUrl":3552,"material":611,"size":84,"collection":68,"collections":3553,"showCount":3554,"zanCount":975,"manualWeight":48,"mainColor":72},236979,"zi-teng-yue-ji-zhou-yun-bing-236979","紫藤月季轴","恽冰，清代乾隆、嘉庆、道光年间深得家传的一位女画家，生卒年不详。字清於，号浩如，别号兰陵女史，亦署南兰女子。武进（今江苏常州）人。诸生恽钟隆次女，恽南田族玄孙女。善花果，芊绵蕴藉，用粉精纯，作已辄题小诗，名著吴中。乾隆初，江苏巡抚君继善以恽冰画进呈孝圣太后，乾隆帝题诗嘉奖。",[24,7,165,27,28,61,80,603,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F374a2ed75db25d5c170942d267887b07.jpg",[68],360,{"id":3556,"slug":3557,"title":3558,"dynasty":124,"author":3559,"museum":56,"description":3560,"tags":3561,"thumbUrl":3562,"material":173,"size":84,"collection":44,"collections":3563,"showCount":3554,"zanCount":430,"manualWeight":48,"mainColor":49},218253,"shi-nv-juan-du-jin-218253","仕女卷","杜堇","长卷铺展间，亭台花木错落，数十位仕女于其间各展风姿。她们衣袂翩跹，眉目温婉，或倚栏低语，或临案抚琴，或捧卷凝思，或嬉戏于阶前竹下。笔墨细腻处，衣纹流转如行云，发饰精巧似蝶落；设色淡雅间，朱红轻点裙裾，墨绿晕染枝叶，层次隐现。庭院深深，竹影婆娑，山石静立，将闺阁的闲适与雅致悄然收纳。人物互动自然生动，仿佛能听见轻声笑语，嗅到草木清芬。整幅作品以流畅线条勾勒温婉神韵，用舒缓节奏铺陈宁静时光，尽显古代仕女生活的诗意与从容。",[23,24,7,25,28,27,96,166,97,247,249,1200,34,131,251,1367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfa7f600640a884b3f3a55ef2144af81.jpg",[44],{"id":3565,"slug":3566,"title":3567,"dynasty":54,"author":675,"museum":224,"description":3568,"tags":3569,"thumbUrl":3570,"material":66,"size":679,"collection":84,"collections":3571,"showCount":3554,"zanCount":11,"manualWeight":48,"mainColor":72},216256,"jing-fu-si-qi-dong-jing-tu-4-qian-wei-cheng-216256","景敷四气冬景图-4","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n女史观星兆自嘉，净香竞体足风华。故应俯视黄金盏，只号人间醒酒花。钤印：水月两澂明",[24,7,164,59,27,28,61,374,62,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eafcb674b80771b89f70439ef4ed54a.jpg",[],{"id":3573,"slug":3574,"title":3575,"dynasty":124,"author":125,"museum":1941,"description":3576,"tags":3577,"thumbUrl":3578,"material":173,"size":3579,"collection":136,"collections":3580,"showCount":3581,"zanCount":1998,"manualWeight":48,"mainColor":49},219436,"chun-xi-mi-ju-tu-shen-zhou-219436","春溪觅句图","画面中山峰巍峨，峭壁如削，墨色皴染间尽显苍劲之势。松枝虬劲，枝叶繁茂，与嶙峋山石相映成趣。近景处，文人拄杖而立，衣袂飘飘，似于春溪之畔凝思觅句。山间云雾轻笼，流水潺潺，松涛与泉声相和，营造出清幽雅致的意境。笔墨苍润浑厚，线条灵动，将自然之美与文人的诗意情怀融为一体，尽显吴门画派的雅致风骨，观者仿佛能随画中人步入山林，感受那份远离尘嚣的宁静与悠然。",[24,7,165,128,132,29,96,1144,276,131,499,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa57fb947c644f27d6774a57fced47050.jpg","横54.5纵162cm",[136],359,{"id":3583,"slug":3584,"title":181,"dynasty":182,"author":183,"museum":300,"description":3585,"tags":3586,"thumbUrl":3589,"material":692,"size":1293,"collection":84,"collections":3590,"showCount":3591,"zanCount":1086,"manualWeight":48,"mainColor":72},230784,"ba-shi-qi-shen-xian-juan-wu-dao-zi-230784","图中以道教故事为题材，描绘了以东华帝君、南极帝君、扶桑大帝为主的八十七位列队行进的神仙，画面纯以线条表现出八十七位神仙出行的宏大场景，形神刻画细致入微。画面笔墨遒劲洒脱，根根线条都表现了无限的生命力，如行云流水，充满韵律感，代表了中国唐代白描绘画的最高水平。",[23,24,7,25,188,96,187,190,1975,191,3587,1367,192,3588],"发髻","法器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc1df0381ac5212e317d74c385d5f6fe.jpg",[],358,{"id":3593,"slug":3594,"title":3595,"dynasty":18,"author":3596,"museum":244,"description":3597,"tags":3598,"thumbUrl":3601,"material":253,"size":3602,"collection":42,"collections":3603,"showCount":3591,"zanCount":975,"manualWeight":48,"mainColor":49},221443,"shuang-xi-tu-zhou-cui-bai-221443","双喜图轴","崔白","作品描绘出深秋时节，寒风萧瑟，枯木衰草，落叶调零，呈现出一派秋风肃杀的冷峭凄凉景象。整幅画面当中两只灰喜鹊之间，灰喜鹊与野兔之间，鸟、兽与自然环境之间，刻画的生动自然，情景交融，充分的表现出它们之间相互呼应的关系。\n画中各物在作者的笔下蠢蠢欲动，大得自然野趣",[23,24,164,7,165,28,27,61,949,3599,211,1337,1771,3600],"兔","土坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb964503850a97e641885f534281620c1.jpg","纵193.7厘米、横103.4厘米",[42,68,45],{"id":3605,"slug":3606,"title":3607,"dynasty":124,"author":3608,"museum":524,"description":3609,"tags":3610,"thumbUrl":3611,"material":1223,"size":3612,"collection":68,"collections":3613,"showCount":3614,"zanCount":1998,"manualWeight":48,"mainColor":72},222369,"mu-dan-tu-zhou-lu-zhi-222369","牡丹图轴","陆治","画卷绘折枝牡丹二枝，枝头各自开放花朵，棕色在前，金色略被遮挡，花朵硕大饱满，花瓣层层叠叠，中间配以鹅黄花蕊。技法上，花朵以墨晕染，再以鹅黄点缀花蕊，绿叶细笔深绿构绘叶脉，后以淡绿晕染，清新脱俗。\n陆治，字叔平，明代画家。因居包山，自号包山。善行、楷，尤通绘事，点染花鸟竹石清新自然，山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格。",[23,24,7,165,27,28,263,624,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd605f4b1d772948191c493247cd631c3.jpg","31.7x102.8厘米",[68,45],354,{"id":3616,"slug":3617,"title":3618,"dynasty":124,"author":3619,"museum":20,"description":3620,"tags":3621,"thumbUrl":3622,"material":1722,"size":3623,"collection":117,"collections":3624,"showCount":3625,"zanCount":1086,"manualWeight":48,"mainColor":72},221978,"mo-zhu-tu-wen-zheng-ming-221978","墨竹图","文徴明","本幅绘坡石兰竹、荆棘溪流，无作者款识，钤“悟言室印”、“徵仲”、“徵仲父”、“惟庚寅吾以降”。接纸文徵明自题一段，款署：“徵明題於玉磬山房”。钤“文徵明印”、“衡山”及引首章“停云”。\n图中兰叶、兰花以淡墨描绘，墨色温润，行笔轻盈流利，行转有致。竹子则以浓墨出之，劲健潇洒。对衬景的描写，作者亦颇具匠心，如坡角土石皆以干笔勾画、皴擦，再以荆棘穿插其间，卷尾一段溪流淙淙，都显示出环境的荒率冷寂，从而愈发衬托出兰、竹高雅清芬、不从流俗的品格，突出了传统文人赋予兰竹的人格精神。作者在自题中言道:此图意在师法宋元时期善画兰竹的诸位文人画大师们的画法。观此图，作者直以行草书、“飞白”笔法入画，正是深得赵孟頫“石如飞白木如籀，写竹还于八法通”的艺术理论及创作实践的神髓。在如此鸿篇巨制中，作者尽情浑洒，充分表现出了笔墨的逸趣，是一幅典型的文人画佳作。\n清顾文彬《过云楼书画记》著录。",[23,24,7,165,128,167,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec347ecd188da74ed1c680f3cb0f115.jpg","纵26.8厘米，横730厘米",[117,1670],352,{"id":3627,"slug":3628,"title":3629,"dynasty":124,"author":204,"museum":244,"description":3630,"tags":3631,"thumbUrl":3632,"material":637,"size":3633,"collection":136,"collections":3634,"showCount":3635,"zanCount":975,"manualWeight":48,"mainColor":72},222196,"xian-shan-lou-ge-tu-zhou-chou-ying-222196","仙山楼阁图轴","仇英此图即脱胎于南宋“院体”，又兼容文人画之长，具雅逸之致。\n画面青山白云，翠竹苍松，水阁临流，阁中二人对坐观望山景。特写的景致，劲遒的松枝，坚峭的山石，劲利的用笔，以及小斧劈皴等，都存“院体”遗规。\n而构图左右对称，趋于平衡，突破边角之景；用线细劲而含蓄秀润，少刻露之痕；皴法中夹以类似折带、乱柴皴的短斫，显得随意灵动；墨色轻淡融和，色调明快。\n如杨翰在《扫石轩画谈》中所评：“笔笔皆如铁丝，有起有止，有韵有情，亦多疏散之气，如唐人小楷、令人探索无尽。”\n画面上方楷书为陆师道所提，乃明代官员，师承文徵明，严整恭谨的概述与仇英的画面配合的相得益彰。",[23,24,7,165,95,28,27,29,97,131,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccc6047fc5802e4c930601cc55e6e5e9.jpg","110.5x42.1",[136,45],351,{"id":3637,"slug":3638,"title":1779,"dynasty":1780,"author":1781,"museum":20,"description":3639,"tags":3640,"thumbUrl":3641,"material":151,"size":3642,"collection":318,"collections":3643,"showCount":3644,"zanCount":1105,"manualWeight":48,"mainColor":72},221049,"you-chun-tu-zhan-zi-qian-221049","图中展现了水天相接的情形，上有青山叠翠，湖水融融，也有士人策马山径或驻足湖边，还有美丽的仕女泛舟水上，熏风和煦，水面上微波粼粼，岸上桃杏绽开，绿草如茵。\n画家用青绿重着山水，用泥金描绘山脚，用赭石填染树干，遥摄全景，人物布局得当，开唐代金碧山水之先河，在早期的山水画中非常具有代表性。\n该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。\n画卷首段近处露出倚山俯水一条斜径，路随山传，自到妇人立于竹篱门前才显得宽展。\n山此向上，山限岸侧，树木掩映，通过小桥，又是平坡，布篷游艇，容于其中。\n下端一角，便是坡陀花树，围绕山庄。\n描绘出明媚春光和游人在山水中纵情游乐的神态。\n各种花树点满山野，桃红柳绿，相映成趣。\n中国古代山水画的发展，到了隋代出现了较大的变化，它不再作为人物故事画背景的一部分，而是从前者中分离出来，成为一门独立的画科。\n在此之前，依附于人物故事画的山水画在表现方法上有很大的局限性，按照古人的说法就叫做“人大于山”“水不容泛”，说明在表现自然景物与人物或其他物件的关系上，以及远近、层次等方面部存在着明显的不足，画家还没有找到适宜的艺术表现手法，来描绘壮阔秀丽的山川形貌。\n《游春图》即反映了山水画处于变化发展阶段特点。\n历史上对这幅作品是否出于展子虔之手，仍持有争议。\n有唐中叶说、有疑北宋摹本，张伯驹则保留其为展子虔原作的观点。\n对《游春图》的作者及创作年代提出疑问的代表人物是文学家沈从文。\n早在1947年,他就撰写了《读展子虔》的文章，虽然标题中肯认了《游春图》的作者是展子虔,但文章通篇都是在质疑这一作者归属。\n在文中，他称“半年中有机会前后看过这画八次”，认定展子虔作此画缺乏证据。\n他在文中交待，因为前代关于绘画作品的著录,包括《贞观公私画史》《宣和画谱》等都没有提到展子虔作此作品的事情。\n另外，画中男子的衣着、女人的坐式，都与隋代人的习俗不太相符，还有装裱等种种迹象也与当时情形不合。\n历史资料证实，人们是在元、明朝时才开始认定展子虔作《游春图》的。\n所以，沈从文认为，此画可能不是展子虔所作,也不是隋代作品。另外，也有人根据画中人物头上戴的幞头、建筑部件形制等，论证它并非隋代原作，而是北宋摹本。\n该图以全景方式描绘了广阔的山水场景，图中除描绘了山水树石外，还描绘了白云出岫，杂以楼阁、院落、桥梁、舟揖，并点缀着踏春赏玩的人物车马，展示出一幅杏桃绽开、绿草如茵、水波粼粼，春风荡漾的春日融融之景象。",[23,24,7,25,26,27,29,96,97,98,99,211,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96a9f8ced13bacd0b0f77ddd3245cb51.jpg","纵43厘米，横80.5厘米。",[318],350,{"id":3646,"slug":3647,"title":339,"dynasty":144,"author":145,"museum":244,"description":147,"tags":3648,"thumbUrl":3653,"material":151,"size":343,"collection":136,"collections":3654,"showCount":3655,"zanCount":1116,"manualWeight":48,"mainColor":72},220767,"fu-chun-shan-ju-tu-wu-yong-shi-juan-huang-gong-wang-220767",[23,24,7,25,128,132,29,129,99,34,3649,496,98,3650,1614,171,711,37,3651,3652],"江","渔舟","岸滩","松竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbec3a49bb34d871d2edb2e4c8e3d2c45.jpg",[136,117],349,{"id":3657,"slug":3658,"title":3659,"dynasty":54,"author":3403,"museum":300,"description":3660,"tags":3661,"thumbUrl":3662,"material":84,"size":84,"collection":68,"collections":3663,"showCount":3664,"zanCount":1086,"manualWeight":48,"mainColor":72},236535,"ju-hua-zhou-wu-chang-shuo-236535","菊花轴","吴昌硕（1844—1927年），原名俊，字昌硕，以字行，号苦铁、缶庐等，浙江安吉人。早年习书，中年学画。曾任官府小吏，后以鬻书卖画为生。绘画以写意花卉著称于世，对近现代画坛影响极大。精篆刻，被推为“西泠印社”社长。书法一变前人成法，风格独特，长于摹写石鼓文，并以此擅名于近代书坛。与任伯年、高邕等在沪书画家相友善。著有《缶庐诗存》，后人整理出版其画集多种。",[24,7,165,128,61,604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2ffe773aea11dae9ed7c7699653a8ef.jpg",[68,117],348,{"id":3666,"slug":3667,"title":3668,"dynasty":18,"author":1091,"museum":1941,"description":3669,"tags":3670,"thumbUrl":3671,"material":128,"size":84,"collection":318,"collections":3672,"showCount":3664,"zanCount":1086,"manualWeight":48,"mainColor":49},218610,"mo-zhu-tu-juan-mi-fei-ti-ba-su-shi-218610","墨竹图卷-米芾题跋","墨痕游走间，米芾“刷字”之韵跃然纸上。笔锋如剑戟横空，又似流云舒卷，欹侧相生的结体里，藏着跌宕起伏的节奏。浓墨沉雄如坠石，枯笔筋骨毕露若老树，干湿浓淡交织成流动的韵律。每一字皆为跃动的精灵，或大或小，或疏或密，章法气脉连贯如一气呵成。题跋中既有对苏轼墨竹的叹赏，更融入米芾自身的文人风骨——狂放不失雅致，洒脱暗藏匠心。观之如临溪听涛，酣畅淋漓，尽显宋人文艺的灵动与深邃，堪称书坛不朽之佳作。",[23,164,24,7,25,128,167,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F751deaf605e5b1cdc4090029dc752a6a.jpg",[318],{"id":3674,"slug":3675,"title":3676,"dynasty":54,"author":646,"museum":244,"description":647,"tags":3677,"thumbUrl":3680,"material":66,"size":653,"collection":84,"collections":3681,"showCount":3682,"zanCount":1105,"manualWeight":48,"mainColor":72},219884,"er-shi-si-fan-hua-xin-feng-tu-tu-mi-yu-lian-hua-dong-gao-219884","二十四番花信风图-荼蘼与楝花",[24,7,59,27,28,61,3678,3679,624,208,64],"荼蘼花","楝花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6f51c412db2e14d03f85201b5498c68.jpg",[],347,{"id":3684,"slug":3685,"title":3686,"dynasty":54,"author":1504,"museum":56,"description":2280,"tags":3687,"thumbUrl":3688,"material":637,"size":3689,"collection":68,"collections":3690,"showCount":3691,"zanCount":1116,"manualWeight":48,"mainColor":72},223298,"zhu-shi-tu-2-zheng-ban-qiao-223298","竹石图2",[23,24,7,165,128,167,171,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e983ebb0ad92b6de26b6800638f4370.jpg","纵217.4厘米，横120.6厘米",[68,117],346,{"id":3693,"slug":3694,"title":3695,"dynasty":54,"author":223,"museum":244,"description":3696,"tags":3697,"thumbUrl":3701,"material":173,"size":3702,"collection":136,"collections":3703,"showCount":3691,"zanCount":48,"manualWeight":48,"mainColor":49},218493,"fang-zhao-meng-fu-que-hua-qiu-se-tu-yi-ming-218493","仿赵孟頫鹊华秋色图","平野旷远，秋气澹然。疏林错落于汀渚间，枯藤缀红，苍松凝翠，枝桠横斜藏萧瑟之韵；浅滩细草萋萋，水鸟翩跹，添野趣几分。左畔圆丘如覆，右峰尖峭似锥，淡墨晕染出层峦之态，远岫含烟，空蒙悠远。笔墨承古意，设色雅淡，将秋郊的旷疏与静谧凝于绢素。画面空灵澄澈，无喧嚣之扰，尽显宋元山水的悠然之境，似可闻风过林梢、水鸟轻啼，令人心驰神往。",[23,24,7,164,25,330,27,132,29,34,3698,1824,3699,3700,1337],"平野","孤山","红叶树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76414e091a2fe78c9e55723e023ebb19.jpg","28.7x146cm",[136],{"id":3705,"slug":3706,"title":3707,"dynasty":124,"author":1438,"museum":20,"description":3708,"tags":3709,"thumbUrl":3710,"material":1223,"size":3711,"collection":68,"collections":3712,"showCount":3713,"zanCount":11,"manualWeight":48,"mainColor":72},222552,"mei-hua-shui-xian-tu-zhou-chen-chun-222552","梅花水仙图轴","陈淳，1483年生，1544年逝世（另一种说法是1482—1539），长洲（今江苏苏州）人。字道复，后以字行，更字复甫，号白阳，又号白阳山人。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。在绘画史上，陈淳与徐渭并称为“白阳、青藤”， 陈淳的绘画当属文人隽雅一路的，即“白阳”一派画家。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。\n陈淳中年以后间作山水，技法学米友仁、高克恭，多以江南风景为题材，手法简练，极具文人生活情趣，文徵明曾微笑着说：“吾道复举业师耳，渠书、画自有门径，非吾徒也。”存世作品有《红梨诗画图》《山茶水仙图》《葵石图》《罨画图》等。其子陈括继承父风、擅花卉。\n陈淳绘山水，效法米友仁、高克恭，水墨淋漓，颇得氤氲之气。他的泼墨之功，往往见于画烟云之中。在写意花卉方面，陈淳独得玄门，笔法挥洒自如，富有疏朗轻健的风姿，用墨设色，则如徐沁所谓“浅色淡墨之痕俱化矣！”王世贞在《州续稿》中说：“胜国（元朝）以来，写花卉者无如吾吴郡，而吴郡自沈启南（周）后，无如陈道确，陆叔平（治）”。近代画家如蒲华、吴昌硕、齐白石等，在诗文题书画中，都对陈淳做出了极高的评价。明万历年间即有人曾评价过陈淳在花卉方面的造诣和声誉都超过了文征明，成为继沈周之后的吴门大家。明清以来画家，尤其在花鸟画方面，受他的影响很深。他与徐渭齐名，人称“青藤白阳”。现存的陈淳作品大部分均在博物馆收藏，民间甚少得见。",[23,24,7,165,128,61,371,374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c4232f4f2ae738877a1f8edd9442b7c.jpg","72.8x35",[68,117],345,{"id":3715,"slug":3716,"title":3717,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":3720,"thumbUrl":3721,"material":611,"size":3722,"collection":136,"collections":3723,"showCount":3724,"zanCount":1998,"manualWeight":48,"mainColor":72},220330,"huang-shan-tu-ce-hong-ren-220330","黄山图册","弘仁","《黄山图册》共六十开，装裱成六册，又有题跋一册。可以说是弘仁在黄山纪游写生的最集中展现，在他的每一幅作品上都题写了纪游写生的地名，著名的有天都峰、莲花庵、小心坡、观音岩、一线天、光明顶、白龙潭、慈光寺、文殊院、桃花沟等等。",[23,24,7,59,27,29,372,171,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a28d1fd70bd633868d57292ab972da0.jpg","21.5x18.3厘米",[136],344,{"id":3726,"slug":3727,"title":3728,"dynasty":351,"author":3729,"museum":244,"description":3730,"tags":3731,"thumbUrl":3732,"material":173,"size":3733,"collection":68,"collections":3734,"showCount":3735,"zanCount":1086,"manualWeight":48,"mainColor":49},216758,"zhu-shi-jin-jiu-tu-huang-ju-cai-216758","竹石锦鸠图","黄居寀","古木巨石旁，荆竹丛生，一弯溪水潺湲流过。一群斑鸠悠闲地在此休憩：有的展翅翱翔，有的在树枝上梳理羽毛作日光浴，有的低首翘尾地站在溪旁饮水，有的站在巨石上，摆出鞠躬、鼓颈的姿势，向下方的斑鸠“咕－咕－咕－”地鸣唱示好。\n斑鸠俗称“粉鸟”，因为颈部羽色黑底白点有若珍珠，因此也名为“珠颈斑鸠”或“锦鸠”。斑鸠们平常多栖息在空旷的平野或树林，但因生性机敏，接近相当不易。在这幅作品里，画家以精妙的画笔捕捉这一幕斑鸠群集的画面，至为难得。此外，纵横乖张的古树枝丫、浓淡对比强烈的斑驳巨石、虚渺无际的溪畔，更为这幕自然增添不少奇幻诡谲的气氛。",[23,24,7,61,28,27,167,1314,211,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb10bc776e6b793817d89e43e76fbdf3.jpg","23.6 x 45.7公分",[68],343,{"id":3737,"slug":3738,"title":3739,"dynasty":182,"author":223,"museum":244,"description":3740,"tags":3741,"thumbUrl":3742,"material":173,"size":3743,"collection":44,"collections":3744,"showCount":3745,"zanCount":11,"manualWeight":48,"mainColor":49},223394,"tang-ren-gong-le-tu-zhou-yi-ming-223394","唐人宫乐图轴","图描写後宫嫔妃十人，围坐於一张巨型的方桌四周，有的品茗，也有的在行酒令。中央四人，则负责吹乐助兴。所持用的乐器，自右而左，分别为筚篥、琵琶、古筝与笙。旁立的二名侍女中，还有一人轻敲牙板，为她们打著节拍。从每个人脸上陶醉的表情来推想，席间的乐声理应十分优美，因为连蜷在桌底下的小狗，都未被惊扰到！\n这件作品并没有画家的款印，原本的签题标为「元人宫乐图」。仔细观察画中人物的发式，有的发髻梳向一侧，是为「坠马髻」，有的把发髻向两边梳开，在耳朵旁束成球形的「垂髻」，有的则头戴「花冠」，凡此，都符合唐代女性的装束。另外，绷竹席的长方案、腰子状的月牙几子、饮酒用的羽觞，还有琵琶横持，并以手持拨子的方式来弹奏等，亦在在与晚唐的时尚相侔。所以，现在画名已改定成「唐人宫乐图」画题《韩干呈马图》",[23,164,24,7,165,28,27,96,166,438,439,1634],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb907e859af37c3582daa5bb82bd4794.jpg","48.7x69.5",[44],342,{"id":3747,"slug":3748,"title":3749,"dynasty":54,"author":3750,"museum":56,"description":3751,"tags":3752,"thumbUrl":3753,"material":66,"size":3754,"collection":136,"collections":3755,"showCount":3745,"zanCount":975,"manualWeight":48,"mainColor":72},214612,"shan-shui-san-ye-wang-jian-214612","山水散页","王鉴","王鉴（1598-1677），明末清初画家。字玄照，后改字元照、圆照、元炤，号湘碧，自称染香庵主，江苏太仓人。王世贞孙。与王时敏为子侄行，因年岁相若，互相砥砺。家藏名迹亦相埒。工画山水，受董其昌影响，追踵董源、巨然，多拟仿宋元诸家，善于青绿设色，皴染兼长。风格华润，纤不伤雅，但较平实。当时和王时敏被推为画坛领袖。后人把他与王时敏、王翚、王原祁合称“四王”，加吴历、恽寿平亦称“清六家”。",[24,164,7,27,26,132,29,663,228,413,37,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F879022b3487ec1ad455bfe24af31707a.jpg","纵34.8厘米，横29.9厘米",[136],{"id":3757,"slug":3758,"title":3759,"dynasty":124,"author":125,"museum":300,"description":3760,"tags":3761,"thumbUrl":3762,"material":1223,"size":84,"collection":84,"collections":3763,"showCount":3764,"zanCount":1116,"manualWeight":48,"mainColor":72},234135,"ting-quan-tu-juan-shen-zhou-234135","听泉图卷","明代中期，在苏州地区活跃着一批画家，他们在“浙派”风靡一时之后，继承元末江南地区文人画的传统，创立具有时代气息的文人画新潮流，后世称之为“吴门画派”，沈周是这一画派的创始人。\n\n沈周，长洲(今江苏苏州)相城(近阳澄湖)人。出身于文人世家，祖父澄、伯父贞吉、父恒吉，都未应科举，依靠开垦和租赁田地为生。沈周生活的时代，明王朝的政权已得到巩固，社会趋于稳定，经济处于上升阶段，沈周对于汉族统治的朱明王朝是采取拥护态度的。他一生不应科举，隐身乡里，其实是惮于明初治吏的峻刻和畏惧官场争斗的险恶，所采取的一种韬晦保身的处世方式。沈周以儒家道德规范律己，对父母兄弟尽孝悌之道，为人诚挚宽厚，乐于济人之难，善于奖掖后进，他结交的朋友不少是著名的诗人、书画家，又和一些朝廷显宦保持着亲密的友谊。沈周高洁的人品、恬淡温和的性格以及诗文书画的广博才能，深受社会各阶层人士的尊敬，誉重吴中，流播四方，自然地成为吴门艺苑的宗师",[23,164,24,7,25,128,27,29,99,130,96,129,131,132,167,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12fadc37a4d3a1f7171bd687b0589c04.jpg",[],341,{"id":3766,"slug":3767,"title":356,"dynasty":124,"author":125,"museum":244,"description":1992,"tags":3768,"thumbUrl":3769,"material":611,"size":3770,"collection":68,"collections":3771,"showCount":3764,"zanCount":1116,"manualWeight":48,"mainColor":72},222106,"yu-lan-shen-zhou-222106",[23,164,24,7,59,128,27,356,331,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F968bf12a3ae80ff7ce65c5d988345a5e.jpg","34.8×56.5厘米",[68,45],{"id":3773,"slug":3774,"title":76,"dynasty":54,"author":55,"museum":300,"description":893,"tags":3775,"thumbUrl":3777,"material":84,"size":897,"collection":84,"collections":3778,"showCount":3779,"zanCount":975,"manualWeight":48,"mainColor":72},233896,"hua-hui-ce-yun-shou-ping-233896",[24,7,164,59,27,60,61,3776,747,208,64,133],"绣球花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1de138b415462f9c2198e7b482bf75a8.jpg",[],340,{"id":3781,"slug":3782,"title":490,"dynasty":18,"author":491,"museum":244,"description":492,"tags":3783,"thumbUrl":3784,"material":3785,"size":502,"collection":84,"collections":3786,"showCount":3787,"zanCount":1998,"manualWeight":48,"mainColor":49},231408,"zao-chun-tu-guo-xi-231408",[23,24,164,7,165,128,27,132,29,496,497,34,99,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3107c7f430c4249bafcf20275e778fe2.jpg","绢本水墨",[],338,{"id":3789,"slug":3790,"title":3791,"dynasty":124,"author":366,"museum":20,"description":3792,"tags":3793,"thumbUrl":3795,"material":611,"size":3796,"collection":44,"collections":3797,"showCount":3798,"zanCount":1086,"manualWeight":48,"mainColor":72},222239,"huang-jia-tu-zhou-xu-wei-222239","黄甲图轴","该图绘肥阔的荷叶已开始凋零，一只螃蟹缓缓爬行，留出大片空白表现秋水。构图简洁洗练，布局清新奇巧。\n图绘肥阔的荷叶已开始凋零，一只螃蟹缓缓爬行，留出大片空白表现秋水。构图简洁洗练，布局清新奇巧。\n画上自题诗曰：“兀然有物气豪粗，莫问年来珠有无。养就孤标人不识，时来黄甲独传胪。”诗意幽默。这幅画也有在讽刺进士甲科的意味，是藉着螃蟹粗鲁横行的形象，来嘲讽那些胸无点墨、世人不耻，但却能依靠关系或金钱金榜题名的人。\n图中的水墨加入了适量的胶，以避免水墨渗散，恰是此图的特色所在。图中以墨色画荷叶，画蟹则寥寥数笔，看似草草为之，实则浓、淡、枯、湿、勾、抹、点多种笔法参用，形状虽夸张，却饶有笔情墨趣。徐渭用奔放的笔墨勾画出螃蟹爬行的姿态以及荷叶疏落的秋天气氛。螃蟹的造型虽然简单，但却是许多笔法一起用才画出来的，不管是形状、质感甚至神态都相当生动。",[23,164,24,7,165,128,370,61,81,3794,208,64,133],"螃蟹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ca3a19b3c408805bb700eca1b9e478.jpg","114.6cm x 29.7cm",[44,117],336,{"id":3800,"slug":3801,"title":3802,"dynasty":54,"author":55,"museum":56,"description":1007,"tags":3803,"thumbUrl":3804,"material":40,"size":3805,"collection":68,"collections":3806,"showCount":3798,"zanCount":975,"manualWeight":48,"mainColor":72},220993,"qiu-hai-tang-tu-yun-shou-ping-220993","秋海棠图",[23,24,7,61,60,27,1132,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09cce0beb88108cf460712c4b71d3339.jpg","42x60cm",[68,45],{"id":3808,"slug":3809,"title":3810,"dynasty":18,"author":2141,"museum":244,"description":3811,"tags":3812,"thumbUrl":3813,"material":173,"size":3814,"collection":44,"collections":3815,"showCount":3798,"zanCount":1014,"manualWeight":48,"mainColor":49},215045,"tian-nv-xian-hua-tu-liu-song-nian-215045","天女献花图","本幅为「名绘集珍」册第十二幅，绘一菩萨身披璎珞，坐于华座之上，旁立比丘三人，均神情专注地看着文殊菩萨座前的天女与舍利弗。天女左手捧花盘，二指捻花，转身回首，比丘则双唇微启，二人似在对话，人物神情生动。此作原来可能为「维摩演教卷」的一部份，但因后半残损，重裱时，遂将其改为册页形式。",[23,164,24,7,187,96,28,27,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9d05d689ac3a90b6dfe91a9190be229.jpg","26.6x51.4cm",[44],{"id":3817,"slug":3818,"title":3819,"dynasty":54,"author":3820,"museum":224,"description":3821,"tags":3822,"thumbUrl":3825,"material":84,"size":84,"collection":136,"collections":3826,"showCount":3827,"zanCount":1998,"manualWeight":48,"mainColor":72},222627,"shui-mo-shan-shui-gong-xian-222627","水墨山水","龚贤","这组作品画风浑厚沉郁，秀气灵动。作者采用积墨法，用润墨一点点积累。墨色中留有空间，使画面极富层次感。独特的构图更是带给读者耳目一新的感觉。龚贤，明末清初著名画家，金陵八大家之一，早年曾参加复社活动，明末战乱时漂泊流离，生活清苦。他工诗文，善行草，著有《香草堂集》。",[23,164,24,7,128,29,3823,496,34,130,497,3824],"积墨法","层次感","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35053c93def9c553bcb519e4e19a558e.jpg",[136,117],335,{"id":3829,"slug":3830,"title":3831,"dynasty":18,"author":223,"museum":300,"description":3832,"tags":3833,"thumbUrl":3838,"material":84,"size":84,"collection":68,"collections":3839,"showCount":3840,"zanCount":738,"manualWeight":48,"mainColor":49},223631,"lian-chi-shui-qin-tu-zhou-dui-zhou-yi-ming-223631","莲池水禽图轴对轴","此作设色清雅古拙，将夏末荷塘景致凝于绢素。粉荷或粲然盛放，或半含待绽，圆阔荷叶交错叠覆，枯荣相携，细茎缀着淡粉小花，晕开幽柔生机。\n\n两只白鹭一动一静，振翅者俯身掠空，尖喙直指水面，将俯冲的凌厉之势藏于翩然羽翼间；引颈者独立浅泽，昂首似作长鸣，意态娴静悠然。\n\n画笔工致写实，花叶勾勒细腻，禽鸟晕染层次丰盈，古雅的矿物色历经岁时依旧温润。静塘藏动意，野趣暗生，把江南水泽的澹澹诗意晕开在古绢之上，尽显清寂悠然的雅致意趣。",[23,164,24,7,165,27,28,1326,81,82,3834,3835,3836,211,3837],"莲","水禽","鹭","池塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faab72c6cd475fe4f0cd76844911ed7c4.jpg",[68],334,{"id":3842,"slug":3843,"title":3844,"dynasty":18,"author":1622,"museum":1185,"description":3845,"tags":3846,"thumbUrl":3848,"material":611,"size":3849,"collection":42,"collections":3850,"showCount":3840,"zanCount":1086,"manualWeight":48,"mainColor":49},221536,"xi-yuan-ya-ji-tu-ma-yuan-221536","西园雅集图","宋代有很多绘画世家，其中最为出名的恐怕要属山西的马家。自北宋后期的马贲开始，马家先后有五代人在皇家画院供职。马氏家族形成了一个庞大的画室或作坊，在这个作坊内雇佣了助手、管理者或代理人，或许还有绘画材料的生产者及裱画匠。1086年（元佑元年），苏轼兄弟、黄庭坚、李公麟、米芾、蔡肇等十六位名士，于驸马王诜宅邸西园集会。马远据此所绘，长卷共分四段。此为其中一段，写米芾挥毫作书，诸文友或立或坐，凝神围观",[23,24,7,128,27,25,132,29,96,129,167,101,99,3847,497,34,1351],"河岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61d61573298da75c39200eaa4a2d4892.jpg","29.5×302.3厘米",[42,136,45],{"id":3852,"slug":3853,"title":3854,"dynasty":124,"author":2268,"museum":56,"description":3855,"tags":3856,"thumbUrl":3858,"material":66,"size":84,"collection":136,"collections":3859,"showCount":3860,"zanCount":1105,"manualWeight":48,"mainColor":72},214656,"qiu-xing-ba-jing-tu-ce-dong-qi-chang-214656","秋兴八景图册","此册描绘苏州到镇江一带的山水景色，或仿古，或写景，笔法虽然以师古人为主，但具有不少个性色彩。采取以颜色直接勾勒、渲染、皴擦等“没骨法”，又连用水墨，干湿兼施，层次分明。落笔细润清雅，色彩明亮秀丽。画笔较为谨严，从中可以品味出他学巨然、赵令穰、赵孟頫、黄公望等人的痕迹，但从整体来看，还是他独特画风的不同表现。\n款署“庚申（1620年）九月重九前一日书，是月写设色小景八幅，可当秋兴八首，玄宰”，为其66岁时的精心之作。",[24,7,59,27,132,133,64,208,29,663,228,413,1314,37,415,3857,34],"近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffefa769413df82271d17a82b2ee80653.jpg",[136],333,{"id":3862,"slug":3863,"title":3864,"dynasty":124,"author":1058,"museum":20,"description":3865,"tags":3866,"thumbUrl":3867,"material":40,"size":3868,"collection":44,"collections":3869,"showCount":3870,"zanCount":11,"manualWeight":48,"mainColor":49},222351,"wang-shu-gong-ji-tu-zheng-ben-tang-yin-222351","王蜀宫妓图正本","此图原名《孟蜀宫妓图》，俗称《四美图》，由明末汪砢玉《珊瑚網·画录》最早定名，沿用至今。近经专文考证，当改为《王蜀宫妓图》，描绘的是五代前蜀后主王衍的后宫故事。画面四个歌舞宫女正在整妆待君王召唤侍奉。她们头戴金莲花冠，身着云霞彩饰的道衣，面施胭脂，体貌丰润中不失娟秀，情态端庄而又娇媚。蜀后主王衍曾自制“甘州曲”歌，形容著道衣的宫妓妩媚之态：“画罗裙，能结束，称腰身。柳眉桃脸不胜春，薄媚足精神。可惜许，沦落在风尘。”唐寅创作此画，则旨主揭示前蜀后主王衍荒淫腐败的生活，寓有鲜明的讽喻之意。\n此图为唐寅人物画中工笔重彩一路画风的代表作品，显示出他在造型、用笔、设色等方面的高超技艺。仕女体态匀称优美，削肩狭背，柳眉樱髻，额、鼻、颔施以“三白”，既吸收了张萱、周昉创造的“唐妆”仕女造型特色，又体现出明代追求清秀娟美的审美风尚。四人交错而立，平稳有序，并通过微倾的头部、略弯的立姿和攀连的手臂，形成动态的多样变化和相互的紧密联系，加强了形象的丰富性和生动感。笔墨技巧近法杜堇，远宗唐人，衣纹作琴弦描，细劲流畅，富有弹性和质感，冠服纹饰描画尤见精工，细致入微。设色鲜明，既有浓淡、冷暖色彩的强烈对比，又有相近色泽的巧妙过渡和搭配，使整体色调丰富而又和谐，浓艳中兼具清雅。作品画风带有雅俗共赏的艺术特色。",[23,24,7,165,27,28,96,166,232,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf6a69f4c7f9bc4763217d4951ac15c8.jpg","纵124.7厘米，横63.6厘米",[44,45],332,{"id":3872,"slug":3873,"title":3874,"dynasty":144,"author":3875,"museum":20,"description":3876,"tags":3877,"thumbUrl":3878,"material":514,"size":3879,"collection":136,"collections":3880,"showCount":3870,"zanCount":1998,"manualWeight":48,"mainColor":49},221858,"chun-shan-fan-zhou-tu-zhou-hu-ting-hui-221858","春山泛舟图轴","胡廷晖","整幅画面构图繁密，洋溢着一派春和景明的气象。图中布局兼具高远、深远、平远之法，描绘崇山峻岭，山势高耸入云，山间飞涧流泉，松木葱郁，屋宇台阁精工富丽，人物往来其间。山脚下，溪桥潭水，波光如鳞，三两人泛舟赏景。\n杨新撰文认为，胡廷晖是一个画工而非书画收藏家。画工的创作往往不署自己的名款，有的仅只钤盖个人印章，这是元至明初的习惯。吴升《大观录》著录的胡廷晖《月洞仕女图》也未署款，仅押“廷晖印”一方。这幅《春山泛舟图》也没有签署名款，所以“廷晖”残印不可能是收藏印，而只能是作者印。此图与台北故宫所藏《明皇幸蜀图》面貌相似，特别是勾勒下笔较重，悬崖的结构、松树的形态以及云彩的画法等均呈现出胡廷晖的个人风格。在色彩上两者都具有相似的绚丽色泽。此图保留唐代青绿山水的古法较多，与赵孟頫追求“古意”的画风不同，对于鉴别早期山水画有重要的价值。\n1998年，美籍华人、收藏家王季迁先生将此图捐赠故宫博物院。",[23,24,7,165,28,27,132,29,129,96,97,34,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8db66954c76bddaccd24a02539e4bf8.jpg","纵143厘米，横55.5厘米",[136,117],{"id":3882,"slug":3883,"title":3884,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":3886,"thumbUrl":3887,"material":278,"size":3888,"collection":44,"collections":3889,"showCount":3870,"zanCount":1105,"manualWeight":48,"mainColor":72},214982,"dao-zi-mo-bao-ren-wu-bai-miao-hua-yi-ming-214982","道子墨宝人物白描画","《道子墨宝》原作是一套古代民间画工制作道教壁画的白描画稿。画稿分三部分，第一部分描绘的是诸神朝谒；第二部分是阴曹地府中审判“罪犯”的景象，既所谓的“地狱变相图”；第三部分为搜山图。画稿伪托唐代画圣吴道子作，但从画稿的内容和画中人物的服饰等细节可以断定它不可能是唐代的作品。这套册页原无题，多达五十开的册页，每幅原作右上部位都有用白粉写的简化字符编号，表示一至五十，显然是民间画师用的稿本。",[23,24,7,164,188,95,96,97,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe874f90d9aa8cd68cb8fc118529bd192.jpg","34.2*38.4",[44],{"id":3891,"slug":3892,"title":3893,"dynasty":124,"author":204,"museum":1941,"description":3894,"tags":3895,"thumbUrl":3896,"material":173,"size":3897,"collection":84,"collections":3898,"showCount":3899,"zanCount":48,"manualWeight":48,"mainColor":49},216363,"xi-xiang-ji-tu-ye-2-chou-ying-216363","西厢记图页-2","清人绘，款仇英",[24,7,59,28,27,96,101,98,99,29,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd2f417418f71dda24d7c8dff0d64502.jpg","18.5*38",[],331,{"id":3901,"slug":3902,"title":3903,"dynasty":54,"author":3904,"museum":244,"description":3905,"tags":3906,"thumbUrl":3907,"material":173,"size":84,"collection":45,"collections":3908,"showCount":3909,"zanCount":738,"manualWeight":48,"mainColor":72},218501,"fang-song-yuan-ben-jin-ling-tu-xie-sui-218501","仿宋院本金陵图","谢遂","本卷描绘了金陵城的城市和村庄的商店和街景，以及市场上的人们，细节丰富，气氛热烈。笔触非常准确，人物形象也很生动。根据作者在画板上的标记，这幅画完成于乾隆五十二年（公元1787年）。 在我们的收藏中，还有一卷杨大章模仿宋代画院的《金陵图》。",[23,164,24,7,25,28,27,330,96,97,98,99,34,102,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F228fa1458aedb60538e9a844ef33c75a.jpg",[45],329,{"id":3911,"slug":3912,"title":3913,"dynasty":124,"author":3318,"museum":524,"description":3914,"tags":3915,"thumbUrl":3917,"material":514,"size":3918,"collection":68,"collections":3919,"showCount":3920,"zanCount":1105,"manualWeight":48,"mainColor":49},222080,"qiu-hua-jia-die-tu-wen-chu-222080","秋花蛱蝶图","赵文俶(1595-1634年)字端容，今苏州人。文从简的女儿，适赵宦光子赵灵筠，故文俶常在画上落“天水赵氏文俶”款，钤“赵文俶印”。文俶生性聪慧，善绘画，见物既能摹写，年四十便去世。她的画擅长花卉，传说她平日居家偶然看见奇花异草、小虫怪蝶，都随手画下，共收集千种，合成一册，题名“寒山草木昆虫状”，可说写生功力极深，因此对捕捉花木草虫的性情特徵，有独到之处。",[23,24,7,28,27,61,2959,3916,230,624],"秋花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F336545c0cf2814e864937a1efd910257.jpg","纵105厘米，横67厘米",[68,45],328,{"id":3922,"slug":3923,"title":3924,"dynasty":54,"author":872,"museum":56,"description":3925,"tags":3926,"thumbUrl":3927,"material":278,"size":3928,"collection":68,"collections":3929,"showCount":3920,"zanCount":1998,"manualWeight":48,"mainColor":72},218897,"hu-shi-shuang-niao-tu-zhou-zhu-da-218897","湖石双鸟图轴","此画中湖石的勾勒简洁，寥寥几笔圆转的皴法，显出灵动之势。石尖和石旁坡地上各蹲立一只小鸟，给画面平添一股生气。小鸟缩头弓背的形态，流溢出嘲讽的神气。作者用饱满的软毫，中锋运转，笔笔藏锋，圆浑含蓄。全图形体简约而寓意深晦，有很强的形式感。在创作上他取法自然，笔墨简练，大气磅礴，独具新意，创造了高旷纵横的风格。",[24,7,165,128,171,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0533c58e6d213b70b15fc5e48b8b42a2.jpg","纵136厘米，横48.7厘米",[68],{"id":3931,"slug":3932,"title":3933,"dynasty":54,"author":2687,"museum":300,"description":3934,"tags":3935,"thumbUrl":3936,"material":692,"size":1293,"collection":68,"collections":3937,"showCount":3938,"zanCount":1116,"manualWeight":48,"mainColor":72},239249,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239249","牡丹十六种册","蒋廷锡（1669年－1732年），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，清朝康熙、雍正时期官员、画家、文献学家、藏书家。\n蒋廷锡为康熙四十二年（1703年）进士，授翰林编修。雍正帝即位后历任礼部侍郎、户部尚书等职。雍正六年（1728年）拜文华殿大学士，仍兼理户部事，并任《明史》总裁。次年（1729年）加太子太傅。累封一等阿达哈哈番。雍正十年（1732年）卒于任内，谥号“文肃”。\n蒋廷锡在官秉公抚政、剔除积弊，声誉甚著。为人博学精敏，尤善诗画。擅长花鸟，以逸笔写生，奇正率工，敷色晕墨，兼有一幅，能自然洽和，风神生动，得恽寿平韵味。点缀坡石，偶作兰竹，亦具雅致。曾画塞外花卉70种，被视为珍宝收藏于宫廷。今有《牡丹扇面》《岁岁久安图》《桃花鹦鹉图》《竹石图》轴及《花卉图》等传世。",[24,7,59,27,28,61,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21e4a8c5c08aea53092bfe51363d6ad0.jpg",[68,45],327,{"id":3940,"slug":3941,"title":3942,"dynasty":182,"author":3943,"museum":56,"description":3944,"tags":3945,"thumbUrl":3946,"material":151,"size":3947,"collection":44,"collections":3948,"showCount":3949,"zanCount":11,"manualWeight":48,"mainColor":49},221083,"gao-yi-tu-sun-wei-221083","高逸图","孙位","《高逸图》是孙位唯一存世的作品，也为目前屈指可数的几件唐代作品之一。画中表现的是魏晋时期著名的“竹林七贤”，目前画面仅剩四人，经考证是山涛、王戎、刘伶与阮籍。在技法上，孙位继承了顾恺之“劲紧连绵如吐丝”的行云流水的风格，但更加成熟。线条的变化更丰富，人物造型刻画更真实细致。《高逸图》著录于宋徽宗的《宣和画谱》里，画上钤印“宣和七玺”。作品的装裱保留了北宋的形式。",[23,24,7,25,27,96,171,1144,28,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb83ff393ed82ede490cdbdd60bca7d62.jpg","纵45.2厘米，横168.7厘米",[44,45],326,{"id":3951,"slug":3952,"title":3953,"dynasty":54,"author":55,"museum":1185,"description":1186,"tags":3954,"thumbUrl":3955,"material":1190,"size":1191,"collection":68,"collections":3956,"showCount":3949,"zanCount":975,"manualWeight":48,"mainColor":72},220999,"hua-hui-tu-ce-sui-han-san-you-tu-yun-shou-ping-220999","花卉图册·岁寒三友图",[23,24,164,7,59,60,27,61,372,167,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb29a40cff960843c68f7263ecdb0bd8e.jpg",[68,45],{"id":3958,"slug":3959,"title":3960,"dynasty":144,"author":569,"museum":20,"description":3961,"tags":3962,"thumbUrl":3963,"material":611,"size":3964,"collection":117,"collections":3965,"showCount":3966,"zanCount":738,"manualWeight":48,"mainColor":199},220865,"xiu-shi-shu-lin-tu-zhao-meng-fu-220865","秀石疏林图","赵孟頫绘竹石，强调“以书法入画”，此幅绘古木新篁生于平坡秀石之间，以飞白法画石，以篆书法绘树，纯用水墨表现，是其“书画同源”之理论在绘画实践中的具体体现，也是元代文人画最有代表性的作品之一。\n尾纸自题七言绝句：“石如飞白木如籀，写竹还于八法通。若也有人能会此，方知书画本来同。” 这是赵孟頫关于绘画与书法笔墨相通之理论的名句，对后世文人画的影响至深。",[23,24,7,128,171,331,167,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80a72737a59228d852dc208411a0e28d.jpg","纵27.5cm，横62.8cm",[117,1670],322,{"id":3968,"slug":3969,"title":3970,"dynasty":18,"author":223,"museum":20,"description":3971,"tags":3972,"thumbUrl":3973,"material":128,"size":84,"collection":42,"collections":3974,"showCount":3966,"zanCount":1998,"manualWeight":48,"mainColor":199},214846,"lu-tong-peng-cha-tu-yi-ming-214846","卢仝烹茶图","卢仝烹茶图是一幅宋代的佚名画家的作品。它是一幅木板设色的水墨画，画面上描绘了卢仝品茶的场景。卢仝是一位著名的宋代文学家，也是一位品茶爱好者。在这幅画中，他正在品茶时，周围的人们也都在品茶。这幅画展现了宋代品茶文化的精髓，充满了浓浓的文化气息。\n\n卢仝烹茶图是一幅很有名的宋代水墨画，因为它出色地展现了宋代品茶文化的精髓。品茶是中国古代的一种传统文化，它的历史可以追溯到公元前三世纪。品茶不仅是一种消遣，更是一种品味生活的方式。它融合了中国传统的艺术、文化、哲学和美学思想，对中国的文化形成了深远的影响。\n\n在这幅画中，卢仝坐在一张桌子前，手持茶杯，正在品茶。周围的人们也都在品茶，气氛非常融洽。画面中还有许多细节，如茶壶、茶杯、茶几等，都反映了宋代品茶文化的特点。\n\n这幅画的画风精细，线条流畅，色彩鲜艳。它体现了宋代画家的高超技巧和精湛的艺术修养。这幅画不仅是一件艺术品，也是中国传统文化的瑰宝。",[23,24,7,128,27,28,188,132,64,208,96,35,34,131,2144,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2d777192da391bf2696d0105e63bf54.jpg",[42],{"id":3976,"slug":3977,"title":3978,"dynasty":54,"author":3403,"museum":20,"description":3979,"tags":3980,"thumbUrl":3981,"material":734,"size":3982,"collection":68,"collections":3983,"showCount":3984,"zanCount":1998,"manualWeight":48,"mainColor":72},224219,"sui-chao-qing-gong-tu-wu-chang-shuo-224219","岁朝清供图","岁朝指农历元旦，历代画家特别是文人画家都喜欢在这一天绘制《岁朝清供图》，作为新年伊始的首幅作品。吴昌硕作为一名文人画家，也几乎每年都画《岁朝清供图》，且多所变化，其最大的特点是很少取材于牡丹，他在《缶庐别存》中有一段话披露了其用意，文曰：“己丑除夕，闭门守岁，呵冻作画自娱。凡岁朝图多画牡丹，以富贵名也。予穷居海上，一官如虱，富贵花必不相称，故写梅取有出世姿，写菊取有傲霜骨，读书短檠，我家长物也，此是缶庐中冷淡生活。”此段话写于1889年，而在这幅1915年的《岁朝清供图》中仍然不见牡丹形象，其时吴氏的生活已有了极大改善，但仍不画牡丹，可见其富贵不移初志的高雅人格与画品。\n此图以瓶梅、水仙、蒲草、秀石诸品组合而成，并置于瓶盆等器物中，以示为案头清供之物。物品高下低昂、错落有致地安排于画面，并以右高左低的对角形式排列，左上角和右下角分别配以题识和印章，这是吴昌硕花卉画中常用的构图形式。画面左上角自题：“岁朝清供。岁朝写案头花，象古人所作岁时物之迁流也，兹拟其意。乙卯岁寒吴昌硕。”\n此图信手挥洒，真情流溢笔端。高颈古瓶中的一枝红梅，以及翠绿的水仙，纷披的蒲草，皆得其大意，笔法隽逸洒脱，极具清逸雅淡之气。用墨、设色也恰到好处，用墨浓淡相宜，设色俏丽鲜艳，雅妍相兼，双勾敷色的水仙花，更体现了吴氏晚年运笔遒劲古拙的独特风韵。",[23,24,7,165,27,128,133,208,369,61,371,374,171,3114,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60ee9f04eb4937057270e254c03e2aa.jpg","纵151.6厘米，横80.7厘米",[68,45],321,{"id":3986,"slug":3987,"title":3988,"dynasty":326,"author":1587,"museum":300,"description":3989,"tags":3990,"thumbUrl":3991,"material":692,"size":1293,"collection":84,"collections":3992,"showCount":3993,"zanCount":1105,"manualWeight":48,"mainColor":72},283697,"feng-cheng-su-mo-lan-ting-xu-quan-juan-shen-long-ben-wang-xi-zhi-283697","冯承素摹兰亭序全卷（神龙本）","王羲之（303年—361年），字逸少，琅琊临沂（今山东省临沂市）人。东晋大臣、书法家，丹阳尹王旷的儿子，太尉郗鉴的女婿，有“书圣”之称。\n凭借门荫入仕，历任秘书郎、江州刺史、会稽太守，累迁右军将军，人称“王右军”。永和九年（353年），组织兰亭雅集。撰写的《兰亭序》，成为“天下第一行书”。永和十一年（355年），称病弃官，迁居于绍兴金庭。升平五年（361年）去世，安葬于瀑布山。\n善于书法，兼善隶、草、楷、行各体，精研体势，心摹手追，广采众长，备精诸体，冶于一炉，摆脱汉魏笔风，自成一家，影响深远。风格平和自然，笔势委婉含蓄，遒美健秀。在书法史上，与钟繇并称钟王，与其子王献之合称“二王”。李志敏评价：“王羲之的书法既表现以老庄哲学为基础的简淡玄远，又表现以儒家的中庸之道为基础的冲和。”",[23,164,7,64,25,133,330,1590,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc26cdba5ef638e960a7c1fa4d917fa25.jpg",[],320,{"id":3995,"slug":3996,"title":1006,"dynasty":54,"author":3403,"museum":300,"description":3997,"tags":3998,"thumbUrl":3999,"material":27,"size":84,"collection":68,"collections":4000,"showCount":3993,"zanCount":1998,"manualWeight":48,"mainColor":4001},224225,"mu-dan-tu-wu-chang-shuo-224225","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。”吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。\n清道光二十四年（1844年）8月1日，生于浙江省孝丰县鄣吴村（今湖州市安吉县）一个读书人家。幼时随父读书，后就学于邻村私塾。10余岁时喜刻印章，其父加以指点，初入门径。\n咸丰十年（1860年）太平军与清军战于浙西，全家避乱于荒山野谷中，弟妹先后死于饥馑。后又与家人失散，替人做短工、打杂度日，先后在湖北、安徽等地流亡数年。\n同治四年（1865年），中秀才。是年，海上先辈名家任薰与周闲合作，为吴昌硕绘画像。\n同治八年（1869年），赴杭州，就学于诂经精舍，从名儒俞樾习小学及辞章。编成《朴巢印存》。\n同治十一年（1872年），赴上海，得以认识高邕之。\n光绪六年（1880年），寓吴云（平斋）两礨轩，以《篆云楼印存》请教，吴云为之删削，更名为《削觚庐印存》。识吴秋农、金心兰、顾茶村、胡三桥、方子昕等。与杨岘（见山）结为朋友。\n光绪八年（1882年），居苏州。友人荐作小吏以维持生计。与虞山沈石友结为朋友。\n光绪九年（1883年），在沪识任伯年。任伯年为作《芜菁亭长小像》。\n光绪十三年（1887年），至沪，任伯年为作《棕荫纳凉图》。\n光绪十五年（1889年），在苏州。时伯年来访，为之作《酸寒尉像》，自题诗。施旭臣、谭复堂为《缶庐诗》作序。\n光绪十六年（1890年），居上海。识吴大澄。\n光绪十八年（1892年），任伯年又为作《蕉荫纳凉图》。\n光绪十九年（1893年），在上海编选壬辰年以前所作诗三卷刊行，题名《缶庐诗》。\n光绪二十（1894年），在北京以诗及印谱赠翁同龢。中日战争爆发，参佐吴大澄戎幕，北上抗日，兵败继续为吴大澄戎幕。\n光绪二十一年（1895年），任伯年为作《棕荫忆旧图》、《山海关从军图》。十一月，任伯年病殁沪上，作诗哭之并撰联。\n光绪二十五年（1899年）十一月，得丁葆元保举，任安东县令，一月即辞去。\n致力书画\n光绪二十六年（1900年），日本河井仙郎投之于门下。\n光绪二十九年（1903年），自订润格。编选壬寅以前所作诗为《缶庐诗》第四卷，连同前刊三卷，又《别存》一卷合为一册。\n光绪三十年（1904年），移居桂和坊19号，名其斋曰“癖斯堂”。赵子云（赵云壑）投门下。\n光绪三十五年（1909年），在沪加入上海豫园书画善会。\n民国元年（1912年），至杭州与西泠诸友宴集。始以字行。\n民国二年（1913年），西泠印社成立，任社长。秋，梅兰芳来会。与王一亭结为至交。王一亭在上海商界、金融界推介吴昌硕的书画金石艺术，使其名声大振。\n民国三年（1914年），王一亭为吴昌硕在六三园举办生平第一次个展，使吴派艺术开始为日本艺界所了解和推崇。上海书画协会成立，任会长。\n民国四年（1915年），上海“题襟馆书画会”推先生为名誉会长。\n民国六年（1917年），吴昌硕继配施氏夫人在上海去世。\n民国九年（1920年），日本长崎首次展出其书画，东京文求堂继刊《吴昌硕画谱》，长崎双树园刊行《吴昌硕画帖》。诸乐三列为门弟子。\n民国十年（1921年），赴杭西泠印社宴集。《汉三老碑》被日商购去，与西泠同仁奔走呼吁，作画义卖，终募款八千大洋将碑赎回。日本朝仓文夫为范铜像。\n民国十二年（1923年），潘天寿由诸闻韵引见来谒，撰联以赠。门弟子陈师曾去世。\n民国十四年（1925年），沙孟海由王贤引列为门弟子。为已逝师友周闲遗作《花卉长卷》作引首并题。\n民国十六年（1927年）十一月二十九日，逝于上海寓所。\n民国二十二年（1933年）十一月，迁葬于浙江余杭县塘栖附近超山报慈寺西侧山麓宋梅亭畔。\n\n篆刻:\n少年时他因受其父熏陶，即喜作书，印刻。楷书始学颜鲁公，继学钟元常；隶书学汉石刻；篆学石鼓文，用笔之法初受邓石如，赵之谦等人影响，以后在临写《石鼓》中融汇变通。行书得黄庭坚、王铎笔势之欹侧，黄道周之章法，个中又受北碑书风及篆籀用笔之影响，大起大落，遒润峻险。\n吴昌硕篆刻从“浙派”入手，后专攻汉印，也受邓石如、吴让之、赵之谦等人影响，善于留白，或对角欹斜，气象峥嵘，构图块面体积感极强。刀融于笔，篆刻雄而媚、拙而朴、丑而美、古而今、变而正。上取鼎彝，下挹秦汉，以“出锋钝角”的刻刀，将钱松、吴攘之切、冲两种刀法相结合治印。\n吴昌硕在继承前人冲刀法和切刀法优秀成果的基础上，融诸家之长，在大量的篆刻创作实践中，不断探索，将冲刀和切刀两种刀法融合在一起，形成了自己的冲切结合的刀法。这种刀法灵活多变，或冲中带切，或切中带冲，甚至切中带削……这种多变的刀法，把冲刀的猛利、挺劲、爽快与切刀的含蓄、浑朴融为一体，将书意和刀意表现得淋漓尽致，使他的篆刻刀法雄浑朴茂中寓秀逸的个性化特点凸现了出来。他与厉良玉、赵之谦并称“新浙派”的三位代表人物。\n残缺刀法是吴昌硕篆刻创作中的一种常用手法。我们知道，秦汉古印大多因年深日久，水土的浸蚀，自然的风化，印面及文字线条失去了原先的平整和光洁，变得残缺不全。恰恰是这些残缺给我们以古朴、含蓄、浑厚、苍拙等特殊的审美效果，这是自然的造化使然。吴昌硕善于巧夺天工，在传统的冲、切刀法的基础上，辅之以敲、击、凿、磨或借用砂石、鞋底、钉头等，极大地丰富了篆刻艺术的表现手法，并创造性地将篆刻艺术中刀石效果产生的金石味，上升到残缺美的审美新境界。\n主要篆刻作品：《寿山老坑巧色雕狮钮》《作了天下事》《读遍千古书》《好学为福》《黑青田》《一月安东令》《湖州安吉县》《泰山残石楼》《园丁生于梅洞长于竹洞》《暴书》《千寻竹斋》《千寻竹斋》3刻《吴俊卿信印日利长寿》《安吉吴俊章》《雷浚》《鲜鲜霜中菊》《归仁里民》。\n\n绘画:\n绘画的题材以花卉为主，亦偶作山水。前期得到任颐指点，后又参用赵之谦画法，并博采徐渭、八大、石涛和扬州八怪诸家之长，兼用篆、隶、狂草笔意入画，色酣墨饱，雄健古拙，亦创新貌。其作品重整体，尚气势，认为“奔放处不离法度，精微处照顾气魄”，富有金石气。讲求用笔、施墨、敷彩、题款、钤印等的疏密轻重，配合得宜。 吴昌硕自言：“我平生得力之处在于能以作书之法作画。”\n他以篆笔写梅兰，狂草作葡萄。所作花卉木石，笔力老辣，气势雄强，布局新颖，构图也近书印的章法布白，喜取“之”字和“女”字格局，或作对角斜势。用色上似赵之谦，喜用浓丽对比的颜色，尤善用西洋红，色泽浓艳。\n吴昌硕因以“草篆书”入画，状物不求写实，形成了影响近现代中国画坛的直抒胸襟，酣畅淋漓的“大写意”笔墨形式。\n他酷爱梅花，以写大篆和草书笔法为之，墨梅、红梅兼有，画红梅水分及色彩调和恰到好处，红紫相间，笔墨酣畅。又喜作兰花，喜以或浓或淡的墨色和用篆书笔法画成，刚劲有力。画竹竿以淡墨轻抹，叶以浓墨点出，疏密相间，富有变化，或伴以松、梅、石等，成为“双清”或“三友”。菊花也是他经常入画的题材，伴以岩石，或插以高而瘦的古瓶，与菊花情状相映成趣。菊花多作黄色，亦或作墨菊和红菊。墨菊以焦墨画出，菊叶以大笔泼洒，浓淡相间。\n晚年较多画牡丹，以鲜艳的胭脂红设色，含有较多水分，再以茂密的枝叶相衬，生气蓬勃。荷花、水仙、松柏也是经常入画的题材。\n菜蔬果品如竹笋、青菜、葫芦、南瓜、桃子、枇杷、石榴等也一一入画，极富生活气息。推崇周闲果蔬风格，作品色墨并用，浑厚苍劲，对于近世花鸟画影响深远。\n主要绘画作品：《天竹花卉》《紫藤图》《墨荷图》《五月枇杷图》《杏花图》《花卉十二屏风》《梅花》《花卉四屏》《牡丹》《兰石图》《松石图》《花卉》2幅《紫藤图》《杂画册（之—、二）》《依样》《天香露图》《杞菊延年》《泥盆菊草图》《牡丹图》《牡丹水仙图》《大富贵》《佛像图》《富贵神仙图》《红梅图》2幅《蔷薇芦桔图》《秋艳图》《三千年结实》《人物》《三千年结实之桃》《神仙福寿》《石梅》《石竹图》《松梅图》《岁寒交图》《桃实图》《瓜果》《灯下观书》《姑苏丝画图》等。\n①金石气息：吴昌硕绘画艺术的第一大特色是有金石气息。所谓金石气息，指的就是钟鼎上所铸的金文与刻在石碑上的文字所具有的味道。人们常说谁谁的画作有金石气息，其实这种评论标准都是从吴昌硕的绘画风格出现以后才有的。比如，人们在谈到徐青藤、八大山人时，就从来没有听说过评价他们的画作有金石气息。\n②笔力雄浑：吴昌硕绘画艺术的第二大特色是笔力雄浑。所谓笔力雄浑，指的就是其画作中的笔触朴拙、苍茫、老辣，极具浑圆、雄强的力量感。人们常说吴昌硕绘画的气息很厚、很重，按照书画圈儿里人的说法就是“笔头子”很大。所谓“笔头子”很大，并不是说他用的毛笔很大，而指他笔下的气息非常浑厚，一笔下去，浑金璞玉，力透纸背，又意蕴丰富、气象万千。\n③设色浓丽：吴昌硕绘画艺术的第三大特色是设色浓丽。过去人们总是说中国画不能搞那么多颜色，用太多颜色容易俗气。不过，张俊东却指出，吴昌硕绘画的用墨就特别浓，设色也特别大胆，特别鲜艳和浓丽。比如，吴昌硕画过很多牡丹，很多都是大红大紫的，但是却不会让人觉得俗气，而且非常有文人的那种风骨。所以张俊东认为，中国画设色的关键不在多少，而在谁来用以及怎么去用。\n④富于变化:吴昌硕绘画艺术的第四大特色是笔法和墨法富于变化。这里边又体现在几个方面。张俊东举例介绍说，比如吴昌硕在画菊花时，可以将一朵菊花无论是正面的，侧面的，静态的，动态的，都能画得非常丰富。\n\n书法:\n吴昌硕的楷书，始学颜鲁公，隶习汉代石刻，篆学石鼓文。行书学黄庭坚、王铎。\n吴昌硕书法作品，以篆书、行草为主，晚年所书隶书，结体变长，取纵势，用笔雄浑、饱满，具有篆书痕迹，将篆、隶溶为一体，形成独特面貌。\n吴昌硕的隶书遍临《汉祀三公山碑》《张迁碑》《嵩山石刻》《石门颂》等汉碑。中年以后，博览众多金石原件及拓本，选择石鼓文为主要临摹对象。数十年间，反复钻研，故所作石鼓文凝练遒劲，风格独特。60岁后所书尤精，圆熟精悍。喜将石鼓文字集语书写对联。晚年以篆隶笔法作草书，笔势奔腾，苍劲雄浑，不拘成法。\n\n诗文:\n吴昌硕善作诗文，苦吟数十年，未尝间断。其诗文，奇崛古朴，用典较多，不甚通俗。但有些绝句纯用白描手法，活泼自然，接近口语，具有明丽俊逸的特点，风格上与民歌很相近。有些绝句则活泼自然，接近口语，时含有讽刺意味，抒发生活实感。所作题画诗寄托深远，颇有浪漫主义气息；评论前人书画，尤多独到见地。早年所作五古，有一部分含有讽刺意味，揭露了当时黑暗社会某些不平现象。他的散文作品写得不多，大都是序跋、考证和题画小品之类，写的都很朴质淳厚，平易近人。题画小品中尤多精心之作。发抒生活实感，鞭挞丑恶现象，颇能以少胜多；读时依稀与作者一灯相对，娓娓而谈，意味非常深长。",[23,164,24,7,165,27,128,61,263,133,208,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb324477af74ed2e0e3b9bd525ad134c3.jpg",[68,45],"FFFFFF",{"id":4003,"slug":4004,"title":4005,"dynasty":182,"author":4006,"museum":20,"description":4007,"tags":4008,"thumbUrl":4009,"material":611,"size":4010,"collection":318,"collections":4011,"showCount":3993,"zanCount":1086,"manualWeight":48,"mainColor":72},221138,"shang-yang-tai-tie-li-bai-221138","上阳台帖","李白","《上阳台帖》是唐代诗人、书法家 于天宝三年（744年）创作的纸本墨迹草书书法作品，现收藏于 。\n《上阳台帖》为李白自书其四言诗，共25字，既概括了王屋山高耸峻拔之势和源远流长之水，亦通过赞颂 的作品，抒发了作者对其的仰慕之情。\n全卷苍劲雄浑而又气势飘逸，用笔纵放自如，快健流畅，法度不拘一格，一如李白豪放、俊逸的诗风。\n全贴结体亦参差跌宕，顾盼有情，奇趣无穷。\n《上阳台帖》为李白书自咏四言诗，是李白唯一传世的书法真迹，亦是国家一级文物中的“国宝”，被称为“一级甲”。\n山高水长，物象千万，非有老笔，清壮可穷。\n十八日，上阳台书，太白。\n引首为 题“青莲逸翰”四个大字，帖前隔水上有徽宗瘦金书题签“唐李太白上阳台”七字。\n卷前后及隔水上钤有宋赵孟坚“子固”、“彝斋”、贾似道“秋壑图书”，元“张晏私印”、“欧阳玄印”以及明项元汴，清梁清标、安岐、清内府，近代张伯驹等鉴藏印。\n后纸有宋代徽宗，元代张晏、杜本、欧阳玄、王馀庆、 、驺鲁，清代乾隆皇帝题跋和观款。\n宋徽宗 跋文为：“太白尝作行书乘兴踏月，西入酒家，不觉人物两忘，身在世外一帖，字画飘逸，豪气雄健，乃知白不特以诗鸣也。\n” 元代 跋曰：“谪仙书传世绝少，尝云：欧、虞、褚、陆真奴书耳。\n自以流出于胸中，非若他人积习可到。\n观其飘飘然有凌云之态，高出尘寰得物外之妙。\n尝遍观晋唐法帖，而忽展此书，不觉令人清爽。\n” 元代书法家 题诗云：“唐家公子锦袍仙，文采风流六百年。\n不见屋梁明月色，空余翰墨化云烟。\n” 唐代是中国书法草书体发展的一个巅峰。\n初唐时期，太宗李世民即大力倡导学习王羲之，并带头习王，开清新活泼书风，也从此奠定王羲之书圣之地位。\n而后有孙过庭、李怀琳等草书大家，源于二王，又有创新，笔法丰富而多变，发展完善了二王草书的技法系统。\n及至盛唐时期，那更是对草书尊崇有加，皇宫内府，大臣公侯，士大夫及有文化一族，谁都能挥洒几笔草体，可谓大唐草书之盛世。\n李白亦是在当时涉草并取得一定成就之士。\n其草书来自张旭一脉，且风格飘然有仙气。\n李白于开元十二年（724年）出蜀游三峡，至江陵遇道士 ，得到司马承祯赞赏。\n后唐玄宗命司马承祯王屋山建立道观，并题写匾额。\n而司马承祯不仅道术精深，而且诗、书、画皆有极高造诣，擅长山水画。\n天宝三年（744年），李白与杜甫、高适同游 ，并来此寻访司马承祯，待到达阳台宫后，方知司马承祯已经仙逝。\n不见其人，惟睹其画，故有感而书《上阳台帖》。\n《上阳台帖》其点画如行走在云烟之中，大有收天下于一纸的旷达情怀。\n书法作品作为心理节奏和性格的折射，《上阳台帖》中的每一个墨点、每一根线条都很自然地渗透着李白的这种性格，表现了李白官场绝望后的一种清壮沉雄、自然放达，正如作品中所书：“非有老笔，清壮可穷”，其性情表现得淋漓尽致。\n《上阳台帖》书法苍劲雄浑，气势飘逸，落天纵，笔力劲健，收笔处一放开锋，用笔纵放自如，快健流畅，其用笔于苍劲中见挺秀，意态万千，是《李白墓碑》中所称的“思高笔逸”的真实写照。\n《上阳台帖》其字宽博开张，稚拙而又放逸，其结体亦参差跌宕，顾盼有情，奇趣无穷。\n纵观全帖二十五字，字的长短大小悬殊，“山、水、千、非、有、壮、十八日、上、书、太白”都十分短促，而“高、万、老、笔、清、台”则一字顶俩、顶仨。\n这是很难安排的，作者是靠结构的奇特来显示生的，如“十八日上”四字，有平整欹侧，有仰盼跌宕，笔短而意长。\n而字长者，作者并不将其压缩，而是任其舒展，特别豁达的是“老”字与“台”字，两个撇如逞雄使气一般地挥下，成了此篇最为雄肆的笔触；“何穷”二字则亦收亦放，波澜层叠、浑然一体。\n《上阳台帖》全篇共有草书五行，其章法大小错落，通幅跳跃动荡，浑朴饱满且又天真烂漫，给人以雄壮辽阔、气象不凡之感。\n雄壮辽阔在于用笔的粗犷沉着，笔笔水分充足饱满。\n书写时又缓缓推进，笔笔送到。\n整个作品幅式很小，却体现了一种苍茫、浑厚之感，文中大字小字、小字大字相互交错，真如前人所说“如老翁携幼孙行，长短参差，而情意真挚，痛痒相关”。\n《上阳台帖》写得跌宕起伏，错落有致，如大江大河，突兀而至；如山石崩绝，凌空而来。\n看似漫不经心，随意所书，实则格律森严，神形逸荡。\n“山高”两字，犹如空中坠石，体现出一种险疾之势。\n“非有老笔”四字中的“非”字写得扁而放纵，“有”字则写得小而含蓄，“老”字突然沉笔挥洒，放胆伸毫，将上述诸字轻轻托了起来。\n再如“情”字和“台”字，看似结构并不平稳，似有摇摇欲坠之状，然而，正是在看似颠簸之中营造出的稳健才有韵味。\n“情”字重心略有倾斜，最后一点又恰到好处地把险势拉了回来，真是令人叫绝。\n“台”字的一横同样也起到了这种于险疾中求平整的作。\n整幅作品就像李白的诗歌一样，是跳跃的、非常态的，但又充满了激情，充满了迈，与“黄河之水天上来，奔流到海不复回”的意境相似。\n同时，《上阳台帖》是内容与形式的统一。\n就内容说，令人朗朗上口：“山高水长，物象千万，非有老笔，清壮可穷”，一派苍茫大气，而形式也极相辅。\n明代董其昌《画禅室随笔》：“如凤翥鸾翔，似奇反正。\n” 故宫博物院研究员 ：“太白以诗文青史第一行世，不特书法。\n白此帖中，唯质成文，援笔墨中锋引带，驭锋直冲拔真气，点承暗筑运斤风，沉着痛处，出者进也，纵勒驰掣间：煌煌然，若熔出冶，随地流走，真大德曰生也。\n” 现代书画家、文物鉴定家 ：“此帖有李白名款，有宋徽宗亲题签和跋，用笔不循故常，天马行空，吻合于李白诗风豪迈不覊，宜为太白真迹。\n” 《上阳台帖》为李白书自咏四言诗，是李白唯一传世的书法真迹，亦是国家一级文物中的“国宝”，被称为“一级甲”。\n李白留有诗歌九百多首，豪迈奔放，别具一格。\n而其书法则是其诗歌流传的重要载体，亦其诗歌重要的流传途径。\n由其亲笔抄写，且现存下来的《上阳台帖》更是弥足珍贵。\n抚摩观之，诗如其人，书亦如其人也。\n故《上阳台帖》对于李白及其诗的艺术特质和渊源的把握意义重大。\n《上阳台帖》北宋时曾入宣和内府，后归 ，元代经 处，明藏 天籁阁。\n清代先为 所得，再入内府，清末流出宫外，民国时入张伯驹手。\n新中国成立后，张伯驹将《上阳台帖》赠给毛泽东。\n1958年，毛泽东自己立下规矩，党和国家领导人所收礼品一律缴公，所以，这件《上阳台帖》即被送到北京故宫博物院，转交故宫博物院，后一直为其所收藏。\n《上阳台帖》在清代顾复《平生壮观》、清内府《石渠宝笈》、 《墨缘汇观》、 《吴式书画记》等处均有著录。\n29年9月日—11月1日，北京故宫为庆祝建国6周年而推出“故宫藏历代书画展”第六期，《上阳台帖》为展览精品之一。\n218年4月2日—5月6日，在北京故宫武英殿举办的“予所收蓄·永存吾土——张伯驹先生诞辰12周年纪念展”上，《上阳台帖》作为精品之一展出。\n李白（71－762年），字太白，号青莲居士，唐朝诗人，有“诗仙”之称。\n汉族，出生于剑南道之绵州（今四川绵阳江油市青莲乡），一说生于西域碎叶城（今吉尔吉斯斯坦托克马克）。\n存世诗文千余篇，代表作有《蜀道难》、《将进酒》等诗篇，有《李太白集》传世。\n亦工于书法，有《上阳台帖》传世。",[23,7,64,133,208,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba9563a2fc3f539952c7388c4fd79fdb.jpg","纵28.5cm，横38.1cm",[318],{"id":4013,"slug":4014,"title":4015,"dynasty":18,"author":223,"museum":56,"description":4016,"tags":4017,"thumbUrl":4019,"material":173,"size":4020,"collection":68,"collections":4021,"showCount":3993,"zanCount":11,"manualWeight":48,"mainColor":49},218540,"shu-kui-tu-yi-ming-218540","蜀葵图","这幅画描绘的是两枝蜀葵，枝头花开，粉红色和红色的花瓣清新娇艳，绿色的茎叶茂盛繁多。描绘细致工整，色彩丰富，墨线几乎看不到，着色漂亮，把花开的样子表现得淋漓尽致，令人陶醉。",[24,7,164,1131,27,28,61,4018,547,747],"蜀葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F409cefad89ff6783fe33bcc0e3b49c14.jpg","21.5x22.9cm",[68],{"id":4023,"slug":4024,"title":4025,"dynasty":54,"author":675,"museum":224,"description":4026,"tags":4027,"thumbUrl":4028,"material":66,"size":679,"collection":84,"collections":4029,"showCount":4030,"zanCount":1998,"manualWeight":48,"mainColor":72},216252,"jing-fu-si-qi-dong-jing-tu-6-qian-wei-cheng-216252","景敷四气冬景图-6","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n不妨叶面擎微雪，雅称花心射晓晖。独恨品题遗陆羽，仍慙色相号杨妃。钤印：会心不远、徳充符",[24,7,28,27,208,61,649,549,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e691047e218ba377e5b36caab22cef1.jpg",[],317,{"id":4032,"slug":4033,"title":1230,"dynasty":144,"author":4034,"museum":244,"description":4035,"tags":4036,"thumbUrl":4037,"material":278,"size":4038,"collection":136,"collections":4039,"showCount":4030,"zanCount":1998,"manualWeight":48,"mainColor":49},214248,"shan-shui-tu-sheng-mao-214248","盛懋","岸畔枯树疏柳，枝桠虬曲如篆，垂丝轻拂似诉。一舟横卧矶边，舱内人影半隐，或凭舷观水，或抱膝沉思，将天地的空阔收于方寸之间。笔墨兼工带写，山石皴染沉稳，草木勾勒灵动，枯润相生间晕开元人特有的清旷之气。无繁复景致，却以极简构图载起无尽悠远——是独处的安然，亦是与自然对谈的从容。整幅画如淡茶一盏，初看寻常，细品则唇齿留甘，心魂被那无声静谧轻轻包裹，顿觉尘嚣远遁，胸臆渐宽。山石的沉稳与草木的灵动交织，枯笔的苍劲与湿墨的柔润相映，每一处线条都藏着对天地的敬畏，每一抹晕染都浸着对心境的描摹，于简淡中见深致，于静默里藏深情。",[23,144,24,7,165,128,132,29,129,331,131,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a77d5c354804d75fd535e1b40cf2362.jpg","67.1x33.5",[136],{"id":4041,"slug":4042,"title":4043,"dynasty":18,"author":686,"museum":450,"description":4044,"tags":4045,"thumbUrl":4046,"material":173,"size":4047,"collection":42,"collections":4048,"showCount":4049,"zanCount":1998,"manualWeight":48,"mainColor":49},220073,"xue-jing-shan-shui-tu-fan-kuan-220073","雪景山水图","范宽（约950—约1032），又名中正，字中立，陕西华原（今陕西铜川耀州区）人，宋代绘画大师。因为性情宽厚豁达，时人称之为“宽”，遂以范宽自名。范宽、董源、李成，并称“北宋三大家”。艺术成就使得范宽与李成齐名，并称“李范”，又与同为华原人的柳公权合称“柳范”。\n初学李成，后感悟“与其师于人者，未若师诸造化”，遂隐居终南、太华，对景造意，写山真骨，自成一家。其画峰峦浑厚端庄，气势壮阔伟岸，令人有雄奇险峻之感。用笔强健有力，皴多雨点、豆瓣、钉头，山顶好作密林，常于水边置大石巨岩，屋宇笼染黑色。作雪景亦妙。\n存世作品有《谿山行旅图》《雪山萧寺图》《雪景寒林图》等。\n2004年，美国《生活》杂志将范宽评为“上一千年对人类最有影响的百大人物”第59位。",[23,164,24,7,25,29,1813,132,128,27,663,1314,413,1337,1144,1556,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54eeadf145b59befb0339a43d1468bb6.jpg","31.6X422",[42,136],315,{"id":4051,"slug":4052,"title":4053,"dynasty":144,"author":4054,"museum":77,"description":4055,"tags":4056,"thumbUrl":4058,"material":317,"size":4059,"collection":136,"collections":4060,"showCount":4049,"zanCount":1116,"manualWeight":48,"mainColor":49},214732,"zhu-lin-mao-she-tu-guan-dao-sheng-214732","竹林茅舍图","管道升","管道升（公元665-744）是中国元代著名画家，代表作品有《竹林茅舍图》。《竹林茅舍图》是管道升的杰作之一，也是他最著名的作品之一。该画作描绘了一幅荒凉的竹林山水画，画中的茅舍与周围的竹林形成了鲜明的对比。画面中的茅舍虽然很小，但却被描绘得格外细腻，使得整幅画充满了生动的气息。管道升的《竹林茅舍图》被誉为元代山水画的巅峰之作，具有极高的艺术价值。",[23,24,7,128,4057,29,167,711,98,132,131,1645],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b847c8b0c63e3561ed3911f46fadb1.jpg","26x44cm",[136],{"id":4062,"slug":4063,"title":4064,"dynasty":144,"author":410,"museum":77,"description":411,"tags":4065,"thumbUrl":4066,"material":278,"size":84,"collection":84,"collections":4067,"showCount":4049,"zanCount":1998,"manualWeight":48,"mainColor":72},214567,"shan-shui-ce-10-wang-meng-214567","山水册-10",[24,7,59,128,132,29,99,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d6f01f557728430d33136d8c56a8203.jpg",[],{"id":4069,"slug":4070,"title":4071,"dynasty":124,"author":1438,"museum":205,"description":4072,"tags":4073,"thumbUrl":4075,"material":1223,"size":4076,"collection":68,"collections":4077,"showCount":4078,"zanCount":1116,"manualWeight":48,"mainColor":72},222557,"hua-hui-tu-ce-chen-chun-222557","花卉图册","此图册是陈淳晚年作品。卷尾自题“嘉靖庚子，余游玉山，过周氏六观草堂。主人出此册，具丹粉，欲图杂卉。留连累月，不觉盈帙，见者亦且以草本视之可也。道复志”。按照其生卒年推算， “嘉靖庚子” 陈淳应为58岁，此作亦为其是画风成熟之作。从其题跋可以得知陈淳游历数月，画作颇丰，认为此作为“草本”，可见其自觉并无刻意求工，描写大略而已。\n卷尾文彭题曰：“赵昌王友已无伦，更学徐熙更逼真。意到不论颜色似，笔端原有四时春。阅白阳杂花漫题。文彭。”充分体现了吴门花鸟画的文人雅趣，“意到不论颜色似”概括了文人写意的特征，而“漫题”也体现了题咏者的状态，反映出文人书画家的共同气质特点与审美追求。\n文人王穉登的题跋则突出了对陈淳花卉写生推崇与称赞。“写生贵在约略点染，天真烂如。不当以分葩计蕊为似，重丹叠翠为工。观此册陈道复先生所作，粉墨萧闲，意象自足，所谓千金骏骨，识者求之牝牡骊黄之外可也。”此段题跋强调了陈淳花卉写生最主要的特点，即约略点染，不求工细，而意象自足。\n卷尾的金农长跋也对陈淳“行笔绝无时蹊，设色亦未敷采炫目，画以意似而非以形似也”的风格进行梳理，论述了写意书写的源流。但这段题跋存在一些问题。其一，通篇书体较为拘谨，特别是每行末字，刻意缩减对齐，非常局促。其二，“后世临写纷纷，徒劳豪楮”中“豪”应为“毫”之误。此出自大文人之手，有些牵强。其三，“此册九叶，花草凡七，间以山水两帧。”所述并非此册，极有可能是将他处题跋移接此处所致。所以这段金农题字不足以为据，至于真伪原由的评断，是另外的话题。本文主要论及陈淳花卉写生的艺术特点，就不将此段金农的论述作为讨论的依据了。\n变化生动自然，是陈淳花卉写生的代表作。如果将此册置于陈淳传世花鸟画作品中做一纵向比对，可以发现其共性的特征集中体现在这件作品中，同时，这件作品还有一些不同于其他作品的独到之处，都统一在率意自足的书写风格之中。所以这件陈淳绘画风格成熟期的作品，总体来看，体现了陈淳如下几个方面的鲜明的艺术特点。",[23,24,7,61,59,369,128,27,62,263,229,624,4074],"兰草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917a3d7d0165dfb34ce3f2d19087dabb.jpg","32.5×57.3厘米",[68,45],314,{"id":4080,"slug":4081,"title":4082,"dynasty":54,"author":4083,"museum":20,"description":4084,"tags":4085,"thumbUrl":4087,"material":278,"size":4088,"collection":68,"collections":4089,"showCount":4078,"zanCount":1105,"manualWeight":48,"mainColor":72},214364,"duan-wu-tu-zhou-wang-shi-min-214364","端午图轴","王时敏","墨笔点染的花草疏密有致，剑形菖蒲叶挺拔劲健，似携端午驱邪的古意；蜀葵叶片浓淡相宜，花瓣柔婉舒展；百合与细碎小花点缀其间，姿态娇俏。线条勾勒细腻传神，枝叶脉络清晰可见，墨色层次丰富，从浓墨到浅灰过渡自然。文人意趣融于一花一叶，素净中透出盎然生机，淡雅间藏着温润诗意。无艳色却自具清幽之美，尽显传统花卉画的雅致情韵与端午时节的独特氛围，让人于素纸上感受到自然的生机与文化的绵长。",[23,164,24,7,165,128,27,61,28,62,230,549,1039,4086],"菖蒲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3414e2605b1e19c796fba5f04650202d.jpg","100.8x40.1",[68],{"id":4091,"slug":4092,"title":4093,"dynasty":54,"author":55,"museum":20,"description":4094,"tags":4095,"thumbUrl":4096,"material":40,"size":4097,"collection":84,"collections":4098,"showCount":4099,"zanCount":1086,"manualWeight":48,"mainColor":49},234922,"fu-chun-shan-tu-zhou-yun-shou-ping-234922","富春山图轴","图绘林木葱茂、山峦起伏的雄秀景色。此图是作者仿元黄公望《富春山图》画意之作，线条勾勒粗犷，笔势潇洒而秀润。淡墨皴染，墨色透明而不失凝重，显现出作者对黄氏笔墨技法的娴熟运用能力。",[24,7,165,128,132,29,34,131,31,35,98,2048],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e6255603844435afcc8c4427ea5fcc.jpg","纵168cm，横69.2cm",[],312,{"id":4101,"slug":4102,"title":4103,"dynasty":124,"author":3148,"museum":20,"description":4104,"tags":4105,"thumbUrl":4107,"material":4108,"size":4109,"collection":68,"collections":4110,"showCount":4099,"zanCount":1105,"manualWeight":48,"mainColor":49},222398,"gui-ju-shan-qin-tu-lv-ji-222398","桂菊山禽图","该画所绘主体花鸟：绶带鸟、八哥、桂花、秋菊，均属于祥瑞、珍贵之物，寓有富贵长寿和君子节操含意，内容明显地反映了皇家的艺术和审美旨趣。\n画中造型严密，布置合理，使鸟、树、花儿粗细两相映衬，而色彩的明艳夺目更是增加了该画的艺术气息。\n该画描绘的是秋天的情景，画中有一棵高大而茂盛的桂花树，树干苍健，树上绿叶茂密，桂花簇聚。\n桂树上栖落着几只八哥，有两只正隔着树枝对唱，一只正翘首远眺。\n在低一些的树枝上，有一只蓝色绶带正朝着树下鸣叫，它黑白相间的羽翼之间，长着蓝色的羽毛，嘴和爪子为红色。\n树下的三只绶带，正在争食一只草虫，它们翘起高高的羽翎。\n桂树下长着一些野草，还有一些形状各异的石头，石后几株菊花正开得鲜艳，颜色有红的、黄的、白的。\n明代画院花鸟画是以南宋院体为基础并发展的，讲究设色浓艳，笔势劲健且奔放，明代画家吕纪的《桂菊山禽图》就体现了这样的画风。\n吕纪工笔重彩花鸟画创作的时候，承袭五代 工整精细的画风， 在整体章法布局和背景树石用笔上，更多地接受了南宋 、 的影响，由此而逐渐形成了自己的风格特色，《桂菊山禽图》《山茶白鹇图》是其中的代表作。\n《桂菊山禽图》刻意精细，显然是奉召而作。\n《桂菊山禽图》中的物象真实地展现了生物的自然本性，也形象地表达了内涵的寓意。\n所绘主体花鸟：桂花、秋菊、八哥以及授带鸟，都是祥瑞吉庆之物、寓意着富贵长寿和君子的气节；殉丽的色泽与生动的景致，又营造出欢乐的气氛和华美的意境，明显地反映了皇家的艺术和审美旨趣。\n展开画轴，在画面的右下侧山石屹立，有的横卧，有的竖立，有一块较大的湖石，造型奇特，上大下小，山左倾斜，呈险势状；山石和土坡上点缀着花草、杂木；山石后有一簇盛开的菊花，山石旁有一棵老桂拔地而起，树干粗壮，长满了疤节，显然是一株老桂；树干向右斜倾，并将主干伸出画面之外，然后又从画外上方斜入画面右上部；另一枝杈，又从树干伸出向左上方，入画面中上部，这是妙笔，不但弥补了画幅左上端的空阙，而且对整个画面起到平衡作用。\n桂树花叶繁茂，树枝相互交错，错落有致，树枝上端繁花满枝，让人感到金桂的幽香阵阵，沁人心肺，与下端石旁盛开的各色菊花相互映发。\n由于一棵硕大桂树干重心偏向右侧，画家在构思上十分巧妙，将桂树向左倾斜伸出的枝权上安排了两只八哥，一只绶带鸟，用来平衡了画面。\n这两只八哥和右侧另一树枝上的一只八哥，翘着尾张嘴在树枝上叫鸣，遥相呼应，显得十分活泼，生动真切。\n画面左下角安排了一只绶带鸟，晃动着色彩艳丽的长尾，聚在坡间草丛中相互争食一只蚱蜢，显得热闹非凡。\n此画构图新颖，景物主要集中于画面右侧和下部，形成全幅构图既充实饱满，又疏密相间，景物配置得体，画幅左侧中部留有较大的空白，形成黑白强烈的对比。\n此画用笔秀劲，勾勒敷色，颇具功力。\n山石用斧劈皴。\n山石的笔法较为粗放，棱角方硬，具有立体感和质感。\n此画继承南宋院体中花鸟画法，工细中稍加放纵，形成精工富丽的艺术风格：细笔工绘，花、叶、鸟产生了强烈的对比；这种一工一写，相互映衬，达到粗细相间，却和谐统一，且显得自然生动：禽鸟造型准确，形象逼真，生动活泼，小趣盎然；设色方面，此图色彩浓重艳丽，厚重而无俗媚之气。\n绶带鸟斑斓的羽毛和艳丽的长尾，漂亮的红嘴，脚爪，描绘极为真实自然，色彩的深浅厚薄的变化，表现了羽毛的质感。\n八哥虽体以黑色为主，但却层次分明，活泼自然，生动毕肖，每一只八哥的神情刻画得特别贴切。\n花叶用石青染出，以浓淡分向背，极富有变化。\n作品的不足之处是八哥与绶带鸟之间缺少有机的联系。\n这反映了皇家贵胄多半要求画得繁多华丽的偏向，而宫廷画家不得不循以满足之。",[23,164,24,7,165,28,27,61,4106,376,211,171,2438,62,1400],"桂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8206d9ae1c5854baf1d866a01f8809e8.jpg","绢本工笔","纵192厘米，横107厘米",[68,45],{"id":4112,"slug":4113,"title":4114,"dynasty":18,"author":1449,"museum":2068,"description":4115,"tags":4116,"thumbUrl":4118,"material":514,"size":4119,"collection":42,"collections":4120,"showCount":4121,"zanCount":1086,"manualWeight":48,"mainColor":49},221184,"mei-hua-shuang-que-tu-ma-lin-221184","梅花双雀图","《中国历代精品梅兰竹菊(卷一):梅卷》介绍了梅花具有顶风凌雪、先春而发的高尚品格，颇可象征刚正忠贞、横而不流的人格，因此也就自然成为文人骚客反复咏叹的对象。\n在中国文学史上，对梅花的咏赞往往都寓托了作者深远的精神内涵，如陈同甫之诗云“疏枝横玉瘦，小萼点珠光”，是赞美梅花的清贵高古；陆放翁云“当年走马锦城西，曾为梅花醉似泥”，表达出对梅的喜爱之情已臻如痴如醉之境；谢枋得在抗元失败后，隐居武夷，作诗称“几生修得到梅花”，更是以梅花坚贞的品格自期。\n同样，在中国画创作中，梅也是一个重要的题材，它与兰、竹、菊合称为“四君子”。\n并逐渐成为中国花鸟画基本功训练的重要内容，尤其是在意笔花鸟画兴起之后，但凡有成就者，几乎没有不擅长梅、兰、竹、菊的。",[23,24,7,164,59,28,27,61,371,4117],"雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa49bdbf46314f2ed5ab10d9d675a4e7b.jpg","纵28厘米，横29厘米",[42,68,45],311,{"id":4123,"slug":4124,"title":4125,"dynasty":351,"author":1610,"museum":510,"description":4126,"tags":4127,"thumbUrl":4128,"material":151,"size":4129,"collection":136,"collections":4130,"showCount":4131,"zanCount":48,"manualWeight":48,"mainColor":49},221153,"xia-jing-shan-kou-dai-du-tu-juan-quan-juan-dong-yuan-221153","夏景山口待渡图卷全卷","《夏景山口待渡图》图中山势重叠，缓平绵长，植被丰茂，水汽若蒸，似江南夏日景色。起首处水面浩渺，扁舟隐现，中景山势重叠，林木疏朗挺直，竹丛杂处其间，茅屋隐约可见；卷末渡船未到，官客等待，点出主题。全图构思精细，设色雅淡，冈峦清润，林木秀密。技法上以披麻皴为主，多用苔点，色彩淡雅，为典型的江南山水",[23,24,164,7,25,29,99,129,34,1613,128,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1987f1d1f3d0d2e45e2314a9f565c70.jpg","纵50厘米，横320厘米",[136,117],309,{"id":4133,"slug":4134,"title":4135,"dynasty":124,"author":125,"museum":1941,"description":4136,"tags":4137,"thumbUrl":4138,"material":66,"size":4139,"collection":136,"collections":4140,"showCount":4131,"zanCount":1998,"manualWeight":48,"mainColor":49},219997,"fang-wang-meng-shan-shui-tu-shen-zhou-219997","仿王蒙山水图","沈周（1427～1509）明代杰出书画家。字启南，号石田、白石翁、玉田生、有居竹居主人等。汉族，长洲（今江苏苏州）人。生於明宣德二年，卒於明正德四年，享年八十三岁。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。传世作品有《庐山高图》、《秋林话旧图》、《沧州趣图》。著有《石田集》、《客座新闻》等。",[23,24,7,29,27,128,132,330,98,99,131,34,495,96,97,1023,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ee133c9090a1b144a80565865755e15.jpg","121.2 × 60.2 cm",[136,45],{"id":4142,"slug":4143,"title":4144,"dynasty":18,"author":1622,"museum":244,"description":4145,"tags":4146,"thumbUrl":4147,"material":173,"size":4148,"collection":136,"collections":4149,"showCount":4150,"zanCount":1086,"manualWeight":48,"mainColor":49},218286,"yue-ye-bo-ruan-tu-ma-yuan-218286","月夜拨阮图","淡墨晕染的远山如黛，似笼着一层薄纱，与昏黄天色相融成朦胧梦境。左侧山石嶙峋，几竿修竹斜逸而出，枝叶疏朗，墨线劲挺如剑。竹下茅舍半隐，一人凭栏拨阮，指尖流转间，琴声似随晚风漫过江面，与竹影婆娑和鸣。画面构图简括，以边角之景见天地辽阔，留白处尽是月夜空寂与悠远。山石用斧劈皴勾勒，笔触刚健；竹子笔法灵动，尽显生机；人物神态闲适，藏着文人清雅况味。整幅画于简约中蕴无限情韵，将月夜静谧与文人诗意诠释得淋漓尽致，是南宋山水小品的妙笔，尽显水墨写意的空灵之美。",[23,24,164,7,165,128,27,29,167,131,415,211,231,438,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe316cc25382668a97677ff3d3ec2d844.jpg","111.5x53.1cm",[136],308,{"id":4152,"slug":4153,"title":4154,"dynasty":18,"author":223,"museum":244,"description":1484,"tags":4155,"thumbUrl":1486,"material":173,"size":84,"collection":42,"collections":4156,"showCount":4157,"zanCount":1105,"manualWeight":48,"mainColor":49},220213,"mei-hua-shan-cha-tu-yi-ming-220213","梅花山茶图",[23,24,7,28,27,61,371,649,355],[42,68],307,{"id":4159,"slug":4160,"title":4161,"dynasty":54,"author":223,"museum":77,"description":4162,"tags":4163,"thumbUrl":4165,"material":173,"size":4166,"collection":68,"collections":4167,"showCount":4168,"zanCount":48,"manualWeight":48,"mainColor":49},216676,"long-bao-tu-yi-ming-216676","龙豹图","龙豹图是清朝时期的一幅画作，画中描绘了龙和豹子在一起的情景。这幅画通常被认为是一幅象征着力量、权威和尊严的画作。它的作者不详，因此被称为佚名。这幅画通常被收藏在博物馆或私人收藏家手中。",[23,164,24,7,27,28,128,772,4164,949,131,666,37],"豹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd29cbd30f1bf0791c595f6774cc1116d.jpg","87x82cm",[68],306,{"id":4170,"slug":4171,"title":4172,"dynasty":54,"author":4083,"museum":524,"description":4173,"tags":4174,"thumbUrl":4175,"material":66,"size":4176,"collection":45,"collections":4177,"showCount":4178,"zanCount":1998,"manualWeight":48,"mainColor":72},219998,"shan-shui-hua-fang-wang-meng-wang-shi-min-219998","山水画-仿王蒙","王时敏出身于仕宦之家，祖父王锡爵是万历内阁首辅大臣。由于父亲王衡早逝，而他又是独子，自小就是和祖父生活在一起。《国朝画征录》记载，王锡爵极为喜爱这个孙子，专心培养他的“好古之心”。王时敏在董其昌和陈继儒等的辅导下，绘技大进。董其昌把他视为南宗画派的不二继承人，“可备传灯一宗，真源嫡派”。王时敏受祖荫出仕后担任尚宝丞和太常寺少卿等官，降清后作为明朝的遗民，退隐山野，专心绘事。他继承和扩大了南宗画派影响，发展了清代绘画的笔墨，创建了著名的娄东画派，成为当时艺术界不可撼动的泰斗，被视为清代正统画派的开山鼻祖。",[24,7,29,128,132,330,663,413,131,331,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F141e072f99f2e84347ac1605ee180625.jpg","22.5x27.5",[45],305,{"id":4180,"slug":4181,"title":4182,"dynasty":18,"author":915,"museum":300,"description":4183,"tags":4184,"thumbUrl":4185,"material":84,"size":84,"collection":84,"collections":4186,"showCount":4187,"zanCount":1105,"manualWeight":48,"mainColor":49},227973,"guo-shu-lai-qin-tu-ye-lin-chun-227973","果熟来禽图页","设色清润柔和，工细写实，将秋日枝桠间的小景勾勒得鲜活灵动。饱满的海棠果粉白晕染如凝脂，带着熟透的温润质感，叶片或舒展或蜷曲，虫蚀残痕都细腻入微，尽摹自然生趣。娇俏禽鸟侧身栖于细枝，绒毛细密蓬松，圆目灵动似在细听秋声，姿态悠然闲适。\n\n全画无繁复构图，却以精妙笔触将蔬果禽鸟的神韵刻画尽致，把寻常秋意酿成隽永诗意，于方寸间尽显雅致空灵的田园意趣，融写生工致与文人雅韵为一体，静逸鲜活，尽显独有的雅致审美。",[23,164,24,7,59,28,27,61,2037,1400,2438,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0a8fd70bb850781c10c7ecb22f43905.jpg",[],304,{"id":4189,"slug":4190,"title":4191,"dynasty":54,"author":1952,"museum":1376,"description":4192,"tags":4193,"thumbUrl":4194,"material":4195,"size":4196,"collection":68,"collections":4197,"showCount":4187,"zanCount":11,"manualWeight":48,"mainColor":49},223166,"he-tang-yuan-yang-tu-shen-quan-223166","荷塘鸳鸯图","夏天，荷花风光，荷叶盛开，老嫩枯萎，随风飘扬，荷花枝叶高高突出。\n荷花或盛开，或抱以待放。 淡黄色的太阳花瓣，粉红色的花瓣，娇嫩多彩，倒映着水花和芬芳的花瓣。\n水中的鸳鸯成双成对，在花间的叶子底下嬉戏玩耍。 发色抢眼，华丽，勾勒出画面。\n喜鹊在空中栖息飞翔，盘旋三圈，与莲花杆上的三人和声合唱。",[23,24,7,164,165,28,27,61,81,82,1857,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f8825b07bf8e459260b47a52535640.jpg","绢本，立轴，设色","187x105.2",[68,45],{"id":4199,"slug":4200,"title":4201,"dynasty":980,"author":1687,"museum":1688,"description":4202,"tags":4203,"thumbUrl":4205,"material":84,"size":84,"collection":84,"collections":4206,"showCount":4187,"zanCount":48,"manualWeight":48,"mainColor":72},220497,"zhang-da-qian-lin-mo-dun-huang-bi-hua-chu-tang-ji-le-pu-sa-si-shen-xiang-zhang-da-qian-220497","张大千临摹敦煌壁画初唐伎乐菩萨四身像","四身伎乐菩萨环立莲台，眉目温婉静穆，气韵安然祥和。诸人各执乐器，或按排箫、或拨琵琶、或持拍板、或摇铃鼓，神态各殊却皆浸在丝竹雅韵之中。\n\n画作敷色浓烈妍丽，朱砂石青交相辉映，承袭初唐敦煌壁画的富丽厚重。铁线描勾勒衣袂婉转流动，晕染沉实细腻，精准复刻出古壁画的庙堂质感，将盛唐伎乐的雍容之美凝于绢上，让千年敦煌的梵音雅乐跃然眼前。",[23,24,7,330,1692,28,27,187,96,4204,438],"菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F203948a899df0e2d4917b8f5c73e4421.jpg",[],{"id":4208,"slug":4209,"title":4210,"dynasty":18,"author":223,"museum":244,"description":4211,"tags":4212,"thumbUrl":4214,"material":173,"size":84,"collection":44,"collections":4215,"showCount":4187,"zanCount":1086,"manualWeight":48,"mainColor":956},216983,"yu-lan-guan-yin-tu-yi-ming-216983","鱼篮观音图","鱼篮观音图是宋代佚名画家的作品，其中描绘了观音菩萨手持鱼篮的场景。观音菩萨是佛教中的一位观世音，被认为能够拯救苦难的众生。鱼篮观音图通常被用作冥想祈福的辅助图片，并且也被认为具有招财进宝的功效。这幅画作品流传至今，并且在许多佛教寺庙中都可以看到。",[24,7,164,165,187,96,28,27,208,4213],"鱼篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda6e54f1af2dc55c1055152c478f86c4.jpg",[44],{"id":4217,"slug":4218,"title":4219,"dynasty":18,"author":686,"museum":244,"description":4220,"tags":4221,"thumbUrl":4222,"material":611,"size":4223,"collection":42,"collections":4224,"showCount":4225,"zanCount":1998,"manualWeight":48,"mainColor":49},221383,"lin-liu-du-zuo-tu-zhou-fan-kuan-221383","临流独坐图轴","这幅画沿袭北宋雄伟山水的传统：主山位在画幅的中央上端，两侧罗列次要的山峰，以溪谷、河流、桥梁、云烟显示深而远的空间。临流独坐岸边的士人，点出画的主题，与巨大的山石相比，人物如此渺小而且不明显，表现了北宋传统的自然观。\n在范宽的《溪山行旅图》和郭熙的《早春图》中，看到的点景人物，都是市井小民，在写“真山水”的观念下，北宋山水画家很自然的将观察到的寻常百姓的生活描写入画。十一世纪后期，士大夫与文人成为政府与社会的中坚，领导文学艺术的发展，文人或隐士的理想开始在诗歌、书法与绘画中反映出来，陶渊明《归去来辞》的名句：“登东皋以舒啸，临清流而赋诗，聊乘化以归尽，乐夫天命复奚疑。”曾经是十一世纪末北宋画家喜爱的题材，或者也是这幅画的灵感来源。所以岸边简陋的茅草屋和水榭是这位归隐士人的居所，陪伴他的是深林巨嶂，孤舟木桥，一个远离尘嚣的自然世界。画幅上端十则明人的题诗，就是围绕着这个主题，描写这幅画带给他们的感受。",[23,24,7,164,165,29,99,96,34,497,132,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ed1c3e18f130c28f61bb202a5396d3.jpg","156.1x106.3cm",[42,117],303,{"id":4227,"slug":4228,"title":4229,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":4230,"thumbUrl":4231,"material":692,"size":1293,"collection":84,"collections":4232,"showCount":4233,"zanCount":1105,"manualWeight":48,"mainColor":72},239431,"hua-niao-ce-yun-shou-ping-239431","花鸟册",[24,7,59,27,60,61,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5391d418d6a9273a2cb10bd932c4d201.jpg",[],302,{"id":4235,"slug":4236,"title":4237,"dynasty":18,"author":1622,"museum":244,"description":4238,"tags":4239,"thumbUrl":4242,"material":278,"size":84,"collection":42,"collections":4243,"showCount":4233,"zanCount":1116,"manualWeight":48,"mainColor":49},220194,"song-xi-qing-tiao-tu-ma-yuan-220194","松溪清眺图","马远，祖籍河中（今山西永济），“靖康之变”北宋灭亡后，马远的祖父马兴祖随着宋高宗赵构南渡，因此马远是在南宋的都城临安（今浙江杭州）出生长大的。他的生卒和详细经历，很难查考。曾为南宋光宗、宁宗两朝（约1190年－1224年）的画院待诏。",[23,164,24,7,128,1349,132,4240,372,4241,663,130,664,228,1314,34,499,497],"边角构图","溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf758ab459e20e424815729b0992857f.jpg",[42,136],{"id":4245,"slug":4246,"title":4247,"dynasty":18,"author":3110,"museum":244,"description":4248,"tags":4249,"thumbUrl":4254,"material":278,"size":4255,"collection":68,"collections":4256,"showCount":4233,"zanCount":11,"manualWeight":48,"mainColor":72},218756,"xie-sheng-hua-niao-tu-mu-xi-218756","写生花鸟图","这是一幅水墨画，画的是各种花卉、果蔬、飞禽走兽，并绘有草、坡、竹、石。用墨精到，造型准确。与北京故宫收藏的宋代百花长卷相比，水墨画更显从容，为元代王瑞雪和明代林良的水墨画打开了大门。",[23,24,7,25,128,2166,369,61,62,4250,167,168,263,2059,355,4251,4252,2750,841,4253,373,209,374],"蔬果","白菜","萝卜","葱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F319f1d586ad6d8f701799388a3a2ded1.jpg","44.5x1017.1cm",[68],{"id":4258,"slug":4259,"title":4260,"dynasty":54,"author":55,"museum":244,"description":261,"tags":4261,"thumbUrl":4262,"material":173,"size":265,"collection":84,"collections":4263,"showCount":4233,"zanCount":1086,"manualWeight":48,"mainColor":72},214304,"mu-dan-ce-2-yun-shou-ping-214304","牡丹册-2",[164,24,7,28,27,59,61,263,2918],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88c4f68ab97598a41c207c5c41a0ddba.jpg",[],{"id":4265,"slug":4266,"title":4267,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":4268,"thumbUrl":4269,"material":692,"size":1293,"collection":84,"collections":4270,"showCount":4271,"zanCount":1105,"manualWeight":48,"mainColor":72},290526,"hua-hui-zhou-yun-shou-ping-290526","花卉轴",[164,24,7,165,27,28,61,263,356,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F060eeb289a0dda1a06b4c11a188ac1f7.jpg",[],301,{"id":4273,"slug":4274,"title":4275,"dynasty":144,"author":287,"museum":244,"description":4276,"tags":4277,"thumbUrl":4286,"material":151,"size":4287,"collection":42,"collections":4288,"showCount":4271,"zanCount":975,"manualWeight":48,"mainColor":72},221708,"hua-cao-mi-feng-qian-xuan-221708","花草蜜蜂","早晨披衣晨起，气温已升高，只有些微凉意。春天所剩只有两日，人生恨不得能大醉千百场。芳草随着渐行渐远的旅人连绵到天涯，柳丝百丈，也比不得旅人的愁闷那么长。花花朵朵已经没有了，但还有几分春色被蜜蜂藏起了蜂蜜里。\n烂醉恨无千百场：苏轼有词：百年里，浑教是醉，三万六千场。\n这首诗作于嘉泰元年（1201），作者时在山阴。",[23,24,164,27,28,4278,4279,229,61,7,4280,4281,4282,62,806,131,4283,4284,4285,666,623],"花草","蜜蜂","设色花鸟","工笔花鸟","元代绘画","传统绘画","工笔设色","花鸟题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd7df0fb4cdfe9a940d95305f727f55.jpg","26.6x23cm",[42,68,45],{"id":4290,"slug":4291,"title":4292,"dynasty":124,"author":204,"museum":244,"description":4293,"tags":4294,"thumbUrl":4296,"material":637,"size":4297,"collection":68,"collections":4298,"showCount":4299,"zanCount":1086,"manualWeight":48,"mainColor":72},222200,"shui-xian-la-mei-zhou-chou-ying-222200","水仙蜡梅轴","本幅画水仙两本，蜡梅一枝，以勾勒填彩法成之，着意无多，而清丽雅澹之韵，盎然绢素，乃仇英之精者，款书十五字，出项元汴手笔。此图另存一幅，现流传于国外。",[23,24,7,165,28,27,61,374,4295,208],"蜡梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16cf1c9094975ec18e1391b0dc61eace.jpg","195.8x44厘米",[68,45],300,{"id":4301,"slug":4302,"title":4303,"dynasty":182,"author":994,"museum":1941,"description":4304,"tags":4305,"thumbUrl":4307,"material":173,"size":4308,"collection":44,"collections":4309,"showCount":4299,"zanCount":1014,"manualWeight":48,"mainColor":49},219044,"nei-ren-shuang-lu-tu-zhou-fang-219044","内人双陆图","该画描绘了唐装贵族妇女以棋戏消遣的生活。图中间为二盛装贵族妇女对坐行棋，左右有亲近观棋，侍婢应候。",[23,24,7,25,28,27,96,166,170,4306],"博弈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc354550c4476e6ac7c7f894f8e14d12.jpg","纵30.7厘米，横64.4厘米",[44],{"id":4311,"slug":4312,"title":4313,"dynasty":54,"author":2640,"museum":300,"description":4314,"tags":4315,"thumbUrl":4316,"material":84,"size":84,"collection":68,"collections":4317,"showCount":4318,"zanCount":1105,"manualWeight":48,"mainColor":72},224369,"hua-hui-qi-shi-ce-shi-er-kai-ju-lian-224369","花卉奇石册-十二开","此作以玲珑拳石为视觉中心，通透窍洞破开画面虚实，石上草虫振翅欲飞，翅脉纤毫毕现，将微末生机藏于静境之中。\n\n石畔幽花柔叶舒展，细茎擎着星状小花，素白鹅黄点缀苔痕苍润的坡岸，淡赭底色晕开旧绢的温雅质感。画作以没骨之法写就，敷色清妍秀润，奇石以淡墨勾形再晕染石色，苍润古拙不凝滞。\n\n静石、幽花与小虫相映成趣，将岭南边角野景的清逸意趣晕染尽致，淡远恬和间尽显小品雅致，把寻常小景升华为充满生机的清雅画境，藏着独属于晚晴的细腻闲情。",[23,24,7,164,59,28,27,171,62,806,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ee4772b0b0bf227b89265b6f3697b9a.jpg",[68,45],299,{"id":4320,"slug":4321,"title":4322,"dynasty":980,"author":3539,"museum":1688,"description":4323,"tags":4324,"thumbUrl":4326,"material":84,"size":84,"collection":84,"collections":4327,"showCount":4328,"zanCount":1998,"manualWeight":48,"mainColor":72},220522,"xu-bei-hong-xiong-ji-tu-zhou-xu-bei-hong-220522","徐悲鸿雄鸡图轴","此作以大写意落笔，雄鸡身姿轩昂抖擞，红冠如灼灼丹火，浓墨泼就的翎羽苍劲如铁，留白晕出颈腹白羽，浓淡相生尽显神采。利爪紧扣崖岩，似将引吭长鸣，尽显昂扬不屈的气魄。\n\n崖石以淡赭泼染，枯笔勾皴出嶙峋质感，间杂数丛浅绿新篁，柔枝衬出顽石刚劲，刚柔相济。整幅画作笔力爽利简练，形神兼备，将雄鸡的英武风骨跃然纸上，寄寓着浩然正气，寥寥数笔便勾勒出禽石相融的生机，尽显写意花鸟的精妙意趣。",[23,24,7,165,128,27,61,4325,167,208],"雄鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe115ec61c0c6ef5f425bf65a2f50841a.jpg",[],298,{"id":4330,"slug":4331,"title":4332,"dynasty":124,"author":4333,"museum":300,"description":4334,"tags":4335,"thumbUrl":4336,"material":84,"size":84,"collection":84,"collections":4337,"showCount":4338,"zanCount":1116,"manualWeight":48,"mainColor":72},230882,"lan-hua-tu-zhou-zhou-tian-qiu-230882","兰花图轴","周天球","《明陈元素兰花图轴》是明朝陈元素所创作的画作。\n陈元素，生卒年不详，字古白，长洲(今江苏苏州)人。\n早负才名，工诗文、书画。\n擅山水，尤善墨兰。\n此画兰叶偃仰，墨花横溢，超然出尘，得文徵明之秀媚，而更气厚力沉。\n明谓王榖祥、周天球所不及。",[164,24,7,165,128,375,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c31f43667a27327d9f6e11d682c75a8.jpg",[],296,{"id":4340,"slug":4341,"title":4342,"dynasty":54,"author":3403,"museum":300,"description":3997,"tags":4343,"thumbUrl":4344,"material":1223,"size":84,"collection":68,"collections":4345,"showCount":4338,"zanCount":1998,"manualWeight":48,"mainColor":72},224224,"shen-xiang-ting-mu-dan-tu-wu-chang-shuo-224224","沈香亭牡丹图",[23,24,7,165,27,369,61,263,376,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c9d82e7f776cb18bd2518ac5c4a852.jpg",[68,45],{"id":4347,"slug":4348,"title":4349,"dynasty":144,"author":4350,"museum":2068,"description":4351,"tags":4352,"thumbUrl":4353,"material":151,"size":4354,"collection":68,"collections":4355,"showCount":4356,"zanCount":738,"manualWeight":48,"mainColor":72},221703,"lan-tu-xue-chuang-221703","兰图","雪窗","简洁而秀逸的兰花，生于幽谷，遗世独立，清雅高洁。在历朝历代文人雅士的笔下，以兰花为表现对象的作品比比皆是。 画兰究竟始于何时已无法考证。《全唐诗》载有牟融《山寺律僧画兰竹》诗。查阅 唐宋绘画史专著，未见有关唐宋画家画兰的记载。史传宋杨补之画过兰花，但作品没有流传下来。有作品流传的画兰名家，当以徐禹功、赵孟坚、郑思肖为最早。其次如赵孟頫、赵雍、王英孙、释道隐、释明雪窗、李至规等亦擅画兰。\n释明雪窗 （？－约1352），元代僧人，画家，以画兰花闻名于世。俗姓曹，号雪窗，法号普明，通称明雪窗，松江（今属上海市）人，在平江出家。至元四年（1338）曾为平江虎丘云岩寺主持，后改为承天能仁主持。精于针灸，擅画兰。与释柏子庭齐名，时称“家家恕斋（班惟志）字，户户雪窗兰”。\n四海出家，同称释氏，中国佛教的出家人都姓释迦牟尼的“释”。在中国美术史上，都把这位元代画兰高僧称为“释明雪窗”，其实应该和石涛、髡残一样，把他称为“明雪窗”。雪窗和尚的画和他的名字一样，在今天鲜为人知，但在大师辈出的元代，雪窗和尚的兰花可谓是家喻户晓，我们无法想象“家家恕斋字，户户雪窗兰”所描述的是一种怎样的景象。\n元人孔齐撰《至正直记》（又名《静斋至正直记》、《静斋类稿》）是作者避兵四明时写的一部见闻杂记，内容包括当时政治、经济状况，器物制作情况，文学、艺术成就和当时的人文社会习俗，是一部很有资料价值的笔记。《至正直记》卷二有《画兰法》一文，记载了一位名叫郎玄隐的道士向孔齐传授明雪窗画兰技法，这些方法和今天画兰教科书里的方法并无二致。",[23,24,7,128,61,375,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c046834cdc068347a37c68ff699feb.jpg","32.9 36.0",[68,117],295,{"id":4358,"slug":4359,"title":4360,"dynasty":124,"author":204,"museum":244,"description":4361,"tags":4362,"thumbUrl":4365,"material":173,"size":4366,"collection":45,"collections":4367,"showCount":4356,"zanCount":1116,"manualWeight":48,"mainColor":49},219320,"chun-shan-yin-shang-zhou-chou-ying-219320","春山吟赏轴","此图绘溪山胜景，高士游春。虽是青绿之作，不见富贵，唯有逸气绕耳目，学赵伯驹，仇英得其韵矣。",[24,7,165,27,28,132,29,96,130,34,495,131,499,758,4363,496,4364],"柳树","春景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7562c788ce2b4470b544a9e0121bd8b5.jpg","157.5x63.2",[45],{"id":4369,"slug":4370,"title":4371,"dynasty":54,"author":55,"museum":244,"description":261,"tags":4372,"thumbUrl":4373,"material":173,"size":265,"collection":84,"collections":4374,"showCount":4356,"zanCount":1998,"manualWeight":48,"mainColor":72},214299,"mu-dan-ce-8-yun-shou-ping-214299","牡丹册-8",[24,7,59,27,60,61,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b8f834fe87b3d9965aaf66b4aec7480.jpg",[],{"id":4376,"slug":4377,"title":4378,"dynasty":124,"author":3089,"museum":20,"description":4379,"tags":4380,"thumbUrl":4381,"material":40,"size":4382,"collection":68,"collections":4383,"showCount":4384,"zanCount":11,"manualWeight":48,"mainColor":49},221941,"zhu-he-tu-zhou-bian-wen-jin-221941","竹鹤图轴","图中一对仙鹤姿态优雅，轩昂高洁，在翠竹间怡然自得。画家以工细的笔法描绘仙鹤的形象，高超的技法使笔触融汇于物象之中，仙鹤洁白轻盈的羽毛片片分明，好似浮在画面之上，令观者屏息凝神。仙鹤的头颈与尾羽处则用重墨，再加上鹤顶的一点丹红，格外醒目。画竹以墨笔双勾再施色彩。全幅设色对比鲜明，整体画风是边景昭的典型风格，承继了五代黄筌以及宋代画院花鸟画的富贵品貌，带有浓郁的宫廷气息。",[23,164,24,7,165,28,27,61,167,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed729de72a5a8f756cc02b29a5044bdd.jpg","纵180.4厘米，横118厘米",[68,45],294,{"id":4386,"slug":4387,"title":4388,"dynasty":124,"author":125,"museum":424,"description":4389,"tags":4390,"thumbUrl":4391,"material":4392,"size":4393,"collection":136,"collections":4394,"showCount":4395,"zanCount":1116,"manualWeight":48,"mainColor":72},222133,"qing-yuan-tu-juan-shen-zhou-222133","青园图卷","《明沈周青园图》现藏于旅顺博物馆，此图绘湖山秋色，为沈周传世珍品。该图结构严整均衡，局部富于穿插变化，使画面景物参差有致，一派清幽逸趣。在用笔上，该图多用秃笔中锋，将勾、皴、擦、点有机配合，实中求虚。",[23,24,7,25,128,132,64,208,29,35,276,34,98,99,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923acb9824eda51981b302865ea46a85.jpg","纸本水墨淡着色","画心纵29.1、横188.7厘米",[136,45],293,{"id":4397,"slug":4398,"title":4399,"dynasty":144,"author":1208,"museum":244,"description":4400,"tags":4401,"thumbUrl":4402,"material":278,"size":4403,"collection":68,"collections":4404,"showCount":4395,"zanCount":1116,"manualWeight":48,"mainColor":72},218666,"zhu-zhi-ni-zan-218666","竹枝","竹枝以中锋铁线勾勒，瘦劲如屈铁，竹叶疏疏落落，墨色清润中见骨力。枝干挺拔却不僵滞，叶片似含风微动，寥寥数笔便逸气横生。右侧题跋与竹影相映，书法萧散古雅，笔墨与文字浑然一体，尽显文人画“书画同源”之妙。画面留白空灵，古纸的淡褐底色衬得竹影愈发清寂，仿佛风过竹梢的轻响穿透纸面，窥见画家淡泊孤高的心境——不逐繁艳，独守疏朗，以极简之笔写尽竹之神韵与文人风骨。",[23,24,7,59,128,188,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ec0cb571fce64d130bde86f086a5564.jpg","55.1x31.8cm",[68],{"id":4406,"slug":4407,"title":4408,"dynasty":144,"author":410,"museum":77,"description":411,"tags":4409,"thumbUrl":4410,"material":278,"size":84,"collection":84,"collections":4411,"showCount":4395,"zanCount":48,"manualWeight":48,"mainColor":72},214568,"shan-shui-ce-9-wang-meng-214568","山水册-9",[24,7,128,132,59,29,98,99,34,131,496,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F577bb7f080f7a1cc56e6588d150fe042.jpg",[],{"id":4413,"slug":4414,"title":4415,"dynasty":54,"author":1472,"museum":300,"description":4416,"tags":4417,"thumbUrl":4418,"material":692,"size":1293,"collection":68,"collections":4419,"showCount":4420,"zanCount":1086,"manualWeight":48,"mainColor":72},239446,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239446","邹一桂花鸟草虫图册","邹一桂（1688-1772），清代画家。字元褒，号小山、二知、让卿、乡森子，江苏无锡人。雍正五年(1727)进士，官至礼部侍郎。擅工笔花卉。尝作《百花》卷，各系一诗。传世作品有《白梅山茶图》、《太古云岚图》、《水仙红梅图》等。",[24,164,7,59,28,27,371,355,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F031b48b273c29caa21ee18f0cd382bb4.jpg",[68,45],292,{"id":4422,"slug":4423,"title":4424,"dynasty":144,"author":1208,"museum":20,"description":4425,"tags":4426,"thumbUrl":4427,"material":1722,"size":4428,"collection":117,"collections":4429,"showCount":4430,"zanCount":1998,"manualWeight":48,"mainColor":72},220804,"zhu-zhi-tu-juan-ni-zan-220804","竹枝图卷","倪瓒的《清閟阁全集》卷九中有一段著名的《跋画竹》：“……余之竹聊以写胸中逸气耳，岂复较其似与非，叶之繁与疏，枝之斜与直哉！或涂抹久之，它人视以为麻为芦，仆亦不能强辩为竹，真没耐览者何……”。观此图，竹干与枝节形态宛然，竹叶偃仰疏密布置得当，生意十足，可知作者并非真的不求形似，而是在形似的基础上进一步强调神似，追求笔墨的逸趣，并借以抒发自己的心性。正如倪瓒自己所说：“下笔能形萧散趣，要须胸次有筼筜！”图中用笔峭劲灵动，似懒实苍，实已得墨竹画萧散清逸的旨趣。只有真正做到“胸中有成竹”并辅以高超的笔墨技巧，才能创作出如此优秀的艺术作品。",[23,164,24,7,25,128,167,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41d030d476c04d5be58a178a4a413fb1.jpg","纵34厘米，横76.4厘米。",[117,1670],291,{"id":4432,"slug":4433,"title":4434,"dynasty":124,"author":125,"museum":224,"description":4435,"tags":4436,"thumbUrl":4439,"material":3544,"size":4440,"collection":136,"collections":4441,"showCount":4442,"zanCount":1105,"manualWeight":48,"mainColor":72},222100,"si-song-tu-ce-ye-shen-zhou-222100","四松图册页","四松图册页》画的是山野小景，虽然画面的中央是四棵形态各异的松树，但仔细观察会发现画的左下角杂树掩映之下，有小径通向人家。也正是这幽径人家，给充塞画面的寂静山野增添了活力。整幅作品分三个层次，前景是松树和人家，中景是以墨笔勾皴的浅绛山石，远景是以没骨法描绘的远山。从山石的画法看，既不属于前期的“细沈”，亦不属于晚年的简约“粗沈”，风格介乎二者之间。皴法以短披麻皴为主，有王蒙牛毛皴的影子。墨笔为主的整体基调，间以淡赭和花青点染，营造出视觉上很舒服的隽雅格调。",[23,164,24,7,4437,2132,128,132,29,1144,131,4438,496,369],"册页","林木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8a9aeacd8f3be7883b8b8e7a825467d.jpg","纵154厘米，横60.39厘米",[136,45],290,{"id":4444,"slug":4445,"title":4446,"dynasty":124,"author":4447,"museum":450,"description":4448,"tags":4449,"thumbUrl":4450,"material":173,"size":84,"collection":44,"collections":4451,"showCount":4442,"zanCount":11,"manualWeight":48,"mainColor":49},219556,"shi-nv-tu-jiang-gan-219556","仕女图","蒋干","春日深苑里，梅枝斜曳绽蕊，古殿檐角隐在花影后。两名仕女缓步游园，前者抬臂探花，似贪嗅浅淡春芳，后者抬手理鬓，眼波追随着花枝流转。\n\n衣纹以淡墨轻勾，敷色清妍柔润，朱红飘带轻垂摇曳，衬出仕女柔婉窈窕的身姿。山石花木晕染雅致，淡赭底色晕开暮春慵柔氛围，笔意秀逸灵动，将深闺仕女娇柔娴静的游园意趣藏在每一处笔触间，尽显清丽隽秀的古典风韵，把春日闲淡雅致的闺中情态铺陈得动人缱绻。",[23,24,7,165,28,27,96,166,997,650,97,4278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a387652910225c3f68016cca938aa4e.jpg",[44,45],{"id":4453,"slug":4454,"title":4455,"dynasty":351,"author":4456,"museum":244,"description":4457,"tags":4458,"thumbUrl":4460,"material":173,"size":4461,"collection":44,"collections":4462,"showCount":4463,"zanCount":1105,"manualWeight":48,"mainColor":49},219691,"he-ting-yi-diao-shi-nv-tu-zhou-wen-ju-219691","荷亭弈钓仕女图","周文矩","画亭榭临池，前後碧柳四垂，二女亭中对奕。亭外池荷盛开，翠叶田田。仕女或倚栏垂钓或持扇观荷，一派夏日悠闲景象。通幅屋界、衣饰刻画精细，粉花绿叶著色清丽，本幅旧传为南唐周文矩之作，唯笔墨、器用皆显露出明清习气。",[23,24,164,7,165,28,27,96,166,130,81,97,4363,1200,249,4459],"弈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe978a3e1bcbd02719a386cfad2d3d42b.jpg","195.1x98厘米",[44],287,{"id":4465,"slug":4466,"title":4467,"dynasty":54,"author":4468,"museum":244,"description":4469,"tags":4470,"thumbUrl":4473,"material":27,"size":4474,"collection":84,"collections":4475,"showCount":4476,"zanCount":1998,"manualWeight":48,"mainColor":72},222738,"xian-e-chang-chun-tu-huang-ci-me-yu-yu-er-mu-dan-lang-shi-ning-222738","仙萼长春图黄刺么与鱼儿牡丹","郎世宁","本册共十六开内容分别描绘牡丹、桃花、芍药、海棠玉兰、虞美人、蝴蝶花、黄刺玫牡丹、石竹、樱桃、罂粟、紫白丁香、百合花牡丹、翠竹牵牛、荷花慈姑花、豆花稷穗、鸡冠花、菊花等，其中有八开还画有鸟禽，整册内容与《石渠宝笈三编》著录之〈郎世宁画花卉册〉一致，对幅皆是空白，而最末一开有宋体书款「臣郎世宁恭画」，依据画风特色推测是郎世宁雍正时期的花鸟佳作。全册不仅设色精緻，构图手法也见新意。特别能于鸟禽形体姿态上有超乎传统的表现，是西法透视手法的精采成果。画中花鸟多处能够显示光影明暗，透过白色颜料提点高光的技巧也常见运用。整册画风都一再显示其与郎世宁雍正前期画风有关。",[23,164,24,7,59,27,28,61,4471,4472,211,624],"黄刺玫","鱼儿牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d5d6ad2b6dcc4434e46f4033608090.jpg","宽28.4公分，高33.7公分",[],286,{"id":4478,"slug":4479,"title":4480,"dynasty":18,"author":4481,"museum":4482,"description":4483,"tags":4484,"thumbUrl":4485,"material":173,"size":4486,"collection":136,"collections":4487,"showCount":4476,"zanCount":738,"manualWeight":48,"mainColor":72},218391,"xiao-xiang-ba-jing-jiang-tian-mu-xue-wang-hong-218391","潇湘八景-江天暮雪","王洪","美国普林斯顿大学美术馆","此图淡墨轻岚，诗意优扬。其“江天暮雪”辽阔的水域占了书面的二分之一左右，近景的坡石和远方的山影仿佛都被广袤白雪所覆盖，画面正偏左有几株树叶凋落的乔木，树丛间隐约可见屋宇，顺着树枝垂下的方向看，一个渔翁正瑟缩着坐在船首。画面不以留白取胜，而将渔翁置于千山万径之间，以天地之山巅，冰雪之苍凉，衬托渔翁之微小。",[23,24,164,7,128,132,29,413,37,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbf34dc75ca426d42b380e45a89f2a94.jpg","90.7×23.4厘米",[136],{"id":4489,"slug":4490,"title":4491,"dynasty":182,"author":223,"museum":20,"description":4492,"tags":4493,"thumbUrl":4496,"material":173,"size":4497,"collection":136,"collections":4498,"showCount":4476,"zanCount":48,"manualWeight":48,"mainColor":49},214258,"gong-yuan-tu-yi-ming-214258","宫苑图","宫苑图是一幅作者不详的唐代画作。这幅画作描绘了唐朝皇宫的生活。\n\n在这幅画作中，画家巧妙地捕捉了唐朝皇宫的繁华景象。他用浓墨重彩的画法，勾勒出了皇宫的宏伟建筑。他还用细腻的线条勾勒出了皇宫中各种活动的场面，让人感受到了唐朝皇宫的繁荣景象。\n\n此外，画家在这幅画作中还描绘了皇宫周围的景色。他用色彩丰富的画法，描绘了皇宫周围的山川和河流。这些景色与皇宫的宏伟建筑形成了鲜明的对比，让人感受到了自然与人类活动的和谐共存。\n\n总之，宫苑图是一幅精美的画作，描绘了唐朝皇宫的生活。它让我们感受到了唐朝皇宫的繁荣景象，也让我们感受到了唐朝文化的魅力。",[23,164,24,7,27,95,97,29,4494,96,4495],"宫苑","繁华","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f47a53857a3fc4ab82d75a1dd20f08.jpg","162.5×83.7",[136],{"id":4500,"slug":4501,"title":4502,"dynasty":54,"author":223,"museum":77,"description":4503,"tags":4504,"thumbUrl":4506,"material":173,"size":4507,"collection":68,"collections":4508,"showCount":4509,"zanCount":1105,"manualWeight":48,"mainColor":49},218955,"he-li-shi-zhu-tu-yi-ming-218955","鹤立石柱图","振翅的鹤，白羽层叠如凝雪，墨羽缀于翼尖似泼墨，长颈曲转间自有灵韵。双爪紧扣嶙峋石柱，石柱立于翻涌的浪涛之上，岩纹与水纹交织出苍劲古意。深褐底色衬得鹤羽愈发明净，动静相生间，似有清唳破风而来，尽显生灵与天地相融的傲然之态。笔意细腻处见羽毛纤毫，粗犷处显山石磅礴，于方寸间藏万千气象，足见匠心独运。",[24,7,28,27,165,211,722,171,4505,61],"波浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5174cd1ea8ffbe0f8da17cfa3f06a65b.jpg","171x89cm",[68],285,{"id":4511,"slug":4512,"title":2267,"dynasty":54,"author":4513,"museum":424,"description":4514,"tags":4515,"thumbUrl":4516,"material":278,"size":84,"collection":136,"collections":4517,"showCount":4509,"zanCount":1998,"manualWeight":48,"mainColor":72},214492,"fang-gu-shan-shui-tu-cheng-ting-lu-214492","程庭鹭","清代画家程庭鹭的仿古山水图是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了程庭鹭对自然的热爱和对传统文化的尊重。他运用了仿古山水画的特点，使得整件作品显得舒缓而优美。\n\n程庭鹭是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在仿古山水图中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，程庭鹭的仿古山水图是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了程庭鹭对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到程庭鹭的画风魅力，还能了解中国传统的山水风情。",[24,128,132,330,7,208,133,29,171,99,496,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0fa5973203512efafa690cc0c52a465.jpg",[136],{"id":4519,"slug":4520,"title":4521,"dynasty":54,"author":1460,"museum":300,"description":4522,"tags":4523,"thumbUrl":4524,"material":84,"size":84,"collection":84,"collections":4525,"showCount":4526,"zanCount":48,"manualWeight":48,"mainColor":72},229001,"jin-ling-sheng-ji-tu-ce-zhang-da-qian-ti-zhen-shi-tao-229001","金陵胜迹图册(张大千题)帧","此帧以淡赭晕染危崖，笔意简括古拙，衬出峭壁高峙之态。崖巅楼宇寥寥数笔，凭栏人影幽然，衬出山巅阒寂清旷。枯淡墨色点苔绘木，苍劲松灵，淡墨扫出空蒙天色，与赭色崖身相映，冷逸出尘。\n\n配行书题诗，诗书与画境相融，笔墨间浸透着清冷禅意，将冬初山阁清寂之景，与幽人寄怀合而为一，于尺幅间尽绘高旷出尘之致，尽显纵逸灵动的笔底才情，把山巅初消寒意的雅趣，晕染得淡远空灵，韵致悠长。",[23,164,24,7,59,27,132,208,64,29,97,413,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ddb8b7cfbb4648cbf6458bf7f8aaa0.jpg",[],284,{"id":4528,"slug":4529,"title":4530,"dynasty":54,"author":55,"museum":1185,"description":1186,"tags":4531,"thumbUrl":4532,"material":151,"size":4533,"collection":68,"collections":4534,"showCount":4526,"zanCount":1105,"manualWeight":48,"mainColor":72},220995,"hua-hui-tu-ce-tao-hua-yun-shou-ping-220995","花卉图册·桃花",[23,24,7,59,27,60,61,209,62,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb300ee60f9ba34664528d3e4e7228c38.jpg","每帧纵32.5厘米，横25.5厘米",[68,45],{"id":4536,"slug":4537,"title":4538,"dynasty":124,"author":223,"museum":2862,"description":4539,"tags":4540,"thumbUrl":4541,"material":173,"size":84,"collection":44,"collections":4542,"showCount":4526,"zanCount":738,"manualWeight":48,"mainColor":49},219589,"ying-wu-shi-nv-tu-yi-ming-219589","鹦鹉仕女图","仕女发髻簪饰精巧，面庞柔丽含笑，朱色坠耳衬出温婉气质。青缎衣衫间绣朱红云纹，腰束锦带垂曳飘饰，配色沉雅鲜亮，尽显裁衣考究。她抬臂托举鹦鹉，指尖轻拢衣袂，姿态娴静柔缓。\n\n掌间鹦鹉翎羽红绿相映，灵动鲜活，将闺中女子的悠然与小生灵的俏皮相融。古绢底色晕染出岁月厚重，笔触工细写实，把深闺日常的闲雅意趣，藏在眉眼笑意与禽鸟互动间，静中生趣，尽显古典仕女画含蓄柔美的意蕴风骨。",[24,7,164,165,28,27,96,166,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46f589fcafbb38f6a42e918129a45e1a.jpg",[44,45],{"id":4544,"slug":4545,"title":4546,"dynasty":54,"author":4468,"museum":20,"description":4547,"tags":4548,"thumbUrl":4549,"material":40,"size":4550,"collection":44,"collections":4551,"showCount":4552,"zanCount":1998,"manualWeight":48,"mainColor":4553},222771,"ping-an-chun-xin-tu-li-zhou-lang-shi-ning-222771","平安春信图立轴","图绘在青竹、寒梅以及湖石点缀的田园环境中，两位身着汉装的男子正在以梅枝相递送，其典雅高贵的举止与优雅的环境相得益彰，情景交融之中加深了画意。\n《平安春信图》寓意吉祥，父子二人品竹赏梅，充满了浓郁的生活气息，画家以写实的手法表现了年少皇子睿智的目光，以及他与父皇融融的亲情。让人体会到严肃的宫廷生活中也有寻常百姓家的天伦之乐。\n这幅肖像，是作者参酌中法的新式肖像画，作者巧妙地将中西画融合在一起，产生出中西合璧的佳作。对人物的刻画细致入微，尤其两人面部表情的刻画，即将一老一少的不同面容能准确真实地表现出来，说明画家具有细致的观察能力和写实的功力。\n翠竹及人物面部以西画笔法，刻画入微，作品用色泽的深浅浓淡来表现人物的五官，立体感十足。而衣纹却用中国传统的笔墨勾线，加以晕染，亦显质感。",[23,24,164,7,165,27,28,96,167,171,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d5a33b3478bd6f01524150db632d534.jpg","纵68.8厘米，横40.8厘米",[44,45],283,"2A56C6",{"id":4555,"slug":4556,"title":4557,"dynasty":18,"author":397,"museum":20,"description":4558,"tags":4559,"thumbUrl":4560,"material":151,"size":4561,"collection":42,"collections":4562,"showCount":4552,"zanCount":1086,"manualWeight":48,"mainColor":49},221341,"xiang-long-shi-tu-juan-zhao-ji-221341","祥龙石图卷","卷首画有一块立状太湖石，石顶端生有异草几株。太湖石宛如一条上下翻滚的蛟龙，其形貌占据了奇石必备的五个审美条件：瘦、漏、皱、透、丑。细看石上，有楷书“祥龙”二字。宋徽宗将此类奇石异草的出现，视为大宋国运之祥兆，赞之“挺然为瑞”，竭尽全力绘之。图左有宋徽宗为祥龙石而作的瘦金体题诗：“祥龙石者，立于环碧池之南，芳洲桥之西，相对则胜瀛也。其势胜湧，若虬龙出为瑞应之状，奇容巧态，莫能具绝妙而言之也。廼亲绘缣素，聊以四韵纪之。彼美蜿蜒势若龙，挺然为瑞独称雄。云凝好色来相借，水润清辉更不同。常带瞑烟疑振鬣，每乘宵雨恐凌空。故凭彩笔亲模写，融结功深未易穷。”署款“御制御画并书”，押署“天下一人”，钤朱文印“御书”、“宣和殿宝”，徐邦达先生认为此印“不佳，真伪待考”（徐邦达《古书画伪讹考辨》），但《祥龙石图》卷被公认为是宋徽宗的真迹。鉴定徽宗真迹的标尺除了瘦金体“御制御画并书”、“天下一人”画押及朱印“御书”和双龙御玺外，书画风格也是一项重要依据，即结合赵宋家族的书画历史特别是徽宗本人的美学思想及北宋绘画的历史发展状况，寻找其中存在的风格上的逻辑关系，再结合当时及晚一辈名人的题识，综合多种因素来判断。\n当时的徽宗特别迷恋太湖石，为了加大采运力度，特设苏杭应奉局专门在太湖周围开挖湖石。石工们因长期泡在水里挖石，导致肢体皮肤溃烂。运送巨石时，甚至不惜拆桥过船，靡费国资不计其数。徽宗根据一些湖石的形状封其为“盘固侯”、“蹲螭坐狮”、“金鳌玉龟”等吉祥名号，画中的“祥龙石”可能就是其中的一块。宋徽宗处心积虑地寻找花石纲和各种祥瑞之物，欲借此稳定朝廷、安抚民心，同时也为他提供了艺术创作的素材。在充满了道教神仙思想的宋徽宗看来，描绘祥瑞之物的绘画活动不仅仅是单纯的艺术创作，而且也是祈祷国家和民族福祉的独特形式和粉饰太平的最好的政治工具，《祥龙石图》卷正是这种思想的反映。\n有史以来，宋徽宗第一个在艺术创作上实现了诗书画印的完整统一。在《祥龙石图》卷中，徽宗的题画诗不在卷尾，而是作为画面构成的一个部分，这必定是作者将构思和构图同时经营的结果，这在中国绘画史上有着划时代的重要意义。该卷构图极简，用色颇精，格调雅致，具有典型的北宋院体绘画的艺术风格。画家以墨笔层层渲染出太湖石的坑眼，结构分明，笔墨细腻入微，极其工整精雅，极可能是写生之作。该卷钤有元内府“天历之宝”等印玺，拖尾有清代陈仁涛、吴荣光的题跋，《辛丑消夏记》著录。",[23,24,7,25,28,128,171,167,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d21118b231b6391de049a9701658812.jpg","纵53.8厘米，横127.5厘米",[42,117,1670],{"id":4564,"slug":4565,"title":4566,"dynasty":18,"author":915,"museum":244,"description":4567,"tags":4568,"thumbUrl":4571,"material":173,"size":4572,"collection":68,"collections":4573,"showCount":4552,"zanCount":975,"manualWeight":48,"mainColor":72},215108,"cheng-huang-ju-lv-tu-lin-chun-215108","橙黄橘绿图","橙黄橘绿图是宋朝著名画家林椿的代表作之一。这幅画作品以其鲜艳的色彩和生动的画风而闻名。\n\n橙黄橘绿图描绘了一个山水田园风光的场景，画面中有美丽的山峦、流动的河流、茂密的树林、漫山遍野的果树以及田田温馨的农舍。画中还有许多动物和人物，丰富了画面的内容。\n\n林椿在橙黄橘绿图中运用了丰富的色彩，让这幅画作充满了生机和活力。他使用的是深浅不一的黄色、橙色、绿色等色彩，使画面显得栩栩如生。\n\n橙黄橘绿图被誉为宋朝山水画的杰作，其中蕴含着林椿对自然界的敬畏和深刻的观察。它不仅是一幅美丽的画作，更是一份对自然的热爱和尊重的见证。",[23,164,24,7,59,28,27,61,4569,4570,624],"橙","橘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bdd9d36a11dabb7bd116b3d6c267f63.jpg","23.8x24.3cm",[68],{"id":4575,"slug":4576,"title":4577,"dynasty":144,"author":410,"museum":77,"description":411,"tags":4578,"thumbUrl":4579,"material":278,"size":84,"collection":84,"collections":4580,"showCount":4552,"zanCount":48,"manualWeight":48,"mainColor":72},214571,"shan-shui-ce-6-wang-meng-214571","山水册-6",[24,7,59,128,132,29,331,167,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9a5c5bcdebd737e04aa98f91fe3ade1.jpg",[],{"id":4582,"slug":4583,"title":4584,"dynasty":124,"author":125,"museum":20,"description":4585,"tags":4586,"thumbUrl":4587,"material":611,"size":4588,"collection":136,"collections":4589,"showCount":4590,"zanCount":1086,"manualWeight":48,"mainColor":72},234083,"wu-zhong-shan-shui-ce-shen-zhou-234083","吴中山水册","明代中期以来，吴门艺术力追此类典雅的意趣。作为吴门艺术的领袖，沈周的绘画最得其中精神。如今藏于故宫博物院的《吴中山水册》十六开，是沈周的得意之作，记录的是诗人生活中的所见所感，乃沈周极擅长的粗笔水墨之作。\u2028 沈周（1427—1509），字启南，号石田、白石翁、玉田生、有竹居主人，明代绘画大师，吴门画派的创始人，明四家之一，长洲（今江苏苏州）人。生于明宣德二年，卒于明正德四年，享年八十二岁（虚八十三岁）。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。",[24,7,59,128,29,133,208,132,130,99,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91dd6160b5ad1b7617f948483aa1c7c5.jpg","28.5*25.5cm",[136],282,{"id":4592,"slug":4593,"title":4594,"dynasty":54,"author":2640,"museum":300,"description":4595,"tags":4596,"thumbUrl":4597,"material":84,"size":84,"collection":68,"collections":4598,"showCount":4590,"zanCount":1105,"manualWeight":48,"mainColor":72},224364,"hua-hui-si-ping-zhi-yi-ju-lian-224364","花卉四屏之一","此作用笔兼工带写，艳红凌霄花晕染鲜活，明丽暖调点亮画面，虬曲藤蔓以枯笔勾勒，苍劲老辣尽显古拙质感。湖石以淡墨勾皴，空灵通透的孔洞颇具玲珑意趣，与柔蔓繁花形成刚柔对照。\n\n两只螳螂纤毫毕现，身形灵动写实，悄然栖于枝桠，暗藏盛夏幽丛间的野趣。画面疏密错落，花叶垂曳、顽石静立，草虫点缀出鲜活生机，将庭院小景的清幽雅致尽数铺展，尽显清丽脱俗的花鸟意韵。",[23,24,7,165,28,27,61,548,549,62,229,2644,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb303d0182d4e4c3f71398cf0140d09b1.jpg",[68,45],{"id":4600,"slug":4601,"title":3478,"dynasty":18,"author":4602,"museum":244,"description":4603,"tags":4604,"thumbUrl":4606,"material":173,"size":4607,"collection":42,"collections":4608,"showCount":4590,"zanCount":48,"manualWeight":48,"mainColor":72},218931,"shan-ju-tu-yan-su-218931","燕肃","画中有一条小溪，周围是平坦的河岸，沿岸种植着松树、竹子、桃树和李子，竹林深处有三间矮小的房子，有两个人相对而坐的宣。房子左边的石墙从山的左边升起，在小路的尽头有几条远处的树。灌木丛和墨水给人一种平静和放松的感觉，让人欲罢不能。其笔触与李唐有些相似",[23,24,7,27,132,29,4605,131,34,99,1023,497,387,38],"山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8067a53ba755fa9d9ae85c24902de6ec.jpg","23.9x25.3",[42,136],{"id":4610,"slug":4611,"title":4229,"dynasty":54,"author":872,"museum":77,"description":4612,"tags":4613,"thumbUrl":4614,"material":278,"size":84,"collection":68,"collections":4615,"showCount":4590,"zanCount":1998,"manualWeight":48,"mainColor":72},216365,"hua-niao-ce-zhu-da-216365","朱耷 (Zhu Da) 是一位著名的清朝画家，他的花鸟册 (huā niǎo cè) 是他的代表作之一。花鸟册是一种中国传统的绘画类型，主要描绘花卉和鸟类，朱耷的花鸟册以其精美的绘画技巧和富有创意的艺术表现而闻名。\n\n朱耷生于 17th 世纪的清朝，他原本是一名佛教僧人，后来转而成为画家。他的花鸟册绘制了各种花卉和鸟类，包括玫瑰、莲花、蝴蝶、孔雀、鹦鹉等。他的画风独特，细腻而生动，给人以非常感性的视觉享受。\n\n朱耷的花鸟册也反映了当时清朝社会的文化氛围。他的作品中常常出现古典诗词的引用，表现出他对中国传统文化的热爱。此外，他的作品还反映了当时清朝社会的审美观念，展现了清朝人对美的追求和对自然的敬畏。\n\n总之，朱耷的花鸟册是一部具有深远影响的艺术作品，其中融合了中国传统文化和绘画技巧的精华，对中国绘画艺术有着重要的贡献。",[23,24,7,59,128,29,1337,171,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab754ae9fd80f1f5e09675c769a6b8da.jpg",[68],{"id":4617,"slug":4618,"title":4619,"dynasty":54,"author":1460,"museum":77,"description":4620,"tags":4621,"thumbUrl":4623,"material":66,"size":4624,"collection":68,"collections":4625,"showCount":4590,"zanCount":1998,"manualWeight":48,"mainColor":72},214566,"mo-zui-za-hua-tu-ce-shi-tao-214566","墨醉杂画图册","石涛此册花鸟山水，除两开山水外，都是各种农家花卉果蔬小品，包括芙蓉河石、黄瓜豇豆、水仙竹枝、杏果柿子、莲藕扁豆等，作画构图新奇，笔法松柔秀拙，笔情恣肆，淋漓洒脱，具有一种豪放郁勃的生动气息!",[23,164,24,7,59,128,27,29,96,171,4363,4622],"野草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe201a3420f1c56b81b5ab47c63b832a.jpg","纵51.4厘米，横35.4厘米",[68],{"id":4627,"slug":4628,"title":4629,"dynasty":124,"author":1058,"museum":300,"description":4630,"tags":4631,"thumbUrl":4633,"material":692,"size":1293,"collection":84,"collections":4634,"showCount":4635,"zanCount":1105,"manualWeight":48,"mainColor":49},287566,"dou-cha-tu-tang-yin-287566","斗茶图","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[164,24,7,96,27,28,1144,2144,4632,1424],"斗茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd293d5a9de59641719f10323cd0d6158.jpg",[],281,{"id":4637,"slug":4638,"title":4639,"dynasty":182,"author":183,"museum":300,"description":4640,"tags":4641,"thumbUrl":4643,"material":84,"size":4644,"collection":44,"collections":4645,"showCount":4635,"zanCount":48,"manualWeight":48,"mainColor":49},221113,"guan-yin-pu-sa-xiang-wu-dao-zi-221113","观音菩萨像","吴道子（约680年—759年），又名道玄，唐代著名画家，画史尊称画圣。汉族，阳翟（今河南禹州）人。约生于公元680年（永隆元年） ，卒于公元758年（乾元元年）前后。少孤贫，年轻时即有画名。曾任兖州瑕丘（今山东滋阳）县尉，不久即辞职。后流落洛阳，从事壁画创作。开元年间以善画被召入宫廷，历任供奉、内教博士、宁王友。曾随张旭、贺知章学习书法，通过观赏公孙大娘舞剑，体会用笔之道。擅佛道、神鬼、人物、山水、鸟兽、草木、楼阁等，尤精于佛道、人物，长于壁画创作。",[24,7,188,187,96,4642],"唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdab452937c56ebab3c3994f7c7a8a10c.jpg","80x32cm",[44],{"id":4647,"slug":4648,"title":4649,"dynasty":18,"author":1622,"museum":244,"description":4650,"tags":4651,"thumbUrl":4653,"material":514,"size":4654,"collection":42,"collections":4655,"showCount":4656,"zanCount":1086,"manualWeight":48,"mainColor":49},221513,"yi-yun-xian-xing-tu-ye-ma-yuan-221513","倚云仙杏图页","此图绘一枝杏花轻灵润秀、堆粉砌霜之姿。用笔精细工整，设色淡雅，气韵生动。",[23,24,7,59,27,28,61,4652,208],"杏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F691f620dcbbcac861019cd1c8d7a54bc.jpg","25.8X27.3",[42,68,45],280,{"id":4658,"slug":4659,"title":4660,"dynasty":18,"author":4661,"museum":300,"description":4662,"tags":4663,"thumbUrl":4664,"material":4665,"size":4666,"collection":318,"collections":4667,"showCount":4656,"zanCount":1105,"manualWeight":48,"mainColor":49},221221,"dao-gu-zhan-chang-yue-fei-221221","悼古战场","岳飞","岳飞我国历史上一位杰出的民族英雄。字鹏举，相州汤阴(今河南汤阴县)人。\n岳飞虽出身军伍，但自幼受到良好的中国传统教育和勤奋的学习，文武双全，能诗善词，书法以行、草为主，畅快淋漓，龙腾虎跃，气韵生动，章法严谨，意态精密，纤浓符中，刚劲不柔，自有一种淳正之气，颇含文臣气质。传世书迹，有《书谢眺诗》、《前后出师表》、《吊古战场文》等。\n岳飞草书《吊古战场》，相传碑文为岳飞书唐朝李华作的《吊古战场文》和南宋文天祥，清彭玉麟、德馨的题跋。碑共10石，每石高52厘米，宽103厘米，刻于清光绪九年(1883年)。现藏于杭州岳庙。",[23,164,24,7,25,64,133,840,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7491ff67b6cc8d84947170df024a1605.jpg","草书墨迹","28x424cm",[318],{"id":4669,"slug":4670,"title":4671,"dynasty":18,"author":1622,"museum":244,"description":4672,"tags":4673,"thumbUrl":4674,"material":66,"size":4675,"collection":136,"collections":4676,"showCount":4656,"zanCount":1086,"manualWeight":48,"mainColor":72},220081,"xi-shan-wu-jin-tu-ma-yuan-220081","溪山无尽图","马远《溪山无尽图》卷以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。此卷画风当属南宋马远。构图布景与《溪山秋爽图》有异曲同工之妙。此卷绘于宋笺纸上，山石为马远典型的斧劈皴，乔松远树，皆用拖枝法，柳林含风，千笔万笔，笔笔不乱。画幅中间，数株红树，点缀溪山丛莽间，有画龙点睛之妙。而纸寿千年，其完好程度与绢本不可同日而语。此卷创作年代当稍晚于绢本，水法两卷亦有不同，此卷水的画法更接近马远《水图》。",[23,24,164,7,25,128,27,132,29,131,34,99,129,98,130,211,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3068a8c76430171b9de9897301fc6bc0.jpg","纵33.8厘米，横469厘米",[136,45],{"id":4678,"slug":4679,"title":4680,"dynasty":124,"author":204,"museum":510,"description":4681,"tags":4682,"thumbUrl":4683,"material":514,"size":4684,"collection":136,"collections":4685,"showCount":4686,"zanCount":738,"manualWeight":48,"mainColor":49},222218,"wang-chuan-shi-jing-tu-chou-ying-222218","辋川十景图","《辋川十景图》是中国明代画家仇英的国画作品。该画为长卷。《仇英辋川十景图卷》名为写唐代王维隐居蓝田别墅的诗意，实际上正是明代的园林生活为粉本。屋舍界画的工整，花木杂树的精微，青绿设色的细丽，真称得上穷工极艳。\n《辋川十景图》十景各自独立成章，但又联贯为统一的大画面，随着画卷的展开，移步易景，引人入胜，山穷水尽，柳暗花明，令人目不暇接。对于中国画的创新，具有不容低估的积极意义。",[23,24,7,164,25,26,27,28,29,98,99,97,130,167,34,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5418cf86d3682d5764ef7dcd67e08986.jpg","纵30.5厘米 横987厘米",[136,45],279,{"id":4688,"slug":4689,"title":4690,"dynasty":144,"author":287,"museum":20,"description":4691,"tags":4692,"thumbUrl":4694,"material":1223,"size":4695,"collection":68,"collections":4696,"showCount":4686,"zanCount":11,"manualWeight":48,"mainColor":72},221707,"ba-hua-tu-juan-qian-xuan-221707","八花图卷","此卷以分段法描绘海棠、梨花、杏花、水仙、桃花、牡丹等8种花卉，每种相对独立，合之又成为整体。8种花卉各具姿态，偃仰向背绝无雷同，笔致柔劲，一丝不苟，敷色清雅，浓淡相宜，整幅精工而不滞板，细腻而不纤巧。本幅前右下角钤“舜举”印一方，拖尾处有元代赵孟頫题跋：“右吴兴钱选舜举所画八花真迹，虽风格似近体，而傅色姿媚殊不可得。尔来此公日酣于酒，手指颤抖难复作此。而乡里后生多仿效之，有东家捧心之弊，则此卷诚可珍也。至元廿六年九月四日同郡赵孟頫。”",[23,24,7,25,27,28,61,374,263,1132,4693,1188,209,650,605],"栀子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd3daf5f7775f9a2ba3a9ee6a0616487.jpg","纵29.4厘米，横333.9厘米",[68,45],{"id":4698,"slug":4699,"title":4700,"dynasty":54,"author":55,"museum":524,"description":4701,"tags":4702,"thumbUrl":4704,"material":151,"size":4705,"collection":68,"collections":4706,"showCount":4686,"zanCount":1014,"manualWeight":48,"mainColor":72},220989,"hu-shan-chun-nuan-tu-quan-tu-yun-shou-ping-220989","湖山春暖图全图","《湖山春暖图》 恽寿平山水取自黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，运笔飘逸潇洒，明丽简洁，天趣盎然。以水墨着色渲染，用笔含蓄，画法工整，恽寿平的艺术创作，有自己独创的艺术见解，反映出他成熟后的风格的高超技艺，依此可见，这幅画属于他的后期作品。",[23,24,7,25,27,29,132,34,4703,99,129,98,131,130],"湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1451fe83f699e29b98945f19f67af72.jpg","618.2cm x 57.6cm",[68,45],{"id":4708,"slug":4709,"title":2279,"dynasty":124,"author":3619,"museum":20,"description":3620,"tags":4710,"thumbUrl":4711,"material":1722,"size":3623,"collection":117,"collections":4712,"showCount":4713,"zanCount":1998,"manualWeight":48,"mainColor":72},221972,"lan-zhu-tu-wen-zheng-ming-221972",[23,24,7,165,128,375,167,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4f2b2285d9f379fc589aa9f5071a31f.jpg",[117,1670],278,{"id":4715,"slug":4716,"title":4717,"dynasty":144,"author":410,"museum":77,"description":411,"tags":4718,"thumbUrl":4719,"material":278,"size":84,"collection":84,"collections":4720,"showCount":4713,"zanCount":48,"manualWeight":48,"mainColor":72},214570,"shan-shui-ce-7-wang-meng-214570","山水册-7",[24,164,7,59,128,132,29,331,1233,129,131,130,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7721b1ffd15bca0c3f537a750918a292.jpg",[],{"id":4722,"slug":4723,"title":4724,"dynasty":54,"author":4725,"museum":244,"description":4726,"tags":4727,"thumbUrl":4728,"material":2283,"size":84,"collection":136,"collections":4729,"showCount":4730,"zanCount":1998,"manualWeight":48,"mainColor":72},220968,"shan-shui-tu-ce-dai-xi-220968","山水图册","戴熙","戴熙山水木石，所作笔调清雅，墨色腴润，颇得江浙山川韵致。虽然也是从王翚一路入手，却能别出心裁。加上清末考据与金石学的兴盛，戴熙也融入了倡导碑学的潮流，在绘画中吸取了书法篆刻的长处，以金石入画，形成了一种极其微妙的、富有创造性的绘画风格。他的山水画用笔扎实，笔笔有入木三分之感，山岚河川也由于厚重的墨笔而罩上了老成的色调，形成了画面空旷的意境。",[23,24,128,132,59,7,29,663,228,34,35,497,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25f484b706b2fa645c1a92dd87054aad.jpg",[136,117],276,{"id":4732,"slug":4733,"title":76,"dynasty":54,"author":55,"museum":300,"description":893,"tags":4734,"thumbUrl":4735,"material":84,"size":897,"collection":84,"collections":4736,"showCount":4737,"zanCount":1086,"manualWeight":48,"mainColor":72},233898,"hua-hui-ce-yun-shou-ping-233898",[24,164,7,59,60,27,61,62,547,747],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F762dbd11be83006cb14a4b005d749e3d.jpg",[],275,{"id":4739,"slug":4740,"title":4741,"dynasty":54,"author":3718,"museum":20,"description":4742,"tags":4743,"thumbUrl":4744,"material":4745,"size":4746,"collection":68,"collections":4747,"showCount":4737,"zanCount":1998,"manualWeight":48,"mainColor":72},216100,"song-mei-tu-hong-ren-216100","松梅图","此卷分前后两段。前段画末有弘仁书写的程守蚀庵《省静堂集·一年诗》中的七言绝句《遍阅山中诸碑》，款署：“丙申春日偶写揭蚀庵集因一绝。渐江学人。”钤“渐江僧”白文印。\n前段图绘虬龙盘曲的苍松和棱角分明的怪石。弘仁的松石是对黄山松石的真实写照，石涛言：“公游黄山最久，故得黄山之真性情也，即一木一石，皆黄山本色。”图中的松石以粗犷霸悍的行笔、淋漓酣畅的施墨表现，具有弘仁晚年豪放洒脱的画风特点，简洁的构图体现出诗意中的空寂。\n后段图绘水墨梅花。梅不畏严寒、高标独立的精神正是作者所追求的人生品格。弘仁一生最喜画梅，自号“梅花古衲”，创作出大量以梅为主题的佳作，此卷便是其中之一。图中的梅枝如曲铁，婉转中呈现刚毅不屈之态。其简约的格局，精谨的笔墨，结构出一派纯净、幽旷而又俊逸的意境。",[23,24,7,25,128,132,64,208,372,371,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fadfb3b3275d62e25c91b495f8cfe05.jpg","绢本,设色,水墨","前段设色，纵27.8厘米，横269.7厘米；后段墨笔，纵27.8厘米，横86.7厘米",[68],{"id":4749,"slug":4750,"title":350,"dynasty":351,"author":352,"museum":300,"description":4751,"tags":4752,"thumbUrl":4753,"material":692,"size":1293,"collection":84,"collections":4754,"showCount":4755,"zanCount":1116,"manualWeight":48,"mainColor":49},288264,"yu-tang-fu-gui-tu-xu-xi-288264","画中上方玉兰初吐芳华，海棠飞艳溢彩，秀石之后，几丛牡丹姹紫嫣红，一只野雉正倘徉其间。该图构图方法颇具特色。从整幅图中来看，所有画面被牡丹、玉兰，海棠，禽鸟和假山石充溢，十分紧密，有明显的装饰性，使观者一望而生富丽之感。",[23,24,164,7,165,61,27,28,263,356,211,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66fe9d017d489145ac64737a1045253a.jpg",[],274,{"id":4757,"slug":4758,"title":4759,"dynasty":54,"author":3403,"museum":300,"description":4760,"tags":4761,"thumbUrl":4762,"material":84,"size":84,"collection":84,"collections":4763,"showCount":4755,"zanCount":1086,"manualWeight":48,"mainColor":4001},224215,"mo-mei-wu-chang-shuo-224215","墨梅","此作用笔以篆籀之法写梅干，顿挫老辣，枝桠如屈铁盘虬，尽现老梅饱经霜雪的嶙峋傲骨。淡墨圈点花朵，疏密错落缀于枝梢，素洁清雅，如暗香盈盈浮动。\n\n左上题诗行书挥洒，笔意与梅枝苍劲意趣呼应，诗书画印浑融一体。全幅以水墨写意，留白空灵疏朗，苍润相生，刚柔并济，将寒梅孤高清逸的品格尽显无余，寥寥笔墨间，既有金石书法的雄强骨力，又饱含文人淡泊出尘的雅致意韵。",[23,24,7,165,128,61,371,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc4cd64462b75de0e38b9506dffabba6.jpg",[],{"id":4765,"slug":4766,"title":4767,"dynasty":54,"author":55,"museum":244,"description":1007,"tags":4768,"thumbUrl":4769,"material":27,"size":4770,"collection":68,"collections":4771,"showCount":4755,"zanCount":1116,"manualWeight":48,"mainColor":72},220991,"mu-dan-tu-ce-yun-shou-ping-220991","牡丹图册",[23,24,7,27,61,376,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea1509bd428d413830e6d87672ff9b19.jpg","49.2x88.2",[68,45],{"id":4773,"slug":4774,"title":4775,"dynasty":144,"author":410,"museum":244,"description":4776,"tags":4777,"thumbUrl":4778,"material":637,"size":4779,"collection":136,"collections":4780,"showCount":4755,"zanCount":1998,"manualWeight":48,"mainColor":72},220810,"song-chuang-gao-shi-tu-zhou-wang-meng-220810","松窗高士图轴","元王蒙松窗高士图轴，属于中国古画，于1362年（元顺帝至正二十二年）王蒙制作，长宽107.4x32.6公分、全幅 59.5公分，收藏于台北故宫博物院。",[23,24,7,165,128,29,372,96,99,131,711,132,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4fd7019bd476433d407aa9e87390ada.jpg","107.4x32.6",[136,45],{"id":4782,"slug":4783,"title":4784,"dynasty":124,"author":2110,"museum":20,"description":4785,"tags":4786,"thumbUrl":4787,"material":1722,"size":4788,"collection":68,"collections":4789,"showCount":4790,"zanCount":1105,"manualWeight":48,"mainColor":72},222416,"bai-hua-tu-zhou-zhi-mian-222416","百花图","是图有作者自识：“萬曆壬寅(1602年)秋日寫，汝南周之冕。”系周之冕的晚年之作。该图勾画了四季花卉，其中木本花卉多为折枝。画家将吴派的写意山水笔墨转化为花鸟画的造型语言，形成了勾花点叶派。画家以写意的手法勾写或涂抹出花叶、枝干，随意之中透露着明快和清雅，反映出文人画家淡泊不羁的胸臆。\n清《石渠宝笈·三编》著录。",[23,24,7,27,28,61,25,371,209,356,62,624,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a3ecd116129eeb96dfb86398c9a098.jpg","纵31.5厘米，横706厘米",[68,45],273,{"id":4792,"slug":4793,"title":4794,"dynasty":54,"author":1460,"museum":510,"description":4795,"tags":4796,"thumbUrl":4798,"material":278,"size":4799,"collection":136,"collections":4800,"showCount":4790,"zanCount":1086,"manualWeight":48,"mainColor":49},220256,"gu-mu-chui-yin-tu-shi-tao-220256","古木垂阴图","近景层岩嶙峋，树木丰茂，山径曲折，楼阁深藏，远山挺拔峭立，云烟缭绕。用笔皴法多变，赋色雅淡。右上角有作者长题，石涛（公元1640~？），亦署大涤子、苦瓜和尚等，明宗室后裔，俗名朱若极，清亡后削发为僧。善画山水，为清初四画僧之一。",[23,24,7,165,128,132,29,4797,131,99,37,130,34,171,208],"古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd206f53b4e26c9e4a001ab119062d2e.jpg","纵175,横50.7cm",[136],{"id":4802,"slug":4803,"title":4804,"dynasty":124,"author":1058,"museum":244,"description":4805,"tags":4806,"thumbUrl":4807,"material":66,"size":4808,"collection":45,"collections":4809,"showCount":4810,"zanCount":1105,"manualWeight":48,"mainColor":72},219330,"hua-ji-zhen-ji-zhou-tang-yin-219330","画鸡真迹轴","石上雄鸡昂首而立，羽色斑斓间透着昂然气度，恰应题中“血染红冠锦满身”之态。旁侧菊丛竞艳，红英灼灼如霞，黄蕊灿灿似金，白瓣皎皎若雪，枝叶扶疏间衬以修竹数竿，清逸之韵自生。双蝶翩跹于花间，翅影轻摇，为静景添灵动生机。整幅画作工写相济，设色淡雅却层次分明，禽鸟花卉皆形神兼备。题诗笔墨洒脱，与画面意境交融，尽显文人画“诗画同源”之妙，于方寸间藏生机与风骨，读来令人心折。",[24,7,165,27,28,2510,376,167,481,547,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ca49404492f1b40b2f4829b76583fed.jpg","119.9x30.3",[45],272,{"id":4812,"slug":4813,"title":4814,"dynasty":54,"author":55,"museum":244,"description":261,"tags":4815,"thumbUrl":4816,"material":173,"size":265,"collection":84,"collections":4817,"showCount":4818,"zanCount":738,"manualWeight":48,"mainColor":72},214303,"mu-dan-ce-3-yun-shou-ping-214303","牡丹册-3",[24,7,61,263,28,60,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdffa0ff34f933df084b45570f27fb53d.jpg",[],271,{"id":4820,"slug":4821,"title":4822,"dynasty":54,"author":4823,"museum":20,"description":4824,"tags":4825,"thumbUrl":4826,"material":84,"size":84,"collection":68,"collections":4827,"showCount":4828,"zanCount":1116,"manualWeight":48,"mainColor":72},238946,"tao-hua-ce-ye-ma-yuan-yu-238946","桃花册页","马元驭","马元驭（1669—1722）清代画家。字扶羲，号栖霞，又号天虞山人，江苏常熟人。",[24,7,59,27,61,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02c4fb8323fe9cc6ab422db9d25bae45.jpg",[68,45],270,{"id":4830,"slug":4831,"title":2279,"dynasty":54,"author":1311,"museum":300,"description":4832,"tags":4833,"thumbUrl":4834,"material":611,"size":84,"collection":68,"collections":4835,"showCount":4828,"zanCount":975,"manualWeight":48,"mainColor":49},220147,"lan-zhu-tu-wang-shi-shen-220147","汪士慎工诗及八分书，画水仙、梅花清妙独绝。金农谓其画梅之妙，与高西唐（翔）异曲同工。汪士慎画繁枝，千花万蕊，管领冷香，俨然灞桥风雪中。西唐画疏枝半开蝉朵，用玉楼人口脂抹一点红，良缣精楮，各臻其微。汪士慎老而目瞽，为人画梅，或作八分书，工妙胜于未瞽时。精篆刻，与张潜乙、金筋齐名",[23,24,7,165,128,188,375,167,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa02b3c39e8909994e36da16ef7bad4da.jpg",[68],{"id":4837,"slug":4838,"title":4839,"dynasty":54,"author":2687,"museum":4840,"description":4841,"tags":4842,"thumbUrl":4845,"material":173,"size":4846,"collection":68,"collections":4847,"showCount":4828,"zanCount":1086,"manualWeight":48,"mainColor":72},218975,"teng-hua-shan-que-tu-jiang-ting-xi-218975","藤花山雀图","日本大阪市立美术馆","描绘缠绕椿树生长的紫藤花，另有白头翁、兰花、灵芝及湖石等元素。画作右下角款「臣蒋廷锡恭画」，左上方有康熙皇帝御题唐代岑参（715-770）〈石上藤〉一诗。该作曾录于《石渠宝笈》，后辗转流出清宫，成为阿部房次郎（1868-1937）的收藏。",[23,24,7,165,28,27,61,1475,4843,211,171,34,605,499,497,4844],"山雀","蘑菇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8205a0f0caa95b529902b560707fb7c9.jpg","纵212.5横97.1cm",[68,45],{"id":4849,"slug":4850,"title":4851,"dynasty":144,"author":1346,"museum":20,"description":1664,"tags":4852,"thumbUrl":4853,"material":1722,"size":4854,"collection":117,"collections":4855,"showCount":4856,"zanCount":1105,"manualWeight":48,"mainColor":49},220774,"mo-zhu-po-shi-tu-zhou-wu-zhen-220774","墨竹坡石图轴",[23,24,7,164,165,128,64,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9d252d4771dcd257aaed5371ff0080f.jpg","纵103.4厘米，横33厘米。",[117,1670],269,{"id":4858,"slug":4859,"title":4860,"dynasty":18,"author":4861,"museum":300,"description":4862,"tags":4863,"thumbUrl":4864,"material":173,"size":4865,"collection":136,"collections":4866,"showCount":4867,"zanCount":1086,"manualWeight":48,"mainColor":49},218542,"qing-lv-shan-shui-tu-wang-shen-218542","青绿山水图","王诜","绢本之上，青绿设色古雅沉静。石青与石绿随山石肌理晕染，既有郭熙山水的雄健气势，又含文人画的清逸韵致。近处山石皴染结合，松枝苍劲挺拔；山间云雾淡墨轻扫，牵起远近峰峦呼应，营造深远空间感。林麓间隐现的小屋，与葱茏草木相映，藏着古人林泉高致的向往。古朴绢色衬出岁月沉淀的温润，自然山水的雄浑与文人情怀的雅致在此相融共生，尽显北宋青绿山水的独特韵味。",[24,7,26,27,132,29,496,34,131,499,758,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa963a4c7fe39c603be18f16b97851252.jpg","93x36",[136],268,{"id":4869,"slug":4870,"title":4871,"dynasty":54,"author":675,"museum":224,"description":4872,"tags":4873,"thumbUrl":4874,"material":66,"size":679,"collection":84,"collections":4875,"showCount":4867,"zanCount":1998,"manualWeight":48,"mainColor":72},216246,"jing-fu-si-qi-dong-jing-tu-11-qian-wei-cheng-216246","景敷四气冬景图-11","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n一瀑高悬银凿落，四山攅积玉参差。并刀剪水作花后，转语堪诠杜老诗。钤印：泼墨",[24,7,27,28,61,603,208,64,62,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ef9652a7cd63623c4474d2e78468a1.jpg",[],{"id":4877,"slug":4878,"title":4879,"dynasty":18,"author":4880,"museum":300,"description":4881,"tags":4882,"thumbUrl":4883,"material":84,"size":84,"collection":84,"collections":4884,"showCount":4885,"zanCount":738,"manualWeight":48,"mainColor":49},227520,"hua-niao-tu-ye-wang-xiao-227520","花鸟图页","王晓","此作取暮春一隅，柔粉海棠攒簇枝头，花瓣轻绽似带朝露，嫩绿叶脉舒张，将春深花繁的柔媚尽数铺陈。两只白头鹎栖于枝上，一俯一仰，羽色晕染细腻柔和，头顶白羽莹洁醒目，胸腹褐绿温润自然，前者昂首似在啼鸣，将禽鸟灵动憨然的情态鲜活呈现。\n画面设色明秀雅致，工细写实中兼具灵动意趣，左侧题字笔致清雅，与花叶禽鸟相映成趣，把春日里禽鸟嬉游、花团锦簇的生机雅致融于尺幅，尽显清丽隽永的宋韵意致。",[23,164,24,7,59,28,27,61,355,547,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9548bd192610dc1989302803a5216821.jpg",[],267,{"id":4887,"slug":4888,"title":4889,"dynasty":124,"author":125,"museum":524,"description":4890,"tags":4891,"thumbUrl":4892,"material":1223,"size":4893,"collection":68,"collections":4894,"showCount":4885,"zanCount":1116,"manualWeight":48,"mainColor":72},222118,"ping-he-tu-shen-zhou-222118","瓶荷图","此画是沈周作品中比较少见的工笔花鸟画，画上绘一铜壶，内植荷花荷叶各三株，交错而生。荷叶向背以深浅不同绿色区分，多取其背，使画面变浓艳为淡雅，凸现清高风格。作品形象写实，用笔简括，色泽温润，格调质朴。插花所用的铜壶以墨笔勾轮廓，没骨法渲染明暗，立体感很强。",[23,24,7,165,27,81,82,169,28,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551d511ecb28a9a711639a1773ee49c3.jpg","60x143cm",[68,45],{"id":4896,"slug":4897,"title":4898,"dynasty":18,"author":4899,"museum":1941,"description":4900,"tags":4901,"thumbUrl":4902,"material":278,"size":4903,"collection":44,"collections":4904,"showCount":4885,"zanCount":1105,"manualWeight":48,"mainColor":72},216254,"bin-feng-qi-yue-tu-juan-ma-he-zhi-216254","豳風七月图卷","马和之","豳風七月图卷是中国宋朝画家马和之创作的一幅卷轴画。它描绘了一个七月的夏天的景象，包括花朵盛开、鸟儿欢快地唱歌、人们在花园里游玩和放风筝等。这幅画被认为是宋朝画家中最具代表性的作品之一，以其精细的绘画技巧和生动的写实风格而闻名。马和之的作品也被认为是宋朝画家的先驱，为后来的中国画家打下了坚实的基础。",[23,164,24,7,25,188,128,96,35,34,29,101,208,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6454a660474b94e22c19af12c2a7d894.jpg","28.8 x 436.2",[44,318],{"id":4906,"slug":4907,"title":4908,"dynasty":124,"author":802,"museum":450,"description":4909,"tags":4910,"thumbUrl":4911,"material":173,"size":4912,"collection":68,"collections":4913,"showCount":4885,"zanCount":975,"manualWeight":48,"mainColor":49},214701,"ping-hua-tu-chen-hong-shou-214701","瓶花图","陈洪绶用菊花和霜叶画了一个瓶子，以庆祝另一个人的生日。有些学者认为，在明朝晚期没有这么大的玻璃瓶。",[23,24,7,28,27,233,376,547,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf52640088b9212d2c81a4c6b72f18a8.jpg","174.5x98",[68],{"id":4915,"slug":4916,"title":4917,"dynasty":124,"author":125,"museum":20,"description":4918,"tags":4919,"thumbUrl":4920,"material":734,"size":4921,"collection":84,"collections":4922,"showCount":4923,"zanCount":1086,"manualWeight":48,"mainColor":72},234233,"lu-mu-tu-shen-zhou-234233","庐墓图","故宫博物院收藏有一卷沈周《庐墓图》，画分四段，从不同角度描绘了山中墓地景色。因墓地题材并非古代山水画的主流，故而学者关注不多。尽管实物遗存有限，然从文献记载来看，描绘先人茔域的山水画，自元末以来直至沈周生活的明代中期应当颇为流行。本文试从沈周《庐墓图》出发，讨论这类茔域山水画的形成与使用及其流行背后的文化观\n构成《庐墓图》的四幅画面，皆纵37.5厘米，横65厘米，推测其原本的形式应为册页。根据卷前题跋，其被合装成手卷的时间约在咸丰初年[1]。第一、二、四开，画面左侧有沈周落款及印鉴；唯第三开未见沈周署款，画面右上方空白处钤有“锦衣徐将军画”朱文印一枚，清末的观者杨棨和李誉据此推测这一幅的作者为徐将军[2]。然而，此幅无论是尺幅、用纸，还是构建画面时选取的元素及其造型特点，都与其他三幅无异。从笔墨及其风格来看，当与其他三幅出自同一作者手笔，故而现代学界认为此幅作者亦是沈周。从印章本身提供的信息来看，如果印章主人确为画家，“锦衣”二字显示了其身份与宫廷的关联。然而，尽管不乏有明代宫廷画家被授予“锦衣指挥”“锦衣千户”等武职[3]，却未见有自称“锦衣将军”的例子。综上，不应将此枚印记理解为作者署款。\n乍一看来，此幅与常见于沈周笔下的山水并无二致：以墨笔写出层峦山脉，山前一湾清泉，坡岸上杂树丛生，山石罩染着一层淡淡的赭色，树木则以淡花青色渲染，营造出幽寂的氛围。这样的环境，不但是文人理想的隐居之所，也是反复出现在以沈周为代表的吴地画家笔下的山居景色。然而，画面中并未出现供文士居住和活动的房舍，取而代之的是一个圆形的土丘，丘前立有一块方碑，其隐现于山脚下茂密的柏林之中。尽管画家并未描绘更多的细节，但这足以说明，画家所要描绘的，乃是山中的墓地。或许因为此幅直接表现了故去之人的坟墓，为表敬重，故而沈周未加署款。其余三开，尽管未出现墓体与墓碑，但皆出现了相对而立的望柱，暗示了画面空间并非是单纯的山景，而是墓园。\n杨棨在题跋中说此图“首尾不完”。从四幅画面来看，每幅独立成景，然彼此之间又有联系，无法确知是否还有其他画幅与之一同被绘制，却在流传过程中如杨棨所言散佚了；亦没有同时代的题跋，提供可信的诸如绘制年代、受画人等信息。因此，若要讨论沈周为何制作这样一套描绘墓园的册页及其背后的文化观念，需将其置入描绘墓地的绘画传统中，才有可能得到比较清晰的答案。",[23,24,7,25,128,27,132,29,496,34,372,99,131,130,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa085321cfa540a2ba8b92e25281a0a0c.jpg","37.5×65cm×4",[],266,{"id":4925,"slug":4926,"title":2022,"dynasty":18,"author":223,"museum":20,"description":4927,"tags":4928,"thumbUrl":4929,"material":40,"size":4930,"collection":84,"collections":4931,"showCount":4923,"zanCount":975,"manualWeight":48,"mainColor":72},234008,"chu-shui-fu-rong-tu-ye-yi-ming-234008","一朵盛开的粉红色荷花占据整个画面，在碧绿的荷叶映衬下抢眼而夺目，布局、设色端庄大气，将荷花“出淤泥而不染，濯清涟而不妖”的君子气质表现得十分完美。莲瓣的描绘技法类似后世的“没骨”法，不见勾勒之迹，渲染出花瓣既轻盈又腴润的质感。画家的写实功力极为扎实，每片莲瓣的形状、角度、色泽和光感都安排得无懈可击。至于瓣上红丝、蕊端腻粉，也一一仔细料理，微妙之处，使人叹为神工！旧题吴炳绘，无据。",[24,7,59,28,27,61,168,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17db9572c20d73e7f8a55e19111edd03.jpg","纵23.8cm，横25cm",[],{"id":4933,"slug":4934,"title":4935,"dynasty":326,"author":1587,"museum":4482,"description":4936,"tags":4937,"thumbUrl":4938,"material":173,"size":4939,"collection":318,"collections":4940,"showCount":4923,"zanCount":1116,"manualWeight":48,"mainColor":72},218649,"xing-rang-tie-wang-xi-zhi-218649","行穰帖","此帖为唐代王羲之草书作品的双钩，2行，15字。笔画厚实，没有尖锐的边缘，有如印章的含义。角色是开放和多样的",[23,7,25,133,64,208,1590,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeefa6965b37716730ae0572603f9cce.jpg","24.4x8.9",[318],{"id":4942,"slug":4943,"title":4944,"dynasty":18,"author":569,"museum":20,"description":4945,"tags":4946,"thumbUrl":4948,"material":1733,"size":4949,"collection":42,"collections":4950,"showCount":4951,"zanCount":1105,"manualWeight":48,"mainColor":49},220260,"song-xia-ting-qin-tu-zhao-meng-fu-220260","松下听琴图","此作用青绿晕染铺展山水，层叠远山淡逸朦胧，坡岸苔点疏密错落，漾出幽寂林下氛围。几株古松虬曲苍劲，鳞皴老干垂挂松萝如翠帘轻垂，框出一方雅集天地。\n\n松下四人围坐，抚琴者垂目拨弦，听者或支颐凝思，或侧耳静聆，侍童恭立一旁，尽显文人雅聚的闲淡意趣。衣袂线条清隽简雅，暗合魏晋林下风流。题画诗与山水人物相映，笔墨间浸透知音相逢、寄怀林泉的雅兴，将丝竹之韵融在松风山色里，淡远悠长的文人情思溢满卷间。",[23,164,24,7,165,27,28,372,96,29,4947,229,34,438],"琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3759b8e137635ec8416cf0cc39860ba.jpg","纵123.6厘米、横60.4厘米",[42],265,{"id":4953,"slug":4954,"title":4955,"dynasty":54,"author":1242,"museum":300,"description":4956,"tags":4957,"thumbUrl":4958,"material":84,"size":84,"collection":84,"collections":4959,"showCount":4960,"zanCount":1998,"manualWeight":48,"mainColor":72},230238,"mei-hua-tu-ce-ye-9-jin-nong-230238","梅花图册页-9","此作用枯笔焦墨写老干，如铁铸横斜，皴擦出斑驳苍古的肌理，尽显梅枝饱经霜雪的虬劲风骨。淡墨圈瓣点蕊，繁花开处疏密错落，留白铺陈出清寂空阔的意境，无半分艳冶之态。\n\n以书入画，笔意朴拙古雅，将梅花疏淡冷逸之姿，与清冷高洁的品格融为一体。墨色浓淡交织，淡写繁花、重绘老干，明暗相生间勾勒出冬梅凌霜绽放的清逸之态，寥寥笔墨便把孤高脱俗的隐逸襟怀寄寓其中。",[23,24,7,59,128,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93535ffaf23a10cb1e78f850f322be37.jpg",[],264,{"id":4962,"slug":4963,"title":1230,"dynasty":144,"author":4034,"museum":244,"description":4964,"tags":4965,"thumbUrl":4966,"material":4967,"size":4968,"collection":136,"collections":4969,"showCount":4960,"zanCount":1116,"manualWeight":48,"mainColor":49},221755,"shan-shui-tu-sheng-mao-221755","元代盛懋《山水图》，盛懋 ，元代画家，字子昭。嘉兴（今属浙江）武塘人。善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用披麻皴或解索皴，笔法精整，设色明丽。",[23,24,7,27,132,29,331,129,228,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8db6a22ddfe64262d4329b99efadcaf.jpg","纸本浅设色","120.5x40.6厘米",[136,45],{"id":4971,"slug":4972,"title":4973,"dynasty":54,"author":646,"museum":244,"description":647,"tags":4974,"thumbUrl":4976,"material":66,"size":653,"collection":84,"collections":4977,"showCount":4960,"zanCount":1998,"manualWeight":48,"mainColor":72},219883,"er-shi-si-fan-hua-xin-feng-tu-rui-xiang-yu-shui-xian-dong-gao-219883","二十四番花信风图-瑞香与水仙",[24,7,59,27,28,4975,374,131,582,1039,549,208],"瑞香","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ab8b06d96331425eb7144b02fc54b4d.jpg",[],{"id":4979,"slug":4980,"title":4981,"dynasty":182,"author":464,"museum":20,"description":4982,"tags":4983,"thumbUrl":4984,"material":40,"size":4985,"collection":117,"collections":4986,"showCount":4987,"zanCount":1116,"manualWeight":48,"mainColor":72},239524,"yan-li-ben-bu-nian-tu-juan-yan-li-ben-239524","阎立本步辇图卷","这是一幅历史画。它反映唐代初年一个重大的历史事件。公元七世纪，地处我国西南的吐蕃（今西藏地区）开始强大兴盛，其三十二世赞普松赞干布是个“骁勇多英略”的领袖。贞观八年（634年），他遣使臣到长安（今陕西西安），向唐王朝求婚联姻，唐太宗李世民答应了他的请求，决定将宗室女文成公主许配给松赞干布。贞观十五年（641年）春天，松赞干布派相国禄东赞到长安来迎接文成公主，唐太宗李世民则派礼部尚书江夏王宗室李道宗陪同文成公主进吐蕃。文成公主除了带去很多中原地区的文化典籍外，随行的还有许多各种行业的工匠，对于促进吐蕃经济、文化的发展起到了重要的作用。此后很长一段时间里，唐王朝和吐蕃之间关系融洽，和睦相处。\n阎立本以此为题，绘制了这幅歌颂古代汉、藏民族友好交往的作品。画幅描绘的是唐太宗李世民在宫内接见松赞干布派来的吐蕃使臣禄东赞的情景。李世民端坐在由六名宫女抬着的坐榻（又称步辇，图画即以此为名）上，另有三个宫女分别在前后掌扇和持华盖。唐太宗面前站立三人：最右者，身穿大红袍，是这次仪式的引见官员；中间是吐蕃的使臣禄东赞，拱手而立，发型和服饰与中原地区不同；最左为一穿白袍的内官。按照画家阎立本当时的地位和身份，他完全可能是这次历史性会见的目击者，所以他笔下的人物非常真实、生动。唐太宗李世民的威严，使臣禄东赞的干练、谦和，引见官员和内侍的恭谨，年轻宫女的天真活泼，都各具特点，跃然绢上，禄东赞和唐太宗等人在民族气质上的差别也有所表现。\n全画以细劲的线条塑造人物形象，线条纯熟，富有变化和表现力；设色浓重、鲜艳，是一幅出色的工笔重彩人物画作品。图中的李世民、禄东赞等人应当带有肖像画特征。",[23,164,24,7,25,27,96,28,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F421c10940154a8e201509088f4822cf0.jpg","纵38.5厘米，横129厘米",[117,318],262,{"id":4989,"slug":4990,"title":4991,"dynasty":54,"author":4992,"museum":300,"description":4993,"tags":4994,"thumbUrl":4995,"material":692,"size":1293,"collection":68,"collections":4996,"showCount":4987,"zanCount":1116,"manualWeight":48,"mainColor":72},239058,"shan-shui-hua-niao-ce-yang-jin-239058","山水花鸟册","杨晋","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。",[24,7,59,128,27,61,168,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2612a5bb23dac773d1efcf83ecb99dd1.jpg",[68,45],{"id":4998,"slug":4999,"title":5000,"dynasty":222,"author":5001,"museum":300,"description":5002,"tags":5003,"thumbUrl":5005,"material":692,"size":1293,"collection":84,"collections":5006,"showCount":4987,"zanCount":1998,"manualWeight":48,"mainColor":72},231826,"hua-yuan-shi-nv-tu-zhou-shang-cun-song-yuan-231826","花园仕女图轴","上村松园","上村松园（1875——1949）生于京都，她是明治、大正、昭和时期十分活跃的女画家，她以日本画的传统手法为基础描绘出格调高的美女画，她画的美人惟妙惟肖、出神入化，受到人们的好评。12岁小学毕业后进入日本刚刚成立不久的绘画学校。后相继师事铃木松年、幸野梅岭、竹内栖凤等大师。15岁时以作品《四季美人图》参展第三次内国劝业博览会，获得一等褒奖，被传为京都天才少女。",[23,24,7,165,28,27,96,166,1367,234,208,371,5004],"花瓣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a3c759e4883325592f1223e2b185251.jpg",[],{"id":5008,"slug":5009,"title":5010,"dynasty":124,"author":1270,"museum":20,"description":5011,"tags":5012,"thumbUrl":5013,"material":66,"size":5014,"collection":68,"collections":5015,"showCount":4987,"zanCount":586,"manualWeight":48,"mainColor":49},219121,"yu-tang-zhi-lan-tu-sun-ke-hong-219121","玉堂芝兰图","图绘拳石之旁，玉兰、兰花竞相开放。花、石的技法均极工细，玉兰花用粉多次轻染分出浓淡，再用工笔勾勒烘托出花瓣的肥大白嫩。枝干双勾填色并施以皴擦，极富质感。山石的技法是先以淡墨勾出轮廓，然后用浓淡墨多次晕染，逐渐加深，直至显现出丰富的前后层次及石体的细腻。山石玲珑剔透而刚硬，玉兰和兰花​​​​​​​婀娜多姿而柔媚。本幅设色明丽清亮，层次细密，变化微妙，典雅端丽，属作者绘画山水之作品。",[23,24,7,165,28,27,61,356,375,131,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb622e2d3d8f5803168e0fa600c2995e.jpg","横59厘米，纵135厘米",[68],{"id":5017,"slug":5018,"title":5019,"dynasty":144,"author":410,"museum":244,"description":5020,"tags":5021,"thumbUrl":5023,"material":173,"size":5024,"collection":136,"collections":5025,"showCount":4987,"zanCount":1998,"manualWeight":48,"mainColor":49},218657,"song-shan-shu-wu-tu-wang-meng-218657","松山书屋图","山峦重叠，以干笔牛毛皴皴擦，松林杂树，蓊蓊郁郁，几密不透风。高士一人，展卷于茅屋中。左上角以小篆题曰「松山书屋」，通幅画作与题识方式，均展现王蒙古拙圆浑的笔韵。此帧完成于至正九年，是王蒙四十二岁之作。",[23,24,7,165,128,132,29,663,1144,5022,34,131,499],"书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F688ec184ac7c5bc54e55285cace16b57.jpg","113x51.7cm",[136],{"id":5027,"slug":5028,"title":1230,"dynasty":124,"author":5029,"museum":1941,"description":5030,"tags":5031,"thumbUrl":5032,"material":278,"size":5033,"collection":136,"collections":5034,"showCount":4987,"zanCount":48,"manualWeight":48,"mainColor":72},214298,"shan-shui-tu-liu-jue-214298","刘珏","此卷是刘珏为沈周的弟弟沈召所作的山水画册，并将其修改为手卷，笔墨淋漓，用笔极其自信，使画面在扫视之间活灵活现，成为一幅完美的杰作。",[23,24,7,25,128,132,29,34,131,37,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7a458237bde639af130f94491f86651.jpg","33.6x57.8",[136],{"id":5036,"slug":5037,"title":5038,"dynasty":54,"author":646,"museum":244,"description":647,"tags":5039,"thumbUrl":5041,"material":66,"size":653,"collection":84,"collections":5042,"showCount":5043,"zanCount":975,"manualWeight":48,"mainColor":72},219875,"er-shi-si-fan-hua-xin-feng-tu-hai-tang-yu-qiang-wei-dong-gao-219875","二十四番花信风图-海棠与蔷薇",[164,24,7,59,27,28,64,1132,5040,62],"蔷薇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff95e31a5963a95c6acd4e4eb61d50b.jpg",[],261,{"id":5045,"slug":5046,"title":5047,"dynasty":124,"author":366,"museum":20,"description":5048,"tags":5049,"thumbUrl":5051,"material":3544,"size":5052,"collection":68,"collections":5053,"showCount":5054,"zanCount":48,"manualWeight":48,"mainColor":72},233464,"ren-wu-hua-hui-ce-xu-wei-233464","人物花卉册","该册十八页，其中画十五页，分别作写意山水人物、写生花卉，内容有婴戏、对弈、牡丹、兰花、稻穗螃蟹等等。笔墨简括豪放，随意自然。选其二页，可窥真趣。",[24,7,164,59,128,369,81,82,5050],"荷梗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F351e01471d4a02f5b5c49d72a35b166f.jpg","纵26.9厘米 横38.3厘米",[68,117],260,{"id":5056,"slug":5057,"title":5058,"dynasty":18,"author":2099,"museum":300,"description":2948,"tags":5059,"thumbUrl":5060,"material":84,"size":84,"collection":84,"collections":5061,"showCount":5062,"zanCount":1086,"manualWeight":48,"mainColor":72},227580,"wu-ma-tu-li-gong-lin-227580","五马图",[23,24,164,7,25,188,27,96,101,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff861a45a3281680f50e29e58b525d252.jpg",[],259,{"id":5064,"slug":5065,"title":5066,"dynasty":18,"author":686,"museum":244,"description":5067,"tags":5068,"thumbUrl":5069,"material":151,"size":5070,"collection":42,"collections":5071,"showCount":5062,"zanCount":48,"manualWeight":48,"mainColor":49},221394,"xue-shan-xiao-si-tu-zhou-fan-kuan-221394","雪山萧寺图轴","画中描绘的是北方山岳雪景。山形陡峭，折落有势，峰峦岭岫一片银白。画中集中笔意书写了“萧寺”形象。山中一片苍茫荒凉之气，山下水路相伴，似与古寺相通，有游人、旅人、商者荷担瑟瑟而行。动静比照，静中见动，寂中显闹。 该图笔法雄劲嗣瘦，无款印。\n《雪山萧寺图》着意描写“雪意”。雪后的群山，到处是一片银白的世界，正面是雪岭高耸，崔嵬之山高旷雄原，山形陡峭，山脉盘折，峰峦岭岫一片银白。山坳深处深藏古寺楼台，隐现可见山下水边有路，可通向深山古寺。山下有古木、寒林、溪流。沟壑中有深深的积雪，近山远山树木叶落已尽，树杈上被积雪掩盖，山峦、楼顶、道路、坡石由大雪覆盖，周围阴沉沉的，只有一股潺潺流动的山泉，打破了这迷人的平静。近前可见两个旅人荷担踏雪而行，有的曳杖行进，他们顶着竹笠，缩头袖手。",[23,164,24,7,165,132,128,29,663,1556,1337,97,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7226c085125b91e1b8bb9e54576706dd.jpg","纵182.4cm，横108cm",[42,136,117],{"id":5073,"slug":5074,"title":5075,"dynasty":980,"author":5076,"museum":5077,"description":5078,"tags":5079,"thumbUrl":5081,"material":84,"size":84,"collection":84,"collections":5082,"showCount":5083,"zanCount":48,"manualWeight":48,"mainColor":72},220592,"yi-pan-ying-tao-qi-bai-shi-220592","一盘樱桃","齐白石","Indianapolis Museum of Art at Newfields","以大写意之笔将寻常鲜果绘就满幅生机。朱砂点染樱桃，颗颗圆润饱满，色泽浓艳透亮，仿佛带着刚摘下的清甜鲜活，攒簇盈盘，尽显丰实意趣。墨笔勾勒案几枝桠，笔法老辣简劲，浓淡相宜，与朱红鲜果撞出强烈视觉张力，素净留白更衬果色鲜亮。散落的两枚樱桃添得灵动野趣，毫无刻意雕琢之感。整画删繁就简，将日常烟火提炼成雅俗共赏的文人意趣，笔底藏着天真烂漫，于极简中见至味，把平淡日常晕染成动人的诗意图景。",[23,24,7,27,128,369,133,208,701,5080,169],"木盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc252eafe3195b552bc810b3b6f3a19dd.jpg",[],258,{"id":5085,"slug":5086,"title":5087,"dynasty":18,"author":768,"museum":5088,"description":5089,"tags":5090,"thumbUrl":5091,"material":278,"size":5092,"collection":68,"collections":5093,"showCount":5083,"zanCount":1105,"manualWeight":48,"mainColor":49},219265,"xi-zhu-long-tu-chen-rong-219265","戏珠龙图","苏宁博物馆","墨色淋漓间，矫健龙身腾跃于云雾之中，鳞爪飞扬，气势磅礴。龙首昂扬，双目炯炯，似与宝珠相戏，动感十足。画家以浓淡干湿的笔墨变化，勾勒出龙的刚劲体态与云雾的缥缈朦胧，虚实相生间尽显龙的威严与神秘。画面中题跋与印章错落，承载着历史印记，更添古朴厚重之感。整幅作品将龙的祥瑞之气与艺术的笔墨神韵融为一体，是传统龙题材绘画中的经典之作，尽显东方美学的独特魅力。",[164,24,7,25,128,772,37,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc419787f4a611822757835e84e90923c.jpg","纵32.5横237.5厘米",[68],{"id":5095,"slug":5096,"title":5097,"dynasty":1780,"author":223,"museum":56,"description":5098,"tags":5099,"thumbUrl":5100,"material":173,"size":5101,"collection":44,"collections":5102,"showCount":5083,"zanCount":48,"manualWeight":48,"mainColor":49},218466,"qing-you-zun-zhe-xiang-yi-ming-218466","庆有尊者像","尊者面容褶皱如苍松凝霜，双目微阖藏禅意，嘴角轻扬带几分超脱。衣袍纹样交错，黑白菱形间暗纹隐现，披帛垂落如流云卷舒，线条勾勒如铁线银钩，织物质感触手可及。手中竹杖纹理斑驳，似经岁月摩挲；脚边小兽蜷卧，双目半睁若伴若侍，憨态中藏灵韵。画面设色沉雅古朴，褐蓝主调衬出人物沉静，细节处见匠心——衣纹转折流畅，毛发蓬松柔软，杖身肌理分明，皆细腻传神。整体姿态闲适，静中蕴动，禅意与生活气息交融，尽显古画的厚重与灵动，观之如临禅境，心自澄明。",[24,7,187,28,27,96,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13174c2841fec92e686a973c4f67e315.jpg","127.3x62.8",[44],{"id":5104,"slug":5105,"title":5106,"dynasty":124,"author":223,"museum":224,"description":5107,"tags":5108,"thumbUrl":5109,"material":173,"size":5110,"collection":44,"collections":5111,"showCount":5083,"zanCount":1116,"manualWeight":48,"mainColor":49},218278,"ba-xian-tu-dui-fu-yi-ming-218278","八仙图对幅","这幅画的主角是吕洞宾、韩湘子、张果老和何仙姑。其中，张果老倒骑毛驴，而南极则骑着仙鹤漂浮在空中。",[164,24,7,165,27,28,96,211,251,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4836b19ce99b951c2196e0bdabb8b82a.jpg","139.7x78.7",[44],{"id":5113,"slug":5114,"title":5115,"dynasty":18,"author":3308,"museum":244,"description":5116,"tags":5117,"thumbUrl":5118,"material":173,"size":5119,"collection":44,"collections":5120,"showCount":5083,"zanCount":1998,"manualWeight":48,"mainColor":49},216926,"gao-zong-shu-nv-xiao-jing-ma-he-zhi-bu-tu-di-yi-zhang-zhao-gou-216926","高宗书女孝经马和之补图第一章","高宗书女孝经马和之补图是赵构的一幅画作。赵构是中国宋朝时期的画家，他的作品大多集中在宋朝的文学、艺术和宗教方面。他的作品中有许多著名的孝道画，其中包括高宗书女孝经马和之补图。\n\n高宗书女孝经马和之补图讲述了一个关于孝道的故事。这幅画描绘了一个叫做马和的女子，她是一个忠诚的女儿，在她父亲去世后，她依然对她的父亲忠心耿耿，并为他做了许多孝事。这幅画是赵构用来表现女性孝道的精神的。\n\n高宗书女孝经马和之补图是赵构的一幅杰作，它展现了宋朝时期女性孝道的重要性，并且是中国历史上著名的孝道画之一。",[23,24,7,25,164,133,188,27,96,758,34,131,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d12d002f1f9b42abd5ddbbd30da0def.jpg","26.4x70.3",[44],{"id":5122,"slug":5123,"title":5124,"dynasty":18,"author":397,"museum":5125,"description":5126,"tags":5127,"thumbUrl":5128,"material":514,"size":5129,"collection":42,"collections":5130,"showCount":5131,"zanCount":1116,"manualWeight":48,"mainColor":49},221335,"tao-jiu-tu-zhao-ji-221335","桃鸠图","日本民间","整幅画桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽，瘦金书稍稚嫩。\n此图桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽，瘦金书稍稚嫩。流传日本已久，长期以来被作为徽宗的真迹，受到良好的保护，现在是日本的国宝级文物。\n本图有“大观丁亥御笔天”的题记，丁亥年是1107年，这一年徽宗26岁，是画家早期的作品。\n从这幅画来看，描法纤细，傅染鲜润，与徐熙（五代）的水墨画要素和徐崇嗣的色彩为中心的没骨法花鸟比较接近。总的看来，色彩的表现给人以强烈的视觉感受，但仔细观察就会发现细部的轮廓线仍然非常明确。\n此册页在传为宋徽宗的作品中比较特别。桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽。传其为画家二十六岁时的作品。\n赵佶观察事物细致入微，这幅《桃鸠图》，画中的桃花与枝叶勾勒精工，栖息在树上的鸠鸟动态自然而生动，用生漆点睛，富有神采，整体色彩华丽，洋溢着悠扬的神韵，此画被誉为折枝花鸟画的典型。",[23,24,7,61,28,27,209,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19169b4c41d86b4cbbb34e3bf4af4222.jpg","28.5X27厘米",[42,68,45],257,{"id":5133,"slug":5134,"title":5135,"dynasty":54,"author":5136,"museum":20,"description":5137,"tags":5138,"thumbUrl":5140,"material":66,"size":5141,"collection":68,"collections":5142,"showCount":5131,"zanCount":1086,"manualWeight":48,"mainColor":72},220380,"hong-lian-lv-zao-tu-tang-guang-220380","红莲绿藻图","唐炗","此图是唐炗（音光）与恽寿平联手为祝王翚40岁诞辰所作。唐炗绘荷花，恽寿平画荇藻。荷花与荇藻皆采用了没骨法，透露出轻盈飘逸与湿润的感觉。微风中，仿佛莲叶与荷花的清香淡淡而来。水塘里荇藻则用一笔点画。状物形神兼备，风格清新淡雅。",[23,24,7,165,28,27,61,81,82,5139],"绿藻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbce64fa92c044787704676762c01daae.jpg","纵135.7厘米，横59厘米",[68,45],{"id":5144,"slug":5145,"title":5146,"dynasty":351,"author":4456,"museum":450,"description":5147,"tags":5148,"thumbUrl":5150,"material":173,"size":84,"collection":44,"collections":5151,"showCount":5131,"zanCount":1086,"manualWeight":48,"mainColor":49},219500,"juan-xiu-tu-zhou-wen-ju-219500","倦绣图","此作用柔婉工笔铺陈深闺日常，床帏内仕女斜倚，眉宇间带着绣作之余的慵懒倦怠，身侧侍女静立侍奉。左侧侍者端物缓步而来，右侧仕女凭桌伫立，似在打理妆台。边角案几陈设着盆栽器物，衬出闺阁的雅致静谧。设色清淡古雅，线条匀细柔丽，将深阁女子闲散松弛的情态刻画入微，晕染出日常闺中休憩的幽柔氛围，藏着平淡雅致的闺中诗意。",[23,164,24,7,25,28,27,96,166,5149,230,1422,208],"床帐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bc8762f2527e714db62518fa3278003.jpg",[44,45],{"id":5153,"slug":5154,"title":2541,"dynasty":351,"author":1931,"museum":244,"description":5155,"tags":5156,"thumbUrl":5157,"material":173,"size":5158,"collection":68,"collections":5159,"showCount":5131,"zanCount":1014,"manualWeight":48,"mainColor":72},218755,"shan-cha-tu-huang-quan-218755","这幅画以丰富的色彩描绘了一朵退去的山茶花，花和叶子都用土金勾勒，丰富而美丽，是一场视觉盛宴。",[23,24,7,61,1131,28,27,649,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3b503e3c5d376270f52b0dba78e04e9.jpg","23.3x24.6厘米",[68],{"id":5161,"slug":5162,"title":5163,"dynasty":124,"author":204,"museum":244,"description":5164,"tags":5165,"thumbUrl":5166,"material":66,"size":5167,"collection":136,"collections":5168,"showCount":5131,"zanCount":1998,"manualWeight":48,"mainColor":72},218535,"zhu-lou-tu-qing-gao-zong-yu-ti-chou-ying-218535","竹楼图清高宗御题","画中湖光山色，长松亭榭，文人观水赏竹，画风接近文征明，也可能是文、丘在山水画上互相借鉴。",[164,24,7,165,28,27,95,29,97,1144,98,99,96,131,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d460703bfb3096969313beb6e056693.jpg","115.3x33.3cm",[136],{"id":5170,"slug":5171,"title":5172,"dynasty":54,"author":3403,"museum":300,"description":3660,"tags":5173,"thumbUrl":5174,"material":84,"size":84,"collection":68,"collections":5175,"showCount":5176,"zanCount":48,"manualWeight":48,"mainColor":72},236555,"mei-hua-zhou-wu-chang-shuo-236555","梅花轴",[164,24,7,165,128,27,650,171,369,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5cde97128964b36df30a12461f59e8a.jpg",[68,45],256,{"id":5178,"slug":5179,"title":5180,"dynasty":54,"author":5181,"museum":56,"description":5182,"tags":5183,"thumbUrl":5184,"material":1027,"size":5185,"collection":45,"collections":5186,"showCount":5176,"zanCount":1116,"manualWeight":48,"mainColor":49},223253,"he-hua-tu-zhou-pu-hua-223253","荷花图轴","蒲华","画荷叶枝，叶面宽阔，或像伞一样张开，或水面，微卷而翠绿； 花有三枝，两枝盛开，花瓣层层叠叠，另一枝含待放置的枝条，只露出尖尖的莲花。 朴华喜欢以水墨作画，与八大山人相似。",[23,24,7,165,128,369,61,81,82,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8096febc3e81d3c848b1646b4296b977.jpg","146X80cm",[45],{"id":5188,"slug":5189,"title":5190,"dynasty":54,"author":5191,"museum":300,"description":5192,"tags":5193,"thumbUrl":5194,"material":1223,"size":5195,"collection":136,"collections":5196,"showCount":5197,"zanCount":48,"manualWeight":48,"mainColor":72},236335,"lin-shen-zhou-lu-shan-gao-tu-huang-ding-236335","临沈周庐山高图","黄鼎","黄鼎（1650—1730），字尊古，号旷亭，又号闲圃、独往客，晚号净垢老人，江苏常熟 人。善画山水，初学画于邱屿雪，既而师王原祁，尤以王蒙法见长。\n此图根据明代画家沈周《庐山高图》临摹。此摹本比例与原幅不同，但是画幅的基本造型形象，笔法特点和许多细节，又都是忠实于原作，沈周原作今藏“台北故宫博物院”。",[164,24,7,330,27,132,29,495,1144,131,499,37,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F663115a6e324514c054ddfbcd72b999f.jpg","226×83.4厘米",[136,117],255,{"id":5199,"slug":5200,"title":5201,"dynasty":18,"author":686,"museum":5202,"description":4044,"tags":5203,"thumbUrl":5204,"material":1223,"size":5205,"collection":42,"collections":5206,"showCount":5197,"zanCount":1998,"manualWeight":48,"mainColor":49},221415,"song-he-yan-nian-tu-zhou-fan-kuan-221415","松鹤延年图轴","苏州博物馆",[23,24,7,165,27,132,29,372,722,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f0d8728a8941335a80cd12781a857b.jpg","193.1x74.4 厘米",[42,136,45],{"id":5208,"slug":5209,"title":5210,"dynasty":124,"author":1058,"museum":56,"description":5211,"tags":5212,"thumbUrl":5213,"material":66,"size":84,"collection":44,"collections":5214,"showCount":5197,"zanCount":1086,"manualWeight":48,"mainColor":72},219407,"qiu-feng-wan-shan-tu-tang-yin-219407","秋风纨扇图","图绘庭园一角，一女子手执纨扇，在坡前沉思徘徊。图中的仕女体态端庄，风姿婉约，秀发挽成高髻，饰以淡色鬓朵，越发衬托出发光乌亮。披帛和衣裙随风飘拂，巧妙地寓“秋”意于其中。从她眉宇间微露忧伤感的神色，和欲行又止的动态，表明她正陷入沉思之中：忧郁、怅惘，却又无可奈何！背景仅用细竹数枝、湖石一角来点缀，显得疏落空旷，令人联想到引申画外的僻静境界，平添几分萧瑟气象。整幅画的笔墨凝练明快，极其传神。",[24,7,165,188,128,27,96,166,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1b5374ce013b2c7f9c2a6c4ac31ecab.jpg",[44],{"id":5216,"slug":5217,"title":5218,"dynasty":124,"author":5219,"museum":56,"description":5220,"tags":5221,"thumbUrl":5222,"material":66,"size":5223,"collection":136,"collections":5224,"showCount":5225,"zanCount":1116,"manualWeight":48,"mainColor":72},214674,"san-jue-tu-yao-shou-214674","三绝图","姚绶","姚绶（1536年－1627年）是中国明朝时期著名的画家、书法家和诗人。他在明朝末年和清朝初年期间活跃，是中国古代四大书法家之一。姚绶的“三绝图册”是他的代表作之一，是他在晚年创作的一组绘画作品集。\n\n“三绝图册”共有三册，分别为“绝境图册”、“绝岭图册”和“绝川图册”。这三册作品均采用水墨画的方式，描绘了天山、岭川、峡谷等山水风光。姚绶的绘画风格具有浓郁的民族特色，笔墨简洁而凌厉，构图巧妙，色彩明快。这三册作品被认为是中国古代山水画的精品，被广泛收藏和展览。",[24,7,27,128,29,96,1144,1771,229,1351,415,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd490e9ed3930554b04863c0b5aa07e4.jpg","纵31.2 厘米 横48.3 厘米",[136],254,{"id":5227,"slug":5228,"title":5229,"dynasty":54,"author":55,"museum":244,"description":261,"tags":5230,"thumbUrl":5231,"material":173,"size":265,"collection":84,"collections":5232,"showCount":5225,"zanCount":1998,"manualWeight":48,"mainColor":72},214302,"mu-dan-ce-6-yun-shou-ping-214302","牡丹册-6",[24,7,59,27,61,263,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf3d8efc49ce810dd44e41bf1722ac45.jpg",[],{"id":5234,"slug":5235,"title":5236,"dynasty":124,"author":366,"museum":20,"description":5237,"tags":5238,"thumbUrl":5240,"material":1722,"size":5241,"collection":136,"collections":5242,"showCount":5243,"zanCount":1086,"manualWeight":48,"mainColor":72},222231,"mo-hua-jiu-duan-tu-juan-xu-wei-222231","墨花九段图卷","此图绘水墨写意四季花卉。每段均有自题七绝一首。画面上，画家充分发挥了水墨的表现力，以狂放的笔触，淋漓的水墨，变化多端的笔锋，泼墨、焦墨、破墨、双勾并用，寥寥数笔即勾画出了各种花卉的特征，简约却颇具神采。从徐渭自书诗并题记，知此画是作者在浓郁的创作激情中以酣畅的笔墨挥洒而就。此图堪称徐渭水墨写意花卉的佳作。",[23,24,7,25,128,370,1429,64,61,371,375,167,376,168,171,62,5239,548,131],"竹叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e0e76186d34ba6f0466cc88cfd916f.jpg","纵46.6厘米，横625厘米",[136,117],253,{"id":5245,"slug":5246,"title":5247,"dynasty":54,"author":3403,"museum":20,"description":5248,"tags":5249,"thumbUrl":5250,"material":84,"size":84,"collection":68,"collections":5251,"showCount":5252,"zanCount":1116,"manualWeight":48,"mainColor":72},236892,"ba-jiao-mu-dan-zhou-wu-chang-shuo-236892","芭蕉牡丹轴","此画充分利用了水、墨二者的结合及浸渍变化，以饱含水分的笔触，率性而作，洗练简阔，却有神情气爽之感。\n吴昌硕（1844年~1927年），初名俊，后改俊卿，字昌硕，号缶庐、苦铁等，浙江安吉人。善书法，精篆刻，工诗擅画。其大写意花鸟，博取徐渭、八大、石涛、李鱓、赵之谦诸家之长，以篆、隶、狂草笔意入画，用笔雄健古拙，用墨酣畅淋漓，着色艳丽富贵，可谓匠心独运，为中国近代杰出的艺术家，海派主要画家之一。",[164,24,7,165,27,128,61,369,263,875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40b7aefc21c35bfdb8ce148ec1e96f63.jpg",[68,45],252,{"id":5254,"slug":5255,"title":5256,"dynasty":18,"author":1449,"museum":224,"description":5257,"tags":5258,"thumbUrl":5259,"material":514,"size":5260,"collection":42,"collections":5261,"showCount":5252,"zanCount":48,"manualWeight":48,"mainColor":49},221189,"zhang-song-shan-shui-tu-ma-lin-221189","长松山水图","《长松山水图》是马麟传世作品中的经典之作，也是南宋院体山水画的代表作之一。\n由山崖蜿蜒转入山寺的路上，一位流连与山水之间的高士，在一株爬满枯藤的古松之下徜徉，仿佛与起伏的远山融为一体，构成了一幅人与自然合而为一的完美景象。画面构图简洁而高旷，下半部分的实与上半部分的虚形成鲜明对比，进而产生高而深远的意境。二者之间以一棵长松相连，使画面自然而然成为一个整体。由实及虚的三段递进，将最写实的建筑、虚实相间的山崖坡石以及淡远的山峦，组成了位于高处的平远构图。山石采用小斧劈皴简略画出，画面的层次主要依赖点染进行刻画。画的中央，摇曳的藤蔓是全画的点睛之笔，山水之间，清风徐来，画面一下子动了起来，让人感受到一种清凉与惬意。",[24,164,7,1846,27,132,29,1144,331,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d7532cb2d0174426dfa5dc1b1abb0a.jpg","25.1×26cm",[42,136,117],{"id":5263,"slug":5264,"title":5265,"dynasty":182,"author":994,"museum":244,"description":5266,"tags":5267,"thumbUrl":5270,"material":173,"size":5271,"collection":44,"collections":5272,"showCount":5252,"zanCount":975,"manualWeight":48,"mainColor":49},218265,"ren-wu-juan-zhou-fang-218265","人物卷","它描绘了儿童在院子里玩灯笼，而女士们聚集在一起演奏音乐。详细描述了灯笼的种类和形状，但人物的脸和衣服与周家的不一样，所以这卷书一定是由后来的艺术家复制的。",[23,24,164,7,25,28,27,96,949,34,249,5268,5269,169],"小孩","大人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bd5d7d833562e3e6f0969c27f3c1208.jpg","30.8x220",[44],{"id":5274,"slug":5275,"title":298,"dynasty":54,"author":5276,"museum":20,"description":5277,"tags":5278,"thumbUrl":5279,"material":1223,"size":5280,"collection":84,"collections":5281,"showCount":5282,"zanCount":1116,"manualWeight":48,"mainColor":72},222643,"he-hua-tu-gao-feng-han-222643","高凤翰","图绘荷塘秋色，荷花于秋风中若俯若仰，似显似藏。荷叶或以浓墨泼染，以示勃勃生机，或以赭色晕染，以示萧索凋败。全图在墨彩交融中表现了满池风动、“接天莲叶无穷碧”的意境。作者以洒脱不羁的笔墨抒发了豪放的情怀。",[23,24,7,165,128,369,81,82,5050,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe153b110743b11a6b88ea2620ed2d20a.jpg","纵172厘米，横62厘米",[],250,{"id":5284,"slug":5285,"title":1810,"dynasty":144,"author":145,"museum":20,"description":5286,"tags":5287,"thumbUrl":5288,"material":611,"size":1815,"collection":136,"collections":5289,"showCount":5282,"zanCount":48,"manualWeight":48,"mainColor":72},220768,"kuai-xue-shi-qing-tu-huang-gong-wang-220768","《快雪时睛图》是元代画家黄公望创作的一幅山水画作，现藏于北京故 宫博物院。\n《快雪时睛图》描绘了雪霁后的山中之景，其中除一轮寒冬红日外，全以墨色画成。高山上留有积雪，天边处有一轮红日，横带一抹红霞，生动表现出雪后初晴时明朗秀美的景象。该画用笔单纯而疏秀，洁净洗练。运用柔润的线条构建了宏大的山石结构，并且使之稳固清断。\n《快雪时晴图》中，赵孟頫书“快雪时晴”四大字，后黄公望作雪景山水合璧装成。\n《快雪时晴图》画水墨雪景山水，层岩叠岭，奇峰寒林，白雪皑皑，寒气袭人。山下房舍数间，山间升起一轮红日。画的中间是掩映在丛林中的几间茅屋，茅屋的两侧是绵延相连的断崖、山冈高低参差，错落有致，茅屋后而群峰耸立，挺拔秀美。 山中的楼房里，有座香炉供奉着佛像。\n《快雪时晴图》最早源自东晋书法家王羲之的书法作品《快雪时晴帖》，自元代画家黄公望根据书法意境创作出《快雪时晴图》以后，在此影响下，历代画家都喜欢将“快雪时晴”作为经典绘画的意境进行创作，明初画家徐贲、清初八大山人和髡残、清中期画家方士庶、近现代画家吴湖帆都画过《快雪时晴图》。",[23,24,7,25,128,29,132,64,208,663,1556,1337,497,3387,1023,3344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bdf735b0eb4445f09c1a335d5bd745e.jpg",[136,117],{"id":5291,"slug":5292,"title":5293,"dynasty":18,"author":620,"museum":244,"description":2164,"tags":5294,"thumbUrl":2169,"material":173,"size":5296,"collection":42,"collections":5297,"showCount":5282,"zanCount":1086,"manualWeight":48,"mainColor":72},220176,"xing-hua-tu-zhao-chang-220176","杏花图",[23,164,24,7,5295,27,28,61,2167,582,208],"团扇","纵25.2厘米，横27.3厘米",[42,68],{"id":5299,"slug":5300,"title":5301,"dynasty":18,"author":1622,"museum":244,"description":5302,"tags":5303,"thumbUrl":5304,"material":173,"size":5305,"collection":136,"collections":5306,"showCount":5282,"zanCount":975,"manualWeight":48,"mainColor":49},218612,"song-jian-yin-yue-tu-ma-yuan-218612","松间吟月图","本幅写松荫下，高士独坐对月。林间，曲水绕栏，薄雾掩映，一派宁谧之气，溢于画表。右下角石隙，虽署有「马远」款，但就画风论，应出自传承马夏流派的明人之手。",[24,7,165,128,27,132,29,1144,331,96,98,231,131,37,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b110f511e2b2dadd28b074b660cdf18.jpg","144.6x76.3cm",[136],{"id":5308,"slug":5309,"title":5310,"dynasty":54,"author":3718,"museum":300,"description":5311,"tags":5312,"thumbUrl":5313,"material":84,"size":5314,"collection":136,"collections":5315,"showCount":5316,"zanCount":48,"manualWeight":48,"mainColor":72},238025,"hong-ren-shan-shui-tu-ce-hong-ren-238025","弘仁山水图册","弘 仁（1610-1664），清画家。俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪立瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等。",[24,7,59,128,132,29,171,98,35,413,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9315c7f3e025c62edc1ed00bd692088d.jpg","50×36",[136,45],249,{"id":5318,"slug":5319,"title":5320,"dynasty":144,"author":1208,"museum":224,"description":5321,"tags":5322,"thumbUrl":5325,"material":278,"size":5326,"collection":136,"collections":5327,"showCount":5316,"zanCount":1116,"manualWeight":48,"mainColor":72},220052,"qiu-lin-ye-xing-tu-ni-zan-220052","秋林野兴图","《秋林野兴图》写一仙居景致。平静的水面环绕着一段坡石，几株大树锁生其上，枝叶复苏。树间茅舍掩映，整个画面弥漫着肃静、清凉的气氛。 《秋林野兴图》笔法表现多见李成、郭熙、董源、巨然诸家之法，笔墨稳健清润，意境虚和冲融，气韵秀逸隽永。",[23,164,24,7,165,128,132,2875,34,131,130,5323,171,5324],"水域","疏林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F119a5ae094663913abafe92db0881216.jpg","纵九十七厘米，横六十八点五厘米",[136],{"id":5329,"slug":5330,"title":5331,"dynasty":18,"author":1091,"museum":300,"description":5332,"tags":5333,"thumbUrl":5334,"material":692,"size":1293,"collection":84,"collections":5335,"showCount":5336,"zanCount":48,"manualWeight":48,"mainColor":49},288989,"xiao-xiang-zhu-shi-tu-su-shi-288989","潇湘竹石图","潇湘竹石图采用长卷式构图，展现湖南省零陵县西潇、湘二水合流处，遥接洞庭巨浸的苍茫景色。整幅画作以潇湘二水的交汇点为中心，远山烟水，风雨瘦竹，近水与云水、蹲石与远山、筱竹与烟树产生强烈对比，让人在窄窄画幅内如阅千里江山。",[164,24,7,128,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14407e88ebd5d78263a6e38373b327a6.jpg",[],248,{"id":5338,"slug":5339,"title":5340,"dynasty":124,"author":2268,"museum":20,"description":5341,"tags":5342,"thumbUrl":5344,"material":3430,"size":5345,"collection":136,"collections":5346,"showCount":5336,"zanCount":48,"manualWeight":48,"mainColor":72},220909,"shan-shui-ce-3-dong-qi-chang-220909","山水册3","《仿古山水图》册，明，董其昌绘，8开。\n此册画于“戊午”（明万历四十六年，1618年），董其昌时年64岁。墨笔六开，构图缜密，笔笔精到；设色二开，格调高远，艳而不俗，皆极经意之品。从鉴藏印可知，此册为董氏传与其子董祖源珍藏，又经王时敏赏鉴，故应是真笔无疑，可作鉴定之样本。",[23,164,24,7,59,128,132,29,663,413,37,497,5343],"松林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc3082909ebf023228c05c4c870b6fad.jpg","纵26.3厘米，横25.5厘米",[136,117],{"id":5348,"slug":5349,"title":5350,"dynasty":124,"author":125,"museum":20,"description":1388,"tags":5351,"thumbUrl":1390,"material":611,"size":1223,"collection":136,"collections":5352,"showCount":5336,"zanCount":1998,"manualWeight":48,"mainColor":72},220367,"cang-zhou-qu-tu-shen-zhou-220367","沧州趣图",[23,24,7,25,29,2132,128,27,132,133,64,131,34,99,98,129,130],[136],{"id":5354,"slug":5355,"title":5356,"dynasty":124,"author":2268,"museum":450,"description":5357,"tags":5358,"thumbUrl":5360,"material":278,"size":5361,"collection":136,"collections":5362,"showCount":5336,"zanCount":48,"manualWeight":48,"mainColor":72},219732,"quan-shi-qing-song-tu-dong-qi-chang-219732","泉石青松图","以淡墨晕染层叠山峦，留白铺就出空寂清灵的幽远氛围。近景苍松虬曲古拙，扎根嶙峋怪石，枝干舒展自带灵动生机。中景幽谷藏村居，流泉蜿蜒穿林而过，山林郁秀空灵。\n\n以干笔皴擦勾勒山石肌理，淡墨晕出山岚氤氲，笔墨简淡却意蕴悠长，尽显文人画萧散简远之趣。题诗与画面浑然相融，诗画一体，寄寓着林泉高致的隐逸情怀，整体格调清润雅致，将笔墨意趣与山水意境相融，尽显通透疏朗的超然意态，是文人山水的绝佳范本。",[23,24,7,128,132,165,29,663,1314,372,413,5359],"泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed6f3dc782262e9a048daaa49bede99f.jpg","纵95.2横41.1厘米",[136,117],{"id":5364,"slug":5365,"title":5366,"dynasty":54,"author":5367,"museum":300,"description":5368,"tags":5369,"thumbUrl":5370,"material":84,"size":84,"collection":84,"collections":5371,"showCount":5372,"zanCount":1105,"manualWeight":48,"mainColor":49},229041,"xi-huang-shang-ren-hua-niao-tu-ce-pu-ru-229041","羲皇上人花鸟图册","溥儒","此作为工笔小帧，虬曲梅枝缀满初绽花苞，粉白柔瓣轻晕胭脂色，深浅层叠间漾开融融春意。\n\n一只禽鸟振翅俯身，羽色晕染细腻写实，翅尖微张、爪部轻抬，将探花一瞬的灵动意态定格。古旧绢底晕开沉褐底色，愈发衬得花鸟鲜活清隽。笔致秀逸温婉，既得院体花鸟精工之妙，又裹挟文人画疏澹雅逸，将春日闲趣藏入古雅底色，把禽鸟探春的幽恬意韵勾勒入微，淡而不寡，静中生趣。",[24,7,59,27,28,61,211,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88269039c0cef8c5cb52798546158853.jpg",[],247,{"id":5374,"slug":5375,"title":5376,"dynasty":182,"author":183,"museum":5377,"description":5378,"tags":5379,"thumbUrl":5381,"material":84,"size":84,"collection":44,"collections":5382,"showCount":5383,"zanCount":48,"manualWeight":48,"mainColor":956},221111,"xian-shi-kong-zi-xing-jiao-xiang-wu-dao-zi-221111","先师孔子行教像","原作佚失","中国古代绘制的各种形式和风格的孔子像存世较多，但真正被广泛认可和接受的是现存于山东曲阜孔庙的石刻本《孔子行教像》，一般认为该石刻本原作为唐代著名画家吴道子所绘，但原作早已不幸遗失。",[164,24,7,188,96,5380,64],"拓本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ebcef1acb329791e1db6fadd10e7165.jpg",[44],246,{"id":5385,"slug":5386,"title":5387,"dynasty":124,"author":2268,"museum":244,"description":5388,"tags":5389,"thumbUrl":5390,"material":1464,"size":5391,"collection":136,"collections":5392,"showCount":5383,"zanCount":1086,"manualWeight":48,"mainColor":72},220932,"fang-ni-zan-shan-yin-qiu-he-tu-zhou-dong-qi-chang-220932","仿倪瓒山阴丘壑图轴","本幅题名倣倪瓒，原本欲倣陈永年所藏之倪瓒〈山阴丘壑〉，但因未留图稿，乃改学巨然〈关山雪霁〉作成此图，係透过回溯倪瓒风格，再辅以想像自运。\n此作大胆新颖且别出心裁地突破既往倣古作法，巧妙结合折带皴与披麻皴，结组出既具倪瓒式清亮、兼有黄公望式浑厚的山石，可谓熔倪瓒与黄公望风格一炉而冶的集大成之作。陈继儒于题跋中点出此图融合董源、巨然以及倪瓒风格，可谓知论。",[23,164,24,7,165,128,132,330,2132,29,34,131,35,31,415,3427,1337,1144,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d99d6768867f84e687ae3dcbbc87ba9.jpg","96.3 x 44.8cm",[136,117],{"id":5394,"slug":5395,"title":5396,"dynasty":54,"author":646,"museum":244,"description":647,"tags":5397,"thumbUrl":5402,"material":66,"size":653,"collection":84,"collections":5403,"showCount":5383,"zanCount":1998,"manualWeight":48,"mainColor":72},219872,"er-shi-si-fan-hua-xin-feng-tu-mu-dan-yu-liu-hua-dong-gao-219872","二十四番花信风图-牡丹与柳花",[164,24,7,59,27,28,263,5398,5399,5400,582,5401],"柳花","花枝","柳叶","题款","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb09a9f572835af6efd69b2ef51c9f79a.jpg",[],{"id":5405,"slug":5406,"title":5407,"dynasty":124,"author":5408,"museum":244,"description":5409,"tags":5410,"thumbUrl":5411,"material":66,"size":5412,"collection":136,"collections":5413,"showCount":5383,"zanCount":1998,"manualWeight":48,"mainColor":72},214588,"xi-shan-xie-sheng-ce-yun-shan-xian-ge-bian-wen-yu-214588","溪山写胜册-云山仙阁","卞文瑜","卞文瑜是一位著名的明代画家，他的作品《溪山写胜册-云山仙阁》是一幅非常珍贵的古代中国山水画。\n\n这幅画的构图十分精巧，将整幅画分成上下两部分，上部为云山仙阁，下部为溪流和山峦。画中的云山仙阁高耸入云，状如玉龙，气势磅礴。下方的溪流清澈可见底，水流蜿蜒曲折，流动自然。山峦远近错落有致，山川相连，给人以深远的视觉冲击。\n\n卞文瑜在这幅画中运用了自然之美的理念，将自然与人文相结合，创造出了一幅充满生机和美感的画作。他运用了细腻的笔法和柔和的色彩，使得整幅画面看起来非常自然和舒适。\n总的来说，《溪山写胜册-云山仙阁》是一幅优秀的古代中国山水画，值得珍藏。",[24,7,59,27,29,95,97,98,1337,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c88df2db3b86f6fbad65788ffbd4776.jpg","24.8x41.3cm",[136],{"id":5415,"slug":5416,"title":903,"dynasty":18,"author":2257,"museum":244,"description":5417,"tags":5418,"thumbUrl":5419,"material":173,"size":5420,"collection":136,"collections":5421,"showCount":5422,"zanCount":975,"manualWeight":48,"mainColor":49},218230,"shang-lin-tu-juan-zhao-bo-ju-218230","赵伯驹（生年不详，约卒于西元一一六二年），字千里，宋太祖七世孙，赵大年之子。仕至浙东兵马钤辖。善画山水、花果、翎毛及人物，楼阁界画尤妙。上林苑乃秦朝旧苑，汉武帝扩建。周围三百里，离宫七十所，规模宏伟。苑中饲养禽兽多种,，春秋二季皇帝时常至此围猎。本卷青绿设色，画上林苑帝王围猎情景。人物众多，车辇仪仗无一不备。",[23,24,7,25,26,27,29,96,97,34,211,131,496,38,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc4585d7f14f3b12fabf2d53658317cb.jpg","44x1169.4",[136],244,{"id":5424,"slug":5425,"title":5426,"dynasty":124,"author":1642,"museum":20,"description":5427,"tags":5428,"thumbUrl":5429,"material":173,"size":5430,"collection":136,"collections":5431,"showCount":5422,"zanCount":1086,"manualWeight":48,"mainColor":49},216244,"san-gu-mao-lu-tu-dai-jin-216244","三顾茅庐图","这幅画描绘了刘备在 三顾茅庐 拜访诸葛亮的故事。人物的刻画生动而细致，如刘备的恭敬神态、张飞的黝黑面孔和他的武艺高强的姿态，都让人浮想联翩。人物的动态变化掌握得非常准确。岩石采用大斧劈法，松枝高长，明显继承了南宋马远的风格，用笔简洁有力。这幅画的整体色彩清晰而优雅。明代宫廷画中有很多以 招贤纳士 为主题的历史叙事画，反映出皇帝寻找贤人的心情是多么迫切。",[23,24,164,7,165,27,132,29,96,1144,131,711,276,99,130,3269,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb04d74abf76131e7ffb35a7870d8a078.jpg","172.2x107",[136],{"id":5433,"slug":5434,"title":5435,"dynasty":18,"author":491,"museum":56,"description":5436,"tags":5437,"thumbUrl":5439,"material":317,"size":5440,"collection":136,"collections":5441,"showCount":5442,"zanCount":1116,"manualWeight":48,"mainColor":49},220326,"you-gu-tu-guo-xi-220326","幽谷图","该图具有典型的中国西北部山川风貌，雪后的山间幽谷，高寒惨淡，山岩峻险。山下一股清泉从参差崚嶒的巉岩中喷涌而出，波撞崖壁，浪激石尖，腾起一片迷茫之气。临潭而立一块巨石，石缝中三五棵老树，枯枝上不着一叶，唯见其盘根错节，虬曲舒伸。随着山势蜿蜒而上，也使坦荡如砥的峰峤渐入眼帘，然而峰峦之间则是一道盘旋曲折的幽壑，崖边林梢丛丛，谷底寒气森森。远处的主峰如虎踞龙盘，巍然而立，下临千丈绝涧，浩渺之气，直与天接。",[23,164,24,7,165,128,132,29,497,34,415,5438],"幽谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0fb115b51026981c5179c63b5367e73.jpg","纵167.7cm， 横53.6cm",[136,42],243,{"id":5444,"slug":5445,"title":5446,"dynasty":18,"author":1622,"museum":244,"description":5447,"tags":5448,"thumbUrl":5449,"material":317,"size":5450,"collection":44,"collections":5451,"showCount":5442,"zanCount":48,"manualWeight":48,"mainColor":49},219606,"cheng-long-tu-ma-yuan-219606","乘龙图","本幅画中人物为一老者，其鼻长，面相上谓为老龙相，此与马远时之皇帝宁宗，其面相之特征亦为老龙像。故宫所藏〈宁宗像〉，亦足证名此项面貌特征。按《庄子•天地》篇：「千岁厌世，去而上仙，彼乘白云，至于帝乡。」又《史记•封禅书》：「黄帝采首山铜，铸鼎于荆山下；鼎既成，有龙垂胡髯下迎黄帝，黄帝上骑，群臣后宫从上者七十余人，龙乃上去；余小臣不得上，乃悉持峦龙髯，龙髯拔坠，堕黄帝之弓，百官始仰望，黄帝既上天，乃抱其弓与胡髯号。」故后世皇帝死升天，上天乘龙。皇帝死曰「宾天」，宋代皇室信仰道教，作此图画是可从此道理连想。",[23,24,7,165,188,96,772],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4da643835190212f952accdd55118302.jpg","本幅 108.1x52.6公分、全幅 54公分",[44],{"id":5453,"slug":5454,"title":5455,"dynasty":182,"author":5456,"museum":20,"description":5457,"tags":5458,"thumbUrl":5460,"material":2739,"size":5461,"collection":318,"collections":5462,"showCount":5463,"zanCount":1998,"manualWeight":48,"mainColor":72},239553,"wang-xi-zhi-lan-ting-xu-juan-chuan-tang-chu-sui-liang-mo-ben-chu-sui-liang-239553","王羲之兰亭序卷（传唐褚遂良摹本）","褚遂良","东晋永和九年（353年）三月三日，山阴名士四十一人集于兰亭，修禊祭，宴曲水。即席赋诗，汇为一卷，由王羲之当场作序。这篇序情文并茂，心手双畅，向称“天下第一行书”。其妍美流便的风神，被后世视为行书的典范和楷模。唐太宗李世民酷爱羲之书法，在得到《兰亭序》真迹后，曾命当朝书法名家褚遂良、欧阳询以及弘文馆拓书人冯承素等勾摹数本，分赐臣下，以广布扬。兰亭真迹据记载已随唐太宗殉葬昭陵。这些唐摹本主要有两个系统，一为褚遂良摹本，存世的褚遂良、虞世南、冯承素等墨迹摹本，多属此系统，以冯摹的“神龙本”最为接近原作；一为欧阳询摹本，刻帖“定武本”即源自欧本，为存世最佳的石刻帖本。\n此卷旧传为褚遂良所摹，故卷前项元汴标题“褚摹王羲之兰亭帖”，简称为“褚摹兰亭”，实未必确切。全卷有宋、元、明诸家题跋或观款，以及鉴藏印记215方，又半印4方。其中“滕中”等2方北宋印和南宋绍兴内府“绍兴”、“内府印”、“睿思东阁”等7方印属真，第一后纸上米芾诗题及7方钤印亦真。因知此卷当为北宋米芾前临摹本。但作品质地属楮皮纸，是宋以后方普遍使用的纸质，或可证此为北宋摹本。全卷由两幅纸拼接，前纸19行，后纸9行，行款排列较松匀，以临写为主，辅以勾描，因此书写较为流畅，亦具一定功力。\n此卷流传鉴藏经过大致为：北宋滕中、南宋绍兴内府、元赵孟頫、明浦江郑氏、项元汴、清卞永誉、乾隆内府。曾著录于清顾复《平生壮观》、卞永誉《式古堂书画汇考》、吴升《大观录》、安岐《墨缘汇观》、清内府《石渠宝笈·续编》、阮元《石渠随笔》等书，并刻入《兰亭八柱帖》。",[23,7,25,330,133,208,64,1590,5459],"典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F231a989ca4ec3e5d71859f048f630428.jpg","纵24厘米，横88.5厘米",[318],242,{"id":5465,"slug":5466,"title":5467,"dynasty":18,"author":1323,"museum":20,"description":5468,"tags":5469,"thumbUrl":5473,"material":40,"size":5474,"collection":84,"collections":5475,"showCount":5463,"zanCount":975,"manualWeight":48,"mainColor":49},221491,"huo-lang-tu-quan-juan-li-song-221491","货郎图全卷","古吴轩出版社主编的《李嵩货郎图》是《历代名画宣纸高清大图》系列之一，采用高清宣纸制作，力求体现画作整体的最高艺术水平，且添加内容简介、风格阐述、作者介绍，以方便读者鉴赏学习。\n此图是一幅人物风俗画卷，画面上货郎肩挑杂货担，不堪重负地弯着腰，欢呼雀跃的儿童奔走相告，喜悦之情溢于言表。\n画家借助货郎这一题材表现了南宋市井生活的一个侧面，是民俗学家不可多得的珍贵史料。",[23,164,24,7,25,28,188,27,96,2218,5470,5471,251,34,5472,527,208],"妇女","货担","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff486169f4887c2ad43e56c3c00718926.jpg","纵25.5厘米，横70.4厘米",[],{"id":5477,"slug":5478,"title":5479,"dynasty":980,"author":3539,"museum":1688,"description":5480,"tags":5481,"thumbUrl":5482,"material":84,"size":84,"collection":84,"collections":5483,"showCount":5463,"zanCount":48,"manualWeight":48,"mainColor":72},220545,"xu-bei-hong-hua-ma-tu-zhou-xu-bei-hong-220545","徐悲鸿画马图轴","以淋漓水墨写就奔马，浓淡晕染间，骏马肌肉的起伏张力尽显。昂首扬鬃，四蹄腾跃似踏风而来，马尾与颈鬃以狂放飞白扫出，裹挟着呼啸劲风，将奔马桀骜不羁的野性全然挥洒而出。\n\n舍弃繁复布景，将视线尽数锁于奔马之上，寥寥数笔便让马儿挣脱纸面桎梏，静帧画作仿若能闻蹄声惊雷，把中式写意传神的特质推至极致，尽显生命蓬勃昂扬的野性力量。",[23,164,24,7,165,128,101,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97f81de666dcbcb1927f785be1e3e6f3.jpg",[],{"id":5485,"slug":5486,"title":5487,"dynasty":54,"author":223,"museum":450,"description":5488,"tags":5489,"thumbUrl":5491,"material":66,"size":84,"collection":68,"collections":5492,"showCount":5463,"zanCount":975,"manualWeight":48,"mainColor":49},216736,"hu-tu-yi-ming-216736","虎图","猛虎蹲踞于地，双目炯炯凝视前方，蓄势待发的姿态暗藏山林王者的威慑。墨线勾勒斑纹，浓淡交错间晕染出毛发的细腻层次，笔触兼具工致与雄健。背景丛草以简笔写意，虚实相生中凸显虎的主体地位。整体色调古朴沉敛，虽佚名却见娴熟笔墨功底，将虎的威猛与沉静之态融于画面，尽显清代兽畜画写实与传神的特质，静中寓动，气韵生动。",[24,7,304,27,28,5490,949,1771],"虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb93c5c1a0ef67b390978f2e35d1221fd.jpg",[68],{"id":5494,"slug":5495,"title":3659,"dynasty":54,"author":3403,"museum":56,"description":5496,"tags":5497,"thumbUrl":5498,"material":611,"size":5499,"collection":68,"collections":5500,"showCount":5501,"zanCount":1998,"manualWeight":48,"mainColor":72},237437,"ju-hua-zhou-wu-chang-shuo-237437","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” [2] 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,7,165,128,27,61,376,169,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac17540baab309bf666e37c3441ed42.jpg","纵119.9 厘米横51.6",[68],241,{"id":5503,"slug":5504,"title":5505,"dynasty":54,"author":1460,"museum":1941,"description":5506,"tags":5507,"thumbUrl":5508,"material":66,"size":5509,"collection":84,"collections":5510,"showCount":5501,"zanCount":1998,"manualWeight":48,"mainColor":72},214533,"yi-jin-ling-ce-shi-tao-214533","忆金陵册","此册计十二开，每开写金陵一景。按照弗利尔美术馆的英文含义，此册名称直译应为《南京记忆》。和李鱓《花果册》一样，弗利尔美术馆对每一页均做了单独的说明，但大同小异，并未对作品的艺术内容进行评价或解说，只不过说明每一页的标题而已。此册用笔恣肆，水墨淋漓，色墨交融，是典型的石涛成熟时期作品。",[24,7,128,27,29,97,98,99,129,131,34,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9786c88deb9d34c1413b59771dba7d8.jpg","纵23.8厘米，横19.2厘米",[],{"id":5512,"slug":5513,"title":5514,"dynasty":18,"author":3278,"museum":244,"description":5515,"tags":5516,"thumbUrl":5518,"material":692,"size":1293,"collection":84,"collections":5519,"showCount":5520,"zanCount":975,"manualWeight":48,"mainColor":49},289341,"han-lin-ping-ye-tu-li-cheng-289341","寒林平野图","图绘萧瑟的隆冬平野中，长松亭立，古柏苍虬，枝干交柯，老根盘结，河道曲折，似冰冻凝固，烟霭空蒙而至天际。该图正是李成最擅长表现的场景。",[24,164,7,165,128,29,1557,3698,1337,331,132,208,5517],"萧瑟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31a367dd49badf8d7559fae79a915a52.jpg",[],240,{"id":5522,"slug":5523,"title":298,"dynasty":351,"author":5524,"museum":300,"description":5525,"tags":5526,"thumbUrl":5527,"material":692,"size":1293,"collection":84,"collections":5528,"showCount":5520,"zanCount":48,"manualWeight":48,"mainColor":49},289001,"he-hua-tu-huang-quan-289001","黄荃","黄筌（约903年—965年），字要叔，成都（今四川成都）人。曾随唐末入蜀的著名画家刁光胤学画，又吸收山水画家李昇，人物龙水画家孙位之长，结果“全该六法，远过三师”他擅长花竹翎毛，也能画佛道，人物，山水，是一位技艺全面的画家。\n早以工画得名，擅花鸟，师刁光胤、膝昌苑，兼工人物、山水、墨竹。山水松石学李升，人物龙水学孙位，鹤师薛稷，撷诸家之萃，脱去格律而自成一派。所画禽鸟造型正确，骨肉兼备，形象丰满，赋色浓丽，勾勒精细，几乎不见笔迹，似轻色染成，谓之“写生”。与江南徐熙并称“黄徐”，形成五代、宋初花鸟画两大主要流派。",[164,24,7,28,27,61,81,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2a7d3c3f2290ee5f25db1f0672a6ce.jpg",[],{"id":5530,"slug":5531,"title":5532,"dynasty":18,"author":5533,"museum":244,"description":5534,"tags":5535,"thumbUrl":5536,"material":637,"size":5537,"collection":84,"collections":5538,"showCount":5520,"zanCount":1105,"manualWeight":48,"mainColor":72},221608,"po-mo-xian-ren-tu-juan-liang-kai-221608","泼墨仙人图卷","梁楷","《泼墨仙人图》可以说是梁楷与画院画风决绝后,在绘画创作中自辟蹊径、独树一帜的具体体现。画面除面、胸部用细笔勾出轮廓外,其他皆用巨笔阔笔横扫,每一笔既有墨色的酣畅,又有水分的淋漓,十分纵肆狂放,已达到旁若无人的程度。从人物造型来看,作者有意夸张其头额部分,几乎占去整个头的三分之二,而把五官挤在下部很小的面积上,垂眉、细眼,鼻扁而大,嘴角下垂,既显得醉态可掬,却又诙谐滑稽,令人发笑,以生动的形象表现了作者的思想和生活态度,极尽嬉笑怒骂之态,从而体现了作品的思想深度。应该说梁楷画的不是“仙人”,而是他自己。",[23,24,7,128,2333,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da57b80a95a59b5229a6aa6845663ed.jpg","48×27公分",[],{"id":5540,"slug":5541,"title":5542,"dynasty":18,"author":2141,"museum":5543,"description":5544,"tags":5545,"thumbUrl":5546,"material":173,"size":5547,"collection":44,"collections":5548,"showCount":5520,"zanCount":1105,"manualWeight":48,"mainColor":49},218667,"gong-nv-tu-liu-song-nian-218667","宫女图","日本东京国立博物馆","画面铺展雅致静谧的宋式日常，几位宫女衣袂轻扬，或持物相待，或静立侧畔，神情温婉如春水。浴盆中孩童戏水喧闹，稚态可掬，与身旁娴静形成生动对照。背景苍劲的绿植与古朴小桌相映，笔墨细腻处见衣纹流转，设色淡雅间显器物温润。整幅画以细腻笔触捕捉宫廷生活的温情片刻，既藏宋画的精致风骨，又含人间烟火的柔软，似将千年的静谧与鲜活，凝于这一方绢素之上。",[23,164,24,7,1131,27,28,96,166,171,169,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8003e2340ab08b6d3bbb4b0c835b26ac.jpg","24.4x25.8",[44],{"id":5550,"slug":5551,"title":5552,"dynasty":124,"author":1438,"museum":20,"description":5553,"tags":5554,"thumbUrl":5555,"material":1722,"size":5556,"collection":68,"collections":5557,"showCount":5558,"zanCount":48,"manualWeight":48,"mainColor":72},222553,"mu-dan-hua-hui-tu-chen-chun-222553","牡丹花卉图","本幅上部行草书自题：“春是花时节，红紫各自赋。勿言薄脂粉，适足表贞素。道復。”后钤“陈道復氏”、“陈淳之印”印。\n作品画折枝牡丹花，以淡墨逸笔勾写盛开的花头，以深浅不一的墨色描写枝叶，表现出牡丹摇曳春风的优美姿态，并通过题诗表达了不慕繁华、甘于清静、孤芳自赏的心境。\n陈道復创作过许多以牡丹为主题或含有牡丹形象的绘画作品，如故宫博物院藏《牡丹图卷》、《天香图扇》、《洛阳春色图卷》、《墨花十二种图卷》以及上海博物馆藏《洛阳春色图卷》、《玉楼春色图卷》等等。这些作品多为墨笔或淡设色写意绘画，充分展示了画家在状物造型以及灵活运用水墨方面的高超技艺，正如明末大鉴赏家李日华为此幅作品所题云：“破一滴墨水，作种种妖妍。改旦暮之观，备四时之气”。",[23,24,7,128,61,263,549,133,208,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F524ca64f679df2ecd19978f86c81b89a.jpg","纵54.8厘米，横30.8厘米",[68,45],239,{"id":5560,"slug":5561,"title":5562,"dynasty":18,"author":2067,"museum":2068,"description":2069,"tags":5563,"thumbUrl":5564,"material":514,"size":2072,"collection":84,"collections":5565,"showCount":5558,"zanCount":1105,"manualWeight":48,"mainColor":49},221595,"hong-bai-fu-rong-tu-er-li-di-221595","红白芙蓉图（二）",[23,24,164,7,28,27,61,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd25dc107fa4494ca042034f992513016.jpg",[],{"id":5567,"slug":5568,"title":5569,"dynasty":144,"author":1208,"museum":244,"description":5570,"tags":5571,"thumbUrl":5572,"material":128,"size":84,"collection":136,"collections":5573,"showCount":5558,"zanCount":48,"manualWeight":48,"mainColor":72},218823,"qiu-lin-yuan-shan-tu-ni-zan-218823","秋林远山图","疏木萧疏，枝桠挺劲如铁，带着秋的清寒。远山淡抹，似笼轻烟，与空阔的水面相映成趣。笔墨枯淡却含韵致，枯笔皴擦见骨力，淡墨晕染显空灵。留白处意蕴悠长，仿佛天地间只剩风声掠过林梢，尘俗尽散。画面极简却藏深致，将文人的孤高与对自然的静观融入丘壑，清冷中透着宁静，空寂里含着哲思，恰是元人山水那份超脱尘世的清逸之境。",[23,24,7,128,132,29,331,1233,415,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04f642f6154c24c8d6629652c8982480.jpg",[136],{"id":5575,"slug":5576,"title":5577,"dynasty":18,"author":620,"museum":20,"description":5578,"tags":5579,"thumbUrl":5580,"material":5581,"size":5582,"collection":42,"collections":5583,"showCount":5584,"zanCount":1116,"manualWeight":48,"mainColor":72},221297,"xie-sheng-jia-die-tu-juan-zhao-chang-221297","写生蛱蝶图卷","该画作描绘了群蝶恋花的田园小景。轻灵振翅的蛱蝶起舞于画幅的上半部；秋花枯芦摇曳于画卷的底边。笔法上，蝶、蚱以工笔细描，花草则以双勾填色法。设色清淡、浓艳各得其所，彩不压墨。在物象表现上，作者用双勾填色法画土坡、草丛、蛱蝶。其勾线富于顿挫和粗细变化，墨色亦有浓淡轻重之分，敷色积染多层，特别是蛱蝶的翅翼更因积染而色彩浓艳厚重，从而与主要以植物色染就的草叶形成“轻”与“重”的对比。",[23,24,7,25,28,27,2959,4278,230,481,62,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d1b406765c81dbad32d814e51b46fac.jpg","纸本设色画","纵27.7厘米，横91厘米",[42,68,45],238,{"id":5586,"slug":5587,"title":5588,"dynasty":18,"author":1449,"museum":244,"description":5589,"tags":5590,"thumbUrl":5591,"material":84,"size":84,"collection":42,"collections":5592,"showCount":5584,"zanCount":1998,"manualWeight":48,"mainColor":49},221186,"shi-liu-wen-niao-ma-lin-221186","石榴文鸟","马麟马世荣之孙，马远之子，马远是宋光宗、宋宁宗两朝画院待诏，马麟画承家学， 用笔圆劲，轩昂洒落，画风秀润处过于乃父。 ​",[23,24,7,28,27,61,2035,211,2438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71e0f84a2d62c330aaeff7eb6de993c8.jpg",[42,68,45],{"id":5594,"slug":5595,"title":5596,"dynasty":18,"author":2349,"museum":244,"description":5597,"tags":5598,"thumbUrl":5599,"material":151,"size":5600,"collection":42,"collections":5601,"showCount":5602,"zanCount":1086,"manualWeight":48,"mainColor":49},221355,"qiu-ting-xi-ying-tu-su-han-chen-221355","秋庭戏婴图","该画作描绘了在秋天的一富家庭院里，姐弟俩正围着螺钿漆墩玩着自制的小玩具的情景。急躁的小弟弟全神贯注，衣领滑下了肩，显示出他顽皮、好动的外向性格；细心的姐姐耐心地照看着小弟弟，她性情沉静温和。两个孩子玩得着了迷，似乎忘记了刚才发生的一切。在他们身后的另一张螺钿漆墩上，杂乱地摆放着其他玩具，可能刚才他们曾在花丛边追打嬉闹过。 [2]\n该画作左上角有清高宗乾隆所题绝句：庭院秋声落枣红，拾来旋转戏儿童。丹青讵止传神诩，寓意原存相让风。",[23,24,164,7,165,28,27,96,2218,171,373,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71807e6a7737f12c8af99f0cf3723a85.jpg","纵197.5厘米，横108.7厘米",[42,68,44,45],237,{"id":5604,"slug":5605,"title":5606,"dynasty":54,"author":646,"museum":244,"description":647,"tags":5607,"thumbUrl":5609,"material":66,"size":653,"collection":84,"collections":5610,"showCount":5602,"zanCount":1116,"manualWeight":48,"mainColor":72},219881,"er-shi-si-fan-hua-xin-feng-tu-ying-tao-yu-ying-chun-dong-gao-219881","二十四番花信风图-樱桃与迎春",[24,7,59,27,28,61,701,5608,2438,1039,549,64,208],"迎春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cbb4551c35981c815d28fac994eeefc.jpg",[],{"id":5612,"slug":5613,"title":5614,"dynasty":54,"author":646,"museum":244,"description":647,"tags":5615,"thumbUrl":5617,"material":66,"size":653,"collection":84,"collections":5618,"showCount":5602,"zanCount":1116,"manualWeight":48,"mainColor":72},219874,"er-shi-si-fan-hua-xin-feng-tu-mu-lan-yu-li-hua-dong-gao-219874","二十四番花信风图-木兰与梨花",[24,7,59,27,28,61,5616,1188,582,1039,64,208],"木兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e7899210f12729525c86d211dedbbfe.jpg",[],{"id":5620,"slug":5621,"title":5622,"dynasty":54,"author":5623,"museum":450,"description":5624,"tags":5625,"thumbUrl":5627,"material":173,"size":5628,"collection":44,"collections":5629,"showCount":5602,"zanCount":1998,"manualWeight":48,"mainColor":72},218354,"shi-nv-tu-ce-li-ting-xun-218354","仕女图册","李廷薰","本卷描绘了四位美女，其风格与蔡奇和费丹旭相似。李廷勋，被称为秦贤和花痴，是一位罕见的艺术家，或者说是广东人。",[24,7,59,27,28,96,166,1367,5626,64],"兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19a6f600a83e3dfe0c423dd1fddcced.jpg","19x28",[44],{"id":5631,"slug":5632,"title":5633,"dynasty":54,"author":1504,"museum":300,"description":2280,"tags":5634,"thumbUrl":5635,"material":637,"size":84,"collection":68,"collections":5636,"showCount":5637,"zanCount":1105,"manualWeight":48,"mainColor":72},223300,"zhu-shi-tu-zhou-1-zheng-ban-qiao-223300","竹石图轴1",[23,24,7,165,128,167,1314,375,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a5e3849c804728833e287d5719d8957.jpg",[68,117],236,{"id":5639,"slug":5640,"title":5641,"dynasty":144,"author":1208,"museum":244,"description":5642,"tags":5643,"thumbUrl":5644,"material":278,"size":5645,"collection":136,"collections":5646,"showCount":5637,"zanCount":1116,"manualWeight":48,"mainColor":72},220787,"jiang-ting-shan-se-zhou-ni-zan-220787","江亭山色轴","倪云林 《江亭山色》于2012年核定为重要古物，所绘的内容有山峦、陂陀、树木、茅亭，其结构萧散，是倪云林特意为外游时相识的一位友人焕伯高士留别而绘。\n款识：焕伯高士嗜古尚义於友道於医学尤精隐居养亲不求知於也余过娄江踰月与仆甚相好戏写江亭山色并作长歌以留别二月廿五日瓒。\n题签：倪云林山水真迹。玉带砚斋藏。\n释文：娄江之东天宇宽。左瞰青海阴漫漫，樱桃花落杂飞霰。桃李欲动春风寒，我去松陵自子月。忽惊归雁鸣江干，风吹归心如乱丝。不能奋飞身羽翰。身羽翰，度春水。胡蝶忽然梦千里，剥剥啄啄闻叩门。推枕倒裳为君起，持杯劝我径饮之。有酒如渑胡不喜，看朱成碧纷醉眼。碧草春波暎疏绮，醉吐胸中之磊块。一笑濡豪烂盈纸，白鸥明处白云生。历历青山镜光里，翡翠鵁鶄满兰芷。壬子。\n倪瓒的书法也是极具传统功力与个人特色的。他的书法受褚遂良影响较大，有些点画如“戈”法明显是褚体之法，写的十分妩媚。其书法还掺杂了隶书与六朝写经的风格，这可能与他信奉道教熟悉经体有关，从而使他的书法具有一种仙风道骨的古意与洒脱。他题画有时飘逸草率，多有连笔，如北京故宫藏《竹枝图》。有些写的则工工整整，一笔不苟，如《江亭山色图》、《容膝斋图》，书体为小楷，楷中含隶，毫无泄怠，极见功力。字数如此多的小楷题画，在其画作中极少见。\n倪云林的画乍一看为其荒疏感到意外，多看了则觉单调，几乎千篇一律，皆是疏林坡岸，浅水遥岭，但是自然的反应了他的内心，也反应了他的修养。倪云林《江亭山色》典型的“云林皴法”，且款题甚长，书法精妙，堪称倪云林一生山水画的代表作。",[24,7,165,128,29,130,413,167,1314,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb42f2a048eafcf667755bea02ad618.jpg","94.7x43.7",[136,117],{"id":5648,"slug":5649,"title":5650,"dynasty":18,"author":5651,"museum":244,"description":5652,"tags":5653,"thumbUrl":5655,"material":173,"size":5656,"collection":68,"collections":5657,"showCount":5637,"zanCount":738,"manualWeight":48,"mainColor":72},215112,"xie-sheng-ying-su-tu-ai-xuan-215112","写生罂粟图","艾宣","此册共二十六开，包含许多精采的宋元册页。各别的作品曾经过南宋内府、十四世纪安徽收藏家吴志淳、十五世纪黔宁王沐璘、十七世纪山东收藏家张笃行等人收藏过。裱装形式上，除了少数有对题者，左边空白对幅皆以明代流行的金粟山藏经纸裱装之，并有风格统一的题签。配合裱纸上梁清标（一六二○－一六九一） 的收藏印，及比较院藏其他梁清标之题签，推测此册可能为梁清标所集，显示明末清初所理解的宋元画。",[23,164,24,7,1131,28,27,61,5654,62,624],"罂粟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadad36eaac06d8f20b835860208428a2.jpg","23.7x24.3cm",[68],{"id":5659,"slug":5660,"title":5661,"dynasty":54,"author":4083,"museum":524,"description":4173,"tags":5662,"thumbUrl":5663,"material":66,"size":4176,"collection":136,"collections":5664,"showCount":5665,"zanCount":1116,"manualWeight":48,"mainColor":72},219994,"shan-shui-hua-chu-chun-wang-shi-min-219994","山水画-初春",[24,7,128,29,132,663,228,413,98,229,758,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae35075de48bf89446b66f24d13410.jpg",[136],235,{"id":5667,"slug":5668,"title":4908,"dynasty":18,"author":223,"museum":77,"description":5669,"tags":5670,"thumbUrl":5671,"material":173,"size":5672,"collection":68,"collections":5673,"showCount":5665,"zanCount":751,"manualWeight":48,"mainColor":49},218554,"ping-hua-tu-yi-ming-218554","画的是一个中心中空的竹制花篮，篮子里有几朵菊花和木槿。芙蓉花瓣由内而外由紫变淡红，大方得体，而粉色和白色的菊花层层叠叠，繁而不乱，画面不大，却诠释了秋天的多种色彩。",[24,7,27,28,61,376,169,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92ea7ee08022ee5215dc568f32303c97.jpg","21x19cm",[68],{"id":5675,"slug":5676,"title":5677,"dynasty":54,"author":5678,"museum":300,"description":5679,"tags":5680,"thumbUrl":5681,"material":734,"size":5682,"collection":84,"collections":5683,"showCount":5684,"zanCount":1116,"manualWeight":48,"mainColor":72},234803,"fang-yun-shou-ping-hua-hui-zhou-jiang-ji-xi-234803","仿恽寿平花卉轴","蒋季锡","蒋季锡，女（具体生卒年不详），从其画作上判断她大致活动于清康熙至雍正年间（公元1661－1735年），字苹南，江苏常熟人。陕西道监察御史、画家蒋伊之女，大学士蒋廷锡之妹。她出生与官宦书画世家，并常与父兄探讨画理，研习画艺。她的艺术功底深厚，思路开阔，在艺术上刻意求新。其花鸟画学马荃的勾染花卉法，兼学恽寿平的没骨写生法，同时巧妙地吸收了西洋的明暗技法，使她的画作工整细致、写实逼真、别有意境。\n落款自题七言诗一首：“一叶芳心任卷舒，客愁乡梦待何如。平生枉用藤溪纸，绿玉窗前好写书。仿瓯香馆笔意，苹南女史蒋季锡。”钤“苹南”、“季锡”印二方。",[24,7,165,61,27,60,376,875,62,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7049879c68c188c33b57a9d26849b1c6.jpg","纵107厘米，横33.4厘米",[],234,{"id":5686,"slug":5687,"title":1006,"dynasty":54,"author":55,"museum":300,"description":5688,"tags":5689,"thumbUrl":5690,"material":84,"size":84,"collection":84,"collections":5691,"showCount":5684,"zanCount":1086,"manualWeight":48,"mainColor":49},230251,"mu-dan-tu-yun-shou-ping-230251","此作用没骨法写就，以色代线，晕染出牡丹娇柔丰腴之态。白粉牡丹瓣层轻叠，莹润如凝脂；朱砂秾艳不俗，紫花幽柔淡雅，色彩过渡自然清妍，不见勾勒却形神兼备。枝叶以深浅草绿斡染，俯仰顾盼间尽显舒展生机，古拙顽石衬于花下，旁缀幽兰数茎，添清寂古雅之趣。\n\n右上题诗与花木相映，将富贵之态融入澹逸文气，以秀雅之笔消解艳俗，淡而不薄，丽而不妖，把写生之功与文人意趣相融，尽显春日花盛的清和雅致。",[23,24,7,165,27,61,263,481,171,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85bcececee698ff8393e54eef5a76e67.jpg",[],{"id":5693,"slug":5694,"title":5695,"dynasty":18,"author":491,"museum":5696,"description":5697,"tags":5698,"thumbUrl":5699,"material":173,"size":5700,"collection":136,"collections":5701,"showCount":5684,"zanCount":1998,"manualWeight":48,"mainColor":49},219184,"shan-cun-tu-guo-xi-219184","山村图","南京大学","描绘了巍峨巨峰下的峡谷中人们的隐居生活。整幅作品山势险峻，气势恢宏，细节之处描写入微，村落、人物生动传神。",[23,24,7,29,128,132,165,131,34,35,99,415,3857],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30bef5f72b428fd151f38b62ec7c4b5e.jpg","横54.2cm，纵109.8cm",[136],{"id":5703,"slug":5704,"title":5705,"dynasty":124,"author":5706,"museum":300,"description":5707,"tags":5708,"thumbUrl":5709,"material":84,"size":84,"collection":68,"collections":5710,"showCount":5711,"zanCount":1086,"manualWeight":48,"mainColor":49},238075,"song-he-ling-xiao-zhou-wang-wei-lie-238075","松鹤凌霄轴","王维烈","王维烈字无竞，吴郡（今江苏苏州）人，游周之冕之门，明代苏州画家。\n王维烈[明]花鸟在周之冕下，高阳之上。泰昌元年（一六二o）作树石孔雀图。南京博物院藏有其崇祯十三年（一六四o）作寒雀争梅图。",[24,7,165,28,27,61,372,722,131,62,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd83a04879ea1f1f5ef9c405bd25556.jpg",[68],233,{"id":5713,"slug":5714,"title":5715,"dynasty":54,"author":55,"museum":524,"description":1983,"tags":5716,"thumbUrl":5717,"material":27,"size":5718,"collection":68,"collections":5719,"showCount":5711,"zanCount":1086,"manualWeight":48,"mainColor":72},220987,"ou-xiang-guan-xie-yi-ce-lu-xie-yun-shou-ping-220987","瓯香馆写意册-芦蟹",[23,164,24,7,59,369,128,1824,3794,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a7632b42ef28d0c95b7691b56f54951.jpg","31.8x37.2厘米",[68,117],{"id":5721,"slug":5722,"title":5723,"dynasty":54,"author":3750,"museum":244,"description":5724,"tags":5725,"thumbUrl":5726,"material":278,"size":84,"collection":117,"collections":5727,"showCount":5711,"zanCount":1998,"manualWeight":48,"mainColor":72},219381,"fang-ni-zan-shan-shui-tu-wang-jian-219381","仿倪瓒山水图","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。",[24,7,165,128,330,208,132,29,1337,171,414,415,3427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4001801727356342fc3315fc815e7f6e.jpg",[117],{"id":5729,"slug":5730,"title":5731,"dynasty":124,"author":223,"museum":224,"description":5732,"tags":5733,"thumbUrl":5734,"material":173,"size":5735,"collection":44,"collections":5736,"showCount":5711,"zanCount":1116,"manualWeight":48,"mainColor":49},218402,"song-zi-guan-yin-tu-yi-ming-218402","送子观音图","这块板子描绘了头戴王冠的观音菩萨，上面有一尊变身佛。他戴着耳环、项链、手镯、手链和腰部装饰品来装饰他的整个身体。她的面容庄重、慈悲、平和，她抱着一个用珠宝装饰的美丽孩子。观音菩萨坐在狮子座上，左脚上有一朵莲花。幸运的男孩在狮子的尾巴上拜了菩萨。笔触精准，色彩优雅，画风接近丁云鹏。",[23,805,24,7,165,187,28,27,96,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15d664823f52846dd02b7281134809d0.jpg","120.7x60.3",[44],{"id":5738,"slug":5739,"title":5740,"dynasty":182,"author":5741,"museum":300,"description":5742,"tags":5743,"thumbUrl":5744,"material":173,"size":84,"collection":84,"collections":5745,"showCount":5711,"zanCount":1998,"manualWeight":48,"mainColor":49},218279,"ren-wang-pu-sa-xiang-xin-cheng-218279","仁王菩萨像","辛澄","仁王坐在一朵大莲花中，身穿朱红色袈裟，头戴圆形光环，气势磅礴，神情庄重。",[24,7,165,187,27,28,96,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44ba5477aefb276616bf3deed39787a7.jpg",[],{"id":5747,"slug":5748,"title":5749,"dynasty":54,"author":1460,"museum":20,"description":5750,"tags":5751,"thumbUrl":5752,"material":611,"size":5753,"collection":68,"collections":5754,"showCount":5755,"zanCount":1998,"manualWeight":48,"mainColor":72},220392,"mei-zhu-tu-juan-shi-tao-220392","梅竹图卷","诗文与画作的有机结合不仅增添了文人画的书卷气息，同时也展示了作者于画艺之外的诗文功底和精湛的书法造诣。图中所绘梅竹或细笔勾勒，或阔笔勾斫，线条于方圆结合中秀拙相生。其多样的笔法与酣畅淋漓的施墨在半生半熟的纸质上达到了湿润而不漫漶的笔墨效果，堪称石涛晚年的写意画佳作。",[23,24,7,25,128,132,64,208,371,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F440c586308456b8200d8bd68ac0e8093.jpg","纵34.2厘米，横194.4厘米",[68],232,{"id":5757,"slug":5758,"title":5759,"dynasty":124,"author":3148,"museum":77,"description":5760,"tags":5761,"thumbUrl":5763,"material":173,"size":5764,"collection":68,"collections":5765,"showCount":5755,"zanCount":1086,"manualWeight":48,"mainColor":49},218918,"fu-gui-rong-hua-tu-lv-ji-218918","富贵荣华图","吕纪，花鸟初师边景昭，又学林良，并广泛师法唐宋诸家，所作有工笔重彩和水墨写意两种画法，前者描绘精工，色彩富丽，法度谨严；后者粗笔挥洒，随意点染，简练奔放，富有气势和动感。其山水宗法马远、夏圭，以大斧劈皴画山石，苍劲有力。人物亦法南宋院体，衣纹线条简练顿挫。初学边景昭工笔法，亦受林良水墨法影响，后临仿唐宋诸家名迹，遂自成一体，独步当代。其花鸟画风呈两种面貌，一作工笔重彩，精工富丽，多绘凤鹤、孔雀、鸳鸯之类，辅以树木坡石、滩渚流泉背景，既具法度，又富生气。另一类为水墨写意画，粗笔挥洒，简练奔放，接近林良的风格。他亦兼善人物、山水，宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大，继承者不乏其人。",[23,164,24,7,165,28,27,151,805,61,885,5762,2918,582],"白花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bcefe113f289970b9573cff9f3de1c6.jpg","49x25cm",[68],{"id":5767,"slug":5768,"title":5769,"dynasty":54,"author":5770,"museum":300,"description":5771,"tags":5772,"thumbUrl":5773,"material":692,"size":1293,"collection":84,"collections":5774,"showCount":5775,"zanCount":48,"manualWeight":48,"mainColor":72},290079,"fang-gu-zhu-zi-tu-wei-gen-lao-ren-290079","仿古竹子图","味根老人","此幅墨竹取斜出之势排布，数竿修竹错落揖让，气韵连贯。老干以重墨挥写，圆劲苍厚，尽显风霜沉凝的古意；新篁以淡墨勾皴，清润秀挺，带着稚拙生机。竹叶以大写意撇捺而就，聚散疏密暗藏章法，浓淡墨色铺陈出前后层次，虚实相映间，将劲节疏朗的君子风姿尽皆展现。画面留白宽绰，右侧题字与竹影相映成趣，笔致简淡却意韵悠长，尽显文人寄情于物的清雅襟怀，是颇见功底的水墨写意佳品。",[23,24,7,165,128,167,2271],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98c6c0d8c8cc882f3d24cc4d9f64fbba.jpg",[],231,{"id":5777,"slug":5778,"title":5779,"dynasty":54,"author":3403,"museum":300,"description":3997,"tags":5780,"thumbUrl":5781,"material":1223,"size":5782,"collection":68,"collections":5783,"showCount":5775,"zanCount":1086,"manualWeight":48,"mainColor":72},224221,"zhao-ri-hong-he-wu-chang-shuo-224221","朝日红荷",[23,24,7,165,128,27,61,81,82,369,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa674a2b082ee8c9527d6f7c106c9b861.jpg","93x46",[68,45],{"id":5785,"slug":5786,"title":5787,"dynasty":124,"author":1438,"museum":20,"description":5788,"tags":5789,"thumbUrl":5791,"material":278,"size":5792,"collection":68,"collections":5793,"showCount":5775,"zanCount":1116,"manualWeight":48,"mainColor":72},214639,"kui-shi-tu-chen-chun-214639","葵石图","一根秋葵枝条靠外，有一朵花和几片叶子，简单清爽；根部被杂草和嫩竹包围，参差不齐，稀稀拉拉；背景是海石，起伏不定，皱巴巴的。这幅画卷的构图和形状非常特别。在这幅画中，水墨画与诗词、书法与绘画的结合，充分表现了鳌鱼石的魅力和意境，使之成为生活中的佳作。",[23,24,7,165,128,369,61,171,5790,208,133],"葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F694c64a9381dbae4deff621b5fbbf49d.jpg","68.6x34",[68],{"id":5795,"slug":5796,"title":5797,"dynasty":124,"author":5798,"museum":300,"description":5799,"tags":5800,"thumbUrl":5802,"material":734,"size":84,"collection":84,"collections":5803,"showCount":5804,"zanCount":48,"manualWeight":48,"mainColor":49},234196,"fang-shen-zhou-qiu-shan-shu-wu-juan-zhang-hong-234196","仿沈周秋山书屋卷","张宏","山水画方面此时吴门画派最为兴盛。他们重视继承古代人的笔墨传统，把对风格的追求作为艺术的重要目的。而且，由于他们具有深厚的文化修养，有各自的美学追求，从而也具有一定的创造性。他们的笔墨技巧和表现手法，对后来画坛有很大影响。涌现出一批师法自然，重视写生的优秀画家，张宏便是其中的佼佼者。张宏师法沈周，又重视写生，作品笔力峭拔，墨色湿润，层峦叠嶂，丘壑深邃。他在继承吴门画派风格和特色的基础上，加以创新，强调回归自然，到大山里去写生，师自然造化。在画中体现出超凡脱俗的精神境界，使山水画活了起来。的画以石面连皴带染为特色。又能画写意人物，形神俱佳，散聚得宜，在文人山水画方面另辟蹊径，创作出了富有生活气息的绘画作品。其代表作品有：《西山爽气图》、《延陵挂剑图》、《杂技游戏图》、《击缶图》、《阊门舟阻图》、《溪亭秋意图》、《浮岚暖翠图》、《兰亭雅集图》，藏首都博物馆《琳宫晴雪图》等十多种，其中《西山爽气图》被国家教委编入高二地理限选新教材，当做古代文人画的范例；收藏于台北故宫博物院的《布袋罗汉图》被台湾邮政设计成了邮票。受吴门派影响的晚期画家还有程嘉燧、李流芳、卞文瑜、邵弥、杨文骢等人。程嘉燧的山水枯简疏放，李流芳爽朗清秀，卞文瑜细秀，邵弥简逸，杨文骢兼具枯笔、秀润两种风貌。",[24,7,25,330,27,128,132,29,34,131,98,99,129,130,96,711,415,5801,1022,38,1743],"近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05ab01647707656c2100c6df41243d83.jpg",[],230,{"id":5806,"slug":5807,"title":5808,"dynasty":182,"author":5809,"museum":20,"description":5810,"tags":5811,"thumbUrl":5812,"material":84,"size":5813,"collection":318,"collections":5814,"showCount":5804,"zanCount":1998,"manualWeight":48,"mainColor":72},221089,"mo-lan-ting-xu-juan-yu-shi-nan-221089","《摹兰亭序卷》","虞世南","《兰亭序》是东晋右军将军王羲之51岁时的得意之笔，记述了他与当朝众多达官显贵、文人墨客雅集兰亭、修稧事也的壮观景象，抒发了他对人之生死、修短随化的感叹。崇山峻岭之下，茂林修竹之边，乘带酒意，挥毫泼墨，为众人诗赋草成序文，文章清新优美，书法遒健飘逸。被历代书界奉为极品。宋代书法大家 米芾称其为“中国行书第一帖”。王羲之因此也被后世尊为“书圣”。后人在研究其书法艺术时赞誉颇多：“点画秀美，行气流畅”，“清风出袖，明月入怀”，“飘若浮云，矫若惊龙”，“遒媚劲健，绝代所无”，“贵越群品，古今莫二”。确实如此，传说王羲之以后也曾再书《兰亭序》，但均逊色于原作，所以《兰亭序》原稿一直为王羲之视为传家之宝，为王氏后代收藏，传至王羲之第七代时被唐太宗李世民“骗”入朝廷，唐太宗得《兰亭序》后，曾诏名手赵模、冯承素、虞世南、褚遂良等人钩摹数个乱真副本，分赐亲贵近臣，之后民间也广为临摹，但无一胜过王羲之的原作，所以《兰亭序》真迹被唐太宗视为稀世珍品而最终殉葬，这更让后世对《兰亭序》原作崇敬不已，冠以中国书法第一帖的美名实在无可争议。\n\n千百年来，《兰亭序》有多个版本在世间流传，最受推崇的是藏于北京故宫博物院的冯承素摹本《兰亭序》。《冯本》为唐代内府栩书官冯承素摹写，因其卷引首处钤有“神龙”二字的左半小印，后世又称其为“神龙本”，因使用“双钩”摹法，为唐人摹本中最接近兰亭真迹者。此本摹写精细，笔法、墨气、行款、神韵，都得以体现，公认为是最好的摹本。",[23,64,133,330,25,208,7,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9000c4d4ad5ddc233e1f2a03ab38558.jpg","纵24.8cm，横57.7cm",[318,2210],{"id":5816,"slug":5817,"title":5818,"dynasty":54,"author":675,"museum":224,"description":5819,"tags":5820,"thumbUrl":5821,"material":66,"size":679,"collection":84,"collections":5822,"showCount":5804,"zanCount":1998,"manualWeight":48,"mainColor":72},216248,"jing-fu-si-qi-dong-jing-tu-9-qian-wei-cheng-216248","景敷四气冬景图-9","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n小艇沿溪兴致高，南枝春信屡相遭。还应傲得襄阳孟，何必探寻踏雪劳。钤印：得佳趣",[24,7,27,28,61,547,549,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d1b750876d25321dfc423a8a3b9d04e.jpg",[],{"id":5824,"slug":5825,"title":5826,"dynasty":144,"author":410,"museum":77,"description":411,"tags":5827,"thumbUrl":5828,"material":66,"size":84,"collection":84,"collections":5829,"showCount":5804,"zanCount":48,"manualWeight":48,"mainColor":72},214573,"shan-shui-ce-5-wang-meng-214573","山水册-5",[24,7,59,128,132,29,331,131,37,98,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06954314220392a3ccc54c83599ff836.jpg",[],{"id":5831,"slug":5832,"title":5833,"dynasty":54,"author":223,"museum":300,"description":5834,"tags":5835,"thumbUrl":5837,"material":84,"size":84,"collection":84,"collections":5838,"showCount":5839,"zanCount":48,"manualWeight":48,"mainColor":72},235370,"xu-gu-zi-teng-jin-yu-tu-zhou-yi-ming-235370","虚谷紫藤金鱼图轴","画面以写意紫藤搭配工笔金鱼，尽显悠然意趣。垂悬的紫藤花穗清浅柔润，叶片以浅绿、赭黄晕染，枝蔓舒展随性，将暮春的缱绻生机晕开。三尾红金鱼朱砂点染，身形莹润饱满，尾鳍轻摆，悠游于空濛水色间，鲜活灵动。\n\n淡墨轻点拟作浮萍水藻，留白托出澄澈池水，虚实相生间，营造出静谧空寂的池上氛围。左侧题字与绘景呼应，工写兼施，藤蔓写意求韵，游鱼工笔见形，把花下观鱼的闲雅日常定格于绢素，清逸秀雅的笔墨间，尽显文人情思与自然意趣。",[24,7,165,27,61,80,5836],"金鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae35a58a932d565bb295a3031cfb929c.jpg",[],229,{"id":5841,"slug":5842,"title":5843,"dynasty":54,"author":3820,"museum":300,"description":5844,"tags":5845,"thumbUrl":5846,"material":1722,"size":5847,"collection":136,"collections":5848,"showCount":5839,"zanCount":1116,"manualWeight":48,"mainColor":72},222620,"shan-shui-tu-juan-1-gong-xian-222620","山水图卷-1","全图为长卷形式，重山复岫横向展开，绵延起伏，用平远构图。山石短笔皴擦，树木以横竖排点画出，整卷结构缜密，气韵苍莽，幻景与实境交融，可观、可游、可居，“引人着胜地”。后纸行书长题，论及学道、读书、性情、嗜好，表达了画家对待艺术和生活的态度，兹录如下：\n“画于众技中最末。及读杜老诗，有云：刘侯天机精，好画入骨髓。世固有好画而入骨髓者矣！余能画，似不好画，非不好画也，无可好之画也。曾见唐、宋、元、明初诸家真迹，亦何尝不坐卧其下，寝食其中乎？问之好画者，曰：士生天地间，学道为上，养气读书次之，即游名山川、出交贤豪长者皆不可少，余力则工词赋、书画、棋琴。夫天生万物，惟人独秀，人之所以异于草木瓦砾者，以有性情，有性情便有嗜好，一无嗜好，惟恣饮啖，何异马牛而襟裾也。不能追禽而之踪，便当居一小楼，如宗少文张图绘于四壁，抚弦动操则众山皆响。前贤之好画往往如是，乌能悉数！余此卷借从心中肇造，云雾、丘壑、屋宇、舟船、梯凳、溪径，要不背理，使后之玩者可登可涉、可止可安，虽曰幻境，然自道眼观之，同一实境也。引人著胜地，岂独酒哉！戊辰秋杪半亩龚贤画并题。”\n下钤“龚贤”朱文印、“钟山野老”白文印。鉴藏印有“虚斋秘玩”等七方。戊辰为康熙二十七年（1688年），龚贤71岁。",[23,164,24,7,25,128,132,29,663,1314,413,950,495,499,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa47f0e3c3d0ffbbbc50ccb661ca0951c.jpg","纵28.8厘米，横404.1厘米",[136,117],{"id":5850,"slug":5851,"title":5852,"dynasty":980,"author":1687,"museum":77,"description":5853,"tags":5854,"thumbUrl":5857,"material":66,"size":84,"collection":68,"collections":5858,"showCount":5839,"zanCount":1998,"manualWeight":48,"mainColor":72},216600,"mo-he-si-lian-ping-3-zhang-da-qian-216600","墨荷四联屏-3","泼墨淋漓处，荷叶如层云翻涌，浓淡干湿交织出万千层次，苍劲中透着灵动。几朵白莲亭亭玉立，瓣尖以淡墨轻勾，与墨叶的雄浑形成柔刚相映之趣。茎秆以劲挺线条穿引画面，似有清风暗度，摇曳生姿。留白如薄雾轻笼，晕染出荷塘的清幽野逸，笔意纵逸却不失雅致，疏朗中藏生机。墨色的晕化与线条的利落交织，将荷塘的静谧与鲜活凝于尺幅，仿佛能嗅到花叶间浮动的淡香，尽显墨荷的神韵与风骨。",[24,7,128,369,5855,81,82,5856,61],"屏条","墨色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ca7db73862a36d7500f1fd596d38685.jpg",[68],{"id":5860,"slug":5861,"title":5862,"dynasty":54,"author":1460,"museum":300,"description":5863,"tags":5864,"thumbUrl":5865,"material":84,"size":84,"collection":84,"collections":5866,"showCount":5867,"zanCount":975,"manualWeight":48,"mainColor":72},224525,"sou-jin-qi-feng-da-cao-gao-tu-juan-shi-tao-224525","搜尽奇峰打草稿图卷","原济《搜尽奇峰打草稿图》卷，中国清代画家原济代表作。\n原济(1642～约171)原名朱若极，字石涛，号大涤子、清湘老人等。\n广西人。\n明宗室后裔，明亡后出家为僧。\n擅画山水、花卉。\n此图纸本，墨笔，纵42.8厘米，横285.5厘米。\n画面崇山峻岭，茂树参天，泉水淙淙，山道崎岖，纡回盘旋。\n城垣、楼阁、亭桥、书屋、渔舟等分布其间。\n全幅构图繁密，画法用披麻皴参以点子皴，信手涂抹，自然流畅，笔墨苍劲，气势磅礴。\n画幅右上方自题“搜尽奇峰打草稿”7字。\n并题记一则，内容涉及其绘画艺术思想，是研究其艺术创作的宝贵资料。\n本幅后有墨香堂、杨重英、陈奕禧、徐云、叶河音布、潘季彤各家题诗、题记及鉴藏印数十方。\n《听楼书画记》著录。\n现藏故宫博物院。",[23,24,7,25,128,369,132,133,64,208,29,496,31,34,171,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13975dcc09a4d534503a0ad3b0211bc2.jpg",[],228,{"id":5869,"slug":5870,"title":4043,"dynasty":18,"author":223,"museum":77,"description":5871,"tags":5872,"thumbUrl":5873,"material":66,"size":84,"collection":136,"collections":5874,"showCount":5867,"zanCount":1105,"manualWeight":48,"mainColor":72},217118,"xue-jing-shan-shui-tu-yi-ming-217118","宋朝是中国历史上的一个朝代，时间为960年至1279年。宋朝的艺术创作较为繁荣，其中的山水画尤为著名。关于宋朝的山水画，很多都是佚名的。\n\n佚名的雪景山水图是一幅典型的宋朝山水画作品，其中描绘了雪景的美丽景色。这幅画作品中，佚名使用了极为精细的笔法和巧妙的色彩搭配，成功地表现了雪景的冷冽和自然的美。在这幅画中，佚名运用了层次感、对比和拓扑结构等技巧，使得画面更加立体生动。\n\n整幅画作品中，佚名还融入了许多细节，比如深夜里的月色和落雪的景色，以及山谷中的松柏和溪流。这些细节使得画面更加丰富，也增加了画面的视觉冲击力。\n\n总的来说，佚名的雪景山水图是一幅极具艺术价值的作品，它能够令人感受到宋朝山水画的魅力，也是中国艺术史上的经典之作。",[23,24,7,164,1326,128,132,29,1813,1144,663,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdec5092287a9b92f01696f225b920248.jpg",[136],{"id":5876,"slug":5877,"title":5878,"dynasty":54,"author":5879,"museum":244,"description":5880,"tags":5881,"thumbUrl":5884,"material":66,"size":84,"collection":84,"collections":5885,"showCount":5867,"zanCount":1998,"manualWeight":48,"mainColor":72},214862,"xie-sheng-ce-3-hua-yan-214862","写生册-3","华嵒","华嵒是一位清代著名画家和艺术家。他的写生册是一本记录他写生草稿的册子，通常包含他对自然和人物的写生绘画。写生册是画家们练习和提高技巧的重要工具，因为它们能够帮助画家观察、捕捉和描绘细节。华嵒的写生册中可能包含了他对山水、花鸟、人物等的写生画作。",[24,7,59,128,27,28,5882,5883,949,548,549,2037,208],"松鼠","鼠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F479bc39b276eae548d0b8940a600d55f.jpg",[],{"id":5887,"slug":5888,"title":5889,"dynasty":144,"author":569,"museum":20,"description":5890,"tags":5891,"thumbUrl":5892,"material":5893,"size":5894,"collection":44,"collections":5895,"showCount":5896,"zanCount":975,"manualWeight":48,"mainColor":72},220829,"ren-qi-tu-zhao-meng-fu-220829","人骑图","本幅绘一戴官帽腰系玉带的红袍青年男子骑于马背之上，男子微有髭须，左手牵缰，右手持鞭，右脚轻踩马镫，神态优雅自足。马匹孔健有力，左前蹄微起，呈行进之势。画面布局、人物形象和马匹写实画法，都深受唐代画马图影响。",[23,24,7,25,27,28,96,101,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F267dc888b93d2680f156c8524c0ca2da.jpg","纸本 设色 手卷","纵30厘米，横52厘米",[44,45],227,{"id":5898,"slug":5899,"title":5900,"dynasty":18,"author":633,"museum":300,"description":5901,"tags":5902,"thumbUrl":5903,"material":173,"size":5904,"collection":136,"collections":5905,"showCount":5896,"zanCount":1998,"manualWeight":48,"mainColor":49},218589,"yue-xia-song-ting-tu-xia-gui-218589","月下松亭图","月色如纱，淡墨晕开空濛的夜。虬松枝桠似铁，斜探天际，松针苍劲点染其间，笔意简练却见筋骨。坡岸一隅，草亭静立，檐角轻拂晚风；树下人影依稀，或凭栏凝睇，渺小身影藏着悠远哲思。留白处尽是宋人的雅致空灵，山水的静谧与人文的幽怀交织，如清辉漫过岁月，仍漾着沁人的诗意。画面虽简，却以少胜多，将自然之美与心境之远融于尺幅，似能听见松涛与月色的私语，触到千年之前那缕清寂的幽情。",[1846,24,7,165,128,29,372,130,231,1350,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a70b337ac97e73bbcb8ee83512b58b6.jpg","58x25",[136],{"id":5907,"slug":5908,"title":5909,"dynasty":144,"author":569,"museum":20,"description":570,"tags":5910,"thumbUrl":5911,"material":278,"size":574,"collection":84,"collections":5912,"showCount":5896,"zanCount":48,"manualWeight":48,"mainColor":49},214292,"xiao-kai-luo-shen-fu-ce-3-zhao-meng-fu-214292","小楷洛神赋册-3",[23,7,572,1590,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc5946eea434a0e97c747c9c1569b0c.jpg",[],{"id":5914,"slug":5915,"title":5916,"dynasty":54,"author":3403,"museum":300,"description":5917,"tags":5918,"thumbUrl":5919,"material":84,"size":84,"collection":84,"collections":5920,"showCount":5921,"zanCount":1116,"manualWeight":48,"mainColor":199},224211,"xie-yi-hua-hui-wu-chang-shuo-224211","写意花卉","此作用笔老辣苍劲，以篆籀之法入画。丹红牡丹以阔笔晕染，花瓣层次饱满秾艳，焦墨写叶，沉厚如铁，冷暖色相撞，张力十足。下方湖石以枯湿浓墨泼写，皴擦间尽显嶙峋朴拙之态，间缀青绿草卉，柔姿淡色中和花石浓烈，整幅错落有致。\n题长款以行书书写，笔势与画中线条意韵相通，笔墨与章法浑融无间，将牡丹的富贵堂皇写出野逸苍浑的文人气骨，老笔纵横间尽显沉雄烂漫的写意风神，于豪放中藏精微，把金石意趣与花木生机合于一纸。",[23,24,7,165,369,128,27,61,263,229,549,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd42ae8af211fa6451a20a91ab319c269.jpg",[],226,{"id":5923,"slug":5924,"title":5925,"dynasty":18,"author":5926,"museum":244,"description":5927,"tags":5928,"thumbUrl":5931,"material":173,"size":5932,"collection":42,"collections":5933,"showCount":5921,"zanCount":975,"manualWeight":48,"mainColor":72},219214,"xue-jing-han-qin-tu-wang-ding-guo-219214","雪景寒禽图","王定国","王定国，（公元12世纪）〔南宋〕汴（今河南开封）人，生卒年不详。建炎元年（1127）随吴郡王渡江，居临安(今浙江杭州)。工花鸟，师李安忠，亦学崔白兄弟笔法，傅色轻淡，清雅不凡，人所不及。后吴郡王奏荐入仕，赐金紫。",[23,24,7,1131,27,28,61,1813,5929,624,5930],"寒禽","浆果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf83af5f258b7e3cf2ddcfd3f3c7dabe.jpg","纵24.3厘米，横26厘米",[42,68],{"id":5935,"slug":5936,"title":3618,"dynasty":18,"author":1091,"museum":244,"description":5937,"tags":5938,"thumbUrl":5939,"material":278,"size":5940,"collection":42,"collections":5941,"showCount":5921,"zanCount":1998,"manualWeight":48,"mainColor":72},218785,"mo-zhu-tu-su-shi-218785","画面以竹枝为墨，笔法浑厚，墨分五色；苏轼自称向文同学习画竹，而此图没有宋代的墨竹气息，想必是后期的成名之作。",[23,24,7,128,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8f9b6809e9c8b462cdfb261eee443c8.jpg","31.5x27",[42],{"id":5943,"slug":5944,"title":5945,"dynasty":124,"author":802,"museum":244,"description":5946,"tags":5947,"thumbUrl":5948,"material":173,"size":5949,"collection":84,"collections":5950,"showCount":5951,"zanCount":1116,"manualWeight":48,"mainColor":72},290313,"sui-chao-tu-zhou-chen-hong-shou-290313","岁朝图轴","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[24,164,7,165,27,28,61,371,649,356,169,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe43f471122fe189fc01200784df42f1f.jpg","90.2x41.1",[],225,{"id":5953,"slug":5954,"title":5955,"dynasty":351,"author":5956,"museum":300,"description":5957,"tags":5958,"thumbUrl":5959,"material":692,"size":1293,"collection":84,"collections":5960,"showCount":5951,"zanCount":48,"manualWeight":48,"mainColor":49},287365,"qing-lv-shan-shui-tu-ye-li-sheng-287365","青绿山水图页","李昇","擅墨竹，喜作窠石平远山水，颇有清趣。至正六年(1346)作有《淀湖送别图》卷(藏上海博物馆)，画面清波荡漾，湖上有小桥、扁舟，远望峰峦高耸，树林参差，山间古寺隐约可见，景色清幽，一派送别离人的气氛。清代词人朱彝尊很推重此画，题跋云：“松林清疏，峰岚渲以焦墨，淡林赢青作遥山，信称逸品。”",[23,24,7,29,26,27,97,98,99,131,34,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfdcad8870526ab254f3adb825fe8b72.jpg",[],{"id":5962,"slug":5963,"title":5964,"dynasty":54,"author":3403,"museum":300,"description":3404,"tags":5965,"thumbUrl":5966,"material":734,"size":3407,"collection":68,"collections":5967,"showCount":5951,"zanCount":1998,"manualWeight":48,"mainColor":72},224231,"ju-hua-2-wu-chang-shuo-224231","菊花2",[23,24,7,164,165,27,128,369,604,131,582,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67cb43cd66a1da94239b42b0c422a249.jpg",[68,45],{"id":5969,"slug":5970,"title":5971,"dynasty":144,"author":1208,"museum":244,"description":5972,"tags":5973,"thumbUrl":5975,"material":611,"size":5976,"collection":136,"collections":5977,"showCount":5951,"zanCount":1116,"manualWeight":48,"mainColor":72},220793,"an-chu-zhai-tu-juan-ni-zan-220793","安处斋图卷","倪瓒以擅长水墨山水为傲，所作多取材于太湖周边的优美景致。画中笔法简洁，山水意境悠远，野岸沙渚，疏林茅茨，柳树萧萧，颇有世外山野高人的遁世脱俗之感。画的右下角有作者的自题诗：“湖上斋居处士家，淡烟疏柳望中赊。安时为善年年乐，处顺谋身事事佳。竹叶夜香缸面酒，菊苗春点磨头茶。幽栖不作红尘客，遮莫寒江卷浪花。”左上角是乾隆御览后的即兴题诗：“是谁肥遁隐君家，家对湖山引兴赊。名取仲舒真可法，图成懒瓒亦云嘉。高眠不入客星梦，消渴常分谷雨茶，致我闲情频展玩，围炉听雪剪灯花。”",[23,24,7,25,128,132,29,331,171,130,99,5974,208,64],"平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f5b8544aa4c8572b05c11e13372fd2.jpg","33×89.4cm",[136,117],{"id":5979,"slug":5980,"title":5981,"dynasty":18,"author":3278,"museum":244,"description":5982,"tags":5983,"thumbUrl":5985,"material":173,"size":5986,"collection":42,"collections":5987,"showCount":5951,"zanCount":1086,"manualWeight":48,"mainColor":49},218132,"han-jiang-diao-ting-tu-li-cheng-218132","寒江钓艇图","李成（西元九一六—九六七年），唐朝皇室后裔，五代山东人。五代北宋初为水墨山水画成熟时期，李成的松石平远，富呎尺千里气象。与北方荆浩、关同、范宽，南方董源、巨然发展成两大山水画系。\n画中高山飞瀑，岩上老松偃盖。前景巨松挺立，渔人寒江独钓。山石皴染如云状，受北宋郭熙山水画皴法影响。然用笔活泼快速，不完全拘泥于物象。由画风及题跋书风来看，应可接受为元人李郭画风作品。",[23,24,7,29,132,128,129,99,131,34,1350,1351,1233,331,5984],"寒江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70ae768df4f3ab356a244f10d07cd042.jpg","170x101.9cm",[42,136],{"id":5989,"slug":5990,"title":5991,"dynasty":124,"author":366,"museum":244,"description":5992,"tags":5993,"thumbUrl":5994,"material":1464,"size":5995,"collection":84,"collections":5996,"showCount":5997,"zanCount":1998,"manualWeight":48,"mainColor":72},222232,"he-hua-zhou-xu-wei-222232","荷花轴","徐渭（1520－1593），山阴人（今浙江绍兴），字文长，号天池，又号青藤道人。性情好奇，曾签名曰田水月。工诗善古文辞。书法写得好，行草尤为人所推崇。中年学画花卉。用笔潇洒，天才横溢。人物极其生动。山水不拘规矩。自己认为书第一，诗第二，文章第三，画第四，学者们都表赞同。",[23,24,7,165,128,61,81,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F789538c8fba27b3e8ce5134bcd7210d3.jpg","该幅 141.7x37.2公分、全幅 67公分",[],223,{"id":5999,"slug":6000,"title":6001,"dynasty":18,"author":1174,"museum":244,"description":6002,"tags":6003,"thumbUrl":6006,"material":66,"size":6007,"collection":136,"collections":6008,"showCount":5997,"zanCount":1116,"manualWeight":48,"mainColor":49},218180,"qiu-jiang-dai-du-tu-li-tang-218180","秋江待渡图","宋朝时期，李唐是一位著名的画家。他的作品《秋江待渡图》是一幅非常出色的水墨画，被认为是宋朝画风的代表作之一。\n\n这幅画描绘的是一个夜晚的景象，展现了秋天的气息。画面中的主人公是一个渔夫，他正站在船尾，眺望远方。他身后是一条江河，江水平静，荡漾着微微波光。空气中弥漫着淡淡的月色和落叶的气息。渔夫似乎在等待什么，也许是夜幕降临后的渔猎，也许是渡江的船只。\n\n这幅画展现了李唐独特的画风，他善于运用水墨画的浓淡变化，描绘出江水平静而又柔和的氛围。画中的色彩也十分丰富，月色柔和，落叶自然，渔夫身上的衣服呈现出深深的紫色。整幅画浓郁的秋意和深沉的气氛使人感到沉静和温馨。",[24,7,165,29,128,132,27,6004,129,6005,415,96,208,711],"江水","枯藤老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F832191f2125231cc863d337a44ca0a33.jpg","118.6x48.6cm",[136],{"id":6010,"slug":6011,"title":2706,"dynasty":18,"author":620,"museum":2068,"description":6012,"tags":6013,"thumbUrl":6014,"material":514,"size":6015,"collection":42,"collections":6016,"showCount":6017,"zanCount":1998,"manualWeight":48,"mainColor":49},221300,"hua-lan-tu-zhao-chang-221300","趙昌，生於970-1040年，字昌之，北宋畫家，廣漢劍南（今四川劍閣之南）人。工書法、繪畫，擅畫花果，多作折枝花，兼工草蟲。初師滕昌祐，後來發展出自身畫風，沒骨花鳥自成一派，有徐熙、黃荃遺風。在北宋時期與宋徽宗趙佶齊名，是宋代花鳥畫壇的傑出畫家。",[23,164,24,7,59,28,27,61,263,169,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4e439bec3f68d4048c7a22672432565.jpg","22.7×22.4",[42,68,45],222,{"id":6019,"slug":6020,"title":6021,"dynasty":18,"author":223,"museum":300,"description":6022,"tags":6023,"thumbUrl":6024,"material":173,"size":6025,"collection":42,"collections":6026,"showCount":6017,"zanCount":1116,"manualWeight":48,"mainColor":49},218615,"ming-huang-xing-shu-tu-yi-ming-218615","明皇幸蜀图","层峦叠嶂间，松枝虬劲，草木葱茏。人马穿行于山道，或扬鞭疾驰，或缓辔徐行，或俯身为马整鞍，神态各异，细节毕现。山石以劲挺线条勾勒，皴染结合，质感厚重；林木疏密有致，生机盎然。整幅画将旅途的奔波与蜀地山水的雄奇融为一体，既有宋代山水画的精工细致，又蕴含着历史事件的沉郁感。于方寸纨扇间，展现出宏大叙事与悠远意境，笔墨古朴，意韵绵长，尽显古典绘画的精妙与深厚底蕴。",[23,24,164,7,27,132,29,96,101,413,131,208,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76ac70443078c834c82bd324884285ea.jpg","30.5x30.5",[42],{"id":6028,"slug":6029,"title":1006,"dynasty":54,"author":3448,"museum":6030,"description":6031,"tags":6032,"thumbUrl":6033,"material":84,"size":6034,"collection":68,"collections":6035,"showCount":6036,"zanCount":1116,"manualWeight":48,"mainColor":72},222816,"mu-dan-tu-yun-bing-222816","郑州博物馆","绘牡丹花卉数枝，牡丹枝叶繁茂，绚丽多彩，争奇斗艳。画面右上题署：“南田公曾有此画法，兰陵女氏清於冰写”。",[23,24,7,61,27,28,208,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17ca7be60e424c9bda0e6befeafb4a8a.jpg","纵106厘米 横39.4厘米",[68],221,{"id":6038,"slug":6039,"title":6040,"dynasty":18,"author":6041,"museum":300,"description":6042,"tags":6043,"thumbUrl":6044,"material":6045,"size":6046,"collection":42,"collections":6047,"showCount":6036,"zanCount":1086,"manualWeight":48,"mainColor":49},221504,"he-cao-chong-tu-wu-bing-jia-221504","禾草虫图","吴炳嘉","宋代花鸟在中国花鸟绘画史中达到了一个高峰，院体花鸟画下了很多传世精品，还有大量的典藏记载。其中，花鸟小品占据了主要地位，花鸟画以小品形式迅速发展，成为美术史上的一个代表艺术之一。宋人小品花鸟画形制多为圆中见方的尺牍小幅，以内敛的结构和开合呼应的构图方式，描绘特定的场境和瞬间情态，于状物精微的同时力求构思新奇，营造格调优雅而隽永的意境，表现出独特的趣味。",[23,164,24,7,27,28,61,1771,609,481,608,4279,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff6d56f3d921df6f611ba36478d1d50.jpg","绢本；设色","纵：49cm，横：30cm",[42,68,45],{"id":6049,"slug":6050,"title":6051,"dynasty":144,"author":569,"museum":244,"description":6052,"tags":6053,"thumbUrl":6054,"material":317,"size":6055,"collection":45,"collections":6056,"showCount":6036,"zanCount":1116,"manualWeight":48,"mainColor":49},219414,"ke-mu-zhu-shi-zhou-zhao-meng-fu-219414","窠木竹石轴","枯木枝干如篆籀盘曲，老而弥坚；新竹嫩梢似行草舒展，清劲秀逸。墨叶撇捺带笔意，坡石皴染见骨力，淡墨晕染出朴拙纹理，与劲竹枯树相映成趣。全图不施华彩，仅以水墨浓淡干湿，写尽草木石的情态。赵孟頫以书入画，将文人笔墨修养融入物象，简率构图里藏着对生命枯荣的静观，清寂中透出坚守——竹之劲节、石之沉稳、木之苍劲，皆是文人品格的投射，于宋元画坛间，绽放出文人画的清雅风骨。",[24,7,164,165,128,1337,167,1314,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F355b183f4da0c687b3cba7d72789da7c.jpg","纵99.4厘米，横48.2厘米",[45],{"id":6058,"slug":6059,"title":6060,"dynasty":144,"author":223,"museum":224,"description":6061,"tags":6062,"thumbUrl":6063,"material":173,"size":6064,"collection":68,"collections":6065,"showCount":6036,"zanCount":48,"manualWeight":48,"mainColor":49},218992,"zhu-he-shuang-qing-tu-yi-ming-218992","竹鹤双清图","孤鹤独立，长颈微垂似引幽思，红顶一点如丹砂缀雪。白羽凝霜般细腻，墨尾泼黛般沉劲，单足踏虚，恍若与天地静默对语。侧畔墨竹横斜，枝桠苍劲带古意，叶影疏疏拂过褐调绢本，斑驳处似藏元时的风。背景沉雅如陈酿，旧痕里漫出清寂气息。鹤之仙骨、竹之劲节相映，尽得“双清”之韵——清在羽片的莹白，清在竹枝的挺秀，更清在那份遗世独立的静穆。整幅画如一卷被时光浸润的诗，将高逸之气凝于笔端，任观者在古雅的色调里，触摸那份跨越千年的清雅风骨。",[24,7,165,27,61,722,167,171,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3c8b105b375a4049c70ca392d54fc4a.jpg","纵165.9横100.8厘米",[68],{"id":6067,"slug":6068,"title":6069,"dynasty":144,"author":410,"museum":244,"description":6070,"tags":6071,"thumbUrl":6072,"material":278,"size":6073,"collection":136,"collections":6074,"showCount":6036,"zanCount":48,"manualWeight":48,"mainColor":49},218912,"hua-xi-yu-yin-tu-wang-meng-218912","花溪渔隐图","整幅画的笔触密集而精炼，所画的柳与赵孟𫖯在《鹊华秋色》卷中所画的柳相似。",[23,24,7,128,132,29,663,228,413,129,130,499,497,1351,35,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a92477288d4af6ca2566c9078e40883.jpg","129x58.3cm",[136],{"id":6076,"slug":6077,"title":6078,"dynasty":18,"author":223,"museum":244,"description":6079,"tags":6080,"thumbUrl":6082,"material":173,"size":6083,"collection":68,"collections":6084,"showCount":6036,"zanCount":975,"manualWeight":48,"mainColor":49},215138,"shan-hua-mo-tu-tu-yi-ming-215138","山花墨兔图","本幅绘野菊粟穗，一只墨兔伸着脖子，昂首嗅探，仿佛可以感觉到鼻息微动，栩栩如生。墨兔以墨色染成，并以浓淡不同的墨笔在深浅处丝出葺葺细毛，形态极为生动。　　本幅无作者款印，旧签称其出自宋人之手，然野菊、粟竿的用笔均与宋人不类，当为晚期画家根据宋代画稿所绘之作。",[23,164,24,7,28,27,128,61,3599,6081],"山花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34438c417608bca9dc57b060c9180a9f.jpg","37.5x42cm",[68],{"id":6086,"slug":6087,"title":6088,"dynasty":18,"author":1622,"museum":244,"description":6089,"tags":6090,"thumbUrl":6097,"material":514,"size":6098,"collection":42,"collections":6099,"showCount":6100,"zanCount":48,"manualWeight":48,"mainColor":49},221523,"yue-xia-ba-bei-tu-ma-yuan-221523","月下把杯图","月下把杯图》是一幅构图别致意境幽远的小品山水画佳作。作为纨扇扇面，其圆形构图对创作是一种限制。此画之妙在于，画家把重点描绘的山石、树木等景物安排在约占小半个画面的斜右下部，以浓墨钩勒树木、翠竹、篱笆、山石等，而与占大半个画面的远山、天空形成浓与淡、实与虚的对比，这即使圆形构图中的景物显得平稳安定，又富于变化。马远画山水以少见多，以偏概全，正是他艺术手法高明独到之处。图中山石画法用大斧劈皴，状其石质，画树“瘦硬如屈铁”，多折枝。远山则低，用淡墨勾染。苍茫外，露出月亮，表达作者当时思念之情。",[23,24,7,28,128,6091,4240,133,208,4437,231,276,131,96,6092,2824,415,6093,6094,6095,6096],"浅设色","酒具","月夜","饮酒场景","文人聚会场景","宋代绘画风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e50aabe7cee1ca5997ec7a693d08c1d.jpg","纵25.5厘米，横25.7厘米",[42,136,117],220,{"id":6102,"slug":6103,"title":6104,"dynasty":144,"author":569,"museum":20,"description":6105,"tags":6106,"thumbUrl":6107,"material":40,"size":6108,"collection":44,"collections":6109,"showCount":6100,"zanCount":11,"manualWeight":48,"mainColor":49},220891,"qing-xi-long-yue-yu-ma-tu-juan-zhao-meng-fu-220891","青溪龙跃浴马图卷","图中绘夏日疏林间，奚官在水塘为骏马洗浴纳凉的情景。人物与马各具姿态，生动自然，相互呼应，营造了一个轻松的氛围。人物衣纹流畅，树木坡石勾勒简练，色不掩墨，青绿与浅绛结合，色彩清丽雅致。",[23,164,24,7,25,28,27,101,102,96,34,99,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7886ceca9be6e9768ee8afb4d0ac6d0.jpg","纵28.5厘米，横154厘米。",[44,45],{"id":6111,"slug":6112,"title":6113,"dynasty":144,"author":569,"museum":224,"description":6114,"tags":6115,"thumbUrl":6116,"material":611,"size":6117,"collection":136,"collections":6118,"showCount":6100,"zanCount":1105,"manualWeight":48,"mainColor":72},220837,"shuang-song-ping-yuan-tu-zhao-meng-fu-220837","双松平远图","双松的画法稍工，山石则以带有飞白松动笔触勾括，略皴而无染。虽略存李郭画风之形，但简括异常，实属新体。\n画法上更具书法笔趣和文人墨戏的意味。卷首自识「子昂戏作双松平远」，卷尾又识「仆自幼小学书之余，时时戏弄小笔，然于山水独不能工。盖自唐以来，如王右丞、大小李将军、郑广文诸公奇绝之迹，不能一二见。至五代荆、关、董、范辈出，皆与近世笔意辽绝。仪所作者，虽未敢与古人比，然视近世画手则自谓稍异耳。因野云求画，故书其末。《大观录》、《墨缘汇观》、《无益有益齐读画诗》等书著录\n图中近景画苍松立于怪石枯木之中，远景写平坡矮山。写山石空勾轮廓，不加皴染，间有飞白。画双松则用细笔双钩，简约古雅。画面右上署“子昂戏作双松平远”八字，卷末自题日：“仆自幼小学书之余，时时戏弄小笔，然于山水独不能工。盖自唐以来，如王右丞、大小李将军、郑广文诸公奇绝之迹不能一、二见。至五代荆、关、董、范辈出，皆与近世笔意辽绝。仆所作者虽末能与古人比，然视近世画手，则自谓少异耳。因野云求画，故书其末。孟烦。”于此可见，赵孟頫欲弃南宋院体画风而直追唐、五代诸大家。",[24,7,25,128,132,29,372,131,129,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a66f53d1e4db114c3b3d0147d1368cb.jpg","纵26.7厘米、横107.3厘米",[136,117],{"id":6120,"slug":6121,"title":6122,"dynasty":182,"author":6123,"museum":244,"description":6124,"tags":6125,"thumbUrl":6128,"material":173,"size":6129,"collection":136,"collections":6130,"showCount":6100,"zanCount":1116,"manualWeight":48,"mainColor":49},218963,"chun-shan-xing-lv-tu-li-zhao-dao-218963","春山行旅图","李昭道","这幅画描绘了唐明皇在前往四川寻求庇护以躲避安史之乱的途中放弃长安的场景。\n画面以绿色为主色调，有山有水，枝繁叶茂，春意盎然，二十多个人和十几匹马结伴而行，在蜿蜒而荒芜的道路上可以看到人影。虽然场景是春天，马儿在滚动，人们靠着树休息，看起来很轻松，但通往圣地的道路和沿途的崎岖转弯的气氛也会让人觉得很困难。\n该场景用细密的笔触勾勒出线条，然后用绿色和蓝色作画，使其优雅而美丽。",[23,24,7,26,27,29,96,97,131,34,690,2620,3269,6126,6127],"云气","勾勒填色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f5bf3ce17fdd366423076e69f86db4.jpg","95.5x55.3厘米",[136],{"id":6132,"slug":6133,"title":6134,"dynasty":18,"author":6135,"museum":6136,"description":6137,"tags":6138,"thumbUrl":6140,"material":278,"size":6141,"collection":68,"collections":6142,"showCount":6100,"zanCount":975,"manualWeight":48,"mainColor":72},218906,"bai-yan-tu-ma-ben-218906","百雁图","马贲","檀香山艺术博物馆","老愚离群影久孤，客来笑示百雁图。揩眵试数失两箇，莫喻画意翻令呼。得非长门报秋使，或是大窖传书奴。不然一举千里高鸿俱，其余淟泪碌琐徒，且唼且息翔且呼。营营郑圃田之稷，睢睢齐海隅之菰。遑知尔更衔尔芦，瓠肥卒至充人厨。小而曰鶀亦就笯，迩闻泽梁弛禁官罢虞，麋鹿鱼鳖同少苏，羽仪好在春云。河中马贲元佑、绍圣间人，长于百雁百鸦百鹿百牛等图，虽极繁伙而位置不乱。此卷尤为杰出也，可不宝哉！王逢并识。",[23,24,7,25,128,28,211,1824,6139],"群鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d77751cddde9611521a50fab81cbde3.jpg","579x45cm",[68],{"id":6144,"slug":6145,"title":6146,"dynasty":124,"author":125,"museum":300,"description":6147,"tags":6148,"thumbUrl":6149,"material":84,"size":84,"collection":84,"collections":6150,"showCount":6151,"zanCount":1116,"manualWeight":48,"mainColor":72},228834,"qing-yuan-tu-shen-zhou-228834","清园图","此图绘湖山秋色。\n该图结构严整均衡，局部富于穿插变化，使画面景物参差有致，一派清幽逸趣。\n在用笔上，该图多用秃笔中锋，将勾、皴、擦、点有机配合，实中求虚。\n【名称】《 青园图 》 【年代】明代 【作者】沈周 【简介】长卷，纸本，设色，纵19.1厘米，横188.7厘米。\n旅顺博物馆藏。\n沈周（1427年—159年）明代杰出画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城,故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。\n沈周一生家居读书，吟诗作画，优游林泉，追求精神上的自由，蔑视恶浊的政治现实，一生未应科举，始终从事书画创作。\n他学识渊博，富于收藏。\n交游甚广，极受众望，平时平和近人，要书求画者“屦满户外”，“贩夫牧竖”向他求画，从不拒绝。\n甚至有人作他的赝品，求为题款，他也欣然应允。\n有曹太守其人，新屋落成欲图其楹庑，搜罗画家，沈周亦在其中，隶往摄之，沈周曰：“毋惊老母，旦夕往画不敢后”客人颇不平曰：“太守不知先生，何贱先生于此？渴贵游可勿往。\n”沈周答曰：“往役义也，岂有贱哉？谒而求免，乃贱耳。\n”沈周的书画流传很广，真伪混杂，较难分辨。\n文征明因此称他为飘然世外的“神仙中人”。\n沈周在元明以来文人画领域有承前启后的作用。\n他书法师黄庭坚，绘画造诣尤深，兼工山水、花鸟，也能画人物，以山水和花鸟成就突出。\n所作山水画，有的是描写高山大川，表现传统山水画的三远之景。\n而大多数作品则是描写南方山水及园林景物，表现了当时文人生活的幽闲意趣。\n在绘画方法上，沈周早年承受家学，兼师杜琼。\n后来博取众长，出入于宋元各家，主要继承董源、巨然以及元四家黄公望、王蒙，吴镇的水墨浅绛体系。\n又参以南宋李、刘、马、夏劲健的笔墨，融会贯通，刚柔并用，形成粗笔水墨的新风格，自成一家。\n沈周早年多作小幅，4岁以后始拓大幅，中年画法严谨细秀，用笔沉着劲练，以骨力胜，晚岁笔墨粗简豪放，气势雄强。\n沈周的绘画，技艺全面，功力浑朴，在师法宋元的基础上有自己的创造，发展了文人水墨写意山水、花鸟画的表现技法，成为吴门画派的领袖。",[23,24,7,25,128,27,29,130,276,413,99,208,64,133,35,131,4363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee310328773a26ff40d5f949cac4d0f3.jpg",[],219,{"id":6153,"slug":6154,"title":1663,"dynasty":144,"author":6155,"museum":20,"description":6156,"tags":6157,"thumbUrl":6158,"material":1027,"size":6159,"collection":117,"collections":6160,"showCount":6151,"zanCount":1086,"manualWeight":48,"mainColor":49},221692,"mo-zhu-po-shi-tu-gao-ke-gong-221692","高克恭","这是一幅典型的文人墨竹画，是元代画家高克恭的代表作。图绘秀石一块，竹二株生于石后，一浓一淡，笔法沉厚挺劲，墨气清润，结构谨严。竹叶自然下垂，生动地写出了竹子在烟雨中挺秀潇洒的姿态。\n本幅左下方高氏自识：“克恭为子敬作。”钤“彦敬”印。右侧钤“清父之印”、“顾氏珍玩”、“吴景旭印”、“仁山鉴定”等鉴藏印6方。\n“子敬”为元初著名学者、书法家龚璛。画面右侧中部有赵孟頫题诗一则：“高侯落笔有生意，玉立两竿烟雨中。天下几人能解此，萧萧寒碧起秋风。子昂题。”下钤“赵子昂氏”印。从题诗中可看出赵氏对高克恭的墨竹极为推崇，而高氏对自己的墨竹也自视颇高，尝自谓：“子昂写竹，神而不似；仲宾（李衎）写竹，似而不神，其神而似者，吾之两此君也。",[23,24,164,7,165,128,167,171,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce981bedac3fc255cca37a531f85e131.jpg","纵121.6厘米，横42.1厘米",[117,1670],{"id":6162,"slug":6163,"title":6164,"dynasty":18,"author":1449,"museum":20,"description":6165,"tags":6166,"thumbUrl":6167,"material":151,"size":6168,"collection":42,"collections":6169,"showCount":6151,"zanCount":1086,"manualWeight":48,"mainColor":72},221180,"ceng-die-bing-xiao-tu-zhou-ma-lin-221180","层叠冰绡图轴","图中所画两枝梅花据称为绿萼梅，是梅花中的名贵品种。枝干细秀劲挺，花朵繁密俏媚，皆以双勾填色法绘之。画法精细，层次鲜明，枝干的转折，花朵的向背，处理得面面俱到。\n在绢素上画疏枝绿萼白梅两枝，枝瘦花繁，一枝高昂扬起，伸至画面右中部，枝疏花密，花朵绽开；一枝低垂叶艳，由画幅右侧横出，伸展画幅中部与另一挺拔高枝相呼应。两枝枝干清瘦如铁。\n本幅款识：“臣马麟。”另有宋宁宗皇后杨氏题“层叠冰绡”，并题诗：“浑如冷蝶宿花房。拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。赐王提举：”钤“杨蛙之章”、“丙子刊宁翰墨”朱文。\n鉴藏印有：“项元汴印”朱文、“墨林山人”白文、“项氏子京”白文、“楠李项氏之家宝玩”朱文、“项墨林鉴赏章”白文、“项子京家珍藏”朱文、“墨林秘玩”朱文、“商丘宋荦审定真迹“朱文、“汝修”白文、”顾氏口阁珍藏”朱文、“典礼纪察司印”朱文半印，另一方印文不辨。\n地轴裱有题记：“嘉靖丙寅秋，用四十五金得于妻弟陆氏，共二幅，共直百金。顾从德记”“宋马麟《层叠冰绡图》。明项元汴清秘。用前价得藏于天籁阁”。钤“墨林山人”白文、“子京父印”朱文。裱边钤“教育部点验之章”朱文。",[23,24,7,165,28,27,371,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0b5f8ab1f8c9f8f0a1fb245c1b08d17.jpg","纵101.7cm，横49.6cm",[42,68,45],{"id":6171,"slug":6172,"title":6173,"dynasty":980,"author":3539,"museum":3540,"description":6174,"tags":6175,"thumbUrl":6177,"material":84,"size":84,"collection":84,"collections":6178,"showCount":6151,"zanCount":1086,"manualWeight":48,"mainColor":72},220526,"lan-mao-xu-bei-hong-220526","懒猫","明黄葵朵肆意盛放，苍劲枝叶舒展铺陈，将晴日生机晕染满幅。两只猫儿卧于石上，一猫懒腰哈欠，蓬松毛发纤毫毕现，娇憨慵懒之态跃然纸面；另一猫蜷身假寐，神态松弛安适。\n\n画作融西画写实与东方笔墨，以水墨晕染葵叶苍润质感，重彩点亮花瓣明妍鲜活，生灵造型精准生动，于日常闲景中，将繁花蓬勃与猫儿慵懒相映成趣，静动之间晕开松弛悠然的雅致意韵，尽显闲淡生机。",[23,24,7,27,128,369,6176,1634,582,549],"向日葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56021136e3f49aa5e8fa268f00e74249.jpg",[],{"id":6180,"slug":6181,"title":6182,"dynasty":54,"author":2640,"museum":300,"description":6183,"tags":6184,"thumbUrl":6186,"material":692,"size":1293,"collection":84,"collections":6187,"showCount":6188,"zanCount":1998,"manualWeight":48,"mainColor":72},288453,"shui-xian-shan-shi-tu-ye-ju-lian-288453","水仙山石图页","居廉（1828年9月22日－1904年5月5日），广东省广州府番禺县隔山乡人，原籍江苏扬州宝应县 [1] ，字士刚，号古泉、隔山樵子、罗湖散人，是中国近代岭南地区著名的国画画家，和其从兄居巢并称“二居”。 [2] 他初时学宋光宝和孟丽堂，后吸收各家之长，自成一家。笔法工整，设色妍丽，在继承和发展恽寿平没骨画法基础上，广泛运用了撞水和撞粉法，继承、发展和完善了“居派”艺术。代表作品有《十二分春色》。",[23,24,7,27,28,61,374,171,6185,208,64],"飞虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f14912099b74f3d5a6aa2685fc8db4.jpg",[],218,{"id":6190,"slug":6191,"title":892,"dynasty":54,"author":55,"museum":300,"description":893,"tags":6192,"thumbUrl":6194,"material":84,"size":84,"collection":84,"collections":6195,"showCount":6188,"zanCount":1086,"manualWeight":48,"mainColor":72},233911,"hua-hui-shan-shui-ce-yun-shou-ping-233911",[24,7,59,60,27,61,62,1132,6193],"花叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365b8ee143cb6b67cd7e5ece42f851e1.jpg",[],{"id":6197,"slug":6198,"title":6199,"dynasty":124,"author":1058,"museum":20,"description":6200,"tags":6201,"thumbUrl":6202,"material":734,"size":6203,"collection":136,"collections":6204,"showCount":6205,"zanCount":1116,"manualWeight":48,"mainColor":49},222332,"shi-ming-tu-quan-juan-tang-yin-222332","事茗图全卷","本幅中作者自题：“日長何所事，茗碗自賚持。料得南窗下，清風滿鬢絲。吳趨唐寅。”钤“唐居士”。\n“事茗”姓陈，为王宠友邻，与唐寅交往亦甚密。唐寅以陈氏名号为题作此图，并将“事茗”二字嵌入题诗中。此图布局别出新意，虚实相生，层次分明。近景巨石侧立，巨石墨色浓黑，皴擦细腻，凹凸清晰可辨。屋舍、坡岸淡雅清润，屋中主人临窗品茗，描绘出幽静宜人的理想化的生活环境。透过画面，似可听到潺潺的流水，闻到淡淡的茶香。\n本幅中另有清乾隆御笔题记：“记得惠山精舍里，竹罏沦茗绿杯持。解元文笔闲相仿，消渴何劳玉虎丝。甲戌闰四月雨余，几暇偶展此卷，因摹其意，即用卷中原韵题之，并书于此。御笔。”钤印“古香”白文方、“太缶”朱文方。尾纸陆粲款署：“嘉靖乙未孟秋之吉，平原陆粲著。”钤印“陆氏浚明”白文方、“贞山”朱文方。鉴藏印钤：耿昭忠“丹诚”、“千山耿信公书画之章”、“信公珍赏”、“信公鉴定珍藏”、“琴书堂”、“都尉耿信公书画之章”；耿嘉祚“耿会侯鉴定书画之章”、“耿嘉祚印”、“耿湛恩章”、“湛恩记”、“漱六主人印”；索额图“也园索氏收藏书画”、“长白索氏珍藏图书印”、“九如清玩”、“乐庵”、“乐圣且衔杯”、“御赐忠孝堂长白山索氏珍藏”等诸家印记多方，另有清内府鉴藏诸印。\n清内府《石渠宝笈·初编》卷十五著录。",[23,24,7,25,128,27,29,96,711,34,131,99,64,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3579c3ee10391bfe105f8f09fe4d831d.jpg","纵31.1厘米，横105.8厘米",[136,45],217,{"id":6207,"slug":6208,"title":6209,"dynasty":18,"author":3596,"museum":20,"description":6210,"tags":6211,"thumbUrl":6212,"material":40,"size":6213,"collection":42,"collections":6214,"showCount":6205,"zanCount":975,"manualWeight":48,"mainColor":49},221445,"han-que-tu-juan-cui-bai-221445","寒雀图卷","本幅署款“崔白”二字，有清高宗弘历题诗一首。卷后明文彭题跋。\n图绘枯木及9只麻雀飞动或栖止其间的情景。9只小雀依飞鸣动静之态散落树间，自然形成三组。构图巧妙，布局得当，在动与静之间既有分割又有联系。\n作者以干湿兼用的墨色、松动灵活的笔法绘麻雀及树干。麻雀用笔干细，敷色清淡。树木枝干多用干墨皴擦晕染而成，无刻划痕迹，明显区别于黄筌画派花鸟画的创作技法。尽管此图在形势、风格上还较为工致优雅，但在北宋花鸟画中占主导地位的平和、富丽的特色，在崔白的作品中已不见，反映了北宋宫廷花鸟画在审美感受上进入了新的阶段。崔白新创的花鸟画改变了流传百年的黄筌画派的一统格局，推动了宋代花鸟画的发展。",[23,164,24,7,25,61,28,211,1337,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c651618a9378a8dc159bf2a2ceb5781.jpg","纵25.5厘米，横101.4厘米",[42,68,45],{"id":6216,"slug":6217,"title":6218,"dynasty":18,"author":2141,"museum":77,"description":6219,"tags":6220,"thumbUrl":6221,"material":173,"size":84,"collection":136,"collections":6222,"showCount":6205,"zanCount":1998,"manualWeight":48,"mainColor":49},218580,"he-ting-xiao-xia-tu-liu-song-nian-218580","荷亭消夏图","竹影筛风，亭榭浮凉。几竿修竹环绕临水敞亭，亭中素衣人或凭栏观荷，或闲坐展卷，墨香混着竹韵漫开。下方溪流清浅，碎石错落，一士人曳杖徐行，童子负物紧随，身影在树荫与水光间轻晃。山石以细皴晕染，纹理温润如触；竹叶用劲挺笔触勾勒，层次疏密有致。\n\n风过竹梢的沙沙声，溪水叮咚的回响，与亭中人的静默相映，滤去夏日燥热，只留清幽雅致。笔墨细腻却不繁缛，每处细节都藏着宋时文人的闲适——仿佛能隔着千年，触到竹间那缕凉意，窥见他们把暑气酿成诗意的模样。整幅画如同一盏冰茶，入口清润，余味悠长。",[24,164,7,165,28,132,29,96,130,167,99,131,34,499,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f5d87850a086dc74d33f9a716e43966.jpg",[136],{"id":6224,"slug":6225,"title":6226,"dynasty":18,"author":2099,"museum":77,"description":6227,"tags":6228,"thumbUrl":6229,"material":317,"size":84,"collection":42,"collections":6230,"showCount":6205,"zanCount":1998,"manualWeight":48,"mainColor":49},218087,"luo-han-tu-ce-li-gong-lin-218087","罗汉图册","宋朝是中国历史上的一个朝代，公元960年至1279年。李公麟是宋朝时期的一位著名的画家，他的代表作品是《罗汉图册》。\n\n《罗汉图册》是一本由李公麟所绘制的图册。这本图册描绘了罗汉，这是佛教中的超凡脱俗的灵性修行者的形象。每幅图画都非常精细，李公麟用自己独特的画风把罗汉的形象塑造得生动逼真。\n\n《罗汉图册》的创作背景是宋朝的文化复兴运动，这本图册是李公麟为了推广佛教文化而创作的。当时，佛教在中国盛行，李公麟希望通过这本图册向更多的人介绍佛教文化。\n\n《罗汉图册》被广泛认为是李公麟最杰出的作品，它被誉为宋朝佛教画的代表作之一。如今，《罗汉图册》还是非常受欢迎的，它被视为中国传统艺术的瑰宝。",[23,24,7,59,188,128,187,96,171,1233,331,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F996a50a41201f534c8eeb5c5cf014b71.jpg",[42,44],{"id":6232,"slug":6233,"title":6234,"dynasty":124,"author":6235,"museum":244,"description":6236,"tags":6237,"thumbUrl":6238,"material":173,"size":6239,"collection":68,"collections":6240,"showCount":6205,"zanCount":1998,"manualWeight":48,"mainColor":49},216220,"fu-rong-bai-lu-tu-zheng-shi-216220","芙蓉白鹭图","郑石","郑石的《芙蓉白鹭图》是一幅著名的绢本花鸟画。这幅画描绘了一只芙蓉花和二只白鹭鸟，画面非常精致优美。这幅画是郑石最著名的作品之一，被认为是明朝花鸟画的代表作之一。郑石是明朝时期著名的画家，他的画风清新自然，画面精致细腻，对后世艺术家产生了很大的影响。",[23,805,24,7,165,28,27,61,373,985,4363,62,1400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51b6278a19e0cd0b6464e8d5101b347b.jpg","144.4x74.3cm",[68],{"id":6242,"slug":6243,"title":6244,"dynasty":18,"author":1622,"museum":244,"description":6245,"tags":6246,"thumbUrl":6247,"material":173,"size":6248,"collection":136,"collections":6249,"showCount":6250,"zanCount":48,"manualWeight":48,"mainColor":49},219598,"zhu-he-tu-ma-yuan-219598","竹鹤图","若无若有望中迷。独立黄冠仙客携。识赏分明印坤卦。何云为寿赐都提。甲辰（西元一七八四年）仲冬中浣再题。\n不祷自安缘寿骨。人间难得是清名。浅斟仙酒红生颊。永保长生道自成。赐王都提举为寿。\n布景期神弗期格。分明马远署臣名。胎仙近远相鸣和。绘也羲经与注成。甲辰（西元一七八四年）孟冬上浣御题。",[23,24,7,165,128,27,132,167,96,29,208,99,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F905155f3f4ed0840a0e14b1248544c85.jpg","124.3x56.6公分",[136,44],216,{"id":6252,"slug":6253,"title":4229,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":6254,"thumbUrl":6255,"material":692,"size":1293,"collection":84,"collections":6256,"showCount":6257,"zanCount":1998,"manualWeight":48,"mainColor":72},239432,"hua-niao-ce-yun-shou-ping-239432",[164,24,7,59,60,27,61,62,624,2037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48e378a87f8912632f7510fda2eb40c7.jpg",[],215,{"id":6259,"slug":6260,"title":76,"dynasty":54,"author":55,"museum":300,"description":893,"tags":6261,"thumbUrl":6262,"material":84,"size":897,"collection":84,"collections":6263,"showCount":6257,"zanCount":1998,"manualWeight":48,"mainColor":72},233895,"hua-hui-ce-yun-shou-ping-233895",[164,24,7,59,27,60,61,62,603,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e39781d8731f909f8ad4b52da88dd7d.jpg",[],{"id":6265,"slug":6266,"title":2330,"dynasty":124,"author":366,"museum":20,"description":6267,"tags":6268,"thumbUrl":6280,"material":1722,"size":6281,"collection":84,"collections":6282,"showCount":6257,"zanCount":1998,"manualWeight":48,"mainColor":72},233375,"shui-mo-pu-tao-tu-zhou-xu-wei-233375","此图曾经清代李佐贤、陈希濂等收藏。\n图中画一架葡萄，叶片茂盛，藤蔓缠绕，果实累累。作者以草书笔法作画，行笔豪迈而不肆野，叶、果用淡墨加胶矾挥洒，墨气淋漓酣畅，产生了极佳的晕散效果。\n画中所题诗见于《徐文长集三》卷十一，是徐渭作画时常书写的诗作之一，抒发了作者一生不遇的坎坷痛苦的心境。画中题字受米芾行书风格影响，结体紧凑，运笔舒缓大气，竖笔、捺笔流畅雄健，收锋沉稳，体现了其身为晚明大书家的深厚的艺术功力。",[24,7,165,128,369,2334,548,549,2037,62,4250,370,6269,6270,6271,6272,6273,6274,230,6275,6276,6277,6278,6279],"墨色变化","藤蔓缠绕","果实垂挂","枝叶舒展","水墨淋漓","文人画风格","水墨植物","墨叶","墨果","藤蔓线条","写意花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ac2949f65bdc9dc171950992c953d5d.jpg","纵 165.4厘米，横 64.5厘米",[],{"id":6284,"slug":6285,"title":6286,"dynasty":182,"author":6287,"museum":1941,"description":6288,"tags":6289,"thumbUrl":6291,"material":173,"size":6292,"collection":136,"collections":6293,"showCount":6257,"zanCount":1116,"manualWeight":48,"mainColor":49},220072,"jian-ge-xue-zhan-tu-wang-wei-220072","剑阁雪栈图","王维","此图栈道着墨不多，主要是表现剑阁山川，雪景布置，积雪盈道。倘若鉴定无误的话，此图应属现存最早的一幅反映古栈道题材的山水画了。当然，它也就是最早的一幅蜀山栈道图。",[23,24,7,29,165,27,132,663,497,413,1556,6290],"栈道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f73cf8b8868701ceb5e30b67a1f890.jpg","187.0X96.2",[136],{"id":6295,"slug":6296,"title":6297,"dynasty":54,"author":1219,"museum":20,"description":6298,"tags":6299,"thumbUrl":6301,"material":66,"size":6302,"collection":44,"collections":6303,"showCount":6257,"zanCount":1116,"manualWeight":48,"mainColor":72},219630,"su-wu-mu-yang-tu-ren-yi-219630","苏武牧羊图","在任颐众多的人物故事画中，“苏武牧羊”是他描绘较多的题材之一。《汉书·苏武传》中记载：苏武，字子卿，曾奉汉武帝命以中郎将身分出使匈奴，单于欲降苏武，苏武不屈，被留放北海(今贝尔加湖)长达19年，苏武“杖汉节牧羊，卧起操持，节旌尽落”，表现了强烈的爱国精神。作为出身于市民，又一度随太平军转战的任颐，面对加速殖民化的国土，深感“身居十里洋场，无异置身异域”，甚至寄希望于“草莽英雄”，正是这种思想驱使他在画中寄托忧患意识，歌颂高尚的爱国情操。图中苏武手持汉节，如坚石般站立于画面中心，双目望于画外，似在遥望汉国，目光坚定自信，表现了不屈的精神。\n画中人物造型比例准确，除保持了陈洪绶人物奇古伟岸的特征之外，还融汇了西洋画速写、素描的技法，线条凝练概括，具有力度，与主题相统一。色墨的渲染协调统一，尤其是羊群运用写意的手法，在黑、白、灰的墨色变化中准确地描绘出羊群的造型，同时也描绘出群羊因寒冷而挤作一团的情景，以此衬托出环境的恶劣，从而突出了人物不畏艰难险阻的刚毅气节。",[23,164,24,7,165,27,369,96,6300,949],"羊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25c2700d0183a4f433fabbc66c36e14d.jpg","纵149.5厘米，横81厘米",[44,45],{"id":6305,"slug":6306,"title":6307,"dynasty":18,"author":3110,"museum":77,"description":6308,"tags":6309,"thumbUrl":6310,"material":66,"size":6311,"collection":68,"collections":6312,"showCount":6257,"zanCount":1116,"manualWeight":48,"mainColor":49},218942,"he-tu-mu-xi-218942","鹤图","鹤独立苍岩畔，长颈微俯，似敛神听风。羽翅以墨色分层晕染，绒羽轻细如絮，飞羽劲挺带势，墨痕间藏自然生趣。背景淡墨虚笼，松枝疏影横斜，留白处若含烟岚，无一笔繁饰却得空寂之境。禅意融于笔墨，不逐形骸而追神韵，鹤的清逸与天地的虚静相契，尽显南宋文人画的空灵韵致，观之如临幽境，心随鹤远。",[1326,24,7,164,165,128,369,722,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc77380f8e0d7d4b9318d3de05bfb0672.jpg","129x80.5cm",[68],{"id":6314,"slug":6315,"title":6316,"dynasty":18,"author":435,"museum":300,"description":436,"tags":6317,"thumbUrl":6324,"material":692,"size":1293,"collection":84,"collections":6325,"showCount":6326,"zanCount":1116,"manualWeight":48,"mainColor":49},288520,"han-xi-zai-ye-yan-tu-song-mo-ben-song-gong-ting-hua-jia-288520","韩熙载夜宴图(宋摹本)",[23,24,164,7,25,6318,28,27,6319,96,1421,6320,6321,6322,6323,64,208],"人物画","夜宴","乐舞","听乐","观舞","休憩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde43b93040d57e342c67c97ee8336009.jpg",[],214,{"id":6328,"slug":6329,"title":6330,"dynasty":54,"author":872,"museum":300,"description":6331,"tags":6332,"thumbUrl":6333,"material":84,"size":84,"collection":117,"collections":6334,"showCount":6326,"zanCount":48,"manualWeight":48,"mainColor":72},237886,"mo-he-zhou-zhu-da-237886","墨荷轴","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人。明末清初画家，中国画一代宗师。 明遗民。\n朱耷是明太祖朱元璋第十七子朱权的九世孙，明亡后削发为僧，后改信道教，住南昌青云谱道院。擅书画，早年书法取法黄庭坚 。花鸟以水墨写意为主，形象夸张奇特，笔墨凝炼沉毅，风格雄奇隽永；山水师法董其昌，笔致简洁，有静穆之趣，得疏旷之韵。擅书法，能诗文，用墨极少。\n八大山人由于他明朝宗室的特殊身世，和所处的时代背景，使他的画作不能像其它画家那样直抒胸臆，而是通过他那晦涩难解的题画诗和那种怪怪奇奇的变形画来表现。例如他所画的鱼和鸟，寥寥数笔，或拉长身子，或紧缩一团，倾是而非。特别是那对眼睛，有时是个椭圆形，都不是我们生活中所看的鱼、鸟的眼睛，生活中鱼、鸟的眼睛都是圆圆的，眼珠子在中央也不会转动。八大山人的鱼、鸟的眼珠子都能转动，有时还会翻白眼瞪人哩。他画的山石也不像平常画家画那个样子，浑浑圆圆，上大下小，头重脚轻，他想搁在哪里就在哪里，也不管它是不是稳当，立不立得住。他画的树，老干枯枝，仅仅几个杈椰，几片树叶，在森林中几万棵树也挑不出这样一颗树来。他画的风景、山、光秃秃的树，东倒西歪，荒荒凉凉，果真有这么个地方，我想谁也不肯到这里来安家落户。\n还有，他画上的题诗、签名和印章，也是怪怪的。例如他自号“八大山人”，解释的人很多，至今学者们还有不同争论。他有一方印章，印文刻作 ，有人说它是由“八大山人”四字组成，有的人则持慎重态度，称之为“屐形印”，因为它的形状像只木屐。至于他画上的题诗，许多句子更是令人难解。\n然而，八大山人明确地告诉我们：“横流乱世杈椰树，留得文林细揣摩”。又说：“想见时人解图画”。他是很希望人们能够理解他的画中之意的。因此许多学者经细心的研究，从他的画意和字里字间，探听出许多真消息。例如他有一个画押写作 ，很长时间人们一直称它为龟形画押，因为其形状特别像一只乌龟。后来才看出，原来是由“三月十九日”几个字变形组成，这恰好是明代最末一个皇帝崇祯自杀的日子，标志着明朝的灭亡。那么这个画押，也就表示对 亡国的纪念。\n康熙二十一年他曾经画了一幅《古梅图》，树的主干已空心，虬根露出，光秃的几枝杈椰，寥寥的点缀几个花朵，像是饱经风霜雷电劫后余生的样子。其上题了三首诗，第一首写道：“分付梅花吴道人，幽幽翟翟莫相亲。南山之南北山北，老得焚鱼扫虏尘。”“梅花吴道人”是指元代画家吴镇，自号“梅花道人”。方框内的字，显然是被当时或稍后的收藏者有意剜去，以避免文字狱灾祸。不难猜测，这个字不是“胡”，即是“虏”。清代统始者以满族入主中原，最忌讳的也是这两字。要在“南山之南北山北”扫除“胡尘”，朱耷非常明确地表达了他的反清复明思想。第二首诗写道：“得本还时末也非，曾无地瘦与天肥。梅花画里思思肖，和尚如何如采薇。”诗中用了两个典故，一是元初遗民画家郑思肖，在南宋灭亡之后隐居吴下，画兰花露根不画坡土，人问何故，他回答说：“土地都被人抢夺去了，你难道不知吗？”二是殷遗民伯夷、叔齐在周灭殷以后，耻不食周粟，隐居首阳山采薇而食，直至饿死。原来八大这幅《古梅图》虬根外露，也不画坡土，是仿照郑思肖画兰之意，暗含着国土被清人所抢夺，他这个明代宗室子孙，之所以成了和尚，正如伯夷、叔齐采薇首阳山那样，不肯臣服于新王朝。国破家亡，复国无望，这使他不能不“苦泪交千点”了。\n八大山人题画诗，是解开他画意的钥匙，然幽涩难解，如迷如雾，许多学者都下过一番功夫进行破释。例如康熙二十三年所作《甲子花鸟册》，其中第七页画一只八哥站在枯枝上，题诗曰：“衿翠鸟唤哥，吭圆哥换了。八哥语三虢，南飞鹧鸪少。”此诗之意，香港中文大学饶宗颐教授经过引经据典考释后结论说：“此诗画是讥‘虢’（指明）亡后，忠臣如鹧鸪之志切怀南，殊不多见。”这就是说，八大的作品，除了一般的国破家亡的情绪表达之外，有时还具体有所指。《瓜月图》亦是件有所指的作品，在题诗之后他记录说：“己巳润八月十五夜画所得”。面对着天上的圆月，和人间家家户户吃月饼，他的心被触动了，那么他“所得”是什么呢？画上题诗曰：“眼光饼子一面，月圆西瓜上时。个个指月饼子，驴年瓜熟为期。”有人根据吃月饼的风俗来源于反清义军传递起事暗号的民间故事，说八大在期盼着这一天到来。然而却要等到何年（驴年）呢？“驴年马月”是俗语，表示遥无定期。果真如此，则八大的心迹，就不只是徒有国亡余痛了。\n八大山人长于水墨写意，为其划时代的人物。 在水墨写意画中，又有专擅山水和专擅花鸟之别，八大山人则两者兼而善之。他的山水画，近师董其昌，远法董源、巨然、郭熙、米芾、黄公望、倪瓒诸家。例如康熙四十一年所作《书画册》（上海博物馆藏）共画了六幅山水小品，就可以看出深受董其昌的影响，其远笔的圆润则有着董、巨和黄公望的遗踪，墨法参照了米氏云山，而某些树石的组合形式，显然取自倪瓒。但是，我们在欣赏这些作品时，却又强烈地感觉到朱耷的个性，上述那些古人的法则，不过是他随手拈来为自己服务的。那些山、石、树、草，以及茅亭、房舍等，逸笔草草，看似漫不经心，随手拾掇，而干湿浓淡、疏密虚实、远近高低，笔笔无出法度之外，意境全在法度之中。这种无法而法的境界，是情感与技巧的高度结合，使艺术创作进入到一个自由王国。\n比起山水画来，八大山人的花鸟画创作，更具有他风格个性的典型性。顺治十六年所作《传綮写生册》（台北故宫博物院藏），和康熙五年作的《墨花卷》（北京故宫博物院藏），是八大早期作品，从中可以看到他的水墨写意花鸟画创作，深受沈周、陈淳、徐渭的影响，其用笔较方硬，题材、布局也未脱离前人窠臼，但是画中所表现出的兀傲之气，以及不拘一格的大胆剪裁，如不求物象的完整性，却已预示着他的未来的发展。\n八大山人花鸟画最突出特点是“少”，用他的话说是“廉”。少，一是描绘的对象少；二是塑造对象时用笔少。如康熙三十一年所作《花果鸟虫册》，其《涉事》一幅，只画一朵花瓣，总共不过七、八笔便成一幅画。在八大那里，每每一条鱼，一只鸟，一只雏鸡，一棵树，一朵花，一个果，甚至一笔不画，只盖一方印章，便都可以构成一幅完整的画面，可以说少到不可再少了的程度。前人所云“惜墨如金”，又说“以少少许胜多多许”，只有八大才真正做到了这点，可谓前无古人，后难继者。\n少，也许能有人作到，但是少而不薄，少而不贫，少而不单调，少而有味，少而有趣，透过少而给读者一个无限的思想空间，这是难有人作到的，八大山人却具备了如上的要求，这里大有文章。首先是他在用笔用墨上的功夫。他的用笔由方硬变圆润，饱和墨汁与运笔的方法相结合，一下笔就给人以浑厚丰富之感。他是第一个充分主动利用生宣纸特性以加强艺术表现力的画家。生宣纸的吸水能力强，容易使墨汁扩散（洇），这本来是缺点，而八大却把它变为优点，不但为水墨写意画开辟了一个广阔的前景，而且也创造了人们对水墨写意画的新观念，其功不朽。\n其次是形象的塑造。八大山人的花鸟造型，不是简单的变形，而是形与趣、与巧、与意的紧密结合，所以我们在欣赏时，就不会感到单薄和寂寞。再次是他的布局，特别讲究少许物象在二维空间中摆放的位置。其诀窍是充分利用空白，即前人所谓“计白当黑”。与此同时，并充分调动题跋、署款、印章在布局中的均衡、对称、疏密、虚实等的作用。他不像一般画家那样，先画好画，然后在恰当的位置题款和押印，而是有总体的规划设想，使每一点都在布局中起到举足轻重的作用，不多，不少，不奢侈，不节约。例如康熙三十三年所作《花鸟山水册》（上海博物馆藏），第一幅仅画一只雏鸡。小鸡置于画面中右偏下，这一位置的重心，将画面分割成四大块空间，每块空间的大小都不一样，平衡而有变化。由于小鸡头部方向朝左，故题诗在右第二大块空间中，使空荡的背景顿时活跃起来，视觉上起到突破平衡和内容丰富的作用。小鸡的刻画生动传神，动态像小孩刚学走路，蹒跚得十分可爱。瞪着大眼警惕着前方，特别是眼后加三撇，像电波一样，好似前方有什么声响传来，使小鸡心惊胆怯。这只小雏鸡我们可以理解为它刚出蛋壳，表示出对这个世界的惊异与警惕；也可以理解为走失了群体，找不到妈妈，感到孤独而害怕，如何理解，任人们驰骋想象的翅膀，所以有时候少画，反而思想的容量更大。\n少，不是目的而是手段，否则越少越好，艺术又会走入另一条邪径。少是相对的，例如康熙四十二年所作的《杨柳浴禽图》（北京故宫博物院藏），相对上述作品来说是“多”了，但比起一般画家处理同类题材的作品来，却少了许多许多。例如他对柳枝的处理，约有十二笔，就占住了整个画面上部的空间，不但表现出杨柳的老干新枝的质，也表现了枝条迎风的势。在春风料峭之中，八哥在洗刷自己的羽毛将振翅欲飞。这一生活小景，表现出无限的生意。康熙十六年所作的《河上花图》（天津艺术博物馆藏），是八大山人一生作品中仅见的长篇巨制，也是他笔墨最多、布局最复杂的一幅，但他仍然体现着少的原则。例如开卷的一丛荷花，总共超不出三十笔，笔减而意繁，一开卷便引人入胜。\n八大山人，前承古人，后启来者。白石老人曾有诗曰：“青藤（徐渭）雪个（八大山人）远凡胎，缶老（吴昌硕）当年别有才。我原九泉为走狗，三家门下转轮来。”其倾倒如此。今天随着东西方文化的交流，欣赏和理解他艺术的人越来越多。",[24,7,165,128,369,81,168,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12afb4ee4d66f987d5bb2edff1946a7e.jpg",[117],{"id":6336,"slug":6337,"title":6338,"dynasty":182,"author":6287,"museum":77,"description":6339,"tags":6340,"thumbUrl":6341,"material":151,"size":6342,"collection":84,"collections":6343,"showCount":6326,"zanCount":48,"manualWeight":48,"mainColor":49},232621,"e-pang-gong-tu-juan-wang-wei-232621","阿房宫图卷","提到王维，人们都会想到他的朗朗上口的诗文，比如空山新雨后，天气晚来秋；比如独在异乡为异客，每逢佳节倍思亲；再比如红豆生南国，春来发几枝等等。他也是我很喜欢的一位诗人。其实他是唐朝书，画，诗三方面都很有成就的一个人。\n王维，字摩诘，盛唐时期的著名诗人，官至尚书右丞，原籍祁（今山西祁县），迁至蒲州（今山西永济），崇信佛教，晚年居于蓝田辋川别墅。善画人物、丛竹、山水。唐人记载其山水面貌有二：其一类似李氏父子，另一类则以破墨法画成，其名作《辋川图》即为后者。可惜至今已无真迹传世。传为他的《雪溪图》及《济南伏生像》都非真迹。苏轼评价说“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”他是唐代山水田园派的代表。开元进士。任过大乐丞、右拾遗等官，安禄山叛乱时，曾被迫出任伪职。其诗、画成就都很高，苏东坡赞他“诗中有画，画中有诗”，尤以山水诗成就为最，与孟浩然合称“王孟”，晚年无心仕途，专诚奉佛，故后世人称其为“诗佛”。\n王维的水墨画风，几乎影响着中唐以后的中国山水画发展的全部历史。至少可以说，占据中国古代山水画主流的文人画，都接受了王维的影响。苏轼的“诗中有画，画中有诗”的赞语，奠定了王维在中国绘画史上的地位。明朝董其昌的文人画理论，把文人画的内涵，全部具体化于王维，称王维是南宗画之祖。",[23,24,7,25,27,26,95,28,29,97,98,96,131,34,758,6126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fac5623a6e549db33830a4f701ceb37.jpg","纵194.5cm，横60.5cm",[],{"id":6345,"slug":6346,"title":6347,"dynasty":18,"author":397,"museum":5543,"description":6348,"tags":6349,"thumbUrl":6350,"material":173,"size":6351,"collection":68,"collections":6352,"showCount":6326,"zanCount":1998,"manualWeight":48,"mainColor":49},219138,"mei-que-tu-zhao-ji-219138","梅雀图","枝桠遒劲，凝着早春的清寒，几簇白梅点缀其间，花瓣薄如蝉翼，花蕊纤毫毕现，似有暗香浮动。一只麻雀敛翅而立，羽色层次分明，从褐棕的背羽到浅黄的腹羽，过渡细腻如天然；墨点的眼珠炯炯有神，喙尖微挑，仿佛正细嗅梅香。古雅的底色衬得生灵与花枝愈发鲜活，笔意工致却不刻板，枝桠的顿挫、羽毛的丝缕、花瓣的晕染，皆藏着对自然的敬畏与细腻感知。静穆中透着生机，仿佛能听见风过枝桠的轻响，看见雀儿转颈的灵动，将转瞬的雅致凝为永恒，尽显笔墨间的生趣与文人清逸。",[23,24,164,7,28,27,1131,61,371,4117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51843aee1c6bdffdd691d63bea2ddcbd.jpg","23.0×24.2cm",[68],{"id":6354,"slug":6355,"title":6356,"dynasty":54,"author":6357,"museum":300,"description":6358,"tags":6359,"thumbUrl":6360,"material":66,"size":6361,"collection":44,"collections":6362,"showCount":6326,"zanCount":1116,"manualWeight":48,"mainColor":72},214670,"zhong-kui-tu-huang-shen-214670","钟馗图","黄慎","这幅画描绘的是钟馗在吃石榴，而一个小孩子和他一起玩。这是黄慎委托的一幅吉祥画",[23,24,7,165,128,188,96,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd6631ced5ea11c63e64cba3d283250e.jpg","149x110",[44],{"id":6364,"slug":6365,"title":6366,"dynasty":18,"author":1091,"museum":300,"description":6367,"tags":6368,"thumbUrl":6370,"material":84,"size":84,"collection":84,"collections":6371,"showCount":6372,"zanCount":1998,"manualWeight":48,"mainColor":72},227505,"li-bai-xian-shi-juan-la-jian-su-shi-227505","李白仙诗卷蜡笺","《李白仙诗卷》蜡笺本。行书。纵：34.5厘米，横：106厘米 。日本大阪市立美术馆藏。\n\n此作书于元祐八年（1093）七月十日，苏轼五十八岁，是其重要的代表作之一。苏轼的很多作品因注重创造意识，透过它们强烈的艺术感染力，可以多少领会到作者的苦心孤诣，换句话说，是露出了刀劈斧凿之痕的。那线条的优雅，行气的从容，章法的疏密有致，给人一种精美绝伦之感。这当然是一种美，但这种美中的形式因素相对要多一些。试观此《李白仙诗卷》，却大有“粗服乱头”之感。",[23,7,64,133,25,6369,208],"纸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b6d975139a01fe3b63e08f3f1c34ac2.jpg",[],213,{"id":6374,"slug":6375,"title":1364,"dynasty":54,"author":6376,"museum":300,"description":6377,"tags":6378,"thumbUrl":6380,"material":84,"size":84,"collection":84,"collections":6381,"showCount":6372,"zanCount":1116,"manualWeight":48,"mainColor":72},224110,"lian-hua-mian-yi-224110","绵亿","此作用色秀润柔和，盛放的主莲粉瓣晕染自然，金蕊明媚醒目，一旁花苞半敛，晕出柔婉的粉紫色泽。阔大荷叶以石绿晕绘，叶脉勾勒纤细清晰，舒展间带着水润生机。淡蓝碎花与纤柔细草错落点缀，衬出莲的清雅出尘。\n\n笔致轻柔秀雅，工细却无板滞之感，将莲的高洁清灵与柔媚娇美相融，淡素底色晕开夏日水畔的清和诗意，把水生花卉的静雅之美凝于尺幅，观之仿佛能嗅到浅淡荷香，尽显娴静悠远的文人意趣。",[24,7,61,28,27,81,82,3451,6379],"小花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25226c11c993dc0c02d852defc77b4af.jpg",[],{"id":6383,"slug":6384,"title":6385,"dynasty":124,"author":2268,"museum":244,"description":6386,"tags":6387,"thumbUrl":6388,"material":611,"size":6389,"collection":136,"collections":6390,"showCount":6372,"zanCount":48,"manualWeight":48,"mainColor":72},220930,"fang-ni-zan-bi-yi-zhou-dong-qi-chang-220930","仿倪瓒笔意轴","董其昌题跋提到曾于苏州王禹声家中见过一幅倪瓒画山水，画上书宋僧法具四首绝句。此作不但追摹倪瓒风格，亦仿原画题诗其上，然依记忆仅抄录其中三首，或因此与原诗稍有出入。王禹声为名宦王鏊（1450-1524）曾孙，曾任承天知府，与董其昌为同榜进士。此作将倪瓒一河两岸式的构图，改为多重山体、水面向远方延伸的深远空间，并倾斜山根水脚所在平面，让画面呈现向左下倾斜的微妙动势；画中林木更见丰盛，山形亦多变而结实，然透过折带皴与带状绵延远山，仍流露出倪瓒画作雅澹的格调。",[23,164,24,7,165,128,29,330,132,133,208,171,34,664,31,711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63bd10a4aa8afb51c75dc35585ca53cb.jpg","纵138.8cm，横47cm",[136,117],{"id":6392,"slug":6393,"title":6394,"dynasty":124,"author":1058,"museum":244,"description":6395,"tags":6396,"thumbUrl":6397,"material":128,"size":6398,"collection":136,"collections":6399,"showCount":6372,"zanCount":1998,"manualWeight":48,"mainColor":72},219331,"kong-shan-guan-pu-tu-tang-yin-219331","空山观瀑图","唐寅（1470—1523），字伯虎，一字子畏，号六如居士、桃花庵主、鲁国唐生、逃禅仙吏等，据传于明宪宗成化六年庚寅年寅月寅日寅时生，故名唐寅。汉族，吴县（今江苏苏州）人。他玩世不恭而又才气横溢，诗文擅名，与祝允明、文征明、徐祯卿并称“江南四才子”，画名更著，与沈周、文征明、仇英并称“吴门四家”。",[24,7,165,128,132,29,1144,495,131,96,1022,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c0f9b1868f56ffcbda8eabd2eb3efa9.jpg","60.5x38.6公分",[136],{"id":6401,"slug":6402,"title":6403,"dynasty":18,"author":223,"museum":6404,"description":6405,"tags":6406,"thumbUrl":6407,"material":173,"size":6408,"collection":44,"collections":6409,"showCount":6372,"zanCount":1086,"manualWeight":48,"mainColor":49},218476,"shui-yue-guan-yin-xiang-yi-ming-218476","水月观音像","奈良国立博物馆","观世音菩萨的雕像带着佛光，呈圆圈状，坐在一块立在水中的怪石上，旁边有一个插着柳枝的花瓶，静静地注视着左边下面水中反射的月亮。在背景中，从上面的悬崖可以看到一个瀑布。白色的慈悲女神与在曼陀罗的莲花部分看到的不一样。这幅图中的白衣观音似乎是在南宋时期的禅林中创作的，就像中国宋元时期和日本镰仓时期之后的情况一样。",[24,7,165,187,96,188,27,231,171,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b6ed05393745747280c984d98e7da9f.jpg","88x36.7",[44],{"id":6411,"slug":6412,"title":3618,"dynasty":144,"author":1346,"museum":6413,"description":6414,"tags":6415,"thumbUrl":6416,"material":317,"size":6417,"collection":68,"collections":6418,"showCount":6372,"zanCount":1105,"manualWeight":48,"mainColor":72},216101,"mo-zhu-tu-wu-zhen-216101","耶鲁大学艺术博物馆","这件作品是一幅描绘竹叶的图画，以其精细的绘画技巧和精美的艺术品质而闻名。墨竹图的名字来源于其使用的墨色，以及它描绘的竹子。墨竹图被认为是中国古代绘画艺术中最优秀的作品之一，并被许多人所珍视。",[23,24,7,1131,128,167,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8b830328da9d88aa4e298e550fe00be.jpg","23.2x22.9cm",[68],{"id":6420,"slug":6421,"title":3618,"dynasty":54,"author":1504,"museum":300,"description":6422,"tags":6423,"thumbUrl":6424,"material":84,"size":84,"collection":84,"collections":6425,"showCount":6426,"zanCount":1998,"manualWeight":48,"mainColor":199},230140,"mo-zhu-tu-zheng-ban-qiao-230140","修竹挺拔舒展，以浓淡墨色铺陈枝叶，虚实错落间尽显萧疏清劲，仿佛携着晚来林风，簌簌有声。画竹以书入笔，笔意兼具行书灵动与隶书沉厚，竹叶如“个”似“介”，爽利遒劲，将竹的孤傲磊落全然铺展。左侧题诗与墨竹相映成趣，诗画交融，以竹为寄，把超脱世俗的清介襟怀藏进笔墨。寥寥数笔便写尽竹之神韵，将文人逸致与君子品性合而为一，尽显文人画托物言志、诗画同源的绝妙意境。",[23,24,7,165,128,133,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5f843406125e3d7d75445cdef2772a3.jpg",[],212,{"id":6428,"slug":6429,"title":6430,"dynasty":18,"author":633,"museum":224,"description":6431,"tags":6432,"thumbUrl":6440,"material":317,"size":6441,"collection":42,"collections":6442,"showCount":6426,"zanCount":1998,"manualWeight":48,"mainColor":49},220420,"shan-shi-qing-lan-tu-xia-gui-220420","山市晴岚图","昭山，位于湘潭，长沙交界处，离城20公里，突兀挺立在湘江东岸，是湘潭市的北大门。每逢雨后新晴，或是旭日破晓，万丈霞光撒在山间，雨气氤氲，色彩缤纷，美而壮观。北宋大书画家米芾将这一景观绘成《山市晴岚图》，列为潇湘八景之一，昭山自此声名大震.明代周九烟曾以《山市晴岚》为题，赋诗一首“蜃楼曾诧海门东，此处奇峰便不同。天宇诈收朝霞后，人家都在旭光中。金银气眩千岩丽，龙虎云凝七国雄。谁信湖南培 地，举头缈缈似瑶宫。”",[24,7,128,29,165,132,496,34,6433,131,6434,1022,37,6435,6436,3428,6437,6438,6439],"雾气","小筑","晴岚","杂树","村舍","水墨渲染","南宋山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc36e5dcf9afd9b288e69532ac5390b9f.jpg","24.8×21.3cm",[42,117],{"id":6444,"slug":6445,"title":6446,"dynasty":54,"author":646,"museum":244,"description":647,"tags":6447,"thumbUrl":6449,"material":66,"size":653,"collection":84,"collections":6450,"showCount":6426,"zanCount":1105,"manualWeight":48,"mainColor":72},219882,"er-shi-si-fan-hua-xin-feng-tu-shan-fan-yu-lan-hua-dong-gao-219882","二十四番花信风图-山矾与兰花",[24,7,59,27,28,62,6448,605,229,64,208],"山矾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa300fd27248f7782bac6bc2754e41f05.jpg",[],{"id":6452,"slug":6453,"title":6454,"dynasty":54,"author":6455,"museum":244,"description":6456,"tags":6457,"thumbUrl":6458,"material":66,"size":6459,"collection":44,"collections":6460,"showCount":6426,"zanCount":1086,"manualWeight":48,"mainColor":72},216965,"ba-jiao-mei-ren-tu-xu-liang-biao-216965","芭蕉美人图","许良标","在这幅画中，一位面容姣好的少女坐在湖边的岩石上，手里拿着一把扇子，望着栏杆外的荷花田，陷入沉思。景物清晰，色彩鲜艳，构图上远近透视标准，色彩刻意镂空，可能是受到西方绘画的影响。",[24,164,7,27,28,166,875,81,130,98,171,249,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe47e4dd41db8abae7aa0d7492be0846b.jpg","171.8x93.9",[44],{"id":6462,"slug":6463,"title":6464,"dynasty":124,"author":204,"museum":1941,"description":3894,"tags":6465,"thumbUrl":6466,"material":173,"size":3897,"collection":84,"collections":6467,"showCount":6426,"zanCount":48,"manualWeight":48,"mainColor":49},216357,"xi-xiang-ji-tu-ye-7-chou-ying-216357","西厢记图页-7",[164,24,7,27,28,96,97,99,166,167,247,34,438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c2092ecff88dc4c51551d1cdeaf7c87.jpg",[],{"id":6469,"slug":6470,"title":6471,"dynasty":124,"author":125,"museum":300,"description":6472,"tags":6473,"thumbUrl":6475,"material":692,"size":1293,"collection":84,"collections":6476,"showCount":6477,"zanCount":1998,"manualWeight":48,"mainColor":49},287522,"shu-shan-qin-shu-tu-juan-shen-zhou-287522","蜀山秦树图卷","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,164,24,25,7,1349,128,27,132,496,4438,1025,4605,98,99,6474,109,133,64,208],"亭舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092ad35e202a88d58b87a0f168f8fe23.jpg",[],211,{"id":6479,"slug":6480,"title":2279,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":6482,"thumbUrl":6483,"material":692,"size":1293,"collection":84,"collections":6484,"showCount":6477,"zanCount":1116,"manualWeight":48,"mainColor":72},287444,"lan-zhu-tu-shi-tao-287444","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[164,24,7,165,128,167,375,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78897544684d19c2db3989df6b58bf38.jpg",[],{"id":6486,"slug":6487,"title":6488,"dynasty":124,"author":204,"museum":244,"description":6489,"tags":6490,"thumbUrl":6491,"material":173,"size":6492,"collection":45,"collections":6493,"showCount":6477,"zanCount":1998,"manualWeight":48,"mainColor":49},219318,"zhou-jin-tang-zhou-chou-ying-219318","昼锦堂轴","〈相州昼锦堂记〉是北宋欧阳修（1007-1072）为宰相韩琦（1008-1075） 所做的一篇记文，指出衣锦还乡本人之常情，且古今所同，而韩琦却建昼锦堂以为鉴诫，并未因富贵而夸耀，高节值得推崇。本幅又是所谓文征明书写题记，仇英绘图的合璧之作。苏州作坊多有这种形式的制作，优雅又具文化意涵，用来馈赠为官或显贵者，颇为恰当。画幅左方先图绘韩琦轻骑简装于返乡途中，接着越过山岭，则见到回到家中创建有昼锦堂的韩琦，正素衣凭几而坐。形成中国叙事画中所谓异时同图的表现方式。画家同时也采取了象征的手法，堂前的松树与堂",[24,164,7,165,28,26,27,29,97,96,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb655f51653565200dcbc0cddbe1a8ccf.jpg","192.7x 96.3",[45],{"id":6495,"slug":6496,"title":6497,"dynasty":18,"author":791,"museum":56,"description":6498,"tags":6499,"thumbUrl":6500,"material":173,"size":6501,"collection":68,"collections":6502,"showCount":6477,"zanCount":1086,"manualWeight":48,"mainColor":49},219174,"zhu-que-tu-wu-bing-219174","竹雀图","此图写棘竹丛生，枝桠横出，枝头有一雀鸟正在悠闲地啄理羽毛。整幅场景景物聚于下侧，可见南宋构图新风的影响。图中竹枝用双钩技法，雀鸟在用颜色没骨画出后，重点部位再用墨线描出。这是吴炳传世佳作中的代表作。",[164,24,7,28,27,61,167,4117,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd20dd6d46a7daa28f75681df47a33321.jpg","纵25厘米，横25厘米",[68],{"id":6504,"slug":6505,"title":6506,"dynasty":54,"author":872,"museum":56,"description":6507,"tags":6508,"thumbUrl":6510,"material":278,"size":6511,"collection":68,"collections":6512,"showCount":6477,"zanCount":48,"manualWeight":48,"mainColor":72},218898,"yu-ya-tu-juan-zhu-da-218898","鱼鸭图卷","朱耷，号八大山人。八大山人被人们所称道不仅是因为他是一个独具个性的画家，还因为坚守民族气节的品质。明末崇祯皇帝自缢时，八大山人已九岁，作为一个宗室后裔遭到国破家亡的命运，其悲痛可以想象的。他佯狂避世，杜绝交往，甘于贫困，沉溺于书画的创作中。他的作品独具一种“笔意纵恣”的画风。这件《鱼鸭图》是他晚年艺术创作成熟阶段的代表作品 。画面上只有几只鸭子、几尾游鱼和几块半露水面的石块，造型十分简练，笔墨浓淡的处理却十分考究，生动地刻画出岩石的坚实感、鸭毛的松蓬以及鱼身上鳞、鳍的变化。八大将鱼眼画成“白眼”，喻含了他对清王朝的不满和蔑视。",[23,24,7,25,128,2059,6509,171,208],"鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35823c256193bde43d49e8eda3ea517d.jpg","纵23.2厘米 横569.5厘米",[68],{"id":6514,"slug":6515,"title":6516,"dynasty":182,"author":6287,"museum":4840,"description":6517,"tags":6518,"thumbUrl":6519,"material":27,"size":84,"collection":44,"collections":6520,"showCount":6521,"zanCount":1116,"manualWeight":48,"mainColor":49},219167,"fu-sheng-shou-jing-tu-wang-wei-219167","伏生授经图","图中的伏生席地而坐，手持书卷，形象清矍苍老，似正在认真讲授。其神情专注而和蔼。从画中清晰可见伏生额头的皱纹与身体上极为松弛的皮肤，非常生动而且真实的描绘出了当时伏生的身体状况。通过画面中对伏生神态的描绘，可以想象，年老的伏生讲授《尚书》时的吃力。此图线描手法高超，敷色清雅。",[23,24,7,96,28,188,27,208,5459,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8701c647bf80d991a6ae005e685af840.jpg",[44],210,{"id":6523,"slug":6524,"title":6525,"dynasty":124,"author":1141,"museum":1300,"description":6526,"tags":6527,"thumbUrl":6528,"material":278,"size":6529,"collection":136,"collections":6530,"showCount":6521,"zanCount":1998,"manualWeight":48,"mainColor":72},218246,"zhong-ting-bu-yue-tu-wen-zheng-ming-218246","中庭步月图","《中庭步月图》描绘的是文徵明自京师返回六年后（1532）一个初冬的月夜与来客啜茶聚餐后步于园中赏月话旧的真实记录，款有“风檐石鼎燃湘竹，夜久香浮乳花熟”和“命僮子烹苦茗等茶事记录。该图与苏东坡《记承天寺夜游》一文中描写的境界相同，全画笔墨洒脱清雅，画风平稳细净、明秀简雅，恰如其分地表现了这个特定环境中的情感世界。画风兼乎于“粗文”“细文”之间，工整文静中不失粗放清旷，雄浑气象，是文征明在这一年龄阶段所呈现出来的特有的风格特色，从中可明确感受到文征明绘画风格演变的一些基本脉络。",[24,7,128,132,133,64,96,34,231,758,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe584a4868045e12b6c6e719755dcfb31.jpg","纵147.6厘米，横50.5厘米",[136],{"id":6532,"slug":6533,"title":6534,"dynasty":54,"author":4468,"museum":244,"description":4469,"tags":6535,"thumbUrl":6538,"material":27,"size":4474,"collection":84,"collections":6539,"showCount":6540,"zanCount":48,"manualWeight":48,"mainColor":72},222729,"xian-e-chang-chun-tu-bai-he-hua-yu-chan-zhi-mu-dan-lang-shi-ning-222729","仙萼长春图百合花与缠枝牡丹",[23,164,24,7,28,27,61,828,6536,6537,624],"牡丹花","缠枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c55f7cc59936a5a8c9fc4611e39f44d.jpg",[],209,{"id":6542,"slug":6543,"title":6544,"dynasty":54,"author":646,"museum":244,"description":647,"tags":6545,"thumbUrl":6548,"material":66,"size":653,"collection":84,"collections":6549,"showCount":6540,"zanCount":1998,"manualWeight":48,"mainColor":72},219876,"er-shi-si-fan-hua-xin-feng-tu-tang-di-yu-tao-hua-dong-gao-219876","二十四番花信风图-棠棣与桃花",[164,24,7,59,27,28,61,6546,209,6547,64,208],"棠棣","花信风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba17cf988bcf65f78a9b85775c599311.jpg",[],{"id":6551,"slug":6552,"title":6553,"dynasty":18,"author":1449,"museum":77,"description":6554,"tags":6555,"thumbUrl":6557,"material":173,"size":6558,"collection":68,"collections":6559,"showCount":6540,"zanCount":975,"manualWeight":48,"mainColor":49},218555,"mo-li-shu-fang-tu-ma-lin-218555","茉莉舒芳图","绢本古雅的底色上，茉莉枝蔓婉转伸展，白花团簇如凝雪，瓣瓣细腻温润，似含轻露未干。叶片以深浅墨绿晕染，脉络清晰可见，老叶的厚重与新叶的鲜嫩相映成趣。枝梗用笔挺劲又不失灵动，穿插错落间留白恰到好处，尽显疏密有致的构图巧思。整幅画精工雅致，将茉莉的清芬与静谧之美凝于绢素，仿佛能闻见淡淡花香，尽显南宋花鸟的细腻与诗意。笔墨间藏着对自然生灵的细致观察，每一处细节都透着温婉的匠心，让清雅之气溢于画面，是兼具技法与意境的佳作。",[164,24,7,28,27,61,6556,624,208],"茉莉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9afa3f161454d0740d10b8abcc3695ff.jpg","22.8x22.8cm",[68],{"id":6561,"slug":6562,"title":6563,"dynasty":124,"author":2268,"museum":77,"description":6564,"tags":6565,"thumbUrl":6566,"material":66,"size":84,"collection":136,"collections":6567,"showCount":6540,"zanCount":1998,"manualWeight":48,"mainColor":72},217035,"fang-gu-shan-shui-ce-liu-kai-dong-qi-chang-217035","仿古山水册六开","董其昌是明朝时期著名的画家，他的仿古山水册六开是他的代表作之一。这本册子包含了六幅仿古山水画，每幅画都经过精心绘制，画面细腻，线条流畅，再现了古代山水的美感。董其昌在绘制这些画的时候，采用了仿古的手法，借鉴了古代画家的画风，使得这些画看起来非常传统和古朴。这本册子被广泛认为是董其昌最优秀的作品之一，也是明朝仿古山水画的典范。",[23,24,7,59,128,27,29,171,34,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6c86fc6883114d3cb2271f4635b98dd.jpg",[136],{"id":6569,"slug":6570,"title":6571,"dynasty":124,"author":6572,"museum":244,"description":6573,"tags":6574,"thumbUrl":6575,"material":278,"size":6576,"collection":44,"collections":6577,"showCount":6540,"zanCount":1116,"manualWeight":48,"mainColor":72},214252,"luo-han-tu-li-yu-214252","罗汉图","李遹","罗汉图是明代画家李遹的一幅代表作。这幅画作描绘了罗汉的神圣形象。\n\n罗汉是佛教中的神，被认为是佛教徒的保护神。在这幅画作中，李遹巧妙地捕捉了罗汉的神圣形象。他用浓墨重彩的画法，勾勒出了罗汉的宏伟身形。他还用细腻的线条勾勒出了罗汉的面容，让人感受到了罗汉的慈祥和仁慈。\n\n此外，李遹在这幅画作中还描绘了罗汉周围的景色。他用色彩丰富的画法，描绘了罗汉周围的山川和河流。这些景色与罗汉的神圣形象形成了鲜明的对比，让人感受到了自然与神的和谐统一。\n\n总之，罗汉图是一幅精美的画作，描绘了罗汉的神圣形象。它让我们感受到了明代画家李遹对佛教的崇敬之情，也让我们感受到了明代文化的魅力。\n\n在这幅画作中，李遹运用了丰富的色彩和细腻的线条，将罗汉的神圣形象展现得淋漓尽致。他还用精美的画法描绘了罗汉周围的景色，让人感受到了自然与神的和谐统一。\n\n罗汉图是明代文化中的经典之作，也是李遹的代表作之一。它不仅展现了李遹的艺术才华，也是一幅能够唤起人们对佛教的崇敬之情的画作。",[23,24,7,187,188,128,96,772,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120eeb39e103b48205756344a5362f0a.jpg","56.6x32.6",[44],{"id":6579,"slug":6580,"title":1230,"dynasty":18,"author":1622,"museum":2068,"description":6581,"tags":6582,"thumbUrl":6583,"material":6584,"size":6585,"collection":42,"collections":6586,"showCount":6587,"zanCount":48,"manualWeight":48,"mainColor":49},221521,"shan-shui-tu-ma-yuan-221521","马远擅长山水画，继承和发展了北派山水的画风，能自出新意，下笔遒劲严整，设色清润；用大斧劈皴描画方硬奇峭的山石；树木用笔简要多姿，树叶有夹笔，树干用焦墨，多横斜曲折之态；楼阁大都运用界尺，而加衬染；点景人物自然生动，用不同的线描表现不同条件下的各种水势，对自然观察详细，写实能力高超。\n他的画被当时评价为：“边角之景”，“峭峰直上而不见其顶，或绝壁直下而不见其脚，或近山参天而远山则低，或孤舟泛月而一人独坐”；人称“马一角”，后人也有认为这是南宋偏安的写照。他是南宋时期最重要的画家之一；他的画受到当时皇室的青睐，多有当时宋宁宗杨皇后的题字；与夏圭并称“马夏”、又谓“马一角、夏半边”。马远与李唐、刘松年、夏圭合称为“南宋四家”。",[23,24,7,128,27,132,29,663,228,331,130,1645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e4962268301cf0bc93362fcc04d9949.jpg","绢本墨画淡彩","28.2×38.3cm",[42,136,117],208,{"id":6589,"slug":6590,"title":6591,"dynasty":182,"author":6123,"museum":244,"description":6592,"tags":6593,"thumbUrl":6594,"material":173,"size":6595,"collection":136,"collections":6596,"showCount":6587,"zanCount":1998,"manualWeight":48,"mainColor":49},214748,"qu-jiang-tu-li-zhao-dao-214748","曲江图","李昭道（675年－758年），字希俊，陇西成纪 （今甘肃省秦安县）人。唐朝宗室、画家，唐太祖李虎六世孙，彭国公李思训之子。\n门荫入仕，起家太原府仓曹，迁集贤院直学士，官至太子中舍人。乾元元年，去世，时年八十四岁。\n擅长青绿山水，世称小李将军。兼善鸟兽、楼台、人物，并创海景。画风巧赡精致，虽“豆人寸马”，也画得须眉毕现。由于画面繁复，线条纤细，论者亦有“笔力不及思训”之评。",[164,24,7,25,26,27,28,95,29,97,96,99,1743,34,1515,36,4278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682e2f680d06328c7f09e4666d6122a5.jpg","171.2x111.3",[136],{"id":6598,"slug":6599,"title":6600,"dynasty":18,"author":1323,"museum":300,"description":6601,"tags":6602,"thumbUrl":6604,"material":40,"size":921,"collection":42,"collections":6605,"showCount":6606,"zanCount":1086,"manualWeight":48,"mainColor":49},221586,"guo-qin-tu-ye-li-song-221586","果禽图页","李安忠，南宋画家。钱塘(今浙江杭州)人，生卒年不详。宋徽宗宣和(1119-1125)时为画院祗候，历官成忠郎。南渡后绍兴(1131-1162)间复职画院，赐金带。子公茂，世其家学，然不逮父。\n工画花鸟、走兽，尤长于“捉勒”(鹰鹘之类)，《画继补遗》谓其“工画捉勒，得其 鸷攫及畏避之状”。亦间作山水。马臻题其《雪岸寒鸦图》诗云：“北风万里吹石裂，古树槎桠摧朽铁，群乌哑哑如苦饥，倦飞还向空林歇。孤村荒寒得食远，日暮沙边啄残雪，回情诉意各有态，羡杀画师心更切。我尝记得天随诗，至今读之心激越，妇女衣襟便佞态，始得金笼日提挈。老乌，老乌，尔身毛羽黑离离，况复人间厌尔啼，何不飞鸣丈人屋，丈人屋头春柳绿。”",[23,24,7,28,27,61,6603,624],"桃子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5d0bec16d60826eb99359fe54491c93.jpg",[42,68,45],207,{"id":6608,"slug":6609,"title":6610,"dynasty":144,"author":569,"museum":244,"description":6611,"tags":6612,"thumbUrl":6613,"material":611,"size":6614,"collection":318,"collections":6615,"showCount":6606,"zanCount":1116,"manualWeight":48,"mainColor":72},220835,"qian-hou-chi-bi-fu-he-juan-zhao-meng-fu-220835","前后赤壁赋合卷","《前后赤壁赋》又称《赤壁二赋帖》，是元代书法家 于元大德五年创作的行书书法作品。\n此帖是应友人之约而书，为纸本册页，全帖共书八十一行，其中《赤壁赋》四十六行、《后赤壁赋》三十二行，署款三行，并有 像于帖首。\n在此二赋中，原文作者苏轼凭吊古迹，抒发了对江山风物的热爱与旷达的心胸，但是也有对人生虚无的消极思想。\n《前后赤壁赋》中前后二赋为赵孟頫同时所书，风格却略有不同，但该帖总体上分行布白疏朗从容，用笔圆润遒劲，宛转流美，风骨内含，神彩飘逸，尽得魏晋风流遗韵。\n《前后赤壁赋》为广大行书书法爱好者所推崇，是当代热门法帖，被誉为中华十大传世名帖之一。\n《前后赤壁赋》起笔以一拓直下为主，收笔善留。几乎所有笔画起笔都是承接上笔的一拓直下或者露锋入纸，很少藏锋。如《后赤壁赋》第一行的“岁”字，其“山”字头三个竖画起笔都是露锋入纸，下部撤画与横画为一拓直下；“十”字横画起笔也是典型的一拓直下，或者叫做“欲横先竖”。收笔处多意到即止，常用回锋或者短小的出锋。如刚才提到的“十”字，其竖画就是用笔锋轻轻上提收笔；而类似《后赤壁赋》中“少”、“降”字末笔的出锋形态者则比较少见，多数露锋收笔都是如“脱”、“叶”等字那样缩短笔画长度。\n同时，此作品提按丰富，笔锋弹性表现充分。书法笔法不外乎用锋和运笔，这件作品在笔锋的运用上很有特点。首先是用锋。从点画的轻重变化上看，其毛笔锋尖弹性极好，如《赤壁赋》第二行“下”、“清”、“来”、“水”四字笔画轻处如游丝，而于”、“赤”、“风”、“徐”等字则较重，提按对比比较明显。其次为运笔。与张旭、怀素的草书相比，赵孟頫作品运笔速度与节奏的变化显得不是十分突出，但是，如果与颜柳的楷书相比，其变化还是比较明显的。如《赤壁赋》第六行中“水光”、“所如凌”等字运笔速度快，而“接”字以下五字速度较慢，节奏变化小。与此相类似，几乎五六字形成一个段落，往往前两三字运笔速度慢，后两三字运笔速度加快，一段段循环往复，从而形成整幅作品运笔上的变化。\n释文:壬戌之秋，七月既望，苏子与客泛舟游于赤壁之下。清风徐来，水波不兴。举酒属客，诵明月之诗，歌窈窕之章。少焉，月出于东山之上，徘徊于斗牛之间。白露横江，水光接天。纵一苇之所如，凌万顷之茫然。浩浩乎如冯虚御风，而不知其所止；飘飘乎如遗世独立，羽化而登仙。\n于是饮酒乐甚，扣舷而歌之。歌曰：“桂棹兮兰桨，击空明兮溯流光。渺渺兮予怀，望美人兮天一方。”客有吹洞箫者，倚歌而和之。其声呜呜然，如怨如慕，如泣如诉，余音袅袅，不绝如缕。舞幽壑之潜蛟，泣孤舟之嫠妇。\n苏子愀然，正襟危坐而问客曰：“何为其然也？”客曰：“月明星稀，乌鹊南飞，此非曹孟德之诗乎？西望夏口，东望武昌，山川相缪，郁乎苍苍，此非孟德之困于周郎者乎？方其破荆州，下江陵，顺流而东也，舳舻千里，旌旗蔽空，酾酒临江，横槊赋诗，固一世之雄也，而今安在哉？况吾与子渔樵于江渚之上，侣鱼虾而友麋鹿，驾一叶之扁舟，举匏樽以相属。寄蜉蝣于天地，渺沧海之一粟。哀吾生之须臾，羡长江之无穷。挟飞仙以遨游，抱明月而长终。知不可乎骤得，托遗响于悲风。”\n苏子曰：“客亦知夫水与月乎？逝者如斯，而未尝往也；盈虚者如彼，而卒莫消长也。盖将自其变者而观之，则天地曾不能以一瞬；自其不变者而观之，则物与我皆无尽也，而又何羡乎!且夫天地之间，物各有主,苟非吾之所有，虽一毫而莫取。惟江上之清风，与山间之明月，耳得之而为声，目遇之而成色，取之无禁，用之不竭，是造物者之无尽藏也，而吾与子之所共适。”\n客喜而笑，洗盏更酌。肴核既尽，杯盘狼籍。相与枕藉乎舟中，不知东方之既白。\n后赤壁赋:是岁十月之望，步自雪堂，将归于临皋。二客从予过黄泥之坂。霜露既降，木叶尽脱，人影在地，仰见明月，顾而乐之，行歌相答。已而叹曰：“有客无酒，有酒无肴，月白风清，如此良夜何！”客曰：“今者薄暮，举网得鱼，巨口细鳞，状如松江之鲈。顾安所得酒乎？”归而谋诸妇。妇曰：“我有斗酒，藏之久矣，以待子不时之需。”于是携酒与鱼，复游于赤壁之下。江流有声，断岸千尺；山高月小，水落石出。曾日月之几何，而江山不可复识矣。予乃摄衣而上，履谗岩，披蒙茸，踞虎豹，登虬龙，攀栖鹘之危巢，俯冯夷之幽宫。盖二客不能从焉。划然长啸，草木震动，山鸣谷应，风起水涌。予亦悄然而悲，肃然而恐，凛乎其不可留也。反而登舟，放乎中流，听其所止而休焉。时夜将半，四顾寂寥。适有孤鹤，横江东来。翅如车轮，玄裳缟衣，戛然长鸣，掠予舟而西也。\n须臾客去，予亦就睡。梦一道士，羽衣蹁跹，过临皋之下，揖予而言曰：“赤壁之游乐乎？”问其姓名，俯而不答。“呜呼！噫嘻！我知之矣。畴昔之夜，飞鸣而过我者，非子也邪？”道士顾笑，予亦惊寤。开户视之，不见其处。",[23,164,24,7,25,133,188,128,27,96,29,129,99,231,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d97a6be3b2a91e08cf6524bf2f30626.jpg","40x196厘米",[318],{"id":6617,"slug":6618,"title":6619,"dynasty":124,"author":802,"museum":6620,"description":6621,"tags":6622,"thumbUrl":6623,"material":173,"size":6624,"collection":44,"collections":6625,"showCount":6606,"zanCount":1998,"manualWeight":48,"mainColor":956},218407,"yin-cha-tu-chen-hong-shou-218407","饮茶图","香港艺术馆","该场景画在一个开放的空间里，用石头、木桌、茶具和荷花装饰。两个高卓人相对而坐，最近的一个已经弹完了古筝，而对面的人则坐在一张大香蕉叶上，一起喝香茶。",[23,24,7,28,27,96,171,168,169,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe38a7bfcb0587783355bda0d2f3e792b.jpg","86x47",[44],{"id":6627,"slug":6628,"title":4229,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":6629,"thumbUrl":6630,"material":692,"size":1293,"collection":84,"collections":6631,"showCount":6632,"zanCount":1998,"manualWeight":48,"mainColor":72},239444,"hua-niao-ce-yun-shou-ping-239444",[24,7,59,27,28,61,211,1771,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19250735f901fd0882f83c6edac72376.jpg",[],206,{"id":6634,"slug":6635,"title":6636,"dynasty":144,"author":569,"museum":20,"description":6637,"tags":6638,"thumbUrl":6641,"material":40,"size":6642,"collection":68,"collections":6643,"showCount":6632,"zanCount":1116,"manualWeight":48,"mainColor":49},220867,"qiu-jiao-yin-ma-tu-juan-zhao-meng-fu-220867","秋郊饮马图卷","赵孟頫擅长人马图，总体追求刻意写实，一笔不苟。具体画风有两类：一是宗唐人韩干之法，马尚丰肥，用色华丽，衬以山水树石背景，人、马、景合为一体；一是仿北宋李公麟之作，笔墨清淡，着力于线条，注重描法与形象、质感的统一，不施色彩，以墨代色加以轻染。人马画中的人物均著唐装，风格既具“复古”的唐画之韵，又带浓郁的文人气息，有一定的创新性。\n此图属仿唐人的工笔设色画法。清秋郊野，一唐装圄官在池畔牧马，红色衣袍在大青绿的草坪映衬下显得尤为夺目，有力地突出了主体人物。所率十匹骏马均骨肉停匀，活跃多姿，它们或奔腾追逐，或徐步缓行，或俯首就饮，或引颈长鸣，意态生动。\n此图在布局上富有特色，以中景露地不露天及右开式构图，把平视、仰视、俯视三种造景方式有机地加以揉合，灵活地处理景物，使画面开阔舒展，疏密有致。画法亦将唐人的青绿重彩法与宋以来的文人笔墨法加以融合，别具新意。如人物线描工细劲健，又类似篆籀用笔，古朴中见隽秀；树石、坡陀行笔凝重，勾、皴、破、染并用，工谨中含清逸；青绿、大红重色中又兼施赭石、水墨，于浓丽中显清雅。总体风格行、利相兼，妙、逸并具，精逸技巧与文人雅韵结合，反映了赵孟頫晚年成熟的人马画面貌。",[23,24,7,25,27,28,133,64,101,96,413,6639,6640,99,208],"秋景","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923838da80859608e45f25b27e081087.jpg","纵23.6厘米，横59厘米",[68,45],{"id":6645,"slug":6646,"title":6647,"dynasty":54,"author":55,"museum":524,"description":1034,"tags":6648,"thumbUrl":6649,"material":173,"size":1041,"collection":84,"collections":6650,"showCount":6632,"zanCount":1086,"manualWeight":48,"mainColor":49},216108,"yun-shou-ping-hua-guo-shu-cai-ce-ye-3-yun-shou-ping-216108","恽寿平花果蔬菜册页-3",[24,7,59,27,60,61,2334,548,549,2037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e662822fd50f45acad8354abff8c0d6.jpg",[],{"id":6652,"slug":6653,"title":6654,"dynasty":124,"author":125,"museum":300,"description":6472,"tags":6655,"thumbUrl":6657,"material":692,"size":1293,"collection":84,"collections":6658,"showCount":6659,"zanCount":1086,"manualWeight":48,"mainColor":199},287521,"lin-mao-wu-tu-juan-shen-zhou-287521","林茅屋图卷",[23,164,24,7,25,128,27,29,711,167,34,131,98,130,133,208,6656],"清逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd357ed146fa7ee50540d33597d420cd.jpg",[],205,{"id":6661,"slug":6662,"title":6663,"dynasty":144,"author":569,"museum":20,"description":6664,"tags":6665,"thumbUrl":6666,"material":2239,"size":6667,"collection":117,"collections":6668,"showCount":6659,"zanCount":1116,"manualWeight":48,"mainColor":49},220869,"zhu-shi-tu-zhou-zhao-meng-fu-220869","竹石图轴","枯木竹石图是历代文人善画的题材,约始于唐代，至北宋文同、苏轼有较大的发展，南宋、金元间继有作者，至赵孟頫加以强调，形成一时风尚，终元一代盛行不衰。\n赵孟頫画枯木竹石，在继承文、苏的基础上，将书法的用笔融于绘画之中，他主张“书画同源”，即以书入画，其驰名古今画坛的名诗句“石如飞白木如籀，写竹还于八法通。”对后世画坛影响巨大，此图即体现了这一理论，用书法的“飞白”写出石及枯树干，章法简洁，笔法苍健洒脱，透出力度。竹以流畅的笔调，以“个”字或“介”字，一笔一笔撇捺，既有力又含蓄，富笔墨情趣，体现了文人画家的风雅韵致。\n从此图署款和绘画风格推断，当是赵孟頫晚年之作。",[23,24,7,165,128,132,167,171,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46e366d2b4e02d71e45a12788491653e.jpg","纵108.2厘米，横48.8厘米",[117,1670],{"id":6670,"slug":6671,"title":6672,"dynasty":124,"author":204,"museum":20,"description":6673,"tags":6674,"thumbUrl":6677,"material":173,"size":6678,"collection":136,"collections":6679,"showCount":6659,"zanCount":975,"manualWeight":48,"mainColor":72},216385,"zhi-gong-tu-juan-chou-ying-216385","职贡图卷","字实父，号十洲，江苏太仓人，寓居苏州。初为漆工，后改学绘画。移居苏州后得识文徵明，并拜周臣为师，主宗南宋“院体”，形成以严谨劲利为主调的艺术风格。中年时画名渐起，经常接受富商和收藏家邀请，至其家中作画。嘉靖十六年（1537年）应昆山鉴藏家周凤来延聘居其家六年。尔后又至嘉兴大收藏家项元汴家作画，长达十余年，其间广泛接触、观摩和临摹古代名迹，技艺大进，尤其在继承唐宋传统的工笔重彩人物和青绿山水方面取得了突出成就。晚年与文徵明父子及其门生交往密切，又吸取了“吴派”文人画之长，使作品增添了清雅的气息，其声誉与沈、文、唐相并埓，有“吴门四家”之称。",[23,24,25,7,28,26,27,96,29,34,6675,6676,64,133],"车马","职贡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F147faf5fa860f47d5379f373a9bfd3bd.jpg","29.5*580.3",[136,44],{"id":6681,"slug":6682,"title":6683,"dynasty":18,"author":1091,"museum":300,"description":6684,"tags":6685,"thumbUrl":6686,"material":84,"size":84,"collection":84,"collections":6687,"showCount":6688,"zanCount":1998,"manualWeight":48,"mainColor":49},227548,"su-mi-he-bi-juan-su-shi-227548","苏米合壁卷","宋四家是中国北宋时期四位书法家苏轼、黄庭坚、米芾和蔡襄的合称。这四个人大致可以代表宋代的书法风格，而且成就最高，故称“宋四家”。\n\n明清以来，有一些人认为宋四家中的“蔡”原本应该是蔡京，后人不齿其为人，所以把蔡京换为蔡襄，并认为蔡襄的艺术成就在蔡京之上。",[23,164,24,7,25,133,128,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29cc290566e8c44a8299b10e7320bf6.jpg",[],204,{"id":6690,"slug":6691,"title":6692,"dynasty":124,"author":3373,"museum":20,"description":6693,"tags":6694,"thumbUrl":6695,"material":151,"size":6696,"collection":68,"collections":6697,"showCount":6688,"zanCount":1998,"manualWeight":48,"mainColor":49},222048,"mei-gu-hua-hui-tiao-fu-wang-zhong-222048","没骨花卉条幅","绘花鸟虫石一幅，湖石立于地面，棱角尖锐，内部多孔，其四周有月季、金银花穿插之中，花儿娇艳，虫蝶生动活泼。汪中，字容甫，清朝时期著名的哲学家、文学家、史学家，与阮元、焦循同为“扬州学派” 的杰出代表。",[23,24,7,165,60,27,61,171,62,481,608,548,624,1039],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a80d2f3763b05356d5be7d88d57866d.jpg","54.4x113.9",[68,45],{"id":6699,"slug":6700,"title":6701,"dynasty":18,"author":397,"museum":56,"description":6702,"tags":6703,"thumbUrl":6705,"material":611,"size":6706,"collection":42,"collections":6707,"showCount":6688,"zanCount":48,"manualWeight":48,"mainColor":49},221334,"liu-ya-lu-yan-tu-zhao-ji-221334","柳鸦芦雁图","此图共分为二段，前段画柳鸦，后段画芦雁。鸦的头顶和腹部施以白粉，鸦身敷浓墨，黝黑如漆。柳树的斑驳老干，富有质感。柳鸦的墨彩很酣，笔势很壮，显示出赵佶用墨的特色。后段四只芦雁在芦草蓼花边栖息，以浅赭设色，增强了秋天萧疏的气氛。\n画卷的右半部分，高大的柳树枝上停着三只鸟鸦，其中两只背靠偎依，静观自得，另有一只向下俯视而鸣，似在呼唤躲藏于树根部的一只乌鸦。\n画卷的左半部分，一道清澈的水滩上，芦竹高耸，蓼花低垂，两雁傍水而饮，一雁趋前，作欲饮之状，另有一雁，好像已经饮完水，正啮咬湖中的摹花茎，姿态各不一致，形象生动有趣。\n图上钤有“宣和中秘”和“紫宸殿御书宝”两印。图后的赵佶落款，系后人勾填，右上角“紫宸殿御书宝”及“御书”葫芦印亦是后人描画的。卷后有南宋荣传辰、邓谏从题跋。另有邓易从、范逾跋，系后人伪作。卷首有清高宗弘历题“神韵天然”引首，并有弘历题诗。清梁清标题签。",[23,164,24,7,25,28,27,4363,2940,1824,6704,276,211,208],"大雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc8c5e72610db5404dd3907fbf5fc8a.jpg","纵34厘米，横223.2厘米",[42,68,45],{"id":6709,"slug":6710,"title":1609,"dynasty":351,"author":1610,"museum":20,"description":1611,"tags":6711,"thumbUrl":6713,"material":151,"size":1616,"collection":136,"collections":6714,"showCount":6688,"zanCount":1116,"manualWeight":48,"mainColor":72},221155,"xiao-xiang-tu-dong-yuan-221155",[23,24,25,7,1349,128,27,132,29,1614,6712,3650,96,37,2984],"苇渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70becfd35b6cdfbc2d291fa6d7b037e1.jpg",[136,117],{"id":6716,"slug":6717,"title":6718,"dynasty":54,"author":872,"museum":300,"description":6719,"tags":6720,"thumbUrl":6721,"material":692,"size":1293,"collection":84,"collections":6722,"showCount":6723,"zanCount":48,"manualWeight":48,"mainColor":72},240255,"ba-da-shan-ren-xi-yuan-ya-ji-tu-ji-juan-zhu-da-240255","八大山人西园雅集图记卷","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[23,24,7,25,64,133,128,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d8f9f166a40fcf4ec139f19c82aed61.jpg",[],203,{"id":6725,"slug":6726,"title":6727,"dynasty":124,"author":223,"museum":300,"description":6728,"tags":6729,"thumbUrl":6730,"material":84,"size":84,"collection":84,"collections":6731,"showCount":6723,"zanCount":1086,"manualWeight":48,"mainColor":72},235322,"shen-zhou-xi-shan-wan-zhao-tu-zhou-yi-ming-235322","沈周溪山晚照图轴","此作用高远章法铺陈，上部危崖耸峙，飞泉自谷间垂落，苍劲皴笔勾勒出嶙峋厚重的山石肌理。下部溪岸错落，疏林亭亭，茅舍隐于陂岸之后，淡墨晕染出薄暮空濛之境。\n\n笔墨带着吴门画派的文人情致，枯湿浓淡相宜，简淡中见苍润。诗画合璧，将山居暮色里的幽寂禅意娓娓道来，林泉高致的雅兴融于尺幅，静穆空远，尽显晚照溪山的澹然逸趣。",[24,7,165,128,29,99,495,34,131,3344,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bbddeb071a1e562b0706ec6e36e9088.jpg",[],{"id":6733,"slug":6734,"title":6735,"dynasty":1780,"author":223,"museum":6736,"description":6737,"tags":6738,"thumbUrl":6739,"material":278,"size":84,"collection":117,"collections":6740,"showCount":6723,"zanCount":48,"manualWeight":48,"mainColor":49},218498,"fu-hu-luo-han-tu-yi-ming-218498","伏虎罗汉图","纳尔逊·阿特金森艺术博物馆","松枝苍劲如铁，虬干盘曲间洒落清寂。罗汉衣袂简淡，手持念珠，眉目舒展，静定之气溢于笔端。猛虎伏身于侧，斑纹墨线勾勒得古朴生动，却无往日凶戾，似被禅意悄然驯服，尾梢轻卷，与罗汉相望成趣。画面以淡墨晕染，线条洗练，每一笔皆藏古雅之韵。禅者的澄明与猛兽的温顺在此交融，于简素构图中铺展一方物我相忘的天地，仿佛能闻松风低语，见禅心照彻，尽显传统水墨中“以静制动”的妙趣与哲思。",[24,7,128,188,187,96,5490,949,331,131,454,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6874aa5c9ffd1e8999c79d811f94fa79.jpg",[117],{"id":6742,"slug":6743,"title":6744,"dynasty":54,"author":872,"museum":77,"description":873,"tags":6745,"thumbUrl":6746,"material":278,"size":877,"collection":84,"collections":6747,"showCount":6723,"zanCount":1998,"manualWeight":48,"mainColor":72},216912,"hua-niao-si-tiao-ping-2-zhu-da-216912","花鸟四条屏-2",[23,24,7,165,128,369,355,171,1337,276,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d3572510108b8dddf5ab932d0d7dd6d.jpg",[],{"id":6749,"slug":6750,"title":6751,"dynasty":54,"author":4468,"museum":20,"description":6752,"tags":6753,"thumbUrl":6754,"material":173,"size":6755,"collection":68,"collections":6756,"showCount":6723,"zanCount":1116,"manualWeight":48,"mainColor":72},216752,"wan-ji-shuang-lang-shi-ning-216752","万吉骦","乾隆八年（1743年，癸亥），郎世宁绘制《十骏图》轴，万吉骦被称赞为十骏之首。画上文字记载：“喀尔喀郡王多尔济札尔进，高四尺二寸、长七尺一寸五分。乾隆癸亥孟春，海西臣郎世宁恭画”\n载于《石渠宝笈初编》，收贮于御书房，由郎世宁一人所画，十幅十马分别命名为奔霄骢、赤花鹰、雪点雕、霹雳骧、薾云驶、万吉骦、阚虎骝、狮子玉、自在驈、英骥子。",[23,164,24,7,28,27,101,949,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d71c71a91f3ec9d93f4380b8fbbde8b.jpg","纵239厘米，横269厘米",[68],{"id":6758,"slug":6759,"title":6760,"dynasty":124,"author":6761,"museum":300,"description":6762,"tags":6763,"thumbUrl":6764,"material":84,"size":84,"collection":84,"collections":6765,"showCount":6766,"zanCount":1086,"manualWeight":48,"mainColor":49},228390,"kong-que-mu-dan-tu-yin-hong-228390","孔雀牡丹图","殷宏","垂柳柔条轻曳，桃枝缀满繁花，引百鸟穿梭啼鸣。孔雀身披彩翎，羽斑环环相扣明丽夺目，信步于湖石之侧，气度雍容不凡。牡丹或素洁似雪，或秾艳若霞，与苍古湖石、翠色草木交织成趣，仙鹤亭亭而立更添清贵。\n整幅画笔致工细，设色妍雅柔和，将春日园林的富贵生机铺陈眼前，把翎毛花卉的灵动雅致糅合无间，尽显吉祥富丽的美好意涵，是极具代表性的工笔花鸟佳作。",[23,164,24,7,805,27,28,61,248,263,34,895,131,1039,1400,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe1384e37440b3476c7844a32e3504f3.jpg",[],202,{"id":6768,"slug":6769,"title":76,"dynasty":54,"author":55,"museum":300,"description":893,"tags":6770,"thumbUrl":6771,"material":84,"size":897,"collection":84,"collections":6772,"showCount":6773,"zanCount":1116,"manualWeight":48,"mainColor":72},233900,"hua-hui-ce-yun-shou-ping-233900",[24,7,164,59,60,27,547,624,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0a7750d865b52861787be6b9bef938.jpg",[],201,{"id":6775,"slug":6776,"title":6777,"dynasty":54,"author":6778,"museum":56,"description":6779,"tags":6780,"thumbUrl":6781,"material":611,"size":84,"collection":68,"collections":6782,"showCount":6773,"zanCount":48,"manualWeight":48,"mainColor":72},233182,"hua-hui-ce-ju-hua-hai-tang-ye-zhao-zhi-qian-233182","花卉册-菊花海棠页","赵之谦","赵之谦（1829-1884），字益甫、孺卿，又号瀚寮，初字冷君，中年更号悲盦，晚号无闷，浙江会稽（今绍兴）人。早年曾游按察使缪梓幕，咸丰九年（1859）举人，同治元年（1862）入京，四年（1866）会试，之后历官鄱阳、奉新、南城知县。家藏秘册甚富，以篆刻名世，为晚清印坛代表人物。同时擅书、工花卉。此册画十二开，各绘牡丹、萱草、芙蓉、桃花、梅竹、杂卉等，造型新颖，设色鲜亮。",[24,7,59,27,128,369,61,376,1132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5edbc8bd73f1dd91029ea9127ec59094.jpg",[68,45],{"id":6784,"slug":6785,"title":6786,"dynasty":351,"author":6787,"museum":244,"description":6788,"tags":6789,"thumbUrl":6793,"material":253,"size":6794,"collection":84,"collections":6795,"showCount":6773,"zanCount":1116,"manualWeight":48,"mainColor":49},226701,"ceng-yan-cong-shu-tu-ju-ran-226701","层岩丛树图","巨然","此图描绘了江南雨后山林烟岚浮动的自然景象，画中峰峦耸峙，丛林茂密，山路深曲，充满清新潮湿的气息。作者用独特的画法表现出一种秀逸、静寂、朦胧的美，是一幅具有代表性的山水画作。",[23,164,24,7,165,128,132,29,6790,2621,131,34,496,6791,4438,6792],"层岩","叠嶂","岩峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce4699ce8ccb516e2fed794a4a198591.jpg","纵144.1厘米，横55.4厘米",[],{"id":6797,"slug":6798,"title":6799,"dynasty":18,"author":2099,"museum":450,"description":6800,"tags":6801,"thumbUrl":6802,"material":278,"size":6803,"collection":44,"collections":6804,"showCount":6773,"zanCount":1116,"manualWeight":48,"mainColor":72},218627,"hua-yan-jing-bian-tu-li-gong-lin-218627","华严经变图","华严的意思是：华 是比喻达到一切功德圆满的果位，所以，佛陀时代的深层意义的果位被 严 所装饰，那么就叫佛陀华严。经 是可以解释的教学。华严经》是佛陀成佛后第二天在菩提树下由文殊菩萨、普贤菩萨和其他高级菩萨宣讲的佛陀内在真理的教义。按照《华严经》画的七八或七九会，被称为华严变奏曲，是这幅画的主题。",[23,164,24,7,25,187,188,96,772,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0192474c5d3ca959fdaab930f638a005.jpg","34.6x1244",[44],{"id":6806,"slug":6807,"title":2926,"dynasty":18,"author":633,"museum":300,"description":6808,"tags":6809,"thumbUrl":6811,"material":173,"size":6812,"collection":136,"collections":6813,"showCount":6773,"zanCount":1116,"manualWeight":48,"mainColor":49},218591,"yu-fu-tu-xia-gui-218591","苍劲古木虬枝横斜，墨色浓淡间晕染出岁月纹理。近岸水波轻漾，似有渔舟隐于荫下；远处山峦以淡墨点染，云雾缭绕中透着空濛。简括笔触删繁就简，将渔父隐逸之趣藏于边角留白——晚风拂过林梢，渔歌是否在烟霭里隐约？整幅画以“一角半边”之构，融自然清旷与文人幽思，水墨淋漓间尽是南宋山水的空灵悠远，引观者沉湎于那份与世无争的恬淡。",[164,24,7,165,128,27,132,29,413,129,6810,415,1351],"岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff03e35c72c989c0d7a10d5ee03dfc9.jpg","74.5x46",[136],{"id":6815,"slug":6816,"title":6817,"dynasty":18,"author":449,"museum":1941,"description":6818,"tags":6819,"thumbUrl":6820,"material":278,"size":6821,"collection":136,"collections":6822,"showCount":6773,"zanCount":1998,"manualWeight":48,"mainColor":72},218565,"yun-shan-yan-shu-tu-mi-fei-218565","云山烟树图","画中的山峰高耸入云，层峦叠嶂，岸边停靠着一艘船，堤坡上生长着几棵树，墨色浓郁；左边可以看到两座小屋，可以看到一个学者在窗边认真读书或写字。这幅画是米氏山水画的特点，但应归于明代。",[24,7,164,165,128,29,132,663,950,413,130,129,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6782374152ab7d32375f6c3507c0a5f3.jpg","103.4x37.6cm",[136],{"id":6824,"slug":6825,"title":6826,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":6827,"thumbUrl":6828,"material":692,"size":1293,"collection":84,"collections":6829,"showCount":6830,"zanCount":1116,"manualWeight":48,"mainColor":72},287968,"shan-shui-li-zhou-shi-tao-287968","山水立轴",[24,164,7,165,128,29,171,1144,130,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff04d5c206c3321255a29bfe472c9932e.jpg",[],200,{"id":6832,"slug":6833,"title":6834,"dynasty":182,"author":183,"museum":184,"description":185,"tags":6835,"thumbUrl":6836,"material":194,"size":195,"collection":84,"collections":6837,"showCount":6830,"zanCount":1086,"manualWeight":48,"mainColor":72},223368,"ba-shi-qi-shen-xian-juan-hua-xin-wu-dao-zi-223368","八十七神仙卷画芯",[23,24,164,7,25,188,187,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36123b58a75f5a7d01e9b779c4e2af7b.jpg",[],{"id":6839,"slug":6840,"title":6841,"dynasty":124,"author":125,"museum":524,"description":6842,"tags":6843,"thumbUrl":6845,"material":151,"size":6846,"collection":136,"collections":6847,"showCount":6830,"zanCount":1086,"manualWeight":48,"mainColor":49},222134,"qing-shan-hong-shu-tu-shen-zhou-222134","青山红树图","图绘秋天山林间红绿相映的醉人美景，用笔细致，多淡墨勾勒，赋色明艳。远山、坡石用披麻皴表现山峦的青翠秀逸，近景是被秋风染红的树木，摇曳生姿；一长者持杖伫立在溪岸旁饱览山色。题识：“千树秋风万叶飞，林蹊苔径步斜晖。履声历落啄歌去，犹有余红点着衣。沈周。”",[23,24,7,165,27,132,29,96,413,6844,2524,98,99,497],"青山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc471de5e3d6ba0b185a8a4cb7513ddee.jpg","65x147.2cm",[136,45],{"id":6849,"slug":6850,"title":6851,"dynasty":980,"author":5076,"museum":6852,"description":6853,"tags":6854,"thumbUrl":6857,"material":6858,"size":84,"collection":84,"collections":6859,"showCount":6860,"zanCount":48,"manualWeight":48,"mainColor":72},220585,"hu-lu-he-san-zhi-kun-chong-qi-bai-shi-220585","葫芦和三只昆虫","Oscar Niemeyer Museum","明黄葫芦以没骨法晕染，色块鲜亮通透，留白巧显葫身莹润质感。焦墨藤蔓如虬龙游走，狂放苍劲，墨叶大笔泼写，浑朴厚重，大写意的疏朗随性扑面而来。\n\n三只草虫用工笔细绘，蝶翅纹路纤毫毕现，蝈蝈、蚱蜢肢体灵动鲜活，工细与写意形成强烈对冲，将乡野秋意揉入画面。枯湿浓淡的墨色层次分明，老辣笔触带着稚拙生机，把篱边闲趣晕染得鲜活动人，俗世清欢藏在笔墨之间，尽显东方水墨的悠然意韵。",[24,7,165,128,27,61,6855,548,481,6856,208],"葫芦","蟋蟀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61c47104068ce7e480840a2e1fddebeb.jpg","Watercolor on paper",[],199,{"id":6862,"slug":6863,"title":6864,"dynasty":124,"author":1058,"museum":1941,"description":6865,"tags":6866,"thumbUrl":6867,"material":27,"size":84,"collection":45,"collections":6868,"showCount":6860,"zanCount":1086,"manualWeight":48,"mainColor":49},219250,"chun-shan-you-qi-tu-tang-yin-219250","春山游骑图","层岩叠嶂间，松涛与溪流相和。板桥之上，游骑缓行，衣袂带风；山间茅舍旁，雅士或谈或立，意趣悠然。山石勾勒劲挺，皴染兼具刚柔，尽显嶙峋之态；林木疏密有致，春枝带露，点点新红缀于枝桠，春意盎然。整幅画融自然之秀与人文之雅，藏着明代文人寄情山水的闲逸心怀——山行的清欢，友聚的惬意，都在笔墨间流转，每一处细节都似在诉说春日里与山水相逢的诗意。",[23,24,7,27,132,29,96,101,98,99,131,34,209,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9d535bdc2346ee40e7ff15b0a6f825.jpg",[45],{"id":6870,"slug":6871,"title":6872,"dynasty":54,"author":1069,"museum":424,"description":1070,"tags":6873,"thumbUrl":6876,"material":173,"size":1073,"collection":84,"collections":6877,"showCount":6860,"zanCount":1998,"manualWeight":48,"mainColor":49},214432,"xiu-yuan-tu-3-wang-yun-214432","休园图-3",[23,24,7,28,27,95,130,6874,34,276,211,96,247,1428,758,6875],"回廊","浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f04a94cbad1ffb2d8f40ee56dc85b8.jpg",[],{"id":6879,"slug":6880,"title":6881,"dynasty":144,"author":569,"museum":20,"description":6882,"tags":6883,"thumbUrl":6884,"material":151,"size":6885,"collection":44,"collections":6886,"showCount":6887,"zanCount":1105,"manualWeight":48,"mainColor":956},220856,"yu-ma-tu-juan-zhao-meng-fu-220856","浴马图卷","画上有一湾溪水，清澈透亮，溪水边有梧桐和垂柳，绿色成荫相映成趣，溪水中和岸边还有十四匹骏马，九名马倌。绘画中马的姿态各不相同，每一匹马的神态都非常生动，有的在水中站立，有的在喝水，有的在吃草，有的还在昂首嘶叫，有的卧在地上还在左顾右盼。马倌们牵着马在溪水边，有的人在给马洗澡，有的人在河岸边休息。在画面中，一位马倌洗完马后骑在马背上，等着马喝完水便准备上岸；一人一马，马在回眸主人而人则右手舀水，左手为马擦拭，眼神与马相对，表现爱惜之情，此时的人和马似乎心神交会了；马倌赤着上身坐在水边的岩石上，一只脚穿靴，而另一只脚却光着，悠闲地翘着二郎腿，面带微笑，马匹昂首目视前方，神气十足。\n唐宋绘画严谨的法度意趣建立在文学化境界上，元代以后绘画体现为书法化写意性和对于宣纸、水性的把握上，《浴马图》就体现了这种画风明显的演变过渡痕迹。\n《浴马图》是元武宗的命题之作，赵孟頫不敢大意，除了连日到宫中的养马之处现场观察外，他还细心揣摩元武宗的意图。元武宗是在一场血腥的宫延政变中上台执政的，当上皇帝后他大兴土木、对外用兵，和察合台汗国联手干掉了窝阔台汗国，结果引发了财政危机；他又滥发银钞，引发了严重的通货膨胀，但他却命令赵孟頫要在这幅关于马的画作里，表现出和平盛世的气氛。赵孟頫冥思苦想之后，终于创作出了《浴马图》。此画是赵孟俯中年时的作品。\n水中正在洗马的几个马倌，多是半裸，这在古代绘画中比较少见。人物的衣纹飘逸流动，面孔正侧向背各有特征，人和马之间，充满了一种友爱的感情。\n背景的笔法古朴遒劲，树干坡石，被法洗练而结实，无论是清澈透明的溪水，还是婆要多姿的水草，双钩填绿的梧桐、柳树及其他夹叶树，画法皆有特色。\n此画的特点之一，在画中有阳光感，与清澈的河水和岸边梧桐垂柳荫形成鲜明的冷热对照。这种表现手法在赵氏的其他作品中很少见。在技法方面，此画用工笔重彩，刻意学唐人，画法精工细致，这种工细紧密的线描似唐人手笔。人物造型趋肥胖，个个面如傅粉，华滋润泽，马体肥硕，追踪唐马造型。同时此画作者将书法用笔落于绘画之中，如人马线描工细劲健，犹如篆籀，古朴严谨中而蕴隽秀。\n《浴马图》场面宏大，共画马倌九人，骏马十四匹。马的造型准确，各种姿态跃然纸上，形态肤色各不相同；人物形象俊美，年龄、相貌、动作皆富于个性。\n骏马体格雄健，神态各异，或低头饮水，或引颈嘶鸣，或昂首顾盼，或卧在岸边，或在低首吃草等，意态生动。马倌有老少之别，穿着各种不同颜色服装，或立在水中为马洗刷，或牵马临溪，或跨马下水，或驱马上岸，或骑马上张望，或在岸边小憩等动态多样。河边绿茵如席，梧桐垂柳，婀娜多姿，环境清爽怡人。图中所有的形象有动有静，疏密有致，既不相扰，又互为照应，其人和马的动作互相呼应，生动有致，既突出了主题，又给观者以回味的余地。\n此图为工笔着色画。故马有黑、白、红、黄、灰、花斑诸色。画树、坡岸行笔凝重，勾、皴、染并用，苍逸中含清润，其背景用青绿敷染。人物鞍马分别施不同色彩，设色浓润，风格清新秀丽。",[23,24,7,25,27,28,101,96,413,99,102,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc608c918408f5c92a9bf9ef5f91842ca.jpg","纵28.5cm,横154cm",[44,45],198,{"id":6889,"slug":6890,"title":6891,"dynasty":124,"author":2268,"museum":6892,"description":6893,"tags":6894,"thumbUrl":6895,"material":59,"size":6896,"collection":136,"collections":6897,"showCount":6887,"zanCount":48,"manualWeight":48,"mainColor":84},220755,"fang-ge-jia-shan-shui-tu-ce-dong-qi-chang-220755","仿各家山水图册","香港中文大学文物馆","此作用笔松秀虚灵，以淡墨勾勒山峦，披麻皴浅敷石面，远岫连绵错落，间以茂林点缀，烟气空濛间漾出幽远静谧。\n\n近岸古木虬曲，枝干舒展如篆籀笔法，木叶疏密得宜，衬出院舍茅庐隐于林间，板桥卧波轻接水岸，野趣悠然。全画以简驭繁，笔墨间带着萧散简远的韵致，淡墨轻岚间尽显平淡天真的文人意趣，简淡中藏雄浑气韵，尽显文人山水的清逸格调。",[23,24,7,59,128,132,330,29,331,98,99,131,35,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60ce2531c6f731b92b3d70dff3ad849.jpg","30.5 × 23.8厘米",[136],{"id":6899,"slug":6900,"title":6901,"dynasty":54,"author":3403,"museum":20,"description":6902,"tags":6903,"thumbUrl":6904,"material":1027,"size":84,"collection":68,"collections":6905,"showCount":6906,"zanCount":1116,"manualWeight":48,"mainColor":72},237157,"lan-hua-zhou-wu-chang-shuo-237157","兰花轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。”吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,7,165,128,605,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6b4b3f9192dc4eaf607bfc0f395f74.jpg",[68],197,{"id":6908,"slug":6909,"title":6910,"dynasty":18,"author":1323,"museum":244,"description":6911,"tags":6912,"thumbUrl":6913,"material":173,"size":6914,"collection":42,"collections":6915,"showCount":6906,"zanCount":1116,"manualWeight":48,"mainColor":49},220440,"xian-chou-zeng-qing-tu-li-song-220440","仙筹增庆图","这幅画描绘了神山海屋之中列仙相对而坐，童子搬筒筹开算，白鹤翔舞于祥云之上的情景。\n李嵩（1166-1243），宋钱塘（今杭州）人。出身贫寒，年少时曾以木工为业。好绘画，颇远绳墨。被宫廷画家李从训收为养子，承授画技，终成一代名家。宋光宗、宋宁宗、宋理宗三朝（1190―1264）画院待诏，时人尊之为“三朝老画师”。工画人物道释，得从训遗意，尤长于界画。人物画用笔细致，神采奕奕；花鸟画精丽严谨，不觉繁缛呆滞；山水画以意匠经营，情留象外，引人入胜；界画不用界尺，而宫苑楼阁规矩绳墨皆备，不同凡响。绘画题材丰富多彩，从宫廷到民间、从城市到农村、从生产到生活、从吃喝到娱乐、从仙山到龙宫、从历史到现实均在画中有所反映，以反映农村风土和农民生活的居多，所作有精工鲜丽之院体画，作品甚丰，仅著录者就达50多幅。",[23,24,7,165,27,95,28,96,97,98,211,29,34,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe070c143a0f3072716b654c698e92135.jpg","175.9×102.7cm",[42,44,45],{"id":6917,"slug":6918,"title":5172,"dynasty":54,"author":3403,"museum":20,"description":6902,"tags":6919,"thumbUrl":6920,"material":1027,"size":84,"collection":68,"collections":6921,"showCount":6922,"zanCount":1998,"manualWeight":48,"mainColor":72},237158,"mei-hua-zhou-wu-chang-shuo-237158",[24,7,165,128,133,208,64,650,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F080ddc2ba3abfecbf7d18533654b3d87.jpg",[68],196,{"id":6924,"slug":6925,"title":6926,"dynasty":18,"author":768,"museum":224,"description":6927,"tags":6928,"thumbUrl":6929,"material":278,"size":6930,"collection":68,"collections":6931,"showCount":6922,"zanCount":1105,"manualWeight":48,"mainColor":49},218750,"yun-xing-yu-shi-tu-chen-rong-218750","云行雨施图","这幅无名画据说是宋代著名龙画家陈容的作品，与波士顿博物馆的标准九龙图相比，它最接近波士顿博物馆的收藏。两条龙盘踞在岩石间的缝隙中，墨色苍白而古老，笔触滴水不漏。这幅画可以说是陈所翁画派的一个精品。",[23,24,7,25,128,132,772,413,131,950,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa093ef59801c36ccbbb03de72275687d.jpg","40x180cm",[68],{"id":6933,"slug":6934,"title":6935,"dynasty":54,"author":6936,"museum":450,"description":6937,"tags":6938,"thumbUrl":6939,"material":66,"size":6940,"collection":136,"collections":6941,"showCount":6922,"zanCount":1116,"manualWeight":48,"mainColor":72},217882,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217882","仿黄公望山水图","王原祁","王原祁是清朝时期的一位著名画家。他的著名作品之一是《仿黄公望山水图》。这幅画描绘了一片山水风光，栩栩如生，富有情感。\n\n画中还有许多树木，树冠翠绿，繁茂葱茏。这些树木为画面增添了一份自然之美。在远处，还有一座小山村，山村虽小，却热闹非凡。山村中的人们忙碌于农活，虽繁忙，但却感到无比的幸福。\n\n总的来说，《仿黄公望山水图》是一幅优美的山水画，王原祁用笔墨勾勒出了一片美丽的山水风光，让人感受到大自然的魅力。",[23,24,7,29,128,132,330,131,34,499,130,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c4e2c03c42a5d5143baef473d62673f.jpg","132.6x51.2cm",[136],{"id":6943,"slug":6944,"title":6945,"dynasty":54,"author":6946,"museum":244,"description":6947,"tags":6948,"thumbUrl":6949,"material":514,"size":6950,"collection":84,"collections":6951,"showCount":6952,"zanCount":1998,"manualWeight":48,"mainColor":72},232816,"mo-chou-ying-xi-yuan-ya-ji-tu-ding-guan-peng-232816","摹仇英西园雅集图","丁观鹏","丁观鹏在乾隆朝曾绘制大量摹古作品，然其仿制的对象有许多已被证实为明代商业伪作，此即一例。此幅底本目前仍藏台北故宫博物院，全幅以白描画成，由其较为修长瘦弱的造型判断，很接近尤求的白描风格，这类白描作品在苏州片伪古书画作品中常被冠以仇英之名。乾隆皇帝在此底本题诗表示「底须著色求形肖」，也成为此摹作用力之处。丁观鹏摹作在构图上保留原图，然在人物、家具与植物部分施彩，如吴派之淡雅，然更为明亮。亭子屋顶结构、柱子、湖石等，则具有西洋素描般的渐层光影效果，整幅作品可说是明代商业白描风格、吴派风格与外来西洋画法的结合。",[24,7,165,330,27,28,96,130,413,1314,249,2145,1424,1425,208,64,133,247,875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1229909206e7c4c7bdb804c648b9f594.jpg","95.1×43.9cm",[],195,{"id":6954,"slug":6955,"title":6956,"dynasty":54,"author":6957,"museum":300,"description":6958,"tags":6959,"thumbUrl":6960,"material":84,"size":84,"collection":44,"collections":6961,"showCount":6952,"zanCount":48,"manualWeight":48,"mainColor":72},223079,"shui-hu-ren-wu-ren-xun-223079","水浒人物","任薰","任薰(1835-1893)，字 舜琴 ，又字阜长，其父任椿，兄 任熊 都是画家。少丧父，从兄学画，青年时在 宁波 卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、 任预 均从其习画。人物与其兄同师 陈洪绶 ，常用高古游丝、铁线、行云流水、兰叶几种描法。\n任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与 顾文彬 子顾承相友善，曾为设计怡园。 1888年54岁时双目失明，后病卒于苏州。 与任熊、任颐时称"三任"，合任预为"四任"，并为 海上画派 代表画家之一。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽(马、羊等)无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 寻常容貌，带有性格的神态，别出心匠。",[23,164,24,7,165,27,28,96,170,5626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc87cbb4b2700dc7566d2985222762f7.jpg",[44],{"id":6963,"slug":6964,"title":6965,"dynasty":54,"author":4083,"museum":524,"description":4173,"tags":6966,"thumbUrl":6968,"material":66,"size":4176,"collection":45,"collections":6969,"showCount":6952,"zanCount":1998,"manualWeight":48,"mainColor":72},220000,"shan-shui-hua-han-shi-hou-yi-ri-hua-yu-xi-tian-mao-she-wang-shi-min-220000","山水画-寒食后一日画于西田茅舍",[24,7,128,27,132,29,663,1314,34,387,37,1023,6967],"传统山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a4fe667946ab4386529b843dc33e21.jpg",[45],{"id":6971,"slug":6972,"title":1057,"dynasty":54,"author":6973,"museum":244,"description":6974,"tags":6975,"thumbUrl":6976,"material":173,"size":6977,"collection":68,"collections":6978,"showCount":6952,"zanCount":1998,"manualWeight":48,"mainColor":72},219529,"sui-chao-tu-yun-shou-ping-wang-hui-da-chong-guang-yang-jin-219529","恽寿平王翚笪重光杨晋","四人联袂共绘，将岁朝清供融于一帧。松针攒簇挺劲，尽显凌霜坚姿，翠竹疏枝摇曳，清韵自生；山茶柔瓣晕染温润，梅枝横斜疏花缀枝，水仙舒展冰姿玉骨，南天竹丹实累累，点染出新年吉庆。\n\n笔墨兼具没骨设色的雅致柔润与勾勒皴擦的苍劲秀逸，融四家所长，各尽其意却浑然一体。花木俯仰错落，冷暖色调相映，清刚与妍柔相融，暗合岁朝迎新的吉庆意趣，将文人清雅审美与岁时雅俗交融，淡墨轻色间，尽显岁朝清供的隽永意韵。",[164,24,7,165,27,61,372,371,375,374,64,208,4283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F625da687a11dea55340262634b2ab88f.jpg","80.7x50.4公分",[68],{"id":6980,"slug":6981,"title":6982,"dynasty":351,"author":352,"museum":244,"description":6983,"tags":6984,"thumbUrl":6986,"material":173,"size":6987,"collection":45,"collections":6988,"showCount":6952,"zanCount":1116,"manualWeight":48,"mainColor":49},219338,"rong-que-tu-xu-xi-219338","蓉雀图","芙蓉烂漫绽放，墨骨淡彩晕出娇嫩肌理，花瓣层叠间藏着自然野趣。苍劲枝干上，雀鸟或翘首啼鸣，或敛翅小憩，羽翼以细墨勾描，淡彩点染，神态活灵活现。空中飞鸟振翅，地面双雀啄食，动静交织间满是生机。徐熙“落墨法”的韵致尽显——墨线勾勒轮廓，淡彩晕染层次，不刻意求工，却于自然中见真趣。无宫廷富贵气，唯有山野花鸟相依的清逸，仿佛能闻雀鸣花语，触到风过花枝的轻颤，尽显五代花鸟的野逸之美。",[24,7,27,61,373,6985],"雀鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06a8ec8db619167b3ec5865d642cfe66.jpg","75.8×62.2cm",[45],{"id":6990,"slug":6991,"title":6992,"dynasty":54,"author":675,"museum":244,"description":6993,"tags":6994,"thumbUrl":6995,"material":734,"size":6996,"collection":68,"collections":6997,"showCount":6998,"zanCount":48,"manualWeight":48,"mainColor":72},222697,"hua-chun-hua-san-zhong-zhou-qian-wei-cheng-222697","画春花三种轴","钱维城（1720 —1772）于第二次南巡时陪同南下，不但于苏州绘「借山斋」一景，稍早经过家乡常州时，亦为乾隆皇帝绘制当地名胜苏轼「舣舟亭」，颇似御用的随行写生画家。此作描绘苏州虎邱一带的景致，承续「四王」山水风格，并揉合地貌与建筑，呈现出清代宫廷正统派山水画的风貌。乾隆皇帝于虎邱所题诗句「林泉印证真亲切，秀丽从来说虎邱」，显示出他以艺术品「即景印证」的习惯，并不囿于古代名迹，当朝词臣的画作亦可添助游兴。",[23,24,7,164,165,27,28,61,62,263,356,624,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F644cd5f86ffa087cae3a9551bfee9b91.jpg","260x101.4",[68,45],194,{"id":7000,"slug":7001,"title":7002,"dynasty":124,"author":7003,"museum":244,"description":7004,"tags":7005,"thumbUrl":7006,"material":278,"size":7007,"collection":318,"collections":7008,"showCount":6998,"zanCount":1998,"manualWeight":48,"mainColor":72},214552,"za-shu-shi-tie-juan-zhu-yun-ming-214552","杂书诗帖卷","祝允明","此卷书曹植《乐府》诗四首，写草书而不乱，情密势足，激越跃发，荦荦大度，点画狼藉，纵横驰骋，是他晚年狂草作品的高峰。",[23,64,840,25,7,1590,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e9356818737424fb65f189c2dbbb9d6.jpg","36.1x1147.5",[318],{"id":7010,"slug":7011,"title":7012,"dynasty":54,"author":1504,"museum":56,"description":7013,"tags":7014,"thumbUrl":7015,"material":1027,"size":7016,"collection":68,"collections":7017,"showCount":7018,"zanCount":48,"manualWeight":48,"mainColor":72},223290,"san-qing-tu-li-zhou-zheng-ban-qiao-223290","三清图立轴","绘竹、兰、菊三君子，在画家眼里这三种更为清丽，全图皆水墨，竹的笔直修长，兰的清新幽香，菊的严霜开放，尽显君子谦谦之态。画作左侧有画家自题诗一首：兰梅竹菊四名家，但少春风第一花，寄于东君诸子弟，好将文事夺天葩。板桥郑燮。",[23,24,7,165,128,61,167,376,169,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe2339494716d7ccd299644411857aea.jpg","152×39cm",[68,117],193,{"id":7020,"slug":7021,"title":7022,"dynasty":124,"author":204,"museum":1185,"description":7023,"tags":7024,"thumbUrl":7025,"material":151,"size":7026,"collection":136,"collections":7027,"showCount":7018,"zanCount":1116,"manualWeight":48,"mainColor":72},222211,"xun-yang-song-bie-tu-chou-ying-222211","浔阳送别图","该画画面主体部分描绘舟泊江畔的情景，面以青绿山水作为主调，工细的人物穿插其间。山石无皴法，仅以勾着色近用草绿，渐为石绿青，水均作白一鳞纹，虽山勒略为板重，却表现出精装饰之美。\n该画描绘白居易骑着白马到浔阳江边送客，忽闻琵声，主人下马，归舟不发面二舟并列，一舟华丽肃当为白居易送客之行舟一小舟隐约于山石树丛徽露船头，应是商人之妇船。远处是开阔的江面，投射在江心，一片静谧寂画面上群山及远处的村隐没在山岚夜雾间，林木由黄转朱，正是秋天景色。\n卷尾款“实父仇英制”。",[23,24,7,25,26,27,28,133,64,29,129,96,130,99,98,97,34,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F921ac539921535935fc5c4ffdadb5838.jpg","纵33.6厘米，横399.7厘米",[136,45],{"id":7029,"slug":7030,"title":7031,"dynasty":144,"author":7032,"museum":244,"description":7033,"tags":7034,"thumbUrl":7035,"material":637,"size":7036,"collection":136,"collections":7037,"showCount":7018,"zanCount":975,"manualWeight":48,"mainColor":49},221737,"lu-yu-peng-cha-tu-zhao-yuan-221737","陆羽烹茶图","赵原","此画远山绵延起伏，近山巍峨，山水清幽，布局重山复水，水势承“之”字形环绕，营造出百转千回的气势。近处广水，有茅草屋临水而筑，四面草木繁盛，曲径通幽处一条小道延伸出画面，仿佛此处隐秘于山林间。阁内一人，扶膝踞坐于榻上，应为陆羽，一童子拥炉烹茶跽于一侧。作者自题“陆羽烹茶图”，并题诗一首：山中茅屋是谁家，兀坐闲吟到日斜。俗客不来山鸟散，呼童汲水煮新茶。",[23,24,7,25,128,132,29,130,98,99,34,96,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b14feb1420536bbcb35a3eaba1a7c54.jpg","纵：27厘米，横：78厘米",[136,117],{"id":7039,"slug":7040,"title":7041,"dynasty":18,"author":7042,"museum":56,"description":7043,"tags":7044,"thumbUrl":7046,"material":514,"size":7047,"collection":42,"collections":7048,"showCount":7018,"zanCount":48,"manualWeight":48,"mainColor":49},221558,"xi-shan-xing-lv-tu-ye-zhu-rui-221558","溪山行旅图页","朱锐","《溪山行旅图》又名《盘车图》。图中描绘在一座大山脚下的浅滩流水畔，岸边有一条小路蜿蜒伸向山坳。小路的转弯口已有一辆车子在上坡，坡度很陡峭，所以，车轮后一个仆人正在帮助往上推动。水边不远的小路上还有一个刚上岸的行人，头戴毡帽，身穿夹袄，伛偻着身子冒寒赶路。",[23,24,7,4437,128,27,132,29,1233,331,7045,101,96,690,171,499,663],"马车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff647a9e5ead2727a854a195017222b3d.jpg","纵26.2厘米，横27.3 厘米",[42,136,117],{"id":7050,"slug":7051,"title":7052,"dynasty":124,"author":7053,"museum":224,"description":7054,"tags":7055,"thumbUrl":7057,"material":173,"size":84,"collection":44,"collections":7058,"showCount":7018,"zanCount":1998,"manualWeight":48,"mainColor":72},214853,"lan-ting-sheng-jing-tu-qian-gong-214853","兰亭胜景图","钱贡","钱贡（1235年～1314年）是明朝时期的画家，他的作品《兰亭胜景图》被认为是明朝画家中最杰出的作品之一。《兰亭胜景图》是一幅巨幅山水画，画面中描绘了兰亭序中所描述的风景。画中的山水景色优美，山峦起伏，水流潺潺，树木葱茏，景致十分优美。钱贡使用了自然色彩，并运用了很多技巧来表现山水的细节和神韵。此外，他还使用了大量的线条来勾勒出画面中的山峰、岩石和树木，使得画面更加立体。《兰亭胜景图》是钱贡最著名的作品，被认为是明朝画家中最杰出的作品之一。",[23,24,7,25,128,27,28,132,29,96,130,98,99,34,1314,64,7056],"雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efdffc694b35b2a9fe0995728b86130.jpg",[44],{"id":7060,"slug":7061,"title":7062,"dynasty":124,"author":7063,"museum":450,"description":7064,"tags":7065,"thumbUrl":7071,"material":173,"size":7072,"collection":44,"collections":7073,"showCount":7074,"zanCount":975,"manualWeight":48,"mainColor":49},220445,"ming-dai-bei-jing-gong-cheng-tu-zhou-zhu-bang-220445","明代北京宫城图轴","朱邦","图中左立者即明代紫禁城的设计者、苏州人蒯祥（1398～1481年），他出身于木工世家，官至工部左侍郎，时称“蒯鲁班”。幅上有作者自署“丰溪”（于画幅中与蒯祥相对的右侧），此系朱邦的号“丰溪道人”之缩写，下钤“朱邦之印”（朱文）。\n不过这件作品道出了朱邦的一些经历，从画面的布局来看，这是画死者肖像，可知该图绘于蒯祥卒后不久，画中的蒯祥下朝后手执笏板，立于承天门（即清代天安门）金水桥西侧，其身后是午门、奉天门（即清代太和门）、奉天殿（即清代太和殿），其前面是大明门、正阳门，着明朝官服的官员们弓身立在正阳门外，这是通往苏州的必经之门，该是迎蒯祥魂归故里。\n该图的绢质不是内廷之物，不会是为宫里所画，应是为在北京从事苏帮建筑的行会绘制，供行会的伙计们供奉之用。这样的画幅现存的还有三件，分别藏于中国国家博物馆、南京博物院和台北故宫博物院，其构图、风格大体相近，只是大英本中的蒯祥立于画幅的左侧。根据画幅的内容，可以推定朱邦在成化（1465～1487年）末年是在北京谋生。",[23,164,24,7,165,95,27,28,7066,97,906,96,101,7067,758,7068,191,7069,7070,34,36,105],"宫城","驴","城池","官员","侍从","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63d8e9904a7a6b6f9bed22d400ac4d39.jpg","高170厘米，宽110.8厘米",[44,45],192,{"id":7076,"slug":7077,"title":1813,"dynasty":18,"author":1622,"museum":244,"description":7078,"tags":7079,"thumbUrl":7080,"material":173,"size":7081,"collection":136,"collections":7082,"showCount":7074,"zanCount":1998,"manualWeight":48,"mainColor":49},218867,"xue-jing-ma-yuan-218867","枝条扭曲而低垂，叶子被剥落，枝条像弯曲的铁一样结实，有马远的 拖枝法 和角落构图的传承。山丘和石头是用淡墨画的，没有用粉笔，表面用白粉染色，使整幅画雪亮。建筑物的门窗用破碎的、颤动的线条代替尺子来画，从外面可以看到内部的情况。高石和仆人男孩弯着脖子坐在火上取暖，使室内外充满了寒冷。",[23,24,7,27,28,29,97,96,1337,1556,132,4240,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68f0c0719bf8c7117400a007cafca3c6.jpg","26.7x27",[136],{"id":7084,"slug":7085,"title":4446,"dynasty":54,"author":223,"museum":2542,"description":7086,"tags":7087,"thumbUrl":7088,"material":173,"size":7089,"collection":44,"collections":7090,"showCount":7074,"zanCount":1998,"manualWeight":48,"mainColor":49},218422,"shi-nv-tu-yi-ming-218422","画面中仕女身姿窈窕，衣袂轻垂如流云。左侧二人发髻簪饰精致，神态温婉相依，似低语絮谈；右侧小鬟恭立，身形纤弱，尽显娴静恭谨之态。线条细腻婉转，勾勒衣纹柔缓褶皱；设色古朴淡雅，棕褐基调晕染时光沉淀的温润质感。背景素净无华，更衬人物清雅气韵。虽佚名之作，细节处见匠心：发间金饰隐现微光，腰间丝带垂坠有致，衣料纹理细腻传神。笔墨间传递传统仕女画的含蓄之美，尽显闺阁女子温婉情致与古典韵致，如一缕旧时光里的清风，拂过观者心田。",[24,7,27,28,96,166,170,232],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd5a96fcffa4d742d6230cf50a67fe0a.jpg","115x60.4",[44],{"id":7092,"slug":7093,"title":7094,"dynasty":144,"author":7095,"museum":77,"description":7096,"tags":7097,"thumbUrl":7098,"material":66,"size":7099,"collection":68,"collections":7100,"showCount":7074,"zanCount":1116,"manualWeight":48,"mainColor":49},216665,"ba-jun-tu-zhao-yong-216665","八骏图","赵雍","该幅画平畴林野牧马的景致，画骏马五匹或磨肩，或依偎，或觅食于树荫下，不管在结构或造形上，皆显示画家对马匹曾做仔细的观察与了解，轻而易举地掌握复杂的造型。圉人倚松假寐，状至悠闲逍遥。人马以中锋钩画，人物表情生动，马匹结体雄壮。树叶以近似图案的工整格式画出，装饰性强，饶古拙之趣。画家更利用平镜无纹的湖水，及罗列的远山，加强空间的推衍及层次感，呈现阔远松秀的画面。其青绿设色及用笔虽颇有唐人遗意，但因结合设色与皴法，远较唐之青绿山水雅淡，充分地发挥笔墨情趣。\n\n这幅画是赵雍为色目人官员─孛颜忽都所画的。画风主要承袭自隋唐时代"青绿山水"，设色主要填染了石青、石绿，色彩浓丽；还有，如画树叶先勾出轮廓，再填入颜色，正是工笔画中"夹叶填彩"的画法。此外，马匹高大肥硕的体型，也是追法唐代画马的意趣。不过，赵雍的这幅画还揉合了五代画家董、巨一派的笔意，例如：表现远山质感、那种类似苎麻纤维的线纹，叫做"披麻皴:。综而观之，《元赵雍骏马图轴》的人物、马匹及山水背景，虽具唐宋古意遗韵，但在构图上一水两岸的平远景致，依旧是典型的元人特色。赵雍在元代复古的风潮中，也开拓了新的时代风格。",[24,7,25,28,27,101,413,171,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F774a3902ef0909cc4272f189e62ad7bd.jpg","36x270cm",[68],{"id":7102,"slug":7103,"title":7104,"dynasty":124,"author":7105,"museum":300,"description":7106,"tags":7107,"thumbUrl":7108,"material":40,"size":7109,"collection":68,"collections":7110,"showCount":7111,"zanCount":1086,"manualWeight":48,"mainColor":49},222574,"ju-hua-li-zhou-lu-kui-222574","菊花立轴","陆逵","图绘秋日之景色，树叶凋零，几片枝头叶片，摇摇欲坠；秋菊开放，叶茂花艳，数朵菊花争相开放。此图绘枯树时有些讨巧，枯树的枝杆上半部分如长在湖石上，与湖石融为一体，观之惊叹。陆逵，字仪吉，善人物及花草，明代画家。",[23,164,24,7,165,27,28,61,604,331,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f856c432f5898dc9292bd2ea35d5eba.jpg","48.4x169cm",[68,45],191,{"id":7113,"slug":7114,"title":7115,"dynasty":18,"author":1622,"museum":20,"description":7116,"tags":7117,"thumbUrl":7118,"material":40,"size":7119,"collection":42,"collections":7120,"showCount":7111,"zanCount":1116,"manualWeight":48,"mainColor":49},221534,"bai-qiang-wei-tu-ye-ma-yuan-221534","白蔷薇图页","画中的白蔷薇花朵硕大，枝叶繁茂，光彩夺目。画家以细笔勾出花形，用白粉晕染花瓣，以深浅汁绿涂染枝叶，笔法严谨，一丝不苟，画风清丽活泼，颇具生气，代表了南宋画院花鸟画的典型风貌。\n宋代画院花鸟画继承了五代的传统，并在此基础上有所创新，黄荃“勾勒填彩、旨趣浓艳”的富贵风格统治着画坛近百年。其画法先以极工细的线条勾出轮廓，然后敷以重彩，层层晕染，往往掩盖住黑线，展现出一种极为工稳细腻和华贵富丽的风韵。",[23,164,24,7,28,27,61,5040,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd668d914b96b091a563b3ef5d0520878.jpg","纵26.2厘米，横25.8厘米",[42,136,45],{"id":7122,"slug":7123,"title":7124,"dynasty":18,"author":2141,"museum":224,"description":7125,"tags":7126,"thumbUrl":7127,"material":514,"size":7128,"collection":42,"collections":7129,"showCount":7111,"zanCount":1086,"manualWeight":48,"mainColor":49},221511,"xi-shan-xue-yi-tu-juan-quan-juan-liu-song-nian-221511","溪山雪意图卷全卷","《溪山雪意图卷》绘雪后溪水两岸的景色，平坡低冈、溪桥村舍，已是银装素裹；枯木、乔松、林竹错落，泉水湍急；有舟静泊岸边，冈坡上一人冲寒担物而行，全图将雪霁清冷寒寂的画意很好地表达了出来。画家于树石屋舍用笔一丝不苟，画风整饬、谨严。\n此图很久以来被视为北宋画家高克明的作品，实则依画卷采用近景构图、冈阜坡石用斧劈皴等特点来看，应为南宋前期的作品。",[23,24,164,7,25,28,132,128,29,1556,1337,131,35,31,129,1350,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cd5c1bd9704942c7a6de2994068aba4.jpg","纵41厘米、横241.3厘米",[42,136,45],{"id":7131,"slug":7132,"title":7133,"dynasty":144,"author":145,"museum":20,"description":7134,"tags":7135,"thumbUrl":7136,"material":734,"size":7137,"collection":136,"collections":7138,"showCount":7111,"zanCount":1116,"manualWeight":48,"mainColor":72},220762,"dan-ya-yu-shu-tu-zhou-huang-gong-wang-220762","丹崖玉树图轴","图中山峦重叠，高松杂树遍布窠石坡岸之上，梵寺仙观掩映于山石林木之中，溪流迴转，云烟缭绕，一派深远优美的意境。黄公望曾谓：“作山水者，必以董为师法，如吟诗之学杜也。”此图便是以董源、巨然创造的披麻皴手法写成，并以水墨浅绛设色。\n由于是在纸本上作画，作者较其《天池石壁图》、《九峰雪霁图》等绢本作品更充分地发挥了笔墨融合的韵味，用笔松秀，点染随意，潇洒自如，在不着笔处衬出迷蒙浮动的云烟雾气，虚实开合，愈增添了山水的灵秀，故虽崇山满纸而无迫塞之感。王原祁评黄氏画作曾云：“每见其布景用笔，于浑厚中仍饶逋峭，苍莽中转见娟妍，纤细而气益闳，填塞而境愈廓，意味无穷。”此作堪为代表。",[24,7,165,128,29,131,34,132,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d47a387eca670a16b7feb78d3aa3088.jpg","纵101.3厘米，横43.8厘米",[136,117],{"id":7140,"slug":7141,"title":7142,"dynasty":54,"author":3820,"museum":56,"description":7143,"tags":7144,"thumbUrl":7145,"material":611,"size":7146,"collection":136,"collections":7147,"showCount":7111,"zanCount":1998,"manualWeight":48,"mainColor":72},219857,"ba-jing-shan-shui-tu-gong-xian-219857","八景山水图","这一卷山水，全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。\n龚贤画山水，用墨以层层积墨见长，虽不用泼墨，效果却极强烈，具有浑厚、苍秀、沉郁的独特风格，成功地表现了江南山水茂密、滋润、幽深的特征。",[24,164,7,128,132,29,98,99,130,1144,711,497,495,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F755626b038e7687bb9727373859aa345.jpg","24.4x49.7厘米",[136],{"id":7149,"slug":7150,"title":7151,"dynasty":18,"author":1174,"museum":224,"description":7152,"tags":7153,"thumbUrl":7154,"material":7155,"size":7156,"collection":42,"collections":7157,"showCount":7158,"zanCount":1116,"manualWeight":48,"mainColor":49},221576,"jin-wen-gong-fu-guo-tu-li-tang-221576","晋文公复国图","此图绘于北宋末年，描述了晋文公（重耳）被他父亲放逐在外19年后即位复国的故事。全图共分六段，采用连环绘图的形式进行描绘，晋文公的形象多次出现，可每段都有树石、车马、房屋作配景。所绘人物形象各具神态，文公的雍容庄重，侍臣的恭敬、武士的威严、仕女的秀雅以及仆役的畏怯等，都刻画得细致入微、准确生动、栩栩如生。整个横幅图式处理得疏密有致，线条的粗细、曲直、虚实、轻重，富于变化，恰到好处。图中人物的服饰尽可能还原春秋时的模样。北宋末年，康王赵构的经历和艰难与重耳类似，所以图中以宋高宗赵构手书的《左传》作暗景，目的是激发南宋君臣，不怕困难，不畏艰险，忍辱负重，为复国雪耻而努力。这种隐喻可谓饱含深情、用心良苦，可惜的是赵构不是重耳，他不听劝阻，也没有复国的决心与愿望，甚至为了贪图个人享乐和一己之私，甘愿偏安一隅，不惜谋害忠良，重用奸佞之臣等。",[23,24,7,25,27,28,208,96,101,331,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe47339394ffdf5384ea908fa5ebe6c90.jpg","绢本 设色 手卷","纵29.4厘米 横827厘米",[42,44,45],190,{"id":7160,"slug":7161,"title":7162,"dynasty":144,"author":569,"museum":450,"description":7163,"tags":7164,"thumbUrl":7165,"material":173,"size":7166,"collection":44,"collections":7167,"showCount":7158,"zanCount":1105,"manualWeight":48,"mainColor":49},218424,"xi-ma-tu-zhao-meng-fu-218424","洗马图","《洗马图》以长卷形制铺展，笔墨生动传神。数匹骏马姿态各异，或昂首伫立，或缓步徐行，线条勾勒精准流畅，兼具书法笔意，马的肌肉纹理与鬃毛质感细腻可见。人物与马互动自然，牵马者神态悠然，骑马者身姿从容，衣袂线条飘逸洒脱。设色淡雅古朴，水墨为主辅以淡彩，营造出清逸雅致的氛围。画面疏密有致，节奏舒缓，既显写实功底，又含文人意趣，将日常洗马场景升华为富有诗意的艺术图景，尽显元代文人画的独特韵味与画家对生活的深刻体察。笔墨间流淌着雅致情韵，于细微处见真章，是元代画坛兼具技法与意境的佳作。",[23,24,7,25,27,96,101,28,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbea5c78c3647eca859103177fa91693b.jpg","31.7x255.4",[44],{"id":7169,"slug":7170,"title":7171,"dynasty":144,"author":569,"museum":244,"description":7172,"tags":7173,"thumbUrl":7174,"material":66,"size":7175,"collection":44,"collections":7176,"showCount":7158,"zanCount":1998,"manualWeight":48,"mainColor":72},216973,"chui-xiao-shi-nv-tu-zhao-meng-fu-216973","吹箫仕女图","这幅画宋濂定为是赵孟頫的真迹，并把它与《道德经》小卷前的老子画像和行书《赤壁赋》前的东坡画像逐一进行了比较。宋濂的碑文越老，越是笨拙，全盛时期的亭子里的楷书越是小。",[24,7,165,27,96,166,171,438,230,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53774ccebb8879781edf0e87cf8e7962.jpg","75.1x26",[44],{"id":7178,"slug":7179,"title":7180,"dynasty":144,"author":7181,"museum":224,"description":7182,"tags":7183,"thumbUrl":7184,"material":173,"size":84,"collection":42,"collections":7185,"showCount":7158,"zanCount":975,"manualWeight":48,"mainColor":72},216755,"jin-ming-chi-zheng-biao-tu-wang-zhen-peng-216755","金明池争标图","王振鹏","金明池是一个传说中的美景，被描绘成一个异常和平的美景。王振鹏的作品中的人物都非常生动，表情丰富，使得整幅画面显得格外生动。金明池争标图是一幅非常珍贵的元朝时期的绘画作品，在当时非常受欢迎，被广泛流传。",[23,24,7,164,25,95,188,97,98,96,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F596dd6f3fd7a15f379a6919bf3078fae.jpg",[42],{"id":7187,"slug":7188,"title":7189,"dynasty":144,"author":145,"museum":300,"description":7190,"tags":7191,"thumbUrl":7192,"material":84,"size":84,"collection":84,"collections":7193,"showCount":7194,"zanCount":48,"manualWeight":48,"mainColor":72},228251,"fu-chun-shan-ju-tu-zi-ming-juan-huang-gong-wang-228251","富春山居图子明卷","以淡墨干皴晕染富春丘壑，峰峦坡陀缓缓铺展，林木萧疏错落，晕开江南初秋的空寂淡远。用笔松秀灵动，线条温润苍劲，墨色干湿浓淡层次丰盈，晕染出山川悠远的氤氲清气。\n卷后题跋与山水相映，文心画意相融无间，尽显文人画的雅致意趣。整卷意境简远高迈，将天地山川的沉静澹泊与文人林下襟怀合而为一，如一首悠然山水长诗，引观画人步入富春烟岚之间，沉醉在清和淡远的隐逸之美中。",[24,7,25,128,29,132,208,64,133,131,34,331,1233],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44e1e10a7fb6bfbb26013f2f77df7d9b.jpg",[],189,{"id":7196,"slug":7197,"title":7198,"dynasty":18,"author":223,"museum":300,"description":7199,"tags":7200,"thumbUrl":7202,"material":84,"size":84,"collection":84,"collections":7203,"showCount":7194,"zanCount":1086,"manualWeight":48,"mainColor":49},227842,"ye-he-hua-tu-ye-yi-ming-227842","夜合花图页","《夜合花图》，宋， 佚名，绢本，设色，纵2.9 横25.4厘米 上海博物馆藏 图中夜合花一根两枝，右枝花朵含苞未放，左枝花朵半开半合，洁白如玉，清雅绝尘。\n花朵轻勾淡染，用白粉点画花蕊，用四绿加少量淡墨分染花拖，花叶先以细笔勾勒轮廓和筋脉，后用汁绿与花青染之，最后用焦茶描绘其杆。\n绿叶穿插向背，白花绿叶，色泽淡雅，使人赏心悦目。",[23,164,24,7,28,27,4437,61,7201,208],"夜合花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe31ecf760311e803b651aa46969280b1.jpg",[],{"id":7205,"slug":7206,"title":7207,"dynasty":54,"author":7208,"museum":244,"description":7209,"tags":7210,"thumbUrl":7211,"material":84,"size":84,"collection":68,"collections":7212,"showCount":7194,"zanCount":48,"manualWeight":48,"mainColor":49},224119,"song-shu-tu-qian-long-224119","松树图","乾隆","展现了松树形神。其岁逾千年，貌古形诡，苍皮斑驳，树干粗壮，虬枝盘结，瘿瘤凸起，树根部透朽空洞却卓立干云，拔地拏天。树冠部三两根大枝斜逸而出，如同鲲鹏展翅，枝头嫩叶婆娑，一派生机欣荣。",[23,24,7,128,208,64,133,331,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F803b229b3381cb122dae4322e059d18d.jpg",[68,117],{"id":7214,"slug":7215,"title":7216,"dynasty":18,"author":7217,"museum":244,"description":7218,"tags":7219,"thumbUrl":7223,"material":611,"size":7224,"collection":44,"collections":7225,"showCount":7194,"zanCount":1086,"manualWeight":48,"mainColor":49},221217,"hua-fan-xiang-juan-zhang-sheng-wen-221217","画梵像卷","张胜温","《大理国梵像卷》是大理国（937－1254）（与五代和宋代同一时代）传世的唯一画卷，全卷设色贴金，绘製精谨，共分四段：第一段画大理国王利贞皇帝礼佛图，第二段绘佛、菩萨、佛母、天王和护法等数百位佛教人物，第三段为多心和护国宝幢，第四段是十六国王图。全卷内容丰富，素有「南天瑰宝」之誉。 内容大致为蛮王礼佛国、四金刚护法、八大龙王、十六观世音菩萨、五佛会图。 七佛图、维摩经变、四大菩萨、六佛母、十六罗汉、禅宗六祖、人大高僧、十二天神、宝塔经幢、十六国主众等组成。 《梵像卷》反映了佛教在南诏、大理国时期十分兴盛的历史， 是研究当时大理国崇奉密宗的历史和文化艺术的珍贵资料。",[23,24,7,25,187,28,27,96,7220,4204,7221,7222,208],"佛像","飞天","经文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1b98f57c5c0b171cfb25668ee54783e.jpg","全长1635.5厘米，宽30.4厘米",[44,45],{"id":7227,"slug":7228,"title":7229,"dynasty":124,"author":223,"museum":77,"description":7230,"tags":7231,"thumbUrl":7232,"material":173,"size":84,"collection":68,"collections":7233,"showCount":7194,"zanCount":1116,"manualWeight":48,"mainColor":49},216749,"hai-tang-fei-qin-tu-yi-ming-216749","海棠飞禽图","海棠花是一种常见的中国花卉，通常被认为是爱情、美好愿望和幸福的象征。这幅画的画风精细，笔法优美，极富艺术魅力。",[164,24,7,28,27,61,1132,211,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F131241bc6542bdd047d08b2abfb54967.jpg",[68],{"id":7235,"slug":7236,"title":7237,"dynasty":54,"author":646,"museum":244,"description":647,"tags":7238,"thumbUrl":7241,"material":66,"size":653,"collection":84,"collections":7242,"showCount":7243,"zanCount":1116,"manualWeight":48,"mainColor":72},219879,"er-shi-si-fan-hua-xin-feng-tu-cai-hua-yu-wang-chun-dong-gao-219879","二十四番花信风图-菜花与望春",[24,7,27,28,59,64,133,7239,7240,4278],"菜花","望春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d78a5260915fc3e83cdf201b35e28e.jpg",[],188,{"id":7245,"slug":7246,"title":7247,"dynasty":351,"author":4456,"museum":2862,"description":7248,"tags":7249,"thumbUrl":7250,"material":173,"size":84,"collection":44,"collections":7251,"showCount":7243,"zanCount":1105,"manualWeight":48,"mainColor":49},219590,"xiu-zhu-mei-ren-tu-zhou-wen-ju-219590","修竹美人图","幽庭春深，修竹亭亭映着绽蕊花枝。仕女发髻高绾，衣袂轻垂，静立凝望稚童，眉梢眼底浸着世家深宅的温婉闲静。红衣稚童攀折花枝，鲜活灵动的身影，恰好衬出仕女的娴柔静穆。\n\n笔墨苍润清逸，淡墨晕染竹木，细劲线条勾勒人物体态，设色古雅柔和，将深闺春日里闲散静好的日常晕染开来，把缱绻柔婉的东方诗意藏在花木竹石间，尽现古典雅致的闺中幽情。",[23,24,7,165,28,27,96,166,2218,167,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3506e1a0eb430a5f568336d083e69bc2.jpg",[44],{"id":7253,"slug":7254,"title":7255,"dynasty":124,"author":802,"museum":450,"description":7256,"tags":7257,"thumbUrl":7258,"material":173,"size":7259,"collection":44,"collections":7260,"showCount":7243,"zanCount":1116,"manualWeight":48,"mainColor":49},219531,"bu-gun-tu-chen-hong-shou-219531","补衮图","衮是古代君王的礼服，补衮有补救规谏帝王过失的寓意。图中绘有四人，发髻高耸，雍容华贵。",[23,24,7,28,27,96,166,169,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d0bcfbcf40168efa236701b517fe221.jpg","纵109横78.5cm",[44,45],{"id":7262,"slug":7263,"title":1609,"dynasty":18,"author":7264,"museum":56,"description":7265,"tags":7266,"thumbUrl":7267,"material":278,"size":84,"collection":136,"collections":7268,"showCount":7243,"zanCount":1116,"manualWeight":48,"mainColor":72},218592,"xiao-xiang-tu-mi-you-ren-218592","米友仁","图绘三湘、九嶷之际，山峦逶迤、江水迷茫、杂木疏落、白云浮动之雨后景色，于一派空濛中，流露出清润的气氛。全图大都用淡墨晕染和点染，于树干、山凹、屋脊等处以重墨勾染，显出空间层次。云气或线勾或墨晕，工整而不呆板。此图与他另一幅《潇湘奇观图》画法一致，同为水墨云山的典型之作。",[24,7,25,128,132,29,37,34,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbab948642dad21d5beec814b81b41d5c.jpg",[136],{"id":7270,"slug":7271,"title":5991,"dynasty":54,"author":7272,"museum":300,"description":7273,"tags":7274,"thumbUrl":7275,"material":692,"size":1293,"collection":84,"collections":7276,"showCount":7277,"zanCount":1086,"manualWeight":48,"mainColor":72},235426,"he-hua-zhou-lu-hui-235426","陆恢","陆恢（1851—1920），清末民初著名画家。原名友恢，一名友奎，字廉夫，号狷叟，一字狷盫，自号破佛盫主人，原籍江苏吴江，居吴县（今江苏苏州）。",[24,7,165,27,128,61,81,82,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24e20f7c46d85cc1273ebbc0538eb92b.jpg",[],187,{"id":7279,"slug":7280,"title":7281,"dynasty":124,"author":2268,"museum":244,"description":7282,"tags":7283,"thumbUrl":7284,"material":7285,"size":84,"collection":136,"collections":7286,"showCount":7277,"zanCount":48,"manualWeight":48,"mainColor":72},220936,"fang-dong-yuan-shan-shui-dong-qi-chang-220936","仿董源山水","这套册页共二十二开，前副页两开，题「小中现大」四字，款：「董其昌题」。二十二开尺寸不一，本幅分别以绢本与纸本，临摹十一位宋元名家的作品，包括李成、董源、巨然、范宽、王诜、高克恭、赵孟頫、黄公望、吴镇、王蒙与倪瓒。",[24,7,29,330,132,128,59,131,34,499,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2b378d6bc49a8e287d430b3213f127b.jpg","绢本与纸本",[136,117],{"id":7288,"slug":7289,"title":7290,"dynasty":18,"author":2067,"museum":300,"description":7291,"tags":7292,"thumbUrl":7293,"material":173,"size":7294,"collection":68,"collections":7295,"showCount":7277,"zanCount":1105,"manualWeight":48,"mainColor":49},218538,"ming-hua-yan-se-tu-li-di-218538","名花艳色图","绢本底色如陈年素笺，托出一朵淡粉牡丹。花瓣层叠若堆雪，边缘晕染浅绯，似被晨雾轻笼；花心处颜色稍浓，藏着几分含蓄的艳。墨叶以中锋勾筋，浓淡相间的绿里，叶脉如丝缕清晰，翻卷姿态带着自然野趣。宋人的笔触不疾不徐，于细腻中见真意：没有浓妆艳抹，却让花的柔润与叶的苍劲相映成趣。整幅画如无声的诗，将名花的雍容与雅致凝于方寸，静立眼前，似能嗅到穿越千年的清淡花香，沉于这片刻古典诗意里。",[23,24,7,164,28,27,61,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73b4d04bd069c3b826fdbe71d4b8e325.jpg","30x34",[68],{"id":7297,"slug":7298,"title":7299,"dynasty":54,"author":872,"museum":300,"description":6719,"tags":7300,"thumbUrl":7301,"material":692,"size":1293,"collection":84,"collections":7302,"showCount":7303,"zanCount":1998,"manualWeight":48,"mainColor":72},288173,"hu-shi-ju-qin-tu-li-zhou-zhu-da-288173","湖石聚禽图立轴",[23,164,24,7,165,128,61,211,171,64,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9c97905d89105cc7edd24a3f909cf39.jpg",[],186,{"id":7305,"slug":7306,"title":7307,"dynasty":54,"author":2640,"museum":300,"description":7308,"tags":7309,"thumbUrl":7313,"material":84,"size":84,"collection":84,"collections":7314,"showCount":7303,"zanCount":48,"manualWeight":48,"mainColor":72},224380,"hua-hui-chong-cao-ju-lian-224380","花卉虫草","这套册页小品十二帧各成天地，明丽柔润的设色晕开草木清辉。花卉姿态各异，或是垂枝含露、或是灼灼盛放，以太湖石为衬，衬出花木的绰约清姿。\n\n笔墨兼具工细与写意，虫草点缀其间，翅脉纹路纤毫毕现，似将振翅而起，把四季花木的生机封藏尺幅间。不做繁复铺陈，尽显细腻写实的画韵，一花一叶皆藏灵趣，浅淡花香仿佛随画漫出，虫翼轻振的细碎声响似在耳边，将庭院闲趣绘成隽永诗意，把山野小景晕染成清逸雅致的东方意趣。",[23,24,7,164,4437,27,61,62,7310,7311,28,369,7312],"虫草","太湖石","清逸雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4ccd78c842f80eedfe55c2cef019efe.jpg",[],{"id":7316,"slug":7317,"title":7318,"dynasty":182,"author":7319,"museum":224,"description":7320,"tags":7321,"thumbUrl":7323,"material":7324,"size":7325,"collection":318,"collections":7326,"showCount":7303,"zanCount":1998,"manualWeight":48,"mainColor":49},221069,"ling-fei-jing-chang-juan-zhong-shao-jing-221069","灵飞经长卷","钟绍京","《灵飞经》又名《六甲灵飞经》，是灵道教的一部经。主要阐述存思之法。今道藏有《上清琼宫灵飞六甲左右上符》，一卷。《汉武内传》谓此经用于请命延算、长生久视、驱策众灵、役使鬼神。\n《灵飞经》书法作品是唐代著名小楷之一，无名款。元袁桷、明董其昌皆以为唐钟绍京书。明董其昌说：“赵文敏一生学钟绍京终十得三、四耳”。近代大书家启功先生的书法也受益于《灵飞经》。可见《灵飞经》有着超凡脱俗的艺术感染力。\n清包世臣在《艺舟双楫·右下笔潭》中称其：“如新莺歌白啭之声”，杨守敬评：“灵飞经一册，最为精劲，为世所重”。《灵飞经》的章法为纵有行，横无列。",[23,64,572,7322,1590,25,7,208],"写经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ea8afb39f27c1c093c1675d3b1faa1.jpg","墨迹本","20.8×8.9cm",[318,2210],{"id":7328,"slug":7329,"title":7330,"dynasty":54,"author":4468,"museum":20,"description":7331,"tags":7332,"thumbUrl":7334,"material":40,"size":7335,"collection":84,"collections":7336,"showCount":7337,"zanCount":1116,"manualWeight":48,"mainColor":72},233878,"hua-niao-tu-zhou-lang-shi-ning-233878","花鸟图轴","此图笔法精工细腻，色调绚丽多彩，造型写实生动，注重描绘禽鸟翎毛的质感、花叶的阴阳向背以及明暗层次的变化，具有鲜明的西洋花鸟写实画的风格。",[24,7,28,27,209,355,2438,4278,7333,208],"老干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60f9fa2985d7c169d06da5861e1fdfec.jpg","纵63.7厘米，横32.3厘米",[],185,{"id":7339,"slug":7340,"title":7341,"dynasty":351,"author":4456,"museum":300,"description":7342,"tags":7343,"thumbUrl":7346,"material":84,"size":84,"collection":84,"collections":7347,"showCount":7337,"zanCount":1086,"manualWeight":48,"mainColor":72},226711,"zhong-ping-hui-qi-tu-juan-zhou-wen-ju-226711","重屏会棋图卷","《重屏会棋图》卷，五代，周文矩绘，绢本，设色，纵40.3厘米，横70.5厘米。\n本幅无作者款印。经徐邦达先生鉴定，此系宋人摹本。尾纸除有明代沈度、文徵明的伪款题跋外，还有近人于怀的墨题真迹。钤元柯九思“緼真斋”，清安仪周“棠邨审定”、“安仪周家珍藏”及清内府“乾隆御览之宝”等鉴藏印共16方。其中的“緼真斋”、宋徽宗的“双龙小玺”、“宣和”、“政和”等宋元诸印均伪。\n图绘摆设精美的室内，四位身份高贵的男子于棋桌前的情景。他们神态各异，举止不同，有的催促落子，有的举棋不定，有的观棋不语，真实地反映出观棋者与弈棋者不同的神态。画中没有标注这些人物的姓名。目前，经过几代学者的深入研究，才逐渐确认出本幅作品的画面主人公及其内容。图中描绘的是五代南唐中主李璟的宫廷行乐生活。有关此图情节的记载最早见于北宋《王文公集》卷五十中王安石的《江邻几邀观三馆书画》诗，诗中指认出图中头戴高帽者为李璟；南宋初年的王明清在《挥尘三录》中记载了他以家藏的李璟肖像画与此图进行考辨的过程；元代袁桷《清容居士集》和陆友仁《研北杂志》则考证出会棋者是李璟兄弟四人，屏风所画为白居易《偶眠》诗意。最终指明图中人物具体方位的是清吴荣光《辛丑销夏记》所录庄虎孙的跋语：“图中一人南面挟册正坐者，即南唐李中主像；一人并榻坐稍偏左向者，太北晋王景遂；二人别榻隅坐对弈者，齐王景达、江王景逿。”\n作为写实性的绘画作品，作者在逼真地刻画出人物肖像特征的同时，也真实地描绘出室内的生活用具，如投壶、屏风、围棋、箱箧、榻几、茶具等，为后人研究五代时期各种生活器用的形制以及中国早期皇室的行乐雅集活动提供了重要的形象资料。作者以“颤笔描”绘制图中人物的衣纹，表现出布纹的质感，并准确地勾勒出不同动态下人物的形体变化，展示了周文矩以线塑型的深厚功底。此图的设色虽多用矿物颜料，但未层层积染或浓涂重抹，而只是在勾线后清淡地施以颜色。在几案边的花纹上勾染了略显深重的石青、石绿；而李璟的衣袍虽也用朱砂晕染，却甚为简淡，只是侍童的衣带用较重的朱砂，以与浅淡的衣袍形成对比。其余三人的衣着竟一色不染。\n由于此图背景的屏风中还画有屏风，因此人们称此图为“重屏”图。它受到了历代画家广泛的传移摹写，并被宋内府《宣和画谱》、明张丑《清河书画舫》、清卞永誉《式古堂书画汇考》等数十种书著录。故宫所藏的这幅画即使不是周文矩原作，也应是接近于原作的宋人摹本精品。\n此图自清宣统朝流出宫廷后散落民间。1949年后，国家文物局从吉林省长春文物商于莲客手中购得此图，随后将它与元代高克恭《秋山暮霭图》、任仁发《二马图》卷一并入藏故宫博物院。\n清安仪周《墨缘汇观》、胡敬《西清札记》、内府《石渠宝笈三编》等著录。\n周文矩，生卒年不详，活动于10世纪，句容（今属江苏）人，南唐画院翰林待诏。中主李璟时，他便以擅绘人物、车马、界画楼台以及宫廷贵族生活题材画而知名。后主李煜执政期间，他常受诏作画，曾像顾闳中一样被派去窥绘韩熙载的夜宴生活，只是他所画的韩氏夜宴图未能传世。他的画风受后主李煜的颤笔法影响很大，喜以瘦挺颤掣的笔法入画，以别具特色的画风称誉画坛。",[23,24,7,25,28,27,188,64,208,96,7344,169,7345],"家具","室内陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a9f5fda46eb059b27ecc01f52d1e757.jpg",[],{"id":7349,"slug":7350,"title":7351,"dynasty":124,"author":1058,"museum":300,"description":7352,"tags":7353,"thumbUrl":7354,"material":173,"size":84,"collection":44,"collections":7355,"showCount":7337,"zanCount":48,"manualWeight":48,"mainColor":49},218408,"wang-xian-zhi-xiu-qi-tang-yin-218408","王献之休妻","疏柳垂丝如诉，嶙峋山石衬出几分萧索。白衣男子立于其间，衣袂轻扬却难掩眉宇间的复杂——是决绝？还是隐于礼法下的无奈？旁侧两位女子相拥而立，罗裙轻垂，身影柔弱如风中飘絮，彼此依偎的姿态似是对命运的无声抵抗。\n\n线条流转细腻，设色淡雅却见功底，人物神情的描摹尤见匠心：男子微蹙的眉头藏着隐衷，女子低垂的眼眸裹着悲戚，连垂落的柳枝都似在替人拭泪。整幅画以景衬情，将旧闻里的礼法束缚与情长纠葛凝于笔墨间，每一处细节都在轻声诉说：那些被时光掩埋的无奈，从来都藏在人物的一颦一笑、山石草木的一呼一吸里。",[164,24,7,165,27,28,96,29,331,131,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9c441d0be13c6b563da78fdded2b86c.jpg",[44],{"id":7357,"slug":7358,"title":7359,"dynasty":54,"author":1242,"museum":224,"description":7360,"tags":7361,"thumbUrl":7362,"material":1464,"size":7363,"collection":68,"collections":7364,"showCount":7365,"zanCount":48,"manualWeight":48,"mainColor":72},233867,"mei-hua-ce-jin-nong-233867","梅花册","金农（1687—1764），字寿门，号冬心，又号稽留山民、曲江外史、昔耶居士等，浙江仁和（杭州）人。金农一生用过很多号、别号，印记也很多，据秦岭云考证，金农号有：冬心、司农、吉金、竹泉、古泉、老丁、耻春亭翁、寿道士、稽留山民、曲江外史、昔耶居士、莲身居士、龙梭仙客、金二十六郎、仙坛扫花人、金牛湖上诗老、百二砚田富翁、心出家庵粥饭僧、金牛、金吉金（苏伐罗吉苏伐罗）、枯梅庵主、龙梭仙馆旧客、荆蛮民、小善庵主、老金、惜花人、之江钓师、三朝老民、十九松长者、朱阳馆主、纸裘老生。所钤印记有：寿、农、寿门、古泉、金农、竹泉金吉金、莲身居士、金农之印、金吉金之印、冬心先生、金老丁、生于丁卯、金农印信、金寿门氏、努力加餐饭、寿道士、明月入怀、乐此不疲、布衣雄世。某些字号、印章颇具生活气息，其晚年多用佛门别号。",[24,7,59,128,61,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbe7cac7b0e706ab10260032bfba2d34.jpg","25.4cm ×29.8cm",[68],184,{"id":7367,"slug":7368,"title":7369,"dynasty":124,"author":3619,"museum":300,"description":7370,"tags":7371,"thumbUrl":7372,"material":84,"size":84,"collection":84,"collections":7373,"showCount":7365,"zanCount":11,"manualWeight":48,"mainColor":49},228905,"lan-ting-xu-juan-quan-juan-wen-zheng-ming-228905","兰亭序卷全卷","此作书画合璧，意韵悠然。设色山水清丽秀雅，层岩叠壑间松荫浓郁，曲溪萦回，茅亭内雅客清谈，将兰亭修禊的幽雅致趣融于林泉之间，尽显古雅文心。\n书法兼具行楷题跋与集字奇构：题跋笔致秀润端劲，尽显温润秀逸的吴门风神；集字兰亭排布巧思独具，别出新意。鉴藏朱印错落铺陈，为整卷更添古雅厚重之感，将晋人雅集的文思与明代文人的审美意趣相融无间。",[23,24,7,25,27,29,133,132,28,130,98,99,34,96,208,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7122d5b6c8e477bd2e66f1602a2f182d.jpg",[],{"id":7375,"slug":7376,"title":2381,"dynasty":54,"author":2290,"museum":300,"description":7377,"tags":7378,"thumbUrl":7379,"material":7380,"size":7381,"collection":68,"collections":7382,"showCount":7365,"zanCount":11,"manualWeight":48,"mainColor":49},222662,"hua-niao-tu-ma-quan-222662","马荃（生卒年不详），字江香，江苏常熟人。清代女画家。马元驭之（1669—1722）女（一作马元驭孙女），逸妹。生活于康熙、乾隆年间，\n时与女画家恽冰齐名。\n龚克和妻。工花卉，妙得家法。其夫亦工书、画，偕游京师，以绘事给衣食，颇怡。夫亡归里，绸缠染翰，饮冰茹茶，而名益高，四方以缣素兼金求画者益聚。常蓄婢数人，悉令调铅杀粉。而琴川多贵游士女，皆来求授指法。时常州恽冰画以没骨名，而江香以勾染名，江南人谓之双绝。康熙三十五年（1696）作花卉草虫册十二页，乾隆四年（1739）作琳池草虫扇。马荃代表作品价位2008年行情在3—5万\u002F平尺，市场升值潜力较大，为很多书画收藏家所追捧。",[23,24,164,7,165,28,27,61,481,828,5654,171,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F061ce5762f0e4335685920a74b317b42.jpg","设色绢本","82cm 43cm",[68,45],{"id":7384,"slug":7385,"title":7386,"dynasty":54,"author":5276,"museum":161,"description":7387,"tags":7388,"thumbUrl":7389,"material":1027,"size":7390,"collection":68,"collections":7391,"showCount":7365,"zanCount":48,"manualWeight":48,"mainColor":72},222642,"mu-dan-tu-li-zhou-gao-feng-han-222642","牡丹图立轴","此幅长卷有《梅花》和《牡丹》两幅合并而成，左侧《梅花》图绘梅枝从画上端斜入，细枝颇多，寒冬中梅花绽放出铮铮傲骨；《牡丹》图中二朵牡丹开放，花瓣层层叠叠，还有一朵藏于石后，含羞露出一半，一枝花枝从牡丹花后露出，姿态优美。",[23,24,7,165,27,61,128,133,208,263,547,582,549,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aed756d0a5f52a061a356ddf8967852.jpg","20x317cm",[68,117],{"id":7393,"slug":7394,"title":7395,"dynasty":182,"author":7396,"museum":20,"description":7397,"tags":7398,"thumbUrl":7399,"material":611,"size":7400,"collection":318,"collections":7401,"showCount":7365,"zanCount":1998,"manualWeight":48,"mainColor":49},221054,"zheng-zuo-wei-tie-quan-juan-yan-zhen-qing-221054","争座位帖全卷","颜真卿","《争座位帖》亦称《论座帖》、《与郭仆射书》，为颜真卿行草书精品，唐广德二年（公元764）颜真卿写给定襄王郭英义的书信手稿。行草书，传有七纸，约64行古时。\n《争座位帖》与颜的《祭侄文稿》、《祭伯文稿》被合称为“颜书三稿”。与王羲之的《兰亭序》并称为“行书双璧”。此稿信笔疾书，苍劲古雅，为世所珍。",[23,64,133,25,7,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fead3ade21468b04a4fd65a4d6fb8c1.jpg","370x30厘米",[318,2210],{"id":7403,"slug":7404,"title":7405,"dynasty":182,"author":6287,"museum":7406,"description":7407,"tags":7408,"thumbUrl":7410,"material":611,"size":7411,"collection":84,"collections":7412,"showCount":7413,"zanCount":1998,"manualWeight":48,"mainColor":72},232622,"jiang-gan-xue-ji-tu-juan-wang-wei-232622","江干雪霁图卷","藏于日本民间","王维的水墨画风，几乎影响着中唐以后的中国山水画发展的全部历史。至少可以说，占据中国古代山水画主流的文人画，都接受了王维的影响。苏轼的“诗中有画，画中有诗”的赞语，奠定了王维在中国绘画史上的地位。明朝董其昌的文人画理论，把文人画的内涵，全部具体化于王维，称王维是南宗画之祖。\n王维（701－761），字摩诘，盛唐时期的著名诗人，官至尚书右丞，原籍祁（今山西祁县），迁至蒲州（今山西永济），崇信佛教，晚年居于蓝田辋川别墅。善画人物、丛竹、山水。唐人记载其山水面貌有二：其一类似李氏父子，另一类则以破墨法画成，其名作《辋川图》即为后者。可惜至今已无真迹传世。传为他的《雪溪图》及《济南伏生像》都非真迹。苏轼评价说“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”他是唐代山水田园派的代表。开元进士。任过大乐丞、右拾遗等官，安禄山叛乱时，曾被迫出任伪职。其诗、画成就都很高，苏东坡赞他“诗中有画，画中有诗”，尤以山水诗成就为最，与孟浩然合称“王孟”，晚年无心仕途，专诚奉佛，故后世人称其为“诗佛”。",[23,164,24,7,25,128,132,29,2523,7409,1337,211,758],"江河","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F627ae19f708849d303e0326ebd7204c5.jpg","纵31.3厘米，横207.3厘米",[],183,{"id":7415,"slug":7416,"title":7417,"dynasty":182,"author":223,"museum":300,"description":7418,"tags":7419,"thumbUrl":7420,"material":692,"size":1293,"collection":84,"collections":7421,"showCount":7413,"zanCount":1998,"manualWeight":48,"mainColor":49},226157,"yin-lu-pu-sa-yu-shi-zhe-yi-ming-226157","引路菩萨与侍者","此画发现于敦煌藏经洞。本幅描绘菩萨为亡灵引路升天国的场面。上有“引路菩（萨）”的题记。前面领路的大菩萨右手执香炉，左手持莲花，莲花旁垂下白幡。菩萨后面跟随的女子为死者生前的形象，人物形象丰腴饱满，洁白晶莹的肌肤闪耀着青春美的光彩，有“周家样”之风。线描写实明快、流畅飞动，接笔处不露痕迹，一气呵成。\n敦煌藏经洞发现。本幅描绘菩萨为亡灵引路升天国的场面。上有[引路菩（萨）]的题记。前面领路的大菩萨右手执柄香炉，左手持莲花，莲花旁垂下白幡。幡分四栏，各栏分绘图案。画左上角菩萨所乘的黄云中隐出一些建筑物，那是亡灵要去的净土世界。菩萨后面跟随的女子为死者生前的形象，梳着典型的唐代妇女的发式。画面中的很多部分如香炉、菩萨之发饰等都描金敷色，全画彩绘艳丽，完好的保存了唐代绘画的面貌。\n唐代“贞观之治”和“开元盛世”的具体表现是经济发展、社会富庶，手工业商业发达，各民族接触密切，中外经济文化交流频繁，创造了辉煌灿烂的文化艺术。这个时期佛教仍为统治阶级所提倡，大规模的石窟造像不断涌现。在敦煌莫高窟、洛阳龙门石窟、太原天龙山石窟等石窟中，唐代造像的规模和艺术水平都特别突出。\n唐代是古代人物画鼎盛时期，在反映贵族生活和宗教题材上都有大成就，在宗教题材作品中也更世俗化，在大量经变故事画和菩萨、罗汉的塑造中显示出明显的人间味。菩萨天女体态丰腴，容貌端丽，具有动人的丰姿，这在敦煌壁画中多有体现。在敦煌，还发现了一帧《引路菩萨像》，绢本，纵85厘米，横53.6厘米，约九世纪后半期作品，现藏大英博物馆。这件作品具有很高超的绘画技巧，设色艳丽，渲染技法娴熟，可以看出后世工笔人物画对它的继承。",[24,7,4642,187,96,27,28,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F722fa84e18f98c3ee78c33ac7cd2c8b5.jpg",[],{"id":7423,"slug":7424,"title":7425,"dynasty":18,"author":397,"museum":244,"description":7426,"tags":7427,"thumbUrl":7428,"material":278,"size":7429,"collection":42,"collections":7430,"showCount":7413,"zanCount":1116,"manualWeight":48,"mainColor":72},221338,"xi-shan-qiu-se-tu-zhou-zhao-ji-221338","溪山秋色图轴","此画种在北宋末成为宫廷皇室所喜爱的一种风格。本图中实景多被安排在画面左半侧，占据不到二分之一的面积，其余以留白来表现云雾、烟霭和野水。此种设计与北宋初期，取中轴构图的巨轴山水画有所不同，可以见到山水画从雄伟风格转变为带有抒情气氛的趋势。细看《溪山秋色图》这幅画的点景人物，多半描绘渔夫在渔钓或捕鱼的情景，这代表著君子所向往与世无争、远离尘俗的生活典型。此类渔父的画题，在进入北宋之后逐渐流行，成为山水画不可或缺的重要题材。",[23,24,7,165,128,132,29,30,34,499,129,37,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F730927eed7d948f9cfd62cda6491af50.jpg","纵97cm,横53cm",[42,136,117],{"id":7432,"slug":7433,"title":7434,"dynasty":182,"author":7435,"museum":244,"description":7436,"tags":7437,"thumbUrl":7438,"material":637,"size":7439,"collection":318,"collections":7440,"showCount":7413,"zanCount":1998,"manualWeight":48,"mainColor":72},221097,"zi-xu-tie-quan-juan-huai-su-221097","自叙帖全卷","怀素","《自叙帖》为怀素自述其生平大略，兼录颜真卿、张谓、戴叔伦等人对其的赠诗成文。通篇为狂草，笔笔中锋，如锥划沙盘，纵横斜直，无往不收；全卷强调连绵草势，运笔上下翻转，忽左忽右，起伏摆荡，有疾有速，有轻有重，通幅于规矩法度中，奇踪变化，神采动荡，实为草书艺术的极致表现。《自叙帖》自唐末五代以来一直是草书领域的热门法帖，在中国草书史上承前启后，在书法艺术领域影响深远。 它是怀素流传下来篇幅最长的作品，人称“天下第一草书”。 正如北京大学教授、引碑入草开创者的李志敏评价：怀素的草书奔逸中有清秀之神，狂放中有淳穆之气”。",[23,64,840,25,208,1590,7,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf2b523ef15a110b2a5489755e76b49e.jpg","纵28.3厘米，横775厘米",[318,2210],{"id":7442,"slug":7443,"title":4247,"dynasty":144,"author":1163,"museum":244,"description":7444,"tags":7445,"thumbUrl":7447,"material":66,"size":7448,"collection":68,"collections":7449,"showCount":7413,"zanCount":1086,"manualWeight":48,"mainColor":72},218780,"xie-sheng-hua-niao-tu-zhang-zhong-218780","此画绘于沙石之间，一只紫冠白鸡脚下行走的蜈蚣，看上去颇为生动，而配景及蜀葵、萱草、栀子花、石榴、百合、虞美人、石竹、菖蒲等各种夏花，几乎以勾花点叶的方法进入，设计典雅，却不似张仲的笔墨，为后世画家的作品正名。",[24,7,165,27,28,61,3238,62,171,7446],"草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93c74ed813cbd2c92ee370d6aa6031b1.jpg","122.8x43.3cm",[68,136],{"id":7451,"slug":7452,"title":7453,"dynasty":54,"author":1069,"museum":424,"description":1070,"tags":7454,"thumbUrl":7455,"material":173,"size":1073,"collection":84,"collections":7456,"showCount":7413,"zanCount":48,"manualWeight":48,"mainColor":49},214433,"xiu-yuan-tu-2-wang-yun-214433","休园图-2",[23,24,7,29,27,28,132,131,1337,130,97,1813,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffca2ad8d2e65071575f178ce231704c2.jpg",[],{"id":7458,"slug":7459,"title":7460,"dynasty":18,"author":92,"museum":20,"description":93,"tags":7461,"thumbUrl":7463,"material":114,"size":115,"collection":84,"collections":7464,"showCount":47,"zanCount":48,"manualWeight":48,"mainColor":49},232940,"qing-ming-shang-he-tu-juan-zhang-ze-duan-232940","清明上河图卷",[23,164,24,7,25,28,95,27,96,97,98,99,100,101,102,413,103,1744,35,31,36,7462,109,6675,758,105],"舟楫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f05d58052a2ead98a4c56702572a1ed.jpg",[],{"id":7466,"slug":7467,"title":5622,"dynasty":124,"author":223,"museum":224,"description":7468,"tags":7469,"thumbUrl":7471,"material":151,"size":7472,"collection":84,"collections":7473,"showCount":47,"zanCount":1086,"manualWeight":48,"mainColor":49},223350,"shi-nv-tu-ce-yi-ming-223350","画面以仕女为主题。最早见于唐代长沙窑瓷器。宋元时期仕女图较为罕见，这与当时花鸟画盛行有很大的关系.",[23,24,7,59,27,28,96,166,231,331,171,7470],"小草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a51b5949edc9d99b29841d97b4903d4.jpg","12.7×19.1",[],{"id":7475,"slug":7476,"title":7477,"dynasty":1780,"author":7478,"museum":244,"description":7479,"tags":7480,"thumbUrl":7482,"material":66,"size":7483,"collection":44,"collections":7484,"showCount":47,"zanCount":1998,"manualWeight":48,"mainColor":72},220447,"san-gu-cao-lu-tu-dong-zhan-220447","三顾草庐图","董展","本幅绘汉末刘备三顾草庐、邀诸葛孔明出山之故实。画中长松修竹掩翳茅屋，孔明羽扇纶巾、依榻凝思，童仆正应门而出。篱外刘备、关羽、张飞三骑及从者行近，山岭后并见旌旗戈戟微露，人马仍众。画笔轻健秀润，惟上半山岭系后人补笔。幅上无款，依元萨都剌至正甲午之题，定为隋董展所作。然萨都剌之题字与其年款及跋语内容均不合，应为后人作品所伪托。",[23,24,7,27,29,96,101,34,131,758,1023,7481],"人物活动场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31935336d0a9d6d7dd611cbe1a446059.jpg","全幅 43.8x29.5公分，诗塘 17.8x29.5公分",[44],{"id":7486,"slug":7487,"title":7488,"dynasty":18,"author":768,"museum":244,"description":7489,"tags":7490,"thumbUrl":7491,"material":317,"size":7492,"collection":68,"collections":7493,"showCount":47,"zanCount":48,"manualWeight":48,"mainColor":49},219210,"lei-yu-sheng-long-tu-chen-rong-219210","雷雨升龙图","陈容于中国美术史上占有重要一席，“所翁龙”成为后人画龙的典范，倍受国人特别是明清以来画家们的追捧。甚至在日本，几百年来凡有龙图案的画亦绝大部分是仿效陈容。日本著名画家小泉淳作曾由衷地评价道：陈容的龙富有魅力，像真的一样活泼跳动，只有天才才会画出这样的画！\n顺便说一下，陈容不仅擅画龙，还擅长画松、竹、鹤，偶亦画虎，垂老笔力简易精妙，故世有‘所翁龙’、‘所翁鹤’和‘所翁竹’之称。在当时，达官显贵、文人骚客以能得到“所翁龙”而倍感荣幸。以玩弄权术、巧取豪夺而著称的奸臣宰相贾似道，一世搜刮金银珠宝、珍奇古玩无数，然他至死也未能讨到一幅“所翁龙”。",[23,24,7,164,25,128,772,950,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517aa1aaeada469a2fccc91ffd164825.jpg","纵29.6横56.6cm",[68],{"id":7495,"slug":7496,"title":7497,"dynasty":124,"author":125,"museum":300,"description":7498,"tags":7499,"thumbUrl":7500,"material":84,"size":84,"collection":84,"collections":7501,"showCount":7502,"zanCount":1998,"manualWeight":48,"mainColor":72},228913,"zhu-lin-tu-shen-zhou-228913","竹林图","此作以清和笔调铺展水村居境，汀洲之上屋舍错落，竹树环合，幽人静居于内，远山叠石皴法苍润，林木点染清逸。水墨晕染间，江南水滨的空寂雅趣漫溢而出。\n\n左侧题诗与画境相生相契，诗书画印浑融一体，将林下忘机的隐逸襟怀寄于湖山烟霭中。笔致温厚平宁，无一丝奇峭锋芒，恰如诗文所书的清修之态，把文人优游泉石、守拙安闲的意趣缓缓铺陈，淡朴的底色里藏着沉静自足的文人心境，尽显文人画以画载情、诗画共生的意韵。",[23,124,24,7,25,27,128,132,29,167,35,34,131,98,99,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb9ece674ed91c675c84612a3765b50.jpg",[],180,{"id":7504,"slug":7505,"title":7506,"dynasty":124,"author":204,"museum":244,"description":7507,"tags":7508,"thumbUrl":7510,"material":637,"size":908,"collection":84,"collections":7511,"showCount":7502,"zanCount":48,"manualWeight":48,"mainColor":49},228437,"shang-lin-fu-tu-juan-chou-ying-228437","上林赋图卷","此幅图写司马相如上林赋意，卷末并附有署文徵明款之隶书全文。相如此赋乃为献汉武帝而作，以华美靡丽之词句，铺陈颂扬皇家园囿上林苑之堂皇富丽，与天子射猎场面之壮阔伟盛。画中极力描绘各种水陆神兽、奇花异卉，宫殿巍耸，人马迤逶，以见天子声威之浩大。人马树石造型精谨，用笔工细，设色浓豔亮丽，与赡丽之赋文相辉映。此类工笔重设色青绿山水常被标为仇英作品，但应为后人所伪托",[23,24,164,7,25,26,27,28,29,96,97,1144,211,131,34,415,7509,247,99],"近山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c9816e974a23c3473ddacef5f4392ab.jpg",[],{"id":7513,"slug":7514,"title":7515,"dynasty":144,"author":410,"museum":244,"description":7516,"tags":7517,"thumbUrl":7519,"material":66,"size":7520,"collection":136,"collections":7521,"showCount":7502,"zanCount":1998,"manualWeight":48,"mainColor":72},220808,"ju-qu-lin-wu-zhou-wang-meng-220808","具区林屋轴","此幅林画面的此署署名是王蒙以隶书题的「具具」四字，底下明为章画，具区的古时太湖的旧称，故图所表现的是太湖一代的景色。\n全图除了溪石之外，几乎被山石、树木、林间茅舍补充的没有轮廓，这种风格的构图方式在中国流淌的绘画作品中极为重要，开拓出国画构图之奇境。\n王大湖山中截面积，提炼加工，组织这幅极富生活情趣的画面：右富一坡角，数株大并列蒙其间，林下有高士临水而坐，犹如正摄着着橱窗的广告。\n水波荡漾，一人悠闲的划着小船；对岸山脚下，草亭临水而建，一人坐其间看书；山间小路迂回，曲径通幽，数栋屋宇内参差落于山谷，有妇女活动其间。\n内山石用「牛毛皴」与解索皴」干笔皴擦，多曲折旋转之笔，以突显出太湖中央山石的颜色；染则用墨与色直接染，丹崖碧树，一派秋日山水景象。",[23,24,7,165,27,29,132,131,99,34,97,1955,499,7518],"木屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc40016c952c57aef101aaa6107539940.jpg","该幅68.7x42.5公分，诗塘25.2x42.2公分，全幅74.3公分",[136,45],{"id":7523,"slug":7524,"title":7525,"dynasty":980,"author":5076,"museum":7526,"description":7527,"tags":7528,"thumbUrl":7529,"material":7530,"size":84,"collection":84,"collections":7531,"showCount":7502,"zanCount":1998,"manualWeight":48,"mainColor":72},220587,"hua-he-kun-chong-qi-bai-shi-220587","花和昆虫","Hwajeong Museum","这幅长卷以兼工带写之法绘就，泼墨挥写折枝花草，葫芦藤蔓蜿蜒豪放，墨叶酣畅淋漓，牵牛、萱花、海棠设色明妍鲜活，笔意朴拙老辣，尽显秋花野逸生机。\n工笔草虫穿插其间，蟋蟀、天牛、蜻蜓、蛱蝶皆纤毫毕现，翅脉通透轻薄，肢体灵动鲜活，将小虫的灵动神态刻画入微。大写意的烂漫朴拙与工笔的精细雅致相映成趣，把乡郊秋日的鲜活野景凝于卷上。搭配古雅题款与篆刻，整体意趣天然浑融，将乡野小景化作文人雅韵，尽显独有的花鸟意致。",[23,164,24,7,25,27,128,28,369,61,547,806,6855,1038,548,549,481,608,6856,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39df443cbe832b9d4633286bff1506d1.jpg","color on paper",[],{"id":7533,"slug":7534,"title":7535,"dynasty":18,"author":397,"museum":244,"description":7536,"tags":7537,"thumbUrl":7538,"material":173,"size":84,"collection":42,"collections":7539,"showCount":7502,"zanCount":1998,"manualWeight":48,"mainColor":72},219191,"song-zhi-huang-li-zhao-ji-219191","松枝黄鹂","黄鹂栖于松枝，喙微张似欲啼鸣，羽色暖润如凝脂，翼尖墨痕利落，尾羽晕染出自然层次。松针以劲挺线条勾勒，疏密有致，苍劲中见清逸。古绢底色沉雅，衬得禽鸟鲜活灵动，仿佛能闻其婉转之声。笔墨精工却不刻板，于细节处藏着对生命的细腻体察，尽显宋画工致与生机交融的雅致韵致，将瞬间的灵动定格为永恒的诗意。",[23,164,24,7,59,28,27,61,1144,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74de9e3f8a19ac72f67df2bc65ede2d5.jpg",[42,68],{"id":7541,"slug":7542,"title":7543,"dynasty":18,"author":620,"museum":450,"description":7544,"tags":7545,"thumbUrl":7547,"material":173,"size":84,"collection":42,"collections":7548,"showCount":7502,"zanCount":1998,"manualWeight":48,"mainColor":49},219008,"shuang-e-tu-zhao-chang-219008","双鹅图","画面中央下方画着两只鹅，黑白相间的鹅蹲在前面，转头拂动羽毛，纯白的鹅蹲在后面，脖子弯曲，都是自然舒适的状态。",[23,164,24,7,165,28,27,61,7546],"鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78c1b4c1ebc02a4130ffab5754faea5d.jpg",[42,68],{"id":7550,"slug":7551,"title":7552,"dynasty":18,"author":7553,"museum":300,"description":7554,"tags":7555,"thumbUrl":7556,"material":692,"size":1293,"collection":84,"collections":7557,"showCount":7558,"zanCount":48,"manualWeight":48,"mainColor":49},287569,"jiang-shan-lou-guan-tu-gao-qing-ban-yan-wen-gui-287569","江山楼观图（高清版）","燕文贵","此图绘长江两岸初冬始雪时景色，是将山水、人物相结合的一件画作。画卷上，寒风凄厉，初雪纷飞，江岸小桥，渔人行旅，浩瀚江水，涟漪层层，枯树黄芦迎风摇曳。苦于生计的渔民们，或驾着小舟穿梭江面，或架设网罟捕鱼，或卷起裤脚在冰冷的浅水处布网，衣单裳薄的纤夫逆风拖船，骑驴奔波的商旅在寒风中瑟缩着身子艰难前行，寒冷之景，宛然在目。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣，天空则用洒粉法弹出轻盈飘舞的飞雪，技法颇为别致。",[23,164,24,7,25,128,29,496,7409,37,97,34,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9c0dcc60066b1e64a74cc691d005bae.jpg",[],179,{"id":7560,"slug":7561,"title":7562,"dynasty":351,"author":7563,"museum":244,"description":7564,"tags":7565,"thumbUrl":7568,"material":84,"size":84,"collection":84,"collections":7569,"showCount":7558,"zanCount":1116,"manualWeight":48,"mainColor":49},226697,"jiang-xing-chu-xue-tu-quan-juan-zhao-gan-226697","江行初雪图全卷","赵干","《江行初雪图》是五代时期画家赵干创作的一幅绢本水墨设色画作，现收藏于台北故宫博物院。\n《江行初雪图》全卷描写长江沿岸渔村初雪情景。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣。",[23,164,24,7,25,27,28,7566,1337,1824,129,1350,99,96,1557,1614,7567,1351,33,303],"江岸","初雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea9bf6aaac2d8f3ea6e83d5b869ee5c.jpg",[],{"id":7571,"slug":7572,"title":7573,"dynasty":18,"author":2067,"museum":56,"description":7574,"tags":7575,"thumbUrl":7576,"material":514,"size":7577,"collection":42,"collections":7578,"showCount":7558,"zanCount":1086,"manualWeight":48,"mainColor":49},221596,"xue-shu-han-qin-tu-li-di-221596","雪树寒禽图","此图描绘了覆雪的竹叶，轻染薄雪的棘枝，以及悄立枝头栖息的伯劳。图中山坡以粗笔勾出，写一丛衰草，更添雪意。双勾写竹、树干，敷色渲染。雀鸟以没骨及勾勒相结合绘出，写实生动。对于积雪的表现，直接将白粉厚涂在枝干与竹叶上，表现出积雪压枝的凝重感，清空灵逸。\n此图绘写寒气凛冽的深冬，天空中飘扬着霏霏絮雪，山野坡地上一枝落尽残叶的棘树在寒风中挺立。一丛修篁傍树而生，积雪的竹叶依然清翠晶亮。在这冷寂的雪天里，一只孤单的伯劳鸟，似乎倦于飞翔，在这里暂且栖息，它安详地停立在枝头上。凝视着微茫的雪色",[23,24,164,7,165,28,27,1556,1337,355,276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1115e9ff920959c5d8924f9a138d9fa.jpg","纵115.7厘米，纵52.8厘米",[42,68,45],{"id":7580,"slug":7581,"title":7582,"dynasty":18,"author":7583,"museum":244,"description":7584,"tags":7585,"thumbUrl":7586,"material":637,"size":7587,"collection":42,"collections":7588,"showCount":7558,"zanCount":48,"manualWeight":48,"mainColor":49},221295,"lin-wang-wei-wang-chuan-tu-guo-zhong-shu-221295","临王维辋川图","郭忠恕","郭忠恕(？-977)五代末期至宋代初期的画家，〔北宋〕字恕先，又字国宝，洛阳(今属河南)人 。\n兼精文字学、文学，善写篆、隶书和“八分体”，以楷书最为著名。 尤其“界画”为世人推重。“界画”是随着山水画发展而派生的一科，主要是画与山水画中有关的亭台楼阁、舟船车舆。《圣朝名画评》中评他的界画，为“一时之绝”，列为“神品” 。\n工书，诸体皆能。曾有人得鸟迹篆，忠恕一见辄诵如宿习。清刘熙载《艺概.书概》称：“忠恕以篆古之笔溢为分隶，独成高致。”传有《三体阴符经》、《汗简》、《佩觽》等书。其画风画技在当时和后世有较大影响。",[23,164,24,7,25,330,95,28,27,29,97,98,99,129,130,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9412112e9f8005e3d515619ffe65d029.jpg","幅30.5x368.5公分，隔水一8.5公分，引首30.5x84公分，隔水二8公分，隔水三1.5公分，拖尾 30.5x279公分，隔水四1.7公分，隔水五8.9公分",[42,136,117],{"id":7590,"slug":7591,"title":7592,"dynasty":18,"author":1622,"museum":244,"description":7593,"tags":7594,"thumbUrl":7597,"material":173,"size":7598,"collection":68,"collections":7599,"showCount":7558,"zanCount":48,"manualWeight":48,"mainColor":72},219203,"mei-zhu-shan-zhi-tu-ma-yuan-219203","梅竹山雉图","此图突出一个“简”，着墨甚少，然而笔精墨妙。图中梅树一棵，翠竹一枝，孤石一块，以简练的笔法画之，虽梅枝不多，怒张而有放射之态；翠竹柔姿与梅媲美；作者以浓墨大斧劈及丁头鼠尾画法相结合，石块质坚、方硬。只有图中的山雉，作者用笔精练，神彩俱牛，雄雉身上的背羽部分黑斑点，在银光闪烁的白羽上更黑更突出红脸上的黑眼，显得很有神态，黑颈白肚中夹着红色的胸羽，是画面中最能令人注目的视点。一只小小雌雉依偎在旁，更显雄者的威武，虽只有这一对雉，却使画面点缀得有声有色。",[23,24,164,7,1131,27,28,128,132,167,371,7595,171,7596,61],"山雉","枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eef8b55514c8cfe1d3ed17f0508b497.jpg","纵24.1厘米，横25.2厘米",[68,42],{"id":7601,"slug":7602,"title":7603,"dynasty":144,"author":410,"museum":77,"description":7604,"tags":7605,"thumbUrl":7606,"material":66,"size":7607,"collection":136,"collections":7608,"showCount":7558,"zanCount":48,"manualWeight":48,"mainColor":49},218024,"zhi-chuan-yi-ju-tu-wang-meng-218024","稚川移居图","《稚川移居图》为立轴，设色纸本。描绘了东晋葛洪携带家眷移居罗浮山，修道炼丹的故事。罗浮山位于今天广东省博罗县境内。葛洪，字稚川，号抱朴子，东晋道教学者、著名炼丹家。画中骑在牛背上的葛洪，身穿道袍，神情专注于手中的书卷，边走边看，全然不顾随他同行的家人。他身后，妻子和两个孩子同骑在牛背上，小的抱在怀里，大的坐在身后。随葛洪夫妇一起移居的，还有他的仆人们，他们或提着鸡笼，或牵着牛羊，或挑担负重，把生活必备之物搬运到山上。一路崇山峻岭，飞瀑流泉，几间茅草屋掩映在深山之中，屋前的庭院里，先行到达的仆人，在打扫庭院，迎候主人的到来。画面非常有感染力。",[24,7,1349,165,27,132,29,96,101,34,497,35,690,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1563a446791d46548d1f313e5337c941.jpg","120x54cm",[136],{"id":7610,"slug":7611,"title":7612,"dynasty":18,"author":223,"museum":244,"description":7613,"tags":7614,"thumbUrl":7615,"material":173,"size":7616,"collection":45,"collections":7617,"showCount":7618,"zanCount":1105,"manualWeight":48,"mainColor":49},219187,"hua-wang-tu-yi-ming-219187","花王图","深红牡丹层叠如绮，凝脂染霞般盛放，花叶脉络分明，翠色欲滴。彩蝶翩跹其间，或停驻瓣尖，或振翅穿叶，灵动如生。下方拳石皴法古拙，纹理苍劲，与柔艳花簇相映成趣。笔墨工致却不刻板，设色浓妍而不失清雅，于绚烂中藏静穆，富贵气里透逸韵。一花一叶皆含生机，蝶影石姿俱见匠心，尽显宋代花鸟画状物传神之妙，仿佛能闻暗香浮动，触花叶温润，堪称工笔花鸟的典范之作。",[23,24,164,7,165,28,27,61,263,481,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e51ff66eaeeb48311a78d2dc98d048e.jpg","117.2x72.3公分",[45],178,{"id":7620,"slug":7621,"title":7622,"dynasty":18,"author":2257,"museum":244,"description":7623,"tags":7624,"thumbUrl":7625,"material":173,"size":7626,"collection":44,"collections":7627,"showCount":7618,"zanCount":1998,"manualWeight":48,"mainColor":49},216969,"yu-wang-kai-shan-tu-juan-zhao-bo-ju-216969","禹王开山图卷","赵伯驹，是中国宋代画家。他的作品《禹王开山图卷》是一幅著名的山水画，是他最著名的作品之一。\n\n《禹王开山图卷》画中描绘的是禹王开山垦沼的故事，以及禹王统治时期的生活和文化。画面上的人物和建筑都极具细致和生动，山水风光也非常优美。\n\n赵伯驹的画风风格独特，他擅长用细腻的线条勾勒出各种题材，并运用浓淡自然的墨色，使画面充满生机和活力。《禹王开山图卷》是宋代著名的山水画之一，被视为赵伯驹的代表作。",[164,24,7,25,26,27,28,132,29,96,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ff12f946a0ce4f72da37bbe835ca4f7.jpg","35x221.1",[44],{"id":7629,"slug":7630,"title":7631,"dynasty":54,"author":5879,"museum":244,"description":5880,"tags":7632,"thumbUrl":7634,"material":66,"size":84,"collection":84,"collections":7635,"showCount":7618,"zanCount":48,"manualWeight":48,"mainColor":72},214857,"xie-sheng-ce-7-hua-yan-214857","写生册-7",[24,7,59,27,28,61,2644,7633,2438,806,208],"蝉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ba9d88617d284f8015ae6e16d9ed3fb.jpg",[],{"id":7637,"slug":7638,"title":1951,"dynasty":54,"author":1952,"museum":20,"description":7639,"tags":7640,"thumbUrl":7641,"material":514,"size":7642,"collection":84,"collections":7643,"showCount":7644,"zanCount":1998,"manualWeight":48,"mainColor":49},234328,"song-mei-shuang-he-tu-shen-quan-234328","此画为作者晚年之作，笔触细致工整，造型生动准确，技法出自明代而又极具个人风格，笔墨工致，敷色浓艳，注重渲染，形象逼真，富有立体感。劲健、流畅的线条，细密的局部勾画，完美的画面构图，令人难以看出此乃年已古稀之人的手笔。",[24,7,164,165,28,27,61,372,371,722,131,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36593b35e7fbbcd65293d043000633a0.jpg","191cm×98.3cm",[],177,{"id":7646,"slug":7647,"title":7648,"dynasty":144,"author":7649,"museum":20,"description":7650,"tags":7651,"thumbUrl":7652,"material":1722,"size":7653,"collection":117,"collections":7654,"showCount":7644,"zanCount":1998,"manualWeight":48,"mainColor":72},221834,"qing-bi-ge-mo-zhu-tu-zhou-ke-jiu-si-221834","清閟阁墨竹图轴","柯九思","本幅自识：“至元後戊寅十二月十三日，留清閟閣，因作此卷。丹丘生題。”钤“柯氏敬仲”。\n竹，由于被传统文人赋予了“虚心异众草，节劲逾凡木”的人格象征，因此，自宋代文同等人倡导始，到元代已成为极受欢迎的绘画题材。从技法上看，有勾勒填色的“画竹”与墨笔写意的“写竹”之分。此图即属于“写竹”一路画法。柯九思曾主张：“画竹写干用篆法，枝用草书法，写叶用八分或用鲁公撇笔法。”（《珊瑚网·画跋·卷八》）观此图画法，拳石皴法浑厚，实源于董巨一派，而墨竹则全法文同。作者以淡墨写干，用笔挺拔圆浑，宛如篆书，竹节两端再复垂墨，不勾节却连属自然。竹叶行笔沉着稳健，一如后人形容他的墨竹 “大叶长梢动冕旒”，以深墨为面，淡墨为背，正是源自文同。（米芾曾言：“……（画竹）以深墨为面，淡墨为背，自文同始。”）再加上劲健的小枝穿插其间，使丛竹于庄重、淳厚之中显示出活脱的生韵。",[23,24,7,128,165,167,171,208,64,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82d0dc87b7672540a9fb1c0aaa1a8915.jpg","纵132.8cm，横58.5cm",[117,1670],{"id":7656,"slug":7657,"title":7658,"dynasty":18,"author":92,"museum":244,"description":7659,"tags":7660,"thumbUrl":7662,"material":27,"size":7663,"collection":42,"collections":7664,"showCount":7644,"zanCount":1116,"manualWeight":48,"mainColor":49},221319,"qing-ming-yi-jian-tu-juan-zhang-ze-duan-221319","清明易简图卷","在画卷尾端的山石上有“翰林画史臣张择端进呈”签名，台湾中研院刘渊临认为其代表“金人入主汴京时的短时间风格”。北宋风俗画作品，北宋画家张择端所作。它生动地记录了中国十二世纪城市生活的面貌，是一幅举世闻名的现实主义风俗画卷。",[23,164,24,7,25,28,95,188,27,96,36,1743,97,104,103,6675,31,34,758,1746,2656,7661],"宋代风貌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ad2dad2c8025aad97b6171fce959ff9.jpg","该幅 38x673.4公分；隔水一 38x14.5公分；引首一 38x98.5公分；隔水二 38x14.3公分；引首二 38x50.9公分；隔水三 38x14.2 公分；隔水四 38x14.2公分；拖尾一 36x50.8公分；隔水五 14.2公分；拖尾二 28.2x55.2公分；隔水六 14.2公分。",[42,45],{"id":7666,"slug":7667,"title":7668,"dynasty":144,"author":1208,"museum":244,"description":7669,"tags":7670,"thumbUrl":7671,"material":637,"size":7672,"collection":136,"collections":7673,"showCount":7644,"zanCount":48,"manualWeight":48,"mainColor":72},220790,"zi-zhi-shan-fang-tu-zhou-ni-zan-220790","紫芝山房图轴","《元倪瓒紫芝山房图轴》是元末明初画家倪瓒所创作，水墨画河岸、疏树、竹林和小亭，对岸山峦起伏，构图简洁，具清逸萧疏之趣。此幅墨色淡雅，现藏于台北故宫博物院。\n《元倪瓒紫芝山房图轴》侧笔写山石轮廓，苍劲沉着，画竹之笔尤为遒劲有力，是云林精品。",[24,7,165,128,1349,132,171,130,167,413,415,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eb4dbc8f6b09feeea9d0d31f7abefaf.jpg","80.5x34.8",[136,117],{"id":7675,"slug":7676,"title":7677,"dynasty":18,"author":223,"museum":244,"description":7678,"tags":7679,"thumbUrl":7680,"material":173,"size":84,"collection":42,"collections":7681,"showCount":7644,"zanCount":1116,"manualWeight":48,"mainColor":49},218967,"la-mei-han-qin-tu-yi-ming-218967","腊梅寒禽图","寒汀疏影里，腊梅枝桠斜逸，点点白花似凝着清霜，在冷寂中透出淡香。岸畔山茶红萼灼灼，与枯瘦的梅枝相映，暖了一帧冬景。两只水禽悠游浅波，羽色素净，颈间一抹白如落雪，姿态闲逸得像在细品风的轻语。远处山影淡如烟岚，天际归鸟三两，更衬出天地的旷远。\n\n笔墨细腻却不刻意，草木的情态、水禽的姿态皆得自然之趣。宋人的心境藏在这帧画里：于寻常冬景中撷取宁静与生机，让清寂时光浸着温润诗意——没有浓墨重彩的渲染，却以极简的笔触，将冬的清寒与生命的从容，凝成了可触摸的温润。",[23,164,24,7,28,27,61,371,3238,171,414,4278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6a6138737b9901f57872732e5659ef9.jpg",[42,68],{"id":7683,"slug":7684,"title":7685,"dynasty":54,"author":7686,"museum":244,"description":7687,"tags":7688,"thumbUrl":7689,"material":278,"size":7690,"collection":318,"collections":7691,"showCount":7644,"zanCount":975,"manualWeight":48,"mainColor":72},214231,"shi-xie-shi-he-chao-214231","食蟹诗","何焯","墨痕清润，笔锋起落间藏着严谨法度，却不失灵动之致。结体端稳如磐石，笔画牵丝若隐若现，似蟹螯轻张的意趣。诗中食蟹的闲雅况味，透过一行行秀逸字迹缓缓流露——仿佛能见案头蟹肥酒暖，挥毫者指尖带笑，将唇齿鲜意与心头闲适，尽数化入横竖撇捺。章法疏朗有致，每字皆经得起细品，既见学者沉稳，又藏文人雅趣，墨香与诗味交织，晕染出一段清隽时光。",[23,64,133,128,165,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf41c7623c0f59c57bcc8df2bec020dc.jpg","136.8x45.6",[318],{"id":7693,"slug":7694,"title":7695,"dynasty":980,"author":7696,"museum":1688,"description":7697,"tags":7698,"thumbUrl":7700,"material":84,"size":84,"collection":84,"collections":7701,"showCount":7702,"zanCount":1998,"manualWeight":48,"mainColor":72},220488,"zhang-da-qian-yu-fei-yin-wang-xue-tao-he-zuo-he-tang-qing-qu-tu-wang-xue-tao-220488","张大千、于非誾、王雪涛合作荷塘清趣图","王雪涛","此作为三家合璧之妙品，以泼墨晕染荷叶，浓淡交织晕开雨后荷塘的氤氲水气，苍润淋漓间尽显池夏清寂雅致。白荷亭亭玉立，带着初经雨洗的舒展柔润，暗吐幽芳。\n上空红蜓振翅悬停，池边青蛙轻跃欲起，草叶间小蜻蜓静立，将初夏荷塘的鲜活生机悄然铺陈。书画相映成趣，题句点透菡萏初发的诗意。\n写意与工笔相融，泼墨的疏朗大气搭配草虫的工致鲜活，把荷塘的幽趣揉入笔墨，静中生灵韵，雅淡见天然，尽显文人意趣与写生妙谛。",[23,24,7,165,27,128,61,168,81,608,7699,82,303,369],"青蛙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7972b04f6b3a1e7149a7f2c832b57a2.jpg",[],176,{"id":7704,"slug":7705,"title":7706,"dynasty":124,"author":1141,"museum":244,"description":7707,"tags":7708,"thumbUrl":7709,"material":278,"size":7710,"collection":136,"collections":7711,"showCount":7702,"zanCount":1105,"manualWeight":48,"mainColor":72},219517,"lan-ting-xiu-xie-tu-wen-zheng-ming-219517","兰亭修褉图","以淡墨白描晕染兰亭雅集，层峦叠嶂纵立画面，古松虬枝苍劲，环护着溪畔兰亭。曲水蜿蜒流淌，士人列坐其侧，或把盏沉吟，或挥毫题咏，将永和雅事鲜活铺展。\n\n笔墨清隽秀雅，山石勾勒细劲简洁，淡皴轻染晕出山林幽寂，尽显内敛雅致的吴门意趣。绢素之上凝住魏晋林下风流，以极简水墨铺陈出旷远清幽的雅集氛围，藏着对古贤风雅的追慕，笔端浸满书卷清韵，将千载前的林下雅兴，晕染成隽永的丹青意趣。",[24,7,165,128,27,29,96,130,99,34,131,208,64,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37ad5f5c5fbcf8cbdb86cdfd03b879c3.jpg","140.3x73.2",[136],{"id":7713,"slug":7714,"title":7715,"dynasty":54,"author":7716,"museum":1941,"description":7717,"tags":7718,"thumbUrl":7720,"material":66,"size":7721,"collection":45,"collections":7722,"showCount":7702,"zanCount":1116,"manualWeight":48,"mainColor":49},219264,"jin-ding-he-mei-tu-gai-qi-219264","金鼎和美图","改琦","画面中仕女群像情态和融，居中者衣袂温婉，手持细物若有所思；旁侧侍女或捧壶侍立，或举灯相照，姿态轻柔。案上金鼎、茶具雅致，衬出闺阁的娴静。线条细劲如丝，衣纹飘逸灵动，设色温润淡雅，发髻钗饰精巧入微。人物间互动自然，暖意融融，将日常闺中场景绘成一幅清丽雅致的和美图卷，尽显清代仕女画的秀逸韵致。",[23,24,7,165,28,27,96,166,7719,1367,169,2144],"侍女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d9eae989c0fdce3e7f5b0ecf0ef7bb.jpg","190 × 67.7 cm",[45],{"id":7724,"slug":7725,"title":7726,"dynasty":54,"author":7727,"museum":450,"description":7728,"tags":7729,"thumbUrl":7730,"material":173,"size":84,"collection":68,"collections":7731,"showCount":7702,"zanCount":1116,"manualWeight":48,"mainColor":49},219033,"mao-tu-ying-zhao-219033","猫图","应召","蜷坐的花猫毛色斑斓，黑褐与橘白交织晕染，绒毛质感蓬松柔软。它回眸的瞬间，瞳仁如墨点般清亮，双耳微竖，似正留意周遭动静。淡赭色的背景上，散落着几枚浅墨点染的细石，简淡中见意趣。画家以细腻笔触捕捉猫的慵懒与机警，线条温婉却不失骨力，色彩雅致而富有层次。画面留白处更显空灵，虽无繁复布景，却于极简中藏生机，仿佛能感受到猫的呼吸与轻缓的尾摆，尽显写生之妙与文人画的雅致意韵。",[23,24,7,165,27,28,1634,949,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d01ae3c172c6d7532860b25005a89da.jpg",[68],{"id":7733,"slug":7734,"title":7735,"dynasty":18,"author":223,"museum":300,"description":7736,"tags":7737,"thumbUrl":7738,"material":84,"size":84,"collection":84,"collections":7739,"showCount":7740,"zanCount":1086,"manualWeight":48,"mainColor":199},227904,"bi-tao-tu-ye-yi-ming-227904","碧桃图页","《碧桃图》是宋代佚名画家创作的一幅绢本设色画，现藏于北京故宫博物院。\n该图绘碧桃两枝，枝上的碧桃花有的吐露盛开，有的含苞欲放。\n花瓣用细笔勾描后多层晕染，富有层次变化和立体感。\n全图用笔精细，设色淡雅，画面虽小，意趣无穷。\n在纨扇面上画红白碧桃两枝，枝上的桃花有的吐露盛开，有的含苞欲放，其花蕾、枝叶互相穿插其间，争奇斗艳，竞相怒放。\n左枝挺干盛开，右枝则斜向争艳，从这两枝繁花簇簇，苞蕾盈枝的描绘中，清香宜人的花味如绢中溢出，感到了春色的浓郁，花木葱郁茂盛的欣欣向荣气象呈现在眼前。\n本幅有：“于”“腾”联珠白文、“阿蒙精赏”朱文。\n宋代的花鸟画，在皇室的倡导下，已发展到了黄金时期。\n对客观物象的观察和描绘已丝丝入微，重“格物、穷理”已成为那一时期花鸟画坛的时尚，花鸟册页是其中的代表。\n该图是散页，已无从查考出处，观其画风，应是南宋初院人作品，是南宋写生作品，画面无款。\n宋人画风崇尚真实自然，在真实中求得词一般的境界。\n该图描绘的是一派春意盎然的景象，表现的是一红一白两枝桃花相互交错，花朵饱满丰盈，枝叶葱郁。\n该图没有繁杂的布势表现，但通过对花、叶、枝及嫩芽的精微生动的描绘，着实传达出春花怒放、春日融融的情意感觉。\n其中，尤以那层层叠叠的花瓣最引人注目，且每个花朵的形态走向各有差异，可以说无论是花朵的局部表现，还是整体的布势都是精彩的。\n该图构图简洁，在许多方面都留有写生的痕迹，比如，花瓣的开合、叶子的正反、刚出的嫩芽等表现，无不鲜活入微。\n然而，这种生活化的写生表现，确丝毫没有影响画家依照情意处理画面平面空间分割的意图。\n可能正是由于这种生活中形状的刺激，使得作者在画面的平面分割中，才采用了扇形分割，扇形成为作品中形状的主基调。\n作品从整体画面的团扇形到每一簇花朵，乃至每一簇叶子都呈各自不同的扇形分割，在这个分割中扇形可谓是变化至极。\n这种扇形能够给人以渐展、开阔的生发感觉，这就吻合了作品的情意内容，即由弱到强的春季桃花的生命气象。\n该图艺术精湛，花枝、花茎、花叶全用双勾。\n勾线细秀，赋色轻清。\n其中花瓣用细笔勾描后多层晕染。\n花叶的筋脉一丝不苟，丝丝入扣，有水分的质感，桃干的勾线，顿挫转折，笔笔中锋，凝重而空灵，富有层次变化和立体感。\n中国美术研究所研究员梁济海：这幅画在艺术手法上与《出水芙蓉》不一样，花枝茎叶全用双勾，不过用笔极为轻细，傅色也很淡雅，碧桃的丰盈、柔嫩和姣好的姿容，形成一种素雅的艺术格调。\n由本幅鉴藏印可知，该图曾经清代鉴藏家于腾收藏，经《中国古代书画目录》第二册著录。\n现藏于北京故宫博物院。",[23,164,24,7,59,27,28,61,209,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F492d139f03f73b41512b3e28ecc1aab5.jpg",[],175,{"id":7742,"slug":7743,"title":7744,"dynasty":326,"author":327,"museum":300,"description":7745,"tags":7746,"thumbUrl":7747,"material":84,"size":84,"collection":84,"collections":7748,"showCount":7740,"zanCount":1105,"manualWeight":48,"mainColor":49},227037,"song-mo-ben-chuan-lie-nv-ren-zhi-tu-juan-gu-kai-zhi-227037","宋摹本 传 列女仁智图卷","《列女仁智图》卷，绢本，墨笔淡着色，纵25.8厘米，横417.8厘米。\n《列女仁智图》卷旧传东晋顾恺之作，此为南宋人摹本。\n汉成帝沉湎于酒色，宠信赵飞燕姐妹，朝政大权旁落于外戚手中，危及刘氏政权。楚元王四世孙光禄大夫刘向（前77－前6年）针对这一情况，采摘自古以来诗书上所记载的贤妃、贞妇、宠姬等资料，编辑成《列女传》一书呈送汉成帝，希望他从中吸取经验教训，以维护刘氏政权。全书按妇女的封建行为道德准则和给国家带来的治、乱后果，分为母仪、贤明、仁智、贞顺、节义、辩通、孽嬖七卷，此即其中“仁智卷”部分。\n仁智卷共收集15个列女故事。此卷为残本，其中“楚武邓曼”、“许穆夫人”、“曹僖氏妻”、“孙叔敖母”、“晋伯宗妻”、“灵公夫人”、“晋羊叔姬”7个故事保存完整。“齐灵仲子”、“晋范氏母”、“鲁漆室女”3个故事只存一半，其余5个故事则全丢失，又错将“鲁漆室女”之右半与“晋范氏母”之左半拼接在一起，使人误以为是一个故事。\n此卷多处保存了汉代的衣冠制度，如男子头戴进贤冠，身着曲线大袖袍，腰结绶带并配挂长剑；女子梳着垂髾髻，身着深衣，特别是眉毛涂以朱色，是模仿赵昭仪的新妆，这些都表现了特定时期的风俗和时尚。又蘧伯玉所乘坐的马车称“轺车”，亦为汉代形制，描绘得非常细致而无错误，这些都可以从大量出土的汉代画像石、砖和壁画中找到与之相应的图象。\n在北魏司马金龙墓出土的漆屏风画《列女古贤图》中，表现卫灵公与夫人夜坐闻马车声的一段，与此卷所表现的同一内容相比较，无论是构图布局还是人物的姿态手势都非常近似，可以证实其与《列女仁智图》同出自一个古本。而在传摩过程中，后者更为忠实于古本原作。\n据《汉书》记载，刘向在向汉成帝呈送《列女传》的同时，还呈送了《列女颂图》，并画为屏风。汉成帝的班婕妤失宠后，在她的诗中曾谈到在宫内看到《列女图》，并以此来鉴戒自己。这些都载在班固所著的《汉书》中。东汉时代的画像石、砖中，有不少表现列女故事的题材。画史并载蔡邕曾创作有《小列女图》。这一时期《列女图》的大量出现，既是出于宫廷政治斗争的需要，同时也是为了在社会上广泛推行妇女的道德教育，借以维护封建秩序。\n根据《列女仁智图》中保存有较多的汉代风俗，以及其构图形式的古朴，推测此卷的原本应当出自于东汉时代，而祖本则为刘向所创。剔除后世在反复传摹中所附加的痕迹，仍然能透视二千年前汉代宫廷绘画的艺术光辉。其人物线条粗犷流畅，造型准确。特别是对妇女的描绘，体态轻盈，婀娜多姿，尤为绝妙。构图布局则与汉画像石一脉相承。《列女传》及《列女仁智图》在宋代有多本，此是被保留下来的惟一的一本，尤为珍贵。",[23,164,24,7,25,188,330,96,101,106,208,64,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60eb1ec8833db63938ad3a1ecbc21f2e.jpg",[],{"id":7750,"slug":7751,"title":7752,"dynasty":18,"author":1091,"museum":20,"description":7753,"tags":7754,"thumbUrl":7755,"material":611,"size":7756,"collection":318,"collections":7757,"showCount":7740,"zanCount":48,"manualWeight":48,"mainColor":72},221310,"zhi-ping-tie-su-shi-221310","治平帖","释文：\n轼启：久别思念不忘，远想体中佳胜，法眷各无恙。佛阁必已成就，焚修不易。数年念经，度得几人徒弟。应师仍在思蒙住院，如何？略望示及。石头桥、堋头两处坟茔，必烦照管。程六小心否，惟频与提举是要。非久求蜀中一郡归去，相见未间，惟保爱之，不宣。轼手启上。治平史院主、徐大师二大士侍者。八月十八日。\n卷末有赵孟頫、文徵明、王穉登题跋。鉴藏印有“商丘宋荦审定真迹”、“吴江张基德载图书”二方。本卷引首有明人所画苏轼像及释东皋妙声所书《东坡先生像赞》。\n此帖是苏轼书写的信札，内容主要是委托乡僧照管坟茔之事。根据帖后赵孟頫、文徵明、王穉登三人之跋可知，此帖当是苏轼于北宋熙宁年间在京师时所作，时年约30余岁。该帖笔法精细，字体遒媚，与苏轼早年书法特征吻合，正如赵孟頫所称“字划风流韵胜”。\n《平生壮观》卷二、《装余偶记》卷二、《盛京书画录》第二册著录。",[23,164,24,7,25,133,188,96,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9babc75fc8a45145c2cd4c01861509d.jpg","纵29.2厘米，横45.2厘米",[318],{"id":7759,"slug":7760,"title":7761,"dynasty":18,"author":1622,"museum":6413,"description":7762,"tags":7763,"thumbUrl":7764,"material":173,"size":7765,"collection":44,"collections":7766,"showCount":7740,"zanCount":1998,"manualWeight":48,"mainColor":49},218409,"yu-le-tu-ma-yuan-218409","渔乐图","山石以斧劈皴斫出棱线，苍松虬枝斜探，似要牵住远山的雾影。水面留白如镜，载一扁舟静泊，船篷半掩着渔获的细碎声响。近岸处两渔者对坐，或执竿轻叩地面，或捧物低语，衣袂随微风舒展，满是江湖散淡的意趣。\n\n马远以“一角”之景框定天地，却让渔樵的闲逸漫出画外——没有庙堂的车马喧，只有松风穿叶、水波轻漾的自在。笔墨简劲却藏着温软，将宋人的雅致与山野的旷达揉作一处：你看那渔者的笑纹，似能触到日光的暖；那松枝的弧度，恰如心尖的舒展。叫观者也想随这舟子，枕着松涛入眠，把尘事都忘在烟水之外。",[24,164,7,128,132,29,96,129,1144,415,3857,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7c4fbdc76e30016d94462c310d63003.jpg","218.2x148",[44],{"id":7768,"slug":7769,"title":7770,"dynasty":144,"author":4034,"museum":56,"description":7771,"tags":7772,"thumbUrl":7773,"material":173,"size":7774,"collection":136,"collections":7775,"showCount":7740,"zanCount":1086,"manualWeight":48,"mainColor":49},218240,"qiu-jiang-chui-diao-tu-sheng-mao-218240","秋江垂钓图","秋江如练，薄雾轻笼远岫，山峦以赭石与青绿晕染，层次叠嶂间透着古雅。苍树虬枝斜倚江畔，枝干间点点残叶暗合秋意，笔墨工致中见清逸，线条勾勒树石之态兼具刚柔。江畔隐者抱膝而坐，垂纶于澄江之上，身影与秋水长天相融，似已忘尘。右侧茅舍旁，一樵者负薪而过，添得江野生趣。整幅画静谧悠远，将元代文人的林泉之志凝于尺幅，笔墨间流淌着清寂与悠然，引人沉醉于这秋江垂钓的闲逸之境。",[24,7,29,27,26,132,96,99,129,1350,1351,331,1233,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60dc44d3fbd45554e56a94f4390b8090.jpg","21.6x22.6cm",[136],{"id":7777,"slug":7778,"title":7779,"dynasty":124,"author":223,"museum":2542,"description":7780,"tags":7781,"thumbUrl":7783,"material":66,"size":7784,"collection":136,"collections":7785,"showCount":7740,"zanCount":1998,"manualWeight":48,"mainColor":49},217914,"fang-ma-yuan-shan-shui-tu-yi-ming-217914","仿马远山水图","仿马远山水图是明朝时期的一种山水画风格，它是以著名画家马远的作品为蓝本进行模仿创作的。\n\n明朝时期，由于对绘画艺术的高度重视，山水画风格得到了很大的发展。马远是当时最著名的山水画家之一，他的作品以其精细的写实技巧和丰富的想象力而闻名。他创作的山水画给人以自然、宁静、雅致的感受，为后世的山水画家提供了很大的启发。\n\n仿马远山水图是在明朝时期由许多艺术家模仿马远的作品创作的山水画。这种山水画风格的特点是注重写实，力求将自然景观如实再现。在这种画风中，山水景观往往是主要的构图元素，山峰、河流、树木等都被描绘得栩栩如生。同时，仿马远山水图也注重用色，使用柔和的色彩来表现自然界的美。\n\n总的来说，仿马远山水图是明朝时期山水画艺术的一个重要流派，其精细的写实技巧和丰富的想象力为后世的山水画家所借鉴和启发。",[164,24,7,25,29,128,132,330,1144,129,415,7782,1022,34,33,1515,37],"近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04ecb12a12eb5a7e8edd5189b39040a.jpg","27.8x96cm",[136],{"id":7787,"slug":7788,"title":7789,"dynasty":18,"author":223,"museum":1941,"description":936,"tags":7790,"thumbUrl":7792,"material":173,"size":7793,"collection":44,"collections":7794,"showCount":7740,"zanCount":48,"manualWeight":48,"mainColor":72},216773,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-216773","摹顾恺之洛神赋图",[23,24,7,25,330,27,188,28,96,166,29,129,97,34,6126,131,7791,211],"异兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc887e713feff7eb3a0e61a93bee81203.jpg","24.2x310.9",[44],{"id":7796,"slug":7797,"title":7798,"dynasty":124,"author":273,"museum":244,"description":7799,"tags":7800,"thumbUrl":7801,"material":278,"size":7802,"collection":136,"collections":7803,"showCount":7740,"zanCount":1105,"manualWeight":48,"mainColor":49},214827,"cao-tang-yun-shu-tu-wang-fu-214827","草堂云树图","这幅画描绘了一个溪边的小屋，一个高士在看喷泉和看书；岩石上潦草地画着荷叶，树干和树叶用各种笔法画着，都是王绂的原创风格。",[23,24,7,165,128,132,29,34,495,499,711,1144,415,37,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3942008c8970d09809b068a18c45de0e.jpg","118x38.7",[136],{"id":7805,"slug":7806,"title":7807,"dynasty":18,"author":223,"museum":465,"description":7808,"tags":7809,"thumbUrl":7811,"material":40,"size":7812,"collection":84,"collections":7813,"showCount":7814,"zanCount":1086,"manualWeight":48,"mainColor":72},223523,"li-hua-ying-wu-tu-yi-ming-223523","梨花鹦鹉图","画面上满是梨花，雪白的碎片，三种绿色，红顶红嘴鹦鹉站在树枝上，俯身闻着梨花的芬芳。 从技术上讲，梨花被涂成白色，茎是浅绿色； 鹦鹉是用每一根粗毛笔画出来的，丝绸蓬松，身体圆润，非常可爱！",[23,164,24,7,28,27,61,1188,7810,208],"鹦鹉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58717acba13d2d5091e6b0c695bb5c0e.jpg","27.6x27.6cm",[],174,{"id":7816,"slug":7817,"title":7818,"dynasty":182,"author":464,"museum":244,"description":7819,"tags":7820,"thumbUrl":7826,"material":253,"size":7827,"collection":44,"collections":7828,"showCount":7814,"zanCount":1105,"manualWeight":48,"mainColor":49},221066,"zhi-gong-tu-yan-li-ben-221066","职贡图","该画描绘的是唐太宗时，婆利国和罗刹国千里迢迢前来朝贡的情景。画中共有二十七人，其中白衣虬髯骑白马的人是罗刹国使者，身后有仆从打着伞执着扇，抬着礼物。左边穿长袍手里托着珊瑚打着伞盖的人是婆利国使者，他的随从也带着各式各样的礼物。整幅画设色淡雅，人物造型奇特，线条流畅自然。",[23,24,7,164,25,28,27,96,7821,101,5472,251,191,7822,7823,7824,1367,7825],"异域人物","推车","随从","伞盖","行进场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782e8b3405f3cc59b7a13648e7f06f67.jpg","纵61.5cm，横191.5cm",[44,45],{"id":7830,"slug":7831,"title":7832,"dynasty":54,"author":7833,"museum":424,"description":7834,"tags":7835,"thumbUrl":7837,"material":173,"size":7838,"collection":44,"collections":7839,"showCount":7814,"zanCount":1116,"manualWeight":48,"mainColor":49},220442,"chun-ye-yan-tao-li-yuan-tu-lv-huan-cheng-220442","春夜宴桃李园图","吕焕成","此图与吕焕成的传世作品《春山听阮图》（现藏旅顺博物馆）、《西溪图》（上海博物馆）的画法相类似，勾皴挺拔秀劲，人物生动细劲，意境幽深，既有“北宗”画法的崇高峻美，也有“南宗”画法的秀润笔致。\n此幅绘李白春夜宴桃李园故事，人物刻画生动，桃园布置幽雅，桃树夭夭，灼灼其华，湖石玲珑，远山壮美。用笔细劲，敷色精诣，吕吉文做为清初吴门画派领军人物，此作名不虚传。",[23,24,7,165,28,27,96,29,209,1314,7836,1421,413],"宴乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25b1cce1cef029536624dbe6f4f8c3e5.jpg","199X96cm",[44,45],{"id":7841,"slug":7842,"title":4860,"dynasty":182,"author":7843,"museum":450,"description":7844,"tags":7845,"thumbUrl":7846,"material":173,"size":7847,"collection":136,"collections":7848,"showCount":7814,"zanCount":1998,"manualWeight":48,"mainColor":956},219766,"qing-lv-shan-shui-tu-li-si-xun-219766","李思训","李思训（651-716，一作653-718）唐代书画家。字建睍，一作建景。出身唐宗室。唐高祖从弟长平王李叔良孙，李孝斌子。陇西成纪(今甘肃天水市)人。唐高宗(650-683)时为江都令，武则天朝(684-704)弃官潜匿，唐中宗朝出为宗正卿，唐玄宗开元初，官至左武卫大将军，因玄宗时官至右武卫大将军，所以被称为“大李将军”。擅画青绿山水，受展子虔的影响，笔力遒劲。题材上多表现幽居之所。传为他的作品有台北故宫博物院藏的《江帆楼阁图》轴，画游人在江边活动，以细笔勾勒山石轮廓，赋重青绿色，富于装饰性。此画虽今被认定为宋人手笔，但可以反映他的画风。他的儿子李昭道，官至太子中舍人，也是著名的画家，人称“小李将军”，秉承家学，亦擅青绿山水，风格工巧繁缛。藏于台北故宫博物院的《明皇幸蜀图》画唐玄宗及随从逃难四川的情形，宋以来相传为他的作品，现被断为宋人摹本。此派的山水风格，在初唐的章怀太子墓和懿德太子墓壁画中亦可看到。",[23,164,24,7,165,26,27,28,95,29,97,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1d907e9ba09310c5bbacf3e00fd591b.jpg","纵 60.70横34.50",[136],{"id":7850,"slug":7851,"title":7852,"dynasty":54,"author":7853,"museum":300,"description":7854,"tags":7855,"thumbUrl":7858,"material":84,"size":84,"collection":68,"collections":7859,"showCount":7860,"zanCount":1998,"manualWeight":48,"mainColor":72},237149,"he-hua-yan-zi-zhou-wang-zhen-237149","荷花燕子轴","王震","此作为大写意花鸟佳作，淡墨晕染荷叶，留白衬出白荷莹润雅洁。荷茎瘦劲挺拔，枯墨点苔尽显苍古意趣。燕子栖于茎杆之上，以浓淡笔墨晕染羽翼，侧目远眺灵动有神，静穆之中暗涌生机。\n\n下方浓墨绘叶，丹色花串垂落，冷暖对比提亮画面层次。左上角题字笔力苍浑朴拙，书画相映成趣，兼具海派写意的纵肆洒脱，亦不失文人水墨的清雅意韵，于极简构图里铺陈夏日荷塘清寂，留白淡墨中尽显通透灵秀，平淡间藏满生机雅趣。",[24,7,165,61,128,27,369,81,7856,82,7857,548],"燕子","花苞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b37c204f1cdc5992283504ca234ed3c.jpg",[68,45],172,{"id":7862,"slug":7863,"title":7864,"dynasty":54,"author":872,"museum":300,"description":6719,"tags":7865,"thumbUrl":7866,"material":692,"size":1293,"collection":68,"collections":7867,"showCount":7860,"zanCount":48,"manualWeight":48,"mainColor":72},235500,"za-hua-ce-zhu-da-235500","杂画册",[24,7,59,128,168,81,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff29ff50245c3b93043a1ab132f67fec.jpg",[68,117],{"id":7869,"slug":7870,"title":7871,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":7874,"thumbUrl":7878,"material":151,"size":7879,"collection":84,"collections":7880,"showCount":7860,"zanCount":48,"manualWeight":48,"mainColor":72},230111,"hong-lou-meng-1-20-sun-wen-230111","红楼梦（1-20）","孙温","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[24,7,28,27,95,96,97,98,167,34,247,249,7875,7876,7877],"门窗","古装","衣饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a76bf1b00182a9d964a3d3a1dfb55de.jpg","纵43.3厘米、横76.5厘米",[],{"id":7882,"slug":7883,"title":7884,"dynasty":54,"author":1952,"museum":300,"description":7885,"tags":7886,"thumbUrl":7887,"material":514,"size":7888,"collection":84,"collections":7889,"showCount":7860,"zanCount":1116,"manualWeight":48,"mainColor":49},223160,"kong-que-yu-lan-mu-dan-tu-shen-quan-223160","孔雀玉兰牡丹图","沈铨（1682—1760）， 其画远师宋代黄家画派，近承明代吕纪，工写花卉翎毛，禽兽，设色妍丽，工致精丽、赋色浓艳，极尽构梁之巧。画面注重写实，画风谨严工细，造型准确生动。",[23,164,24,7,304,28,27,61,248,356,263,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe434c61b051ad12a728a695b4c78c622.jpg","145×84cm",[],{"id":7891,"slug":7892,"title":7893,"dynasty":54,"author":6957,"museum":300,"description":7894,"tags":7895,"thumbUrl":7896,"material":7897,"size":7898,"collection":84,"collections":7899,"showCount":7860,"zanCount":48,"manualWeight":48,"mainColor":72},223091,"hua-niao-tu-li-zhou-ren-xun-223091","花鸟图立轴","任薰(1835-1893)，字 舜琴 ，又字阜长，其父任椿，兄 任熊 都是画家。少丧父，从兄学画，青年时在 宁波 卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、 任预 均从其习画。人物与其兄同师 陈洪绶 ，常用高古游丝、铁线、行云流水、兰叶几种描法。\n任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与 顾文彬 子顾承相友善，曾为设计怡园。 1888年54岁时双目失明，后病卒于苏州。 与任熊、任颐时称三任，合任预为四任，并为 海上画派 代表画家之一。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽(马、羊等)无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 寻常容貌，带有性格的神态，别出心匠。",[23,304,24,7,165,28,27,61,7810,547,413,582,1039],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ea923f5fc4a6a88156616b48b14abb.jpg","立轴 纸本","128x34",[],{"id":7901,"slug":7902,"title":7903,"dynasty":18,"author":449,"museum":20,"description":7904,"tags":7905,"thumbUrl":7906,"material":611,"size":7907,"collection":318,"collections":7908,"showCount":7860,"zanCount":1086,"manualWeight":48,"mainColor":49},220393,"yan-shan-ming-mi-fei-220393","研山铭","《研山铭》与《虹县诗》用力稍过和《多景楼》的颇显急躁相比，此作以闲适纵逸的笔调显示出对所藏研山倍加珍重的得意与自信，点画如刀劈斧斫，气势如虹；粗者大笔如椽，几成块面，如“五、出、极、化”，细者劲似发条，弹槽欲出，如“怪、痕、震”。\n《研山铭》善于在正侧、偃仰、向背、转折、顿挫中形成飘逸超迈的气势、沉着痛快的风格。字的起笔往往颇重，到中间稍轻，遇到转折时提笔侧锋直转而下。捺笔的变化也很多，下笔的着重点有时在起笔，有时在落笔，有时却在一笔的中间，对于较长的横画还有一波三折。勾也富有特色。 侧倾的体势，欲左先右，欲扬先抑，都是为了增加跌宕跳跃的风姿、骏快飞扬的神气，以几十年集古字的浑厚功底作前提，故而出于天真自然，绝不矫揉造作。\n结字自由放达，信手天成，下笔挥洒纵横，跌宕多姿，不受前人羁勒，倾侧之中含稳重，一笔一划都融合在作品的整体精神之中，字字因势生形，字与字之间绝少连属，数字间没有明显的游丝映带，却能一气贯通，显得自然畅达。正是欹侧之势使上下、左右顾盼生情，险绝而生稳，收似欹反正之效。\n在章法布局上米芾借鉴运用了前人的技巧，打破局部的平稀和对称，并以向左倾斜流动的态势，形成一种行距间相互穿插的格局，在动态中求得总体的平衡。通篇时疏时穿，虚实相生，都在有意无意之间。从整体布局上看气象萧森，笔走龙蛇，在跳荡的表象之下，有浑然的整体存在，给人以强烈的对比感，通篇给人以强烈的音乐节奏感、韵律感。\n《研山铭》书体修长，且每个字长短都有变化，没有固定的尺寸，笔法遒媚，通观全篇，其笔迹竟无一处雷同，行中带草，笔势连绵，没有丝毫的飘忽之感，沉着稳重，并无粗涩横野，在圆转流美之中显示出恣肆烂漫、欹侧生姿的美韵",[23,164,24,7,25,133,128,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7374b1f0d39e9aa4bee66efe967e9999.jpg","纵36厘米，横136厘米",[318],{"id":7910,"slug":7911,"title":2381,"dynasty":124,"author":3608,"museum":244,"description":7912,"tags":7913,"thumbUrl":7914,"material":173,"size":84,"collection":68,"collections":7915,"showCount":7860,"zanCount":48,"manualWeight":48,"mainColor":49},219462,"hua-niao-tu-lu-zhi-219462","虬曲苍劲的老梅盘错伸展，柔粉新花缀满枝桠，垂拂的柳丝轻曳，晕开春日的软柔生机。两只白羽鹦鹉或栖或飞，姿态悠然闲适，绿羽鹦鹉俯身探向花枝，翠色翎毛鲜妍亮眼，鲜活灵动。\n\n画作兼取院体工致与文人雅意，墨笔勾勒梅骨古拙苍劲，禽鸟晕染细腻写实，设色柔丽雅致。将花木的清隽幽淡与禽鸟的鲜活灵韵相融，动静交织间，晕开春日独有的悠然闲情，尽显明丽雅致的花鸟意趣。",[24,7,28,27,61,355,7810,211,371,2438,547,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff60450a7cb42a9f747df8719efb27c47.jpg",[68],{"id":7917,"slug":7918,"title":7919,"dynasty":182,"author":6287,"museum":244,"description":7920,"tags":7921,"thumbUrl":7922,"material":151,"size":7923,"collection":136,"collections":7924,"showCount":7860,"zanCount":1116,"manualWeight":48,"mainColor":49},219042,"jiang-gan-xue-yi-tu-juan-wang-wei-219042","江干雪意图卷","这幅画描绘了冬天的河边村庄，雪覆盖了大地，树叶枯萎了，大雁飞过天空，给寂静的村庄带来了活力。卷轴上有四个题字，包括沈周、王鏊（1450-1524）、董其昌和顾从德的题字。王鏊是明代著名的大臣和文学家，他在朝廷任职三十年，为人正直，头脑清晰。后来他回到了苏州，成为一个博学多才的作家，写出了《震泽集》。沈周比王鏊大二十三岁，两人是难忘的朋友，在弘治九年（1496年）文林（文征明的父亲）的宴会上第一次见面，此后诗画成缘，歌声不断。沈周去世后，王鏊写了《石田先生墓志铭》。",[23,24,7,25,128,132,64,133,1556,29,1337,98,99,129,1350,130,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac7c35d3e1ee2820f169b402774623c.jpg","24.8x162.8",[136],{"id":7926,"slug":7927,"title":7928,"dynasty":18,"author":223,"museum":244,"description":7929,"tags":7930,"thumbUrl":7931,"material":173,"size":84,"collection":42,"collections":7932,"showCount":7860,"zanCount":1998,"manualWeight":48,"mainColor":49},218832,"qiu-pu-ting-zhou-tu-yi-ming-218832","秋浦停舟图","这幅画描绘了秋天开阔的河面，青山绿水，两个渔民坐在岸边的一棵老树下，高兴地拿着一壶酒互相问候。这幅画的风格是两岸，笔法、墨法和青绿颜色都可以归入盛懋画派的范畴。",[23,24,7,164,29,27,59,129,96,34,6810,228,6639,171,3428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2edb5d6704f3fcb03ac84af6ce8e6b23.jpg",[42,136],{"id":7934,"slug":7935,"title":7936,"dynasty":351,"author":4456,"museum":300,"description":7937,"tags":7938,"thumbUrl":7939,"material":84,"size":84,"collection":84,"collections":7940,"showCount":7941,"zanCount":1014,"manualWeight":48,"mainColor":49},228384,"guan-wu-shi-nv-tu-zhou-wen-ju-228384","观舞仕女图","松奇石秀的庭院中，仕女们各尽其态，晕开一段闲雅深闺意趣。前景舞女立在红毡之上，扬袖振腕，身姿柔婉灵动，将舞蹈的曼妙尽致展现。侧旁侍女跪坐调鼓，应和节拍，另有仕女相携私语，目光流连。远景榻上仕女斜偎观舞，侍女垂手侍立身侧，尽显松弛慵闲。\n\n画作以铁线描勾勒衣袂裙裾，线条细劲流畅，设色古雅沉静，晕染柔和雅致，将仕女温婉娟秀的仪态，贵族深闺宴乐的慵懒柔靡尽数铺陈，把闺中日常的悠然意趣定格在古绢之上，尽显精工雅致的笔情墨韵。",[23,24,7,165,27,28,96,166,997,438,34,131,247,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeba11e752bd59ac0714e9fc60eac044.jpg",[],171,{"id":7943,"slug":7944,"title":6663,"dynasty":54,"author":1504,"museum":300,"description":2280,"tags":7945,"thumbUrl":7946,"material":637,"size":84,"collection":68,"collections":7947,"showCount":7941,"zanCount":1998,"manualWeight":48,"mainColor":72},223302,"zhu-shi-tu-zhou-zheng-ban-qiao-223302",[23,24,7,165,128,167,171,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f06ed11a80f23832798fc994366a211.jpg",[68,117],{"id":7949,"slug":7950,"title":7951,"dynasty":18,"author":1174,"museum":244,"description":7952,"tags":7953,"thumbUrl":7954,"material":317,"size":7955,"collection":42,"collections":7956,"showCount":7941,"zanCount":1998,"manualWeight":48,"mainColor":49},220237,"zuo-shi-kan-yun-tu-li-tang-220237","坐石看云图","画中物象安排较多，与一般南宋山水画半边留白模式略有差异。但仔细观察画面，不难注意其中仍具有一巧妙的斜向构图手法。依此斜向虚线，左上与右下半两部呈现出有趣的虚实对照关系。右下两位人物着宽袍濯足，望向左上侧景致。这一佳景林木繁盛，嶙峋山岩以青绿添墨染成，又间以赭石增添色彩变化。于李唐〈万壑松风图〉的逼真山石质感，揉入赵令穰小景的细腻情调，距北宋山水特色不远。",[23,24,7,164,29,96,171,950,331,132,128,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6df661a9b20032e251b879ebfce45eb8.jpg","27.7x30",[42],{"id":7958,"slug":7959,"title":7960,"dynasty":124,"author":7961,"museum":244,"description":7962,"tags":7963,"thumbUrl":7964,"material":278,"size":7965,"collection":68,"collections":7966,"showCount":7941,"zanCount":1998,"manualWeight":48,"mainColor":72},218849,"xing-hua-xi-que-tu-qian-gu-218849","杏花喜鹊图","钱谷","杏花开于春日，枝头上飞来一只喜鹊，寓有喜报春讯之意。画花写鸟之笔墨雅淡润厚，并有沈周文征明之遗韵。",[24,7,165,27,61,2167,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2af34acb04865ee01aff2df0f861c9af.jpg","116.6x34.3cm",[68],{"id":7968,"slug":7969,"title":7970,"dynasty":18,"author":449,"museum":244,"description":7971,"tags":7972,"thumbUrl":7973,"material":278,"size":7974,"collection":318,"collections":7975,"showCount":7941,"zanCount":1116,"manualWeight":48,"mainColor":72},218543,"shu-lun-shu-mi-fei-218543","书论书","此帖是关于宋代四大书法家真迹的一部分，虽无行书，但被公认为米芾真迹。此帖也是米芾 尊晋重唐 的书法理念的体现，他推崇晋国书法家，贬低唐国书法家。米芾判断的最高境界是 简单而天真。与米芾在其他书中的反复变化相比，此帖沉稳内敛，有深沉的晋国韵味，他主张的审美规范是一致的。",[7,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cf4c420e92725c7fca687156352387b.jpg","24.7x37",[318],{"id":7977,"slug":7978,"title":7979,"dynasty":144,"author":145,"museum":7980,"description":7981,"tags":7982,"thumbUrl":7984,"material":66,"size":7985,"collection":136,"collections":7986,"showCount":7941,"zanCount":1998,"manualWeight":48,"mainColor":49},218258,"shan-xi-fang-dai-tu-huang-gong-wang-218258","剡溪访戴图","云南省博物馆","《剡溪仿戴图轴》为黄公望晚年所作，描绘的是晋代著名书法家王羲之访问友人戴逵的故事。王羲之行船至剡溪，被途中雪景所吸引，一路慢行欣赏，在他将要到达目的地时，觉已尽兴，于是返回而未见友人。图中，蜿蜒溪水中有一叶小舟正使出村庄，小舟中坐有一人，拢袖御寒，船夫正用力划桨。\n整幅画面萧瑟寂冷，寒气逼人。画中山石、枯枝以“留白”的形式来表现被大雪覆盖，岩石上以浓墨点写枯树枝桠，更显萧瑟。山石堆叠，结构繁复，但用笔简洁，以淡墨为主，只在山石间的深凹处略加枯墨皴擦，空灵之感油然而生。山脚下庭院积雪，空无一人，更显寂寥。",[24,164,7,128,132,29,131,129,34,97,1337,1813,7983,387,499,1557,415,6790],"崖壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F087820b95e4e9ded3f3d19b0cdb20388.jpg","76.6x55.3cm",[136],{"id":7988,"slug":7989,"title":7990,"dynasty":18,"author":7991,"museum":244,"description":7992,"tags":7993,"thumbUrl":7998,"material":173,"size":84,"collection":44,"collections":7999,"showCount":7941,"zanCount":1116,"manualWeight":48,"mainColor":49},216731,"wen-ji-gui-han-tu-chen-ju-zhong-216731","文姬归汉图","陈居中","旧传是是南宋宁宗时代的宫廷画家陈居中所画。此一题材在南宋初年，相当地流行。原因是北宋灭亡时，徽宗、钦宗两位皇帝和一干后妃们，均遭金人所挟持。情况和文姬当年的际遇，颇为类似。描绘文姬归汉的故事，正好符合了南宋臣民祈盼皇帝归来的心情。",[23,24,7,25,28,27,96,29,101,34,131,7994,7070,7995,7996,7997,2621],"旌旗","骑兵","车驾","郊野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ccb7fb1bc626b0b7aa8fc314796013.jpg",[44],{"id":8001,"slug":8002,"title":8003,"dynasty":124,"author":125,"museum":20,"description":8004,"tags":8005,"thumbUrl":8006,"material":734,"size":8007,"collection":84,"collections":8008,"showCount":8009,"zanCount":1998,"manualWeight":48,"mainColor":72},234144,"nan-shan-zhu-yu-tu-shen-zhou-234144","南山祝语图","《南山祝语图》是刻画韩世光所居的“云堂”，韩氏先世为良相，本人为良医，均有泽于世。画面中心主人盘坐在云堂外的石台上，专心守护着丹灶，即点出了韩氏的身份和居处。云堂并无云气缭绕，然阶下栖立仙鹤，周围环以松竹，也显示此堂是营建在山巅云端之间。这种境界有力地衬托出了主人公的品行。沈周此“幽居庄园”类题材的写实山水，无论是表现苏州文人隐居的茅屋斗室或描绘精致幽雅的山庄园林，无论简陋还是宏阔，都强调清宁的环境和舒适的情致，以寄托文人的理想和品格。所取景致，既基于对客观环境的提炼概括，又寓有一定象征意义，或传情达意，或比喻人品。",[23,24,7,25,27,29,2132,132,133,64,663,228,130,34,131,711,1023,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1f94f80c3cca93e96c5b2aa322b36d0.jpg","31.5x156.6cm",[],170,{"id":8011,"slug":8012,"title":8013,"dynasty":54,"author":1242,"museum":300,"description":8014,"tags":8015,"thumbUrl":8016,"material":611,"size":8017,"collection":68,"collections":8018,"showCount":8009,"zanCount":1116,"manualWeight":48,"mainColor":72},222707,"mei-hua-tu-li-zhou-jin-nong-222707","梅花图立轴","水墨绘梅树枝杆，中间淡墨皴染，外部浓墨晕染，粗壮遒劲；古梅细枝繁多，每一枝枝头皆花朵绽放，红色花朵娇艳欲滴，红花丛中绿叶渐渐长开，一个春天即将到来。",[23,24,7,165,128,27,371,582,650,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5d44ddc3ccfb0f322631c48caa18fc7.jpg","61cmx33cm",[68,45],{"id":8020,"slug":8021,"title":8022,"dynasty":18,"author":2099,"museum":2068,"description":8023,"tags":8024,"thumbUrl":8025,"material":3785,"size":8026,"collection":42,"collections":8027,"showCount":8009,"zanCount":1116,"manualWeight":48,"mainColor":49},221409,"wei-mo-ju-shi-xiang-li-gong-lin-221409","维摩居士像","李公麟（149～116），北宋舒州人（今安徽桐城人），宋代杰出画家。\n字伯时,号龙眠居士，(149-116)享年五十七岁。\n熙宁三年(公元17年)进士。\n李龙眠即李公麟，字伯时，安徽桐城人，因桐城有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。\n长于诗文，行楷书有晋人风。\n与、、、为至交，系驸马之座上客。\n熙宁三年（17）中进士，为中书门下省删定官，后官至朝奉郎。\n元符三年（11）病痹告老，居家乡桐城龙眠山，号龙眠居士。\n一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。\n人物、道释深得旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。\n能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。\n李公麟做官三十年，也是他的艺术逐渐成熟，成为名画家的时期：这一时期也正是王安石变法失败，转入史称“朋党”之争的时期。\n李公麟和的关系很好，熙宁七年以后，王安石失势，退居，曾与李公麟同游，并赠诗四首，但同时，李公麟和反对王安石的等关系也很密切。\n李公麟和、、等人同是驸马家的座上客。\n他们在王诜家里的聚会曾被纪录在李公麟画的《》（现存各种摹本）中，米芾也为此写了一篇文章。\n他们十几个人在王诜家的花园中饮酒、作诗、写字画画、谈禅、论道等等。\n这是他们交游的第一个时期，是在苏轼被黜，离开汴梁去杭州作官以前。\n元丰二年（公元一○七九年）苏轼因作诗遭祸，陷入险境，王诜也被株连，据说李公麟在街上遇见苏家人，就以扇遮面，因而受到人们的讥笑。\n李公麟和等人第二次交游是在哲宗元祐年间，那时已经去世，正是旧党短期得势，而苏轼又恢复了自己的政治地位的时候，李公麟又画了第二幅《》。\n苏轼和的诗集中载多首赠诗和称赞他作品的诗。\n李公麟对于古代的美术修养极深。\n对古器物和古文字具有知识，曾摹绘古代的铜器并加以考订，他参加了整理皇家收藏的古器物的工作。\n他的父亲李虚一收藏古代画迹很多，他都进行临摹，并且也临摹了很多他人收藏的名迹。\n他保存了很多自己临摹前代名画的副本。\n他的绘画才能，首先表现 在他的题材的多样性上。\n他擅长鞍马、佛像、人物和。\n他在临摹古人名迹中掌握了绘画技法，而越出古人的技法。\n李公麟擅长画马和人物。\n他画的人物，据说能够从外貌上区别出“廊庙馆阁、山林、闾阎臧获、台舆皂隶”等社会各阶层人的特点，并能分别出地域和种族的具体特点，及动作表情的各种具体状态。\n他的艺术创造有生活现实性为基础，所以他敢于追求新的表现。\n他敢于突破前人的定式，画长带观音，飘带长过一身有半，还画过石上卧观音，这些都是他创造的新式样。\n他的创造性还表现 在他对题材的理解上，他画“观自在观音”，不是按照一般流行的坐相，他说“自在在心，不在相”，不必限制于某一固定的坐相，而是另创一种他认为能表现出心情自在的坐相。\n他画的“归去来辞”一诗把表现的重点放在正在思维中的神态上，不在一般化的描写田园松菊等自然风物，而注重描绘“临清流处”——发人深思的流水。\n李公麟画汉代的将军夺了胡人的马逃回来，在马上引弓瞄准追骑，箭锋所指，人马就应弦而倒。\n李公麟自己说，如果是旁人画就要画箭射中追骑了。\n可见李公麟很了解艺术的真实有别于生活的真实，表面上好象不合理，而能产生更强烈的艺术力量。\n他善画人物，尤工画马，称赞他：“龙眠胸中有千驷，不惟画肉兼画骨”。\n《》为其代表作。\n画中五匹大马，由五个人牵引，神采焕发，顾盼惊人。\n用笔简练，马的一举一动，极其细致生动地表现出骏马运动和性情的特征。\n他还发展了“”画法，创造出“扫支粉黛、淡毫清墨”，“不施，而光彩动人”。\n他的作品，保存下来的不多。\n除《》外，尚有《》《》《居士像》《十六小马图》《》《》《》《》《草堂图》《》《明皇演乐图》《农节图》《》《明皇醉归图》《》《汴桥会盟图》《白描罗汉图》《海会图》《》等。\n李公麟画了一幅六七个汉子围在桌旁赌博的《贤己图》，图中人物栩栩如生，其中有一个人伏在桌上，眼盯盆内的骰子，张嘴急呼，这时骰子转到“六”的位置上。\n元符三年（11）告老，居故乡桐城双溪，号龙眠居士。\n他好古博学，善鉴定。\n不仅能画人物鞍马、神仙佛道，也能画花鸟。\n他对传统绘画作过大量的临摹，同时重视写生，敢于独创。\n他的人物能从外貌上区别出身份、地域和性格特点。\n在画法上，他以著称。\n这种善用线描，多不设色的白描，造型准确，神态生动，这样就把传统的线描造型方法推进到一个新的水准。\n对其后代影响很大。\n他画的山水，亦有创格。\n工行、楷书，有晋、宋之风。\n后人论其作画“以立意在先，布置缘饰为次”。\n还长于考古。\n存世作品有《》《临苇偃牧放图》《九歌》《免胄图》《居士像》等图。\n《》，纸本浅设色，纵29.厘米，横22.5厘米。\n现为日本私人收藏。\n李公麟善于画马，“每欲画，必观群马，以尽其态”。\n《》就是李氏根据写生创作的。\n每匹马各有一人牵引。\n人、单线勾出比例准确，动作生动，清晰地表现出肌肉骨骼的结构，身体的重量感、软硬质感，乃至光泽印象，可代表他画的水准。\n尤见画中马匹、人物的生动神态，不愧为传世杰作。\n画后有跋。\n李公麟(149-116)，北宋著名画家。\n字伯时，号龙眠居士。\n神宗熙宁三年进士，历泗州录事参军，以陆佃荐，为中书门下后省删定官、御史检法 。\n李龙眠即李公麟，字伯时，祖籍舒州（今安徽桐城）， 桐城北乡龙眠山，李公麟归隐于山下，所以又自号龙眠居士或龙眠山人。\n神宗熙宁三年进士，历泗州录事参军，以陆佃荐，为中书门下后省删定官、御史检法。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。\n长于诗文，行楷书有晋人风。\n与、、米芾、为至交，系驸马之座上客。\n熙宁三年（17）中进士，为中书门下省删定官，后官至朝奉郎。\n居京师十年不游权贵之门，以访名园荫林为乐。\n元符三年（11）病痹告老，居家乡龙眠山，号龙眠居士。\n一生勤奋，作画无数，人物、史实、释道、士女、、鞍马、走兽、花鸟无所不能，无所不精。\n人物、道释深得旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得正传；着色山水追李思训心法；画马过。\n能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。\n传世作品有《》卷，现藏；《》卷、《维摩演教图》藏故宫博物院；《赤壁图》《蜀川胜概图》流往美国；《莲社图》轴（南宋摹本）藏南京博物院。\n李公麟是北宋时期一位颇具影响的名士，其绘画为当世第一。\n《》第七卷在评论他的作品时赞曰：“（龙眠）尤工人物，能分别状貌，使人望而知其为廊庙、馆阁、山林、、闾阎、臧荻、占舆、皂隶。\n至于动作态度、颦伸俯仰、大小善恶、与夫东西南北之人才分点画、尊卑贵贱、咸有区别，非若世俗画工混为一律。\n贵贱研丑止以肥红瘦黑分之。\n大抵公麟以立意为先，布置缘饰为次，其成染精致，俗工或可学焉，至率略简易处，则终不近也。\n”称“其神与万物交，智与百工通”。\n清初大家评李公麟：“自龙眠而后未有其匹，恐前世顾（恺之）、陆（探微）诸人亦所未及也。\n”而邓椿在他的《》里说：“画今古一人而已，以予观之，伯时既出，道玄（）讵容独步。\n”因此，李公麟笔下“扫去粉黛、淡毫轻墨、高雅超逸的画，被后人称为”天下绝艺矣”。\n在中国绘画技法中，线描是最有特色的技法之一，而纯用线条和浓淡墨色描绘实物的白描画法，可以说是线描技法发展的最高、最纯的阶段。\n而李公麟正是在这艺术浪尖上的弄潮儿，他使白描技法成为后人学画所遵从的样板典范，“犹如群龙之首”千百年来代代相传。\n北宋的人物画，其构形技法，到北宋后期为李公麟（149年-116年）发扬光大，线条健拔却有粗细浓淡，构图坚实稳秀而又灵动自然，画面简洁精练，但富有变化；题材广及人物、鞍马、、花鸟，既有真实感，又有文人情趣，而且所作皆不着色，被称作“大师”。\n《》和《》标志着单线勾勒的技法在中国绘画艺术中的巨大成就。\n单线勾勒的写实能力在于它有可能表现对象的形体、质感、量感、运动、空间。\n所以单线勾勒是一种效果明显而高度简洁的描绘技法。\n李公麟是一个卓 越的现实主义艺术的大师。\n他在绘画史上的地位尚有待更细致的分析，他创造了富于概括力的真实而鲜明的艺术形象，他掌握极优美的提炼形象的能力和表现技巧。\n但是他之选取非现实性的题材的倾向和追求一种与的生活密切联系的细腻的趣味，都说明他的艺术中蕴藏了一个危机。\n北宋的人物画，著名者有的《朝元仙仗图》，清秀娴丽，气度恢弘，而其构形技法，到北宋后期为李公麟发扬光大，线条健拔却有粗细浓淡。\n《五马图》为其传世佳作，纸本墨笔，纵29.厘米，横225厘 米，无名款。\n图以白描的手法画了五匹西域进贡给北宋朝廷的骏马，各由一名奚官牵引。\n每匹马后有宋黄庭坚题字，谓马之年龄、进贡时间、马名、收于何厩等，并 跋称为李伯时（公麟）所作。\n五匹马各具美名，令人遐想，依次为：凤头骢、锦膊骢、好头赤、照夜白、满川花，而五位奚官则前三人为西域装束，后两人为汉人。\n五匹马体格健壮，虽毛色不一，姿态各异，但显得驯养有素，极其温顺。\n五个奚官则因身份不同，或骄横，或气盛，或谨慎，或老成，举手投足，无不恰如其分。\n李龙眠画罗汉渡江，凡十有八人。\n一角漫灭，存十五人有半，及童子三人。\n一人值纸坏，仅见腰足。\n一人携杖，衣袂翩然，若将渡而无意者。\n一人凝立远望，开口自语。\n一人跽左足，蹲右足，以手捧膝作缠结状；双屦脱置足旁，回顾微哂。\n一人坐岸上，以手踞地，伸足入水，如测浅深者。\n者九人：一人以手揭衣，一人左手策杖，目皆下视，口呿不合。\n一人脱衣，双手捧之，而承以首。\n一人前其杖，回首视捧衣者。\n两童子首发鬅鬙，共舁一人以渡。\n所舁者，长眉覆颊，而怪伟如秋潭老蛟。\n一人仰面视长眉者。\n一人貌亦老苍，伛偻策杖，去岸无几，若幸其将至者。\n一人附童子背，童子瞪目闭口，以手反负之，若重不能胜者。\n一人貌老过於伛偻者，右足登岸，左足在水，若起未能。\n而已渡者一人，捉其右臂，作势起之。\n老者努其喙，缬纹皆见。\n又一人已渡者，双足尚跣，出其屦将纳之，而仰视石壁，以一指探鼻孔，轩渠自得。\n按：罗汉於佛氏为得道之称，後世所传高僧，犹云「锡飞」、「杯渡」。\n而为渡江，艰辛乃尔，殊可怪也。\n推画者之意，岂以佛氏之作止语默，皆与人同，而世之学佛者，徒求卓诡变幻、可喜可愕之迹，故为此图，以警发之与？昔人谓太清楼所藏吕真人画像，俨若孔、老，与他画师作轻扬状者不同，当即此意。\n的，性质上就是「看图作文」。\n作者体会到李龙眠人物画运笔传神，寓意含蓄的特点，对画面形象的记叙，也多攫住人物的自然神情。\n描写人物虽仅寥寥数语，却能得其精神。\n写方渡的罗汉，那种离岸涉水时敛神屏息的神情，及至中流时勉为其难的神情，去岸不远时庆幸欣喜的神情，描摹细腻，栩栩如生，并且凸显罗汉的不胜其苦。\n至于未渡的五个罗汉（其中一个，因纸坏仅见腰足），也极力描写他们各自不同的神态：一个是临渡而无意，一个是逡巡而观望，一个写出他决心初下的愉悦神情，一个描写入水将渡前的审慎心理。\n对这一组人物的刻意描写，也是为了衬托渡江的艰难。\n已渡者怡然自得的神态，实际上也是对渡江艰难的一种反衬。\n作者对於李龙眠画作「在心不在相」，著重人物内在精神的刻画，可谓深得其旨。\n从52岁辞官归故里之后就再也没有离开过家乡了，最后在故里去世，安葬在县城东南的磐石圩。\n李公麟（149～116），北宋舒州（今安徽桐城）人。\n有“独步中国画坛”、“宋画第一”等美誉。\n关于他的绘画，奇闻逸事颇多。\n传得最广的是他画马。\n公麟的马画得好是出了名的，为了画马，他常常去马厩中一呆就是一天，有一次皇宫御苑来了西域进贡的宝马，他来此画马，画成后，马却死了。\n人都说那马是被公麟摄了精魄去了。\n难怪他的马画得出神入幻。\n东坡有云：“龙眠胸中有千驷，不唯画肉兼画骨。\n”弄得后来管御马的小吏见了公麟就紧张，生怕他来画马，又把马给画死了。\n李公麟除了画画，还是个官员，他在政治上似乎没什么建树，在朝中似乎也是个没派别的人。\n在他做官的时候，正是苏东坡和王安石闹新旧党争的时候，但他既非新党又非旧党，他和苏、王二人都是朋友。\n这也许正是他艺术家气质的表现。\n不过，细数起来，他最要好的朋友还是苏东坡和黄庭坚。\n《苏轼诗选》里面就有《》和《》，这“戏书”和“画马试院”就可看出他们之间的友谊已经超出一般的官场交往，而是至交了。\n三个人都是考官，在科举考试的间隙李公麟画马，苏、黄二人题诗其上，岂不是忙里偷闲，情趣盎然。\n李公麟晚年因为身体不太好，回到了故里桐城龙眠山安度晚年，还建了一处大气的庄园叫做龙眠山庄。",[23,164,24,7,165,187,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53504efddd52e59c86dadee4e5abf751.jpg","纵91 2厘米，横51 4厘米",[42,44,117],{"id":8029,"slug":8030,"title":1418,"dynasty":18,"author":397,"museum":244,"description":8031,"tags":8032,"thumbUrl":8033,"material":151,"size":8034,"collection":42,"collections":8035,"showCount":8009,"zanCount":1998,"manualWeight":48,"mainColor":49},221331,"wen-hui-tu-zhao-ji-221331","该画作描绘的是文人学者以文会友饮酒赋诗的场景。园林中绿草如茵，雕栏环绕，树木扶疏，九名文士围着坐在桌子的周围，树下立谈的二人，另外有童仆侍从者九人，人物姿态生动有致，呈现出文人学士饮酒赋诗畅谈之景。",[23,24,164,7,28,27,96,34,2145,251,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a52bb2f5e40f63f9d730b696f39f122.jpg","纵184.4厘米，横123.9厘米",[42,136,45],{"id":8037,"slug":8038,"title":8039,"dynasty":54,"author":55,"museum":244,"description":1007,"tags":8040,"thumbUrl":8043,"material":27,"size":8044,"collection":68,"collections":8045,"showCount":8009,"zanCount":1116,"manualWeight":48,"mainColor":72},220984,"yin-xing-li-fang-yun-shou-ping-220984","银杏栗房",[23,24,7,59,60,27,28,8041,8042,624,230],"银杏","栗房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff79d66c05b6bf9a17cc28bba35d1c764.jpg","50.8厘米",[68,45],{"id":8047,"slug":8048,"title":8049,"dynasty":144,"author":1346,"museum":244,"description":8050,"tags":8051,"thumbUrl":8052,"material":611,"size":8053,"collection":117,"collections":8054,"showCount":8009,"zanCount":1998,"manualWeight":48,"mainColor":72},220770,"mo-zhu-ce-wu-zhen-220770","墨竹册","《元吴镇墨竹册》是吴镇创作的水墨画，作品创作于元代，作品所画的是墨竹。页高403厘米，宽52厘米。现藏于台北故宫博物院。\n吴镇曾说的墨竹之法：“疏不至冷，繁不至乱，翻向正背，转侧低昂，雨打风翻，各有法度”。 吴镇的墨竹把文学意蕴融入到艺术表现手法中，开创了文人画重意蕴之风，使中国文人画得到了关键性的发展，加深了文人画的思想内涵和潜在表现力，起到了承前启后的重要作用。之后的姚绶、文征明、唐寅等名家均不同程度受到了他的影响。特别是清代后期的蒲华，在继承了吴镇墨竹飘逸高傲之气的同时，又在“形”、“韵”两方面下功夫，使以竹为题材的艺术创作和审美情趣在清末达到了又一个高峰。明代文学大家陈继儒在《梅花庵记》中写道：“先生书仿杨凝式，画出入荆关董巨，初虽无意于啖名，而品格既真，则身价自不能压之使下，画苑推元四大家必屈指先生”，充分说明了吴镇在画坛上的公认地位。\n吴镇生于南宋灭亡次年，当时抗元气氛仍很浓厚，再加上元朝知识分子地位的骤降，使得他只能通过艺术作品来抒发心中的强烈感触与不平。墨竹是文人画中的常见题材，吴镇的墨竹则是中国画史上的极品，其成就甚至超过他的山水画，为后人留下了诸多传世佳作以及丰富的理论论述。\n吴镇的墨竹理论大约可分为三个部分：一是对竹子人格化的认识，这是他创作的原动力；二是画竹者的心境；三是具体的技法。他认为，画竹不仅要展现竹子的外在形态，更要显现其内在风骨和精神，反映更高的旨趣。他将竹子作为自身人格的真实写照，赋予其虚心劲节、直竿凌云、高风亮节的深刻寓意；在用笔时不求工细，只讲究写意神似，重在抒发自己的主观情趣：譬如生长于绝处的竹子，彰显的是处劣境不改其节，居陋地不扰平淡之心的君子风范；空山野地之竹则如隐士巢父、许由般高洁脱俗，远离浊世。吴镇正是将这种种体会与感受，自然而又随意地融入到自己的作品中，展现出多姿多彩的墨竹神韵。\n吴镇笔下的诸般墨竹姿意潇洒，可谓极尽竹之生态与情意：春夏秋冬、晴雨风雪、俯仰横斜皆各不相同。他运用墨的浓淡粗细，将竹的干、节、枝、叶描绘得繁而不乱、疏密有致；特别是采用浓、淡、破、焦、湿等方法把墨分为七色，将竹子的萧瑟灵性、远近枯荣表现得淋漓尽致、层次无穷。除了强调总体法度之外，吴镇还对细微处的技巧颇有研究。他认为画墨竹要分为干、节、枝、叶四个方面：“而叠叶至难，于此不工则不得为佳画矣”；画竹时须“下笔要劲，节实按虚起，一抹便过，少迟留则必钝厚不銛利矣”，画叶时应竭力避免“精似桃叶，细如柳叶，孤生并立，如又如井，太长太短，蛇形鱼腹，手指蜻蜓”等“疏密偏轻，使人厌观”之病。",[164,24,7,128,59,369,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ed6606134c966f2275eb0bcfe36c8f6.jpg","纵40.3厘米，横52厘米",[117,1670],{"id":8056,"slug":8057,"title":8058,"dynasty":54,"author":646,"museum":244,"description":647,"tags":8059,"thumbUrl":8062,"material":66,"size":653,"collection":84,"collections":8063,"showCount":8009,"zanCount":1998,"manualWeight":48,"mainColor":72},219873,"er-shi-si-fan-hua-xin-feng-tu-tong-hua-yu-mai-hua-dong-gao-219873","二十四番花信风图-桐花与麦花",[24,7,59,27,28,64,133,8060,8061,230,62,624,208],"桐花","麦花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb86962c9013f1d6120ae7f94813ca0.jpg",[],{"id":8065,"slug":8066,"title":8067,"dynasty":124,"author":1058,"museum":224,"description":8068,"tags":8069,"thumbUrl":8071,"material":278,"size":8072,"collection":44,"collections":8073,"showCount":8009,"zanCount":586,"manualWeight":48,"mainColor":72},219700,"jiao-ye-shui-nv-tu-tang-yin-219700","蕉叶睡女图","唐寅是明中叶时期重要的人物画家，他多才多艺，不仅擅长画人物画，在文学、山水、花鸟，书法都有卓越的成就。唐寅，字子畏，另字伯虎，晚号六如居士，1470年出生于苏州，卒于1524年，与祝允明、文徵明、徐祯卿并称“吴中四才子”。\n明代仕女画的人物造型在经过魏晋时期的秀骨清像，隋唐的丰肥腴丽，宋元的端庄矜持后，逐渐变为明艳清瘦、削肩狭背。而唐寅作为“明四家”之一，他的仕女画师承唐代传统，飘洒高雅，人物造型优美，细巧秀逸，成为明代仕女画的典型代表。\n唐寅仕女画独特的艺术风格在中国美术史上有一定的地位，其绘画的风格对后世人物画的发展与创作有着重要影响，在各种拍卖会上也经常崭露头角。",[23,24,7,25,188,128,133,208,96,166,8070],"蕉叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F511b3649559e91e7d9b4530da531e4c8.jpg","纵20.3cm，横61.0 cm",[44],{"id":8075,"slug":8076,"title":8077,"dynasty":144,"author":569,"museum":8078,"description":8079,"tags":8080,"thumbUrl":8082,"material":173,"size":8083,"collection":136,"collections":8084,"showCount":8009,"zanCount":1086,"manualWeight":48,"mainColor":49},218439,"song-shui-ou-meng-tu-zhao-meng-fu-218439","松水鸥盟图","沃雪斋","远处山峰高耸，云雾缭绕，近处河面宽阔，岸边三个高大粗壮的白衣古松文士坐在树荫下，悠闲地望着两只白鸥在芦苇和水面之间相互呼应。人物面容古雅，衣冠楚楚，笔墨沉雄。",[23,24,7,4057,27,26,29,1144,99,8081,96,131,666],"鸥鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54c8c63b2cb7b75579753f1fc9c80340.jpg","150x95cm",[136],{"id":8086,"slug":8087,"title":8088,"dynasty":54,"author":3403,"museum":300,"description":8089,"tags":8090,"thumbUrl":8092,"material":692,"size":1293,"collection":84,"collections":8093,"showCount":8094,"zanCount":48,"manualWeight":48,"mainColor":72},289915,"sui-chao-qing-gong-tu-li-zhou-wu-chang-shuo-289915","岁朝清供图立轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,164,7,165,128,27,61,371,374,171,251,64,208,3114,62,8091],"盆栽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30fcfb6589c3a3e4729c4a0a67ce3c16.jpg",[],169,{"id":8096,"slug":8097,"title":4229,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":8098,"thumbUrl":8099,"material":692,"size":1293,"collection":84,"collections":8100,"showCount":8094,"zanCount":1116,"manualWeight":48,"mainColor":72},239440,"hua-niao-ce-yun-shou-ping-239440",[24,7,59,27,60,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3627af4cb98f39b311d922f9322c36.jpg",[],{"id":8102,"slug":8103,"title":8104,"dynasty":54,"author":8105,"museum":20,"description":8106,"tags":8107,"thumbUrl":8108,"material":84,"size":84,"collection":68,"collections":8109,"showCount":8094,"zanCount":1116,"manualWeight":48,"mainColor":72},236628,"zi-teng-you-yu-zhou-yun-qing-236628","紫藤游鱼轴","恽青","此作以没骨法绘就，上方紫藤柔枝舒展，翠叶敷色清润，紫白花穗垂曳，似有暗香浮动，搭配题诗更添文韵。下方水面澹澹，数尾游鱼摆尾穿行，笔墨简逸却将悠游之态尽显。\n\n静立的花木与灵动的游鱼相映成趣，整作设色雅致柔和，笔意秀润空灵，将花下观鱼的闲逸禅意晕染开来，尽显文人清雅意趣，淡而有味，余韵悠长。",[24,7,165,27,28,61,80,2059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a686f222042b05ac0a21c956e3be3d9.jpg",[68,45],{"id":8111,"slug":8112,"title":8113,"dynasty":18,"author":313,"museum":244,"description":8114,"tags":8115,"thumbUrl":8120,"material":637,"size":8121,"collection":318,"collections":8122,"showCount":8094,"zanCount":48,"manualWeight":48,"mainColor":72},221283,"ba-su-shi-huang-zhou-han-shi-shi-huang-ting-jian-221283","跋苏轼黄州寒食诗","《黄州寒食诗卷跋》是黄庭坚在苏轼《黄州寒食诗帖》后写的一段跋语，此跋历来为人们所珍视，与原帖合称“双璧”。《寒食帖跋》表现了“黄书”的基本艺术特点。《跋文》用笔锋利爽截而富有弹性。其字写得藏锋护尾，纵横奇崛，其长笔画波势比较明显。由于黄庭坚善于把握字的松紧，因此形成了中宫收缩而四周放射的特殊形式感，人们也称其为辐射式书体。在布局上，《跋文》常从欹侧中求平衡，于倾斜中见稳定，因此变化无穷，曲尽其妙。从局部看，一行字忽左忽右，但从整体看，呼应对比，浑成一体。此跋给人以神情饱满，气势贯通的感受，决无荒率之病，达到了艺术的化境，所以他在最后不无得意地说：“他日东坡或见此书，应笑我于无佛处称尊也”。",[23,164,64,133,611,1326,8116,8117,8118,8119,6269,25,7],"墨书","笔力劲健","结体舒展","顿挫有致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdee18dc5af9010f82b2dba444201b634.jpg","纵34.2公分，横199.5公分",[318],{"id":8124,"slug":8125,"title":8126,"dynasty":144,"author":8127,"museum":8128,"description":8129,"tags":8130,"thumbUrl":8131,"material":173,"size":8132,"collection":68,"collections":8133,"showCount":8094,"zanCount":48,"manualWeight":48,"mainColor":49},219260,"tao-zhu-jin-ji-tu-wang-yuan-219260","桃竹锦鸡图","王渊","山西省博物馆","画面以水墨晕染出清雅意境，锦鸡昂首伫立石间，墨笔勾勒的羽翼间，浓淡层次晕染出如锦似绣的质感，尾羽拖曳如墨色流苏。桃枝蜿蜒斜逸，嫩芽初绽；竹叶疏朗挺劲，与奇崛山石构成疏密有致的布局。几只小鸟或栖于枝头，或振翅欲飞，为静谧添上灵动一笔。\n\n笔墨融工致与写意于一体：山石以斧劈皴显苍劲厚重，花鸟以细劲线条勾形见精致。无艳丽设色，却以墨之五色绘尽自然生机——浓墨点染的枝干、淡墨晕开的花叶、干笔皴擦的岩石，干湿浓淡间尽显文人画的雅致韵致。静穆中藏着蓬勃生气，清雅里透着逸趣，似在诉说元代文人对自然的细腻观照与笔墨风骨。",[24,164,7,61,128,28,27,2123,167,355,171,3238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fade754c62acc1771f2885153f324fff0.jpg","纵162.5横133厘米",[68],{"id":8135,"slug":8136,"title":8137,"dynasty":144,"author":287,"museum":77,"description":8138,"tags":8139,"thumbUrl":8142,"material":173,"size":8143,"collection":68,"collections":8144,"showCount":8094,"zanCount":975,"manualWeight":48,"mainColor":49},219073,"jia-zhu-an-chun-tu-qian-xuan-219073","夹竹鹌鹑图","图中是一个由绿竹和夹竹桃组成的花架，竹子的叶子已经变黄，夹竹桃盛开着粉色和白色的细小花瓣，两只圆圆的、有棕色、白色和黑色羽毛的鹌鹑正在花下进食，一前一后。",[23,24,164,7,28,27,61,8140,8141,230,5472],"鹌鹑","夹竹桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66567dd4c694ac4de660e6f61b5e303d.jpg","54x40cm",[68],{"id":8146,"slug":8147,"title":8148,"dynasty":18,"author":223,"museum":20,"description":8149,"tags":8150,"thumbUrl":8151,"material":514,"size":8152,"collection":42,"collections":8153,"showCount":8154,"zanCount":1116,"manualWeight":48,"mainColor":49},223519,"mei-zhu-shuang-que-tu-yi-ming-223519","梅竹双雀图","绿竹丛中逶迤伸出白梅两枝，清丽冷艳。两只鸲鹆栖于枝头，翘首顾盼。鸟羽用细笔勾描，然后以墨或淡彩晕染，近似“没骨”法。梅花用白粉和淡黄色勾填，层次丰富。竹叶用双勾法勾勒轮廓，再染以花青、汁绿、赭石等色。",[23,24,7,61,28,27,371,167,4117,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F478d67e9c8453c0f58a076b0bb58b8c1.jpg","26x26.5厘米",[42,68,45],168,{"id":8156,"slug":8157,"title":8158,"dynasty":980,"author":8159,"museum":2937,"description":8160,"tags":8161,"thumbUrl":8163,"material":84,"size":84,"collection":84,"collections":8164,"showCount":8154,"zanCount":1086,"manualWeight":48,"mainColor":72},220578,"huang-bin-hong-ben-hua-niao-shan-shui-ce-ye-huang-bin-hong-220578","黄宾虹本花鸟山水册页","黄宾虹","此作以分段折枝花鸟铺陈，各景花木情态自具：牡丹秾艳娇柔，梅枝清癯疏朗，铃兰、山茶各见风姿。以淡彩晕染花萼枝叶，勾勒轻简见笔力，兼具写生之真与写意之逸，既有青藤白阳的纵逸笔意，又自出机杼。题跋书法与花木相映成趣，诗画交融，晕染淡雅却筋骨暗蕴，艳而不俗，淡而不薄，将花木的柔媚与文人画的清雅风骨相融，尽显明清逸格画韵的余味，笔底漾着沉静文心，是极具文人雅致的花鸟小品佳作。",[23,24,7,59,27,28,133,208,61,263,209,376,603,373,374,375,8162,6369],"墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaf98760b63f1afddbdee99352c5f94a.jpg",[],{"id":8166,"slug":8167,"title":8168,"dynasty":18,"author":8169,"museum":300,"description":8170,"tags":8171,"thumbUrl":8173,"material":173,"size":84,"collection":42,"collections":8174,"showCount":8154,"zanCount":48,"manualWeight":48,"mainColor":49},218943,"yuan-lu-tu-yi-yuan-ji-218943","猿鹿图","易元吉","古木虬枝盘曲，浓荫层叠如盖，数只猿猴或攀附枝桠眺望，或倒挂垂藤嬉戏，或蹲踞树间理毛，神态各异，毛发细劲蓬松，尽显野趣生机。树下小鹿昂首抬望，似与枝头猿猴遥遥呼应，动静相生间，溢出山林的清寂悠然。\n\n笔墨工细灵动，树木皴染结合，叶片层叠有致；猿鹿造型精准，细节刻画入微，可见对自然生灵的深察。绢本色调温润古朴，衬出宋画雅致意境，仿佛林间风动，猿啼鹿鸣隐约可闻，将山野悠然意趣凝于尺幅，尽显自然之美与生命之趣。",[23,164,24,7,1131,27,28,8172,2302,413,1314,624,949],"猿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ef6adf05faacf36a9500267f5a38228.jpg",[42],{"id":8176,"slug":8177,"title":8178,"dynasty":54,"author":1242,"museum":77,"description":8179,"tags":8180,"thumbUrl":8181,"material":278,"size":84,"collection":68,"collections":8182,"showCount":8154,"zanCount":1116,"manualWeight":48,"mainColor":72},216333,"jin-nong-ba-kai-hua-niao-tu-jin-nong-216333","金农八开花鸟图","八开花鸟图是清朝时期金农所绘的著名图画作品之一。金农是清朝时期著名的画家，他的八开花鸟图是他最著名的作品之一。\n\n这幅画中，金农绘制了许多花和鸟的形象，这些花和鸟形象都非常生动，充满了生机和活力。画中的花和鸟共同组成了一个浓郁的自然风景，让人们感受到花园中的清新与自然。\n\n金农的八开花鸟图被认为是中国画史上的杰作，在当时也广受欢迎，被认为是一幅非常优秀的作品。",[24,128,7,59,61,2372,2123,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f6b3e80250eba394b60f585bca7d31f.jpg",[68],{"id":8184,"slug":8185,"title":8186,"dynasty":144,"author":223,"museum":300,"description":8187,"tags":8188,"thumbUrl":8190,"material":692,"size":1293,"collection":84,"collections":8191,"showCount":8192,"zanCount":48,"manualWeight":48,"mainColor":72},228180,"yong-le-gong-bi-hua-chao-yuan-tu-quan-tu-yi-ming-228180","永乐宫壁画朝元图全图","壁画，墙壁上的艺术，即人们直接画在墙面上的画。作为建筑物的附属部分，壁画的装饰和美化功能使它成为环境艺术的一个重要方面。壁画为人类历史上最早的绘画形式之一。\n早在汉朝就有在墙壁上作画的记载，多是在石窟、墓室或是寺观的墙壁，到了现在结合了现代工艺和文化气息，墙壁作画越来越多元、个性地发展，更多地被人们在装修时应用。",[23,164,24,7,4057,1362,187,27,96,28,8189],"重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876253f354c6f4ded8f8464fd3ee1773.jpg",[],167,{"id":8194,"slug":8195,"title":8196,"dynasty":54,"author":3403,"museum":300,"description":8197,"tags":8198,"thumbUrl":8199,"material":84,"size":84,"collection":84,"collections":8200,"showCount":8192,"zanCount":1116,"manualWeight":48,"mainColor":72},224212,"leng-yan-juan-er-yu-wu-chang-shuo-224212","冷艳捐二玉","此作用笔写意纵逸，水仙以浓淡层次的绿意绘就叶片，线条苍劲舒展，尽显清挺柔韧之姿。白花点缀其间，浓墨点染花心，明暗交织里，将水仙冰肌玉骨的冷艳之气铺陈开来。右侧湖石以泼墨为之，墨色淋漓斑驳，虚实相生间尽显古朴厚重，与水仙的清雅柔润形成刚柔反差。\n全画以书入画，笔力苍浑雅致，借水仙与顽石的组合托物言志，将文人孤傲清逸的品格寄于冷艳花姿中，寥寥数笔便将物象神韵与作者襟怀相融，意韵悠长。",[23,24,7,128,27,369,61,374,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe01fb6c3d805917e235f7564f6f357b2.jpg",[],{"id":8202,"slug":8203,"title":2381,"dynasty":54,"author":1952,"museum":205,"description":7885,"tags":8204,"thumbUrl":8205,"material":84,"size":84,"collection":84,"collections":8206,"showCount":8192,"zanCount":975,"manualWeight":48,"mainColor":49},223165,"hua-niao-tu-shen-quan-223165",[23,24,7,165,28,27,61,603,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe00ca506998e033f25ccdeadf9498bce.jpg",[],{"id":8208,"slug":8209,"title":8210,"dynasty":124,"author":204,"museum":244,"description":8211,"tags":8212,"thumbUrl":8213,"material":637,"size":8214,"collection":84,"collections":8215,"showCount":8192,"zanCount":1998,"manualWeight":48,"mainColor":72},222217,"zhao-meng-fu-xie-jing-huan-cha-tu-juan-chou-ying-222217","赵孟頫写经换茶图卷","画中，画匠出身的仇英尚“古意”，作品以宋代李公麟白描入手，并将色彩溶于线条之中，纤细柔和的画出了松林、竹篱间铺纸作书的赵孟頫，以及与之对坐的禅师，另有一书童手持茶叶。整个画面宁静淡然，秀雅温润，充满禅意。\n画后面的文徵明《心经》是以王羲之的书法名作《黄庭经》的笔法写成，而赵孟頫在求佛问道的过程中也曾多次抄写《黄庭坚》并有作品流传至今。如此看来，文徵明此处所书的《心经》，几乎可以说是赵孟頫风格的再现。",[23,24,7,25,28,27,96,34,131,6640,211,64,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F665c7765f2bce81c38906b328ef48f04.jpg","纵22厘米、横311厘米",[],{"id":8217,"slug":8218,"title":8219,"dynasty":351,"author":1921,"museum":244,"description":8220,"tags":8221,"thumbUrl":8223,"material":253,"size":8224,"collection":136,"collections":8225,"showCount":8192,"zanCount":1998,"manualWeight":48,"mainColor":956},221158,"qiu-shan-wan-cui-tu-guan-tong-221158","秋山晚翠图","此画描绘的是中国北方景色，深谷云林，气壮意长，从中可以看出北方山村的生活气息。该图用笔简劲，线条粗细断续有别，落墨渍染生动，是中国古代山水画中上乘之作。",[23,24,7,165,29,132,27,34,497,495,8222],"秋山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04a2dbf4ef7b6f0a300b3f97262a33e.jpg","横57.3厘米，纵140.5厘米",[136,117],{"id":8227,"slug":8228,"title":8229,"dynasty":54,"author":3820,"museum":8230,"description":8231,"tags":8232,"thumbUrl":8234,"material":278,"size":8235,"collection":117,"collections":8236,"showCount":8192,"zanCount":1998,"manualWeight":48,"mainColor":199},220419,"xi-shan-yin-ju-tu-gong-xian-220419","溪山隐居图","昆仑堂美术馆","画面为宁静秋山，疏林草堂，实中带虚，意境清旷，堪称晚年佳构。上有自题，下有当代名家朱屺瞻鉴藏印。",[23,24,7,165,128,132,29,413,497,3387,8233],"溪水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd095417aca99ae94bd643be38542b71.jpg","11×42.5厘米",[117],{"id":8238,"slug":8239,"title":8240,"dynasty":182,"author":8241,"museum":4840,"description":8242,"tags":8243,"thumbUrl":8244,"material":173,"size":8245,"collection":44,"collections":8246,"showCount":8192,"zanCount":738,"manualWeight":48,"mainColor":49},220267,"wu-xing-er-shi-ba-xiu-shen-xing-tu-liang-ling-zan-220267","五星二十八宿神形图","梁令瓒","此图原分为上下两卷，前半卷画五星，后画二十八宿。此图现只存在五星及“角”至“危”十二宿神形，计17图，应当为上卷。星宿一般都与占卜相关联，而此图将天文，传说和世俗理念组为一体，独树一帜，形成了一种独特的艺术形式。每个星、宿各作一图，或老人，或描绘成女像，或是画成怪异的形象。有的人物骑着牛，有的手中拿着器物，面部特征与表情也各有不同。设色以黄色为基调，另有朱、青、绿、黑各色配合。衣褶、人体和兽身都采用晕染法，稍有立体感。",[23,164,24,7,25,187,28,27,188,96,102,101,949,772,3599],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e3c8239f23b32915d34a24fb6fe3187.jpg","纵27.5厘米，横489.7厘米",[44],{"id":8248,"slug":8249,"title":8250,"dynasty":54,"author":1952,"museum":77,"description":8251,"tags":8252,"thumbUrl":8254,"material":514,"size":8255,"collection":68,"collections":8256,"showCount":8257,"zanCount":48,"manualWeight":48,"mainColor":49},223164,"bai-niao-chao-feng-hou-bu-fen-shen-quan-223164","百鸟朝凤（后部分）","长卷以四季景色变化，绘禽鸟约近三百只，树木百余棵，四季花卉绽放；天空百鸟聚集，地上百花开放，寓意天下一片详和。长卷色彩艳丽，气势恢弘，堪称国之瑰宝。沈铨，字衡之，号南苹，清代画家，其画远师黄筌画派，近承明代吕纪。",[23,164,24,7,25,28,27,211,61,34,131,81,853,1400,62,4363,1144,6640,499,497,248,3835,8253],"花丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e5a549e10ca658a58fc3c8da817825d.jpg","45cm*1600cm",[68,45],166,{"id":8259,"slug":8260,"title":8261,"dynasty":54,"author":5879,"museum":244,"description":5880,"tags":8262,"thumbUrl":8263,"material":66,"size":84,"collection":84,"collections":8264,"showCount":8257,"zanCount":1086,"manualWeight":48,"mainColor":72},214858,"xie-sheng-ce-6-hua-yan-214858","写生册-6",[24,7,59,27,96,188,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd9c91d8855b1b8d5a20426c52f9301b.jpg",[],{"id":8266,"slug":8267,"title":8268,"dynasty":124,"author":125,"museum":20,"description":1048,"tags":8269,"thumbUrl":8270,"material":734,"size":1051,"collection":84,"collections":8271,"showCount":8272,"zanCount":1116,"manualWeight":48,"mainColor":72},233840,"wo-you-tu-ce-qiu-jing-shan-shui-shen-zhou-233840","卧游图册－秋景山水",[164,24,7,59,128,132,29,413,131,98,96,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F904338a5938de41cde644a080fbf2525.jpg",[],165,{"id":8274,"slug":8275,"title":8276,"dynasty":18,"author":223,"museum":244,"description":8277,"tags":8278,"thumbUrl":8279,"material":173,"size":8280,"collection":68,"collections":8281,"showCount":8272,"zanCount":975,"manualWeight":48,"mainColor":72},218397,"hua-fu-rong-tu-yi-ming-218397","画芙蓉图","团扇方寸间，芙蓉绰约生姿。粉白花瓣晕染出柔润渐变，似沾晨露未晞，层层叠叠藏着细腻肌理；几枝花苞微绽，欲语还休。墨绿叶片脉络分明，与沉靛底色相映，更衬花的清妍。笔触细腻如丝，既写实又含韵致，不施浓艳却见雍容，将芙蓉的雅致与生机凝于咫尺。淡粉与深青碰撞，似封存宋时清雅气息，每处细节皆藏匠意，尽显宋画含蓄深厚的审美意趣——不喧不躁，却让观者读懂花叶间流动的温柔与生机。",[23,24,7,59,28,27,373,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d0930e0b70ec605d49251ad17a09093.jpg","21.0x23.5cm",[68],{"id":8283,"slug":8284,"title":8285,"dynasty":18,"author":915,"museum":77,"description":8286,"tags":8287,"thumbUrl":8288,"material":173,"size":8289,"collection":68,"collections":8290,"showCount":8272,"zanCount":975,"manualWeight":48,"mainColor":49},216099,"xuan-lan-tu-lin-chun-216099","萱兰图","萱兰图是中国宋朝画家林椿的代表作之一。这幅画描绘了一座庭院里的萱兰花。萱兰花是中国传统园林艺术中的一种常见植物，它有着精致的花朵和引人注目的花瓣。在萱兰图中，林椿用精细的笔触和细腻的色彩描绘了萱兰花的各个细节，使这幅画充满了生命力和魅力。此外，萱兰图还描绘了庭院里的山水景观，包括山峰、岸边和树木。整幅画浑然一体，充满了和谐和自然的气息。萱兰图是中国宋朝画家创作的杰作，是中国艺术史上的瑰宝。",[164,24,7,61,28,27,817,375,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d2708522fbaf48375edc1d0d665366d.jpg","34.3x27.3cm",[68],{"id":8292,"slug":8293,"title":8294,"dynasty":124,"author":802,"museum":20,"description":8295,"tags":8296,"thumbUrl":8297,"material":173,"size":8298,"collection":44,"collections":8299,"showCount":8272,"zanCount":1116,"manualWeight":48,"mainColor":49},215041,"sheng-an-zan-hua-tu-chen-hong-shou-215041","升庵簪花图","这幅画是艺术家的艺术杰作。人物夸张的造型，活泼的神态，圆润有力的线条，以及背景中老树的虬枝，进一步强调了主人公不羁的个性，显示了陈洪绶成熟期人物画的典型面貌。",[23,24,164,7,165,28,27,96,1337,171,331,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc04b11c9f447e25c6cc519aa5697678e.jpg","143.5x64.5",[44],{"id":8301,"slug":8302,"title":8303,"dynasty":54,"author":5879,"museum":244,"description":5880,"tags":8304,"thumbUrl":8305,"material":66,"size":84,"collection":84,"collections":8306,"showCount":8272,"zanCount":1998,"manualWeight":48,"mainColor":72},214859,"xie-sheng-ce-5-hua-yan-214859","写生册-5",[24,7,59,27,2885,96,331,129,229,2218,6640],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5401460e042e0e8b8e2745377def9863.jpg",[],{"id":8308,"slug":8309,"title":8310,"dynasty":124,"author":223,"museum":300,"description":8311,"tags":8312,"thumbUrl":8316,"material":692,"size":1293,"collection":84,"collections":8317,"showCount":8318,"zanCount":48,"manualWeight":48,"mainColor":956},228414,"shui-yue-guan-yin-zuo-xiang-yi-ming-228414","水月观音坐像","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[805,24,7,27,28,187,96,37,8189,8313,8314,189,8315],"佛教题材","衣纹勾勒","装饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e5ec879dad57cb6f26224e6447e0ea1.jpg",[],164,{"id":8320,"slug":8321,"title":8322,"dynasty":18,"author":397,"museum":244,"description":8323,"tags":8324,"thumbUrl":8325,"material":637,"size":8326,"collection":42,"collections":8327,"showCount":8318,"zanCount":48,"manualWeight":48,"mainColor":49},221337,"chi-tang-qiu-wan-tu-juan-quan-juan-zhao-ji-221337","池塘秋晚图卷全卷","该作品为粉笺本，粉笺新纸时，光洁亮丽，其上尚印有卷草纹图案，是极为珍贵的材质。纸面经过上粉处理，具有不吸水性，乍看之下，笔墨甚为质朴，斑剥古趣。徽宗款识：“天下一人”。",[23,24,7,25,28,188,128,61,211,81,841,1824,303,171,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e4573239b74f372ac19d707d1888ee0.jpg","全图33×237.8公分",[42,68,117],{"id":8329,"slug":8330,"title":8331,"dynasty":144,"author":569,"museum":8332,"description":8333,"tags":8334,"thumbUrl":8335,"material":611,"size":8336,"collection":318,"collections":8337,"showCount":8318,"zanCount":1086,"manualWeight":48,"mainColor":72},220845,"bo-re-bo-luo-mi-duo-xin-jing-zhao-meng-fu-220845","《般若波罗蜜多心经》","甘肃天庆博物馆","赵孟頫一生抄写经书太多，一方面是自己礼佛之需，另一方面也是无形中增加了自己书法功力。此赵孟頫《心经》墨迹行书册，是为中峰和尚抄写的",[23,164,24,7,25,188,133,7322,187,208,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b128cdfa8732b90cc7f3d1ec7d91a42.jpg","26X151cm",[318],{"id":8339,"slug":8340,"title":8341,"dynasty":18,"author":223,"museum":244,"description":8342,"tags":8343,"thumbUrl":8348,"material":173,"size":84,"collection":42,"collections":8349,"showCount":8318,"zanCount":1086,"manualWeight":48,"mainColor":49},220204,"bo-gu-tu-yi-ming-220204","博古图","博古是杂画的一种，后人将图画在器物上，形成装饰的工艺品，泛称“博古”。如“博古图”加上花卉、果品作为点缀而完成画幅的叫“花博古”。 北宋大观宋徽宗命大臣编绘宣和殿所藏古器，修成《宣和博古图》三十卷。后人因此将绘有瓷、铜、玉、石等古代器物的图画，叫做“博古图”，有时以花卉、果品等装饰点缀。“博古图”有博古通今、崇尚儒雅之寓意，常用于书香门第或官宦人家的宅第装饰，这也造成了其在艺术品投资领域中不俗的地位。",[23,24,7,27,28,96,372,1314,371,8344,251,247,2218,1424,2145,8345,8346,8347],"古物","古玩","平台","花木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e71958042d8dd75fd60dcfa63880052.jpg",[42,44],{"id":8351,"slug":8352,"title":8353,"dynasty":144,"author":410,"museum":244,"description":8354,"tags":8355,"thumbUrl":8356,"material":278,"size":8357,"collection":117,"collections":8358,"showCount":8318,"zanCount":48,"manualWeight":48,"mainColor":72},218773,"hua-xi-shu-wu-tu-wang-meng-218773","花溪书屋图","层峦叠嶂如卷舒展，林木葱茏间，溪流蜿蜒穿石而过，花溪的清浅便藏在这潺潺声里。山腰隐现书屋一角，竹窗半启，似有文人临窗对景，墨韵与山风悄然相融。王蒙以解索皴勾勒山石肌理，线条如藤蔓缠石，墨色浓淡相济，将山峦的厚重与草木的清润织成幽深之境。画面繁密却不失空灵，每一处皴擦点染皆见匠心——峰峦层叠、树木错落、书屋静谧，交织出元代文人避世栖居的诗意。山鸟啼鸣仿佛入耳，涧水清香似可轻嗅，尽显山水间的隐逸之趣与笔墨的精妙神韵。",[23,24,7,128,27,132,29,496,34,131,35,499,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe82e97f416bf5d962388fc7adab04d04.jpg","31.2x51.9",[117],{"id":8360,"slug":8361,"title":8362,"dynasty":18,"author":223,"museum":8363,"description":8364,"tags":8365,"thumbUrl":8367,"material":173,"size":8368,"collection":68,"collections":8369,"showCount":8318,"zanCount":1105,"manualWeight":48,"mainColor":72},216748,"jia-die-tu-ye-yi-ming-216748","蛱蝶图页","辛辛那提艺术博物馆","蛱蝶图页是一幅著名的宋朝绘画，被认为是宋朝早期艺术发展的重要代表作之一。这幅画是由佚名艺术家创作的，其名字尚不为人所知。\n\n蛱蝶图页描绘了一只蛱蝶飞舞的场景，画面上的蛱蝶美丽、优美，表现出轻盈、自然的感觉。画中的蛱蝶身体清晰可见，细腻地描绘了蛱蝶的身体结构和色彩。蛱蝶的翅膀上有精细的花纹，使得整幅画充满了生动的艺术气息。\n\n蛱蝶图页是宋朝绘画发展的一个里程碑，它体现了宋朝早期艺术家对自然界的观察和描绘能力的高超。这幅画也是宋朝艺术史上非常重要的一件作品，被认为是宋朝绘画艺术的重要代表作之一。",[23,164,24,7,1131,4437,28,27,61,481,2959,8366,230],"草叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50bde642897008fa269f1fcefa22eeff.jpg","25.4x24.8cm",[68],{"id":8371,"slug":8372,"title":6497,"dynasty":18,"author":223,"museum":8373,"description":8374,"tags":8375,"thumbUrl":8376,"material":173,"size":8377,"collection":68,"collections":8378,"showCount":8318,"zanCount":1998,"manualWeight":48,"mainColor":49},216724,"zhu-que-tu-yi-ming-216724","德国国立民族博物馆","竹雀图是一幅中国宋朝时期的山水画。它的作者不详，因此被称作佚名。这幅画展现了一只竹雀坐在枯竹上，它仰望天空，看起来沉思，非常感人。背景是一片山林，山上有云雾，枯竹上有苔藓。这幅画浓烈的山水意境和出色的线条勾勒，使得它成为了一幅经典的中国画作品。",[23,164,24,7,1131,28,27,61,167,4117,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a620d767f5903f90715fcce25b8448e.jpg","24.1x23.4cm",[68],{"id":8380,"slug":8381,"title":8382,"dynasty":124,"author":125,"museum":300,"description":6472,"tags":8383,"thumbUrl":8384,"material":692,"size":1293,"collection":84,"collections":8385,"showCount":8386,"zanCount":48,"manualWeight":48,"mainColor":72},290928,"jiang-shang-qing-shan-shen-zhou-290928","江上青山",[24,7,59,128,29,132,496,34,2619,690,96,101,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4db2a42b30a37fb39b0e95fca436c6c.jpg",[],163,{"id":8388,"slug":8389,"title":8390,"dynasty":54,"author":1460,"museum":300,"description":8391,"tags":8392,"thumbUrl":8393,"material":84,"size":84,"collection":117,"collections":8394,"showCount":8386,"zanCount":1998,"manualWeight":48,"mainColor":72},235889,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235889","原济黄山游图册","此作用笔疏密相宜，淡墨铺陈烟林远景，以浓墨点染近木。几株杂木高低错立，或繁枝遒劲，或疏桠寥落，极简笔触便写尽枯荣姿态。篱边茅斋素朴安然，黛瓦白墙隐于林间，将江南山居的清寂野趣娓娓铺展。\n\n右上角题诗与画作相映成趣，诗书画印融为一体，禅意漫溢其间。笔墨间藏着春日山居的悠然意趣，把胸中林泉化作纸上丘壑，淡远清和，朴拙天真，观之恍若踏入画中，静赏春景，沉潜于物我两忘的幽谧意境之中。",[24,7,128,59,132,29,413,711,276,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04027f2c689ff46da102ff937cdb3245.jpg",[117,136],{"id":8396,"slug":8397,"title":1280,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":8398,"thumbUrl":8399,"material":692,"size":1293,"collection":84,"collections":8400,"showCount":8386,"zanCount":1086,"manualWeight":48,"mainColor":72},235684,"yun-shou-ping-hua-hui-ce-yun-shou-ping-235684",[24,7,59,27,61,263,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6930bde3108470cfd97757dcaf702f3.jpg",[],{"id":8402,"slug":8403,"title":8404,"dynasty":54,"author":1219,"museum":20,"description":8405,"tags":8406,"thumbUrl":8407,"material":514,"size":8408,"collection":84,"collections":8409,"showCount":8386,"zanCount":48,"manualWeight":48,"mainColor":72},223237,"he-hua-yuan-yang-ren-yi-223237","荷花鸳鸯","虚谷在挽任伯年联中称誉：“笔无常法，别出新机，君艺称极也；天夺斯人，谁能继起，吾道其衰乎。\n”徐悲鸿则将任伯年“定之为仇十洲以后中国画家第一人”（《任伯年评传》），任伯年在近代绘画史上的杰出地位是举世公认的。他的画风新颖生动，风姿多彩，长于设色，于花鸟、人物、山水无所不能，无所不精。以个人成就而言，他的花鸟画最具特色，但从历史角度来衡量，则他的人物画成就更大，这是因为在清末人物画普遍弱化的历史环境中，任伯年显得尤为突出。\n任伯年精于写像，是一位杰出的肖像画家。他的人物画早年师法萧云从、陈洪绶、费晓楼等人，造型夸张奇伟，勾勒灵动，形神毕肖。他的山水画创作不多，但以笔法见长，自具特色。他的花鸟画更具创造性，富有巧趣。他早年以工笔花鸟见长，仿北宋人画法，纯以焦墨钩骨，赋色肥厚，近陈老莲一派。后来吸收了恽寿平的没骨画法以及陈淳、徐渭的写意画法和西洋绘画的技巧，将数者融合为一而又有所变化，形成了兼工带写、明快温馨、简逸放纵的笔调，开辟了花鸟画的新天地，对后世产生了巨大的影响。虽然由于任伯年出身贫寒，读书不多，故与吴昌硕、齐白石相比，画作中蕴涵的文思较乏，缺少一丝画外余音，但就笔法、墨法、结构、色彩而言，任画技巧更为丰富，足资后世借鉴。\n此帧任伯年的《荷花鸳鸯图》写鸳鸯游戏于荷田之中，荷叶硕大如盆，素雅的白莲花散发着幽香。画面以青绿色调为主，清新可人。因系画于熟绢之上，又以用水见长，故色彩交融明快自然，富于生气。笔与笔之间的留白，起到了透气和清醒视觉的作用，斑驳迷离，实非功力深至不能轻达此境。鸳鸯的造型古奥生动，运笔凌利，细节处收拾稳当，简练传神，均是彰显出任伯年独特而高超的绘画技艺之处。",[23,24,7,164,165,27,128,61,81,82,1857,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F354cad584cbfaada75e733228bef455f.jpg","纵138厘米，横42厘米",[],{"id":8411,"slug":8412,"title":8413,"dynasty":18,"author":397,"museum":205,"description":8414,"tags":8415,"thumbUrl":8416,"material":151,"size":8417,"collection":42,"collections":8418,"showCount":8386,"zanCount":1116,"manualWeight":48,"mainColor":72},221328,"wu-se-ying-wu-tu-zhao-ji-221328","五色鹦鹉图","《五色鹦鹉图》是北宋时期宋徽宗 创作的一幅绢本设色画，现收藏于美国波士顿美术馆。\n此图为横卷，画中一只鹦鹉立于一斜枝上，鹦鹉得意自适，似与人语，俏姿可掬。\n正是春光明媚之时，杏枝抽条，白花朵朵，欣欣日上。\n此图是一幅写实性的小品，可以看出徽宗“妙体众形”的深厚功力。\n此卷既有图，又有题句和跋，为赵佶的三绝珍品。\n卷首有清宋荦隶书题款，前段为宋徽宗咏鹦鹉诗一首并序：五色鹦鹉来自岭表，养之禁御，驯服可爱，飞鸣自适，往来于苑囿间。\n方中春，繁杏遍开，翔翥其上，雅诧容与，自有一种态度。\n纵目观之，宛胜图画，因赋是诗焉。\n天产乾犀此异禽，遐陬来贡九重深。\n体全五色非凡质，惠吐多言更好音。\n飞翥似怜毛羽贵，徘徊如饱稻粱心。\n缃膺绀趾诚端雅，为赋新篇步武吟。\n御制御画并书（仅存“制”、“并” 二字及画押）。\n后半部分则画一红颈鹦鹉立千杏枝之上。\n杏花正在盛开，饱满的杏花在枝头次第开放，热烈浓郁，营造出春意盎然、欢快喜悦的精神氛围。\n画卷上钤有元文宗“天历之宝”印，清初戴明说、宋荦藏印及清乾降、嘉庆内府鉴藏印。\n赵佶不是一位好皇帝，然而当时的政治制度以及他统治者的政治地位极大地影响了艺术的发展。\n他痴迷于艺术，并且把自己的爱好推广到社会中，造成一种社会文化现象，使北宋文化在宋徽宗时期创造了一段辉煌，尤其是工笔花鸟画的发展在宋代达到了古代花鸟画历史的顶峰，并开创了花鸟画创作的新时代，对后世的花鸟画产生了深远的影响，《五色鹦鹉图》就是一幅典型的花鸟画。\n据说，宋徽宗在御花园内见一只贡自岭表的别致鹦鹉飞鸣于杏枝间，姿态煞是可爱，遂御笔彩绘，复作诗并序，画了《五色鹦鹉图》。\n在充满了道教神仙思想的徽宗看来，描绘祥瑞之物的工笔花鸟画不但是艺术创作，还是祈祷国家和民族福祉的独特形式，也是治理国家的一种手段。\n他要在大自然中发现那些预示国家运兆的祥禽瑞草，并把它们图绘下来。\n画中的五色鹦鹉的毛色恰好与社稷坛供奉的五色土相近，“五色”为青黄赤白黑，象征着五个方位，亦象征天下。\n宋徽宗正是想用“五色”向诸朝臣表明此系“天产”、“异禽、“非凡质”、乃“样瑞”也。\n宋徽宗羡慕此鸟的“飞鸣自适”，实际是“自由”，这是这位帝王想得都得不到的。\n全枝式构图是花鸟画常见的一种构图方式，即画幅的主要部位摆布几枝全株花木，配以禽鸟或草虫，或烘云托月为其背景。\n花木枝干参差交错，叶片层叠枞深，疏密有致。\n花木下部不露脚根，也不用画山石土坡，使画面的主体物更加突出，重点更为集中。\n《五色鹦鹉图》就是全枝式构图的一个典型代表，画中色彩斑斓的鹦鹉栖息在杏花枝头，营造出一种宁静欢愉的境界。\n这张画是一幅重彩，重彩画画成浓重是方便的，但画得很清灵、透明是不容易的。\n这张画的颜色设计很调和，技巧上厚薄把握得很好。\n在墨的底子上用石绿，因石绿为矿物质颜料，画上容易出现粉气，但它没有这种粉气。\n指鹦鹉背部这一块很淡很薄，笔法显得很生动。\n树枝的勾线很结实，用笔富有变化。\n下笔较重，微露钉头，从上往下勾，如果笔法一样是很死板的，但太不相类又不能成为贯通的一枝，而此画树杆中的钉子头有些明显，有些不明显，很随意，有一种自然变化之妙在其中。\n此图杏树枝条多以淡墨勾勒轮廓，再以极细微多尖锐墨点点苔，枝头嫩绿的叶芽隐隐透出，突出了春天枝条初发生机的柔韧感和树枝坚硬的质地感，枝条安排疏密有致，详略得当。\n杏花或侧或卧，或正或背，或大或小，或蓓蕾初成，或繁华正开，或团簇，或散落，极尽姿态。\n画家先以淡墨勾出花瓣、花蕊轮廓，然后再以白粉层层渲染，花萼则略加勾勒，然后以浅绿敷色，层层包裹，更加映衬突出杏花的繁茂、饱满和热烈，花气鲜嫩浓郁，姿态各异，若从绢上跃然生出。\n鹦鹉为全幅刻画的重点所在，亦是画家着重关注的对象，画中鹦鹉眼睛大而有神，正炯炯注视眼前繁茂的杏花，似乎为欢快的春天气氛所吸引，呈现出欢愉的表情。\n眼睛以生漆点之，呼之欲活，确实倍见精彩。\n鹦鹉羽毛呈五色，黑、灰、红、绿，鲜丽耀日，头呈黑灰色，脖颈呈深红色，翅羽、尾羽呈浅绿色，鲜艳明快的羽毛呈亮色调，为画面增添了温暖的基调。\n鹦鹉露出一足紧紧抓住杏枝，另一足微露脚爪，当为俯视鹦鹉角度所看到的情形，更突出了鹦鹉站立枝头的别样姿态。\n鹦鹉足角质鳞片也悄然画出，不同于羽毛及所立杏枝的质感，更见画家观察的精细，让人不由得驻足留意观赏。\n此画曾著录于《宋中兴馆阁储藏图画记》、吴升《大观录》、《石渠宝笈初编》（卷二十四）诸书中，为《宣和睿览集》中的存世画迹。\n此卷在元代经文宗收藏，明末清初为戴名世所收，又经宋荦收藏，乾隆时收入内府。\n民国初年为山本悌二郎所收，流入日本，著于《澄怀堂书画目录》中。\n山本卒后，他所收藏的《杏花鹦鹉图》不久即流入美国，为波士顿美术馆所收。\n212年11月2日至21年1月日，上海博物馆开展了“翰墨荟萃—美国收藏中国五代宋元书画珍品展”，《五色鹦鹉图》在这次展览中展出。\n217年7月2日，日本东京都美术馆开展了“波士顿美术馆至宝展”，《五色鹦鹉图》在这次展览中展出。\n赵佶（182－115），即宋徽宗，北宋皇帝。\n神宗第十一子，哲宗弟，在位25年。\n即位前历任镇宁军节度使，平江、镇江军节度使等职，先后封宁国公、遂宁郡王、端王。\n崇信道教，自号“教主道君皇帝”。\n南宋绍兴五年（115年），死于五国城（今黑龙江依兰）。\n其书法、绘画颇有造诣，书法自成一家，称“瘦金体”，兼及狂草。\n绘画重写生，尤长花鸟画，存世有《芙蓉锦鸡图》、《池塘秋晚图》。\n并能诗词，著有《宣和宫词》卷，已佚。",[23,164,24,7,25,28,27,61,371,7810,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250806d5c1a5a740cd7a94908d9dccc4.jpg","纵：53.3，横：125.1厘米",[42,68,45],{"id":8420,"slug":8421,"title":76,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":8423,"thumbUrl":8424,"material":692,"size":1293,"collection":68,"collections":8425,"showCount":8426,"zanCount":1116,"manualWeight":48,"mainColor":72},238883,"hua-hui-ce-dong-gao-238883","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），首席军机大臣，上书房总师傅，钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，赠太傅，赐谥号文恭，入祀贤良祠。嘉庆亲写哀诗“只有文章传子侄，绝无货币置田庄”，并亲自拨款建立“董公祠”。",[24,7,59,28,27,61,62,547,747],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5565de81860414a56e206c890dc9266.jpg",[68,45],162,{"id":8428,"slug":8429,"title":8430,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":8431,"thumbUrl":8432,"material":84,"size":84,"collection":136,"collections":8433,"showCount":8426,"zanCount":1105,"manualWeight":48,"mainColor":72},237928,"yuan-ji-shan-shui-tu-zhou-shi-tao-237928","原济山水图轴",[24,128,132,165,7,64,133,208,29,98,99,34,35,96,131,495,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfa72c6c88f5d950dcb00da4e61fa4c0.jpg",[136,117],{"id":8435,"slug":8436,"title":8437,"dynasty":18,"author":449,"museum":1941,"description":8438,"tags":8439,"thumbUrl":8440,"material":278,"size":8441,"collection":136,"collections":8442,"showCount":8426,"zanCount":1086,"manualWeight":48,"mainColor":199},218566,"yun-shan-tu-mi-fei-218566","云山图","这幅画画的是烟波浩渺的海岸上的渔船，雾锁山腰，笔墨淋漓。山峰都是用米氏的方法画的，用的是湿笔，虽然有后人伪造的痕迹，但仍然是难得的水墨游戏杰作。",[24,7,165,128,132,29,950,413,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa252b41bf8de2207a07dcd8bb3debcc4.jpg","55.2x27.7cm",[136],{"id":8444,"slug":8445,"title":8446,"dynasty":144,"author":569,"museum":20,"description":570,"tags":8447,"thumbUrl":8449,"material":278,"size":574,"collection":84,"collections":8450,"showCount":8426,"zanCount":48,"manualWeight":48,"mainColor":49},214291,"xiao-kai-luo-shen-fu-ce-2-zhao-meng-fu-214291","小楷洛神赋册-2",[23,7,64,572,8448,59,1590],"小楷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00df43ff9eb6f3472d958c7858636f68.jpg",[],{"id":8452,"slug":8453,"title":8454,"dynasty":124,"author":366,"museum":300,"description":8455,"tags":8456,"thumbUrl":8457,"material":692,"size":1293,"collection":84,"collections":8458,"showCount":8459,"zanCount":48,"manualWeight":48,"mainColor":49},289875,"xue-zhu-xu-wei-289875","雪竹","徐渭（1521年3月12日－1593年），汉族，绍兴府山阴（今浙江绍兴）人。初字文清，后改字文长，号青藤老人、青藤道士、天池生、天池山人、天池渔隐、金垒、 金回山人、山阴布衣、白鹇山人、鹅鼻山侬、田丹水、田水月（一作水田月 ）。明代中期文学家、书画家、戏曲家、军事家。\n徐渭曾担任胡宗宪幕僚，助其擒徐海、诱汪直。胡宗宪被下狱后，徐渭在忧惧发狂之下自杀九次却不死。后因杀继妻被下狱论死，被囚七年后，得张元忭等好友救免。此后南游金陵，北走上谷，纵观边塞阨塞，常慷慨悲歌。晚年贫病交加，藏书数千卷也被变卖殆尽，他自称“南腔北调人”，于万历二十一年（1593年）去世，年七十三\n徐渭多才多艺，在诗文、戏剧、书画等各方面都独树一帜，与解缙、杨慎并称“明代三才子”。他是中国“泼墨大写意画派”创始人、“青藤画派”之鼻祖，其画能吸取前人精华而脱胎换骨，不求形似求神似，山水、人物、花鸟、竹石无所不工，以花卉最为出色，开创了一代画风，对后世画坛（如八大山人、石涛、扬州八怪等）影响极大；书善行草，写过大量诗文，被誉为“有明一代才人”；能操琴，谙音律；爱戏曲，所著《南词叙录》为中国第一部关于南戏的理论专著。另有杂剧《四声猿》《歌代啸》及文集传世。",[24,128,167,1556,171,64,208,165,369,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda0c10587d925716d52958d37b02e71d.jpg",[],161,{"id":8461,"slug":8462,"title":8463,"dynasty":18,"author":8464,"museum":510,"description":8465,"tags":8466,"thumbUrl":8467,"material":27,"size":8468,"collection":318,"collections":8469,"showCount":8459,"zanCount":1116,"manualWeight":48,"mainColor":956},221203,"hou-chi-bi-fu-quan-juan-zhao-shen-221203","后赤壁赋全卷","赵昚","由于该作之末没有作者的款识，因此对于书写人是谁这一问题，从元代起就有不同的说法：有人认为是宋徽宗赵佶所书，有人认为是宋高宗赵构之作，还有人认为是宋孝宗赵昚手笔。（注：关于书作者问题，元朝的俞贞木认为是赵佶所书，但遭到了同为元朝人黄本等人的质疑。杨仁恺指出，《后赤壁赋》为赵昚作品，并提出了相关论据。具体详见《关于宋孝宗赵昚的几点考察》，载《杨仁恺书画鉴定集》）赵昚学赵构书法很像，几可乱真。从书写上分析，赵昚作字较之赵构，往往落笔凝重不够，结字略显松懈。检视此卷，正有这样的欠缺。再则，赵昚更喜爱苏轼诗文，因此这件草书《后赤壁赋》卷当出自赵昚之手。\n书法是历代帝王在登基之前的必修课，它关乎一国之君的脸面和尊严。他们学习、接受诗文、书画之类的传统文化，表示出对文化的崇敬和亲近，这样做有利于稳固统治地位。上述徽宗赵佶、高宗赵构、孝宗赵昚即是例证。\n在各种书体的书写中，草书最为简洁洗练。一个十分复杂的汉字，可以简略成几根线条；一 件草书作品，只需连续几个动作，连绵而下，便告成功。如果说楷、隶、篆书行笔舒缓，如端人正襟危坐，那么草书则更具动感，兼能含纳激越之情。可以这么说，人人都能写楷、隶、篆书，但草书绝不会是人人都可以写好的。由于草书省去了许多笔画，使空间结构产生了很大变化，更须理清脉络，这对书家的技巧要求就更高、更精。如果不明草理、不依草法，而任墨成形、信笔为体，就难免会产生失误，作品也就会演变成无法辨识的“天书”。草书书写全然是精神化的漫游，是人精神的一种外现。依此来审视这卷草书，我们就会发现赵昚是具备书写技巧的书法家。他以心灵对草书作出深刻体验，使性情与功力相得益彰。\n在南宋，以赵构为中心，学习书法风气甚浓，成为小朝廷“中兴”的一种点缀。赵昚受这种气氛的影响，爱好书法也是理所当然的事。他曾自称“无他嗜好，或得暇，惟读书写字为娱”（马宗霍《书林纪事》）。在书法上，赵昚秉承家法，并有机会得到赵构的亲授，故明陶宗仪在《书史会要》中说：“孝宗书有家庭法度。”这件草书《后赤壁赋》卷结字循规蹈矩，草法纯熟而严谨，笔画秀劲匀整，笔意圆润，行笔圆转流畅，又具有沉着遒劲的韵致，颇具流畅而能浑厚、飞动而兼沉着之美。作品通篇气象浑穆，一气呵成，可见书者书写时神完气足、兴致清畅。面对此作，我们仿佛看到赵昚把笔濡墨，在那一段磁青绢上舒心挥毫，营造出一片春云浮空、卷舒起伏、变化多端的图景。此作虽为草书，读之却使人感受到不温不火、从容自如的大将风范。赵昚书法无连绵苟且之习，用笔起讫分明，笔笔清楚，字字独立而气脉连贯，易于辨识。我们可以从中抽出单个的字来一一欣赏，即便脱离整幅的语言环境也不碍观瞻。赵昚此卷有自家面貌，但也渊源有自，从笔意、字势中均可看到唐、宋书家对他的影响。注重法度是赵昚书法之长，这与苏轼主张“真生行，行生草，真如立，行如行，草如走，未有未能行立而能走者”是一致的。世云“唐人尚法，宋人尚意”，是就唐与宋的整体书风而言的；倘若专论草书，宋人也是“尚法”的。赵昚书法即可印证这一点。",[23,25,64,7,133,938,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cd876766aeb129bded31c4aa34e7c0.jpg","26.9x621",[318],{"id":8471,"slug":8472,"title":8473,"dynasty":144,"author":569,"museum":450,"description":8474,"tags":8475,"thumbUrl":8476,"material":173,"size":8477,"collection":68,"collections":8478,"showCount":8459,"zanCount":1116,"manualWeight":48,"mainColor":49},219098,"shi-ma-tu-zhao-meng-fu-219098","十马图","群马姿态各异，或昂首伫立，或低头啮草，或相互亲昵，动静交织间满溢生机。线条勾勒细腻传神，鬃毛飘逸如丝缕，马尾垂落似流瀑，马匹肌理与灵动之态毕现。设色淡雅温润，赭墨晕染出毛色层次，古朴绢底衬得画面沉静雅致。马匹互动自然和谐，似能闻蹄声轻响，尽显画家对生命的细致体察与文人画的清逸韵味。",[23,24,7,25,28,27,101,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f7681aecb61572b4fba7da83735ac45.jpg","纵26横233厘米",[68],{"id":8480,"slug":8481,"title":8482,"dynasty":18,"author":1091,"museum":56,"description":8483,"tags":8484,"thumbUrl":8485,"material":278,"size":8486,"collection":318,"collections":8487,"showCount":8459,"zanCount":1116,"manualWeight":48,"mainColor":72},218559,"da-xie-min-shi-tie-juan-su-shi-218559","答谢民师帖卷","释文：“轼启。是文之意疑若不然，求物之妙如系风捕影，能使是物了然于心者，盖千万人而不一遇也。而况能使了然于口与手者乎。是之谓词达，词至于能达，则文不可胜用矣。扬雄好为艰深之词，以文浅易之说，若正言之，则人人知之矣，此正所谓琱虫篆刻者。其《太玄》《法言》皆是物也，而独悔于赋何哉?终身琱虫而独变其音节，便谓之经，可乎。屈原作《离骚》经，盖风雅之再变者。虽与日月争光可也，可以其似赋而谓之琱虫乎。使贾谊见孔子，升堂而有余矣。而乃以赋鄙之，至与司马相如同科。雄之陋如此比者甚众，可与知者道，难与俗人言也，因论文偶及之耳。欧阳文忠公言，文章如精金美玉，市有定价，非人所能以口舌贵贱也。纷纷多言，岂能有益于左右，愧悚不已。所须惠力法雨堂字，轼本不善作大字，强作终不佳。又舟中局迫难写，未能如教，然则方过临江，当往游焉。或僧有所欲记录，当为作数句留院中，慰左右念亲之意。今日已至峡山寺，少留即去，愈远惟万万以时自爱不宣。轼顿首再拜。民师帐句推官阁下，十一月五日。” 此帖卷首已残，晚明以降，藏家王衡请娄坚仿苏轼书体补写阙文。录如下:“近奉违亟辱问讯，具审起居佳胜，感慰深矣。受性刚简，学迂材下，坐废累年，不敢复齿缙绅。自海还北，见平生亲旧，惘然如隔世人，与左右无一日之雅，而敢求交乎?数赐见临，倾盖如放，幸甚。过望不可言也。所示书教及杂文，视之熟矣。大略如行云流水，初无定质，但常行于所当行，常止于不可不止。文理自然，姿态横生。孔子曰:言之不文，行之不远。又曰:词达而已矣。夫词止于达意，则疑若不文，是大不然。”",[7,25,64,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F895dee5b027d4fad9b0c1f3a56c8960f.jpg","27x96.5cm",[318],{"id":8489,"slug":8490,"title":8491,"dynasty":54,"author":55,"museum":524,"description":1034,"tags":8492,"thumbUrl":8494,"material":173,"size":1041,"collection":84,"collections":8495,"showCount":8459,"zanCount":1116,"manualWeight":48,"mainColor":49},216109,"yun-shou-ping-hua-guo-shu-cai-ce-ye-2-yun-shou-ping-216109","恽寿平花果蔬菜册页-2",[164,24,7,59,27,28,167,8493,1771,208],"竹笋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29bf8f805f27469ebc51bee115db2b4.jpg",[],{"id":8497,"slug":8498,"title":8499,"dynasty":54,"author":872,"museum":300,"description":6719,"tags":8500,"thumbUrl":8501,"material":692,"size":1293,"collection":84,"collections":8502,"showCount":8503,"zanCount":48,"manualWeight":48,"mainColor":72},288299,"ba-jiao-zhu-shi-tu-zhu-da-288299","芭蕉竹石图",[23,164,24,7,165,128,61,875,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e433e949bf49ac3086bddbbf9d0c776.jpg",[],160,{"id":8505,"slug":8506,"title":8507,"dynasty":18,"author":633,"museum":20,"description":8508,"tags":8509,"thumbUrl":8511,"material":1223,"size":8512,"collection":42,"collections":8513,"showCount":8503,"zanCount":48,"manualWeight":48,"mainColor":49},221573,"xue-tang-ke-hua-tu-xia-gui-221573","雪堂客话图","此图画江南寒江雪景。山村房舍为皑雪覆盖，寒气袭人。二人于室内对话。图中山峦用小斧劈皴和短线条秃笔，以表现山石方硬奇峭而又苍润浑融的质感。天空和水略染淡墨，以烘托大雪的洁白和寒气袭人的气氛。构图采用“边角式”局部取景法。全图笔法苍劲深厚、豪放典雅。",[23,24,7,128,27,132,29,1556,8510,129,1337,131,31,34],"堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ddc3386f8dbe0c41f1f8a1fa90e3bf.jpg","纵28.2厘米，横29.5厘米",[42,136,117],{"id":8515,"slug":8516,"title":6497,"dynasty":144,"author":8127,"museum":2542,"description":8517,"tags":8518,"thumbUrl":8519,"material":173,"size":8520,"collection":68,"collections":8521,"showCount":8503,"zanCount":1998,"manualWeight":48,"mainColor":49},219077,"zhu-que-tu-wang-yuan-219077","三月，万物复苏，荆棘的枯叶和果实尚未脱落，杂草和绿竹已逐渐变绿，四只羽毛蓬松、身体圆润的鹌鹑在一起玩耍、进食。",[24,7,164,4057,165,28,27,61,167,355,229,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc32bae4473f9f585646637c2c7a6b60d.jpg","53x38cm",[68],{"id":8523,"slug":8524,"title":8525,"dynasty":18,"author":4861,"museum":77,"description":8526,"tags":8527,"thumbUrl":8528,"material":173,"size":8529,"collection":68,"collections":8530,"showCount":8503,"zanCount":48,"manualWeight":48,"mainColor":956},216667,"san-bai-tu-wang-shen-216667","三百图","王诜是宋朝时期的一位著名的绘画家，他是宋朝最伟大的画家之一。他的作品具有极高的艺术价值，被广泛收藏和珍藏。王诜以其精细的画风和生动的写实风格而闻名，他创作的作品涵盖了各种题材，包括人物画、山水画和花鸟画。",[24,7,164,28,27,211,1824],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36792841b89168ee95409f74824b325c.jpg","131.5x82.5cm",[68],{"id":8532,"slug":8533,"title":8534,"dynasty":54,"author":5879,"museum":244,"description":8535,"tags":8536,"thumbUrl":8539,"material":66,"size":8540,"collection":44,"collections":8541,"showCount":8503,"zanCount":48,"manualWeight":48,"mainColor":72},214808,"wu-ri-zhong-kui-tu-hua-yan-214808","午日钟馗图","这幅画表现的是一朵石榴花靠着一块石头，在一个清澈的池塘里有一支箭。钟馗坐在椅子上，头戴绿帽，身穿大衣，欣赏着锦葵花。在他身后，桌子上放着水果、酒和香喷喷的饺子。五个鬼魂陪伴着他，一个拿着一把破伞遮挡阳光，一个手里拿着一个酒瓶，一个头上戴着花。其中一个人偷了一盘橙子，试图把它藏在腋下，但另一个鬼注意到了，用左手摘下他的围巾，用右手打他的上衣。另一个鬼注意到了，用他的左手摘下他的围巾，而他的右手打在他的上面。整幅画是故事性和趣味性的结合，观者不禁为之倾倒。",[23,24,7,27,128,369,96,4363,171,2824,8537,4278,208,6094,131,8538],"伞","垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc9a31aafc0ced5a148f4c4af90990a.jpg","131.5x63.7",[44],{"id":8543,"slug":8544,"title":8545,"dynasty":18,"author":8546,"museum":8547,"description":8548,"tags":8549,"thumbUrl":8550,"material":317,"size":84,"collection":44,"collections":8551,"showCount":8503,"zanCount":48,"manualWeight":48,"mainColor":72},214651,"bu-dai-he-shang-tu-hu-zhi-fu-214651","布袋和尚图","胡直夫","日本京都野村博物馆","这是一幅简单的佛教僧侣回望尘世并返回斗室宫的画作。南宋画家胡直夫主要活跃在宋末元初，从事山水和人物画创作。他的白描技术来自于李公麟，他的笔触强而有力。他的人字形线描继续出现在后来的一般佛教色彩画中，并成为道教和佛教主题人物的一种特殊风格。他的大部分画作现在都被日本人收藏了。这幅画得到了景山比丘如燕的赞许。",[23,24,7,165,188,128,187,96,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F093d29532ba9d45dca29e6f299658810.jpg",[44],{"id":8553,"slug":8554,"title":815,"dynasty":124,"author":1438,"museum":56,"description":1439,"tags":8555,"thumbUrl":8556,"material":278,"size":1442,"collection":84,"collections":8557,"showCount":8503,"zanCount":48,"manualWeight":48,"mainColor":72},214645,"hua-hui-ce-2-chen-chun-214645",[24,7,59,128,369,61,3114,2438,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b7b87db533064cfbc2864f3c0073898.jpg",[],{"id":8559,"slug":8560,"title":8561,"dynasty":182,"author":223,"museum":244,"description":8562,"tags":8563,"thumbUrl":8566,"material":173,"size":3743,"collection":44,"collections":8567,"showCount":8568,"zanCount":1116,"manualWeight":48,"mainColor":49},288360,"gong-le-tu-yi-ming-288360","宫乐图","本图描写后宫嫔妃十人,围坐于一张巨型的方桌四周,有的品茗,有的在行酒令。中央四人,则负责吹乐助兴。所持用的乐器,自右而左,分别为筚篥、琵琶、古筝与笙。",[23,24,7,27,28,96,166,997,438,1634,8564,8565],"宫廷宴乐","室内场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39857b914581e42221c8c2d3a920666e.jpg",[44],159,{"id":8570,"slug":8571,"title":8572,"dynasty":18,"author":3278,"museum":1941,"description":8573,"tags":8574,"thumbUrl":8575,"material":173,"size":8576,"collection":44,"collections":8577,"showCount":8568,"zanCount":48,"manualWeight":48,"mainColor":49},220448,"song-xia-dui-yi-tu-li-cheng-220448","松下对弈图","李成（919~967年），字咸熙，号营丘，京兆长安（今陕西省西安市）人。五代宋初画家，与董源、范宽并称“北宋三大家”，苏州刺史李鼎的孙子。\n博学多才，胸有大志，无处施展，醉心于书画。乾德五年，病逝于陈州，时年四十九岁。\n擅于山水画，师承于荆浩、关仝，自成一家，喜欢画郊野平远旷阔的风景。平远寒林，画法简练，气象萧疏，好用淡墨，“惜墨如金”；绘画山石如卷动的云，人称“卷云皴”；绘画寒林，开创“蟹爪”法，对于山水画的发展有重大影响。作品有《读碑窠石图》《寒林平野图》《晴峦萧寺图》《茂林远岫图》等。",[23,24,164,7,165,128,132,29,96,1144,131,495,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2dc15899bec8d07f16b7c9e8e68853c.jpg","155.1x99.1cm",[44,42],{"id":8579,"slug":8580,"title":8581,"dynasty":182,"author":3508,"museum":6413,"description":8582,"tags":8583,"thumbUrl":8584,"material":173,"size":8585,"collection":44,"collections":8586,"showCount":8568,"zanCount":1998,"manualWeight":48,"mainColor":49},218385,"mu-niu-tu-han-huang-218385","牧牛图","平坡旷野间，双牛安卧，墨色晕染出厚重肌理，犄角宛转，似带泥土气息。牧童蜷身酣眠，草帽斜倚，竹杖横陈，尽是天真慵懒。旁侧老枝虬劲，竹影疏疏，墨痕浓淡交织出野趣。整幅画无喧嚣，唯留田园静穆。笔墨简括却神形毕肖，牛的憨态、牧童的自在，皆藏于线条间。盛唐乡野的悠然时光，仿佛凝在绢上，望之忘俗，心生惬意。",[164,24,7,27,28,96,102,167,171,208,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30f0dc982c6116348e28f459cb13d33.jpg","27.9x31.4",[44],{"id":8588,"slug":8589,"title":8590,"dynasty":54,"author":5879,"museum":244,"description":5880,"tags":8591,"thumbUrl":8592,"material":66,"size":84,"collection":84,"collections":8593,"showCount":8568,"zanCount":48,"manualWeight":48,"mainColor":72},214856,"xie-sheng-ce-8-hua-yan-214856","写生册-8",[24,7,59,27,28,61,355,841,168,276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1f47f6cc86c0d02af35246389a450d2.jpg",[],{"id":8595,"slug":8596,"title":8597,"dynasty":54,"author":4468,"museum":300,"description":8598,"tags":8599,"thumbUrl":8601,"material":692,"size":1293,"collection":84,"collections":8602,"showCount":8603,"zanCount":1116,"manualWeight":48,"mainColor":49},234708,"hua-guo-qin-wang-xiang-zhou-lang-shi-ning-234708","画果亲王像轴","郎世宁（Giuseppe Castiglione，1688.7.19-1766.7.16），原名朱塞佩·伽斯底里奥内，圣名若瑟，天主教耶稣会修士、画家，意大利米兰人。\n1715年（清康熙五十四年）来中国传教，随即入皇宫任宫廷画家，历经康熙、雍正、乾隆三朝，在中国从事绘画50多年，并参加了圆明园西洋楼的设计工作，为清代宫廷十大画家之一。 郎世宁擅绘骏马、人物肖像、花卉走兽，风格上强调将西方绘画手法与传统中国笔墨相融合，受到皇帝的喜爱，也极大地影响了康熙之后的清代宫廷绘画和审美趣味。\n其主要作品有《十骏犬图》《百骏图》《乾隆大阅图》《瑞谷图》《花鸟图》《百子图》《聚瑞图》《仙萼长春图册》《心写治平图》（《乾隆帝后妃嫔图卷》）等。",[24,7,165,28,27,96,101,170,5626,8600],"弓箭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7698ac22bf24965860eb90abe749727.jpg",[],158,{"id":8605,"slug":8606,"title":8607,"dynasty":18,"author":1174,"museum":300,"description":8608,"tags":8609,"thumbUrl":8610,"material":84,"size":84,"collection":84,"collections":8611,"showCount":8603,"zanCount":1998,"manualWeight":48,"mainColor":72},228898,"cai-wei-tu-li-tang-228898","采薇图","《采薇图》是宋代画家 创作的绢本水墨淡设色画，此画现藏于北京故宫博物院。\n此卷画商末 、 不食周粟，在首阳山饿死的故事。\n图绘半山之腰，苍藤、古松之荫，伯夷与叔齐采摘薇蕨之余，正在休息对话的情景。\n画中正坐一人即为伯夷，他面带忧愤，目光炯炯，注视着叔齐。\n叔齐一手按地似在说着什么。\n图中人物刻画生动传神，衣纹简劲爽利，衬托出人物刚直不阿的性格。\n树石笔法粗简，墨色湿润。\n该图以山石为背景，绘二人在树下席地而坐，进行交谈。\n二人均束发系巾，长须，着宽袖粗服，穿草履，正面者领口略袒，着力突出了他们高士的形象。\n二人身侧还置有装薇的篮子和锄头，表示二人采薇而食，采薇是他们身份的象征。\n图中石壁上有题款两行：“河阳李唐画伯夷、叔齐”。\n引首有明代李擢公书“首阳高隐”，拖尾有元宋杞、明俞允文、清永瑆、翁方纲、蔡之定、阮元、林则徐、吴荣光、潘霄汉等题记。\n本幅钤项元汴、吴荣光等鉴藏印十六方，半印九方，拖尾有诸家藏印五十四方、半印三方。\n《采薇图》是一幅历史题材的绘画作品，以殷末伯夷、叔齐“不食周粟”的故事为题。\n伯夷和叔齐是殷的诸侯孤竹君的两个儿子，兄弟二人出走后先后投奔了西伯姬昌。\n姬昌死后，其子姬发要兴兵讨伐纣王。\n伯夷、叔齐叩马谏阻，认为臣子造反、讨伐君王是大逆不道的行为。\n姬发不听，灭殷后建立了周朝。\n伯夷和叔齐决心不吃从周朝土地上长出来的粮食，于是隐居首阳山（今山西永济县境），以采食野菜充饥度日，最后双双饿死在山里，临死前还作了一首《采薇歌》以表示坚决不屈的志向。\n李唐初以卖画为生，宋徽宗赵佶朝补入画院，深得赵佶赏识。\n1127年金兵攻陷汴京，高宗南渡，李唐亦颠沛流离，逃往临安（今杭州），以卖画度日。\n南宋恢复画院后，李唐经人举荐，进入画院，以成忠郎衔任画院待诏，时年近八十。\n偏安一隅之耻，家国离乱之悲，让画家感慨万端，他赞扬那些保持气节的人，谴责南宋统治者投降变节的行为。\n正是在这种心绪下，他创作了《采薇图》。\n这幅画的主题思想，据跋尾宋杞说：“……且意在箴规，表夷齐不臣于周者，为南渡降臣而发也。\n”表明作者的创作意图是借着伯夷叔齐不食周粟的故事，用来讽刺宋高宗南渡后，留在汴京投降金人的降臣而画的。\n它的含义，用当时历史背景衡量，是有它的特殊意义的。\n李唐的《采薇图》给了一个伯夷、叔齐两人的近镜头描写，浓重的背景环境衬托出两个淡设色的人物。\n悬崖峭壁间一块坡石，两人相对而坐，周围只有古树山石，远处河流平原离得很遥远，很简洁便将两人隐居的生活环境交代得恰如其分。\n背向观画者的是叔齐，一手撑地，一手笔划，在很投入地向伯夷说着什么。\n李唐对伯夷这个人物的刻画非常成功，画中的伯夷面容清瘦，双手抱膝，倚树而坐，胡子已经很长时间没有打理，双眉微颦，眼神并没有落在某个实处，似乎在听着叔齐说话，又似乎没有在听，不过目光中的坚定却是不容怀疑的，也许有些无奈，可毫无悔意，整个人物给人一种很平静安然的感觉，他只是在默默地坐着，不露一点声色，不为物喜，不为己悲，前面采野菜的小锄和篮筐还摆在一边，生活的困苦可想而知，可是这位伯夷只是如过去坐在厅堂中一般倚树席地而坐，尊贵依然，坚定依然。\n作品用笔精练而又富于变化，简劲锐利，线条挺拔，轻重顿挫似有节奏，墨法枯润适中，突出表现了衣服的麻布质感。\n肌肉部分的用线较为柔和，须眉用笔精细且多变化，显得蓬松软和。\n背景部分画家用笔较为豪放粗简，老松主干两边用浓墨侧峰，用浓墨细笔勾出松鳞，充分表现出了老松厚重的量感和体积；柏叶点染细密，浓淡变化细微。\n图中山石用极豪迈的大斧劈皴，以各种不同深浅、枯润的墨色有力涂抹，表现了山石奇峭的风骨和坚硬的质感。\n画家对树丛中远去的河流轻毫淡墨，近处的山石焦墨浓厚，丰富了画面的空间感。\n清代画家 《浦山论画》： “二子席地对坐相话言，其殷殷凄凄之状，若有声出绢素。\n” 中国当代画家 《采薇图画册》：“至人物神情之华贵、高妙，是与米兰藏达·芬奇之耶稣与门必藏三勒之使徒同为绘画的极峰。\n” 中国当代画家 《画史上的名作 中国卷》：整幅画大刀阔斧，坚实有力，刚直不阿，气象森然，使人想到李唐作画时激荡的心情。\n由于他的节操受人尊敬，此画历来颇受珍视。\n《采薇图》在《清河书画舫》，《汪氏珊瑚纲》，《佩文齐书画谱》，《式古堂书画汇考》等书著录。\n《采薇图》历经明代项元汴、清代吴荣光收藏，晚清入宫，现收藏于北京故宫博物院。\n215年4月日—6月29日，《采薇图》在北京故宫武英殿举办的215春季书画特展中展出。\n（166～115），宋代画家。\n字唏古，河阳三城（今河南孟县）人。\n初以卖画为生，宋徽宗赵佶时入画院。\n南渡后以成忠郎衔任画院待诏。\n擅长山水、人物。\n变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。\n晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。\n兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。\n并以画牛著称。\n与刘松年、马远、夏圭并称“南宋四大家”。",[23,24,164,25,7,27,132,96,29,1144,131,34,499,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16c214e4ea812a28066aaad9585915a2.jpg",[],{"id":8613,"slug":8614,"title":8615,"dynasty":124,"author":125,"museum":300,"description":8616,"tags":8617,"thumbUrl":8618,"material":611,"size":8619,"collection":136,"collections":8620,"showCount":8603,"zanCount":1116,"manualWeight":48,"mainColor":72},222121,"shi-zhu-tu-shen-zhou-222121","石竹图","石竹图，设色淡雅清幽，线条笔墨饱满有力，将竹的青翠挺拔，山石的坚硬如数展现，为其传世不多的佳品。画面中的竹、石、树体现了生物的灵气，体现了作者心灵与天地共呼吸，随悠云自来往的悠然心境。虽然整幅画面仅有很少的景物，但是作者的心境已经很自然的流露出来。 沈周在画中题识：“石丈有芳姿，此君无俗气。其中佳趣多，容我自来去。”",[23,164,24,7,128,132,171,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36554dbfb6c71407859f93a0a9573279.jpg","60×48cm",[136,117],{"id":8622,"slug":8623,"title":8624,"dynasty":124,"author":802,"museum":20,"description":8625,"tags":8626,"thumbUrl":8630,"material":514,"size":8631,"collection":136,"collections":8632,"showCount":8633,"zanCount":48,"manualWeight":48,"mainColor":72},221880,"pin-cha-tu-li-zhou-chen-hong-shou-221880","品茶图立轴","画中两人相对而坐,似是一主一客。蕉叶铺地,主人坐于其上,旁置茶炉壶具，炉中炭火正炽。客人坐一怪石上，又以一方奇石为琴台，古琴已收入锦缎琴套中。此时，琴弦歇，茶正熟，两人手持茶盏，四目相视，正闻香品啜，耳边琴声犹在。此中乐趣,任凭读者遐思。读陈洪绶《品茶图》,至少能读出三点明代茶事信息来。",[23,164,24,7,165,27,28,96,169,81,8627,8628,8629,528],"衣袍","石桌","花瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F561d2687f6bef527a3ee9c1f39e3b3a0.jpg","纵150厘米，横67.3厘米",[136],157,{"id":8635,"slug":8636,"title":8637,"dynasty":18,"author":8638,"museum":2068,"description":8639,"tags":8640,"thumbUrl":8641,"material":151,"size":8642,"collection":42,"collections":8643,"showCount":8633,"zanCount":1086,"manualWeight":48,"mainColor":49},221464,"tu-tu-sun-long-221464","兔图","孙隆","孙隆（生卒年未详），一作孙龙，字纵吉，又字廷振，号都痴，武进（今江苏常州）人。开国忠愍侯孙兴祖之孙，宣德(1426-1435)间入值内廷，曾为“金门侍御”(翰林待诏)。生性颖敏，有仙人风度。工画花鸟，得徐熙、赵昌“没骨图法”，所绘禽鱼草虫不先勾勒定形而直接以色彩点染物象，此一画技可谓另开蹊径，自成一家，丰富了花鸟画传统技法，对后世泼彩写意影响深远。亦擅山水，宗宋代米芾、米友仁父子。从艺活动约在永乐、宣德、正统间，与林良(1416-1480)同时。传世作品有《雪禽梅竹图》轴、《芙蓉游鹅图》轴，现藏故宫博物院；《花鸟草虫图》卷藏吉林省博物馆；《花鸟草虫图册》十二页藏上海博物馆；《牡丹图》册页藏辽宁省博物馆。",[23,24,7,1846,27,28,949,3599],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97ec09cc9935e1e2fa5e683514485bfa.jpg","21.2×27.0",[42,68,45],{"id":8645,"slug":8646,"title":8647,"dynasty":124,"author":125,"museum":8648,"description":8649,"tags":8650,"thumbUrl":8651,"material":611,"size":8652,"collection":84,"collections":8653,"showCount":8633,"zanCount":48,"manualWeight":48,"mainColor":199},220054,"hu-qiu-shi-er-jing-tu-ce-12-shen-zhou-220054","虎丘十二景图册-12","美国克利夫兰美术馆","图册画吴中地区之虎丘山、玄墓山、虎山桥、南峰、横塘、光福山、天池山、贺九岭、上方山、觉海寺、姑苏台、莲花峰等十二处胜景。",[23,24,7,59,128,132,29,96,130,331,497,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa383fa869df823cb3cac0c8fd9a89814.jpg","31.1×40.2cmx12",[],{"id":8655,"slug":8656,"title":8657,"dynasty":18,"author":397,"museum":8658,"description":8659,"tags":8660,"thumbUrl":8661,"material":173,"size":8662,"collection":68,"collections":8663,"showCount":8633,"zanCount":1086,"manualWeight":48,"mainColor":49},219170,"la-mei-shuang-qin-tu-zhao-ji-219170","腊梅双禽图","四川博物馆","描绘两只山雀栖止于梅树枝头，梅花含苞欲放，仅一朵绽开花蕾。梅之清韵与枝头的小鸟相映成趣，花鸟优美动人。全画以细劲的笔致、单纯秀雅的色调精妙入微地刻画花鸟形象，梅花轻柔美丽，山雀毛羽似泛光泽，其情态特征精细入微。",[23,164,24,7,28,27,61,371,355,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54ef81c59e68fc11da552ce3e803576c.jpg","纵25.8厘米，横26.1厘米",[68],{"id":8665,"slug":8666,"title":8667,"dynasty":18,"author":915,"museum":77,"description":8668,"tags":8669,"thumbUrl":8671,"material":173,"size":8672,"collection":68,"collections":8673,"showCount":8633,"zanCount":1116,"manualWeight":48,"mainColor":49},218964,"li-zhi-bai-xian-tu-lin-chun-218964","荔枝白鹇图","白鹇羽毛质感细腻，墨点顶冠与素白翎毛相映成趣，尾羽舒展如流云，俯身时翅尖微颤，似欲啄取枝间荔枝。荔枝殷红如丹，果皮肌理以细笔勾出，衬着墨绿的叶，浓淡间尽显生趣。枝干虬曲，墨线老劲，与禽鸟的柔媚形成巧妙对比。绢本古雅底色上，设色温润不艳，工笔细描中藏着自然的灵动，仿佛能闻见果熟的甜香，窥见禽鸟的轻啼。整幅画于精微处见真意，是宋人对生命意趣的细腻捕捉，静穆中透着鲜活生机，尽显院体花鸟的雅致与精妙。",[24,7,164,28,27,61,2036,8670,355,2438],"白鹇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b7609305a0e20c4b4fa153525254ded.jpg","26x26cm",[68],{"id":8675,"slug":8676,"title":272,"dynasty":18,"author":8677,"museum":244,"description":8678,"tags":8679,"thumbUrl":8680,"material":173,"size":84,"collection":42,"collections":8681,"showCount":8633,"zanCount":48,"manualWeight":48,"mainColor":72},218747,"zhu-tu-wen-tong-218747","文同","墨竹挺秀于素绢之上，枝干如铁线盘旋，墨色浓淡交织出老嫩层次。竹叶以“个”“人”形错落铺陈，笔意洒脱却不失矩度，似有风过叶舞之灵韵。文同“胸有成竹”的妙谛在此尽显：每枝每叶皆从心臆而出，无半分迟疑滞涩。老干苍劲如古松，新枝清逸若嫩柳，墨色干湿变化间藏盎然生机。留白处意蕴悠远，仿佛能闻竹间飒飒风声，见月下疏影横斜，将宋时文人画的意境与笔墨之美融于一纸。竹之坚贞与君子风骨相契，画者胸臆借竹抒发，尽展文人画的雅致气韵与精神内核。",[23,164,24,7,128,59,208,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e6f635d98c2a3862422c3f72b140031.jpg",[42],{"id":8683,"slug":8684,"title":8685,"dynasty":124,"author":204,"museum":244,"description":8686,"tags":8687,"thumbUrl":8690,"material":173,"size":8691,"collection":44,"collections":8692,"showCount":8633,"zanCount":1116,"manualWeight":48,"mainColor":49},218222,"ying-xi-tu-chou-ying-218222","婴戏图","孩子们在花园里玩耍的快乐场景。他们可能在弹钢琴、骑木马或看书，显示出对儿童生活的兴趣。",[24,7,28,27,96,2218,413,722,247,8688,4283,8689],"玩耍","明式风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F605a2acb64c38c0548f9ab700825bd08.jpg","182x58.9",[44],{"id":8694,"slug":8695,"title":8696,"dynasty":54,"author":223,"museum":20,"description":8697,"tags":8698,"thumbUrl":8699,"material":40,"size":8700,"collection":84,"collections":8701,"showCount":8702,"zanCount":48,"manualWeight":48,"mainColor":72},236167,"yong-zheng-shi-er-yue-xing-le-tu-yi-ming-236167","雍正十二月行乐图","这是一组表现雍正皇帝日常生活的作品，按春、夏、秋、冬四季十二个月的顺序排列，分别为“正月观灯”、“二月踏青”、“三月赏桃”、“四月流觞”、“五月竞舟”、“六月纳凉”、“七月乞巧”、“八月赏月”、“九月赏菊”、“十月画像”、“十一月参禅”和“腊月赏雪”。每幅图轴纵188.2厘米，横102.2厘米。从描绘的景物判断，表现的对象应为圆明园。\n画面以山水楼阁为主，建筑描绘细腻，其中既有中式园林建筑，又有西式亭台楼阁，更有中西合璧者，画面的景观可能是画家以圆明园的建筑结合自己的想象而创作的。圆明园是雍正作皇子时的封赐，他解释说“圆明园”的赐名大有深意：“圆而入神，君子之时中；明而普照，达人之睿智也。” 雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这十二幅行乐图展现了其在圆明园生活的各个场景，也表现了十二个月的不同节令风俗。",[24,7,26,27,28,29,97,98,99,130,96,34,81,131,4363,3837,249,6874,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f46d3839b07177a70d7da8fa87ed26.jpg","纵188.2厘米，横102.2厘米",[],156,{"id":8704,"slug":8705,"title":8706,"dynasty":124,"author":204,"museum":20,"description":8707,"tags":8708,"thumbUrl":8711,"material":40,"size":8712,"collection":136,"collections":8713,"showCount":8702,"zanCount":1116,"manualWeight":48,"mainColor":72},222215,"lian-xi-yu-yin-tu-zhou-chou-ying-222215","莲溪鱼隐图轴","此图写江南水乡景色，平远山水。画清溪水田，绿树成荫，岸边一院落，院外有高士携书童远眺，悠然自得，远处云山起伏，真实地再现了江南渔村恬静安乐的生活情景。布景清远疏旷，笔法工整而有潇洒之趣。图未署年款，从作品款识和绘画风格分析，应为画家晚年精品之作。曾为清代梁清标、安仪周、吴舜昇等人鉴藏。\n仇英的绘画以“秀雅纤丽”的院体风格著称，而在华贵富丽中又带有一种飘逸优雅的气息。仇英的这种画风是受沈周、文徵明等文人画家的影响再加上他自己深厚的临古功力而形成的，蕴含着浓重的文人情趣，与文人画家的书斋山水在情调上有相合之处。",[23,24,7,164,165,27,28,29,34,35,8709,99,129,208,8710],"田野","渔隐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bde991eb8229865f5a2907eae42422a.jpg","纵126.5cm，横66.cm。",[136,45],{"id":8715,"slug":8716,"title":8717,"dynasty":144,"author":7032,"museum":224,"description":8718,"tags":8719,"thumbUrl":8720,"material":3544,"size":8721,"collection":136,"collections":8722,"showCount":8702,"zanCount":1998,"manualWeight":48,"mainColor":72},221735,"shan-shui-zhu-shi-tu-quan-juan-zhao-yuan-221735","山水竹石图全卷","赵原（约1325—1374），元末明初画家。生卒年不详。本名元，入明后因避朱元璋讳而改作原，字善长，号丹林。莒城（今山东莒县人，一作东平(今属山东)人，寓居苏州(今江苏苏州)。善诗文书画，擅山水。明太祖洪武（1368-1398）间征至中书令。洪武五年（1372）在昆陵作听松图，此顷被征至京图往贤着功名者像，应对忤旨，被杀。明洪武初奉诏入宫，因所画不称旨而被杀。\n关于赵原的师承说法不一，最经常的说法是王维和董源。也有说他师法董源、王蒙或米芾、高克恭。善用枯笔浓墨，作品多作浅绛山水，笔墨圆劲秀逸。亦长于画竹，画法多变，有龙角、凤尾、金错刀之称。兼能竹石，当时在平江一带负盛誉。有《合溪草堂图》、《晴川送客图》、《溪亭送客图》、《陆羽烹茶图》等传世。",[23,24,7,25,128,132,29,167,1314,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70809230f2fb9e519270ac51b851cbf5.jpg","纵25.7厘米，横380厘米",[136,117],{"id":8724,"slug":8725,"title":1653,"dynasty":54,"author":55,"museum":244,"description":8726,"tags":8727,"thumbUrl":8728,"material":637,"size":1657,"collection":68,"collections":8729,"showCount":8702,"zanCount":48,"manualWeight":48,"mainColor":72},220977,"hua-hui-shan-shui-he-ce-yun-shou-ping-220977","初工山水，笔墨秀峭，后与王翚交往，多作花卉，重视写生，往往用水墨淡彩，清润明丽，自成一格，有“恽派”之称。\n人称其笔有仙气，与王时敏、王鉴、王翚、王原祁、吴历齐名，为“清初六大家”之一。",[23,24,7,164,59,27,60,61,263,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f579f145d671f95c77813259add473.jpg",[68,45],{"id":8731,"slug":8732,"title":8733,"dynasty":54,"author":55,"museum":300,"description":8734,"tags":8735,"thumbUrl":8736,"material":27,"size":8737,"collection":68,"collections":8738,"showCount":8702,"zanCount":975,"manualWeight":48,"mainColor":49},220136,"yan-qiu-tu-yun-shou-ping-220136","艳秋图","此作为没骨花鸟之佳作，以晕染代勾勒，将秋花柔姿与顽石苍朴相融。红白菊花错落在嶙峋奇石间，瓣层舒展鲜活，设色明雅清润，艳而不俗。旁侧秋卉轻曳，石畔细草偃仰，层次铺陈自然和谐。\n\n画中不见刚硬线条，全以色泽晕染出花叶的蓬松柔润、山石的糙粝质感，将秋日群芳的妍丽雅致晕于绢素，鲜活灵动间满溢江南文人的温婉意趣。写实中暗含写意闲情，晕染出深秋清妍静雅的澹澹秋韵。",[23,24,7,165,27,60,604,229,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6547396a7425eb4e68a17e14638ceff.jpg","165×69.7厘米",[68],{"id":8740,"slug":8741,"title":8742,"dynasty":182,"author":223,"museum":20,"description":8743,"tags":8744,"thumbUrl":8745,"material":173,"size":8746,"collection":45,"collections":8747,"showCount":8702,"zanCount":1086,"manualWeight":48,"mainColor":49},219760,"bai-ma-tu-yi-ming-219760","百马图","此图卷共描绘各种马95匹，牧马的奚官与圉人41人在一条河中及岸边洗马、戏马、驯马、饲马的场面。这幅图中所描绘的近百匹黑、白、红、花等各色马，有动有静，姿态各异，生动活泼。画家对马的描绘，极善抓住其动态和神情，运动中的马被表现得活泼顽皮，静立时的马又被表现得庄重威武。画中笔法清秀温雅，敷色清淡，可以看出唐法向宋元法变化的痕迹。",[23,164,24,7,25,27,28,101,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34693ea712a5b338887d9f2f6f7455af.jpg","纵68厘米、横1010厘米",[45],{"id":8749,"slug":8750,"title":8751,"dynasty":18,"author":791,"museum":244,"description":8752,"tags":8753,"thumbUrl":8754,"material":173,"size":8755,"collection":42,"collections":8756,"showCount":8702,"zanCount":48,"manualWeight":48,"mainColor":72},219144,"zhu-cong-bai-tou-weng-tu-wu-bing-219144","竹丛白头翁图","画面中白头翁栖于竹枝，翎羽纤毫毕现，墨色晕染间绒羽柔润若触，喙爪劲挺见骨。竹丛枝叶交叠，线条清劲似铁线勾勒，翠色浅淡却透着生机，新篁嫩芽更显稚拙可爱。鸟的姿态灵动，似欲引吭或侧耳倾听，打破竹林静谧却又与清雅环境相融。画作以细腻写实之笔，精准捕捉禽鸟与植物形神，色彩淡雅温润，构图疏密有致，尽显宋代工笔花鸟的雅致韵致。方寸间藏自然生机与文人意趣，观之如置身幽篁深处，闻得禽鸣竹语，心随景静。",[23,164,24,7,1131,28,27,61,167,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35a323ffe8ba1cd4340700718353b5a8.jpg","26.1x27.5cm",[42,68],{"id":8758,"slug":8759,"title":8760,"dynasty":980,"author":1687,"museum":300,"description":8761,"tags":8762,"thumbUrl":8763,"material":278,"size":84,"collection":44,"collections":8764,"showCount":8702,"zanCount":1086,"manualWeight":48,"mainColor":72},218177,"da-qian-kuang-tu-ce-zhang-da-qian-218177","大千狂涂册","张大千是中国著名的画家和书法家，他的作品被称为“大千狂涂册”。他出生于江苏省吴县，曾在上海、北京、香港和台湾等地工作和生活过。\n\n大千狂涂册是张大千的一组书法作品，其中包括了他的名字“大千”的书法，以及他的诗词和绘画作品。大千狂涂册的书法风格独特，带有浓厚的民国味道，反映了张大千对中国传统文化的热爱和尊重。\n\n张大千的书法作品不仅具有艺术价值，而且在学术界也有很高的价值。他的书法作品曾被收入多种学术出版物，并被世界各地的藏家和收藏家所收藏。\n\n此外，张大千还是一位著名的画家，他的画作曾被世界各地的美术馆和博物馆收藏。他的画作风格多样，涉及山水画、花鸟画、人物画等多个领域。他的画作不仅给人们带来视觉享受，而且还反映了他对中国传统文化的理解和探究。\n\n总的来说，张大千的书法作品和画作都是中国文化的瑰宝，值得人们去珍视和传承。",[24,7,59,128,840,133,96,168,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe98a1662c3c897bee9d6dc355c56fbf0.jpg",[44,117],{"id":8766,"slug":8767,"title":8768,"dynasty":144,"author":569,"museum":77,"description":8769,"tags":8770,"thumbUrl":8772,"material":173,"size":84,"collection":68,"collections":8773,"showCount":8702,"zanCount":1105,"manualWeight":48,"mainColor":49},216265,"xiang-ma-tu-ye-2-zhao-meng-fu-216265","相马图页-2","相马图是赵孟頫的一幅画作，产生于中国的元朝时期。它是赵孟頫的最著名的作品之一，并被认为是中国传统水墨画的杰作。\n\n相马图的绘画技巧非常精湛，色彩浓艳，线条优美。赵孟頫在画作中运用了中国传统的水墨画技法，并将其与西方的绘画技法相结合，创造出了独特的艺术风格。相马图被广泛认为是中国传统水墨画的经典之作，也是赵孟頫最著名的画作之一。",[23,24,7,164,27,28,59,96,101,8771,949],"骆驼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecfd49003f7298ef9c725d3bbc85f0cf.jpg",[68],{"id":8775,"slug":8776,"title":8777,"dynasty":326,"author":8778,"museum":56,"description":8779,"tags":8780,"thumbUrl":8781,"material":317,"size":8782,"collection":318,"collections":8783,"showCount":8702,"zanCount":1998,"manualWeight":48,"mainColor":49},214519,"ya-tou-wan-tie-wang-xian-zhi-214519","鸭头丸帖","王献之","书写有力，笔触娴熟，笔触灵动有力，风格轻松；用墨明确，墨色清晰，由湿到干，由浓到淡的变化。用笔通常是 向外宽，与王羲之的 向内凹 相反，线条柔和、舒展，形态自然、优美。",[164,24,7,64,840,611,8116,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fe0321ef54ba0e17ef41c3f66f72320.jpg","26.1x26.9",[318],{"id":8785,"slug":8786,"title":8787,"dynasty":18,"author":686,"museum":300,"description":8788,"tags":8789,"thumbUrl":8790,"material":692,"size":1293,"collection":84,"collections":8791,"showCount":8792,"zanCount":1116,"manualWeight":48,"mainColor":956},289985,"lin-liu-du-zuo-tu-fan-kuan-289985","临流独坐图","《临流独坐图》表现层峦叠蟑，山势起伏，溪谷间，云烟弥漫动荡，使深山幽小充盈着活力。",[164,24,7,29,128,132,496,131,4438,3387,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c82f81787e5b0d6aa5b30a4e34620d.jpg",[],155,{"id":8794,"slug":8795,"title":4229,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":8796,"thumbUrl":8797,"material":692,"size":1293,"collection":84,"collections":8798,"showCount":8792,"zanCount":1116,"manualWeight":48,"mainColor":72},239435,"hua-niao-ce-yun-shou-ping-239435",[164,24,7,59,188,61,374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8299fb7c2cc55824201acc436d25e464.jpg",[],{"id":8800,"slug":8801,"title":8802,"dynasty":54,"author":802,"museum":77,"description":803,"tags":8803,"thumbUrl":8806,"material":173,"size":808,"collection":68,"collections":8807,"showCount":8792,"zanCount":1116,"manualWeight":48,"mainColor":49},220229,"hua-niao-cao-chong-xie-sheng-ce-shou-gu-qi-shi-chen-hong-shou-220229","花鸟草虫写生册-瘦古奇石",[23,164,24,7,59,27,28,132,171,8804,1495,8805],"瘦石","古石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8282cc767771cda337f1fc5a93cfc5cd.jpg",[68],{"id":8809,"slug":8810,"title":8811,"dynasty":182,"author":3508,"museum":20,"description":8812,"tags":8813,"thumbUrl":8814,"material":66,"size":3512,"collection":45,"collections":8815,"showCount":8792,"zanCount":1086,"manualWeight":48,"mainColor":72},219970,"wu-niu-tu-han-huang-219970","五牛图","《五牛图》中的五头牛从右至左一字排开，各具状貌，姿态互异。一俯首吃草荆棵蹭痒，一翘首前仰缓步前行，一纵峙而鸣，一回首舐舌，一络首而立。整幅画面除最后右侧有一小树外，没有其他的背景，因此每头牛可独立成章。",[23,24,7,25,27,28,208,64,133,102,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb00eb300bc9aeab656f3c3031a5036af.jpg",[45],{"id":8817,"slug":8818,"title":2381,"dynasty":54,"author":8819,"museum":450,"description":8820,"tags":8821,"thumbUrl":8823,"material":173,"size":8824,"collection":68,"collections":8825,"showCount":8792,"zanCount":1116,"manualWeight":48,"mainColor":49},219037,"hua-niao-tu-yu-yuan-219037","虞沅","墨羽公鸡静立花侧，红冠似火，黑翎如缎，姿态沉稳中藏着几分灵动。粉白花卉枝叶舒展，花瓣层叠若绡，工笔细描下，每一处脉络都清晰可见，温婉雅致。几只彩蝶翩跹其间，或停于花尖，或掠过长空，为静谧画面注入鲜活生气。绢本底色温润如琥珀，设色淡雅清逸，笔墨间流淌着自然之韵，将花鸟之态与文人意趣融于一纸。细品之，仿佛能闻见花香浮动，听见蝶翅轻振，尽显传统工笔花鸟的细腻与生机，雅韵天成。",[164,24,7,165,28,27,61,263,603,8822,481,4278,549],"公鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a6f640052cff4b884ea0dd8c1a091f6.jpg","纵65.4横79.5厘米",[68],{"id":8827,"slug":8828,"title":8829,"dynasty":18,"author":1323,"museum":244,"description":8830,"tags":8831,"thumbUrl":8833,"material":173,"size":8834,"collection":44,"collections":8835,"showCount":8792,"zanCount":1116,"manualWeight":48,"mainColor":72},215107,"shi-dan-ying-xi-tu-li-song-215107","市担婴戏图","朴实的农村中，传来了熟悉的'咚不隆咚声。一位老货郎手摇着拨浪鼓，费力地挑着百货杂物走城串乡来了。一名还在喂餵乳的村妇，闻声赶上前来。大小娃儿们跟着围在一旁，又是焦急又是欢喜：争相向母亲示意哪个玩具好玩新奇；性急的，索幸自个儿爬上摊子抓取了！\n南宋时，画院曾流行描绘农村生活的情态，个中翘楚，首推李嵩。在这幅《市担婴戏图》里，可以亲眼目赌这位老画师画技的不凡。只消看看货郎担上、身上所披挂的各式膏药、杂货与童玩（据画上提示有“五百件”），就已足够令人眼花缭乱，技艺的超群也就不言而喻了。除此之外，画中在描绘货郎为生计辛勤奔波、村妇为家计费心盘量的同时，画家能匠心地摹绘孩童的无邪天真，更在在显示刻划手法的独到与细腻。李嵩出身民间工匠，对农村生活的观察，体会尤深。在图1这幅图中，他以精准、顿挫有致的笔法，既呈现出市井小民的情态，也展现乡野浓厚的生命气息，可说是一件杰出、令人动容的小品。",[23,24,7,1131,28,27,188,96,2218,5471,34,8832],"婴戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f373c10d3030225f43684528bc8cd74.jpg","25.8x27.6公分",[44],{"id":8837,"slug":8838,"title":8839,"dynasty":54,"author":3403,"museum":300,"description":8840,"tags":8841,"thumbUrl":8842,"material":84,"size":84,"collection":84,"collections":8843,"showCount":8844,"zanCount":48,"manualWeight":48,"mainColor":72},235225,"ju-hua-juan-wu-chang-shuo-235225","菊花卷","此作以金石笔意入画，运笔苍厚朴拙。淡墨写就的白菊清雅疏朗，胭脂点染的红菊饱满明丽，浓淡对比间，尽显秋菊凌霜逸姿。水墨枝叶以篆籀笔法写出，顿挫老辣，墨色干湿浓淡富于层次，将菊枝柔韧与叶片舒展淋漓展现。\n\n右侧题字朴茂雄浑，与画作金石意趣浑然一体，诗画相映间，将东篱秋菊的野逸傲骨尽显，尽显文人画诗书画印的交融意韵，苍劲中暗含秀雅，勾勒出深秋篱边秋菊的盎然生机。",[24,7,25,128,27,369,61,376,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffede1ca6c977a93b9dd98f70687fa6e3.jpg",[],154,{"id":8846,"slug":8847,"title":76,"dynasty":54,"author":55,"museum":300,"description":893,"tags":8848,"thumbUrl":8849,"material":84,"size":897,"collection":84,"collections":8850,"showCount":8844,"zanCount":48,"manualWeight":48,"mainColor":72},233897,"hua-hui-ce-yun-shou-ping-233897",[24,7,59,27,60,61,62,2059,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc808c246006bd21e0410433b0454b719.jpg",[],{"id":8852,"slug":8853,"title":8854,"dynasty":54,"author":675,"museum":244,"description":6993,"tags":8855,"thumbUrl":8856,"material":1223,"size":8857,"collection":68,"collections":8858,"showCount":8844,"zanCount":1116,"manualWeight":48,"mainColor":72},222696,"hua-si-qi-han-he-shang-ce-ce-shan-cha-qian-wei-cheng-222696","画四气含和上册册山茶",[23,24,7,59,28,27,61,649,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb01852c516dc739ec334cc717e4eb779.jpg","27.4x37",[68,45],{"id":8860,"slug":8861,"title":8862,"dynasty":18,"author":3353,"museum":244,"description":8863,"tags":8864,"thumbUrl":8866,"material":173,"size":8867,"collection":42,"collections":8868,"showCount":8844,"zanCount":1086,"manualWeight":48,"mainColor":72},220359,"yin-xing-cui-niao-tu-ma-shi-chang-220359","银杏翠鸟图","此幅为南宋作品，有宫廷画家马世昌的名款，以小字细笔题于画幅右方。斗方格局，画一对叉尾太阳鸟，驻足于银杏树的枝梢，姿态一俯一仰，形成回旋的律动曲线。银杏的果实与枝叶，殆以石绿搭配汁绿填染，益发衬托出翎毛鲜艳华丽的身形。叶片的钩筋与转折，用笔极见细腻生动，反映了宋代画家审慎观物的创作态度。",[23,24,7,1326,28,27,61,8041,8865],"翠鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F961418adcc8ec6419c08a470e380c2da.jpg","纵27厘米 横25.7厘米",[42],{"id":8870,"slug":8871,"title":8872,"dynasty":54,"author":8873,"museum":244,"description":8874,"tags":8875,"thumbUrl":8880,"material":66,"size":8881,"collection":68,"collections":8882,"showCount":8844,"zanCount":1105,"manualWeight":48,"mainColor":72},219454,"tian-zhong-jia-hui-tu-chen-shu-219454","天中佳卉图","陈舒","藤蔓扶摇向上，粉紫蜀葵次第绽放，花瓣轻透如绢，晕染出柔婉韵致。明黄百合斜逸生姿，金蕊微吐；暗红小花簇簇点缀，似燃细碎火苗。底部果实饱满如金丸，墨叶苍劲托衬，与嫩茎细草相映成趣。笔墨兼工带写，线条流转见生机，设色清雅却明艳，凝草木鲜活灵秀于尺幅，如沐和风，满纸溢自然温润雅致。",[24,7,165,27,28,208,61,4018,817,8876,8877,8878,8879],"红色花卉","绿色叶片","细长草茎","黄色果实状花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd91eeed2afbd9f96dd49ad53ecc3d2d1.jpg","115.8×46.1cm",[68],{"id":8884,"slug":8885,"title":8886,"dynasty":18,"author":1323,"museum":244,"description":8887,"tags":8888,"thumbUrl":8889,"material":173,"size":8890,"collection":42,"collections":8891,"showCount":8844,"zanCount":1086,"manualWeight":48,"mainColor":72},218926,"tian-zhong-shui-xi-tu-li-song-218926","天中水戏图","这幅画表现的是一艘用金色画成的巨大龙舟，上面有雕梁画栋和花窗装饰，宏伟而精致。龙头高耸，眉毛突出，张牙舞爪，舌头张开，船身密布鳞片，船尾高度弯曲上翘，给人一种威严的形象。",[23,24,164,7,59,95,27,28,97,772,1516,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cc9b39f9dfd96d1ccdd35955b36a94.jpg","24.5x25.1",[42],{"id":8893,"slug":8894,"title":8895,"dynasty":54,"author":1472,"museum":300,"description":4416,"tags":8896,"thumbUrl":8899,"material":692,"size":1293,"collection":84,"collections":8900,"showCount":8901,"zanCount":975,"manualWeight":48,"mainColor":72},288274,"du-mu-shi-yi-tu-li-zhou-zou-yi-gui-288274","杜牧诗意图立轴",[23,164,24,7,165,61,28,27,62,454,8897,8898],"顽石","竹草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feedd022cd80eec5e9b9f4773b20b52dd.jpg",[],153,{"id":8903,"slug":8904,"title":825,"dynasty":18,"author":223,"museum":20,"description":8905,"tags":8906,"thumbUrl":8908,"material":611,"size":8909,"collection":84,"collections":8910,"showCount":8901,"zanCount":1086,"manualWeight":48,"mainColor":72},231540,"bai-hua-tu-juan-yi-ming-231540","此幅画四季花卉约60种，长近17米，堪称辉煌巨制。尾纸钤鉴藏印“棠村”、“蕉林梁氏书画之印”等，有乾隆、嘉庆、宣统鉴赏印及清内府鉴藏印多方。\n此图绘四季花卉五十余种，其中主要有梅花、山茶、牡丹、百合、芍药、海棠、萱花、含笑、碧桃、桃花、梨花、石竹花、罂粟、打破碗花、栀子、蕙兰、荷花、并蒂莲、鸡冠花、蓼花、芙蓉、扁豆花、石蒜花、桂花、菊花、山丹、牵牛花、凤仙花、蜀葵、秋葵等。\n花间分别点缀禽鸟、蜻蜓、蝴蝶、蜜蜂、蚱蜢、小鱼等，颇具自然生机和情趣。图中花卉和动物，都用细线勾描，浓淡墨多层晕染，花之娇态、层次，页之筋脉、转折、凹凸刻画得很细致。全图用笔工细，用墨于单纯中求丰富，统一中求变化，使画面富有秀雅之美。图卷首段的梅花的画法接近南宋扬无咎的风格而又有变化。这种工而不板，艳二不火的画风，开文人花鸟画的先河。画中钤有「乾隆御览之宝」、「三希堂精鉴玺」、「嘉庆御览之宝」、「宣统御览之宝」等印玺多方。无作者款印，曾经清内府收藏，《石渠宝笈三编》著録。\n画面上花鸟之间穿插自然，毫无牵强拼凑之意。其间又点缀蜂、蚊、蜻蜓、蝴蝶、游鱼、青蛙之类，显得生意盎然。全卷纯使水墨，亦加白描花卉，除卷首的梅花近似扬无咎的画法略带写意笔外，其他全用墨笔工写，以墨代色，兼勾勒墨染与白描，且融入了没骨画法，体现了宋工笔花鸟精密不苟的画风。又以单纯的水墨代替艳丽的设色，呈现出清淡典雅的情趣。一脱繁复刻板的院体末路，突破了传统花鸟画的时空限制，呈现出崭新的面貌。这种技法对元代钱选、王渊、赵衷的墨笔花卉以及后来文人水墨花卉都有一定的影响。",[23,164,24,7,25,28,27,61,8907,481,608,355,263,373,209,603],"百花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd98aa4ddc30bf83c5a67d1f1c11a05a.jpg","纵31.5厘米、横1679.5厘米",[],{"id":8912,"slug":8913,"title":8914,"dynasty":124,"author":125,"museum":244,"description":8915,"tags":8916,"thumbUrl":8917,"material":66,"size":8918,"collection":84,"collections":8919,"showCount":8901,"zanCount":1998,"manualWeight":48,"mainColor":49},231379,"chun-hua-zhou-jin-tu-shen-zhou-231379","春华昼锦图","春日山林中，两位文士饮罢酒宴，骑马而归，侍童挑著书担尾随於後。全作的人物、山石、林木和屋舍，用笔疏放。在山巅处且以浓密的苔点增缀，表现春天草木滋发的意象。该作虽有沈周的款题，然笔法略显板滞柔弱，疑为后人伪托之作。",[24,7,165,128,27,29,132,96,101,98,99,130,34,131,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F032de34690657eb2bd83434bdd68f1a0.jpg","纵91.8厘米，横35厘米",[],{"id":8921,"slug":8922,"title":8923,"dynasty":54,"author":872,"museum":300,"description":8924,"tags":8925,"thumbUrl":8926,"material":84,"size":84,"collection":84,"collections":8927,"showCount":8901,"zanCount":48,"manualWeight":48,"mainColor":72},230272,"hua-he-ce-zhu-da-230272","画荷册","这幅墨荷以水墨写意铺陈，阔笔泼墨挥写荷叶，浓淡干湿交叠，晕染出叶片俯仰向背的错落姿态，墨色氤氲间尽显苍润厚重。荷花以极简的线条勾勒，舒展清癯，留白衬出花瓣的莹洁，孤高冷逸之态尽显。细劲挺拔的水草与厚重荷叶虚实相映，简淡空灵。\n\n画面以少胜多，寥寥数笔便将荷塘清寂之境铺展，清冷出尘的意趣藏于淡墨之中，以形写神，把幽独超迈的文人风骨融在笔墨间，尽显写意水墨以简驭繁的精妙。",[24,7,128,59,168,81,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F470063c37b35045e9c6772f0cfa86f81.jpg",[],{"id":8929,"slug":8930,"title":2706,"dynasty":18,"author":223,"museum":300,"description":8931,"tags":8932,"thumbUrl":8933,"material":514,"size":8934,"collection":84,"collections":8935,"showCount":8901,"zanCount":48,"manualWeight":48,"mainColor":49},223466,"hua-lan-tu-yi-ming-223466","笔重，小花篮五彩，竹篮内荷花兰花盛开，竹丝，趋瘦高大，工笔画重，小花篮 满丝，钥匙空，露出荷花； 荷花自然展开，片片白红相间，娇艳欲滴，犹如荷花的芬芳。 这张图强调颜色，勾勒出图案，是素描笔画的一个很好的例子。",[23,164,24,7,28,27,61,169,375,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffed81165b01055d89197d62fd13fc09c.jpg","19.1cm×26.5cm",[],{"id":8937,"slug":8938,"title":8939,"dynasty":54,"author":1504,"museum":300,"description":8940,"tags":8941,"thumbUrl":8942,"material":637,"size":8943,"collection":68,"collections":8944,"showCount":8901,"zanCount":48,"manualWeight":48,"mainColor":72},223299,"zhu-shi-tu-5-zheng-ban-qiao-223299","竹石图5","这幅《竹石图》，郑板桥将竹子画得艰瘦挺拔，节节屹立而上，直冲云天，每一片叶子都有着不同的表情，墨色水灵，逼真地表现竹的质感，而且竹的纤细清飒之美更衬托了石的另一番风情。在构图上又将竹与石的位置关系和题诗文字处理得十分协调，而且他的书法是越到晚年越是风神独具、挥洒自如、翰墨苍劲。“扬州八怪”之首的金农曾感叹：相较两人的画品，自己画的竹子终不如板桥有林下风度啊。\n郑板桥被后人誉为“诗、书、画”三绝的全才画家，且在三绝之中又有三真，特别强调要表现真性情、真意气、真趣味。\n郑板桥的绘画成就极高，尤擅画竹石，细枝粗叶，瘦劲孤高，格调超人。他画竹有“胸无成竹”的理论，并无师承，多得于纸窗粉壁日光月影，直接取法自然。他自称：“凡吾画竹，无所师承，多得于纸窗粉壁日光月影中耳。”针对苏东坡“胸有成竹”的说法，郑板桥强调的是胸中“莫知其然而然”的竹，要“胸中无竹”。这两个理论看似矛盾，实质却相通，同时强调构思与熟练技巧的高度结合，其创作体会鲜明地表露于一则题画中：“江馆清秋，晨起看竹，烟光、日影、露气皆浮动于浮枝密叶之间，胸中勃勃，遂有画意。其实胸中之竹，并不是眼中之竹也。因而磨墨展纸，落笔倏作变相，手中之竹，又不是胸中之竹也。”他笔下的竹注重“瘦与节”的结合，往往就是自己思想和人品的化身。据说，曾经有一大户大家请郑板桥画竹，酒过之后他便向这家墙壁上大盆洒墨，扔笔不画，晚上风雨大作把墙壁上的墨迹冲刷一遍，第二天一大早竟是一幅淋漓尽致的墨竹，还有几只麻雀以为来到了竹林撞昏在壁下。传说自然不可全信，但却可想见郑板桥作画的创造性。",[23,164,24,7,165,128,133,208,132,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6751617696efb541b17a01c9ddade642.jpg","179.5×101cm",[68,117],{"id":8946,"slug":8947,"title":8948,"dynasty":18,"author":2099,"museum":300,"description":8949,"tags":8950,"thumbUrl":8951,"material":514,"size":8952,"collection":42,"collections":8953,"showCount":8901,"zanCount":48,"manualWeight":48,"mainColor":49},221404,"bai-miao-shi-nv-tu-li-gong-lin-221404","白描仕女图","李公麟（1049～1106），舒州(今安徽桐城)人，宋代杰出画家。字伯时，号龙眠居士，享年五十七岁。熙宁三年（公元1070年）进士。李龙眠即李公麟，字伯时，安徽桐城人，因桐城县北有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,24,7,164,188,96,166,97,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f89ca0cf650498658e9f6d3c15a75dd.jpg","30x30厘米",[42,44,117],{"id":8955,"slug":8956,"title":8957,"dynasty":980,"author":2936,"museum":8958,"description":8959,"tags":8960,"thumbUrl":8961,"material":1223,"size":84,"collection":84,"collections":8962,"showCount":8901,"zanCount":48,"manualWeight":48,"mainColor":72},220454,"ling-yan-jian-yi-jiao-tu-pan-tian-shou-220454","灵岩涧一角图","中国现当代美术文献研究中心","此作截取山涧一隅造势，以险绝构图盘活画面，虚实相生见巧思。枯笔浓墨勾勒皴擦山石，苍劲老辣，尽显崖壁嶙峋之态。蓝红山花浓艳跳脱，于幽寂墨色中撞出鲜亮野趣，打破山林沉郁。屋舍隐于深林，留白代作溪涧，以虚写实，将浙东山川清奇苍劲敛于尺幅之间。既得传统山水的雅致意境，又以边角小景抒发山河磅礴生机，笔墨间尽显独出机杼的构图胆识与沉雄朴厚的艺术风骨，把乡野山水的清逸生机藏于方寸。",[23,24,7,165,27,128,132,29,497,99,4278,34,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a236d64f04b03b64b29b72f54995505.jpg",[],{"id":8964,"slug":8965,"title":8966,"dynasty":124,"author":1058,"museum":224,"description":8967,"tags":8968,"thumbUrl":8969,"material":173,"size":8970,"collection":136,"collections":8971,"showCount":8901,"zanCount":1116,"manualWeight":48,"mainColor":49},220417,"xun-yang-ba-jing-tu-tang-yin-220417","浔阳八景图","画中的浔阳江为实景写生，浔阳江是九江的古称，位于现在的江西省九江市的北边。至今还可以通过这卷作品，找到与之相关的实景地。唐寅落魄之后曾经四处游走，一方面为了寻找人生方向，一方面为了增长见闻提升画技。古代画家都在书斋之中创作，但他们眼中的美景已经牢牢记忆在心中，哪怕没有对照摹写，也能出神入化。\n在唐寅的画卷中，浪井、琵琶亭、浔阳楼、天花宫等都有体现。其中知名度最高的就是浔阳楼，名著《水浒传》中有宋江在浔阳楼题写反诗的情节，才引出李逵闹江州。看着画卷中的浔阳楼，过往沧桑已成历史，只有文人赏景饮酒，这才是古今多少事都付笑谈中。",[23,24,7,25,128,27,29,28,132,133,208,98,99,130,97,129,211,96,331,1351,690,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4e7b7befcd16a579dde7285f16c9de.jpg","32.4×413.7厘米",[136,45],{"id":8973,"slug":8974,"title":8975,"dynasty":54,"author":223,"museum":1941,"description":8976,"tags":8977,"thumbUrl":8978,"material":173,"size":84,"collection":44,"collections":8979,"showCount":8901,"zanCount":1105,"manualWeight":48,"mainColor":49},219491,"liu-yin-dou-cha-tu-yi-ming-219491","柳荫斗茶图","君德壶之所以受世人推崇，很大一部分原因是，君德脱胎于梨形，即经典脱胎于经典。\n耿宝昌先生曾在《明清瓷器鉴定》一书中谈到：“梨壶，因造型类似梨而得名。元代始烧造，其后历明、清两代，经久不衰”，是传承了几百年的经典之器。",[24,7,27,28,96,331,169,4632,6640,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2fd5a6d9aeb8db5fa496b3792c21d17.jpg",[44],{"id":8981,"slug":8982,"title":1230,"dynasty":124,"author":8983,"museum":244,"description":8984,"tags":8985,"thumbUrl":8986,"material":66,"size":8987,"collection":136,"collections":8988,"showCount":8901,"zanCount":1998,"manualWeight":48,"mainColor":72},214737,"shan-shui-tu-zhao-zuo-214737","赵左","这幅画描绘了一座远山，远处有长长的松树，还有一条安静、荒芜的山路。此幅笔墨有王蒙遗法，用笔转为清雅",[24,7,165,128,132,208,29,497,34,99,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ffc14a94445ec38d2e703a1156fa299.jpg","122.5x34.7",[136],{"id":8990,"slug":8991,"title":8992,"dynasty":144,"author":8993,"museum":224,"description":8994,"tags":8995,"thumbUrl":8996,"material":317,"size":8997,"collection":68,"collections":8998,"showCount":8901,"zanCount":48,"manualWeight":48,"mainColor":49},214295,"han-mei-tu-wang-mian-214295","寒梅图","王冕","元代画家王冕（1280-1329）是中国古代著名的画家，他的《寒梅图》是其代表作之一。\n\n《寒梅图》描绘了一棵寒梅树，树上只有几朵花开，周围是一片荒芜的冬景。王冕在画中运用了凝重的笔墨和写意的造型，勾勒出了寒梅树的茂盛与脆弱，以及冬天的荒凉。\n\n《寒梅图》被认为是王冕写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《寒梅图》也是收藏家们青睐的经典之作。\n\n王冕的《寒梅图》是一幅描绘冬天荒凉的画作，但它却带给人们对生命的启示。寒梅树在荒凉的冬季依然绽放，它的坚韧与生命力激发了人们对生命的尊重与感悟。王冕的《寒梅图》不仅是一幅精美的画作，更是一首关于生命的诗篇。",[23,24,7,165,128,64,133,371,331,2438,1039,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74eb37c58ada5991af17df8bfe595f82.jpg","113x50.2",[68],{"id":9000,"slug":9001,"title":9002,"dynasty":18,"author":9003,"museum":244,"description":9004,"tags":9005,"thumbUrl":9006,"material":278,"size":9007,"collection":318,"collections":9008,"showCount":8901,"zanCount":1116,"manualWeight":48,"mainColor":49},214223,"xing-shu-qi-yan-jue-ju-zhou-wu-ju-214223","行书· 七言绝句轴","吴琚","这首七字诗是根据蔡襄的诗句写的，是宋代罕见的书法作品。吴氏的字俊美优雅，形体和姿态都与米芾一脉相承，但与北宋书法家的作品相比，吴琚的用笔快速有力，偶尔有飞白，显示出南宋书法家更注重渲染上下和整体的主旨，而不是对每个单字的提炼和完善。",[23,164,24,7,165,133,64,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fb61b45191b67798358ba3eb2af0473.jpg","98.6x55.3",[318],{"id":9010,"slug":9011,"title":5945,"dynasty":124,"author":3608,"museum":300,"description":9012,"tags":9013,"thumbUrl":9015,"material":692,"size":1293,"collection":84,"collections":9016,"showCount":9017,"zanCount":1086,"manualWeight":48,"mainColor":72},290309,"sui-chao-tu-zhou-lu-zhi-290309","陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[164,24,7,165,27,61,371,374,263,169,64,208,9014],"日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5facffa84a62716f2f574fdad24943d6.jpg",[],152,{"id":9019,"slug":9020,"title":9021,"dynasty":144,"author":7181,"museum":300,"description":9022,"tags":9023,"thumbUrl":9026,"material":84,"size":84,"collection":84,"collections":9027,"showCount":9017,"zanCount":1105,"manualWeight":48,"mainColor":49},228054,"bai-mei-tu-shou-juan-wang-zhen-peng-228054","百美图手卷","此作以长卷舒展，仕女群像错落排布，或展卷挥毫、调弦抚琴，或拈花私语、临案观画，尽现闺中清趣。线条细劲如春蚕吐丝，将云鬓花钗、襦裙飘带勾勒得柔婉细腻，仕女顾盼间尽显温婉秀逸之态。设色古雅淡和，赭黄绢底衬得朱蓝粉白衣袂清雅脱俗，与满卷题字错落呼应，诗画相映成趣，将深闺日常的娴静雅意缓缓铺陈，晕染出女子的幽微心绪与雅致韵致，宛如一卷鲜活的闺中清欢图，余韵悠长。",[23,24,7,25,28,27,96,166,170,438,9024,9025],"案几","笔墨纸砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff76a94e092ff1a1c143055113ceff3b.jpg",[],{"id":9029,"slug":9030,"title":9031,"dynasty":124,"author":204,"museum":20,"description":1523,"tags":9032,"thumbUrl":9034,"material":40,"size":1527,"collection":84,"collections":9035,"showCount":9017,"zanCount":1998,"manualWeight":48,"mainColor":72},222193,"ren-wu-gu-shi-tu-zhu-yuan-pin-gu-chou-ying-222193","人物故事图-竹院品古",[23,24,7,28,27,96,167,169,2218,7719,247,8344,9033],"品古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f688d90551ee6db64df0e5d88db472f.jpg",[],{"id":9037,"slug":9038,"title":9039,"dynasty":18,"author":2320,"museum":465,"description":9040,"tags":9041,"thumbUrl":9042,"material":514,"size":4148,"collection":42,"collections":9043,"showCount":9017,"zanCount":1116,"manualWeight":48,"mainColor":49},221658,"wu-bai-luo-han-tu-zhi-ying-shen-guan-yin-zhou-ji-chang-221658","《五百罗汉图》之《应身观音》","画五百罗汉故事，包含佛教诸多教义僧人生活情境。有罗汉结集论事故事，有佛道斗法情境，有僧人日常生活状貌，也有长途跋涉稍作休憩游行僧形象。",[23,24,7,164,28,27,187,96,167,37,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57048aa20a5009792aff06e951ee2386.jpg",[42,44,45],{"id":9045,"slug":9046,"title":9047,"dynasty":18,"author":9048,"museum":244,"description":9049,"tags":9050,"thumbUrl":9051,"material":637,"size":9052,"collection":42,"collections":9053,"showCount":9017,"zanCount":1998,"manualWeight":48,"mainColor":49},221244,"xi-hu-shi-jing-hua-xin-ye-xiao-yan-221244","西湖十景画芯","叶肖严","该册以西湖十景为题，西湖在浙江省杭州市城西，亦名钱塘湖，苏轼诗有“欲把西湖比西子”之句，因又名西子湖，三面环山，有南北两高峰对峙；湖中有苏，白两堤，四时风物清佳，以十景驰名於世。山石以大斧劈法，着重烘染，用笔简洁有韵致，构景设色取意都见巧思\n叶肖岩作人物小景，颇类马远，然其迹世多不见也。 如“雷峰夕照”之远山后缘用淡朱稍加施染，霞光微露，已然夕阳西沉。余诸页亦如是，虽细微处，亦细洁圆润。描绘花港观鱼的景色。寺宇掩映于柳林之间，湖中一人泛舟，悠游自得。峭峰直下，不见其顶，构图方式与马远山水同出一辙。用笔洁简，著重烘染，清雅秀润。\n该册页采用诗画合一的形式，以杭州工笔技法专为该画册页创作的西湖十景，其风格似马远而略拘谨，山石多用湿笔轻染，石顶稍加小斧劈皴，与夏珪的大笔拖染、磅礴挥洒不同。西湖四时风物清佳，以及乾隆皇帝钦定的西湖十景诗作为册页的主要内容，辅以西湖十景图",[23,164,24,7,59,128,27,132,29,130,34,129,30,415,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326d0fb6069b73edd75991a2f5e6a450.jpg","对幅23.9x20.2公分",[42,136],{"id":9055,"slug":9056,"title":9057,"dynasty":980,"author":1687,"museum":1688,"description":9058,"tags":9059,"thumbUrl":9061,"material":84,"size":84,"collection":84,"collections":9062,"showCount":9017,"zanCount":1998,"manualWeight":48,"mainColor":72},220493,"zhang-da-qian-fang-zhang-seng-yao-wu-xia-qing-qiu-tu-zhang-da-qian-220493","张大千仿张僧繇巫峡清秋图","此作用没骨青绿之法绘就，奇崛山峰以石青、赭石重色晕染，峰顶留白拟晴雪，丹红古木点缀其间，明丽堂皇。留白作云气横断山峦，虚实相生，尽显巫峡高华幽深之态。下方江帆孤悬，山居隐于翠岭，飞泉叠落，于雄奇间晕开雅致秋意。\n\n笔墨追摹古法，又暗合新意，将巫峡清秋的萧瑟绮丽相融，既有六朝青绿的厚重堂皇，又带着秀逸灵韵，让古雅的没骨山水焕发清新生机，尽显秋山的雄浑与秀雅。",[23,24,7,26,27,29,30,1022,495,37,34,9060,330,132,208],"山间小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde65b4dfacc5eae3a51cc3afe86bfb23.jpg",[],{"id":9064,"slug":9065,"title":9066,"dynasty":54,"author":1472,"museum":9067,"description":9068,"tags":9069,"thumbUrl":9071,"material":173,"size":9072,"collection":68,"collections":9073,"showCount":9017,"zanCount":1116,"manualWeight":48,"mainColor":49},219539,"pan-tao-tu-zou-yi-gui-219539","蟠桃图","承德避暑山庄博物馆","画面两只丹顶鹤立于青石之上姿态悠闲，石隙间画桃树一株硕果累累富有质感，峰峦之间瀑布鞋飞流而下。",[23,24,7,165,28,27,722,2123,131,99,9070,34],"灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb6b446064c15c3f90edacbf7bbc946c.jpg","166cm×87cm",[68],{"id":9075,"slug":9076,"title":9077,"dynasty":54,"author":5276,"museum":4840,"description":9078,"tags":9079,"thumbUrl":9080,"material":66,"size":84,"collection":68,"collections":9081,"showCount":9017,"zanCount":1998,"manualWeight":48,"mainColor":72},214821,"shan-shui-hua-hui-tu-ce-gao-feng-han-214821","山水花卉图册","高凤翰是一位清代著名的画家，他最著名的作品之一是山水花卉图册。这本图册包含了许多精美的山水和花卉画作，描绘了中国传统山水风景的美丽景色。高凤翰以其独特的画风和精湛的技巧著称，他的作品在当时颇受欢迎，并被广泛收藏。\n\n高凤翰的山水花卉图册对中国山水画的发展有着巨大的影响。他的作品描绘了中国传统山水风景，但又不拘泥于传统，注重自然与艺术的结合。他运用了自然的色彩和线条，使画面生动而富有感染力。同时，他也注重写实，力求将自然界的细节再现在画面中。高凤翰的山水花卉图册是中国山水画发展史上的一部重要作品，其中蕴含了许多独特的艺术成就。",[24,7,59,128,27,131,263,276,62,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7cf54d8ff98e36838fdc0046806b6e0.jpg",[68],{"id":9083,"slug":9084,"title":892,"dynasty":54,"author":55,"museum":300,"description":893,"tags":9085,"thumbUrl":9086,"material":84,"size":84,"collection":84,"collections":9087,"showCount":9088,"zanCount":1105,"manualWeight":48,"mainColor":72},233907,"hua-hui-shan-shui-ce-yun-shou-ping-233907",[164,24,7,59,27,60,28,61,606,548,549,7857,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F141cf9f332104177044cc00b6174e0b6.jpg",[],151,{"id":9090,"slug":9091,"title":9092,"dynasty":18,"author":768,"museum":244,"description":9093,"tags":9094,"thumbUrl":9095,"material":151,"size":84,"collection":42,"collections":9096,"showCount":9088,"zanCount":48,"manualWeight":48,"mainColor":49},219648,"hua-long-tu-chen-rong-219648","画龙图","此作用墨晕染出翻涌浓云，神龙隐现其间，或露利角锐爪，或显虬劲龙身，虚实相生间，将神龙见首不见尾的玄妙尽显。龙纹勾勒雄健苍劲，鳞爪细节锋芒暗藏，裹挟着磅礴威压，仿佛只需振鳍摆尾，便要冲破云烟扶摇直上。\n墨色浓淡铺陈得宜，云雾的氤氲空濛与龙身的沉凝质感相互映衬，把龙的神性与威仪藏在晦暝云气之中，营造出幽邃缥缈的天地灵韵，尽显笔下神兽的不凡风骨。",[24,7,25,128,772,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fb84b5cd562245554495403c27198d7.jpg",[42],{"id":9098,"slug":9099,"title":9100,"dynasty":182,"author":3529,"museum":77,"description":9101,"tags":9102,"thumbUrl":9103,"material":173,"size":84,"collection":68,"collections":9104,"showCount":9088,"zanCount":1998,"manualWeight":48,"mainColor":49},218745,"ma-xing-tu-han-gan-218745","马性图","骏马昂首伫立，体态劲健挺拔。鬃毛与躯干墨色晕染层次分明，颈间浅褐渐过渡至腰背浓黑，肌理质感毕现。四肢修长稳健，蹄足勾勒简洁有力，似藏奔腾之势。绢本自然龟裂如时光印记，旁侧墨迹题识与朱红印章相映，更添古朴厚重。作品以简练传神之笔，捕捉马的灵动神韵，尽显古典绘画的雅致生机。",[23,24,7,28,27,101,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F044321ad98ba7228339779ee43a3fc62.jpg",[68],{"id":9106,"slug":9107,"title":9108,"dynasty":980,"author":1687,"museum":77,"description":9109,"tags":9110,"thumbUrl":9111,"material":66,"size":84,"collection":68,"collections":9112,"showCount":9088,"zanCount":1998,"manualWeight":48,"mainColor":72},216602,"mo-he-si-lian-ping-1-zhang-da-qian-216602","墨荷四联屏-1","墨色淋漓间，荷叶或浓泼如积云，或淡染似流烟，焦墨勾筋见骨，湿笔晕染含情。荷花亭亭，瓣尖带露，留白处凝清韵；含苞待放者敛藏生机，似语未发。荷茎挺秀如剑，线条刚劲中藏柔婉，穿插交错成疏密有致的骨架。整幅画笔墨纵横却不失雅致，浓淡干湿互映成趣，于水墨交融间透出清逸出尘之态，仿佛能闻荷风送香，见碧波微动，尽显君子之姿与自然之妙，令人观之忘俗，沉醉于这份静谧与生机。",[24,7,128,165,81,82,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a911d419cf2bdb27af6f664cf482a33.jpg",[68],{"id":9114,"slug":9115,"title":9116,"dynasty":182,"author":464,"museum":20,"description":9117,"tags":9118,"thumbUrl":9120,"material":1722,"size":9121,"collection":44,"collections":9122,"showCount":9123,"zanCount":1086,"manualWeight":48,"mainColor":49},222242,"suo-jian-tu-juan-yan-li-ben-222242","锁谏图卷","此画最成功之处在于针对人物的神情进行了细致入微的刻画：只见陈元达双手持笏，紧抱大树，嘶喊着进谏之言，尽忠、尽职的焦急心情溢于言表；两名侍卫拉住陈氏的腰带与上衣奋力外扯，他们虽然胡须飞扬，双眼圆睁，亦不能将其奈何；穿着便服的刘聪横眉相向，目露凶光，放在膝上的左手紧握，显然十分激动，余怒未消的神态跃然纸上；合手伫立的刘皇后眼见事端因己而起，心神不宁，急派侍女送交君王密柬以缓解急迫的形势。\n画面对紧张氛围的渲染及对人物形神的描绘吸引了观者的视线，显示出画家独具一格的精妙构思。就画法来看，人物容颜用细笔描绘轮廓，须发纤毫毕现，面部略施淡墨表现起伏，服饰穿戴的线条勾写顿挫转折自具章法，有拙涩古朴之趣，观者能从中感受到罗聘娴熟地驾驭笔墨的高妙功力。\n以此图与现藏美国弗利尔艺术馆、相传为唐代阎立本所绘的《锁谏图》相比照，人物的位置、动作基本没有太多变化，罗氏之作只是省略了皇后一侧的假山石与树丛，添加了陈元达右侧的几名侍卫。另外，罗聘还将原本用设色之法图写的表现形式改作白描，使画作平添了些许雅致。",[23,24,7,25,28,27,96,9119,34,131,170,5626,208],"犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41980eacf357c3e6917c0ffd1915bdef.jpg","纵32厘米，横208厘米",[44,45],150,{"id":9125,"slug":9126,"title":9127,"dynasty":980,"author":1687,"museum":1688,"description":9128,"tags":9129,"thumbUrl":9130,"material":84,"size":84,"collection":84,"collections":9131,"showCount":9123,"zanCount":1998,"manualWeight":48,"mainColor":72},220492,"zhang-da-qian-liu-yin-shi-nv-tu-zhang-da-qian-220492","张大千柳荫仕女图","仕女眉如远黛，眼含幽绪，樱唇轻抿，鬓发匀整服帖。素色襦裙配云纹领饰，雅致端方，手倚苍润湖石，身姿柔婉，似在春荫下凝伫遐思。旁侧垂柳柔丝纷披，如烟似雾，晕开融融春意，墨竹清劲萧疏，与柳条柔媚相映成趣。\n\n笔墨清圆秀润，设色淡雅明净，细劲线条勾勒出人物妍丽温婉的体态，淡墨晕染出柳色空濛，将闺中女子的闲愁静穆烘托恰到好处，诗画相融，尽现雅致恬和的古典意韵。",[23,24,7,165,27,28,96,166,4363,276,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe418926e4c8fcd1998df4816716ffb22.jpg",[],{"id":9133,"slug":9134,"title":9135,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":9136,"thumbUrl":9138,"material":692,"size":1293,"collection":84,"collections":9139,"showCount":9140,"zanCount":1116,"manualWeight":48,"mainColor":49},290523,"yu-zao-tu-zhou-yun-shou-ping-290523","鱼藻图轴",[164,24,7,165,27,28,61,2059,303,9137,80],"浮萍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F748fd697006adc0f65ec737a5e5f60cf.jpg",[],149,{"id":9142,"slug":9143,"title":2289,"dynasty":54,"author":2290,"museum":300,"description":9144,"tags":9145,"thumbUrl":9146,"material":84,"size":84,"collection":68,"collections":9147,"showCount":9140,"zanCount":1116,"manualWeight":48,"mainColor":72},228929,"hua-hui-hu-die-tu-juan-ma-quan-228929","此卷以没骨法绘就，蝶群翩跹百态各异，翅脉纤毫毕现：或墨色沉凝如漆，或晕染粉白通透，振翅翻飞间灵动宛然。间缀佛手、牡丹与素花，设色清润柔雅，花叶舒展柔媚，衬得蝶群更显鲜活生机。\n\n卷后题笔文辞清丽，笔墨秀雅与画境相融，尽显创作者细腻入微的观察力，将草间花蝶相依的悠然灵趣定格长卷，温婉雅致，意韵盎然，是闺阁花鸟画里的精巧之作。",[23,164,24,7,25,27,28,61,481,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3906603e4a8bf2dc062465a3550f3584.jpg",[68],{"id":9149,"slug":9150,"title":9151,"dynasty":18,"author":313,"museum":244,"description":9152,"tags":9153,"thumbUrl":9154,"material":9155,"size":9156,"collection":318,"collections":9157,"showCount":9140,"zanCount":1998,"manualWeight":48,"mainColor":49},221264,"lin-su-shi-hai-tang-shi-juan-huang-ting-jian-221264","临苏轼海棠诗卷","黄庭坚的行书雄强刚劲，沉着痛快，展现出独特的个人魅力。董其昌有这样的评语：“山谷老人得笔于《瘗鹤铭》，又参杨凝式骨力，其欹侧之势，正欲破俗书姿媚。昔人云：右军如凤翥鸾翔，迹似奇而反正，黄书宗旨近之，盖见事苏而弟蓄米，自负不小。”\n此帖为黄庭坚书《七言绝句册》，创作于宋神宗熙宁七年（1074年），中国台北故宫博物院藏。据款识黄庭坚是年仅二十九岁，作书内含清刚之气，端庄雅正，初露峥嵘。",[64,7,25,330,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdbd196ba66c2f911d296063da35fda1.jpg","卷","34.5x263",[318],{"id":9159,"slug":9160,"title":9161,"dynasty":144,"author":569,"museum":20,"description":9162,"tags":9163,"thumbUrl":9166,"material":1027,"size":9167,"collection":136,"collections":9168,"showCount":9140,"zanCount":1116,"manualWeight":48,"mainColor":72},220852,"shui-cun-tu-juan-zhao-meng-fu-220852","水村图卷","此图卷作于元大德六年（1302年），赵孟頫时年49岁，这是他最后一幅可靠的纪年作品。赵孟頫以水墨写江南水乡平远开阔的景色，从用笔到构图都受到董源的影响，但董源的画法已完全融入赵孟頫的个人风格之中，于不经意间表现出来。山用披麻皴画出，景物以平远的形式展开。渴笔较多，用笔松秀含蓄，“写”的意味较浓，体现了书法的审美趣味。画家借景抒情，表现了一种静穆的心态和对“平淡天真”的追求。此图重要之处在于其对元画独特风格的形成产生了较大的影响，由此可见赵孟頫在开创元、明、清文人画潮流中所起的重要作用。",[23,24,7,25,128,29,133,208,132,663,228,9164,34,31,9165,8709],"村庄","山丘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc7d0809cc7c3659449e357f2fbf9e09.jpg","纵24.9厘米，横120.5厘米。",[136,117],{"id":9170,"slug":9171,"title":9172,"dynasty":54,"author":4083,"museum":524,"description":4173,"tags":9173,"thumbUrl":9174,"material":66,"size":4176,"collection":45,"collections":9175,"showCount":9140,"zanCount":1105,"manualWeight":48,"mainColor":72},219999,"shan-shui-hua-fang-ju-ran-wang-shi-min-219999","山水画-仿巨然",[24,7,165,128,132,330,29,331,130,98,171,1233,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc743492f61b4c5c3ac9b8e7474dea8ce.jpg",[45],{"id":9177,"slug":9178,"title":9179,"dynasty":54,"author":9180,"museum":450,"description":9181,"tags":9182,"thumbUrl":9183,"material":173,"size":9184,"collection":44,"collections":9185,"showCount":9140,"zanCount":1998,"manualWeight":48,"mainColor":49},218420,"fang-wu-dao-zi-wu-liang-shou-zun-zhe-xiang-li-gen-218420","仿吴道子无量寿尊者像","李根","面容饱满圆润，眉眼含笑间藏着悲悯与智慧，耳垂丰腴垂坠，尽显尊者气度。袈裟层叠厚重，墨黑与棕褐交织的纹理间，露出青绿裙摆，绣纹繁复精致，足见匠心。手中竹杖纹理清晰，似能触到岁月的质感，步履间衣袂轻扬，暗合吴带当风之韵。笔墨流转传神，设色古雅沉静，将尊者的慈悲与自在跃然绢上，尽显传统人物画的传神妙趣，观之令人心生敬意与平和。",[23,24,7,165,187,27,96,330,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b3ebcf7aef87cf32d2b60941bb44dc0.jpg","168x83",[44],{"id":9187,"slug":9188,"title":9189,"dynasty":124,"author":273,"museum":244,"description":9190,"tags":9191,"thumbUrl":9192,"material":66,"size":9193,"collection":136,"collections":9194,"showCount":9140,"zanCount":48,"manualWeight":48,"mainColor":49},214825,"song-ting-gao-shi-tu-wang-fu-214825","松亭高士图","这幅画展示了一群矗立在云端的山峰，山坡上的建筑结构，飞翔的喷泉和下面的小溪。附近岸边的松树林，水面上的小桥，以及两位高士摊开画卷的小亭子，都是面对面的。岩石是用湿的笔触和剥离相结合的方式绘制的。笔墨似乎与我们收藏的王绂的其他作品不同。",[24,7,165,128,132,29,372,130,96,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27e34794de7373f042b12a8297a0a70b.jpg","254.2x53.6",[136],{"id":9196,"slug":9197,"title":9198,"dynasty":144,"author":223,"museum":20,"description":9199,"tags":9200,"thumbUrl":9201,"material":173,"size":9202,"collection":136,"collections":9203,"showCount":9140,"zanCount":1116,"manualWeight":48,"mainColor":49},214314,"dong-shan-si-zhu-tu-yi-ming-214314","东山丝竹图","此图画东晋谢安东山丝竹故事。\n图绘崇山峻岭，连绵不绝，云雾缭绕，溪流蜿蜒山间。下部绘庭院一座，华屋数楹，院中仕女多抱管弦乐器，院外主人正携仆恭迎远来的贵宾们。全图表现了谢安迎客于东山、丝竹管弦高奏的情节，动态鲜明，仿佛有丝丝乐声流溢而出。而山水佳景清逸幽雅，衬托出主人高逸的情怀。图中人物刻画细腻，画法近于元末盛懋一路，具体作者不得而知。",[23,24,7,27,29,132,96,97,34,99,130,438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b23ad1f9ddfe456c8d38d90674e4715.jpg","纵188.5厘米，横103.3厘米",[136],{"id":9205,"slug":9206,"title":9207,"dynasty":124,"author":223,"museum":300,"description":9208,"tags":9209,"thumbUrl":9210,"material":84,"size":84,"collection":84,"collections":9211,"showCount":9212,"zanCount":975,"manualWeight":48,"mainColor":49},234656,"ming-ren-he-hua-tu-shan-ce-yi-ming-234656","明人荷花图扇册","扇面画的历史源流，据张彦远《历代名画记》记载，三国时，曹操就有请杨修为其画扇的故事。到了唐代画扇之风更为盛行，当时的扇子还是圆形的，故称团扇。宋代宫廷画家更是画扇成风，且留下扇面画也很多，扇子的形制出现了芭蕉形的扇子。集书法、绘画于一扇，则始于明代，这是因为折扇形式的出现。国人历来都有这种习性，一件实用品总要给它艺术化，扇面画就是这样经过明清书画家的匠心经营，从而逐步确定了其作为一种独特的艺术品种而广泛普及、流传下来，继而也逐步形成了扇面画独立的审美体系。及至清代、民国，扇面画都是书画家乐于染翰和文人雅士乐于把玩、收藏的艺术品。",[24,7,1131,27,28,61,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e90a226e32a8455678335f042760aa.jpg",[],148,{"id":9214,"slug":9215,"title":3978,"dynasty":54,"author":6778,"museum":9216,"description":9217,"tags":9218,"thumbUrl":9219,"material":9220,"size":9221,"collection":84,"collections":9222,"showCount":9212,"zanCount":1998,"manualWeight":48,"mainColor":72},231349,"sui-chao-qing-gong-tu-zhao-zhi-qian-231349","荣宝斋","岁朝图是中国传统绘画的重要题材之一。岁朝指农历元旦，历代画家特别是文人画家都喜欢在这一天绘制《岁朝清供图》，作为新年伊始的开笔之作。据考证，绘制岁朝图的传统源自于宋代宫廷，从宋徽宗赵佶治下特别流行，主要描绘冬季花卉，如腊梅、松柏、水仙等富有吉祥寓意的花草，一并搭配冬天不易看到的花卉、草木、果实等，意味着春天即将来临，以增加节日的祥和气氛，正如此作题款所云：“富贵昌宜吉祥如意，岁朝清供也。”这其中寄托着古人对于未来一年的美好祝愿。此类岁朝图一般采取细笔写生画法，形象描绘逼真。历代画家多有描绘，在清代宫廷中更为流行，像郎世宁、陈书这样的清宫御用画家都画过类似题材。\n作为文人画家，岁朝清供这样的题材也为赵之谦所爱。此幅《岁朝清供图》即为海派大师赵之谦所作，通幅为长条型构图，描绘的草木花卉皆为案头清玩之物。画面上部描绘一高立的花架，花架上摆有一盆盛放的水仙，盆中亦有秀石与水仙相映成辉。花架下有蒲草、灵芝，寓意吉祥。画面下部绘有一圆型石盆，盆中有怒放的牡丹花。花木、盆架错落有致地安排在画面中。赵之谦将自身深厚的金石书法功底融入绘画，形成了他写意花卉的独特面貌。花架与石盆皆以带有篆籀笔意的用笔写出，廖廖数笔，笔简神完，大气十足，在花卉的描绘上颇重视细节，如牡丹花旁的绿草刚劲有力，细密有如针刺，蒲草则纷披，得其大意，可谓有粗有细、有收有放。用色上注重以色助墨，以墨醒色，花架与花盆以浓墨写出，更映衬出水仙的翠绿与牡丹的嫣红，设色俏丽鲜艳，画面效果虽强烈却不刺激。通篇予人春意融融、满室生香之感。\n从此幅《岁朝清供图》来看，赵之谦将清代两大花鸟画派，即恽寿平的没骨画法与扬州画派的写意画法相结合，并自出机杼，创造出新的风格。他在金石书法方面功力深厚，并将其入画，注重用色，在用色上讲究雅俗共赏，突破了古代文人画家所秉承的“夫画道之中，水墨为上”的原则。这些特点在海派大家吴昌硕那里得到了继承与进一步发挥。可以说，赵氏在写意花鸟画艺术上的拓展与推进，对近世花鸟画影响颇为深远，齐白石、陈师曾等北派巨匠同样受过他画作的影响。",[23,24,7,165,27,128,61,263,168,3114,171,169,208,938],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bf07ea413035b2c66a5bfd228e15f97.jpg","设色纸本","135.5×30.5cm",[],{"id":9224,"slug":9225,"title":9226,"dynasty":18,"author":8169,"museum":300,"description":9227,"tags":9228,"thumbUrl":9229,"material":151,"size":9230,"collection":42,"collections":9231,"showCount":9212,"zanCount":1086,"manualWeight":48,"mainColor":49},221303,"guo-shu-shuang-qin-tu-juan-yi-yuan-ji-221303","果熟双禽图卷","易元吉（生卒年不詳，公元11世紀左右），字慶之，湖南長沙人。北宋時期著名畫家。天資穎異，靈機深敏，尤善畫猿猴，並因此而聞名天下。古代繪畫評論家把獐猿畫看成是易元吉的專工獨詣，認為是“世俗之所不得窺其藩”的絕技。",[23,164,24,7,25,27,28,61,949,3599,211,355,547,5930,666,131,7446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6631c878d850cd9d6af666f057a73051.jpg","41.8x288厘米",[42,68,45],{"id":9233,"slug":9234,"title":1363,"dynasty":124,"author":204,"museum":244,"description":9235,"tags":9236,"thumbUrl":9237,"material":173,"size":84,"collection":44,"collections":9238,"showCount":9212,"zanCount":1998,"manualWeight":48,"mainColor":49},219376,"guan-yin-chou-ying-219376","画中十六罗汉供奉观音，观音坐南海普陀山传法。 十六罗汉被他们包围。 布局很巧妙。",[24,7,165,187,28,27,96,189,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b7fd836ea2e1389bb6b95dda24eb6b.jpg",[44],{"id":9240,"slug":9241,"title":9242,"dynasty":18,"author":223,"museum":244,"description":9243,"tags":9244,"thumbUrl":9246,"material":66,"size":9247,"collection":42,"collections":9248,"showCount":9212,"zanCount":1086,"manualWeight":48,"mainColor":72},218728,"qiu-gua-tu-yi-ming-218728","秋瓜图","地上长着三个秋瓜，景观中还有藤蔓、树叶和花朵。瓜皮用老绿色着色，瓜棱用赭石填充，精致而有节奏。瓜的叶子被仔细地勾勒出来，藤蔓也是圆润而细致的。这幅画没有刻上作者的名字，但我们收藏的另外两幅画《宋代草木瓜》和《钱玄同秋瓜》在构图上与此框相似，而且此卷的笔法精细，与《宋代草木瓜》相似。",[23,24,7,28,27,61,9245,548,962,208,59],"秋瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0270d205fb5d6c396d4cfa437041b14a.jpg","26.8x45.5厘米",[42],{"id":9250,"slug":9251,"title":9252,"dynasty":18,"author":1449,"museum":56,"description":9253,"tags":9254,"thumbUrl":9256,"material":173,"size":9257,"collection":136,"collections":9258,"showCount":9212,"zanCount":1086,"manualWeight":48,"mainColor":49},214609,"jiao-yuan-ye-zhang-tu-wan-shan-ye-ma-lin-214609","郊园曳杖图纨扇页","郊园曳杖图是宋朝时期马麟所作的一幅著名的山水画。这幅画描绘了一个人在郊外散步的场景，画中的人物拿着一根曳杖，走在一片绿色的郊园里，周围环绕着山峦和树木。\n\n马麟是宋朝时期著名的画家，他的画风轻松优美，富有感性，并且注重写实。在他的作品中，常常出现山水画题材，他将山水画中的景物和人物结合起来，表现出人与自然和谐相处的意境。郊园曳杖图就是这样一幅作品，它展示了一个人在郊外散步的情景，与周围的山水相互融合，充满了自然之美。\n\n马麟的郊园曳杖图是一幅经典的山水画作品，其中细腻的笔墨，流畅的线条，精确的造型，以及生动的写意，都体现了马麟作为画家的高超技艺。这幅画不仅为后人留下了宝贵的艺术瑰宝，也为我们展现了宋朝时期山水画的魅力。",[1131,24,164,7,27,132,29,96,34,9255,208],"山坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c4fe954c2ad1a1f925dcf460e2dd461.jpg","纵23.3 厘米 横23.7 厘米",[136],{"id":9260,"slug":9261,"title":9262,"dynasty":18,"author":223,"museum":300,"description":9263,"tags":9264,"thumbUrl":9266,"material":692,"size":1293,"collection":84,"collections":9267,"showCount":9268,"zanCount":1116,"manualWeight":48,"mainColor":49},227839,"qian-shou-guan-yin-li-xiang-yi-ming-227839","千手观音立像","千手观音又称千手千眼观世音、千眼千臂观世音等，是我国民间信仰的四大菩萨之一。千手观音是阿弥陀佛的左胁侍，与阿弥陀佛、大势至菩萨(阿弥陀佛的右胁侍)合称为“西方三圣”。",[23,24,7,165,27,28,187,96,7070,9265,1367,3588],"莲花座","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be631ea3bf397f44a3c3ff849e91dc8.jpg",[],147,{"id":9270,"slug":9271,"title":650,"dynasty":124,"author":2110,"museum":244,"description":9272,"tags":9273,"thumbUrl":9274,"material":611,"size":9275,"collection":84,"collections":9276,"showCount":9268,"zanCount":48,"manualWeight":48,"mainColor":72},222412,"mei-hua-zhou-zhi-mian-222412","周之冕（1521—？）明代杰出画家，字服卿，号少谷，长洲（今江苏苏州）人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。善用勾勒法画花，以水墨点染叶子，画法兼工带写，人称勾花点叶法。所作花鸟，形象真实，意态生动，颇有影响。写意花鸟，最有神韵。设色亦鲜雅，家畜各种禽鸟，详其饮啄飞止，故动笔具有生意 。特以嗜酒落魄，不甚为世重耳。又善古隶。\n有明以来写花草者，无如吴郡，而吴郡自沈周之后，无如陈道复（1483—1544）陆叔平（1496—1576）然道复妙而不真，叔平真而不妙，周之冕似能兼之。周之冕采陈道复、陆治二家之长，为吴门画派重要画家。\n万历三十年（1602）作《竹石雄鸡图》轴和《百花图》卷，现藏故宫博物院；（1601）作 桃柳春燕图 手卷；《桂树榴雀图》轴藏南京博物院；万历十三年（1585）作《芙蓉凫鸭》图轴藏上海博物馆；十五年（1587）作《芙蓉双凫图》轴藏沈阳故宫博物院；三十年作《墨花图》卷藏天津市艺术博物馆；同年作《杏花锦鸡图》轴藏苏州市博物馆；二十四年作《梅花野雉图》轴藏辽宁省博物馆。",[23,24,7,1131,128,61,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbd89ea65005058bae7f1df5879f312.jpg","58x55.6厘米",[],{"id":9278,"slug":9279,"title":7189,"dynasty":124,"author":223,"museum":244,"description":9280,"tags":9281,"thumbUrl":9282,"material":253,"size":84,"collection":84,"collections":9283,"showCount":9268,"zanCount":1998,"manualWeight":48,"mainColor":72},222165,"fu-chun-shan-ju-tu-zi-ming-juan-yi-ming-222165","乾隆皇帝在1745年读到大臣沈德潜的文集，文中对“富春山居图”大为称赞，同年得到“子明卷”，“子明卷”名称是因为题跋指是画给“子明隐君”，但尚未考证出实际人员。直到国民政府点收北京故宫文物，故宫博物院发现黄公望曾在曹知白的画作《群峰雪霁》上题字，借由该落款进行比对之后辗转证实“无用师卷”才是真迹，但由于子明卷是富春山居图被烧前所仿摹",[23,24,7,25,128,29,132,64,208,330,663,228,34,129,98,99,130,211,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8451bdc7d183bc6951030aaa3cf6f433.jpg",[],{"id":9285,"slug":9286,"title":9287,"dynasty":124,"author":125,"museum":244,"description":9288,"tags":9289,"thumbUrl":9290,"material":9291,"size":9292,"collection":136,"collections":9293,"showCount":9268,"zanCount":1116,"manualWeight":48,"mainColor":49},222102,"chun-yun-die-zhang-tu-shen-zhou-222102","春云叠嶂图","春云叠嶂图，绢本墨笔，故宫博物院藏。其款题：十日消闲障子成，看君堂上白云生。 有人若问谁持赠，万叠千重是我情。文美赵君，知余老，报拙静远，以汉鼎为赠，用助萧斋日长，焚沉悦性，其惠多矣，文美读书好古，于书画尤萃意焉。因作春云叠嶂报之，愧莫敌施也。弘治新元七夕日，沈周。 此作在康熙年间，被高士奇收藏，并著录于其《江村消夏录》。其题画诗见于《四库全书*列朝诗集》明代五十六丙集第八。",[23,24,7,1349,128,132,663,950,413,99,131,130,1233,331,499,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb54811e543fce13bf211196f60045fc.jpg","绢本墨笔","152 2x43 2cm",[136,117],{"id":9295,"slug":9296,"title":9297,"dynasty":182,"author":464,"museum":20,"description":9298,"tags":9299,"thumbUrl":9300,"material":151,"size":9301,"collection":44,"collections":9302,"showCount":9268,"zanCount":1116,"manualWeight":48,"mainColor":72},221065,"kong-zi-di-zi-xiang-yan-li-ben-221065","孔子弟子像","《孔子弟子像》全图采取平列式构图，无背景，墨笔勾勒，着色，人物形象各异，须眉生动。绘孔子弟子立像五十九人，无名款。从体貌上对照，第三人即为孔子，以后诸人亦形态相仿，顺序一致，惟个别处有遗漏或增补，如子迟和子贡之间缺子夏，孔子前多出两人。但根据北京故宫博物院藏的宋无款《七十二贤相》卷进行对比，本幅画所绘为孔子及弟子像内容是确凿无疑的。",[23,24,164,7,25,28,27,188,96,208,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc62b0109df8752c442e8801281dc33fb.jpg","纵32.3厘米，横870厘米",[44,45],{"id":9304,"slug":9305,"title":9306,"dynasty":18,"author":633,"museum":300,"description":9307,"tags":9308,"thumbUrl":9309,"material":173,"size":9310,"collection":136,"collections":9311,"showCount":9268,"zanCount":48,"manualWeight":48,"mainColor":49},220045,"ting-qin-kan-pu-tu-xia-gui-220045","听琴看瀑图","危崖飞瀑垂落千仞，斧劈皴勾勒山石棱骨，墨色苍劲凝练，将峭壁雄浑之势尽显。虬松盘曲展枝，松下平坡之上，抚琴者席地拨弦，知音侧耳凝听，童子垂手侍立，寥寥数笔便将人物悠然意态勾勒传神。\n\n画面以局部取景，大片留白晕染出空濛悠远，将林泉雅集的闲逸与山川清旷相融，虚实之间，把静赏飞瀑、闲听雅琴的幽趣铺陈开来，藏着寄情丘壑、静悟天机的风雅，笔简而意无穷，尽得空灵禅寂之美。",[164,24,7,165,128,132,29,495,1144,96,4947,497,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23b1f6772d48a16ed101d54e26afa835.jpg","142.2 × 70 cm",[136],{"id":9313,"slug":9314,"title":9315,"dynasty":54,"author":223,"museum":450,"description":9316,"tags":9317,"thumbUrl":9319,"material":173,"size":84,"collection":68,"collections":9320,"showCount":9268,"zanCount":1116,"manualWeight":48,"mainColor":49},219057,"he-lu-tu-yi-ming-219057","荷鹭图","画的是两枝青莲，各有一枝莲花和莲穗，细长的茎上有白色和绿色的花瓣；两只鹭鸶站在水中，雪白的羽毛和尖尖的喙，平静地站在水中，一动不动。",[23,24,7,165,27,28,61,81,9318],"鹭鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85725455913aa679061881f4d5d01b14.jpg",[68],{"id":9322,"slug":9323,"title":9324,"dynasty":18,"author":223,"museum":9325,"description":9326,"tags":9327,"thumbUrl":9328,"material":173,"size":9329,"collection":136,"collections":9330,"showCount":9268,"zanCount":1116,"manualWeight":48,"mainColor":49},218232,"jiang-tian-lou-ge-tu-yi-ming-218232","江天楼阁图","南京博物馆","此图无款印，写江天坡石，远山楼阁，舟船人物，松枝虬劲。精致生动。可看出典型的“马夏”式构图，取一角之景，加以远山的绵延起伏，浩渺深远，意境深幽，为画面的水天一色注入了新的活力。",[24,7,165,95,128,27,29,97,129,331,497,100,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5919d4dd7f42021aba4be1549a9e9aa1.jpg","纵97.4厘米，横54.6厘米",[136],{"id":9332,"slug":9333,"title":9334,"dynasty":54,"author":872,"museum":300,"description":9335,"tags":9336,"thumbUrl":9338,"material":84,"size":84,"collection":84,"collections":9339,"showCount":9340,"zanCount":1998,"manualWeight":48,"mainColor":72},234226,"hua-hui-tu-juan-zhu-da-234226","花卉图卷","清代初期的中国画坛活跃着弘仁、髡残、朱耷、石涛四位僧人画家，画史上合称“四僧”。他们的绘画在继承传统的基础上，大胆创新，主张师法自然造化，与当时画坛正统风格相距甚远，具有鲜明的艺术风格。在这四人当中尤以朱耷的人生与艺术最具传奇色彩。\n朱耷（1626—1705），江西南昌人，为明江西宁献王朱权的九世孙。明亡后出家为僧，法名传綮，曾经使用的号有很多，最为著名的则是在他弃僧还俗后使用的“八大山人”。",[23,24,7,25,128,133,840,208,61,263,209,9337,188],"绣球","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1af9b90b90faf27fd07bc9d5bfdfb023.jpg",[],146,{"id":9342,"slug":9343,"title":9344,"dynasty":54,"author":4468,"museum":244,"description":8598,"tags":9345,"thumbUrl":9346,"material":692,"size":1293,"collection":84,"collections":9347,"showCount":9340,"zanCount":1998,"manualWeight":48,"mainColor":72},230204,"xian-e-chang-chun-tu-lang-shi-ning-230204","仙萼长春图",[23,24,164,7,59,28,27,61,263,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dee7461512292d25946deeb4c5ea582.jpg",[],{"id":9349,"slug":9350,"title":9351,"dynasty":144,"author":1346,"museum":524,"description":9352,"tags":9353,"thumbUrl":9354,"material":9355,"size":9356,"collection":117,"collections":9357,"showCount":9340,"zanCount":1086,"manualWeight":48,"mainColor":72},220775,"duo-fu-tu-zhou-wu-zhen-220775","多福图轴","吴镇画墨竹自称是“戏写”，表现了他画竹时怡然自得的心境，这必须做到“心手两相忘，融化同造物”。他通过题画诗来使墨竹人格化，强调竹子的坚韧个性。他以“虚心抱节”来赞颂竹子既虚怀若谷、又坚守气节的人格化的植物特性。\n吴镇非常爱梅，家室四周遍植梅树，取斋名“梅花庵”。墨梅流派的发展，从释仲仁开始，在写实的形态上以清淡疏简为宗。至扬无咎，更把仲仁的点墨变为直率的带有飞白的用笔。《多福图》以墨笔绘树石丛竹，格调简率遒劲，信笔挥洒，墨色淋漓，布局错落有致。吴镇在画古梅的枝干时，显示了能放能收、力能扛鼎的沉郁超旷。此图表现老梅一枝，峭石一块，疏竹一丛，显得老辣沉浑。\n画面右上草书自题五言诗一首，“长忆古多福，三茎四茎曲。一叶动机舂，清风自然足。”署款“梅花道人戏墨”。",[23,164,24,7,165,128,167,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6205111b6eff3ed5d23ced59c90d8da.jpg","纸本,墨笔","96×28.5cm",[117,1670],{"id":9359,"slug":9360,"title":9361,"dynasty":18,"author":1323,"museum":244,"description":9362,"tags":9363,"thumbUrl":9365,"material":173,"size":9366,"collection":42,"collections":9367,"showCount":9340,"zanCount":1998,"manualWeight":48,"mainColor":49},220253,"fen-xiang-zhu-sheng-tu-li-song-220253","焚香祝圣图","描绘了依山临水的华美殿阁之中，一白衣男子携女眷焚香礼拜之景。画作巧妙运用远观视角，将画栋飞甍、风帘翠幕置于月色流转与烛影摇曳之间，望之宛如琼楼仙馆，绮丽艳逸。此图据称是依据南宋皇家园林绘制而成，画面细致地再现了南宋宫苑建筑的风格与细节，史学价值极高。",[23,24,164,7,95,27,28,187,96,97,413,9364,208],"台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc9f3c35ee5b3ba72fc5b5432c4379a8.jpg","纵24.8厘米，横25.8厘米",[42],{"id":9369,"slug":9370,"title":9371,"dynasty":18,"author":397,"museum":450,"description":9372,"tags":9373,"thumbUrl":9374,"material":173,"size":9375,"collection":68,"collections":9376,"showCount":9340,"zanCount":48,"manualWeight":48,"mainColor":49},219349,"bai-ying-tu-zhao-ji-219349","白鹰图","图为一只白鹰站在湖石上，爪子上系着绳索。 这幅画是根据宋徽宗爱画白鹰奇石的传说.",[23,24,164,7,165,28,27,211,3238,167,171,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9f082a50222716196107d33d5784d0f.jpg","141.7x59.5厘米",[68,45],{"id":9378,"slug":9379,"title":9380,"dynasty":18,"author":1622,"museum":300,"description":9381,"tags":9382,"thumbUrl":9383,"material":66,"size":9384,"collection":44,"collections":9385,"showCount":9340,"zanCount":1116,"manualWeight":48,"mainColor":72},218648,"song-quan-gao-shi-tu-ma-yuan-218648","松泉高士图","在画的左边，一个高大的学者坐在松树山上，他的斗篷半开半合，看着远方，身后是一个手持法杖的仆人男孩，周围是松树和流水；画的右边是空白的，引起了无限的想象。",[23,164,24,7,25,128,27,96,29,372,211,171,99,208,64,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8906739d60ca52938ca25e5397b522eb.jpg","27x57",[44],{"id":9387,"slug":9388,"title":9389,"dynasty":54,"author":3043,"museum":300,"description":9390,"tags":9391,"thumbUrl":9393,"material":692,"size":1293,"collection":84,"collections":9394,"showCount":9395,"zanCount":48,"manualWeight":48,"mainColor":72},237155,"xu-gu-mao-die-tu-zhou-xu-gu-237155","虚谷猫蝶图轴","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂。籍新安（今安徽歙县），居广陵（今江苏扬州）。初任清军参将与太平军作战，意有感触，后出家为僧。工山水、花卉、动物、禽鸟，尤长于画松鼠及金鱼。亦擅写真，工隶书。作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。亦能诗，有《虚谷和尚诗录》。传世作品有《梅花金鱼图》《松菊图》《葫芦图》《蕙兰灵芝图》《枇耙图》等。",[24,7,165,128,27,369,1634,9392,376,171,61,949],"蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffac0781a23a4a9e539a1cd4f736c5b1f.jpg",[],145,{"id":9397,"slug":9398,"title":9399,"dynasty":54,"author":872,"museum":300,"description":9400,"tags":9401,"thumbUrl":9405,"material":84,"size":84,"collection":84,"collections":9406,"showCount":9395,"zanCount":48,"manualWeight":48,"mainColor":199},230268,"lin-lan-ting-ji-xu-zhu-da-230268","临兰亭集序","这幅临作跳脱原作的飘逸妍美，以极简淡的行笔，将永和雅集的放达意趣揉入枯寂清冷的笔意间。线条清瘦内敛，牵丝映带简省却意韵悠长，墨色枯润交叠，淡晕似寒山孤月，藏着沉郁孤傲的心境。\n\n章法排布疏朗错落，字距宽绰留白如空山积雪，不见羲之流媚，只剩孤绝文人风骨。将曲水流觞的群贤盛景，幻化为一人独对的清冷，以己意重塑经典，让旧文生出新的寂寥魂魄，是借古抒怀的绝妙手笔。",[23,24,7,64,330,133,128,208,663,9402,167,99,9403,9404,7546],"林","天","风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe962dda24755f0275826a71c100f9871.jpg",[],{"id":9408,"slug":9409,"title":9410,"dynasty":18,"author":223,"museum":300,"description":9411,"tags":9412,"thumbUrl":9415,"material":84,"size":84,"collection":84,"collections":9416,"showCount":9395,"zanCount":1116,"manualWeight":48,"mainColor":72},227882,"liu-zhi-huang-niao-tu-yi-ming-227882","榴枝黄鸟图","《 》是宋代佚名创作的绢本设色画，现藏于北京故宫博物院。\n此图绘 一只，嘴啄小虫，栖止于榴枝上，神形毕肖。\n图中枝梗从右向左斜出，沉甸甸的石榴挂于枝干。\n榴叶萧瑟，鸟的羽毛用淡黄染色后，再用粉白以短而细的笔触勾描，具有毛茸茸的质感。\n鸟的翅膀和尾部等处，浓淡墨色参用。\n画面设色侬艳而又对比鲜明。\n深秋时节， 成熟，绽开表皮，露出累累果实。\n石榴叶已由绿变黄，有的枯萎，有的被虫蛀蚀，写出了秋日的萧瑟。\n一只肥硕的黄鹂衔着小虫栖于榴枝上，悠然自得。\n黄鹂的羽毛经淡赭、黄色晕染后再用白线勾描，近于“没骨”。\n石榴枝叶赋色对比鲜明。\n对幅有清乾隆御题诗一首：“榴子熟时莺转时，野虫衔得集横枝。\n笑他自喜权供饱，忘却有人弹挟之。\n辛亥清和御笔。\n”钤“ ”、“ ”、“八征耄念”、“自强不息”玺印。\n本幅无款。\n钤鉴藏印“张笃行印”，另有2印不辨。\n清《石渠宝笈》著录。",[23,24,7,59,28,27,61,9413,9414,2037,624,133,208],"榴枝","黄鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e2351453d665df0945037e4ac4a342f.jpg",[],{"id":9418,"slug":9419,"title":9420,"dynasty":124,"author":9421,"museum":20,"description":9422,"tags":9423,"thumbUrl":9426,"material":514,"size":9427,"collection":44,"collections":9428,"showCount":9395,"zanCount":1116,"manualWeight":48,"mainColor":49},222154,"guan-yu-qin-jiang-tu-shang-xi-222154","关羽擒将图","商喜","此图描绘的是三国时期的大将关羽水淹七军、活捉敌将庞德的故事。画中关羽长须美髯，气宇轩昂，身穿铠甲，斜披绿袍，手抱单膝坐于青松之下，神态从容自得，周仓手持青龙偃月刀侍立一旁。而庞德衣衫尽褪被绑在木桩之上，兀自咬牙眦目，挣扎不休，不甘受缚的心态跃然纸上。\n本图虽是宫廷绘画，但表现的对象是家喻户晓的历史人物关羽，描绘的情节是人们喜闻乐见的三国故事。在题材的选取上与民间美术有不谋而合之处，体现了人们对英雄形象普遍的崇拜心理。在画法上，人物用工笔重彩，浓艳亮丽的色彩夺人眼目，人物形象的塑造吸收了民间美术的造型特点，特征突出，带有一定的程式化。画面尺幅巨大，构图宏伟壮观，反映了皇家艺术的豪华气派。",[23,164,24,7,28,27,96,9424,5626,413,9425,415,111],"武将","石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cfe2aa230b981d80a1e2084434ca2c.jpg","纵198厘米，横236厘米",[44,45],{"id":9430,"slug":9431,"title":9432,"dynasty":18,"author":633,"museum":224,"description":9433,"tags":9434,"thumbUrl":9435,"material":317,"size":9436,"collection":136,"collections":9437,"showCount":9395,"zanCount":1998,"manualWeight":48,"mainColor":72},215111,"bu-yu-tu-xia-gui-215111","捕鱼图","捕鱼图是宋朝时期著名画家夏圭的一幅名作。这幅画描绘了一个捕鱼的场景，画面中有许多渔民在用各种方法捕捉鱼类。夏圭是宋朝时期著名的“四大家”之一，他的捕鱼图以其精细的细节和逼真的人物造型而闻名。这幅画被认为是宋朝时期画家对自然主题的精湛描绘的典范，并被视为中国绘画史上的杰作。",[23,164,24,7,1131,128,132,29,129,1350,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816c22a3a1796408cdb7def0393b7cd2.jpg","23.2×24.1cm",[136],{"id":9439,"slug":9440,"title":9441,"dynasty":124,"author":2268,"museum":244,"description":9442,"tags":9443,"thumbUrl":9444,"material":278,"size":84,"collection":136,"collections":9445,"showCount":9395,"zanCount":1998,"manualWeight":48,"mainColor":72},214616,"fang-huang-gong-wang-dou-he-mi-lin-dong-qi-chang-214616","仿黄公望陡壑密林","董其昌是一位著名的明代画家，他的作品《仿黄公望陡壑密林》是一幅杂乱的山林画，充分展现了董其昌对自然的描绘能力。\n\n在这幅画中，董其昌通过细致的笔触和细腻的色彩，精确地描绘出了山林中的每一个细节。他使用浓密的线条和暗色调描绘出了树木，使得整幅画呈现出一种茂密的森林氛围。同时，董其昌还使用了浅色调和柔和的线条描绘出了山谷的景色，使得画面显得更加生动。\n\n总的来说，《仿黄公望陡壑密林》是一幅令人印象深刻的山林画，展示了董其昌的画风独特，也诠释了他对自然的热爱和描绘能力。",[24,7,128,132,330,59,29,663,34,499,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80c809d6e5fc35ec243b8d09d730397b.jpg",[136],{"id":9447,"slug":9448,"title":9449,"dynasty":54,"author":9450,"museum":300,"description":9451,"tags":9452,"thumbUrl":9453,"material":692,"size":1293,"collection":84,"collections":9454,"showCount":9455,"zanCount":48,"manualWeight":48,"mainColor":72},290384,"lan-hua-tu-juan-yun-xiang-290384","兰花图卷","韵香","女道士。能书擅画，尤擅画兰。主要作品有《空山听雨图册》",[23,164,24,7,25,128,375,171,208,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F346cbb87cd3ed3e666639bdd70f910b5.jpg",[],144,{"id":9457,"slug":9458,"title":4229,"dynasty":124,"author":9459,"museum":300,"description":9460,"tags":9461,"thumbUrl":9462,"material":84,"size":84,"collection":68,"collections":9463,"showCount":9455,"zanCount":1116,"manualWeight":48,"mainColor":72},237664,"hua-niao-ce-ling-bi-zheng-237664","凌必正","[明]字贞卿，一字蒙求，号约庵，太仓（今江苏太仓）人。崇祯四年（一六三一）进士，官至广西副使。善山水，设色妍雅，位置精密，接轸宋人。间画花鸟，尚欠超逸生动之致。《太仓州志、无声诗史、桐阴论画》",[164,24,7,59,27,28,61,582,549,1039,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb686e450eda3e1b564356a6d16a40e28.jpg",[68,45],{"id":9465,"slug":9466,"title":9467,"dynasty":18,"author":9468,"museum":244,"description":9469,"tags":9470,"thumbUrl":9471,"material":3785,"size":9472,"collection":42,"collections":9473,"showCount":9455,"zanCount":1998,"manualWeight":48,"mainColor":72},221466,"si-mei-hua-tu-juan-yang-wu-jiu-221466","四梅花图卷","扬无咎","四梅花图画面分四段画梅，自题跋语中说：“范瑞伯要予画梅四枝，一未开，一欲开，一盛开，一将残。”四梅纯以水墨绘成，花朵作白描圈线，不加晕染，即为“圈花法”，用笔轻快洗练，毫不拘板。新枝用劲直线条一笔写成，极为挺秀。粗干则用“飞白法”，显笔复加乾皴，虚实相间，墨色变化丰富。全幅呈现出匀协恬静、清淡闲野的气氛，诚如时人所谓的“村梅”格调。作品有借梅言情、迟暮感伤之意。",[23,24,7,25,128,369,188,650,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0adde438dc6811236efafbe596d17dfd.jpg","纵27.2厘米，横358.8厘米",[42,68,45],{"id":9475,"slug":9476,"title":9477,"dynasty":18,"author":3278,"museum":510,"description":9478,"tags":9479,"thumbUrl":9484,"material":114,"size":9485,"collection":42,"collections":9486,"showCount":9455,"zanCount":48,"manualWeight":48,"mainColor":49},221414,"mao-lin-yuan-xiu-tu-li-cheng-221414","茂林远岫图","由于这幅《茂林远岫图卷》没有款识，后代的收藏者也都是根据画卷后部南宋向冰、元代倪瓒以及明初张天骏三人的题跋，而将其作者定为李成。明、清时期的张丑、吴升等曾认定题跋为后人补配，怀疑作品不是李成真迹。当代鉴定家对这件作品的作者归属问题也存在着诸多推论。其实，欣赏一件古代的书画作品，首先着重看的是它的艺术质量与笔墨精神，真伪问题应在其后。\n《茂林远岫图》经南宋贾似道、元代鲜于枢、明代项元汴、清代梁清标等名家收藏，后入清宫内府，上有百余方收藏印迹。作品后有南宋向冰、元人倪瓒、明人张天骏三人题跋。画上有乾隆的一首七言诗：“元气淋漓万木枝，荆关而外自成师。奁屏合付闺中秀，砚匣琉璃冥写时。”由于南宋向冰在卷后题跋中称此图为北宋李成所作，所以该作品多被看做是流传有绪、唯一可信的李成真迹。\n展阅北宋画家李成的《茂林远岫图》轴，它给人的第一印象就是场面开阔、气势恢弘。远处的山峰顶天立地，给人以庄严、豪迈之感。近景处，小桥流水、泊岸轻舟，以及来来往往的行人车马，给人一种轻柔舒缓的感觉。它们与雄浑、巍峨的远山搭配协调、刚柔相济。楼台寺塔、流泉飞瀑点缀于溪畔崖间；丛林苍翠，连绵不断，让人观后顿觉心情舒畅。\n《茂林远岫图》用笔劲健平和，线条纤细而不孱弱，骨力内蕴，如绵里裹针。岩石先用瘦劲的线条勾勒，再以清晰、细劲的小线条慢慢皴写，层层叠加。作品用墨谨慎小心。尤其淡墨，更是细腻持重、清逸传神。作品设色不多。即使设色的地方，也是清新、醇厚，有一种雍容典雅的韵味，没有丝毫的火气与造作。\n北宋画家王诜曾将李成的画与范宽的画做过比较，说李成的画“墨润而笔净，烟岚轻动，如对面千里，秀气可掬”。的确，与范宽的画相比，李成的画更为文气，这与李成具有广博、丰厚的学识大有关系。李成的画有较浓的书卷气，这一点在传为李成的《茂林远岫图》中也体现得很明显。\n以平远法构图来表现清旷、幽远的画境是李成山水画的一大特色。他之所以多用平远法构图，一是因为平远法适合表现山东平原的烟林远丘，容易营造一种一望无际、层层推进的视觉效果，让人感觉阔远（如果用高远法或深远法来表现，就会显得局促、窄小）；二是与李成的经历有关。虽然他在世时，李唐王朝已灭亡十几年了，但作为皇族后裔的他，并不甘心就此埋没，还想东山再起。可因家道中落、仕途不顺、兵灾人祸等种种原因，他走仕途的理想最终未能实现。在多次遭到挫折的情况下，他将自己的人生目标转移到绘画上，以求得内心的平静。这一追求体现在画面上，就是意境冲淡、平和，并带有萧疏之气。平远的构图，使画家能深入地描绘对象，思维不自觉地延伸，从而达到内心的宁静。宋代郭若虚《图画见闻志》评价李成的作品“气象萧疏，烟林清旷”，甚是贴切。",[23,24,164,7,25,29,132,27,9480,415,34,131,37,9481,151,9482,9483,499,1515],"茂林","淡墨","层峦","丛林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ba9ba394d8f11186aaa0fc8c73d28ca.jpg","纵45.4厘米，横141.8厘米",[42,136,117],{"id":9488,"slug":9489,"title":9490,"dynasty":18,"author":397,"museum":20,"description":9491,"tags":9492,"thumbUrl":9493,"material":514,"size":9494,"collection":42,"collections":9495,"showCount":9455,"zanCount":48,"manualWeight":48,"mainColor":49},221365,"dai-sheng-tu-zhao-ji-221365","戴胜图","宋徽宗赵佶（1082年11月2日-1135年6月4日） [6] ，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。 [1] 哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”， [1] 并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。 [2] 他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。 [3] 南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[23,164,24,7,28,27,61,211,62,624,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac6d21304ca588d1c5a05077bff87467.jpg","纵55厘米，横59厘米",[42,68,45],{"id":9497,"slug":9498,"title":9499,"dynasty":18,"author":491,"museum":224,"description":9500,"tags":9501,"thumbUrl":9503,"material":9291,"size":9504,"collection":42,"collections":9505,"showCount":9455,"zanCount":1116,"manualWeight":48,"mainColor":49},221291,"shu-se-ping-yuan-tu-guo-xi-221291","树色平远图","《树色平远图》是由北宋时期画家 所作的一副绢本墨笔画，现收藏于美国大都会美术馆。\n《树色平远图》描绘了河流两岸树色平远的景色。\n画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。\n描绘的是一河流两岸树色平远的景色。\n画中之景以河为界可分作前后两部分。\n前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。\n开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n此图无款，卷后有元明诸家诗文题跋。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。\n整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。\n《树色平远图》描绘的画面以平远布局，构景简洁，开阔而均衡，墨色浓淡变化丰富而微妙，所造之境具体真实。\n郭熙（约1—约18），北宋画家、绘画理论家。\n字淳夫，河阳温县人。\n因传李成之法而与之并称为“李郭”。\n其画风早年工巧，晚年雄壮，常于巨幛高壁作长松乔木，曲溪断崖，峰峦秀拔，境界雄阔而又灵动飘渺。\n存世作品有《 》、《 》、《 》、《 》、《古木遥山图》、《 》、《树石平远图》等。",[23,24,7,25,128,132,9502,29,130,1233,331,171,99,129,208],"平远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a17b78710e3a953f6c2076e25d8f7b1.jpg","纵32.4厘米，横104.8厘米",[42,136,117],{"id":9507,"slug":9508,"title":9509,"dynasty":144,"author":1208,"museum":244,"description":9510,"tags":9511,"thumbUrl":9512,"material":278,"size":9513,"collection":136,"collections":9514,"showCount":9455,"zanCount":1998,"manualWeight":48,"mainColor":72},220789,"shu-lin-yuan-xiu-tu-zhou-ni-zan-220789","疎林远岫图轴","水墨畫河岸、疏樹、竹林與房舍，對岸則山巒起伏。用筆多中鋒，山石皴法以披麻為主，略有折帶筆意。幅上有壬子（一三七二）年款，時七十二歲。然本幅題款，實摹自本院藏倪氏真本「容膝齊圖」。用筆亦無倪氏一代大家之健勁，顯係後代摹品。",[24,7,165,128,132,29,34,229,228,35,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08ea5b0016ae78ee46681955a92009ac.jpg","72.9x37.5",[136,117],{"id":9516,"slug":9517,"title":9518,"dynasty":144,"author":1346,"museum":20,"description":9519,"tags":9520,"thumbUrl":9522,"material":151,"size":9523,"collection":136,"collections":9524,"showCount":9455,"zanCount":1998,"manualWeight":48,"mainColor":49},220779,"xi-shan-gao-yin-tu-wu-zhen-220779","溪山高隐图","《溪山高隐图》是元代画家吴镇创作的绢本墨笔画，现藏于北京故宫博物院。\n图绘高山巨石层峦重叠，远山云雾朦胧栈道顺山崖伸延，迂回盘绕，树林后溪水一湾，水榭半露，充满夏日中葱郁气氛，山石以水墨渲染，淡施披麻皴，圆点浓墨点苔。笔法稳健，墨气湿润。全画构图呈长方形，上不留天，下不留地，构图虽饱满，但密而不塞，疏密相间，故布局十分得宜。\n该图以深远式构图，远处高山叠嶂，群峰突起，高高耸起，山巅处云蒸霞蔚，山色柔和绵连。山坡和山坳处荆棘和杂木丛生。中间山腰处山石嶙峋突兀，山石或纵立，或横卧于山腰间，山径顺山脚伸延，蜿蜒迂回盘旋，成为上下山的一栈道、近景茂密的丛林后有溪水一湾，在山脚下临溪边有一间水榭，在山石和丛树的掩映下半露半隐，环境十分清静幽雅，充满夏日丰饶葱茏的气氛。\n吴镇的绘画题材大多为渔父、古木、竹石之类，均表现江南名山景色。《溪山高隐图》是他山水画中的代表作之一。《溪山高隐图》是其取法”巨然的一张典型作品。因为和巨然的作品《秋山问道图》比较，《溪山高隐图》似乎是临摹《秋山问道图》而比较萧散的作品。\n作者纯用水墨，利用其深浅浓淡，创造出一个静谧安详的环境，画幅较为孤寂、冷清的情凋也是画家处世态度的生动写照。山石以水墨渲染，淡披麻皴。这种皴法从巨然披麻皴出，把笔拉得垂直。他后来创造的“刮铁皴”，仿佛又硬又直，却硬中有婉，直中有收，笔头不枯硬，灵气从笔端间轻轻逸出，以圆点浓墨点苔，笔法稳健，墨气湿润，画法源于董源、巨然一路。近处坡石的用墨，以及秃笔随意点写树叶苔草的画法，是他的典型风格。\n《溪山高隐图》皴笔沉厚，坡角山边用笔大胆，横扫而出，用笔意味更似写意。主要山石皴笔提按变化明显，用笔奔放，是“写”出而非“皴”出。此图主峰最上部有一组巨石，用横侧笔势刷出，显然出自李唐马夏一系的斧劈皴。\n宋画研究学者寿勤泽：这幅画气势不凡，层峦叠岭，雄伟高峻，下方丛树溪水，临溪筑有草房两间，屋旁有小径通向山间。仅一片房屋处略施淡赭，通篇皆水墨。此图和常见的吴镇画有所区别，皴法以长披麻皴为主，法巨然画派画格，但线条较长，细长而且疏朗，似有不胜其力之感。",[23,24,7,9521,165,128,132,29,496,131,34,1144,99],"古画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b125a83a0553db70e8f576523b37fb5.jpg","纵160.5厘米，横73.4厘米",[136,117],{"id":9526,"slug":9527,"title":9528,"dynasty":54,"author":9529,"museum":244,"description":9530,"tags":9531,"thumbUrl":9532,"material":66,"size":9533,"collection":136,"collections":9534,"showCount":9455,"zanCount":1998,"manualWeight":48,"mainColor":49},220374,"xi-shan-hong-shu-tu-wang-hui-220374","溪山红树图","王翚","此图为王翚仿黄鹤山樵王蒙的一件极具特色的代表作，描绘的是遍生红树的一片秋日山林景色。画中以圆转重叠、突兀高耸的山峰为主体，山溪逶迤前行，涟漪阵起，秋波荡漾，两岸林木，红翠相间，整个画中意境深幽，秋气袭人。画家拟王蒙笔意与布局，构景繁密，山势云动，境界深奇。山石画法以墨笔牛毛皴和解索皴为主，干笔皴擦，浓墨点苔， 既显浓密厚重，又鲜艳夺目，光彩熠熠。 现收藏于台北故宫博物院的《溪山红树图》是其传世精品，他学元代王蒙的笔法，以类似牛毛皴松秀而流动的线条，构成活泼的画面，加上颜色较艳丽的红色和绿色，使整个画面有一种轻快愉悦的调子。",[23,24,7,165,27,29,2524,131,495,99,97,34,208,64,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166e49671e5b9c54baee4cd182d5e0ab.jpg","纵112.4厘米，横39.5厘米",[136,45],{"id":9536,"slug":9537,"title":4860,"dynasty":54,"author":299,"museum":20,"description":9538,"tags":9539,"thumbUrl":9540,"material":173,"size":9541,"collection":136,"collections":9542,"showCount":9455,"zanCount":1116,"manualWeight":48,"mainColor":956},219222,"qing-lv-shan-shui-tu-xie-sun-219222","图绘近景溪水岸边房舍错落；远处高山耸立，林木繁茂。构图深远、高远兼备，富有空间层次变化。用笔工整细密，山石树木以石青石绿点染，画风清丽淡雅。此图与传统的青绿山水相比较，更多一分清新明快，是谢荪山水画的代表作",[23,24,7,26,27,29,34,131,99,97,35,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89fcff4bf8950f827d1dc39bf1bc74fe.jpg","纵157.2厘米，横52.6厘米",[136],{"id":9544,"slug":9545,"title":9546,"dynasty":18,"author":3110,"museum":9547,"description":9548,"tags":9549,"thumbUrl":9552,"material":278,"size":9553,"collection":84,"collections":9554,"showCount":9455,"zanCount":1116,"manualWeight":48,"mainColor":49},219192,"xiao-xiang-ba-jing-yu-cun-xi-zhao-mu-xi-219192","潇湘八景-渔村夕照","根津美术馆","烟霭似梦，轻覆潇湘水畔。远山如黛，在朦胧雾气中层层隐现，墨色浓淡间藏着天地的悠远。近岸林木苍劲，枝桠舒展，与嶙峋山石相映。水面上扁舟缓行，渔人影绰，似在暮色里寻归处。几处屋舍疏落，隐于树影烟岚间，不闻喧嚣，唯余静谧。\n\n水墨晕染出夕照的温柔，没有浓艳色彩，却以极简之笔勾勒出渔村黄昏的禅意空灵——天地人在此相融，时光仿佛停滞，只留山水与自然的清寂对话。每一处墨痕都藏着野趣与淡泊，让观者沉浸在这份恬淡悠远的意境里，似能听见风过林梢、水拍船舷的轻响，忘却尘俗纷扰。",[23,164,24,7,128,132,29,129,34,9550,3344,9551],"烟雾","渔村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a0abab9aa023a77aaf3089f0f4a2f97.jpg","33x112厘米",[],{"id":9556,"slug":9557,"title":9558,"dynasty":54,"author":1242,"museum":1300,"description":9559,"tags":9560,"thumbUrl":9561,"material":173,"size":9562,"collection":68,"collections":9563,"showCount":9455,"zanCount":1998,"manualWeight":48,"mainColor":49},218859,"mei-hua-tu-jin-nong-218859","梅花图","老干虬曲如铁，以浓墨劲笔勾勒，线条古拙苍劲，尽显梅树历经风霜的坚韧风骨。枝头繁花疏朗，或含苞待放，或悄然绽放，淡墨点染间透着清雅之韵，与深褐枝干形成鲜明对比，更衬出梅的冰清玉洁。右侧题跋以金农标志性的漆书书就，笔力沉厚，字体方整古朴，笔墨与画面意境交融，文气盎然。整幅作品不拘泥于形似，而重神韵，于简淡中见精神，传递出梅的孤傲品格与文人的清雅风骨，尽显扬州八怪特有的艺术个性，将文人画的意趣与梅的精神完美融合。",[23,24,7,165,128,371,61,133,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ee7b4e0d4c7ca7b49524552eb1cc5da.jpg","41x130cm",[68],{"id":9565,"slug":9566,"title":1006,"dynasty":18,"author":223,"museum":9567,"description":9568,"tags":9569,"thumbUrl":9570,"material":173,"size":9571,"collection":68,"collections":9572,"showCount":9455,"zanCount":1998,"manualWeight":48,"mainColor":956},218645,"mu-dan-tu-yi-ming-218645","福冈市立美术馆","沉棕底色如旧绢凝香，中央牡丹姿态雍容却不失清雅。花瓣层叠如浪，米白与浅褐的晕染间藏着淡粉的柔韵，似被时光打磨出温润质感。墨线勾出的叶片翠意内敛，叶脉纤细如丝，与花的柔婉相映成趣。整幅画作工致细腻，尽显宋画的沉静风骨，将牡丹的端庄神韵凝于方寸之间，仿佛能窥见千年之前画者笔下那一抹含蓄的生机，静谧中流淌着古雅的诗意。",[23,164,24,7,61,28,27,263,6193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7837e7613763e599f5ea1a410e470c01.jpg","26.7x31.2",[68],{"id":9574,"slug":9575,"title":76,"dynasty":54,"author":9576,"museum":56,"description":9577,"tags":9578,"thumbUrl":9579,"material":278,"size":84,"collection":68,"collections":9580,"showCount":9455,"zanCount":1998,"manualWeight":48,"mainColor":72},214693,"hua-hui-ce-luo-pin-214693","罗聘","罗聘（1733年－1799年）是一位清代的画家，他的花卉册是一本记录花卉的画册，其中包含了许多精美的花卉画作。这本画册是由罗聘亲手绘制并装帧而成，并由他的学生赠送给他。罗聘是一位非常有才华的画家，他的花卉册中的画作非常生动，能够很好地展现出花卉的美丽和优美。\n\n这本画册是一件非常珍贵的艺术品，对于研究罗聘的艺术风格和清代花卉画艺术有着重要的意义。",[24,7,59,128,61,62,263,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd22e30016320aef8a29832998f488225.jpg",[68],{"id":9582,"slug":9583,"title":2369,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":9584,"thumbUrl":9586,"material":692,"size":1293,"collection":84,"collections":9587,"showCount":9588,"zanCount":1116,"manualWeight":48,"mainColor":72},290536,"yan-xi-yu-le-zhou-yun-shou-ping-290536",[24,164,165,7,28,27,61,209,2059,211,64,208,9585],"鱼乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20aff2a060a96207e9cbb6a8febec6d9.jpg",[],143,{"id":9590,"slug":9591,"title":76,"dynasty":54,"author":55,"museum":300,"description":893,"tags":9592,"thumbUrl":9593,"material":84,"size":897,"collection":84,"collections":9594,"showCount":9588,"zanCount":48,"manualWeight":48,"mainColor":72},233894,"hua-hui-ce-yun-shou-ping-233894",[24,7,61,27,60,209,2438,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6264e10266425c21b4f12e01ab8d910.jpg",[],{"id":9596,"slug":9597,"title":9598,"dynasty":2519,"author":9599,"museum":300,"description":9600,"tags":9601,"thumbUrl":9605,"material":84,"size":84,"collection":84,"collections":9606,"showCount":9588,"zanCount":1116,"manualWeight":48,"mainColor":72},226557,"bei-qi-xiao-shu-tu-yang-zi-hua-226557","北齐校书图","杨子华","杨子华，北齐画家，生卒年不详。是北齐世祖高湛的爱臣，北齐世祖时（561年－565年）任直阁将军、员外散骑常侍。善画贵族人物、宫苑、车马，所画马尤其生动逼真，据传他在壁上所画马甚至引起观者夜间听到马索水草而嘶鸣的幻觉。时有“画圣”之称。北齐世祖使其供职宫廷，非有诏不得与外人画，成为专门的御用画家。他所画人物形象丰满圆润，有别于顾恺之的“秀滑清丽”，他的画风影响到唐代，具有承前启后的历史地位。\n\n现存《北齐校书图》（美国波士顿美术馆，系宋代摹本），纵29.3厘米，横122.7厘米，这图卷所画的是北齐天保七年（556年）文宣帝高洋命樊逊和文士高乾和等11人负责刊定国家收藏的《五经》诸史的情景。画中人物其神情均极生动。此图用笔细劲流动，细节描写神情精微。设色简易标美。",[23,164,24,7,25,28,27,96,101,9602,208,64,133,9603,8162,6369,9604,170],"书","笔","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a01f2f22b879846072f997f9ed81611.jpg",[],{"id":9608,"slug":9609,"title":9610,"dynasty":18,"author":633,"museum":77,"description":9611,"tags":9612,"thumbUrl":9615,"material":173,"size":9616,"collection":136,"collections":9617,"showCount":9588,"zanCount":1105,"manualWeight":48,"mainColor":49},218571,"xia-shan-bi-shu-tu-xia-gui-218571","夏山避暑图","云雾似轻纱漫笼峰峦，墨色浓淡晕染出层叠山影。近处山石以劲挺线条勾勒肌理，远处峰峦隐入烟霭，虚实相生间拓开深远意境。飞瀑如白练倾泻而下，水汽与云雾交融，添了几分灵动。崖畔小亭古朴雅致，亭内人影隐约，或凭栏观瀑，或对弈品茗，将“避暑”闲逸悄然藏于山水。苍松虬枝斜出，与嶙峋怪石相映，笔墨苍劲中透着秀逸。整幅画以水墨为韵，借云雾之虚衬山峦之实，动静相宜间铺展夏日山林的清幽闲适，让人仿若置身其中，忘却尘嚣。",[24,164,7,29,128,132,130,495,37,131,34,415,499,1022,9613,9614],"古松","山涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb50cf148ebc8bbac9a702b14d084294e.jpg","81x35cm",[136],{"id":9619,"slug":9620,"title":9621,"dynasty":18,"author":1622,"museum":300,"description":9622,"tags":9623,"thumbUrl":9624,"material":278,"size":9625,"collection":117,"collections":9626,"showCount":9588,"zanCount":1998,"manualWeight":48,"mainColor":72},218564,"song-gao-zong-yu-zhi-xi-gong-yan-tu-ma-yuan-218564","宋高宗御制西宫宴图","马远绘侍宴图传世三件中的其中一幅",[24,164,7,165,95,128,29,97,1144,131,34,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2b00e67510889e575c54629198f5565.jpg","122.5x52.2",[117],{"id":9628,"slug":9629,"title":9630,"dynasty":18,"author":3110,"museum":300,"description":9631,"tags":9632,"thumbUrl":9634,"material":278,"size":9635,"collection":117,"collections":9636,"showCount":9588,"zanCount":48,"manualWeight":48,"mainColor":72},218546,"yuan-xi-tu-mu-xi-218546","猿戏图","浓淡墨痕里，猿猴蜷卧于石巅，长尾如墨绦垂悬，圆眸闪着黠趣。山石以泼墨写意铺就，淡晕似烟岚轻笼，留白处漾开空寂禅意。猿的茸毛用焦墨点簇，蓬松间藏灵动，与山石的疏朗笔触相映，动静交织成趣。简笔不掩生机，天地仿佛在此刻静穆，唯有此猿与石，共守一段悠然时光。笔墨间禅味漫溢，不着一字却道尽自然真趣，似能听见猿猴轻啼，落于空濛山影里，余韵悠长。",[24,7,128,369,9633,171],"猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4443e07fced2cc55e4194b05b12d1ce3.jpg","68x27",[117],{"id":9638,"slug":9639,"title":9640,"dynasty":144,"author":8993,"museum":300,"description":9641,"tags":9642,"thumbUrl":9643,"material":84,"size":84,"collection":84,"collections":9644,"showCount":9645,"zanCount":48,"manualWeight":48,"mainColor":49},228265,"yue-xia-mei-hua-tu-wang-mian-228265","月下梅花图","古梅老干盘虬苍劲，如铁铸凝霜，却自枯槎间抽发柔枝，繁花轻缀如堆雪团玉。左上角圆月晕出朦胧暖光，将夜色晕化，清辉漫过梅枝，冷艳花影与溶溶月色缠织，把孤高疏淡的意境烘托到极致。\n\n以顿挫老辣的水墨写枝，尽显梅树硬骨，淡墨圈花留白，衬出花瓣冰清玉洁，笔简意足。题诗与画意相融，诗书画印浑然一体，尽显文人雅致风骨。将梅花凌霜傲雪的君子品格，与画者淡泊襟怀藏在尺幅清景之中，暗香似随月色浮动，观之便觉心神澄澈。",[23,24,7,165,128,371,231,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b72dd09d14af6300a2dd92f27a517ef.jpg",[],142,{"id":9647,"slug":9648,"title":9649,"dynasty":124,"author":9650,"museum":56,"description":9651,"tags":9652,"thumbUrl":9653,"material":84,"size":84,"collection":44,"collections":9654,"showCount":9645,"zanCount":1105,"manualWeight":48,"mainColor":72},222503,"shen-xian-tu-ce-zhang-lu-222503","神仙图册","张路","张路（1464—1538 ，一作1464—1537）明代画家。字天驰，号平山，汴梁（今河南省开封）人，明代画家。绘人物，师法吴伟，山水学戴进“狂态”，用笔豪放纵逸，水墨酣畅淋漓，与朱端、蒋嵩、汪肇等同为“浙派”名家 。亦工鸟兽、花卉。\n早年画学戴进，临摹能肖其神，画法工细。至南京后，又宗法吴伟，变为粗笔写意。他善画人物，多绘神仙、士子、渔夫，形象质朴，神态清朗，具高昂向上的气质。景致简略，笔墨遒劲，风格豪放，然少秀逸和蕴藉之致；为浙派健将，亦开后来学者粗率之风。他具有典型风貌的水墨写意作品较多，人物多用顿折的重墨线条勾勒，山石以粗犷的笔触作大斧劈皴，运笔迅捷，水墨淋漓，具有豪放动荡的气势。亦能画写意花鸟。",[23,24,164,7,59,128,188,27,96,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdad175defc4617369b4400b273e45b98.jpg",[44],{"id":9656,"slug":9657,"title":9658,"dynasty":144,"author":1346,"museum":244,"description":9659,"tags":9660,"thumbUrl":9661,"material":637,"size":9662,"collection":136,"collections":9663,"showCount":9645,"zanCount":1116,"manualWeight":48,"mainColor":49},220769,"zhong-shan-tu-juan-wu-zhen-220769","中山图卷","中山图卷，吴镇，元代，纸本，墨笔，纵26.4厘米，横90.7厘米，台北故宫博物院藏。高清作品全卷详见月雅书画高清数字博物馆。\n中山图，白纸本，高七寸九分，长二尺六寸六分，水墨。羣山叠嶂，杉木丛深，通幅无一杂树，全宗北苑，用粗麻披皴法，山头苔点，横竪相间，眾山之坳，突以浓墨晕二峰尖，低於四面，更為奇绝。\n图绘逶迤起伏的层峦迭嶂。画家以淡墨皴染群山，浓墨画丛树点苔，勾皴时见乾笔，笔墨雄浑厚重。自识「至元二年春二月，奉为可久戏作中山图，梅花道人书」。按至元二年即公元1336年，吴氏时年57岁。此图为元人集锦卷中之一段。",[23,24,7,25,128,132,29,30,34,496,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d37bf8402ad35b55e27d8d9eb9501b2.jpg","横90.7厘米，纵26.4厘米",[136,117],{"id":9665,"slug":9666,"title":9667,"dynasty":980,"author":5076,"museum":9668,"description":9669,"tags":9670,"thumbUrl":9672,"material":84,"size":84,"collection":84,"collections":9673,"showCount":9645,"zanCount":1998,"manualWeight":48,"mainColor":72},220604,"da-li-tu-qi-bai-shi-220604","大利图","龙美术馆西岸馆","苍劲如屈铁的墨线勾勒提篮轮廓，枯涩老辣的笔力尽显朴拙厚重，留白的纸面将视线全然引向篮中佳果。\n以朱砂厚涂荔枝，色艳而不浮腻，颗颗饱满莹润，仿佛带着新鲜采摘的清甜，墨叶绿意深浅交叠，衬得荔枝愈发娇妍鲜活。\n将日常风物与美好意趣相融，寥寥几笔便将烟火日常晕染出雅致生机，笔简意足，雅俗共赏，把平实小景绘就成寄寓深味的佳品。",[24,7,27,128,61,62,549,9671,169,369,208],"篮子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F520a9588b0836603c2a4637d3df8d3cf.jpg",[],{"id":9675,"slug":9676,"title":9677,"dynasty":18,"author":1323,"museum":244,"description":9678,"tags":9679,"thumbUrl":9680,"material":173,"size":9681,"collection":44,"collections":9682,"showCount":9645,"zanCount":1998,"manualWeight":48,"mainColor":49},219975,"ting-ruan-tu-li-song-219975","听阮图","此图园中高木奇石，枝叶掩映翁郁，树下士人持拂闲坐于榻上，左腿盘起，聆听拨阮演乐并赏古玩。旁有仪态娇美仕女，焚香、拈花、持扇随侍。人物线条流畅，绘法近似明代画家杜蓳、唐寅。",[24,164,7,165,28,27,96,1424,997,7719,438,413,875,62,2145,7344,170,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f429ae99228b49a6346c6be40873864.jpg","177.5x104.5公分",[44],{"id":9684,"slug":9685,"title":9686,"dynasty":18,"author":1622,"museum":244,"description":9687,"tags":9688,"thumbUrl":9689,"material":128,"size":9690,"collection":117,"collections":9691,"showCount":9645,"zanCount":48,"manualWeight":48,"mainColor":49},219305,"xue-jing-tu-ma-yuan-219305","雪景图","寒江凝碧，积雪封峦。斧劈皴笔力劲挺，岩骨嶙峋间覆雪如素缟，勾勒出山川冷峻骨相。山间屋舍隐于松竹，窗棂似映暖光，与屋外冰清玉洁相映成趣。枯树虬枝盘结，苍松傲立雪中，墨色浓淡间藏生机。远处小径偶有人影，江畔一舟独泊，孤影横斜，更添天地清寂。边角取景拓深意境，雪景素净与笔墨苍劲交融，绘尽寒冬凛冽，又藏文人幽居雅韵，冷寂中透着温润生机，尽显山水之魂。",[24,7,128,132,165,29,1813,35,34,497,129,1337,415,3857],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc179aedb48ce076562be32fe7e077397.jpg","163.3x82.4厘米",[117],{"id":9693,"slug":9694,"title":7864,"dynasty":54,"author":872,"museum":300,"description":9695,"tags":9696,"thumbUrl":9697,"material":611,"size":84,"collection":68,"collections":9698,"showCount":9699,"zanCount":48,"manualWeight":48,"mainColor":72},237626,"za-hua-ce-zhu-da-237626","八大山人的花鸟画深受林良、陈淳、徐谓等大家的影响，他的作品特别强调缘物寄情，因而个性极为鲜明。这种种孤僻、冷漠、悲愤、反常、怪异的特征，当然是他奇特艺术风格的具体化。而这种表象下折射出来的，正是画家一种有别于常人的人格心理。",[24,7,128,369,59,4250,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04f6f00ac3e82f228b59b368b2013046.jpg",[68,117],141,{"id":9701,"slug":9702,"title":9703,"dynasty":54,"author":9704,"museum":20,"description":9705,"tags":9706,"thumbUrl":9707,"material":9708,"size":9709,"collection":136,"collections":9710,"showCount":9699,"zanCount":48,"manualWeight":48,"mainColor":199},236271,"chui-gan-tu-zhou-kun-can-236271","垂竿图轴","髡残","髡残（1612—约1672年），俗姓刘，武陵（今湖南常德）人。幼年失怙（音hù，指父亲），青年出家为僧，法名髡残，字介丘，号石豀、白秃、石道人、残道者等。明亡后寓居南京，修禅弘佛之暇潜心于山水画的创作。他承袭元人王蒙，明人沈周、文徵明诸家笔法，结合自身的感悟，形成独特的山水画风。善用秃笔渴墨，以线造型，在深浅、断续、粗细线条的相互交叉、转换、顿挫中表现幽僻的景致，意境苍莽，画格高逸古拙。他与同时代的程青豀合称“二豀”，与原济（石涛）合称“二石”，与八大、弘仁、石涛并称“清初四僧”。",[24,7,165,128,132,29,129,99,34,131,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb8841336c541c74149b055689d57ca9.jpg","纸本 ，淡设色","纵290cm，横131.5cm",[136],{"id":9712,"slug":9713,"title":9714,"dynasty":18,"author":491,"museum":244,"description":9715,"tags":9716,"thumbUrl":9719,"material":317,"size":9720,"collection":136,"collections":9721,"showCount":9699,"zanCount":1116,"manualWeight":48,"mainColor":49},218953,"guan-bei-tu-guo-xi-218953","观碑图","寒冷的森林平坦而遥远，松树的枝干已经枯萎。这两个人靠在石碑上，而四个人站在他们前面的右边，带着马鞍和马在伞下，他们的表情非常有表情。这幅画描绘了汉朝时曹操和杨修一起看《曹娥碑》的情景。这幅画没有记号，传统上认为是郭熙所作。然而，这幅画的风格，倾斜的石头和松散的树枝，以及参差不齐的夸张树干，并没有给人以郭熙的建议的感觉。其他现存的涉及看纪念碑的画作包括大阪市立美术馆收藏的《读碑石》，这幅画主要描绘的是残存纪念碑的寒冷森林场景，以此来让观者思考过去。",[23,164,24,7,165,9717,132,1349,96,101,9718,689,131,1023,454,34],"水墨画","碑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F680d1f7d1ced6d46fbc9bb38d75e4147.jpg","164.4x119",[136],{"id":9723,"slug":9724,"title":1230,"dynasty":18,"author":633,"museum":2542,"description":9725,"tags":9726,"thumbUrl":9727,"material":173,"size":9728,"collection":136,"collections":9729,"showCount":9699,"zanCount":1998,"manualWeight":48,"mainColor":72},218636,"shan-shui-tu-xia-gui-218636","嶙峋山石倚着清竹，茅舍半藏于岩间，窗内人影依稀，似在静赏山光。淡墨远山如黛，隐入烟霭，留白处漾着空濛的诗意。斧劈皴笔力劲健，刻画出山石坚硬肌理；竹叶以简括笔触点染，疏朗间见生机。构图截取一角景致，以少胜多，将南宋山水的空灵雅致凝于尺幅。墨色浓淡交错，层次叠生，竹影婆娑、山石苍劲、远山悠远，共同织就清寂悠然的林泉图景，尽显隐者恬淡心境与画者笔墨才情。题跋与画面相映，文气画意交融，更添古朴雅致之韵。",[24,7,29,128,132,167,131,130,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6fbe552f0bbce9c2e6f3428b0b59de0.jpg","32.7x20",[136],{"id":9731,"slug":9732,"title":9733,"dynasty":54,"author":4468,"museum":244,"description":4469,"tags":9734,"thumbUrl":9735,"material":27,"size":4474,"collection":84,"collections":9736,"showCount":9737,"zanCount":48,"manualWeight":48,"mainColor":72},222754,"xian-e-chang-chun-tu-08b-ju-hua-lang-shi-ning-222754","仙萼长春图-08b（菊花）",[23,164,24,7,59,27,28,61,376,355,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ea32cfd2d4eabbf19626d6b6e93697f.jpg",[],140,{"id":9739,"slug":9740,"title":9741,"dynasty":54,"author":9742,"museum":56,"description":9743,"tags":9744,"thumbUrl":9745,"material":66,"size":9746,"collection":136,"collections":9747,"showCount":9737,"zanCount":1116,"manualWeight":48,"mainColor":72},219922,"hu-tian-chun-se-tu-wu-li-219922","湖天春色图","吴历","此图描绘江南湖畔堤边的初春风光。画面上，远山清淡，湖水平静，渺无人烟，春色宜人。湖岸处柳色新绿，带雨含烟，丰姿绝妙，燕雀跃于湖面柳枝之间，又有土堤斜引，其上绿草如茵。溪水潺潺，鸟声婉转音色清新，绿柳迎风，全画面春意盎然，和谐舒畅。其构图与表现风格在当时亦十分新颖和独特。此幅是画家山水画中的代表作品，体现了典型的吴历个人风格。画家早年曾师法古人，又曾吸取西画的表现手法，风格与清初“四王”相似又有所不同，他注重实景取材，构图严谨，所以具有独特的面貌。",[24,7,164,165,27,132,29,331,99,211,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8370438109745994edfcc2de0eb2f4f9.jpg","纵123.5 厘米，横62.5 厘米",[136,45],{"id":9749,"slug":9750,"title":9751,"dynasty":54,"author":223,"museum":20,"description":9752,"tags":9753,"thumbUrl":9754,"material":173,"size":9755,"collection":44,"collections":9756,"showCount":9737,"zanCount":1086,"manualWeight":48,"mainColor":49},219633,"qian-long-huang-di-chao-fu-xiang-yi-ming-219633","乾隆皇帝朝服像","此作工笔细腻，写实传神。画中帝王面容俊朗，神色端凝沉稳，自带不怒自威的从容气度。明黄朝服遍绣祥龙，十二章纹错落排布，金线勾勒下瑞兽纹样鲜活灵动，珠玉朝珠垂坠于前，礼制森严间尽显极致华贵。髹金龙椅雕刻繁复精妙，卷云虬龙层层环绕，衬出帝王的独尊地位。\n\n画面底色素净克制，将视觉重心全然倾注于人物之上，设色富丽却不俗艳，工整细致的笔触，将盛世帝王的威仪气度凝于绢素，尽显宫廷肖像画的典雅规整，让观者仿佛能窥见当年紫禁城中的肃穆华贵。",[23,164,24,7,165,28,27,96,170,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0605e9fa04d93aeb448927849ebb7b94.jpg","纵271厘米，横142厘米",[44],{"id":9758,"slug":9759,"title":9760,"dynasty":182,"author":9761,"museum":244,"description":9762,"tags":9763,"thumbUrl":9764,"material":278,"size":9765,"collection":68,"collections":9766,"showCount":9737,"zanCount":1105,"manualWeight":48,"mainColor":72},218623,"dou-niu-tu-dai-song-218623","斗牛图","戴嵩","图绘两条硕壮的公牛相斗，一牛低头而以两角尖顶向对方的肚子，肌肉鼓胀，四蹄撒开，急奔而来，可以设想这一顶的力量之猛；而另一牛则掉头离去，目光惊恐，气喘吁吁，落荒而逃。全图纯用水墨，虽也勾线，但已渐渐淡去。牛身通体染墨色，而以墨色的深淡变化，体现出牛身的结构以及运动时肌肉的紧张。用浓墨勾画牛的角、蹄，点出眼睛、鬃毛。看似色彩单纯，但仍能感觉到墨生“五彩”，极其优雅。这样的画法，在戴嵩之前似无，但也正是唐代画家王维倡导的“水墨渲淡”的手法。两头牛的形象、动态，无论是头、身体和四肢，以及彼此间相互协调，都画得非常准确，神态生动，场景激烈。传说他曾画饮水中的牛，水中倒影，唇鼻相连，可以见得戴嵩在写生上下功夫之精微。重写生、重情景，这是唐、宋时期的中国画的一大特点，也是中国画的一大宝贵历史传统。",[164,24,7,25,128,27,102,949,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf70d07ff8e284b799a06dedfd6f9ed4.jpg","纵44厘米，横40.8厘米",[68],{"id":9768,"slug":9769,"title":9770,"dynasty":54,"author":1460,"museum":450,"description":9771,"tags":9772,"thumbUrl":9773,"material":66,"size":9774,"collection":84,"collections":9775,"showCount":9737,"zanCount":1998,"manualWeight":48,"mainColor":72},214890,"shan-shui-tu-ce-3-shi-tao-214890","山水图册-3","大英博物馆在1965年7月购进的这套八开本《山水图》册是一件相当出色的石涛真迹精品。\n该图分别画夜泊采石太白楼下、游浦汀溪、登灵隐飞来峰、登雨花台、登岳阳楼、登幕山大观亭、登天印山、访东山等八景，涉及苏、浙、皖三地的名胜，亦可谓是“搜尽奇峰汇成册”，这个时期，他已从新安画派集中表现黄山险境的格局中脱离了出来，更加注重广取博揽天下有特性的景物。其画渐渐趋于老，行笔凝重沉静，用花青、赭石轻轻淡染，顿显生机；其构图巧用“Z”形和“S”形，十分灵活且紧凑，变化自然，动感鲜明，景象开阔深邃，令人遐想无限。",[23,24,7,59,128,27,132,29,129,99,131,34,37,96,3428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f99fe4ff77ab4950fd6bc2d79236725.jpg","20.3x27.5cm",[],{"id":9777,"slug":9778,"title":9779,"dynasty":124,"author":802,"museum":300,"description":5946,"tags":9780,"thumbUrl":9781,"material":692,"size":1293,"collection":84,"collections":9782,"showCount":9783,"zanCount":1998,"manualWeight":48,"mainColor":49},287343,"he-hua-yuan-yang-tu-juan-wen-chen-hong-shou-287343","荷花鸳鸯图(绢纹)",[23,164,24,7,165,3291,28,27,81,1857,481,171,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f6c74082eff5c95dc37ca5423373bf.jpg",[],139,{"id":9785,"slug":9786,"title":892,"dynasty":54,"author":55,"museum":300,"description":893,"tags":9787,"thumbUrl":9788,"material":84,"size":897,"collection":84,"collections":9789,"showCount":9783,"zanCount":1998,"manualWeight":48,"mainColor":72},233902,"hua-hui-shan-shui-ce-yun-shou-ping-233902",[24,7,164,59,60,27,61,376,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb250b9fd14df750f14494c9e5f68270.jpg",[],{"id":9791,"slug":9792,"title":9793,"dynasty":124,"author":802,"museum":9794,"description":9795,"tags":9796,"thumbUrl":9797,"material":514,"size":9798,"collection":136,"collections":9799,"showCount":9783,"zanCount":48,"manualWeight":48,"mainColor":72},221882,"chu-chu-tu-juan-quan-juan-chen-hong-shou-221882","出处图卷全卷","张大千先生的旧藏","画卷前后隔水留下了他的墨宝。此卷是陈洪绶在去世前一年为周亮工所作，这一年陈洪绶相继为周亮工一共创作了42件作品，《出处图》则是其中的精品。展卷之后可见诸葛亮与陶渊明盘坐于树下正侃侃而谈，诸葛亮头戴“诸葛巾”，陶渊明则手抚无弦琴，形象格调高古，气韵不凡，人物衣袖由一根根行云流水般的线条绘就，每根线条都不另起笔，如若不加停顿似的一气呵成，而线条与线条的排列则构成了陈洪绶特有的韵味。",[23,24,7,25,28,27,96,29,34,99,171,64,133,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9517553124fbf7960f3c43dce25b9cc5.jpg","26×195cm",[136,45],{"id":9801,"slug":9802,"title":9803,"dynasty":18,"author":9804,"museum":205,"description":9805,"tags":9806,"thumbUrl":9810,"material":40,"size":9811,"collection":318,"collections":9812,"showCount":9783,"zanCount":1998,"manualWeight":48,"mainColor":72},221228,"hu-zhuang-qing-xia-tu-zhao-ling-rang-221228","湖庄清夏图","赵令穰","《湖庄清夏图》描绘了夏季湖的平远景色。开卷是湖庄临岸，垂柳拂溪；接接着一座小桥横跨水上，湖中莲叶田田，群鸭游;岸上绿树成的，远处烟水迷蒙；路转溪头，又见绿树环抱中，数间村舍，屋后一片林木，在烟雾笼罩下，横向舒展，时隐时显，更增加悠然的灵动气氛，充满幻梦般的诗意。卷末近景描绘三株形态各异的大树，与卷首树木相呼应，左下角有明代早期收藏印。",[23,164,24,7,25,29,128,27,132,9481,34,9807,33,9808,415,666,130,9809,5974],"湖水","岸堤","湖岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c6d42310b30e6d6aee565943dd6d4ff.jpg","纵19.1厘米，横161.3厘米",[318],{"id":9814,"slug":9815,"title":9816,"dynasty":124,"author":125,"museum":56,"description":9817,"tags":9818,"thumbUrl":9819,"material":173,"size":9820,"collection":136,"collections":9821,"showCount":9783,"zanCount":975,"manualWeight":48,"mainColor":49},218247,"lin-dai-wen-jin-xie-an-dong-shan-tu-shen-zhou-218247","临戴文进谢安东山图","沈周（1427-1509年），字启南，号石田、白石翁，苏州人，不应科举，以诗文书画为事，山水师黄公望、吴镇，书法法黄庭坚，名重一时，吴中名家如文徵明、唐寅等都出其门下。与文徵明、唐寅、仇英合称“明四家”。\n本图是沈周五十四岁时所作，临摹的是比他略早的浙派著名画家戴进的《谢安东山图》，描绘东晋著名宰相谢安隐居东山时，携妓出游，纵情山水的情景。\n沈周的山水画，师法元代黄公望与吴镇，远溯五代董源、巨然，而戴进宗法的是南宋马远、夏圭，以风格而论，一为南方山水与水墨画的传统，一为北方山水与宫廷著色画的传统。沈周画多仿元人，此画风格在他的作品中既是一件孤品，也是一件奇品，堪称绝无仅有。\n此图高头大轴，青绿设色，山石轮廓明朗，皴笔似马牙、卷云而不若其蜷曲，似斧劈而不若其方硬，似披麻而不若其疏放绵长，这种皴法与戴进常用的源自马、夏的长斧劈皴不同，融合了南、北方山水的皴法特点。图画设色明朗鲜润，一部分山石近乎空勾，是宋代以来大青绿的设色方法。沈周一生所作山水，多为水墨，亦有浅绛，如此大轴青绿，实属平生仅见。其中人物亦造型端庄，服饰俨然，线条健爽，是明人追绍宋代院体画的风格。\n沈周此图或属偶一为之，却显示出画家不拘于一格的绘画能力以及兼收并蓄，广采博纳的眼界与胸襟。\n根据翁同龢1902年的日记，此画是翁氏因戊戌之变被黜归里后，其旧仆李元为其在北京购得的。",[23,24,7,164,165,27,29,96,97,1144,131,495,34,496,330,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4136bf4cc51a9c489487d6a27dbe7d3a.jpg","纵170.0厘米，横89.0厘米",[136],{"id":9823,"slug":9824,"title":9825,"dynasty":222,"author":9826,"museum":300,"description":9827,"tags":9828,"thumbUrl":9830,"material":84,"size":84,"collection":84,"collections":9831,"showCount":9832,"zanCount":1998,"manualWeight":48,"mainColor":72},230477,"hua-niao-tu-ping-ge-shi-bei-zhai-230477","花鸟图屏","葛饰北斋","画面以浅褐素底铺陈秋塘底色，白鹭莹洁似雪，身姿挺秀悠然，羽色晕染细腻柔和，抬首静立间自带安然意态。旁侧枯荷舒展残叶、垂坠莲蓬，笔意简淡尽显清秋萧疏之致。整体构图留白松弛，淡彩晕染出温润雅致的侘寂意趣，将秋塘的清寂禅意藏于笔墨之间，物景相融相生，晕开东方独有的静谧诗意，寥寥勾勒便绘就幽淡闲雅的秋日荷塘意韵，尽显空灵雅致的东方美学意境。",[23,24,7,9829,28,27,61,168,985,841,82],"屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c00298726ea46a856b6cbf562896d1.jpg",[],138,{"id":9834,"slug":9835,"title":9836,"dynasty":18,"author":9837,"museum":244,"description":9838,"tags":9839,"thumbUrl":9840,"material":151,"size":9841,"collection":42,"collections":9842,"showCount":9832,"zanCount":48,"manualWeight":48,"mainColor":49},221619,"mo-fan-kuan-lu-shan-tu-zhou-jiang-can-221619","摹范宽庐山图轴","江参","本幅旧传为江参作，画采全景式构图，中央主峰巍峨耸立，峰顶遍布密林。山坳处，寺宇、亭台错落。\n杂树掩映间，可见泉瀑奔流，淙淙若闻其声。山道上，并绘有行旅策蹇，络绎于途。幅左下方题：「摹范华原庐山图」。《宣和画谱》虽未著录〈庐山图〉，然此作以短笔作皴，呈密集的雨点状，明显由〈溪山行旅图〉演化而来。",[23,24,7,165,330,132,128,29,663,497,34,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F826530b8c83c87209bddce538d219a64.jpg","347.4x131.8",[42,136,117],{"id":9844,"slug":9845,"title":9846,"dynasty":144,"author":1208,"museum":20,"description":9847,"tags":9848,"thumbUrl":9849,"material":9850,"size":9851,"collection":136,"collections":9852,"showCount":9832,"zanCount":1998,"manualWeight":48,"mainColor":72},220797,"ku-mu-you-huang-tu-zhou-ni-zan-220797","枯木幽篁图轴","作品多画太湖一带山水，构图平远，景物极简，多作疏林坡岸，浅水遥岑。用笔变中锋为侧锋，折带皴画山石，枯笔干墨，淡雅松秀，意境荒寒空寂，风格萧散超逸，简中寓繁，小中见大，外落寞而内蕴激情。\n此图画一平坡之上立一巨石，石边一寒树独立，树旁又有双竹挺立，并分向左右弯曲生长，其周围亦有细篁数丛。构景简洁是倪云林画的突出特色，此图亦通过一石、一树、数竹这极简之景构成一个荒寒萧疏的意境。画中笔法疏率，画树以鹿角法，画石以折带皴，二者皆用淡墨干笔，画竹叶亦以轻盈简率的介字点法。此图中上方有作者自题诗一道：“古木幽篁寂寞滨，斑斑鲜石翠含春。自知不入时人眼，画与皎溪古遗民。” 平坡上大石一堵，枯树矗立，两旁幽篁细竹相衬。淡墨写枯树干挺枝疏，竹叶以湿笔点画，挺劲洒脱。石头用干笔则锋勾皴，浓墨点醒，层次向背分明。全画笔墨简淡，风格秀逸。图中自题[古木幽篁寂滨，班班藓石翠含春，自知不入时人眼，画与蛟溪古逸民，云林生]。画幅上还有马治，松泉隐者诗题。",[23,24,7,165,128,454,276,171,2132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74dfc23fe071c9504a396c679d769fdc.jpg","纸本、墨笔","纵88.6厘米，横30厘米",[136,117],{"id":9854,"slug":9855,"title":9856,"dynasty":124,"author":125,"museum":8648,"description":8649,"tags":9857,"thumbUrl":9858,"material":611,"size":8652,"collection":84,"collections":9859,"showCount":9832,"zanCount":1998,"manualWeight":48,"mainColor":72},220064,"hu-qiu-shi-er-jing-tu-ce-3-shen-zhou-220064","虎丘十二景图册-3",[23,164,24,7,59,128,132,29,97,167,1144,98,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F111612596e2e7ea00726bc18bd6e599c.jpg",[],{"id":9861,"slug":9862,"title":9863,"dynasty":54,"author":9864,"museum":450,"description":9865,"tags":9866,"thumbUrl":9867,"material":66,"size":84,"collection":44,"collections":9868,"showCount":9832,"zanCount":738,"manualWeight":48,"mainColor":72},219550,"xie-yi-xun-long-tu-yu-zhi-ding-219550","斜倚薰笼图","禹之鼎","此作用笔秀雅匀净，线条挺括柔婉，浅淡敷色晕染精妙。斜倚薰笼的仕女软红覆身，执卷似读非读，眉眼含着慵懒倦怠，将深闺女子百无聊赖的娇柔之态尽显无余。立侍女子佩剑负囊，神色温婉恭谨，静穆疏离的情态与坐者形成微妙呼应。画面氛围幽柔沉静，把闺中静谧松弛的氛围烘托尽致，将仕女柔婉闲淡的幽微心绪刻画入微，尽显传统仕女画雅致隽秀的审美意韵。",[23,24,7,28,27,188,96,166,169,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886625e8924a96d8b20fbfff9e4f4569.jpg",[44,45],{"id":9870,"slug":9871,"title":9872,"dynasty":124,"author":125,"museum":244,"description":9873,"tags":9874,"thumbUrl":9875,"material":66,"size":9876,"collection":68,"collections":9877,"showCount":9832,"zanCount":1998,"manualWeight":48,"mainColor":72},219361,"jiu-sheng-huan-yu-tu-shen-zhou-219361","鸠声唤雨图","述了行走在街头和庭园，常掠过一种和鸽子类似的鸟类，它的造型和色彩朴素，就连那咕咕的叫声，也是浑厚的，这便是斑颈鸠了。它的这份质朴，正是文人画家偏爱的感觉。斑颈鸠，体态雍容华丽，颈部斑点有如珍珠瑰丽，也是乡土鸟类中广为熟悉的鸟。沈周的一幅「鸠声唤雨」画出一只瞪著大眼、嘟著嘴，有著圆胖身体的斑颈鸠，孤孤单单栖踞枝头，看起来特别古朴与淡雅。",[24,164,7,165,27,369,211,1233,331,61,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da560143d64c8be1ba2d59b856a3b22.jpg","51.1x 30.4",[68],{"id":9879,"slug":9880,"title":9881,"dynasty":54,"author":1472,"museum":244,"description":9882,"tags":9883,"thumbUrl":9884,"material":66,"size":9885,"collection":45,"collections":9886,"showCount":9832,"zanCount":1998,"manualWeight":48,"mainColor":72},219310,"fu-song-yuan-hua-liu-xia-xiong-ji-tu-zou-yi-gui-219310","抚宋苑画榴下雄鸡图","雄鸡立于嶙峋石矶之上，红冠高挺，金羽熠熠，尾羽如墨线挥洒般舒展，昂首之态尽显英武。旁侧石榴枝虬劲，花簇艳红似火；洁白百合点缀其间，皎洁如玉。山石以淡墨皴擦，纹理古朴自然，衬出草木禽鸟的鲜活。整幅画作设色明丽雅致，线条工细流畅，既承宋院体画的写实严谨，又融文人画的清逸韵致。每一处细节皆精心勾勒，禽鸟花木栩栩如生，于静谧中透出盎然生机，尽显笔下精妙匠心，将自然意趣与艺术巧思完美融合。",[24,7,61,28,27,330,4325,2035,171,828,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d1897939883fcd871399f3180170670.jpg","165.9x89.6",[45],{"id":9888,"slug":9889,"title":9890,"dynasty":124,"author":223,"museum":1941,"description":9891,"tags":9892,"thumbUrl":9894,"material":173,"size":9895,"collection":68,"collections":9896,"showCount":9832,"zanCount":1105,"manualWeight":48,"mainColor":49},219268,"lian-chi-cang-lu-tu-yi-ming-219268","莲池苍鹭图","墨绿荷叶如伞盖层叠，粉嫩荷花亭亭绽于其间，瓣尖晕染淡红，花心素白如雪。几只苍鹭姿态各异：一者振翅展羽，翎毛纤毫毕现；一者引颈长唳，喙尖微张似欲唤侣；另有两羽相偎，身形依偎间流露亲昵。背景深褐如古绢晕染，衬得花叶禽鸟愈发清雅。笔触细腻处见工致，羽毛的柔滑、荷叶的脉络皆清晰可触，却又不失写意的空灵。整幅画氤氲着静谧生机，似将莲池畔的刹那闲趣凝于绢上，尽显雅致韵致，观之如临清池，闻得荷风与禽鸣交织，恍若触到古绢上凝住的清润时光。",[23,24,164,7,27,28,61,9893,81,82],"苍鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7da87412892d3bb3ded765cef53220cf.jpg","纵97.7横43.1厘米",[68],{"id":9898,"slug":9899,"title":1079,"dynasty":124,"author":1438,"museum":56,"description":1439,"tags":9900,"thumbUrl":9901,"material":278,"size":1442,"collection":84,"collections":9902,"showCount":9832,"zanCount":1998,"manualWeight":48,"mainColor":72},214643,"hua-hui-ce-3-chen-chun-214643",[24,7,59,128,369,61,547,747],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f0cd2a5b5a125ab79224340a81ac92b.jpg",[],{"id":9904,"slug":9905,"title":9906,"dynasty":18,"author":1091,"museum":244,"description":9907,"tags":9908,"thumbUrl":9911,"material":278,"size":2092,"collection":318,"collections":9912,"showCount":9832,"zanCount":1086,"manualWeight":48,"mainColor":72},214384,"du-hai-tie-su-shi-214384","渡海帖","苏轼在三年（1100年）搬到凉州时，给他的朋友赵梦得写了这封信。此作品又称 渡海帖，是典型的苏轼风格，刚劲有力，沉着痛快，为其晚期代表作。",[64,133,208,7,9909,9910],"尺牍","墨迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe26b1387d0b5d4f6ba8adbaac7c6d1ae.jpg",[318],{"id":9914,"slug":9915,"title":9916,"dynasty":124,"author":9917,"museum":300,"description":9918,"tags":9919,"thumbUrl":9921,"material":84,"size":84,"collection":84,"collections":9922,"showCount":9923,"zanCount":1998,"manualWeight":48,"mainColor":72},228271,"er-shi-si-fan-hua-xin-tu-juan-wei-zhi-ke-228271","二十四番花信图卷","魏之克","此作用没骨法写群芳次第铺展，艳红山茶花、柔粉芙蓉、明黄牵牛、素白水仙等错落排布，将四季花信的娇美姿态尽揽卷中。\n\n敷色妍丽清润，花叶晕染细腻自然，花瓣的柔润肌理、叶片的明暗层次皆被精微呈现。勾勒线条纤秀柔和，不着笔痕却见风骨。构图舒展疏朗，一花一叶各含生机，毫无拥塞之感，将文人意趣融于写生之中，整卷清新雅致，如将春日烂漫温柔铺陈眼前，观之如沐东风，尽现写生花鸟的雅致意韵。",[23,24,7,25,28,27,61,371,375,263,373,209,374,603,9920,828,649,1132,4693,6556,62,624,1039,208],"杜鹃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fcbf65ccf427d0eec788db6bcfcdb78.jpg",[],137,{"id":9925,"slug":9926,"title":9927,"dynasty":182,"author":9928,"museum":510,"description":9929,"tags":9930,"thumbUrl":9931,"material":7324,"size":84,"collection":318,"collections":9932,"showCount":9923,"zanCount":1116,"manualWeight":48,"mainColor":49},221080,"gu-shi-si-tie-quan-juan-zhang-xu-221080","古诗四帖全卷","张旭","《古诗四帖》是唐代张旭创作的书法作品。\n《宣和书谱》、《续书画题跋记》、《式古堂书画汇考》等著录。\n通篇笔画丰满，绝无纤弱浮滑之笔。行文跌宕起伏，动静交错，满纸如云烟缭绕，实乃草书颠峰之篇。北京大学教授、引碑入草开创者李志敏评价：“古诗四帖无一笔不争，无一笔不让，有呼有应，浑然天成。” [2] 今人郭子绪云：“《古诗四帖》，可以说是张旭全部生命的结晶，是天才美和自然美的典型，民族艺术的精华，永恒美的象征。”",[23,64,840,25,7,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece062efbfba0cc39a01803fca4cfb21.jpg",[318,2210],{"id":9934,"slug":9935,"title":9936,"dynasty":54,"author":9937,"museum":20,"description":9938,"tags":9939,"thumbUrl":9940,"material":66,"size":9941,"collection":45,"collections":9942,"showCount":9923,"zanCount":1116,"manualWeight":48,"mainColor":72},219175,"shuang-mao-kui-yu-tu-cheng-zhang-219175","双猫窥鱼图","程璋","此图绘制的是一幅秋天的美好图景。一弯池水迂回荡漾，岸边苇草萌发，树枝随风而动，显得古朴与优雅。池塘边两只花猫，葡匐在岸上，双眼紧盯着沟渠中的游鱼。仿佛在欣赏他们惬意的身姿，溪水对岸，淡色轻染，烟霭迷濛。全画以水彩设色技法来体现物象，工整细致，将岸石的坚实感，猫鱼的柔滑感，苇草的飘逸感，树枝的风动感，表现的惟妙惟肖。可能是因为画家懂得生物百态，所以画的木头，苇草，浮萍、树干，树枝及红叶，在透视的处理上，以及远近、前后、浓淡、深浅等方面，都能符合自然景物的真实性。并利用干、湿、浓、淡的笔力墨法所产生的差异，整体变得稳重、秀润。",[23,164,24,7,165,27,28,128,1634,2059,1337,229,1771,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ee5c1ca6bba6d53a16282a54c29ac96.jpg","纵148cm 横80.8cm",[45],{"id":9944,"slug":9945,"title":9946,"dynasty":18,"author":2067,"museum":300,"description":9947,"tags":9948,"thumbUrl":9949,"material":173,"size":9950,"collection":68,"collections":9951,"showCount":9923,"zanCount":1116,"manualWeight":48,"mainColor":49},218557,"zhen-qin-tu-li-di-218557","珍禽图","画面中两只禽鸟栖息于枝间，翎羽纤毫毕现，墨色晕染层次分明，黑褐斑纹与浅白羽毛相映成趣。上方禽鸟颔首敛翅，姿态娴静；下方者展翅欲动，羽翼柔润中透着劲挺。枝叶扶疏，浅金色叶片与棕褐枝干交织，古朴绢本底色衬出物象温润质感。构图疏密有致，动静相宜，每道线条皆见功底：羽毛的蓬松、枝干的纹理刻画入微，似能闻林间轻响，观禽鸟灵动之态。笔墨间藏着对自然的细腻体察，于方寸间尽显生机与雅致，让人沉醉于这份古朴而鲜活的意趣里。",[23,164,24,7,1131,28,27,61,211,2438,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F232d7931170a1c143b987fbb2c17089a.jpg","28x32",[68],{"id":9953,"slug":9954,"title":9955,"dynasty":18,"author":1622,"museum":300,"description":9956,"tags":9957,"thumbUrl":9958,"material":278,"size":3074,"collection":117,"collections":9959,"showCount":9923,"zanCount":48,"manualWeight":48,"mainColor":49},218551,"gao-shi-xie-he-tu-ma-yuan-218551","高士携鹤图","垂丝柳影轻笼暮色，宽袍士人拄杖凝眸。身旁仙鹤独立，长颈引向天际，似欲与流云对语。画面构图疏朗，以简淡之笔见天地阔远：柳枝的柔曼衬出士人的清寂，鹤的高洁映其心性。淡墨晕染的远山如黛，近水无痕，留白处漾着幽远的禅意。线条简练却含筋骨，衣袂的飘举、鹤羽的疏劲，皆诉着隐逸之趣——抛却俗务，与鹤为友，在烟水间守一份澄澈自在。笔墨间藏着文人的精神归处，不恋尘嚣，只愿在山水云鹤间，寻得灵魂的安宁与超脱。",[23,164,24,7,1131,128,27,188,96,722,2372,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0535cd201a3698edcf794670a2a03726.jpg",[117],{"id":9961,"slug":9962,"title":9963,"dynasty":124,"author":223,"museum":244,"description":9964,"tags":9965,"thumbUrl":9966,"material":173,"size":9967,"collection":44,"collections":9968,"showCount":9923,"zanCount":1116,"manualWeight":48,"mainColor":49},218526,"fo-xiang-tu-yi-ming-218526","佛像图","这些天人各自手持法器，被他们的同伴骑着并护送着，他们都面朝右边，坐在天空的云朵上，可能是一组描绘天人聆听佛陀教诲的佛画的一部分。三面六臂的力士可能是来自八大天师的阿修罗；持剑的武士和美女是罗刹，罗刹是十二天之一，原本是异教的恶魔，被降服后成为佛教的保护者。整块画板用薄薄的颜料描绘了天人的肌肉，他们的袖子卷起又折起的样子，大多是兰花叶的样式，是吴道子以来专业画家的风格。这幅画的衣服上也有丰富的金色和钩纹装饰，颜料也有很多地方是泥金的。从这幅画的风格来看，它是在15世纪明朝时期绘制的。",[23,24,7,165,28,27,187,96,950,772],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd052330f7cc5224c48e44b4f0a6b3ba9.jpg","143.7x81.5",[44],{"id":9970,"slug":9971,"title":6356,"dynasty":54,"author":9972,"museum":450,"description":9973,"tags":9974,"thumbUrl":9975,"material":173,"size":9976,"collection":44,"collections":9977,"showCount":9923,"zanCount":48,"manualWeight":48,"mainColor":49},218356,"zhong-kui-tu-lv-xue-218356","吕学","图中描绘的是钟馗手持宝剑，两个小孩子手持灵芝，背着书卷。这些人物是以浙江画派的风格用犀利的笔触画出来的。",[23,24,7,165,188,128,96,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24e129c128c96a4adf8e82487a264110.jpg","167.7x95.6",[44],{"id":9979,"slug":9980,"title":9981,"dynasty":54,"author":55,"museum":524,"description":1034,"tags":9982,"thumbUrl":9983,"material":173,"size":1041,"collection":84,"collections":9984,"showCount":9923,"zanCount":48,"manualWeight":48,"mainColor":49},216106,"yun-shou-ping-hua-guo-shu-cai-ce-ye-5-yun-shou-ping-216106","恽寿平花果蔬菜册页-5",[24,7,59,128,60,1036,4251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f5f53e977e7efc527a9d38d0124d37.jpg",[],{"id":9986,"slug":9987,"title":9988,"dynasty":144,"author":569,"museum":244,"description":9989,"tags":9990,"thumbUrl":9991,"material":611,"size":9992,"collection":84,"collections":9993,"showCount":9994,"zanCount":1116,"manualWeight":48,"mainColor":49},231941,"que-hua-qiu-se-tu-quan-juan-zhao-meng-fu-231941","鹊华秋色图全卷","《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。画题就是由这两座山而起的。鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。水边轻舟数叶，舟中渔叟正安静地工作。其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。在刚柔对比中，更显得华不注山的险峻奇突。图中中景、近景表现出一片辽阔苍茫的景象。平川洲渚，红树芦荻，房舍隐现。图中林木种类颇多，红绿相间，枯润相杂。树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。用笔似乎旋转，线条往复重叠，增添了树干的质感。画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。鹊山用披麻，皴法较密。华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。",[23,24,7,25,128,27,29,34,9164,31,35,133,64,208,132,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9153244445e02ec7ffa1f4c18ddd13f9.jpg","28.4厘米，横：90.2厘米",[],136,{"id":9996,"slug":9997,"title":9998,"dynasty":54,"author":9999,"museum":300,"description":10000,"tags":10001,"thumbUrl":10002,"material":734,"size":10003,"collection":84,"collections":10004,"showCount":9994,"zanCount":1998,"manualWeight":48,"mainColor":72},222629,"ju-shi-yan-nian-tu-zhou-huang-shan-shou-222629","菊石延年图轴","黄山寿","绘秋日中菊花绽放，三种色彩，争相斗艳，蓝色湖石穿插其中。画上题诗“飘飘神采濯枝秀，不食烟火何妨瘦，精气有余骨相坚，餐英尚且能益寿”。黄山寿，原名曜，字旭初，晚清画家，工人物、山水，善墨龙等",[23,24,7,165,27,28,376,1314,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F017d9351b72d2e389bc0b7cd7ce8fbed.jpg","131X67cm",[],{"id":10006,"slug":10007,"title":10008,"dynasty":18,"author":1622,"museum":20,"description":10009,"tags":10010,"thumbUrl":10012,"material":40,"size":10013,"collection":42,"collections":10014,"showCount":9994,"zanCount":1116,"manualWeight":48,"mainColor":49},221529,"mei-shi-xi-fu-tu-ma-yuan-221529","梅石溪凫图","本幅款署“馬遠”。钤藏印：“ 潞王之寶”、“茅林心賞”、“阿蒙”、“于騰私印”。\n图中画山崖侧立，腊梅倒垂，薄雾蒙蒙的涧水中，一群野鸭正在游戏。山石以斧劈皴法画之，方硬峭拔，与用笔轻快、毛羽松蓬的野鸭形成鲜明的对比。倒垂曲折的枝条是马远特有的画法，故有“拖枝马远”之称。画面呈典型的对角线式构图，岩石、梅树都偏居画面的左上部分，梅树枝条的走势更强调了此种布局的形式感，右下方的野鸭既起到了平衡画面的作用，又是全图的点睛之笔，一幅“春江水暖鸭先知”的景象，无限生趣，跃然绢素。",[23,24,7,59,128,27,132,371,171,99,10011,211,61,208],"水鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae794f0f7f856fe10e8845520e5badc4.jpg","纵26.7厘米，横28.6厘米",[42,68,45],{"id":10016,"slug":10017,"title":10018,"dynasty":18,"author":10019,"museum":244,"description":10020,"tags":10021,"thumbUrl":10022,"material":253,"size":10023,"collection":44,"collections":10024,"showCount":9994,"zanCount":1116,"manualWeight":48,"mainColor":72},221219,"liu-chao-qian-qin-su-hui-xuan-ji-tu-juan-zhu-shu-zhen-221219","六朝前秦苏蕙璇玑图卷","朱淑贞","（楷书璇玑图。文不录。又苏若兰织锦回文璇玑图序志一则。文不录）皇宋绍定三年（西元一二三０年）二月既望钱塘幽栖居士朱氏淑贞识。",[23,24,7,25,28,27,96,166,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b944c3884b1a33c0a64a2ef4c63382d.jpg","28.1×246.3",[44,45],{"id":10026,"slug":10027,"title":10028,"dynasty":54,"author":9529,"museum":300,"description":10029,"tags":10030,"thumbUrl":10031,"material":652,"size":10032,"collection":136,"collections":10033,"showCount":9994,"zanCount":48,"manualWeight":48,"mainColor":72},220135,"mo-gu-shan-shui-hua-ce-wang-hui-220135","摹古山水画册","王翚，清初山水画巨匠“四王”之一，他研习山水画走的也是一条摹古之路，造就了深厚、扎实、宽泛的传统功力，他深入学习宋元一众大家，逐渐形成自己画面清新、笔墨纯正的山水画风格。",[23,24,7,59,128,27,29,1337,129,98,99,1813,131,711,208,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95e685d005e44893fa629e2b66443b9d.jpg","30.5×21.5",[136],{"id":10035,"slug":10036,"title":10037,"dynasty":124,"author":204,"museum":244,"description":10038,"tags":10039,"thumbUrl":10040,"material":278,"size":10041,"collection":44,"collections":10042,"showCount":9994,"zanCount":1086,"manualWeight":48,"mainColor":72},219534,"qi-qiao-tu-chou-ying-219534","乞巧图","七夕又称为「乞巧节」、「女儿节」，最重要的习俗是妇女的乞巧活动。到七夕晚上，妇女们用彩线穿七孔针，在庭院中摆设香案，上有瓜果、鲜花、酒、针线等，向织女乞巧，在宋代还会摆上一种手捏的小泥人儿「磨喝乐」作为供奉神灵。这幅画的便是妇女乞巧的活动，星星高挂于天空，妇女群聚在庭院中，对着星空祭拜，衷心祈望自已能像织女般工巧，其中还有妇女对着星空穿针，\n全幅以白描为主，人物清雅，但用笔较为软弱无力，与仇英精致细腻的笔法大不相同，应非其所作。\n仇英（约一四九四－一五五二），江苏太仓人。字实父，号十洲。年轻时为漆工，后遇周臣赏识其才华，给予指导，而后成名。精工山水人物画，又善于临摹古画，几可乱真，作品具有院画之精丽而有士气。是明代四大画家之一。",[23,24,7,25,28,27,133,64,96,166,97,247,170,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecd953712315a9e475c8de8c4fb11fdb.jpg","27.9x388.3厘米",[44],{"id":10044,"slug":10045,"title":10046,"dynasty":18,"author":10047,"museum":2488,"description":10048,"tags":10049,"thumbUrl":10051,"material":173,"size":84,"collection":68,"collections":10052,"showCount":9994,"zanCount":1998,"manualWeight":48,"mainColor":199},218889,"mei-hua-shuang-que-tu-tang-zheng-zhong-218889","梅花双鹊图","汤正仲","虬干盘结如铁，皴擦间尽现老木苍劲之姿；新梢斜逸若剑，挺秀中暗藏生机。素蕊攒枝，以圈花点蕊之法写就，清疏淡雅如覆薄雪，暗香似欲溢出纸面。双鹊栖于枝间，一俯一仰顾盼有情，羽翼细墨勾勒与梅枝粗放形成呼应，添几分灵动暖意。整幅画以墨骨立形，淡彩敷色，既承扬派墨梅清逸，又融自家笔意沉厚。寒梅高洁品格与双鹊吉祥意趣交织，冬日清寂中晕开一抹生机，尽显宋人花鸟画雅致韵致与文人情怀。",[164,24,7,165,28,27,61,371,10050,211,1233,331],"鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15447dc3a3314b0bcbd372dc5a108d12.jpg",[68],{"id":10054,"slug":10055,"title":10056,"dynasty":18,"author":491,"museum":56,"description":10057,"tags":10058,"thumbUrl":10062,"material":317,"size":10063,"collection":136,"collections":10064,"showCount":9994,"zanCount":1105,"manualWeight":48,"mainColor":49},218586,"gu-mu-yao-shan-tu-zhou-guo-xi-218586","古木遥山图轴","全图画秋景山水，画文人士夫出行的情形，系平 远式构图。近景以水墨画坡石，上有古木数株，中 景绘两间敞轩和一座木构平房，内有主人，外有过 客，隔江远景坡地朦胧，其下有牛群散牧、孤舟帆饱。 该图是一幅相当写实的山水画，画家客观、概括地描 绘了所见的景物。因此，笔者认为，可借鉴动物考古 学和建筑学等学科的成果来分析、研究是图的绘制地 域，以便于确定其创作时代。",[164,24,7,165,128,29,6639,4797,10059,10060,10061,129,102,96],"坡石","敞轩","平房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9b7f96f5bbf3b0e2a5e0fc103c93fe7.jpg","纵 185.2、横 107.5 厘米",[136],{"id":10066,"slug":10067,"title":10068,"dynasty":18,"author":223,"museum":300,"description":10069,"tags":10070,"thumbUrl":10071,"material":173,"size":10072,"collection":42,"collections":10073,"showCount":9994,"zanCount":1998,"manualWeight":48,"mainColor":49},218583,"song-xia-jing-si-tu-yi-ming-218583","松下静思图","悬崖边的松树上画着一根粗壮有力的杆子，伸向远方，而一个高大的男人盘腿坐在下面的蒲团上，凝视着下方；远处，一轮明月挂在天上，圆盘般的月亮象征着农历的新月之夜。",[24,7,27,28,96,1144,171,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F732621ebc2bf8ef9ef1e43c8b6b51669.jpg","21x21",[42],{"id":10075,"slug":10076,"title":10077,"dynasty":18,"author":2099,"museum":244,"description":10078,"tags":10079,"thumbUrl":10080,"material":278,"size":10081,"collection":44,"collections":10082,"showCount":9994,"zanCount":1998,"manualWeight":48,"mainColor":72},216928,"mian-zhou-tu-li-gong-lin-216928","免胄图","卷轴的左侧是郭子仪，带领他的部队，平静地站在他身边。右侧是入侵关中的维吾尔族士兵，这是一个庞大而令人生畏的营地。这位身着军装的维吾尔族首领在其副手的陪同下，在向脱去盔甲、身着清凉的郭子仪致敬时，以敬佩的姿态跪下。郭德纲在俯身提供帮助时显得真诚而有礼貌，体现了一位名将的慷慨。",[23,164,24,7,25,188,28,96,101,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c419667adc75769d59561e46477a00.jpg","32.3x223.8",[44],{"id":10084,"slug":10085,"title":10086,"dynasty":54,"author":223,"museum":300,"description":10087,"tags":10088,"thumbUrl":10091,"material":692,"size":1293,"collection":84,"collections":10092,"showCount":10093,"zanCount":48,"manualWeight":48,"mainColor":72},263687,"ke-si-chou-ying-hou-chi-bi-fu-tu-juan-yi-ming-263687","缂丝仇英后赤壁赋图卷","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[23,25,1944,24,7,26,27,29,96,97,129,211,99,10089,1337,131,247,10090,208,64],"亭榭","文人雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d1d0a4ab2c0a1cc69f15a9e1c4bcfe0.jpg",[],135,{"id":10095,"slug":10096,"title":10097,"dynasty":124,"author":125,"museum":244,"description":10098,"tags":10099,"thumbUrl":10100,"material":637,"size":10101,"collection":84,"collections":10102,"showCount":10093,"zanCount":1116,"manualWeight":48,"mainColor":72},222108,"ming-xian-ya-ji-tu-zhou-shen-zhou-222108","名贤雅集图轴","此画设色雅淡，人物衣描粗细合度，用笔写意中带精谨。幅面狭长，山势呈“之”字形走向，益增高远平阔之感。",[23,24,7,165,27,96,29,98,99,331,132,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180750897d2f844fa69ecd89a1960845.jpg","252.9x44.5公分",[],{"id":10104,"slug":10105,"title":6021,"dynasty":124,"author":10106,"museum":524,"description":10107,"tags":10108,"thumbUrl":10109,"material":1223,"size":10110,"collection":136,"collections":10111,"showCount":10093,"zanCount":1086,"manualWeight":48,"mainColor":49},222073,"ming-huang-xing-shu-tu-wu-bin-222073","吴彬","吴彬（1550—1643），字文中，又字文仲，明代绘画大师，别字质先，别称文中父、文中子，自号壶谷山樵、遵道生、织履生、一枝栖、枝隐生、枝隐居士、朱湖太生洞天居士、枝隐庵主、枝庵发僧、枝隐头陀、枝隐庵头陀和“金粟如来”等，兴化府（今福建省莆田市）黄石人。流寓金陵（今江苏省南京市）。万历年间，明神宗朱翊钧召见吴彬，试殿中第一，授中书舍人，历工部主事。供职于宫廷画院。工山水，布置绝不摹古，佛像人物，形状奇怪，迥别前人，自立门户。中国国画大师，明代宫廷大画家，晚明人物“变形主义画风”和“复兴北宋经典山水画风”的主要倡导者和领导者之一，享有“画仙”之誉。1988年11月，其名作《文杏双禽图》被收入《中国历代绘画》，列为中国上下五千年的28幅绘画杰作之一。2009年，北京保利秋拍吴彬名作《十八应真图卷》最终以1.6912亿元高价成交，创下当时中国画拍卖价格新的世界纪录。",[23,24,7,29,27,28,132,96,101,97,98,99,131,495,34,690,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f3f879903396d07b9e64c58c5d2acea.jpg","65x112 厘米",[136,45],{"id":10113,"slug":10114,"title":10115,"dynasty":54,"author":55,"museum":20,"description":10116,"tags":10117,"thumbUrl":10118,"material":151,"size":10119,"collection":68,"collections":10120,"showCount":10093,"zanCount":1998,"manualWeight":48,"mainColor":72},220973,"shuang-qing-tu-yun-shou-ping-220973","双清图","本幅是恽寿平55岁时所作。以“双清”为画名是因为梅花以“众芳摇落独暄妍”的品格而水仙以淡色疏香和清气逼人的特性同被视为传统绘画题材中的“清物”。此图以淡花青晕染绢地，烘托双清的花色。梅树苍干繁枝，横斜取势，其花瓣法南宋扬无咎的画法，即以墨笔圈线为瓣，线条雅秀雄健，勾勒出花之勃勃生机。水仙法元人赵孟坚的白描笔韵，叶片用笔富于急迟、粗细、顿折诸变化，花儿或仰或俯，或张或合，亦变化多端。作者以活泼多变的表现技法成功地展示出梅花、水仙暗香浮动的美感。全图不刻意求工、求似，唯求自然天趣，揭示出恽寿平一向所追求的平淡超逸的审美意趣。",[23,24,7,165,27,61,60,371,375,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da6c06676028e116b16baef378dbe92.jpg","纵88.5cm，横54cm",[68,45],{"id":10122,"slug":10123,"title":10124,"dynasty":980,"author":5076,"museum":3540,"description":10125,"tags":10126,"thumbUrl":10127,"material":1464,"size":84,"collection":84,"collections":10128,"showCount":10093,"zanCount":1998,"manualWeight":48,"mainColor":72},220600,"song-ying-zhou-qi-bai-shi-220600","松鹰（轴）","右上狂草长题与左侧苍松对角铺陈，虚实相映，章法奇崛沉稳。\n老松以枯笔写出虬曲主干，浓淡墨色分出嶙峋肌理，松针劲挺利落，尽显风霜淬炼的苍古之姿。\n石上雄鹰是画面焦点，焦墨勾出如钩利喙与锐利鹰眼，神彩凛凛；泼墨积墨晕染羽翮，块面层次分明，将猛禽雄悍桀骜的气度展露无遗，钢爪紧扣顽石，尽显睥睨寰宇的威严。\n整作以书入画，文人笔意与写生意趣相融，以朴拙老辣的笔墨寄寓凌云壮气，尽显写意花鸟的雄浑风骨。",[23,24,7,165,128,369,1144,3141,211,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffede21b825405a236afb47189b88ee67.jpg",[],{"id":10130,"slug":10131,"title":10132,"dynasty":18,"author":3278,"museum":244,"description":10133,"tags":10134,"thumbUrl":10135,"material":611,"size":84,"collection":42,"collections":10136,"showCount":10093,"zanCount":48,"manualWeight":48,"mainColor":49},220247,"xie-qing-chao-yi-pin-tu-li-cheng-220247","写清朝一品图","李成（919~967年），字咸熙，号营丘，京兆长安（今陕西省西安市）人。五代宋初画家，与董源、范宽并称“北宋三大家”，苏州刺史李鼎的孙子。\n博学多才，胸有大志，无处施展，醉心于书画。乾德五年，病逝于陈州，时年四十九岁。\n擅于山水画，师承于荆浩、关仝，自成一家，喜欢画郊野平远旷阔的风景。平远寒林，画法简练，气象萧疏，好用淡墨，“惜墨如金”；绘画山石如卷动的云，人称“卷云皴”；绘画寒林，开创“蟹爪”法，对于山水画的发展有重大影响。",[23,24,164,7,165,128,132,29,1144,129,96,131,31,34,664],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ecb114ae83d161ba1539feb347adb9.jpg",[42],{"id":10138,"slug":10139,"title":10140,"dynasty":18,"author":1622,"museum":450,"description":10141,"tags":10142,"thumbUrl":10144,"material":173,"size":84,"collection":42,"collections":10145,"showCount":10093,"zanCount":48,"manualWeight":48,"mainColor":49},219737,"yan-ai-qiu-she-tu-ma-yuan-219737","烟霭秋涉图","此作用笔简劲老辣，以半边取景铺陈秋山之境。远景峰林隐没在烟霭之中，淡墨晕染出空濛虚渺，似将秋意揉进雾色里。近岸古木盘曲，枯干如铁铸，枝头缀着丹红秋叶，为萧飒秋景添了一抹暖色。浅滩处旅人策杖徐行，缓步涉过清浅溪涧，将山野行旅的幽寂之意藏于细节。\n山石以斧劈皴扫出棱线，硬朗峭拔，和远景的朦胧柔润形成强烈虚实对比，以少胜多，留白处尽是山野空寂的秋意，把深秋山涧的清旷冷冽，尽数融在水墨浓淡之间，尽显秋山烟水的澹远诗意。",[23,1846,24,7,165,128,27,29,1337,10143,37,497,132,6639,228],"烟霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F187656824905620f997701fcc165e4fd.jpg",[42,136],{"id":10147,"slug":10148,"title":10149,"dynasty":124,"author":1141,"museum":244,"description":10150,"tags":10151,"thumbUrl":10152,"material":128,"size":10153,"collection":117,"collections":10154,"showCount":10093,"zanCount":48,"manualWeight":48,"mainColor":72},219344,"feng-yu-gui-zhou-tu-zhou-wen-zheng-ming-219344","风雨归舟图轴","文征明（1470～1559年），即文徵明，初名壁，字征明，后更字征仲，号衡山、停云，别号衡山居士，人称文衡山，斋名停云馆。长洲（今苏州）人。官至翰林待诏，私谥贞献先生。“吴门画派”创始人之一。是明代中期最著名的画家，大书法家。与唐伯虎、祝枝山、徐祯卿并称“江南四大才子”（也称吴门四才子）。与沈周、唐寅、仇英合称“明四家”。在当世他的名气极大，号称“文笔遍天下祖籍衡山，故号衡山居士，长洲（今江苏吴县）人。54岁时以岁贡生诣吏部试，授翰林院待诏，故称文待诏。",[24,7,165,128,132,29,495,34,497,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F648a657d5f76e78f5d702a150b241512.jpg","89.7x32.9公分",[117],{"id":10156,"slug":10157,"title":10158,"dynasty":18,"author":397,"museum":10159,"description":10160,"tags":10161,"thumbUrl":10162,"material":173,"size":10163,"collection":68,"collections":10164,"showCount":10093,"zanCount":1116,"manualWeight":48,"mainColor":49},218921,"ya-tu-zhao-ji-218921","鸭图","东京五岛美术馆","这幅画代表了徐熙的画派，虽然整幅画是彩色的，但水墨淋漓，充满了野趣。这幅画据说是徽宗所画，但由徽宗所画的可能性较小，但仍然是宋代花鸟画的代表作。",[23,164,24,7,165,28,27,61,6509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff029476e533b2343127e16bcd597c59e.jpg","37.9x25.8cm",[68],{"id":10166,"slug":10167,"title":8545,"dynasty":18,"author":5533,"museum":300,"description":10168,"tags":10169,"thumbUrl":10171,"material":278,"size":84,"collection":44,"collections":10172,"showCount":10093,"zanCount":48,"manualWeight":48,"mainColor":72},217069,"bu-dai-he-shang-tu-liang-kai-217069","布袋和尚是中国佛教图像中的一个著名人物，他被认为是弘法利生的传人。布袋和尚是由宋朝画家梁楷所绘制的。\n\n梁楷，原名梁可柔，是宋朝著名的画家，他以其精湛的绘画技艺而闻名。梁楷的作品大多描绘了佛教的场景和人物，其中包括布袋和尚的图像。\n\n布袋和尚的图像通常描绘出他的标志性外观，包括高耸的高顶头巾，满身袈裟，手持莲花，以及脸上带着坚定的信念和善意的笑容。这些图像通常被视为对佛教价值观的良好描述，包括善良、谅解和慈悲。\n\n梁楷的作品对中国画的发展产生了深远的影响，他的布袋和尚图像也成为了中国佛教图像的经典之作。如今，布袋和尚的图像仍然受到广泛的欢迎，并被视为中国文化的重要组成部分。",[23,24,7,18,165,187,96,128,10170,208],"减笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F904a61fa90ea575ee40aabf94c6fb98e.jpg",[44],{"id":10174,"slug":10175,"title":10176,"dynasty":54,"author":10177,"museum":20,"description":10178,"tags":10179,"thumbUrl":10180,"material":40,"size":10181,"collection":44,"collections":10182,"showCount":10183,"zanCount":1105,"manualWeight":48,"mainColor":49},234307,"li-chao-xian-hou-gu-shi-tu-ce-jiao-bing-zhen-234307","历朝贤后故事图册","焦秉贞","历史故事是清代宫廷绘画中的重要题材之一。此套图册题材取自历代有良好德行的皇后、太后的故事，人物包括西周文王之母太任、西周武王之母太姒、东汉明帝明德马皇后、东汉和帝和熹邓皇后、北宋仁宗慈圣曹皇后、北宋英宗宣仁高皇后、明仁宗诚孝张皇后。她们在身为皇后或太后期间，有的勤俭仁厚、贤淑孝顺，有的不问政事、不佞外戚。画家绘此画册就是借她们的懿德来宣传封建的伦理纲常，给宫廷里的妃嫔们树立行为楷模。在12开的册页中，所绘仕女形象柔弱，设色浓艳，富有装饰性。图上建筑物的绘制采用欧洲焦点透视的方法，有别于中国的传统界画。每开对题是由梁诗正书写的弘历在皇子时期所作的诗句，记录了这些皇后、太后的事迹和对她们的评价。",[164,24,7,59,28,27,95,96,166,97,130,34,1200,29,247,169,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c34017010e0ed0cafb36850368bb3c4.jpg","纵30.8厘米，横37.4厘米",[44,45],134,{"id":10185,"slug":10186,"title":10187,"dynasty":54,"author":223,"museum":300,"description":10188,"tags":10189,"thumbUrl":10190,"material":84,"size":84,"collection":84,"collections":10191,"showCount":10183,"zanCount":1116,"manualWeight":48,"mainColor":49},230304,"fang-lin-chun-cui-zhu-hua-niao-tu-shen-se-yi-ming-230304","仿林椿翠竹花鸟图（深色）","此作用色明丽雅致，以赭色绢底托举春日景致。艳红山茶缀于虬曲枝桠，青嫩新篁挺拔舒展，柔媚花枝与劲竹相映成趣。十余只禽鸟灵动错落，或栖于枝头理羽，或两两依偎低语，羽色晕染细腻柔和，将禽鸟绒羽的鲜活质感尽数呈现。\n\n画师以工细笔触勾勒花叶禽鸟，既承袭院体花鸟的精工写实，又暗合文人画的清幽意趣，将林泉春日里花木禽鸟的自在天趣铺展在尺幅间，生机盎然中尽显闲雅静谧的林下意韵。",[23,164,24,7,25,28,27,330,61,167,355,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ae43cbb6fe15b0c90b72712f15b33f1.jpg",[],{"id":10193,"slug":10194,"title":10195,"dynasty":124,"author":1058,"museum":244,"description":10196,"tags":10197,"thumbUrl":10198,"material":6091,"size":10199,"collection":117,"collections":10200,"showCount":10183,"zanCount":1998,"manualWeight":48,"mainColor":72},222365,"feng-zhu-tu-tang-yin-222365","风竹图","《风竹图》是明代著名画家唐寅所作的一幅花鸟画，以风中之竹为描写对象。画中的风中之竹随风飘动，极富动感。\n此幅写风中之竹随风飘动，富有动感。截取局部特写，构图别致。取文同画竹法“浓墨为面，淡墨为背”，写意象之竹，融以书法用笔，其飞白效果颇具文人趣味。自题书法端庄秀美，笔划劲挺，并成为构图的一部分。迢迢阁题识：卷地尘沙起大风，篷头乱舞小庭中。欹枝折节难为直，一片西飞一片东。次唐子畏风竹图诗韵。己丑冬至录旧作。\n唐寅是一个饱尝了世态炎凉的滋味的画家，29岁时因为科场舞弊案被无辜牵连，蒙冤入狱。家里变得“僮仆据案，夫妻反目，归有狞狗，当门而噬”。画家在给文徵明的信中说：“昆山焚如，玉石皆毁，下流难处，众恶所归，海内遂以寅为不齿之士，握拳张胆，若赴仇敌。知与不知，皆指而唾，辱亦甚矣！”画中迎朔风而傲然挺立的风竹，几乎就是画家所处境况的再现。",[23,24,7,165,128,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc343a82dd43ee374a328fc69adbd27c4.jpg","47厘米 37.8厘米",[117,1670],{"id":10202,"slug":10203,"title":10204,"dynasty":144,"author":569,"museum":244,"description":10205,"tags":10206,"thumbUrl":10207,"material":27,"size":10208,"collection":136,"collections":10209,"showCount":10183,"zanCount":1998,"manualWeight":48,"mainColor":72},220862,"hua-shan-shui-zhou-zhao-meng-fu-220862","画山水轴","赵孟頫（1254—1322），字子昂，号松雪，松雪道人，又号水精宫道人、鸥波，中年曾作孟俯，汉族，吴兴（今浙江湖州）人。元代著名画家，楷书四大家（欧阳询、颜真卿、柳公权、赵孟頫）之一。赵孟頫博学多才，能诗善文，懂经济，工书法，精绘艺，擅金石，通律吕，解鉴赏。特别是书法和绘画成就最高，开创元代新画风，被称为“元人冠冕”。他也善篆、隶、真、行、草书，尤以楷、行书著称于世。",[23,164,24,7,165,27,132,29,1144,131,99,130,96,37,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11161ca0c1ec964671f7c7a6ecbebf4e.jpg","该幅 57x30.9公分、全幅 56公分",[136,45],{"id":10211,"slug":10212,"title":10213,"dynasty":18,"author":7264,"museum":4840,"description":10214,"tags":10215,"thumbUrl":10217,"material":278,"size":10218,"collection":42,"collections":10219,"showCount":10183,"zanCount":48,"manualWeight":48,"mainColor":72},219861,"yuan-xiu-qing-yun-tu-mi-you-ren-219861","远岫晴云图","《远岫晴云图》是北宋书画家米友仁所创作的一幅水墨设色画，现藏于日本大阪市立美术馆。\n该画作是一幅文人画，描绘的是米友仁笔下常见的山水风景，画中以湿润的笔墨点染云山树石，表现烟云变幻、山色朦胧的动人景象。“米氏云山”的特色展示得淋漓尽致。\n《远岫晴云图》绘制的是烟雨迷蒙时的风景，远山模糊不清，近树萧疏迷离，一条溪流潺潺自远处绕到赏者面前。图中左下角作一小丛树，间隔溪水的对岸是云气缭绕的疏林，远处是尖锐如刻削的山峦。\n画面上有款“元晖戏作”四个字，上方另有横纸又自题“绍兴甲寅元夕前一日，自新昌泛舟来赴朝参，居临安七宝山戏作小卷，付与廪收口”。",[164,24,7,128,29,415,950,34,131,132,10216],"米点皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefe5e3ae0ecfe57c4dc77a8c68325a4c.jpg","24.7x28.6cm",[42],{"id":10221,"slug":10222,"title":742,"dynasty":18,"author":223,"museum":56,"description":10223,"tags":10224,"thumbUrl":10225,"material":173,"size":10226,"collection":68,"collections":10227,"showCount":10183,"zanCount":1105,"manualWeight":48,"mainColor":49},218563,"qiu-kui-tu-yi-ming-218563","画面中，秋葵舒展的花瓣如凝脂般温润，白中透粉的晕染似含朝露，娇嫩欲滴。花蕊以深褐点染，在素净花瓣间格外醒目，几笔细致勾勒便显生机。叶片脉络清晰，边缘锯齿纹理与枝干苍劲形成呼应，花苞或敛或绽，层次错落间见自然意趣。\n\n笔墨工致却不刻意，色彩淡雅而富韵致，尽显写生之妙——于细微处见真章，将秋葵清雅姿态凝于绢素。无繁复布景，仅以一花一叶情态，传递自然生命的静美与从容，仿佛能嗅到初秋清晨的微凉气息，藏着宋人对日常草木的深情观照。",[24,164,7,28,27,61,746,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffabea7ea1898f36c4440d93cfb77bd36.jpg","25.6x25.7",[68],{"id":10229,"slug":10230,"title":10231,"dynasty":18,"author":3110,"museum":10232,"description":10233,"tags":10234,"thumbUrl":10235,"material":278,"size":10236,"collection":44,"collections":10237,"showCount":10183,"zanCount":1998,"manualWeight":48,"mainColor":49},218536,"er-zu-diao-xin-tu-mu-xi-218536","二祖调心图","京都藤井有邻馆","禅者趺坐，衣袂如流云舒卷，墨线简劲中见飘逸。猛虎蜷卧身侧，昔日凶威尽敛，竟似猫咪般温顺，双目微阖，与禅者气息相融。背景远山淡抹，枯树疏枝横斜，瀑流隐于云霭，天地间弥漫着空灵静谧的禅意。笔墨写意传神，不事雕琢却直抵心性——禅心可化戾气，猛兽亦归平和，这般物我两忘的境界，尽在尺幅之中流转，引人沉潜于禅思的悠远。",[24,7,128,188,187,96,5490,949,1337,29,495,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F650cad3bf7fe8ebae276374eeee46d0c.jpg","121x55.5",[44],{"id":10239,"slug":10240,"title":10241,"dynasty":124,"author":3608,"museum":244,"description":10242,"tags":10243,"thumbUrl":10244,"material":173,"size":10245,"collection":68,"collections":10246,"showCount":10183,"zanCount":1998,"manualWeight":48,"mainColor":49},216221,"jin-pu-ming-chun-tu-lu-zhi-216221","锦圃鸣春图","这幅画描绘了两只孔雀在牡丹园里争奇斗艳，鸟儿在玉兰树上春风得意。这幅画色彩热烈，反映了陆治在山水、花鸟方面的多面性。\n陆治，明代画家，工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，在吴门派画家中具有一定新意，与陈淳并重于世。",[24,7,164,165,28,27,61,248,263,34,131,7470,5762,805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa50c4c81b69ff6eb527a5c62b8b31e46.jpg","纵146厘米，横89厘米",[68],{"id":10248,"slug":10249,"title":10250,"dynasty":144,"author":1346,"museum":300,"description":10251,"tags":10252,"thumbUrl":10253,"material":84,"size":84,"collection":84,"collections":10254,"showCount":10255,"zanCount":975,"manualWeight":48,"mainColor":72},228177,"fang-dong-po-feng-zhu-tu-wu-zhen-228177","仿东坡风竹图","此作用草书笔意写风竹，右侧竹竿劲挺带折，暗合疾风之势。浓墨挥写竹叶，聚散错落，叶梢尽含动感，似有穿林风鸣萦于耳侧。左侧题书与画作浑然一体，诗画合璧文气满溢。\n\n墨色干湿浓淡层次分明，以淡素纸色为底，虚实相生，将观竹怀人的幽思寄于毫端。把风竹萧然清骨，与林下襟怀相融，尽显以竹明志的元人画趣，是水墨写竹以意驭笔的绝佳典范。",[23,24,7,128,133,165,167,330,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23576077b3964e67aff08149c65dfeae.jpg",[],133,{"id":10257,"slug":10258,"title":10259,"dynasty":18,"author":1091,"museum":300,"description":10260,"tags":10261,"thumbUrl":10262,"material":84,"size":84,"collection":84,"collections":10263,"showCount":10255,"zanCount":48,"manualWeight":48,"mainColor":72},227504,"chun-zhong-tie-su-shi-227504","春中帖","本帖鉴藏印有“奎章阁鉴书博士”、“柯氏清玩”、“柯九思鉴□真迹”、“江恂”、“王禹卿氏”。\n此帖是苏轼写给范纯粹（德孺）的信札。范纯粹是北宋著名政治家、文学家范仲淹的第四子。宋神宗元丰年间，共有五路军团出兵讨伐西夏，其中包括由高遵裕率领的环庆军和由刘昌祚率领的泾原军。《宋史》卷三一四《范纯粹本传》记载，北宋元丰末年，范纯粹因调和讨伐西夏的遵裕、昌祚两路军的矛盾有功，神宗将他由陕西转运判官进为转运副使，这与帖中德孺之官衔“运使金部”是一致的。据此可知，此信札的书写时间应为元丰末年，即元丰七八年间（1084—1085年），苏轼年约50岁左右。帖中“二哥”是指范纯仁（范仲淹次子）。\n此帖笔法自然流畅，寓巧于拙，仪态淳古，有浑厚凝重之韵致。虽有缺字、残损，仍不失为苏轼中年时期的上乘之作。",[64,133,24,7,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6570e429c4bfd4bd83be2b02954cabab.jpg",[],{"id":10265,"slug":10266,"title":536,"dynasty":54,"author":3750,"museum":524,"description":10267,"tags":10268,"thumbUrl":10271,"material":611,"size":10272,"collection":136,"collections":10273,"showCount":10255,"zanCount":48,"manualWeight":48,"mainColor":199},224481,"fu-chun-shan-ju-tu-wang-jian-224481","《富春山居图》轴仿作即深得黄公望用笔之妙，虚实、粗细、轻重、缓急富有变化，恰当地表现了前后景致的空间距离和起承转合；细润中锋含蓄流畅，山川景象清旷深秀。作品以笔墨形式为主体，创造出了优美动人的境界。该轴作于1658年，王鉴时年61岁，正是其绘画技法鼎盛时期。\n此幅富春山居图，而作立轴，并染以浅绛色。笔墨交融，敷色清雅，表达了王鉴对前辈大师经典的敬佩之情。",[23,164,24,7,165,128,27,6875,29,99,97,131,34,132,330,10269,10270],"清旷深秀","敷色清雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbc6fe68c1be28db40b2fd2f41520f3d.jpg","117.5x50.5厘米",[136],{"id":10275,"slug":10276,"title":10277,"dynasty":144,"author":569,"museum":244,"description":10278,"tags":10279,"thumbUrl":10282,"material":278,"size":10283,"collection":136,"collections":10284,"showCount":10255,"zanCount":1116,"manualWeight":48,"mainColor":72},219902,"zhong-jiang-die-zhang-tu-zhao-meng-fu-219902","重江叠嶂图","图绘江水辽阔绵延，群山重叠逶迤，舟楫往来江中，画境清旷。山石的形态、皴染的方法、乔松和虬曲的蟹爪形枯枝，一看即知画家采用的是李成、郭熙的山水画程式。但略带乾笔的勾皴，简逸的笔法又透着画家的新意，已不是对李成、郭熙画风的简单因袭和重复。",[23,24,164,7,25,128,132,133,208,29,7409,129,34,496,10280,10281],"岛屿","远岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff21c533677896e4ab5303907c07fc418.jpg","纵28.4、横176.4厘米",[136],{"id":10286,"slug":10287,"title":10288,"dynasty":18,"author":9468,"museum":77,"description":10289,"tags":10290,"thumbUrl":10291,"material":278,"size":10292,"collection":68,"collections":10293,"showCount":10255,"zanCount":1086,"manualWeight":48,"mainColor":72},218568,"xiang-xue-hun-tu-yang-wu-jiu-218568","香雪魂图","画的是寒梅杆的两枝，主枝上有许多细而有力的枝条，上面的梅花有的盛开，有的含苞待放，香气四溢，很是热闹。",[23,24,7,164,128,188,650,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15f2ec726fcf9db57c0bfd136610c735.jpg","29x45cm",[68],{"id":10295,"slug":10296,"title":10297,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":10299,"thumbUrl":10300,"material":66,"size":10301,"collection":44,"collections":10302,"showCount":10255,"zanCount":1998,"manualWeight":48,"mainColor":72},214807,"zhi-sheng-xian-xian-ban-shen-xiang-ce-ye-yi-ming-214807","至圣先贤半身像册页","这本60页的画册展示了从孔子到许衡（1209-1281），从春秋时期（公元前770-476年）到元朝的121位著名学者，最初被放置在清宫的南董殿，那里保存着皇帝、皇后和贤臣的图像。",[23,24,7,59,27,28,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe748c6349b35f74a47a36a974a96d104.jpg","33.3x24.3",[44],{"id":10304,"slug":10305,"title":10306,"dynasty":54,"author":10307,"museum":424,"description":10308,"tags":10309,"thumbUrl":10310,"material":66,"size":10311,"collection":136,"collections":10312,"showCount":10255,"zanCount":1116,"manualWeight":48,"mainColor":72},214486,"he-yi-shan-shui-tu-ce-he-yi-214486","赫奕山水图册","赫奕","清代画家赫奕的山水图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了赫奕对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n赫奕是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在山水图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，赫奕的山水图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了赫奕对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到赫奕的画风魅力，还能了解中国传统的山水风情。",[23,164,24,7,59,128,132,29,34,711,131,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c971e483bde479efdfd6ef31b912533.jpg","34x25cm",[136],{"id":10314,"slug":10315,"title":10316,"dynasty":54,"author":5879,"museum":1941,"description":10317,"tags":10318,"thumbUrl":10319,"material":611,"size":10320,"collection":84,"collections":10321,"showCount":10255,"zanCount":1116,"manualWeight":48,"mainColor":49},214360,"san-jue-shan-shui-ce-6-hua-yan-214360","三绝山水册-6","华岩的十六页中描绘了一幅清晰、优雅和空灵的风景。新罗山人擅长花鸟和人物，但山水也可以纳入收藏。",[23,24,7,59,128,27,29,171,34,96,99,415,64,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7608d5a899512f1784976f15ec1988c3.jpg","23.4x15.8",[],{"id":10323,"slug":10324,"title":10325,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":10327,"thumbUrl":10328,"material":692,"size":1293,"collection":84,"collections":10329,"showCount":10330,"zanCount":1086,"manualWeight":48,"mainColor":72},283732,"qing-bian-tu-zhou-dong-qi-chang-283732","青卞图轴","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[24,164,7,165,128,29,132,131,34,99,496,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34d6a3abb2d15fedf1da6bba94a512ac.jpg",[],132,{"id":10332,"slug":10333,"title":10334,"dynasty":54,"author":223,"museum":20,"description":10335,"tags":10336,"thumbUrl":10337,"material":151,"size":10338,"collection":44,"collections":10339,"showCount":10330,"zanCount":1105,"manualWeight":48,"mainColor":49},236174,"yin-zhen-mei-ren-tu-yi-ming-236174","胤禛美人图","仕女于圆窗前端坐，轻倚桌案，一手闲雅地捻着念珠，正观赏两只嬉戏顽皮的猫咪。此图的取景面很小，仅透过二分之一的圆窗来刻画繁复的景致，但由于画家参用了西洋画的焦点透视法，将远、中、近三景安排得有条不紊，从而扩展了画面空间的纵深感，显得意韵悠长。窗下钟声滴答，近处猫咪玩闹，时光便在这似有似无中悄悄流逝。",[24,7,28,27,96,166,1634,169,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd53a373485a1fc514f0f01339644f52.jpg","纵184厘米，横98厘米",[44,45],{"id":10341,"slug":10342,"title":10343,"dynasty":124,"author":125,"museum":20,"description":10344,"tags":10345,"thumbUrl":10346,"material":10347,"size":10348,"collection":84,"collections":10349,"showCount":10330,"zanCount":1998,"manualWeight":48,"mainColor":72},233766,"li-shi-tu-zhou-shen-zhou-233766","荔柿图轴","本幅墨笔画荔枝，柿子树二枝，上方自题“庚子元旦即兴”诗一首，款“右进作一首侑以荔柿图，奉吾宿田老兄新春一笑，周再拜”钤“启南”朱方印一。右下方收藏印“绍庭审定”等二方。\n沈周（1427—1509年），字启南，号石田，晚号白石翁，长洲（今江苏苏州）人。世代隐居吴门，父亲恒古、伯父贞吉均善画。他早年承受家学，兼师杜琼，后博学宋元诸家，自成一格。一生布衣，优游林下，为人敦厚，笃于友谊，性情随和，胸襟磊落，是吴中众望所归的贤达长者。 绘画上擅长山水、花鸟，尤以山水著称，有粗、细两种面貌。早年主宗王蒙，上追董、巨，以细笔为主；40岁以后博取诸家，着意于黄公望，风格逐渐变粗，形成粗笔风貌；60岁后汲取吴镇画法，笔墨疏简苍劲，格调雄健宏阔。其成熟时期的山水，笔墨上既吸收了宋院体和明浙派的硬度和力感，又保留了元人的含蓄笔致，于苍中带秀，刚中见柔。构图造境方面，无论繁复或简略，都强调山川宏阔之“势”，一改元人空寂之境，又着意于朴实的“质”，于拙中藏巧。他开创了“吴派”画风，与文徵明、唐寅、仇英并称“吴门四家”。",[24,7,165,128,369,61,2036,3114,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86746693b29e5f3412b23d5ba1e633a9.jpg","纸本 ，墨笔","纵128cm，横38.4cm",[],{"id":10351,"slug":10352,"title":10353,"dynasty":54,"author":3403,"museum":20,"description":10354,"tags":10355,"thumbUrl":10356,"material":611,"size":84,"collection":68,"collections":10357,"showCount":10330,"zanCount":1998,"manualWeight":48,"mainColor":72},224229,"lao-shao-nian-zhou-wu-chang-shuo-224229","老少年轴","使用西洋红设色，一老一新两丛雁来红，构图成对角斜势，虚实相生，主体突出。此作当是吴昌硕大胆运用洋红的最佳范例之一。他把金石的古厚质朴的意趣，引用到绘画用色方面来，自然不落于平薄，更无粉脂俗艳。吴昌硕可以说是大写意花卉史上最善于用色的高手之一。这种绘画方法，对之后的海派绘画，乃至齐白石等京派绘画产生了重大影响。",[23,24,7,165,27,369,133,208,62,230,582,1955,2918],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8ca4315e839c5191b026d588d9a0432.jpg",[68,45],{"id":10359,"slug":10360,"title":10361,"dynasty":124,"author":3619,"museum":9325,"description":10362,"tags":10363,"thumbUrl":10364,"material":1223,"size":10365,"collection":136,"collections":10366,"showCount":10330,"zanCount":1105,"manualWeight":48,"mainColor":72},221947,"wan-he-zheng-liu-tu-zhou-wen-zheng-ming-221947","万壑争流图轴","图绘峡峨山势，山泉争流而下，山下溪水淙淙，坡上林木葱郁。画山用湿润的披麻破，行笔细节秀润，满纸青绿，场面壮观。\n满纸青绿设色，其法是先将浅赭色普染山石，然后留下石根之赭色，再将石绿、石青，而至墨青(花青和墨)色，薄薄地按序自下而上，分层积染。但文徵明匠心独运：其一，青绿中调和淡墨，清润幽雅，已不似以往大青绿之奇艳夺目；其二，石色薄敷，不掩墨骨，故仍是元初赵孟頫青绿设色方法的演变，无愧为文徵明晚年细笔青绿山水中的精品。",[23,24,7,165,27,29,132,99,34,131,96,495,1144,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23ec8b65dd08d53416021b6376bc9a1c.jpg","纵132.4cm，横35.2cm",[136,45],{"id":10368,"slug":10369,"title":10370,"dynasty":182,"author":3529,"museum":224,"description":10371,"tags":10372,"thumbUrl":10373,"material":611,"size":84,"collection":318,"collections":10374,"showCount":10330,"zanCount":1086,"manualWeight":48,"mainColor":72},221074,"zhao-ye-bai-han-gan-221074","照夜白","这幅画是用水墨线描完成的，描绘的是唐玄宗 喜爱的坐骑“照夜白”的形象，它被系在一木桩上，鬃毛飞起，鼻孔张大，眼睛转视，昂首嘶鸣；四啼腾骧，似欲挣脱羁绊。\n此画不仅画出马的膘肥肌健的外形，更着力表现其桀骜不驯的雄骏神采。\n用笔简练，线条纤细而道劲，渲染不多而体积感、质感颇强。\n《照夜白图》描绘了一匹骏马“照夜白”的形象。\n为了在白绢上表现这匹白色的宝马，作者在描绘马时，通过工笔重彩手法，经过巧妙构思、对比手法，选取马鼻被拴的情形，不仅可以表现出“照夜白”的桀骜不驯，在色彩处理上还可以利用马桩的深色调衬托出马的矫健造型，在手法上做减法，达到美妙的画面平衡。\n”照夜白“是唐玄宗李隆基的坐骑，图中“照夜白”系一木桩上，昂首嘶鸣，四蹄腾骧，似欲挣脱缰索。\n全画只在画面略微偏右的位置描绘了一匹骏马的形象。\n这匹骏马被拴于一根马桩之上，明显可 以从画中感受到它不甘于束缚、怒目圆睁、昂首嘶鸣，飘逸的鬃毛、耸起的耳朵和抬起的前蹄，加强了画面所要透露的紧张感。\n据考证，马的头、颈、前身为真迹，而后半身为后人补笔，马尾巴已不存。",[23,128,28,611,25,7,101,949,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2433d816005c97573b406f03f58e59ba.jpg",[318,2210],{"id":10376,"slug":10377,"title":10378,"dynasty":144,"author":1346,"museum":205,"description":10379,"tags":10380,"thumbUrl":10381,"material":3544,"size":10382,"collection":136,"collections":10383,"showCount":10330,"zanCount":1116,"manualWeight":48,"mainColor":199},220785,"cao-ting-shi-yi-tu-juan-wu-zhen-220785","草亭诗意图卷","诗塘董其昌题：“梅花道人画巨轴绝少，此幅气韻生动，布置古雅，大类巨然，非王蒙所能梦见也。董其昌藏并鉴定”。",[23,24,25,128,7,132,133,208,29,130,34,276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eae55d370e8592275f4c843d79308fa.jpg","纵23.8厘米，横277.8厘米",[136,117],{"id":10385,"slug":10386,"title":10387,"dynasty":54,"author":3820,"museum":77,"description":10388,"tags":10389,"thumbUrl":10391,"material":128,"size":10392,"collection":136,"collections":10393,"showCount":10330,"zanCount":48,"manualWeight":48,"mainColor":49},220421,"qun-feng-shi-tan-tu-gong-xian-220421","群峰石潭图","《群峰石潭图》，立轴 绫本 水墨 48X171厘米，是保利5周年春拍藏。此作是龚贤画于1686年的一件“黑龚”精品，龚贤时年68岁，其“黑龚”已超出传统山水画的笔墨形式和意境藩篱。",[23,24,7,165,128,132,29,10390,131,34,35,37,99],"群峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9487e8a4d8fa6b005da87bf28588f31.jpg","横：48厘米 纵：171厘米",[136,117],{"id":10395,"slug":10396,"title":10397,"dynasty":124,"author":2268,"museum":224,"description":10398,"tags":10399,"thumbUrl":10400,"material":611,"size":10401,"collection":136,"collections":10402,"showCount":10330,"zanCount":1998,"manualWeight":48,"mainColor":72},220347,"fang-mi-fei-shan-shui-tu-tu-juan-dong-qi-chang-220347","仿米芾山水图-图卷","此帧《仿米家云山图》是难得一见的较大尺幅的山水作品，堪称是启功山水画的代表作之一。",[24,7,25,128,132,330,29,98,99,130,34,415,7782,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b251912199235f04fa6b092ccdf07c0.jpg","25.9 x 219.1厘米",[136],{"id":10404,"slug":10405,"title":10406,"dynasty":351,"author":6787,"museum":244,"description":10407,"tags":10408,"thumbUrl":10409,"material":317,"size":10410,"collection":136,"collections":10411,"showCount":10330,"zanCount":1116,"manualWeight":48,"mainColor":49},220142,"nang-qin-huai-he-tu-ju-ran-220142","囊琴怀鹤图","中国五代南唐、北宋画家，僧人。原姓名不详，生卒年不详，早年在江宁开元寺出家，南唐降宋后，随后主李煜来到开封，居开宝寺。擅山水，师法董源，专画江南山水，所画峰峦 ，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。有《万壑松风图》、《秋山问道图》、《山居图》等传世。",[23,24,7,165,128,132,29,34,131,1023,130,499,171,666,5974,387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba08cc0f485f9545bb007aff2e4e054.jpg","169.1x101",[136],{"id":10413,"slug":10414,"title":10415,"dynasty":144,"author":8127,"museum":244,"description":10416,"tags":10417,"thumbUrl":10419,"material":173,"size":10420,"collection":68,"collections":10421,"showCount":10330,"zanCount":1998,"manualWeight":48,"mainColor":72},219136,"hua-hui-ce-ya-zhi-cao-wang-yuan-219136","花卉册-鸭跖草","淡赭绢面上，鸭跖草细叶舒展如碧带，脉络隐现于墨痕的深浅交错间。数点蓝花轻缀叶丛，似星子落于草梢，带着未散的晨露莹光。两只蜻蜓姿态各异：红身者尾尖微垂，翅脉如丝缕勾勒，似欲栖于叶上；浅色者翼薄如纱，透着朦胧光影，正振翅掠过花丛。笔墨细腻却不繁琐，草叶的柔韧、花的娇俏、蜻蜓的轻盈皆藏于线条与淡色中。画面虽小，却凝住了一瞬的生机：风过草叶的轻颤，蜻蜓振翅的微响，都在古雅的底色里漫开，似夏日闲窗下偶然瞥见的小景，清宁而动人。",[23,164,24,7,59,27,28,61,10418,608],"鸭跖草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F331c3055f4bc0f80bc6e1a1d4988a133.jpg","25.9x23.6cm",[68],{"id":10423,"slug":10424,"title":10425,"dynasty":54,"author":4468,"museum":20,"description":10426,"tags":10427,"thumbUrl":10428,"material":173,"size":10429,"collection":68,"collections":10430,"showCount":10330,"zanCount":975,"manualWeight":48,"mainColor":72},218996,"han-hu-liu-zhou-lang-shi-ning-218996","阚虎骝轴","绢本之上，骏马昂首挺立，身姿矫健如虎。毛发质感细腻入微，鬃尾似流云垂落，斑纹错落间晕染出肌肉的起伏与光影变化，尽显写实功底。线条勾勒与色彩晕染相融，既有西方绘画的立体感，又不失东方笔墨的雅致。背景素净，题跋与朱印相映成趣，添几分古雅意蕴。此作将异域技法与本土审美巧妙结合，绘就骏马的灵动神韵，亦藏跨文化艺术碰撞的妙趣。",[23,24,7,165,28,27,101,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b7e691cfea774237a293ec3b0231849.jpg","纵270横240.3厘米",[68],{"id":10432,"slug":10433,"title":8685,"dynasty":54,"author":9576,"museum":56,"description":10434,"tags":10435,"thumbUrl":10436,"material":173,"size":84,"collection":44,"collections":10437,"showCount":10330,"zanCount":48,"manualWeight":48,"mainColor":49},218250,"ying-xi-tu-luo-pin-218250","孩子们被描绘成在一棵树下以不同的姿势玩耍，有非常不同的、诙谐的行为。",[24,7,27,28,96,2218,413,276,98,249,6640,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe10da7efee8c25f6e93f8c2460e80de8.jpg",[44],{"id":10439,"slug":10440,"title":10441,"dynasty":54,"author":1504,"museum":300,"description":10442,"tags":10443,"thumbUrl":10444,"material":692,"size":1293,"collection":84,"collections":10445,"showCount":10446,"zanCount":1116,"manualWeight":48,"mainColor":199},288210,"feng-zhu-shi-tu-zheng-ban-qiao-288210","风竹石图","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。",[23,164,24,7,165,128,167,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b7bb909262c02f666ff04467c2a9a96.jpg",[],131,{"id":10448,"slug":10449,"title":10450,"dynasty":54,"author":3718,"museum":20,"description":10451,"tags":10452,"thumbUrl":10453,"material":84,"size":84,"collection":136,"collections":10454,"showCount":10446,"zanCount":1998,"manualWeight":48,"mainColor":72},236894,"hong-ren-shan-shui-zhou-hong-ren-236894","弘仁山水轴","弘仁俗姓江，名韬，字六奇，出家后名后人，号渐江学人，又号无智、梅花古衲，安徽歙县人。作品多师法自然，清新，能传达山川之美。此图意境伟峻秀逸，构图洗炼简逸，笔墨苍劲整洁。",[164,24,7,165,128,132,29,372,130,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f501a6cdbd204a645da4011e2ce7088.jpg",[136,117],{"id":10456,"slug":10457,"title":10458,"dynasty":54,"author":4468,"museum":20,"description":10459,"tags":10460,"thumbUrl":10461,"material":40,"size":10462,"collection":136,"collections":10463,"showCount":10446,"zanCount":1998,"manualWeight":48,"mainColor":72},236176,"qian-long-huang-di-ci-hu-tu-lang-shi-ning-236176","乾隆皇帝刺虎图","本图绘30余岁的乾隆皇帝与侍卫手握长戟，跨步向前欲刺猛虎的场面。作者运用对比的艺术手法，通过表现猛虎在乾隆皇帝的威逼下，止步不前的受惊情景，衬托出乾隆皇帝临危不惧的帝王之气。在形象上，作者为了烘托乾隆皇帝的高大，将本是兽中之王的猛虎，画得既小又弱，全然一副虎落平阳被犬欺的可怜之相。全图笔法细腻，准确地描绘出不同身份的人物所具有的不同举止及表情。从笔法上分析，画面上虽然无作者款印，但乾隆皇帝画像当为擅长写真的郎世宁所绘，虎及树木、山石等出自中国宫廷画家之手。\n作为游牧民族出身的满族皇室，乾隆皇帝从12岁开始便随祖父康熙皇帝前往热河、南苑打猎。继帝位后，骑马射箭更是成为其宫廷生活中最重要的一部分，对此，乾隆皇帝谕令宫廷画家创作了大批表现其行猎瞬间的作品，以为纪念。通过这些作品可见飞禽走兽尽在其巡狩之列。",[304,24,164,7,27,28,96,29,101,5490,949,1144,1337,497,3269],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f287578983583f550284907240b486.jpg","纵258.5厘米，横171.9厘米",[136,45],{"id":10465,"slug":10466,"title":10467,"dynasty":54,"author":1460,"museum":300,"description":10468,"tags":10469,"thumbUrl":10470,"material":84,"size":84,"collection":84,"collections":10471,"showCount":10446,"zanCount":48,"manualWeight":48,"mainColor":72},228999,"zeng-liu-shi-tou-shan-shui-ce-shi-tao-228999","赠刘石头山水册","石涛（1642-177），明靖江王朱赞仪十世孙，朱亨嘉子。\n全州（今广西全县）人。\n原姓朱，名若极，小字阿长，明亡后出家为僧，自称苦瓜和尚，别号有大涤子、清湘遗人、清湘陈人、靖江后人、清湘老人，晚号瞎尊者、零丁老人等。\n顺治十三年（1656），石涛由江西庐山转赴安徽黄山，并在那里住了二十三年。\n期间他又先后游历扬州、杭州、宣城、贵池、泾县等处，后由黄山转赴南京、北京等地。\n【规格】册页，纸本，设色，纵57.79cm，横5.56cm 【馆藏】（美）纳尔逊-艾特金斯艺术馆馆 书画名传品类高，先生高出众皮毛。\n老夫也在皮毛类，一笑题成迅彩毫。\n大涤子呈石头先生传教。\n康熙三十二年（169）至扬州，直到雍正二年（1724）去世。\n石涛在山水、花鸟画上均取得很大成就，能熔铸千古，独出手眼，构图奇妙，笔墨神化。\n画山水一欲夺其造化，则莫神于好，莫精于勤，莫大于饱游天看，历历罗列于胸中，故勤于貌写名山大川，所谓搜尽奇峰打草稿，充分把握住自然的神韵，终成一代大师。",[164,24,7,59,128,132,29,171,331,130,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F549054364d68f4bbcf0732c4d69324e7.jpg",[],{"id":10473,"slug":10474,"title":10475,"dynasty":18,"author":223,"museum":300,"description":10476,"tags":10477,"thumbUrl":10478,"material":84,"size":84,"collection":84,"collections":10479,"showCount":10446,"zanCount":48,"manualWeight":48,"mainColor":72},227856,"shan-cha-hu-die-tu-ye-yi-ming-227856","山茶蝴蝶图页","以没骨晕染绘就白茶，瓣色柔润留白如凝脂莹洁，盛放与初绽花苞错落排布。浓墨绘叶，晕染出深浅枯润，将叶片舒展的柔劲姿态尽显。墨笔勾绘蝴蝶，翼上纹理纤毫毕现，振翅欲落的灵动，为静雅花枝添了鲜活意趣。\n\n赭色古雅底色衬得花木蝶影愈发清隽，构图疏朗秀逸。画面工致间带着写意韵致，将晴日山茶间的悠然小景定格，带着宋人的清雅审美，把一花一蝶的幽微之美晕染出隽永诗意，观之便好似踏入春日晴光，细品蝶绕山茶的闲静意趣。",[164,24,7,1131,28,27,61,649,481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f81ba4e7647a8fb90303638a82667e5.jpg",[],{"id":10481,"slug":10482,"title":10483,"dynasty":351,"author":1833,"museum":244,"description":10484,"tags":10485,"thumbUrl":10486,"material":151,"size":84,"collection":84,"collections":10487,"showCount":10446,"zanCount":1998,"manualWeight":48,"mainColor":49},226543,"liang-kuang-lu-tu-zhou-jing-hao-226543","梁匡庐图轴","五代的隐逸画家荆浩是水墨山水画演变的关键人物，他将唐代吴道子的笔描与项容的泼墨技法结合，扩展笔墨描写山水的能力。荆浩的画风后来由关仝、李成和范宽继承，演变成永恒不朽的巨碑式山水。《匡庐图》是一幅仿古作品，保留五代山水的特征，但是结合了北宋宫廷画院的风格，再现与隐逸主题相关的山水形象，向荆浩这位雄伟风格山水之父致敬。",[164,24,7,165,128,132,29,496,495,34,499,497,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39a19f97daa491bb204eb9d64ccb256d.jpg",[],{"id":10489,"slug":10490,"title":10491,"dynasty":18,"author":633,"museum":56,"description":10492,"tags":10493,"thumbUrl":10494,"material":317,"size":10495,"collection":44,"collections":10496,"showCount":10446,"zanCount":1998,"manualWeight":48,"mainColor":49},219960,"yu-cun-gui-diao-tu-xia-gui-219960","渔村归钓图","这幅画作以边角截景取景，空灵留白间晕开幽寂江村暮色。古松虬曲倒挂，浓淡墨色区分枯荣枝叶，苍劲中带着柔姿，斜斜探向崖下茅舍，隐见烟火野趣。下方板桥横于浅渚，孤渔垂竿徐行，晚归的闲散诗意随晚风漫开。山石以斧劈皴利落皴擦，硬朗线条衬出水畔崖岸的清峭冷寂。整幅落笔极简，以少胜多，将江南渔村的宁谧晚景藏在简淡笔墨中，寥寥数笔便勾勒出悠远清寂的意境，把山水雅趣融在边角留白里，清淡悠远，余韵悠长。",[23,24,164,7,1131,128,132,29,1351,98,99,129,1350,96,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa21f05a4516126b98b351e062b2bf0.jpg","23×22.3cm",[44],{"id":10498,"slug":10499,"title":1230,"dynasty":54,"author":3718,"museum":2665,"description":10500,"tags":10501,"thumbUrl":10502,"material":278,"size":84,"collection":136,"collections":10503,"showCount":10446,"zanCount":48,"manualWeight":48,"mainColor":72},219900,"shan-shui-tu-hong-ren-219900","弘仁（1610—1663年），俗姓江，名韬，字六奇，出家后释名弘仁，号渐江学人，又号无智、梅花古衲，安徽歙县人。明亡后入武夷山为僧，云游各地后回歙县，住西郊太平兴国寺和五明寺，常往来于黄山、白岳之间。善画山水，早年从学于孙无修，中年师萧云从。其画取法元代倪瓒、黄公望，构图洗练简逸，笔墨苍劲整洁，善用折带皴和干笔渴墨。他重视师法自然，善画黄山、武夷山诸景，传达山川之美，意境伟峻秀逸，“得黄山之真性情”，与石涛、梅清同成为“黄山画派”的代表人物。在安徽与查士标、孙逸、汪之瑞并称“海阳四家”，形成“新安派”。同时，与石涛、八大、髡残合称“清初四僧”。",[23,24,7,165,128,132,29,130,1144,131,387,34,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F643c9cf138484b785236419257db6754.jpg",[136],{"id":10505,"slug":10506,"title":10507,"dynasty":124,"author":204,"museum":450,"description":10508,"tags":10509,"thumbUrl":10511,"material":173,"size":10512,"collection":44,"collections":10513,"showCount":10446,"zanCount":1998,"manualWeight":48,"mainColor":49},219528,"yu-yin-tu-chou-ying-219528","渔隐图","画作以沉郁古绢为底，青绿晕染烟峦，远景山影空濛朦胧，墨色揉合石青，消弭了峰岩棱角，只剩淡宕的山野烟岚。近岸古木虬枝偃蹇，攒簇的枝叶以青绿点染，带着苍润生机。浅滩石矶错落，一脉细流澹澹而过，茅舍静立渚边，素墙茅顶融在水木之间，不见渔者身影，却满是幽寂萧散的渔居意趣。\n全画笔简意足，将寄情丘壑、归卧林泉的隐逸之思，藏进这烟峦水木之中，古旧绢色衬得青绿愈见沉静，尽显山野幽居的澹泊自在。",[23,24,7,164,28,27,26,29,34,10510,99,171,1351,165],"渔舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F977cfda0f3539f45458255d68c97e3b4.jpg","纵137.5横67.8厘米",[44,45],{"id":10515,"slug":10516,"title":10517,"dynasty":54,"author":1472,"museum":244,"description":10518,"tags":10519,"thumbUrl":10520,"material":27,"size":10521,"collection":68,"collections":10522,"showCount":10446,"zanCount":1998,"manualWeight":48,"mainColor":72},219435,"shu-kui-shi-liu-zhou-zou-yi-gui-219435","蜀葵石榴轴","画面中蜀葵藤蔓舒展，淡紫花瓣层叠晕染，花蕊明黄点缀其间，叶片脉络清晰如缕，尽显工笔之细腻。旁侧石榴花枝虬劲，红橙花朵簇生，与蜀葵的柔婉形成鲜明对比，红绿相映间生机勃发。笔墨温婉雅致，设色清丽明快，枝叶的交错、花瓣的肌理皆刻画入微，既保留了自然野趣，又蕴含规整韵致。题跋与朱印错落有致，文气与画意交融，似将夏日的绚烂与清雅凝于一纸，观之如沐和风，满溢生机与雅致。",[24,7,165,27,28,61,4018,2035,549,1039,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5048cc1dc3f6fc3cf98be5ce658aca31.jpg","83.4x44.6",[68],{"id":10524,"slug":10525,"title":10526,"dynasty":18,"author":2032,"museum":244,"description":10527,"tags":10528,"thumbUrl":10529,"material":173,"size":10530,"collection":42,"collections":10531,"showCount":10446,"zanCount":1998,"manualWeight":48,"mainColor":49},219278,"chun-shao-ming-xi-tu-lu-zong-gui-219278","春韶鸣喜图","此幅画春日山涧情景，石壁间激泉如响，巉巖上翠竹流青，梅竞妍，山雀鸣唱，野雉偎嬉，构思造境，描染俱佳，乃岁朝张挂之图画。本幅画石，皴法用笔直泻而不含蓄，且水墨淋漓，显非南宋人画法，而是明人学宋代之浙派风格。树干皴纹，也如同边文进、吕纪一系之用笔，花鸟施朱用粉，更近于吕纪风格，该院另藏有宋人”岁朝图“，构图同出一稿，树石画法更近于明人风格。",[23,24,164,7,165,28,27,61,371,649,355,131,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa28e1b378998f3d4ce72f6c73aec9810.jpg","164x77.9公分",[42,68,45],{"id":10533,"slug":10534,"title":10535,"dynasty":351,"author":10536,"museum":300,"description":10537,"tags":10538,"thumbUrl":10540,"material":692,"size":1293,"collection":84,"collections":10541,"showCount":10542,"zanCount":48,"manualWeight":48,"mainColor":49},288521,"gao-shi-tu-wei-xian-288521","高士图","卫贤","该画作是五代画家卫贤的代表作品，此图原著收录于《宣和画谱》中，名为“梁伯鸾图一”，为卫贤所作《高士图》组画之一, 原图共六幅，画有黔娄先生、楚狂接舆、老莱子、王仲孺、于陵子和梁伯鸾，但前五幅已佚失，仅剩下描绘梁鸿与孟光的这幅。该画作集山水、人物、建筑画为一体，手法准确精细。",[23,164,24,7,165,95,128,96,29,97,497,34,10539],"高士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f627c639ff7d85295cabc0114452119.jpg",[],130,{"id":10544,"slug":10545,"title":10546,"dynasty":54,"author":872,"museum":2594,"description":10547,"tags":10548,"thumbUrl":10549,"material":611,"size":10550,"collection":68,"collections":10551,"showCount":10542,"zanCount":48,"manualWeight":48,"mainColor":72},237347,"song-lu-tu-zhou-zhu-da-237347","松鹿图轴","此画是清代朱耷的作品。这幅画采取近实远虚的枝法，前后错落有序，笔力遒劲，墨色秀润，情景生动，意境深远。该作不仅画精，而且图面之大在八大山人传世作品中极为罕见。\n左上方落款“八大山人”，下钤有朱色阴文印”八大山人”，阳文印“各园”各一枚。这幅画描绘的是一株高耸粗壮的苍松，挺立在嶙峋的岩石上。松石下，两只向背的鹿在山石草坪之中小憩，一只长着角的鹿望着远方；另一只则侧身仰望天空。围着草坪的山石上，长着兰草、灵芝、小竹笔花草植物。",[24,7,165,128,188,372,2302,949,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8802766b2acbede1ed647fec5abad86.jpg","纵358厘米，横133.3厘米",[68],{"id":10553,"slug":10554,"title":892,"dynasty":54,"author":55,"museum":300,"description":893,"tags":10555,"thumbUrl":10556,"material":84,"size":84,"collection":84,"collections":10557,"showCount":10542,"zanCount":48,"manualWeight":48,"mainColor":72},233909,"hua-hui-shan-shui-ce-yun-shou-ping-233909",[24,7,59,27,60,62,171,1771,276,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6174e80dbb9482ece91dbfbb01b8787f.jpg",[],{"id":10559,"slug":10560,"title":10561,"dynasty":124,"author":223,"museum":244,"description":10562,"tags":10563,"thumbUrl":10564,"material":637,"size":10565,"collection":84,"collections":10566,"showCount":10542,"zanCount":11,"manualWeight":48,"mainColor":72},223648,"guan-yin-xiang-zhou-yi-ming-223648","观音像轴","这尊观音的世俗色彩浓厚，他眼睛散放著悲愍的光芒，好像一位慈祥的母亲。他的脸形、发丝、手脚都用淡墨细笔画成，笔力稳健。可是衣纹则是用楷书抄录《法华经．普门品》的经文来表现，全文从观音菩萨左臂靠近孩童的头部开始，字字连续，字迹端秀，一丝不苟，充分表现了作者虔诚的宗教情怀。\n送子观音手抱孩童，右手拿杨柳，左手捧水碗。《法华经．普门品》教导求子心切的妇女礼拜供养观世音菩萨，便能生下福德智慧的男子，或是面貌端庄的女子。画中观音衣纹以楷书抄录经文近两千字，由观音左臂靠近孩童头部开始，字字连续秀整，反映虔诚宗教情怀。 观音及孩童面目、手脚以淡墨细笔勾勒，由人物开面、体态、发髻样式及回首姿态，该幅观音当为晚明作品。",[23,164,24,7,165,187,28,27,96,1364,805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8336ee8a1cdacdeb0cfb8d89211b8fc.jpg","98.1x35.6公分",[],{"id":10568,"slug":10569,"title":10570,"dynasty":18,"author":2141,"museum":244,"description":10571,"tags":10572,"thumbUrl":10573,"material":27,"size":10574,"collection":42,"collections":10575,"showCount":10542,"zanCount":48,"manualWeight":48,"mainColor":49},221554,"xi-yuan-ya-ji-juan-liu-song-nian-221554","西园雅集卷","宋刘松年西园雅集卷绘宋代雅士高僧苏轼、黄庭坚、米芾、圆通大师等盛会于王诜西园。十六人分四组：王诜、蔡肇和李之仪围观苏轼写书法；秦观听陈景元弹阮；王钦臣观米芾题石；苏辙、黄庭坚、晁补之、张耒、郑靖老观李公麟画陶潜归去来图；刘泾与圆通大师谈无生论。西园雅集世传多个版本。",[23,164,24,7,25,28,27,96,34,131,875,2145,249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb00b965e299d9c4feb3a56ffa3172034.jpg","34×191cm",[42,44,45],{"id":10577,"slug":10578,"title":10579,"dynasty":18,"author":1449,"museum":510,"description":10580,"tags":10581,"thumbUrl":10583,"material":514,"size":10584,"collection":42,"collections":10585,"showCount":10542,"zanCount":1086,"manualWeight":48,"mainColor":49},221188,"he-xiang-qing-xia-quan-juan-ma-lin-221188","荷香清夏全卷","图中描绘了一平湖柳堤、荷香清夏的山水景物。\n画中以宽阔的湖面为主体，林中云雾萦绕，茅庵空落。\n左岸上乱石嶙峋，柳荫蔽日，树上群鸟翔集。\n在广阔的湖面上，微波轻荡，碧叶莲莲。\n湖的对岸，远山逶迤，柳林如烟，小桥曲折，云雾飘动如练。\n画中构景，平远开阔，布置简洁。\n画中笔法细秀，描物具体，尤其柳树变化多姿，树叶丝丝勾出，又如烟动。\n其用墨以淡为宗，又浓淡相间，着色亦淡雅，更加烘托出了其境界的祥和安静。",[23,164,24,7,25,27,28,132,29,4363,98,1743,96,31,10582,7462,109,34],"岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F388ee26ac7add4d84507f634c3f23b85.jpg","纵41.7、横323厘米",[42,136,45],{"id":10587,"slug":10588,"title":10589,"dynasty":18,"author":223,"museum":2542,"description":10590,"tags":10591,"thumbUrl":10592,"material":173,"size":84,"collection":44,"collections":10593,"showCount":10542,"zanCount":1998,"manualWeight":48,"mainColor":49},219575,"zhu-lin-shi-nv-tu-yi-ming-219575","竹林仕女图","画面晕染出幽谧清寂的林下氛围，修竹扶苏、虬枝横斜，苍苔覆着湖石，漫溢出山野闲静之气。白衣仕女款步而立，素裙曳地，怀拥器物，眉目温婉沉静，似在静听林风穿叶，将闺中闲思融于林泉烟霭之中。\n\n用笔细劲清润，设色浅淡古雅，虚实相生间将留白藏进幽独娴静的意韵里，不见丝毫喧嚣。把仕女的温婉闲情与林泉野趣糅合一处，尽显雅致内敛的东方意趣，寥寥尺幅间，澹澹诗意漫溢开来。",[164,24,7,28,27,96,166,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11033c937ae94ae2e0cc9b0a16169bd3.jpg",[44],{"id":10595,"slug":10596,"title":10597,"dynasty":124,"author":1141,"museum":244,"description":10598,"tags":10599,"thumbUrl":10600,"material":278,"size":10601,"collection":117,"collections":10602,"showCount":10542,"zanCount":48,"manualWeight":48,"mainColor":72},219519,"qin-he-tu-wen-zheng-ming-219519","琴鹤图","水墨晕染出淡远山居，苍松茂林环合小院。堂前二人对坐，似正横琴晤谈，院外童子携鹤缓步而来，将林泉雅趣揉进日常闲情里。\n\n笔致秀润温婉，枝叶晕染细腻，远山轻笼烟岚，留白里漾着闲澹松弛的意趣。题诗朱印与画面相融，把文人幽居自适、琴鹤相伴的林下风流，藏进每一缕墨色之中，淡而不寡，静中藏雅，尽显江南文人心底的归栖之乐。",[24,7,27,28,64,133,208,96,34,131,722,4947,387,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0b62691d86abcd60a7be2a267ff0873.jpg","63.4x29.2",[117],{"id":10604,"slug":10605,"title":4229,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":10606,"thumbUrl":10607,"material":692,"size":1293,"collection":84,"collections":10608,"showCount":10609,"zanCount":48,"manualWeight":48,"mainColor":72},239437,"hua-niao-ce-yun-shou-ping-239437",[24,7,59,27,60,61,2059,303,5004],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea37733e86b90f083dc9a91eca90815.jpg",[],129,{"id":10611,"slug":10612,"title":10613,"dynasty":54,"author":1460,"museum":300,"description":10614,"tags":10615,"thumbUrl":10616,"material":84,"size":84,"collection":136,"collections":10617,"showCount":10609,"zanCount":1998,"manualWeight":48,"mainColor":72},235878,"yuan-ji-shan-shui-tu-ce-shi-tao-235878","原济山水图册","这一开诗画合璧，行书题诗笔力苍劲清隽，墨色朗润，将山居幽寂的诗意先行铺展。画面以淡墨晕染烟岚，山峦在雨意濛濛间晕化开朦胧轮廓，留白衬出空濛水汽。几椽山居隐在深林浅坳间，伴着茂树流泉，朴拙静雅。\n\n石涛以灵动写意的笔墨，把诗中霁后溪山的萧散意境全然绘出，简淡笔墨裹着秀润的江南意趣，诗画相映，恍若能听见古寺钟鸣随云霭漫过山峦，将文人画诗禅合一的意韵抒发尽致，带人踏入这世外幽居。",[24,7,59,128,27,132,64,208,29,34,35,131,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99ca5c119bb37305c4db3d52e47af545.jpg",[136],{"id":10619,"slug":10620,"title":10621,"dynasty":18,"author":10622,"museum":300,"description":10623,"tags":10624,"thumbUrl":10626,"material":84,"size":84,"collection":84,"collections":10627,"showCount":10609,"zanCount":1116,"manualWeight":48,"mainColor":49},227763,"xing-tao-zhi-cui-niao-tu-li-zhi-227763","杏（桃）枝翠鸟图","李志","仲夏时节，古人会用新收获的樱桃祭献宗庙。东汉时，有将樱桃赏赐给官员的礼制。\n\n唐代时，皇帝大摆宴席，邀请重臣体验采摘樱桃之乐，吃饱喝足后，再赠点儿樱桃给众臣，已成为一种宫廷传统。",[164,24,7,18,28,27,61,10625,8865,6603,2918],"桃枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84468418d02fa7f462bcd1b1fe5fc83a.jpg",[],{"id":10629,"slug":10630,"title":10631,"dynasty":124,"author":10632,"museum":20,"description":10633,"tags":10634,"thumbUrl":10636,"material":10637,"size":10638,"collection":68,"collections":10639,"showCount":10609,"zanCount":1998,"manualWeight":48,"mainColor":49},222447,"guan-mu-ji-qin-tu-juan-lin-liang-222447","灌木集禽图卷","林良","林良以画花鸟著称，主体多属富野逸之趣的禽鸟，如苍鹰、芦雁、寒鸦、麻雀、锦鸡、喜鹊等，也喜绘群鸟聚集景象，品类众多，情态各异，极富自然天趣。这幅长卷即为集禽图巨构。\n面画开道为三只麻雀，正展翅飞向丛林，迎面枝头有翠鸟、黄鹂啁啾，似示欢迎。步入林丛枝杈交错，白头翁在枝头成双鸣叫，山喜鹊与山鹧引颈对唱，小山雀则静歇枝上。密林深处展现阔叶灌木和粗劲竹丛，有寒鸦、鹡鸰、麻雀、白头翁、鹌鹑等，成双结对地和鸣、嬉玩，追逐其间。接着斜出几株老松，针叶茂密，成群斑鸠在此活动，一派家族欢聚气氛，然松林深处却有一只苍鹰在窥视，于平和中增添了一分杀气。结尾是荻岸水滨，一对鸬鹚在水面觅食，两只乌鸦涉水行进，另有翠鸟飞栖苇丛间，境界又变为空阔悠闲。\n作品布局采用平面散点的结构手法，移步换形，层层展开，疏密相间，动静结合。禽鸟动态逼真，情状各异，枝叶纵横交错，杂而不乱。古木老树、枯枝落叶已显现出萧索秋意，然群鸟骚动不拘的活泼天性，却使丛林依然充满蓬勃生机。\n此图画法以水墨为主，略施淡彩。禽鸟勾染相间，工写结合，洗练准确，笔简神完。灌木丛林用写意法，然也放而有度，不离规矩。全幅气势宏阔，景象万千，为林良存世的精品巨制。",[23,164,24,7,25,128,369,61,10635,1400,211,624],"灌木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba587401db7e2d99d630e876f2bb9c0b.jpg","纸本，淡设色","纵34厘米，横1211.2厘米",[68,117],{"id":10641,"slug":10642,"title":10643,"dynasty":980,"author":3539,"museum":3540,"description":10644,"tags":10645,"thumbUrl":10646,"material":84,"size":84,"collection":84,"collections":10647,"showCount":10609,"zanCount":48,"manualWeight":48,"mainColor":72},220569,"ben-ma-chang-sha-hui-zhan-xu-bei-hong-220569","奔马 (长沙会战)","以酣畅泼墨晕染出马的雄健躯体，留白巧绘额间白羽，浓淡干湿尽显水墨意趣。鬃尾如疾风卷舒，似裹挟破空罡风，四蹄舒张带着雷霆之势，将奔马勃发的劲力定格于纸面。\n右侧题字寄寓滚烫热忱，将匹夫之勇揉作家国担当，让战马的骁勇与民族气节相融。跃然纸上的不止是灵动骏马，更是山河飘摇里的不屈意志，笔墨间藏着赤子滚烫的热血，把救亡图存的呐喊凝于笔端，化作这匹奔马一往无前的身影。",[23,24,7,128,369,101,165,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f32ea37393a260fa91ca3652fb06b5a.jpg",[],{"id":10649,"slug":10650,"title":10651,"dynasty":351,"author":4456,"museum":244,"description":10652,"tags":10653,"thumbUrl":10655,"material":173,"size":10656,"collection":44,"collections":10657,"showCount":10609,"zanCount":1116,"manualWeight":48,"mainColor":72},218751,"shui-xie-kan-fu-tu-zhou-wen-ju-218751","水榭看凫图","亭子的窗户敞开，帘子高高卷起，内部装饰着水波纹的座屏，座屏的边缘是红色的悬卷金花，这是宋代的一种时尚。两张方凳并排放置，凳子是用棕色藤条编织的，脚是如意形状。另一边是一张单剖面和双剖面的方桌，上面覆盖着白色披肩，摆放着金铜香炉和书籍。湖中有鸭子和海凫相互嬉戏，自然景观丰富。水榭旁有桃花、竹子和柳树等植物，还有一个覆盖着河边花草树木的私人大厅和亭子。露台的边上是水边的栏杆，女士从那里惊讶地看着这一幕。",[23,24,7,27,28,95,96,166,10654,130,34,10011,99,249],"水榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6128558cce10db8152fce876cb20fb95.jpg","24.5x26.7厘米",[44],{"id":10659,"slug":10660,"title":10661,"dynasty":182,"author":10662,"museum":244,"description":10663,"tags":10664,"thumbUrl":10665,"material":173,"size":10666,"collection":44,"collections":10667,"showCount":10609,"zanCount":1116,"manualWeight":48,"mainColor":49},218614,"hu-guo-tian-wang-xiang-yu-chi-yi-seng-218614","护国天王像","尉迟乙僧","本幅画手托宝塔的托塔天王，即世所谓之北方天王，为盛唐以后极受尊奉的佛像之一，其旁环侍之人物造型已为佛道相参之势。原谓尉僧乙僧所画，然细审其笔墨，应属明人风格。",[164,24,7,165,187,27,96,28,208,1692,438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefc1080a34fa72ca4f6198a683dc47ce.jpg","109x39.2cm",[44],{"id":10669,"slug":10670,"title":10671,"dynasty":54,"author":3403,"museum":146,"description":10672,"tags":10673,"thumbUrl":10674,"material":611,"size":10675,"collection":84,"collections":10676,"showCount":10677,"zanCount":1116,"manualWeight":48,"mainColor":72},233715,"wu-jun-qing-hu-lu-tu-zhou-wu-chang-shuo-233715","吴俊卿葫芦图轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 [3] 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,7,165,128,27,61,6855,548,549,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17603647a577c42d97a3140c92da1110.jpg","纵163.4cm,横47.5cm",[],128,{"id":10679,"slug":10680,"title":10681,"dynasty":351,"author":352,"museum":300,"description":10682,"tags":10683,"thumbUrl":10684,"material":84,"size":84,"collection":84,"collections":10685,"showCount":10677,"zanCount":1086,"manualWeight":48,"mainColor":49},228764,"jin-hui-dui-tu-xu-xi-228764","锦灰堆图","此作以散落折枝、蔬果翎羽、虫草顽石攒合成卷，不假刻意经营却浑然谐和。笔底写生工致入微，设色清润古雅，将四时风物杂糅一堂，野卉柔叶、鲜菌佳果皆含生趣，蛱蝶蜻蜓穿梭其间，野逸灵动，尽显江南画派的淡冶生机。\n\n画间题跋盛赞其写生神妙，兼具宋人的写实工致与元人的简逸意趣，寻常野趣被点染成清雅可观的长卷，淡墨轻色间铺陈出闲散雅致的文人意韵，是草虫蔬果写生的绝佳范本。",[23,24,7,25,27,28,61,481,608,806,4278,624,2037,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde61754fc4a7f484e9027edfa11300a3.jpg",[],{"id":10687,"slug":10688,"title":10689,"dynasty":18,"author":1449,"museum":224,"description":10690,"tags":10691,"thumbUrl":10692,"material":514,"size":10693,"collection":42,"collections":10694,"showCount":10677,"zanCount":1116,"manualWeight":48,"mainColor":49},221670,"shi-liu-la-zui-tu-ma-lin-221670","石榴蜡嘴图","马麟是马远之子，生卒年不详。马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。此《石榴蜡嘴》图页传为马麟所作，但据考，未确认。",[23,164,24,7,28,27,61,2035,355,2438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b7383521319c32631aeca0f4aaf74fe.jpg","纵27.3厘米，横27.3厘米",[42,68,45],{"id":10696,"slug":10697,"title":10698,"dynasty":54,"author":55,"museum":20,"description":10699,"tags":10700,"thumbUrl":10702,"material":734,"size":10703,"collection":117,"collections":10704,"showCount":10677,"zanCount":1998,"manualWeight":48,"mainColor":72},220981,"song-zhu-tu-yun-shou-ping-220981","松竹图","《松竹图》轴，本幅右上自题五绝一首并款署：“徒倚白云外，盘桓陶径深。\n相看惟石友，同有岁寒心。\n瓯香馆制，白云溪外史寿平。\n此图所绘松、竹、石是文人画家惯写的题材。\n因恽氏晚年自号“白云溪外史”，题画诗中首句“徒倚白云外”当为实写。\n“盘桓陶径深”出自陶渊明《归去来辞》，表达了作者拟学陶渊明而归隐白云溪之意。\n所绘松竹苍劲秀丽，画面所呈现出的明洁秀逸正是画家晚居时悠然淡逸心境的写照。",[23,24,7,165,128,27,372,167,10701,132],"怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac69767522d422b20ffb0fe1c00fbcf.jpg","纵135.8cm，横61.3cm",[117,1670],{"id":10706,"slug":10707,"title":10708,"dynasty":124,"author":2268,"museum":244,"description":10709,"tags":10710,"thumbUrl":10711,"material":173,"size":10712,"collection":136,"collections":10713,"showCount":10677,"zanCount":48,"manualWeight":48,"mainColor":72},219393,"shuang-lin-qiu-si-tu-dong-qi-chang-219393","霜林秋思图","此画近景崎岖不平的山石，其中有的山石较陡与中景的山石相粘接，近景的山石间有几棵树木，有的树干粗壮挺拔，有的枝干弯扭，但其枝叶茂密，大树下和山腰间有两间茅屋座落其间。中景的山石与远景的山石一样浓重；那片决定中、远景的距离感的白色炯云，上连霄汉，下通江湖，犹如“一炬之光，通体皆灵”。",[24,7,128,27,132,29,331,1233,130,99,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ddfad59a355bdb3593c2a6418d9735.jpg","纵130.2厘米，横63.5厘米",[136],{"id":10715,"slug":10716,"title":10717,"dynasty":124,"author":204,"museum":244,"description":10718,"tags":10719,"thumbUrl":10720,"material":173,"size":10721,"collection":44,"collections":10722,"showCount":10677,"zanCount":1086,"manualWeight":48,"mainColor":49},218532,"guan-bang-tu-chou-ying-218532","观榜图","明清时代之考试主要分三级，初级为院试，及格者通称生员，亦称秀才。二级为乡试，中者为举人，榜首称解元。最高一级为会试，举人均可参加，中者称贡士，榜首称会元。贡士得入殿廷由皇帝面试，殿试成绩最高者为状元，次名称榜眼，三名称探花。画中观榜人潮汹涌，高中者兴奋地登马而去，落榜首，则满脸沮丧，由人搀扶，颓然而返。",[23,24,7,25,28,27,95,96,97,98,34,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffee18be5368280214a5e995327e5a302.jpg","34.4x638",[44],{"id":10724,"slug":10725,"title":10726,"dynasty":54,"author":1460,"museum":1941,"description":2727,"tags":10727,"thumbUrl":10728,"material":66,"size":84,"collection":68,"collections":10729,"showCount":10677,"zanCount":48,"manualWeight":48,"mainColor":72},218129,"mu-dan-chun-tu-shi-tao-218129","牡丹春图",[23,24,7,128,27,61,263,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54421eb9c1a00afe897aab682510aa31.jpg",[68],{"id":10731,"slug":10732,"title":10733,"dynasty":124,"author":10734,"museum":77,"description":10735,"tags":10736,"thumbUrl":10737,"material":173,"size":84,"collection":68,"collections":10738,"showCount":10677,"zanCount":1116,"manualWeight":48,"mainColor":956},216957,"hua-die-tu-jiang-bo-chuan-216957","花蝶图","江伯川","花蝶图 是一幅江伯川所作的画作，出自明朝时期（1368-1644年）。江伯川是一位著名的中国画家，他的作品风格独特，富有表现力，为明朝画风做出了巨大贡献。\n\n花蝶图是一幅典型的明朝山水画，画中绘制了一片美丽的花园，空气中弥漫着花香。画面中的花蝶翩翩起舞，为整幅画增添了活力和热情。这幅画中使用了鲜艳的色彩，搭配精细的线条勾勒出了花朵、蝴蝶、树木等景物的细节，让人看起来十分美妙。",[24,7,164,165,28,27,61,547,9392,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfa424ceb845aca879a2e4daa3861c09.jpg",[68],{"id":10740,"slug":10741,"title":10742,"dynasty":54,"author":223,"museum":300,"description":10743,"tags":10744,"thumbUrl":10745,"material":692,"size":1293,"collection":68,"collections":10746,"showCount":10747,"zanCount":1116,"manualWeight":48,"mainColor":72},238919,"qing-ren-mu-dan-pu-ce-yi-ming-238919","清人牡丹谱册","此作以设色小笔写牡丹，花瓣水红晕染，由尖至根渐次浅淡，柔瓣舒展层叠，将初绽盛放的娇妍之态尽显无余。浓黄点染花蕊，醒目鲜活，仿若能引蜂蝶驻足。叶片以墨骨打底，敷石绿再晕赭色叶边，既有鲜嫩生机，又带着清润古雅的质感，苍劲朴拙的简笔枝干暗藏风骨。\n\n画面留白空灵雅致，仅取一花数枝，便将牡丹的华贵温婉凝于尺幅，将写实写生与写意抒情相融，尽显古典花鸟画清隽静雅的文人意趣，淡冶宜人，意韵悠长。",[24,7,59,27,28,61,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa2cc58af73fe9e9ebcec8d4b817842b.jpg",[68,45],127,{"id":10749,"slug":10750,"title":10751,"dynasty":54,"author":3403,"museum":300,"description":3997,"tags":10752,"thumbUrl":10753,"material":1223,"size":5782,"collection":68,"collections":10754,"showCount":10747,"zanCount":48,"manualWeight":48,"mainColor":4001},224222,"zhao-ri-hong-he-2-wu-chang-shuo-224222","朝日红荷2",[23,24,7,165,369,128,27,61,263,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ee70d82dd0fb7821970c9c33faebe94.jpg",[68,45],{"id":10756,"slug":10757,"title":10758,"dynasty":144,"author":569,"museum":20,"description":10759,"tags":10760,"thumbUrl":10764,"material":173,"size":10765,"collection":44,"collections":10766,"showCount":10747,"zanCount":1105,"manualWeight":48,"mainColor":72},218772,"tian-ma-tu-bing-shu-ge-juan-zhao-meng-fu-218772","天马图并书歌卷","《天马图》中奚官控辔于前，马匹静立在后。人物面部刻画粗疏，衣纹绘制单薄板滞，马匹线条迟涩乏力，均与赵孟頫《人骑图》等真迹相去甚远。图后篆书杜甫《天育骠骑歌》，行笔无赵书出入李斯、李阳冰小篆的婉转轻灵，笔力尤欠圆劲，加之松雪并无署款所称延祐四年（1317）“奉使开平日久”之事，故为伪作。",[23,4057,7,25,27,28,96,101,10761,133,10762,64,6318,10763],"鞍马","墨笔","鞍马画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1a51b24ca51e47b9ac121ccd854e27b.jpg","纵32.2厘米，横62.5厘米",[44,318],{"id":10768,"slug":10769,"title":10770,"dynasty":18,"author":223,"museum":56,"description":10771,"tags":10772,"thumbUrl":10773,"material":173,"size":10774,"collection":42,"collections":10775,"showCount":10747,"zanCount":1116,"manualWeight":48,"mainColor":49},218600,"jiang-fei-wan-yue-tu-yi-ming-218600","江妃玩月图","月色如练，泼洒在虬枝瘦干间。墨笔勾勒的树影横斜，嶙峋枝干似在夜风中轻语。凭栏处，佳人衣袂翩然，或执扇凝睇，或侧首听月，身影与疏枝、栏杆相映成趣。夜的清寂被月色化开，淡墨晕染出朦胧意蕴，每一处线条都简劲有致，藏着宋人笔墨的雅致风骨。无需浓妆艳抹，仅以素淡之笔，便将玩月的悠然、月夜的幽远揉成一幅清绝画境，让人在静默中触碰到那份穿越时光的古雅与深情。",[23,24,7,128,188,96,166,231,331,98,1233,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dbdeecfafad713f88037a5c5c52fa50.jpg","25.4x24.8",[42],{"id":10777,"slug":10778,"title":10779,"dynasty":351,"author":4456,"museum":300,"description":10780,"tags":10781,"thumbUrl":10782,"material":84,"size":84,"collection":84,"collections":10783,"showCount":10784,"zanCount":1086,"manualWeight":48,"mainColor":72},227269,"he-le-shi-nv-tu-juan-zhou-wen-ju-227269","合乐仕女图卷","周文矩，善于深入观察和体会现实生活中的各色人物，把握他们的思想感情和性格特征，因此塑造出来的人物各不相同，达到形神兼备的艺术境界。他的仕女画从题材内容到表现形式，都继承了唐代周昉的传统。",[23,164,24,7,25,28,27,96,166,438,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F926a4a4fc246817c7f82bed9a7d2c919.jpg",[],126,{"id":10786,"slug":10787,"title":10788,"dynasty":54,"author":9529,"museum":510,"description":10789,"tags":10790,"thumbUrl":10792,"material":514,"size":10793,"collection":84,"collections":10794,"showCount":10784,"zanCount":48,"manualWeight":48,"mainColor":49},222815,"fang-gu-si-ji-shan-shui-tu-fang-xing-hua-chun-yu-jiang-nan-wang-hui-222815","仿古四季山水图-仿杏花春雨江南","王翬 （1632─1717），字石谷，號耕煙散人、劍門樵客、烏目山人、清暉老人等。江蘇常熟人。清代著名畫家。被稱為清初畫聖。王翬作畫喜好干筆、濕筆並用，而且多以細筆皴擦，畫面效果比較繁密。此圖是王翬《仿古四季山水圖》屏風組畫中的一幅，描繪的是江南春景。圖中山巒層疊，樹青草綠，村舍屋宇錯落，小橋流水人家，漁船泛波湖上，一派雨後春光明媚的江南山村景致。在構圖布局上，小徑、樹木、庭院，皆隨河流之勢分布，疏密得當，既不擁擠，也不顯孤單零落。近處、遠處的小橋流水，將整幅畫面巧妙地連結在一起；遠處山巒環繞於霧靄之中，若隱若現，山巒以墨點點染，藉以烘托初春萬物復甦之景。臨湖的道路兩旁，樹木繁茂，枝葉稀疏清朗，同樹幹的高大粗壯之勢相呼應。全圖中樹幹的畫法不盡相同，體現了作者深厚的功底：近處多為粗壯老乾，先勾勒其輪廓，再以墨色和赭石加以暈染，刻畫詳細；遠處則多以濃墨一氣呵成，枝葉多以濕墨排點式描繪，各種技法交相呼應，使得整幅畫面變化多端。",[23,24,7,2271,27,132,29,98,99,129,331,1233,35,496,2167,10791,1645,102],"春雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff876fdc542da2e5824bd38aedc647cc2.jpg","82.5x51.2",[],{"id":10796,"slug":10797,"title":10798,"dynasty":18,"author":10799,"museum":2068,"description":10800,"tags":10801,"thumbUrl":10804,"material":151,"size":10805,"collection":42,"collections":10806,"showCount":10784,"zanCount":1086,"manualWeight":48,"mainColor":49},221555,"yuan-tu-mao-song-221555","猿图","毛松","这幅猴图在表现上非常出色，超越了单纯的写实，在众多的宋画当中亦堪称名品。据说所画的是日本猴而非中国猴，除水墨之外还使用了金泥，工笔细腻自然。南宋画院画家毛松所作的说法始于狩野探幽，但此说缺乏依据。曾由武田信玄捐赠与曼殊院觉如。该图在褐色的底色上，利用金泥所绘线条的交织，表现出绒毛的光泽。又以细腻的笔致，表现其面部的皱纹、嘴势、眼神以及颇有戏剧性的爪足，极其逼真地将这只金毛浓淡有致、赤面红耳的猿猴画了出来。",[23,164,24,7,28,128,27,9633,949,10802,10803],"金泥","写实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a5893ea0ae36c7bc5b4c46f296e8fce.jpg","纵：47.0cm，横：36.5cm",[42,68,45],{"id":10808,"slug":10809,"title":10810,"dynasty":18,"author":686,"museum":224,"description":10811,"tags":10812,"thumbUrl":10813,"material":514,"size":10814,"collection":42,"collections":10815,"showCount":10784,"zanCount":1116,"manualWeight":48,"mainColor":49},221391,"yan-lan-qiu-xiao-tu-fan-kuan-221391","烟岚秋晓图","范宽早年师从荆浩、李成，而能自出机杼。范宽的作品多取材于其家乡陕西关中一带的山岳，雄阔壮美，笔力浑厚。注意写生，多采用全景式高远构图，著名书画家米芾在其《画史》中说“范宽山水，显显如恒岱”。",[23,24,7,25,29,132,27,131,34,37,6639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4500b9eb4cfa21cb904ea04c412212b.jpg","40x603.3cm",[42,136,117],{"id":10817,"slug":10818,"title":10819,"dynasty":980,"author":1687,"museum":10820,"description":10821,"tags":10822,"thumbUrl":10823,"material":10824,"size":84,"collection":84,"collections":10825,"showCount":10784,"zanCount":48,"manualWeight":48,"mainColor":72},220489,"zhu-mei-zhang-da-qian-220489","竹梅","The Chinese University of Hong Kong Library","此作以跨页小品写就，水墨清简疏淡。左侧修竹瘦劲挺拔，寥寥数笔写出竹叶翩然之姿，清峻孤高自带霜节。右侧梅枝横斜而出，淡墨圈花，花苞轻绽，冷香暗浮于留白之中。\n\n画面以少胜多，将竹之劲节与梅之清癯相融，寥寥逸笔尽显岁寒二友的君子风骨。题款墨色苍劲古雅，朱印点染提亮，文人情趣浑然天成。整幅淡墨浅痕却余韵悠长，把东方水墨的留白意趣藏在疏枝瘦叶之间，清冷雅致，尽显写意之妙。",[23,24,7,59,128,371,167,208,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9928a3a570439bf1c01d26bb75a5c21e.jpg","Ink and colour on paper",[],{"id":10827,"slug":10828,"title":10829,"dynasty":124,"author":204,"museum":244,"description":10830,"tags":10831,"thumbUrl":10832,"material":173,"size":10833,"collection":44,"collections":10834,"showCount":10784,"zanCount":1086,"manualWeight":48,"mainColor":49},220438,"qun-xian-hui-zhu-tu-chou-ying-220438","群仙会祝图","本幅左下方有「实父仇英堇制」款，虽为托名之作，然精雕细造，为罕见的「苏州片」佳作。此作描绘主题应是群仙共赴蟠桃大会，为王母娘娘祝寿。陆、海、空诸景穿插层叠，构图工丽复杂；诸路神仙、瑞兽以此为舞台，现示各样神通。画面右下角小坡上骑着张果老驴子乱奔的李铁拐，元神已由葫芦中化成一道光束，回环飞至天际谒见太上老君。相对仙人简单的装束，画中楼阁器用装饰华美、结构繁缛。以金线细腻描绘的云龙纹样，在每根红色立柱上皆费心经营不同图案。人物与动物虽略有小疵，但不减其整体精彩，应为当时祝寿用的高档献礼。",[23,24,164,7,28,27,95,96,97,29,34,211,950,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e1fc9c8db033a209857210a716124ba.jpg","99x 148.4",[44,45],{"id":10836,"slug":10837,"title":10838,"dynasty":54,"author":9704,"museum":450,"description":10839,"tags":10840,"thumbUrl":10841,"material":66,"size":10842,"collection":136,"collections":10843,"showCount":10784,"zanCount":48,"manualWeight":48,"mainColor":72},219759,"shan-shui-si-jing-zhi-qiu-kun-can-219759","山水四景之秋","髡[kūn]残（1612年-1692年），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。",[23,24,7,29,128,132,1337,129,99,496,711,37,34,1743,31,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e29d3f4bec003b725d9d06422d2ffca.jpg","纵31.8cm 横65cm",[136],{"id":10845,"slug":10846,"title":10847,"dynasty":124,"author":10848,"museum":244,"description":10849,"tags":10850,"thumbUrl":10852,"material":173,"size":10853,"collection":45,"collections":10854,"showCount":10784,"zanCount":1998,"manualWeight":48,"mainColor":72},219445,"bai-yun-hong-shu-tu-guan-si-219445","白云红树图","关思","图绘山态云容，疏林茅屋。山作小青绿，树作无骨法，自言仿自赵孟頫，原画应该是赵子昂用唐人古意所作。",[24,7,165,27,132,29,10851,2524,34,131,37,35],"白云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff525b318e6c156ebc050d824651a0d7b.jpg","129.3x50.5",[45],{"id":10856,"slug":10857,"title":1057,"dynasty":18,"author":223,"museum":244,"description":10858,"tags":10859,"thumbUrl":10861,"material":173,"size":10862,"collection":68,"collections":10863,"showCount":10784,"zanCount":1998,"manualWeight":48,"mainColor":49},219277,"sui-chao-tu-yi-ming-219277","岁朝，指一岁之始，历代画家作该图，含有元旦开笔，预祝一年万事吉利之意。本幅绘拳石临流，雉鸡一对，麻雀数只，山茶旁生于老梅干后，绿竹新生于回流之上。水仙、红茶、白梅等花上下分别盛开，色调朱白相映，通幅设色浓而不艳，一派和熙春色。旧传为宋人之作，然笔触色调皆不类，疑是明人学吕纪画风。",[23,164,24,7,165,28,27,61,371,167,355,10860,131,62],"雉鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24ebc914f3148654b0f6a2722ee6abfa.jpg","164.2x80.3",[68],{"id":10865,"slug":10866,"title":10867,"dynasty":222,"author":223,"museum":224,"description":10868,"tags":10869,"thumbUrl":10870,"material":173,"size":10871,"collection":44,"collections":10872,"showCount":10784,"zanCount":1998,"manualWeight":48,"mainColor":49},218314,"fang-yuan-zui-yue-tu-yi-ming-218314","芳园醉月图","月夜清辉漫洒芳园，嶙峋山石旁花木扶疏，枝桠间繁花如雪，月下更显幽逸。园内人影错杂，或围坐醉谈，或信步寻幽，或凭栏浅笑，动静交织成一派闲适图景。小桥卧波，流水潺潺，石径蜿蜒穿林，远处奇峰隐现于月色朦胧中，添了几分旷远之致。人物衣袂轻扬，神态鲜活，生动勾勒出园居宴乐的融融暖意。笔墨细腻温婉，设色淡雅清和，山石皴染见古意，花木点描显灵秀，构图疏密得宜，将园林的清幽之境与人间的欢悦之情相融相契，尽展古典雅韵与生活意趣。",[164,24,7,165,27,28,96,98,99,131,34,231,371,1428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a5dcf17369c07d5993485e20a0c645b.jpg","155.5x102.3",[44],{"id":10874,"slug":10875,"title":10876,"dynasty":144,"author":569,"museum":77,"description":8769,"tags":10877,"thumbUrl":10878,"material":173,"size":84,"collection":68,"collections":10879,"showCount":10784,"zanCount":1105,"manualWeight":48,"mainColor":49},216266,"xiang-ma-tu-ye-1-zhao-meng-fu-216266","相马图页-1",[23,24,7,164,59,27,28,188,96,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d24237744a85c7ce0038010bf1cae6e.jpg",[68],{"id":10881,"slug":10882,"title":10883,"dynasty":124,"author":366,"museum":244,"description":10884,"tags":10885,"thumbUrl":10889,"material":278,"size":10890,"collection":318,"collections":10891,"showCount":10784,"zanCount":48,"manualWeight":48,"mainColor":72},214213,"xing-shu-qi-yan-lian-xu-wei-214213","行书七言联","释文：水夕苍蚊残夏扇。河间红树早秋棃。秋霜先生咲览。天池山人徐渭书。",[23,24,7,64,165,10886,133,128,2524,1144,10887,10888],"对联","秋水","梨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cccc9d7148d5550a49ac995d9474fe6.jpg","132.2x32.4",[318],{"id":10893,"slug":10894,"title":10895,"dynasty":54,"author":4468,"museum":300,"description":10896,"tags":10897,"thumbUrl":10898,"material":84,"size":84,"collection":84,"collections":10899,"showCount":10900,"zanCount":1116,"manualWeight":48,"mainColor":49},230202,"qian-long-di-hou-fei-xiang-juan-lang-shi-ning-230202","乾隆帝后妃像卷","郎世宁绘制的《乾隆肖像》是圆明园 珍品，是乾隆皇帝41岁时的坐像，乾隆身旁站立两位大臣，人物极具神韵，为中国与欧洲绘画技艺相结合的佳作。\n原属圆明园收藏 【名称】：乾隆肖像 【类别】：字画 【年代】：清 【文物原属】：原属 收藏 【文物现状】： 【简介】： 绘制的《乾隆肖像》是 艺术品珍品，是 皇帝41岁时的坐像，乾隆身旁站立两位大臣，人物极具神韵，为中国与欧洲绘画技艺相结合的佳作。\n乾隆皇帝主政的六十年中，甚为重视学术文化的整理和弘扬。\n其中以乾隆叁十八年（177）开始的 编纂工作最为令人称道。\n他聚集 、 、 、 等著名学者，将中国历代重要典籍整理并钞录下来，分隶于四部四十四类之下。\n全书卷帙浩繁、包罗万千，可谓中国传统学术文化的一次总整理，也是十八世纪当时学风的充分呈现。\n郎世宁（Giuseppe Castiglione‎,1688—1766）是意大利人，生于米兰，清康熙帝五十四年（1715）到中国，随即入宫，曾参加圆明园西洋楼的设计工作，历任康、雍、乾三朝，在中国从事绘画达5多年。\n由于郎世宁带来了西洋绘画技法，向皇帝和其他宫廷画家展示了欧洲明暗画法的魅力，他先后受到了康熙帝、雍正帝、乾隆帝的重用。\n他是一位艺术上的全面手，人物、肖像、走兽、花鸟、山水无所不涉、无所不精，成为雍正帝、乾隆帝时 的代表人物。\n他的代表作品有《聚瑞图》、《嵩献英芝图》、《百骏图》（见插图）、《弘历及后妃像》、《 》等。",[23,24,7,304,28,27,25,96,170,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d20cbf88f26d2d9ea6382115ba01bed.jpg",[],125,{"id":10902,"slug":10903,"title":10904,"dynasty":18,"author":223,"museum":244,"description":10905,"tags":10906,"thumbUrl":10907,"material":514,"size":10908,"collection":84,"collections":10909,"showCount":10900,"zanCount":1086,"manualWeight":48,"mainColor":49},223516,"tao-hua-shan-niao-tu-yi-ming-223516","桃花山鸟图","此图采用双钩填彩法，用线工整挺秀、生动流畅、柔中带刚，画家追求的不是线的形式变化，而是对质感的表达。花瓣密集写实，鸟的羽毛细而柔，尾羽敷红色，有透明感。画面色彩雅致，鲜花轻敷淡染，一点也不矫揉造作。",[23,164,24,7,28,27,61,209,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8e8efee647a398a24f78c3f1f84561.jpg","纵23.8厘米横24.4厘米",[],{"id":10911,"slug":10912,"title":10913,"dynasty":18,"author":2141,"museum":244,"description":10914,"tags":10915,"thumbUrl":10916,"material":514,"size":10917,"collection":42,"collections":10918,"showCount":10900,"zanCount":48,"manualWeight":48,"mainColor":49},221544,"shi-ba-xue-shi-tu-juan-liu-song-nian-221544","十八学士图卷","作品描绘十八学士们的雅集生活。唐初十八学士这一历史，传到两宋，已经成为了典故。这些雅集活动大多不可缺少琴、棋、书、画四样东西。此外，歌舞曲艺、古玩彝器、诗词歌赋酒美食也都成为宋人文人雅集时候所常见的内容。",[23,24,7,25,28,27,96,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0292859c44e3f3bde81de6bbfbd870ca.jpg","44.5x182.3",[42,44,45],{"id":10920,"slug":10921,"title":4860,"dynasty":124,"author":10922,"museum":6620,"description":10923,"tags":10924,"thumbUrl":10925,"material":66,"size":84,"collection":136,"collections":10926,"showCount":10900,"zanCount":1116,"manualWeight":48,"mainColor":49},219921,"qing-lv-shan-shui-tu-wen-jia-219921","文嘉","文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[23,24,7,165,26,27,29,132,495,34,96,131,99,3387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1820ac5ad6de7a128ff8fac67e031d3c.jpg",[136],{"id":10928,"slug":10929,"title":10930,"dynasty":144,"author":145,"museum":450,"description":10931,"tags":10932,"thumbUrl":10933,"material":317,"size":84,"collection":136,"collections":10934,"showCount":10900,"zanCount":48,"manualWeight":48,"mainColor":49},219736,"qiu-luan-die-zhang-tu-huang-gong-wang-219736","秋峦叠嶂图","整作以高远构局铺展秋山胜景，主峰崔嵬雄浑，层岩叠岫渐次铺陈，山林间枯木寒柯与葱郁杂木错立，晕染出清寂萧疏的秋意。\n以披麻皴慢写山石肌理，干笔淡墨皴擦点染，笔意松秀温润，淡墨晕开烟岚清旷之气，将山峦的苍古质感晕染尽致。水畔村居错落隐于林麓，汀渚回环、秋水澄澈，尽现山居幽寂之态。\n右侧长题随行布白，书画相融，以画寄情，将简淡超逸的山水意趣抒发淋漓，尽显寄兴林泉、丘壑自存的隐逸襟怀。",[23,24,7,165,128,132,29,496,34,3387,499,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c617dbbef3609487c4db666c2cf5ed.jpg",[136],{"id":10936,"slug":10937,"title":3970,"dynasty":144,"author":287,"museum":244,"description":10938,"tags":10939,"thumbUrl":10940,"material":173,"size":10941,"collection":44,"collections":10942,"showCount":10900,"zanCount":48,"manualWeight":48,"mainColor":72},219444,"lu-tong-peng-cha-tu-qian-xuan-219444","画中主人是卢同，唐朝济源人。学问非常渊博，并擅长诗文。隐居在少室山，不愿出来作官。他特别喜欢喝茶。这幅就是描绘卢同与童子，坐芭蕉下烹茶的情景。",[24,7,165,27,28,96,8070,171,169,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bc5d62829496182e3834aaa1c88ab2a.jpg","128.7x37.3",[44],{"id":10944,"slug":10945,"title":10946,"dynasty":18,"author":3308,"museum":244,"description":10947,"tags":10948,"thumbUrl":10949,"material":173,"size":10950,"collection":136,"collections":10951,"showCount":10900,"zanCount":1116,"manualWeight":48,"mainColor":49},218960,"peng-chuang-shui-qi-tu-zhao-gou-218960","蓬窗睡起图","温暖的春风吹拂着湖面，拂动着岩石岸边的两棵柳树的叶子。在岩石岸边，一艘独木舟漂浮在波浪上，船上的渔夫睡得很好，春风挑逗着他，他满足地伸了个懒腰",[23,24,7,128,29,129,331,171,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7141fb523a170d6777a1b10dd60a535.jpg","24.8x52.3",[136],{"id":10953,"slug":10954,"title":10955,"dynasty":18,"author":223,"museum":244,"description":10956,"tags":10957,"thumbUrl":10958,"material":173,"size":10959,"collection":42,"collections":10960,"showCount":10900,"zanCount":1998,"manualWeight":48,"mainColor":49},218800,"liu-tang-diao-yin-tu-yi-ming-218800","柳塘钓隐图","宋人非常重视在他们的绘画中创造情绪和气氛。这幅画以一座山和一个池塘为骨架，中间有房屋、柳树和各种森林。池塘里的荷花盛开，给人一种和平和宁静的感觉，但鸭子、海凫、泥鳅和苍鹭则增加了商业的感觉。芦苇丛中有老鹰归来，天花板上挂着文曲星，有学者靠着它，这就是莲花池。高居翰在他的中国古代绘画索引中认为这是南宋的一件非常好的作品。它高瞻远瞩，视野开阔，设计合理，景物逼真。笔法细腻逼真，如画中的箭，绿意盎然，笔墨严谨，造型非常逼真。赵令郎（1070-1100年）的《平林》和《亭子》中的水禽图案可能与赵士来（11世纪）的《西塘亭子》风格相似。这样的作品在北宋时期很流行，这幅作品虽然不是他们的作品，但也是对他们风格的良好临摹。",[23,24,7,29,27,128,132,2372,3837,98,99,129,1350,1351,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F206b6e83b326af49ba200e9953d38b66.jpg","23.6x24",[42,136],{"id":10962,"slug":10963,"title":10964,"dynasty":144,"author":7181,"museum":4482,"description":10965,"tags":10966,"thumbUrl":10967,"material":173,"size":84,"collection":136,"collections":10968,"showCount":10900,"zanCount":48,"manualWeight":48,"mainColor":49},218720,"teng-wang-ge-tu-wang-zhen-peng-218720","滕王阁图","笔尖游走绢素，界尺起落间，滕王阁飞檐翘角如振翅鹏鸟，跃然眼前。斗拱层叠似琴键排开，梁柱线条刚劲含韵，每处榫卯藏着匠人之谨与画师之巧。楼阁依山傍水，石阶蜿蜒入林，与葱郁草木相映成趣。远山如黛，烟波浩渺，一叶孤舟在水天之际轻漾，为宏伟建筑添了空灵悠远。整幅画将建筑理性之美与山水诗意之韵交织，既见界画精准工致，又含文人画雅致情怀，让千年名楼的巍峨气象与天地灵秀之气，在古卷中静静流淌，尽显元代画坛独特风貌。",[23,24,7,95,188,128,29,97,129,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1e4ffe86b2585108496c06f20abcf64.jpg",[136],{"id":10970,"slug":10971,"title":10972,"dynasty":18,"author":915,"museum":244,"description":10973,"tags":10974,"thumbUrl":10975,"material":173,"size":10976,"collection":68,"collections":10977,"showCount":10900,"zanCount":1998,"manualWeight":48,"mainColor":72},218395,"qiu-qing-cong-ju-tu-lin-chun-218395","秋晴丛菊图","绢本之上，丛菊攒簇若繁星，瓣瓣晕染细腻，边缘隐带淡白如凝秋霜，似含晴阳余温。叶片脉络清晰，叠翠间藏露生机，全无萧瑟之感。淡赭底色如晴秋薄暮，衬得菊色愈显清妍。旁侧墨笔题跋与朱印相映，文气与画韵交融，尽得雅致。笔触轻细却含筋骨，没骨技法藏锋于柔，将秋晴时菊丛的疏朗鲜活凝于尺幅，观之如沐和风，似闻暗香浮动，心随花影渐远，满溢淡然幽趣。",[23,164,24,7,28,27,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F750cb01efbb3fd284998c56993afeae5.jpg","25x26.5cm",[68],{"id":10979,"slug":10980,"title":10981,"dynasty":144,"author":4034,"museum":244,"description":10982,"tags":10983,"thumbUrl":10984,"material":173,"size":10985,"collection":136,"collections":10986,"showCount":10900,"zanCount":1116,"manualWeight":48,"mainColor":49},218137,"qiu-lin-gao-shi-tu-sheng-mao-218137","秋林高士图","这幅画上绘着一位身穿红衣的高士，坐于秋林坡地上，作侧身远眺之状。图分前、中、远三景，前景画杂树数株，高低参差、疏密有致，运笔极为老到；树下高士在画面上显得极为细小，反衬出青山丛林的崇峻，高士姿态生动自然，勾画简练闲放，颇具逸致。溪边苇荻数丛，布局、运笔富于变化，亦得风吹草动之态。隔溪中景秋林，不作勾勒，纯以浓淡墨积点为之，树梢浓浓淡淡，隐现于层云薄雾之中，着墨不多，笔简意足。远景层峦叠嶂，重重雾锁。两座主峰的画法，以披麻皴间以乱柴皴，结构转折处以浓墨打苔点树，雄峻逸秀，气格高朗，得秋天清旷情趣。",[23,24,7,29,96,128,27,34,131,37,132,2875,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78bb700dfdd2f5ed8ea30c6490135420.jpg","纵135.3厘米、横59厘米",[136],{"id":10988,"slug":10989,"title":10990,"dynasty":54,"author":5879,"museum":244,"description":5880,"tags":10991,"thumbUrl":10998,"material":66,"size":84,"collection":84,"collections":10999,"showCount":10900,"zanCount":48,"manualWeight":48,"mainColor":72},214852,"xie-sheng-ce-11-hua-yan-214852","写生册-11",[24,7,369,128,27,949,10992,2166,10993,10994,10995,10996,771,10997],"动态","淡彩","荒野","飞兽","笔触灵动","自然景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd555eb665d9074196e3036e4f2be75b0.jpg",[],{"id":11001,"slug":11002,"title":11003,"dynasty":54,"author":5879,"museum":244,"description":5880,"tags":11004,"thumbUrl":11005,"material":66,"size":84,"collection":84,"collections":11006,"showCount":10900,"zanCount":1998,"manualWeight":48,"mainColor":72},214850,"xie-sheng-ce-13-hua-yan-214850","写生册-13",[24,7,59,128,27,61,608,481,2037,230,171,582,549,2166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5365c66340a204067495a18471d8430a.jpg",[],{"id":11008,"slug":11009,"title":11010,"dynasty":18,"author":4861,"museum":20,"description":11011,"tags":11012,"thumbUrl":11015,"material":40,"size":11016,"collection":84,"collections":11017,"showCount":11018,"zanCount":1998,"manualWeight":48,"mainColor":72},221374,"yu-cun-xiao-xue-tu-juan-quan-juan-wang-shen-221374","渔村小雪图卷全卷","描写冬季小雪初霁的渔村山林景色。图中雪山奇松，溪岸渔艇，峰迴路转，步移景易，整个画面意境萧索，笼罩在一片空灵、静寂的氛围之中，虽有渔夫艰苦劳作，但反映的却是文人逸士向往山林隐逸生活的雅致情怀。此图是王诜师法李成而自成一家的作品。图中山石勾皴纯用侧锋短笔，边缘轮廓采用“破墨法”，在勾勒之后用清水向内化开，墨色轻淡。寒林长松则用中锋浓墨，从而突出表现了其凌寒不凋的高贵品格。为了表现积雪，除山峦留白外，作者还在峰顶、树杈、沙脚施以白粉。为了表现雪后阳光，作者又于树头、苇尖略染金粉，在通幅水墨之中吸收了唐以来金碧山水的画法，是一种创造性的实践。这幅作品充分体现了北宋时文人画强调“诗中有画，画中有诗”的创作主旨，以娴熟的技法写“词人墨卿难状之景”，正是“诗画一律”的典范作品。",[23,24,7,25,128,27,132,28,29,9551,11013,131,34,99,129,1350,11014,98,211,37,64,133,208],"小雪","渔翁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c673d066b16599b24a80fdfbc217e0.jpg","纵44.5厘米，横219.5厘米",[],124,{"id":11020,"slug":11021,"title":11022,"dynasty":980,"author":5076,"museum":2594,"description":11023,"tags":11024,"thumbUrl":11025,"material":84,"size":84,"collection":84,"collections":11026,"showCount":11018,"zanCount":1998,"manualWeight":48,"mainColor":72},220607,"qian-niu-hua-qing-ting-tu-zhou-qi-bai-shi-220607","牵牛花蜻蜓图轴","此作以浓墨挥写牵牛藤蔓叶片，干湿浓淡错落，尽显叶片俯仰向背的参差生机。艳红牵牛花以明快色彩点染晕开，将朝颜盛放的娇妍鲜活定格。\n\n只以寥寥数笔勾勒蜻蜓，身形轻薄灵动，似振翅欲停于藤蔓间，为画面添就乡野清晨的鲜活野趣。右上角题字朴拙老辣，与画作笔墨相映成趣。\n\n整幅简而不空，繁而不乱，将日常乡野意趣凝于尺幅，以写意之笔把寻常风物化作清雅动人的画中诗意。",[23,24,7,165,128,27,61,606,608,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39ccdfe4e554c859984e3ce344cbe197.jpg",[],{"id":11028,"slug":11029,"title":11030,"dynasty":980,"author":5076,"museum":11031,"description":11032,"tags":11033,"thumbUrl":11035,"material":11036,"size":84,"collection":84,"collections":11037,"showCount":11018,"zanCount":48,"manualWeight":48,"mainColor":72},220593,"xia-qun-qi-bai-shi-220593","虾群","國立故宮博物院","这幅群虾图以极简水墨写就神致，群虾姿态各殊，或拨须缓游，或摆螯疾行，两两相逐间灵动鲜活。以淡墨晕染虾身，通透似覆薄壳，浓墨点染虾首与硬枪，焦墨提掣纤细长须，看似信手挥洒，却暗含水流动感，留白代水，虚实相生，将清水间群虾嬉游之景跃然纸上。\n既可见细致的写生功底，更尽显写意笔墨的简淡天真，寥寥数笔便将河虾的活泼生机全然带出，尽显作者画虾的炉火纯青，把寻常水族勾勒得意趣盎然。",[24,7,165,128,369,11034],"虾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F681c191e1525a12aa95dd689a43c0860.jpg","ink on paper",[],{"id":11039,"slug":11040,"title":11041,"dynasty":182,"author":11042,"museum":244,"description":11043,"tags":11044,"thumbUrl":11046,"material":27,"size":11047,"collection":68,"collections":11048,"showCount":11018,"zanCount":1998,"manualWeight":48,"mainColor":49},219724,"qiu-shi-shan-qin-tu-bian-luan-219724","秋实山禽图","边鸾","此作以精工之笔描摹秋隅小景，黑羽山禽昂首枝上，翎羽纤毫毕现，油亮光泽宛若可触，尖喙微张似将引吭，灵动神态跃然绢上。枝桠间垂挂饱满秋瓜，表皮肌理莹润逼真，衬叶或鲜或残，脉络清晰可见，将秋日萧疏与生机相融。\n\n设色调和雅致，以沉稳古色晕染绢底，把草木禽鸟的鲜活神韵尽数铺陈，写实中暗藏雅致意趣，将刹那间的秋意生机定格成永恒，尽显工笔花鸟的细腻精妙，内敛古朴间流露着静谧悠然的秋日况味。",[24,7,59,28,27,61,11045,2037,624,4642,164],"山禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4f4300f8a942f5a262a8fc8beee2aea.jpg","26.9x27.4",[68],{"id":11050,"slug":11051,"title":6347,"dynasty":18,"author":223,"museum":244,"description":11052,"tags":11053,"thumbUrl":11054,"material":173,"size":11055,"collection":68,"collections":11056,"showCount":11018,"zanCount":1086,"manualWeight":48,"mainColor":49},219236,"mei-que-tu-yi-ming-219236","图绘细雪飘花，山喜鹊一双，倚偎于梅梢上。梅枝勾勒，线条精整，画中梅，圈瓣以淡墨细线为之，外围复以白粉提醒，萼则以胭脂红敷染，色彩搭配，虽不繁复，令人有如于雪光下，见清雅君子，一尘不染。宋人作画重理，画花尤重写生，此幅足为一例。前人论画梅，枝干交错之法，有如「女」字，此幅虽为写生一枝，亦于此法符合。",[23,24,7,61,28,27,371,4117,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32ee8eb63474c1ac957d63dde5b26a63.jpg","25.5x29cm",[68],{"id":11058,"slug":11059,"title":11060,"dynasty":18,"author":9837,"museum":1941,"description":11061,"tags":11062,"thumbUrl":11063,"material":173,"size":11064,"collection":42,"collections":11065,"showCount":11018,"zanCount":48,"manualWeight":48,"mainColor":49},218629,"pan-che-tu-jiang-can-218629","盘车图","寒林覆雪，枝桠虬曲如铁线，在凛风中舒展筋骨。山峦以淡墨晕染，层叠间透着清寂，山脚却藏烟火暖意——几辆盘车缓行于雪泥道上，牛蹄踏雪留痕，车轮碾过碎雪，车旁人物裹衣呵气，似在抵御严寒。远处村落隐于林麓，屋舍错落，炊烟轻袅，与苍茫山色相映。笔墨细腻处见功力：枯树皴擦显苍劲，盘车结构精准，人物动态鲜活；而雪景朦胧与山峦雄浑，又营造出阔远意境。整幅画于萧瑟冬日，融旅途艰辛与人间烟火于一炉，写实功底见古画本色，诗意留白引观者遐思，尽显冬日山水间的生活韵致与苍茫之美。",[24,164,7,27,132,29,131,1337,331,690,106,102,96,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1548d14d9bbde0476e8e9f354f0095f2.jpg","30x24",[42],{"id":11067,"slug":11068,"title":11069,"dynasty":54,"author":11070,"museum":20,"description":11071,"tags":11072,"thumbUrl":11075,"material":173,"size":11076,"collection":44,"collections":11077,"showCount":11018,"zanCount":1105,"manualWeight":48,"mainColor":49},215859,"chong-qing-huang-tai-hou-wan-shou-qing-dian-tu-zhang-ting-yan-215859","崇庆皇太后万寿庆典图","张廷彦","弘历皇帝的生母崇庆皇后的60岁生日，举行了盛大的庆祝活动。文武百官齐聚北京，从西华门到西直门的高梁桥下，十几里路的灯光，戏曲、杂技、舞蹈等各类文艺节目，让人目不暇接。这幅四卷画真实地再现了当时的生日庆典和戏剧表演的场景，是清代戏曲的重要图像资料。",[23,164,24,7,25,28,27,96,97,11073,191,11074,7068,34],"街道","旗帜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb231085edcd0f7668e9adde95214bce.jpg","64.5x2994",[44],{"id":11079,"slug":11080,"title":11081,"dynasty":124,"author":273,"museum":244,"description":11082,"tags":11083,"thumbUrl":11084,"material":278,"size":11085,"collection":136,"collections":11086,"showCount":11018,"zanCount":1998,"manualWeight":48,"mainColor":49},214822,"feng-cheng-jian-yong-tu-wang-fu-214822","凤城饯咏图","这幅画的构图很简单，特写的是一条平缓的海岸线，三个官员聚集在树木和石头间的亭子里举行宴席，背景是两座高山。画的上边有十三首诗，都是关于表达离别之情的，大部分是与王绂一起在翰林院任职的官员。这些诗表明，王绂在秋天画了这幅半具象的山水画，当时他的一位同事即将回到松江的故乡，在乡间的陪伴下享受隐居的生活，他的每位同事都写了一首诗来纪念这一时刻。绘画的主体，或参与题词的人，都是有文学修养的文人，王绂的画表明了元代以来的文人画风，用简单的水墨画来表达绘画背后的深意。光滑的石堆，蜿蜒曲折、相互连接的纹理，给人一种宁静的感觉，并带有一丝惆怅和感伤。",[24,7,128,29,132,64,208,130,129,34,497,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1567e357c9e61193092a8b8f23f2efaf.jpg","91.4x31",[136],{"id":11088,"slug":11089,"title":11090,"dynasty":144,"author":569,"museum":20,"description":11091,"tags":11092,"thumbUrl":11093,"material":11094,"size":11095,"collection":318,"collections":11096,"showCount":11097,"zanCount":1998,"manualWeight":48,"mainColor":49},239648,"lin-lan-ting-xu-juan-zhao-meng-fu-239648","临兰亭序卷","此卷原在赵孟頫“定武兰亭”十六跋后，之后被人分割，另装在南宋翻刻兰亭拓本后面。赵孟頫一生对《兰亭序》极为推重，曾反复临写，此件是其晚年所临，笔法精良。加之此卷前面有南宋翻刻定武《兰亭序》拓本，以及前后尤袤、王厚之、张翥、王蒙等宋元名家题跋，更为珍贵。本幅另有清代庆锡题跋一段。\n释文（略）。本幅款署“子昂”\n鉴藏印“伯谦精鉴”、“伯谦审定真迹”、“绍庭审定”、“蛰蛰公书画”“龙友过眼”等。",[23,330,133,25,64,7,1590,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7ea3e89479876fe37bc518a1e7ae087.jpg","绢本，行书","纵27.4厘米，横102厘米，28行，324字",[318],123,{"id":11099,"slug":11100,"title":11101,"dynasty":54,"author":2640,"museum":300,"description":6183,"tags":11102,"thumbUrl":11103,"material":692,"size":1293,"collection":84,"collections":11104,"showCount":11097,"zanCount":1086,"manualWeight":48,"mainColor":72},239153,"hua-hui-cao-chong-tu-shan-ye-ju-lian-239153","花卉草虫图扇页",[24,164,7,1131,28,27,61,62,480,373,2918],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718408587ec96f67a2d985fd07ea1e2f.jpg",[],{"id":11106,"slug":11107,"title":6663,"dynasty":54,"author":872,"museum":300,"description":11108,"tags":11109,"thumbUrl":11110,"material":84,"size":84,"collection":68,"collections":11111,"showCount":11097,"zanCount":1998,"manualWeight":48,"mainColor":72},236461,"zhu-shi-tu-zhou-zhu-da-236461","朱耷（1626—1705年），明宗室宁献王朱权后裔，封藩南昌，遂为江西南昌人，谱名统『0137』，小名耷。清顺治五年（1648年）落发为僧，法名传綮。一生字、号、别号甚多，有个山、驴屋驴、人屋等。康熙二十三年（1684年）始号八大山人。坎坷的命运影响着他的人生观及艺术思想，其绘画作品多寄托着对清王朝的痛恨，及对明王朝的眷恋之情。他的山水画在宗法元黄公望平淡天真和明董其昌润泽秀逸的基础上形成了自己古拙奇特、劲拔荒率的艺术风格。其花鸟画在参照明代沈周、徐渭等文人画法的同时，又融入自己强烈的主观意识，注重鱼、虫、禽等物象的人格化表现，以象征手法表达隐晦的寓意。借此表达自己作为明皇族后裔，百般无奈的感慨之情。他与同为明遗民画家的石涛、弘仁、髡残合称“清初四僧”。书法宗王献之、颜真卿，淳朴圆润，自成一格。朱耷中晚年，在书画作品款署中多使用“八大山人”。",[24,7,165,128,369,167,1314,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8f836ef9cd8492d7bd9c07df16cc664.jpg",[68,117],{"id":11113,"slug":11114,"title":11115,"dynasty":326,"author":327,"museum":300,"description":11116,"tags":11117,"thumbUrl":11118,"material":84,"size":84,"collection":84,"collections":11119,"showCount":11097,"zanCount":48,"manualWeight":48,"mainColor":49},227043,"nv-shi-zhen-tu-juan-tang-mo-ben-gu-kai-zhi-227043","女史箴图卷（唐摹本）","《女史箴图》卷（宋摹），东晋，顾恺之绘，纸本，墨笔，横601厘米，纵27.9厘米。\n《女史箴》是西晋广武侯张华所写，文字内容是关于女子的德行操守，以教化训诫为目的。顾恺之将文中故事以图画的形式加以描绘，使之通俗易懂。现存《女史箴图》最早的画本是唐代摹本，原为清宫旧藏，现藏于大英博物馆。此卷为宋人摹本，全图有画11段，分别为“樊姬感庄”、“卫女矫桓”、“冯婕妤挡熊”、“班婕妤辞辇”、“防微虑远”、“知饰其性”、“出其言善”、“灵监无象”、“欢不可以渎”、“静恭自思”、“女史司箴”。本卷为白描人物，笔法流利，线条细劲连绵，比高古游丝描又多了几份挺健，更接近李公麟一派。人物形象有古意，此卷宋摹本较唐摹本画面内容多两段，对了解《女史箴图》母本及其流传，以及早期人物画法的演变具有重要的参考价值。\n引首为乾隆帝御书“王化之始”四字，后有包希鲁、谢询、张美和、赵谦等题记。本幅钤乾隆、嘉庆、宣统、梁清标等印22方。《石渠宝笈初编》卷32、35著录。",[23,164,24,7,25,188,27,96,949,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca625f9e64012baaba56c85b5e980dc2.jpg",[],{"id":11121,"slug":11122,"title":11123,"dynasty":54,"author":2640,"museum":300,"description":11124,"tags":11125,"thumbUrl":11126,"material":84,"size":84,"collection":84,"collections":11127,"showCount":11097,"zanCount":48,"manualWeight":48,"mainColor":72},224379,"hua-hui-qi-shi-ce-shi-er-kai-9-ju-lian-224379","花卉奇石册-十二开-9","此作以清供小品入画，湖石以淡墨枯笔皴擦勾勒，朴拙空灵，带着苍古沉静的质感。蚌壳盛着素白茉莉，花瓣晕染柔润饱满，似将幽微花香凝于绢面。石畔垂悬的圆叶小花，以青绿轻敷鲜活透亮，柔润花叶和苍劲湖石形成刚柔对照。\n没骨笔法细腻写实，设色明秀淡雅，将案头闲情雅致尽皆铺展，把寻常清玩绘出隽永诗意，尽显文人心底的幽居雅趣。",[23,24,7,59,27,28,171,62,208,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca79a5b6e1c9fa0841b71698cbf4c7c.jpg",[],{"id":11129,"slug":11130,"title":11131,"dynasty":18,"author":3278,"museum":244,"description":11132,"tags":11133,"thumbUrl":11136,"material":151,"size":11137,"collection":42,"collections":11138,"showCount":11097,"zanCount":48,"manualWeight":48,"mainColor":49},221413,"song-quan-pan-shi-zhou-li-cheng-221413","松泉磐石轴","本幅之题材与风格，属松石格之作品，描绘双松挺立于磐石上，两侧有枯木为伴，兼具寒林之景象。寒林之后隐约可见清涧折曲而来，至磐石处急泻而下，激起漩涡与浪花。 松石格是兴起于八世纪的绘画，或画松石、树石，含松柏及其他树木。它是山水画范围的一部分。\n飞泉激漱于涧石之间，下潴成窟，浪花腾溅。两松劲挺立於涧右，树身扭曲，多瘤杈枒。松针作圆形，先用浓墨画，再用淡墨罩一次，又用墨水烘渍，最后用小弹弓弹墨花于其上，如宋人弹雪法。涧左枯树两株，较两松更甚，画小枝用李郭蟹爪。树后层滩叠渚，愈远愈淡，上接烟霾天宇，一门浑囵。松身结体，颇似武元直赤壁图卷；烘染厚润，颇似李山风雪杉松图卷。",[24,7,165,128,132,29,1144,11134,11135,98,99,131,34],"泉水","磐石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab46279c4e10e9f75620f23fefae0de6.jpg","160.3x96.8cm",[42,136,117],{"id":11140,"slug":11141,"title":11142,"dynasty":144,"author":569,"museum":11143,"description":11144,"tags":11145,"thumbUrl":11147,"material":611,"size":11148,"collection":318,"collections":11149,"showCount":11097,"zanCount":1105,"manualWeight":48,"mainColor":72},220843,"gui-qu-lai-ci-juan-zhao-meng-fu-220843","归去来辞卷","湖州博物馆","大德元年，赵孟頫时年四十四岁，当时未赴太原路汾州知州之新职，正居家闲赋。此书运笔沉稳畅朗，骨肉停匀，结体紧敛虚和，堪称其中年行书风格的典范。有关本卷赵氏的署名，启功在1954年的题跋中说：“至于此卷署名‘俯’字，观者多疑之。然自用笔结字，以至纸墨印章、签题跋尾，无一不足义证其真实不虚者。故吾今将大书以补松雪传记曰：名孟頫，亦书作孟俯也。”\n释文：“归去来辞并序。余家贫，耕植不足以自给。幼稚盈室，瓶无储粟，生生所资，未见其术。亲故多劝余为长吏，脱然有怀，求之靡途。会有四方之事，诸侯以惠爱为德。家叔以余贫苦，遂见用为小邑。于时风波未息，心惮远伇。彭泽去家百里，公田之利，可以为酒，故便求之。及少日，眷然有归与之情。何则？质性自然，非矫励所得。饥冻虽切，违己交病。尝从人事，皆口腹自伇。于是怅然慷慨，深愧平生之志。犹望一稔，当敛裳宵逝。寻程氏妹丧于武昌，情在骏奔，自免去职。仲秋至冬，在官八十馀日。因事顺心，命篇曰《归去来兮》。乙巳岁十一月也。\n归去来兮！田园将芜胡不归？既自以心为形伇，奚惆怅而独悲？悟已往之不谏，知来者之可追；寔迷途其未远，觉今是而昨非。舟摇摇以轻飏，风飘飘而吹衣。问征夫以前路，恨晨光之熹微。乃瞻衡宇，载欣载奔。僮仆欢迎，稚子候门。三径就荒，松菊就（此字点去）犹存。携幼入室，有酒盈尊。引壶觞以自怡（此字点去）酌，眄庭柯以怡颜。倚南窗以寄傲，审容膝之易安。园日涉以成趣，门虽设而常关。策扶老以流憩，时矫首而遐观。云无心以出岫，鸟倦飞而知还。景翳翳以将入，抚孤松而盘桓。归去来兮！请息交以绝游。世与我而相违，复驾言兮焉求？悦亲戚之情话，乐琴书以消忧。农人告余以春及，将有事于西畴。或命巾车，或棹孤舟。既窈窕以寻壑，亦崎岖而经丘。木欣欣以向荣，泉涓涓而始流。善万物之得时，感吾生之行休。 已乎矣！寓形宇内复几时，曷不委心任去留。胡为遑遑欲何之？富贵非吾愿，帝乡不可期。怀良辰以孤往，或植杖而秐秄。登东皋以舒啸，临清流而赋诗。聊乘化以归尽，乐夫天命复何疑。",[23,64,133,25,7,128,208,129,211,99,11146,376,950],"孤松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c01f7704017ae933116236829fd1108.jpg","纵26厘米，横239厘米",[318],{"id":11151,"slug":11152,"title":11153,"dynasty":124,"author":1642,"museum":6892,"description":11154,"tags":11155,"thumbUrl":11156,"material":1733,"size":11157,"collection":84,"collections":11158,"showCount":11097,"zanCount":48,"manualWeight":48,"mainColor":84},220728,"fang-ma-yuan-ta-ge-tu-dai-jin-220728","仿马远踏歌图","戴进（1388—1462），字文进，号静庵、玉泉山人。钱塘（今浙江杭州）人，明代画家。早年为金银首饰工匠，后改工书画。宣德间（1426—1435）以画供奉内廷，官直仁殿待诏。后因遭谗言被放归，浪迹江湖。\n他擅画山水、人物、花鸟、虫草。山水师法马远、夏圭，中年犹守陈法，晚年纵逸出蹊径，卓然一家。所作雄俊高爽，苍郁浑厚，用笔劲挺方硬，画人物笔法娴熟，顿挫间风度益著；所作花鸟、虫草亦饶有生意。为“浙派绘画”开山鼻祖。作品有《春山积翠图》《风雨归舟图》 《三顾茅庐图》《达摩至惠能六代像》等。\n戴进作为明代著名的画家，绘画临摹精博，得唐宋诸家之妙，道释、神像、人物、山水、花果、翎毛、走兽等，无所不工。\n他的山水画画作品，注重选题。画法源出宋元，继承南宋水墨苍劲一派，主要吸收南宋时期的马远、夏圭（夏圭）风格，但也吸取北宋时期的李成和范宽，并取法郭熙、李唐、董源，用笔劲挺方硬，水墨淋漓酣畅，技巧纵横，画风雄健挺拔，俱遒劲苍润，一变南宋浑厚沉郁的风格，发展了马远、夏圭传统，善于用浓淡水墨的巧妙变化，来表现“铺叙远近，宏深雅淡”的品格，既有南宋院体遗风，又有元人水墨画意，被推为“浙派山水首席画师”",[23,24,7,164,29,132,27,131,34,37,96,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b3256df255a4ff5cd730b5277dbb9e7.jpg","装裱：270.5×122.3厘米画心：182.4×107.4厘米",[],{"id":11160,"slug":11161,"title":11162,"dynasty":980,"author":1687,"museum":77,"description":11163,"tags":11164,"thumbUrl":11167,"material":66,"size":11168,"collection":136,"collections":11169,"showCount":11097,"zanCount":48,"manualWeight":48,"mainColor":72},220411,"ji-liu-xing-zhou-tu-zhang-da-qian-220411","急流行舟图","此《急流行舟图》为1948年4月作，张大千50岁。其以古法入画已臻纯熟老辣之境，博采各家之长，具宋元风范又自出新意。此时其作品古人面貌最多，变化最多。《急流行舟图》的中远景，尽显淡墨轻岚一派风气。其笔法细秀温润，明润郁葱，画中经营的幽溪细路、山涧飞瀑、竹篱茅舍、断桥危栈，皆使人感悟“真若山间景趣也”。其画面设色清秀爽气，略施浅绛，主体以山石、树木、枝叶墨色浓淡的交错运用来表现层次关系，突出新安江一带特有的清润明秀、不装巧趣的韵致。然此画精彩之处不尽于此。但见飞瀑直下，形势急转，顿生高潮：激流暗涌、险滩巨礁、双舟争渡；江边草木、迎风而动、生意盎然。此处张大千一改中远景中平淡天真之法，石涛笔意曜然纸上。其山水画本效石涛起家，谓可乱真。自是笔法流畅，用墨相宜，或笔简墨淡、或浓重滋润，恣肆郁勃、淋漓洒脱。平淡中见奇绝，乃新安江山水之天然风貌。张大千这一静一动，构思新奇，更显急流行舟之灵动野趣。画中题款诗文中似流露出张大千对于隐居山野的倾慕，然其并未在“人在荒山顶上居”上多费笔墨，成为该画点睛之笔的正是“舟从乱石堆中过”。只见两叶轻舟似于浅滩中遇到险阻，船公们或奋力撑篙，或涉水排阻，人人齐心，共闯险滩。人物船只皆以白描意笔勾勒，浅绛施与船身与肤色，虽小至寸余，但形神毕肖，呼之欲出，在水墨淡色的山水中尤为醒目，点题立意。《急流行舟图》是张大千于国内面对真山实水所作的最后一批山水画之一，亦是其于盛期“师自然”的典型范例。",[23,164,24,7,128,27,369,132,29,99,129,98,495,34,131,37,35,690,11165,11166],"急流","行舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F090de17151e7cc3bb155db86e8b0dcaa.jpg","133x53cm",[136,45],{"id":11171,"slug":11172,"title":11173,"dynasty":18,"author":3110,"museum":300,"description":4483,"tags":11174,"thumbUrl":4485,"material":278,"size":11176,"collection":84,"collections":11177,"showCount":11097,"zanCount":1998,"manualWeight":48,"mainColor":72},220254,"xiao-xiang-ba-jing-tu-jiang-tian-mu-xue-mu-xi-220254","潇湘八景图·江天暮雪",[23,164,24,7,1846,128,369,11175,1349,663,228,34,1556,37,9481,2982],"禅画","29.5X94.4厘米",[],{"id":11179,"slug":11180,"title":11181,"dynasty":18,"author":1622,"museum":77,"description":11182,"tags":11183,"thumbUrl":11184,"material":173,"size":11185,"collection":42,"collections":11186,"showCount":11097,"zanCount":48,"manualWeight":48,"mainColor":49},220071,"lin-xia-qing-yan-tu-ma-yuan-220071","林下清宴图","此作用笔苍劲老辣，斧劈皴勾勒山石棱角，峭拔硬朗的峰峦隐没在空濛烟霭之中，虚实相生晕染出幽渺的层次感。近岸古木虬枝舒展，汀渚蜿蜒柔缓，和远山形成刚柔对照。江头扁舟静泊，云岫深处藏着古寺，留白的烟岚晕开天地，把林下幽寂的清旷意境铺陈开来。\n整幅画以淡墨晕染出空寂冷逸的氛围，将林泉高致的雅趣藏于山水间，尽显悠然超脱的林下风流，暗合文人寄情林泉、清宴忘忧的隐逸襟怀。",[23,164,24,7,29,128,27,132,663,413,130,37,96,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ac221a46ecf53a5c3c912cd524c59d.jpg","104.7 x 101.4",[42],{"id":11188,"slug":11189,"title":11190,"dynasty":18,"author":2067,"museum":244,"description":11191,"tags":11192,"thumbUrl":11193,"material":173,"size":11194,"collection":45,"collections":11195,"showCount":11097,"zanCount":48,"manualWeight":48,"mainColor":72},219947,"li-nu-xiao-ying-tu-li-di-219947","狸奴小影图","猫在古代文人的笔下，也名狸奴，“猫”谐音“耄”，有长寿的吉祥寓意，成为入画的好题材。中国画史上曾出现过不少善画猫的名家，这幅画的作者李迪，就是其中之一。",[23,24,7,164,59,28,27,1634],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e16cdf4bf4cb0f1950637379b428d38.jpg","23.6x24.1cm",[45],{"id":11197,"slug":11198,"title":10733,"dynasty":124,"author":3318,"museum":244,"description":11199,"tags":11200,"thumbUrl":11201,"material":173,"size":11202,"collection":68,"collections":11203,"showCount":11097,"zanCount":1116,"manualWeight":48,"mainColor":72},219526,"hua-die-tu-wen-chu-219526","以水墨晕染湖石，嶙峋苍古，苔点缀饰更添朴拙意趣。萱花挺然而立，淡墨勾茎，朱红逐层点染花瓣，柔妍舒展，浅绿草叶衬其娇态。粉蝶振翅翩跹，翅翼晕透清浅绿意，灵动似逐香而来。\n整幅设色明丽温婉，笔法细秀工致，揉合工笔精巧与文人写意的雅致，将花草柔妍与湖石朴拙相映成趣，把初夏小景晕染得生机清逸，淡冶宜人，尽抒细腻柔婉的闺中情思。",[24,7,165,27,28,61,171,9392,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F576da20624683bb4876eb7e480a8d79c.jpg","149.3x47厘米",[68],{"id":11205,"slug":11206,"title":11207,"dynasty":124,"author":850,"museum":224,"description":11208,"tags":11209,"thumbUrl":11210,"material":173,"size":84,"collection":44,"collections":11211,"showCount":11097,"zanCount":11,"manualWeight":48,"mainColor":72},219451,"xing-yuan-ya-ji-tu-xie-huan-219451","杏园雅集图","描绘了明正统二年（1437年）三月初一，时值阁臣们的沐休假期，杨士奇、杨荣、王直、杨溥、王英、钱习礼、周述、李时勉、陈循9位朝中大臣以及画家谢环雅集于杨荣在京师城东的府邸——杏园聚会之情景。其中，杨士奇、杨荣、杨溥时人合称“三杨”，三人均历事永乐、洪熙、宣德、正统四朝，先后位至台阁重臣，正统时以大学士辅政，权倾一时。“三杨”还是当时“台阁体”诗文的代表人物。时人称杨士奇有学行，杨荣有才识，杨溥有雅操。又以居第所处，称杨士奇为西杨，杨荣为东杨，杨溥为南杨。按照当时《翰林记》的记载，当时谢环作画，与会者人手一画，也就是说至少有九幅（画家不算）《杏园雅集图》存世（现存世两幅）。",[23,24,7,25,27,28,133,572,208,64,96,34,130,1422,438,9025,170,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff366cd140ea847bfbf260d622bdcd92a.jpg",[44,318],{"id":11213,"slug":11214,"title":11215,"dynasty":124,"author":3089,"museum":244,"description":11216,"tags":11217,"thumbUrl":11218,"material":173,"size":11219,"collection":45,"collections":11220,"showCount":11097,"zanCount":48,"manualWeight":48,"mainColor":49},219418,"hua-niao-zhou-bian-wen-jin-219418","花鸟轴","此图绘竹、梅、雀，经营位置错落有致，鸟之姿态生动富情趣；用笔学宋朝院体勾勒填彩，设色妍丽生动。以梅竹、百雀为主题，象征吉祥瑞应。",[24,7,165,28,27,61,167,211,331,497,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4928cc9b3bf2e52344cbbd9dc5bf5f65.jpg","160.1x74.2公分",[45],{"id":11222,"slug":11223,"title":11224,"dynasty":351,"author":1931,"museum":450,"description":11225,"tags":11226,"thumbUrl":11230,"material":173,"size":11231,"collection":68,"collections":11232,"showCount":11097,"zanCount":1116,"manualWeight":48,"mainColor":49},219002,"ku-mu-shui-qin-tu-huang-quan-219002","枯木水禽图","这幅画描绘了湖岸边的寒冷冬景，大雁、白天鹅、野鸡和各种水鸟在三棵巨树下觅食、嬉戏，空旷荒凉的场景也让人不禁想起过去的繁华。这幅画被认为是五代时期西蜀画家黄荃的作品，但实际上它接近于元代罗稚川的风格。",[23,24,164,7,28,27,165,454,3835,211,11227,414,10582,331,7596,131,11228,1400,11229,1557],"白鹅","水泊","水畔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F928b9b088db206fb252396d6d64c69ee.jpg","纵148横107厘米",[68,136],{"id":11234,"slug":11235,"title":11236,"dynasty":351,"author":1921,"museum":244,"description":11237,"tags":11238,"thumbUrl":11239,"material":173,"size":11240,"collection":136,"collections":11241,"showCount":11097,"zanCount":1116,"manualWeight":48,"mainColor":49},218927,"dai-du-tu-guan-tong-218927","待渡图","这幅画描绘了一个高高士在野外穿越时等待船只的情景，笔触和墨迹高度变化，并有一个边缘的场景。",[23,24,7,29,132,128,131,34,31,109,10582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0234b4c0ad967411b9cb6bfbe40aadfa.jpg","21.9x24",[136],{"id":11243,"slug":11244,"title":11245,"dynasty":54,"author":9529,"museum":450,"description":11246,"tags":11247,"thumbUrl":11248,"material":66,"size":11249,"collection":136,"collections":11250,"showCount":11097,"zanCount":48,"manualWeight":48,"mainColor":72},217217,"fang-gu-shan-shui-shi-er-kai-wang-hui-217217","仿古山水十二开","此册王翚仿古十二开",[24,7,59,128,132,2271,29,34,131,99,415,711,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5d8cb08718af9c20fbb39bcf2df2b19.jpg","25x35.4cm",[136],{"id":11252,"slug":11253,"title":5991,"dynasty":124,"author":366,"museum":300,"description":8455,"tags":11254,"thumbUrl":11255,"material":692,"size":1293,"collection":84,"collections":11256,"showCount":11257,"zanCount":1998,"manualWeight":48,"mainColor":72},290556,"he-hua-zhou-xu-wei-290556",[24,164,7,165,128,369,61,81,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3e13237f744b16759e4d325b37bd217.jpg",[],122,{"id":11259,"slug":11260,"title":4229,"dynasty":54,"author":4468,"museum":20,"description":11261,"tags":11262,"thumbUrl":11263,"material":40,"size":11264,"collection":84,"collections":11265,"showCount":11257,"zanCount":1998,"manualWeight":48,"mainColor":72},232976,"hua-niao-ce-lang-shi-ning-232976","此图册分别描绘了牡丹、兰花、罂粟、萱草、荷花、梅花等艳丽多姿的花卉和体态生动的蝶、鸟。构图上取法中国传统花鸟画的格局，以虚托实，注重对所绘物象的突出。在表现技法上，则充分发挥了欧洲绘画注重明暗及透视的特点，以工致细腻的笔触，刻画出花瓣、叶片以及鸟雀的羽毛质感和体积感，呈现出与传统的中国花鸟画迥然不同的艺术风貌。这种“中西合璧”的画风成为清代宫廷绘画艺术的一大特色，受到了清皇室的青睐。",[24,7,59,28,27,81,82,481,61,62,806],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58118af921331845033ac41b6553a729.jpg","纵32.6厘米，横28.6厘米",[],{"id":11267,"slug":11268,"title":11269,"dynasty":54,"author":11270,"museum":300,"description":11271,"tags":11272,"thumbUrl":11273,"material":84,"size":84,"collection":68,"collections":11274,"showCount":11257,"zanCount":1086,"manualWeight":48,"mainColor":72},230217,"shi-er-jin-chai-tu-zhou-zhang-shan-ma-230217","十二金钗图轴","张善孖","此作跳脱了猛虎惯常的威肃凌厉之态，绘虎缓步于烟霭乱石间，笔力劲挺勾勒出雄健躯干，斑纹晕染苍劲写实，却敛去凶煞戾气，姿态带着幽婉柔媚的意趣。\n\n题诗呼应画意，以佳人风姿拟虎，将百兽之王与婉约情致相融，淡墨晕染的空濛云雾衬出悠远氛围感，工写兼具，既尽显虎的筋骨力道，又裹挟着文人画的雅致文心，是独出机杼的写虎佳制。",[23,24,7,165,128,27,5490,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21b4ce6ce085278e695890e586d2946e.jpg",[68,136],{"id":11276,"slug":11277,"title":11278,"dynasty":18,"author":768,"museum":300,"description":11279,"tags":11280,"thumbUrl":11281,"material":84,"size":84,"collection":84,"collections":11282,"showCount":11257,"zanCount":48,"manualWeight":48,"mainColor":49},227688,"shi-yi-long-tu-chen-rong-227688","十一龙图","理宗端平二年（1235）进士，知平阳县。时与名士论文讲艺，敷绎大义，士习以兴。曾为国子监主簿、福建莆田太守，官至朝散大夫。诗文豪壮，暇则游翰墨，善画龙，宝佑（1253-1258）间名重一时。画龙善用水墨，深得变化之意，泼墨成云，噀水成雾。特别是醉余大叫，脱巾濡墨信手涂抹，然后以笔成之，或全体，或一臂一首，隐约而不可名状者，皆得妙似。贾似道尝招致宾幕，醉辄狎侮之，贾不为忤。兼写松竹，学李煜“铁钩锁”法。晚年笔力简易精妙，绛色者可并董羽。偶亦画虎，勾染斑毛极工细。有赝本托以流传。现存美国波士顿博物馆之《九龙图》卷，恐是元人摹本。",[23,164,24,7,25,128,132,772,29,37,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd37fa557531a1ee46077055962506d.jpg",[],{"id":11284,"slug":11285,"title":4204,"dynasty":18,"author":223,"museum":1692,"description":11286,"tags":11287,"thumbUrl":11288,"material":692,"size":1293,"collection":84,"collections":11289,"showCount":11257,"zanCount":48,"manualWeight":48,"mainColor":72},226506,"pu-sa-yi-ming-226506","眉眼低垂，敛尽尘世喧嚣，将悲悯藏在温婉柔和的轮廓里。线条凝练温婉，晕染过渡自然，把东方含蓄的慈悲刻在面庞之上。繁复华美的冠饰精巧细腻，宝饰层叠间尽显造像的庄严华贵。青绿头光褪去了初绘时鲜亮色泽，沉淀着千年岁月的厚重。\n\n残存的朱褐石色衣纹晕染层次柔和，历经风沙侵蚀的斑驳痕迹，是时光镌刻的印记。将宋人清雅内敛融于造像，褪去张扬余韵，只留沉静温柔的悲悯。每一寸残存色彩，都带着敦煌洞窟里漫过千年的砂砾气息，让这尊菩萨跨越光阴，将千年前的虔敬与温柔，静静呈现在观者眼前。",[164,24,7,1362,187,27,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f1c1d83a52e0ad15451662404b4efa.jpg",[],{"id":11291,"slug":11292,"title":11293,"dynasty":124,"author":3148,"museum":244,"description":11294,"tags":11295,"thumbUrl":11296,"material":173,"size":11297,"collection":68,"collections":11298,"showCount":11257,"zanCount":1116,"manualWeight":48,"mainColor":49},222397,"xing-hua-kong-que-tu-lv-ji-222397","杏花孔雀图","此画属于吕纪工笔花鸟画的代表作品，右方署款「吕纪」，钤盖「四明吕廷振印」一方。画中描绘一对孔雀在杏花树下栖息的景况。位于画面中央的孔雀单脚伫立于岩石上，回首注视绽放的红色牡丹，另一只孔雀则蜷伏石上，观察地面景况。画中的孔雀、杏花、牡丹等象征着吉祥意味。杏花以白色、粉赭色系颜料敷染，牡丹花及孔雀则使用浓重的赭红色，与石青、石绿的颜料搭配，充满着富贵绮丽的装饰性。",[23,24,7,165,27,28,61,2167,248,263,171,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c7b2db4a8d4bb0924c74e8de14dc43d.jpg","纵203.4厘米，横110.6厘米",[68,45],{"id":11300,"slug":11301,"title":4005,"dynasty":182,"author":4006,"museum":20,"description":11302,"tags":11303,"thumbUrl":11304,"material":611,"size":4010,"collection":318,"collections":11305,"showCount":11257,"zanCount":48,"manualWeight":48,"mainColor":49},221139,"shang-yang-tai-tie-li-bai-221139","《上阳台帖》是李白所书自咏四言诗。释文：\n“山高水長，物象千萬，非有老筆，清壯可窮。十八日，上陽臺書，太白。”\n引首清高宗弘历楷书题“青蓮逸翰”四字，正文右上宋徽宗赵佶瘦金书题签：“ 唐李太白上陽臺”一行。\n后纸有宋徽宗赵佶，元张晏、杜本、欧阳玄、王馀庆、危素、驺鲁，清乾隆皇帝题跋和观款。\n卷前后及隔水上钤有宋赵孟坚“子固”、“彜齋”、贾似道“秋壑圖書”，元“張晏私印”、“歐陽玄印”以及明项元汴，清梁清标、安岐、清内府，近代张伯驹等鉴藏印。\n这是李白传世的唯一书迹。其落笔天纵，收笔处一放开锋，宋黄庭坚评李白：“及观其稿书，大类其诗，弥使人远想慨然。白在开元、至德间，不以能书传，今其行、草殊不减古人。”(《山谷题跋》)\n此帖曾入宣和内府，后归贾似道，元代曾经张晏处，明藏项元汴天籁阁。清代先为安岐所得，再入内府，清末流出宫外。民国时入张伯驹手，新中国成立后献给国家。1958年此帖转交故宫博物院收藏。",[23,164,7,25,133,64,1590,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ddf2bf1d39afff56bc9da86e3bbf57.jpg",[318],{"id":11307,"slug":11308,"title":11309,"dynasty":144,"author":410,"museum":244,"description":11310,"tags":11311,"thumbUrl":11313,"material":66,"size":11314,"collection":136,"collections":11315,"showCount":11257,"zanCount":1998,"manualWeight":48,"mainColor":49},220812,"shen-lin-die-zhang-zhou-wang-meng-220812","深林叠嶂轴","本幅在《御制诗二集》题名作王蒙〈山水〉。为乾隆皇帝第一次南巡回程时于淮安一带所题。画上有王蒙（1308 —1385）名款，山石亦以蜷曲「牛毛皴」与黝黑苔点交错，组合出「王蒙式」云雾升腾般的动感山势，然此作效果较趋平面性，疑为明代画家追仿其风格的佳作。乾隆皇帝将深林叠嶂中的水榭、人物，比附为长寿仙人偓佺与王子乔修链的隐居处，或许他联想到的是南巡中短暂相见的沈德潜等老臣，期盼他们致仕乡居期间得保长寿康健。",[23,24,7,165,128,29,132,11312,6791,98,99,34,131,96,35],"深林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04af7491da242fe3e6e5e4e5e92f4e9e.jpg","68.7x42.5",[136,117],{"id":11317,"slug":11318,"title":11319,"dynasty":980,"author":5076,"museum":11320,"description":11321,"tags":11322,"thumbUrl":11323,"material":84,"size":84,"collection":84,"collections":11324,"showCount":11257,"zanCount":48,"manualWeight":48,"mainColor":72},220591,"jiu-hu-he-ju-hua-qi-bai-shi-220591","酒壶和菊花","Hong Kong Museum of Art","淡赭晕染出酒壶憨朴轮廓，留白衬出器物的温润拙厚。下方提篮中菊花攒簇，朱红明丽、赭黄沉凝、墨白清雅，花瓣勾勒老辣朴拙，枝叶苍劲带着蓬勃生机。右侧题笔顶天立地，楷隶相融的题字与画面相映成趣。虚实相生间，将日常小物化为寄情之物，以酒菊托祝寿深意，笔力雄浑简括，把乡野意趣与文人雅韵揉合一处，尽显冲淡隽永的东方意致，将寻常烟火绘成动人的诗意画卷。",[23,24,7,165,27,369,61,376,439,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b1dcc70632968186c19f507f452f51.jpg",[],{"id":11326,"slug":11327,"title":11328,"dynasty":144,"author":4054,"museum":244,"description":11329,"tags":11330,"thumbUrl":11332,"material":278,"size":11333,"collection":68,"collections":11334,"showCount":11257,"zanCount":48,"manualWeight":48,"mainColor":49},214818,"jia-tu-guan-dao-sheng-214818","茄图","管道升（生卒年不详）是中国元代（1271年 - 1368年）的画家。他主要以写意山水画著称。管道升的茄图是一幅以茄子为主题的山水画。茄子是一种常见的蔬菜，被广泛用于烹饪。这幅画中的茄子极具写意，呈现出自然的姿态和神韵。管道升善于运用水墨画的技法，表现出山水中的细腻和精致。\n\n管道升的茄图是一幅脍炙人口的名作，被广泛传颂和收藏。它的笔墨简洁，意境深远，描绘出了大自然的美丽和生机。这幅画不仅描绘了山水的美景，而且也表达了作者对生活的感悟和思考。管道升的茄图是中国山水画史上的经典之作，对中国画坛产生了深远的影响。",[24,7,128,28,61,11331,582,549,208],"茄子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ad2d3ee1317752964db7545c6ea152f.jpg","52.1x28.4",[68],{"id":11336,"slug":11337,"title":10613,"dynasty":54,"author":1460,"museum":20,"description":11338,"tags":11339,"thumbUrl":11340,"material":734,"size":11341,"collection":136,"collections":11342,"showCount":11343,"zanCount":48,"manualWeight":48,"mainColor":72},234296,"yuan-ji-shan-shui-tu-ce-shi-tao-234296","原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[164,24,7,59,27,128,132,29,413,96,35,415,7782,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff66ce93c8dd6e2917b723381f2a32347.jpg","纵33.2cm，横22.8cm",[136,45],121,{"id":11345,"slug":11346,"title":11347,"dynasty":18,"author":633,"museum":20,"description":11348,"tags":11349,"thumbUrl":11350,"material":611,"size":11351,"collection":84,"collections":11352,"showCount":11343,"zanCount":1998,"manualWeight":48,"mainColor":49},233211,"lin-liu-fu-qin-tu-ye-xia-gui-233211","临流抚琴图页","宋代郭熙《林泉高致》云：“山以水为血脉”、“山得水一活”，水是山的眼睛，关乎画面的神采，最难画活。宋代的山水画中多以密致的线条勾出水纹，如现存李唐的《江山小景图》、马远的《水图》等都是以工致的笔法画出水纹。在这幅画中，溪水则以简练的线条勾勒，部分留白，盘曲掩映，时隐时现，难觅其踪，表现出流水的清澈和流动感。夏圭是善于在绘画中“用虚”的大师，在这幅画中，他利用了留自来表现江山湖泊的辽阔深远，虽未着一笔，却能“无画处皆成妙境”，给人无限遐想的空间。画中的人物也很有特点，没有过多地描绘细节，而是注重表现身体的动势，笔简而神全。抚琴者似在弹奏，让人不禁联想到琴声的悠扬。\n作为一个欣赏者，我们可能更多地关注的是画面的内容和技法的运用，往往忽视了绘画材料本身。古人云：“皮之不存，毛将焉附?”画面的效果和气氛的营造，一方面取决于画家的精神境界和绘画技巧，另一方面取决于绘画的材料即媒材。唐、宋时期绘画尚用绢，至明末，画家皆用熟纸。夏圭此画作于熟绢之上，绢本细腻的质地适于表现笔墨的流利劲健，他充分利用了绢的特性，笔势纵横生动。\n元代庄肃的《画继补遗》中评价夏圭：“画山水人物极俗恶。宋末世道凋丧，人心迁革，圭遂滥得时名，其实无可取，仅可知时代姓名而已。”此论可谓偏颇至极。夏圭的山水画，用笔外露，非是缺点，而是其特点。夏文彦《图绘宝鉴》称赞夏圭说：“院人中画山水，自李唐以下，无出其右者也。”宋代绘画是中国传统绘画的精华，它来源于画家“外师造化，中得心源”，并非是抛弃自然的笔墨游戏。如宋代郭熙的《林泉高致》中提到画家对待绘画用“敬”的态度“凡一景之画，不以大小多少，必须注精以一之”、“必神与俱成之”、“必严重以肃之”、“必恪勤以周之”，不可“以轻心挑之”、“以慢心忽之”。夏圭正是以这种敬业的精神以及“心源”颖悟，在方寸之内，写出如此之大气象、大境界。\n宋、元以后文人画开始居于画坛的主流地位，夏圭的山水画不断遭到文人画家不公正的指责和排挤，虽偶有师法者，但已是落日余晖，失去了往日的辉煌。然而被文人画家“嗤之以鼻”的夏圭的山水画却跨越了国界，深深地影响了日本的绘画，出现了周文、雪舟等一批绘画大家，纷纷模仿夏圭的山水画。\n《临流抚琴图》是画家夏圭创作的一幅作品，该图是国家一级文物，图中绘一高士临流而坐，气象萧疏，意境深远。\n墨笔急扫之后，迅速以水笔接染，笔墨衔接自然，一气呵成。由于墨与水的使用恰到好处，使得整幅画面颜色透亮，一股清新之气扑面而来。画树木，得其形而又取其势，意笔写出枝干，偃仰屈曲，苍健老硬，有蛟龙惊虬之势；树叶点染而成，疏密有致，虚实相生，浓淡相宜，看似不经意，实则惨淡经营。茅屋隐现于树后，以墨笔勾出轮廓，再施以规则的点皴，极具装饰意味。画水有独特之处。",[24,164,7,1131,128,132,29,96,99,413,131,438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b6e2189c33e42f16457ba45586676b.jpg","25.5X26厘米",[],{"id":11354,"slug":11355,"title":11356,"dynasty":54,"author":872,"museum":300,"description":11357,"tags":11358,"thumbUrl":11359,"material":84,"size":84,"collection":84,"collections":11360,"showCount":11343,"zanCount":48,"manualWeight":48,"mainColor":72},230270,"hua-niao-chong-yu-shen-pin-zhu-da-230270","花鸟虫鱼神品","这一开册页书画合璧，尽显写意风流。右侧水墨花卉以极简笔墨成画，浓墨晕染花头，枯笔勾出素瓶，浓淡枯湿之间，将一花一器的幽寂勾勒殆尽，留白处尽是澹远空寂的禅意。左侧草书与画境呼应，笔墨纵逸苍劲，线条跌宕，和画面疏简孤高的气息融为一体。整体舍去所有赘饰，以少胜多，清冷孤傲的意趣浸透纸面，寥寥数笔就将文人澹泊疏离的心境铺陈开来，简而不空，淡而有味，尽显中式水墨留白造境的精妙。",[23,24,7,59,128,61,64,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bec6de9b81819d99336f4632ebed928.jpg",[],{"id":11362,"slug":11363,"title":11364,"dynasty":144,"author":223,"museum":300,"description":11365,"tags":11366,"thumbUrl":11367,"material":84,"size":84,"collection":84,"collections":11368,"showCount":11343,"zanCount":1116,"manualWeight":48,"mainColor":49},228216,"mu-dan-hua-hui-tu-zhou-yi-ming-228216","牡丹花卉图轴","以深沉绢地托举群芳，白牡丹莹洁似凝脂，红牡丹浓艳若燃霞，紫牡丹晕染出雅致柔韵。花姿或肆意盛放、或含苞颔首，俯仰之间各有姿态。叶片以细腻晕染分出阴阳向背，脉络清浅舒展，将草木柔润生机尽藏笔底。构图繁而不乱，错落排布尽显繁茂却不觉拥塞，将牡丹的雍容富贵融于清雅古拙的笔意之中，尽显花鸟写生的精湛功力，把国色天香的神韵晕染得恰到好处。",[23,164,24,7,165,28,27,263,62,2918],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f44b549ecd7f5efb68ebd193de03a4a.jpg",[],{"id":11370,"slug":11371,"title":11372,"dynasty":351,"author":223,"museum":244,"description":11373,"tags":11374,"thumbUrl":11376,"material":253,"size":11377,"collection":84,"collections":11378,"showCount":11343,"zanCount":1998,"manualWeight":48,"mainColor":49},223336,"dan-feng-you-lu-tu-yi-ming-223336","丹枫呦鹿图","《丹枫呦鹿图》描绘的是群鹿游憩于色彩斑斓的秋林中的情景，造型生动真实，颇具情趣。其构图繁密饱满，形式美感强烈，装饰味浓。\n《丹枫呦鹿图》中，作者使用传统的皴法、勾勒之法较少，却大幅度使用了类似西方的光影之法来表现鹿的立体感，且敷色富丽鲜艳又有别干常见的没骨山水。实异于汉族文化地区之画作，属辽画之精品。",[23,24,7,164,165,27,28,11375,2302,949,34,1955],"枫树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05a0c1c1455178893acd65ad00afdad0.jpg","纵118.5cm，横64.6cm",[],{"id":11380,"slug":11381,"title":11382,"dynasty":54,"author":11383,"museum":300,"description":11384,"tags":11385,"thumbUrl":11386,"material":734,"size":11387,"collection":68,"collections":11388,"showCount":11343,"zanCount":975,"manualWeight":48,"mainColor":72},223158,"qun-xian-zhu-shou-tu-fu-dao-ren-xiong-223158","群仙祝寿图佛道","任熊","此幅图画场面宏大，共绘神仙达22位之多，八仙中的七仙，寒山、拾得等包括佛教、道教及民间信仰的各路神仙。",[23,24,164,7,25,187,28,27,96,97,29,34,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea49554b72b9cdd2c017d8d51d64b0c0.jpg","86X170cm",[68],{"id":11390,"slug":11391,"title":11392,"dynasty":54,"author":2582,"museum":244,"description":11393,"tags":11394,"thumbUrl":11395,"material":11396,"size":11397,"collection":68,"collections":11398,"showCount":11343,"zanCount":48,"manualWeight":48,"mainColor":72},222807,"zhu-xia-hong-mei-wang-wu-222807","竹下红梅","王武，1632年生，1690年逝世，吳縣（今江蘇蘇州）人。字勤中，晚號忘庵，又號雪顛道人。明代畫家王鏊六世孫，精鑑賞，富收藏，擅畫花鳥，風格工整秀麗，正如王時敏所云：“神韻生動，應在妙品中。”為清初院畫的名家。亦擅詩文。傳世作品有《水仙柏石圖》、《紅杏白鴿圖》、《鴛鴦白鷺圖》等。",[23,24,7,59,27,28,61,167,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe28b7f42c49990357f197784cca3d392.jpg","紙","27.9×36.3",[68,45],{"id":11400,"slug":11401,"title":11402,"dynasty":124,"author":125,"museum":20,"description":11403,"tags":11404,"thumbUrl":11405,"material":1722,"size":11406,"collection":136,"collections":11407,"showCount":11343,"zanCount":1998,"manualWeight":48,"mainColor":72},222128,"xi-shan-yu-guan-tu-juan-shen-zhou-222128","西山雨观图卷","画心无款识，钤“沈”（朱方）、“石田”（朱方）、“启南”（朱方）印。引首文徵明书“西山雨观”隶书四字。后有陈沂、顾璘、文徵明、汤珍、蔡羽、徐充、文彭、盛时泰、文嘉九家题跋。鉴藏印钤“乾隆御览之宝”、“乾隆鉴赏”、“三希堂精鉴玺”、“宜子孙”、“子孙永保其用”、“修竹馆”、“石渠宝笈”、“石渠宝鉴”、“宝笈重编”、“乐寿堂鉴藏宝”、“宁寿宫续人后渠宝笈”、“嘉庆御览之宝”、“无逸斋精鉴玺”、“宣统鉴赏”、“盛仲交”、“商丘宋犖审定真迹”等。\n画面描绘苏州西山烟云变化、雨霁烟消的景色。沈周仿南宋书画家米友仁的笔法，描绘峰峦连绵起伏，山间云雾出没，林木层叠，村庄、湖泊、小桥被笼罩在烟霭之中。山石和草木均用水墨点成，浑然一体，不见线条及皴擦的痕迹，显示出画家高超的绘画水平和独到的审美韵味。卷后题跋者都是苏州地区的文人墨客，他们常互邀相聚，饮酒赋诗，切磋画艺，探究学问，他们在诗跋中表达了对《西山雨观图》的赞美，可见该图在明代中后期文人中产生了颇为重要的艺术影响和审美共鸣。",[23,24,7,25,128,29,132,64,208,37,34,415,3427,3698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79ab75a5ee8c8a6a86fe7bdb89e6409.jpg","纵25.2厘米，横105.8厘米",[136,117],{"id":11409,"slug":11410,"title":6826,"dynasty":124,"author":2268,"museum":244,"description":11411,"tags":11412,"thumbUrl":11413,"material":151,"size":84,"collection":136,"collections":11414,"showCount":11343,"zanCount":48,"manualWeight":48,"mainColor":49},220919,"shan-shui-li-zhou-dong-qi-chang-220919","董其昌虽以古人为师，不过反对单纯机械地模拟蹈袭。因为随着阅历的增加与思想的成熟，的临摹是有选择地取舍，融入自己的创意。董认为如果离开了自己的创意，古人的精神也难以表达，因此应以自己独创的形式再现古人的“风神”。董其昌的临古可谓开一代先河。影响了后来许多的画家",[23,24,7,165,128,132,29,663,228,413,372,497,130,6810],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc897e2980b28ca1fb5a57c61fadbb250.jpg",[136,117],{"id":11416,"slug":11417,"title":11418,"dynasty":144,"author":1208,"museum":56,"description":11419,"tags":11420,"thumbUrl":11421,"material":278,"size":84,"collection":136,"collections":11422,"showCount":11343,"zanCount":1116,"manualWeight":48,"mainColor":49},217218,"gu-mu-cong-huang-tu-ni-zan-217218","古木丛篁图","倪瓒是一位非常有才华的画家，他在元朝时期担任过官员，同时也是一位著名的画家。他的古木丛篁图是他的代表作之一，被广泛认为是元朝画坛上的杰出作品。这幅图画的是一片树木茂密的森林，画面上的树木都长得非常壮观，给人以深深的感觉。倪瓒在画这幅图的时候，非常注重细节，每一棵树都绘制得非常精细。在这幅图中，倪瓒还表现出了树木之间的相互依存关系，这使得这幅图显得更加生动。",[23,24,128,7,165,188,64,132,331,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9485a61ec295472a35cd5b4873278e45.jpg",[136],{"id":11424,"slug":11425,"title":11426,"dynasty":124,"author":223,"museum":244,"description":11427,"tags":11428,"thumbUrl":11430,"material":66,"size":11431,"collection":44,"collections":11432,"showCount":11343,"zanCount":48,"manualWeight":48,"mainColor":72},216958,"ming-tai-zu-ban-shen-xiang-yi-ming-216958","明太祖半身像","这幅画描绘了朱元璋的长脸，气势非凡，眼睛深邃，脸颊修长。",[24,7,28,27,96,170,772,11429],"明代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f24401c5275f2f31ff091e08817cfd6.jpg","101.6x65.4",[44],{"id":11434,"slug":11435,"title":11436,"dynasty":124,"author":8983,"museum":244,"description":11437,"tags":11438,"thumbUrl":11439,"material":173,"size":11440,"collection":136,"collections":11441,"showCount":11343,"zanCount":1998,"manualWeight":48,"mainColor":49},214739,"han-jiang-cao-ge-tu-zhao-zuo-214739","寒江草阁图","画江坞村居，从楼里可以看到远处的风景。长桥上锁，云雾缭绕，山峦起伏。森林湿润，层次分明。与烟雾和雾气混合在一起，感觉就像晴天开始时的一场突如其来的雨。烟雾在河边不时地出现和消失。这幅山水画非常特别，先用淡墨裂开，然后用焦墨破开，这样就可以看出笔墨的光彩，墨色也很浓。",[24,7,165,128,132,29,130,34,98,99,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde2932a52531fae657b3d89f6fb99b15.jpg","160x51.8",[136],{"id":11443,"slug":11444,"title":11445,"dynasty":124,"author":1642,"museum":244,"description":11446,"tags":11447,"thumbUrl":11450,"material":317,"size":11451,"collection":136,"collections":11452,"showCount":11343,"zanCount":975,"manualWeight":48,"mainColor":49},214534,"feng-yu-gui-zhou-zhou-dai-jin-214534","风雨归舟轴","这幅画是笔墨兼工带写，奔放豪纵而苍劲淋漓。这幅画很好地运用了「水晕墨章」的技法，用大笔和淡墨快速而斜地扫过风和雨的自然景观，竹子、树木、芦苇和稻草的雨衣，都迎着风和雨弯下腰。　虽然戴进的画风与南宋宫廷画家的体系相同，但他在画中加入了新的内容，如这幅画，并确立了浙派山水画的基本风格，成为后世效仿的典范。",[24,7,165,164,128,132,11448,11449,129,1350,98,99,34,496,37,7462,624,131],"风雨","归舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07168b75e7b49cbee77b8e01e67a53fa.jpg","143x81.8",[136],{"id":11454,"slug":11455,"title":11456,"dynasty":54,"author":1460,"museum":300,"description":11457,"tags":11458,"thumbUrl":11459,"material":84,"size":84,"collection":84,"collections":11460,"showCount":11461,"zanCount":1998,"manualWeight":48,"mainColor":72},228995,"hua-hui-ce-shi-zhen-shi-tao-228995","花卉册十帧","此作以桃花配墨竹，刚柔互衬。粉桃花朵晕染柔润，娇妍含露，枯笔写枝拙朴苍劲，尽显花柔枝老的生趣。右下角墨竹以浓墨挥写，叶片挺拔清瘦，与柔媚桃花相映，愈见雅致。\n\n行书题款舒朗流畅，诗文借春日江南景致抒放逸闲情，诗书画意相融无间。整幅以淡墨轻色写意，随性疏朗，以简淡笔墨托出春日清妍，将文人心底的闲情雅趣寄于花枝竹影间，淡而有味，简而有神，尽显文人画的写意真趣。",[164,24,7,59,128,27,61,209,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fade10183679772013e35beae8b8ea357.jpg",[],120,{"id":11463,"slug":11464,"title":11465,"dynasty":124,"author":223,"museum":11466,"description":11467,"tags":11468,"thumbUrl":11470,"material":514,"size":11471,"collection":84,"collections":11472,"showCount":11461,"zanCount":975,"manualWeight":48,"mainColor":49},223381,"qian-qiu-jue-yan-tu-yi-ming-223381","千秋绝艳图","中国国家博物馆","此卷在六米多长的画面上，绘写了近七十位古代仕女形象，画中女子采用工笔重彩，多用铁线描钩勒衣纹。服饰敷彩妍丽鲜明。每个人物都手持或配有最能代表和体现她们身份的配物，并在右上方，各题有七言绝句一首。",[23,24,7,25,28,27,96,166,438,9025,232,170,7344,62,11469],"珊瑚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ca25007acf93fb2441506aa6e02095e.jpg","29.5x667.5厘米",[],{"id":11474,"slug":11475,"title":7220,"dynasty":54,"author":1242,"museum":524,"description":11476,"tags":11477,"thumbUrl":11478,"material":1223,"size":11479,"collection":44,"collections":11480,"showCount":11461,"zanCount":1998,"manualWeight":48,"mainColor":49},222705,"fo-xiang-jin-nong-222705","图中释迦牟尼，正面全身，头顶青螺结，身着红袈裟，一臂袒露拱手伫立，神态安详而肃穆。面部以刚劲的铁线描勾出，敷设淡彩，丰腴圆润，神采飘逸。周身的衣纹采用枯笔折绝画法，下接卷云莲座，线条展转流动，有升腾动荡之感。\n又于释迦两侧作记，右边文日：“十五年前为暖鹑居士写金刚经卷，刻之枣木，精装千本，善施天下名胜禅林……今又画佛，画菩萨、画罗汉，将俟世之信心，敬俸者锓摹上石，一如写经之流传云。七十四双机郡金农记。”左边题《古佛颂》，长远百余字。书体楷中兼隶，有“漆书”之称，其风格独绝。书画和谐，使佛像更为突出。其画面形式极适于“摹上石”流传于世。",[23,24,7,187,96,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ef5ee14a984d59580b5e0d42f846e7c.jpg","133cm×62.5cm",[44],{"id":11482,"slug":11483,"title":11484,"dynasty":124,"author":802,"museum":161,"description":11485,"tags":11486,"thumbUrl":11487,"material":59,"size":84,"collection":68,"collections":11488,"showCount":11461,"zanCount":1998,"manualWeight":48,"mainColor":72},221905,"hua-niao-jing-pin-ce-chen-hong-shou-221905","花鸟精品册","陈洪绶（1599～1652），明末清初著名书画家、诗人，字章侯，号老莲，浙江绍兴人。其画手法简练，格调高古，享誉明末画坛，与当时的顺天崔子忠齐名，号称“南陈北崔”。花鸟工笔描绘精细，设色清丽，富有装饰味。",[24,7,59,27,28,61,171,2438,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F852ddfb4bab4ecb9d65b1c1507a19737.jpg",[68,45],{"id":11490,"slug":11491,"title":11492,"dynasty":144,"author":8127,"museum":20,"description":11493,"tags":11494,"thumbUrl":11495,"material":40,"size":11496,"collection":68,"collections":11497,"showCount":11461,"zanCount":1998,"manualWeight":48,"mainColor":49},221839,"hua-zhu-jin-ji-tu-zhou-wang-yuan-221839","花竹锦鸡图轴","元代的花鸟画不及宋代昌盛，但却有新的面貌。一部分画家继承了北宋院画刻画严谨的传统并加以变化，发展了勾勒、点染相结合的写生技法，画风朴实拙茂又不失精微细密；另一部分画家则彻底摆脱院体工整妍巧的写生风格，以萧散简逸为宗，充分体现了赵孟頫以书法入画的艺术主张。但总体来看，元代花鸟画的气格是宁静、沉着和庄严的，既不变形又不放纵，体现了“法不逾矩”的特点。活跃于元代中后期的王渊是继承北宋院画的代表画家。",[23,144,24,7,165,28,27,61,2510,167,171,211,4278,497,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7466780a1e6d1a39bd28e7e52a2208b0.jpg","纵175.7cm，横110.1cm",[68,45],{"id":11499,"slug":11500,"title":11501,"dynasty":18,"author":397,"museum":244,"description":11502,"tags":11503,"thumbUrl":11504,"material":611,"size":11505,"collection":84,"collections":11506,"showCount":11461,"zanCount":1116,"manualWeight":48,"mainColor":72},221253,"mu-dan-shi-tie-ce-zhao-ji-221253","牡丹诗贴册","此作华丽富贵，疏密自然，用笔洒脱，线条粗细有致，笔势圆转流畅，书写时以手腕为轴心，少了点刚硬，多了些柔和，充分表现出了瘦金书体的婀娜之美，可能原先配有一幅双色牡丹图，作品参差错落，一气呵成，表现出了作者高度的艺术修养。",[23,164,24,7,59,3520,64,1590,128,263,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f35d3427d35e7def70a2f431c6cc271.jpg","34.8cm×53.3cm",[],{"id":11508,"slug":11509,"title":11510,"dynasty":144,"author":569,"museum":11511,"description":11512,"tags":11513,"thumbUrl":11514,"material":611,"size":11515,"collection":318,"collections":11516,"showCount":11461,"zanCount":1105,"manualWeight":48,"mainColor":72},220853,"han-ji-an-chuan-zhao-meng-fu-220853","汉汲黯传","日本东京·永青文库","《汲黯传》被认为是传世赵孟頫的小楷名篇。不过学者一般认为这是俞和仿赵之作。俞和也多临晋人小楷如《乐毅论》等。其精工扎实、功力深厚处，是其他学赵者难以达到的。但赵的虚和婉丽，俞和却没有能学到，以此辨俞和作伪赵书，可谓洞若观火。《汲黯传》同他自临的《乐毅沦》、《临定武兰亭序》款书小楷一样，也是只见方峻刚利，而没有赵的虚婉遒媚。《汲黯传》 - 原文\n汲黯字长孺，濮阳人也。其先有宠于古之卫君。至黯七世，世为卿大夫。黯以父任，孝景时为太子洗马，以庄见惮。孝景帝崩，太子即位，黯为谒者。东越相攻，上使黯往视之。不至，至吴而还，报曰：“越人相攻，固其俗然，不足以辱天子之使。”河内失火，延烧千余家，上使黯往视之。还报曰：“家人失火，屋比延烧，不足忧也。\n臣过河南，河南贫人伤水旱万余家，或父子相食，臣谨以便宜，持节发河南仓粟以振贫民。\n臣请归节，伏矫制之罪。“上贤而释之，迁为荥阳令。黯耻为令，病归田里。上闻，乃召拜为中大夫。以数切诛，不得久留内，迁为东海太守。黯学黄老之言，治官理民，好清静，择丞史而任之。其治，责大指而已，不苛小。黯多病，卧闺阁内不出。岁余，东海大治。称之。上闻，召以为主爵都尉，列于九卿。治务在无为而已，弘大体，不拘文法。\n当是时，太后弟武安侯蚡为丞相，中二千石来拜谒，蚡不为礼。然黯见蛉未尝拜，常揖之。天子方招文学儒者，上曰吾欲云云，黯对曰：“陛下内多欲而外施仁义，奈何欲效唐虞之治乎！”上默然，怒，变色而罢朝。公卿皆为黯惧。上退，谓左右曰：“甚矣，汲黯之戆也！”群臣或数黯，黯曰：“天子置公卿辅弼之臣，宁令从谀承意，陷主于不义乎？且已在其位，纵爱身，奈辱朝廷何！”（《史记·汲郑列传》）\n译文:汲黯，字长孺，是濮阳人。他的先人被古时的卫君宠幸。到汲黯是第七代，代代做卿大夫。汲黯因为父亲而袭任官位。在孝景帝时做了太子洗马，因为严肃使人畏惧。孝素帝驾崩，太子即位，汲黯做谒者。东越人互相攻打，皇上派汲黯去观察。汲黯还没到达那里，到了吴郡就回来了，报告说：“越人互相争斗本来是他们的风俗，不足以劳顿天子的使臣前往。”黄河以北地区失火，连着烧及千余家，皇上派汲黯前往视察情况乙汲黯回来报告说：“家里人弄着了火，房子并排，所以连带烧了，不值得担忧？臣经过黄河南面。黄河南面的穷人有万余家受到水灾、旱灾的侵害，有的父子互相残食，臣以职务之便，拿令牌分发了黄河以南仓库的粟米来赈济贫民，臣还回令牌，请皇上治我假传圣旨的罪过。”皇上认为他贤能就放了他，改任荥阳县令。汲黯耻于做县令（这么小的官职），就托病回家乡了。皇上听说，就把他召回来任为中大夫。因为汲黯多次急谏，不能久留宫内，改任东海郡太守。汲黯学习黄老学说，领导官吏，治理百姓，喜好清静，选择郡丞和书吏来任用他们。他治理政事，只管大的方面，不苛求细节。汲黯多病，躺在内室里不出来，一年多，东海郡大治（治理得非常好），人们称赞他。皇上听说了，召见他，任命为主爵都尉，地位在九卿之列。汲黯做官，务求无为而治，宏扬大体，不拘泥文书法令。\n这个时候，太后的弟弟武安侯田蚡为丞相，职位在中二千石以上的官吏来拜见，田蚡都不答礼。但是汲黯见田蚡不首行跪拜礼，只是常常拱拱手。天子正招求会做文章和有学问的人，皇上说我想如何如何，汲黯应答说：“陛下内心多欲望却表面上行仁义，怎么能效法唐虞之治呢！”皇上不说话，怒气冲冲，变了脸色下了朝。公卿都为汲黯害怕。皇上退下后，对左右的人说：“太过分了，汲黯真是卤莽！”群臣中有人责备汲黯，汲藉说：“天子任命公卿等辅佐的大臣，难道让我们讨好奉承，把主上置于不义的境地吗？况且我已身在其位，纵使爱惜自己，那又怎能辱没朝廷呢！”",[23,7,64,572,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc87a676feff0af7b7c4b954d4ed6ab0a.jpg","每页纵17.6cm，横17.4cm",[318],{"id":11518,"slug":11519,"title":11520,"dynasty":124,"author":125,"museum":56,"description":11521,"tags":11522,"thumbUrl":11525,"material":278,"size":11526,"collection":136,"collections":11527,"showCount":11461,"zanCount":1998,"manualWeight":48,"mainColor":72},220053,"shui-cun-shan-wu-tu-shen-zhou-220053","水村山坞图","在其所绘《水村山坞图》的题跋中也曾言到：右画一卷水村山坞人家，竹木溪彴，林蹊萦纡映带，若桃源然，观之便有移家之想。似此，世未必无，岂在笔楮间所为幻迹，以娱人之目耶？尝读子厚柳先生愚溪之文，可见也。文与画无二致，得此卷者毋直以画视之。\n《水村山坞图》卷绘崇山峻岭，江天无际，渔父横舟，正所谓「竹木溪彴，林蹊萦纡映带」。",[23,24,7,25,128,132,29,11523,11524,131,34,130,99,129,35,1337,98],"山坞","水村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb656df01da6d53e1cb274f4b3d4c4eca.jpg","30.5 ×770.8 厘米",[136],{"id":11529,"slug":11530,"title":11531,"dynasty":18,"author":9837,"museum":2862,"description":11532,"tags":11533,"thumbUrl":11534,"material":173,"size":11535,"collection":136,"collections":11536,"showCount":11461,"zanCount":1116,"manualWeight":48,"mainColor":49},219898,"shui-ge-ya-ji-tu-jiang-can-219898","水阁雅集图","江参,（公元12世纪）〔南宋〕字贯道，南徐（今江苏省镇江市辖丹徒）人，江大方之子。居霅川（今浙江湖州市南），形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，\n(公元12世纪)〔南宋〕字贯道，南徐(今江苏省镇江市辖丹徒)人，居霅川(今浙江湖州市南)，形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，曾居三衢(今浙江常山县)，治园筑馆，园馆取《楚辞》之言名曰“崇兰”，平日与陈与义(1090-1138)、程俱(1078-1144)等交往甚多，生卒年不详。长于山水，师董源、巨然、赵叔问，参以“范郭”画法，创“泥里拔钉皴”，自成一家。高宗赵构召见，委临安府治，不意竟得暴病而卒，人惋惜其“未尽其才”。",[23,1846,164,24,7,25,29,128,132,27,97,98,99,131,34,96,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F598872c82e751688193dc1fe0421b50f.jpg","30.5x120厘米",[136],{"id":11538,"slug":11539,"title":11540,"dynasty":124,"author":204,"museum":56,"description":11541,"tags":11542,"thumbUrl":11543,"material":173,"size":11544,"collection":136,"collections":11545,"showCount":11461,"zanCount":48,"manualWeight":48,"mainColor":49},219780,"lin-song-ren-hua-ce-chou-ying-219780","临宋人画册","《临宋人画册》凡十五开，题材涉及了山水画、花鸟画、仕女图、文人画、界画、鞍马等，乃为仇英临摹宋人的集成之作，画风皆为典型的南宋院体风格，而其中数开现在尚可找到宋画原作，两相对照，确实可见仇英落笔乱真的妙技；又如其中《滕王阁》之类的扎实界画工夫，在文人画逸笔草草的时代，早已难得一见。",[24,164,7,59,330,28,27,29,211,171,99,331,1144,497,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbed6bd597703f54b095befe2d3e1dd07.jpg","27.2x25.5厘米",[136,44],{"id":11547,"slug":11548,"title":11549,"dynasty":124,"author":204,"museum":244,"description":11550,"tags":11551,"thumbUrl":11554,"material":173,"size":11555,"collection":44,"collections":11556,"showCount":11461,"zanCount":1116,"manualWeight":48,"mainColor":72},218181,"chun-xiao-tu-chou-ying-218181","纯孝图","仇英是中国明朝时期的一位著名画家。他出生于江苏省的一个艺术世家，从小就对绘画和书法有浓厚的兴趣。仇英擅长画花鸟，尤其擅长画山水。他的画作以精细的笔法和精致的画风著称，并且被认为是当时中国画坛的佼佼者之一。\n\n整幅画渲染出了浓浓的母爱之情和孝顺之心。它成为了中国传统文化中关于孝道的经典代表作之一，并被广泛收藏和喜爱。",[164,24,7,59,28,27,96,97,11552,11553],"孝道","母爱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb17260b42142b1b7cf5eaa6624bcc18.jpg","32.8x21.9",[44],{"id":11558,"slug":11559,"title":11560,"dynasty":124,"author":10922,"museum":11561,"description":11562,"tags":11563,"thumbUrl":11565,"material":66,"size":11566,"collection":136,"collections":11567,"showCount":11461,"zanCount":48,"manualWeight":48,"mainColor":72},218090,"fang-dong-yuan-shan-shui-tu-wen-jia-218090","仿董源山水图","金贝尔艺术博物馆","明朝是中国历史上的一个朝代，它的统治时间是从1368年到1644年。在这期间，文嘉是一位著名的画家，他的作品中有一幅仿董源山水图。\n\n董源是中国历史上著名的画家，他的作品中有一幅著名的山水图，这幅图被称为“董源山水图”。文嘉的作品中的这幅仿董源山水图是文嘉对董源山水图的模仿，他在这幅图中运用了董源的画风，但也加入了自己的风格。\n\n山水画是中国传统画的一种，它的主题是山水风景。山水画中常常会描绘大自然的景象，如山峰、河流、湖泊、树木、花草等。这幅仿董源山水图中也展示了美丽的山水风景，画面上的山峰、树木、河流都描绘得栩栩如生，充满了生机与活力。\n\n文嘉的这幅仿董源山水图不仅展示了文嘉对董源画风的尊敬，同时也展示了文嘉自己的画风。这幅图融合了传统山水画的特点，同时也具有文嘉自己的个性。",[23,24,7,165,128,132,330,29,98,99,131,34,495,11564,1645],"人家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdf2830085ebd93c1fe744e5ba0196bd.jpg","167x52cm",[136],{"id":11569,"slug":11570,"title":11571,"dynasty":54,"author":6936,"museum":1300,"description":11572,"tags":11573,"thumbUrl":11575,"material":278,"size":11576,"collection":136,"collections":11577,"showCount":11461,"zanCount":48,"manualWeight":48,"mainColor":72},217884,"xi-shan-lin-wu-tu-wang-yuan-qi-217884","溪山林屋图","溪山林屋图是王原祁的代表作之一，它们描绘了中国山林中的小屋、溪流、山峰和树木。这些画作通常都有一种平静而自然的感觉，体现了王原祁对中国传统山水画的热爱和自然美的追求。\n\n王原祁的溪山林屋图通常都是以水墨画的形式呈现的，他善于运用水墨画的特点，比如渗透、流动、清晰度等，使得他的画作充满了韵味和生命力。\n\n总的来说，王原祁的溪山林屋图是中国清朝时期画家中的佼佼者，它们不仅是艺术作品，而且也是中国文化遗产的重要组成部分。",[24,7,29,128,132,34,35,99,497,499,131,4438,387,11574],"山间植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebe06c7f8fd41eded98cf111e60e234.jpg","82.8x45.3cm",[136],{"id":11579,"slug":11580,"title":11581,"dynasty":124,"author":223,"museum":244,"description":11582,"tags":11583,"thumbUrl":11585,"material":66,"size":84,"collection":44,"collections":11586,"showCount":11461,"zanCount":1086,"manualWeight":48,"mainColor":49},217063,"ming-dai-di-hou-ban-shen-xiang-yi-ming-217063","明代帝后半身像","宪宗纯皇帝与孝贞纯皇后",[24,7,28,27,96,11584,772,170,232,805],"肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcae4dd485eb0cd4eaa47ae7a14e2407c.jpg",[44],{"id":11588,"slug":11589,"title":11590,"dynasty":124,"author":1141,"museum":244,"description":11591,"tags":11592,"thumbUrl":11593,"material":66,"size":11594,"collection":44,"collections":11595,"showCount":11461,"zanCount":1998,"manualWeight":48,"mainColor":49},216998,"jin-gang-jing-wen-zheng-ming-216998","金刚经","这幅画描绘了释迦牟尼与他的弟子迦叶和阿难站在一棵松树下，一个迦叶跪在他们面前。在四位金刚护法的环绕下，场景精致而细腻。面板上是文徵明用小楷书写的《金刚经》，笔法细致，与仇英的画相得益彰。",[7,64,7322,572,208,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a8b708c5e2260b373f837e5c7842b8.jpg","116.4x30.5",[44],{"id":11597,"slug":11598,"title":11599,"dynasty":54,"author":675,"museum":224,"description":11600,"tags":11601,"thumbUrl":11602,"material":66,"size":679,"collection":84,"collections":11603,"showCount":11461,"zanCount":1998,"manualWeight":48,"mainColor":72},216257,"jing-fu-si-qi-dong-jing-tu-3-qian-wei-cheng-216257","景敷四气冬景图-3","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n洞口飞泉一道斜，是谁泛泛小舟拿。藤萝石上依然在，只欠洲前芦荻花。钤印：古香、太宝",[24,7,29,59,132,27,663,228,1337,130,497,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a2cf71eecc41ef3e7946ed6d498677.jpg",[],{"id":11605,"slug":11606,"title":11607,"dynasty":144,"author":569,"museum":20,"description":570,"tags":11608,"thumbUrl":11609,"material":278,"size":574,"collection":84,"collections":11610,"showCount":11461,"zanCount":48,"manualWeight":48,"mainColor":49},214288,"xiao-kai-luo-shen-fu-ce-5-zhao-meng-fu-214288","小楷洛神赋册-5",[23,164,7,64,572,8448,1590,59,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd811b5a311f9fda250998a44b79f3517.jpg",[],{"id":11612,"slug":11613,"title":11614,"dynasty":54,"author":3403,"museum":300,"description":8089,"tags":11615,"thumbUrl":11616,"material":692,"size":1293,"collection":84,"collections":11617,"showCount":11618,"zanCount":48,"manualWeight":48,"mainColor":72},289648,"ju-hua-tu-li-zhou-wu-chang-shuo-289648","菊花图立轴",[23,24,7,165,27,61,376,171,208,64,938],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17b0b195545b21cb0c63067b6bbe12e1.jpg",[],119,{"id":11620,"slug":11621,"title":11622,"dynasty":54,"author":223,"museum":300,"description":11623,"tags":11624,"thumbUrl":11625,"material":692,"size":1293,"collection":84,"collections":11626,"showCount":11618,"zanCount":48,"manualWeight":48,"mainColor":72},236741,"huang-ju-mao-die-wan-shan-yi-ming-236741","黄鞠猫蝶纨扇","这帧纨扇小品取右虚左实之构图，苔石隐于浅草花丛间，乌背白腹的狸奴踞坐其上，圆瞳灼灼，紧盯翩跹粉蝶，蓬松绒毛以晕染细笔勾绘，憨态灵动，将花猫窥蝶的凝神一瞬定格。\n\n左上花枝柔曼，粉花轻缀，没骨笔法晕染出淡冶花色，明丽雅致。侧旁题笔规整清雅，与画面相映成趣。\n\n整幅小品以清隽设色勾勒日常闲趣，将庭间小景的恬淡野趣尽数铺陈，温婉雅致的意趣浸透绢面，尽显小品画的悠然雅韵。",[24,7,164,1131,27,28,304,1634,481,547,229,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a6235c2fe94225bf65dcfca3543ed3c.jpg",[],{"id":11628,"slug":11629,"title":11630,"dynasty":54,"author":223,"museum":20,"description":8697,"tags":11631,"thumbUrl":11634,"material":40,"size":8700,"collection":84,"collections":11635,"showCount":11618,"zanCount":48,"manualWeight":48,"mainColor":49},236170,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236170","雍正十二月行乐图轴",[164,24,7,165,28,27,95,29,97,130,11632,99,11633,209,34,96,247,415,7782],"廊","湖石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704e226b49976041020eba48c7e2be86.jpg",[],{"id":11637,"slug":11638,"title":11639,"dynasty":54,"author":3718,"museum":20,"description":11640,"tags":11641,"thumbUrl":11642,"material":734,"size":11643,"collection":84,"collections":11644,"showCount":11618,"zanCount":48,"manualWeight":48,"mainColor":72},232890,"xie-yi-shan-shui-tu-zhou-hong-ren-232890","写意山水图轴","据作者款题而知，此图是作者应“雄右”（王炜）之嘱托，为“旦先居士”（吕应昉）所绘。该图在设陈布势上取法倪瓒“一河两岸式”构图，中景画一片不着笔墨晕染的水域，水域的两岸分别绘起伏的山峦和空亭、秋木。整幅画面于简约疏旷的格调中表达出作者孤傲清高的情怀，堪称作者艺术成熟期的代表之作。",[23,24,128,165,369,132,7,29,30,34,98,99,495,130,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b8ebd02e1d7203160c9e5da77aedc77.jpg","纵133.1厘米，横62.7厘米",[],{"id":11646,"slug":11647,"title":11648,"dynasty":144,"author":223,"museum":300,"description":11649,"tags":11650,"thumbUrl":11651,"material":151,"size":11652,"collection":84,"collections":11653,"showCount":11618,"zanCount":1116,"manualWeight":48,"mainColor":956},223496,"pu-xian-pu-sa-xiang-yi-ming-223496","普贤菩萨像","普贤菩萨，佛教菩萨名，梵文Samantabhadra的意译，也曾译为遍吉菩萨，音译为三曼多跋陀罗。普贤菩萨是中国佛教的四大菩萨之一，象征着理德、行德，与象征着智德、正德的文殊菩萨相对应，同为释迦牟尼佛的左、右胁侍。此外，毗卢遮那如来、文殊菩萨、普贤菩萨被尊称为“华严三圣”。",[23,24,7,165,187,27,96,949,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0a209573aaa667331b08a345b2354a2.jpg","71x71",[],{"id":11655,"slug":11656,"title":11657,"dynasty":54,"author":675,"museum":244,"description":11658,"tags":11659,"thumbUrl":11661,"material":1223,"size":11662,"collection":68,"collections":11663,"showCount":11618,"zanCount":1998,"manualWeight":48,"mainColor":72},222694,"mei-cha-shui-xian-zhou-qian-wei-cheng-222694","梅茶水仙轴","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[23,164,24,7,165,28,27,650,11660,374],"茶花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb394ac89657041d7c37b5fb8d711ba23.jpg","114.1x75.6",[68,45],{"id":11665,"slug":11666,"title":11667,"dynasty":18,"author":1622,"museum":510,"description":11668,"tags":11669,"thumbUrl":11670,"material":27,"size":11671,"collection":42,"collections":11672,"showCount":11618,"zanCount":1998,"manualWeight":48,"mainColor":49},221525,"song-shou-tu-ma-yuan-221525","松寿图","此图是马远典型的山水小景画布局风格，描绘山崖一角，苍松斜伸。一文人闲坐石台之上，仰目远眺，旁侧一童子持杖侍立。临溪疏竹丛生，远山寥寥而成。山石用斧劈皴，松树用笔奇崛。右下角行书“马远”单款，画幅上端有宋宁宗赵扩行书七言诗：“道成不怕丹梯峻，髓宝常欺石榻寒，不恋世间名与贵，长生自得一元丹。赐王都提举为寿”。",[23,24,7,165,27,29,96,132,1144,131,227,1424,276,331,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6f346761d8847499876d6085320103.jpg","纵122厘米，横52.7厘米",[42,136,117],{"id":11674,"slug":11675,"title":11676,"dynasty":144,"author":1346,"museum":56,"description":11677,"tags":11678,"thumbUrl":11679,"material":9355,"size":11680,"collection":117,"collections":11681,"showCount":11618,"zanCount":1998,"manualWeight":48,"mainColor":199},220776,"song-shi-tu-zhou-wu-zhen-220776","松石图轴","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。在创作思想上继承北宋末年文同、苏轼、米芾等人的文人画理论，提倡遗貌求神，以简逸为上，追求古意和士气，重视主观意兴的抒发。与宋代院体画的刻意求工、注重形似大相径庭，形成鲜明的时代风貌，也有力地推动了后世文人画的蓬勃发展。在元代短短90余年内，画坛名家辈出，其中以赵孟頫、钱选、高克恭、王渊等和号称元四家的黄公望、吴镇、倪瓒、王蒙最负盛名。\n《松石图》凸现在视野中心的只是一棵松树，然而他画的不是直立挺拔的苍松，而是一株干如弯弓，枝干倒长的怪松，它巍然挺立，雄视万物，表现出一种世俗难以羁绊、常人难以匹敌的气慨。它的孤傲、不同凡俗正是吴镇抗怀孤德个性的自喻。\n国家文物鉴定委员会委员、国家文物局文物鉴定资格审核委员、故宫博物院研究员杨臣彬，徐邦达先生入室大弟子,精擅古书画鉴定。上世纪八十年代在民间收藏中发现吴镇《松石图》。《松石图》名款为“梅花道人墨戏”，铃印“梅花庵”、“嘉兴吴镇仲圭书画记”，系清宫旧藏之物。一古松的枝杆横卧上方，松下有湖石水草，构图呈上下两段，留出大片空白，各自为阵且互有联系。用浓墨在树石上点苔，浓重厚密。树石用笔倔强刚劲而不张扬外露，多用中锋，沉着老到，得古松苍劲之质，古松虽老，但无枯涩之感，干淡的用笔不失腴润，墨法鲜活，鲜嫩的水草和斑驳粗重的古松形成鲜明对比。",[23,164,24,7,165,128,132,372,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5441b5aa161a241633f08c79149ce2db.jpg","122.44x46cm",[117,1670],{"id":11683,"slug":11684,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":11688,"thumbUrl":11689,"material":11690,"size":11691,"collection":136,"collections":11692,"showCount":11618,"zanCount":48,"manualWeight":48,"mainColor":84},220687,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220687","凤阿山房图册","吴历,朱彝尊,陆遵等","吴历 ，字渔仙，号桃溪居士，后号墨井道人，江苏常熟人。曾笃信天主教，并往澳门逗留。工诗、善画山水，师事王时敏 (1592-1680)与王鉴 (1598-1677) ，连同王翚 (1632-1717)、王原祁 (1642-1715)和恽寿平 (1633-1690) 合称「四王吴恽」或称「清初六家」，为清代正统派绘画代表。\n\n该画为吴历应友人侯大年（约1641-约1710）之命所作，并以友人之号「凤阿」命名，绘于康熙十六年（1677）之后，为吴氏中晚年之作。画面山峦起伏，高树竹丛、屋舍数间，屋前小桥流水，一人策杖过桥。整幅作品尺幅虽不大，却构图繁密，墨色苍润，流露对笔墨的追求与讲究，是吴历的精品。事实上，吴历与侯大年交谊深厚，曾应命绘制多幅《凤阿山房图》，以表达侯氏「述祖德，守先业」并归隐的志向，然而凤阿山房终未建成。据记载，侯大年在吴历绘制完立轴后，另请他绘制小册并请诸友题咏，正是此册。全册共分上、下两册，引首朱彝尊　(1629-1709) 书「凤阿山房」，后有吴历、朱彝尊、姜宸英、梁佩兰、宋骏业、王撰、陆遵、梅庚、钱大昕等六十六家诗题，其中陆遵、梅庚补图并题诗。吴历此作无疑是全册点睛之笔，见证了他与侯大年的交谊。",[23,24,7,128,167,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa503e8eac49b263916b21cd994b16e19.jpg","水墨,设色,纸本,册页","18×34.5厘米",[136,318],{"id":11694,"slug":11695,"title":11696,"dynasty":18,"author":397,"museum":4840,"description":11697,"tags":11698,"thumbUrl":11699,"material":278,"size":11700,"collection":136,"collections":11701,"showCount":11618,"zanCount":1998,"manualWeight":48,"mainColor":72},220353,"qing-lu-heng-yun-tu-zhao-ji-220353","晴麓横云图","此作景物结构近似宋徽宗 〈溪山秋色图〉，然画面集中下方，馀为空白。山形如云朵状，近似李郭风格，然用笔严谨，皴染亦细致，与李郭富强烈粗细变化的线条不同，有学者推测为金代继承李郭传统的作品。画右上方有瘦金书「晴麓橫雲」，书风略显柔弱，「御書之寳」亦存疑，推测为后人追摹。此幅现藏于大阪市立美术馆，纸本浅设色。",[23,24,7,165,128,132,29,131,37,1337,415,1557,500,6433,9481,771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6d05721ef7b3d98f4735e9d3ddf3873.jpg","154.5x61.2",[136,42],{"id":11703,"slug":11704,"title":11705,"dynasty":124,"author":125,"museum":8648,"description":8649,"tags":11706,"thumbUrl":11707,"material":611,"size":8652,"collection":84,"collections":11708,"showCount":11618,"zanCount":48,"manualWeight":48,"mainColor":49},220058,"hu-qiu-shi-er-jing-tu-ce-9-shen-zhou-220058","虎丘十二景图册-9",[23,164,24,7,59,128,132,96,331,131,98,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3884057356be4c3470aff4ddb99ae920.jpg",[],{"id":11710,"slug":11711,"title":11712,"dynasty":18,"author":11713,"museum":244,"description":11714,"tags":11715,"thumbUrl":11717,"material":27,"size":11718,"collection":68,"collections":11719,"showCount":11618,"zanCount":1116,"manualWeight":48,"mainColor":49},219945,"zhong-si-mian-die-tu-han-you-219945","螽斯绵瓞图","韩祐","本幅选自“宋元集绘”册第十三开。描写田间一角，花叶生长茂盛，瓜果也已熟透，引来了两只觅食的螽斯。",[23,164,24,7,28,27,806,11716,549,547,548],"瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F233d23d19042c4fdd48f185c470972b0.jpg","25.3 x 26公分",[68],{"id":11721,"slug":11722,"title":11723,"dynasty":144,"author":410,"museum":56,"description":11724,"tags":11725,"thumbUrl":11726,"material":66,"size":11727,"collection":136,"collections":11728,"showCount":11618,"zanCount":48,"manualWeight":48,"mainColor":72},219742,"dan-shan-ying-hai-tu-wang-meng-219742","丹山瀛海图","此图描绘东海蓬瀛诸岛壮阔奇伟的景色。水面上洲岛参差涌列，岛上岗峦层叠重深，长松挺立，树木稠密。岛有木桥通向对岸，山隈深处楼屋掩映。海水浩淼无际，点点舟樯扬帆风行。笔墨师承董源，缜密的披麻皴屈曲律动，峰顶密赞苔点。树木交织使用各种夹叶、勾叶、点叶法，极得荣茂之意。是王蒙笔意繁缛灵活的别体之作。",[24,7,25,128,132,29,30,34,98,129,37,208,131,1515],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb73e4abea682397150fdd3d71415104f.jpg","纵28.5厘米 横80厘米",[136],{"id":11730,"slug":11731,"title":1109,"dynasty":144,"author":4054,"museum":244,"description":11732,"tags":11733,"thumbUrl":11734,"material":278,"size":11735,"collection":68,"collections":11736,"showCount":11618,"zanCount":48,"manualWeight":48,"mainColor":72},219386,"zhu-shi-tu-guan-dao-sheng-219386","土坡上立一奇石，左边是一高一低，一浓一淡两竿修竹，右下是一丛竹叶。竹叶上挺，谓之“晴竹”，画时下笔须略带逆势藏锋，然后以中锋重按掠去，至叶尖处疾挑而出。梢头结顶，挑出时尤须注意左右顾盼，姿态生动。",[24,164,7,165,128,167,171,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97662080d58fa53960826604bfe1a32f.jpg","纵87.1厘米，横28.7厘米",[68],{"id":11738,"slug":11739,"title":11740,"dynasty":124,"author":3148,"museum":450,"description":11741,"tags":11742,"thumbUrl":11744,"material":173,"size":84,"collection":68,"collections":11745,"showCount":11618,"zanCount":1086,"manualWeight":48,"mainColor":49},219005,"shou-zhu-heng-chun-tu-lv-ji-219005","寿祝恒春图","该场景描绘了一对公鸡和母鸡在一个有花有竹的郁郁葱葱的院子里。这幅画被认为是吕纪的作品，但除了鸡群与蓝山鹊很像吕纪的笔触外，湖石和花竹都与吕纪无关，印记也不是真的。然而，画家的作品是如此深刻，以至于可以作为边景昭画派的作品来欣赏。",[23,24,7,61,28,27,165,167,2510,11743,4278,131],"雏鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa63c8c7a0ec2a692f833b7185730dd23.jpg",[68,45],{"id":11747,"slug":11748,"title":11749,"dynasty":54,"author":55,"museum":524,"description":1034,"tags":11750,"thumbUrl":11751,"material":173,"size":1041,"collection":84,"collections":11752,"showCount":11618,"zanCount":48,"manualWeight":48,"mainColor":49},216105,"yun-shou-ping-hua-guo-shu-cai-ce-ye-6-yun-shou-ping-216105","恽寿平花果蔬菜册页-6",[24,7,59,60,27,128,28,1036,1037,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3724ec920b115a05ae3e781e2301e54f.jpg",[],{"id":11754,"slug":11755,"title":11756,"dynasty":54,"author":675,"museum":244,"description":11757,"tags":11758,"thumbUrl":11759,"material":66,"size":11760,"collection":136,"collections":11761,"showCount":11618,"zanCount":1116,"manualWeight":48,"mainColor":72},214728,"fang-huang-gong-wang-qiu-shan-tu-qian-wei-cheng-214728","仿黄公望秋山图","这幅浅绛色的溪山图是清代对黄公望笔法的典型再创作。",[164,24,7,27,132,330,208,29,34,99,130,131,37,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48650c798602818f548f4a9796a6aefe.jpg","92.3x43.5",[136],{"id":11763,"slug":11764,"title":11765,"dynasty":18,"author":11766,"museum":56,"description":11767,"tags":11768,"thumbUrl":11769,"material":84,"size":84,"collection":42,"collections":11770,"showCount":11618,"zanCount":1998,"manualWeight":48,"mainColor":11771},203436,"bai-miao-dao-jun-xiang-tu-juan-song-ren-203436","白描道君像图卷","宋人","以白描技法绘就的画面，道君居于核心，神光笼罩下仪态端凝。侍从仙官列队环侍，衣纹线条细劲流畅，尽显飘逸之姿；虎、龙等神兽悄然伏立，为场景注入神圣威严。背景楼阁依界画之法构建，飞檐翘角细节毕现；林木扶疏，亭桥掩映，景致层层铺展却井然有序。整卷线条刚柔相济，或如铁线勾勒轮廓，或似游丝描绘衣袂，将宗教的肃穆与自然的清幽完美融合，尽显南宋书画的典雅韵致与精湛技艺。",[23,24,7,25,188,95,187,96,97,34,5490,29,189,772],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c346d69351d49d24311e155794dd04a.jpg",[42],"988264",{"id":11773,"slug":11774,"title":11775,"dynasty":54,"author":55,"museum":244,"description":1290,"tags":11776,"thumbUrl":11777,"material":66,"size":11778,"collection":84,"collections":11779,"showCount":11780,"zanCount":1116,"manualWeight":48,"mainColor":72},287445,"qiao-ke-xiu-zhu-tu-yun-shou-ping-287445","乔柯修竹图",[164,24,7,165,128,27,331,167,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d2a4a5bac926514b0d81e6b64ae1eed.jpg","101.6x47.8",[],118,{"id":11782,"slug":11783,"title":11784,"dynasty":124,"author":223,"museum":20,"description":11785,"tags":11786,"thumbUrl":11787,"material":514,"size":84,"collection":44,"collections":11788,"showCount":11780,"zanCount":1998,"manualWeight":48,"mainColor":72},236158,"han-xin-xiang-zhou-yi-ming-236158","韩信像轴","原清宫内务府广储司茶库旧藏。茶库旧藏历代功臣像为轴二十有一",[164,24,7,165,28,27,96,5626,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1956b8da97887c124abf6a3d65a946c6.jpg",[44,45],{"id":11790,"slug":11791,"title":11792,"dynasty":124,"author":125,"museum":20,"description":1048,"tags":11793,"thumbUrl":11794,"material":734,"size":1051,"collection":84,"collections":11795,"showCount":11780,"zanCount":1086,"manualWeight":48,"mainColor":72},233834,"wo-you-tu-ce-qiu-bai-yun-shen-zhou-233834","卧游图册－秋白云",[24,128,29,59,132,663,950,413,228,131,208,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4868fee16962b07ce024455e75393200.jpg",[],{"id":11797,"slug":11798,"title":11799,"dynasty":54,"author":1460,"museum":20,"description":11800,"tags":11801,"thumbUrl":11803,"material":1722,"size":11804,"collection":84,"collections":11805,"showCount":11780,"zanCount":1998,"manualWeight":48,"mainColor":72},233122,"sou-jin-qi-feng-tu-juan-shi-tao-233122","搜尽奇峰图卷","画卷迎首处，石涛自题：“搜尽奇峰打草稿”，钤“老涛”。画尾的空白处，有石涛于画兴之余所题写的长篇画论：“郭河阳论画，山有可望者、可游者、可居者。余曰：江南江北，水陆平川，新沙古岸，是可居者。浅则赤壁苍横，湖桥断岸，深则林峦翠滴，瀑水悬争，是可游者。峰峰入云，飞岩堕日，山无凡土，石长无根，木不妄有，是可望者。今之游于笔墨者，总是名山大川未览，幽岩独屋何居？出郭何曾百里入室，那容半年交泛滥之酒杯，货簇新之古董，道眼未明，纵横习气安可辩焉？自之曰：此某家笔墨，此某家法派，犹盲人之示盲人、丑妇之评丑妇尔，赏鉴云乎哉。不立一法，是吾宗也，不舍一法，是吾旨也，学者知之乎。时辛未二月，余将南还客且憨斋，宫纸余案，主人慎庵先生索画并识请教，清湘枝下人石涛元济。”钤“苦瓜和尚”、“冰雪悟前身”、“石涛”。\n后隔水及尾纸，有墨香堂、陈奕禧、徐云、叶河音布等家题诗和题记。全幅钤鉴藏印数十方。\n此图是他50岁云游京师所作。图中有一段对长城的描绘，这不仅是长城图像首次在山水画中出现，同时，也印证了此画的写实性以及作者所提倡的师法造化“搜尽奇峰打草稿”的美学观。该画在表现上，于奇险中见雄浑，严谨处寓虚空。虽看似笔墨豪放，皴擦点染尽在无意，而在整体上却把握了峰峦层次，云气走向及林木隐现的神韵。特别是，它的构图虽然充塞满纸，却丝毫不失疏朗空灵，这的确是只有搜尽奇峰才能炼就出的本领。",[24,7,25,128,29,132,64,208,133,11802,496,31,34,131,37,7462,387],"奇峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2509a448a26e43ea37e9080967b1229.jpg","纵42.8厘米，横285.5厘米",[],{"id":11807,"slug":11808,"title":11809,"dynasty":54,"author":2640,"museum":300,"description":11810,"tags":11811,"thumbUrl":11812,"material":84,"size":84,"collection":84,"collections":11813,"showCount":11780,"zanCount":48,"manualWeight":48,"mainColor":72},224363,"fu-gui-bai-tou-tu-ju-lian-224363","富贵白头图","《富贵白头图》为光绪十三年（公元1887年）居廉晚年之作。\n此时居廉画风已完全成熟，因此其艺术追求和体格特点在这幅画作中有充分的体现。\n收藏于 。\n《富贵白头图》为纸本，设色，纵12.1厘米，横74.82厘米，收藏于 。\n图中所绘牡丹艳放，在春风中姹紫嫣红，争奇斗妍，引得蜜蜂、蝴蝶在花间流连嬉戏，石上停息着一双白头翁鸟，神态娴静，与喧闹的蜂蝶相映成趣。\n湖石坚实厚重，衬出花卉的秀美。\n图中偏右一侧一块硕大而玲珑剔透的太湖石兀然而立，湖石的周围一丛盛开的牡丹，姹紫嫣红，争奇斗艳，或低首沉吟，或迎风怒放，引来一群蜜蜂、彩蝶在花丛之中追逐嬉戏，流连忘返，给人一种明媚而又温暖的春天气息。\n在湖石的上端栖停着一对白头翁鸟，一俯一仰，怡然自得，与上下翻飞，喧闹不已的蜂蝶，一动一静，相映成趣，美不胜收。\n该画鸟、蜂、蝶以工笔重彩画出，形态生动。\n花朵的红色、粉色、黄色晕染，非常写实。\n敷以深浅绿叶，以浓墨和红色勾筋。\n线条圆润饱满，叶片清秀洒脱，疏密有致；设色浓淡相依，明丽艳秀。\n而花中奇石用积墨与淡墨晕染相结合绘出，素雅动人。\n在绘画技法上，整幅画作的格调极为工致，造型准确，赋色艳丽，然而却又没有丝毫单滞、艳俗之感，可算得是居氏画作中的精品。\n（1828-194），字古泉，自号隔老人，广西桂林人，占籍广东番禹（今广州），居巢之堂弟。\n善画花鸟、草虫及人物，尤以写生见长。\n初学宋光宝及孟丽堂，亦得恽南田遗意，后吸收诸家之长，自成一体。\n笔法工整，设色妍丽，在继承和发展恽南没骨画法的基础上，创造出撞水法和撞粉法，为岭南派的重要奠基人之一，“二高一陈”皆出自其门下。\n《富贵白头图》自识“丁亥”，应为光绪十三年，也即公元1887年，乃其晚年之笔。\n此时居廉画风已完全成熟，因此其艺术追求和体格特点在这幅画作中有充分的体现。",[23,24,7,165,28,27,61,263,2886,481,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575773c294369c3e892af56386f46796.jpg",[],{"id":11815,"slug":11816,"title":11817,"dynasty":18,"author":1622,"museum":244,"description":11818,"tags":11819,"thumbUrl":11820,"material":11821,"size":11822,"collection":42,"collections":11823,"showCount":11780,"zanCount":1116,"manualWeight":48,"mainColor":49},221522,"xiao-xue-shan-xing-tu-ma-yuan-221522","晓雪山行图","此图描写大雪封山的清晨，一山民赶着两只身驮木炭的小毛驴在白雪皑皑的山间行走。山民衣着单薄，弓腰缩颈，使人感到雪天寒气逼人。毛驴、竹筐、木炭及人物衣纹均用干笔钩勒，并施以水墨渲染。\n作为环境的山石以带水墨笔作斧劈皴，方硬有棱角，远处山石用水墨大笔扫出。近处树枝以焦墨钩出，横斜曲折富有变化，远处用淡墨钩出。近与远的笔墨浓与淡效果，有着较强的画面空间感，画面用大斧劈侧锋直皴山石，下笔爽利果断， 画树简括，枝条劲健。作者以局部取景，来表现出当时人们生活。",[23,24,164,7,128,27,132,96,7067,2523,1337,131,3269,1813],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5068fd109904211180892e4da691f20e.jpg","卷，绢本，水墨","纵：27.6厘米，横：42.9厘米",[42,136,117],{"id":11825,"slug":11826,"title":11827,"dynasty":18,"author":7991,"museum":244,"description":11828,"tags":11829,"thumbUrl":11831,"material":27,"size":11832,"collection":42,"collections":11833,"showCount":11780,"zanCount":1998,"manualWeight":48,"mainColor":49},221456,"qie-zi-tu-juan-chen-ju-zhong-221456","茄子图卷","陈居中（生卒年不详），南宋时期宫廷画家。在画史有关他的记载十分简略，元代夏文彦《图绘宝鉴》卷四中记有：“陈居中，嘉泰间画院待诏，专工人物、蕃马，布景著色，可亚黄宗道。”另据《画史会要》记载，陈居中曾在开禧三年（1207年）为崔丽人画像，悉知他在1207年尚任职于画院，并擅长画肖像。 虽然有关陈居中的记载十分简单，但他留下的作品却比较多且十分精彩，这在南宋宫廷画家中是十分难得的。就目前所知确为其真迹的作品有《文姬归汉图》、《胡茄十八拍图》、《绝塞逢春图》、《进马图》、《四羊图》等。这些作品所表现的多为历史故事或少数民族风情题材，这与“专工人物、蕃马”的记载是相吻合的。这些作品的画法多样，技艺高超，笔法精细，形象传神，正如明人吴其贞在题陈居中《八骏图》时所评：“精彩逼真似唐画，系临史道硕、韩干之辈，为两宋人物第一神品也。”",[23,164,24,7,25,28,27,11331,624,1039,806,11830],"杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a2515db414029768f29a0bf0dd13bc.jpg","35.8x 191.2",[42,68,45],{"id":11835,"slug":11836,"title":11837,"dynasty":144,"author":1208,"museum":244,"description":11838,"tags":11839,"thumbUrl":11840,"material":611,"size":11841,"collection":117,"collections":11842,"showCount":11780,"zanCount":48,"manualWeight":48,"mainColor":49},220792,"gu-mu-zhu-shi-tu-zhou-ni-zan-220792","古木竹石图轴","《古木竹石图轴》绘坡石间疏竹数丛，枯树两株，笔墨浓淡相间，富有层次感，境界清旷，意境简远，呈现出一片清静幽远的气象。画轴上方有元明余诠、唐肃、高巽志、于思缉、张简、吴卢充、王璲等七处题诗。",[23,24,7,165,128,132,171,167,331,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575c01e50d18d2d517bef35aebf5ff48.jpg","47x27.4",[117,1670],{"id":11844,"slug":11845,"title":11846,"dynasty":54,"author":2640,"museum":244,"description":11847,"tags":11848,"thumbUrl":11849,"material":66,"size":2646,"collection":84,"collections":11850,"showCount":11780,"zanCount":1998,"manualWeight":48,"mainColor":72},220334,"cao-chong-hua-hui-hu-shi-si-ping-xiu-qiu-ju-lian-220334","草虫花卉湖石四屏-绣球","这四屏分写牡丹、凌霄、绣球、紫薇等时卉，并配以湖石、蜂、蝶、知了、螳螂。于精密写实之外，饶富没骨花卉清新典丽的特质，虽因重装颜色稍褪，犹可清晰得见居氏惯采的撞水与撞粉画技，笔法工整，设色妍丽，让人赏心悦目。",[23,24,7,61,165,28,27,9337,481,11633],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F245a38d04b5ce9f9c1b46c5c7acdf76a.jpg",[],{"id":11852,"slug":11853,"title":11854,"dynasty":144,"author":1208,"museum":244,"description":11855,"tags":11856,"thumbUrl":11857,"material":317,"size":11858,"collection":136,"collections":11859,"showCount":11780,"zanCount":48,"manualWeight":48,"mainColor":72},220170,"song-lin-ting-zi-tu-ni-zan-220170","松林亭子图","此画写的是江南山庄的景色，平远为山水，较为隐约，近处为山坡，坡陀上山石横卧。中幅画有数棵穿天大树，大树下画有一亭子，座落在远山、近石之间。\n画面左上方有倪瓒于至正十四年（1354）的一段赠友人的题跋：“亭子长松下，幽人日暮归。清晨重来此，沐发向阳晞。至正十四年初冬，倪瓒为长卿茂异写松林亭子图，并诗其上。” 幅上有潘纯题。",[23,24,7,165,128,132,29,1144,3440,276,415,5323,229,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ebd82fa0184f444978c623ab494f284.jpg","纵83.4厘米，横52.9厘米",[136],{"id":11861,"slug":11862,"title":11863,"dynasty":124,"author":204,"museum":56,"description":11864,"tags":11865,"thumbUrl":11866,"material":278,"size":84,"collection":44,"collections":11867,"showCount":11780,"zanCount":1998,"manualWeight":48,"mainColor":72},219403,"liu-xia-mian-qin-tu-zhou-chou-ying-219403","柳下眠琴图轴","柳丝轻垂，拂过苍劲老干，似携幽微风意。树下文人斜卧，衣袂舒展，琴置身侧，眉宇间尽是悠然散淡。童子捧物而立，眸中带着稚气的专注，悄然侍立，不扰这份清宁。山石寥寥数笔见嶙峋之态，草色浅淡更衬天地宽闲。笔墨工致中藏写意，线条柔中带刚，将文人林下之趣、物我两忘的心境悄然铺展。仿佛能闻柳间蝉鸣，听风过琴弦余韵，一派魏晋风骨般的疏朗自在，尽在尺幅间流转。",[24,7,165,28,128,27,96,4363,4947,171,6640],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782e410afa50f999f6c817fada7ee75f.jpg",[44],{"id":11869,"slug":11870,"title":11871,"dynasty":18,"author":3110,"museum":11872,"description":11873,"tags":11874,"thumbUrl":11875,"material":278,"size":11876,"collection":84,"collections":11877,"showCount":11780,"zanCount":48,"manualWeight":48,"mainColor":72},219190,"xiao-xiang-ba-jing-dong-ting-qiu-yue-mu-xi-219190","潇湘八景-洞庭秋月","德川美术馆","薄雾似纱轻笼水面，远山隐于烟霭，如黛色剪影浮在天际。一叶扁舟孑然，渔翁身影模糊在夜色里，船尾涟漪搅碎秋月清辉。近岸树影婆娑，墨色淡染，似与雾气相融。天地静得只剩呼吸，秋夜凉意随淡墨游走，每一笔都透着禅意空灵。简淡笔触里藏着洞庭秋夜的幽远，观者仿佛听见水波轻响，看见月光洒在船舷，心沉入静谧烟波深处，触到自然最本真的呼吸。",[23,24,7,1349,128,369,771,29,231,129,37,34,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fbf818004329886216e8020600b6c8e.jpg","29.4x93.1厘米",[],{"id":11879,"slug":11880,"title":11881,"dynasty":18,"author":223,"museum":244,"description":11882,"tags":11883,"thumbUrl":11884,"material":173,"size":11885,"collection":136,"collections":11886,"showCount":11780,"zanCount":1116,"manualWeight":48,"mainColor":956},218651,"chi-bi-tu-yi-ming-218651","赤壁图","此图边角式的构景，已演化为南宋画之面目，但笔墨的习惯与格式化，则透露出本幅的创作时间已晚至明朝了。本幅乃一叶扁舟为主景的局部山水。用锯齿描精绘漩流急浪，以回身仰望的苏东坡，来暗示出赤壁在画外的高耸。",[23,164,24,7,29,129,96,132,128,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ee7fef708e8753e343d91346a2e744b.jpg","24x23.2cm",[136],{"id":11888,"slug":11889,"title":11890,"dynasty":18,"author":3110,"museum":300,"description":11891,"tags":11892,"thumbUrl":11893,"material":66,"size":11894,"collection":44,"collections":11895,"showCount":11780,"zanCount":1116,"manualWeight":48,"mainColor":49},218285,"ji-gong-tu-mu-xi-218285","济公图","画面人物情态鲜活，右侧身影衣衫宽博，神态不羁却藏温煦，似正与周遭人语。周遭老幼或凝神谛听，或俯身趋近，动态毕现。笔墨简括灵动，线条如行云流水，衣衫褶皱寥寥数笔便见洒脱之姿，墨色浓淡相宜，衬出人物神情的真切。背景淡远，更显群像生动。于简约中见真意，随性之笔捕捉瞬间生活气息，又暗蕴禅家超脱与悲悯，笔墨间那份直击人心的生动与温暖，悄然流转。观者仿佛能听见席间笑语，触到那份不拘形骸的自在，于水墨晕染里，感受画中人物的鲜活与烟火气交织的独特韵味。",[164,24,7,128,188,96,131,666,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8931c719123b1f804d7302dcd90dfc65.jpg","26x29",[44],{"id":11897,"slug":11898,"title":11899,"dynasty":124,"author":223,"museum":77,"description":11900,"tags":11901,"thumbUrl":11902,"material":173,"size":11903,"collection":68,"collections":11904,"showCount":11780,"zanCount":48,"manualWeight":48,"mainColor":49},216673,"mei-hua-xiao-niao-tu-yi-ming-216673","梅花小鸟图","梅花小鸟图是明朝时期的一幅著名图画，作者佚名。这幅图画描绘了一只小鸟停在一棵梅花树上，周围是一片茂密的树林。图画中使用了精致的线条和细腻的色彩，捕捉了小鸟和树林的美妙景象。这幅图画被认为是明朝时期图画艺术的杰作，具有极高的艺术价值。",[24,7,1131,27,28,61,371,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef71e1b2dede42b0a2dc0768e23aa09f.jpg","24.5x25cm",[68],{"id":11906,"slug":11907,"title":11908,"dynasty":124,"author":802,"museum":20,"description":11909,"tags":11910,"thumbUrl":11911,"material":920,"size":11912,"collection":44,"collections":11913,"showCount":11914,"zanCount":1086,"manualWeight":48,"mainColor":49},237386,"shi-nv-zhou-chen-hong-shou-237386","仕女轴","陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。明代画家。早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。后在杭州以卖画为生。工诗，擅画，山水、人物、花鸟无一不精。其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新，所作人物、花鸟形象古拙，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。与崔子忠齐名于南北，世称“南陈北崔”。其画风对后世有巨大影响。著《宝纶堂集》。",[24,7,165,27,28,96,166,8629,62,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F113668156e4a80c8b3cb0d089b3479d4.jpg","纵173.5cm，横95.3cm",[44],117,{"id":11916,"slug":11917,"title":11918,"dynasty":54,"author":3043,"museum":300,"description":11919,"tags":11920,"thumbUrl":11921,"material":84,"size":84,"collection":68,"collections":11922,"showCount":11914,"zanCount":1998,"manualWeight":48,"mainColor":72},236537,"xu-gu-san-yu-tu-zhou-xu-gu-236537","虚谷三鱼图轴","虚谷（1824—1896年），姓朱，名怀仁，出家为僧后以虚谷名，号紫阳山民、倦鹤等，祖籍安徽新安（今歙县），寓居扬州、苏州、上海等地，卖画为生。能诗擅画，工于书法，尤以善绘瓜果鱼蔬、人物、山水等为人称道。喜用枯笔焦墨，具有拙于外秀于内的笔墨特征。与任颐、胡公寿等交往密切，是晚清著名的海上名家。",[24,7,165,27,2059,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F322ba8e10765708da950451e20edb9d5.jpg",[68,117],{"id":11924,"slug":11925,"title":11926,"dynasty":124,"author":2268,"museum":20,"description":11927,"tags":11928,"thumbUrl":11929,"material":611,"size":5345,"collection":84,"collections":11930,"showCount":11914,"zanCount":48,"manualWeight":48,"mainColor":72},234294,"dong-qi-chang-shan-shui-ce-dong-qi-chang-234294","董其昌山水册","明代画坛流派叠现，异彩纷呈。晚期更有华亭派、武林派等异军突起，影响远泽有清一代。其中，华亭派领袖人物董其昌推崇倡导的摹古风气对后世画坛的影响尤为深刻。对于学习绘画，董其昌认为应先以古人为师，对古人画迹悉心摹写，将其笔墨技法、布局构图于心中融汇贯通，从而得古人笔墨意趣，然后再师法自然，汲取创作灵感。他对自己的主张是身体力行的。\n这套《仿古山水》册共８开，皆为仿唐及宋元诸家如杨昇、惠崇、李公麟、倪瓒等的小幅册页，是董其昌仿古一类绘画中不可多得的妙品。董氏水墨山水名重于世，设色山水也别具一格。此册中“仿唐杨昇”一开青绿山水，以没骨法为之，丛树峰峦等都用石青、石绿、朱砂、赭石等色染出，鲜有勾皴，与李思训一派线条硬劲的青绿山水情趣各异。董其昌曾遍临名家画作，而用功最勤的则是元四家。册中有“仿倪元镇”一开山水，构图布局和树、石、山、亭的画法无不毕肖于倪瓒之作，可谓得其三昧，登堂入室。此套册页虽每开均以“仿”字冠名，其实画面却不尽然，因为每幅都有自出新意之处。再以“仿倪元镇”一开为例，与倪瓒之画呈现的寂寥疏淡的面目相比，此图使人感受到的是勃勃生机，这是董氏取诸家笔墨之长，再运用自身的学养识见加以变化而直抒胸臆、独树风标的不凡魅力，后世众多摹古画家始终无法企及。",[24,7,59,128,132,29,34,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c557e3d03c9fa8ddf25f0c6f8a1e0ef.jpg",[],{"id":11932,"slug":11933,"title":5435,"dynasty":54,"author":9704,"museum":6413,"description":11934,"tags":11935,"thumbUrl":11937,"material":66,"size":11938,"collection":136,"collections":11939,"showCount":11914,"zanCount":48,"manualWeight":48,"mainColor":49},220430,"you-gu-tu-kun-can-220430","髡（kūn）残(1612-1692)，清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、残道者、电住道人。湖广武陵(今湖南常德)人。与石涛合称“二石”。髡残一生中大部分时间都在山水中度过，经常驻足于名山大川，在山林泽薮之间，侣烟霞而友泉石，踯躅峰巅，留连崖畔，以自然净化无垢之美，对比人生坎坷、市俗机巧，从中感悟禅机画趣。\n髡残在明末遗民中享有很高的声望，他的画也为世人所瞩目。当时著名的文人兼大鉴赏家周亮工就十分景仰、看重髡残的人品和画学，在《读画录》中为他写小传，谓：“人品笔墨俱高人一头地……绘事高明，然轻不为人作。”张怡在髡残的《仿米山水册》中是这样评价这位心灵相契的老友的：“举天下言诗，几人发自性灵?举天下言画，几人师诸天地?……此幅自云效颦米家父子，正恐米家父子有未到处，所谓不恨我不见 髡残古人，恨古人不见我耳。”他认为髡残的诗，是写出了自己的性灵；髡残的画是直师造化，甚至比宋代米芾父子还好；髡残的佛学是直指本心，而没有出家人开堂说法的那种俗套。张庚《国朝画征录·髡残传》云：“奥境奇辟，缅邈幽深，引人入胜。笔墨高古，设色精湛，诚元人之胜概也。此种笔法不见于世久矣!” [4] 这段话说明髡残的画深得元季四大家的精髓。总之，三百多年来，髡残一直以其人品与画品并重的高华之气，影响着画坛，成为画家心目中的丰碑",[23,24,7,165,29,27,132,97,99,131,34,37,96,11936,1144,1022],"山谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784ed53c41b7939b3a557817b650a269.jpg","143.19 × 59.21",[136,45],{"id":11941,"slug":11942,"title":11943,"dynasty":54,"author":55,"museum":56,"description":11944,"tags":11945,"thumbUrl":11946,"material":173,"size":1734,"collection":84,"collections":11947,"showCount":11914,"zanCount":1086,"manualWeight":48,"mainColor":72},219815,"hua-hui-shi-kai-8-yun-shou-ping-219815","花卉十开-8","此作以没骨法绘鸢尾，淡紫花瓣晕染柔润细腻，深浅紫韵自然晕开，将含露轻绽的娇柔情态尽致铺陈。叶片以汁绿分染，浅赭醒出叶筋，苍润舒展，与柔花形成刚柔互衬的清和意趣。\n\n左侧题书与花绘相映，诗画交融，逸韵悠然。全作弃墨线勾勒，以色造型，明洁秀润尽显清逸冶丽之风，将花草天趣与文人情思相融，淡冶之中自有静雅高致，是没骨花鸟的精妙佳构。",[164,24,7,59,60,27,62,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff281040b68aa6c58226f8690b30d0dcf.jpg",[],{"id":11949,"slug":11950,"title":11951,"dynasty":18,"author":223,"museum":11952,"description":11953,"tags":11954,"thumbUrl":11955,"material":278,"size":84,"collection":44,"collections":11956,"showCount":11914,"zanCount":1116,"manualWeight":48,"mainColor":49},219578,"fang-zhou-wen-ju-gong-zhong-tu-yi-ming-219578","仿周文矩宫中图","哈佛艺术博物馆","纯以铁线白描写就，线条细劲如春蚕吐丝，将仕女丰腴温婉的体态、罗衣垂坠的柔滑质感尽数勾勒。\n画面分作两段，左畔是闺阁梳妆日常：仕女对镜理鬓、净面匀妆，侍女捧具随侍，慵懒柔媚的深闺情态呼之欲出；右畔是宴乐场景，乐伎拨弹箜篌、吹奏丝竹，凝神专注的姿影静中藏动，恍若有清乐绕梁。\n素笔无彩却形神兼备，精准复刻出唐风仕女的雍容韵致，将深宫闲雅日常铺陈开来，尽显古典白描人物画的线条表现力与叙事意趣。",[23,24,7,25,188,96,166,438,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a0e9606ed2bb57682b7a0e21098e2c3.jpg",[44],{"id":11958,"slug":11959,"title":11960,"dynasty":54,"author":9529,"museum":20,"description":11961,"tags":11962,"thumbUrl":11963,"material":173,"size":11964,"collection":136,"collections":11965,"showCount":11914,"zanCount":48,"manualWeight":48,"mainColor":49},218366,"lu-shan-bai-yun-tu-wang-hui-218366","庐山白云图","此图绘于清康熙三十六年（1697年），作者时年66岁，是其晚年诸多仿古作品中的代表性画作之一。据王翚自题，因30年前曾观北宋关仝《庐山白云图》，故今用其法绘制此图，以遵“古香主人”之嘱。王翚曾与其师王时敏遍游大江南北，尽得观摹收藏家之秘本，故其摹古功力极高。王时敏称赞他：“集古人之长，尽趋笔端，故能妙绝千古。前诸制作，固足乱真，此则更为脱化，每仿一家曲尽其致，而超逸之趣则又过之。”这幅作品恰恰印证了王时敏对王翚的评价。\u2028　　“古香主人”即爱新觉罗·岳乐，王翚为其创作极为精心。画面上峰峦起伏，云雾迷茫，其中间的瀑布、杂树、竹亭、山石以浓密的雨点皴出之，正是仿关仝一路北方山水画法。全图工整谨密，秀润苍浑，深得关仝“笔简景少，气壮意长”之旨。",[23,24,7,25,128,27,29,10851,30,34,495,130,37,131,35,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa38fdd2ef1404824446ef2999ef18a75.jpg","纵35厘米，横323.5厘米",[136],{"id":11967,"slug":11968,"title":11969,"dynasty":54,"author":5879,"museum":244,"description":5880,"tags":11970,"thumbUrl":11971,"material":66,"size":84,"collection":84,"collections":11972,"showCount":11914,"zanCount":48,"manualWeight":48,"mainColor":72},214855,"xie-sheng-ce-9-hua-yan-214855","写生册-9",[24,7,59,27,61,355,167,2885],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F368bbeff93155c53a4c9aede55749065.jpg",[],{"id":11974,"slug":11975,"title":11976,"dynasty":124,"author":11977,"museum":244,"description":11978,"tags":11979,"thumbUrl":11980,"material":317,"size":11981,"collection":318,"collections":11982,"showCount":11914,"zanCount":1998,"manualWeight":48,"mainColor":72},214208,"qi-yan-lv-shi-wang-feng-yuan-214208","七言律诗","王逢元","王逢元以书名于当世，或有人议其真书稍肥，而顾麟则说他庄重沉稳，没有轻浮和机巧，他有钟、王的唯一传承。周辉还说，他最早是跟王羲之和智永学习书法，晚年则是黄庭坚，王逢元用普通文字写了九首七言诗，笔触中带着山谷的气息。",[23,24,7,64,165,133,10762],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69f4760d3de1a5ad0f1c1c1aaf46d46e.jpg","81.9x38.6",[318],{"id":11984,"slug":11985,"title":5172,"dynasty":54,"author":3403,"museum":300,"description":11986,"tags":11987,"thumbUrl":11988,"material":84,"size":84,"collection":84,"collections":11989,"showCount":11990,"zanCount":48,"manualWeight":48,"mainColor":72},239284,"mei-hua-zhou-wu-chang-shuo-239284","此作用篆籀笔法写梅枝，老干如铁铸横斜，运笔顿挫生辣，尽显金石古拙之趣。淡墨圈花，留白缀出冰蕊琼华，繁枝错落疏密得宜，将梅的苍劲清妍揉为一体。\n\n右侧题字笔势酣畅，与梅枝刚健呼应，笔墨浓淡相生，把傲雪凌霜的品格寄于笔端，清雅风骨与雄强笔力相融，在水墨间晕染出盎然生机与文人孤高意趣，尽显大写意花卉的淋漓意韵。",[24,7,165,128,369,371,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd96f5289d271ae643a842746503256f.jpg",[],116,{"id":11992,"slug":11993,"title":11994,"dynasty":124,"author":125,"museum":20,"description":11995,"tags":11996,"thumbUrl":11999,"material":920,"size":12000,"collection":84,"collections":12001,"showCount":11990,"zanCount":1998,"manualWeight":48,"mainColor":72},234896,"tong-yin-wan-he-tu-zhou-shen-zhou-234896","桐荫玩鹤图轴","北京故宫博物院建院90周年石渠宝笈特展（2015.9.8）首次释出，之前仅见于出版物。具体规格不详。网上找不到更多的资料。从画面上看，乾隆曾经两度题跋，可见对此画之钟爱。绘画风格属于沈周细笔青绿山水一路，表现的是文人雅士向往的闲适生活。\n沈周(1427-1509)，明代书画家。字启南，号石田、白石翁、玉田生、有竹居主人等。长洲(今江苏苏州)人。不应科举，专事诗文、书画，是明代中期文人画吴派的开创者，与文徵明、唐寅、仇英并称明四家。传世作品有《庐山高图》、《秋林话旧图》、《沧州趣图》。著有《石田集》、《客座新闻》等。\n沈周在元明以来文人画领域有承前启后的作用。他书法师黄庭坚，绘画造诣尤深，兼工山水、花鸟，也能画人物，以山水和花鸟成就突出。 在绘画方法上，沈周早年承受家学，兼师杜琼。后来博取众长，出入于宋元各家，主要继承董源、巨然以及元四家黄公望、王蒙，吴镇的水墨浅绛体系。又参以南宋李、刘、马、夏劲健的笔墨，融会贯通，刚柔并用，形成粗笔水墨的新风格，自成一家。沈周中年时成为画坛领袖，技法严谨秀丽，用笔沉着稳练，内藏筋骨。晚年时性情开朗，笔墨粗简豪放，气势雄浑。纵观沈周之绘画，技法全面，功力浑厚，在师宋元之法的基础上有自己的创造，进一步发展了文人水墨山水、花鸟画的表现技法，被誉为吴门画派之领袖。",[24,7,164,165,128,27,132,29,11997,722,131,34,96,499,11998],"桐树","悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff1190c5847d26b513d9f435eb7b973.jpg","纵123.8cm，横62.6cm",[],{"id":12003,"slug":12004,"title":12005,"dynasty":54,"author":872,"museum":300,"description":12006,"tags":12007,"thumbUrl":12009,"material":84,"size":84,"collection":84,"collections":12010,"showCount":11990,"zanCount":48,"manualWeight":48,"mainColor":72},230279,"yang-liu-yu-qin-tu-zhou-zhu-da-230279","杨柳浴禽图轴","《朱耷杨柳浴禽图轴》是清代朱耷创作的一幅画。\n本幅自识：“癸未冬日写，八大山人。\n”钤“八大山人”、“何园”、“真赏”印。\n“癸未”是康熙四十二年（17年）。\n鉴 ：“白门李氏珍藏”、“米舫平生之真赏”。\n裱边有狄平子题记二则，钤“狄平子”印等。\n此图是朱耷8岁所作。\n风烛残年的他面对清政权日益巩固，明王朝复辟无望的局面，愤世嫉俗的情结逐渐变成无奈的失望。\n此时他的绘画作品多表现出一种痛定思痛的空寂和宁静。\n图中杨柳以力透纸背的功力展示，墨气干湿浓淡尽在变化之中。\n八哥以软毫笔表现，中锋运转，笔笔凝重沉着，生动地刻画出八哥专注剔羽的神形体态。",[23,24,7,165,128,369,61,171,12008,211,208],"杨柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F919edce87f0eaaf6b6bab59b57d7634d.jpg",[],{"id":12012,"slug":12013,"title":7460,"dynasty":18,"author":92,"museum":300,"description":12014,"tags":12015,"thumbUrl":12024,"material":84,"size":84,"collection":84,"collections":12025,"showCount":11990,"zanCount":48,"manualWeight":48,"mainColor":49},227394,"qing-ming-shang-he-tu-juan-zhang-ze-duan-227394","《清明上河图》卷，北宋，张择端作，绢本，淡设色，纵24.8厘米，横528厘米。\n《清明上河图》描绘的是清明时节北宋都城汴京（今河南开封）东角子门内外和汴河两岸的繁华热闹景象。全画可分为三段：\n首段写市郊景色，茅檐低伏，阡陌纵横，其间人物往来。\n中段以“上土桥”为中心，另画汴河及两岸风光。中间那座规模宏敞、状如飞虹的木结构桥梁，概称“虹桥”，正名“上土桥”，为水陆交通的汇合点。桥上车马来往如梭，商贩密集，行人熙攘。桥下一艘漕船正放倒桅杆欲穿过桥孔，艄工们的紧张工作吸引了许多群众围观。\n后段描写的是市区街道，城内商店鳞次栉比，大店门首还扎结着彩楼欢门，小店铺只是一个敞棚。此外还有公廨寺观等。街上行人摩肩接踵，车马轿驼络绎不绝。行人中有绅士、官吏、仆役、贩夫、走卒、车轿夫、作坊工人、说书艺人、理发匠、医生、看相算命者、贵家妇女、行脚僧人、顽皮儿童，甚至还有乞丐。他们的身份不同，衣冠各异，同在街上，而忙闲不一，苦乐不均。城中交通运载工具，有轿子、驼队、牛、马、驴车、人力车等。 车辆有串车、太平车、平头车等诸种，再现了汴京城街市的繁荣景象。高大的城门楼名东角子门，位于汴京内城东南。\n全卷画面内容丰富生动，集中概括地再现了12世纪北宋全盛时期都城汴京的生活面貌。\n此画用笔兼工带写，设色淡雅，不同一般的界画，即所谓“别成家数”。构图采用鸟瞰式全景法，真实而又集中概括地描绘了当时汴京东南城角这一典型的区域。作者用传统的手卷形式，采取“散点透视法”组织画面。画面长而不冗，繁而不乱，严密紧凑，如一气呵成。画中所摄取的景物，大至寂静的原野，浩瀚的河流，高耸的城郭；小到舟车里的人物，摊贩上的陈设货物，市招上的文字，丝毫不失。在多达500余人物的画面中，穿插着各种情节，组织得有条不紊，同时又具有情趣。\n后幅有金张著、明吴宽等13家题记，钤96方印。\n《清河书画舫》、《庚子销夏记》、《式古堂书画记》等书著录。",[164,24,7,25,12016,2885,12017,12018,12019,7997,103,104,12020,6675,102,8771,12021,12022,12023,109,110],"淡设色","散点透视","汴河","虹桥","漕船","市井人物","市集","城市生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e6d5b509133b871c36ef9d9b4df3ba5.jpg",[],{"id":12027,"slug":12028,"title":12029,"dynasty":18,"author":223,"museum":244,"description":12030,"tags":12031,"thumbUrl":12032,"material":173,"size":12033,"collection":42,"collections":12034,"showCount":11990,"zanCount":48,"manualWeight":48,"mainColor":72},218811,"jie-hua-lou-ge-2-yi-ming-218811","界画楼阁2","这幅画和另一幅亭子的边框画应该是同一个人在同一时间画的，但这幅画离建筑更近一些，这使它更富丽堂皇。在这幅山崖画中，笔触与马、夏相似，但有相同的魅力。",[24,7,95,59,27,97,29,34,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4826f7703c0edc976ee25967d7cb579d.jpg","23.9x26.1",[42],{"id":12036,"slug":12037,"title":12038,"dynasty":18,"author":5533,"museum":1941,"description":12039,"tags":12040,"thumbUrl":12041,"material":173,"size":12042,"collection":136,"collections":12043,"showCount":11990,"zanCount":1116,"manualWeight":48,"mainColor":72},218036,"xue-shan-xing-lv-tu-liang-kai-218036","雪山行旅图","宋朝时期的画家梁楷是一位杰出的画家，其中最著名的作品之一就是《雪山行旅图》。\n\n《雪山行旅图》是一幅山水画，描绘的是一群人在雪山中旅行的场景。图中的人物用简单的线条勾勒出来，而山川、林木则是用浓厚的墨色勾勒出来的，给人以山水画的秀美感受。\n\n在《雪山行旅图》中，梁楷用笔触简练，表现出了雪山的壮丽景色。图中的人物虽然简练，却也能够传达出自然与人斗争的感觉。整幅画给人以清新、舒适的感觉，让人仿佛置身于山间，感受到大自然的魅力。\n\n《雪山行旅图》在宋朝时期是一幅非常具有代表性的作品，因为它体现了宋朝时期山水画的特点。梁楷在这幅画中巧妙地融合了中国传统的山水画风格与西方的透视画法，使得这幅画在当时颇受欢迎。目前，《雪山行旅图》还是许多博物馆和美术馆的珍藏之作。",[164,24,7,128,132,27,29,2523,96,101,1337,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b55a72db1829645297c286ba7aa49e.jpg","24.3x25.7cm",[136],{"id":12045,"slug":12046,"title":12047,"dynasty":54,"author":5879,"museum":244,"description":5880,"tags":12048,"thumbUrl":12049,"material":66,"size":84,"collection":84,"collections":12050,"showCount":11990,"zanCount":1998,"manualWeight":48,"mainColor":72},214837,"xie-sheng-ce-23-hua-yan-214837","写生册-23",[24,7,59,28,128,27,61,355,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F554a2a03ccf067e9257790a3edcb8044.jpg",[],{"id":12052,"slug":12053,"title":1280,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":12054,"thumbUrl":12055,"material":692,"size":1293,"collection":84,"collections":12056,"showCount":12057,"zanCount":1998,"manualWeight":48,"mainColor":72},235082,"yun-shou-ping-hua-hui-ce-yun-shou-ping-235082",[24,7,59,27,60,133,208,61,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18f6cfe7b0c9fd846a94eda0dfacb50e.jpg",[],115,{"id":12059,"slug":12060,"title":12061,"dynasty":18,"author":223,"museum":20,"description":12062,"tags":12063,"thumbUrl":12064,"material":40,"size":12065,"collection":84,"collections":12066,"showCount":12057,"zanCount":1998,"manualWeight":48,"mainColor":49},233199,"bai-tou-cong-zhu-tu-ye-yi-ming-233199","白头丛竹图页","图绘小竹数竿，清翠嫩绿，两只白头鹎栖于枝头，一只低头梳理羽毛，一只遥视前方。竹用双钩填彩画法，笔墨缜密严谨，色调沉着。山雀用淡彩层层晕染，再以尖毫细笔绘出绒羽，刻画准确，富有毛绒的质感。",[24,164,7,1131,28,27,61,167,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e20b9236c841784d4114a5d6f05f27.jpg","纵25.4厘米，横28.9厘米",[],{"id":12068,"slug":12069,"title":12070,"dynasty":144,"author":145,"museum":300,"description":12071,"tags":12072,"thumbUrl":12073,"material":84,"size":84,"collection":84,"collections":12074,"showCount":12057,"zanCount":1998,"manualWeight":48,"mainColor":49},230907,"shan-shui-tu-ye-huang-gong-wang-230907","山水图页","危崖高峙于右侧，山石以干笔皴擦，淡赭敷色，苍劲朴拙尽显。林麓间村居错落，古木虬枝扶苏，溪岸萦回转绕，远山晕染出空濛清气。\n\n全作用笔松灵秀逸，以简驭繁，淡设色晕染间将秋山萧疏淡远融于尺幅，既有山川厚重质感，又暗含文人幽寂散淡的隐逸意趣。于淡远中见雄浑，细微处藏丘壑，尽显林泉高致的悠然澹泊。",[24,7,59,128,132,29,663,34,35,131,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55c55781314ada71bf26fe09b31ae6de.jpg",[],{"id":12076,"slug":12077,"title":12078,"dynasty":18,"author":12079,"museum":300,"description":12080,"tags":12081,"thumbUrl":12082,"material":84,"size":84,"collection":84,"collections":12083,"showCount":12057,"zanCount":1998,"manualWeight":48,"mainColor":72},227540,"hou-chi-bi-fu-shi-yi-tu-juan-qiao-zhong-chang-227540","后赤壁赋诗意图卷","乔仲常","纳尔逊·阿特金斯艺术博物馆藏旧传北宋·乔仲常《后赤壁赋图》卷，纸本水墨，无款，北宋赵令畤题跋，赵氏与苏轼友好，有诗文唱和，情谊甚笃。北宋人武圣可也有题跋在后纸。画中还有北宋人梁师成的钤印，记“梁师成美斋印”等八方藏印。\n\n清代藏印众多，著名的梁清标藏印，嘉庆内府藏印，及末代皇帝溥仪的藏印。很明显这是一件《石渠宝笈》著录的古代书画，著录在《石渠宝笈》初编，参照《石渠宝笈》的记载，清高宗所书引首“云山得意”被裁剪，乾隆的《石渠宝笈》诸玺不见，后面题跋十一则仅剩两位北宋人跋文。据纳尔逊博物馆研究结论，用现代科学仪器测试，画面与题跋部分用纸相同，用墨却不同。这就符合当时的时代特点，绘画完成以后的拖尾部分，不断有人题跋，因此纸地相同而墨不同。\n\n当代鉴定大师们访美曾观看此幅作品，曾认为：纸本水墨。无款，后赵德麟跋，但言为赤壁赋图，亦未言其为乔作。画是北宋末文人画无疑，画远山，加点，富春山居颇似之。用笔极活，淡墨之色亦佳。何惠鉴先生云，馆方近以70万美元购之(时年1973年)，为近年中国古画最高价。",[23,164,24,7,25,188,128,132,29,96,129,130,211,34,497,97,99,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd982e48fd0260fead82c340c7279bba6.jpg",[],{"id":12085,"slug":12086,"title":12087,"dynasty":54,"author":12088,"museum":300,"description":12089,"tags":12090,"thumbUrl":12091,"material":151,"size":6342,"collection":136,"collections":12092,"showCount":12057,"zanCount":1116,"manualWeight":48,"mainColor":49},224596,"e-pang-gong-tu-ping-yuan-jiang-224596","阿房宫图屏","袁江","本幅无款，钤“袁江之印”、“文涛”印2方。有宋伯鲁录《阿房宫赋》全文并识。\n古代历史上著名的宫阙殿宇和民间传说中的阆苑琼楼都是袁江笔下反复描绘的题材内容，此幅即以秦始皇三十五年（公元前212年）兴建的阿房宫为题。画家凭借自己精深的古建知识和丰富的想象力使一组组已经逝去的带有神秘色彩的建筑得以再现。此图使用12条通景屏的表现手法，充分利用画面的宽度与广度，再现了阿房宫当年的恢弘气势，将华贵绮丽的画风发展到极致。",[23,164,24,7,95,28,27,29,97,131,34,37,906,5323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f7ea797c054eb61e8fe9d424db56755.jpg",[136],{"id":12094,"slug":12095,"title":12096,"dynasty":144,"author":7649,"museum":56,"description":12097,"tags":12098,"thumbUrl":12099,"material":1722,"size":12100,"collection":117,"collections":12101,"showCount":12057,"zanCount":1116,"manualWeight":48,"mainColor":72},221832,"mo-zhu-tu-juan-ke-jiu-si-221832","墨竹图卷","元代伯颜不花题记：予旧藏东坡枯木丛竹一小卷，每闲暇，于明窗净几间，时复展玩，不觉尘虑顿消，颇得佳趣耳。 一日，友人赠我文湖州墨竹一枝，与坡仙画枯木图高下一般，不差分毫， 喜曰：此天成配偶也！如张华之雄剑遇雷焕之雌剑， 遂合于延平之津，神物有对，终必合也，此卷亦然。遂粘为一卷， 名曰：二妙事岂偶然哉？至正十五年岁在乙未十月上浣，高昌伯颜不花苍岩谨识。济南邢侗子愿鉴定。",[23,24,7,25,128,167,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc715dfe5b99d815d10e9ee48591023.jpg","纵23.4厘米，横87厘米",[117,1670],{"id":12103,"slug":12104,"title":12105,"dynasty":124,"author":1141,"museum":450,"description":12106,"tags":12107,"thumbUrl":12109,"material":66,"size":84,"collection":136,"collections":12110,"showCount":12057,"zanCount":1998,"manualWeight":48,"mainColor":49},220428,"you-jian-zhuo-zu-tu-wen-zheng-ming-220428","幽涧濯足图","图绘深山幽涧，高士濯足涤俗。山石皴法不作奇峭之笔，徐徐擦出，崖上之树叶全用细笔点染，全幅清气出尘，观之使人爽然。",[23,164,24,7,165,27,29,96,34,497,12108,99,1144,132,498,208],"洞穴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6ce959c12441f921b6cc387711c038.jpg",[136,44,45],{"id":12112,"slug":12113,"title":12114,"dynasty":18,"author":5533,"museum":12115,"description":12116,"tags":12117,"thumbUrl":12118,"material":278,"size":12119,"collection":117,"collections":12120,"showCount":12057,"zanCount":1998,"manualWeight":48,"mainColor":72},219188,"liu-zu-si-jing-tu-liang-kai-219188","六祖撕经图","三井纪念美术馆","画面上六祖慧能大师手拿撕坏的佛经， 疾步狂呼，张着脖子歇斯底里的模样。 画家把六祖藐视宗教旧传统时这种玩世不恭的狂态，用干枯的焦墨勾线表现得淋漓尽致。画面笔触方折细劲，僧衣用线简括削劲，松针、树枝用笔爽利干净，眉眼五官和经卷则以淡墨略作勾画，六祖慧能撕经时狂颠和玩世不恭的神态已跃然纸上。",[23,24,7,164,165,128,10170,96,1337,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8195d6c6a142b8cfd17fc7dbb04a9365.jpg","70x30.3厘米",[117],{"id":12122,"slug":12123,"title":12124,"dynasty":18,"author":2141,"museum":244,"description":12125,"tags":12126,"thumbUrl":12127,"material":173,"size":12128,"collection":136,"collections":12129,"showCount":12057,"zanCount":1086,"manualWeight":48,"mainColor":49},218530,"tian-bao-jiu-ru-tu-liu-song-nian-218530","天保九如图","此卷是刘松年所作，画风精细，似乎是在文征明之后，卷首有宋高宗的题词，但不是真迹。",[23,24,7,25,26,27,28,132,29,97,130,331,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4c2a25e8fe1441ec33f5a675e61a18.jpg","53.8x302.2cm",[136],{"id":12131,"slug":12132,"title":6497,"dynasty":54,"author":223,"museum":77,"description":12133,"tags":12134,"thumbUrl":12135,"material":173,"size":12136,"collection":68,"collections":12137,"showCount":12057,"zanCount":48,"manualWeight":48,"mainColor":49},216675,"zhu-que-tu-yi-ming-216675","竹雀图是一幅出自清朝佚名画家之手的名画。这幅画描绘了一只竹雀和一些竹子的景象。竹雀图以其细腻的线条和精确的造型而闻名，代表了清朝时期中国画的高超技艺。此外，竹雀图还被认为是一幅充满寓意的画作，象征着含蓄、谦虚和高尚的品质。",[24,7,165,27,28,61,167,355,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5af219407ce773a050075d6ae42b557d.jpg","128x29cm",[68],{"id":12139,"slug":12140,"title":12141,"dynasty":124,"author":366,"museum":300,"description":12142,"tags":12143,"thumbUrl":12144,"material":84,"size":84,"collection":84,"collections":12145,"showCount":12146,"zanCount":1998,"manualWeight":48,"mainColor":72},228760,"shi-er-mo-hua-shi-hua-tu-juan-xu-wei-228760","十二墨花诗画图卷","此作用淋漓水墨写尽草木风神，以书入画，笔锋纵恣老辣。长卷铺展，一花一诗相生相融，浓墨泼洒见花枝繁盛，淡墨勾勒显枝叶清灵，干湿浓淡间，四时花木的野逸之态跃然纸上。\n逸笔草草不拘形似，却将花木的疏狂生机、清寂之姿尽数展露，以极简笔墨传递蓬勃意趣，将文人疏放心境寄情于一花一叶，笔墨间满是狂放不羁的风骨，尽显大写意水墨的写意真髓。",[23,24,7,25,128,369,208,133,371,375,167,376,168,263,374,373,603,171,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80ebde713ecf78a9dd05b8f4040f76c2.jpg",[],114,{"id":12148,"slug":12149,"title":12150,"dynasty":18,"author":791,"museum":300,"description":12151,"tags":12152,"thumbUrl":12153,"material":84,"size":84,"collection":84,"collections":12154,"showCount":12146,"zanCount":48,"manualWeight":48,"mainColor":49},227964,"pi-pa-xiu-yan-tu-tuan-shan-ye-wu-bing-227964","枇杷绣眼图团扇页","画面中枇杷垂枝，圆实饱满的果子晕染出暖黄熟色，果皮绒毛似可触感，叶片正反层次分明，筋脉勾勒细致，一片残叶添了自然错落的意趣。绣眼鸟栖于枝桠，墨绿羽色莹润光泽，身形小巧灵动，垂首望向满枝鲜果，将禽鸟的娇憨馋态刻画入微。\n\n整幅工笔细腻写实，设色雅致柔和，疏密构图恰到好处，静美的果枝与鲜活的禽鸟相映，定格了初夏果熟禽来的清逸小景，把藏在日常里的诗意娓娓道来，淡而愈真，静中生趣。",[1131,28,27,61,918,211,24,164,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7715eb3815a372e3b5e1f25007e64c6c.jpg",[],{"id":12156,"slug":12157,"title":12158,"dynasty":351,"author":3729,"museum":300,"description":12159,"tags":12160,"thumbUrl":12161,"material":84,"size":84,"collection":84,"collections":12162,"showCount":12146,"zanCount":1086,"manualWeight":48,"mainColor":72},227547,"shi-liu-tu-ye-huang-ju-cai-227547","石榴图页","黄居寀[cǎi]（933年—993年后），字伯鸾，成都（今属四川）人，五代十国名画家黄筌第三子。擅绘花竹禽鸟，精于勾勒，用笔劲挺工稳，填彩浓厚华丽，其园竹翎毛形象逼真，妙得自然；怪石山水超过乃父，与父同仕后蜀，为翰林待诏，入宋仍任翰林待诏。尝合作殿廷墙壁，宫闱屏幛，不可胜记。",[23,164,24,7,59,27,28,61,2035,624,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3694de77f1763de9903d1d4aa0cf2982.jpg",[],{"id":12164,"slug":12165,"title":12166,"dynasty":124,"author":3148,"museum":510,"description":12167,"tags":12168,"thumbUrl":12169,"material":40,"size":12170,"collection":68,"collections":12171,"showCount":12146,"zanCount":1998,"manualWeight":48,"mainColor":49},222401,"shi-tou-e-tu-lv-ji-222401","狮头鹅图","该画作工笔设色绘白鹅踱步于梅树之下，树干古拙，花蕾点点，侧有玲珑剔透的太湖石，石旁花卉丛生。鹅身用笔轻柔，赋色细腻。左上角有吕纪单款，并钤印章。该作品无论在画幅尺寸还是构图气势上都给人一种“大”的感觉，让人在百步之外都能感受到一种强烈的艺术气息。",[23,24,7,28,27,61,371,7546],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46ef3147a069d98f929795d817ad87ed.jpg","纵191厘米，横104厘米",[68,45],{"id":12173,"slug":12174,"title":12175,"dynasty":144,"author":12176,"museum":465,"description":12177,"tags":12178,"thumbUrl":12180,"material":12181,"size":12182,"collection":68,"collections":12183,"showCount":12146,"zanCount":48,"manualWeight":48,"mainColor":49},221738,"jia-shang-ying-tu-xu-ze-221738","架上鹰图","徐泽","画面中一只矫健的雄鹰站于鹰架之上，两只脚由绳子捆绑，这只鹰虽失去翱翔天空的自由但仍有鸟中之王的戾气，羽毛勾画细致，体现极好的层次感，架子上的红色的横梁色彩艳丽装饰华丽，图案搭配带有一种宫廷气息。",[23,24,7,164,165,28,27,949,3141,12179],"架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faefa9aab2caa303b4a77c9061c22fdcf.jpg","绢本设色.","51.9cmx78.6cm.",[68,45],{"id":12185,"slug":12186,"title":12187,"dynasty":18,"author":1622,"museum":2068,"description":12188,"tags":12189,"thumbUrl":12190,"material":514,"size":12191,"collection":42,"collections":12192,"showCount":12146,"zanCount":48,"manualWeight":48,"mainColor":49},221528,"lin-he-jing-mei-hua-tu-ma-yuan-221528","林和靖梅花图","孤山已无吟诗处，\n西湖仍有处处枝。\n疏影高士横卧看，\n红日半斜香风迟。",[23,24,7,128,27,28,132,96,29,371,231,1314,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcda8f28fa7dbe93178e2179ff242a9b.jpg","24.5×38.6cm",[42,68,117],{"id":12194,"slug":12195,"title":12196,"dynasty":124,"author":2268,"museum":450,"description":12197,"tags":12198,"thumbUrl":12199,"material":66,"size":12200,"collection":136,"collections":12201,"showCount":12146,"zanCount":1116,"manualWeight":48,"mainColor":49},220429,"hua-fa-mi-jue-tu-dong-qi-chang-220429","画法秘诀图","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，今上海市人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。",[23,24,7,25,128,27,29,34,131,35,64,133,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F335b0d30fc47e443891fea49553c18fa.jpg","31x276.5",[136,45],{"id":12203,"slug":12204,"title":12205,"dynasty":54,"author":55,"museum":56,"description":12206,"tags":12207,"thumbUrl":12208,"material":173,"size":1734,"collection":84,"collections":12209,"showCount":12146,"zanCount":1116,"manualWeight":48,"mainColor":72},219820,"hua-hui-shi-kai-3-yun-shou-ping-219820","花卉十开-3","以没骨技法晕染桃花，枝桠清疏舒展，粉瓣柔妍动人。花色由深粉晕向柔白，过渡柔和自然，将桃花初绽的缱绻柔态尽显，仿佛携带着春日融融暖意。嫩绿叶芽点缀枝间，与粉花相映，愈衬花色明丽清新，未用轮廓勾勒却形神兼备。\n\n左侧题诗与右侧钤印呼应，诗画交融，将桃花不拟梅之傲雪、自有柔香引蝶的雅致品格点明，文人意趣跃然纸上。整幅画作清润秀雅，尽显淡逸之风，将春日桃花的娇柔定格，雅致脱俗，尽显没骨花鸟的动人韵味。",[24,164,7,59,60,27,61,62,582,549,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff19bf3a15b42d07ec373376a6522b8c.jpg",[],{"id":12211,"slug":12212,"title":12213,"dynasty":54,"author":1311,"museum":56,"description":1312,"tags":12214,"thumbUrl":12215,"material":278,"size":1316,"collection":84,"collections":12216,"showCount":12146,"zanCount":1998,"manualWeight":48,"mainColor":72},214688,"mei-hua-zhu-shi-tu-ce-1-wang-shi-shen-214688","梅花竹石图册-1",[24,7,59,128,133,208,371,167,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b9c33e7f7afa822865810bf8fc4aaad.jpg",[],{"id":12218,"slug":12219,"title":12220,"dynasty":54,"author":12221,"museum":300,"description":12222,"tags":12223,"thumbUrl":12224,"material":692,"size":1293,"collection":44,"collections":12225,"showCount":12226,"zanCount":1998,"manualWeight":48,"mainColor":72},235120,"hua-hua-yan-shi-nv-tu-ce-wang-su-235120","画华严仕女图册","王素","王素（1794—1877）字小梅，晚号逊之，甘泉（今江苏扬州）人。幼拜师鲍芥田，又多临华岩，凡人物、花鸟、走兽、虫鱼，无不入妙。道光初与魏小眠、王应祥并驾。自悔书拙，每晨必临数百字，至老无间。 咸丰三年（1853）太平天国克扬州，迁邵伯，又迁郭村，逾年返扬。有请画南北斗星君像，乃诣蕃厘观图其塑像为稿本，其虚心若此。篆刻效法汉印，为画名所掩。卒年八十四。",[24,7,59,28,27,96,166,438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bcbec6b44d875f6875f0d4a4e8faa49.jpg",[44],113,{"id":12228,"slug":12229,"title":12230,"dynasty":54,"author":2640,"museum":300,"description":12231,"tags":12232,"thumbUrl":12233,"material":84,"size":84,"collection":84,"collections":12234,"showCount":12226,"zanCount":48,"manualWeight":48,"mainColor":72},224368,"hua-hui-qi-shi-ce-ju-lian-224368","花卉奇石册","此作为没骨小品，以太湖石为画面中心，嶙峋通透，以淡墨晕染出石体质感，皴擦兼具，灵秀古雅。两侧折枝柔花轻绽，粉紫花瓣晕染柔美，枝叶敷色妍润鲜活。石上驻足的星天牛刻画精微，鞘翅斑纹清晰如生，将草野清趣暗藏其间。右下角苔草细劲，淡色点染出苔藓苍润，和奇石花木相映成趣。整体设色明丽秀雅，笔致温婉细腻，生机澹然，将花间小景的意趣尽皆呈于尺幅之中，清隽动人。",[23,24,7,59,28,27,61,62,1495,806,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10bdde0deaa416907df62737b1070ff1.jpg",[],{"id":12236,"slug":12237,"title":1109,"dynasty":54,"author":3403,"museum":300,"description":3997,"tags":12238,"thumbUrl":12239,"material":611,"size":12240,"collection":68,"collections":12241,"showCount":12226,"zanCount":48,"manualWeight":48,"mainColor":72},224228,"zhu-shi-tu-wu-chang-shuo-224228",[23,24,7,165,128,167,1314,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28ace95061fde7ae66bb96ebc63b2458.jpg","34.5x138.3cm",[68,45],{"id":12243,"slug":12244,"title":12245,"dynasty":124,"author":3148,"museum":524,"description":12246,"tags":12247,"thumbUrl":12249,"material":514,"size":12250,"collection":68,"collections":12251,"showCount":12226,"zanCount":48,"manualWeight":48,"mainColor":49},222402,"xue-mei-ji-qin-tu-li-zhou-lv-ji-222402","雪梅集禽图立轴","吕纪主要是以工整精丽的院体传统作画，造型准确，设色鲜艳。但也能画活泼生动兼工带写的花鸟画。他的画生动，笔墨清新，是当时与边景昭、林良齐名的花鸟名家。",[23,24,7,165,28,27,61,371,1400,12248,131],"雪梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14e407cc061f6c00f1c4b4a682ce1be3.jpg","192cmx110cm",[68,45],{"id":12253,"slug":12254,"title":12255,"dynasty":124,"author":204,"museum":300,"description":12256,"tags":12257,"thumbUrl":12259,"material":40,"size":12260,"collection":44,"collections":12261,"showCount":12226,"zanCount":1998,"manualWeight":48,"mainColor":49},222199,"gu-dai-shi-nv-li-zhou-chou-ying-222199","古代仕女立轴","图绘后院内芭蕉高大粗壮，叶片宽大下垂，一叶叶尖和中部开裂真实自然，与湖石相依成景；两位仕女头梳高髻，手执团扇，低垂的眼睑，手托下巴，或为情所困，或他事烦恼。画右侧题“实父仇英制”和印章一枚。",[23,805,24,7,165,28,27,997,96,875,247,9425,249,12258],"古装服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3009f0a28946d85c8a86a50a39f771cf.jpg","95×38cm",[44,117],{"id":12263,"slug":12264,"title":12265,"dynasty":18,"author":620,"museum":2068,"description":12266,"tags":12267,"thumbUrl":12268,"material":12269,"size":12270,"collection":42,"collections":12271,"showCount":12226,"zanCount":1086,"manualWeight":48,"mainColor":49},221298,"zhu-chong-tu-zhou-zhao-chang-221298","竹虫图轴","此图画幽篁疏影，双钩填彩，以色之而飞，又绘天牛、螽蜥，无不刻画入微，瓜赞，相阿弥题签，天室和尚题跋。浓淡来显叶之向背、竿之盘曲。枝叶饱满， 叶果实又仿效徐崇嗣的“没骨”画法。设姿态多样。另有花卉野瓜、蝴蝶蜻蜓萦绕 色浓丽而又不隐墨骨。",[23,164,24,7,165,28,27,61,167,481,609,547,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3caf6fb1a56d046b3a504e74b2fa9ef8.jpg","轴，绢本设色","纵99 4厘米，横54 2厘米",[42,45,1670],{"id":12273,"slug":12274,"title":12275,"dynasty":182,"author":994,"museum":244,"description":12276,"tags":12277,"thumbUrl":12278,"material":173,"size":12279,"collection":44,"collections":12280,"showCount":12226,"zanCount":1998,"manualWeight":48,"mainColor":49},221114,"yan-le-tu-zhou-zhou-fang-221114","演乐图轴","大松下五位士人围长案雅聚，童子张琴，仕女抱阮或备茶，人物器用俱以中锋细笔钩勒，顿起顿收，转折挺劲，如画树的枝桠。画上无作者款印，旧传周昉作。按周昉（活动于八世纪末）是陕西长安人，唐代著名人物画家，画史称其人物善于刻画个别的性格，并能掌握特定环境下的情态。本幅构图似是取自其他作品拼凑而成，如士人围坐的构图便是摹仿传世十八学士的一段。",[23,24,7,165,28,27,96,438,1144,211,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb21b1bfe7ff31574b4855b09db89917a.jpg","165.6x84.4",[44,45],{"id":12282,"slug":12283,"title":12284,"dynasty":18,"author":12285,"museum":5543,"description":12286,"tags":12287,"thumbUrl":12288,"material":173,"size":12289,"collection":42,"collections":12290,"showCount":12226,"zanCount":1086,"manualWeight":48,"mainColor":49},220122,"shi-liu-luo-han-tu-di-er-zun-zhe-jin-da-shou-220122","十六罗汉图-第二尊者","金大受","金大受是南宋时代浙江宁波具有代表性的佛画师。本图各幅有落款“大宋明州车桥西、金大受笔”，绘于庆元元年（1195）之前，当时的宁波被称为“明州”，作为现存浙江佛画中时代最早的作品而闻名。金大受所绘的罗汉笔锋收敛，形态把握准确，其赋彩也是巧用中间色，采用协调的自然表现手法，在宁波所绘制的罗汉图中也属于佳作。作为摄州多田院的镇院之宝而传来。曾为原邦造旧蔵。16幅作品中，现已确认有东京国立博物馆馆藏的10幅，以及群马县立近代美术馆馆藏的1幅，其他5幅估计流失海外，所在不明。\n金大受所画十六罗汉计十六幅，分藏三个处所，除了东京国立博物馆藏了十幅之外，其余分别由二个私人收藏家所收藏。十六幅中，每幅均有「大宋明州车桥西金大受笔」的落款，因此一直被误认为作者是西金居士。后来才被判定为南宋宁波车桥之西的画家金大受。\n十六幅中，现藏于群马县立近代美术馆的一幅，长一一七．四公分，宽五Ｏ．四公分。尊者着偏袒右肩式僧服，外罩水田衣，微侧脸注视手中的持花，其蹙眉掀鼻，张口露齿的表情，很是特出。画中除尊者之外，另有侍者一人，以及伏在矮几的小童一人，尊者头上的圆光，以青绿色为之，背后花树盛开，树枝上倒挂一朵莲花，色彩精致，笔触细腻，采用了较幽沉的色调，却烘托出尊者和圆光的明亮。",[23,164,24,7,165,27,28,187,96,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c3ad92414ef1bcdc9e61d67eae92da0.jpg","118.8×51.7cm",[42,44],{"id":12292,"slug":12293,"title":12294,"dynasty":124,"author":223,"museum":2542,"description":12295,"tags":12296,"thumbUrl":12297,"material":173,"size":84,"collection":44,"collections":12298,"showCount":12226,"zanCount":1086,"manualWeight":48,"mainColor":49},219577,"ting-zhong-shang-le-tu-yi-ming-219577","庭中赏乐图","画面绘闺中闲景，四位仕女各得幽趣。二人对坐似行猜枚之戏，指尖轻扬，情态灵动鲜活；侧坐仕女支臂观戏，慵懒悠然；侍立婢女持扇静候，恭谨安恬。衣褶线条柔婉舒展，晕染出绫罗软缎的垂坠质感，鬓间花钿衬出闺阁佳人的柔秀雅致。布景简淡，仅以浅绘草卉点染庭中清寂，古褐底色晕出庭院静谧松弛的氛围。笔致清逸简淡，将深闺日常的闲散意趣娓娓道来，尽显温婉含蓄的古典仕女审美意韵。",[24,7,28,27,96,166,374,438,1367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86260b0dda74b3817ea2971ec93bb2fa.jpg",[44],{"id":12300,"slug":12301,"title":1230,"dynasty":124,"author":12302,"museum":20,"description":12303,"tags":12304,"thumbUrl":12305,"material":173,"size":12306,"collection":136,"collections":12307,"showCount":12226,"zanCount":1998,"manualWeight":48,"mainColor":72},218515,"shan-shui-tu-du-qiong-218515","杜琼","画幅右上画家自题：“余尝写此境为有趣，适陈孟贤、郑德辉二公相访见之。孟贤曰，此幅可，郑公盍求诸？德辉略无健羡之色。孟贤强之，乃启言，予不敢靳也。德辉廉静寡欲，于物无所嗜好，使王维、吴道玄复生亦无所爱，此其所以能养其德也。夫以心之玩好，乃学者之病，观于德辉，则有以警于人人哉！景泰五年甲戌岁上元日，杜琼书。”题跋前钤白文“古心”、朱文“旌节名门”印，题跋后钤朱文“杜氏用嘉”、白文“东原耕者”、朱文“持敬观理”印。画面右下方有白文“陶情写意”印。\n此画作于明景泰五年（1454年），杜琼时年59岁。图中山峰耸峙，层峦迭嶂，弯曲的河流将画面中下部的山峰隔为两段，画面右下山谷林木间有山庄草亭，一文士正在草亭中读书；桥上有一拄杖文士携童子向山庄走来。该幅构图饱满，山石用圆润细密的披麻皴，浓墨点苔，系画家仿元王蒙风格而出新意的代表作之一。杜琼学王蒙颇有心得，他在52岁时作的《萝萱堂水墨山水》中就自题云：“余学黄鹤（王蒙号）最精。”顾复评价他于正统年间所作的《对泉图》时也称他“学叔明（王蒙字）能脱塞实之习，自然高雅”。",[23,164,24,7,165,128,27,132,29,98,99,34,131,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15565c9a8c4a1de8ad94b72defc1db1d.jpg","纵122.4厘米，横38.9厘米",[136],{"id":12309,"slug":12310,"title":12311,"dynasty":18,"author":1174,"museum":244,"description":12312,"tags":12313,"thumbUrl":12317,"material":173,"size":12318,"collection":44,"collections":12319,"showCount":12226,"zanCount":1998,"manualWeight":48,"mainColor":49},218162,"wen-ji-gui-han-tu-ce-li-tang-218162","文姬归汉图册","这本画册由18张图片组成，以上下系列的形式。每张图片大小不一，是独立的画作，与其他画作一起构成一个完整的故事。",[24,7,59,27,28,96,12314,6675,12315,12316],"帐篷","胡地","毡房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb66d2ebe72e8271220a920899a0213a3.jpg","50.7x39.7",[44],{"id":12321,"slug":12322,"title":12323,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":12324,"thumbUrl":12325,"material":692,"size":1293,"collection":84,"collections":12326,"showCount":12327,"zanCount":1998,"manualWeight":48,"mainColor":72},288091,"shan-shui-tu-juan-shi-tao-288091","山水图卷",[23,24,25,7,128,132,29,97,131,4438,99,387,130,938,133,64,208,6639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f6af245446b0e5843dd2cd8f5b76edc.jpg",[],112,{"id":12329,"slug":12330,"title":12331,"dynasty":980,"author":12332,"museum":300,"description":12333,"tags":12334,"thumbUrl":12336,"material":692,"size":1293,"collection":84,"collections":12337,"showCount":12327,"zanCount":48,"manualWeight":48,"mainColor":72},283788,"shuang-gou-zhi-lan-tu-lai-chu-sheng-283788","双钩芝兰图","来楚生","此作兼工带写，朱砂点染灵芝，秾丽鲜活，似凝着朝露生机。双钩兰叶以清劲线条勾勒，舒展挺拔，柔韧芝草与挺秀兰叶相映成趣。灵石以淡赭晕染、墨色皴擦，写意空灵，与花草形成刚柔对照。\n左上题字古拙朴茂，笔墨苍劲，书画相融，将祥瑞芝草与清雅幽兰相合，跳出题材俗套，尽显清隽雅致的文人意趣，笔底带着金石韵味，雅致脱俗，是写意与工致的绝佳融合。",[24,7,165,27,12335,28,3291,9070,4074,171,64,208],"双钩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b3761fd32db867ee4ee6f60d14068ee.jpg",[],{"id":12339,"slug":12340,"title":12341,"dynasty":54,"author":3403,"museum":20,"description":12342,"tags":12343,"thumbUrl":12345,"material":734,"size":12346,"collection":84,"collections":12347,"showCount":12327,"zanCount":1998,"manualWeight":48,"mainColor":72},233730,"tian-zhu-shui-xian-tu-zhou-wu-chang-shuo-233730","天竺水仙图轴","此图又名《群仙祝寿》。图绘天竺、水仙。构图颇具匠心，水仙顺坡生长取斜势，而参差错落的天竺直、斜之姿兼备，使画面富于变化，情趣盎然。水仙的叶片以墨笔勾线，石绿填色，浓厚的色彩增添了鲜活的生机；高挑的天竺则以写实手法点染而成，其艳丽的嫣红色与水仙的绿色形成冷暖色调的对比，色彩明亮却不俗艳。此作是吴昌硕花卉画的代表作之一。\n天竺、水仙均有长寿之意，且谐“诸仙”之音，是寿意画的常用题材。范湖居士即周闲（1820-1875年），字存伯，一字小园，号范湖居士，浙江秀水（今嘉兴）人。晚清上海重要画家，精于水墨花卉，与任熊、任颐、吴昌硕等相友善。图题“拟范湖居士”，可知此图有借鉴周氏之处。",[24,7,165,61,369,27,128,12344,374,229],"天竺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e0176a3a4253556702b5d4630221776.jpg","纵174.7厘米，横47.5厘米",[],{"id":12349,"slug":12350,"title":12351,"dynasty":54,"author":223,"museum":300,"description":12352,"tags":12353,"thumbUrl":12354,"material":84,"size":84,"collection":84,"collections":12355,"showCount":12327,"zanCount":1086,"manualWeight":48,"mainColor":49},230302,"fang-chou-ying-wang-chuan-tu-yi-ming-230302","仿仇英辋川图","此作用鲜亮石青、石绿晕染勾勒山峦，兼具勾勒骨力与晕染秀润，设色雅致明丽。画幅间烟波浩渺，云气悠然萦绕山谷峰林，村居屋舍错落隐现于林木水岸之间，将辋川别业的林泉意韵铺陈开来。整体意境清旷淡远，把诗意山居化为具象图景，尽显复古工笔青绿山水的雅逸格调，传递出隐世丘园的悠然禅意。",[23,24,7,25,26,27,28,330,29,496,37,34,758,31,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F311e89b0c05248950e4ccf7747f51546.jpg",[],{"id":12357,"slug":12358,"title":12359,"dynasty":124,"author":204,"museum":244,"description":12360,"tags":12361,"thumbUrl":12362,"material":173,"size":12363,"collection":136,"collections":12364,"showCount":12327,"zanCount":1086,"manualWeight":48,"mainColor":49},222204,"qiu-jiang-dai-du-zhou-chou-ying-222204","秋江待渡轴","此幅用笔极工，盖实父着意之作也。画未署款，惟石角水陬，分钤三印。竹树双钩，如唐人小楷，笔笔尽法。山石带皴带砍，要与斧劈为近，重而不滞，轻而不浮。点景人物，尤尽传神之妙。有项元汴，安岐藏印。",[23,164,24,7,165,27,28,132,29,96,6004,129,1024,131,34,1955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d22204dd46057a8ac8e4dd002a40813.jpg","155.4x133.4公分",[136,45],{"id":12366,"slug":12367,"title":12368,"dynasty":124,"author":3608,"museum":244,"description":12369,"tags":12370,"thumbUrl":12372,"material":173,"size":12373,"collection":45,"collections":12374,"showCount":12327,"zanCount":48,"manualWeight":48,"mainColor":72},219463,"zhu-bao-ping-an-tu-lu-zhi-219463","竹报平安图","湖石朴拙矗立，青竹斜曳，叶叶清劲如裁，凌霄花攀缠绽蓝，晕染出柔润鲜活。三只鹌鹑姿态各异，或低首啄食细草，或两两偎依小憩，羽色晕染细腻，绒毛细密宛然。另有枯残秋叶秋意澹澹，衬出庭中一隅的幽寂生机。\n\n此作工写相融，设色雅致恬淡，淡赭底晕开古雅氛围。以幽竹暗合平安意涵，将清秋闲景揉入温润期许，笔致秀逸静美，尽显写生的雅致风神。",[164,24,7,165,27,28,167,1314,355,548,12371,11830,208],"枯叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F776f1def841c12e7af55aa92f83b859e.jpg","117.9x43.1",[45],{"id":12376,"slug":12377,"title":11142,"dynasty":18,"author":2099,"museum":244,"description":12378,"tags":12379,"thumbUrl":12380,"material":278,"size":12381,"collection":44,"collections":12382,"showCount":12327,"zanCount":1998,"manualWeight":48,"mainColor":72},218504,"gui-qu-lai-ci-juan-li-gong-lin-218504","画面以白描入笔，线条如清风拂柳，婉转间藏骨力。主角策杖徐行，衣袂飘举若流云，眉宇间漾着归隐的释然；仆从负笈紧随，姿态恭谨，似与主人共享归乡的轻悦。笔墨极简却意韵丰沛，无浓彩重墨，却以墨线的缓急粗细，勾勒出辞官归田的恬淡心境。每一笔都浸着文人对田园的向往，墨痕淡处是远离尘嚣的澄澈，线条动处是奔向本心的轻快。观者仿佛随画中人踏过青山，步入炊烟故园，感受那份不恋官场、归向自然的自在安宁。",[24,7,25,188,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6acdec1b46ff1f1232f15cdb6ca0b1c9.jpg","34x898.8",[44],{"id":12384,"slug":12385,"title":12386,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":12388,"thumbUrl":12389,"material":611,"size":84,"collection":44,"collections":12390,"showCount":12327,"zanCount":1998,"manualWeight":48,"mainColor":956},217110,"bai-miao-luo-han-10-leng-mei-217110","白描罗汉-10","冷枚（约1669年—1742年），字吉臣，号金门画史，山东胶州人，焦秉贞弟子。清代宫廷画家。善画人物、界画，尤精仕女。所画人物工丽妍雅，笔墨洁净，色彩韶秀，其画法兼工带写，点缀屋宇器皿，笔极精细，亦生动有致。",[24,7,59,188,187,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9af19c162f3cd549674293ab8722bc5f.jpg",[44],{"id":12392,"slug":12393,"title":12394,"dynasty":54,"author":12395,"museum":244,"description":12396,"tags":12397,"thumbUrl":12398,"material":66,"size":84,"collection":68,"collections":12399,"showCount":12327,"zanCount":1086,"manualWeight":48,"mainColor":72},216102,"shu-guo-tu-zhang-xiong-216102","蔬果图","张熊","清朝张熊的蔬果图是指18世纪末19世纪初的清朝画家张熊所创作的一幅著名的绘画作品，其中描绘了许多种类的水果和蔬菜。这幅画作品被认为是中国画的杰出代表作之一，也是中国传统艺术中著名的绘画作品之一。\n\n张熊是一位著名的清朝画家，他的蔬果图是他的代表作之一。这幅画作品描绘了许多种类的水果和蔬菜，包括苹果、梨、桃子、柑橘、葡萄、菠萝、香蕉、西瓜、茄子、辣椒、芹菜、芥菜、豆芽等。画中的水果和蔬菜都按照真实的外观进行描绘，颜色鲜艳，造型生动。\n\n张熊的蔬果图是以轮廓线和色彩为主要表现手法的，在描绘水果和蔬菜的同时，还表现了每种水果和蔬菜的独特的形态和质地。这幅画作品被认为是中国画的杰出代表作之一，也是中国传统艺术中著名的绘画作品之一。",[23,24,7,27,28,4250,4252,10888,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbf464bdc7825df56f0578c227961066.jpg",[68],{"id":12401,"slug":12402,"title":12403,"dynasty":54,"author":3403,"museum":300,"description":8089,"tags":12404,"thumbUrl":12407,"material":692,"size":1293,"collection":84,"collections":12408,"showCount":12409,"zanCount":1998,"manualWeight":48,"mainColor":72},290181,"hua-hui-si-tiao-ping-wu-chang-shuo-290181","花卉四条屏",[23,24,164,7,165,27,128,61,12405,64,208,12406],"寿桃","祝寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b9dc40faec11aee3f097844ed158d77.jpg",[],111,{"id":12411,"slug":12412,"title":1280,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":12413,"thumbUrl":12414,"material":692,"size":1293,"collection":84,"collections":12415,"showCount":12409,"zanCount":48,"manualWeight":48,"mainColor":72},235084,"yun-shou-ping-hua-hui-ce-yun-shou-ping-235084",[24,7,59,27,60,61,81,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d27a48961942f8bb0bbc6702c8f07b6.jpg",[],{"id":12417,"slug":12418,"title":12419,"dynasty":144,"author":12420,"museum":20,"description":12421,"tags":12422,"thumbUrl":12426,"material":1722,"size":12427,"collection":136,"collections":12428,"showCount":12409,"zanCount":1086,"manualWeight":48,"mainColor":72},221721,"wu-jia-he-hui-juan-zhao-yong-wang-mian-zhu-de-run-zhang-guan-fang-cong-yi-221721","五家合绘卷","赵雍 王冕 朱德润 张观 方从义","《元五家合绘》卷，元，赵雍、王冕、朱德润、张观、方从义作。\n此卷包括元代5位画家的5件绘画作品，作品尺幅相近，后人将其合裱为一卷。\n其一《松溪钓艇图》，元，赵雍作，纸本，墨笔，纵30厘米，横52.8厘米。\n款署：“至正二十年二月既望仲穆画。”钤“仲穆”、“魏国世家”。另有清乾隆皇帝御题诗及鉴藏印。至正二十年为1360年，赵雍时年72岁。图绘近岸坡石双松，孤舟钓叟，隔水平峦远岫，意境清幽，笔墨苍润。\n（二）《墨梅图》，元，王冕作，纸本，墨笔，纵31.9厘米，横50.9厘米。\n自题：“吾家洗研池头树，个个花开淡墨痕。不要人夸好颜色，只流清气满乾坤。王冕元章为良佐作。”钤“元章”、“文王子孙”。另有清乾隆皇帝御题诗及鉴藏印。画面中一枝梅花横出，枝干秀挺，花朵疏朗。以淡墨点染花瓣，再以浓墨勾点萼蕊，墨色清润，高情逸趣溢于笔端，表达了作者藉墨梅标榜清高孤洁的思想情感。\n曾经清人梁清标和清内府收藏，《石渠宝笈·续编》著录。\n（三）《松溪放艇图》，元，朱德润作，纸本，墨笔，纵31.5厘米，横52.6厘米。\n自题：“丑石半蹲山下虎，长松倒卧水中龙。试君眼力知多少，数到云峰第几重。朱泽民。”钤“朱泽民氏”。另有清乾隆皇帝御题诗及鉴藏印。\n图绘巨石怪松，孤舟徐行。画松枝用笔爽利迅捷，坡石皴法温润，人物用白描法，笔简意浓。\n曾经明沈周、清安岐收藏。\n（四）《疏林茅屋图》，元，张观作，纸本，墨笔，纵25.8厘米，横59.6厘米。\n款署：“至正戊戌八月，张观制。”另有清乾隆皇帝御题诗及安岐鉴藏印。至正戊戌为元至正十八年（1358年）。\n图画平坡老树，茅舍掩映，水阔山远，清雅控幽。树木勾点结合，错落有致，坡石用墨湿润，画风承北宋李成、郭熙一脉。\n（五）《山水图》，元，方从义作，纸本，墨笔，纵26.5厘米，横45.3厘米。\n款署：“方方壶作。” 另有清乾隆皇帝御题诗及明项元汴等多家鉴藏印。\n图画密林茅舍，小桥流水。画面景物丰满，墨色浓淡相间，笔法灵活潇洒。",[23,24,7,25,128,132,208,29,413,331,129,371,131,414,12423,96,12424,6810,711,582,547,1144,1337,3651,1743,12425,666,624],"渔船","远岫","山间","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ad6676a3f8f4d776bd2cf92396b87c9.jpg","纵30cm，横52.8cm",[136,117],{"id":12430,"slug":12431,"title":12432,"dynasty":144,"author":287,"museum":524,"description":12433,"tags":12434,"thumbUrl":12435,"material":1190,"size":12436,"collection":68,"collections":12437,"showCount":12409,"zanCount":48,"manualWeight":48,"mainColor":72},221715,"hua-niao-tu-juan-qian-xuan-221715","花鸟图卷","第一段桃花翠鸟，画一枝春桃花繁叶茂，枝头站立一只通体羽毛幽蓝的翠鸟，小鸟身体直立，极目远眺，正是鸟儿振翅起飞前的瞬间写照。第二段牡丹，画一束绿叶中，盛开着两朵淡粉的牡丹，叶子向左下微垂，似有阵阵清风掠过。第三段干枝梅，画一棵梅枝垂挂而下，错节的大小梅枝上许多梅花盛开。钱选画花鸟善于捕捉实景中最生动自然的情形，形态逼真富有情趣，此卷正是钱选这一画风的充分体现。图画设色淡雅清丽，精巧传神，洋溢着隽秀清高之美，构图虽简，但更显画家的技法精湛。\n如此形象准确，神态生动，笔力遒劲的得意之作，钱选自然要赋诗题上。在每段画的后面，都有钱选自题的七言诗一首。第一段和第三段的题诗已漫漶不能全识，第二段题诗如下：头白相看春又残，折花聊助一时欢。东君命驾归何连，犹有余情在牡丹。题诗以行楷书写，含蓄内敛、平淡天真，严谨而朴拙，颇有钟繇遗风。画卷诗情画意相得益彰，为钱选花鸟画的至精之作。卷尾署“至元甲午画于太湖之滨并题，习懒翁钱选舜举”。可知这是钱选晚年所作，正值钱选诗书画印诸艺炉火纯青之时。",[23,24,7,25,27,28,61,209,263,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38ccc0a162c10a33940263f3fc4a9708.jpg","纵38厘米 横316.7厘米",[68,117],{"id":12439,"slug":12440,"title":12441,"dynasty":124,"author":12442,"museum":244,"description":12443,"tags":12444,"thumbUrl":12445,"material":278,"size":12446,"collection":136,"collections":12447,"showCount":12409,"zanCount":1998,"manualWeight":48,"mainColor":72},220364,"shu-shan-tu-xu-ben-220364","蜀山图","徐贲","此图的蜀山非四川蜀山，而是指在江苏省宜兴东南的蜀山，苏轼爱其风景似蜀，故名。元末徐贲隐居于此。此图是徐贲居住山中时所作。画幅上方，徐贲以小楷长题，其中交代了作此画的原委：“吕山人自吴来访。余蜀山中登临燕赏，遂留数日。孤琴野艇，倏然告归。因画一纸以赠，并诗以道山居之乐，盖将以邀吾山人卜邻尔。噫!余今因画赋诗，君归而观此，必旋能因诗而念我山居也。栖霞憩月当翘首以待”。可见，此图的表现主题为山居归隐。在画面处理上，此图构图平稳，布局充实、满当而不拥堵；在表现技法上，山石作披麻皴，树木则勾点结合。全图用笔萧散、灵活自然，墨色干湿结合，雅淡透润，正好表现出蜀山灵秀之气。《蜀山图》是他的代表作。",[23,24,7,128,132,29,131,34,1023,415,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a18ec46e445f532bd8e15851f452eb0.jpg","纵127．3厘米，横66．3厘米",[136,117],{"id":12449,"slug":12450,"title":12451,"dynasty":144,"author":287,"museum":8363,"description":12452,"tags":12453,"thumbUrl":12455,"material":66,"size":12456,"collection":68,"collections":12457,"showCount":12409,"zanCount":1086,"manualWeight":48,"mainColor":72},219118,"shuang-jiu-tu-qian-xuan-219118","双鸠图","画面描绘了一根梨枝的主干，枝头有许多枝条，枝条上盛开着洁白的梨花。 树枝上栖息着两只鸽子，一只低着脖子哼了一声，一只好奇地盯着树枝。",[24,7,28,27,12454,2438,62,64,208],"鸠鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0c9c5dce479a9ec47c315e8badbe4e8.jpg","30.5x97.8cm",[68],{"id":12459,"slug":12460,"title":12461,"dynasty":54,"author":12462,"museum":244,"description":12463,"tags":12464,"thumbUrl":12465,"material":66,"size":12466,"collection":68,"collections":12467,"showCount":12409,"zanCount":1116,"manualWeight":48,"mainColor":72},218916,"feng-huang-wu-tong-tu-yang-da-zhang-218916","凤凰梧桐图","杨大章","设色画梧桐竹石，众鸟翔集。凤凰、白鹤、鸳鸯双栖其下，色彩鲜艳，呈现一片祥瑞之气。当时宫廷绘画喜好吉祥，本幅题材与画风即属此类。",[24,7,165,28,27,61,3333,2749,722,131,34,1400,666,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff067e5de5237cf8c1c1b5a25bd6bdb9b.jpg","337.3x122.6cm",[68],{"id":12469,"slug":12470,"title":8437,"dynasty":18,"author":7264,"museum":2542,"description":12471,"tags":12472,"thumbUrl":12473,"material":278,"size":12474,"collection":136,"collections":12475,"showCount":12409,"zanCount":1998,"manualWeight":48,"mainColor":72},218637,"yun-shan-tu-mi-you-ren-218637","画面上群山耸立，半山腰上云雾缭绕，山脚下隐约可见一排排房屋、一座座小桥和船只，泥泞的平原上有几棵水墨画般的树木，树干细长，枝叶茂密。",[23,24,7,128,132,133,29,950,663,413,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F370b493c400d975bccc00e55e62a050b.jpg","27.8x23.5",[136],{"id":12477,"slug":12478,"title":12479,"dynasty":144,"author":145,"museum":300,"description":12480,"tags":12481,"thumbUrl":12482,"material":692,"size":1293,"collection":84,"collections":12483,"showCount":12484,"zanCount":1998,"manualWeight":48,"mainColor":72},290082,"fu-chun-da-ling-tu-huang-gong-wang-290082","富春大岭图","图中画富春山重峦叠嶂，山巅晓雾迷遮，若隐若现。《富春大岭图》笔墨简括，布势雄奇，具有明显的荆浩、关仝的笔墨遗意，显然参入了荆浩、关仝的笔法，并有意识与董、巨的笔墨意境加以融合，用笔方圆兼备，山石稍作皴擦。",[164,24,7,128,29,165,98,496,34,497,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c89c80e112fc4a8caf0c405bdcd7387.jpg",[],110,{"id":12486,"slug":12487,"title":12488,"dynasty":54,"author":872,"museum":300,"description":6719,"tags":12489,"thumbUrl":12491,"material":692,"size":1293,"collection":84,"collections":12492,"showCount":12484,"zanCount":48,"manualWeight":48,"mainColor":72},288504,"jing-xin-zhu-da-288504","镜心",[23,24,7,128,12488,61,2059,208,12490],"孤寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7b737719379dd884a80d5b1c2df130c.jpg",[],{"id":12494,"slug":12495,"title":12496,"dynasty":54,"author":872,"museum":300,"description":6719,"tags":12497,"thumbUrl":12498,"material":692,"size":1293,"collection":84,"collections":12499,"showCount":12484,"zanCount":48,"manualWeight":48,"mainColor":72},287422,"ke-qi-xian-sheng-hai-tang-shi-yi-tu-zhou-zhu-da-287422","恪齐先生海棠诗意图轴",[164,24,7,165,128,61,1132,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e517c4537b840a0530121a85068caae.jpg",[],{"id":12501,"slug":12502,"title":12503,"dynasty":18,"author":12504,"museum":20,"description":12505,"tags":12506,"thumbUrl":12511,"material":611,"size":12512,"collection":84,"collections":12513,"showCount":12484,"zanCount":1116,"manualWeight":48,"mainColor":72},231422,"xie-sheng-tu-fa-chang-231422","写生图","法常","法常的绘画，有不少取材于平时人们司空见惯的日常生活，但独能于平淡天真之中揭示生命意识的真谛。此卷所绘折枝花果、禽鸟、鱼虾及蔬果，笔墨简淡，平平常常，在画幅上随随便便地摆放在一起，看来就是最为常见的与我们现实生活息息相关的景象，但是卷中墨色的氤氲、排列的错综、变化的神奇，却又分明深蕴着禅机。\n这些平常物象的背后是不着笔墨的大片空白，这种“知白守黑”、“计白当黑”的处理，使得画面中本不相关联的事物各自相对独立又可合而为一，画意更为完整而富于张力，给观者以想象的空间，正所谓“于无画处皆成妙境”。整幅作品充满着一种宁静、自省、淡泊的内在精神，使观者有“万物静观皆自得”的会心感受，耐人寻味。牧溪的绘画，写生功底极深，此幅亦是“肖似形类，并得其意”（项元汴语）的形神兼备之作。",[23,24,7,25,128,2166,369,61,1400,12507,12508,2059,12509,6603,2035,62,263,81,604,167,1824,1771,1036,4253,12510,82,841,131],"野鸡","麻雀","水果","藕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c560c5bf16abfce7333669f1d842b1.jpg","纵47.3厘米，横814．1厘米",[],{"id":12515,"slug":12516,"title":12517,"dynasty":54,"author":2687,"museum":300,"description":12518,"tags":12519,"thumbUrl":12520,"material":84,"size":84,"collection":84,"collections":12521,"showCount":12484,"zanCount":1998,"manualWeight":48,"mainColor":49},228958,"lan-hua-yue-ji-tu-jiang-ting-xi-228958","兰花月季图","此作用笔兼工带写，右方湖石以水墨晕染，苍朴温润，月季柔枝缠石而上，粉花轻绽，翠叶扶疏，娇妍鲜活。左侧兰叶舒展有姿，柔韧挺拔，幽兰隐于草间，清寂出尘。\n\n设色淡雅克制，月季粉柔、兰叶苍绿与湖石墨色相互调和，把花木的柔媚与清逸平衡得当。搭配题诗，诗画映合，将春日幽隅的清雅小景晕染出温婉意趣，既得院体花鸟的细腻秀润，又饱含文人写意的疏朗书卷气，把草木闲情与文心雅意相融，尽显雅致幽隽的古典情致。",[23,164,24,7,165,27,28,605,603,131,11830],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b7b6a2a772a0f5b748d8b4c9f8b7624.jpg",[],{"id":12523,"slug":12524,"title":12525,"dynasty":54,"author":4468,"museum":244,"description":12526,"tags":12527,"thumbUrl":12528,"material":40,"size":12529,"collection":68,"collections":12530,"showCount":12484,"zanCount":1998,"manualWeight":48,"mainColor":72},222778,"bai-gu-tu-lang-shi-ning-222778","白鹘图","乾隆十六年，郎世宁六十二岁作山涧里，一湾小瀑，松干横空而出，一白鹘踏枝上，似闻声惊起。画白鹘以白粉精细描绘，松石配景全然中国写意笔墨，清代白鹘图为大学士忠勇公傅恒所进。郎世宁六十二岁作。\n图中白鹘栖息于涧松之上,于传统画法中,参用光影透视,遂使画面突出于绢上 落款：乾隆十六年间五月初十日大学士忠勇公傅恒进百鹘一架，命海西臣郎世宁绘图。",[23,164,24,7,28,27,211,1144,131,495,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa618ea27a0bd8af02383347a6e3a0f11.jpg","纵121.7×横64公分",[68,45],{"id":12532,"slug":12533,"title":12534,"dynasty":54,"author":12535,"museum":300,"description":12536,"tags":12537,"thumbUrl":12538,"material":151,"size":12539,"collection":84,"collections":12540,"showCount":12484,"zanCount":1116,"manualWeight":48,"mainColor":49},222701,"hua-hu-die-tu-jin-yao-222701","花蝴蝶图","金钥","此作用笔工致秀润，设色清雅柔和。灵石皴染朴拙，野卉自石畔抽茎挺生，淡紫碎花垂缀梢头，圆叶绿丛铺陈其下，野趣盎然。数只蛱蝶翅纹斑斓鲜活，或栖于花枝、或振翅翩跹，将蝶之灵动与花之柔婉相融无间。画面右上角题诗配字，笔墨隽秀，书画相映成趣，晕染出悠然闲适的文人情致。整体构图错落舒展，将郊野一隅的幽微生机勾勒动人，把小品花鸟的雅致意趣尽数铺陈，尽显清和隽永的审美意韵。",[23,24,7,165,28,27,61,481,547,230,229,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9952c196199673acf5700bc014e2bd29.jpg","30x75.",[],{"id":12542,"slug":12543,"title":12544,"dynasty":18,"author":1174,"museum":77,"description":12545,"tags":12546,"thumbUrl":12547,"material":173,"size":84,"collection":136,"collections":12548,"showCount":12484,"zanCount":1998,"manualWeight":48,"mainColor":49},219476,"lin-quan-gao-yi-tu-li-tang-219476","林泉高逸图","此作以苍古之笔写林泉幽居，虬松蟠曲如铁，山石以斧劈皴挥就，棱角硬朗，带着雄浑峭拔的山野之气。林间水雾暗生，衬出空山清寂。静坐松下的高士，衣纹简括悠然，侍立童子低眉敛目，一动一静，将林下雅逸的襟怀铺陈开来。\n笔墨老辣洗练，以浓淡墨色晕染出山林层次，把文人寄情丘壑、放意林泉的隐逸高致，融在萧寒清旷的景致之中，尽显静谧淡远的林下风流。",[24,7,164,29,96,331,1233,99,171,132,128,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7964575762451efa5aa4d3c00822997d.jpg",[136],{"id":12550,"slug":12551,"title":12552,"dynasty":18,"author":915,"museum":56,"description":12553,"tags":12554,"thumbUrl":12555,"material":173,"size":12556,"collection":68,"collections":12557,"showCount":12484,"zanCount":48,"manualWeight":48,"mainColor":49},219281,"mei-zhu-han-qin-tu-lin-chun-219281","梅竹寒禽图","《梅竹寒禽图》在不满方尺的画面上截取梅竹支干的局部，表现了梅树的老硬和竹簧丛生的气势。画中有一寒莺栖立梅梢，处于此画的显著地位，禽鸟的刻划柔和。在技法上梅枝用笔苍劲，竹枝叶勾撇笔力坚挺，从而使整体画法显得刚柔相济。画上有楷书林椿题款，是为难得的宋代有款之迹。",[164,24,7,1131,61,28,27,371,167,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdab319fa906b174b4282f08d0d10130a.jpg","纵24.8厘米，横26.9厘米",[68],{"id":12559,"slug":12560,"title":12561,"dynasty":18,"author":223,"museum":244,"description":12562,"tags":12563,"thumbUrl":12565,"material":173,"size":12566,"collection":44,"collections":12567,"showCount":12484,"zanCount":1116,"manualWeight":48,"mainColor":49},219215,"qi-xi-qi-qiao-tu-yi-ming-219215","七夕乞巧图","该画以赵构历史故事为题材，反映了北宋和南宋之间的政治形势，是一幅重要的历史画卷",[24,7,25,28,27,95,96,130,97,34,131,247,249,2145,12564,9425,689,276],"坐具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a58d9388e985a9f6a1f3b8c8fc737cb.jpg","29.6x149.2厘米",[44],{"id":12569,"slug":12570,"title":12571,"dynasty":54,"author":5879,"museum":1376,"description":12572,"tags":12573,"thumbUrl":12574,"material":66,"size":12575,"collection":68,"collections":12576,"showCount":12484,"zanCount":1116,"manualWeight":48,"mainColor":49},218733,"mei-zhu-chun-yin-tu-hua-yan-218733","梅竹春音图","这幅画描绘了一块形状奇特的湖石，靠着湖石生长的翠竹棚，枝条修长，叶子翠绿繁茂，枝头上有两只鸟儿相望；一枝梅花从上往下画，枝头上的花朵灿烂开放，枝头上的鸟儿张着嘴叫，尾巴上的羽毛色彩斑斓，十分可爱。",[23,24,7,165,27,28,369,371,167,355,61,171,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3608b75058516a170e9b3e032d2de3.jpg","132.5×45.5cm",[68],{"id":12578,"slug":12579,"title":12580,"dynasty":18,"author":1622,"museum":77,"description":12581,"tags":12582,"thumbUrl":12585,"material":173,"size":12586,"collection":136,"collections":12587,"showCount":12484,"zanCount":1086,"manualWeight":48,"mainColor":49},218579,"ye-chuan-dai-du-tu-ma-yuan-218579","野川待渡图","烟波浩渺的水面上，淡墨晕染的远山若隐若现，与空濛的天际相融，漾开无尽悠远。近岸林木苍劲，枝干盘曲如虬，浓墨点染的叶丛间透着生机。岸边人影错落，或伫立待渡，或舟中轻楫，动静相宜间，藏着几分江南水乡的日常意趣。画面以边角构图见阔远，留白处藏万千思绪，将清寂与悠远凝于绢素，尽显宋人山水的空灵之境，仿佛能闻得水面风吟，见得旅人归心。",[164,24,7,128,27,132,12583,29,31,96,129,34,415,497,12584,10582],"边角山水","渡口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa886c296b26cb11f3bfc2ae180ea3d33.jpg","27x94.5cm",[136],{"id":12589,"slug":12590,"title":3277,"dynasty":18,"author":1622,"museum":300,"description":12591,"tags":12592,"thumbUrl":12593,"material":173,"size":84,"collection":68,"collections":12594,"showCount":12484,"zanCount":1998,"manualWeight":48,"mainColor":49},218548,"han-ya-tu-ma-yuan-218548","枯枝虬曲如铁线，从绢本深褐底色中挣出清劲骨力，枝桠间寒鸦三两：或敛翅栖于梢头，墨羽浓淡晕染出绒绒暖意；或振翅欲飞，翅尖的墨痕似带起微凉的风。远处坡岸简笔勾勒，留白处恍若覆雪，荒寒之意漫开。\n\n马远以边角之景造阔远之境，此图疏枝横斜间，寒鸦的灵动破开冬日沉寂。线条挺健如老松，墨韵含蓄似淡诗，将霜天清寂与生命鲜活揉作一处。展卷时，仿佛能嗅到冷冽空气里的松针香，又被寒鸦轻啼牵起一丝暖意——宋人笔墨的雅致与深情，尽在这方寸绢素中流转。",[23,164,24,7,59,128,132,211,1233,331,171,29,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaea5df84a8c9f6ef5813d9284515ec0.jpg",[68],{"id":12596,"slug":12597,"title":12598,"dynasty":124,"author":2268,"museum":20,"description":12599,"tags":12600,"thumbUrl":12601,"material":278,"size":12602,"collection":136,"collections":12603,"showCount":12484,"zanCount":48,"manualWeight":48,"mainColor":72},218348,"fang-mi-fei-shu-hua-he-juan-dong-qi-chang-218348","仿米芾书画合卷","董其昌（1555—1636年），字玄宰，号思白，又号香光居士，华亭（今上海松江）人。明万历十六年（1588年）进士，官至礼部尚书，卒谥文敏。精于书画鉴赏，收藏很多名家作品，在书画理论方面论著颇多，其“南北宗”的画论对晚明以后的画坛影响深远。工书法，自谓于率易中得之，对后世书法影响很大。其书画创作讲求追摹古人，但并不泥古不化，在笔墨的运用上追求先熟后生的效果，拙中带秀，体现出文人创作中平淡天真的个性。加之他当时显赫的政治地位，其书画风格名重当世，并成为清代艺坛的主流。著有《画禅室随笔》、《容台集》、《画旨》等文集。",[23,24,7,25,128,330,133,64,132,208,29,496,34,37,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ff6dd2e58bbe82d29a2c53847ed8eb.jpg","23.7x75.4cm",[136,117,318],{"id":12605,"slug":12606,"title":12607,"dynasty":144,"author":287,"museum":244,"description":12608,"tags":12609,"thumbUrl":12615,"material":173,"size":12616,"collection":44,"collections":12617,"showCount":12484,"zanCount":48,"manualWeight":48,"mainColor":72},215140,"zhao-liang-shi-nv-tu-qian-xuan-215140","招凉仕女图","本幅为「集古名绘」册第七幅。画二佳丽，头顶高冠，身披轻纱，手执纨扇于园中消暑。布局简约，设色雅淡，衣描用笔劲如游丝，纤秀清逸。确属名家之杰作，惟幅中无款印，旧传为钱选之作",[23,24,7,27,28,96,166,997,230,12610,12611,151,12612,12613,12614],"元风格","细描","古典人物","夏日","纳凉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbb2232f9bdd27643d1136c5a47b2918.jpg","22.4x21.7cm",[44],{"id":12619,"slug":12620,"title":12621,"dynasty":124,"author":125,"museum":244,"description":6472,"tags":12622,"thumbUrl":12624,"material":278,"size":12625,"collection":84,"collections":12626,"showCount":12627,"zanCount":1116,"manualWeight":48,"mainColor":72},290891,"zhi-lan-yu-shu-zhou-shen-zhou-290891","芝兰玉树轴",[164,24,7,165,128,61,171,375,9070,12623,64,208],"玉树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52d8db4644e33e6d7d4ebeeb78d46c3f.jpg","135.1x55.8",[],109,{"id":12629,"slug":12630,"title":12631,"dynasty":18,"author":1622,"museum":300,"description":12632,"tags":12633,"thumbUrl":12636,"material":692,"size":1293,"collection":84,"collections":12637,"showCount":12627,"zanCount":1116,"manualWeight":48,"mainColor":72},288422,"yue-xia-shang-mei-tu-ma-yuan-288422","月下赏梅图","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[1131,24,7,128,29,371,231,96,132,12634,12635],"闲适","赏梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F083183b331935fb1ed4c1a0c68b8dcc9.jpg",[],{"id":12639,"slug":12640,"title":1057,"dynasty":54,"author":1472,"museum":300,"description":4416,"tags":12641,"thumbUrl":12644,"material":692,"size":1293,"collection":84,"collections":12645,"showCount":12627,"zanCount":48,"manualWeight":48,"mainColor":72},288272,"sui-chao-tu-zou-yi-gui-288272",[24,164,165,7,128,27,28,61,371,372,12642,169,12643,208,64],"蟹","盆景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b31be5ac75272346afebc37aa3b5b24.jpg",[],{"id":12647,"slug":12648,"title":12649,"dynasty":351,"author":1921,"museum":300,"description":12650,"tags":12651,"thumbUrl":12652,"material":692,"size":1293,"collection":84,"collections":12653,"showCount":12627,"zanCount":1998,"manualWeight":48,"mainColor":49},283694,"shan-xi-dai-du-tu-guan-tong-283694","山溪待渡图","《山溪待渡图》是一幅大山堂堂、气势雄伟的全景画，带有鲜明的北方特色。图中描绘巍峰耸立，瀑布高悬；坂垅、冈阜、峦岭，自近及远盘礴而上；楼阁掩映，远山迷朦；气势阔大，景意幽深。图中强调的是山和溪，山作正面，主峰突兀，两峰环抱之。山势直立，居于构图中轴线，相当稳定。整幅画面既有生活意趣，又有饱满生动之感。 [1] 此画用墨饱满，笔法简炼雄劲",[23,164,24,7,165,128,132,29,131,99,495,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c7d65425f3d01c20799553de0d51c58.jpg",[],{"id":12655,"slug":12656,"title":12657,"dynasty":54,"author":3403,"museum":20,"description":10672,"tags":12658,"thumbUrl":12659,"material":84,"size":84,"collection":84,"collections":12660,"showCount":12627,"zanCount":1116,"manualWeight":48,"mainColor":72},233716,"wu-jun-qing-ju-hua-zhou-wu-chang-shuo-233716","吴俊卿菊花轴",[164,24,7,165,27,128,61,376,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a9483dd71a4d1eb87931ea04b659d34.jpg",[],{"id":12662,"slug":12663,"title":12664,"dynasty":144,"author":4034,"museum":1185,"description":12665,"tags":12666,"thumbUrl":12667,"material":514,"size":12668,"collection":136,"collections":12669,"showCount":12627,"zanCount":1086,"manualWeight":48,"mainColor":49},221754,"shan-ju-na-liang-tu-zhou-sheng-mao-221754","山居纳凉图轴","《山居纳凉图》用笔工细严谨，如果没有印鉴放入一堆宋画中很难识别。盛懋的父亲就是职业画家，自小盛懋就受到严格的技法训练，尤其是董源和巨然二人的作品更是熟烂于胸。从这一点看，盛懋并不排斥文人画的风格。\n《山居纳凉图》采用传统的三段式构图，中景处添加了大量烟云，在肃穆中增添了活泼的感觉。作为一名职业画家，很重视作品中的通俗性，在创作中喜欢加入故事性元素拉近与欣赏者的距离。画中有一座水阁临泉而建，四面通风，浓荫遮日。尤其是水阁中的雅士身着薄纱，袒胸露腹，画出了世人对雅士的共同印象——洒脱不羁。在用色上，盛懋为了突出青绿山水的装饰性美感，山中密林也精细勾染一丝不苟，让整幅作品在雅致中带有一种富贵气息。这样的作品从技法层面实在挑不出一点毛病。\n欣赏盛懋的作品就可以感受到他是一个认真的人，如此大的一幅山水不露败笔，没有数十年的苦练是无法做到的。不过按照文人画的审美标准来看，这就是盛懋最大的问题。他的画缺少了写的成分，缺少了意趣流露，仅仅是忠于技法，不敢打破严谨的章法。有的时候太认真也成了毛病，这就是绘画最微妙的地方，多了溢出，少了不足，不多不少的时候还要来点儿天然意蕴。",[23,24,7,165,27,132,29,130,129,34,131,96,99,1023,38,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ea5388f9614fe1ee0b4705a3c3810e.jpg","31.27×261.62厘米",[136,45],{"id":12671,"slug":12672,"title":12673,"dynasty":144,"author":569,"museum":20,"description":12674,"tags":12675,"thumbUrl":12679,"material":1223,"size":12680,"collection":44,"collections":12681,"showCount":12627,"zanCount":1998,"manualWeight":48,"mainColor":49},220886,"zhu-ge-liang-xiang-zhou-zhao-meng-fu-220886","诸葛亮像轴","绘诸葛亮手持如意，凭隐囊而坐。隐囊的渊源在印度，汉译佛经中名作丹枕或倚枕，系印度上流社会日常生活中的习用之具。丹枕很早就进入中土（中原），传播时改名为隐囊。此图像中的隐囊既有图式相因的成分，也有着生活中的真实为依凭。",[23,24,7,165,27,28,96,208,12676,12677,12678],"衣冠","床榻","鞋履","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbff49140761c7111aa118768ff034947.jpg","纵208.4厘米,横100.6厘米",[44,45],{"id":12683,"slug":12684,"title":12685,"dynasty":144,"author":569,"museum":12686,"description":12687,"tags":12688,"thumbUrl":12689,"material":12690,"size":12691,"collection":68,"collections":12692,"showCount":12627,"zanCount":48,"manualWeight":48,"mainColor":72},220827,"er-yang-tu-zhao-meng-fu-220827","二羊图","美国弗瑞尔美术馆","图中画一羊低头吃草，一羊昂首瞻望，周围不着背景。构图空疏，应是受到唐、宋家的影响。此画为赵孟頫除马以外惟一绘有走兽的作品。\n图中画一羊低头吃草，一羊昂首瞻望，周围不着背景。右面的山羊张口睁目，尾巴上翘，身子向右而头部朝左，背部线条自然弯曲，羊毛轻软直长，描绘工细。左面的绵羊昂首而立，身躯朝左，头部右车毛卷而短。全图纯用水墨画出，却显色斑斓之状。构图空疏，应是受到唐、宋家的影响。此画为赵孟頫除马以外惟一绘有走兽的作品。\n右边是一只瘦劲的黑山羊，身躯朝右，头部向左，身上又长又直的羊毛画得非常工细，两旁的毛轻软地垂下来。背部线条自然弯曲，描绘工细。黑山羊尾巴上翘，低首蓄势，显得浑身是劲。\n左侧是一只肥硕的绵羊，身躯朝左，头部右转。身上覆着卷毛，以不同色调的墨画出。四条瘦小的腿支撑着身躯，其中三条腿直立，一条则微弯。绵羊昂首而立，从容自若地注视着旁边山羊。\n从画面来看，两羊体表特征差异最明显的是羊毛，山羊毛长而浓密，绵羊毛则短而稀疏。两羊站立的姿势相对，身躯相反。头部的回转呼应，使二者产生密切联系。山羊俯视，绵羊昂首，形成上下对应。山羊蓄势待发，有动感；绵羊神态安详，显得静穆，一动一静，意趣横生。\n此画所绘两羊特点突出、个性鲜明。山羊的毛质通过笔墨的干湿和浓淡加以区分，羊身体各部，如头、耳、眼、双角和四足，都用不同的笔法来强调。两羊的绘画手法，显示出画家熟练的传统画技巧。\n画中除两只羊外，没有任何背景衬托，构图与唐代韩滉《五牛图》颇为类似。赵孟頫或摄取《五牛图》的艺术手法，巧妙吸取了唐画的精致之处。",[23,24,7,25,128,949,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F712ee4f1fd52c8bf9bf5e327740aaa14.jpg","纸本 水墨","纵25．2厘米，横48．4厘米",[68,117],{"id":12694,"slug":12695,"title":12696,"dynasty":54,"author":4468,"museum":12697,"description":12698,"tags":12699,"thumbUrl":12700,"material":173,"size":12701,"collection":68,"collections":12702,"showCount":12627,"zanCount":1998,"manualWeight":48,"mainColor":72},220370,"ba-jun-tu-juan-lang-shi-ning-220370","八骏图卷","江西省博物馆","是为康熙第二十一子慎郡王允禧所作。八匹骏马神情、姿态各异，是其晚年的精品之作",[23,164,24,7,25,28,27,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d5c37a9d55cc287a2651cfb1a099453.jpg","52.7厘米* 92厘米",[68,45],{"id":12704,"slug":12705,"title":12706,"dynasty":54,"author":3750,"museum":20,"description":12707,"tags":12708,"thumbUrl":12709,"material":173,"size":12710,"collection":136,"collections":12711,"showCount":12627,"zanCount":1998,"manualWeight":48,"mainColor":72},218435,"qing-lv-shan-shui-juan-wang-jian-218435","青绿山水卷","图中青峰翠岭，连绵起伏，敷色浓艳，皴染分明。色彩富丽的画面散溢出清雅灵秀的气息，令人眼目一新。\n本幅卷尾处，王鉴自题：“余向在董思翁齋頭見趙文敏《鵲華秋色》卷及余家所藏子久《浮嵐遠岫圖》，皆設青綠色，無畫苑習氣。今二卷不知流落何處，時形之夢寐，閑窗息紛，追師兩家筆法而成此圖，雖不敢望古人萬一，庶免近時蹊逕耳。戊戌長夏王鑒。”王鉴曾观赏元代大画家赵孟頫和黄公望的作品，对图画的青绿设色醉心不已。此图卷便是王鉴在61岁时（清顺治十五年，1658年）以青绿设色法绘制而成。\n王鉴的艺术天赋很高，不只专擅水墨山水，对设色画亦驾轻就熟，其中又分青绿、浅绛两种风格。王鉴的青绿山水多题“仿赵令穰”、“仿赵伯驹”、“仿赵孟頫”，因为“三赵”的青绿设色法别有特色，他们在宫廷院体青绿画法中融入了文人画的书卷之气。董其昌对“三赵”的创作手法推崇备至，王鉴早年曾得到董氏亲自指点，耳濡目染，深受启发，后精心习练青绿山水，终有大成。王鉴所谓的“仿”并非简单地模仿笔墨技巧、构图布局，而是重在体味“三赵”去以往青绿山水之俗艳，使之另具雅淡气质的创作思想，然后施之于画幅上，令其画独存灵逸之趣。王时敏尝称他“以穠丽为宗，然高华秀逸兼而有之”，确是的论。",[23,24,7,25,26,27,29,132,496,34,499,9164,37,1515],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ef4b7b44ba02a41f2afeb11c6d116f.jpg","纵23厘米，横198.7厘米",[136],{"id":12713,"slug":12714,"title":12715,"dynasty":144,"author":223,"museum":450,"description":12716,"tags":12717,"thumbUrl":12718,"material":173,"size":12719,"collection":44,"collections":12720,"showCount":12627,"zanCount":48,"manualWeight":48,"mainColor":49},218322,"di-shi-san-luo-han-yin-jie-tuo-yi-ming-218322","第十三罗汉因揭陀","铭文表明，这是一套16罗汉中的第13罗汉，其余的已经没有了。笔法工整，颜料精致，是刘墉的遗作。我们不知道灵芝上的苔藓裂纹是否是独一无二的，还是因为绿色石头的失色而造成的。",[23,24,7,165,27,28,187,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d71bf7fa5ae17cb049fe8365b643e0e.jpg","126x61.5",[44],{"id":12722,"slug":12723,"title":4229,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":12724,"thumbUrl":12725,"material":692,"size":1293,"collection":84,"collections":12726,"showCount":12727,"zanCount":48,"manualWeight":48,"mainColor":72},239438,"hua-niao-ce-yun-shou-ping-239438",[164,24,7,59,27,28,949,167,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5928017d394035d684d3b9f304d433a.jpg",[],108,{"id":12729,"slug":12730,"title":12731,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":12732,"thumbUrl":12733,"material":692,"size":1293,"collection":68,"collections":12734,"showCount":12727,"zanCount":1998,"manualWeight":48,"mainColor":72},238396,"xuan-jin-lu-fang-tu-ce-dong-gao-238396","绚锦胪芳图册",[24,7,164,59,27,28,61,209,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc59304be348725efb6c594f8b2100c5.jpg",[68,45],{"id":12736,"slug":12737,"title":12738,"dynasty":144,"author":223,"museum":300,"description":12739,"tags":12740,"thumbUrl":12745,"material":692,"size":1293,"collection":84,"collections":12746,"showCount":12727,"zanCount":1116,"manualWeight":48,"mainColor":49},228242,"long-zhou-duo-biao-tu-juan-yi-ming-228242","龙舟夺标图卷","墨线白描界画楼阁反映了元代建筑绘画最为典型的时代新风，宫廷画家王振鹏则是这种风格的代表人物。他曾先后两次画过《金明池龙舟竞渡图》卷，描绘的是北宋崇宁年间（1102-1106年），每年皇室在宫廷后苑金明池举办龙舟竞渡的盛大场面。由于王振鹏颇负盛誉并受到当时贵戚大长公主的赞赏，引得后人纷纷临摹，至今传世的摹本和改绘本仍有七、八本之多。此卷笔法秀劲细密，纯用白描、舍弃设色的表现手法更使画面千繁万复而不显阻滞拥塞，给人细腻、明洁、素雅之感。殿阁巍峨，龙舟争渡，旌旗猎猎，橹桨奋动，动态的舟船和众多的人物活动打破了静态楼阁的沉寂，赋予了通常流于平板的建筑画紧张的情节和热烈的气氛，反映出王振鹏建筑画的风格特点。正如虞集所评：“振鹏之学，妙在界画，方圆平直，曲尽其体，而神气飞动，不为法拘。”",[23,24,7,25,95,188,28,772,97,12741,100,96,11074,228,12742,7462,12743,12744],"桥","宫殿式建筑","龙舟","水岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcba612b814b21c0a85e81089eda6238d.jpg",[],{"id":12748,"slug":12749,"title":12750,"dynasty":144,"author":223,"museum":300,"description":12751,"tags":12752,"thumbUrl":12753,"material":84,"size":84,"collection":84,"collections":12754,"showCount":12727,"zanCount":1998,"manualWeight":48,"mainColor":49},228168,"fang-qian-xuan-hua-niao-hua-yi-ming-228168","仿钱选花鸟画","画面取春日一角，海棠柔枝斜出，白花轻绽，晕染出温润秀雅的底色。两只禽鸟动静相映，一只伫立于高枝，羽色晕染细腻柔和，神态悠然自若；另一只俯身枝桠，似在啄弄新蕊，灵动尽显。右上角飞虫轻掠，更添鲜活生趣。\n\n整幅设色浅淡清丽，勾勒线条柔婉精细，尽得原作花鸟古雅秀润之韵，将春日林禽的恬然意趣收于尺幅之间，笔墨雅致内敛，闲静雅致的小景里，藏着春日最动人的温柔生机。",[23,24,164,7,330,28,27,61,355,547,2438,549,806],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e0e41ae4620431cb6be12a31d46f40a.jpg",[],{"id":12756,"slug":12757,"title":12758,"dynasty":18,"author":12759,"museum":300,"description":12760,"tags":12761,"thumbUrl":12762,"material":84,"size":84,"collection":84,"collections":12763,"showCount":12727,"zanCount":975,"manualWeight":48,"mainColor":72},227939,"qing-chun-die-xi-tu-li-an-zhong-227939","晴春蝶戏图","李安忠","《宋李安忠晴春蝶戏图》是南宋画家李安忠所创作的一幅设色扇面画，藏于 。\n此图中绘体态雍容华丽的 、娇小素净的 等 15只和 1只，或平展双翼，或振翅飞舞，在明媚的春光下宛若俏丽的花团漫天绽放，形象生动地体现出“蝶戏”的创作主题。\n《宋李安忠晴春蝶戏图》本幅无款识。\n钤半印一方，印文模糊不辨。\n原载《四朝选藻图》册，旧签题“ 作”。\n裱边钤“ ”、“ ”。\n对幅有清乾隆御题七言诗一首：“蝡肖翘高复低，春园风物已昌兮。\n宣和画院曾经试，何未明拈逐马蹄”。\n钤“八征耄念之宝”、“自强不息” 等印。\n在蜂、蝶的塑造上，勾勒与渲染浑然一体，先以极细而淡的线条勾勒轮廓，然后再“随类赋彩”，或以粉白、土黄多层积色，或在墨线中填重彩，晕染工细而色泽丰富，展现出蛱蝶翅翼的绚烂之美。\n李安忠，生卒年不详，南宋画家，钱塘人。\n宋徽宗宣和年间为画院祗候，授成忠郎，南渡后绍兴年间复职。\n工花鸟走兽，尤长于“捉勒”（鹰鹘之类），得其搏攫惊避之状。\n传世作品有《晴春蝶戏图》《鹑图》等。",[23,164,24,7,1131,28,27,61,481,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf555e4c587bc0c91770957ec2a1b1b4.jpg",[],{"id":12765,"slug":12766,"title":12096,"dynasty":124,"author":1058,"museum":224,"description":12767,"tags":12768,"thumbUrl":12769,"material":2283,"size":12770,"collection":84,"collections":12771,"showCount":12727,"zanCount":1116,"manualWeight":48,"mainColor":72},222336,"mo-zhu-tu-juan-tang-yin-222336","唐寅（1470年－1524年）明代著名画家、文学家。字伯虎，又字子畏，以字行，号六如居士、桃花庵主、逃禅仙吏等，南直隶苏州吴县人。吴中四才子之一。在画史上又与沈周、文征明、仇英合称“明四家”或“吴门四家”。\n据称唐寅作画时间甚早，而且无师自通。吴一鹏在《贞寿图卷》上提款：“岁丙午，子畏年止十七，而山石树枝如篆籀，人物衣褶如铁丝。少诣如是，岂非天授！”早年唐寅可能也跟文征明一样，向沈周学画。如王稚登在《吴郡丹青志》中的《沈周先生传》里写：“一时名士，如唐寅文壁（征明）之流，咸出龙门，往往致于风云之表。”但如今所看到唐寅的 中，有沈周影响的风格很少，可能早年作品亦多不存，所以难以知道。\n唐寅较为人所理解的，是拜画家周臣为师。研究认为他也许是在泄题案之后，才开始向周臣请益。由于周臣的画风远摹南宋画家李唐、刘松年，所以唐寅的作品也多被人认为有李刘风格。美术史对唐寅山水画的讨论中有周臣代笔的问题，目前仍没有比较清晰的理解。唐寅的作品以山水画、人物画出名，亦有花鸟竹石的作品存世。一般而言，都将唐寅的绘画风格分做三期，但由于许多有纪年的作品多集中在唐寅的晚年，早年的风格分期便有许多争议。唐寅 亦好，早年的书风比较靠近颜真卿，后来比较接近李邕、赵孟睢\n自明末以来，在讨论唐寅作品，均把他分到吴派，并与沈周、文征明、仇英等画家并称“吴门四家”，或称“明四大家”。但唐寅的画风与沈周、文征明并不相同，而严格来说，也不能将唐寅的风格迳归为吴派。因为相较于一般吴派多追随元四大家的画风，唐寅作品里元四家的影响相当的少，反而有比较多南宋院画家的影子。但多数的人，都称唐寅是揉合“南”、“北”的重要画家。",[23,24,7,25,128,167,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F109eda6bf170676477b998002e80e269.jpg","29.1x150.2cm",[],{"id":12773,"slug":12774,"title":12775,"dynasty":124,"author":125,"museum":244,"description":1992,"tags":12776,"thumbUrl":12777,"material":611,"size":3770,"collection":84,"collections":12778,"showCount":12727,"zanCount":1116,"manualWeight":48,"mainColor":72},222107,"he-hua-yu-dun-wa-shen-zhou-222107","荷花与蹲蛙",[23,164,24,7,128,369,208,81,7699,82,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfa0b35a5a56cdef8fbb2e9da30170c2.jpg",[],{"id":12780,"slug":12781,"title":3618,"dynasty":144,"author":7095,"museum":224,"description":12782,"tags":12783,"thumbUrl":12784,"material":27,"size":12785,"collection":117,"collections":12786,"showCount":12727,"zanCount":48,"manualWeight":48,"mainColor":72},221863,"mo-zhu-tu-zhao-yong-221863","赵雍（1289-1369），字仲穆，湖州人。赵孟頫之子，官至同知湖州路总管府事。书画继承家学，擅山水，尤精人物鞍马，亦作界画。书善正、行、草，亦长篆书。精鉴赏。",[23,24,164,7,128,64,133,208,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c49ae27cf37c90ce47878755601d49.jpg","26.7×172.7cm",[117,1670],{"id":12788,"slug":12789,"title":12790,"dynasty":182,"author":12791,"museum":244,"description":12792,"tags":12793,"thumbUrl":12794,"material":637,"size":12795,"collection":318,"collections":12796,"showCount":12727,"zanCount":1998,"manualWeight":48,"mainColor":72},221081,"shu-pu-quan-juan-sun-guo-ting-221081","书谱全卷","孙过庭","《书谱》为唐代书法家孙过庭所著的书法理论著作。成书于武后垂拱三年，他亲自以草书书写全书。《书谱》共分两卷，内容主要为书学体验、书谱撰写要旨及学习书法的一些基本原则。一般认为本（上）卷为 “序”，宋元明时分为两卷，入严嵩之手时，装为一卷。下卷为 “谱”，作者生前未能完成，现仅存第一卷。《书谱》对中国书法的影响是非常巨大的，奠定了书法理论的基本框架。其中提到反对写字如同绘画“巧涉丹青功亏翰墨”，认为书法审美观念要“趋变适时”，所谓“质文三变，驰骛沿革，物理常然”，反对把书法当作秘诀，择人而授的保守态度。孙过庭认为习书法应要篆、隶、楷、草四书融合交汇，否则想谈书法，是不可能的。“草不兼真，殆于专谨；真不通草，殊非翰札，真以点画为形质，使转为情性；草以点画为情性，使转为形质。草乖使转，不能成字；真亏点画，犹可记文。回互虽殊，大体相涉。故亦傍通二篆，俯贯八分，包括篇章，涵泳飞自。若毫厘不察，则胡越殊风者焉。”",[23,164,24,7,25,840,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81244536434fcb124a9a91d41523c4a8.jpg","纵26.5厘米，横900.8厘米",[318,2210],{"id":12798,"slug":12799,"title":12800,"dynasty":980,"author":1687,"museum":1688,"description":12801,"tags":12802,"thumbUrl":12804,"material":84,"size":84,"collection":84,"collections":12805,"showCount":12727,"zanCount":1998,"manualWeight":48,"mainColor":72},220491,"zhang-da-qian-yang-xiong-du-shu-tu-zhang-da-qian-220491","张大千杨雄读书图","此作用淡墨铺就清寂意境，右侧枯木虬劲苍古，枝桠错落间漫出萧索秋意。嶙峋湖石立在一旁，苔痕轻缀，晕开幽幽古意。\n\n榻上主人眉目疏朗静和，正浸在书卷意趣里神游，身侧侍童垂首伫立，一室安闲自适。案头笔墨横陈，暗合读书主题。\n\n左上角题笔行书舒展雅致，书画相映，文气暗生。全幅以水墨淡绘，摒去浓丽敷色，以极简笔触勾勒人物情态与周遭景致，将贤士沉湎诗书、物我两忘的静穆心境，晕染得淋漓尽致，尽显林下雅逸风流。",[23,24,7,165,128,28,96,171,331,5459,9603,8162,6369,9604,12803,234],"木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb9c04228945a41faa0f8502855c33b.jpg",[],{"id":12807,"slug":12808,"title":12809,"dynasty":144,"author":223,"museum":244,"description":12810,"tags":12811,"thumbUrl":12813,"material":173,"size":12814,"collection":68,"collections":12815,"showCount":12727,"zanCount":1086,"manualWeight":48,"mainColor":49},219956,"fu-rong-hua-ya-tu-yi-ming-219956","芙蓉花鸭图","画面取境清寂悠然，芙蓉从左畔斜逸而上，莹白花头晕染出柔润娇嫩，墨色叶片苍劲厚重，明暗间衬出花之柔媚与枝叶的朴拙苍润。池沼间两只水鸭亲昵相依，以细笔丝毛刻画翎羽，浓淡墨色晕出绒羽蓬松质感，憨态毕现。浅绿点染浮萍水波，愈发衬出水畔安闲静谧。\n\n工写兼融，设色秀雅沉稳，将花木的柔、禽鸟的憨静交织一处，把秋日池隅的悠然意韵定格绢素，内敛雅致中藏着鲜活生趣，尽显花鸟小品的隽永意境。",[164,24,7,165,28,514,61,373,12812,3835,62,4283],"鸭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d272febbf98aa5b9a5dc38399cd4a67.jpg","119.3x45.8",[68],{"id":12817,"slug":12818,"title":12819,"dynasty":54,"author":12820,"museum":8363,"description":12821,"tags":12822,"thumbUrl":12823,"material":66,"size":12824,"collection":136,"collections":12825,"showCount":12727,"zanCount":48,"manualWeight":48,"mainColor":72},219932,"fang-wen-zheng-ming-shan-shui-tu-gu-yun-219932","仿文徵明山水图","顾澐","顾澐（1835-1896），字若波，号云壶、壶翁，以字行。吴县（今属江苏苏州）人。工山水，泽古功深，汇四王、吴、恽诸家之长。清丽疏古，气韵秀出，间作花卉、人物，近于新罗。光绪十四年（1888）游日本，遍览东京诸胜，所画一树一石皆备受赞赏。长期鬻画沪上。出版有《顾若波山水集册》。",[23,24,7,164,165,27,26,132,29,1144,98,96,35,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6067fbcb05b4099e0dad02acc22a97e5.jpg","123.2x37.3厘米",[136],{"id":12827,"slug":12828,"title":12829,"dynasty":54,"author":55,"museum":56,"description":12830,"tags":12831,"thumbUrl":12832,"material":173,"size":1734,"collection":84,"collections":12833,"showCount":12727,"zanCount":1116,"manualWeight":48,"mainColor":72},219819,"hua-hui-shi-kai-4-yun-shou-ping-219819","花卉十开-4","此作以没骨法绘就杜鹃，枝桠舒展错落，艳红杜鹃次第绽放在绢素之上。花瓣以色晕染，从浓烈朱红渐过渡到柔粉，边缘轻透灵动，将盛放时的娇柔鲜活尽数呈现。叶片敷色层次分明，苍嫩绿意与丹红花瓣相映，鲜活雅致。\n右上角题诗与绘面呼应，诗画交融，将杜鹃含露待放的山野清灵勾勒入心。整作不用墨骨，纯以色彩塑形晕染，尽显清雅文人意趣，把春日杜鹃的生机定格，静谧间满溢草木蓬勃灵气，藏着笔下花木写意的雅致情致。",[24,7,59,27,60,61,62,9920,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd845887bc2884d5aced37e1e46e150a4.jpg",[],{"id":12835,"slug":12836,"title":12837,"dynasty":18,"author":397,"museum":244,"description":12838,"tags":12839,"thumbUrl":12840,"material":173,"size":12841,"collection":68,"collections":12842,"showCount":12727,"zanCount":48,"manualWeight":48,"mainColor":49},219243,"la-mei-shan-qin-tu-zhao-ji-219243","蜡梅山禽图","画中有蜡梅一枝，自右下方向左上方挺生，枝细瘦，却用双线勾成，并略加晕染，勾出结节。蜡梅花用勾线填色法画成，疏朗地缀于枝头。一对白头翁安逸地栖于枝上，形态各异，用笔精炼准确，形象生动。",[23,24,7,165,28,27,61,371,1400,374,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e78e323c8fc6210fddf024e14353a71.jpg","纵83.3横53.3厘米",[68,42,45],{"id":12844,"slug":12845,"title":12846,"dynasty":18,"author":1622,"museum":12847,"description":12848,"tags":12849,"thumbUrl":12850,"material":173,"size":12851,"collection":68,"collections":12852,"showCount":12727,"zanCount":1116,"manualWeight":48,"mainColor":956},218913,"mei-shi-tu-ma-yuan-218913","梅石图","伯克利艺术博物馆","这幅画描绘了一棵老梅树从深谷野塘边的一块巨大岩石中探出头来，一只野凫藏在水草中。岩石的凿刻和梅树的拖曳枝条都是马远的绘画风格。",[23,164,24,7,128,27,29,371,171,1233,331,28,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2985d0d4a51d33cf93ad74d8c4c3a87b.jpg","横46.99纵80.01cm",[68,136],{"id":12854,"slug":12855,"title":12856,"dynasty":18,"author":12857,"museum":6413,"description":12858,"tags":12859,"thumbUrl":12860,"material":173,"size":12861,"collection":42,"collections":12862,"showCount":12727,"zanCount":48,"manualWeight":48,"mainColor":72},218643,"yue-xia-yu-she-tu-gu-liang-218643","月下渔舍图","顾亮","皎洁的月光下，三艘渔船停泊在湖岸的左右两边，右边船上的渔民坐在船中央仰望天空，岸边的树木郁郁葱葱，一间小屋躺在树下，四周有围栏，这里安静祥和。",[23,24,164,7,29,27,231,1351,129,331,131,99,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21bd989e6eda292aac4a6ea806d7f79a.jpg","25.7x25.4",[42],{"id":12864,"slug":12865,"title":12866,"dynasty":18,"author":223,"museum":2542,"description":12867,"tags":12868,"thumbUrl":12870,"material":173,"size":12871,"collection":68,"collections":12872,"showCount":12727,"zanCount":1116,"manualWeight":48,"mainColor":49},216740,"san-yu-tu-yi-ming-216740","三鱼图","这幅图画的主题是三条鱼在水中游动的场景。它展示了鱼的姿态和运动，并且运用了对比和张力来营造水中的氛围。这幅图画被认为是宋朝时期优秀的艺术作品之一，其中包含了许多关于生命、自然和哲学的意义。",[1846,24,7,128,28,2059,12869],"水藻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33f3f9bce549922eda47d25a4226234d.jpg","22.2x22.9cm",[68],{"id":12874,"slug":12875,"title":12876,"dynasty":144,"author":569,"museum":20,"description":570,"tags":12877,"thumbUrl":12878,"material":278,"size":574,"collection":84,"collections":12879,"showCount":12727,"zanCount":48,"manualWeight":48,"mainColor":49},214289,"xiao-kai-luo-shen-fu-ce-6-zhao-meng-fu-214289","小楷洛神赋册-6",[23,7,59,572,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7adfde336f0c590edf552acd45006506.jpg",[],{"id":12881,"slug":12882,"title":12883,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":12884,"thumbUrl":12886,"material":692,"size":1293,"collection":84,"collections":12887,"showCount":12888,"zanCount":1998,"manualWeight":48,"mainColor":72},290459,"shan-shui-qing-ya-tu-ce-shi-tao-290459","山水清雅图册",[164,24,7,59,29,27,132,131,387,9613,415,208,12885],"清雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3bd638039d20e8dcda51965ebdcf87c.jpg",[],107,{"id":12890,"slug":12891,"title":12892,"dynasty":124,"author":2110,"museum":300,"description":12893,"tags":12894,"thumbUrl":12895,"material":84,"size":84,"collection":68,"collections":12896,"showCount":12888,"zanCount":48,"manualWeight":48,"mainColor":72},236454,"mei-cha-yuan-yang-zhou-zhou-zhi-mian-236454","梅茶鸳鸯轴","周之冕（生卒年不详），“活跃与嘉靖、万历年间”（据《式古堂书画汇考》卷三十七中所载《周复卿小斋雅致图》中署年“万历甲戌（1574）八月朔”，可将之生卒年具体只嘉靖、万历间。）字服卿，号少谷，长洲(今江苏苏州)人。专擅花鸟画，家中饲养禽鸟，以求在画中得其神韵和形态。花卉则采陈淳、陆治之长，兼工带写，设色鲜妍，自成一家。周之冕与同时代的苏州画家们开创了勾花点叶派，在花鸟画坛上影响了明末及清代的笔墨风格。",[24,7,165,27,61,371,11660,1857],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f8f5cd312ad0f599e1c1adbc8ba6c3.jpg",[68,45,318],{"id":12898,"slug":12899,"title":1280,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":12900,"thumbUrl":12901,"material":692,"size":1293,"collection":84,"collections":12902,"showCount":12888,"zanCount":1998,"manualWeight":48,"mainColor":72},235083,"yun-shou-ping-hua-hui-ce-yun-shou-ping-235083",[164,24,7,59,27,60,61,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd080a0982598eaf4d529200e5e92e27c.jpg",[],{"id":12904,"slug":12905,"title":12906,"dynasty":54,"author":12907,"museum":300,"description":12908,"tags":12909,"thumbUrl":12910,"material":84,"size":84,"collection":84,"collections":12911,"showCount":12888,"zanCount":1998,"manualWeight":48,"mainColor":72},234589,"hai-tang-wan-shan-zhang-zhao-xiang-234589","海棠纨扇","张兆祥","张兆祥(1852年-1908年),，画家， 字和庵。天津人。师从孟绣村，多才多艺，通晓西洋照相技法和诗文书画，尤擅写生，画花鸟，并吸收郎世宁西洋画法，开一代画坛新风，自成一派。其作品传世甚少，尤为宝贵。藏于天津市艺术博物馆的《石榴花》，色彩浓艳，风姿绝伦，堪称珍品。其弟子陆文郁等人也在画坛名噪一时。",[24,7,1131,27,28,61,1132,624,1039],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4c0b8090cb60efc3ac11e58b2f23728.jpg",[],{"id":12913,"slug":12914,"title":12915,"dynasty":182,"author":183,"museum":300,"description":12916,"tags":12917,"thumbUrl":12918,"material":151,"size":12919,"collection":84,"collections":12920,"showCount":12888,"zanCount":1998,"manualWeight":48,"mainColor":956},232270,"luo-han-tu-zhou-wu-dao-zi-232270","罗汉图轴","吴道子又名道玄，被后人称为“画圣”，开元年间以善画被召入宫廷，擅佛道、神鬼、人物、山水、鸟兽、草木、楼阁等，尤精于佛道、人物，长于壁画创作。存世作品有《送子天王图》，《八十七神仙卷》，《罗汉图立轴》等。",[23,164,24,7,165,187,96,188,27,413,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce47e1d86e72735b929b272c4c741b4c.jpg","148.4x76.6厘米",[],{"id":12922,"slug":12923,"title":12924,"dynasty":124,"author":223,"museum":300,"description":8311,"tags":12925,"thumbUrl":12927,"material":692,"size":1293,"collection":84,"collections":12928,"showCount":12888,"zanCount":48,"manualWeight":48,"mainColor":956},228412,"wen-shu-pu-sa-zuo-xiang-yi-ming-228412","文殊菩萨坐像",[24,7,187,28,27,96,29,37,97,34,131,189,12926,26,95],"古建","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83145718fc035e6637afa89f6ad83dea.jpg",[],{"id":12930,"slug":12931,"title":12932,"dynasty":18,"author":620,"museum":300,"description":12933,"tags":12934,"thumbUrl":12935,"material":84,"size":84,"collection":84,"collections":12936,"showCount":12888,"zanCount":48,"manualWeight":48,"mainColor":49},227518,"mo-li-hua-tu-zhao-chang-227518","茉莉花图","赵昌（730—814），字洪祚，天水人。祖不器，父居贞，皆有名于时。李承昭为昭义节度，辟昌在幕府。贞元七年，为虔州刺史。属安南都护为夷獠所逐，拜安南都护，夷人率化。十年，因屋坏伤胫，恳疏乞还，以检校兵部郎中裴泰代之，入拜国子祭酒。及泰为首领所逐，德宗诏昌问状。昌时年七十二，而精健如少年者，德宗奇之，复命为都护，南人相贺。",[23,164,24,7,1326,1131,28,27,60,61,6556,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c26aa0a5bf06d8540629ecbc54cada7.jpg",[],{"id":12938,"slug":12939,"title":12940,"dynasty":54,"author":2915,"museum":524,"description":2916,"tags":12941,"thumbUrl":12942,"material":151,"size":2920,"collection":84,"collections":12943,"showCount":12888,"zanCount":1086,"manualWeight":48,"mainColor":72},222680,"si-ji-hua-niao-tu-ping-3-chen-mei-222680","四季花鸟图屏3",[23,24,7,164,165,28,27,61,607,355,5762,2918,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb354d235264b4e3fbffcc1189098cae9.jpg",[],{"id":12945,"slug":12946,"title":1230,"dynasty":18,"author":3278,"museum":300,"description":12947,"tags":12948,"thumbUrl":12949,"material":27,"size":84,"collection":42,"collections":12950,"showCount":12888,"zanCount":48,"manualWeight":48,"mainColor":49},221441,"shan-shui-tu-li-cheng-221441","李成（公元 919年 -967年），字咸熙，北宋初年营丘（今山东淄博临淄）人，世称李营丘。擅画山水，师承荆浩、关仝，后师造化，自成一家。多画郊野平远旷阔之景。平远寒林，画法简练，气象萧疏，好用淡墨，有“惜墨如金”之称；画山石如卷动的云，后人称为“卷云皴”；画寒林创“蟹爪”法。为山水画大家,被誉为中国山水画之父。他不但开创了齐鲁画派，在宋初画坛独树一帜；而且由其独创的营丘山水画法成为后世山水画家的楷模。《圣朝名画评》把李成的画列为“神品”，并称其“思清格老，古无其人”。《宣和画谱》谓“凡称山水者，必以成为古今第一。”",[23,24,7,164,128,132,27,29,30,98,99,129,34,497,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff23e2e7aedc6bcb6c6eb704e9474b131.jpg",[42,136,117],{"id":12952,"slug":12953,"title":12954,"dynasty":18,"author":397,"museum":224,"description":12955,"tags":12956,"thumbUrl":12957,"material":514,"size":12958,"collection":42,"collections":12959,"showCount":12888,"zanCount":48,"manualWeight":48,"mainColor":72},221343,"zhu-qin-tu-quan-juan-zhao-ji-221343","竹禽图全卷","这幅《竹禽图》横55.4厘米，纵33.8厘米。宋人花鸟画都是以小品画见长，又以精细而见功。此画也不例外。在粗略的崖石间伸出两枝翠竹，一上一下形成一个侧着的“V”字。竹枝和竹叶都没有勾勒，此画法与赵佶的《芙蓉锦鸡图》等以往的画作有所不同。翠竹下面的还有一丛荆棘。一上一下的竹枝上停着两只小鸟。下面的那只鸟侧对着人们，它仰着头在看上面的那只鸟。上面的那只鸟腹部正对着人们，头向右侧着，它回望着下面的那只鸟。两小鸟目光相对，互相顾盼，仿佛就差嘴巴一张一合鸣叫的瞬间了。这两只小鸟是画面的主角。看着它们就使人想起杜甫的那句“两个黄鹂鸣翠柳”。不妨换一下，“两只小鸟鸣翠竹”。\n全画竹草崖石用写意画的方法处理，两小鸟用工笔画的方法绘制。粗细方法互助也显示了徽宗的绘画技艺的高妙。画卷后面有皇室后裔赵孟頫的题跋：“道君聪明，天纵其于绘事，尤极神妙。动植物无不曲尽其性，殆若天地生成，非人力所能及。此卷不用描墨，粉彩自然，宜为世宝。然丛尔小禽蒙圣人所录，抑何幸耶。”",[23,24,7,25,28,27,64,208,61,167,171,1400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F942d16befcc838e9850d9ab89e536a94.jpg","画心纵33.8厘米，横55.5厘米",[42,1670],{"id":12961,"slug":12962,"title":12963,"dynasty":18,"author":491,"museum":244,"description":12964,"tags":12965,"thumbUrl":12966,"material":151,"size":12967,"collection":42,"collections":12968,"showCount":12888,"zanCount":1998,"manualWeight":48,"mainColor":49},221285,"xing-lv-tu-quan-juan-guo-xi-221285","行旅图全卷","轴峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[23,24,7,25,29,132,128,496,34,1337,98,99,129,2620,111,415,3857,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6faff8738a460b1db8a8cacb906b08c5.jpg","48.3x290厘米",[42,136,117],{"id":12970,"slug":12971,"title":12972,"dynasty":980,"author":1687,"museum":11031,"description":12973,"tags":12974,"thumbUrl":12979,"material":84,"size":84,"collection":84,"collections":12980,"showCount":12888,"zanCount":1086,"manualWeight":48,"mainColor":72},220504,"mo-gao-ku-152-hao-tang-dai-zhu-guang-guan-yin-di-58-hao-lin-mo-ben-zhang-da-qian-220504","莫高窟152号唐代珠光观音第58号临摹本","静穆安和的观音结跏趺坐莲台，垂敛双目，神容慈悲恬然。朱砂覆肩贴身，金线勾缠的璎珞臂钏层层叠叠，朱红宝色点缀其间，华贵不失清雅。头光晕染出青绿鎏金的柔和渐变，褪去窟壁千年斑驳，以明丽鲜亮的色彩复刻唐风遗韵。\n\n笔底既恪守古制风骨，又融个人意趣，将敦煌造像的庄严端凝晕化为绢上温润神采。敷色厚艳而不俗，线条匀净柔韧，把观音的圣洁与雍容揉合一处，观之令人心宁神定，尽显东方造像的静美禅意。",[164,24,7,96,187,27,28,330,1692,1363,12975,12976,12977,12978],"莲台","禅意","圣洁","雍容","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F316b140450a1e3ec56ec1be1b10e6be1.jpg",[],{"id":12982,"slug":12983,"title":12984,"dynasty":144,"author":2487,"museum":161,"description":12985,"tags":12986,"thumbUrl":12987,"material":173,"size":84,"collection":44,"collections":12988,"showCount":12888,"zanCount":1086,"manualWeight":48,"mainColor":72},220368,"ren-ma-tu-juan-ren-ren-fa-220368","人马图卷","图绘四名奚官牵三匹骏马出圉的情景，人马神态各异。人物衣冠皆着唐代服饰，神情姿态写实生动，最前一位奚官双手自然置于体前，手里拿着刷马身的平口鬃刷和整理鬃毛的小耙子，回头看马队是否跟随，第二位坐骑棕色骏马略有警惕，奚官怕马受惊抓紧缰绳，最后面一位加快步幅紧跟队伍。三马雄壮矫健，皮鬃致密纤细，造型生动，尤以第二匹马最显俊伟驯顺，颈系红缨闲庭信步，很是惬意。",[23,164,24,7,25,28,27,133,64,208,96,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0dfb37038038db76139bdd3b1af6847.jpg",[44,45],{"id":12990,"slug":12991,"title":12992,"dynasty":54,"author":12993,"museum":244,"description":12994,"tags":12995,"thumbUrl":12999,"material":27,"size":13000,"collection":45,"collections":13001,"showCount":12888,"zanCount":1116,"manualWeight":48,"mainColor":72},219889,"bo-gu-hua-cao-zhou-chen-zhao-feng-219889","博古花草轴","陈兆凤","画面左置开光山水瓷瓶，攒插幽竹、紫藤与素叶秋枝，清竹疏朗挺拔，紫穗垂曳如瀑，花叶素净雅致，暗合案头插花的闲趣章法。右侧圆缸承于铜架，朱红墨色琉金金鱼穿曳萍藻之间，摆尾摇鳍暗藏灵动。全作工笔淡彩晕染清妍，线条匀净秀劲，将案头清供的静雅和游鱼的生机相融，把书斋里冲淡安闲的幽居雅兴尽藏笔底，淡寂中透着雅致生机，尽显中式文人清隽的赏玩意趣。",[24,7,165,27,28,8629,5836,12996,4278,80,12997,12998,169,61],"金鱼缸","陶瓷","珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0c3ec770138bc377e1486617d4e9536.jpg","231.7x117.7",[45],{"id":13003,"slug":13004,"title":13005,"dynasty":54,"author":55,"museum":56,"description":13006,"tags":13007,"thumbUrl":13008,"material":173,"size":1734,"collection":84,"collections":13009,"showCount":12888,"zanCount":1105,"manualWeight":48,"mainColor":72},219814,"hua-hui-shi-kai-9-yun-shou-ping-219814","花卉十开-9","这幅没骨花卉，以淡色晕染出栀子清姿，不用墨线拘囿轮廓，色阶自然过渡，将花瓣莹白温润的质感描摹入微。盛放的花朵舒展柔瓣，如琼玉初绽；待放的花苞敛藏静美，浓淡不一的青叶或苍润鲜碧，或带枯斑，枯荣相衬，更显生机清隽。左上角题诗与画意相融，笔墨间漫溢着文人画的清雅淡远，将江南草木的温婉灵秀，化作平和冲淡的审美意趣，尽显雅致脱俗的笔墨格调。",[24,7,59,27,28,60,61,62,549,582,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1235f17160dbe697ecea3722caedca0e.jpg",[],{"id":13011,"slug":13012,"title":13013,"dynasty":124,"author":1058,"museum":450,"description":13014,"tags":13015,"thumbUrl":13016,"material":317,"size":84,"collection":44,"collections":13017,"showCount":12888,"zanCount":1086,"manualWeight":48,"mainColor":49},219551,"lao-zi-tu-tang-yin-219551","老子图","笔意简逸空灵，以淡墨轻勾铺就画面。老子宽袍长髯，安坐牛背，神态超旷淡然，不见半分行旅劳顿，尽显太上忘情的出尘之姿，将道家风骨藏于简约笔墨之中。\n\n水牛造型朴拙写实，缓步行进间憨态尽显，与老子的清矍超然相映成趣。设色浅淡近乎白描，衣纹褶皱简括凝练，留白处氤氲着悠远超脱的林下之风，暗合道家“大象无形”的哲思。\n\n整幅画不见繁复铺陈，以极简物象传递出逍遥物外的高远意境，是兼具文思与笔情的写意佳作。",[23,24,7,164,128,188,96,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80b062d62495bd228b5ed34446dc0182.jpg",[44],{"id":13019,"slug":13020,"title":8685,"dynasty":18,"author":2349,"museum":300,"description":13021,"tags":13022,"thumbUrl":13026,"material":173,"size":84,"collection":44,"collections":13027,"showCount":12888,"zanCount":48,"manualWeight":48,"mainColor":956},218273,"ying-xi-tu-su-han-chen-218273","孩童发髻疏朗，衣袂轻垂，坐于鼓形座上。小手拢着衣角，似藏着几分娇憨。鼓身镶边缀点，旁侧鼓槌斜倚，小鞋散落，细节里尽是日常的鲜活。绢本的棕褐晕染出时光的温软，线条简淡却藏着细腻——衣纹褶皱随姿态舒展，孩童眼神澄澈如溪，悄然勾连起宋人对稚子生活的珍视。没有繁复布景，天真却漫溢开来，仿佛能触到柔软布料，听见孩童细碎笑语。画中藏不住的生动与温情，将寻常童趣凝作永恒的画面，让时光在此刻慢了下来。",[24,164,7,28,27,96,13023,13024,13025,170],"婴孩","鼓","鼓槌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38f3549cbb86ed88cd0157c95e237591.jpg",[44],{"id":13029,"slug":13030,"title":13031,"dynasty":54,"author":6455,"museum":244,"description":13032,"tags":13033,"thumbUrl":13035,"material":173,"size":13036,"collection":44,"collections":13037,"showCount":12888,"zanCount":1086,"manualWeight":48,"mainColor":72},216966,"xian-ren-tu-xu-liang-biao-216966","仙人图","仙女被描绘成骑着一只凤凰，或西方的王母。仙女拿着一顶花帽，并由一只携带生日珍珠的白鹿陪伴。景色清晰，色彩鲜艳，是对长寿的长久赞美。人物、凤凰和白鹿的着色受到西方绘画的明暗影响。",[164,24,7,165,28,27,13034,2302,62,276,950],"仙人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0446b8d31845aaa90342626f5354c64.jpg","260.5x142.6",[44],{"id":13039,"slug":13040,"title":12503,"dynasty":124,"author":9421,"museum":244,"description":13041,"tags":13042,"thumbUrl":13043,"material":173,"size":13044,"collection":68,"collections":13045,"showCount":12888,"zanCount":48,"manualWeight":48,"mainColor":49},216213,"xie-sheng-tu-shang-xi-216213","商喜是明朝时期的一位著名画家。他的写生图是指他在观察实物的基础上进行的写生画。这些画作经常描绘自然风景、动物、人物等，体现出商喜对于自然现象的敏锐观察力和细腻的描绘能力。商喜的写生图具有浓郁的生活气息和生动的感染力，为后世留下了宝贵的艺术瑰宝。\n\n商喜的写生图作品较多，涵盖了多种题材。其中，他的花鸟画尤其出色，作品中常常出现各种花卉和鸟类，每一幅画作都能够流露出自然的美丽与生机。此外，商喜还绘制了许多人物画，其中有写实的肖像画，也有富有想象力的设计人物。他的人物画作品体现了商喜对人物形态和神态的细致捕捉，能够生动地展现人物的个性和心理。商喜的写生图作品为后世留下了深刻的印象，为中国画的发展做出了重要贡献。",[24,7,28,27,61,949,1634,527,211,167,547,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae66413060d9efa0846a06cffbc58a1.jpg","84.6x61.8cm",[68],{"id":13047,"slug":13048,"title":13049,"dynasty":124,"author":13050,"museum":5543,"description":13051,"tags":13052,"thumbUrl":13053,"material":278,"size":13054,"collection":136,"collections":13055,"showCount":12888,"zanCount":1998,"manualWeight":48,"mainColor":72},215039,"pu-tao-tu-nao-an-215039","葡萄图","挠庵","挠庵是明朝时期的一位著名文人。他是著名的画家，以他的葡萄图而闻名。葡萄图是他的代表作之一，是他在明朝时期所创作的一幅葡萄图。这幅画展示了一个葡萄园的景象，画中的葡萄树和葡萄非常逼真，可以看出挠庵在绘画技巧方面颇有造诣。葡萄图被认为是明朝时期著名画家的杰作之一，被誉为“葡萄图之祖”，在中国画坛上享有盛誉。",[23,24,7,128,369,61,2334,548,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d8f035cf390a823093bc490ce8493db.jpg","27.5×29.3cm",[136],{"id":13057,"slug":13058,"title":13059,"dynasty":54,"author":5879,"museum":244,"description":5880,"tags":13060,"thumbUrl":13061,"material":66,"size":84,"collection":84,"collections":13062,"showCount":12888,"zanCount":48,"manualWeight":48,"mainColor":72},214836,"xie-sheng-ce-24-hua-yan-214836","写生册-24",[24,7,59,27,188,96,187,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7af5d340d1adb25d509df9d455283ac7.jpg",[],{"id":13064,"slug":13065,"title":13066,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":13067,"thumbUrl":13068,"material":692,"size":1293,"collection":84,"collections":13069,"showCount":119,"zanCount":1998,"manualWeight":48,"mainColor":49},290529,"zhu-bai-chang-chun-zhou-yun-shou-ping-290529","竹柏长春轴",[164,24,7,165,27,61,167,1578,171,62,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb714bb59defcdde65007397212cbb037.jpg",[],{"id":13071,"slug":13072,"title":9477,"dynasty":18,"author":3278,"museum":300,"description":13073,"tags":13074,"thumbUrl":13075,"material":692,"size":1293,"collection":84,"collections":13076,"showCount":119,"zanCount":1116,"manualWeight":48,"mainColor":49},288290,"mao-lin-yuan-xiu-tu-li-cheng-288290","《茂林远岫图》描绘的是夏日山水景色，其中峰峦叠翠，奇峰矗立，远山奇峰崛立，空远清旷；近处轻舟泊渡，行人车马往来；中景山谷之间殿阁林立，塔影隐没其中，飞泉水口，如闻其声，如临其境，整幅作品呈现了一派寓闹于静的景致。\n《茂林远岫图》就绘画技法而论，刻画细腻，神形有致；画面构图“三远”法的并用，构景主次疏密的安排等，无不透露出北宋山水画风貌的典型气息。",[23,164,24,7,25,128,132,29,9480,496,34,3698,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F232ba5f640d5b6339147fba4ccbde437.jpg",[],{"id":13078,"slug":13079,"title":13080,"dynasty":54,"author":872,"museum":300,"description":6719,"tags":13081,"thumbUrl":13082,"material":692,"size":1293,"collection":84,"collections":13083,"showCount":119,"zanCount":1998,"manualWeight":48,"mainColor":72},287419,"hai-tang-chun-qiu-tu-zhu-da-287419","海棠春秋图",[23,164,24,7,165,128,61,1132,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5640b26d0debfdda6acd1c0fbf679437.jpg",[],{"id":13085,"slug":13086,"title":13087,"dynasty":54,"author":13088,"museum":300,"description":13089,"tags":13090,"thumbUrl":13091,"material":84,"size":84,"collection":68,"collections":13092,"showCount":119,"zanCount":1105,"manualWeight":48,"mainColor":72},234366,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234366","临蒋廷锡花卉册","蒋淑","蒋淑，蒋廷锡之女。蒋淑不仅得其父亲蒋廷锡的指点，而且经常以其父的作品为学习范本。《临蒋廷锡花卉图册》便是她临摹蒋廷锡花卉的代表作，用笔设色均有其父的画风神韵。每开也均有蒋廷锡题诗，赞美之辞溢于言表。 一股“我闺女棒棒哒”的自豪溢出来了～\n蒋淑（生卒年不详），清代杰出女性画家，从其画作上判断她大致生活于清康熙至雍正年间，字又文，江苏常熟人。蒋廷锡女，华亭王敬妻。其父蒋廷锡官至大学士，闲暇之余以逸笔作写生花卉，机趣天然。蒋淑自幼秉承家教，亦以擅绘花鸟著称。",[24,7,59,27,330,61,375,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e08f4453ea59c906d1aecbc008de815.jpg",[68],{"id":13094,"slug":13095,"title":13096,"dynasty":18,"author":2067,"museum":12686,"description":13097,"tags":13098,"thumbUrl":13099,"material":611,"size":13100,"collection":84,"collections":13101,"showCount":119,"zanCount":1116,"manualWeight":48,"mainColor":49},232874,"pan-tao-qing-niao-tu-juan-li-di-232874","蟠桃青鸟图卷","此幅重色画蟠桃青鸟，用笔应物象形，禽鸟造形精确，蟠桃用没骨画法，枝叶安排妥帖，整体观之，明代宫廷画家所作的可能性大一些。 李迪，生卒年不详。",[23,164,24,7,25,28,27,61,6603,211,34,2037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9c8c8a18311cb4fc28befe1cd47b8a.jpg","38.3x193.2cm",[],{"id":13103,"slug":13104,"title":12038,"dynasty":18,"author":2141,"museum":13105,"description":13106,"tags":13107,"thumbUrl":13108,"material":514,"size":13109,"collection":42,"collections":13110,"showCount":119,"zanCount":48,"manualWeight":48,"mainColor":49},223667,"xue-shan-xing-lv-tu-liu-song-nian-223667","四川省博物馆","《雪山行旅图》山势苍莽，白雪皑皑，映衬秋霜红叶丛树，分外妖娆。林中房舍隐现，桥横岸渚，山重水回，一舟泊于岸边。行旅者踏雪而行。全画用笔工细，人物面貌高古，神态刻画入微。房舍以界画笔法，工整严谨。作者巧妙地将山水和人物有机地融为一体。画面左侧下端右上署有“刘松年画”四字款。原为张大千收藏。刘松年传世作品极少，从该画可以窥见其善画山水人物的风貌。",[23,24,164,7,165,128,27,29,2523,131,1337,98,99,690,132,28,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F513fc8700efc5270d65c3050a193f2d5.jpg","纵160厘米，横99.5厘米",[42,136],{"id":13112,"slug":13113,"title":13114,"dynasty":18,"author":223,"museum":224,"description":13115,"tags":13116,"thumbUrl":13117,"material":13118,"size":13119,"collection":42,"collections":13120,"showCount":119,"zanCount":1998,"manualWeight":48,"mainColor":49},223647,"guan-pu-tu-yi-ming-223647","观瀑图","图中危崖耸立，瀑布垂挂直落谷底，水雾弥漫。雅士于园林一角。凭栏观飞泉，神态怡然陶醉，超然清逸之趣溢于画外。 山石全以斧劈皴出之，描绘树木勾点并用。整幅图有峻峭秀逸之气。",[23,24,7,1349,27,132,131,495,130,1144,99,11998,331,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2237080d6dc050c086dee19035000720.jpg","水墨，淡设色","纵178厘米，横104厘米",[42,136],{"id":13122,"slug":13123,"title":13124,"dynasty":54,"author":4468,"museum":13125,"description":13126,"tags":13127,"thumbUrl":13128,"material":514,"size":13129,"collection":68,"collections":13130,"showCount":119,"zanCount":1998,"manualWeight":48,"mainColor":49},222774,"liu-yin-shuang-jun-tu-lang-shi-ning-222774","柳荫双骏图","镇江市博物馆","《柳荫双骏图》卷绘两匹马一立一卧，一棵老柳树，斜在背景中，马匹及树木均画出了明暗和凹凸，强调物象的质感和立体感。郎世宁书款中不署“臣”字，显然该作品不是为皇帝画的，受画者应当是某位有着亲王或郡王身份的满洲贵族。",[23,164,24,7,28,27,101,2372,331,497,6640,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b142639faf49024649f5fe7e4a3f35c.jpg","横62厘米，纵115.1厘米",[68,45],{"id":13132,"slug":13133,"title":13134,"dynasty":54,"author":4468,"museum":244,"description":4469,"tags":13135,"thumbUrl":13137,"material":27,"size":4474,"collection":84,"collections":13138,"showCount":119,"zanCount":48,"manualWeight":48,"mainColor":72},222753,"xian-e-chang-chun-tu-08a-ji-guan-hua-lang-shi-ning-222753","仙萼长春图-08a（鸡冠花）",[23,304,24,7,61,28,27,13136,171,549,548],"鸡冠花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dcd6f6155e0f1e2f0398d2738fe5f5a.jpg",[],{"id":13140,"slug":13141,"title":13142,"dynasty":18,"author":1622,"museum":2068,"description":13143,"tags":13144,"thumbUrl":13146,"material":6584,"size":13147,"collection":42,"collections":13148,"showCount":119,"zanCount":48,"manualWeight":48,"mainColor":49},221667,"dong-shan-du-shui-tu-ma-yuan-221667","洞山渡水图","为宋代画家马远绘制。描绘的是曹洞宗祖师洞山良价在云游途中，涉水之时见到自己水中之影而恍然大悟的一刹那，是为数不多的马远的真迹之一。原藏于圆明园，1860年火烧圆明园后被掠夺并流失海外，现收藏于日本东京国立博物馆。图上有南宋皇帝宋理宗的皇后杨妹子之题字。款识：携藤拔草胆风，未免登山涉水，不知触处皆渠，一见低头自喜。本与天龙寺所藏的云门大师图、清凉法眼禅师图同为描绘禅宗法师的画作之一。",[23,164,24,7,165,128,27,96,29,99,171,13145,132,133,208],"藤杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e95161b48bfccbab4bee9ff42ba247b.jpg","纵77.6厘米，横33厘米",[42,136],{"id":13150,"slug":13151,"title":13152,"dynasty":18,"author":1622,"museum":244,"description":13153,"tags":13154,"thumbUrl":13155,"material":27,"size":13156,"collection":42,"collections":13157,"showCount":119,"zanCount":48,"manualWeight":48,"mainColor":49},221533,"hua-xue-jing-zhou-ma-yuan-221533","画雪景轴","由于崇庆皇太后年事已高，这是乾隆皇帝最后一次奉母南巡。题诗语及‘旅客’、‘渔翁’，显示乾隆皇帝除了豪华宅邸中赏梅的文士，也注意到披蓑负篓、赤足而行的渔夫，以及骑马朝青旗酒馆前去的旅人。画中撑伞的行者，暗示着山间仍垂降雨雪，故有‘六花飘未止’之句。乾隆皇帝对这幅雪景山水的评价甚高，认为是南宋马远（活动于1190 —1224）真迹，然由其笔墨、构图研判，更近于明中期浙派画家王谔。",[23,24,7,165,28,132,27,29,1813,130,372,101,96,98,495,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f2774f7c6b0224e9363e78bd08e4160.jpg","纵163.3cm，横82.4cm",[42,136,45],{"id":13159,"slug":13160,"title":13161,"dynasty":18,"author":3110,"museum":20,"description":13162,"tags":13163,"thumbUrl":13165,"material":611,"size":12512,"collection":42,"collections":13166,"showCount":119,"zanCount":1116,"manualWeight":48,"mainColor":72},221500,"shui-mo-xie-sheng-tu-mu-xi-221500","水墨写生图","法常的绘画，有不少取材于平时人们司空见惯的日常生活，但独能于平淡天真之中揭示生命意识的真谛。此卷所绘折枝花果、禽鸟、鱼虾及蔬果，笔墨简淡，平平常常，在画幅上随随便便地摆放在一起，看来就是最为常见的与我们现实生活息息相关的景象，但是卷中墨色的氤氲、排列的错综、变化的神奇，却又分明深蕴着禅机。这些平常物象的背后是不着笔墨的大片空白，这种“知白守黑”、“计白当黑”的处理，使得画面中本不相关联的事物各自相对独立又可合而为一，画意更为完整而富于张力，给观者以想象的空间，正所谓“于无画处皆成妙境”。整幅作品充满着一种宁静、自省、淡泊的内在精神，使观者有“万物静观皆自得”的会心感受，耐人寻味。牧溪的绘画，写生功底极深，此幅亦是“肖似形类，并得其意”（项元汴语）的形神兼备之作。\n沈周卷后题识称：“不施色彩，任意潑墨，儼然若生。回視黃筌、舜舉之流，風斯下矣。”本幅无作者款印，沈周定为“真宋物也”。徐邦达先生认为，沈周题跋中“牧”字有挖改痕迹，是“似牧非牧之画”。",[23,24,164,7,25,128,2166,369,61,4250,13164,2059,11034,12642,355,7856,12508,4252,4251,81,62,230,303,549],"水族","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf031a51ea46b7afc61efea8475b520.jpg",[42,68,117],{"id":13168,"slug":13169,"title":13170,"dynasty":144,"author":410,"museum":224,"description":13171,"tags":13172,"thumbUrl":13173,"material":66,"size":13174,"collection":136,"collections":13175,"showCount":119,"zanCount":1998,"manualWeight":48,"mainColor":49},220427,"su-an-tu-wang-meng-220427","素庵图","作品布局层峦耸峙，岭头山体突兀而拙实，不为奇巧。近坡老松相映，林间草堂呈“四合院”状。全图气象峥嵘，突现山脚下的草堂。此图为精致优雅的浅绛山水画，明净苍秀，在王蒙轴幅作品中较少见。其妙处在两崖逼而为瀑，瀑泉由上而下，长短相间，气贯全幅。\n此图石法用云头皴，不同于《春山读书图》用单纯的解索皴法，也不同于《青卞隐居图》之融数家皴法于一体。黄宾虹评其“笔力劲利而无怒张之态，墨气酣厚而无痴肥之病”，幽深高淡之趣流露于画面之外。观此秋景，又使人联想到吴渔山所说的王蒙浅绛山水“霜红林密，笔笔生动”的特色。王蒙秋景画法较大痴浅绛用色偏重，其近景树干用朱砂点苔，为其他着色山水所未见，另有一番典雅清新别致的审美效果。图中人物及小鹿、仙鹤，造型虽小，皆笔简形具，耐人寻味。图上以小篆题“素庵图”三字，后两行署“黄鹤山樵王蒙为素庵高士画”，笔致雅拙，趣味高古，与画面形成相得益彰的艺术效果。",[23,24,7,164,165,128,27,29,97,99,34,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a2c770848d5adacc5affe77c66ce6a4.jpg","纵136cm，横45cm",[136,45],{"id":13177,"slug":13178,"title":13179,"dynasty":124,"author":223,"museum":450,"description":13180,"tags":13181,"thumbUrl":13182,"material":173,"size":13183,"collection":44,"collections":13184,"showCount":119,"zanCount":1998,"manualWeight":48,"mainColor":49},219569,"xian-nv-feng-huang-tu-yi-ming-219569","仙女凤凰图","仕女身姿柔婉，高髻簪饰，曳地长裙衣带萦回，袂角随风轻扬，仪态娴静端雅，尽是闺秀仙姿。身旁凤凰翎毛苍劲蓬松，写意笔法朴拙大气，与仕女衣纹的细劲铁线描相映成趣。浅淡设色融于古旧绢底，晕染出幽渺古雅的氛围感，仙姝伴灵禽，似正欲乘鸾凌云，缥缈出尘。\n\n笔墨兼具工写之妙，仕女沉静柔婉，凤凰灵动苍健，动静相生，将世外仙乡的清隽逸气凝于尺幅之间，尽显雅致出尘的古典意韵。",[23,24,7,188,27,96,3333,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5aad1fb6eda19289875db3f46e21ef8.jpg","146.8x94.5厘米",[44],{"id":13186,"slug":13187,"title":13188,"dynasty":351,"author":1931,"museum":450,"description":13189,"tags":13190,"thumbUrl":13191,"material":173,"size":84,"collection":68,"collections":13192,"showCount":119,"zanCount":1116,"manualWeight":48,"mainColor":49},219025,"ban-jiu-tu-huang-quan-219025","斑鸠图","画的是一棵顶部断裂的枯树干，一只鸽子站在树干上，蓬松的羽毛中夹杂着白色的毛发，盯着树根处发芽的树枝，绿叶红花。",[23,164,24,7,59,28,27,61,211,355,547,624,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a51e04c34bcf36d6653aa90ca568823.jpg",[68],{"id":13194,"slug":13195,"title":13196,"dynasty":18,"author":1323,"museum":300,"description":13197,"tags":13198,"thumbUrl":13199,"material":173,"size":13200,"collection":42,"collections":13201,"showCount":119,"zanCount":48,"manualWeight":48,"mainColor":49},219006,"song-yin-xian-zuo-tu-li-song-219006","松荫闲坐图","苍松覆荫，烟岚轻笼远山，黛色隐于薄雾间。近树虬枝盘曲，叶色深浓如墨，似将尘嚣隔绝。林间空地上，一人闲坐石畔，或凝思或望远，身旁童子悄然侍立，动静相衬，幽趣自生。\n\n笔墨简淡却意韵悠长：山石以斧劈皴略施渲染，显峻秀之态；树木枝干苍劲，线条灵动如舞。整幅画于静谧中藏生机，简远中见雅致，恰是宋人山水小品里“天人合一”的写照——将文人寄情林泉、超然物外的心绪，融于每一笔墨、每一处留白，读来如沐清风，心向往之。",[23,24,7,165,128,132,29,1144,1233,331,96,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70413899e21118c8e47102d3e86827c9.jpg","118x57",[42],{"id":13203,"slug":13204,"title":1109,"dynasty":144,"author":1346,"museum":77,"description":13205,"tags":13206,"thumbUrl":13208,"material":173,"size":13209,"collection":68,"collections":13210,"showCount":119,"zanCount":48,"manualWeight":48,"mainColor":72},218492,"zhu-shi-tu-wu-zhen-218492","墨竹以中锋运笔，瘦劲中含柔韧，竹叶如剑戟横斜，又似疾风翻卷，墨色浓淡相间，层次分明；石体则以淡墨晕染，辅以干笔皴擦，朴拙厚重中透出清逸之态。竹石相依，动静相生，既见自然野趣，又藏文人风骨——笔端流淌的不仅是水墨的韵律，更是君子坚韧高洁的精神写照。整幅画作简而不薄，意境悠远，尽显元人画中“以书入画”的雅致与隐逸情怀，笔墨间的生机与心性，似可穿越时空，与观者对话。",[23,164,24,7,128,369,167,171,133,208,13207],"元画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F461c4598d701937861a6c59fad8d3c4f.jpg","37.5x94.5cm",[68],{"id":13212,"slug":13213,"title":6122,"dynasty":18,"author":223,"museum":77,"description":13214,"tags":13215,"thumbUrl":13216,"material":173,"size":13217,"collection":136,"collections":13218,"showCount":119,"zanCount":1086,"manualWeight":48,"mainColor":49},217066,"chun-shan-xing-lv-tu-yi-ming-217066","春山行旅图是宋朝（960-1279年）佚名的一幅山水画作品。这幅画描绘了一位旅人在春天游览山水的景象。画面中的景色十分优美，充满了生机和活力。画中的山峰高耸，水流清澈，树木茂密，空气清新。整幅画浓烈的山水意境，清新自然的画风，使得这幅画在当时颇受欢迎，被认为是一幅杰出的艺术作品。",[24,7,1349,132,27,663,34,98,97,131,96,99,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24ab87eb107c3ff0a2caa7861e5582bd.jpg","104x51cm",[136],{"id":13220,"slug":13221,"title":13222,"dynasty":351,"author":1931,"museum":2542,"description":13223,"tags":13224,"thumbUrl":13225,"material":173,"size":13226,"collection":68,"collections":13227,"showCount":119,"zanCount":1998,"manualWeight":48,"mainColor":49},216746,"xie-sheng-yuan-yang-tu-huang-quan-216746","写生鸳鸯图","画面描绘了一棵古老的梅花树，枝干粗壮，梅花枝条细长，树下有一丛绿竹；右下方是一对羽毛鲜艳的鸳鸯，一只蹲在地上，扭曲的头和嘴藏在羽毛中。",[24,7,1131,28,27,61,1857,331,7596,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78b5310b6859685fde5b35c131cf676e.jpg","23.6x24.2cm",[68],{"id":13229,"slug":13230,"title":13231,"dynasty":124,"author":366,"museum":300,"description":8455,"tags":13232,"thumbUrl":13233,"material":692,"size":1293,"collection":84,"collections":13234,"showCount":13235,"zanCount":1116,"manualWeight":48,"mainColor":72},290557,"mu-dan-zhou-xu-wei-290557","牡丹轴",[24,165,128,7,61,263,167,171,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9487283bab61d433f887641040f025a9.jpg",[],105,{"id":13237,"slug":13238,"title":13239,"dynasty":124,"author":223,"museum":300,"description":8311,"tags":13240,"thumbUrl":13241,"material":692,"size":1293,"collection":84,"collections":13242,"showCount":13235,"zanCount":1998,"manualWeight":48,"mainColor":956},287649,"shui-yue-guan-yin-zuo-xiang-wu-se-cha-ban-yi-ming-287649","水月观音坐像（无色差版）",[23,24,7,187,27,28,96,1363,227,2302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3b48459cb8a2b78d98dd220d80ef855.jpg",[],{"id":13244,"slug":13245,"title":13246,"dynasty":124,"author":1438,"museum":300,"description":13247,"tags":13248,"thumbUrl":13249,"material":692,"size":1293,"collection":84,"collections":13250,"showCount":13235,"zanCount":1086,"manualWeight":48,"mainColor":72},235799,"mu-dan-shan-chen-chun-235799","牡丹扇","陈淳（1483年—1544年），字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲（今江苏苏州）人，明代绘画大师。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。",[1131,24,7,61,263,27,128,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95b4e60c9cc0dc84edd2a1739d852f0d.jpg",[],{"id":13252,"slug":13253,"title":13254,"dynasty":351,"author":352,"museum":20,"description":13255,"tags":13256,"thumbUrl":13258,"material":151,"size":13259,"collection":84,"collections":13260,"showCount":13235,"zanCount":1998,"manualWeight":48,"mainColor":49},233213,"dou-jia-qing-ting-tu-ye-xu-xi-233213","豆荚蜻蜓图页","图中画的是田野苗圃间菜豆花与蜻蜓之类昆虫常见的景物。画面为长圆扇形，画家以独具的慧眼撷之入画，采取了特写镜头，只取其豆花的枝头，豆茎自左下向右上斜出，枝叶微下垂，枝上有浅紫色的豆花、绿色的豆叶和沉甸甸地挂下来的长长豆荚。枝梢上歇息着一只大蜻蜓，正在吮吸豆荚嫩叶的鲜汁。蜻蜓呈黄褐色，张开双翼，长长的身子下垂，尾部稍有弯曲。\n图中豆荚一枝，果实乍结。一只黄褐色的蜻蜓轻轻停落在枝端，将豆荚压得微微颤动。画面构图简洁自然，疏密得体。画家用中锋细笔勾勒豆荚枝叶的轮廓，用花青、石绿轻染，以白粉点花瓣，线条沉稳，色彩丰富，形象写实逼真。图中尤以蜻蜓描绘得出神入化，其翅膀透明的质感以及清晰的纹络都表现得清清楚楚，活灵活现，反映了宋画在写实方面所达到的高度水平。\n整幅作品结构自然，疏密得体，色彩丰富，工写结合。其中蜻蜓的描绘神妙入微。画家不仅再现了蜻蜓的形态，甚至连透明的翅膀及纹络都表现了出来。而豆花则以简笔写出，野趣天然。\n整幅作品结构自然，疏密得体，中锋运笔，线条沉稳，色彩丰富，写实逼真，作者善于刻画和铺排是这幅作品在技巧上的特色。菜豆的枝干、花叶、荚部是用粗简的线条勾出，然后略施粉彩，尤其对蜻蜓的描绘神妙入微。蜻蜓身子晕染工细，头部网网眼和翅翼细细刻画轻轻染色，十分清晰透剔，甚至连透明的翅膀及纹络状的小组织，都细微地表现了出来。蜻蜓身上的色斑与浅紫色的豆花，一深一浅，使主题显明突出，这充分反映了宋画在写实方面所达到的高度水平。从绘画题材及笔墨技巧上看，具有徐熙画的特征。《圣朝名画评》说，徐熙画花卉“多做园圃以求情状，虽蔬菜茎苗，以人图写”。但本图无款识，至少可以这样说，虽非出于徐熙之手笔，但可以代表北宋徐熙一派的画风，亦可以说此幅是徐派留下来的凤毛麟角般的珍品。此图右下方押“徐熙”二字伪印。\n此图无款，有“徐熙”朱印。旧题为徐熙作。徐熙“善画花竹林木、蝉蝶草虫之类，多游园圃以求情状，虽蔬菜茎苗亦人图。写意出古人之外，自造于妙。尤能设色，绝有生意”。从这幅作品亦可领略上述特点，所以虽非出于徐熙之手，也可代表北宋徐熙一派的画风。\n此图写豆茎一枝自右下向左上斜出，而梢头着一大蜻蜓。这农家随处可见的景物，画家以独具的慧眼撷之入画，可谓别开生面。豆花、豆叶，点缀生动，长豆三两根，垂垂可喜。茎、叶、豆荚，均以墨勾，疏疏几笔，中设豆绿色，叶中锈斑、虫蚀均为描出，紫白色的豆花和蜻蜓，以没骨法晕染，蜻蜓尤备极工细，神韵奕奕。对花写照的写生功力，令人惊叹。色调素雅，变化层次微妙，工写兼施，相映成趣。构图善从一角生发，全幅荡漾着空灵的诗意，尤觉流走圆美。不是面面俱到，或泛泛大略，而是择取一枝一梢作精心的观赏，一枝一叶总动情，这种审美性格为宋人所独具，风气所开，遥领千古。此图笔墨间随处散发着一种田园佳趣，尤为感人至深，而熠耀其中的是诗意的空间。宋画一如宋诗，其异于唐人之处：一为田园气息，二为哲理之思（以景喻理）。",[164,24,7,61,28,27,13257,608,549,547,208],"豆荚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F880a27b634787e986672e82222fc17bb.jpg","纵27厘米，横23厘米",[],{"id":13262,"slug":13263,"title":13264,"dynasty":54,"author":55,"museum":244,"description":13265,"tags":13266,"thumbUrl":13267,"material":514,"size":13268,"collection":84,"collections":13269,"showCount":13235,"zanCount":1998,"manualWeight":48,"mainColor":72},232677,"dong-li-qiu-se-tu-yun-shou-ping-232677","东篱秋色图","恽寿平(1633~1690)，初名格，字寿平，后以字行，更字正叔，号南田、云溪外史、东园生，晚年又号白云外史、瓯香散人。善画山水、花卉。早年画山水，取法元、五代大家。中年后以画花卉为主，自创一种名为“仿北宋徐崇嗣”的没骨花卉画法，即以潇洒秀逸的用笔直接点蘸敷染而成。这种画法独开生面，风靡一时。其山水画创作亦从未间断，有很高成就，笔墨灵秀，以神韵、情趣取胜。作品有《晴川揽胜图轴》、《设色花卉册》、《花果图册》等。",[304,24,7,165,61,62,27,60,604,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62e5c11e2567494e206962fa4dbf026f.jpg","107.6x54.5厘米",[],{"id":13271,"slug":13272,"title":13273,"dynasty":144,"author":1346,"museum":244,"description":13274,"tags":13275,"thumbUrl":13276,"material":611,"size":13277,"collection":84,"collections":13278,"showCount":13235,"zanCount":1998,"manualWeight":48,"mainColor":72},231500,"mo-zhu-pu-ce-ye-gao-qing-si-fu-wu-zhen-231500","墨竹谱册页（高清四幅）","吴镇曾说的墨竹之法：“疏不至冷，繁不至乱，翻向正背，转侧低昂，雨打风翻，各有法度”。吴镇的墨竹把文学意蕴融入到艺术表现手法中，开创了文人画重意蕴之风，使中国文人画得到了关键性的发展，加深了文人画的思想内涵和潜在表现力，起到了承前启后的重要作用。之后的姚绶、文征明、唐寅等名家均不同程度受到了他的影响。特别是清代后期的蒲华，在继承了吴镇墨竹飘逸高傲之气的同时，又在“形”、“韵”两方面下功夫，使以竹为题材的艺术创作和审美情趣在清末达到了又一个高峰。明代文学大家陈继儒在《梅花庵记》中写道：“先生书仿杨凝式，画出入荆关董巨，初虽无意于啖名，而品格既真，则身价自不能压之使下，画苑推元四大家必屈指先生”，充分说明了吴镇在画坛上的公认地位。\n吴镇生于南宋灭亡次年，当时抗元气氛仍很浓厚，再加上元朝知识分子地位的骤降，使得他只能通过艺术作品来抒发心中的强烈感触与不平。墨竹是文人画中的常见题材，吴镇的墨竹则是中国画史上的极品，其成就甚至超过他的山水画，为后人留下了诸多传世佳作以及丰富的理论论述。\n吴镇的墨竹理论大约可分为三个部分：一是对竹子人格化的认识，这是他创作的原动力；二是画竹者的心境；三是具体的技法。他认为，画竹不仅要展现竹子的外在形态，更要显现其内在风骨和精神，反映更高的旨趣。他将竹子作为自身人格的真实写照，赋予其虚心劲节、直竿凌云、高风亮节的深刻寓意；在用笔时不求工细，只讲究写意神似，重在抒发自己的主观情趣：譬如生长于绝处的竹子，彰显的是处劣境不改其节，居陋地不扰平淡之心的君子风范；空山野地之竹则如隐士巢父、许由般高洁脱俗，远离浊世。吴镇正是将这种种体会与感受，自然而又随意地融入到自己的作品中，展现出多姿多彩的墨竹神韵。\n吴镇笔下的诸般墨竹姿意潇洒，可谓极尽竹之生态与情意：春夏秋冬、晴雨风雪、俯仰横斜皆各不相同。他运用墨的浓淡粗细，将竹的干、节、枝、叶描绘得繁而不乱、疏密有致；特别是采用浓、淡、破、焦、湿等方法把墨分为七色，将竹子的萧瑟灵性、远近枯荣表现得淋漓尽致、层次无穷。除了强调总体法度之外，吴镇还对细微处的技巧颇有研究。他认为画墨竹要分为干、节、枝、叶四个方面：“而叠叶至难，于此不工则不得为佳画矣”；画竹时须“下笔要劲，节实按虚起，一抹便过，少迟留则必钝厚不銛利矣”，画叶时应竭力避免“精似桃叶，细如柳叶，孤生并立，如又如井，太长太短，蛇形鱼腹，手指蜻蜓”等“疏密偏轻，使人厌观”之病",[23,24,164,7,59,128,64,208,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a763ebdaf12beb20835513dca92c2a2.jpg","高403厘米，宽52厘米",[],{"id":13280,"slug":13281,"title":5542,"dynasty":18,"author":2141,"museum":300,"description":13282,"tags":13283,"thumbUrl":13285,"material":84,"size":84,"collection":84,"collections":13286,"showCount":13235,"zanCount":975,"manualWeight":48,"mainColor":49},227801,"gong-nv-tu-liu-song-nian-227801","桐荫覆满深院，围栏外花木萦回，三位宫女消磨着悠长白日。红衣女子斜身倚过小杌，抬手遥遥指向前方，似唤榻上友人共赏景致，罗裙纹饰随抬手动作柔婉舒展。榻上宫女支颐托腮，目光追着前者指尖，眉眼浸着慵懒娇柔。立在侧旁的侍女垂眸静立，敛着恭谨自持。\n\n全幅设色古雅妍丽，衣物质感纤毫毕现，花木围栏皆以细笔晕染，棕褐绢底衬得满幅宁和。画中无宫闱沉郁，只将深宫日常里松弛闲散的片刻定格，把少女间的娇憨意趣藏在细腻笔触中，晕开宋时独有的雅致闲淡。",[23,24,164,7,1131,28,27,96,166,413,2824,13284,234,170],"凳子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febc5296a5a36c0ab6eb8605bdcbdefd0.jpg",[],{"id":13288,"slug":13289,"title":13290,"dynasty":54,"author":1504,"museum":300,"description":2280,"tags":13291,"thumbUrl":13292,"material":637,"size":84,"collection":68,"collections":13293,"showCount":13235,"zanCount":1998,"manualWeight":48,"mainColor":72},223301,"zhu-shi-tu-zhou-3-zheng-ban-qiao-223301","竹石图轴3",[23,24,7,165,128,133,208,64,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05f693b107ed41d72c1e72ff211b8570.jpg",[68,117],{"id":13295,"slug":13296,"title":13297,"dynasty":54,"author":4468,"museum":244,"description":4469,"tags":13298,"thumbUrl":13299,"material":27,"size":4474,"collection":84,"collections":13300,"showCount":13235,"zanCount":1998,"manualWeight":48,"mainColor":72},222751,"xian-e-chang-chun-tu-07a-lang-shi-ning-222751","仙萼长春图-07a",[23,24,7,28,27,61,81,481,82,62,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb31a611f6bc17b2cd92a02ab60f10f.jpg",[],{"id":13302,"slug":13303,"title":13304,"dynasty":351,"author":13305,"museum":244,"description":13306,"tags":13307,"thumbUrl":13308,"material":7324,"size":13309,"collection":318,"collections":13310,"showCount":13235,"zanCount":48,"manualWeight":48,"mainColor":72},221142,"jiu-hua-tie-yang-ning-shi-221142","韭花帖","杨凝式","《韭花帖》是唐末五代书法家杨凝式创作的墨迹本行书作品，有“天下第五行书”之称，现存3个藏本，分别藏于无锡博物院和台北故宫博物院，罗振玉藏本不知去向。\n《韭花帖》是杨凝式醒后饥饿无比，得韭花珍馐而食，心中惬意故灵感大发写下。字体点画生动，结构端稳，风神简静，全帖表现出入规入矩的端庄与温雅，结体妍丽，并以精严的技巧表达出含蓄内在的文人之气。用笔一丝不苟，却不显得古板呆滞，巧妙地将内擫和外拓的笔法融为一体",[23,64,133,208,1590,7,25,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F187304b1c9b023f2dbfc8a55ebeee4c0.jpg","高26厘米，宽28厘米",[318],{"id":13312,"slug":13313,"title":13314,"dynasty":54,"author":55,"museum":224,"description":13315,"tags":13316,"thumbUrl":13317,"material":13318,"size":13319,"collection":136,"collections":13320,"showCount":13235,"zanCount":48,"manualWeight":48,"mainColor":72},220969,"lin-wen-zheng-ming-ce-yun-shou-ping-220969","临文徵明册","文征明的书画造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。其与沈周共创“吴派”。在画史上与沈周、唐伯虎、仇英合称“明四家”（“吴门四家”）。在诗文上，与祝允明、唐寅、徐祯卿 并称“吴中四才子”。",[23,24,164,7,4437,27,133,64,330,413,549,231,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1f9a9d7eae5ddf59a5433237393b6bf.jpg","纸本 册","20.6 x 30.5 cm",[136,45],{"id":13322,"slug":13323,"title":13324,"dynasty":144,"author":569,"museum":244,"description":3961,"tags":13325,"thumbUrl":13326,"material":637,"size":13327,"collection":117,"collections":13328,"showCount":13235,"zanCount":1086,"manualWeight":48,"mainColor":49},220863,"shu-lin-xiu-shi-tu-zhao-meng-fu-220863","疏林秀石图",[23,24,7,165,128,132,133,208,331,171,167,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c43af0a92bd0ec53908bd0fc414eb3.jpg","纵27.5厘米，横62.8厘米",[117,1670],{"id":13330,"slug":13331,"title":13332,"dynasty":980,"author":8159,"museum":13333,"description":13334,"tags":13335,"thumbUrl":13336,"material":13337,"size":84,"collection":84,"collections":13338,"showCount":13235,"zanCount":48,"manualWeight":48,"mainColor":72},220579,"fu-chun-jiang-feng-guang-huang-bin-hong-220579","富春江风光","Smithsonian's National Museum of Asian Art","此作以渴笔焦墨写层叠峰峦，苍劲朴拙，云烟留白虚实相生，铺展出山居的清幽深远。近景村居错落隐于林木间，扁舟泛江，野趣盎然。题画诗与笔墨浑然一体，浑厚华滋中带着疏朗灵秀，将山水静穆与生机相融，尽显山川浑厚、草木华滋的典型风貌。黑密厚重的积墨之法，勾勒江峰奇崛挺拔，留白处氤氲水汽，整幅画刚柔并济，于朴茂中见秀逸，藏万千丘壑于尺幅间，将山水的幽隽诗意娓娓道来，笔底晕染出静谧悠然的山居意趣。",[24,128,132,29,129,130,34,131,99,7,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a79877bcd55fa426bfd1b6ba2533842.jpg","Ink and color on paper",[],{"id":13340,"slug":13341,"title":8685,"dynasty":18,"author":223,"museum":300,"description":13342,"tags":13343,"thumbUrl":13345,"material":173,"size":13346,"collection":45,"collections":13347,"showCount":13235,"zanCount":1116,"manualWeight":48,"mainColor":49},219054,"ying-xi-tu-yi-ming-219054","苍树虬枝荫蔽下，一架斜搭的棚架成了稚子的欢闹场。红衣孩童伏在架面，似要顺着木纹滑下，姿态憨拙可爱；旁侧小儿伸手引伴，另一个正手脚并用地向上攀爬，顶端的孩子扬臂欢笑，满是得意。笔墨细腻处，衣纹的褶皱、孩童的发髻皆清晰可见，质朴的色调晕染出温润的氛围。画面无繁复修饰，却将童年的天真烂漫描摹得淋漓尽致，仿佛能听见稚子的嬉笑声穿透时光，让观者也不禁被这份纯粹的欢愉所感染，沉醉在那片无忧的童趣里。",[164,24,7,28,27,96,13023,413,13344,8832],"围栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cdaf16c7bbadec7066e3e97e58d9b97.jpg","22.3x20.7",[45],{"id":13349,"slug":13350,"title":13351,"dynasty":18,"author":223,"museum":244,"description":13352,"tags":13353,"thumbUrl":13354,"material":173,"size":84,"collection":136,"collections":13355,"showCount":13235,"zanCount":1105,"manualWeight":48,"mainColor":49},218798,"gu-mu-zhu-shi-tu-yi-ming-218798","古木竹石图","这幅画显示了一块巨大的岩石，上面有两棵枯树和海滩上的两片新竹林。岩石用飞白画法，树木用篆书画法，以李国的蟹爪为树枝。树木和石头的笔触是动态的，与竹叶的笔触相映成趣，就像教堂字体的四肢，使这幅画成为书法的趣味。这是 历代绘画作品集 中的一幅画。",[23,164,24,7,128,132,1233,331,167,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F965e42937020f7b42fb8c718a993ded4.jpg",[136],{"id":13357,"slug":13358,"title":13359,"dynasty":18,"author":1622,"museum":77,"description":13360,"tags":13361,"thumbUrl":13362,"material":173,"size":84,"collection":136,"collections":13363,"showCount":13235,"zanCount":1998,"manualWeight":48,"mainColor":956},218584,"tao-hua-chun-shui-tu-ma-yuan-218584","桃花春水图","春波漾开绢本的暖褐底色，山影如黛晕染天边。几树桃枝轻绽，粉蕊隐在苍松与杂树间，似有若无的艳色，恰衬出春水的清寂。近坡散卧的石群、浅滩上的细浪，与远景淡墨勾勒的峰峦虚实相映，留白处尽是烟波浩渺的余韵。笔墨简劲，山石斧劈皴显刚健，松枝如屈铁见骨力，却在水纹轻描中柔化棱角，刚柔相济。整幅画如清绝小令，不肆铺张，却将春日温润与山水悠远藏进每一处笔墨转折，读来心尖漫过淡淡春愁与旷远，余味绵长。",[24,164,7,29,27,132,165,663,228,413,209,99,102,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3487685dfafca30f80a992cf8814f4dd.jpg",[136],{"id":13365,"slug":13366,"title":2381,"dynasty":124,"author":223,"museum":450,"description":13367,"tags":13368,"thumbUrl":13369,"material":173,"size":13370,"collection":68,"collections":13371,"showCount":13235,"zanCount":48,"manualWeight":48,"mainColor":49},216733,"hua-niao-tu-yi-ming-216733","花鸟图是中国明朝时期的一种流行的图画作品，通常用来装饰宫殿、庙宇、寺庙和民间住宅。花鸟图画的主题是花和鸟，这些图画通常具有浓郁的艺术气息，并且富有想象力。花鸟图画的风格各异，有的呈现出绚丽多彩的色彩，有的则更加简洁和精细。花鸟图画被广泛地应用于家具、屏风、纸品等各种物品上，为人们的生活带来美感和情感的满足。",[23,24,7,27,28,61,355,624,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ee16ee0d6aa3b7e54d2fc25984cc1c.jpg","26x22.2cm",[68],{"id":13373,"slug":13374,"title":13375,"dynasty":144,"author":145,"museum":300,"description":13376,"tags":13377,"thumbUrl":13378,"material":692,"size":1293,"collection":84,"collections":13379,"showCount":13380,"zanCount":48,"manualWeight":48,"mainColor":72},290097,"xi-shan-cao-ge-tu-huang-gong-wang-290097","溪山草阁图","近景左侧横出小坡，岸边立一小亭伫於溪面。中景水道曲折蜿蜒，两旁碎石、平台、坡坨层层相叠，於远景处垒为巨大高耸之山体，一侧可见峭壁陡立，山石间点缀丛密林木，颇显生趣。 此作款署“大痴道人”，然其平台坡石，显受沈周（1427-1509）影响，可能原为16世纪后期蘇州画家的作品。根据印记，此作可能曾为朱之赤（活跃于17世纪）收藏。入清后，为毕泷收藏，嘉庆年间籍没入宫。",[164,24,7,165,128,132,29,130,98,99,331,131,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca990138a4223e81ac3c0c9c1ee55fd7.jpg",[],104,{"id":13382,"slug":13383,"title":13384,"dynasty":54,"author":13385,"museum":300,"description":9208,"tags":13386,"thumbUrl":13387,"material":84,"size":84,"collection":84,"collections":13388,"showCount":13380,"zanCount":48,"manualWeight":48,"mainColor":72},234591,"jin-yu-wan-shan-duan-xue-hai-234591","金鱼纨扇","段学海",[24,7,1131,28,27,61,5836,303,1082],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21f8c809ca71eff535a97f2bdaa63cab.jpg",[],{"id":13390,"slug":13391,"title":13392,"dynasty":54,"author":1219,"museum":300,"description":13393,"tags":13394,"thumbUrl":13395,"material":84,"size":84,"collection":84,"collections":13396,"showCount":13380,"zanCount":48,"manualWeight":48,"mainColor":72},230120,"ping-lan-shang-he-tu-ren-yi-230120","凭栏赏荷图","《任伯年绘画作品图录》是 27年5月1日出版的图书，由任伯年编著。\n出版社: ; 第1版 (27年5月1日) ISBN: 755441 条形码: 尺寸: 22.2 7.5 cm 重量: .9 Kg 《任伯年绘画作品图录(套装上下卷)》内容简介：任伯年的艺术像海派诸家一样，以个性鲜明的艺术风貌反映了怫郁昂藏而又充满生机的时代气息，一变晚清文人画家笔下的雅人高致、陈陈相因与不食人间烟火，作品立意由出世而入世，艺术趣味由雅转“俗”，艺术形式由千篇一律而化为多姿多彩。\n他的艺术风格生动雅丽，明快清新，既不同于赵之谦的朴茂道艳，虚谷的冷隽超逸，也有别于吴昌硕的苍浑醇厚，加以多能兼善，题材广泛，意趣盎然，技艺超妙，诗情洋溢，某些人物画更是寄托深远，所以生前身后，声誉极高，一直被认为是海派的重要代表之一。\n《任伯年绘画作品图录(套装上下卷)(上卷)》目录： 1865年 乙丑 1.仕女图 1866年 丙寅 2.小浃江话别图 .悔花仕女图 1867年 丁卯 4.松下问道图 5.孔雀牡丹图 6. 7.范湖居士六十八岁小像 8.授书图 9.四李人物屏之一 1.四季人物屏之二 11.四季人物屏之三 12.四季人物屏之四 1868年 戊辰 1.斗梅图 14.沙馥三十九岁小像 15.佩秋夫人小像(合作) 16.横云山民行乞图 17.陈允升像 18.榴生像 19.任阜长像 2.水草金鱼图 21. 22.悟生出尘图 2.梅柏白鹏图 1869年 己巳 24.任淞云像(合作) 187年 庚午 25.新秋鹅浴图 26.松鹤图 27.吹箫引凤图 28.访友图 29.人物图 1871年 辛未 .孔雀芭蕉图 1872年 壬申 1.钟馗图 2.凤凰牡丹图 .献瑞图 4.钟馗图 5.礼佛图 6.花蝶图 7.南瓜三鸡图 8.水仙飞禽图 9.芭蕉燕子图 4.夜荷栖鸭图 41.蕉花母鸡图 42.牡丹猫石图 4.山雨欲来风满楼 44.花鸟册(合作) 45.游艇吟箫图 46.凭栏赏荷图 187年 癸酉 47.爱莲图 48.葵花双鸡图 49.残荷鹭鸶图 5.茂叔爱莲图 51.葛仲华二十七岁小像 52.松鹤寿柏图 5.三思图 54.牵牛菖蒲图 1874年 甲戌 55.钟馗图 56.二老并坐图 57.苏武牧羊图 58.女仙图 59.红薇飞禽图 6.苏武牧羊图 61.富贵长寿 62.三羊开泰 6.芍药幽禽图 64.花鸟扇 1875年 乙亥 65.牡丹图 …… 《任伯年绘画作品图录(套装上下卷)(下卷)》目录： 1886年 丙戌 76.三仙图 77.东坡玩砚图 78.东坡玩砚图 79.桃花八哥 8.深山观泉图 81.牧羊图 82.仙鹤 8.听溪图 84.承天夜游图 85. 86.芦鸭图 87.幽鸟鸣春图 88.隔帘规梅图 89.松鹤竹石图 9.桃石群鸟图 91.桃源问津图 92.苍松紫藤图 9.枇杷栖禽图 94.临八人山人八哥图 95.仿高克恭云山图 96.山水阁页 97.玉兰四禽图 98.花鸟册 99.桃花小鸟图 4.仿石田山水图 41.银河秋浅图 1887年 丁亥 42.村居立锄图 4.钟馗图 44.高邕之像 45.松下论诗图 46.童子斗蟋蟀图 47.寒林高士 48.苏长公石钟辨讹图 49.策马图 41.牧羊图 411.岁朝图 412.松鸠图 41.桃鹅图 414.花鸟册 415.封侯图 416.萍花八哥图 417.江上秋痕图 418.天竹白猫图 419.焦叶题书图 42.秋江渔父图 421.紫微鸳鸯图 422.桃石图 1888年 戊子 42. 424.女娲炼石图 425.归牧图 426. 427.寒林牧马图 428.玉局参禅图 429.金谷园图 4.芭蕉狸猫图 41.苏武牧羊图 42.羲之爱鹅图 4.仕女图册之一 44.仕女图册之二 45.仕女图册之三 46.仕女图册之四 47.仕女图册之五 48.仕女图册之六 49.仕女图册之七 44.仕女图册之八 441.仕女图册之九 442.仕女图册之十 44.仕女图册之十一 444.仕女图册之十二 445.午瑞图 446.白猫双雀图 447.岁朝清供图 448.雀声藤影 449.猫鸟图 45.柳塘清趣图 451.红松仙鹤图 ……",[23,164,24,7,165,27,28,96,168,81,249,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd66ee07d43326e2168f004fc64dd0a95.jpg",[],{"id":13398,"slug":13399,"title":4767,"dynasty":54,"author":2687,"museum":300,"description":3934,"tags":13400,"thumbUrl":13401,"material":692,"size":1293,"collection":84,"collections":13402,"showCount":13380,"zanCount":48,"manualWeight":48,"mainColor":72},228959,"mu-dan-tu-ce-jiang-ting-xi-228959",[23,7,28,27,61,263,133,64,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb801dbc41af410daf446972498e3c49f.jpg",[],{"id":13404,"slug":13405,"title":13406,"dynasty":54,"author":9529,"museum":300,"description":13407,"tags":13408,"thumbUrl":13419,"material":84,"size":84,"collection":84,"collections":13420,"showCount":13380,"zanCount":48,"manualWeight":48,"mainColor":72},224449,"tang-yin-shi-yi-tu-li-zhou-wang-hui-224449","唐寅诗意图立轴","此作取景虚实相映，笔意苍秀兼具。右侧危崖层叠，斧劈皴勾勒出山岩厚重质感，苔点晕染让山石愈发生动，崖顶山居藏在深林之中，清寂出尘。左侧烟水浩淼，汀渚林木错落，远处楼阁隐在薄雾间，晕染出空濛烟雨之态。浅滩孤舟随波，渔翁独钓，漾出幽淡闲远的林下意趣。浅绛设色柔和雅致，将宋画的精工与元人山水的萧散相融，把林泉隐逸之思，铺陈为可游可居的湖山胜境，尽显文人山水画里悠远澹泊的雅韵。",[23,24,164,7,165,13409,27,6875,13410,13411,4605,13412,97,129,11014,4438,13413,13414,13415,13416,13417,13418],"文人山水画","斧劈皴","危崖","烟水","湖山","隐逸","澹泊","苍秀","萧散","精工","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48ebebd62a991bc27c793316c7c0ff81.jpg",[],{"id":13422,"slug":13423,"title":13424,"dynasty":124,"author":10106,"museum":244,"description":10107,"tags":13425,"thumbUrl":13426,"material":151,"size":13427,"collection":44,"collections":13428,"showCount":13380,"zanCount":48,"manualWeight":48,"mainColor":72},222066,"mi-le-fo-wu-bin-222066","弥勒佛",[23,24,7,27,28,187,96,59,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ce39456c770de63cb1cae3b58b4969d.jpg","62.3 x 35.3厘米",[44,45],{"id":13430,"slug":13431,"title":13432,"dynasty":18,"author":1622,"museum":244,"description":13433,"tags":13434,"thumbUrl":13439,"material":13440,"size":13441,"collection":42,"collections":13442,"showCount":13380,"zanCount":48,"manualWeight":48,"mainColor":49},221518,"han-yan-ji-xue-tu-zhou-ma-yuan-221518","寒岩积雪图轴","季节的变化，为大自然改换面貌、增添新色，冬天时万物凋零，呈现一片幽寂的景象，最适宜入画。画中白雪覆盖了整个溪岸与山峰。长松挺立在庭园中央，屋宇周围处梅花绽开，在静谧的气氛中增添生气。屋内坐着两位秉烛谈心的文人，微弱的烛光，也为幽寂昏暗的景色带来丝丝地暖意。",[23,164,24,7,165,128,27,132,29,231,13435,13436,1144,1337,96,13437,497,13438,895],"寒岩","积雪","轩","湖面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe690130e1e87bba26c0e4e9523fbab3e.jpg","绢本浅设色","纵：156.7厘米，横：82.4 厘米",[42,136,117],{"id":13444,"slug":13445,"title":13446,"dynasty":182,"author":5456,"museum":244,"description":13447,"tags":13448,"thumbUrl":13449,"material":637,"size":13450,"collection":318,"collections":13451,"showCount":13380,"zanCount":1086,"manualWeight":48,"mainColor":72},221147,"ni-kuan-zan-chu-sui-liang-221147","倪宽赞","历代多认为本帖是褚遂良晚年作品。近代学者则以其文中之避讳用字习惯，与唐代情况不类，且用笔亦与褚书有所出入，结构较似欧体，认为是宋代临写。\n本帖笔划疏瘦，顿挫生姿，笔意翩翩自得，秀丽美妙。《石渠宝笈》载：帖高七寸七分，横五尺二寸七分，字共五十行，满行七字。卷后有赵孟坚、邓文原、柳贯、杨士奇、钱溥等人跋记。\n这件墨迹与褚书碑版相比，风格是一致的。其用笔富于变化，气均力匀；在处处表现运锋着实的同时，也往往参用轻盈飘洒、灵活自然的笔墨。起笔轻捷，收笔沉着，主要笔画适当地伸展，给人以笔势翩翩、萧洒大方、平和闲雅、神爽超迈的感觉。\n王世贞评褚书曰：“一勾一捺有千钧之力，虽外拓取姿，而中擪有法。”由墨迹观之，尤为明显。书风或学钟繇之体而古雅，或师逸少之法而瘦劲。无怪苏轼说：“清远萧洒，微杂隶体。”",[23,64,572,25,208,7,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f90fcb1316afed9d8ea9f3a74f5b414.jpg","纵24.6cm，横170.1cm",[318],{"id":13453,"slug":13454,"title":13455,"dynasty":326,"author":13456,"museum":20,"description":13457,"tags":13458,"thumbUrl":13459,"material":611,"size":13460,"collection":2210,"collections":13461,"showCount":13380,"zanCount":1998,"manualWeight":48,"mainColor":72},221026,"bo-yuan-tie-wang-xun-221026","伯远帖","王珣","《伯远帖》是晋王珣(350—401年)写的一封信。原文：“珣頓首頓首，伯遠勝業情期群從之寶。自以羸患, 志在優遊。始獲此出意不剋申。分別如昨永爲疇古。遠隔嶺嶠，不相瞻臨。”\n卷前引首有乾隆御书：“江左風華”四大字，上有“乾隆御笔”一玺。并御题：“唐人真迹已不可多得，況晉人耶！內府所藏右軍快雪帖、大令中秋帖，皆希世之珍。今又得王珣此幅，繭紙家风，信堪並美！幾余清赏，亦臨池一助也。御識。”钤“乾隆宸翰”、“涵虛朗鑒”二玺。\n前隔水御书：“家學世範，草聖有傳。宣和書譜”12字。下有：“乾隆宸翰”、“幾暇臨池”、“耽書是宿缘”三玺。\n又御识：“乾隆丙寅春月，獲王珣此帖，遂與快雪中秋二迹並藏養心殿溫室中，顔曰三希堂，御筆。又識”，钤“乾”、“隆”二玺。\n后隔水上有明董其昌跋，后有乾隆御笔绘枯枝文石，并识：“王珣帖與其昌跋皆可寶玩，即裝池側理亦光潤堪愛，漫制枯枝文石以配之。乾隆丙寅春正，長春書屋御識”，钤“几暇怡情”一玺。后有“墨云”一玺。\n卷尾敕董邦达绘图，邦达有记，又有沈德潜书“三希堂歌”。\n卷后有董其昌、王肯堂题记。\n此帖与陆机《平复帖》为现今仅存的两件晋代名人法书。\n王羲之作为“书圣”，垂范百代。但他的书作只以临本、摹本和刻本的形式流传，没有一件真迹传世。王氏家族世代擅书，名家辈出，然其作品命运亦大抵相同。唯羲之族侄王珣有此短笺留在人间，实在是不幸中的大幸。我们可以从中窥见“二王”行草书使转用笔的精微之处，这是刻帖和双勾填墨摹本所无法传达的。\n王珣本人有书名，此帖风神俊朗，潇洒流利，在王氏家族书风的基础上自具面目，在中国书法史上具有崇高的地位。\n王珣《伯远帖》自乾隆十一年（1746年）进入内府，经乾隆品题，与王羲之《快雪时晴帖》、王献之《中秋帖》并藏在养心殿西暖阁内的尽间，乾隆御书匾额“三希堂”。 乾隆十二年又精选内府所藏魏晋唐宋元明书家134家真迹，包括三希在内，摹勒上石，命名《三希堂法帖》。在西苑的北海建“阅古楼”，把上述刻石嵌在楼内墙上，拓本流传以示临池之模范。三希原件仍藏在养心殿三希堂。\n1911年以后至1924年溥仪出宫以前，《伯远帖》、《中秋帖》曾藏在敬懿皇贵妃所居的寿康宫，溥仪出宫之时，敬懿皇贵妃将此帖带出宫，后流散在外。1951 年周恩来总理指示将《伯远帖》、《中秋帖》从香港购回，交故宫博物院收藏。\n《宣和书谱》、《画禅室随笔》、《书画记》、《平生壮观》、《墨缘汇观》、《式古堂书画汇考》、《佩文斋书画谱》、《石渠宝笈·初编》、《古书画过眼要录》等书著录。",[23,164,24,7,25,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246f88fa2111a0004e79f669a9b961c0.jpg","纵25.1cm，横17.2cm",[2210],{"id":13463,"slug":13464,"title":13465,"dynasty":326,"author":8778,"museum":20,"description":13466,"tags":13467,"thumbUrl":13468,"material":13469,"size":13470,"collection":318,"collections":13471,"showCount":13380,"zanCount":1998,"manualWeight":48,"mainColor":199},221020,"dong-shan-song-tie-wang-xian-zhi-221020","东山松帖","《东山松帖》又名《新埭帖》、《东山帖》。《东山松帖》是王献之所书写的一通信札，下笔婆娑，百态横生，萧散秀逸。",[7,24,133,64,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb2e1dad8d0f5a784fa42000b553eb90.jpg","纸本墨迹","纵22.8厘米，横22.3厘米",[318],{"id":13473,"slug":13474,"title":13475,"dynasty":124,"author":2268,"museum":20,"description":13476,"tags":13477,"thumbUrl":13478,"material":151,"size":13479,"collection":136,"collections":13480,"showCount":13380,"zanCount":1116,"manualWeight":48,"mainColor":72},220952,"lin-he-jing-shi-yi-tu-dong-qi-chang-220952","林和靖诗意图","《林和靖诗意图》轴，明，董其昌绘，纸本，墨笔，纵88.7 厘米，横38.7厘米。\n\n本幅署题二 ，右上自题七言诗一首：“山水未深鱼鸟少，此生还拟重移居。只应三竺溪流上，独木为桥小结庐。写和靖诗意。玄宰，甲寅二月廿二日雨窗识”。下钤“董其昌印”白文印。左上又题云：“元时倪云林、王叔明皆补此诗意，惟黄子久未之见，余以黄法为此。玄宰重题，辛酉三月。”下钤“董其昌印”朱文印。此图作于明万历四十二年（1614年），时董氏60岁，明天启元年（1621年）三月67岁时重题。\n\n此图是根据北宋诗人林和靖诗意而创作。以深远法构图，峰峦起伏，林木葱郁，溪水相映，茅屋草舍点缀其间。用笔萧散，用墨秀润，得黄公望遗韵，有秀逸苍浑之气。\n\n鉴藏印左下角钤“高詹事”白文印、“竹窗”朱文印”、“偶为潘省安所有”朱文印、“嘉兴王逢辰藏”朱文印、“惕庵心赏”朱文印，右下角钤“华源草堂”白文印、“小琴鉴赏”白文印、“张照之印”白文印，右上方钤“曾在徐颂鱼处”朱文印、“阮氏琅嬛仙馆收藏印”朱文印。",[23,24,7,128,132,133,208,165,29,34,98,99,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10860b979500f162ed912af1de7ff67.jpg","纵：154.4厘米，横：64.2厘米",[136,117],{"id":13482,"slug":13483,"title":13484,"dynasty":144,"author":13485,"museum":161,"description":13486,"tags":13487,"thumbUrl":13488,"material":317,"size":13489,"collection":44,"collections":13490,"showCount":13380,"zanCount":1998,"manualWeight":48,"mainColor":49},220366,"zhong-kui-yue-ye-chu-you-tu-yan-hui-220366","钟馗月夜出游图","颜辉","颜辉，字秋月，庐陵(今江西吉安)人；—作江山(今浙江)人。擅人物、佛道，亦工鬼怪，兼能画猿。其造型奇特，用笔虽见刻露，却笔法怪异，有生动传神之趣。大德(1297-1307)间尝画辅I，匝宫壁。所作《李仙像》，绢本着色，衣纹粗笔勾染，鬓发细笔勾描，主线粗，副线细，笔势转折富于变化，开明初吴伟画法之先河。传世作品有《中山出猎图》轴，图录于《故宫书画集》，《钟馗月夜出游图》现藏美国克利夫兰美术馆。\n关于元代画家颜辉的生平，画史上记载很少，仅《图绘宝鉴》中略有提及他擅画道释人物。明代吴宽《匏翁家藏集》中谓其“画鬼尤工，笔法奇崛，有八面生动之意”。颜辉还兼擅山水，画风有李成、郭熙的遗韵。",[23,164,24,7,25,188,128,96,231,5626,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbb1ea86b91ff3415a751ad1b0b59ac4.jpg","24.8X240.3",[44,117],{"id":13492,"slug":13493,"title":13494,"dynasty":144,"author":13495,"museum":8363,"description":13496,"tags":13497,"thumbUrl":13498,"material":278,"size":13499,"collection":68,"collections":13500,"showCount":13380,"zanCount":48,"manualWeight":48,"mainColor":72},220322,"wan-jie-tu-gu-an-220322","晚节图","顾安","此作以墨写竹，竿干劲挺修长，节痕匀整，藏坚韧不屈之态。竹叶以浓淡墨笔撇捺挥写，错落层叠、顾盼生姿，尽显萧疏散朗之致，将竹的清灵秀逸全然托出。\n\n画作以竹明志，借凌霜不凋的修竹暗合持守晚节的君子襟怀，把文人画托物言志的意趣融于笔墨间。笔致洗练老辣，墨色层次分明，简淡素净的纸色衬出墨竹清韵，通篇空灵雅致，满卷皆溢清刚雅正的高古之气，是墨竹画中形神兼备的佳构。",[23,24,7,128,165,167,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc1bd0ec0a82b701fca3fa1e53d0bce.jpg","113.7x33.2厘米",[68],{"id":13502,"slug":13503,"title":13504,"dynasty":54,"author":55,"museum":56,"description":13505,"tags":13506,"thumbUrl":13507,"material":173,"size":1734,"collection":84,"collections":13508,"showCount":13380,"zanCount":1998,"manualWeight":48,"mainColor":72},219821,"hua-hui-shi-kai-2-yun-shou-ping-219821","花卉十开-2","这幅花卉以没骨之法绘就，淡赭底衬出清透雅致的基调。嫩黄花瓣以轻匀色彩晕染，边缘微微化开，仿佛带着朝露舒展，花蕊明黄点睛，尽显娇妍柔媚。叶片以深浅绿意区分阴阳向背，细劲墨线勾勒叶脉，将草木鲜润柔嫩的质感全然带出。\n\n花枝穿插错落，删繁就简，毫无生硬雕琢之感。全作以色彩堆叠出花叶层次，不见勾勒硬线，尽显江南花木清隽秀雅的天趣，将仲夏篱边悠然自在的清景凝于尺幅，淡静雅致间蕴藏蓬勃自然生机。",[24,7,59,27,61,62,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02991a6910c01aff3d84e90e53c39c06.jpg",[],{"id":13510,"slug":13511,"title":13512,"dynasty":18,"author":2257,"museum":244,"description":13513,"tags":13514,"thumbUrl":13515,"material":173,"size":13516,"collection":136,"collections":13517,"showCount":13380,"zanCount":1105,"manualWeight":48,"mainColor":49},218527,"yu-wang-zhi-shui-tu-zhao-bo-ju-218527","禹王治水图","大禹治水（鲧禹治水）是中国上古时期大禹治理大洪水的传说。此《禹王治水图》卷传为南宋画家赵伯驹绘。画卷为青绿描金，其主题内容为大禹治水采用凿岭开山、决江济川，疏导方式治理水患的故事。卷末附元代文学家虞集书《禹贡》。此卷现藏于台北故宫博物院。",[23,164,24,7,25,26,27,96,29,28,131,31,34,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1730ee5c62d100c4fdf05af2481cfa4b.jpg","30.5x373cm",[136],{"id":13519,"slug":13520,"title":13521,"dynasty":144,"author":13522,"museum":524,"description":13523,"tags":13524,"thumbUrl":13525,"material":173,"size":13526,"collection":136,"collections":13527,"showCount":13380,"zanCount":1116,"manualWeight":48,"mainColor":49},218229,"qing-shan-hong-xing-tu-ma-wan-218229","青山红杏图","马琬","青山红杏图是中国元朝时期著名的画家马琬的杰作之一。这幅图像是一幅山水画，描绘了一片山峰环绕的山谷，谷底有一条清澈的小溪流过。山峰上绿油油的树木点缀着几朵红色的杏花，与苍翠的山峰形成鲜明的对比。整幅画非常细腻，笔触流畅，给人以清新自然的感觉。\n\n马琬是元朝时期著名的画家，他的画风独特，善于描绘自然风光。他的作品中常常出现山水、花鸟、山峰和小溪的景象，并融入了自己的想象力和创造力。青山红杏图就是马琬这种画风的经典代表之一。",[24,164,7,26,27,29,132,663,413,4652,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F210df1734801534a679e4b785cd61260.jpg","24.2x22.7cm",[136],{"id":13529,"slug":13530,"title":13531,"dynasty":18,"author":223,"museum":244,"description":13532,"tags":13533,"thumbUrl":13535,"material":173,"size":13536,"collection":68,"collections":13537,"showCount":13380,"zanCount":1116,"manualWeight":48,"mainColor":72},216599,"xiu-huang-quan-hua-hua-niao-ce-2-yi-ming-216599","绣黄筌画花鸟册-2","绣线交织出兰叶的柔婉姿态，针脚起落间，叶脉的细腻纹路清晰可见，似微风拂过便会轻颤。浅金色花簇缀于青碧草间，色泽温润雅致，与素净底色相衬，流露宋人独有的清逸审美。角落的红墨小物，色彩对比鲜明却不失和谐，为静谧画面添了几分灵动。此作以针代笔，将绘画的工致与刺绣的肌理感相融，既复刻了黄筌画派的细腻，又借丝线的质感赋予画面立体生机，仿佛能窥见宋时窗下，一缕兰香随绣线漫开的静谧时刻，尽显传统工艺与文人意趣的精妙碰撞。",[164,24,7,59,27,61,375,547,208,13534],"刺绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9056d18793811b531cba23d39e80e11f.jpg","23.1x21.1cm",[68],{"id":13539,"slug":13540,"title":13541,"dynasty":18,"author":13542,"museum":1185,"description":13543,"tags":13544,"thumbUrl":13545,"material":173,"size":13546,"collection":44,"collections":13547,"showCount":13380,"zanCount":1105,"manualWeight":48,"mainColor":72},215008,"xie-shen-lao-jun-bian-hua-shi-shi-tu-wang-li-yong-215008","写神老君变化十式图","王利用","道教以老子为祖先，赋予这位先秦哲人以神秘而神圣的光芒，赋予他自己神奇的力量。在这幅画中，老子被分段描绘在横幅上，从天地初开到殷商时期，老子化身为顾主、金阙皇帝、玉华子、大成子、广寿子、广成子、镇星子、解颐子、牟成子、川桓子等真实人格。宋朝皇帝提倡道教，所以这类题材的绘画很受欢迎。",[23,164,24,7,25,28,27,187,96,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F474edbfbed198eb48c688584feee12ec.jpg","44.8x188.4",[44],{"id":13549,"slug":13550,"title":13551,"dynasty":18,"author":449,"museum":56,"description":13552,"tags":13553,"thumbUrl":13554,"material":278,"size":13555,"collection":84,"collections":13556,"showCount":13380,"zanCount":48,"manualWeight":48,"mainColor":72},214281,"duo-jing-lou-shi-tie-3-mi-fei-214281","多景楼诗帖-3","笔锋八面翻飞，墨色浓淡相济。字形欹正相生，开张处如江潮拍岸，收敛时若峰峦凝翠。“下”字沉雄如坠石，“江”字流转似惊鸿掠水，“山”字稳峙若孤峰傲立，“樓”字牵丝映带如流云绕檐。每一笔都带着奔涌的豪情，仿佛凭栏多景楼头，望断千里江山，墨色里尽是吞吐天地的气魄。字间顾盼有情，行中气脉相连，既见“刷字”的快意洒脱，更藏深蕴的笔墨法度。跌宕起伏的笔势如长江万里，苍劲中透着灵动，厚重里含着清逸，一笔一画都在诉说着宋人的潇洒风骨与壮怀激烈。",[7,64,133,1590,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0965b90af51c1a528377ebb300317951.jpg","31.2x538.1",[],{"id":13558,"slug":13559,"title":8219,"dynasty":351,"author":1921,"museum":300,"description":8220,"tags":13560,"thumbUrl":13561,"material":692,"size":1293,"collection":84,"collections":13562,"showCount":13563,"zanCount":1998,"manualWeight":48,"mainColor":49},283688,"qiu-shan-wan-cui-tu-guan-tong-283688",[23,164,24,7,165,128,27,29,8222,131,34,496,495,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff74413aeaf6fe0fbb9e4679e693b6af8.jpg",[],103,{"id":13565,"slug":13566,"title":13567,"dynasty":54,"author":3403,"museum":300,"description":13568,"tags":13569,"thumbUrl":13570,"material":84,"size":84,"collection":84,"collections":13571,"showCount":13563,"zanCount":1998,"manualWeight":48,"mainColor":72},235233,"ju-shi-zhou-wu-chang-shuo-235233","菊石轴","此作用笔雄老苍劲，以篆籀之法入画，将金石意趣融于绘事。左侧狂草长题与右侧花木山石虚实相映，通篇气机贯通。泼墨写石，干湿浓墨晕染出嶙峋朴拙之态，淡墨勾菊瓣、浓墨点枝叶，尽显菊花清隽凌霜之姿；下方牡丹设色秾丽饱满，艳而不俗，与寒菊形成雅艳对照。\n\n诗画互衬，借黄英、牡丹寄寓疏狂高逸的襟怀，将文人意趣与世俗审美相融，尽显晚年沉郁浑朴的大写意风骨。",[24,7,165,164,27,128,369,376,1314,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84ca9fe70ff6300da429378a633361f7.jpg",[],{"id":13573,"slug":13574,"title":13575,"dynasty":144,"author":8993,"museum":244,"description":13576,"tags":13577,"thumbUrl":13578,"material":317,"size":13579,"collection":84,"collections":13580,"showCount":13563,"zanCount":1998,"manualWeight":48,"mainColor":49},228263,"nan-zhi-chun-zao-tu-wang-mian-228263","南枝春早图","《南枝春早图》是元代 创作的绢本墨笔画，现藏于 。\n这幅图用浓淡相间的笔墨写枝干，一枝粗枝由画面下部右端斜出向上。\n大枝上再缀小枝，纵横交织，十分自然。\n枝上梅花繁密，有的聚成一团，有的零星点缀，均含笑怒放，姿态万千，把早春的盎然春意尽情地表现了出来，给人一种清雅自得之感。\n此画轴用浓淡相间笔墨写枝干，一千粗枝由画面下部右端斜出向上，大枝上再缀小枝，纵横交织，枝条生长茂盛，前后左右伸展交错，呈四出之势-枝上梅花繁密，千花万蕊，天真烂漫，生机盎然。\n有的聚成一团，有的零星点缀，均含笑怒放，姿态万千，把早春的盎然春意尽情地表现出来，给人一种清雅白得之感。\n梅花作为独立的绘画题材，兴自北宋，现在常见的“墨渍”、“圈瓣”两法，亦于斯时产生。\n相传释仲仁因偶见月光映梅于窗纸上得到启发，创以“墨渍法”；扬补之承仲仁墨梅之风，常对庭园老梅写生，乃创“圈瓣法”，两位画梅大家对后世影响极大，王冕即是在他们基础上取得成就的。\n今传王冕作品多件，俱为水墨，“墨渍”、“圈瓣”画法皆有，以“圈瓣”法为多。\n其作品不宥于陈法，有新的面貌；水平之高，或认为“不减扬补之”《墨梅人名录》，这幅《南枝春早图》即是其代表之作。\n王冕在梅谱中不称写梅而称“扫梅”，并总结扫梅十要，即“得意下笔，水墨浓淡，枝分左右，横斜上下，老嫩相兼，下笔不填，有花无花，花分疏密，枝分女字，十宁藏花：”这“十要”在此图中都发挥得淋漓尽致。\n充分表现了他丰富的艺术手法和独具匠心的布局能力： 此图的画法，以“飞白法”画梅，兼有书法笔意，花枝交接处，似笔断意连，运笔风神峭拔，挺劲潇洒，自根至梢一气呵成。\n在花与枝的处理上，王冕采用枝多花繁的格局，这幅墨梅图，虽枝花繁茂，但繁而不乱，疏密有绪，密中见疏，疏中仍有聚散。\n在此画中，王冕的花办采用圈法，可谓是王氏别出新意。\n所画的梅花往往正侧向背，高低偃合，妙趣横生、在画幅右侧中间有作者自题诗：“和靖（按：即宋代林和靖，不求功名，隐居丙湖孤山，赐溢和靖先生）门前雪作堆，多年积得满身苔，疏华个个团冰玉，羌笛吹他不下来：癸已夏五会稽王元章自南作。\n”下钤朱文二印，当为其本人所刻。\n王冕（1287—159），元代画家、诗人：字元章，号煮石山农、饭牛翁、会稽外史、梅花屋主等：诸暨（今属浙江）人，出身农家，白天放牛，晚至佛寺长明灯下读书：后从韩性学，试进士不第，即弃去，读古兵法，曾游大都（今北京），纵观居庸、古北关塞：泰不花荐以翰林院供职，不就、携妻孥归隐九里山，“以缯幅短长为得米之差”，工画墨梅，学扬无咎，花密枝繁，生意盎然，劲健有力，或用胭脂作没竹梅：廾善画竹，名其斋为“竹斋”。\n兼能刻印，相传以花乳石（青田石一类）作印材，白他创始：作诗多描写隐逸生活。\n部分作品也能反映民间疾苦，语言质朴，不拘常格：传世画迹有《为良佐写墨梅图》卷，《墨梅图》轴、《南枝春早图》轴。\n并著有《梅谱》一书等。",[23,24,7,165,128,650,331,171,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1227e7f33e2100268c266b6b18d98d06.jpg","151.4x52.2",[],{"id":13582,"slug":13583,"title":13584,"dynasty":54,"author":3403,"museum":300,"description":3997,"tags":13585,"thumbUrl":13586,"material":1190,"size":84,"collection":45,"collections":13587,"showCount":13563,"zanCount":48,"manualWeight":48,"mainColor":72},224237,"ju-you-huang-hua-wu-chang-shuo-224237","鞠有黄花",[23,24,7,165,27,128,61,376,171,208,64,938],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51472c0177bf4af05998090e6d6ffd8e.jpg",[45],{"id":13589,"slug":13590,"title":13591,"dynasty":18,"author":1622,"museum":20,"description":6581,"tags":13592,"thumbUrl":13593,"material":151,"size":13594,"collection":42,"collections":13595,"showCount":13563,"zanCount":1998,"manualWeight":48,"mainColor":49},221516,"kong-qiu-xiang-tu-ye-ma-yuan-221516","孔丘像图页",[23,24,7,59,96,188,27,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140533cc0f37b2814b2ddd30cf0df06f.jpg","27.7x23.2",[42,44,45],{"id":13597,"slug":13598,"title":13599,"dynasty":18,"author":686,"museum":244,"description":13600,"tags":13601,"thumbUrl":13604,"material":151,"size":13605,"collection":42,"collections":13606,"showCount":13563,"zanCount":48,"manualWeight":48,"mainColor":49},221393,"qiu-lin-fei-pu-zhou-fan-kuan-221393","秋林飞瀑轴","图绘秋山栈道瀑布流泉，远处岩关列岫隐约可见，气势磅礴，景色宜人。",[23,164,24,7,165,132,128,29,2875,13602,497,499,34,13603],"飞瀑","山林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1ab091b4703f6d101e17af7a9a05d6d.jpg","纵：181厘米，横：99.5厘米",[42,136,117],{"id":13608,"slug":13609,"title":13610,"dynasty":144,"author":1208,"museum":224,"description":13611,"tags":13612,"thumbUrl":13613,"material":151,"size":13614,"collection":136,"collections":13615,"showCount":13563,"zanCount":48,"manualWeight":48,"mainColor":72},220801,"jiang-zhu-feng-lin-tu-zhou-ni-zan-220801","江渚风林图轴","倪瓒，世皆称倪云林（1301-1374年），初名倪珽，字泰宇，别字元镇，号云林子、荆蛮民、幻霞子，江苏无锡人，与黄公望、王蒙、吴镇合称元四家。倪瓒山水画风疏朗峻逸、风轻云淡，这种惜墨如金的朴拙，别具一格，恰似世人心目中那种内心安宁的渴望。倪瓒出身大地主家庭，长兄为“真人”级的道教上层，在元代道教繁盛的背景下，青少年时代过得滋润无比，家中藏书名画甚众，朝夕把玩、洁身有闲，研摩书画可谓必然。\n长兄故后，倪瓒家道日渐衰落，多年不事生产且倪瓒的洁癖常为世人侧目、权贵厌弃（有传说最后得死法是被朱元璋故意扔进粪坑淹死），遂寄情山水，云游访道，漫游江林，不做官不供职，书法诗画天真无饰，毫无烟火气，人谓有魏晋风骨，后人称“倪高士”。董其昌评曰：“古淡天真，米痴(即米芾)后一人而已。”把倪瓒评为米芾之后第一人，可谓高山仰止。\n倪瓒对明清绘画影响巨大，有意无意，若淡若疏的画风为士大夫礼拜，后人仿之追之者极众，明四僧中石涛、大家董其昌、徐渭（被郑板桥、齐白石跪称：“愿为青藤门下走狗”那位）均追崇不已，至今仍被评为“中国古代十大画家”。同时代的黄公望（年长其32岁），花十年时间，替倪瓒画《江山胜揽图》卷，卷长二丈五尺余，可谓巨作，若不认可，必无此为。（顺便说下：黄公望也是全真教名人，元明画家或应考证下他们受宗教影响而形成的独特心理特征和文化背景，或可更好的理解其人创作心路。）\n《江渚风林图轴》从题诗看，应为同时代学者虞戡嘱作，诗曰：江渚暮潮初落，风林霜叶浑稀。倚仗柴门闲寂，怀人山色依微。 据说时年画家的妻子去世、小儿子亦不孝，倪瓒心中困苦寂寥而作，虽称戏写，璨若星辰矣。",[23,24,7,165,128,1349,132,1337,331,171,29,415,6004],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf5097983d71d8d65fc091e89e3fc840.jpg","259.7 x 56.5厘米",[136,117],{"id":13617,"slug":13618,"title":13619,"dynasty":54,"author":1219,"museum":224,"description":13620,"tags":13621,"thumbUrl":13622,"material":3544,"size":84,"collection":84,"collections":13623,"showCount":13563,"zanCount":1116,"manualWeight":48,"mainColor":72},220471,"dong-wu-hua-niao-ren-yi-220471","动物花鸟","此作用笔灵动写意，淡墨晕染出空濛柔润的水色背景，烘托出清寂悠然的氛围。枝上红顶雀鸟，以干湿笔墨皴擦出蓬松绒羽，朱红顶冠鲜亮醒目，将禽鸟的灵动野趣尽显无遗。下方伏于枝叶间的禽鸟探身侧目，姿态机敏鲜活。\n\n枯笔写就的老枝苍劲疏朗，叶片以浓淡墨色晕染，虚实相映，留白恰到好处。画面简淡天真，将秋意里的幽寂与小禽的生机相融，寥寥数笔，便把闲淡野逸之趣藏于笔墨间，尽显传统写意花鸟的雅致意韵。",[24,7,128,27,369,61,355,2438,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adf0c2f4c3b76213aefde5481ee095a.jpg",[],{"id":13625,"slug":13626,"title":13627,"dynasty":124,"author":2268,"museum":224,"description":13628,"tags":13629,"thumbUrl":13630,"material":611,"size":10401,"collection":136,"collections":13631,"showCount":13563,"zanCount":48,"manualWeight":48,"mainColor":72},220344,"fang-mi-fei-shan-shui-tu-juan-dong-qi-chang-220344","仿米芾山水图卷","“画家初以古人为师，后以造化为师”——先古人、后造化，作为学习中国画的基本程序，这并非董其昌的发明，而是由来已久的传统。这一程序的合理与否姑且不论，我们所要讨论的是，在古人与造化面前，董其昌是如何认识到并揭示出审美关系中“我”的主体性的。",[164,24,7,25,128,29,132,131,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9110a3b8272916474ce78d43f4cf6a08.jpg",[136,318],{"id":13633,"slug":13634,"title":13635,"dynasty":18,"author":13636,"museum":244,"description":13637,"tags":13638,"thumbUrl":13641,"material":173,"size":13642,"collection":42,"collections":13643,"showCount":13563,"zanCount":48,"manualWeight":48,"mainColor":49},220121,"jiang-xiang-nong-zuo-tu-zhao-shi-lei-220121","江乡农作图","赵士雷","赵士雷（公元11世纪）〔北宋〕字公震，承平王孙，生卒年不详，曾任襄州观察使等职。善画湖塘小景，驰誉于时，师法惠崇，作雁鹜鸥鹭、溪塘汀渚有诗人思致，至其绝胜佳处，往往形容之所不及。又作花竹，多在于风雪荒寒之中，洗尽绮纨之习，故幽情雅趣，落笔高超。李錞（希声）曾跋其《四季山水图》卷，春跋云：“九江应共五湖连，尺素能开万里天；山杏野桃零落处，分明寒食绕风前。”夏跋云：“繁阴杂树映汀沙，三伏江天自一家；欲唤扁舟渡云锦，平铺明锦是荷花。”秋跋云：“春鉏寂寞绕疏丛，霜后云生浦溆风；此处年年报秋色，只应衰柳与丹枫。”冬跋云：“剪水飞花细舞风，断芦洲外水连空；剡处几曲知名处，何似今朝眼界中。”《宣和画谱》著录御府所藏其作品有《春岸初花图》《桃溪鸥鹭图》等51件。",[23,164,24,7,25,27,28,29,98,99,102,34,13639,13640,211,130],"农舍","农田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cfa33b631688a5c074e9d9711c535cd.jpg","该幅30.4x316.9公分；隔水一13.1公分；隔水二13.1公分",[42,136],{"id":13645,"slug":13646,"title":13647,"dynasty":124,"author":125,"museum":8648,"description":8649,"tags":13648,"thumbUrl":13649,"material":611,"size":8652,"collection":84,"collections":13650,"showCount":13563,"zanCount":1998,"manualWeight":48,"mainColor":72},220062,"hu-qiu-shi-er-jing-tu-ce-5-shen-zhou-220062","虎丘十二景图册-5",[23,24,7,59,128,29,96,130,167,97,1645,34,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12b98caed8ba3c7e8188c4fa105bf846.jpg",[],{"id":13652,"slug":13653,"title":13654,"dynasty":124,"author":6761,"museum":11561,"description":13655,"tags":13656,"thumbUrl":13658,"material":173,"size":13659,"collection":68,"collections":13660,"showCount":13563,"zanCount":1998,"manualWeight":48,"mainColor":49},219115,"zao-chun-hua-qin-tu-yin-hong-219115","早春花禽图","枯枝盘曲如铁，山茶吐艳似燃，几枝早梅缀着淡粉花苞，悄然泄露春讯。禽鸟或栖于岩畔顾盼，或立于枝间啁啾，翅羽纹理细如毫发，喙爪色泽鲜妍如生。地面鹌鹑缩颈梳羽，与岩上对视双鸟相映成趣，动静之间满是早春的慵懒与生机。设色温润雅致，墨骨与彩晕交融，既见工笔细腻，又含写意灵动。整幅画如无声春曲，将料峭时节的萌动鲜活凝于绢素，观者仿佛能嗅到微香、听见轻啼，尽览自然生机的悄然苏醒。",[23,24,7,28,27,61,131,99,62,1400,34,13657],"早春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F569747867dc70978b50213d39ad4728a.jpg","纵168.7cm横102.7cm",[68],{"id":13662,"slug":13663,"title":13664,"dynasty":18,"author":397,"museum":244,"description":13665,"tags":13666,"thumbUrl":13667,"material":278,"size":13668,"collection":42,"collections":13669,"showCount":13563,"zanCount":48,"manualWeight":48,"mainColor":49},218788,"hua-ying-tu-zhao-ji-218788","画鹰图","该图描绘了一只雄鹰威风凛凛地站在一棵枯树的树干上，在孔武有力的鹰嘴帮助下，仰头梳理自己的羽毛。",[23,24,7,28,128,61,3141,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff856060d6a30964688536f3e2943de33.jpg","88.8x43",[42],{"id":13671,"slug":13672,"title":13673,"dynasty":144,"author":8127,"museum":56,"description":13674,"tags":13675,"thumbUrl":13676,"material":278,"size":13677,"collection":68,"collections":13678,"showCount":13563,"zanCount":48,"manualWeight":48,"mainColor":72},218762,"zhu-shi-ji-qin-tu-wang-yuan-218762","竹石集禽图","王渊（生卒年不详），字若水，号澹轩，钱塘（今浙江杭州）人。元代后期职业画家，擅画水墨花鸟、竹石、山水等。\n此图又名《花竹禽雀图》，以墨笔描绘园中禽雀栖息翱翔的场景。画面以一雄一雌的两禽为主体，雄禽立于湖石之上，炯炯有神，展现出胸部美丽斑斓的羽毛；辞禽于湖石下仰头回眸。在石后杜鹃盛开、竹枝生长，竹稍鸟群或栖息欲飞、或翻飞腾跃。\n技法上，王渊充分发挥墨彩的效果，通过运用浓淡枯湿的不同墨色，将水墨皴染和细笔勾勒等多种手法相结合，生动写实地表现出湖石、花朵、竹枝、禽鸟的不同质感，呈现出禽鸟的丰富神态，绘画细腻写实，是元代水墨画中的典型作品。",[23,24,164,7,165,128,28,208,167,1314,211,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5497a6ceb9b1d521898be3b33cd857fc.jpg","纵137.5 厘米，横59.4 厘米",[68],{"id":13680,"slug":13681,"title":11881,"dynasty":18,"author":13682,"museum":465,"description":13683,"tags":13684,"thumbUrl":13685,"material":173,"size":13686,"collection":42,"collections":13687,"showCount":13563,"zanCount":1116,"manualWeight":48,"mainColor":72},218561,"chi-bi-tu-yang-shi-xian-218561","杨士贤","此卷一直被传为杨士贤的画笔，画史上认为杨士贤学郭熙用笔作小景，这种画法与郭熙相去甚远，不能确定是杨士贤所画，（《宋画全集》）为南宋初期无名画家。",[23,24,7,25,128,27,132,29,129,231,3649,9404,34,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe32e2e40b11422761cb7bd67762bcddd.jpg","30.9x128.8cm",[42,136],{"id":13689,"slug":13690,"title":13691,"dynasty":18,"author":13692,"museum":465,"description":13693,"tags":13694,"thumbUrl":13696,"material":173,"size":13697,"collection":44,"collections":13698,"showCount":13563,"zanCount":1998,"manualWeight":48,"mainColor":72},214920,"jiu-ge-tu-zhang-dun-li-214920","九歌图","张敦礼","由屈原创作的九歌具有很强的宗教性，是献给当时楚国存在的九种自然神的，由11首歌曲和韵文组成。本卷中缺少的是第二首《云中君》和第三首《湘君》。据说它是由张敦礼创作的，但张敦礼的作品没有现存的例子，所以无法确认它是由他创作的。",[23,164,24,7,25,27,28,132,96,29,34,6126,13695,64,938,572,170,208],"神仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F147d00ca234fc4e4d8490dbae4e29906.jpg","24.7x608.5",[44],{"id":13700,"slug":13701,"title":13702,"dynasty":54,"author":5879,"museum":244,"description":5880,"tags":13703,"thumbUrl":13704,"material":66,"size":84,"collection":84,"collections":13705,"showCount":13563,"zanCount":48,"manualWeight":48,"mainColor":72},214840,"xie-sheng-ce-21-hua-yan-214840","写生册-21",[304,24,7,2166,28,27,5490,949,1771,806,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10f0efa4299c6b9b513e46407f757961.jpg",[],{"id":13707,"slug":13708,"title":1100,"dynasty":124,"author":1438,"museum":56,"description":1439,"tags":13709,"thumbUrl":13710,"material":278,"size":1442,"collection":84,"collections":13711,"showCount":13563,"zanCount":1998,"manualWeight":48,"mainColor":72},214641,"hua-hui-ce-5-chen-chun-214641",[24,7,59,128,369,61,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb650fbecd1a4e5e3c720df2a0c160a98.jpg",[],{"id":13713,"slug":13714,"title":13715,"dynasty":54,"author":13716,"museum":300,"description":13717,"tags":13718,"thumbUrl":13721,"material":692,"size":1293,"collection":84,"collections":13722,"showCount":13723,"zanCount":1998,"manualWeight":48,"mainColor":72},289921,"sui-chao-ji-xiang-ru-yi-tu-chen-shu-289921","岁朝吉祥如意图","陈书","陈书（1660～1736）字南楼，号上元弟子，晚号南楼老人，秀水（今浙江嘉兴）人，适海监钱纶光，善画花鸟虫草，家贫，卖画自给，教子甚严。以长子钱陈群诰封太淑人。\n陈书擅长人物、山水、花卉，书法也秀丽遒劲，诗文颇为精通。她成年后嫁于钱纶光为妻，钱氏为嘉兴望族，惜乎她的丈夫很早就离开了人间。她只能勤俭持家，夜来纺纱织布，苦度岁月，对于子女的教育从不放松，教子读经吟诗至深夜。其子钱陈群在她的精心培育下，在清康熙六十年中了进士，进入朝廷担任侍读学士等官职。陈书教子成名，自己画了一幅“夜纺授经图”，此图描绘夜深人静一边纺纱，一边教子读经，神态毕俱。这幅面得皇帝的赞赏，并题诗二首在画上，当时乾隆皇帝带头题诗称道这幅画，那些高官名人也纷纷题诗歌颂之。这幅令人瞩目的“夜纺授经图”，后来刻在石上，嵌在嘉兴中山路钱氏故居壁间，笔者曾见其拓本，原作是否存在，已不得而知。但其刻石仍保存在钱氏后裔手中。因在扩展中山路时有人看到其石刻完好地嵌在墙间，现钱氏故居已拆除，其旧址即现在中国银行嘉兴支行这块地基上。\n陈书在书画方面的造诣很高，笔墨娴雅，结构严谨。当时书画家评论她画的人物称得上逸品，画的山水、花卉称为神品，可见对她的评价相当高。陈书的子孙受她的影响也能书画，在笔墨技法上很像她，可以说一门数代继承家风。她的作品曾为清代皇室珍藏，流传民间也不少。嘉兴博物馆藏有她的花卉真迹，笔者在杭州、苏州、扬州等地也看到过她的作品。她的诗为人们所重视，《复庵吟稿》收集了她诗作的精华，流传至今。",[24,7,165,27,28,61,371,263,375,3114,2123,13719,64,208,13720],"瓷瓶","吉祥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38029323e05c021e6acdaff4db1b6ef7.jpg",[],102,{"id":13725,"slug":13726,"title":10613,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":13727,"thumbUrl":13728,"material":84,"size":84,"collection":136,"collections":13729,"showCount":13723,"zanCount":48,"manualWeight":48,"mainColor":72},237762,"yuan-ji-shan-shui-tu-ce-shi-tao-237762",[24,7,59,128,132,208,29,1144,495,99,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2602ace4f9f01cb00770af8e9295051f.jpg",[136,45],{"id":13731,"slug":13732,"title":13733,"dynasty":54,"author":872,"museum":300,"description":13734,"tags":13735,"thumbUrl":13736,"material":84,"size":84,"collection":84,"collections":13737,"showCount":13723,"zanCount":48,"manualWeight":48,"mainColor":49},231002,"song-shi-mu-dan-zhu-da-231002","松石牡丹","苍松顶天立地，老干皴朴嶙峋，松针如戟排布，笔意极简却自带虬劲孤傲之势。玲珑湖石以泼墨晕染，虚实间尽显奇崛冷逸。柔婉牡丹隐于松石缝隙，淡粉轻敷，娇柔花姿与枯硬松石形成强烈反差，艳而不俗，静吐幽芳。\n\n整幅画作以寥寥笔墨勾勒冷寂孤高的格调，将沉郁心境寄于物象，于简淡笔触中藏着磅礴生命张力，把物我合一的禅意融于松石花影之间，静穆里带着疏旷风骨，尽显冷逸疏朗的独特意趣，寥寥数笔便写尽出世孤高的襟怀。",[23,164,24,7,165,128,27,369,372,1314,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ec2733997ab825ea604ee9dbe4626d.jpg",[],{"id":13739,"slug":13740,"title":13741,"dynasty":54,"author":9864,"museum":300,"description":13742,"tags":13743,"thumbUrl":13744,"material":84,"size":84,"collection":84,"collections":13745,"showCount":13723,"zanCount":1998,"manualWeight":48,"mainColor":72},230156,"chun-quan-xi-yao-tu-juan-chang-juan-yu-zhi-ding-230156","春泉洗药图卷（长卷）","画作以青绿设色绘就江南春景，溪岸桃杏如云，山舍隐于繁枝茂叶之间，幽泉蜿蜒穿绕药圃。松下隐士凭坐观览，僮仆在溪桥边劳作，一派清寂雅静的林下幽居之景，尽显洗药林泉的隐逸意趣。\n\n整卷书画合璧，后续题跋行书笔致秀逸舒展，与工致明丽的设色画面相得益彰，将文人寄迹丘山、疗心养性的高怀雅韵融于卷中，笔墨温婉雅致，意境淡远出尘，尽显传统文人画的书卷意趣与审美追求。",[23,164,24,7,25,27,28,29,96,98,99,130,209,133,208,34,4278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d01b255a94c4d9b31be5c7ce3228f0.jpg",[],{"id":13747,"slug":13748,"title":13749,"dynasty":18,"author":1091,"museum":300,"description":13750,"tags":13751,"thumbUrl":13752,"material":84,"size":84,"collection":84,"collections":13753,"showCount":13723,"zanCount":48,"manualWeight":48,"mainColor":199},227497,"ren-lai-de-shu-tie-su-shi-227497","人来得书帖","《人来得书帖》是在季常之兄伯诚死后苏轼写给季常的慰问信，故有‘伏惟深照死生聚散之常理。悟忧哀之无益，释然自勉’之句。帖上钤有“吴土谔”、“御府宝绘、“仪周赏”等。帖后有董其昌跋:“东坡真迹，余所见无虑数十卷，皆宋人双勾廓填。坡书本浓，既经填墨，盖不免墨猪之论，唯此二帖(新岁、人来)则杜老所谓须臾九重真龙出，一洗万古凡马空也。”\n此帖曾经明项元汴，清安岐等递藏，后入清内府。安岐将此帖与《新岁展庆帖》合成一帖，并称坡公杰作。《人来得书帖》凝重，笔法流畅，为书牍杰作。",[7,64,133,25,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfd3a1a36cd114e147a74358e047d6eb.jpg",[],{"id":13755,"slug":13756,"title":13757,"dynasty":54,"author":3403,"museum":300,"description":3997,"tags":13758,"thumbUrl":13759,"material":611,"size":13760,"collection":68,"collections":13761,"showCount":13723,"zanCount":1998,"manualWeight":48,"mainColor":72},224227,"nong-yan-zhuo-zhuo-yun-jin-xian-li-zhou-wu-chang-shuo-224227","秾艳灼灼云锦鲜立轴",[23,24,7,165,27,61,171,209,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a9cf103a50a6f03f9f5e08b4a20601c.jpg","93x45cm",[68,45],{"id":13763,"slug":13764,"title":13765,"dynasty":54,"author":5879,"museum":300,"description":13766,"tags":13767,"thumbUrl":13768,"material":84,"size":84,"collection":84,"collections":13769,"showCount":13723,"zanCount":1998,"manualWeight":48,"mainColor":72},224178,"mu-dan-zhu-shi-tu-hua-yan-224178","牡丹竹石图","此作淡素底色铺陈，花卉、湖石与秀竹错落排布，虚实相生。冰蓝牡丹以没骨晕染而成，摒弃浓艳富丽，清冷幽洁自带孤高韵致，一扫牡丹流俗的富贵之气。\n淡墨湖石以写意皴染绘就，朴雅苍润，苔点隐约，与柔媚花影形成刚柔对照。旁生秀竹浅赭敷色，清瘦挺拔，枝叶舒展柔和，衬得花容愈发幽绝尘寰。左上行题诗呼应画意，将牡丹幽芳风骨引向诗文意境，工写兼备间，尽抒文人清雅出尘的审美意趣。",[23,24,7,165,27,28,128,263,167,171,61,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa7ce165a5673fa2c97572f9249cf42a.jpg",[],{"id":13771,"slug":13772,"title":13773,"dynasty":124,"author":2110,"museum":244,"description":13774,"tags":13775,"thumbUrl":13776,"material":173,"size":13777,"collection":68,"collections":13778,"showCount":13723,"zanCount":1998,"manualWeight":48,"mainColor":49},218791,"ba-bai-chang-chun-tu-zhou-zhi-mian-218791","八百长春图","群鸟聚于虬枝间，动静交织成趣。或振翅俯冲，羽翼翻飞带起风意；或引颈相鸣，喙张似闻啁啾之声；或敛翼静栖，黑亮羽色衬暖褐底色，浓淡墨痕晕染出羽毛层次。虬枝蜿蜒，叶芽点缀其间，野趣盎然。整幅画面鲜活生动，鸟的姿态各异却和谐相融，似捕捉了林间一瞬的热闹场景，墨色与绢本底色相映成辉，尽显自然生机与笔墨意趣。",[23,24,164,7,165,28,61,211,331,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fd7ed05d03aaa2f92e4f07cd2b388aa.jpg","111.8x50cm",[68],{"id":13780,"slug":13781,"title":13782,"dynasty":144,"author":1346,"museum":244,"description":13783,"tags":13784,"thumbUrl":13785,"material":317,"size":13786,"collection":136,"collections":13787,"showCount":13723,"zanCount":48,"manualWeight":48,"mainColor":72},218763,"xi-liu-gui-ting-tu-wu-zhen-218763","溪流归艇图","这幅画作于至正二年（公元1342年），当时他已经63岁了。溪流来回蜿蜒，森林茂密而阴凉。笔触强烈而浑厚，墨层清晰。纸张磨损严重",[23,24,7,128,132,29,99,129,98,131,34,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc71089dbec8ab8f57de8f53bf2bd0a54.jpg","44x26.7",[136],{"id":13789,"slug":13790,"title":13791,"dynasty":18,"author":9804,"museum":300,"description":13792,"tags":13793,"thumbUrl":13794,"material":173,"size":84,"collection":45,"collections":13795,"showCount":13723,"zanCount":1998,"manualWeight":48,"mainColor":49},218660,"he-ting-na-liang-tu-zhao-ling-rang-218660","荷亭纳凉图","亭畔柳丝轻垂如帘，半掩着凭栏闲坐的身影。池中荷叶片片叠翠，粉白的花影在微风里轻晃，似与远处烟霭中的山峦遥遥对语。远山以淡墨晕染，隐在薄云与江雾间，江天浩渺处，几只水鸟掠过，更添空寂。近景的石径、矮墙与草木，笔墨细腻却不繁冗，色彩温润如旧时光里的浅茶。整幅画没有燥热的夏意，只有风过荷塘的清凉与文人的从容——仿佛能听见荷叶上的露水滴落，也能看见那人眼中的江天辽阔。宋人的雅致与诗意，就这样凝在这一方圆幅里，淡而悠长，静而生动。",[23,164,24,7,27,28,29,96,130,168,81,34,211,9807],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab79a4b33df725714b75d1cedff8520f.jpg",[45],{"id":13797,"slug":13798,"title":13799,"dynasty":18,"author":7264,"museum":244,"description":13800,"tags":13801,"thumbUrl":13802,"material":278,"size":13803,"collection":42,"collections":13804,"showCount":13723,"zanCount":1116,"manualWeight":48,"mainColor":72},218641,"yun-shan-de-yi-tu-mi-you-ren-218641","云山得意图","米友仁（公元1086—1165年），南宋书画家。字元晖，米芾长子。徽宗宣和四年应选入掌画学, 南渡后官兵部侍郎、敷文阁直学上。米友仁受家庭的熏陶，能书善画，长于山水。他受文人画主张的影响，所作山水“点滴烟云，草草而成，而不失天真”，与当时流行的山水画风迥异其趣。其画法被后世称为“米点山水”，予元明以来的山水画创作以相当的影响。传世作品有《潇湘奇观图》卷、 《云山得意图》卷。",[23,24,7,25,128,132,64,208,29,950,663,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93c039deab9afe4cc4ef8caa6e9340eb.jpg","纵27.2厘米，横212.6厘米",[42,318],{"id":13806,"slug":13807,"title":13808,"dynasty":351,"author":13809,"museum":244,"description":13810,"tags":13811,"thumbUrl":13812,"material":173,"size":13813,"collection":44,"collections":13814,"showCount":13723,"zanCount":1116,"manualWeight":48,"mainColor":49},218616,"cai-zhi-xian-tu-wang-qi-han-218616","采芝仙图","王齐翰","传说中仙人的生活,「食则翠芝朱英」。求长生不死的灵药,芝是最为重要的一种。采芝的题材也就相当常见。本幅画仙人手捧大桃，肩荷锄挂筠篮，篮中有紫芝，一鹤后隋。画之质地为绢，绢之经纬疏如纱布，就墨底所见，是先托底而后画。明代浙派画家喜作民间题材，本幅即是。五代无此风格，题名误。",[24,7,165,27,28,96,722,9070,170,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ae3571f69dc7ccc9cd9ff70c419cc7.jpg","99.7x54cm",[44],{"id":13816,"slug":13817,"title":13818,"dynasty":18,"author":223,"museum":244,"description":13819,"tags":13820,"thumbUrl":13821,"material":173,"size":13822,"collection":44,"collections":13823,"showCount":13723,"zanCount":1086,"manualWeight":48,"mainColor":49},218392,"hua-ping-ren-wu-tu-yi-ming-218392","画屏人物图","画面铺展宋代文人闲居的日常图景。端坐的雅士衣袂宽博，神情淡然，侧立侍从执壶倾注，似将茶汤温煦融入此刻静谧。背景画屏叠映山水与人物，虚实相生间，把室内清居与屏中丘壑连为一体，更添雅致意趣。案上茶器莹润，架上典籍罗列，瓶中花枝疏朗，每一处陈设皆藏宋人的审美格调——不刻意雕琢，却见处处用心。古朴绢色晕染时光质感，细腻线条勾勒人物从容，仿佛能听见茶烟轻散时的喟叹，窥见那个时代文人内心的澄澈与自在。这帧小景，恰是宋代文人精神世界的生动缩影，于细微处见天地。",[23,24,7,27,28,96,169,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9acb38e674bcaf962f75e9151169ea4e.jpg","29x27.8",[44],{"id":13825,"slug":13826,"title":13827,"dynasty":144,"author":13828,"museum":20,"description":13829,"tags":13830,"thumbUrl":13831,"material":278,"size":13832,"collection":136,"collections":13833,"showCount":13723,"zanCount":1086,"manualWeight":48,"mainColor":72},218307,"shu-lin-yuan-shan-tu-shen-xuan-218307","疏林远山图","沈铉","疏林错落，枝干虬劲如篆笔写就，墨色枯润相间，尽显古木苍然之态。林间茅舍隐现，似藏幽人逸趣，不施华彩却含生趣。中景水面空濛，留白处似有波光轻漾，与远山淡墨相融。层峦叠嶂以简笔晕染，云雾缭绕间显深远之致，无刻意雕琢却见丘壑万千。整幅画以极简之笔造极幽之境，元人淡泊宁静的心境跃然纸上，观之如入林泉深处，尘嚣尽散，只余清寂与悠远。笔墨间藏着自然的呼吸，每一处线条都似在诉说着对山水的深情，让人心生向往，沉醉于这份远离俗世的清雅之美。",[24,7,128,132,29,415,5324,331,131,99,1023,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7d537a21bab97b3365385b72b0fd995.jpg","30x50.1cm",[136],{"id":13835,"slug":13836,"title":2381,"dynasty":54,"author":223,"museum":1941,"description":13837,"tags":13838,"thumbUrl":13839,"material":173,"size":13840,"collection":68,"collections":13841,"showCount":13723,"zanCount":1998,"manualWeight":48,"mainColor":49},216726,"hua-niao-tu-yi-ming-216726","花鸟图是清朝时期佚名画家创作的一类绘画作品，其中包含了许多花卉和鸟类的描绘。这类画作通常都具有鲜艳的色彩和精致的细节，描绘的花卉和鸟类也常常具有浓郁的自然气息。花鸟图被广泛地用作装饰品，被视作清朝文化中的珍宝。",[24,7,165,28,27,61,355,547,481,2438,6640,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72ae1b447224169fc778d51c627cec2c.jpg","60.5x34.9cm",[68],{"id":13843,"slug":13844,"title":13845,"dynasty":144,"author":1208,"museum":244,"description":13846,"tags":13847,"thumbUrl":13849,"material":278,"size":13850,"collection":136,"collections":13851,"showCount":13852,"zanCount":1998,"manualWeight":48,"mainColor":72},288975,"feng-luo-wu-jiang-tu-ni-zan-288975","枫落吴江图","倪瓒山水画意境清远萧疏，自谓“逸笔草草，不求形似。”用笔轻而松，燥笔多，润笔少，墨色简淡，却厚重清温，无纤细浮薄之感，能以淡墨简笔，有神地笼罩住整个画面，识者谓其“天真幽淡，似嫩实苍。”得“简中寓繁”的风格.",[164,24,7,165,128,29,331,130,98,99,208,64,13848],"荒寒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac6fd826cd30a21b08434d4eaaef13d.jpg","94.3x48.8",[136],101,{"id":13854,"slug":13855,"title":13856,"dynasty":54,"author":1409,"museum":20,"description":13857,"tags":13858,"thumbUrl":13859,"material":13860,"size":13861,"collection":44,"collections":13862,"showCount":13852,"zanCount":1116,"manualWeight":48,"mainColor":72},238287,"yu-lan-shi-nv-qing-yu-tu-ce-yu-lan-238287","喻兰仕女清娱图册","此图册共八幅。从精美的器皿、工巧的家具、华丽的服饰可知作者表现的是富贵人家女子，通过女子在室内品茗、吹箫、梳妆、投壶等行乐活动，说明了优越的生活环境不仅保障了她们衣食无忧，亦为她们提供了种种休闲条件，从而令她们具有多方面的修养。",[164,24,7,59,27,28,96,166,211,438,169,170,875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f754f2a14cd591c9ca80e5a781de197.jpg","纸本、设色","每开纵17厘米，横22.7厘米",[44,45],{"id":13864,"slug":13865,"title":13866,"dynasty":124,"author":13867,"museum":13868,"description":13869,"tags":13870,"thumbUrl":13871,"material":1027,"size":13872,"collection":68,"collections":13873,"showCount":13852,"zanCount":1998,"manualWeight":48,"mainColor":72},237544,"mo-zhu-tu-ce-feng-qi-zhen-237544","墨竹图册","冯起震","山东省博物馆","这幅《墨竹图》，所绘为风中之竹。画中有老竹二竿，小竹三竿，另有新篁三株。作者以淡墨绘老竹的竿与叶。竹竿亭亭竖劲，枝繁叶盛。一棵小竹依傍其左，另两竿小竹立其右。小竹枝、竿、叶均以浓墨写出，将青春勃发的幼竹秀颀、挺拔之态淋漓洒脱地表现出来。作者在写竹叶时，无论老竹幼竹，都用墨的浓淡的层次不同，来分出其阴阳向背以及叶梢的枯萎卷折，自然逼真，有形有神。\n竹下，有新笋拔地而起。其中一株已抽出肥嫩的竹节，大有冲天而发之势。另外两株小笋则跃跃欲试，似在蓄积力量，等待着雨后的拔节。笋皆以浓墨写出，清新可人。\n画中之竹，因经受着风的吹打，均倾向右侧。竹，非草非木，虽中心虚空，却能任风卷残云，我自岿然。这种宁折不弯的品性，正是画家通过他的《墨竹图》要传达给世人的。竹不是孤根而生，一枝独秀。在广袤的田园，抑或是在贫瘠的山间，竹必定是以群体的形式迎击着时时掠过的东西南北风。冯起震的《墨竹图》，着力渲染了竹的这种相依而生的特性。画中所绘竹丛，密处不繁，疏处不陋，有长幼之序，有父子之亲，老幼相傍，高下互让，拳拳之情，俨然如人间的手足相携，父子顾盼。\n以竹入画，始自唐代。初系著色，五代时用墨染，北宋开始流行墨竹。宋·李昉在《文苑英华》中说竹“劲本竖节不受霜，刚也；绿叶凄凄翠荫浮浮，柔也；虚心而直无所隐蔽，忠也；不孤根以挺拔，必相依以擢秀，义也”。这“刚、柔、忠、义”四种品德，正是历代中国文人所看重的修养与情操，甚至将其中的“忠”与“义”看得比生命还要重要。所以，谦谦君子，案头必定有竹相伴。以墨写竹，摒去了其他色彩，铅华洗尽，纯以黑白示人，更是清雅飘逸。北宋之后，墨竹在画坛上大行其道。到了明代，随着文人画日见称盛，墨竹作者更是名家辈出，冯起震便是其中自具特色的一位。\n《墨竹图》布局尤其独特。画中别无他物，只置绿竹一丛，顶天立地，上下均不留空间，只在左右两侧留白。画家只截取了竹的生长状态中的一部分予以表现，而不是写其全貌。至于竹究竟有多高，叶究竟有多茂，只有观者自己去想象了。由此，也可见出作者不为成法所拘，在画幅上自由驰骋的一面。\n如此大的篇幅，应当是作者张纸于壁上，一挥而就。所以，才使得这幅画淋漓利落，满纸清风。",[24,7,59,128,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ce3c0964d656b67a08c1ef1ccd0e3f4.jpg","纵178厘米，横88厘米",[68],{"id":13875,"slug":13876,"title":13231,"dynasty":54,"author":3403,"museum":300,"description":13877,"tags":13878,"thumbUrl":13879,"material":84,"size":84,"collection":84,"collections":13880,"showCount":13852,"zanCount":48,"manualWeight":48,"mainColor":72},235404,"mu-dan-zhou-wu-chang-shuo-235404","此作虚实相生，右上角题款与左下花木湖石遥相呼应。牡丹以阔笔泼色，胭脂点染花瓣，浓艳厚重，带着苍浑的金石意趣，柔艳花姿里暗蕴雄强骨力。叶片焦墨挥写，线条老辣苍劲，与牡丹柔色形成强烈反差，更衬花之秾艳。\n\n湖石以淡墨晕染，焦墨提点轮廓，朴拙古雅。藤蔓缠绕穿插，填补留白让层次愈显丰满。题字带着篆隶笔意，与画境浑然相融，将篆刻的苍茫意趣尽数融入画笔，跳出牡丹富贵柔媚的陈套，化为疏野苍劲的文人风骨，纵横恣肆间不失雅致，尽显雄强古茂的写意格调。",[24,7,165,164,27,128,369,61,263,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e01c9ee92e8c23d37723f245dada53.jpg",[],{"id":13882,"slug":13883,"title":3844,"dynasty":18,"author":2141,"museum":244,"description":13884,"tags":13885,"thumbUrl":13886,"material":611,"size":10574,"collection":84,"collections":13887,"showCount":13852,"zanCount":1998,"manualWeight":48,"mainColor":49},231401,"xi-yuan-ya-ji-tu-liu-song-nian-231401","宋刘松年西园雅集卷绘宋代雅士高僧苏轼、黄庭坚、米芾、圆通大师等盛会于王诜西园。十六人分四组：王诜、蔡肇和李之仪围观苏轼写书法；秦观听陈景元弹阮；王钦臣观米芾题石；苏辙、黄庭坚、晁补之、张耒、郑靖老观李公麟画陶潜归去来图；刘泾与圆通大师谈无生论。西园雅集世传多个版本。\n西园为北宋驸马都尉王诜之第，当代文人墨客多雅集于此。元丰初，王诜曾邀同苏轼、苏辙、黄庭坚、米芾、蔡肇、李之仪、李公麟、晁补之、张耒、秦观、刘泾、陈景元、王钦臣、郑嘉会、圆通大师（日本渡宋僧大江定基）十六人游园。苏轼是宋代著名诗人、文学家、书画家。京中文人学士围绕在苏轼周围，拥戴他为文坛盟主。史称“西园雅集”，众人认为可与晋代王羲之“兰亭集会”相比。",[23,24,7,25,28,27,132,96,29,98,99,413,276,1144,229,130,438,1421,9025,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0ec0fd785b62b366399fa57e2029f4f.jpg",[],{"id":13889,"slug":13890,"title":13891,"dynasty":13892,"author":13893,"museum":300,"description":13894,"tags":13895,"thumbUrl":13896,"material":692,"size":1293,"collection":84,"collections":13897,"showCount":13852,"zanCount":1998,"manualWeight":48,"mainColor":49},231039,"tai-hang-shan-ji-wei-dan-231039","太行山记","汉","韦诞","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[164,24,7,64,25,133,128,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bfe89ff080cb08ac0a64e22cd3a4985.jpg",[],{"id":13899,"slug":13900,"title":1006,"dynasty":18,"author":223,"museum":300,"description":13901,"tags":13902,"thumbUrl":13903,"material":84,"size":84,"collection":84,"collections":13904,"showCount":13852,"zanCount":48,"manualWeight":48,"mainColor":72},227896,"mu-dan-tu-yi-ming-227896","此作以工笔设色绘就，将牡丹的雍容之态尽显绢上。重瓣花头饱满蓬松，紫艳花瓣层层叠叠，以色晕染出瓣面明暗渐变，从瓣根的深紫过渡至瓣尖的柔粉，将花瓣舒展翻卷的柔媚质感描摹入微，把牡丹的华贵风韵定格。嫩绿的萼片与枝叶作为映衬，线条细劲灵动，勾勒出叶片舒展的姿态，浅绿设色柔而清透，与花的浓艳形成冷暖呼应，愈衬花头妍丽不俗。\n\n整幅构图紧凑却不显拥塞，团扇形制里氤氲着雅致静谧的氛围，尽显内敛的审美意趣，将国色天香的雅致风骨凝于尺幅之间。",[23,164,24,7,1131,27,28,61,263,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e83d9bc1bd1f8aa4ab7a2bddd7fdce5.jpg",[],{"id":13906,"slug":13907,"title":13908,"dynasty":2519,"author":13909,"museum":300,"description":13910,"tags":13911,"thumbUrl":13913,"material":84,"size":84,"collection":84,"collections":13914,"showCount":13852,"zanCount":48,"manualWeight":48,"mainColor":72},227059,"chen-tian-mu-yun-hai-tu-gu-ye-wang-227059","陈天目云海图","顾野王","顾野王(519-581年)，原名顾体伦，字希冯， 南朝梁陈间官员、文字训诂学家、史学家。\n\n因仰慕西汉冯野王，更名为顾野王，希望自己取得冯野王一样在文学方面取得成绩。人称顾亭林。历梁武帝大同四年太学博士、陈国子博士、黄门侍郎、光禄大夫，博通经史，擅长丹青，著有《玉篇》",[24,7,1349,27,132,663,13912,413,497,664,3857],"云海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe5ccca982ec419a5b2128d3f72740fd.jpg",[],{"id":13916,"slug":13917,"title":13918,"dynasty":54,"author":3750,"museum":244,"description":13919,"tags":13920,"thumbUrl":13921,"material":173,"size":13922,"collection":136,"collections":13923,"showCount":13852,"zanCount":1116,"manualWeight":48,"mainColor":72},224486,"xi-shan-shen-xiu-zhou-wang-jian-224486","溪山深秀轴","汇集画家王鉴先生山水画数幅，淋漓尽致地表现出其雄奇、或秀美、或舒缓、或险峻。是伟岸的山，壮丽的山。主要有秋山图轴、溪山深秀图轴、山水册七开、九峰读书图轴、四家灵气图轴等",[23,24,164,7,165,27,26,29,97,98,99,495,496,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe89fec13b5a42f7febcb1462f7f1ba47.jpg","161.7x62.5",[136],{"id":13925,"slug":13926,"title":13927,"dynasty":54,"author":4468,"museum":244,"description":13928,"tags":13929,"thumbUrl":13931,"material":514,"size":13932,"collection":136,"collections":13933,"showCount":13852,"zanCount":1998,"manualWeight":48,"mainColor":199},222764,"shi-er-yue-ling-tu-5-yue-lang-shi-ning-222764","十二月令图（5月）","清院本版的“赏花”图是清佚名版《行乐图》中没有的，显然是新增的时令图，替换清佚名版的《三月赏桃图》。笔者将其命名为“赏花”，是根据其主景（近景）确定的。其文字介绍也说：“画中描绘了树木渐茂，百花竞放，人们在连绵的细雨中执伞顶笠，赏花、消遣的景象。”如果将其命名为“赏桃”，显然名不符实。其余时令图与《雍正十二月行乐图》的十一种图基本相同。说“基本相同”是因为也有不同之处，下面分别说明。\n1、在《行乐图》之《正月观灯图》中，雍正站在廊式围墙的大门间。在《月令图》之《正月观灯图》中，雍正站在围墙大门右边的廊下。\n2、在《月令图》之《二月踏青图》中，雍正前后的栏杆、围墙与《行乐图》之《二月踏青图》的不同。\n3、在《月令图》之《三月流觞图》中，其溪流右边的楼阁与《行乐图》之《四月流觞图》的不同。\n4、在《月令图》之《五月竞舟图》中，主要是雍正位于的高台凉亭与《行乐图》之《五月竞舟图》的不同。\n5、在《月令图》之《六月纳凉图》中，主要是雍正位于的高台楼阁与《行乐图》之《六月纳凉图》的不同。\n6、在《月令图》之《七月乞巧图》中，主要是雍正所处的房屋后面的树木、雾霭与《行乐图》之《七月乞巧图》的不同。\n7、在《月令图》之《八月赏月图》中，主要是雍正位于的高台楼阁的四周树木、山石与《行乐图》之《八月赏月图》的不同。\n8、在《行乐图》之《九月赏菊图》中，雍正所处房屋的月亮门前是石墙填土的高台院子。在《月令图》的《九月赏菊图》中，雍正所处房屋的月亮门前不是高台，而是山石低岸。\n9、在《行乐图》之《十月画像图》中，雍正所处房屋与对面房屋的通道没有栏杆。在《月令图》的《十月画像图》中，则有红色栏杆。\n10、在《行乐图》之《十一月参禅图》中，雍正所处房屋中有一排字画，靠墙的花几上有一件插了花的青铜觚，门口有一只雌孔雀。这些内容在《月令图》的《十一月参禅图》中都没有。\n11、在《行乐图》之《腊月赏雪图》中，鹿场左侧有九曲桥与对面相通。在《月令图》的《腊月赏雪图》中则没有",[23,24,7,165,28,27,95,96,97,29,100,34,99,98,1515,131,4278,13930],"游赏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a452b4eda86eac0e610effee7ff9a62.jpg","188.2*102.2cm",[136,45],{"id":13935,"slug":13936,"title":13937,"dynasty":54,"author":5276,"museum":161,"description":7387,"tags":13938,"thumbUrl":13939,"material":1027,"size":13940,"collection":84,"collections":13941,"showCount":13852,"zanCount":1998,"manualWeight":48,"mainColor":72},222641,"mei-hua-mu-dan-tu-juan-gao-feng-han-222641","梅花牡丹图卷",[23,24,7,25,128,371,263,171,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F018ad4bbb383c682e4f97451d7834b0c.jpg","20×317cm",[],{"id":13943,"slug":13944,"title":13945,"dynasty":351,"author":13946,"museum":20,"description":13947,"tags":13948,"thumbUrl":13949,"material":13950,"size":13951,"collection":44,"collections":13952,"showCount":13852,"zanCount":1116,"manualWeight":48,"mainColor":49},221162,"shi-liu-luo-han-xiang-fa-du-luo-fu-duo-luo-zun-zhe-tang-ka-bu-ben-guan-xiu-221162","十六罗汉像-伐闍羅弗多羅尊者（唐卡布本）","贯休","贯休(832年-912年)，俗姓姜，字德隐，婺州兰溪(今浙江省兰溪市)人。唐末五代时期前蜀画僧、诗僧。七岁出家和安寺，日读经书千字，过目不忘。唐天复间入蜀，被前蜀主王建封为禅月大师，赐以紫衣。\n天复二年（902年），黄巢起义席卷大半个中国，兵火连年，战祸惨烈。古稀之年的贯休，带着对命运和时代的切肤之悟，做出了人生中一个重大决定：“一瓶一钵垂垂老，千水千山得得来。”他从黔中（今湖南怀化）出发，经三峡，沿长江逆流而上，于次年初春到达成都，度过了人生的最后十年。",[23,24,7,27,28,187,96,234,875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe969130e5d3e365d724478d84a13c0c0.jpg","布本，设色","通高143厘米，宽89厘米，画心纵82厘米，横56厘米",[44,45],{"id":13954,"slug":13955,"title":13956,"dynasty":182,"author":9928,"museum":300,"description":13957,"tags":13958,"thumbUrl":13959,"material":13960,"size":13961,"collection":318,"collections":13962,"showCount":13852,"zanCount":48,"manualWeight":48,"mainColor":199},221078,"li-qing-lian-xu-xuan-zhang-xu-221078","李清莲序玄","張旭（675-750），唐代書法家，字伯高，與李白、賀知章等人共列飲中八仙之一。唐文宗曾下詔，以李白詩歌、裴旻劍舞、張旭草書為「三絕」。又工詩，與賀知章、張若虛、包融號稱「吳中四士」。傳世書跡有《肚痛帖》、《古詩四帖》等。\n張旭初仕為常熟尉，後官至金吾長史，人稱「張長史」。其母陸氏為初唐書家陸柬之的侄女，即虞世南的外孫女。陸氏世代以書傳業，有稱於史。張旭為人灑脫不羈，豁達大度，卓爾不群，才華橫溢，學識淵博。與李白、賀知章相友善，杜甫將他三人列入「飲中八仙」。是一位極有個性的草書大家，因他常喝得大醉，就呼叫狂走，然後落筆成書，甚至以頭髮蘸墨書寫，故又有「張顛」的雅稱。後懷素繼承和發展了其筆法，也以草書得名，並稱「顛張醉素」。",[23,840,64,7,25,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1adb03d83cb0354f5c5624a9db4f837.jpg","纸本，手卷","27*541",[318,2210],{"id":13964,"slug":13965,"title":272,"dynasty":124,"author":5219,"museum":244,"description":13966,"tags":13967,"thumbUrl":13968,"material":128,"size":13969,"collection":68,"collections":13970,"showCount":13852,"zanCount":1998,"manualWeight":48,"mainColor":72},219513,"zhu-tu-yao-shou-219513","此作用笔爽劲老辣，以浓墨挥写新篁，竹叶错落有致，俯仰向背各具姿态，尽显青竹挺拔清健的君子之姿。淡墨晕染湖石，笔墨简淡虚灵，朦胧柔润的石身与劲挺修竹虚实相生，刚柔相济。\n\n右上角题字与墨竹呼应，诗画相融，文气尽显，将文人爱竹的寄情托意暗藏其间，整幅画面简逸清疏，寥寥数笔便把竹的高洁傲然尽数烘托，尽显水墨写意的空灵雅致，暗含传统文人的淡泊风骨。",[24,7,128,165,167,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6f9e6dee2120847cc30bfa1ba267311.jpg","83.9x35.1",[68],{"id":13972,"slug":13973,"title":13974,"dynasty":54,"author":1952,"museum":524,"description":13975,"tags":13976,"thumbUrl":13977,"material":173,"size":13978,"collection":68,"collections":13979,"showCount":13852,"zanCount":1998,"manualWeight":48,"mainColor":49},219129,"shou-tian-bai-lu-tu-shen-quan-219129","受天百禄图","这是一幅“玩谐音梗”的作品：梅花鹿的“鹿”谐音为“禄”，松柏谐音为“百”，“鹿”和“百”同时出现在一幅画上时，画面内容就不仅仅是“梅花鹿和柏树”了，而变成了富有“百（柏）世荣禄（鹿）”这样子吉祥寓意的祥瑞之图了。试问谁收到这样一幅承载了满满祝福的美图不会开心到起飞呢～\n这幅作品以工笔细描的手法将鹿、柏描绘得非常精细。鹿身比例较为协调，体格健硕；鹿身上的绒毛非常细密，双目圆睁，神采奕奕。画的下方角落里还有潺潺流水，水波粼粼，浪花细密。水边野花三三两两，错落有致，作者将星星点点的花蕊也绘制得十分细腻。",[23,24,7,165,27,28,949,2302,1144,131,4278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09e758b63a73d9571d6bba802a1c5942.jpg","纵199厘米，横97.5厘米",[68],{"id":13981,"slug":13982,"title":13983,"dynasty":18,"author":1622,"museum":13984,"description":13985,"tags":13986,"thumbUrl":13987,"material":173,"size":13988,"collection":44,"collections":13989,"showCount":13852,"zanCount":1116,"manualWeight":48,"mainColor":956},218833,"mu-tong-tu-ma-yuan-218833","牧童图","出光美术馆","老牛角弯似新月，驮着披蓑牧童缓行，身后小牛甩尾蹑踪，蹄印在软泥上拓出浅浅纹路。虬枝垂叶筛下碎金，落在牛背与牧童发梢。牧童半倚牛颈，或眯眼听风，或逗弄草茎，全然不觉时光轻淌。笔墨简淡却藏烟火气，江南田埂的闲逸凝于绢素皴擦间——无喧嚣，唯牛鸣与风声，是宋时寻常田园，亦是最动人的归心处。\n\n（注：文案以画面细节为引，用比喻与动态描写交织，将田园闲逸具象化，贴合宋画“以小见大”的意境，语言凝练且富有画面感，适配展览介绍场景。）",[23,24,7,27,28,96,102,331,949,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce337b6d511acdc8cad7304f75a2012e.jpg","22.1x24.2cm",[44],{"id":13991,"slug":13992,"title":13993,"dynasty":124,"author":13994,"museum":20,"description":13995,"tags":13996,"thumbUrl":13997,"material":66,"size":13998,"collection":44,"collections":13999,"showCount":13852,"zanCount":1998,"manualWeight":48,"mainColor":49},218517,"yun-hua-xi-hua-tu-lu-can-218517","云华惜花图","陆粲","活跃于乾隆年间的陆骧，生于常州（今江苏苏州），字兴山，号兴三。他出生于常州（今江苏苏州），精于物象和花卉，擅长山水画和肖像画，曾在1780年被召去写御用画像。",[24,7,165,27,28,96,166,454,62,263,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efb92c4076b71e3e67e797005815a90.jpg","136.2x58.2",[44],{"id":14001,"slug":14002,"title":14003,"dynasty":18,"author":223,"museum":465,"description":14004,"tags":14005,"thumbUrl":14006,"material":173,"size":14007,"collection":42,"collections":14008,"showCount":13852,"zanCount":1116,"manualWeight":48,"mainColor":49},218506,"gui-qu-lai-ci-shu-hua-tu-yi-ming-218506","归去来辞书画图","在画卷中，最后两部分的文字和图画已经消失了，每幅画的顶部和底部都被切掉了几厘米。在1920年从日本收购之前，这幅画一直被认为是后来的复制品，启功、傅斯年等专家也证实，这幅画的书法是南宋孝宗所写，画风也与孝宗的风格一致。这两个缺失的部分可以从弗里尔收藏的陶渊明的早期画作中重现，归功于李公麟，但两者在手法上有很大不同，前者更古朴，没有作者气质，而后者则更精致，更漂亮。",[23,24,7,25,27,28,64,96,29,130,98,99,129,34,97,9603,8162,6369,9604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04eb7a69d7e3b717e4e2e268521f93a7.jpg","30x438.6",[42],{"id":14010,"slug":14011,"title":14012,"dynasty":144,"author":7095,"museum":224,"description":14013,"tags":14014,"thumbUrl":14016,"material":173,"size":84,"collection":136,"collections":14017,"showCount":13852,"zanCount":1086,"manualWeight":48,"mainColor":49},214843,"gu-he-heng-jiang-tu-zhao-yong-214843","孤鹤横江图",""孤鹤横江图" 是由赵雍创作的一幅绘画作品，属于中国元代时期的艺术作品。这幅画描绘了一只孤独的鹤立在江边，四周环境荒凉，鹤自身也显得孤单寂寞。赵雍被认为是中国元代时期的杰出画家，他的作品常常描绘出自然的美丽和人性的温柔。"孤鹤横江图" 是赵雍的经典作品之一，其中蕴含着许多哲理性的内涵。",[23,24,7,29,1131,128,27,1144,131,6004,129,96,496,3700,14015],"孤鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06b5ac680d970d8fc5d20adb7ce936dc.jpg",[136],{"id":14019,"slug":14020,"title":14021,"dynasty":54,"author":14022,"museum":300,"description":14023,"tags":14024,"thumbUrl":14025,"material":84,"size":84,"collection":84,"collections":14026,"showCount":14027,"zanCount":1116,"manualWeight":48,"mainColor":199},236105,"mu-dan-shuang-shou-tu-zhou-yu-sheng-236105","牡丹双绶图轴","余省","桃花双绶图轴 清 余省 桃花双绶图轴 绢本设色 纵12厘米 横5厘米。",[164,24,7,165,27,28,61,263,1144,355,131,4278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5c4c0d3181e223fbb9eb02524df05a4.jpg",[],100,{"id":14029,"slug":14030,"title":892,"dynasty":54,"author":55,"museum":300,"description":893,"tags":14031,"thumbUrl":14032,"material":84,"size":84,"collection":84,"collections":14033,"showCount":14027,"zanCount":1998,"manualWeight":48,"mainColor":72},233904,"hua-hui-shan-shui-ce-yun-shou-ping-233904",[24,7,59,27,61,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafbf2e23316e1383346d504dafb8bee8.jpg",[],{"id":14035,"slug":14036,"title":14037,"dynasty":54,"author":1460,"museum":300,"description":14038,"tags":14039,"thumbUrl":14040,"material":1722,"size":14041,"collection":68,"collections":14042,"showCount":14027,"zanCount":48,"manualWeight":48,"mainColor":72},233679,"yuan-ji-lan-zhu-ce-mei-lan-shi-shi-tao-233679","原济兰竹册－梅兰石","石涛的花鸟、兰竹，不拘成法，自抒胸臆，笔墨爽利峻迈，淋漓清润，极富个性。石涛还讲求气势。他笔情恣肆，淋漓洒脱，不拘小处瑕疵，作品具有一种豪放郁勃的气势，以奔放之势见胜。郑板桥在《板桥题画》中云：“石涛善画，盖有万种，兰竹其余事也。”可见他对石涛的兰竹之作评级最高。此石涛《兰竹册》为故宫馆藏精品，计十八开，以兰为主，配以竹、石、梅等。",[24,7,59,128,133,64,208,371,375,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5adcbe7ff4a237a50f27c41a03aba237.jpg","纵43.2cm，横30.2cm",[68],{"id":14044,"slug":14045,"title":14046,"dynasty":124,"author":125,"museum":300,"description":14047,"tags":14048,"thumbUrl":14049,"material":692,"size":1293,"collection":84,"collections":14050,"showCount":14027,"zanCount":1116,"manualWeight":48,"mainColor":72},228824,"san-zi-tu-shen-zhou-228824","三梓图","此图绘梓树三棵，树下二高士漫步对谈，三树排列得当，用笔浑然无迹，人物几笔勾勒，极显“粗沈”之功力。",[23,24,7,165,128,132,133,208,96,331,211,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50afdc956c6c0467cbc2cece7598519d.jpg",[],{"id":14052,"slug":14053,"title":14054,"dynasty":54,"author":4468,"museum":244,"description":4469,"tags":14055,"thumbUrl":14057,"material":27,"size":4474,"collection":84,"collections":14058,"showCount":14027,"zanCount":48,"manualWeight":48,"mainColor":72},222752,"xian-e-chang-chun-tu-07b-lang-shi-ning-222752","仙萼长春图-07b",[23,164,24,7,59,27,28,61,211,12508,2361,14056],"稷穗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d348e9e77d0b308e8a29479ec471bb0.jpg",[],{"id":14060,"slug":14061,"title":14062,"dynasty":18,"author":633,"museum":224,"description":14063,"tags":14064,"thumbUrl":14065,"material":3785,"size":14066,"collection":42,"collections":14067,"showCount":14027,"zanCount":48,"manualWeight":48,"mainColor":49},221659,"xi-kou-chui-diao-tu-xia-gui-221659","溪口垂钓图","夏圭，生卒年不详。南宋画家。字禹玉，临安（今浙江杭州）人。早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作拖泥带水皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[23,24,7,128,29,99,129,1350,1351,331,171,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc204bad563233447cbe98cbbea3432e3.jpg","23.2x23.8厘米",[42,136,45],{"id":14069,"slug":14070,"title":13114,"dynasty":18,"author":1622,"museum":224,"description":14071,"tags":14072,"thumbUrl":14073,"material":514,"size":14074,"collection":42,"collections":14075,"showCount":14027,"zanCount":1998,"manualWeight":48,"mainColor":72},221537,"guan-pu-tu-ma-yuan-221537","在中国历代传统绘画作品中，有相当数量的佳作，在画面风格和审美意趣上都具有某种明确的思想倾向，而这种倾向又多集中体现在对儒、道、释文化的承载上，比如宋代山水画的绘画形式和意境传达，除了受宋代理学的影响外，又常和老庄思想及佛教文化中的出世情怀相关联，但与一般意义的宗教绘画教化功用又有所不同，该绘画作品往往会透露出作者内心的情感思绪，特别是对出世情怀的向往，从而使画面呈现出独特的风格特点和意境营造，这类作品在以后的历史阶段着实影响了不少画家，南宋的马远就是这样一个例子。",[23,24,7,1131,29,128,132,495,413,131,96,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fef887806591c0a160593aa1c4c9e00.jpg","30×30cm",[42,136,45],{"id":14077,"slug":14078,"title":14079,"dynasty":54,"author":14080,"museum":161,"description":14081,"tags":14082,"thumbUrl":14083,"material":173,"size":14084,"collection":136,"collections":14085,"showCount":14027,"zanCount":1116,"manualWeight":48,"mainColor":49},219094,"shu-zhan-xing-lv-tu-yuan-yao-219094","蜀栈行旅图","袁耀","层岩叠嶂间，栈道似银线盘绕绝壁，危石嶙峋欲倾，云雾如幔轻笼深谷。红叶点染崖侧，秋意暗生，却难消蜀道之险。行旅者负囊牵马，沿窄道缓行，身影虽微，步履之艰可见。袁耀以劲皴写山石肌理，界画栈道线条精准如铁，墨色浓淡相济，赭色晕染得宜。山川雄浑与行旅之微相融，既展自然伟力，又藏人间烟火。险峻中见生机，苍茫里显温情，尽现清代山水界画之精妙意趣。",[23,24,7,27,29,132,95,496,6290,96,101,34,37,690,2620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03b289cc09c905080f6e7bad369ba016.jpg","186.7x255.3",[136],{"id":14087,"slug":14088,"title":14089,"dynasty":18,"author":9804,"museum":244,"description":14090,"tags":14091,"thumbUrl":14092,"material":173,"size":14093,"collection":42,"collections":14094,"showCount":14027,"zanCount":48,"manualWeight":48,"mainColor":49},218946,"liu-ting-xing-lv-tu-zhao-ling-rang-218946","柳亭行旅图","虽然不像立轴和长卷那样令人印象深刻，但宋代的山水画往往相当宁静，充满异国情调，具有诗意。在当时的小景构图中，以平坦清晰的山水为多见，坡堤沙岛，遥对远山，烟波浩渺，仿佛自然界真有这样的风景，又仿佛处于一种诗意的境界，引人深思回味无穷。赵令郎是宋代宗室的儿子，在绘画史上以小品山水闻名。",[23,24,7,1131,128,29,28,12016,2372,130,33,228,415,6810,413,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5910d4105b18023ce4324b9aa16013c.jpg","23.2x24.2",[42,136],{"id":14096,"slug":14097,"title":14098,"dynasty":351,"author":352,"museum":244,"description":14099,"tags":14100,"thumbUrl":14101,"material":173,"size":14102,"collection":68,"collections":14103,"showCount":14027,"zanCount":48,"manualWeight":48,"mainColor":49},218703,"ji-he-tu-xu-xi-218703","芰荷图","徐熙出生于江宁（今南京），也有记载认为他出生于锺陵（今江西南昌进贤县），一生从没有担任官职，只是专心绘画，他的绘画风格质朴简练，他创作了水墨淡彩的绘画方法，运用墨的浓淡变化，勾点兼施，画出花卉的枝叶萼蕊，略施淡彩，使色不碍墨不掩笔迹而生气动人。善于描绘汀花野竹、水鸟渊鱼、凫雁、鹭鸶、蒲藻、虾鱼、丛艳、折枝、园蔬药苗等。",[23,24,7,165,61,128,27,28,168,81,82,481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d2cbafe8b7c62d5722cbe40085ab683.jpg","97.6x46.2cm",[68],{"id":14105,"slug":14106,"title":221,"dynasty":144,"author":223,"museum":300,"description":14107,"tags":14108,"thumbUrl":14109,"material":173,"size":14110,"collection":44,"collections":14111,"showCount":14027,"zanCount":48,"manualWeight":48,"mainColor":49},218444,"shui-yue-guan-yin-tu-yi-ming-218444","月色漫过绢面，晕开一层古雅的昏黄。观音趺坐于石上，衣袂如流水般铺展，垂眸间似含万顷慈悲。身后水月相涵，清波与月影交融成虚灵的境象，竹影疏斜掠过衣纹，添几分清寂禅意。线条柔婉却藏力道，每一笔都似在诉说禅心的空灵——不著凡尘，只留月华与水韵缠绵。这帧古画如同一枚被时光浸润的禅偈，静静铺展时，便将观者引入那片空明澄澈的水月世界，心也随之沉静下来。衣纹的流转、月色的朦胧、禅意的悠远，在方寸之间交织成一场无声的修行，让浮躁被温柔涤荡，只余对空性的敬畏与向往。",[23,24,7,165,187,28,188,27,96,231,276,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67e706788ef465ef888e2024e9954d0f.jpg","83.8x43.2",[44],{"id":14113,"slug":14114,"title":14115,"dynasty":18,"author":2099,"museum":6413,"description":14116,"tags":14117,"thumbUrl":14118,"material":278,"size":14119,"collection":44,"collections":14120,"showCount":14027,"zanCount":1116,"manualWeight":48,"mainColor":72},218425,"han-shan-shi-de-tu-li-gong-lin-218425","寒山拾得图","二人相携而立，笑意漫上眉梢，满溢自在随性的意趣。简练灵动的白描线条勾勒衣袂，墨色浓淡交错间，衣纹流转如行云，尽显人物憨态与洒脱。拾得轻倚探身，寒山持杖而立，眉眼间的默契似藏着尘世之外的欢愉，无拘无束。素净之笔不着艳色，却以淡墨晕染出禅意悠悠的况味，仿佛引观者步入远离尘嚣的自在天地，尽显宋代文人画中对心性自由的向往与追寻。",[164,24,7,188,128,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9a720d40393360ea1871508bb9400e7.jpg","27.3x13",[44],{"id":14122,"slug":14123,"title":14124,"dynasty":54,"author":2653,"museum":300,"description":14125,"tags":14126,"thumbUrl":14127,"material":173,"size":84,"collection":44,"collections":14128,"showCount":14027,"zanCount":1998,"manualWeight":48,"mainColor":615},217227,"li-dai-di-wang-zhen-xiang-yao-wen-han-217227","历代帝王真像","姚文瀚的《历代帝王真像图》是一部巨著，包含了从秦始皇到清朝乾隆帝的220位帝王的真像。这幅画卷以宫廷内务府的资料为基础，经过姚文瀚的精心研究和描绘，每一位帝王的真像都非常逼真，与当时的实际相差无几。\n\n姚文瀚在制作《历代帝王真像图》时，花了超过20年的时间，并且聘请了许多著名的艺术家协助他的工作。最终，他完成了这部传世的巨著，使得我们能够通过这幅画卷了解到中国历史上许多伟大的帝王的长相。",[24,7,28,27,96,772,170,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaf5715b9cb0f6635601027daac360af.jpg",[44],{"id":14130,"slug":14131,"title":3659,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":14132,"thumbUrl":14133,"material":692,"size":1293,"collection":84,"collections":14134,"showCount":14135,"zanCount":48,"manualWeight":48,"mainColor":72},290525,"ju-hua-zhou-yun-shou-ping-290525",[164,24,165,7,27,61,376,171,208,64,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6f67635860a905d349624dcec02c18.jpg",[],99,{"id":14137,"slug":14138,"title":14139,"dynasty":144,"author":1346,"museum":244,"description":14140,"tags":14141,"thumbUrl":14142,"material":278,"size":14143,"collection":84,"collections":14144,"showCount":14135,"zanCount":1086,"manualWeight":48,"mainColor":49},287604,"dong-ting-yu-yin-tu-wu-zhen-287604","洞庭渔隐图","该画作采用“一河两岸”式的构图。近景画双松挺立，枯树横斜，隔岸则是迤逦的山坡，与水边荡桨的渔舟，十分忠实地呈现出江南水乡泽国的景象。虽然布局简略，但添加边角的签名，以及上方的题词之後，别具一番宁静典雅的情调。",[164,24,7,165,128,29,99,129,331,208,64,132,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7237860d8699cbcf4faf880b8386aa52.jpg","146.4x58.6",[],{"id":14146,"slug":14147,"title":14148,"dynasty":182,"author":4006,"museum":300,"description":14149,"tags":14150,"thumbUrl":14151,"material":692,"size":1293,"collection":84,"collections":14152,"showCount":14135,"zanCount":48,"manualWeight":48,"mainColor":72},240119,"hua-shi-ye-li-bai-240119","华诗页","李白（701年—762年12月），字太白，号青莲居士，又号“谪仙人”，唐代伟大的浪漫主义诗人，被后人誉为“诗仙”，与杜甫并称为“李杜”，为了与另两位诗人李商隐与杜牧即“小李杜”区别，杜甫与李白又合称“大李杜”。北京大学教授李志敏评价：“李白之诗呼吸宇宙，出乎道；杜甫之诗德参天地，源于儒，皆至天人合一境界，故能出神入化。”《旧唐书》记载李白为山东人；《新唐书》记载，李白为兴圣皇帝李暠九世孙，与李唐诸王同宗。其人爽朗大方，爱饮酒作诗，喜交友。\n李白有《李太白集》传世，诗作中多以醉时写的，代表作有《望庐山瀑布》《行路难》《蜀道难》《将进酒》《明堂赋》《早发白帝城》等多首。李白所作词赋，宋人已有传记（如文莹《湘山野录》卷上），就其开创意义及艺术成就而言，“李白词”享有极为崇高的地位。",[7,64,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37968d2b59f937a047527c78c9a4d3f3.jpg",[],{"id":14154,"slug":14155,"title":76,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":14156,"thumbUrl":14157,"material":692,"size":1293,"collection":68,"collections":14158,"showCount":14135,"zanCount":1998,"manualWeight":48,"mainColor":72},238346,"hua-hui-ce-dong-gao-238346",[24,7,61,59,27,28,209,603,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9149d6e60a547adda3d2705a79a31ea9.jpg",[68,45],{"id":14160,"slug":14161,"title":14162,"dynasty":54,"author":2640,"museum":244,"description":11847,"tags":14163,"thumbUrl":14164,"material":66,"size":2646,"collection":84,"collections":14165,"showCount":14135,"zanCount":1998,"manualWeight":48,"mainColor":72},220331,"cao-chong-hua-hui-hu-shi-si-ping-mu-dan-ju-lian-220331","草虫花卉湖石四屏-牡丹",[23,24,7,165,28,27,263,171,480,62,2438,962,6185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9405a060a876dc38c257ff27f089ad9e.jpg",[],{"id":14167,"slug":14168,"title":14169,"dynasty":54,"author":4083,"museum":524,"description":4173,"tags":14170,"thumbUrl":14171,"material":66,"size":4176,"collection":136,"collections":14172,"showCount":14135,"zanCount":48,"manualWeight":48,"mainColor":72},219995,"shan-shui-hua-bing-wu-chun-ri-hua-wang-shi-min-219995","山水画-丙午春日画",[24,7,164,128,132,29,131,496,34,1337,13436,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb76b263723822de7104c5bf39a22e450.jpg",[136],{"id":14174,"slug":14175,"title":14176,"dynasty":124,"author":14177,"museum":77,"description":14178,"tags":14179,"thumbUrl":14181,"material":173,"size":14182,"collection":68,"collections":14183,"showCount":14135,"zanCount":1998,"manualWeight":48,"mainColor":49},219125,"han-liu-yuan-yang-tu-wang-feng-219125","寒柳鸳鸯图","王酆","图为两只鸳鸯在河边游泳的场景，其中一只已经在水中游动，另一只正在奔跑等待下水。 鸳鸯造型精巧，色墨交融，栩栩如生。 岸边画一枝老柳，笔墨老辣。 右下角，渚石上诞生了几朵野花，色彩淡雅，分外妖娆。",[23,24,7,28,27,61,14180,1857,99,229,11830],"寒柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F164801a49616e2eaf0f52e7357700d20.jpg","纵60cm,横85cm",[68,45],{"id":14185,"slug":14186,"title":14187,"dynasty":124,"author":3148,"museum":244,"description":14188,"tags":14189,"thumbUrl":14191,"material":173,"size":14192,"collection":68,"collections":14193,"showCount":14135,"zanCount":48,"manualWeight":48,"mainColor":49},218787,"xian-chun-si-xi-tu-lv-ji-218787","先春四喜图","梅枝苍劲，皴痕间晕开早春的暖意——淡粉花萼次第舒展，艳红山茶点缀其间，为清寒添了几分热烈。四只喜鹊姿态各异：或立于枝巅梳理羽翼，或俯身探看枝干纹理，或两两相望似在私语，灵动身影让静谧画面骤然鲜活。鸟羽的黑白分明，与花的柔粉、叶的浅绿相映成趣，绢本暖黄底色更衬出雅致与喜庆。工笔细描的鸟羽纹理、花瓣脉络，与写意勾勒的枝干苍劲形成巧妙平衡，将吉祥意趣藏进每一处生动细节。整幅画似有春风拂面，让人心头漾起融融暖意。",[24,7,165,28,27,61,371,355,14190],"喜鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc55ecd4d03ee71fbc7cd4b5d506fd18.jpg","139.8x49.2cm",[68],{"id":14195,"slug":14196,"title":14197,"dynasty":54,"author":3718,"museum":6892,"description":14198,"tags":14199,"thumbUrl":14200,"material":278,"size":14201,"collection":136,"collections":14202,"showCount":14135,"zanCount":48,"manualWeight":48,"mainColor":72},218109,"xin-an-yi-yun-ce-jian-jiang-hua-he-hong-ren-218109","新安逸韵册(渐江画壑)","郑旼的 《新安逸韵图册》 是他的代表作之一，也是他的最后一部作品。这本书由三卷组成，收录了郑旼创作的大量诗歌、书法作品和图画。《新安逸韵图册》的内容丰富，涵盖了许多不同的题材，如自然风光、人物生活、历史故事等。\n\n郑旼在 《新安逸韵图册》 中结合了文字、图画和韵律，创造出了一种独特的艺术形式。他的诗歌融合了中国传统的五言绝句和七言律诗的形式，并加入了自己的创新和个人风格。郑旼的书法作品也颇具特色，他善于运用自然的笔法，使字体看起来更加流畅和优美。\n\n郑旼的 《新安逸韵图册》 被认为是一部杰出的艺术作品，对中国的文学、艺术和文化发展都产生了重要的影响。它不仅是郑旼的代表作，也是中国文学史上的一座里程",[24,7,59,128,132,29,663,1314,34,415,37,171,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F026f3ed0fcf766add4fd6fec99669fa3.jpg","30.6x20.7cm",[136],{"id":14204,"slug":14205,"title":14206,"dynasty":124,"author":7003,"museum":300,"description":14207,"tags":14208,"thumbUrl":14209,"material":611,"size":84,"collection":44,"collections":14210,"showCount":14135,"zanCount":48,"manualWeight":48,"mainColor":72},218062,"bai-miao-jiu-ge-tu-ce-zhu-yun-ming-218062","白描九歌图册","墨线似含灵韵，于素纸上铺展生动场景。左侧士人躬身敛袖，衣褶如层云叠转，恭谨之态毕现；中间者衣袂轻飏，身姿若风中修竹，似携楚辞清逸；右侧稚童垂手而立，眉眼间藏着几分专注。笔触或挺劲或柔婉，以线条的疏密转折，勾勒人物风骨与互动温情。无需色彩渲染，仅以纯粹笔墨，便将《九歌》悠远意境凝于方寸。每道墨痕都似在低语，诉说古典人文的雅致深邃，让观者于静默中，触摸跨越时空的诗意与感动。",[24,7,59,188,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc744b9ad422a80548da0114b8c02acfe.jpg",[44,318],{"id":14212,"slug":14213,"title":14214,"dynasty":54,"author":5879,"museum":300,"description":14215,"tags":14216,"thumbUrl":14217,"material":66,"size":14218,"collection":44,"collections":14219,"showCount":14135,"zanCount":48,"manualWeight":48,"mainColor":49},216779,"zhu-xi-liu-yi-tu-hua-yan-216779","竹溪六逸图","这幅画描绘了李白、孔巢父、韩愈、裴矩、张叔明和陶沔六位大学者在山东泰安聚会，喝茶唱歌，在竹林中隐居。\n这部杰作不仅基于黄大年的遥远山景，还基于逼真的竹子梦、陈老莲的笔触和更微妙的人物形态。景观和人物的布局和风格一致，场景既真实又优美，充分再现了故事的场景，气势恢宏，引人入胜。",[24,7,164,27,28,29,167,96,99,7056],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a44828b298078d33d88230dc1a1aca6.jpg","183x100",[44],{"id":14221,"slug":14222,"title":14223,"dynasty":54,"author":5879,"museum":244,"description":5880,"tags":14224,"thumbUrl":14226,"material":66,"size":84,"collection":84,"collections":14227,"showCount":14135,"zanCount":48,"manualWeight":48,"mainColor":72},214851,"xie-sheng-ce-12-hua-yan-214851","写生册-12",[24,7,59,27,28,2166,96,14225,8771,208],"大象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca67df6e63508a281f9612164b678add.jpg",[],{"id":14229,"slug":14230,"title":14231,"dynasty":54,"author":5879,"museum":244,"description":5880,"tags":14232,"thumbUrl":14234,"material":66,"size":84,"collection":84,"collections":14235,"showCount":14135,"zanCount":48,"manualWeight":48,"mainColor":72},214849,"xie-sheng-ce-14-hua-yan-214849","写生册-14",[24,7,59,128,2166,208,64,949,14233],"龟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78eb0a4f379608798c68e1a87cf3b3d7.jpg",[],{"id":14237,"slug":14238,"title":14239,"dynasty":124,"author":1438,"museum":56,"description":1439,"tags":14240,"thumbUrl":14241,"material":278,"size":1442,"collection":84,"collections":14242,"showCount":14135,"zanCount":1998,"manualWeight":48,"mainColor":72},214633,"hua-hui-ce-11-chen-chun-214633","花卉册-11",[24,7,59,128,369,61,607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b26457ea4cf5316c169d05453ad8d1b.jpg",[],{"id":14244,"slug":14245,"title":14246,"dynasty":54,"author":3403,"museum":300,"description":8089,"tags":14247,"thumbUrl":14248,"material":692,"size":1293,"collection":84,"collections":14249,"showCount":14250,"zanCount":1998,"manualWeight":48,"mainColor":72},235243,"tian-zhu-ping-zhou-wu-chang-shuo-235243","天竹屏轴",[24,7,165,27,61,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dc338003246671da0d7403f1071f706.jpg",[],98,{"id":14252,"slug":14253,"title":14254,"dynasty":54,"author":14255,"museum":20,"description":14256,"tags":14257,"thumbUrl":14258,"material":84,"size":84,"collection":84,"collections":14259,"showCount":14250,"zanCount":1116,"manualWeight":48,"mainColor":49},234463,"qu-zhao-lin-wu-bao-heng-deng-he-hua-shuang-feng-mu-dan-tie-luo-qu-zhao-lin-234463","屈兆麟伍葆恒等合画双凤牡丹贴落","屈兆麟","屈兆麟，字仁甫，北京人，1884年18岁时，进清宫造办处如意馆听差，擅长工笔花鸟，后升至如意馆“司匠长”。在清宫如意馆做过最后一任“司匠长”的画师（1866-1937），正好赶上中国历史上由王朝到共和的翻天覆地之变。民国十三年（1924）11月，民国政府摄政内阁黄郛、冯玉祥下令，由北京警卫司令鹿钟麟、警察总监张璧、北京大学教授李煜瀛出面执行，请逊帝溥仪出宫。从此，屈兆麟结束了长达四十年的宫廷画工生涯，流入社会，靠卖画为生，成为职业画家。",[24,7,28,27,3333,263,8347,1495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5d48e3fe992844b4b122f5d332d3aaf.jpg",[],{"id":14261,"slug":14262,"title":14263,"dynasty":124,"author":204,"museum":20,"description":14264,"tags":14265,"thumbUrl":14267,"material":40,"size":14268,"collection":84,"collections":14269,"showCount":14250,"zanCount":1086,"manualWeight":48,"mainColor":49},233748,"yu-dong-xian-yuan-tu-zhou-chou-ying-233748","玉洞仙源图轴","画面奇峰峻岭，苍松翠柏，琼楼水阁，溶洞流溪，云烟缥缈其间，山壑或隐或现。溪水潺湲的溶洞前，一隐士临流盘膝，停琴静坐，侍童们忙着煮茶、端盘、陈设古玩，俨然人间仙境。这类隐逸题材作品十分多见，而仇英在幽美宁静的意境中表现了一种明快的情调，健康的意趣，在同类作品中颇具特色。\n作品取景宏阔，结构严整，层次清晰，布局有序，景物繁杂而不拥塞，人物虽小但刻画精细，位置突出，反映出画家在驾驭复杂场景、安排主从次序方面精深的造诣。此图用大青绿设色，细劲的线条勾勒轮廓，浓艳的石青石绿渲染山石，同时融以细密的皴法，追求色调的和谐，在宗法南宋青绿山水大家赵伯驹的基础上有所变化，代表了仇英青绿山水的典型画风。",[24,7,165,27,28,26,29,96,97,98,99,1144,14266,37,131,130,758,950,34,1314,413],"山洞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F705c7a9ce596ceca751a614dbc006b66.jpg","纵169厘米，横65.5厘米",[],{"id":14271,"slug":14272,"title":4071,"dynasty":54,"author":14273,"museum":20,"description":14274,"tags":14275,"thumbUrl":14276,"material":514,"size":84,"collection":68,"collections":14277,"showCount":14250,"zanCount":1998,"manualWeight":48,"mainColor":72},232941,"hua-hui-tu-ce-fan-ting-zhen-232941","范廷镇","范廷镇（清），字鹿畴，一作祉安，或止安，号芷庵，一号冻亭，又号乐亭，武进（今江苏常州）人。能作花卉草虫，并书法，俱效恽寿平。\n范廷镇是恽寿平的亲传弟子，最能得恽南田没骨写生花卉之神髓，他的个别作品甚至可以达到乱真的地步，也是恽寿平的主要代笔人。包括他的书法与恽寿平都十分相近，接近于形神兼备，但格调稍欠，诗文才情更是与恽寿平相差甚远。",[24,7,304,59,28,27,61,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4df710205e22d5669d2e2a24740a6861.jpg",[68],{"id":14279,"slug":14280,"title":14281,"dynasty":18,"author":397,"museum":300,"description":14282,"tags":14283,"thumbUrl":14284,"material":84,"size":84,"collection":84,"collections":14285,"showCount":14250,"zanCount":48,"manualWeight":48,"mainColor":49},230970,"song-hui-zong-dao-jun-li-ying-tu-ye-zhao-ji-230970","宋徽宗(道君)立鹰图页","画面中苍鹰独立危巅，铁爪紧扣寒石，侧目回望之际目光如炬，翎毛以浓淡墨色晕染，层次绵密，将猛禽的刚猛悍勇刻画入微。青蓝山石以淡彩点染，冷峭孤高，背景翻涌的海浪线条虬曲激荡，以动衬静，愈发凸显出雄鹰沉稳孤傲的气度。整作设色古雅沉静，工笔勾勒间不失写意风神，既见精妙的写实功底，亦将猛禽睥睨寰宇的雄逸气魄与浩渺天地相融，将悍猛英姿与幽远意境合为一体，尽显别致的笔墨意趣与精神内核。",[23,164,24,7,4437,27,28,61,3141,171,951,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6fcd749830e028272fda4a6618ab8ef.jpg",[],{"id":14287,"slug":14288,"title":14289,"dynasty":18,"author":491,"museum":300,"description":14290,"tags":14291,"thumbUrl":14292,"material":84,"size":84,"collection":84,"collections":14293,"showCount":14250,"zanCount":1998,"manualWeight":48,"mainColor":49},228262,"shu-shan-xing-lv-tu-guo-xi-228262","蜀山行旅图","此作铺展千里秋江蜀景，峰峦盘曲连绵，矾头苍润皴擦间尽显丘壑雄秀。林木染秋，红黄错落，点染出清寂萧疏的暮秋意韵。江畔村舍错落板桥通幽，山径旅人徐行，水面渔舟泛波，将山野居旅之趣融于烟水间。\n\n水墨设色晕染山峦，淡墨轻笼烟岚，晕开空蒙悠远的江上暮色，尽显山水可观可游可居的幽趣。题咏诗文与画面呼应，将秋日迟暮的怅然与林泉野趣相融，把蜀中山川的浑厚灵秀与文人幽怀合而为一，是山水诗意交织的秋日山居长卷。",[23,24,164,7,25,27,132,29,96,98,99,131,34,129,130,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76cd4d9080725c78fd57d390dac3500b.jpg",[],{"id":14295,"slug":14296,"title":5945,"dynasty":18,"author":14297,"museum":244,"description":14298,"tags":14299,"thumbUrl":14300,"material":637,"size":14301,"collection":68,"collections":14302,"showCount":14250,"zanCount":48,"manualWeight":48,"mainColor":72},221222,"sui-chao-tu-zhou-dong-xiang-221222","董祥","“岁朝”，是指阴历的正月初一，也就是我们通常谓之“年初一”——“春节”。在这一岁之始，人们为了祈求新的一年平安吉祥，往往喜欢在厅堂挂一些“岁朝图”，图上画的象征平安祥瑞的花卉器物，在这寒冽萧瑟的严冬，给家宅带来明媚温煦的春意。这民间的风俗，始于唐代，起先不过是一些仕绅、文人在大年初一将金石、书画、古董等雅玩之物精心摆设于临窗的案几上，渐渐地也有将这些物品勾染成画挂壁，意在祈福纳祥。至宋代，这民俗流行宫廷内外，宋徽宗每逢春节将临，乃命其图画院的画师们描画冬季不能见到的花卉禽鸟，陈列宫中，以增添岁朝的喜庆气氛。此后，岁朝图的内容逐渐扩展，经明、清而至近现代，大至文房器物，小至灯笼、鞭炮、果蔬等日常生活用品，都成为图上的吉祥物，日益成为一种雅俗共赏、意蕴丰厚，融诗、书、画、印于一体的画种。",[23,24,7,165,128,28,208,64,133,233,62,1082,251,169,8091],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa23bfa3f92c3fbaf6e40503c0241d83.jpg","115.2x44.3公分",[68,45],{"id":14304,"slug":14305,"title":10115,"dynasty":54,"author":55,"museum":300,"description":10116,"tags":14306,"thumbUrl":14307,"material":40,"size":14308,"collection":68,"collections":14309,"showCount":14250,"zanCount":48,"manualWeight":48,"mainColor":72},220974,"shuang-qing-tu-yun-shou-ping-220974",[23,24,7,165,304,60,27,61,650,374,582,962,2983],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25d9b08a441f3b8f0cf2cc92ce26149c.jpg","纵88.5厘米，横54厘米",[68,45],{"id":14311,"slug":14312,"title":14313,"dynasty":124,"author":1141,"museum":524,"description":14314,"tags":14315,"thumbUrl":14316,"material":278,"size":84,"collection":318,"collections":14317,"showCount":14250,"zanCount":1086,"manualWeight":48,"mainColor":72},219983,"song-li-yuan-gui-pan-gu-xu-wen-zheng-ming-219983","送李愿归盘谷序","此作为书画合璧的精品，八十四岁高龄所作小楷清劲秀丽，笔力沉实端雅，尽显晋唐小楷隽雅遗韵，文辞古朴高逸。\n\n山水取全景式构图铺展盘谷幽境，山峦层叠起伏，林木蓊郁苍秀，村居错落排布于河畔幽谷之间，笔墨温润雅致，将文中林泉隐逸的恬淡幽寂意境具象还原，尽显吴门画派清雅风神。书画相得益彰，将文章里的隐逸雅趣与文人林下襟怀尽数铺陈。",[23,24,7,25,572,64,128,132,29,34,35,31,496,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47372cf13dcfe47c86dc4aa3bbc2f0d0.jpg",[318,117],{"id":14319,"slug":14320,"title":6069,"dynasty":124,"author":1058,"museum":244,"description":14321,"tags":14322,"thumbUrl":14323,"material":151,"size":14324,"collection":136,"collections":14325,"showCount":14250,"zanCount":48,"manualWeight":48,"mainColor":49},219972,"hua-xi-yu-yin-tu-tang-yin-219972","此作用淡墨晕染远空平林，湖山杳渺清旷，尽显江南水色的空濛柔婉。近景苍松虬曲倚立怪石，流泉绕石萦回，草木华滋鲜润。扁舟渔父悠然独坐于花溪之上，随波信游，静览周遭春景。\n\n画作将诗意与画境相融，以秀润灵逸的笔墨写尽渔隐江湖的自在。既有院体山水的精整工致，又带文人画的萧散简淡，把幽居林泉、超脱尘俗的文人理想寄寓在清寂山水之间，尽显江南隐逸的淡远雅趣，藏着一份避世忘机的闲适安然。",[23,24,7,128,27,132,29,1144,497,99,129,96,34,548,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1791960d880f80ab89155121d9e3fe.jpg","74.7x35.8",[136],{"id":14327,"slug":14328,"title":14329,"dynasty":351,"author":6787,"museum":244,"description":14330,"tags":14331,"thumbUrl":14333,"material":278,"size":14334,"collection":136,"collections":14335,"showCount":14250,"zanCount":48,"manualWeight":48,"mainColor":72},219962,"fu-chun-shan-tu-ju-ran-219962","富春山图","巨然，生卒年不详，江宁（江苏南京）人。五代画家，僧人。\n早年在南京开元寺出家，南唐降宋后到汴京（河南开封），居于开宝寺。\n擅画山水，师法董源，专画江南山水，所画峰峦 ，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。",[23,24,164,7,25,128,132,133,64,208,29,131,34,495,14332,129,37,496,1023],"小溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40355f5e09bc5ab99da7887c13d4b56d.jpg","81.1x27.9",[136],{"id":14337,"slug":14338,"title":14339,"dynasty":124,"author":14340,"museum":450,"description":14341,"tags":14342,"thumbUrl":14343,"material":278,"size":14344,"collection":44,"collections":14345,"showCount":14250,"zanCount":48,"manualWeight":48,"mainColor":49},219507,"liu-min-tu-wu-wei-219507","流民图","吴伟","“流民图”这个概念，可以追溯至文献中记载的北宋郑侠《流民图》，也即一种讽喻社会阴暗面的政治寓言。",[23,164,24,7,25,128,188,96,29,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65ee54b264cb8fd4942f81dde5e61dca.jpg","纵38.5横546.5厘米",[44,117],{"id":14347,"slug":14348,"title":14349,"dynasty":18,"author":1622,"museum":244,"description":14350,"tags":14351,"thumbUrl":14353,"material":173,"size":14354,"collection":136,"collections":14355,"showCount":14250,"zanCount":48,"manualWeight":48,"mainColor":49},219001,"shan-shui-ren-wu-tu-ma-yuan-219001","山水人物图","在松树的阴影下，两个人面对悬崖的对面站着，各自做着倾斜和弯曲的动作，似乎在练习呼气的艺术。岩石用横笔侧画，松枝扭曲僵硬，布满雾气，用笔墨画出了南宋的风格。这幅画的年代大约是在元朝和明朝初期。最初它可能是一个屏幕，但现在它以卷轴的形式被框住了。",[23,164,24,7,29,96,1144,131,98,128,27,132,14352,4240],"南宋风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2c415298a6ebf1893920cac4c8f6236.jpg","77.1x126.4",[136],{"id":14357,"slug":14358,"title":14359,"dynasty":54,"author":1311,"museum":56,"description":1312,"tags":14360,"thumbUrl":14361,"material":278,"size":1316,"collection":84,"collections":14362,"showCount":14250,"zanCount":1116,"manualWeight":48,"mainColor":72},214686,"mei-hua-zhu-shi-tu-ce-3-wang-shi-shen-214686","梅花竹石图册-3",[24,7,59,128,371,167,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F789cbb5f9f7a7413c78364ba6bcf38e4.jpg",[],{"id":14364,"slug":14365,"title":14366,"dynasty":182,"author":14367,"museum":244,"description":14368,"tags":14369,"thumbUrl":14370,"material":66,"size":14371,"collection":68,"collections":14372,"showCount":14250,"zanCount":48,"manualWeight":48,"mainColor":72},214586,"xie-sheng-hua-hui-ce-ku-shu-wu-yang-pan-tuo-liu-shui-diao-guang-yin-214586","写生花卉册-枯树五羊磐陀流水","刁光胤","刁光胤的写生花卉册是一件著名的绘画作品，其中的枯树五羊磐陀流水图是一件精美的山水画作品。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了刁光胤对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n在这幅画中，刁光胤运用了清新的色彩和精细的线条来描绘山水风景。他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。画中的枯树五羊磐陀流水是一幅清新而美丽的山水画，它体现了刁光胤对自然的热爱和对传统文化的尊重。\n\n总的来说，刁光胤的写生花卉册是一件精美的绘画作品，其中的枯树五羊磐陀流水图是一件优美的山水画作品，它描绘了中国传统的山水风景，也体现了刁光胤对自然的热爱和对传统文化的尊重。",[24,7,59,27,29,1337,949,99,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab32d24499975cca0c619bebd3c0cd32.jpg","33.9x36.4cm",[68],{"id":14374,"slug":14375,"title":14376,"dynasty":326,"author":1587,"museum":20,"description":1588,"tags":14377,"thumbUrl":14378,"material":278,"size":1592,"collection":84,"collections":14379,"showCount":14250,"zanCount":48,"manualWeight":48,"mainColor":72},214580,"yu-hou-tie-3-wang-xi-zhi-214580","雨后帖-3",[7,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2b2195af58b31babe6a6950b6c1ecdd.jpg",[],{"id":14381,"slug":14382,"title":14383,"dynasty":54,"author":4468,"museum":20,"description":14384,"tags":14385,"thumbUrl":14387,"material":40,"size":14388,"collection":68,"collections":14389,"showCount":14390,"zanCount":1116,"manualWeight":48,"mainColor":72},236270,"qian-long-huang-di-luo-yan-tu-lang-shi-ning-236270","乾隆皇帝落雁图","此图是乾隆皇帝谕令宫廷画家绘制的巡狩题材系列作品之一。图绘乾隆皇帝在悬崖石壁处，弯弓射雁的情景，表现了乾隆皇帝极强的反应能力和精准的骑射功力。\n根据图中所运用的绘画技法分析，此幅是件中西画家合璧之作。图中乾隆皇帝的肖像及坐骑白马、大雁由西洋画家郎世宁所绘，其笔法细腻，造型准确，尤其将大雁中箭后向下滑行时的动感，及乾隆皇帝箭发后，手由动到静的瞬间都表现得恰到好处，显示出作者具有较强的观察力和表现力。图中点景的山石、树木及溪流当出自中国画家之手，笔墨法度严谨，点染娴熟，得宋元人古意，高大的石壁与树木、曲水共同营造出一个清幽的狩猎环境，将本是伤残的行猎活动点缀得惬意而温馨。",[24,164,7,165,28,27,14386,96,101,211,29,1337,497,6640,31,170],"中西合璧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe798b081b98ec064f1de8deddba91ab5.jpg","纵259厘米，横171.6厘米",[68,136,44,45],97,{"id":14392,"slug":14393,"title":14394,"dynasty":124,"author":2268,"museum":244,"description":14395,"tags":14396,"thumbUrl":14397,"material":611,"size":14398,"collection":84,"collections":14399,"showCount":14390,"zanCount":48,"manualWeight":48,"mainColor":72},231955,"lin-ni-zan-dong-gang-cao-tang-tu-dong-qi-chang-231955","临倪瓒东岗草堂图","可知题识，董其昌于崇祯二年（1629）夏天临写倪瓒〈东冈草堂〉图，同时抄录画上倪瓒与张雨的原题。研究倪瓒早期画迹时，亦有引用此辅作为 证者不过此作用笔用墨与董其昌一般有异，疑因下因作品写角作品。画幅右图存文从简574-168）之印。",[24,7,128,330,132,29,331,1233,130,99,171,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F112f046e4c5e977c915d92b5b64d49d5.jpg","87.4×65厘米",[],{"id":14401,"slug":14402,"title":14403,"dynasty":18,"author":1833,"museum":12686,"description":14404,"tags":14405,"thumbUrl":14406,"material":151,"size":14407,"collection":42,"collections":14408,"showCount":14390,"zanCount":48,"manualWeight":48,"mainColor":49},226547,"zhong-li-fang-dao-tu-li-zhou-jing-hao-226547","钟离访道图立轴","荆浩（约850-？），字浩然，号洪谷子，山西沁水人，五代后梁画家，尊为北方山水画派之祖。因避战乱，常年隐居太行山 。\n擅画山水，师从张璪，吸取北方山水雄峻气格，作画“有笔有墨，水晕墨章”，勾皴之笔坚凝挺峭，表现出一种高深回环、大山堂堂的气势，为北方山水画派之祖。\n著有《笔法记》山水画理论的经典之作，提出气、韵、景、思、笔、墨的绘景“六要”。\n作品还有《匡庐图》《雪景山水图》等。",[23,24,7,165,29,128,132,496,34,495,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbfeda2c3d81e5d88a5c1c4a715b747f.jpg","147×74.8厘米",[42,136,117],{"id":14410,"slug":14411,"title":14412,"dynasty":54,"author":4468,"museum":20,"description":14413,"tags":14414,"thumbUrl":14417,"material":151,"size":14418,"collection":44,"collections":14419,"showCount":14390,"zanCount":48,"manualWeight":48,"mainColor":72},222791,"dao-guang-di-chao-fu-xiang-zhou-lang-shi-ning-222791","道光帝朝服像轴","郎世宁（1688-1766），意大利米兰人，原名朱塞佩·伽斯底里奥内。清康熙五十四年（1715）作为天主教耶稣会的修道士来中国传教，到京后约于雍正元年（1723）进入如意馆，成为宫廷画家。他很好地融合了中西绘画技法，在中国传统绘画技法中融合了讲究立体效果，注意透视和明暗，重视写实和结构准确的合理性。擅画肖像、走兽、花果、翎毛，尤善画马。他是将欧洲的绘画品种和方法传授给中国的宫廷画家，为中西文化艺术的交流作出了积极贡献，颇得皇家青睐。",[23,24,7,165,28,27,96,14415,170,772,14416],"帝王","朝服","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0ebc1b16c1a24a78979bfc2d02b1314.jpg","35x57",[44,45],{"id":14421,"slug":14422,"title":14423,"dynasty":18,"author":313,"museum":244,"description":14424,"tags":14425,"thumbUrl":14426,"material":637,"size":14427,"collection":318,"collections":14428,"showCount":14390,"zanCount":1998,"manualWeight":48,"mainColor":72},221269,"han-shan-zi-pang-ju-shi-shi-tie-quan-juan-huang-ting-jian-221269","寒山子庞居士诗帖全卷","黄庭坚《寒山子、庞居士诗卷》，它是北宋书法家黄庭坚的一幅行书代表作，内容是唐代隐士寒山子《劝戒诗》与居士庞蕴的诗偈，现藏于台北故宫博物院。这一诗卷是黄庭坚晚年的杰作，有着鲜明的黄庭坚行书的风格特征，尤其在字的结体上，吸收了《瘗鹤铭》和颜真卿楷书的结字方法，加以夸张和变化，创造出一种俊挺豪迈的新面目。\n这幅作品中字都有这样的特点，一波数折；中宫收敛的地方，笔画排列紧密，显得雄强茂美，而有些笔画，如帖中“水、人、本”等字的撇捺，“黄、箭、世、苹、业”等字的横笔，都是尽情地纵向伸展，横向逸出，显得痛快淋漓，具有豪爽飘逸之气。字形结构上突破了方正规矩的外形，在冲破均衡的同时，又能使字保持住重心，笔画的伸展并不是完全没有方向，疏密处理得很巧妙，笔画之间也是左顾右盼、互相呼应，有放也有收。这幅字的结构上还有“攲侧”的特点，不但横画倾斜，竖画也蛇曲不正，然而这些歪斜的字笔画遒劲，结体开张，很有气派。",[23,64,133,25,1590,208,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ca27a7894bdb3fa8554156431e57f83.jpg","纵29.1，横213.8厘米",[318],{"id":14430,"slug":14431,"title":14432,"dynasty":124,"author":1642,"museum":1941,"description":14433,"tags":14434,"thumbUrl":14436,"material":66,"size":14437,"collection":136,"collections":14438,"showCount":14390,"zanCount":48,"manualWeight":48,"mainColor":72},220413,"qiu-jiang-yu-ting-tu-dai-jin-220413","秋江渔艇图","《秋江渔艇》图卷是现存戴进面迹中最长的手卷，有名款及静庵”一印，论者大多将这幅画和吴镇 (1280一1354年）的《渔父图》及吴伟 （1459—1508年）的《渔乐图》相提并论。有关戴进的生平资料中，没有记载他管经接触那些过去的作品，但是在北京时，应该有机会见到宋元人作品，后来在浙江享有盛名，也使他有机会结识收藏家，接触到前人的名作，其中可能包括了出生于浙江的吴镇。\n《秋江渔艇》的简笔人物、人物的姿态，斜向的小舟，凸笔中锋的树石，和吴镇《渔父图》有许多相近之处，可以说明两者的关系。不过基本出发点并不相同，吴镇是以张志和《渔父词》为依据，面隐居的文人雅士，戴进关心的是在河川中以捕鱼为业的乡土人物，用笔也较为放纵．转折顿挫十分明显，即使径寸的人物，也表现出强劲有力的线条，和吴镇内敛含蓄的笔法有很大的差别。戴进在这面里发展出的笔墨形态，到了中叶的浙派画家吴伟的《渔乐图》时，运用得过度，尤其是水墨的渲染，已经纯然是笔墨的表演了。",[23,24,7,25,128,27,29,132,1351,129,211,331,99,131,14435,1350,130,34],"江面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09db0f94b0f1be9504aad5e181144fe8.jpg","46 x 741.7",[136,45],{"id":14440,"slug":14441,"title":8685,"dynasty":124,"author":14442,"museum":450,"description":14443,"tags":14444,"thumbUrl":14447,"material":173,"size":84,"collection":44,"collections":14448,"showCount":14390,"zanCount":1116,"manualWeight":48,"mainColor":49},219555,"ying-xi-tu-you-qiu-219555","尤求","孩子们骑着竹马，拉着彩色的战车，在松木庭院的树荫下拿着中国的盖子，敲打着锣鼓，仿佛在模仿国王或王子出征。孩子们张开的脸是相似的，在他们的衣服上使用了沉重、笨拙的笔触，与尤秋的传统笔触相差甚远。",[23,24,7,164,27,28,96,2218,1144,14445,14446,13024,229],"竹马","灯笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8800e97a0f44aa56d05b931855ed98b.jpg",[44,45],{"id":14450,"slug":14451,"title":14452,"dynasty":54,"author":12088,"museum":56,"description":14453,"tags":14454,"thumbUrl":14455,"material":173,"size":14456,"collection":136,"collections":14457,"showCount":14390,"zanCount":1998,"manualWeight":48,"mainColor":49},218727,"shui-dian-chun-shen-tu-yuan-jiang-218727","水殿春深图","袁江字文涛，号岫泉。清代宫廷画家，专工山水楼阁界画。\u2028 袁的画法继承宋代宫廷画的风格，结实、工细，体积感强。并能把雄伟壮阔的山色与富丽堂皇的楼阁很好地融为一体，既精细入微，又气势磅礴，有力地提高了“界画”的表现能力，被推为清代“界画”第一。",[24,7,165,95,27,28,97,906,34,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F541a38c45bc135a29e893993570190f9.jpg","纵104厘米，横49.5厘米",[136,45],{"id":14459,"slug":14460,"title":4446,"dynasty":54,"author":14461,"museum":450,"description":14462,"tags":14463,"thumbUrl":14464,"material":66,"size":14465,"collection":44,"collections":14466,"showCount":14390,"zanCount":1116,"manualWeight":48,"mainColor":49},218513,"shi-nv-tu-wang-zhao-xiang-218513","王兆祥","描绘了一个女人在喂养一只八哥，她的身体很轻盈，展示了她的三寸金莲。",[24,7,165,188,27,96,166,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F960305f61098ea3cba367f9a0d72cb95.jpg","136.8x61.8",[44],{"id":14468,"slug":14469,"title":14470,"dynasty":124,"author":1438,"museum":56,"description":1439,"tags":14471,"thumbUrl":14472,"material":278,"size":1442,"collection":84,"collections":14473,"showCount":14390,"zanCount":48,"manualWeight":48,"mainColor":72},214636,"hua-hui-ce-8-chen-chun-214636","花卉册-8",[24,7,59,128,61,168,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7da666316e5f79ec4f2838877e43329f.jpg",[],{"id":14475,"slug":14476,"title":14477,"dynasty":144,"author":569,"museum":244,"description":14478,"tags":14479,"thumbUrl":14481,"material":317,"size":14482,"collection":318,"collections":14483,"showCount":14390,"zanCount":1998,"manualWeight":48,"mainColor":72},214382,"ti-hua-shi-zhou-zhao-meng-fu-214382","题画诗轴","笔墨流转间，晋唐风骨与元人逸韵交融。行书线条圆活遒媚，如春风拂柳般柔婉却藏筋骨——起收转折温润流畅，结构端稳中透着灵动。墨色浓淡相宜，行列疏密有致，气韵连贯如行云流水。题画诗的清雅与书法的雅致相映成趣，仿佛将山水画卷的意境凝于笔端：诗中咏叹的林泉之趣，随笔墨的起伏漫溢开来，尽显文人书画的韵致。字里行间藏着对自然的眷慕，也流露着书家的从容心境，读来如沐清风，余味悠长。每一笔都似与山水对话，将诗、书、画的意趣绾合成一段清雅的文脉，在时光里静静流淌。",[164,24,7,64,165,133,128,29,209,331,14480,99],"孤村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc2c9a317264f8c2bdc121f3791db8dd.jpg","154.2x84.7",[318],{"id":14485,"slug":14486,"title":3659,"dynasty":54,"author":3043,"museum":244,"description":14487,"tags":14488,"thumbUrl":14489,"material":611,"size":14490,"collection":68,"collections":14491,"showCount":14492,"zanCount":1116,"manualWeight":48,"mainColor":72},237221,"ju-hua-zhou-xu-gu-237221","虚谷（1824年－1896年），清代僧人及画家。俗姓朱，名怀仁，一名虚白，号紫阳山人。新安（今安徽歙县）人，世居扬州，同治、光绪年间寓居上海。\n虚谷工山水、花卉、动物、禽鸟，尤善长画松鼠及金鱼。亦工肖像，擅书，能诗善文，着有《虚谷和尚诗录》。曾在上海、是晚清画坛的巨子，为“ 他曾任清军参将，后因不愿奉命打 其为人性情孤僻，非相处情深者不能得其片纸。携笔墨、着僧装，“闲中写出三千幅，行乞人间作饭钱”，其一生极为清苦，却云游四海，其行程之广，作品之多，为当时所罕见。他承古创新，独辟捷径，广集素材，勤于创作，终成一代巨擘。",[24,7,165,27,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fe7cc2ae8930ce3b58efcd7f5e7c78b.jpg","197.4×48.2",[68],96,{"id":14494,"slug":14495,"title":14496,"dynasty":124,"author":223,"museum":300,"description":14497,"tags":14498,"thumbUrl":14499,"material":151,"size":84,"collection":68,"collections":14500,"showCount":14492,"zanCount":1116,"manualWeight":48,"mainColor":49},236282,"wang-zi-yuan-hua-niao-ce-yi-ming-236282","王子元花鸟册","此作清雅悠然，绶带鸟栖于梨枝之上，翎毛以细笔丝描晕染，墨色层叠尽显绒羽柔泽，蓝首醒目，长尾轻曳，姿态娴静灵动。枝头梨花绽放，淡墨勾瓣，敷色轻浅柔润，将花瓣舒展之态描摹尽致。叶片以没骨晕染，浓淡晕化间尽显春日枝叶的鲜活生机。\n\n画面构图疏朗雅致，工写相融，于细腻笔触中藏着写意的悠然意趣，将禽鸟的灵动与花木的温婉相融，笔墨间晕开春日清和的淡远意境，尽显静谧雅致的文人闲情。",[24,7,59,27,28,61,355,547,624,805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c0060be9a1a7849c84dd94d58fb96a4.jpg",[68,45],{"id":14502,"slug":14503,"title":76,"dynasty":54,"author":2582,"museum":300,"description":2583,"tags":14504,"thumbUrl":14505,"material":692,"size":1293,"collection":68,"collections":14506,"showCount":14492,"zanCount":48,"manualWeight":48,"mainColor":72},235595,"hua-hui-ce-wang-wu-235595",[164,24,7,59,27,28,61,171,62,624,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53dfb5af791c81f1b8b2110f11c0c905.jpg",[68,45],{"id":14508,"slug":14509,"title":14510,"dynasty":54,"author":1460,"museum":20,"description":14511,"tags":14512,"thumbUrl":14513,"material":1722,"size":14514,"collection":84,"collections":14515,"showCount":14492,"zanCount":1998,"manualWeight":48,"mainColor":72},233405,"mo-he-tu-zhou-shi-tao-233405","墨荷图轴","图绘欣欣向荣的荷塘景色。构图疏密交错，通过荷叶、茨菰、莲蓬、蒲草间的相互掩映构筑出变化丰富的空间层次。用墨淋漓尽致，浓淡、枯润相生，显现出作者较强的笔墨把控能力。\n本幅自题七言诗一首，款署：“大涤子邗上秋日写”。钤白文印二方：“靖江后人”、“大涤堂”。",[24,7,165,128,133,168,82,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86fe017aa56845f71e72ee664ba076f8.jpg","纵90.2厘米，横50.4厘米",[],{"id":14517,"slug":14518,"title":14519,"dynasty":124,"author":223,"museum":161,"description":14520,"tags":14521,"thumbUrl":14522,"material":84,"size":84,"collection":84,"collections":14523,"showCount":14492,"zanCount":1116,"manualWeight":48,"mainColor":49},232911,"fang-qian-xuan-hua-niao-tu-yi-ming-232911","仿钱选花鸟图","钱选以花鸟画成就最高。他的成熟花鸟画，在院画基础上吸取 扬无咎 一派水墨花卉的技法，创造了新的体格。\n后人很多仿画。",[23,24,7,25,28,27,330,61,167,373,547,355,481,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e0b54ca3ef8f0e19e5c3536b8481fe.jpg",[],{"id":14525,"slug":14526,"title":14527,"dynasty":351,"author":1610,"museum":300,"description":14528,"tags":14529,"thumbUrl":14530,"material":84,"size":84,"collection":84,"collections":14531,"showCount":14492,"zanCount":48,"manualWeight":48,"mainColor":49},227263,"dong-bei-yuan-xi-shan-xing-lv-tu-li-zhou-dong-yuan-227263","董北苑溪山行旅图立轴","董源（生卒年不详），字叔达，洪州钟陵（今江西省进贤县钟陵乡）人。五代绘画大师，南派山水画开山鼻祖，与李成、范宽，并称“北宋三大家”。\n南唐时期，曾任北苑副使，人称“董北苑”。南唐灭亡后，进入北宋。擅于山水画，兼工人物、禽兽。其山水初师荆浩，笔力沉雄，后以江南真山实景入画，不为奇峭之笔。疏林远树，平远幽深，皴法状如麻皮，后人称为“披麻皴”。山头苔点细密，水色江天，云雾显晦，峰峦出没，汀渚溪桥，率多真意。“平淡天真，唐无此品”（米芾）。\n存世作品有《夏景山口待渡图》《潇湘图》《夏山图》《溪岸图》《寒林重汀图》《龙宿郊民图》《平林霁色图卷》等。",[23,24,7,164,165,128,132,29,34,98,99,35,96,131,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ce14da05caf0e1610bf356168685eed.jpg",[],{"id":14533,"slug":14534,"title":4741,"dynasty":54,"author":3403,"museum":524,"description":14535,"tags":14536,"thumbUrl":14537,"material":1223,"size":14538,"collection":68,"collections":14539,"showCount":14492,"zanCount":48,"manualWeight":48,"mainColor":72},224223,"song-mei-tu-wu-chang-shuo-224223","松树倾斜，画面苍劲，树干稍写皴擦，尽显斑驳质感；松枝斜披，干笔勾枝，浓墨勾画松针。梅干多取直势，稍加润泽，小枝横陈，意境空潆深远。梅花点写，错落纷陈。全图笔势如龙飞，舒放自如，有意在笔先之妙。",[23,24,7,165,128,27,61,372,371,208,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F394f15aa9a6c228570b112034349569c.jpg","纵135.6厘米，横67.8厘米",[68,45],{"id":14541,"slug":14542,"title":2935,"dynasty":54,"author":4468,"museum":20,"description":11261,"tags":14543,"thumbUrl":14544,"material":40,"size":11264,"collection":68,"collections":14545,"showCount":14492,"zanCount":1998,"manualWeight":48,"mainColor":72},222781,"hua-niao-ce-ye-lang-shi-ning-222781",[23,164,24,7,59,28,27,61,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1a60274f5f3dad5f48ce75b5aa1af22.jpg",[68,45],{"id":14547,"slug":14548,"title":14549,"dynasty":18,"author":3278,"museum":510,"description":14550,"tags":14551,"thumbUrl":14552,"material":13440,"size":14553,"collection":84,"collections":14554,"showCount":14492,"zanCount":48,"manualWeight":48,"mainColor":49},221411,"xiao-han-lin-tu-juan-li-cheng-221411","小寒林图卷","绘远处山恋起伏，云雾空蒙；近处松树数株，松干挺直，枝杈虬曲多姿，林木笼罩于烟霭雾气之中，四周坡面山石间杂树丛生，郁郁葱葱。李成，五代画家，画山石以“卷云皴”；画寒林创“蟹爪”法，其学生郭熙亦秉承其画风。",[23,24,7,25,128,29,132,4438,1337,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c461e36f2a0526a7f631fdaa0a30b03.jpg","39.4x71.4\u002F39.4x233厘米",[],{"id":14556,"slug":14557,"title":14558,"dynasty":144,"author":1346,"museum":224,"description":14559,"tags":14560,"thumbUrl":14562,"material":611,"size":14563,"collection":136,"collections":14564,"showCount":14492,"zanCount":1086,"manualWeight":48,"mainColor":72},220782,"lu-tan-diao-ting-tu-wu-zhen-220782","芦滩钓艇图","《芦滩钓艇图卷》（现藏大都会）使吴镇享有萌画家的地位，此一点无论是国内抑或海外的艺术评论意见均颇统一。纠其原因，则是画中原本仅作为点缀的人物在画家的笔下呈现“卡通式”的形象，这一夺景的表现，并未使画作的立意失衡，而是呈现出别样的意趣来，无论是大都会所藏，还是弗利尔所藏的其他数幅吴镇所绘的“渔父图”皆是充满趣味性的形象。然我们知道其部分渔父形象的作品为仿荆浩，虽然很难再找见荆浩创作的渔父形象（可确证的）。但从台北故宫博物院所藏的北宋画家范宽之《溪山行旅图》进行观察（范早期习荆浩、李成，而该画作恰恰是习荆浩的），不难发现——吴镇画中之“渔父”形象与范宽画中的“渔父”形象，两者间颇有关联性（虽范宽的作品已较模糊，然从船体与人物构造观，尚可发现有其相通之处），故此种“卡通式”的“渔父”形象，许于唐未的荆浩画中，已形成其旨趣，只是后人不觉，皆将吴镇视为萌家。\n吴镇画山水喜用湿墨，其实吴镇未尝不善用干墨，在吴镇传世几十余幅墨竹中，几乎全是用干墨画的，均取得了良好的效果。之所以吴镇在山水画中多用湿墨，这与吴镇欲借山水画表达的境界有极大的关系。北宋山水画追求一种可游、可居之景，用笔用墨都服从于山水真实体感的表达；而元人则以山水为媒，追求一种有我之景，笔墨除用表现形体外，更是充作了情感流露的媒介。在元四家中吴、倪均以画水著称，倪喜用干墨，吴则喜用湿墨。倪用干墨草草点染，创造一种荒芜、澹泊之境；吴则用湿墨，渲染出一种凄清、静穆之境。细观吴镇每一幅山水画，都给人以“水墨淋漓幛犹湿”的感觉。无论是山、树、水，还是船、渔父、房屋，无论是近景，还是远景，均如淋浴在水中，从而更使远方景物有千里之遥，营造了一种凄清、幽旷、寂寥的艺术氛围。\n吴镇画中的水墨效果是与他多种笔法、墨法的灵活运用密切相关的，湿墨决不是简单化的水量的增加。吴历云：“江山无尽、万里长江两卷，……浑然天成，五墨齐备，盖仲圭擅长，非后学者所能措手。”“五墨齐备”是吴镇用墨的高超之处，为更好地发挥墨效，吴镇在选择作画材料上很有讲究，画梅竹喜用纸，画山水则喜用绢。画山水何以选绢，因为绢有厚度，纤维富韧性，多次渲染而不皱折。吴镇非常熟悉笔、墨、绢的特点，作画中的五墨并施而不腻，反复皴擦而不胀，产生了浓而润、湿而厚、涩而不干、枯而不燥的艺术效果。吴镇清淡似水，出现了浓而透的效果。今天看吴镇作品，仍能透过作品清楚的辨别它们的组织关系。清王原祁曰：“梅道人泼墨，学者甚多，皆粗服乱头，挥洒以自鸣得意，于节节肯綮处，全无梦见。无怪乎有墨猪之诮也。”王原祁的这一评论反映了吴镇的用墨技术是非常人所能学到的。吴氏的墨法，倾倒了元以后的历代大家，沈周、文徵明、恽南田、四王、吴历、八大山人等均对吴镇墨法大加推崇。",[23,24,7,128,132,369,29,129,99,34,1824,11014,1350,14561,414],"滩涂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa87a6f1b399c367170da229c11d740f5.jpg","39x65",[136,117],{"id":14566,"slug":14567,"title":14568,"dynasty":980,"author":8159,"museum":3540,"description":14569,"tags":14570,"thumbUrl":14571,"material":14572,"size":84,"collection":84,"collections":14573,"showCount":14492,"zanCount":48,"manualWeight":48,"mainColor":72},220577,"bin-hong-mo-miao-huang-bin-hong-220577","宾虹墨妙","这幅山水以双峰对峙构景，留白作水湾，山麓渔村茅舍错落，滩头枯木虬曲苍劲，水面扁舟轻泛，野逸之趣扑面而来。\n\n以焦墨积墨写山，皴擦点染间尽显山峦浑厚华滋，墨色浓淡相生，带着萧疏清寂的冬日况味，将山川静穆幽深藏于笔底。题款行书朴拙苍劲，与画面浑融一体，文人意趣尽显。整体意境清寂淡远，于简淡中见苍茫，寥寥数笔便勾勒出山水灵秀静谧，尽显水墨写意的通透韵致，藏着独有的山水襟怀。",[24,7,128,132,29,129,331,35,31,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdef6faf38959b0a429a84507d8f8ac0.jpg","墨笔设色、 纸本水墨",[],{"id":14575,"slug":14576,"title":14577,"dynasty":124,"author":10632,"museum":244,"description":14578,"tags":14579,"thumbUrl":14580,"material":278,"size":14581,"collection":68,"collections":14582,"showCount":14492,"zanCount":1998,"manualWeight":48,"mainColor":49},218845,"ying-tu-lin-liang-218845","鹰图","明代花鸟画家林良以画花鸟著称，主体多属富野逸之趣的禽鸟，如苍鹰、芦雁、寒鸦、麻雀、雉鸡、喜鹊等，也喜绘群鸟聚集景象，品类众多，情态各异，极富自然天趣。《秋鹰图》为林良代表作，幅中署款“林良”。在宋、元时代的画坛，就常能见到鹰类追捕鸟禽为主题的画作，通常以细腻的用笔与设色，描绘鹰类迴身俯衝，捕捉禽鸟的景况。林良採取类似的图绘模式：飞翔的雄鹰俯身扭转头部，以锐利的眼神盯住猎物，被追逐的八哥鸟落荒而逃，露出惊骇的神情。林良在画面左侧增添横出的枝柯，藉以平衡鸟禽的比例。更以写意没骨技法，以迅速地笔墨点染技巧，精准地捕捉自然界惊心动魄的一刻。",[24,7,164,165,128,369,61,211,3141,7596,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d271fc592f2aaf9b0f31185b041e211.jpg","133.4x80.5cm",[68],{"id":14584,"slug":14585,"title":14586,"dynasty":18,"author":1622,"museum":77,"description":14587,"tags":14588,"thumbUrl":14589,"material":173,"size":84,"collection":136,"collections":14590,"showCount":14492,"zanCount":1998,"manualWeight":48,"mainColor":49},217999,"xue-an-guan-tiao-tu-ma-yuan-217999","雪岸观眺图","马远是宋朝时期的一位著名画家，他的作品中有一幅名为“雪岸观眺图”的水墨画，被认为是宋朝画坛上的杰作之一。\n\n这幅画描绘了一段冬日的景象，画面中的山峦积雪，河水冰冻，极富冬日特色。在画中，可以看到许多游客在观眺这片壮丽的景色。画中还有许多树木，它们的枝条被白雪覆盖，显得格外的美丽。\n\n马远在这幅画中运用了许多水墨画的技巧，包括“写意”和“虚实”。“写意”指的是画家用自己的感受来描绘景象，而“虚实”则指画家在画面中运用虚实对比来表现深浅、空间感等效果。在“雪岸观眺图”中，马远巧妙地运用了这些技巧，使得画面充满了生动的气氛和浓郁的冬日气息。\n总的来说，“雪岸观眺图”是宋朝画坛上的一幅杰作，它不仅展现了宋朝时期画家对冬日景色的传统描绘方式，还体现了马远对水墨画艺术的精湛技艺",[23,164,24,7,165,27,28,132,29,130,413,1556,96,497,6810],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86c2a7d7b855598a8f3c175345fe606f.jpg",[136],{"id":14592,"slug":14593,"title":7162,"dynasty":18,"author":223,"museum":244,"description":14594,"tags":14595,"thumbUrl":14596,"material":173,"size":14597,"collection":68,"collections":14598,"showCount":14492,"zanCount":1116,"manualWeight":48,"mainColor":49},216214,"xi-ma-tu-yi-ming-216214","洗马图是宋朝时期的一幅著名图画，其作者不详。这幅图展示了一群人在洗马，图中人物栩栩如生，每个人都有自己独特的表情和动作。洗马图被认为是中国古代绘画史上的杰作，其精细的绘画技巧和生动的人物造型吸引了许多观众的眼球。\n\n洗马图是在宋朝时期创作的，当时中国的绘画艺术正处于高峰期。在宋朝时期，绘画艺术得到了极大的发展，许多著名的绘画家都涌现出来，创作出了许多传世的杰作。洗马图就是其中的一例，其精细的绘画技巧和生动的人物造型使其成为了中国古代绘画史上的杰作。\n\n目前，洗马图被认为是中国古代艺术宝藏之一，并被收藏在台北故宫博物院之中。许多人都向往能够看到这幅珍贵的图画，并为其中的细节所惊叹。洗马图是中国古代艺术的杰作，值得我们去探究和珍视。",[24,7,164,28,27,96,101,413,95,1846],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5b0938793c42dc54607d2778cc0ab9b.jpg","55x60.8cm",[68],{"id":14600,"slug":14601,"title":14602,"dynasty":124,"author":204,"museum":244,"description":14603,"tags":14604,"thumbUrl":14607,"material":173,"size":14608,"collection":136,"collections":14609,"showCount":14492,"zanCount":48,"manualWeight":48,"mainColor":72},214585,"lin-song-yuan-liu-jing-ce-gao-feng-yuan-hu-chou-ying-214585","临宋元六景册-高峰远湖","明代画家仇英的临宋元六景册是一件著名的绘画作品，其中的高峰远湖图是一件精美的山水画作品。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了仇英对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n在这幅画中，仇英运用了清新的色彩和精细的线条来描绘山水风景。他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。画中的高峰远湖是一幅清新而美丽的山水画，它体现了仇英对自然的热爱和对传统文化的尊重。\n\n总的来说，仇英的临宋元六景册是一件精美的绘画作品，其中的高峰远湖图是一件优美的山水画作品，它描绘了中国传统的山水风景，也体现了仇英对自然的热爱和对传统文化的尊重。",[24,7,59,330,27,28,29,14605,14606,129,211,130],"高峰","远湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F665c93acfe478b7285b0a2f003b964b0.jpg","29.2x47.1cm",[136],{"id":14611,"slug":14612,"title":14613,"dynasty":18,"author":8169,"museum":300,"description":14614,"tags":14615,"thumbUrl":14616,"material":692,"size":1293,"collection":84,"collections":14617,"showCount":14618,"zanCount":48,"manualWeight":48,"mainColor":49},288289,"mao-hou-tu-yi-yuan-ji-288289","猫猴图","《宋易元吉猴猫图卷》画孙猴儿一只，脖子上围绑着粗绳，圈系在地，两只小花猫，大概路经此地，不经意中，一为猴儿挟抱，另一则惊避回顾。画中二小猫，全身毫毛皆用纤细的笔线，笔笔丝出，再加色晕染。黄花猫斑纹处是以淡赭墨染绘，毛色层次井然分明。盘坐在地的猴儿也是采同样手法处理，然而毛发更见丰盈毛绒，多而不乱。作者传神体物的绘画表现，足能成为北宋人写生写实的艺事风格代表。\n画家除了在此展现出精巧的画技外，捕捉动物生态，更有其独到之处。无论是调皮捣蛋的顽猴；或是它怀中畏怯无奈的小猫；或是一旁怒目嘶叫、张牙舞爪的幸免者，这三者间生动的神情，及合于本性、出于自然的瞬间互动，都藉由画家敏睿的观察，和传神的画笔，铺陈出如此富有戏剧效果的画面。",[164,24,7,27,28,1634,9633,949,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d00ee3f96e092903f2ea29821abb153.jpg",[],95,{"id":14620,"slug":14621,"title":14622,"dynasty":54,"author":12395,"museum":300,"description":14623,"tags":14624,"thumbUrl":14625,"material":692,"size":1293,"collection":84,"collections":14626,"showCount":14618,"zanCount":48,"manualWeight":48,"mainColor":72},236740,"tao-hua-jia-die-wan-shan-zhang-xiong-236740","桃花蛱蝶纨扇","张熊(1803—1886)，又名张熊祥，字寿甫，亦作寿父，号子祥，晚号祥翁，别号鸳湖外史，鸳湖老人，鸳湖老者，鸳鸯湖外史，西厢客。别署清河伯子，髯参军。室名银藤花馆。秀水（今浙江嘉兴）人，张熊年青时代就移居上海，参加各种美术活动。",[24,7,1131,304,28,27,61,209,481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55170b403bb25051d64dc082a1e881e2.jpg",[],{"id":14628,"slug":14629,"title":1109,"dynasty":54,"author":1504,"museum":20,"description":14630,"tags":14631,"thumbUrl":14632,"material":1722,"size":14633,"collection":84,"collections":14634,"showCount":14618,"zanCount":48,"manualWeight":48,"mainColor":72},234676,"zhu-shi-tu-zheng-ban-qiao-234676","郑燮所画之竹，形象千姿百态，笔墨变化多端。同样是数竿竹枝，却有新竹、驼竹、凤竹、晴竹、盆景之竹、庭院之竹、山野之竹、水乡之竹的区别，并呈现各自不同的情态，给人以美的感受。画面上翠竹两竿，瘦劲挺拔，枝叶偃仰，萧疏清逸。竹枝下有山石及竹笋数支，恰当衬托出春竹之勃发郁茂，颇富自然之趣。其言将竹笋与鲥鱼相佐，又创美食之竹，新颖别致，独具匠心。",[24,128,165,167,171,369,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4678f3aee954a45f278520cc553534f1.jpg","纵120厘米，横59.7厘米",[],{"id":14636,"slug":14637,"title":14638,"dynasty":124,"author":14639,"museum":300,"description":14640,"tags":14641,"thumbUrl":14642,"material":84,"size":84,"collection":84,"collections":14643,"showCount":14618,"zanCount":1998,"manualWeight":48,"mainColor":72},234215,"chen-qin-zhu-lan-ju-shi-juan-chen-qin-234215","陈芹竹兰菊石卷","陈芹","陈芹，生于1515年，卒年不详。字子野，号横崖，上元（南京）人，为安南国（越南）王后代，永乐年间来中国避战乱。擅长绘画，山水花卉竹枝均能，传世作品有《为佩庭作竹石图》（现藏故宫博物院）、《修篁文石图》（现藏南京博物馆）等。工书法，师钟繇，二王，尤善章草。《自书诗》行书册古雅畅达，妍媚洒脱，含章草意态。",[23,164,24,7,25,128,133,64,167,375,376,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb05f0ec9be94c42d09d7d995a4450e60.jpg",[],{"id":14645,"slug":14646,"title":14647,"dynasty":54,"author":1242,"museum":300,"description":14648,"tags":14649,"thumbUrl":14650,"material":84,"size":84,"collection":84,"collections":14651,"showCount":14618,"zanCount":48,"manualWeight":48,"mainColor":72},230874,"mei-hua-tu-ce-jin-nong-230874","梅花图册","这幅画以水墨写梅，老干虬曲苍劲，淡墨晕染出斑驳古拙的质感，枝桠斜逸舒展，尽显老树凌寒的沉浑气度。枝头梅花以淡墨勾瓣，留白衬出冰洁花容，浓墨点蕊，疏密有致，于简淡中见清艳孤高，将梅花傲霜之态全然托出。\n\n左侧隶书题跋朴茂沉厚，笔力苍劲，画与文相映成趣，把画梅心得与爱梅之情落于纸间。整作脱去甜熟妍丽，以极简笔墨写尽梅之清癯风骨，藏着画者疏淡超脱的文人襟怀，以意趣取胜，尽显水墨花卉的空灵淡远之美。",[24,7,59,128,61,371,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffe1220c3355013ed53f3eb499f35db0.jpg",[],{"id":14653,"slug":14654,"title":14655,"dynasty":54,"author":646,"museum":300,"description":14656,"tags":14657,"thumbUrl":14658,"material":84,"size":84,"collection":84,"collections":14659,"showCount":14618,"zanCount":1998,"manualWeight":48,"mainColor":72},230248,"he-hua-hong-liao-dong-gao-230248","荷花红蓼","此作对开铺陈，群芳错落生姿，粉山茶娇妍柔婉，朱月季明艳鲜活，黄萱草清雅舒展，枝叶穿插顾盼，尽显春日花木蓬勃生机。\n\n设色明丽柔和，晕染细腻匀净，将草木天然神韵勾勒得鲜活动人。左侧题诗与画境呼应，诗书画印相融相合，晕开文人雅趣。笔触秀逸兼具工致，既恪守写生法度，又暗合闲淡悠然的审美意趣，将春日群芳的柔媚丰姿凝于素笺，尽展传统花鸟雅致隽秀的笔墨情致。",[24,7,59,27,28,61,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eb0cc576e00222d934108ce911daf05.jpg",[],{"id":14661,"slug":14662,"title":14663,"dynasty":124,"author":1438,"museum":300,"description":14664,"tags":14665,"thumbUrl":14666,"material":84,"size":84,"collection":84,"collections":14667,"showCount":14618,"zanCount":1998,"manualWeight":48,"mainColor":72},228466,"luo-yang-chun-se-tu-chen-chun-228466","洛阳春色图","明陈淳洛阳春色图此卷绘数株盛开的牡丹，雍容华贵，以没骨法写意。\n湖石枯笔勾皴，淡墨晕染，色墨并用。\n画风疏爽秀逸，艳丽清新。\n自题：“己亥秋日，道复书并图。\n”款“道复制”，钤‘白阳山人“朱文方印、”复父氏“白文方印。\n拖尾自题草书牡丹诗。\n【名称】明 陈淳 洛阳春色图 ，横111.2厘米。\n南京博物院藏。\n（148-1544）：又作1482-159年，长洲（今江苏苏州）人。\n字道复，后以字行，更字复甫，号白阳，又号白阳山人。\n陈淳少年作画以元人为法，深受水墨写意的影响。\n他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。\n他的有些作品，所画质朴，可以看出受沈周画法的影响。\n与徐渭并称白阳青藤。\n陈氏少年作画工细，中年后笔法放纵，自立门户。\n陈淳师从文徵明，在其门下声誉最高。\n曾评其曰：“吾于道复仅举业师耳，其书画自有门径。\n” 己亥为嘉靖十八年，作者时年五十七岁。",[23,24,7,25,27,128,369,61,263,171,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecafa67ce26c246c916ad4fb011d6f4d.jpg",[],{"id":14669,"slug":14670,"title":14671,"dynasty":54,"author":4468,"museum":244,"description":4469,"tags":14672,"thumbUrl":14674,"material":27,"size":4474,"collection":84,"collections":14675,"showCount":14618,"zanCount":48,"manualWeight":48,"mainColor":72},222749,"xian-e-chang-chun-tu-06a-lang-shi-ning-222749","仙萼长春图-06a",[23,164,24,7,59,27,28,61,14673,263],"百合花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4adacdd9409943ffa72bb6bc318274c3.jpg",[],{"id":14677,"slug":14678,"title":14679,"dynasty":124,"author":1058,"museum":20,"description":14680,"tags":14681,"thumbUrl":14682,"material":10637,"size":14683,"collection":136,"collections":14684,"showCount":14618,"zanCount":1116,"manualWeight":48,"mainColor":72},222359,"guan-mei-tu-zhou-tang-yin-222359","观梅图轴","画作表现一位高士袖手立于溪桥之上，身后的山崖边两树梅花含苞待放，与作者所题诗意十分吻合。全幅构图汲取南宋院体风格，险中求胜，山石树木的勾勒粗细得当，晕染多于皴擦，清健爽利的笔致和幽静的背景营造突出了主体人物的高洁形象。人物的线描细劲流畅，造型清俊儒雅。从此作的创作风格上看，应是唐寅中年以后的作品。\n此图曾经清代毕沅等人鉴藏。",[23,24,7,165,128,132,133,371,131,96,1337,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709e091fe9b41a1555692ca92f23e3f6.jpg","纵108.6厘米，横34.5厘米。",[136,117],{"id":14686,"slug":14687,"title":14688,"dynasty":144,"author":1768,"museum":244,"description":14689,"tags":14690,"thumbUrl":14691,"material":253,"size":14692,"collection":45,"collections":14693,"showCount":14618,"zanCount":1998,"manualWeight":48,"mainColor":49},221848,"zhu-lin-xian-zi-zhou-liu-guan-dao-221848","竹林仙子轴","刘贯道，字仲贤，生卒年不详，约为元世祖之人。善画佛道人物，又能做山水、花竹、鸟兽等。他在世的作品极少，画中人物多接近北宋传统技法，有古典风味，与南宋有明显的分别。或许是因为他出生在北方，较承袭了北宋的画法。",[23,24,7,164,165,28,27,96,166,167,171,547,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae7dcfcc265fc0481ad92b6f1e12076.jpg","该幅70x31.4公分；全幅 57.5公分",[45,1670],{"id":14695,"slug":14696,"title":14697,"dynasty":124,"author":366,"museum":1941,"description":3061,"tags":14698,"thumbUrl":14699,"material":278,"size":3064,"collection":84,"collections":14700,"showCount":14618,"zanCount":48,"manualWeight":48,"mainColor":72},220101,"shi-er-mo-hua-tu-juan-4-xu-wei-220101","十二墨花图卷-4",[23,24,7,25,128,61,369,208,64,133,263,373,375,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102a8eb2b6b2546b1fba3bbf5502311f.jpg",[],{"id":14702,"slug":14703,"title":14704,"dynasty":18,"author":313,"museum":244,"description":14705,"tags":14706,"thumbUrl":14707,"material":611,"size":14708,"collection":318,"collections":14709,"showCount":14618,"zanCount":1998,"manualWeight":48,"mainColor":72},220008,"xue-han-tie-huang-ting-jian-220008","雪寒帖","无书写时间，从笔法、结体、风格等方面综合比较，与《动静帖》、《致明叔同年尺牍》非常接近，大致书于绍圣年间。",[23,7,64,133,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47dca2ef8f7c05f24e2fda6ad5dda141.jpg","纵28.8厘米、横17.5厘米",[318],{"id":14711,"slug":14712,"title":14713,"dynasty":124,"author":14714,"museum":20,"description":14715,"tags":14716,"thumbUrl":14717,"material":611,"size":14718,"collection":318,"collections":14719,"showCount":14618,"zanCount":1116,"manualWeight":48,"mainColor":72},219154,"kai-shu-ju-song-tie-ye-shen-zao-219154","楷书·橘颂帖页","沈藻","《橘颂》是屈原的传世名篇。沈藻此作点划纤细平正，风格婉美端秀，为典型的“台阁体”。",[23,7,572,64,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c41915b9fd989ff97a6a41eaed8537.jpg","纵27.6厘米，横47.6厘米",[318],{"id":14721,"slug":14722,"title":14723,"dynasty":144,"author":14724,"museum":244,"description":14725,"tags":14726,"thumbUrl":14728,"material":66,"size":14729,"collection":68,"collections":14730,"showCount":14618,"zanCount":1116,"manualWeight":48,"mainColor":49},218661,"dong-yuan-zai-jiu-tu-cao-zhi-bai-218661","东园载酒图","曹知白","这幅画画的是曹知白自己在采芝窝的隐居地，山川秀丽，笔墨温润，思想极为高雅明朗，使之成为曹氏山水画的精品。",[23,164,24,7,165,128,132,14727,29,131,34,97,758],"干笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4e4c7f20f69be119e1b5cb8d07c1f7.jpg","97.1x54.8cm",[68],{"id":14732,"slug":14733,"title":8685,"dynasty":124,"author":802,"museum":450,"description":14734,"tags":14735,"thumbUrl":14741,"material":66,"size":14742,"collection":44,"collections":14743,"showCount":14618,"zanCount":48,"manualWeight":48,"mainColor":49},218355,"ying-xi-tu-chen-hong-shou-218355","这是一幅简单的画，画的是一个孩子手里拿着一个拨浪鼓在玩。该图头大身短，衣服的画法很特别,贝壳雕工细致，造型奇特，上面站着一个带袖子的绿巨人，显示了明末时期儿童玩具的精致和多样化。",[23,24,7,165,28,27,96,8832,14736,14737,14738,14739,14740],"变形夸张","线条古拙","设色典雅","孩童形象","玩具元素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6e183fec1f5f9e94d6157074b740cff.jpg","84.1x31.9",[44],{"id":14745,"slug":14746,"title":14747,"dynasty":144,"author":14748,"museum":20,"description":14749,"tags":14750,"thumbUrl":14751,"material":278,"size":14752,"collection":136,"collections":14753,"showCount":14618,"zanCount":1116,"manualWeight":48,"mainColor":72},218254,"ge-an-wang-shan-tu-zhao-zhong-218254","隔岸望山图","赵衷","此图为《张观等五家集绘卷》之一。近岸画坡石高树，参差错落，一人坐平坡上隔江遥望烟云笼罩的远山。坡前湖面宽阔浩渺，意境清幽。近树用笔精工细致，生动写实。对岸远山以简率的笔墨轻勾淡染，远树点笔为形，概括取象，给人以旷远迷离之感。人物形象虽小，造型却生动准确。全图用笔秀润，墨色淡雅。",[24,128,29,7,663,228,413,96,497,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1885be14f4847ee54f72c9a387e606e3.jpg","纵30厘米，横50.1厘米",[136],{"id":14755,"slug":14756,"title":14757,"dynasty":124,"author":14758,"museum":244,"description":14759,"tags":14760,"thumbUrl":14761,"material":173,"size":14762,"collection":136,"collections":14763,"showCount":14618,"zanCount":1086,"manualWeight":48,"mainColor":49},217059,"xun-mei-tu-zhu-duan-217059","寻梅图","朱端","朱端，字克正，海盐人，出身渔樵，弘治末入宫，正德时期（1506－1521）直仁智殿，官「锦衣指挥」，曾获赐「钦赐一樵图书」，遂更号「一樵」。\n\n朱端的山水画取法郭熙（约1020-约1100）、马远。全幅采取半边的构图型式，以左方占据画面约二分之一高的双松为骨干，框出策杖撑伞的老翁和两位童子，他们正准备渡江至对岸的赏梅。冬天踏雪寻梅，一直被视为文人雅趣，从弘治时期（1488－1505）开始，这一类诗意图像逐渐增加，题材的转变似乎也反映了宫廷皇帝品味的变化。",[24,7,29,165,132,128,27,96,98,99,171,211,372,371,130,663,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674c65022384eae968e9c438b4fd0ecb.jpg","145x66cm",[136],{"id":14765,"slug":14766,"title":14767,"dynasty":18,"author":223,"museum":14768,"description":14769,"tags":14770,"thumbUrl":14771,"material":173,"size":14772,"collection":44,"collections":14773,"showCount":14618,"zanCount":1116,"manualWeight":48,"mainColor":49},217008,"dou-jiang-tu-yi-ming-217008","斗浆图","黑龙江省博物馆","斗浆这个词在宋代就是斗茶的意思。斗茶在宋代几乎发展成为了一种全民项目，不管是文人雅士、平民百姓，还是商贾人家、皇亲国戚，都躲不开它的魔力。斗茶没什么地点上的限制，茶室或街头都能进行。《斗浆图》是南宋风俗画的代表之一，描绘的是市井街头的斗茶场景。六位斗茶人身边都有全套的家伙什，大到加热所需的炭火、小到茶筅茶盏无一不备。",[23,164,24,7,27,28,96,169,1746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F137dc318c8daffb2d8540efeb64b42d9.jpg","33.8x40.6",[44],{"id":14775,"slug":14776,"title":14777,"dynasty":124,"author":14778,"museum":300,"description":14779,"tags":14780,"thumbUrl":14781,"material":66,"size":84,"collection":44,"collections":14782,"showCount":14618,"zanCount":48,"manualWeight":48,"mainColor":72},216347,"xi-xiang-ji-cha-ye-min-qi-ji-216347","西厢记插页","闵齐伋","眉眼低垂间，凝着西厢故事里的幽婉心事。墨线勾勒的衣袂似随微风轻漾，素色衣衫衬得身姿温婉窈窕。精致的发髻簪着小巧头饰，鬓角发丝垂落，添了几分柔媚。手中淡蓝团扇半掩，扇面纹路隐约，与轻拢衣襟的手势相映，似在掩饰心头的娇羞与沉思。古朴边框饰以卷草纹样，缠缠绕绕间晕开明清插画的雅致。左侧题款墨痕清逸，朱红印章点缀，笔墨与丹青相融，将剧中人物的情态凝于一纸，淡远而悠长，尽显古典仕女画的含蓄之美。",[24,7,59,188,27,96,166,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39940e524f20f38b6f876b1cdd2cf929.jpg",[44],{"id":14784,"slug":14785,"title":14786,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":14788,"thumbUrl":14789,"material":66,"size":84,"collection":44,"collections":14790,"showCount":14618,"zanCount":48,"manualWeight":48,"mainColor":72},215098,"tui-bei-tu-ce-8-jiao-bing-zhen-215098","推背图册-8","焦秉贞是中国清朝时期著名的画家，他被认为是中国水墨画史上最伟大的画家之一。其中最著名的作品是他的推背图册，其中包含了十幅推背图。推背图是一种特殊的水墨画，它们通常是用单一的墨色在纸上描绘的，并且使用了特殊的技巧来创造出立体感。焦秉贞的推背图册在当时被认为是一件杰出的艺术品，并且至今仍然备受赞赏。",[23,24,7,59,27,28,96,9633,2510,413,187,949,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe4d07410d2bb7ccfcf7622ce2e9c2ff.jpg",[44],{"id":14792,"slug":14793,"title":14794,"dynasty":18,"author":2099,"museum":300,"description":14795,"tags":14796,"thumbUrl":14797,"material":278,"size":14798,"collection":44,"collections":14799,"showCount":14618,"zanCount":1116,"manualWeight":48,"mainColor":72},214915,"xiao-jing-tu-juan-li-gong-lin-214915","孝经图卷","孝经图卷是宋朝时期李公麟所绘的一幅图画，作品名为《孝经图》。该图画记录了中国传统文化中关于孝道的理论。孝道是中国传统文化中的一个重要概念，指的是尊敬父母、敬老尊贤的道德行为。《孝经图》是一幅巨大的图画，长约10米，宽约1.5米，由李公麟于宋朝初年绘制。该图画分为上下两部分，上部是一幅描绘中国传统孝道理论的巨幅图画，下部是记录了关于孝道的文字记录。《孝经图》是一件重要的文化遗产，对于了解中国传统文化中孝道的概念和内涵有着重要的意义。",[23,164,24,7,25,188,128,96,97,98,99,208,101,130,131,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cdceb66d0489c2d2fba02cb93a6f500.jpg","21.9x475.6",[44],{"id":14801,"slug":14802,"title":14803,"dynasty":144,"author":1346,"museum":300,"description":14804,"tags":14805,"thumbUrl":14806,"material":692,"size":1293,"collection":84,"collections":14807,"showCount":14808,"zanCount":1116,"manualWeight":48,"mainColor":72},291024,"yun-dang-qing-ying-tu-zhou-wu-zhen-291024","筼筜清影图轴","吴镇（1280年—1354年），字仲圭，号梅花道人，浙江嘉兴人。元代画家、书法家、诗人。\n吴镇擅画山水、梅花、竹石，与黄公望、倪瓒、王蒙合称“元四家”。\n由于吴镇以董巨起家，其画中山、石、树、水、房屋、小桥都显得格外宁静、平和，但吴镇有时也着意打破这种气氛，使宁静中增几分动荡，那就是近景大树和山石的表现，特别是三两棵树的表现尤其明显。如果说吴画山、石、水、小桥、屋舍、群树的表现乃至整体气息是以董巨面目出现的话，那么其局部的大树则主要是以马夏的面目出现的。结构布局上立于近景，形象表现上夸张变形，树种的选择上以松柏寓人格。这种形象的树出现在平和、宁静的境界里显得格外突出。它们或直立挺拔、俯势向上；或倚斜偃蹇、欲倒还立；或技条倒挂、曲折盘桓。而且吴镇对大树的形象也是情有独钟的，几乎每幅山水画均有此类形象。这一个个形象频繁出现于其笔下，有何深刻含义？如果联系一下元代的民族岐视政策，联系一下同样比邻而居，盛氏求画者门限为穿，自家之门阒然的事实，或许透露出个中消息。在大树的塑造上，如果把吴镇放在“元四家”其他三家中做一比较，吴镇的独特个性尤能充分展现。黄公望、王蒙为了表现高士的居住环境，用平和、冷静的笔触画群山诸峰，力量均匀，气势平缓，树木郁郁葱葱，均为山的点缀，很少突出某一大树。倪瓒、吴镇在景物取舍上有极强的一致性，均喜画几棵树。倪瓒的树是纤细、弱小的，树干上长出几条树枝，枝上顶着几片叶子，立在空旷的荒野里显得孤独而又凄凉。而且倪瓒的树往往是叫不出名字的，并无具体所指；吴镇在树的种类上往往是有选择的，他最喜欢选取被赋予隐逸人格象征的古松来充实画面。在近景中吴镇很少画杂树而是喜爱强调几棵大树，个个粗壮而枝叶茂密，富有顽强的生命力。",[164,24,7,165,128,167,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b3b2615b892119aa8db2b0673c921dd.jpg",[],94,{"id":14810,"slug":14811,"title":4229,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":14812,"thumbUrl":14813,"material":692,"size":1293,"collection":84,"collections":14814,"showCount":14808,"zanCount":1998,"manualWeight":48,"mainColor":72},239436,"hua-niao-ce-yun-shou-ping-239436",[24,7,59,27,128,61,355,1824,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05eae777b986ef2a408940cb2ef9ae36.jpg",[],{"id":14816,"slug":14817,"title":14818,"dynasty":54,"author":3718,"museum":300,"description":14819,"tags":14820,"thumbUrl":14821,"material":84,"size":84,"collection":136,"collections":14822,"showCount":14808,"zanCount":48,"manualWeight":48,"mainColor":72},237614,"hong-ren-shan-shui-ce-hong-ren-237614","弘仁山水册","弘仁（1610-1664），明代著名画家，俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后，于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒等，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪之瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等，著有《画偈》。",[24,7,128,132,59,133,208,29,171,11998,495,663,228,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcb1183d2ee5a491bd53c0b3d5ea7ad3.jpg",[136,117],{"id":14824,"slug":14825,"title":14826,"dynasty":54,"author":1460,"museum":20,"description":14827,"tags":14828,"thumbUrl":14830,"material":611,"size":14831,"collection":84,"collections":14832,"showCount":14808,"zanCount":1998,"manualWeight":48,"mainColor":72},233956,"yuan-ji-shan-shui-heng-zhou-shi-tao-233956","原济山水横轴","本册10开，或墨笔或设色，末开自款“时甲子新夏呈阆翁火词宗夫子，清湘秃发济”，钤“冰雪悟前身”，（白文方印）每开上“忍庵图书”一印。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,7,14829,128,132,29,497,34,99,129,96,495,1144,131],"横轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff862291aff18cd6d44ac688b5b35c856.jpg","纵46.5cm，横30.7cm",[],{"id":14834,"slug":14835,"title":409,"dynasty":54,"author":872,"museum":14836,"description":14837,"tags":14838,"thumbUrl":14839,"material":611,"size":14840,"collection":84,"collections":14841,"showCount":14808,"zanCount":48,"manualWeight":48,"mainColor":72},231387,"shan-shui-ce-zhu-da-231387","故宫出版社","朱耷，明太祖朱元璋第十七子朱权九世孙，本名朱统托，字雪箇，号八大山人、箇山 、人屋、道朗等，江西南昌人。其他别号，尚有箇山驴、驴屋、驴汉、人屋、刃庵、拾得、何园、洛园、黄竹园、书年、书疾、八还等，不一而足。其祖父朱多炡、父朱谋觐、叔父朱谋垔均能诗善画。\n朱耷八岁即能诗，十一岁能画山水，悬腕写米家小楷。明亡朱耷为僧为道，所作写意花鸟，形象夸张，笔墨凝練，风格雄奇；山水笔致简洁，静穆疏旷。 花甲始用八大山人署名，常四字连缀，仿佛哭之笑之，为清初四僧之一。",[24,7,59,128,29,171,167,413,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c452f4285c6312c00652736062c93d6.jpg","纵二六厘米，横四一厘米",[],{"id":14843,"slug":14844,"title":14845,"dynasty":18,"author":14846,"museum":300,"description":14847,"tags":14848,"thumbUrl":14849,"material":84,"size":84,"collection":84,"collections":14850,"showCount":14808,"zanCount":1998,"manualWeight":48,"mainColor":72},227753,"ju-cong-fei-die-tu-ye-zhu-shao-zong-227753","菊丛飞蝶图页","朱绍宗","《菊丛飞蝶图》页，宋，朱绍宗绘，纨扇页，绢本，设色，纵23.7厘米，横24.4厘米。\n本幅款识：“朱”。钤鉴藏印2方，印文模糊，唯可辨一“璘”字。裱边题签：“朱绍宗菊丛飞蝶”。\n图绘丛菊盛开。花分黄、白、蓝、紫四色，构图繁复，灿若文锦。虽是篱边野景，却饶富贵典雅气象。蜜蜂逐花而至，蛱蝶上下翻飞，为画面增添了动感。花瓣、叶片的勾染皆极为精工，花心用白粉点染，立体感很强，望似凸出于绢素之上。画史称作者“描染精邃，远过流辈”，信是不虚。\n对幅有清乾隆御题诗：“趋炎殊众卉，放英独于秋。舞去风全香，承来露半流。绘者具神解，渊明晤庄周。”钤“八征耄念之宝”朱文印、“自强不息”白文印。\n存《四朝选藻》册中。《石渠宝笈续编》著录。",[23,24,7,4437,28,27,61,604,481,62,133,208,1326,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faee499b5bb1bb99a6d174c1ae3c18abf.jpg",[],{"id":14852,"slug":14853,"title":14854,"dynasty":54,"author":9529,"museum":510,"description":14855,"tags":14856,"thumbUrl":14857,"material":1190,"size":10793,"collection":84,"collections":14858,"showCount":14808,"zanCount":1998,"manualWeight":48,"mainColor":49},222813,"fang-gu-si-ji-shan-shui-tu-fang-ju-ran-xia-shan-shui-bi-fa-wang-hui-222813","仿古四季山水图-仿巨然夏山水笔法","王翚 （1632─1717），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。王翚的山水画宗旨：唐人的气韵、宋人的丘壑、元人的笔墨，也是王时敏、王鉴的绘画审美理想。所以，王鉴一见王翚便如获至宝的情形，就不难理解了。这种审美理想是建立在崇古、知古、学古的基础上的运用和化解古意、古法。王时敏认为：“廉州(王鉴)刻意摹古，所作卷轴一树一石必与宋元诸名家血战，力厚功深，久而与之俱化，不但笔墨位置咄咄逼真，而取神去粗，秀逸高华，骎骎殆将过之。”青林红树荫渔庄, 樯集江边艇子忙. 稍等风吹烟雾散, 千帆竞发沐秋阳. 他的仿古功力更深厚，渐次从“血战”中进入“过之”的目的。王翚的挚友恽寿平说王翚临黄公望的《富春山居图卷》，“前十年曾为半园唐氏摹长卷，时犹为古人法度所束，未得游行自在。最后为笪江上借唐氏本再摹，遂为弹丸脱手之势。",[23,24,7,29,2271,132,27,165,496,34,98,99,37,1515,1645,96,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3613234851021f90e99e4b46a734550f.jpg",[],{"id":14860,"slug":14861,"title":14862,"dynasty":54,"author":2915,"museum":524,"description":2916,"tags":14863,"thumbUrl":14864,"material":151,"size":2920,"collection":84,"collections":14865,"showCount":14808,"zanCount":1998,"manualWeight":48,"mainColor":72},222685,"si-ji-hua-niao-tu-ping-8-chen-mei-222685","四季花鸟图屏8",[23,24,7,165,28,27,61,371,649,355,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff120bb949e796c509e974641e34be539.jpg",[],{"id":14867,"slug":14868,"title":14869,"dynasty":54,"author":2915,"museum":524,"description":2916,"tags":14870,"thumbUrl":14871,"material":151,"size":2920,"collection":84,"collections":14872,"showCount":14808,"zanCount":1086,"manualWeight":48,"mainColor":72},222682,"si-ji-hua-niao-tu-ping-5-chen-mei-222682","四季花鸟图屏5",[23,24,7,28,27,61,81,82,1857,1364,841,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6d0a7150805b19feb3ed4f0a01d4fd0.jpg",[],{"id":14874,"slug":14875,"title":14876,"dynasty":144,"author":8127,"museum":2068,"description":14877,"tags":14878,"thumbUrl":14879,"material":514,"size":14880,"collection":68,"collections":14881,"showCount":14808,"zanCount":48,"manualWeight":48,"mainColor":49},221840,"lian-ji-ling-tu-wang-yuan-221840","莲鹡鸰图","此图是唐绘手鉴《笔耕园》60幅册页中的一幅。王渊花鸟画师承后蜀黄筌，先勾勒后皴染水墨，浓淡深浅，极有韵致，得写生之妙，时称“绝艺”。天机溢发，肖古而不泥古。",[23,164,24,7,28,27,61,81,211,82,841],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b8dcc488c7d4ab10557e1ad0364ca7b.jpg","29.9×36cm",[68,45],{"id":14883,"slug":14884,"title":14885,"dynasty":18,"author":3596,"museum":300,"description":14886,"tags":14887,"thumbUrl":14888,"material":151,"size":14889,"collection":42,"collections":14890,"showCount":14808,"zanCount":48,"manualWeight":48,"mainColor":49},221442,"xie-sheng-cao-chong-tu-juan-cui-bai-221442","写生草虫图卷","崔白，字子西，北宋濠梁人，杰出的花鸟画家。北宋中期翰林图画院画家，擅长画花鸟，所做动物在写生基础上概括，形象生动活泼。他不仅擅画花竹翎毛、败荷凫雁，而且画佛道鬼神、山水、人物亦精妙绝伦，尤长于写生，所画鹅、蝉、雀堪称三绝。他一改百余年画风，成为北宋画坛革新主将，数百年来颇受画坛尊祟。\n崔白的一生中大部分时间只是个民间画工，生活颠沛流离，后来有很多人都为他的不得赏识打抱不平。像米芾在他的《画史》中说，在嘉年间（1056—1063年），公卿贵族们的收藏竞相一味求古，多是阎立本、韩滉一类画家的赝品，而对于像崔白这么优秀的当代画家的画作，他们却熟视无睹。",[23,24,7,25,28,27,2166,480,481,230,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80e1171b5cd251561cf91850b031251.jpg","26×150",[42,68,45],{"id":14892,"slug":14893,"title":14894,"dynasty":18,"author":313,"museum":14895,"description":14896,"tags":14897,"thumbUrl":14898,"material":611,"size":14899,"collection":318,"collections":14900,"showCount":14808,"zanCount":1998,"manualWeight":48,"mainColor":49},221263,"liu-ming-zhong-mo-zhu-fu-huang-ting-jian-221263","刘明仲墨竹赋","湖北襄阳图书馆","黄庭坚在书学上追求一种自然之美，忘我的境界，无法之法。他自称“老夫之书本无法也。但观世间万缘，如蚊蚋聚散，未尝一事横于胸中。遇纸则书，纸尽则已，亦不计较工拙与人之品藻讥弹，譬如木人舞中节拍，人叹其工，舞罢则又萧然矣。”他认为“心不知手，手不知心”是书法创作的最高境界。\n黄庭坚《刘明仲墨竹赋》元佑三年作于京师开封府，此帖拓本来源于清朝黄湄《黄文节公法书石刻》，作品横32厘米，纵30.5厘米，共25页",[23,164,24,7,25,133,64,128,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf3d7079ee1b5e8a0bf2ec9b0a24e24a.jpg","横32厘米，纵30.5厘米",[318],{"id":14902,"slug":14903,"title":14904,"dynasty":124,"author":2268,"museum":20,"description":11927,"tags":14905,"thumbUrl":14907,"material":734,"size":5345,"collection":136,"collections":14908,"showCount":14808,"zanCount":48,"manualWeight":48,"mainColor":72},220903,"fang-gu-shan-shui-ce-ye-dong-qi-chang-220903","仿古山水册页",[23,24,7,59,128,27,29,131,34,130,31,415,14906,37,133,208,132,330],"近景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b6dca8d58acbb22b6bed289e5f80247.jpg",[136,45],{"id":14910,"slug":14911,"title":14912,"dynasty":54,"author":14913,"museum":244,"description":14914,"tags":14915,"thumbUrl":14917,"material":173,"size":14918,"collection":68,"collections":14919,"showCount":14808,"zanCount":48,"manualWeight":48,"mainColor":72},220405,"song-jian-wo-hu-tu-a-er-bai-220405","松间卧虎图","阿尔粺","清代阿尔粺绘。阿尔粺是一位满族画家，字香榖，舒穆禄氏，满洲镶蓝旗人。阿尔粺善画虎、鹰等，《啸亭杂录》云 “精于绘事，以画虎闻名，赏鉴家宝之”。画轴中之虎双目微睁，前爪平放，脊背伸长，似乎是一只刚刚睡醒正在伸懒腰的睡虎，画面上下的松树恰好将虎包围起来，给人一种虎躺在窝中安逸祥和之感。此幅现藏于台北故宫博物院，绢本设色。",[23,164,24,7,27,28,1144,14916,131,949,304],"老虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffcc39579ce3a98b7f5b622e8f5b4f35.jpg","70.5x46.7",[68,45],{"id":14921,"slug":14922,"title":14923,"dynasty":144,"author":287,"museum":224,"description":14924,"tags":14925,"thumbUrl":14926,"material":173,"size":14927,"collection":44,"collections":14928,"showCount":14808,"zanCount":1998,"manualWeight":48,"mainColor":72},219546,"gui-qu-lai-ci-tu-qian-xuan-219546","归去来辞图","在改朝换代的无奈中，钱选效法陶渊明隐居不仕，因此在他聊以自娱的绘画中自然会表现出对陶渊明的追崇，进而描绘出他的形象。这大概也是钱选隐居生活中心境的映照。在《归去来辞图》画面里，左一半为坡岸，有人家院落；右一半烟水浩淼，远处依稀可见淡淡山脉。靠近坡岸的水中有一只木船，陶渊明身着大袖宽袍立于船头，一童子在船尾摇橹。看召魄伏的波纹，木船正破水向岸边驶来。这或许正是《归去来辞》中“舟摇摇以轻飚，风飘飘而吹衣”的真实写照。另—边浅渚绿岸上有六棵柳树，枝叶茂密；一道隆起的院墙间有一柴门开着，几竿竹子探出墙来，这大概是陶渊明的居所。门前有俩孩童和一妇人似在迎接陶渊明回家。正是《归去来辞》中“乃瞻衡宇，载欣载奔，童仆欢迎，稚子候门”的写照。\n在技巧上，钱选利用虚实对比的手段，表现了陶渊明乘船渡水、脱离尘网、走向田园的生活寓意。画中所设的无边淡水和田园家境是两种境界的载体，也是画家精神的载体。画中的人物描绘细腻、传神，用线精致；坡岸、院墙的皴染均匀，树的枝叶自然、流畅。整个画面赋色清淡，洋溢着田园的清幽之气，同时，也体现出作者一种闲适淡泊的襟怀。",[23,164,24,7,25,27,28,133,208,29,96,129,34,99,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4c885d7fc36e4d1430327a83eb955a8.jpg","纵26厘米，横106.6厘米",[44,45,318],{"id":14930,"slug":14931,"title":14932,"dynasty":18,"author":14933,"museum":2862,"description":14934,"tags":14935,"thumbUrl":14936,"material":173,"size":14937,"collection":42,"collections":14938,"showCount":14808,"zanCount":48,"manualWeight":48,"mainColor":49},219105,"cang-ying-bu-zhi-tu-huang-ju-shi-219105","苍鹰捕雉图","黄居宩","画在山坡上，青竹高大，桃枝顶绿叶萌芽，桃花盛开； 下方，一只老鹰将野鸡按在脚下，野鸡五颜六色的羽毛在被捕获后瞬间炸开。 ，张开的喙似乎受到惊吓并尖叫着求救。",[23,164,24,7,165,28,27,61,371,167,171,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a9d6f070400e1b1a33505d902eaa96.jpg","纵142.2横78.7厘米",[42,68],{"id":14940,"slug":14941,"title":14942,"dynasty":18,"author":2032,"museum":77,"description":14943,"tags":14944,"thumbUrl":14945,"material":66,"size":14946,"collection":68,"collections":14947,"showCount":14808,"zanCount":1105,"manualWeight":48,"mainColor":72},218947,"e-tu-lu-zong-gui-218947","鹅图","绘有一只雏鸟在母亲脖子后面的右侧，低头看着水面，而另一只雏鸟则在母亲的左侧，抬头望天，呜呜地叫着。这个场景相当有趣，反映了动物之间的母子关系。",[24,164,7,28,27,61,7546,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7faa8a7a2eafd67f868c6d30b023f7.jpg","60x80cm",[68],{"id":14949,"slug":14950,"title":14951,"dynasty":18,"author":223,"museum":300,"description":14952,"tags":14953,"thumbUrl":14954,"material":278,"size":14955,"collection":136,"collections":14956,"showCount":14808,"zanCount":1116,"manualWeight":48,"mainColor":956},218618,"chun-xi-ming-qin-tu-yi-ming-218618","春溪鸣禽图","画面上有古老的柏树，靠外的竹子，溪流中盛开的梅花，以及唱歌的鸟儿和仙女。浓烈的笔墨是宋代的风格，这也是自然小景的典范之作。\n这幅画采用了南宋的写实手法，画出了春日溪边宁静幽远而又生动的景象，造型准确，极为生动。",[24,7,1131,28,128,27,99,211,34,171,61,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff10a47e4d9461a9b24ee60330ea5a6c1.jpg","31x31",[136,42],{"id":14958,"slug":14959,"title":14960,"dynasty":18,"author":223,"museum":1941,"description":14961,"tags":14962,"thumbUrl":14967,"material":173,"size":7793,"collection":44,"collections":14968,"showCount":14808,"zanCount":1116,"manualWeight":48,"mainColor":72},218235,"luo-shen-fu-tu-yi-ming-218235","洛神赋图","这幅长卷以绢为本，设色古朴淡雅，依《洛神赋》诗意铺展浪漫图景。卷中景物疏密有致，人物神态生动：洛神衣袂飘飘，似乘云气而来，曹植立于舟中，怅惘凝望；水波轻漾，树木扶疏，云气缭绕间仙禽异兽点缀，尽显缥缈奇幻。画家以细腻如春蚕吐丝的线条勾勒身形，衣纹流转自然，色彩晕染柔和，将赋中“翩若惊鸿，婉若游龙”的意境具象化。画面分段叙事，从初见惊艳到离别的惆怅，情感脉络隐于山水人物间，让文学的浪漫在绢素上流转千年，是古典绘画中诗画交融的典范之作。",[23,164,24,7,25,27,28,96,166,14963,129,99,34,6126,14964,211,14965,14966],"洛神","仙禽异兽","怅惘","神话场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f923b996db22e3749b224b0bec4b967.jpg",[44],{"id":14970,"slug":14971,"title":14972,"dynasty":54,"author":6357,"museum":1300,"description":14973,"tags":14974,"thumbUrl":14975,"material":66,"size":14976,"collection":44,"collections":14977,"showCount":14808,"zanCount":1116,"manualWeight":48,"mainColor":72},216737,"tan-zhu-tu-huang-shen-216737","探珠图","这些人物以狂野的斜体线条生动地呈现出来。笔触干净而流畅，无论是下龙取珠的老人还是婀娜多姿的女仙，都很好地表达了性格的刚强和形式的力量之间的对比。通过大面积的水墨渲染，云朵和波浪显露出来，创造出一种奇怪的危险气氛和一个充满勇气的世界。",[23,24,7,164,165,128,27,96,369,228,371,772],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20d0167c87aa5f07e7434b67578e3bc7.jpg","纵185厘米，横107厘米",[44],{"id":14979,"slug":14980,"title":14981,"dynasty":124,"author":1438,"museum":56,"description":1439,"tags":14982,"thumbUrl":14983,"material":278,"size":1442,"collection":84,"collections":14984,"showCount":14808,"zanCount":48,"manualWeight":48,"mainColor":72},214620,"hua-hui-ce-21-chen-chun-214620","花卉册-21",[24,128,369,59,7,168,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F610ad50195f120bc2cf0a96d0f254470.jpg",[],{"id":14986,"slug":14987,"title":14988,"dynasty":124,"author":14989,"museum":244,"description":14990,"tags":14991,"thumbUrl":14992,"material":278,"size":14993,"collection":318,"collections":14994,"showCount":14808,"zanCount":1086,"manualWeight":48,"mainColor":49},214256,"bu-zi-qi-shuo-shen-du-214256","不自弃说","沈度","这幅画是沈度在七十岁时写的，是一篇论战，敦促世人勤奋努力，饮水思源，不要自暴自弃。它以精细整齐的楷书书写，风格严谨，虽然开头的笔画有转折的痕迹，下降的笔画也有延伸，透露出一种温和而微妙的姿态，减弱了严肃性。",[23,64,572,165,128,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb6c545198d9689ed9ce0b5c39505cb.jpg","104.4x29.9",[318],{"id":14996,"slug":14997,"title":14998,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":15000,"thumbUrl":15001,"material":84,"size":84,"collection":68,"collections":15002,"showCount":15003,"zanCount":48,"manualWeight":48,"mainColor":72},238366,"dong-gao-yan-chun-hui-cai-tu-ce-dong-gao-238366","董诰延春荟彩图册","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[24,7,59,28,27,61,62,549,604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e56e69a03dcde8ab9a366f27b7c94c8.jpg",[68,45],93,{"id":15005,"slug":15006,"title":15007,"dynasty":54,"author":12088,"museum":300,"description":15008,"tags":15009,"thumbUrl":15010,"material":692,"size":1293,"collection":136,"collections":15011,"showCount":15003,"zanCount":48,"manualWeight":48,"mainColor":72},235658,"shan-shui-ping-yuan-jiang-235658","山水屏","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。",[24,7,165,95,27,28,132,29,97,35,34,131,211,99,1955,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d1025c7cc3b3c23c5404aad98a7d7f.jpg",[136],{"id":15013,"slug":15014,"title":15015,"dynasty":54,"author":1460,"museum":161,"description":15016,"tags":15017,"thumbUrl":15018,"material":611,"size":15019,"collection":84,"collections":15020,"showCount":15003,"zanCount":1998,"manualWeight":48,"mainColor":72},231362,"qin-huai-he-tu-shi-tao-231362","秦淮河图","石涛与弘仁、髡残、朱耷合称“清初四僧”，在中国书画史上影响巨大。本博分享的石涛国画作品，选自美国弗利尔美术馆（Freer Gallery of Art）珍藏的金陵山水册页：《金陵怀古册》，画面多为金陵（今南京）之景。作品中可以看出，石涛用笔恣肆，水墨淋漓，色墨交融，是典型的石涛成熟时期作品。",[24,7,128,27,132,29,129,96,1337,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bfce3ea245449c5759644e50c10c5ea.jpg","25.5 x 20.2厘米",[],{"id":15022,"slug":15023,"title":15024,"dynasty":182,"author":464,"museum":300,"description":15025,"tags":15026,"thumbUrl":15027,"material":84,"size":84,"collection":84,"collections":15028,"showCount":15003,"zanCount":48,"manualWeight":48,"mainColor":49},231006,"guan-yin-xiang-li-zhou-yan-li-ben-231006","观音像立轴","此作沉静古雅，观音面含悲悯柔光，仪容温婉澄澈，乌发覆首，宝饰轻缀，自带清寂祥和的禅意氛围。衣袍晕染层次雅致沉稳，暗饰缠枝纹隐于面料间，既见勾勒法度又含柔婉气韵，掌心轻托净水宝瓶，暗合渡世慈悲的意涵。莲台层叠舒展，线条圆融柔和，将神性肃穆与东方古典温润揉为一处。整体设色带着岁月晕开的厚重质感，笔意内敛克制，将大士的安恬慈悲凝于绢素之上，观之令人心下安定，尽显东方造像的静穆大美。",[23,164,24,7,165,27,28,187,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffba7bf5765139b07c598993ea3c1aef4.jpg",[],{"id":15030,"slug":15031,"title":15032,"dynasty":54,"author":10177,"museum":20,"description":15033,"tags":15034,"thumbUrl":15036,"material":40,"size":15037,"collection":44,"collections":15038,"showCount":15003,"zanCount":1998,"manualWeight":48,"mainColor":49},223168,"nan-xun-su-zhou-hu-qiu-xing-gong-tu-jiao-bing-zhen-223168","南巡苏州虎丘行宫图","焦秉贞（生卒年不详），字尔正，山东济宁人，康熙时官钦天监五官正，供奉内廷。清代宫廷画家。擅画人物，吸收西洋画法，重明暗，楼台界画，刻划精工，绘有《仕女图》，《耕织图》等。\n焦秉贞是天主教传教士汤若望的门徒，通天文，擅长画肖像。康熙时官钦天监五官正，画“御容”。明末清初，西洋教士布道中国，每以宗教画为宣传工具，清朝画院供奉众多西洋教士，而钦天监中主其事者众，故焦氏日相濡染，遂习其法，亦一时之风尚使然。焦秉贞所画花卉精妙绝伦，其山水、人物、楼观之位置，自近而远，自大而小，不爽毫发，系采西洋画法。尝奉诏绘《耕织图》四十六幅，村落风景，田家耕作，曲尽其致。称旨，旋镂版印赐臣工。康熙二十八年（1689）尝写池上篇画意，雍正四年（1726）曾为张照写像，蒋廷锡补景。\n焦秉贞作为一个宫廷画家同时又是一个科学官吏，在钦天监供职，对算理和科学的了解自然要比其他担任文官的宫廷画家要多一些，对于建立在数学、物理研究基础之上的西方绘画也较容易了解和接受。这仅仅是一个客观的因素，当时康熙皇帝对于参用西法的绘画的喜爱和赞赏是焦秉贞学习西法的主观因素和重要动力。流传至今较多的他的绘画中多带有“臣”字款，这些作品从整体上看多用色浓重艳丽，布局紧凑，细致工整，“参用西法”的特征主要表现在人物大小的安排，透视和明暗的运用及空间处理上，人物大多按近大远小的原则来安排，不同于传统中国画按人物身份高低安排人物大小的习惯，在空间处理上，也把人物放在一个真实的空间中，以人物为中心营造空间，建筑大小也考虑到人的尺度，甚至不惜牺牲建筑空间的完整性。\n焦秉贞的绘画始终有一种中国化了的真实，似乎总无法摆脱绘画中“写意”思想，在他私人的习作《归去来兮图》中我们更是看到了中国传统文人画家的情怀，除了茅屋结构有上有些许透视外，无论从题材选取还是画面中大片留白手法的运用，都表达了文人惯有的山林隐逸的思想，意境深远，给人以无限遐想。\n明代有一位画家名叫曾鲸（1568—1650，字波臣，福建莆田人，流寓金陵），一改我国传统人物肖像的画法，不用粉彩进行渲染，而是采用淡墨渲染出阴影、凹凸，甚至每画一张像，烘染达数十层，直到满意为止。当时，追随他用这种方法画肖像的人很多，被称为“波臣派”。焦秉贞是继曾鲸之后、开创“西学派”的著名画家，和禹之鼎的“白描派”并称肖像画三大派。",[23,24,7,25,27,28,95,29,96,97,99,1743,34,130,98,8709,15035],"城镇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0260b27a75b9facab7ea0473d120afe.jpg","58.5×544cm",[44,45],{"id":15040,"slug":15041,"title":15042,"dynasty":124,"author":3373,"museum":300,"description":15043,"tags":15044,"thumbUrl":15045,"material":28,"size":15046,"collection":68,"collections":15047,"showCount":15003,"zanCount":1998,"manualWeight":48,"mainColor":3379},222042,"de-qu-zai-ren-ce-13-kai-wang-zhong-222042","得趣在人册13开","汪中，明代画家，以翎毛、山水、人物精擅一时。汪中应人之邀作《得趣在人》册页，共十二开，工笔绘芭蕉、哺雀、舞剑等，此册技法上笔墨雅韵，意境深邃。",[23,164,24,7,59,27,28,61,167,355,547,169,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f74d819ae04a78f0a4642cdafcc5cd.jpg","30×27厘米",[68,45],{"id":15049,"slug":15050,"title":15051,"dynasty":18,"author":1174,"museum":524,"description":15052,"tags":15053,"thumbUrl":15054,"material":151,"size":15055,"collection":42,"collections":15056,"showCount":15003,"zanCount":1998,"manualWeight":48,"mainColor":49},221578,"hao-liang-qiu-shui-tu-li-tang-221578","濠梁秋水图","《濠梁秋水图》是宋代画家李唐创作的一幅中国画，描绘的是安徽凤阳县濠水、濮水一带的风光。数株茂密的大树占据了主要画面。树用夹叶法，淡赭设色，透露出浓浓秋意。大石用斧劈皴，勾勒劲健，结构谨严，苍劲凌厉，颇见质感，以青绿罩染。画面左侧飞泉直泻，落叶点点。李唐对秋水的刻画尤见功力，并使山石的刚硬和水波的柔和形成鲜明对比。整个画面显示出一副浓郁的深秋景象。在这样一个环境里面，庄子和惠子坐于岸边。二人衣着古朴，衣纹简练，却颇见精神。一人面对观者，一人侧面作交谈状，与《采薇图》中伯夷和叔齐的表现方式有异曲同工之妙。\n《濠梁秋水图》的创作，似乎正处于其风格转变过程中的后期，是南宋新风格的开始，构图局部取景的方式已有所体现；而《采薇图》只不过是把要表现的物象更加拉近了而已。皴法上，此图出现了大量的侧锋用笔，洗练、刚劲，但笔触略小，石质坚实，这是大斧劈皴的雏形。到了《采薇图》，则变为阔笔挥洒，更加简略，充满速度和力感，转变体现得更加明显了。还有《采薇图》的远景部分，仿佛弥漫着一层雾气，树石的画法也是水气淋漓，这可能与李唐已久居江南有关。《濠梁秋水图》则显得稍有不同，透露出一种浑厚深沉的山水景象。\n从用笔、风格、水准等方面来看，《濠梁秋水图》当属李唐从《万壑松风图》到《采薇图》之间的过渡作品，仿佛是他在为北宋风格向南宋风格的转变做精巧的注释一般，因而显示出此作珍贵的历史价值和学术价值。",[23,24,7,25,29,128,132,96,34,497,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5606bd8755e55a8ff1f77d67242cb344.jpg","纵24厘米，横114.5厘米",[42,136,45],{"id":15058,"slug":15059,"title":15060,"dynasty":18,"author":397,"museum":20,"description":15061,"tags":15062,"thumbUrl":15064,"material":9291,"size":15065,"collection":42,"collections":15066,"showCount":15003,"zanCount":48,"manualWeight":48,"mainColor":72},221333,"pi-pa-shan-niao-tu-ye-zhao-ji-221333","枇杷山鸟图页","本幅款押“天下一人”。钤“御书”朱文葫芦形印一方。裱边题签：“宋宣和枇杷山鸟”。鉴藏印钤“宣统御览之宝”，中缝钤“八征耄念之宝”、“太上皇帝之宝”朱文印各一方。\n图中枇杷果实累累，枝叶繁盛。一山雀栖于枝上，翘首回望翩翩凤蝶，神情生动。此图体现崔白清澹之体。宋徽宗赵佶的花鸟画以设色为多，然而此图纯以水墨勾染而成，格调高雅，略似没骨画效果，别具一种苍劲细腻之韵致，体现了赵佶多方面的绘画才能。\n对开有清乾隆御题诗一首：“结实圆而椭，枇杷因以名。徒传象厥体，奚必问其声。鸟自讬形稳，蝶还翻影轻。宣和工位置，何事失东京。”感慨宋徽宗如此精于绘画，工于构图和经营位置，缘何却把国家丢失了？",[23,24,7,1131,128,28,60,61,918,4843,15063,64,208],"凤蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facbc63c4273f7440564bd9b6a15e123f.jpg","纵22.6厘米，横24.5厘米",[42,68,45],{"id":15068,"slug":15069,"title":15070,"dynasty":18,"author":620,"museum":450,"description":6012,"tags":15071,"thumbUrl":15073,"material":2997,"size":15074,"collection":42,"collections":15075,"showCount":15003,"zanCount":1998,"manualWeight":48,"mainColor":49},221301,"xiao-niao-tu-zhao-chang-221301","小鸟图",[23,24,7,28,27,61,15072,167,171,11830],"小鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7eb5c32590fc804144ae8ebd0bd02d8d.jpg","纵23厘米，横30厘米",[42,68,45],{"id":15077,"slug":15078,"title":15079,"dynasty":18,"author":15080,"museum":20,"description":15081,"tags":15082,"thumbUrl":15083,"material":611,"size":15084,"collection":318,"collections":15085,"showCount":15003,"zanCount":1998,"manualWeight":48,"mainColor":72},221194,"huai-cheng-du-shi-yun-shi-juan-quan-juan-lu-you-221194","怀成都十韵诗卷全卷","陆游","释文：\n放翁五十犹豪纵，锦城一觉繁华梦。竹叶春醪碧玉壶，桃花骏马青丝鞚。斗鸡南市各分朋，射雉西郊常命中。壮士臂立绿绦鹰，佳人袍画金泥凤。椽烛那知夜漏残，银貂不管晨霜重。一梢红破海棠回，数蕊香新早梅动。酒徒诗社朝暮忙，日月匆匆迭宾送。浮世堪惊老已成，虚名自笑今何用。归来山舍万事空，卧听糟床酒鸣瓮。北窗风雨耿青灯，旧游欲说无人共。省庵兄以为此篇在集中稍可观，因命写之。游。\n此卷为陆游晚年为其友人手录旧日所作七言古诗一首，内容描写作者50岁左右在成都做官时的生活景况。格调豪放跌宕，书风亦瘦硬通神，可谓词翰双美。\n后纸有明陆釴、谢铎、程敏政、王鏊、周经、杨循古、沈周题跋。卷中钤有清乾隆、嘉庆、宣统内府诸玺及原博”、商丘宋荦审定真迹”、“陈宗后印”、“子万”、“真赏”等鉴藏印章。著录于《装余偶记》、《石渠宝笈》。",[23,164,24,7,25,133,64,208,9910],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F832c259287bb3a6900b83dbe1b571838.jpg","纵34.6厘米，横82.4厘米",[318],{"id":15087,"slug":15088,"title":10231,"dynasty":351,"author":15089,"museum":2068,"description":15090,"tags":15091,"thumbUrl":15093,"material":611,"size":15094,"collection":44,"collections":15095,"showCount":15003,"zanCount":1998,"manualWeight":48,"mainColor":72},221178,"er-zu-diao-xin-tu-shi-ke-221178","石恪","画面展现了两个禅定状态的高僧。其一，头枕屈臂，趴在一只睡虎身上，脸部的五官挤压在一起，呈现了睡眠的神态。其二，弯臂以手托腮，依在自己的右腿上，同样表现了睡眠的神态。但两者有所不同。前者全身依托于睡虎，可谓“沉睡入泥”，生动地表现了高僧达到了酣睡入梦、超脱一切的禅定境地。而后者的头躯则是依托于自身的支撑，入微地表现了高僧若有所思、静心似睡的禅定状态。简而言之，前者突出了一个“静”字，而后者则突出了一个“酣”字。\n《二祖调心图》在表现手法上“删繁就简”，“虚实相生”，“无画处皆成妙境”，正是道家精神的体现。",[23,164,24,7,128,187,96,949,369,15092],"简笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a98bd3b86105555a71ed545d41d263.jpg","纵35.5厘米，横129厘米",[44,117],{"id":15097,"slug":15098,"title":15099,"dynasty":144,"author":410,"museum":20,"description":15100,"tags":15101,"thumbUrl":15102,"material":514,"size":15103,"collection":136,"collections":15104,"showCount":15003,"zanCount":48,"manualWeight":48,"mainColor":49},220818,"guan-shan-xiao-si-tu-zhou-wang-meng-220818","关山箫寺图轴","王蒙创造的“水晕墨章”，丰富了民族绘画的表现技法。\n他的独特风格，表现在“元气磅礴”、用笔熟练、“纵横离奇，莫辨端倪”。\n《画史绘要》中说：“王蒙山水师巨然，甚得用墨法”。",[23,24,7,165,29,27,132,95,496,97,99,34,1955,211,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1601b0cd43037b968c1bf32d6a8e7830.jpg","纵161.7cm，横56cm",[136,45],{"id":15106,"slug":15107,"title":3903,"dynasty":54,"author":12462,"museum":244,"description":15108,"tags":15109,"thumbUrl":15110,"material":173,"size":15111,"collection":44,"collections":15112,"showCount":15003,"zanCount":1998,"manualWeight":48,"mainColor":956},220408,"fang-song-yuan-ben-jin-ling-tu-yang-da-zhang-220408","杨大章，乾隆时供奉内廷，工人物、花鸟画。本卷记录古代城市生活的形形色色，自右开始映入眼帘是恬静的郊区农村，过护城河后进入金陵城，城里人车杂沓，各类店铺林立，贩夫走卒、男女老少穿梭于热闹喧嚣的市井中，全卷用色鲜明清亮，人物表情姿态生动，细节讲究，根据幅上作者款识，画成于乾隆五十六年（西元一七九一年）。与院藏〈清院本清明上河图〉皆为长卷式写实风俗画的代表。",[23,24,7,25,27,28,330,95,96,97,98,99,34,101,102,35,11073,12022,1743,1515,105,109,104,31,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51112ceba73713c1fa168c8c09ad47c.jpg","34.1x1088.3",[44,45],{"id":15114,"slug":15115,"title":15116,"dynasty":18,"author":223,"museum":244,"description":15117,"tags":15118,"thumbUrl":15119,"material":317,"size":15120,"collection":68,"collections":15121,"showCount":15003,"zanCount":1116,"manualWeight":48,"mainColor":49},218910,"ku-mu-zhu-shi-tu-yi-ming-218910","枯木竹石图","在这幅画中，用飞白的方法在画面上画了一个石块，墨色淡而笔力强。三两根竹子站在岩石的背面，叶子用优雅而厚实的笔画着，仿佛是春山上的云朵。在一棵寒冷的树枝上，栖息着一种山鸟，它的羽毛非常精致。仔细观察笔触和墨迹，艺术家已经开始形成与赵孟𫖯的相似性。",[23,24,7,164,128,132,61,454,167,171,211,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae588fde6c3ba57b3dc0a96ffdc698.jpg","107.9x51.1厘米",[68],{"id":15123,"slug":15124,"title":15125,"dynasty":18,"author":1622,"museum":244,"description":1623,"tags":15126,"thumbUrl":15127,"material":173,"size":1626,"collection":84,"collections":15128,"showCount":15003,"zanCount":1998,"manualWeight":48,"mainColor":72},218578,"hua-niao-shan-shui-xiao-pin-ce-mu-dan-ma-yuan-218578","花鸟山水小品册-牡丹",[23,164,24,7,59,28,27,61,263,481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F766926073a503e1a589f642282e16710.jpg",[],{"id":15130,"slug":15131,"title":15132,"dynasty":144,"author":223,"museum":300,"description":15133,"tags":15134,"thumbUrl":15135,"material":173,"size":15136,"collection":44,"collections":15137,"showCount":15003,"zanCount":1116,"manualWeight":48,"mainColor":49},218450,"e-mi-tuo-fo-tu-yi-ming-218450","阿弥陀佛图","佛像庄严伫立，右手施无畏印，左手自然垂落，姿态慈悲安详。身着暗红袈裟，饰金色法轮纹样，衣袂垂落间尽显古朴庄重。肤色温润，头光与背光层次分明，暗褐背景更衬神圣。装裱精致，上下深蓝底金纹织物，中间金色祥云边框环绕，金彩熠熠与暗红袈裟相映。整体色调深沉华丽，肃穆中透着慈悲，尽显元代佛教艺术的庄严典雅，仿佛能让人感受到超越时空的宁静与神圣。",[23,24,7,165,27,28,187,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8f3ca149a4f4214a7e0dedff73f805c.jpg","98.2x41.9",[44],{"id":15139,"slug":15140,"title":15141,"dynasty":54,"author":6946,"museum":244,"description":15142,"tags":15143,"thumbUrl":15144,"material":611,"size":15145,"collection":44,"collections":15146,"showCount":15003,"zanCount":1105,"manualWeight":48,"mainColor":72},218363,"fang-li-gong-lin-ming-huang-ji-qiu-tu-ding-guan-peng-218363","仿李公麟明皇击球图","场景中画有16个人物，10个人聚集在场景中间，争夺一个小球。场景中央的人是唐朝的明朝皇帝李隆基。皇帝用臀部骑着一匹骏马，看起来专注而敏捷。他周围的人，有的戴着官帽，有的头上戴着发卡，也都骑在马背上，手持球棒，与皇帝争夺地上的球。他们是皇帝身边的官员、同伴和嫔妃，有两个人在头顶，两个人在卷尾看守目标。画中的人物姿态各异，静中有动，动中有变。这幅画画得很稀疏，线条流畅。",[23,24,7,25,188,330,96,101,208,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1b3926ed3aac8697de219bc21a49828.jpg","32.1x523.2",[44],{"id":15148,"slug":15149,"title":8581,"dynasty":124,"author":1642,"museum":244,"description":15150,"tags":15151,"thumbUrl":15152,"material":173,"size":15153,"collection":44,"collections":15154,"showCount":15003,"zanCount":48,"manualWeight":48,"mainColor":49},216954,"mu-niu-tu-dai-jin-216954","戴进对人物的描绘通常是蚕头鼠尾式的，笔触笨拙而有力。柳树沾满了墨水，密密麻麻地洒满了叶子，加上风中摇曳的小草，纸面上一片清凉，沁人心脾。",[164,24,7,165,27,128,132,96,102,4363,6640],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44c8c78bf69b7ec732d14fa5209f10d6.jpg","38.6x30.6",[44],{"id":15156,"slug":15157,"title":15158,"dynasty":124,"author":3089,"museum":244,"description":15159,"tags":15160,"thumbUrl":15161,"material":173,"size":15162,"collection":68,"collections":15163,"showCount":15003,"zanCount":48,"manualWeight":48,"mainColor":72},216775,"mei-hua-you-niao-tu-bian-wen-jin-216775","梅花幽鸟图","边文进（活动于1403-1428），字景昭，福建沙县人。永乐朝宫廷画家，至宣德年间被授与武英殿待诏官衔。善画花果翎毛，为明初宫廷画家中花鸟画最著名画家，并与善画山水人物的蒋子诚、画虎的赵廉并称「禁中三绝」。\n本幅为〈历代名绘册〉其中一开，描绘盛开白梅，并有一黄眉鵐栖于梅枝上，引颈顾盼。梅枝由左向画幅右侧伸出，曲虬横错，白梅盛开与将开的花苞倚侧枝头，并局部施以白线条勾勒花瓣型态，虽花朵颜料有些脱落，仍可略窥白梅盛开风华。枝头黄眉鵐鸟羽描绘精细，并呈现松活充盈之效。画幅左侧有「景昭」二字，提示画家身份，然似有涂抹痕迹。与院藏另一件边文进〈三友百禽〉相比，梅枝用笔略有相近之处，或许为时间相差不远的学仿者之作。此画整体承接宋代院画折枝花鸟的构图之趣以及优雅娴静气氛，与〈三友百禽〉所显示的喧闹气氛颇不相同，可丰富对明初宫廷花鸟画面貌的认识。",[23,24,164,7,1131,28,27,61,371,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F242a8a95847e379f0a5854c0f83e0499.jpg","23.8x24.7cm",[68],{"id":15165,"slug":15166,"title":15167,"dynasty":54,"author":3750,"museum":5543,"description":15168,"tags":15169,"thumbUrl":15170,"material":278,"size":15171,"collection":136,"collections":15172,"showCount":15003,"zanCount":48,"manualWeight":48,"mainColor":72},214546,"feng-lin-tu-wang-jian-214546","风林图","这幅画据说是沈周临摹的，是后世的典范，因为沈周为元四家建立了方法。用墨深入人心，笔触比沈周的更柔和，没有老辣。",[24,7,165,128,132,29,34,131,7596,276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbbfe89cadeb3bc96eed8e040b30a40c.jpg","88.2x51.3",[136],{"id":15174,"slug":15175,"title":15176,"dynasty":144,"author":223,"museum":244,"description":15177,"tags":15178,"thumbUrl":15179,"material":278,"size":15180,"collection":318,"collections":15181,"showCount":15003,"zanCount":48,"manualWeight":48,"mainColor":72},214226,"jie-shu-qu-li-si-yu-yi-ming-214226","节书曲礼四语","节书曲礼四语是一首中国古代诗歌，出自元代的《全唐诗》。这首诗描写了四种不同的语言，分别是中文、汉语、维吾尔语和朝鲜语，并表示希望这些语言能够和谐相处，共同促进人类的文化交流。\n\n节书曲礼四语的具体内容如下：\n\n节书曲礼四语，和音精妙。\n中文汉语维吾尔，朝鲜语合唱。\n多少有知音，同声高谈。\n千言万语，和谐相处。\n\n这首诗倡导文化多样性，认为人类不同的语言是一种财富，应该尊重和保留。通过这首诗，作者希望人类能够像唱四语曲一样，和谐相处，共同促进文化交流。",[23,24,7,64,840,128,208,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F504b68b34acfe1381dc81ff64340b981.jpg","56.5x25.9",[318],{"id":15183,"slug":15184,"title":15185,"dynasty":18,"author":1323,"museum":300,"description":15186,"tags":15187,"thumbUrl":15189,"material":692,"size":1293,"collection":84,"collections":15190,"showCount":15191,"zanCount":48,"manualWeight":48,"mainColor":49},288495,"fen-xiang-bo-ruan-tu-li-song-288495","焚香拨阮图","李嵩（1166—1243），中国南宋画家，钱塘（今浙江杭州）人。少年时曾为木工，后成为画院画家李从训的养子，绘画上得其亲授，擅长人物、道释，尤精于界画，为光宗、宁宗、理宗（1190一1264）时期画院待诏。\n李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》《水殿招凉图》《观潮图》《西湖图》《仙山瑶涛图》《骷髅幻戏图》《观灯图》《柳塘聚禽图》《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[164,24,7,165,27,96,166,438,28,247,34,875,1424,15188,2145],"焚香","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e91c925d5a97ce7aba2fd11b9a72400.jpg",[],92,{"id":15193,"slug":15194,"title":15195,"dynasty":54,"author":15196,"museum":300,"description":15197,"tags":15198,"thumbUrl":15199,"material":692,"size":1293,"collection":84,"collections":15200,"showCount":15191,"zanCount":1116,"manualWeight":48,"mainColor":72},237945,"yue-ji-lan-hua-wan-shan-zhang-pan-237945","月季兰花纨扇","张槃","张槃 （1812-？）本名张槃，河北定兴人，工篆隶书法，尤精画鸟。（清）原名柞枝，字小蓬（一作小槃），号圆腹道人，直隶定兴人。官山东武定同知。工篆、隶。放情诗酒，余事作花鸟，备极精能，亦能山水。光绪二年（1876）尝客袁浦作红药双鹑图。性简傲，乞其画者必择人而予。",[24,7,1131,27,61,603,375,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0e694aee14afb2a0093a45ad78f3bea.jpg",[],{"id":15202,"slug":15203,"title":11881,"dynasty":18,"author":15204,"museum":244,"description":15205,"tags":15206,"thumbUrl":15207,"material":611,"size":15208,"collection":84,"collections":15209,"showCount":15191,"zanCount":1116,"manualWeight":48,"mainColor":72},232841,"chi-bi-tu-wu-yuan-zhi-232841","武元直","此图描绘了《赤壁赋》中苏轼与客泛舟的情景。大江两岸，石壁陡峭，主山连嶂如屏，江岸古松林立。江水波浪激涌处，一小舟顺流飘然而下，徜徉其中，苏子与二客泰然而坐，谈笑风生，似在吟诗作赋，指点江山。而船夫撑篙，顺流而下，泛舟荡漾于江水之上。长江远去，江面渐渐宽阔，烟波浩荡，而在高耸险峻的山壁之下，小舟及其载客，却是显得那么的渺小\n作者采用开阔的长卷形式，描绘了赤壁的山光水色。画中烟波浩森，巨峰矗立，山石嶙峋、草木葱郁，风声、松声、水声、鸟声在这萧瑟的人迹罕至的地方显得更为凄楚，似乎展现出当年军队悲壮厮杀的场面。近景左右两岸呈开合之势，冈坡崖石起伏，许多松树在这险绝之处更加盘桓突兀、傲立不屈，使人肃然起敬。中景江水湍急，拍岸有声，巨石横江。瞪目而视，中部危峰矗立，断岸千尺。仰首而观，山顶上郁郁葱葱的树木错落有致。远处峰峦起伏，烟雨溟濛。江心一叶小舟逆流而上，舟中是苏轼等四人，怀古寄情，饮酒赋诗，尽情地感受江山变幻无穷的魅力。\n此图无款印，卷后有金代赵秉文行书和苏轼《赤壁词》一阕，前隔水上明代大鉴藏家项元汴题曰：“北宋朱锐画赤壁图。赵闲闲追和坡仙词真迹。李天籁珍秘”。\n赵秉文大行书全文：追和坡仙赤壁词韵。清光一片，问苍苍桂影，其中何物。一叶扁舟波万倾，四顾粘天无壁。叩枻长歌，姮娥欲下，万里挥冰雪。京尘千丈，可能容此人杰。回首赤壁矶边，骑鲸人去，几度山花发。淡淡长空今古梦，只有归鸿明灭。我欲乘云，从公归去，散此麒麟发。三山安在，玉箫吹断明月。正大五年重九前一日，书于玉堂之署。秉文。\n在黄州时，苏轼曾邀友人坐着小船泛游于赤壁之下，凭吊三国时代周瑜与诸葛亮共同击败曹操的地方，写下了《赤壁怀古》、《赤壁赋》等名作，以抒发对古今兴亡的感慨和对大自然雄伟、壮阔的赞美。在这之后，赤壁就成为文人画家作画的常见素材。而武元直所画的《赤壁图》正是以苏轼的《赤壁赋》为题材，表达了苏轼诗文中所描写的境界。\n金灭北宋，南宋偏安江南，政治上宋金对立，然而，文化上金呈现汉化倾向。从北宋掠夺来的书画，成为金代画家学习研究的主要依据，他们的绘画技法日趋成熟，涌现出一批卓有成就的画家，武元直就是其中的一位，而他的《赤壁图》就是在这样的背景下诞生的。\n该画几百年来一直被认为北宋朱锐所作。但是近人感觉此图的笔墨，多类似“斧劈皴”，似乎不是北宋画家所为，加上金代元好问所著《遗山集》中，有“题赵闲闲书赤壁词”一条，末云：“《赤壁图》，武元直所画”，于是马衡著文将此图归于武元直名下。\n《赤壁赋》创作于苏轼被贬黄州的困难时期，画面形象地再现了苏轼携友乘舟夜游赤壁的情景，表现了苏轼受诬遭贬黄州后的清闲生活和豁达胸怀，抒发了苏轼《赤壁赋》从怀古伤今升华到人生超脱的豪放胸臆。\n画中人物虽小，其精神面貌却可得其大略；扁舟虽小，但以小点连缀成形，似音符叮当有声。画家细致地描绘出风动松折，动态逼真，山石笔意健劲，质感坚硬；远山空朦悠然；松杉苍郁，层次分明。\n此图画法，直接以北宋北方画派的传统，用笔比较湿润，江水用流畅曲线，两出波纹，愈远愈细淡。近山用浓墨的斧劈皴，再加淡墨直皴，竖斜交织，表现了山石的质感。远山远树用淡墨画出，不点苔，略加皴染山石和树木，刚柔适中，立体感强，产生浓淡墨色的渗化现象。这种注重空气透视变化的画法，造就一卷颇具特色的作品。\n面的选景在长江的一个弯道处，观者的位置刚好可以看到左右两侧越来越远的景致，而中间部分的高山是它们的分界，体现了画面左右的水平空间感。\n此图采用横卷形式，以便于展开长江两岸的景物，画山穷其凹凸，写水状其盘涡。画中左、右下角各有一组陡峭的山壁，让出屹立于江面的赤壁矶头。从左面到画面二分之一的地方都是连绵不断的临江峭壁，远处山壁以淡墨勾皴，山巅略点重墨，画而中心的赤壁矶头十分突出，赤壁矶后是大片江岸，便左边拥塞的江面至此顿时开阔起来。\n此外，此图采用了全景式的构图方式，使画面整体看起来较为雄伟、壮观。\n中国画家林树中：这是一幅十分成功的杰作。特别是在少数民族统治的金国，画家画出这样高水平的山水画尤为难能可贵，可以认为是今存金国最有代表性的山水面作品。",[23,24,7,25,128,132,29,129,11998,34,6004,415,3857,496,37,1022],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ceb70b5888eae4415468dbb93cdafeb.jpg","纵50.8厘米，横136.4厘米",[],{"id":15211,"slug":15212,"title":15213,"dynasty":124,"author":3619,"museum":524,"description":15214,"tags":15215,"thumbUrl":15216,"material":611,"size":15217,"collection":84,"collections":15218,"showCount":15191,"zanCount":48,"manualWeight":48,"mainColor":199},231835,"lin-xie-jian-cha-tu-wen-zheng-ming-231835","林榭煎茶图","该图所绘山丘起伏，而湖水澄澈，临湖平缓的坡岸上有茅屋数间，竹篱围而成院，杂树环绕。主人于房内凭窗远眺，一童正在室外烹茶，另一人拄杖沿湖边小径而行，似来访友，毫无城市的杂沓、喧嚣，表现了文人悠闲、恬淡的生活情趣。此图笔墨遒劲秀雅，线条流畅工致。\n此图描绘林榭处煎茶情景。此画右起青山林立，山顶山腰山坡间树木丛生，远见似一片片青绿林带，呈烟消碧落的景致。山下为江水一泓，河面宽阔，水平如镜，一派风和日丽的景色。画的中部座落着几间屋宇房舍，四周林木丛生，数间房舍掩映在树木之下，且被竹篱环抱，房舍内，一位长者坐室内凝思，室外一人煮茶，身着便服，这是此画核心部分。画卷的左边为不高不矮土坡山石，在坡岸上长满了杂木和丛草，葱葱郁郁，一派春光明媚，正是煎茶的最好时节。画中有作者自题“徵明为禄之作。”卷末有文徵明白题七言诗一首，赞美君山风光。\n煮茶历来为古贤名士选取的题材之一，远的不说，如元代有赵原的《陆羽烹茶图》，表现唐代茶人陆羽的故事，陆羽不但嗜茶著名，而且对茶很有研究，撰有《茶经》，世称其为“茶神”。又有明代丁云鹏绘有《煮茶图》，画面亦描绘唐代陆羽煮茶的典故。该图是文徵明中年时期所作。\n《林榭煎茶图》以更广阔的湖景描绘，在茶会所蕴含的雅俗之辨意味以外，更叠加以隐逸的超越意涵。悠游闲适、山湖相映，共同映射着苏州文人复杂的内心世界。\n此图笔墨遒劲秀雅，线条流畅工致。山石用牛毛皴，浅淡的青绿设色，近树精勾细琢，远树概括取景。人物的衣纹用高古游丝描。人物形象各俱神态，通过人物眼神、姿态、衣着等具体描绘来突出此画的主题。此画的技法，全画用笔秀润，勾点结合秀逸天成。设色清新秀丽，调色清淡有浓丽绚烂之致，虽浓丽又隽雅不艳俗，为时辈所难以企及。",[23,24,7,25,128,132,29,130,34,131,99,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d9697288498df44d150ee73c094c572.jpg","纵25.7厘米，横114.9厘米",[],{"id":15220,"slug":15221,"title":15222,"dynasty":18,"author":2099,"museum":300,"description":15223,"tags":15224,"thumbUrl":15225,"material":84,"size":84,"collection":44,"collections":15226,"showCount":15191,"zanCount":48,"manualWeight":48,"mainColor":956},228895,"bai-miao-fo-xiang-di-san-zun-zhe-li-gong-lin-228895","白描佛像第三尊者","此作用笔兼具铁线之刚劲与游丝之柔韧，行云流水般勾勒出尊者清癯沧桑的风骨。眉峰微蹙垂目凝神，仿佛正于幽林静悟禅机，沉静淡然的禅意溢于眉眼之间。衣褶线条随体态利落转折，纱罗布料的垂坠轻薄之感呼之欲出，将静坐的松弛动态尽显。旁侧挺劲棕榈与层叠奇石，以淡墨轻擦晕染，寥寥数笔铺陈出空山幽寂的林下氛围。整幅以白描立骨，不施浓艳敷色，尽显素雅古拙的韵致，将禅家内敛沉静的气度融于笔墨，尽显清雅文人意趣。",[23,24,7,165,188,187,96,413,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b0cb0ff09215be2d518fb581eea61d.jpg",[44],{"id":15228,"slug":15229,"title":15230,"dynasty":124,"author":366,"museum":300,"description":15231,"tags":15232,"thumbUrl":15233,"material":84,"size":84,"collection":84,"collections":15234,"showCount":15191,"zanCount":48,"manualWeight":48,"mainColor":72},228761,"shi-er-yue-hua-hui-tu-quan-juan-xu-wei-228761","十二月花卉图全卷","此作用笔纵逸狂放，以水墨晕染替代敷色，浓淡干湿间尽显花卉神韵。牡丹苍润饱满，墨色浓沉见雍容；蜀葵疏朗清劲，淡墨勾勒存清雅，水草兰叶信笔挥洒，野趣横生。\n\n诗画相生相伴，题诗与笔墨意境交融，将文人的疏放心性寄寓于一花一草之中，脱略形似而独尚神韵，以极简的水墨语言写尽花木风骨情态，尽显大写意花鸟的淋漓意趣，是笔墨性情与文人情思完美合一的典范。",[23,24,7,25,128,61,263,373,375,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f4e8f11f67d43edc105e9c7369bf569.jpg",[],{"id":15236,"slug":15237,"title":15238,"dynasty":18,"author":2032,"museum":300,"description":15239,"tags":15240,"thumbUrl":15241,"material":84,"size":84,"collection":84,"collections":15242,"showCount":15191,"zanCount":48,"manualWeight":48,"mainColor":49},227735,"xia-hui-pian-fang-tu-ye-lu-zong-gui-227735","夏卉骈芳图页","《鹅图》是南宋鲁宗贵创作的绢本设色画。\n《鹅图》描绘一只母鹅，背上驼着两只雏鹅在水中游戏，其中一只雏鹅曲颈望着水面，另一只则似乎和母鹅述说着什么，母鹅扭转过头来爱抚地倾听，表现出母鹅和雏鹅之间有似慈母和娇子之间的母子亲情。\n图中绘有大白鹅一只，背负两只雏鹅在水面上浮游，其中一只雏鹅在母鹅右侧颈后，低头引颈望水中，另一只雏鹅在母鹅左侧，抬头向天呜叫，鹅妈妈欣喜扭转过头来，似作侧耳细细倾听小仔的歌声。\n画面颇为情趣，给人以一种温馨善良的感觉。\n作者在构图上颇有新意，无任何背景作陪衬，河水以浅墨一抹而过，起到衬托作用，突出其主题。\n作者捕捉到这种母鹅背负雏鹅的情节，在一般画鹅的作品中不乏多见。\n在布局上取近景，以特写的镜头，将主体突出在画面的居中位置，为了说明母鹅带着雏鹅在水中游戏，一是鹅身前方的匦面留空多；二是母鹅的腿向后伸，虽没有画出水波纹，但这二点足以看出运动的鹅体具有向前浮游的动感。\n另外，采取色差变化来塑造母鹅与仔鹅的形体，以周围的浅灰色烘托出母鹅的洁白，又以墨笔勾勒及黑色晕染出母鹅背上栖卧的两只雏鹅。\n一般来说雏鹅的毛羽是鹅黄色的，但作者采用了与实体自然色相差甚远的黑色，这也是作者的又一新意。\n全图以染为主，仅在嘴、脚及羽毛部略以淡线勾勒，其羽毛形态隐约见真。\n整个图的艺术语言凝重简练，形态栩栩如生，画意情趣生动，意味绵绵。\n鲁宗贵，生卒年未详。\n南宋画家。\n室名筠斋，钱塘(今浙江杭州)人。\n理宗绍定时(1228一12)为画院待诏，出人杨驸马家。\n工花竹、禽鸟、窠石，用笔意趣有余，描染佳妙。\n尤长于写生，鸡雏乳鸭，甚有生意。\n画迹有《金葵翠羽》、《竹枝山鹧》、《梨花白燕》等图，著录于《绘事备考》。\n传世作品有《春韶鸣喜图》、《夏卉骈芳图》册页。",[164,24,7,59,1131,28,27,61,62,828,373,549,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F271a4d7d9c178ff1ca01282a323a7b3e.jpg",[],{"id":15244,"slug":15245,"title":7094,"dynasty":54,"author":4468,"museum":244,"description":15246,"tags":15247,"thumbUrl":15248,"material":40,"size":15249,"collection":68,"collections":15250,"showCount":15191,"zanCount":48,"manualWeight":48,"mainColor":72},222755,"ba-jun-tu-lang-shi-ning-222755","清郎世宁八骏图，虽然是采用中国传统的颜料来作画，但在马匹、人物和柳树的表现上，却融入了西画著重光影的手法，显得立体感十足。右下角的签名，用极工整的仿宋体书写，据此推测，此画应是郎世宁来华初期，亦即雍正年间（1723-1735）的作品。",[23,164,24,7,28,27,101,4363,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04e92b33c9ffa5dd5113ef3c90fe3aac.jpg","139.3公分，横：80.2公分",[68,45],{"id":15252,"slug":15253,"title":15254,"dynasty":124,"author":7003,"museum":510,"description":15255,"tags":15256,"thumbUrl":15257,"material":1223,"size":15258,"collection":136,"collections":15259,"showCount":15191,"zanCount":48,"manualWeight":48,"mainColor":49},222466,"lan-ting-xu-quan-juan-zhu-yun-ming-222466","兰亭序全卷","本卷为祝允明行书《兰亭序》全文与文徵明为之补图的书画合璧作品。祝氏书法宽博雄放，尤具自家风神。文氏补图画王羲之等人兰亭修契之事，设色雅丽，笔墨娴熟\n此本《兰亭序》即是二人追求隐逸自由的代表画作，也是二人友谊的见证。",[23,164,24,7,25,133,128,27,208,64,29,34,130,98,99,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa495121fe18a1376a9191624843f67a1.jpg","26.7x146厘米",[136,45],{"id":15261,"slug":15262,"title":15263,"dynasty":124,"author":1058,"museum":20,"description":3865,"tags":15264,"thumbUrl":15265,"material":20,"size":3868,"collection":44,"collections":15266,"showCount":15191,"zanCount":48,"manualWeight":48,"mainColor":72},222350,"wang-shu-gong-ji-tu-tang-yin-222350","王蜀宫妓图",[23,24,7,165,28,27,96,166,232],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2185c945ec24f42176232f09a48815d.jpg",[44,45],{"id":15268,"slug":15269,"title":15270,"dynasty":18,"author":686,"museum":300,"description":4044,"tags":15271,"thumbUrl":15272,"material":27,"size":15273,"collection":42,"collections":15274,"showCount":15191,"zanCount":1998,"manualWeight":48,"mainColor":49},221431,"qiu-yi-tu-li-shan-fan-kuan-221431","秋意图立軕",[23,24,7,165,27,29,132,131,34,99,6639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3263c8c2537dc9bc31283a3c58aea08c.jpg","50.8x36.5",[42,136,45],{"id":15276,"slug":15277,"title":15278,"dynasty":18,"author":2099,"museum":20,"description":15279,"tags":15280,"thumbUrl":15281,"material":151,"size":15282,"collection":42,"collections":15283,"showCount":15191,"zanCount":1998,"manualWeight":48,"mainColor":49},221397,"lin-wei-yan-mu-fang-tu-juan-quan-juan-li-gong-lin-221397","临韦偃牧放图卷全卷","这是一幅宋朝画家李公麟临摹唐朝画家韦偃的作品。画幅为长卷形式，从右自左展开。在高低不平的土坡和广阔的平原间，牧者驱赶着大群马匹蜂拥而来，马嘶人叫，热闹异常。画面中段以后，马群逐渐散开成组各自活动，有的低头觅食，有的追赶嬉闹，有的奔跑，有的就地翻滚，还有几匹马走向远处的小河去饮水。众多的马匹姿态各异，生动自然。放马的牧人，有的骑在马上，有的穿戴较为整齐，有的则敞胸露怀赤足，在树荫里休息的牧人为契丹族，其中似乎还有等级的差别。整个画面的构图，前半部拥塞、紧张，后半部疏散、松弛，富于节奏感。\n全图共画了人一百四十余口、马一千二百多匹，可谓洋洋大观。\n画中的马匹和人物均用墨线勾勒，线条挺拔有力，色泽较浓重，坡石墨色稍淡，略有皴擦，再用赭石色渲染，加强了画面的气氛。构图和笔墨的变化。使整个作品主次分明、生动活泼，避免了呆板、重复和混乱。如此庞大的构图，若没有长时间的经营和缜密的运思，即使是临摹，也是难以设想的。\n李公麟的大部分绘画作品是画在纸上的，并不施色彩，“惟临摹古画，用绢素着色”（元·汤垕《画鉴》）。这件作品为临摹本，用绢素作画并施淡彩，与画史的记载完全吻合。唐朝画家韦偃已无可靠的作品存世，通过李公麟的这个摹本，也可以领略其绘画的风采。",[23,164,24,7,25,330,188,101,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc407cbff0db594e50f3614e4d2025047.jpg","纵46.2厘米，横429.8厘米。",[42,44,117],{"id":15285,"slug":15286,"title":15287,"dynasty":18,"author":1449,"museum":20,"description":15288,"tags":15289,"thumbUrl":15290,"material":40,"size":15291,"collection":68,"collections":15292,"showCount":15191,"zanCount":48,"manualWeight":48,"mainColor":49},221185,"ju-lv-tu-ma-lin-221185","橘绿图","图中橘子由绿转黄，满压枝头。\n画家以粗细匀整的用笔流畅地勾画出橘叶的外形轮廓，并以黄绿色填涂叶面，叶片虽然不多，但其充满生命力的色彩为画面增添了几许活力，而侧、转、反、正的种种姿态又为全图带来灵动的节律。\n橘子的画法一改平涂晕染，直接以笔着色粉戳染成形，从而生动地表现出橘皮粗糙不平的质感。\n虽然画作历经磨损，许多白色粉点已经剥落，并露出了黄色的绢底，但仍然可见马麟的非凡技艺。\n橘子又称香圆，寓团圆之意。",[23,24,164,7,1131,28,27,61,4570,747,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb517af2b4a5bcb26aab4781737446347.jpg","纵2cm，横2.5cm",[68,45],{"id":15294,"slug":15295,"title":15296,"dynasty":144,"author":569,"museum":20,"description":15297,"tags":15298,"thumbUrl":15299,"material":611,"size":15300,"collection":318,"collections":15301,"showCount":15191,"zanCount":1116,"manualWeight":48,"mainColor":72},220825,"wan-shou-qu-juan-zhao-meng-fu-220825","万寿曲卷","赵孟頫晚年主要在集贤、翰林二院任职，撰写过不少应诏、应制的诗文。此卷是其抄录在皇庆年间官集贤侍读学士时“应制”而作的乐府颂词，也是现存赵孟頫唯一署“臣”字款的作品。卷中书写一丝不苟，结构端严精谨，字势挺拔刚健，笔法精美且富于变化，属于赵书从中晚年风格向极晚年风格过渡的一件佳作。\n译文:闾阖初开。正苍苍曙色，天上春回。绛帻鸡人时报，禁漏频催。九奏钧天帝乐，御香惹，千官环珮。鸣鞘静，嵩岳三呼万岁，声震如雷。殊方异域尽来。满彤廷贡珍，皇化无外。日绕龙颜，云近绛阙蓬莱。四海欢欣鼓舞，圣德过，唐虞三代。年年宴，王母瑶池，紫霞长进琼杯。\n春满皇州。见祥烟拥日，初照龙楼。宫花苑柳，映仙仗云移，金鼎香浮。宝光生玉斧，听鸣凤，箫韶乐奏。德与和气游。天生圣人，千载希有。祥瑞电绕虹流。有云成五色，芝生三秀。四海泰平，致民物雍熙，朝野歌讴。千官齐拜舞，玉杯进，长生酒春（二字倒写）。愿皇庆万年，天子与天同寿。\n天上春风（此字点去）来。正阳和布泽，斗柄初回。一朵祥云捧日，万象生辉。帝德光昭四表，玉帛尽，梯航来会。彤廷敞，花覆千官，紫霄鹓鹭裵佪。仁风徧满九垓。望霓旌缓引，宝扇徐开。喜动龙颜，和气蔼然交泰。九奏箫韶舜乐，兽尊举，麒麟香叆。从今数，亿万斯年，圣主福如天大。\n瑞日当天。对绛阙蓬莱，非雾非烟。翠光覆禁苑，正淑景和（此字点去）芳妍。彩仗和风细转，御香飘满黄金殿。喜万国会朝，千官拜舞，亿兆同欢。福祉如山如川。应玉渚流虹，璇枢飞电。八音奏舜韶，庆玉烛调元。岁岁龙舆凤辇，九重春醉蟠桃宴。天下太平，祝吾皇，寿与天地齐年。臣孟頫。",[23,164,24,7,25,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37efe029da300c60a044e81cd8a85eee.jpg","27.5*144cm",[318],{"id":15303,"slug":15304,"title":15305,"dynasty":124,"author":125,"museum":1300,"description":1301,"tags":15306,"thumbUrl":15308,"material":611,"size":1304,"collection":84,"collections":15309,"showCount":15191,"zanCount":1998,"manualWeight":48,"mainColor":72},220025,"dong-zhuang-tu-ce-zhi-he-dong-shen-zhou-220025","东庄图册之鹤洞",[23,24,7,59,128,132,29,722,15307,99,34,131,2668,1771],"洞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ae2436dfdae7b3a2935aef740291ff1.jpg",[],{"id":15311,"slug":15312,"title":15313,"dynasty":124,"author":125,"museum":1300,"description":1301,"tags":15314,"thumbUrl":15316,"material":66,"size":1304,"collection":84,"collections":15317,"showCount":15191,"zanCount":1998,"manualWeight":48,"mainColor":72},220024,"dong-zhuang-tu-ce-zhi-geng-xi-xuan-shen-zhou-220024","东庄图册之耕息轩",[23,24,7,59,128,27,132,29,96,34,15315,210],"亭轩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13d01d708daaa61717394c3e4b577c01.jpg",[],{"id":15319,"slug":15320,"title":15321,"dynasty":54,"author":4083,"museum":524,"description":4173,"tags":15322,"thumbUrl":15323,"material":66,"size":4176,"collection":136,"collections":15324,"showCount":15191,"zanCount":48,"manualWeight":48,"mainColor":72},219992,"shan-shui-hua-fang-ni-gao-shi-wang-shi-min-219992","山水画-仿倪高士",[24,7,128,29,1337,131,99,132,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1db0745ab15a7923cd8f438c16122b9.jpg",[136],{"id":15326,"slug":15327,"title":15328,"dynasty":18,"author":223,"museum":244,"description":15329,"tags":15330,"thumbUrl":15331,"material":27,"size":84,"collection":45,"collections":15332,"showCount":15191,"zanCount":1116,"manualWeight":48,"mainColor":49},219952,"li-nu-tu-yi-ming-219952","貍奴图","此作以工笔细绘幼猫，晕毫染素，将狸奴毛发的柔绒质感刻画入微，白棕毛色过渡自然柔和，仿佛能触到暖茸肌理。画师捕捉到幼猫乍然停驻的瞬间，碧眼圆睁，机警中带着娇憨稚气，似正留意周遭动静。蓬松长尾俏皮上扬，肉垫粉嫩的前爪轻抬，尽显稚态灵动。画面清简无赘饰，以素净绢底衬出小兽天真意趣，尽显写实传神的精妙，将幼猫软萌机警的鲜活情态定格于绢素之上，满溢悠然灵动的生机。",[23,164,24,7,28,27,1634,949,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3beb66265cf8b96b721db868e2f7be6.jpg",[45],{"id":15334,"slug":15335,"title":15336,"dynasty":144,"author":15337,"museum":20,"description":15338,"tags":15339,"thumbUrl":15340,"material":278,"size":15341,"collection":136,"collections":15342,"showCount":15191,"zanCount":1086,"manualWeight":48,"mainColor":199},218304,"jiang-shan-xue-ji-tu-wu-jin-218304","江山雪霁图","吴瑾","寒江雪霁，天地归于素净。孤峰列峙，覆雪的岩壁透着冷峭；疏林枯木，枝桠苍劲如铁，似在寒风中守着一份清寂。江面上薄雾轻笼，一叶扁舟漾开微澜，舟中隐见人影，独对这空阔山水。笔墨淡润，山石以简皴晕染，留白处尽现雪的洁净；树木勾勒简练却含古意，每一笔都藏着文人的疏阔心境。整幅画无喧嚣，唯有静谧漫溢——雪落的轻响、江风的微痕，都凝在这方天地里，将冬日的清寒与悠远，酿成一杯可饮的孤寂，又透着几分超脱尘俗的淡然。",[24,164,7,128,132,1349,663,1556,413,129,6004,497,1813,1337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc709be6367a49457c47bb2faa4ff5bf3.jpg","30x58.3cm",[136],{"id":15344,"slug":15345,"title":15346,"dynasty":124,"author":1058,"museum":300,"description":15347,"tags":15348,"thumbUrl":15349,"material":66,"size":15350,"collection":44,"collections":15351,"showCount":15191,"zanCount":1998,"manualWeight":48,"mainColor":72},215040,"shi-cai-zi-tu-tang-yin-215040","十才子图","此卷是唐伯虎的虚构作品，后记说是宋徽宗赵佶临摹的，并说赵佶与吴宽一起南下。 吴宽死于1504年，而正德十年是1515年，吴宽已死了十一年，所以此画只能是赝品，但画技中上，可以作为参考。",[23,24,7,25,28,27,96,130,29,34,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b7c8a37613f6aa905d740483ae67edd.jpg","31.5x123.5",[44],{"id":15353,"slug":15354,"title":15355,"dynasty":54,"author":5879,"museum":244,"description":5880,"tags":15356,"thumbUrl":15357,"material":66,"size":84,"collection":84,"collections":15358,"showCount":15191,"zanCount":1998,"manualWeight":48,"mainColor":72},214854,"xie-sheng-ce-10-hua-yan-214854","写生册-10",[164,24,7,59,27,369,1634,1771,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c22dd57e8312db10b0da18f4b21fb8c.jpg",[],{"id":15360,"slug":15361,"title":15362,"dynasty":144,"author":8993,"museum":300,"description":15363,"tags":15364,"thumbUrl":15365,"material":692,"size":1293,"collection":84,"collections":15366,"showCount":15367,"zanCount":1998,"manualWeight":48,"mainColor":72},238126,"yuan-wu-jia-he-hui-juan-wang-mian-238126","元五家合绘卷","王冕（1310年～1359年），字元章，号煮石山农，亦号食中翁、梅花屋主等，浙江省绍兴市诸暨枫桥人，元末著名画家、诗人、篆刻家。他出身贫寒，幼年替人放牛，靠自学成才。\n王冕性格孤傲，鄙视权贵，诗作多同情人民苦难、谴责豪门权贵、轻视功名利禄、描写田园隐逸生活之作。有《竹斋集》3卷，续集2卷。一生爱好梅花，种梅、咏梅，又攻画梅。所画梅花花密枝繁，生意盎然，劲健有力，对后世影响较大。存世画迹有《南枝春早图》《墨梅图》《三君子图》等。能治印，创用花乳石刻印章，篆法绝妙。《明史》有传。",[23,24,7,25,128,132,133,208,64,29,372,371,129,96,34,99,171,130,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029566587ccdec17dc1f9ed58bc5e401.jpg",[],91,{"id":15369,"slug":15370,"title":15371,"dynasty":54,"author":15372,"museum":20,"description":15373,"tags":15374,"thumbUrl":15375,"material":734,"size":84,"collection":68,"collections":15376,"showCount":15367,"zanCount":1116,"manualWeight":48,"mainColor":72},237172,"hua-niao-kun-chong-ce-zhou-quan-237172","花鸟昆虫册","周铨","沈铨 （1682—1760），字衡之，号南苹，其画远师黄筌画派，近承明代吕纪，工写花卉翎毛、走兽，以精密妍丽见长，也擅长画仕女。设色妍丽，工致精丽、赋色浓艳，极尽构梁之巧。画人物得不传之秘。注重写实，画风谨严工细，造型准确生动。尝写《花蕊夫人宫词》为图，笔意殊极巧妙。\n雍正九年（1731）沈铨应日本天皇之聘，偕弟子郑培、高钧等东渡日本，历时3年，形成“南苹派”写生画，深受日人推崇，被称为“舶来画家第一”，从习画者颇多，日本江户时代长崎画派即在其影响下形成，尤以圆山应举最为著名。归得金帛散给友朋，橐仍萧然。\n沈铨归国后声誉大震，传至京城，朝廷便下旨命沈铨作画上贡，乾隆7年作《花蕊夫人宫词意》受到好评，除此，沈铨还陆续为宫廷作吉祥寓意之画，由此沈铨及弟子童衡在中国画史上被称为宫廷画家，沈铨晚年寄居于苏州，孜孜不倦地致力于书画艺术之研究，在乾隆27年81岁的沈铨还能作《花鸟图》。1762年沈铨逝世后，从子沈天骧进新市南频府，守孝三年，继承画业，唯一入室弟子童衡离开沈宅到新市明因寺为僧，闲余作画终身。沈铨把一生献给了绘画事业，在继承院体派传统的基础上，独创了强大的南苹画派，在当时的江南独树一帜，有诗予以很高的评价“江南高手谁第一，吴兴沈生世无匹”。",[24,164,7,59,28,27,61,263,806,624,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58fed9927c9cb8158097d1385b7448f6.jpg",[68,45],{"id":15378,"slug":15379,"title":15380,"dynasty":54,"author":3043,"museum":300,"description":9390,"tags":15381,"thumbUrl":15383,"material":692,"size":1293,"collection":84,"collections":15384,"showCount":15367,"zanCount":1116,"manualWeight":48,"mainColor":72},237154,"xu-gu-fo-shou-pi-pa-zhou-xu-gu-237154","虚谷佛手枇杷轴",[24,7,165,27,128,61,15382,918,208],"佛手","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c22a161fdeda5bce69030c4501bc0a0.jpg",[],{"id":15386,"slug":15387,"title":3659,"dynasty":54,"author":3043,"museum":300,"description":11919,"tags":15388,"thumbUrl":15389,"material":84,"size":84,"collection":68,"collections":15390,"showCount":15367,"zanCount":48,"manualWeight":48,"mainColor":72},236536,"ju-hua-zhou-xu-gu-236536",[24,7,165,128,27,61,376,369,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b132bc15cc8d2b8bf8215263d9b1c17.jpg",[68,117],{"id":15392,"slug":15393,"title":15394,"dynasty":54,"author":3403,"museum":300,"description":8089,"tags":15395,"thumbUrl":15396,"material":692,"size":1293,"collection":84,"collections":15397,"showCount":15367,"zanCount":1998,"manualWeight":48,"mainColor":72},235635,"bai-lian-tu-zhou-wu-chang-shuo-235635","白莲图轴",[24,7,165,128,27,61,168,82,582,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82c0df205ec2ce42c42492c16896f1a8.jpg",[],{"id":15399,"slug":15400,"title":15401,"dynasty":124,"author":366,"museum":20,"description":15402,"tags":15403,"thumbUrl":15404,"material":611,"size":15405,"collection":84,"collections":15406,"showCount":15367,"zanCount":1998,"manualWeight":48,"mainColor":72},233727,"mo-hua-juan-xu-wei-233727","墨花卷","本幅水墨花卉十六段，其顺序是：牡丹、梅花、竹石、玉簪、绣球、萱草、荷花、石榴、芙蓉、秋海棠、菊花、秋葵、双勾竹、水仙、茶花、梅花每段自题七绝一首。末端自题诗。款：“万历五年重九为从子十郎君戏作于木瓜桥之花园馆，金晶山人”印“文长”“两溟渔鸣”白方。引首自书“识得东风”后幅吴俊卿题记。",[24,7,25,128,369,64,133,208,371,375,167,376,168,62,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3841d2a97c07af3531a1bd134c1503b.jpg","纵30cm横54.7cm",[],{"id":15408,"slug":15409,"title":15410,"dynasty":182,"author":15411,"museum":300,"description":15412,"tags":15413,"thumbUrl":15414,"material":84,"size":84,"collection":84,"collections":15415,"showCount":15367,"zanCount":1116,"manualWeight":48,"mainColor":49},232623,"wan-song-qiu-lin-tu-quan-juan-zhang-zao-232623","万松秋林图全卷","张璪","论画山水树石》中说到“山水之变，始于吴，成于二李”之后，紧接着便说“树石之状，妙于韦偃，穷于张通(张璪)”。在唐人心目中，张璪的画还是高于王维等人的。张璪作画喜用紫毫秃笔，属于吴道子型激情一派画家，他往往秃笔抹写，画至得意处，忘乎所已。干脆以手醮色，挥涂起来，久而久之，形成习惯，乃至于发展为王默的“脚蹙手抹”。后世的指画当受其影响。\n张璪的山水画另一大特色就是以墨为主，不贵五彩。荆浩《笔法记》云“张藻员外树石，气韵俱盛，笔墨积微，真思卓然，不贵五彩，旷古绝今，未之有也。”这种“不贵五彩”、“笔墨积微”水墨画法在绘画技法上是一个极大的突破。",[23,164,24,7,25,128,27,132,29,372,2875,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c33524bed7f62604513b963bc367865.jpg",[],{"id":15417,"slug":15418,"title":15419,"dynasty":54,"author":1460,"museum":300,"description":15420,"tags":15421,"thumbUrl":15422,"material":84,"size":84,"collection":84,"collections":15423,"showCount":15367,"zanCount":1998,"manualWeight":48,"mainColor":72},228984,"tao-yuan-tu-shou-juan-shi-tao-228984","桃源图手卷","此卷以水墨绘就世外幽境，烟波浩渺处山峦层叠，云气裹挟峰峦，虚实相生。溪谷村居错落枕山而卧，隐合桃源意趣。\n作者以干笔皴擦点染山峦苍劲质感，湿笔晕染云水，将空濛灵秀尽数铺展。长卷题诗与画意呼应，书与画浑然一体，以诗衬景，写尽武陵寻踪的澹然逸趣，将陶公笔下的避世之境化为眼前水墨云山，尽显寄情林泉、追慕世外丘壑的文人雅怀，把桃源的幽隐之美揉进笔墨山河之中。",[24,7,25,27,29,132,133,208,64,209,129,211,97,98,99,130,34,131,37,11564,1645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F080a81c9dd7e1efb524af89d227ecaf4.jpg",[],{"id":15425,"slug":15426,"title":15427,"dynasty":18,"author":1174,"museum":244,"description":15428,"tags":15429,"thumbUrl":15430,"material":151,"size":15431,"collection":42,"collections":15432,"showCount":15367,"zanCount":1105,"manualWeight":48,"mainColor":49},221579,"zhi-ai-tu-li-tang-221579","炙艾图","《炙艾图》，又叫做《村医图》，是南宋著名画家李唐的传世作品;收藏于台北故宫博物院。《村医图》为一幅风俗人物画，描述走方郎中为村民治病的情形。作品通过对灸艾治疗这一紧张情节的朴实无华的具体描绘，反映了当时农民的困苦生活，有小中见大的寓意。\n《炙艾图》除了真实的记录一名中国古代村医用中医灸法为病人治病的情景 ，同时也充分体现了当时人民生活的现状。画中表现了一位医生正在给病人针灸，画面上的人物表情各异，栩栩如生，表现出画家对生活的细致观察和体验，也体现了画家的一种人文主义关怀，表达了作者对当时下层劳动人民的同情。这幅《炙艾图》既是一幅古代绘画珍品，也是传统艾灸治病的真实写照，为我们了解宋代中医灸法治病提供了宝贵而形象的资料。",[23,164,24,7,28,27,96,1337,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bb7dc93dedae7fb05e015e0366dc9fc.jpg","纵68．8厘米，横58．7厘米",[42,44,45],{"id":15434,"slug":15435,"title":15436,"dynasty":18,"author":1622,"museum":244,"description":15437,"tags":15438,"thumbUrl":15439,"material":514,"size":15440,"collection":42,"collections":15441,"showCount":15367,"zanCount":48,"manualWeight":48,"mainColor":49},221514,"hua-deng-shi-yan-tu-juan-ben-ma-yuan-221514","华灯侍宴图绢本","描绘了杨次山父子在上元节侍宴的场面，记述了南宋宫廷的重大活动。该画以俯视的角度写华灯初上时分官员们随皇帝宴饮观舞的情景，并在全景山水的描写中，烘托出了室内的豪华与欢乐气氛。图中隐约可见几位官员属身随侍皇帝饮宴官殿之外，乐舞的宫女摇曳着身姿，大殿之外的树木，好似也随着音乐起舞，姿态横生。这些树林，由近面远，渐渐隐设于雾色之中，只见宫殿后盛立着几棵松树，和远处云雾中抹青山。中景的松树刻而很具特色，用笔瘦硬如屈铁，枝条长面斜向出。\n画中，远山眉黛，松枝逶迤，前庭梅树十余棵，数名宫女执灯起舞于梅林中，舞姿曼妙。殿宇华厦，灯火明亮，有几位大约是官员的人物，背向微躬，恭谨陪侍酒宴。内堂则幽深不可窥测。\n宋宁宗题一首御制诗，云：“朝回中使传宣命，父子同班侍宴荣。酒捧倪觞祈景福，乐闻汉殿动驩声。宝瓶梅蕊千枝绽，玉栅华灯万盏明。人道催诗须待雨，片云阁雨果诗成。”\n款署“臣马远”，钤有乾卦圆印、双龙圆印、御笔之宝。乾隆跋中点明：“盖当时作此图，以侈一时盛事”。\n对于该画的主题，不同学者提出不同观点，毕嘉珍提出画中描绘的是“奢侈的赏梅盛宴”。彭慧萍则从画师的视角出发，指出此图反映了“深夜禁中大内的当差场景”。高居翰的分析是“马远想出了一个富于诗意的构图”，将宴席隐藏在向后延伸的宫殿图像里，只以庭园中的演艺者和侍从来传达娱乐的场景。\n也有观点指出，这次宴会是宋宁宗为迎接签订“嘉定和议”的丞相史弥远而举办的，所谓“朝回中使传宣命”，并召马远及其子马麟陪侍，马远用绘画记录了这一重大时刻。\n构图:一座孤零零的殿宇，矗立在远山近林中。阶墀下方极少渲染。殿内的君臣侍从沉浸在一片歌舞之中。视线由梅树上顶之势领起，沿华堂左侧引上，由屋脊折而向右，绕出一个反S形，而到达松树与远山，然后下垂，落空于远方薄暮中。观者除了感受宴饮之乐，还可能被近景的梅树、中景的松树、远景的山及苍茫的夜空所吸引\n技法:此图以俯视的角度写华灯初上时分豪门达官酒宴的情景，但作者的兴趣并不是放在细写堂内宴席与众宾客的活动上，他的独特构思在于成功表现外部环境上，描写烘托出室内的豪华与欢乐气氛。图中表现松树很具特色，用笔瘦硬，如屈铁，枝条颀长，而斜向出，下笔严正，以雄奇简练的笔法，表现树枝的坚挺有力，有“拖枝马远”之称。",[23,24,7,165,27,95,28,29,97,96,1144,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea1753402e13e92e3ed1f1221ce3c99.jpg","纵125.6厘米，横46.7厘米",[42,136,117],{"id":15443,"slug":15444,"title":15445,"dynasty":182,"author":15446,"museum":20,"description":15447,"tags":15448,"thumbUrl":15449,"material":151,"size":15450,"collection":136,"collections":15451,"showCount":15367,"zanCount":48,"manualWeight":48,"mainColor":49},221092,"peng-lai-fei-xue-tu-ye-yang-sheng-221092","蓬莱飞雪图页","杨升","《杨升蓬莱飞雪图》是元代诗人柯九思创作的一首七言绝句。\n仙山一夕遍琼瑶，万木森森长玉苗。\n处处楼台相掩映，素娥白鹤正逍遥。\n柯九思： 元台州临海人，字敬仲，号丹丘生。\n依附怀王图帖睦尔(文宗)。\n文宗即位，授典瑞院都事，迁奎章阁鉴书博士。\n文宗死，流寓江南。\n博学能文，善楷书，工画墨竹，能以书法为之。\n又善鉴识鼎彝古器。",[23,24,7,59,27,28,29,97,98,413,1556,96,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82511192a16c3e0b49ca5d24aa8f0676.jpg","75x68cm",[136,45],{"id":15453,"slug":15454,"title":15455,"dynasty":980,"author":3539,"museum":3540,"description":15456,"tags":15457,"thumbUrl":15458,"material":84,"size":84,"collection":84,"collections":15459,"showCount":15367,"zanCount":48,"manualWeight":48,"mainColor":72},220530,"shuang-mao-xu-bei-hong-220530","双猫","幽蓝繁枝澹叶垂落，晕开清寂雅致的底色。两只狸奴静踞石上，一醒一眠相映成趣。左侧玄纹花猫抬眸平视，蓬松绒毛以淡墨晕染留白，将软绒质感描摹入微，神情警觉又暗含温驯灵动。右侧花斑小猫蜷身假寐，柔润笔触晕出慵懒憨态。\n\n下方顽石以泼墨写意而成，枯涩苍劲的笔墨衬出朴拙厚重，与猫的柔润形成鲜明刚柔对照。整幅画作融中西技法，以写实造型捕捉生灵鲜活意态，又以文人水墨营造幽澹氛围，将闲庭猫趣定格纸面，尽显悠然松弛的闲适意韵。",[23,164,24,7,165,128,27,369,1634,413,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd12e40cf83c19d7df05c2ff1a576a69e.jpg",[],{"id":15461,"slug":15462,"title":15463,"dynasty":124,"author":15464,"museum":161,"description":15465,"tags":15466,"thumbUrl":15467,"material":173,"size":15468,"collection":44,"collections":15469,"showCount":15367,"zanCount":1105,"manualWeight":48,"mainColor":49},220412,"feng-yu-gui-cun-tu-xie-shi-chen-220412","风雨归村图","谢时臣","《风雨归村图》是谢时臣比较有代表性的一幅画，描绘的是渔村风雨之景，图中风紧浪急，渔人纷纷结束劳作回家。各种景物由于受到风雨的影响，产生出了不同的应激反应。",[23,24,7,25,29,27,132,96,98,99,129,1350,97,34,131,12423,711,37,11448,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45cff486492d2e306434488295267ef7.jpg","40.3×425.4",[44,45],{"id":15471,"slug":15472,"title":15473,"dynasty":54,"author":1460,"museum":300,"description":15474,"tags":15475,"thumbUrl":15476,"material":66,"size":14831,"collection":136,"collections":15477,"showCount":15367,"zanCount":1116,"manualWeight":48,"mainColor":72},220124,"cai-shi-tu-zhou-shi-tao-220124","采石图轴","石涛(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[23,24,7,165,128,27,29,171,1144,11998,37,415,130,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda809bfbd4f3ca60ab1f69468e34e8e1.jpg",[136],{"id":15479,"slug":15480,"title":15481,"dynasty":124,"author":1438,"museum":20,"description":15482,"tags":15483,"thumbUrl":15484,"material":278,"size":15485,"collection":136,"collections":15486,"showCount":15367,"zanCount":1116,"manualWeight":48,"mainColor":72},220110,"mo-bi-shan-shui-tu-chen-chun-220110","墨笔山水图","陈氏以写意花卉享誉画坛，与徐谓并称“青藤白阳”，传世山水作品并不多见，此作显示出他在山水画方面别有一番造诣。图中近景绘平坡古树，树下一人翘首远眺，远景高岩耸立，秀木成林，烟云缭绕，掩映着溪流的尽头。画家用笔写意韵味很浓，笔迹放纵老到，淋漓疏爽，细看似乎笔笔皆不经意，纵览全幅却是结构严密，墨色轻重有别，虚实得当。画面中清雅空幽、萧散闲逸的意境流露出来自文氏门下的师承传统。",[23,24,7,165,128,132,29,413,1144,98,99,96,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae7c7f71b3d4294315661e3a9f670632.jpg","纵107.8厘米，横67.8厘米",[136,117],{"id":15488,"slug":15489,"title":15490,"dynasty":18,"author":397,"museum":1300,"description":15491,"tags":15492,"thumbUrl":15493,"material":66,"size":15494,"collection":68,"collections":15495,"showCount":15367,"zanCount":1116,"manualWeight":48,"mainColor":49},219085,"qu-yu-tu-zhao-ji-219085","鸜鹆图","枯松虬枝如铁，松针细劲如丝，三只鸜鹆各呈姿态——枝上者振翅欲起，喙微张似唤侣；空中双鸟俯冲而下，羽翼翻飞间尽显灵动。鸟羽的绒质感与松皮的粗糙纹理形成鲜明对比，笔致工细却不失生趣。旁侧瘦金书题跋笔锋挺劲，与画面的苍劲灵动相映成趣，加之错落的朱印，更添古朴雅致。整幅画作将写实工笔与文人意趣融于一体，动静相宜，形神兼备，尽显宋代院体画的精妙与雅致。",[24,164,7,28,61,211,1144,7596,128,27,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d5e3b05c779fc2ee02230a1b9ba12cd.jpg","纵88.2横52厘米",[68],{"id":15497,"slug":15498,"title":15499,"dynasty":18,"author":15500,"museum":244,"description":15501,"tags":15502,"thumbUrl":15503,"material":173,"size":15504,"collection":136,"collections":15505,"showCount":15367,"zanCount":1086,"manualWeight":48,"mainColor":49},218533,"yan-shan-xu-bie-tu-zhao-zong-han-218533","雁山叙别图","赵宗汉","画楼台亭榭，二人设几拥书对坐，一人携杖，童子抱琴随行。此图嘉祐二年五月廿九日，宗汉奉使出镇广南，过浙中，其乡人旧友汪子卿少游浙中，登庆历进士，归从雁山，作此图为别。",[24,7,165,27,132,133,64,29,97,34,131,99,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ceca5bf5d4e52df96f93e938393a90e.jpg","纵156公分，横160公分",[136,42],{"id":15507,"slug":15508,"title":15509,"dynasty":182,"author":223,"museum":2607,"description":15510,"tags":15511,"thumbUrl":15513,"material":2611,"size":84,"collection":84,"collections":15514,"showCount":15367,"zanCount":48,"manualWeight":48,"mainColor":49},217287,"jiang-mo-bian-dun-huang-tu-juan-3-yi-ming-217287","降魔变·敦煌图卷-3","树影婆娑间，故事徐徐铺展。墨线勾勒的衣袂翻飞里，左侧人群神色各异——或凝神静听，或交头接耳，衣袍的赭黄与青绿晕染出人间烟火气。\n\n帐幔轻垂，裹着一室虔诚：帐内人物或合十默祷，或低语交谈，虬髯者的粗犷与稚童的灵动相映成趣。旁侧大象纹饰古雅，背上的图案似藏玄机，卧于茵席间，添了几分神圣静谧。\n\n右侧僧众团坐，赭红衣袂与墨色僧袍交织，光头的圆润衬着肃穆神情，仿佛法音正缓缓流转。他们或指或听，姿态各异却皆凝向中心，将叙事的焦点引向那份庄严。\n\n淡彩晕染的纸页上，线条如行云流水，把宗教的神圣与人间的鲜活揉作一处。每一笔都藏着敦煌艺术的古朴韵致，让千年前的故事，在今日仍能触到那份温热的虔诚与生动。",[164,24,7,25,27,28,187,96,1692,14225,438,34,1364,12314,15512,772],"僧侣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe78417d9a75ae607f87c5184762deb39.jpg",[],{"id":15516,"slug":15517,"title":15518,"dynasty":144,"author":223,"museum":244,"description":15519,"tags":15520,"thumbUrl":15521,"material":173,"size":15522,"collection":68,"collections":15523,"showCount":15367,"zanCount":48,"manualWeight":48,"mainColor":72},215139,"bing-tao-han-xiao-tu-yi-ming-215139","饼桃含笑图","绢色温润如陈年素笺，托出一枝含笑与饼桃。墨笔勾枝，线条老劲却藏柔意，枝桠间，含笑花瓣轻展，白瓣晕浅粉，似含未语的羞涩；饼桃圆润饱满，裹着淡润光泽，透着朴拙生机。叶片以淡墨晕染，脉络细腻，与枝干苍劲相映成趣。几方朱印点缀，红韵与素色交织，更显古雅。画中无喧嚣，唯有花木静美：含笑的含蓄、饼桃的憨态，在简淡笔触里凝成清雅意境，仿佛能闻见那缕若有若无的暗香，尽得宋元文人画的幽淡之味，让观者心沉于这份素净的生机里。",[23,24,7,1131,28,27,61,2123,263,2690,747,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb03408a7f7684830af45e313ff9f410.jpg","22.9x23.6cm",[68],{"id":15525,"slug":15526,"title":15527,"dynasty":144,"author":15528,"museum":56,"description":15529,"tags":15530,"thumbUrl":15531,"material":317,"size":15532,"collection":136,"collections":15533,"showCount":15367,"zanCount":1998,"manualWeight":48,"mainColor":49},215037,"teng-wang-ge-tu-san-ye-xia-yong-215037","滕王阁图散页","夏永","此图描绘了唐代洪州（今江西南昌）名胜滕王阁，此楼依山傍水，是登高远眺之佳处，与黄鹤楼、岳阳楼并称“江南三大名楼”，唐代诗人王勃曾作滕王阁序，留下“落霞与孤鹜齐飞，秋水共长天一色”的名句，使此楼垂名后世。",[164,24,7,95,128,97,29,129,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3937fc23fb0df816f2e1017fd0ca690c.jpg","纵25.5厘米 横26厘米",[136],{"id":15535,"slug":15536,"title":15537,"dynasty":54,"author":5879,"museum":244,"description":5880,"tags":15538,"thumbUrl":15541,"material":66,"size":84,"collection":84,"collections":15542,"showCount":15367,"zanCount":1998,"manualWeight":48,"mainColor":72},214844,"xie-sheng-ce-18-hua-yan-214844","写生册-18",[164,24,7,59,27,128,2166,61,623,15539,15540,549,547],"蜂巢","桂树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33f36389e15970529a3aac15136cc8f6.jpg",[],{"id":15544,"slug":15545,"title":15546,"dynasty":124,"author":15547,"museum":244,"description":15548,"tags":15549,"thumbUrl":15553,"material":173,"size":15554,"collection":136,"collections":15555,"showCount":15367,"zanCount":48,"manualWeight":48,"mainColor":49},214735,"ren-wu-zhou-guo-chun-214735","人物轴","郭纯","在水边的柳树下摆上一张桌子，客人和主人坐在一起交谈，手持羽毛扇，身穿纱笼。三个孩子，一个炖着茶和水，另一个拿着苍蝇刷，站在客人身后，与拿着饭盒的人交谈。山石皴法是元代盛懋风格，其工艺也不弱。建筑物的笔触偶尔会有失误",[24,7,165,128,27,29,96,28,15550,4363,98,247,496,34,15551,15552,2983,11429],"屋宇","人物活动","水墨设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e11bebc6abc80b06f3d874186097f6b.jpg","110.8x62.1",[136],{"id":15557,"slug":15558,"title":15559,"dynasty":54,"author":55,"museum":300,"description":15560,"tags":15561,"thumbUrl":15562,"material":84,"size":84,"collection":136,"collections":15563,"showCount":15564,"zanCount":48,"manualWeight":48,"mainColor":72},237098,"yun-shou-ping-hu-shan-tu-zhou-yun-shou-ping-237098","恽寿平湖山图轴","恽寿平(初名格；1633—1690)，字寿平，以字行，又字正叔，别号南田，一号白云外史、云溪史、东园客、巢枫客、草衣生、横山樵者。江苏武进人，清代著名画家。\n创常州派，为清朝“一代之冠”。特点是以潇洒秀逸的用笔直接点蘸颜色敷染成画，讲究形似，但又不以形似为满足，有文人画的情调、韵味。其山水画亦有很高成就，以神韵、情趣取胜，与“四王”、吴历并称“清初六大家”。他又善诗文和书法，诗被誉为“毗陵六逸之冠”。书法主要学褚遂良，被称为“恽体”。",[24,7,165,128,132,29,129,4363,131,37,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2edf4c0fe6fe2640f88f0e56ef758d77.jpg",[136],90,{"id":15566,"slug":15567,"title":6330,"dynasty":54,"author":3403,"museum":300,"description":15568,"tags":15569,"thumbUrl":15570,"material":84,"size":84,"collection":68,"collections":15571,"showCount":15564,"zanCount":1998,"manualWeight":48,"mainColor":72},236709,"mo-he-zhou-wu-chang-shuo-236709","图绘荷塘小景。荷叶以泼墨法绘出，墨分五彩，浓淡相宜；荷花以胭脂加水晕染，得娇艳欲滴之貌。构图盈满，层次鲜明，画风新奇。",[24,7,165,128,369,168,81,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26fa54def8562aff21aef714166c0d1f.jpg",[68,318],{"id":15573,"slug":15574,"title":15060,"dynasty":18,"author":915,"museum":20,"description":15575,"tags":15576,"thumbUrl":15577,"material":40,"size":15578,"collection":84,"collections":15579,"showCount":15564,"zanCount":1116,"manualWeight":48,"mainColor":49},233002,"pi-pa-shan-niao-tu-ye-lin-chun-233002","图绘江南五月，成熟的枇杷果在夏日的光照下分外诱人。一只绣眼翘尾引颈栖于枇杷枝上正欲啄食果实，却发现其上有一只蚂蚁，便回喙定睛端详，神情十分生动有趣。枇杷枝仿佛随着绣眼的动作重心失衡而上下颤动，画面静中有动，妙趣横生。绣眼的羽毛先以色、墨晕染，随后以工细而不板滞的小笔触根根刻画，表现出鸟儿背羽坚密光滑、腹毛蓬松柔软的不同质感。枇杷果以土黄色线勾轮廓，继而填入金黄色，最后以赭色绘脐，三种不同的暖色水乳交融，从而展现出枇杷果成熟期的丰满甜美。枇杷叶用笔致工整细腻的重彩法表现，不仅如实地刻画出叶面反转向背的各种自然形貌，且将叶面被虫儿叮咬的残损痕迹亦勾描晕染得一丝不苟，充分反映了宋代花鸟画在写实方面所达到的艺术水平。",[24,7,164,28,27,61,918,355,549,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7aa06bf3aa4e5e7e1763e4645676c6e.jpg","纵26.9厘米，横27.2厘米",[],{"id":15581,"slug":15582,"title":15583,"dynasty":54,"author":2290,"museum":300,"description":15584,"tags":15585,"thumbUrl":15586,"material":84,"size":84,"collection":84,"collections":15587,"showCount":15564,"zanCount":1116,"manualWeight":48,"mainColor":49},228927,"bai-tou-rong-gui-tu-li-zhou-ma-quan-228927","白头荣贵图立轴","此作绘就清秋雅景，桂树虬枝斜出，繁花缀于叶间，两只白头翁栖于枝头，羽色晕染细腻，灵动悠然，似在细嗅甜香。苔石苍古朴拙，旁侧芙蓉柔花绽蕊，粉白相衬，妍丽温婉。\n\n笔触工秀兼具，禽鸟绒毛蓬松鲜活，花叶勾勒柔婉，设色明丽雅致却艳而不俗。以白头翁谐“白头”，丹桂、芙蓉寄寓荣华，将秋日生机与吉庆祈愿相融，笔底尽是温婉意趣，静赏间漫溢清和雅致的古典韵味。",[23,164,24,7,165,28,27,61,263,2886,131,582,549,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa823023cfbac82a24300a34fb689b2f2.jpg",[],{"id":15589,"slug":15590,"title":15591,"dynasty":18,"author":1449,"museum":300,"description":15592,"tags":15593,"thumbUrl":15594,"material":84,"size":84,"collection":84,"collections":15595,"showCount":15564,"zanCount":48,"manualWeight":48,"mainColor":72},227633,"zuo-kan-yun-qi-tu-wang-wei-shi-yi-ma-lin-227633","坐看云起图-王维诗意","行到水穷处，坐看云起时。",[23,24,164,7,128,27,29,132,131,34,950,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36fc5a4c30410523ad6dec74afa8db56.jpg",[],{"id":15597,"slug":15598,"title":15599,"dynasty":18,"author":2349,"museum":300,"description":15600,"tags":15601,"thumbUrl":15603,"material":84,"size":84,"collection":84,"collections":15604,"showCount":15564,"zanCount":1116,"manualWeight":48,"mainColor":49},227509,"zhuang-jing-shi-nv-tu-su-han-chen-227509","妆靓仕女图","《妆靓仕女图》是宋代画家苏汉臣创作的一幅绢本扇面画。",[23,164,24,7,1131,27,28,96,166,997,375,251,15602,7345],"妆饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54e31d25805d2c3d737c9b6538502ea6.jpg",[],{"id":15606,"slug":15607,"title":5180,"dynasty":54,"author":1676,"museum":300,"description":15608,"tags":15609,"thumbUrl":15610,"material":84,"size":84,"collection":84,"collections":15611,"showCount":15564,"zanCount":48,"manualWeight":48,"mainColor":72},224332,"he-hua-tu-zhou-li-shan-224332","这幅作品以书入画，诗墨相融。狂放苍劲的题笔沿边排布，与水墨荷塘相映成趣。荷叶以泼墨晕染，浓淡干湿间尽显酣畅野逸，墨色沉凝处如积雨重碧，浅淡处似晓露初歇。花瓣以淡墨轻勾，含露亭亭，在浓墨荷叶的衬托下愈显清柔雅致。\n笔线纵恣写意，荷梗挺拔舒展，卷叶、莲蓬错落点缀，虚实相生间晕开荷塘清寂又蓬勃的生机。整幅将物象风神与文人意趣交织，以大写意笔法把荷塘逸态与胸中意气相融，尽显疏朗狂逸的格调，是性情与笔墨共生的绝佳范本。",[23,24,7,165,128,369,133,208,81,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b036304de3bc3acd1b8f63768ad6326.jpg",[],{"id":15613,"slug":15614,"title":15615,"dynasty":54,"author":55,"museum":20,"description":15616,"tags":15617,"thumbUrl":15618,"material":734,"size":15619,"collection":136,"collections":15620,"showCount":15564,"zanCount":48,"manualWeight":48,"mainColor":72},220976,"shan-shui-hua-niao-tu-ce-ye-yu-chu-ji-yun-shou-ping-220976","山水花鸟图册-夜雨初霁","每图各有恽寿平题识，分别钤“寿平”白朱文印、“正叔”朱文印、“寿平”白文印、“恽正叔”白文印、“寿平印”白文印等。每图各有乾隆皇帝题诗一首。鉴藏印有：“乾隆御赏之宝”、“淳化轩”、“石渠宝笈”、“臣庞元济恭藏”、“虚斋至精之品”等二十余方。\n本图册第三开、第十开分别署年款“乙卯秋”、“乙卯十月”。“乙卯”为清康熙十四年（1675年），此作应为恽寿平43岁时作品。\n此山水花卉图册分别描绘鹅群、荷花、山水、古木寒鸦、牡丹、乔柯急涧、夜雨初霁、菊花、兰花蝴蝶花、溪山行旅等。全册为作者临仿宋、元、明诸家。山水以宗董源、巨然、米芾、赵孟頫诸家为主，秀骨清幽，富有文人书卷之气。花鸟以宗徐崇嗣、赵昌、沈周诸家为主，重视写生，力求形似，如第五开的牡丹，技法灵活，宗法徐崇嗣的没骨法，同时又强调“与花传神”，力去华靡，追求“澹雅”，不刻意求工，唯求自然天趣，揭示出恽寿平一向所追求的平淡超逸的审美意趣。",[23,24,7,59,128,27,29,97,98,129,211,34,131,37,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4caaee7acd02f00b671f99fe717cb6e3.jpg","纵27.5cm，横35.2cm",[136,117],{"id":15622,"slug":15623,"title":15624,"dynasty":54,"author":55,"museum":244,"description":15625,"tags":15626,"thumbUrl":15627,"material":611,"size":15628,"collection":136,"collections":15629,"showCount":15564,"zanCount":1998,"manualWeight":48,"mainColor":72},220971,"fang-ni-zan-gu-mu-cong-huang-tu-yun-shou-ping-220971","仿倪瓒古木丛篁图","《仿倪瓒古木丛篁图》仿倪瓒遗意，画古木平泉，丛篁积翠。技法上，画树以鹿角法，画石以折带皴，二者皆用淡墨干笔，画竹叶亦以轻盈简率的介字点法。构图简洁，画面丰富，为倪瓒作画特色。",[23,24,7,165,128,132,330,331,167,171,1233],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c40f667736f6fd2b6ac59e572161654.jpg","纵81cm，横32.7cm",[136,117],{"id":15631,"slug":15632,"title":15633,"dynasty":144,"author":1346,"museum":20,"description":15634,"tags":15635,"thumbUrl":15637,"material":151,"size":15638,"collection":136,"collections":15639,"showCount":15564,"zanCount":1998,"manualWeight":48,"mainColor":49},220783,"lu-hua-han-yan-tu-wu-zhen-220783","芦花寒雁图","《芦花寒雁图》是元代画家吴镇创作的一幅绢本墨笔画，现收藏于北京故宫博物院。\n《芦花寒雁图》以平远法绘秋日水滨景色，水面微波荡漾，蒹葭苍苍，一双芦雁振翅飞起，渔父于舟头仰首凝视。画面空灵寒寂，形成了平淡清远的境界。图中以平行置景的手法表现空阔无际的水泊，以浓淡变化的水墨表现远近层次，平中见奇。\n此图中心部分画了一个大的芦苇塘，时已深秋，两岸芦花在随风摆动。塘中画一正在行驶的小船，船头一艄公须髯飘拂，一边划桨，一边昂首望天，他显然听到了寒空雁叫，才把目光转向天空。上部空中，有两只孤雁，正背着小船的方向飞去。\n自屈原《渔父》及《庄子》中的渔父形象在文学作品中出现后，渔父成了清高孤洁、避世脱俗、浪迹江湖的隐士化身。渔父形象的大量出现并形成一种风气是在元代。由于元代在中国历史上是蒙古民族入主中原并统治全中国的朝代，其民族歧视政策使大量文人都采取古典绘画的人文意蕴了不与之合作的态度。在这种社会背景下，渔父清高、避世、逍遥的人生为许多隐退文人所仿效，这其中，吴镇对渔父最为情有独钟。\n吴镇在元至顺元年（公元1330年）所绘的《芦花寒雁图》是其一系列“渔隐”主题作品中的一幅，在画中适当变化了《寒林重汀图》中的构画元素。\n《芦花寒雁图》中双雁起飞，渔父仰首观望，通过细致描绘周边环境，巧妙地把渔父安排于水面一个较突出的位置。 此图画幅不大，却意境深远。画面采用三段式构图，平行的披麻皴。横向铺开，除了渔父和寒雁外，《芦花寒雁图》中的大多物象都能在《寒林重汀图》中找到，可见董源对吴镇的影响。\n此图技法上用柔润的线条勾写物象，笔法灵活，疏简秀逸，自然平淡，苍润华滋，具有文人的书卷气。图中山石、坡地直接用大笔，连扫带染，使得皴笔与渲染的墨色自然地交融在一起。再加以披麻皴，罩一层水墨，略分浓淡，以区分山石的凹凸向背。在水域的处理上，更是用湿笔淡墨层层铺陈。在用墨上，饱蘸水分，将江南湿润的空气流动在画中。",[23,24,7,165,128,132,208,129,1350,15636,211,29],"芦花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d33051a230060350c9af21019672658.jpg","纵83.3厘米，横27.8厘米",[136,117],{"id":15641,"slug":15642,"title":15643,"dynasty":144,"author":2697,"museum":20,"description":15644,"tags":15645,"thumbUrl":15646,"material":173,"size":15647,"collection":68,"collections":15648,"showCount":15564,"zanCount":1998,"manualWeight":48,"mainColor":49},220342,"mu-yu-zhu-tu-li-kan-220342","沐雨竹图","自宋以来，梅、兰、竹、菊被士大夫称为“四君子”，象征“清高”“幽洁”“虚心”“隐逸”“气节”等精神品格。当社会危机、民族危机严重时，一些知识分子无力抗争，在孤愤与绝望中把情感寄托于笔墨，通过高度净化了的形式，表现这几种植物的品性，以喻君子的傲骨和高风。入元以后，“四君子”画不但更为兴盛，而且在思想情感的表现上更加丰富和深刻，笔墨情趣也更加讲究。特别是墨竹，用笔单纯简洁、挥洒自由，具有书法的意态，引起了士大夫的强烈兴趣。",[24,7,165,128,28,167,1314,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcead2e46dbd68e83194ae99afee9827.jpg","纵111.5厘米，横55 厘米",[68],{"id":15650,"slug":15651,"title":15652,"dynasty":144,"author":1346,"museum":15653,"description":15654,"tags":15655,"thumbUrl":15656,"material":278,"size":15657,"collection":136,"collections":15658,"showCount":15564,"zanCount":1998,"manualWeight":48,"mainColor":49},219974,"song-quan-tu-wu-zhen-219974","松泉图","南京市博物馆","此图用秃笔勾勒树石,干墨皴擦,描绘松针则用笔尖,可看出画家的特有风格。画上有画家的自题诗:“长松兮亭亭,流泉兮泠泠, 漱白石兮散晴雪,舞天风兮吟秋声。景幽佳兮足静赏,中有人兮眉青青。松兮泉兮何所拟,研池阴阴兮清澈底,挂高堂兮素壁间,夜半风雷兮忽飞起。”署款“至元四年夏至日,奉为子渊戏作松泉，梅花道人书。”钤有“嘉兴吴镇,仲圭书画记”。",[23,24,7,165,128,132,29,1144,11134,131,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdefdfbd5e2d90e3f8ec272a86ef27862.jpg","105.3厘米 横31.7厘米",[136],{"id":15660,"slug":15661,"title":15662,"dynasty":18,"author":15663,"museum":77,"description":15664,"tags":15665,"thumbUrl":15666,"material":173,"size":15667,"collection":68,"collections":15668,"showCount":15564,"zanCount":1116,"manualWeight":48,"mainColor":49},218929,"hong-ye-xiao-niao-tu-wu-yuan-yu-218929","红叶小鸟图","吴元瑜","此幅《红叶小鸟图》是现今所知的唯一署款之作，“元瑜”二字书写古拙，笔法柔中带刚。画的设色极高古，小鸟羽毛描绘精细，指爪紧握树枝，眼神灵活，舌尖颤动如发清音，状物写情生动传神，定为宋画应无疑问。而且画幅上藏印累累，包括黔宁王沐昂，著名的收藏家宋荦，近代鉴藏家吴湖帆、钱镜塘、王季迁等。虽暂时仍未查有著录，但正如杨仁恺在裱绫中所题，“画心钤明清诸家钤印，当有所据也”。",[164,24,7,61,28,27,355,1955,2438,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91e95be5e4206dc53f32e2bb88825d63.jpg","42x25cm",[68],{"id":15670,"slug":15671,"title":15672,"dynasty":18,"author":15673,"museum":244,"description":15674,"tags":15675,"thumbUrl":15676,"material":173,"size":84,"collection":136,"collections":15677,"showCount":15564,"zanCount":1116,"manualWeight":48,"mainColor":72},218677,"xi-hu-shi-jing-tu-lei-feng-xi-zhao-ye-xiao-yan-218677","西湖十景图-雷峰夕照","叶肖岩","山峦晕染着暮色的暖调，古塔静立在层岩之上，夕照的金辉轻覆于林梢与塔檐，晕开朦胧的暖意。近处松枝虬劲，山石皴擦细腻；远处峰峦隐入淡墨，虚实间藏着江南的温婉。左侧墨笔题跋的线条与山水肌理相映，文辞与画意交织，将西湖黄昏的悠然意趣凝于尺幅。苍劲与柔婉并存，写实与写意相融，尽显雷峰夕照的静谧深远——仿佛晚风掠过塔铃轻响，时光沉淀的诗意在笔墨间缓缓流淌，让观者窥见千年西湖黄昏的温婉与悠长。",[23,24,7,59,27,29,3344,97,64,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e6bfc3fb9153780220775dfbeb9338f.jpg",[136],{"id":15679,"slug":15680,"title":15681,"dynasty":18,"author":1323,"museum":300,"description":15682,"tags":15683,"thumbUrl":15684,"material":173,"size":15685,"collection":45,"collections":15686,"showCount":15564,"zanCount":1998,"manualWeight":48,"mainColor":49},218594,"lan-you-shang-tu-li-song-218594","阑游赏图","三个女人坐在一座偏远的山边的亭子里，在高大的树荫下，从栅栏上欣赏风景，而亭子外面的两个女仆则身材修长，姿态优美。该技术的特点是岩石上的小笔触，树木和远处的山丘都是农场画的特点。",[24,7,28,27,95,29,96,130,34,97,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd89ca87b97de7d9898441c2291b095a.jpg","22x20.6",[45],{"id":15688,"slug":15689,"title":15690,"dynasty":54,"author":9529,"museum":20,"description":15691,"tags":15692,"thumbUrl":15693,"material":278,"size":15694,"collection":136,"collections":15695,"showCount":15564,"zanCount":1998,"manualWeight":48,"mainColor":72},218520,"yan-qi-gao-shi-tu-wang-hui-218520","岩栖高士图","此图是王翚盛年山水画代表作。该图以高远式构图，画高岩幽壑，长松平湖，岩崖间古木盘虬，杂草丛生，山径盘陀，叠叠山泉涌出峡谷，流入湖中。峡谷间山馆水榭或半隐于崖畔，或横架于流泉之上。近岸平坡松荫下一人仰坐，似在欣赏幽雅的湖光山色。此画结构严谨，意境清幽。据记载明代唐寅曾有之，画家虽未言仿唐寅画法，然所画山石用元人干笔皴擦，参用宋人斧劈皴法，苍劲秀润，用墨干湿相济，变化多端，极富逸趣与韵味，似应是画家早期精研唐寅画法后的变化所得，体现了画家这一时期山水画的典型风貌。\n图中王翚自识虽未署年款，但笪重光题跋书于壬子年，即清康熙十一年（1672年），王石谷时年41岁，此图应作于当时或稍前。本幅上方王翚自题七言诗：“高士岩栖趣自幽，白云天半读书楼。银河落向千峰裹，长和松涛万壑秋。”又笪重光、恽寿平题和。从三人题诗中得知，此图作于毗陵（今江苏武进）舟次，时三人聚会于此，研讨绘画达40余日，以诗书画互赠，堪称“艺林盛事”。此图乃王翚画赠笪氏之作。",[23,24,7,165,128,132,29,96,1144,495,131,758,99,331,548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e2e386c670104c6002b4b8f716d6d0a.jpg","纵122.7厘米，横31.5厘米",[136],{"id":15697,"slug":15698,"title":15699,"dynasty":124,"author":15700,"museum":244,"description":15701,"tags":15702,"thumbUrl":15703,"material":278,"size":15704,"collection":318,"collections":15705,"showCount":15564,"zanCount":48,"manualWeight":48,"mainColor":72},214227,"shang-lin-dong-nuan-shi-zhu-zhan-ji-214227","上林冬暖诗","朱瞻基","上林冬暖是一首中国古代诗歌，作者是朱瞻基。这首诗描述了冬季的上林园林，表达了作者对自然美景的喜爱。\n\n上林冬暖是一首七言绝句，共有七句话，每句话都有四个字。这首诗的内容很简单，但是通过精巧的排列和组合，表达了作者对冬季上林园林的深深的喜爱。\n\n上林冬暖诗的具体内容如下：\n上林冬暖，玉树乱花。\n池边莲叶，夜来香。\n山间小道，草色浅浅。\n山间鸟鸣，绿荫苍苍。\n\n这首诗通过描述上林冬季的美景来表达作者对自然的热爱。在这首诗中，朱瞻基描述了上林园林在冬季里的温暖和美丽，并表达了对自然的感悟和体会。",[23,124,7,64,133,27,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed13e6102b654ac4127e0fce5854a6b3.jpg","47.3x23.9",[318],{"id":15707,"slug":15708,"title":15709,"dynasty":18,"author":7553,"museum":244,"description":15710,"tags":15711,"thumbUrl":15712,"material":692,"size":15713,"collection":84,"collections":15714,"showCount":15715,"zanCount":48,"manualWeight":48,"mainColor":49},288949,"xi-shan-lou-guan-tu-yan-wen-gui-288949","溪山楼观图","《溪山楼观图》是一件立轴作品，代表北宋初全景式山水的典型。此图绘高远、深远景色，溪山重叠，自下而上，自近及远，繁复细密。在险峻的峰峦之中，显现出雄伟壮观的楼观殿宇，山崖下水榭回廊与水波浩渺的江面互相映衬，加上陡峭的山势与艰险的山径，使此画的境界雄浑沉秀，繁中见清。笔法尖劲峭丽，山石皴中有染，精细工整，是“燕家景致”的典型范例。",[23,164,24,7,128,29,97,131,34,99,132,165,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e79de6733f981b2ebaba4b9f3bceaa7.jpg","103.9x47.4",[],89,{"id":15717,"slug":15718,"title":15719,"dynasty":54,"author":15720,"museum":300,"description":15721,"tags":15722,"thumbUrl":15723,"material":692,"size":1293,"collection":84,"collections":15724,"showCount":15715,"zanCount":1116,"manualWeight":48,"mainColor":72},230292,"zhao-meng-fu-da-shi-zan-ai-xin-jue-luo-yong-xing-230292","赵孟頫大士赞","爱新觉罗永瑆","爱新觉罗·永瑆（1752年3月22日—1823年5月10日），少字镜泉，从号少厂，又号镜泉、即斋，别号诒晋斋主人，清朝宗室亲王，乾隆帝爱新觉罗·弘历的第十一子，嘉庆帝的异母兄，永瑆的生母是淑嘉皇贵妃金佳氏。\n乾隆十七年壬申（1752年）二月初七辰时出生于圆明园五福堂。乾隆五十四年（1789年）十一月封和硕成亲王。嘉庆四年（1799年），在军机处行走。道光三年（1823年）三月三十日午时薨，年七十二，谥曰哲。\n作为清朝著名书法家，与翁方纲、刘墉、铁保并列“乾隆四家”。著有《听雨屋集》《诒晋斋集》《仓龙集》。",[23,64,572,208,7,25,187,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F239d73cbdf3045fafccec73a08a508ad.jpg",[],{"id":15726,"slug":15727,"title":15728,"dynasty":124,"author":125,"museum":300,"description":15729,"tags":15730,"thumbUrl":15731,"material":692,"size":1293,"collection":84,"collections":15732,"showCount":15715,"zanCount":1998,"manualWeight":48,"mainColor":72},228828,"wo-you-tu-ce-shen-zhou-228828","卧游图册","此套图册分别绘仿倪山水、杏花、秋葵、秋柳鸣蝉、平坡散牧、栀子花、秋景山水、芙蓉、枇杷、秋山读书、石榴、雏鸡、秋江钓艇、菜花、江山坐话、仿米山水、雪江渔夫等山水、花鸟小景。\n根据末开画家自题，可知该册页的“卧游”之名源自南朝宋宗炳在居室四壁挂山水以当卧游的典故。然而不同于挂轴的是，该图册还可于卧床时仰面翻阅。 由此可见画家的绘制初衷和生活情趣。",[23,24,7,59,128,27,29,61,167,1314,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6888d1d28a0071d48ff437e6713a55.jpg",[],{"id":15734,"slug":15735,"title":3607,"dynasty":54,"author":15736,"museum":1376,"description":15737,"tags":15738,"thumbUrl":15739,"material":40,"size":15740,"collection":68,"collections":15741,"showCount":15715,"zanCount":1998,"manualWeight":48,"mainColor":49},222687,"mu-dan-tu-zhou-chen-zhuo-222687","陈卓","绘盛开牡丹数朵，姹紫嫣红，花瓣层层叠叠，绿叶繁茂；湖石立于花中，灰黑的颜色让花儿更加娇艳。图中的牡丹为典型的没骨画法。陈卓，字中立，清代画家，擅绘青绿山水，喜作青绿设色，兼工花鸟、人物。",[23,24,7,165,28,27,263,131,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe3a743980de113f98a6c8a0a9babb69.jpg","149x68cm",[68,45],{"id":15743,"slug":15744,"title":15745,"dynasty":18,"author":633,"museum":224,"description":15746,"tags":15747,"thumbUrl":15748,"material":12690,"size":15749,"collection":42,"collections":15750,"showCount":15715,"zanCount":48,"manualWeight":48,"mainColor":72},221664,"qing-jiang-gui-zhao-tu-juan-xia-gui-221664","晴江归棹图卷","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[23,24,7,25,128,132,29,129,3649,413,30,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69a2f6dbc10edb0bfb220d50ae3f71d2.jpg","29.3x376",[42,136,117],{"id":15752,"slug":15753,"title":15754,"dynasty":182,"author":223,"museum":300,"description":15755,"tags":15756,"thumbUrl":15757,"material":84,"size":84,"collection":44,"collections":15758,"showCount":15715,"zanCount":1116,"manualWeight":48,"mainColor":72},221132,"duan-jian-bi-mu-bi-hua-lin-ben-yi-ming-221132","“段简壁”墓壁画临本","此作人物排布错落有致，仕女丰腴端雅，挽高髻、着交领襦裙，披帛垂曳间尽显柔婉雍容。两位侍从装束干练，神态恭谨肃穆。全作用铁线描勾勒，劲挺流畅，精准刻画出人物体态与衣物褶皱起伏。设色古雅清隽，红褐、石紫配色沉稳厚重，岁月浸蚀留下斑驳痕迹，却更衬出盛唐的独特审美意韵。画作写实细腻，还原了彼时的妆束仪制，将墓主人出行仪卫的从容气度凝于壁间，尽显大唐的雍容风华。",[23,24,7,164,1362,330,188,27,28,96,166,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c7bdf5ea3b57dfd093ec32a74891c16.jpg",[44,45],{"id":15760,"slug":15761,"title":15762,"dynasty":144,"author":569,"museum":224,"description":15763,"tags":15764,"thumbUrl":15765,"material":611,"size":15766,"collection":44,"collections":15767,"showCount":15715,"zanCount":1998,"manualWeight":48,"mainColor":49},220834,"lan-ting-xiu-xi-zhao-meng-fu-220834","蘭亭修禊","兰亭修禊：修禊（xiūxì），源于周代的一种古老习俗，即农历三月上旬“巳日”这一天，（魏以后始固定为三月三日），到水边嬉游，以消除不祥，叫做“修褉”。人们相约到水边沐浴、洗濯，借以除灾去邪，古俗称之为：“祓禊”。后文人饮酒赋诗的集会，也称为修禊。春日踏青有“春禊”，秋日秋高气爽，文人怎能辜负这大好时光，自然会有“秋禊”，时间一般是在农历七月十四。历史上最为有名的修禊当数兰亭修禊和红桥修禊。王羲之《兰亭集序》：“暮春之初，会于会稽山阴之兰亭，修褉事也。”",[23,24,7,25,27,28,64,133,96,34,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d11be852e9ee5dd0f93e513e3b855e.jpg","纵:32.2cm 横:375.3cm",[44,117],{"id":15769,"slug":15770,"title":15771,"dynasty":124,"author":15772,"museum":56,"description":15773,"tags":15774,"thumbUrl":15776,"material":173,"size":84,"collection":44,"collections":15777,"showCount":15715,"zanCount":48,"manualWeight":48,"mainColor":49},219696,"li-heng-xiang-ceng-jing-219696","李亨像","曾鲸","此作以精微写实的笔触塑造人物，先以淡墨勾定轮廓，再层层晕染面部，将人物鬓发纹理、眉目间沉静内敛的神态全然铺展，尽显儒雅清隽的文人风骨。\n服饰设色调和雅致，石青镶边与米衣料相映，线条清劲凝练，将衣料垂坠质感细腻呈现，朴拙中带着雅致气度。画面舍去繁复布景，以素净底色烘托人物，形神兼备，将肖像画写实传神的特质发挥到极致，是兼具笔墨意趣与写真功力的佳作。",[24,7,27,96,11584,15775,28,805,170],"墨骨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a419af8e6a79113dda1540d232af906.jpg",[44],{"id":15779,"slug":15780,"title":15781,"dynasty":18,"author":3308,"museum":244,"description":15782,"tags":15783,"thumbUrl":15784,"material":611,"size":84,"collection":318,"collections":15785,"showCount":15715,"zanCount":1998,"manualWeight":48,"mainColor":72},219684,"song-yuan-bao-han-ce-song-gao-zong-shu-qi-yan-lv-shi-zhao-gou-219684","宋元宝翰册-宋高宗书七言律诗","宋高宗赵构（1107年6月13日－1187年11月9日），字德基，宋朝第十位皇帝，南宋开国皇帝（1127年－1162年在位），宋徽宗赵佶第九子、宋钦宗赵桓之弟，母为显仁皇后韦氏。",[164,24,7,59,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d74f162461ca59c26ac6b7a02fc1103.jpg",[318],{"id":15787,"slug":15788,"title":15789,"dynasty":124,"author":1058,"museum":244,"description":15790,"tags":15791,"thumbUrl":15792,"material":173,"size":15793,"collection":136,"collections":15794,"showCount":15715,"zanCount":1998,"manualWeight":48,"mainColor":49},219511,"han-guan-xue-ji-tu-tang-yin-219511","函关雪霁图","画面近处是三四辆牛车穿行在冬日的山道中，山石凹面泉瀑涌出，至右侧汇集成溪。远处是谷底的寺庙、村舍，均笼罩在皑皑白雪之中。更有高楼耸立于山峦顶处的密林里，自山脚处向上拔起的峻峰，笔淡而缩密，勾以数笔为远山，水天合一，均以淡墨烘染，达到了“雪不待粉而自白”的效果。",[24,7,29,128,132,1556,663,34,1337,35,106,101,497,208,690,31,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd84e076a543804a08b825284cfb2e78e.jpg","纵69.9厘米，横37.3厘米",[136],{"id":15796,"slug":15797,"title":15798,"dynasty":18,"author":15799,"museum":1941,"description":15800,"tags":15801,"thumbUrl":15802,"material":173,"size":15803,"collection":68,"collections":15804,"showCount":15715,"zanCount":1116,"manualWeight":48,"mainColor":49},218925,"yuan-yang-za-qin-tu-han-you-218925","鸳鸯杂禽图","韩佑","这幅画上画着密密麻麻的梅花和山茶花，表达了冬天的精致。一对鸳鸯依偎在萧瑟的坡岸上，为画面增添了一丝温情。这幅画据说是宋代的韩佑所作，但山石的风格是明代画院的风格，官方网站将其定为15至16世纪。",[164,24,7,165,28,27,61,371,1857,1400,62,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc9960809d93f2f94c401c8fe943f369.jpg","154x94.2cm",[68],{"id":15806,"slug":15807,"title":15808,"dynasty":18,"author":1622,"museum":244,"description":1623,"tags":15809,"thumbUrl":15811,"material":173,"size":1626,"collection":84,"collections":15812,"showCount":15715,"zanCount":1116,"manualWeight":48,"mainColor":72},218575,"hua-niao-shan-shui-xiao-pin-ce-tao-shi-ma-yuan-218575","花鸟山水小品册-桃实",[23,24,7,59,27,28,61,15810,624,208],"桃实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faadbefdeadf6a41201afc56e25773c67.jpg",[],{"id":15814,"slug":15815,"title":15816,"dynasty":54,"author":6946,"museum":244,"description":15817,"tags":15818,"thumbUrl":15821,"material":278,"size":84,"collection":44,"collections":15822,"showCount":15715,"zanCount":1998,"manualWeight":48,"mainColor":72},217923,"tang-ming-huang-ji-ju-tu-ding-guan-peng-217923","唐明皇击鞠图","丁观鹏是清朝时期的画家，他最著名的作品之一是《唐明皇击鞠图》。这幅画描绘了唐朝第一位皇帝唐太宗（又称唐明皇）打鞠的场景。\n\n唐太宗是唐朝的建立者，他在位时实行了许多改革措施，使唐朝成为中国历史上最繁荣的朝代之一。他非常喜欢鞠球运动，常常在宫中练习打鞠。丁观鹏的这幅画中，唐明皇正在向前跑步，身体做出打鞠的姿势，表现出他对这项运动的热爱。\n\n丁观鹏的《唐明皇击鞠图》是一幅工笔画，他细致地描绘了唐明皇的衣服和鞠球的细节，并使用了深浅不一的色彩来表现光线的变化。这幅画被认为是丁观鹏作品中最出色的一幅，也是清朝时期最著名的画作之一。它现在被收藏在北京故宫博物院的藏品之中。",[164,24,7,28,188,27,95,96,101,758,208,170,15819,15820],"古代人物","马球场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde3def1caee6bc241053a237d8871f10.jpg",[44],{"id":15824,"slug":15825,"title":15826,"dynasty":144,"author":287,"museum":5543,"description":15827,"tags":15828,"thumbUrl":15830,"material":173,"size":15831,"collection":68,"collections":15832,"showCount":15715,"zanCount":1105,"manualWeight":48,"mainColor":49},216098,"sun-tu-qian-xuan-216098","笋图","钱选（1213年－1275年），字善彦，元朝时期的书画家。他是著名的书法家和画家，也是著名的丹青家。他的著名作品有《笋图》。\n\n《笋图》是钱选的代表作之一，它是一幅花卉画，描绘了一棵竹子长出的笋竹。画中笋竹细腻而精巧，表现了钱选对竹子的生长过程的细致观察和深刻理解。画中的竹叶细腻，竹子的轮廓线清晰，构图简单而优美。整幅画浑然一体，极富艺术魅力。钱选的《笋图》被誉为元朝花卉画的代表作之一。",[24,7,27,28,15829],"笋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa36c699fa827e03d1122c5524ea426.jpg","21x31.5cm",[68],{"id":15834,"slug":15835,"title":15836,"dynasty":54,"author":5879,"museum":244,"description":5880,"tags":15837,"thumbUrl":15838,"material":66,"size":84,"collection":84,"collections":15839,"showCount":15715,"zanCount":48,"manualWeight":48,"mainColor":72},214848,"xie-sheng-ce-15-hua-yan-214848","写生册-15",[24,7,59,128,949,9633,2438,2037,208,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22de583f690d4844cea3aa5bdc79e136.jpg",[],{"id":15841,"slug":15842,"title":15843,"dynasty":54,"author":5879,"museum":1941,"description":10317,"tags":15844,"thumbUrl":15845,"material":611,"size":10320,"collection":84,"collections":15846,"showCount":15715,"zanCount":1998,"manualWeight":48,"mainColor":49},214353,"san-jue-shan-shui-ce-11-hua-yan-214353","三绝山水册-11",[23,24,7,59,128,27,29,387,34,950,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F062aa97e82de940580bf8cfb91b7d3f7.jpg",[],{"id":15848,"slug":15849,"title":15850,"dynasty":124,"author":15851,"museum":244,"description":15852,"tags":15853,"thumbUrl":15854,"material":278,"size":15855,"collection":318,"collections":15856,"showCount":15715,"zanCount":48,"manualWeight":48,"mainColor":72},214209,"cao-shu-zhou-mo-shi-long-214209","草书轴","莫是龙","释文：挥手寒原日欲西。霜禽向客有情啼。空山摇落无相赠。独与春风送马头。云卿书。",[23,24,7,165,840,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2076e1c76e1c425049da7a553c9a512f.jpg","133.5x53.7",[318],{"id":15858,"slug":15859,"title":15860,"dynasty":124,"author":223,"museum":20,"description":11785,"tags":15861,"thumbUrl":15862,"material":514,"size":84,"collection":44,"collections":15863,"showCount":15864,"zanCount":1998,"manualWeight":48,"mainColor":72},236159,"zhang-liang-xiang-zhou-yi-ming-236159","张良像轴",[24,7,165,27,28,96,170,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3ea3055380793c01b2c8b24c4717441.jpg",[44,45],88,{"id":15866,"slug":15867,"title":15868,"dynasty":124,"author":2110,"museum":20,"description":15869,"tags":15870,"thumbUrl":15871,"material":84,"size":84,"collection":84,"collections":15872,"showCount":15864,"zanCount":48,"manualWeight":48,"mainColor":72},234819,"ming-qing-zhu-jia-ji-jin-ce-hua-hui-ce-ye-zhou-zhi-mian-234819","明清诸家集锦册-花卉册页","周之冕（1521—？）明代杰出画家，字服卿，号少谷，长洲（今江苏苏州）人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。善用勾勒法画花，以水墨点染叶子，画法兼工带写，人称勾花点叶法。所作花鸟，形象真实，意态生动，颇有影响。写意花鸟，最有神韵。设色亦鲜雅，家畜各种禽鸟，详其饮啄飞止，故动笔具有生意 。特以嗜酒落魄，不甚为世重耳。又善古隶。",[24,7,59,128,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe4c8ad8125d04783fe859a3534814b2.jpg",[],{"id":15874,"slug":15875,"title":3844,"dynasty":124,"author":204,"museum":300,"description":15876,"tags":15877,"thumbUrl":15883,"material":84,"size":84,"collection":84,"collections":15884,"showCount":15864,"zanCount":1998,"manualWeight":48,"mainColor":49},228431,"xi-yuan-ya-ji-tu-chou-ying-228431","林壑幽深处，文士凭崖观眺、揖谈畅叙，松竹环合，尽显林下清旷风流。下方庭院里，宾主列坐，或展卷挥毫，或品鉴器物，侍从随侍左右，朱门红栏衬出雅集端雅规整。\n\n整作工细秀雅，设色古澹清润，以全景式构图铺展雅聚盛景，将文人酬唱往还的意趣融于山园之中，山野清旷与庭院娴雅相融，把历代文人心向往之的林下雅兴具象呈现，复刻出一段隽永的名士雅境。",[23,24,164,7,27,28,96,29,372,167,247,15878,251,15879,15880,15881,15882],"朱门","文士雅集","挥毫","清旷","娴雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f8f1f98099d9cdf33ce0c57c0cde632.jpg",[],{"id":15886,"slug":15887,"title":15888,"dynasty":54,"author":7208,"museum":300,"description":15889,"tags":15890,"thumbUrl":15891,"material":84,"size":84,"collection":84,"collections":15892,"showCount":15864,"zanCount":1998,"manualWeight":48,"mainColor":72},224123,"mu-dan-shui-xian-song-qian-long-224123","牡丹水仙松","此作工写兼具，笔致温婉细腻。虬曲松枝挺劲苍古，松针以淡墨晕染，蓬松灵动，缀一枚松果更添幽寂古意。艳粉色牡丹饱满柔润，雍容舒展尽显华贵，一旁水仙莹白清雅，素淡可人。\n\n刚健的松枝搭配柔妍的花束，刚柔相济和谐雅致。设色秀润柔和，毫无艳俗之感，将院体画的精致工整与文人意趣的清雅格调相融。配题诗文寄意福寿绵长、清韵恒常，整幅以松之寿、花之妍，绘就祥瑞吉庆的美好意蕴，尽显典雅雍容的审美意趣。",[23,24,7,165,27,28,61,263,374,372,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d1e0899a4eb23c6ddb0729e24fe94e4.jpg",[],{"id":15894,"slug":15895,"title":15896,"dynasty":54,"author":10177,"museum":20,"description":15897,"tags":15898,"thumbUrl":15900,"material":84,"size":15901,"collection":136,"collections":15902,"showCount":15864,"zanCount":1105,"manualWeight":48,"mainColor":72},223170,"geng-zhi-tu-ce-jiao-bing-zhen-223170","耕织图册","《胤禛耕织图册·收刈》是清代佚名创作的绢本设色画。\n此为耕织图册之一开。\n本幅描绘麦田中农夫装扮的胤禛（雍亲王）正带领众人收割。\n此图用笔精到，设色典雅，人物形象生动传神，将劳动者辛勤耕作的场景描绘得十分生动。\n耕织图起源于南宋时期，是我国古代为劝课农桑而详实地记录耕作与蚕织的系列图谱。\n由于其“图绘以尽其状，诗文以尽其情”，形象生动、细腻传神地描绘了劳动者耕作与蚕织的场景和详细的生产过程，从而起到了普及农业生产知识、推广耕作技术、促进社会生产力发展的巨大作用，而其本身也成为极其珍贵的艺术瑰宝。\n宋代的《耕织图》册由耕图21幅、织图24幅组成。\n清康熙二十八年（1689年），康熙皇帝南巡时观览到此图，感慨万端，遂命内廷供奉焦秉贞根据其原意重新绘制《耕织图》册，作耕图2幅，织图2幅。\n《雍正耕织图》册是雍正帝登基以前以康熙年间刻版印制的《耕织图》为蓝本，内容和规格仿照焦氏本，由清宫廷画师精心绘制而成。\n所不同的是胤禛耕织图中的主要人物如农夫、蚕妇等均为胤禛及其福晋等人的肖像，这在历代的耕织图中是仅见的。\n该图现存52页，其中6页为未定稿的衍页，其余46页中耕图、织图各2页，每幅画上都有胤禛的亲笔题诗，并钤有“雍亲王宝”和“破尘居士”两方印章。\n根据画法特点，此画册可能出自当时宫廷画家陈枚之手。\n（1678—175) 即爱新觉罗， 。\n清朝皇帝。\n满族。\n圣祖第四子。\n年号雍正。\n1722—175年在位。\n康熙三十五年（1696年），从帝征喝尔丹。\n三十七年，封贝勒。\n四十八年，进封雍亲王。\n康熙末参与部分政务。\n得隆科多、年羹尧之助夺得帝位后,即用高压手段对付参与争位的诸弟；胤德被长期幽禁；胤视、胤塘被削籍，不得其死。\n康察的亲信多遭贬斥。\n隆科多、年羹尧亦被借故禁铜并杀。\n对汉族知识分子，改变康照时以笼络为主的策略，屡兴文字狱。\n曾用藩邸亲信鄂尔泰、田文镜、李卫等为重要省区的总督。\n雍正七年（1729年），建立军机房（后改军机处），取代内阁和大臣会议，成为承旨经办军政事务的国家中枢机构；又取消诸王为下五旗（正红、镶红、镶白、正蓝、镶蓝）管主的制度，以加强君主集权。\n实行摊丁人亩，以保证赋税收人。\n在西南少数民族地区推行“改土归流”，废除土司制度，设立府、州、县。\n始设置驻藏大臣,加强对西藏的管辖。\n曾出兵平定 贵族的叛乱，并镇压准噶尔部贵族的骚扰。\n对外曾与沙俄订立《 》和《中俄恰克图界约》，划定中俄中段边界。\n精通满、汉文，娴熟书法，熟悉儒家经典。\n有《世宗完皇帝有制文集》等。",[164,24,7,59,27,28,304,96,102,13640,34,99,15899,210,4283],"农耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ed5980469ac69b2e0f1c93414f87c1.jpg","34.7cm×27.7cm",[136,44,45],{"id":15904,"slug":15905,"title":15906,"dynasty":124,"author":1058,"museum":20,"description":15907,"tags":15908,"thumbUrl":15909,"material":1722,"size":15910,"collection":84,"collections":15911,"showCount":15864,"zanCount":48,"manualWeight":48,"mainColor":72},222335,"mo-mei-tu-zhou-tang-yin-222335","墨梅图轴","此幅以枯笔焦墨画梅花枝干，皴擦纹理，表现梅枝苍劲虬曲的姿态；以浓淡相间的水墨点画花朵，以谨细之笔画出花蕊，笔法刚健清逸，表现出梅花清丽脱俗的风貌。画面中间的梅花风姿绰约，右上的题诗洒脱清秀，左下的印章工稳典雅，三者浑然一体，相得益彰。\n本幅自题：“黄金布地梵王家，白玉成林腊后花。对酒不妨还弄墨，一枝清影写横斜。□堂看梅和王少傅韵。吴趋唐寅。",[164,24,7,165,128,371,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0239c6bbe3e5d4ec00d78c8e1005a79.jpg","纵96厘米，横36厘米",[],{"id":15913,"slug":15914,"title":15915,"dynasty":18,"author":2099,"museum":300,"description":15916,"tags":15917,"thumbUrl":15918,"material":611,"size":15919,"collection":42,"collections":15920,"showCount":15864,"zanCount":1116,"manualWeight":48,"mainColor":72},221398,"fa-hai-ling-shan-tu-ce-li-gong-lin-221398","法海灵山图册","尤工人物，能分别状貌，使人望而知其为廊庙、馆阁、山林、草野、闾阎、臧荻、占舆、皂隶。至于动作态度、颦伸俯仰、大小善恶、与夫东西南北之人才分点画、尊卑贵贱、咸有区别，非若世俗画工混为一律。贵贱研丑止以肥红瘦黑分之。大抵公麟以立意为先，布置缘饰为次，其成染精致，俗工或可学焉，至率略简易处，则终不近也",[23,24,164,7,59,188,187,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff0df1b380f365d00c48d70258594a85.jpg","23x299cm",[42,44],{"id":15922,"slug":15923,"title":15924,"dynasty":182,"author":6123,"museum":244,"description":15925,"tags":15926,"thumbUrl":15927,"material":151,"size":15928,"collection":136,"collections":15929,"showCount":15864,"zanCount":48,"manualWeight":48,"mainColor":49},221095,"long-chi-jing-du-tu-li-zhao-dao-221095","龙池竞渡图","大致在宋、元时期，涌现出了一批以反映园林建筑为主要题材的绘画作品，这种充满人文景观的建筑绘画作品，除了表现技巧上的成熟外，也营造出一种全新的绘画艺术形式，形成以楼图为主体、以山水为背景、以人物舟车为点缀的界画艺术",[23,24,7,1131,26,27,95,29,97,98,129,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67dff8d35255766cbed16cb1427c7429.jpg","28.5x29.7cm",[136,45],{"id":15931,"slug":15932,"title":15933,"dynasty":124,"author":2268,"museum":20,"description":15934,"tags":15935,"thumbUrl":15936,"material":9355,"size":15937,"collection":136,"collections":15938,"showCount":15864,"zanCount":1998,"manualWeight":48,"mainColor":72},220967,"gao-yi-tu-zhou-dong-qi-chang-220967","高逸图轴","明万历四十四年(1616年)三月，董其昌正赋闲居家。由于其子与乡民发生冲突，导致其宅被焚，家资尽丧，此即著名的“民抄董宦”事件。董其昌被迫避祸他乡，惶惶往来于吴兴、镇江之间。虽然半年后事态逐渐平息，但董似乎心有余悸，仍旧频频四出游历、访友。此图即为第二年董氏去镇江、太湖间的练湖畔访其旧友蒋道枢，与蒋氏泛舟荆溪时的即兴之作，颇似当年倪瓒弃家隐居太湖时的心境。董其昌此图采用了倪氏典型的笔墨技法，湖滨两岸的浅坡及山丘皆以干笔淡墨施以折带皴，行笔以侧锋为主，笔墨苍逸，极好地表达出倪画中萧散简远的意境，同时也反映了作者晚年身历劫乱后的苍凉心绪。但作者又非简单地仿古，近岸数株盘屈虬结的古木就充分体现了作者独特的艺术创造。董氏画树有其独到的见解，他在《画禅室随笔》中写道：“画树之法，须专以转折为主……如写字之于转笔用力，更不可往而不收……但画一尺树，更不可令有半寸之直，须笔笔转去。此秘诀也。”树过于直，不免枯燥、呆板，有曲折才见变化、生意。观此图之树，确实起到了点醒画面的作用。近景之树，不仅是连接两岸的桥梁，填补了湖面的大片空白，同时也是作者刻意表现的另一主要物象，它们攲侧的走势以及相互之间纠结牵引的姿态，都使冷寂空阔的景色趋于活跃，表现了董其昌多方面的笔墨技巧。",[23,24,7,165,128,29,34,131,132,133,1429,415,665,1337,10059,496,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c9da1c4b4b98526a13f16aa2f526b92.jpg","纵89.5厘米，横51.6厘米",[136,117],{"id":15940,"slug":15941,"title":15942,"dynasty":980,"author":1687,"museum":3540,"description":15943,"tags":15944,"thumbUrl":15945,"material":1223,"size":84,"collection":84,"collections":15946,"showCount":15864,"zanCount":48,"manualWeight":48,"mainColor":72},220500,"e-mei-jin-ding-heng-pi-zhang-da-qian-220500","峨嵋金顶（横披）","云海翻涌将山峦裁出虚实层次，一侧以浅赭勾勒山石，枯涩皴笔尽显崖壁嶙峋苍劲，另一侧以青绿重彩晕染坡峦，层叠笔触晕开蓊郁生机。山巅楼宇隐于翠色之上，在流云间恍若仙阙。\n画作糅合北派山水的雄浑大气与南宗的秀润空灵，打破青绿旧有范式，以色调对冲凸显山川刚柔并济的质感，将峰岳的高华巍峨与清虚空灵凝于尺幅。边角题跋朱印呼应，文气与画韵相融，引观者神游绝顶，揽云听松，坠入烟霞之中。",[24,7,27,26,29,132,30,13912,34,11998,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1bb0493805dbede2bd10a16c58db9f5.jpg",[],{"id":15948,"slug":15949,"title":15950,"dynasty":351,"author":6787,"museum":2542,"description":14330,"tags":15951,"thumbUrl":15952,"material":317,"size":15953,"collection":136,"collections":15954,"showCount":15864,"zanCount":1998,"manualWeight":48,"mainColor":49},219877,"zhong-xi-yan-ai-tu-ju-ran-219877","重溪烟霭图",[23,164,24,7,25,128,29,37,499,34,496,129,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F002f9fd99a437be58311e2c0552f8180.jpg","29.9x418.5cm",[136],{"id":15956,"slug":15957,"title":15958,"dynasty":124,"author":1141,"museum":20,"description":15959,"tags":15960,"thumbUrl":15961,"material":66,"size":15962,"collection":136,"collections":15963,"showCount":15864,"zanCount":1116,"manualWeight":48,"mainColor":72},219721,"shen-cui-xuan-tu-wen-zheng-ming-219721","深翠轩图","文徵明（1470—1559年），原名壁，字徵明，后以字行，改字徵仲，长洲（今江苏省苏州）人。家世武弁，自祖父起始以文显，父文林曾任温州永嘉知县。他幼习经籍诗文，喜爱书画，文师吴宽，书法学李应祯，绘画宗沈周。少时即享才名，与祝允明、唐寅、徐祯卿并称“吴中四才子”。然在科举道路上却很坎坷，从弘治乙卯（1495年）26岁到嘉靖壬午（1522年）53岁，十次应举均落第，直至54岁才受荐以贡生进京，待诏翰林院。四年中目睹官场腐败，一再乞归，57岁回归故里，潜心诗文书画。他通晓各科绘画之艺，擅长各种细粗之法，其目力和控笔能力极佳，80多岁时还能十分流利地书写蝇头小楷竟日不倦。绘画上与沈周共创“吴派”，又与沈周、唐寅、仇英并称“吴门四家”。书法上与祝允明、王宠并誉为“吴中三家”。 文徵明的绘画兼善山水、兰竹、人物、花卉诸科，尤精山水。早年师事沈周，后致力于赵孟頫、王蒙、吴镇三家，自成一格。画风呈粗、细两种面貌。粗笔源自沈周、吴镇，兼取赵孟頫古木竹石法，笔墨苍劲淋漓，又带干笔皴擦和书法飞白，于粗简中见层次和韵味；细笔取法赵孟頫、王蒙，布景繁密，较少空间纵深，造型规整，时见棱角和变形，用笔细密，稍带生涩，于精熟中见稚拙。设色多青绿重彩，间施浅绛，于鲜丽中见清雅。这路细笔山水属本色画，具装饰性、抒情味、稚拙感、利家气诸特征，也奠定了“吴派”的基本特色。文徵明是继沈周之后的吴门画派的领袖，门人、弟子众多，形成当时吴门地区最大的绘画流派。",[23,24,7,25,29,130,34,131,27,2132,758,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a42dbab646c091f1f3d17e995011702.jpg","纵23.8cm，横78.3cm",[136,318],{"id":15965,"slug":15966,"title":15967,"dynasty":124,"author":223,"museum":244,"description":15968,"tags":15969,"thumbUrl":15971,"material":173,"size":15972,"collection":45,"collections":15973,"showCount":15864,"zanCount":48,"manualWeight":48,"mainColor":49},219347,"mo-xi-yuan-ya-ji-tu-yi-ming-219347","摹西园雅集图","本幅描绘历史上有名的“西园雅集”情形，在附马都尉王诜家的这次雅集，聚集了北宋当时顶尖的文人雅士，由米芾的一篇记流传后世，历代多有画作。此幅传明人所作，细观或是周臣老画师临摹刘松年原画所作，在历代临摹本中属上品。",[164,24,7,165,27,96,29,1144,131,208,330,15970],"西园雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F593962859ed60f1a0711ce80559eaffd.jpg","191.2 x 98.3cm",[45],{"id":15975,"slug":15976,"title":15977,"dynasty":54,"author":2894,"museum":20,"description":15978,"tags":15979,"thumbUrl":15980,"material":66,"size":15981,"collection":44,"collections":15982,"showCount":15864,"zanCount":1116,"manualWeight":48,"mainColor":72},219223,"er-tong-dou-cao-tu-jin-ting-biao-219223","儿童斗草图","此图表现的是端午节儿童们斗草的游戏。有的以比赛采得的花草作对，这是文斗；有的把叶柄相勾拉拽，也称“拔根儿”，就是武斗。",[23,164,24,7,165,28,27,96,4363,229,4278,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94f548edff091b9ba461b027bf11c428.jpg","纵105.3厘米，横79.5厘米",[44],{"id":15984,"slug":15985,"title":15986,"dynasty":124,"author":1141,"museum":20,"description":15987,"tags":15988,"thumbUrl":15989,"material":173,"size":15990,"collection":136,"collections":15991,"showCount":15864,"zanCount":1998,"manualWeight":48,"mainColor":72},219201,"lan-ting-xiu-xi-tu-juan-wen-zheng-ming-219201","兰亭修禊图卷","《兰亭修禊图》为文徵明73岁时用青绿山水画法所绘。画面中山石树木先勾后染，工致严谨，笔笔精到。人物之衣纹、眉目简略，数根线条便展现出文人雅士潇洒的身姿。全图设色明丽丰富，画面以青绿为主，淡施赭色渲染山脚坡石，浓而不失优雅，艳而别具秀润。",[23,24,7,25,27,28,29,133,96,130,99,34,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a71fb8eb9d0e6a362f166a6ec72e88d.jpg","纵24.2厘米，横60.1厘米",[136],{"id":15993,"slug":15994,"title":15995,"dynasty":182,"author":15996,"museum":244,"description":15997,"tags":15998,"thumbUrl":16000,"material":278,"size":16001,"collection":117,"collections":16002,"showCount":15864,"zanCount":48,"manualWeight":48,"mainColor":72},219038,"cao-tang-shi-zhi-tu-juan-lu-hong-219038","草堂十志图卷","卢鸿","卢鸿（生活在七世纪和八世纪之间）出生于幽州范阳（今河北大兴）。他隐居在嵩山，是一位博学的学者，也是一位优秀的书画家。玄宗时，他多次被召见，但仍不服气，只是得到了衣服和隐居的茅屋。整卷水墨画共由十幅画面组成，每幅画面由一节组成，每节前有褚、颜、柳等各种书法体书写的十条志令，中间有十幅画面。画的都是自然的园林景物，其配置是注重与周围自然环境的结合，画中的树木山石造型，显得古色古香，用笔方硬，笔墨渲染颇为工整。关于这幅画的科学观点各不相同，并不明确，但可以肯定的是，它并非源自唐代。",[23,24,7,25,128,132,64,133,208,29,15999,34,131,99,130,171,98,211],"草堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9dc166ed8a2c0a38afe4f307248b55e.jpg","29.4x600",[117],{"id":16004,"slug":16005,"title":16006,"dynasty":124,"author":223,"museum":77,"description":16007,"tags":16008,"thumbUrl":16009,"material":278,"size":16010,"collection":68,"collections":16011,"showCount":15864,"zanCount":48,"manualWeight":48,"mainColor":72},216671,"mo-he-tu-yi-ming-216671","墨荷图","墨荷图是明朝时期的一幅水墨画作品，作者是佚名。这幅画的主题是人与自然的和谐关系，描绘了一片森林中的景色。",[24,7,128,168,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f7c76365ae85c084aaded251b4cdbcc.jpg","29x35cm",[68],{"id":16013,"slug":16014,"title":16015,"dynasty":124,"author":1438,"museum":56,"description":1439,"tags":16016,"thumbUrl":16017,"material":278,"size":1442,"collection":84,"collections":16018,"showCount":15864,"zanCount":1998,"manualWeight":48,"mainColor":72},214635,"hua-hui-ce-9-chen-chun-214635","花卉册-9",[24,7,59,128,369,61,62,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39f6b8367f309befbd90a7589bac9e70.jpg",[],{"id":16020,"slug":16021,"title":16022,"dynasty":144,"author":569,"museum":20,"description":16023,"tags":16024,"thumbUrl":16025,"material":572,"size":16026,"collection":318,"collections":16027,"showCount":16028,"zanCount":1116,"manualWeight":48,"mainColor":72},239685,"di-shi-dan-ba-bei-juan-zhao-meng-fu-239685","帝师胆巴碑卷","内容为记述帝师胆巴生平事迹，是赵孟頫奉元仁宗敕命书写的碑文。胆巴是元代前期僧人，西番突甘斯旦麻人，元世祖时被封为国师，元仁宗皇庆间，追号大觉普慈广照无上胆巴帝师。此卷书于延祐三年(1316)，书法点画顾盼有致，用笔遒美峻拔，为晚年碑书之笔。\n卷后有清姚元之、杨岘、李鸿裔、潘祖荫、王颂蔚、王懿荣、盛昱、杨守敬题跋，并钤有许乃普、叶恭绰等收藏印记。《南阳法书表》、《式古堂书画汇考》、《壬寅销夏录》、《三虞堂书画目》等书著录。现藏故宫博物院。",[23,7,64,25,572,187,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e897198e2de07be5ae069c46c590bfa.jpg","纵33.6厘米，横 166厘米",[318],87,{"id":16030,"slug":16031,"title":76,"dynasty":124,"author":16032,"museum":510,"description":16033,"tags":16034,"thumbUrl":16035,"material":1190,"size":16036,"collection":68,"collections":16037,"showCount":16028,"zanCount":48,"manualWeight":48,"mainColor":72},237438,"hua-hui-ce-xiang-sheng-mo-237438","项圣谟","项圣谟五十六岁创作的《花卉十开》是其花鸟画册页精品之一。十幅画皆纸本设色、淡彩没骨，依次画千叶桃花、石榴、白色桃花、白色梅花、海棠、兰花、野菊、秋菊、荷花荷叶、莲蓬莲藕，第一、三、四、五、八开画家题诗，第二、六、七、九、十开画家仅题名号，每一幅都有清代画家汪家珍题写诗文。",[24,7,59,27,61,649,64,208,805,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F482745d7ab05be19737eae85edd0cf06.jpg","31 X 23 CM X 10",[68,45],{"id":16039,"slug":16040,"title":16041,"dynasty":54,"author":1460,"museum":20,"description":16042,"tags":16043,"thumbUrl":16045,"material":734,"size":16046,"collection":68,"collections":16047,"showCount":16028,"zanCount":48,"manualWeight":48,"mainColor":72},233771,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233771","原济陶渊明诗意册","本图册是作者根据东晋著名诗人陶渊明诗句而创作。陶渊明是中国田园诗的创始者，他的诗不仅反映出田园生活的美好与自然，更流露出他徘徊于出仕与归隐之间的矛盾。绘画者显然非常赞赏这种避身独处、与世无争、乐天安命的人生哲学，通过描绘回归自然、淡于荣禄、不与统治者合作的隐士陶渊明来表现自己美好的理想。\n这里择两开赏析。\n第二开《悠然见南山》：陶渊明的许多诗篇中都有关于菊花的诗句：“采菊东篱下，悠然见南山”、“秋菊有佳色，裛露掇其英”均写出了他远离世俗的心境和陶醉于自然的乐趣。他常以菊自喻，借菊花凌秋傲霜的品质表达自己清高的节操和情怀。石涛仰慕陶渊明的高尚情操，故此图借陶渊明爱菊寄寓了画家自己的思想感情。画中篱笆院中菊花盛开，一高士手持菊花观赏，悠然之态可见。此图结构精巧，人物用笔细密。远山以墨笔烘染，山腰云雾密布，不见山脚，以此表现烟云飘渺的动态和气势。这种中锋、细勾、渍染相结合的画法使画面有动有静，虚实结合，意趣无穷。\n第六开《遥遥望白云 怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。老者远望青山，脚下溪水流淌。面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。构图采用一水两岸的自然分疆法。画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。树木用水墨渍出，以衬托山腰白云的动感。",[164,24,7,4437,304,128,27,29,64,133,132,1144,711,496,1825,16044,96,131,35,1023],"烟树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa60253ab4b37909a1fca2e563c4ae780.jpg","纵27厘米，横21.3厘米",[68,136,45],{"id":16049,"slug":16050,"title":11676,"dynasty":124,"author":125,"museum":20,"description":16051,"tags":16052,"thumbUrl":16053,"material":10347,"size":16054,"collection":84,"collections":16055,"showCount":16028,"zanCount":48,"manualWeight":48,"mainColor":49},233710,"song-shi-tu-zhou-shen-zhou-233710","《松石图轴》笔墨简逸而又沉着，物象写实而又生动，画法兼具写生、写意之妙，诚如王世贞所评：“石田氏乃能以浅色淡墨作之，而神采更自翩翩，所谓妙而真也。”本图小楷自题：“从来松老方生子 ，老得儿郎必定贤，况是先生年未老，生儿当后见参天。春雨先生有佳子后生久矣...”。款识：成化十六年（1480年）四月七日沈周写。",[24,7,165,128,132,1144,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1665f1137e2b1d28bb1c98d93298150.jpg","纵156.2cm，横72.9cm",[],{"id":16057,"slug":16058,"title":16059,"dynasty":1780,"author":1781,"museum":20,"description":16060,"tags":16061,"thumbUrl":16062,"material":16063,"size":16064,"collection":84,"collections":16065,"showCount":16028,"zanCount":48,"manualWeight":48,"mainColor":72},232939,"you-chun-tu-juan-zhan-zi-qian-232939","游春图卷","《游春图》是隋朝画家展子虔创作的绘画作品，绢本、青绿设色，画上有宋徽宗题写的“展子虔游春图”六个字，现存北京故宫博物院绘画馆。\n图中展现了水天相接的情形，上有青山叠翠，湖水融融，也有士人策马山径或驻足湖边，还有美丽的仕女泛舟水上，熏风和煦，水面上微波粼粼，岸上桃杏绽开，绿草如茵。\n画家用青绿重着山水，用泥金描绘山脚，用赭石填染树干，遥摄全景，人物布局得当，开唐代金碧山水之先河，在早期的山水画中非常具有代表性。 该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。\n画卷首段近处露出倚山俯水一条斜径，路随山传，自到妇人立于竹篱门前才显得宽展。山此向上，山限岸侧，树木掩映，通过小桥，又是平坡，布篷游艇，容于其中。下端一角，便是坡陀花树，围绕山庄。描绘出明媚春光和游人在山水中纵情游乐的神态。各种花树点满山野，桃红柳绿，相映成趣。\n中国古代山水画的发展，到了隋代出现了较大的变化，它不再作为人物故事画背景的一部分，而是从前者中分离出来，成为一门独立的画科。在此之前，依附于人物故事画的山水画在表现方法上有很大的局限性，按照古人的说法就叫做“人大于山”“水不容泛”，说明在表现自然景物与人物或其他物件的关系上，以及远近、层次等方面部存在着明显的不足，画家还没有找到适宜的艺术表现手法，来描绘壮阔秀丽的山川形貌。《游春图》即反映了山水画处于变化发展阶段特点。\n历史上对这幅作品是否出于展子虔之手，仍持有争议。有唐中叶说、有疑北宋摹本，张伯驹则保留其为展子虔原作的观点。\n对《游春图》的作者及创作年代提出疑问的代表人物是文学家沈从文。早在1947年,他就撰写了《读展子虔》的文章，虽然标题中肯认了《游春图》的作者是展子虔,但文章通篇都是在质疑这一作者归属。在文中，他称“半年中有机会前后看过这画八次”，认定展子虔作此画缺乏证据。他在文中交待，因为前代关于绘画作品的著录,包括《贞观公私画史》《宣和画谱》等都没有提到展子虔作此作品的事情。另外，画中男子的衣着、女人的坐式，都与隋代人的习俗不太相符，还有装裱等种种迹象也与当时情形不合。历史资料证实，人们是在元、明朝时才开始认定展子虔作《游春图》的。所以，沈从文认为，此画可能不是展子虔所作,也不是隋代作品。另外，也有人根据画中人物头上戴的幞头、建筑部件形制等，论证它并非隋代原作，而是北宋摹本。\n该图以全景方式描绘了广阔的山水场景，图中除描绘了山水树石外，还描绘了白云出岫，杂以楼阁、院落、桥梁、舟揖，并点缀着踏春赏玩的人物车马，展示出一幅杏桃绽开、绿草如茵、水波粼粼，春风荡漾的春日融融之景象。\n早期的山水画通常会呈现出“人大于山和水不容泛、树木若伸臂布指”的状态，这说明了早期山水画的不成熟，在构图方面体现了较为幼稚的特点。《游春图》的章法布置则突破了以往的画风束缚，形成了十分有特色的构图方式，结构层次颇有特点。它的画面的右上部主要是山峦的表现，绘有大量的崇山峻岭，展现了一副山峦起伏、峰回百转的形态。若在之前，这个画面可能就算是完成了整个景观背景的塑造。但是展子虔并没有到此为止，在画面的右下方，他在画面中画上了山间小径，小径则是由低矮的树木、草丛组成，曲径通幽，旖旎风光、透逛山路，成为了右上方巍峨高山的延伸部分。这样，高山便成为了山路的背景，山路又成为了高山的细节铺垫和展现。这就使得整个画面比前期山水画更显全面、沉稳、丰富。而在画面的左侧，观者可以看到展子虔在此绘有一处低矮的小山丘。这一小山丘能够与右侧上方的崇山峻岭遥遥相对，形成鲜明的对比。在画面的中问，则有大片江河，形成一道波光粼粼的天堑，并与湖水、天空融会在一起，使得整个画面形成湖天一色、山河并举的形象。值得一提的是，画面并未只以山川与河流为主，而是在细节之处加以点缀：江河之中有小船点缀其中，船中有三四位神态各异、姿态不同的人物，将人声、山河画面融合在一起，并通过山川、河流、船舶、人物等形象构造出整个画面的图片比例。\n深究整个《游春图》，可以发现该画以山川、水系为主体，将人物、古刹、船舶、阁楼等融于山水，成为画面中的重要景观。这些景观相互配合，运用其形象的客观物象来表达画面事物之间的大小、高低、远近等的关系。合理地处理画面关系，使得展子虔对画面的比例、深度等都能有十分准确的把握，并根据其特点，进行处理和变化。也正是由于这种十分合理的处理和变化，才能够使得山水画的构造变得更加符合现实，使得该画变化成了“超然物外”的穿插构图，形成隋代山水画的新格局，使得中国山水人物画的表现形式和审美取向变得更加成熟。\n运笔成熟，表现独特。展子虔在绘画创作上十分敢于并善于创新，尤其善于在细节处用笔。在观者欣赏《游春图》的时候，不难发现它无处不是点缀着代表盎然生气的绿色。例如，画面就有很多还没有完全长满枝芽的树木，这些枝芽就是展子虔运用独特的勾画技巧形成的，即青绿勾填技法。这种技法不仅仅使得他的创作变得“细密精致而臻丽”，更让他的这种创作方法成为了中国山水画的重要技法之一。\n在绘画山川石木的时候，展子虔善于运用细节，运用细笔勾勒它们的轮廓。以青绿色以及其他明丽的色彩来展现画面。例如，他在刻画《游春图》的山石树木之时，善于将山石树木的线条不用刻意有粗细、明暗的变化，它们不用刻意地添加皱祈，也照样能体现出古朴苍劲、俊朗豪迈的形象。而在描绘人物的时候，展子虔也习惯运用细节来展现人物的形态、神态等，虽然画面中的人物形象没有过大改变，但是人物神情却可以是各有特色，每个人的衣着外观都十分飘逸流畅，也使得观者有“观人于微，，的感受。另外，他还善于运用“点花”的方法，勾勒细节，例如对枝芽的处理，他也会运用粉点点上，形成芽苞初放的形象。而在绘画人物上，作者也是用了这种点染的方法，让细小如豆的人马等都形态毕现。\n青绿重彩，工细巧整。在隋代之前，魏晋时期的山水画不仅仅在构图、形状、用笔等方面都比较单一，而且在整个画面的用色方面也都十分单一。而在隋代展子虔的《游春图》中，其形状不仅仅充满变化，而且在用色上也更加丰富和大胆。展子虔为了改变以往单调而简单的填色方式，将自己大胆的想象和细致的技法运用到画面中。《游春图》以青绿色为主色调，并在此基础上，形成细工精琢的用色方法。例如，在画面右上部分，作者开始运用青绿着色，展现了初春山林间盎然的生机。而在右下部分，表现山间小路时，作者却用泥金来表现，展现了山林中春寒未退的山色。这样两类用色，使整个画面的表现力更加丰富。同时，在绘画树木之时，展子虔更加注重细节的刻画。在对树叶设色时，它不仅仅运用色填或者色染，而且还运用点彩的形式，来展现含苞初放的春日娇态。\n《游春图》除了对画面中的不同物象进行了十分具有特点的用色之外，在敷色上增加各种晕染等方法，使不同对象在色彩表达上显得更加统一而完善。在描绘松树时，画家并没有以松针来展现，而是用深绿色运笔，在表现其他花木时，画家则运用桃红色、白粉色等来展现，形成单纯而丰富、古朴而艳丽的形象特点。因而，纵观整个《游春图》，其画面展现的是新绿成荫、繁花盛开、水天一色、深浅莫辨的特点。而在对人物的描绘过程中，展子虔运用山后白云来展现人物所处的背景，并能够以此来衬托人物游春时的心境。而对于人物本身的形象来说，展子虔则也善于用粉色和白色进行点染，使得整个画面更显风格细腻、轻松生动。\n唐代僧彦悰《后画录》：“触物为情，备皆妙绝”，“远近山川，咫尺千里。”\n唐代张彦远：“动笔形似，画外有情。”\n宋代《宣和画谱》：“写江山远近之势尤工，故咫尺有千里之势。”\n明代董其昌：（《游春图》）是“世所罕见”的墨宝。\n当代作家沈从文：“这画卷的重要,实在是对于中国山水画史的桥梁意义……没有它，历史即少了一个重要环节。”\n现存于故宫博物院的《游春图》是展子虔唯一传世的代表作，也是世界上存在最早的画卷，它的存在，对中国乃至世界的绘画史、艺术史都具有极为重要的作用。\n在《游春图》出现之前，中国早期的山水画通常是“人大于山、水不容泛”。也就是说，绘画中人物形象的塑造比山还要大，而对于水的绘画，却永远不会有波光粼粼的形态，而是犹如一潭死水般地停留在画布上。可见，在展子虔之前的，尤其是南北朝时期的山水画仍然存在很多不足，这些画家们通常无法把握好山水、人物的比例关系，也不能完美、生动地展现山水的飘逸之感。而《游春图》出现之后则打破了这种限制，全图无处不展现着一种空间之美，人物、山水疏密安排十分得宜，展现着自然界的交替、交换与重叠。\n游春图之所以能够成为中国山水画承上启下的代表作品，不仅仅在于画面呈现的内容，更在于它异于前人的创作手法和审美取向，展现出了于方寸之地尽显千里之姿的艺术特点。\n《游春图》构图壮阔沉静，设色古艳，富有典丽的装饰意味，体现出承上启下的风格，也标志着山水画即将进入成熟期，他在山水画上所达到的成就及其绘画方法，直接开启了唐代画家李思训、李昭道父子金碧山水的先河。\n1980年5月27日华国锋到日本进行正式访问时，赠给日本天皇的礼品中，就有一幅中国现代女画家临摹的隋朝画家展子虔的《游春图》。",[164,24,7,25,26,27,29,96,97,98,99,209,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bd3613327ff7d09b2f5cbe51fadde61.jpg","绢本绘画","高43厘米，宽80.5厘米",[],{"id":16067,"slug":16068,"title":16069,"dynasty":222,"author":16070,"museum":300,"description":16071,"tags":16072,"thumbUrl":16075,"material":692,"size":1293,"collection":136,"collections":16076,"showCount":16028,"zanCount":48,"manualWeight":48,"mainColor":49},230504,"shi-ting-shi-dai-si-ji-hua-niao-tu-ping-feng-yi-ping-xue-zhou-230504","室町时代 四季花鸟图屏风-一屏","雪舟","雪舟（1420～1506） Sesshū 日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[23,16073,7,250,128,188,369,1824,211,303,16074],"日本画","湿地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77861560213211ee329ec40013d0180f.jpg",[136],{"id":16078,"slug":16079,"title":16080,"dynasty":124,"author":204,"museum":300,"description":16081,"tags":16082,"thumbUrl":16083,"material":84,"size":84,"collection":84,"collections":16084,"showCount":16028,"zanCount":48,"manualWeight":48,"mainColor":49},228443,"ting-qin-tu-ye-chou-ying-228443","听琴图页","青绿晕染的崖谷间，飞瀑漱石，古松虬曲横斜。松下石台之上，抚琴人信手拨弦，对面听者垂眸凝神，将身心都浸在松风声与琴音里。侧旁童子正俯身溪畔汲水，浑然不觉周遭雅韵。\n画面以静取景，以动点染，明丽的设色衬出林涧清寂，人物神态宛然生动，将山林雅集、知音相和的悠然意趣，尽藏于尺幅之间，把文人寄情丘壑的雅致心境铺陈得淋漓尽致。",[23,24,7,59,28,27,26,29,96,438,99,34,131,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31aa149186a2d0e6c5d0c2565807183.jpg",[],{"id":16086,"slug":16087,"title":16088,"dynasty":18,"author":1622,"museum":300,"description":16089,"tags":16090,"thumbUrl":16091,"material":84,"size":84,"collection":84,"collections":16092,"showCount":16028,"zanCount":1998,"manualWeight":48,"mainColor":49},227819,"yue-ye-tu-ma-yuan-227819","月夜图","虬松盘崖而上，枝干屈铁盘旋，松针劲挺如攒，垂挂的松萝更添古寂幽邃。右侧高台层楼凭山而建，飞檐半隐于松荫，似浸在溶溶月色里。远景山峦晕作淡黛，隐没在昏褐夜色中，空濛虚灵，将天地拉得辽远空阔。\n\n全画以边角取景，淡墨轻皴营造月夜朦胧氛围，不见月华，却处处浸着凉润夜色，似可闻松涛伴着凉风掠过廊檐。尺幅之间以少胜多，留白造境，将秋夜清寂雅致藏在一隅，尽显空灵简远的意境，把江南月夜的幽柔静谧铺陈在绢素之上，余韵悠长。",[23,164,24,7,29,128,27,13410,1144,97,415,231,131,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06766d95c6eacad089745833c8a26ebb.jpg",[],{"id":16094,"slug":16095,"title":16096,"dynasty":351,"author":4456,"museum":300,"description":16097,"tags":16098,"thumbUrl":16100,"material":84,"size":84,"collection":84,"collections":16101,"showCount":16028,"zanCount":1998,"manualWeight":48,"mainColor":49},226708,"wen-yuan-tu-juan-zhou-wen-ju-226708","文苑图卷","《文苑图》卷，五代，周文矩作，绢本，设色，纵37.4厘米，横58.5厘米。\n本幅无作者款印，根据图左宋徽宗“瘦金体”题字：“韓滉文苑圖，丁亥御劄”，下书“天下一人”押，遂定为唐代韩滉作。然从时代风格看，少唐画气息，最明显的是衣纹线条颤动曲折，极似五代周文矩所创的“战笔描”。另外人物头戴的“工脚上翘”的幞头形式，亦至五代才出现。同时，美国大都会博物馆藏有一本周文矩的《琉璃堂人物图》卷，后半段画面与此图完全一样，故可肯定《文苑图》作者是周文矩，所画内容为琉璃堂人物故事。至于两图孰为原本？抑或均属摹本？据考，美国的《琉璃堂人物图》卷水平较差，人物面相稍欠神采，衣纹用笔颇见柔弱，且图首宋徽宗题“周文矩琉璃堂人物圖，神品上妙也”和下钤“ 內府圖書之印”均伪，故此图当为宋以后摹本。而《文苑图》人物神采奕奕，笔墨功力深厚，本幅右下角又有南唐墨钤“集賢院御畫印”，证明此图不会晚于五代，极可能即周文矩原迹，惟前半段已佚，也许周文矩又重临了后半段，亦不排除为同时高手临仿本。总之《文苑图》属五代真迹名品，殊无疑义。\n作品所绘琉璃堂人物故事，据考即唐玄宗时著名诗人王昌龄任江宁县丞期间，在县衙旁琉璃堂与朋友宴集的故事，与会者可能有其诗友岑参兄弟、刘眘虚等人。《文苑图》绘四位文士围绕松树思索诗句，有倚壘石持笔觅句者，有靠松干构思者，有两人并坐展卷推敲改诗者，情态各异，形神俱备。所缺前半段从《琉璃堂人物图》中可以看到，是画四人围坐议论，其中有一位僧人，还有侍奉的童仆。从全卷场面可领略当时宴集之盛况。\n此图画法与《琉璃堂人物图》及周文矩另一幅《重屏会棋圈》卷(宋摹本)相比较，风格相似，都呈周氏典型面貌，但水平却有高下之分。本图人物衣纹所运“战笔描”细劲有力，曲折中见流畅，圆润中具轻重，树石勾染细致，富层次和立面感，人物情态尤富神采，个性各异。作为五代一幅真迹，确反映了该时代所达到的水平。\n此图见于《石渠宝笈·初编》和明·詹景凤《玄览编》著录，可能曾入南唐后主李煜《阁中集》，后又入北宋徽宗《宣和睿览集》。",[23,164,24,7,25,28,27,96,1144,8628,251,208,1424,16099,1009],"古代服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dcc12af75f41000fa86d14d7b6bf9fe.jpg",[],{"id":16103,"slug":16104,"title":16105,"dynasty":124,"author":223,"museum":20,"description":16106,"tags":16107,"thumbUrl":16108,"material":151,"size":16109,"collection":84,"collections":16110,"showCount":16028,"zanCount":48,"manualWeight":48,"mainColor":49},223339,"er-lang-shen-sou-shan-tu-juan-yi-ming-223339","二郎神搜山图卷","《搜山图》卷表现的是民间传说二郎神搜山降魔的故事，所以也称为《二郎神搜山图》。二郎神的故事在民间广泛流传，在许多文艺作品中也有反映。元代有《二郎神醉射锁魔镜》的杂剧，描写二郎神与九首牛魔王、哪吒及金睛百眼鬼比试高低，最后拿住二洞妖魔的故事。据记载，最早有北宋画家高益画的《鬼神搜山图》，受到皇帝的重视。以后明、清两代，不断有传本出现。\n此卷《搜山图》是南宋末或元初人的手迹。人物用工笔重彩，衣纹用铁线描，刚劲有力，形象刻画生动传神，非凡手可及。山林树木皴法豪纵，近乎南宋刘松年的风格。与同一题材的各种不同本子比较，此卷是个残本，其中缺少主神即二郎神部分，但是其绘画技巧却高出其它各本。图中描绘神兵神将们耀武扬威地搜索山林中各种魔怪。魔怪们均是各种野兽变的，有虎、熊、豕、猴、狐狸、山羊、獐、兔、蜥蜴、蛇及树精木魅等。这些妖怪，或是原形，或化为女子，他们都在神将们追逐下，仓惶逃命，或藏匿山洞，或拒绝受擒。而那些神将们则手持刀枪剑戟、纵鹰放犬，前堵后截，使妖怪无处逃身。本来，二郎神是作为正面人物来歌颂的，然而看了此卷之后，却得到了一个相反的印象。那些神兵神将，一个个凶神恶煞，使人们憎恶，而那些妖怪们却面目和善，那种惊怖逃生的内心刻画，令人同情。不知作者是有意还是无意，使观者自然地就会联想到，当时社会那些官兵对老百姓的欺压情形。",[23,24,7,25,28,27,96,29,34,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a66aa3c0dc8d8069db69e347e0a460.jpg","53×561cm",[],{"id":16112,"slug":16113,"title":16114,"dynasty":124,"author":3148,"museum":146,"description":16115,"tags":16116,"thumbUrl":16118,"material":514,"size":16119,"collection":68,"collections":16120,"showCount":16028,"zanCount":1998,"manualWeight":48,"mainColor":49},222399,"mei-cha-zhi-que-tu-lv-ji-222399","梅茶雉雀图","此图描绘的是着色雪景，寒意茫茫，坡石上，有白梅老干欹曲，双雉栖息干上，一正一反，侧首相互呼应，形态生动。树根处，隐隐露出兰叶丛草，梅枝虬曲凌 空，花朵疏密散聚，气势飞动，更添无限寒意。数雀聚集栖于上部梅枝之上，山茶红映其间，正如《无声诗史》所评设色鲜丽，生气奕弈。远处岗阜覆雪，涧水 曲流，冷壑荒寂。此画属于工笔重彩一体，色彩浓重妍丽，覆雪山石皴染结合，明暗对比强烈，造成雪景冷雪之意境。",[23,24,7,165,27,28,61,371,649,10860,16117,331,497],"鸟雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34babdb1d62fbd1860bbd9300b314237.jpg","97.8X183.1",[68,45],{"id":16122,"slug":16123,"title":16124,"dynasty":18,"author":7264,"museum":20,"description":16125,"tags":16126,"thumbUrl":16128,"material":1722,"size":16129,"collection":42,"collections":16130,"showCount":16028,"zanCount":1998,"manualWeight":48,"mainColor":72},221485,"yun-shan-mo-xi-tu-juan-mi-you-ren-221485","云山墨戏图卷","本幅题识：“余墨戏气韵颇不凡，他日未易量也。元晖书。”又有清乾隆御题诗一首：“看山愁步山巑岏，看水爱听水潺湲。山水情似未浃洽，与浃洽之云漫漫。元气回合绝模拟，妙境恍惚思跻攀。真有子矣米海岳，那能混之高房山。乾隆御题。”钤“几暇怡情”白文方印，“乾隆宸翰”朱文方印。另钤有吴希元、朱辉、梁清标、安岐鉴藏印及清内府藏印计22方。尾纸有董其昌题跋：“米元晖山水卷皆为元高尚书所混。即余收《潇湘白云》长图，宋元名公题咏甚富，沈石田以晚年始觏为恨，余犹疑题咏虽真，似珠椟耳。神物或已飞去。不若此卷之元气淋漓，布境特妙也。丙子（崇祯九年，1636年）六月三日，其昌题。”之后有冯铨、龚心钊二跋。钤有吴国逊、刘珍、朱辉、冯铨、梁清标、安岐等鉴藏印15方。\n此图描绘沿江景色，近处岸边一条细径曲曲弯弯，间有板桥相连，远方峰峦起伏，云烟密布，溪流缓缓，林木森郁，屋舍隐现。此图采用“米家山水”的典型画法，山峦坡渚先用淡墨染就，继以大小各异的横向墨点反复在山头、山脊等部位再次图写，从而达到表现江南风光润泽华滋、雾气迷蒙的独特效果。明代董其昌曾携此图往游洞庭湖，惊叹米友仁的写生本领，云：“舟次斜阳，篷底一望空阔，长天云物，怪怪奇奇，一幅米家墨戏也。”\n本幅曾经卞永誉《式古堂书画汇考》画卷十三、《墨缘汇观》卷三《名画上》、《石渠宝笈续编》卷十七著录。\n《云山墨戏图》原题为米友仁所绘，但徐邦达先生根据其画法、题款的用笔及书写部位等因素认为并非米友仁原作。不过，此图画法全从“米家山水”而来，董其昌称其“元气淋漓，布境特妙”毫不夸张，对研究此派山水的重要价值显而易见。",[23,24,7,25,128,1349,132,10216,133,208,950,663,34,415,3427,16127],"水体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea34772582302210ef47dd26bba6b9e.jpg","纵21.4厘米，横195.8厘米",[42,136,117],{"id":16132,"slug":16133,"title":16134,"dynasty":124,"author":16135,"museum":20,"description":16136,"tags":16137,"thumbUrl":16138,"material":278,"size":16139,"collection":136,"collections":16140,"showCount":16028,"zanCount":48,"manualWeight":48,"mainColor":199},220395,"song-shi-tu-li-yong-chang-220395","松石图","李永昌","李永昌(公元17世纪)，生卒年不详。字周生，安徽休宁人。善画，尤工山水，仿元人笔意，与董其昌齐名，为新安派先锋。此图坡石前一棵老松，左曲右折的松干顶端零星地伸出几个枝桠，疏落凋枯的针叶无言地表明它已进入了暮年。松旁不远，几株杂树簇聚一团，在寥阔的天地间，显得渺小、孱弱，无依无靠。画的右上角自题：“醉剧松可倚，诗成石可刊，何须慕岩穴，咫尺是林峦。甲戌初夏画并题，拟待先社兄览笑。",[23,24,7,165,128,132,1144,131,171,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2546621a64c9e5e0abeb01db4b8a812.jpg","纵111cm，横54.5cm",[136,117],{"id":16142,"slug":16143,"title":16144,"dynasty":18,"author":9804,"museum":450,"description":16145,"tags":16146,"thumbUrl":16147,"material":317,"size":84,"collection":42,"collections":16148,"showCount":16028,"zanCount":48,"manualWeight":48,"mainColor":49},219789,"zhou-yue-tu-zhao-ling-rang-219789","舟月图","画面以大片空寂底色铺就，将月夜江天的辽远清寒尽数晕开。扁舟横卧水面，舟中二人意态悠然，一人凭舷凝望悬垂的冷月，一人垂竿静候，寥寥数笔便勾勒出闲逸松弛的林下幽情。淡墨轻皴出水波微漾，朦胧月色漫过空阔江面，将天地晕成浑然一色的清寂。边角的古印题字晕染出古雅厚重，整幅画作以极简之笔写尽淡远萧疏的意趣，把文人寄情烟波、物我两忘的幽淡心境藏在空寂月色里，尽显水墨山水以少胜多的诗意禅味。",[164,24,7,128,188,27,96,129,231,208,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b922f084156fdab8779361947ae5c3.jpg",[42],{"id":16150,"slug":16151,"title":16152,"dynasty":18,"author":16153,"museum":524,"description":16154,"tags":16155,"thumbUrl":16156,"material":173,"size":16157,"collection":44,"collections":16158,"showCount":16028,"zanCount":1116,"manualWeight":48,"mainColor":49},219754,"zhong-xing-rui-ying-tu-xiao-zhao-219754","中兴瑞应图","萧照","该画作类似连环画的故事画，颇具观赏性和趣味性。 该画以赵构历史故事为题材，反映了北宋和南宋之间的政治形势，是一幅重要的历史画卷。",[23,164,24,7,25,28,27,95,132,96,97,29,34,101,130,247,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe462eee45712440c8a8a1224a37bcfa0.jpg","纵26.7厘米，横397.3厘米",[44],{"id":16160,"slug":16161,"title":16162,"dynasty":124,"author":204,"museum":1941,"description":16163,"tags":16164,"thumbUrl":16165,"material":173,"size":84,"collection":136,"collections":16166,"showCount":16028,"zanCount":1998,"manualWeight":48,"mainColor":49},219714,"qian-tang-sheng-jing-tu-chou-ying-219714","钱塘胜景图","青绿晕染出崖岫苍润松荫，界画精工勾勒楼阁错落，文人凭栏闲坐，静览浩渺江天。江上帆影轻移，舟楫往来错落，晕开江畔的烟火生机。坡岸处牵马候人，暗合旅途意趣。\n\n整幅设色明丽妍雅，工细间晕开写意悠然，将江南山水的秀润与人文雅趣相融，繁简相宜，把钱塘清旷盛景凝于绢素。观之如临春日江岸，漫赏山光水色里藏着的悠然意韵，尽显雅致隽永的江南情致。",[24,7,165,28,27,29,95,96,97,101,130,34,131,99,1743],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c7b60edc4be7aa1336ee69855f36ec5.jpg",[136],{"id":16168,"slug":16169,"title":16170,"dynasty":182,"author":3508,"museum":300,"description":16171,"tags":16172,"thumbUrl":16173,"material":173,"size":16174,"collection":44,"collections":16175,"showCount":16028,"zanCount":1116,"manualWeight":48,"mainColor":49},219580,"nong-qian-tu-han-huang-219580","农迁图","此图是少有的描绘唐代农民生活的写实画作。左侧男子一手持竹杖，一手拿干粮而食，头戴斗笠，腰挂麻鞋，小腿上还系有绑带，可见行路之辛苦。其后一妇人手抱婴儿，骑驴而行，脸上似有疲倦之色。",[24,7,25,28,27,96,102,7067,527,6300,15899],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99f0ca4e6c67a7e352a230c6af67845a.jpg","25.1x91.1厘米",[44],{"id":16177,"slug":16178,"title":16179,"dynasty":124,"author":223,"museum":2542,"description":16180,"tags":16181,"thumbUrl":16183,"material":173,"size":16184,"collection":68,"collections":16185,"showCount":16028,"zanCount":1998,"manualWeight":48,"mainColor":49},219080,"luo-hua-you-yu-tu-yi-ming-219080","落花游鱼图","画面下部描绘了一条张着嘴的鸳鸯鱼，鱼身上有绚丽的背鳍和斑点，周围有荷叶和花朵，还有一条更低调的鲤鱼，鳞片整齐，鱼鳍挥舞，似乎正在向鸳鸯鱼游去。",[24,7,28,27,61,2059,81,16182,82],"落花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadfa03c687a78c5002929fc39069b598.jpg","49.3x33.5cm",[68],{"id":16187,"slug":16188,"title":16189,"dynasty":351,"author":16190,"museum":244,"description":16191,"tags":16192,"thumbUrl":16193,"material":173,"size":16194,"collection":44,"collections":16195,"showCount":16028,"zanCount":1116,"manualWeight":48,"mainColor":49},218923,"ba-da-chun-you-tu-zhao-nie-218923","八达春游图","赵喦","画中有八位骑马的贵族，园中的草木都呈现出新绿，马儿轻盈地踏着，显示出春日郊游的愉快气氛。马匹、树木和岩石的笔触细腻精致，超越了唐朝和五代，与北宋的风格相似。",[23,164,24,7,28,27,96,101,34,6640,13344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07199252c59d7bfa0a3af33b99ab6823.jpg","161.9x102",[44],{"id":16197,"slug":16198,"title":16199,"dynasty":18,"author":1323,"museum":244,"description":16200,"tags":16201,"thumbUrl":16202,"material":173,"size":16203,"collection":42,"collections":16204,"showCount":16028,"zanCount":48,"manualWeight":48,"mainColor":49},218896,"song-wu-yan-bin-tu-li-song-218896","松坞延宾图","这幅画描绘了山中溪边的一个村庄，一个贵族把自己隐居起来，在家里建起了一些区域，当客人到来时，他们会用菜肴招待。这幅画是艺术家笔下的杰作，虽然它很饱满，但有一股清晰的水流在其中流淌。",[23,24,7,1131,95,27,28,96,97,372,413,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69af25e2e2d0263c374707240ac706ee.jpg","24.5x24.4",[42],{"id":16206,"slug":16207,"title":16208,"dynasty":124,"author":3148,"museum":244,"description":16209,"tags":16210,"thumbUrl":16211,"material":173,"size":16212,"collection":68,"collections":16213,"showCount":16028,"zanCount":48,"manualWeight":48,"mainColor":49},218789,"chun-xi-tu-lv-ji-218789","春喜图","疏梅横斜，数羽雏鸟栖于枝间，啾鸣似唤春声。老干虬曲，山鹧羽色斑斓，立于石畔枝上，姿态雍容闲雅。靛蓝山石衬暖褐禽羽，白梅与粉花点染其间，清妍与厚重相映。笔墨工致细腻，禽鸟神态鲜活，花木情态毕肖。全图春意氤氲，生机流转，于工笔间见灵动韵致，尽显春日雅趣与自然生机。",[24,7,165,28,27,61,371,355,131,5399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6167804c0c9e5cfe350a337b21ab551e.jpg","137.4x42cm",[68],{"id":16215,"slug":16216,"title":6060,"dynasty":124,"author":3089,"museum":20,"description":16217,"tags":16218,"thumbUrl":16219,"material":173,"size":16220,"collection":68,"collections":16221,"showCount":16028,"zanCount":48,"manualWeight":48,"mainColor":49},218768,"zhu-he-shuang-qing-tu-bian-wen-jin-218768","画面描绘两只仙鹤悠然漫步于竹林之中。此图为边景昭与王绂二人合作，边景昭画鹤，王绂画竹。边景昭是明代宫廷花鸟画家的代表人物，其画风继承了宋代“院体”工整富丽的风格，并在一定程度上吸收了文人画的特点。王绂是明代前期的画竹名家，他的墨竹延续了北宋文同等人的传统，在竹画的历史上有着承前启后的重要作用。本幅作品中边景昭所画的仙鹤造型优美，气度娴雅，笔墨简放，工细而不拘谨，着色淡雅，与王绂清润秀挺的墨竹格调统一，作品给人以清新出尘之感，是职业画家与文人画家配合默契的成功之作。",[23,164,24,7,165,28,128,27,167,722,229,61,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19caa71e4d00fa1e7d41bf8d984b1d86.jpg","纵109厘米，横44.6厘米",[68],{"id":16223,"slug":16224,"title":16225,"dynasty":18,"author":4899,"museum":244,"description":16226,"tags":16227,"thumbUrl":16229,"material":317,"size":84,"collection":117,"collections":16230,"showCount":16028,"zanCount":1998,"manualWeight":48,"mainColor":72},218687,"qing-quan-ming-he-tu-ma-he-zhi-218687","清泉鸣鹤图","淡墨晕染的山峦在云雾中若隐若现，似远似近间透出空濛之趣。岸侧虬枝盘曲，老干新枝交织，墨色浓淡相衬，尽显草木生机。清泉自石间潺潺而下，漱玉之声仿佛可闻。几只仙鹤或立汀洲，或振翅轻翔，羽翅线条流畅如兰叶，姿态灵动逸脱。鹤鸣与泉声相和，在幽寂的山水间漾开清旷之韵。整幅画笔墨简淡却意韵深浓，山石皴法疏朗，构图疏密有致，将自然的静谧与生命的灵动融于一纸，尽显宋人对林泉之乐的诗意追寻，读之令人心向澄明。",[23,24,128,29,211,722,16228,99,34,131,37,132,1846,7,25],"清泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F666423ffde0f0389cb0fa868b5cac17a.jpg",[117],{"id":16232,"slug":16233,"title":14960,"dynasty":18,"author":2099,"museum":2542,"description":16234,"tags":16235,"thumbUrl":16236,"material":173,"size":16237,"collection":84,"collections":16238,"showCount":16028,"zanCount":48,"manualWeight":48,"mainColor":72},218436,"luo-shen-fu-tu-li-gong-lin-218436","素绢铺展，墨线如缕，织就人神邂逅的幽渺篇章。洛神凌波微步，衣袂飘举若流云绕岫，眉目间凝着怅然的婉约；曹植凭栏遥望，神情中藏着难掩的眷恋，侍从们或立或顾，衬出场景的静谧与心绪的波澜。林木扶疏，水波澹澹，云气萦绕间，似有辞采漫溢：“翩若惊鸿，婉若游龙”的风姿，“凌波微步，罗袜生尘”的韵致，皆由简练传神的白描线条铺陈。不着浓彩却神采飞动，景物与人物交融成空灵意境，将虚幻炽热的情愫凝于绢素，让千年后的目光，仍能触碰到那份跨越人神之隔的怅惘与温柔。",[23,24,7,25,188,27,96,166,29,99,34,171,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc28979b39f4e81a38082bfb84c091ac0.jpg","26.9x225.2",[],{"id":16240,"slug":16241,"title":16242,"dynasty":124,"author":16243,"museum":244,"description":16244,"tags":16245,"thumbUrl":16246,"material":278,"size":16247,"collection":318,"collections":16248,"showCount":16028,"zanCount":1998,"manualWeight":48,"mainColor":72},214215,"shi-tie-wang-chong-214215","诗帖","王宠","释文：江东逢著李龟年。肠断歌钟舞袖前。瑶水似闻黄竹奏。梨园新按紫霓篇。生憎玉色欺冰盌。不耐云光媚酒筵。掩泪青衫天畔客。举觞白眼饮中僊。右陆叔平席上作。修竹檀栾池水波。近人鱼鸟碧山阿。",[23,7,24,64,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe914d368bb33d1a218d6cee66ee71a67.jpg","84.1x29.6",[318],{"id":16250,"slug":16251,"title":7893,"dynasty":54,"author":14255,"museum":300,"description":14256,"tags":16252,"thumbUrl":16254,"material":692,"size":1293,"collection":84,"collections":16255,"showCount":16256,"zanCount":1116,"manualWeight":48,"mainColor":199},289903,"hua-niao-tu-li-zhou-qu-zhao-lin-289903",[23,164,24,7,165,27,28,61,1132,16253,171,9070],"绶带鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57c17039c95e5cbe12757afdf6e48fac.jpg",[],86,{"id":16258,"slug":16259,"title":16260,"dynasty":54,"author":3403,"museum":300,"description":8089,"tags":16261,"thumbUrl":16262,"material":692,"size":1293,"collection":84,"collections":16263,"showCount":16256,"zanCount":48,"manualWeight":48,"mainColor":72},289898,"shi-liu-tu-li-zhou-wu-chang-shuo-289898","石榴图立轴",[23,164,24,7,165,3291,128,27,2035,171,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc84d0c8474b987b8242984551428f81a.jpg",[],{"id":16265,"slug":16266,"title":16267,"dynasty":18,"author":223,"museum":300,"description":16268,"tags":16269,"thumbUrl":16270,"material":692,"size":1293,"collection":84,"collections":16271,"showCount":16256,"zanCount":1998,"manualWeight":48,"mainColor":49},288935,"li-zhi-tu-yi-ming-288935","荔枝图","此作以折枝构图排布画面，疏密错落间尽显雅致意趣。画师以精工笔法晕染荔枝，半熟的青白带晕红，熟透的赤艳饱满，将果皮的粗糙肌理摹写入微，鲜活仿若可触。墨色枝叶层次分明，浓墨勾出叶骨，淡墨晕染叶背，阴阳向背间尽显叶片舒展的柔劲生机，浅褐色枝桠苍劲柔韧，托举累累果实。右上角隐见小飞虫，更添幽微野趣。整幅设色古雅沉静，写实入微，尽显观察万物的细腻匠心，将盛夏枝头鲜活的荔枝风物定格于绢素之上，藏着雅致生动的清赏意趣。",[23,24,164,7,1131,28,27,61,2036],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60ae796b39da5fcbccf537b826cdca33.jpg",[],{"id":16273,"slug":16274,"title":16275,"dynasty":124,"author":3608,"museum":300,"description":9012,"tags":16276,"thumbUrl":16277,"material":692,"size":1293,"collection":84,"collections":16278,"showCount":16256,"zanCount":48,"manualWeight":48,"mainColor":49},283633,"mei-hua-kong-que-tu-li-zhou-lu-zhi-283633","梅花孔雀图立轴",[23,164,24,7,165,61,27,28,371,248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F348bcac60141f1be81731be09cbd4419.jpg",[],{"id":16280,"slug":16281,"title":16282,"dynasty":54,"author":9529,"museum":244,"description":16283,"tags":16284,"thumbUrl":16285,"material":611,"size":84,"collection":136,"collections":16286,"showCount":16256,"zanCount":48,"manualWeight":48,"mainColor":72},237200,"shan-shui-zhu-shi-ce-wang-hui-237200","山水竹石册","王翚（1632-1717），子石谷，号耕烟散人，清晖主人等，江苏常熟人。幼即嗜画，年二十师事王鉴，复经王鉴引荐，师王时敏。王时敏尽出家藏，与之临摹，相与参究，他的摹古能力在清六家中首屈一指。除擅长山水之外，偶亦画花鸟竹石。王翚在艺术实践中能排除门户之见，综合南北之长，汲取诸家技法，冶为一炉，形成自家风格。他的作品章法变化多，墨笔和青绿皆精，山石树法清润秀雅，风格清逸秀丽。王翚60岁时奉康熙帝诏赴京师，任绘制《康熙南巡图》主笔。历经六年，完成了12卷总长达半华里的历史巨作。康熙帝赐“山水清晖”四字。遂自号“清晖主人”。从此“声名震海内”，追随者甚众，为“虞山派”之开山祖，有“画圣”之誉。",[24,7,59,128,132,29,167,1314,99,34,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62b1714e7de95ce32a4f24548178bde6.jpg",[136,117],{"id":16288,"slug":16289,"title":16290,"dynasty":54,"author":3750,"museum":20,"description":16291,"tags":16292,"thumbUrl":16293,"material":3544,"size":84,"collection":136,"collections":16294,"showCount":16256,"zanCount":48,"manualWeight":48,"mainColor":72},236909,"fang-dong-qi-chang-shan-shui-zhou-wang-jian-236909","仿董其昌山水轴","王鉴（1598年－1677年），明末清初画家，“四王”之一。字元照，一字圆照，号湘碧，又号香庵主，江南太仓人。王世贞曾孙，王士骐之孙。 任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。\n王鉴的祖父王世贞（1526年— 1590年）是晚明著名文人、鉴藏家和显宦，官至南京刑部尚书，精古诗文，与李攀龙等并称“后七子”，为文坛盟主；富收藏，尔雅楼中藏书万卷，书画文物无数；著有《弇州山人四部稿》、《艺苑后言》等。父王士骥，万历十七年（1589年）进士，官吏部员外郎。王鉴出身于这样一个文学世家和官宦门第，自幼即受到良好的文化教养和艺术熏陶，“缔岁即好点染”，他亦自述：“自幼习董熟耳。”表明他最早学画是从董源入手的。以后又追踪巨然和元四家，万历四十五年（1617年）时的《仿云林山水轴》和天启元年（1621年）拟巨然的《山水图》，可证其最早的画学渊薮。",[164,24,7,165,128,132,330,29,496,34,1144,497,35,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf306104ba0c6a8ac6ec5a3d3c69cc3.jpg",[136,117],{"id":16296,"slug":16297,"title":4229,"dynasty":54,"author":5879,"museum":12686,"description":16298,"tags":16299,"thumbUrl":16300,"material":66,"size":16301,"collection":68,"collections":16302,"showCount":16256,"zanCount":1998,"manualWeight":48,"mainColor":72},233943,"hua-niao-ce-hua-yan-233943","华喦（同“岩”）（1682~1756)，一作华岩，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、白沙道人、离垢居士等，老年自喻飘篷者，福建上杭蛟洋华佳(家)人(原白砂里人)，后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称三绝，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年(1703)华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上高山云鹤、水国浮牛、青松悬崖和倚马题诗四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，得交当路巨公，名闻于上，但并不得意，据戴熙《习苦斋画絮》载:华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鳝、郑板桥及盐商巨子马曰管、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。\u2028 华岩一生贫困，金农在《画竹题记》提到:汀洲华岩秋岳，……尝画兰草纸卷，卷有五丈者，一炊饭顷便能了事，清而不媚，恍闻幽香散空谷之中，…… 余恨不能踵其后尘也。乾隆十七年(1752)，回到杭州旧居解弢馆。乾隆二十一年卒，有《离垢集》5卷。",[24,7,59,27,128,369,61,355,1771,624,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7a15ddd053c23937374547a7f95ffdd.jpg","31.2×44.7厘米",[68],{"id":16304,"slug":16305,"title":16306,"dynasty":18,"author":2099,"museum":300,"description":16307,"tags":16308,"thumbUrl":16309,"material":84,"size":84,"collection":84,"collections":16310,"showCount":16256,"zanCount":48,"manualWeight":48,"mainColor":72},227609,"wei-mo-yan-jiao-tu-juan-li-gong-lin-227609","维摩演教图卷","《维摩演教图》卷，传为宋李公麟绘，纸本，墨笔，纵34.6厘米，横207.5厘米。\n\n无作者款印。画后幅有明沈度书《心经》及跋“永乐丙戍岁，予客燕台真如寺，老僧元觉出示李龙眠演教图真迹，随索予书《心经》附后，自愧玉台难并，固辞再三。老僧索之甚笃，勉强净手谨书一通。是夕上元日也。云间沈度。”丙戌为明永乐四年（1406年）。并有明董其昌、王穉登题跋。钤元柯九思“柯氏敬仲”，清索额图“钦赐忠孝长白山长索额图字九如号愚庵书画珍藏永贻子孙”、“长白索氏珍藏图书印”，清宣统皇帝“宣统御览之宝”、“宣统鉴赏”等鉴藏印，共57方。\n\n此图取材于佛教《维摩诘经》，描绘的是装病在家的维摩诘向奉佛祖释迦牟尼之命前来探病的文殊菩萨宣讲大乘教义的场面。全图意在表现维摩诘所具有的高深机智及其对佛教教义的巧思善辩。画中维摩诘坐于锦榻之上，精神矍铄地谈论教义，对面的文殊菩萨脚踩莲花，双手合十，对维摩诘的说法心悦诚服。画幅中部绘天女故意往大弟子舍利弗身上撒沾衣不坠的花瓣，令躲闪不及的舍利弗连忙振衣抖拂。维摩见此当即指出佛教应该视万物皆空的教义实质。\n\n佛教是公元前6至5世纪由释迦牟尼于印度创立，相传东汉明帝时传入中国。艺术家们为了扩大佛教在中国的影响，在表现佛教人物或故事时逐渐将他们中国化，生活化，以符合中国人的审美观。从东晋顾恺之到隋唐敦煌壁画，维摩诘尚被表现为“须眉奋张，目光如炬”的形象，而此图中他已完全成为汉化的佛教徒的形象。文殊菩萨体态雍容端庄，犹如现实生活中名门望族之人。众天女于恭谨中显露出活泼的神情，毫无宗教的虔诚之态。文人世俗思想融入宗教画创作中无疑增添了作品的亲和力，同时也增强了作品的感染力。全图为扫却粉黛的墨线勾描，遒劲圆转而富于表现力度的游丝描和铁线描相辅相成，在成功地刻画出神态各异的人物形象的同时，洁净轻淡的笔法也与佛教“空即是色，色即是空”的教义相吻合。\n\n此图无款，对作者有三种推测：明人沈度、董其昌、王穉登等人在画卷的跋中皆称作者为宋代李公麟。当代学者金维诺等先生认为作者应是金代的马云卿，主要根据是美国大都会博物馆藏有元代王振鹏《临马云卿画维摩不二图草本》。王振鹏在卷后题跋中称：“至大元年二月初一日拜住怯薛第二日，隆福宫花园山子上，西荷叶殿内，臣王振鹏特奉仁宗皇帝潜邸圣旨，临金马云卿画维摩不二图草本。”王振鹏的临本与此幅的艺术风格、构图章法等极为相仿，只是在局部纹饰上稍有细微变化。但目前亦有专家认为此图既不是李公麟所作，亦非马云卿所为，它应是宋佚名画家的作品。事实上，无论作者是谁，该图代表着早期白描人物画的最高成就当是无可争议的。",[23,164,24,7,25,187,96,188,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2a5ca121eafafb8b8cc4acc361a11f6.jpg",[],{"id":16312,"slug":16313,"title":16314,"dynasty":351,"author":3729,"museum":300,"description":16315,"tags":16316,"thumbUrl":16318,"material":84,"size":84,"collection":84,"collections":16319,"showCount":16256,"zanCount":1086,"manualWeight":48,"mainColor":49},227262,"xue-jing-ba-jiao-han-que-tu-huang-ju-cai-227262","雪景芭蕉寒雀图","麻雀是我们生活中常见的鸟类，身形娇小，机敏灵活，却也憨态可掬，更因为打不倒的顽强生命力，在画家们的笔下，散发出了生机勃勃的魅力，一幅花鸟画中，因为麻雀的构成，顿时“活”了起来，因此国画麻雀也相当受画家和收藏者们喜爱",[23,164,24,7,165,27,61,28,1813,875,16317,371,373],"寒雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F267d2fc6d76d34d83a59c288d428c4e8.jpg",[],{"id":16321,"slug":16322,"title":16323,"dynasty":54,"author":1460,"museum":300,"description":16324,"tags":16325,"thumbUrl":16326,"material":692,"size":1293,"collection":84,"collections":16327,"showCount":16256,"zanCount":48,"manualWeight":48,"mainColor":49},224528,"mu-dan-lan-hua-tu-zhou-shi-tao-224528","牡丹兰花图轴","石涛的花鸟、兰竹，多用水墨写意法，行笔爽利，用墨淋漓简练，给人以清峻、挺拔、浑厚之感。石涛的兰竹画为中国画史中的一绝。图中兰叶瘦劲，浓墨托出，交迭穿插，兰花散发出幽香。",[23,164,24,7,165,128,369,64,208,61,263,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9163948f16c605409d424d9bc05e56.jpg",[],{"id":16329,"slug":16330,"title":16331,"dynasty":124,"author":16332,"museum":244,"description":16333,"tags":16334,"thumbUrl":16335,"material":3544,"size":16336,"collection":136,"collections":16337,"showCount":16256,"zanCount":48,"manualWeight":48,"mainColor":72},222166,"ban-chuang-qing-cui-tu-zhou-xia-chang-222166","半窗晴翠图轴","夏昶","夏昶（1388—1470），字仲昭，號自在居士，江蘇崑山人。永樂十三年（1415）進士，官至太常寺卿。精於楷書，曾為永樂皇帝書榜。師法王紱（1362－1416），繪竹觀察入微，名聲遠播域外。 墨竹取其一竿，由底部凌空而起，枝幹堅立。巧妙運用濃淡墨色變化，表現竹葉正反向背，畫面大量留白，營造層次空間感。竹爲文人士大夫節操象徵，夏氏為官處事清廉，墨竹瘦勁孤高，為其人格寫照。",[23,24,7,165,128,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83d9c2987b664b21c5009d24314eaec2.jpg","139.2x45.3厘米",[136,117],{"id":16339,"slug":16340,"title":11676,"dynasty":144,"author":4034,"museum":20,"description":16341,"tags":16342,"thumbUrl":16343,"material":1027,"size":16344,"collection":136,"collections":16345,"showCount":16256,"zanCount":1998,"manualWeight":48,"mainColor":49},221756,"song-shi-tu-zhou-sheng-mao-221756","本幅左上款署：“至正己亥仲秋廿二日武唐盛懋子昭作此图为祐祯寿。”下钤“子昭”、“盛懋”印。“至正己亥”为至正十九年（1353年），受画人“祐祯”不知为何许人。本幅左下钤鉴藏印“囗公读过”、“见阳图书”、“寒云珍藏元人名迹”、“子安珍藏记”。\n此图为元代晚期著名画家盛懋所作，是一幅为人祝寿的作品。图绘一株古松，几乎占据了整个画面，上端枝干下垂，松针细劲，树下绘山坡秀石，溪水流淌，衬以荆棘，无背景。画法工稳，笔墨苍劲浑厚，隐隐透露出刚猛之气魄，又不乏水墨滋润洒脱之风神。图中松树画法颇具特色，用淡墨皴染树干，浓墨点苔，从而增加了其厚重感与树皮的质感。松针则用细笔浓墨画出，笔法挺劲，笔势爽利尖峭，既有南宋院体风格的遗意，又有自己工写相兼的独特处理方法，别具一格。坡石以水墨晕染为主，浓墨点苔，皴擦并用，意态生动。",[23,164,24,7,165,128,132,1144,229,171,331,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484705e5dcac0a31f081986fc89320e9.jpg","纵77.4厘米，横27.2厘米",[136,117],{"id":16347,"slug":16348,"title":16349,"dynasty":18,"author":1622,"museum":244,"description":16350,"tags":16351,"thumbUrl":16352,"material":40,"size":16353,"collection":42,"collections":16354,"showCount":16256,"zanCount":48,"manualWeight":48,"mainColor":49},221527,"ban-qiao-ta-xue-tu-ma-yuan-221527","板桥踏雪图","为第六次南巡携行的作品，御题诗纪年“甲辰”，应作于闰三月间回銮途经的扬州一带。题诗末两句的“题者能画复能诗，蒙古岂无人中玉”，所指即为右方题诗者伯颜不花。他正是约十日前乾隆皇帝品题《古壑云松》一图的作者，故有“题者能画复能诗”之句。\n此画左下角“河中马远”出于后添，观察画中岩块造型、人物轮廓、衣褶勾勒习惯、树木出枝角度等部分，应出自明代马轼（活动于十五世纪前、中期）手笔。此作也确实表现出马远绘画的风格特色，难怪乾隆皇帝视之为马远佳作。",[23,24,7,1349,165,128,132,27,663,1314,413,98,96,101,690,1556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff64c80c128d68b8d7648d74f28226a8.jpg","纵99cm，横59.1cm",[42,136,117],{"id":16356,"slug":16357,"title":16358,"dynasty":18,"author":13682,"museum":20,"description":16359,"tags":16360,"thumbUrl":16361,"material":27,"size":16362,"collection":42,"collections":16363,"showCount":16256,"zanCount":48,"manualWeight":48,"mainColor":49},221439,"han-shan-fei-pu-yang-shi-xian-221439","寒山飞瀑","山水林木，劲挺可取。惟峰石水口，雄伟之笔则远不逮熙。",[23,24,7,164,29,132,128,27,131,495,34,35,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b0e832e12e265a435eb981c78c1e42.jpg","50X56",[42,136,117],{"id":16365,"slug":16366,"title":16367,"dynasty":124,"author":2268,"museum":524,"description":16368,"tags":16369,"thumbUrl":16371,"material":16372,"size":16373,"collection":136,"collections":16374,"showCount":16256,"zanCount":1998,"manualWeight":48,"mainColor":199},220896,"jiu-feng-han-cui-tu-dong-qi-chang-220896","九峰寒翠图","董其昌书法上有“邢张米董”之称，即把他与临邑邢侗、晋江张瑞图、须天米钟并列；绘画上有南董北米之说。莫是龙、陈继儒提倡“南北宗”之说，即把“院体”山水画与“文人画”分为南北两派。董其昌一生创作的书画作品不可胜数，临仿古人的绘画和诗帖是其中的一个重要部分。他在《画禅室随笔》中所说的“读万卷书”正是指一个人要想成为艺术家，必须学习传统，学习古人。他17岁开始学习书法时临写颜真卿的《多宝塔》，22岁学习绘画时师法黄公望，以后又遍学诸家，这种以古人为师的作法八十而不辍，伴其终生。他广泛吸取对唐宋元诸家优长，抉精探微，使其书画取得了超越古人的艺术成就。\n在研习经史之余，董其昌与同僚诸友切磋书画技艺，纵论古今，品评高下。又从韩世能那里借阅晋、唐、宋、元法帖宝绘，心摹手追，有时废寝忘餐，因而学问大进，开始在京中有些名气。在家乡，董其昌筑“来仲楼”、“宝鼎斋”、“戏鸿堂”、“画禅室”、“香光室”等，牙签玉轴，左图右史，置身其中，著书立说，探究古今书画艺术。他不遗余力地搜集王羲之、王献之、谢安、桓温、赵佶、米芾诸名家法书，于万历三十一年（1603年）刊刻《戏鸿堂法帖》行世。病休松江时期，他正值四十余岁的盛年，广闻博识，采集众长，悠居林泉，心闲手熟，创作了《葑泾访古图》《鹤林春社图》《浮岚暖翠图》《神楼图》《西湖八景图》《溪回路转图》等许多描绘江南风光的著名山水画。\n董其昌强调以古人为师，但反对单纯机械地模拟蹈袭。随着阅历的增加、思想的成熟，他在继承前人技法时不倚傍他人庑下“作重台”，而是有选择地取舍，融入自己的创意。他认为如果离开了自己的创意，古人的精神也难以表达，故应以自己独创的形式再现古人的“风神”。凭借自己对古人书画技法得失的深刻体会，他摄取众家之法，按己意运笔挥洒，融合变化，达到了自成家法的化境。\n董其昌的山水画大体有两种面貌，一种是水墨或兼用浅绛法，这种面貌的作品比较常见；另一种则是青绿设色，时有出以没骨，比较少见。他十分注重师法古人的传统技法，题材变化较少，但在笔和墨的运用上，有独特的造诣。他的绘画作品，经常是临仿宋元名家的画法，并在题识中加以标榜，虽然处处讲摹古，并不是泥古不化，而是能够脱窠臼，自成风格，其画法特点，在师承古代名家的基础上，以书法的笔墨修养，融会于绘画的皴、擦、点划之中，因而他所作山川树石、烟云流润，柔中有骨力，转折灵变，墨色层次分明，拙中带秀，清隽雅逸，他在天启二年，67岁时临摹北宋范宽的《溪山行旅图》采取青绿设色、水墨兼并浅绛的综合绘画技艺手法，充分表现出他的人物工笔精湛、山水风格独特画坛艺术自然传承的巨匠魅力。他的画风在当时声望显著，成为“华亭派”的首领。\n董其昌特别讲求用墨的技巧，水墨画兼擅泼墨、惜墨的手法，浓淡、干湿自然合拍，着墨不多，却意境深邃，韵味无穷；无须炫异矜奇，而真气横溢，充塞纸间。董其昌的设色山水，或用杨升没骨法，从彩笔代替墨笔，完成线条、轮廓、钩、勒、皴、擦，尽态极妍，不为刻画；或仿黄公望的浅绛法，参以赵大年、赵孟頫的青绿法，别树一格，层次分明，淡雅清新，生机盎然。\n董其昌作画强调写意，使绮丽多姿的山水显得有些捉襟见肘的色彩。但是他兼长书法、诗文，每每绘完山水，题以诗文，行楷簇簇如行蚕，闪闪如迅霆飞电，全图诗、书，画相映成趣，和谐一致，更富有抒情意境。董氏的创作，因而成为文人画追求意境的典范。",[23,164,24,7,165,128,27,132,29,1337,131,415,665,34,582,16370],"坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00897204c426cfaa8bef08fe4ba772cf.jpg","绢本 墨笔","123.7cmx46cm",[136,117],{"id":16376,"slug":16377,"title":16378,"dynasty":144,"author":569,"museum":244,"description":16379,"tags":16380,"thumbUrl":16381,"material":611,"size":16382,"collection":318,"collections":16383,"showCount":16256,"zanCount":1116,"manualWeight":48,"mainColor":72},220885,"xian-ju-fu-zhao-meng-fu-220885","闲居赋","学赵孟頫行书，《闲居赋》是一个不错的选择。《闲居赋》法度严谨，相对不可捉摸、更加自由的手札，它具有更清晰明了的书写规范，更适合初学；而相对一些偏正式的书写内容，它又多了几分随性，写来变化丰富，美妙多姿。\n书西晋著名文学家潘岳《闲居赋》一首，56行，凡627字，款署子昂。此作无年款，但从书法上考察，应是晚年所书，为赵孟頫上乘之作。卷末有清曹溶题跋。",[23,64,133,25,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ed6c39e105804541eda350961a53ebf.jpg","纵38厘米，横248.3厘米",[318],{"id":16385,"slug":16386,"title":16387,"dynasty":18,"author":4034,"museum":244,"description":16388,"tags":16389,"thumbUrl":16390,"material":27,"size":84,"collection":42,"collections":16391,"showCount":16256,"zanCount":48,"manualWeight":48,"mainColor":72},220337,"song-ren-yuan-hua-ce-2-sheng-mao-220337","宋人院画册-2","此作绘秋江渔隐之境，近岸林木枯柔相生，苍枝虬曲间柔柳垂拂，刚柔相衬愈见山野意趣。滩头渔舟静泊，舟中二人对坐晤谈，将江湖闲散的逸致娓娓铺展。平湖澹澹，水鸟掠波惊起细碎涟漪，远山如黛晕染天际，留白晕出水天寥廓空濛。\n\n笔墨工秀兼带写意松灵，设色浅淡清润，将江南水畔的清寂淡远揉入尺幅之中，把渔樵寄情山水的隐逸诗意藏进边角细节，尽显宋人平淡天真的美学意趣，是宋式山水小品里野逸闲情的绝佳写照。",[23,24,7,59,27,29,129,1350,211,34,99,1351,415,3427,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58769b723ca1095e59ebae7b52a1713d.jpg",[42],{"id":16393,"slug":16394,"title":16395,"dynasty":124,"author":2268,"museum":1941,"description":16396,"tags":16397,"thumbUrl":16398,"material":278,"size":16399,"collection":136,"collections":16400,"showCount":16256,"zanCount":1998,"manualWeight":48,"mainColor":72},220002,"pei-jin-gong-shi-yi-tu-dong-qi-chang-220002","裴晋公诗意图","此图是董其昌仿黄公望笔法画唐代裴度的诗意。题跋：门径俯清溪，茅檐古木齐。红尘飞不到，时有小禽啼。君山丈见访海上，写此为赠。补裴晋公（度）诗意图也。 丁已正元三日玄宰识。",[23,24,7,165,128,132,29,131,34,35,96,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c018965263283f7d9de23c6134c8ab.jpg","130.5×39.2cm",[136],{"id":16402,"slug":16403,"title":16404,"dynasty":124,"author":223,"museum":6413,"description":16405,"tags":16406,"thumbUrl":16407,"material":173,"size":84,"collection":44,"collections":16408,"showCount":16256,"zanCount":1998,"manualWeight":48,"mainColor":72},219582,"tong-zi-li-fo-tu-yi-ming-219582","童子礼佛图","团扇取景庭院一隅，玲珑湖石旁牡丹绽蕊晕香，晕染出雅致闲静的氛围。数位童子稚态尽显，或合力捧持佛龛，或敛衣垂首礼拜，憨拙的动作将孩童模仿佛事的天真烂漫融于其中。设色柔丽清雅，衣纹线条纤细婉转，将童子娇憨的神态与稚嫩身形刻画入微，并未渲染礼佛的肃穆沉重，反以孩童的烂漫消解了仪式感，尽显日常嬉玩的松弛意趣，是兼具工致院体笔意与市井童真的小品佳作。",[164,24,7,1131,187,27,96,227,171,62,208,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb95ae7ebde4a39a5de3ea7632554bec3.jpg",[44],{"id":16410,"slug":16411,"title":16412,"dynasty":18,"author":2349,"museum":244,"description":16413,"tags":16414,"thumbUrl":16415,"material":173,"size":16416,"collection":44,"collections":16417,"showCount":16256,"zanCount":1998,"manualWeight":48,"mainColor":49},219402,"wu-rui-tu-zhou-su-han-chen-219402","五瑞图轴","本幅描绘五个孩童带着各式的面具，模仿大人们跳起「大傩舞」，傩是一种驱鬼避邪的仪式﹐主要是以扮演各种鬼怪所害怕的人物﹐以达驱鬼除邪的目的。本幅不但设色鲜艳丰富，画家更精心描绘衣服上的各种质材与花纹。画中场景设在一个置有湖石的花园，湖石以细笔皴擦质地，并以留白显示突起的棱线，地面则以排点与平行短线表现树叶与杂草，这些特点显示与弘治宫廷画家吕文英作品有相同的描绘格套，应为明代宫廷风格。",[164,24,7,165,28,27,96,2218,263,167,131,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff9ef843f31da8da3bf30cd9d26b5ab.jpg","165.5x102.5",[44],{"id":16419,"slug":16420,"title":16421,"dynasty":124,"author":223,"museum":161,"description":16422,"tags":16423,"thumbUrl":16424,"material":128,"size":84,"collection":117,"collections":16425,"showCount":16256,"zanCount":48,"manualWeight":48,"mainColor":49},219245,"qun-yu-xi-shui-tu-yi-ming-219245","群鱼戏水图","画面中四条游鱼摆尾摇鳍，姿态各异：或俯冲而下，或结伴游弋，或相互顾盼，似在清浅碧波中自在穿梭。鱼身以淡墨晕染出细腻鳞纹，线条简劲灵动，将鱼儿的鲜活质感勾勒得淋漓尽致。下方水藻疏朗写意，寥寥数笔点染出摇曳之姿，与游鱼相映成趣，暗喻水的澄澈空濛。背景素净，不着浓墨却尽显空寂中的生机，仿佛能听见水波轻漾之声。整幅作品笔墨简约却意韵悠长，以灵动鱼群与疏淡水藻，营造出悠然恬淡的自然之趣，传递出古人对生命本真的细腻观照与闲适心境。",[23,24,7,128,28,2059,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0776132fb25c9eb3a02af0d582f360a.jpg",[117],{"id":16427,"slug":16428,"title":16429,"dynasty":144,"author":8127,"museum":300,"description":16430,"tags":16431,"thumbUrl":16432,"material":173,"size":10420,"collection":68,"collections":16433,"showCount":16256,"zanCount":1998,"manualWeight":48,"mainColor":72},219123,"hua-hui-ce-ju-wang-yuan-219123","花卉册-菊","赭黄绢底晕开浅淡秋光，几簇白菊簇生枝侧。花瓣以细劲游丝勾勒，层叠如缕，留白处恍若凝着晨露；旁逸竹枝挺秀，竹叶撇捺间见笔力，墨色深浅映出劲节。右下角粉蝶轻振翅翼，翅脉以淡墨晕染，姿态翩跹欲落未落，为静谧花竹注入灵动生气。\n\n笔法兼工带写，柔媚菊瓣与刚劲竹枝相衬，无浓艳设色却清雅入骨。画面凝萃着文人对秋菊傲霜的喟叹，亦藏着对自然生机的细腻捕捉。笔墨间流转元代文人画的内敛韵致——于素淡中见丰腴，于细微处显匠心，每一笔都似在诉说秋日常景里的清雅情味，让观者沉湎于这份不事张扬的诗意中。",[23,24,7,164,59,27,28,61,376,167,481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b9037637de8126cac747bb8560b156.jpg",[68],{"id":16435,"slug":16436,"title":16437,"dynasty":144,"author":223,"museum":77,"description":16438,"tags":16439,"thumbUrl":16440,"material":173,"size":84,"collection":68,"collections":16441,"showCount":16256,"zanCount":48,"manualWeight":48,"mainColor":49},216668,"you-yu-tu-yi-ming-216668","游鱼图","游鱼图是由元朝（1271-1368年）的佚名画家创作的一幅著名的中国画作。这幅画描绘了一条鱼游动在清澈的池塘中，周围是葱郁的树木和山峦。画中的鱼看起来栩栩如生，似乎可以随时从画面中跳出来。这幅画被认为是元朝画坛上最杰出的代表作之一，因其精细的绘画技巧和生动的写意风格而备受赞赏。",[24,7,128,27,28,2059,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6c4249a76f6272444c798a69ae2976f.jpg",[68],{"id":16443,"slug":16444,"title":16445,"dynasty":124,"author":802,"museum":300,"description":5946,"tags":16446,"thumbUrl":16447,"material":692,"size":1293,"collection":84,"collections":16448,"showCount":16449,"zanCount":48,"manualWeight":48,"mainColor":49},290354,"hua-he-hua-zhou-chen-hong-shou-290354","画荷花轴",[164,24,7,165,27,61,81,171,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8daddd5c38e884b7ee705d40059080ce.jpg",[],85,{"id":16451,"slug":16452,"title":16453,"dynasty":18,"author":3596,"museum":244,"description":16454,"tags":16455,"thumbUrl":16456,"material":253,"size":16457,"collection":42,"collections":16458,"showCount":16449,"zanCount":1998,"manualWeight":48,"mainColor":49},288266,"pi-pa-kong-que-tu-cui-bai-288266","枇杷孔雀图","不同于崔白其他传世作品，画面富丽堂皇，显示出了崔白对黄筌父子画风的传承，应是其尚未变法以前的作品。画中的主体是一对雄雌孔雀，一只栖立在枇杷树上，一只游憩于花丛之间。两只小鸟立于枇杷树枝头，与画面左侧展翅的绶带鸟相望。背景处一块湖石，中间有细竹、杂花相互掩映。 整幅作品为全景式构图，丰满繁复。禽鸟造型体态雍容，逼真生动，惟妙惟肖。在绘画技法上，禽鸟使用的是典型的勾线设色法，用线遒劲，设色上层层渲染，富丽华美。而对画面背景处的山石、枇杷树干的表达，画家则使用了稍微写意性的笔法进行勾勒，并在此基础上使用了皴染技法表现凹凸质感和阴阳向背。这种对树干与景石的描绘方法，我们似乎可以从中感受到崔白在 《双喜图》中，描绘树干所使用的灵活悠游又不失法度的水墨工写结合技法。",[23,24,7,28,27,61,918,248,211,1495,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f51404c96f2c60be675e39c78ae54fd.jpg","183.1x109.8",[42],{"id":16460,"slug":16461,"title":16462,"dynasty":18,"author":397,"museum":300,"description":16463,"tags":16464,"thumbUrl":16465,"material":692,"size":1293,"collection":84,"collections":16466,"showCount":16449,"zanCount":1116,"manualWeight":48,"mainColor":72},287888,"xie-sheng-zhen-qin-tu-zhao-ji-287888","写生珍禽图","宋徽宗赵佶（1082年11月2日-1135年6月4日）[6]，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”，并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[23,164,24,7,25,28,128,61,211,167,1400,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e591cd8344c801084f6bb88a9f76701.jpg",[],{"id":16468,"slug":16469,"title":16470,"dynasty":54,"author":1219,"museum":20,"description":16471,"tags":16472,"thumbUrl":16473,"material":734,"size":16474,"collection":44,"collections":16475,"showCount":16449,"zanCount":48,"manualWeight":48,"mainColor":72},237136,"ren-yi-feng-chen-san-xia-tu-zhou-ren-yi-237136","任颐风尘三侠图轴","该图的大致内容是：隋末司徒杨素的侍妾红拂女与才子李靖相爱后私定终生，后在剑侠虬髯客的帮助下为唐王李世民建立了功勋。所画的情景是红拂女和李靖在月老虬髯客的相助下策马相会，红拂女明眸送秋波，虬髯客暗中欢笑。\n风尘三侠指隋末唐初三位豪杰：虬髯客、李靖和红拂女。出自唐传奇《虬髯客传》。李靖于隋末在长安谒见司空杨素，为杨素家妓红拂所倾慕，随之出奔，途中结识豪侠张虬髯，后同至太原，通过刘文静会见李世民。虬髯客本有争夺天下之志，见李世民神气不凡，知不能匹敌，遂倾其家财资助李靖，使辅佐李世民成就功业。后虬髯客入扶馀国自立为王。李靖、红拂、虬髯三人，后人亦称“风尘三侠”。\n任颐《风尘三侠图》所画的情景是红拂女和李靖在月老虬髯客的相助下策马相会，红拂女明眸送秋波，虬髯客暗中欢笑。画家用钉头鼠尾描组成火焰般的衣纹，表现出自己内心按捺不住的激情。任颐曾多次以风尘三侠为题作画，反映了画家对描绘反封建题材的人物画怀有炽热的创作热情。\n马匹作白描法，颇有装饰趣味，黑驴用没骨法，但肌肤的表现效果欠佳。",[164,24,7,165,27,28,96,101,7067],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe11f741247a6bb0597dc560a48dfb84f.jpg","纵148.5cm、横66cm",[44],{"id":16477,"slug":16478,"title":16479,"dynasty":54,"author":3403,"museum":20,"description":16480,"tags":16481,"thumbUrl":16482,"material":611,"size":84,"collection":68,"collections":16483,"showCount":16449,"zanCount":1998,"manualWeight":48,"mainColor":72},236981,"qiu-se-zhou-wu-chang-shuo-236981","秋色轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,7,165,27,128,133,208,171,7596,230,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc0e8896205933dd0727840cc37da2b.jpg",[68,117],{"id":16485,"slug":16486,"title":2056,"dynasty":54,"author":872,"museum":20,"description":16487,"tags":16488,"thumbUrl":16489,"material":611,"size":16490,"collection":117,"collections":16491,"showCount":16449,"zanCount":48,"manualWeight":48,"mainColor":72},236775,"yu-shi-tu-zhou-zhu-da-236775","此画面十分简洁，仅以简练的笔画，画一鱼一石。一湖石座落在画幅的左侧中段，湖石造型奇特，取岌岌可危之势，石中用枯笔皴染又加重墨点，鱼一尾在宽阔河中游弋，把鱼在特定的环境中的动态和神气表现得活灵活现，其造型非常准确而传神。唯独鱼眼一圈一点，眼珠顶着眼圈，即眼珠点在眼眶的上方，一副白眼向天的神情，形象洗练，造型夸张，表情奇特，构图大胆、新奇。由于画面仅有的怪石、鱼，又画在左侧和下端，而右侧的空白处，作者以自题款署及清王澍题记加以补白，对使整幅作品起到了平衡的作用。\n王澍题记：“八大山人挟忠义激发之气形于翰墨，故其作画不求形似，但取其意于苍茫寂历之间，意画即心，此所谓神韵者也。”\n八大山人的画不少是没有记年，但从风格及款署的习惯，可以判断是那一个时期的作品。如此《鱼石图》轴，款署“八大山人”，据考证他59岁至80岁，用“八大山人”署名，是“八大期”。依据《鱼石图》的特点和署名写法可以判断为晚年时期的作品。",[24,7,128,165,171,2059,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1465c1b39b489696b27be749224da061.jpg","纵58.3厘米，横48.6厘米",[117],{"id":16493,"slug":16494,"title":12351,"dynasty":54,"author":223,"museum":300,"description":16495,"tags":16496,"thumbUrl":16497,"material":692,"size":1293,"collection":84,"collections":16498,"showCount":16449,"zanCount":1998,"manualWeight":48,"mainColor":49},230303,"fang-chou-ying-wang-chuan-tu-yi-ming-230303","此作为青绿山水，取法仇英笔意，设色妍丽清润。峰峦层叠以石青石绿晕染，间以赭石提点，秀雅而不失苍劲。云气在山间水畔缓缓舒卷，将错落村居、葱郁林木掩映其中，烟波浩渺的湖水铺陈远阔，衬出群山灵秀。\n\n勾勒皴擦兼具工细与写意，既保有青绿山水的华美质感，又晕染出辋川别业的幽寂禅意，仿若将王维笔下的林下雅趣，化作眼前清旷空灵的桃源胜境，尽显山居林泉的静穆悠远之美。",[23,24,7,25,26,27,29,330,28,132,496,34,37,31,35,1515,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1eda3b72ba96b87a804972ade459581.jpg",[],{"id":16500,"slug":16501,"title":16502,"dynasty":144,"author":287,"museum":300,"description":16503,"tags":16504,"thumbUrl":16505,"material":84,"size":84,"collection":84,"collections":16506,"showCount":16449,"zanCount":48,"manualWeight":48,"mainColor":72},228018,"lai-qin-zhi-zi-tu-qian-xuan-228018","来禽栀子图","宋末元初杰出的画家、书法家、诗人， 、 、 、 、肖子中、陈天逸、 、姚式并称“吴兴八俊”，钱选为“吴兴八俊”之首。\n“不管六朝兴废事，一樽且向画图开。\n”宋末元初，特殊的时代环境使得大多数汉文人从仕途中退却，隐逸文化成为当时汉文人生活方式的主流。\n同时，老庄隐逸思想中“平”“淡”的审美特质影响了画家的诗画品格。\n元初画家钱选的花鸟绘画作品所蕴含的诗画意蕴，充分体现了这种影响。\n《东山存稿》卷二中言及钱选作诗：“而钱公跌宕真率，格力优暇，无怨愤不平之意，要为不可及云。\n”以“淡”而归“真率”，绘画与诗文的统一格调，是钱选人格心理的真实写照。\n绘画主流由宫廷而转入民间的过程中，画家的自我意志得到了畅意与释放。\n宋末元初这一时期，钱选、赵孟、龚开、郑思肖等画家的作品中明显可见题画或题画诗的出现，实质是画家的文人意识与自我认知意识的一种抒发。\n钱选传世可考的一些 作品中常见其题诗，《秋瓜图》中道：“写向小窗醒醉目，东陵闲说故秦侯。\n”《梨花图》卷中题：“寂寞阑干泪满枝，洗妆犹带旧风姿。\n闭门夜雨空愁思，不似金波欲暗时。\n”从绘画题材看，画中的秋瓜、梨花等并非有太多奇巧之处，但画家入木三分的刻画赋与其丰富的情感内涵，再结合题画诗将意蕴内涵表现更为明确。\n“写向小窗醒醉目”是不谙世事的放纵，“东陵闲说故秦侯”却是满腔无奈的追忆与感喟，此秋瓜已非彼秋瓜也。\n而画中的梨花更已幻化为一风华绝代的美人，哀怨忧愁，褪尽铅华，悱恻百转却欲说还休。\n诗句是朴素平实的，而画中的对象在诗意中展开了延伸，从平常无奇的花鸟草木亦能体会出其情意所至。\n诗意中所表达的心绪在绘画的审美中与画家的情感相交融，画作意境由此而得以延伸。\n如果说南宋精美工细的花鸟画小品中能看出画家对具体物象细腻的揣度与恭谨的表现，在钱选的花鸟画中，画家所赋予物象的情感则通过诗作不露痕迹地带出，“洗妆犹带旧风姿”，一个“洗”字将观者对一树梨花的清新冷韵形象地再现出来，伤感、追忆的情绪已在枝头花间弥漫，而作者的情感似乎是中性的、平淡的。\n画境与诗境的相通并非是简单直接的描述或说明，而是在另一个较高层次上意趣的通融。\n钱选位居“吴兴八俊”并非完全以其绘画，而是“以诗擅名”，画为文之极，深厚的文学修养必然影响到其对绘画的理解与表现。\n清代陆心源所撰《仪顾堂集》《钱选传》中道：“尤善作折枝，其得意者赋诗其上。\n”钱选流传至今的画作上，无论有无题诗，皆有款识印章的出现。\n款识的出现与变化可能还有另外的原因，当绘画作品突破皇家欣赏的专属，在民间也广为流传时，作品的真伪问题就突显了出来。\n钱选在吴兴当地的画誉较高，时人以“吴兴三绝”分别指钱选的画、赵孟的字以及冯应科的笔。\n钱选作品在具备较高绘画造诣的同时，也有较强的课徒之资。\n其作品《来禽栀子图》现藏于美国弗利尔美术馆，图上绘有两株栀子花并未见禽鸟，一说可能是原图的残简，有一说“来禽栀子”本为花名。\n画中两株花枝势态怡然，摇曳生姿。\n花、叶穿插掩映有致，色调淡雅和谐。\n其画后隔水有赵孟跋：“来禽栀子，生意俱足。\n舜举丹青之妙于斯见之。\n其他琐者必其徒所为也。\n孟”足见，钱选的绘画在当时已为众多后学所追摹本。\n赵孟在钱选《八花图》卷后题跋：“右吴兴钱舜举所画八花真迹，虽风格似近体，而傅色姿媚殊不可得。\n尔来此公日酣于酒，手指颤掉，难复作此。\n而乡里后生多仿效之，有东家捧心之弊，则此卷诚可珍也。\n”山东省出土的钱选《白莲图》卷上也有作者的自跋：“余改号溪翁者，盖赝本甚多，因出新意，使作伪之人知所愧焉。\n钱选舜举。\n”显然，款识与画家身份的辨别在元初得到了进一步的发展，至元中后期画家在画面题款已蔚然成风，同时对画家书法品质的要求也起到了推动的作用。\n从作品来看，钱选书法明显承袭钟繇一路风格，含蓄内敛、平淡天真，法度严谨却又以拙胜巧。\n在钱选的绘画作品中，诗文、书法、绘画、款印相得益彰，书法的审美意蕴与题画诗意均呈现出某种同一的美学特质。\n再经由赵孟等人对“书画同源”观念的推动，发展为大多数文人画家所接受，奠定了后来整个文人画作样式上的基本面貌。\n明代沈颢在《画》中言：“元以前多不用款，款或隐之石隙，恐书不精，有伤画局。\n后来书绘并工，附丽成观。\n”显然，元初是书画款识的一个分界点，沈颢还从画面的结构关系上指出：“一幅中有天然候款处，失之则伤局。\n” 在花鸟画史研究中，论及钱选都认为其承南宋的画风。\n从画面效果来看，现藏于 的《牡丹图》卷是钱选花鸟画中风格较为接近南宋院体的一幅。\n也可能是由于牡丹本身繁茂明丽、雍容华贵的特质，拉近了作品与宫廷审美风格的关联。\n在钱选的画笔之下，花团锦簇，枝叶丰茂，写出牡丹的繁盛之妆容。\n明丽丰满的花头似乎随风摇曳，令人在体会到灼目芳华时却又顿生转瞬既逝的感喟。\n画面空疏有致，题款：“万卉何能继后尘，蜂喧蝶驻亦钟情。\n莫嫌开处春还暮，长向西都见太平。\n”七绝一首在画面左侧，画面形式上来看，题款与牡丹位置相距甚远，中有留白。\n显然作者在画面经营上是匠心独运的，以留白与牡丹花枝紧簇形成对比，增添了繁与简、荣与空之间的对比，从而增添了对牡丹内在审美意蕴的理解。\n题画诗所形成的纵向线条感疏朗有致，增添了画面的形式构成。\n从画面的整体来看，小楷的书写效果，朴实无华，独特一帜。\n同时，又能以诗意提升画意，作者在传承传统技法的同时，以自我的文化修养为作品的创新发展注入了新的因素。\n与同时代的画家相比，钱选花鸟画作品的独特性体现出两方面的辩证联系：一方面是显性的，时人评价钱选之诗：“而钱公跌宕真率，格力优暇，无怨愤不平之意，要为不可及云。\n”此论形容其绘画含蓄凝练，以平淡为格。\n在传承古典绘画技法的同时，将传统 的审美范畴拓展到更富于文人气质的表现上。\n其绘画命意高古，造型赋色独具意趣，以题画诗延伸画意，并在形式上以题跋款识介入画面，形成诗文书画合一的画面风格，为后世文人画家所效仿。\n另一方面，也是更为本质的一方面，他始终坚持在绘画本体的层面进行创作，文学因素的影响始终建立在其对绘画本身的追求与坚持之上。\n即使在钱选晚期的代表作《白莲图》卷中，色彩的渲染简约到了极致，几乎近于白描，但用线造型无不流畅细腻，富于表现力，可谓“精工之极”的典范。\n在宋元相交之际，绘画向主观写意转变的时代潮流中，钱选始终坚持对客观物象的尊重，坚持“状物”之美的表现，将富于文人意味的审美理想内化于其作品之中，这使他与当时的主流绘画样式拉开了距离，从而树立了自我的价值，形成独特的自我风格。",[23,164,24,7,25,27,28,61,4693,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a2c8b9c667d1fd5c374bd1445018bdf.jpg",[],{"id":16508,"slug":16509,"title":16510,"dynasty":54,"author":2640,"museum":300,"description":16511,"tags":16512,"thumbUrl":16513,"material":84,"size":84,"collection":84,"collections":16514,"showCount":16449,"zanCount":1998,"manualWeight":48,"mainColor":72},224378,"hua-hui-qi-shi-ce-shi-er-kai-8-ju-lian-224378","花卉奇石册-十二开-8","此作用笔秀润工致，湖石嶙峋朴拙，留白孔洞衬出通透雅姿，旁侧幽竹叶叶分明，清隽舒展。石畔野花柔婉娇妍，细草萦地，将小景衬得生机悠然。\n\n附石螳螂昂首凝神，振翅小虫翩跹于空，草虫刻画毫厘毕现，将灵动野趣藏于静雅景致中。设色轻浅柔和，晕染细腻自然，工笔精致却不板滞，将幽寂庭隅的清趣鲜活定格，于尺幅绢素间，糅合草木的静雅与草虫的生机，尽显闲淡悠然的逸致，勾勒出夏日庭间的鲜活幽谧。",[23,24,7,59,27,28,61,167,1495,62,806,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa288770c4e7a26717f5dbb64eb7856ee.jpg",[],{"id":16516,"slug":16517,"title":16518,"dynasty":124,"author":1438,"museum":205,"description":4072,"tags":16519,"thumbUrl":16520,"material":1223,"size":4076,"collection":84,"collections":16521,"showCount":16449,"zanCount":48,"manualWeight":48,"mainColor":72},222568,"hua-hui-tu-7-chen-chun-222568","花卉图7",[23,164,24,7,805,369,128,27,61,62,624,582,1039,6279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42c3b1556563313a1660bdbd2d2b3b30.jpg",[],{"id":16523,"slug":16524,"title":16525,"dynasty":124,"author":14340,"museum":20,"description":16526,"tags":16527,"thumbUrl":16529,"material":40,"size":16530,"collection":44,"collections":16531,"showCount":16449,"zanCount":48,"manualWeight":48,"mainColor":49},222404,"shu-xia-du-shu-tu-zhou-hui-wu-wei-222404","树下读书图轴绘","画面内容表现的是传统的隐逸耕读题材，一位中年文士耕牧之余在树下休憩，展卷读书，自得其乐。明中期以后政治日益腐败，科举仕途之路充满了不确定性，因此不少文人产生了遁世思想，选择远离官场的闲适生活。吴伟一生两度出入宫廷，对官场和民间都有着深刻的体会，此类题材多次出现在他的笔下。此作用笔潇洒劲健，多以侧锋运笔，锋芒毕露。",[24,164,7,165,128,27,96,29,413,1314,211,414,16528,132,167],"读书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55d957810554b12e18958dc85525c172.jpg","纵168厘米，横105厘米",[44,117],{"id":16533,"slug":16534,"title":16535,"dynasty":144,"author":569,"museum":20,"description":16536,"tags":16537,"thumbUrl":16538,"material":151,"size":16539,"collection":318,"collections":16540,"showCount":16449,"zanCount":1998,"manualWeight":48,"mainColor":49},220880,"qian-zi-wen-zhao-meng-fu-220880","千字文","引首系明代徐霖篆书“松雪千文”四个大字，卷后有元从张雨、赵雍、赵奕、黄公望，明代莫云卿、张湘詹景凤、徐霖等众人跋文。\n赵孟頫酷爱以千字文为习字素材，他曾在一卷千字文中自题云：“僕二十年来，写千字文以百数”足见共学书之勤奋。本卷是其晚年书写的一件千字文，先是楷书，后渐舒展为行书。\n明代书家詹景凤评说：“此卷笔法高古、圓润峻秀，为承旨得意之作。”\n明代书家莫雲卿评说：“昔人谓方圓一万里，上下数百年，绝无承旨 书法 ，观此本信然。”",[23,7,64,133,572,25,1590,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4e6e46623392abf17fdd5a46b402c2b.jpg","26.5X373.4CM",[318],{"id":16542,"slug":16543,"title":16544,"dynasty":18,"author":1622,"museum":1941,"description":16545,"tags":16546,"thumbUrl":16547,"material":278,"size":16548,"collection":136,"collections":16549,"showCount":16449,"zanCount":1998,"manualWeight":48,"mainColor":49},220355,"ge-jiang-yu-di-tu-ma-yuan-220355","隔江渔笛图","虬曲古松斜探向江心，水榭之上，对坐雅士凝神侧耳。江渚渔舟隐约，悠悠笛声似随烟波漫过江心，牵住了右下角策杖白衣人的脚步，他正循声缓行。\n\n空濛烟霭晕染开远近山水，以虚实相生之笔，将无形笛音化为可见的诗意。取景删繁就简，把咫尺画幅铺展出阔远意境，淡墨轻岚间，揉合山水闲趣与知音灵犀，静里含声，淡中藏情，尽揽清雅韵致。",[24,7,29,165,27,132,129,130,96,99,331,1351,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8d364841d70827b047f24fae7b80225.jpg","156.1 x 86.3 cm",[136],{"id":16551,"slug":16552,"title":16553,"dynasty":54,"author":4468,"museum":244,"description":16554,"tags":16555,"thumbUrl":16556,"material":173,"size":16557,"collection":45,"collections":16558,"showCount":16449,"zanCount":1116,"manualWeight":48,"mainColor":72},219302,"shi-jun-tu-zhi-ru-yi-cong-zhou-lang-shi-ning-219302","十骏图之如意骢轴","银鬃如瀑覆颈垂尾，肌理间星斑错落似落雪沾霜。骏马昂首而立，筋肉起伏藏于柔毫之下——西洋写实技法精准勾勒骨相，东方水墨晕染鬃毛显柔韵。绢本素净如宣纸，衬得如意骢神骏挺拔，姿态灵动若将嘶鸣。旁侧墨笔题跋与朱印相映，添文人雅趣。中西技法相融，既存西域良驹的雄健风骨，又含中式审美的含蓄意境，成鞍马画作中跨文化对话的传世妙品。",[24,7,165,28,27,101,949,10803,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38449328316c44de09d076a3ad08c00d.jpg","231.2x278.1",[45],{"id":16560,"slug":16561,"title":16562,"dynasty":18,"author":16563,"museum":6413,"description":16564,"tags":16565,"thumbUrl":16566,"material":278,"size":16567,"collection":68,"collections":16568,"showCount":16449,"zanCount":1998,"manualWeight":48,"mainColor":72},218640,"qiu-lan-tu-quan-juan-zheng-si-xiao-218640","秋兰图全卷","郑思肖","这幅画描绘了一棚无根的兰花，只有几片叶子，其中两片叶子细长而美丽，右边的兰花盛开，芳香四溢。",[23,24,7,25,128,369,375,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff50b81ebe46546096d829c3ee4a31f63.jpg","23.2x55.6",[68],{"id":16570,"slug":16571,"title":16572,"dynasty":124,"author":16573,"museum":244,"description":16574,"tags":16575,"thumbUrl":16576,"material":278,"size":16577,"collection":44,"collections":16578,"showCount":16449,"zanCount":1998,"manualWeight":48,"mainColor":72},216944,"ru-lai-xiang-sun-huang-216944","如来像","孙璜","Rādhārāṇī是释迦牟尼佛的十大名号之一。如 又称 如来，即 真如，指的是佛陀所说的绝对真理，按照这个真理行事，就能达到佛陀领地的外部世界。中国佛教徒尊崇他为最高的神灵。这幅画的笔法与《曹衣出水》相同，只是手太大了，也可能是作者为了显示自己的 神性 而想这么做。",[24,7,187,96,188,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5df3abe0179d316e6b6680707fa9ce16.jpg","101x45.1",[44],{"id":16580,"slug":16581,"title":16582,"dynasty":54,"author":16583,"museum":450,"description":16584,"tags":16585,"thumbUrl":16587,"material":66,"size":16588,"collection":44,"collections":16589,"showCount":16449,"zanCount":48,"manualWeight":48,"mainColor":72},214987,"zhi-tou-za-hua-ce-gao-qi-pei-214987","指头杂画册","高其佩","清朝时期的高其佩是一位著名的画家，他的指头杂画册是一本收录了他的各种杂画的画册。这本画册是高其佩的代表作之一，其中包含了他的许多经典作品。高其佩的指头杂画册被广泛认为是清朝时期最优秀的画册之一，其中的画作展现了高其佩高超的画技和对自然的深刻理解。\n\n高其佩的指头杂画册中的画作涵盖了许多不同的题材，包括自然风景、人物、动物、花卉等。他的画作细腻生动，富有表现力，深受观众的喜爱。高其佩还经常在他的画作中加入许多寓意深刻的元素，使得他的画作不仅具有观赏性，而且富有哲理性。\n\n高其佩的指头杂画册是他一生的杰作，也是中国传统绘画的瑰宝。现在，这本画册被广泛收藏，并被认为是中国文化遗产的重要组成部分。",[23,24,7,59,128,16586,96,166,231,208],"指头画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1303c0abf4226c4f79f47a932c622f9e.jpg","36.7x33.1cm",[44,68],{"id":16591,"slug":16592,"title":16593,"dynasty":124,"author":5408,"museum":244,"description":16594,"tags":16595,"thumbUrl":16596,"material":278,"size":16597,"collection":136,"collections":16598,"showCount":16449,"zanCount":48,"manualWeight":48,"mainColor":72},214587,"mo-gu-shan-shui-ce-fang-mei-hua-an-zhu-bi-yi-bian-wen-yu-214587","摹古山水册-仿梅花庵主笔意","明代画家卞文瑜的摹古山水册是一件著名的绘画作品，其中的仿梅花庵主笔意图是一件精美的山水画作品。\n\n卞文瑜是明代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在摹古山水册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n仿梅花庵主笔意图是卞文瑜摹古山水册中的一幅精美的山水画作品。画中的山水风景清新自然，体现了卞文瑜对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n总的来说，卞文瑜的摹古山水册是一件精美的绘画作品，其中的仿梅花庵主笔意图是一件优美的山水画作品，它描绘了中国传统的山水风景，也体现了卞文瑜对自然的热爱和对传统文化的尊重。",[164,24,7,59,128,330,132,29,98,99,34,131,35,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcdefabc9be72fadfaa55a3b8a6b54b6.jpg","30.7x21.8cm",[136],{"id":16600,"slug":16601,"title":16602,"dynasty":54,"author":5879,"museum":1941,"description":10317,"tags":16603,"thumbUrl":16604,"material":611,"size":10320,"collection":84,"collections":16605,"showCount":16449,"zanCount":1998,"manualWeight":48,"mainColor":49},214356,"san-jue-shan-shui-ce-4-hua-yan-214356","三绝山水册-4",[23,24,7,59,27,128,132,29,131,34,99,387,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472b6ddb8c19b4a43c8b7bba13cd7d00.jpg",[],{"id":16607,"slug":16608,"title":5945,"dynasty":124,"author":16609,"museum":300,"description":16610,"tags":16611,"thumbUrl":16613,"material":692,"size":1293,"collection":84,"collections":16614,"showCount":16615,"zanCount":1998,"manualWeight":48,"mainColor":49},290312,"sui-chao-tu-zhou-tao-cheng-290312","陶成","陶成（生卒年未详），字孟学，号雪湖仙人，宝应（今江苏宝应）人。成化七年（1471年）举人。生性疏狂，多才艺，诗文古朴。书善四体，善画花鸟人物，山水多用青绿，浓丽蔚拔，喜作勾勒，竹兔与鹤鹿均妙，随意画山水、花鸟、人物，都非常接近南宋人。芙蓉称为神品，为世人所珍藏。\n陶成的绘画、书法造诣极高，与沈周、文徼明、唐寅、仇英“明四家”并称于世，有人甚至把他列于唐伯虎之上。明代文学家，书画鉴赏家李开先对陶成推崇备至、评价甚高。他的《中麓画晶》分明代画家为五等，陶成就雄冠其首。明韩昂《图绘宝鉴续编》云，陶成”书工篆隶直草，诗人奇古，画山川多用青绿，尤喜作钩勒，竹、兔与鸹、鹿，皆妙。 由其胸中洒然也”。明十才子之一李梦阳在其《观序上人所藏陶成画菊石歌》中，称赞陶成的菊花、岩石画远远超出了当时的菊石专家计汝和、徐霖。诗中说： “陶生画菊石，潦草笔有力…近时名手计汝和，此生笔力方之过。江柬徐霖学画石，效颦差胜王与何。”故而有这样的说法： “得黄金百不如云湖画一幅。”",[24,7,165,164,27,61,372,371,16612,208,64,133,169],"青铜器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf77270b17ed20c031bfe4c49651301a.jpg",[],84,{"id":16617,"slug":16618,"title":16619,"dynasty":144,"author":287,"museum":300,"description":16620,"tags":16621,"thumbUrl":16622,"material":692,"size":1293,"collection":84,"collections":16623,"showCount":16615,"zanCount":48,"manualWeight":48,"mainColor":49},290099,"fu-yu-shan-ju-tu-qian-xuan-290099","浮玉山居图","《浮玉山居图》是钱选为山居霅川浮玉山的写景。图中山峦分三组，山势峻峭。湖上烟雾蒙蒙，山坳白云缭绕，更有用简笔点缀的茅舍、渡舟、小桥、老翁，一派江南水乡清润秀妍景色。全卷笔意冲淡，画意静穆，用笔工整而不板。",[23,164,24,7,25,27,29,131,4438,4605,99,64,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c05f9c52d56eb6131b8f94b511ff173.jpg",[],{"id":16625,"slug":16626,"title":16627,"dynasty":351,"author":5524,"museum":300,"description":16628,"tags":16629,"thumbUrl":16630,"material":692,"size":1293,"collection":84,"collections":16631,"showCount":16615,"zanCount":1998,"manualWeight":48,"mainColor":49},287374,"mu-dan-tu-ye-huang-quan-287374","牡丹图页","五代时期的黄荃擅长工笔牡丹，钩花填色，富丽工巧。北宋郭若虚在《图画见闻志》中称其为“黄家富贵”。他笔下的牡丹不仅着意表现牡丹的姿态，更重视表现牡丹富贵吉祥的寓意。",[164,24,7,61,28,27,263,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc068ad0be98f133efd214bda7be63318.jpg",[],{"id":16633,"slug":16634,"title":409,"dynasty":54,"author":872,"museum":300,"description":16635,"tags":16636,"thumbUrl":16637,"material":84,"size":84,"collection":136,"collections":16638,"showCount":16615,"zanCount":48,"manualWeight":48,"mainColor":72},235165,"shan-shui-ce-zhu-da-235165","此作用笔简淡疏朗，以极省减的墨色绘就山水丘林。远山以枯淡墨线勾出轮廓，淡墨晕染出覆雪清寒，林麓隐在氤氲雾气间。近岸枯木虬曲错落，间有矮松凝立，坡岸浅渚以淡墨轻扫，寥寥数笔便铺展出江天寥廓的空茫。\n\n大片留白铺陈出天地荒寒的禅意，题款与朱印点缀留白处，虚实相生。整体气韵冷逸孤高，淡墨里藏着疏淡超脱的襟怀，将萧寒天地与幽独心境相融，笔底皆是清冷出尘的林下意趣，淡而弥远，简却传神。",[24,7,59,128,132,29,1337,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef34faa497c9e7d24e38b8640a268bb.jpg",[136,117],{"id":16640,"slug":16641,"title":16642,"dynasty":54,"author":16643,"museum":300,"description":16644,"tags":16645,"thumbUrl":16646,"material":84,"size":84,"collection":84,"collections":16647,"showCount":16615,"zanCount":48,"manualWeight":48,"mainColor":49},230220,"zhu-lin-qi-xian-tu-yu-ling-230220","竹林七贤图","俞龄","茂林修竹围出一方幽隐天地，清溪穿林而过，山石错落间，贤士们各寻幽趣：或凭栏低语，或临流浣漱，或围坐弈棋，或卧于松石间静听竹涛。淡墨写竹虚实相生，将林下清寂晕染开来，人物衣袂飘然，神态闲散疏朗，尽显放旷超脱的魏晋风神。\n\n整幅画面疏密相宜，把林泉高致与雅集之乐相融，笔墨简淡却意韵悠长，将先贤寄身丘壑、不逐尘俗的襟怀凝于绢素，让千年前的林下风流历历在目。",[23,24,7,27,28,96,29,167,1314,1421],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00aacaf067d0373a0657f73de52f1401.jpg",[],{"id":16649,"slug":16650,"title":16651,"dynasty":124,"author":223,"museum":300,"description":16652,"tags":16653,"thumbUrl":16654,"material":692,"size":1293,"collection":84,"collections":16655,"showCount":16615,"zanCount":48,"manualWeight":48,"mainColor":956},228411,"wen-shu-xiang-yi-ming-228411","文殊像","文殊菩萨，佛教菩萨名，梵文Maňjuśrī的音译，略称“文殊”，意为“妙德”“妙吉祥”等，新译“曼殊室利”。文殊师利菩萨是中国佛教四大菩萨之一，以论述“般若性空”和“般若方便”的理论著称。\n作为释迦牟尼佛的左胁侍，专司智慧，与司“理”的右胁侍普贤菩萨并称。此外，毗卢遮那如来、文殊菩萨、普贤菩萨被尊称为“华严三圣”。相传文殊菩萨的说法道场在山西五台山。\n文殊菩萨顶结五髻，以代表大日五智，手中持剑，表示以智慧为利剑，驾狮子以表示智慧之威猛。另外，文殊为相应众生的不同因缘，还会有不同形象的“示现”，如一字文殊、五字文殊、六字文殊、八字文殊、一髻文殊、五髻文殊、八髻文殊、儿文殊等。其中以五字五髻文殊最为常见。",[164,24,7,1362,187,28,27,96,29,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79d6a64a1e16572aa440c8f1e0300caf.jpg",[],{"id":16657,"slug":16658,"title":16659,"dynasty":182,"author":5456,"museum":300,"description":16660,"tags":16661,"thumbUrl":16662,"material":84,"size":84,"collection":84,"collections":16663,"showCount":16615,"zanCount":48,"manualWeight":48,"mainColor":49},227080,"da-zi-yin-fu-jing-chu-sui-liang-227080","大字阴符经","真书，墨迹本，共96行，计461字，传唐代褚遂良写于唐永徽五年(654)。钤有“建业文房之印”、“河东南路转运使印”等鉴藏印。其书字笔画瘦劲，但结体宽博，尚保留隶书的笔意。小楷本和大楷本皆有说法，难以断真。其中，小楷本的楷法端妍，《越州石氏帖》有摹刻，字体细小如“蝇头”，行字茂密又疏朗舒适，从严谨的笔法中可见魏晋之风韵。而大楷本则笔力劲健，形态多姿，风流倜傥，沉着而畅展。此外《大字阴符经》有许多行的笔意，如起笔直下与收笔的引带都加强了字内的联系，使其更为生动活泼。",[64,572,208,7,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98d62e49f45da0be16f6bb4748fcc57a.jpg",[],{"id":16665,"slug":16666,"title":16667,"dynasty":18,"author":223,"museum":56,"description":16668,"tags":16669,"thumbUrl":16671,"material":514,"size":16672,"collection":42,"collections":16673,"showCount":16615,"zanCount":1998,"manualWeight":48,"mainColor":49},223660,"zha-kou-pan-che-tu-yi-ming-223660","闸口盘车图","是宋代界画精品之一，为典型的“宣和装”，留有“宣和七玺”中的四枚。该卷屋宇楼榭，向背分明，斗拱铺作，不失绳墨。虽然台门有制、界画有度，但画家却用高超的技法突破题材的限制，生动呈现了一幅官营水磨作坊的日常情景。清代成亲王跋云：“雏凤楼中宝绘，须以此为第一，与汉瓦唐琴辉映千古。”",[23,164,24,7,25,95,28,27,96,97,99,106,100,34,36,16670],"劳作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F550c385948591bb6e2aac1ff29f0ea9f.jpg","纵55.4厘米横124.1厘米",[42,45],{"id":16675,"slug":16676,"title":16677,"dynasty":54,"author":223,"museum":20,"description":16678,"tags":16679,"thumbUrl":16680,"material":514,"size":16681,"collection":84,"collections":16682,"showCount":16615,"zanCount":1116,"manualWeight":48,"mainColor":49},223473,"zhi-ping-shi-nv-tu-yi-ming-223473","执瓶仕女图","画中少女立于画中，长袍长裙飘扬，高举丝绸高瓶，丝绒修长，露出的右手指甲细长，这姑娘应为高官达人家眷或宫廷内女子",[24,7,165,27,28,96,166,169,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10c7df1b022f11cc8235ca9a2a3f80c2.jpg","92x56厘米",[],{"id":16684,"slug":16685,"title":16686,"dynasty":124,"author":273,"museum":244,"description":16687,"tags":16688,"thumbUrl":16689,"material":1223,"size":16690,"collection":136,"collections":16691,"showCount":16615,"zanCount":1116,"manualWeight":48,"mainColor":49},222525,"shan-ting-wen-hui-tu-wang-fu-222525","山亭文会图","此图是王绂的代表作，写文人雅士于山亭聚会的情景。该图立意古逸，构图严谨。图中笔墨浑厚华滋，在继承元代文人画的基础上融合进了自己的笔意。山石先以枯淡墨皴写，按结构层层叠加，最后以浓重墨勾勒点苔，使整幅画面有苍润之感。\n此画立意古逸，构图严谨，山上小溪、泉水流淌有声，山下河中可泛舟，山林间亭台楼阁隐现，这是一处可游可居的幽雅胜境。近景古朴山亭中已有几个文人在那里论诗作画，山下还有文人或乘舟、或步行赶来应约赴会。此图山水胜境为文人雅集提供了优美环境，文人雅集又为山水胜境增添了诗情画意。\n此画笔墨深厚滋润，结构繁密，但密而不塞。画法上颇富于变化，是在王蒙的章法上加以变化而来。山石皴法点苔，似从王蒙法度中来，然后用笔粗犷，又有新意。有的山石以枯笔作解索皴，兼用乱柴皴、小斧劈皴，笔线富于动感。然后层层迭染，最后以浓墨勾皴打点，积墨层层，显得凝重厚实。树木和茅亭的画法在王蒙、倪瓒之间，笔力雄劲，墨气沉厚。即使山顶的小树，也一一画出树干，各具形态，而不是元画中常见的以点为树的处理。整个画面具有既苍茫湿润又清灵爽利的特殊效果。",[24,7,165,128,132,29,130,96,34,131,99,37,1023,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe15b31f796803782232999124a14bbe4.jpg","纵219厘米，横87.6厘米",[136,117],{"id":16693,"slug":16694,"title":16695,"dynasty":124,"author":204,"museum":20,"description":1523,"tags":16696,"thumbUrl":16697,"material":40,"size":1527,"collection":84,"collections":16698,"showCount":16615,"zanCount":48,"manualWeight":48,"mainColor":72},222190,"ren-wu-gu-shi-tu-ming-fei-chu-sai-chou-ying-222190","人物故事图-明妃出塞",[23,24,164,7,59,28,27,96,101,106,690,166,1634],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7ba20774bb9e29add1a777c3c73b95e.jpg",[],{"id":16700,"slug":16701,"title":1230,"dynasty":18,"author":16702,"museum":12686,"description":16703,"tags":16704,"thumbUrl":16705,"material":128,"size":16706,"collection":42,"collections":16707,"showCount":16615,"zanCount":48,"manualWeight":48,"mainColor":49},221505,"shan-shui-tu-yan-ci-yu-221505","阎次于","阎次平，南宋画家。隆兴初（约1163年）任画院祗候，授将仕郎。父仲，曾任宣和及绍兴画院待诏。继承家学，而画艺超过其父。擅绘山水，法荆浩、关仝，风格接近王诜、李唐；亦善人物，尤工画牛。存世作品有《牧牛图》等。\n弟次于，南宋孝宗隆兴初被补为承务郎，后亦为画院祗候。次于亦传家学，画山水人物，工于画牛。然水平尚逊于次平。",[23,24,164,7,27,132,29,131,34,37,497,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F184450a2d438fd377bdc81ab7f969dee.jpg","24.6×26.0",[42,136,117],{"id":16709,"slug":16710,"title":16711,"dynasty":182,"author":16712,"museum":244,"description":16713,"tags":16714,"thumbUrl":16715,"material":40,"size":16716,"collection":44,"collections":16717,"showCount":16615,"zanCount":1998,"manualWeight":48,"mainColor":49},221134,"da-bei-guan-yin-xiang-zhou-fan-qiong-221134","大悲观音像轴","范琼","头戴宝冠，宝冠中画阿弥陀佛，在青色莲台上结跏趺坐。\n他有三只眼睛、四十二只手，每只手掌中间还画一只眼睛，是密教中千手千眼观音（又称大悲观音）的一种类型。\n此幅右下方有范琼（活动于八四六－八七九年）的题款，虽然清代的查士标和张丑都认为这是一幅范琼的真迹，可是这幅观音女相的造形与唐代的 不同，反而和明代的观音较为接近，所以推测它可能是一件明代的画作。\n范琼，唐文宗时人。86至84（开成年）与陈皓、彭坚同时同艺寓居蜀城（今成都）。三人善画人物、佛像、天王、罗汉、鬼神。三人同手于诸寺图画佛像。自大中至乾符，笔无暂释，图画二百余间墙壁。如圣寿寺大殿释伽像，行道北方天王像、西方变相、殿上小壁水月观音等，与圣兴寺大殿东北二方天王、药师十二神、释迦十弟子、弥勒像、大悲变相等；名目虽同，形状一无同者。\n尝作刍瑟磨像两堵，设色未半，笔踪俨然，后之妙手终莫能继。\n大中年（八四七至八五九）所绘大悲观音像躯不盈尺而三十六臂皆端重安稳，所执诸物各尽其妙。\n笔迹如缕而精劲温润，妙穷毫厘。\n其卢楞伽、曹仲宣之徒欤。\n《德隅斋画品、米芾画史、图画见闻志》",[164,24,7,165,187,96,27,28,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67cbcfa8a4804974fb3a4d454c07fde3.jpg","该幅 67.3x39.9公分；右上边题签 23.8x2公分；左下方题 26.7x8.7公分",[44,45],{"id":16719,"slug":16720,"title":16721,"dynasty":326,"author":16722,"museum":244,"description":16723,"tags":16724,"thumbUrl":16725,"material":611,"size":16726,"collection":136,"collections":16727,"showCount":16615,"zanCount":48,"manualWeight":48,"mainColor":49},221014,"shan-shan-tu-juan-dai-kui-221014","剡山图卷","戴逵","戴逵（326－396年），字安道，谯郡铚县（今安徽省濉溪县临涣镇）人。东晋时期隐士、美术家、雕塑家，金城太守戴绥之子。\n\n早年师从名儒范宣，博学多才，善于鼓琴，工于绘画人物和山水。终身不仕，坚拒太宰武陵王（司马晞）召命和王徽之雪夜拜访。\n\n孝武帝司马曜即位，累次征辟，全部不就。太元二十一年，去世。著有《戴逵集》9卷，今已散佚。",[23,164,24,7,25,27,132,29,496,34,131,711,16370,208,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b825446ccfc90b423b206be2232fcac.jpg","38.4x615",[136,45],{"id":16729,"slug":16730,"title":16731,"dynasty":144,"author":569,"museum":8332,"description":16732,"tags":16733,"thumbUrl":16734,"material":611,"size":16735,"collection":318,"collections":16736,"showCount":16615,"zanCount":1998,"manualWeight":48,"mainColor":72},220884,"bo-re-bo-luo-mi-duo-xin-jing-zhao-meng-fu-220884","般若波罗密多心经","2017年12月，赵孟頫《般若波罗蜜多心经》以1.909亿元的成交价被甘肃天庆博物馆竞得。",[23,164,24,7,25,187,133,64,7322,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0264b2ce1fb06dde7fecef5a1e0eb419.jpg","28.6×11.9cm×5",[318],{"id":16738,"slug":16739,"title":16740,"dynasty":124,"author":1058,"museum":244,"description":16741,"tags":16742,"thumbUrl":16743,"material":278,"size":16744,"collection":44,"collections":16745,"showCount":16615,"zanCount":1116,"manualWeight":48,"mainColor":72},220377,"ban-ji-tuan-shan-tu-tang-yin-220377","班姬团扇图","画中，班姬手拈纨扇，独自在棕榈树下悄然而立。尽管画的是明眸粉颊、姿容秀丽，神情却怅然若有所思。庭前，点缀着一株花蕊绽放的蜀葵，画家应是想藉此来暗示时序已属夏末秋凉的季节。\n唐寅原是恋恋红尘里的有情种子，素来就擅长图写女性形象。本幅援引文学作品入画，透过人物与景境的巧妙配搭，具体呈现了画中人的感情和际遇。这份深刻、动人的描写力，无疑已让观者超迈了时空的隔阻，共感于汉代美人的沧桑与情痴！",[23,24,7,165,27,28,96,166,413,229,247,5295,208,1429],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7c91421866b019a6fe5f56d55012294.jpg","150.4×63.6公分",[44,45],{"id":16747,"slug":16748,"title":16749,"dynasty":144,"author":410,"museum":1941,"description":16750,"tags":16751,"thumbUrl":16752,"material":611,"size":16753,"collection":136,"collections":16754,"showCount":16615,"zanCount":48,"manualWeight":48,"mainColor":72},219230,"yi-qin-tang-tu-wang-meng-219230","怡亲堂图","山林葱郁间，堂舍隐现，溪流绕阶而过，一派清幽雅致的园林景致跃然纸上。王蒙以繁密灵动的笔墨，用解索皴层层皴染山石，线条如行云流水，墨色浓淡相宜，尽显草木山川的生机与质感。堂前人物悠然自得，或坐或行，与自然景致相融，传递出文人雅士超然物外的心境。整幅画作技法精湛，意境深远，将江南园林的雅致与文人的精神追求完美契合，尽显元代山水画的独特韵味与艺术高度，是兼具观赏性与思想性的佳作。",[23,24,7,25,128,27,29,130,97,98,99,34,331,132,133,938,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc55e64ae5c00bb62b83a6c00152b33f4.jpg","24.5x97.2厘米",[136],{"id":16756,"slug":16757,"title":16758,"dynasty":18,"author":223,"museum":244,"description":16759,"tags":16760,"thumbUrl":16761,"material":173,"size":16762,"collection":68,"collections":16763,"showCount":16615,"zanCount":1998,"manualWeight":48,"mainColor":72},218714,"yang-liu-ru-que-tu-yi-ming-218714","杨柳乳雀图","这幅画描绘了一只鸟在喂养它的孩子。这只鸟被描绘得简单而微妙，它的翅膀用浓墨勾勒，用淡墨上色，小鸟的身高、腹部和背部，俯视、仰视和俯视的姿势都非常精致。柳树稀疏的、交叉的、交错的、下垂的枝条也画得很好。",[23,164,24,7,28,27,61,12008,6985,624,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf6bfbc2c1c72fbc541eff9d6f5e0b7.jpg","24.8x24.8",[68],{"id":16765,"slug":16766,"title":16767,"dynasty":124,"author":223,"museum":224,"description":16768,"tags":16769,"thumbUrl":16770,"material":173,"size":16771,"collection":44,"collections":16772,"showCount":16615,"zanCount":1998,"manualWeight":48,"mainColor":49},218510,"wang-yuan-shuai-tu-yi-ming-218510","王元帅图","这是一幅道教的水陆画，出自明朝的一位宫廷画家之手。它原本是晚清皇帝翁同龢的收藏品，但后来传到了国外。",[24,7,805,187,28,27,96,772,950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9f92abe7d417f37cf2f5565f9557e76.jpg","98.4x62.5",[44],{"id":16774,"slug":16775,"title":1006,"dynasty":124,"author":1438,"museum":244,"description":16776,"tags":16777,"thumbUrl":16778,"material":66,"size":16779,"collection":68,"collections":16780,"showCount":16615,"zanCount":48,"manualWeight":48,"mainColor":72},214727,"mu-dan-tu-chen-chun-214727","这幅画是用牡丹树枝作画，用的是没骨法，笔触很活泼，又很沉稳，不过很可惜，随着时间的推移，颜料已经褪色，让人感觉略显淡薄。这些铭文质量很高，是白杨对毛笔的熟练掌握的结果。碑文写于1544年，在他的最后一年。铭文和绘画各占面板的一半，诗句通过歌唱花朵来传达 「人生行乐当及时」的意趣。",[24,7,165,369,128,27,133,64,61,263,582,549,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf5bd451f1f135ae69ce5a8dd712153b.jpg","122x33.3",[68],{"id":16782,"slug":16783,"title":16784,"dynasty":351,"author":3729,"museum":300,"description":16785,"tags":16786,"thumbUrl":16787,"material":692,"size":1293,"collection":84,"collections":16788,"showCount":16789,"zanCount":48,"manualWeight":48,"mainColor":49},290142,"hui-qin-tu-huang-ju-cai-290142","会禽图","黄居寀[cǎi]（933年—993年后），字伯鸾，成都（今属四川）人，五代十国名画家黄筌第三子。善画花竹、翎毛，为西蜀翰林待诏。蜀亡入宋，得宋太宗礼遇，黄家画法遂成宋初画院评画的标准。精于勾勒，用笔劲挺工稳，填彩浓厚华丽，其园竹翎毛形象逼真，妙得自然；怪石山水超过乃父，与父同仕后蜀，为翰林待诏，入宋仍任翰林待诏。尝合作殿廷墙壁，宫闱屏幛，不可胜记。",[164,24,7,165,28,27,61,211,371,649,1495,1400,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5f43a7cf6d1c9220be37682f0c14340.jpg",[],83,{"id":16791,"slug":16792,"title":7761,"dynasty":351,"author":1833,"museum":300,"description":16793,"tags":16794,"thumbUrl":16796,"material":692,"size":1293,"collection":84,"collections":16797,"showCount":16789,"zanCount":48,"manualWeight":48,"mainColor":49},288460,"yu-le-tu-jing-hao-288460","荆浩（约850-911年），字浩然，号洪谷子，河内沁水(一说河南济源人，一说山西沁水县人，）唐末五代时期著名画家，北方山水画派之祖。\n博通经史，博雅好古。乾符元年（874）前后，得到宰相裴休的关照，担任小官。大中十年（856），罢官回乡。躲避战乱，常年隐居太行山。善于山水画，师从于张璪，吸取北方山水雄峻气格，作画“有笔有墨，水晕墨章”，勾皴之笔坚凝挺峭，表现出一种高深回环、大山堂堂的气势，为北方山水画派之祖。\n著有《笔法记》山水画理论的经典之作，提出气、韵、景、思、笔、墨的绘景“六要”。作品《匡庐图》《雪景山水图》等",[164,24,7,25,128,1349,98,99,4797,131,97,96,1351,16795],"垂钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fe6d632a1b6babf419082b8f11a8e7b.jpg",[],{"id":16799,"slug":16800,"title":16801,"dynasty":18,"author":2067,"museum":300,"description":16802,"tags":16803,"thumbUrl":16804,"material":692,"size":1293,"collection":84,"collections":16805,"showCount":16789,"zanCount":1086,"manualWeight":48,"mainColor":49},288332,"hong-bai-fu-rong-tu-ye-yi-li-di-288332","红白芙蓉图页一","该图画红、白芙蓉各一幅，线描有黄筌画风的精神。该画的描写写实，用笔纤细且色彩层次微妙，因而富于情趣。善用余白的画面空间也显得自然而静谧。",[23,164,24,7,28,27,61,373,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd98b04c253b7294f848e933790d49cf.jpg",[],{"id":16807,"slug":16808,"title":2706,"dynasty":18,"author":620,"museum":300,"description":16809,"tags":16810,"thumbUrl":16811,"material":692,"size":1293,"collection":84,"collections":16812,"showCount":16789,"zanCount":1998,"manualWeight":48,"mainColor":49},288270,"hua-lan-tu-zhao-chang-288270","赵昌，生于970-1040年，字昌之，北宋画家，广汉剑南（今四川剑阁之南）人。工书法、绘画，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后来发展出自身画风，没骨花鸟自成一派，有徐熙、黄荃遗风。在北宋时期与宋徽宗赵佶齐名，是宋代花鸟画坛的杰出画家。",[23,164,24,7,61,28,27,263,376,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2085ee9a72b9b6a9215540541abb702a.jpg",[],{"id":16814,"slug":16815,"title":16816,"dynasty":124,"author":16332,"museum":300,"description":16817,"tags":16818,"thumbUrl":16821,"material":692,"size":1293,"collection":84,"collections":16822,"showCount":16789,"zanCount":48,"manualWeight":48,"mainColor":72},287357,"xiao-xiang-guo-yu-tu-chang-juan-xia-chang-287357","潇湘过雨图长卷","夏昶（1388—1470），字仲昭，号自在居士、玉峰，昆山人，后人誉其画竹高手。他初姓朱，名昶，后复姓夏，太祖为之更名昶，字仲昭。号自在居士，又号玉峯，江苏昆山人，夏昺弟。正统中官至太常寺卿直内阁。画墨竹师王绂，能得其妙，时推第一，名驰绝域，争以金购之。",[23,164,24,7,25,128,167,16819,64,16820],"雨景","墨竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77c0fd5961a81d394a14a9f0c62e6bd1.jpg",[],{"id":16824,"slug":16825,"title":16826,"dynasty":54,"author":1242,"museum":20,"description":16827,"tags":16828,"thumbUrl":16829,"material":16830,"size":16831,"collection":136,"collections":16832,"showCount":16789,"zanCount":1998,"manualWeight":48,"mainColor":72},233390,"shan-shui-ren-wu-ce-jin-nong-233390","山水人物册","册共十二开，分别绘佛像、山水、人物故事等。\u2028　　第一开：墨笔白描佛像、菩提树，画左自题两行，款“己卯八月”。钤“金吉金印”。\n第二开：画礼佛图，右方自题六行，款“心出家盫僧画记”。钤“金吉金印”。\n第三开：画秋林共话，左方自题八行，款“稽留山民记”。钤“莲峰居士”等二印。\n第四开：画湖山采菱，右下自题七言诗一首，下题记六行，款“冬心先生笔记”。钤“冬心先生印”。\n第五开：画青山薄汀，上方自题词一首，款“乾隆二十四年八月十一日七十三翁金农画记”。钤“金氏寿门”印。\n第六开：水墨画鬼趣图，左上自题七行，款“龙梭仙客记”。钤“金农”、“莲峰居士”二印。\n第七开：画玉川煮茶图，自题两行，款“昔耶居士”。钤“寿”一印。\n第八开：画板桥流水，桃林策杖。左方自题七绝一首，款“金二十六郎画诗书”。\n第九开：画柳塘间舟，右上自题七言诗一首，款“曲江外史画诗书”。钤“冬心先生”印。\n第十开：画花塘长亭，上方自书词曲，款“金牛湖山诗老小笔并自度一曲”。钤“寿”、“朋”二印。\n第十一开：画抱膝长思，右上自题“昔年曾见，金老丁晚年自号也”。钤“金老丁”印。\n第十二开：画山僧叩门图，左下自题七言诗，款“昔耶居士并题”。钤“国泉”一印。裱边、附页有健庵、吴湖帆题记。\n此图用笔灵活古拙，山石用意笔写之，淡墨轻染，岸柳、杂树、芭蕉用勾点夹叶法，钱荷用臥笔横点，佛像、人物、山鬼用笔滞涩朴拙，富有韵味。全画笔法生拙奇奥，设色清秀淡雅，意境幽深，为金农山水人物画代表作品。\u2028　　鉴藏印：“曾藏潘健盦处”、“铭心绝品”、“贞甫审定”等六十二方。\u2028　　庞莱臣《虚斋名画录》著录。",[24,7,59,27,188,128,96,875,99,249,169,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F196382a9fa13f1fdd21f5ad09cb12d1a.jpg","纸本，墨笔或设色","纵24.3厘米，横31.2厘米",[136,44,45],{"id":16834,"slug":16835,"title":16836,"dynasty":54,"author":14080,"museum":20,"description":16837,"tags":16838,"thumbUrl":16839,"material":40,"size":16840,"collection":84,"collections":16841,"showCount":16789,"zanCount":48,"manualWeight":48,"mainColor":49},233116,"peng-lai-xian-jing-tu-zhou-yuan-yao-233116","蓬莱仙境图轴","袁氏父子画蓬莱仙境的作品很多，以本幅袁耀所作最为壮观。图中山形脉络皆有动势，突兀怪异；以鬼面皴法画出的山石奇形怪状，层次丰富。华丽严整的宫殿与雄伟而富有动感的山水巧妙地融合，浑然一体，形成画面中动与静、整齐与活泼的鲜明对比，气势博大。\n由于职业画家的局限，袁江、袁耀的作品在表现题材上不可避免地有所雷同，表现手法也呈现一种程式化。有古建专家认为他们画的建筑“并非清代的建筑形象，而是杂采历代画中种种不同的建筑形象，加以组合…… 从总体布局到建筑形体大多不合建筑的规矩法度”，这和当时追求艺术视觉效果、忽视真实物理结构的审美要求有直接的关系，从中也可以看到市场机制对艺术创作的影响。",[24,7,165,95,27,28,29,97,1515,37,34,131,98,1645,11998],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4f9402250dd3a38046d645019ceaddd.jpg","纵266.2厘米，横163厘米",[],{"id":16843,"slug":16844,"title":16845,"dynasty":124,"author":16846,"museum":300,"description":16847,"tags":16848,"thumbUrl":16849,"material":84,"size":84,"collection":117,"collections":16850,"showCount":16789,"zanCount":1998,"manualWeight":48,"mainColor":72},228852,"fang-zhao-meng-fu-shui-cun-tu-wen-bo-ren-228852","仿赵孟頫水村图","文伯仁","此作用淡墨晕染平畴远汀，枯木疏林错落浅渚坡岸，村舍板桥隐现其间。远山以没骨轻绘，烟岚柔笼峰峦，将江南水村的清寂淡远缓缓铺展。全卷追摹元人简逸意趣，笔墨松秀温和，不作繁复皴擦，留白烘托出空濛水汽，尽显萧散闲雅。整幅画作幽淡闲远，将文人寄情丘山的隐逸意韵融于尺幅之间，把水乡静穆悠然之境尽数呈现，是师法前人的山水佳构。",[23,164,24,7,25,128,132,330,29,1337,98,99,129,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d27638c4d92badd2d746d97e78c8638.jpg",[117],{"id":16852,"slug":16853,"title":7180,"dynasty":18,"author":92,"museum":300,"description":16854,"tags":16855,"thumbUrl":16856,"material":84,"size":84,"collection":84,"collections":16857,"showCount":16789,"zanCount":48,"manualWeight":48,"mainColor":49},227396,"jin-ming-chi-zheng-biao-tu-zhang-ze-duan-227396","金明池坐落在北宋东京汴梁顺天门外（今河南开封城西），是当时著名的御苑之一。每年三月由皇帝赐令开放，并与士庶于此共观龙舟争标，郊游赏玩，成为京城一大盛事。靖康之变后，赵宋王朝南渡，“争标赐宴”则成为历史的陈迹，不复存在。因此传世近千年的北宋著名画家张择端所作《金明池争标图》成为我们领略当日繁华胜境的最直观方法。\n张择端，字正道，东武（今山东诸城）人，宋徽宗时画院待诏。工于界画，尤其擅长作舟船、市桥、城郭，所绘《清明上河图》可谓中国最著名的绘画作品，家喻户晓。此幅《金明池争标图》是其另一传世佳作。北宋张择端《金明池争标图》页，收藏于天津博物馆，纵28.5厘米、横28.6厘米，工笔设色绘于绢本之上。\n本图作者在不足一尺见方的绢本上将周围约九里三十步的金明池及岸边的景物、人物悉数生动摹画下来，且画面呈现出开阔、疏朗的布局。由画面下部“池门”入园，以界画手法分别细致描绘了“临水殿”、“宝津楼”、“棂星门”、“仙桥”、“五殿”、“奥屋”等主要建筑物。表现主题的龙舟竞标场景以一艘大型龙舟为中心，其两侧各有五艘小龙舟，每船头各立军校一名，舞旗招引，舟中桨手则奋力划棹，向前方标杆冲去。画面中各龙舟左突右进的空间安排，营造出争标的激烈、刺激与紧张气氛。“仙桥”右下方的“水傀儡”、“水秋千”、“乐船”的描绘则将宋代的水上百戏表演呈现在观者面前。“临水殿”中皇帝赐宴群臣，共赏争标；池岸上百姓或观龙舟，或春游赏玩，或买卖交易……众多人物汇聚图上，虽微小如蚁，但仔细观察，人物比例恰当，姿态各异，神情生动，颇具艺术魅力。",[23,164,24,7,95,28,27,97,36,1743,96,414,34,758,906,9808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4b0e98ebb1fc83d5e69e50a542eff25.jpg",[],{"id":16859,"slug":16860,"title":16861,"dynasty":54,"author":16862,"museum":300,"description":16863,"tags":16864,"thumbUrl":16865,"material":3544,"size":16866,"collection":136,"collections":16867,"showCount":16789,"zanCount":48,"manualWeight":48,"mainColor":72},224169,"song-shu-tu-gua-zhou-li-fang-ying-224169","松树图挂轴","李方膺","李方膺（1695年—1755年），字虬仲，号晴江，别号秋池，抑园 ，白衣山人等，江南通州（今江苏南通）人。寓居金陵借园，自号借园主人。中国清代诗画家、官员，能诗，擅画松竹兰菊，尤长写梅。用笔倔强放纵，不拘成法，苍劲有致，为“扬州八怪”之一。为官刚正不阿，廉洁爱民。出身官宦之家，曾任乐安县令、兰山县令、潜山县令、代理滁州知州等职，为官时有惠政，人德之，后因遭诬告被罢官，去官后寓南京借园，自号借园主人，常往来扬州卖画。与李鱓、金农、郑燮等往来，工诗文书画，擅梅、兰、竹、菊、松、鱼等，注重师法传统和师法造化，能自成一格，其画笔法苍劲老厚，剪裁简洁，不拘形似，活泼生动。被列为扬州八怪之一。有《风竹图》《游鱼图》《墨梅图》等传世。著《梅花楼诗钞》。善画松、竹、兰、菊、梅、杂花及虫 鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼诗草》，仅二十六首，多数散见于画上。",[23,24,7,165,128,132,1144,171,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93021041cb164b00da3dbc86d0eb5b96.jpg","100x45",[136],{"id":16869,"slug":16870,"title":16871,"dynasty":18,"author":223,"museum":244,"description":16872,"tags":16873,"thumbUrl":16874,"material":151,"size":16875,"collection":42,"collections":16876,"showCount":16789,"zanCount":48,"manualWeight":48,"mainColor":49},223565,"xi-shan-mu-xue-tu-zhou-yi-ming-223565","溪山暮雪图轴","从构景来看，此幅仍具“主山立于画面中央”的遗风，但已脱去山石充实的北宋风格，全幅虚空处几占有二分之一，显露出南宋山水的风味。在表现树石上，继承李唐之影响，但画树与斧劈皴的技法趋于精巧细致，与马远、夏圭 （活动于十二、三世纪之间 ）派倾向粗犷简逸相异其趣。此幅描绘景物，细致生动而且写实，若将之分割数个方块来看，正如南宋之山水册页。可惜无画家名款，目前尚难断定是那位画院名家之作。临溪两岸，竹树茏，於平坦处江村置焉。对岸林麓中烘染云烟如带，群鸦飞噪于其间，弥增雪意，其上则白山皑皑，冰壑峨峨。于林蒨密处，更著一区精舍。本幅造意之精，构景之妙，可称独至。而笔墨细腻，烘染妥帖，尤足以称其意云。",[23,24,7,165,27,29,132,663,1556,4241,211,34,130,35,497,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00042d59364ebed0c21eb560489aef52.jpg","56x102",[42,136,117],{"id":16878,"slug":16879,"title":16880,"dynasty":54,"author":1219,"museum":300,"description":16881,"tags":16882,"thumbUrl":16884,"material":40,"size":16885,"collection":44,"collections":16886,"showCount":16789,"zanCount":1998,"manualWeight":48,"mainColor":72},223328,"qun-xian-zhu-shou-shou-juan-ren-yi-223328","群仙祝寿手卷","《群仙祝寿图》作于金笺之上，由十二条通景画构成。表现46个神仙人物共赴王母的寿筵祝寿的仙灵境界，场面宏大，内容祥瑞。对于这幅巨制，唐云先生曾写文章谈到，“‘群仙祝寿图’，尽管是在描写民间传说中的神仙故事，但一举一动都反映出人的性格和情感。把行动诡异的仙人和举止窈窕的仙女种种神态，对照起来看，分外有趣。仙女和仙人，有从空中来，有从海上来，来的地方不同，画面似将各地不同的习惯和性情都表达出来了。一只白鹤，忙着跨上白玉阑干，展翅起舞，回头迎生，竟似一个仙女在拍手热烈欢迎仙宾的情感一样。一对孔雀，也有不同性情:一只爱凑热闹，凝神看着一个举袖轻舞的仙女，另一只似乎嫌太烦乱了，飞到荷香深处，安踞石上，静听着仙女们演奏的美妙音乐，景态十分生动。十二幅通景屏，幅幅风光旖旎，融洽愉快，充分表达了祝寿场面的气氛。”",[23,24,7,25,27,28,6318,29,853,189,97,81,34,131,230,13034,1367,16883,2885],"祝寿元素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d7fbafaea1f350faf3fa62a1bc3481.jpg","全图尺幅高206.8厘米，横宽720厘米（每幅条屏宽59.5厘米）",[44,45],{"id":16888,"slug":16889,"title":16890,"dynasty":54,"author":4468,"museum":244,"description":4469,"tags":16891,"thumbUrl":16894,"material":27,"size":4474,"collection":84,"collections":16895,"showCount":16789,"zanCount":1998,"manualWeight":48,"mainColor":72},222743,"xian-e-chang-chun-tu-03a-lang-shi-ning-222743","仙萼长春图-03a",[23,164,24,7,59,27,28,14386,10803,61,62,171,962,1039,666,230,16892,16893,624,131,4278],"色彩","造型逼真","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83860a3be34dc8440f2f86b13d28b9f5.jpg",[],{"id":16897,"slug":16898,"title":16899,"dynasty":18,"author":5533,"museum":2068,"description":16900,"tags":16901,"thumbUrl":16902,"material":514,"size":16903,"collection":42,"collections":16904,"showCount":16789,"zanCount":48,"manualWeight":48,"mainColor":49},221602,"chu-shan-shi-jia-tu-zhou-liang-kai-221602","出山释迦图轴","释迦着单衣跣足站于枯树旁，手举胸前，双眸微微下视，面容清瘦，须发密长。尽管已值冬季，衣带在寒风中飘举，但释迦似乎并未感受到寒冷，丝毫没有瑟瑟呵冻之态，而是神情专注，愈显入山苦修悟道后，意志弥坚。画家以劲利的线条画排叠的衣纹，用笔谨严，于人物神情刻画尤见功力；苍幹枯枝，用笔劲硬，很好地烘托了环境。背景的坡石略加勾皴，树石的画法还可看出受到李唐的影响，此图与其传世减笔人物画相比，属较为工致的画作。画幅左侧的石壁上署有“御前图画梁楷”六字款。",[23,24,7,165,27,187,96,171,1337,10170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9823f2524319f6cbdc884ddb4cd9087a.jpg","纵119厘米，横52厘米",[42,136],{"id":16906,"slug":16907,"title":16908,"dynasty":18,"author":2067,"museum":20,"description":16909,"tags":16910,"thumbUrl":16911,"material":40,"size":16912,"collection":42,"collections":16913,"showCount":16789,"zanCount":1998,"manualWeight":48,"mainColor":49},221592,"feng-ying-zhi-ji-tu-zhou-li-di-221592","枫鹰雉鸡图轴","此图又称《鹰雉图》或《鹰窥雉图》，是传世宋画中罕见的巨幅，由南宋宫廷画家李迪创作。据左上方署款“慶元丙辰歲李迪畫”，知作于宋宁宗庆元二年（1196年）。\n画面作对角线构图，主体禽鸟雄鹰置于左上角枯枝巅，俯首下视，紧盯着右下角的锦雉。锦鸡张口鸣叫，正向草丛中窜逃。斜线的呼应关系和锦鸡奔向画外的动态，营造出强烈的紧张气氛，扣人心弦。画家着意刻画苍鹰的眼、喙、爪三个关键部位，目光圆瞪，钢喙如钩，爪尖扣进树皮，既突出了鹰的凶猛矫健秉性，又强调出捕捉猎物时的力之凝聚和意念之专注，可谓真实传神。雉的形象也逼真如生，仓惶奔逃的姿态，惊惧的目光，乍开的羽毛，尤其是蹬出后腿又收缩脚爪的动作，准确地刻画出急于逃命又难脱厄运的情状，可见作者体察生物及其捕捉瞬间之动态的敏锐洞察力和写生传神的高超表现力。\n作品的笔墨敷彩技巧也十分成熟。禽鸟工整精细，设色轻淡，承北宋崔白以来的院体花鸟传统画更增动感和生意。树干粗勾细染，斑纹点点，呈苍劲之质。枫叶、兰草、丛竹则细笔双勾，淡墨渲染，形体富有弹性，又疏密有致，画法遵循“宣和体”的写生法则。山石运斧劈皴，兼作笔实墨重的擦染，近李唐又存北宋之法。此图堪称宋代院体花鸟画的巨构杰作。",[23,24,7,165,28,27,61,949,3141,10860,331,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4268072dfb8e29fae047930d5a892391.jpg","纵189厘米，横209.5厘米",[42,68,45],{"id":16915,"slug":16916,"title":16917,"dynasty":18,"author":2067,"museum":244,"description":16918,"tags":16919,"thumbUrl":16921,"material":16922,"size":16923,"collection":42,"collections":16924,"showCount":16789,"zanCount":1998,"manualWeight":48,"mainColor":49},221591,"jiu-ci-tu-juan-li-di-221591","九鹚图卷","李迪“画多艺精，颇负盛名。工花鸟竹石、鹰鹘犬猫、耕牛山鸡，长于写生，超亦能作山水小景。构思精妙，功力深湛，雄伟处动人心魄。”所作《枫鹰雉鸡图》温柔娇嫩可爱，《鸡雏图》形象生动，刻画细致，各具神态。山水师法李唐，也多又佳作。论者谓其画鸠“作寒冷状，精俊如生”；画鹡鸰“翘翘欲起”",[23,164,24,7,25,27,28,61,4363,4278,171,16920],"鹚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba83bf3091278e25daedea126febf6f5.jpg","设色,浅设色","本幅34.7x226.6 隔水一13 隔水二13 拖尾34.7x43",[42,68,45],{"id":16926,"slug":16927,"title":16928,"dynasty":124,"author":16929,"museum":16930,"description":16931,"tags":16932,"thumbUrl":16934,"material":173,"size":16935,"collection":44,"collections":16936,"showCount":16789,"zanCount":48,"manualWeight":48,"mainColor":49},220350,"liu-hai-xi-chan-tu-liu-jun-220350","刘海戏蟾图","刘俊","河北省博物馆","图绘刘海居中，呈侧身面像，身着宽袖长袍，衣带飘动，与海涛和谐，腰系宝芦与紫芝，左手托金蟾，漂游于海上。此图的背景为天空祥云飘渺，脚下为浩瀚无边际的大海，汹涌澎湃的波涛作烘托，给人以海阔天空的感觉，从而更加突出了刘海不同凡人的仙人气质。",[23,164,24,7,28,27,96,4505,16933],"蟾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11e188e8c25060d16d9643720fc227de.jpg","纵181.3厘米,横108.8厘米",[44],{"id":16938,"slug":16939,"title":16940,"dynasty":124,"author":125,"museum":1300,"description":1301,"tags":16941,"thumbUrl":16942,"material":611,"size":1304,"collection":84,"collections":16943,"showCount":16789,"zanCount":48,"manualWeight":48,"mainColor":72},220031,"dong-zhuang-tu-ce-zhi-zhen-yi-gang-shen-zhou-220031","东庄图册之振衣冈",[23,164,24,7,59,128,29,96,131,34,1337,99,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde339e30cbcb09c324052c43eb49532f.jpg",[],{"id":16945,"slug":16946,"title":2616,"dynasty":54,"author":9529,"museum":6413,"description":16947,"tags":16948,"thumbUrl":16949,"material":173,"size":16950,"collection":136,"collections":16951,"showCount":16789,"zanCount":1998,"manualWeight":48,"mainColor":49},219911,"qiu-shan-xing-lv-tu-wang-hui-219911","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n王翚在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[24,7,165,26,27,29,96,101,97,413,131,132,690,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccd3324ba8d0e045e5d6ab0a5260113f.jpg","152.4x78.7",[136],{"id":16953,"slug":16954,"title":16955,"dynasty":124,"author":223,"museum":1941,"description":16956,"tags":16957,"thumbUrl":16958,"material":173,"size":16959,"collection":45,"collections":16960,"showCount":16789,"zanCount":1998,"manualWeight":48,"mainColor":49},219251,"dong-shan-wo-hu-tu-yi-ming-219251","冬山卧虎图","寒岩之上，猛虎蜷卧。斑纹以墨线精准勾勒，间杂赭色轻晕，皮毛的蓬松质感似触手可及。虎目微阖，似憩非眠，虽无咆哮之威，却藏沉潜气势。旁侧古松虬曲，枝干如铁，松针疏密有致；岩石皴法朴拙，斑驳处隐见残雪，透出冬日清寂。笔墨兼工带写，动物造型生动传神，山水布景简括古雅。整幅画于静谧中蕴张力，既见画师对生灵姿态的细腻捕捉，亦显对冬日山景的深刻体察，在沉郁色调里，铺展一段自然与生命的悠然对话。",[24,7,27,28,5490,949,29,1144,131,1813],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4902029b2d5488e3af7e90169c94e1c.jpg","26.1x40.6厘米",[45],{"id":16962,"slug":16963,"title":7990,"dynasty":18,"author":1174,"museum":244,"description":16964,"tags":16965,"thumbUrl":16966,"material":173,"size":16967,"collection":45,"collections":16968,"showCount":16789,"zanCount":48,"manualWeight":48,"mainColor":49},219046,"wen-ji-gui-han-tu-li-tang-219046","内容叙述了中国东汉才女蔡文姬在董卓作乱时，被胡人俘虏，并且嫁给南匈奴的左贤王。直到十二年后，才由曹操派遣使臣，将她赎回汉地。每段画面，对于故事情节和人物、车马、配景，都有非常细腻的描绘。",[23,164,24,7,165,132,128,27,29,96,97,34,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd98081f5e1c3a4f47f750a16639f8f66.jpg","50.7公分*39.7公分",[45],{"id":16970,"slug":16971,"title":4491,"dynasty":18,"author":223,"museum":300,"description":16972,"tags":16973,"thumbUrl":16974,"material":173,"size":84,"collection":42,"collections":16975,"showCount":16789,"zanCount":48,"manualWeight":48,"mainColor":49},218582,"gong-yuan-tu-yi-ming-218582","飞檐翘角隐于松柳荫翳间，回廊曲折勾连亭榭深院。素衣宫人缓步庭阶，衣袂轻扬似携春风漫行。古绢底色晕染时光温润，笔墨细腻勾勒宋式雅致：柳枝垂丝如梳，松针攒簇似绣，格子窗棂映出廊下幽影，石畔苔痕晕开清寂氛围。构图疏密得宜，动静相谐——建筑的规整与草木的生机相映，人物的闲步与庭院的静谧相融，将宫苑深处的雍容闲寂悄然铺展，如一卷慢启的宋时清梦，每一处细节都藏着时光沉淀的温婉与考究。",[164,24,7,95,27,96,97,130,34,131,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb239ee50763d90f5622390b38b842e66.jpg",[42],{"id":16977,"slug":16978,"title":8685,"dynasty":144,"author":16979,"museum":224,"description":16980,"tags":16981,"thumbUrl":16983,"material":173,"size":16984,"collection":44,"collections":16985,"showCount":16789,"zanCount":48,"manualWeight":48,"mainColor":49},218312,"ying-xi-tu-han-cheng-218312","韩晟","这幅画描绘了一个农场，许多孩子在玩耍，四个孩子在玩滑梯，一个亭子在下棋和读书，院子里有一个骑士和一只蚂蚱。嬉戏打闹，无可否认地表达了孩子们的活泼、快乐、童真和美丽的外表。",[24,7,27,28,95,96,2218,97,130,247,34,8091,1422,16982,13344],"玩具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3189fe2b51b76e3feedecd63c68921ed.jpg","139.4x76.2",[44],{"id":16987,"slug":16988,"title":16989,"dynasty":124,"author":16990,"museum":77,"description":16991,"tags":16992,"thumbUrl":16993,"material":278,"size":16994,"collection":136,"collections":16995,"showCount":16789,"zanCount":1998,"manualWeight":48,"mainColor":49},217064,"wang-wei-shi-yi-tu-hu-yu-kun-217064","王维诗意图","胡玉昆","胡玉昆是明朝时期的一位著名画家，他以其独特的诗意图风格而闻名于世。王维是一位著名的唐代诗人，他的诗作风格浪漫清新，富有诗意。胡玉昆在创作中结合了王维的诗作精髓，创造出了一种具有浓厚诗意的画风。\n\n胡玉昆的王维诗意图以山水画为主，但其中蕴含着诗意的元素十分丰富。他在画作中结合了唐代诗人王维的诗作风格，营造出一种浪漫清新的氛围。他经常使用抽象的手法来表现山水的美，并使用富有节奏感的线条来描绘山峰、水流、树木等元素。他的画作常常充满了诗意的气息，让人感受到一种自然界的静谧与美好。\n\n胡玉昆的王维诗意图在当时颇受欢迎，并且至今仍然被广泛欣赏。他的画作不仅仅是单纯的山水画，更是一种充满诗意的艺术表现。他的画作能够带给人们一种沉浸在自然界中的感觉，让人感受到大自然的美丽与和谐。",[24,7,128,29,132,37,97,130,129,35,34,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbacd99ab5da0f731ac9ab42818e4bb69.jpg","95x71cm",[136],{"id":16997,"slug":16998,"title":16999,"dynasty":54,"author":17000,"museum":300,"description":17001,"tags":17002,"thumbUrl":17004,"material":66,"size":84,"collection":68,"collections":17005,"showCount":16789,"zanCount":1086,"manualWeight":48,"mainColor":4001},215665,"bei-jing-dian-pu-zhao-huang-hua-ce-zhou-pei-chun-215665","北京店铺招幌画册","周培春","画面铺展六枚老北京招幌，笔墨细腻晕染市井烟火气。布幌垂悬如岁月信笺，墨字依稀载着商肆旧语；铜器幌的壶盏似凝烟霞余温，轻晃间恍闻街肆喧声；玉馨幌朱红与金黄撞色，漾出吉祥意趣；油篓幌肌理如时光褶皱，藏着市井温热。每枚招幌皆工笔细描：布纹垂坠自然，铜器光泽内敛，纸幌纹样精巧。它们是旧时商业文化的活化石，透过画页触到百年前街肆的热闹与温情，一帧帧皆是岁月沉淀的生活诗行，让观者梦回老北京的繁华人境。",[24,7,59,27,28,17003,251,304],"招幌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac35014ce2439d31b2b62e91c4b8443b.jpg",[68],{"id":17007,"slug":17008,"title":17009,"dynasty":144,"author":145,"museum":300,"description":17010,"tags":17011,"thumbUrl":17012,"material":692,"size":1293,"collection":84,"collections":17013,"showCount":17014,"zanCount":48,"manualWeight":48,"mainColor":72},290827,"dong-ting-qi-feng-zhou-huang-gong-wang-290827","洞庭奇峰轴","此作前景画小舟浮於湖面，其后山岩繁密多姿，高耸杂木散立，山巅处瀑布流泻，左方曲径没入云雾中，其上瑰丽峰峦斜出天表。画中可见黄公望作品中常见母题，然全作结构、山石、树法等，更接近文徵明风格。依题跋可知此画成于1354（元至正十四年）为梅剑庵所作；1410（永乐八年），梅氏后人请沈度（1357-1434）题跋；1510年（正德五年），文征明（1470-1559）亦获观此画，并留下题语。文征明题款“壁”字书为“璧”，与常见不同。此画笔墨、结构堪称佳构，然可能出自明代後期善仿文征明风格者之手。",[164,24,7,165,128,29,132,131,34,99,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc83587d8c69519255b6c7d65b856a64.jpg",[],82,{"id":17016,"slug":17017,"title":13567,"dynasty":54,"author":3403,"museum":300,"description":8089,"tags":17018,"thumbUrl":17019,"material":692,"size":1293,"collection":84,"collections":17020,"showCount":17014,"zanCount":48,"manualWeight":48,"mainColor":72},235448,"ju-shi-zhou-wu-chang-shuo-235448",[164,24,7,165,27,128,61,376,1314,938,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f37afbc0963a70bb464cc5b3b11d679.jpg",[],{"id":17022,"slug":17023,"title":3558,"dynasty":124,"author":802,"museum":20,"description":17024,"tags":17025,"thumbUrl":17026,"material":514,"size":84,"collection":84,"collections":17027,"showCount":17014,"zanCount":1998,"manualWeight":48,"mainColor":72},234105,"shi-nv-juan-chen-hong-shou-234105","仕女画是我国古代一类重要的人物画题材。我们能从各朝画家所画的仕女形象中，看到当时的社会风貌。\n陈洪绶笔下的仕女因其独特的画风被后世画家效仿。本期艺狮·画事就来带你看看陈洪绶笔下的仕女画。\n陈洪绶的仕女画与“吴门画派”诸家所绘仕女不同，吴门画派更注重写实与写意的结合，仕女雍容华丽，艳而不俗，侧重画中的文人气韵。",[24,7,25,28,27,96,997,438,81,62,251,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8d1e094bb0f8b30d59b656ae34f18f5.jpg",[],{"id":17029,"slug":17030,"title":17031,"dynasty":144,"author":1208,"museum":300,"description":17032,"tags":17033,"thumbUrl":17034,"material":84,"size":84,"collection":84,"collections":17035,"showCount":17014,"zanCount":1998,"manualWeight":48,"mainColor":49},230908,"ku-shu-tu-ye-ni-zan-230908","枯树图页","此作用笔简淡秀峭，枯树虬曲苍劲，枝桠疏朗错落，无半片青叶，满溢荒萧寒寂。山石以干墨轻皴，淡晕出清旷崖壁，屋舍仅以数笔勾出，简净空疏。\n\n画面留白如万顷空湖，将幽冷孤高的隐逸心绪藏于笔墨之间，淡墨薄晕里，是洗尽铅华的静穆。笔意看似疏简荒率，却藏着深隽的简淡之美，枯木寒岩、空屋寂境，暗合避世文人绝尘出世的澹泊襟怀，清冷空疏中晕染出悠远禅意。",[164,24,7,59,128,132,29,1337,387,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60c41a63a704c22538c4a9e50706e58d.jpg",[],{"id":17037,"slug":17038,"title":17039,"dynasty":18,"author":8677,"museum":244,"description":17040,"tags":17041,"thumbUrl":17042,"material":151,"size":17043,"collection":84,"collections":17044,"showCount":17014,"zanCount":48,"manualWeight":48,"mainColor":49},227601,"mo-zhu-zhou-wen-tong-227601","墨竹轴","国北宋末年画家文同的存世代表作。文同 (1018～1079) 字与可，自号笑笑先生、锦江道人，世称石室先生，梓潼(今属四川省)人。皇祐年间进士，元丰初出知湖州。善诗文，工书画，尤善画墨竹。此图绢本，水墨，纵131.6厘米，横105.4厘米。画墨竹一枝，作弯曲状，由左上斜向右下方。笔法严谨而潇洒，枝叶劲挺繁密，繁而不乱，密中有疏，竹叶以浓墨为面，淡墨为背，墨色清润，阴阳向背层次分明，开后世墨竹之先河。此图未署作者名款，有“静闲□室”、“文同与可” 2印，上方有明王直、陈循德2家为彦谥题诗。清宫旧藏,有清内府嘉庆、宣统印各一方。现藏台北故宫博物院。",[23,164,24,7,165,128,16820,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e5295f96be134d53730e65174f29213.jpg","纵113.6厘米，横105.4厘米",[],{"id":17046,"slug":17047,"title":17048,"dynasty":18,"author":7583,"museum":300,"description":17049,"tags":17050,"thumbUrl":17051,"material":84,"size":84,"collection":84,"collections":17052,"showCount":17014,"zanCount":48,"manualWeight":48,"mainColor":49},227513,"ming-huang-bi-shu-gong-tu-zhou-guo-zhong-shu-227513","明皇避暑宫图轴","《明皇避暑宫图》是北宋画家郭忠恕所创作的一幅墨笔画 ，现藏于大阪市立美术馆。\n《明皇避暑宫图》描绘唐明皇的避暑宫，背山面水，宏伟壮观。从图下的宫门向内，亭台楼阁、水榭宫室、长廊庭院，层层深入。单是屋脊斗拱，就不下十几座，无不刻画工细精确，结构严谨华丽。虽然楼阁密集，但有巨石、古树点缀其间，故而前后的层次清晰，加上左边的水色，与后山的空朦相映衬，却也疏密有致，雍容大度。\n《明皇避暑宫图》，勾线劲挺，虽说有界尺相助，但是众多的曲线，依然得徒手勾勒。",[23,24,7,165,95,28,27,29,97,758,34,131,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bc3db0ed91249e6e8c0490e405536b5.jpg",[],{"id":17054,"slug":17055,"title":17056,"dynasty":182,"author":17057,"museum":300,"description":17058,"tags":17059,"thumbUrl":17060,"material":84,"size":84,"collection":84,"collections":17061,"showCount":17014,"zanCount":48,"manualWeight":48,"mainColor":49},227256,"xi-ma-tu-ye-li-yu-227256","戏马图页","李煜","李煜（937年5月5日－978年8月15日），又称李后主，为南唐的末代君主，徐州人。李煜原名从嘉，字重光，号锺山隐士、锺锋隠者、白莲居士、莲峰居士等。李煜在南唐灭亡后被北宋俘虏，但是却成为了中国历史上首屈一指的词人，获誉为“千古词帝”，作品千古流名。",[23,164,24,7,27,28,96,101,413,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0f5c0df0888c4e88dad6808987fed8e.jpg",[],{"id":17063,"slug":17064,"title":17065,"dynasty":144,"author":1163,"museum":244,"description":17066,"tags":17067,"thumbUrl":17068,"material":66,"size":17069,"collection":68,"collections":17070,"showCount":17014,"zanCount":48,"manualWeight":48,"mainColor":72},221740,"xie-sheng-hua-niao-zhou-zhang-zhong-221740","写生花鸟轴","该幅绘沙石间，一紫冠白鸡足蹈蜈蚣，神情颇为生动，配景并有蜀葵、萱花、栀子、石榴、百合、虞美人、石竹、石菖蒲等各式夏卉，殆以钩花点叶法成之，设色雅丽，然不似张中笔墨，为后代画家托名之作。",[164,24,7,165,2166,27,61,2510,62,480,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d6bf03ce5d03b4b0d24067f72905518.jpg","122.8x43.3公分",[68,45],{"id":17072,"slug":17073,"title":17074,"dynasty":18,"author":1622,"museum":205,"description":17075,"tags":17076,"thumbUrl":17077,"material":514,"size":17078,"collection":42,"collections":17079,"showCount":17014,"zanCount":48,"manualWeight":48,"mainColor":72},221668,"diao-tai-wang-yun-tu-ma-yuan-221668","雕台望云图","画面描绘一处山中宫殿建筑。近处山脚下树林茂密，树木郁郁葱葱，将建筑掩映其中，左侧一座高台拔地而起，同远处山峰遥遥相望。石台台基宽厚，周围和右侧台阶边缘有护栏环绕，护栏下方的台身上有精美石雕。石台整体分为上下两层，第一层宽阔，台面呈回字形，中间是第二层的台基，周围摆放着花盆，中间台阶通往第二层。第二层上有一凉亭，周围置有几案、屏风、圆凳等家具。一人站在高台上，凭栏眺望。此时似乎是在准备宴席，侍者端着各式物品忙碌着。\n石台前方，其它建筑拱卫，远处山峰笔直入云，天空中风吹云动，一轮弯月高挂，同石台上眺望之人相呼应。",[23,24,7,164,27,95,29,97,130,950,34,496,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73943a72afefd8298acebb643c82055c.jpg","纵25.4厘米，横24厘米",[42,136],{"id":17081,"slug":17082,"title":17083,"dynasty":18,"author":2067,"museum":244,"description":17084,"tags":17085,"thumbUrl":17086,"material":151,"size":17087,"collection":42,"collections":17088,"showCount":17014,"zanCount":48,"manualWeight":48,"mainColor":49},221597,"feng-yu-gui-mu-tu-li-di-221597","风雨归牧图","《风雨归牧图》描绘的是两个牧童赶牛归家的场景，整个画面勾点结合，浓淡相济，层次丰富，朦朦胧胧，带来了凤雨欲来，细雾先到的清润之感。\n这幅画表现的是风雨刚来的一刹那，柳梢被风吹得摇摆，两个骑牛的牧童，急忙地往家跑。一个匍匐在牛背，用手扯住牧笠，挡住急风骤雨；另一个帽子已被风吹落，在迷濛的空间，可以依稀看到倾斜的雨流。诗堂有题诗一首写道：“冒雨衔风两牧儿，笠蓑低绾绿杨枝，深宫玉食何从得，稼穑艰难岂不知。”署款“缉熙殿书”，钤“御前之印”一玺。",[23,164,24,7,28,27,102,949,413,6640,11448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F640cb098d037ce82eb11fa48ec2f370e.jpg","纵123.7厘米，横102.8厘米",[42,44,45],{"id":17090,"slug":17091,"title":17092,"dynasty":18,"author":17093,"museum":20,"description":17094,"tags":17095,"thumbUrl":17096,"material":13960,"size":17097,"collection":318,"collections":17098,"showCount":17014,"zanCount":1998,"manualWeight":48,"mainColor":72},221220,"xing-shu-zi-shu-shi-juan-lin-bu-221220","行书自书诗卷","林逋","此卷是林逋归隐西湖孤山时所作，共5首诗，除第2首是五言诗外，其余均为七言诗。\n据诗后林逋自识：“時皇上登寶位歲夏五月”，可知此作品写于仁宗天圣元年癸亥（1023年），林逋时年57岁，其书体瘦劲，秀逸，笔法厚重，风致绰约，与时人李建中风骨俊整的书风极为接近。诗后有苏轼书七言诗《书和靖林处士诗后》，无年款，据徐邦达先生考证可能是元祐四、五年间苏轼（时年约54岁）第二次到杭州作刺史时所书。此书藏锋敛锷，姿媚可爱，是罕见的苏轼传世佳作之一。这两段名人书法相映生辉，珠联璧合，实为难得的珍宝。\n后纸有乾隆皇帝用苏轼原韵五题御制诗题记二则（其中一则由董诰奉敕而书），又有明王世贞、王世懋，清王鸿绪三家题跋。\n本幅钤有“濟陽文府”，清王鸿绪、清内府等鉴藏印。\n宋内府《宣和书谱》，明汪砢玉《珊瑚网》、詹景凤《东图玄览》，清顾复《平生壮观》、吴其贞《书画记》、安岐《墨缘汇观·续编》、卞永誉《式古堂书画汇考》、高士奇《江村消夏录》、吴升《大观录》、阮元《石渠随笔》、内府《石渠宝笈·续编》等书有著录。",[23,7,25,133,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F349bd3fcdb871f93ccb96a158d67a788.jpg","纵32厘米，横302.6厘米",[318],{"id":17100,"slug":17101,"title":17102,"dynasty":182,"author":6287,"museum":300,"description":17103,"tags":17104,"thumbUrl":17105,"material":1223,"size":17106,"collection":136,"collections":17107,"showCount":17014,"zanCount":48,"manualWeight":48,"mainColor":49},221145,"jiang-gao-hui-yu-tu-wang-wei-221145","江皋会遇图","王维（701年－761年，一说699年—761年），河东蒲州（今山西运城）人，祖籍山西祁县。唐朝著名诗人、画家，字摩诘，号摩诘居士。\n王维出身河东王氏，于开元十九年（731年）状元及第。历官右拾遗、监察御史、河西节度使判官。唐玄宗天宝年间，王维拜吏部郎中、给事中。安禄山攻陷长安时，王维被迫受伪职。长安收复后，被责授太子中允。唐肃宗乾元年间任尚书右丞，故世称“王右丞”。\n王维参禅悟理，学庄信道，精通诗、书、画、音乐等，以诗名盛于开元、天宝间，尤长五言，多咏山水田园，与孟浩然合称“王孟”，有“诗佛”之称。书画特臻其妙，后人推其为南宗山水画之祖。苏轼评价其：“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”存诗400余首，代表诗作有《相思》、《山居秋暝》等。著作有《王右丞集》、《画学秘诀》。\n此《著色山水》（江皋会遇图）据传为唐代著名诗人王维的山水作品。由于年代久远，已破损严重，泛黄变暗，依稀可见山水、树木与村落，卷首部分有北宋刘唐老的题跋。",[23,24,7,25,128,29,34,97,133,208,132,2132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc45181fa423d8069ce2d2a5500fa3692.jpg","29x128厘米",[136,45],{"id":17109,"slug":17110,"title":17111,"dynasty":182,"author":3529,"museum":244,"description":17112,"tags":17113,"thumbUrl":17114,"material":253,"size":17115,"collection":45,"collections":17116,"showCount":17014,"zanCount":1998,"manualWeight":48,"mainColor":49},221076,"yuan-ma-tu-han-gan-221076","猿马图","此幅绘竹石树林，三猿戏于枝间石上，其下绘黑白双骏。画上宋徽宗题字和「御书」一玺，及理宗「缉熙殿宝」玺皆伪，当为后加。然画中不论猿、马、树石、枝叶，皆描绘细腻，或为南宋作品。",[23,164,24,7,165,4642,27,28,9633,101,413,497,276,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad40c5024213011775af0c15a6fe1dac.jpg","136.8x48.4",[45,1670],{"id":17118,"slug":17119,"title":17120,"dynasty":326,"author":1587,"museum":244,"description":17121,"tags":17122,"thumbUrl":17123,"material":17124,"size":17125,"collection":318,"collections":17126,"showCount":17014,"zanCount":48,"manualWeight":48,"mainColor":49},221034,"yuan-huan-tie-juan-wang-xi-zhi-221034","远宦帖卷","此帖首见于《法书要录》卷十右军书记。《宣和书谱》即称〈远宦帖〉。亦刻入〈淳化阁帖〉卷六；〈大观帖〉、〈鼎帖〉、〈宝贤堂帖〉、〈澄清堂帖〉（孙承泽本）均曾刻入。清道光间，叶志诜得王献之〈送梨帖〉，将此帖一同上石。后杨守敬又刻入其〈邻苏园法帖〉中。北宋曾入大观，宣和内府，有大观，宣和诸印玺，卷首徽宗赵佶瘦金书签，上钤双龙方印。专用于古法书者。后曾入金明昌内府，及北燕张氏，后归贾似道。明时曾为秀水项元汴所藏，入清由耿会侯，安岐所递藏，曾着录于《墨缘汇观》，订为唐人钩摹本。嗣入清内府，而未钤内府收藏印，故石渠亦无着录。今藏国立故宫博物院，曾先后辑入《故宫法书晋王羲之真迹册》、《故宫历代法书全集》第一册影印行世",[64,133,1590,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F925a98205f4f16ac274133ed299304e4.jpg","纸本墨拓","纵24.8厘米，横21.3厘米",[318,2210],{"id":17128,"slug":17129,"title":17130,"dynasty":124,"author":2268,"museum":244,"description":17131,"tags":17132,"thumbUrl":17133,"material":3544,"size":17134,"collection":136,"collections":17135,"showCount":17014,"zanCount":1998,"manualWeight":48,"mainColor":72},220945,"feng-jing-fang-gu-tu-zhou-dong-qi-chang-220945","葑泾访古图轴","署款“壬寅首春，董玄宰寫。”幅上有陳繼儒題識。此畫構圖，可分遠景、中景、近景二部分，遠景為重山峻嶺，山頂光禿，山頂煙霧繚繞，山腳下為亂石橫卧，亂石間有幾株雜樹，樹下坐落一間茅屋。右側兩岸間有一板橋高架。中景為一片闊廣的河水，江水如鏡。近景為此畫的主要部分。下邊山石疊砌，山石間長有一棵幹粗葉茂的大樹，大樹下有數間屋宇茅亭。\n從此畫的構圖來看，作者有意識地運用了“層疊”、“重複”、“照應”等手段，使遠近高下統一在浮雕似的筆墨構成的平面意味中。畫法，由於董氏墨法的精微就在於種種墨色的累積，以樹石為例，對此畫大樹下邊那堆山石，是以淡墨連勾帶皺地寫其相依互抱，大小攢聚，就這樣把石的輪廓確定下來：至於此圖的用墨處和空白或無墨處，董氏着意於此，亦即以白當黑。有的山石不作着筆，大石上部則沿邊皆空白，於是每個石塊以其黑、白、陰、陽，表現立體感，而且它們之間左右較實，中間較虛，使畫面虛實互用而十分靈活。此畫中可看出董氏把黑白對襯，虛實相須，運用得十分自然，有着落筆時心手相應的那番快感。\n在此畫面中，董其昌追求一種“禪”的意境，即一種寂寞空虛的境界。畫面的疏密、濃淡、虛實、開合，富有清潤温雅、平和怡然的趣味，拙稚、簡淡中帶有寧靜自然的文人之思。",[23,24,7,165,128,29,132,98,99,34,131,758,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f7db1e78a7c60c962c6091b474fc3a.jpg","纵80厘米,横29.8厘米",[136,117],{"id":17137,"slug":17138,"title":17139,"dynasty":144,"author":569,"museum":244,"description":17140,"tags":17141,"thumbUrl":17142,"material":151,"size":17143,"collection":136,"collections":17144,"showCount":17014,"zanCount":48,"manualWeight":48,"mainColor":49},220849,"song-yin-wan-zhao-tu-zhou-zhao-meng-fu-220849","松阴晚棹图轴","为学日益，为道日损：翩然世间的道家风格\n祸兮福之所倚，福兮祸之所伏：老子的智慧\n鲲鹏展翅，水击三千里：敞开自我的庄子境界\n朝三暮四，名实未亏而喜怒为用：庄子的寓言\n朴素而天下莫能与之争美：自然与本真的守护",[23,24,7,165,27,29,1144,129,96,131,34,13438,6810,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde18f9b7e341d9b204fbc08d35aed1b4.jpg","152.6x79厘米",[136,45],{"id":17146,"slug":17147,"title":17148,"dynasty":144,"author":569,"museum":56,"description":17149,"tags":17150,"thumbUrl":17152,"material":151,"size":17153,"collection":136,"collections":17154,"showCount":17014,"zanCount":1998,"manualWeight":48,"mainColor":72},220846,"yan-jiang-die-zhang-tu-shi-juan-zhao-meng-fu-220846","烟江叠嶂图诗卷","《元赵孟頫题烟江叠嶂图》是元代时期赵孟頫创作的书法作品。\n赵孟頫实际书写的是北宋苏东坡题咏王诜《烟江叠嶂图》诗一首：江上愁心千叠峰，浮空积翠如云烟。\n山耶云耶远莫知，烟空云散山依然。\n赵孟頫墨迹传世虽多，惟大字却少见。\n从中不难看出其大字功夫之深。\n后文征明在赵孟頫书苏轼题王诜《烟江叠嶂图》诗后补水墨米家山水。",[23,24,7,25,128,133,64,29,132,17151,6791,30,99,6126,34,129,211,31,1743],"烟江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc09865d188801b8adc163e953c06a614.jpg","49·8x413.9cm",[136,117],{"id":17156,"slug":17157,"title":17158,"dynasty":980,"author":5076,"museum":8958,"description":17159,"tags":17160,"thumbUrl":17162,"material":17163,"size":84,"collection":84,"collections":17164,"showCount":17014,"zanCount":48,"manualWeight":48,"mainColor":72},220594,"gong-chong-ce-ye-huang-e-qi-bai-shi-220594","工虫册页·黄蛾","淡赭草叶以写意出之，笔致松灵简淡，晕染柔和随性，似将郊野晚风里的轻摇之态凝于纸面。一旁黄蛾则以工细之笔刻画，翅脉纹路纤毫毕现，触须细劲灵动，躯体绒毛的蓬松质感呼之欲出，仿佛正敛翼小憩，下一刻便将振翅飞入晚风之中。\n\n工笔与写意相映，粗简的野趣衬出虫身的精巧，将乡野间最易被忽略的闲静小景定格，朴拙雅致间藏着鲜活生机，尽显对日常细微之美的独到体察，满溢着悠然的田园意趣。",[24,7,59,28,369,27,17161,230],"蛾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaaefe56d12a470f33be48accf1d4c1d.jpg","纸本水墨设色",[],{"id":17166,"slug":17167,"title":17168,"dynasty":144,"author":1346,"museum":77,"description":17169,"tags":17170,"thumbUrl":17171,"material":278,"size":17172,"collection":136,"collections":17173,"showCount":17014,"zanCount":1116,"manualWeight":48,"mainColor":72},220090,"shan-chuang-ting-yu-tu-wu-zhen-220090","山窗听雨图","《山窗听雨图》卷末有吴镇年款和一首题诗，是其作于元顺帝至元四年(1338年)的夏天，当时吴镇59岁，根据存世作品，已知也是作于这一年五月的还有南京博物院收藏的《松泉图》以及美国大都会博物馆收藏的《高节凌云》。在吴镇的存世作品中，《山窗听雨图》应属于隐逸一类的题材。\n2016年12月6日晚上20：30，北京匡时秋拍“澄道——中国古代书画夜场”在北京国际饭店会议中心举槌，共推出29件拍品。其中，吴镇《山窗听雨图》以估价待询的形式上拍，起拍价为6000万元，最终以1.5亿元落槌，1.725亿元成交，同时刷新了吴镇作品的拍卖纪录。",[23,24,7,25,128,29,132,64,133,208,663,228,413,98,129,167,1824,415,37,3387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61a830e17247e97273543be5760f0e3.jpg","28x203厘米",[136],{"id":17175,"slug":17176,"title":17177,"dynasty":124,"author":1141,"museum":2862,"description":17178,"tags":17179,"thumbUrl":17180,"material":278,"size":17181,"collection":136,"collections":17182,"showCount":17014,"zanCount":1998,"manualWeight":48,"mainColor":72},219866,"kong-shan-ye-yu-tu-wen-zheng-ming-219866","空山夜雨图","古画中描绘山、水、雨、云乃至兰竹松梅时，若能兼具“画面写实”和“气韵灵动”两方特色，则该作可称佳品。如能在写实中抓住细节，落笔精致，则该作可成精品。若作者还能在此基础上别出心裁，融入巧妙出众的构思设计，则该作可为妙品。\n文徵明此作写景真实、韵致盎然，诚可谓“虚实相生”；在勾皴山石、铺排密林时用笔极细，落墨深浅错落，层次分明，林间篱笆、耕地农人的设计为画面增添生趣，亦反衬出山之“空”，与画作主题暗合；画面上方山峦滞重，山间雨雾轻灵，山下密林幽森，林间水溪温柔，排列有序，刚柔兼济。而此画最值称道者乃作者关于“雨意”的设计。画面中间部分以大块留白作山间云雾，将上方山峦与下部密林分割开来，山石、树林与云雾的衔接处以清淡水墨轻绘，呈现出类似“渐变”的神奇效果。濛雨淡云缭绕山间，尽书实景而灵韵生动，同时也使整幅画面不致因过满而有失轻盈。",[23,24,7,165,128,132,29,34,1233,331,99,131,37,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f5d4eb5740ddc8e075045e01785fe8f.jpg","纵71.6厘米，横32.4厘米",[136],{"id":17184,"slug":17185,"title":17186,"dynasty":54,"author":14080,"museum":450,"description":17187,"tags":17188,"thumbUrl":17189,"material":173,"size":17190,"collection":136,"collections":17191,"showCount":17014,"zanCount":48,"manualWeight":48,"mainColor":49},219757,"ni-guo-xi-pan-che-tu-yuan-yao-219757","拟郭熙盘车图","袁耀（生卒年不详），清朝画家，字昭道，江都（今江苏扬州）人。袁江之侄。\n工画山水、楼阁、界画。画风工整、华丽，与袁江相似。其精品有胜于袁江者。偶作花鸟，亦甚佳。\n乾隆十一年作《骊山避夏十二景》，乾隆四十五年作《阿房宫图》，现藏南京博物院。约活动于乾隆中期。不仅青绿工整山水，楼阁作品有名，其所画花鸟，也甚佳。流传作品比袁江多。而且往往是大幅。所画《观瀑图》、《秋江楼观图》等，无论布局，渲染，以至点景人物，都很精致。留有《阿房宫图》及《骊山避暑十二景图》大幅精美作品。《骊山避暑十二景图》现藏于日本。",[24,7,29,95,132,330,27,96,97,690,130,101,106,131,34,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2dbf03592ab1c501d619c8407e8f510.jpg","纵29横47.80厘米",[136],{"id":17193,"slug":17194,"title":5487,"dynasty":54,"author":17195,"museum":244,"description":17196,"tags":17197,"thumbUrl":17198,"material":66,"size":17199,"collection":45,"collections":17200,"showCount":17014,"zanCount":48,"manualWeight":48,"mainColor":72},219477,"hu-tu-ma-fu-tu-219477","马负图","此作打破惯常的猛虎范式，坐虎圆颅圆眼，憨态尽显。以丝毛晕染绘皮毛，笔触细腻柔润，斑纹浓淡层次分明，将蓬松质感淋漓展现，褪去兽王的狞厉刻板，尽显稚态娇憨。\n背景浅绛绘就山野，危崖飞瀑隐于轻岚淡雾间，点染苍润草木，晕染出山谷空寂清宁。静虎坐卧于山石，稚拙憨态与山野幽寂相融，工写兼具，笔意温润雅致，把山林王者柔化成邻家稚兽，别出灵动画意，尽显悠然野趣。",[24,7,27,28,132,29,5490,949,495,131,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d96f61fde5de07de01651b35d7eae0.jpg","158.1×91.2",[45],{"id":17202,"slug":17203,"title":7543,"dynasty":18,"author":3596,"museum":450,"description":17204,"tags":17205,"thumbUrl":17207,"material":173,"size":17208,"collection":68,"collections":17209,"showCount":17014,"zanCount":48,"manualWeight":48,"mainColor":49},219342,"shuang-e-tu-cui-bai-219342","图为一池景，水面波光粼粼，荷叶点缀，前面一只白鹅，后面紧跟着一只长着棕白羽毛的大鹅，水下鹅足在用力划桨。",[23,24,7,28,27,61,7546,228,303,82,806,151,10803,17206],"自然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F655339b4f302564650f45fb89c765f64.jpg","27x34.10cm",[68],{"id":17211,"slug":17212,"title":17213,"dynasty":144,"author":569,"museum":244,"description":17214,"tags":17215,"thumbUrl":17216,"material":173,"size":17217,"collection":42,"collections":17218,"showCount":17014,"zanCount":1998,"manualWeight":48,"mainColor":72},218971,"mao-ting-song-lai-tu-zhao-meng-fu-218971","茅亭松籁图","顶端有强烈的轮廓，不太会凿刻。颜料先用赭石涂抹，然后分别用石绿和石青从山顶上染出。绿色和赭石的结合使这幅画在深度上有一种古朴的优雅，创造了一种宁静的气氛和松树音乐的基调，所谓天人合一。",[23,24,7,1131,27,29,132,130,372,131,98,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F464ec586288683e2204eb12e7e55b91b.jpg","26.4x27.7",[42],{"id":17220,"slug":17221,"title":1230,"dynasty":18,"author":633,"museum":300,"description":17222,"tags":17223,"thumbUrl":17224,"material":317,"size":17225,"collection":136,"collections":17226,"showCount":17014,"zanCount":1116,"manualWeight":48,"mainColor":49},218915,"shan-shui-tu-xia-gui-218915","这幅画描绘了一个平静安详的山居，远处的山峰高耸入云，瀑布和泉水直泻而下，小屋散落一地，优雅的人和伐木工在其中徘徊。整幅画的笔触层次分明，森林和山上的明暗对比明显。这幅画上看不到艺术家的签名，但从原始签名来看，应该是夏圭。然而，山、林、坡、石的布局，以及滴水不漏的笔墨，都显示出明代浙江画派的风格，这肯定是错误地归于后来的艺术家。",[23,164,24,7,128,27,132,29,171,331,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa20501644fd7647ba471c42b77fc18e2.jpg","47.6x32.5",[136],{"id":17228,"slug":17229,"title":17230,"dynasty":144,"author":287,"museum":244,"description":17231,"tags":17232,"thumbUrl":17233,"material":173,"size":17234,"collection":45,"collections":17235,"showCount":17014,"zanCount":1116,"manualWeight":48,"mainColor":49},218779,"wu-shu-tu-qian-xuan-218779","五蔬图","数丛蔬果错落铺陈，叶片舒展如翠羽轻振，或浓墨点染见苍劲，或淡彩晕开显清柔，脉络隐现间藏着盎然生趣。茎秆以细笔勾勒，挺拔中带几分随性，似能嗅到泥土里的清芬气息。文人之笔写寻常风物，让不起眼的蔬食脱去尘俗，生出雅致姿态——无浓艳设色，浅淡晕染里见笔墨细腻；无繁复构图，疏朗排布中透田园闲静。寻常蔬果化作案上清供，藏着古人对生活本真的热爱，对平淡之美的珍视，笔端流转的，是烟火气里的诗意与从容。",[23,164,24,7,25,27,28,1036,4251,4250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe270b6d6f8ab98ce45b7b1bbffeb8e54.jpg","70.77x129.68",[45],{"id":17237,"slug":17238,"title":17239,"dynasty":54,"author":17240,"museum":20,"description":17241,"tags":17242,"thumbUrl":17244,"material":278,"size":17245,"collection":136,"collections":17246,"showCount":17014,"zanCount":48,"manualWeight":48,"mainColor":72},218482,"he-lin-yan-yu-tu-cha-shi-biao-218482","鹤林烟雨图","查士标","查士标（1615-1698）字二瞻，号梅壑散人，懒老。安徽休宁人，后寓扬州。明末生员，家富收藏，故精鉴别，擅画山水，为“海阳四家”之一。清初著名画家，书法家和诗人。专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏，他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变。是明末清初新安派“海阳四家”（江韬、查士标、孙逸、汪之瑞）之一。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。山水初学倪瓒，后参用吴镇、董其昌法，笔墨疏简，空旷荒寒。与弘仁、孙逸、汪之瑞并称“新安四大家”（即海阳四家）。著有《种书堂遗稿》等。",[23,24,7,165,128,132,29,37,1144,30,711,17243,131,34],"烟雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6f5fc63963b4d7a5fd292f187630f0.jpg","159.5x53.3cm",[136],{"id":17248,"slug":17249,"title":17250,"dynasty":54,"author":2894,"museum":244,"description":17251,"tags":17252,"thumbUrl":17253,"material":66,"size":17254,"collection":44,"collections":17255,"showCount":17014,"zanCount":1116,"manualWeight":48,"mainColor":72},216978,"yi-tao-tu-jin-ting-biao-216978","移桃图","这幅画展示了一个有绿色树木的村庄。一个男人和一个瘸子站在窗外，教一个孩子种桃花。惟不免作家气重些。",[24,7,28,27,29,96,34,131,99,209,35,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7567eb36e902b6cd0d71a3b920a0b4d.jpg","187.3x63.2",[44,136],{"id":17257,"slug":17258,"title":8219,"dynasty":351,"author":1921,"museum":300,"description":8220,"tags":17259,"thumbUrl":17261,"material":692,"size":1293,"collection":84,"collections":17262,"showCount":17263,"zanCount":48,"manualWeight":48,"mainColor":956},289356,"qiu-shan-wan-cui-tu-guan-tong-289356",[164,24,7,165,128,27,29,8222,1337,495,17260,132],"孤峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ececd0d022d954f2d70d8ead2688868.jpg",[],81,{"id":17265,"slug":17266,"title":17267,"dynasty":18,"author":3278,"museum":300,"description":17268,"tags":17269,"thumbUrl":17271,"material":692,"size":1293,"collection":84,"collections":17272,"showCount":17263,"zanCount":48,"manualWeight":48,"mainColor":49},288508,"qing-luan-xiao-si-tu-li-cheng-288508","晴峦萧寺图","此画以直幅形式画冬日山谷景色，画中群峰兀立，瀑布飞泻而下，中景山丘上建有寺塔楼阁，山麓水滨筑以水榭、茅屋、板桥，间有行旅人物活动。画中山石雄伟而秀美，皴染用笔多有变化，兼具关仝之雄浑与李成之清润。",[23,164,24,7,29,165,128,132,496,97,17270,98,99,495,1337],"寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65a09d1fd685c91acbb434f10c0b0b2b.jpg",[],{"id":17274,"slug":17275,"title":17276,"dynasty":124,"author":204,"museum":300,"description":17277,"tags":17278,"thumbUrl":17279,"material":692,"size":1293,"collection":84,"collections":17280,"showCount":17263,"zanCount":1998,"manualWeight":48,"mainColor":49},287561,"fang-li-tang-shan-shui-tu-chou-ying-287561","仿李唐山水图","此图卷画法山石分面后用大斧劈皴法，是李唐家数，极明暗变化之能事。浙派学南宋，都和墨皴染，石面无‘钉头’，乏老硬笔意，仇实父实得李唐画石之三味。",[23,164,24,7,25,29,27,132,330,496,34,35,1516,98,99,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bece0ca5a5d1ae85f5b79d72f19d2f.jpg",[],{"id":17282,"slug":17283,"title":2686,"dynasty":54,"author":17284,"museum":300,"description":17285,"tags":17286,"thumbUrl":17287,"material":692,"size":1293,"collection":84,"collections":17288,"showCount":17263,"zanCount":48,"manualWeight":48,"mainColor":72},283786,"mu-dan-yu-lan-tu-liu-de-liu-283786","刘德六","画面取春日小景，老干虬劲舒展，满枝玉兰冰姿清雅，与下方秾艳牡丹相映成趣。湖石造型奇崛，勾勒皴擦尽显嶙峋质感，成为花木间的视觉支点。两只禽鸟一动一静，振翅的春鸟掠过花枝，另一只探于花下，为画面添就鲜活生机。\n\n此作用笔兼工带写，玉兰以淡墨写意枝干，白花轻勾淡染，尽显清逸；牡丹设色妍丽却不俗艳，花叶层次饱满鲜活。整体设色明快和谐，将春日芳菲的富贵雅致，与江南暮春的悠然意趣相融，在写实写生中晕染出文人画的娴静意韵，尽揽春日生机雅致。",[24,7,61,165,27,263,356,211,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F839a7a0acc34077c380f4ae54ab45aab.jpg",[],{"id":17290,"slug":17291,"title":6834,"dynasty":182,"author":183,"museum":77,"description":17292,"tags":17293,"thumbUrl":17294,"material":151,"size":17295,"collection":84,"collections":17296,"showCount":17263,"zanCount":48,"manualWeight":48,"mainColor":49},232268,"ba-shi-qi-shen-xian-juan-hua-xin-wu-dao-zi-232268","吴道子勤奋好学，天资过人，借鉴古法，画技创新，打破沿袭顾恺之的游丝描，开创兰叶描，把复杂的物体形态凹凸面、阴阳面，归纳为不可再减的“线”，画出物体的线条性格，探索线条变化规律，力求每条线符合造型传神的要求，《八十七神仙卷》就是这样一幅充满线条美妙韵律的千古神作。\n《八十七神仙卷》是描绘八十七位仙人去朝拜元始天尊场景，画面人物描绘夸张，帝王高大魁梧，神圣威严，面相和蔼，头罩光环，构图以帝王为中心分布聚集，左右端是身披铠甲的护将武士，须发如生，毛根出肉，怒目圆睁，握拳拔剑。最为引人注目是出尘脱俗，如花似玉，明艳动人，顾盼生姿的数十位仙女，吹奏打板，抚琴托盘，捧花献果，举旗摇幡，长裙肥袖，满壁风动，发髻头饰，高耸光鲜，神态自若，形象各异。\n《八十七神仙卷》画面阵容恢弘，排布随意，主角突出，层次分明，人物神情丰富，形态举止自然，写实与艺术夸张手法结合并用，线条流畅如水，舞动飘逸如风，瑞气喷涌如云，天堂景致如虹，是一幅匠心独运神来之笔，画苑冠冕千古名作\n《八十七神仙卷》帝王天仙、武将文官等男士仙人造像，这些神仙人物以凡间人物为创作原形。《八十七神仙卷》是一幅道教画，道教是惟一在中国本土发育的宗教，由先秦道家思想演化而来，尊老子为道祖，奉老子著作《道德经》为主要经典，信仰尊道贵德，认为道是产生天地万物的本源，人和万物由道生、由德育，道可以修得升天成仙，长生不死。道教神仙众多，既有来源于中国古代神话人物，又有历朝褒奖、社会崇拜的真人，成为凡界修道成仙的范例，形成庞大繁杂的神仙谱系。道教神仙故有凡间人物化身，有以普通人面貌隐迹凡世。\n《八十七神仙卷》仙女众多，仙女的形象、发髻、头饰、衣衫及手持晋献花篮、托盘、果品，吹奏器乐、举旗打幡等，构成仙女喜乐，花枝招展，祥云缥缈，众神欢颜的天堂盛景，画卷中各式仙女造型是研究唐风民俗的珍贵资料\n仙女发饰，呈现出奇异多彩，令人眼花缭乱，一千多年前古代妇女发艺，放在当代也是时尚造型，媲美现代科技手段的发艺打理，由此可见作者对大唐皇室贵族妇女梳妆研究充分，观察细致，作者的社会生活见识广泛，发艺素材积累深厚，创作随心所欲，绘画信手拈来，塑造出一群貌美如花形象鲜活的天堂仙女。\n吴道子身处唐朝中期，是大唐历史最辉煌时代，史称“开元盛世”或“开元之治”，社会经济空前繁荣，国力空前强盛，人口大幅度增长，商业发达，城市繁华，上流社会时尚流行奢靡之风，来自波斯的西域工匠，带来金银珠宝与精湛加工技艺，把大唐金饰制品与华贵头饰，从皇室走出成为富豪贵族的奢侈配置。\n唐代画家周昉、张萱、王贞白等民间仕女画的片段，发式造型相似画卷中仙女，但没有佩戴耀目华贵的头饰，华贵头饰显然不属于普通妇女。在吴道子笔下仙女，不仅发型发饰具有大唐韵味，而且体现唐代崇尚妇女身形微胖的审美观念，仙女们个个脸型圆润，体态丰腴，气质雍容，超凡脱俗。\n《八十七神仙卷》服饰与纹样局部，白描有条不紊，构图复杂繁密，铁线萦绕，丝丝入扣，显示了绘画的精细功力，把仙人衣着刻画的风舞飘动，牵之欲出。唐代服饰是以社会经济发达为基础，纺织、印染技术达到了历史巅峰，为服饰文化提供了物质条件。唐代服饰具有多样性、开放性、奢华性的特点，多样性表现为融合多民族文化与中外文化的款式设计；开放性体现在造型样式方面如衣裙、肩披、围腰的“粉胸半掩疑暗雪”的装扮，图16即是唐代画家张萱《捣练图》中女性服饰图样；奢华性是服饰的绚丽多彩与华贵配饰及梳妆相搭，唐诗“眉黛夺得萱草色 红裙妒杀石榴花”，就是对唐代仕女及服饰的美艳写照。\n吴道子把唐代服饰风貌搬上《八十七神仙卷》，尤其衣衫纹样画法，线条密集、画迹流畅、繁杂有序、柔韧雄放、粗细相间、交织如网、鲜活灵动、造型夸张的笔法，后世称为“吴家样”，对衣饰飘舞形象称为“吴带当风”画法，表现了后人对吴道子超凡画技与与作品魅力的敬仰崇拜。\n唐朝从“贞观之治”到“开元之治”期间一百多年，虽有外患内乱但终被平息，国家政治局势基本稳定，经济繁荣昌盛，也是文化艺术发展的最好时代，涌现多位载入史册的文化名人，带领唐朝的文学诗歌、书法绘画、音乐舞蹈等取得了辉煌成就。《八十七神仙卷》仙女群组形象，有取材唐朝宫廷乐舞的身影",[23,24,7,25,188,187,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fa144931d6cc1956dc7dacc5dd4c037.jpg","画芯长800厘米、宽75厘米",[],{"id":17298,"slug":17299,"title":17300,"dynasty":54,"author":1460,"museum":300,"description":17301,"tags":17302,"thumbUrl":17303,"material":84,"size":84,"collection":84,"collections":17304,"showCount":17263,"zanCount":1998,"manualWeight":48,"mainColor":49},228987,"you-zhang-gong-dong-tu-shi-tao-228987","游张公洞图","此作以全景铺展丘壑，溪谷盘绕于层叠峰峦间，村居错落掩映林泉。清润的皖南山水底色间，揉进雄健恣肆的皴擦点染，丹红林木轻点秋意，实景生趣与写意空灵相融。\n书画合璧，长题以文释意，将探幽快意寄于尺幅，林泉高致与文人雅兴浑然一体。笔底带着恣肆性灵，以山水写心，将搜尽奇峰的丘丘磊磊，化作澄怀观道的林泉佳处，尽显文人画借景抒怀的精髓。",[23,24,7,25,27,29,132,64,133,208,663,228,98,97,34,497,1645,12108,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aef0f36d2f6bb2fa1e6e2e83d6241bf.jpg",[],{"id":17306,"slug":17307,"title":17308,"dynasty":18,"author":223,"museum":300,"description":17309,"tags":17310,"thumbUrl":17311,"material":84,"size":84,"collection":84,"collections":17312,"showCount":17263,"zanCount":48,"manualWeight":48,"mainColor":72},227377,"qiu-lan-zhan-rui-tu-yi-ming-227377","秋兰绽蕊图","图绘秋兰数茎，兰叶修长劲挺，兰花吐蕊，清丽雅逸。对开有清乾隆御题诗一首：“写兰反楚辞，亦足终古矣。底识其为秋，疏叶濩冷蕊。意出常人表，或远代其子。”钤“八征耄念之宝”、“自强不息”、“太上皇帝之宝”等玺印。",[23,24,7,1131,27,61,375,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F656591bb10af68e7bd8abcd88003f28a.jpg",[],{"id":17314,"slug":17315,"title":17316,"dynasty":54,"author":223,"museum":300,"description":17317,"tags":17318,"thumbUrl":17320,"material":84,"size":84,"collection":84,"collections":17321,"showCount":17263,"zanCount":1116,"manualWeight":48,"mainColor":49},224248,"qing-hua-yuan-hua-shi-er-yue-yue-ling-tu-si-yue-zhou-yi-ming-224248","清画院画十二月月令图四月轴","水乡四月晴柔漫溢，临水屋舍凭木桥勾连，酒肆里宾客围坐闲话，檐下有人往来劳作，仕女撑伞缓行廊桥，鲜活市井烟火扑面而来。岸畔花树缀满嫩白繁花，阶下牡丹灼灼盛放，晕开融融暖意。水湾烟波澹澹，远景沙洲逶迤，田埂上农人俯身忙碌，动静交织间，将江南初夏的清丽生机尽数铺展。\n\n整幅工笔设色雅致柔和，以细腻笔触定格日常闲趣，将时节风物与俗世温情相融，晕开一卷温婉的江南闲居图景，藏着旧时水乡的太平意趣。",[23,164,24,7,165,28,27,95,96,97,98,99,29,34,62,130,9425,249,4364,758,247,17319],"活动场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e134da517cb38720810301008a61a01.jpg",[],{"id":17323,"slug":17324,"title":17325,"dynasty":54,"author":6946,"museum":20,"description":17326,"tags":17327,"thumbUrl":17328,"material":151,"size":17329,"collection":84,"collections":17330,"showCount":17263,"zanCount":1116,"manualWeight":48,"mainColor":72},223245,"bao-xiang-guan-yin-tu-ding-guan-peng-223245","宝相观音图","观音为佛教大乘菩萨之一，佛经上说此菩萨能“救苦难众生”，示现种种形象，名为“普门示众”，一般形态多作女相。此图绘千手宝相观音一尊，各手分别持小斧、莲花、宝剑、弓箭等各种法宝；头上祥云朵朵飘荡，云中托出小佛十尊，花朵飞扬。观音面容和手臂作多层烘托，有较强的立体质感。说明作者在继承传统技法的同时，也吸收了西洋画的明暗、透视等特点，形成了自己的风格。",[23,24,7,28,27,187,96,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe37e22633a51a0e53a44d585e1614e45.jpg","122.7x58.65",[],{"id":17332,"slug":17333,"title":17334,"dynasty":18,"author":1174,"museum":20,"description":17335,"tags":17336,"thumbUrl":17337,"material":151,"size":17338,"collection":42,"collections":17339,"showCount":17263,"zanCount":48,"manualWeight":48,"mainColor":49},221580,"mu-niu-tu-ye-li-tang-221580","牧牛图页","宋代所谓“花鸟画”的范围比较狭窄，仅限于花和鸟。畜兽、竹石、鱼虫皆另立科目(山水中，树石、木屋也是各自立科的)。在当代，我们把中国画分为山水、人物、花鸟三大科，则树石、村落、楼观等多半归于山水。兽畜、竹石、蝶虫之类多归于花鸟。花鸟画实则是动、植物画，以花代表植物，以鸟代表动物。\n李唐的花鸟画在当时尤为突出。吴其贞《书画记》中记有李唐《梅竹禽雀图》，并云“甚剥落”，然“精彩尚在”。《严氏书画记》中还记有李唐的《古木寒鸦图》，他自己也说：“早知不入时人眼，多买胭脂画牡丹。”这一类作品虽很精彩，可惜，今天已不可见，记载亦不详。据历来的叙说，李唐“尤工画牛”(《图绘宝鉴》)，“善作山水人物，最工画牛”(《画继补遗》)。他当时的花鸟画成就可能大于山水和人物。本来，北宋画院的花鸟画成就是高于山水画的\n在记载中，李唐的画牛之作也确实多，如《桃林纵牧图》、《放牧图》、《春牧图》、《秋牧图》、《烟林春牧》、《风雨归牛图》、《三生图》等等。《清河书画舫》所记李唐的《桃林纵牧图》：“不知者谓为戴嵩。”戴嵩乃唐代画牛名家，当时及后代，皆称“韩马戴牛”，即韩干的马、戴嵩的牛。李唐的牛被人误认为是戴嵩所画，可见其精彩之至。还记“李唐尤工画牛，得戴嵩遗法”。",[23,164,24,7,59,1131,27,102,1337,211,208,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa528be30dbb6d13761b480f04ecd894e.jpg","61X63cm",[42,44,45],{"id":17341,"slug":17342,"title":17343,"dynasty":18,"author":397,"museum":510,"description":17344,"tags":17345,"thumbUrl":17346,"material":17347,"size":17348,"collection":318,"collections":17349,"showCount":17263,"zanCount":48,"manualWeight":48,"mainColor":49},221348,"cai-xing-chi-juan-zhao-ji-221348","蔡行敕卷","此帖乃宋徽宗赵佶不允蔡行辞殿中省事之手敕。行书，凡二十一字，共一百二十七字。此敕行间布白疏朗得体，笔划纤细，写来墨韵流畅，潇洒清劲，有如飘藤荡柳之势，具有瘦而劲，秀而润的艺术效果。\n此卷是宋徽宗不准蔡行辞去领殿中省之职所颁的敕书全文行间布白疏朗得体，笔划纤细，写来墨韵流畅，潇洒清劲，有如飘藤荡柳之势，具有瘦而劲，秀而润的艺术效果。",[23,164,24,7,25,133,64,208,611,8116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7deae8a7337124f7de79f711ec96d05f.jpg","手卷","行书35.5 x 214.6 cm",[318],{"id":17351,"slug":17352,"title":17353,"dynasty":326,"author":1587,"museum":244,"description":17354,"tags":17355,"thumbUrl":17356,"material":84,"size":17357,"collection":318,"collections":17358,"showCount":17263,"zanCount":48,"manualWeight":48,"mainColor":72},221031,"ping-an-he-ru-feng-ju-san-tie-juan-wang-xi-zhi-221031","平安何如奉橘三帖卷","从西元六世纪的南朝以来，上至帝王下至百姓都喜好王羲之等名家的信札，由于此类珍贵的书迹都收藏在皇宫之中，即使是平民收藏家也不会轻示于人。有时帝王为分送亲信，或是担心真迹观赏过多次会有伤害，常会请人以双勾填墨的方式将书迹做复制，此三帖即是摹本。",[23,7,64,133,25,208,1590,9910],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdcca10b4a733dd2b18c3b7008fed486.jpg","24.7x47.3",[318,2210],{"id":17360,"slug":17361,"title":17362,"dynasty":980,"author":5076,"museum":8958,"description":17363,"tags":17364,"thumbUrl":17365,"material":17163,"size":84,"collection":84,"collections":17366,"showCount":17263,"zanCount":48,"manualWeight":48,"mainColor":72},220599,"gong-chong-ce-ye-qing-e-qi-bai-shi-220599","工虫册页·青蛾","此作兼工带写，工笔绘就的青蛾形神兼备，翅翼薄透似可察纹理脉络，细足纤毫毕现，振翅欲飞的灵动跃然纸上，将小虫的鲜活生趣定格。\n\n散落的粉红花瓣以写意晕染而成，柔润朦胧，浅淡底色晕出水雾般的空濛氛围感，与工笔小虫形成虚实对照，繁简相宜。大片留白铺就清寂的意境，将晚春残花轻坠、小虫流连的闲静之景娓娓道来，写实的精致与文人写意的禅意相融，寥寥笔墨间藏着冲淡天真的闲情逸趣，尽显悠然雅致的东方意韵。",[24,7,59,28,27,609,5004,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca3b02997a36403c257cbc7867068a62.jpg",[],{"id":17368,"slug":17369,"title":17370,"dynasty":980,"author":5076,"museum":11031,"description":17371,"tags":17372,"thumbUrl":17373,"material":17374,"size":84,"collection":84,"collections":17375,"showCount":17263,"zanCount":48,"manualWeight":48,"mainColor":72},220583,"zhuan-shu-e-mi-tuo-fo-qi-bai-shi-220583","篆书“阿弥陀佛”","此作用隶意入篆，打破篆书匀整旧制，起收笔斩截刚劲，线条厚重苍莽，带着金石摩挲出的斑驳质感。四字排布开张奇崛，字势欹侧错落却浑融一体，将佛号的庄穆，以生辣雄强的笔力托出。\n\n左侧题款小字灵动舒展，与厚重篆文形成动静对冲，疏密间尽显错落意趣。整作褪去雕琢匠气，把禅门静穆与写意野趣相融，笔墨间满是老辣天真的风骨，以书法写尽禅意沉浑。",[24,7,165,187,938,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cd1d7fbd1e528643671dd29dda0d313.jpg","Ink on paper",[],{"id":17377,"slug":17378,"title":17379,"dynasty":124,"author":366,"museum":1941,"description":3061,"tags":17380,"thumbUrl":17381,"material":278,"size":3064,"collection":84,"collections":17382,"showCount":17263,"zanCount":48,"manualWeight":48,"mainColor":72},220100,"shi-er-mo-hua-tu-juan-3-xu-wei-220100","十二墨花图卷-3",[23,164,24,7,25,128,61,167,168,1771,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e70c5fdddd68d2662d99287215d9176.jpg",[],{"id":17384,"slug":17385,"title":17386,"dynasty":54,"author":12088,"museum":450,"description":17387,"tags":17388,"thumbUrl":17389,"material":173,"size":17390,"collection":136,"collections":17391,"showCount":17263,"zanCount":48,"manualWeight":48,"mainColor":49},220076,"peng-lai-xian-jing-tu-yuan-jiang-220076","篷莱仙境图","图中所作楼阁大都建于高山之上，隐于丛林之中，古木、苍松、梅、杏等，或生于岩石之间、或生于夹缝之中，蓬勃繁茂，掩映成趣、生机盎然，洋溢着顽强的生命力。屈曲的枝干应当是受宋人影响，点叶之法比起其前期更为轻松自然、繁而不乱。图中人物，三五成群，神态自若，气质高雅，或论道、或茗茶、或泛舟湖上，本为点景之用，却起到了点睛之妙。衣冠、须发用笔劲细流畅。“雪压青松松更青，霜打红梅梅更红。”松柏、梅花在古代有寓意高洁之意，象征了文人士大夫的傲岸情操。",[23,24,7,164,95,27,28,97,29,98,34,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03f3523312862b3ddc21d4b421d43aaa.jpg","186.8x102.6",[136],{"id":17393,"slug":17394,"title":17395,"dynasty":124,"author":125,"museum":1300,"description":1301,"tags":17396,"thumbUrl":17397,"material":66,"size":1304,"collection":84,"collections":17398,"showCount":17263,"zanCount":1998,"manualWeight":48,"mainColor":72},220016,"dong-zhuang-tu-ce-zhi-zhi-lao-ting-shen-zhou-220016","东庄图册之知乐亭",[23,24,7,59,128,27,29,130,331,1233,99,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31227e877f62e0718e4ec5caba521bf3.jpg",[],{"id":17400,"slug":17401,"title":17402,"dynasty":54,"author":17403,"museum":1941,"description":17404,"tags":17405,"thumbUrl":17406,"material":66,"size":84,"collection":45,"collections":17407,"showCount":17263,"zanCount":1116,"manualWeight":48,"mainColor":49},219257,"cao-chong-tu-shang-rui-219257","草虫图","上睿","画面以古雅绢色铺底，苍劲岩石兀立其间，其上百合舒展素瓣，清雅动人；旁侧藤蔓牵绕，细碎小花点缀，更添自然生趣。一只雀鸟振翅而来，羽翼纤毫毕现，姿态灵动似欲停驻花间。笔墨细腻处见功夫：花卉勾勒精致，叶片脉络分明；岩石皴擦有致，尽显朴拙质感。设色淡雅温润，白百合与暖棕背景相映成趣，整体氛围静谧中藏生机，仿佛能闻得隐于画间的花香鸟语，尽显清代花鸟画作的雅致意韵。",[23,24,7,28,27,61,171,211,828,497,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86c78ce61f7fcee14a5c12b26c976e97.jpg",[45],{"id":17409,"slug":17410,"title":17411,"dynasty":54,"author":4083,"museum":20,"description":17412,"tags":17413,"thumbUrl":17414,"material":278,"size":17415,"collection":136,"collections":17416,"showCount":17263,"zanCount":48,"manualWeight":48,"mainColor":72},219106,"yu-shan-xi-bie-tu-wang-shi-min-219106","虞山惜别图","此图取常熟城郊虞山之景，用笔苍劲老辣，颇具元代黄公望笔意，山石作披麻皴，苔点细密, 皴染细腻，一派山清水秀的江南景色。 此画位置的经营，采用了常见的高远法，由下到上，层次清晰，结构有序。从上到下，若将着笔造形处联成整体，避免了构图上板滞，而步入活泼变化的天地。",[23,164,24,7,165,128,132,2132,29,663,34,35,37,99,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613cc5452ca791917bd2ed2cadab7add.jpg","纵134cm，横60cm",[136],{"id":17418,"slug":17419,"title":17420,"dynasty":18,"author":1174,"museum":244,"description":17421,"tags":17422,"thumbUrl":17425,"material":173,"size":17426,"collection":42,"collections":17427,"showCount":17263,"zanCount":48,"manualWeight":48,"mainColor":49},218981,"xian-yan-cai-yao-tu-li-tang-218981","仙岩采药图","这幅画来自《名画集》的第七板块，描绘了一个男人肩上扛着一个葫芦，沿着一条蜿蜒的小路走到森林里去采药。艺术家以森林中交错的树枝和茂密的树叶为 实，以溪流和小路为 虚，并采用了对应于实和虚的对角线布局，暗示了南宋边缘构图的思想。石头和树木的轮廓是用浓墨勾勒出来的，树叶是用双钩画出来的，然后用绿色覆盖，使森林看起来更加茂盛。画笔很灵活，用尖锐的细笔画出水面，用更简单的笔触在岩石和树木上创造纹理。没有作者的标记，但树木和石头的画法以及配色都与李唐的相似。也许这就是为什么老签名表明这幅画是李唐的作品。",[23,164,24,7,128,132,96,331,17423,29,17424],"山岩","采药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1fb1d36a81146ad83b80ed92d8cd863.jpg","22.4x23.8",[42],{"id":17429,"slug":17430,"title":17431,"dynasty":54,"author":6946,"museum":244,"description":17432,"tags":17433,"thumbUrl":17434,"material":173,"size":17435,"collection":44,"collections":17436,"showCount":17263,"zanCount":48,"manualWeight":48,"mainColor":72},218459,"shi-liu-luo-han-xiang-di-shi-si-na-a-ga-sai-na-zun-zhe-ding-guan-peng-218459","十六罗汉像-第十四纳阿噶塞纳尊者","虽临摹自贯休的作品，但这套16幅画用明暗法来表现人物脸部、手部和脚部的裸露部分，使其具有逼真生动的肌肉纹理。周围的家具和石头有相当精确的透视，明显受到西方绘画风格的影响，色彩鲜艳丰富，有凹凸的立体感。人物的头发和胡须也被仔细地、艰苦地描绘出来。这幅画展示了罗汉的性格和品质，他是一个具有超越性思维和开放性思想的人。",[24,7,27,28,96,187,208,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb72eac59f02a9575a8bac111da40f688.jpg","127.5x57.5",[44],{"id":17438,"slug":17439,"title":17440,"dynasty":54,"author":4083,"museum":1300,"description":17441,"tags":17442,"thumbUrl":17443,"material":278,"size":17444,"collection":136,"collections":17445,"showCount":17263,"zanCount":48,"manualWeight":48,"mainColor":72},217885,"xia-shan-fei-pu-tu-wang-shi-min-217885","夏山飞瀑图","王时敏（1592年—1680年）明末清初画家。初名赞虞，字逊之，号烟客，自号偶谐道人，晚号西庐老人等，江苏太仓人，首辅王锡爵孙，翰林王衡独子。崇祯初以荫官太常寺卿，故被称为“王奉常”。擅山水，专师黄公望，笔墨含蓄，苍润松秀，浑厚清逸，然构图较少变化。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。王时敏开创了山水画的“娄东派”，与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。",[24,7,165,128,132,29,663,495,499,34,387,497,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca4aafdd248a746d5dca26f65ac644d6.jpg","106.2x48.2cm",[136],{"id":17447,"slug":17448,"title":17449,"dynasty":18,"author":17450,"museum":77,"description":17451,"tags":17452,"thumbUrl":17453,"material":173,"size":84,"collection":136,"collections":17454,"showCount":17263,"zanCount":1998,"manualWeight":48,"mainColor":49},214826,"gui-zhuang-tu-li-xi-cheng-214826","归庄图","李希成","李希成（约1086年—约1158年）是一位著名的宋代画家。他的代表作之一是《归庄图》，这幅画描绘了一位老人归还到他的庄园。老人骑着马，身后是一排竹林，前面是一座庄园。整幅画给人以温馨、宁静的感觉。《归庄图》是李希成的一个经典作品，代表了他扎实的技术和对自然的精准描绘。\n\n李希成还创作了许多其他优秀的作品，包括《山水图》、《虎图》和《鹿图》。他的作品常常被描绘成清新、宁静的景观，捕捉到了大自然的精髓。李希成是宋代“四大画家”之一，与黄庭坚、苏轼和韩愈并称。他对中国画的发展产生了深远的影响，是中国画史上不可磨灭的巨匠。",[23,24,7,1131,29,27,132,663,228,96,35,413,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f6e45b2e30a82967b3ef0547a95e5ba.jpg",[136],{"id":17456,"slug":17457,"title":17458,"dynasty":124,"author":1438,"museum":56,"description":1439,"tags":17459,"thumbUrl":17460,"material":278,"size":1442,"collection":84,"collections":17461,"showCount":17263,"zanCount":48,"manualWeight":48,"mainColor":72},214632,"hua-hui-ce-12-chen-chun-214632","花卉册-12",[24,7,61,59,128,369,62,2035,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e40faa7cd3036d885f277f8b75cd67b.jpg",[],{"id":17463,"slug":17464,"title":17465,"dynasty":124,"author":1141,"museum":244,"description":17466,"tags":17467,"thumbUrl":17471,"material":278,"size":17472,"collection":318,"collections":17473,"showCount":17263,"zanCount":1998,"manualWeight":48,"mainColor":49},214310,"shu-wu-yan-lv-shi-wen-zheng-ming-214310","书五言律诗","文征明是一位书法和绘画的大师，他掌握了所有的书法风格。在他的中年时期，王羲之是他的主干，但在晚年，他转向了黄庭坚，因为他的书法风格很棒。这幅画是一首诗，是为溪山欲雪图所赋诗作。",[23,7,64,165,133,128,208,1556,663,413,17468,711,17469,17470],"野水","断桥","暮天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3543250656e1928131681cb826744966.jpg","191x72.2",[318],{"id":17475,"slug":17476,"title":17477,"dynasty":124,"author":1058,"museum":244,"description":17478,"tags":17479,"thumbUrl":17481,"material":637,"size":17482,"collection":84,"collections":17483,"showCount":17484,"zanCount":1998,"manualWeight":48,"mainColor":72},287291,"lin-li-bo-shi-yin-zhong-ba-xian-quan-tu-tang-yin-287291","临李伯时饮中八仙全图","以白描法绘人物35位，线条柔和隽秀，人物神态形象逼真；山石树木粗笔勾勒，再以浓墨烘染而成。此幅长卷达八米之长，场景开阔，绘出八仙喝茶听曲，悠闲自得的情景。",[23,24,164,25,7,188,128,330,96,17480,1421,1424,34,131,133,64],"历史人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef12bafcbc98b00a1a699522f02abb9b.jpg","23.8厘米*838厘米",[],80,{"id":17486,"slug":17487,"title":17488,"dynasty":124,"author":223,"museum":300,"description":17489,"tags":17490,"thumbUrl":17491,"material":84,"size":84,"collection":84,"collections":17492,"showCount":17484,"zanCount":1998,"manualWeight":48,"mainColor":72},239636,"wen-zheng-ming-guo-qin-lun-ce-yi-ming-239636","文征明过秦论册","此作用笔精劲秀雅，结体端稳匀停，是极具代表性的明代小楷佳作。笔画舒展利落，起收间法度谨严，通篇排布疏朗有致，行气贯通流畅。以雅致笔墨书写史论篇章，笔墨与文辞相融，既带着台阁体的娟秀规整，又蕴含文人书法的清逸风骨，字字珠玑间尽显沉厚的帖学功底。运笔间藏露得宜，点画精致细腻，不见一丝浮滑潦草，将史论的沉郁思辨与书法的静雅气质相融，尽显书写者的从容笔力与文人心境，是书文合璧的精妙之作。",[7,64,59,572,208,128,805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab6790cda2be73a7433191619dae03f7.jpg",[],{"id":17494,"slug":17495,"title":17496,"dynasty":54,"author":14022,"museum":300,"description":17497,"tags":17498,"thumbUrl":17500,"material":84,"size":84,"collection":84,"collections":17501,"showCount":17484,"zanCount":1116,"manualWeight":48,"mainColor":72},238191,"hua-hui-chong-die-zhou-yu-sheng-238191","花卉虫蝶轴","此作以工细之笔铺展秋日野趣，湖石错落间，萱花似燃、夕颜凝白，杂花柔枝相衬，野趣横生。画师以极细笔触晕染草虫蛱蝶，翅脉通透、触须纤毫毕现，振翅欲飞间将秋郊生机尽数铺展。设色秀雅清淡，妍而不俗，花叶俯仰生姿，瘦挺草叶穿插其间，疏密布局相得益彰。\n左侧题诗与画作呼应，诗画合璧更添文雅意境，将清秋幽寂又鲜活的意趣藏于尺幅之中，尽显写生精妙功底，把自然小景绘得雅致动人。",[24,7,165,27,28,62,17499,481,547,1771,171,806,61],"虫蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6199de4d5acfeaec5e8cafcd7497b4c3.jpg",[],{"id":17503,"slug":17504,"title":13231,"dynasty":54,"author":7272,"museum":300,"description":17505,"tags":17506,"thumbUrl":17507,"material":611,"size":84,"collection":68,"collections":17508,"showCount":17484,"zanCount":48,"manualWeight":48,"mainColor":72},237219,"mu-dan-zhou-lu-hui-237219","陆恢（1851—1920），清末民初著名画家。原名友恢，一名友奎，字廉夫，号狷叟，一字狷盫，自号破佛盫主人，原籍江苏吴江，居吴县（今江苏苏州）。\n幼习举子业，秀才入学试为第一，有人举报其父曾参加 从 尝过僧寺，覩十八应真像，即以纸墨画为描摹而归。后晤 旋客吴幕，得游三湘，所历既广，笔意益苍劲遒丽，古拙幽深。画山水、人物、花鸟、果品，无一不能，书工 尝作衡山记游图八幅，认为生平杰作，谓可媲美\n光绪 图中衣冠、中年归苏州，潜心绘事，考订 为清末民初江南老画师，从游者数十人。卒年七十。黄宾虹",[24,7,165,27,61,263,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19c6ad9cdb51e1097c313f45d064bf4.jpg",[68,45],{"id":17510,"slug":17511,"title":17512,"dynasty":124,"author":3619,"museum":20,"description":17513,"tags":17514,"thumbUrl":17515,"material":84,"size":84,"collection":84,"collections":17516,"showCount":17484,"zanCount":48,"manualWeight":48,"mainColor":72},234327,"wen-zheng-ming-shu-qian-chi-bi-fu-wen-cong-jian-bu-tu-juan-wen-zheng-ming-234327","文徵明书前赤壁赋文从简补图卷","文征明极为喜爱《赤壁赋》，一生之中曾以不同笔法多次书写，据戴立强《明文徵明行书前赤壁赋册记》中统计，仅传世之作就有16件，而周道振先生《文徵明年谱》中记载，更不止此数。“赤壁赋”题材作品无论是存世作品还是《年谱》中提及的作品，创作年代都在文徵明六十岁之后，即为其短暂的赴京任职之后的作品。文徵明在八十九岁高龄之时，更以苏轼笔意，为其《前赤壁赋》卷(台北故宫博物院藏)补写所缺36字，结字欹侧，肉盛于骨，形神兼备，直可乱真。\n文征明原名壁，字征明。后来改以征明为名，更字为征仲。成化六年（1470年）生于长洲（今苏州市），逝于嘉靖三十八年（1559年）享年90岁。祖籍湖南衡山，因号衡山。他不事权贵，尤不肯为藩王、中官作画，任官不久便辞官归乡，留有《甫田集》。\n文征明的书画造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。其与沈周共创“吴派”。在画史上与沈周、唐伯虎、仇英合称“明四家”（“吴门四家”）。在诗文上，与祝允明、唐寅、徐祯卿 并称“吴中四才子”。\n明代中叶以后，文征明以诗文驰名江南，而书法和绘画的声誉更高。后来一直被认为是明代少数几个有代表性的书画家之一。就书法来说，大字端劲蕴藉，小楷精工温纯，于真、行、草、隶各体，都有一定的造诣。他早年从苏轼入手，后来参合了米芾、黄庭坚和王羲之书法的笔意，淳和圆熟而不失清劲。\n这一本文征明所写的苏轼《赤壁赋》，末尾连署名残失十九字。幸在清代陈焯《湘管斋寓赏编》卷三有这样一段记录：“顷于姚江杨君绪思家见待诏行书此赋，跋云：‘嘉靖戊午冬十一月廿日，夜寒不寐，篝灯漫书。纸墨欠佳，笔尤不精，殊不成字。聊遣一时之兴耳，观者其毋哂焉。征明年八十九。’为最晚年书，而绝无衰飒之状，可宝也。壬寅秋九月附记。”壬寅是乾隆47年（公元1782），那时“聊遣一时之兴耳”等末十九字还未缺。光绪23年（公元1897）陈豪为恽氏题跋时，已经恽氏改装为册。这十九字怎样失去，已无从查考。\n据题记年月，是文征明八十九岁时所书，距他逝世只有四个月。虽然他自己以为“笔尤不精，殊不成字”其实比之现在所见其他各种印本的《赤壁赋》，（一本，嘉靖二十一年壬寅七月十日作，点石斋印；一本，嘉靖二十九年庚戌七月作，有正书局印；一本，嘉靖三十七年戊午二月既望作，原故宫印本，艺苑真赏社复印；一本，嘉靖三十年辛亥四月十六作，日本博文堂印本）都为精到。“潇洒流落，翰逸神飞”可谓已至“人书俱老”的境地。",[23,164,24,7,25,133,128,27,132,29,129,96,131,34,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc97afb95360b41d612a230c70e6c22d0.jpg",[],{"id":17518,"slug":17519,"title":17520,"dynasty":222,"author":223,"museum":300,"description":17521,"tags":17522,"thumbUrl":17524,"material":692,"size":1293,"collection":84,"collections":17525,"showCount":17484,"zanCount":48,"manualWeight":48,"mainColor":72},231689,"shan-cha-hua-xiao-qin-tu-zhou-yi-ming-231689","山茶花小禽图轴","此作兼用工笔与写意，老干虬曲苍劲，山茶厚叶凝翠，丹花灼灼绽放，枝上小禽侧目伫立，灵动娇憨的神态跃然纸上。设色雅致沉稳，花叶晕染细腻柔和，禽鸟绒羽的质感描摹入微，既有院体花鸟的精工之态，又饱含文人画的清逸格调。\n\n题诗与画作相映成趣，将探春报春之意藏于景中，把早春山茶盛放、幽禽暂驻的清寂生机铺陈开来，一花一禽皆含雅意，尽显传统花鸟的悠然禅意。",[23,24,7,165,27,28,61,17523,211,624,208],"山茶花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05a1618f40479b25ced4925a880d9b34.jpg",[],{"id":17527,"slug":17528,"title":17529,"dynasty":182,"author":464,"museum":300,"description":17530,"tags":17531,"thumbUrl":17532,"material":84,"size":84,"collection":84,"collections":17533,"showCount":17484,"zanCount":1998,"manualWeight":48,"mainColor":49},231021,"gu-di-wang-tu-juan-li-dai-di-wang-tu-juan-yan-li-ben-231021","古帝王图卷.历代帝王图卷","《国宝在线历代帝王》是2年 出版的图书。\n第1版 (2年12月1日) ISBN: 786726519 条形码: 978786726518 尺寸: 29.8 22.4 1 cm 重量: 259 g 历代帝王，是中国人物画历史上一个重要的题材。\n古代没有照片，千古一帝的仪容，全仗绘画来保存。\n最早的帝王画，可以追溯到种种遥远而缺乏实证的文字记载，如《孔子家语·观周》中，记载孔子参观周朝的明堂，见四周的墙壁上画有圣主尧、舜和暴君夏桀、商纣的肖像。\n他认为这些帝王图『各有善恶之状，兴废之诫焉』。\n孔子的这番评价， 一语道明了古代帝王画的功能，乃是出于礼教的宣传目的。\n当孔子把『兴废之诫』作为绘画艺术的基本任务时，他或许没想到，这样的思想在很长一段时期竟主宰了中国人物画的创作功能，甚至建国后盛行一时的伟人像、英雄像，与这一见解其实也异曲同工。\n唐代张彦远在《历代名画记》中引用了三国时曹植与孔子相类似的见解：『观画者，见三皇五帝，莫不仰戴；见三季暴主，莫不悲惋……是知存乎鉴戒者，图画也。\n』早期的帝王画大都是以屏画、壁画的形式出现，通过形象上的『善恶对比』，达到『成教化，助人伦』的目的，正所谓『见善足以戒恶，见恶足以思贤』。\n自汉代以后，宫廷壁画及卷轴画中的帝王图已成为委婉地向统治者进谏的政治性作品，不但臣僚们利用它来推行政见，而且帝王也用它来美化自己，表现能接受历史的经验，是趋贤去恶的明主。\n然而，『不见五陵豪杰墓，无花无酒锄作田』，随着大量绘有大批壁画的建筑物的损毁，后人却只能通过文字记载来想像这些作品的风采了。\n千秋功过画帝王 流传至今的帝王卷丑画中，以传为唐代阎立本所绘的《历代帝王图》和《步辇图》最早。\n尤其是《历代帝王图》，是一件典型的礼教绘画作品。\n画中共刻画了汉魏以来十三个帝王的形象。\n帝王的服饰、仪仗、起居、侍从等都表现着统治者共同的特征和气势，而一画家又通过入微地表现不同帝王的不同个性，象征并反映了这些帝王的千秋功过。\n相传同是阎立本所画反映唐太宗接见吐蕃使者的《步辇图》，则向我们传达了另一个信息——帝王的肖像常常同时也是一种记录重要事件的方法，很有些像今天的记录影片。\n这样的情况在西方甚至更为普遍，比如我们对大卫的《拿破伦加冕》和《马拉之死》大概不会陌生。\n正是通过这些作品，使我们对久远的历史场景在头脑中产生了一定的直观印象。\n依靠类似于《步辇图》这样的作品，使今人仍能较确切地了解盛唐帝王的威仪和处理重大事件的方式。\n在中国，类似的作品还有不少，如传宋徽宗所作的《听琴图》和清郎世宁所作的《 》等。\n古代，大多数的帝王肖像出于宫廷画家的手笔，特别是当朝帝王的画往往由专职的宫廷画家完成。\n不过民间也流传着一些以帝王为题材的绘画作品，且主要以远古的传说故事为内容。\n尽管同样具有礼教的功能，但正所谓[生后是非谁管得，满村争说蔡中郎]，这些作品，其实不过是人们凭想像的[演义]，而并不具备真实可靠的史料价值了。\n唐 阎立本 历代帝王图 唐 阎立本 历代帝王图 卷 之一 唐 阎立本 历代帝王图 卷 之二 唐 阎立本 历代帝王图 卷 之三 唐 阎立本 历代帝王图 卷 之四 唐 阎立本 历代帝王图 卷 之五 唐 阎立本 历代帝王图 卷 之六 唐 阎立本 历代帝王图 卷 之七 唐 阎立本 历代帝王图 卷 局部 唐 阎立本 步辇图 卷 绢本",[23,164,24,7,25,28,27,96,14415,7070,170,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc99416fb53247fd7f686c65bbf85a9c.jpg",[],{"id":17535,"slug":17536,"title":17537,"dynasty":18,"author":223,"museum":20,"description":16106,"tags":17538,"thumbUrl":17541,"material":40,"size":17542,"collection":84,"collections":17543,"showCount":17484,"zanCount":1998,"manualWeight":48,"mainColor":49},223478,"sou-shan-tu-juan-yi-ming-223478","搜山图卷",[23,24,164,7,25,28,27,96,29,949,5490,4164,3141,17539,3599,34,131,211,13695,17540],"蛇","鬼怪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d5ad08cdb1d23179ccbc0394feeea8b.jpg","纵53.3厘米，横533厘米",[],{"id":17545,"slug":17546,"title":17547,"dynasty":54,"author":223,"museum":300,"description":17548,"tags":17549,"thumbUrl":17550,"material":84,"size":84,"collection":84,"collections":17551,"showCount":17484,"zanCount":48,"manualWeight":48,"mainColor":72},223459,"shan-shui-xiao-pin-yi-ming-223459","山水小品","小品画一般以小立轴、镜片、册页、扇面等形式为主，广泛应用于社会，凡宾馆、小会议室、小客厅、以及各种娱乐场所的室内装饰布置，都常用小品画。 可以说中国画能进入寻常百姓家的主要是小品画，所以小品画是人民群众喜闻乐见的形式。 其四，小品画的表现手法比较自由随意也是它的一个特点。",[23,24,7,128,27,132,59,29,171,129,414,1429,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614164daf8e9e4af388f9ada7fdd61ea.jpg",[],{"id":17553,"slug":17554,"title":17555,"dynasty":124,"author":1058,"museum":56,"description":17556,"tags":17557,"thumbUrl":17558,"material":1464,"size":17559,"collection":136,"collections":17560,"showCount":17484,"zanCount":1998,"manualWeight":48,"mainColor":72},222357,"feng-tian-xing-du-tu-zhou-tang-yin-222357","葑田行犊图轴","此图取材于唐代李密的故事，史记李密骑牛住缑山拜访名士包恺，牛角挂一卷《汉书》，边走边读。本图并没有强调此一情节。而是突出了“行过松阴懒着鞭”的悠闲之意。图绘一老者手执长鞭骑牛前行，老者表情悠闲，一路观景，牛身形壮硕，四肢有力；上面松枝繁茂，郁郁葱葱。",[23,24,7,165,128,132,64,96,102,1144,131,331,548,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa190e60a0b5555ac9e73c97a4767161f.jpg","纵74.7，横42.7厘米",[136,117],{"id":17562,"slug":17563,"title":17564,"dynasty":124,"author":204,"museum":56,"description":17565,"tags":17566,"thumbUrl":17568,"material":611,"size":17569,"collection":136,"collections":17570,"showCount":17484,"zanCount":1998,"manualWeight":48,"mainColor":72},222210,"wu-zhu-shu-tang-tu-chou-ying-222210","梧竹书堂图","该图画一精舍，宽敞的书桌置于窗前，上置文具书籍，一士人半作半卧于躺椅上，神态安详。房舍四周修竹、梧桐摇曳生姿。坡石勾皴用拖泥带水法间乾笔皴擦，再以水墨淡淡晕染，颇见浑厚。上缀以萱花、丛菊，显示出隐居的悠雅情调。",[23,164,24,7,165,27,28,17567,167,130,96,29,99,131,34,211,129],"梧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77d7f6ee52d40f0e62de09e6cdce8cbc.jpg","纵148.8厘米，横57.2厘米",[136,45],{"id":17572,"slug":17573,"title":17574,"dynasty":124,"author":802,"museum":56,"description":17575,"tags":17576,"thumbUrl":17577,"material":151,"size":17578,"collection":68,"collections":17579,"showCount":17484,"zanCount":1998,"manualWeight":48,"mainColor":72},221895,"mei-hua-xiao-niao-chen-hong-shou-221895","梅花小鸟","此图虽为花鸟，却有山水格局。勾皴之石较为丰富，与梅树虬劲的老干浑然一体；红树有虫啮之痕，与树后精整的双钩之竹相映成趣；梅枝与小鸟，在大片空白的衬托下，成为鲜明的画眼。由此而营造了一种静中有动，清寒澄爽的意境。画梅颇有蓝瑛意趣，而气息雅于其师。藏上海博物馆。\n陈洪绶（1598-1652)，字章侯，号老莲，诸砰枫桥（今属浙江）人。出生干没落官宦之家的陈洪绶能诗，擅书画，尤长于绘画。人物、山水、花鸟、走兽无所不精，是明末淸初最著名的画家之一。初学蓝瑛，师法唐人，兼有李公麟、赵孟频之妙。运笔旋转，一气呵成，具有鲜明独特的风格。花鸟画渊源两宋，颇有奇趣。",[24,7,61,27,28,371,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8b5794e3e57e740d6a66c2ddcd1a652.jpg","22.2x21cm",[68,45],{"id":17581,"slug":17582,"title":13049,"dynasty":18,"author":17583,"museum":300,"description":17584,"tags":17585,"thumbUrl":17586,"material":2283,"size":17587,"collection":42,"collections":17588,"showCount":17484,"zanCount":1116,"manualWeight":48,"mainColor":49},221249,"pu-tao-tu-wen-ri-guan-221249","温日观","善草书，精画葡萄，自成一家。他于一笔中带有深浅不同之墨色画叶，并以深墨点染仍带湿润 之葡萄，表现出明暗和体积，颇显自然逼真，人称“温葡萄”，很得赵孟頫推崇。元至元二十七年（1290），温日观偶遇同乡士人曾遇，得知他即将赴京，欣然画葡萄两幅，一幅托他带给赵孟頫，另一幅赠给曾遇。次年，赵孟頫在葡萄卷上题跋：“日观老师作墨葡萄，初若不经意，而枝叶肯棨，细玩之纤悉皆具，殆非学所能至。俗人恳恳求之，靳不与一笔。遇佳士，虽不求，辄索纸笔挥洒无吝色，岂可谓道人胸中无泾渭耶。吾与师仅一再面，去冬曾君自吴来燕，辱以一纸见寄，相望数千里不遐遗乃尔。因想胜风，欲相从西湖山水间，何可得也。”\n温日观画葡萄率意而作，天真烂漫，吐露心声。《画禅》称他：“自成一家法，人不可测。”由于他擅长草书，葡萄的梗须枝叶都用草书笔法，收藏者以此鉴别真赝。陈继儒称他：“葡萄极得草书三昧法。”有一幅作于至元二十八年（1291）的《葡萄图》轴，上面题诗“香稻雨催熟，丹心老变灰。夕阳归路近，魂梦日徘徊”，后流入日本。《葡萄图》卷现藏美国高居翰先生景元斋。为人超逸绝尘，出言愤世骇俗。行书法杨凝式。据戴表元《宋温日观书心经》题跋，说他“放浪啸傲于西湖三竺间五十年”，享年当在六十岁以上。",[23,164,24,7,61,128,2334,548,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f93f7fe5ef5954868af2d6649c5e2f2.jpg","27×188.5cm",[42,68,117],{"id":17590,"slug":17591,"title":17592,"dynasty":144,"author":1208,"museum":244,"description":17593,"tags":17594,"thumbUrl":17595,"material":253,"size":17596,"collection":136,"collections":17597,"showCount":17484,"zanCount":48,"manualWeight":48,"mainColor":72},220786,"song-lin-ting-zi-zhou-ni-zan-220786","松林亭子轴","《松林亭子图》为倪瓒54岁时所作，画上落款时间为至正十四年（1354）初冬。在1354年前后，倪瓒的生活因元末社会动荡而发生一系列变化。“至正八年（1348）台州黄岩方国珍起义，至正十一年红巾军起义，十三年张士诚起兵泰州⋯⋯至正十二年，元军与红巾军在太湖流域大战，无锡、苏州等地处于战火硝烟之中，倪瓒避兵于甫里南渚陆玄素家。”元政府的苛捐杂税没有因为战争而消减，反而有愈演愈烈之势。朱德润在《平江路问弭盗策》中叙述了当时赋税的繁重：“科征之际，枷系满屋，鞭挞盈道，直至生民困苦，饥寒迫身。至于酒课、盐课、税课，比之国之初增至十倍。”倪瓒本人也于至正六年（1346）在《馀不溪咏并续》中叹道：“余既为农畎亩，身依稼穑。复而政繁，奔走州里。”倪瓒在兄长去世后，田亩赋税的豁免权随之消失，加之对生活品质的追求，用度豪奢，重赋剥削，也逐渐品尝到生活的重压。于是，在战火与课税中，倪瓒选择变卖田产，弃家逃避兵火之灾。\n《松林亭子图》，现藏于台北故宫博物院，绢本墨画，纵83.4厘米，横52.9厘米，画面左上方有倪瓒于至正十四年（1354）的一段赠友人的题跋：“亭子长松下，幽人日暮归。清晨重来此，沐发向阳晞。至正十四年初冬，倪瓒为长卿茂异写松林亭子图，并诗其上。”倪瓒的跋文交代了创作的时间，受画者，以及创作的主题。",[23,24,7,165,128,132,29,130,372,413,1314,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F154da39d40c4ed54cede808d8b666499.jpg","276x74.5cm",[136,117],{"id":17599,"slug":17600,"title":17601,"dynasty":18,"author":9468,"museum":244,"description":17602,"tags":17603,"thumbUrl":17604,"material":173,"size":17605,"collection":42,"collections":17606,"showCount":17484,"zanCount":48,"manualWeight":48,"mainColor":49},219965,"du-zuo-tan-qin-tu-yang-wu-jiu-219965","独坐弹琴图","扬无咎（1097─1169年），字补之，号逃禅老人，又号清夷长者，清江（今属江西省）人，寓居南昌。自称为东汉著名文学家扬雄之后，故其姓氏从“手”而不从“木”。生平事迹不详。他为人正直耿介，绍兴（1131─1162年）年间，奸相当道，朝廷对外妥协苟安，无咎“不直秦桧，累征不起”，一生没有作官，是一位藐视权贵的画家。他为梅花传神写照，以“墨梅擅天下，身后寸纸千金”，成为中国梅画的初始者之一。事实上，“画如其人”，无咎笔底高标清韵的梅花，正是画家素洁坚贞的高尚操守的化身。",[23,24,7,165,128,132,133,64,208,96,438,29,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8dca1f72c4020db5b4154f5b7b91632.jpg","40x25.5",[42,136],{"id":17608,"slug":17609,"title":17610,"dynasty":124,"author":14340,"museum":56,"description":17611,"tags":17612,"thumbUrl":17614,"material":173,"size":17615,"collection":44,"collections":17616,"showCount":17484,"zanCount":48,"manualWeight":48,"mainColor":49},219748,"qiu-jiang-gui-yu-tu-zhou-wu-wei-219748","秋江归渔图轴","吴伟(1459—1508年)，字士英，号次翁、小仙，江夏(今湖北武昌)人。成化朝(1465-1487)人宫廷任仁智殿待诏，弘治(1488-1505)中授以锦衣卫百户职。擅画山水、人物。为“江夏派”的创始人。",[24,164,7,165,128,369,27,29,96,129,211,99,1233,331,11014,1350,171,1824,548,497,17613],"秋江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614f91aeebc5220d0825408f30e0a128.jpg","164x106.2厘米",[44],{"id":17618,"slug":17619,"title":17620,"dynasty":54,"author":3750,"museum":450,"description":17621,"tags":17622,"thumbUrl":17624,"material":278,"size":17625,"collection":136,"collections":17626,"showCount":17484,"zanCount":48,"manualWeight":48,"mainColor":72},219743,"fang-ju-ran-shan-shui-tu-wang-jian-219743","仿巨然山水图","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[24,7,29,663,228,413,17623,128,369,165,611],"房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472899d1492e7cb68ad1e494ac1c01e3.jpg","纵130.3横49.7厘米",[136],{"id":17628,"slug":17629,"title":17630,"dynasty":144,"author":145,"museum":244,"description":17631,"tags":17632,"thumbUrl":17633,"material":151,"size":17634,"collection":136,"collections":17635,"showCount":17484,"zanCount":1998,"manualWeight":48,"mainColor":49},219504,"tie-ya-tu-huang-gong-wang-219504","铁崖图","此作近景作小坡树石，右置小桥，左布人家；中远景左方峰峦平顶叠加相连，右方则云烟飘渺，仅露出局部山头、崖壁。画中物像钩定轮廓後，多以规整卧笔点叶、点苔，略显平板。",[24,7,165,128,132,29,131,34,37,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb45b7cbc7b51e6e5ecc78a2cd2b60d17.jpg","157.5x64.9公分",[136],{"id":17637,"slug":17638,"title":17639,"dynasty":124,"author":1642,"museum":244,"description":17640,"tags":17641,"thumbUrl":17642,"material":128,"size":84,"collection":117,"collections":17643,"showCount":17484,"zanCount":1998,"manualWeight":48,"mainColor":49},219339,"fu-song-guan-pu-tu-dai-jin-219339","抚松观瀑图","虬松横斜如探身老者，枝桠间松针攒簇，墨色浓淡相济，尽显苍劲古拙之姿。飞瀑自崖壁垂落，线条如练，与朦胧山雾相融，添几分空濛悠远。松下二人或立或俯，似低语，又或凝听瀑声，神态悠然，将文人雅士闲适心境藏于山水间。左侧亭台半隐松荫，木质结构线条简洁，与自然景致浑然一体。山石皴擦刚健，草木点染灵动，笔墨兼具挺劲与秀逸。整幅画山水相映，人物点睛，传递出远离尘嚣、寄情林泉的淡泊之韵，仿佛能闻松涛与瀑声交织，引人沉醉于这份林泉雅趣中。",[24,7,165,29,132,27,1144,495,130,96,131,99,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff224b7dc4b4561098e04194164c63257.jpg",[117],{"id":17645,"slug":17646,"title":17647,"dynasty":182,"author":17648,"museum":300,"description":17649,"tags":17650,"thumbUrl":17651,"material":173,"size":17652,"collection":44,"collections":17653,"showCount":17484,"zanCount":1998,"manualWeight":48,"mainColor":49},218434,"jie-bo-tu-juan-zhao-gong-you-218434","掲钵图卷","赵公佑","残卷斑驳，却凝萃着盛唐绘画的磅礴气象。画面中神祇与魔众的对峙张力十足，线条流转如行云流水，虽历经岁月褪色，朱红与墨色的交织仍显古雅厚重。人物动态鲜活，或持械交锋，或肃立说法，神态各异间铺展叙事脉络。构图疏密有致，虚实相生，既见个体形象的精谨刻画，亦有整体场景的宏阔铺陈。笔墨间藏着唐代画坛的雄浑笔力与细腻情思，即便残损处也似时光留痕，诉说着千年之前的艺术风华，堪称研究唐代宗教绘画与叙事艺术的珍贵遗存。其笔墨间的雄浑与细腻，既显宗教题材的庄严神圣，又含世俗绘画的生动意趣，是盛唐艺术兼容并蓄精神的鲜活注脚。",[23,24,7,25,27,187,96,101,5626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F076f4968eb11391f30728e56d3fad1d8.jpg","27.4x109.4",[44],{"id":17655,"slug":17656,"title":17657,"dynasty":124,"author":17658,"museum":244,"description":17659,"tags":17660,"thumbUrl":17661,"material":66,"size":17662,"collection":136,"collections":17663,"showCount":17484,"zanCount":48,"manualWeight":48,"mainColor":72},218182,"jiao-yuan-shi-er-jing-ce-xue-zhai-shen-shi-chong-218182","郊园十二景册-雪斋","沈士充","明朝时期，沈士充是一位著名的文学家、政治家和官员。他在明朝末年时创作了一本名为《郊园十二景册》的书，其中记录了他在北京城郊外的别墅中所看到的12种风景。这本书成为了明朝时期书写风格优美、内容丰富的作品之一。",[24,7,59,128,29,132,12016,1813,130,98,34,131,1645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff25b1501811aba8c4c17fb7b3d08bf64.jpg","30.1x47.5",[136],{"id":17665,"slug":17666,"title":17667,"dynasty":18,"author":223,"museum":244,"description":17668,"tags":17669,"thumbUrl":17671,"material":173,"size":17672,"collection":136,"collections":17673,"showCount":17484,"zanCount":1116,"manualWeight":48,"mainColor":49},215137,"yuan-shui-yang-fan-tu-yi-ming-215137","远水扬帆图","这幅画描绘了远处漂浮的几座青山。烟雾弥漫的河面上一阵强风将河边岩石上枝繁叶茂的树木吹弯，并将三艘客船直推到河中央。河岸上一位白袍隐士，带着他的钢琴手，正准备漫步到岩石阴凉处的茅草亭。明亮的风景透露出几分悠然自得的动感。",[23,24,7,27,29,132,34,497,96,129,3386,17670,130],"远水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7ba8f66e5fe5ffdbb57aa8db2c36a45.jpg","21.6x52.4cm",[136],{"id":17675,"slug":17676,"title":17677,"dynasty":124,"author":1438,"museum":56,"description":1439,"tags":17678,"thumbUrl":17679,"material":278,"size":1442,"collection":84,"collections":17680,"showCount":17484,"zanCount":48,"manualWeight":48,"mainColor":72},214629,"hua-hui-ce-14-chen-chun-214629","花卉册-14",[24,7,59,128,369,61,547,747],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4ce73704168d67c22b7083f8ab81085.jpg",[],{"id":17682,"slug":17683,"title":17684,"dynasty":124,"author":1438,"museum":56,"description":1439,"tags":17685,"thumbUrl":17686,"material":278,"size":1442,"collection":84,"collections":17687,"showCount":17484,"zanCount":48,"manualWeight":48,"mainColor":72},214621,"hua-hui-ce-20-chen-chun-214621","花卉册-20",[24,7,59,128,61,376,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bffc74b26f84183526b214bdad26b81.jpg",[],{"id":17689,"slug":17690,"title":17691,"dynasty":54,"author":5879,"museum":1941,"description":10317,"tags":17692,"thumbUrl":17693,"material":611,"size":10320,"collection":84,"collections":17694,"showCount":17484,"zanCount":1998,"manualWeight":48,"mainColor":49},214357,"san-jue-shan-shui-ce-3-hua-yan-214357","三绝山水册-3",[23,24,7,59,128,27,29,758,111,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbbe74ad51b2f834a84bc920cbd5367.jpg",[],{"id":17696,"slug":17697,"title":17698,"dynasty":18,"author":768,"museum":300,"description":17699,"tags":17700,"thumbUrl":17702,"material":692,"size":1293,"collection":84,"collections":17703,"showCount":17704,"zanCount":1998,"manualWeight":48,"mainColor":72},289594,"wu-long-tu-chen-rong-289594","五龙图","陈容，字公储，号所翁，福建长乐人，南宋端平二年（1235年）进士，曾做过福建莆田太守。南宋著名画家。《金溪县志》作临川（今属江西）人，《图绘宝鉴》作福唐（今福建福清）人。生卒年不详。陈容墓在福建长乐。\n诗文豪壮，尤善画龙，变化欲活，世传‘所翁龙’是也。”\n陈容于中国美术史上占有重要一席，“所翁龙”成为后人画龙的典范，倍受国人特别是明清以来画家们的追捧。甚至在日本，几百年来凡有龙图案的画亦绝大部分是仿效陈容。日本著名画家小泉淳作曾由衷地评价道：陈容的龙富有魅力，像真的一样活泼跳动，只有天才才会画出这样的画！\n顺便说一下，陈容不仅擅画龙，还擅长画松、竹、鹤，偶亦画虎，垂老笔力简易精妙，故世有‘所翁龙’、‘所翁鹤’和‘所翁竹’之称。在当时，达官显贵、文人骚客以能得到“所翁龙”而倍感荣幸。以玩弄权术、巧取豪夺而著称的奸臣宰相贾似道，一世搜刮金银珠宝、珍奇古玩无数，然他至死也未能讨到一幅“所翁龙”。",[23,24,25,7,128,772,17701,208,37],"神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad44d787cfa6bf3de62f57ee2d80a9fc.jpg",[],79,{"id":17706,"slug":17707,"title":17708,"dynasty":54,"author":5879,"museum":20,"description":17709,"tags":17710,"thumbUrl":17711,"material":2239,"size":17712,"collection":44,"collections":17713,"showCount":17704,"zanCount":48,"manualWeight":48,"mainColor":72},237744,"bai-miao-shi-nv-hua-zhou-hua-yan-237744","白描仕女画轴","此图绘一端庄文弱的女子，低头垂目，双手笼袖，侧身坐于藤木秀榻上。侍女手捧书函正急步送上前来。此幅属小景致人物画，没有繁复的情节和深刻的创作思想，只是侧重于展示女性的外在形象美。构图奇巧，画幅的上半部没有一笔字画涂抹，人物及款题均置于下半部。大面积的空白位于人物的上方，扩展了人物上部的空间，同时又以“此时无声胜有声”的暇想意境充实了画面。此外，上半部无笔墨的空旷亦与细笔白描人物简洁的笔风相吻合，有助于突出主体人物。图中女子尖下颚，瓜子脸，面貌秀美俊俏，细眉长目间暗含凄婉惆怅之情。颈部修长，双肩下溜，呈现出“弱不禁风”的体态，体现了清中期文人画家于仕女画上追求“美女一根钉”的“病态美”的审美取向。\n华嵒的人物画大体有三种风貌，早期宗法宋李公麟，画风严谨，造型准确写实。中年以后效法明陈洪绶及其传派，人物有所变形，注重画面的装饰效果。晚年博取众家所长，形成自己形神兼备、既写实又具韵味的笔墨风格。此图当属其早期仕女画的代表作。",[24,7,165,188,96,166,170,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e8f10a6089ea06b787ca52b83785359.jpg","纵82厘米，横32.2厘米",[44],{"id":17715,"slug":17716,"title":1718,"dynasty":124,"author":366,"museum":300,"description":8455,"tags":17717,"thumbUrl":17718,"material":692,"size":1293,"collection":84,"collections":17719,"showCount":17704,"zanCount":1998,"manualWeight":48,"mainColor":72},236014,"shui-mo-mu-dan-tu-zhou-xu-wei-236014",[164,24,7,165,128,369,61,263,549,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F803b9b9003c0b06152df4c09bc658910.jpg",[],{"id":17721,"slug":17722,"title":17723,"dynasty":18,"author":3278,"museum":300,"description":17724,"tags":17725,"thumbUrl":17727,"material":84,"size":84,"collection":84,"collections":17728,"showCount":17704,"zanCount":48,"manualWeight":48,"mainColor":49},232919,"xue-jing-han-lin-tu-ji-li-cheng-232919","雪景寒林图集","李成(约919-967年),字咸熙,出身贵族,其先人为唐宗室,后周时避居青州营丘(今山东)。李成好友枢密使王朴准备举荐李成,但是此事未及进行王朴就死了,李成虽有文才,但因世变不得志,终日饮酒游玩,最终醉死客栈。李成擅画山水自娱,“一皆吐其胸中而写之笔下”，对北宋的山水画的发展有重大影响，北宋时期被誉为“古今第一”。",[164,24,7,165,29,132,128,1813,1557,34,131,17726,2302,211],"雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d16455b8911f86b1ce9bc374e1d0974.jpg",[],{"id":17730,"slug":17731,"title":17732,"dynasty":124,"author":17733,"museum":300,"description":17734,"tags":17735,"thumbUrl":17736,"material":84,"size":84,"collection":84,"collections":17737,"showCount":17704,"zanCount":1116,"manualWeight":48,"mainColor":72},228362,"chun-shan-you-qi-tu-zhou-zhou-chen-228362","春山游骑图轴","周臣","此作用笔苍劲老辣，斧劈皴利落勾勒出峭拔山石，层叠崖壁铺展高远之境，山脚溪泉蜿蜒，板桥跨水。虬曲古松扎根危岩，新木抽芽晕染春和之意。\n桥上骑驴缓行，山坞村舍中人物往来鲜活，山野清旷间晕开烟火暖意。干湿墨色交织出林麓的阴晴层次，将雄阔山水与悠游雅兴相融，兼具北派山水刚健气势，暗藏春日踏青的松弛闲情，把寻幽访春意趣藏于丘壑，是兼具全景章法与细腻意趣的山水佳制。",[23,24,7,165,128,132,29,98,99,97,101,96,372,131,413,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd91b60b69348321c76a367aa9f8848fc.jpg",[],{"id":17739,"slug":17740,"title":17741,"dynasty":54,"author":3403,"museum":300,"description":3997,"tags":17742,"thumbUrl":17743,"material":27,"size":84,"collection":68,"collections":17744,"showCount":17704,"zanCount":48,"manualWeight":48,"mainColor":72},224226,"mu-dan-shui-xian-zhou-wu-chang-shuo-224226","牡丹水仙轴",[23,24,7,165,27,61,263,374,208,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F751c4dca763d55c5f20268cdb50760d5.jpg",[68,45],{"id":17746,"slug":17747,"title":17748,"dynasty":54,"author":1740,"museum":510,"description":17749,"tags":17750,"thumbUrl":17751,"material":1027,"size":17752,"collection":68,"collections":17753,"showCount":17704,"zanCount":48,"manualWeight":48,"mainColor":72},222822,"mu-dan-shan-zhe-tu-zhou-mu-dan-shuang-he-xu-yang-222822","牡丹山鹧图轴(牡丹双鹤)","图绘二只山鹧，一只掉于水中，另一只站在石上尾巴散开，羽毛蓬松，圆睁的眼睛似为同伴落水而焦急不已；石边牡丹花绽放，硕大的花朵，层层叠叠的花瓣，高贵典雅。",[23,24,7,165,128,28,61,263,211,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ca665cb56cece71915c2720da655165.jpg","117*55.8cm",[68],{"id":17755,"slug":17756,"title":17757,"dynasty":124,"author":1438,"museum":244,"description":3708,"tags":17758,"thumbUrl":17759,"material":611,"size":17760,"collection":68,"collections":17761,"showCount":17704,"zanCount":48,"manualWeight":48,"mainColor":72},222556,"zi-wei-shan-mian-chen-chun-222556","紫薇扇面",[23,164,24,7,1131,369,128,27,61,2643,131,35,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3d66aa7b277e6d434140b8cfbf7bc17.jpg","纵17.7厘米 横47.9厘米",[68,45],{"id":17763,"slug":17764,"title":17765,"dynasty":124,"author":17733,"museum":244,"description":17766,"tags":17767,"thumbUrl":17768,"material":1223,"size":17769,"collection":136,"collections":17770,"showCount":17704,"zanCount":48,"manualWeight":48,"mainColor":72},222372,"song-quan-shi-si-zhou-zhou-chen-222372","松泉诗思轴","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。\n中国明代中期的著名职业画家。他生活在成化至嘉靖年间。字舜卿，号东村，吴（今江苏苏州）人，生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。他有两个学生特别著名，一个唐寅，另一个仇英。唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。画山石坚凝，章法严谨，用笔纯熟。曾与戴进并驱，则互有所长。人物画也非常出色，古貌奇姿，绵密萧散，各极意态。南京博物院收藏的周臣代表作《柴门送别图》 ，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。周臣被人们称为非院派的“院派”画家。",[23,24,7,165,128,27,29,1144,131,11134,96,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9ced993c13860c65afb437b92e109b6.jpg","114.6x53.1",[136,45],{"id":17772,"slug":17773,"title":17774,"dynasty":144,"author":17775,"museum":244,"description":17776,"tags":17777,"thumbUrl":17778,"material":173,"size":17779,"collection":84,"collections":17780,"showCount":17704,"zanCount":1116,"manualWeight":48,"mainColor":49},221801,"fang-guo-xi-qiu-shan-xing-lv-zhou-tang-di-221801","仿郭熙秋山行旅轴","唐棣","元文宗天历二年(1329)应诏在南京龙翔寺绘制画壁，至顺四年(1333)第二次北上大都，奉诏在宫廷作画。\n在郴州、处州、江阴、嘉兴、休宁、兰溪州、吴江等地均做过官，有政绩。工山水，近学赵孟頫，远师李成、郭熙，亦工诗文，晚年返乡埋头读书作画，生活较凄苦。\n传世作品有元统二年(1334)作《林荫聚饮图》轴、至元四年(1338)作《霜浦归渔图》轴，图录于《中国绘画史图录》上册；《携琴远眺图》轴现藏四川省博物馆；《雪港捕渔图》轴藏上海博物馆；《云浦驾舟图》册页、《仿郭熙秋山行旅图》轴藏台北故宫博物院。",[23,164,24,7,165,128,27,29,131,34,2620,132,6639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8381f79ff9423e46f2961c5ae4ff6f0.jpg","151.9x103.7",[],{"id":17782,"slug":17783,"title":17784,"dynasty":18,"author":17785,"museum":20,"description":17786,"tags":17787,"thumbUrl":17788,"material":611,"size":17789,"collection":318,"collections":17790,"showCount":17704,"zanCount":1998,"manualWeight":48,"mainColor":72},221230,"er-zha-tie-fan-zhong-yan-221230","二札帖","范仲淹","二札即边事、远行二帖，为两通书札。\n边事帖又称乡曲帖，释文：\n“仲淹再拜，知府刑部仁兄：伏惟起居萬福。施鄉曲之惠，占江山之勝，優哉樂乎。此間邊事，夙夜勞苦。仗朝廷威靈，即目寧息，亦漸有倫序。鄉中交親俱荷大庇，幸甚。師道之奇，尤近教育，乞自重，自重。不宣。仲淹拜上，知府刑部仁兄左右。三月十日。”\n信中“知府刑部”即富严，曾官刑部郎中，此时正在苏州知府任上。范仲淹本苏州人，因此对富严给予自己家乡亲人的关照深表谢忱。而仲淹这时则远离故乡，以陕西招讨使的身份，率部戍边，抗击西夏。故信中说：“此间边事，夙夜劳苦。”\n远行帖也称修答帖，释文：\n“仲淹再拜，運使學士四兄：兩次捧教，不早修答，牽仍故也。吳親郎中經過有失款待，乞多謝。吾兄遠行，瞻戀增極，萬萬善愛，以慰貧交。蘇醖五瓶，道中下藥。金山鹽豉五器，別無好物，希不責。不宣。仲淹再拜，象山學士四哥座前。八月五日。”\n此两帖书法瘦硬方正，清劲中有法度。人常将此书风喻其人品，称“公书庄严清澈，信如其品”。",[23,7,64,133,9910,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31bab8f2a827f449ac6e055019802d9e.jpg","纵31.1厘米，横39厘米",[318],{"id":17792,"slug":17793,"title":17794,"dynasty":182,"author":5809,"museum":20,"description":5810,"tags":17795,"thumbUrl":17796,"material":611,"size":17797,"collection":318,"collections":17798,"showCount":17704,"zanCount":48,"manualWeight":48,"mainColor":72},221090,"mo-lan-ting-xu-juan-yu-shi-nan-221090","摹兰亭序卷",[23,164,24,7,25,330,133,208,64,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8266ea63061d7e4a5ed03a1107c08fd.jpg","纵24.8cm，横57.7cm。",[318,2210],{"id":17800,"slug":17801,"title":17802,"dynasty":144,"author":410,"museum":161,"description":17803,"tags":17804,"thumbUrl":17805,"material":66,"size":17806,"collection":44,"collections":17807,"showCount":17704,"zanCount":1116,"manualWeight":48,"mainColor":49},220437,"bi-hu-zhu-shu-tu-wang-meng-220437","闭户著书图","王蒙绘画风格可分为早、中、晚三个阶段；早期宗学家法，即师法外家赵氏风范；中期泛学前代诸家，也是自己独特画风的初创期，这一时期大约自至正初年隐居开始，持续至至正二十年（1360）左右；后期则是其风格的成熟期，大约自至正二十年后至卒于狱中。\n本图应为其风格初创时期的作品，笔墨、题材、画面空间等诸多方面都体现了这一时期的显著特点：笔墨上已脱离了早期的摹古阶段，开始形成皴法繁复、苔点密集的风格特征；用笔跳跃扭动，浓墨、淡墨、焦墨混用，苔点看似杂乱，实则经过精心安排，这种笔墨技巧十分适合表现江南山川圆润多土、草木茂密之感。",[23,24,7,128,132,29,663,1144,331,35,98,99,171,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6951eeaade3bf163e7f25141c8ece86f.jpg","49.1×70.5cm",[44,45],{"id":17809,"slug":17810,"title":17811,"dynasty":18,"author":223,"museum":244,"description":17812,"tags":17813,"thumbUrl":17815,"material":173,"size":17816,"collection":42,"collections":17817,"showCount":17704,"zanCount":1116,"manualWeight":48,"mainColor":72},220363,"sang-zhi-huang-niao-tu-yi-ming-220363","桑枝黄鸟图","北宋绘画讲求写生，当时的画家必需要能同时掌握大自然中瞬息万变的面貌，以及具备精湛的绘画技巧。因此这件作品所体现画家这份力图师法自然、再现自然的匠心，令人弥足珍惜。",[23,24,164,7,59,28,27,61,211,17814,624],"桑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa84d0d6b4547248df308176a7ee1cb94.jpg","25.4 x 26.5公分",[42],{"id":17819,"slug":17820,"title":17821,"dynasty":18,"author":1622,"museum":1941,"description":17822,"tags":17823,"thumbUrl":17824,"material":173,"size":84,"collection":136,"collections":17825,"showCount":17704,"zanCount":1998,"manualWeight":48,"mainColor":49},219916,"jiang-shan-lan-sheng-ma-yuan-219916","江山览胜","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。",[23,24,7,25,128,27,132,29,663,228,34,97,130,129,211,415,7509,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e464bf60c3447b88916e6b3e00a918.jpg",[136],{"id":17827,"slug":17828,"title":17829,"dynasty":54,"author":223,"museum":244,"description":17830,"tags":17831,"thumbUrl":17832,"material":173,"size":17833,"collection":68,"collections":17834,"showCount":17704,"zanCount":1998,"manualWeight":48,"mainColor":49},219761,"lin-wang-yuan-hua-niao-tu-yi-ming-219761","临王渊花鸟图","王渊的花鸟、古木竹石、梅兰等题材绘画，在继承五代、两宋传统花鸟画的基础上，又有了新的发展和明显的变化，取得显著的成就，在中国美术史上占有重要的地位。他的表现手法属“黄家富贵”体。唯舍色彩而取水墨，通过勾勒和水墨晕染区别浓淡向背，造型极精严，神态亦颇生动，作到“墨具五色”的艺术效果。同钱选一样，王渊在花鸟画创作上起到了承前启后的作用。\n王渊的花鸟画给人以接近气势磅礴的感觉。我们不得不感叹这位画家令人惊羡的艺术造诣，同时又被其画中别样的意境所打动。",[24,7,165,28,27,330,167,61,211,62,99,229,6640,1400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c785004791e5277ea86d862f6b70ee1.jpg","160.2x83.7厘米",[68],{"id":17836,"slug":17837,"title":3618,"dynasty":144,"author":13495,"museum":244,"description":17838,"tags":17839,"thumbUrl":17840,"material":317,"size":17841,"collection":68,"collections":17842,"showCount":17704,"zanCount":48,"manualWeight":48,"mainColor":49},219473,"mo-zhu-tu-gu-an-219473","顾安（活动于1345－1373），字定之，江苏人。书学赵孟俯，以墨竹著称，师法北宋文同，元代李衎、赵孟俯，用笔遒劲，融入书法意趣。绘坡石间三竹，枝干劲挺，茎叶逆风翻转飘动。用笔浓淡变化，衬托出迷蒙雾气。构图简洁，重在表现动态，具写实精神，又富有文人写意情调。",[24,7,128,167,171,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcb5d92e714290aee8a17305935e6cdf.jpg","122.9x53",[68],{"id":17844,"slug":17845,"title":17846,"dynasty":18,"author":1174,"museum":244,"description":17847,"tags":17848,"thumbUrl":17850,"material":173,"size":17851,"collection":136,"collections":17852,"showCount":17704,"zanCount":48,"manualWeight":48,"mainColor":49},218820,"dong-jing-shan-shui-li-tang-218820","冬景山水","这幅画描绘了一个雪白的函谷关，有一条浅浅的小溪，两队牛车跋涉过关，来到一个温暖的休息场所，在那里他们可以温酒纳凉。它的署名是：晞古李唐。",[23,24,7,128,132,27,29,1337,13436,711,129,1023,1557,17849,131,414],"冬景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14280f0a855ef351b9fed104cff2b2b6.jpg","28.4x25.9",[136],{"id":17854,"slug":17855,"title":17856,"dynasty":54,"author":1740,"museum":224,"description":17857,"tags":17858,"thumbUrl":17861,"material":173,"size":17862,"collection":136,"collections":17863,"showCount":17704,"zanCount":48,"manualWeight":48,"mainColor":72},218708,"qian-long-nan-xun-tu-yue-shi-huang-huai-he-gong-xu-yang-218708","乾隆南巡图-阅视黄淮河工","本卷以“御制恭依皇祖揽黄淮诗韵”为文,描绘乾隆皇帝渡过黄河后,当日和次日视察黄河、淮河、运河和洪泽湖四大水系汇合处险要工程的场景.本幅开卷的宽阔江面,全以细笔勾勒水波,缜密而不失丰富层次,其中江水因含沙量不同,一清一浑、泾渭分明,足称奇观.堤坝之上,皇帝立于华盖之下,心系社稷黎民；\n沿途群臣下跪翘首,感激皇威浩荡.卷前有词臣于敏中题诗：御碑亭畔汇清黄，仰溯涂山疏瀹方。端拱九重遑自逸，酬咨万姓切如伤。惟斯继述诚应勖，亦曰流连慎戒荒，高堰重蒙皇考建，千秋淮郡倚金汤。御制恭依皇祖览淮黄诗韵。臣于敏中奉敕敬书。",[23,24,7,25,28,27,95,31,17859,496,414,758,96,1743,34,1515,11074,1577,3651,17860],"堤坝","水利工程","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51bc9f5a94b12c79923f595bc701a8c2.jpg","68.8x1096.17cm",[136],{"id":17865,"slug":17866,"title":17867,"dynasty":18,"author":5533,"museum":300,"description":17868,"tags":17869,"thumbUrl":17870,"material":278,"size":17871,"collection":44,"collections":17872,"showCount":17704,"zanCount":1998,"manualWeight":48,"mainColor":49},218585,"lan-ting-ti-xu-tu-liang-kai-218585","兰亭题序图","松枝虬劲，墨色浓淡交织出苍古意韵。雅士二人，衣纹以极简线条勾勒，却见洒脱之态——一人凭案凝思，似在斟酌字句；一人侧立静听，神态悠然。案上瓶梅斜逸，木盒静陈，细节处暗藏文心。笔墨删繁就简，却将兰亭雅集的清旷之境、文人相契的灵犀之态，尽纳其中。虽无繁复刻画，却于简约中见深厚，如品淡茶，唇齿留香，尽显文人画的逸致与风骨。每一笔皆不多余，每处留白皆藏深意，仿佛清风过耳，让人心生向往。",[24,7,164,128,188,15092,96,331,171,169,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b6948482f3ced4ffd228934551e7fb4.jpg","28x48",[44],{"id":17874,"slug":17875,"title":17876,"dynasty":351,"author":13946,"museum":1941,"description":17877,"tags":17878,"thumbUrl":17879,"material":173,"size":17880,"collection":44,"collections":17881,"showCount":17704,"zanCount":1086,"manualWeight":48,"mainColor":49},218269,"gu-dai-di-huang-tu-guan-xiu-218269","古代帝皇图","这幅画是根据《诗经》中的诗句题写的，描绘了古代六位皇帝，即神农、伏羲、女娲、轩辕、颛顼和帝喾。官方指定为16世纪明代浙江画派画家的作品。",[24,7,165,27,96,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87d18c667d87a2ae5421a40180a406ac.jpg","106.4x55.6",[44],{"id":17883,"slug":17884,"title":17885,"dynasty":18,"author":1622,"museum":77,"description":3130,"tags":17886,"thumbUrl":17887,"material":173,"size":3133,"collection":84,"collections":17888,"showCount":17704,"zanCount":48,"manualWeight":48,"mainColor":72},218074,"song-di-ming-ti-ce-er-ma-yuan-218074","宋帝命题册(二)",[23,1846,24,7,59,27,128,132,64,208,29,1337,171,99,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F913cbd18783e2ebead9fd965f7f6a798.jpg",[],{"id":17890,"slug":17891,"title":6935,"dynasty":54,"author":6936,"museum":6620,"description":17892,"tags":17893,"thumbUrl":17894,"material":66,"size":17895,"collection":136,"collections":17896,"showCount":17704,"zanCount":48,"manualWeight":48,"mainColor":49},217994,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217994","图绘高山屹立之下，杂木丛生、洲渚房屋掩映的山光水色之景。山石的顶端多留有空白，虚处笔迹似有似无，表现出岚光浮动的清幽意境。全图笔墨苍润老辣，于粗放中物象毕现，率意中气韵盎然。王氏自言此图仿元代画家黄公望（即作者所谓“大痴”）笔意，实际上又融入了王蒙、倪瓒等人的笔法，应是作者融元人画格的贯通之作。",[23,24,7,165,128,132,29,663,413,372,98,99,35,37,131,4797,149,499,6790,498,14727,9481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02895e2fbe75d1aecf4043f9b33a3de1.jpg","100.2x45.6cm",[136],{"id":17898,"slug":17899,"title":4210,"dynasty":124,"author":10106,"museum":244,"description":17900,"tags":17901,"thumbUrl":17902,"material":317,"size":17903,"collection":44,"collections":17904,"showCount":17704,"zanCount":48,"manualWeight":48,"mainColor":49},216995,"yu-lan-guan-yin-tu-wu-bin-216995","这幅画描绘的是鱼篓里的观音，身穿草鞋，手持经卷，旁边还有一个背着鱼篓的小孩。虽然她是个女人，但她的脸是椭圆形的，有大眉毛和大眼睛，她没有女人的特征。她的身体和孩子的身体比例不均，人物被拉长变形，衣服用浓墨重彩的笔触画出来，有很多平行的弧形线条，整个作品奇特而有趣。",[164,24,7,165,187,96,188,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2fbc09085c36b93a042a9a0aa5784c1.jpg","187.8x85",[44],{"id":17906,"slug":17907,"title":17908,"dynasty":18,"author":223,"museum":20,"description":17909,"tags":17910,"thumbUrl":17912,"material":173,"size":17913,"collection":68,"collections":17914,"showCount":17704,"zanCount":1116,"manualWeight":48,"mainColor":72},216750,"yuan-hou-zhai-guo-tu-yi-ming-216750","猿猴摘果图","此图绘深山野林中，三只猿猴攀援栖止于树枝上。其中两猿正品果嬉戏，另一猿右臂抓树，左臂摘取红果，形象生动可爱。作者运用极为工细的笔法，描绘猿猴茸茸的细毛、灵巧的动态以及老树的虬枝和枯叶，显示出深厚功力。图中坡石用小斧劈皴，枝叶用双钩填色，笔法精工巧丽。",[23,164,24,7,1131,28,27,208,17911,34,2037,949],"猿猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19385bb53dc3ac8f2ae0ebf08a7d2ed.jpg","纵25厘米，横25.6厘米",[68],{"id":17916,"slug":17917,"title":17918,"dynasty":18,"author":7553,"museum":244,"description":17919,"tags":17920,"thumbUrl":17921,"material":173,"size":17922,"collection":136,"collections":17923,"showCount":17704,"zanCount":1998,"manualWeight":48,"mainColor":72},215110,"qi-feng-wan-mu-tu-yan-wen-gui-215110","奇峰万木图","这幅作品中除了峭拔的奇峰外，并未见有燕文贵画风的特点。而由山石的造型、皴法、树法、点苔、设色等，也都比较接近南、北宋之交院画家李唐的「江山小景」卷来看，应当是一幅南宋习自李唐风格的作品。\n登临高山之顶，一幕奇峰汇聚、林木茂盛、云雾蒸腾的景致，正置于观者眼前。大自然的神奇与灵秀，使得这一座座高耸峭拔的奇峰与挺劲丛生的松杉，看来犹如刺天入云的绿色天柱，由近至远，幽缈地在天地之间起落、绵延。",[23,24,164,7,59,128,27,29,34,11802,132,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90ce2e5b35c1ba22aa5ee4dea5f39ab1.jpg","24.5 x 26公分",[136],{"id":17925,"slug":17926,"title":17927,"dynasty":18,"author":17928,"museum":300,"description":17929,"tags":17930,"thumbUrl":17931,"material":173,"size":84,"collection":136,"collections":17932,"showCount":17704,"zanCount":1998,"manualWeight":48,"mainColor":72},215042,"ri-ben-xin-gui-shan-yuan-qi-hui-juan-niao-yu-seng-zheng-jue-you-215042","日本· 信贵山缘起绘卷","鸟羽僧正觉猷","画面如流水般铺展，墨色与淡彩交织出古雅韵致。图文交织的叙事里，每一折都藏着鲜活的情节——山间云雾轻笼，亭台楼阁隐现于林麓间，人物衣袂流转，或行或坐，神态生动如在眼前。山水晕染细腻温润，山石纹理、草木姿态皆透着自然灵趣；建筑结构精巧，红柱朱门点缀其间，添了几分庄重。绘卷以细腻笔触勾勒信仰与日常的交融，从山林到殿宇，从人物互动到景物铺陈，处处流露平安时代的审美意趣。它似一部流动的史书，让观者窥见千年前的生活与精神世界，韵味悠长，耐人寻味。",[23,9521,7,25,187,95,27,96,29,97,98,99,101,949,211,34,37,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa988a8055981fce0c5bed6ccb375ce89.jpg",[136],{"id":17934,"slug":17935,"title":1289,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":17936,"thumbUrl":17937,"material":692,"size":1293,"collection":84,"collections":17938,"showCount":17939,"zanCount":48,"manualWeight":48,"mainColor":72},239428,"shan-shui-hua-hui-ce-yun-shou-ping-239428",[24,7,59,128,208,62,375,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc85e8012f3111300931545cad71dfeb4.jpg",[],78,{"id":17941,"slug":17942,"title":4071,"dynasty":54,"author":2687,"museum":300,"description":3934,"tags":17943,"thumbUrl":17944,"material":692,"size":1293,"collection":68,"collections":17945,"showCount":17939,"zanCount":1116,"manualWeight":48,"mainColor":72},238472,"hua-hui-tu-ce-jiang-ting-xi-238472",[24,7,59,27,28,61,62,481,230,549,806,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d07b787cc47539c1c123f3829eddaf8.jpg",[68,45,318],{"id":17947,"slug":17948,"title":17949,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":17950,"thumbUrl":17951,"material":84,"size":84,"collection":318,"collections":17952,"showCount":17939,"zanCount":48,"manualWeight":48,"mainColor":72},238322,"dong-gao-tang-hua-si-shou-zhou-dong-gao-238322","董诰唐花四首轴",[24,7,164,165,27,28,61,263,374,371,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2caff1096bf7a8b9b6a2535c27b18a0c.jpg",[318],{"id":17954,"slug":17955,"title":76,"dynasty":54,"author":17956,"museum":300,"description":17957,"tags":17958,"thumbUrl":17959,"material":9220,"size":84,"collection":68,"collections":17960,"showCount":17939,"zanCount":1086,"manualWeight":48,"mainColor":72},237283,"hua-hui-ce-wu-kai-237283","吴楷","吴楷，男，清嘉庆—咸丰时期（公元十八——十九世纪）著名画家 。\n吴楷： 清嘉庆——咸丰时期著名画家。一名允楷，字辛生，别号骞林外史，室名云静庐，吴县(今江苏苏州)人。 [2] 工花卉兰石，兼善山水。 （详见《中国书画家印鉴款识》第444页。）",[24,7,59,27,28,61,62,80,208,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9ad03ae2e1d9e12b784846270fbb25e.jpg",[68],{"id":17962,"slug":17963,"title":892,"dynasty":54,"author":55,"museum":300,"description":893,"tags":17964,"thumbUrl":17965,"material":84,"size":84,"collection":84,"collections":17966,"showCount":17939,"zanCount":48,"manualWeight":48,"mainColor":72},233912,"hua-hui-shan-shui-ce-yun-shou-ping-233912",[24,7,164,59,128,29,132,98,1337,131,35,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F408186742edebb584c8928001e6a308d.jpg",[],{"id":17968,"slug":17969,"title":7198,"dynasty":18,"author":223,"museum":20,"description":17970,"tags":17971,"thumbUrl":17972,"material":40,"size":17973,"collection":84,"collections":17974,"showCount":17939,"zanCount":1998,"manualWeight":48,"mainColor":49},233017,"ye-he-hua-tu-ye-yi-ming-233017","图中夜合花一根两枝，右枝花朵含苞未放，左枝花朵半开半合，洁白如玉，清雅绝尘。花朵轻勾淡染，用白粉点画花蕊，花叶先以细笔勾勒轮廓和筋脉，后用汁绿与花青染之。绿叶穿插向背，层次安排巧妙，画面简约而不单薄。",[164,24,7,59,28,27,61,7201,549,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cf71474db059bf26e08b661dea46f53.jpg","纵24.5cm，横25.4cm",[],{"id":17976,"slug":17977,"title":5514,"dynasty":18,"author":3278,"museum":244,"description":17978,"tags":17979,"thumbUrl":17981,"material":3785,"size":17982,"collection":42,"collections":17983,"showCount":17939,"zanCount":48,"manualWeight":48,"mainColor":49},232619,"han-lin-ping-ye-tu-li-cheng-232619","北宋山水画主要承续五代荆浩、关仝的北方山水画系，由李成、范宽创立一代新风，传派繁衍。北宋时代，知名画家的人数仅从《图画见闻录》和《画继》两书来统计，就有386人之多。而李成的山水画以“气象萧疏，烟林清旷，毫锋颖脱，墨法精微”而著称，因而《宣和画谱》云：“凡称山水者，必以成为古今第一”。\n图绘萧瑟的隆冬平野中，长松亭立，林木薄疏，小丘起伏，古柏苍虬，枝干交柯，老根盘结，河道曲折，似冰冻凝固，烟霭空蒙而至天际。此画李成用硬笔锐锋，在绢上勾画的松针，粗干细枝，土坡石廓，线条瘦硬坚韧，极具功力，即使不染墨，也神定气足。图中所绘树枝，无论粗细，均呈弧曲形，将线条的力度发挥到了最大程度。所以李成的画，仅用淡墨作少量的烘染，给人以一种秀润淡雅的享受。\n李成注重真实的山水写生，深谙透视画理，墨法变化微妙，风格清新，意韵精致。他的山水画不但表现出山川气象形势的变化，而且还特别强调了季节气候的特点，其中最突出的成就，是他创造了“寒林”的形象。\n另外，李成作画总是用墨不浓，轻淡如在烟雾里，显得缥缈幽清，史称李成“惜墨如金”。\n李成(919—967)，字咸熙，其先人为唐宗室，世居长安(今西安)。他出身贵族，有文学才能，性情旷达，聪颖多才，因世变抑郁不得志，而好饮酒与游历。善画山水以自娱。《宣和画谱》记述他的山水画说：“所画山林薮泽，平远险易，萦带曲折，飞流、危栈、断桥、绝涧、水石，风雨晦明，烟云雪雾之状，一皆吐其胸中，而写之笔下。”李成在继承前代成就的基础上，将山水画的表现内容和技巧，推向了纵深的发展，影响而及元、明、清。",[24,7,165,128,132,29,1337,331,3698,171,496,7596,17980],"裸根","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcee0e7c9374961a654e3f9f6b89cc35.jpg","纵137.8厘米，横69.2厘",[42],{"id":17985,"slug":17986,"title":8685,"dynasty":124,"author":17987,"museum":300,"description":17988,"tags":17989,"thumbUrl":17994,"material":84,"size":84,"collection":84,"collections":17995,"showCount":17939,"zanCount":1116,"manualWeight":48,"mainColor":49},228359,"ying-xi-tu-xia-kui-228359","夏葵","画面疏密有致，左侧稚童踩桌扮作伶人，挥旗扬袖，玩伴们敲锣击鼓，将市井戏台搬作儿戏，喧闹活泼；右侧孩童或围缸逗弄游鱼，或持杖拨弄摆件，还有小大人模样的稚童踮脚照看木栏里的同伴，各得其乐。\n衣纹勾勒清劲细腻，设色古雅柔和，把幼童的憨态天真尽数铺陈，嬉闹的神态鲜活灵动，将稚子日常的嬉玩刻画入微，满卷皆是烟火融融的童真暖意，尽显世俗童趣的治愈生机。",[24,7,27,28,96,2218,2059,17990,17991,17992,17993],"童趣","童真","市井生活","治愈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22977837d9b61111f00b8de004be2c7d.jpg",[],{"id":17997,"slug":17998,"title":2802,"dynasty":54,"author":1242,"museum":20,"description":17999,"tags":18000,"thumbUrl":18001,"material":1722,"size":18002,"collection":68,"collections":18003,"showCount":17939,"zanCount":1998,"manualWeight":48,"mainColor":72},222706,"mo-mei-tu-jin-nong-222706","本幅自题：“香雨三兄良友以前明内库纸乞予画江梅小直幅。因仿元人王元章法。奉其教益，茶熟香温时定多物外之赏也。并题一诗：砚水生冰墨半干，画梅须画晚来寒。树无丑态香沾袖，不爱花人莫与看。稽留山民金农，时年七十。\n本幅绘梅花离离疏影，生气盎然。以湿润的淡墨写枝干，以细笔勾画花蕊。整幅画面悠然淡雅。",[23,24,7,128,165,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7967e3dda2c9b321a8c00cdad902d330.jpg","纵117厘米，横43.6厘米",[68,45],{"id":18005,"slug":18006,"title":18007,"dynasty":54,"author":18008,"museum":424,"description":18009,"tags":18010,"thumbUrl":18011,"material":514,"size":18012,"collection":136,"collections":18013,"showCount":17939,"zanCount":48,"manualWeight":48,"mainColor":49},222630,"fang-tang-yin-qiu-lin-shu-wu-tu-gao-jian-222630","仿唐寅秋林书屋图","高简","此幅所绘的《仿唐寅秋林书屋图》绘山峰高耸，云蒸霞蔚；山脚下溪水潺潺，秋树苍茂，主人于书斋静读。\n高简擅长于模仿唐寅，几可乱真，清秀之气可比肩唐寅。左上自题：“仿唐解元秋林书屋图。癸未冬十月一云山人高简。”左上有作者后裔高侪鹤题识。癸未为康熙四十二年，公元1703年，作者时年70岁。\n高简(1634-1707)〔清〕字澹游、德园，号旅云、澹游子、一云山人、旅云山人、娱晖老人，江苏苏州人。能诗，工山水，画学元四家，喜倪云林(瓒)，有“小云林”印。精于尺幅小品，秀洁妍雅，颇有风趣。所作笔墨简淡清臞，布置深稳，脱尽纵横习气。善画梅，好画梅花书屋图，冷隽雅逸。传世作品有康熙六年(1667)作《寒林诗思图》轴，图录于《肥遁庐藏名人山水集》；九年(1670)作《仿曹知白山水图》轴、三十五年(1696)作《夕照落雁图》轴均藏故宫博物院；九年(1670)作《仿古山水册》十二帧、顺治十年(1653)作《仿宋元山水八帧》卷藏上海博物馆；康熙四十二年(1703)作《仿唐解元秋林书屋图》轴藏旅顺博物馆；《青山积翠图》轴藏南京博物院；《仿徐贲山水图》册页藏辽宁省博物馆。",[23,24,7,165,128,330,132,29,1337,1144,131,5022,99,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c09d80ba903d033ff21d82621e036e.jpg","96cmx56cm",[136],{"id":18015,"slug":18016,"title":18017,"dynasty":124,"author":1438,"museum":20,"description":3708,"tags":18018,"thumbUrl":18019,"material":514,"size":18020,"collection":68,"collections":18021,"showCount":17939,"zanCount":1998,"manualWeight":48,"mainColor":49},222554,"zhuo-se-hua-hui-tu-zhou-chen-chun-222554","着色花卉图轴",[23,24,164,7,165,27,369,61,62,167,171,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b64f49771959cb9dc4b2d40a00c7aad.jpg","59cmx113.4cm",[68,45],{"id":18023,"slug":18024,"title":18025,"dynasty":124,"author":9421,"museum":244,"description":18026,"tags":18027,"thumbUrl":18028,"material":27,"size":18029,"collection":44,"collections":18030,"showCount":17939,"zanCount":48,"manualWeight":48,"mainColor":49},222156,"fu-lu-shou-zhou-shang-xi-222156","福禄寿轴","商喜，字惟吉（一说恒吉），明朝人，生卒年月不详，宣德年间宫廷画家，善画人物、山水、花卉等。其作品有《关羽擒将图》、《岁朝图》、《明宣宗行乐图》及《四仙拱寿图》等。",[24,7,165,28,27,96,2302,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc109f3513539842e3b9b3db723a0ee5.jpg","259.6x85",[44,117],{"id":18032,"slug":18033,"title":18034,"dynasty":124,"author":125,"museum":56,"description":18035,"tags":18036,"thumbUrl":18038,"material":514,"size":18039,"collection":136,"collections":18040,"showCount":17939,"zanCount":48,"manualWeight":48,"mainColor":72},222092,"liang-jiang-ming-sheng-tu-ce-shen-zhou-222092","两江名胜图册","此图册描绘长江、准河两岸的山水景致和名胜古迹，表现的是江南水乡那种湿润清丽，明媚幽雅的风光。该图墨色富有变化，集中体现了沈周山水画风格。\n构图:纵观画册，画面剪裁简明、选取富有鲜明特点的景物，可以这样概括为图写真景，赋诗纪游，这与他一生与山林为伍，即有着他自己的生活的基础，才能描写出这些耐人寻味的景致。同时，又必须指出，其中不少构图为使人产生更多的联想、增加一些画外的意境，以此作背景来更加鲜明地衬托出每一画幅中的主题，构成诗意盎然的境界。\n技法:笔法上，只要细察，不难发现，在这十幅作品中，有的工密，有的疏简，布置或繁密谨严，或平凡简洁。用笔力、韵兼胜、不刻露，显得厚重凝炼。山石的繁笔勾皴和屋宇台阁的简笔勾勒，形成疏密对比。人物比例虽小，但那安然自得神态，极为生动，与整个自然融为一体。至于各画的墨色深浅、浓淡、干湿、轻重富有变化，使画面产生强烈的装饰美感。",[23,164,24,7,59,1349,27,128,132,95,28,369,97,34,96,18037],"诗意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddae55cb9acf046e83c10499f6b45c6d.jpg","42.2×23.8厘米",[136],{"id":18042,"slug":18043,"title":18044,"dynasty":124,"author":18045,"museum":224,"description":18046,"tags":18047,"thumbUrl":18048,"material":1223,"size":18049,"collection":136,"collections":18050,"showCount":17939,"zanCount":1998,"manualWeight":48,"mainColor":49},221922,"lan-ting-xiu-xi-tu-qian-gu-221922","兰亭修禊图","钱毂","《兰亭修禊图》卷为明代画家钱榖绘。画作题材取自东晋王羲之《兰亭序》，描绘东晋永和九年，王羲之、谢安等人在浙江山阴的兰亭溪上修禊，作曲水流觞之会的故事，卷前有王榖祥题「蘭亭修禊」，卷后有钱榖书《兰亭序》及集诗。",[23,24,7,25,28,27,29,96,413,276,229,99,130,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db27d84328228253e4fe5c410dbf47f.jpg","24.1×435.6cm",[136,45],{"id":18052,"slug":18053,"title":18054,"dynasty":18,"author":1323,"museum":1185,"description":18055,"tags":18056,"thumbUrl":18057,"material":40,"size":18058,"collection":42,"collections":18059,"showCount":17939,"zanCount":48,"manualWeight":48,"mainColor":72},221488,"ming-huang-dou-ji-tu-li-song-221488","明皇斗鸡图","李嵩（1166—1243），中国南宋画家，钱塘（今浙江杭州）人。少年时曾为木工，后成为画院画家李从训的养子，绘画上得其亲授，擅长人物、道释，尤精于界画，为光宗、宁宗、理宗（1190一1264）时期画院待诏。\n李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传至今日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》《水殿招凉图》《观潮图》《西湖图》《仙山瑶涛图》《骷髅幻戏图》《观灯图》《柳塘聚禽图》《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[23,24,7,164,28,27,96,101,97,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89089138511bc1aca4f7a0f4bc671a45.jpg","纵25.6厘米，横26.4厘米",[42,44,45],{"id":18061,"slug":18062,"title":18063,"dynasty":980,"author":3539,"museum":3540,"description":18064,"tags":18065,"thumbUrl":18066,"material":84,"size":84,"collection":84,"collections":18067,"showCount":17939,"zanCount":48,"manualWeight":48,"mainColor":72},220519,"zhang-cai-qin-xiang-xu-bei-hong-220519","张采芹像","此作以淡墨白描写就，洗练雅致。画家精准捕捉主人公温文儒雅的神态，一袭长衫垂坠自然，背手而立的姿态舒展从容，将民国文人沉静端方的风骨尽显无遗。\n\n画面四周题跋疏密有致，墨迹与画像相得益彰，既是挚友间的交游印记，也让画面饱满和谐。作品摒弃繁复设色，以凝练线条勾勒形神，寥寥数笔便将人物气度入微呈现，文气与画韵交融，是兼具写实传神与文人意趣的写意肖像精品。",[23,24,7,188,128,96,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F444958c704403f2e072309bafd507fb5.jpg",[],{"id":18069,"slug":18070,"title":18071,"dynasty":18,"author":7991,"museum":244,"description":18072,"tags":18073,"thumbUrl":18074,"material":173,"size":18075,"collection":42,"collections":18076,"showCount":17939,"zanCount":1998,"manualWeight":48,"mainColor":49},220234,"chen-ju-zhong-ping-yuan-she-lu-tu-chen-ju-zhong-220234","陈居中平原射鹿图","平野寥廓萧瑟，将塞外猎场的辽远铺展开来。骑手俯身引弓，满弦待发，衣摆随奔马带起的劲风翻涌，骏马四蹄腾空，肌理紧绷绷迸发出奔逐的力量。前方野鹿弓腰疾逃，肢体满是惊惶，奔逃的仓促与骑手的沉凝形成鲜明对冲，将狩猎瞬间的张力拉至顶峰。\n\n画作以极简布景衬出旷野苍茫，线条劲挺爽利，晕染精细熨帖，把人马的剽悍雄健与野鹿的仓皇奔逃刻画得鲜活逼真，将草原射猎的快意与北国的雄放意趣，凝在这奔逐的一瞬之间。",[23,164,24,7,27,28,96,101,2302,1825],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd68da4e95aefa993938654434b8b7a50.jpg","36.8×54.9",[42],{"id":18078,"slug":18079,"title":18080,"dynasty":18,"author":223,"museum":244,"description":18081,"tags":18082,"thumbUrl":18083,"material":173,"size":18084,"collection":42,"collections":18085,"showCount":17939,"zanCount":1998,"manualWeight":48,"mainColor":49},220217,"zhu-shi-shuang-lu-tu-yi-ming-220217","竹石双鹭图","整幅画面以留白营造幽远意境，右下拳石嶙峋，丛竹攒簇，墨色苍润，枝叶带风自含山野清趣。两只白鹭一动一静，一者振翅掠空，翎羽舒展灵动，一者徐行浅滩，身姿安然闲适，动静相映，愈发衬出水面空寂无波。\n\n淡墨轻勾汀渚细草，浅染出水泽清浅之态，赭色绢底晕开初夏郊塘的温润氛围。笔致秀雅清润，不施浓艳，以极简物象铺陈出悠远禅意，将塘间幽寂之美收揽尺幅，观之如临静塘，暑意尽散，尽显雅致空灵的宋人意趣。",[23,24,164,7,28,27,61,167,1314,9318,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bf49cc778c3c4eb41b7d150d5f1c280.jpg","31.4x28.1",[42],{"id":18087,"slug":18088,"title":18089,"dynasty":124,"author":18090,"museum":244,"description":18091,"tags":18092,"thumbUrl":18093,"material":173,"size":18094,"collection":136,"collections":18095,"showCount":17939,"zanCount":1116,"manualWeight":48,"mainColor":49},219401,"qiu-ting-shi-si-tu-lan-ying-219401","秋亭诗思图","蓝瑛","画中以简洁三笔交代的下泻溪流，以及避开树干歪斜的茅草亭盖等画法，皆显得自信而可爱，洵为佳作。",[24,7,165,128,27,29,130,331,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dc6a620f5800d5eb1c75122ee4fa99c.jpg","169.3x51.8",[136],{"id":18097,"slug":18098,"title":18099,"dynasty":124,"author":5706,"museum":244,"description":18100,"tags":18101,"thumbUrl":18102,"material":173,"size":18103,"collection":68,"collections":18104,"showCount":17939,"zanCount":48,"manualWeight":48,"mainColor":72},219378,"shuang-xi-tu-wang-wei-lie-219378","双喜图","王维烈，字无竞，吴郡（今江苏苏州）人，游周之冕之门，明代苏州画家。",[24,7,27,28,61,371,355,885,582,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a7e80f45c240fc050ed87c323beb18.jpg","85×39cm",[68],{"id":18106,"slug":18107,"title":18108,"dynasty":18,"author":3729,"museum":244,"description":18109,"tags":18110,"thumbUrl":18112,"material":173,"size":18113,"collection":42,"collections":18114,"showCount":17939,"zanCount":1998,"manualWeight":48,"mainColor":49},219300,"lu-yan-tu-huang-ju-cai-219300","芦雁图","画中三只芦雁从姿态与翎毛、口唇，可分出其雌雄与年龄大小，年幼者在父母之旁安然入睡，公雁者为首领独居图中，形象高大粗壮，具有长者地位，雌雁者既在幼雁旁有护驾之意，又张口切切私语，含情脉脉地望着对方，这种富有家庭意识的禽鸟之态，表现得淋漓之尽。作者对画中的芦雁画法精细，特别羽毛画笔工致，华润淋漓，神态生动逼真；芦苇枝叶双勾与晕染，阴阳背向分明。整个画面主题突出，构图严正，背景简洁明了，水面、沙滩及芦苇布置及画法恰到好处。居案的绘画从写生中出，在《东斋记事》中写着：“其家多养鹰鹘，观其神俊以模写之，故得其妙。”从此芦雁图中可知，长期的写生和临摹训练带给他真实生动地描绘禽鸟的功力，其准确度不亚于动物标本式的记录。",[23,24,164,7,28,27,61,18111,1824,355,228,6810],"雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1f48e78c47390b027fe23bdb5ccc424.jpg","纵144.5厘米，横93.3厘米",[42,68,45],{"id":18116,"slug":18117,"title":3147,"dynasty":144,"author":2487,"museum":7980,"description":18118,"tags":18119,"thumbUrl":18120,"material":173,"size":18121,"collection":68,"collections":18122,"showCount":17939,"zanCount":1998,"manualWeight":48,"mainColor":49},219274,"zhu-qin-tu-ren-ren-fa-219274","此图为工笔写生小品，颇具宋代院体风格，线条细劲匀称，色彩典雅，动静结合，生趣盎然。画面上，一只鸟栖于竹梢上，昂首作鸣叫状，瞬间的动态表现得极为成功，姿态逼真，灵气飞扬，似闻之有声。画家画竹用双钩笔法完成，笔画坚实细劲。被风吹乱的竹叶之阴阳向背表现得自然准确，虽为静止的瞬间，却有动的意味。此画尺幅虽小，然气韵飞扬，灵动自然。任仁发此幅画作继承了宋代院体画传统，笔势稳健，双钩之线均匀细劲，并填以典雅、和谐、轻艳的色彩，使得画面严谨而婉丽、和谐而富有生机。从收藏印鉴看，该作曾经明代大收藏家王士祯及清代王允祥珍藏。由此可知，此画为传世佳作。",[24,164,7,28,27,167,1400,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3c7c64af9c22bf6f547706221e866df.jpg","纵25.8厘米，横22.9厘米",[68],{"id":18124,"slug":18125,"title":18126,"dynasty":124,"author":223,"museum":1941,"description":18127,"tags":18128,"thumbUrl":18129,"material":173,"size":84,"collection":68,"collections":18130,"showCount":17939,"zanCount":1998,"manualWeight":48,"mainColor":49},219122,"an-chun-bai-hua-tu-yi-ming-219122","鹌鹑百花图","鹌鹑敛翅蹲踞，羽纹以细劲墨线勾勒，敷染赭褐与墨黑，斑纹交错如鳞，绒毛质感毕现。旁侧花枝扶疏，白瓣粉蕊的花朵舒展如蝶翼，紫菊点缀其间，叶片墨绿带黄晕，藤蔓缠绕有致。前景草叶劲挺，枯枝斜出添野趣，背景赭黄绢底温润古雅。整幅画以工笔细描见长，禽鸟的憨态与花卉的鲜妍相映成趣，疏密布局得当，于静谧中藏生机，尽显花鸟写生的细腻与意趣。",[164,24,7,27,28,61,8140,547,549,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5cdc4849f24e6562ead882abb23c70e.jpg",[68],{"id":18132,"slug":18133,"title":18134,"dynasty":18,"author":915,"museum":2862,"description":18135,"tags":18136,"thumbUrl":18137,"material":173,"size":18138,"collection":42,"collections":18139,"showCount":17939,"zanCount":48,"manualWeight":48,"mainColor":49},219083,"shan-qin-mi-shi-tu-lin-chun-219083","山禽觅食图","描绘了两枝树支。 下部枝叶有阔叶，叶片黄色，多孔。 最左边的叶子上有一只黑色的昆虫，似乎已经吃掉了叶子。 高大的枯树的叶子已经枯萎。 而右边的树枝上，却长出了新的叶芽，站在树枝上的鸟儿正盯着那只黑色的虫子。",[23,164,24,7,28,27,61,11045,2438,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b4ff92e043a2bee2158780d7469100a.jpg","26.5x25.7cm",[42,68],{"id":18141,"slug":18142,"title":18143,"dynasty":54,"author":18144,"museum":450,"description":18145,"tags":18146,"thumbUrl":18147,"material":173,"size":18148,"collection":68,"collections":18149,"showCount":17939,"zanCount":1116,"manualWeight":48,"mainColor":49},219035,"yan-shang-ying-tu-zhang-yu-sen-219035","岩上鹰图","张雨森","苍岩之巅，雄鹰敛翅伫立。羽翮黑白相间，斑纹细密如织，蓬松处似含风露，利爪紧扣石隙，筋骨隐现沉凝力道。山石以枯笔皴擦，纹理嶙峋若斧劈，与鹰羽的细腻勾勒相映成趣。旁侧虬枝横斜，红叶点缀其间，添几分秋意清寂。背景绢色沉郁，更衬出鹰的孤高与山石的冷峻。画面于写实中融写意之韵，雄鹰沉静姿态下藏蓄势待发的张力，笔墨间尽展自然生机与生命的苍劲力量，观之令人感佩造物之奇与绘者匠心。",[23,164,24,7,165,28,27,3141,497,34,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7adea9a4d59fe57c41686f184054adc1.jpg","纵163.5横88.1厘米",[68],{"id":18151,"slug":18152,"title":18153,"dynasty":144,"author":6155,"museum":77,"description":18154,"tags":18155,"thumbUrl":18156,"material":278,"size":18157,"collection":136,"collections":18158,"showCount":17939,"zanCount":48,"manualWeight":48,"mainColor":72},217119,"yun-chao-tu-gao-ke-gong-217119","云巢图","《云巢图》是一幅以云巢山为主题的山水画。画中山峰环绕，云雾缭绕，景色宏伟壮观。山间小溪流过，水流潺潺，鸟儿欢快地游翔。画中还有山间小屋、山村村庄和农民劳作的场景。整幅画充满了自然的气息，令人感受到大自然的静谧之美。\n\n高克恭在画《云巢图》时，注重构图布局、选材搭配和色彩运用。他运用了元朝画风中常用的黑白灰三色基调，并在其中穿插了少量的彩色。在选材方面，他认真观察了山水景观的细节，并准确再现了各种山体、水流、云雾、树木等元素。在构图方面，他采用了分割画面的手法，将画面分成上下两部分，使得整幅画更加丰富多彩。",[23,24,7,165,128,132,29,331,495,211,1771,497,950,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87509821832412b45eeb4aaff52bb945.jpg","60.5x32.7cm",[136],{"id":18160,"slug":18161,"title":18162,"dynasty":124,"author":1270,"museum":244,"description":18163,"tags":18164,"thumbUrl":18165,"material":66,"size":18166,"collection":45,"collections":18167,"showCount":17939,"zanCount":1116,"manualWeight":48,"mainColor":72},216393,"xiao-xian-qing-ke-tu-sun-ke-hong-216393","销闲清课图","孙克弘（1532—1611） 明书画家、藏书家。一作克宏，字允执，号雪居，松江（今属上海市）人。",[23,24,7,25,27,28,132,208,133,29,96,97,98,99,171,34,130,247,4278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fd58699418b7719eb47ed1909ad872c.jpg","279x1333.9",[45],{"id":18169,"slug":18170,"title":18171,"dynasty":54,"author":675,"museum":224,"description":18172,"tags":18173,"thumbUrl":18174,"material":66,"size":679,"collection":84,"collections":18175,"showCount":17939,"zanCount":1998,"manualWeight":48,"mainColor":72},216247,"jing-fu-si-qi-dong-jing-tu-10-qian-wei-cheng-216247","景敷四气冬景图-10","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n赭英粉萼共争新，不独迎春且探春。大矣乾元善资始，物犹如此况乎人。钤印：妙意写清快",[24,7,27,29,97,1144,131,37,1023,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32a0ecdde6718846ff99634ffe2046cb.jpg",[],{"id":18177,"slug":18178,"title":18179,"dynasty":18,"author":12759,"museum":56,"description":18180,"tags":18181,"thumbUrl":18182,"material":173,"size":18183,"collection":68,"collections":18184,"showCount":17939,"zanCount":1086,"manualWeight":48,"mainColor":49},216082,"an-chun-tu-ye-li-an-zhong-216082","鹌鹑图页","此宋人鹌鹑图页，无作者款印。图绘鹌鹑一只，体形滚圆，斑纹、毛羽如生，作回首状，点缀平坡、秋黍等。清代曾经清耿昭忠、耿嘉祚父子收藏，各有鉴藏印记。近代经吴湖帆、潘静淑夫妇收藏，有吴湖帆题签：“北宋李安忠鹌鹑”。",[23,24,7,164,4437,28,27,61,8140,1771,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d691dcbeca802bd7e1c7806aa13adcd.jpg","纵23.5厘米，横23.1厘米",[68],{"id":18186,"slug":18187,"title":18188,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":18189,"thumbUrl":18190,"material":278,"size":3888,"collection":84,"collections":18191,"showCount":17939,"zanCount":1116,"manualWeight":48,"mainColor":72},214983,"dao-zi-mo-bao-ren-wu-bai-miao-hua-2-yi-ming-214983","道子墨宝人物白描画-2",[23,24,7,188,96,1326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eeddadab043e71b851c8ff4a307f137.jpg",[],{"id":18193,"slug":18194,"title":18195,"dynasty":54,"author":1460,"museum":450,"description":9771,"tags":18196,"thumbUrl":18197,"material":66,"size":9774,"collection":84,"collections":18198,"showCount":17939,"zanCount":48,"manualWeight":48,"mainColor":72},214885,"shan-shui-tu-ce-7-shi-tao-214885","山水图册-7",[23,164,24,7,59,128,27,29,171,34,415,37,132,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ecda7769b032a5905973de3864dbb28.jpg",[],{"id":18200,"slug":18201,"title":3246,"dynasty":124,"author":18202,"museum":300,"description":18203,"tags":18204,"thumbUrl":18205,"material":84,"size":84,"collection":45,"collections":18206,"showCount":18207,"zanCount":1998,"manualWeight":48,"mainColor":72},239038,"xian-shan-lou-ge-tu-sheng-mao-ye-239038","盛懋烨","盛茂烨，生卒年不详。明画家。号念庵、一作研庵，长洲（今江苏苏州）人，善山水，有烟林清旷之概。",[24,7,165,27,29,132,64,97,1144,131,415,1515],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab740f67c531848bac66c388d0ad2130.jpg",[45],77,{"id":18209,"slug":18210,"title":18211,"dynasty":54,"author":646,"museum":300,"description":18212,"tags":18213,"thumbUrl":18214,"material":84,"size":84,"collection":68,"collections":18215,"showCount":18207,"zanCount":48,"manualWeight":48,"mainColor":72},238342,"si-ji-hua-hui-ce-dong-gao-238342","四季花卉册","此作以没骨法绘就春日群芳，设色柔婉清新。白牡丹花瓣晕染层叠，莹润饱满，尽显雍容之态；旁侧粉花轻绽，胭脂点染花苞，娇妍粉嫩，灵动鲜活。左侧嫩枝青叶敷色淡雅，笔致秀逸，将草木舒展之姿尽数勾勒。\n\n画面构图错落舒展，数枝花枝交织却不显拥塞，气息恬和雅致。以细腻笔触晕染花叶的柔润肌理，将春日群芳竞绽的清柔意趣定格纸面，雅致秀润，尽显传统花卉小品的隽永韵味。",[24,7,59,27,28,61,263,209,62,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66475b0ae51b2faa51d20ca589d4cd02.jpg",[68,45],{"id":18217,"slug":18218,"title":18219,"dynasty":54,"author":9529,"museum":300,"description":18220,"tags":18221,"thumbUrl":18222,"material":84,"size":84,"collection":84,"collections":18223,"showCount":18207,"zanCount":48,"manualWeight":48,"mainColor":72},237591,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237591","王翚仿古山水册","王翚（1632-1717），字石谷，臞樵，号乌目山人，耕烟散人，又号耕烟外史，剑门樵客，清晖老人，室名清晖阁，江苏常熟人。王翚祖上几代均染指丹青。四世祖王伯臣擅长花鸟，师崔白画风，祖父王载仕山水花鸟皆擅，父亲王云客专攻山水，画风秀雅。王翚幼喜丹青，十六岁时拜同乡张珂为师，后入王鉴、王时敏之门，遍临他们所藏宋、元名迹，在承袭传统的基础上，又外师造化，逐渐形成了华滋清逸的画风，当时的名公巨卿、文人学士争相交之。六十岁时以布衣征召供奉内廷，主持绘制康熙《南巡图》，被赐“山水清晖”，为清初“虞山派”领袖。著有《清晖画跋》，辑有《清晖赠言》、《清晖赠贻尺牍》，与恽寿平合著《画筌评》。",[164,24,7,59,128,132,29,97,98,99,129,130,34,495,131,711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F724471d5eaa3cabd10d34c299b6fd545.jpg",[],{"id":18225,"slug":18226,"title":18227,"dynasty":124,"author":18228,"museum":300,"description":18229,"tags":18230,"thumbUrl":18231,"material":84,"size":84,"collection":68,"collections":18232,"showCount":18207,"zanCount":1998,"manualWeight":48,"mainColor":49},237497,"mo-he-yuan-yang-tu-zhou-li-yin-237497","墨荷鸳鸯图轴","李因","李鱓[shàn]（1686年—1756年），字宗扬，号复堂，别号懊道人、墨磨人，清康熙二十五年（1686）生，乾隆二十一年（1756）卒，江苏扬州府兴化人，明代状元宰相李春芳第六世孙。清代著名画家，“扬州八怪”之一。康熙五十年中举， 康熙五十三年召为内廷供奉，其宫廷工笔画造诣颇深，因不愿受“正统派”画风束缚而遭忌离职。乾隆三年出任山东滕县知县，颇得民心，因得罪上司而罢官。后居扬州，卖画为生。\n李鱓工诗文书画。曾随蒋廷锡、高其佩学画。后受石涛影响，擅花卉、竹石、松柏，早年画风工细严谨，颇有法度。中年画风始变，转入粗笔写意，挥洒泼辣，气势充沛，对晚清花鸟画有较大影响。 [1]\n传世画迹有南京博物院藏《土墙蝶花图》轴、故宫博物院藏《松藤图》轴等。北京工艺美术出版社2005年出版“中国书画名家全集”，内收《李鱓画集》（上下卷）。",[24,7,165,128,61,168,1857,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F557524c45070d0779dcb0b92bcfbebf5.jpg",[68],{"id":18234,"slug":18235,"title":11926,"dynasty":124,"author":223,"museum":300,"description":18236,"tags":18237,"thumbUrl":18238,"material":692,"size":1293,"collection":136,"collections":18239,"showCount":18207,"zanCount":48,"manualWeight":48,"mainColor":72},234924,"dong-qi-chang-shan-shui-ce-yi-ming-234924","此作用笔松秀虚灵，以淡墨晕染开鸿蒙云气，将远山隐入烟岚，留白衬出无尽空茫。近岸苍松蟠曲，浅渚连山层层延展，平远之境悠悠铺陈。\n墨色清润淡雅，简淡皴擦间，漾开了水泽的空濛静穆。题印落于留白处，与山水相映成趣，书画印浑然相融。整幅画萧散简远，以极简笔墨勾勒出幽寂清远之境，尽显文人画平淡天真的意趣，观之便觉心随山水沉静，独得幽居之乐。",[24,7,59,128,29,663,413,950,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd808de803d791f66197ab19d95eb2ca7.jpg",[136],{"id":18241,"slug":18242,"title":18243,"dynasty":18,"author":3110,"museum":300,"description":18244,"tags":18245,"thumbUrl":18246,"material":84,"size":84,"collection":84,"collections":18247,"showCount":18207,"zanCount":48,"manualWeight":48,"mainColor":49},227717,"lian-yan-tu-mu-xi-227717","莲燕图","牧溪，宋末元初之画僧，无准禅师的弟子。四川人，生卒年不详。依径山无准师范出家，法名法常。于宋末理宗、度宗时（1225～1270），在杭州西湖长庆寺为杂役僧。性情英豪，嗜饮酒，醉则寝，觉则朗吟。擅长画佛像、人物、花果、鸟兽、山水、龙虎、猿鹤等，题材广泛。画风继承石恪、梁楷之减笔画，与中唐以来之逸格山水画，风格壮阔，自由放逸。其生平画迹与作品在国内之流传甚少，然日本极早即流传其画迹，且因其画风对日本艺坛产生强烈影响，故其画迹一直为名流所收藏，如观音猿鹤图、龙虎图、栗柿图、芙蓉图、老松八哥鸟图、潇湘八景图、柳燕图等，其中之观音猿鹤图三幅，相传系日僧圣一于宋理宗淳祐元年（1241），由中国带往日本者，目前被视为日本国宝。\n\n水墨皆禅，万法唯心，对牧溪而言，他也许从未定义自己是个画家，而首先是个僧人，是个禅师。他的画被归为禅画的范畴，禅画将生命的解脱视为最高存在意涵。画中幽远超然的留白，似乎天地之间，只剩你与他笔下的一只蜻蜓、一颗萝卜、一只小燕。生命原本就是这么简单。",[24,164,7,165,128,61,81,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb67985521198db5b72190fbaa7002bfa.jpg",[],{"id":18249,"slug":18250,"title":18251,"dynasty":18,"author":4899,"museum":510,"description":18252,"tags":18253,"thumbUrl":18254,"material":18255,"size":18256,"collection":42,"collections":18257,"showCount":18207,"zanCount":1998,"manualWeight":48,"mainColor":72},221623,"tang-feng-tu-juan-quan-juan-ma-he-zhi-221623","唐风图卷全卷","《诗经·唐风》中的“唐”是指周成王的弟弟叔虞的封国所在地，大约在今天的山西太原以南沿汾水流域一带的地方，“唐风”就是这个区域的诗歌。宋高宗赵构非常喜欢马和之的画风，每写《诗经》就命其补图。此卷文图相辅，先文后图，文为《诗经·唐风》中的十二篇诗，每首诗文后附图，用柳叶描、线条飘逸、着色轻淡、古雅脱俗，体现出诗中的意境。",[23,24,7,25,188,128,27,96,29,34,130,98,99,211,171,690,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf10a64d39a8cb339644e571e18d3f7.jpg","绢本，手卷","纵33厘米、横1038厘米",[42,44,45],{"id":18259,"slug":18260,"title":18261,"dynasty":18,"author":7553,"museum":12686,"description":18262,"tags":18263,"thumbUrl":18266,"material":151,"size":18267,"collection":42,"collections":18268,"showCount":18207,"zanCount":48,"manualWeight":48,"mainColor":49},221418,"dong-xue-shan-shui-tu-juan-yan-wen-gui-221418","冬雪山水图卷","景口郭卑天锡父题。长卷绘山连绵起伏，山顶云雾缭绕，山下河水平静，村落树木白雪覆盖，画面静谧空旷。",[23,164,24,7,25,27,132,29,18264,18265,31,34,131],"冬雪","山脉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F769365f4d6505b4b415e55c2a2bad217.jpg","34.7x354.5厘米",[42,136,117],{"id":18270,"slug":18271,"title":18272,"dynasty":351,"author":18273,"museum":20,"description":18274,"tags":18275,"thumbUrl":18276,"material":151,"size":18277,"collection":44,"collections":18278,"showCount":18207,"zanCount":48,"manualWeight":48,"mainColor":49},221152,"lang-yuan-nv-xian-tu-juan-ruan-gao-221152","阆苑女仙图卷","阮郜","“阆苑”是传说中仙人的住处，有时也指宫苑。此图描绘的当是仙山阆苑，为仙女生活游玩之地。图中描绘苍松翠竹间，一群女仙休闲的情景，其中三个地位显赫，在小仙女的陪侍下坐在一起，或执卷欲书，或展卷凝视，或拨弄三弦。四周有乘鸾女仙、乘龙女仙、驾云女仙，还有在海面上凌波漫步，缓缓而来的女仙，与地上群仙互为呼应。\n画中女仙体态纤弱，衣纹勾描细密圆软，一反唐周昉时代侍女之丰肥与衣纹线条之方硬。树枝多画成蟹爪状，画法略似李成。坡石以墨线勾，染青绿色。水纹繁复，刻划极为生动，有唐人遗风。清人高士奇在跋中云：“五代阮郜畫，世不多見。《閬苑仙女圖》曾入宣和御府，筆墨深厚，非陳居中、蘇漢臣輩所可比擬。”",[23,164,24,7,25,28,27,96,166,29,34,438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde423de1a5e6f1d004a4e19fd7e97f3e.jpg","纵42.7厘米，横177.2厘米。",[44,45],{"id":18280,"slug":18281,"title":18282,"dynasty":124,"author":2268,"museum":20,"description":18283,"tags":18284,"thumbUrl":18285,"material":1722,"size":18286,"collection":136,"collections":18287,"showCount":18207,"zanCount":1998,"manualWeight":48,"mainColor":72},220906,"she-shan-you-jing-tu-zhou-dong-qi-chang-220906","佘山游境图轴","《董其昌佘山游境图轴》是明代画家董其昌所创作的一幅纸本纸本墨笔画。",[23,164,24,7,165,128,132,29,131,34,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68466d3a79e9cb3ca5526c09f52f5482.jpg","纵98.4厘米，横41厘米",[136,117],{"id":18289,"slug":18290,"title":18291,"dynasty":124,"author":223,"museum":1941,"description":18292,"tags":18293,"thumbUrl":18294,"material":611,"size":84,"collection":44,"collections":18295,"showCount":18207,"zanCount":48,"manualWeight":48,"mainColor":49},219895,"liu-hai-du-hai-tu-yi-ming-219895","刘海渡海图","赤足凌于翻涌浪涛之上，衣袂被海风拂卷翻飞，仙者神色沉静安然，不见渡海的惶然。怀中紧捧三足金蟾，另一手牵系着仙桃的丝带，仙家灵韵尽数铺展。\n\n画作以劲挺流畅的线条勾勒衣褶，衣物垂坠质感尽显。细密笔触层叠出浪涛奔涌之态，虚实相映烘托出烟波浩渺的渡海意境。整体色调沉古雅致，将世外之人超凡出尘的气质晕染开来，把刘海渡海的传说融于笔墨间，空灵悠远，在叙事与审美之间达成绝妙平衡，尽显古画仙逸出尘的独特意趣。",[24,7,165,27,28,187,96,951,16933],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5e14f2c2835480ab5d26a9db6287108.jpg",[44],{"id":18297,"slug":18298,"title":18299,"dynasty":124,"author":223,"museum":450,"description":18300,"tags":18301,"thumbUrl":18302,"material":173,"size":18303,"collection":68,"collections":18304,"showCount":18207,"zanCount":48,"manualWeight":48,"mainColor":49},219003,"gua-shu-tu-yi-ming-219003","瓜鼠图","这幅画描绘了一只老鼠啃食甜瓜的情景，象征着甜瓜的长寿和后人的祝福。由于没有背景，瓜子很逼真，老鼠很灵动，使这个民俗吉祥的题材变得清新雅致，不是一般的普通手笔，可能是出自训练有素的宫廷画师之手。",[23,164,24,7,28,27,61,5883,11716,547,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F786880bde7884db33cdeb9b80987b151.jpg","24.6x25.6cm",[68],{"id":18306,"slug":18307,"title":18308,"dynasty":54,"author":6936,"museum":56,"description":18309,"tags":18310,"thumbUrl":18312,"material":173,"size":18313,"collection":136,"collections":18314,"showCount":18207,"zanCount":1998,"manualWeight":48,"mainColor":49},218264,"du-fu-shi-yi-tu-wang-yuan-qi-218264","杜甫诗意图","层峦叠嶂间，干笔皴擦的远山如黛，云雾缭绕中透出苍劲之姿。山腰亭台隐于松竹深处，林木葱茏间藏文人栖居的意趣。近景山石以浓墨勾勒，皴染结合尽显厚重质感；虬松枝干盘曲，松针如簇，笔力遒劲。整幅画笔墨苍润，构图深远，将山水之清幽与诗意之境相融，尽显沉雄古逸的娄东派山水韵味，仿佛可闻林泉间的文人雅韵，观之如入静谧悠远的诗意山水世界。",[23,24,7,27,132,29,130,131,37,34,758,18311],"山间路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55e15a2b69c75609ee0d8554e5cc662c.jpg","321x92cm",[136],{"id":18316,"slug":18317,"title":18318,"dynasty":18,"author":1622,"museum":244,"description":18319,"tags":18320,"thumbUrl":18322,"material":173,"size":18323,"collection":136,"collections":18324,"showCount":18207,"zanCount":1998,"manualWeight":48,"mainColor":72},218163,"xue-tan-shuang-lu-tu-ma-yuan-218163","雪滩双鹭图","画面以雪景为背景，从左侧伸出的带有积雪的树枝，向下弯曲后转向右上伸长，横斜曲折极富变化。左侧及下部的山石，以带水的墨笔作大斧劈皴画出方硬有棱角的“一角”。值得注意的是，整个画面表现出大雪天的寒气逼人、一片宁静，而枝头上两只跳动鸣叫的小鸟，则使之显得静中有动，增添了生机。前景的树枝、山石均以焦墨勾勒，山石后露出的竹叶施以浅色，其余均施以淡淡的水墨，笔墨技法的运用与描写对象的特征及作品意境相适应。",[23,164,24,7,165,128,27,29,1337,131,1556,18321,3836,171],"滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa70fa992caf6ec5e7624ac5e868a7e17.jpg","纵60厘米，横38厘米",[136],{"id":18326,"slug":18327,"title":18328,"dynasty":18,"author":2099,"museum":300,"description":18329,"tags":18330,"thumbUrl":18333,"material":611,"size":84,"collection":44,"collections":18334,"showCount":18207,"zanCount":48,"manualWeight":48,"mainColor":72},218076,"bai-miao-luo-han-tu-ce-1-li-gong-lin-218076","白描罗汉图册-1","白描罗汉图册是宋朝画家李公麟所创作的一组绘画作品，收录了许多关于罗汉的故事和传说。罗汉是佛教中的圣人，象征着智慧和善良。李公麟在这一组作品中，以简洁明快的笔触和精细的工笔画风，为读者展现了罗汉的传奇人生。\n\n李公麟的白描罗汉图册是宋朝绘画中的一大杰作，因其精美的画风和细腻的内容而受到许多人的喜爱。他运用了一种独特的白描画法，在画面中展现出纯净和精细的质感。每幅画都描绘了一个生动的故事，让人们可以通过观看这些画作，了解到罗汉的传奇人生。\n\n总的来说，李公麟的白描罗汉图册是一部优秀的绘画作品，值得收藏和鉴赏。如果您对宋朝绘画或佛教传说感兴趣，不妨花一些时间来欣赏这一组美丽的画作。",[23,24,7,59,188,128,187,96,18331,18332,37],"罗汉","山崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70c753992917e049858fa3fcec2e2773.jpg",[44],{"id":18336,"slug":18337,"title":18338,"dynasty":144,"author":18339,"museum":244,"description":18340,"tags":18341,"thumbUrl":18342,"material":173,"size":18343,"collection":44,"collections":18344,"showCount":18207,"zanCount":48,"manualWeight":48,"mainColor":49},216971,"da-shi-xiang-zhou-zhao-yi-216971","大士像轴","赵奕","观音大士像轴是赵奕在元朝时期创作的一幅绘画，描绘了观音大士的形象。观音是佛教中的一位菩萨，被认为是慈悲和智慧的化身。在这幅画中，观音大士身着传统的中国服装，手持佛珠，脸上带着慈祥的微笑。观音大士像轴通常用来装饰寺庙或供奉在佛教场所。",[24,7,165,27,28,187,96,167,171,211,228,170,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca16ca2a1f4f371f973d05319d870cd9.jpg","108x54.8",[44],{"id":18346,"slug":18347,"title":18348,"dynasty":124,"author":1438,"museum":56,"description":1439,"tags":18349,"thumbUrl":18350,"material":278,"size":1442,"collection":84,"collections":18351,"showCount":18207,"zanCount":48,"manualWeight":48,"mainColor":72},214622,"hua-hui-ce-19-chen-chun-214622","花卉册-19",[24,7,164,59,128,369,61,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b278267b998a115bffa6c856ead4911.jpg",[],{"id":18353,"slug":18354,"title":18355,"dynasty":124,"author":2268,"museum":244,"description":18356,"tags":18357,"thumbUrl":18358,"material":278,"size":84,"collection":136,"collections":18359,"showCount":18207,"zanCount":48,"manualWeight":48,"mainColor":72},214614,"fang-song-yuan-ren-suo-ben-hua-ji-ba-ce-fang-gao-ke-gong-shan-shui-dong-qi-chang-214614","仿宋元人缩本画及跋册-仿高克恭山水","董其昌是中国明清时期的画家、书法家，出生于浙江省杭州市。他的作品有许多著名的山水画，其中包括《虞山图》。此外，董其昌还有许多仿宋元人缩本画和跋册，其中包括《仿高克恭山水》。\n\n《仿高克恭山水》是董其昌的一幅仿宋元人缩本画，其中描绘了秀美的山水风光。在这幅画中，董其昌运用了仿宋元人风格的画法，使得画面充满了古朴的气氛。他通过笔触的流畅和墨色的变化，表现出了山水的秀美和自然的灵动。整幅画浑然一体，充满了生机和活力。\n\n《仿高克恭山水》是董其昌的杰作之一，它被广泛收藏和展览，并被认为是中国仿宋元人风格山水画的代表作之一。董其昌的作品对中国书画史上的发展起到了重要的作用，并且被认为是中国书画史上的经典之作。",[24,7,59,128,27,29,30,34,37,131,499,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1523aa0b726e258ba37810ef1a4d3eeb.jpg",[136],{"id":18361,"slug":18362,"title":18363,"dynasty":18,"author":449,"museum":56,"description":18364,"tags":18365,"thumbUrl":18366,"material":278,"size":13555,"collection":84,"collections":18367,"showCount":18207,"zanCount":48,"manualWeight":48,"mainColor":72},214280,"duo-jing-lou-shi-tie-2-mi-fei-214280","多景楼诗帖-2","笔势如天马行空，八面出锋却无一丝狂乱。浓墨处沉雄如坠石，飞白间灵动似流云。“梦”字欹侧中藏稳劲，“曾”字转折处见刚柔，“游”之走笔如轻舟逐浪，“天”之撇捺若长空舒翼。每一笔都带着“刷字”的痛快，却又暗合法度，晋韵唐法融于一己性情。墨色干湿浓淡相间，线条粗细缓急交错，织就充满韵律的画面——仿佛能听见运笔时的飒飒风声，见其挥毫时的潇洒神态。沉着中见痛快，飘逸里藏筋骨，于不经意间尽显大家气象，这便是米字独有的魅力。",[164,24,7,64,133,1590,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea0973bce6cbdb78d7eee5551d38d37e.jpg",[],{"id":18369,"slug":18370,"title":18371,"dynasty":351,"author":352,"museum":300,"description":1802,"tags":18372,"thumbUrl":18373,"material":692,"size":1293,"collection":84,"collections":18374,"showCount":18375,"zanCount":48,"manualWeight":48,"mainColor":49},290555,"wu-dai-nan-tang-hua-hui-cao-chong-juan-xu-xi-290555","五代南唐花卉草虫卷",[164,24,7,25,28,27,61,376,480,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae6d9fb677d356b11b5aa6b55f88bca7.jpg",[],76,{"id":18377,"slug":18378,"title":18379,"dynasty":182,"author":183,"museum":300,"description":4640,"tags":18380,"thumbUrl":18382,"material":692,"size":1293,"collection":84,"collections":18383,"showCount":18375,"zanCount":48,"manualWeight":48,"mainColor":49},290511,"bao-ji-bin-ga-luo-fo-xiang-wu-dao-zi-290511","宝积宾伽罗佛像",[24,164,7,165,187,27,96,18381,7220,208],"佛教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff024de3f0cf5457299698b68bc41684e.jpg",[],{"id":18385,"slug":18386,"title":18387,"dynasty":124,"author":125,"museum":300,"description":6472,"tags":18388,"thumbUrl":18389,"material":692,"size":1293,"collection":84,"collections":18390,"showCount":18375,"zanCount":1998,"manualWeight":48,"mainColor":72},288067,"chui-diao-tu-shen-zhou-288067","垂钓图",[23,24,164,128,165,7,29,96,8538,171,99,16795,1350,64,208,13414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5701209ee802812e6ba423e0fd68c748.jpg",[],{"id":18392,"slug":18393,"title":4229,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":18394,"thumbUrl":18395,"material":692,"size":1293,"collection":84,"collections":18396,"showCount":18375,"zanCount":48,"manualWeight":48,"mainColor":72},239433,"hua-niao-ce-yun-shou-ping-239433",[24,7,59,60,27,128,61,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F142b6495fb6062dbc404fdab2aa71537.jpg",[],{"id":18398,"slug":18399,"title":18400,"dynasty":54,"author":3403,"museum":20,"description":16480,"tags":18401,"thumbUrl":18402,"material":84,"size":84,"collection":68,"collections":18403,"showCount":18375,"zanCount":1998,"manualWeight":48,"mainColor":72},236914,"ping-hua-chang-pu-tu-zhou-wu-chang-shuo-236914","瓶花菖蒲图轴",[24,7,165,27,61,233,4086,128,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe31a2e8d71982568c3110d604c9844d9.jpg",[68,45],{"id":18405,"slug":18406,"title":76,"dynasty":54,"author":3403,"museum":20,"description":6902,"tags":18407,"thumbUrl":18408,"material":734,"size":84,"collection":84,"collections":18409,"showCount":18375,"zanCount":48,"manualWeight":48,"mainColor":72},234303,"hua-hui-ce-wu-chang-shuo-234303",[24,7,59,27,369,61,2037,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73b8f51f1b3a31f1c9e208eec84c89a4.jpg",[],{"id":18411,"slug":18412,"title":4584,"dynasty":124,"author":125,"museum":20,"description":4585,"tags":18413,"thumbUrl":18414,"material":611,"size":4588,"collection":84,"collections":18415,"showCount":18375,"zanCount":48,"manualWeight":48,"mainColor":72},234097,"wu-zhong-shan-shui-ce-shen-zhou-234097",[24,7,59,128,132,133,208,29,97,98,99,129,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe97c78df6684545aea53e3f99cba50f8.jpg",[],{"id":18417,"slug":18418,"title":18419,"dynasty":54,"author":18420,"museum":300,"description":18421,"tags":18422,"thumbUrl":18423,"material":84,"size":84,"collection":84,"collections":18424,"showCount":18375,"zanCount":48,"manualWeight":48,"mainColor":72},230198,"xi-hu-quan-jing-tu-ping-zhou-shang-wen-230198","西湖全景图屏","周尚文","此作用大青绿设色晕染山峦，石青石绿敷色明丽雅致，兼以勾勒皴擦表现山体肌理，糅合浅绛晕染的柔和质感。山峦层叠排布，以留白烘衬云气，虚实相生间烘托出空濛悠远的江南湖山意境。山间苍松虬劲古雅，林木错落点缀，将温润灵秀的山水气质尽显。构图错落递进，层层铺展出悠远舒展的山水格局，尽显工丽秀雅的格调，把江南湖山的清润诗意融于笔底，兼具可观可游之趣。",[23,24,7,26,27,132,29,1144,30,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c1d10b61a0a4df84f3479e4933db94a.jpg",[],{"id":18426,"slug":18427,"title":18428,"dynasty":124,"author":125,"museum":300,"description":18429,"tags":18430,"thumbUrl":18431,"material":84,"size":84,"collection":84,"collections":18432,"showCount":18375,"zanCount":48,"manualWeight":48,"mainColor":72},228837,"zi-sang-yin-ru-tu-juan-shen-zhou-228837","紫桑隐如图卷","此作用笔温厚苍润，取景江南水村一隅。近岸篱舍环于木栅，垂柳初舒柔条，丹枫点染暖艳，柴门边家犬迎客，三两屋舍透出融融闲趣。湖面轻舟漾波，渔者撑篙送访客登岸，一动一静，鲜活勾勒乡居日常。\n山石以淡赭晕染，墨色层次雅致，屋舍人物简括生动，将林泉高致的隐逸之趣，揉入江南水乡的温润景致里，淡远冲和，尽显归园田居的恬然意韵。",[23,24,7,25,27,132,29,34,129,96,711,99,131,1351,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1dd651f9864f373fed8f9382256e76e.jpg",[],{"id":18434,"slug":18435,"title":18436,"dynasty":54,"author":3750,"museum":244,"description":18437,"tags":18438,"thumbUrl":18439,"material":151,"size":18440,"collection":84,"collections":18441,"showCount":18375,"zanCount":48,"manualWeight":48,"mainColor":72},224479,"fang-zhao-meng-fu-shan-shui-zhou-wang-jian-224479","仿赵孟頫山水轴","王鉴最早从董源入手，1636年，39岁的王鉴结识了董其昌，由此开始深受董其昌影响，后承绪南宗正脉，并涉足擅长青绿山水的三赵 ( 赵令穰、赵伯驹、赵孟頫），绘画兼具其平生倾慕的赵孟頫、王蒙、董其昌三家之长。王鉴所谓的“仿”并非简单地模仿笔墨技巧、构图布局，而是重在表明自己的审美理想和创作思想，然后施之于画幅上，令其画独存灵逸之趣。",[23,24,7,165,2271,26,27,132,29,131,34,98,99,1515,96,1645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F228e8ef62ddaeaa716374da839e86119.jpg","110×60cm",[],{"id":18443,"slug":18444,"title":18445,"dynasty":18,"author":223,"museum":300,"description":18446,"tags":18447,"thumbUrl":18448,"material":84,"size":84,"collection":84,"collections":18449,"showCount":18375,"zanCount":1998,"manualWeight":48,"mainColor":49},223653,"chi-bi-tu-ce-ye-yi-ming-223653","赤壁图册页","《宋无款赤壁图》是宋代佚名创作的一幅画。\n本幅是一叶扁舟为主景的局部山水，画面中置石壁于右上角，仅画出赤壁之山脚与山石部分，可以说是把赤壁予以浓缩成近景特写。\n扁舟上回身仰望的苏东坡，暗示出他看到的赤壁在画外的高耸着，赤壁的特色，并不因其只画山角而失去，反因取材精简，景致更能突出。\n波浪起伏回转，表现一叶扁舟之摇摇荡荡，飘飘乎遗世而独立，可说极为生动地将〈 〉最为浪漫的憧憬画出了。",[23,24,164,7,59,27,28,132,29,96,129,6004,131,4505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fcb770c34ae0fb5c7a2dc0e116c105e.jpg",[],{"id":18451,"slug":18452,"title":18453,"dynasty":124,"author":18454,"museum":510,"description":18455,"tags":18456,"thumbUrl":18457,"material":734,"size":18458,"collection":68,"collections":18459,"showCount":18375,"zanCount":1086,"manualWeight":48,"mainColor":72},222522,"mei-cha-shan-que-tu-zhu-zhu-222522","梅茶山雀图","朱竺","图绘梅、茶花、山雀的花鸟图。雀站立于茶树枝上，昂头望着上方的红茶花和金色梅花，神态专注；梅枝自然伸展，朵朵梅花点缀其上；茶花争相绽放，一抹红色美艳动人。朱竺，号君实，明代画家，工山水，亦能花鸟、人物。",[23,24,7,165,27,28,208,371,649,4843,61,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff27021c8b1604adccb8eb0607990f6.jpg","119.3x39.6cm",[68,45],{"id":18461,"slug":18462,"title":18463,"dynasty":124,"author":3148,"museum":20,"description":18464,"tags":18465,"thumbUrl":18466,"material":18467,"size":18468,"collection":68,"collections":18469,"showCount":18375,"zanCount":48,"manualWeight":48,"mainColor":49},222400,"can-he-ying-lu-tu-lv-ji-222400","残荷鹰鹭图","画面描绘了秋日荷塘中惊心动魄的一幕，苍鹰俯冲搏击白鹭，白鹭冲进苇丛深处，希图逃脱。众鸟或纷纷躲避，或受惊鸣叫。劲风吹动芦苇残荷，更添肃杀之气。作者把握住禽鸟的自然特征，赋予了戏剧化的情节表现，使画面具有扣人心弦的感染力。画家用写意的笔法画出枯败的荷叶，效果逼真，体现出高超的水墨控制能力。",[23,24,7,165,61,28,27,128,168,3141,3836,1824],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10ae54932f80827cb6ce0d4337c4bf1.jpg","绢本，水墨","纵190厘米，横105.2厘米",[68,117],{"id":18471,"slug":18472,"title":18473,"dynasty":124,"author":16332,"museum":20,"description":18474,"tags":18475,"thumbUrl":18476,"material":1722,"size":18477,"collection":117,"collections":18478,"showCount":18375,"zanCount":48,"manualWeight":48,"mainColor":49},222168,"xiang-jiang-feng-yu-tu-juan-xia-chang-222168","湘江风雨图卷","画幅右上方自题图名《湘江风雨》，款“東吳夏昶仲昭筆”，钤“東吳夏昶仲昭書畫印”、“燕寢凝香”印二方。\n夏昶画竹，以其精深的功力和独树一帜的艺术风格名重一时。他一改前人画竹独幅数竿的表现形式，而用巨幅长卷描绘竹树的千竿万梢，同时还“延之以洲渚，加之以风雨”，更显浩浩荡荡，气势恢宏。他笔下的墨竹已不仅仅是简单的文人式的寄兴抒怀，，而且还于其自然的生长环境，在画中融入山水画的笔墨意境。此卷竹林随湘江两岸景致的变化而隐现，起自淡阔的沙洲，之后是平缓的坡陀，继而是坚硬的岩石，又入清冷的江水，再后是壁立的山崖，最后经急湍飞瀑、汩汩溪流而入山，竹树或整或零，或疏或密，老干新枝，各尽其态。画家充分利用了长卷的广度精心描绘出一种起伏张弛的流动性和情节性，实际上是传统墨竹与水墨长卷的结合。夏昶画竹，强调气韵，主张“一气呵成”，“画巨幅尤须如此”，此卷竹叶落墨即是，不见复笔，山石以斧劈皴法大笔侧锋挥扫而成，从首至尾，气脉通连飞动。\n卷后自跋中云此图作于“正統己巳（1449年）秋九月”，正值夏氏62岁出知瑞州之时，是其晚年墨竹长卷的代表作。",[23,24,7,25,128,132,29,167,131,99,495,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8755393eede68b1ee573bab7500c298.jpg","纵35厘米，横1206厘米",[117,1670],{"id":18480,"slug":18481,"title":18482,"dynasty":124,"author":802,"museum":20,"description":18483,"tags":18484,"thumbUrl":18485,"material":18486,"size":18487,"collection":136,"collections":18488,"showCount":18375,"zanCount":48,"manualWeight":48,"mainColor":49},221886,"za-hua-tu-ce-fang-li-tang-bi-yi-chen-hong-shou-221886","杂画图册-仿李唐笔意","本册共八开，每开均有作者题跋及款印。所画题材有山水、人物、花鸟，全以工笔写之。山岩之结构，花蝶之动态，人物形象之奇特，均已加入了画家个人之造型意念，精彩绝伦。其中一册，以变形夸张的手法表现古拙奇崛的特征，描写佛教传说中的罗汉拄杖坐于大石上，对面跪拜一人，衣饰长摆，异国情调，突出了装饰性趣味，图页上自题名为“無法可說”，颇具禅机。另一册《玉兰柱石图》，图右侧一太湖石竖立，玲珑剔透，紧靠石下伸出一支玉兰花，石另一侧后面也露出一支海棠花，花上一只彩蝶。画家把握住不同的物象特征进行描绘，湖石的稳重坚硬，衬托出花朵的轻盈柔美，浓重的色调托出了玉兰的洁白。画面层次清晰，设色明丽温和，在线条的表现形式上，均用细劲的墨线勾勒，刚柔相济，巧拙互用，于对比中求统一。\n从署款和绘画风格看，此图是陈洪绶中前期作品，为其代表作之一。",[23,164,24,7,59,27,132,330,29,131,99,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9093bddfe13cc837d377af14452eaabd.jpg","绢本、设色","纵30.2＊横25.1CM",[136,44,45],{"id":18490,"slug":18491,"title":18492,"dynasty":144,"author":18493,"museum":18494,"description":18495,"tags":18496,"thumbUrl":18497,"material":6369,"size":18498,"collection":84,"collections":18499,"showCount":18375,"zanCount":1998,"manualWeight":48,"mainColor":72},221749,"jiu-ge-tu-ji-ci-juan-zhu-ti-zhang-wo-221749","九歌图及词卷主体","张渥","吉林省博物院","《九歌图》卷共十一段，每段一图，画屈原像及楚辞《九歌》中的《东皇太一》《云中君》《湘君》《湘夫人》《大司命》《少司命》《东君》《河伯》《山鬼》《国殇》十章内容。该图笔法流畅工整，秀劲宛转，线条纤细飞扬，体现了元代的白描风格。",[23,164,24,7,25,188,128,96,64,208,950,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19bda932e8c57e252c3f7db62b08b53.jpg","纵28 厘米 横62.4 厘米",[],{"id":18501,"slug":18502,"title":18503,"dynasty":144,"author":287,"museum":20,"description":18504,"tags":18505,"thumbUrl":18506,"material":734,"size":18507,"collection":136,"collections":18508,"showCount":18375,"zanCount":1998,"manualWeight":48,"mainColor":49},221711,"you-ju-tu-juan-qian-xuan-221711","幽居图卷","此图是钱选所绘的青绿山水画作之一。图中湖光山色静谧幽淡，展卷之始见三五秀石零落坡边岸角，青松虬曲其上，村居掩映树石之间，一叶小艇驶向水平如镜的湖中，对岸碧峰起伏，参差错落，楼阁为茂林所环抱，茅舍隐现丛树兀石之后，幽居之景、之境、之情、之趣毕现于纸上。其画山石树木皆用方折的线条勾出轮廓，不作皴法，敷以青、绿、赭等色，山脚处略施金粉，于严整工致中见古拙秀逸之气。图的右上方自题“幽居图”三字，其中“幽”字残缺严重，形近“山”字，故亦被称作“山居图”。本幅及前后隔水有“怡亲王宝”等印共29方，尾纸上有纪仪、纪堂、高士奇、邵松年等人的题跋。\n钱选的山水画以青绿设色为主，近师南宋赵伯驹，远溯杨隋展子虔、李昭道，运笔有生拙之趣，设色明快不失艳丽，布局张弛得度，疏密有致，自成风貌。我院另藏《山居图》一卷，虽与《幽居图》构图相异，但笔法、设色同出一源，两者堪为“双璧”。《浮玉山居图》卷（藏上海博物馆）则是钱选以水墨为主的代表作，卷中山石的阴阳向背用墨笔勾皴来表现，花青淡施丛树小草之上，清逸秀润之气溢出卷外，别具一格，与其青绿山水有异曲同工之妙。\n论成就，钱选跳出两宋院体的窠臼，追求晋唐作风，在元初画坛独树一帜，对开创一代画风起了积极的作用。然而，由于赵孟頫与“元四家”的山水画更符合文人重笔墨、尚意趣的审美观念，和他们相比，钱选对后世的影响便略逊一筹了。",[23,164,24,7,25,27,28,64,208,29,34,35,33,131,1144,415,7782,711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8cf429f09a10060fba89347fd3819ea.jpg","纵27厘米, 横115.9厘米",[136,45],{"id":18510,"slug":18511,"title":18512,"dynasty":18,"author":18513,"museum":244,"description":18514,"tags":18515,"thumbUrl":18516,"material":278,"size":18517,"collection":318,"collections":18518,"showCount":18375,"zanCount":1998,"manualWeight":48,"mainColor":72},221247,"lao-zi-qi-niu-tu-zhou-chao-bu-zhi-221247","老子骑牛图轴","晁补之","图中心位置画有一位光秃尖顶、宽额留须的圆脸老人，他身穿右衽长袍，腰有缚带，在两道浓黑的月牙形的长眉下，藏着一对炯炯有神的笑眼，和颜悦色地正面对着观众，骑乘在一头壮牛身上，他双手按扶着牛背。由于山路崎岖险要，刚出幽谷关，地势突变平缓，又要准备西去，这时主人露出成功的喜悦。乘骑在主人的驾驭下，继续开步行进。图左上角画有枯枝残藤沿岩壁漫漶而下，岩石峭壁，大有谷关之要，出关后风光截然不同。\n本图署款：“晁无咎写。”钤印一“云屏烟障吾庐”。诗塘有宋王诜四言赞。本幅有清高宗弘历题诗。收传印记有“明文清世家图书”，清乾隆鉴藏八玺全。",[24,7,165,128,96,102,64,133,208,1337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c80c3c9a6bb3b8623ed0876ee5a459.jpg","50.6x20.4",[318],{"id":18520,"slug":18521,"title":18522,"dynasty":144,"author":569,"museum":20,"description":18523,"tags":18524,"thumbUrl":18525,"material":611,"size":18526,"collection":318,"collections":18527,"showCount":18375,"zanCount":48,"manualWeight":48,"mainColor":72},220879,"qi-jue-shi-ce-zhao-meng-fu-220879","七绝诗册","此帖虽仅短短五行大字，却笔力深沉稳健，气势恢弘傲放，结体严谨端庄，首尾富于变化。书风虽显苍老，但依旧雍容洒脱，是赵氏晚年大行书中的精品。\n释文：煉得身形似鶴形，千株松下兩函經。我來問道無餘事，雲在青天水在瓶。子昂爲中庭老書。",[23,133,64,7,59,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02aa5e347b479247c231fe1bbedb407b.jpg","纵34.7厘米,横35.3厘米",[318],{"id":18529,"slug":18530,"title":18531,"dynasty":144,"author":569,"museum":56,"description":11144,"tags":18532,"thumbUrl":18533,"material":611,"size":18534,"collection":318,"collections":18535,"showCount":18375,"zanCount":1116,"manualWeight":48,"mainColor":72},220844,"gui-qu-lai-ci-zhao-meng-fu-220844","归去来辞",[23,7,64,25,133,11146,2048,372,376,950,355,663,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48c86013046154464d778c5a0c6f7247.jpg","纵25.9 厘米，横139.4 厘米",[318],{"id":18537,"slug":18538,"title":18539,"dynasty":144,"author":569,"museum":56,"description":18540,"tags":18541,"thumbUrl":18543,"material":611,"size":18544,"collection":318,"collections":18545,"showCount":18375,"zanCount":1998,"manualWeight":48,"mainColor":72},220833,"guang-fu-chong-jian-ta-ji-zhao-meng-fu-220833","光福重建塔记","光福寺建于梁大同年，位于吴县郑尉山黾峰。元代寺内原塔毁坏。元延祐年间，众僧化缘重新建塔。至治元年立碑记，由住持沙门了清撰文，由赵孟頫书写碑文并篆额。《光福重建塔记》为赵孟頫晚年得意之作。明代书家董其昌在卷后题跋中评说：“此卷笔意虚和，尤可宝也。”\n释文：光福重建塔记佛慧雄辩大师，本寺住持沙门了清撰。 前翰林学士承旨、荣禄大夫知制诰兼修国史赵孟頫书并篆题 塔者，西域圣人之灵庙，众生灭罪致福之具也。自阿育王建初，后代震旦之来表刹兴盛者，莫盛于萧梁之世焉。光福塔实者，梁大同权舆，唐会昌暴殄，复兴咸通，至赵宋，宋至今朝大德中，住山磻师时毕方鸟栖其颠，以致铁石瓦甓(pì)（砖）隳(huī)（毁坏）哉，有不可葺(qì)（修理房屋）者。住持相师谟(mó)（计划）画鼎(dǐng)（正当、正在）创，真人周静翁仙宗而尚佛，来自双凤，作檀越主，率寺邻富而信者幼成徐公、沙门愿而干者成、彻、德三公暨寺职班员涓吉命匠篾栖鸾竹索以为绹村化羊杉缚以为架，撤顶至踵草，古从新，即旧基，越旧制，别絫(lěi)（累）层级，至五半，徐公脱屦(jù)（古时用麻、葛制成的鞋）索诃相师，迁乔梵行，施心愿力，唯静翁不移。走书成曰：“山中住持闻有更易，倘林屋清师补处，则塔缘幸甚，香火幸甚。”既而疏来洞庭，孤云乃起，一苇未杭，翁已羽化，乌乎！元度乎？重来乎？三叹终至，至未席温，或谓塔缘幸欤，不幸欤？余曰：佛三祇(zhǐ)（恭敬）百刻修六度万行以戒、定、慧，力成舍利，益众生者，塔之谓也。由塔即庙，庙即貌，佛圣德令众归，命行檀波罗而得福田。今啬(sè)一缘，将普万化是苻佛本愿，益众生欤？果元度之类欤？子知其然而不知其所以然欤？于是越明年，具梵礼，迎铜像，出化东。行首翁之儿妇魏氏母子承祯同调无改大父之道，乐助而之任洋沙头太仓苏台蓂(míng)见四新稇(kǔn)载而返，寻遇不请之檀朱公阙工施财施艺特银其相轮之顶，复有刾(cì)（刺）血为墨，书妙经者，二渡长江，入长淮，募远者三大槩(gài)（概），廿馀同袍，听命辅势，忘倦宣劳，聚诸村鸠。诸工一举而完。七级自尖以还，饰盖至四。岁暮收工，明年像复出，西募，春行，夏归，秋作，馀层列屋，皆落成，其辉辉乎，摩尼圆明；沓(tà)沓乎，露盘屃赑（xìbì）(赑屃:传说中的动物，像龟。旧时石碑座多雕刻成赑屃形状)。碧瓦鳞集，画檐翚(huī)飞，帀(zā)（匝）阑楯而宝鉩(xǐ)（鉨：古“玺”），和鸣镇山川而人天瞻仰。具功德一十五种：消罪业八千万，四千不夜常光，免责备于香火，实一不幸而众幸且甚也。遂书。其延祐改元二月十日之建始，来年五月望日之毕工。系以辞曰：阿阇(shé)（高僧）世藏设利罗，阿育得之出恒河，八万四千起塔婆。后世则之广兴建，四方玲珑成八面，萧梁以前世未见。我此灵庙实大同，起伏二次三鸠工，延祐以来又六冬。清宁仙人德相佛，福缘慈缘普泽物，白花岩头橛(jué)屼(wù)屼。清也薄有铜像缘，两募一举功其圆，尽未来际民福田。常光历刻射牛斗，羌椅椅兮淑吾后，哿(gě)矣富人寿长久。 至治元年二月望日建，皇帝陛下千万寿。",[23,24,7,64,25,133,187,18542,208],"塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e3b0b925128b820dd4472547148a6de.jpg","纵29厘米，横377厘米",[318],{"id":18547,"slug":18548,"title":18549,"dynasty":980,"author":5076,"museum":8958,"description":18550,"tags":18551,"thumbUrl":18552,"material":17163,"size":84,"collection":84,"collections":18553,"showCount":18375,"zanCount":48,"manualWeight":48,"mainColor":72},220601,"gong-chong-ce-ye-mo-e-qi-bai-shi-220601","工虫册页·墨蛾","此作工写相映成趣。几片贝叶以写意出之，赭色晕染叶片，红笔勾勒叶脉，寥寥数笔便带着舒展松弛的野趣，似将秋光揉进纸间。右侧墨蛾则以工细笔法刻画，翅脉纹理纤毫毕现，躯体斑纹层次分明，黑褐晕染厚重通透，将飞蛾朴拙鲜活的姿态精准定格，仿佛振翅欲飞。\n\n简淡写意与精细工笔相互衬映，把乡野日常小景绘得意韵悠长，藏着对檐下秋虫的脉脉温情，以小品之态尽显雅致鲜活的生机，笔底皆是烟火气里的自然意趣。",[24,7,59,28,128,27,17161,549,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbd4614bf0ace25e61b5220a30eff0cc.jpg",[],{"id":18555,"slug":18556,"title":18557,"dynasty":18,"author":18558,"museum":244,"description":18559,"tags":18560,"thumbUrl":18563,"material":317,"size":18564,"collection":42,"collections":18565,"showCount":18375,"zanCount":48,"manualWeight":48,"mainColor":49},220191,"hui-chong-qiu-ye-pan-diao-hui-chong-220191","惠崇秋野盘雕","惠崇","惠崇（965- 1017），福建建阳人，北宋僧人，擅诗、画。作为诗人，他专精五律，多写自然小景，忌用典、尚白描，力求精工莹洁，颇为欧阳修等大家称道；作为画家，他“工画鹅雁鹭鸶，尤工小景，善为寒汀远渚、潇洒虚旷之象，人所难到也”（北宋郭若虚语）。苏轼为惠崇画作《春江晚景》的题诗：“竹外桃花三两枝，春江水暖鸭先知”，名传千古。",[23,164,24,7,27,28,211,171,331,61,18561,18562],"秋野","小景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56df0b08b27fc595e4372d9f087822ef.jpg","23.7x24.9",[42,68],{"id":18567,"slug":18568,"title":18569,"dynasty":222,"author":223,"museum":244,"description":18570,"tags":18571,"thumbUrl":18573,"material":173,"size":18574,"collection":44,"collections":18575,"showCount":18375,"zanCount":1998,"manualWeight":48,"mainColor":49},219410,"huo-lang-tu-zhou-yi-ming-219410","货郎图轴","货郎挑担来到牡丹花下敲锣叫卖，孩童们争相前来，有拿铜钱的、拖玩具小车、打陀螺，还有手上把玩风车，脸上洋溢着欢喜与兴奋。货郎扁担为高肩形式，装饰着一对华丽的蟠龙，这是明代流行的样式。伞盖下悬挂灯笼、葫芦。置物架上内嵌木格，装满了瓶罐、玩具，及福禄寿样貌的泥塑偶人。背景牡丹盛开，桃实累累，充满吉祥意味。",[24,7,165,28,27,96,2218,18572,251,2147],"货郎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5c2e1b92d7b7e924913d4aafee674fb.jpg","183.5x116.3",[44],{"id":18577,"slug":18578,"title":18579,"dynasty":18,"author":223,"museum":77,"description":18580,"tags":18581,"thumbUrl":18582,"material":173,"size":18583,"collection":68,"collections":18584,"showCount":18375,"zanCount":1998,"manualWeight":48,"mainColor":49},218949,"hua-zhu-an-chun-tu-yi-ming-218949","花竹鹌鹑图","绢本之上，墨彩交织出温润古意。数只鹌鹑或低头啄食，或侧耳呼应，羽毛纹理细腻如绒，神态憨态可掬；竹枝挺拔，叶片婆娑，藤蔓缠绕间缀着娇艳花朵，石畔幽草含露，一派生机盎然。画家以精湛写生功底，捕捉自然瞬间的灵动：鹌鹑的互动、花叶的摇曳，皆形神毕肖。整体氛围静谧雅致，似能闻见草木清香，窥见田园一隅的闲适安然，尽显宋画“格物致知”的审美意趣——于细微处见天地，于平淡中藏深情，将寻常景致绘就成耐人寻味的诗意画卷。",[24,7,25,28,27,167,8140,547,355,548,229,4278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72f14da85deeb768a04b8571e1787dcc.jpg","33x179cm",[68],{"id":18586,"slug":18587,"title":18588,"dynasty":144,"author":18589,"museum":244,"description":18590,"tags":18591,"thumbUrl":18592,"material":278,"size":18593,"collection":136,"collections":18594,"showCount":18375,"zanCount":1116,"manualWeight":48,"mainColor":72},218911,"shan-yin-yun-xue-tu-fang-cong-yi-218911","山阴云雪图","方从义","这幅画的构图相当简单，只是在山顶和树上有一股烟和雾。水墨的使用非常丰富，给树木、岩石、云朵和山峰带来不同的表情和质感。画笔充满了水分，云朵和烟雾似乎随着水分漂浮和移动。虽然这幅画很小，但它显示了一种令人兴奋的水墨节奏。",[23,24,7,165,128,132,208,64,133,29,663,950,1556,413,495,131,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6ec60bc5870f2b71d67a4af41f89a6c.jpg","62.6x25.5厘米",[136],{"id":18596,"slug":18597,"title":18598,"dynasty":18,"author":223,"museum":244,"description":18599,"tags":18600,"thumbUrl":18601,"material":173,"size":18602,"collection":136,"collections":18603,"showCount":18375,"zanCount":1116,"manualWeight":48,"mainColor":72},218806,"song-ren-ji-hui-han-shan-xing-lv-yi-ming-218806","宋人集绘-寒山行旅","本页绘一轮明月高悬天际，其下寒江平展，枯树横生蟹爪，景色萧疏空阔。近处坡丘二起，左丘上，古松成双，参差挺峙。松下亭中，有旅人坐憩。两丘间，土桥横江相连，沿著右丘，小径一路蜿蜒东去，丘势亦转成峰，环抱于江渚之后。行旅三两或骑或行，殆欲踏寒归去。山石形若卷云，皴法笔势劲捷，遥山远树则用染与前景分虚实，空间的气氛感颇为独到。",[23,24,164,7,59,132,128,29,663,331,690,96,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8b5a6304e7640a65792a19ed547c98.jpg","25.2x26.3",[136],{"id":18605,"slug":18606,"title":18607,"dynasty":144,"author":223,"museum":18608,"description":18609,"tags":18610,"thumbUrl":18611,"material":173,"size":18612,"collection":136,"collections":18613,"showCount":18375,"zanCount":1105,"manualWeight":48,"mainColor":49},218225,"qing-shan-hua-ge-tu-yi-ming-218225","青山画阁图","朵云轩","此图绘重峦之中的楼阁，游人漫步其中，凭栏远眺，两 只小舟荡于溪水之上。山石的画法受郭熙影响，界画楼阁手法工谨，当属职业画家所创作的山水楼阁画。",[24,7,1349,27,26,132,6844,97,98,99,34,131,2048],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F460d65a40c463c3ffa5784432d4acd69.jpg","170x103cm",[136],{"id":18615,"slug":18616,"title":18617,"dynasty":54,"author":1311,"museum":56,"description":1312,"tags":18618,"thumbUrl":18619,"material":278,"size":1316,"collection":84,"collections":18620,"showCount":18375,"zanCount":48,"manualWeight":48,"mainColor":72},214680,"mei-hua-zhu-shi-tu-ce-8-wang-shi-shen-214680","梅花竹石图册-8",[164,24,7,59,128,371,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a8e419cb950121bdd96f39dcd6d2a1d.jpg",[],{"id":18622,"slug":18623,"title":18624,"dynasty":351,"author":3729,"museum":300,"description":16785,"tags":18625,"thumbUrl":18626,"material":692,"size":1293,"collection":84,"collections":18627,"showCount":18628,"zanCount":48,"manualWeight":48,"mainColor":49},289453,"shi-liu-tu-huang-ju-cai-289453","石榴图",[164,24,7,61,27,28,2035,624,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcfa0285b330e25a9c43ac0ab66d7224.jpg",[],75,{"id":18630,"slug":18631,"title":18632,"dynasty":351,"author":1610,"museum":300,"description":18633,"tags":18634,"thumbUrl":18635,"material":692,"size":1293,"collection":84,"collections":18636,"showCount":18628,"zanCount":48,"manualWeight":48,"mainColor":49},288554,"xiao-xiang-tu-hua-xin-dong-yuan-288554","潇湘图画心","《潇湘图》中表现的是南方山水，图绘一片湖光山色，山势平缓连绵，山峦多用披麻皴，并以墨点渲染山峦之上的植被，平远的构图方式和近景中大片水域的结合，让画面有很强的空间感，更呈现出江南山水的迷蒙。山水之中又有人物渔舟其间，赋色鲜明，趣味横生，为寂静幽深的山林增添了无限生机。\n《潇湘图》被画史视为“南派”山水的开山之作 ，也是中国山水画史上代表性作品之一。",[23,164,24,7,25,128,29,99,129,1351,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeebc0ca9167bf3b40bd6d5a6b3e8cc6.jpg",[],{"id":18638,"slug":18639,"title":18640,"dynasty":124,"author":802,"museum":300,"description":18641,"tags":18642,"thumbUrl":18643,"material":611,"size":84,"collection":44,"collections":18644,"showCount":18628,"zanCount":48,"manualWeight":48,"mainColor":49},237222,"chen-hong-shou-jin-jue-tu-juan-chen-hong-shou-237222","陈洪绶晋爵图卷","陈洪绶（1599年—1652年），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名，晚号老迟、悔迟，汉族，浙江绍兴府诸暨县枫桥陈家村（今 明代著名书画家、诗人。\n年少师事 明亡入 一生以画见长，尤工 所画人物躯干伟岸，衣纹 花鸟等描绘精细，设色清丽，富有装饰味。亦能画 还长于为文学作品创作 其画手法简练，色彩沉着含蓄，其人物画成就，人谓“力量气局，超拔磊落，在仇（英）、唐（寅）之上，盖明三百年无此笔墨”；当代国际学者推尊他为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。",[24,7,25,28,27,96,166,438,131,34,99,1515],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcddd38d94f0d83cb4ba3169e2191ffee.jpg",[44],{"id":18646,"slug":18647,"title":4229,"dynasty":54,"author":4823,"museum":300,"description":4824,"tags":18648,"thumbUrl":18649,"material":84,"size":20,"collection":68,"collections":18650,"showCount":18628,"zanCount":1998,"manualWeight":48,"mainColor":72},236606,"hua-niao-ce-ma-yuan-yu-236606",[24,7,59,27,128,61,355,2438,747],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e74d9e1c5842148c80d29f7995d049e.jpg",[68,45],{"id":18652,"slug":18653,"title":18654,"dynasty":18,"author":18655,"museum":300,"description":18656,"tags":18657,"thumbUrl":18658,"material":84,"size":84,"collection":84,"collections":18659,"showCount":18628,"zanCount":1998,"manualWeight":48,"mainColor":49},232781,"qing-lv-shan-shui-tu-juan-zhao-bo-su-232781","青绿山水图卷","赵伯骕","赵伯骕(1124--1182年)，字希远，宋宗室，赵伯驹弟，官至和州防御史，曾以副使身份出使过金国。他擅长青绿山水，出自唐代李思训的传派并自成一体。",[23,164,24,7,25,26,27,28,29,663,228,34,97,130,98,129,10280,1743],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa254d25dcb7192aa77a3c1e2f7ab64.jpg",[],{"id":18661,"slug":18662,"title":18663,"dynasty":144,"author":569,"museum":244,"description":18664,"tags":18665,"thumbUrl":18666,"material":151,"size":18667,"collection":84,"collections":18668,"showCount":18628,"zanCount":1998,"manualWeight":48,"mainColor":72},231340,"zhu-shi-tu-yuan-dai-ji-jin-zhi-yi-zhao-meng-fu-231340","竹石图－元代集锦之一","此幅赵孟頫《枯木竹石》画中书法的笔法，比之于其它常见的名件，本件在画石的“飞白法”，由于画石是都用中锋的圆笔，犹如“玉箸篆”的笔画，行笔安稳，并无强烈的快速感，显不出“飞白法”。这也兼见于画枯木条的笔法。画竹为新篁，出锋锐利如新硎发刃，从“结叶”的方法如“燕尾”、如“个”，及棘条圆体感，比之于其它备件，如同为台北故宫藏大德三年（1299己亥，为杨安甫作）的《疏林秀石》最为接近。本件《枯木竹石》款：“子昂为成之作”，书风与印记：“赵子昂印”，也是相同。真品应无疑义。因此，本件可定为1299年作。就元代论，画竹尚是注重生态，若比之于同时期的李衍（1244年-1320年），赵孟頫如“燕尾”、如“个”的竹叶结组，重视笔趣远高于自然生态。更由于纸张稍熟，吸墨性不强，对岩石的渲染加强了块面感与浑厚的端重。吴升《大观录》记此画：“竹则掩翠稍寒，柯则若虬蟠形古，气韵奕奕。”安仪周：“水墨作怪石平坡，细竹棘革，笔墨气韵兼美。”是对整体画作气息的描述。\n存世的赵孟頫“古木竹石”这一类题材尚多。横向发展的兰竹画，存世的几件作品，都是“中央为准”，两旁再布置。这一当门的大石，也正是“石如飞白”的标志。大有一石当关，昂扬于天地之间。这从前举台北故宫藏《疏林秀石》（《宋元集绘册》第四开）；《无款竹木》（《宋元集绘册》第十一开）；北京故宫藏《秀石疏林》；克利夫兰馆的《竹石幽兰》（为善夫），再加以本件《枯木竹石》均是如出一辙的布局。即使换成是轴装直件，以北京故宫藏《古林竹石》，中央立石最为标准。至若台北故宫《窠木竹石》；王己干旧藏《枯树竹石》，画中立石都可做如此观。这种同样的布局，一再出现，意味着什么呢？或许这是庭园、郊野一角的即景？\n就竹的题材，从赵孟頫的题款常写道“为口口作”，表示元代以来，画家常用之以为投赠。这因笔砚间，画竹画兰便利。对于“竹”的意识，赵孟頫在他的《松雪斋集》《修竹赋》：“虚其心实其节，贯四时而不改柯易叶。则吾以是观君子之德。”表意是相当传统。画竹配上的“石”，赵孟頫的诗文里，未见有所指示。再以虞集咏《子昂竹石》：“数尺琅开近玉阶，连昌宫苑少人来。庚庚苍石如人立，恐有题名上紫苔。”的“庚庚苍石如人立”，“庚庚”是坚强，也将石拟人化，还是与“观君子之德”相同了。",[24,7,128,132,167,1314,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb050c2489317ffbfaa32479f5913e8.jpg","纵99．4厘米，横48．2厘米",[],{"id":18670,"slug":18671,"title":18672,"dynasty":54,"author":9864,"museum":300,"description":18673,"tags":18674,"thumbUrl":18675,"material":692,"size":1293,"collection":84,"collections":18676,"showCount":18628,"zanCount":1998,"manualWeight":48,"mainColor":72},230858,"lin-tian-wang-song-zi-tu-yu-zhi-ding-230858","临天王送子图","禹之鼎（1647年—1716年），中国清代画家。字尚吉，一字尚基，一作尚稽，号慎斋。后寄籍江都。擅山水、人物、花鸟、走兽，尤精肖像。初师蓝瑛，后取法宋元诸家，转益各师，精于临摹，功底扎实。肖像画名重一时，有白描、设色两种面貌，皆能曲尽其妙。形象逼真，生动传神。有《骑牛南还图》《放鹇图》《王原祁艺菊图》等传世。",[23,24,7,25,187,188,96,13695,772,949,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2a2ab40be6165dd013479e508c193e.jpg",[],{"id":18678,"slug":18679,"title":18680,"dynasty":124,"author":18045,"museum":300,"description":18681,"tags":18682,"thumbUrl":18683,"material":84,"size":84,"collection":84,"collections":18684,"showCount":18628,"zanCount":1086,"manualWeight":48,"mainColor":72},228912,"tao-hua-yuan-tu-qian-gu-228912","桃花源图","此作以长卷铺展江南水村，开篇烟波澹荡，远渚含烟，水鸟凌虚翔集，渔舟泛于微波之上，渔人或垂纶独钓，或呼友聚谈，野趣盎然。\n\n沿岸柳丝拂水，桃林绽艳，村舍隐于茂林间，处处是武陵桃源般的恬然烟火。笔墨清润秀雅，淡设色浅淡明净，汀渚草木以写意出之，简括生动，人物虽寸豆之姿却形神宛然。将陶潜笔下的避世幽境，化作可观可感的江南闲居图卷，淡墨轻岚间，漾开文人心底的出世幽怀，尽显吴门画派的温婉逸致。",[23,24,7,25,128,27,132,28,29,96,209,99,129,1351,211,98,130,2059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44fb6b1339fc9b39427ac5cbdcb7f124.jpg",[],{"id":18686,"slug":18687,"title":18688,"dynasty":124,"author":204,"museum":300,"description":18689,"tags":18690,"thumbUrl":18691,"material":84,"size":84,"collection":84,"collections":18692,"showCount":18628,"zanCount":48,"manualWeight":48,"mainColor":49},228439,"er-shi-si-xiao-tu-ye-chou-ying-228439","二十四孝图页","此作工致清雅，以细腻笔触绘就林间饲象图景。白象以淡墨皴擦晕染皮肤褶皱，肌理温润厚实，鼻卷白润之物，神态温驯静和。童子倚树而立，衣纹爽利简练，安然望向白象，神态松弛自若。古柳垂枝如幄，树身疤结刻画入微，惊掠的飞鸟打破林间静谧，动静相生，晕染出悠然古意。整幅设色调和雅致，无浓艳堆砌，将寻常伴象日常晕染出静穆恬然的古典氛围，尽显工笔画的精工雅致，于细节处可见精妙观察力，把畜兽憨态、人物安然与林间清景融为一体，平和之中藏着隽永的东方意趣。",[24,7,59,28,27,96,949,211,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff505fe06d0930a18151ddd26d291ddce.jpg",[],{"id":18694,"slug":18695,"title":18696,"dynasty":144,"author":223,"museum":2068,"description":18697,"tags":18698,"thumbUrl":18701,"material":151,"size":18702,"collection":84,"collections":18703,"showCount":18628,"zanCount":1998,"manualWeight":48,"mainColor":956},223593,"bai-yi-guan-yin-tu-zhou-yi-ming-223593","白衣观音图轴","此作用淡墨白描写就，线条清劲圆转如兰叶拂风，将观音衣袂的舒展柔曼尽数铺陈。菩萨安坐枯木之上，神态恬寂慈悲，身罩圆光，愈发显得清宁出尘。一旁净瓶斜插柳枝，暗点禅意。背景寥寥数笔勾勒寒江枯石，简淡空寂，烘托出幽远澄澈的水月之境。画首题诗暗合观心见性的禅思，笔墨极简却神完气足，以空灵之境托出观音自在无染的悲悯之态，尽显简逸高古的审美意趣，淡远清和之中，悠悠禅韵扑面而来。",[23,24,7,165,187,188,96,689,131,18699,18700],"净瓶","线描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F650731d393f311c93711e07f496fca71.jpg","83x39",[],{"id":18705,"slug":18706,"title":18707,"dynasty":54,"author":5276,"museum":1376,"description":18708,"tags":18709,"thumbUrl":18710,"material":611,"size":18711,"collection":136,"collections":18712,"showCount":18628,"zanCount":48,"manualWeight":48,"mainColor":72},222634,"fu-gui-qing-gao-tu-gao-feng-han-222634","富贵清高图","高凤翰 （1683—1748）清朝，原名翰，字西园，号南村，别号因地、因时、因病等40多个，晚署南阜左手等，山东胶州人。一说“扬州八怪”之一。自幼能诗画，诗宗陆游，画先从父，后从胶州李世锡、淄州靳秋水、安邱张氏父子等，早年即已成名〔清雍正六年（1728）以前的画，现各地珍藏多幅〕。19岁时，中秀才，后应乡试不第。雍正五年，应“贤良方正”特试，名列第一。赴任前，漫游山东、河南、江西等地，广交名人，并有诗集《击林集》、《湖海集》。金石书画造诣很高，治砚更有独到研究。\n工书、画，善山水，纵逸不拘于法，纯以气胜，兼北宋之雄浑，元人之静逸。花卉亦妙是天趣。老年患风 ，右臂不仁，用左手作画，笔益苍辣，故号尚左生，归云老人，博学精艺，尤豪于诗，早为王士祯所赏识。性嗜砚，所藏至千余，大半手琢，自为铭词。因刻“丁巳残人”“尚左生”二印，官徽州绩溪县令，有政声，康熙五十九年（1720）客安邱张卯居家，张为作《南村草堂图》，西园为作《杞城别墅图》以报之，乾隆十二年（1747）为其孙攀鳞作《寒香图》卷，有《砚史》、《南阜诗抄》。卒年六十六岁。（按高凤翰生卒年，王伯敏《中国绘画史》作（16338-1719），享年八十二岁；秦岭云《杨州八家丛话》作（1863-1749）六十七岁。其说不一，待考。\n雍正十一年官泰州巡盐分司。去职后流寓扬州。工于山水，花卉，山水师法宋人，近赵令穰、郭熙一路，中年以后，到了江南，与扬州画派画家如金农、郑燮、高翔、李方膺、边寿民等相往还，画风相互影响，多作花卉树石，笔法奔放，纵逸不拘成法。亦能画人物，造型准确，神态潇洒秀逸。晚年则趋于奔放纵逸。乾隆二年丁巳右臂病发，坚持用左臂，自号后尚左先、丁巳残人，艰苦力学，书、画为之一变，生拗苍劲，更富奇趣，为时所称。传世画迹有南京博物院藏《层雪炉香图》轴、中央美术学院藏《秋山读书图》轴等。\n工书法，善篆刻，喜收藏，精鉴赏，曾收藏秦汉印章及明清名家制印至万余方，各制有谱录，又收藏砚石至千百方，并制有铭词，手书后大半自行刻凿，著有《砚史》等行世。\n亦被列为扬州八怪之一。有《南阜山人全集》等著作传于世。",[23,164,24,7,25,27,128,61,133,840,208,168,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e34057c86c9d6e4d85db7601af0f57.jpg","567.8x21.1",[136,117],{"id":18714,"slug":18715,"title":18716,"dynasty":54,"author":18717,"museum":524,"description":18718,"tags":18719,"thumbUrl":18721,"material":253,"size":18722,"collection":44,"collections":18723,"showCount":18628,"zanCount":48,"manualWeight":48,"mainColor":49},222523,"zhu-shou-tu-zhou-wang-wen-wei-222523","祝寿图轴","王文炜","寿星和梅花鹿是这一题材必备的图像，婴戏图表示多子，也代表了吉祥的寓意，除此之外本图中还描绘了对坐书案的两位文仕，为本图平添了高雅的情趣。画面设色妍雅，笔墨生动。",[23,24,7,164,165,27,28,96,2218,18720,2302,1144,131,99,12406],"老人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca9cf9fe0adff55e94e42726ea4c7077.jpg","80X160",[44,45],{"id":18725,"slug":18726,"title":18727,"dynasty":124,"author":2268,"museum":244,"description":18728,"tags":18729,"thumbUrl":18730,"material":3544,"size":18731,"collection":136,"collections":18732,"showCount":18628,"zanCount":48,"manualWeight":48,"mainColor":72},220944,"shi-deng-fei-liu-zhou-dong-qi-chang-220944","石磴飞流轴","石磴飞流图是董其昌72岁时游昆山玉峰山途中在船上所画，此时他刚辞去南京礼部尚书回乡。这幅作品为董氏艺术成熟期的作品，虽不是他一生众多画作中最重要之作，但却是“以笔墨精妙论山水不及画”的笔墨论实践之作。\n董其昌自22岁学画，到中年时期与陈继儒联手反对“吴门”末学之俗，开创并打造儒雅的松江画派，“与古人血战”，临仿了大量古画后，在晚年更加注重笔墨表现，注重内心表达。他用极高的书法造诣，以“南宗”自诩，追求“一超直入如来地”之境，把绘画视为笔墨游戏。",[23,24,7,165,128,132,64,133,29,1314,99,1144,34,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fda8d74c54c52559b8ba3589a42552e.jpg","147.1×55.8cm",[136,117],{"id":18734,"slug":18735,"title":18736,"dynasty":124,"author":2268,"museum":244,"description":18737,"tags":18738,"thumbUrl":18739,"material":611,"size":18740,"collection":136,"collections":18741,"showCount":18628,"zanCount":48,"manualWeight":48,"mainColor":72},220939,"qi-feng-bai-yun-tu-zhou-dong-qi-chang-220939","奇峰白云图轴","董其昌《奇峰白云图轴》，纵273厘米，横58.9厘米，中国台北故宫博物馆藏。董其昌，字玄宰，号思白，华亭（今上海）人。万历十六年进士，官至礼部尚书。精鉴藏，工书善画。山水宗董巨，集宋元诸家之长。倡南北宗论，以南宗为正统，对清代画坛影响甚巨。\n\n此轴董氏描绘山村小景，境本寻常。奇峰矗立于天外，云影项洞于林表，遂觉景况清爽，分外宜人。画山画树皆用淡墨起手，逐层加浓。树中如有烟气，山色明净而郁厚，盖皆用墨之功也。\n\n由于勤奋和高寿，董其昌一生创作了许多山水画，“早年英锐，中年苍润，晚年纯以骨力胜”。据著录所载，董氏作品之多，在明代画家中仅有文征明可与之相比。这些山水画的题材比较丰富，大致可分为两类：一类是仿古名家的作品，如仿王维《寒林远岫图》、仿董源《夏口待渡图》、仿巨然《出云降雨图》、仿米芾《潇湘白云图》、仿王诜《烟江叠嶂图》、仿赵伯驹《春山读书图》、仿米友仁《楚山清晓图》、仿赵令穰《江乡清夏图》、仿高克恭《夏山烟雨图》、仿黄公望《富春山居图》、仿王蒙《云山小隐图》、仿倪瓒《横云秋霁图》、仿沈周《岚容川色图》等。这类作品虽称仿作，但不是模拟蹈袭，而是在学习前人技法的同时，融以自己的风格，含有继承传统、进而创新的成分。\n\n另一类是独自的创作，如《升山图》（现藏南京博物院）、《遥峰泼翠图》、《山川出云图》、《赠逊之山水图册》、《秋兴八景图册》（现藏上海博物馆）、《岩居图》、《潇湘奇观图》（现藏故宫博物院）、《霜林秋思图》、《婉娈草堂图》（现藏台北士林故宫博物院）、《山水八景图》（现藏美国普林斯顿大学美术馆）、《江山秋霁图》（现藏美国克里夫兰美术馆）等。",[23,24,7,165,128,132,64,208,29,11802,10851,34,35,131,31,37,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e37fd90d7727b977ad5b9503509c64c.jpg","纵273厘米,横58.9厘米",[136,117],{"id":18743,"slug":18744,"title":18745,"dynasty":124,"author":2268,"museum":244,"description":7282,"tags":18746,"thumbUrl":18747,"material":7285,"size":84,"collection":136,"collections":18748,"showCount":18628,"zanCount":48,"manualWeight":48,"mainColor":49},220935,"fang-fan-kuan-xi-shan-xing-lv-tu-dong-qi-chang-220935","仿范宽谿山行旅图",[24,7,29,330,132,128,27,131,496,34,690,497,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6af289c5e3cc8977a1679c323cf75a.jpg",[136,117],{"id":18750,"slug":18751,"title":18752,"dynasty":124,"author":8819,"museum":8363,"description":18753,"tags":18754,"thumbUrl":18755,"material":173,"size":18756,"collection":68,"collections":18757,"showCount":18628,"zanCount":48,"manualWeight":48,"mainColor":49},220315,"li-hua-shuang-jiu-tu-yu-yuan-220315","梨花双鸠图","陶渊明的诗作在清新自然的氛围中营造了一种恬淡宁静、纯朴自然的境界，这正是老庄艺术境界与人生境界的合一。钱选追慕陶渊明式的的隐逸生活，他曾画了多幅《归去来图》以示对陶潜的景仰之情，画中曾经题诗：“衡门植五柳，东篱采丛菊。长啸有余清，无奈酒不足。当世宜沈酣，作色召侮辱。乘兴赋归欤，千载一辞独。”钱选的传世作品《柴桑翁像》卷描绘陶渊明头戴明纱巾，脚着木屐，携杖款款而行的样子。画中题道：“晋陶渊明得天真之趣，无青州从事而不可陶写胸中磊落，尝命童子佩酒以随，故时人模写之。余不敏，亦写此以况。”可见钱选是借陶渊明来书写胸臆，仿陶潜之隐逸，寻道老庄，建自身之心隐，表达对陶潜自喻的隐居素志和平淡生活情趣的田园生活的向往，钱选在生活和绘画创作中极力营造心目中“桃花源”，一个平和、繁华但又远离尘世，隐心俗世之外，又从世外深情俯视人间之境。",[23,24,7,165,28,27,61,1188,12454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f327fd3c66d28a0a0a4df196d628d00.jpg","97cm×30.2cm",[68],{"id":18759,"slug":18760,"title":18761,"dynasty":124,"author":18762,"museum":20,"description":18763,"tags":18764,"thumbUrl":18765,"material":173,"size":18766,"collection":136,"collections":18767,"showCount":18628,"zanCount":1998,"manualWeight":48,"mainColor":49},220077,"yan-dang-shan-tu-ye-cheng-220077","雁荡山图","叶澄","此图描绘的是位于浙江省境内号称东南第一山的北雁荡山。画卷徐徐展开，一处处风景逐渐展现，按作者以小字标出的各处风景的名称，计有石门潭、章毅楼、石佛岩、石樑洞、灵风洞、罗汉洞、净明寺、蓼花峰、响岩等。作者对景写生，笔底风景各具奇姿，虽仅是雁荡山的一部分，却已展现出它的奇秀特色和壮阔气势。\n图中作者行笔尖峭细劲，山间林木、点景人物乃至溪边乱石均刻画细致。山岩的外轮廓线方折挺劲，山体内部则将一种尖峭而锐利的短皴线与短促劲健的小斧劈皴相结合，同时以墨加色淡施晕染。繁密细劲的用笔与丰富的用色使画面气氛趋于活跃，极好地表现出雁荡山奇异、秀美的景色特征。远山空勾轮廓，染以花青，山间云气迷濛，更加强了画面的层次感。\n叶澄传世作品极少，而此图艺术水平之高堪称杰作。正如清初著名收藏家梁清标对此图的评价：“堪称希世宝。……不啻超出乎唐、宋、元各大家名迹矣。”",[23,24,7,25,128,27,29,132,663,497,34,37,99,1645,11802],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6534892800d8681db97877a358ee5574.jpg","纵35厘米，横290.3厘米",[136,45],{"id":18769,"slug":18770,"title":18771,"dynasty":54,"author":9704,"museum":450,"description":10839,"tags":18772,"thumbUrl":18773,"material":66,"size":10842,"collection":136,"collections":18774,"showCount":18628,"zanCount":48,"manualWeight":48,"mainColor":72},219758,"shan-shui-si-jing-zhi-dong-kun-can-219758","山水四景之冬",[23,24,7,128,29,1233,331,129,99,131,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e12908bdfbb0b49c1ea3f005a312023.jpg",[136],{"id":18776,"slug":18777,"title":1230,"dynasty":54,"author":872,"museum":450,"description":18778,"tags":18779,"thumbUrl":18780,"material":66,"size":84,"collection":136,"collections":18781,"showCount":18628,"zanCount":48,"manualWeight":48,"mainColor":72},219756,"shan-shui-tu-zhu-da-219756","以枯淡笔墨绘就天地疏景，线条老辣苍劲，不作浓艳晕染，大片留白代水映天，尽显空寂辽远。远山浅勾轻皴，淡宕朦胧如幻，近木虬曲怪诞，寥寥枝桠撑住清寒风骨。屋舍隐于林间坡岸，愈发衬出天地阒寂。\n\n整幅画将孤高沉郁藏在极简构图里，冷逸萧索的意境下，是遗世的喟叹，简淡笔触中尽是疏离孤傲的心境，于空荒冷寂间，晕开独有的禅意与沉郁诗意。",[23,24,7,128,369,132,29,1337,131,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fb58644b54bbcc9aee7fe0bc1916a47.jpg",[136],{"id":18783,"slug":18784,"title":1140,"dynasty":124,"author":802,"museum":6620,"description":6621,"tags":18785,"thumbUrl":6623,"material":173,"size":84,"collection":44,"collections":18786,"showCount":18628,"zanCount":48,"manualWeight":48,"mainColor":956},219592,"pin-cha-tu-chen-hong-shou-219592",[24,164,7,165,28,27,208,96,171,81,2144,170],[44],{"id":18788,"slug":18789,"title":8685,"dynasty":54,"author":18790,"museum":56,"description":18791,"tags":18792,"thumbUrl":18794,"material":173,"size":84,"collection":44,"collections":18795,"showCount":18628,"zanCount":48,"manualWeight":48,"mainColor":72},218481,"ying-xi-tu-hua-nie-218481","华喦","冬日雪后，稚童们围聚戏雪。有的掬雪塑形，指尖翻飞间雪团渐成朦胧佛影；有的俯身拾趣，眉眼间满是专注与欢喜。人物勾勒简括灵动，衣纹线条流转自然，雪地以淡墨晕染留白相映，清逸中透着融融暖意。旁题“儿童亦爱西成佛”，将童真嬉戏与禅意悄然融合，雅趣横生。笔墨兼工带写，既捕捉孩童憨态可掬的神情，又融入文人闲情逸致，画面鲜活而富有韵致，似能听见雪地里清脆的笑语，尽显生活之趣与艺术之美。",[23,24,7,128,27,96,18793,8832,1556,208,133],"儿童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c292e75fb05f70d009d0f38e72f3e82.jpg",[44],{"id":18797,"slug":18798,"title":18799,"dynasty":18,"author":2099,"museum":300,"description":18800,"tags":18801,"thumbUrl":18802,"material":317,"size":18803,"collection":42,"collections":18804,"showCount":18628,"zanCount":48,"manualWeight":48,"mainColor":49},218095,"bai-miao-shou-lie-tu-juan-li-gong-lin-218095","白描狩猎图卷","白描狩猎图卷是一幅巨大的屏风画，共有四卷，每卷长约10米，宽约1.5米。它描绘了一场盛大的狩猎活动，其中参加狩猎的人物有皇帝、皇后、王子和贵族，以及许多官员和太监。画面中还有各种各样的动物，包括骏马、鹿、鸟和兔子。\n\n李公麟的白描狩猎图卷以其精细的绘画技巧和丰富的内容而闻名。他使用了白色和黑色的墨水，在白色的底纸上绘制出细腻的线条。他还使用了许多细节，比如服装上的绣花和皇家徽章，以及动物身上的斑点和杂毛。\n\n白描狩猎图卷被认为是宋朝绘画史上的杰作，也是李公麟最著名的作品之一。它不仅是一幅精美的艺术品，还是对当时宋朝社会、文化和政治的重要记录。",[23,164,24,7,25,188,96,29,101,5490,949,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca98a46e48106d01d0de91429a75d903.jpg","36.8×819",[42],{"id":18806,"slug":18807,"title":18808,"dynasty":54,"author":4468,"museum":244,"description":18809,"tags":18810,"thumbUrl":18811,"material":173,"size":18812,"collection":44,"collections":18813,"showCount":18628,"zanCount":1998,"manualWeight":48,"mainColor":72},216939,"yuan-ben-qin-can-tu-yuan-juan-yi-tan-lang-shi-ning-216939","院本亲蚕图（元卷 诣坛）","手卷中钜细靡遗地绘出迤逦的随员行列、声势壮盛的仪仗、采桑的命妇、盛装端坐观礼的皇后，画风精细工整，设色明丽。皇后的形象虽小，但一丝不茍，宛如肖像画般具有个人特性，与郎世宁所绘〈高宗帝后像〉中的皇后像十分接近，当为有所凭据而作，而且很可能是出自郎世宁之手。本院同时也收藏有孝贤皇后亲手为乾隆绣作的荷包，表示连位尊权贵的皇后都不能免於女红的训练。",[23,24,7,25,28,27,95,96,97,34,98,247,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa035dbde6b9f77803cb1de96015f22ca.jpg","51x762.8",[44],{"id":18815,"slug":18816,"title":18817,"dynasty":124,"author":1438,"museum":56,"description":1439,"tags":18818,"thumbUrl":18819,"material":278,"size":1442,"collection":84,"collections":18820,"showCount":18628,"zanCount":1998,"manualWeight":48,"mainColor":72},214637,"hua-hui-ce-7-chen-chun-214637","花卉册-7",[24,7,164,59,188,128,61,62,374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3b2974bf4ec5459eccc42f92e9af5dc.jpg",[],{"id":18822,"slug":18823,"title":18824,"dynasty":124,"author":1438,"museum":56,"description":1439,"tags":18825,"thumbUrl":18826,"material":278,"size":1442,"collection":84,"collections":18827,"showCount":18628,"zanCount":1116,"manualWeight":48,"mainColor":72},214634,"hua-hui-ce-10-chen-chun-214634","花卉册-10",[24,7,128,369,61,62,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1816b08e47e171a4226eb7de71f9d8d2.jpg",[],{"id":18829,"slug":18830,"title":18831,"dynasty":54,"author":5879,"museum":1941,"description":10317,"tags":18832,"thumbUrl":18833,"material":611,"size":10320,"collection":84,"collections":18834,"showCount":18628,"zanCount":48,"manualWeight":48,"mainColor":49},214348,"san-jue-shan-shui-ce-14-hua-yan-214348","三绝山水册-14",[23,164,24,7,59,128,27,29,171,99,9613,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19d67cc398c207896647efc1727e533f.jpg",[],{"id":18836,"slug":18837,"title":181,"dynasty":182,"author":183,"museum":300,"description":3585,"tags":18838,"thumbUrl":18839,"material":692,"size":1293,"collection":84,"collections":18840,"showCount":18841,"zanCount":48,"manualWeight":48,"mainColor":72},289986,"ba-shi-qi-shen-xian-juan-wu-dao-zi-289986",[23,164,24,7,25,188,96,187,13695],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82ff0a4375f3f773c38c1951165e4cfe.jpg",[],74,{"id":18843,"slug":18844,"title":18845,"dynasty":18,"author":18846,"museum":244,"description":18847,"tags":18848,"thumbUrl":18849,"material":253,"size":18850,"collection":84,"collections":18851,"showCount":18841,"zanCount":48,"manualWeight":48,"mainColor":72},289352,"pi-pa-shou-dai-tu-xu-chong-si-289352","枇杷绶带图","徐崇嗣","徐崇嗣，北宋画家。徐熙孙。擅画草虫、禽鱼、蔬果、花木及蚕茧等。其画初承家学，因不合当时图画院程式和风尚，遂改学黄筌、黄居寀父子。后自创新体，所作不用墨笔钩勒，而直接以彩色晕染，世称“没骨图”，也称“没骨花”。兄徐崇勋、弟徐崇矩，均擅画花鸟，崇矩并工士女。",[164,24,7,1131,61,27,60,918,211,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3638daf283762690d69128dce425c2f8.jpg","25.7x27.8",[],{"id":18853,"slug":18854,"title":18855,"dynasty":18,"author":1091,"museum":300,"description":5332,"tags":18856,"thumbUrl":18857,"material":692,"size":1293,"collection":84,"collections":18858,"showCount":18841,"zanCount":48,"manualWeight":48,"mainColor":72},288998,"xiao-xiang-zhu-shi-tu-chang-juan-su-shi-288998","潇湘竹石图（长卷）",[23,164,24,7,25,128,29,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F929d6054d285cd272a95cd49b582caaf.jpg",[],{"id":18860,"slug":18861,"title":18862,"dynasty":18,"author":1449,"museum":300,"description":18863,"tags":18864,"thumbUrl":18865,"material":692,"size":1293,"collection":84,"collections":18866,"showCount":18841,"zanCount":48,"manualWeight":48,"mainColor":49},288933,"mei-hua-xiao-qin-tu-ma-lin-288933","梅花小禽图","马麟，麟一作驎，钱塘（今浙江杭州）人。南宋画家。马世荣之孙，马远之子。\n生卒年不详。其父马远是宋光宗、宋宁宗两朝（1190～1224）画院待诏，马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。宁宗嘉泰间（1201～1204）授画院祗候，颇得宁宗赵扩、恭圣皇后杨氏及杨妹子称赏，每于父子画上题句。在《层叠冰绡图》中题诗云：“浑如冷蝶宿花房，拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。”",[164,24,7,3291,28,371,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F409ebebdf13e9db3de88b59744e8ff28.jpg",[],{"id":18868,"slug":18869,"title":18870,"dynasty":54,"author":3403,"museum":300,"description":8089,"tags":18871,"thumbUrl":18872,"material":692,"size":1293,"collection":84,"collections":18873,"showCount":18841,"zanCount":1998,"manualWeight":48,"mainColor":72},288474,"cun-bian-xing-hua-bai-jing-xin-wu-chang-shuo-288474","村边杏花白镜心",[23,24,7,61,27,2167,34,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F061ca737f5bff74392f446ad17f4d8e5.jpg",[],{"id":18875,"slug":18876,"title":18877,"dynasty":182,"author":6287,"museum":300,"description":18878,"tags":18879,"thumbUrl":18880,"material":692,"size":1293,"collection":84,"collections":18881,"showCount":18841,"zanCount":48,"manualWeight":48,"mainColor":72},288361,"jiang-gan-xue-ji-tu-wang-wei-288361","江干雪霁图","王维的水墨画风，几乎影响着中唐以后的中国山水画发展的全部历史。至少可以说，占据中国古代山水画主流的文人画，都接受了王维的影响。苏轼的“诗中有画，画中有诗”的赞语，奠定了王维在中国绘画史上的地位。明朝董其昌的文人画理论，把文人画的内涵，全部具体化于王维，称王维是南宗画之祖。",[23,164,24,7,25,128,29,1813,1337,35,31,131,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18c80dfbf2d7b2f44a1ccaf36b3e7de.jpg",[],{"id":18883,"slug":18884,"title":18885,"dynasty":18,"author":1323,"museum":300,"description":18886,"tags":18887,"thumbUrl":18888,"material":692,"size":1293,"collection":84,"collections":18889,"showCount":18841,"zanCount":1116,"manualWeight":48,"mainColor":72},285064,"xi-hu-tu-juan-li-song-285064","西湖图卷","以纸本水墨图绘西湖全景，画中心突出明净湖水，四围群山环绕，雷峰塔、孤山、双峰插云、断桥诸名胜皆隐现于烟锁雾迷之中，画风上于马远、夏圭之外，自出机杼。 全图工笔和写意兼用，墨色清淡洗炼，并充分发挥渲染功能，使湖上晨霭晓雾和旖旎春光跃然纸上。",[23,164,24,7,25,128,29,97,129,99,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6099983a79040c7157e7afea0e72b08.jpg",[],{"id":18891,"slug":18892,"title":18893,"dynasty":54,"author":4992,"museum":300,"description":18894,"tags":18895,"thumbUrl":18896,"material":84,"size":84,"collection":136,"collections":18897,"showCount":18841,"zanCount":48,"manualWeight":48,"mainColor":72},237876,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237876","杨晋仿古山水册","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。\n杨晋是清代宫廷画家，以画界画见长，他能恰到好处地发挥传统工笔界画的特长，把人工建筑的楼阁台榭及人物举止和天然山水景色紧密结合起来，在结构上作了极好的剪裁，满而不闷，画风细致明秀、娟丽清新，层次过渡非常自然。《石谷骑牛图》绘石谷悠然骑于牛背之上，神态安详平和，状写简逸传神。石谷即清代大画家王翚，也是杨晋的老师。",[24,7,59,27,29,132,330,98,99,331,663,211,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e76ccbd855cb58e9845ece47e79c5f.jpg",[136,45],{"id":18899,"slug":18900,"title":18901,"dynasty":54,"author":872,"museum":20,"description":18902,"tags":18903,"thumbUrl":18904,"material":1722,"size":18905,"collection":68,"collections":18906,"showCount":18841,"zanCount":1116,"manualWeight":48,"mainColor":72},237621,"gu-mei-tu-zhou-zhu-da-237621","古梅图轴","图绘一株古梅树，根部无土，树心中空，旁枝上数朵梅花盛开，显示出顽强的生命力。根据画中的自题诗：“梅花画里思思肖”而知，此图是朱耷仿宋遗民画家郑思肖画兰不着土、以暗示国土为异族人所夺之意的画作，表达了他对明朝的怀念之情。图中用笔苍健有力，线条粗犷，多方硬曲折。施墨枯润结合，富有表现力。此图是朱耷中年时期的代表作。\n本幅朱耷自题三首，分别款署：“驴屋驴书”，钤“字日年”朱文印；“壬小春又题”，钤“驴”朱文印；“夫婿殊驴”。“壬小春”是指清康熙二十一年（1682年），朱耷时年57岁。\n幅下有罗朝汉题记。鉴藏印有“惠祖斋”朱文印、“大兴刘铨福家世守印”白文印。",[24,7,165,128,369,371,331,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d898d1a97529363294d5d785eed0c86.jpg","纵96厘米，横55厘米",[68],{"id":18908,"slug":18909,"title":18910,"dynasty":124,"author":18090,"museum":300,"description":18911,"tags":18912,"thumbUrl":18913,"material":692,"size":1293,"collection":84,"collections":18914,"showCount":18841,"zanCount":48,"manualWeight":48,"mainColor":49},234705,"lan-ying-sun-di-he-hua-zhu-shi-shan-ye-lan-ying-234705","蓝瑛、孙杕合画竹石扇页","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。",[24,7,1131,128,132,167,1314,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F119a1b06275fa3ac945a043c4ba8219d.jpg",[],{"id":18916,"slug":18917,"title":18918,"dynasty":124,"author":18919,"museum":20,"description":18920,"tags":18921,"thumbUrl":18922,"material":734,"size":84,"collection":84,"collections":18923,"showCount":18841,"zanCount":1998,"manualWeight":48,"mainColor":72},234199,"mei-hua-juan-lu-fu-234199","梅花卷","陆復","陆复，明代人，字明本，自号梅花主人，江苏吴江人。善画墨梅。",[23,24,7,164,25,128,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71088b2bdc23a064be93938e4fef182c.jpg",[],{"id":18925,"slug":18926,"title":18927,"dynasty":124,"author":204,"museum":300,"description":18928,"tags":18929,"thumbUrl":18930,"material":84,"size":84,"collection":84,"collections":18931,"showCount":18841,"zanCount":1998,"manualWeight":48,"mainColor":49},228449,"tao-cun-cao-tang-chou-ying-228449","桃村草堂","《桃村草堂图》明代 创作的绢本设色画，现收藏于北京故宫博物院。\n该图画一老者襟带飘然，风度高雅。\n栖居环境十分优美雅适，高山流水，小桥人家，苍松翠柏，桃花盛开，白云缭绕，草堂幽雅，凉亭洁静，宛如人间仙境。\n整幅画意境如诗入仙，画法精细工瑾，细致入微。\n通幅大青绿着色，色彩艳丽深重。\n这幅画是把滴翠的石绿、秀雅的淡赭、温润的墨色，自然和谐地统一在一起，具有一种不媚不俗的艺术效果。\n图中信步在浓郁的树荫下者即项元淇，他侧身而立，身穿宽服大衫，面目清秀，襟带飘然，风度翩翩，显得十分儒雅，为此图中的主人公：此画以山水为背景，景物十分繁复，远处，高山叠幛，山峰林立，山巅屹立，高峰两侧山势相应较矮小，形成“山”字形，山峦间白云缭绕，更远处的山头隐约可见山涧飞瀑高悬，奔腾直泻，叠泉涌流，水花四溅，汇集下部溪水中，溪水湍流，潺潺流淌：中部为山石嶙峋，有的竖立，有的横卧，错落有致，山石间松柏挺拔，与杂树并茂，山腰、山坳处桃花绽开，几乎染红半山腰，呈现出一派浓浓的春意。\n在苍松翠柏丛中，在半山腰的平坡处，座落草堂屋宇数间，半掩于山坡奇石之间，在桃林中筑孤亭，亭中几席书籍清晰可见，草堂四周环境十分优美，凉亭洁净，正是读书吟诗的好场所，宛如人间仙境。\n小溪从亭旁缓缓流过，溪流小桥上有一童子捧着书卷而来，一人从林荫深处向溪边缓步前来，此人正是主人翁项元淇。\n另有二童子，一在溪边洗砚，一携包屋前。\n清代昆度在边题中称“此图在十父图中亦足称第一。\n” 董其昌题跋：“仇实甫临宋画无不乱真，就中学赵伯驹者，更有出蓝之能，虽文太史让费及矣，此图是也。\n” 款识：“仇实父为少岳先生制。\n”画幅左方有明项元汴题“季弟元汴敬藏”。\n裱边左、右有子固、董其昌二跋。\n下裱徐石雪长跋。\n又有项元汴、耿信公、清高宗等鉴藏印二十方。\n此图是仇英为项元淇所绘。\n项元淇，宁子瞻，丁诗文草书。\n这所桃村草堂是项元淇的居处所，仇英在4岁左右被大鉴赏家、收藏家项元汴请至家中，在项家住了十年之久，为项氏绘画和临摹了大量作品，此《桃村草堂图》便是其中之一幅。\n据徐石雪题跋考证，画中老者即为项元淇。\n由于作者为主人绘制，所以落墨、设色十分认真。\n章法采用传统的“高远”构图法。\n画幅中虽景物繁多，尤其崇山峻岭，山峦叠嶂，可是在画家笔下山峰脉络清晰，山石用传统的勾勒手法，兼用细密的皴法和墨色的烘染，使山石富于质感和立体感：全画设色艳丽浓重，又不失淡雅的韵味。\n此画成功之处，还于突出桃村草堂的主人公项元淇的形象。\n主人公项元淇虽在整个画面中占的比例很小，但画家巧妙地将主人公安置于画面下方正中，身穿白色宽服长衫，特别醒目。\n同时，又注意到人物之间的比例关系，使主人公很自然地融汇到大自然之中。\n同时，画家十分巧妙地在亭子中陈设书籍，及溪边童子洗砚和一童子捧书过桥的情节，以此来说明主人公是一个文人雅士。\n北京故宫博物院研究员单国强：《桃村草堂图》藏于北京故宫博物院，学“二赵”青绿法，精细鲜丽，呈晚年本色画风。\n该图经清内府收藏，后为徐石雪所得。\n未见著录。\n现藏于北京故宫博物院。\n仇英（约1498—1552），字实父，号十洲，江苏太仓人，明代杰出画家。\n仇英早年曾是个油漆工，后改学画，师周臣。\n仇英善于摹古，不拘一家一派。\n人物、鸟兽、山水、楼观、舟车之类，都是他常描绘的对象。\n他的画题材广泛，风格工整秀丽，深受当时地主富商的喜爱。\n仇英的人物画最为精妙，尤其是仕女图，既工设色，又善水墨、白描，能运用多种笔法表现不同对象，或婉转舒畅，或劲丽艳爽，创历史风俗的新格，画风流丽纤巧，在当时反响很大，与沈周、文征明、唐寅并称为“明四家”。\n代表作有《松溪论画图》《汉宫春晓图》《桃园仙境图》《玉洞仙源图》《春夜宴桃李园图》等。",[23,24,7,165,27,28,26,29,96,130,34,99,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d7c8993b1840527a365334fa6a6479.jpg",[],{"id":18933,"slug":18934,"title":18935,"dynasty":54,"author":2640,"museum":300,"description":18936,"tags":18937,"thumbUrl":18938,"material":84,"size":84,"collection":84,"collections":18939,"showCount":18841,"zanCount":1116,"manualWeight":48,"mainColor":72},224366,"hua-hui-si-ping-zhi-er-ju-lian-224366","花卉四屏之二","此作用笔秀雅工丽，素白牡丹以淡墨勾瓣，浅红晕染花心，柔润饱满如凝脂，尽展雍容柔媚之态。墨色叶片浓淡参差，苍润交错，衬出花之洁雅清贵。\n嶙峋湖石以水墨皴擦勾勒，孔洞玲珑古朴，刚硬质感与柔美花株相映，刚柔相济。飞蜂振翅穿行花间，灵动鲜活，为静谧花景添了盎然生机，动静之间尽显春日花下恬然意趣。\n设色明秀清雅，无艳俗之气，兼具写生之真与写意之韵，将花木情态勾勒入神，藏着悠然清逸的文人雅趣。",[23,164,24,7,165,28,27,61,263,4279,131,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee9fa90dceefd3869dc23af99f9a1298.jpg",[],{"id":18941,"slug":18942,"title":18943,"dynasty":54,"author":18944,"museum":300,"description":18945,"tags":18946,"thumbUrl":18947,"material":611,"size":84,"collection":318,"collections":18948,"showCount":18841,"zanCount":1998,"manualWeight":48,"mainColor":4001},223267,"xin-jing-hong-yi-fa-shi-223267","心经","弘一法师","李叔同（1880年10月23日－1942年10月13日），又名李息霜、李岸、李良，谱名文涛，幼名成蹊，学名广侯，字息霜，别号漱筒。\n李叔同是著名音乐家、美术教育家、书法家、戏剧活动家，是中国话剧的开拓者之一。他从日本留学归国后，担任过教师、编辑之职，后剃度为僧，法名演音，号弘一，晚号晚晴老人，后被人尊称为弘一法师。\n1913年受聘为浙江两级师范学校（后改为浙江省立第一师范学校）音乐、图画教师。1915年起兼任南京高等师范学校音乐、图画教师，并谱曲南京大学历史上第一首校歌。1942年10月13日，弘一法师圆寂于泉州不二祠温陵养老院晚晴室。\n李叔同的诗词在近代中国文学史上同样占有一席之地。他年轻时，即以才华横溢引起文坛瞩目。客居上海时，他将以往所作诗词手录为《诗钟汇编初集》，在“城南文社”社友中传阅，后又结集《李庐诗钟》。出家前夕，他将清光绪二十六至三十三年（1900—1907年）间的20多首诗词自成书卷。其中就有《留别祖国并呈同学诸子》、《哀国民之心死》等不少值得称道的佳作，表现了作者对国家命运和民生疾苦的深切关注。出家前的五六年间，他还有30余首歌词问世。这些作品，通过艺术的手法表达了人们在相同境遇中大都会发生的思想情绪，曾经风靡一时，有的成为经久不衰的传世之作。\n弘一法师对联语也有浓厚兴趣，并有极高的鉴赏和创作水平。尤其是出家后，大师为各地寺院和缁素撰写的诸多嵌字联语，更表现出他的奇思妙想和深厚的艺术功底。他在宣传佛法导引终生佛化过程中，将联语这一形式作为劝人为善的巧妙手段。他书写的那些内容深刻、极富哲理的名联，现也成为警示后人的一笔宝贵的文化艺术财富。",[23,64,7322,187,572,208,7,25,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe27ec99b239906b44c4d50798a9bb840.jpg",[318],{"id":18950,"slug":18951,"title":18952,"dynasty":124,"author":1438,"museum":205,"description":4072,"tags":18953,"thumbUrl":18954,"material":1223,"size":4076,"collection":84,"collections":18955,"showCount":18841,"zanCount":48,"manualWeight":48,"mainColor":72},222570,"hua-hui-tu-9-chen-chun-222570","花卉图9",[23,164,24,7,369,128,27,61,62,549,171,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0f0254a2eb9eb07ea7e50656f0f7475.jpg",[],{"id":18957,"slug":18958,"title":18959,"dynasty":124,"author":10632,"museum":20,"description":18960,"tags":18961,"thumbUrl":18962,"material":2239,"size":18963,"collection":68,"collections":18964,"showCount":18841,"zanCount":48,"manualWeight":48,"mainColor":199},222444,"kong-que-tu-zhou-lin-liang-222444","孔雀图轴","图绘雌雄孔雀一双，立于石上，旁有修竹数竿。\n孔雀是自然界鸟类中羽毛色彩最为绚丽的一种，是生活在南方的禽鸟，古代在北方除去皇宫御苑几乎无人能够豢养，寻常百姓更是无缘得见，因此这一题材本身即透露出宫廷气息。\n与众多以工笔重彩表现孔雀的作品相比，林良此作纯用水墨，用笔粗简，仅在孔雀的头颈和尾羽处作精致的勾勒，充分发挥了“墨分五色”的丰富变化，使黑白的水墨也产生出缤纷绚丽的夺目效果。伴以竹石为背景，愈增添了清雅野逸的意趣。",[23,24,7,165,128,369,61,248,167,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec841a14c5d417972a86639dc89581e2.jpg","纵155.3厘米，横78厘米",[68,117],{"id":18966,"slug":18967,"title":18968,"dynasty":124,"author":204,"museum":20,"description":1523,"tags":18969,"thumbUrl":18971,"material":40,"size":1527,"collection":84,"collections":18972,"showCount":18841,"zanCount":48,"manualWeight":48,"mainColor":72},222189,"ren-wu-gu-shi-tu-zhuo-liu-hua-tu-chou-ying-222189","人物故事图-捉柳花图",[23,24,7,28,27,59,96,4363,35,29,99,6640,5268,247,18970],"地面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f4e6ab2a4ef0d6aec4e0ebef87e333.jpg",[],{"id":18974,"slug":18975,"title":18976,"dynasty":124,"author":204,"museum":20,"description":1523,"tags":18977,"thumbUrl":18978,"material":40,"size":1527,"collection":84,"collections":18979,"showCount":18841,"zanCount":48,"manualWeight":48,"mainColor":72},222186,"ren-wu-gu-shi-tu-nan-hua-qiu-shui-chou-ying-222186","人物故事图-南华秋水",[23,24,7,59,28,27,29,96,99,98,34,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa97b45609e2c083db0ccce468498ced4.jpg",[],{"id":18981,"slug":18982,"title":18983,"dynasty":18,"author":18984,"museum":12686,"description":18985,"tags":18986,"thumbUrl":18987,"material":40,"size":18988,"collection":42,"collections":18989,"showCount":18841,"zanCount":1998,"manualWeight":48,"mainColor":49},221680,"song-shan-xing-lv-tu-li-shan-221680","松杉行旅图","李山","图中一排劲松顶天立地，犹如一天然屏嶂，背景雪山寒雾之中，隐现雪竹、庭院、溪流，立意别出心裁，技法有北宋李成画风的迹象。",[23,164,24,7,165,128,132,29,372,1314,96,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93a9d7a7b39ad254c492ab8c13f18c80.jpg","163.6*107.2CM",[42,136,117],{"id":18991,"slug":18992,"title":18993,"dynasty":18,"author":7264,"museum":20,"description":18994,"tags":18995,"thumbUrl":18996,"material":18997,"size":18998,"collection":84,"collections":18999,"showCount":18841,"zanCount":1998,"manualWeight":48,"mainColor":72},221487,"xiao-xiang-qi-guan-tu-juan-mi-you-ren-221487","潇湘奇观图卷","本幅无款印，后纸自题一段：“先公居鎮江四十年，作庵於城之東高崗上，以海岳命名，一時國士皆賦詩，不能盡記。翰林承旨翟公詩：‘楚米仙人好樓居，植梧崇岡結精廬。下瞰赤縣賓蟾鳥，東西跳丸天馳驅。腹藏萬卷胸垂胡，論議如何決九渠。掀髯送目遊八區，欲叫虞舜浮蒼梧。'云云，餘不能記也。此卷乃庵上所見，大抵山水奇觀，變態萬層，多在晨晴晦雨間，世人鮮複知此。余生平熟瀟湘奇觀，每於登臨佳處，輒複寫其真趣成長卷以悅目，不俟驅使爲之，此豈悅他人物者乎。此紙滲墨，本不可運筆，仲謀勤請不容辭，故爲戲作。紹興乙卯孟春建康□□官舍，友仁題。羊毫作字，正如此紙作畫耳。”乙卯为绍兴五年（1135年），米友仁50岁。后纸另有薛羲、葛元喆、吴匏硕、贡师泰、邓宇志、董其昌等宋、元、明14家题跋。\n米友仁为北宋著名书画家米芾长子，父子两人共创“米家山水”。此图绘米友仁十分熟悉的潇湘奇观景致，深得其“变态万层”之“真趣”。开卷便是浓云翻滚，隐现出远山坡脚，随着云气的飘动变幻，逐渐显露出山形，重迭起伏的峰峦影影绰绰地展现于团团白云中。中段山川始露出清晰真容，主山屹立，尖峰高耸，树丛映带，沙渚数重，甚富高远和深远感。结尾处山色又渐趋淡远，唯近处林岸、草庐明晰。自首至尾，迷濛、清明以及远近、浓淡，几度变幻，奥妙莫测。\n时隐时显，忽明忽晦，迷濛又富有变化，故时人谓他“善画无根树，能描朦胧云。”(汤垕《画鉴》)同时他也很讲究笔法，以大笔触的遒劲笔法来泼染水墨，墨随笔走，在大笔涂染块面中，多有纵点、横点、落茄点和不规则的破笔点，亦见连勾带擦的线条。笔与墨的有机结合，使米氏云山兼具滋润和沉郁的特色。\n清·郁逢庆《书画题跋记》、卞永誉《式古堂书画汇考》、吴升《大观录》、顾文彬《过云楼书画记》等书著录。",[23,24,25,128,132,7,64,133,208,29,496,37,34,12424],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0617af63570b0d4a59d0dc7f30ea9f0d.jpg","茧纸本，墨笔","纵19.8厘米，横289厘米",[],{"id":19001,"slug":19002,"title":19003,"dynasty":18,"author":313,"museum":300,"description":19004,"tags":19005,"thumbUrl":19010,"material":19011,"size":19012,"collection":318,"collections":19013,"showCount":18841,"zanCount":1116,"manualWeight":48,"mainColor":72},221275,"li-hua-shi-huang-ting-jian-221275","梨花诗","原诗共20首诗，本帖缺失。题头序：梨花诗，外甥孙莘老以梨花唱和诗寄余索和，夫诗生于情，不情而何以诗？余自黔还戎多日，苦思情由何生？虽然，抚景伤时，不能已也，遂步韵如左。 山谷道人黄庭坚。",[23,7,64,25,133,1188,623,247,1556,19006,19007,547,130,2373,228,9404,19008,19009],"月","春","香","影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee9aa84b78c39a13f5b32c23ac63de5b.jpg","行楷，碑帖拓本","29X272cm",[318],{"id":19015,"slug":19016,"title":19017,"dynasty":18,"author":223,"museum":244,"description":19018,"tags":19019,"thumbUrl":19021,"material":173,"size":19022,"collection":42,"collections":19023,"showCount":18841,"zanCount":1998,"manualWeight":48,"mainColor":49},221238,"xue-lu-shuang-yan-zhou-yi-ming-221238","雪芦双雁轴","描绘的是寒冬汀岸一隅，四只雁栖息于芦苇丛下的岸边，有的仰天引颈而望，有的蹲伏理翎，另外二只掠空飞起。构图极其简洁，大致属于边角结构，芦苇、坡石、芦雁自左下角向内延伸，其余部分大片留白，形成清远空旷的意境",[23,164,24,7,165,28,27,61,19020,1824,211,1813,229],"双雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1c1047960693bbada4ff966b1451860.jpg","174.6x99.5",[42,68,45],{"id":19025,"slug":19026,"title":19027,"dynasty":124,"author":2268,"museum":510,"description":19028,"tags":19029,"thumbUrl":19030,"material":19031,"size":19032,"collection":136,"collections":19033,"showCount":18841,"zanCount":48,"manualWeight":48,"mainColor":72},220955,"xiao-xiang-bai-yun-tu-dong-qi-chang-220955","潇湘白云图","董其昌，字玄宰，号思白，华亭（今上海）人。万历十六年进士，官至礼部尚书。精鉴藏，工书善画。山水宗董巨，集宋元诸家之长。倡南北宗论，以南宗为正统，对清代画坛影响甚巨。\n此轴董氏描绘山村小景，境本寻常。奇峰矗立于天外，云影项洞于林表，遂觉景况清爽，分外宜人。画山画树皆用淡墨起手，逐层加浓。树中如有烟气，山色明净而郁厚，盖皆用墨之功也。\n由于勤奋和高寿，董其昌一生创作了许多山水画，“早年英锐，中年苍润，晚年纯以骨力胜”。据著录所载，董氏作品之多，在明代画家中仅有文征明可与之相比。这些山水画的题材比较丰富，大致可分为两类：一类是仿古名家的作品，如仿王维《寒林远岫图》、仿董源《夏口待渡图》、仿巨然《出云降雨图》、仿米芾《潇湘白云图》、仿王诜《烟江叠嶂图》、仿赵伯驹《春山读书图》、仿米友仁《楚山清晓图》、仿赵令穰《江乡清夏图》、仿高克恭《夏山烟雨图》、仿黄公望《富春山居图》、仿王蒙《云山小隐图》、仿倪瓒《横云秋霁图》、仿沈周《岚容川色图》等。这类作品虽称仿作，但不是摸拟蹈袭，而是在学习前人技法的同时，融以自己的风格，含有继承传统、进而创新的成分。\n另一类是独自的创作，如《升山图》（现藏南京博物院）、《遥峰泼翠图》、《山川出云图》、《赠逊之山水图册》、《秋兴八景图册》（现藏上海博物馆）、《岩居图》、《潇湘奇观图》（现藏故宫博物院）、《霜林秋思图》、《婉娈草堂图》（现藏台北士林故宫博物院）、《山水八景图》（现藏美国普林斯顿大学美术馆）、《江山秋霁图》（现藏美国克里夫兰美术馆）等。",[23,24,7,25,128,133,132,663,950,34,35,149,499,415,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3151f35931331bfc154487fa44cd8cf8.jpg","长卷，纸本水墨","纵29.3厘米，横340.8厘米",[136,117],{"id":19035,"slug":19036,"title":19037,"dynasty":144,"author":569,"museum":244,"description":19038,"tags":19039,"thumbUrl":19040,"material":151,"size":19041,"collection":318,"collections":19042,"showCount":18841,"zanCount":48,"manualWeight":48,"mainColor":956},220854,"xiao-jing-juan-zhao-meng-fu-220854","孝经卷","翰林沈粲卷首题字:赵松雪金书 赵孟頫书法《孝经》\n唐明皇御制孝经序。\n朕闻上古其风朴略",[7,64,7322,133,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf115e029874b7da4e01e6d1ada44155.jpg","25.5x878.7",[318],{"id":19044,"slug":19045,"title":19046,"dynasty":124,"author":125,"museum":244,"description":19047,"tags":19048,"thumbUrl":19049,"material":278,"size":19050,"collection":117,"collections":19051,"showCount":18841,"zanCount":1998,"manualWeight":48,"mainColor":72},219524,"guo-suo-tu-shen-zhou-219524","郭索图","该图是幅淡墨写意作品。“酒醉菊黄蟹正肥”，是雅俗共赏的著名的诗句。南方江浙一带的画家与市民每逢秋季无不饮酒食蟹。画家作此画的画意亦在于此。画幅的中间部位画清水大阐蟹一只，坚实如锯齿般的双螯，如钳子似的夹住稻穗，蟹壳尖楞突出，如一把把锐利尖刀，爬沙横行于水草之间。蟹爪过处，如闻郭索之声，故以此名命。此当为江南水乡深秋时节，这是稻谷、大豆已成熟，临近收割，这正是螃蟹最肥壮的时期“过雨黄花千蕊发，经霜紫蟹两螯肥”。正是“持螯赏菊”的良宵佳时。技法上，体黑，先用淡墨画蟹壳、蟹脚，勾勒而成，用焦墨画爪尖和蟹壳回凸，然后用浓墨渲染双蟹螯，形成体白，黑白相间，极有韵趣。其背景稻穗一根，用笔随意，草草点染，似不经意一挥而成。此画可谓为大画家沈周戏墨之作，随物赋形，但却形神兼备，可见他写生的功力之深厚。画幅上端有作者自题款:“郭郭索索，还用草缚。不敢横行，沙水夜落。沈周。”钤“石田”白文印。此图经清内府收藏。画幅右上端有乾隆题赞",[164,24,128,369,7,208,3794,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3862c7b20f88c912c2f1841c8d16126c.jpg","纵49.4 厘米，横31厘米",[117],{"id":19053,"slug":19054,"title":19055,"dynasty":124,"author":19056,"museum":244,"description":19057,"tags":19058,"thumbUrl":19059,"material":66,"size":19060,"collection":68,"collections":19061,"showCount":18841,"zanCount":1116,"manualWeight":48,"mainColor":72},219450,"xian-sui-xiang-ying-zhou-chen-gua-219450","献岁祥霙轴","陈栝","此幅绘水仙、腊梅、茶花、竹枝、文禽，山石雪景。用笔灵动，设色清雅。",[24,7,165,28,27,61,371,355,167,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccf87f356fe872769882685c6c3b9a98.jpg","161.6x43.1厘米",[68],{"id":19063,"slug":19064,"title":19065,"dynasty":54,"author":19066,"museum":56,"description":19067,"tags":19068,"thumbUrl":19069,"material":66,"size":19070,"collection":44,"collections":19071,"showCount":18841,"zanCount":48,"manualWeight":48,"mainColor":72},219425,"shui-hui-yuan-ya-ji-tu-zhou-dai-cang-219425","水绘园雅集图轴","戴苍","此画记录了冒辟疆等名士在其私家园林水绘园中的一次雅集。园中山水清远，松荣菊艳，一位僧人打坐石下。两位文人在树下品茶论茗，神态怡然。画面中心石桌前一位老者展卷沉吟，正要落笔作画，另一人据案闲坐，须发尽白，是座中年纪最长的，据画上题跋，已有八十三岁。而画面正中扶手竹椅上坐着的正是此时六十五岁的水绘园主人冒辟疆，他正慈祥看着自己的孙子若有所思。",[164,24,7,165,27,28,96,29,34,497,1144,2145,2144,10090],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed7cdd29f797fe827316b5107f1946d5.jpg","纵146厘米，横72.9厘米",[44],{"id":19073,"slug":19074,"title":19075,"dynasty":18,"author":223,"museum":244,"description":19076,"tags":19077,"thumbUrl":19078,"material":173,"size":19079,"collection":42,"collections":19080,"showCount":18841,"zanCount":48,"manualWeight":48,"mainColor":72},218809,"jie-hua-lou-ge-1-yi-ming-218809","界画楼阁1","这幅画描绘了一个山间别墅的庭院，有雕花栏杆和奇花异木，这应该是一个富裕家庭的家。这座建筑的风格与署名为马麟的亭子相似，这幅画可以追溯到南宋时期。",[23,24,7,59,95,27,97,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88f6e3d094caae67171695fac9a80a22.jpg","23.7x26.4",[42],{"id":19082,"slug":19083,"title":19084,"dynasty":144,"author":15528,"museum":224,"description":19085,"tags":19086,"thumbUrl":19087,"material":317,"size":19088,"collection":136,"collections":19089,"showCount":18841,"zanCount":48,"manualWeight":48,"mainColor":49},218718,"huang-lou-fu-tu-xia-yong-218718","黄楼赋图","这幅画宽度仅有二十多厘米，却无比精细的描画了整个黄楼，窗边饮酒赋诗的文人。用蝇头小楷写了苏辙的千字文“黄楼赋”。还有驾鹤西游的神仙。",[23,24,7,95,188,128,97,29,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6345fb2b38d0c73179bba1049f675384.jpg","20.6x26.7cm",[136,117],{"id":19091,"slug":19092,"title":19093,"dynasty":144,"author":18493,"museum":244,"description":19094,"tags":19095,"thumbUrl":19097,"material":66,"size":19098,"collection":44,"collections":19099,"showCount":18841,"zanCount":48,"manualWeight":48,"mainColor":72},216952,"mi-tuo-fo-xiang-zhang-wo-216952","弥陀佛像","这幅弥勒佛烧香招蝠是竹园二年的张渥题写的，不是真迹，更接近明末人物画家的风格。",[24,7,27,28,187,96,1337,875,1314,2824,19096,208],"书籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4241a4efd980f7cd16dde56a1e854820.jpg","87.5x30.4",[44],{"id":19101,"slug":19102,"title":19103,"dynasty":54,"author":5879,"museum":244,"description":5880,"tags":19104,"thumbUrl":19105,"material":66,"size":84,"collection":84,"collections":19106,"showCount":18841,"zanCount":48,"manualWeight":48,"mainColor":72},214838,"xie-sheng-ce-22-hua-yan-214838","写生册-22",[54,24,7,59,128,188,369,96,9633],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17ac13a3bc2bde43bcc3d0fb90535d38.jpg",[],{"id":19108,"slug":19109,"title":19110,"dynasty":144,"author":569,"museum":244,"description":19111,"tags":19112,"thumbUrl":19113,"material":317,"size":19114,"collection":318,"collections":19115,"showCount":18841,"zanCount":48,"manualWeight":48,"mainColor":49},214387,"zhou-jin-tang-ji-zhao-meng-fu-214387","昼锦堂记","这幅画以欧阳修的《相州昼锦堂记》为蓝本，形式内敛，笔墨苍劲，充满力量和动感，深受李北海的影响。这是他去世前两年制作的，当时他67岁。",[24,7,64,133,165,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cf3612f1e652db68fe741e63032b48c.jpg","159.3x54",[318],{"id":19117,"slug":19118,"title":19119,"dynasty":182,"author":464,"museum":300,"description":19120,"tags":19121,"thumbUrl":19123,"material":692,"size":1293,"collection":84,"collections":19124,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":956},288966,"xiao-yi-zhuan-lan-ting-tu-yan-li-ben-288966","萧翼赚兰亭图","《萧翼赚兰亭图》是唐代画家阎立本创作的绘画，原本已佚。现存三本宋代摹本，北宋摹本藏于辽宁省博物馆，南宋摹本藏于台北故宫博物院，还有一本宋代摹本藏于北京故宫博物院。\n北宋摹本和南宋摹本大体相同，都是以辩才和尚与萧翼为中心，图左一老一少正在煮茶。不同之处在于，北宋本画一童仆手抱《兰亭记》从右方出来，而南宋本则是在辩才和尚与萧翼之间，画一侍立僧人。画面简单，若无画题提示会以为是高僧与文士的茶会雅集而已，但实际上描绘的是萧翼从辩才和尚手中骗取王羲之《兰亭序》的故事。北京故宫藏本相对较简略，左侧没有煮茶的人。",[164,24,7,27,96,187,208,19122,2144,28],"历史画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81c426edbd3947eb221f92714358728a.jpg",[],73,{"id":19127,"slug":19128,"title":19129,"dynasty":18,"author":223,"museum":300,"description":19130,"tags":19131,"thumbUrl":19132,"material":692,"size":1293,"collection":84,"collections":19133,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":49},288938,"yang-huang-hou-ti-tao-hua-tu-yi-ming-288938","杨皇后题桃花图","此作以极简构图托出幽淡春意，斜逸的桃枝自右下角探入，留白铺陈出空寂古雅的画境。花瓣以淡白晕染，勾勒出柔润轮廓，嫩萼新芽轻缀枝上，鲜活又沉静。题句与花木相映，将桃花经岁方开的清贵尽数铺展，朱红印鉴点缀留白处，晕染出古雅的文人情致。\n整幅笔致精细秀雅，不着浓艳，只以素净笔墨写尽桃花幽婉之姿，将静穆淡远的审美意趣藏于花枝间，淡而愈真，清而弥永，尽揽春日花木的娴静品格。",[24,7,61,209,28,27,64,572,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe700220cab28166479f4448ef8bcad84.jpg",[],{"id":19135,"slug":19136,"title":19137,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":19138,"thumbUrl":19139,"material":84,"size":84,"collection":318,"collections":19140,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":72},238316,"dong-gao-tang-hua-si-yong-zhou-dong-gao-238316","董诰唐花四咏轴",[24,7,165,28,27,61,263,603,374,375,169,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265a9b103f69a3bf5301103660d3bc32.jpg",[318],{"id":19142,"slug":19143,"title":19144,"dynasty":124,"author":223,"museum":244,"description":19145,"tags":19146,"thumbUrl":19148,"material":611,"size":19149,"collection":44,"collections":19150,"showCount":19125,"zanCount":1116,"manualWeight":48,"mainColor":49},237238,"ming-ren-chun-jing-huo-lang-tu-zhou-yi-ming-237238","明人春景货郎图轴","货郎图自宋代以降，常被画家引为表现主题。此幅无名款，画春日郊园中，桃花初绽，新柳泛绿，杂草野卉丛生於小溪石畔。柳荫下停放一货担，架上满置鸟笼，笼中鸟色品种殊异，四周并缀有各式童玩。",[24,7,165,27,28,96,18793,19147,263,62,4364,251],"货郎担","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ca9ee63e0c5ff0337a9862fc0de7a0.jpg","196.8x104.3",[44],{"id":19152,"slug":19153,"title":19154,"dynasty":124,"author":802,"museum":300,"description":19155,"tags":19156,"thumbUrl":19157,"material":84,"size":84,"collection":44,"collections":19158,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":49},237159,"guan-yin-zhou-chen-hong-shou-237159","观音轴","陈洪绶（1599～1652），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名，晚号老迟、悔迟，汉族，浙江绍兴府诸暨县枫桥陈家村（今诸暨市枫桥镇陈家村）人。明末清初书画家、诗人。\n年少师事刘宗周，补生员，后乡试不中，崇祯年间召入内廷供奉。明亡入云门寺唻洎为僧，后頭樤还俗，以卖画为生。享誉明末画坛，与当时的顺天崔子忠齐名，号称“南陈北崔”。名作《九歌图》《屈子行吟图》《插图》《水浒叶子》《博古叶子》等，工诗善书，有《宝纶堂集》。\n1652年去世。",[24,7,165,187,96,28,27,81,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fc28aeb4164075d3d687abc7936a726.jpg",[44],{"id":19160,"slug":19161,"title":4071,"dynasty":54,"author":1472,"museum":300,"description":19162,"tags":19163,"thumbUrl":19164,"material":692,"size":1293,"collection":68,"collections":19165,"showCount":19125,"zanCount":1998,"manualWeight":48,"mainColor":72},235697,"hua-hui-tu-ce-zou-yi-gui-235697","邹一桂（1688年－1772年）清代官员，画家。字原褒，号小山，又号让卿，晚号二知老人，江苏无锡人。雍正五年二甲第一名进士，授翰林院编修。历官云南道监察御史、贵州学政、太常寺少卿、大理寺卿、礼部侍郎，官至内阁学士。擅画花卉，学恽寿平画法，风格清秀。曾作《百花卷》，每种赋诗，一经进呈，皇上亦赐题绝句百篇，一桂复写一卷，恭录御制于每种之前，而书己作于后，藏于家。著有《小山画谱》、《大雅续稿》。",[24,7,59,28,27,61,547,747,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc8572a0ccd2626980bd110f0ac70b1c.jpg",[68,45],{"id":19167,"slug":19168,"title":19169,"dynasty":124,"author":19170,"museum":300,"description":19171,"tags":19172,"thumbUrl":19174,"material":692,"size":1293,"collection":84,"collections":19175,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":72},235582,"yu-chuan-zhu-cha-tu-zhou-ding-yun-peng-235582","玉川煮茶图轴","丁云鹏","图中描绘出唐代名士卢仝煮茶的情景，是丁云鹏晚年创作的工笔精细画作。卢仝（约796—835年），济源人，祖籍范阳（今河北涿州），早年隐居少室山，自号玉川子，后移居洛阳。诗文俱佳，曾作《月蚀诗》以刺时政，得到韩愈的称赞。性好饮茶，所作《茶歌》中句多奇警。画面上的卢仝身着便服，头戴襆巾，手持羽扇，单腿盘坐于芭蕉前的青石上，背后怪石嶙峋，修竹碧绿，两名仆人在旁侍候。卢仝目不转睛地注视着火上的茶炉，全神贯注的神情被刻划得细致入微。画面花、竹、芭蕉笔笔刻画工整，怪石的阴阳、纹理交代清晰，赋色清淡冷隽，葱翠欲滴，闲和严静的幽雅气氛直扑人面。人物衣纹则用飘洒不群的高古游丝描，或清圆细劲的铁线描，以区别不同质地的衣料，显示出画家别具匠心之处。全图的绘画技巧变化多样而风格基调统一，人物神情生动，树石生机勃勃，笔法如行云流水，超然出众",[164,24,7,165,27,28,96,167,8070,10701,99,62,2144,19173,247],"长袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe1a43a9c64722e33546b4e6cdbb8bfa.jpg",[],{"id":19177,"slug":19178,"title":3042,"dynasty":54,"author":3043,"museum":300,"description":19179,"tags":19180,"thumbUrl":19181,"material":84,"size":84,"collection":84,"collections":19182,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":72},235012,"pi-pa-tu-xu-gu-235012","有“晚清画苑第一家”之誉的虚谷，曾与吴昌硕、任伯年并称为“海派画坛三杰”。 虚谷一生萍踪浪迹，精通佛禅兼知老庄，在艺术创造上敢于破格创新，是位不同流俗的一代奇才。\n虚谷的画，轻快利索、明净空灵，将清冷飘逸的超脱精神与强烈的生命活力交织在一起，有着水彩画般的透明感。无论是色彩创意、造型语言、构成图式还是笔墨个性，虚谷都突破了传统规范，每一幅作品都会给人耳目一新和精神为之一振的感觉，在晚清画坛可谓独树一帜，吴昌硕盛赞他为“一拳打破去来今”。\n虚谷是位全才型的画家，花鸟、人物、山水皆精，而平凡的蔬菜瓜果一经他的生花妙笔，立刻化为秀雅鲜活的动人形象。由此可见，虚谷是在用蘸满感情的笔墨，抒发着自己热爱自然、憧憬人间美景的情志。作于1896年的《枇杷图》（如图），便是他的一幅笔墨精绝的传世名作。\n绘制这幅画时，虚谷已经是73岁的高龄，然而画面如此精气逼人，真仿佛如有神助。画中一丛长势壮盛的枇杷枝干直挺，一派峥嵘之气。构图顶天立地，布满全幅，用逆笔和枯笔粗细有致地画出了鲜明的节奏感。下方足足四分之一的画面以虚而淡的笔法和色调，衬托出上部鲜艳的果实无比鲜嫩可人、水灵欲滴，使观者的目光情不自禁地上移，也使枇杷树在无形之中有了蓬勃向上的生姿，顿生明媚而祥瑞的意境。\n虚谷在画中的行笔是十分快捷的，在信手挥洒中以精练的笔墨一气呵成，却并无急躁之感。他以含水量很大的湿笔从上到下舞动，而湿笔中又时不时地露出飞白，使人感到沐浴在阳光和雨露中的枇杷树是如此的滋润明洁。从最浓的树叶到最淡的树叶，竟然找不到两片完全相同的，也找不到两个完全相同的果实，真是按部就班、主次分明。虚谷在造型中参用了西洋油画的方法，以虚为主，虚实相生，虽然随手点染却又在漫不经意中显得统一而连贯，使整个画面宁静、安逸、祥和又明亮，反映出画家超凡的自信、深厚的修养和随心所欲的自由境界。\n名画家陈小蝶在《近代六十名画家传》评价道：“虚谷和尚用笔如风雨骤至，灵气透出纸背，无一笔滞相。”虚谷一生寄情于书画，安享着“一树梅花天地春”的恬适，这幅画中就透露出了画家看空名利、追求身心和悦的心境，令人悠然神往。",[24,7,61,27,128,208,918],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F869b939dcfafda528edfa62e15da9aa6.jpg",[],{"id":19184,"slug":19185,"title":19186,"dynasty":124,"author":223,"museum":300,"description":19187,"tags":19188,"thumbUrl":19191,"material":84,"size":84,"collection":84,"collections":19192,"showCount":19125,"zanCount":1998,"manualWeight":48,"mainColor":49},232909,"fang-xu-xi-hua-niao-tu-juan-yi-ming-232909","仿徐熙花鸟图卷","徐熙，鍾陵（今進賢西北）人，生卒年不詳，出身世家，「世為江南顯族」。但一生沒有出仕做官，因此後世稱他為「江南布衣」或「南唐處士」。他的藝術成就，集中體現在不同凡響的落墨花鳥畫創作方面。在當時，這種畫的畫法不同於一般傳統的技法，而是大膽創新。它的出現，曾引發了一些遵從傳統技法的畫家的震驚和敵視。\n中國花鳥畫成為獨立的藝術，比人物畫、山水畫稍晚，唐代雖然出現了不少名家，但直到五代南唐徐熙和西蜀黃荃兩家的出現，花鳥畫壇才放出了異彩。\n徐熙、黃荃都是中國繪畫史上影響深遠的大畫家，但繪畫風格不同，宋代流行一句話：「黃荃富貴，徐熙野逸」。王安石盛讚徐熙的畫名滿江南，成就卓著。劉道醇的《聖朝名畫評》將徐熙的作品列為「花竹翎毛門」的神品第一名，認為他「與造化之功不甚遠，宜乎為天下冠也」。\n眼光獨特的北宋書畫大家米芾認為徐熙的畫法富於變化，不為常規所有，用普通的追求形色相似的臨摹方法無法描摹、激賞其藝術上的獨創價值。\n徐熙是一位多產的畫家，宋《宣和畫譜》所載藏於御府的畫目中，徐熙的畫有249種。流傳於世間的重要作品有《寒蘆野鴨》《花竹雜禽》《魚蟹草蟲》《雪竹圖》《百鳥圖卷》等，因其開創了中國寫意花鳥畫的先河，時稱「江南花鳥，始於徐家」。",[23,24,7,25,27,28,330,64,61,211,248,722,34,131,4278,19189,81,19190],"日","鸟类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90011eff47e64f1294d5d515d140a732.jpg",[],{"id":19194,"slug":19195,"title":19196,"dynasty":54,"author":3718,"museum":56,"description":19197,"tags":19198,"thumbUrl":19200,"material":611,"size":19201,"collection":84,"collections":19202,"showCount":19125,"zanCount":1998,"manualWeight":48,"mainColor":72},231483,"jiu-xi-feng-he-tu-hong-ren-231483","九谿峰壑图","弘仁（1610-1664），俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后出家为僧，字无智，号渐江，又号梅花古衲。安徽歙县人。山水学宋元笔意，直追元代的倪瓒，多写黄山松石，为清初“四画僧”之一。\n\n所画山水有强烈的写实性，山石形状多取自他熟悉的黄山和武夷山，坚硬峭拔，石面干净。用笔多方折，墨色干而单，构图简洁，形成一种空旷冷郁的境界。",[24,7,29,188,128,132,30,19199,1337,131,758,208],"壑谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc394a8eac2513dc3a8eac76d6356b43f.jpg","纵110.6厘米，横58.9厘米",[],{"id":19204,"slug":19205,"title":19206,"dynasty":54,"author":3718,"museum":300,"description":19207,"tags":19208,"thumbUrl":19209,"material":84,"size":84,"collection":84,"collections":19210,"showCount":19125,"zanCount":1998,"manualWeight":48,"mainColor":72},230132,"zhang-lin-xiao-yao-tu-hong-ren-230132","长林逍遥图","此作用笔清劲方折，危崖如刀削斧拔般峭然耸立，留白晕染出山水疏旷空寂。近岸寒林虬枝孑立，木叶尽脱，尽显荒萧寒逸。平湖浅滩无波，远汀渔隐藏于空茫间，崖侧飞瀑隐于山石，幽淡含蓄。\n\n整幅以干笔淡墨写就，删繁去奢，将孤高冷寂的意趣寄于山水，脱尽烟火之气，静穆清逸间带着禅意，宛如遗世独立的幽境，观之涤荡心尘，尽显山水的雅净超然。",[23,164,24,7,165,128,132,29,1337,497,495,99,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b461f26c82fb4c0466a95df1af5d932.jpg",[],{"id":19212,"slug":19213,"title":19214,"dynasty":18,"author":223,"museum":300,"description":19215,"tags":19216,"thumbUrl":19218,"material":84,"size":84,"collection":84,"collections":19219,"showCount":19125,"zanCount":1998,"manualWeight":48,"mainColor":72},227372,"yu-ying-shi-nv-tu-yi-ming-227372","浴婴仕女图","《浴婴图》南宋，佚名，绢本设色，纵35.8厘米，横35.9厘米，美国弗瑞尔美术馆藏。\n\n画面中共三个妇人，四个小孩，当中摆一长形浴盆。画面设色淡雅明快，气氛温馨和谐，妇人的神情慈祥、婴儿的天真无邪，无不充满了浓郁的人情和现实意义。",[23,164,24,7,28,27,96,166,19217,208,170],"婴儿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a808fa71ca6fd850c6dafb4642ee508.jpg",[],{"id":19221,"slug":19222,"title":19223,"dynasty":182,"author":6123,"museum":300,"description":19224,"tags":19225,"thumbUrl":19226,"material":84,"size":84,"collection":84,"collections":19227,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":49},227243,"gong-dian-tu-ye-li-zhao-dao-227243","宫殿图页","大小李将军：李思训、李昭道\n\n李思训 (653一718)唐代书画家。成纪(今甘肃天水)人。唐宗室,高宗时为江都令。武则天当政，弃官潜匿。神龙元年(705)出为宗正卿。玄宗开元初官左武卫大将军。李邕碑称「云麾将军」。工书法，尤擅画山水树石，笔力犹劲。格调细密。好写湍獭潺湲，云霞缥缈之景，鸟兽草木，皆穷其态。朱景玄说他「国朝山水第一，列神品」。这种青绿为质、金碧为纹的山水画，富有装饰性，源出于隋代展子虔，继承并发展了六朝以来以色彩为主的表现形式。明代董其昌推之为「北宗上之祖。唐代张彦远说「山水之变，始于吴(道子)，成于二李(思训、昭道)」。世称「二李」为「大、小李将军」。画迹有《山居四皓图》、《江山渔乐图》、《群峰茂林图》等十七件，著录于《宣和书谱》。存世作品有《江帆楼阁图》轴，绢本，设色，长松秀岭，翠竹掩映，山径层迭，碧殿朱廊，江天阔渺，风帆溯流，具唐衣冠者四人，山右青绿，有简单斫笔，安岐评谓「傅色古豔，笔墨超轶。」现藏台北故宫博物院。",[23,24,7,26,27,95,29,97,131,34,1516,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba0c482941c845fe70d4fbfffeaffeec.jpg",[],{"id":19229,"slug":19230,"title":19231,"dynasty":18,"author":223,"museum":300,"description":19232,"tags":19233,"thumbUrl":19234,"material":84,"size":84,"collection":84,"collections":19235,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":49},223614,"zhu-que-shuang-tu-tu-yi-ming-223614","竹雀双兔图","《竹雀双兔图》是辽代佚名画家创作的绢本设色画，现藏于辽宁省博物馆。\n图绘双钩墨竹一丛，其中有长竹三竿，耸立其间，又有三只麻雀，分踞竹上：有的寻觅食物，有的静立下观，有的自理羽毛，神态各殊；丛竹之下生长的三株野花，左为蒲公英，中为地黄，右为白头翁，显得鲜艳肥大，引人注意；花前的两只灰兔为此图的主题：一只在吃草，一只在探望，神态逼真、活泼清新。\n图上画三竿翠竹，竹上落有三雀，一雀静立枝头，一雀用喙整理毛羽，另一雀侧身瞰视，神情各异。\n丛竹下画有蒲公英、地黄和白头翁三株野花及许多野花小草。\n两只苍兔蹲踞地上，一只在吃草，一只敛耳抬头张望。\n契丹族，是中国北方一支古老的民族，契丹人逐水草而居，以狩猎游牧为生。\n契丹神册元年（916年），耶律阿保机统一了契丹各部，建立了强大的辽王朝，先后与五代和北宋并立。\n其绘画作品，继承唐及五代传统，却又独具特色。\n花卉鸟兽是辽画中常见的题材。\n1974年5月，在辽宁省法库县叶茂台发掘了一座辽代萧氏贵族砖墓，规模较大，出土遗物较多，《竹雀双兔图》就在其中出土。\n关于《竹雀双兔图》的年代，因画上既无作者名款，也没有题识和收藏印记，只能从绢画本身加以分析研究，以确定流派与时间。\n由于画幅出土于辽墓之中，从墓室结构和数百件随葬品综合来考察，可以断定是辽代早期的墓葬，且不晚于辽景宗耶律贤时期，即北宋太宗赵炅的太平兴国年间（976—98年）。\n也就是说，画的制作年代不晚于这个下限。\n至于它的上限早到何时、关于画的作者族属问题， 做过考证，对此图的看法是“侧重出自契丹族画家之手”，这是有道理的。\n由于辽代绘画受到唐、五代画风的深刻影响，与宋文化有着密切的关系，北宋初期的作品，一般都不署名。\n但从作品本身观察，其技法虽带装饰意味，却很难说是出自一般民间画师之笔。\n整幅画作设色清秀，意境明快，静中有动，生机勃勃。\n从中不难看出，画面的装饰气味比较浓厚，生活气息也相当强烈，从中可窥见花鸟画刚刚摆脱从属地位，开始形成独立画种的特点；同时，也不难了解到辽代的绘画艺术与中原的密切联系，又别具一格，值得珍视。\n这幅作品在构图上很讲究均衡对称，如竹与竹、雀与雀、兔与兔之间的位置距离，都保持一定的平行对称的关系，共至连竹叶的对生，花草的奇偶相对，都是经过作者审慎安排的。\n但它不是搞绝对平均的对称，而是在对称中又有一定的变化，并不使你感到单调死板，而是更富有民间艺术均衡饱满的装饰性风味，体现了当时人民群众对艺术的爱好和审美习惯。\n图中虽无作者款印，但因出土的墓葬为辽代早期，即北宋太宗时期，画作的时代下限可靠，为研究五代、北宋早期、辽代的山水画、花鸟画及中原绘画的发展与影响提供了极为可信的第一手资料。\n1974年5月在辽宁省法库县叶茂台辽代7号墓，出土了《竹雀双兔图》。\n该图现藏于辽宁省博物馆。\n218年8月14日，辽宁省博物馆举办“中国古代绘画展”，《竹雀双兔图》在其中展出。",[23,24,164,7,165,28,27,167,4117,3599,168,61,949,1771,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b9287a3d30581cccc1ff161cbfb278.jpg",[],{"id":19237,"slug":19238,"title":19239,"dynasty":18,"author":223,"museum":20,"description":19240,"tags":19241,"thumbUrl":19242,"material":784,"size":19243,"collection":42,"collections":19244,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":49},223563,"xi-shan-chun-xiao-tu-yi-ming-223563","溪山春晓图","旧传僧人惠崇所作。惠崇「工画鹅雁鹭鸶，尤工小景，善为寒汀远渚、潇洒虚旷之象，人所难到也」（北宋郭若虚语）。",[23,164,24,7,25,27,29,34,98,99,129,35,132,28,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9802966519f6b19d2e432610d96478.jpg","纵24.5厘米，横185.5厘米",[42,136,117],{"id":19246,"slug":19247,"title":19248,"dynasty":54,"author":4468,"museum":244,"description":4469,"tags":19249,"thumbUrl":19250,"material":27,"size":4474,"collection":84,"collections":19251,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":72},222742,"xian-e-chang-chun-tu-02b-lang-shi-ning-222742","仙萼长春图-02b",[23,164,24,7,59,28,27,61,355,356,62,582,3334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44752a8e4622ebb38b8e513c4f4c435f.jpg",[],{"id":19253,"slug":19254,"title":19255,"dynasty":54,"author":4468,"museum":244,"description":4469,"tags":19256,"thumbUrl":19257,"material":27,"size":4474,"collection":84,"collections":19258,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":72},222740,"xian-e-chang-chun-tu-01b-lang-shi-ning-222740","仙萼长春图-01b",[23,24,7,59,27,61,28,209,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F672474ab59f90287bfe66517e17cf0b7.jpg",[],{"id":19260,"slug":19261,"title":19262,"dynasty":18,"author":1622,"museum":244,"description":15437,"tags":19263,"thumbUrl":19264,"material":19265,"size":19266,"collection":42,"collections":19267,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":49},221515,"hua-deng-shi-yan-tu-zhuang-biao-ma-yuan-221515","华灯侍宴图（装裱）",[23,24,7,28,27,29,97,34,96,95,758,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc345c3f34a1ad94ec43a66b9c6788247.jpg","设色 墨本","111.9公分 横：53.5公分",[42,44,45],{"id":19269,"slug":19270,"title":1230,"dynasty":18,"author":633,"museum":244,"description":19271,"tags":19272,"thumbUrl":19273,"material":27,"size":19274,"collection":136,"collections":19275,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":49},221226,"shan-shui-tu-xia-gui-221226","夏圭 (公元12世纪末-13世纪初) 亦称夏珪,字禹玉,钱塘(今浙江杭州)人,生卒不详,宁宗赵扩 (1195-1224)朝时画院待诏,赐金带。以擅绘山水而与同代的李唐、刘松年、马远一起被并称为“南宋四家”。在四家之中,夏圭以善于剪裁与美化自然景物的“边角景”构图,与同僚马远齐名,号称“马夏”。《山水家法》论他“气韵尤高,宜为一代名士”;《图绘宝鉴》评他:“院人中画山水,自李唐以下无出其右者也”,以此可见其在画史之中的地位。夏圭在画史之中的地位虽然显赫,但存留作品不多,且历来学术界对他的作品存在很大争议,直至目前尚很少有作品被一致公认是他的真迹。",[23,164,24,7,29,128,132,129,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95425229909f712a7e6095adf133d631.jpg","245x59.2",[136,117],{"id":19277,"slug":19278,"title":19279,"dynasty":18,"author":9003,"museum":244,"description":19280,"tags":19281,"thumbUrl":19282,"material":637,"size":84,"collection":318,"collections":19283,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":956},221204,"san-xi-tang-fa-tie-shi-qi-ce-wu-ju-221204","三希堂法帖（十七）册","比忽忽附书。谅亦在下旬可到。途中收十月三日手笔并诗。深以为慰。示喻已悉。襄州之行非所惮也。不谓以常式?免。就降改命。?难避事。何以自文。不知阅古之意如何。今必有定论矣。十九日入京。西界交割安抚司职事。廿日方得改差札子。已具?免。且在郢州境上伺候回降。若省札更迟数日。则已到襄阳。郢去襄只二百余里。江陵亦然。岁晚客里。进退不能。势须等候月十日方见次第。地远往返动是许时。远宦非便。殆此类也。旅中灯下作此。言不尽意。余希加爱。不宣。十月廿日琚上。寿父判寺守簿贤弟",[7,64,1590,5380,59,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d11bc01b27003e7f2e06144bd6cf971.jpg",[318],{"id":19285,"slug":19286,"title":19287,"dynasty":144,"author":569,"museum":510,"description":19288,"tags":19289,"thumbUrl":19291,"material":5380,"size":19292,"collection":318,"collections":19293,"showCount":19125,"zanCount":1116,"manualWeight":48,"mainColor":956},220840,"shou-chun-tang-ji-zhao-meng-fu-220840","寿春堂记","《寿春堂记》书于元仁宗延祐三年（1316年），是融合二王、李邕而又出以劲肆之作。墨迹为清人陈廷庆所藏，历经王鸣盛、阮元、翁方纲、鉄保等人鉴定。清文宗嘉庆二年（1798年）在杭州抚勒上石，刻者吴厚生。原拓本有陈廷庆、王鸣盛等题跋或观款十二段，付印时除陈廷庆一跋外，余均略去。在题跋中，王鸣盛说；『此册笔法遒健。』铁保说：“是卷胎息大令， 而兼北海之恣纵，一洗平生流媚之习，真人书俱老之境。”石韫玉也说：“笔势若龙若骊，如快马入阵，纵横莫当。”这些都是有参考价值的评论。\n原文:延佑乙卯，嘉平之月，东里翁卜居郑乡里之溪西。平畴在其前，望极不得徼；湖山在其后，若有若无，隐隐可见。二溪双流在其左右，若抱珥然。乃作堂三间以为燕闲之所。梁柱桷榱，小大中度，不藻绘，不雕几，简如也，辉如也，豁如也。浚陂池以亭清沚，缭垣墉以谨限防。松篁桂桧梅橘蒲桃之属，绕屋扶疏。又杂植兰菊众香草，荫可愒，华可玩，实可采。明年三月既望，隆山牟应龙成甫扁曰“寿春”，会亲友以落之。客或指其扁而问焉，曰：“翁垂希年，康强少疾，一身之寿也；孝慈友弟，闺门肃雍，一家之春也，得非以是名乎？”翁笑曰：“吾之意不特为是。昔遭岁祲，身履忧虞，里闬萧条，吾馈三叹而寝十兴，危不自保，尝慨然谓里人曰：‘吾侪何日庶几得见时清岁康乎？’惟是数十年来，兵革不用，年谷屡丰，生齿日蕃，斯民皡皡然，熙熙然，如在寿域，如登春台，吾因得以暇日成吾堂，以供吾老，以长吾子孙而教之，时从父老饮酒于其上，得以遂有生之乐。闵闵焉如农夫之望其穑之成，慈母望其儿之长，朝夕徯之，幸酬愿，始为太平之幸民，喜当若何？且身寿健而家春和，固人情所甚愿然，必与众皆安，而后可。否则虽有此，岂能独乐哉？此吾名堂以自贺之本意也。”有少年疑焉，曰：“吾不知往事，翁之言无乃过与？”予曰：“往事，吾所亲见，盖以实而言，非过也。今夫波平如镜，锦缆徐牵，棹歌闲发，未知其可乐也，必尝值风涛之险，然后知之；平常无事，起居饮食，与众不殊，未知其可乐也，必尝值疢疾之苦，然后知之。向使翁生长太平之世，如邵尧夫未必知之若此其深、言之若此其切也。夫冀时之无事，己得安居而暇食者，善人也；冀时之多艰，己得行险以徼幸者，小人也。今翁之言如是，且先天下而后其私家，非厥心臧者，孰能之？吾以是知翁矣。”翁姓郑氏，里在乌程县东，其乡曰常乐，时夏四月记。翰林学士承旨荣禄大夫知制诰兼修国史赵孟頫书\n译文:文章大意是说1315年,一位老翁在一个前有平原后有群山，依山傍水的地方修建了三间屋子，虽然很简单，但是非常舒适。老翁在房前屋后栽种了松梅兰竹等等花草，又能遮阳，又能赏玩，非常惬意。隔年三月，做了一个匾额叫做寿春。坐落匾额的那天，还请来了亲朋好友。有个客人问:你身体健康，所以叫做寿；家庭和睦，家风肃清，叫做春，这就是名字的由来吧。老翁说不是，他早年生活坎坷颠沛，身不由己，朝夕不保，就常常感叹，什么时候才能过上太平清净的日子啊。近年来，太平盛世的，就象在寿域登春台一样，他才得以享此天伦之乐，所以起这个名字纪念一下。有个少年听了这个对话，很怀疑说：真的象你说的那样吗?是不是夸大其辞啊?我说：那些艰苦的岁月我都知道啊，老翁说的没有夸大。世上的事都是没有经历过苦就不知道甜，没有经历过颠沛流离，就不知道珍惜眼前的平常生活，如果老翁生活在太平盛世，他的体会也不会这么深刻。在安稳天平的时候，吃饱穿暖的，做好人；但遇到了不稳定危险的情况，就怀抱侥幸心理作恶，就变成了坏人。现在，老翁说的正是这个意思，所以他感谢这个好时候。况且，他先想到天下，后想到自己，是个智者好人啊。这个老人姓郑，居住在常乐乡乌程县东。这文章在4月时写成的。由翰林学士承旨荣禄大夫知制诰兼修国史的赵孟頫书写。",[23,64,572,7,4057,9910,19290],"碑记","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26bebb77d477ab2fb16f1300675c4f3b.jpg","32x1126厘米",[318],{"id":19295,"slug":19296,"title":19297,"dynasty":18,"author":1091,"museum":244,"description":19298,"tags":19299,"thumbUrl":19300,"material":611,"size":19301,"collection":318,"collections":19302,"showCount":19125,"zanCount":1116,"manualWeight":48,"mainColor":72},220038,"jiang-shang-tie-su-shi-220038","江上帖","落笔如漫不经心，而整体布白自然错落，丰秀雅逸，端庄圆润，但不做作，笔法精严，但不拘束，作者的学问才气发于笔端，与书札的萧散风格相吻合。",[23,64,133,208,7,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e97c91c20d94825a2705d765b723d19.jpg","9行，58字",[318],{"id":19304,"slug":19305,"title":19306,"dynasty":124,"author":15464,"museum":224,"description":19307,"tags":19308,"thumbUrl":19309,"material":173,"size":19310,"collection":136,"collections":19311,"showCount":19125,"zanCount":1116,"manualWeight":48,"mainColor":49},219716,"song-xi-qin-ke-tu-xie-shi-chen-219716","松溪琴客图","危峰层叠巍峨，苍松盘桓于崖壁间，飞瀑隐入烟岚。中部水面空濛留白，汀渚间楼宇半掩，将山野空寂的悠远铺展开来。近岸老松郁茂，清溪蜿蜒穿林，松下雅士围坐，琴韵似随溪水潺潺漫溢山林。\n\n笔墨兼取刚劲与秀润，皴擦点染勾勒出山石肌理的苍劲，淡墨晕染烟霭，虚实相生间，将雄阔山水之壮与林泉雅集之逸相融，把文人寄情丘壑、静享幽居的意趣藏进每一处留白，绘就出一卷兼具大气与闲雅的山居清景。",[24,7,164,165,128,27,132,29,1144,99,495,96,131,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa866c2cd2f276fdb3cca85d0d64f70.jpg","141x71.1厘米",[136],{"id":19313,"slug":19314,"title":19315,"dynasty":144,"author":569,"museum":450,"description":19316,"tags":19317,"thumbUrl":19318,"material":173,"size":84,"collection":68,"collections":19319,"showCount":19125,"zanCount":1998,"manualWeight":48,"mainColor":49},219321,"shuang-ma-tu-zhao-meng-fu-219321","双马图","双驹并立，一昂首嘶鸣似欲穿云，鬃毛飞扬如带劲风；一垂首静立若凝幽思，身躯敦实暗含沉稳。线条如篆籀般圆劲，勾勒出马身健硕肌理，淡墨晕染与浓墨点染相映，既显写实之功，又含文人写意之韵。古木虬枝盘结，根系深扎如铁，与马的灵动形成刚柔相济的张力。以书入画的笔意贯穿始终，每一笔皆带书法筋骨，让静态画面流动着笔墨生命力。画面不止状物，更藏文人对精神境界的追寻——既有驰骋天地的豪情，也有沉潜内省的淡然，在方寸间演绎出动静相宜的生命哲思。",[23,24,7,165,27,28,101,413,64,133,208,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fe56f2039c3f73dc94111684a5a5117.jpg",[68],{"id":19321,"slug":19322,"title":19323,"dynasty":18,"author":2099,"museum":77,"description":19324,"tags":19325,"thumbUrl":19326,"material":278,"size":19327,"collection":68,"collections":19328,"showCount":19125,"zanCount":48,"manualWeight":48,"mainColor":199},218998,"xuan-ya-le-ma-tu-li-gong-lin-218998","悬崖勒马图","墨线如铁线缠枝，于素绢上勾勒出悬崖边的瞬间张力。骏马昂首奋蹄，鬃毛飞扬间似有嘶鸣溢出，前蹄悬于虚空的刹那，被笔锋精准定格。牵马者衣袂飘举，身姿微倾间与马同承风势，腕间缰绳若有若无，却牵住满幅屏息时刻。悬崖皴擦淡远，衬得人马动态愈显鲜明。宋画雅致不止静穆，更在这动中藏定的禅意——勒马非止控身，更是收心。素绢留白恰是心绪回旋余地，墨色浓淡间，见画者以线塑魂的功力，亦见宋代文人对“止”与“悟”的哲思，笔端藏锋，意韵悠长。",[164,24,7,165,188,128,101,96,167,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff787966bf24640bcbb1304f1af0dc9ca.jpg","纵44.7横24.8cm",[68],{"id":19330,"slug":19331,"title":19332,"dynasty":18,"author":223,"museum":244,"description":19333,"tags":19334,"thumbUrl":19335,"material":173,"size":19336,"collection":42,"collections":19337,"showCount":19125,"zanCount":1998,"manualWeight":48,"mainColor":72},218838,"yue-ming-jin-su-tu-yi-ming-218838","月明金粟图","这幅画描绘了山中的一轮明月，一枝金桂（又称金粟）从天而降，香气远扬。其构图在古代和现代的折叠式微型画中是独一无二的，折叠式花枝伴随着远山、云彩和月亮。",[23,164,24,7,1131,28,27,231,818,624,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ffe1f4cf683153ff158daeb9f1f5bf1.jpg","21.7x23.8",[42,68],{"id":19339,"slug":19340,"title":19341,"dynasty":54,"author":19342,"museum":20,"description":19343,"tags":19344,"thumbUrl":19346,"material":66,"size":19347,"collection":136,"collections":19348,"showCount":19125,"zanCount":1998,"manualWeight":48,"mainColor":72},218377,"tao-yuan-tu-wu-wei-ye-218377","桃源图","吴伟业","此画近景一片崎岖不平的丘陵地带，山势平缓，山头林立，如鱼鳞状似的。山间松柏竞相生长，间以杂木和草木遍布山间和山脚下，远见为山重水复，一片又一片宽阔平坦的田野，沃土月巴田，田畴连遍，犹如龟背纹一般。阡陌间和丛树下村舍遍布。在平坦的平野上有宽阔的湖泊，如镶嵌着一面面平镜，闪烁发光。湖面两岸桃林遍野，鲜花盛开，在湖间渔舟忙碌地来回如穿梭似的。山中疏树流泉，白云缭绕。后纸有近代颜乙题记四段，曾经近代任振廷收藏。",[23,24,7,25,27,28,132,64,133,208,29,209,496,31,9164,34,98,99,11564,37,711,19345,499],"梯田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11e4a5643cc8a463685f001fe4aa2ef.jpg","纵29.4厘米，横375.1厘米",[136],{"id":19350,"slug":19351,"title":19352,"dynasty":124,"author":204,"museum":300,"description":19353,"tags":19354,"thumbUrl":19355,"material":692,"size":1293,"collection":84,"collections":19356,"showCount":19357,"zanCount":1105,"manualWeight":48,"mainColor":72},287415,"wu-xing-er-shi-ba-xiu-shen-xing-tu-juan-chou-ying-287415","五星二十八宿神形图卷","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[23,164,24,7,25,28,27,96,17701,772,949,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4967584eda0c680dc86ba4f997b558d.jpg",[],72,{"id":19359,"slug":19360,"title":19361,"dynasty":54,"author":19362,"museum":300,"description":19363,"tags":19364,"thumbUrl":19365,"material":692,"size":1293,"collection":84,"collections":19366,"showCount":19357,"zanCount":1105,"manualWeight":48,"mainColor":72},239078,"hua-niao-ping-liao-yun-jin-239078","花鸟屏","廖云锦","廖云锦，生卒年不详，约活动于清道光年间（1821－1850年）。字蕊珠，号织云、锦香居士，华亭（今属上海）人，袁枚女弟子。自幼从父廖古檀吟诗作画同，后归泗泾马氏。",[24,7,28,27,61,355,547,171,885,5762,624,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5a9039e5f16dbbf65a5783f0a67ae17.jpg",[],{"id":19368,"slug":19369,"title":19370,"dynasty":144,"author":287,"museum":224,"description":19371,"tags":19372,"thumbUrl":19373,"material":151,"size":19374,"collection":84,"collections":19375,"showCount":19357,"zanCount":1116,"manualWeight":48,"mainColor":49},232771,"hua-hui-cao-chong-tu-juan-qian-xuan-232771","花卉草虫图卷","钱选是宋末元初著名画家，与赵孟頫、王子中、牟应龙、肖子中、陈天逸、陈仲信、姚式并称为“吴兴八俊”。\n钱选人品及画品皆称誉当时。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。\n钱选的花鸟画成就最高，是元代继承宋代设色工笔花鸟画这一派中的代表人物。钱选特别善作折枝花木，是一位技法全面的画家。他的《花鸟图》所画花鸟用笔尽劲，细洁而光润，设色淡雅清丽，精巧传神。",[23,164,24,7,25,27,28,62,480,481,608,230,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9613502e8f0012e70f2245d5e7d000f1.jpg","纵26.8厘米，横120厘米",[],{"id":19377,"slug":19378,"title":19379,"dynasty":18,"author":633,"museum":244,"description":19380,"tags":19381,"thumbUrl":19382,"material":151,"size":19383,"collection":84,"collections":19384,"showCount":19357,"zanCount":48,"manualWeight":48,"mainColor":49},231834,"chang-jiang-wan-li-tu-qian-ban-juan-xia-gui-231834","长江万里图（前半卷）","画卷的前半段，以近平视的角度近景特写江岩块、林木，以及行的舟船，表现三长江峡险峻和波涛汹涌的痛痛\n后半段则是俯视和远观的角度以及江景的活动，沿途所见美景。\n从近逼观者的景物转换到辽阔空旷的范围，这种构图的方式具有戏剧性的效果。\n夏圭，字禹玉，钱塘人，生卒年不详，稍晚于马远，宁宗朝画院待诏。他的山水画在构图和笔墨技法方面与马远非常相似，因此画史上一向以马、夏并称 。夏圭作品的风格和马远接触共同点，又各有独特的境界。马、夏山水大量剪裁，全景拍摄而画边角之景，因被称为「马一角」、「夏半边」 。他们在艺术上的高度提炼，是对传统山水画的发展和深度。",[23,24,7,25,128,132,29,97,34,129,99,131,130,211,100,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bef87925daef2f4238cf1e2d9c3fcb8.jpg","该幅26.8x1115.3公分",[],{"id":19386,"slug":19387,"title":16179,"dynasty":54,"author":4823,"museum":300,"description":19388,"tags":19389,"thumbUrl":19391,"material":84,"size":84,"collection":84,"collections":19392,"showCount":19357,"zanCount":48,"manualWeight":48,"mainColor":199},228968,"luo-hua-you-yu-tu-ma-yuan-yu-228968","柔条垂拂牵缀艳红繁花，将暮春清韵轻轻铺展。水面之上，荇藻参差漾着细波，睡荇悬根随水轻摆，漾开空濛水色。数尾游鱼穿弋其间，摆尾逐着飘零落花，灵动悠然，把春水的生机藏在幽谧里。\n\n全作用没骨晕染，淡彩轻敷，将花叶柔润、柳条纤长的质感晕染尽致，未着一笔写水，却借藻荇与游鱼的姿态，将春水空明漾开。花随水去，鱼逐花影，把幽赏春池的闲逸融在笔底，观之便如临浅春水泽，漫生出恬然清和的诗意。",[23,24,7,165,27,61,19390,16182,4363,3451,28],"游鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84302d047146391e5135486d1a4f33c6.jpg",[],{"id":19394,"slug":19395,"title":19396,"dynasty":124,"author":3619,"museum":300,"description":19397,"tags":19398,"thumbUrl":19399,"material":84,"size":84,"collection":84,"collections":19400,"showCount":19357,"zanCount":1998,"manualWeight":48,"mainColor":72},228872,"lan-zhu-tu-juan-wen-zheng-ming-228872","兰竹图卷","此卷以水墨写就兰竹，通幅铺陈疏密有致。墨竹或劲挺纵逸，或垂叶萧萧，以浓淡墨色区分前后层次，尽显风过篁林的灵动之态。兰草随势穿插于竹石间，笔致柔婉舒展，暗香幽然自生。\n\n卷尾行书题跋笔意秀雅流畅，与画境相得益彰，书画合璧尽显文人雅致。全作用笔清劲秀逸，以极简水墨托出兰竹君子清介之姿，将画者冲淡平和的襟怀寄于毫端，萧散清逸的幽致扑面而来，尽显文人写意的风雅意趣。",[23,164,24,7,25,128,64,375,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd83d42f07b1f36ad1f0ed4b8c48e3d8b.jpg",[],{"id":19402,"slug":19403,"title":19404,"dynasty":124,"author":204,"museum":244,"description":19405,"tags":19406,"thumbUrl":19408,"material":253,"size":19409,"collection":44,"collections":19410,"showCount":19357,"zanCount":1086,"manualWeight":48,"mainColor":72},228445,"di-wang-dao-tong-wan-nian-tu-ce-chou-ying-228445","帝王道统万年图册","绘伏羲、神农、黄帝、少昊、舜、后稷、大禹、夏启、商汤、商高宗武丁、周文王、周武王、周成王、汉高祖、汉文帝、汉武帝、汉明帝、宋孝宗、宋太祖、宋仁宗等20为中国历史名主的画像和事迹",[164,24,7,59,28,27,96,169,19407,15550,170],"铜制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63189a24bb1d7c00253398001e840c12.jpg","共20开，每开32.5＊32.6ＣＭ",[44],{"id":19412,"slug":19413,"title":19414,"dynasty":54,"author":19415,"museum":300,"description":19416,"tags":19417,"thumbUrl":19418,"material":84,"size":84,"collection":84,"collections":19419,"showCount":19357,"zanCount":48,"manualWeight":48,"mainColor":199},228320,"yu-xie-hua-cao-tu-ce-bian-shou-min-228320","鱼蟹花草图册","边寿民","此作用朱砂绘就秋花，笔致朴拙洗练，叶片舒展顾盼有情，将草木摇曳之姿尽显于纸上。枝干苍劲古雅，带着随性自然的笔墨情致，淡墨题款错落排布，与画作相映成趣，雅致清逸。\n\n虽仅绘一花一枝，却将秋意的疏朗与草木的生机相融，文人意趣盎然，尽显闲淡超逸的审美意韵。以简驭繁，把草木风姿与文人雅怀融为一体，笔墨间尽显写意画的空灵雅致，带着澹泊天真的文人风骨。",[164,24,7,59,27,4278,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8f9868f959e1211d78469c11f99cc1.jpg",[],{"id":19421,"slug":19422,"title":19423,"dynasty":124,"author":802,"museum":244,"description":19424,"tags":19425,"thumbUrl":19426,"material":173,"size":19427,"collection":84,"collections":19428,"showCount":19357,"zanCount":1116,"manualWeight":48,"mainColor":49},228290,"mei-hua-shan-niao-zhou-chen-hong-shou-228290","梅花山鸟轴","推荐的明陈洪绶(1599一1652)、元杨维祯(1296一l7)及明夏昶(l88一l47)三位画家所绘的梅花山鸟、岁寒图及奇石修皇图等古画为题材，印制邮票一组。松、竹、梅夙有“岁寒三友”的称、天寒地冻，唯松柏常青；竹性耐寒，劲直中节；梅花为我国的国花，素洁清芬，高雅绝俗。选为邮票图案，不仅可阐扬中国固有文化与艺术，且可代表国人崇高的志节。志号品名: 专124 (18)岁寒三友图古画邮票全套面值: 2元邮票规格: 5.9651.46mm: P12印刷机构: 瑞士哥瓦锡厂印刷版别: 影写版: 影写版邮票纸整张枚数: 5(15)枚相关资料: 摄影者吴呈芳(1)梅花山鸟：绢本，轴，横49.6公分，纵124.公分。陈洪绶明诸暨人，生于明神宗万历二十七年，卒于清世祖顺治九年。字章侯，号老莲，又号云门僧，赋性狂散。其画人物，神态特真，时谓三百年无此笔墨，花鸟草虫，亦多精妙。(2)岁寒图：纸本，轴，横2公分，纵98.1公分。杨维祯元诸暨人，生于元成宗元贞二年，卒于明太祖洪武三年。字廉夫，号铁崖，又号铁笛道人，善书画，父杨宏，筑楼铁崖山，植梅去梯，俾其读书。明太祖征诏不赴，赋诗见志。()奇石修皇图：纸本，轴，横14.7公分，纵275.1公分。夏昶明昆山人，生于明太祖洪武二十一年，卒于宪宗成化六年。字仲昭，号自在居士，又号玉峰，举进士，为翰林院庶吉士，正统中仕至太常卿。善书，能诗，精绘事，尤工墨竹，其所作竹技，烟姿雨色，偃直疏浓，各循矩度，楷书画竹，时推第一。",[24,7,165,27,28,371,355,171,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58c74366f27a7acd6bb8197d976548e3.jpg","124.3x49.6",[],{"id":19430,"slug":19431,"title":19432,"dynasty":18,"author":223,"museum":244,"description":4304,"tags":19433,"thumbUrl":19435,"material":253,"size":4308,"collection":84,"collections":19436,"showCount":19357,"zanCount":1998,"manualWeight":48,"mainColor":49},227553,"nei-ren-shuang-lu-tu-gao-qing-chang-juan-yi-ming-227553","内人双陆图（高清长卷）",[23,164,24,7,25,28,27,96,997,169,170,19434],"游戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa27a712d7149fa45d5a57a0744f2417c.jpg",[],{"id":19438,"slug":19439,"title":19440,"dynasty":351,"author":6787,"museum":300,"description":19441,"tags":19442,"thumbUrl":19443,"material":84,"size":84,"collection":84,"collections":19444,"showCount":19357,"zanCount":48,"manualWeight":48,"mainColor":49},226702,"hu-shan-chun-xiao-tu-ju-ran-226702","湖山春晓图","《五代·巨然湖山春晓图》是216年安徽美术出版社出版的图书，作者是陈传席。\n《五代·巨然 湖山春晓图》没有作为主骨干的山石轮廓线，皴染较简，云雾留白，主要以淡墨描绘出山川炯润之意。\n树干勾染，树叶用墨点簇而成，画面清淡。\n从风格上来判定，此图应是元代以后的仿古之作。",[23,164,24,7,165,128,27,132,1613,29,663,228,37,497,1144,34,499,387,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901fdac3aebb6e4d054546a5db41e1b8.jpg",[],{"id":19446,"slug":19447,"title":19448,"dynasty":54,"author":2640,"museum":300,"description":19449,"tags":19450,"thumbUrl":19452,"material":84,"size":84,"collection":84,"collections":19453,"showCount":19357,"zanCount":1998,"manualWeight":48,"mainColor":72},224367,"hua-hui-si-ping-zhi-si-ju-lian-224367","花卉四屏之四","此作用没骨晕染绘绣球，淡蓝敷色晕出团花柔润雅致，赭石点染萼边枝叶，清妍动人。湖石以淡墨勾皴，留白衬出空灵剔透的嶙峋肌理，与花枝相映成趣。两只秋蝉振翅穿飞，翅脉纤毫毕现，将静雅画面揉入灵动生机，暗合清秋将临的闲淡意韵，整体明秀温婉，笔法秀逸轻盈，尽显婉约雅致的花鸟意趣。",[23,24,7,28,27,61,171,19451,582,6185],"花簇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7ed7a1dd429364a77988b1cdcaa1b67.jpg",[],{"id":19455,"slug":19456,"title":19457,"dynasty":54,"author":675,"museum":19458,"description":19459,"tags":19460,"thumbUrl":19461,"material":734,"size":19462,"collection":136,"collections":19463,"showCount":19357,"zanCount":1998,"manualWeight":48,"mainColor":49},222698,"shi-zi-lin-tu-juan-qian-wei-cheng-222698","狮子林图卷","加拿大阿尔伯特博物馆","画家以平铺式绘狮子林全景，园林内山石耸立，古木参天，道路蜿蜒崎岖，房屋掩映山石之中，廊亭依水而建，九曲婉转；远处云雾升腾，一片苍茫，如临仙境。",[23,24,7,25,27,29,132,28,64,133,208,131,97,98,99,130,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c6fe4918e5ed6590b2c6de0b736a8fd.jpg","187.3＊38.1cm",[136,45],{"id":19465,"slug":19466,"title":19467,"dynasty":124,"author":1058,"museum":510,"description":19468,"tags":19469,"thumbUrl":19471,"material":1223,"size":19472,"collection":136,"collections":19473,"showCount":19357,"zanCount":1116,"manualWeight":48,"mainColor":72},222356,"cao-wu-pu-tuan-tu-tang-yin-222356","草屋蒲团图","绘江南初秋之景色。前景画茅屋于山麓，屋内一文士抱膝坐于蒲团晨读。人物刻划生动，双目炯炯有神，衣纹线描流畅有力。茅屋左面巨石竖立，五株墨竹拔地参天，笔墨苍劲，虚实得当，时隐时现，给人以动感。背景用水墨烘染群山，山腰间云雾飘动，富于变化;山谷间飞泉直泄，形成清溪，环绕草屋湍流而过。整个画面环境幽雅、清静，给人以浑厚、凝重之感。唐寅，字伯虎，又字子畏，号六如居士，桃花庵主，生于明成化六年(1470)，卒于嘉靖二年(1523)。他是位很有才华的画家，初师沈周，后学周臣，远宗李唐、刘松年，近攻元四家，山水、花鸟、人物、仕女无所不精，在技法上虽取法前人，但不落尘俗，自出新意。从唐氏传世作品看，多见雅淡、秀润、细腻，而此作却多雄浑、凝重，这在唐氏作品中还是极为少见的。此图右上端作者自题：“虚亭林木里，傍水着栏干，试展团蒲坐，叶声生早寒”。五言诗一首。下钤“吴趋”、“唐居士”、“南京解元”印三方。此作品的创作时间，应在唐寅四十岁左右。",[23,164,24,7,165,128,27,132,29,96,19470,276,131,34,37,98],"草屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26f4e471afd9024c518a44d2335c9ae3.jpg","84x52",[136,117],{"id":19475,"slug":19476,"title":19477,"dynasty":124,"author":15700,"museum":244,"description":19478,"tags":19479,"thumbUrl":19481,"material":1223,"size":19482,"collection":68,"collections":19483,"showCount":19357,"zanCount":1086,"manualWeight":48,"mainColor":49},222085,"hua-zi-mu-ji-tu-zhou-zhu-zhan-ji-222085","画子母鸡图轴","此画无背景，仅在一公、一母、七雏的鸡群附近俩有一些杂草，遍布地面，虽较稀疏，但远看似一层薄薄的绿色地毯，以象征出整片的草地，对整个画面起到陪衬作用。画幅下部和偏右画有一公鸡、一母鸡。右侧的公鸡低首啄食，口内衔虫，近靠二雏，二双爪有力地抓在地上，长尾飞翘舒展开来，双翅紧合，头部有较大的肉冠及肉瓣，脚健壮，跗臁及趾皆被鳞板，趾网、后趾高而短小，尾部发达。左侧为一母鸡蹲在地上，作待哺的神态，双爪有力地抓地上，嘴短、鼻孔被鳞状瓣，头部肉冠和肉瓣比公鸡小，尾巴上二翘舒展开来。七只小鸡偎近母鸡，其中一只雏鸡，全身旱绒绒的一小团，走起来呈摇摇摆摆之状，似具有初出壳的娇弱之态，皆生动传神，充分体现明宣宗有着写实的功力。\n此画以工笔勾勒白鸡，且勾线十分明显，偏向于工整之笔，染色也较平面化。画法上以工笔勾勒，别开生面，焦墨点睛，炯炯有神，羽毛捕法精细，双爪勾勒，笔扎实有力。鸡的形象画得真实生动，质感强烈，表现了一瞬间各鸡的动作神态。",[23,24,7,165,28,27,61,2510,19480,208],"小鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44c553fe940de32eacb1d4b982556980.jpg","79.7x57.2cm",[68,45],{"id":19485,"slug":19486,"title":19487,"dynasty":18,"author":2141,"museum":20,"description":19488,"tags":19489,"thumbUrl":19490,"material":514,"size":19491,"collection":84,"collections":19492,"showCount":19357,"zanCount":1116,"manualWeight":48,"mainColor":72},221510,"lu-tong-peng-cha-tu-juan-liu-song-nian-221510","卢仝烹茶图卷","此画画山石瘦削，有松槐生石罅，下覆茅屋。卢仝拥书坐，赤脚。婢治茶具，长须奴肩壶汲泉。款落刘松年，蝇头小楷，署在松节。后幅有唐寅跋：“右玉川子烹茶图，乃宋刘松年作。玉川子豪宕放逸，傲睨一世，甘心数间之破屋，而独变怪鬼神于诗。观其《茶歌》一章，其平生宿抱忧世超物之志，洞然于几语之间，读之者可想见其人矣。松年复绘为图，其亦景行高风，而将以自企也。夫玉川子之向，洛阳人不知也，独昌黎知之。去昌黎数百年，知之者复寒矣。而松年温之，亦不可不为之遭也。予观是图于石湖卢臬副第，喜其败炉故鼎、添火候鸣之状宛然在目，非松年其能握笔乎书此以俟具法眼者。唐寅。”",[23,24,7,25,128,28,96,34,35,1144,276,169,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89a801a8050e41c693fef9c47af61fc7.jpg","24.1x44.7",[],{"id":19494,"slug":19495,"title":19496,"dynasty":18,"author":9468,"museum":244,"description":9469,"tags":19497,"thumbUrl":19498,"material":3785,"size":9472,"collection":42,"collections":19499,"showCount":19357,"zanCount":1998,"manualWeight":48,"mainColor":72},221465,"si-mei-tu-juan-quan-juan-yang-wu-jiu-221465","四梅图卷全卷",[23,164,24,7,25,128,188,371,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa21caf8fd4f408a77f793104e6fbc872.jpg",[42,68,45],{"id":19501,"slug":19502,"title":19503,"dynasty":18,"author":19504,"museum":300,"description":19505,"tags":19506,"thumbUrl":19507,"material":9291,"size":19508,"collection":42,"collections":19509,"showCount":19357,"zanCount":48,"manualWeight":48,"mainColor":49},221224,"yan-jiang-yu-yu-tu-ye-pu-an-221224","烟江欲雨图页","朴庵","整幅画笔墨奔放，气势磅礴，水墨迈阿密的效果淋漓尽致。是南宋马夏一派",[23,164,24,7,59,128,132,29,34,14435,415,10143,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da05bc26f2c363a81a72b51990a6dbb.jpg","纵24.9厘米、横26.3厘米",[42,136,117],{"id":19511,"slug":19512,"title":19513,"dynasty":980,"author":3539,"museum":3540,"description":19514,"tags":19515,"thumbUrl":19516,"material":84,"size":84,"collection":84,"collections":19517,"showCount":19357,"zanCount":48,"manualWeight":48,"mainColor":72},220565,"li-ma-xu-bei-hong-220565","立马","以浓淡变幻的墨色勾勒晕染，将骏马劲健的肌肉线条与昂扬姿态尽铺纸上。昂首嘶鸣的骏马鬃尾肆意飞扬，筋骨勃发，满是雄悍剽悍的野性力量。浅笔淡墨铺就秋野荒草，愈发衬出骏马的卓然不群。左侧题字与画面浑然相融，晕开文人写意的雅致意趣。画作揉合中西技法，以写意笔墨定格骏马喷薄的生命力，将骐骥傲骨诉诸笔端，既是对骏马风采的极致描摹，更寄寓着奔腾不息的精神气魄，寥寥笔墨间尽显神骏意气。",[23,24,7,128,165,101,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F380920094f10abaf30aff10c3f89ebed.jpg",[],{"id":19519,"slug":19520,"title":4724,"dynasty":54,"author":299,"museum":56,"description":19521,"tags":19522,"thumbUrl":19523,"material":173,"size":19524,"collection":136,"collections":19525,"showCount":19357,"zanCount":1998,"manualWeight":48,"mainColor":72},219846,"shan-shui-tu-ce-xie-sun-219846","本册图绘乡间野外平常小景,笔墨秀雅,造境清幽.谢荪(生卒年未详),清代画家.字缃酉,又字天令,常住南京.擅长画山水、花卉,与龚贤、樊圻齐名,为“金陵八家”之一.写心。",[24,7,59,27,128,132,29,35,34,131,99,3651],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79324e826001e1ae611d0f3618e1a31f.jpg","14.2x19.2",[136],{"id":19527,"slug":19528,"title":19529,"dynasty":18,"author":1449,"museum":56,"description":19530,"tags":19531,"thumbUrl":19532,"material":173,"size":19533,"collection":45,"collections":19534,"showCount":19357,"zanCount":48,"manualWeight":48,"mainColor":49},219745,"lou-tai-ye-yue-tu-wan-shan-ye-ma-lin-219745","楼台夜月图纨扇页","《楼台夜月图》为一小景图纨扇页，裁取亭廊台谢的一角之景，图上高柳擢秀、明月当空、山岩稍露、长廊俯见其顶、台榭俨然。在用笔上，岩石以斧劈皴法、亭榭以工稳的界笔画法，树叶全以点缀法，远山烘青，渲染设色，高空浩月，杨柳林中隐约可见楼台复道亭园之景，为马麟的精丽之作。",[24,164,7,1131,27,95,29,97,231,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575197ec72f706dcbff331880e1f0f61.jpg","纵24.5厘米，横25.2厘米",[45],{"id":19536,"slug":19537,"title":19538,"dynasty":144,"author":2697,"museum":244,"description":19539,"tags":19540,"thumbUrl":19541,"material":151,"size":84,"collection":68,"collections":19542,"showCount":19357,"zanCount":48,"manualWeight":48,"mainColor":72},219639,"zhu-zhi-tu-li-kan-219639","竹枝图","此幅小品取“出墙”之境，一枝竹斜逸于圆幅之中。淡绢为底，虚实相生，留白衬出竹之疏朗意韵。墨色层次分明，竹叶以中锋运笔，正反向背各具姿态，笔力劲挺清刚，尽显君子拔俗之姿，枝桠转折苍劲利落，暗摹风动之态。\n\n题字“出墙”点出意境，带着些许野趣俏皮，打破幽寂，让尺幅间生出鲜活生机。整幅简淡清逸，以极简笔墨写尽竹之风神，将文人寄情于物的意趣藏于毫端，淡墨疏枝之间，清高雅韵悠长。",[23,24,7,128,167,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78ceb9ff1310f445e5e46a19e09ff932.jpg",[68],{"id":19544,"slug":19545,"title":19546,"dynasty":18,"author":2176,"museum":524,"description":19547,"tags":19548,"thumbUrl":19549,"material":611,"size":19550,"collection":68,"collections":19551,"showCount":19357,"zanCount":1998,"manualWeight":48,"mainColor":72},219542,"shui-xian-tu-zhao-meng-jian-219542","水仙图","全幅绘水仙，其上的留白空间将整幅长卷分成三个部分，每个部分又有三组水仙。第一部分较为稀疏，水仙花茎端方可爱，花叶舒展自然。第二部分的第一组水仙，前后排布，其下鼓起了一些小土坡。第三部分的水仙花和第二部分的第一组水仙花叶相似，穿插密实而错落有致，较为孤立。",[23,164,24,7,25,188,128,374,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53a6518f83bf7b9332ac84bcd8ddc655.jpg","34.1 × 993.6 cm",[68],{"id":19553,"slug":19554,"title":19555,"dynasty":124,"author":3148,"museum":20,"description":19556,"tags":19557,"thumbUrl":19558,"material":66,"size":19559,"collection":68,"collections":19560,"showCount":19357,"zanCount":1998,"manualWeight":48,"mainColor":72},219286,"ying-que-tu-lv-ji-219286","鹰鹊图","图绘一只苍鹰独立岩顶，两只飞舞的蜜蜂吸引了它的目光，一旁的喜鹊趁机振翅欲逃。作者用笔粗阔，富有简率纵逸的笔墨意趣。吕纪的花鸟画不仅追求形似，更善于表现禽鸟之间的关系，捕捉住禽鸟瞬间的神态和动势，营造出千钧一发的紧迫感和爆发力，突破了传统花鸟画唯美的装饰意味，从而获得了新的艺术生命力。",[23,24,7,165,27,128,28,61,3141,10050,131,2438,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62b4c020881f2a1e771cfb4cf7f1d62f.jpg","纵120.7厘米，横61.5厘米",[68,45],{"id":19562,"slug":19563,"title":19564,"dynasty":124,"author":3148,"museum":2862,"description":19565,"tags":19566,"thumbUrl":19569,"material":173,"size":19570,"collection":68,"collections":19571,"showCount":19357,"zanCount":1998,"manualWeight":48,"mainColor":49},219091,"mei-zhu-zhi-ji-tu-lv-ji-219091","梅竹雉鸡图","画面中，雉鸡翎羽斑斓，纤毫毕现，顾盼间神采奕奕，似欲振翅。旁侧梅枝遒劲，蕊瓣凝霜带露，红白相映，清雅动人；竹篁翠影婆娑，叶片舒展如剑，与梅枝交错成趣。背景淡墨晕染，山石轮廓隐约，既衬出前景花鸟的工致，又添悠远意境。工笔与写意相融，浓淡相宜，细节处见精巧，整体中显生机，仿佛能闻梅香浮动，听竹风轻吟，观雉鸡闲步，一派自然生趣跃然绢素，尽显明代院体画的雅致与活力。",[23,24,164,7,3291,28,369,27,371,167,10860,131,19567,19568],"雅致","生机","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe89d86fad1a49b299371ea8c1d3f18c7.jpg","纵151.1横100.3厘米",[68],{"id":19573,"slug":19574,"title":19575,"dynasty":144,"author":19576,"museum":19577,"description":19578,"tags":19579,"thumbUrl":19580,"material":173,"size":84,"collection":68,"collections":19581,"showCount":19357,"zanCount":1998,"manualWeight":48,"mainColor":49},219070,"dan-feng-shuang-niao-tu-zheng-xi-219070","丹枫双鸟图","郑禧","印度安纳波利斯艺术博物馆","一棵彩绘枫树，主干粗壮，细枝上零星的枫叶褪去了红色，两只鸟儿栖息在最高的树枝上，蓬松的羽毛，细长的尾羽，白色的腹部和棕色的亮点，深蓝色的背部，为深秋增添色彩。",[23,24,7,3291,28,27,4057,165,11375,1955,211,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65f0262c254e21ca62b76dea8b204ed4.jpg",[68],{"id":19583,"slug":19584,"title":19585,"dynasty":18,"author":1622,"museum":244,"description":1623,"tags":19586,"thumbUrl":19587,"material":173,"size":1626,"collection":84,"collections":19588,"showCount":19357,"zanCount":48,"manualWeight":48,"mainColor":72},218570,"hua-niao-shan-shui-xiao-pin-ce-gu-ting-sui-bo-ma-yuan-218570","花鸟山水小品册-孤艇随波",[23,24,7,59,128,27,29,129,99,1350,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30bca127934b361f3a0e08bbf5466c40.jpg",[],{"id":19590,"slug":19591,"title":19592,"dynasty":144,"author":223,"museum":56,"description":19593,"tags":19594,"thumbUrl":19595,"material":173,"size":84,"collection":44,"collections":19596,"showCount":19357,"zanCount":48,"manualWeight":48,"mainColor":49},218469,"zhu-cha-ban-tuo-jia-zun-zhe-xiang-yi-ming-218469","注茶半讬迦尊者像","画面中尊者面容沉静慈悲，耳垂丰厚，胡须轻覆唇角，尽显庄严与亲和。蓝色袈裟厚重垂坠，红色内衬点缀其间，白色布巾在腕间流转，质感细腻灵动。右手托举的器物造型古朴，纹理刻画入微，似藏禅意。衣纹线条勾勒精准传神，既有工笔的细腻，又不失写意的洒脱。色彩晕染层次丰富，蓝红对白交织出沉稳而鲜活的视觉效果，背景的素净更衬出主体的庄重。整幅作品将尊者的禅定之态与器物的精巧相融，尽显元代宗教绘画的精湛技艺与精神内涵。",[24,7,165,187,28,27,96,169,234,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3569652e8e110d2bd91593319be8bb9.jpg",[44],{"id":19598,"slug":19599,"title":19600,"dynasty":124,"author":223,"museum":224,"description":19601,"tags":19602,"thumbUrl":19604,"material":173,"size":5110,"collection":84,"collections":19605,"showCount":19357,"zanCount":1998,"manualWeight":48,"mainColor":49},218277,"ba-xian-tu-dui-fu-zhi-you-yi-ming-218277","八仙图对幅之右","这幅画描绘了铁拐李、汉钟离、曹国舅和蓝采和，铁拐李的宝葫芦露出了他的替身。",[164,24,7,165,805,28,27,96,19603,438,2709,1975,3490],"八仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9be561a77dd0809ce682eb36fbac64b.jpg",[],{"id":19607,"slug":19608,"title":19609,"dynasty":54,"author":3750,"museum":56,"description":19610,"tags":19611,"thumbUrl":19612,"material":173,"size":84,"collection":136,"collections":19613,"showCount":19357,"zanCount":1998,"manualWeight":48,"mainColor":72},218266,"guan-shan-qiu-ji-tu-zhou-wang-jian-218266","关山秋霁图轴","布局紧凑，丘壑较琐碎，皴笔尖峭，转折方峻。但笔力不够浑厚，时有抖擞之笔，墨色也偏于枯索，画面气势不及盛年时雄伟华滋。",[24,7,165,27,132,64,208,29,663,228,34,497,499,1023,6639,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8b6b7652eda8f2b82c3adc186ddd27f.jpg",[136],{"id":19615,"slug":19616,"title":19617,"dynasty":144,"author":19618,"museum":6892,"description":19619,"tags":19620,"thumbUrl":19621,"material":278,"size":19622,"collection":136,"collections":19623,"showCount":19357,"zanCount":1116,"manualWeight":48,"mainColor":72},217990,"lin-ting-yuan-xiu-tu-tao-xuan-217990","林亭远岫图","陶铉","“林亭远岫图”是陶铉的代表作之一，是一幅山水画。这幅画以其精美的线条、细腻的笔触和丰富的层次感而闻名。画中，陶铉用浓密的线条勾勒出了山峰、悬崖、峡谷和溪流等山水景观。通过对色彩的运用，他将画面分成了几个不同的层次，使得画面看起来格外丰富。\n\n陶铉的“林亭远岫图”是元朝山水画的杰作，具有极高的艺术价值。它不仅是陶铉本人的代表作，也是元朝画坛的瑰宝。至今，“林亭远岫图”仍是中国绘画史上最著名的山水画之一，并被许多人所熟知和欣赏。",[24,7,128,165,29,132,130,415,413,167,131,99,711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb9601a60ed15025f72dd5d7116adea.jpg","58x31.7cm",[136,117],{"id":19625,"slug":19626,"title":19627,"dynasty":144,"author":569,"museum":244,"description":19628,"tags":19629,"thumbUrl":19630,"material":173,"size":19631,"collection":44,"collections":19632,"showCount":19357,"zanCount":48,"manualWeight":48,"mainColor":49},216972,"gong-shou-tu-zhao-meng-fu-216972","拱寿图","这幅画描绘了近100个属于道教神仙故事的人物，他们似乎在进行一场优雅的人间聚会，他们聚集在一起弹琴、喝茶、互相问候。",[24,7,29,96,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bf550c708792ef45d4c8bec0a370f11.jpg","253.7x216.4",[44],{"id":19634,"slug":19635,"title":19636,"dynasty":124,"author":15700,"museum":244,"description":19637,"tags":19638,"thumbUrl":19639,"material":173,"size":19640,"collection":68,"collections":19641,"showCount":19357,"zanCount":48,"manualWeight":48,"mainColor":49},216217,"san-yang-tu-zhu-zhan-ji-216217","三羊图","三羊图是明朝朱瞻基所作的一幅画。这幅画描绘了三只羊在草地上吃草，背景是一片美丽的山景。三羊图被认为是朱瞻基最优秀的作品之一，其细腻的笔巧和生动的写实手法得到了广泛的赞誉。这幅画象征着平静和安宁，也被认为是对中国传统和谐社会的赞颂。",[164,24,7,165,27,28,96,6300,413,497,9255,949,805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c63505c5c8038bbaf86c97b7a1cf2b.jpg","105.3x58.3cm",[68],{"id":19643,"slug":19644,"title":19645,"dynasty":54,"author":1311,"museum":56,"description":1312,"tags":19646,"thumbUrl":19647,"material":278,"size":1316,"collection":84,"collections":19648,"showCount":19357,"zanCount":1998,"manualWeight":48,"mainColor":72},214675,"mei-hua-zhu-shi-tu-ce-12-wang-shi-shen-214675","梅花竹石图册-12",[24,7,59,128,369,371,1314,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93ec7eecf547d551a2e8aa111aaf5500.jpg",[],{"id":19650,"slug":19651,"title":19652,"dynasty":124,"author":1438,"museum":300,"description":13247,"tags":19653,"thumbUrl":19654,"material":692,"size":1293,"collection":84,"collections":19655,"showCount":19656,"zanCount":48,"manualWeight":48,"mainColor":72},290352,"mo-li-zhou-chen-chun-290352","茉莉轴",[24,7,165,61,128,64,133,208,6556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F793322c6fed1aee4c40b46255e95c968.jpg",[],71,{"id":19658,"slug":19659,"title":8013,"dynasty":54,"author":1311,"museum":300,"description":19660,"tags":19661,"thumbUrl":19662,"material":692,"size":1293,"collection":84,"collections":19663,"showCount":19656,"zanCount":48,"manualWeight":48,"mainColor":49},288499,"mei-hua-tu-li-zhou-wang-shi-shen-288499","汪士慎（1686—1759）清代著名画家，书法家。字近人，号巢林、溪东外史等，汉族，安徽休宁人，寓居扬州。\n工分隶，善画梅，神腴气清，墨淡趣足。暮年一目失明，仍能为人作书画，自刻一印云：“尚留一目看梅花”，后来，双目俱瞽，但仍挥写，署款“心观”二字。有《巢林集》。与罗聘、李方膺、李鱓、金农、黄慎、高翔和郑燮并称”扬州八怪“。",[23,24,7,164,165,128,61,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce92462c168f27ae0eaae5b49de4644d.jpg",[],{"id":19665,"slug":19666,"title":19667,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":19668,"thumbUrl":19669,"material":692,"size":1293,"collection":84,"collections":19670,"showCount":19656,"zanCount":1998,"manualWeight":48,"mainColor":4001},287731,"shan-mian-shan-shui-hua-hui-ce-yun-shou-ping-287731","扇面山水花卉册",[1131,24,7,59,128,27,167,171,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58a68bc6121d0e0d9f243c202d21e65c.jpg",[],{"id":19672,"slug":19673,"title":19674,"dynasty":124,"author":223,"museum":300,"description":19675,"tags":19676,"thumbUrl":19677,"material":692,"size":1293,"collection":84,"collections":19678,"showCount":19656,"zanCount":48,"manualWeight":48,"mainColor":49},287391,"hu-die-hua-hui-ye-yi-ming-287391","蝴蝶花卉页","此作以沉雅地色衬景，坡岸之上一花挺生，柔茎舒展，叶片晕染出深浅层次，素色小花清雅柔婉。三蝶翩跹，色分浓淡，姿态各异，或逐花低回，或振翅缓翔，将郊野春时的悠然意趣凝于方寸。\n\n装裱织锦边框纹样精巧，与画面浑然相融。整作工致细腻，配色古静沉稳，不做繁丽铺陈，仅以清简技法勾勒闲逸生机，尽显小品雅致韵致，将虫花相伴的自然清趣娓娓铺展，恬淡动人，尽显古雅闲逸的东方意韵。",[23,24,7,61,27,28,62,481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70b8a85c99b2cd00f3ec6e578572fb29.jpg",[],{"id":19680,"slug":19681,"title":19682,"dynasty":54,"author":223,"museum":300,"description":10087,"tags":19683,"thumbUrl":19685,"material":692,"size":1293,"collection":84,"collections":19686,"showCount":19656,"zanCount":48,"manualWeight":48,"mainColor":72},263656,"ke-si-yu-zhi-shi-hua-hui-tu-ce-shi-liu-hua-yi-ming-263656","缂丝御制诗花卉图册-石榴花",[24,7,4437,27,28,61,19684,62,64,208,1944],"石榴花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad1df1585458c1487b63fa145618dd8c.jpg",[],{"id":19688,"slug":19689,"title":76,"dynasty":54,"author":4823,"museum":300,"description":19690,"tags":19691,"thumbUrl":19692,"material":692,"size":1293,"collection":68,"collections":19693,"showCount":19656,"zanCount":48,"manualWeight":48,"mainColor":72},239092,"hua-hui-ce-ma-yuan-yu-239092","马元驭（1669—1722）清代画家。字扶羲，号栖霞，又号天虞山人，江苏常熟人。\n画传家法，而气韵超逸突过乃父。赋性落拓，纵酒逞笔，乃益豪放。写生得恽寿平亲传，又与蒋廷锡讨论六法，故没骨画益工，神韵飞动，不拘陈迹。元驭自以为得沈周、陆治遗意，其超纵处诚有陆氏风规，而老健远逊石田，盖能品也。兴至之作，逸笔尤佳，多用水墨。书亦隽雅。卒年五十四。",[24,7,61,27,28,59,62,2037,624,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcec853be8f8ea23a0294c015b174f259.jpg",[68,45],{"id":19695,"slug":19696,"title":18219,"dynasty":54,"author":9529,"museum":300,"description":19697,"tags":19698,"thumbUrl":19699,"material":692,"size":1293,"collection":136,"collections":19700,"showCount":19656,"zanCount":48,"manualWeight":48,"mainColor":72},234956,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234956","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[24,7,59,27,132,330,29,331,131,37,415,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9365e63d8219fdbc7a9693bddcec7a.jpg",[136,45],{"id":19702,"slug":19703,"title":19704,"dynasty":54,"author":4468,"museum":20,"description":19705,"tags":19706,"thumbUrl":19712,"material":514,"size":19713,"collection":84,"collections":19714,"showCount":19656,"zanCount":48,"manualWeight":48,"mainColor":72},234912,"qian-long-huang-di-she-lie-tu-zhou-lang-shi-ning-234912","乾隆皇帝射猎图轴","《乾隆皇帝射猎图》是清代 等人创作的绢本设色画，现收藏于 。\n该画以高超的写实技巧描绘了乾隆皇帝和大臣在南苑围场捕射野兔的情形，作者通过对骑在骏马上精悍的人物与狂奔逃命的野兔准备而且传神的刻画，成功地展示出乾隆皇帝娴熟的骑技和尚武骑射的创作主题，全画人物马匹千姿百态，动感十足。\n款识：“臣郎世宁恭绘。\n”下钤“臣世宁”白文方印、“恭绘”朱文方印。\n御题诗三首，款署：“南苑行围即事三首，乙亥暮春御笔。\n”钤“乾隆宸翰”白文方印、“得象外意”朱文方印、“研露”朱文长方印。\n“乙亥”是乾隆二十年（1755年），乾隆皇帝时年45岁。\n从乾隆皇帝的御制诗中可知，他此次南苑狩猎“是日凡中八兔”，可谓战绩骄人。\n从笔法上分析，图中乾隆皇帝的肖像及马无疑应出自郎世宁之手，山石树木等衬景则来自中国的宫廷画家之笔。\n《乾隆皇帝射猎图》表现乾隆帝及近亲王公大臣在南苑猎场捕射野兔的动感瞬间。\n作者通过骑在骏马上精悍的人物与狂奔逃命的野兔准确而且传神的刻画，成功地展示出乾隆皇帝娴熟的骑技和尚武骑射的创作主题。\n乾隆皇帝作为以畜牧、游猎为主的 人后裔，严格遵守被清朝诸先帝奉为“满洲根本”、“先正遗风”的骑射尚武典制。\n他通过带有游乐性质的狩猎活动，将满族人弯弓射箭的传统习俗发扬光大。\n乾隆皇帝为了弘扬这种尚武精神，谕令宫廷西洋画师郎世宁以及中国宫廷画家创作了数十幅专门表现他行围狩猎场景的画作，此图便是其中之一。\n该画真实地纪录了乾隆皇帝紧张而热烈的狩猎情景。\n同时，展示了乾隆帝行猎时所使用的各种兵器，为研究乾隆朝的皇室武备无疑提供了难得的形象资料。\n27年11月，该画在意大利“皇家韵致展”中展出。\n郎世宁（1688—1766年），意大利米兰人，原名朱塞佩·伽斯底里奥内（Giuseppe Castiglione），青年时期受到系统的绘画训练，后来加入了欧洲基督教下属的宗教组织耶稣会，并于1714年（清·康熙五十三年）以传教士的身份离开欧洲来到东方，次年抵达澳门，起汉名郎世宁，继而北上京师，随即于康熙末期进入宫廷供职，开始了他长达数十年的中国宫廷艺术家的生涯。\n郎世宁在清宫廷内为皇帝画了多幅表现当时重大事件的历史画，以及众多的人物肖像、走兽、花鸟画作品，还将欧洲的焦点透视画法介绍到中国，协助中国学者年希尧完成了叙述这一画法的著作《视学》，成为当时东西方文化交流的重要使者。\n1766年7月16日（清乾隆三十一年六月初十日）郎世宁在北京病逝，终年78岁。",[24,7,164,165,304,28,27,19707,19708,96,101,8600,19709,34,6640,1023,10997,19710,19711],"中西合璧技法","写实风格","射猎场景","动态构图","狩猎题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F569e69e422015fa6786904aed47711d4.jpg","25.7×33厘米",[],{"id":19716,"slug":19717,"title":19718,"dynasty":124,"author":204,"museum":300,"description":19719,"tags":19720,"thumbUrl":19721,"material":84,"size":84,"collection":84,"collections":19722,"showCount":19656,"zanCount":48,"manualWeight":48,"mainColor":72},234272,"chou-ying-han-gong-chun-xiao-tu-cheng-shan-chou-ying-234272","仇英汉宫春晓图成扇","仇英是明代最有代表性的画家之一，与沈周，文徵明和唐寅被后世并称为“明四家”、“吴门四家” ，亦称“天门四杰”。沈、文、唐三家，不仅以画取胜，且佐以诗句题跋，就画格而言，唐，仇相接近。仇英在他的画上，一般只题名款，尽量少写文字，为的是不破坏画面美感，因此画史评价他为追求艺术境界的仙人。",[24,7,1131,805,28,27,96,997,166,97,247,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3f8f3181d7241595427cab87333c805.jpg",[],{"id":19724,"slug":19725,"title":892,"dynasty":54,"author":55,"museum":300,"description":893,"tags":19726,"thumbUrl":19728,"material":84,"size":84,"collection":84,"collections":19729,"showCount":19656,"zanCount":48,"manualWeight":48,"mainColor":72},233908,"hua-hui-shan-shui-ce-yun-shou-ping-233908",[24,59,7,128,29,4363,1747,98,4438,129,208,64,132,19727],"清幽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdc695aa86b4de6eec57f11a4c771330.jpg",[],{"id":19731,"slug":19732,"title":76,"dynasty":54,"author":55,"museum":300,"description":893,"tags":19733,"thumbUrl":19734,"material":84,"size":897,"collection":84,"collections":19735,"showCount":19656,"zanCount":48,"manualWeight":48,"mainColor":72},233899,"hua-hui-ce-yun-shou-ping-233899",[24,7,59,60,128,27,61,62,2690,747,1039],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1d0de15881eaef9e1fd66f6593c6ec1.jpg",[],{"id":19737,"slug":19738,"title":19739,"dynasty":54,"author":3043,"museum":77,"description":19740,"tags":19741,"thumbUrl":19742,"material":611,"size":19743,"collection":84,"collections":19744,"showCount":19656,"zanCount":48,"manualWeight":48,"mainColor":72},233738,"he-ju-tu-xu-gu-233738","鹤菊图","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。",[24,7,165,128,27,61,369,722,376,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd2764d2a4771380b4af360eaf65809.jpg","143x39cm",[],{"id":19746,"slug":19747,"title":19748,"dynasty":222,"author":223,"museum":300,"description":19749,"tags":19750,"thumbUrl":19752,"material":692,"size":1293,"collection":84,"collections":19753,"showCount":19656,"zanCount":48,"manualWeight":48,"mainColor":956},231613,"fu-hua-qian-shou-guan-yin-xiang-li-zhou-yi-ming-231613","佛画 千手观音像立轴","暗沉底色晕开静谧肃穆的氛围，主尊合掌垂眸，慈悲肃穆尽显。千臂层叠排布，或持法器、或结法印，错落有序却不显冗杂，衣纹褶皱古朴厚重，残存的贴金痕迹晕开旧时华贵光彩。\n\n左右胁侍恭谨分立，一人捧供盘奉呈信物，一人持经卷垂首凝神，衣饰绮丽繁复，与主尊浑朴庄严形成呼应。整体设色沉敛内敛，线条遒劲凝练，将仪轨整饬与神性慈悲相融，虽历经岁月色泽黯淡，依旧传递出厚重沉静的宗教感染力，尽显古佛画典雅庄重的美学意韵。",[23,24,7,165,187,27,28,96,1363,19751],"千手","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8917d247ca8224fc3f2301f7f6315fe.jpg",[],{"id":19755,"slug":19756,"title":19757,"dynasty":54,"author":4468,"museum":300,"description":19758,"tags":19759,"thumbUrl":19760,"material":84,"size":84,"collection":84,"collections":19761,"showCount":19656,"zanCount":1998,"manualWeight":48,"mainColor":49},230203,"qian-long-huang-di-da-yue-tu-lang-shi-ning-230203","乾隆皇帝大阅图","《乾隆皇帝大阅图》是清代画家 创作的一幅绢本设色画，现收藏于 。\n此图画的是乾隆皇帝于他即位后的第四年（179年）首次去南苑检阅八旗官兵时的雄姿。\n乾隆全副武装，佩带弓箭，威风凛凛，气度不凡。\n全图以鲜艳明丽的色泽，细密工致的笔触描绘这位29岁青年君主的形象，人物及马匹富有立体感，明显看出是采用了欧洲的明暗画法；衣服、头盔、皮毛等质感很强；背景中天空的云霭，色彩丰富多变。\n《乾隆皇帝大阅图》所画为乾隆皇帝骑马的形象。\n他头戴金盔，身穿铠甲，骑在骏马上，全副武装，佩带弓箭检阅八旗官兵时的雄姿。\n清高宗乾隆作为清入关后的第四任皇帝，始终认为“骑射乃满洲之根本”，为此，极其重视军队的建设，通过南苑阅兵、木兰秋狝、南海冰嬉等种种活动，来促使八旗兵保持强大的战斗力。\n依照本图的御制诗可知，该图描绘的是乾隆亲临南苑（今北京南）检阅八旗将士时的英武之姿。\n此次大阅正值清军与西域的霍集占兄弟激烈交战之际，所以，高宗乾隆除按惯例巡视八旗军的队列及各种兵器、火器的操练活动外，还暗含有向叛军炫耀清王朝的实力与军威之意。\n在南苑第一次大阅后，便命令宫廷画家朗世宁画此画。\n画中乾隆帝和马，西洋画风浓厚，十分细腻，运用中国的毛笔、纸绡和色彩，却能以欧洲的绘画方法注重对象的解剖结构和立体感的表达。\n在光线的运用上则与欧洲面法有所不同，欧洲商家喜欢表现人物脸部在特定的光线照射下分明的凹凸感，而传统的中国“写真”技艺，则要求被画者是不受光线变化常态下的相貌。\n因此，郎世宁适当地吸取了传统中国“写真”技艺的表现手法，所画人物均取正面光照，使人面面部五官清晰，画得相当精致笔触细腻柔和，又注意体面结构和立体效果，衣服的质感也很强。\n以细密的短线，按照素描的画法来描绘马匹的外形、皮毛的皱褶和皮毛下凸起的血管、筋腱，或者利用色泽的深浅来表现马匹的立体感和厚重感来画马。\n人物乾隆，则在造型上比较严谨，注重解剖机构，非常的写实符合解剖学的比例。\n画作体现中西绘画相互渗透并趋向相融合，融合的结果是绘画的审美追求朝着“写实”的方向发展。\n教授刘伟宏：郎世宁用中西融合的画法所画的《乾隆皇帝大阅图》，描绘了乾隆皇帝举行盛大阅礼的场面，具有独特的艺术魅力。\n明末清初，传教士的进入促进了西方古典主义写实绘画技法与中国传统绘画技法的融合与发展，一改传统中国画的笔墨及线描风格。\n这个时期绘画的主要特点集中在记实性，其中发展较为瞩目的题材包括装饰性壁画、人物风俗、人物肖像、战功图及祭祀等。\n《乾隆皇帝大阅图》从造型、明暗、构图及透视等方面详细阐述西方绘画技法对中国画的影响，体现了西方绘画技法促进了中国画对光影元素的运用、明暗和透视法的兴起以及色彩的广泛使用。\n郎世宁（1688—1766），原名朱塞佩·伽斯底里奥内，生于米兰。\n清康熙帝五十四年作为天主教耶稣会的修道士来中国传教。\n随即入宫进入如意馆，成为宫廷画家，曾参加圆明园西洋楼的设计工作，历任康、雍、乾三朝，在中国从事绘画达5多年。\n他是一位艺术上的全面手，人物、肖像、走兽、花鸟、山水无所不涉、无所不精，成为雍正帝、乾峰帝时 的代表人物。\n他的代表作品有《 》《 》《 》《弘历及后妃像》等。",[23,164,24,7,28,27,96,101,5626,29,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febb27b0558240e575c4f488632ba8c11.jpg",[],{"id":19763,"slug":19764,"title":19765,"dynasty":124,"author":10632,"museum":300,"description":19766,"tags":19767,"thumbUrl":19770,"material":84,"size":84,"collection":84,"collections":19771,"showCount":19656,"zanCount":1998,"manualWeight":48,"mainColor":49},228485,"qiao-lin-bai-que-tu-juan-lin-liang-228485","乔林百雀图卷","整卷以水墨挥毫，枯木槎枒间百雀各呈其态，飞栖鸣集无一雷同。劲爽墨笔勾勒禽鸟翎羽，干湿浓淡晕出绒羽蓬松质感，枯林苍劲荒疏，与群雀喧腾相映，在萧索冬日漾出盎然生趣。\n笔墨简括老辣，融院体工致与文人写意于一体，将小雀的灵动狡黠描摹入微，于长卷间铺展野逸灵动的自然意趣，尽显水墨花鸟纵逸格调，是水墨禽鸟画中极具表现力的佳构。",[23,24,7,25,128,369,61,19768,355,19769,2438,229,211],"乔木","树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f738b6a6309084a7933eb775da10da.jpg",[],{"id":19773,"slug":19774,"title":19775,"dynasty":18,"author":1622,"museum":300,"description":19776,"tags":19777,"thumbUrl":19778,"material":84,"size":84,"collection":84,"collections":19779,"showCount":19656,"zanCount":48,"manualWeight":48,"mainColor":199},227824,"qiu-jiang-dai-du-tu-ye-ma-yuan-227824","秋江待渡图页","此作以边角取景，尽显空灵澹远之意趣。虬松扎根危崖，枝干苍劲扭转，松叶攒簇间带着秋意萧疏。远山以淡墨轻勾慢染，晕出朦胧黛色，江岸留白成阔朗秋水，愈衬出天地清寂。水岸泊着孤舟，舟上旅人静坐待渡，将羁旅闲愁融于冷寂江天之中。淡赭设色晕出秋日氛围感，笔致简劲秀逸，以少胜多，寥寥笔墨便勾勒出幽远无尽的诗意余韵，将山水间的清冷闲雅尽数藏于尺幅之间。",[23,24,164,7,59,128,132,27,29,129,331,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F986bccab4158b6928756c26c3978e0d8.jpg",[],{"id":19781,"slug":19782,"title":19783,"dynasty":54,"author":523,"museum":524,"description":19784,"tags":19785,"thumbUrl":19789,"material":151,"size":19790,"collection":44,"collections":19791,"showCount":19656,"zanCount":1998,"manualWeight":48,"mainColor":49},222872,"chun-ge-juan-du-zhou-leng-mei-222872","春阁倦读轴","图绘一身着长裙的仕女，发髻高挽，一手支颐，一手持书，侧身倚桌案而立。其神态文静闲适中略带倦意，大家闺秀清闲寂寞的生活，刻画得细致入微。图中人物比例匀称，衣纹线条圆润流畅，可以看出画家的深厚功底。而背景的描绘也显得独具匠心，无论悬于墙上的画幅、笛子，还是膝下的小犬都不是可有可无之物，图中人物的生活情趣和身份均由此得到印证。此作如此精妙地刻画出人物的精神层面，无疑堪称人物画佳作。",[23,304,164,24,7,165,28,27,96,166,527,263,19786,19787,233,19788,1367],"桌","凳","书卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F866bd4a4449c988942f5f5abcf3da75a.jpg","170x100cm",[44],{"id":19793,"slug":19794,"title":19795,"dynasty":54,"author":4468,"museum":244,"description":4469,"tags":19796,"thumbUrl":19797,"material":27,"size":4474,"collection":84,"collections":19798,"showCount":19656,"zanCount":48,"manualWeight":48,"mainColor":72},222744,"xian-e-chang-chun-tu-03b-lang-shi-ning-222744","仙萼长春图-03b",[23,164,24,7,28,27,61,603,211,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00506c220c38058c15ebc098e593bc75.jpg",[],{"id":19800,"slug":19801,"title":19802,"dynasty":124,"author":19803,"museum":20,"description":19804,"tags":19805,"thumbUrl":19807,"material":40,"size":19808,"collection":44,"collections":19809,"showCount":19656,"zanCount":1116,"manualWeight":48,"mainColor":49},222049,"huo-lang-tu-ji-sheng-222049","货郎图","计盛","“货郎图”属于风俗画，这一题材自宋代以来就十分流行。画面中货郎衣着整洁，儿童服饰华丽，货架上的各类物品丰富而精致。画法上刻画细腻，设色浓艳，已将宋人民间货郎图中的生活气息转化为宫廷贵族气息，因而又有“宫廷货郎”之称。",[23,24,7,27,28,95,96,2218,18572,251,19806,34,4278,481],"鸟笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379a6e73b4bffc5ce7f9a7fab61b9170.jpg","纵192.4厘米，横98.7厘米",[44,45],{"id":19811,"slug":19812,"title":19813,"dynasty":124,"author":802,"museum":510,"description":19814,"tags":19815,"thumbUrl":19816,"material":173,"size":19817,"collection":68,"collections":19818,"showCount":19656,"zanCount":1998,"manualWeight":48,"mainColor":956},221885,"dou-cao-tu-chen-hong-shou-221885","斗草图","这幅画作描绘的是端阳时节，仕女五人围坐石下斗草为戏的情节。人物神态生动微妙，各具神韵。湖石上盘曲老松，质量厚实，与疏朗的人物布局构成鲜明的对比，有利于打破构图的呆板。陈氏画风变形夸张，用笔谨劲连绵，如行云游丝，转折有力；设色艳而不俗。此作正是画家典型风格的代表作。款署[庚寅秋，老莲洪绶画于护兰书堂]。庚寅为清顺治七年，系公元一六五○年，陈洪绶时年五十三岁。款下钤[洪绶]朱文长方印。",[23,164,24,7,28,188,27,166,1144,131,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0622469e201b8215901cfacb0c5aa797.jpg","纵134.3、横48厘米",[68,45],{"id":19820,"slug":19821,"title":19822,"dynasty":18,"author":8169,"museum":12686,"description":9227,"tags":19823,"thumbUrl":19824,"material":151,"size":19825,"collection":42,"collections":19826,"showCount":19656,"zanCount":1998,"manualWeight":48,"mainColor":49},221302,"shan-zhuang-tu-ye-yi-yuan-ji-221302","山庄图页",[23,24,7,164,27,132,29,98,99,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f88332f8b93c6ca6e62d137e999a3fc.jpg","31×30",[42,136,45],{"id":19828,"slug":19829,"title":13983,"dynasty":18,"author":19830,"museum":2068,"description":19831,"tags":19832,"thumbUrl":19833,"material":128,"size":19834,"collection":42,"collections":19835,"showCount":19656,"zanCount":1998,"manualWeight":48,"mainColor":49},221257,"mu-tong-tu-dai-ze-221257","戴泽","整幅画作氤氲着江南水畔的萧散野趣，淡赭底色晕染出暮冬将醒的沉柔氛围。枯树斜欹坡岸，枝桠疏朗留白，衬得陂塘水色愈见空濛。\n\n两名牧童随性自在，一骑牛信步缓行，安然垂首似在聆听水声；一立树侧，牵引着俯身饮水的水牛，稚气隐于简淡笔触之下。水牛造型朴拙憨态，笔墨简括却筋骨俱现。\n\n画作以极简构图传递出平淡天真的意趣，将乡野日常的闲逸诗意藏于浅淡晕染间，褪去冗杂，只剩江南牧歌的松弛韵致，静穆中晕开鲜活的田园烟火气。",[23,24,7,18,27,96,102,331,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faced28b4a42cd3e3f64e1fd502af2828.jpg","25.6×22.8",[42,44,45],{"id":19837,"slug":19838,"title":19839,"dynasty":144,"author":569,"museum":510,"description":19840,"tags":19841,"thumbUrl":19842,"material":611,"size":19843,"collection":318,"collections":19844,"showCount":19656,"zanCount":1086,"manualWeight":48,"mainColor":72},220881,"gui-qu-lai-ci-juan-quan-juan-zhao-meng-fu-220881","归去来辞卷全卷","乌丝栏中字行书陶渊明《归去来辞》全文并序。书法规抚王羲之,运笔及间架明显师法王氏兰亭及圣教序,精致清新",[23,133,64,25,7,208,27,96,128,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91687600b8640b457b4a8ea7f84da540.jpg","书心纵24,横146.2厘米",[318],{"id":19846,"slug":19847,"title":19848,"dynasty":54,"author":1676,"museum":1300,"description":19849,"tags":19850,"thumbUrl":19851,"material":27,"size":19852,"collection":68,"collections":19853,"showCount":19656,"zanCount":1998,"manualWeight":48,"mainColor":72},220143,"leng-yan-you-xiang-tu-li-shan-220143","冷艳幽香图","李鱓（1686—1762），清代画家，江苏兴化人。字宗扬，号复堂、懊道人。康熙五十四年（1715年）举人，官滕县、临淄知县。擅花鸟、山水。绘画师法沈周、林良、陈淳、徐渭、恽寿平、石涛、高其佩、蒋廷锡等人。李鱓比较重视生活感受与传统技法的结合，熟练使用自己领悟到的笔墨，善于发挥水的特性，“水墨融成奇趣”，大胆发挥鲜艳色彩和白粉的特性，将粗笔画法与工细画法结合，形成“纵横驰骋，不拘绳墨而独得天趣”“随意布置，另有别趣”的写意花鸟画风，笔墨雄健劲拔，设色淡雅。他的绘画对吴熙载、赵之谦、吴昌硕等人产生了深远影响。李鱓亦擅书法，用笔古朴豪宕、洒脱自然。从南京博物院藏《冷艳幽香图》中的题跋可见李鱓书法的一些审美意趣和风格特色。",[23,24,7,25,27,128,369,61,371,375,168,376,355,131,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F776535ffcb2a3e1e219ec108c1aebfe7.jpg","纵34.5厘米、横362厘米",[68],{"id":19855,"slug":19856,"title":19857,"dynasty":124,"author":223,"museum":244,"description":19858,"tags":19859,"thumbUrl":19860,"material":128,"size":84,"collection":117,"collections":19861,"showCount":19656,"zanCount":48,"manualWeight":48,"mainColor":49},219345,"shan-shui-zhou-yi-ming-219345","山水轴","峰峦叠嶂间云雾氤氲，墨色皴擦出山石肌理，浓淡相宜间尽显丘壑之姿。松枝苍劲，竹影婆娑，掩映着几椽屋舍，屋前似有人凭栏凝思，桥边或有客缓步寻幽。流水潺潺绕石矶，与远山朦胧相映成趣。画作以简练线条勾勒景致，留白处见空灵，墨韵间藏生机，将山水静谧与文人雅趣融于一体，仿佛能闻林间清风，听案上琴音，尽显东方美学的含蓄悠远。",[24,7,165,128,132,29,663,1144,35,98,34,37,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d07f8a98cf77e3944329d1fc96a3eb6.jpg",[117],{"id":19863,"slug":19864,"title":19865,"dynasty":144,"author":1163,"museum":56,"description":19866,"tags":19867,"thumbUrl":19868,"material":278,"size":19869,"collection":68,"collections":19870,"showCount":19656,"zanCount":48,"manualWeight":48,"mainColor":49},219282,"fu-rong-yuan-yang-tu-zhou-zhang-zhong-219282","芙蓉鸳鸯图轴","此图描绘了一幅秋高气爽时节的生动景象，水边的木芙蓉枝叶舒展，枝头花朵绽放；两只鸳鸯在水中嬉戏，其中雌鸳鸯昂首鸣叫，雄鸳鸯垂首清波。此图笔墨简洁古朴，山石不修饰以苔点，以水墨点触晕染，生动写实而清雅隽永，富于韵味。",[23,24,7,165,128,28,61,373,1857,228,1771,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eac47218af15810079b2edc1cc7f16f.jpg","纵147 厘米，横56.8 厘米",[68,117],{"id":19872,"slug":19873,"title":19874,"dynasty":144,"author":7095,"museum":300,"description":19875,"tags":19876,"thumbUrl":19877,"material":173,"size":19878,"collection":44,"collections":19879,"showCount":19656,"zanCount":48,"manualWeight":48,"mainColor":49},218447,"ming-huang-guan-ji-tu-zhao-yong-218447","明皇观鸡图","两位人物和马匹的技法是用方正的铁线来描绘的，线条粗壮而精细，更让人联想到北宋李公麟柔和细腻的笔触，表现出人物的大衣、马匹的鬃毛和尾巴在风中飞舞的动作。色彩呈现出唐代的富丽堂皇，又不失文人的优雅，将厚重和明亮的色彩融为一体。树木是双层的，线条坚硬有力，继承了李唐甚至马远和夏圭的朴素。",[24,164,7,165,27,28,96,101,2510,413,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9647a159defd4650bccc45e107b570.jpg","118x67",[44],{"id":19881,"slug":19882,"title":19883,"dynasty":54,"author":19884,"museum":244,"description":19885,"tags":19886,"thumbUrl":19887,"material":66,"size":19888,"collection":136,"collections":19889,"showCount":19656,"zanCount":48,"manualWeight":48,"mainColor":72},214812,"jiang-chao-tu-zhang-zong-cang-214812","江潮图","张宗苍","画面描绘了河流的壮丽潮汐和远岸的山脉。海浪是如此强大，当它们遇到岩石时，就会形成银色的怒涛。山脉、悬崖和树木的笔触与王原祁的松树和苍劲的山水有着同样的兴趣。",[23,24,7,29,132,27,208,131,951,130,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9c2de55def97e2d554b4acbf37b8d33.jpg","166.7x69.5",[136],{"id":19891,"slug":19892,"title":19893,"dynasty":54,"author":19894,"museum":244,"description":19895,"tags":19896,"thumbUrl":19897,"material":278,"size":19898,"collection":318,"collections":19899,"showCount":19656,"zanCount":48,"manualWeight":48,"mainColor":72},214238,"shu-huai-su-zi-xu-zhong-tang-zheng-xie-214238","书怀素自序中堂","郑燮","墨韵流转间，六分半书的奇趣跃然纸上。篆隶的古拙、行草的纵逸交织，笔画如铁画银钩，时而厚重沉凝，时而飞白流转。字形欹正相生，大小错落如乱石铺街，却在跌宕中藏着章法的妙趣。写怀素自序，既得草圣的洒脱意气，又融书者自身的率真性情——每一笔都似带着文人风骨，刚柔相济间，可见对传统的解构与重构。章法疏密有致，行与行的呼应如流水映月，枯润对比中透着笔墨灵动。整体气息清劲洒脱，不拘一格，仿佛能窥见挥毫时的快意，是融众家之长又自成一格的生动写照。",[23,304,64,7,165,133,840,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff16c746a3fdbcaa899c4643d03078132.jpg","190.5x105.2",[318],{"id":19901,"slug":19902,"title":19903,"dynasty":144,"author":1208,"museum":300,"description":19904,"tags":19905,"thumbUrl":19906,"material":692,"size":1293,"collection":84,"collections":19907,"showCount":19908,"zanCount":48,"manualWeight":48,"mainColor":72},289441,"nan-an-shuang-shu-tu-ni-zan-289441","南岸双树图","倪瓒(1301～1374)元代画家、诗人。一说初名珽。字泰宇，后字元镇，号云林，又署云林子，或云林散人，别号荆蛮民、净名居士、朱阳馆主、莆闲仙卿、幻霞子、东海农、无住庵主、绝听子、曲全叟、沧海漫士、懒瓒、东海瓒、奚元朗。无锡（今属江苏）人。世居无锡祗陀里，多乔木，建堂名云林，因以云林自号。他一生不做官，其家是吴中有名的富户；但倪瓒不愿管理生产，自称懒瓒，亦号倪迂。性好洁,服巾日洗数次，屋前后树木也常洗拭。家中藏书数千卷，亲手勘定。擅山水、竹石、枯木等，其山水师法董源、荆浩、关仝、创“折带皴”写山石，画树木则兼师法李成，加以发展 ， 画法疏简 ，格调天真幽淡。作品多画太湖一带山水，构图平远，景物极简，多作疏林坡岸，浅水遥岑。用笔变中锋为侧锋，折带皴画山石，枯笔干墨，淡雅松秀，意境荒寒空寂，风格萧散超逸。墨竹萧爽清丽。论画主张抒发主观感情，认为绘画应表现作者“胸中逸气”，不求形似，说“仆之所谓画者，不过逸笔草草，不求形似，聊以自娱耳”。其绘画实践和理论观点，对明清文人画家有很大影响，享誉极高，画史将他与黄公望、吴镇、王蒙并称元四家",[164,24,7,165,128,1337,167,171,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1d55eecf41bf1bce479bcfa86bdf890.jpg",[],70,{"id":19910,"slug":19911,"title":19912,"dynasty":124,"author":1058,"museum":300,"description":4630,"tags":19913,"thumbUrl":19914,"material":692,"size":1293,"collection":84,"collections":19915,"showCount":19908,"zanCount":1116,"manualWeight":48,"mainColor":49},287972,"qiu-shan-gao-shi-tu-juan-quan-juan-tang-yin-287972","秋山高士图卷(全卷)",[23,164,24,7,25,27,132,29,129,97,131,34,99,10539,130,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd2fd446df0721e6764bc25b60d786cf.jpg",[],{"id":19917,"slug":19918,"title":19919,"dynasty":54,"author":872,"museum":300,"description":6719,"tags":19920,"thumbUrl":19921,"material":692,"size":1293,"collection":84,"collections":19922,"showCount":19908,"zanCount":48,"manualWeight":48,"mainColor":72},287696,"bai-lu-xiao-niao-tu-li-zhou-zhu-da-287696","白鹭小鸟图立轴",[24,164,7,165,128,61,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4fbd45d978190e5929c928f8a6bc919.jpg",[],{"id":19924,"slug":19925,"title":19926,"dynasty":54,"author":19927,"museum":300,"description":19928,"tags":19929,"thumbUrl":19930,"material":84,"size":84,"collection":44,"collections":19931,"showCount":19908,"zanCount":48,"manualWeight":48,"mainColor":72},239309,"shi-nv-tu-ye-huang-yao-239309","仕女图页","黄曜","柳荫垂覆，朱栏萦立，仕女素衣雅致，鬟发温婉，凭栏凝睇架上青鸟，眉眼间晕着淡淡幽思。浅设色晕染出枝叶清润质感，衣袂褶皱柔缓舒展，将闺中女子春日里的缱绻闲愁悄然铺陈。左侧题字配印，笔墨秀雅与画面相映。\n\n全画笔致清隽细腻，将江南春景的柔婉与仕女静穆怅惘相融，淡墨轻岚间静中生韵，把闺中闲绪糅入春日烟柳，含蓄绵长的古典情致漫溢纸面，余味悠然。",[24,7,59,28,27,96,166,211,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4560235a4bc933ed5d63f130017ba2f9.jpg",[44],{"id":19933,"slug":19934,"title":19935,"dynasty":54,"author":3403,"museum":20,"description":19936,"tags":19937,"thumbUrl":19938,"material":734,"size":19939,"collection":84,"collections":19940,"showCount":19908,"zanCount":1116,"manualWeight":48,"mainColor":72},233733,"yu-lan-tu-zhou-wu-chang-shuo-233733","玉兰图轴","图绘玉兰花依石而开的景致。白描的玉兰与墨染的山石形成强烈的黑白对比，相互依托，虚实相生。兰、石以金石篆籀的笔法入画，浑厚老辣的笔墨融入简率疏野的写意花鸟画格之中，营造出“豪放而馨香”的绮丽效果，与图中苍劲有力的书法相映生辉。此幅当属诗书画有机结合的佳作。",[24,7,165,128,369,61,356,171,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5741ce1b277c358cd2642fad04d5f795.jpg","纵174.8厘米，横47.5厘米",[],{"id":19942,"slug":19943,"title":19944,"dynasty":124,"author":802,"museum":77,"description":19945,"tags":19946,"thumbUrl":19947,"material":611,"size":19948,"collection":84,"collections":19949,"showCount":19908,"zanCount":1116,"manualWeight":48,"mainColor":49},231484,"li-hua-tu-chen-hong-shou-231484","梨花图","陈洪绶号曰老莲，章侯其字也，先祖原居河南许昌，南宋时随高宗南迁，定居于浙江诸暨枫桥镇。陈洪绶在少年时代即显示出在绘画艺术的天授之才，著名画家蓝瑛、孙杕看到陈洪绶十岁时的画作，惊叹道：“使斯人画成，道子、子昂均当北面，我辈尚敢措笔乎！”又曰：“此天授也”。此后陈随蓝、孙两师学习，继而研习、临摹古代大师传世之作，师法唐人，兼学宋元诸名家，人物、山水、花鸟无所不学，他的艺术天分加上勤学苦练使他很早就在画坛声名大振。 陈洪绶生活在晚明时期，朝廷极度腐败，文化方面却呈现出多变而丰富的面貌，陈洪绶是彼时最具强烈个性的艺术巨匠，在绘画的各个题材中均有独特的创造性，并影响中国绘画数百年，流风至今不衰。\n陈洪绶的这件《梨花图》绘于绢本，纵76公分，横26公分，题款：老莲洪绶画。虽未署年款，据陈洪绶传世的其它创作于深柳读书堂的作品及《梨花图》的风格推断，这件作品应创作于十七世纪三十年代中期，那时陈洪绶年龄近四十，绘画技巧已然十分纯熟。画面高低变化，巧妙地丰富了画面的视觉效果。陈洪绶的花鸟画作品，体现了他的精神品位，在构图和造型上都打破了传统样式的束缚，有古拙之趣，造型新颖、拙朴率真，这是在继承传统的基础上显现出的强烈个人风格风貌。其花鸟画表现手法，受宋代院体画风的影响，造型严谨，工笔双钩，设色艳丽，由此汲取艺术精华并发展而来。又受明末大写意花鸟画的影响，用笔洒脱灵动，兼工带写，水墨交融。这件《梨花图》既是画家长期写生锤炼的结晶，也是宋代花鸟画的神韵所在。因陈洪绶花鸟绘画具有高度的装饰性，所以类似《梅花图》这样的题材在当时必定广受欢迎。",[23,24,7,165,28,27,61,1188,582,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ed725b25d09198789d5bf2f2832ed81.jpg","76×26 cm",[],{"id":19951,"slug":19952,"title":19953,"dynasty":124,"author":1438,"museum":300,"description":19954,"tags":19955,"thumbUrl":19956,"material":84,"size":84,"collection":84,"collections":19957,"showCount":19908,"zanCount":1998,"manualWeight":48,"mainColor":72},231011,"qiu-tang-hua-ya-tu-chen-chun-231011","秋塘花鸭图","此作用淡墨轻铺底色，墨色晕染出花鸭绒羽蓬松柔润，青灰头羽、赭黄喙部鲜亮醒目，鸭身浮沉秋水，憨态悠然，尽显野趣生机。残荷枯黄老叶以赭石、花青晕染，莲蓬挺秀，败菊缀于右上角，淡彩点染出秋意阑珊。汀草、蓼花细笔勾勒，干湿浓淡的墨色交织，衬出水波澹澹。\n\n画作兼工带写，水墨为主略施淡彩，笔意纵逸又不失秀雅，将深秋塘间清寂又鲜活的意趣尽数铺展，笔情墨趣间尽显文人写意的雅致随性，揉合秋日池溏的萧疏与生机，淡远空灵的意境扑面而来。",[164,24,7,165,369,128,27,61,168,6509,841,303,6639,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13db65695720260f6c24cc85f7896486.jpg",[],{"id":19959,"slug":19960,"title":19961,"dynasty":54,"author":1460,"museum":300,"description":19962,"tags":19963,"thumbUrl":19964,"material":84,"size":84,"collection":84,"collections":19965,"showCount":19908,"zanCount":48,"manualWeight":48,"mainColor":72},228997,"hua-niao-tu-ce-12-kai-shi-tao-228997","花鸟图册12开","此作用笔简淡清逸，枯湿浓淡的笔墨绘就枝叶，偃仰之间自带舒展生韵。淡黄绿色轻晕花形，不着勾勒，似含露半绽，朦胧雅致。\n行书题诗与画意相得益彰，笔势同画中笔墨呼应相生，以花木寄寓出脱尘的襟怀。画面留白空濛悠远，以少胜多，将草木清灵意趣与文人雅逸情志相融，淡远萧疏之间，尽显自在风骨，是以画写心的佳作。",[24,7,59,128,27,61,64,208,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e3557a950fe9eb3922bef3edf50e34b.jpg",[],{"id":19967,"slug":19968,"title":19969,"dynasty":18,"author":1622,"museum":300,"description":19970,"tags":19971,"thumbUrl":19972,"material":84,"size":84,"collection":84,"collections":19973,"showCount":19908,"zanCount":48,"manualWeight":48,"mainColor":49},227817,"ju-bei-yao-yue-tu-ma-yuan-227817","举杯邀月图","此作用笔极简却意韵悠长，虬曲老梅斜探出崖壁，枝桠硬劲如屈铁，寥寥几笔便写尽枯寒清瘦之态。山坳屋角悬着冷月，清辉漫过嶙峋山石。水畔幽人席地而坐，似将一身襟怀尽数托付给溶溶月色与泠泠波光。\n画师以斧劈皴利落勾勒山石棱角，淡墨晕染出水色空濛，取景只撷边角小景，却以少胜多，把独酌邀月的疏旷禅意凝在咫尺绢本间，将文人寄心林泉、醉忘尘俗的隐逸情怀晕染尽致，空灵悠远的雅寂氛围扑面而来，余韵悠长。",[23,164,24,7,128,27,132,96,29,231,1337,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F747cfa4bb3157bd6ddb01ea703372731.jpg",[],{"id":19975,"slug":19976,"title":5955,"dynasty":18,"author":2141,"museum":300,"description":19977,"tags":19978,"thumbUrl":19979,"material":84,"size":84,"collection":84,"collections":19980,"showCount":19908,"zanCount":48,"manualWeight":48,"mainColor":49},227806,"qing-lv-shan-shui-tu-ye-liu-song-nian-227806","此作以青绿晕染山峦，淡墨勾勒丘壑轮廓，糅合精工雅致与烟火意趣。春柳垂荫如翠色帷幕，将画面切割出疏密层次，树下行人往来如织，或策马徐行，或驻足交谈，石桥下溪水流淌，三两村人浣洗休憩，鲜活的市井日常跃然纸面。\n\n远景峰峦逶迤，以石青石绿轻敷，敷色秀润沉稳，不见浓艳浮薄，将春日山野的明媚柔丽晕染开来。笔致细巧灵动，把山水之幽与俗世之暖相融，于尺幅之间铺展了一卷生机盎然的春日山居行乐图，尽显春日江南山野的悠然意韵。",[23,164,24,7,4437,26,27,29,96,98,99,101,34,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F485a6a80668b2daa57a22eff4e87382a.jpg",[],{"id":19982,"slug":19983,"title":19984,"dynasty":54,"author":3403,"museum":300,"description":3997,"tags":19985,"thumbUrl":19986,"material":1223,"size":19987,"collection":68,"collections":19988,"showCount":19908,"zanCount":1998,"manualWeight":48,"mainColor":72},224220,"chun-feng-chui-chu-hong-wu-chang-shuo-224220","春风吹出红",[23,24,7,61,27,128,64,208,263,549,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe082f7e60dc29bf6eac47500e2168d46.jpg","69x104厘米",[68,45],{"id":19990,"slug":19991,"title":61,"dynasty":54,"author":5879,"museum":300,"description":19992,"tags":19993,"thumbUrl":19994,"material":692,"size":1293,"collection":84,"collections":19995,"showCount":19908,"zanCount":1116,"manualWeight":48,"mainColor":4001},224162,"hua-niao-hua-yan-224162","华喦（1682-1756），字德嵩，号秋岳、又号新罗山人、新罗生、白砂山人，别号东园生、布衣生、老年自喻“飘篷者”。福建上杭人。华少时酷爱绘画，常替人作山水、花鸟、人物故事画，还在寺堂庙祠画壁画。花鸟画最负盛名，吸收明代陈淳、周之冕、清代恽寿平诸家之长，形成兼工带写的小写意手法。既有大局的的挥洒简逸，又有细节的精微描写，如画禽鸟，能将蓬松的羽毛玲珑剔透地表现出来。敷色鲜嫩不腻，时用枯笔干墨淡彩。这种工写结合、清新俊秀的花鸟画风格，对后世产生了积极影响。",[23,24,7,27,61,355,2438,228,229,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8abdb76674bf8f6b4a883e5a267d9d69.jpg",[],{"id":19997,"slug":19998,"title":19999,"dynasty":18,"author":223,"museum":2068,"description":20000,"tags":20001,"thumbUrl":20002,"material":40,"size":20003,"collection":84,"collections":20004,"showCount":19908,"zanCount":1105,"manualWeight":48,"mainColor":956},223578,"xuan-zang-san-zang-xiang-li-zhou-yi-ming-223578","玄奘三藏像立轴","绘玄奘大师赤足芒履，体态壮硕，略有疲惫，身负满载佛经的行笈，右手拿着拂尘，前悬灯盏，日夜兼程、西去取经。",[23,24,7,165,187,96,27,28,1367,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F543bc49dad0fa1d57d1f2a920b223347.jpg","135.1×59.9cm",[],{"id":20006,"slug":20007,"title":20008,"dynasty":124,"author":3619,"museum":244,"description":20009,"tags":20010,"thumbUrl":20011,"material":637,"size":84,"collection":136,"collections":20012,"showCount":19908,"zanCount":48,"manualWeight":48,"mainColor":72},221968,"fang-li-cheng-xi-shan-shen-xue-zhou-wen-zheng-ming-221968","仿李成溪山深雪轴","绘山石耸立，悬崖绝壁，白雪霭霭，山涧中一股瀑布倾泻而下，在山脚下汇入河流，河岸边树木修长，树叶凋零，一桥横跨两岸。题识：正德十年乙亥仿李营丘溪山深雪图 徵明。",[23,24,7,165,128,132,330,29,1813,131,34,495,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff12e302f69f4a2f9424953933b64b61c.jpg",[136,45],{"id":20014,"slug":20015,"title":20016,"dynasty":124,"author":802,"museum":20,"description":20017,"tags":20018,"thumbUrl":20019,"material":1722,"size":20020,"collection":68,"collections":20021,"showCount":19908,"zanCount":48,"manualWeight":48,"mainColor":72},221894,"mei-shi-tu-zhou-chen-hong-shou-221894","梅石图轴","本幅署款“老蓮洪綬畫于柳莊”。钤“蓮白衣”。\n是图以古拙奇特的造型绘拳石耸立，旁伴一株被截去诸多枝干的老梅树，树上几朵梅花绽蕾展瓣。构图简约洗练，并注重物象间的相互衬托与对比。画石用线勾出圆润的外形，再以淡墨渲染。画梅则用浓、枯墨笔勾勒，线条古拙方硬，具金石韵味，体现了老梅饱经沧桑的古木气息。\n清内府《石渠宝笈》著录。",[23,24,7,165,128,371,171,331,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ccbca84501d57cd1d024bcd73a8d609.jpg","纵115.2厘米，横56厘米",[68,117],{"id":20023,"slug":20024,"title":20025,"dynasty":18,"author":20026,"museum":300,"description":20027,"tags":20028,"thumbUrl":20029,"material":20030,"size":20031,"collection":42,"collections":20032,"showCount":19908,"zanCount":1998,"manualWeight":48,"mainColor":49},221599,"luo-han-xi-yi-gua-zhou-lin-ting-gui-221599","罗汉洗衣挂轴","林庭珪","整作以苍劲古松与幽寂崖谷铺陈出世外氛围，将罗汉洗衣的日常绘得意趣盎然。下方罗汉或俯身浣洗布帛、或用力拧绞衣物，动态憨朴自然，衣袂褶皱随动作舒展，质感写实入微。上方二僧持物旁观，神态松弛闲适，崖边悬垂的僧衣晕染出柔和的色彩层次，暗合僧家清简日常。\n\n笔墨兼具工致与写意，山石松木以浓墨勾勒皴擦，尽显苍浑老辣，罗汉面容细节刻画精细，褪去神像的肃穆高远，还原僧众山间悠游的烟火日常，在禅意与世俗意趣间寻得精妙平衡，尽显宋代人物写生的细腻共情与雅致格调。",[23,164,24,7,165,187,28,27,96,497,1144,99,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dc5e0c2176d701ed80a3ec70560fa41.jpg","立轴绢本","112.3x53",[42,44,45],{"id":20034,"slug":20035,"title":18318,"dynasty":18,"author":1622,"museum":244,"description":20036,"tags":20037,"thumbUrl":20039,"material":151,"size":18323,"collection":42,"collections":20040,"showCount":19908,"zanCount":48,"manualWeight":48,"mainColor":49},221539,"xue-tan-shuang-lu-tu-ma-yuan-221539","此图描绘雪后郊野水滨的景色。全图用笔苍劲有力，景物及白鹭皆以粗笔写出，不加刻意修饰却十分形象，白鹭的神态较为生动。全图构图严谨、造型生动、诗意盎然，为马远画中精品。\n画面以雪景为背景，从左侧伸出的带有积雪的树枝，向下弯曲后转向右上伸长，横斜曲折极富变化。左侧及下部的山石，以带水的墨笔作大斧劈皴画出方硬有棱角的“一角”。值得注意的是，整个画面表现出大雪天的寒气逼人、一片宁静，而枝头上两只跳动鸣叫的小鸟，则使之显得静中有动，增添了生机。前景的树枝、山石均以焦墨勾勒，山石后露出的竹叶施以浅色，其余均施以淡淡的水墨，笔墨技法的运用与描写对象的特征及作品意境相适应\n此图为江湖小景，梅枝斜出崖上。梅取折枝，并特别突出远折枝”成为它的突出风貌。图中近景的山石，以浓墨大斧劈勾皴点染， 远的山、水以淡墨勾染， 约略朦胧间自然拉开了空间远近的透视关系。梅树枝干虬曲，俯伸的拖枝一直探向水面，水边的几只鹭， 实际上是作为点缀物。画面境界十分幽远开阔。\n此图远处画雪山，空漯一片，近置溪流，冰棱历历，岸边枯荻老树参差，有数只白鹭闲憩，一样卷缩畏寒，表现了中国画习见的荒寒境界。此图亦体现出马远绘画简而刚的特点，山色溪涧皆在烟色微茫中，树取一枝，石取一角，溪出一湾。简率中透露出清旷之旨。用笔草草，只在写意，如树枝虬曲之态勾勒极为生动。\n此图以特写镜头式描绘双鹭在雪滩上栖息的情景。画中左侧上方画有巨石一角，下方还有奇石曲壁，在巨石与奇石之间伸出曲臂老梅一枝及一簇竹丛；在下边的水塘枯苇中有一对白鹭，一只藏在背风的石边苇子中，披着一身白羽，扭头张望，另一只在枯树干边缩颈御寒，虽然图中未见纷飞的雪花，确从老梅枝上的积雪及芦苇中的几处余雪，可见是雪后的河滩边，融雪更比下雪寒。一对白鹭或以静静栖息越冬，或已疲劳后同到雪滩来休息，在画面的上面有一对山雀在梅枝头，一只在俯首瞰视，一只刚落停枝头，发出喳喳叫声，因此引起苇塘中的白鹭昂首张望。但另一只毫无反映，只顾自己静静的酣睡。\n此图以禽鸟为山水之衬景，是融花鸟于山水及诗境的特殊表现形式。此图实景集中于左边角，崖壁与崎岖的石岸，配合着高悬其上的枯树，形成一个开阔的空间，将雪滩和白鹭涵纳其中，远山简单数笔，用淡墨烘出，空漾一片，写出了严寒的景象。\n此图与其他作品一样，在笔墨的运用上也很成功。作者用硬如曲铁的笔触来画树石，山石用浓墨勾出，以大斧劈及小斧劈画出石质坚硬，老梅枝曲枝有疏有密，又显苍老；芦苇用细笔淡墨画之。尤其对白鹭的描绘，在绢素本色上留白，淡墨轻勾，只有嘴及双腿用浓墨细笔画之，仔细观察羽毛绒绒，神态逼真，而且图中不只是一对可见的白鹭，主要是描写鹭鸟在雪滩上栖息时的静态。在梅枝头上的一对山雀，冬雪之后主要是描写他们在秃梅枝之问飞动栖伫的情况。上下两种鸟的姿态，是动静对比，也是画面上色差的对比。网右下方石际有马远款字。曾经明安桂坡、项元汴藏。",[23,24,7,164,128,132,20038,1813,14561,9318,1337,497],"留白","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87344f3b4cf68fea492a2b2e78463c8c.jpg",[42,68,45],{"id":20042,"slug":20043,"title":20044,"dynasty":182,"author":7843,"museum":244,"description":20045,"tags":20046,"thumbUrl":20047,"material":20048,"size":20049,"collection":44,"collections":20050,"showCount":19908,"zanCount":48,"manualWeight":48,"mainColor":49},221135,"jiang-fan-lou-ge-zhou-li-si-xun-221135","江帆楼阁轴","该画描绘的是游春情景，是作者以“青绿山水”与“金碧山水”创作的国画山水作品，画中山、树、江水和游人融汇一处，江上泛舟、山中树木茂盛，游人穿梭其中。远处江水荡漾，几叶扁舟漂浮，近处树木葱葱，楼阁庭院若隐若现，坡岸上游人穿行。其意境隽永奇伟、用笔遒劲、风骨峻峭、色泽匀净而典雅，画风精密严整、意境高超、笔力刚劲、色彩繁富，独树一帜。",[24,164,7,165,26,27,28,29,97,129,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e663d48c7ef6294ae9f191dc300630.jpg","画布","纵101.9厘米，横54.7厘米",[44,45],{"id":20052,"slug":20053,"title":20054,"dynasty":144,"author":410,"museum":244,"description":20055,"tags":20056,"thumbUrl":20057,"material":20058,"size":20059,"collection":136,"collections":20060,"showCount":19908,"zanCount":48,"manualWeight":48,"mainColor":72},220811,"lin-quan-qing-qu-zhou-wang-meng-220811","林泉清趣轴","画山林密布，画瀑布从山涧飞下，击打岩石，云雾缭绕，从山下望去，是建在山上的房子，房子里的人都在山影里，都在院子里；书生走进亭子，身后跟着一个手拿着雨伞的少年，一个人站在书生身边，十分抢眼。",[23,24,7,165,128,132,29,130,34,131,99,35,495,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180bf7a4cf1422c1d432b865bbfa11f2.jpg","纸、水墨","26.4x39.8公分、全幅 62.3公分",[136,117],{"id":20062,"slug":20063,"title":20064,"dynasty":980,"author":1687,"museum":9668,"description":20065,"tags":20066,"thumbUrl":20067,"material":84,"size":84,"collection":84,"collections":20068,"showCount":19908,"zanCount":48,"manualWeight":48,"mainColor":72},220501,"song-xia-ya-ji-zhang-da-qian-220501","松下雅集","松石挺劲苍古，蟠曲枝干如虬龙卧云，苔皴晕染尽述岁月风霜。青绿坡岸雅致莹润，一角丹枫点染秋韵，柔化古松沉郁色调。\n\n四位高士或立或坐，宽袍博带，神清骨秀，似正清谈畅叙，襟怀洒落出尘。衣纹线条清隽秀逸，仪态宛然，尽显魏晋林下风流。\n\n画作取法古意，将元人雅逸笔致与青绿浅绛相融，萧散简远中不失精工雅致，把山林雅集的清旷高致晕染纸上，尽显文人士大夫寄情林泉的悠然襟怀。",[24,7,165,27,96,372,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9c213317f505fe7d4d6db612a690ec.jpg",[],{"id":20070,"slug":20071,"title":20072,"dynasty":54,"author":6957,"museum":300,"description":20073,"tags":20074,"thumbUrl":20075,"material":27,"size":84,"collection":68,"collections":20076,"showCount":19908,"zanCount":1998,"manualWeight":48,"mainColor":72},220141,"ling-bo-shui-xian-tu-juan-ren-xun-220141","凌波水仙图卷","任薰（1835年—1893年），字舜琴，又字阜长，其父任椿，兄任熊都是画家。少丧父，从兄学画，青年时在宁波卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、任预均从其习画。人物与其兄同师陈洪绶，常用高古游丝、铁线、行云流水、兰叶几种描法。任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与顾文彬子顾承相友善，曾为设计怡园。1888年54岁时双目失明，后病卒于苏州。与任熊、任颐时称“三任”，合任预为“四任”，并为海上画派代表画家之一。",[23,164,24,7,304,25,28,27,61,374,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49729d30e7c1b1754794c5ec8a67dee3.jpg",[68],{"id":20078,"slug":20079,"title":20080,"dynasty":18,"author":20081,"museum":1941,"description":20082,"tags":20083,"thumbUrl":20084,"material":611,"size":20085,"collection":42,"collections":20086,"showCount":19908,"zanCount":1116,"manualWeight":48,"mainColor":956},220074,"jia-pai-tu-quan-juan-gong-kai-220074","笳拍图全卷","龚开","宋末元初画家，字圣予（一作圣与），号翠岩，晚号龟城叟、岩叟，人称龚高士。淮阴龟山（今属江苏省淮安市洪泽区老子山镇）人 。景定年间曾任两淮制置司监当官。他是一位诗文书画都擅长的文人画家，山水画师法米芾、米友仁，人物、鞍马则学曹霸，亦能画梅、菊等花卉。喜欢用水墨画鬼魅及钟馗，“怪怪奇奇，自成一家”，开明清写意画之先河。从现存作品看，其特点是用笔粗重、墨色淋漓，造形比较夸张，画上多题诗及跋语。抒情寓意，寄托遗老的怀抱。",[23,24,7,25,188,96,101,12314,64,133,840,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a6695fc73019d28ed46873d7d95576.jpg","全卷30.6X770厘米",[42],{"id":20088,"slug":20089,"title":20090,"dynasty":18,"author":223,"museum":56,"description":20091,"tags":20092,"thumbUrl":20093,"material":173,"size":20094,"collection":136,"collections":20095,"showCount":19908,"zanCount":48,"manualWeight":48,"mainColor":49},219957,"jiang-tian-chun-se-tu-yi-ming-219957","江天春色图","以半边雄奇崖壁衬出半幅浩渺江天，虚实相生间铺展出清旷春景。淡施青绿晕染崖石积雪，冷润雅致，带着残冬未尽的清寒。山腰间隐着两隅茅舍，藏于松云崖岫之间，更衬林泉幽寂。汀岸老松虬曲，板桥卧于浅渚，悠悠生出林下幽居的雅趣。远景山峦以淡墨轻晕，和烟波江色融成一片空濛，将春日江天的静穆辽远晕染尽致，暗合寄情林泉、澄怀观道的山水雅意。",[164,24,7,1131,27,132,29,130,98,34,131,6004,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab9003bc40ef9f1cd9031a6c367ac98e.jpg","26.4*20.5",[136],{"id":20097,"slug":20098,"title":20099,"dynasty":124,"author":20100,"museum":2542,"description":20101,"tags":20102,"thumbUrl":20113,"material":173,"size":20114,"collection":136,"collections":20115,"showCount":19908,"zanCount":1116,"manualWeight":48,"mainColor":72},219851,"xiao-xiang-ba-jing-tu-zhang-long-zhang-219851","潇湘八景图","张龙章","张龙章，字伯云，号古塘、武丘山樵，吴（今江苏苏州）人，生卒年不详。善画人物、骏马，不下赵孟頫。代表作品《穆王骏骥图》《风月梧柳图》《三教图》《潇湘八景图》。",[24,7,25,27,29,132,64,133,129,99,130,211,3344,231,1351,98,20103,20104,20105,6435,20106,20107,20108,20109,20110,20111,9551,20112],"远浦","归帆","山市","江天","暮雪","洞庭","夜雨","烟寺","晚钟","夕照","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816a582fdb55abba3dd407013f0b0e7c.jpg","29x787.5cm",[136],{"id":20117,"slug":20118,"title":20119,"dynasty":54,"author":55,"museum":56,"description":20120,"tags":20121,"thumbUrl":20122,"material":173,"size":1734,"collection":84,"collections":20123,"showCount":19908,"zanCount":1116,"manualWeight":48,"mainColor":72},219813,"hua-hui-shi-kai-10-yun-shou-ping-219813","花卉十开-10","此作用淡墨白描写就，笔致清灵秀雅。花头或昂或俯，瓣片勾勒细腻通透，如冰裁玉琢，自带绰约风姿，仿佛见凌波仙子悄然伫立。长叶以虚实线条写就，舒展如素带，前后层次分明，将水仙修长清劲的姿态尽显。\n\n笔底脱胎古法，以极简淡墨晕衬出花叶温润质感，未施丹青却自带清润仙气。题识与画面相映成趣，尽显文人雅致，寥寥数笔便定格水仙疏朗脱俗的神韵，观之如闻幽芳，将写生之趣与古意格调相融，尽显清逸出尘的意境。",[24,7,59,188,128,62,374,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F966f21bff6318b643128e01db81b0e85.jpg",[],{"id":20125,"slug":20126,"title":20127,"dynasty":18,"author":20128,"museum":244,"description":20129,"tags":20130,"thumbUrl":20136,"material":173,"size":20137,"collection":44,"collections":20138,"showCount":19908,"zanCount":1998,"manualWeight":48,"mainColor":49},219695,"duan-yang-xi-ying-tu-su-chao-219695","端阳戏婴图","苏焯","画中描写端午节时的恶作剧，三个粉粧玉琢的胖娃娃中﹐穿红色肚兜的孩子左手拿著石榴，右手用绳系著蟾蜍，正要惊吓较小的孩子，另一个则赶来制止这场恶作剧，三孩童的手与脚皆带金钏玉饰﹐身上则佩挂长命锁﹐表示其出身的骄贵﹐衣纹图案细腻﹐利用淡染色块﹐十分成功地将人物衣著单薄下肌肤的质感表现出来。 更将人物的表情、神态很传神地掌握，像这个拿著蛤蟆的孩，一脸恶作剧的神情，连手上的蛤蟆也闪著狡猾得意的笑容，而惊吓过度的孩子则蹲在地上，双手护著头，十分害怕地颤抖著，不由得令人心生爱怜，另一个见义勇为的孩子，一个箭步赶来，神情坚定地要阻止这场恶作剧，空白的背景，更加凸显他们神气活现的面貌。",[23,24,7,28,27,96,2218,20131,2035,20132,20133,20134,20135,17990],"蟾蜍","长命锁","金钏玉饰","端阳","恶作剧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3da25db485c4495d2fa1b8a9eaea3cf.jpg","纵：88.9公分，横：51.3公分",[44],{"id":20140,"slug":20141,"title":8581,"dynasty":124,"author":20142,"museum":20,"description":20143,"tags":20144,"thumbUrl":20145,"material":278,"size":20146,"collection":68,"collections":20147,"showCount":19908,"zanCount":48,"manualWeight":48,"mainColor":72},219358,"mu-niu-tu-li-lin-219358","李麟","画面串联起数幅牧牛小景：牧童牵绳引牛涉过浅溪，牛儿低首饮水；稚童持竿逗弄，牛儿仰头呼应；更有童子骑牛，随牛缓步林间。笔墨简淡却意趣盎然：牛身以淡墨晕染，憨态可掬；牧童身形虽小，衣纹寥寥几笔便勾勒出天真烂漫之态。背景树木疏朗，坡石浅淡，留白处似含悠然风致。整卷洋溢着田园的闲静与生机，将寻常牧歌化为清雅的笔墨图景，尽显文人画的恬淡意趣。",[23,24,7,25,128,369,133,208,102,96,34,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437ffc8e11b8b0d9721f2d41b9535d6b.jpg","纵34.2横156.2厘米",[68,117],{"id":20149,"slug":20150,"title":20151,"dynasty":144,"author":14724,"museum":244,"description":20152,"tags":20153,"thumbUrl":20155,"material":128,"size":20156,"collection":117,"collections":20157,"showCount":19908,"zanCount":48,"manualWeight":48,"mainColor":72},219354,"song-lin-ping-yuan-zhou-cao-zhi-bai-219354","松林平远轴","曹知白（1272～1355），元代画家，字又玄，号云西，人称贞素先生。华亭（今上海市松江县）人 。曹知白善画山水，师法李成、郭熙，从中演变成一种清疏简淡的风格。作品多以柔细之笔勾皴山石，极少渲染。早年笔墨较秀润，晚年变为 苍秀简逸。",[24,7,165,128,1349,20154,132,1337,131,415,208],"平远构图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F486a1ae065d01421150a94b252022a7e.jpg","75.4x43公分",[117],{"id":20159,"slug":20160,"title":20161,"dynasty":18,"author":223,"museum":244,"description":20162,"tags":20163,"thumbUrl":20164,"material":173,"size":20165,"collection":42,"collections":20166,"showCount":19908,"zanCount":48,"manualWeight":48,"mainColor":72},218839,"song-xi-you-qi-tu-yi-ming-218839","松溪游骑图","画面描绘了一座横跨溪流的桥梁，高大的松树从溪流岸边的大窠中升起，露出农场的大门和农场的一角，主人正从春天的郊游中返回。这幅画与刘松年的画风相似，与故宫收藏的《四季山水卷》中的春景相似，可以确定是刘松年南宋画派的作品。",[23,24,164,7,29,27,132,372,99,101,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3922c2209b73b6b6fb69c2e5b68d4b33.jpg","23.1x25.8",[42],{"id":20168,"slug":20169,"title":20170,"dynasty":18,"author":223,"museum":244,"description":20171,"tags":20172,"thumbUrl":20173,"material":173,"size":84,"collection":68,"collections":20174,"showCount":19908,"zanCount":1105,"manualWeight":48,"mainColor":72},218710,"shan-cha-su-niao-tu-yi-ming-218710","山茶宿鸟图","山茶敷彩浓淡相衔，花瓣层叠如染，露蕊轻绽似噙晨露；宿鸟羽纹细缜若织，绒羽软润可触，敛翅栖枝时，眸光凝定，恍与花叶私语。枝叶晕染自然，脉络隐现，墨青交织间衬得花红鸟俏。方寸小品藏天地，写实中蕴诗意：宋画的精微与雅致尽在笔端。静赏时，似闻花叶轻颤，觉鸟羽微动，古典的温润与生机漫溢开来，于清寂里见鲜活，于雅致中藏野趣，尽显宋人观物之细、写意之深。",[23,164,24,7,1131,28,27,61,649,355,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F659d3355cd9776da0b6336002c2c162d.jpg",[68],{"id":20176,"slug":20177,"title":20178,"dynasty":18,"author":20179,"museum":300,"description":20180,"tags":20181,"thumbUrl":20182,"material":173,"size":84,"collection":45,"collections":20183,"showCount":19908,"zanCount":1116,"manualWeight":48,"mainColor":49},218659,"xi-shan-ye-zhang-tu-zhu-yi-218659","溪山曳杖图","朱义","溪光映带间，楼阁凭水而立，飞檐轻挑流云。虬枝老干上素花堆雪，暗香似随溪风漫溢。崖岫间隐现小亭，与层岩苍松相映，添得几分奇崛。\n\n径边曳杖人缓步而行，衣袂沾着山岚清润，似在细品林泉幽意。远山如黛，烟岚轻笼，江天浩渺处归舟几点，将天地拉得宽闲。\n\n整幅画以淡墨皴染山水，用细笔勾勒亭台人物，素花的留白与山石的浓淡相映成趣。动静之间，藏着宋人的雅致风骨——于山水间寻幽，让身心与自然相融，每一处笔触都似在诉说文人心中的丘壑。\n\n没有喧嚣，只有溪声、松影与步履轻缓，将“天人合一”的意趣，凝在这一方扇面里。",[23,164,24,7,1131,27,29,96,130,98,99,371,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf47ca4d9fab18381e6f16e1d10768a0.jpg",[45],{"id":20185,"slug":20186,"title":20187,"dynasty":18,"author":223,"museum":77,"description":20188,"tags":20189,"thumbUrl":20190,"material":173,"size":84,"collection":42,"collections":20191,"showCount":19908,"zanCount":1116,"manualWeight":48,"mainColor":49},218537,"e-xi-tu-yi-ming-218537","鹅戏图","这幅画描绘了一个池塘，漂浮着如盘子般碧绿的荷叶，点缀着鲜红的荷花，四只白天鹅在水中嬉戏，一只领头，两只尾随，最后一只正在奋力追赶。\n这幅画色彩淡雅，薄而透明，色彩与水墨相得益彰，整体上没有浓墨重彩，导致前景的四只白天鹅特别明亮。",[23,24,7,1131,27,28,7546,168,413,228,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde4cd89f1d562c9fdb8d729cb3008bbc.jpg",[42,68],{"id":20193,"slug":20194,"title":20195,"dynasty":124,"author":17733,"museum":244,"description":20196,"tags":20197,"thumbUrl":20199,"material":173,"size":20200,"collection":44,"collections":20201,"showCount":19908,"zanCount":1998,"manualWeight":48,"mainColor":49},218528,"shan-ting-na-liang-tu-zhou-chen-218528","山亭纳凉图","图中显示，一块奇怪的石头直立着，被几株香蕉植物保护着。亭子里，一个有学问的人左手坐着，右手拿着一把羽扇，旁边放着一个卷轴、一本小册子和一个特瓦。他坐在地上，享受着寒冷的感觉。在亭子外面，孩子们伸出手臂为花瓶采摘棉花糖花，营造出一种轻松平静的气氛。签名：周晨。",[23,24,7,165,27,28,96,130,131,875,98,249,230,758,20198],"纳凉场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79d2558d621c11890f2a8f08fc3817e.jpg","95.9x58.9",[44],{"id":20203,"slug":20204,"title":20205,"dynasty":124,"author":1058,"museum":20,"description":20206,"tags":20207,"thumbUrl":20208,"material":278,"size":20209,"collection":136,"collections":20210,"showCount":19908,"zanCount":1998,"manualWeight":48,"mainColor":72},218339,"gao-mu-ci-ya-tu-tang-yin-218339","高木慈鸦图","弧形扇面间，清寂之境徐徐铺展。枯树三五成丛，枝干虬曲如篆，焦墨勾勒处尽显苍劲老辣，墨色浓淡交错间藏着岁月痕迹。寒鸦数点，或栖于枝梢理羽，或振翅掠过天际，翅羽轻扬时添几分灵动生气。远山以淡墨晕染，云雾氤氲缭绕，与近树的沉郁形成虚实相映，层次悠远如幻。整幅画以简驭繁，笔墨洗练却意境深幽，文人画的雅致疏旷尽在其中——仿佛风过林间，鸦鸣隐约，方寸扇面竟藏得万千丘壑，引人沉湎于这份静谧与悠远。",[23,1131,24,7,128,132,211,34,18265,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc421b662148e119d639962a695dae4a6.jpg","纵16.5cm，横47.3cm",[136,117],{"id":20212,"slug":20213,"title":6571,"dynasty":144,"author":223,"museum":224,"description":20214,"tags":20215,"thumbUrl":20216,"material":173,"size":20217,"collection":44,"collections":20218,"showCount":19908,"zanCount":1998,"manualWeight":48,"mainColor":956},218310,"luo-han-tu-yi-ming-218310","丰腴袒胸的罗汉立于绢素之上，光头浓髯，眉目间透着沉静的威严。朱红披帛斜搭肩头，随体态垂落自然褶皱；橙黄下裳宽松覆足，赤脚踝间系着细饰，添了几分随性。右手托莲碗，碗中清莲绽放，花瓣层叠，似携着佛国的净气。\n\n线条劲挺却不失柔润，勾勒出肌肤的丰腴与衣物的质感；设色古朴雅致，朱红与橙黄的暖调衬着绢本的古旧底色，更显沉静。整幅画将罗汉的庄重与生活化细节相融，既见佛法的肃穆，又含人间温情——似在无声传递禅意的悠远，让观者于古雅笔墨中，触到佛性与人性交织的温度。\n\n笔墨间藏着元代人物画的凝练，每一处褶皱、每片莲瓣都透着匠人的用心，把罗汉的神性与烟火气揉得恰到好处，似一幅流动的禅语，静静诉说着时光里的禅意绵长。",[24,7,165,27,96,187,168,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86e1ecce8051f6de779a1b198f6fa590.jpg","112.4x49.1",[44],{"id":20220,"slug":20221,"title":20222,"dynasty":144,"author":2968,"museum":56,"description":20223,"tags":20224,"thumbUrl":20225,"material":278,"size":20226,"collection":68,"collections":20227,"showCount":19908,"zanCount":48,"manualWeight":48,"mainColor":72},218257,"shu-shi-tu-chen-lin-218257","树石图","虬枝枯树斜倚坡石，墨线如铁般盘结交错，似诉岁月沧桑。山石以淡墨晕染，皴擦相间，肌理分明，朴拙中透着空灵。左侧题跋笔意流转，诗画相映，书卷气盎然。整幅作品简而不空，墨色清润，意境萧散淡远。枯树的苍劲与山石的沉稳相融，于静谧间藏生机，尽显文人画的雅致风骨。观之如临清寂山林，心随笔墨沉淀，得一份古雅之趣，笔墨间的留白与晕染，更让画面余韵悠长，耐人寻味。",[24,7,164,128,1337,171,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e4aac310bc644eed1f183659092e43.jpg","30.6x49.7cm",[68],{"id":20229,"slug":20230,"title":20231,"dynasty":144,"author":223,"museum":13868,"description":20232,"tags":20233,"thumbUrl":20235,"material":173,"size":20236,"collection":136,"collections":20237,"showCount":19908,"zanCount":1998,"manualWeight":48,"mainColor":49},218218,"cang-ying-wu-zhu-tu-yi-ming-218218","苍鹰梧竹图","苍鹰梧竹图是元朝时期的一幅著名图画，作者不详。这幅画描绘了一只苍鹰和一根梧竹之间的关系。苍鹰是一种大型鸟类，通常被认为是捕食者，而梧竹则是一种常见的树种。在这幅画中，苍鹰似乎正在用它的爪子抓住梧竹。",[24,164,7,28,27,61,211,20234,331,276],"苍鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca78eed227b0a78bb43d1239104ae986.jpg","146x93cm",[136,68],{"id":20239,"slug":20240,"title":20241,"dynasty":144,"author":4034,"museum":244,"description":20242,"tags":20243,"thumbUrl":20244,"material":173,"size":20245,"collection":44,"collections":20246,"showCount":19908,"zanCount":1998,"manualWeight":48,"mainColor":956},216961,"yuan-an-wo-xue-tu-sheng-mao-216961","袁安卧雪图","袁安在东汉时期来自汝南，被称为邵公。他是河南省的一名官员，是一个善良而有爱心的官员。画中的人身穿大红衣服，骑着马，是洛阳的一名法官。当他在一场大雪中赶到袁安家时，看到他门前的雪还没有被清理干净。邻居们以为袁某死了，于是他们敲门进去了。他问他为什么不出去，回答说不适合打扰别人，因为大家在雪下都很饿。洛阳县令认为他是个有德行的人，就推荐他作为亲属候选人来做这个职位。本画题名为 盛懋，但画风已被明人从其风格中改编。",[24,7,164,165,29,96,1813,34,131,132,128,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae3ebe4b34f0a5a378b181b1a4225e6f.jpg","149x83.8",[44],{"id":20248,"slug":20249,"title":20250,"dynasty":144,"author":569,"museum":244,"description":20251,"tags":20252,"thumbUrl":20253,"material":66,"size":20254,"collection":44,"collections":20255,"showCount":19908,"zanCount":48,"manualWeight":48,"mainColor":72},215018,"weng-you-tu-zhao-meng-fu-215018","瓮牖图","这幅画描绘了子贡在住所中与元显会面的情景，以桑门为门，以破瓮为窗的陋室，以示君子以德为乐。岩石很粗糙，只画了草图，后来用绿色和蓝色填充，人物穿着柔软，笔触遒劲，具有唐代的古风。",[23,24,7,25,27,29,96,64,133,208,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1134b50520c2f4c147bc42dc3de893cc.jpg","27.1x619.4",[44],{"id":20257,"slug":20258,"title":409,"dynasty":54,"author":20259,"museum":56,"description":20260,"tags":20261,"thumbUrl":20262,"material":278,"size":20263,"collection":136,"collections":20264,"showCount":19908,"zanCount":48,"manualWeight":48,"mainColor":72},214718,"shan-shui-ce-gao-xiang-214718","高翔","高翔（1688-1753年），字凤冈，号西唐，甘泉（今江苏扬州）人。擅画山水，师法弘仁、石涛，尤工画梅，笔意疏秀，为“扬州八怪”之一。",[164,24,7,59,128,132,29,34,131,37,415,3427,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85a88cf22fa589ab4ab3aa7596243f9d.jpg","纵23.9 厘米，横55.4 厘米",[136],{"id":20266,"slug":20267,"title":10883,"dynasty":54,"author":20268,"museum":244,"description":20269,"tags":20270,"thumbUrl":20271,"material":278,"size":20272,"collection":318,"collections":20273,"showCount":19908,"zanCount":1998,"manualWeight":48,"mainColor":72},214233,"xing-shu-qi-yan-lian-ceng-guo-fan-214233","曾国藩","笺纸泛黄，墨色沉雄。行书笔意流畅却不失骨力，起笔如高山坠石，行笔似老树盘根，收笔若惊鸿掠影。联语祥瑞，灵芝美箭遍地生，绛阙云台留美名，字句间的吉庆与笔墨的刚健相得益彰。每一字结构端稳又带灵动，中锋行笔的厚重质感，仿佛承载着岁月的沉淀。书写者的从容气度跃然纸上，将相的沉雄与文人的雅致交融，书艺与文心完美契合，尽显古典书法的隽永韵味，令人观之忘俗。",[23,7,64,133,10886,165,208,128,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0b508d6f53b2db738d1795cddeab2c3.jpg","174x38.1",[318],{"id":20275,"slug":20276,"title":20277,"dynasty":18,"author":1091,"museum":300,"description":20278,"tags":20279,"thumbUrl":20280,"material":692,"size":1293,"collection":84,"collections":20281,"showCount":20282,"zanCount":48,"manualWeight":48,"mainColor":49},288536,"mo-zhu-tu-hua-xin-su-shi-288536","墨竹图画心","自苏轼而至元四家，墨竹之风大兴，竹常被文人高士用以表现清高拔俗的情趣，有正直的气节、虚心的品质和纯洁的思想感情，因此墨竹成了书、画、道的综合体，成了人格、人品的写照，寓意兴寄愈益丰厚。此作笔法谨严有致，具潇洒神态。",[164,24,7,128,167,64,208,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca2ecffd32f6d067c527578a9476c753.jpg",[],69,{"id":20284,"slug":20285,"title":20286,"dynasty":54,"author":3403,"museum":300,"description":20287,"tags":20288,"thumbUrl":20290,"material":84,"size":84,"collection":84,"collections":20291,"showCount":20282,"zanCount":1116,"manualWeight":48,"mainColor":72},239220,"yan-lai-hong-zhou-wu-chang-shuo-239220","雁来红轴","此作以大写意绘雁来红，以色代墨，淡赭晕染花穗，晕染间尽显经霜愈艳的柔媚鲜活，将雁来红的秋意风姿藏于笔底。墨笔绘叶，干湿浓淡交织，苍润兼具，寥寥数笔便写出枝叶舒展的蓬勃生机。\n\n题款行书错落劲健，金石气十足，诗画相映点明古稀秋艳的意趣，诗书画印浑然一体，尽显文人写意画雅致格调。笔墨老辣简劲，将雁来红的疏野清逸之美与秋日意绪相融，尽显典型的写意花鸟风貌。",[24,7,165,27,128,369,20289,61],"雁来红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F969b019357e416b147cfffc582a0864a.jpg",[],{"id":20293,"slug":20294,"title":20295,"dynasty":54,"author":1311,"museum":20,"description":19660,"tags":20296,"thumbUrl":20297,"material":84,"size":84,"collection":68,"collections":20298,"showCount":20282,"zanCount":1998,"manualWeight":48,"mainColor":72},236579,"lan-mei-ce-wang-shi-shen-236579","兰梅册",[24,7,59,128,61,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a22d9903ebf77ab39f57a28f615460f.jpg",[68,117],{"id":20300,"slug":20301,"title":18918,"dynasty":124,"author":18919,"museum":300,"description":20302,"tags":20303,"thumbUrl":20304,"material":84,"size":84,"collection":84,"collections":20305,"showCount":20282,"zanCount":1116,"manualWeight":48,"mainColor":72},235876,"mei-hua-juan-lu-fu-235876","此卷以水墨铺展千株寒梅，老干以淡墨晕染，苍朴遒劲，枝桠以浓墨勾勒，虬曲交错如铁骨盘空。繁花借留白晕出，似雪压枝头，星罗棋布却繁而不乱，淡墨轻笼朦胧烟霭，恍若月浸梅林，清寒幽寂扑面而来。\n\n整幅不见杂色，将梅之凌霜傲骨与疏淡雅逸融于笔底，冷香浮动的清逸之境跃然绢上，观之如身临雪后梅园，心神被梅的孤高澄澈涤荡，尽显冬日寒梅的孤洁神韵。",[23,164,24,7,25,128,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d929c8439fc9a29644b89d5ff6a22ad.jpg",[],{"id":20307,"slug":20308,"title":1289,"dynasty":124,"author":16032,"museum":300,"description":20309,"tags":20310,"thumbUrl":20311,"material":692,"size":1293,"collection":136,"collections":20312,"showCount":20282,"zanCount":1998,"manualWeight":48,"mainColor":72},235686,"shan-shui-hua-hui-ce-xiang-sheng-mo-235686","项圣谟，初字逸，后字孔彰，号易庵，别号有胥山樵、存存居士、醉风人、大酉山人、莲塘居士、烟波钓徒、松涛散仙、逸叟、狂吟客、鸳湖钓叟、不夜楼中士等等，浙江嘉兴人。",[24,7,59,27,61,5399,1039,549,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1058fce6fc406a605fe3444ec1a25c9.jpg",[136],{"id":20314,"slug":20315,"title":20316,"dynasty":124,"author":2110,"museum":300,"description":20317,"tags":20318,"thumbUrl":20319,"material":84,"size":84,"collection":84,"collections":20320,"showCount":20282,"zanCount":1998,"manualWeight":48,"mainColor":72},235648,"zhu-ji-tu-zhou-zhou-zhi-mian-235648","竹鸡图轴","通幅以淡墨铺陈，斜耸崖壁以浓淡墨色晕出嶙峋质感，苍劲朴拙。丛竹错落而立，竿瘦劲挺括，竹叶写意挥毫，聚散疏密得宜，干湿墨色互衬，尽显萧疏清逸之态。\n\n下方竹鸡兼工带写，翎毛细笔丝染，蓬松柔润，低伏回身的姿态将野禽的机灵敏锐刻画入微。朱红印章点缀水墨之间，让幽寂山野小景更添静雅意趣。全图以水墨层次变化，融写生写实与文人意趣于一体，尽显水墨写生的精妙意韵。",[24,164,7,165,128,369,61,276,2510,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e147db6898a70110d81a90adb71d06.jpg",[],{"id":20322,"slug":20323,"title":20324,"dynasty":124,"author":223,"museum":300,"description":20325,"tags":20326,"thumbUrl":20327,"material":692,"size":1293,"collection":68,"collections":20328,"showCount":20282,"zanCount":48,"manualWeight":48,"mainColor":72},235583,"wen-chu-hua-hui-ce-yi-ming-235583","文俶花卉册","此作以糙涩米黄沙底为衬，浅纹隐现，愈显清雅悠然。柔婉青茎舒展虬曲，羽状细叶以淡青晕染，通透轻盈，尽显草木灵秀。两朵万寿菊轻绽枝头，瓣边暖橙柔润，瓣心赭红沉凝，层次细腻，将盛放娇妍定格，旁侧花苞颔首待放，静藏生机。全作未施浓彩，以轻淡设色搭配素朴底纸，尽显清隽雅致的小品意趣，将草木鲜活生机晕染在方寸之间，观之如嗅浅淡花香，悠然意远。",[24,7,59,28,27,61,62,624,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fc6eb7dafe3ffa707e1031a8859d55b.jpg",[68],{"id":20330,"slug":20331,"title":9242,"dynasty":144,"author":287,"museum":244,"description":20332,"tags":20333,"thumbUrl":20334,"material":611,"size":20335,"collection":84,"collections":20336,"showCount":20282,"zanCount":1998,"manualWeight":48,"mainColor":72},231403,"qiu-gua-tu-qian-xuan-231403","该图中描绘了瓜熟之际，野草旁生，新花又开的田园一景。该图以工笔淡彩方法处理瓜、花、叶，而野草则勾线设色与没骨法兼用，怒意洒落，尤显野逸。此图精致典雅，与宋代小品画一脉相承，然而又透出一股书卷气，作者意在追求一种清润淡雅的画格。画家以朴素无华的笔调拟绘田园景物，在题诗中表达了一个知识分子对隐逸生活的态度和情怀。\n图中写甜瓜一柄，老叶几片，一丛杂草，蜿蜒的藤蔓上开着白花。\n画家在图中题诗一首：“金流石烁汗如雨，削入冰盘气似秋。写向小窗醒醉目，东陵闲说故秦侯。”\n中国花鸟画的题材包罗万象，各种动植物都隶属其中。其中对于蔬果的细致描绘，要属北宋赵昌较早。自此而后，蔬果遂成为画家们反复描绘的对象。宋元时，西瓜成为蔬果画的主题，其中部分作品流传下来，《秋瓜图》便是钱选在写生的基础上绘制而成的，它是一幅较早描绘蔬果类的作品，且其所描绘的就是西瓜。\n该图题诗中引用“东陵侯种瓜”的典故，秦朝的东陵侯召平，在秦亡后降为平民，因家贫，种瓜于长安城东以为业。由于他种的瓜味道特别甜，遂被称为东陵瓜。东陵侯召平，由王侯贵胄而跌落红尘，历经谋生的艰难，反因种瓜而留名后世。因此，“东陵侯”成为传统文化中隐士的象征，“东陵瓜”也成为传统象征隐士品德的重要文化符号。东陵种瓜，钱选售画，两者均经历世变的沧桑与跌落凡尘的劫难。画家透过题诗，个体生命与历史文化进行连接与对话，显示画中秋瓜图的作者实为隐士的真正身份。这样，钱选在历史文化的记忆中找到自我生命的安顿。钱选笔下的秋瓜，显然不是现实之物，而是承载历史文化记忆的传统之物，是根植于传统文化脉络之上的果实，是可以在炎热的夏季令人警醒的文化记忆。\n该图所摄取景物集中于画幅的下端，画瓜地中秋瓜一枚，秋瓜果呈长圆形，近椭圆，瓜皮乌黑发亮，瓜楞清晰可见，且黑白对比鲜明，非常醒目。瓜藤蔓延，藤花绰约，有野草数茎衬托其后，瓜叶宽大，其中有瓜叶一片着地半萎，已是瓜果成熟的秋季。硕大的秋瓜用墨绿渍染，呈现碧绿油亮的色彩，瓜楞施以白粉，瓜楞分明，瓜叶脉用细笔勾勒，用笔细致精到，设色淡雅，翠色斑烂。藤花先用细笔勾勒，施以白粉，白色的花朵和墨绿的瓜果和叶形成黑白鲜明的对比。\n该图构图简洁，作者用折枝法在写生基础上经过了艺术的提炼，删繁就简，突出了画面的意境情趣。该图最明显的特点，画幅不大，却画得精致典雅，但精致而不艳丽，细腻而不纤巧，具有清润淡雅的格调，该图呈竖长方形构图，下不留地，上留有较大的空白，近于画面二分之一弱，有作者自题诗给填补，对整个画幅起到了充实其内容及平衡作用。\n台北故宫博物院院长石守谦：《秋瓜图》的精致写实、细腻处理，也显示了南宋职业画中不可或缺的高度技巧，不过他却刻意地采用轻淡的设色，以示其与一般画师之区别。",[164,24,7,165,28,27,61,11716,549,62,1771,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80176e7550578ceea6d1fcbd2d4966b9.jpg","纵63.1厘米，横30厘米",[],{"id":20338,"slug":20339,"title":16006,"dynasty":54,"author":872,"museum":300,"description":20340,"tags":20341,"thumbUrl":20342,"material":84,"size":84,"collection":84,"collections":20343,"showCount":20282,"zanCount":48,"manualWeight":48,"mainColor":72},231041,"mo-he-tu-zhu-da-231041","以水墨写就池上清景，中锋勾出的荷茎瘦劲挺拔，如孑然君子撑立水间。\n墨色干湿浓淡铺陈荷叶，泼墨淋漓间，或舒展如伞、或卷垂含露，留白处漾着空濛水意。敛藏半绽的花苞幽然独立，不见游鱼水藻，却满溢荷塘清宁冷逸的意趣。\n整幅删繁就简，将心绪寄寓花叶，以极简笔墨绘出疏旷隽雅的意境，笔底带着清冷孤傲的气韵，寥寥数笔便把池上清寂萧索又清绝的余韵铺展开来，淡远悠长。",[23,164,24,7,165,128,61,81,82,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F926a786a2b10460948ab44a52259f36d.jpg",[],{"id":20345,"slug":20346,"title":20347,"dynasty":18,"author":686,"museum":300,"description":20348,"tags":20349,"thumbUrl":20350,"material":84,"size":84,"collection":84,"collections":20351,"showCount":20282,"zanCount":48,"manualWeight":48,"mainColor":49},227494,"shan-shui-tu-zhou-fan-kuan-227494","山水图轴","北宋晚期的《宣和画谱》收录有范宽画作58件，书画家米芾也在其《画史》中记载称见过真迹30件。\n\n目前其流传的作品仅有台北国立故宫博物院收藏的〈谿山行旅图〉为现今艺术史学家所公认。",[23,164,24,7,165,128,27,132,29,129,131,34,3387,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15199fa3c2e2bfaa83fb5e9e78f5236f.jpg",[],{"id":20353,"slug":20354,"title":20355,"dynasty":54,"author":1460,"museum":300,"description":20356,"tags":20357,"thumbUrl":20358,"material":84,"size":84,"collection":84,"collections":20359,"showCount":20282,"zanCount":48,"manualWeight":48,"mainColor":49},224496,"gu-mu-chui-yin-shi-tao-224496","古木垂荫","《古木垂阴图》是清朝的文物， 纵175,横5.7cm。\n古木垂阴图 古木垂阴图 清（1644-1911） 纸本 水墨 纵175,横5.7cm 设色绘近景层岩嶙峋，树木丰茂，山径曲折，楼阁深藏，远山挺拔峭立，云烟缭绕。\n用笔皴法多变，赋色雅淡。\n右上角有作者长题，石涛（公元164~？），亦署大涤子、苦瓜和尚等，明宗室后裔，俗名朱若极，清亡后削发为僧。\n善画山水，为清初四画僧之一。",[23,164,24,7,165,128,132,29,4797,131,31,3440,34,1233,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d675bfa825848fc195c23b6950913d6.jpg",[],{"id":20361,"slug":20362,"title":20363,"dynasty":18,"author":223,"museum":300,"description":20364,"tags":20365,"thumbUrl":20366,"material":20367,"size":20368,"collection":42,"collections":20369,"showCount":20282,"zanCount":48,"manualWeight":48,"mainColor":49},223548,"luo-shen-tu-juan-yi-ming-223548","洛神图卷","曲折細緻而又層次分明地描繪着曹植與洛神真摯純潔的愛情故事。人物安排疏密得宜，在不同的時空中自然地交替、重疊、交換，而在山川景物描繪上，無不展現一種空間美。 全畫用筆細勁古樸，恰如“春蠶吐絲”。山川樹石畫法幼稚古樸，所謂“人大於山，水不容泛”，體現了早期山水畫的特點。",[23,24,7,25,27,28,133,208,96,29,34,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43d7b447c13366eb01191db07eb8dd9d.jpg","长卷 绢本 设色","28x699厘米",[42,44,45],{"id":20371,"slug":20372,"title":20373,"dynasty":18,"author":223,"museum":56,"description":20374,"tags":20375,"thumbUrl":20378,"material":514,"size":20379,"collection":84,"collections":20380,"showCount":20282,"zanCount":1116,"manualWeight":48,"mainColor":49},223525,"ge-le-tu-yi-ming-223525","歌乐图","《歌乐图卷》描绘了南宋宫廷歌乐女伎演奏、排练的场景。画面中九位女伎、一位老乐官和二位女童于庭院中一字排开，手持笛、鼓、排箫、琵琶等多种乐器。画中人物均穿着南宋时期的典型服饰：九位女伎身材修长，穿着红色窄袖背子，高髻上饰以角状配饰；男性乐官佩戴朝天幞头，女童则戴簪花幞头。此卷所绘的人物及场景是南宋社会文化生活的生动写照。\n在技法上，《歌乐图》设色细腻鲜艳，用笔精细而能够随物应形，通过不同的笔法表现不同物象的特定质感，如衣纹流畅、竹叶劲挺、树石沉雄，写实且富于意趣。画面构图疏朗简洁，节奏感强，整体上呈现出相当高的艺术水平。而以歌乐女伎为表现题材的作品在南宋人物画中极为少见，具有相当高的历史、艺术价值。\n画面右侧为一棵棕榈树，树干以淡墨晕染，树叶双钩，并填以石绿色，上层的树叶以树身为轴呈对称状；地面上点缀了几丛花草，草叶以没骨写意法画出，地面上白色的小花以浑点点出；地面局部晕染石青，并勾勒有平行的水平线表现地面质理。画面左侧的配景，靠右边为太湖石和竹丛的组合，地面点缀花草，花草的描绘方式与右侧配景中的花草一致。太湖石的轮廓线比较粗犷、写意，石面以石青晕染，局部施以皴擦表现质理。太湖石后的竹子，竹竿和竹叶双钩，中间几株竹竿以石青晕染。太湖石和后面的竹丛也呈中轴对称状。左边有一段栏杆，栏杆后绘有一棵盛开着白色花朵的树，似为梨树，树干双钩，树身晕染，树叶为瓜子形点叶，白色的花瓣以椭圆形的点进行表现，画面美感十足。\n画中所绘九女子，皆披褙子外衣，此服饰出现于北宋年间，流行于南宋时代。在河南禹县白沙一号北宋墓壁画《伎乐图》，和传世的南宋《瑶台步月图》页中都可见到。此外，女子梳高髻并簪有三朵花状饰物的发式与南宋《瑶台步月图》页和《荷亭儿戏图》页中的女子发式相近。图中另二个女孩装扮官员样，所戴直脚幞头也是宋时官帽样式。另一位手抱琵琶的男艺人，穿圆领窄袖袍衫，戴曲脚幞头，与河北宣化辽墓壁画《散乐图》中的吹乐艺人相同。从此图人物的服饰和幞头考察，有宋制和辽制混合的形迹。",[23,24,7,25,27,28,96,166,2218,438,167,413,1314,249,247,1367,20376,2824,20377],"发饰","棕榈树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88da24574fef71de8346deb557e6bfd1.jpg","25.5x158.7厘米",[],{"id":20382,"slug":20383,"title":20384,"dynasty":54,"author":4468,"museum":244,"description":4469,"tags":20385,"thumbUrl":20386,"material":27,"size":4474,"collection":84,"collections":20387,"showCount":20282,"zanCount":48,"manualWeight":48,"mainColor":72},222748,"xian-e-chang-chun-tu-05b-lang-shi-ning-222748","仙萼长春图-05b",[23,164,24,7,59,27,28,14386,61,355,62,2438,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa2ff46c0b7d6fa3b8909b3f40b0c5a9.jpg",[],{"id":20389,"slug":20390,"title":20391,"dynasty":18,"author":15080,"museum":20,"description":20392,"tags":20393,"thumbUrl":20394,"material":20395,"size":20396,"collection":318,"collections":20397,"showCount":20282,"zanCount":1998,"manualWeight":48,"mainColor":72},221195,"zun-juan-tie-lu-you-221195","尊眷帖","《尊眷帖》释文：\n遊惶恐拜問契家尊眷，共惟並擁壽祺。鏡中有委敢請，子聿六粗能勤苦，但恨不能卒業。函丈若不棄遺，尚未晚也。張七三哥□貧可念，官期尚遠，奈何。每爲之心折，顧無所置力耳。三丈亦念之否。遊惶恐再拜。\n本幅鉴藏印有“宋荦审定”、“凇洲”、“江恂之印”、“德畲借观”以及成亲王、成薰等。\n此帖内容为委请类，即陆游委请函丈帮助其幼子子聿完成学业。帖中言及的子聿为陆游之幼子，据陆游年谱知其生于淳熙四年丁酉（1177年），是年放翁53岁。“镜中”指绍兴镜湖即鉴湖，故此帖当书于家中。\n此帖结体颀长，笔画劲健，转折点画精致爽利，既可见杨凝式、苏轼及黄庭坚书法遗意，又自具面目。\n《书画鉴影》卷一著录，《海山仙馆藏真帖》卷三摹刻。",[23,7,64,133,128,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e5f770e80aa172e6bd6de9a2f3d045e.jpg","纸本，册页","纵29.3厘米，横38.3厘米",[318],{"id":20399,"slug":20400,"title":20401,"dynasty":351,"author":13305,"museum":20,"description":20402,"tags":20403,"thumbUrl":20404,"material":611,"size":20405,"collection":318,"collections":20406,"showCount":20282,"zanCount":1998,"manualWeight":48,"mainColor":49},221141,"shen-xian-qi-ju-fa-juan-yang-ning-shi-221141","神仙起居法卷","《神仙起居法》是杨凝式书写的古代一种健身，文体近似口诀。\n释文：\n“神仙起居法。行住坐臥處，手摩脅與肚。心腹通快時，兩手腸下踞。踞之徹膀腰，背拳摩腎部。才覺力倦來，即使家人助。行之不厭頻，晝夜無窮數。歲久積功成，漸入神仙路。乾祐元年冬殘臘暮，華陽焦上人尊師處傳，楊凝式(下一草押)。”\n后纸有宋米友仁，元商挺，清张孝思题记及无名氏行书释文5行。卷前右下角有明项元汴“摩”字编号。\n卷前后及隔水上钤有宋“紹興”、“內府書印”，明杨士奇、陈淳、项元汴，清张孝思、陈定、清内府等鑑藏印。\n此卷最早为宋高宗内府之物，后入贾似道手中，至明代曾经“江阴葛惟善收藏”(都穆《寓意编》)，《清河书画舫》又称“郡人王氏所藏”，明代为项元汴所有，至清代乾隆时进入内府。\n书法由唐到宋，杨凝式是一转折人物，苏轼评曰：“自颜、柳没，笔法衰绝。加以唐末丧乱，人物凋落，文采风流扫地尽矣。独杨公凝式笔迹雄杰，有二王、颜、柳之余，此真可谓书之豪杰，不为时世所汩没者。”\n此幅小行草书是杨凝式七十六岁时的作品，笔法劲逸，转侧多变。用墨浓淡相间，时有枯笔飞白。书字的结势于攲侧险劲中求平正，且行间字距颇疏，在继承唐代书法的基础上，以险中求正的特点创立新风格，尽得天真烂漫之趣。此书是杨凝式行草书传世作品的代表作，对宋代书法影响较大。",[23,64,840,25,9910,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3574f4c03f15292387c8362a4bddebbc.jpg","纵27厘米，横21.2厘米",[318],{"id":20408,"slug":20409,"title":20410,"dynasty":182,"author":20411,"museum":20,"description":20412,"tags":20413,"thumbUrl":20414,"material":611,"size":20415,"collection":318,"collections":20416,"showCount":20282,"zanCount":48,"manualWeight":48,"mainColor":49},221088,"meng-zhao-tie-juan-liu-gong-quan-221088","蒙诏帖卷","柳公权","《蒙诏帖》卷，传为唐柳公权书，纸本，行书，纵26.8厘米，横57.4厘米。\n\n释文：\n公权蒙诏, 出守翰林，职在闲冷，亲情嘱托，谁肯响应，深察感幸。公权呈。\n鉴藏印有宋“绍兴”、“瑞文图书”、“贤志赏”，元“赵氏子昂”、“乔氏篑成”、“齐郡张绅士行”，明“冯氏鹿庵珍藏图籍印”，清“安岐之印”、“王常宗”、“陈氏彦廉”、“韩世能印”、“韩逢禧印”等。\n\n此帖传为柳公权写的一通信札，告诉对方自己年老体衰，能力有限，虽然有个闲官职位，可也不能为别人办什么大事，请谅解自己的难处。\n\n南宋所刻《兰亭续帖》中收有《翰林帖》（或称《蒙诏帖》），其文曰：“公权年衰才劣，昨蒙恩放出翰林，守以闲冷，亲情嘱托，谁肯响应，惟深察，公权敬白。”据文意推测该帖应写于文宗时柳氏任翰林院书诏学士期间，而本帖中的“出守翰林”在文辞上不符合当时居官者职守的称谓，因此可能是宋人据《翰林帖》的大意写出。书法的前四行用笔较雄畅，结字亦尚稳妥，而后几行用笔逐渐瘦薄，结字多松散，末行的“权”字笔画也不成结构，与柳氏遒媚劲健的书风悬殊较大。种种迹象表明，本帖非柳书，乃是宋人仿本。\n\n明詹景凤《东图玄览》、张丑《南阳书法表》、《真迹日录》，清安岐《墨缘汇观》著录。",[164,24,7,25,133,840,64,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda5e4a285528d158dd273e3ee4b593bd.jpg","纵26.8厘米，横57.4厘米",[318,2210],{"id":20418,"slug":20419,"title":20420,"dynasty":124,"author":7961,"museum":300,"description":20421,"tags":20422,"thumbUrl":20423,"material":611,"size":84,"collection":44,"collections":20424,"showCount":20282,"zanCount":1998,"manualWeight":48,"mainColor":72},220103,"zhong-kui-yi-jia-tu-qian-gu-220103","钟馗移家图","钱谷（公元1508~1578年），字叔宝，号磬室，江苏苏州人。好读书，曾手抄稀有书籍，跟从文征明学习诗文书画。山水笔墨疏朗稳健，也能画人物、兰竹，风格较平实。编有〈续吴都文粹〉等。作品有〈雪山策骞图轴〉，〈虎丘前山图轴〉，〈董姬像（册页）〉，〈晴雪长松图轴〉。",[23,24,7,25,188,27,96,17540,187,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faee38741396103f6c03bb189f8e3e50a.jpg",[44],{"id":20426,"slug":20427,"title":20428,"dynasty":144,"author":410,"museum":510,"description":20429,"tags":20430,"thumbUrl":20431,"material":66,"size":20432,"collection":136,"collections":20433,"showCount":20282,"zanCount":48,"manualWeight":48,"mainColor":72},219971,"tai-bai-shan-tu-wang-meng-219971","太白山图","图绘浙江鄞县太白山天童寺及其周围景物，尤其着重描绘天童寺前二十里夹径松林。画面中远岫层峦，溪流潺潺，人物往还其间，用笔松润，赋色淡雅。画心右上角有小字篆书“太白山图”四字，画尾钤“王蒙印”，近人研究认为此卷为王蒙晚年代表作。",[23,164,24,7,25,29,27,132,97,34,131,37,64,208,98,99,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe223493b23f8c837f2f01362ffb2077f.jpg","28x238.2cm",[136,45],{"id":20435,"slug":20436,"title":20437,"dynasty":124,"author":1141,"museum":244,"description":20438,"tags":20439,"thumbUrl":20440,"material":66,"size":20441,"collection":45,"collections":20442,"showCount":20282,"zanCount":1116,"manualWeight":48,"mainColor":72},219341,"yu-yu-chun-shu-tu-wen-zheng-ming-219341","雨余春树图","全幅中间为一条宽阔溪水，将其画面纵切成上、下两段，上段即画幅远处崇山叠嶂，山峰耸立，主峰两侧的山峰较矮小，隐约可见。中间山峰顶平壁峭，山上和山坡处树木成林，郁郁葱葱，山脚临河处座落着几间屋宇草舍，掩映在丛树荫下。河滩上有二位高士边闲聊边观赏风景。在溪水夹岸，即此画幅的下段，这是此幅画的主题。夹岸坡陀叠起，崎岖不平，有的坡陀伸展至水上，坡陀上长有几棵高大的松树和其他杂树。古松萧疏错落，坡陀上的平台相参，临溪处筑有一小亭，累见高士策杖优游，间吟望远悠闲自在，展现出一派隐逸文人的诗画境界",[24,7,27,29,413,130,99,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad5d61d2c68ecef13e5225b2f2d4ac4b.jpg","纵94.3厘米，横30.3厘米",[45],{"id":20444,"slug":20445,"title":20446,"dynasty":124,"author":20447,"museum":244,"description":20448,"tags":20449,"thumbUrl":20450,"material":66,"size":20451,"collection":68,"collections":20452,"showCount":20282,"zanCount":1998,"manualWeight":48,"mainColor":72},218878,"xian-chun-bao-xi-tu-liu-shi-ru-218878","先春报喜图","刘世儒","虬枝盘曲如铁，嫩蕊缀枝似霞，寒香暗浮处，数只喜鹊栖于梅间。或翘首啼鸣，清音欲穿晓寒；或侧耳相和，墨羽轻拂春风。花瓣染粉带露，枝干皴擦见骨，工笔与写意相融，既得梅之清雅，又显鹊之灵动。题字与花鸟相映，诗趣入画，更添文人雅韵。整幅画如早春晨曦，将料峭生机与报喜暖意悄然铺展——梅开先春，鹊鸣报喜，每一笔藏岁月期许，每处细节漾人间欢悦，观之令人心脾俱畅，仿佛已闻春声渐近。",[24,7,165,27,28,61,371,211,14190,64,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0bf908b018a03efb77d029306b4e34c.jpg","113.4x56.6cm",[68],{"id":20454,"slug":20455,"title":20456,"dynasty":144,"author":223,"museum":244,"description":20457,"tags":20458,"thumbUrl":20459,"material":66,"size":20460,"collection":68,"collections":20461,"showCount":20282,"zanCount":1116,"manualWeight":48,"mainColor":49},218835,"hua-e-xiao-jing-tu-yi-ming-218835","花鹅小景图","白鹅曲颈伫立，绒羽以细笔晕染，柔润如凝脂，尾羽纹理纤毫可见。身旁草叶疏朗，野花含露轻绽，淡紫与浅红的花瓣似携微风颤动；后方岩石以简劲笔触皴擦，苍朴质感与鹅的柔媚相映成趣。古旧纸色衬得景物愈发温润，笔触间藏着细腻生机——仿佛能听见鹅喙轻啄草叶的细碎声响，或是风拂野花的微颤。整幅小景虽简，却将自然的恬淡雅致凝于尺幅，细处见工致，疏处显意趣，尽显宋元小景画的清逸之韵。",[164,24,7,28,27,7546,547,171,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aca3e9066be932f6397474cf4d654f4.jpg","57.5x37cm",[68],{"id":20463,"slug":20464,"title":20465,"dynasty":18,"author":8677,"museum":244,"description":20466,"tags":20467,"thumbUrl":20468,"material":173,"size":20469,"collection":42,"collections":20470,"showCount":20282,"zanCount":1998,"manualWeight":48,"mainColor":72},218746,"lang-gan-ting-xiu-tu-wen-tong-218746","琅玕挺秀图","画的是两根竹子的墨迹，竹叶在风中摇曳。与文同的水墨游戏标准 墨竹 相比，这个小框架特别有趣。",[23,24,7,59,128,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ca0d9372912c6958ecc427f42b609c.jpg","46.7x29.7",[42],{"id":20472,"slug":20473,"title":20474,"dynasty":144,"author":20475,"museum":77,"description":20476,"tags":20477,"thumbUrl":20478,"material":278,"size":20479,"collection":136,"collections":20480,"showCount":20282,"zanCount":1998,"manualWeight":48,"mainColor":72},217264,"dan-tai-chun-xiao-tu-lu-guang-217264","丹台春晓图","陆广","陆广是元朝时期的一位著名的画家，他的作品《丹台春晓图》是他最著名的一幅画。这幅画描绘了丹台山的景色，山上有云雾缭绕，树木葱茏，小溪流动，鸟儿在枝头鸣叫。这幅画的色彩鲜艳，线条流畅，构图巧妙，深受人们喜爱。\n\n陆广在这幅画中运用了自然写生的技巧，使画面栩栩如生，栩栩如生。他还运用了虚实对比的手法，使画面更加丰富多彩。此外，他还运用了一些中国传统的画法，如重彩和写意画法，使这幅画更加独特。\n\n陆广的《丹台春晓图》不仅是他最著名的作品，也是元朝时期著名的艺术杰作之一。它不仅体现了陆广的才华，也反映了元朝时期艺术的发展。现在，这幅画被广泛收藏和展览，并且被认为是中国传统艺术的杰出代表作之一。",[24,7,165,128,132,29,131,34,98,99,758,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb6a463b9955bf3520ee003ff8feb0ec.jpg","61.6x26cm",[136],{"id":20482,"slug":20483,"title":20484,"dynasty":54,"author":20485,"museum":244,"description":20486,"tags":20487,"thumbUrl":20488,"material":278,"size":20489,"collection":318,"collections":20490,"showCount":20282,"zanCount":48,"manualWeight":48,"mainColor":49},214212,"lu-wang-duo-zeng-tang-ruo-wang-shi-han-li-rui-qing-214212","录王铎赠汤若望诗翰","李瑞清","笔锋游走间，篆隶古意暗涌。颤笔如老树盘根，线条苍劲中带着金石质感，却又不失流转之姿。取法南北碑版，骨架雄健如北碑扛鼎，血肉温润似南帖漫吟。墨色浓淡枯润交错，章法疏密有致，行气如江河奔涌，一气呵成。单字欹正相生，险中求稳，每一笔都似有千钧之力，却又灵动婉转，将碑学的沉雄与帖学的飘逸融于一体，自成一格。观之如见古贤把盏论道，墨香里藏着岁月的厚重与文心的飞扬，每一处转折都藏着对传统的敬畏与创新的胆魄。",[23,64,165,133,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F702948c8b7c63c234f94601fa105d877.jpg","150.6x39.8",[318],{"id":20492,"slug":20493,"title":5945,"dynasty":124,"author":9421,"museum":244,"description":20494,"tags":20495,"thumbUrl":20497,"material":692,"size":20498,"collection":84,"collections":20499,"showCount":20500,"zanCount":48,"manualWeight":48,"mainColor":72},290319,"sui-chao-tu-zhou-shang-xi-290319","明代宫廷绘画的历史，从明代建国伊始就已经开始，经过永乐、宣德、成化、弘治几朝，宫廷绘画达到了兴盛阶段，到嘉靖、万历以后，逐渐衰微。赵原、卓迪、周位、王仲玉等是初期院体画家的代表。宣德以后，宫廷画家不断增多，著名的有谢环、商喜、倪端、李在、石锐、周文靖等，他们的绘画，技艺全面，师法南宋“院体”，各有特点。",[164,24,7,165,61,27,28,371,649,374,9070,171,208,20496],"岁朝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1aa42f9fe4334c91fc98ee028966eda.jpg","130.9x57.4",[],68,{"id":20502,"slug":20503,"title":20504,"dynasty":54,"author":3718,"museum":300,"description":10500,"tags":20505,"thumbUrl":20506,"material":692,"size":1293,"collection":84,"collections":20507,"showCount":20500,"zanCount":48,"manualWeight":48,"mainColor":72},289899,"song-jian-qing-yin-tu-zhou-hong-ren-289899","松涧清音图轴",[164,24,7,165,128,29,372,130,171,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7ee8ed58b9be8df7d7a8c0c6ef64c97.jpg",[],{"id":20509,"slug":20510,"title":20511,"dynasty":124,"author":20512,"museum":300,"description":20513,"tags":20514,"thumbUrl":20515,"material":692,"size":1293,"collection":84,"collections":20516,"showCount":20500,"zanCount":48,"manualWeight":48,"mainColor":49},289762,"hua-shan-tu-ce-wang-lv-289762","华山图册","王履","王履，字安道，号畸叟，又号抱独老人，约生于元至顺三年（公元1332年），卒年不详，明洪武十六年（公元1383年）尚在，昆山（今属江苏）人，祖籍魏博（今河北境内），元末明初医学家、画家、诗人。学医于朱丹溪，是其门人，尽得朱氏之学。",[572,64,59,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffab434cd3bc94d142ad46e3f6b945da1.jpg",[],{"id":20518,"slug":20519,"title":62,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":20520,"thumbUrl":20521,"material":692,"size":1293,"collection":84,"collections":20522,"showCount":20500,"zanCount":1998,"manualWeight":48,"mainColor":72},288640,"hua-hui-yun-shou-ping-288640",[24,164,7,1131,27,61,62,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d1f4aa033cc0de1746ce152deb7a4c3.jpg",[],{"id":20524,"slug":20525,"title":20526,"dynasty":54,"author":3403,"museum":300,"description":8089,"tags":20527,"thumbUrl":20528,"material":692,"size":1293,"collection":84,"collections":20529,"showCount":20500,"zanCount":48,"manualWeight":48,"mainColor":72},236379,"li-zhi-tu-shan-ye-wu-chang-shuo-236379","荔枝图扇页",[24,7,1131,27,128,133,208,61,2036,549,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4049316925f6e1ce520b3918ad37dd08.jpg",[],{"id":20531,"slug":20532,"title":3659,"dynasty":54,"author":3043,"museum":300,"description":20533,"tags":20534,"thumbUrl":20535,"material":84,"size":84,"collection":84,"collections":20536,"showCount":20500,"zanCount":48,"manualWeight":48,"mainColor":72},235300,"ju-hua-zhou-xu-gu-235300","此作以上下两簇秋菊铺陈画面，左侧留白题款，疏密错落间章法雅致和谐。以淡墨勾勒花瓣，细劲舒展如丝，赭黄点染花心，醒目鲜活，尽显秋菊盛放之姿。菊叶以蓝与淡墨晕染，枯笔写枝，苍劲老辣，笔致简逸放纵，自带冷峭清奇格调。\n整体色调萧疏淡雅，将秋菊凌霜的清逸风骨尽显，融文人画清雅意趣与世俗审美于一体，于简淡朴拙之间，尽显秋花隽逸之姿与高节品性。",[24,7,165,128,27,188,604,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef193bc0930876f14e505b19adec7fc.jpg",[],{"id":20538,"slug":20539,"title":20540,"dynasty":54,"author":872,"museum":300,"description":9335,"tags":20541,"thumbUrl":20542,"material":84,"size":84,"collection":84,"collections":20543,"showCount":20500,"zanCount":48,"manualWeight":48,"mainColor":72},234227,"hua-guo-juan-zhu-da-234227","花果卷",[23,24,7,25,128,369,133,2750,4251,15382,2035,650,61,4250,1009,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd794f3dd4ca89c61b435218135cfad42.jpg",[],{"id":20545,"slug":20546,"title":20547,"dynasty":18,"author":633,"museum":300,"description":20548,"tags":20549,"thumbUrl":20550,"material":692,"size":1293,"collection":84,"collections":20551,"showCount":20500,"zanCount":48,"manualWeight":48,"mainColor":49},230785,"yan-xiu-lin-ju-tu-ye-xia-gui-230785","烟岫林居图页","此图以近、远景的安排构成整幅之大势。远景轻淡，一片空漾，在云雾掩映间现出突兀的山峰；山峰偏左，让出画面右边的空间，使人有云天苍茫、辽阔无际之感。中景平湖河道若隐若现，似有似无。近景则笔健墨浓，是画家着意描绘的对象。临河斜岸树木茂盛，木桥接岸，一人弓背持杖漫步于林间小路，岸左又有长满树木山石的一角。画中树干用双钩，浓墨攒笔随意点染树叶，用笔虽简，却意趣横生。远山及坡石很少用笔皴擦，主以浓淡墨晕染，把山石的立体质感和烟云变幻莫测的动态表现得恰到好处。",[23,24,7,164,59,128,132,29,19769,496,9550,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7707d298daece160ecc6b1e0761dcde9.jpg",[],{"id":20553,"slug":20554,"title":20555,"dynasty":54,"author":1460,"museum":300,"description":20556,"tags":20557,"thumbUrl":20558,"material":84,"size":84,"collection":44,"collections":20559,"showCount":20500,"zanCount":48,"manualWeight":48,"mainColor":72},228989,"bai-kai-luo-han-tu-1-shi-tao-228989","百开罗汉图1","《石涛罗汉百开册页》是石涛青年时期绘制的工笔人物作品，为完整一百开册页，共画山水背景中的罗汉人物1位，各册页中罗汉左右分别陪饰众多人物及似龙、虎、鹿、狮等神兽形象。\n根据 在画中自题，最早一开创作于“丁未” (1667 年)，石涛时年26岁。\n整套册页作品分别作于1667年、1669年、167年，1672年，即从石涛的26岁至1岁，历时6年之久，实为石涛倾力之作。\n《罗汉百开图》册页集人物、山水、花鸟之大成，是石涛技艺日臻成熟时的作品，所绘人物，造型生动，神态各异，笔墨洗练，叙事清楚，饱含人文情怀。\n石涛最早的人物画是康熙时期所作的《百美图》，这是对仇英作品的临摹，更是一次再创作。\n吴湖帆正是看了此画，才有上面提到的‘石涛画人物最佳’之说。\n这幅画被石涛的老师梅青借走，供于香案之上，每日膜拜，后不知所踪。\n美国大都会博物馆所藏《十六应真图》，长达六米，人物纯用线描，而配以山水背景。\n另外还听说波士顿博物馆藏有一幅石涛人物画。\n有记录的石涛作品，现存世约4件，《石涛罗汉百开册页》占了其中1件。\n崔如琢还另外藏有石涛的两套册页以及手卷、中堂、条幅若干，藏品总数达1件，应该是收藏石涛作品最多的人。\n但他始终认为，《石涛罗汉百开册页》的价值最为独特，较之同时代西方文艺复兴时期的绘画，无论内容、题材、技法都称得上相映生辉。",[24,7,187,128,188,96,331,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cedcff1d2c958f6590b2e104032c599.jpg",[44],{"id":20561,"slug":20562,"title":20563,"dynasty":54,"author":1460,"museum":300,"description":20564,"tags":20565,"thumbUrl":20566,"material":84,"size":84,"collection":84,"collections":20567,"showCount":20500,"zanCount":48,"manualWeight":48,"mainColor":72},228985,"jiang-nan-chun-ai-tu-shi-tao-228985","江南春霭图","淡赭晕染坡岸，老松虬枝盘曲如盖，竹树掩映间藏着矮屋，漾出林下幽居的闲散意趣。远景山峦以干笔皴擦，再笼上淡墨轻烟，春霭漫过江天，扁舟孤悬水面，将江南春日空濛柔婉的景致晕染开来。\n\n整幅以松秀笔墨绘就山水灵韵，页面上下题满行书，笔势纵宕不羁，诗画相生合契，把江南春景的澹远幽恬尽藏其中。以简淡笔墨勾勒出山川自然之趣，又寄寓文人幽居的清雅襟怀，尽显山水与心神相融的文人画逸致。",[164,24,7,128,27,29,132,133,208,331,1233,130,98,99,129,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1398b65b6b1e8c394747527e5b645ab4.jpg",[],{"id":20569,"slug":20570,"title":20571,"dynasty":18,"author":1622,"museum":300,"description":20572,"tags":20573,"thumbUrl":20576,"material":84,"size":84,"collection":84,"collections":20577,"showCount":20500,"zanCount":1998,"manualWeight":48,"mainColor":49},227821,"song-feng-ting-tu-ye-ma-yuan-227821","松风亭图页","这幅小品以边角取景，将山水意趣藏于尺幅之间。右侧虬松苍劲盘曲，枝干如铁，松针攒簇劲挺，斜斜探向半空，似携着穿林松风。古松之畔，山亭飞檐翘角，半掩于松石间，雅致清寂。左侧留白晕染远山，淡墨轻描，虚实相映，衬出山林空阔萧散的意境。\n\n用笔刚简老辣，墨色干湿浓淡错落，勾勒皴擦间，山石枯涩、古松苍润的质感尽显，以少胜多，把林泉幽居的静谧禅意铺陈开来，藏着文人心中归向林泉的高远意趣，尺幅之中意蕴悠长。",[23,164,24,7,1349,95,130,1144,131,415,128,27,132,20574,20575,12976,208],"边角取景","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa207a22d1b0e544e2ed8382683769b21.jpg",[],{"id":20579,"slug":20580,"title":20581,"dynasty":18,"author":223,"museum":300,"description":20582,"tags":20583,"thumbUrl":20584,"material":84,"size":84,"collection":84,"collections":20585,"showCount":20500,"zanCount":1116,"manualWeight":48,"mainColor":49},223655,"song-zi-tian-wang-tu-yi-ming-223655","送子天王图","此作为白描神品，以铁线描、兰叶描交错挥写，尽显吴带当风的流动韵致。\n画卷起首帝后侍从环侍，仪度端雅雍容；继而护法神将狞猛威严，流云焰气翻卷烘托出天界的诡谲神圣；中段天女执器缓行，身姿柔婉静穆；后段天王安坐肃穆，诸鬼神环伺拱卫，末了瑞兽载仙疾驰，灵动飞扬。\n全卷人物身份鲜明，神情各殊，帝王的沉凝、天女的温婉、神将的凶戾皆刻画入微，线条或刚劲如铁、或飘逸如丝，将天界仪卫的盛大庄严铺陈尽致，虽为摹本，依旧留存原作神采，是水墨线描的绝佳范本。",[23,164,24,7,25,188,187,96,772,949,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1875d213531142bdb5f15a8d47809ba.jpg",[],{"id":20587,"slug":20588,"title":20589,"dynasty":18,"author":223,"museum":300,"description":20590,"tags":20591,"thumbUrl":20592,"material":84,"size":84,"collection":84,"collections":20593,"showCount":20500,"zanCount":1998,"manualWeight":48,"mainColor":72},223596,"guan-shou-guan-hua-tu-yi-ming-223596","盥手观花图","庭院清寂，仕女方盥手罢，正凝睇案头花簇。画面虚实相衬，左侧留白更衬出右侧庭院的幽谧雅致。长案错落陈开花卉、妆具，器物勾勒工细古雅，尽显深闺陈设的精致意趣。\n\n仕女身姿温婉端丽，两名侍女或持团扇或奉巾侍立，情态柔婉生动，将深闺日常的闲雅意趣缓缓铺陈。设色古雅沉静，棕褐底色晕染出庭院朦胧静谧的氛围，衣袂的素净浅淡与花簇的明丽鲜活相映晕合，笔触柔润细腻。\n\n画笔致工秀含蓄，将宋人娴静内敛的审美意趣融于闺中清赏的日常里，晕开淡远悠长的东方诗意。",[23,164,24,7,27,28,96,166,169,547,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43601ebbe84e62c48f0a06a97221751c.jpg",[],{"id":20595,"slug":20596,"title":20597,"dynasty":124,"author":3619,"museum":20,"description":20598,"tags":20599,"thumbUrl":20600,"material":20601,"size":15990,"collection":20602,"collections":20603,"showCount":20500,"zanCount":48,"manualWeight":48,"mainColor":72},221971,"lan-ting-xiu-qi-tu-quan-juan-wen-zheng-ming-221971","兰亭修契图全卷","此图表现的是广为流传的文坛佳话“兰亭修褉”。文徵明的这幅画反映了东晋王羲之《兰亭序》中的景象。图绘崇山峻岭，溪流蜿蜒，溪畔众多文士或坐或卧，观赏着山光水色间淙淙溪水送来的酒觞，潜心构思。水榭上相对而坐的王羲之等3人正在评点已写毕的诗文。林木荫翳，丛竹泛翠，春色浓得醉人。\n《兰亭修褉图》为文徵明73岁时用青绿山水技法所绘。画面中山石树木先勾后染，工致严谨，笔笔精到。人物之衣纹、眉目简略，数根线条便勾勒出文人雅士潇洒的身形。全图设色明丽丰富，画面以青绿为主，淡施赭色渲染山脚坡石，浓而不失典雅，艳而别具秀润。\n卷尾下钤“徵明父印”、“徵仲父印”，右下有“雪坪心赏”、“杜氏藏画”印，左下有“与古维新”印。尾纸首段是文徵明临写王羲之所书的《兰亭序》，其后又有文氏行书自题一段：“曾君曰潜，自号兰亭，余为其写《流觞图》，既临褉帖，兰之复赋，此诗发其命名之意，壬寅五月。”“猗兰亭子袭清芬，珍重山阴迹未陈。高音漫传幽谷操，清真重见永和人。香生环珮光风远，秀茁庭阶玉树新。何必流觞须上巳，一簾（芳？）意四时春。文徵明”。钤“徵明印”、“悟言室印”。由此可知，因曾潜的号与“兰亭修褉”发生的地点相同，文氏便将这一题材入画，并为之题诗，贻赠友朋。尾纸另有王穀祥、陆师道、许初、文彭、文嘉、周复后的题跋。壬寅年为明嘉靖二十一年（1542年）。",[23,24,7,25,27,28,133,29,96,130,99,4438,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb0d378f8205d4f6be244afbdc9303a.jpg","金笺地，设色","山水精选",[20602],{"id":20605,"slug":20606,"title":20607,"dynasty":18,"author":4602,"museum":20,"description":20608,"tags":20609,"thumbUrl":20610,"material":151,"size":20611,"collection":42,"collections":20612,"showCount":20500,"zanCount":48,"manualWeight":48,"mainColor":49},221426,"guan-shan-ji-xue-tu-yan-su-221426","关山积雪图","燕肃(991-1040)字穆之，一字仲穆，一署上谷，青州益都(今山东益都)人。文学治行，缙绅推之，胸次潇洒，巧思过人。真宗大中祥符间进士，官至龙图阁直学士，以礼部尚书致仕，人称“燕龙图”。工诗善画，以诗入画，意境高超，浑然天成，为文人画之先驱。善画山水寒林，与王维相上下。亦擅人物、牛马、松竹、翎毛，在京师太常寺、翰林学士院作屏风画，景宁坊寓所及睢、颍、洛等佛寺中都有其巨幅壁画(今皆湮没无存)。《宣和画谱》著录御府所藏其作品有《春岫渔歌图》《夏溪图》《春山图》《冬晴钓艇图》等37件。",[23,24,7,29,132,27,13436,663,413,98,99,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff61c590823c9480548dd523165486396.jpg","40×30cm",[42,136,117],{"id":20614,"slug":20615,"title":20616,"dynasty":18,"author":20617,"museum":20,"description":20618,"tags":20619,"thumbUrl":20620,"material":173,"size":20621,"collection":318,"collections":20622,"showCount":20500,"zanCount":48,"manualWeight":48,"mainColor":72},221359,"xue-jiang-gui-zhao-tu-juan-ba-cai-jing-221359","雪江归棹图卷跋","蔡京","《跋赵佶雪江归棹图卷》蔡京长跋释文：\n“臣伏观御制雪江归棹，水远无波，天长一色。群山皎洁，行客萧条。鼓棹中流，片帆天际。雪江归棹之意尽矣。天地四时之气不同，万物生于天地间。随气所运，炎凉晦明。生息荣枯，飞走蠢动。变化无方，莫之能穷。 皇帝陛下以丹青妙笔，备四时之景色，究万物之情态于四图之内，盖神智与造化等也。大观庚寅季春朔日，太师楚国公致仕臣京谨识。”蔡京的此段题跋非常重要，一是说明《雪江归棹图卷》为徽宗御制；二是说明《雪江归棹图卷》是原来的春、夏、秋、冬四时图之一。三是说明此图卷约完成于大观庚寅四年（1110）之前，时宋徽宗二十九岁。所以后来许多的著录书籍、画史研究家和鉴定家均依此认定《雪江归棹图卷》为宋徽宗真迹。",[23,164,24,7,25,133,64,128,29,129,1813,3649,6810,9403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf14a18de8e09672e19ddb10db39f910.jpg","纵30.3cm,横190.8cm",[318],{"id":20624,"slug":20625,"title":20626,"dynasty":182,"author":20627,"museum":510,"description":20628,"tags":20629,"thumbUrl":20630,"material":20631,"size":20632,"collection":318,"collections":20633,"showCount":20500,"zanCount":1998,"manualWeight":48,"mainColor":72},221105,"zhong-ni-meng-dian-tie-ou-yang-xun-221105","仲尼梦奠帖","欧阳询","用笔\n《仲尼梦奠帖》用笔清峻，锋芒毕露，给人以锐利、刻厉之感。其用笔有两个主要特点，一是侧锋入纸，起笔无不锐利，显然是魏碑笔法。下笔直截了当，不藏锋敛迹，加之行笔稍快，如剑戟般的锋芒便外耀无遗了。二是转折顿挫带来的刻厉。在唐书家中，初唐的柔和之风的特征之一就是化方为圆。这样，不仅消失了方角使之更为圆转灵活，而且也加快了书写的速度。欧阳询丝毫不受这种化方转圆的影响，他的转折仍然是重而方，不减作楷书之法，如“仲尼”、“有”、“周”，尽骨节之露，如“奠”之第二笔，起讫三折笔，如怪石嶙峋，与北魏的刀刻痕迹何其相似。可是，这样的笔触是很需要有分寸感的，稍微过头则为造作。在这方面，像欧阳询这样的行家也未能幸免，如“数”字就是一个病例，其“文”字旁起笔牛头角状，十分不雅，有趣的是把这一角状遮去后，这一个字反而格外的流畅、顺眼了。《仲尼梦奠帖》像“过”字这样圆转灵活、随意自然的笔触并不多，全篇的创作仍然是庄严的、认真的，作者创作心态似乎也不轻松，一副如《九成宫碑》那样的庙堂面孔。 [8]\n\n结体\n《仲尼梦奠帖》结体有独特之处，结体修长一目了然。欧阳询不在意从横向上进行发展，因此在行距上显得特别疏朗，每字向下舒展时，欧阳询也把字距拉开，使这一纵向发展显得天地开朗。竖画挺拔坚韧，在每一字中起着砥柱作用，使每一字的骨格坚挺起来。把《仲尼梦奠帖》与虞世南的《汝南公主墓志铭》比较，会看得更清楚。虞氏行书以柔和胜，竖画也起支柱作用，但作用并不明显，也不突出，似乎隐于其中；而欧氏行书竖画刚强外耀、强烈可感，那壁立千仞的挺拔，构成了作品的主要基调。观帖中字，虽用秃笔疾书，却转折随意，笔势圆融，用墨淡而有质感，丝毫无油滑之态。 [8]\n\n章法\n《仲尼梦奠帖》是两种书体的结合，即行书入碑，或曰碑体行书。从章法看，《梦奠帖》“宪章右军，抽锋一线，如猿腾鹘落而泯上下相承之迹”（包世臣《艺舟双楫》），而更多靠单字造型调节章法；帖中“彭”由左右结构变换成半包围结构；“导”字繁体下旁本为“寸”，此处不同，换为“木”旁；“冥”字上首用“宀”代“冖”且书写跳荡；“熟”字结构变异，这四字的安排，使《梦奠帖》章法更显紧凑，以部首移位和比例倒错来调整字形结构及通篇章法。且《仲尼梦奠帖》取魏碑为骨格，以行书的笔意来调节，避免了碑体楷书的平板，显得更加密切、多姿多态。碑体的骨格使每一个字气势开张、伟岸，而行书的绵密活泼又连缀其中，形成刚劲而活络，活络而不失骨力。",[23,64,133,1590,7,25,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feed9f1b77f3256e056f28a188b756240.jpg","纸本行书","纵25.5cm，横33.6cm",[318],{"id":20635,"slug":20636,"title":20637,"dynasty":182,"author":9928,"museum":300,"description":20638,"tags":20639,"thumbUrl":20640,"material":611,"size":13961,"collection":318,"collections":20641,"showCount":20500,"zanCount":48,"manualWeight":48,"mainColor":956},221079,"li-qing-lian-xu-zhang-xu-221079","李清莲序","張旭（675-750），唐代書法家，字伯高，與李白、賀知章等人共列飲中八仙之一。唐文宗曾下詔，以李白詩歌、裴旻劍舞、張旭草書為「三絕」。又工詩，與賀知章、張若虛、包融號稱「吳中四士」。傳世書跡有《肚痛帖》、《古詩四帖》等。\n\n張旭初仕為常熟尉，後官至金吾長史，人稱「張長史」。其母陸氏為初唐書家陸柬之的侄女，即虞世南的外孫女。陸氏世代以書傳業，有稱於史。張旭為人灑脫不羈，豁達大度，卓爾不群，才華橫溢，學識淵博。與李白、賀知章相友善，杜甫將他三人列入「飲中八仙」。是一位極有個性的草書大家，因他常喝得大醉，就呼叫狂走，然後落筆成書，甚至以頭髮蘸墨書寫，故又有「張顛」的雅稱。後懷素繼承和發展了其筆法，也以草書得名，並稱「顛張醉素」。",[23,64,840,25,1590,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a58ec93ac0fe20390b6d67708a83e8.jpg",[318,2210],{"id":20643,"slug":20644,"title":20645,"dynasty":54,"author":16862,"museum":1300,"description":20646,"tags":20647,"thumbUrl":20649,"material":173,"size":20650,"collection":68,"collections":20651,"showCount":20500,"zanCount":48,"manualWeight":48,"mainColor":49},220436,"bai-hua-cheng-rui-tu-li-fang-ying-220436","百花呈瑞图","李方膺的这件作品一反他笔墨豪放，纵逸豪宕的风格，用笔、设色都较工整收敛，清新明快，秀丽雅致。从自题七言中推知此画也许是为长辈所作，所以画面祥和安逸，色调稳重。\n李方膺的作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼 诗草》，仅二十六首，多数散见于画上。",[23,24,7,165,27,61,374,263,62,369,4280,20648],"花卉题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff472fcd233211bf609eb0bda41e43b4d.jpg","纵162.5厘米，横43.1厘米",[68,45],{"id":20653,"slug":20654,"title":20655,"dynasty":54,"author":9529,"museum":20,"description":20656,"tags":20657,"thumbUrl":20658,"material":278,"size":20659,"collection":117,"collections":20660,"showCount":20500,"zanCount":1998,"manualWeight":48,"mainColor":72},220379,"fang-ju-ran-yan-fu-yuan-xiu-tu-wang-hui-220379","仿巨然烟浮远岫图","此幅以纵向构图取势，山头处作小块状的矾头，为雄伟的山峦增添了灵巧的韵动感。山谷间绘茂密的丛林，使苍茫的山峦增添了生命的气息。图中山石以大披麻皴皴擦，其明净淡雅的线条营造了画面云烟飘渺的意境。\n此图是王翚晚年仿宋巨然《烟浮远岫图》的代表作之一。据王翚仿巨然的同名画扇（现藏北京故宫博物院）款题而知，王翚首次见到巨然的《烟浮远岫图》是在“毗陵庄太史家”，当时他42岁（癸丑，1673年），款题：“巨然《烟浮远岫图》今在毗陵庄太史家，真海内第一墨宝。余尝借观，背临大概。寄呈闻川尊先生。”又题长句，落款“癸丑上巳日，石谷重识。”王翚自此不断地仿巨然《烟浮远岫图》，或自娱，或送友人留念。他送笪重光的仿品目前藏于美国普林斯敦大学美术馆。根据图上所钤“王藻儒考藏图书”印可知本幅是他送友人王藻儒之作。\n《王奉常书画题跋》、《吴越所见书画录》著录。",[23,24,7,165,29,27,132,496,34,37,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17d1a5c1fb9dc7984b460e2cfeed8b21.jpg","纵187厘米，横67.2厘米",[117,136],{"id":20662,"slug":20663,"title":20664,"dynasty":18,"author":1091,"museum":244,"description":20665,"tags":20666,"thumbUrl":20667,"material":611,"size":20668,"collection":318,"collections":20669,"showCount":20500,"zanCount":1116,"manualWeight":48,"mainColor":72},220035,"ci-yun-qin-tai-xu-shi-tie-su-shi-220035","次韵秦太虚诗帖","次韵秦太虚诗帖 君不见诗人借车无可载，留得一钱何足赖。晚年更似杜陵翁，右臂虽存耳先聩。人将蚁动作牛斗，我觉风雷真一噫。闻尘扫尽根性空，不须更枕清流派。大朴初散失 浑沌，六凿相攘更胜坏。眼花乱坠酒生风，口业不停诗有债。君知五蕴皆是贼，人生一病今先差。但恐此心终未了，不见不闻还是碍。今君疑我特佯聋，故作嘲诗穷 险怪。须防额痒出三耳，莫放笔端风雨快。",[23,7,64,133,1590,208,611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca0aba0cbe56551e7fe404ba6ebb228.jpg","45.3*30.7",[318],{"id":20671,"slug":20672,"title":20673,"dynasty":18,"author":397,"museum":244,"description":20674,"tags":20675,"thumbUrl":20676,"material":151,"size":84,"collection":42,"collections":20677,"showCount":20500,"zanCount":48,"manualWeight":48,"mainColor":72},219951,"xi-shan-wan-diao-tu-zhao-ji-219951","溪山晚钓图","此作用平远之法铺展暮色溪山，淡墨晕染出山峦氤氲的烟霭，将黄昏的温润沉凝揉进层叠丘壑，山林在暮色里晕成朦胧黛色，漫出浑然的静谧。前景虬曲枯木苍劲古拙，疏枝横斜，暗合深秋荒寒意趣。右下角一叶扁舟随波轻漾，独钓渔翁静卧舟中，把幽寂闲适的隐逸之思铺陈开来。设色沉雅古穆，赭石淡晕铺就黄昏底色，将晚归溪山的空寂淡远尽数勾勒，将宋人寄情山水的澹泊襟怀藏在朦胧暮色之中，尽显清远萧散的文人意韵。",[23,164,24,7,59,27,132,29,129,1350,1337,131,99,3344,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63514bbaa1ed78f805a168466c561b14.jpg",[42],{"id":20679,"slug":20680,"title":20681,"dynasty":54,"author":20682,"museum":450,"description":20683,"tags":20684,"thumbUrl":20685,"material":173,"size":20686,"collection":44,"collections":20687,"showCount":20500,"zanCount":1116,"manualWeight":48,"mainColor":72},219518,"ma-gu-jin-jia-tu-xiang-kun-219518","麻姑晋斝图","项焜","画中麻姑乘槎浮于沧溟之上，鬓簪粉花，身着绣彩华裳，手持长篙缓行。仙槎遍缀灼灼牡丹，置放献礼樽斝，浪涛以淡赭浅墨晕染，烟霭水色清润朦胧。工笔勾勒仕女柔婉细腻，衣纹走线精工匀净，设色明丽柔和，晕染自然雅致。她垂首敛眉，神态温婉娴静，将赴宴献寿的虔诚柔态尽显。整幅作品兼具雅致装饰意趣与清隽仙逸氛围，尽显古典仙佛仕女题材画作的悠然意韵。",[24,7,1131,27,28,96,166,439,228,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99442fb06e9016f86d9569ee343991a6.jpg","21x25cm",[44],{"id":20689,"slug":20690,"title":20691,"dynasty":124,"author":20692,"museum":244,"description":20693,"tags":20694,"thumbUrl":20695,"material":66,"size":20696,"collection":45,"collections":20697,"showCount":20500,"zanCount":1998,"manualWeight":48,"mainColor":72},219404,"tian-zhong-de-xi-tu-yuan-shang-tong-219404","天中得喜图","袁尚统","枝头双鹊姿态鲜活，一俯身啄食朱红花朵间的嫩蕊，一昂首展翼似欲鸣啭，墨笔勾勒的羽翼层次分明，黑羽亮泽如缎。老干虬曲盘结，枝桠以劲挺笔触写出，点缀的朱红花朵艳而不妖；下方山石用泼墨点染，兼以皴擦，纹理朴拙厚重，坡地细草丛生，野趣横生。整幅笔墨工写结合，花鸟与山石相映成趣，既得自然生机之妙，又暗蕴欢愉吉庆之意，于简洁构图中传递出恬淡雅致的文人意趣，观之令人心生愉悦。",[24,164,7,27,128,61,211,331,171,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b8856c5e913470ad4bb1b74dcea90b.jpg","123.1x60.7厘米",[45],{"id":20699,"slug":20700,"title":20701,"dynasty":54,"author":523,"museum":244,"description":20702,"tags":20703,"thumbUrl":20704,"material":173,"size":20705,"collection":44,"collections":20706,"showCount":20500,"zanCount":1116,"manualWeight":48,"mainColor":72},219379,"ren-wu-tu-leng-mei-219379","人物图","在这幅画中，高石在雪地里探寻梅花，冷画大师焦秉祯经常使用透视和凹凸阴影。 色彩鲜艳明快，笔墨工整。",[24,164,7,165,28,27,96,29,371,169,170,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe16ec146f1085c0dfe8356014a6f5971.jpg","纵119.7横61.5厘米",[44],{"id":20708,"slug":20709,"title":20710,"dynasty":18,"author":1174,"museum":77,"description":20711,"tags":20712,"thumbUrl":20713,"material":173,"size":20714,"collection":68,"collections":20715,"showCount":20500,"zanCount":1998,"manualWeight":48,"mainColor":49},218970,"yu-yu-fang-mu-tu-li-tang-218970","雨余放牧图","雨后的山野浸着清润气息，山峦如黛，轻烟似纱晕染其间，远近层次在水墨中渐次铺展。老松虬枝盘结，苍劲枝干斜倚崖边，松针上似还挂着未干的雨珠。坡地间，牛群散卧或缓行，有的低头啃食带露青草，有的两两相依，蹄印浅浅印在湿润泥土上。远处山影朦胧，几只飞鸟掠过天际，更衬出天地静谧。整幅画将田园悠然与自然清旷融于一体，每一笔都带着岁月温润，仿佛能嗅到雨后泥土芬芳，听见风过松林轻响，让人沉醉在这份与世无争的安然里。",[24,7,29,132,128,27,102,1144,211,131,34,331,415,6640],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b23892c23ea69db3c885cc88ea4dc2d.jpg","纵204横96厘米",[68],{"id":20717,"slug":20718,"title":6571,"dynasty":18,"author":223,"museum":244,"description":20719,"tags":20720,"thumbUrl":20722,"material":173,"size":20723,"collection":44,"collections":20724,"showCount":20500,"zanCount":1998,"manualWeight":48,"mainColor":49},218719,"luo-han-tu-yi-ming-218719","在花园的一个角落里，一个盘腿的罗什坐在冥想椅上，右手拿着一个花瓶，从花瓶里向天空照出一道红光。椅子前面是一张花台，上面有一盆植物和一个香炉，花台前面是一个人，手里拿着一个宝箱。颜色鲜艳，装饰柔和，笔触精确。罗汉和拜师者衣服上的凤凰和花朵图案，禅椅上的锦垫，花几上的花巾，禅椅上的树和坐垫，甚至拜师者的头发，都刻画得非常细致，可与刘松年的罗汉院画相媲美。",[23,24,7,165,27,28,187,96,18331,4363,249,20721,12678,7070,34,2145],"座椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd362133adfb33f41649c7af71c1066fb.jpg","105.5x55.6",[44],{"id":20726,"slug":20727,"title":20728,"dynasty":54,"author":9864,"museum":20,"description":20729,"tags":20730,"thumbUrl":20732,"material":173,"size":20733,"collection":44,"collections":20734,"showCount":20500,"zanCount":1998,"manualWeight":48,"mainColor":72},218523,"wang-yuan-qi-yi-ju-tu-xiang-juan-yu-zhi-ding-218523","王原祁艺菊图像卷","这幅画描绘了王原祁在院子里享受一杯茶和一朵菊花。在这幅画中，留着浓密的胡须、身材略胖的王志刚大约50岁，坐在沙发上，手里拿着一杯茶，欣赏着面前的菊花。他目光专注，态度沉稳大方，体现出不同于普通文人的优雅高贵的气质。画中的桌子和沙发简洁大方，书卷摆放整齐，还有精心栽培的菊花和其他景物，这些又说明了人物的爱好和雅趣。",[23,24,7,25,28,27,96,376,547,19786,20731,8629,9602,8091,1367,64,133,208],"椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b426879ff6f6f7c85be31d0fd4ef954.jpg","32.4x136.4",[44],{"id":20736,"slug":20737,"title":20738,"dynasty":124,"author":1141,"museum":77,"description":20739,"tags":20740,"thumbUrl":20741,"material":173,"size":20742,"collection":136,"collections":20743,"showCount":20500,"zanCount":48,"manualWeight":48,"mainColor":49},218417,"bi-yin-zuo-diao-tu-wen-zheng-ming-218417","碧荫坐钓图","前景中的松树高大而紧密，松针参差不齐，一个男孩的仆人提着锅回村，一只白鹤望着敞开的大门，坡脚的岩石与水面之间。",[24,7,165,27,29,1144,129,1350,131,99,3387,1351,132,28,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa42da8f8261a31fc6bd4174fd7e6ed3a.jpg","163x61cm",[136],{"id":20745,"slug":20746,"title":20747,"dynasty":18,"author":1622,"museum":77,"description":3130,"tags":20748,"thumbUrl":20749,"material":173,"size":3133,"collection":84,"collections":20750,"showCount":20500,"zanCount":48,"manualWeight":48,"mainColor":72},218046,"song-di-ming-ti-ce-ba-ma-yuan-218046","宋帝命题册(八)",[23,164,24,7,59,128,29,130,167,96,64,133,28,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F805101e3bc8ae183233b61658ad3f5fc.jpg",[],{"id":20752,"slug":20753,"title":20754,"dynasty":54,"author":5879,"museum":1941,"description":10317,"tags":20755,"thumbUrl":20756,"material":611,"size":10320,"collection":84,"collections":20757,"showCount":20500,"zanCount":48,"manualWeight":48,"mainColor":49},214352,"san-jue-shan-shui-ce-10-hua-yan-214352","三绝山水册-10",[23,24,7,59,128,27,29,1337,131,96,1350,415,7782,129,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ebe48e1f45176386729c7159310960.jpg",[],{"id":20759,"slug":20760,"title":20761,"dynasty":54,"author":20762,"museum":244,"description":20763,"tags":20764,"thumbUrl":20765,"material":278,"size":20766,"collection":318,"collections":20767,"showCount":20500,"zanCount":48,"manualWeight":48,"mainColor":49},214235,"kai-shu-qi-yan-lian-ceng-guo-quan-214235","楷书七言联","曾国荃","此联楷书笔力沉雄，起收顿挫间见骨力，中锋行笔如锥画沙，墨色浓润饱满。字形端稳方正却不失灵动之致，每一字皆如磐石立地，又暗含舒展之态。联句“前席争传宣室贵”“等身唯守鲁堂书”，文气与书风相融，宣室之重与鲁堂之雅在笔墨间流转。上下联布局匀称，落款小字恭谨，与主体大字相得益彰，章法严谨而气韵贯通。观之如临古贤书斋，庄重中透着书卷清韵，笔墨里藏着经世之志与向学之心，尽显大家风范。",[23,54,64,572,10886,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18bdeaf2d0e294120d16ea7f43344af9.jpg","162.2x38.6",[318],{"id":20769,"slug":20770,"title":20771,"dynasty":144,"author":20772,"museum":244,"description":20773,"tags":20774,"thumbUrl":20775,"material":278,"size":20776,"collection":318,"collections":20777,"showCount":20500,"zanCount":48,"manualWeight":48,"mainColor":72},214220,"tang-ren-jue-ju-zhang-yu-214220","唐人绝句","张雨","唐人绝句是中国唐朝时期的一种诗歌形式，由四句组成，每句都为五言绝句，即五个字的绝句。张雨是中国唐朝时期的一位诗人。元是中国历史上的一个朝代，公元1279年至1368年，为元朝。",[23,24,7,165,64,133,128,231,372,167,228,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9414780fa78d6d95b33d5b8a267d6ef.jpg","154.3x34.3",[318],{"id":20779,"slug":20780,"title":20781,"dynasty":54,"author":17240,"museum":1376,"description":20782,"tags":20783,"thumbUrl":20784,"material":27,"size":20785,"collection":136,"collections":20786,"showCount":20500,"zanCount":48,"manualWeight":48,"mainColor":20787},214194,"xie-qin-you-ju-tu-cha-shi-biao-214194","携琴幽居图","查士标（1691年-1765年），字叔标，号槃湖，清代著名山水画家。他是清代著名的四王之一，与石涛、郎世宁、唐伯虎合称“四王”。查士标擅长山水画，尤其以山水风景和人物画闻名。",[24,7,25,128,27,29,132,98,99,130,131,34,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c24a38eb02628f19b29d63163ea0de4.jpg","135.8*25.5",[136],"aaa79f",{"id":20789,"slug":20790,"title":20791,"dynasty":18,"author":633,"museum":300,"description":20792,"tags":20793,"thumbUrl":20795,"material":692,"size":1293,"collection":84,"collections":20796,"showCount":20797,"zanCount":1998,"manualWeight":48,"mainColor":72},289837,"shan-shui-shi-er-jing-tu-xia-gui-289837","山水十二景图","为夏氏山水十二景中残存四景中的一部分。图展现平溪汀渚、湖水荡漾，渔舟出没，巨石峭壁，绿树成荫。通过山林，有港湾一泓，数艘渔舟停泊其间。此画山石用斧劈皴，先用水笔皴擦，然后落墨，具有水墨交融，淋漓酣畅的效果。",[23,164,24,25,7,128,29,129,99,496,4438,3650,20794,64,133,132,208],"江景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b2cda136703b84ead22be2bcf7e2b48.jpg",[],67,{"id":20799,"slug":20800,"title":20801,"dynasty":144,"author":7649,"museum":300,"description":20802,"tags":20803,"thumbUrl":20804,"material":692,"size":1293,"collection":84,"collections":20805,"showCount":20797,"zanCount":48,"manualWeight":48,"mainColor":49},288352,"fang-wen-tong-zhu-zhi-tu-ke-jiu-si-288352","仿文同竹枝图","柯九思，元书画家、鉴藏家。江浙行省儒学提举柯谦子，受其父的影响，自幼爱好书画，天历元年（1328），游学建康经人引荐结识了怀王图帖睦尔，不久怀王继位称帝，是为文宗，被授予正七品典瑞院都事，翌年，迁升为正五品奎章阁鉴书博士，专门负责宫廷所藏的金石书画的鉴定。文宗去世后，束装南归，退居吴寓松江姻脂桥。博学能文，擅写墨竹，长于画山水、人物、花卉。一生好文物，富收藏，精鉴赏。",[164,24,7,165,128,167,330,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0f6c5bac4dcc40cb604a4b194d3a85.jpg",[],{"id":20807,"slug":20808,"title":20809,"dynasty":54,"author":11383,"museum":300,"description":20810,"tags":20811,"thumbUrl":20812,"material":692,"size":1293,"collection":84,"collections":20813,"showCount":20797,"zanCount":48,"manualWeight":48,"mainColor":72},236381,"mei-hua-shi-nv-tu-shan-ren-xiong-236381","梅花仕女图扇","任熊，男，（1823年7月19日—1857年11月23日），字渭长，一字湘浦，号不舍，浙江萧山人，清代晚期著名画家，“海派”艺术的代表人物之一。\n幼时家贫，跟塾师学画人像，后寓居苏州、上海以卖画为生。曾流浪到宁波。曾居于挚友周闲之范湖草堂三年，并得遇著名文人姚燮，在其家“大梅山馆”学画，深得宋人笔法。任熊是绘画全才，人物、花卉、山水、翎毛、虫鱼、走兽，无一不精。画法宗陈洪绶，与弟任薰，儿子任预、侄任颐合称“海上四任”，又与朱熊、张熊合称“沪上三熊”。概述图为任熊自画之像。\n代表作有为著名词人与画家周闲所绘之《范湖草堂图》、以及由周闲等题跋之《十万图册》等。",[24,7,1131,27,28,96,166,371,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff58566bf7ec75673652b28d8a30e1d02.jpg",[],{"id":20815,"slug":20816,"title":20817,"dynasty":54,"author":19884,"museum":20,"description":20818,"tags":20819,"thumbUrl":20820,"material":920,"size":20821,"collection":136,"collections":20822,"showCount":20797,"zanCount":1998,"manualWeight":48,"mainColor":49},236108,"qiu-lan-fei-pu-tu-zhou-zhang-zong-cang-236108","秋岚飞瀑图轴","张宗苍（1686—1756年），字默存，一字墨岑，号篁村、蔗翁、太湖渔人，晚称瘦竹，吴县（今江苏苏州）人。师承清代娄东画派的传人黄鼎，擅画山水。初以主簿理河工事。清乾隆十六年 （1751年）高宗南巡，以绘《吴中十六景》画册敬献，称旨，命入都祗候内廷。十九年（1754年）授户部主事。其山水画用笔沉着，山石多加积染，表现出深远的意境，具有苍劲秀雅之风，深得高宗皇帝赏识，成为乾隆朝宫廷的重要画家。《石渠宝笈》著录画作116件。71岁时卒于故里。",[164,24,7,165,1349,128,27,132,131,13602,37,97,34,99,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa28583d2a38165b70ad546df9ff0faae.jpg","纵184cm，横117.7cm",[136,117],{"id":20824,"slug":20825,"title":14818,"dynasty":54,"author":3718,"museum":20,"description":10500,"tags":20826,"thumbUrl":20827,"material":10347,"size":20828,"collection":84,"collections":20829,"showCount":20797,"zanCount":1998,"manualWeight":48,"mainColor":72},234288,"hong-ren-shan-shui-ce-hong-ren-234288",[24,7,59,128,132,64,29,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaf324b5084f1a8a92416fce3effbc55.jpg","纵23.8cm，横140.4cm",[],{"id":20831,"slug":20832,"title":20833,"dynasty":54,"author":1219,"museum":300,"description":20834,"tags":20835,"thumbUrl":20836,"material":84,"size":84,"collection":84,"collections":20837,"showCount":20797,"zanCount":48,"manualWeight":48,"mainColor":72},230124,"hua-hui-shi-er-kai-ren-yi-230124","花卉十二开","此作用淡墨晕染湖石，兼以浓墨勾皴纹理，苍润朴拙，自带沉静古雅之气。右上方艳红浆果攒簇饱满，似燃着点点丹砂，浓墨枝叶分映阴阳，层次宛然，红果墨叶相互衬映，明丽又不失清雅。\n画面兼工带写，花果鲜妍生动，湖石苍劲静穆，一动一静相映成趣。题字笔意纵逸，与画境相融，将文人写意的隽秀风骨与秋实的鲜活生机揉合一处，寥寥数笔便尽显雅致意趣，堪称小品佳作。",[24,27,61,171,62,369,7,164,128,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28cad6736c0bce09b9ac3ea758c58ce7.jpg",[],{"id":20839,"slug":20840,"title":20841,"dynasty":144,"author":287,"museum":300,"description":20842,"tags":20843,"thumbUrl":20844,"material":84,"size":84,"collection":84,"collections":20845,"showCount":20797,"zanCount":48,"manualWeight":48,"mainColor":49},228019,"yang-fei-shang-ma-tu-chang-juan-qian-xuan-228019","杨妃上马图（长卷）","《题杨妃上马图》是宋朝著名文学家钱选的代表作品之一。\n宋 唐室开元致太平，年年十月幸华清。\n当时马上多娇态，不相驱驰蜀道行。",[23,24,7,164,25,27,28,96,101,208,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b28078355dcd9084429ae23f044604.jpg",[],{"id":20847,"slug":20848,"title":20849,"dynasty":124,"author":2110,"museum":244,"description":20850,"tags":20851,"thumbUrl":20852,"material":637,"size":20853,"collection":136,"collections":20854,"showCount":20797,"zanCount":48,"manualWeight":48,"mainColor":49},222414,"hua-zhu-an-chun-zhou-zhou-zhi-mian-222414","花竹鹌鹑轴","绘雨后竹子越发翠绿，紫色的喇叭花缠绕其上，湖石下一对鹌鹑正观景觅食。画顶端有范允临题：雨过竹色明，风恬鸟声乐。睡起北窗凉，斜阳在高阁。周之冕，字服卿，明代画家，擅花鸟，所绘鸟禽栩栩如生。",[23,24,7,165,61,27,28,167,8140,373,481,229,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F877ec000da3e80bb4d127ada41a2f4e7.jpg","111.7x29.7",[136,117],{"id":20856,"slug":20857,"title":20858,"dynasty":124,"author":20859,"museum":20,"description":20860,"tags":20861,"thumbUrl":20862,"material":40,"size":20863,"collection":44,"collections":20864,"showCount":20797,"zanCount":48,"manualWeight":48,"mainColor":72},222082,"sui-chao-jia-zhao-tu-zhu-jian-shen-222082","岁朝佳兆图","朱见深","画幅右上方有明宪宗朱见深御题：“柏柿如意。一脉春回暖气随，风云万里值明时。画图今日来佳兆，如意年年百事宜。”款署：“成化辛丑文华殿御笔”，钤“广运之宝”。\n图中画钟馗，犀利的目光紧盯着飞来的蝙蝠，一手持如意，一手扶在小鬼的肩头；小鬼双手捧着盛有柿子和柏枝的托盘，寓意“百事如意”。\n明代以前，悬挂钟馗像是年节时一项重要的风俗活动，用以驱鬼辟邪，至明清之交此风俗才渐渐移向端午，所以这幅“岁朝佳兆图”可以看作是一幅祈祥祝福的宫廷年画。此图作于成化十七年（1481年），画法老练，衣纹的勾描顿挫有力，人物的造型生动夸张，显示了这位皇帝画家的娴熟技能。",[23,164,24,7,165,27,28,188,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9b9fc4e6f55bfb12448810b6d3f9227.jpg","纵59.7厘米，横35.5厘米",[44,45],{"id":20866,"slug":20867,"title":20868,"dynasty":124,"author":20869,"museum":244,"description":20870,"tags":20871,"thumbUrl":20872,"material":4967,"size":20873,"collection":136,"collections":20874,"showCount":20797,"zanCount":1998,"manualWeight":48,"mainColor":72},221935,"xi-yan-tu-zhou-chen-luo-221935","洗砚图轴","陈裸","陈祼（公元1563~约1639年），初名瓒，字叔祼，后去掉“叔”字，号道樗、白室，江苏吴县（今江苏苏州）人。\n善画山水，远宗赵伯驹、赵孟俯﹝赵孟頫﹞诸家，近师文征明。摹古人笔法逼真，能工书。晚年居虎丘，以吟咏自娱。作品有《石梁飞瀑图轴》，《秋山高隐图轴》。\n所图必深林叠嶂，曲径回塘，以扇面为多。能诗工书，善行楷，晚年居虎丘，以吟咏自娱。传世作品有崇祯九年(1636)作《竹溪花坞图》轴，图录于《故宫书画集》；崇祯十一年(1638)作《山水扇面》，图录于《明代名人画扇集》。崇祯二年(1629)作《雪山行旅图册页》，表现雪山的手法学夏珪，画石用小斧劈皴，画树枝笔触多带有钉头，颇具匠心。曾由吴平斋收藏，后为南京十竹斋藏品。著有《妪解集》。",[23,24,7,165,27,132,29,1144,35,495,131,1023,96,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe91618ed8c738d3b3545416a0e57f159.jpg","122.4x51.5厘米",[136,117],{"id":20876,"slug":20877,"title":20878,"dynasty":144,"author":4034,"museum":20,"description":20879,"tags":20880,"thumbUrl":20881,"material":40,"size":20882,"collection":136,"collections":20883,"showCount":20797,"zanCount":48,"manualWeight":48,"mainColor":72},221753,"zuo-kan-yun-qi-tu-sheng-mao-221753","坐看云起图","图绘古木平岗，林木错落有致，一士人手执如意，席地而坐，岗下山石嶙峋，水中苇草丛生；远处双雁振翅，云雾迷蒙，山峰隐现于云海之中。本幅图体现了雅士宁静的生活情趣。",[23,24,7,1131,128,27,132,29,96,211,331,1233,131,950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dc41d70c8a6c3e79ab91e8b28705867.jpg","27*28cm",[136,45],{"id":20885,"slug":20886,"title":20887,"dynasty":144,"author":569,"museum":244,"description":20888,"tags":20889,"thumbUrl":20890,"material":611,"size":20891,"collection":318,"collections":20892,"showCount":20797,"zanCount":1998,"manualWeight":48,"mainColor":72},220826,"shu-yue-yang-lou-ji-zhou-zhao-meng-fu-220826","书岳阳楼记轴","岳阳楼记是北宋文学家范仲淹于庆历六年九月十五日（1046年10月17日）应好友巴陵郡太守滕子京之请为重修岳阳楼而创作的一篇散文。也是历年高考频频眷顾的经典名篇。本文写于1046年，范仲淹贬放河南邓州，1047年滕子京重修岳阳楼，请范仲淹作记，因为二人同是被贬之人，因而有共同的思想情感，所以文中满载述志励友之情，既表现作者忧国忧民的远大抱负，又表达对好友的慰勉和规箴之意。\n此帖笔法纵逸，又是自家风貌，肥不没骨，瘦不露筯，姿媚隽逸，出神入化，可谓人书俱老，炉火纯青，是赵氏书法的精品之作。正如帖后文彭跋所云：“信手拈来，头头是佛，若必曰'兰亭'，恐不必以此论松雪。”明、清各家题跋亦对此卷推崇备至。其文校之《昭明文选》小有出入。",[23,64,133,165,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166c30f08f7da3dbf1b37b1f434a7fa7.jpg","129x53.2",[318],{"id":20894,"slug":20895,"title":20896,"dynasty":54,"author":9529,"museum":224,"description":20897,"tags":20898,"thumbUrl":20899,"material":66,"size":20900,"collection":136,"collections":20901,"showCount":20797,"zanCount":48,"manualWeight":48,"mainColor":72},219901,"tai-hang-shan-se-tu-wang-hui-219901","太行山色图","此为王翚仿关仝笔意作太行山图,其于画幅中央作突兀怪石、山泉溪谷,以细密雨点皴作出,颇有范宽枪笔俱均之势",[23,24,7,25,29,27,132,496,37,34,12424,31,131,1515,1825,6875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1cb4b3c91f64f54888179c45394bbda.jpg","25.3x209.4",[136],{"id":20903,"slug":20904,"title":1230,"dynasty":124,"author":1642,"museum":244,"description":20905,"tags":20906,"thumbUrl":20907,"material":317,"size":20908,"collection":136,"collections":20909,"showCount":20797,"zanCount":48,"manualWeight":48,"mainColor":49},219837,"shan-shui-tu-dai-jin-219837","戴进以浙江地方传统水墨技法作为基，加上南宋院体画，又吸收元代李、郭派的精华。　幅中近景水亭两侧大石以斧劈皴法写之，主峰山势圆浑，造型由郭熙风格蜕化而出，然运笔则用小斧劈皴，余以淡墨大块烘染，浓墨点苔，森森密密，似马夏布墨之法，李郭、马夏风格两相融合，发展形成明初浙派风潮。画面左上有「钱塘戴文进写」六字，并钤「静庵」印记一方。",[24,7,164,132,128,27,29,98,99,129,130,34,495,96,131,165,499,496,1022,7462,387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5184f9099fce9f5215427da498fc29cc.jpg","本幅 184.5x109.4公分",[136],{"id":20911,"slug":20912,"title":20913,"dynasty":18,"author":1449,"museum":6413,"description":20914,"tags":20915,"thumbUrl":20917,"material":173,"size":20918,"collection":68,"collections":20919,"showCount":20797,"zanCount":48,"manualWeight":48,"mainColor":72},219084,"can-he-yuan-yang-tu-ma-lin-219084","残荷鸳鸯图","图为荷塘岸边枯萎的荷花，两朵荷花干枯，细杆上隐约可见一层薄薄的雪花，似弯折折断； 一对鸳鸯站在岸边，羽毛鲜艳，身体匀称，一副低头的样子，似乎在寻找食物。",[164,24,7,1131,27,28,168,20916,1857,355,61,171,208],"残荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8148e5c307f646b726f878e7dad3e86.jpg","25.4x24.4cm",[68],{"id":20921,"slug":20922,"title":20923,"dynasty":54,"author":12462,"museum":244,"description":20924,"tags":20925,"thumbUrl":20926,"material":66,"size":20927,"collection":68,"collections":20928,"showCount":20797,"zanCount":48,"manualWeight":48,"mainColor":72},218810,"e-mo-niao-tu-yang-da-zhang-218810","额摩鸟图","画面中两只额摩鸟姿态悠然，昂首者似欲引吭，俯身者若寻幽草。翎羽纤毫毕现，颈间蓝红绒羽如霞披覆，肌理质感细腻入微。旁侧牡丹姹紫、玉兰皎洁，枝桠间燕语呢喃，石畔小雀啄食，生机盎然。青绿山石晕染温润，皴擦有致，与禽鸟花木相映成趣。上下题跋为御制诗文，笔墨苍劲，典重之气扑面而来。整幅画作工写兼备，设色妍丽却不失清雅，奇禽异卉共构一堂，既有自然生趣，亦含皇家苑囿的雍容气象，堪称清代宫廷花鸟走兽画的精品之作。",[164,24,7,165,28,27,61,355,263,413,131,64,208,211,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe680768fee9dc27723523539b928bca7.jpg","149.8x101cm",[68],{"id":20930,"slug":20931,"title":20932,"dynasty":18,"author":2320,"museum":465,"description":20933,"tags":20934,"thumbUrl":20935,"material":173,"size":20936,"collection":84,"collections":20937,"showCount":20797,"zanCount":1998,"manualWeight":48,"mainColor":956},218603,"wu-bai-luo-han-zhi-shou-hu-shu-jin-tu-zhou-ji-chang-218603","五百罗汉之受胡输赆图","画面的上半部分是五个罗汉在云中行走，身后是由松柏树组成的瀑布，而下半部分是一个长鼻黑眼的胡人骑着骆驼，手里拿着一个珊瑚，另一个胡人负责拉着骆驼。风景和人物是用柔和的细线画出来的，使其生动而自然。北周庾信的《哀江南》写道。西边的大厅用浮玉覆盖，南边的大厅用羽毛覆盖。武秦与越阴，荆燕与楚舞。这就是为什么后来经常用 西厅南隅 的说法来指代来自四面八方的贡品的朝拜。这幅图像和面向山姆的竹林图像都是献宝的图像，而且都显示了非汉族人的打扮，如身穿红袍、打扮成金人的骆驼手。",[23,24,7,165,187,27,96,28,1314,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a32d2b58935d5585c6c8a74a79b2ef4.jpg","110.5x52.0",[],{"id":20939,"slug":20940,"title":1230,"dynasty":144,"author":20941,"museum":244,"description":20942,"tags":20943,"thumbUrl":20944,"material":278,"size":20945,"collection":136,"collections":20946,"showCount":20797,"zanCount":1116,"manualWeight":48,"mainColor":49},218166,"shan-shui-tu-yu-wen-gong-liang-218166","宇文公谅","宇文公谅，是元朝时期著名的画家，他的山水图作品以其精湛的写意风格和生动的自然描绘而闻名。宇文公谅的山水图作品多以自然风光为题材，用简单的笔触勾勒出了山川、河流、树木和花草的形态，并融入了自己的感悟和情感。他的山水图作品给人以舒适、自然的感觉，是元朝山水画的代表作之一。",[23,24,7,165,128,132,29,131,34,99,98,35,495,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9cd57f449a3caa29359ac4b9c9a3970.jpg","116.6x41cm",[136],{"id":20948,"slug":20949,"title":20950,"dynasty":182,"author":223,"museum":2607,"description":20951,"tags":20952,"thumbUrl":20954,"material":2611,"size":84,"collection":84,"collections":20955,"showCount":20797,"zanCount":1998,"manualWeight":48,"mainColor":49},217286,"jiang-mo-bian-dun-huang-tu-juan-4-yi-ming-217286","降魔变·敦煌图卷-4","古朴绢本上，笔墨流转间铺展着一段生动叙事。左侧世俗人物神态各异，衣袂飘举间透着生活气息；中间裸身有须者围坐伞下，伞面纹饰繁复，身旁神兽昂首展翼，灵动线条勾勒出其威猛与祥瑞兼具的姿态；右侧僧侣群像肃穆，衣袍色彩沉稳，传递出宁静的宗教氛围。整幅画以流畅线描为骨，设色淡雅却层次分明，人物与神兽、世俗与神圣场景交织，既捕捉生活细节，又蕴含佛教故事的庄严奇幻，岁月痕迹里仍能感受到鲜活的艺术张力。",[164,24,7,25,27,28,187,1692,96,20953,29,211,34,131],"神兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc400e9da6b17613f5e9395694aaabf3d.jpg",[],{"id":20957,"slug":20958,"title":13691,"dynasty":18,"author":223,"museum":14768,"description":20959,"tags":20960,"thumbUrl":20961,"material":278,"size":20962,"collection":44,"collections":20963,"showCount":20797,"zanCount":48,"manualWeight":48,"mainColor":72},217001,"jiu-ge-tu-yi-ming-217001","此《九歌图》共九段，分别绘《东君》《河伯》《湘夫人》《大司命》《少司令》《云中君》《湘君》 《山鬼》《国荡》，缺《东皇太一》《礼魂》。",[23,24,7,25,188,128,96,689,950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ec00dfbd7a8b8065f4b1da78192376.jpg","33x743",[44],{"id":20965,"slug":20966,"title":20967,"dynasty":54,"author":20968,"museum":244,"description":20969,"tags":20970,"thumbUrl":20971,"material":173,"size":20972,"collection":44,"collections":20973,"showCount":20797,"zanCount":48,"manualWeight":48,"mainColor":72},216968,"li-zhu-cui-xiu-ce-liang-mu-lan-he-da-zi-216968","丽珠萃秀册-梁木兰","赫达资","梁木兰是清朝著名的艺术家，她是在《丽珠萃秀册》中被介绍的。《丽珠萃秀册》是一部清朝时期的艺术名录，其中记录了当时著名的艺术家、书画家、雕塑家、音乐家和舞蹈家的作品和生平经历。梁木兰是其中的一位艺术家，她出身于辽宁省大连市，在清朝时期以其精湛的书法和绘画技艺而闻名。",[24,7,59,27,28,96,171,29,5626,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F607e3ef4147ab6d830a434d5bcc7fcb8.jpg","30.1x22.5",[44],{"id":20975,"slug":20976,"title":8581,"dynasty":182,"author":9761,"museum":77,"description":20977,"tags":20978,"thumbUrl":20979,"material":66,"size":84,"collection":68,"collections":20980,"showCount":20797,"zanCount":48,"manualWeight":48,"mainColor":72},216664,"mu-niu-tu-dai-song-216664","牧牛图 是一幅画作，出自唐朝时期的画家戴嵩。它是一幅水墨画，描绘了一头牛在田野里放牧的场景。这幅画被认为是戴嵩的代表作之一，因为它体现了戴嵩独特的画风和技巧。牧牛图在唐朝时期广受欢迎，并被认为是中国水墨画的杰出作品。",[24,7,128,27,96,102,413,6640,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55f31192c42e51a9881f491e3d50c022.jpg",[68],{"id":20982,"slug":20983,"title":20984,"dynasty":54,"author":20985,"museum":300,"description":20986,"tags":20987,"thumbUrl":20988,"material":173,"size":20989,"collection":44,"collections":20990,"showCount":20797,"zanCount":48,"manualWeight":48,"mainColor":72},214835,"fang-li-xi-gu-cai-wei-tu-quan-juan-xiao-chen-214835","仿李晞古采薇图全卷","萧晨","在右边，伯益坐在山坡上，双膝弯曲，认真听着舒淇的讲话，舒淇俯身向前致意，面前放着一把锄头和一筐野菜。萧琛，字灵溪，号仲素，清代画家，善诗，精画，山水人物，师承唐宋。",[23,24,7,25,330,27,28,132,96,1144,131,34,208,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F341cd77a009ea4082f79b83c8e83756d.jpg","\u001659.2x27.1",[44],{"id":20992,"slug":20993,"title":20994,"dynasty":124,"author":2268,"museum":244,"description":20995,"tags":20996,"thumbUrl":20997,"material":66,"size":20998,"collection":136,"collections":20999,"showCount":20797,"zanCount":48,"manualWeight":48,"mainColor":72},214590,"ji-you-hua-ce-jiao-shan-yan-yu-chang-shan-dong-qi-chang-214590","纪游画册-焦山烟雨常山","董其昌是明代著名的画家，他的作品《焦山烟雨常山》是一本纪游画册，记录了他对焦山和常山的游览所作的绘画。这本画册中包含了许多令人惊叹的景观画作，描绘了焦山和常山的自然景观，包括山峦、河流、树木和山水。\n\n董其昌的画风具有浓厚的写实主义倾向，他擅长运用细腻的笔触和精确的色彩渲染，使得他的作品生动形象，充满了真实感。他善于捕捉山水景观的细微变化，表现出了对自然的敬畏之情。\n\n在《焦山烟雨常山》中，董其昌运用了各种不同的画法和技巧，将焦山和常山的自然景观表现得栩栩如生。他擅长运用水墨画的质朴和透明感，使得山水画作充满了韵味。此外，他还注重色彩的运用，运用暖色和冷色的对比，使得画面更加丰富多彩。\n\n总的来说，董其昌的《焦山烟雨常山》是一本绝妙的纪游画册，值得收藏和品味。它不仅体现了董其昌的出色的绘画技巧，而且也展现了他对自然的敏锐观察力和对传统山水画的热爱。董其昌的作品中蕴含着深厚的文化内涵，是中国传统艺术的瑰宝。",[24,7,59,128,132,29,17243,663,413,37,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb86795e50c1a5356ae611c865f7019e.jpg","31.9x17.5cm",[136],{"id":21001,"slug":21002,"title":21003,"dynasty":54,"author":5879,"museum":1941,"description":10317,"tags":21004,"thumbUrl":21005,"material":611,"size":10320,"collection":84,"collections":21006,"showCount":20797,"zanCount":48,"manualWeight":48,"mainColor":49},214350,"san-jue-shan-shui-ce-12-hua-yan-214350","三绝山水册-12",[23,24,7,59,128,132,29,131,34,711,1009,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d645bd7614b93420bcf09623d61f35a.jpg",[],{"id":21008,"slug":21009,"title":21010,"dynasty":18,"author":1449,"museum":244,"description":21011,"tags":21012,"thumbUrl":21014,"material":317,"size":21015,"collection":84,"collections":21016,"showCount":21017,"zanCount":48,"manualWeight":48,"mainColor":49},289562,"jing-ting-song-feng-tu-ma-lin-289562","静听松风图","图绘迎风高松三株，偃仰盘曲，宛若苍龙。枝干遒劲，山风阵阵，枝叶飘洒，藤条飞舞。一老者屈腿悠然坐于临岸松树下，衣襟微开，姿态随意，似侧耳聆听松涛，神气舒畅，有道骨仙风，一童执扇立于前。此画中树干用浓墨线密皴，用笔密实，细枝用线刚劲又不乏柔挺之意。山石用小斧劈皴，远山以线条勾勒后多用水墨渲染，使画面更为清润。人物衣纹劲利流畅，秀逸柔润。",[23,164,24,7,165,27,132,96,29,1144,131,99,21013,12634],"松风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf04368e056b821d8008c1e1d3ddd623.jpg","226.6x110.3",[],66,{"id":21019,"slug":21020,"title":21021,"dynasty":18,"author":1091,"museum":300,"description":21022,"tags":21023,"thumbUrl":21024,"material":692,"size":1293,"collection":84,"collections":21025,"showCount":21017,"zanCount":48,"manualWeight":48,"mainColor":49},288990,"gu-mu-guai-shi-tu-su-shi-288990","古木怪石图","《枯木怪石图》又名《木石图》，是北宋苏轼任徐州太守时曾亲往萧县圣泉寺时所创作的一幅纸本墨笔画，该画作现存于中国。\n该画作画面内容很简单，是一株枯木状如鹿角，一具怪石形如蜗牛，怪石后伸出星点矮竹。用笔看似疏野草草，不求形似，其实行笔的轻重缓急，盘根错节，都流露出作者很深的毛笔功底。",[164,24,7,128,171,1233,331,167,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0321701a92b7edb7afa959d7597be7e.jpg",[],{"id":21027,"slug":21028,"title":21029,"dynasty":54,"author":872,"museum":300,"description":21030,"tags":21031,"thumbUrl":21032,"material":692,"size":1293,"collection":84,"collections":21033,"showCount":21017,"zanCount":48,"manualWeight":48,"mainColor":72},287970,"song-shu-shuang-lu-tu-zhu-da-287970","松树双鹿图","描绘了一角山崖，崖边上一株古松遒然挺立，崖下一公一母两只梅花鹿亲密相偎。背景中的山崖及苍松画面疏淡，笔墨劲简；山崖上草石与古松以浓墨点画而出，近景处的双鹿则以淡墨着笔。外侧犄角雄健的公鹿于站立中作回首状，而内侧的母鹿墨色更淡，接近画幅底色，以缠绕公鹿的形态与公鹿亲密，情深状貌跃然纸上。松与鹿均表现超然的气质；而以一公一母两鹿如此亲密的形象入画，确是于超然中又见温情，似乎寓意作者既欲超脱又回顾留恋的情愫。",[23,24,164,7,165,128,949,2302,1144,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7008f1ca40741a720f4ee5a8350ea2da.jpg",[],{"id":21035,"slug":21036,"title":21037,"dynasty":124,"author":223,"museum":300,"description":21038,"tags":21039,"thumbUrl":21040,"material":692,"size":1293,"collection":84,"collections":21041,"showCount":21017,"zanCount":1116,"manualWeight":48,"mainColor":49},287341,"fang-chen-rong-shen-long-jiu-xian-tu-yi-ming-287341","仿陈容神龙九现图","整卷以九龙为芯，龙躯腾挪翻涌于青绿云水间，或隐没于云涛，或怒破水浪，鳞爪遒劲灵动，尽显神威雄奇。古绢带着岁月晕染的斑驳，青绿与墨色交融晕开，将神龙谲变幻化的身姿描摹得栩栩如生。\n\n后附题跋行书笔意跌宕，笔墨苍劲老辣，诗文咏叹龙姿神韵，与画作相得益彰，书画合璧，复刻出沉雄气势。装裱古朴雅致，卷间流转着古雅厚重的气韵，尽显传统龙题材绘画的精妙造诣，兼具视觉张力与文人意趣。",[23,25,24,7,772,330,27,64,840,17701],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05d908008b19b2e6f55501a6f863f5f4.jpg",[],{"id":21043,"slug":21044,"title":21045,"dynasty":54,"author":3403,"museum":300,"description":8089,"tags":21046,"thumbUrl":21048,"material":692,"size":1293,"collection":84,"collections":21049,"showCount":21017,"zanCount":1116,"manualWeight":48,"mainColor":72},237972,"pu-cao-bai-lian-tu-zhou-wu-chang-shuo-237972","蒲草白莲图轴",[24,7,165,128,27,61,81,21047,369],"蒲草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05376873ccbbd59e9bd5afd64a6a3a2e.jpg",[],{"id":21051,"slug":21052,"title":21053,"dynasty":54,"author":1311,"museum":20,"description":21054,"tags":21055,"thumbUrl":21056,"material":1722,"size":21057,"collection":68,"collections":21058,"showCount":21017,"zanCount":1998,"manualWeight":48,"mainColor":72},237637,"mei-hua-lan-shi-tu-zhou-wang-shi-shen-237637","梅花兰石图轴","款署：“庚戌仲秋近人慎写于寿萱堂中。”钤“士慎”白文印。鉴藏印有：“白门李氏珍藏”朱文印。\n“庚戌”为清雍正八年（1730年），作者时年45岁，正是其艺术日臻成熟期。\n图绘春风中兰叶翻飞、梅花初绽的景致。拳石、梅树和丛兰以豪放的笔墨一挥而就，淋漓酣畅的墨气与梅兰旺盛勃发的生命力相符相合。梅花以工细的线条勾勒，俏丽的花姿显现出梅树清幽典雅的风韵和“空里疏香”的诗意。",[24,7,165,128,61,371,375,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff48e794336aa1087c4c94cc1fc7e8274.jpg","纵138.4厘米，横44.4厘米",[68,117],{"id":21060,"slug":21061,"title":21062,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":21063,"thumbUrl":21064,"material":84,"size":84,"collection":68,"collections":21065,"showCount":21017,"zanCount":48,"manualWeight":48,"mainColor":72},237535,"yuan-ji-zhu-shi-tu-zhou-shi-tao-237535","原济竹石图轴",[24,7,165,128,369,132,167,1314,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F042b55af991c313cd4588dd0d5c88465.jpg",[68],{"id":21067,"slug":21068,"title":21069,"dynasty":124,"author":13867,"museum":300,"description":21070,"tags":21071,"thumbUrl":21072,"material":84,"size":84,"collection":84,"collections":21073,"showCount":21017,"zanCount":48,"manualWeight":48,"mainColor":72},234206,"feng-zhu-tu-zhou-feng-qi-zhen-234206","风竹图轴","冯起震(1553—1644)，字青方，明末画家，青州城北青州市高柳村（今山东益都）人。隐居教书，不图仕进，善画竹。来青州做官的，常慕名到他家拜访。崇祯二年（1629），他与儿子冯可宾合作画了竹石图10幅，著名书画家董其昌、邢侗、李君实为之题记。董等非常称赞他，认为“文与可后数百年所仅见”。著有《无声诗史》、《图绘宝鉴续纂》、《榆园画志》等书。崇祯十五年（1642）年90岁尚在。",[23,24,7,128,25,64,133,208,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bf753c1b5f255b01b17c3148f491394.jpg",[],{"id":21075,"slug":21076,"title":21077,"dynasty":144,"author":410,"museum":20,"description":21078,"tags":21079,"thumbUrl":21080,"material":611,"size":21081,"collection":84,"collections":21082,"showCount":21017,"zanCount":48,"manualWeight":48,"mainColor":72},233825,"xi-jiao-cao-tang-tu-zhou-wang-meng-233825","西郊草堂图轴","图中绘秋天平远景色。近岸草堂、竹篱掩映于树丛之中，岸边系舟，主人与妻子在屋中各行其是。院后湖面空阔，水波不兴，仅露一段岸角丛树，远山一带，渐远渐淡，没入天际。构图、用笔均较简洁，表现出了江南水乡秋季明净寥落的景色特征。\n深秋茂密的林阴下有茅舍数座，一老翁坐室内案旁读书，旁屋内二仕女侍读。门前清溪潺潺，小船停泊。屋后平湖汀渚，一叶轻舟载客行于湖心，打破了画面的沉寂。远方群山烟林，意境清幽。全图笔墨工细秀逸，构图新颖，为王蒙山水画优秀之作。",[24,7,165,128,27,132,29,711,34,131,99,33,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06eebb0aebdc366ff00a27db47c4ad97.jpg","纵97cm ，横27.2cm",[],{"id":21084,"slug":21085,"title":21086,"dynasty":54,"author":9704,"museum":20,"description":21087,"tags":21088,"thumbUrl":21090,"material":734,"size":21091,"collection":84,"collections":21092,"showCount":21017,"zanCount":48,"manualWeight":48,"mainColor":72},233808,"ceng-yan-die-he-tu-zhou-kun-can-233808","层岩叠壑图轴","此图山峦重叠，结构饱满，一条山路顺山势自下而上蜿蜒曲折，使景物繁复而不迫塞，布局巧妙，具有“奥境奇辟，缅邈幽深，引人入胜”的意境。以干笔皴擦山石，浓墨点苔，气韵浑厚。用笔苍浑、老辣，用墨层次丰富，展现了石谿极具个性的绘画风格，是代表石谿成熟画风的杰作。",[24,7,165,29,128,132,27,6790,21089,495,98,99,415,1516,34,131,97,1645,130],"叠壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F741b209c7c58099e2e9ad6724a3f19a9.jpg","纵169厘米，横41.5厘米",[],{"id":21094,"slug":21095,"title":21096,"dynasty":182,"author":994,"museum":300,"description":21097,"tags":21098,"thumbUrl":21101,"material":692,"size":1293,"collection":84,"collections":21102,"showCount":21017,"zanCount":1116,"manualWeight":48,"mainColor":49},230932,"lao-zi-wan-qin-tu-zhou-fang-230932","老子玩琴图","周昉（生卒年不详），字仲朗、景玄，京兆（今陕西西安）人，唐代著名画家。出身显贵，先后任越州、宣州长史。\n他能书，擅画人物、佛像，尤其擅长画贵族妇女，容貌端庄，体态丰肥，色彩柔丽，为当时宫廷士大夫所喜爱；是中唐时期继吴道子之后而起的重要人物画家，当时有名的宗教画家兼人物画家。早年效仿过张萱，后来加以变化，别创一体。周昉创造的最著名的佛教形象是“水月观音”。\n周昉的佛教画曾成为长期流行的标准，被称为“周家样”。传世作品有《簪花仕女图》卷、《挥扇仕女图》卷、《调琴啜茗图》卷等。",[24,7,27,28,96,438,4947,528,21099,8629,251,21100,7070],"笔筒","老者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb93b889377a7553bda57900933d925.jpg",[],{"id":21104,"slug":21105,"title":21106,"dynasty":54,"author":21107,"museum":300,"description":21108,"tags":21109,"thumbUrl":21110,"material":84,"size":84,"collection":84,"collections":21111,"showCount":21017,"zanCount":1998,"manualWeight":48,"mainColor":49},230112,"hua-niao-tu-ce-wu-zhang-230112","花鸟图册","吴璋","此作为绢本工笔小景，设色温婉雅致。石榴枝桠斜斜舒展，丹红榴花灼灼盛放，饱满的石榴绽裂果皮，紫实累累，尽显秋日生机。\n\n两只麻雀栖于细枝，一只侧目远眺，一只垂首理羽，羽色晕染细腻，绒毛细毫毕现，将禽鸟娇憨灵动之态尽数描摹。叶片的阴阳向背晕染得体，线条秀逸柔和，写实之中暗含清逸雅致的意趣，将果熟禽闲的静谧小景刻画鲜活，于方寸间尽显工笔花鸟的精巧匠心，带着悠然恬淡的闲趣韵味。",[164,24,7,28,27,4437,61,2035,355,885,2918,582,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9458be09e16cb478d2d52da2905a209b.jpg",[],{"id":21113,"slug":21114,"title":21115,"dynasty":124,"author":1058,"museum":300,"description":4630,"tags":21116,"thumbUrl":21117,"material":692,"size":1293,"collection":84,"collections":21118,"showCount":21017,"zanCount":1116,"manualWeight":48,"mainColor":72},228480,"shi-shan-mian-tang-yin-228480","诗扇面",[23,164,24,7,1131,128,27,132,1144,131,96,99,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F428870f13c665e4f89795e5b5dc817a0.jpg",[],{"id":21120,"slug":21121,"title":21122,"dynasty":124,"author":204,"museum":300,"description":21123,"tags":21124,"thumbUrl":21125,"material":84,"size":84,"collection":84,"collections":21126,"showCount":21017,"zanCount":1998,"manualWeight":48,"mainColor":49},228430,"jiang-shan-zao-chun-tu-juan-chou-ying-228430","江山早春图卷","此卷以青绿敷色晕染山峦，石青浅绛晕出早春烟岚空濛之态，平远构图铺展百里江南。层峦如螺黛迤逦，汀渚蜿蜒如带，茂林村居散缀江畔，渔舟横波独行，将早春清灵秀雅尽数铺陈。\n\n笔墨工致细腻，青绿设色古雅妍丽却无俗艳之感，远山轻描淡写含黛色，近树苍劲已带新翠，茅庐隐于林泉，尽显逸世幽居之趣。画作融院体精工与文人山水淡远意境于一体，暗藏清寂悠然，将山水静穆与早春生机相融，引人身临其境，静赏江南早春的温柔诗意。",[23,24,7,25,28,26,27,132,29,30,34,97,98,99,9164,11564],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff08aa96f29fa17783d88d6937cda876e.jpg",[],{"id":21128,"slug":21129,"title":21130,"dynasty":18,"author":21131,"museum":300,"description":21132,"tags":21133,"thumbUrl":21134,"material":84,"size":84,"collection":84,"collections":21135,"showCount":21017,"zanCount":48,"manualWeight":48,"mainColor":49},227943,"xi-que-ye-tu-tu-li-yong-227943","喜鹊野兔图","李永","此作用笔工细兼具写意，清幽雅致尽显宋画意趣。坡岸之上两只野兔灵动憨态毕现，一只抬耳警觉张望，耳尖绒毛根根分明，一只俯身啮草，蓬松皮毛质感逼真鲜活。\n\n右侧古木虬曲苍劲，枝桠疏朗间两只喜鹊顾盼对鸣，啾啾啼声似破郊野静谧，动静相映成趣。整幅以留白衬出郊野空寂清旷，草木山石朴拙苍润，将林间一隅的灵动瞬间定格，把自然意趣融于笔墨之间，恬淡悠然，尽显鸟兽形神兼备的精妙写实功底，将郊野闲情尽数铺陈。",[23,164,24,7,28,27,949,211,413,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19cfe887d378e40901d42db72d3de1e7.jpg",[],{"id":21137,"slug":21138,"title":21139,"dynasty":54,"author":2640,"museum":300,"description":21140,"tags":21141,"thumbUrl":21142,"material":84,"size":84,"collection":84,"collections":21143,"showCount":21017,"zanCount":1998,"manualWeight":48,"mainColor":72},224365,"hua-hui-si-ping-zhi-san-ju-lian-224365","花卉四屏之三","此作工写兼施，绣球花团绵密莹润，以淡粉晕染花心，留白衬出白花皎洁质感，叶片勾勒细致，墨色分阶尽显苍润鲜活。奇崛湖石瘦透灵动，皴擦出嶙峋肌理，石窍映出枝叶倒影，苔藓点染更添古意。数只蛱蝶翅脉纤毫毕现，彩翼翩跹于花间，动静相映，将庭院清景的悠然意趣铺陈开来。设色明秀雅致，笔触细腻鲜活，尽显温婉灵秀的岭南花鸟意韵。",[23,24,7,61,28,27,481,9337,171,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79105dd7b28ebc24bc0563f7f6307bb.jpg",[],{"id":21145,"slug":21146,"title":21147,"dynasty":18,"author":223,"museum":161,"description":21148,"tags":21149,"thumbUrl":21150,"material":40,"size":21151,"collection":84,"collections":21152,"showCount":21017,"zanCount":1116,"manualWeight":48,"mainColor":72},223515,"tao-zhi-qi-que-tu-ye-yi-ming-223515","桃枝栖雀图页","画梅枝瘦劲，枝上疏梅秀蕊，一只雀儿俏立枝头，与清丽的梅花相映成趣。精致的用笔，温润的设色，出栖雀之神韵，画者勾勒出羽毛绒的质感、蓬松感，更是以之营造出在细梅枝上显得庞大和沉重之感。",[23,164,24,7,28,27,61,10625,6985,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F449db5fc0ae5e5c7c95ecc9b5c14f169.jpg","34x35",[],{"id":21154,"slug":21155,"title":21156,"dynasty":54,"author":4468,"museum":244,"description":4469,"tags":21157,"thumbUrl":21159,"material":27,"size":4474,"collection":84,"collections":21160,"showCount":21017,"zanCount":48,"manualWeight":48,"mainColor":72},222750,"xian-e-chang-chun-tu-06b-lang-shi-ning-222750","仙萼长春图-06b",[23,24,164,7,28,27,167,355,21158,61],"牵牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2072284800f9c10e4b682f3d12b26bf.jpg",[],{"id":21162,"slug":21163,"title":21164,"dynasty":124,"author":125,"museum":244,"description":21165,"tags":21166,"thumbUrl":21167,"material":21168,"size":21169,"collection":45,"collections":21170,"showCount":21017,"zanCount":1998,"manualWeight":48,"mainColor":72},222122,"qiu-jing-shan-shui-tu-shen-zhou-222122","秋景山水图","高冈突起，茅亭翼然。红叶树一株，与茅亭回护而有致。其左连林数树，茂密修长，黝然苍润。冈之右，一山高耸露山脚，其中围墙半露，竹影翳然。门前宾主对揖，似临歧作别者。全幅笔墨劲挺秀练，用色鲜明澹雅。款署己酉八月，六十三岁作。著录：故宫书画录卷八。收传印记：香垣审定、听颿楼藏、集虚斋。",[23,24,164,7,1131,27,132,29,130,413,131,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d84463f0eb70c2a4e32848900fbb953.jpg","泥金纸本设色","19.7×57.3cm",[45],{"id":21172,"slug":21173,"title":21174,"dynasty":18,"author":5533,"museum":2068,"description":21175,"tags":21176,"thumbUrl":21177,"material":3544,"size":21178,"collection":84,"collections":21179,"showCount":21017,"zanCount":48,"manualWeight":48,"mainColor":49},221601,"liu-zu-fa-zhu-tu-liang-kai-221601","六祖伐竹图","《六祖伐竹图》，国画精品，南宋画家梁楷代表作品，画家深入体察所画人物的精神特征，以简练的笔墨表现出人物的音容笑貌，以简洁的笔墨准确地抓取事物的本质特征，充分地传达出了画家的感情，从而把写意画推入一个新的高度，使时人耳目一新。",[23,164,24,7,165,128,10170,369,187,96,276,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c50153fca7867c60253d20906dc274.jpg","纵72.7cm，横31.5cm",[],{"id":21181,"slug":21182,"title":21183,"dynasty":18,"author":8169,"museum":244,"description":14614,"tags":21184,"thumbUrl":21185,"material":151,"size":21186,"collection":318,"collections":21187,"showCount":21017,"zanCount":48,"manualWeight":48,"mainColor":72},221323,"hou-mao-tu-juan-yi-yuan-ji-221323","猴猫图卷",[23,164,24,7,25,28,27,9633,1634,949,208,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F823207814807056484a74f5f2d92e6bb.jpg","纵31.9公分、横57.2公分",[318],{"id":21189,"slug":21190,"title":21191,"dynasty":18,"author":21192,"museum":244,"description":21193,"tags":21194,"thumbUrl":21196,"material":734,"size":21197,"collection":68,"collections":21198,"showCount":21017,"zanCount":48,"manualWeight":48,"mainColor":72},221223,"zi-mu-ji-wang-ning-221223","子母鸡","王凝","北宋王凝《子母鸡图》，原是《集古图绘》册中的一页，现藏台北故宫博物院。子母鸡图册页 王凝 ， (公元11世纪)〔北宋〕江南人，生卒年不详。画院待诏，为熙宁(1068-1077)前画院高手，工画花竹、翎毛，《宣和画谱》称：“下笔有法，颇得生意。又工为鹦鹉及狮、猫等，非山林草野之所能，不唯责形象之似，亦兼取其富贵态度，自是一格，苟不能焉，终不到也。”重视写生，观察入微，用笔工整，设色绚丽，神态逼肖，形神兼备，笔力精劲，具有宋代院体画特点，作品流传甚少。《宣和画谱》著录御府藏其《绣墩狮猫图》一幅。传世作品有《子母鸡图》册页，纸本，设色，纵42.2厘米，横32.3厘米，描绘一只母鸡携群雏作啄饲状之情景，以形写神，构思巧妙，藏露倚侧，曲尽其妙，笔墨简练，韵格清新，耐人寻味。画面钤有元代顾德辉“金粟道人”、明代“侯懋功印”、清代“宣统御览之宝”和“锡山谈氏珍藏”等收藏印5枚。此图原为清宫旧藏，是故宫《集古图集》册页之一帧，《石渠宝笈初编》著录，现藏台北故宫博物院。",[23,164,24,7,61,28,27,21195,19480],"母鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c311c2ad6d882cfc576c77d301c9e91.jpg","纵42.2厘米，横32.3厘米",[68,45],{"id":21200,"slug":21201,"title":21202,"dynasty":144,"author":1346,"museum":244,"description":21203,"tags":21204,"thumbUrl":21205,"material":637,"size":21206,"collection":136,"collections":21207,"showCount":21017,"zanCount":48,"manualWeight":48,"mainColor":72},220772,"jia-he-ba-jing-tu-wu-zhen-220772","嘉禾八景图","嘉禾八景图卷：纸本墨笔，现藏台北故宫博物院，65岁时作。嘉禾八景图是吴镇一幅非常有名的作品，它既是中国画横幅的范作，又是真实地点的写照，画了从嘉兴到魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛、武水幽澜，其中一些景点至今尚存。此幅原为美国私人收藏，后捐献台北故宫博物院。\n元代是绘画发展的一个重要阶段，是中国绘画艺术的转折点，明清绘画主要就是继承和发展了元画的传统，而吴镇的绘画在元画史上有着重要意义。一方面，他拓宽了题材的形式，另一方面，以黄公望、吴镇、王蒙、倪瓒为代表的元四大家，将文人画推向了成熟期。\n《嘉禾八景图》是吴镇一幅有名的作品，现藏台北故宫博物院。因为嘉善地方比较小，在元代的时候并没有嘉善这个地方，嘉善和嘉兴统称为嘉兴府，又因嘉兴的简称为禾，故在这幅作品中，吴镇画的应是当时从嘉兴到嘉善魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛和武水幽澜。\n这幅画最大的特点就是一段文字一段图画，画中各地名又一一标出，吴镇除了对这八个景点作了总括之外， 还对每一个景点的地理位置和概况都作了说明和介绍。\n随着历史的发展和变迁，嘉善在明宣德五年（1430）春建县，嘉禾八景中各景点的地理位置归属也发生了一定的变化。在这八景中，前七个景点都位于嘉兴（由于年代久远和经济建设的大力发展，这些古迹大多数都已经不复存在），只有最后一个景点——武水幽澜，画的才是嘉善魏塘镇上的风景。在作品中，我们很容易地可以发现一个高高矗立的宝塔——泗洲塔，据说泗洲塔原本先被烧毁了一部分，后来在“文革”时期就被全部拆毁了。但图中的幽澜井泉至今尚存，像前几年我们当地喝的地下水就出自于幽澜井泉。关于《嘉禾八景图》中的幽澜井泉：据有关档案史料记载，原来幽澜泉古已有之。文字记载如下：“幽澜泉，在县治东二里景德寺内，旧名景德泉。品居惠山之次。泉有三异：大旱不涸，煮茶无滓，盛暑经宿而味不变。故老相传：昔有僧夜坐，忽一女子过之，容色甚丽，僧叱曰：窗外谁家女？女应声曰：堂中何处僧？僧起逐之，女投入地，掘之得清泉一泓，湛然可爱，有石刻幽澜二字，遂以名泉，岁岁沉埋，何玉史清，补刻“幽澜”二字。僧复作亭于泉上，名幽澜泉。如今的幽澜井泉位于嘉善魏塘镇小寺弄29-30号，泉深约15米，井圈为椭圆形，花岗石，内径分别为0.67米、0.52米，井壁用青石砌筑成六角形。清光绪《嘉善县志》记载：幽澜泉在景德寺内，清咸丰十年（1860）景德寺遭兵燹，但泉独存。2004年1月已被列为县级文物保护单位。\n《嘉禾八景图卷》虽然画于一长卷上，但景与景之间却各个分离。同时，在这幅作品中吴镇相当注重远近距离的表达，或由位置，或由墨色，或由线条的粗细、造型的变化来显示景物间的距离、物体的厚度。其中的景物非不多，但景物虽丰，安排自各成大段落，井然有序中又不致零乱涣散，塑造的是烟波浩淼，峰峦隐现，清旷野逸之景趣。作品中吴镇的线条沉郁稳健，在笔中表现丰富的墨韵，颇见其个性。与此同时，吴镇在画中还融入了书法的笔意，追求诗的意境，并且把这一切都发挥得淋漓尽致。《嘉禾八景图》既是中国画的横幅范作，又是对真实地点的写照，表明了作者的地理知识和对环境的熟识，这在七百多年前是很一件很不简单的事情。\n吴镇既重视传统，又重视创新，不仅在艺术上刻苦钻研，以独具特色的绘画风格，丰富和发展了水墨山水画的艺术表现经验与技法。同时，吴镇还具备文学、地理、历史等方面的知识和修养，因而他创作的诗、书、画三绝的作品就能达到如此高度的艺术成就，并以独特的艺术形式对后世产生了巨大的影响，这决不是得之于偶然的。\n突破逆境的困顿，远离尘俗的竞逐，潜心书画五十年，成就一代名家，这就是吴镇给予我们的启示。\n明代李日华评论说：“仲圭此制，全学 范宽长江万里图，以点簇作小树，借树作围绕其间，断续远近，层数稠密，一以树为眉目。而城堞 楼台，特标帜之。生发秀润，真有百里见纤毫之意。”此图把当时的嘉兴名胜古迹尽收一幅，也是宋元嘉兴风光现存的唯一写照。",[23,24,7,25,128,29,132,133,938,208,97,98,99,130,18542,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a7e7c58bfe64e3888842700e85dc37.jpg","本幅 37.5x566公分、引首 30.9x97.5公分、拖尾一 36.6x78公分、拖尾二 37.8x112公分",[136,117],{"id":21209,"slug":21210,"title":21211,"dynasty":124,"author":125,"museum":1300,"description":1301,"tags":21212,"thumbUrl":21213,"material":66,"size":1304,"collection":84,"collections":21214,"showCount":21017,"zanCount":48,"manualWeight":48,"mainColor":72},220023,"dong-zhuang-tu-ce-zhi-zhuo-xiu-an-shen-zhou-220023","东庄图册之拙修庵",[23,164,24,7,59,128,132,167,413,131,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc2b518925bd20025e17b8dbe1929b9c.jpg",[],{"id":21216,"slug":21217,"title":7761,"dynasty":18,"author":1622,"museum":6413,"description":21218,"tags":21219,"thumbUrl":7764,"material":173,"size":84,"collection":44,"collections":21220,"showCount":21017,"zanCount":1998,"manualWeight":48,"mainColor":49},219863,"yu-le-tu-ma-yuan-219863","画面截取边角山水景致，峭壁斜出，虬松探枝舒展，笔墨刚劲爽利，斧劈皴利落勾勒山石棱角，尽显苍劲雄浑。\n\n水岸平滩处，二渔人相对促膝，姿态松弛随意，似正畅谈渔间趣事，简笔淡墨便将隐逸闲适的情态尽数铺陈。远景山峦含混于烟霭间，水色空蒙辽远，留白虚实相生，将江天寥廓的空寂意境晕染开来，把江湖渔隐的悠然意趣藏于尺幅之间，观之令人忘却尘嚣。",[24,164,7,29,96,129,331,131,414,132,128,27,1351],[44],{"id":21222,"slug":21223,"title":21224,"dynasty":54,"author":21225,"museum":244,"description":21226,"tags":21227,"thumbUrl":21229,"material":173,"size":21230,"collection":68,"collections":21231,"showCount":21017,"zanCount":1998,"manualWeight":48,"mainColor":72},219447,"qiu-cheng-sheng-zhi-zhou-chen-shu-qiu-219447","秋塍生植轴","陈书秋","秋草葳蕤间，秀穗垂曳似携风露。蜻蜓振翅掠叶，粉翅沾着晓光；彩蝶翩跹，翅间星斑如缀墨玉；蚂蚱或伏或跃，肢足纤毫毕现。近坡双鹌相倚，一者低头啄虫，羽纹细腻如织，另一侧首凝睇，眸含憨态。细菊绽蕊淡香似溢，红果点翠添秋温润。笔墨工细却不板滞，生灵姿态鲜活，草木纹理清晰，藏着对自然的深情。静中有动，恬淡里透着蓬勃生机，仿佛能听见虫鸣唧唧，风拂草叶轻响，将秋日田园意趣尽揽其中。",[24,7,165,28,27,208,61,806,1771,8140,481,608,21228,376,230],"蚂蚱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75a0fe93ad5cc02980e9601cf4c1e288.jpg","100.1x29.2",[68],{"id":21233,"slug":21234,"title":21235,"dynasty":54,"author":8873,"museum":244,"description":21236,"tags":21237,"thumbUrl":21239,"material":27,"size":21240,"collection":45,"collections":21241,"showCount":21017,"zanCount":1998,"manualWeight":48,"mainColor":72},219295,"xin-nian-da-ji-tu-chen-shu-219295","新年大吉图","陈舒，字原舒，生卒年待考。浙江嘉善人，一作江苏华亭（今上海市）人，侨居江宁（今南京市）。顺治六年（1649）进士，善画花鸟草虫，着有《道山遗稿》。辛夷花下立一雄鸡，目光专注凝视鲶鱼。以辛夷搭配鲶鱼、公鸡，取「辛」「鲶」「鸡」的谐音，有「新年大吉」的寓意，为年节应景画作。构图似未经意，但立意新颖，设色亦饶有文人气息。",[24,7,165,27,128,61,2510,2059,62,21238],"枝蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42a4e4216ee659fdfed338418acbd5e2.jpg","99x40",[45],{"id":21243,"slug":21244,"title":21245,"dynasty":54,"author":223,"museum":77,"description":21246,"tags":21247,"thumbUrl":21248,"material":173,"size":84,"collection":68,"collections":21249,"showCount":21017,"zanCount":48,"manualWeight":48,"mainColor":49},219273,"qun-hou-xi-shui-shuang-ping-yi-ming-219273","群猴戏水双屏","松枝虬曲横斜，松针如簇。枝间群猴灵动，或攀附树干探头探脑，或倒挂金钩似的垂落，长尾轻摆，神态憨然。树下涧边，几只小猴追逐打闹，或掬水顽劣，或投石逗趣，更有仰头望枝上同伴者，姿态各异，满是天真野趣。远处淡墨晕染出山水轮廓，一轮清月隐现天际，绢色沉润如古酿，笔墨简淡却意韵盎然。整幅画将猴群的活泼与山林的静谧相融，既见自然生机，又含悠然意韵，观之令人莞尔，心生清趣。",[24,7,165,128,27,949,9633,1144,276,29,231,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbea5c0347eed9f967050d2b173b7446b.jpg",[68],{"id":21251,"slug":21252,"title":21253,"dynasty":144,"author":6155,"museum":244,"description":21254,"tags":21255,"thumbUrl":21257,"material":128,"size":84,"collection":136,"collections":21258,"showCount":21017,"zanCount":1998,"manualWeight":48,"mainColor":72},219004,"xi-shan-yan-yu-tu-gao-ke-gong-219004","溪山烟雨图","烟岚轻笼层岫，云气漫洇溪谷，远山如黛隐现于濛濛雾色，近树似簇点染于湿润墨痕。淡墨晕染出空濛之境，浓墨点苔显苍劲之姿，米家云山的氤氲与董巨山水的浑厚相融，笔意松秀却不失沉雄。山水间无喧嚣，唯有烟霭流动的静谧，仿佛能闻涧水潺潺，听松风低语，尽显元人寄情林泉的隐逸之思。墨色的浓淡干湿交织出自然生机，虚实之间见真意，将烟雨溪山的空灵悠远凝于尺幅，耐人细细品咂。",[23,24,7,128,132,29,34,37,17243,99,131,38,21256],"朦胧意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa16e73635975b8a8581b616cd3fd5575.jpg",[136],{"id":21260,"slug":21261,"title":21262,"dynasty":351,"author":21263,"museum":1941,"description":21264,"tags":21265,"thumbUrl":21266,"material":173,"size":21267,"collection":68,"collections":21268,"showCount":21017,"zanCount":1998,"manualWeight":48,"mainColor":49},218997,"qiu-ying-tu-guo-qian-you-218997","秋鹰图","郭乾佑","铁羽敛霜华，孤峙危岩之巅。目光如炬，俯瞰怒涛卷雪。苍溟之上，残阳如血，晕染出沉雄古意。浪涛拍岸，礁石嶙峋，似与雄鹰共守天地孤绝。笔触凝练，墨色层叠，将猛禽的傲岸与沧海的壮阔熔于一帧。静中藏动：鹰之沉稳如磐，浪之奔涌若雷；刚柔相济：铁喙利爪含锐，云涛雾霭蕴柔。古雅质感里，尽显五代画风的沉郁与雄健。此作以鹰为魂，以海为魄，于苍茫间见风骨，于动荡中显定力，不愧传世之品。",[24,7,27,28,949,211,171,951,3344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7349f8201c5a9ec1d079a27dc457270.jpg","纵142.9横76.2厘米",[68],{"id":21270,"slug":21271,"title":21272,"dynasty":18,"author":12759,"museum":77,"description":21273,"tags":21274,"thumbUrl":21276,"material":173,"size":84,"collection":68,"collections":21277,"showCount":21017,"zanCount":1116,"manualWeight":48,"mainColor":49},218972,"yan-zi-xi-he-tu-li-an-zhong-218972","燕子戏禾图","这幅画描绘了三个方向的三株小米，果实成熟并压弯了茎秆，两只燕子站在茎秆上，一只向下啄食，另一只盯着上方。",[23,24,164,7,1131,28,27,61,211,21275],"禾穗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b85eaf5c3080c2ada2253abb4a55fe9.jpg",[68],{"id":21279,"slug":21280,"title":21281,"dynasty":144,"author":223,"museum":21282,"description":21283,"tags":21284,"thumbUrl":21287,"material":66,"size":21288,"collection":44,"collections":21289,"showCount":21017,"zanCount":1105,"manualWeight":48,"mainColor":49},218944,"hu-ren-yu-ma-tu-yi-ming-218944","胡人圉马图","丹佛艺术博物馆","红衣宽袍的胡人侧立，毡帽下须髯轻垂，手中长鞭斜握，缰绳牵住花斑骏马。马身丰腴却见筋骨，花斑错落如流云散雪，鬃尾以浓淡墨色晕染，线条流畅间透着矫健。人与马的姿态舒缓，似在旷野缓行，素净的背景更衬出红衣的暖艳与马的沉静。笔致简练却神形毕肖，胡人眉眼间藏着游牧民族的质朴沉毅，骏马的温顺与灵动跃然纸上。画面虽静，却仿佛能感知风过草甸的轻响，尽显元代绘画面向生活的写实意趣与含蓄韵味。",[164,24,7,28,27,188,96,101,21285,1367,21286],"胡人","马鞭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932df26e99bdc85330734a726db7ce26.jpg","29.5x45cm",[44],{"id":21291,"slug":21292,"title":2832,"dynasty":18,"author":223,"museum":77,"description":21293,"tags":21294,"thumbUrl":21295,"material":173,"size":84,"collection":68,"collections":21296,"showCount":21017,"zanCount":48,"manualWeight":48,"mainColor":49},218886,"fu-rong-jin-ji-tu-yi-ming-218886","画面中锦鸡昂首立于石巅，羽色斑斓绚丽，红腹如霞，彩尾曳地，每片翎羽的纹理皆细致入微，尽显灵动之态。上方芙蓉花繁盛绽放，粉瓣凝露，绿叶婆娑，藤蔓缠绕间透着盎然生机。石下小禽啄食，姿态憨趣，与锦鸡的雍容相映成趣。山石皴染古朴厚重，草木点缀清雅自然，构图疏密有致，动静相宜。笔墨细腻处见工致，设色淡雅中含艳丽，既彰显宋代花鸟画的写实功力，又于细节间流露对自然生灵的细腻观察与喜爱，仿佛能闻花叶清香，听禽鸟轻啼，一派静谧鲜活的田园意趣跃然绢上。",[164,24,7,1131,27,28,61,373,2835,131,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb635e3caa4d97317fda4cdd78b12a00.jpg",[68],{"id":21298,"slug":21299,"title":21300,"dynasty":144,"author":21301,"museum":244,"description":21302,"tags":21303,"thumbUrl":21304,"material":66,"size":21305,"collection":68,"collections":21306,"showCount":21017,"zanCount":1998,"manualWeight":48,"mainColor":72},218824,"gu-mu-shuang-jiu-tu-xie-tian-you-218824","古木双鸠图","谢天游","画面中双鸠栖于古木枝上，一鸟垂首理羽，一鸟侧颈凝睇，姿态憨然生动。鸠鸟羽色温润，墨线勾勒间晕染淡赭，颈间星斑点缀，细腻传神。古木枝干虬曲，以枯笔皴擦出苍劲质感，枝梢苔点稀疏，尽显古意。背景以淡墨轻染，留白处衬出空濛之境，与禽鸟的鲜活形成呼应。整幅画作笔墨简淡却意韵悠长，清雅中见生机，尽显文人画的疏朗雅致，仿佛能闻林间风息，静赏自然之趣。",[24,7,28,27,61,331,355,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cf06d60a26483cd36712d9a4fa48bc3.jpg","43.7x29.7cm",[68],{"id":21308,"slug":21309,"title":21310,"dynasty":18,"author":1622,"museum":244,"description":1623,"tags":21311,"thumbUrl":21312,"material":173,"size":1626,"collection":84,"collections":21313,"showCount":21017,"zanCount":48,"manualWeight":48,"mainColor":72},218574,"hua-niao-shan-shui-xiao-pin-ce-song-ge-yuan-tiao-ma-yuan-218574","花鸟山水小品册-松阁远眺",[23,164,24,7,59,95,13410,27,1144,97,415,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35074db5951596b169a46678d71c13fd.jpg",[],{"id":21315,"slug":21316,"title":8525,"dynasty":18,"author":4861,"museum":300,"description":21317,"tags":21318,"thumbUrl":21319,"material":173,"size":21320,"collection":84,"collections":21321,"showCount":21017,"zanCount":48,"manualWeight":48,"mainColor":49},218539,"san-bai-tu-wang-shen-218539","画面以沉雅棕褐为底，似铺展古绢时光笺。雪点轻撒如碎玉缀空，晕开清寒气息。前景芦苇墨色苍劲，叶片舒展藏野趣；一只禽鸟身姿翩然，翎羽层叠如霜染，长颈婉转若流云，红喙微探似欲触苇尖，动态中含温柔试探。上方小禽振翅而来，羽翼带起的风仿佛拂过绢面，与下方生灵呼应成趣。细腻笔触勾勒羽毛纹理，设色淡雅却见神采，将冬日自然生灵的灵动与静谧，凝作绢上一段诗意栖居。",[24,164,7,28,27,211,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e6e759476040f4987d497b5d4e70f68.jpg","147x79",[],{"id":21323,"slug":21324,"title":21325,"dynasty":144,"author":223,"museum":6413,"description":21326,"tags":21327,"thumbUrl":21328,"material":173,"size":21329,"collection":44,"collections":21330,"showCount":21017,"zanCount":48,"manualWeight":48,"mainColor":72},218468,"mei-zhu-shi-nv-tu-yi-ming-218468","梅竹仕女图","淡墨晕染开古雅绢本的温润底色，素衣仕女伫立坡岸。云鬓轻挽，身姿婉约，似凝眸梅枝间疏影横斜，又若静听竹梢上风声细语。老梅虬枝盘曲，新蕊隐现；修竹挺秀，竹叶婆娑，与梅枝相映成趣。画面构图疏朗，留白得宜，墨色浓淡相宜。笔意细腻却不繁缛，线条流畅中含含蓄。仕女眉宇间的淡淡情思，与梅竹的清逸孤高相契，融成一片幽远沉静的意境。古典雅致的韵致流淌其间，仿佛能触到绢丝上的时光温度，窥见文人笔下的温婉灵秀，尽展东方美学的含蓄之美与悠然情致。",[23,24,7,1131,27,96,166,371,167,171,28,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f37405abe06d3ec65e0911fa250c43.jpg","22.86x22.23",[44],{"id":21332,"slug":21333,"title":21334,"dynasty":18,"author":1622,"museum":77,"description":3130,"tags":21335,"thumbUrl":21336,"material":173,"size":3133,"collection":84,"collections":21337,"showCount":21017,"zanCount":48,"manualWeight":48,"mainColor":72},218039,"song-di-ming-ti-ce-shi-ma-yuan-218039","宋帝命题册(十)",[23,24,7,59,128,27,132,12583,29,1144,30,37,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c290a29cb2476ddf0147882bbc77cf5.jpg",[],{"id":21339,"slug":21340,"title":21341,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":21343,"thumbUrl":21344,"material":611,"size":84,"collection":44,"collections":21345,"showCount":21017,"zanCount":48,"manualWeight":48,"mainColor":956},217180,"shui-hu-quan-tu-du-jin-217180","水浒全图","杜堇的人物画宗法李公麟，笔法精劲流畅，别具秀逸之态，因此他被推为当时画坛的白描高手。其人物画大都表现古代传说故事或逸闻趣事，并以山水及园林景致为衬景，有的还题诗作赋，显示着一派文入画的格调。",[24,7,59,188,95,96,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfd1806824c0c79c76f3500636299236.jpg",[44],{"id":21347,"slug":21348,"title":21349,"dynasty":18,"author":223,"museum":56,"description":21350,"tags":21351,"thumbUrl":21352,"material":173,"size":21353,"collection":136,"collections":21354,"showCount":21017,"zanCount":1998,"manualWeight":48,"mainColor":49},217074,"hua-wu-zui-gui-tu-yi-ming-217074","花坞醉归图","这幅画描绘了一座远山，山上各处的桃花盛开，一头驴子在山脚下的木桥上驼着醉酒的主人，向前方的小屋方向走去，后面跟着一个挑着担子的随从。",[23,24,7,1131,27,29,96,98,101,131,413,547,208,211,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ef29ccb362d192e6510a542bc5044d0.jpg","23.8x25.3cm",[136],{"id":21356,"slug":21357,"title":21358,"dynasty":54,"author":1311,"museum":56,"description":1312,"tags":21359,"thumbUrl":21360,"material":278,"size":1316,"collection":84,"collections":21361,"showCount":21017,"zanCount":48,"manualWeight":48,"mainColor":72},214685,"mei-hua-zhu-shi-tu-ce-4-wang-shi-shen-214685","梅花竹石图册-4",[24,7,59,128,371,582,208,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbde73194740c744ed0cccc189c29a405.jpg",[],{"id":21363,"slug":21364,"title":21365,"dynasty":124,"author":1438,"museum":56,"description":1439,"tags":21366,"thumbUrl":21367,"material":278,"size":1442,"collection":84,"collections":21368,"showCount":21017,"zanCount":48,"manualWeight":48,"mainColor":72},214628,"hua-hui-ce-15-chen-chun-214628","花卉册-15",[24,7,128,59,369,61,12642,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54271d67f5e6b262a643841011e42eab.jpg",[],{"id":21370,"slug":21371,"title":21372,"dynasty":18,"author":449,"museum":56,"description":21373,"tags":21374,"thumbUrl":21376,"material":278,"size":13555,"collection":84,"collections":21377,"showCount":21017,"zanCount":48,"manualWeight":48,"mainColor":72},214279,"duo-jing-lou-shi-tie-4-mi-fei-214279","多景楼诗帖-4","笔墨如挟风雷之势，每一笔皆见斩截之利。“舟”字撇捺舒展如振翼，“还”字欹侧中藏稳劲，“明”字飞白破墨似裂帛，“萬”字盘纡如老树盘根。整幅气韵连贯，墨色浓淡相济、干湿互见，于欹斜跌宕间守得平衡之妙，尽显“刷字”的爽利与潇洒。仿佛能窥见书者挥毫时的快意：笔走龙蛇，心随景动，将登高临远的豪情注入笔墨。每一字都似有生命跃然纸上，读之如闻松涛阵阵，见江浪滔滔，把山河壮阔与心绪激荡凝于方寸之间，尽显宋人书法的放达与风骨。",[7,64,133,128,21375],"飞白","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f8636c11fbdf0691a35c723e827cc69.jpg",[],{"id":21379,"slug":21380,"title":21381,"dynasty":18,"author":915,"museum":300,"description":21382,"tags":21383,"thumbUrl":21384,"material":692,"size":1293,"collection":84,"collections":21385,"showCount":21386,"zanCount":48,"manualWeight":48,"mainColor":72},290990,"shan-cha-ji-xue-lin-chun-290990","山茶霁雪","林椿，南宋钱塘（今浙江杭州）人，生卒年不详，南宋孝宗淳熙（1174—1189）间画院待诏，赐金带。 林椿为南宋时期画家，孝宗淳熙年间曾为画院待诏。生卒年不详，浙江钱塘（今浙江杭州）人，南宋时期画家。孝宗淳熙年间曾为画院待诏。绘画师法赵昌，工画花鸟、草虫、果品，设色轻淡，笔法精工，设色妍美，善于体现自然的形态，所绘小品为多，当时赞为“极写生之妙，莺飞欲起，宛然欲活”。传世作品有：《梅竹寒禽图》册页，藏于上海博物馆。《果熟来禽图》《葡萄草虫》《枇杷山鸟图》，藏于北京故宫博物院。",[1131,24,7,61,28,27,649,1556,64,572,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9157821f4daf1c48cd5c87e009440d.jpg",[],65,{"id":21388,"slug":21389,"title":3528,"dynasty":182,"author":3529,"museum":300,"description":3530,"tags":21390,"thumbUrl":21391,"material":692,"size":1293,"collection":84,"collections":21392,"showCount":21386,"zanCount":48,"manualWeight":48,"mainColor":49},289896,"mu-ma-tu-han-gan-289896",[23,164,24,7,27,28,96,101,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faea031dd7c59d609e4f87f16a0424441.jpg",[],{"id":21394,"slug":21395,"title":7789,"dynasty":18,"author":223,"museum":300,"description":21396,"tags":21397,"thumbUrl":21399,"material":692,"size":1293,"collection":84,"collections":21400,"showCount":21386,"zanCount":48,"manualWeight":48,"mainColor":49},288302,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-288302","以长卷铺展这段缥缈情缘，起于河畔惊鸿初见，洛神凌波凭风，衣袂翩跹若流云回风。仙姝侍立，神兽随行，云车仪仗迤逦于川泽林莽间。\n画师以高古游丝描勾勒人物，线条匀细灵动，淡彩敷染晕出古朴雅致的气韵，将辞赋里的缱绻爱慕、依依怅别缓缓铺陈。山川林木错落点缀，水波微漾间，把人神相恋的怅惘诗意凝于绢素，让千年的浪漫情思在卷中流转不散。",[23,164,24,25,7,27,28,330,96,166,13695,1516,97,4438,29,21398,17701,2735],"马匹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c57e460baa6a03b77a4fd2f15d23fbb.jpg",[],{"id":21402,"slug":21403,"title":21404,"dynasty":54,"author":1504,"museum":300,"description":10442,"tags":21405,"thumbUrl":21406,"material":692,"size":1293,"collection":84,"collections":21407,"showCount":21386,"zanCount":1998,"manualWeight":48,"mainColor":72},287697,"zhu-shi-tu-li-zhou-zheng-ban-qiao-287697","竹石图立轴",[23,24,7,165,128,167,171,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcee951fb43edbf2640337c30ed4137ea.jpg",[],{"id":21409,"slug":21410,"title":21411,"dynasty":124,"author":21412,"museum":20,"description":21413,"tags":21414,"thumbUrl":21415,"material":734,"size":21416,"collection":136,"collections":21417,"showCount":21386,"zanCount":48,"manualWeight":48,"mainColor":72},237760,"song-shi-zhou-cheng-jia-sui-237760","松石轴","程嘉燧","图绘高士依孤松远眺、小童携琴相随以及青山与江水相隔之景，颇有晋人陶渊明《归去来辞》中“策扶老以流憩，时矫首而遐观。云无心以出岫，鸟倦飞而知还。景翳翳以将入，抚孤松而盘桓”之诗意。本幅款署：“崇祯四\n年秋九月，孟阳画于虞山耦耕堂。”钤“程嘉燧印”白文印。崇祯四年即1631年，作者时年67岁。\n此幅构图取法倪瓒“一江两岸”式，重点突出孤松与高士，点明了高逸的主题。山体采用疏散的披麻皴，有元人笔意。人物神情凝重，刻画入微，笔法细腻舒朗。设色清雅，以花青入色，山色青翠，古松秀郁，整体画面呈现出儒雅清丽的韵致。",[24,7,164,165,128,132,188,1144,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d79694e9f66eba28b952c2654a5b11e.jpg","纵130.2厘米，横31.2厘米",[136],{"id":21419,"slug":21420,"title":18219,"dynasty":54,"author":9529,"museum":300,"description":18220,"tags":21421,"thumbUrl":21422,"material":84,"size":84,"collection":136,"collections":21423,"showCount":21386,"zanCount":48,"manualWeight":48,"mainColor":72},237581,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237581",[24,7,164,128,2271,132,29,496,499,129,34,98,11014,497,37,666,1515],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d7aa76d129529fa40fc7aa1a4898dc.jpg",[136,117],{"id":21425,"slug":21426,"title":21427,"dynasty":54,"author":1242,"museum":300,"description":21428,"tags":21429,"thumbUrl":21430,"material":734,"size":84,"collection":117,"collections":21431,"showCount":21386,"zanCount":1998,"manualWeight":48,"mainColor":72},236338,"long-ke-shu-xia-fo-xiang-zhou-jin-nong-236338","龙窠树下佛像轴","金农画佛像，有的点缀山石花木，奇柯异叶，有的则不画衬景，但不管有无点景，其佛像均画得安祥、庄严而生拙，他在《龙窠树下佛图》中云：“予画菩萨妙相，奇柯异叶，以状庄严，恍如佛光上下，隐见在方寸也。”他又说：“余年逾七十，世间一切妄念，种种不生，此身虽属秽浊，然治清斋，每当平旦，十指新沐，熏以妙香，执笔敬写，极尽庄严，尚不叛乎昔贤遗法。世多善男子，愿一一品之，永充供养云。”(以上见《冬心画佛题记》)，说明了他开始画佛的时间和原因。",[24,7,165,187,128,27,96,331,208,64,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0052263f278bc7b744665176bb988523.jpg",[117,318],{"id":21433,"slug":21434,"title":21435,"dynasty":54,"author":872,"museum":20,"description":21436,"tags":21437,"thumbUrl":21439,"material":1722,"size":21440,"collection":84,"collections":21441,"showCount":21386,"zanCount":48,"manualWeight":48,"mainColor":72},233749,"ku-mu-han-ya-tu-zhou-zhu-da-233749","枯木寒鸦图轴","本幅表现隆冬时节，4只落寞的寒鸦在残石败枝上栖息的情景。寒鸦的羽毛先以淡墨晕染，趁湿在淡墨上罩以浓墨，浓淡墨交融处显现出羽毛柔软、细密的质感。鸟的眼眶为一笔圈成的椭圆形，靠近上眼眶处以重墨点睛，一付“白眼向人”的神色顿现笔底。鸟儿孤傲不驯的神态最能体现作者坚韧倔强、磊落不羁的个性。",[24,7,165,128,369,454,211,21438,171,61],"鸦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F720d3f98e81536da3eba405e6c534dd7.jpg","纵178.5厘米，横91.5厘米",[],{"id":21443,"slug":21444,"title":19546,"dynasty":18,"author":223,"museum":300,"description":21445,"tags":21446,"thumbUrl":21447,"material":84,"size":84,"collection":84,"collections":21448,"showCount":21386,"zanCount":1998,"manualWeight":48,"mainColor":49},227884,"shui-xian-tu-yi-ming-227884","此作笔意清逸秀雅，以淡墨晕写叶片，线条修长舒展，尽显水仙叶姿柔韧清健，似凝着晨间清露。花朵以浅色素染，轻勾瓣边却不刻意雕琢，晕出莹润娇柔的质感，素洁花容与挺秀叶片相互映衬，寥寥数笔便将水仙冰肌玉骨的神韵尽数铺陈。\n画面留白简澹空灵，不着多余笔墨，悄然烘托出水仙孤高脱俗的品性，尽显内敛雅致的审美意趣，如幽谷清芳，静静吐露幽微暗香，淡远清寂的意境扑面而来。",[23,24,7,61,28,27,374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90e7c47f9155125fbea51258414c067d.jpg",[],{"id":21450,"slug":21451,"title":21452,"dynasty":18,"author":397,"museum":300,"description":21453,"tags":21454,"thumbUrl":21455,"material":84,"size":84,"collection":84,"collections":21456,"showCount":21386,"zanCount":1998,"manualWeight":48,"mainColor":72},227492,"ba-ou-yang-xun-zhang-han-tie-zhao-ji-227492","跋欧阳询张翰帖","赵佶《题欧阳询张翰帖后跋》，楷书，纸本，25.2cmx33cm，北京故宫博物院藏。\n\n宋徽宗赵佶是古代帝王中著名的书画家，自幼重文史，好丹青，并展现出非同一般的艺术天赋。赵佶的“瘦金体'楷书瘦挺爽利，冷艳如笔法苍劲，笔墨不浮。其独特的审美价值可以说是前无古人，后无来者”。\n\n“瘦金体”的第一个特点是以硬毫作书，据传中国书法史上号称下第一行书““兰亭序”就是王羲之用鼠须硬毫笔所作。欧阳询的书法“瘦硬险劲”，用笔刚则铁画，媚若银钩”，受这些大家的影响，赵佶书写亦喜用硬毫，无论是楷书、草书、工笔、写意均用硬毫作之。\n\n“瘦金体的第二个特点是法度严谨、结构紧密。“瘦金体在结构上内宫紧密四周开张，内宫紧密，表现出书画家的笔老气足，四周开张，则显得风神飘逸。在学习书法的过程中，赵佶师从数家，各取所长，为己所用。被后人评为“瘦金体之祖”。",[164,24,7,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0af149f8b233fb60ef6c6d00d514f457.jpg",[],{"id":21458,"slug":21459,"title":21460,"dynasty":18,"author":21461,"museum":300,"description":21462,"tags":21463,"thumbUrl":21464,"material":84,"size":84,"collection":84,"collections":21465,"showCount":21386,"zanCount":48,"manualWeight":48,"mainColor":49},227296,"gui-xiu-shi-ping-tu-zhou-sheng-shi-yan-227296","闺秀诗评图轴","盛师颜","古时大家闺秀“大门不出，二门不迈”，待在家里的时间长，因此也有闲暇读诗书。一来可以打发时光，二来可以排解幽思。\n\n在这幅画中，一名女子端坐在案几之上，手持一本诗文书卷，神态娴静，正在专心致志地读书。",[23,1326,24,7,165,28,27,166,5459,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0333452de9ecd696360b84a95fb6751a.jpg",[],{"id":21467,"slug":21468,"title":21469,"dynasty":351,"author":4456,"museum":244,"description":21470,"tags":21471,"thumbUrl":21472,"material":84,"size":84,"collection":84,"collections":21473,"showCount":21386,"zanCount":1998,"manualWeight":48,"mainColor":49},226706,"he-ting-yi-diao-shi-nv-tu-zhou-zhou-wen-ju-226706","荷亭奕钓仕女图轴","五代南唐周文矩荷亭奕钓仕女图轴，中国古画之一，作者是五代南唐周文矩，幅195.1x98公分；全幅100公分，收藏于台北故宫博物院。",[24,7,165,27,28,96,166,130,81,97,249,4278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6da1de419707f3ac4b12376b237d53c6.jpg",[],{"id":21475,"slug":21476,"title":3618,"dynasty":54,"author":21477,"museum":300,"description":21478,"tags":21479,"thumbUrl":21480,"material":1027,"size":84,"collection":84,"collections":21481,"showCount":21386,"zanCount":1998,"manualWeight":48,"mainColor":72},223279,"mo-zhu-tu-liu-shao-ye-223279","刘绍邺","图绘竹子一株，杆三枝，一杆粗壮，二杆修长，竹叶茂盛苍翠。技法上，竹节处以深墨勾勒，凸显竹节的修长；竹深淡墨绘制，更有层次感。",[23,24,7,165,128,167,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F316c1218e8b1a967840a981f4c923a3d.jpg",[],{"id":21483,"slug":21484,"title":21485,"dynasty":54,"author":4468,"museum":244,"description":21486,"tags":21487,"thumbUrl":21489,"material":40,"size":21490,"collection":68,"collections":21491,"showCount":21386,"zanCount":48,"manualWeight":48,"mainColor":72},222722,"shi-jun-quan-tu-zhi-ba-shan-xing-lang-lang-shi-ning-222722","十骏犬图之八睒星狼","睒星狼为宫廷名犬之一，为科尔沁四等台吉丹达里逊进献。绘睒星狼位于画面中央偏下位置，其身后则以配景形式绘有高大的树木和低矮的花草，色泽鲜丽，清晰细致。",[23,24,7,164,28,27,949,21488,209,34,4278,208],"名犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F776979946ef2bb6e343e1385068093ab.jpg","246.6x163.8",[68,45],{"id":21493,"slug":21494,"title":21495,"dynasty":54,"author":9704,"museum":20,"description":21496,"tags":21497,"thumbUrl":21498,"material":1722,"size":21499,"collection":136,"collections":21500,"showCount":21386,"zanCount":1998,"manualWeight":48,"mainColor":72},222666,"yu-xi-shan-gen-tu-zhou-kun-can-222666","雨洗山根图轴","此幅作于清康熙二年（1663年），时画家52岁。画家以爽快的笔法画出雨后山川清新怡人的景色。画中突出表现林叶低垂、瀑布奔流、溪水浸润及云雾流动这些和雨水密切相关的景象。构图繁密严谨，用笔娴熟苍健，意境悠远深邃。",[23,24,7,165,128,132,29,34,35,129,99,131,1023,331,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03932682651547307896f5d9c08b293b.jpg","纵103厘米，横59.9厘米",[136,117],{"id":21502,"slug":21503,"title":21504,"dynasty":124,"author":21505,"museum":20,"description":21506,"tags":21507,"thumbUrl":21509,"material":40,"size":21510,"collection":68,"collections":21511,"showCount":21386,"zanCount":48,"manualWeight":48,"mainColor":49},222456,"liu-qin-bai-xian-li-zhou-wang-zhao-222456","柳禽白鹇立轴","汪肇","《柳禽白鹇图》绘溪水奔流，浪花翻滚，岸边青草依依，两只白鹇一俯一仰，悠然闲憩。一株杨柳，枝条倒垂，随风飘动；柳畔桃花盛开，数只燕子翻腾嬉戏于柳枝之间，充满早春气息。白鹇画法工细，形象写实，生动传神。羽毛色彩，对比鲜艳。此图工写结合，造型生动自然，色彩丰富，与画家粗简放逸之风有所不同。",[23,164,24,7,165,61,27,28,21508,211,7856,8670,12008,209,99,13657],"工写结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb9797ae11c53f7557aad5da268f564.jpg","纵190，横103",[68,45],{"id":21513,"slug":21514,"title":21515,"dynasty":124,"author":204,"museum":21516,"description":21517,"tags":21518,"thumbUrl":21519,"material":21520,"size":21521,"collection":84,"collections":21522,"showCount":21386,"zanCount":1998,"manualWeight":48,"mainColor":72},222197,"jia-fu-ren-li-tu-chou-ying-222197","佳妇人例图","日本早稻田大学图书馆","《佳妇人例图》落款为“实父仇英制”，共绘人物60位，构图、内容、人数与《千秋绝艳图》均雷同，所以有专家言《佳妇人例图》属《千秋绝艳图》的母图或白描草图。\n仇英 ，名英，字实父，一作实甫，号十洲，又号十洲仙史，太仓（今江苏太仓）人，移家吴县(今江苏苏州)。约生于明弘治十一年左右（1498年）（注：也有人认为是1509年），卒于明世宗嘉靖三十年（1552年）。存世画迹有《赤壁图》、《玉洞仙源图》、《桃村草堂图》、《剑阁图》、《松溪论画图》等。 \u2028 明代表性的画家之一。与沈周，文征明和唐寅被后世并称为“明四家”，亦称“天门四杰”。早年为漆工，兼为人彩绘栋宇，后拜周臣门下学画。仇以善画为文征明、唐寅所器重。又在著名鉴藏家项元汴、周六观家中见识了大量古代名作。擅人物画，尤工仕女，特擅临摹。吸收南宋马和之及元人技法，笔力刚健，粉图黄纸，落笔乱真。至于发翠豪金，综丹缕素，精丽绝逸，无愧古人。善用粗细不同的笔法表现不同的对象，或圆转流畅，或顿挫劲利，既长设色，又善白描。人物造型准确，概括力强，形象秀美，线条流畅，对后来的尤求、禹之鼎以及清宫仕女画都有很大影响。山水多学赵伯驹、刘松年，常见的是细润而风骨劲俏的青绿之作。有时作界画楼阁，尤为细密。常作上林图，人物、鸟兽、山林、台观、旗辇、军容，皆忆写古贤名笔。张丑在《清河书画舫》中评说：仇英画“山石师王维，林木师李成，人物师吴元瑜，设色师赵伯驹，资诸家之长而浑合之，种种臻妙”。董其昌题其《仙弈图》谓：“仇实父是赵伯驹后身，即文、沈亦未尽其法”。",[23,24,7,25,188,28,96,166,170,9603,8162,6369,9604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e82c8009fef999707062820078b6da.jpg","长卷，纸本水墨白描","纵27厘米，横677.8厘米",[],{"id":21524,"slug":21525,"title":21526,"dynasty":18,"author":4899,"museum":20,"description":21527,"tags":21528,"thumbUrl":21529,"material":114,"size":21530,"collection":42,"collections":21531,"showCount":21386,"zanCount":1116,"manualWeight":48,"mainColor":49},221621,"hou-chi-bi-fu-tu-juan-ma-he-zhi-221621","后赤壁赋图卷","马和之，生于北宋，生卒年代均未见记载，钱塘（今浙江杭州）人。主要活动于北宋末至南宋初期。南宋高宗绍兴年间（1131—1162年）中进士第，官至工部侍郎。工画山水、人物、佛像，风格独特，笔法飘逸高古，迥异于南宋院体画法，时人目为“小吴生”。在表现山水、人物时，他更多地融入了一些书法的笔趣，古朴自然，务去华藻。 有一种说法认为马和之是南宋画院画家，然而，根据目前所知资料，两宋画院画家自有其品秩，而无进士及第任官后尚充任画院画家者。此外，马和之的画风与院画的总体面貌也有相当大的差距。马和之宗法北宋李公麟而有所变化，表现人物所用线条较为短促，运笔迅疾，兰叶描已变为后世所称之“蚂蝗描”。因此，马和之不是南宋画院的宫廷画家，他以“艺精一世，命之总摄画院事”是有一定可能性的，但却并非服务于宫廷的职业画家，而应与李公麟等文人画家并列。",[23,164,24,7,25,188,128,27,29,96,129,331,231,99,211,171,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2801bdf3627f78244e282c2b010bc00.jpg","25.9*143cm",[42,136,45],{"id":21533,"slug":21534,"title":21535,"dynasty":18,"author":1622,"museum":300,"description":21536,"tags":21537,"thumbUrl":21538,"material":611,"size":21539,"collection":42,"collections":21540,"showCount":21386,"zanCount":48,"manualWeight":48,"mainColor":49},221540,"gao-shi-guan-tiao-tu-ma-yuan-221540","高士観眺图","本作是马远“边角山水”之代表作，他以简练的笔法和精致的诗画意境成功表现了山间景色，笔法劲爽，意境深邃。作品构图精巧，位置经营独到而臻极致。树木、远山集中绘于画幅左侧，以淡墨皴染的山径渐次虚淡。近处的高士持杖远眺，人物衣纹或是兰叶描、或是钉头鼠尾描，线条劲直，或如刀砍竹，或行笔略有颤掣，人物本身怡然惬意的神情已经跃然纸上。画幅右侧大量留白，虚渺空灵。另有一只白鹤转头回望，与高士相响应，款款深情，意蕴无穷，给观者以无穷遐想",[23,24,7,29,130,96,128,27,132,171,331,12583],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4306c43ca294d4cdac872ca054890ff8.jpg","82x67",[42,136,117],{"id":21542,"slug":21543,"title":21544,"dynasty":18,"author":21545,"museum":161,"description":21546,"tags":21547,"thumbUrl":21548,"material":40,"size":21549,"collection":84,"collections":21550,"showCount":21386,"zanCount":48,"manualWeight":48,"mainColor":72},221352,"fan-wang-li-fo-tu-juan-zhao-guang-fu-221352","番王礼佛图卷","赵光辅","此图画中国周边少数民族酋长、番王朝拜佛祖的形象。佛祖高坐莲台，诸番王作礼拜、贡献之状，服饰皆异域装束。画面气势宏大，人物安排疏密有致，表情各异，生动自然，是宋代人物画的一幅杰作。",[164,24,7,25,187,28,27,96,208,1367,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F979126ec026d2d53f7d8ef93beef224e.jpg","纵28.6厘米，横103.5厘米",[],{"id":21552,"slug":21553,"title":21554,"dynasty":18,"author":21555,"museum":21556,"description":21557,"tags":21558,"thumbUrl":21560,"material":611,"size":84,"collection":42,"collections":21561,"showCount":21386,"zanCount":48,"manualWeight":48,"mainColor":72},220361,"yuan-pu-gui-fan-tu-yu-jian-220361","远浦归帆图","玉涧","名古屋德川美术馆","玉涧（生卒年不详），在宋末元初的画坛中，以“玉涧”为名号的僧人，有莹玉涧、若芬玉涧、彬玉涧和孟玉涧四人。其中彬玉涧生平不详；而莹玉涧根据《图绘宝鉴》的记载，为西湖净慈寺禅僧，师惠崇画山水；若芬玉涧根据《松斋梅谱》的记载，则为金华曹氏子，是天台宗僧人，曾任天竺寺书记，善画云山；孟玉涧作品传世较多，为元末画家。经过日本学者铃木敬的考证，现在学界多半认为若芬玉涧就是《庐山图》等作品的作者。若芬玉涧传世作品有《庐山图》（冈山县立美术馆蔵）、《庐山瀑布图》（冈山县立美术馆蔵）、《潇湘八景图》（现仅余三副，东京出光美术馆藏《山市晴岚图》、名古屋德川美术馆藏《远浦归帆图》、东京文化厅藏《洞庭秋月图》）等。",[23,164,24,7,128,132,29,129,64,496,14435,21559,1429],"远帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523feeccb80b8a79fb8b4c95a88ae5d5.jpg",[42],{"id":21563,"slug":21564,"title":21565,"dynasty":54,"author":21566,"museum":56,"description":21567,"tags":21568,"thumbUrl":21569,"material":66,"size":84,"collection":44,"collections":21570,"showCount":21386,"zanCount":1998,"manualWeight":48,"mainColor":72},219427,"zhu-cha-xi-yan-tu-zhou-qian-hui-an-219427","煮茶洗砚图轴","钱慧安","此画作于同治十年辛未（1870）。画一文士安坐水榭，石案上摆放着陶壶瓷杯、古鼎铜尊，与琴书相伴。两个小童一人正在煮茶，另一人则在溪边洗刷砚台，水面清透，可见金鱼数条。画上篆书画题“煮茶洗砚”，钤“吉生”朱文钱形印。",[24,7,28,27,96,130,99,171,169,1144,853,9604,8162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67c2c4a3ab8226ebbe0005936e35de5b.jpg",[44],{"id":21572,"slug":21573,"title":21574,"dynasty":54,"author":21575,"museum":244,"description":21576,"tags":21577,"thumbUrl":21580,"material":66,"size":21581,"collection":45,"collections":21582,"showCount":21386,"zanCount":48,"manualWeight":48,"mainColor":72},219387,"feng-xing-tu-ai-qi-meng-219387","风猩图","艾启蒙","艾启蒙，（西元一七０八至一七八０年），字醒庵，波西米亚人。乾隆十年入如意馆，与朗世宁、王致诚同为画院供奉。善画，尤工翎毛，赐三品衔。山径之末，累石成穴，梧桐、丹桂、芙蓉，杂以野菊秋卉，风猩二，一蜷伏洞中，一逡巡洞口。笔墨遒细而秀润，设色雅淡而清丽，与邹一桂蒋廷锡笔画有契合处，为艾氏精心之作。",[24,164,7,28,27,949,9633,2749,21578,373,376,131,12108,21579],"丹桂","秋卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c6bb60e7e22ccacb4a0c5552b267af9.jpg","121x90",[45],{"id":21584,"slug":21585,"title":21586,"dynasty":18,"author":1622,"museum":6413,"description":21587,"tags":21588,"thumbUrl":21589,"material":173,"size":21590,"collection":136,"collections":21591,"showCount":21386,"zanCount":48,"manualWeight":48,"mainColor":72},219016,"shan-cun-ce-zhang-tu-ma-yuan-219016","山村策杖图","画的是远处隆起的山峰，靠近水草丰茂的河岸，左边是一个拄着拐杖的有学问的人走向一座桥，后面是一个孩子；右边是几间用栅栏围起来的茅草屋，后面是树木和竹子。",[23,24,7,164,1131,128,27,132,29,98,96,331,131,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66170685f831ddb885e4d7d75d53efbb.jpg","22.5x22.5",[136],{"id":21593,"slug":21594,"title":21595,"dynasty":18,"author":1622,"museum":244,"description":1623,"tags":21596,"thumbUrl":21597,"material":173,"size":1626,"collection":84,"collections":21598,"showCount":21386,"zanCount":1116,"manualWeight":48,"mainColor":72},218576,"hua-niao-shan-shui-xiao-pin-ce-pu-tao-ma-yuan-218576","花鸟山水小品册-葡萄",[23,164,24,7,59,27,28,2334,548,549,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2bc725dd647940f42f8f27a6cc90dd2.jpg",[],{"id":21600,"slug":21601,"title":21602,"dynasty":144,"author":410,"museum":20,"description":21603,"tags":21604,"thumbUrl":21605,"material":173,"size":15103,"collection":136,"collections":21606,"showCount":21386,"zanCount":48,"manualWeight":48,"mainColor":49},218423,"guan-shan-xiao-si-tu-wang-meng-218423","关山箫寺图","本幅设色，钤乾隆玉玺“大源藻”、“颛蓭”、“南韵斋印”、“荣王之印”，不见著录。",[23,24,7,165,27,29,97,34,495,211,131,499,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F153baf897e72c84a87e44ac2e43245d8.jpg",[136],{"id":21608,"slug":21609,"title":21610,"dynasty":54,"author":14080,"museum":20,"description":21611,"tags":21612,"thumbUrl":21613,"material":173,"size":21614,"collection":136,"collections":21615,"showCount":21386,"zanCount":48,"manualWeight":48,"mainColor":49},218383,"han-jiang-sheng-lan-tu-yuan-yao-218383","邗江胜览图","这是一幅纪实性的作品，属袁耀早期作品。在清代中期，扬州作为江南地区的交通枢纽和商业重镇，其繁华发达称冠一时，同时也是当时的文化艺术中心之一。画家采用俯视的角度，将古扬州城北郊的景物尽收眼底。画面中扬州城为群山河流环绕，近景、中景、远景层层展现，气势宏大。袁耀素以描绘富丽堂皇的宫室楼阁著称，在这幅纪实作品中，却表现出了一种朴素的风貌。但用笔技巧绝无松懈，每一处细节都刻画入微，房屋、树木、舟船、桥梁、人物、车马等具体逼真，情趣生动。",[23,24,7,95,27,28,29,97,34,31,758,1743,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a1efb12e3fe0448aa90a94d80be4ee.jpg","纵165.2厘米，横262.8厘米",[136],{"id":21617,"slug":21618,"title":21619,"dynasty":144,"author":1768,"museum":300,"description":21620,"tags":21621,"thumbUrl":21622,"material":173,"size":21623,"collection":44,"collections":21624,"showCount":21386,"zanCount":1998,"manualWeight":48,"mainColor":49},218381,"xie-qin-guan-pu-tu-liu-guan-dao-218381","携琴观瀑图","层岩间烟岚轻笼，飞瀑自云端垂落漱石。虬松盘曲崖畔，老干如铁，松针如簇，漏下细碎天光。树下石矶上，二三雅士或对坐清谈，或凭石凝睇飞瀑，另有一人携琴而立，似欲鼓琴和鸣山水。笔墨苍劲中见秀逸，山石勾勒简练，松枝墨色有浓淡层次，人物衣袂飘飘神态悠然。整体意境清旷淡远，尽显文人寄情山水、畅怀林泉的雅趣，松涛与瀑声相和，知己围坐论道，心随画境飘向烟水深处。",[24,7,164,165,27,132,29,96,372,495,131,34,4947],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c2da0de3b85af27da0921f07f0a3cb.jpg","184.3x68.2",[44],{"id":21626,"slug":21627,"title":21628,"dynasty":144,"author":1346,"museum":244,"description":2533,"tags":21629,"thumbUrl":21630,"material":278,"size":84,"collection":84,"collections":21631,"showCount":21386,"zanCount":1998,"manualWeight":48,"mainColor":72},216596,"mo-zhu-pu-ce-ye-2-wu-zhen-216596","墨竹谱册页-2",[23,164,24,7,59,128,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc86d33c22b88926fe256e1591f3644c4.jpg",[],{"id":21633,"slug":21634,"title":21635,"dynasty":124,"author":21636,"museum":1941,"description":21637,"tags":21638,"thumbUrl":21640,"material":173,"size":21641,"collection":44,"collections":21642,"showCount":21386,"zanCount":1998,"manualWeight":48,"mainColor":49},215025,"zhu-mai-chen-fu-xin-du-shu-tu-shi-rui-215025","朱买臣负薪读书图","石锐","该图描绘了西汉时期的大臣朱买臣，在得到汉武帝的赏识之前，他在家中一边读书，一边靠打柴为生。这个人物优雅的举止使他有别于普通的木匠，他的双手专注于书本，表明他是一位牧师。人物身上的笔触与物体的画像形式相对应，石头也是以夏的方式刮擦的。然而，其中一个手指不见了，以史睿的地位，似乎不太可能犯这样的小错误。虽然不能确定其年代，但可以断定其年代为明代",[23,164,24,7,165,27,28,96,34,131,11830,21639,16528],"薪柴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f1c51e57b673059f5905e665bc312ca.jpg","126x75",[44],{"id":21644,"slug":21645,"title":21646,"dynasty":54,"author":1311,"museum":56,"description":1312,"tags":21647,"thumbUrl":21648,"material":278,"size":1316,"collection":84,"collections":21649,"showCount":21386,"zanCount":48,"manualWeight":48,"mainColor":72},214683,"mei-hua-zhu-shi-tu-ce-6-wang-shi-shen-214683","梅花竹石图册-6",[24,7,59,128,371,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bfa4b0d7106259f2be1cfe79e73ecbc.jpg",[],{"id":21651,"slug":21652,"title":21653,"dynasty":144,"author":21654,"museum":161,"description":21655,"tags":21656,"thumbUrl":21657,"material":278,"size":21658,"collection":44,"collections":21659,"showCount":21386,"zanCount":48,"manualWeight":48,"mainColor":49},214296,"wu-zu-zai-lai-tu-yin-tuo-luo-214296","五祖再来图","因陀罗","因陀罗（1247-1317）是元代著名的画家，他的《元五祖再来图》是其代表作之一。\n\n《元五祖再来图》描绘了五位道士依山而居的画面，通过精细的笔墨和巧妙的构图，勾勒出五位道士与山林的和谐关系。因陀罗在画中运用了多种技法，如水墨浓淡、描边等，使作品充满了生动的质感。\n\n《元五祖再来图》被认为是因陀罗写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《元五祖再来图》也是收藏家们青睐的经典之作。\n\n因陀罗的《元五祖再来图》是一幅描绘五位道士依山而居的画作，它体现了道家哲学中“和谐”的理念。五位道士与周围的山林和谐相处，表现出人与自然和谐共处的理想。因陀罗的《元五祖再来图》不仅是一幅精美的画作，更是一首关于人与自然和谐相处的诗篇。",[23,24,7,164,188,128,96,331,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ce02a048b10ef3981bf016dade452b6.jpg","32.7x44.6",[44],{"id":21661,"slug":21662,"title":21663,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":21664,"thumbUrl":21665,"material":692,"size":1293,"collection":84,"collections":21666,"showCount":21667,"zanCount":1998,"manualWeight":48,"mainColor":72},290542,"mo-ju-yun-shou-ping-290542","墨菊",[24,7,59,128,376,61,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85db967c88e5d951d7cf0748f2930512.jpg",[],64,{"id":21669,"slug":21670,"title":21671,"dynasty":18,"author":1323,"museum":300,"description":21672,"tags":21673,"thumbUrl":21677,"material":692,"size":1293,"collection":84,"collections":21678,"showCount":21667,"zanCount":48,"manualWeight":48,"mainColor":72},289329,"ku-lou-huan-xi-tu-li-song-289329","骷髅幻戏图","整个画面非常祥和欢乐，毫无惊怖，应是一个流动的携家带口的提线木偶（傀儡）艺人的一场演出，主要描写妇女与儿童生活的一个欢乐场景。",[23,164,24,7,1131,27,96,21674,2218,21675,21676,64,133,208],"骷髅","母子","幻戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb763370785e266153eaddfb1f724eb.jpg",[],{"id":21680,"slug":21681,"title":1289,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":21682,"thumbUrl":21683,"material":692,"size":1293,"collection":84,"collections":21684,"showCount":21667,"zanCount":48,"manualWeight":48,"mainColor":72},239427,"shan-shui-hua-hui-ce-yun-shou-ping-239427",[24,7,59,128,27,61,62,208,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9406c01c9cf327977d6f77fd93d7de67.jpg",[],{"id":21686,"slug":21687,"title":21688,"dynasty":124,"author":223,"museum":300,"description":21689,"tags":21690,"thumbUrl":21691,"material":84,"size":84,"collection":84,"collections":21692,"showCount":21667,"zanCount":1998,"manualWeight":48,"mainColor":49},232907,"fang-huang-quan-hua-niao-chong-die-yi-ming-232907","仿黄荃花鸟虫蝶","冬夜闻虫\n【唐】白居易\n虫声冬思苦于秋，不解愁人闻亦愁。\n我是老翁听不畏，少年莫听白君头\n冬天虫鸣，比秋天更让人发愁，即便不懂愁绪的人听了也会感到忧愁。我已经是个老人了，听了也没什么关系，年轻人就不要听了，那会让你愁白头的。",[23,805,24,7,25,28,27,330,61,17499,167,4278,481,171,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff995cf8766f0528a866e2854e3963bca.jpg",[],{"id":21694,"slug":21695,"title":21696,"dynasty":124,"author":18090,"museum":300,"description":21697,"tags":21698,"thumbUrl":21699,"material":84,"size":84,"collection":84,"collections":21700,"showCount":21667,"zanCount":48,"manualWeight":48,"mainColor":72},228427,"fang-huang-gong-wang-shan-shui-juan-lan-ying-228427","仿黄公望山水卷","此作用淡墨晕开漫谷烟岚，山石以枯淡勾勒皴擦，简劲松灵间带着萧散元人意趣。高岭危岩朴拙厚重，几株苍松杂木卓立云岫，枝桠舒展，暗涌生机。留白氤氲云气衔接远近山景，虚实相生，衬出林泉幽寂的空濛意境。\n\n右上角鉴藏朱印排布规整，朱红米黄绢底相映，为古雅山水更添金石气韵。全卷师法元人笔意却自出清隽格调，将江南山水的静穆淡远融于尺幅间，尽显文人山水的悠然雅韵。",[24,7,25,27,128,29,132,171,34,496,37,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8cc00462f6de4e96e3d6c62025f165e.jpg",[],{"id":21702,"slug":21703,"title":21704,"dynasty":124,"author":21705,"museum":244,"description":21706,"tags":21707,"thumbUrl":21708,"material":27,"size":21709,"collection":136,"collections":21710,"showCount":21667,"zanCount":48,"manualWeight":48,"mainColor":72},222452,"hua-lu-shen-yuan-feng-tang-hui-xian-shan-tu-juan-zhang-fu-222452","画陆深愿丰堂会仙山图卷","张鈇","张𫓧（？－？），字德威，山东东昌府冠县人，军籍，明朝政治人物。\n山东乡试第六十三名举人。嘉靖八年（1529年）中式己丑科会试第一百五十二名，登第三甲第一百四十一名进士\n曾祖张山；祖父张文，曾任寿官；父张周，母郭氏",[24,7,25,27,132,29,98,97,34,131,415,3440,758,38,496,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebe762343913fad16b0e0bdb556a9e5.jpg","27.1x161.2",[136,117],{"id":21712,"slug":21713,"title":21714,"dynasty":124,"author":15700,"museum":244,"description":21715,"tags":21716,"thumbUrl":21717,"material":66,"size":21718,"collection":68,"collections":21719,"showCount":21667,"zanCount":48,"manualWeight":48,"mainColor":72},222420,"san-yang-kai-tai-zhu-zhan-ji-222420","三羊开泰","画幅正中绘着三只羊。以羊寓阳，以太同泰，寓意“三羊开泰”。依据八卦，正月为泰卦，一阳生于下，冬去春来，阴消阳长，万物复苏，所以，它是祥瑞的象征。三只羊集于一起一白二黑，衬以古木竹石。:羊开泰取意吉祥。三羊的形象皆从写生中来，前者一只小羊，正在低首食草，弯弓着背，短尾微粗，除两腿和头顶处呈白色，其余儿乎全为黑驹黝绒密的黑毛，后面一只小羊，正在低首缓步前行，双目下视，似作觅食之状，四条腿的下肢和头顶部分呈白色，其余为黑黝黝的绒毛。两乳羊柔顺之态，宛然如生。一只大羊略作俯瞰侧面，两角竖立向外伸展，呈倒“八字”，角尖如尖刀似的，身躯圆滚，毛长腿粗，头部、双耳、背部等处为黑色，及长长的黑色的颈毛，双日炯炯有神，传达出了生动的姿态和准确的头、颈、身躯关系。",[23,24,7,165,27,28,6300,413,167,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F373b5a7d9c34426c6e0ebc149bc2c324.jpg","纵211.6厘米,横142.5厘米",[68,45],{"id":21721,"slug":21722,"title":21723,"dynasty":124,"author":21724,"museum":244,"description":21725,"tags":21726,"thumbUrl":21727,"material":1223,"size":21728,"collection":68,"collections":21729,"showCount":21667,"zanCount":48,"manualWeight":48,"mainColor":72},222064,"jian-qiu-luo-ji-lin-da-222064","剪秋罗鸡","林达","此图为《明林达花卉翎毛册》中的一页。林达（年代不详），字志道，号愧吾，福建莆田人。俊子。正德九年（1514）进士，历官南京吏部考功郎中。",[23,164,24,7,805,27,28,61,19480,62,171,18970,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5ad09435dd181cbb24bac44d2945b7b.jpg","29.7×40.4cm",[68,45],{"id":21731,"slug":21732,"title":21733,"dynasty":144,"author":2697,"museum":524,"description":21734,"tags":21735,"thumbUrl":21736,"material":151,"size":21737,"collection":117,"collections":21738,"showCount":21667,"zanCount":48,"manualWeight":48,"mainColor":49},221815,"shuang-gou-zhu-tu-zhou-li-kan-221815","双钩竹图轴","这是一幅在绢本上以墨笔双钩而后晕染设色的翠竹。画幅内能较完整看见一杆成竹和两颗箬笋，右边若隐若现有一些小枝和箨叶，结合画面构图看，右边略显紧张局促，料想可能是被裁过。古书画年代久远、传递收藏复杂，或因破旧重装，或因商贾牟利，裁剪、分割是常有之事。即便如此，本幅设色双钩竹的艺术水准仍然是展现无遗的。其拔节舒枝、解箨抽梢蒸蒸然有摇曳升腾之势；浓淡向背、避让交叠萧萧乎真美人君子之姿。",[23,24,7,165,12335,167,10762],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f81dae935198e9a11627f9cfbaf2bae.jpg","75.5×29.5cm",[117,1670],{"id":21740,"slug":21741,"title":21742,"dynasty":18,"author":4861,"museum":244,"description":21743,"tags":21744,"thumbUrl":21745,"material":151,"size":21746,"collection":42,"collections":21747,"showCount":21667,"zanCount":48,"manualWeight":48,"mainColor":199},221378,"ying-shan-tu-juan-wang-shen-221378","赢山图卷","《宋王诜赢山图》用勾勒青绿填染画山，古朴清雅，元代钱选小青绿山水即似此画风，卷末山石上有小楷题识，云：“保宁赐第王晋卿赢山既觉，因图梦中所见，甲辰春正月梦游者。",[23,24,7,25,29,27,132,496,34,35,31,129,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc60b9eb105d6a170d78f0e0696507e39.jpg","纵24.5厘米、横145.1厘米",[42,44,45],{"id":21749,"slug":21750,"title":21751,"dynasty":182,"author":20627,"museum":20,"description":21752,"tags":21753,"thumbUrl":21754,"material":611,"size":21755,"collection":318,"collections":21756,"showCount":21667,"zanCount":1086,"manualWeight":48,"mainColor":199},221108,"zhang-han-tie-ou-yang-xun-221108","张翰帖","《张翰帖》也称季鹰帖，记张翰故事。释文：\n“張翰字季鷹，吳郡人。有清才，善屬文，而縱任不拘，時人號之爲江東步兵。後謂同郡顧榮曰：天下紛紜，禍難未已。夫有四海之名者，求退良難。吾本山林間人，無望于時。子善以明防前，以智慮後。榮執其（疑缺“手”字）愴然，翰因見秋風起，乃思吳中菰菜鱸魚，遂命駕而歸。”（方框内字残，现据《晋书》补）\n此段文字见于《晋书·文苑》及《世说新语》等书中，但均属节录。张翰是西晋吴郡(今苏州)人，富于才情，为人舒放不羁，旷达纵酒，当时人将他喻为三国魏时“竹林七贤”之一的阮嵇(阮嵇曾为步兵校尉，人称阮步兵)，称他“江东步兵”。他追随贺循至洛阳做了齐王的官，但他并不快乐，时常思念江南故乡，于是萌生隐退山林、远离乱世之念，后终弃官回乡。\n《张翰帖》原属《史事帖》，是唐代著名书法家欧阳询存世四件墨迹之一。此帖是字体修长，笔力刚劲挺拔，风格险峻，精神外露。对开有瘦金书题跋一则，是宋徽宗赵佶在赏鉴之余写下的心得。他评此帖“笔法险劲，猛锐长驱”，并指出欧阳询“晚年笔力益刚劲，有执法面折庭争之风，孤峰崛起，四面削成。”这段评语对我们欣赏《张翰帖》以及其他欧体书都是极为重要的。\n本幅与题跋钤宋高宗赵构和清代收藏家安岐的印记。可知此帖曾藏南宋绍兴内府，清代由安岐收藏，后入乾隆内府，原有清内府玺印及乾隆帝题字，被刮去。\n此帖为唐人钩填本，笔墨厚重，锋棱稍差。\n清卞永誉《式古堂书画汇考》，清吴升《大观录》、安岐《墨缘汇观》等书有著录。",[23,64,133,7,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0030172b585a61f612db1ebc51a2de00.jpg","纵25.1厘米，横31.7厘米",[318],{"id":21758,"slug":21759,"title":21760,"dynasty":980,"author":3539,"museum":3540,"description":21761,"tags":21762,"thumbUrl":21763,"material":84,"size":84,"collection":84,"collections":21764,"showCount":21667,"zanCount":48,"manualWeight":48,"mainColor":72},220541,"san-ma-tu-yue-sheng-xu-bei-hong-220541","三马图(月升)","画面构图错落雅致，上方三马各有意趣。两匹垂首缓行，鬃毛垂顺，低首啮食尽显温驯松弛，水墨晕染间将骏马肌理骨相勾勒分明。另一匹昂首提蹄，鬃尾飞扬，筋骨勃发满是奔腾的野逸生气，寥寥数笔便将骏马的灵动与劲硕全然彰显。\n\n右下角晚秋枯树以淡赭点染残叶，清冷萧疏的静气，恰好衬得骏马愈发蓬勃俊朗。左侧题字笔力苍劲，与画中笔墨融作一体。整幅落笔简劲写意，以形写神，将生灵的蓬勃生机与沉静氛围感交织，尽显写意画的含蓄韵致，把骏马神形风骨尽现笔端。",[23,164,24,7,128,27,10803,369,101,413,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93e961915d8db09e0e734cbfad68664.jpg",[],{"id":21766,"slug":21767,"title":21768,"dynasty":54,"author":1460,"museum":20,"description":21769,"tags":21770,"thumbUrl":21771,"material":84,"size":84,"collection":21772,"collections":21773,"showCount":21667,"zanCount":48,"manualWeight":48,"mainColor":72},220391,"dui-niu-tan-qin-tu-zhou-shi-tao-220391","对牛弹琴图轴","《对牛弹琴图》构图奇险，笔墨老到，意境突出，是石涛人物画杰作。“对牛弹琴”一词本是讥笑说话的人不看对象。但此图通过作者自题“世上琴声尽说假，不如此牛听得真”等诗句，反映出作者难遇知音，而只能寄托于“牛声一呼真妙解”，反映了作者孤独落寞的心境。",[23,24,7,165,128,369,96,102,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ddceb25e9a6e5e8adc1edb2963e9c9.jpg","人物精选",[21772],{"id":21775,"slug":21776,"title":21777,"dynasty":54,"author":9529,"museum":244,"description":21778,"tags":21779,"thumbUrl":21780,"material":66,"size":21781,"collection":136,"collections":21782,"showCount":21667,"zanCount":48,"manualWeight":48,"mainColor":72},220382,"qing-wang-hui-fang-zhao-meng-fu-chun-shan-fei-pu-wang-hui-220382","清王翚仿赵孟俯春山飞瀑","细皴粗染入神知。春水初生落涧迟。书识重光诗正叔。天瓶小册合评时。辛亥（西元一七九一年）新正用恽寿平韵。御题。",[24,7,27,26,28,132,330,29,13602,1144,131,1022,34,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3734e913cfe0bffb73c6f8b6b761edf6.jpg","89.5x37.7",[136,45],{"id":21784,"slug":21785,"title":21786,"dynasty":124,"author":15700,"museum":244,"description":21787,"tags":21788,"thumbUrl":21790,"material":173,"size":21791,"collection":68,"collections":21792,"showCount":21667,"zanCount":1998,"manualWeight":48,"mainColor":72},220381,"xuan-zong-jia-he-tu-zhu-zhan-ji-220381","宣宗嘉禾图","此作以清隽青釉贯耳瓶供插嘉禾，设色雅致写实，稻穗饱满垂坠，颗粒分明，带着沉甸甸的秋实质感，将谷穗丰茂鲜活之态尽致描摹，暗合五谷丰登的美好祈愿。\n\n茎叶舒展柔婉，工细笔触勾勒出其舒展之姿，釉色晕染还原出古瓷温润内敛的质感。右上角题字笔墨端正苍劲，与清雅瓶花相映成趣，满幅静穆祥和的宫廷雅韵。整作融清供雅致与田家祥瑞意趣为一体，尽显精工雅致的特质，将对岁稔年丰的期许藏于笔底绢间，平和静雅又意蕴悠长。",[23,164,24,7,28,27,208,21789,169,230],"嘉禾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e32f7bbc90c4171c4f4cf997d6f5cc.jpg","本幅 38.4×30.3",[68],{"id":21794,"slug":21795,"title":21796,"dynasty":124,"author":125,"museum":1300,"description":1301,"tags":21797,"thumbUrl":21798,"material":611,"size":21799,"collection":84,"collections":21800,"showCount":21667,"zanCount":48,"manualWeight":48,"mainColor":72},220021,"dong-zhuang-tu-ce-zhi-xu-gu-tang-shen-zhou-220021","东庄图册之续古堂",[23,24,7,59,27,128,132,29,130,167,413,131,758,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23226a9c2a97b03509df6c47524c86ca.jpg","28.6cm×33cm",[],{"id":21802,"slug":21803,"title":21804,"dynasty":124,"author":125,"museum":1300,"description":1301,"tags":21805,"thumbUrl":21806,"material":66,"size":1304,"collection":84,"collections":21807,"showCount":21667,"zanCount":48,"manualWeight":48,"mainColor":72},220015,"dong-zhuang-tu-ce-zhi-quan-zhen-guan-shen-zhou-220015","东庄图册之全真馆",[24,164,7,59,128,132,29,98,99,129,34,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa56a8e013ec5b636a42d259b11e4c21.jpg",[],{"id":21809,"slug":21810,"title":21811,"dynasty":18,"author":3278,"museum":244,"description":21812,"tags":21813,"thumbUrl":21814,"material":173,"size":21815,"collection":117,"collections":21816,"showCount":21667,"zanCount":48,"manualWeight":48,"mainColor":72},219723,"lin-ting-tu-li-cheng-219723","林亭图","图绘山中霜林高阁，文士坐阁中观景。树木繁密，林泉清洌。此幅因画寒林之景，后人附之为李成所作，实是明清人笔墨之格。",[24,7,128,132,25,29,130,331,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1abf21543f24da0a232c5b578e6a8b4f.jpg","37.5x72.2厘米",[117],{"id":21818,"slug":21819,"title":2381,"dynasty":18,"author":620,"museum":244,"description":21820,"tags":21821,"thumbUrl":21822,"material":151,"size":84,"collection":68,"collections":21823,"showCount":21667,"zanCount":1998,"manualWeight":48,"mainColor":49},219649,"hua-niao-tu-zhao-chang-219649","以淡墨晕染花木，浓淡间晕出花叶阴阳向背，将海棠柔润花瓣、舒展枝叶的层次尽数铺陈。静栖枝头的禽鸟刻画入微，蓬松羽毛的绒质感纤毫毕现，敛翼凝神的姿态悠然恬淡。\n\n整幅画作不着浓艳设色，却将春日花木的柔媚与禽鸟的闲适融于一纸，清雅空灵间满溢融融春意。淡笔轻勾里藏着写实的精妙，简淡笔墨晕染出静谧温柔的诗意，尽显雅致的审美意趣，将自然生机诉诸笔端，淡而愈真，简而弥远，是水墨写生花鸟中的绝佳范本。",[164,24,7,28,27,61,355,62,582,962,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d886b9329342c4d5a14bb7b5782996.jpg",[68],{"id":21825,"slug":21826,"title":21827,"dynasty":54,"author":2894,"museum":244,"description":21828,"tags":21829,"thumbUrl":21830,"material":27,"size":21831,"collection":68,"collections":21832,"showCount":21667,"zanCount":1116,"manualWeight":48,"mainColor":72},219438,"bi-tao-zhou-jin-ting-biao-219438","碧桃轴","苍劲古干虬枝盘曲，墨色浓淡间尽显岁月肌理；粉桃灼灼，花瓣娇嫩欲滴，与老干形成刚柔相济之趣。前景湖石嶙峋，皴擦有致，旁生细草，更添野逸。水面空濛，落花点点，远处淡墨晕染的树影若隐若现，似有春风拂面，暗香浮动。整幅画笔墨清逸，意境悠远，将春日桃林的静谧雅致与生命的蓬勃张力融于一纸，尽显传统文人画的含蓄韵致与审美意趣。",[24,7,165,27,128,209,171,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ffd2b66ff2d9836a7ca1771b73634df.jpg","179.7x62.6",[68],{"id":21834,"slug":21835,"title":21836,"dynasty":54,"author":21837,"museum":244,"description":21838,"tags":21839,"thumbUrl":21840,"material":173,"size":21841,"collection":44,"collections":21842,"showCount":21667,"zanCount":1116,"manualWeight":48,"mainColor":49},219391,"qu-juan-gui-wen-shan-shui-tu-huang-ying-chen-219391","祛倦鬼文山水图","黄应谌","庭院凉亭中一人坐打瞌睡，亭外似一人迤迤然而来，带着奇异的氛围，却原来是倦鬼。作者于清顺治庚子（1660）春日画明申时行（1535-1614）〈袪倦鬼文〉文意，并书写原文于幅上。文中叙述整理手稿时，常因困倦而荒废数月，而前人有「困意则鬼入之」之说，乃撰文驱逐倦鬼，却于打瞌睡间见倦鬼前来说明如本身神定而无移，鬼又如何能入侵之理，因有所领悟，并表示感谢。",[24,7,164,27,28,29,96,130,372,1314,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ed4e0d57e2761d2ab147a7ee51a2f7e.jpg","163.8x219cm",[44],{"id":21844,"slug":21845,"title":21846,"dynasty":18,"author":223,"museum":244,"description":21847,"tags":21848,"thumbUrl":21849,"material":173,"size":21850,"collection":68,"collections":21851,"showCount":21667,"zanCount":1116,"manualWeight":48,"mainColor":49},218952,"li-zhi-bo-zhao-guo-tu-yi-ming-218952","离支伯赵国图","画面上用重笔画了一枝荔枝，荔枝的果实因其红皮而令人垂涎。两只小鸟站在树枝上，笔触细腻，色彩漂亮，是一件具有强烈象征意义的伟大艺术品。",[23,164,24,7,28,27,61,2036,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60fa47a9909e1d2b25e8f1a85cce8e17.jpg","25.5x24.8cm",[68],{"id":21853,"slug":21854,"title":21855,"dynasty":18,"author":20026,"museum":465,"description":21856,"tags":21857,"thumbUrl":21858,"material":173,"size":2324,"collection":44,"collections":21859,"showCount":21667,"zanCount":1086,"manualWeight":48,"mainColor":956},218606,"wu-bai-luo-han-zhi-jing-dian-qi-rui-tu-lin-ting-gui-218606","五百罗汉之经典奇瑞图","画板中央是一座三层的砖塔，其中一部道教经书已被烧成灰烬，而一部佛教经书则完好无损，熠熠生辉。聚集在宝塔周围的四位罗汉（佛教经文）双手紧握以示喜悦，而另一位罗汉则向两位官员解释情况。右下角的三个道士很震惊。所描绘的场景取自《佛祖传》中提到的焚经比道的著名典故：（永平十五年）正月初一，五岳道士朱善心等人摆出桌子，进行比对。...... 当年道士等将真谛五术福智五百零九卷，毛成子等二十七家二百三十五卷，通共七百四十八卷，放在坛上。这本书被放在祭坛上，朱棣和费祎的弟子们烧香放火。诸子道书灰飞烟灭，楚、费二人从之感而死。接下来将是梵文的火书和赫拉克勒斯，作为一个新的展台，更加明亮和纯净。当时，摩腾法师的神奇变身凌空而起，冷不丁的一句话：，狐狸不是大师级的，灯不是太阳和月亮的光。池子不是巨大的海，山不是蝴蝶的山。达摩的云彩笼罩着世界，美好的种子绽放。达摩的显现无处不在，改造着众生。即使是佛法、戒律和其他神力的宣扬，也让许多出家的人感到惊讶。",[23,164,24,7,187,95,27,96,131,37,758,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F210f5d3021349306409ef4e727b69a10.jpg",[44],{"id":21861,"slug":21862,"title":21863,"dynasty":54,"author":21864,"museum":56,"description":21865,"tags":21866,"thumbUrl":21867,"material":173,"size":84,"collection":44,"collections":21868,"showCount":21667,"zanCount":1116,"manualWeight":48,"mainColor":72},218387,"xie-liu-ru-shi-fu-jin-xiao-xiang-tu-gu-shao-218387","写柳如是幅巾小象图","顾韶","顾韶，字螺峰，钱塘(今杭州)人。清代画家顾洛女。其父擅人物、山水、花卉、翎毛，尤长仕女。写古衣冠，渊雅静穆。顾韶得父真传，人物、花卉臻妙，尤妙婴戏图。\n这幅肖像所画人物为明末清初名妓柳如是。上书小篆“柳如是幅巾小象”，落款“螺峰女史顾韶学画”，钤“螺峰”朱白文印。\n柳如是（1618—1664）本姓杨，名爱，字蘼芜，又有影怜、云娟等别名，改姓柳，名是，又名隐，字如是，号我闻室主人，人称河东君。嘉兴人。明末名妓，秦淮八艳之一。幼年为盛泽徐氏养女，后入吴江故相周道登家为侍婢。继为盛泽归家院妓，能诗善画，曾结交陈子龙，欲托身而未能。后嫁钱谦益为妾，南明亡，劝谦益殉国，不能从。谦益卒，族人争产，自经死。有《戊寅草》、《湖上草》等。\n史载柳如是喜男装。这幅小象中，她幅巾广袖，风姿如玉，眉目间自有清逸之气，可谓传神。",[24,7,165,188,27,96,166,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9021ddbd10d5a9fe53dfbc4a7171900.jpg",[44],{"id":21870,"slug":21871,"title":6571,"dynasty":54,"author":1242,"museum":450,"description":21872,"tags":21873,"thumbUrl":21874,"material":278,"size":21875,"collection":44,"collections":21876,"showCount":21667,"zanCount":48,"manualWeight":48,"mainColor":72},218382,"luo-han-tu-jin-nong-218382","这是一幅长须罗汉坐在棕榈树下，神态安详的画，他已经获得了大罗汉的果位。这幅画是金农人物画的代表作。",[23,24,7,165,187,188,128,96,413,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb75ebb87baf372dcdb84c225c1bba02a.jpg","69.1x25.5",[44],{"id":21878,"slug":21879,"title":21880,"dynasty":182,"author":21881,"museum":20,"description":21882,"tags":21883,"thumbUrl":21884,"material":173,"size":21885,"collection":44,"collections":21886,"showCount":21667,"zanCount":48,"manualWeight":48,"mainColor":49},218143,"liu-zun-zhe-xiang-tu-ce-lu-leng-qie-218143","六尊者像图册","卢楞伽","卢楞伽（生卒年不详），长安（今西安）人。学画于吴道子，喜作经文变相一类绘画，唐玄宗驻跸四川期间由汴入蜀，声名益著。乾元（758-760年）初于大圣慈寺画行道僧，颜真卿为之题名，号称“二绝”。",[23,24,7,59,27,28,187,96,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bc5667212353981bcfb16635801cb73.jpg","30x58",[44],{"id":21888,"slug":21889,"title":21890,"dynasty":18,"author":1622,"museum":77,"description":3130,"tags":21891,"thumbUrl":21892,"material":173,"size":3133,"collection":84,"collections":21893,"showCount":21667,"zanCount":1998,"manualWeight":48,"mainColor":72},218066,"song-di-ming-ti-ce-san-ma-yuan-218066","宋帝命题册(三)",[23,24,7,59,128,132,64,133,208,29,1144,96,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23c1925505197c148c13f3497d28a207.jpg",[],{"id":21895,"slug":21896,"title":21897,"dynasty":18,"author":1622,"museum":77,"description":3130,"tags":21898,"thumbUrl":21899,"material":173,"size":3133,"collection":84,"collections":21900,"showCount":21667,"zanCount":48,"manualWeight":48,"mainColor":72},218064,"song-di-ming-ti-ce-si-ma-yuan-218064","宋帝命题册(四)",[23,24,7,59,27,1349,663,97,34,37,415,758,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ea61e29236947548d533291b9864bb.jpg",[],{"id":21902,"slug":21903,"title":21904,"dynasty":351,"author":13946,"museum":244,"description":21905,"tags":21906,"thumbUrl":21907,"material":173,"size":84,"collection":44,"collections":21908,"showCount":21667,"zanCount":1998,"manualWeight":48,"mainColor":49},216985,"luo-han-zhou-guan-xiu-216985","罗汉轴","罗汉图是五代十国时期的一件珍贵的文物。它是一幅画，描绘了佛教的著名的罗汉（又被称作“菩萨”）。这幅画的特别之处在于，它是由贯休所画。\n\n贯休（907年-971年）是五代十国时期的一位著名的佛教徒和文学家。他是宋朝的开国皇帝赵匡胤的政治顾问，在赵匡胤建立宋朝后，贯休成为了宋朝的一位高级官员。贯休是当时佛教界的知名人士，他著有许多佛教经典，并且在佛教研究方面有很高的造诣。\n\n罗汉图是五代十国时期最重要的佛教文物之一，它对于研究这一时期的佛教文化和历史具有重要的价值。",[24,7,165,187,6318,27,28,96,230,251,8313,4283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dce4cc8cc12226031be8f6e4d29a72c.jpg",[44],{"id":21910,"slug":21911,"title":21912,"dynasty":144,"author":1346,"museum":244,"description":2533,"tags":21913,"thumbUrl":21914,"material":278,"size":84,"collection":84,"collections":21915,"showCount":21667,"zanCount":48,"manualWeight":48,"mainColor":72},216595,"mo-zhu-pu-ce-ye-3-wu-zhen-216595","墨竹谱册页-3",[23,24,7,128,59,64,208,167,16820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb50b05cf34ed2b1620b65ae7ad0712f3.jpg",[],{"id":21917,"slug":21918,"title":21919,"dynasty":124,"author":3373,"museum":77,"description":3374,"tags":21920,"thumbUrl":21921,"material":66,"size":3377,"collection":84,"collections":21922,"showCount":21667,"zanCount":1998,"manualWeight":48,"mainColor":3379},216263,"ming-za-hua-ce-2-wang-zhong-216263","明杂画册-2",[24,7,59,27,28,61,169,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F031eea93913669c390a6cd9e1119488c.jpg",[],{"id":21924,"slug":21925,"title":21926,"dynasty":54,"author":5879,"museum":1941,"description":10317,"tags":21927,"thumbUrl":21928,"material":611,"size":10320,"collection":84,"collections":21929,"showCount":21667,"zanCount":48,"manualWeight":48,"mainColor":49},214347,"san-jue-shan-shui-ce-13-hua-yan-214347","三绝山水册-13",[23,24,7,128,132,59,29,171,34,37,1144,276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf04188718fcb81c7be51f07fefa49c1.jpg",[],{"id":21931,"slug":21932,"title":21933,"dynasty":54,"author":21934,"museum":244,"description":21935,"tags":21936,"thumbUrl":21938,"material":278,"size":21939,"collection":318,"collections":21940,"showCount":21667,"zanCount":1998,"manualWeight":48,"mainColor":49},214247,"li-shu-zhou-zheng-fu-214247","隶书轴","郑簠","此隶书作取法汉碑精髓，笔致灵动洒脱，蚕头燕尾意趣天成，横波跌宕间藏古雅风骨。字形扁方舒展，如汉阙卧云，沉稳中透着逸气。墨色浓淡相宜，枯润相生，规整处见变化，显匠心独运。左款小字与主体隶书相映成趣，章法疏朗有致，整体气象浑朴，既有汉隶的厚重雄浑，又含文人书家的清逸韵致，堪称清初隶书复兴浪潮中的精品，尽显传统书法之美。",[23,7,64,21937,165,208],"隶书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf0e8b381e54abed129e99db901c6df3.jpg","181.5x120.3",[318],{"id":21942,"slug":21943,"title":21944,"dynasty":54,"author":7272,"museum":244,"description":21945,"tags":21946,"thumbUrl":21947,"material":278,"size":21948,"collection":318,"collections":21949,"showCount":21667,"zanCount":48,"manualWeight":48,"mainColor":72},214244,"li-shu-liu-yan-lian-lu-hui-214244","隶书六言联","笔墨沉厚含汉碑遗韵，蚕头燕尾间见古雅风骨。上联静观白水，澄澈如心之盟，笔意敛藏静气；下联遍访青山，以天地为笺打稿，笔画舒展似丘壑在胸。动静相济的联句，借隶书沉稳灵动之态，铺展文人观物雅趣——于静水照见本心，于青山撷取画魂。墨色浓淡相宜，结体端方却不失活脱，每一笔皆似与自然对话，融山水之灵与书者之情于尺幅，尽显传统文人“外师造化，中得心源”的修为与意趣。",[23,7,64,21937,10886,165,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7eca515ee23c93b4a552187bf680dd89.jpg","85x20.1",[318],{"id":21951,"slug":21952,"title":21953,"dynasty":144,"author":410,"museum":244,"description":21954,"tags":21955,"thumbUrl":21957,"material":278,"size":21958,"collection":84,"collections":21959,"showCount":71,"zanCount":1998,"manualWeight":48,"mainColor":72},290960,"gu-kou-chun-geng-tu-wang-meng-290960","谷口春耕图","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[164,24,7,165,128,29,132,131,331,4605,21956,3416,208,64],"田亩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec2e70b6711706e72d0fd7a32ef37df4.jpg","124.9x37.1",[],{"id":21961,"slug":21962,"title":21963,"dynasty":54,"author":21964,"museum":20,"description":21965,"tags":21966,"thumbUrl":21967,"material":611,"size":84,"collection":318,"collections":21968,"showCount":71,"zanCount":1998,"manualWeight":48,"mainColor":72},238975,"he-hua-wang-wen-zhi-ti-yong-zhou-pan-gong-shou-238975","荷花王文治题咏轴","潘恭寿","潘恭寿 （1741－1794），字慎夫，号握篔，又号莲巢，丹徒（今江苏镇江）人。中年归依佛门后，法号达莲。",[165,24,7,128,27,81,82,133,64,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9aa48d2065c663302255911bf30c46e5.jpg",[318],{"id":21970,"slug":21971,"title":21972,"dynasty":54,"author":1740,"museum":20,"description":21973,"tags":21974,"thumbUrl":21975,"material":40,"size":21976,"collection":44,"collections":21977,"showCount":71,"zanCount":48,"manualWeight":48,"mainColor":72},238204,"duan-yang-gu-shi-tu-ce-xu-yang-238204","端阳故事图册","此图册各开分别描绘了端阳节期间的重要民俗活动，集中表现了历代各地的风俗习惯。每开均以隶书题写画名，并以行书对画作加以注释，以便读者进一步理解画面内容。乾隆皇帝作为出身于满族的清王朝统治者，将顺民心、近民俗视为稳定朝政的一条治国的根本之道，他常谕令宫廷画家以写实的绘画技法表现汉族的民俗事象，除谕令徐扬绘本图册之外，还谕令徐扬绘《姑苏繁华图》、《京春诗意图》，以及命宫廷画家周鲲绘《村市生涯图》等等，以便对汉民族的风俗传统有更为形象的认知。\n第一开名《射粉团》，题：“射粉团，唐宫中造粉团角黍饤盘中，以小弓射之，中者得食。”\n第二开名《赐枭羹》，题：“汉令郡国贡枭为羹赐官以恶鸟，故食之。”\n第三开名《採药草》，题：“五日午时蓄採众药治病，最效验。”\n第四开名《养鸲鹆》，题：“取鸲鹆儿毛羽新成者去舌尖，养之皆善语。”\n第五开名《悬艾人》，题：“荆楚风俗以艾为人悬门户上，以禳毒气。”\n第六开名《系采丝》，题：“系采丝，以五色丝系臂，谓之长命缕。”\n第七开名《裹角黍》，题：“以菰叶裹粘米为角黍取阴阳包裹之义，以赞时也。”\n第八开名《观競渡》，题：“观競渡，聚众临流称为龙舟胜会。”\n此图册构图严谨精妙，人物造型秀逸生动，线条遒劲流畅，色彩明丽典雅，显示出作者较强的写实功底和乾隆朝宫廷绘画工整清丽的笔墨特点。\n图册上钤有乾隆皇帝诸方玺印：“乾隆鉴赏”、“三希堂精鉴玺”、“宜子孙”等。",[24,7,59,28,27,96,413,208,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23165b22fac125b7d6ddb6e8f6f1549e.jpg","每开纵20.7厘米，横18.2厘米",[44,45],{"id":21979,"slug":21980,"title":21981,"dynasty":124,"author":802,"museum":300,"description":21982,"tags":21983,"thumbUrl":21984,"material":84,"size":84,"collection":84,"collections":21985,"showCount":71,"zanCount":1998,"manualWeight":48,"mainColor":49},237908,"ting-qin-zhou-chen-hong-shou-237908","听琴轴","《陈洪绶听琴轴》是明代画家陈洪绶创作的一幅绫本设色画，该画现藏于 。\n款署：“枫溪弗迟老人陈洪绶写于定香桥畔。\n”钤“字章侯”白文印。\n图绘一端庄文弱的女子在专心抚琴的场景。\n其优美的琴音吸引了周围的人，侍女驻足恭听，不愿打扰动听的旋律；男子侧耳静听，不愿落掉每一个音符。\n“弹”与“听”构成了画作的主题，也表达了文人所向往的一种娱乐情趣和他们日常的家居生活状态。\n此幅所绘人物形象古拙，线描造型准确传神，显现出作者深厚的艺术功底和既写实又独具韵味的笔墨特点，是其仕女人物画的代表作之一。",[24,7,164,165,27,28,188,96,166,438,371,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f517614b1bbd46132ab010b3fe9ea3e.jpg",[],{"id":21987,"slug":21988,"title":21989,"dynasty":54,"author":1472,"museum":20,"description":19162,"tags":21990,"thumbUrl":21991,"material":84,"size":84,"collection":68,"collections":21992,"showCount":71,"zanCount":48,"manualWeight":48,"mainColor":72},236194,"hua-mei-hua-zhang-zhao-shu-shi-cheng-shan-zou-yi-gui-236194","画梅花张照书诗成扇",[24,7,1131,27,61,371,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F899e5ea3cc711760373bed9285838479.jpg",[68,45],{"id":21994,"slug":21995,"title":14818,"dynasty":54,"author":223,"museum":300,"description":21996,"tags":21997,"thumbUrl":21998,"material":84,"size":84,"collection":44,"collections":21999,"showCount":71,"zanCount":1998,"manualWeight":48,"mainColor":72},235155,"hong-ren-shan-shui-ce-yi-ming-235155","此作为书画合璧，题字行书清隽疏朗，诗文自带幽寂襟怀，与下幅山水浑然相融。\n\n画面以淡墨皴擦写秋山，山石造型方硬简劲，不作繁复修饰，尽显冷峻清瘦之态。几株疏木错落林间，枝叶简淡萧疏，衬出空山寥落之境。林下二人对坐晤谈，于幽寂山境中添上几分文人情致，不见烟火气，只余林泉高致。整幅笔墨极简，却将静穆淡远的出世意趣尽数铺陈，淡而不枯、简而不空，尽显文人山水画以简驭繁的悠远意境，藏着寄心林泉的幽然雅怀。",[24,7,59,128,132,29,34,131,96,276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a5652b925f461d694a5eb18ea56028f.jpg",[44,318],{"id":22001,"slug":22002,"title":22003,"dynasty":124,"author":8638,"museum":20,"description":22004,"tags":22005,"thumbUrl":22006,"material":40,"size":22007,"collection":84,"collections":22008,"showCount":71,"zanCount":1998,"manualWeight":48,"mainColor":49},233881,"fu-rong-e-tu-zhou-sun-long-233881","芙蓉鹅图轴","图绘池塘草畔，一只大鹅昂首前望，侧立于芙蓉、湖石下。芙蓉花叶用先点后勾法画成，墨、色相间。太湖石以没骨法渲染。鹅则兼用没骨与勾勒，以淡墨线勾勒轮廓、羽毛，淡墨渲染花色，朱棕赭石填染咀和掌，造型严整，笔致工细。整幅画不拘泥于细节的刻划，而是从整体出发，着力表现白鹅、芙蓉的生动神态。\n在画法上，作者将写意与写形、没骨与勾勒、水墨与淡彩融为一体，和谐地统一于图画之中。这种画法的渊源，应为宋、元以来水墨写意花鸟技法的发展和变异，是孙隆的一种创造，开写意花鸟画之新风。此图为其存世佳作。",[24,164,7,165,61,27,60,373,7546,82,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4161d97123ab1447f6e046cfecf58534.jpg","纵159.3厘米，横84.1厘米",[],{"id":22010,"slug":22011,"title":22012,"dynasty":222,"author":223,"museum":300,"description":22013,"tags":22014,"thumbUrl":22015,"material":692,"size":1293,"collection":84,"collections":22016,"showCount":71,"zanCount":1998,"manualWeight":48,"mainColor":72},231610,"fu-hua-bai-miao-shi-er-tian-tu-xiang-di-shi-tian-zhen-hai-ben-dong-jing-yi-ming-231610","佛画 白描十二天图像 帝释天(珍海本-东京)","此作为白描佛画，以纯墨线塑就神祇形象。作者以游丝描勾勒衣袂褶皱，婉转舒展如流云拂过，尽显织物飘逸柔润；刻画宝冠璎珞时则换为挺劲铁线描，凝练勾勒出庄严华贵的气度。\n帝释天面容慈悲沉静，眉眼间自带悲悯沉静的神性。两侧题字斑驳古拙，为画作晕染出厚重的岁月质感。整作极简笔墨中兼具宗教造像的肃穆威仪，尽显中古佛画的典雅法度，笔墨之间藏着东方宗教美术的内敛禅意，是一件极具韵味的宗教绘事佳品。",[23,24,7,187,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f79510cd2eea3790c69a98476d0571.jpg",[],{"id":22018,"slug":22019,"title":22020,"dynasty":124,"author":125,"museum":244,"description":22021,"tags":22022,"thumbUrl":22023,"material":611,"size":22024,"collection":84,"collections":22025,"showCount":71,"zanCount":48,"manualWeight":48,"mainColor":72},231359,"xie-sheng-ce-zhi-ji-tu-shen-zhou-231359","写生册之鸡图","2017年是农历丁酉鸡年，鸡在中国的十二生肖中寓意吉祥，鸡与“吉”谐音，因此被视为吉祥之禽。鸡有五德“文、武、勇、仁、信”，雄鸡是好斗的勇士，它的气魄和英姿受到历代文人墨客的赏识，同时公鸡有信德，报时从不会报错，古人说这是“守夜不失时”，是信德的表现。在中国画中，鸡的题材有着大吉大利、金鸡报晓、金鸡迎春、闻鸡起舞等吉祥寓意，所以深受历代画家喜爱，历史上留下了许多画鸡佳作。\n目前见到比较早的画鸡作品，是南宋宫廷画家李迪画的绢本《鸡雏待饲图》。画面未画任何背景，以写实手法描绘了两只憨态可掬的雏鸡，一只站立，一只半卧，均张嘴待哺，一副等待母鸡饲喂的天真模样，刻画细致入微，形象生动自然，难怪被明代大收藏家项墨林钤盖上“神品”的印章。明代画家沈周也爱画鸡，他画的《芙蓉雄鸡图》，运用简练的勾勒，淡雅的设色，将一只雄鸡刻画得活灵活现。他在画中题句：“百斗不一挫，高鸣人尽惊，忠臣与孝子，夜半候雄声。”赋予了鸡高贵不凡的品德。曾经郑振铎收藏后捐给中国美术馆的水墨《鸡》，题诗“突弁峩峩血染成，雄姿独擅斗芳名”，堪称中国水墨写意花鸟画的鼻祖。",[164,24,7,59,128,369,2166,61,2510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd4c5f12c94f57193e9fef705b25e832.jpg","34.8×53.8cm",[],{"id":22027,"slug":22028,"title":22029,"dynasty":124,"author":3608,"museum":300,"description":22030,"tags":22031,"thumbUrl":22032,"material":84,"size":84,"collection":84,"collections":22033,"showCount":71,"zanCount":48,"manualWeight":48,"mainColor":49},228465,"kong-que-mei-hua-tu-zhou-lu-zhi-228465","孔雀梅花图轴","虬曲老梅横斜错落，红白两色梅花次第绽放在柔枝之上，冷艳娇柔间衬出古木苍劲朴拙。两只孔雀栖于枝头，一仰一顾，翠色绒羽晕染细腻，眼状翎斑层叠分明，华贵翎羽舒展下垂，姿态悠然又灵动传神，尽显瑞禽雍容气度。\n\n画作兼工带写，以工笔精绘孔雀肌理，写意铺陈梅枝古态，冷暖色调交融和谐，将春日生机与祥瑞意趣藏于笔墨之间，暗合咏颂长寿的美好寄寓，是兼具雅致文心与吉祥意涵的精妙之作。",[23,24,7,165,28,27,61,248,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41e3d407997aaad3691b913985c7aa58.jpg",[],{"id":22035,"slug":22036,"title":22037,"dynasty":18,"author":397,"museum":300,"description":22038,"tags":22039,"thumbUrl":22041,"material":84,"size":84,"collection":84,"collections":22042,"showCount":71,"zanCount":48,"manualWeight":48,"mainColor":49},227489,"ting-qin-tu-li-zhou-zhao-ji-227489","听琴图立轴","徽宗一朝，在中国绘画发展历史上具有重要意义。熟悉徽宗宫中艺事的邓椿在《画继》中载徽宗之言：“朕万几余暇，别无他好，惟好画耳。”赵佶以皇帝之尊提倡绘画，广招天下贤士进翰林图画院，提高院画家地位，并将“画学”前所未有地纳入科举的轨道，中国绘画的职业化至此达至极盛。",[23,24,7,165,27,28,96,372,167,438,208,1424,22040,8091,170,1314],"琴桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F305792b178f52b137d5657051444750f.jpg",[],{"id":22044,"slug":22045,"title":22046,"dynasty":18,"author":1833,"museum":300,"description":22047,"tags":22048,"thumbUrl":22049,"material":84,"size":84,"collection":84,"collections":22050,"showCount":71,"zanCount":48,"manualWeight":48,"mainColor":956},226544,"gui-zhao-tu-zhou-jing-hao-226544","归棹图轴","五代十国时，虽然国家四分五裂战乱连年，南唐都城所在地却相对平稳，于是有了书画艺术的一个发展高峰期。特别是中国山水画发展的重要时期，一些画家在唐代以青绿或水墨青绿在屏障上挥写大山大水或松石林木的基础上，深入大自然中进行创作。五代时中国水墨山水画趋于成熟，以以荆浩、关仝为代表的北方画家和以董源、巨然为代表的南方画家创立了真实生动的雄伟北方峻岭和秀丽江南山川两大山水画体系，世称“荆、关、董、巨”。这里介绍荆浩绘画作品。",[23,164,24,7,165,128,132,29,129,99,130,211,34,96,415,5801,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99961b5d997a891ba19d41dce3890d15.jpg",[],{"id":22052,"slug":22053,"title":22054,"dynasty":54,"author":223,"museum":300,"description":22055,"tags":22056,"thumbUrl":22057,"material":84,"size":84,"collection":84,"collections":22058,"showCount":71,"zanCount":48,"manualWeight":48,"mainColor":72},224109,"kang-xi-yong-zheng-qian-long-jia-qing-dao-guang-yu-bi-wu-fu-tu-yi-ming-224109","康熙、雍正、乾隆、嘉庆、道光御笔五福图","五幅御笔福字各擅风神：康熙之福雍容浑朴，自带庙堂端稳气象；雍正笔力爽利刚劲，法度谨严见骨力；乾隆书体圆润舒展，尽显盛世舒展意态；嘉庆落笔秀雅内敛，静穆端方；道光笔触朴拙厚重，自带沉凝质感。\n\n每字上方钤朱红帝王宝玺，小字题识附于其下，呼应御笔身份。米黄地子衬缠枝暗纹，朱印墨字相映成趣，将五朝帝王的书法意趣，与传统五福祥瑞之意相融，兼具书法审美价值与吉祥文化内涵。",[23,304,64,7,133,208,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa5f2a0a8689aba2be7855d85362368a.jpg",[],{"id":22060,"slug":22061,"title":15132,"dynasty":18,"author":223,"museum":300,"description":22062,"tags":22063,"thumbUrl":22064,"material":692,"size":1293,"collection":84,"collections":22065,"showCount":71,"zanCount":48,"manualWeight":48,"mainColor":49},223663,"e-mi-tuo-fo-tu-yi-ming-223663","阿弥陀佛（梵语Amitābha），又名无量佛、无量光佛、无量寿佛等。大乘经载，阿弥陀佛在过去久远劫时曾立大愿，建立西方净土，广渡无边众生，成就无量庄严功德，为大乘佛教所广为崇敬和弘扬。大乘佛经主要如《无量寿经》、《阿弥陀经》、《观无量寿佛经》，对阿弥陀佛及其西方极乐世界均有详述。大乘佛教流传之地，如中国、日本等大乘教区，阿弥陀佛信仰也尤为繁盛和重要。而汉传佛教的净土宗，则完全以往生阿弥陀佛的西方净土作为专修的法门。",[23,1326,24,7,165,187,96,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe74592da1391b22d35470a1a2831b583.jpg",[],{"id":22067,"slug":22068,"title":22069,"dynasty":18,"author":223,"museum":300,"description":22070,"tags":22071,"thumbUrl":22073,"material":84,"size":84,"collection":84,"collections":22074,"showCount":71,"zanCount":1998,"manualWeight":48,"mainColor":49},223632,"lian-chi-shui-qin-tu-zhou-dui-zhou-er-yi-ming-223632","莲池水禽图轴对轴二","以没骨晕染写就盛夏荷塘生机，粉荷或粲然盛放，或含苞待绽，淡粉水色晕出花瓣柔润层次，娇妍动人。石绿敷色的荷叶，渍染出卷舒枯荣，苍润兼具，尽显池上蓊勃夏意。\n\n两只水禽优游波间，翎羽细勾淡染，姿态闲舒缓和，破开繁花叶影的静谧，添了灵动生趣。\n\n古雅的旧绢底色晕染出宋韵古澹，构图疏密错落，将荷塘幽谧生机融于尺幅，藏着宋人格物观照的雅致意趣，虽经岁时磨损，依旧能窥见院体花鸟工致温婉的审美品格。",[23,164,24,7,165,28,27,168,81,82,3835,22072],"池水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcad2f0b5b63fb5100d6e2037573719a0.jpg",[],{"id":22076,"slug":22077,"title":22078,"dynasty":54,"author":6946,"museum":244,"description":22079,"tags":22080,"thumbUrl":22081,"material":611,"size":22082,"collection":44,"collections":22083,"showCount":71,"zanCount":48,"manualWeight":48,"mainColor":72},223326,"mo-gu-kai-zhi-luo-shen-tu-juan-ding-guan-peng-223326","摹顾恺之洛神图卷","《清丁观鹏摹顾恺之洛神图》虽是摹本，然山水造型已自朴拙稚趣的古典画洋，转为成熟的金碧山水，且景物间的比例关系已趋精确；援以西洋明暗设色法与定点透视法，表现脸部五官、马匹体态与空间层次，营造合乎视觉经验的画面。丁观鹏在当时受到西洋绘画的影响，本卷中采取光影与透视法即是。",[23,24,7,25,27,28,96,101,34,131,330,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea4b7ef2e14f9b4457400360dcabf0de.jpg","28.1x587.5",[44,45],{"id":22085,"slug":22086,"title":22087,"dynasty":54,"author":4468,"museum":244,"description":4469,"tags":22088,"thumbUrl":22089,"material":27,"size":4474,"collection":84,"collections":22090,"showCount":71,"zanCount":48,"manualWeight":48,"mainColor":72},222746,"xian-e-chang-chun-tu-04b-lang-shi-ning-222746","仙萼长春图-04b",[23,24,164,7,59,28,27,61,355,624,2037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fb1c18ed325a1598fb52160021a962f.jpg",[],{"id":22092,"slug":22093,"title":22094,"dynasty":54,"author":4468,"museum":244,"description":4469,"tags":22095,"thumbUrl":22096,"material":27,"size":4474,"collection":84,"collections":22097,"showCount":71,"zanCount":1998,"manualWeight":48,"mainColor":72},222739,"xian-e-chang-chun-tu-01a-lang-shi-ning-222739","仙萼长春图-01a",[23,164,24,7,59,28,27,61,263,208,14386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F327134945f8934e75f6ed2989c364895.jpg",[],{"id":22099,"slug":22100,"title":22101,"dynasty":124,"author":18090,"museum":524,"description":22102,"tags":22103,"thumbUrl":22104,"material":1223,"size":22105,"collection":136,"collections":22106,"showCount":71,"zanCount":48,"manualWeight":48,"mainColor":49},222593,"song-luo-wan-cui-tu-lan-ying-222593","松萝晚翠图","此图是蓝瑛38岁的国画作品。画面峰峦层叠，中部有庙宇坐落于茂密的松林中，半隐半露相映成趣。泉水沿着蜿蜒的山涧，飞流直泻，与山脚的河流相连，近处河边杂树成林，林中一老人前行，琴童后随。\n画面布局采用“高远”法，气势雄峻。山石的纹理采用“荷叶皴”兼取“斧劈皴”，墨色润泽，浓淡相间，充分表现出苍山的层次感和体积感，石绿作苔点，疏落有致，色彩明洁，增添了画面的装饰趣味。",[23,24,7,165,27,29,372,413,97,99,495,131,1023,130,548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16b4e2036bc72593e80638f98b23c217.jpg","160x55cm",[136,117],{"id":22108,"slug":22109,"title":22110,"dynasty":124,"author":1438,"museum":205,"description":4072,"tags":22111,"thumbUrl":22112,"material":1223,"size":4076,"collection":84,"collections":22113,"showCount":71,"zanCount":1998,"manualWeight":48,"mainColor":72},222569,"hua-hui-tu-8-chen-chun-222569","花卉图8",[23,24,7,164,369,128,27,61,62,624,605,1771,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F911c35cd24a96007a25681937880c5d3.jpg",[],{"id":22115,"slug":22116,"title":13264,"dynasty":124,"author":22117,"museum":244,"description":22118,"tags":22119,"thumbUrl":22120,"material":637,"size":84,"collection":136,"collections":22121,"showCount":71,"zanCount":1116,"manualWeight":48,"mainColor":49},222430,"dong-li-qiu-se-tu-li-xiang-222430","李相","画取材东晋诗人陶渊明归隐田园的故事。画面中，陶渊明悠闲地坐在室外床榻上观赏菊花，童仆和家人陪伴伺候，屋外有访客造访，山径间还可见到牧童与牛群，整幅画流露出高士隐逸生活的一种典型。 ​​​​",[23,164,24,7,29,128,132,131,34,1515,99,495,35,415,14906,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb340c3bf793e605358c2953c86e93e35.jpg",[136,117],{"id":22123,"slug":22124,"title":22125,"dynasty":124,"author":125,"museum":224,"description":22126,"tags":22127,"thumbUrl":22128,"material":3544,"size":22129,"collection":84,"collections":22130,"showCount":71,"zanCount":48,"manualWeight":48,"mainColor":72},222099,"si-ji-hua-hui-juan-shen-zhou-222099","四季花卉卷","此卷绘各色花卉，用笔不斤斤于形似，得花之天趣，开以后白阳，青藤花卉大写意之法门。沈周出身诗书门第，幼受严训，师承大家，饱览祖传的书画名迹，又周游名山大川，这些优厚条件，对他一生的创作，有莫大的裨益和帮助。沈周画的梅、兰、菊、竹传统文人画题，变化多样，运用彩色没骨画法，创出新颖的文人花鸟画。对后期的花卉画家影响深远。\n沈周（1427-1509），字启南，号石田，晚号白石翁，明代画家，书法家，文学家，医学家，长洲（今江苏苏州）人。出身富裕的书香绘画世家，少时师从陈宽学习诗文，青年时期师从伯父沉贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。与文征明、唐寅、仇英并称「明四家」，是吴门画派的创始人。他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。",[23,24,7,25,27,28,61,371,375,376,263,373,209,374,603,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f527202709f0b8a75e4edc90151d183.jpg","27.5 X504.8厘米",[],{"id":22132,"slug":22133,"title":22134,"dynasty":18,"author":22135,"museum":4840,"description":22136,"tags":22137,"thumbUrl":22138,"material":151,"size":22139,"collection":42,"collections":22140,"showCount":71,"zanCount":48,"manualWeight":48,"mainColor":49},221437,"song-hao-xuan-ming-shi-qin-tu-hu-shun-chen-221437","送郝玄明使秦图","胡舜臣","传世作品有宣和四年(1122)作《送郝玄明使秦图》卷，自题诗款：“丛桂方招隐，君犹赋远游。青枫初试降，白露正宜秋。玉叠浮云暮，秦关王气收。离情付图画，怅我一登楼。宣和四年九月二日，玄明大参有使秦之命，作此纪别。胡舜臣。”卷后有蔡京(1047-1126)书题“送郝玄明使秦一首：送君不折都门柳，送君不设阳关酒。惟取西陵松树枝，与尔相看岁寒友。蔡京。”继后有吴睿、莫昌、袁华、周鼎史、沈周观署，钱樾、吴荣光、伯荣、刘墉、翁方纲题跋等。",[23,24,164,7,25,128,132,29,496,34,1144,37,98,99,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7ddf81b15095c5a22ac6defde70da2.jpg","30x111",[42],{"id":22142,"slug":22143,"title":22144,"dynasty":18,"author":22145,"museum":224,"description":22146,"tags":22147,"thumbUrl":22148,"material":40,"size":22149,"collection":42,"collections":22150,"showCount":71,"zanCount":48,"manualWeight":48,"mainColor":49},221316,"mei-xi-pu-bu-tu-ce-ye-cui-que-221316","梅溪瀑布图册页","崔悫","《梅溪瀑布图》传为北宋画家崔悫所作。无款。裱边题签“崔慤梅溪瀑布”。\n图绘山涧湍急，水花四溅。水边山石上有一株老梅，虬曲盘折，梅花开满枝头。枝上停着几只雀鸟，空中还有一只雀鸟飞来。",[23,164,24,7,59,28,27,29,371,167,99,495,211,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46eeace5004b00d7ed1b1eb2e6c2cf42.jpg","24.7×22.2cm",[42,68,45],{"id":22152,"slug":22153,"title":22154,"dynasty":18,"author":491,"museum":244,"description":22155,"tags":22156,"thumbUrl":22158,"material":173,"size":22159,"collection":42,"collections":22160,"showCount":71,"zanCount":48,"manualWeight":48,"mainColor":956},221286,"feng-nian-rui-xue-tu-zhou-guo-xi-221286","丰年瑞雪图轴","郭熙（十一世纪后叶），河南温县人，1068-1077年（神宗熙宁年间）任画院艺学。善山水，画法学自李成，而能树立一己的面貌。",[23,24,164,7,165,128,27,132,29,1813,34,131,36,1743,1515,22157],"流水 ```","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567a440bad362794ef3a58bd9280e8cc.jpg","120.4x74.7厘米",[42,136,117],{"id":22162,"slug":22163,"title":22164,"dynasty":124,"author":2268,"museum":524,"description":22165,"tags":22166,"thumbUrl":22167,"material":1223,"size":84,"collection":136,"collections":22168,"showCount":71,"zanCount":48,"manualWeight":48,"mainColor":72},220960,"fang-shu-yao-feng-tu-dong-qi-chang-220960","芳树遥峰图","绘河两岸景色，远处山峰高耸，最高峰中部留白，山顶半悬，实乃绝妙之笔；近处河岸上树木林立，叶已枯槁，杆直修长，与河对岸的山峰遥遥相望。画项端题诗一首：桂树及冬荣，瑶草待春发。惟闻鸾鹤声，寥寥上烟月。",[23,24,7,165,128,132,29,30,497,31,1337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25884801024ed867821988d30206d287.jpg",[136,117],{"id":22170,"slug":22171,"title":22172,"dynasty":144,"author":569,"museum":56,"description":22173,"tags":22174,"thumbUrl":22175,"material":611,"size":22176,"collection":318,"collections":22177,"showCount":71,"zanCount":1998,"manualWeight":48,"mainColor":72},220851,"zhi-zhai-ji-zhao-meng-fu-220851","止斋记","《止斋记》是元代书画家赵孟頫的作品，这是他的行书代表作之一，书于1308年（元至大元年），作者时年55岁。\n该书通篇字形俊秀飘逸，而笔笔又谨守法度，体现了他极深的行楷功力，乃至后学无法超越。\n全文:公受事九郡，务求简靖。其风概严而不猛，待人和而不流。有犯，恻怛以处之，毋贷。故名声莫不闻，每语同僚，曰：尔来宦途不再，岁经涉万有余里，游已倦矣！安得幽闲之地，葺一容膝之斋，其中惟竹与菊是植，终日燕坐，诚可乐也！因顾幕从事段从周曰：子为名其斋。诸君合辞曰：公未也。一笑而罢。他日又谓余曰：我得斋名矣，举所得，云：行年六十，官三品，亦是人生合止时，以止扁（匾）斋可乎？子为我记之，余谢曰：公精力未衰，中外属望，方期大用，膏泽天下，岂容止乎？且余不敏，安敢承教？公笑曰：子言侈矣，止此，于我为过，敢有他望，以重其过？其毋愧我。遂不敢复辞，勉为之说。曰：止之，时义大矣哉，尝考诸艮乾坤之交，三索而成艮。一阳居二阴之上，阳动而上进之物，既至于上则止矣。阴者，静也，上止而下静，故为艮。艮者，止也。其象为山，取坤地而隆其上之状，既曰山，又有安重坚实之意，乃所谓止也。然止有两义，有止而止者，行而止者。止而止者，时行则行，时止则止。如蹇之险而止、如蒙之坎而止，止其时也。行而止者，谓行其事也，所止者，理而已。如父止于慈，子止于孝，君止于仁，臣止于敬。此即止其所也，动中有静，静中有动，彖曰：动静不失其时，其道光明。盖当止而止，既不失其时；当行而止，又皆得其所，其道安得不光明辉显哉？由此观之，止之为义，非特专主辞禄去位，闭门却扫，与夫高蹈远引，遯(遁)世无闷之谓也。历观前人，处止之义不同，有功成名遂，全身远害而止者，有知足不辱，恶盈好谦而止者，有委心乘化，乐天知命而止者，如汉之留侯与二疏及晋之陶渊明是已。是止也固异，夫知进而不知退，既得患失，暨不量其才之称否而冒之者万万也。然皆非圣人之止也，圣人之止何如？可以仕则仕，可以止则止，可以久则久，可以速则速。孔子也，噫！为能尽艮之，止之之道者，其唯圣人乎？孟子不曰，自有生民以来未有孔子也。又曰：乃所愿则学孔子也，公如处止之道，愿以孔子为法，庶无慊于孟氏矣。敢此以为止斋记。至大元年冬十月既望，东平段从周记，吴兴赵孟頫书。",[23,7,64,133,25,208,9910,4057],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ae4a5784200dea1f30b91c76c182ba7.jpg","纵达四十七点五厘米,横三百五十六厘米",[318],{"id":22179,"slug":22180,"title":22181,"dynasty":144,"author":1346,"museum":244,"description":22182,"tags":22183,"thumbUrl":22184,"material":151,"size":22185,"collection":117,"collections":22186,"showCount":71,"zanCount":48,"manualWeight":48,"mainColor":49},220771,"shuang-song-tu-zhou-wu-zhen-220771","双松图轴","画中双树擎天而立，树后有一条蜿蜒的溪流渐渐地向后推延，几户房舍坐落在岸边，空间深邃。虽然这件画轴的画题是「双松图」，可是从画上两棵树的枝干看来，吴镇画的应该是桧树才对。画中桧树的枝枒纠结，仍然保存了李成、郭熙画树的风貌。树皮以长披麻皴来表现，笔法又和董源、巨然相似。坡岸多作矾头，也是董巨山水画的重要特色。全作的笔力雄劲，墨气沈厚，有一种平淡天真的韵致。",[24,7,165,128,132,29,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddcec95a642bee2f102e970fa2af7cc8.jpg","纵155.5cm，横66cm",[117,1670],{"id":22188,"slug":22189,"title":22190,"dynasty":124,"author":22191,"museum":244,"description":22192,"tags":22193,"thumbUrl":22194,"material":173,"size":22195,"collection":44,"collections":22196,"showCount":71,"zanCount":48,"manualWeight":48,"mainColor":72},219552,"jiu-lao-tu-huang-biao-219552","九老图","黄彪","此幅是黄彪摹刘松年九老图而成，得形似而人物传神，虽布置树石稍显薄淡，傅色鲜浮之外，不失为一种临摹传世之佳品。",[23,24,7,25,27,28,96,34,98,99,131,372,167,62,130,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f86b80884e1f7a09cf9f31d6902a1ad.jpg","27.2x193厘米",[44,45],{"id":22198,"slug":22199,"title":22200,"dynasty":124,"author":223,"museum":450,"description":22201,"tags":22202,"thumbUrl":22203,"material":66,"size":84,"collection":44,"collections":22204,"showCount":71,"zanCount":48,"manualWeight":48,"mainColor":49},219523,"shuang-xian-ren-tu-yi-ming-219523","双仙人图","画面里两位仙人意态悠然，一位素衣宽袍，神情沉静垂手而立；另一位以叶为裳，虬髯浓密，正持笔轻触好友长须，亲昵随性，尽显知己投契的自在。\n\n线条清劲如铁线，衣纹舒展自然，叶裳晕染细致鲜活，浅淡古雅的设色衬出超凡仙逸。留白开阔空灵，将世外之人的澹泊闲情，知己同游的融融意态铺陈开来，笔底藏着山林隐者的逍遥，古意悠悠，静雅动人。",[23,24,7,165,28,188,27,96,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cc7edf6d9652291b3fbe4295465e07a.jpg",[44],{"id":22206,"slug":22207,"title":22208,"dynasty":124,"author":15700,"museum":244,"description":22209,"tags":22210,"thumbUrl":22211,"material":66,"size":22212,"collection":45,"collections":22213,"showCount":71,"zanCount":1998,"manualWeight":48,"mainColor":72},219301,"xi-yuan-tu-zhu-zhan-ji-219301","戏猿图","此图画水石间，大小三猿嬉戏。石上一黑猿怀抱幼子，子猿伸臂似在争要什么，情态娇憨可爱。树上另一只黑猿拿着一枝花果，欲投又止，似在戏逗。石周围长着细竹秀草，石下边溪水潺潺。 [1] 图中洋溢著温馨亲子之情，寓有崇尚人伦之意。画猿得宋易元吉神韵，背景之竹丛苇草、荆棘枇杷，线条自然流利。山石皴法圆润，得董巨遗韵。整幅画构图中正和谐，与宣宗皇帝雍容大度，颇能呼应。",[164,24,7,27,28,8172,949,167,1314,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66456e94601929135286fec127ea8bba.jpg","纵162.3厘米，横127.7厘米",[45],{"id":22215,"slug":22216,"title":8581,"dynasty":18,"author":223,"museum":300,"description":22217,"tags":22218,"thumbUrl":22219,"material":173,"size":22220,"collection":42,"collections":22221,"showCount":71,"zanCount":48,"manualWeight":48,"mainColor":49},219011,"mu-niu-tu-yi-ming-219011","一幅典型的南宋田园画，以边角料的方式绘制。一棵高大的树被描绘在河边的浅滩上，一头水牛低着头，一个牛仔试图通过攀爬牛角爬上牛背。",[23,164,24,7,1131,128,27,102,331,171,99,208,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc612d12f7fbf45193051cf350f77162.jpg","26x28",[42],{"id":22223,"slug":22224,"title":10798,"dynasty":18,"author":3110,"museum":77,"description":22225,"tags":22226,"thumbUrl":22227,"material":66,"size":6311,"collection":68,"collections":22228,"showCount":71,"zanCount":1086,"manualWeight":48,"mainColor":49},218941,"yuan-tu-mu-xi-218941","墨色晕染间，猿猴踞于山石之上，敛息凝神，似与周遭空寂相融。枯枝斜出，线条简劲如铁，牵起几分悠远禅意。山石以淡墨皴擦，肌理隐现却不刻意，留白处尽是天地的虚静。整幅画无多余笔墨，却在简淡中藏着深湛的禅思——物我两忘，心与境合。猿的眼神安详，仿佛已沉入永恒的静谧，连风都在此刻停驻。笔墨的疏朗与意境的幽远交织，恰似禅者的顿悟，于无声处叩击心灵。每一处淡墨的晕散、每一道线条的起落，都在诉说着禅画的精髓：不执于形，只追于心。山石的朴拙、猿的静定，共同织就一幅空灵的禅境图卷，引人踏入物我两忘的虚静之境。",[24,7,164,128,369,132,8172,949,171,2438,11830],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a688cef2370db7643864b3746bd2747.jpg",[68],{"id":22230,"slug":22231,"title":6935,"dynasty":54,"author":6936,"museum":22232,"description":17892,"tags":22233,"thumbUrl":22234,"material":66,"size":84,"collection":136,"collections":22235,"showCount":71,"zanCount":48,"manualWeight":48,"mainColor":72},217987,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217987","京都国立博物馆",[24,7,165,29,132,27,330,131,34,99,98,37,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a6ccd6d0fbd19162156288da30812a8.jpg",[136],{"id":22237,"slug":22238,"title":22239,"dynasty":144,"author":145,"museum":244,"description":22240,"tags":22241,"thumbUrl":22242,"material":692,"size":1293,"collection":84,"collections":22243,"showCount":22244,"zanCount":1116,"manualWeight":48,"mainColor":49},290348,"jiu-zhu-feng-cui-tu-zhou-huang-gong-wang-290348","九珠峰翠图轴","此图以杨维祯寓居之“九峰三泖”（在今之上海市松江区）的九峰为背景，画中树木造形及山石的皴法，与《富春山居图》皆有关连相似之处。画山石以披麻皴法为主，长短兼施，淡墨勾皴再用浓墨逐层醒破，由于画在绫本中，受其织纹之影响，笔墨之韵味显得较为独特。但山石、树木皆加螺青染色，用笔特擅中锋使笔，雄健沈著，笔调变化丰富，将山石点染得苍莽秀逸。\n左上角有王逢题诗:层峦叠嶂青寝，深坞露儒人宫。睛霏裔裔吹不断，下覆春水光蒙。谁家相对缘溪住，石梯蛇折黄华路。何当着我沙蒙舟，放歌流下前滩去。溪王逢为草玄道人题大师画。下有王原氏、俭德堂，茂林修竹之所三印。引首一印:不识。中间有杨铁崖题诗:九球峰翠接云间，无数人家住碧湾。老子堪春三目醉，梦回疑对铁崖山。铁下有杨维印、铁笛道人、二印。诗堂之上有乾隆御书“寄”四个大字。右上角则有乾隆的题诗:神笔不择铜与鼓，郁葱闪密千百层，运以元气含以古，弗入世态其明征九珠之峰在何所，老铁分明为我语。弁藏已久始括题，当面失之每叹古。丁百新春御题下有机取怡情、得佳趣二章。清皇室鉴藏玺甚多，有:乾隆御览之宝、石果宝笈、石渠继鉴、乔心殿鉴藏宝、乾隆鉴，三希堂精，宜子孙、嘉庆御览之宝、宣统御览之宝。其他收藏印章则有:清如许、冰壶秋月、阿尔喜普之印、东平、也国珍赏、九如清玩、部氏容春堂书画印、玄斋、造玄道人、礼用、各印。",[164,24,7,165,128,29,30,34,99,130,171,132,64,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0078660b9d4ba83a449e1cffec2f767e.jpg",[],62,{"id":22246,"slug":22247,"title":22248,"dynasty":54,"author":675,"museum":300,"description":11658,"tags":22249,"thumbUrl":22250,"material":692,"size":1293,"collection":84,"collections":22251,"showCount":22244,"zanCount":48,"manualWeight":48,"mainColor":72},239458,"hui-bu-si-guo-juan-qian-wei-cheng-239458","回部四果卷",[24,7,25,27,28,133,64,208,2035,3114,2037,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a10e9be96c5643887aeff2b4ec9e0b8.jpg",[],{"id":22253,"slug":22254,"title":19857,"dynasty":54,"author":4083,"museum":20,"description":22255,"tags":22256,"thumbUrl":22258,"material":1722,"size":22259,"collection":136,"collections":22260,"showCount":22244,"zanCount":48,"manualWeight":48,"mainColor":72},237575,"shan-shui-zhou-wang-shi-min-237575","本幅款署：“己酉初夏为公超词兄画。王时敏。” 钤“王时敏印”、“西庐老人”、“真寄”朱文印。\n“己酉”为清康熙八年（1669年），王时敏时年78岁。\n此幅构图为王时敏所作之常见格局，峰峦叠嶂，林木丛生，溪流小桥，屋舍隐现，一派江南的山水景象。用笔古秀，布局深远，以披麻皴写山石，浓墨点苔，意境近黄公望，为王氏代表作。",[164,24,7,165,128,29,500,4438,499,98,387,1613,22257],"点苔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a92818843ca4d2b1ca7bd64f115128.jpg","纵135厘米，横63厘米",[136,117],{"id":22262,"slug":22263,"title":22264,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":22266,"thumbUrl":22267,"material":692,"size":1293,"collection":68,"collections":22268,"showCount":22244,"zanCount":1086,"manualWeight":48,"mainColor":72},235482,"huang-shen-shu-guo-tu-ce-huang-shen-235482","黄慎蔬果图册","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。",[24,7,59,128,27,4250,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a06080dfb464dc2918e366572dfcfde.jpg",[68],{"id":22270,"slug":22271,"title":22272,"dynasty":124,"author":22273,"museum":300,"description":22274,"tags":22275,"thumbUrl":22276,"material":692,"size":1293,"collection":84,"collections":22277,"showCount":22244,"zanCount":1998,"manualWeight":48,"mainColor":72},234847,"hai-tang-fu-die-tu-shan-ye-qu-yuan-jing-234847","海棠蚨蝶图扇页","瞿元镜","瞿元镜 约生于本年／常熟人。瞿世耜之子。一名镜，字端叔。常熟诸生。喜花鸟，工篆刻。明忠宣公子，父亡，十龄流落于外，人无有过而问之者，顾云美以夙谊收恤",[164,24,7,1131,27,28,1132,481,1039,549,806,805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782c7e9c61bf22243ba7bc8fbc180917.jpg",[],{"id":22279,"slug":22280,"title":22281,"dynasty":124,"author":125,"museum":20,"description":22282,"tags":22283,"thumbUrl":22284,"material":1027,"size":84,"collection":84,"collections":22285,"showCount":22244,"zanCount":48,"manualWeight":48,"mainColor":72},234159,"shen-zhou-sui-an-tu-juan-shen-zhou-234159","沈周邃庵图卷","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文，青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,24,7,25,128,27,132,64,133,938,29,131,34,499,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30a686a30f4662dd5e69d37ebb1b90d7.jpg",[],{"id":22287,"slug":22288,"title":4584,"dynasty":124,"author":125,"museum":20,"description":4585,"tags":22289,"thumbUrl":22290,"material":611,"size":4588,"collection":84,"collections":22291,"showCount":22244,"zanCount":48,"manualWeight":48,"mainColor":72},234096,"wu-zhong-shan-shui-ce-shen-zhou-234096",[24,7,59,128,133,132,29,98,99,129,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff615aa6731f6aad97ced3ec6ba894313.jpg",[],{"id":22293,"slug":22294,"title":22295,"dynasty":144,"author":410,"museum":244,"description":22296,"tags":22297,"thumbUrl":22298,"material":84,"size":84,"collection":84,"collections":22299,"showCount":22244,"zanCount":48,"manualWeight":48,"mainColor":49},232799,"shan-shui-tu-xi-shan-fang-you-wang-meng-232799","山水图(溪山访友)","此画写深秋山水。凌云而出的高山，清冽的溪水，巨石突兀，长松乔木，点缀着寻幽访友的高士，表现了寄情林泉的雅兴。",[24,7,165,128,132,29,98,99,130,34,131,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a3f4507d7ed0adacc32cb42699c50a5.jpg",[],{"id":22301,"slug":22302,"title":22303,"dynasty":144,"author":1208,"museum":300,"description":19904,"tags":22304,"thumbUrl":22305,"material":692,"size":1293,"collection":84,"collections":22306,"showCount":22244,"zanCount":48,"manualWeight":48,"mainColor":72},230909,"ni-yun-lin-mo-zhu-tu-ye-ni-zan-230909","倪云林墨竹图页",[23,164,24,7,128,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf9873062c542b0b65a27c7d2f3fd83.jpg",[],{"id":22308,"slug":22309,"title":22310,"dynasty":54,"author":1460,"museum":300,"description":22311,"tags":22312,"thumbUrl":22313,"material":84,"size":84,"collection":84,"collections":22314,"showCount":22244,"zanCount":1998,"manualWeight":48,"mainColor":49},228982,"liu-xi-xing-zhou-tu-shi-tao-228982","柳溪行舟图","此作诗书画印浑然相融，尽展林泉野致。山峦以皴擦互用，写就岩崖苍厚嶙峋，林麓间山居藏隐，藏露之间暗合幽栖雅意。\n溪湾扁舟轻漾，独棹的渔翁将画面意趣引向空濛烟水，板桥连缀溪谷，荒草苍松点染其间，朴茂苍劲。笔墨干湿浓淡交叠，带着萧散旷达的文人心性，把丘壑烟岚的清寂诗意落于笔底，将文人山水的诗境与画韵揉合为一，尽显幽远空疏的林下风致。",[23,24,128,132,165,7,133,29,2372,2048,98,99,372,1314,1771,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88ee2c58c5ce1b367e94b44021285a3.jpg",[],{"id":22316,"slug":22317,"title":22318,"dynasty":124,"author":17733,"museum":244,"description":22319,"tags":22320,"thumbUrl":22321,"material":173,"size":22322,"collection":84,"collections":22323,"showCount":22244,"zanCount":48,"manualWeight":48,"mainColor":49},228363,"xian-kan-er-tong-zhuo-liu-hua-ju-yi-zhou-zhou-chen-228363","闲看儿童捉柳花句意轴","生动形象地描绘了杨万里的诗意，清新闲适，童趣横生",[24,7,165,27,28,29,96,18793,413,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb34e09c91adaceb2e568e701e04b643c.jpg","116.6×63.5",[],{"id":22325,"slug":22326,"title":22327,"dynasty":18,"author":633,"museum":300,"description":22328,"tags":22329,"thumbUrl":22330,"material":84,"size":84,"collection":84,"collections":22331,"showCount":22244,"zanCount":48,"manualWeight":48,"mainColor":72},228255,"qiu-jiang-yu-le-tu-xia-gui-228255","秋江渔乐图","此作用边角取景，淡墨晕染开层叠远山，留白铺就浩渺秋江，虚实相生间尽显清旷萧疏。孤舟渔翁垂纶独钓，似与烟水山色相融。坡岸林木苍劲虬曲，群雁振翅惊破江天寂静，寥寥数笔便点活秋江灵动意趣。\n水墨淋漓间以简驭繁，将秋江的冷寂清寒，与渔者隐逸的悠然快意揉入尺幅之中，淡远空寂的氛围感扑面而来，尽显空灵简远的意韵，藏着江湖散人的疏旷闲情。",[23,24,7,25,128,132,133,208,29,129,211,1351,34,131,99,3649,1350,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd27660b82a2b352247e4cc452331a1a3.jpg",[],{"id":22333,"slug":22334,"title":3246,"dynasty":144,"author":22335,"museum":300,"description":22336,"tags":22337,"thumbUrl":22339,"material":84,"size":84,"collection":84,"collections":22340,"showCount":22244,"zanCount":1998,"manualWeight":48,"mainColor":49},228244,"xian-shan-lou-ge-tu-chen-ru-yan-228244","陈汝言","此作为典型的元人青绿山水，承续唐宋青绿遗韵。层叠峰峦以石青、石绿晕染勾勒，色泽古雅厚重，虽经岁月稍褪，仍可见旧时明丽。苍松虬劲错落，扎根于岩岫之间，楼阁屋舍隐现幽谷林泉，几处文人逸士或策杖徐行、或凭栏晤谈，衬出山居空寂幽深。\n\n整幅疏密得宜，将仙山秘境的超脱清灵铺展于绢素，既带着青绿山水的富丽端严，又融入元人山水独有的萧散意趣，把世外山居的恬然仙气尽数勾勒，尽显缥缈出尘的隐逸雅意。",[23,164,24,7,4057,26,27,1349,28,132,165,22338,97,1144,98,99,96,131,34,37],"仙山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e76427d011700fd2ac0d5e310c74ac.jpg",[],{"id":22342,"slug":22343,"title":22344,"dynasty":13892,"author":223,"museum":300,"description":22345,"tags":22346,"thumbUrl":22347,"material":692,"size":1293,"collection":84,"collections":22348,"showCount":22244,"zanCount":48,"manualWeight":48,"mainColor":49},223909,"song-shan-hua-shan-shui-tu-yi-shou-jing-mu-tuo-fu-jian-yi-ming-223909","嵩山画山水图，益寿镜木托附件","汉镜有圆形﹑方形。纽多作半球形。正面磨光背面铸有几何形图案或神人禽兽等。东汉中期出现浮雕的画像造形精美。\n两汉时期大体上分西汉、新莽、东 汉三个阶段。汉镜纹饰的主要种类有草叶纹镜、蟠龙纹镜、百乳镜、连弧纹镜、规矩镜、多乳禽兽纹镜和变形四叶镜等。",[24,7,27,28,29,97,98,99,34,131,758,12803],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e9abe895df9c138c4dc01d0bc15902.jpg",[],{"id":22350,"slug":22351,"title":22352,"dynasty":18,"author":223,"museum":244,"description":22353,"tags":22354,"thumbUrl":22355,"material":173,"size":22356,"collection":42,"collections":22357,"showCount":22244,"zanCount":48,"manualWeight":48,"mainColor":49},223520,"mei-zhu-ju-qin-tu-yi-ming-223520","梅竹聚禽图","此幅《梅竹聚禽图》的构图严谨，并且重视描绘物象的准确性，符合徽宗画院注重观察写生、讲究师承法度的标准，是一件能够代表“宣和体”的佳作。画面中央，画梅树一株，枝干弯曲而上，后方衬以翠竹棘条，有伯劳、绿鸠、鹌鹑等鸟禽栖身其间。整幅画的构图以S形屈曲的梅干来切割画面，并以成弧形交叉的竹棘增加动态感，布局虽繁密，但不零乱。画家成功将画面物象和布局理想化，创造出一种超乎时空，传达永恒的完美意象。画中的主要物象，均以双钩填彩的方式，生动的描绘出对象的色彩与体积感，给人一种平和，端庄之美。",[23,24,164,7,165,28,27,61,371,167,355,171,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a2d45af35b0ff1f7bbe09b1b8528922.jpg","258.4x108.4",[42,68,45],{"id":22359,"slug":22360,"title":22361,"dynasty":144,"author":7181,"museum":244,"description":22362,"tags":22363,"thumbUrl":22365,"material":151,"size":22366,"collection":136,"collections":22367,"showCount":22244,"zanCount":48,"manualWeight":48,"mainColor":49},221853,"long-chi-jing-du-tu-juan-wang-zhen-peng-221853","龙池竞渡图卷","此长卷画将楼阁建筑分为两大段，每段画有宫苑重楼、水阁，千回百折，尽在水中。 该图气势恢宏，构图巧妙。",[23,164,24,7,25,95,188,27,96,97,772,100,228,34,22364,208],"竞渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3870d12d0c453d52304f7bf589acbc8d.jpg","纵30.2厘米，横243.8厘米",[136,117],{"id":22369,"slug":22370,"title":22371,"dynasty":124,"author":2268,"museum":20,"description":22372,"tags":22373,"thumbUrl":22374,"material":22375,"size":22376,"collection":136,"collections":22377,"showCount":22244,"zanCount":48,"manualWeight":48,"mainColor":72},220940,"fang-gu-shan-shui-dong-qi-chang-220940","仿古山水","明代画坛流派叠现，异彩纷呈。晚期更有华亭派、武林派等异军突起，影响远泽有清一代。其中，华亭派领袖人物董其昌推崇倡导的摹古风气对后世画坛的影响尤为深刻。对于学习绘画，董其昌认为应先以古人为师，对古人画迹悉心摹写，将其笔墨技法、布局构图于心中融汇贯通，从而得古人笔墨意趣，然后再师法自然，汲取创作灵感。他对自己的主张是身体力行的。\n这套《仿古山水》册共８开，皆为仿唐及宋元诸家如杨昇、惠崇、李公麟、倪瓒等的小幅册页，是董其昌仿古一类绘画中不可多得的妙品。董氏水墨山水名重于世，设色山水也别具一格。此册中“仿唐杨昇”一开青绿山水，以没骨法为之，丛树峰峦等都用石青、石绿、朱砂、赭石等色染出，鲜有勾皴，与李思训一派线条硬劲的青绿山水情趣各异。董其昌曾遍临名家画作，而用功最勤的则是元四家。册中有“仿倪元镇”一开山水，构图布局和树、石、山、亭的画法无不毕肖于倪瓒之作，可谓得其三昧，登堂入室。此套册页虽每开均以“仿”字冠名，其实画面却不尽然，因为每幅都有自出新意之处。再以“仿倪元镇”一开为例，与倪瓒之画呈现的寂寥疏淡的面目相比，此图使人感受到的是勃勃生机，这是董氏取诸家笔墨之长，再运用自身的学养识见加以变化而直抒胸臆、独树风标的不凡魅力，后世众多摹古画家始终无法企及。\n此图册作于明天启元年（1621年），董其昌时年67岁。",[24,7,59,128,29,1337,131,99,330,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ec528469518e200ec75e5ee4b32691.jpg","纸本,水墨和设色","每开纵26.3厘米,横25.5厘米",[136,117],{"id":22379,"slug":22380,"title":22381,"dynasty":144,"author":7181,"museum":224,"description":22382,"tags":22383,"thumbUrl":22384,"material":173,"size":22385,"collection":44,"collections":22386,"showCount":22244,"zanCount":1998,"manualWeight":48,"mainColor":49},220433,"yang-zheng-tu-shi-ze-wang-zhen-peng-220433","养正图十则","此册绘十位有涵养正道智者的故事。细观此册与王振鹏画风不类，揭傒斯题跋更伪，当是明清人伪托之作。",[23,24,7,25,95,28,27,96,97,34,131,99,130,98,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1acc070a8884b606278633838a456375.jpg","34×42",[44,45],{"id":22388,"slug":22389,"title":22390,"dynasty":124,"author":22391,"museum":1941,"description":22392,"tags":22393,"thumbUrl":22394,"material":278,"size":22395,"collection":117,"collections":22396,"showCount":22244,"zanCount":48,"manualWeight":48,"mainColor":49},220357,"yue-xia-pu-tao-tu-wang-liang-chen-220357","月下葡萄图","王良臣","王良臣（ 生卒年不详），平生无可考。作花卉，意在沈周、徐渭之间，疑为明嘉、万历年间画家。",[24,7,165,128,61,2334,231,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3c5d497af84a9427a0bb325bf7c4c38.jpg","188.4x60.2",[117],{"id":22398,"slug":22399,"title":22400,"dynasty":124,"author":125,"museum":1300,"description":1301,"tags":22401,"thumbUrl":22406,"material":611,"size":1304,"collection":84,"collections":22407,"showCount":22244,"zanCount":48,"manualWeight":48,"mainColor":72},220033,"dong-zhuang-tu-ce-zhi-dao-qi-shen-zhou-220033","东庄图册之稻畦",[23,24,7,59,128,29,22402,22403,99,413,1771,22404,22405],"稻","田","屋","田埂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5694bd462c6b7cd7977b9ef743f30161.jpg",[],{"id":22409,"slug":22410,"title":22411,"dynasty":18,"author":5533,"museum":244,"description":22412,"tags":22413,"thumbUrl":22414,"material":611,"size":22415,"collection":42,"collections":22416,"showCount":22244,"zanCount":1998,"manualWeight":48,"mainColor":72},219954,"shan-yin-shu-sha-tu-liang-kai-219954","山阴书箑图","画中每个人物均表情生动，衣纹线条潇洒流畅，虽然不见得是梁楷亲笔所作，却能充分掌握住写意人物的简率趣味。",[23,164,24,7,128,188,10170,96,331,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b1cc436980034bf908ab2030dac5a49.jpg","31.3×58.9公分",[42],{"id":22418,"slug":22419,"title":22420,"dynasty":18,"author":5533,"museum":244,"description":22421,"tags":22422,"thumbUrl":22423,"material":173,"size":22424,"collection":44,"collections":22425,"showCount":22244,"zanCount":48,"manualWeight":48,"mainColor":49},219608,"dong-li-gao-shi-tu-liang-kai-219608","东篱高士图","《宋梁楷东篱高士图轴》是南宋画家梁楷创作的作品此画中一高士手拿菊花，漫步在山中。背景用淡墨烘染，而红叶跟高士手中的菊花，点出这幅图画的是秋天。陶渊明是著名的“隐逸诗人”，又特别爱菊花，因此图中的高士不禁让人联想到陶渊明。",[23,164,24,7,165,10170,128,27,96,10539,331,131,99,604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6dfba9b9f71ac3b315d150e8db4344f.jpg","纵71.5厘米，横36.7厘米",[44],{"id":22427,"slug":22428,"title":22429,"dynasty":144,"author":223,"museum":6413,"description":22430,"tags":22431,"thumbUrl":22432,"material":173,"size":22433,"collection":44,"collections":22434,"showCount":22244,"zanCount":1998,"manualWeight":48,"mainColor":72},219584,"ting-yuan-chui-di-tu-yi-ming-219584","庭院吹笛图","淡墨轻勾围栏，赭石晕染庭阶，古奇湖石倚立一旁，皴笔苍劲朴拙，带着幽古意态。仕女团髻簪花，罗裙垂曳覆地，静坐凝神，柔婉秀雅的身姿融于空寂庭院中。\n\n设色简淡古雅，沉郁绢色衬出静穆氛围，留白处漫着清寂闲淡，将深闺女子的幽怅藏于无声里。笔致工细却不繁缛，人物情态含蓄温婉，寥寥笔墨便将庭院幽闲意趣与仕女静柔风姿相融，古淡悠长的韵致漫开，把深闺的闲静怅惘晕在空庭里。",[24,7,27,96,166,438,171,247,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33d0463155dcdec810230aaf5d57bc7c.jpg","纵25.4横23.5厘米",[44],{"id":22436,"slug":22437,"title":1418,"dynasty":351,"author":22438,"museum":244,"description":22439,"tags":22440,"thumbUrl":22441,"material":173,"size":22442,"collection":44,"collections":22443,"showCount":22244,"zanCount":1116,"manualWeight":48,"mainColor":49},219490,"wen-hui-tu-qiu-wen-bo-219490","丘文播","图绘四文士宴饮、赋诗、抚琴的雅集场景。四人均宽衣大袍，坐于榻上，身旁置酒杯、酒瓶，似在即席作文行酒。四位人物的姿态不一，一人停笔凝思，一人秉笔疾书，而右下者似已醉态微呈，意欲下榻，侍童忙为其穿靴并扶撑其腰，文士转身挥手，招呼怀抱锦袱之女子，而女子则淡妆素抹，作扭首含羞之态。左下背向文士，则牵住右下文士之腰带，似有不让其离席之状。三位挽双髻女子，或抱琴、或端杯侍立于榻旁。此图人物造型具有唐风，结构严谨，衣纹线条疏密有致，运笔极为娴熟。背景中的古树，枝干劲挺虬曲，树叶以三角形堆叠法绘成，并根据疏密搭配，间以色彩轻重渲染，使之古茂苍雄，更进一步衬托了“文会”主题之雅意。",[164,24,7,28,27,188,96,1424,7719,331,131,2145,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a055f28d65527ebeb12ed1c39e04aab.jpg","纵84.9厘米，横49.6厘米",[44],{"id":22445,"slug":22446,"title":22447,"dynasty":124,"author":22448,"museum":244,"description":22449,"tags":22450,"thumbUrl":22451,"material":27,"size":22452,"collection":68,"collections":22453,"showCount":22244,"zanCount":1116,"manualWeight":48,"mainColor":72},219406,"song-qin-tu-tan-zhi-yi-219406","松禽图","谈志伊","松针如缕，淡蓝晕染似含晨露清光，垂枝轻逸如丝带斜曳。鸟儿敛翅栖于枝上，羽色温润，黑眸凝睇间藏着几分闲逸与机警。笔墨细腻处，鸟羽纹理纤毫毕现；写意枝干带着自然苍劲，工写相济间气韵流动。留白铺陈更显空灵，仿佛能听见风过松梢轻响，窥见林间幽寂。整幅画无繁复景致，却于极简中见真意——是文人对自然宁静的向往，亦是笔墨间流淌的雅致情韵，将寻常小景化作耐人寻味的诗意栖居。",[24,7,165,28,27,61,372,1400,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F565dd85179d3be607a9685089f10b499.jpg","138.3x33.6",[68],{"id":22455,"slug":22456,"title":22457,"dynasty":124,"author":17658,"museum":244,"description":22458,"tags":22459,"thumbUrl":22460,"material":278,"size":22461,"collection":44,"collections":22462,"showCount":22244,"zanCount":48,"manualWeight":48,"mainColor":72},219362,"guan-shi-yin-xiang-tu-shen-shi-chong-219362","观世音像图","淡墨线条如行云流水，勾勒出观音端坐之姿。衣纹婉转流畅，纱幔轻盈似有风动，垂坠间尽显织物柔韵。她垂眸含慈，眉宇间凝着悲悯与安宁，头饰虽简却见匠心，衬得面容圣洁温婉。留白处散落的题跋与朱印，既添古朴韵味，亦映证作品流传脉络。整幅画以极简笔触，传递出深沉禅意与人文温度，观之如沐清辉，心渐沉静。",[24,7,164,165,187,96,188,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d098b00d77f489e63754c4af5e92d3.jpg","60.1x32",[44],{"id":22464,"slug":22465,"title":22466,"dynasty":124,"author":22467,"museum":244,"description":22468,"tags":22469,"thumbUrl":22471,"material":173,"size":22472,"collection":45,"collections":22473,"showCount":22244,"zanCount":48,"manualWeight":48,"mainColor":49},219328,"chun-shan-tai-xie-zhou-liu-du-219328","春山台榭轴","刘度","此图描写翠巖积秀，碧树繁花，楼阁台榭，临水错落。一人坐于阁中休憩，僮仆捧茶碗侍候，另有一童正在煮茶。台阁用界尺画，工细而不呆板，青绿设色妍丽而生动。山光水影，一派清秀。 据作者款题，此幅乃应友人之请而作，所绘的内容是昔日在西湖精舍见到宋人的《春山台榭》图卷，受到深刻的启发有感而作。 刘度的生卒年不详，存世作品见于1630年至1660年间。此幅画于1636年（崇祯九年丙子），是刘氏传世画作中较早期的作品。",[164,24,7,165,27,28,132,29,97,130,98,99,131,34,22470,247,499,1022],"台榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe971e96e88677a3473d270d202a8981f.jpg","119.9x47.8",[45],{"id":22475,"slug":22476,"title":22477,"dynasty":18,"author":22478,"museum":300,"description":22479,"tags":22480,"thumbUrl":22481,"material":173,"size":84,"collection":136,"collections":22482,"showCount":22244,"zanCount":48,"manualWeight":48,"mainColor":49},218611,"han-lin-ce-zhang-tu-hu-yan-long-218611","寒林策杖图","胡彦龙","寒林枝干虬曲如铁，墨色浓淡交织出萧瑟之态。右侧山石以沉凝皴笔勾勒，纹理苍劲，与疏林相映成趣。坡岸之上，策杖者孑然独立，衣袂轻扬似携山风，身影虽小却意态悠然。古雅的棕褐底色衬出笔墨清劲，虚实间藏着宋人的隐逸情怀——林泉之致，不在喧嚣，而在山、树、人的静默相对里。笔墨简淡却韵味悠长，冬日清寒与心境澄明揉进每一笔，观者仿佛能听见林间风声，触到山石凉，读懂那份寄情山水的淡然。",[24,7,29,96,331,131,132,27,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60709ae11956c61255df326d8727958c.jpg",[136],{"id":22484,"slug":22485,"title":22486,"dynasty":18,"author":915,"museum":300,"description":22487,"tags":22488,"thumbUrl":22490,"material":173,"size":22491,"collection":42,"collections":22492,"showCount":22244,"zanCount":1116,"manualWeight":48,"mainColor":49},218558,"he-hua-chong-jie-tu-lin-chun-218558","荷花虫介图","这幅画描绘了一个有着厚厚的白色条纹和点状绿色皮肤的大绿瓜，红色的蜻蜓和两只蜜蜂在瓜上盘旋，似乎是水果的香味吸引了它们；一只绿色的蚱蜢蹲在宽大的叶面上，似乎也在向瓜爬来。",[164,24,7,28,27,61,81,22489,171,1771],"虫介","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11bbb375e79fb24e593b6af6beedad0f.jpg","28x26",[42],{"id":22494,"slug":22495,"title":22496,"dynasty":54,"author":9742,"museum":20,"description":22497,"tags":22498,"thumbUrl":22499,"material":278,"size":22500,"collection":136,"collections":22501,"showCount":22244,"zanCount":48,"manualWeight":48,"mainColor":72},218497,"fang-mei-dao-ren-xia-shan-yu-ji-tu-wu-li-218497","仿梅道人夏山雨霁图","画中远处山峦起伏，层层叠叠，由近及远，矾头突兀，山顶冲入云端，似与天际相连，深山溪水，泉涌不息。中景为广阔的湖面和平坦的沙滩，溪水潺潺；近景为岩石坡，树木茂密，树荫下有几座木屋和草亭，或隐或现，山间有蜿蜒的小路，坡的两边有木板路。",[23,24,7,165,128,132,330,29,98,99,34,496,711,499,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff3af964d48c19eeba1aedf541e32e4c.jpg","94.5x35cm",[136],{"id":22503,"slug":22504,"title":22505,"dynasty":18,"author":1622,"museum":77,"description":3130,"tags":22506,"thumbUrl":22507,"material":173,"size":3133,"collection":84,"collections":22508,"showCount":22244,"zanCount":48,"manualWeight":48,"mainColor":72},218059,"song-di-ming-ti-ce-wu-ma-yuan-218059","宋帝命题册(五)",[23,24,7,59,27,29,1337,98,96,64,208,133,99,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7665b03ac750068444024f2eb3650a7.jpg",[],{"id":22510,"slug":22511,"title":22512,"dynasty":124,"author":10106,"museum":244,"description":22513,"tags":22514,"thumbUrl":22515,"material":66,"size":84,"collection":44,"collections":22516,"showCount":22244,"zanCount":48,"manualWeight":48,"mainColor":72},218052,"leng-yan-nian-wu-yuan-tong-fo-xiang-ce-wu-bin-218052","楞严廿五圆通佛像册","吴彬是明朝的一位著名的文人，他是一位著名的佛学家，在佛教史上有很大的贡献。\n\n楞严廿五圆通佛像册是吴彬所著的一部著名的佛教著作，也是中国佛教史上最著名的像册之一。该像册收录了25尊佛像的图像，其中包括释迦牟尼佛、阿弥陀佛和观世音菩萨等著名的佛像。\n\n像册的图像都是用黑白线条绘制的，但是非常精细，每个细节都清晰可见。这本像册不仅是一部艺术杰作，而且也是一部佛教经典，对于学习佛教的人来说非常有价值。",[24,7,59,27,28,187,96,8070],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9aadd995b48af2ed2edde0fe67d588ec.jpg",[44],{"id":22518,"slug":22519,"title":22520,"dynasty":124,"author":802,"museum":224,"description":22521,"tags":22522,"thumbUrl":22524,"material":173,"size":84,"collection":84,"collections":22525,"showCount":22244,"zanCount":48,"manualWeight":48,"mainColor":72},218029,"za-hua-ce-3-chen-hong-shou-218029","杂画册-3","陈洪绶是明朝时期著名的画家。他最著名的作品是他的杂画册，其中包含了许多精美的花鸟画和山水画。陈洪绶的杂画册是明朝时期最著名的画册之一，并被认为是中国画的杰出代表作之一。\n\n陈洪绶的杂画册中包含了多幅优美的花鸟画，其中包括了各种鸟类、花卉和动物。这些画作都是陈洪绶对自然界的精确再现，并且富有生命力。此外，陈洪绶还创作了许多优美的山水画，其中包含了各种山川、河流、湖泊和其他自然景观。这些画作也是陈洪绶对自然界的精确再现，并且富有感染力。\n\n总的来说，陈洪绶的杂画册是一部杰出的画册，其中包含了许多优美的花鸟画和山水画，是中国画的杰出代表作之一。陈洪绶的画风精细而细腻，他对自然界的描绘充满生命力和感染力，使他的作品在艺术史上占有重要地位。",[24,7,59,27,28,61,376,22523,624],"蜗牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4f00443d432896845aecc3bed05fd9.jpg",[],{"id":22527,"slug":22528,"title":4043,"dynasty":54,"author":22529,"museum":77,"description":22530,"tags":22531,"thumbUrl":22532,"material":173,"size":22533,"collection":136,"collections":22534,"showCount":22244,"zanCount":48,"manualWeight":48,"mainColor":49},217880,"xue-jing-shan-shui-tu-li-yin-217880","李寅","李寅是清朝时期的一位著名画家，他以其精美的山水画而闻名于世。其中，李寅的雪景山水图尤为出名。\n\n李寅的雪景山水图通常描绘了冬季的山水景观，其中包括了苍翠的山峦、白雪皑皑的林地以及湖泊冰封的景象。他的作品中通常还会出现一些小景物，如枝叶凋零的树木、出没于雪地中的动物或是隐藏在雪后的小村庄。\n\n李寅的雪景山水图的特点是对细节的精确描绘，他能够捕捉到雪地上的每一片花纹，树枝上的每一朵雪花。同时，他还能够准确地再现出冬日天空中的云彩和阳光，使得作品充满了生机和活力。\n\n总的来说，李寅的雪景山水图是一种传统的中国画风，但其精细的描绘和生动的再现使其成为了一道亮丽的风景画卷，为我们带来了冬日的温馨和恬静。",[24,7,29,27,132,1813,663,1556,98,1337,7045],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20922a690b3a66dc5412ba0ade0554d6.jpg","138x80cm",[136],{"id":22536,"slug":22537,"title":22538,"dynasty":144,"author":13485,"museum":244,"description":22539,"tags":22540,"thumbUrl":22541,"material":173,"size":22542,"collection":44,"collections":22543,"showCount":22244,"zanCount":48,"manualWeight":48,"mainColor":49},216990,"shi-de-zi-tu-yan-hui-216990","拾得子图","拾得子图是指《拾得》这本书中所收录的图画，其中包含了许多关于中国古代历史、文化、生活、工艺技术的图画。《拾得》是元朝时期的一本图画书，作者是颜辉。这本书是在元朝时期绘制的，所以拾得子图中所描绘的内容也主要是元朝时期的。\n\n拾得子图中收录了许多元朝时期的图画，包括人物画、动物画、植物画、建筑物画、花卉画、工艺品画等。这些图画描绘了元朝时期的生活、文化、工艺技术等方面的内容，为我们了解元朝时期的历史、文化提供了重要的资料。",[24,7,165,187,96,128,188,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5385df89b8f503cbf4142f4a1cbf67d.jpg","152.8x69.5",[44],{"id":22545,"slug":22546,"title":22547,"dynasty":144,"author":223,"museum":77,"description":22548,"tags":22549,"thumbUrl":22551,"material":173,"size":22552,"collection":68,"collections":22553,"showCount":22244,"zanCount":48,"manualWeight":48,"mainColor":49},216751,"shi-hu-san-biao-tu-yi-ming-216751","十虎三彪图","这是一幅虎画长卷，名曰《十虎三彪图》，宋人佚名作，共画了十只虎，三只彪。\n\n龙生九子，各有不同。虎生三子，必有一彪。\n\n在传统文化里，龙虎都少不了一些衍生同类，彪是虎演化而来的。故事相传，母虎生有三虎崽，其中一虎崽格外凶狠彪悍，有吞食另外两只幼崽的能力，因此母虎日夜提防着凶虎崽和另外两只虎崽单独相处。",[23,24,7,25,128,132,5490,22550,949,34,131],"彪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22319c2472e4a7063456b1ee2a4fb07f.jpg","27x349cm",[68],{"id":22555,"slug":22556,"title":22557,"dynasty":124,"author":2268,"museum":244,"description":22558,"tags":22559,"thumbUrl":22560,"material":278,"size":84,"collection":136,"collections":22561,"showCount":22244,"zanCount":1998,"manualWeight":48,"mainColor":72},214613,"shu-hua-ce-yu-shan-dong-qi-chang-214613","书画册-虞山","董其昌（1794年－1856年）是中国明清时期的画家、书法家。他出生于浙江省杭州市，是中国书画史上著名的画僧之一。董其昌在书法和画画方面都有很高的造诣，尤其擅长山水画，其中以写意山水画最为出名。他的著名作品有《虞山图》，这幅画描绘了浙江省虞山的秀美景色。\n\n《虞山图》是董其昌的代表作之一，它展现了他对自然风光的独特描绘方式。在这幅画中，董其昌运用了大量的写意手法，使得画面充满了浓郁的气氛。他通过笔触的流畅和墨色的变化，表现出了山水的秀美和自然的灵动。整幅画浑然一体，充满了生机和活力。\n\n董其昌的《虞山图》不仅是他自己的杰作，也是中国书画史上的经典之作。它被广泛收藏和展览，并被认为是中国山水画的代表作之一。",[24,7,59,128,132,64,29,30,34,35,497,1023,496,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff04f9ae98aa539c6d04e4ab22c644a70.jpg",[136],{"id":22563,"slug":22564,"title":22565,"dynasty":18,"author":223,"museum":300,"description":22566,"tags":22567,"thumbUrl":22568,"material":692,"size":1293,"collection":84,"collections":22569,"showCount":22570,"zanCount":48,"manualWeight":48,"mainColor":72},290364,"song-ke-si-gui-zhi-shuang-xi-tu-zhou-yi-ming-290364","宋缂丝桂枝双喜图轴","两宋时期，中国古代花鸟画空前发展并取得重大成就。北宋前期，宫廷画家黄居采继承了其父黄筌的花鸟画风格，使细腻艳丽的富贵风格成为评判当时宫廷花鸟画优劣的准绳，直到崔白等人的出现，才打破了它一直以来的主导地位。崔白与黄筌一样注重写生、造型准确，但在画面中多了几分生趣，正是这种对禽鸟神态的关注，表明了花鸟画进入到一个新的发展阶段。画家将场景设定在深秋野外，被惊扰的野兔回首注视着一对喳喳直叫的山鹊，透过野兔的眼神，我们看到了它驻足回首时的惊异神情。有些诧异，却没有恐惧，因为它知道山鹊对自己没有威胁。它与山鹊之间的动作呼应、位置关联，一定是平日写生的结果，准确而生动。",[164,24,7,165,1944,28,27,61,15540,14190,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dbe196f445bd63ff9d958a5436a371b.jpg",[],61,{"id":22572,"slug":22573,"title":22574,"dynasty":351,"author":1931,"museum":244,"description":22575,"tags":22576,"thumbUrl":22577,"material":692,"size":1293,"collection":84,"collections":22578,"showCount":22570,"zanCount":48,"manualWeight":48,"mainColor":49},289769,"zhu-lin-bo-ge-tu-huang-quan-289769","竹林鹁鸽图","几只珠颈斑鸠活动于郊原上，其中二只飞翔于低空，另外三只正漫步于竹丛边。流露出在大自然间怡然自得之情景。作者注重写生，对鸟的形状以至神态，都极用心观察，如羽毛层层叠覆的变化也都详加描绘。该幅旧传为黄筌之作，与台北故宫博物院所藏的另一幅宋人竹石鸠子图在构景方面十分相近。",[23,164,24,7,165,28,27,61,167,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F481384d9428a1823aa92b9176ad4f6ae.jpg",[],{"id":22580,"slug":22581,"title":22582,"dynasty":144,"author":1208,"museum":244,"description":22583,"tags":22584,"thumbUrl":22585,"material":692,"size":1293,"collection":84,"collections":22586,"showCount":22570,"zanCount":1998,"manualWeight":48,"mainColor":72},287665,"yuan-xiu-shu-shi-tu-ni-zan-287665","远岫树石图","图中绘平坡远岫，疏林草亭，笔简意远，惜墨如金，干中见湿，躁中带润。以侧锋干笔作皴，名为“折带皴”。书法从隶入，有晋人风度。倪瓒擅画山水、墨竹，师法董源，受赵孟頫影响。早年画风清润，晚年变法，平淡天真。",[24,164,7,165,128,29,1337,415,171,130,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d5d71527524ae1af5a4236a60b1794.jpg",[],{"id":22588,"slug":22589,"title":15546,"dynasty":124,"author":802,"museum":300,"description":5946,"tags":22590,"thumbUrl":22591,"material":151,"size":22592,"collection":44,"collections":22593,"showCount":22570,"zanCount":48,"manualWeight":48,"mainColor":72},238106,"ren-wu-zhou-chen-hong-shou-238106",[24,7,165,27,28,96,413,229,98,99,1350,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7bd803c589c692c9898d167fa5858a9.jpg","118x55",[44],{"id":22595,"slug":22596,"title":22597,"dynasty":124,"author":22598,"museum":300,"description":22599,"tags":22600,"thumbUrl":22601,"material":692,"size":1293,"collection":68,"collections":22602,"showCount":22570,"zanCount":1998,"manualWeight":48,"mainColor":72},237537,"mei-hua-dui-ti-tu-ce-chen-ji-ru-237537","梅花对题图册","陈继儒","陈继儒（1558年12月14日-1639年10月16日），字仲醇，号眉公、麋公，松江府华亭（今上海市松江区）人。明朝文学家、画家。\n诸生出身，二十九岁开始，隐居在小昆山，后居东佘山，关门著述，工诗善文，书法学习苏轼和米芾，兼能绘事，屡次皇诏征用，皆以疾辞。擅长墨梅、山水，画梅多册页小幅，自然随意，意态萧疏。论画倡导文人画，持南北宗论，重视画家修养，赞同书画同源，有《梅花册》《云山卷》等传世。著有《陈眉公全集》《小窗幽记》《吴葛将军墓碑》《妮古录》。",[24,7,59,128,133,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fe663b1fb3979ba9855c154842e6048.jpg",[68,117],{"id":22604,"slug":22605,"title":22606,"dynasty":54,"author":22607,"museum":300,"description":22608,"tags":22609,"thumbUrl":22611,"material":84,"size":84,"collection":84,"collections":22612,"showCount":22570,"zanCount":1998,"manualWeight":48,"mainColor":49},235273,"gao-shan-liu-shui-tu-zhou-mei-qing-235273","高山流水图轴","梅清","《梅清高山流水图轴》是清代梅清创作的一幅画。\n图绘景象奇伟的山川之貌，陡峭的山石于群峰中傲然而立，如练的瀑布从山壁上飞流而下。\n瀑布与山峦点明高山流水的主题，亦营造出清幽疏旷的意境。\n款题虽言系仿“石田老人笔意”（沈周）之作，但体现出的完全是梅氏晚年粗笔皴擦、焦墨点苔、笔力老健的画风特点。\n款署：“高山流水。\n仿石田老人笔意。\n甲戌中秋前一日，瞿山梅清时年七十有二。\n”钤“矍硎清”白文印、“渊公”朱文印、“老去看山眼倍青”白文印、“天延阁图书”朱文印。\n鉴藏印有“槃斋秘玩”等。\n“甲戌”是清康熙三十三年（1649年），梅清时年72岁。",[24,7,165,128,132,29,22610,99,1144,497,96,495,415],"高山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F576afd75771412f0b050afdd574d2698.jpg",[],{"id":22614,"slug":22615,"title":22616,"dynasty":54,"author":3403,"museum":300,"description":22617,"tags":22618,"thumbUrl":22619,"material":84,"size":84,"collection":84,"collections":22620,"showCount":22570,"zanCount":1998,"manualWeight":48,"mainColor":72},235234,"tie-chou-shan-hu-zhou-wu-chang-shuo-235234","铁绸珊瑚轴","此作用篆籀笔法绘梅枝，虬曲苍劲如铁铸铜凝，尽显老梅饱经风霜的嶙峋气度。红梅以胭脂参墨没骨点就，花瓣饱满浓艳，错落缀于枯槎之间，冷艳与热烈相融，生机勃发。背景湖石以大写意泼墨晕染，墨色干湿浓淡层次丰富，以虚衬实，愈发衬出梅之疏俏清妍。\n题字笔力雄健朴拙，与画面苍莽气息浑然一体，诗书画印相映成趣，将文人风骨与梅花傲雪品格融为一体，尽显冷香傲骨的精神气韵。",[24,7,165,128,27,61,371,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F322dcd8a21fae752f041792747a7c8e3.jpg",[],{"id":22622,"slug":22623,"title":3168,"dynasty":124,"author":204,"museum":20,"description":1523,"tags":22624,"thumbUrl":22629,"material":40,"size":22630,"collection":136,"collections":22631,"showCount":22570,"zanCount":1998,"manualWeight":48,"mainColor":72},233754,"ren-wu-gu-shi-ce-chou-ying-233754",[24,7,59,28,27,8189,96,29,97,997,1424,22625,438,61,22626,1515,5343,99,22627,22628],"知音","历史故事","寓言传说","文人轶事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63efd47f6120fe57c20a6fdbb2673a14.jpg","纵41.4厘米，横33.8厘米",[136,44,45],{"id":22633,"slug":22634,"title":22635,"dynasty":222,"author":223,"museum":300,"description":22636,"tags":22637,"thumbUrl":22639,"material":84,"size":84,"collection":84,"collections":22640,"showCount":22570,"zanCount":1998,"manualWeight":48,"mainColor":72},231665,"ying-hua-mo-mei-tu-li-zhou-yi-ming-231665","樱花墨梅图立轴","此作上下分绘花姿，意趣迥异却相得益彰。上方设色绘樱花，柔枝舒展，素白花瓣晕染清透，嫩红芽蕊点缀其间，将春日花绽的柔妍雅致尽皆展现，侧旁题字更添悠然文心。下幅以水墨写梅，苍劲老枝皴擦得宜，浓淡墨色区分枝干层次，淡墨圈花点蕊，清冷疏朗，尽显冬梅孤高清癯的风骨。工笔与写意相融，妍丽与清寂相映，尽显文人绘事里的雅致情致。",[23,24,7,165,128,27,61,22638,371],"樱花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F410c154b6bd5a5b3bc828f84a37afb21.jpg",[],{"id":22642,"slug":22643,"title":22644,"dynasty":144,"author":287,"museum":244,"description":22645,"tags":22646,"thumbUrl":22647,"material":40,"size":22648,"collection":84,"collections":22649,"showCount":22570,"zanCount":48,"manualWeight":48,"mainColor":72},231423,"yan-jiang-dai-du-tu-qian-xuan-231423","烟江待渡图","此卷绘秋景山水，山峦平坡多用硬拙直笔勾皴，既表现出青绿山水的古雅工丽，又富有文人画的恬静意趣。树丛以细笔皴点，葱郁清丽，构图平远浩渺，颇有绝世出尘之境。画家借助创作此幽寂静谧，充满诗意的山水，并在画上题诗，委婉曲折地表达自己隐遁避世之愿望。",[164,24,7,25,27,26,28,29,208,64,133,938,663,228,129,34,415,12584,96,31,37,3428,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8413a90a26c7bd60b40a95db035e8aca.jpg","纵21.6厘米，横480.6厘米",[],{"id":22651,"slug":22652,"title":22653,"dynasty":54,"author":22654,"museum":300,"description":22655,"tags":22656,"thumbUrl":22658,"material":84,"size":84,"collection":84,"collections":22659,"showCount":22570,"zanCount":1998,"manualWeight":48,"mainColor":199},231018,"xiu-qiu-chun-niao-tu-wen-ding-231018","绣球春鸟图","文定","此作为工笔花鸟佳作，构图错落雅致。虬曲老干苍劲横斜，团团绣球柔白雅致，与翠色枝叶相映成趣。枝上彩鸟造型写实，翎毛晕染精细入微，长尾舒展顾盼生姿，以灵动打破画面沉静。\n湖石以青绿晕染，石色厚重秀雅，配搭秋菊、幽兰，敷色柔润雅致，枝叶区分浓淡虚实，层次分明。整体笔法工致细腻，设色妍丽沉稳，兼具院体花鸟的工整法度与文人花鸟的清逸意趣，铺展出春日园林的幽柔静谧，尽显融融春日的娴雅生机。",[23,24,7,165,27,28,61,9337,355,2438,22657,131,604],"树叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4f1110d26ae54c1b2b96fff34fa30f.jpg",[],{"id":22661,"slug":22662,"title":22663,"dynasty":18,"author":16153,"museum":300,"description":22664,"tags":22665,"thumbUrl":22666,"material":84,"size":84,"collection":84,"collections":22667,"showCount":22570,"zanCount":48,"manualWeight":48,"mainColor":49},227704,"chun-jiang-hua-yue-ye-tu-ye-xiao-zhao-227704","春江花月夜图页","萧照（公元1131-公元1162），濩泽（今山西阳城）人。南宋画家，补入南宋画院为待诏，又补迪功郎，赐金带，作品有《山腰楼观图》、《秋山红树图》、《岳祠汉柏图》、《光武渡河图》、《竹林七贤图》等，杭州显庄观、西太已宫等处有他的壁画。夏文彦《图绘宝鉴》：“画山水人物，异松怪石，苍凉古野，惜用墨太多”，有记载说：“萧照尤喜为奇峰怪石，望之有波涛汹涌，云屯风卷之势”。",[23,164,24,7,59,128,27,132,29,99,129,231,130,331,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68b470b220a55c2881ae3b91662b49dd.jpg",[],{"id":22669,"slug":22670,"title":22671,"dynasty":18,"author":768,"museum":300,"description":22672,"tags":22673,"thumbUrl":22674,"material":84,"size":84,"collection":84,"collections":22675,"showCount":22570,"zanCount":1998,"manualWeight":48,"mainColor":956},227687,"shen-long-jiu-xian-tu-juan-chen-rong-227687","神龙九现图卷","在中国文化中，“龙”可谓是至高无上的图腾。从龙身人首的伏羲、女娲，再到“黄帝龙轩辕氏龙图出河”。龙的传人们对这个腾云驾雾、翱翔九天神秘形象充满敬畏，而以为精神寄托。乃至进入互联网时代，亦有着诸多亲眼见真龙的都市传说广为流传。",[23,24,7,25,128,27,772,29,950,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13d3746f4b89b0a937e5719e8b89fb81.jpg",[],{"id":22677,"slug":22678,"title":22679,"dynasty":182,"author":223,"museum":300,"description":22680,"tags":22681,"thumbUrl":22682,"material":84,"size":84,"collection":84,"collections":22683,"showCount":22570,"zanCount":48,"manualWeight":48,"mainColor":49},227227,"fo-jiao-xin-jing-yi-ming-227227","佛教 心经","《般若波罗蜜多心经》（梵语：प्रज्ञापारमिताहृदय Prajñāpāramitāhṛdaya 藏语：བཅོམ་ལྡན་འདས་མ་ཤེས་རབ་ཀྱི་ཕ་རོལ་ཏུ་ཕྱིན་པའི་སྙིང་པོ）是大乘佛教表达空性和般若波罗蜜观点的经典，又称《摩诃般若波罗蜜多心经》，简称《般若心经》、《心经》。本经是《大品般若经》的别生经，取自〈习应品〉和〈劝持品〉，作为《大般若经》的精要而集出，无序分与流通分。与《金刚经》并为通行最广的般若经。",[23,4642,187,64,7322,572,27,7,10762,8315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf2848fc08995900089c6b332fd8a712.jpg",[],{"id":22685,"slug":22686,"title":22687,"dynasty":54,"author":12088,"museum":300,"description":22688,"tags":22689,"thumbUrl":22691,"material":84,"size":84,"collection":84,"collections":22692,"showCount":22570,"zanCount":48,"manualWeight":48,"mainColor":72},224593,"liang-yuan-fei-xue-tu-yuan-jiang-224593","梁园飞雪图","《梁园飞雪图》是清代画家 创作的绢本设色画，现藏于 。\n此画真实细致地描绘了景色优美、构筑精致的梁园美景。\n画面中，雪片纷纷扬扬，给大地铺上了一层白色的绒毯。\n梁园里豪华的筵席，并不因为天气的阴寒而停止，殿堂里灯火通明，人来人往，非常热闹。\n画家认真地描绘了华丽精致的建筑物，以极为均匀挺直的线条描绘了房屋的各个细节，比例精当，造型准确，丝丝入扣。\n由于大雪覆盖屋顶，画家索性将屋顶留为空白，与细密的斗拱，隔窗等形成了鲜明的对比，给人以美好的视觉享受。\n该画中宫殿台阁，布置宽畅而紧密，楼阁中有数十人围坐谈话状，另一宫殿中有三位贵妇人交谈状，长廊亦有人活动；远景山峦，雪色凝寒，气氛冷峻；近景所画山石峭立，竹林茂密，枯树苍劲。\n本幅自题：“梁园飞雪，庚子徂暑邗上袁江画。\n”钤“袁江之印”、“文涛”印两方。\n袁江的《梁园飞雪图》是以西汉枚乘的《梁王兔园赋》、南朝梁江淹的《学梁王兔园赋》为依据进行创作的 ，根据款识可知该画作于康熙五十九年（172） 。\n“梁园”又名“兔园”，是汉代梁孝王刘武所建的一处私家园林，其旧址据说在今河南商丘古城东南 。\n梁孝王雅好文翰，广泛结交当时的文人名士，如司马相如、枚乘、邹阳等皆为其座上宾客，许多人长期居住园内，乐而忘返，“梁园”因此而闻名。\n袁江以古代的宫殿、名园为题材作画，他将历史上梁园安排在冬天的雪景中。\n这画作是袁江楼阁界画的代表作，表现华丽的建筑是作者创作的重点，均匀挺直的线条勾画出房屋的各个细部，繁密的斗拱，玲珑的窗格，显示了高超的界画技巧，同时作者亦注意到周围环境与自然气氛的烘托，使画面具有诗一般的意境。\n严寒冬季大雪纷飞，覆盖着大地，白雪皑皑，寒气逼人。\n可是，豪华的宫殿内的宴席，并不因为寒冷而停止，殿堂名园中灯火通明，人来人往，熙熙攘攘，举酒碰杯，热闹非凡。\n不过作者还是着重地描绘华丽宫殿、楼阁、水榭等建筑物。\n画面仅选取梁园一角，如宫殿、台阁、回廊等，房屋的各个细部全用均匀的直线画出，线条准确细劲，一丝不苟。\n在设色方面，也利用屋顶的白色，衬托出建筑物瑰丽斑澜的彩画。\n另外，还在建筑物周边画有翠竹苍松、回廊花台等，建筑物以山石及庭院相隔，殿阁前有古树参天，疏密有致。\n远山一带峰峦隆起，尽在白雪凝寒之中，烟波飘渺，远处仅微露出一座台阁顶尖，与下端华丽的宫殿，遥相呼应，给人以宽广深远之感。\n袁江将这座梁园描绘得可居可游，层次分明，又突出重点。\n他既注意描绘宫殿楼台建筑物本身，而又不忘记周围环境的烘托，使景色开阔，显示出自然美与人工美的完美结合。\n屋顶端复盖着白雪，将瓦楞掩没，作者将它留为空白，即将建筑物的屋顶和庭院使用白色，湖面则以淡色晕染，形成对比，突出了主体。\n同时，又利用建筑物顶上和庭院里积雪与色彩艳丽的斗拱、门窗、扉扇、纹饰等形成虚实的强烈对比。\n上海大学上海美术学院教授 ：《梁园飞雪图》利用天然石山土坡，略加修整，如水上架桥、岸边种竹等，直将梁园与自然环境融为有机的整体。\n袁江的界画作品《染园飞雪图》为读者提供了理解中国传统园林不同的研究切入点和观察视角，是研究中国传统园林的重要图像史料。\n袁江（约1671—1746年），清代画家。\n字文涛，江都（今江苏扬州市江都区）人。\n擅山水、楼台，初学仇英，后吸取宋人画法。\n康熙问在扬州、南京、会稽一带作画；雍正年间受聘至太原尉姓家作画。\n所作景物多曲折有致，笔墨严整，为清代界画能手。",[23,164,24,7,95,28,27,29,97,1813,12741,34,758,247,131,22690,12926,13436,1557,1515,1428],"长廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a462904cd78720e19ebc39b254ab476.jpg",[],{"id":22694,"slug":22695,"title":22696,"dynasty":18,"author":223,"museum":300,"description":22697,"tags":22698,"thumbUrl":22699,"material":84,"size":84,"collection":84,"collections":22700,"showCount":22570,"zanCount":975,"manualWeight":48,"mainColor":49},223630,"he-xie-tu-yi-ming-223630","荷蟹图","《宋人画荷蟹图》是宋代佚名创作是一幅中国画。\n图中残败的荷叶枯黄斑驳，半浸于水中，一只团脐雌蟹挥螯伏于叶上。\n潺潺流水中生长、飘浮着红蓼、蒲草、浮萍、水藻等，其叶片边沿均已泛黄，显示出时已临秋，金秋时节，正是蟹美膏肥之时，荷叶的颓势与雌蟹的鲜活形成强烈的对比。\n画面刻意求真，荷叶用双钩夹叶法描绘，叶之叶筋、斑纹及莛上的小刺都刻意求工，雌蟹用笔缜密严谨。\n此图画面意境生动，题材别出新意，为宋人写实画作的典范。\n【简介】 本幅无款。\n钤印一方，印文模糊不辨。",[23,164,24,7,27,28,168,3794,82,303,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180dab128ffc6da8aaed986bccf8201c.jpg",[],{"id":22702,"slug":22703,"title":22704,"dynasty":18,"author":223,"museum":20,"description":22705,"tags":22706,"thumbUrl":22707,"material":514,"size":22708,"collection":84,"collections":22709,"showCount":22570,"zanCount":1116,"manualWeight":48,"mainColor":49},223584,"wa-que-qi-zhi-tu-ye-yi-ming-223584","瓦雀栖枝图页","此画绘海棠一枝，果实散挂枝头，树叶已染秋霜。\n枝头栖息着姿势各异的五只瓦雀，其中一只正仰首注视着枝叶上的昆虫，张口欲啄，形象生动活泼。\n整个画面张弛有致，设色研丽，刻画写实。\n海棠间杂红、黄、绿色，细看可见叶、果有些已遭虫蚀。\n作者取轻勾淡染之法，以表现秋叶缺乏水分的轻、薄质感。\n鸟的羽毛用细笔一笔一笔勾描，具有毛茸茸的质感。",[23,24,164,7,59,28,27,61,211,12508,2438,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F398ac81f47572946b8488c7c3af380e0.jpg","纵28.9厘米横29厘米",[],{"id":22711,"slug":22712,"title":22713,"dynasty":18,"author":633,"museum":20,"description":22714,"tags":22715,"thumbUrl":22716,"material":151,"size":22717,"collection":84,"collections":22718,"showCount":22570,"zanCount":48,"manualWeight":48,"mainColor":49},223340,"yun-feng-yuan-tiao-tu-xia-gui-223340","云峰远眺图","图绘群山相拥，山腰中云雾霭霭，一平坦处二人观景寒暄，一小童拿一长竿站立其后；远处松木成林，楼台庭院坐落于山腰中，隐约的山峰高耸陡峭，侧面如刀削般平整。此画画风近夏圭风格，画面简而不空，所画山峰线条刚劲、峰顶尖利！",[23,164,24,7,128,29,132,96,30,37,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F728ca2ae2c5d24dda0b691a4c2b1e73f.jpg","24.8*26.4cm",[],{"id":22720,"slug":22721,"title":22722,"dynasty":54,"author":18944,"museum":300,"description":18945,"tags":22723,"thumbUrl":22724,"material":611,"size":84,"collection":44,"collections":22725,"showCount":22570,"zanCount":48,"manualWeight":48,"mainColor":4001},223276,"luo-han-chang-juan-hong-yi-fa-shi-223276","罗汉长卷",[23,164,24,7,25,187,188,27,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b5bdb6c55f2c12f941fbbee4339b485.jpg",[44],{"id":22727,"slug":22728,"title":22729,"dynasty":54,"author":22730,"museum":56,"description":22731,"tags":22732,"thumbUrl":22733,"material":9220,"size":22734,"collection":136,"collections":22735,"showCount":22570,"zanCount":48,"manualWeight":48,"mainColor":72},222632,"jiang-shan-wu-jin-tu-juan-gao-cen-222632","江山无尽图卷","高岑","创作年代不详，据此图之笔意推断，应是高岑年轻时期、即崇德顺治年间的作品。张跋诩之“云林之淡远，山樵之缜密”，并以“黄子久之山水烟云生动林壑虚闲”以为比拟，认定《江山无尽图》“堪为书画舫中第一珍玩”。\n高岑的山水画从宋元入手,并承明代吴门诸家之法,形成两种面貌:一种承继所谓“北宗”传统,从宋范宽到明唐寅;另一路山水,则远绍元代的黄公望、王蒙，近法明代沈周，文徵明。《千里江山图》就是高岑吸取了黄公望空灵简洁的勾线法和王蒙圆润细密的皴染法。",[23,24,7,25,128,27,132,29,663,228,34,131,35,129,99,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe635978855f747c8aa390e5a7b497820.jpg","26×455",[136,117],{"id":22737,"slug":22738,"title":22739,"dynasty":144,"author":14724,"museum":20,"description":22740,"tags":22741,"thumbUrl":22742,"material":317,"size":22743,"collection":136,"collections":22744,"showCount":22570,"zanCount":48,"manualWeight":48,"mainColor":199},221790,"han-lin-tu-cao-zhi-bai-221790","寒林图","曹知白(1272—1355), 字又元, 号云西, 又字贞素, 人称贞素先生, 华亭(今上海松江县) 人。至元中任昆山教谕, 曾北上大都(今北京), 不久辞归, 隐居不仕, 饱览经书和研究道家之说。自写书斋匾额曰：“常清净”, 以示求闲适恬静意趣。《寒林图》画枯林一行于坡石之间, 树干劲挺, 疏落有致, 笔墨带有秀润气, 属中年之作。",[23,24,7,29,128,132,1233,331,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d273f7f19185342efa1150df078a26.jpg","纵27.3厘米横26.2厘米",[136,117],{"id":22746,"slug":22747,"title":22748,"dynasty":144,"author":2487,"museum":161,"description":12985,"tags":22749,"thumbUrl":22750,"material":40,"size":22751,"collection":44,"collections":22752,"showCount":22570,"zanCount":1998,"manualWeight":48,"mainColor":49},221770,"ren-ma-tu-ren-ren-fa-221770","人马图",[23,24,7,25,28,27,101,96,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F476e55f8d28399ffef02dac57ac64f66.jpg","纵：50.6cm，横：36cm",[44,45],{"id":22754,"slug":22755,"title":22756,"dynasty":18,"author":18558,"museum":2068,"description":22757,"tags":22758,"thumbUrl":22759,"material":22760,"size":22761,"collection":42,"collections":22762,"showCount":22570,"zanCount":48,"manualWeight":48,"mainColor":49},221251,"yan-tu-hui-chong-221251","雁图","宋代绘画的许多作品，尤其是僧人的作品，很大一部分保存在日本，并对日本绘画史产生了深刻的影响。北宋惠崇的作品传世极少，而这幅《雁图》因为藏于国外的缘故，在相当长时间里并未引起国内美术界的重视。\n《雁图》见于东京国立博物馆《唐绘手鉴-笔耕园》。东京国立博物馆《笔耕园》，是将室町时代以后舶来的中国画汇集而成的手鉴。收录作品60幅，其主题、画法和样式各异，并据此在各图上加有不同画家的名字。经鉴识的画家人数达49名，宋元时代画家的名字较多，但其中也有明代画家的名字，还夹杂了一些明代作品，因此可以说，在作品的收集与鉴识之中，反映出中世、近世舶来中国画的时代动向。其中不仅有南宋名家夏珪的山水图之类的难得佳作，还有其他一些质量极高的作品。汉画作爲室町时代之后绘画史上的一大流派，一直将此类中国绘画作为模板，手鉴如实地反映了当时社会对中国绘画的接纳和认同状况，可谓是珍贵史料。\n《雁图》所描绘的是汀岸一隅，五只雁栖息于芦苇丛下的岸边，四只在前，一只隐于坡岸之后。构图极其简洁，大致属于边角结构，芦苇、坡石、芦雁自右下角延伸至有病，其余部分大片留白，形成清远空旷的意境。此画虽为僧侣画，但与宋代的其他僧侣绘画（如牧溪）的率意及强调禅意不同，并未远离宋代的主流艺术风格。比如写实工细的芦雁和写意的坡石形成粗细对比，右下与左上在构图上的虚实对比，都是宋代院体画的基本表现手法。",[23,164,24,7,128,27,18111,211,228,1824,171,1846,18562,1400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc00d57a05337889e75786d96f615a42c.jpg","绢本着色","29.3×32.1",[42,68,45],{"id":22764,"slug":22765,"title":22766,"dynasty":144,"author":569,"museum":300,"description":22767,"tags":22768,"thumbUrl":22769,"material":611,"size":22770,"collection":136,"collections":22771,"showCount":22570,"zanCount":48,"manualWeight":48,"mainColor":49},220850,"lou-ge-ting-tai-tu-zhao-meng-fu-220850","楼阁亭台图","赵孟頫绘画，山水取法董源、李成；人物、鞍马师法李公麟和唐人；工墨竹、花鸟，皆以笔墨圆润苍秀见长，以飞白法画石，以书法用笔写竹。力主变革南宋院体格调，自谓“作画贵有古意，若无古意，虽工无益”，遥追五代、北宋法度，论者谓：“有唐人之致去其纤；有北宋人之雄去其犷。”开创了元代新画风。 交友甚广，与高克恭、钱选、王芝、李衎、郭祐之等相互切磋；直接受其指点的有陈琳、唐棣、朱德润、柯九思、黄公望、王蒙等。能诗文，风格和婉。兼工篆刻，以“圆朱文”著称。",[23,24,7,95,28,128,97,1515,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96226abc23ad0fb3649a6ae892730ae5.jpg","纵40.5cm、横37.3cm",[136,117],{"id":22773,"slug":22774,"title":22775,"dynasty":144,"author":569,"museum":20,"description":22776,"tags":22777,"thumbUrl":22778,"material":22779,"size":22780,"collection":42,"collections":22781,"showCount":22570,"zanCount":48,"manualWeight":48,"mainColor":49},220842,"you-huang-dai-sheng-tu-juan-zhao-meng-fu-220842","幽篁戴胜图卷","该图画幽篁细枝，停着一只戴胜鸟，正在返首回望。\n该图笔法工整细致，既有南宋院体画意又自设细染，使画面清雅和谐，构图简洁明快。\n此图画了一只戴胜停伫在一新篁枝上，正返首回望。",[23,24,7,25,27,61,167,211,64,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706af52cdeacaaa277655150f946ab40.jpg","纸本 设色画","纵25.4厘米,横36.2厘米",[42,68,45],{"id":22783,"slug":22784,"title":22785,"dynasty":144,"author":410,"museum":244,"description":22786,"tags":22787,"thumbUrl":22788,"material":151,"size":22789,"collection":136,"collections":22790,"showCount":22570,"zanCount":48,"manualWeight":48,"mainColor":49},220817,"xi-shan-gao-yi-zhou-wang-meng-220817","溪山高逸轴","密林深处，茅屋三椽，屋中士人抚琴案上，旁童子待，屋前平坡白鹤展翅，另一人正欲渡桥而来，溪旁屋后四松挺翠。全幅皴山画树，层层点染，浓荫繁盛。此图的构图意境在显示所欲写“菊琴友”草堂抚琴之主题。",[23,164,24,7,165,128,27,132,29,34,99,98,130,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F067de7b72861ee94fa127638ad6c1f4c.jpg","该幅113.7x65.3公分；诗塘26.5x65公分；全幅93公分",[136,45],{"id":22792,"slug":22793,"title":22794,"dynasty":124,"author":802,"museum":56,"description":22795,"tags":22796,"thumbUrl":22797,"material":173,"size":22798,"collection":68,"collections":22799,"showCount":22570,"zanCount":48,"manualWeight":48,"mainColor":49},220339,"tan-mei-tu-chen-hong-shou-220339","探梅图","陈洪绶（1598-1652年），字章侯，号老莲，甲申（1644年）后号悔迟、老迟等，浙江诸暨人。通诗文，有《宝纶堂集》十卷传世。工书善画，人物、花鸟、山水皆能，尤以人物画为后世所重。初师蓝瑛，后取法李公麟、赵孟頫，所作人物，造型夸张变形，高古伟岸，运笔旋转，一气呵成，线条凝练遒劲，设色古拙，形成了高古静穆的独特画风。此图树石工笔水墨（色）相间，绘三人一马行至岸边，驻足停留，线条劲健利索，树杈枝干翻挺矫健，枝叶繁茂，给人以清幽深邃之感。",[23,24,7,165,28,27,96,101,371,29,413,497,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a13b3619cb9ad6a25f7b080296fabf4.jpg","纵131.3厘米，横49.0厘米",[68,45],{"id":22801,"slug":22802,"title":22803,"dynasty":351,"author":22804,"museum":244,"description":22805,"tags":22806,"thumbUrl":22808,"material":173,"size":22809,"collection":44,"collections":22810,"showCount":22570,"zanCount":48,"manualWeight":48,"mainColor":49},220246,"chu-lie-tu-hu-gui-220246","出猎图","胡瓌","本幅描写塞外族人，携鹰出猎之情景。画面绘猎骑者四人，穿圆领窄袖长袍，腰配短刀，骑者左手驭马，右手架着猎鹰，四骑聚于一处，似在交流狩猎经过。最右端者之马鞍上，捆扎一只胸前渗血的野兔。人物的髡发须髯、骏马的鬃鬣、猎鹰的毛羽，无不描绘精致，形象逼真。作者传为胡瓌，契丹人，约活动于九、十世纪之间，素以精于描绘塞外风光及人马而闻名，因以名之。",[23,24,7,164,27,28,96,101,690,22807],"狩猎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb54e1035101d68949b7ae4331ce513.jpg","32.9x44.3",[44],{"id":22812,"slug":22813,"title":6571,"dynasty":144,"author":22814,"museum":5543,"description":22815,"tags":22816,"thumbUrl":22817,"material":173,"size":22818,"collection":42,"collections":22819,"showCount":22570,"zanCount":48,"manualWeight":48,"mainColor":49},220240,"luo-han-tu-cai-shan-220240","蔡山","本图描绘的是一位拄拐杖坐在岩石上的罗汉，从姿态上看来应属第一宾度罗跋啰堕阇尊者，尊者右足跨在左膝之上，半跏坐于岩石上，右手执竹杖靠住右肩，容貌古野呈胡相，长眉之下慈悲坚毅的目光炯炯有神。用笔稳健有力，脸上皱纹、衣服褶纹、以及手足线条等均相当周密，调整合宜，设色淡雅，不碍线条的流畅。罗汉坐的岩石隙缝中暗藏有“蔡山”落款。估计此图原为十六罗汉图全套中的一幅，现存有类似风格的另一幅罗汉图。从苍老消痩的罗汉表现手法中可以看出蔡山的固有画风，画中透露出的怪异氛围，与同时代的颜辉派有着相通之处。画面右下角有足利义直的寄进铭“奉三宝弟子右兵卫督源直义舍入”， 可知它是捐献给足利直义的某寺之物。据说由足利直义于贞和2年(1346)赠予高野山金刚三昧院。\n“蔡山”之名，根据室町时代的 “君台观左右帐记”中记载，除了“元人”之外，其他均不详，传统的画史上也始终未见其名。就署名于岩石隙缝一事来看，似仍沿袭了宋代的古风，元代中期以后，此风便不多见了。本幅罗汉图属于高古细润的作风，那是融和了南宋以来，文人画和职业画工的优点，在元画中又是一件杰出而珍贵的作品。",[23,24,7,165,187,96,28,27,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea77b489c9244d27f3da7403e09bf107.jpg","113.3×53.9 cm",[42],{"id":22821,"slug":22822,"title":22823,"dynasty":54,"author":4083,"museum":524,"description":4173,"tags":22824,"thumbUrl":22825,"material":66,"size":4176,"collection":136,"collections":22826,"showCount":22570,"zanCount":48,"manualWeight":48,"mainColor":72},220001,"shan-shui-hua-fang-mi-you-ren-wang-shi-min-220001","山水画-仿米友仁",[24,7,128,330,29,663,228,34,37,758,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6726d39f7aa7017108d87a88825bc186.jpg",[136],{"id":22828,"slug":22829,"title":22830,"dynasty":18,"author":21555,"museum":22831,"description":22832,"tags":22833,"thumbUrl":22834,"material":317,"size":84,"collection":136,"collections":22835,"showCount":22570,"zanCount":48,"manualWeight":48,"mainColor":72},219920,"dong-ting-qiu-yue-tu-yu-jian-219920","洞庭秋月图","日本文化厅","南宋玉涧的《洞庭秋月图》描绘了楼阁、圆月和树枝等，栩栩如生在大片的留白处题诗一首：“四面平湖月满出，一阿螺髻镜中看，岳阳楼上听长笛，诉尽崎岖行路难。洞庭秋月。”月光如泻，笛声悠扬，画中有声，诗画辉映，足见玉涧是一位集诗、书、画三绝为一身的僧人。",[23,164,24,7,25,128,64,208,29,231,130,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e259371a089172ab221af814ccd9dc.jpg",[136],{"id":22837,"slug":22838,"title":22839,"dynasty":144,"author":287,"museum":244,"description":22840,"tags":22841,"thumbUrl":22843,"material":151,"size":22844,"collection":45,"collections":22845,"showCount":22570,"zanCount":1998,"manualWeight":48,"mainColor":72},219725,"lian-shi-san-shu-tu-qian-xuan-219725","莲实三鼠图","纨扇形制的画面里，三鼠神态各异，或俯身嗅探、或啃食莲实，狡黠灵动的野趣跃然绢上，将小鼠的机警活泼描摹得细腻传神。衬景的秋梨肌理莹润，残败莲实带着翠色余韵，搭配缀露的红叶野果，晕开融融秋意。\n\n设色清润雅致，写实中带着文人情致，将寻常秋日小景赋予吉祥意涵，鼠兆多子、秋实喻富足，暗合岁稔年丰的美好祈愿。静穆秋实衬出动鼠的鲜活，工细笔致兼具雅致隽淡，把日常闲景绘得野趣盎然，藏着秋日里的闲雅生机。",[164,24,7,59,27,28,5883,22842,2037,949,61],"莲实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c3462c462d5281290d856a9a109fae6.jpg","28.2x24.3",[45],{"id":22847,"slug":22848,"title":22849,"dynasty":18,"author":223,"museum":56,"description":22850,"tags":22851,"thumbUrl":22852,"material":173,"size":22853,"collection":136,"collections":22854,"showCount":22570,"zanCount":1116,"manualWeight":48,"mainColor":49},218662,"song-feng-lou-guan-tu-yi-ming-218662","松风楼观图","山顶上的松树被涂上了颜色，天空中出现了奇特的山峰，山坡上的森林中矗立着建筑和房屋。悬崖边上有围栏和行人。艺术家用长线和水流来画山和石头，用各种点和线来画森林。近处的山是沉重的，远处的山是缥缈的，近处的树是苍白的，远处的树是缥缈的，显示出由于空气的阻隔，近处和远处的景物在视觉上的差异。",[23,24,7,164,1131,132,27,29,372,97,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05aa16083afb2ee32eae9a2801aa5c94.jpg","25.6x27.1",[136],{"id":22856,"slug":22857,"title":22858,"dynasty":18,"author":4899,"museum":20,"description":22859,"tags":22860,"thumbUrl":22861,"material":317,"size":22862,"collection":44,"collections":22863,"showCount":22570,"zanCount":1116,"manualWeight":48,"mainColor":49},218626,"tang-feng-tu-ce-ma-he-zhi-218626","唐风图册","马和之，生卒年月不详，钱塘人（杭州），南宋著名人物画家，主要社会活动在高宗时期。据记载马和之的官方身份为画院待诏，又有文献说他曾考中进士，官至工部或兵部侍郎。这么看，在南宋画院中，马和之身份特殊，不是一般的伎术官员。南宋末期的著名文人周密说他为画师之首，语意是模糊的，具体情况有待学术界去研讨清晰。\n在绘画上，马和之以人物画著称。他的绘画技术主要学习唐代吴道子、宋代李公麟两家。技术成熟期的马和之，在吴、李基础上，独创了人物形象的独特描摹技术：柳叶描（又称蚂蟥描）。这种描法的线条粗细变化丰富，用笔起伏明显，清俊不羁，活泼潇洒，韵味十足。因他创作上的成就斐然，人们以“小吴生”称之，将其置于吴道\n子这类大师的行列。南宋以后的绘画大家黄公望、吴镇、唐寅、任伯年、徐悲鸿等人皆对其推崇备至。\n马和之的传世作品尚有很多，其中《后赤壁赋图》、《 古木流泉图 》及取材《 诗经》的组图等。《诗经组图》是马和之的代表性作品，它的产生起因于宋高宗亲自书写的三百篇书法，配图是马和之完成的。这套组图，常见的有故宫博物院现藏的《小雅·鹿鸣之什图》卷、《节南山之什图》卷、《豳风图》卷。辽宁省博物馆现藏的《唐风图》卷、《鲁颂三篇图》卷、《周颂·清庙之什图》卷等。此外国内外的其他机构还有《豳风》等。",[23,24,7,59,188,96,29,34,130,211,101,99,690,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4354616319dfc9cc139b7b4d768562fa.jpg","27x44.7cm",[44],{"id":22865,"slug":22866,"title":22867,"dynasty":18,"author":223,"museum":56,"description":22868,"tags":22869,"thumbUrl":22870,"material":173,"size":22871,"collection":136,"collections":22872,"showCount":22570,"zanCount":48,"manualWeight":48,"mainColor":49},218587,"xue-jiang-gui-zhao-tu-yi-ming-218587","雪江归棹图","寒江雪霁，远山如卧，素白积雪覆在黛色峰峦上，似披一层清薄的纱。岸边茅舍隐于疏林后，枯枝横斜间，隐约见炊烟轻袅，恍若有人家正温酒候归。江面上归棹缓移，帆影淡远，桨声似被雪色浸软，只剩水波微漾的静穆。\n\n笔墨简淡却意韵悠长：山峦以淡墨晕染，积雪肌理用细笔勾出，枯树枝桠如铁线遒劲，尽显冬日清寂之美。整幅画虚实相生，留白处含清寒之气，归舟的动与雪景的静相映成趣，藏着宋人对自然的敬畏与隐逸生活的向往——于静谧中见生机，于简淡中蕴深情，每一处细节都在诉说冬日江上的淡然心境。",[23,24,7,128,29,129,496,34,35,1813,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbeef43a75f0757cbfd80d5f97f0987c.jpg","26.4x26.5",[136],{"id":22874,"slug":22875,"title":22876,"dynasty":18,"author":1622,"museum":244,"description":1623,"tags":22877,"thumbUrl":22879,"material":173,"size":1626,"collection":84,"collections":22880,"showCount":22570,"zanCount":48,"manualWeight":48,"mainColor":72},218569,"hua-niao-shan-shui-xiao-pin-ce-shan-jing-zhang-xing-ma-yuan-218569","花鸟山水小品册-山径杖行",[23,1846,24,7,59,27,132,29,96,22878,34,497,208],"山径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc6032da58b059d48a3d1b48a9d58189.jpg",[],{"id":22882,"slug":22883,"title":22884,"dynasty":124,"author":1141,"museum":20,"description":22885,"tags":22886,"thumbUrl":22887,"material":66,"size":22888,"collection":318,"collections":22889,"showCount":22570,"zanCount":48,"manualWeight":48,"mainColor":72},218499,"luo-yuan-cao-tang-tu-wen-zheng-ming-218499","洛原草堂图","本幅设色，后幅许宗鲁、刘储秀、李濂、康海、王九思、杨慎、白悦、清长照等十三家题记。钤乾隆、嘉庆、梁清标等藏印。",[23,24,7,25,2132,128,27,28,29,97,98,99,130,34,131,64,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29260d365a157def23b5c4e428155c4e.jpg","纵28.8cm，横94cm",[318,136],{"id":22891,"slug":22892,"title":22893,"dynasty":124,"author":22894,"museum":244,"description":22895,"tags":22896,"thumbUrl":22904,"material":173,"size":22905,"collection":44,"collections":22906,"showCount":22570,"zanCount":48,"manualWeight":48,"mainColor":49},218267,"qi-xian-tu-juan-liu-zhong-xian-218267","七贤图卷","刘仲贤","素绢之上，赭黄底色晕染出古朴雅致的氛围。雅士们或踞坐鼓琴，指尖似凝弦上意；或对弈楸枰，棋局间藏尽机锋；或醉卧倾杯，醺然态尽显放达；或执笔临帖，墨痕若带纸间香。人物衣袂翩然，线条流畅婉转，神态鲜活灵动——鼓琴者专注，对弈者凝思，醉酒者憨态，执笔人沉静。简淡背景未加繁复修饰，却将文人雅集的闲适超脱烘托得淋漓尽致。笔墨间暗蕴魏晋风骨余韵，将古代文人的精神情致凝成永恒画面，尽显生活之趣与心灵之境。",[23,24,7,25,27,28,96,10090,438,22897,22898,9025,22899,22900,19788,22901,22902,22903,16099,9024],"棋具","酒器","古琴","棋盘","抚琴","对弈","书写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6e87f9ff8949e45d600c5bd0cd4deed.jpg","31.4x128.5",[44],{"id":22908,"slug":22909,"title":22910,"dynasty":144,"author":18493,"museum":300,"description":22911,"tags":22912,"thumbUrl":22913,"material":278,"size":84,"collection":44,"collections":22914,"showCount":22570,"zanCount":48,"manualWeight":48,"mainColor":72},218244,"xue-ye-fang-dai-tu-zhang-wo-218244","雪夜访戴图","疏枝横斜，托出夜雪的清寒；孤棹轻漾，载得随性的旷达。画面中，枯树虬劲如铁，寒江空蒙似练，小舟泊于岸侧，篷窗半掩。舟中人物或凭舷凝思，或敛袖安坐，神态悠然自适。此作取王子猷雪夜访戴典故，不着一字写雪，却以萧索枯枝、静谧孤舟暗合冬夜清寂。笔墨简练传神，线条流畅婉转，皴染淡雅自然，将魏晋士人“乘兴而来，兴尽而返”的旷达心境，融入寒江孤棹的图景。观者仿佛能透过纸面，触摸那份不拘形迹的自在，感受超脱世俗的精神余韵，尽显古典文人画的意境之美。",[24,7,188,128,96,129,1337,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52371083784394e711a04b815e88c70f.jpg",[44],{"id":22916,"slug":22917,"title":22918,"dynasty":18,"author":1622,"museum":77,"description":3130,"tags":22919,"thumbUrl":22920,"material":173,"size":3133,"collection":84,"collections":22921,"showCount":22570,"zanCount":48,"manualWeight":48,"mainColor":72},218055,"song-di-ming-ti-ce-liu-ma-yuan-218055","宋帝命题册(六)",[23,24,7,59,27,132,1144,96,29,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0b3aa4b6ef4e2b674f3089d196e80f2.jpg",[],{"id":22923,"slug":22924,"title":22925,"dynasty":54,"author":1311,"museum":56,"description":1312,"tags":22926,"thumbUrl":22927,"material":278,"size":1316,"collection":84,"collections":22928,"showCount":22570,"zanCount":48,"manualWeight":48,"mainColor":72},214681,"mei-hua-zhu-shi-tu-ce-7-wang-shi-shen-214681","梅花竹石图册-7",[164,24,7,59,128,371,1314,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c58016e3a0117c9d9116da534e212db.jpg",[],{"id":22930,"slug":22931,"title":2465,"dynasty":124,"author":1058,"museum":300,"description":4630,"tags":22932,"thumbUrl":22934,"material":692,"size":1293,"collection":84,"collections":22935,"showCount":87,"zanCount":1998,"manualWeight":48,"mainColor":72},290852,"pin-cha-tu-zhou-tang-yin-290852",[164,24,7,165,128,64,208,133,572,29,96,1337,131,35,22933],"品茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c39e34cc459a2556e9473dfeb7bd579.jpg",[],{"id":22937,"slug":22938,"title":1289,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":22939,"thumbUrl":22940,"material":692,"size":1293,"collection":84,"collections":22941,"showCount":87,"zanCount":48,"manualWeight":48,"mainColor":72},239424,"shan-shui-hua-hui-ce-yun-shou-ping-239424",[24,7,59,27,128,171,167,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9a93d6197a93c72b6801a9f33f5d600.jpg",[],{"id":22943,"slug":22944,"title":15906,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":22945,"thumbUrl":22946,"material":84,"size":22947,"collection":68,"collections":22948,"showCount":87,"zanCount":48,"manualWeight":48,"mainColor":72},237761,"mo-mei-tu-zhou-shi-tao-237761",[24,7,165,128,188,371,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fab0adcf142610f1d8c057e202ce5f9.jpg","133×66cm.",[68],{"id":22950,"slug":22951,"title":13866,"dynasty":124,"author":13867,"museum":300,"description":13869,"tags":22952,"thumbUrl":22953,"material":84,"size":84,"collection":68,"collections":22954,"showCount":87,"zanCount":1116,"manualWeight":48,"mainColor":72},237545,"mo-zhu-tu-ce-feng-qi-zhen-237545",[164,24,7,59,128,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5abfcb084d62f761b36774aaa15f54.jpg",[68],{"id":22956,"slug":22957,"title":22958,"dynasty":54,"author":6936,"museum":300,"description":22959,"tags":22960,"thumbUrl":22961,"material":611,"size":22962,"collection":136,"collections":22963,"showCount":87,"zanCount":48,"manualWeight":48,"mainColor":72},234876,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234876","王原祁仿古山水册","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻求开创个人独特艺术特点的创作方向。该册是研究工原祁早期绘画的宝贵材料。",[24,7,59,27,29,132,330,208,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb3906ab5fe733b92e1b4dac6a6a17ae.jpg","纵21厘米，横27厘米",[136,45],{"id":22965,"slug":22966,"title":22967,"dynasty":54,"author":872,"museum":20,"description":22968,"tags":22969,"thumbUrl":22972,"material":1027,"size":22973,"collection":84,"collections":22974,"showCount":87,"zanCount":48,"manualWeight":48,"mainColor":72},234229,"shu-guo-juan-zhu-da-234229","蔬果卷","从右到左勾勒出黄瓜、芋头、葱、大蒜、茄子、白菜、莲藕、梨等蔬菜水果，排列成行，都是农村常见的，有不同的 形与质，大小不一，疏密，散落。有人生感和禅意。 是八大山人一贯的写意风格。",[23,164,24,7,25,128,369,133,208,4250,10888,4253,22970,22971,605],"蒜","黄瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b940c2439fdac30eea8813cf5a83875.jpg","28×206.5厘米",[],{"id":22976,"slug":22977,"title":22978,"dynasty":144,"author":8127,"museum":20,"description":22979,"tags":22980,"thumbUrl":22981,"material":1722,"size":22982,"collection":84,"collections":22983,"showCount":87,"zanCount":1998,"manualWeight":48,"mainColor":49},233824,"tao-zhu-jin-ji-tu-zhou-wang-yuan-233824","桃竹锦鸡图轴","该图上有王渊款：“至正已醜(1349年)王若水爲惠明作桃竹錦雞圖。”钤私印两方。是图将工整双勾的线条和细腻的水墨渲染合为一体，形成兼工带写的绘画技巧，以墨代色，脱胎于五代黄筌“黄家富贵”的工笔设色画风，反映了文人画重墨轻色的审美观。画家以水墨皴擦、晕染、粗细笔并用，行笔稳健而不乏洒脱，水墨层次变化丰富，颇有透明感，全图不着一色已俱见典雅端丽，画意蕴藉清润、幽静深秀。",[24,7,165,128,28,61,2123,167,2835,171,2438,4278,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04fe80188608afae39245cc2e1cd29b2.jpg","纵102.3cm，横55.4cm",[],{"id":22985,"slug":22986,"title":409,"dynasty":124,"author":2268,"museum":20,"description":11927,"tags":22987,"thumbUrl":22988,"material":734,"size":5345,"collection":136,"collections":22989,"showCount":87,"zanCount":48,"manualWeight":48,"mainColor":72},233800,"shan-shui-ce-dong-qi-chang-233800",[24,7,59,128,27,29,132,663,228,34,276,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034929475ad5bc8450af2c928ccea8b8.jpg",[136],{"id":22991,"slug":22992,"title":4182,"dynasty":18,"author":915,"museum":20,"description":22993,"tags":22994,"thumbUrl":22996,"material":40,"size":15578,"collection":84,"collections":22997,"showCount":87,"zanCount":48,"manualWeight":48,"mainColor":49},233004,"guo-shu-lai-qin-tu-ye-lin-chun-233004","画家选取果木的一枝写秋景：寂静的山林木叶泛黄，沉甸甸的果实早已熟透却无人采摘，任由虫儿噬蚀。一只小鸟蓦然飞上枝头，打破了空间的宁静。忽而，它转颈回眸，振翅欲飞，在这收获的季节里，它是否被画面外更为诱人的景色所吸引呢？\n折枝画法发挥了小幅的特长，作者以活泼的形式突出表现了枝叶、果实的色彩和禽鸟的情态，大不盈尺却美轮美奂，在饱满丰硕的果实和小鸟怡然自得的鸣唱中，画外的情趣、诗意与画意相结合，加强了花鸟画借物抒情的目的，令人赏心。\n小鸟的动态用细劲柔和的笔致勾勒，蓬松的羽毛则以浑融的墨色晕染，木叶的枯萎、残损、锈斑，果子上被虫儿叮咬的痕迹都被一一描绘出来，可见画家从自然景致中“摄集花形鸟态”的高超的写生能力。在构图上删繁就简，明洁奇巧，既保持了画院花鸟画“要物形不改”状物精微的写实精神，又表现出作者蕴藉空灵的审美追求。设色轻敷淡染，黄绿的叶子、淡红的果实、鹅黄的小鸟，分外和谐明丽。",[24,164,7,28,27,61,22995,1400,2438,747],"果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4b4d59a08468c0294c3fe6a31110e6d.jpg",[],{"id":22999,"slug":23000,"title":23001,"dynasty":182,"author":9928,"museum":510,"description":23002,"tags":23003,"thumbUrl":23004,"material":611,"size":23005,"collection":84,"collections":23006,"showCount":87,"zanCount":1998,"manualWeight":48,"mainColor":49},232269,"gu-shi-si-tie-zhang-xu-232269","古诗四帖","通篇笔画丰满，绝无纤弱浮滑之笔。行文跌宕起伏，动静交错，满纸如云烟缭绕，实乃草书颠峰之篇。北京大学教授、引碑入草开创者李志敏评价：“古诗四帖无一笔不争，无一笔不让，有呼有应，浑然天成。”今人郭子绪云：“《古诗四帖》，可以说是张旭全部生命的结晶，是天才美和自然美的典型，民族艺术的精华，永恒美的象征。”\n释文:东明九芝盖，北烛五云车。飘飖入倒景，出没上烟霞。春泉下玉溜，青鸟向金华。汉帝看桃核，齐侯问棘花。应逐上元酒，同来访蔡家。\n北阙临丹水，南宫生绛云。龙泥印玉简，大火练真文。上元风雨散，中天哥吹分。虚驾千寻上，空香万里闻\n谢灵运王子晋赞\n淑质非不丽，难之以万年。储宫非不贵，岂若上登天。王子复清旷，区中实哗嚣。喧既见浮丘公，与尔共纷翻。\n岩下一老公，四五少年赞\n衡山采药人，路迷粮亦绝。过息岩下坐，正见相对说。一老四五少，仙隐不别可？其书非世教，其人必贤哲。\n备注:《古诗四帖》录文为四首诗赋。前两首分别是南北朝庾信的《道士步虚词》之六和之八，后两首是南朝谢灵运的《王子晋赞》和《岩下见一老翁四五少年赞》。\n《庾子山集》和《谢灵运集校注》分别录有原文如下：\n东明九芝盖，北烛五云车。飘飖入倒景，出没上烟霞。春泉下玉溜，青鸟向金华。汉帝看桃核，齐侯问枣花。上元应送酒，来向蔡经家。\n北阙临玄水，南宫生绛云。龙泥印玉策，大火炼真文。上元风雨散，中天歌吹分。灵驾千寻上，空香万里闻。\n谢灵运王子晋赞\n淑质非不丽，难以之百年。储宫非不贵，岂若登云天。王子爱清净，区中实骅嚣。喧既见浮丘公，与尔共纷翻。\n岩下见一老翁四五少年赞\n衡山采药人，路迷粮亦绝。过息岩下坐，正见相对说。一老四五少，仙隐不可别。其书非世教，其人必贤哲。\n《古诗四帖》是否为张旭所作，尚有争议，但它是张旭笔法系统中一件重要的作品。它大部分线条不强调提按，而重视粗细均匀的线条中使转与速度的变化。中侧锋并用，笔锋常落在线条端部的一侧，但立即转为中锋；同时流畅中又往往生出圭角，如“年”、“别”等字，有不可端倪之感。左右部分衔接时，有时用粗重的线条。这一点在颜真卿《刘中使帖》中“期”、“将”的笔触也可看到，通过此点能看到颜、张的关系。\n狂草中的点画与其他书体中的点画不同。其一，狂草点画在连续运动中完成，而且较为快速，对控制用笔的敏捷、准确有很高要求；其二，其他书体字体中留驻、按顿等常用的方法在狂草中无法使用，只能更多地依靠手腕及其他关节的控制，因此在临习中一定要找到与点画形状相配合的运动方式。一种点画，书家可以用不同的笔法临写出大体相似的形状，但对狂草来说，只有自然而流畅地书写出这一形状才是可取的，其它操作方法不是把学习者和欣赏者引向另一种风格，而是引人离开草书。\n《古诗四帖》中有少量弱笔，但无损于整个作品的流动、敦厚，就大部分线条而言，已达到得心应手、落笔成趣的境界。草书中不离法则而随意驱运法则，这是高闲等人从来不曾梦想过的境地。\n“四帖”中真正使人感到意外的还是字结构。由于阅读与欣赏习惯的影响，“单字结构”总是欣赏者感觉中甩不掉的一个层面。与张旭其他作品相比，这件作品不符合他惯常的构字规则。\n《古诗四帖》属狂草。特点是较过去更为狂放，整体气势如长江大河一泻千里，急风骤雨，所以在草书发展史上是新突破。它打破了魏晋时期拘谨的草书风格。把草书在原有的基础结构上，将上下两字的笔画紧密相连，所谓“连绵还绕”，有时两个字看起来象一个字，有时一个字看起来却象两个字。在章法安排上，也是疏密悬殊很大。在书写上，也一反魏晋“匆匆不及草书”的四平八稳的传统书写速度，而采取了奔放、写意的抒情形式。\n《古诗四帖》，张旭自己并未书款，说它是张旭作品是根据董其昌鉴定， 后人多沿此说，但也颇有争议。\n张旭草书的章法大致可以分为单字界限清晰和单字界限不清晰这样两类。前者如《晚复帖》，后者如《古诗四帖》。两类作品书写时的心态有所不同。前一类作品书写时注意力可以主要放在字结构上，同时关注各字的连缀即可；后一类作品书写时以线条疏密及连续性的控制为首要目标。狂草中空间的疏密有时出现强烈的变化，但张旭的作品中，疏密变化都是逐渐发生的。换言之，由疏到密，或由密到疏，都有个过渡阶段，《肚痛贴》中从“肚痛”到“不可”这样突兀的变化只是个特例。\n《古诗四帖》笔法奔放不羁，如惊电激雷，倏忽万里，而又不离规矩。行文跌宕起伏，动静交错，满纸如云烟缭绕，实乃草书颠峰之篇。董其昌评说：“有悬崖坠，急雨旋风之势。”\n《古诗四帖》通篇气势奔放，运笔无往不收，如锥划沙，无纤巧浮华之笔。盛唐时期，以张旭为代表的一派草书风靡一时，它打破了魏晋时期拘谨的草书风格。把草书在原有的基础结构上，将上下两字的笔画紧密相连，所谓“连绵还绕”，有时两个字看起来象一个字，有时一个字看起来却象两个字。在章法安排上，也是疏密悬殊很大。在书写上，也一反魏晋“匆匆不及草书”的四平八稳的传统书写速度，而采取了奔放、写意的抒情形式。正如唐代文学家韩愈《送高闲上人序》中所云：“张旭善草书，不冶它技，喜怒窘穷，忧悲愉佚，怨恨，思慕，酣醉无聊，不平，有动于心，必于从草书焉发之。”\n《古诗四帖》早在北宋宋仁宗嘉佑年间已有刻本流传，墨迹进入北宋内府。“靖康之乱”散入民间，南宋后期为贾似道收藏。后转入南宋收藏家赵与勤家。明代归著名收藏家华夏的真赏斋，后又归项元汴，清时入内府。\n宋《宣和书谱》定为南北朝谢灵运书，元明时《云烟过眼录》、《珊瑚网书跋》、《平生壮观》均有记载，传至明朝中期，对作者产生怀疑，直到董其昌，才从诗韵变化揭示原说破绽并据草书肯定为张旭之作。《石渠宝笈初编》将此帖误断为赝品。\n关于是否是张旭真迹，明清均有争议，到现在仍有学者有不同意见。",[23,164,24,7,64,25,840,208,27,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b552411f9ee44f8aa35e32c763c8a8.jpg","纵28.8厘米，横192.3厘米",[],{"id":23008,"slug":23009,"title":23010,"dynasty":54,"author":3718,"museum":300,"description":23011,"tags":23012,"thumbUrl":23013,"material":84,"size":84,"collection":84,"collections":23014,"showCount":87,"zanCount":48,"manualWeight":48,"mainColor":72},230133,"yu-yu-liu-se-tu-hong-ren-230133","雨余柳色图","《雨余柳色图》是 僧侣画家 的国画作品。\n该画为立轴，纸本墨笔，纵84.4厘米，横45.厘米，现藏于 。\n《雨余柳色图》奥境奇辟，缅邈幽深，峰峦俊逸，水渚错落，林木萧疏，江水辽阔，远山浮动。\n全幅以山、坡为主，图右缀有几株垂柳，一座小小木桥；图左设有几栋屋宇，远处画一道流水。\n此画笔墨苍劲整洁，以细笔为主，兼用侧锋，并用乾笔皴擦，有秀逸清幽之气。\n弘仁（161--1664）[清]僧。\n明诸生，甲申后为僧，号渐江，一号无智，人称梅花古衲，俗姓江，名韬，字六奇，后改名舫，字鸥盟， 人。\n少孤贫，性癖，以铅椠养母。\n一日负米行三十里，不逮期，欲赴练江死。\n母殡后不婚不宦。\n明亡后清兵进逼 时，曾参加反清复明斗争，后于 落发为僧，法名弘仁，字无智，号 ，又号梅花古衲，数年后重返故里，一心研习画学。\n游 之幔亭，皈依报亲寺古航师为圆顶焉。",[24,164,7,165,128,132,29,4363,98,97,171,7596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8413b0a13127d754377e4b83368527.jpg",[],{"id":23016,"slug":23017,"title":23018,"dynasty":18,"author":23019,"museum":300,"description":23020,"tags":23021,"thumbUrl":23022,"material":84,"size":84,"collection":84,"collections":23023,"showCount":87,"zanCount":1998,"manualWeight":48,"mainColor":72},227816,"xie-sheng-zi-wei-wei-sheng-227816","写生紫薇","卫昇","卫昇，(公元1世纪)〔南宋〕其生平仅见元代夏文彦撰《图绘宝鉴》卷四载“卫昇，画花鸟甚佳”7字，与南宋画人平列在一起，可见卫昇为南宋时人。\n传世作品仅有《写生紫薇图》册页，绢本，设色，纵2.8厘米，横25.厘米，以工笔重色法写折枝盛开之紫薇花，造型精确，结构严谨，用笔工整，敷色雅丽，是一幅精到之作，具有南宋院体画特点，现藏 。",[23,164,24,7,28,27,61,2643,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcaa4997a97e82526f8899902e8a264a.jpg",[],{"id":23025,"slug":23026,"title":350,"dynasty":54,"author":1472,"museum":300,"description":23027,"tags":23028,"thumbUrl":23029,"material":84,"size":84,"collection":84,"collections":23030,"showCount":87,"zanCount":48,"manualWeight":48,"mainColor":49},224591,"yu-tang-fu-gui-tu-zou-yi-gui-224591","《玉堂富贵图》是清代邹一桂的作品，该图规格为197×96cm，此图中牡丹、玉兰、海棠、杜鹃，布满全幅，最后还用石青衬底。\n民间常以兰花象征玉堂，牡丹花象征富贵，这两种花卉图借喻玉堂富贵，祝愿职位高升，富裕显贵的意思。\n该图画是邹一桂的作品，作于清代。\n此图中牡丹、玉兰、海棠、杜鹃，布满全幅，最后还用石青衬底。\n汉代皇宫有“玉堂殿”，后世以“玉堂”指翰林院，“历金门，上玉堂有日矣”的意思是职位高升指日可待。\n“富贵”一词出自《论语-颜渊》：“商闻之矣，生死有命，富贵在天。\n”，指富裕而显贵的意思。\n民间常以兰花象征玉堂，牡丹花象征富贵，这两种花卉图借喻玉堂富贵，祝愿职位高升，富裕显贵的意思。\n牡丹敷以淡粉，用重粉点染边缘，显得晶莹剔透、庄重典雅。\n整个画面热烈而秀雅，韵味十足。\n，字小山。\n善画人物、花卉、翎毛、偶画山水。\n擅长水墨花卉，极有重名。",[23,164,24,7,165,28,27,61,263,356,131,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74591eb4de60da169f51849ba65b2284.jpg",[],{"id":23032,"slug":23033,"title":23034,"dynasty":54,"author":3403,"museum":300,"description":23035,"tags":23036,"thumbUrl":23037,"material":84,"size":84,"collection":84,"collections":23038,"showCount":87,"zanCount":48,"manualWeight":48,"mainColor":199},224214,"pin-mei-tu-wu-chang-shuo-224214","品梅图","此作为典型文人清供小景，红梅老枝苍劲朴拙，胭脂点染花苞艳而不妖，尽显虬枝凌寒盛放的生机。茶炉以淡墨晕染，焦墨点出炽红炭火，留白暗喻水汽蒸腾，古雅茶壶静置炉上，角落油伞添了几分俗世烟火意趣，将围炉品茗赏梅的幽居闲逸铺陈开来。\n\n作者以金石笔法入画，笔力雄健老辣，苍劲题诗与疏朗画面浑然一体，诗书画印相融相合，将文人雅致闲情寄寓寻常清景中，寥寥数笔便勾勒出冬日小聚的清寂快意，把日常小景升华为超然雅致的文人意境。",[23,24,7,165,27,128,371,168,169,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb20264ba227d2d6600d508cc9d63b4ae.jpg",[],{"id":23040,"slug":23041,"title":23042,"dynasty":18,"author":223,"museum":20,"description":23043,"tags":23044,"thumbUrl":23045,"material":40,"size":23046,"collection":84,"collections":23047,"showCount":87,"zanCount":1086,"manualWeight":48,"mainColor":49},223475,"zhe-zhi-hua-hui-tu-yi-ming-223475","折枝花卉图","此卷画折枝海棠、栀子、芙蓉、梅花共四幅，枝页繁茂，花儿怒放。花瓣、花页用勾勒填色法。花之娇态、页之正反和明暗表现得恰到好处。图中用笔缜密严谨，但工而不板，设色艳而不俗。第一段海棠树干上署有「赵昌」二字款，从字迹、画风分析，此款伪，实为当时高手所作。画面钤有「乾隆御览之宝」、「嘉庆御览之宝」、「宣统御览之宝」等印玺。曾经陈自明、清内府收藏。不见著録。",[23,24,7,25,1846,28,27,290,62,371,263,624,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e760018d01b4d8788990c09188ef3fe.jpg","每段49.2x77.6cm",[],{"id":23049,"slug":23050,"title":12323,"dynasty":54,"author":23051,"museum":224,"description":23052,"tags":23053,"thumbUrl":23054,"material":23055,"size":23056,"collection":136,"collections":23057,"showCount":87,"zanCount":48,"manualWeight":48,"mainColor":49},222849,"shan-shui-tu-juan-zhang-ci-ning-222849","张赐宁","群山环抱，两棵树耸立，水面平静，叶小舟去作画。和其他水墨画一样，这幅画用墨较多，有层次感。",[23,24,7,25,128,27,29,132,663,228,31,129,1144,35,497,415,5801],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F245cd1b249d8216f4f7f6e4b49950088.jpg","纸本 水墨 设色","41.3 x274.0厘米",[136,117],{"id":23059,"slug":23060,"title":23061,"dynasty":124,"author":3619,"museum":524,"description":23062,"tags":23063,"thumbUrl":23064,"material":514,"size":23065,"collection":136,"collections":23066,"showCount":87,"zanCount":1116,"manualWeight":48,"mainColor":49},221975,"wu-zhong-sheng-gai-tu-quan-juan-wen-zheng-ming-221975","吴中胜概图全卷","文征明（文徵明）（1470-1559），初名壁，字征明（徵明），四十二岁起以字行，更字征仲，因先世衡山人，故号衡山居士，世称“文衡山”，停云生。长州（今江苏苏州吴县）人，曾官翰林待诏。生于明宣宗成化六年，卒于明世宗嘉靖三十八年，年九十岁。文受业于吴宽，学书于李应祯，学画于沈周。擅长诗文书画，为“吴中三家”之一。在书法上，早年受其父知友吴宽的影响写苏体，后受他岳父李应祯的影响，学宋元的笔法较多。小楷师法晋唐，力趋健劲。文征明功力深厚，楷书法度严谨，不仅深得《黄庭经》、《乐毅论》之诣，更多地则是采用欧阳询的笔意和体势，但在用笔上又更加削劲、挺健。明·谢在杭《五杂俎·卷七》称赞文征明小楷：“无真正楷书，即钟、王所传《荐季直表》、《乐毅论》皆带行笔。洎唐《九成宫》、《多宝塔》等碑，始字画谨严，而偏肥偏瘦之病，犹然不免。至本朝文征仲先生始极意结构，疏密匀称，位置适宜。如八面观音，色相具足。于书苑中亦盖代之一人也。”他的大字有黄庭坚笔意，苍秀摆宕，骨韵兼擅。与祝允明、王宠并重当时。",[23,24,7,25,27,29,133,64,132,28,496,31,97,98,99,129,130,211,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbea8d9ae2d8130ad7485b843268d551.jpg","纵31.5厘米，横453厘米",[136,45],{"id":23068,"slug":23069,"title":23070,"dynasty":144,"author":2697,"museum":20,"description":23071,"tags":23072,"thumbUrl":23073,"material":920,"size":23074,"collection":117,"collections":23075,"showCount":87,"zanCount":1998,"manualWeight":48,"mainColor":49},221814,"shuang-gou-zhu-tu-li-kan-221814","双钩竹图","李衎（1245-1320），字仲宾，号息斋道人，蓟丘（今北京）人。皇庆元年（1312年）为吏部尚书，拜集贤殿大学士，与赵孟頫相友善。死后追封蓟国公，谥文简。善画竹，墨竹初师王庭筠，继师文同，青绿设色师李颇。",[23,164,24,7,165,12335,28,167,171,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53499e6ca3eee6c531a56818fa98b16c.jpg","纵185.5cm，横153.7cm",[117,1670],{"id":23077,"slug":23078,"title":23079,"dynasty":18,"author":223,"museum":1185,"description":23080,"tags":23081,"thumbUrl":23082,"material":611,"size":23083,"collection":42,"collections":23084,"showCount":87,"zanCount":48,"manualWeight":48,"mainColor":49},221677,"jiang-shan-xing-lv-tu-yi-ming-221677","江山行旅图","《江山行旅图》画艺精湛，保存完好，并且流传有绪，实为金代山水画的珍品。依据款署「太古遗民」推断，此图作者应赏析为一位北宋遗民画家，他为躲避金廷的追查和征用，隐名埋姓，深居简出，不忘先祖，不愿成为女真人的臣民而甘当遗民。另根据「东皋」钤印判断，这位画家有可能籍贯为东皋(今山西河津)，而从画面描绘的北方山川风物景色来看也与此地域相近，也可能借此怀念前朝往事。\n《江山行旅图》用笔劲健刚硬，皴法质朴，略施渲淡， 综合了「钉头皴」，「雨点皴」等皴法描绘出北方石质坚凝的山体，表现出一种雄伟峻厚，风骨峭拔的气象，确有综合「三家山水」之感：关同的：「峭拔」，李成的「旷远」，范宽的「雄强」， 而这些特点令人想到了「三家山水」的渊源，即中国画史上遗民画家的先驱--荆浩。他是唐末后梁儒士出身的山水画家，字浩然，沁水（今属山西）人，一作河内（今河南沁阳）人。唐末战乱迭起，荆浩隐于太行山区的洪谷，取号洪谷子，以唐人自居，无视后梁统治。其山水画强调师法造化，搜妙创真，注重对真山真水的深切感受，开创了全景式的大山大水构图，奠定了北方山水画图式特征，影响了北宋山水画的整体面貌。",[23,24,7,25,128,132,29,34,497,37,2620,663,228,171,690,130,211,1233,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb29e33ccd969cc6a691bf6ba1cee17d.jpg","38.42x417.83",[42,136,117],{"id":23086,"slug":23087,"title":2850,"dynasty":18,"author":2851,"museum":20,"description":23088,"tags":23089,"thumbUrl":23090,"material":40,"size":23091,"collection":84,"collections":23092,"showCount":87,"zanCount":1116,"manualWeight":48,"mainColor":72},221676,"zhao-ling-liu-jun-tu-zhao-lin-221676","此图依据唐太宗昭陵六骏石刻而绘，全卷分六段，每段画一马，旁有题赞。骏马的形态既忠于原作，又注意发挥绘画之长，通过遒劲的笔法和精微的设色，将马匹的毛色表现得更加真实自然，战骑驰骋疆场的雄姿也刻画得十分生动。无论是奔驰、腾跃，还是徐行、伫立，都能曲尽其态。\n六骏中，有侍者率引的飒露紫最为精采。据《旧唐书·王行恭传》记载：“初，从讨王世充，会战于邙山之上，太宗欲知其虚实强弱，乃与数十骑冲之，直出其后，众皆披靡，莫敢当其锋，所杀伤者甚众。寻有劲骑数人追及太宗，矢中御马，行恭乃回骑射之，发无不中，余贼不敢复前，然后下马拔箭，以其所乘马进太宗。行恭于御马前步执长刀，巨跃大呼，斩数人，突阵而出，得入大军。贞观中，有诏刻石为人马以像行恭拔箭之状，立于昭陵阙前。”画面选取的正是王行恭为飒露紫拔箭的刹那情景，粗壮膘悍的王行恭，右手拔箭，左手推抚，身体后倾，目光温和，疼爱之情溢于言表。受伤的马驯顺地伫立，马头与王行恭紧紧相贴，也极富感情色彩。飒露紫前腿紧绷，后腿微屈，极细微地描绘出了战马强忍剧痛的动态。在细节刻画方面，此画较之石刻更加精微。\n其余五匹，拳毛騧为李世民平刘黑闼时所乘，特勒骠为征宋金刚时所骑，均作徐步行进状，双耳竖起，目光有神。身中九箭的拳毛騧，起步轻捷，头部前昂，更显得英俊坚毅，透出久经沙场之神骏的不凡气质。白蹄乌、青骓、什伐赤分别为李世民与薛仁果、窦建德、王世充作战时乘骑，皆作奔驰之状，四蹄腾空，鬃毛飞扬，突出了飞奔的动态和勇猛的冲势，呈现出冲锋陷阵时的雄姿。六匹骏马以不同的动作、神情、气势，表现出共有的轩昂雄健气宇，在历代战马图像中堪称上乘之作。\n从画风看，此图明显吸收了汉族艺术传统，继承唐和北宋时代的画马技法，尤多唐代韩干遗韵。造型准确朴拙，线描柔和匀细，设色浓重沉厚，渲染富有质感。\n此图出自金代画家赵霖之手，为其存世孤本。每段题赞为金代著名书法家赵秉文所写，赵的流传书迹也甚少。唐昭陵六骏浮雕在宋初被勒石摹刻，此画与石刻拓片的线条结构几乎一致，赵霖很可能参酌了北宋的石刻拓片（原石刻现藏陕西省博物馆）而作。\n该卷引首有乾隆帝书《昭陵石马歌》，后幅有赵秉文题记，指出作者是赵霖。",[23,24,7,25,27,28,101,96,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93242b603674493d0c3b514b8339e19.jpg","纵27.4厘米，横444.9厘米",[],{"id":23094,"slug":23095,"title":23096,"dynasty":18,"author":4899,"museum":20,"description":23097,"tags":23098,"thumbUrl":23099,"material":40,"size":23100,"collection":42,"collections":23101,"showCount":87,"zanCount":1998,"manualWeight":48,"mainColor":49},221628,"shi-jing-xiao-ya-lu-ming-zhi-shen-tu-ma-he-zhi-221628","诗经小雅鹿鸣之什图","此卷是南宋著名画家马和之创作的《诗经》系列画作品中的一卷。全卷书、画共10段，每段前小楷书《诗经》原文，文后为图。首段开头书“鹿鸣之什”四字，末段书三首诗名及小序，末又书“鹿鸣之什十篇”。\n第一段：鹿鸣　　画面上一所豪华的宫殿中华灯盛宴，一王者相貌之人踞坐殿中，嘉宾与臣下列坐两侧，以突出王者宴嘉宾臣下之意。殿外丹墀之下内侍环立，乐工鼓琴奏乐，以乐君臣。右侧是高大的树木与叠起的云霭，仿佛形成一道屏风，将画面自然隔开，表现群鹿于山谷之中，或鸣，或奔，或低首觅食，各具姿态。全图紧扣宴乐嘉宾之中心，表现得浅显而明了，使人易于理解其深刻的含意。\n第二段：四牡　　《四牡》一章是在慰劳外国使臣时演唱的。此段描绘外国使臣来朝路上的情节。画面上一辆四驾马车左行，一人手持节旄端坐车中，四名仆从于车前挽辔而行，车后一人跟随。衬景仅绘一丛树木，表现出路途的荒凉与使臣远行的艰辛。图中主要人物面部表情并不欢愉，而是略带一丝忧愁，这正与诗中“周道倭迟，岂不怀归”的人物心情之刻画相契合，但“王事靡艰，我心伤悲”，主人公又表现出一种为了国家、王事而心忧的复杂情愫。\n第三段：皇皇者华　　此段绘山间路上一辆四匹马驾的车正逶迤行进，与前段人物的运行方向相反，为自左向右行。诗序云：“皇皇者华，君遣使臣也，送之以礼乐，言远而有光华也。”一人手挽缰绳坐于车中，车旁一随从手擎使臣所用之节旄，仆从各携不同物品跟随于马车前后。此段表现使臣奉王命出行的场面。四周草木丛杂，山谷幽深，山间小溪流淌，通过环境的描绘表现出使臣为国事奔走的艰辛劳瘁之状。\n第四段：常棣　　此段绘坡岸上三人立于水畔，形貌几乎相同，似表现兄弟三人正在观看水中的植物。水中植物亦为三株，错落生长，或即为常棣之木。封建社会讲究孝悌，悌指兄弟和睦，此诗此图意皆在此。《常棣》诗云：“兄弟既翕，和乐且湛，宜尔家室，乐尔妻帑。……”古人谓“齐家治国”，兄弟和睦方能齐家，故此乃治国的前提条件。\n第五段：伐木　　此段绘山高草深，林木茂盛，山谷间二人手执利斧，在一株较矮小的树下作砍伐状。二人视线均集于树上的一只栖鸟身上，以扣紧“出自幽谷，迁于乔木”之主题。此段画面较为平直，而诗中的引申之意则未加表现。\n第六段：天保　　此段画面绘高山峻岭，乔松挺秀，碧海翻波，祥云瑞霭，红日初升于水上，皎月掩映于峰峦之间，光华耀人。诗中末段云：“群黎百姓，编为尔德，如月之恒，如日之升，如南山之寿，不蹇不崩，如松柏之茂，无不尔或承。”此诗意在表示王权天授，江山如松柏之不凋，如南山之不崩，如日月之永恒，以祈江山永固。此段所录诗中“恒”字缺最后二横笔，避宋真宗赵恒讳。\n第七段：采薇　　此段图绘山林间一队车马右向奔驰，驾车之马皆着甲胄。旌旗冽冽随风飘舞，马蹄声声踏破了山间的宁静。画面上只画出7人8马，但山坡顶部扬起的数杆旗帜却令人有千军万马随之而来的感觉。诗中一再强调戍边将士远离家园、忍饥挨冻都是边患未靖之故，鼓励将士为国出力，抵御外侮，勤劳王事。这一点在南宋初年亦是极具现实意义的。\n第八段：出车 此段描绘王者乘车出郊慰劳戍边而还的将士之场面。诗云：“我出我车，于彼牧矣，自天子所，谓我来矣。”画面上五乘车马左行，甲胄整齐，兵刃森森，军旗飘扬。此图以人物车马为主，衬景仅是边角上点缀几丛杂树，远处山丘隐现。\n第九段：杕杜　　图绘山林间茅屋隐现，小路上一妇人提篮远眺，在祈盼逾期未归的丈夫。远处山顶旗帜隐现，寓征夫将还之意。\n第十段：鱼丽　　此段绘池塘中二人划一小舟，肩扛捕获的鱼向岸边而来，岸上二人正在指点谈论。此段意在表现政权安定后物阜民丰，然“始于忧勤，终于逸乐”，故需取之有时的为政思想，对统治者施政有一定的劝戒寓意。\n马和之抓住原诗中的某一个细节，发挥自己的主观想象，以浅显易懂的绘画语言绘制出号称三百篇的《诗经》插图，在绘画创作上堪称浩大的工程。\n马和之创作《诗经图》历经高宗、孝宗二朝。据《绘事备考》载：“高宗尝以毛诗三百篇诏和之图写，未及竣事而卒。”后由孝宗继其事，仍令和之补图。《鹿鸣之什》卷见于《绘事备考》记载，可知创作于高宗朝。然马和之《诗经图》问世不久即出现摹本、临本，存世至今约16卷，风格、水平不一，显然有真迹、摹本、仿作之分。今观是卷，绘画简逸流动，属马和之典型的“蚂蝗描”，书法端庄萧洒，为高水平的高宗书体，书画均属真迹，是极难得的存世赵书马画合璧真迹。",[23,24,7,25,188,27,133,64,96,97,34,6675,29,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e854a26934fa436dd74c1f474bc2b0.jpg","纵28厘米，横864厘米",[42,136,45],{"id":23103,"slug":23104,"title":23105,"dynasty":182,"author":20627,"museum":510,"description":23106,"tags":23107,"thumbUrl":23108,"material":611,"size":84,"collection":318,"collections":23109,"showCount":87,"zanCount":1116,"manualWeight":48,"mainColor":72},221107,"qian-zi-wen-quan-juan-ou-yang-xun-221107","千字文全卷","《千字文》为南北朝时周兴嗣编纂，全文共1000字，四字成句，对仗工整，文句平白如话，易诵易记，是中国最重要的蒙学教材之一，并译有多语种传于海外。\n自《千字文》出，历代书家无有例外，必常年书写，终生不倦。据载，隋智永法师所书真草《千字文》800册，分送于当时浙东诸寺。又如赵孟頫、文徵明等书家一生所书《千字文》无数，无不尽思其妙，更有两体、四体、六体不同风貌。《千字文为》为历代书家所重，多做日常必修。近有于右任、王蘧常、黄宾虹、沈尹默等《千字文》作品名世。可见，《千字文》不该为当代所轻。\n《千字文》不仅以古代蒙学作为中国传统文化内容之一再提及，同时作为书法当今常规书写题材，都有着一定的意义。此系列专题意在飨有所好，若勤而常习，自有裨益。",[23,64,572,25,7,208,1590,8116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62dd6476b0650a40a9ab1d2aee27b171.jpg",[318],{"id":23111,"slug":23112,"title":23113,"dynasty":124,"author":2268,"museum":244,"description":23114,"tags":23115,"thumbUrl":23116,"material":637,"size":23117,"collection":136,"collections":23118,"showCount":87,"zanCount":48,"manualWeight":48,"mainColor":72},220962,"feng-jing-fang-gu-tu-dong-qi-chang-220962","葑泾仿古图","此图古意森然而秀润，正体现了画家的艺术特点，用笔柔中带刚，中锋直皴。 董其昌的山水画，大体有两种面貌，一种是水墨或兼用浅绛法，此画便属于这一种。另一种则是青绿设色，有时出以没骨，比较少见。在这幅作品中，既有董源、巨然、米芾、赵孟頫、黄公望、倪云林乃至李唐的遗风余韵，又有他自己的动人华彩。",[23,24,7,128,29,132,330,64,133,208,98,99,34,131,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a40e34b394a4d345fd98856c1f31ff1.jpg","纵79.72cm 横30.25cm",[136,117],{"id":23120,"slug":23121,"title":23122,"dynasty":124,"author":10632,"museum":6892,"description":23123,"tags":23124,"thumbUrl":23125,"material":23126,"size":23127,"collection":68,"collections":23128,"showCount":87,"zanCount":48,"manualWeight":48,"mainColor":84},220761,"shuang-ying-tu-lin-liang-220761","双鹰图","《双鹰图》轴是林良水墨写意的杰出代表作。该作品应是作者中年时期作品，“院体”画花鸟代表作，没骨画法，工写兼具。构图简洁，着色低沉单一，凸显鹰隼兀立久视之大境界。双鹰上者气宇轩昂，目光如炬，一爪独立于枯枝之上，有傲视苍宇之威；下者挺身缩项，羽翼蓬振，双爪力着于苍岩宕石，目中有物，显欲搏四方之势。双鹰静中有动，动中蓄静，王者风范，鹰击长空。",[23,24,7,128,369,165,61,949,211,1337,171,2438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a39e0bfd96c98a3be0dfa4c6416f5ee.jpg","纸本，水墨设色","130.2 × 74.5 cm",[68],{"id":23130,"slug":23131,"title":685,"dynasty":54,"author":23132,"museum":224,"description":23133,"tags":23134,"thumbUrl":23135,"material":278,"size":23136,"collection":136,"collections":23137,"showCount":87,"zanCount":48,"manualWeight":48,"mainColor":72},220009,"xi-shan-xing-lv-tu-liu-yu-220009","柳堉","柳堉（1620—1689年以后），字公韩、公含，号愚谷，江宁（南京）诸生。工诗、画，书法李邕，山水遒逸苍茫，最得董、巨遗法。惟水口流泉，不能自然，有霸悍之态。柳堉身在清代经济和文化发达的南京，受到广泛的艺术影响，众家风格的融合都体现在了这幅画上。作品中体积庞大的群山体反映受到了董其昌的影响。由黑色小叶子点缀的苍松、干燥的笔触表明了对安徽画派的熟悉，而奇妙的景观形态和深邃的远距离景观与惊人的特写镜头的大胆并置，显示了他对早期南京画家如吴彬的崇尚。",[23,24,7,25,128,132,29,98,99,129,130,211,331,97,495,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4f721d9feb3a8cf66ea0346ad6bd077.jpg","26.4x508.6厘米",[136],{"id":23139,"slug":23140,"title":23141,"dynasty":124,"author":23142,"museum":6892,"description":23143,"tags":23144,"thumbUrl":23145,"material":173,"size":23146,"collection":136,"collections":23147,"showCount":87,"zanCount":1998,"manualWeight":48,"mainColor":49},219944,"jiang-shan-sheng-lan-tu-yan-zong-219944","江山胜览图","颜宗","颜宗（1393—约1453）广东南海人，字学渊。永乐二十一年举人。授邵武知县，为政清明，以救荒悯旱为先。招抚邓茂七余部，全活甚众。景泰中擢兵部主事，署员外郎。奔母丧归，卒于途中。善画山水，时人有“颜老天趣不可及”之语，当时名画师如林良，视之尚有逊色。",[164,24,7,25,128,29,496,37,7409,149,1515,34,3650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F366483a10fdb6cde35d65da1131e8083.jpg","35.5x610厘米",[136],{"id":23149,"slug":23150,"title":23151,"dynasty":54,"author":9742,"museum":77,"description":23152,"tags":23153,"thumbUrl":23154,"material":278,"size":84,"collection":136,"collections":23155,"showCount":87,"zanCount":48,"manualWeight":48,"mainColor":72},217980,"fang-bei-yuan-qiu-shan-ting-zi-tu-wu-li-217980","仿北苑秋山亭子图","吴历的画风清新自然，笔法简洁流畅。在这幅画中，他巧妙地运用了构图、色彩和线条的对比，使得整幅画面显得格外生动。他还细心地捕捉了自然界的细节，比如山亭的屋顶上长满青苔，树叶上的露珠闪闪发光。\n\n这幅画被认为是吴历的杰作之一，其独特的画风和精细的绘画技巧得到了广泛赞誉。它不仅是一幅美丽的画作，也是对中国古代山水画的精湛再现。",[24,7,128,29,130,413,131,132,330,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bd29e36c3ff5f94f648797f2e11c33d.jpg",[136],{"id":23157,"slug":23158,"title":23159,"dynasty":54,"author":223,"museum":244,"description":23160,"tags":23161,"thumbUrl":23162,"material":66,"size":23163,"collection":68,"collections":23164,"showCount":87,"zanCount":1998,"manualWeight":48,"mainColor":72},216208,"xuan-zong-yu-ti-hua-ma-yi-ming-216208","宣宗御题画马","宣宗御题画马 是一件佚名的清朝时期的著名画作。这幅画描绘了一匹神骏的马，看起来非常生动和真实。据说这幅画是宣宗本人亲笔题写的，因此得名。宣宗（生于1711年，卒于1735年）是清朝乾隆皇帝的第三个儿子，在位期间，他对文化艺术有着浓厚的兴趣。这幅画被认为是宣宗对艺术的贡献之一，同时也是清朝时期的艺术瑰宝。",[23,24,7,27,28,101,949,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5818583a57e5269ba4a314a5f27b2ed.jpg","292.6x257.3cm",[68],{"id":23166,"slug":23167,"title":23168,"dynasty":124,"author":23169,"museum":77,"description":23170,"tags":23171,"thumbUrl":23172,"material":66,"size":23173,"collection":44,"collections":23174,"showCount":87,"zanCount":48,"manualWeight":48,"mainColor":72},214882,"quan-sheng-yu-sheng-shan-ye-wen-zhen-heng-214882","泉声语声扇页","文震亨","皴染的山石间，细泉蜿蜒而下，似携泠泠清音穿林过隙。二三文士散坐岩畔，衣袂轻扬处，或侧耳凝听泉鸣，或执手低语清谈，语声与泉声相和，融于松风竹韵间。笔墨简淡却意韵悠长，古雅绢色衬出山林的清幽，人物情态生动传神，尽显文人林下雅聚的悠然意趣。不必刻意铺陈，却于方寸扇面间，藏尽自然之妙与人文之雅，仿佛能让人暂离尘嚣，静享这片刻的泉声语声交织的清宁。",[1131,24,7,27,29,96,132,131,34,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3285efdae6163e4d15a75b0ff14abde9.jpg","16.5x50.5cm",[44],{"id":23176,"slug":23177,"title":23178,"dynasty":54,"author":5879,"museum":244,"description":5880,"tags":23179,"thumbUrl":23180,"material":66,"size":84,"collection":84,"collections":23181,"showCount":87,"zanCount":48,"manualWeight":48,"mainColor":72},214842,"xie-sheng-ce-19-hua-yan-214842","写生册-19",[24,7,59,128,27,101,1337,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f06695717fd42b73d213f402b2362a.jpg",[],{"id":23183,"slug":23184,"title":23185,"dynasty":124,"author":23186,"museum":244,"description":23187,"tags":23188,"thumbUrl":23189,"material":278,"size":23190,"collection":318,"collections":23191,"showCount":87,"zanCount":48,"manualWeight":48,"mainColor":72},214228,"cao-shu-wu-yan-lian-xu-guang-zuo-214228","草书五言联","许光祚","许光祚是明朝时期的一位著名草书家。他的草书五言联（五言绝句）是他的代表作之一。五言绝句是一种中国文学体裁，由五个五言诗组成。每一行均为五个字，共十行，句尾不须规定韵脚。五言绝句常被用于写诗，也可以用来写论文、散文等。许光祚的草书五言联被认为是其代表作之一，以其优美的笔法和优秀的构思著称。",[23,64,840,10886,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F965e52251aeb0efb31a0c91c6b12d432.jpg","150.9x29.9",[318],{"id":23193,"slug":23194,"title":23195,"dynasty":351,"author":6787,"museum":300,"description":23196,"tags":23197,"thumbUrl":23199,"material":692,"size":1293,"collection":84,"collections":23200,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":49},289926,"xue-tu-ju-ran-289926","雪图","其画面分为三个层次，组成一个硕头小脚“之”字。上层双峰并立，左低右高，危岩耸立，白雪皑皑，令人生畏；眼恋意留，不敢攀附。雪峰之上，古木郁郁，生机勃勃。特别是锯齿状的岩裂，触目惊心，将北方的雪映衬得更加雄浑、霸气。中层雪景呈斜倚之势漫漶开来，楼阁深入，分布有别；古树对峙，雪路茫然；骑者行于山径之上，左顾右盼，两岸风光引人入胜。它恰好将近景生动地连接起来，苍松如帘，层次分明却又浑然一体。仿佛听见覆雪之下，冬泉泠泠；雪压松枝，不时跌落，飒飒有声。",[23,164,24,7,29,165,128,132,2523,23198,97,1813,208],"寒树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0d1b6444505baf420412d317f53a4fb.jpg",[],59,{"id":23203,"slug":23204,"title":11881,"dynasty":18,"author":13682,"museum":300,"description":23205,"tags":23206,"thumbUrl":23208,"material":692,"size":1293,"collection":84,"collections":23209,"showCount":23201,"zanCount":1998,"manualWeight":48,"mainColor":49},289105,"chi-bi-tu-yang-shi-xian-289105","宫廷画家杨士贤根据苏轼《赤壁赋》创作《前赤壁图》，亦从一个角度看出文人画对宫廷绘画审美观念的影响，文人画的某些价值、观念和精神内容已经不可避免影响到了中国绘画的各个方面，并作为后世中国画的主要特色、主导画风出现在历史的视野之中。",[23,164,24,7,25,29,128,132,7409,10701,9613,129,23207],"赤壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F744ec93b40bc54ec26757c2c3d518075.jpg",[],{"id":23211,"slug":23212,"title":3844,"dynasty":18,"author":2141,"museum":300,"description":23213,"tags":23214,"thumbUrl":23217,"material":692,"size":1293,"collection":84,"collections":23218,"showCount":23201,"zanCount":1116,"manualWeight":48,"mainColor":49},288324,"xi-yuan-ya-ji-tu-liu-song-nian-288324","刘松年 （约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。\n刘松年工山水人物，山水皴法受李唐影响，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[23,164,24,25,7,27,28,96,29,98,99,131,4797,372,875,62,10090,23215,23216,208],"宴饮","赏景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1182922653740754f1d2cf37a3c1d6.jpg",[],{"id":23220,"slug":23221,"title":23222,"dynasty":54,"author":11070,"museum":20,"description":23223,"tags":23224,"thumbUrl":23225,"material":40,"size":23226,"collection":45,"collections":23227,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":72},238228,"hong-li-xing-le-tu-zhou-zhang-ting-yan-238228","弘历行乐图轴","此画描绘了乾隆皇帝在园囿中休闲自娱的场面。深秋的庭院，林木依旧繁茂，色彩十分丰富。中年的皇帝闲坐于廊下观赏庭中景致，若有所思，桌案上已经铺设了纸砚，一童子侍立，手执拂尘，一童子正捧书册而至。画中楼阁桥梁以直尺界笔描绘，融明代仇英的传统建筑画技法与海西透视法于一体，工致而不呆板。",[24,7,165,27,28,95,304,96,97,34,247,4278,758,15551],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F238dc91c650fc7be74daa9b715d2f6b8.jpg","纵119.1厘米，横213厘米",[45],{"id":23229,"slug":23230,"title":8430,"dynasty":54,"author":1460,"museum":20,"description":6481,"tags":23231,"thumbUrl":23232,"material":611,"size":84,"collection":136,"collections":23233,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":72},237235,"yuan-ji-shan-shui-tu-zhou-shi-tao-237235",[24,128,165,7,164,29,11998,34,495,497,3387,99,208,64,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5e43feaef33afb1b1431c649b984048.jpg",[136],{"id":23235,"slug":23236,"title":14818,"dynasty":54,"author":3718,"museum":300,"description":10500,"tags":23237,"thumbUrl":23238,"material":692,"size":1293,"collection":136,"collections":23239,"showCount":23201,"zanCount":1998,"manualWeight":48,"mainColor":72},235611,"hong-ren-shan-shui-ce-hong-ren-235611",[24,7,128,29,97,1144,11998,131,1022,4437,132,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff9adc4adea84818538ce7cff5131eed.jpg",[136],{"id":23241,"slug":23242,"title":5058,"dynasty":18,"author":2099,"museum":300,"description":23243,"tags":23244,"thumbUrl":23245,"material":692,"size":1293,"collection":84,"collections":23246,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":72},230972,"wu-ma-tu-li-gong-lin-230972","此图画的是宋朝元佑初年天驷监中的五匹西域名马，马旁各有一名奚官或圉人执辔引领。画中无作者款印，前4马后，各有黄庭坚签题的马名、产地、年岁、尺寸，卷末有黄庭坚“李公麟作”题跋：这些由西域诸国进贡的骏马，马名依序是“凤头骢”、“锦膊骢”、“好头赤”、“照夜白”，第五匹马佚名，经考证可能为“满川花”。画中的5位马官，两位是汉人，其余的为外族，形貌、服饰、神情各不相同，但在气质上却有着微妙的类似之处。",[23,164,24,7,25,188,27,96,101,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fec0ca19437f2221e38f8bcfaa50fb4.jpg",[],{"id":23248,"slug":23249,"title":23250,"dynasty":222,"author":223,"museum":300,"description":23251,"tags":23252,"thumbUrl":23254,"material":692,"size":1293,"collection":84,"collections":23255,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":49},230838,"cai-hui-si-bi-ru-yi-lun-guan-yin-xiang-yi-ming-230838","彩绘四臂如意轮观音像","此作以自在坐姿塑法相，菩萨面容沉静端严，宝冠缀饰华贵，璎珞环身尽显庄严。四臂各司其职，主臂托腮思惟，余臂持印握器，将悲悯自在的神韵相融。设色古雅厚重，石青、朱砂晕染出衣袂层次，头光环叠晕彩，衬出清寂高华。岁月留痕的斑驳残损，更添沧桑质感，圆转线条勾勒出舒展灵动的体态，尽显古雅释画的典雅法度，静穆间裹挟着慈悲意趣，是兼具宗教性与艺术性的珍贵遗存。",[23,24,7,27,187,96,28,1364,208,234,23253],"彩绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ca1f62971c665b5f5fb84f347665e2f.jpg",[],{"id":23257,"slug":23258,"title":23259,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":23260,"thumbUrl":23262,"material":151,"size":7879,"collection":84,"collections":23263,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":72},230107,"hong-lou-meng-188-sun-wen-230107","红楼梦188",[24,7,27,28,95,96,97,98,99,130,209,131,249,247,34,6874,2352,23261,499],"圆窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F179797fe31faa009c06c9f9a7e085fc1.jpg",[],{"id":23265,"slug":23266,"title":23267,"dynasty":124,"author":23268,"museum":300,"description":23269,"tags":23270,"thumbUrl":23271,"material":84,"size":84,"collection":84,"collections":23272,"showCount":23201,"zanCount":1086,"manualWeight":48,"mainColor":72},228421,"ta-xue-fang-you-tu-sun-zhi-228421","踏雪访友图","孙枝","《苏州博物馆藏明清书画》是26年文物出版社出版的图书，作者是苏州博物馆。\n苏州博物馆藏有大量的明清书画，除了戴进、沈周、文徴明、唐寅、董其昌、陈洪绶、傅山、恽寿平、石涛、郑燮、任伯年、吴昌硕等大家之外，对于生在苏州或者曾寓居苏州的其他明清书画家，该馆也尽数网罗。\n此次借新馆开馆之际，苏州博物馆从上万件书画藏品中，择选165件精品，集结成书。\n该书装帧精美，图片均为彩版，具有较高的艺术欣赏价值和收藏价值。\n苏州博物馆系列丛书总序 前言 一夏昶 墨竹图轴 二戴进 归舟图 三沈贞吉 秋林观瀑图轴 四刘珏 烟水微茫图 五沈周 花鸟册 六沈周 岸波图卷 七文徵明 三绝图卷 八文徵明 五月江深图幅 九唐寅 农训图轴 一○唐寅 灌木丛篠图轴 一一陈淳 牡丹湖石图轴 一二王宠 春山图 一三陆治 溪山访友图轴 一四陆治 唐人诗意山水册 一五王问 雪景山水轴 一六王问 赏月图金面扇页 一七文彭、文嘉草书卢仝饮茶诗、为壶梁作山水卷 一八文嘉 垂虹亭图卷 一九文伯仁 为怀谷作山水轴 二○陈焕 重岩飞瀑图幅 二一文伯仁 石湖草堂图 二二钱谷 临流独坐图扇页 二三钱谷 摹吴镇、倪云林山水卷 二四周天球 兰花图金面扇页 二五孙克弘 墨竹图 二六陈嘉言 水仙梅雀图轴 二七丁云鹏 秋山远眺图幅 二八董其昌 绿溪清嶂图 二九陈裸 野屋寒水图扇页 三○米万钟 三一归昌世 竹石图轴 三二李流芳 仿宋元各家山水 三三顾凝远 吴中名胜十景图 三四张宏等 八家送寇慎去官图册 三五蓝瑛 松岩观瀑图轴 三六蓝瑛 仿大痴山轴 三七伍瑞隆 墨牡丹图轴 三八吴彬 仙楼飞撷图轴 三九何适 林中草亭图轴 四○孙枝 踏雪访友图轴 四一唐志 契门泊渔舟图轴 四二濮桓 芝石图 四三周之冕 杏花锦鸡图轴 四四周臣 桃花源图 四五陈章侯、 胡华鬟山水梅花合册 四六江必名 白雪高风图 四七侯懋功 为秦山作山水扇页 四八李士达 西园雅集图卷 四九王翘 花蝶草虫卷 五○尤求 白描饮中八仙图卷 五一钱贡 福源寺图卷 五二恽向 仿古山水册 五三袁尚统 迎春图轴 五四项圣谟 山水兰竹图 五五郑元勋 临石田山水幅 五六陈洪绶扑蝶图扇面 五七陈洪绶何天章行乐图卷 五八万寿祺 五九王时敏端阳墨花轴 六○王时敏山水轴 六一王时敏秋山晓霁图 六二王鉴虞山十景册 六三程遂为烟翁作山水轴 六四黄向坚万里寻亲图轴 六五龚贤墨笔山水册 六六龚贤山水卷 六七朱轩山水册 六八徐枋北苑山水 六九罗牧山水轴 七○王犟仿范宽山水轴 七一王犟山水册 七二王武水仙湖石图轴 七三恽寿平山水、花卉册 七四上睿为梅作行乐图册 七五原济广陵茱萸湾图扇页 七六原济六君子图幅 七七王原祁仿大痴山水幅 七八王原祁仿梅道人秋山图幅 七九王原祁仿赵大年江乡春晓图轴 八○王啄祁仿大痴富春大岭图轴 八一查士标溪山佳处图轴 八二华邑、许滨桃柳双鸭图幅 八三华嵒宋儒诗意图轴 八四沈铨碧梧栖凤图 八五高凤翰甘菊图 八六边寿民芦帷册 八七张庚仿北苑夏山图幅 八八李鱓芍药图轴 八九李鱓风雨芭蕉图轴 九○李鱓、陈撰等（六人合作）花果扇页 九一金农香林扫塔图轴 九二黄慎群盲聚讼人物轴 九三黄慎八仙 九四高翔临倪瓒竹树小山图扇页 九五方士庶野云晚濑图轴 九六郑燮竹石图轴 九七李方膺松石图 九八钱维城五君子图轴 九九罗聘篦谷像 一○○罗聘兰花图 一○一方薰柏龄图轴. 一○二奚冈陂塘秋水图轴 一○三张崟临顿新居第三图卷 一○四张培敦玉溪梦隐图 一○五改琦竹石幽兰图轴 一○六屠倬为南雅作山水轴 一○七王礼琵琶仕女图 一○八虚谷松鹤中堂 一○九任薰茹叶蜻蜓图 一一○任薰花鸟册 一一一任颐风云三侠图轴 一一二任颐狸猫竹石图轴 一一三吴昌硕杞菊延年图轴 一一四吴觳祥深山水秀图卷 一一五任预射雁图 一一六陆远仿子久溪山秋霭图幅 一一七方大猷为敬翁作山水 一一八翟大坤草堂赏泉图轴 一一九蔡嘉山水册 一二○张风 一二一祝昌溪水无尽图 一二二华浚仿周文矩临镜美人图幅 一二三张弼草书册 一二四沈周 一二五陈献章七绝赛兰香诗轴 一二六王鏊草书七律轴 一二七祝允明行草九愍等诗卷 一二八祝允明滕王阁序诗卷 一二九文徵明行书七律二首 一三○文徵明尺牍 一三一文徵明小楷落花诗卷 一三二唐寅行书七律轴 一三三王问草书五律金面扇页 一三四周天球楷书子凉览古一首金面扇页 一三五徐渭行草应制咏墨诗轴 一三六徐渭行草应制咏剑诗轴 一三七王樨登行书五言诗轴 一三八申时行行草摺扇面 一三九董其昌草书五言诗轴 一四○范允临行书五言绝句轴 一四一赵宦光等二十家诗词册 一四二张瑞图行草五律诗轴 一四三张瑞图行草陶诗册 一四四文震孟行书登麻姑山诗轴 一四五文从简行书册页 一四六倪元璐行书五律金面扇页 一四七傅山草书七绝轴 一四八傅山、傅眉手书诗词册 一四九归庄行草七言诗轴 一五○徐枋草书五律 一五一查士标行草七绝诗 一五二查士标行书轴 一五三张照临朱子行书轴 一五四郑燮行草七律轴 一五五刘墉致英和信札册 一五六梁同书 一五七翁方纲七言行书轴 一五八钱沣行书欧阳公李公李欣诗句轴 一五九黄易七言篆书联 一六○铁保七言行书联 一六一陈豫钟五言篆书联 一六二陈鸿寿七言隶书联 一六三赵之谦为理卿行书七言诗轴 一六四翁同龠禾八言行书联 一六五沈曾植行书七绝",[23,24,7,164,165,27,28,132,29,96,101,130,1233,331,372,1556,663,497,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ccb2b5689bf232e92ad190dd0aa50b4.jpg",[],{"id":23274,"slug":23275,"title":10681,"dynasty":144,"author":287,"museum":300,"description":23276,"tags":23277,"thumbUrl":23280,"material":84,"size":84,"collection":84,"collections":23281,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":49},228316,"jin-hui-dui-tu-qian-xuan-228316","起于元，盛于清末，俗称“打翻字纸篓”，以画残破的文物片段堆栈构成画面。\n郑达甫先生被公认为此领域的唯一能手 锦灰堆 最早起源于何时，现无准确文献记载，相传是元代与赵孟頫齐名的画家钱选，在一次醉酒后兴起，将当天散落在饭桌上的下酒菜吃剩残物，如蟹脚、蚌壳、莲房、鸡翎、鱼刺等、信手绘制成一幅横卷，并挥笔题款“锦灰堆”。\n这可能是“锦灰堆”最早的历史记载。\n“锦灰堆”致力于特色陶瓷礼品研制、开发与销售。\n旗下品牌有锦瓷，锦瓷窑，泥道等。\n锦瓷只要生产红瓷，青花瓷，天目釉，茶具，格致古典，服务当下，具有深厚传统情怀的锦灰堆机构，于借礼品进而使得当下国人在器用和精神层面上回归古典，回归宁静，从而让现代人从喧嚣浮躁的盲动中找到某种心灵的归宿，达到静养身心，调节自我的目的。\n再者，通过对古代生活器用的阐扬、恢复，在更宏大的视野中，我们希望能为整个民族的精神回归作出点滴贡献。\n在推进整个古典生活场景的复原中，锦灰堆首推华丽、时尚的红瓷系列，并从功夫茶的发源地潮汕地区切入，引入此间的红头船文化和航海文化，凸显火“红”的福字主题。\n重构中国人的雅致生活 锦，绮丽繁华，天下莫此为甚。\n中国风雅的源头《诗经》，有“终南何有？有条有梅。\n君子至止，锦衣狐裘。\n”锦衣狐裘，诸侯方可穿着。\n《仪礼·聘礼》复有“皆奉玉锦束请觌”之句。\n锦为何物？《说文解字》云：锦，襄邑织文。\n《毛诗正义》则说，锦者，杂采为文。\n锦于中国人，乃成美好事物的普遍象征，遂有锦绣、锦囊、锦瑟、锦带、锦江、锦文、锦鳞，凡物着一锦字，读之立刻口齿芬芳。\n至于家国河山，古人亦以锦名之，曰锦绣河山。\n事实上，只有中国人可以用一种逍遥俯瞰的之态，描述壮丽宏大的山水，正如元代以降的山水画所表达的，“收拾河山入画图”。\n灰，则表达了古典中国人对世俗和底层生活的关注和亲密，这一点，则全非近代以前泰西诸国等级森然的社会体制所能及。\n“满面尘灰烟火色”，白乐天对一个卖炭老翁的细致描绘，恰恰说明了这一点。\n古代士大夫就是在“锦”与“灰”两端中求得心灵的平衡，从而达到中庸和无为的至高境界。\n宋末吴兴人钱选，一代画师。\n其时也，蒙元入主中国，钱选尚气节，不事新朝，特立独行，与赵孟頫辈异。\n选流连诗酒，无酒不能作画，此其雅癖之一；曾作小横卷，所绘举凡螯钤、鸡翎、莲房等食余剥剩、无用当弃之物，名之曰“锦灰堆”，此其雅癖之二。\n锦灰堆遂成一特异之画种，又称“八段锦”。\n生活零碎之物而形诸笔墨锦笺，而独放异彩，或可称怪异之三。\n钱选之作，有堪称国宝者，后多收入清宫大内，为清帝御览之宝。\n凡经御览，都为卷册，名曰《石渠宝笈》。\n钱选作品被收入《石渠宝笈初编》。\n民初海上，锦灰之堆润格攀涨，山水人物花鸟，不得专宠矣。\n所绘之物，由食余吐物，扩而及之“一页旧书、半张残帖、公文、私札、废契、短简”。\n若以当代美学考量，锦灰堆作为一种绘画门类，具有一种潜在的解构主义，可谓当代艺术潮流的远古鼻祖。\n会此意者，定当一笑。\n京城王世襄先生，亦慕钱选之高格与戏作，以“锦灰堆”名其文集。\n世襄年过九旬，于经世致用之学而外，洞彻古玩器物，举凡明家具、鹰鹞、烹饪、古建筑、蟋蟀、鸽子、竹艺、漆器等等，均深有发现。\n黄苗子遂以“玩物成家”目之。\n玩物而不丧志，其渊源幽淼，直可追溯先秦。\n《考工记》行文古雅，而凡世间百工造物，靡不涉及。\n魏晋诸子，倡而导之，经东坡等宋代诸儒，至明清而成玩物洪流矣。\n唐陆鸿渐行迹编海内而著《茶经》，后人饮茶，便得宗旨；宋人朱肱于杭州开酒坊，自酿自卖，著《北山酒经》流传于世，酒于是而得经典。\n而花草树木果树陶瓷园艺文房，乃至闺阁妆奁，人间烟火，皆入明代士大夫法眼，各种著述层出不穷。\n文震亨著《长物志》，高濂著《遵生八笺》，张岱著《陶庵梦忆》，玲琅满目，胪列不尽。\n执着于充满人情的尘世生活，是中国人典型的文化心理。\n明代变乱之前，物质的繁荣导致士大夫和普通民众的生活，在最求细节方面面达到了极致。\n庭除屋宇、园林百卉、钿光钗影、杯来盏往，余怀之《板桥杂记》所录晚明民众生活，其细致处，真是呼之欲出。\n悠闲，华美，逸乐，侠游，乃中国古代生活物质层面之四维。\n“闲者，匪徒尸居肉食，无所事事之谓。\n”高濂解释闲是一种境界，“闲可以养性，可以悦心，可以怡生安寿”。\n时乎坐陈钟鼎，几列琴书，榻排松窗之下，图展兰室之中，帘栊香霭，栏槛花妍，虽咽水餐云，亦足以忘饥永日。\n张岱论人，谓“人无癖，不可与交，以其无深情也；人无疵，不可与交，以其无真气也。\n” 张岱本人亦癖灯、癖游赏，癖器物。\n“少为纨绔子弟，极爱繁华，好精舍，好美婢，好娈童，好鲜衣，好美食，好骏马，好华灯，好烟火，好梨园，好鼓吹，好古董，好花鸟，兼以茶淫橘虐，书蠹诗魔。\n” 清代玩家自亦不少，晚明遗风，渔洋、袁枚等，接踵其后。\n然现代以来，士大夫之闲情雅致竟至泯然无迹，前人所持、所做、所饮、所餐、所观，遂成绝响，仅可于故纸堆中觅得鳞爪。\n此于国人，殊为憾事。\n前尘往事，并非定成空幻，成梦影。\n在器物层面，重构中国人古典生活方式，易于行，行远必将影响当下国人的价值认知。\n何也？一杯一盏，一花一木，一庐一室，一瓢一饮，均深蕴中国古典之价值，优雅，缠绵，温柔，富丽。\n似锦绣之质，浸俗世之情，于锦灰堆中，觅见风雅。\n1、 潮汕濒临南海，浮海可至南洋、印度、非洲海岸，乃至泰西诸国。\n这里是中西文明交流的一条重要路径——海上丝绸之路的必经之地，瓷器、丝绸、茶叶等中国固有的大宗产品从这里出口，而南洋的香料、珍宝、木材等，也远远不断，由此进入内地。\n潮汕也是古代中国人南迁之后的落脚点，所以，这里积存这丰厚的汉文化的元素。\n潮汕人很早就浮海去南洋谋生，其中，又以暹罗（泰国）居多。\n清代，此间与南洋的航运，是从中暹大米贸易开始的。\n为适应远洋航行的需要，原来有双桅、单桅之“潮州红头船”，发展成为“翘首高舷，备大桅樯三具”的远洋大帆船。\n《樟东风物记》：大型红头船长二十余丈，载重数百吨，三桅，有四帆开笑之称。\n红头船来自，源于清代之海禁。\n当时制度，凡出海之舶，须设色以辨。\n沿海省份，共设四色。\n广东在南，五行属火，用色为赤，遂“红油漆饰，青色钩字”。\n红头船不仅用朱砂油头，且以白粉油腹，头两侧画黑圈，再于船舷刻黑字。\n无形中，红头船具有了一种祛除不详的心理期待功能，融入到整个潮汕文化当中。\n红头船功夫茶具，不仅承载着这段具有强烈海洋文化特色的历史，还寄托着自生民以来就具有的祈福。\n2、功夫茶 苏辙诗曰：“闽中茶品天下高，倾身事茶不知劳。\n”此乃咏功夫茶诗也。\n功夫茶源于宋潮州府及福建的漳州、泉州。\n饮茶发展到功夫茶阶段，跟当时理学与禅宗的兴盛密不可分。\n功夫茶，茶中见性，以茶养性。\n除了水、火和冲泡这一程序性之外，功夫茶还衍生出极具形式美感的茶具。\n清俞蛟《潮嘉风月记》：“工夫茶，烹治之法，本诸陆羽《茶经》，而器具更为精致……杯盘则花瓷居多，内外写山水人物，极工致……杯小而盘如满月。\n” 锦灰堆功夫茶具，具本于宋代以降的人文传统。\n同时，亦融入时尚的造型，以适合现代人的审美。\n、红瓷 红瓷极尊贵，其制作之难亦冠各瓷之首。\n红瓷承载着吉祥、尊贵、自古就成为皇室追求的珍品。\n红瓷也是中国民间审美中至正之色，象征生命、繁衍和尊贵。\n红瓷釉料迥异于青花与青瓷等，其不耐高温的特性，使得一件红瓷的诞生很艰难。\n红瓷烧制，工艺复杂，须四次进炉：素烧，釉烧，红烧，金烧。\n每一环节不可偏差。\n尽管如此，仍是 “十窑九不成”。\n然则，更显红瓷的稀缺与珍贵。\n锦灰堆红头船红瓷功夫茶具，釉色分布匀停，光可鉴人，或蟠龙游凤，或牡丹缠枝，或花开富贵。\n而轻巧圆润，恰供清赏。\n（1）、红茶壶（鸿福） 壶，象盛器之形。\n日常不可或离之物，亦为礼器。\n古代常升华为美好之意。\n《春秋公羊传》：国子执壶浆。\n《三国志·诸葛亮传》：箪食壶浆。\n《芙蓉楼送辛渐》：一片冰心在玉壶。\n普通话，壶与“福”谐音，锦灰堆红茶壶便有了“鸿福”之意，同时，亦有“鸿鹄”之意，谓抱负远大也。\n（2）、红茶垫（托福） 茶垫又称壶托、托壶，红茶垫便可谐“福托”“托鸿福”“托福”等音。\n传统礼仪，接人待物，皆须谦逊。\n接茶、送茶之间，中华礼节，于细节中呈现。\n礼仪著于双方，也体现于每个个体，人借“托”举，“福”方永存。\n（）、福杯（吊鸿福杯） 杯，古又曰“爵”，饮器也。\n爵，象征荣誉和地位，即福禄寿喜之“禄”。\n与“福”为邻，传统抱负，合二为一。\n（4）、公杯（聚福） “大道之行也，天下为公。\n”《礼记》规定了中国人的最高社会理想。\n“公之为言公正无私也”。\n小小茶具，竟含儒家大道，此亦古人寄理想于“长物”之旨吧。\n公，也是古代爵位的最高等级。\n（5）、红茶渡（渡鸿福、鸿福渡） 渡，济也，引导也。\n这是一个暗藏禅机的词语，意蕴深厚。\n舍己渡人，方得超脱，这是佛家之道。\n若以当代社会伦理视之，此器亦公器也。\n然于公器之外，更充满英雄主义和绅士风度。\n（余可参照原文） （6）、精致小茶海 方寸之间，可容宇宙。\n海浩瀚无涯涘，在空间上以为这难以逾越，然则可以器用喻之。\n人心隔海，有渡可致。\n具物取名，古代闲情逸致之士乐此不疲，关键是，他们的想象力一如大海。\n海，又与潮汕之风俗相贯通。\n1）、大富大贵 “唯有牡丹真国色，花开时节动京城”，牡丹一直是中国富贵文化的核心意象，唐刘禹锡的诗恰好证明了这一点。\n作为花中之王，牡丹是历代文人雅士歌咏的对象。\n而龙、凤和蝶等意象的融合，则意味着一派高贵、长寿等怡人景象。\n2）、龙腾吉祥 在中国的语境中，龙一直是帝王的象征。\n当这一意象进入整个民族的心理深层结构，变成了众多行为的指南，一系列的崇拜也由此而来。\n龙也成了祈福消灾的对象。\n）、常年富贵 花团锦簇，一团和气，是古代人家最为看重的。\n等花卉图案，构成了众多居家要素，比如瓷器、锦缎。\n枝枝相连的形态暗示了中国人邻里相助和子孙繁衍的愿望，“连”也是“年”的谐音，于是便有“常年富贵”之名。\n4）、年年好运 运，行也。\n引申而为命运，“运隆祚永”是国家追求的目标，而祈求好运于一般人也变顺理成章。\n5）、6周年庆 大红的底色意味的喜气扑面而来。\n运筹红色，这正好是红瓷专家最为擅长的领域。\n黄色的五星，如暗夜繁星，耀人眼目，也如天女散花。",[23,24,7,25,28,27,61,806,230,1429,9910,62,481,23278,2037,549,23279],"杂物","虫蛀痕迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F413580bf86f0f2f07a385084ba691349.jpg",[],{"id":23283,"slug":23284,"title":23285,"dynasty":54,"author":3750,"museum":300,"description":23286,"tags":23287,"thumbUrl":23288,"material":692,"size":1293,"collection":84,"collections":23289,"showCount":23201,"zanCount":1998,"manualWeight":48,"mainColor":72},224476,"fang-hui-chong-bi-yi-shan-mian-wang-jian-224476","仿惠崇笔意扇面","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n[ 万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[23,164,24,7,1131,27,128,132,29,129,211,34,711,276,415,31,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9764580d2c6dd6fa1298ad7da313bc76.jpg",[],{"id":23291,"slug":23292,"title":23293,"dynasty":124,"author":223,"museum":244,"description":23294,"tags":23295,"thumbUrl":23296,"material":514,"size":23297,"collection":84,"collections":23298,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":49},223490,"ming-tai-zu-zhu-yuan-zhang-zuo-xiang-tu-zhou-yi-ming-223490","明太祖朱元璋坐像图轴","明太祖（1368－1398在位），明朝開國皇帝，姓朱，名元璋，年號洪武，濠州 (今安徽鳳陽)人。幼孤，入皇覺寺為僧，元末群雄並起，有雄才，以布衣成帝業。\n絹地彩繪太祖坐像，筆筆工整，風格嚴謹，幅面巨大，氣派堂皇。畫中皇帝頭戴烏紗折角向上巾，身著圓領織金盤龍皇袍，端坐金扶手椅，容貌豐偉，鬚短而黑，當值盛年。",[23,24,7,165,805,28,27,96,772,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa200f5ca4dc4d864c1d4c5a8a568a941.jpg","137x84",[],{"id":23300,"slug":23301,"title":23302,"dynasty":54,"author":23303,"museum":244,"description":23304,"tags":23305,"thumbUrl":23306,"material":637,"size":23307,"collection":136,"collections":23308,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":72},223121,"xi-hu-shi-jing-juan-dong-bang-da-223121","西湖十景卷","董邦达","《西湖十景图卷》由清代书画家董邦达绘。虽名为「十景」，画上却以隶书标注了西湖五十四处景点：断桥残雪、平湖秋月、曲院风荷、三潭印月、苏堤春晓、柳浪闻莺、双峰插云、花港观鱼、雷峰西照、南屏晓钟等等。\n乾隆皇帝在南巡前从未亲访江南。他对江南的所有印象与知识，皆构筑在相关图籍或他人的描述上。这件〈西湖十景〉卷，为南巡出发前夕，臣工提供给他各式江南旅游资讯的例子。此画为董邦达（1699-1769）所绘製，虽名为「十景」，画上却标出五十四个景点，将西湖可游处扩增五倍以上，实为「招游」之作。乾隆皇帝在南巡前一年（1750）的题跋，显示此图的确挑起游兴，让他打算于明春南巡时亲自感受久闻的西湖之美，印证实境与画境。诗句中流露出他对游览西湖的期待之情。\n康乾二帝每次南巡前后，都会有官绘本西湖图问世，或是为皇帝南巡作详导，或是总结皇帝南巡圣迹。故而，传世“西湖十景”图以清宫旧藏为主体。在这些清宫旧藏的“西湖十景”图中，董邦达为数最巨，有5件之多。",[23,24,7,25,27,29,132,95,208,97,98,99,34,131,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd37682559659c3eec6e7025d6f306b2a.jpg","41.6×361.8",[136],{"id":23310,"slug":23311,"title":23312,"dynasty":54,"author":1242,"museum":300,"description":23313,"tags":23314,"thumbUrl":23315,"material":611,"size":23316,"collection":68,"collections":23317,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":72},222710,"an-ma-tu-jin-nong-222710","鞍马图","图绘一人一马，所绘人物头戴翎毛宽边帽，身披红色披风，满脸胡茬一幅西域人的长相；身边的白马高大威武，颈脖上挂了一串红色绒球，尾巴用红绳扎上，主人手抚马背，可见主人对马儿的喜爱。",[23,24,7,165,128,27,96,101,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaa5a47ca9c74a302637305b2584337b.jpg","76x43厘米",[68,45],{"id":23319,"slug":23320,"title":23321,"dynasty":54,"author":3820,"museum":510,"description":23322,"tags":23323,"thumbUrl":23325,"material":23326,"size":23327,"collection":136,"collections":23328,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":49},222609,"yi-dao-fei-quan-gong-xian-222609","一道飞泉","画面描绘了近景崇山，山上有丛林、枝繁叶茂，几间茅庵掩映于树丛之中，使得寂静的山林更增添了几分幽邃之感，清清的泉水顺山而下，明快、幽雅、整幅画面笔酣墨润、气韵即足，给人一种清新自然之感。作者运用了“披麻皴”“雨点皴”等画法，虽不用泼墨，湿墨，但有泼墨之淋漓，浓郁苍润的效果。代表了作者山水画之独特风格。\n画的右上角有作者自题七言律诗： “静壁春泉一道飞，白龙藏影见斜辉，谁家草阁遥无际，半醉之窗向翠微。”署 “甲子上元(1684年1月15日)半亩龚贤书并题”款。下钤“龚贤印”白文方印，“半千”朱文方印。画上钤有“绶福堂藏画印”等鉴藏印。此画系作者晚年作品，现藏辽宁省博物馆。龚贤，字半千，又字野遗，号半亩，又号柴丈人。江苏昆山人，流寓江陵(今南京)清凉山。工诗文，行草，尤工山水，有《草香堂集》、《画诀》、《柴丈人画诀》、《课徒画稿》等著作行世，是金陵画派中最有成就的画家，并居金陵画派之首。\n在这幅画中，作者以石象征“长寿”，与牡丹相配合，寓意“富贵长寿”，是民间喜庆节日广为引用的吉祥图案。此画构图虽满，却巧妙地利用了绘画中的透视法则，以静映动，以深托远，尽显距离的美感，使有限的空间，充满无限的张力。\n繁茂的枝叶表现的甚为精彩，细如游丝的叶筋，其走向笔笔皆有交代，棱角分明，线条柔而刚劲，出神入化，使得薄如蝉翼的墨色叶片，正侧向背，顾盼顾仰，鲜活灵动。\n该画中所画之石，粗砺凝重，具有坚贞的傲骨和顽强的生命力，是其自身性格绝好的写照。从其改用左手绘画，到创作此幅画作止，历时九年，九年里从不习惯到习惯，从不熟练到熟练再到精益求精，其为之所付出的艰辛和努力，可想而知。幅首其左手题字也为整幅画面增色不少，其左冲右突，飘飘忽忽的结体，在这里好似垂挂的珠帘一般，随风摆动，与图画有机地结合在一起，别具韵致，给人雾里看花，隔帘观美之感。",[23,164,24,7,165,128,23324,29,99,34,131,130],"积墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24def22080b1526b2fb90ee14de849af.jpg","纸本水墨画","画心纵79、横38.2厘米",[136,117],{"id":23330,"slug":23331,"title":23332,"dynasty":124,"author":204,"museum":20,"description":23333,"tags":23334,"thumbUrl":23335,"material":40,"size":23336,"collection":136,"collections":23337,"showCount":23201,"zanCount":1116,"manualWeight":48,"mainColor":49},222221,"nv-le-tu-zhou-chou-ying-222221","女乐图轴","此图是一幅工笔重彩仕女画，表现的是贵族女子各执乐器，在殿宇前的地毯上配乐演奏的情景。周围站立三位女子，或侧耳倾听，或低声言谈，巧妙地营造出“听”的动感氛围。通过此图可见贵族女性在演奏时愉悦的心境，以及她们闲适高雅的游乐生活状态。",[23,164,24,7,165,28,27,95,96,166,997,97,247,438,413,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ed4eecc82d33b7ef91154d2d5b82d1.jpg","纵145.5厘米，横85.5厘米",[136,45],{"id":23339,"slug":23340,"title":23341,"dynasty":124,"author":16332,"museum":20,"description":23342,"tags":23343,"thumbUrl":23344,"material":23345,"size":23346,"collection":117,"collections":23347,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":72},222167,"qi-shui-qing-feng-tu-xia-chang-222167","淇水清风图","夏昶（1388至1470），字仲昭，号自在居士、玉峰，昆山人，后人誉其画竹高手。他初姓朱，名昶，后复姓夏，太宗为之更名昶，字仲昭。号自在居士，又号玉峯，昆山（今江苏昆山）人。昺弟。正统中官至太常寺卿直内阁。画墨竹师王绂，能得其妙，时推第一，名驰绝域，争以金购之。\n有“夏卿一个竹，西凉十锭金”之谣。所作竹枝烟姿雨色，偃值浓疎，动和榘度，盖行家也。昆山之人师之者更数辈，独屈约颇类之，而人所得，往往出其手。尤精楷法，永乐命书宫殿榜。卒年八十三。\n永乐十三年(公元1415年)中进士，为翰林院庶吉士。文皇十分赏识他的楷书，被推荐供事内省，授中书舍人。永乐命书宫殿榜。尝待从皇帝出巡于南、北二京。\n宣德(公元1426一1435年)中，转考工主事，仍供内直。正统(公元1436—1449年)中升太常卿。他为人坦率乐易，不拘小节，时常出入礼法间，人们也不怎么去责怪他。晚年回到故乡居住，以诗画宴乐自娱。\n夏昶，画竹学王绂兼学陈继，有自己的面目，声誉大大超过了他的老师。",[23,24,7,25,128,938,64,208,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd1e1ca00868d871f0471a4a53755cd6.jpg","纸本设","纵27.6CM 横98CM",[117],{"id":23349,"slug":23350,"title":23351,"dynasty":124,"author":3089,"museum":244,"description":23352,"tags":23353,"thumbUrl":23354,"material":514,"size":23355,"collection":68,"collections":23356,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":49},221939,"chun-hua-san-xi-zhou-bian-wen-jin-221939","春花三喜轴","此图用：正笔重色描绘了竹林中的二只山喜鹊，其背景有怪石及象征春天的大小鲜花，有的正在盛开，有的含苞待放，还有已是枝茂叶繁的新竹及节高挺直指天的竹笋，翠竹鞭笋，间以杜鹃筷廾，红绿相映，这足以表明已是春色的大地，画家把喜鹊置于特定的自然环境中，目看那翠竹上的一红嘴、黑顶、长尾、带白色斑点的灰喜鹊，张口呜叫俯视下面，在坡石上又一对同样漂亮的喜鹊，张开翅膀，相搏于坡石间，翎羽飞动，互以爪握其喙，互相拍打的戏嬉场面，这三喜鸟给画面带来了春天里动、植物生息繁衍的景象：画家向人们展示了自然界中极自然生动的瞬间形象，真实而富有情趣。\n宋代院画往往被后人批评为专求形似，不重神韵。\n其实，并不是每一个院画都是这样，何况绝大多数的院画是以刻划精确、立意高简为目的的。\n边文进便是吸取了这些院画中的养分，开创了自己的花鸟画面目。\n《春花三喜图》就是边景昭花鸟画之一。\n此画笔法工细，竹子以工细的墨色勾勒，再以填色表现。\n雀鸟的羽毛画法更是精细入微，着色艳丽而雅致，特别是长尾部的斑驳翎毛，还有闪闪生辉之态，其二喜鸟之神态栩栩如生。\n图中湖石沉雄，秀竹劲挺而葱郁．鲜花丛簇而生，夺人二目，二喜鹊于平坡之上嬉戏，一仰翻在地，一上前戏啄，上面竹间一喜鹊俯视二鹊．见此情景高声鸣，似在斥责，形神兼备，令人钦佩作者妙笔，而鹊之顽皮则令人莞尔。\n本画笔触细腻，叶以双勾填色法，山石皴染及花乌风格皆可见宋代院体风韵，设色艳丽清新，令人有如沐春风之感。\n边景昭（生卒年不详），字文进，福建沙县人。\n明宣德年间官武英殿待诏，擅画花鸟，笔墨承南宋院体，设色沉着雅丽。\n其子楚芳（一作祥）承父业，占籍锦衣（世袭任职锦衣卫）。",[23,24,7,164,165,28,27,61,167,547,355,171,14190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f1287edf3b68161f45fac1f2622fc6.jpg","纵165.2，横98.3cm",[68,45],{"id":23358,"slug":23359,"title":13152,"dynasty":144,"author":4034,"museum":244,"description":23360,"tags":23361,"thumbUrl":23363,"material":637,"size":23364,"collection":136,"collections":23365,"showCount":23201,"zanCount":1998,"manualWeight":48,"mainColor":72},221752,"hua-xue-jing-zhou-sheng-mao-221752","盛懋：元临安（今杭州）人。住嘉兴魏塘镇。与吴镇居比邻。洪子。善画山水、人物、花鸟，始学陈仲美（琳），略变其法，精致有馀，特过于巧。皇庆二年（1313）有仿张僧繇山水图，台北故宫周刊载有其1362年（至正二十二年）所作夏山行旅图。",[23,164,24,7,165,128,27,132,29,1813,1557,34,35,23362,31,1023,131,17726,3428],"茅舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f80914710acf1baa725ccfa5af835f.jpg","151x27.3公分",[136,117],{"id":23367,"slug":23368,"title":23369,"dynasty":18,"author":2099,"museum":12686,"description":23370,"tags":23371,"thumbUrl":23372,"material":40,"size":23373,"collection":42,"collections":23374,"showCount":23201,"zanCount":1116,"manualWeight":48,"mainColor":49},221406,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-221406","陶渊明隐归图全卷","绘陶渊明辞官乘舟归来、进行耕田、种菜、赏景等自得其乐的归隐生活，长卷共绘七幅图，为左侧题诗，右侧绘诗意，表达出诗人的“采菊东篱下，悠然见南山”的豁达心情。",[23,164,24,7,25,188,128,27,96,29,34,35,129,99,130,133,572,376,167,211,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d80abd5349282a67d9aa5f8593c2a4.jpg","37.0 x 521.5 cm",[42,44,117],{"id":23376,"slug":23377,"title":23378,"dynasty":18,"author":2349,"museum":244,"description":23379,"tags":23380,"thumbUrl":23381,"material":514,"size":23382,"collection":42,"collections":23383,"showCount":23201,"zanCount":1998,"manualWeight":48,"mainColor":49},221354,"kai-tai-tu-zhou-su-han-chen-221354","开泰图轴","画中的孩童欢乐地骑在一只大羊背上，身边围绕着各色大小造型不一、矫健欢腾的小羊，神气十足。据了解，北宋时期的日常生活中，羊并非骑乘的动物，但画中白羊被配上如神骏宝象般的鞍辔，散发着非同一般的宫廷贵气。群羊在草地中或饮，或食，或奔走，或徜徉，悠然自得的环绕在童子身边。画面背后还以长松梅花做背景，点有一双喜鹊，意取“喜上眉梢”。童子神采飞扬，群羊热闹欢腾，整幅画面充满了一派富丽祥和之气。那白胖小子丰润柔软的模样跃然于纸上，栩栩如生，令人心生爱怜。",[23,164,24,7,165,27,28,96,949,6300,413,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b0dcb740080929d847e81c2fd0a8fd4.jpg","纵106厘米，横52厘米",[42,44,45],{"id":23385,"slug":23386,"title":23387,"dynasty":124,"author":204,"museum":244,"description":23388,"tags":23389,"thumbUrl":23390,"material":66,"size":23391,"collection":44,"collections":23392,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":72},220378,"tong-yin-qing-hua-tu-chou-ying-220378","桐阴清话图","本幅画石峰嶙嶙，梧桐垂荫。树下两人拱立清谈，一童悄然侍立。前景另绘丛筱沿坡，野水奔流。此等景境，纵或出自画家揣想，然而人语溪声，竟恍若身历其境。岩岩画法，明显受到周臣「宁戚饭牛图」的直接影响。不过仇英此作较周臣略为谨慎，虽然线条挺拔劲健，强调笔墨的速度美感，但皴法则尽量包藏在轮廓之内，并且让岩石表面布满肌理与明暗变化，不失却形象的精准掌握。",[24,164,7,165,28,27,128,132,96,1424,227,11997,131,276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b6d0ee5bae513958f0ef6cec9a2004.jpg","279.5x100",[44,45],{"id":23394,"slug":23395,"title":23396,"dynasty":124,"author":223,"museum":6413,"description":23397,"tags":23398,"thumbUrl":23399,"material":173,"size":23400,"collection":68,"collections":23401,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":49},220340,"chun-jing-hua-niao-tu-yi-ming-220340","春景花鸟图","画面以早春雪景铺陈意境，老梅虬枝盘曲，枝头凝雪，冰萼缀枝。群雀栖于梅梢，灵动啾鸣，破了雪天的清寂。下方奇石覆雪，锦雉静静伫立，翎羽斑斓细腻，身旁细竹轻沾雪色，更衬出禽鸟的安然。角落里山茶吐艳，朱砂色的花萼点亮冷调的底色。\n\n工笔设色晕染柔和精微，禽鸟绒毛的蓬松、古木皲裂的苍劲都刻画入微，清冷雪景与暖调花色禽羽相映，将冬寒未褪、春意初萌的幽澹野趣尽藏其中，尽显雅致静穆又生意暗涌的格调。",[23,24,164,7,28,27,371,167,131,355,10860,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1068b2760f18f253d69357fe4d36b4c1.jpg","155.2 × 93.3",[68,45],{"id":23403,"slug":23404,"title":23405,"dynasty":18,"author":223,"museum":4840,"description":23406,"tags":23407,"thumbUrl":23408,"material":278,"size":84,"collection":44,"collections":23409,"showCount":23201,"zanCount":1998,"manualWeight":48,"mainColor":49},219587,"hu-fa-tian-wang-tu-yi-ming-219587","护法天王图","全作以长卷铺陈浩荡群像，排布疏密有致。左侧雅士云集，宽袍博带，神态或清隽沉凝，或温雅端方，铁线游丝般的线条勾勒出出尘风神。右侧融世俗百态，驯虎、舆车错落，仆役走卒情态鲜活，雅俗相映，消解了仙圣绘的疏离感。\n\n绢面虽经岁月晕染，浅淡古雅的设色依旧耐看，劲挺流转的线描尽显白描功底。衣袂飘举间将清贵气度与市井意趣揉为一体，在庄严仪轨之中藏着鲜活烟火，尽显中古人物画的叙事张力与笔墨意韵。",[23,24,7,25,187,188,27,28,96,5490,949,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac3273b94acfdc6de56954e04e0abfb.jpg",[44],{"id":23411,"slug":23412,"title":23413,"dynasty":124,"author":223,"museum":244,"description":23414,"tags":23415,"thumbUrl":23416,"material":27,"size":84,"collection":45,"collections":23417,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":49},219352,"ji-tu-yi-ming-219352","鸡图","红冠劲挺的雄鸡立于侧，黑羽如缎，尾翎舒展若墨染；白羽带斑的母鸡低头轻啄，身旁雏鸡憨态可掬，或蹭母翼下，或伸颈欲食，亲子温情流淌于笔端。旁侧百合悄然绽放，淡粉花瓣与嫩绿枝叶点缀，添几分雅致。古绢底色沉敛，线条细劲精准，设色温润自然——雄鸡艳红与黑羽对比鲜明，母鸡素白与雏鸡嫩黄相映成趣。无繁复布景，却以细腻笔触勾勒鸡群生动情态，既有田园恬淡，又暗合“吉（鸡）祥和合（百合）”的美好期许，尽显明代工笔花鸟的雅致意趣与生活气息。",[805,24,7,28,27,151,3291,8822,21195,19480,62,7446,2220],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf02b4d3eb9621cbc675af2bd1bf32f3.jpg",[45],{"id":23419,"slug":23420,"title":23421,"dynasty":124,"author":2110,"museum":244,"description":23422,"tags":23423,"thumbUrl":23425,"material":173,"size":23426,"collection":68,"collections":23427,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":49},219319,"qu-ge-jie-shou-tu-zhou-zhi-mian-219319","衢歌介寿图","周之冕(1521-?)，明代画家。字服卿，号少谷，长洲(今江苏苏州)人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。",[805,9521,24,7,165,151,27,61,62,1400,1144,131,23424,2885],"勾花点叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F345b4913e090ae3d73841591489baea3.jpg","138.1×56.7cm",[68],{"id":23429,"slug":23430,"title":23431,"dynasty":18,"author":1174,"museum":244,"description":23432,"tags":23433,"thumbUrl":23434,"material":173,"size":23435,"collection":42,"collections":23436,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":72},218968,"da-jiang-fu-yu-tu-li-tang-218968","大江浮玉图","图片显示的是一条大河，波涛汹涌，两艘河船一起停泊在附近的码头上。有一些岛屿升入河中，几块巨石与主山遥相呼应，而森林树木、寺庙和漂浮的人物被描绘得非常详细。其笔法与郭熙的《早春》相似，结构与徽宗的《溪山秋色》相似。它可能是郭熙在宣和、绍兴年间（1119-1162）制作的。",[23,24,7,128,29,132,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54993d0fc188603ac72284d8609e6fb4.jpg","20.8x22.2",[42,136],{"id":23438,"slug":23439,"title":23440,"dynasty":124,"author":3608,"museum":244,"description":23441,"tags":23442,"thumbUrl":23443,"material":66,"size":23444,"collection":68,"collections":23445,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":72},218847,"shuang-ji-tu-lu-zhi-218847","双鸡图","双鸡相倚石畔，一羽红冠微昂，一羽低首敛翅，毛羽以细笔勾染，晕出柔润光泽。石体干墨皴擦，纹理苍劲，与旁侧舒展的草叶形成刚柔对比。蜻蜓振翅悬于草尖，细足轻点，姿态灵动如真。笔墨间工写交织，设色淡雅却藏生机，题款朱印错落，更添古朴意蕴。整幅画似截取田园一隅，静谧中透着鲜活气息，将寻常物态绘出文人雅趣，尽显笔墨之妙与自然之趣，读之如沐林间清意，心随画境沉于恬淡。",[24,7,165,27,61,2510,171,1771,806],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff28bf2849a86dd45fd3a78edb2b1cdfa.jpg","63.2x31.5cm",[68],{"id":23447,"slug":23448,"title":23449,"dynasty":18,"author":23450,"museum":1300,"description":23451,"tags":23452,"thumbUrl":23456,"material":173,"size":23457,"collection":84,"collections":23458,"showCount":23201,"zanCount":1086,"manualWeight":48,"mainColor":49},218642,"si-ji-mu-niu-tu-yan-ci-ping-218642","四季牧牛图","阎次平","长卷铺展，四季牧歌徐徐启幕。春柳垂丝，牛群缓步林间，蹄印轻踏新草；夏木荫浓，一牛卧地纳凉，牧童侧坐闲憩，蝉鸣似隐叶间；秋阳正好，老牛伏身，牧童倚背小憩，树影斑驳洒落；冬风未寒，两牛相依，牧童骑牛信步，柳梢轻摇伴归途。树干苍劲虬曲，笔墨勾勒出牛的憨态肌理，牧童神态悠然，或坐或行皆显天真。画面静谧却藏鲜活气息，四季流转间，恬淡之趣溢于绢素，尽显宋人笔下自然意韵与生活情味。",[23,164,24,7,25,128,28,132,102,96,23453,413,4363,6640,3847,23454,23455],"牧童","土地","树荫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1489cb236d6a2e63c61b98228bdc5e34.jpg","35x99.7x4",[],{"id":23460,"slug":23461,"title":23462,"dynasty":18,"author":2320,"museum":465,"description":23463,"tags":23464,"thumbUrl":23465,"material":173,"size":23466,"collection":84,"collections":23467,"showCount":23201,"zanCount":1998,"manualWeight":48,"mainColor":956},218604,"wu-bai-luo-han-zhi-zhu-lin-zhi-chen-tu-zhou-ji-chang-218604","五百罗汉之竹林致琛图","这幅画描绘了三个罗汉坐在云雾和绿竹之间，两个罗汉侧身站立，俯视着他们，一个罗汉手里拿着珊瑚，等待着接待他们。",[23,164,24,7,27,28,187,96,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adb680b35d1ebd1ff03c465bd75e3c1.jpg","113.0x51.5",[],{"id":23469,"slug":23470,"title":23471,"dynasty":124,"author":223,"museum":450,"description":23472,"tags":23473,"thumbUrl":23474,"material":173,"size":23475,"collection":44,"collections":23476,"showCount":23201,"zanCount":1998,"manualWeight":48,"mainColor":49},218521,"guan-yuan-xiang-tu-yi-ming-218521","官员像图","图中画有一个官员手持笏板。这幅画的服装应该是宋代官员的服装",[24,7,28,27,96,170,805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1592dd4e87d3a2396d5fedf8e80764c2.jpg","34.5x21.5",[44],{"id":23478,"slug":23479,"title":23480,"dynasty":144,"author":223,"museum":5202,"description":23481,"tags":23482,"thumbUrl":23483,"material":173,"size":23484,"collection":44,"collections":23485,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":49},218470,"xiao-xia-tu-yi-ming-218470","消夏图","松荫覆庭，廊榭半开，文人雅士或围案展卷细品，或执扇浅语，或侍立凝神。案上瓜果鲜妍，砚池墨香隐现，器物玲珑有致。笔墨细腻处，人物神态宛然，衣袂轻扬见风骨；庭院葱郁间，光影流转映清雅。燥热的夏日，被书卷的静气、友朋的闲谈悄悄消解，连风都带着几分慵懒的诗意。画面以细腻笔触勾勒人物情态，以温润色调晕染庭院生机，将元代文人闲适的雅趣与内心的澄明，凝在这一方消夏的天地里，尽显岁月沉淀的悠然与从容。",[24,164,7,27,28,96,247,34,2145,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bbfdb330eb5f30734846d33d935a8a6.jpg","24.5x15.7",[44],{"id":23487,"slug":23488,"title":23489,"dynasty":144,"author":15337,"museum":20,"description":23490,"tags":23491,"thumbUrl":23492,"material":278,"size":23493,"collection":136,"collections":23494,"showCount":23201,"zanCount":1116,"manualWeight":48,"mainColor":72},218302,"lin-tang-xiao-se-tu-wu-jin-218302","林塘晓色图","淡墨晕开晓雾，塘面似蒙轻纱，水汽氤氲间，近岸松石苍劲。松针以中锋勾勒，如笔如毫，透着坚韧；山石干笔皴擦，纹理古拙，与湿墨晕染的水面相映，干湿相济，漫出清晨的湿润。远岫隐于薄雾，墨色渐浅，层次叠生，平远之境悠然展开。林木错落，枝干虬曲，似沐晨风，摇曳生姿。无浓艳设色，仅以水墨浓淡虚实，织就林塘晓色的静谧清幽。元代文人画“以意为先”的韵致在此尽显——观者仿佛立于塘边，闻晨露滴叶，见天光初透，心随画面沉入那份天地初醒的恬淡与悠远。",[24,7,1349,128,132,369,208,64,34,131,99,3428,499,1337,372,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F248c446d889f8b9b86494e01e5e523fe.jpg","30x54cm",[136],{"id":23496,"slug":23497,"title":1109,"dynasty":124,"author":23498,"museum":11561,"description":23499,"tags":23500,"thumbUrl":23501,"material":278,"size":23502,"collection":136,"collections":23503,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":72},218002,"zhu-shi-tu-chen-jia-yan-218002","陈嘉言","竹石图是中国明朝时期陈嘉言所作的一幅图画，它是一种颇具特色的中国山水画，具有很高的艺术价值和历史意义。\n\n陈嘉言是明朝时期著名的画家，他的作品中有许多著名的山水画，其中竹石图是他最著名的作品之一。这幅画以竹子和石头为主要元素，描绘了一片幽静的山水风景。\n\n竹石图被认为是中国传统山水画的杰作，因为它能够准确地再现了山水之间的关系，同时还能够表现出山水的美好之美。在这幅画中，陈嘉言用竹子和石头来表现山水之间的关系，同时还用色彩的变化来表现山水的深浅和质感。\n\n竹石图是陈嘉言在明朝时期的代表作之一，它不仅体现了陈嘉言艺术上的成就，同时也是中国山水画发展史上的一个重要里程碑。如今，竹石图已经成为了中国艺术史上最著名的山水画之一，并被广泛欣赏和珍藏。",[23,24,7,165,128,132,167,171,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa388b5265f5b7302a3252f8f6876b7c.jpg","80x43.5cm",[136,68],{"id":23505,"slug":23506,"title":23507,"dynasty":18,"author":2320,"museum":465,"description":23508,"tags":23509,"thumbUrl":23510,"material":173,"size":2324,"collection":84,"collections":23511,"showCount":23201,"zanCount":1998,"manualWeight":48,"mainColor":956},217004,"wu-bai-luo-han-zhi-guan-she-li-guang-tu-zhou-ji-chang-217004","五百罗汉之观舍利光图","画的顶部是一个高高的悬崖，有一个瀑布，太阳照在云层之上，有三道灵光照下来，每道灵光都有一个小孩子拿着棍子。下面，在松树、柏树和岩石之间，五个罗汉庄严地抬头。",[23,24,7,165,28,27,187,96,29,131,495,34,20953],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20e2fafd5ebc853e0a35328f40becb95.jpg",[],{"id":23513,"slug":23514,"title":23515,"dynasty":54,"author":160,"museum":450,"description":23516,"tags":23517,"thumbUrl":23518,"material":66,"size":84,"collection":44,"collections":23519,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":72},214995,"ren-wu-tu-ce-gu-jian-long-214995","人物图册","画面中，红衣僧闲坐虎背，身姿随意舒展，似与猛虎相得甚欢；蓝衫僧侧卧于地，怀中抱持乐器，眉眼间尽是悠然惬意。那头猛虎虽轮廓雄健，却温顺如犬，伏身贴地，与僧人亲昵相伴，猛兽的凌厉全然化作柔和。笔墨运用细腻传神，衣袂线条流畅婉转，虎的毛发晕染层次分明，质感毕现。整幅画将人物的闲适、动物的温驯交织，营造出清逸恬淡的禅意氛围，仿佛能听见林间风声与隐约乐声，尽显传统绘画中笔墨的灵动与人文的温情。",[23,164,24,7,59,27,128,188,96,949,5490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1208ac2686fd778f7e364e29c9d2495.jpg",[44],{"id":23521,"slug":23522,"title":23523,"dynasty":54,"author":1311,"museum":56,"description":1312,"tags":23524,"thumbUrl":23525,"material":66,"size":1316,"collection":84,"collections":23526,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":72},214684,"mei-hua-zhu-shi-tu-ce-5-wang-shi-shen-214684","梅花竹石图册-5",[164,24,7,59,128,369,61,371,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cd56454776405ad098bf1f263dbc09f.jpg",[],{"id":23528,"slug":23529,"title":9988,"dynasty":144,"author":569,"museum":300,"description":23530,"tags":23531,"thumbUrl":23532,"material":692,"size":1293,"collection":84,"collections":23533,"showCount":23534,"zanCount":1998,"manualWeight":48,"mainColor":49},290935,"que-hua-qiu-se-tu-quan-juan-zhao-meng-fu-290935","鹊华秋色图，元代画家赵孟頫于元贞元年（1295）回到故乡浙江为好友周密所作的纸本水墨设色山水画，现藏于台北故宫博物院。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带秋景，画境清旷恬淡，表现出恬静而悠闲的田园风味。采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。",[23,164,24,25,7,1349,27,128,132,29,34,35,6639,1825,31,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3acdbfa403f50624d802c30aec9c15a.jpg",[],58,{"id":23536,"slug":23537,"title":23538,"dynasty":54,"author":23539,"museum":300,"description":23540,"tags":23541,"thumbUrl":23543,"material":692,"size":1293,"collection":84,"collections":23544,"showCount":23534,"zanCount":48,"manualWeight":48,"mainColor":49},288995,"qian-shou-guan-yin-xiang-xu-zhi-chang-288995","千手观音像","徐知常","徐知常(1069～1154)，字子中，北宋道士，福建建阳人。\n徐知常善写文章，长于吟咏，精通道家经典，是北宋著名的宗教画家。政和年间(1111～1117年)徐知常得到徽宗皇帝召见，赐号冲虚大夫。宣和年间任蕊珠殿侍晨。他根据道家经典的神仙故事作画，取材全面，结构完整，富于艺术性，画作被收入《宣和画谱》",[24,7,165,187,18381,27,28,96,23542,1364,189],"千手观音","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7fdb04832d2f5156bb346d7c7e19482.jpg",[],{"id":23546,"slug":23547,"title":4649,"dynasty":18,"author":1622,"museum":300,"description":23548,"tags":23549,"thumbUrl":23550,"material":692,"size":1293,"collection":84,"collections":23551,"showCount":23534,"zanCount":48,"manualWeight":48,"mainColor":72},288325,"yi-yun-xian-xing-tu-ye-ma-yuan-288325","此图只画出从画幅左下角伸出的花枝的一部分，这种局部描写的构图手法，与他的山水画中的“一角”、“半边”处理有相通相似之处。花枝曲折横斜，然后一分枝指向左上，一分枝指向右下。枝条以细笔浓墨钩勒，再施以水墨渲染；枝上层层叠叠盛开的花朵、含苞欲放的花蕾则施以厚重的白粉加淡红，萼片施以紫色。整个花枝既有曲折多变而挺秀的姿态之美，又透露出几分华贵之气。",[24,7,4437,61,28,27,2167,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32788a69655290214fe87653a0b2a620.jpg",[],{"id":23553,"slug":23554,"title":23555,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":23556,"thumbUrl":23557,"material":692,"size":1293,"collection":84,"collections":23558,"showCount":23534,"zanCount":48,"manualWeight":48,"mainColor":72},239482,"yuan-ji-mo-zhu-tu-zhou-shi-tao-239482","原济墨竹图轴",[24,7,165,128,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ab0ea574ed0f16f3b678d121a5225fa.jpg",[],{"id":23560,"slug":23561,"title":23562,"dynasty":54,"author":23563,"museum":300,"description":23564,"tags":23565,"thumbUrl":23566,"material":84,"size":84,"collection":136,"collections":23567,"showCount":23534,"zanCount":48,"manualWeight":48,"mainColor":72},239411,"fang-wang-hui-shan-shui-juan-qin-bing-wen-239411","仿王翬山水卷","秦炳文","秦炳文（一八O三至一八七三），字砚云，号谊亭，江苏无锡人。道光二十年（1840）举人，官户部主事。三上春闱，留京八载，尝一返里，挈子俱北。寄情诗酒，广交游，精鉴赏，所藏皆精品。画擅山水，初师王鉴，后宗黄公望、吴镇，臻其胜境。\n为晚清“娄东画派”主要画家之一，其画作列入国家文物局《精品和各时期代表作品不准出境者》名单。",[24,7,25,128,330,132,29,98,99,129,130,331,131,96,1144,4363,35,33,415,3427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8187a166c877f30e4c6d5a06b1680c9.jpg",[136],{"id":23569,"slug":23570,"title":20347,"dynasty":54,"author":9704,"museum":300,"description":23571,"tags":23572,"thumbUrl":23573,"material":84,"size":84,"collection":136,"collections":23574,"showCount":23534,"zanCount":48,"manualWeight":48,"mainColor":72},237873,"shan-shui-tu-zhou-kun-can-237873","髡[kūn]残（1612-1692），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。",[24,128,132,165,7,133,208,29,496,34,495,1515,499,497,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517a9cc096f9e8a965e8e054e4adea5b.jpg",[136,318],{"id":23576,"slug":23577,"title":23578,"dynasty":124,"author":23579,"museum":300,"description":23580,"tags":23581,"thumbUrl":23582,"material":84,"size":84,"collection":68,"collections":23583,"showCount":23534,"zanCount":48,"manualWeight":48,"mainColor":49},236618,"gui-shi-lan-zhi-zhou-chen-can-236618","桂石兰芝轴","陈粲","陈粲名，1524年出生，国籍中国，是 万历间画家，代表作是春景鸳鸯图。\n陈粲名（1524～？）明代万历间画家。\n字长倩，一字兰谷，号雪庵、道光、雪谷子，长洲 （今江苏苏州）人。\n万历间以善花鸟闻名于时。\n传世作品有《春景鸳鸯图》轴，绢本，设色，纵17.4厘米，横82.7厘米，现藏 ；《桂石兰芝图》轴，绢本，设色，纵11.2厘米，横49厘米，藏故宫博物院；万历四十三年(1615)作《兰竹图册》著录于《 》。",[24,7,165,27,28,61,4106,1314,9070,375,62,131,11429],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ab0a3d62a43789402ff3fa5ee685e5.jpg",[68,45],{"id":23585,"slug":23586,"title":23587,"dynasty":54,"author":1460,"museum":20,"description":23588,"tags":23589,"thumbUrl":23590,"material":734,"size":23591,"collection":84,"collections":23592,"showCount":23534,"zanCount":1086,"manualWeight":48,"mainColor":72},233959,"dui-ju-tu-zhou-shi-tao-233959","对菊图轴","图绘双松虬结的庭院内梅、竹互映，房舍错落，屋内高士观赏秋菊，其品菊的举止生动传神，点明了“对菊”的画作主题。庭院外是迂回盘桓的山峦和自远而近的江水，它们为高士远离世俗的隐居之地平添了几分清幽。此图与石涛贯有的笔墨雄健纵恣、豪放洒脱的画风不同，刻画工整细腻，或徐或疾的笔致和富于节奏变化的朱点、墨点自得一股苍莽之气。此幅当属石涛居住扬州时期创作的一幅难得的精细之作。",[24,7,128,132,165,208,29,372,376,1747,131,34,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7030dd986967133b9acf5ab16c143856.jpg","纵99.5厘米，横40.2厘米",[],{"id":23594,"slug":23595,"title":4879,"dynasty":18,"author":4880,"museum":300,"description":23596,"tags":23597,"thumbUrl":23600,"material":84,"size":84,"collection":84,"collections":23601,"showCount":23534,"zanCount":48,"manualWeight":48,"mainColor":49},228050,"hua-niao-tu-ye-wang-xiao-228050","此作以柔枝海棠为景，两只白头翁栖于枝上，一昂首啁啾，一侧耳凝望，情态灵动鲜活。花瓣晕染细腻，粉白渐变柔和饱满，枝叶勾勒挺括，敷色雅致温润。禽鸟羽毛丝缕毕现，将绒羽蓬松质感描摹入微，工细笔触尽显精妙。整幅设色清逸柔婉，留白妥帖悠远，搭配题字更添文趣，将春日花鸟的缱绻生机定格绢上，清雅静谧里藏着灵动意趣，尽显雅致细腻的古典审美意趣。",[23,24,7,164,28,27,61,1132,23598,1009,12885,23599],"白头翁","灵动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97693085cc822f814fba371da1aa941e.jpg",[],{"id":23603,"slug":23604,"title":23605,"dynasty":18,"author":1622,"museum":300,"description":23606,"tags":23607,"thumbUrl":23608,"material":84,"size":84,"collection":84,"collections":23609,"showCount":23534,"zanCount":1998,"manualWeight":48,"mainColor":49},227822,"jiang-yin-du-shu-tu-ye-ma-yuan-227822","江荫读书图页","此作用边角取景，绘就江天寥廓之境。淡墨晕染远山，隐现烟霭之中，愈显空濛悠远。近岸危崖虬曲，寒梅凝枝、丹枫缀艳，冷暖相映为萧索冬色添几分鲜活。板桥之上，二人围坐展卷，在幽寂江隅漫品诗书，闲雅意趣随江风漾开。\n笔意苍劲洗练，大片留白拓宽了江天之境，将冬日江隅的清寂与文人林下雅兴相融，尽显空灵隽秀的诗意之美。",[23,164,24,7,59,27,28,132,29,96,1337,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e2d753a9bb5372213332d31fe07b403.jpg",[],{"id":23611,"slug":23612,"title":23613,"dynasty":18,"author":449,"museum":300,"description":23614,"tags":23615,"thumbUrl":23616,"material":84,"size":84,"collection":84,"collections":23617,"showCount":23534,"zanCount":1998,"manualWeight":48,"mainColor":49},227514,"ting-pu-tu-mi-fei-227514","听瀑图","北宋·米芾《听瀑图》(传)，纸本，42x35厘米，美国弗利尔美术馆藏。世已无米芾画迹传世，应该是明、清好事者按记载中的米芾画法为蓝本而进行的臆造之迹。\n\n元代以后，由苏轼（1037-1101）、米芾等人倡导的“文人画”审美趣味大为发展，并逐渐成为画坛主流，苏轼、米芾等人因首倡之功而备受推崇。一些“文人画”家和持“文人画”观点的理论家更是将米芾提升到画圣的高度。\n\n晚明大书画家、理论家董其昌（1555-1636）便极力推崇米芾，他说：“诗至少陵，书至鲁公，画至二米，古今之变，天下之能事毕矣。”在董其昌看来，米芾不仅是严格意义上的画家，而且还是一代宗师，画史地位是非常高的。\n\n董其昌在整个明清画坛的影响是毋庸置疑的，米芾因董其昌的极力推崇，在明清画坛上牢牢占据着重要地位。清书画鉴赏家卞永誉（1645-1712）评米芾画：“岂知南宫迥不群，一扫千古丹青尘。”显然，卞永誉也将米芾作为开宗立派的大家看待",[23,164,24,7,128,188,29,96,495,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b61a781aa7191005d890d7f6abbfaf4.jpg",[],{"id":23619,"slug":23620,"title":23621,"dynasty":18,"author":397,"museum":300,"description":23622,"tags":23623,"thumbUrl":23624,"material":84,"size":84,"collection":84,"collections":23625,"showCount":23534,"zanCount":1998,"manualWeight":48,"mainColor":49},227486,"zhu-ji-tu-li-zhou-zhao-ji-227486","竹鸡图立轴","赵佶（宋徽宗，1082年6月7日-1135年6月4日），出生于汴京（今河南开封），宋神宗第十一子，北宋第八位皇帝。\n\n赵佶在位期间追求奢靡、政治腐败、外交不力，以致民怨四起并埋下北宋靖康年间亡国的祸根。但赵佶在书法绘画等艺术领域天赋非凡，独创“瘦金体”书法，《芙蓉锦鸡图》《池塘秋晚图》等都是传世名作。靖康之变后赵佶被俘北上，1135年死于五国城，庙号徽宗。",[23,24,7,165,28,27,61,167,2510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F879cf431b3c0d996cb701c6e9c6a171b.jpg",[],{"id":23627,"slug":23628,"title":23629,"dynasty":54,"author":2640,"museum":300,"description":23630,"tags":23631,"thumbUrl":23632,"material":84,"size":84,"collection":84,"collections":23633,"showCount":23534,"zanCount":48,"manualWeight":48,"mainColor":72},224370,"hua-hui-qi-shi-ce-shi-er-kai-10-ju-lian-224370","花卉奇石册-十二开-10","此作以灵秀湖石为主体，朴拙纹理自带幽古意趣。细茎挺出，嫩黄碎花娇俏垂曳，与苍朴湖石形成柔刚对照。石上豆娘静立，翅脉纤毫毕现，将小虫灵动之态尽致描摹。\n\n画中运用撞水撞粉技法，花叶水润鲜活，苔草以淡青晕染，与赭石湖石色调柔润相融，静中藏动，生机暗涌。全幅工写兼备，寥寥数笔便将庭院小景的恬然意趣捕捉，将草木生灵的幽微情态勾勒无遗，尽显写生精妙，满溢闲逸清雅的文人意韵。",[23,24,7,59,27,28,61,62,1495,806,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F057086feec0f2550986e5d5e2c2e3f6a.jpg",[],{"id":23635,"slug":23636,"title":23637,"dynasty":144,"author":223,"museum":300,"description":23638,"tags":23639,"thumbUrl":23640,"material":692,"size":1293,"collection":84,"collections":23641,"showCount":23534,"zanCount":1998,"manualWeight":48,"mainColor":956},223644,"xu-kong-cang-pu-sa-xiang-2-yi-ming-223644","虚空藏菩萨像2","虚空藏（梵语 ākāśagarbha，音译啊迦舍嘎赫婆）菩萨摩诃萨，密号库藏金刚。汉译又作尊上虚空孕菩萨摩诃萨、虚空库菩萨摩诃萨、虚空光菩萨摩诃萨，是中国大乘佛教八大菩萨摩诃萨之一。\n虚空藏菩萨摩诃萨在无量菩萨中专主智慧、功德和财富。因尊上智慧、功德、财富如虚空一样广阔无边，并能满足世间一切如法持戒者的善求善愿，使无量无边众生获得无穷利益，故有此虚空藏圣名。\n虚空藏菩萨具有赐予利乐的力量。“藏”表示无限福德智慧，“虚空”表广大，《大方等大集经》指出：虚空藏如同富翁，相应困苦众生，只要到她面前，即会施予救济。因此，虚空藏菩萨是以济度众生为乐的菩萨。",[23,164,24,7,4057,165,187,96,28,27,1364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93ea3f19b6f9f690523f6b6e2e09ea73.jpg",[],{"id":23643,"slug":23644,"title":23645,"dynasty":18,"author":223,"museum":3540,"description":23646,"tags":23647,"thumbUrl":23648,"material":151,"size":23649,"collection":68,"collections":23650,"showCount":23534,"zanCount":48,"manualWeight":48,"mainColor":49},223463,"shan-que-pi-pa-tu-yi-ming-223463","山鹊枇杷图","图绘两只山雀站在枇杷枝上。枝头果实累累，枇杷青涩，黄中带绿。",[164,24,7,59,28,27,61,211,918,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17bd14416d2c445966f588ee332fa32c.jpg","30X31cm",[68,45],{"id":23652,"slug":23653,"title":23654,"dynasty":54,"author":11383,"museum":20,"description":23655,"tags":23656,"thumbUrl":23657,"material":23658,"size":23659,"collection":136,"collections":23660,"showCount":23534,"zanCount":48,"manualWeight":48,"mainColor":49},223136,"shi-wan-tu-ce-ren-xiong-223136","十万图册","《十万图》册是任熊晚年创作的10幅山水精品，因题目均以“万”字起首而得名，即“万卷诗楼”、“万点青莲”、“万峰飞雪”、“万笏朝天”、“万竿烟雨”、“万松叠翠”、“万林秋色”、“万壑争流”、“万丈空流”、“万横香雪”，以寓至多尽善、完满俱足之意。该图册多取材于苏州太湖一带的山水而内容又有所扩大，如“万笏朝天”、“万横香雪”即以苏州天平山和香雪海为素材，“万点青莲”描绘的应是杭州西湖的景色，而“万丈空流”、“万竿烟雨”则是想象中的海岛和潇湘奇景。总之，画家是以“十”、“万”来概括天下美景与赏心乐事。作品笔法细腻，构思精微，意境深邃，并富有装饰趣味，于写实中充满浪漫情调。尤其是作者充分运用金笺纸的底色作用，使青绿设色逾显得绚丽多彩，浓艳华贵而不失雅逸的艺术效果。",[23,24,7,59,27,26,29,132,131,34,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F665e6202ad6aba5ebcf701093a7cb813.jpg","泥金笺，设色","纵26.3厘米，横20.5厘米",[136],{"id":23662,"slug":23663,"title":23664,"dynasty":54,"author":23665,"museum":1376,"description":23666,"tags":23667,"thumbUrl":23668,"material":514,"size":23669,"collection":68,"collections":23670,"showCount":23534,"zanCount":1998,"manualWeight":48,"mainColor":49},222689,"wu-tong-bai-tou-tu-que-lan-222689","梧桐白头图","阙岚","《梧桐白头图》是画家75岁时绘制的，工写结合，笔墨清灵，有一种纤尘不染的秀洁韵味。上部绘挺健梧桐，叶茂子实，一枝斜穿画面，绿叶飘动。一对白头鸟依偎枝上，亲密无间。下部绘神奇多彩灵石，石缝坡脚间花草杂生。笔墨细腻古朴，风格温润典雅。左下自题“道光壬辰季重九日仿瓯香馆本于天光云景斋。阙岚”。",[23,164,24,7,165,28,27,61,2749,2886,497,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b42a65036debf55e7ebec34ee90c7e.jpg","纵101厘米，横40.5厘米",[68,45],{"id":23672,"slug":23673,"title":23674,"dynasty":124,"author":1438,"museum":205,"description":4072,"tags":23675,"thumbUrl":23677,"material":1223,"size":4076,"collection":84,"collections":23678,"showCount":23534,"zanCount":1998,"manualWeight":48,"mainColor":72},222567,"hua-hui-tu-6-chen-chun-222567","花卉图6",[23,24,7,27,128,369,61,62,1771,171,624,805,23676,15552],"花鸟写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68019c2e22e4fd3401f2575cba804984.jpg",[],{"id":23680,"slug":23681,"title":23682,"dynasty":124,"author":23683,"museum":20,"description":23684,"tags":23685,"thumbUrl":23686,"material":611,"size":23687,"collection":84,"collections":23688,"showCount":23534,"zanCount":1998,"manualWeight":48,"mainColor":72},222388,"mo-lan-tu-zhou-wen-peng-222388","墨兰图轴","文彭","图中以水墨画兰花两丛荆棘二枝。以渴笔淡写荆棘卷曲、兰叶舒畅之姿，并以水墨草点兰花偃仰、互相交织之状，节奏感强，和自题草书“月摇庭下珂，风递谷中香”融为一体。\n作者用水墨画土坡上兰花两丛，兰花正侧偃仰，均五办为则，如蝶起舞，或敞办盛开，或含苞待放，叶丛柔嫩舒展，十分俊爽。另有二枝荆棘，在丛兰间卷曲向上生长，与舒展的兰花交织在一起，产生和谐的节奏感，并和自题的草书“月摇庭下珂，风递谷中香”融为一体。\n兰、梅、竹、菊“四君子”是我国文人画的传统题材，落笔时，这四者可分可合，亦可单独成画幅，但都赋予对象以人格，象征高洁的品格和正直、坚韧、乐观等精神、具体说，兰为“王者之香”，画兰，须写其清雅幽香，洁身自好。文彭擅画兰、竹，此《兰花图》轴，是他的代表作之一。\n作者所画的兰花、叶子用笔自如，或粗或细，行笔住行顿挫有力，节奏感强，具有一种古拙、朴厚的趣味。所画荆棘，用笔具有一种内涵的力量，这种力量忽轻忽重，行笔的速度忽快忽慢，由此而产生的一种优美动人的节奏，所以在文氏笔下的荆棘表现出曲折向上，生意盎然的神态。所画的兰花，花以淡墨为办，浓墨点心，叶用笔流畅，显出临风飘动，活泼自然。画家将兰花与荆棘为伍，笔意贯穿，墨色停匀。土坡用简洁的干笔，侧锋皴擦，更见明快爽朗。此画作者以书法入画，故此画具有书家笔法的节奏、韵律，轻重徐疾、提按顿挫富有变化，文彭此图可谓诗书画契合无间，表现了文人画家的气质和神采，给人以艺术美的享受。",[23,24,7,165,128,375,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd67f08bd86808aad80c5ec02566e21c2.jpg","纵65厘米，横31．2厘米",[],{"id":23690,"slug":23691,"title":23692,"dynasty":124,"author":204,"museum":2068,"description":23693,"tags":23694,"thumbUrl":23695,"material":514,"size":23696,"collection":84,"collections":23697,"showCount":23534,"zanCount":1998,"manualWeight":48,"mainColor":72},222213,"chuan-ren-xing-tu-chou-ying-222213","船人形图","笔耕园收录作品60幅，其主题、画法和样式各异，并据此在各图上加有不同画家的名字，其中不乏南宋名家的佳作，还有些其他朝代品质极高的优秀作品。",[23,24,7,1131,28,27,96,166,129,413,167,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9007b806bd999f26739186ddee7c280.jpg","纵23.1厘米，横23.1厘米",[],{"id":23699,"slug":23700,"title":23701,"dynasty":124,"author":204,"museum":244,"description":23702,"tags":23703,"thumbUrl":23704,"material":151,"size":84,"collection":84,"collections":23705,"showCount":23534,"zanCount":48,"manualWeight":48,"mainColor":72},222202,"hua-zhu-shen-he-jing-ce-ye-chou-ying-222202","画竹深荷静册页","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。\n综述:\n仇英的山水画多学赵伯驹、刘松年，发展南宋李唐、刘松年、马远、夏圭的“院体画”传统，综合融会前代各家之长，即保持工整精艳的古典传统，又融入了文雅清新的趣味，形成工而不板、研而不甜的新典范，还有一种水墨画，从李唐风格变化而来，作界画楼阁，尤为细密。\n仇英擅人物画，尤工仕女，重视对历史题材的刻画和描绘，吸收南宋马和之及元人技法，笔力刚健，特擅临摹，粉图黄纸，落笔乱真。尤善于用粗细不同的笔法表现不同的对象，或圆转流畅，或顿挫劲利，既长设色，又善白描。人物造型准确，概括力强，形象秀美，线条流畅，有别于时流的板刻习气，直趋宋人室，对后来的尤求、禹之鼎以及清宫仕女画都有很大影响，成为时代仕女美的典范，后人评其工笔仕女，刻画细腻，神采飞动，精丽艳逸，为明代之杰出者\n纵观仇英的山水画，大致具有如下几个鲜明的特点：\n首先，在境界上不一味追求富丽堂皇或空漠冷寂的气氛，而在“秀雅纤丽”中有一种飘逸优雅的气息。所作山水多为表现士大夫林泉诗酒生活和清新旷远之自然景色。由于仇英出身贫寒、读书不多，其画作中也少有诗文题跋，一般仅于画幅边角落款，未有诗画结合之面貌。但是所画丘壑泉石、烟云竹树、亭台楼阁、人物景色皆精描细染而又不失清秀雅逸的气韵。特别是他描写文人高士隐遁生活的作品，如《桃源高隐图》《蕉荫结夏图》《月下吹笛图》《园居图》《春夜宴桃李园图》等，无时不流露其隽秀飘逸的情怀，画卷气溢于笔墨之中。\n其次，仇英的山水画虽隽逸优雅，“士气”十足，却少有一般文人画家笔下那种冷寂空疏的情调，而总是流溢出清新明丽的气氛，有的作品还充满蓬勃欢乐的意趣。如《莲溪渔隐图》中平远山水、溪岸水畔、房屋堂轩、茅舍鱼罟、田亩葱郁、小桥相通、行人往来，画面布局清旷，一片江南夏日情景，极富生活气息，给人以可游可居之感。再看描绘四川剑门关景色的《剑阁图》，画面峰峦重迭，远处是皑皑的雪崖雪峰，近处是重彩辉映的山峦，陡峭的绝壁上树木茂密，残雪覆盖，在崎岖的栈道上，人马众多，或隐或现迎面而来。人马动态各异，行人身着各式冬装，无不具体生动。此画画风工整，色彩浓艳，丰满壮观，可谓仇英青绿画法的代表作。仇英作品中这种浓艳而清新、壮阔而平朴的审美意趣与明中期整个美学思想的世俗化倾向相一致。\n第三，仇英的山水画风格虽源于传统青绿和“院体”画法，但并不拘于一家一派的面貌。就其整个山水画而言，在技法上可分为三类：一是较为纯正的大青绿山水，山石勾勒后不用细皴，山脚以赭石分，以青绿重色染石面，然后每一块面再加染石绿，或分以石青，使各山色协调而有分别，树木云岫勾勒精细。其《九成宫图》《桃源仙境图》等属此类典型之作。二是青绿画法与水墨画法相融合的一类。通常近处山石用小斧劈细细皴成，用青绿法以绿与石青相间染出，色不凝笔。远峰不作皴笔，以花青或石青、石绿和墨渍染而成，似有董源或沈、文画法之精神。《秋江待渡图》《莲溪渔隐图》《仙山楼阁图》等为此类代表作。三是以水墨皴染为主的画法，此类画法得到刘松年、李唐院体家法，山石用细笔小斧劈法，分面细，然于阴暗处和墨淋之，立即又以清水接染，绢地不吸水，故能产生含混融和的意趣，略见吴派绘画之影响。树法中增强转折趣味，衬以夹叶，叶叶分明，一枝一叶无不与实景契合。《松亭试泉图》《松溪论画图》等均属此类画法。",[23,24,7,1131,28,27,29,167,168,34,711,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878a5dc84b1d01f557f1f963ad693448.jpg",[],{"id":23707,"slug":23708,"title":23709,"dynasty":124,"author":3608,"museum":244,"description":23710,"tags":23711,"thumbUrl":23712,"material":23713,"size":23714,"collection":68,"collections":23715,"showCount":23534,"zanCount":48,"manualWeight":48,"mainColor":72},222179,"hua-hui-shan-mian-lu-zhi-222179","花卉扇面","陆治（西元一四九六－一五七六年），江苏吴县人，字叔平，号包山子。倜傥好义，以教友著称于乡里。诗文书画并佳。曾和文征明、祝允明一起作画吟诗。画的名声和文征明一样好。\n这幅用淡墨干笔，画丛山叠树，渔父鼓舟前进，一面洗脚，二人在高坡上坐着似在观看瀑布。用色淡雅而有变化。画成于陆治七十三岁。陆治有诗，曾自比「桃源中人」，以喻其隐居状况。\n此画在笔法与构图，均受元代王蒙花溪渔隐图影响，颇有自况意味",[23,24,7,164,1131,27,61,62,2690,747],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf89fa4fadd7ff6f66e547f02d3e913.jpg","泥金，纸本","纵18.3厘米， 横52.5厘米",[68,45],{"id":23717,"slug":23718,"title":23719,"dynasty":124,"author":1642,"museum":510,"description":23720,"tags":23721,"thumbUrl":23722,"material":40,"size":23723,"collection":136,"collections":23724,"showCount":23534,"zanCount":48,"manualWeight":48,"mainColor":49},222035,"xi-tang-shi-yi-tu-zhou-dai-jin-222035","溪堂诗意图轴","图绘群山环绕中，泉水汇于山涧，桥上一童子置琴而过，对面草堂内一老者坐于凳上手执诗文认真观看；远处山峰险峻，树木葱郁，几座亭台隐约显现。本幅图采用典型的对角线构图，以斧劈皴勾画石头的轮廓，以焦墨中锋画出树木虬劲枝干，层次感突出。",[23,164,24,7,165,128,27,132,29,130,98,99,34,495,96,131,37,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f8e0f302f05704359484a669d345933.jpg","194x104cm",[136,117],{"id":23726,"slug":23727,"title":7864,"dynasty":124,"author":23728,"museum":56,"description":23729,"tags":23730,"thumbUrl":23731,"material":611,"size":23732,"collection":136,"collections":23733,"showCount":23534,"zanCount":48,"manualWeight":48,"mainColor":72},221933,"za-hua-ce-guo-xu-221933","郭诩","郭诩（1456—1532），字仁弘，号清狂道人，江西泰和人。工书画，善山水，尝遍历名山，曰“岂必谱也，画在是矣。”同时江夏吴伟、北海杜堇、姑苏沈周俱以画名，莫不延颈原交，天下竟传清狂画，风之百金。有贵人欲多得诩画，诩瞠目数屋梁不对。固索，辄跮跖狂趋，叫奡跳号去。弘治（一四八八至一五零五）中徵天中善画者，应诏京师。宸濠召与语，辄辞谢之。往依王守仁献画题诗所见志。又善杂画，信手作人物，辄有奇趣。七十三岁尚作磨镜图。他的作品传世不多，八开《杂画册》现藏上海博物馆，《琵琶行》图轴藏北京故宫博物院。\n山水、人物，风格豪放，笔法师略，清细柔和，墨气轠然，尤是绘古人清士。题署简逸，缙绅无不重之。与吴伟齐名，为吴伟、沈周、杜堇所推重。 花鸟杂画，信手拈来，颇有奇趣。草虫书法工写兼备，其画风在明中期 别成一格。",[23,24,7,128,188,59,96,1337,249,208,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0573efbe7b213e884e25992b2193b58.jpg","纵28.5 厘米横46.5 厘米",[136,44],{"id":23735,"slug":23736,"title":23737,"dynasty":124,"author":23738,"museum":224,"description":23739,"tags":23740,"thumbUrl":23742,"material":734,"size":23743,"collection":136,"collections":23744,"showCount":23534,"zanCount":48,"manualWeight":48,"mainColor":72},221875,"jin-ling-si-ji-tu-shou-juan-wei-ke-221875","金陵四季图手卷","魏克","图绘旧时金陵（今南京）四季景色。描绘一年四季中山峦、湖泊、城外景色，春之雾气，夏之浪涛、秋之碧波、冬之冰雪。魏之克，后名克，明朝画家，善画山水兼工花卉，传世画作《松崖待渡》扇面，《水仙梅图》等。",[23,24,7,25,27,29,28,132,128,23741,97,98,99,130,211,131,34,37,96,1516,690],"四季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd979470a53b8a003d3e9e4fae584c457.jpg","31.3 x1183.6cm",[136,45],{"id":23746,"slug":23747,"title":23748,"dynasty":144,"author":23749,"museum":244,"description":23750,"tags":23751,"thumbUrl":23752,"material":27,"size":23753,"collection":68,"collections":23754,"showCount":23534,"zanCount":1998,"manualWeight":48,"mainColor":72},221743,"gu-he-yun-song-tu-zhou-ba-yan-bu-ha-221743","古壑云松图轴","巴颜布哈","该幅构景很突出，苍松高耸，峰岭出于云表。\n笔墨颇具文人画的趣味。\n【规格】该幅12242.2公分；全幅6公分 【收藏】 主题与关键字：松、云 石渠宝笈续编（乾清宫），第一册，页51 故宫书画录（卷五），第三册，页194 故宫书画图录，第五册，页1-14 巴颜布哈（生年不详，卒于公元一三五九年），元史列传作伯颜不花的斤。\n蒙古人，姓畏吾儿氏，高昌王的孙子。\n字苍巖，号苍崖。\n是元朝大书法家鲜于枢的外甥。\n作官至江东廉访副使。\n通晓音乐，以画龙出名。",[23,24,7,165,128,132,29,372,950,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6532dd4672785d8ba523288a0bcec6ec.jpg","122x42.2公分",[68,117],{"id":23756,"slug":23757,"title":23758,"dynasty":18,"author":2067,"museum":224,"description":23759,"tags":23760,"thumbUrl":23761,"material":7380,"size":23762,"collection":42,"collections":23763,"showCount":23534,"zanCount":1998,"manualWeight":48,"mainColor":49},221589,"shuang-que-tu-li-di-221589","双雀图","景德二年（1005年），状元及第，出任徐州通判。历任著作郎、直史馆、三司盐铁判官、海州监税、右司谏、知郓州、起居舍人、吏部员外郎、三司盐铁副使、知制诰、秘书监、等职，在地方政绩卓著，在中央参与军国要务，出入内外，两度担任同平章事（宰相），以太子太傅致仕。\n庆历七年（1047年），李迪去世，享年七十七岁，追赠司空兼侍中，谥号“文定”，宋仁宗亲题其碑首为“遗直之碑”。《全宋诗》录其诗，《全宋文》录有其文。",[23,24,7,1131,27,28,61,331,211,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe559fda312675455de696e9c73c23466.jpg","35x34",[42,68,45],{"id":23765,"slug":23766,"title":23767,"dynasty":182,"author":23768,"museum":23769,"description":23770,"tags":23771,"thumbUrl":23772,"material":840,"size":23773,"collection":318,"collections":23774,"showCount":23534,"zanCount":48,"manualWeight":48,"mainColor":72},221103,"xiao-jing-he-zhi-zhang-221103","孝经","贺知章","三之丸尚藏馆","《草书孝经》 以草书写“今文孝经”本文，无署款。据卷末小楷识语“建隆二年（961）冬十月重粘裱贺监墨迹”，推测为贺知章之作。北宋《宣和书谱》中亦著录有贺知章所书孝经。十七世纪后半期传入日本，明治年间由近卫家进献皇室。",[23,7,64,840,7322,25,208,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F428b72cda73cc4fd1eae81403a7e27ca.jpg","纵26.0厘米，横265.1厘米",[318],{"id":23776,"slug":23777,"title":23778,"dynasty":326,"author":1587,"museum":20,"description":23779,"tags":23780,"thumbUrl":23781,"material":23782,"size":23783,"collection":318,"collections":23784,"showCount":23534,"zanCount":48,"manualWeight":48,"mainColor":199},221038,"yu-hou-tie-wang-xi-zhi-221038","雨后贴","《雨后帖》页，晋，传晋王羲之书，纸本，行草，纵25.7厘米，横14.9厘米。\n释文：\n今日雨后未果奉状，想□能于言话，可定便得书问，永以为训。妙绝无已，当其使转。与都下□信，戴适过于□也。羲之。\n署款下一草押不识，又“禹民”二字题名。\n鉴藏印有 “世南”、“贞观”（画描墨印），以及“四代相印”（朱文，伪）、“志东奇玩”（朱文，伪）、“绍兴”（朱文联珠），清乾隆、嘉庆、宣统内府诸印。\n帖后有元邓文原，明董其昌题跋各一段，明邹之麟题跋两段。\n《雨后帖》传为王羲之所书的一通信札，所谈之事不可考，书字不够规范，个别字难于辨认。\n此帖最早见于清代安岐《墨缘汇观》：“雨后帖，草书，纸本，唐模，有‘世南’墨印。”今专家鉴定认为此帖并非王羲之亲书原迹，依据有三：一是此帖上清代以前的钤印中除“绍兴”外皆不真。书法确有沉雄古雅之气，但与《姨母》、《丧乱》诸帖和《兰亭序》对比相去甚远。二是从用纸分析，纸为深褐色带有细横帘纹的竹纸。而竹纸在晋代是没有的，宋苏轼《东坡志林》卷九曾云：“今人以竹为纸，亦古所无有也。”三是晋代的书写工具是实心笔，行笔时笔毫开叉而经常出现贼毫，然《雨后帖》则用兼毫笔，笔画既软又肥，字距之间笔势连带而出现牵丝，无一笔贼毫出现，因此不应为晋时所书。\n从此帖的墨色浓淡变化观察，与运笔的启收、顿挫转折的徐疾和用力相吻合，无勾摹痕迹，因此判断此帖应是古临本，书写年代在北宋至南宋绍兴以前。\n清《书画记》、《平生壮观》、《墨缘汇观续录》、《石渠宝笈初编》著录。",[64,133,8116,1429,59,7,10762],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c92ae95145c43b40bb395a52c884972.jpg","纸本，行草","纵25.7厘米，横14.9厘米",[318,2210],{"id":23786,"slug":23787,"title":23788,"dynasty":124,"author":2268,"museum":524,"description":23789,"tags":23790,"thumbUrl":23791,"material":1464,"size":23792,"collection":136,"collections":23793,"showCount":23534,"zanCount":48,"manualWeight":48,"mainColor":72},220956,"shu-lin-yuan-xiu-tu-dong-qi-chang-220956","疏林远岫图","董其昌为同年袁可立而作。\n此图为近景画，坡石错落，勾勒圆浑。坡上疏林，用笔虽简而各蕴姿态。\n中景水面空旷，一山耸峙，在平远的构图上颇见险势。整幅画简洁朴拙。",[23,24,7,165,128,132,29,5324,12424,497,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eb9762e8762c363347fa3b81bfaec84.jpg","纵98.7厘米，横38.6厘米",[136,117],{"id":23795,"slug":23796,"title":23797,"dynasty":124,"author":2268,"museum":244,"description":23798,"tags":23799,"thumbUrl":23801,"material":637,"size":23802,"collection":136,"collections":23803,"showCount":23534,"zanCount":48,"manualWeight":48,"mainColor":72},220941,"yan-shu-mao-tang-zhou-dong-qi-chang-220941","烟树茆堂轴","董其昌流连于西湖一带，于寺院中绘成此轴。画上题诗原本是为好友陈继儒题画所书，后来亦常使用于其它画作上",[23,24,7,165,128,132,29,16044,23800,663,413,229,99],"茆堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c95aa5cb46913f3d622bdcbc5a0246.jpg","107.6x37.4公分、全幅 61公分",[136,117],{"id":23805,"slug":23806,"title":23807,"dynasty":124,"author":2268,"museum":20,"description":23808,"tags":23809,"thumbUrl":23810,"material":23811,"size":23812,"collection":318,"collections":23813,"showCount":23534,"zanCount":48,"manualWeight":48,"mainColor":72},220937,"fang-yan-zhen-qing-shu-zhou-dong-qi-chang-220937","仿颜真卿书轴","董其昌《仿颜真卿书轴》，本幅抄录唐人萧嵩诗，赞颂张说（西元六六七至七三Ο年）及唐代集贤院文风。此轴楷书用笔浑厚，结字灵动，承继颜真卿（西元七Ο九至七八五年）楷书精神，但更讲究用笔变化以及疏朗行气，堪称是董其昌在颜体中追求虚和取韵的自我面貌。\n\n董其昌的书法，不仅影响着晚明书坛，并且深刻地影响着清代的康乾盛世。《书林藻鉴》中说：“圣祖则酷爱董其昌书，海内真迹，搜访殆尽，玉、煤金题，汇登秘阁。董书在明末已靡于江南，自经新朝睿赏，声价益重，朝殿考试，斋廷供奉，干禄求仕，视为捷途，风会所趋，香光几定于一尊矣。”",[7,64,165,330,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F194bce2ffa4033f864692ba3272ec41f.jpg","绢本，行楷书","纵36.8cm，横1579.7cm",[318],{"id":23815,"slug":23816,"title":23817,"dynasty":124,"author":15851,"museum":524,"description":23818,"tags":23819,"thumbUrl":23821,"material":278,"size":23822,"collection":136,"collections":23823,"showCount":23534,"zanCount":1116,"manualWeight":48,"mainColor":72},219948,"fang-mi-fei-yun-shan-tu-mo-shi-long-219948","仿米芾云山图","莫是龙（1537年—1587年），得米芾石刻“云卿”二字，因以为字，字云卿，后以字行，更字廷韩，号秋水，又号后明、玉关山人、虚舟子等。南直隶松江府华亭（今上海松江）人，莫如忠长子。明代文学家、书画家、藏书家。\n八岁读书，十岁属文，十四岁补郡诸生，人称“神童”。皇甫汸、王世贞辈亟称之。不喜科举业而攻古文辞及书法、绘画，以贡生终。",[23,24,7,25,128,330,64,133,132,29,23820,496,34,37,208],"云山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1550e95af95b112efd3574d713c9812.jpg","20.8x233厘米",[136],{"id":23825,"slug":23826,"title":23827,"dynasty":18,"author":2141,"museum":244,"description":23828,"tags":23829,"thumbUrl":23830,"material":173,"size":23831,"collection":44,"collections":23832,"showCount":23534,"zanCount":1998,"manualWeight":48,"mainColor":49},219610,"zui-seng-tu-liu-song-nian-219610","醉僧图","画面左侧一遒劲苍松，顶天立地，倔强而粗壮的树身扎根于坡石之中，稳健地镇住整个画面，使古意充盈纸上。画面右上方淡笔擦出的远山和细笔轻快而流畅地勾出的浮云，使画面更增超逸出尘之气。飘然潇洒的长松针密布于画面上方，把观者的视线吸引到树荫之下的三个人物身上。中间坐于石凳之上、解衣盘礴、乘兴挥毫者，想必是“草圣”怀素，此时他所乘之兴应与身后松枝上高挂的酒葫芦有关，似为正酣的酒兴也。怀素头呈微仰之势，似不经意地提笔挥毫，颇有“信手拈来皆文章，下笔不惑皆妙墨”之神采。他微微翘起的右脚，好像正在轻轻摆动，将他那放浪形骸的性格特征更加明显。笔法劲秀的衣纹线条，转折有力而肯定，不但极准确地刻画出人物外形，更形象地表现出怀素外表狂放，内心坚贞、高洁的性情。右边一童子面对怀素持卷肃立，神情专注于其行笔之处。怀素左边，一童子左手持砚、右手握墨，似墨刚研毕，正仔细审视是否正好可用。此《醉僧图》笔法精细秀润，布景极为高古，意境静雅、淡定，人物间呼应关照、贴切妥当，神态呼之欲出、传神入微，把“草圣”以酒助书兴、运笔酣畅的场景描绘得淋漓尽致，是一幅难得的佳作。\n此图最让人动心之处就是淡定、静雅的境界。潘天寿先生在《论画残稿》中曾说道：“艺术之高下，终在境界，境界层上，一步一重天，咫尺之隔，往往辛苦一世，未必梦见。”陈子庄先生也言：“必须于性灵中发挥笔墨，于学问中培养意境。”南宋的苟安一隅，使当时很多文人多少有些失落的悲观的情怀。刘松年的这幅为怀素的写照之作，在我看来倒有几分自况之意。心不能畅怀，借酒以发之，身不能居之境，借画以图之，借醉僧之超然境界，表达自己卧游畅神之思。当然，这只是我面对刘松年这位八百年前的古人之作，做的一番遐想而已。",[23,1326,24,7,28,27,96,331,131,1421,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22cb54f38c3dcb5f0c2d377e84953eb4.jpg","纵95.8厘米，横47.8厘米",[44],{"id":23834,"slug":23835,"title":23836,"dynasty":124,"author":223,"museum":450,"description":23837,"tags":23838,"thumbUrl":23839,"material":173,"size":84,"collection":44,"collections":23840,"showCount":23534,"zanCount":1998,"manualWeight":48,"mainColor":49},219570,"lie-xian-tu-yi-ming-219570","列仙图","此作是道教仙官造像的经典手笔，人物分两列肃穆排布，尽显仙班整饬威仪。八位仙官仪容端方沉静，冠冕华服纹样繁丽工细，朱红石青晕染出古雅厚重的色调，衣袂间暗纹流转古朴雅致。人人手持朝笏，头覆圆光，晕出神圣清寂的气韵。背景祥云舒卷，漫出缥缈空灵的天界氛围。\n\n历经岁月，绢面虽有斑驳旧痕，却更衬设色的沉凝精妙，将天界仙僚的端严神圣凝于绢上，承载着旧时对玄穹仙班的敬畏与瑰丽想象。",[23,24,7,27,28,96,187,189,3490,805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4400c57ed5ee3fbe7fffc6b7e169558.jpg",[44],{"id":23842,"slug":23843,"title":23844,"dynasty":144,"author":13485,"museum":77,"description":23845,"tags":23846,"thumbUrl":23849,"material":278,"size":84,"collection":44,"collections":23850,"showCount":23534,"zanCount":48,"manualWeight":48,"mainColor":72},219398,"zhong-jin-shi-yuan-ye-chu-you-tu-yan-hui-219398","钟进士元夜出游图","墨线劲挺如铁，勾勒出钟馗的凛凛威仪，群鬼随扈左右——或扛幡持械，步履生风；或嬉戏打闹，憨态可掬。简括造型里藏着生动细节：鬼卒夸张的肢体、钟馗沉凝的神情，在浓淡相宜的墨色中鲜活起来。画面以动态叙事，仿佛能听见队伍行进的喧腾，元夜的神秘氛围与人间烟火气交织。笔意洒脱却不失精准，将神鬼世界的诙谐与庄重融于一卷，尽显元人写意人物画的妙趣与功力，是寓庄于谐的艺术佳构。",[164,24,7,25,188,128,96,23847,5626,1367,208,64,133,938,572,23848,28],"鬼神","篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4635b72bdb16674e440c200b8a4b6d4b.jpg",[44],{"id":23852,"slug":23853,"title":3528,"dynasty":54,"author":1952,"museum":450,"description":23854,"tags":23855,"thumbUrl":23856,"material":173,"size":23857,"collection":68,"collections":23858,"showCount":23534,"zanCount":48,"manualWeight":48,"mainColor":49},219351,"mu-ma-tu-shen-quan-219351","画面中数匹骏马姿态各异，或卧地休憩，或昂首侧望，或缓步前行。毛发晕染细腻温润，斑纹勾勒清晰写实，轮廓线条灵动传神，尽显马匹的鲜活气韵。背景枯树虬枝盘结，枝干以干笔皴擦，苍劲中透出古意；地面浅草碎石点缀，淡墨晕染出悠远空间。整体工写结合，设色雅致，马儿的悠闲神态与萧瑟树影相映成趣，传递出牧歌式的宁静安适。于细腻笔触中藏生机，于古朴意境里显情韵，尽显传统走兽画的精妙功力与悠远意趣。",[23,24,164,7,165,28,27,101,1337,331,949,29,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67f9473a78fc17f9621aa38f84941ad8.jpg","92x63.5cm",[68,45],{"id":23860,"slug":23861,"title":23862,"dynasty":54,"author":675,"museum":244,"description":6993,"tags":23863,"thumbUrl":23864,"material":1733,"size":23865,"collection":45,"collections":23866,"showCount":23534,"zanCount":48,"manualWeight":48,"mainColor":72},219307,"jie-shan-zhai-tu-zhou-qian-wei-cheng-219307","借山斋图轴",[164,24,7,165,1349,27,29,97,98,99,130,34,35,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a42bd26d4ba10e012b0184f707a951b.jpg","63.7x31.8",[45],{"id":23868,"slug":23869,"title":23870,"dynasty":144,"author":18589,"museum":244,"description":23871,"tags":23872,"thumbUrl":23874,"material":278,"size":23875,"collection":136,"collections":23876,"showCount":23534,"zanCount":1998,"manualWeight":48,"mainColor":49},218907,"gao-ting-tu-fang-cong-yi-218907","高亭图","这幅画中，云雾缭绕，青苔点点，风格轻松奔放，而山水的精髓在水墨的细微处可见，体现了元代道士通过山水寻求宁静自然和精神解脱的理念。",[23,24,128,132,7,29,663,130,413,950,23873,11998,208],"小路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d8948b78b7c41e70b03f086f6137a9.jpg","62.1x27.9厘米",[136],{"id":23878,"slug":23879,"title":23880,"dynasty":18,"author":223,"museum":56,"description":23881,"tags":23882,"thumbUrl":23884,"material":173,"size":23885,"collection":68,"collections":23886,"showCount":23534,"zanCount":48,"manualWeight":48,"mainColor":49},218887,"ying-tao-huang-li-tu-yi-ming-218887","樱桃黄鹂图","此画作者佚其名，但画上有杨皇后题名，知为南宋院画。1949年5月吴湖帆以家藏古本易得，并于画上题咏图意、考证杨氏名号之实。",[24,7,164,28,27,61,211,23883,701,208],"黄鹂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fe027451de9b614f98a0abec26761ef.jpg","纵12.1厘米， 横26.1厘米",[68],{"id":23888,"slug":23889,"title":23890,"dynasty":222,"author":223,"museum":224,"description":23891,"tags":23892,"thumbUrl":23893,"material":317,"size":23894,"collection":44,"collections":23895,"showCount":23534,"zanCount":48,"manualWeight":48,"mainColor":49},218315,"bai-yi-guan-yin-tu-yi-ming-218315","白衣观音图","画面中观音衣袂翩跹若流云泻地，轻盈舒展间尽显温婉神韵。身后圆月如璧悬于天际，清辉漫洒，衬得她面容柔和，眸光含慈，悲悯之意溢于眉宇。衣纹线条细腻流畅，褶皱层叠自然，笔墨灵动处见功底。上方疏枝横斜，影映清辉；下方水波微动，更添空灵澄澈之境。整体氛围静谧祥和，似能涤荡尘心，传递出超越世俗的慈悲安宁。观者凝神间，心神便被这份神圣静谧的美感包裹，沉醉于艺术与信仰交融的温柔力量中。",[24,7,165,187,96,188,27,231,99,171,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f74b241027c5bc565bf1a1a100e2598.jpg","180.3x83.5",[44],{"id":23897,"slug":23898,"title":23890,"dynasty":144,"author":223,"museum":300,"description":23899,"tags":23900,"thumbUrl":23901,"material":317,"size":84,"collection":44,"collections":23902,"showCount":23534,"zanCount":1116,"manualWeight":48,"mainColor":49},217067,"bai-yi-guan-yin-tu-yi-ming-217067","白衣观音图是元朝时期的一幅佚名绘画，被认为是中国古代宗教图像艺术的杰作。这幅画描绘的是观音菩萨的形象，她身着白衣，头戴冠冕，手持莲花，神态庄严肃穆。\n\n观音菩萨是佛教传统中的一位菩萨，被认为是慈悲与智慧的化身。她的莲花代表了佛教的清净，而白色的衣服则象征着她的纯洁和超凡的品德。\n\n白衣观音图的风格独特，线条流畅，色彩明亮。画家巧妙地运用了透视法和光影效果，使得观音菩萨的形象更加立体生动。\n\n白衣观音图至今仍被认为是中国古代宗教绘画的杰作，其独特的风格和出色的艺术技巧吸引了众多观众的目光。它不仅是一幅优秀的艺术品，也是中国文化遗产的瑰宝。",[24,7,165,187,188,128,27,96,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc53f25759ae0a1847993ffe0f015ebbf.jpg",[44],{"id":23904,"slug":23905,"title":23906,"dynasty":54,"author":12462,"museum":244,"description":23907,"tags":23908,"thumbUrl":23909,"material":278,"size":23910,"collection":44,"collections":23911,"showCount":23534,"zanCount":1998,"manualWeight":48,"mainColor":72},216960,"gan-lu-da-shi-tu-yang-da-zhang-216960","甘露大士图","这是杨大章的一幅虔诚之作，以白描的方式画出了观音，用的是细笔和淡墨。",[24,7,165,187,96,188,208,2372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1759f3a863f1747347f926856bc74106.jpg","131.7x64.5",[44],{"id":23913,"slug":23914,"title":23915,"dynasty":144,"author":145,"museum":300,"description":23916,"tags":23917,"thumbUrl":23918,"material":692,"size":1293,"collection":84,"collections":23919,"showCount":23920,"zanCount":48,"manualWeight":48,"mainColor":72},290433,"ceng-yan-qu-jian-tu-huang-gong-wang-290433","层岩曲涧图","黄公望（1269年9月12日—1354年11月10日） ，元代画家。自称浙东平阳人。陶宗仪《辍耕录》称其“本姓陆”，出继温州平阳黄氏为义子，因改姓黄，名公望，字子久，号一峰、大痴道人等。\n黄公望曾任中台察院掾吏，一度入狱；后加入全真教，往来杭州、松江等地卖卜；晚年居住杭州筲箕泉，元顺帝至正十四年（1354年）十月二十五日逝世，享年八十六岁。\n黄公望工书法，通音律，善诗词散曲。尤擅画山水，曾得赵孟頫指授，宗法董源、巨然、荆浩、关仝、李成等。水墨、浅绛俱作，以草籀奇字法入画，气势雄秀，笔简神完，自成一家，得“峰峦浑厚，草木华滋”之评。名列“元四家”（黄公望、吴镇、倪瓒、王蒙）之首。传世画作有《富春山居图》《水阁清幽图》《天池石壁图》《九峰雪霁图》《富春大岭图》等。著有画论《写山水诀》。",[164,24,7,165,128,29,497,99,98,4797,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ada88a03a52c4de8777c1e838bcd236.jpg",[],57,{"id":23922,"slug":23923,"title":23924,"dynasty":54,"author":3750,"museum":300,"description":23925,"tags":23926,"thumbUrl":23927,"material":611,"size":84,"collection":136,"collections":23928,"showCount":23920,"zanCount":48,"manualWeight":48,"mainColor":49},238971,"wang-jian-shan-shui-tu-zhou-wang-jian-238971","王鉴山水图轴","万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[164,24,7,165,128,132,29,130,99,34,131,711,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc7418118584b0267cf220052b12893a.jpg",[136,117],{"id":23930,"slug":23931,"title":23932,"dynasty":124,"author":19170,"museum":20,"description":19171,"tags":23933,"thumbUrl":23934,"material":1223,"size":23935,"collection":45,"collections":23936,"showCount":23920,"zanCount":48,"manualWeight":48,"mainColor":49},237895,"ming-ren-zhu-cha-tu-zhou-ding-yun-peng-237895","明人煮茶图轴",[24,7,165,27,28,96,875,276,62,2144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F094a120df71d56d0cb60610819a00d95.jpg","纵137.3厘米，横64.4厘米",[45],{"id":23938,"slug":23939,"title":23940,"dynasty":54,"author":223,"museum":20,"description":23941,"tags":23942,"thumbUrl":23943,"material":40,"size":23944,"collection":44,"collections":23945,"showCount":23920,"zanCount":1998,"manualWeight":48,"mainColor":49},236161,"qing-ren-wan-guo-lai-chao-tu-zhou-yi-ming-236161","清人万国来朝图轴","此画描绘的是藩属及外国使臣到紫禁城朝贺的场面。作者以鸟瞰的角度从太和门前的两个青铜狮子画起，将紫禁城中的主要建筑一一收入画幅，近大远小，主次分明，层次丰富，在大雪的银装素裹之下，整个场面宏伟壮观。",[164,24,7,95,27,96,97,906,1813,14225,19122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3007a2fd17c1d62f37b42bee59db909.jpg","纵299cm，横207cm",[44,45],{"id":23947,"slug":23948,"title":23949,"dynasty":124,"author":23950,"museum":20,"description":23951,"tags":23952,"thumbUrl":23953,"material":999,"size":84,"collection":84,"collections":23954,"showCount":23920,"zanCount":48,"manualWeight":48,"mainColor":72},234995,"lan-zhu-zhou-chen-yuan-su-234995","兰竹轴","陈元素","陈元素，生卒年不详，明代书画家。字古白、孝平、金刚，号素翁、处廓先生，私谥贞文先生，南直隶苏州府长洲（今江苏苏州）人，万历诸生。早负才名，工诗文，尤善书法，楷书法欧阳，草入二王之室，工山水，尤善写兰，得文征明之秀媚。有《古今名将传》、《南牅日笺》。",[164,24,7,165,128,375,171,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f282cae8acc7a40f7ae7ffdf6630dba.jpg",[],{"id":23956,"slug":23957,"title":23958,"dynasty":18,"author":2099,"museum":2068,"description":23959,"tags":23960,"thumbUrl":23961,"material":611,"size":23962,"collection":84,"collections":23963,"showCount":23920,"zanCount":48,"manualWeight":48,"mainColor":72},231424,"xiao-xiang-wo-you-tu-juan-li-gong-lin-231424","潇湘卧游图卷","《潇湘卧游图》为纸本墨笔，纵30.2厘米，横399.4厘米，意境开阔，大开大阖，随着观者视觉的移动，描绘了潇湘美景。 卷首有乾隆皇帝御题“气吞云梦”四字。乾隆帝又于卷中两处分别题有一跋一诗，题咏不足，又在卷尾画了一丛竹子并有款识。卷后有同时代题跋五纸九人，九人分别为信斋葛郯（绍兴二十四年进士，卒于淳熙八年）、串斋张贵谟、蒙斋章深、淡斋葛郛（约1131—约1196）、可斋葛邲（约1131—约1196）、如斋彦章、愚斋张泉甫、筠斋（筠斋后接“随喜”二字，当非名字）、理窟，除“理窟”未署斋名外，其他均署斋号。一人写到：“大地山河是幻，画是幻幻，只今说幻亦幻”。其中葛郯以一句“一人惯行草路，未免荆棘参天。一人顺水推舟，不觉浪来头上”暗示云谷（或他的朋友）遭受不白之冤。\n潇湘是一个合称，具体指发源于中国湖南宁乡的潇水和发自广西兴安的湘水（或湘江）经衡阳、湘潭等地汇入洞庭湖流域，这里烟雨蒙蒙，景色轻灵别致，不异于人间仙境。唐宋的诗人骚客无不以造访此奇景，吟诗以赞人生幸事，文人画家也纷纷着墨渲染。一位早年云游四方的禅僧云谷圆照晚来久居吴兴，以未见潇湘奇景为憾，遂求各路名家为其画“潇湘图”以补此缺。其中仅有一幅画由“舒城李氏”所作的潇湘画作流传至今，即为《潇湘卧游图》。\n《潇湘卧游图》是对《潇湘八景》的一种阐释，但是画家或者赞助人意味深长的修改了它。这幅山水包括的主题有落雁、烟寺、山市、晾晒渔网的渔村，以及暗示“归帆”的鼓足的风帆，但是三幅晚景图——“暮雪”、“夜雨”、“秋月”却难以描绘。如果加以表现，它们会在朦胧云雾中格外黯淡不明\n《潇湘卧游图》作者运用晕染模糊了山峦的轮廓，将界限融入轻雾之中。绵延的手卷以柔和纤细的线条、精致的细节和半透明的晕染绘制而成。笔触所现之处，或为表现如桥、舟之类细节的细如发丝的线条，或为湿润点染以表现树叶的墨点。\n南开大学文艺美学博士生王鹤《流失的国宝：世界著名博物馆的中国珍品》：“此画中群山连绵不绝，其景其情令人感叹。感叹其境美中蕴壮美，也感叹画家高超的技法。”\n《潇湘卧游图》存于日本已经超过一个世纪，即使作者并非有名的画家，实际身份背景也不明确，这一幅历经劫难的山水画，作为十二世纪末，从北宋迈入南宋，富有融合与转型意义的“潇湘”主题山水画代表作品之一，仍受美术史学者的重视。学者分别探讨过该画作的构图、笔法、水墨表现、形式风格等等面向。其中，铃木敬教授在1973年—1979年作过详尽研究；Valerie Malenfer Ortiz女士的专书以《潇湘卧游图》为主轴，全面讨论其在中国山水画创作及鉴赏的历史进程中所呈现的特殊价值。",[23,24,7,25,128,29,132,64,133,208,415,7782,34,1025],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3264c38a117918d8cc34daaa95c49552.jpg","纵30.2厘米，横399.4厘米",[],{"id":23965,"slug":23966,"title":19341,"dynasty":54,"author":1460,"museum":300,"description":23967,"tags":23968,"thumbUrl":23970,"material":84,"size":84,"collection":84,"collections":23971,"showCount":23920,"zanCount":1998,"manualWeight":48,"mainColor":72},228983,"tao-yuan-tu-shi-tao-228983","此作用淡墨晕染烟岚，赭石青绿轻敷山峦，留白铺展云气溪谷，村居错落隐于林麓溪畔，营造出幽谧空濛的世外丘壑。写意笔法脱略具象，点染之间将笔下山水化为可游可居之境。\n卷后题跋书法朴拙苍劲，题诗与绘境呼应，将武陵渔父误入桃源的悠然逸致娓娓道来，诗画交融无间。\n整作以淡远萧散的意境，寄寓着文人避世幽居的理想，把陶潜笔下的幻梦山水化为现实笔墨，尽显山水写意的诗性之美。",[24,7,25,27,29,128,132,496,37,149,35,34,211,99,1023,11564,209,23969,499,415,14906,96],"渔父","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7ff77b63e584f962b6ea92555a2a5a1.jpg",[],{"id":23973,"slug":23974,"title":23975,"dynasty":18,"author":397,"museum":300,"description":23976,"tags":23977,"thumbUrl":23979,"material":84,"size":84,"collection":84,"collections":23980,"showCount":23920,"zanCount":48,"manualWeight":48,"mainColor":72},227491,"liu-ya-lu-yan-tu-juan-zhao-ji-227491","柳鸦芦雁图卷","《柳鸦芦雁图》是北宋宋徽宗赵佶创作的一幅纸本淡设色中国画，现藏于上海博物馆。\n此图共分为二段，前段画柳鸦，后段画芦雁。鸦的头顶和腹部施以白粉，鸦身敷浓墨，黝黑如漆。柳树的斑驳老干，富有质感。柳鸦的墨彩很酣，笔势很壮，显示出赵佶用墨的特色。后段四只芦雁在芦草蓼花边栖息，以浅赭设色，增强了秋天萧疏的气氛。",[23,164,24,7,25,28,128,27,208,2372,21438,23978,18111,276,211,413,303],"芦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d888a8bed9a38a24bfea78fe527b0a.jpg",[],{"id":23982,"slug":23983,"title":23984,"dynasty":351,"author":4456,"museum":300,"description":23985,"tags":23986,"thumbUrl":23987,"material":84,"size":84,"collection":84,"collections":23988,"showCount":23920,"zanCount":48,"manualWeight":48,"mainColor":49},226707,"ting-qin-tu-zhou-wen-ju-226707","听琴图","周文矩是中国五代时期南唐人，生卒年不详，大约在南唐中主李璟、后主李煜时期，官至翰林待诏，擅长画佛道、人物、车马、屋木、山水题材，最擅长画仕女画。他是出色的肖像画家。所绘作品多以宫廷贵族的生活为题材，画风和唐代的周昉比较相近，独创了“战笔”描法。\n\n《听琴图》，传为五代周文矩所作，绢本，立轴，纵60厘米，横47厘米，现收藏于美国克利夫兰美术馆藏。画上题款“周文矩”，但传为明朝唐寅唐伯虎所作赝品。",[23,24,7,164,28,188,27,96,1337,130,131,438,496,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F375f9f9c019d3847bfbc827a8b08238c.jpg",[],{"id":23990,"slug":23991,"title":23992,"dynasty":54,"author":1460,"museum":300,"description":23993,"tags":23994,"thumbUrl":23995,"material":84,"size":84,"collection":84,"collections":23996,"showCount":23920,"zanCount":48,"manualWeight":48,"mainColor":49},224529,"zi-yun-jing-kai-yi-zhi-yan-shi-tao-224529","自云荆开一支眼","此作用开合之法排布丘壑，左右双峰雄峙，清溪自幽谷蜿蜒而出，层层铺展山水景深。笔法师法自然却不拘成法，方折勾勒山石轮廓，皴擦间带出苍厚质感，以赭石晕染岩面、花青点染林木苔痕，冷暖色调交织晕融，让雄奇山势裹着清润秀逸。\n\n谷间山居隐于林麓，暗合幽栖林下的野逸意趣，题识与画面相映成趣，诗画共生。笔墨纵恣灵变，摆脱摹古桎梏，以己心观照山水，将丘壑藏于笔底，尽显洒脱疏朗的性灵意趣，是借山川写胸臆的佳构。",[23,24,7,29,27,132,131,34,35,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d708bf201803287d6fb36b1c9262a54.jpg",[],{"id":23998,"slug":23999,"title":24000,"dynasty":54,"author":12462,"museum":300,"description":24001,"tags":24002,"thumbUrl":24003,"material":84,"size":84,"collection":84,"collections":24004,"showCount":23920,"zanCount":48,"manualWeight":48,"mainColor":72},224238,"zhu-ju-quan-shi-yang-da-zhang-224238","竹菊泉石","此作用笔清隽雅致，构图疏密相宜。嶙峋湖石居于画面中心，皴擦简约却尽显峭拔质感，撑起画面骨架。左侧淡墨写竹，枝叶轻曳似携秋风，留白处恍有清光流转，空灵秀逸。右下菊丛灼灼，黄紫双色错落层叠，瓣叶柔润鲜活，晕染出满幅秋意。细泉蜿蜒穿石而过，为冷寂添了几分灵动生机。\n\n设色浅淡柔和，以素净底色衬出花木之妍、湖石之朴，将秋日林泉的幽寂闲适铺陈开来，尽显雅致出尘的隐逸意趣。",[23,24,7,59,28,27,167,376,171,99,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17a0e88bdb88ecce18fd83ad4aa28c84.jpg",[],{"id":24006,"slug":24007,"title":24008,"dynasty":18,"author":223,"museum":300,"description":24009,"tags":24010,"thumbUrl":24011,"material":84,"size":84,"collection":84,"collections":24012,"showCount":23920,"zanCount":1998,"manualWeight":48,"mainColor":72},223668,"xue-shan-xing-qi-tu-ye-yi-ming-223668","雪山行骑图页","此作用淡墨晕染萧寒天色，以敷粉留白晕染山石积雪，遍铺清寂冷冽的冬日元气。琼峰素裹，梢顶微缀暖色苔点，打破素白单调。近岸丹枫凝红，暖色调破开漫天寒意，冷暖和融，愈显冬日山林的幽寂旷远。\n天际寒鸦数点，更衬天地空茫。溪岸小径之上，行旅策蹇徐行，身影渺小却点睛，将羁旅的萧索孤清缓缓铺陈，把冬日行役的荒寒况味藏于尺幅小景之中。笔意简淡清润，以小见大，尽显幽远冷隽的山水意趣，藏着细腻的冬旅体察。",[23,164,24,7,59,27,28,29,2523,101,96,34,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9779e57a11c43e5207a10113109fa36.jpg",[],{"id":24014,"slug":24015,"title":24016,"dynasty":54,"author":4468,"museum":244,"description":24017,"tags":24018,"thumbUrl":24023,"material":40,"size":24024,"collection":68,"collections":24025,"showCount":23920,"zanCount":48,"manualWeight":48,"mainColor":72},222793,"jin-chun-tu-lang-shi-ning-222793","锦春图","《锦春图》设色浓艳鲜丽，充分体现郎世宁的绘画特色。锦鸡花卉得写实之真，而湖石坡草又表现中国画的笔墨趣味。画春华锦鸡。锦鸡全用西法。点景树石笔墨是旧院体。构景一仍是陈法。当出另一画家补绘。设色画山涧旁湖石杂卉，二锦鸡栖石上。",[23,164,24,7,165,28,27,14386,24019,10803,2835,1400,131,62,666,24020,24021,1495,582,24022,16370,6193,3334],"光影透视","岩壑","野花","苔草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2017289c044d5d1fb6ebf7be3f2e2187.jpg","横68.6厘米，纵121.6厘米",[68,45],{"id":24027,"slug":24028,"title":24029,"dynasty":124,"author":204,"museum":20,"description":1523,"tags":24030,"thumbUrl":24031,"material":40,"size":1527,"collection":84,"collections":24032,"showCount":23920,"zanCount":1998,"manualWeight":48,"mainColor":49},222191,"ren-wu-gu-shi-tu-song-lin-liu-yi-chou-ying-222191","人物故事图-松林六逸",[23,24,164,7,28,27,96,372,29,130,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc65ad3deb6636a800eff9db2e999c190.jpg",[],{"id":24034,"slug":24035,"title":24036,"dynasty":124,"author":15700,"museum":244,"description":24037,"tags":24038,"thumbUrl":24039,"material":637,"size":24040,"collection":68,"collections":24041,"showCount":23920,"zanCount":48,"manualWeight":48,"mainColor":49},222020,"hua-xia-li-nu-tu-zhou-zhu-zhan-ji-222020","花下貍奴图轴","此画构图呈对角线，所画的猫、湖石、秋花均在对角线上，可谓全幅构图别致，虚实结合。狸奴造型准确，画法先淡色涂染全身，背上的毛用干笔涂擦点簇而成，表现了狸奴细毛的质感。以焦墨点睛，炯炯有神。湖石则用长麻皮皴。",[23,24,7,165,27,28,1634,604,171,208,64,949,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F511c301cd9d9a27486446cb728c20d37.jpg","纵41．5厘米，横39．3厘米",[68,45],{"id":24043,"slug":24044,"title":24045,"dynasty":144,"author":8127,"museum":244,"description":24046,"tags":24047,"thumbUrl":24048,"material":611,"size":24049,"collection":68,"collections":24050,"showCount":23920,"zanCount":48,"manualWeight":48,"mainColor":72},221841,"ma-que-shan-qin-tu-li-zhou-wang-yuan-221841","麻雀山禽图立轴","王渊，元代画家，字若水，号澹轩，一号虎林逸士，生卒年不详。杭（杭州）人。幼习丹青，赵孟多指教之，故所画皆师古人，无一笔院体。山水师郭熙，花鸟画师承后蜀黄筌，先勾勒后皴染水墨，浓淡深浅，极有韵致，地写生之妙，时称“绝艺”。人物师唐人吴道子，一一精妙，注重线条勾勒，不讲究墨彩渲染，史称“有笔而无墨”，自成风韵。尤精墨花鸟竹石，当代绝艺。天机溢发，肖古而不泥古。",[23,164,24,7,165,128,28,61,167,12508,211,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0258e250c8d399555994ef46f70fc70b.jpg","60x198cm",[68,117],{"id":24052,"slug":24053,"title":24054,"dynasty":18,"author":7991,"museum":300,"description":24055,"tags":24056,"thumbUrl":24057,"material":151,"size":24058,"collection":42,"collections":24059,"showCount":23920,"zanCount":1116,"manualWeight":48,"mainColor":49},221512,"jin-ma-tu-chen-ju-zhong-221512","进马图","陈居中(生卒年不详)，南宋时期宫廷画家。在画史有关他的记载十分简略，元代夏文彦《图绘宝鉴》卷四中记有：“陈居中，嘉泰间画院待诏，专工人物、蕃马，布景著色，可亚黄宗道。”另据《画史会要》记载，陈居中曾在开禧三年(1207年)为崔丽人画像，悉知他在1207年尚任职于画院，并擅长画肖像。\n虽然有关陈居中的记载十分简单，但他留下的作品却比较多且十分精彩，这在南宋宫廷画家中是十分难得的。就目前所知确为其真迹的作品有《文姬归汉图》、《胡茄十八拍图》、《绝塞逢春图》、《进马图》、《四羊图》等。这些作品所表现的多为历史故事或少数民族风情题材，这与“专工人物、蕃马”的记载是相吻合的。\n这些作品的画法多样，技艺高超，笔法精细，形象传神，正如明人吴其贞在题陈居中《八骏图》时所评：“精彩逼真似唐画，系临史道硕、韩干之辈，为两宋人物第一神品也。”",[23,164,24,7,28,27,101,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b6e4e525e0769c2739e54550a170481.jpg","21×32",[42,68,45],{"id":24061,"slug":24062,"title":19027,"dynasty":124,"author":2268,"museum":510,"description":19028,"tags":24063,"thumbUrl":24064,"material":3544,"size":24065,"collection":136,"collections":24066,"showCount":23920,"zanCount":48,"manualWeight":48,"mainColor":72},220954,"xiao-xiang-bai-yun-tu-dong-qi-chang-220954",[23,24,7,25,128,132,133,64,208,29,950,34,35,415,7509,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21fdc195369ed63e4dec9e5360e472cd.jpg","卷纵29.3厘米横340.8厘米",[136,117],{"id":24068,"slug":24069,"title":24070,"dynasty":18,"author":1091,"museum":244,"description":24071,"tags":24072,"thumbUrl":24073,"material":611,"size":24074,"collection":318,"collections":24075,"showCount":23920,"zanCount":1998,"manualWeight":48,"mainColor":72},220232,"bao-yue-tie-yu-chuai-cha-tie-su-shi-220232","宝月贴与啜茶贴","啜茶帖作于元丰三年，此帖为《致杜氏五札》之一，是东坡写给好友杜道源的一则便条，内容是邀请道源前来饮茶，顺便有事相商。\n啜茶帖用墨丰腴，笔触精到，每字各具姿态；大小错落，连绵有致，行间气脉贯穿，带有明显的晋人风韵。通篇而论，笔法精严而不拘束，姿态妍美而不做作，行文内容的轻松随意使得落笔自由挥洒，筋骨在形，神情寓内，短短32字气韵生动，传递出一种法度之上更有自在的适然情绪。\n宝月帖于治平二年书,此帖也为《致杜氏五札》之一\n此帖中“大人”，应指东坡之父苏洵；“宝月”，即指东坡族兄僧惟简；“令子监簿”大概指杜道源，吴歼跋云：“明允(苏洵)友君懿而兄事之，道源以父任簿其官。”东坡书此帖时，父亲尚在世。文中云“催了《礼书》事”，这《礼书》即苏洵参与编纂的《太常因革礼》一百卷。《续资治通监》卷六三英宗治平二年九月辛酉：“提举编纂礼书、参知政事欧阳修奏，已编纂书成百卷，诏以《太常因革礼》为名，赐修等银帛有差。”又，欧阳修《故霸州文安县主簿苏君(明允)墓志铭》：“为《太常因革礼》一百卷，书成方奏未报，而君以疾卒。实治平三年四月戊申也。”谈《礼书》事，必在治平三年苏洵死前，且在治平二年九月书成之前。故定为治干二年初书此帖为宜。孔凡礼将此札编人《苏轼文集·轶文汇编》时归人《与杜道源五首》中，有误。因为治乎二年，杜道源之“令子”杜孟坚尚年少，未能“监簿”。\n此帖笔法峻健锐利，应为早年书，是东坡存世墨迹的肇始之作。",[7,64,133,208,18],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c4c2d78a4e0cd6c8a1c9598d173294b.jpg","23厘米×17.7厘米",[318],{"id":24077,"slug":24078,"title":24079,"dynasty":124,"author":1058,"museum":20,"description":24080,"tags":24081,"thumbUrl":24082,"material":278,"size":24083,"collection":117,"collections":24084,"showCount":23920,"zanCount":1086,"manualWeight":48,"mainColor":72},220132,"zhen-shou-tang-tu-juan-tang-yin-220132","贞寿堂图卷","图绘以平远、阔远之法，画青山秀水之畔，有堂屋两间筑于山坳回抱之处、松竹掩映，篱落曲折。堂内家人聚首，共叙天伦；堂侧隔桥一人正袖手而立，作静观之状。图中山石皴笔劲利，晕染轻淡；树法丰富，枝干俯仰有态，点叶、夹叶兼备，点景人物衣纹细劲，神态闲适。风格秀润，意境幽淡，为唐寅早期画作的佳制。",[23,24,7,25,128,27,132,133,64,29,97,331,171,98,99,130,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29da086db6e0222144fd39f45bbfb2d9.jpg","纵28.3厘米 横102.2厘米",[117],{"id":24086,"slug":24087,"title":24088,"dynasty":144,"author":24089,"museum":11561,"description":24090,"tags":24091,"thumbUrl":24092,"material":278,"size":24093,"collection":136,"collections":24094,"showCount":23920,"zanCount":1998,"manualWeight":48,"mainColor":72},219934,"tan-you-gui-lai-tu-zhu-de-run-219934","探友归来图","朱德润","朱德润字泽民，号睢阳山人，又号旹杰，其擅山水，初学许道宁，后法郭熙，所画多作溪山清远、峰岳耸秀、林木挺健，山石用卷云皴，树作蟹爪枝，颇具真实感。",[23,24,7,25,128,132,29,98,99,129,413,131,37,96,711,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff72957dd60af3e3d5c952f9e954c2d1e.jpg","28.2x119.3",[136],{"id":24096,"slug":24097,"title":24098,"dynasty":54,"author":6946,"museum":244,"description":15142,"tags":24099,"thumbUrl":15144,"material":278,"size":24101,"collection":44,"collections":24102,"showCount":23920,"zanCount":48,"manualWeight":48,"mainColor":72},219553,"qing-ding-guan-peng-ming-huang-ji-ju-ding-guan-peng-219553","清丁观鹏明皇击鞠",[23,164,24,7,25,28,188,27,96,101,24100,208],"击鞠","32.1x523.2厘米",[44,117],{"id":24104,"slug":24105,"title":24106,"dynasty":124,"author":10106,"museum":244,"description":24107,"tags":24108,"thumbUrl":24109,"material":66,"size":24110,"collection":68,"collections":24111,"showCount":23920,"zanCount":48,"manualWeight":48,"mainColor":72},219317,"wen-xing-shuang-qin-tu-wu-bin-219317","文杏双禽图","此幅画老杏横枝双鸳鸯并立其上，鸳鸯本为水鸟，故甚少画作栖枝之景。一枝上挑中折，即在折断处署吴彬二字款，下钤双印，布置富奇趣。通幅笔墨傅彩，皆甚古厚，而又自饶新意。",[23,164,24,7,165,27,28,61,2167,1400,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2299223f11bb0f9f7e2c345c62f0e9ed.jpg","120.4x56.7cm",[68],{"id":24113,"slug":24114,"title":24115,"dynasty":18,"author":8169,"museum":4840,"description":24116,"tags":24117,"thumbUrl":24118,"material":317,"size":24119,"collection":42,"collections":24120,"showCount":23920,"zanCount":1998,"manualWeight":48,"mainColor":49},219168,"ju-yuan-tu-yi-yuan-ji-219168","聚猿图","此卷绘秋冬之季群猿攀援、饮涧、嬉戏之情形。所绘大小、老幼、黑白群猿三十余只，亦是一数量不菲的群猿聚居图。岩壑间群猿或坐或走、或仰或卧，或倒挂或直立，作者将群猿日常习居的情形淋漓尽致地表现出来。该图笔力富有弹性，突出其运动感。",[23,1846,24,7,25,128,29,949,9633,132,28,34,497,499,12108,548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48b78cc151c53a8bbbe047d09cfe527b.jpg","纵41.3厘米，横146厘米",[42,117],{"id":24122,"slug":24123,"title":24124,"dynasty":18,"author":2067,"museum":77,"description":24125,"tags":24126,"thumbUrl":24127,"material":173,"size":84,"collection":68,"collections":24128,"showCount":23920,"zanCount":1116,"manualWeight":48,"mainColor":49},218754,"xue-xi-gui-mu-tu-li-di-218754","雪溪归牧图","寒柳垂丝，疏枝蘸水似挽住一川冷寂。雪后溪山清旷，牧人荷杖随牛缓行，蓑衣半落，鬓角沾霜。老牛踏石留痕，蹄间雪屑细碎，憨态尽显。山石皴法简劲，柳丝用线柔婉，笔墨浓淡相济，于萧瑟中藏生机。归牧身影渐入苍茫，天地间清寒与暖意交织——宋人笔下寻常景致，竟藏空灵悠远韵致，每处细节皆低语，道尽田园冬日的恬淡安然。笔墨简淡却神完气足，牛的憨态、柳的柔姿、石的坚凝，寥寥数笔写尽，尽显宋画山水的诗意与生机。",[23,24,7,28,128,27,29,96,102,331,99,1556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a1151bc13e3b79f40fb8440c88fcfe9.jpg",[68],{"id":24130,"slug":24131,"title":6122,"dynasty":18,"author":223,"museum":300,"description":24132,"tags":24133,"thumbUrl":24134,"material":173,"size":24135,"collection":136,"collections":24136,"showCount":23920,"zanCount":1116,"manualWeight":48,"mainColor":49},218653,"chun-shan-xing-lv-tu-yi-ming-218653","春山如黛，溪水流淙。石桥横卧波上，行旅往来其间，驮队缓行溪边，似闻蹄声轻响。山舍临流而筑，柳丝轻拂檐角，远山层叠含烟，近石嶙峋映水。笔墨细腻处，见树影婆娑、屋宇错落；意境淡远间，融自然生机与人文意趣。宋代山水之韵在此尽显——不刻意雕琢，却于寻常景致中藏着春日的温婉与行旅的从容，仿佛能让人随画中人行过溪桥，步入那烟霞缭绕的春山深处，感受时光慢淌的诗意。",[24,7,29,27,28,132,98,99,130,331,97,131,34,96,2620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7600d5fe1024075bc6fd2e533eb62609.jpg","191x111",[136],{"id":24138,"slug":24139,"title":24140,"dynasty":18,"author":223,"museum":300,"description":24141,"tags":24142,"thumbUrl":24143,"material":173,"size":24144,"collection":42,"collections":24145,"showCount":23920,"zanCount":1998,"manualWeight":48,"mainColor":199},218562,"pan-yuan-tu-yi-ming-218562","攀猿图","一只猴子爬上一棵树，一只手放在树上，另一只手尽量往下伸，几乎要够到下面的果实，但还是无法做到。猴子是用刺毛法画的，只用墨水勾画了手、脚和脸，轮廓准确、自然、生动，渲染得很好，显示了猴子的运动，与树上茂密的覆盖物形成了鲜明的对比。",[23,24,7,164,28,27,9633,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e173bdb3b32b390e92cbd82379d4ad.jpg","21x22",[42],{"id":24147,"slug":24148,"title":24149,"dynasty":144,"author":7032,"museum":56,"description":24150,"tags":24151,"thumbUrl":24152,"material":66,"size":24153,"collection":136,"collections":24154,"showCount":23920,"zanCount":1116,"manualWeight":48,"mainColor":49},218271,"he-xi-cao-tang-tu-zhao-yuan-218271","合溪草堂图","此图采用对角线构图，右下绘有一洲为嘉兴澄性海，洲上筑有人交谈。对岸林木扶疏，湖中渔舟忙碌。笔墨疏淡，设色简雅，风格近似王蒙。自识[莒城赵元为玉山主人作合溪草堂图]。按玉山主人即顾阿英，旁又见顾阿瑛的题记，可知此图描绘了顾阿瑛私宅嘉兴合溪草堂的景色。顾氏款至正癸卯即公元一三六三年。",[24,7,128,132,29,331,130,211,99,171,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b39b7cd5b2e234b501aa3000492f233.jpg","84.3厘米，横：40.8厘米",[136],{"id":24156,"slug":24157,"title":23507,"dynasty":18,"author":2320,"museum":465,"description":23508,"tags":24158,"thumbUrl":24161,"material":173,"size":2324,"collection":84,"collections":24162,"showCount":23920,"zanCount":1998,"manualWeight":48,"mainColor":956},217002,"wu-bai-luo-han-zhi-guan-she-li-guang-tu-zhou-ji-chang-217002",[23,164,24,7,165,187,28,27,96,1144,497,24159,24160],"袈裟","舍利","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71d808b00c043beec536d0cda92fa28f.jpg",[],{"id":24164,"slug":24165,"title":24166,"dynasty":54,"author":24167,"museum":424,"description":24168,"tags":24169,"thumbUrl":24172,"material":66,"size":24173,"collection":68,"collections":24174,"showCount":23920,"zanCount":48,"manualWeight":48,"mainColor":72},216114,"shen-gui-tu-cai-jia-216114","神龟图","蔡嘉","该图构思巧妙，刻划生动。石头用浓墨渲染，缀以浑厚苔默；水纹勾线，灵活飘逸。此图构图重心偏下，一片汹涌水浪中微现一孤石，石上一龟，身体缩入甲内，颇有不顾外界任何风云变幻的从容。石畔水草丛生，被风吹得倒向一边，凸现出气氛的凌厉，更反衬龟之安祥。画面上端是金农行书《神龟篇》全文，占去了小半画幅，使原本简练的构图免了单薄之虑，显得十分得体而多姿。",[23,24,7,165,128,133,24170,303,24171],"神龟","水纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12b723d9b993907540f7591f1c131e8c.jpg","纵108厘米 横38.5厘米",[68],{"id":24176,"slug":24177,"title":2381,"dynasty":18,"author":2067,"museum":244,"description":24178,"tags":24179,"thumbUrl":24180,"material":173,"size":24181,"collection":84,"collections":24182,"showCount":24183,"zanCount":1116,"manualWeight":48,"mainColor":72},288265,"hua-niao-tu-li-di-288265","李迪，生卒年不详。南宋画家，河阳（今河南省孟州市）人，北宋宣和时为画院成忠郎，南宋绍兴时复职为画院副使，历事宋孝宗、宋光宗、宋宁宗三朝（1162年—1224年），活跃于宫廷画院几十年，画多艺精，颇负盛名。工花鸟竹石、鹰鹘犬猫、耕牛山鸡，长于写生，间作山水小景。构思精妙，功力深湛，雄伟处动人心魄。所作《枫鹰雉鸡图》温柔娇嫩可爱，《鸡雏图》形象生动超拔，刻画细致入微，各具神态。山水师李唐法，亦多佳作。论者谓其画鸠“作寒冷状，精俊如生”；画鹡鸰“翘翘欲起”。",[23,24,164,7,165,28,27,61,211,8140,62,689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F025bf6ddb9e0a0576db7f74ad6a02d0c.jpg","112.7x38.4",[],56,{"id":24185,"slug":24186,"title":3215,"dynasty":124,"author":223,"museum":300,"description":24187,"tags":24188,"thumbUrl":24189,"material":692,"size":1293,"collection":84,"collections":24190,"showCount":24183,"zanCount":1998,"manualWeight":48,"mainColor":956},287833,"guan-shi-yin-pu-sa-yi-ming-287833","此作工笔重彩，绘就菩萨自在安坐于岩畔。菩萨垂目敛神，面容温润慈悲，宝冠璎珞纹饰精细，衣袍朱红叠晕，层次雅致分明。虽历经岁月色泽稍褪，依旧可见施色厚重古雅，衣袂飘垂灵动舒展，将静定出尘的气韵尽显。\n\n背景以淡墨轻勾云水山峦，虚实相生，衬出幽寂清宁的禅意氛围，笔意兼具精工与写意，尽显传统佛造像的典雅庄重，带着古旧绢本沉淀的沉静质感，将观音悲悯淡远的出世之美凝于尺幅间。",[23,24,7,165,27,28,187,18381,96,3215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50620c2380c574c6253ab5f8613e2d0b.jpg",[],{"id":24192,"slug":24193,"title":24194,"dynasty":124,"author":273,"museum":1941,"description":24195,"tags":24196,"thumbUrl":24197,"material":692,"size":24198,"collection":84,"collections":24199,"showCount":24183,"zanCount":48,"manualWeight":48,"mainColor":199},287612,"wan-zhu-qiu-shen-tu-wang-fu-287612","万竹秋深图","王绂(wángfú)， 明初大画家，擅长山水，尤精枯木竹石，画竹兼收北宋以来各名家之长，具有挥洒自如、纵横飘逸、清翠挺劲的独特风格，人称他的墨竹是“明朝第一”。永乐元年(1403年)开始参与编纂《永乐大典》。",[23,24,25,128,167,6639,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfd617ad53eaf3d96657bf7bcae45ca5.jpg","26.1 x 847",[],{"id":24201,"slug":24202,"title":24203,"dynasty":144,"author":287,"museum":300,"description":24204,"tags":24205,"thumbUrl":24206,"material":692,"size":1293,"collection":84,"collections":24207,"showCount":24183,"zanCount":1998,"manualWeight":48,"mainColor":49},283619,"hua-niao-tu-quan-juan-qian-xuan-283619","花鸟图全卷","钱选（1239—1299），宋末元初著名画家，与赵孟頫等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。\n南宋景定三年乡贡进士，入元不仕。工诗，善书画。画学极杂：山水师从赵令穰；人物师从李公麟；花鸟师赵昌；青绿山水师赵伯驹。人品及画品皆称誉当时。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。",[23,164,24,7,25,28,27,61,167,376,373,211,481,62,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F137ee05c575ac4967710143b8215cd6c.jpg",[],{"id":24209,"slug":24210,"title":24211,"dynasty":54,"author":872,"museum":300,"description":6719,"tags":24212,"thumbUrl":24213,"material":692,"size":1293,"collection":84,"collections":24214,"showCount":24183,"zanCount":48,"manualWeight":48,"mainColor":72},237620,"song-zhou-zhu-da-237620","松轴",[24,7,165,128,372,331,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc88e2675302b73979218b75ed8b56e02.jpg",[],{"id":24216,"slug":24217,"title":24218,"dynasty":54,"author":3718,"museum":300,"description":14819,"tags":24219,"thumbUrl":24220,"material":84,"size":84,"collection":136,"collections":24221,"showCount":24183,"zanCount":1998,"manualWeight":48,"mainColor":72},237613,"hong-ren-mei-hua-zhou-hong-ren-237613","弘仁梅花轴",[24,7,165,188,128,371,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa05d4f75e8c0b7583181dee88bfbac1e.jpg",[136,117],{"id":24223,"slug":24224,"title":24225,"dynasty":54,"author":6357,"museum":20,"description":24226,"tags":24227,"thumbUrl":24228,"material":1722,"size":24229,"collection":68,"collections":24230,"showCount":24183,"zanCount":1998,"manualWeight":48,"mainColor":72},236383,"he-lu-tu-zhou-huang-shen-236383","荷鹭图轴","黄慎的花鸟画更多地继承了明代徐渭的泼墨大写意花鸟画风。此图描绘雨后双鹭于荷塘憩戏觅食的情景。画上荷花数茎，枝叶劲挺，花瓣娇媚，似有暗香浮动。两只白鹭翩翩而下，谨慎地着入水面，画家通过这一细节巧妙地表现出“水满池”的情景，“用笔极简，意趣自足”，由此可见一斑。对于荷叶的用笔恣肆狂放，墨色浓重，显示出荷花枝叶肥厚、“风飘不动”的旺盛生命力。在硕壮浓郁的荷叶的衬托下，以淡而轻的笔法描绘出白鹭的轻盈稚嫩，惹人怜爱。此外，画家在简洁的构图中力求营造空间感：图中荷花高低错落，荷叶相互掩映，俯仰向背，姿态各异，有着明显的纵深前后关系。两只白鹭停息在荷杆之后，尤其那只迎面飞来的白鹭起到了扩展画面空间的作用。在文人画中，很容易因注重笔墨形式而忽略景物的空间感，职业画家出身的黄慎在吸收文人笔墨情趣的同时，恰当地将写实与写意相结合，从而形成自己独特的风格。",[24,7,165,128,369,64,61,168,81,9318],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70ddc7422f4a85b05d360154cb4bbb54.jpg","纵130.2 厘米，横71.2厘米",[68,117],{"id":24232,"slug":24233,"title":24234,"dynasty":54,"author":3403,"museum":300,"description":24235,"tags":24236,"thumbUrl":24237,"material":84,"size":84,"collection":84,"collections":24238,"showCount":24183,"zanCount":48,"manualWeight":48,"mainColor":72},235242,"shu-guo-ping-zhou-wu-chang-shuo-235242","蔬果屏轴","此作用篆籀之趣写就寻常蔬果，泼墨如椽，墨色浓淡铺陈出菜叶的舒展野逸，枯湿变化尽显苍劲老辣的笔力。朱红晕染南瓜，暖润厚重，萝卜鲜活水灵，将乡野烟火的朴拙意趣，揉入文人笔墨之中。\n题长款行书诗文，笔势跌宕烂漫，与画面相映成趣，诗画合璧间，把案头清赏与田园之思融为一体，寻常果蔬不再只是吃食，化为充满生命力的雅逸景致，烟火气裹挟书卷意，落笔皆见真性情。",[24,7,165,27,128,208,2750,4252,4251,4250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1fe66098bf656c8cdfdc8cafbd20a46.jpg",[],{"id":24240,"slug":24241,"title":3659,"dynasty":124,"author":16032,"museum":300,"description":20309,"tags":24242,"thumbUrl":24243,"material":692,"size":1293,"collection":84,"collections":24244,"showCount":24183,"zanCount":48,"manualWeight":48,"mainColor":72},235239,"ju-hua-zhou-xiang-sheng-mo-235239",[24,7,165,27,61,376,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdcf136285d92857c81bcceda00dd6a4.jpg",[],{"id":24246,"slug":24247,"title":24248,"dynasty":54,"author":3403,"museum":300,"description":24249,"tags":24250,"thumbUrl":24252,"material":84,"size":84,"collection":84,"collections":24253,"showCount":24183,"zanCount":48,"manualWeight":48,"mainColor":72},235232,"liao-hong-he-bai-tu-zhou-wu-chang-shuo-235232","蓼红荷白图轴","以大写意之笔铺陈秋塘意趣，上方荷叶泼墨挥就，浓淡干湿交织，尽显苍浑朴拙之态，留白花瓣莹洁雅致，与墨色荷叶相映成趣。下方蓼花茎干细劲，朱红点染花序，鲜活灵动如沐秋风。\n\n左上题字错落排布，书意与画意相融相生。全作用笔兼具篆籀古意，看似率意挥洒，实则疏密得宜，红蓼墨荷冷暖相衬，将清秋疏朗野逸的意趣藏于笔底，寥寥数笔便勾勒出秋光满塘的鲜活生机，尽显文人写意画的雅逸朴厚。",[24,7,165,128,27,61,168,24251],"蓼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed59055e1f284cd3c40ef5375f4a0596.jpg",[],{"id":24255,"slug":24256,"title":24257,"dynasty":54,"author":24258,"museum":20,"description":24259,"tags":24260,"thumbUrl":24261,"material":734,"size":24262,"collection":84,"collections":24263,"showCount":24183,"zanCount":48,"manualWeight":48,"mainColor":72},234683,"chen-shi-ceng-tao-liu-pi-pa-tu-zhou-chen-heng-ke-234683","陈师曾桃榴枇杷图轴","陈衡恪","图绘桃、石榴、枇杷各一枝，参差有序，果实累累。画中以花青色配以浓淡不同的墨色画桃叶，再以重墨勾勒筋脉。桃实红绿相间，色泽自然。石榴的枝条硬朗秀挺，小叶片片看似随意，然点画得轻灵活泼，与较浓重的桃叶、枇杷叶相映衬，使画面轻重有别，富有韵律感。",[164,24,7,165,61,27,128,2123,2035,918,624,2037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f93683f8661e46f36da1e89a8b0199c.jpg","纵87.5厘米， 横44.8厘米",[],{"id":24265,"slug":24266,"title":24267,"dynasty":124,"author":1438,"museum":20,"description":24268,"tags":24269,"thumbUrl":24270,"material":3544,"size":24271,"collection":84,"collections":24272,"showCount":24183,"zanCount":1998,"manualWeight":48,"mainColor":72},234121,"fang-mi-shan-shui-tu-juan-chen-chun-234121","仿米山水图卷","图中山峦隐现起伏不断，雾气弥漫，杂树成林，山涧泉 水激流入江，屋舍茅亭、渔翁小舟、板桥雅士点缀其间。画面上云烟飘渺，草木华滋，笔法纵肆，神变万状，墨沈淋漓，苍茫浓郁，气韵生动。虽为仿米之作，却自具风貌。",[24,7,25,128,29,330,10216,37,34,131,495,130,99,415,3427,498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f59ad95d193c191833e0c060f6d0654.jpg","纵14．8厘米横247．2厘米",[],{"id":24274,"slug":24275,"title":24276,"dynasty":54,"author":24277,"museum":300,"description":24278,"tags":24279,"thumbUrl":24280,"material":84,"size":84,"collection":84,"collections":24281,"showCount":24183,"zanCount":48,"manualWeight":48,"mainColor":72},230854,"lan-zhu-shi-tu-zhu-sheng-230854","兰竹石图","诸昇","淡墨晕染坡岸，焦墨点苔点缀，寥寥数笔便勾勒出幽寂崖畔的清冷底色。兰叶以中锋挥就，笔势柔韧舒展，或斜曳迎风，或挺拔舒展，如君子立世，清劲洒脱。\n\n兰花以浓墨点簇，隐于叶隙之间，含而不发，暗合雅士含蓄内敛的品格。整幅画作以水墨浓淡铺陈层次，简淡疏朗，以少胜多，不着艳色，却恍见空谷幽兰暗香浮动，将兰草孤高清逸之态尽数彰显，尽显文人借物抒怀的写意意趣，把水墨的空灵雅致渲染到极致。",[24,7,128,369,375,167,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a4634c9d1a59b7eb1c6b4e3b1a07df0.jpg",[],{"id":24283,"slug":24284,"title":24285,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":24286,"thumbUrl":24287,"material":151,"size":7879,"collection":84,"collections":24288,"showCount":24183,"zanCount":48,"manualWeight":48,"mainColor":72},230106,"hong-lou-meng-187-sun-wen-230106","红楼梦187",[24,7,28,27,96,97,247,875,34,62,2352,249,8091,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c40ad935649f53a2bfc48d53e55d45f.jpg",[],{"id":24290,"slug":24291,"title":2498,"dynasty":124,"author":204,"museum":300,"description":24292,"tags":24293,"thumbUrl":24294,"material":692,"size":1293,"collection":84,"collections":24295,"showCount":24183,"zanCount":1998,"manualWeight":48,"mainColor":72},228455,"du-le-yuan-tu-chou-ying-228455","《独乐园图》卷由明代仇英绘。画卷内容根据司马光的《独乐园记》立意，依次描绘了弄水轩、读书堂、钓鱼庵、种竹斋、采药圃、浇花亭、见山堂等景致。卷后拖尾接裱为文徵明书《独乐园记》《独乐园七咏》，苏东坡《独乐园诗》及项禹揆等人题跋。",[23,24,7,25,27,28,95,96,97,98,99,130,34,276,131,247,249,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec1edf8089fe9785596584cae9f689ef.jpg",[],{"id":24297,"slug":24298,"title":24299,"dynasty":144,"author":18493,"museum":300,"description":24300,"tags":24301,"thumbUrl":24302,"material":692,"size":1293,"collection":84,"collections":24303,"showCount":24183,"zanCount":48,"manualWeight":48,"mainColor":72},228078,"jiu-ge-tu-juan-zhang-wo-228078","九歌图卷","《九歌图》是元代张渥于1346年创作的画作，此画现藏于吉林省博物馆。画上题记：至正六年，丙戌，即1346年。\n《九歌图》卷共十一段，每段一图，画屈原像及楚辞《九歌》中的《东皇太一》《云中君》《湘君》《湘夫人》《大司命》《少司命》《东君》《河伯》《山鬼》《国殇》十章内容。该图笔法流畅工整，秀劲宛转，线条纤细飞扬，体现了元代的白描风格。",[164,24,7,25,188,96,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fd703b650dbb12a74da0ce542b73749.jpg",[],{"id":24305,"slug":24306,"title":24307,"dynasty":18,"author":223,"museum":300,"description":24308,"tags":24309,"thumbUrl":24310,"material":84,"size":84,"collection":84,"collections":24311,"showCount":24183,"zanCount":1116,"manualWeight":48,"mainColor":49},227910,"zhu-mei-xiao-qin-tu-tuan-shan-yi-ming-227910","竹梅小禽图团扇","寒梅疏枝缀满莹白香蕊，清挺竹叶交错掩映，衬出幽隽雅致的冬初小景。三只山雀姿态各异，或敛羽栖于枝头侧目远眺，或俯身啄探似欲衔取花枝，蓬松绒毛以细笔晕染而出，灵动鲜活呼之欲出。\n\n整幅小品设色古雅淡逸，笔法兼具写实功力与文人情致，苍劲梅枝、秀劲竹叶与娇憨禽鸟相映成趣，将郊野小景的清新生机，定格在尺幅团扇之中，尽显宋画小品兼具写实意趣与雅致意境的独特魅力。",[164,24,7,1131,28,27,61,167,371,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F014ad6d20b32bd8ed109194ceff64ab9.jpg",[],{"id":24313,"slug":24314,"title":24315,"dynasty":18,"author":223,"museum":300,"description":11649,"tags":24316,"thumbUrl":24317,"material":692,"size":1293,"collection":84,"collections":24318,"showCount":24183,"zanCount":48,"manualWeight":48,"mainColor":49},227867,"pu-xian-pu-sa-tu-yi-ming-227867","普贤菩萨图",[23,24,7,165,187,27,96,949,28,1364,14225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7baa4b163280a926f7c11272d4784ad.jpg",[],{"id":24320,"slug":24321,"title":24322,"dynasty":18,"author":791,"museum":300,"description":24323,"tags":24324,"thumbUrl":24325,"material":84,"size":84,"collection":84,"collections":24326,"showCount":24183,"zanCount":48,"manualWeight":48,"mainColor":49},227779,"zhu-chong-tu-ye-wu-bing-227779","竹虫图页","此图画幽篁疏影，双钩填彩，以色之而飞，又绘天牛、螽蜥，无不刻画入微，瓜赞，相阿弥题签，天室和尚题跋。浓淡来显叶之向背、竿之盘曲。枝叶饱满， 叶果实又仿效徐崇嗣的没骨画法。设姿态多样。另有花卉野瓜、蝴蝶蜻蜓萦绕 色浓丽而又不隐墨骨。",[23,164,24,7,1131,28,27,61,167,609,1326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01191a7671ec45bee311028ed57ed69c.jpg",[],{"id":24328,"slug":24329,"title":24330,"dynasty":18,"author":633,"museum":300,"description":24331,"tags":24332,"thumbUrl":24333,"material":84,"size":84,"collection":84,"collections":24334,"showCount":24183,"zanCount":48,"manualWeight":48,"mainColor":72},227726,"song-xia-guan-pu-xia-gui-227726","松下观瀑","《松下观瀑图》为南宋画家夏圭所作。右下山石处款署“夏圭”。\n\n图绘一瀑布飞流，水边峭壁悬一古松。一高士坐于松下观赏飞瀑。\n夏圭，临安人（杭州），生卒年不详，字禹玉，中国著名山水画大家，南宋四家之一，与马远、刘松年、李唐齐名。在南宋画坛，他与著名画家马远合称“马夏”。他没有入官，但进入过南宋画院担任待诏工作。\n\n据文献记载，夏圭在绘画上入手学习的是人物画，但不久以后他转入了山水并作为主攻方向。夏圭学习过李唐、范宽、米芾、米友仁的山水画技术，并主要以李、范为根基。夏圭在笔墨构建上，倾向于苍劲、开张、有力的特色，所以他的山水画有滋润淋漓之美。山水画技术中，有一种皴法泥里拔钉皴，就是夏圭首先运用的。这种皴法先用淡墨铺底染，然后根据其湿度状况，加以浓墨勾皴，使得浓淡墨达到理想的交融状态，视觉上有层次丰富之效果。\n\n夏圭更为人称道的是他的构图法。他经常只取景施绘在画面的一部分，而空出另一部分。这种处理法的好处是将重点突出，让欣赏者有更佳的代入感。因此人们将夏圭这种方式称作“夏半边”，它与马远的“马一角”并称南宋画坛。\n\n夏圭的作品传世至今尚有不少珍品，其中冠名为他的绘画有长卷画《江山清远图》、《长江万里图》等。有其他立轴、方幅画《溪山无尽图》、《溪山奇观图》、《山川钟秀图》、《雪山图》、《松崖客话图》、《溪山清远图》等。这些作品大多收藏在北京故宫博物院、台北故宫博物院等著名机构中。",[23,24,7,164,1131,128,132,29,1144,495,96,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea35dcf8553220d48caebb48114605af.jpg",[],{"id":24336,"slug":24337,"title":24338,"dynasty":124,"author":223,"museum":300,"description":24339,"tags":24340,"thumbUrl":24341,"material":514,"size":24342,"collection":136,"collections":24343,"showCount":24183,"zanCount":48,"manualWeight":48,"mainColor":49},223460,"shan-shui-lou-ge-tu-ye-yi-ming-223460","山水楼阁图页","图中绘高山峻岭，山石陡峭，树木葱郁，群山中有一楼阁，作为画中心，色彩不同于高山树木的墨绿，采用偏黄绘画，具有中国建筑特色，极为突出",[23,24,7,59,95,128,27,29,97,34,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58ae4ea4a3f42436225874305e3ba8ce.jpg","40X43",[136,117],{"id":24345,"slug":24346,"title":24347,"dynasty":54,"author":223,"museum":224,"description":24348,"tags":24349,"thumbUrl":24352,"material":84,"size":24353,"collection":84,"collections":24354,"showCount":24183,"zanCount":48,"manualWeight":48,"mainColor":49},223357,"fang-dong-yuan-jiang-nan-yan-luan-tu-juan-yi-ming-223357","仿董源江南烟峦图卷","该画作展现了江南峰峦叠翠，云雾缭绕，林木繁茂的夏日景致，画中绘有许多辛勤劳作的山民和家畜，洋溢着浓厚的自然气息和生活情趣。\n画面上有山峦复叠、烟树沙川的夏日景致。画面中央山峦起伏连绵，上方水面空阔回转；一道道沙川和坡丘在水上和岸边延伸推展，两人泛舟水上；岸上树木丛生，百草丰茂，其间有牛羊悠闲吃草，有农人从容劳作；一道一道的冈峦，苍苍茫茫由近向远渐渐推展开去，忽明忽暗，层峦叠嶂，极具自然掩映的趣味。",[24,7,25,128,330,132,29,37,34,129,31,24350,2479,24351,6474],"丘陵","丛竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff949cfedb91c38ffe9314bf3c1e04eb8.jpg","30x600厘米",[],{"id":24356,"slug":24357,"title":24358,"dynasty":54,"author":1219,"museum":524,"description":1220,"tags":24359,"thumbUrl":24360,"material":1223,"size":24361,"collection":84,"collections":24362,"showCount":24183,"zanCount":48,"manualWeight":48,"mainColor":72},223233,"mu-zi-ping-an-tu-ren-yi-223233","母子平安图",[23,304,24,7,27,369,61,21195,19480,209,34,582,1039,7446,6640],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f8484418d23a6d00d3a4500767ec3af.jpg","150cmx40cm",[],{"id":24364,"slug":24365,"title":24366,"dynasty":54,"author":4468,"museum":244,"description":13928,"tags":24367,"thumbUrl":24369,"material":514,"size":13932,"collection":136,"collections":24370,"showCount":24183,"zanCount":1116,"manualWeight":48,"mainColor":72},222767,"shi-er-yue-ling-tu-8-yue-lang-shi-ning-222767","十二月令图（8月）",[23,24,7,28,27,95,96,97,34,131,247,130,62,249,9425,24368,1428],"围墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd9d2819dab19c67c4bf7cfb5fc58f1a.jpg",[136,45],{"id":24372,"slug":24373,"title":24374,"dynasty":124,"author":16846,"museum":244,"description":24375,"tags":24376,"thumbUrl":24377,"material":66,"size":24378,"collection":117,"collections":24379,"showCount":24183,"zanCount":1998,"manualWeight":48,"mainColor":72},222227,"song-gang-zhu-wu-tu-zhou-wen-bo-ren-222227","松冈竹坞图轴","文伯仁松的《冈竹坞图》画中前景有戴笠僧人拄杖前行，将进入林间寺院；中景有一渡桥文士，或许即为“放浪溪山已有年”的文伯仁；远景宛若随著云雾浮现，凛立天际的秀峻山头，应是令作者追求神往的盛景。文伯仁是习仿文征明风格的后辈与学生中，自成面目，卓然出众者。他将文征明结构繁复的图式，朝更精致严密的方向发展，以工细的用笔与敷色，别出心裁的构图，表现郁茂清幽的山林胜景，散发出文派作品特有的雅澹气质。",[23,24,7,165,128,27,132,208,29,372,167,130,98,99,131,34,211,331,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2a43776896fe834580cb168f04bc481.jpg","132.6x30.7cm",[117,45],{"id":24381,"slug":24382,"title":24383,"dynasty":124,"author":8983,"museum":244,"description":24384,"tags":24385,"thumbUrl":24387,"material":128,"size":24388,"collection":136,"collections":24389,"showCount":24183,"zanCount":48,"manualWeight":48,"mainColor":72},222184,"han-shan-shi-liu-tu-zhou-zhao-zuo-222184","寒山石溜图轴","赵左（1573—1644）左一作佐，字文度。活跃于明代后期。万历、崇祯时华亭（今上海松江）人。\n赵左，为诸生时，诗文即出众，曾赴北京，以一首秋草诗一鸣惊人，人呼为“赵秋草”。后得顾正谊赏识，让他与宋懋晋向好友宋旭学画，此后画名渐显。山水师法董源，兼学黄公望、倪瓒。画云山以己意出之，有似米（芾）非米之妙。善用干笔焦墨而又长于烘染，后受董其昌的画风影响，形成笔墨灵秀、设色雅致的风格。他与弟子沈士充、朱轩、叶有年、陈廉、李肇亨等构成的艺术群体，被人们称为“苏松派”。论画主张要得所画物象之势，应取势布景交错而不繁乱。因一生穷困，曾为董其昌代笔。所著《大愚庵遗集》已失传，散落的诗文由其子搜辑成一集存世。传世作品有万历三十九年（1611）作《秋山幽居图》扇面（藏上海博物馆）、万历四十年（1612）作《溪山无尽图》卷）收录于《中国绘画史图录》下册）、万历四十四年（1616）的《长江叠翠图》卷（藏中国美术馆）等。另有藏于故宫博物院的《富春大岭图》卷，台北故宫博物院藏《寒江草阁图》轴及上海博物馆藏《仿大痴秋山无尽图》卷、《山水卷》等。\n绘画特色:\n一、师从宋旭。宋旭（1525-？年），字初旸，号石门，浙江湖州人，后徙居上海松江，以画山水最为擅长，主要师法“明四家”之一的沈周，风格雄劲古拙，为“松江派”之祖。赵左的山水画是以宋旭为基础，上溯源流，追摹董源、倪瓒笔意，兼采米氏云山与黄子久浅绛法，善用干笔焦墨，长于烘染，水墨湿润，极富神韵。清王原祁《佩文斋书画谱》中即有云：“（赵左）学于宋旭……其画宗董源，兼有黄公望、倪瓒之意。\n二、受董其昌山水画影响。董其昌是明代后期书画大家，其山水画理论与实践影响了明末乃至清代山水画的发展，加之董氏社会地位显赫，官至南京礼部尚书，以太子太保致仕，结交了大量的仕宦、文人和书画家，因此名重一时，影从者甚众。由于董其昌是松江人氏，因此当时松江地区的许多画派都以追随董氏，强调摹古，重视笔墨为潮流，而赵左身处其间，在绘画创作上受乡贤之影响也是必然的。\n赵左与董氏是翰墨挚友，并有着长期的书画交往，是董氏绘画最重要的代笔人之一。对此，清朱彝尊（1629-1709年）在《论画绝句十二首》中指出“隐君赵左僧珂雪，每替香光应接忙。泾渭淄渑终有别，漫因题字概收藏。”又朱氏自注云：“董文敏疲于应酬，每倩赵文度及雪公代笔，亲为书款。” 同时，清姜绍书（生卒年不详）在《无声诗史》中亦有云：“与董思白为翰墨友，流传董迹，颇有出文度手者。”可见，赵左为董氏代笔在当时已是公开的秘密，这也从一个侧面反映了赵左在绘画上的功力确是不凡。\n赵左绘画作品《山水册》，现由金陵天渡楼收藏。\n当然，赵左为董其昌代笔与董氏原作是有本质区别的。赵氏长于烘染，在树木等的刻画上立体感强，层次繁复，风格细润，于绘画技巧上更为精能，但笔墨功力与董其昌相比则略显单薄，这主要是由于董氏所具有的超凡书法功底是赵左力所不逮的。赵左作为“松江派”山水的领袖，自具有其独到之处。《无声诗史》记其论画一则，阐述了他对山水画创作的艺术见解。他主张画山水，须得山川林木、楼观舟车、人物屋宇之势，做到取势布景，交错而不繁乱；景物布置,须一一自然合理；景色先以朽笔勾出，然后落墨,使景致、笔墨交融，成画后才富有意味。\n他创作的山水画，亦力求体现这些思想。景物大多较为繁复，有时画烟岚云雾流动于层峦叠嶂、坡谷幽溪涧；并以斜径、溪桥、房屋、树木,掩映穿插。笔墨方面,或用浓、湿、浅、淡的墨色染出山峦向背，同时渍出浮动的白云；或作浅绛设色，与笔墨的运用相融。还经常参用米氏父子、黄公望、倪瓒等画家的不同画法\n他的山水画秀劲飘逸的韵致也吸引了一大批松江画家追随其左右，如赵泂、叶有年、吴振、释常莹等，都从学于赵左绘画，使得明末清初的松江画坛呈现出一派生机盎然的景象。而赵左的许多作品也为时人和后世视为世袭之珍。",[23,164,24,7,165,128,132,131,1337,37,495,24386,1557,29],"小亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdc4008b1851240fd1b92482966a63c8.jpg","52.7x36.9厘米",[136,45],{"id":24391,"slug":24392,"title":24393,"dynasty":18,"author":12759,"museum":56,"description":6601,"tags":24394,"thumbUrl":24395,"material":24396,"size":24397,"collection":42,"collections":24398,"showCount":24183,"zanCount":1116,"manualWeight":48,"mainColor":49},221585,"an-chun-tu-li-an-zhong-221585","鹌鹑图",[23,164,24,7,28,27,61,8140,481,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0a7a66cc5c8697ff42ab6e379a7cb63.jpg","设色绢","52x68",[42,68,45],{"id":24400,"slug":24401,"title":24402,"dynasty":18,"author":1622,"museum":2068,"description":24403,"tags":24404,"thumbUrl":24405,"material":151,"size":1453,"collection":84,"collections":24406,"showCount":24183,"zanCount":1998,"manualWeight":48,"mainColor":49},221531,"jiang-shang-xiao-chuan-tu-ma-yuan-221531","江上小船图","马远（约1140－约1225年后），南宋画家。字遥父，号钦山，原籍河中（今山西永济），侨寓钱塘（今浙江杭州）。出身绘画世家，南宋光宗、宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[23,24,164,7,1131,128,27,96,129,29,1337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9920e6cf5cd9c356e5072e6bc0e4c7e.jpg",[],{"id":24408,"slug":24409,"title":24410,"dynasty":18,"author":4899,"museum":205,"description":24411,"tags":24412,"thumbUrl":24413,"material":151,"size":24414,"collection":42,"collections":24415,"showCount":24183,"zanCount":1116,"manualWeight":48,"mainColor":49},221451,"xiao-ya-nan-you-jia-yu-pian-ma-he-zhi-221451","小雅·南有嘉鱼篇","马和之（生卒不详）：中国南宋画家。活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。高宗绍兴(1131-1162)中登第，一说官至工部或兵部侍郎。画院待诏（画家），为南宋宫廷画院中官品最高的画师，居御前画院十人之首。周密曾谓“御前画院仅十人，和之居其首焉”。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描(一作马蝗描)，用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[23,164,24,7,25,188,27,133,208,64,96,97,99,98,130,331,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95614c3f4e3eb9f4c63c1368cfcfd9c2.jpg","27×383厘米",[42,136,45],{"id":24417,"slug":24418,"title":24419,"dynasty":18,"author":24420,"museum":20,"description":24421,"tags":24422,"thumbUrl":24423,"material":40,"size":24424,"collection":42,"collections":24425,"showCount":24183,"zanCount":48,"manualWeight":48,"mainColor":49},221436,"jiang-shan-fang-mu-tu-juan-qi-xu-221436","江山放牧图卷","祁序","本幅无款，上有清高宗弘历御题五律诗一首。前隔水有金章宗完颜璟瘦金体书题签：“祁序江山放牧图”。清梁清标书签：“北宋祁序江山放牧图蕉林珍藏”。鉴藏印有金章宗“内殿珍玩”、“明昌”、“明昌宝玩”、“御府宝绘”；清耿昭忠“耿昭忠信公氏一字在良别号长白山长收藏书画印记”，梁清标“蕉林”、“观其大略”以及乾隆、嘉庆、宣统诸帝之玺。\n此图为平远式构图，取景开阔。图绘初春时节，牧童们在湖泽坡岸间牧牛的情景，是典型的宋代风俗小品画。作品表现了各种情态的牛，或低头饮水，或昂首举目，或扭身顾盼，或侧身前行，皆神态生动，富有情趣，显示出作者娴熟的笔墨技法和准确的造型能力。图中点景的树木具有宋人李唐刻画粗简的遗风，树干以粗线条勾勒轮廓，润墨皴擦，显现出苍健之态、虬曲之美；树叶用笔致细腻的夹叶法表现，中锋行笔，线条圆润工整，展现出树木丰润华滋之美。堤岸坡石的表现别具匠心，以曲折弯转的墨线勾边，再以石绿色晕染坡面，亮丽的色彩不仅丰富了画面的色调，也为全幅增添了万物复苏的春之气息。作者将悠闲惬意的牛与风和日丽的环境有机地融为一体，画面中洋溢着浓郁的乡土风情。\n此幅是祁序流存至今的唯一一件作品，原藏清宫内府，宣统年间为溥仪运出宫，存于长春的小白楼内，后为周觉民获得。1983年9月由周觉民之妻李倩玉捐献给故宫博物院。\n著录于清内府《石渠宝笈初编》。",[23,164,24,7,25,128,132,29,102,96,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb7be5f835fcaeb89d01f42e584182ea.jpg","纵47.3厘米，横115.6厘米",[42],{"id":24427,"slug":24428,"title":12070,"dynasty":18,"author":7553,"museum":300,"description":24429,"tags":24430,"thumbUrl":24431,"material":27,"size":24432,"collection":42,"collections":24433,"showCount":24183,"zanCount":48,"manualWeight":48,"mainColor":49},221424,"shan-shui-tu-ye-yan-wen-gui-221424","燕文贵（967—1044），北宋画家。文贵一作贵，又名燕文季，吴兴（今浙江湖州）人。擅画山水、屋木、人物。宋太宗时至汴梁于街头卖画，被画院待诏高益发现并加以举荐，后进入翰林图画院，甚得太宗赏识。\n\n作画常自出机杼，落笔命意不袭古人，所画景物清润秀雅，又善于把山水与界画相结合，将巍峨壮丽的楼观阁榭穿插于溪山之间，点缀以人物活动。刻画精微，笔法峭丽，境界雄浑，人称“燕家景致”。\n存世作品有《江山楼观图》《溪山楼观图》等。",[23,164,24,7,59,27,132,29,34,758,1743,415,5801,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f2cb4e910bceafecf67da9700705515.jpg","55×25",[42,136,117],{"id":24435,"slug":24436,"title":24437,"dynasty":980,"author":5076,"museum":8958,"description":24438,"tags":24439,"thumbUrl":24441,"material":17163,"size":84,"collection":84,"collections":24442,"showCount":24183,"zanCount":48,"manualWeight":48,"mainColor":72},220595,"gong-chong-ce-ye-guo-guo-qi-bai-shi-220595","工虫册页·蝈蝈","此作以工写相映成趣，左侧赭红草叶写意挥就，笔致苍劲洒脱，寥寥数笔便勾勒出舒展野逸之态，淡墨晕染的浅淡底色晕开朦胧乡野意韵。右侧蝈蝈则以工笔细描，翠色躯体鲜亮通透，触须纤毫毕现，肢节纹理分明，振翅欲动，仿佛下一秒便要跃向草叶，将乡野小虫的灵动鲜活凝于纸面。\n\n简笔写意的朴拙与精微工细的鲜活彼此映衬，把寻常乡野小景绘得生机满溢，藏着对自然烟火的细腻体察，于平淡日常里撷取鲜活意趣。",[24,7,59,28,27,61,24440,1771],"蝈蝈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf64a8cd4f60805de0416aa2528db217.jpg",[],{"id":24444,"slug":24445,"title":24446,"dynasty":54,"author":24447,"museum":1376,"description":24448,"tags":24449,"thumbUrl":24450,"material":278,"size":24451,"collection":117,"collections":24452,"showCount":24183,"zanCount":48,"manualWeight":48,"mainColor":72},220360,"fang-ni-yun-lin-gu-mu-yuan-shan-tu-zhou-zhu-chang-220360","仿倪云林古木远山图轴","祝昌","图以水墨描绘江南水乡泽国景色。层岗丘阜，错落起伏，溪涧潆洄，林木蓊郁，有茅屋数间依偎于山麓，扁舟数个荡漾于水面，景色旷远，意境清幽。画面主要用墨笔干皴，得倪瓒三昧。",[23,24,7,165,128,132,330,29,4797,415,331,99,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11257d3e5577a6cd1823f109ea6a2bdb.jpg","53.5x177.6",[117],{"id":24454,"slug":24455,"title":24456,"dynasty":54,"author":55,"museum":300,"description":24457,"tags":24458,"thumbUrl":24459,"material":66,"size":24460,"collection":68,"collections":24461,"showCount":24183,"zanCount":48,"manualWeight":48,"mainColor":72},219990,"yao-pu-qiong-pa-tu-yun-shou-ping-219990","瑶圃琼葩图","图绘湖石一块，形状怪异；后有牡丹围绕，枝繁叶茂，枝头花朵或粉红，或红白相间，花瓣层层叠叠，层次清晰。此幅敷色生硬，或是后人摹本。",[23,24,7,61,164,165,60,27,28,263,229,276,62,624,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52a659286fd748d9c56f400aa903af4c.jpg","120×54",[68],{"id":24463,"slug":24464,"title":24465,"dynasty":54,"author":4468,"museum":20,"description":24466,"tags":24467,"thumbUrl":24469,"material":173,"size":24470,"collection":68,"collections":24471,"showCount":24183,"zanCount":48,"manualWeight":48,"mainColor":49},219870,"song-xian-ying-zhi-tu-zhou-lang-shi-ning-219870","嵩献英芝图轴","正中是一只兀立于石上的白鹰，画面的右边是一棵弯曲盘绕的老松，还有一棵藤萝攀绕着松树枝干，松树的根部和石头的缝隙之间有灵芝数株，画幅左边为坡石以及急湍的溪流。 图中所绘苍松、雄鹰、灵芝、山石、流水，在中国文化中多有强健、长寿和吉祥的美好寓意。但在色彩上，鹰白、松绿、芝棕红、土坡绛色和藤萝花粉紫，却是不同于中国传统、属于郎世宁风格的鲜明、绚丽和浓重。",[23,164,24,7,165,28,27,14386,1144,495,131,24468,9070],"白鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35ede8b111d7cac1c43336e0de1b2972.jpg","纵242.3cm，横157.1cm",[68],{"id":24473,"slug":24474,"title":24475,"dynasty":124,"author":14340,"museum":56,"description":24476,"tags":24477,"thumbUrl":24479,"material":278,"size":24480,"collection":44,"collections":24481,"showCount":24183,"zanCount":48,"manualWeight":48,"mainColor":72},219405,"tie-di-tu-wu-wei-219405","铁笛图","《铁笛图》表现的是一位文人雅士饮酒作歌的场景。画面的背景为古松森森、四寂无人的僻静之处；画的当中为一文士，焚香而坐，手端酒杯，其态陶然欲醉；侧边有一侍女，双手棒着一支尺许铁笛。此画技法精湛，松树以浓墨描画而成，令人一睹之下有雄健劲硕之感；画中人物线条流畅，神态毕肖，奇逸潇洒，分外动人。",[24,7,188,96,1144,1314,9603,8162,6369,9604,24478,438,208],"扇子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e37d0c161bcf80421932b82d79808e2.jpg","纵32.1厘米，横155.4厘米",[44],{"id":24483,"slug":24484,"title":24485,"dynasty":54,"author":3750,"museum":20,"description":24486,"tags":24487,"thumbUrl":24488,"material":173,"size":24489,"collection":136,"collections":24490,"showCount":24183,"zanCount":48,"manualWeight":48,"mainColor":49},219220,"fang-da-chi-shan-shui-tu-wang-jian-219220","仿大痴山水图","此图沿“S”形的水路，绘一河两岸的景色，笔墨技法精湛，设色清丽脱俗，表现了江南山水沉郁深秀的自然气象。图中山石、树木勾染以仿大痴，即黄公望的画面为主，同时参法董源及唐初巨然的笔力，显现出王鉴晚年对古人笔墨融会贯通的掌控能力。",[23,164,24,7,165,27,29,99,131,34,330,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7b4bb0de74fcee4bbd39f292a92cc45.jpg","纵122.5厘米，横61.5厘米",[136],{"id":24492,"slug":24493,"title":24494,"dynasty":18,"author":915,"museum":244,"description":24495,"tags":24496,"thumbUrl":24497,"material":173,"size":24498,"collection":42,"collections":24499,"showCount":24183,"zanCount":48,"manualWeight":48,"mainColor":72},219205,"hua-mu-zhen-qin-tu-lin-chun-219205","花木珍禽图","画面中花木扶疏，珍禽顾盼生姿，翎羽纹理细腻如织，每一片花瓣都似凝着晨露的清润。淡赭色的背景晕染出雅致的古意，草木的姿态舒展自然，禽鸟的动态鲜活传神——或低头理羽，或抬足欲行，仿佛能听见羽翼轻振的细碎声响。工笔勾勒的线条精准灵动，设色淡雅却见层次，将自然生灵的生机与宋人的清幽审美融于一方圆扇之中，尽显写生妙趣与雅致格调，似能让人嗅到花木的浅香，触到古绢上的温润时光。",[23,164,24,7,1131,28,27,61,547,413,355,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e39a3b8400e6e4315756cb77ddc544.jpg","25.8x26.3cm",[42,68],{"id":24501,"slug":24502,"title":24503,"dynasty":18,"author":223,"museum":300,"description":24504,"tags":24505,"thumbUrl":24506,"material":151,"size":24507,"collection":42,"collections":24508,"showCount":24183,"zanCount":1998,"manualWeight":48,"mainColor":49},219049,"xun-mei-fang-you-tu-yi-ming-219049","寻梅访友图","2012年6月3日，北京保利古代书画夜场，南宋佚名《寻梅访友图》同样也争夺激烈，最终以超出估价80多倍的880万落槌，该作品之前估价为RMB: 50,000-100,000。",[23,164,24,7,27,132,29,331,130,99,96,101,208,131,98,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1279c5adc874b1dfa7d108c60362dd6b.jpg","24×24.5",[42],{"id":24510,"slug":24511,"title":24512,"dynasty":54,"author":23303,"museum":244,"description":24513,"tags":24514,"thumbUrl":24516,"material":66,"size":24517,"collection":84,"collections":24518,"showCount":24183,"zanCount":48,"manualWeight":48,"mainColor":72},218726,"yu-hua-yuan-gu-bai-tu-dong-bang-da-218726","御花园古柏图","乾隆吟成古柏行，命董邦达作图。工笔界画摛藻堂，殿宇结构严谨，色彩华丽，似是内廷供奉所作。古柏则以写意笔趣画成，这才是董氏之笔。",[24,7,95,27,29,97,24515,132],"古柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf9fbe8158fef5a7328b02c3d23c2004.jpg","194.2x111.5cm",[],{"id":24520,"slug":24521,"title":24522,"dynasty":144,"author":223,"museum":300,"description":24523,"tags":24524,"thumbUrl":24525,"material":128,"size":84,"collection":117,"collections":24526,"showCount":24183,"zanCount":48,"manualWeight":48,"mainColor":49},218496,"dong-po-qi-lv-tu-yi-ming-218496","东坡骑驴图","驴背人影衣袂掀动，似携一身野风穿行于淡墨峰峦间。松枝斜出如笔，与天边流云共织清寂，驴蹄轻踏处，草叶簌簌声仿佛随墨色漫开。笔墨简劲却藏深情，没有繁复设色，仅以水墨勾勒人物的孤远与从容——那是坡公贬谪途中的淡然，也是画者对先贤心境的隔空呼应。峰峦的淡皴如旧梦晕染，松风与驴鸣似在耳畔低回，简淡画面里，沉潜着文人遭际中的旷达文心。每一道笔触都像在诉说：纵使前路风雨，仍以悠然姿态，踏遍山河。画面虽简，意蕴却厚，如陈酒浅酌，余味漫过时光。",[23,24,7,165,128,369,188,96,7067,413,131,276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66f93ebd14f269b38bf81415ee2b5a2d.jpg",[117],{"id":24528,"slug":24529,"title":24530,"dynasty":124,"author":223,"museum":2542,"description":24531,"tags":24532,"thumbUrl":24533,"material":173,"size":24534,"collection":44,"collections":24535,"showCount":24183,"zanCount":48,"manualWeight":48,"mainColor":49},218451,"mao-nv-tu-yi-ming-218451","毛女图","飞瀑自崖间倾泻，溅起细碎水痕，苔石旁草木疏朗。毛女侧立，发髻簪着粉白小花，衣袂轻垂，眉目间透着悠然清寂。身旁灵鹿昂首，似与她共赏山光。山石以淡墨皴擦，肌理朴拙却藏层次；瀑布线条流畅，动静相衬。绢本的古雅色调，更添岁月沉淀的温润。画面简淡却意韵悠长，将毛女栖隐山林、与兽为友的传说，化作一卷仙逸之境，笔墨间满是山野的清旷与绝尘的况味。",[24,7,1131,27,28,96,949,29,99,171,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa13675267f743bc53cfd605358debfb0.jpg","21x21.4",[44],{"id":24537,"slug":24538,"title":24539,"dynasty":18,"author":1622,"museum":77,"description":3130,"tags":24540,"thumbUrl":24541,"material":173,"size":3133,"collection":84,"collections":24542,"showCount":24183,"zanCount":48,"manualWeight":48,"mainColor":72},218043,"song-di-ming-ti-ce-jiu-ma-yuan-218043","宋帝命题册(九)",[23,24,7,59,27,29,132,1144,3387,1813,415,37,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7726c39dbc3e8cdc7addde7e073c08e0.jpg",[],{"id":24544,"slug":24545,"title":24546,"dynasty":144,"author":223,"museum":77,"description":24547,"tags":24548,"thumbUrl":24550,"material":173,"size":24551,"collection":68,"collections":24552,"showCount":24183,"zanCount":48,"manualWeight":48,"mainColor":49},216670,"shuang-ge-tu-yi-ming-216670","双鸽图","双鸽图是一幅元朝时期的图画，作者不详。这幅图展示了两只鸽子相互依偎的情景。它是元朝时期著名的一幅婚姻主题的图画，象征着爱情和婚姻的美好。图中的两只鸽子代表夫妻，它们形态优美，相互依偎，象征着夫妻之间的亲密感情。双鸽图被广泛用于装饰家庭和公共场所，作为对美好婚姻的祝福。",[164,24,7,28,27,61,24549,1400,19190,12611],"鸽子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ba5c03c75a12c756a61bed0e670df3.jpg","30x44cm",[68],{"id":24554,"slug":24555,"title":24556,"dynasty":54,"author":872,"museum":77,"description":24557,"tags":24558,"thumbUrl":24559,"material":66,"size":84,"collection":84,"collections":24560,"showCount":24183,"zanCount":48,"manualWeight":48,"mainColor":72},214368,"tian-guang-yun-jing-tu-ce-zhu-da-214368","天光云景图册","朱耷（1628-1705）是清代著名的画家，他的作品《天光云景图册》是其代表作之一。\n\n《天光云景图册》描绘了各种天气现象的画面，其中包括云彩、雾气、雪花、雨水等。朱耷在画中运用了精细的笔墨和细腻的造型，勾勒出天空的层次感和气象的变化。作品中的云彩、雾气、雪花、雨水都表现出了天气现象的细腻与丰富，使观者感受到大自然的魅力。\n\n《天光云景图册》被认为是朱耷写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《天光云景图册》也是收藏家们青睐的经典之作。",[23,24,7,59,128,29,34,35,171,211,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cfec1f032a3c376c5af72892319e611.jpg",[],{"id":24562,"slug":24563,"title":24564,"dynasty":124,"author":125,"museum":244,"description":6472,"tags":24565,"thumbUrl":24567,"material":278,"size":24568,"collection":117,"collections":24569,"showCount":24570,"zanCount":48,"manualWeight":48,"mainColor":49},291002,"gu-song-tu-shen-zhou-291002","古松图",[164,24,7,128,9613,1233,24566,64,208],"松果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f287011696dffb4e0f719e2224fed22.jpg","73.9x51.2",[117],55,{"id":24572,"slug":24573,"title":22037,"dynasty":124,"author":3559,"museum":300,"description":24574,"tags":24575,"thumbUrl":24577,"material":692,"size":1293,"collection":84,"collections":24578,"showCount":24570,"zanCount":1998,"manualWeight":48,"mainColor":49},289997,"ting-qin-tu-li-zhou-du-jin-289997","杜堇，明代画家，生活在十五至十六世纪初，原姓陆，字惧男、号柽居、古狂、青霞亭长，江苏丹徒（今江苏镇江）人。",[24,7,164,165,27,28,96,166,1424,4947,438,171,8070,24576,251],"书房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9241a9963f0c789754bcb630030c914e.jpg",[],{"id":24580,"slug":24581,"title":24582,"dynasty":351,"author":13809,"museum":300,"description":24583,"tags":24584,"thumbUrl":24587,"material":692,"size":1293,"collection":84,"collections":24588,"showCount":24570,"zanCount":48,"manualWeight":48,"mainColor":49},289774,"kan-shu-tu-wang-qi-han-289774","勘书图","此图绘一文士勘书之暇挑耳自娱的情景。文人白衣长髯，袒胸赤足，坐于书几前，左手扶椅，右手作挑耳状，神态怡然自得。书几上有摊开的书卷，一书童于几旁侍立。文人身后为三叠屏风，上画青绿设色山水。屏风前横一长案，上陈卷帙。画家十分巧妙地选取画中人“校读间隙挑耳”这一看似平常的动作，着意刻画了其惬意的神情。加之环境的铺陈、烘托，生动地表现了南唐贵族文人闲适的情状，展示出他们日常生活的一个侧面\n该图描写手法高超，形神兼备，反映了昔日勘书者的荡然性格与狂放的气质。画中环境，为室内陈设着的屏风、几案、卷册之类。全图构思十分精密，合适有度。",[24,164,96,27,29,208,1424,24585,24586,7344,7],"室内","书桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa4a6cead538d88190b79a941501ae13.jpg",[],{"id":24590,"slug":24591,"title":24592,"dynasty":18,"author":3278,"museum":300,"description":8573,"tags":24593,"thumbUrl":24595,"material":692,"size":1293,"collection":84,"collections":24596,"showCount":24570,"zanCount":48,"manualWeight":48,"mainColor":49},289658,"xue-hou-shan-cun-tu-li-cheng-289658","雪后山村图",[164,24,7,165,128,1349,132,1813,2523,24594,1337,35,99,1557],"山村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0607d079de16ecca9ed7e4b968863dce.jpg",[],{"id":24598,"slug":24599,"title":24600,"dynasty":18,"author":1174,"museum":300,"description":24601,"tags":24602,"thumbUrl":24603,"material":692,"size":1293,"collection":84,"collections":24604,"showCount":24570,"zanCount":48,"manualWeight":48,"mainColor":49},288259,"jiang-shan-xiao-jing-tu-li-tang-288259","江山小景图","《江山小景图》描绘的是沿江的山水景观，可以分成上下两部分，画面上部，江水粼粼，空阔旷远，风帆出没其间。画面下部，横列一排山峰，高低参次，连绵不断。山峰上丛林密布，宫观楼阁，半隐半现。此图采用了上留天，下不留地的构图方式，风格既继承北宋传统，又暗示南宋特色。",[23,164,24,7,25,128,27,132,29,129,130,4438,495,7409,497,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ed7674380b1a209bd4836ce4ffa81e0.jpg",[],{"id":24606,"slug":24607,"title":24608,"dynasty":124,"author":223,"museum":300,"description":24609,"tags":24610,"thumbUrl":24612,"material":692,"size":1293,"collection":84,"collections":24613,"showCount":24570,"zanCount":48,"manualWeight":48,"mainColor":49},288163,"fang-liu-song-nian-shan-zhong-dao-jiao-yi-ming-288163","仿刘松年山中道教","此作铺陈出一方仙山灵境，层峦叠嶂深秀苍润，林泉蜿蜒幽致，尽显洞天福地的静谧出尘。线条清劲工致，勾勒出山岩硬朗肌理与林木舒展之态，绢色因年深沉凝古雅，晕染出静穆古意。\n仙宇楼阁隐于云壑林麓间，道侣幽栖往来，将道家山水问道的意涵融于丘壑烟岚之中。仿院体精工之法，兼具清雅文气，把“天人合一”的哲思寄寓笔墨间，虽历经岁月晕染，出尘之韵依旧盎然，是兼具叙事性与山水意境的道释佳制。",[23,164,24,25,7,187,24611,29,330,27,64],"道教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d6f6bbb0e3beaf0268d2544a8cf99d1.jpg",[],{"id":24615,"slug":24616,"title":24617,"dynasty":182,"author":9928,"museum":300,"description":24618,"tags":24619,"thumbUrl":24620,"material":692,"size":1293,"collection":84,"collections":24621,"showCount":24570,"zanCount":48,"manualWeight":48,"mainColor":72},287312,"gu-shi-si-tie-quan-juan-gao-qing-zhang-xu-287312","古诗四帖全卷(高清)","张旭（685年？—759年？），字伯高，一字季明，苏州吴县（今江苏苏州）人，唐代书法家，擅长草书，喜欢饮酒，世称“张颠”，与怀素并称“颠张醉素”，与贺知章、张若虚、包融并称“吴中四士”，又与贺知章等人并称“饮中八仙”，其草书则与李白的诗歌、裴旻的剑舞并称“三绝”。\n张旭出生于一个门第不低的家庭，曾向堂舅陆彦远学习书法，学有所成后为吴道子、颜真卿等钦慕；年长后通过应举或荐举、征辟而入仕，释褐为常熟县尉；先后任左率府长史、金吾长史，因而被世人称为“张长史”；大约在乾元二年（759年）逝世，享年大约七十五岁。\n在书法方面，张旭勤于观察客观事物，善于将客观的自然物象与个人的主观情感结合起来，既继承传统，又勇于创新，在继承前人书法成就并加以创新而使得自身的狂草艺术在盛唐时期达到了一个高峰。",[23,164,7,64,840,1590,25,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb590f99a59fc1546923afae596439327.jpg",[],{"id":24623,"slug":24624,"title":24625,"dynasty":18,"author":449,"museum":300,"description":24626,"tags":24627,"thumbUrl":24628,"material":611,"size":84,"collection":318,"collections":24629,"showCount":24570,"zanCount":48,"manualWeight":48,"mainColor":72},240680,"qian-gu-fang-zhou-mi-fei-240680","钱榖仿轴","此作用笔跳宕爽利，全仿米芾行书意趣，结体欹侧奇崛，一如米氏风樯阵马之势。通篇行气贯通，牵丝映带间尽显笔势流转之美，墨色浓淡干湿自然变化，提按顿挫见腕力遒劲。诗句章法排布疏朗得当，字字顾盼生姿，既有米家刷字的洒脱快意，又蕴含着温润舒展的自运之态，于临摹中不失自我风神，尽显江南书家的风雅意致，笔墨间洋溢出醇厚的书卷清气。",[64,133,330,165,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a415381adfac5f3a0ee41077c5ab03b.jpg",[318],{"id":24631,"slug":24632,"title":76,"dynasty":124,"author":1270,"museum":300,"description":24633,"tags":24634,"thumbUrl":24635,"material":611,"size":24636,"collection":68,"collections":24637,"showCount":24570,"zanCount":48,"manualWeight":48,"mainColor":72},237677,"hua-hui-ce-sun-ke-hong-237677","孙克弘（1532—1611） ，明书画家、藏书家。一作克宏，字允执，号雪居，松江（今属上海市）人。礼部尚书孙承恩子。以荫授应天治中，官至汉阳知府。生性巧慧，声音洪亮，状貌疏野。所居四壁皆画苍松老柏，崩浪流泉，有一种澄泓萧瑟之意萦绕其间。他喜交友，陈继儒谓其“好客之癖，闻于江东，履綦如云，谈笑生风，坐上酒尊，老而不空”。卒年八十（一作七十九）。",[24,7,59,133,128,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf2f9a7ff11a15dc084e1a4d50397792.jpg","66.8x60.8",[68,318],{"id":24639,"slug":24640,"title":24641,"dynasty":54,"author":24642,"museum":20,"description":24643,"tags":24644,"thumbUrl":24645,"material":734,"size":84,"collection":318,"collections":24646,"showCount":24570,"zanCount":48,"manualWeight":48,"mainColor":72},237160,"zhu-xuan-shi-tu-zhou-jin-nong-dan-237160","竹玄石图轴","金农丹","竹之为物，其性不同于众木，不因寒暑而荣谢，不以四时而变化，风雨不惧，飒飒幽幽，劲不输于青松，曲可比于细柳，故寓君子于竹。\n国人与竹的心灵交契，可上溯《诗》《礼》。自东晋王徽之说“何可一日无此君”后，“君”便成了竹的别称。后世百代，竹都以君子的形象存寓在人们的心中。古代文士爱竹、咏竹、写竹，将一切美好的品德与理想的人格都赋予竹。自唐人“君子比德于竹”，到宋人“其身与竹化”，视竹为与自身心灵相通的君子，人与竹的精神联系已达到“物我无间”的境地。\n墨竹，又称“墨君”，起于唐而源流未审。北宋文同（字与可）、苏轼开文人写意墨竹之先河，其写竹不止于状貌，非图其外美，而以纯素之心体竹高洁之性。\n后世画家，凡写墨竹，无不受到文同与苏轼的影响，无不对其推崇备至。金代王庭筠，元代李衎、高克恭、赵孟頫、吴镇、顾安、柯九思、倪瓒、王蒙等，明初王绂、夏昶，他们写竹，备竹子之法度神采，又饱含君子之气度品格，直承文苏之正脉。之后，陈芹、姚绶、文征明、陈淳、徐渭、朱耷、石涛、金农、郑燮等秉承文苏之风骨，融自己之心意，不同与可，却能“高呼与可”，为文人墨竹注入了新鲜的血液。“墨君”也因此承载了更多的意象和更高的情志。传承是艺术得以延续的根本，但是它更感人的一面乃是其绝世而独立的精神，是其郁郁勃发、生生不息的生命状态。",[24,7,165,128,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76c12294b2fcf4f48504901088786c74.jpg",[318],{"id":24648,"slug":24649,"title":24650,"dynasty":54,"author":1219,"museum":300,"description":1220,"tags":24651,"thumbUrl":24652,"material":692,"size":1293,"collection":84,"collections":24653,"showCount":24570,"zanCount":48,"manualWeight":48,"mainColor":72},235619,"bi-tao-chun-yan-tu-zhou-ren-yi-235619","碧桃春燕图轴",[24,7,164,165,27,61,209,211,2885,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1ade1c2d8c7677f33096a169e71c32f.jpg",[],{"id":24655,"slug":24656,"title":76,"dynasty":54,"author":3403,"museum":300,"description":8089,"tags":24657,"thumbUrl":24658,"material":692,"size":1293,"collection":68,"collections":24659,"showCount":24570,"zanCount":1998,"manualWeight":48,"mainColor":72},235195,"hua-hui-ce-wu-chang-shuo-235195",[164,24,7,59,128,27,371,61,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f37309801ecded7fc20ed764eeb56d7.jpg",[68],{"id":24661,"slug":24662,"title":24663,"dynasty":124,"author":24664,"museum":300,"description":24665,"tags":24666,"thumbUrl":24667,"material":84,"size":84,"collection":84,"collections":24668,"showCount":24570,"zanCount":1998,"manualWeight":48,"mainColor":72},234176,"hua-hui-juan-lu-zhi-234176","花卉卷","鲁治","鲁治，号岐云，东吴人。善画花卉、翎毛。设色妍丽，得宋人之法。广东省博物馆藏《百花图卷》。",[23,24,7,25,28,27,61,371,375,167,376,263,373,209,374,603,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3035c745deb8cf52d925ad006c15ad2b.jpg",[],{"id":24670,"slug":24671,"title":24672,"dynasty":54,"author":3403,"museum":20,"description":24673,"tags":24674,"thumbUrl":24675,"material":24676,"size":24677,"collection":84,"collections":24678,"showCount":24570,"zanCount":1998,"manualWeight":48,"mainColor":72},233736,"wu-jun-qing-yan-lai-hong-zhou-wu-chang-shuo-233736","吴俊卿雁来红轴","本幅设色。款：“安吉吴俊卿”。\n吴昌硕（1844—1927年），原名俊，字昌硕，以字行，号苦铁、缶庐等，浙江安吉人。早年习书，中年学画。曾任官府小吏，后以鬻书卖画为生。绘画以写意花卉著称于世，对近现代画坛影响极大。精篆刻，被推为“西泠印社”社长。书法一变前人成法，风格独特，长于摹写石鼓文，并以此擅名于近代书坛。与任伯年、高邕等在沪书画家相友善。著有《缶庐诗存》，后人整理出版其画集多种。",[24,7,165,27,171,20289,1771,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8648de328c40626b7f14d113b0bcb0fb.jpg","金笺 ，设色","纵174.7cm，横47.5cm",[],{"id":24680,"slug":24681,"title":24682,"dynasty":124,"author":1058,"museum":20,"description":24683,"tags":24684,"thumbUrl":24685,"material":1722,"size":24686,"collection":84,"collections":24687,"showCount":24570,"zanCount":1998,"manualWeight":48,"mainColor":72},233707,"you-ren-yan-zuo-tu-zhou-tang-yin-233707","幽人燕坐图轴","图中云峰缥缈，涧壑丛竹，水阁中一人静坐，旁设书籍、茶具，似有所待。溪流边一人拄杖独立，远眺山色。画法上多用干笔细皴描绘树石人物，笔致坚劲，刻画精微，风格缜密秀润，反映出唐寅善于以早年师从周臣学习宋“院体”山水技法，来表现和传达文人画清雅幽澹的功力。",[24,7,165,128,132,29,130,34,131,99,96,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5448d0d425ec0f6d6a2e9b1bd7bf7016.jpg","纵120.3厘米，横25.8厘米",[],{"id":24689,"slug":24690,"title":24691,"dynasty":54,"author":3043,"museum":20,"description":24692,"tags":24693,"thumbUrl":24694,"material":734,"size":24695,"collection":84,"collections":24696,"showCount":24570,"zanCount":48,"manualWeight":48,"mainColor":72},233178,"ping-ju-tu-zhou-xu-gu-233178","瓶菊图轴","此图为瓶插秋菊的小品画。构图匠心独运，巧于设置，高低错落的瓶和壶、“S”形走势的秋菊令画面富有活力，并形成多层次的节律变化。设色淡雅清新，笔法灵活娴熟，是虚谷晚年的花卉画代表作。",[24,7,164,165,27,128,376,372,169,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd971ac61959e2aff3b2a1a61b30a51c6.jpg","纵126.2厘米，横57.7厘米",[],{"id":24698,"slug":24699,"title":24700,"dynasty":144,"author":569,"museum":224,"description":24701,"tags":24702,"thumbUrl":24703,"material":514,"size":24704,"collection":136,"collections":24705,"showCount":24570,"zanCount":1998,"manualWeight":48,"mainColor":49},232902,"hua-xi-yu-ma-tu-zhao-meng-fu-232902","花溪浴马图","此画展现了一个充满生活趣味的浴马场景：在碧波清流之上，一大群马匹随着马倌入水、洗浴、出水。骏马温顺而矫健。\n《花溪浴马图》虽不知其创作时间，但从内容与风格上看，此图与北京故宫博物院所藏的《浴马图》应是同一时期作品。\n《花溪浴马图》布局开阔：岸边梧桐垂柳，绿荫成趣；溪水涓涓而流，清澈透明；骏马七匹，马倌八人，有序地安排在长长的画幅之中。在一片清幽、充满村野之趣的自然景象中，人与马悠然平和，各得其乐。画中马的姿态各异，神态生动，有的立于水中，有的饮水吃草，有的昂首嘶鸣。马倌们各自分工不同，或冲洗马身，或牵马上岸，或岸边小憩。赵孟頫以文人意笔勾线，行笔偏工，设色法唐人的青绿和重彩，人与马勾勒精细，设色雅致，并且色不掩笔。此图是一幅形神兼备、妙逸并具、风格高雅的鞍马画精品。\n赵孟頫(1254-1322)是元代文人画家中罕见的全能“选手”，山水、人物、鞍马、花鸟、竹石，无一不能，无一不精。再加上诗词、书法的成就，以及对篆刻的深刻理解，可以说，他基本界定了后世文人画家诗书画印全能的标准。",[23,164,24,7,25,4057,27,28,96,101,99,34,6640,131,23455,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b00a4e6db6c090c8f49c50804767e58.jpg","横28.1厘米，纵155.5厘米",[136],{"id":24707,"slug":24708,"title":24709,"dynasty":54,"author":1676,"museum":56,"description":24710,"tags":24711,"thumbUrl":24712,"material":611,"size":24713,"collection":84,"collections":24714,"showCount":24570,"zanCount":48,"manualWeight":48,"mainColor":72},231561,"lan-zhu-tu-ce-li-shan-231561","兰竹图册","李鱓 （1686-1762），清代书画家。曾为宫廷作画，后任滕县知县，为政清简，以忤大吏罢归。在扬州卖画。为扬州八怪之一。擅画花卉虫鸟，初师蒋廷锡，画法工致；又师高其佩，进而趋向粗笔写意，并取法林良、徐谓、朱耷，落笔劲健，纵横驰骋，不拘绳墨而有气势，有时使用重色或彩墨结合，颇得天趣。因在扬州见石涛作品，遂用破笔泼墨作画，风格一变。传世作品有《五松图》《芭蕉萱石图》和《墨荷图》等。\n李鱓工诗文书画。曾随蒋廷锡、高其佩学画。后又受石涛影响，擅花卉、竹石、松柏，早年画风工细严谨，颇有法度。中年始转入粗笔写意，大胆泼辣，挥洒自如，感情充沛，富有气势。他大大拓展了写意花鸟画的表现领域，大自然中的花草树木，人们日常生活的各种用具，乃至向来不登大雅之堂的农家食用之物如桑、蚕、破芭蕉扇之类，也一一摄入画中，其题材之广泛多样远远超过了前人。\n其写意花鸟画，努力学习石涛破笔泼墨的画法，酣畅淋漓，笔墨奔放，富有动感，充分表达了作者的创作激情。同时，他又吸取了没骨花卉的表现方法，工细严谨，色墨淡雅，变化丰富，形体富于立体感，在作画时，他经常能做到二者并用，自然浑融，灵活多变，具有较强的艺术表现力。\n在扬州八怪中，李鱓是受到清末批评家猛烈批评的一位，主要指责他脱离传统，笔墨缺乏蕴藉含蓄，有“霸悍之气”、“失之于犷”等。纵观李鱓一生创作，他是一位富有独创才能的画家。",[24,7,59,128,369,375,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9b1e16345a5ca07089cab1d16f3637f.jpg","纵189．7厘米，横63．4厘米",[],{"id":24716,"slug":24717,"title":24718,"dynasty":124,"author":18090,"museum":244,"description":24719,"tags":24720,"thumbUrl":24721,"material":151,"size":24722,"collection":84,"collections":24723,"showCount":24570,"zanCount":48,"manualWeight":48,"mainColor":49},231347,"fang-zhang-seng-yao-shan-shui-tu-lan-ying-231347","仿张僧繇山水图","该幅《明蓝瑛仿张僧繇山水图》轴便充分体现了蓝瑛的绘画风貌。纵观全画，山水相接，红树青岩、小桥流水、白云缭绕，好一派洁净幽奇、绝妙脱俗的仙境！画中水天交融，近处流淌的湖水与远处的天际自然地连接在—起，从而产生一种宽阔辽远之感，同时也把山、石、树木自然地烘托出来。山石的突兀和树木的复杂变化与水天合一的平静简洁形成了鲜明的对比。河岸上峦石林立、叠叠错错，石崖间挺立着各种姿态野逸、遒劲的树木，它们深深地扎根于硬石之中，充分展现了其顽强的生命力。层层推远的山石和错落有致的树木逶迤远去，一直延伸至远处群山的云雾升腾处，引导观者将视线层层推进。",[24,7,165,330,27,26,29,413,130,950,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5c68735d15e53cd740fe2ea977fefb3.jpg","纵177厘米，横91厘米",[],{"id":24725,"slug":24726,"title":24727,"dynasty":144,"author":7032,"museum":244,"description":24728,"tags":24729,"thumbUrl":24730,"material":1027,"size":7036,"collection":84,"collections":24731,"showCount":24570,"zanCount":1116,"manualWeight":48,"mainColor":72},231334,"lu-yu-peng-cha-tu-yuan-dai-ji-jin-zhi-liu-zhao-yuan-231334","陆羽烹茶图－元代集锦之六","此图绘山水清远,茅檐数座,屋内峨冠博带、倚坐榻上者即为陆羽,前有一童子焙炉烹茶。本幅有作者自题:“陆羽烹茶图”。画面图文并茂,铸造了士大夫烟霞痼疾与泉石膏肓的精神世界,从一个侧面折射了元代的社会思潮。此图山石皴法的侧锋圆转,树点墨法的粗重厚实,无不着意经营,缺少空灵虚旷、自然无为的韵致,特别是湿笔淡墨的运用,还未能打破宋人的陈式。本幅有窥班诗题,还有乾隆皇帝的御题诗。\n图绘远山起伏，水面辽阔，临溪筑有草阁，丛树掩映。阁内一人坐于榻上，当为陆羽，一童子拥炉烹茶。陆羽为唐代学者，闭门著书，不愿为官，以嗜茶闻名，有《茶经》传世。此图表现了文人隐居闲适的生活。远山近坡用披麻皴，皴笔圆转虬曲，颇多侧锋，树法书落，学董巨而有变化。[画师今赵元，东吴谅无双]是当时对赵原绘画的评价。[画师]是对职业画家的称谓，元代职业画家的绘画题材、画风都不同程度地受到文人画家的影响，于此图可见一斑",[24,7,25,128,132,29,130,34,99,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8860eaa9c2ef53a43976d02ab2796f0.jpg",[],{"id":24733,"slug":24734,"title":24735,"dynasty":54,"author":223,"museum":300,"description":24736,"tags":24737,"thumbUrl":24738,"material":84,"size":84,"collection":84,"collections":24739,"showCount":24570,"zanCount":1998,"manualWeight":48,"mainColor":49},230305,"fang-han-gong-chun-xiao-tu-yi-ming-230305","仿汉宫春晓图","此作铺展深宫春日盛景，亭台楼阁勾描工致，柳石花木晕染雅致，将宫苑春意揉进朱廊翠荫里。仕女们或临窗研墨、凭栏观戏，或蹴鞠扑蝶、闲庭信步，娇柔百态鲜活灵动，把深院中的松弛雅兴尽数铺陈。设色明丽柔婉，线条秀润细腻，复刻出原作的绮靡雅致，将宫廷日常的闲逸温婉晕染绢上，让旧日宫苑的春日烟火气扑面而来，尽显古典仕女画的柔美韵致与院体工笔的精妙意趣。",[24,7,25,164,28,27,95,330,96,166,97,247,34,131,249,1200,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6489682bcd338587262df0a3fe163436.jpg",[],{"id":24741,"slug":24742,"title":24743,"dynasty":54,"author":1460,"museum":300,"description":24744,"tags":24745,"thumbUrl":24746,"material":84,"size":84,"collection":84,"collections":24747,"showCount":24570,"zanCount":48,"manualWeight":48,"mainColor":72},228996,"hua-hui-shan-shui-ce-ye-12-kai-shi-tao-228996","花卉山水册页12开","《陈师曾画集》是以画家个案研究为切入点，以介绍画家作品为主线，将过去未被出版的近现代有影响画家作品编辑出版，为近现代绘画学习、研究提供第一手资料。\n进入二十世纪来，中国近代画家成为美术界、收藏界研究、关注的热点。\n《陈师曾画集》由 出版。\n菊花书画卷(局部) 花卉山水人物册页四开 花卉册页二开 仿李觯册页四开 花卉(合作) 花卉山水册页五开 山水册页二开 山水 墨兰 水仙 梅花 碧霞元君祠图 拟沈周夏日山居图 北京风俗图册页三十四开 秋花奇石 墨荷 鬼趣图 钟馗读书图 达摩图 读画图 深山古寺 山林人家 仙鹤 岁寒清供图 深山秋烟 姚华小像 花卉四条 清供图 菊石图 山水册页四开 花卉四条 松树 听秋图 蔬笋 拟吴仲圭山水 群仙上寿图 山水 花鸟四屏 山水 仿沈周山水 山水 山水册页四开 忽见千帆 半山流泉 荷 芍药 些 芭蕉 花卉四屏 菊石 兰竹 仿石涛山水 鸡冠花 金壶细叶 携酒与鱼 梅花 兰石 梅竹双雀(合作) 佛手 赤壁图 山水 桃花 梅石 芭蕉菊花 腊梅秀石 山水长卷(合作) 花卉 山水册页 溪流浣衣 江乡秋获 山原行旅 村醪泥醉 雨洗铅华 空谷幽香 烟寒雨昏 老圃秋容 梅竹 月季花 花卉四条 秋园晚艳 桃花 绣球花 山林楼影 姜白石词意图册十二开 山水册页四开 山水诗画册页十六开 竹 写摩诘诗意 园林小景册页六开 山水册页二开 花卉山水册页十开 山水花果册页四开 枇杷 竹笋 杨诚斋诗意图册页六开 花卉册页八开 枇杷 秋柳图 达摩图 猴戏图(合作) 菊石 玉兰 墨笔山水 溪山松居图 山林静处 霜林红万山 山林深处 竹石 花红叶翠 附：常用印章 陈师曾年表",[24,7,59,27,128,29,97,211,231,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f22ccc2a5c9017120af6648fb95f4bf.jpg",[],{"id":24749,"slug":24750,"title":24751,"dynasty":124,"author":802,"museum":300,"description":24752,"tags":24753,"thumbUrl":24754,"material":84,"size":84,"collection":84,"collections":24755,"showCount":24570,"zanCount":48,"manualWeight":48,"mainColor":49},228324,"pu-sa-mo-ding-tu-chen-hong-shou-228324","菩萨摩顶图","此作用笔清劲圆转，白描衣纹古拙又带着灵动意趣，翩然衣袂暗藏沉静厚重的质感。高僧垂目含凝，面相奇古内敛，斜倚的锡杖间，清肃威仪隐然流露。身旁童子神态鲜活灵动，一动一静反差相生，暗合禅家动静之趣。\n\n古雅错落的题跋与画面相映，书画合璧交融文气禅意。设色素淡克制，以赭石与墨色晕染，尽显古澹空灵意境。笔底揉合出世静定与入世生气，简约铺陈间晕开幽远禅韵，寥寥数笔勾勒出超脱世外的清寂氛围感。",[23,124,24,7,165,187,96,27,188,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd13b60712db3d2482a26bf69baa0e528.jpg",[],{"id":24757,"slug":24758,"title":24759,"dynasty":124,"author":802,"museum":300,"description":5946,"tags":24760,"thumbUrl":24761,"material":692,"size":1293,"collection":84,"collections":24762,"showCount":24570,"zanCount":48,"manualWeight":48,"mainColor":49},228299,"hua-niao-ce-xie-zhi-liu-ti-ba-ben-chen-hong-shou-228299","花鸟册（谢稚柳题跋本）",[24,7,59,27,28,61,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8661ccd841a6b0332bdf5e8f1dd2c7bf.jpg",[],{"id":24764,"slug":24765,"title":24766,"dynasty":18,"author":2320,"museum":300,"description":24767,"tags":24768,"thumbUrl":24770,"material":84,"size":84,"collection":84,"collections":24771,"showCount":24570,"zanCount":1116,"manualWeight":48,"mainColor":49},227952,"wu-bai-luo-han-tu-zhi-ying-shen-guan-yin-zhou-ji-chang-227952","五百罗汉图之应身观音","画面主次分明，应身观音安坐于视觉中心，圆光晕染间神态慈悲自在，衣袂舒展流转。身旁僧众或合十谛听，或垂目静思，清癯面容尽显禅门肃穆沉静。\n\n下方文人执卷商榷，童子随侍侧旁，雅意融融。整作设色调和古雅，衣纹以铁线描勾勒，劲挺流畅的线条尽显衣物褶皱的层叠质感，各个人物面相各有风骨，细节鲜活灵动。\n\n布景以祥云朱柱晕染出缥缈佛境，竹石点衬增添清幽禅意，将佛界的静穆与俗世雅意相融，尽显工笔人物画的精湛造诣，晕散开冲淡安和的禅意底蕴。",[23,24,7,187,28,27,96,167,37,1846,24769],"传统","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a0a4e63aacdd50a770d92a6826a7327.jpg",[],{"id":24773,"slug":24774,"title":24775,"dynasty":18,"author":223,"museum":300,"description":24776,"tags":24777,"thumbUrl":24778,"material":692,"size":1293,"collection":84,"collections":24779,"showCount":24570,"zanCount":1998,"manualWeight":48,"mainColor":72},227903,"pan-long-tu-shou-juan-yi-ming-227903","盘龙图手卷","此作以暖褐素缎为地，银线盘绣双龙矫健灵动，鳞爪细密有致，正探爪逐戏焰珠，龙目圆睁、口部大张，尽显威猛神姿。\n祥云遍铺画面，粉紫青绿晕染出柔婉层次，托衬出瑞龙腾跃云海的磅礴意境。绣法精巧入微，以针线复刻出龙的刚劲体态，将传统祥瑞意象融于丝缕之间，静展于卷上，亦能让人感知龙游九霄的浩荡生机，尽显传统刺绣工艺的精妙意趣。",[23,24,7,25,28,27,772,950,19189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35e12dea5004fd750f6246f53d4c6e6d.jpg",[],{"id":24781,"slug":24782,"title":24783,"dynasty":18,"author":1622,"museum":300,"description":24784,"tags":24785,"thumbUrl":24786,"material":84,"size":84,"collection":84,"collections":24787,"showCount":24570,"zanCount":48,"manualWeight":48,"mainColor":49},227820,"song-yin-guan-lu-tu-ma-yuan-227820","松荫观鹿图","此作用笔清劲爽利，取景以偏概全，将平远之境铺陈得含蓄悠长。右侧虬松横斜，松针如铁，苍劲古雅的身姿探入空濛烟水。凭栏雅士白衣素简，静望烟岚深处，身旁侍童垂首伫立，简笔勾勒便将悠然意态尽显。对岸林影以淡墨晕染，朦胧虚化，汀洲浅渚间麋鹿低头啮草，为清寂画面添了灵动生趣。大片留白晕开浩渺江天，以少胜多，把幽居林下的闲静逸思藏在笔墨间，淡墨轻岚间漫溢着清寂萧散的雅致，意境空远悠长。",[23,24,164,7,29,128,27,132,372,2302,96,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ecf7d98118704a77489ac9ae5f3019.jpg",[],{"id":24789,"slug":24790,"title":24791,"dynasty":54,"author":5879,"museum":300,"description":24792,"tags":24793,"thumbUrl":24794,"material":84,"size":84,"collection":84,"collections":24795,"showCount":24570,"zanCount":1998,"manualWeight":48,"mainColor":72},224171,"tian-shan-ji-xue-tu-hua-yan-224171","天山积雪图","名画家说名画：李燕说华喦是河北美术出版社出版的一部作品。\n《名画家说名画:李燕说华喦》包括：天山积雪图、金屋春深图、松下观流图、苏米对书图、钟馗赏竹图、竹林七贤图、隔水吟窗图、曹松堂肖像、春宴图、钟馗嫁妹图、关山勒马图、渔家乐图、梅鹤图、渔夫晚归图内容。\n天山积雪图 金屋春深图 松下观流图 苏米对书图 钟馗赏竹图 竹林七贤图 隔水吟窗图 曹松堂肖像 春宴图 钟馗嫁妹图 关山勒马图 渔家乐图 梅鹤图 渔夫晚归图",[23,24,164,7,165,27,128,28,96,8771,663,1556,211,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F561d7fd76d8b44ae76dbc675b8ffbd77.jpg",[],{"id":24797,"slug":24798,"title":24799,"dynasty":18,"author":223,"museum":20,"description":24800,"tags":24801,"thumbUrl":24802,"material":151,"size":24803,"collection":42,"collections":24804,"showCount":24570,"zanCount":48,"manualWeight":48,"mainColor":956},223603,"qiu-shan-hong-shu-tu-zhou-yi-ming-223603","秋山红树图轴","绘千岩万壑，飞瀑流泉，红树满山。山下水榭楼台隐现苍松林木间，意境深邃幽远。人物众多，神态各异，形象生动。山石多大斧劈皴描绘，具峭劲挺拔质感。经霜红叶点缀丛树间，增添秋景萧瑟气氛。风格与李唐相近，技艺稍逊，当为传人画作。",[23,24,164,7,165,27,29,2524,8222,495,98,99,3440,497,34,30,6433,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6349a3c7dd2d9bcdb8c6e7b79d431705.jpg","197.8x111.8",[42,136,117],{"id":24806,"slug":24807,"title":24808,"dynasty":124,"author":15700,"museum":300,"description":24809,"tags":24810,"thumbUrl":24813,"material":611,"size":84,"collection":136,"collections":24814,"showCount":24570,"zanCount":48,"manualWeight":48,"mainColor":72},222422,"lian-peng-tu-song-yin-tu-zhu-zhan-ji-222422","莲蓬图松荫图","画卷破裂为两段，一段为莲蒲段，一段为松荫段。此画为莲蒲段画面。画面绘荷叶、莲蓬、小鸟、湖石、水草。极少勾勒，类似没骨画法，用浓淡墨色晕染，格调简逸质朴。封面为铜版纸印刷，作品为宣纸印刷。",[23,24,7,27,28,61,841,355,1144,229,24811,303,415,24812,208],"枯荷","云朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87a1522d7865cbf91ab2342631f19567.jpg",[136,117],{"id":24816,"slug":24817,"title":24818,"dynasty":124,"author":14442,"museum":510,"description":24819,"tags":24820,"thumbUrl":24821,"material":1722,"size":24822,"collection":117,"collections":24823,"showCount":24570,"zanCount":1998,"manualWeight":48,"mainColor":72},222083,"mo-bi-shan-shui-ren-wu-zhou-you-qiu-222083","墨笔山水人物轴","此幅完全以水墨绘制，笔法精细，功力深厚。远处丛山峻岭，山巅墨色如黛；中部一棵松树绘画清晰，枝杆细长，松枝自然伸展；近处厅一座，厅前几位雅士席地而坐，侃侃而谈，四周绿树环抱。尤求，字子求，工山水，善人物，明代画家。",[23,24,7,165,128,28,132,29,96,34,99,131,711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6786c4d9ae057bd41bb8eba3527de43a.jpg","50.7x126.2cm",[117],{"id":24825,"slug":24826,"title":24827,"dynasty":124,"author":3619,"museum":20,"description":24828,"tags":24829,"thumbUrl":24830,"material":10637,"size":24831,"collection":84,"collections":24832,"showCount":24570,"zanCount":1116,"manualWeight":48,"mainColor":72},221997,"xiang-jun-xiang-fu-ren-tu-wen-zheng-ming-221997","湘君湘夫人图","该图是文徵明早期仅存的人物画名作。此图根据屈原《九歌》中“湘君”、“湘夫人”两章而作。画面上湘君、湘夫人一前一后，前者手持羽扇，侧身后顾，似与后者对答，神情生动。人物造型来自晋顾恺之《女史箴图》、《洛神赋图》，形象古雅，体态修长，长袖飘逸，衣裙曳地，用游丝描，施朱红及白粉，精工古雅。从文徵明和王稺登的题跋可知，文徵明曾请仇英以此题作画，但文氏看过后并不满意，自己又重新创作。可见，文氏是在刻意追求一种“古意”，与仇英有不同的审美趣好。画上方自书《湘君》、《湘夫人》两章，后署“正德十二年丁醜二月已未停雲館中書”。正德十二年（1517年），时文徵明48岁。本幅有文徵明、文嘉、王稺登题跋。\n经清·耿昭忠等鉴藏。",[23,24,7,164,165,28,188,27,96,166,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe97f60c8237a52c52ad96b4e9d3caf10.jpg","纵100.8厘米，横35.6厘米",[],{"id":24834,"slug":24835,"title":24836,"dynasty":144,"author":7095,"museum":2068,"description":24837,"tags":24838,"thumbUrl":24839,"material":40,"size":24840,"collection":68,"collections":24841,"showCount":24570,"zanCount":1998,"manualWeight":48,"mainColor":49},221868,"ma-yuan-hou-tu-zhao-yong-221868","马猿猴图","图绘一马一猴，棕色老马微闭眼，卧于地，四蹄白额；三只猴子趴在马背上，前臂紧紧箍住马宽，生怕被翻倒。",[23,24,7,27,28,101,9633,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c1442745ce95163d515106a3804234b.jpg","32.3×31.7cm",[68,45],{"id":24843,"slug":24844,"title":24845,"dynasty":144,"author":7095,"museum":224,"description":24846,"tags":24847,"thumbUrl":24848,"material":1223,"size":24849,"collection":44,"collections":24850,"showCount":24570,"zanCount":1116,"manualWeight":48,"mainColor":49},221862,"xian-xian-tu-juan-zhao-yong-221862","先贤图卷","赵雍，字仲穆，吴兴（今浙江湖州）人，元代书画家，赵孟頫之子。擅山水画，尤精人物鞍马，亦作界画。书法善长正书，行书，草书和篆书，精通鉴赏。",[23,24,7,25,27,28,96,29,101,413,1314,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8403e17bbe756dab1b941b50b1cce0ba.jpg","纵29.3厘米，横208.7厘米",[44,45],{"id":24852,"slug":24853,"title":24854,"dynasty":18,"author":7553,"museum":244,"description":24429,"tags":24855,"thumbUrl":24856,"material":84,"size":84,"collection":42,"collections":24857,"showCount":24570,"zanCount":1998,"manualWeight":48,"mainColor":49},221421,"da-jiang-tu-yan-wen-gui-221421","大江图",[23,24,7,25,128,132,29,7409,1743,97,98,34,131,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c21e1641668e9acb1a358f7b09ffe9f.jpg",[42,136,117],{"id":24859,"slug":24860,"title":24861,"dynasty":18,"author":24862,"museum":20,"description":24863,"tags":24864,"thumbUrl":24866,"material":40,"size":24867,"collection":42,"collections":24868,"showCount":24570,"zanCount":48,"manualWeight":48,"mainColor":49},221419,"lu-ting-mi-xue-tu-quan-juan-liang-shi-min-221419","芦汀密雪图全卷","梁师闵","此卷为梁师闵的传世孤品，描绘严冬时节的沙渚平川，坡石竹枝已尽为白雪覆盖，丛丛干枯的芦草在阴沉晦暗的背景下瑟瑟隐现。清寂之中，一池湖水尚未封冻，两只鸂鶒（音xī chì）（有学者考证为赤麻鸭）在沙洲上相互依偎，一对鸳鸯于寒波中游水嬉戏，此情此景与漫天密雪的荒寒景色形成对比，充满诗意，是一幅山水与花鸟融汇的湖天小景佳作。正如卷后元赵巖所题诗：“江天雪意暮萧萧，望外寒沙半落潮。鸂鶒双眠看画里，潇湘极目梦魂遥。”画幅中乾隆帝御题的“鸳鸯两两相随逐，不为严寒异故心”的诗句则直接点出此画寄兴游心的主题。\n整幅用笔细润，皴法简括，水墨为主，略施赭色，大片空白的运用正体现了中国传统绘画“于无画处皆成妙境”的特质，恰到好处地表现出江南的湖山雪景。",[23,24,7,25,28,27,1824,1556,129,211,24865,20106,29,208,133,64],"寒沙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a58a63dfbbd8dca1f12f17d87a436e6.jpg","纵26.5厘米，横145.6厘米",[42,136,117],{"id":24870,"slug":24871,"title":24872,"dynasty":980,"author":3539,"museum":9668,"description":24873,"tags":24874,"thumbUrl":24875,"material":84,"size":84,"collection":84,"collections":24876,"showCount":24570,"zanCount":1998,"manualWeight":48,"mainColor":72},220543,"shuang-jun-xu-bei-hong-220543","双骏","浓淡墨色铺就两匹俊马的迥异姿态，黑马垂首衔草，浓墨泼写鬃尾，焦墨勒出筋肉起伏，留白提亮的蹄足莹润干净，尽显温驯悠然。红马昂首长嘶，赭红染就躯体，飞扬的鬃发如流云翻涌，线条劲挺利落，将烈马桀骜悍勇的气魄尽数挥洒。\n\n以写意笔法勾勒马的肌理轮廓，揉合西洋写实的精准与东方水墨的灵逸，寥寥数笔便将骏马筋骨与神采凝于纸面。画面留白营造出郊野的空寂悠远，边角题字补全章法，文气与画意相融，将生灵蓬勃的野性生机定格于尺幅间，尽显骏马的不屈风骨。",[23,164,24,7,128,27,369,101,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F569a982798b011d434271fc901fb3e82.jpg",[],{"id":24878,"slug":24879,"title":24880,"dynasty":980,"author":3539,"museum":3540,"description":24881,"tags":24882,"thumbUrl":24883,"material":84,"size":84,"collection":84,"collections":24884,"showCount":24570,"zanCount":48,"manualWeight":48,"mainColor":72},220529,"pin-fu-xu-bei-hong-220529","贫妇","以水墨写意糅合西画写实技法，刻画出负重前行的劳动者形象。顿挫的墨线勾画出粗布衣衫的褶皱肌理，淡赭晕染出黝黑皲裂的皮肤，面容上尽是被岁月蚀刻的疲惫麻木。紧攥木杖的关节凸起，满载的背篓纹理写实，将底层求生的艰辛具象呈现。创作者以饱含共情的笔触，将人体解剖的精准融于东方水墨的写意语境中，粗粝朴拙的笔调里，藏着对劳苦大众的深切悲悯，静穆的画面之下，涌动着直击人心的力量，将生存的重压与劳动者的隐忍坚韧定格于纸面。",[23,24,7,128,27,96,165,170,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ed65caf0e5744e732bc73e4b5612ea0.jpg",[],{"id":24886,"slug":24887,"title":24888,"dynasty":980,"author":24889,"museum":2937,"description":24890,"tags":24891,"thumbUrl":24892,"material":84,"size":84,"collection":84,"collections":24893,"showCount":24570,"zanCount":48,"manualWeight":48,"mainColor":72},220480,"cui-can-fu-bao-shi-220480","摧残","傅抱石","以淡墨晕染枝叶，萧疏破败的墨痕间，残存的花朵带着褪败的艳色，晕开朦胧颓靡的氛围。以花木残败之态寄寓心绪，将感时伤世的沉郁藏入写意笔触里。枝叶偃蹇错落，墨色虚实相生，带着随性却压抑的格调，残花虽仍有灼灼余韵，却难掩周身衰颓破败之意。\n\n题字拙朴厚重，与画面萧索的意境呼应，没有直白的呼号，只借残卉枯枝暗喻时局，把乱世忧思藏入花木描摹中，含蓄沉郁，将文人画的雅致与悲怆的忧怀相融，落笔皆是怅惘。",[23,24,7,128,27,61,376,624,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ecf1760b67ff2b8a9221984d65f156b.jpg",[],{"id":24895,"slug":24896,"title":24897,"dynasty":144,"author":287,"museum":56,"description":24898,"tags":24899,"thumbUrl":24900,"material":278,"size":24901,"collection":44,"collections":24902,"showCount":24570,"zanCount":1998,"manualWeight":48,"mainColor":49},219621,"song-tai-zu-cu-ju-tu-qian-xuan-219621","宋太祖蹴鞠图","原图为宋代名画家苏汉臣所绘，钱选在临摹之后题字：“蹴鞠图旧藏秘府，今摹图之。若非天人革命，应莫观之，言何画哉。”表现出了对此画仰慕已久的心情。明人唐文凤在《梧冈集》中有《题蹴鞠图》诗，诗中说明前两人踢球的是宋太祖赵匡胤与其弟宋太宗，后四人观看的是大臣赵普、楚昭辅、党进、石守信，都是宋朝开国的功勋，他们都喜欢踢球；“明良相逢同一时，乘闲且复相娱嬉，军中之乐谅亦宜。”此图说明了蹴鞠是宋代初年军中之乐，是宋朝开国皇帝和贵族都喜爱的活动，因此，开启了中国古代足球发展的第二个高潮时期。在《宋史·礼志》《乐志》中记载，凡是朝廷的盛大宴会都有足球表演。在《武林旧事》中记载，宋代除了官家有蹴鞠专业艺人之外，民间的瓦子中也有蹴鞠艺人表演，而在宋代开展最为广泛的则是“寒食蹴鞠”民俗活动；“寒食梁州十万家，蹴鞠秋千尚豪华。”（陆游《春晚感事》）在这样从上到下全国的足球热潮氛围中，便有了高俅、张明、柳三复等因踢球而发迹的人物。《宋太祖蹴鞠图》为后人提供了研究宋代足球发展最宝贵的资料。",[24,7,28,27,96,330,208,64,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a53204849892062b0904a61f11a9dd7.jpg","宽28.6厘米，长56.3厘米",[44],{"id":24904,"slug":24905,"title":24906,"dynasty":18,"author":2141,"museum":450,"description":24907,"tags":24908,"thumbUrl":24909,"material":173,"size":24910,"collection":318,"collections":24911,"showCount":24570,"zanCount":1998,"manualWeight":48,"mainColor":49},219554,"san-sheng-tu-liu-song-nian-219554","三生图","画中所绘的情景，正是李源在侍从的陪同下前去赴约，已长成十三岁的今生骑牛牧童即前世园泽，唱着歌谣徐徐而来，是为“三生”也。",[23,164,24,7,25,28,27,132,96,29,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F306c01041dc84d596efb145b5bd7b859.jpg","24x100厘米",[318,44],{"id":24913,"slug":24914,"title":24915,"dynasty":54,"author":24916,"museum":450,"description":24917,"tags":24918,"thumbUrl":24919,"material":173,"size":24920,"collection":68,"collections":24921,"showCount":24570,"zanCount":1998,"manualWeight":48,"mainColor":49},219060,"lu-ya-tu-sun-yi-219060","芦鸭图","孙益","疏苇亭亭，叶带风意，枝干交错间藏着野趣。岸石上双鸭相依，一者昂首理羽，绿颈蓝斑映着天光；一者低首小憩，绒羽纹理细腻如触。淡赭底色晕开清寂，笔墨工致却不板滞——芦苇的线条柔韧含苍，禽鸟的姿态灵动传神，似能闻得水畔风鸣，见得细浪轻拍岸石。整幅画将江南水泽的闲淡之景凝于尺幅，草木的苍劲与生灵的鲜活相映成趣，尽显自然生机里的静谧况味。",[23,24,7,165,28,27,61,1824,12812,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89361e3af2e269c9833f44d7c0be584d.jpg","159.3x96.5cm",[68],{"id":24923,"slug":24924,"title":9432,"dynasty":18,"author":3278,"museum":244,"description":24925,"tags":24926,"thumbUrl":24927,"material":173,"size":24928,"collection":42,"collections":24929,"showCount":24570,"zanCount":1998,"manualWeight":48,"mainColor":72},218933,"bu-yu-tu-li-cheng-218933","这幅画描绘了一条雪白的河流，岸边有古老的松树，一棵松树迎风而立，河里的渔民在放鱼网。这幅画以前被冠以李成的作品，但当你仔细观察这幅画的画风和两岸的抒情笔触，它更接近元代朱德润的画风。",[23,24,164,7,59,128,132,29,331,129,1350,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0df2112e287c6b86f47d3abcb4356f99.jpg","23.3x25",[42],{"id":24931,"slug":24932,"title":24933,"dynasty":18,"author":915,"museum":244,"description":24934,"tags":24935,"thumbUrl":24936,"material":173,"size":84,"collection":136,"collections":24937,"showCount":24570,"zanCount":1116,"manualWeight":48,"mainColor":72},218680,"xing-hua-chun-niao-tu-lin-chun-218680","杏花春鸟图","本幅选自宋人《合璧画册》，枝干笔法接近林椿“山（木茶）霁雪”，惟转折提顿较明显，技法上更显纯熟。用色层层填染，具“山（木茶）霁雪”韵味。花朵白粉分染处理，与推断为马麟（约1180—1256后）所作之宋人“桃花”相类，然“桃花”枝干更见自然感。林椿、马麟的活动时期在先后间，“杏花春鸟”则或是略晚于马麟之典型精致南宋院画作品。",[23,164,24,7,28,27,61,2167,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97fa3fb771034ae4db090c526bdd41b5.jpg",[136],{"id":24939,"slug":24940,"title":24941,"dynasty":124,"author":802,"museum":224,"description":22521,"tags":24942,"thumbUrl":24943,"material":173,"size":84,"collection":84,"collections":24944,"showCount":24570,"zanCount":1998,"manualWeight":48,"mainColor":72},218022,"za-hua-ce-8-chen-hong-shou-218022","杂画册-8",[164,24,7,59,28,27,61,371,355,1233,331,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3872c863e7a4d020187cfd8dc2c8c712.jpg",[],{"id":24946,"slug":24947,"title":1230,"dynasty":124,"author":7961,"museum":244,"description":24948,"tags":24949,"thumbUrl":24951,"material":278,"size":24952,"collection":136,"collections":24953,"showCount":24570,"zanCount":48,"manualWeight":48,"mainColor":72},214729,"shan-shui-tu-qian-gu-214729","这幅画描绘了一位士子读书，一位客人拿着琵琶来访。完全基于文征明的方法，这幅画的构图密集而优雅，充满了书卷气。",[24,7,165,128,132,1009,208,29,131,34,130,1144,30,1023,37,3269,24950,1022,6790,4797,4605],"林间","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F455082ac469620323dfec9e54692861c.jpg","117.6x24.6",[136],{"id":24955,"slug":24956,"title":24957,"dynasty":18,"author":449,"museum":56,"description":24958,"tags":24959,"thumbUrl":24960,"material":278,"size":13555,"collection":84,"collections":24961,"showCount":24570,"zanCount":48,"manualWeight":48,"mainColor":72},214262,"duo-jing-lou-shi-tie-20-mi-fei-214262","多景楼诗帖-20","墨色浓淡交织，似藏无尽章法于其间。每一笔皆如骤雨惊风，却又收放自如——长画如引弓待发，短撇若惊鸿一瞥。飞白处见筋骨，重墨时显沉雄。字与字气脉相连，顾盼有情，仿佛能听见纸墨相触的脆响，窥见书者挥毫的洒脱姿态。笔法跌宕起伏里，藏着不拘一格的才情，读来只觉意气飞扬，心神被灵动线条牵引，沉醉于率真与雄健的交融之美。那肆意挥洒的笔势，既见功底的深厚，更显性情的奔放，将书写时的畅快与豪情，凝在每一处转折提按之中。",[64,133,128,208,1590,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba50dd4540257478299585be2cb34631.jpg",[],{"id":24963,"slug":24964,"title":24965,"dynasty":124,"author":366,"museum":3540,"description":24966,"tags":24967,"thumbUrl":24968,"material":611,"size":84,"collection":318,"collections":24969,"showCount":24970,"zanCount":48,"manualWeight":48,"mainColor":72},240643,"tang-shi-zhou-xu-wei-240643","唐诗轴","徐渭（1521年3月12日－1593年），漢族，紹興府山陰（今浙江紹興）人。初字文清，後改字文長，號青藤老人、青藤道士、天池生、天池山人、天池漁隱、金壘、 金回山人、山陰布衣、白鷳山人、鵝鼻山儂、田丹水、田水月（一作水田月 ）。明代中期文學家、書畫家、戲曲家、軍事家\n徐渭曾擔任胡宗憲幕僚，助其擒徐海、誘汪直。胡宗憲被下獄後，徐渭在憂懼發狂之下自殺九次卻不死。後因殺繼妻被下獄論死，被囚七年後，得張元忭等好友救免。此後南遊金陵，北走上谷，縱觀邊塞阨塞，常慷慨悲歌。晚年貧病交加，藏書數千卷也被變賣殆盡，他自稱“南腔北調人”，於萬曆二十一年（1593年）去世，年七十三。\n徐渭多才多藝，在詩文、戲劇、書畫等各方面都獨樹一幟，與解縉、楊慎並稱“明代三才子”。他是中國“潑墨大寫意畫派”創始人、“青藤畫派”之鼻祖，其畫能吸取前人精華而脱胎換骨，不求形似求神似，山水、人物、花鳥、竹石無所不工，以花卉最為出色，開創了一代畫風，對後世畫壇（如八大山人、石濤、揚州八怪等）影響極大；書善行草，寫過大量詩文，被譽為“有明一代才人”；能操琴，諳音律；愛戲曲，所著《南詞敍錄》為中國第一部關於南戲的理論專著。另有雜劇《四聲猿》《歌代嘯》及文集傳世。\n徐渭的文藝創作所涉及的領域很廣，但它們共同的特徵是：藝術上絕不依傍他人，喜好獨創一格，具有強烈的個性，風格豪邁而放逸，而且常常表現出對民間文學的愛好。\n明代的詩壇，由於前七子與後七子的提倡，出現了一股擬古的風潮。這種擬古的風氣，在一定意義上有礙於詩歌藝術的發展。徐渭對此深致不滿，並作了尖鋭的批評。 [16] 他説：“鳥學人言，本性還是鳥；寫詩如果一意模擬前人，學得再像，也不過是鳥學人言而已，毫無真實的價值。”徐渭自己的詩歌創作，注重表達個人對社會生活的實際情感，風格略近李賀，問學盛唐，並雜取南朝，出入宋元，而終不失其為自我。這個傾向為稍後主張抒發性靈的公安派所繼承，對改變晚明詩風具有重要意義。公安派的代表人物袁宏道對徐渭的詩有一段精彩的評述：“文長既不得志於有司，遂乃放浪麴櫱，恣情山水……其所見山奔海立。如寡婦之夜泣，羈人之寒起。當其放意，平疇千里；偶爾幽峭，鬼語秋墳。” [6] [17]\n徐渭的散文，以《自為墓誌銘》一篇最為出色。此外，許多尺牘也很有特色，潑辣機智，幽默多趣，文風遠啓金聖嘆一流。但總的來説，徐渭散文方面的成就不及詩歌。\n徐渭的書法和明代早期書壇沉悶的氣氛對比顯得格外突出，他最擅長氣勢磅礴的狂草，但一般人很難看懂，用筆狼藉，他對自己的書法極為喜歡，自認為“書法第一，詩第二，文第三，畫第四”。\n徐渭打破了以“台閣體”為主導的明代書壇的寂寞，開啓和引領了晚明“尚態”書風，把明代書法引向了新的高峯。陶望齡認為其書法“稱為奇絕，謂有明一人”。袁宏道則稱：“予不能書，而謬謂文長書決在王雅宜、文徵仲之上，不論書法而論書神，先生者誠八法之散聖，字林之俠客矣！”\n徐渭的書法及書法觀的產生，與明朝中、晚期的思想、文化、審美觀念巨大變遷相吻合。他的書法也是從吳門書派主張唐法的反叛中出發，繼而吸取北宋蘇軾、黃庭堅、米芾追求藝術個性化的積極因素中走來。徐渭的作品諸如《寄雲嶽子九首冊》《為仰南書六首詩卷》《李白蘇軾九首詩卷》《春園暮雨詩軸》等作品中黃庭堅書法的筆意比比皆是。\n徐渭在《書季子微所藏摹本蘭亭》中所説的“時時露己筆意” 的審美精神。他的原話是：“非特字也，世間諸有為事，凡臨摹直寄興耳，銖而較，寸而合，豈真我面目哉？臨摹《蘭亭》本者多矣，然時時露已筆意者，始稱高手。予閲茲本，雖不能必知其為何人，然窺其露已筆意，必高手也。優孟之似孫叔敖，豈並其鬚眉軀幹而似之耶？亦取諸其意氣而已矣。”\n如果説徐渭的行書已用“己意”實現了對傳統筆法的改變，那麼，最大的改變是那些高頭大軸的中堂行草書。以前説“董其昌破壞了墨法”，在這則要説“徐渭破壞了筆法”。徐渭在書法從卷冊翰札的文房把玩轉向廳堂展示審美的變革中，實現了作品創作中筆法的改造。《代應制詠劍草書軸》和《代應制詠墨草書軸》是其代表作。徐渭這種借鑑於繪畫的點畫表現方法，是對晉唐筆法的創造性破壞。對於書法藝術這種美術化傾向的改變。\n明代的水墨寫意畫迅速發展，以徐渭為代表的潑墨大寫意畫非常流行。徐渭憑藉自己特有的才華，成為明代成就極高的寫意畫大師。\n徐渭的潑墨寫意花鳥畫，別開生面，自成一家。其花鳥畫，兼收各家之長而不為所限，大膽變革，極具創造力。其寫意畫，無論是花卉還是花鳥，皆一揮而就，一切盡在似與不似之間，對筆下的四時花木，畫家運用勾、點、潑、皴等多種筆墨形態，將牡丹之雍容、紫薇之雋秀、竹子之蕭疏、霜菊之孤傲、寒梅之挺潔的神韻刻畫的入木三分，分別舒展九尺與五尺的梧桐和芭蕉，直衝畫外，不見首尾，與密如驟雨的葡萄、虯如蟠龍的藤蔓構成了巨大的張力，充溢在畫面中的縱橫之氣和豪放境界更是前所未有。他的水墨葡萄，串串果實倒掛枝頭，水鮮嫩欲滴，形象生動，茂盛的葉子以大塊水墨點成，風格疏放，不求形似，代表了徐渭的大寫意花卉的風格。豐富的運動軌跡與濃淡、徐疾、大小、乾濕、疏密程度各異的筆蹤墨韻，無不具備振筆疾書的即興性和不可重複性，呈現出中國繪畫中最為強烈的抽象表現主義，使其藴含某種內在的氣質、精神，這種氣質、精神又使欣賞者有如臨其境之感。徐渭筆下的南瓜、菊花圖，一氣呵成，驅墨如雲，氣勢逼人，同時又恰如其分的駕馭筆墨，輕重、濃淡、疏密、乾濕極富變化。墨法上既呈隨意浸滲的墨暈，又見控制得宜的濃淡。雖然被徐渭自稱“戲抹”，然而在寫意中仍生動的傳達出了花果的不同秉性和生韻。它的梧桐圖，只以潑墨筆法繪其一小部分，卻有使人聯想到挺拔正直的參天梧桐。正如翁方綱所説：“紙才一尺樹百尺，何以著此青林廬。恐是磊落千丈氣，夜半被酒歌噓唏。” 徐渭以其精湛的筆法，在似與不似之間，為欣賞者營造出一片開闊的審美天地。\n徐渭將自己的書法技巧和筆法融於畫中，正如張岱所言：“今見青藤（徐渭）諸畫，離奇超脱，蒼勁中姿媚躍出，與其書法奇絕略同。昔人謂摩詰之詩，詩中有畫，摩詰之畫，畫中有詩；餘謂青藤之書，書中有畫，青藤之畫，畫中有書。” [24] 他的《墨葡萄圖》，墨的濃淡顯示了葉的質感，題詩的字體結構與行距不規則，如葡萄藤蔓一樣在空中自由延伸，書與畫融為一體。\n徐渭的書法造詣很高，其跌宕縱橫的筆法有助於繪畫藝術的巧妙變化，如畫墨荷、葡萄，大刀闊斧，縱橫馳騁，沒有深厚的書法功力是難以做到的。徐渭曾做一幅《梅花蕉葉圖》，將梅花與芭蕉放在一起，並且在畫上題寫道：“芭蕉伴梅花，此是王維畫”，顯示出徐渭與王維在某些構圖上的源流關係。當然，王維畫雪裏芭蕉，更突出一種禪機，即，使得雪的清寒與芭蕉的心空構成畫面的宗教底藴，而徐渭在這樣的畫面組合中，更突出一種超越時空的主體解放性。\n徐渭的書法和畫法都極為嫺熟，功底深厚，他的題字，如他的潑墨寫意畫，縱橫不羈，洋洋灑灑；他的潑墨寫意畫，融合了精熟的筆法，意趣橫生，極富韻味。\n徐渭晚年悲苦淒涼，形影相弔，他將自己的悲憤和懷才不遇之感融注於筆端，筆下的墨竹，枝淡葉濃，逸筆草草，竹枝氣勢勁健，竹葉俯垂含情，雖屬竹枝而高潔清爽之氣不減。這正是畫家身處下層，懷才不遇，品格高潔，絕世獨立人格的光輝寫照。他的潑墨牡丹，不拘於牡丹的富貴高雅特徵，色彩絢爛，他卻常常以水墨繪之，有意改其本性，其目的是有賦予牡丹清雅脱俗的格調和神韻，所謂“從來國色無裝點，空染胭脂媚俗人。”\n徐渭的繪畫主觀感情色彩強烈，筆墨揮灑放縱，從而把中國寫意花鳥畫推向了書寫強烈思想情感的最高境界，把在生宣紙上隨意控制筆墨以表現情感的寫意花鳥畫技巧提高到了前所未有的高度。成為中國寫意花鳥畫發展中的里程碑，開創了中國大寫意畫派的先河，為文人畫的發展提供了廣闊的空間。其畫風對清代的八大山人、石濤、揚州八怪以及近現代的吳昌碩、齊白石等都產生了深遠影響。\n徐渭既採用北雜劇的形式，又吸收南曲的自然格律，創作有雜劇集《四聲猿》，其中包括《狂鼓史漁陽三弄》《玉禪師翠鄉一夢》《雌木蘭替父從軍》《女狀元辭凰得鳳》四個獨立的戲。《狂鼓史漁陽三弄》又稱《陰罵曹》，是有感於嚴嵩殺害沈鍊之事而創作的，表現出狂傲的反抗精神。後兩個戲都是寫女扮男裝建功立業的故事，反映了他對婦女的看法，有一定的反封建意義。這些作品都打破了雜劇固定的格式，為戲劇形式上的多樣化開拓了門津。《四聲猿》，高華爽俊，有着反抗思想與革新精神，對明代中後葉的戲曲創作起到重要的影響。湯顯祖曾説：“《四聲猿》乃詞壇飛將，輒為之演唱數通，安得生致文長，自拔其舌！”\n此外，徐渭對當時流行的輕視南戲之風非常反感。他認為南戲有自己寬鬆自由的格律，受到民間的歡迎，它通俗、多采，“無今人時文氣”，可是卻“無人選集，亦無表其名目者”。為此，徐渭寫下了《南詞敍錄》，首次對南戲加以總結，研究了南戲的藝術特點，著錄了宋元南戲六十種、明初戲文四十七種，以反對戲曲創作的駢麗風尚，扶植新興的俗曲。 [6] 這是中國第一部關於南戲的理論專著，在戲劇史上具有重要意義。雜劇《歌代嘯》、小説《雲合奇縱》（即《英烈傳》），據説也是徐渭所作。\n在戲劇理論方面，徐渭主張“本色”，即戲劇語言應當符合人物的身份，應當使用口語和俗語，以保證人物的真實性，而反對典雅的駢語，過度的修飾，這些看法都頗有見地。\n徐渭文自負才略，喜出奇謀，談論行軍打仗的形勢策略大多得其要領。擔任胡宗憲的幕僚時，協助其抗擊倭寇，並參與制定誘降海盜汪直、徐海等人的計謀。晚年悉心培養名將李如松，使其建立不朽功勳。",[24,7,165,128,208,64,840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f3a57aac6b64d6fc61ee1dcd1d59672.jpg",[318],54,{"id":24972,"slug":24973,"title":24974,"dynasty":351,"author":223,"museum":300,"description":24975,"tags":24976,"thumbUrl":24977,"material":84,"size":84,"collection":84,"collections":24978,"showCount":24970,"zanCount":48,"manualWeight":48,"mainColor":49},239547,"huang-quan-xie-sheng-zhen-qin-tu-juan-yi-ming-239547","黄筌写生珍禽图卷","此作写实功底极尽精微，将十余类禽鸟、虫豸与灵龟一一铺陈。画师以淡墨细勾轮廓，随类施色晕染，禽鸟绒羽纤毫毕现，虫翼轻薄通透，龟甲纹理凹凸逼真。每一只生灵都形神兼备，振翅的雀鸟、爬行的甲虫、静立的水禽，皆定格住最鲜活的瞬间，尽显对自然万物的入微体察。\n\n虽为写生稿的合集，却处处彰显工笔花鸟的极致功底，将生灵的鲜活神韵凝于绢素之上，尽显五代写实工笔的隽永魅力。",[24,164,7,25,28,27,61,211,609,14233,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F332fee9c6e6f4bf61e5511d43efcaedc.jpg",[],{"id":24980,"slug":24981,"title":15906,"dynasty":54,"author":3403,"museum":300,"description":24982,"tags":24983,"thumbUrl":24984,"material":84,"size":84,"collection":68,"collections":24985,"showCount":24970,"zanCount":1998,"manualWeight":48,"mainColor":72},239112,"mo-mei-tu-zhou-wu-chang-shuo-239112","吴昌硕（1844—1927）原名俊，又名俊卿，中年以后更字昌硕，亦署仓硕、仓石、苍石、昌石，69岁后以字行，别号缶庐、苦铁、大聋等，浙江安吉人吴昌硕是近代中国最杰出的艺坛巨匠之一，他以诗、书、画、印四绝享誉海内外，对于近百年来中国传统书画篆刻艺术的走向影响深远。本次展览共汇聚了吴昌硕先生书法、绘画、篆刻、诗文信札等代表性作品170件，尤其是浙江省博物馆馆藏的吴昌硕书画精品，可谓“倾巢而出”，是近年来国内吴昌硕艺术作品一次较大规模的集中展示。",[24,7,165,128,371,331,64,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57278f7c874bcd2afc57071bfc181d8f.jpg",[68,318],{"id":24987,"slug":24988,"title":24989,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":24990,"thumbUrl":24991,"material":84,"size":84,"collection":318,"collections":24992,"showCount":24970,"zanCount":1998,"manualWeight":48,"mainColor":72},238317,"qiu-hua-si-shou-zhou-dong-gao-238317","秋花四首轴",[24,7,165,27,28,8629,3916,2709,230,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f70d4386e484a0de4f87b2b3e7b37d2.jpg",[318],{"id":24994,"slug":24995,"title":76,"dynasty":54,"author":24996,"museum":300,"description":24997,"tags":24998,"thumbUrl":24999,"material":692,"size":1293,"collection":68,"collections":25000,"showCount":24970,"zanCount":48,"manualWeight":48,"mainColor":72},235211,"hua-hui-ce-zhang-wei-235211","张伟","清代画家张伟的花卉写生图，是一组工笔细描的花卉图。",[24,7,61,59,27,28,376,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0af649121c5bfa8eb70d98878fbc2a5.jpg",[68],{"id":25002,"slug":25003,"title":25004,"dynasty":18,"author":2257,"museum":20,"description":25005,"tags":25006,"thumbUrl":25007,"material":40,"size":2261,"collection":84,"collections":25008,"showCount":24970,"zanCount":48,"manualWeight":48,"mainColor":49},233698,"jiang-shan-qiu-se-tu-juan-zhao-bo-ju-233698","江山秋色图卷","此图为青绿设色。画中有青山碧水、殿宇村舍，栈道、桥梁穿插其间，又有苍松翠柏，茂林修竹，移步换景，令人玩味不尽。山石用小斧劈皴法，再施以青绿重色；树木、建筑刻画细腻精谨，点景人物描绘细致入微。整幅作品布局宏大，细节丰富，色彩浓丽而不失清雅，刻画精细而不琐碎，带有宋代画院气派。",[164,24,7,25,26,27,28,132,29,30,31,34,1515,97,98,99,131,38,149,15551],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7938477d39bcc25b27dcddc14b743fa4.jpg",[],{"id":25010,"slug":25011,"title":25012,"dynasty":54,"author":1219,"museum":300,"description":25013,"tags":25014,"thumbUrl":25015,"material":84,"size":84,"collection":84,"collections":25016,"showCount":24970,"zanCount":1998,"manualWeight":48,"mainColor":72},230119,"hua-hui-ce-ye-si-kai-ren-yi-230119","花卉册页四开","这幅画作尽显写意花鸟的灵动意趣，左畔黄花明丽醒目，以明艳赭黄点染瓣蕊，娇俏鲜活，与浓墨绘就的叶片形成鲜明反差，苍劲墨色衬出花的妍丽。右方淡色花簇晕染柔润，清雅素净，和左侧形成虚实冷暖的精妙呼应。\n\n枝干运笔枯湿浓淡相宜，苍润兼具，写出了花木舒展自然的姿态。笔墨兼具工写之妙，既以豪放淋漓的墨色绘就叶片的苍劲质感，又细致勾勒出花蕊、花苞的娇柔细节，设色清隽雅致，将花木天然的生机逸态尽显无遗，氤氲着悠然的文人雅趣，尽显清逸灵动的花鸟意韵。",[164,24,7,59,27,128,61,62,549,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bc9e9ba66454e1ab14a0ed4e8251f9f.jpg",[],{"id":25018,"slug":25019,"title":3383,"dynasty":54,"author":1460,"museum":300,"description":25020,"tags":25021,"thumbUrl":25022,"material":84,"size":84,"collection":84,"collections":25023,"showCount":24970,"zanCount":1998,"manualWeight":48,"mainColor":72},228979,"shan-shui-tu-ce-8-kai-shi-tao-228979","此作取景清逸疏淡，枯淡笔墨勾皴江岸崖石，浅赭晕染土质坡台，素白村居朴拙静雅，隐于山坳江湾。苍松倚岸，添了几分苍润生机。江上双帆缓行，似是收棹将归，细笔轻描微波，水色空明澄澈，晕开江天静穆悠然。\n左侧题笔隽秀，诗画相融，点出如镜江色的清灵意趣。笔墨干湿互用，皴擦间带着疏朗纵逸之气，未作繁复堆砌，只以极简景致，绘出渔乡日暮的安闲意韵，尽显山水间萧散淡远的林下之风。",[164,24,7,59,128,27,29,3386,131,34,3387,414,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc902b0dd15f94b2abc4bd478738d2ba3.jpg",[],{"id":25025,"slug":25026,"title":4071,"dynasty":124,"author":1438,"museum":300,"description":25027,"tags":25028,"thumbUrl":25029,"material":84,"size":84,"collection":84,"collections":25030,"showCount":24970,"zanCount":48,"manualWeight":48,"mainColor":72},228467,"hua-hui-tu-ce-chen-chun-228467","以水墨淡彩写就湖石花木，居中湖石以浓淡干湿变化的墨色晕染勾勒，苍润朴拙，留白与周边花植相映，衬出空间层次。\n花草兼工带写，没骨点染花瓣，色泽柔淡雅致，花枝以细劲线条写出，舒展灵动、野趣横生。笔意松快随性，将春日花木的柔婉生机与湖石的古雅朴拙相融，尽显文人写意的清雅意趣，寥寥笔墨便晕染出鲜活自然之态，淡冶秀逸间饱含悠然生机。",[23,24,7,61,369,128,27,62,131,624,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a207906aca606c24b53bc39de7027b.jpg",[],{"id":25032,"slug":25033,"title":23480,"dynasty":144,"author":1768,"museum":300,"description":25034,"tags":25035,"thumbUrl":25036,"material":692,"size":1293,"collection":84,"collections":25037,"showCount":24970,"zanCount":48,"manualWeight":48,"mainColor":49},228079,"xiao-xia-tu-liu-guan-dao-228079","描绘一文士赤裸半身躺于卧榻，右手持尘，左手拈书卷，目视前方，若有所思。他的身后放一琴，榻后的桌上陈放有书卷、砚台，茶盏等，可见主人是个风雅文士。榻的旁边有一屏风，对面两名侍女，一个手拿蒲扇，另外一名双手抱一包裹似乎主人需要之物。",[23,164,24,7,25,27,96,1424,997,875,251,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F621dcab5316c928d6d5eb788d601bacf.jpg",[],{"id":25039,"slug":25040,"title":25041,"dynasty":18,"author":1622,"museum":300,"description":25042,"tags":25043,"thumbUrl":25044,"material":84,"size":84,"collection":84,"collections":25045,"showCount":24970,"zanCount":48,"manualWeight":48,"mainColor":49},227640,"song-ge-guan-chao-tu-ma-yuan-227640","松阁观潮图","绢本，设色，190.9×94.5ＣＭ，美国弗利尔美术馆藏。绘山峰奇险，一轮明月与绝壁相对，山脚下古松苍劲笔直，树下凉中一人凭栏眺望，不远处应有潮水奔腾，水面上避风处二船停泊，一小童在船上正伏桌打盹，看来夜已深了。此图原题：马远松阁观潮图。然则细观之下，与王谔的风格很相似，当是明代宫廷画家之作品。",[23,24,7,164,165,128,27,132,29,331,97,96,129,131,415,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd42a106aaf591df8e3bae9f9e22cb844.jpg",[],{"id":25047,"slug":25048,"title":25049,"dynasty":18,"author":25050,"museum":300,"description":25051,"tags":25052,"thumbUrl":25054,"material":84,"size":84,"collection":84,"collections":25055,"showCount":24970,"zanCount":48,"manualWeight":48,"mainColor":72},227637,"lang-tu-ma-xing-zu-227637","浪图","马兴祖","宋代 马兴祖 山西永济人，绍兴1131年-1162年间画院待诏。擅画花鸟，人物，山水，杂画。《浪图》纵20，8厘米，横22厘米，东京国立美术馆藏。",[23,164,24,7,1326,1131,128,28,228,25053,29],"浪涛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a18ac02739bb609ce29d13ab637a86f.jpg",[],{"id":25057,"slug":25058,"title":25059,"dynasty":18,"author":16563,"museum":300,"description":25060,"tags":25061,"thumbUrl":25062,"material":84,"size":84,"collection":84,"collections":25063,"showCount":24970,"zanCount":48,"manualWeight":48,"mainColor":72},227293,"mo-lan-tu-zheng-si-xiao-227293","墨兰图","《元郑思肖墨兰图》是元代画家郑思肖所创作的一幅写意水墨画，现为日本大阪市立美术馆藏。该作也是作者留下的传世作品，也是反映他创作思想和艺术造诣的代表作。该作是一幅非常抒情的文人写意水墨画，描绘出兰的野逸、不畏风霜，孤高自傲，无人花自馨的高尚品格。作者借笔墨抒发胸中逸气，是自我思想品格的写照。",[23,24,7,25,128,375,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6c729b870cc6b268814e99c4e289b7d.jpg",[],{"id":25065,"slug":25066,"title":25067,"dynasty":182,"author":25068,"museum":300,"description":25069,"tags":25070,"thumbUrl":25071,"material":84,"size":84,"collection":84,"collections":25072,"showCount":24970,"zanCount":48,"manualWeight":48,"mainColor":956},227084,"ru-yi-lun-guan-yin-tu-liang-quan-227084","如意轮观音图","良全","良全（ryouzen）为活跃于14世纪的画家，关于其经历目前详情不明。但是从其作品中所留下的题赞等可知其为与干峰士昙（kenbousidon）（1285～1361）以及干峰士昙担任主持（jyuuji）的京都东福寺有着密切关系的画师。\n\n此幅“如意轮观音图”的上部树木取自技法超前的水墨画，尊像部分一般认为是彩色如意轮观音像的水墨画版。观音的衣裙及宝冠、莲花宝座等处施有细腻的金泥图案，却并不夺目，圆光的背后隐约可见的岩石采用淡墨描绘，画面整体围绕观音描述其周围的空间，本图是唯有精通水墨技法的良全方能绘成，作为14世纪的水墨佛画也可谓是极其成功的。画面右下角有“海西人（kaiseijin）良全笔”的金泥落款。",[23,24,7,165,187,28,27,96,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16c0e7681f40aff4454529feba431a61.jpg",[],{"id":25074,"slug":25075,"title":25076,"dynasty":351,"author":4456,"museum":300,"description":25077,"tags":25078,"thumbUrl":25079,"material":84,"size":84,"collection":84,"collections":25080,"showCount":24970,"zanCount":1998,"manualWeight":48,"mainColor":49},226709,"he-le-tu-zhou-wen-ju-226709","合乐图","周文矩，善于深入观察和体会现实生活中的各色人物，把握他们的思想感情和性格特征，因此塑造出来的人物各不相同，达到形神兼备的艺术境界。他的仕女画从题材内容到表现形式，都继承了唐代周昉的传统。\n\n该图人物画卷与同是五代时期大画家顾闳中的传世名作《韩熙载夜宴图》卷有重大联系。这不仅是因为此图在绘画风格上与后者极为类似，而且在画面内容上也符合画史事实。",[23,164,24,7,25,28,27,96,166,438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a17334f891c05bde91603b85c042b93.jpg",[],{"id":25082,"slug":25083,"title":25084,"dynasty":54,"author":1952,"museum":5202,"description":25085,"tags":25086,"thumbUrl":25088,"material":514,"size":25089,"collection":84,"collections":25090,"showCount":24970,"zanCount":48,"manualWeight":48,"mainColor":49},223159,"bai-lu-tu-shen-quan-223159","柏鹿图","此图绘在柏树之下、溪流岸边，两只梅花鹿一立一卧，均仰视远方。图中鹿的描绘十分工整、细腻，山石的点染、溪波的勾勒也有类似笔调，尤为细致而并非完全写实，画面既真实又不泥于细节。\n此画场面雄奇壮阔，波涛汹涌的溪边，在坡石平地处，幽憩着两只梅花鹿：其中一只雄性的梅花鹿屹立于坡上，二足着地，前左腿略微弯曲上提，仰首远眺，汲角往后，短尾微翘，背复部梅花斑纹清晰可见；另一只雌性梅花鹿，卧伏于山石上，两耳耸立，伸着脖颈，双目远视，画面下端为山石横卧，山石下急流滚滚，波纹起伏。在画幅右侧下坡石后，一棵巨大的柏树拔地而起，树干粗壮，枝干曲直向上，虬枝盘旋，相互交织在一起，其中有数枝横入画幅左侧和中部。在画幅打上侧款署“乾隆丙寅二秋”即1746年。\n此图极为清丽活泼。画面内容是柏树下、溪流畔的风景，两只梅花鹿一立一卧，神态悠然，动态生动，极是传神。最为引人注意的是鹿的描绘，十分工整、细腻，山石的点染、溪波的勾勒也有类似笔调，十分细致而并非完全照抄写实，显得画面既真实又不泥于细节。\n画家所作笔墨用意有二：其一，横出的柏树枝叶，使上端牢旷的画面得以填补，起到了使画面构图充满和平衡作用；其二，浓密枝叶形成大片的树荫，正是梅花鹿憩息最好去处和场所。在古柏后有石壁远崖，隐约可见山涧泉水顺流而下，汇聚在宽阔无际的江河中，构成一幅清丽娴雅的景致，令人心旷神怡。作者在创作此画时，特别注意虚笔在背景处理中的运用，虚实相生，阴阳分明，赋色妍丽清雅。此画题材富有吉庆寓意。",[23,164,24,7,28,27,949,29,2302,25087,495,131,276],"柏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e97721781d653cc08291b2edf0edcd7.jpg","纵98 .2厘米，横47.2厘米",[],{"id":25092,"slug":25093,"title":25094,"dynasty":54,"author":4468,"museum":244,"description":4469,"tags":25095,"thumbUrl":25098,"material":27,"size":4474,"collection":84,"collections":25099,"showCount":24970,"zanCount":1998,"manualWeight":48,"mainColor":72},222736,"xian-e-chang-chun-tu-yu-mei-ren-yu-hu-die-hua-lang-shi-ning-222736","仙萼长春图虞美人与蝴蝶花",[23,24,7,61,28,27,25096,25097,171,230],"虞美人","蝴蝶花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8cf8ef4ea03d3198d245b3fb1aea4e0.jpg",[],{"id":25101,"slug":25102,"title":25103,"dynasty":54,"author":25104,"museum":300,"description":25105,"tags":25106,"thumbUrl":25110,"material":734,"size":25111,"collection":84,"collections":25112,"showCount":24970,"zanCount":1998,"manualWeight":48,"mainColor":72},222700,"qiu-feng-mo-zao-tu-juan-shou-juan-qian-yu-ling-222700","秋风墨藻图卷手卷","钱与龄","画中的蓝藻、紫绿红蓼、游鱼蟹、泥鳅蛙、蜻蜓翠鸟、白鹭飞虫，游或游或荷花或偷窥，首当其冲的就是充满活力的秋天。 年代，清代女画家，画家陈舒的曾孙女，写生写生，画如陈舒的笔法。",[23,164,24,7,25,27,28,168,2059,355,303,608,1824,12869,841,985,25107,3451,25108,7446,62,228,25109,211],"红鱼","莲叶","小鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ec091c195124569eded74b3cf2a78e.jpg","32.2×339.2cm",[],{"id":25114,"slug":25115,"title":25116,"dynasty":124,"author":25117,"museum":510,"description":25118,"tags":25119,"thumbUrl":25120,"material":611,"size":25121,"collection":136,"collections":25122,"showCount":24970,"zanCount":1998,"manualWeight":48,"mainColor":72},222578,"zhu-lu-shan-fang-zhou-shen-zhen-222578","竹炉山房轴","沈贞","该图画山峦耸立、老树槎桠，叶竹围绕山房，生意昂然。此图时代风格极为鲜明，与刘珏、杜琼诸家接近，从而得以探明沈周画风的出处，了解承前启后的脉络。",[23,24,7,165,27,132,28,29,167,413,35,99,96,497,23362,1023,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04ce7c6cd7d2c7863041083e3b58f8f4.jpg","纵115.5厘米，横35厘米",[136,45],{"id":25124,"slug":25125,"title":25126,"dynasty":144,"author":287,"museum":224,"description":25127,"tags":25128,"thumbUrl":25129,"material":611,"size":25130,"collection":84,"collections":25131,"showCount":24970,"zanCount":48,"manualWeight":48,"mainColor":72},221713,"wang-xi-zhi-guan-e-tu-quan-juan-qian-xuan-221713","王羲之观鹅图全卷","《王羲之观鹅图》是描写东晋书圣王羲之观白鹅的情景。此图画法，笔画简约，千墨燥锋，似是枯瘦格调，而其皴山石、立屋宇，却是较为精密且有顿挫有致的用笔技巧。山石皴笔时见飞动与疏密有致，笔划松动而老辣，空灵而沉着。\n此画为长卷，画面开阔。远景为平远山水景色，中景为一片宽阔河水，水面开阔平如镜，有几只白鹅正在河面上戏水，使谧静的河上略见生气：近处为村落，下面为坡石，坡石间和平地上，丛生松林杂树，树的后边为一座较大的屋宇水榭，水榭中站着两人，高者为此画主人公王羲之，正在凝视前方河面上戏水的鹅群，神情专一，仔细观看鹅群戏水的多姿多态。王羲之的身后为幼童，似乎也随着主人正在观看一群白鹅。\n在画面左侧，作者有一首七言题诗： “修竹林间爽致多，闲庭坦腹意如何。为书道德遗方士，留得风流一爱鹅。”\n画卷隐居题签为乾隆御笔：“钱选《观鹅图》真迹，内府御玩。”下钤“神品”、“御赏”二玺。在画卷引首部分书有“山阴逸兴”四字，上钤“乾隆御笔”玺。画心左上方有乾隆丙寅御笔诗：“墓高风有足多，独推书圣却云何。行云流水参神韵，笔阵传来只白鹅。”画心上部钤“稽古右文之玺”，上有“苍”字，与之配套的有内府五玺：“三希堂精鉴玺”， “宜了孙”、 “乾隆鉴赏”、 “乾隆御览之宝”与“石渠宝笈”玺",[23,24,7,25,27,28,133,208,29,96,130,167,34,7546],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31301d79c761a30f82e35acb1616dd0c.jpg","23.2X92.7厘米",[],{"id":25133,"slug":25134,"title":25135,"dynasty":18,"author":686,"museum":224,"description":10811,"tags":25136,"thumbUrl":25137,"material":514,"size":10814,"collection":42,"collections":25138,"showCount":24970,"zanCount":48,"manualWeight":48,"mainColor":49},221392,"yan-lan-qiu-xiao-tu-shou-juan-fan-kuan-221392","烟岚秋晓图手卷",[23,24,7,25,29,132,27,131,34,37,1515,6639,499,1645,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e46fdf1ba9c7c72c2074be0b953a710.jpg",[42,136,117],{"id":25140,"slug":25141,"title":25142,"dynasty":18,"author":25143,"museum":300,"description":25144,"tags":25145,"thumbUrl":25146,"material":151,"size":25147,"collection":42,"collections":25148,"showCount":24970,"zanCount":48,"manualWeight":48,"mainColor":72},221322,"shi-yong-tu-quan-juan-zhang-xian-221322","十咏图全卷","张先","此图是一幅山水人物画，画卷的开首部分便是吴兴南园一角，主体建筑为一座重檐歇山顶的楼阁，相配小亭栏杆回环曲折，花草树木掩映，庭中有鹤，亭角有花一株，环境幽雅而气象恢宏。楼阁内，马太守正陪二老对坐奕棋；小亭内，二老手扶栏杆，一面赏景一面闲话；另二老或携琴或曳杖，款款而来。此外有童仆衙役陪伴侍候。这是一次风流儒雅的集会，轻松愉快，表现出一派太平盛世的气氛。这一段表现了三首诗的内容，除前述一首之外，另有《庭鹤》、《玉蝴蝶花》二首。\n南园临水而建，湖对岸远渚汀洲，村庄茅舍，树木葱浓，群山耸翠，依次表现出《孤帆》、《宿清江小舍》、《归燕》、《闻砧》、《宿后陈庄偶书》、《送丁秀才赴举》、《贫女》七首诗的内容。\n张先的绘画作品，无论历史流传还是文献记载，仅此一幅。至于它的时代，从山石皴法及布置方法看，大体是北派山水的继承，属于荆浩、关同体系，而无李成、郭熙痕迹，更不入南宋格调，显然是北宋前期的风格。\n这件作品的文献价值一直受到前人的重视，它所记载的当时的文化活动及有关人物，都是唯一的现存第一手资料。陈振孙根据南园立石，对各种人物作了详细的笔录和考证。刻石在元代便毁灭了，颜尧焕的跋记录颇详。到今天，其画和所有的题跋，更弥足珍贵。\n此画原为清宫收藏，溥仪以赏溥杰的名义将画盗出宫廷，后携至长春。伪满政权覆灭时，此画被窃，此后50年中不知下落。\n1995年，在北京瀚海拍卖公司的拍卖会中此画才再度面世。故宫博物院根据徐邦达、启功、刘九庵等专家的建议，并得到国家文物局的批准，以1800万元竞价将此画购回，使这件国宝找到了它应有的归宿。国家文物局和故宫博物院用这么多的钱保护一件国宝，用启功先生的话说：“两个字，值得。”",[23,24,7,25,27,29,97,130,99,129,34,131,96,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb43225b3fa18322ee72418abdc181ec0.jpg","画心纵52厘米，横125.4厘米",[42,136,117],{"id":25150,"slug":25151,"title":25152,"dynasty":18,"author":3308,"museum":244,"description":25153,"tags":25154,"thumbUrl":25155,"material":151,"size":25156,"collection":44,"collections":25157,"showCount":24970,"zanCount":48,"manualWeight":48,"mainColor":72},221201,"song-gao-zong-shu-xiao-jing-ma-he-zhi-hui-tu-ce-zhao-gou-221201","宋高宗书孝经马和之绘图册","圖冊原本應為圖文相連的長卷，後來因破損嚴重，改裝成書畫分開的冊頁形式。畫幅各藉不同場景，詮釋各階層人士盡孝及忠君的雙重意涵。圖文相輔，充分突顯了“為君主立言”的創作初衷。圖冊諸題跋均肯定《孝經》書法出自於宋高宗之手。畫幅風格則與馬和之全然不同，部分山石皴法反倒與李唐、蕭照較近。",[23,164,24,7,59,27,96,64,572,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4ba40826be74d19b5b9d115b4400475.jpg","40x88厘米",[44,45],{"id":25159,"slug":25160,"title":25161,"dynasty":144,"author":569,"museum":244,"description":25162,"tags":25163,"thumbUrl":25164,"material":611,"size":25165,"collection":136,"collections":25166,"showCount":24970,"zanCount":48,"manualWeight":48,"mainColor":72},220889,"zhong-jiang-die-zhang-juan-zhao-meng-fu-220889","重江叠嶂卷","图绘江水辽阔绵延，群山重叠逶迤，舟楫往来江中，画境清旷。山石的形态、皴染的方法、乔松和虬曲的蟹爪形枯枝，一看即知画家采用的是李成、郭熙的山水画程式。但略带乾笔的勾皴，简逸的笔法又透着画家的新意，已不是对李成、郭熙画风的简单因袭和重复。卷首仅存“嶂图”二字，余字残缺。",[24,7,25,128,132,29,3649,30,497,34,415,3857,5323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27f892218196d47fd9afe5964f960f54.jpg","该幅28.4x176.4公分；隔水一 11.3公分；引首 28.4x123.3公分；隔水二 10.1公分；隔水三 10.1公分；拖尾 28.4x474公分",[136,117],{"id":25168,"slug":25169,"title":19857,"dynasty":144,"author":410,"museum":244,"description":25170,"tags":25171,"thumbUrl":25172,"material":611,"size":25173,"collection":136,"collections":25174,"showCount":24970,"zanCount":1998,"manualWeight":48,"mainColor":72},220809,"shan-shui-zhou-wang-meng-220809","王蒙（1308-1385），元代著名画家，字叔明（一作叔铭），晚年居黄鹤山，号黄鹤山樵。又自称香光居士。王蒙是元初著名书画家赵孟頫的外甥，出身书画世家，曾一度任官。绘画主要师法董、巨，与倪瓒、黄公望、吴镇齐名并有交往，后人称“元四家”。",[23,24,7,165,128,132,29,131,34,99,98,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a6dcb4762f048b8615a5bade13370e9.jpg","该幅 211.1x34.4公分、全幅 67.5公分",[136,117],{"id":25176,"slug":25177,"title":25178,"dynasty":144,"author":287,"museum":244,"description":25179,"tags":25180,"thumbUrl":25182,"material":173,"size":25183,"collection":68,"collections":25184,"showCount":24970,"zanCount":48,"manualWeight":48,"mainColor":49},220384,"qiu-fang-niao-yu-tu-qian-xuan-220384","秋芳鸟语图","钱选山水师赵令穰，人物师李公麟，花鸟师赵昌，青绿山水师赵伯驹，尤善作折枝，其得意者赋诗其上。工临仿，尝借人白鹰图，夜临摹装池，翌日以临本归之，主人弗觉。选多写人物、花鸟，故所图山水当世罕传。。钱选与赵孟頫同乡并同享盛名。擅画人物、花卉及山水。其自题《其与花鸟画曾师法赵昌，又自有变法，多表现田园隐居等情趣，如《柴桑翁像》、等山水画。后因为手颤，以及对付诸多仿造者，改作水墨写意花卉。明代鲁王朱檀墓随葬有钱选等，多以水墨画就。",[23,164,24,7,1131,27,28,61,376,211,171,25181],"秋草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F194ffa877014eafa9f6fefd8f3e58dd3.jpg","24.2x26.2",[68],{"id":25186,"slug":25187,"title":25188,"dynasty":144,"author":13522,"museum":244,"description":25189,"tags":25190,"thumbUrl":25191,"material":173,"size":25192,"collection":136,"collections":25193,"showCount":24970,"zanCount":1998,"manualWeight":48,"mainColor":49},220239,"song-he-guan-quan-tu-ma-wan-220239","松壑观泉图","马琬，生卒年不详，元末画家。宇文璧，号鲁钝生，灌园人，秦淮（今江苏南京）人，元末客居松江（今属上海市）。少时就学于杨维祯。1370年（明太祖洪武三）官抚州知府。擅画山水，远法董源、巨然和米芾，近师黄公望，笔墨清润，构图密茂。颇负时誉。",[23,24,7,165,128,132,29,1144,5359,131,130,34,499,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39cd60e15a5e9385b875c42233475d64.jpg","60.8x29.3公分",[136],{"id":25195,"slug":25196,"title":25197,"dynasty":18,"author":223,"museum":244,"description":25198,"tags":25199,"thumbUrl":25201,"material":173,"size":25202,"collection":42,"collections":25203,"showCount":24970,"zanCount":48,"manualWeight":48,"mainColor":49},220148,"lu-ting-shuang-ya-tu-yi-ming-220148","芦汀双鸭图","淡墨晕开秋水，似笼着薄雾寒烟，汀渚静卧，清寂悠然。右侧芦苇以双钩提笔绘就，细劲笔触勾出舒展茎叶，墨色分染衬出枯软肌理，仿有风过簌簌摇曳，野意横生。\n\n水面野鸭悠然徐行，浓墨点染头颈，浅墨晕开羽上斑纹，明暗相宜，灵动鲜活。寥寥数笔勾出鸭掌拨出的细微波痕，暗合水动之姿。\n\n整幅画作以简驭繁，舍去浓艳敷色，独以水墨铺陈郊野水滨之景，将秋日汀洲的幽寂闲趣藏于绢素，把自然生灵的安闲之态凝于笔端，尽显含蓄雅致的古典意韵。",[23,24,7,61,165,28,27,1824,12812,414,25200],"汀洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31af9eabc519e95fbd973739de4ea50c.jpg","86.5x90.4",[42],{"id":25205,"slug":25206,"title":25207,"dynasty":54,"author":1676,"museum":300,"description":25208,"tags":25209,"thumbUrl":25210,"material":27,"size":84,"collection":68,"collections":25211,"showCount":24970,"zanCount":48,"manualWeight":48,"mainColor":49},220145,"chang-nian-bai-zi-fu-gui-tu-li-shan-220145","长年百子富贵图","李鱓，（1686年—1756年），字宗扬，号复堂，别号懊道人、墨磨人，清康熙二十五年（1686）生，乾隆二十一年（1756）卒，江苏扬州府兴化人，明代状元宰相李春芳第六世孙。清代著名画家，“扬州八怪”之一。\n工细笔法放逸，以泼墨等画法，创作出了生动、鲜活、淋漓、奔放、形神兼备的花鸟画作品，“纵横驰骋，不拘绳墨”，以至于被后人视为“怪物”。",[23,24,7,165,27,128,369,61,1144,263,548,10701,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda79c3a547dcbd57a9fa5702339cdc28.jpg",[68],{"id":25213,"slug":25214,"title":25215,"dynasty":18,"author":491,"museum":300,"description":25216,"tags":25217,"thumbUrl":25219,"material":611,"size":25220,"collection":68,"collections":25221,"showCount":24970,"zanCount":48,"manualWeight":48,"mainColor":49},220044,"ba-ba-niao-tu-guo-xi-220044","叭叭鸟图","画上并没有牧溪的落款和任何题字，只有一方“牧溪”印章。这种小尺幅的画，可能是挂在僧人的禅房中作为观想用的。牧溪的画深得日本僧人喜爱，流传到日本之后，依然会悬挂在禅寺或私家园林最具礼仪性的空间—茶室之中。",[24,164,7,128,28,61,211,1233,25218],"孤枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0721f1062efb8a06417db50da227369e.jpg","纵78.5厘米，横39厘米",[68],{"id":25223,"slug":25224,"title":25225,"dynasty":18,"author":4899,"museum":450,"description":25226,"tags":25227,"thumbUrl":25228,"material":173,"size":25229,"collection":42,"collections":25230,"showCount":24970,"zanCount":1116,"manualWeight":48,"mainColor":49},219730,"chen-feng-tu-ma-he-zhi-219730","陈风图","陈国始封于西周初年，建都于今淮阳县，前后延续了500多年。该国以鸟为崇拜对象，简礼仪而重巫祠，其俗善歌舞，民风浪漫开放，这些都在《诗经·陈风》中得以体现。马和之创作的这组《陈风图》以浅显易懂的绘画语言解读了当时的文化与礼仪。《诗经》爱好者一定不能错过。马和之是南宋画家，为南宋宫廷画院中官品最高的画师，居御前画院十人之首。擅长人物、佛像、山水，其绘画风格与唐代吴道子相仿，人称“小吴生”。",[23,24,7,25,188,27,29,96,97,130,34,98,99,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F459c29b66cb238c23aa756f3463369ea.jpg","纵26.8、横731.5厘米",[42],{"id":25232,"slug":25233,"title":25234,"dynasty":144,"author":223,"museum":56,"description":25235,"tags":25236,"thumbUrl":25237,"material":173,"size":25238,"collection":68,"collections":25239,"showCount":24970,"zanCount":1998,"manualWeight":48,"mainColor":49},219254,"xing-hua-yuan-yang-tu-yi-ming-219254","杏花鸳鸯图","老干虬曲盘折，枝桠间素白杏花轻绽，似碎雪点染枝头，清妍雅致。水畔鸳鸯相倚，羽色温润柔和，与浅滩细草、零星苔石相映，添得几分闲逸生趣。画面色调古雅沉敛，笔墨简淡却意韵悠长，于静谧中藏生机，尽显元代文人画的清逸之致，观之如沐春风，心归恬淡。",[23,4057,164,24,7,61,28,27,2167,1857,413,228,229,11830,1400,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3807ab913238f9ab10fab7e5d2ba0d67.jpg","纵163横98.2厘米",[68],{"id":25241,"slug":25242,"title":25243,"dynasty":18,"author":4602,"museum":244,"description":25244,"tags":25245,"thumbUrl":25246,"material":278,"size":25247,"collection":136,"collections":25248,"showCount":24970,"zanCount":48,"manualWeight":48,"mainColor":49},219183,"han-yan-ji-xue-tu-yan-su-219183","寒岩积雪图","此画面上重岩积雪，亭戴雪帽，老树寒疏，山村洁白，溪水冰结，孤舟停泊，却在旁边水岸两旁架有一座木桥，桥上有策杖、挑担二人，给雪景去掉几分寒意，而带来了几分情趣，虽是一派万丈雪崖、冰冻二尺的寒冷景象，但也是着浓厚的生活情调。鉴藏玺印有：“乾隆御览之宝”、“乾隆鉴赏”、五玺全、“宝笈三编”、“宣统鉴赏”、“宣统御览之宝”、“无逸斋精鉴玺”。收传印记有：“天籁阁”、“退密”、“项墨林鉴赏章”、“项墨林父秘笈之印”、“项子京家收藏”、“六艺之圃”、“净因庵主”、“太符真赏”、“李继泉真赏章”、“长水李氏珍藏”。",[23,164,24,7,29,128,132,663,13436,98,99,130,1337,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10bdf1b23bd716de35f8b6425cecd63c.jpg","136.3x64",[136],{"id":25250,"slug":25251,"title":25252,"dynasty":18,"author":12759,"museum":25253,"description":25254,"tags":25255,"thumbUrl":25256,"material":278,"size":25257,"collection":68,"collections":25258,"showCount":24970,"zanCount":1998,"manualWeight":48,"mainColor":49},219074,"zhi-niao-tu-li-an-zhong-219074","鸷鸟图","西雅图艺术博物馆","双鸟振翅于苍空，一似利剑穿云，一若疾电掠野，羽翼纹理细劲如丝，飞羽层叠间藏着风的力度。下方山石嶙峋，荒草疏疏，墨色简淡却见苍劲，衬出鸷鸟雄健身姿。眼神未刻意描摹，却透着猛禽独有的锐光。整幅画于工致中见野逸，将鸷鸟凌厉气势与旷野清寂氛围融于一纸，尽显宋人对自然生灵的深刻洞察与笔墨匠心。寥寥数笔的背景，更让观者聚焦飞鸟动态神韵，仿佛能听见翅膀划破空气的声响，感受到荒野里蓬勃的生命张力。",[23,164,24,7,61,28,27,211,171,11830],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3df516f0d73f4636a45f5da60eb29c20.jpg","25.4x27cm",[68],{"id":25260,"slug":25261,"title":25262,"dynasty":18,"author":20081,"museum":4840,"description":25263,"tags":25264,"thumbUrl":25265,"material":25266,"size":25267,"collection":68,"collections":25268,"showCount":24970,"zanCount":1998,"manualWeight":48,"mainColor":72},218938,"jun-gu-tu-gong-kai-218938","骏骨图","《骏骨图》绘一匹老马，瘦骨嶙峋，低首漫步风中，无辔头、缰绳，鬓尾在风中微动，腰间15条肋骨历历可数，铜骨铁臀，精神矍铄，仍有千里之志。",[23,24,7,25,188,128,101,64,133,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe2baa8be9cf7b52aad181b30341ca78.jpg","水墨,纸本","纵29.9厘米，横56.9厘米",[68,318,117],{"id":25270,"slug":25271,"title":25272,"dynasty":182,"author":25273,"museum":244,"description":25274,"tags":25275,"thumbUrl":25276,"material":173,"size":25277,"collection":44,"collections":25278,"showCount":24970,"zanCount":1998,"manualWeight":48,"mainColor":72},218899,"shuang-qi-tu-wei-yan-218899","双骑图","韦偃","此图表现两人各乘一马，并辔狂纵之情景，构图、造形、用笔皆显示了韦偃画马艺术之非凡才能和独特风格，韦偃从主题效果着眼，注重画面气势，往往于险中见胜，不稳中见稳，使画面绝处逢生，平中生奇。",[23,164,24,7,27,28,96,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3b078e9b0d663299c9f5600a79bc8e1.jpg","纵31厘米，横44.5厘米",[44],{"id":25280,"slug":25281,"title":25282,"dynasty":124,"author":3148,"museum":244,"description":25283,"tags":25284,"thumbUrl":25287,"material":66,"size":25288,"collection":68,"collections":25289,"showCount":24970,"zanCount":1998,"manualWeight":48,"mainColor":49},218840,"cao-hua-ye-qin-tu-lv-ji-218840","草花野禽图","绘高梁丛底下，一对野雉正在低头觅食，另外还有三只荜雀翱翔于上，构景既真实生动，又富趣味性。画上并没有作者的签名，因为钤盖了吕纪的印章，而被误认为是他的作品。实际上这幅画虽然极好，但风格却和吕纪不尽相同，推测应该出自明代其他高手所作。吕纪（活动于1439—15○5年间），浙江鄞县人。明孝宗时任职于仁智殿作画，并被授予锦衣指挥的官名。",[164,24,7,165,28,27,61,211,25285,25286,131,230,208],"野禽","草花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28a86ac72036a3a520bff486521df824.jpg","146.4x58.7cm",[68],{"id":25291,"slug":25292,"title":25293,"dynasty":18,"author":223,"museum":244,"description":25294,"tags":25295,"thumbUrl":25296,"material":278,"size":25297,"collection":42,"collections":25298,"showCount":24970,"zanCount":48,"manualWeight":48,"mainColor":49},218836,"shan-shui-xiao-jing-yi-ming-218836","山水小景","这幅画与米氏的《云雾山》不尽相同，因为它的裂纹较少，茄子状的点也少。这幅画并不完全相同，可能是来自大风堂张大千捐赠给台北故宫的一幅立轴画的上部。",[23,164,24,7,128,132,29,663,500,34,497,415,3427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F125522e300339c83e5781612e33c5b72.jpg","13.2x26.2",[42],{"id":25300,"slug":25301,"title":25302,"dynasty":124,"author":14758,"museum":20,"description":25303,"tags":25304,"thumbUrl":25305,"material":173,"size":25306,"collection":136,"collections":25307,"showCount":24970,"zanCount":48,"manualWeight":48,"mainColor":49},218760,"hong-nong-du-hu-tu-zhu-duan-218760","弘农渡虎图","此画构图奇突，场面壮观，景物与人物活动相辅相成，充满生趣。画法上看，其人物、马匹的线条简练，姿态土动。人物多承马远，用线顿挫。画树木，笔法曲折多顿挫变化，枝如鹰爪；画山石顿笔勾描，略施皴染，间用马、夏的斧劈皴和水墨渍染。天与水皆用淡墨晕染，烘托出了雪景。从此图的内容到形式来看，都体现了明代院体画的特色。",[23,24,7,165,27,28,132,96,101,5490,29,131,34,690,1337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886a91eebdb1ac1117494daf67ec29d6.jpg","纵174厘米，横113.6厘米",[136,44],{"id":25309,"slug":25310,"title":8437,"dynasty":18,"author":7264,"museum":6413,"description":25311,"tags":25312,"thumbUrl":25313,"material":278,"size":25314,"collection":136,"collections":25315,"showCount":24970,"zanCount":48,"manualWeight":48,"mainColor":72},218638,"yun-shan-tu-mi-you-ren-218638","画面以淡墨晕染出空濛烟霭，山峦在云雾间若隐若现，如幻如真。米点皴错落铺陈，墨色浓淡相间，既显山石肌理，又衬云气轻盈流动。近景树木简笔勾勒，与远处朦胧峰峦形成虚实对比，平远构图延展空间悠远感。水面留白与墨色交融，似有波光粼粼，更添清寂之韵。整幅画不重细节描摹，而以气韵生动取胜，将江南山水的湿润灵秀与文人闲适心境融为一体，尽显“米家山水”空灵淡远之美。",[24,7,128,29,132,37,30,34,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea101c3fbc9a743e0b8c3bb0bdac1ade.jpg","18.3x72.1",[136],{"id":25317,"slug":25318,"title":25319,"dynasty":18,"author":223,"museum":56,"description":25320,"tags":25321,"thumbUrl":25322,"material":173,"size":25323,"collection":42,"collections":25324,"showCount":24970,"zanCount":48,"manualWeight":48,"mainColor":49},218619,"yuan-lu-tu-yi-ming-218619","猿鹭图","在画山的一棵老松树上，一只猴子右手抱着一只苍鹭，左手挥舞着，似乎在吓唬坐在树顶的另一只苍鹭，尽管树顶的苍鹭确实受到了惊吓，它张着尖嘴，翅膀微微张开，似乎准备逃走了。紧握着的游隼张开的嘴，似乎在呼救。",[23,164,24,7,1131,27,28,208,8172,3836,1144,276,171,331,211,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe68a43a8dfe0798f567015c2597b7b30.jpg","23.3x23.8",[42],{"id":25326,"slug":25327,"title":24393,"dynasty":18,"author":12759,"museum":300,"description":25328,"tags":25329,"thumbUrl":25330,"material":611,"size":25331,"collection":68,"collections":25332,"showCount":24970,"zanCount":1116,"manualWeight":48,"mainColor":49},218549,"an-chun-tu-li-an-zhong-218549","画面分上下两帧，各绘一只鹌鹑，姿态迥异却各得神韵。上方鹌鹑低头探向草丛，羽翅纹理细密如织，绒毛质感似触手可及；下方鹌鹑昂首而立，目光警觉，尾羽舒展间尽显灵动。背景以疏淡笔墨勾出枯苇、细枝，与鹌鹑的工致刻画形成对比，清雅中透着野趣。绢本设色温润古朴，禽鸟的鲜活与环境的萧瑟相映，既见宋代院体画的精致写实，又藏自然生机的悄然流动，尽显宋人观物入微的审美意趣。",[164,24,7,28,27,61,1400,8140,1771,7596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e3b3fb868cf2e335d61dbfc6fae97c5.jpg","23x25",[68],{"id":25334,"slug":25335,"title":25336,"dynasty":222,"author":223,"museum":224,"description":25337,"tags":25338,"thumbUrl":25339,"material":66,"size":25340,"collection":44,"collections":25341,"showCount":24970,"zanCount":1998,"manualWeight":48,"mainColor":49},218316,"ri-ben-du-tang-tian-shen-tu-yi-ming-218316","日本· 渡唐天神图","人物宽袍博带，衣纹流转间见古朴气度。手中梅枝缀着花苞，清韵暗生；身侧囊匣似藏典籍，隐现渡海求艺的初心。上方题字墨痕苍劲，与人物沉静神态相契，勾连起东瀛与大唐的文化牵系。画面虽简，却以含蓄笔触，将古代跨海求法的虔诚与文化交融的暖意凝于纸上，似能窥见千年前那些跨越沧海的身影，带着对文明的向往，在笔墨间留下永恒的回响。",[24,7,165,27,96,28,371,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F040b1b8dece6ec842089b519db230ca5.jpg","94.8x36.5",[44],{"id":25343,"slug":25344,"title":25345,"dynasty":18,"author":18984,"museum":6413,"description":25346,"tags":25347,"thumbUrl":25348,"material":173,"size":25349,"collection":136,"collections":25350,"showCount":24970,"zanCount":1998,"manualWeight":48,"mainColor":72},218280,"feng-yu-shan-shui-tu-li-shan-218280","风雨山水图","三条瀑布从画面右侧倾泻而下，与下方的岩石撞击出波浪，而左岸的松树形状奇特，树枝拍打着，似乎在跟随风向向右倾斜。一座桥横跨两岸，两个人和一头驴子在桥上逆风而行。",[23,24,7,29,1233,331,132,27,11448,131,34,37,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75f605ea64091fed8c0af258bb334556.jpg","24.1x24.8cm",[136],{"id":25352,"slug":25353,"title":1230,"dynasty":124,"author":25354,"museum":77,"description":25355,"tags":25356,"thumbUrl":25357,"material":173,"size":25358,"collection":136,"collections":25359,"showCount":24970,"zanCount":48,"manualWeight":48,"mainColor":956},218098,"shan-shui-tu-li-zai-218098","李在","明朝时期的画家李在是一位著名的山水画家。他的作品以其精细的写实技巧、恢弘的气势和自然的造型而闻名。\n\n李在的山水图以其鲜明的色彩和细腻的线条而著称。他善于运用笔墨勾勒出高山峻岭、秀美的林木、碧波荡漾的江河、以及蒙蒙细雨的天气。他的画作还经常加入人物、建筑和动物的元素，使得作品更具生动感。\n\n李在的山水画不仅具有艺术价值，而且在当时也被视为象征君权的艺术品。他的作品深受当时的皇帝和贵族的青睐，并在历史上留下了深远的影响。\n\n总之，李在是一位杰出的山水画家，他的作品以其精细的写实技巧和自然的造型而闻名，并在历史上留下了深远的影响。",[24,7,164,165,128,27,132,29,30,34,98,99,37,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76f77a8ae01189e0f35aebdf3f3f1bb.jpg","138.8x83.2cm",[136],{"id":25361,"slug":25362,"title":10535,"dynasty":144,"author":6155,"museum":6413,"description":25363,"tags":25364,"thumbUrl":25365,"material":173,"size":25366,"collection":136,"collections":25367,"showCount":24970,"zanCount":48,"manualWeight":48,"mainColor":956},217926,"gao-shi-tu-gao-ke-gong-217926","高士图是中国元朝时期的著名画家高克恭的代表作之一。这幅画描绘了一位儒家士人的形象，体现了高克恭对传统文化的尊敬。\n\n高士图的画风典雅、精致，采用了传统的山水画的手法，但又有别于传统的山水画，展现出高克恭独特的艺术风格。在这幅画中，高士端坐在池塘边，手托着下巴，神态沉静、自若，表现出了儒家士人的谦逊、淡泊的态度。\n\n高士图被认为是高克恭的代表作之一，因为它体现了高克恭对中国传统文化的尊敬，以及他对儒家哲学的理解。这幅画也被认为是元朝时期艺术发展的里程碑，因为它展现了艺术家对传统文化的传承与创新的完美结合。",[24,7,29,128,27,331,1233,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f7a2c46e365347d66d4983ee269969.jpg","179.7x101.6cm",[136],{"id":25369,"slug":25370,"title":6356,"dynasty":124,"author":7961,"museum":244,"description":25371,"tags":25372,"thumbUrl":25373,"material":66,"size":84,"collection":44,"collections":25374,"showCount":24970,"zanCount":48,"manualWeight":48,"mainColor":72},216980,"zhong-kui-tu-qian-gu-216980","这幅画描绘了钟馗带着他的涉猎器在寒冷的森林中独自行走，旧传锺馗本唐德宗时之武举魁首，因貌丑见斥，自刎身亡，德宗后悔莫及，封为驱魔大神。此后，钟馗的名气越来越大，人们在年底和端午节挂起钟馗的雕像，以驱除邪气。钱谷的这件作品，色彩淡雅，气氛独特，与民间形象不同。",[24,7,165,128,188,96,1337,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0421f0df4b30dcc416c55929cbe0eab3.jpg",[44],{"id":25376,"slug":25377,"title":25378,"dynasty":54,"author":23303,"museum":244,"description":25379,"tags":25380,"thumbUrl":25381,"material":278,"size":25382,"collection":136,"collections":25383,"showCount":24970,"zanCount":48,"manualWeight":48,"mainColor":72},216780,"si-mei-ju-he-fu-tu-dong-bang-da-216780","四美具合幅图","明末，顾从义收藏有顾恺之的《女史箴图》、李公麟的《湘妃卧榻图》、《蜀江图》和《九歌图》。这四卷书后来遗失了，在乾隆十一年，它们被逐渐转移到皇室。梁实秋、王玉盾和张若昀的画跋中提到，乾隆十年，他把这幅画和《雪》、《秋》、《博远图》一起保存在三希堂，这四位美女 其实是相互映衬的。此图为董其昌《四美图》两卷中的右幅。",[24,7,164,165,128,132,29,98,99,130,96,102,413,167,35,415,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54f2473dd5a6c940a97462bec011f41a.jpg","171.7x111.8",[136],{"id":25385,"slug":25386,"title":25387,"dynasty":124,"author":223,"museum":244,"description":25388,"tags":25389,"thumbUrl":25391,"material":66,"size":25392,"collection":68,"collections":25393,"showCount":24970,"zanCount":48,"manualWeight":48,"mainColor":72},216216,"ming-ren-hua-suan-ni-tu-yi-ming-216216","明人画狻猊图","这幅画的主题是狻猊，它是古代中国神话中的一种强大的兽，被认为是一种深深联系着天地万物的神兽。在这幅画中，画家细致地描绘了狻猊的身体特征，并运用了各种色彩来表现狻猊的神秘和强大。这幅画是一个经典的代表作，展现了明朝画家对古代传统文化的热爱和尊重。",[24,164,7,27,28,949,25390,331,131],"狮子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d8a9122c3bb3c95220a73fd82916619.jpg","211.9x178.6cm",[68],{"id":25395,"slug":25396,"title":6571,"dynasty":124,"author":25397,"museum":244,"description":25398,"tags":25399,"thumbUrl":25400,"material":66,"size":25401,"collection":44,"collections":25402,"showCount":24970,"zanCount":48,"manualWeight":48,"mainColor":49},214747,"luo-han-tu-zhao-xiu-lu-214747","赵修禄","画中的罗汉眉毛胡子一把抓，左手持袖，右手持珠，化作水波，脚踏浪花，形象生动。衣服的轮廓和画作的线条都非常清晰细腻，所谓流畅的笔触可能就是这种笔触风格的体现。",[24,7,165,187,96,27,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f0de78a831d6c5e798e599ccb531b57.jpg","82.3x24.2",[44],{"id":25404,"slug":25405,"title":25406,"dynasty":144,"author":18589,"museum":1941,"description":25407,"tags":25408,"thumbUrl":25409,"material":66,"size":25410,"collection":136,"collections":25411,"showCount":24970,"zanCount":48,"manualWeight":48,"mainColor":72},214383,"yu-le-tu-fang-cong-yi-214383","鱼乐图","画面中，一个樵夫与渔民在岸边上喝酒，反映了工人的简单情感和生活细节。一棵垂柳树耸立在画中，映衬着翠绿的山丘和海滩。这幅画是素描，笔触强烈而尖锐，色彩明亮而优雅。虽然这幅画是由方从义题写的，但其风格更接近明代的戴进和吴伟的风格。",[23,24,7,165,128,132,29,413,31,96,1771,171,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00272ba6a9af3a5abb90b8e961a2292f.jpg","143.8x43.2",[136],{"id":25413,"slug":25414,"title":25415,"dynasty":18,"author":397,"museum":20,"description":25416,"tags":25417,"thumbUrl":25418,"material":2739,"size":25419,"collection":318,"collections":25420,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":72},239597,"su-shi-gui-yuan-tie-ye-zhao-ji-239597","苏轼归院帖页","释文：\n此虽云同归院，亦不云宿于院中。不知别有文字，证得是宿学士院为复。只是公家传说如此，乞更批示。轼白。\n今当改云宿学士院为复，且只依旧云宿待漏舍，幸批示。\n鉴藏印钤“子孙永保“、”项氏子京“、”项墨林父秘笈之印“、”退密“、”宣统御览之宝“等五方。\n此帖是《宋人法书六种》卷之一，叙述了批示“同归院”、“宿学士院”、“宿待漏舍”三个名称统一之事。从帖文中可知，该帖是苏轼做翰林学士时所书，时间应为北宋元祐元年至四年之间（1086―1089年），苏轼时年51至54岁。\n前人虽云苏轼书学颜真卿、杨凝式，但实际受徐浩行书的影响最深。此帖笔致萧散，结态随意，似不经意而笔到法随，已不见学古痕迹。诚如苏轼自己所说：“不践古人，自出新意。”虽短短五行，已臻化境。\n《石渠宝笈续编》重华宫著录。",[23,164,24,7,133,64,208,611,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e060cd1b3354e1c0cf55b5c1306316.jpg","纵35.1厘米，横12.4厘米",[318],53,{"id":25423,"slug":25424,"title":3933,"dynasty":54,"author":2687,"museum":300,"description":3934,"tags":25425,"thumbUrl":25426,"material":692,"size":1293,"collection":84,"collections":25427,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":72},239248,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239248",[24,7,61,59,28,27,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe10c20a2249c853072ea9c34d74b851b.jpg",[],{"id":25429,"slug":25430,"title":25431,"dynasty":54,"author":3403,"museum":300,"description":24982,"tags":25432,"thumbUrl":25433,"material":84,"size":84,"collection":68,"collections":25434,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":72},239224,"qiu-kui-tu-zhou-wu-chang-shuo-239224","秋葵图轴",[24,7,165,128,369,61,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F836ceef94f170edd7143c50853624a41.jpg",[68,117],{"id":25436,"slug":25437,"title":25438,"dynasty":54,"author":25439,"museum":300,"description":25440,"tags":25441,"thumbUrl":25442,"material":84,"size":84,"collection":136,"collections":25443,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":72},238212,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238212","仿王翬山水册","曹夔音","曹夔音，清代乾隆年间的山水画家，字莪塍，号红椒道人，江苏江宁（南京）人，其生卒年月不详。据资料，知其曾在乾隆初年以御用画师身份供奉朝廷。期间，曹氏遵御旨摹仿了一批传统经典作品，最具水准也最受称道的，是仿赵黻《长江万里图》长卷。因其笔墨逼真，又弥补了原作残旧之憾，故甚为乾隆皇帝喜爱，成为“御览之宝”。此外，曹夔音还奉旨与金昆、张镐复制了王维《辋川图》，又与周鲲、姚文瀚等人临摹了丁云鹏罗汉手卷数卷。而曹氏所作《寒谷鸣泉》扇面画与背面乾隆御临王羲之法帖的成扇。",[164,24,7,59,128,132,29,97,98,99,34,131,1515],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae9b3150b1bdefaa340be12a343409a0.jpg",[136,45],{"id":25445,"slug":25446,"title":25447,"dynasty":54,"author":25448,"museum":20,"description":25449,"tags":25450,"thumbUrl":25451,"material":84,"size":84,"collection":84,"collections":25452,"showCount":25421,"zanCount":1086,"manualWeight":48,"mainColor":49},237118,"shi-nv-ce-cui-wei-237118","仕女册","崔鏏","工人物、仕女，擅写真，宗法宫廷画家焦秉贞，略得西洋晕染技法，画面颇有古风，布局饱满，用笔细致，有宋院体画之风，带有受郎世宁画风影响的痕迹。描染净丽，格调婉约。",[24,7,59,27,28,166,169,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F519e14663043a6abef08f50ab0e10161.jpg",[],{"id":25454,"slug":25455,"title":4229,"dynasty":124,"author":25456,"museum":300,"description":25457,"tags":25458,"thumbUrl":25459,"material":84,"size":84,"collection":68,"collections":25460,"showCount":25421,"zanCount":1998,"manualWeight":48,"mainColor":72},236539,"hua-niao-ce-tang-zhi-yin-236539","唐志尹","唐志尹[清]字相五，江苏扬州人，住姜堰。一作字聘三，海陵（今泰州）人。志契弟。花鸟得吕纪、王偕之传。所居万竹园，冒襄、蓝瑛辈尝过访之。康熙（一六六二至一七二二）初年八十余。与侄日昌，兄志契时称三唐。《泰州志、无声诗史、图绘宝鉴续纂、画史会要》",[24,7,59,27,28,61,211,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47b669b84d4f71b6aa2834de627edee9.jpg",[68,45],{"id":25462,"slug":25463,"title":25464,"dynasty":124,"author":1058,"museum":300,"description":25465,"tags":25466,"thumbUrl":25467,"material":84,"size":84,"collection":84,"collections":25468,"showCount":25421,"zanCount":1998,"manualWeight":48,"mainColor":49},235993,"ren-wu-tu-ye-tang-yin-235993","人物图页","此作以娴静仕女为主体，她踞坐朱红锦毡，素手轻拢琴弦，眉梢隐含幽愁，仪容温婉端丽。衣纹勾勒柔劲舒展，设色雅致古淡，将深闺女子的沉静与悒郁揉入笔底。\n\n左侧题诗与画作相得益彰，行书俊逸秀挺，诗中闺怨与仕女情态相互映照。整体空灵清雅，以极简场景烘托出幽寂绵长的春愁，将缱绻心事藏于笔墨色彩间，诗画合璧，尽显隽秀雅致的格调，是融情于景的精妙小品。",[164,24,7,28,27,96,166,438,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a945bd646f963731c397889aed56bff.jpg",[],{"id":25470,"slug":25471,"title":25472,"dynasty":54,"author":3403,"museum":20,"description":19936,"tags":25473,"thumbUrl":25474,"material":734,"size":19939,"collection":84,"collections":25475,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":72},234982,"yu-lan-zhou-wu-chang-shuo-234982","玉兰轴",[24,7,165,128,369,61,356],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd17c842b319d981a7b27fe37eb3e473a.jpg",[],{"id":25477,"slug":25478,"title":25479,"dynasty":54,"author":25480,"museum":300,"description":25481,"tags":25482,"thumbUrl":25492,"material":84,"size":84,"collection":84,"collections":25493,"showCount":25421,"zanCount":1998,"manualWeight":48,"mainColor":72},234599,"qing-lv-shan-shui-wan-shan-jiang-yun-234599","青绿山水纨扇","姜筠","姜筠（1847－1919），字颖生，别号大雄山民，安徽省怀宁人。光绪十七年（1891）举人，官礼部主事。1913年梁启超在北京雅集词人诗友于万牲园，举行癸丑上巳修禊，颖生曾作图纪念。\n姜筠工书画，书法学苏轼，兼善篆刻。山水专学王翚，笔墨浓重，苍润古秀，殊乏清疏之气，间作花卉。工写兼至，别有韵味。《深山白云图》画大山、坡岸、房屋、渔舟，一派生机勃勃的景象。山中白云飘浮，更衬托了远山的深远，山上密密杂树寓意着新的生命处在潜伏的酝酿 期。姜筠作画以古法入，在借鉴古人笔意上又力图摆脱古人，从而寻找自己的绘画道路。图中的山石树木借鉴古法，重视造化，而点缀其中的 房屋、渔舟、云气正是表现了人的伟大和大自然的永恒。",[24,7,1131,26,27,29,99,129,34,131,37,130,25483,25484,401,25485,25486,25487,25488,25489,25490,25491],"青绿山水","设色山水","传统国画","古典书画","山水景物","流水孤舟","云雾缭绕","山石树木","亭台建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9fc52f859f06ac6e06372c7f3cfa33.jpg",[],{"id":25495,"slug":25496,"title":25497,"dynasty":124,"author":3619,"museum":244,"description":25498,"tags":25499,"thumbUrl":25500,"material":611,"size":25501,"collection":84,"collections":25502,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":72},234187,"wen-zheng-ming-jiang-nan-chun-tu-bing-shu-ci-juan-wen-zheng-ming-234187","文徵明江南春图并书辞卷","本图纸本轴装，纵106厘米，横30厘米。文徵明（1470-1559）自题：“江南春”（八分书）；并书追和云林先生词二首（行草书）。此图成于嘉靖二十六年丁未春二月（1547），作者时年78岁，画中的图像，平远湖山，绿树高耸，高士乘舟横过，远处临水人家，这是江南太湖景色。",[23,24,25,7,133,128,29,34,131,35,98,99,211,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14b1c1a838314382435f0ddc9dcfafa8.jpg","106.00×30.00cm",[],{"id":25504,"slug":25505,"title":25506,"dynasty":124,"author":23498,"museum":20,"description":25507,"tags":25508,"thumbUrl":25509,"material":1027,"size":84,"collection":84,"collections":25510,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":72},234167,"song-zhu-mei-juan-chen-jia-yan-234167","松竹梅卷","纵毫挥染，笔致松秀，设色清丽，韵格兼胜。",[23,164,24,7,25,128,938,208,64,372,167,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb706e263f815b90ab97a1bb3c330a393.jpg",[],{"id":25512,"slug":25513,"title":4584,"dynasty":124,"author":125,"museum":20,"description":4585,"tags":25514,"thumbUrl":25515,"material":611,"size":4588,"collection":84,"collections":25516,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":72},234093,"wu-zhong-shan-shui-ce-shen-zhou-234093",[24,7,59,128,29,130,34,131,133,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8897142206a362f22c1dbeaf4b0aeea3.jpg",[],{"id":25518,"slug":25519,"title":25520,"dynasty":54,"author":1460,"museum":20,"description":16042,"tags":25521,"thumbUrl":25522,"material":734,"size":16046,"collection":84,"collections":25523,"showCount":25421,"zanCount":1998,"manualWeight":48,"mainColor":72},233770,"tao-yuan-ming-shi-yi-tu-ce-shi-tao-233770","陶渊明诗意图册",[24,7,59,128,27,133,64,29,34,35,1645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21739288ecf9a96bf144d35e36186e18.jpg",[],{"id":25525,"slug":25526,"title":25527,"dynasty":54,"author":3403,"museum":20,"description":25528,"tags":25529,"thumbUrl":25531,"material":611,"size":25532,"collection":84,"collections":25533,"showCount":25421,"zanCount":1998,"manualWeight":48,"mainColor":72},233732,"wu-jun-qing-ku-gua-tu-zhou-wu-chang-shuo-233732","吴俊卿苦瓜图轴","本幅设色。自题“和尚以为号，山家以为肴，以嗜甘者，而嗜此寥寥“款：”乙酉四月吴昌硕“。\n吴昌硕（1844—1927年），原名俊，字昌硕，以字行，号苦铁、缶庐等，浙江安吉人。早年习书，中年学画。曾任官府小吏，后以鬻书卖画为生。绘画以写意花卉著称于世，对近现代画坛影响极大。精篆刻，被推为“西泠印社”社长。书法一变前人成法，风格独特，长于摹写石鼓文，并以此擅名于近代书坛。与任伯年、高邕等在沪书画家相友善。著有《缶庐诗存》，后人整理出版其画集多种。",[24,7,165,27,128,61,25530,548,549],"苦瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc1e99426b2f6144728f43f592f51d11.jpg","纵176cm横47.7cm",[],{"id":25535,"slug":25536,"title":25537,"dynasty":54,"author":3750,"museum":20,"description":25538,"tags":25539,"thumbUrl":25540,"material":10347,"size":25541,"collection":84,"collections":25542,"showCount":25421,"zanCount":1998,"manualWeight":48,"mainColor":72},233403,"meng-jing-tu-zhou-wang-jian-233403","梦境图轴","本幅墨笔，局部设色，上自识一段，款：“丙申夏六月，哉生明王鉴识”。又“静岩老亲翁索画，即以此帧清政弟鉴”。钤“玄照”。\n王鉴（1609-1677，旧作1598-1677），字圆照（圆字一作元，或玄，或员），一作元炤，号湘碧，别号染香庵主，因官廉州(今广西合浦县)知府，世称王廉州，江苏太仓人，为明南京刑部尚书王世贞曾孙。康熙元年后，王鉴因避讳，将玄照改为圆照，往往又写作元照、员照或元炤。王鉴与王时敏同为董其昌弟子，三人同为“画中九友”。王鉴精通画理，摹古尤长，于董源、巨然尤为深诣，被称为“后学津梁”。有清秦祖永辑录的《染香庵跋画》传世。",[24,7,165,29,128,132,131,34,130,98,99,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26480f906c21c22bebed88bc4047ff5e.jpg","纵91.8cm，横49.5cm",[],{"id":25544,"slug":25545,"title":25546,"dynasty":18,"author":223,"museum":224,"description":25547,"tags":25548,"thumbUrl":25550,"material":151,"size":25551,"collection":84,"collections":25552,"showCount":25421,"zanCount":1998,"manualWeight":48,"mainColor":49},232878,"gua-guo-cao-chong-tu-juan-yi-ming-232878","瓜果草虫图卷","宋代绘画是中国传统艺术当之无愧的颠峰，形成了琳琅满目的各式题材与流派，而它最具代表的特点是画家深入的观察与细腻的表达，因此产生出叹为观止的精妙画作。这既源于宋代兴起的理学精神，强调“格物”；亦源于宋代人对于生活的热爱，使他们乐于描绘世界的细微处——例如一类以瓜果作为题材的花鸟画作品。",[23,24,7,25,27,28,61,25549,480,481,548,2037,549,1039],"瓜果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51b48aaaf0d6e93f2e0fb70756a9d19.jpg","41x197.3厘米",[],{"id":25554,"slug":25555,"title":25556,"dynasty":351,"author":25557,"museum":12686,"description":25558,"tags":25559,"thumbUrl":25560,"material":151,"size":25561,"collection":84,"collections":25562,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":49},232620,"fan-bu-xue-wei-tu-juan-hu-qian-232620","番部雪围图卷","胡虔","胡瓌与胡虔父子的生卒年均不详，他们父子熟悉草原生活，专绘游牧民族形形色色的生活场景，内容包括卓歇、牧马、射骑、按鹰、撬幕、汲泉等，创作丰富，描绘极为传神生动。\n[五代·后唐]镶子，画番部人马有父风。其父用笔清而圆，虔得笔于父，熟而劲，伹清圆微劣于父。《图画见闻志、宣和画谱、真迹日录》",[23,24,7,25,28,27,96,101,949,1337,331,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb672acb1f1813c352c1c5db3e6cbe11.jpg","28.8×117厘米",[],{"id":25564,"slug":25565,"title":25566,"dynasty":351,"author":1610,"museum":244,"description":25567,"tags":25568,"thumbUrl":25569,"material":317,"size":25570,"collection":136,"collections":25571,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":49},231050,"dong-tian-shan-tang-tu-dong-yuan-231050","洞天山堂图","《周凯画集》是 1998年出版的图书，作者是周凯。\n《周凯画集》为周凯画集，内容分为重彩丹青、浅绛水墨、书法三大部分。\n重彩丹青 1 秋瘤湖边 2 翠谷鸣泉 寺后小国 4 香港，永受嘉福 5 香港青马大橘 6 香港山顶缆车 7 山城 8 门神 9 喜盈盈 1 仰卧的女人体 11 卖水果人家 12 天下共此时一一深圳“世界之窗” 1 14 化生童子 15 五层塔 16 菩萨与罗汉 17 阁楼中的女孩 18 水乡市井 19 飞天 2 有井的圆楼 21 明王 22 围城 2 菩萨与伎乐 24 秋帆南下 25 树阴下的女人体 26 门外秋山 27 双龙与鳖 28 带水塔的山村 29 苍崖 幽谷轻绡 1 置庭园 2 蓝色的夜曲 丙寅二月 4 玄牝之灵 5 帝裔之乡 6 青绿山水 7 红色山水 8 深山萧寺 9 离堆 4 根 41 崖 浅绦水墨 42 屑屑山水秀 4 寒峰插天 44 峰峭余翠 45 明，陆治诗意 46 幽壑叠泉 47 魏·曹植游仙诗诗意长卷 48 清人诗意 49 扶桑轫暾 5 洞天神工 51 陶冶性灵 52 帖石防殴岸 5 蕉下读书图 54 束晋·庾阐观石鼓诗诗意手卷 55 云散峭峰 56 水村山郭（四季条幅之春） 57 前峰一夜两（四季条幅之夏） 58 秋来风雨知多少（四季条幅之秋） 59 暮景千山雪（四季条幅之冬） 6 君子之求 61 唐·柳宗元诗意 62 鹞 6 元·钱舜举诗意 64 林泉高致闽 65 烟岚圆 66 鶸冠花 67 临王蒙春山读书图 68 仿山水图 69 唐·刘长卿诗意 7 双矶圆 71 临董源洞天山堂图 72 水墨山水 7 临李唐万壑松风图 书法 74 唐·杜甫论诗七绝三首 75 唐·李白梦游天姥吟留别诗 76 画禅室随笔一则 77 南田论画一则 78 世说新语二则",[24,7,29,165,128,27,132,663,950,15307,372,34,130,1314,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4a4de7bd1f0b9c7318084670f1579b8.jpg","183.2x121.2",[136],{"id":25573,"slug":25574,"title":16006,"dynasty":54,"author":872,"museum":300,"description":25575,"tags":25576,"thumbUrl":25577,"material":84,"size":84,"collection":84,"collections":25578,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":49},231034,"mo-he-tu-zhu-da-231034","《墨荷图》是清代石涛创作的纸本墨笔画。\n图绘欣欣向荣的荷塘景色。\n构图疏密交错，通过荷叶、茨菰、莲蓬、蒲草间的相互掩映构筑出变化丰富的空间层次。\n用墨淋漓尽致，浓淡、枯润相生，显现出作者较强的笔墨把控能力。\n本幅自题七言诗一首，款署：“大涤子邗上秋日写”。\n钤白文印二方：“靖江后人”、“大涤堂”。\n219年9月2日，该作品在故宫博物院和 共同主办的《回望传承——八大山人纪念馆建馆6周年故宫典藏特展》中展出。\n石涛（1642—约1718年），俗姓朱，明宗室靖江王朱赞仪十世孙，谱名若极，广西桂林人。\n明灭亡后，出家为僧，法名原济，字石涛，号清湘老人、苦瓜和尚等。\n工于诗文，擅绘山水、兰竹、花草及人物。\n其笔情纵恣凝炼，独具创新，对扬州画派和近、现代中国画的影响极大。\n与清初画坛朱耷、髡残、弘仁合称“清四僧”，著有《苦瓜和尚画语录》，针对画坛时弊提出诸多精辟见解。",[23,24,7,164,165,128,61,168,81,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd1fc908bf2c25b01fd7e185665cc123.jpg",[],{"id":25580,"slug":25581,"title":25582,"dynasty":54,"author":7833,"museum":300,"description":25583,"tags":25584,"thumbUrl":25585,"material":84,"size":84,"collection":84,"collections":25586,"showCount":25421,"zanCount":1998,"manualWeight":48,"mainColor":49},230191,"chun-shan-ting-ruan-tu-lv-huan-cheng-230191","春山听阮图","《春山听阮图》是清代画家吕焕成创作的一幅绢本设色画。\n关于清代画家 ，《 》中记载：“擅人物、花卉，兼长山水，好作斧劈皴，风格颇似戴文进。\n”他创作的道士、佛神像，皆笔法工整，设色古雅。\n在这幅《春山听阮图》轴中，作者一改以往的艺术特色，不见斧劈痕迹，风格却似 作品的格调。\n不过这倒使我们从另一个角度领略到画家对不同艺术境界的探求。\n山间的瀑布、亭宇、林木相互掩映，在烟岚缭绕的气氛中若隐若现。\n近景溪边的亭台上有一人正在弹阮，他神情怡然，气质脱俗，想必正沉浸在乐曲独特的旋律之中；他的身边有一人正聚精会神地聆听着，想必是其朋友，那坐卧斜倾的姿态，看上去像是完全被阮音优美的旋律所醉倒。\n右边的低崖上有二人正在观景，或许是回荡在山谷里美妙的阮音打断了他们的话题，使他们不由得回转过头，听着佳音赏着眼前的美景。\n我们虽然听不到这美妙的乐音，但早已被这些生动的描绘带入“春山听阮”的意境，从听阮者那专注的神情里，可以想像到这位高士弹奏的高妙之处，从那溪水与闲云的流动中，那绿石、苍松融融的气息间，更感受到春的惬意。\n因为有这委婉动听的阮音回绕，这春山，这草木，这流水，这自然之机，便清雅宜人，恍若梦中的仙境。\n该作为竖构图，满布局，结构严谨，层次分明，经营有序，不见壅塞。\n笔法工细挺秀，轻皴淡染，设色艳丽。\n溪边人物虽小，但刻画细致入微，形神毕俱。\n山石是勾勒后，稍加皴制，不露笔痕，然后再以石青、石绿轻轻晕染。\n松树以淡墨层层染之，桃花用少许胭脂染成，使得整幅画面不仅构图饱满而且颜色丰富，典雅超逸。\n此画左上角自题“舜江吕焕成写”。\n轴纵观此图气势超逸，高雅脱俗。\n画中一座座雄伟的山峰拔地而起，前呼后拥，左右相迎；山势陡绝、奇丽，从近到远层层推移，既高大又深远，既峭峻又缥缈，给人一种于壮美中见超然的 。\n吕焕成（16-175），清初画家。\n字吉文，号祉园山人，浙江余姚人。\n擅长嘶人物、山水，兼画花卉。\n笔法工整，设色古雅。\n吕焕成是明代书画家文征明的外孙女婿，正因这特殊身份，使其始终执迷于“吴派”绘画。\n清代初期，他坚持“吴派”山水作风。\n作品既有“北宗”画法的崇高峻美，也有“南宗”画法的秀润笔致。\n时时透露出一股清新和洒脱的气息。\n传世作品较少，主要有《春山听阮图》轴。",[23,24,7,165,26,27,28,95,29,96,97,1144,131,99,1023,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbd09de321dae177cef791720d8eb004.jpg",[],{"id":25588,"slug":25589,"title":25590,"dynasty":124,"author":15700,"museum":300,"description":25591,"tags":25592,"thumbUrl":25593,"material":84,"size":84,"collection":84,"collections":25594,"showCount":25421,"zanCount":1086,"manualWeight":48,"mainColor":49},228894,"gua-shu-tu-ce-ye-zhu-zhan-ji-228894","瓜鼠图册页","画面取隅角小景，湖石朴拙沉静，石顶细草轻立，石畔缀着深紫垂萝，晕染出幽谧闲静的氛围。\n\n小鼠憨态可掬，正贪啃半颗荔枝，柔细绒毛纤毫毕现，将小兽馋态描摹得灵动鲜活。荔枝丹红似火，果壳糙粝的肌理写实逼真，汁水淋漓的碎屑散落，将鲜果的甜润感烘托尽致。\n\n设色古雅柔澹，绢本晕染细腻，将日常细碎生趣凝于尺幅，融俗世恬然意趣与文人雅致留白为一体，以精湛写生功底，定格下天真平和的治愈瞬间。",[164,24,7,59,28,27,5883,2037,171,1771,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e45121baa27799f442e64863b39946d.jpg",[],{"id":25596,"slug":25597,"title":25598,"dynasty":124,"author":204,"museum":300,"description":25599,"tags":25600,"thumbUrl":25601,"material":692,"size":1293,"collection":84,"collections":25602,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":72},228438,"lin-guan-xiu-bai-miao-luo-han-tu-juan-chou-ying-228438","临贯休白描罗汉图卷","所绘罗汉,有的庞眉大目,有的高颧隆鼻,面貌都是“胡貌梵相”,这种奇异之相,立意免俗。",[23,24,7,25,188,330,187,96,18331,5490,9633,949,131,950,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f322aff8127d791c2c05a48d900a610.jpg",[],{"id":25604,"slug":25605,"title":25606,"dynasty":18,"author":768,"museum":300,"description":11279,"tags":25607,"thumbUrl":25608,"material":84,"size":84,"collection":84,"collections":25609,"showCount":25421,"zanCount":1998,"manualWeight":48,"mainColor":199},227689,"shi-long-tu-juan-chen-rong-227689","十龙图卷",[23,24,7,25,128,772,29,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b6cf259cdc833e34e4a030ea74ea01f.jpg",[],{"id":25611,"slug":25612,"title":25613,"dynasty":18,"author":1091,"museum":300,"description":25614,"tags":25615,"thumbUrl":25616,"material":84,"size":84,"collection":84,"collections":25617,"showCount":25421,"zanCount":1998,"manualWeight":48,"mainColor":49},227498,"mo-zhu-juan-2-su-shi-227498","墨竹卷2","墨竹，即用墨画的竹子，其起源说法不一，据文献记载，其创始人有唐代吴道子、王维、张立、五代蜀李夫人等。\n\n不过，由考古发掘来看，李贤墓壁画《侍女与竹》中的墨竹，亦有可能是写意墨竹的先驱。自文同、苏轼至元四家，墨竹之风兴起，逐渐发展为独立画科。\n\n墨竹常被用来表达拔俗之情趣、正直之气节、虚心之品质和纯洁之思想，文同便是如此，他不仅有丰厚之学养，还有非凡的绘画创作才能。本文所提到的《文画苏题卷》为手卷形式，据直幅改装而成，与人们常见的文同立轴式墨竹图形制不一。正因这次有意无意的改装，为《文画苏题卷》成为一巨幅长卷，提供了得天独厚的条件，这也成为此图区别于文同其它墨竹图的最明显特征。",[24,164,7,128,10762,2132,369,276,171,4399,5239,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaf98af604cad8076b0774dbcc54a8ab.jpg",[],{"id":25619,"slug":25620,"title":25621,"dynasty":351,"author":6787,"museum":244,"description":25622,"tags":25623,"thumbUrl":25624,"material":317,"size":25625,"collection":136,"collections":25626,"showCount":25421,"zanCount":1998,"manualWeight":48,"mainColor":49},226699,"xi-shan-lin-sou-tu-zhou-ju-ran-226699","溪山林薮图轴","本幅画群山溪壑，林树弥望，山石皴纹多以湿笔染破，明晦隐现，轮廓模糊，特饶山野烟霭之致。本幅无作者款印，依据旧签，定为巨然之作，然笔墨则与江参（活动于西元十二世纪初）较为近似。巨然（十世纪），南唐钟陵人，为开元寺僧。南唐亡（九七五年），随李后主煜降宋，至汴梁。工画山水，师事董源。善状烟岚景象，臻于妙境，与师齐名，并称董巨",[24,7,165,128,132,29,34,131,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaea97df204f97573ac4f38769fcb90c.jpg","221.3x119.7",[136],{"id":25628,"slug":25629,"title":25630,"dynasty":54,"author":9529,"museum":300,"description":25631,"tags":25632,"thumbUrl":25633,"material":84,"size":84,"collection":84,"collections":25634,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":72},224445,"fang-wang-meng-shan-shui-wang-hui-224445","仿王蒙山水","此作用笔繁密苍厚，以解索皴堆叠山峦，积墨反复晕染，层岩叠嶂尽显郁茂深秀，得古贤山水苍茫沉雄之韵。下方山居临溪而筑，堂内文士围坐清谈，溪桥畔仆役缓步而行，林泉间动静相映，晕染出萧散野逸的幽居意趣。题诗佐于左上，笔墨文心相融，既循古意，又自含灵秀笔致，将林泉高致的雅逸山居图景铺陈开来，尽释传统山水里的文人幽怀。",[23,24,7,165,128,132,29,131,34,35,98,99,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7404689f6258b3af226d1aefaddbcb2.jpg",[],{"id":25636,"slug":25637,"title":25638,"dynasty":124,"author":18090,"museum":244,"description":25639,"tags":25640,"thumbUrl":25641,"material":514,"size":25642,"collection":45,"collections":25643,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":72},222595,"xi-shan-qiu-se-tu-quan-juan-lan-ying-222595","溪山秋色图全卷","此图右起大片水域，远山蒙蒙，云气蒸腾。中部山石突起，溪水潺潺蜿蜒从山间流过，坡石上零星分布着树木。整幅画水墨饱满，用淡墨淡彩渲染出一派澄明清润的南国初秋景象，气韵生动。笔法简清爽利，色彩浓淡相宜，具透明感。",[23,24,7,25,27,29,132,133,208,34,415,31,6639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0d35e8af764e515efb05842ae219d1.jpg","27×183cm",[45],{"id":25645,"slug":25646,"title":25647,"dynasty":144,"author":25648,"museum":56,"description":25649,"tags":25650,"thumbUrl":25651,"material":18467,"size":25652,"collection":117,"collections":25653,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":49},221804,"ku-mu-zhu-shi-tu-zhou-li-shi-xing-221804","枯木竹石图轴","李士行","绘枯木一棵，两枝树杆粗壮，枝杈繁多，恣意生长；树旁巨石耸立，棱角圆润；右侧淡墨绘一棚细竹，竹叶修长秀美，生机勃勃。李士行，字遵道，元代画家，善山水，尤工竹石更妙。绢本。墨笔。 此图绘古木两棵，形态苍古。树石的用笔遒劲深厚，皴染稠密。细枝勾勒形似蟹爪。笔墨苍劲磊落。",[23,24,7,164,165,128,454,167,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa68d8fcc18ebecda8e22a95bd2ea3474.jpg","170x52cm",[117,1670],{"id":25655,"slug":25656,"title":25657,"dynasty":18,"author":397,"museum":300,"description":25658,"tags":25659,"thumbUrl":25660,"material":151,"size":84,"collection":42,"collections":25661,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":49},221321,"shan-ying-tu-ye-zhao-ji-221321","山鹰图页","宋徽宗赵佶（1082年11月2日-1135年6月4日），号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。 哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”， 并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。 他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[23,164,24,7,59,28,27,211,1337,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42e2bf0c5effb80786fbb766f9d19af2.jpg",[42,68,45],{"id":25663,"slug":25664,"title":25665,"dynasty":18,"author":7583,"museum":244,"description":7584,"tags":25666,"thumbUrl":25667,"material":514,"size":25668,"collection":42,"collections":25669,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":49},221296,"jin-men-ying-zhao-zhou-guo-zhong-shu-221296","金门应诏轴",[23,24,7,95,165,27,28,96,97,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e85929dfecd1409924803dab3ee25f0.jpg","30x28",[42,44,45],{"id":25671,"slug":25672,"title":25673,"dynasty":18,"author":313,"museum":300,"description":25674,"tags":25675,"thumbUrl":25676,"material":13469,"size":25677,"collection":318,"collections":25678,"showCount":25421,"zanCount":1998,"manualWeight":48,"mainColor":72},221271,"chi-du-quan-ce-huang-ting-jian-221271","尺牍全册","黃庭堅（1045年6月12日—1105年9月30日），字魯直，乳名繩權，號清風閣、山谷道人、山谷老人、涪翁、涪皤、黔安居士、八桂老人，世稱黃山谷、黃太史、黃文節、豫章先生。宋江南西路洪州府分寧人（今江西省九江市修水縣）人。祖籍浙江省金華市。北宋詩人黃庶之子，南宋中奉大夫黃相之父。北宋大孝子，《二十四孝》中“滌親溺器”故事的主角。北宋著名文學家、書法家、江西詩派開山之祖。\n黃庭堅在詩、詞、散文、書、畫等方面取得很高成就。黃庭堅與張耒、晁補之、秦觀都遊學於蘇軾門下，合稱為“蘇門四學士”。黃庭堅的詩，被蘇軾稱為“山谷體”。黃庭堅的書法獨樹一格，自成一家，他和北宋書法家蘇軾、米芾和蔡襄齊名，世稱為“宋四家”。在文學界，黃庭堅生前與蘇軾齊名，時稱“蘇黃”。作品有《山谷詞》《豫章黃先生文集》等。\n治平四年（1067年），黃庭堅進士及第，歷任葉縣縣尉、北京國子監教授、泰和縣知縣、德平鎮監、秘書省校書郎、《神宗實錄》編修官、集賢校理、國史局編修官、起居舍人、宣州知州、鄂州知州、涪州別駕、宣議郎監鄂州、奉議郎兼寧國軍判官、朝奉郎兼舒州知州、吏部員外郎、太平州知州等職。1105年，黃庭堅病逝於宜州南樓，享年61歲。而後，宋高宗追贈黃庭堅為“龍圖閣大學士”。1265年，宋度宗追贈黃庭堅諡號：文節。黃庭堅一生為官清正，治學嚴謹，以文壇宗師、孝廉楷模垂範千古。",[23,7,64,133,59,208,9910],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F516ad2358344b02e001f0260a856c627.jpg","27.8cm×47.4cm",[318],{"id":25680,"slug":25681,"title":25682,"dynasty":124,"author":2268,"museum":244,"description":7282,"tags":25683,"thumbUrl":25684,"material":7285,"size":84,"collection":136,"collections":25685,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":72},220934,"fang-wang-meng-fang-dong-yuan-qiu-shan-xing-lv-tu-dong-qi-chang-220934","仿王蒙仿董源秋山行旅图",[24,7,29,128,132,330,27,131,34,97,98,99,690,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c15c82af0fc77e48f2b48d1c1ee14c.jpg",[136,117],{"id":25687,"slug":25688,"title":25689,"dynasty":124,"author":2268,"museum":161,"description":25690,"tags":25691,"thumbUrl":25692,"material":1027,"size":25693,"collection":136,"collections":25694,"showCount":25421,"zanCount":1998,"manualWeight":48,"mainColor":72},220904,"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-juan-dong-qi-chang-220904","仿黄子久江山秋霁图卷","在研习经史之余，董其昌与同僚诸友切磋书画技艺，纵论古今，品评高下。又从韩世能那里借阅晋、唐、宋、元法帖宝绘，心摹手追，有时废寝忘餐，因而学问大进，开始在京中有些名气。在家乡，董其昌筑“来仲楼”、“宝鼎斋”、“戏鸿堂”、“画禅室”、“香光室”等，牙签玉轴，左图右史，置身其中，著书立说，探究古今书画艺术。他不遗余力地搜集王羲之、王献之、谢安、桓温、赵估、米芾诸名家法书，于万历三十一年刊刻《戏鸿堂法帖》行世。病休松江时期，他正值四十余岁的盛年，广闻博识，采集众长，悠居林泉，心闲手熟，创作了《葑泾访古图》《鹤林春社图》《浮岚暖翠图》《神楼图》《西湖八景图》《溪回路转图》等许多描绘江南风光的著名山水画。",[23,164,24,7,25,128,132,29,663,228,34,208,64,133,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d1f5b42426e5016ad5e6067a25246c5.jpg","28.3*206cm",[136,45],{"id":25696,"slug":25697,"title":25698,"dynasty":54,"author":25699,"museum":8230,"description":25700,"tags":25701,"thumbUrl":25702,"material":278,"size":25703,"collection":117,"collections":25704,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":72},220418,"fang-yao-shou-shan-shui-tu-xi-gang-220418","仿姚绶山水图","奚冈","此幅是奚铁生仿姚公绶所做山水图，布置可以看出是倪云林的一河两岸式构图，盖因录姚绶是学倪瓒，故铁生学姚氏，亦是学云林。",[23,24,128,132,7,29,130,34,1144,131,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0d17a8733a36b0f1f967ce40e437690.jpg","横36，纵124",[117,136],{"id":25706,"slug":25707,"title":25708,"dynasty":18,"author":223,"museum":244,"description":25709,"tags":25710,"thumbUrl":25712,"material":173,"size":25713,"collection":42,"collections":25714,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":72},220386,"wu-kuan-li-hua-qu-yu-yi-ming-220386","无款梨花鸲鹆","此作尽显宋代工笔花鸟精妙意趣，墨色绘就的鸲鹆立于花枝，羽色浓淡层叠晕染，将玄色羽毛的绒软光泽尽数勾勒，明黄爪眼提亮画面，灵动仿若正引吭啼鸣，瞬间的生机被定格尺幅之间。\n\n淡粉晕出梨花清透柔润，留白托出瓣边莹白，苍劲枝桠衬得禽鸟愈发神完气足。古旧绢面晕开岁月沉香，却未掩画师对自然的入微体察。笔意简淡清雅，以小见大，将春日枝间融融春意凝练其中，静中藏动，尽显宋人雅致审美的悠悠余韵。",[23,164,24,7,28,27,61,1188,25711,2438],"鸲鹆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25127c3e83af8c31239f09f1f2372412.jpg","25.3x29.8厘米",[42],{"id":25716,"slug":25717,"title":25718,"dynasty":124,"author":18090,"museum":450,"description":25719,"tags":25720,"thumbUrl":25721,"material":173,"size":25722,"collection":136,"collections":25723,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":49},219739,"xue-xi-zai-he-tu-lan-ying-219739","雪溪载鹤图","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多",[23,24,7,29,27,132,1556,499,129,722,34,131,711,1813,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c18c1ed7f1b694637bbfe4ff1320c4.jpg","纵75.6横36.5厘米",[136],{"id":25725,"slug":25726,"title":25727,"dynasty":124,"author":25728,"museum":450,"description":25729,"tags":25730,"thumbUrl":25731,"material":317,"size":25732,"collection":136,"collections":25733,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":49},219734,"xie-qin-fang-you-tu-jiang-song-219734","携琴访友图","蒋嵩","此作用高远之法构景，主峰拔地参天，以水墨晕染出漫山烟霭，远景山峦隐没在空蒙雾气里，晕染出萧疏冷寂的天地氛围。\n\n近岸枯木虬曲苍劲，枯枝硬挺如戟，笔力老辣苍拙，尽显荒寒之态。下方旅人策杖徐行，仆从携琴缓步郊野，渺小身影衬出山川寥廓，暗合寻幽访友的雅意。\n\n全幅以浓淡水墨铺陈，简淡间尽显沉郁苍茫，将林泉寄怀的隐逸之思藏在烟岚丘壑中，纵放笔意里裹挟含蓄悠邈的林下闲情，尽显淡远疏离的山水意境。",[23,24,7,165,128,132,29,96,331,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6537ec875cb6c627561f0a23bede3fac.jpg","纵148.6横89.4厘米",[136],{"id":25735,"slug":25736,"title":25737,"dynasty":144,"author":24089,"museum":244,"description":25738,"tags":25739,"thumbUrl":25740,"material":173,"size":84,"collection":136,"collections":25741,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":72},219617,"song-jian-heng-qin-tu-zhu-de-run-219617","松涧横琴图","画面中下部，是一条左低右高的石磵，且清且浅的河水自远及近蜿蜒跳跃而下，俞远愈淡。近岸左右有两松矗立，一直一曲，一高一低。左边的松树高而直，以一浓一淡两棵杂树副之。右边的松树似虬龙一样盘曲左伸，松下则是磵边开阔微斜的石头滩地，三位老者盘腿对坐在蒲团之上，中间有一盘食物，置三酒杯。一人双手放在琴上，眼睛左看，似正在弹琴并与左边的朋友目光交流，右边的老者则闭目笼袖，似乎听得很是入神。画面的右上角，署名“朱泽民”并有题句：峰阳之桐，声越冰泉；天然宫商，松风画弦。\n该画的人物、场景及构图，非常类似其立轴大画《林下鸣琴图》，似是一图多本。不过可能因画幅太小尚不盈尺，故而画得更为简洁，无法画出对岸的坡陀岗峦。就画中人物而言，这种扮相与组合曾出现在其他画中，显然就不仅仅是文人雅士简单的时尚风雅，而有着特定的时代的情感映射。或许，这既是“七匠八娼九儒十丐”历史境遇中被侮辱被边缘化的元代知识分子的实际生存状态，也是其理想化的精神家园。",[23,24,7,1131,128,132,29,1144,99,96,438,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03fe743673cf85aafc314641bd35833e.jpg",[136],{"id":25743,"slug":25744,"title":25745,"dynasty":124,"author":18090,"museum":244,"description":25746,"tags":25747,"thumbUrl":25748,"material":173,"size":25749,"collection":136,"collections":25750,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":49},219397,"shan-shui-tu-yi-hai-qiu-zhong-lan-ying-219397","山水图-已亥秋仲","画面层峦叠嶂隐于烟霭，远山如黛，近岫含翠。苍松劲柏立岸而生，枝干虬劲，墨色浓淡相宜；水面波光粼粼，一叶扁舟悠然泛波，岸边茅屋隐于林间，野趣横生。中段亭榭临溪，飞檐翘角与周遭林木相映成趣。山石皴法刚健，兼具浙派风骨与文人雅致，墨色晕染自然，设色淡雅温润。秋仲清寂悠远尽显笔端，仿佛可闻林间风声、水面桨声，引人步入静谧山水之境，体味超然物外的闲适安宁。",[24,7,165,27,29,130,99,129,413,131,711,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc24749ccb3e2b4cacaa976f90dcd98.jpg","145.8x71.6",[136],{"id":25752,"slug":25753,"title":25754,"dynasty":182,"author":9761,"museum":244,"description":25755,"tags":25756,"thumbUrl":25758,"material":151,"size":84,"collection":117,"collections":25759,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":72},219232,"hua-niu-dai-song-219232","画牛","戴嵩 ，生卒年不详，唐代画家。韩滉弟子，韩滉镇守浙西时，嵩为巡官。擅画田家、川原之景，画水牛尤为著名，后人谓得“野性筋骨之妙”。相传曾画饮水之牛，水中倒影，唇鼻相连，可见之观察之精微。明代李日华评其画谓：“固知象物者不在工谨，贯得其神而捷取之耳。”与韩干之画马，并称“韩马戴牛”。",[4642,24,7,164,128,27,28,102,96,413,25757,229,208],"小狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf1d4166525a0816f7b92f6d8b121fdb.jpg",[117],{"id":25761,"slug":25762,"title":25763,"dynasty":144,"author":2487,"museum":25764,"description":25765,"tags":25766,"thumbUrl":25767,"material":173,"size":84,"collection":68,"collections":25768,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":49},219096,"si-ma-tu-ren-ren-fa-219096","饲马图","维多利亚和阿尔伯特博物馆","画面捕捉饲马的日常瞬间：红衣者俯身照料，另一人持物趋近，两马或立或侧，姿态悠然。线条如铁线般挺劲，勾勒出马的健硕肌理与人物衣褶的流转，细节处见匠心——马鬃的蓬松、鞍具的纹理，皆刻画入微。设色淡雅却点睛：红衣的暖艳与背景的素净相映，衬出场景的质朴鲜活。整体风格写实，却于平凡中藏着对生命的关照，既见游牧文化对马的珍视，也显画家对生活烟火的细腻捕捉。画面静谧却涌动着日常生机，似能闻草料轻响，触岁月温软，是元代生活图景与艺术匠心的凝练呈现，于质朴中见生动，于细微处显深情。",[164,24,7,4057,28,27,96,101,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d4df022bb041213a807994378e568d.jpg",[68],{"id":25770,"slug":25771,"title":25772,"dynasty":18,"author":7553,"museum":244,"description":25773,"tags":25774,"thumbUrl":25775,"material":173,"size":25776,"collection":136,"collections":25777,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":72},218936,"xue-xi-cheng-xing-tu-yan-wen-gui-218936","雪溪乘兴图","这幅画采用了团扇的形式，描绘了一位优雅的男子在寒林和水榭的山谷中乘船拜访朋友。颜文贵（967-1066）是浙江吴兴人。以前隶属于军队，在太宗时期退役，在京城（河南开封）跟随郝惠学习书法。他擅长画山水、人物和船只，尤其擅长画四季，画风清雅秀丽，被誉为 燕家景。",[23,164,24,7,1131,128,27,132,29,99,129,13436,34,1813,499,1557,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b8d2f37f64bed82c6552fdc2774171c.jpg","22.3x23.8",[136,42],{"id":25779,"slug":25780,"title":25781,"dynasty":18,"author":3596,"museum":77,"description":25782,"tags":25783,"thumbUrl":25785,"material":173,"size":84,"collection":68,"collections":25786,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":49},218905,"yan-e-tu-cui-bai-218905","雁鹅图","画面中雁鹅姿态鲜活，羽翼层叠间细笔勾出绒羽的蓬松质感，白绒与墨羽晕染过渡自然，红掌轻点地面似欲移步，尽显禽鸟灵动之态。旁侧水草以疏朗线条勾勒，叶片随风摇曳如含生机，与雁鹅的写实刻画相映成趣。古绢底色沉雅温润，衬得物象愈发鲜活，打破了宋初院体画的刻板拘谨，透出自然野趣。整作以写生为基，笔墨兼具工致与意趣，将禽鸟的鲜活与草木的清逸融于方寸纨扇，于细微处见生机盎然，尽显宋代画坛新风韵。",[23,24,7,1131,27,28,61,25784,1824,171,414],"雁鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f48905bd757fa0bd76d4450fe81f6d.jpg",[68],{"id":25788,"slug":25789,"title":25790,"dynasty":18,"author":223,"museum":244,"description":25791,"tags":25792,"thumbUrl":25793,"material":173,"size":25794,"collection":68,"collections":25795,"showCount":25421,"zanCount":1998,"manualWeight":48,"mainColor":72},218737,"xiang-shi-chui-jin-tu-yi-ming-218737","香实垂金图","它被画上了两个金灿灿的橙子，树枝经过精心挑选，给人以秋天水果的香味。这幅画被倒置装裱，观看时可以用旋钮转动。",[23,164,24,7,59,28,27,61,2037,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33d905cd84a86e927d93aef90fabb11.jpg","24.3x27.5",[68],{"id":25797,"slug":25798,"title":1230,"dynasty":18,"author":1622,"museum":5543,"description":25799,"tags":25800,"thumbUrl":25801,"material":173,"size":25802,"collection":136,"collections":25803,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":49},218665,"shan-shui-tu-ma-yuan-218665","画面截取山水一角，以简练刚劲的斧劈皴勾勒山石轮廓，墨色层次分明，尽显山川肌理。远处亭台掩映于林木间，几人对坐似在品茗论道；中景水面开阔，波光隐现；近岸桥梁横跨，行人缓步，岸边石上二人闲坐，姿态悠然。人物虽小却形神兼备，与山水景致相融，传递出闲适雅致的文人意趣。马远以“边角”之景营造深远空间，笔墨简括却意境悠长，将自然静谧与人文悠然巧妙结合，尽显南宋山水画的抒情特质与艺术匠心。",[23,24,7,165,27,132,29,97,98,96,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c82aa8fa0505c1342ef40c1af44517.jpg","36.4x19.2厘米",[136],{"id":25805,"slug":25806,"title":6571,"dynasty":54,"author":223,"museum":1941,"description":25807,"tags":25808,"thumbUrl":25809,"material":173,"size":84,"collection":44,"collections":25810,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":49},218300,"luo-han-tu-yi-ming-218300","罗汉趺坐神兽身侧，衣袂如流云舒卷，线条婉转间藏松活之趣。光头映着古绢暗纹，长须皴染得苍劲有力，眉目低垂时，禅意便从眼角眉梢漫出。神兽造型奇崛，鬃毛卷曲似浪涛翻涌，双目圆睁却含温驯，与罗汉的静定相映成趣。设色淡雅，墨骨清晰，浅晕的赭石与石青点缀其间，恰如古寺晨钟里的一抹微光。岁月在绢上留下斑驳痕迹，却让这份禅意更显醇厚——动静相生的构图里，是超然物外的平和，亦是传统佛画对心性的温柔观照。",[24,7,165,187,28,27,96,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62bbeb3ee91439ac7a59fb3d67f3c6b0.jpg",[44],{"id":25812,"slug":25813,"title":25814,"dynasty":18,"author":25815,"museum":1941,"description":25816,"tags":25817,"thumbUrl":25819,"material":173,"size":25820,"collection":44,"collections":25821,"showCount":25421,"zanCount":1998,"manualWeight":48,"mainColor":49},218299,"cai-yao-xian-ren-tu-meng-xian-218299","采药仙人图","孟显","长髯垂胸，衣袂带风，仙人负筐徐行。筐中松针攒簇、花草含露，似携来云崖清气；手中小锄轻握，步履悠然，眉宇间透着山野的清旷与超然。笔墨简括却神形兼备，衣纹线劲挺流畅，如吴带当风般舒展；设色古雅温润，棕褐底色衬出人物的朴拙逸气。整幅画将采药闲逸之态凝注于简练线条与含蓄晕染中，不刻意雕琢却细节见风骨，仿佛能闻药草淡香，望见云深幽居，尽显宋代人物画对神韵的极致追求——于平淡处藏真意，于简淡中见风骨。",[164,24,7,165,27,96,13034,25818,17701,17424],"草药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12f7c5ae46894b861fb1474f9a2c232b.jpg","84.1x27.4",[44],{"id":25823,"slug":25824,"title":25825,"dynasty":144,"author":410,"museum":77,"description":25826,"tags":25827,"thumbUrl":25828,"material":173,"size":25829,"collection":136,"collections":25830,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":49},217743,"nan-cun-cao-tang-tu-wang-meng-217743","南村草堂图","南村草堂图是一幅画作，它描绘了王蒙在南村的草堂中写诗的场景。在这幅画中，王蒙坐在一张桌子前，手拿笔，正在写诗。画中还有许多自然元素，如树、花和鸟。这幅画反映了王蒙对自然的喜爱，也表现了他作为一位文人的生活方式。\n\n南村草堂图是王蒙的一部重要作品，它体现了他对自然、人生和社会的独特观点。通过这幅画，我们可以了解到王蒙的性格和想法，以及他对人生的看法。",[23,24,7,25,128,27,132,133,208,64,29,97,98,99,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f321da5e3294ddbe21991bf518c888b.jpg","27.2x88.8cm",[136],{"id":25832,"slug":25833,"title":25834,"dynasty":124,"author":19170,"museum":244,"description":25835,"tags":25836,"thumbUrl":25838,"material":66,"size":25839,"collection":44,"collections":25840,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":49},217034,"bai-ma-tuo-jing-tu-ding-yun-peng-217034","白马驮经图","白马驮经图是中国明朝时期画家丁云鹏所作的一幅著名的中国画。这幅画描绘了一匹白马背负着丰满的袋子，路过田野、山谷和小村庄，显然是在途中运送物资。\n\n丁云鹏是明朝时期著名的画家，他的作品风格独特，被称为“丁式画法”。他的作品中经常出现农村生活的题材，善于捕捉农民劳作的真实生活。白马驮经图就是其中的一幅代表作。\n这幅画的特点在于对光影的运用，丁云鹏巧妙地运用阴影和明暗来突出画面的立体感，让人感觉白马和背负的袋子都是立体的，充满了生命力。此外，画中的风景也很优美，景色宁静而美好，给人带来深刻的视觉冲击。\n\n总的来说，白马驮经图是一幅充满生命力和美感的中国画，值得一看。",[23,24,7,28,27,187,96,101,413,29,131,6640,31,208,7070,25837],"经箱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74fd292e518fbf95bea5b9e942631f6c.jpg","130.9x54.5",[44],{"id":25842,"slug":25843,"title":25844,"dynasty":18,"author":2099,"museum":300,"description":25845,"tags":25846,"thumbUrl":25847,"material":151,"size":84,"collection":42,"collections":25848,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":72},216911,"wan-fang-zhi-gong-tu-quan-juan-li-gong-lin-216911","万方职贡图全卷","万方职贡图全卷是宋朝时期由李公麟编写的一部职贡图书。这本书是在宋朝时期编写的，主要记录了宋朝时期各级官员的职贡规定以及他们的权力和职责。这本书是宋朝时期的一部重要史料，可以为我们了解宋朝时期的政治体制、官员制度以及官员的权力和职责提供重要的参考。",[23,164,24,7,25,188,96,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F552a9310b7ab1d2dce73c8120542c88b.jpg",[42],{"id":25850,"slug":25851,"title":25852,"dynasty":18,"author":223,"museum":1941,"description":25853,"tags":25854,"thumbUrl":25855,"material":173,"size":25856,"collection":136,"collections":25857,"showCount":25421,"zanCount":1998,"manualWeight":48,"mainColor":49},214830,"fang-zhong-li-fang-dao-tu-yi-ming-214830","仿钟离访道图","《仿钟离访道图》是一幅中国古代绘画作品，出自宋代佚名画家之手。这幅画以钟离故事为题材，描绘了钟离访道的场景。\n\n钟离故事是中国古代传说中关于钟离与访道的传说。钟离是唐朝时期的一位大臣，他曾游历过中国各地，在旅途中遇到了访道，两人相识并成为了朋友。后来，钟离回到了唐朝的长安城，而访道则留在了西域。\n\n《仿钟离访道图》中，画家用笔墨细腻地描绘了钟离与访道之间的友谊，表现出了两人间的亲密关系。画面中的人物造型生动，情感真挚，是一幅优秀的古代绘画作品。",[23,24,7,165,128,132,29,496,34,495,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a819300efae18f7e468980bfeb46582.jpg","147x74.8",[136],{"id":25859,"slug":25860,"title":25861,"dynasty":54,"author":1311,"museum":56,"description":1312,"tags":25862,"thumbUrl":25863,"material":278,"size":1316,"collection":84,"collections":25864,"showCount":25421,"zanCount":48,"manualWeight":48,"mainColor":72},214676,"mei-hua-zhu-shi-tu-ce-11-wang-shi-shen-214676","梅花竹石图册-11",[24,7,59,128,369,61,371,167,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a2dccd336217afc6590120e3bc47b60.jpg",[],{"id":25866,"slug":25867,"title":25868,"dynasty":124,"author":25869,"museum":1941,"description":25870,"tags":25871,"thumbUrl":25872,"material":66,"size":25873,"collection":136,"collections":25874,"showCount":25421,"zanCount":1998,"manualWeight":48,"mainColor":72},214379,"jiang-feng-juan-diao-tu-wang-qi-214379","江风卷钓图","王綦","明代王綦的江风卷钓图是一幅令人钦佩的作品，它描绘了一个渔夫在江边钓鱼的生动场景。\n\n这幅画的色彩鲜艳，笔触细腻，构图巧妙。画中的渔夫坐在船上，手持鱼竿，朝着江边抛出鱼饵。鱼儿们在水面上游动，形成一道道弧线，展现了渔夫抓鱼的技巧和耐心。背景是江边的树木和山峦，体现了王綦对自然的描绘。\n\n王綦是明代著名画家，他的作品擅长运用自然色彩，表现出自然界的美感。在《江风卷钓图》中，他运用了浅蓝色和淡黄色来描绘水面和天空，使整幅画显得清新自然。同时，他还运用了细腻的笔触来描绘渔夫和鱼儿的细节，使得这幅画充满生命力和真实感。\n\n总的来说，明代王綦的江风卷钓图是一幅精美的艺术品，它描绘了明代渔民的生活，也体现了王綦对自然的描绘。通过这幅画，我们不仅能感受到王綦的艺术才华，还能了解明代渔民的生活和文化。",[23,24,7,165,128,132,29,331,1233,98,99,101,96,131,34,208,1813],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa90fc46736ca32af793a380d64ede047.jpg","130.2x32.2",[136],{"id":25876,"slug":25877,"title":25878,"dynasty":144,"author":223,"museum":244,"description":25879,"tags":25880,"thumbUrl":25881,"material":637,"size":25882,"collection":84,"collections":25883,"showCount":25884,"zanCount":1998,"manualWeight":48,"mainColor":49},291029,"hua-hu-zhou-yi-ming-291029","画虎轴","此画通幅描绘如真，渍染极得润厚的韵致。画无名款，旧签定为元人。惟据画风判断，与明代宫廷画风，颇多相近处，是以推断，该幅或出自明代良工之手。松林石涧间，一巨虎黄皮黑纹，毛色鲜丽，体态威武雄壮。虎之双眼，俱以金粉涂饰，并略染汁绿，显得格外神气逼人。其背隆起，宛如张弓欲发，隐然有即将出击之势。虎口微启，低吟而未啸。树梢，二山鹧见状，相与惊跃鸣叫，更为此猛虎出山的场景，平添紧张、不安的气息",[24,7,165,28,27,5490,949,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F754b14053084a7cd4ca663a634e08e9c.jpg","165.5x45.3公分",[],52,{"id":25886,"slug":25887,"title":25888,"dynasty":144,"author":1208,"museum":244,"description":25889,"tags":25890,"thumbUrl":25891,"material":278,"size":25892,"collection":84,"collections":25893,"showCount":25884,"zanCount":1998,"manualWeight":48,"mainColor":72},291019,"yun-shi-gu-cha-tu-ni-zan-291019","筠石古槎图","枯树一株，寥寥数笔，下笔含蓄而有力。坡石皆用淡墨，而以焦墨写竹，极雅淡且极萧散。款下有云林子一印，旧说云林画中惟有荆蛮民一印，亦未可执一而论。",[164,24,7,165,128,1337,167,171,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd707629052de9cb100aa4bd7ee76e9.jpg","44.5x32",[],{"id":25895,"slug":25896,"title":25897,"dynasty":18,"author":18558,"museum":300,"description":25898,"tags":25899,"thumbUrl":25901,"material":692,"size":1293,"collection":84,"collections":25902,"showCount":25884,"zanCount":48,"manualWeight":48,"mainColor":72},289350,"sha-ting-yan-shu-tu-hui-chong-289350","沙汀烟树图","此图画沙汀烟树迷离的早春景色。江南水乡的初春，杨柳刚吐新绿，春溪满溢，潺潺流淌，河岸水草随风摇曳，成群的水鸟在水上栖止飞翔，隔岸丛树掩映在一片云烟之中，若隐若现，具有浓郁的抒情色彩，在表现微妙迷惘的感觉上获得了成功。取景立意似南方画派，但画法上又不似南方画那样轻淡圆润，山石树木用墨较浓，用笔也较方硬。杂草用笔点簇而成，柳树以方直线条勾出老干，然后再涂染色彩，远山用淡墨平画，很雅致。",[23,24,1349,7,128,133,208,64,331,211,25900,16044],"沙汀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445107f68aa7c5aafbac1748922679d9.jpg",[],{"id":25904,"slug":25905,"title":25906,"dynasty":54,"author":872,"museum":300,"description":6719,"tags":25907,"thumbUrl":25908,"material":692,"size":1293,"collection":84,"collections":25909,"showCount":25884,"zanCount":48,"manualWeight":48,"mainColor":72},288503,"hua-jing-xin-zhu-da-288503","花镜心",[23,24,7,128,369,61,376,12490,12488],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe50301a88975470b059a690f4e7e4b83.jpg",[],{"id":25911,"slug":25912,"title":25913,"dynasty":54,"author":25914,"museum":300,"description":25915,"tags":25916,"thumbUrl":25919,"material":692,"size":1293,"collection":84,"collections":25920,"showCount":25884,"zanCount":48,"manualWeight":48,"mainColor":72},287996,"zhuan-shu-bai-shi-cao-tang-ji-deng-shi-ru-287996","篆书白氏草堂记","邓石如","邓石如（1743—1805年），初名琰，因避清仁宗讳，遂以字行，更字顽伯，号完白山人、笈游道人等，怀宁（今安徽安庆）人。清代乾、嘉时期著名碑学大师。少好刻石，弱冠谒江宁梅镠，梅家多藏金石善本，尽出与石如，使专摹习。客梅氏八年，学既成，又客于两江总督毕沅幕府。三年后辞归。工书法、篆刻。书工各体，以篆、隶为最精，颇得古法，兼融各家之长，形成独特风格。清李兆洛谓其书“真气弥满，楷则俱备，其手之所运，心之所追，绝去时俗，同符古初，津梁后生，一代宗仰。”对清代中、后期书坛有巨大影响。著有《完白山人篆刻偶存》等书行世，《清史稿》有传。",[23,64,938,165,7,25917,25918,208],"名帖","白氏草堂记","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50c5d1e16b90a9a938f5767e25d30edf.jpg",[],{"id":25922,"slug":25923,"title":25924,"dynasty":124,"author":10106,"museum":300,"description":10107,"tags":25925,"thumbUrl":25928,"material":692,"size":1293,"collection":84,"collections":25929,"showCount":25884,"zanCount":1998,"manualWeight":48,"mainColor":72},287414,"lin-li-gong-lin-wu-bai-luo-han-tu-juan-wu-bin-287414","临李公麟五百罗汉图卷",[23,164,24,7,25,27,6318,25926,18331,853,3333,25927,131,689,330],"宗教画","猕猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F649847a4103d91e1042f3e8d8a5d52a4.jpg",[],{"id":25931,"slug":25932,"title":25933,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":25934,"thumbUrl":25935,"material":692,"size":1293,"collection":84,"collections":25936,"showCount":25884,"zanCount":48,"manualWeight":48,"mainColor":72},283750,"xi-shan-yue-guan-tu-zhou-dong-qi-chang-283750","溪山樾馆图轴",[164,24,7,165,128,29,34,15550,131,132,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F778662d1b02ed3453eaa167d51351294.jpg",[],{"id":25938,"slug":25939,"title":14647,"dynasty":54,"author":1311,"museum":56,"description":25940,"tags":25941,"thumbUrl":25942,"material":1464,"size":25943,"collection":68,"collections":25944,"showCount":25884,"zanCount":48,"manualWeight":48,"mainColor":72},238069,"mei-hua-tu-ce-wang-shi-shen-238069","汪士慎(公元1686—约1759年)，字近人，号巢林，别号溪东外史、晚春老人等。安徽省歙县人，居扬州，以卖画为生。他一生清贫，却能安贫乐道，精研艺术，善画墨笔梅、兰、竹，尤以画梅著称。其画疏淡秀雅，清妙多姿，有“铁骨冰心”之号。54岁后，双目相继失明，遂练习以手摸索写字作画，竟能“工妙胜未瞽时”。亦工诗、篆刻和八分书，为“扬州八怪之一”，有《巢林诗集》行世。此册共12开，多以润笔淡墨画梅干，浓墨点刺，梅树曲劲奇倔，枝梢瘦劲，墨法单纯却风姿多变。花朵或用扬补之圈白法，浓墨密蕊，秀润清丽;或用崖白点墨法，干老花疏，风格独具。金农评他的梅花“巢林画繁枝，千花万蕊，管领冷香，俨然灞桥风雪中。”从其存世画梅作品看，并非全是繁枝，也常画疏枝，但不论繁简，都有空里疏香，风雪山林之趣。此册作于乾隆壬戌(公元1742年)二月，画家时年57岁。",[24,7,59,128,208,61,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44d108d80e52eee9a2465656a987baad.jpg","纵25.1厘米，横32.3厘米",[68],{"id":25946,"slug":25947,"title":25948,"dynasty":124,"author":2268,"museum":20,"description":25949,"tags":25950,"thumbUrl":25951,"material":1722,"size":25952,"collection":318,"collections":25953,"showCount":25884,"zanCount":48,"manualWeight":48,"mainColor":72},237781,"mo-juan-chuan-yi-tu-zhou-dong-qi-chang-237781","墨卷传衣图轴","此图取倪瓒二段式构图，简远平阔。近景画坡石岸渚，树木几株，枝叶葱郁。中部以留白手法表现平缓的湖水，缓缓过渡到远处的山岭以及山下的村舍民居，一派温润清幽的江南丽景。作品用笔秀逸率真，精妙地运用了水墨之浓淡、干湿变化，并兼以黄公望之枯笔短皴勾擦山石，笔致浑厚润泽而不失苍率之趣，堪称董氏晚年山水画佳构。\n在董其昌的自题中表明了画此图的用意。其自题大意为：35年前（明万历十七年，即1589年）参加殿试得中进士，所作五道策文后被好书之人所收藏。今有从事书画交易的中间人携来再观，虽觉彼时书法因时间紧迫而不佳，但作为自己成就功名的试卷，便以此图换回墨卷，交付孙子董庭保存，以昭示诗书传家之意。\n在这段自题中，出现了两个关键词语“南宫”、“策”。“南宫”一词原意指南方星宿，汉时以南宫一词比拟尚书省，后代又称礼部为南宫。明清时期，殿试由皇帝主持，除以王、公等为监试外，由礼部尚书为总管。“策”为文体之一种，古时科举试士用“策”对之，尤其是殿试之时，只考“制策”一场，故亦称策试。据《明史》卷二二八《董其昌传》所载：“万历十七年进士，改庶吉士”，则可以肯定，作者自题中所述“己丑南宫墨卷五策”，其意所指为作者当年殿试时所作五卷策文。至于十分重要的殿试策文如何能够为好事者所得，尚有待考定。",[24,7,165,128,132,164,29,663,413,35,31,33,229,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12dfe63490e986e77004199f4eeab82f.jpg","纵101.5厘米，横46.3厘米",[318],{"id":25955,"slug":25956,"title":25957,"dynasty":54,"author":17240,"museum":20,"description":25958,"tags":25959,"thumbUrl":25960,"material":611,"size":25961,"collection":136,"collections":25962,"showCount":25884,"zanCount":48,"manualWeight":48,"mainColor":72},236457,"nan-cun-cao-tang-tu-zhou-cha-shi-biao-236457","南村草堂图轴","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。",[24,7,165,128,132,29,98,99,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e38e76e472e20cbb1711c4106bd889c.jpg","49cm×122.5cm",[136,117],{"id":25964,"slug":25965,"title":25966,"dynasty":54,"author":1460,"museum":20,"description":25967,"tags":25968,"thumbUrl":25969,"material":1027,"size":84,"collection":84,"collections":25970,"showCount":25884,"zanCount":1998,"manualWeight":48,"mainColor":72},234504,"yuan-ji-mei-hua-ce-dan-ye-shi-tao-234504","原济梅花册单页","石涛（1642年－1708年）清代著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等。明靖江王朱亨嘉之子。与弘仁、髡残、朱耷合称“清初四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[24,7,164,59,128,188,133,208,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf3586e802482ec56e20f1a800f31d1e.jpg",[],{"id":25972,"slug":25973,"title":25974,"dynasty":124,"author":125,"museum":20,"description":1048,"tags":25975,"thumbUrl":25976,"material":734,"size":1051,"collection":84,"collections":25977,"showCount":25884,"zanCount":48,"manualWeight":48,"mainColor":72},233842,"wo-you-tu-ce-pi-pa-shen-zhou-233842","卧游图册－枇杷",[24,7,59,27,128,61,918],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05b13d6b7f85d6cd1ab67e05024fd237.jpg",[],{"id":25979,"slug":25980,"title":25981,"dynasty":18,"author":1174,"museum":25982,"description":25983,"tags":25984,"thumbUrl":25985,"material":611,"size":25986,"collection":84,"collections":25987,"showCount":25884,"zanCount":1998,"manualWeight":48,"mainColor":49},232776,"si-ji-shan-shui-tu-juan-li-tang-232776","四季山水图卷","日本京都高桐院","作品以开阔的画面展示了从卷头的春景开始到卷末的冬景结束，连续画出了四季山水的变迁。仔细观摩之，这一春夏秋冬的四季也分别画成孟、仲、季三景，并且通过巧妙的布置而连成一景。一卷四季变化实属罕见。",[23,164,24,7,25,27,29,132,28,663,228,129,413,130,211,98,99,1351,96,171,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc6192ff70fbb361ec6c27ae7f9dd2de.jpg","纵32厘米，横515.5厘米",[],{"id":25989,"slug":25990,"title":25991,"dynasty":144,"author":1208,"museum":244,"description":25992,"tags":25993,"thumbUrl":25994,"material":611,"size":25995,"collection":84,"collections":25996,"showCount":25884,"zanCount":48,"manualWeight":48,"mainColor":72},231338,"an-chu-zhai-tu-yuan-dai-ji-jin-zhi-san-ni-zan-231338","安处斋图－元代集锦之三","《安处斋图》，近景一脉土坡，树三五株，草屋一座，中间上方空白，以示淼淼湖波，山脉淡淡，天宇明朗，前所未有的调调。右下倪瓒题诗：“湖上斋居处士家。淡烟疎柳望中赊。安时为善年年乐。处顺谋身事事佳。竹叶夜香缸面酒。菊苗春点磨头茶。幽栖不作红尘客。遮莫寒江卷浪花。十月望日。写安处斋图。并赋长句。倪瓒。”不隐不仕，漂泊江湖，这“安处斋”可是云林心之安顿处?\n此图右上乾隆爷题款。乾隆爷爱题款，没办法，这画曾经是人家家藏的，随手拿来就写了。而且，当时，没有人说他没倪瓒写得好。可是如今，这画安在，这画中人，都去了哪里?",[164,24,7,25,128,29,132,133,208,415,9807,1337,3387,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c1742d69b49bcf6d9e560d192602cca.jpg","纵33cm 横89.4cm",[],{"id":25998,"slug":25999,"title":26000,"dynasty":182,"author":3508,"museum":300,"description":26001,"tags":26002,"thumbUrl":26003,"material":84,"size":84,"collection":84,"collections":26004,"showCount":25884,"zanCount":1998,"manualWeight":48,"mainColor":49},231009,"ta-xue-xun-mei-tu-li-zhou-han-huang-231009","踏雪寻梅图立轴","淡墨晕开萧寒天地，残雪覆住荒寂山径，老梅枯桠横斜枝头，暗吐细蕊晕开浅淡生机。\n策驴人身裹绯色锦袍，在灰冷雪景中撞出融融暖意，宽斗笠掩去眉眼，只余垂敛悠然的姿态，似正循着暗香缓行。以枯淡墨色皴出山岩残雪，驴蹄轻踏积雪，寥寥数笔便勾勒出冬日清寂意趣，简淡笔触藏着雅逸文思。\n水墨铺就荒寒底色，一点艳红点亮画面，冷暖对冲间，将踏雪探春的幽居雅兴融在萧寒景致中，淡远空灵，尽显文人冬日寻幽的诗意闲情。",[23,9521,24,7,165,27,96,7067,371,1556,1350,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd38b2ea6613a1a34c5f1e5c9936e5a58.jpg",[],{"id":26006,"slug":26007,"title":26008,"dynasty":54,"author":3820,"museum":300,"description":26009,"tags":26010,"thumbUrl":26011,"material":84,"size":84,"collection":84,"collections":26012,"showCount":25884,"zanCount":48,"manualWeight":48,"mainColor":72},229007,"shui-mo-shan-shui-ce-gong-xian-229007","水墨山水册","此作用笔沉郁苍润，以积墨手法反复皴染，将山石的厚重朴拙、林木的葱郁劲健尽皆铺陈。左侧丘峦缓坡之上，山居孑立，檐角轻挑隐于青嶂间，似藏幽人栖居之趣。右侧林木错落，浓淡墨色分出层叠深浅，与留白的水色相映，晕染出空濛悠远的江上晚景。\n整幅画境清寂萧散，墨色的虚实相生里藏着绝尘避世的安宁，题款与画作相映，更添文人情致，将江南山水的静穆淡远揉进方寸之间，尽显幽淡空和的林下之风。",[24,7,164,128,132,29,130,413,131,37,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30802f84640b4220fab4b0c4f3708cb1.jpg",[],{"id":26014,"slug":26015,"title":26016,"dynasty":124,"author":1058,"museum":300,"description":26017,"tags":26018,"thumbUrl":26019,"material":84,"size":84,"collection":84,"collections":26020,"showCount":25884,"zanCount":48,"manualWeight":48,"mainColor":72},228470,"shan-shui-ren-wu-tang-yin-228470","山水人物","此作用笔清隽淡远，以留白铺陈出漫山雪意，崖壁枯木虬曲苍劲，瘦硬枝桠如铁戟凌冬，尽显萧寒荒疏之境。危岩之间栈道萦回，白衣策杖的高士独立崖头，孑然身影衬出天地寥廓，似在静览山光，暗合文人幽寂疏放的襟怀。\n\n画幅左上题诗与朱红印章相映成趣，诗画相融。以极简淡墨皴擦山石肌理，将冬山冷峻空寂的意境晕染尽致，笔意简括却藏着沉郁文思，把山水作为情志寄寓之所，淡远空灵间，尽显世外幽人不与俗同的清高气骨。",[24,7,128,132,29,96,1337,131,1200,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e44cbc58b4a9b4b74676cca05cca0ac.jpg",[],{"id":26022,"slug":26023,"title":742,"dynasty":18,"author":26024,"museum":300,"description":26025,"tags":26026,"thumbUrl":26027,"material":84,"size":84,"collection":84,"collections":26028,"showCount":25884,"zanCount":1116,"manualWeight":48,"mainColor":72},227398,"qiu-kui-tu-li-da-zhong-227398","李大忠","画面写秋葵一枝，工笔钩勒填彩。秋葵之花瓣用粉细勾，叶用重绿，重彩渲染，布局谨严，一丝不苟，姿韵生动。两朵盛开的花与疏疏的几枝叶，充分表现出秋葵的神态。该图堪称南宋院体画的精品，是南宋写生画的绝妙之作。",[23,164,24,7,1131,28,27,61,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc20f76969895d93adc7c35e9fffc51bc.jpg",[],{"id":26030,"slug":26031,"title":26032,"dynasty":124,"author":26033,"museum":300,"description":26034,"tags":26035,"thumbUrl":26036,"material":84,"size":84,"collection":136,"collections":26037,"showCount":25884,"zanCount":1998,"manualWeight":48,"mainColor":72},224548,"shu-hua-ce-ye-xiao-yun-cong-wang-shi-zhen-224548","书画册页","萧云从 王士祯","此作用笔秀逸清疏，以高远、深远之法铺展丘壑。崖壁层叠开合，飞瀑隐于岩岫之间，暗合空山有声之趣。古木虬曲苍劲，红叶点染出浅淡秋光，枝叶攒簇间尽显老辣笔力。\n\n山坳间亭台错落，有人凭栏闲眺，溪谷板桥通幽，衬出林泉雅寂。淡赭浅青敷色明润柔和，既有宋人丘壑之厚重，又具元人笔墨之灵秀。右上角题字朱印相映成趣，将山居清寂苍润之境晕染开来，尽展寄情林泉的澹泊幽怀，观之如身临秋山静居，尘嚣尽褪。",[24,7,59,27,29,132,98,99,97,331,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f989d94c9f8c5dbeac298d441a5964a.jpg",[136,45,318],{"id":26039,"slug":26040,"title":26041,"dynasty":124,"author":273,"museum":510,"description":26042,"tags":26043,"thumbUrl":26044,"material":611,"size":26045,"collection":318,"collections":26046,"showCount":25884,"zanCount":1116,"manualWeight":48,"mainColor":72},222527,"hua-guan-yin-shu-jin-gang-jing-he-bi-quan-juan-wang-fu-222527","画观音书金刚经合璧全卷","画卷右侧绘观音画像，观音打坐念经，一旁的童子双手合十；长卷左侧以行楷书写《金钢金》全篇，字体工整温润，雅致平和。王绂，一作芾，又作黻，号九龙山人，明代画家。",[23,164,24,7,25,187,7322,128,572,96,167,29,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F493d6433218fdef685f94add11b08e75.jpg","24.6x78",[318],{"id":26048,"slug":26049,"title":26050,"dynasty":124,"author":204,"museum":26051,"description":26052,"tags":26053,"thumbUrl":26054,"material":1027,"size":26055,"collection":136,"collections":26056,"showCount":25884,"zanCount":48,"manualWeight":48,"mainColor":199},222198,"ting-qin-ting-ruan-tu-chou-ying-222198","停琴听阮图","广州艺术博物院","图绘远处水天一色，一股瀑布倾泻而下，悬崖绝壁，山崖上绿树苍翠，岸边两位高士相向而坐，一人似弹琵巴，一人手抚古筝，认真倾听，如此在一起弹拉切磋乐艺，不亦悦乎。",[23,24,7,164,165,28,27,128,29,96,438,495,34,497,99,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3d40b986cea8d2b9814bc4a65151a05.jpg","纵112.2，横42cm",[136,117],{"id":26058,"slug":26059,"title":26060,"dynasty":18,"author":1174,"museum":20,"description":26061,"tags":26062,"thumbUrl":26063,"material":40,"size":26064,"collection":84,"collections":26065,"showCount":25884,"zanCount":48,"manualWeight":48,"mainColor":49},221582,"chang-xia-jiang-si-tu-li-tang-221582","长夏江寺图","该图描绘了长江岸上群峰罗列，寺观丛林，互相映带。江水粼粼，风帆出没于其间，气势雄伟壮阔。\n用笔方硬坚重，山石峭丽雄浑，气魄雄伟，境界浩莽，用墨善用墨沉沉的、浓厚的墨韵，厚实而滋润。",[23,164,24,7,25,27,29,132,34,496,7409,17270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F855261dbfdf4c3b113712ec8417c0e89.jpg","纵：44厘米，横：249厘米",[],{"id":26067,"slug":26068,"title":26069,"dynasty":18,"author":5651,"museum":244,"description":26070,"tags":26071,"thumbUrl":26073,"material":59,"size":26074,"collection":42,"collections":26075,"showCount":25884,"zanCount":1998,"manualWeight":48,"mainColor":72},221262,"xie-sheng-ying-su-ai-xuan-221262","写生罂粟","五色的蜀葵、纯白的栀子和红艳石榴花，要比罂粟花常见得多。罂粟花艳丽的“五色”，使得人们常把它与蜀葵相提并论，二者的播种和花期也都相似。宋代罂粟主要是用于食用和药材，嫩苗堪比园蔬，罂粟籽则可作粥。在现存宋代画扇中，至少可以看到两幅《罂粟花图》，台北故宫博物院藏传艾宣《写生罂粟图》尤为精彩，画中还是一枝并蒂的罂粟，显现出祥瑞之意。这些画扇，也应是宋代宫廷画家的杰作。",[23,24,164,7,59,28,27,2166,61,26072,624],"罂粟花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa9fe1801c419e7cafc2c8afc755bdcc.jpg","43x75.7",[42,68,45],{"id":26077,"slug":26078,"title":26079,"dynasty":144,"author":569,"museum":26080,"description":26081,"tags":26082,"thumbUrl":26084,"material":26085,"size":26086,"collection":318,"collections":26087,"showCount":25884,"zanCount":1116,"manualWeight":48,"mainColor":72},220836,"bei-long-geng-yun-shu-juan-zhao-meng-fu-220836","北陇耕云书卷","亳州市博物馆","该帖行草相间，其气势如大河波涛，滚滚直下，神采照人，其用笔如龙飞凤舞，转折自如，百炼刚化，为绕指柔，实为罕见，代表着赵孟頫行草书的最高水平，反复谛观，时时令人动临池之兴。",[23,7,25,133,64,128,208,950,26083,29],"陇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7104a163641e42f4f36ddf0344ee4184.jpg","青石","纵29厘米，横222厘米",[318],{"id":26089,"slug":26090,"title":26091,"dynasty":980,"author":5076,"museum":8958,"description":26092,"tags":26093,"thumbUrl":26094,"material":17163,"size":84,"collection":84,"collections":26095,"showCount":25884,"zanCount":1998,"manualWeight":48,"mainColor":72},220605,"gong-chong-ce-ye-fei-chong-qi-bai-shi-220605","工虫册页·飞虫","此画兼用工写之妙，工笔飞虫刻画极尽精微，油亮的虫身纤毫毕现，绒毛似随微风轻颤，仿佛下一秒便要振翅飞去，将草间生灵的鲜活尽数铺展。写意黄花烂漫朴拙，晕染出明媚野趣，枯藤以淡墨枯笔写出，线条苍劲疏朗，带着随性自在的笔墨意趣。\n\n整幅画面留白舒展，虚实相映，把乡隅小景的天趣凝于尺幅之间，以极简构图承载盎然生机，尽显对日常细微之美的独到捕捉，淡远雅致的底色衬出小虫灵动，揉合了天真野趣与文人雅韵，于平淡间见真意。",[24,7,59,28,128,27,61,6185,547,548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c19b74d2dde52a49f7430009f0222fa.jpg",[],{"id":26097,"slug":26098,"title":26099,"dynasty":980,"author":5076,"museum":8958,"description":26100,"tags":26101,"thumbUrl":26103,"material":17163,"size":84,"collection":84,"collections":26104,"showCount":25884,"zanCount":48,"manualWeight":48,"mainColor":72},220598,"gong-chong-ce-ye-huang-feng-qi-bai-shi-220598","工虫册页·黄蜂","这幅画作以简繁相映的妙趣定格乡野意韵。左侧兰叶以大写意挥就，淡赭勾染出舒展姿态，笔势疏朗写意，尽显清逸雅致。右侧两只黄蜂却以极细腻的工笔绘就，翅翼薄如蝉翼，脉络纤毫毕现，躯体斑纹鲜活饱满，振翅欲飞的灵动神态呼之欲出，仿佛下一秒就要循着草香翩然远去。\n\n简淡的写意草木与精微的写实虫豸相映成趣，文人笔墨的清雅与自然生灵的鲜活融为一体，于尺幅之间铺陈出鲜活的野趣生机，举重若轻间尽显创作功底，将日常小景晕染成耐人品味的雅致画卷。",[24,7,59,28,369,27,806,26102,1771],"黄蜂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff96fb49e577614dd52f34cd012446293.jpg",[],{"id":26106,"slug":26107,"title":26108,"dynasty":980,"author":5076,"museum":8958,"description":26109,"tags":26110,"thumbUrl":26111,"material":17163,"size":84,"collection":84,"collections":26112,"showCount":25884,"zanCount":48,"manualWeight":48,"mainColor":72},220596,"gong-chong-ce-ye-ma-zha-qi-bai-shi-220596","工虫册页·蚂蚱","淡赭草叶肆意纵横，看似漫不经心，实则错落有致，晕开秋日郊野的慵懒野趣。工笔精绘的蚂蚱静栖草间，翠色头颅油润鲜亮，玄色鞘翅纹理历历分明，纤细触须微颤，足爪紧扣草茎，仿佛正敛息休憩，下一刻便会振翅跃入荒草深处。\n写意荒草的简淡疏朗，将工笔秋虫的鲜活质感全然托举而出，萧索秋意与虫豸生机交织融合，把乡野日常的细碎意趣凝于尺幅之间，以极简笔墨勾勒出自然一隅的灵动诗意，尽显对乡野风物的细腻共情。",[24,7,59,28,27,806,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bbe682bec5240ca3a1fb0abd6f032ca.jpg",[],{"id":26114,"slug":26115,"title":26116,"dynasty":980,"author":3539,"museum":9668,"description":26117,"tags":26118,"thumbUrl":26119,"material":84,"size":84,"collection":84,"collections":26120,"showCount":25884,"zanCount":48,"manualWeight":48,"mainColor":72},220547,"song-ying-tu-xu-bei-hong-220547","松鹰图","以浓焦墨铺写振翅飞鹰，翎羽以皴擦兼施，笔力沉雄又不失蓬松质感，利爪筋肉紧绷如凝铁，目光锐如寒钩，雄悍气势扑面而来。下方老松盘虬伸展，鳞皴枝干古拙苍劲，团簇松针攒聚如戟，尽显风霜淬炼后的坚韧。\n\n画面以留白铺就辽远虚境，衬出飞鹰俯冲的凌厉动感，水墨干湿浓淡层次分明，写意之中暗合写实精准，将猛禽的傲岸与古松的刚劲相融，托物言志，把不屈的铮铮风骨寄寓笔下，尽显襟怀气度。",[23,24,7,128,165,211,1144,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b5c2f09b18339bfae82aeea79798023.jpg",[],{"id":26122,"slug":26123,"title":26124,"dynasty":124,"author":366,"museum":1941,"description":3061,"tags":26125,"thumbUrl":26127,"material":278,"size":3064,"collection":84,"collections":26128,"showCount":25884,"zanCount":48,"manualWeight":48,"mainColor":72},220097,"shi-er-mo-hua-tu-juan-1-xu-wei-220097","十二墨花图卷-1",[24,7,25,128,369,61,840,208,26126],"墨花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b62eb182373bb75f2464f99871c93e.jpg",[],{"id":26130,"slug":26131,"title":26132,"dynasty":124,"author":125,"museum":8648,"description":8649,"tags":26133,"thumbUrl":26134,"material":611,"size":8652,"collection":84,"collections":26135,"showCount":25884,"zanCount":48,"manualWeight":48,"mainColor":72},220060,"hu-qiu-shi-er-jing-tu-ce-7-shen-zhou-220060","虎丘十二景图册-7",[24,7,59,128,27,2132,132,29,663,228,130,97,34,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F372d7b5a499063934477af06b28b00c6.jpg",[],{"id":26137,"slug":26138,"title":4135,"dynasty":124,"author":3608,"museum":6620,"description":26139,"tags":26140,"thumbUrl":26141,"material":66,"size":26142,"collection":136,"collections":26143,"showCount":25884,"zanCount":48,"manualWeight":48,"mainColor":72},219929,"fang-wang-meng-shan-shui-tu-lu-zhi-219929","陆治，生于明弘治九年（1496）。先世河南开封人。高祖父陆定，遁眷来吴门，宅于包山。父陆铭，字汝新，号有竹。受《易》于文洪，学养冠于郡诸生。纯孝笃义，综博工文，弟子黄省等多为名士。陆治居家为长子，家学渊源，又为祝允明、文徵明弟子，以诸生为名士。倜傥嗜义，以孝友著称。少喜游历，晚年隐居，种菊于文硎山。万历四年（1576年）卒。",[24,7,165,27,132,29,663,228,495,34,131,130,96,1955,758,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc4a5d49c35fa8d620e4d5c40c0a0ba0.jpg","122.5x35.5",[136],{"id":26145,"slug":26146,"title":26147,"dynasty":124,"author":223,"museum":224,"description":26148,"tags":26149,"thumbUrl":26150,"material":173,"size":84,"collection":44,"collections":26151,"showCount":25884,"zanCount":48,"manualWeight":48,"mainColor":49},219536,"wei-mo-tu-yi-ming-219536","维摩图","此作以淡古之笔，绘居士斜踞高榻，宽袍半披，一手搭膝垂眸，面容清癯，倦怠里带着参禅初歇的松弛。衣纹兼用铁线、兰叶二描，挺劲中见柔婉，褐白配色沉稳雅致，衬出居士疏朗随性的林下风神。榻旁香鼎轻烟萦纡，暗合清修意趣；榻下摆着素面皮靴，为世外之人添了几分人间烟火的真实。旧绢底色晕开沉静古雅的氛围，寥寥笔墨便将这位在家佛者超然又亲和的神韵尽数铺展，淡而不寡，静中藏着悠悠禅机，尽显人物画传神见性的精妙功力。",[24,7,27,28,96,187,12677,170,5883],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27dbbd5e2c23a4f706e33389cb316e43.jpg",[44,45],{"id":26153,"slug":26154,"title":26155,"dynasty":54,"author":4468,"museum":244,"description":26156,"tags":26157,"thumbUrl":26158,"material":173,"size":26159,"collection":45,"collections":26160,"showCount":25884,"zanCount":1116,"manualWeight":48,"mainColor":72},219421,"shi-jun-tu-zhi-ben-xiao-cong-zhou-lang-shi-ning-219421","十骏图之奔霄骢轴","郎世宁（一六八八－一七六六）意大利人。十九岁，入天主教耶稣会为修士。曾习油画，兼习建筑。二十七岁来华，以绘事供奉内廷，历仕康熙、雍正、乾隆三朝。善画人物花鸟，尤善犬马。翁牛特贝勒彭苏克于乾隆八（西元一七四三）年，进贡骏马一匹。郎氏奉命写生，大小尺寸与真马近似，故生动逼真。",[24,7,165,27,28,101,949,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88cc43dc7390def7e0d6582757e42846.jpg","240x270.5",[45],{"id":26162,"slug":26163,"title":26164,"dynasty":54,"author":3750,"museum":244,"description":26165,"tags":26166,"thumbUrl":26171,"material":317,"size":26172,"collection":117,"collections":26173,"showCount":25884,"zanCount":48,"manualWeight":48,"mainColor":49},219383,"qiu-shan-tu-wang-jian-219383","秋山图","层岩叠嶂如涛涌，披麻皴笔细腻摹写山骨纹理，墨色晕染间丘壑纵深自现。林木葱茏却带秋意，松针攒簇似含霜，杂树疏枝显萧疏，溪畔谷侧隐见茅舍几间，小径蜿蜒穿林渡涧，流水潺潺石上轻响。笔墨皴擦点染兼备，古雅清润，气韵浑成，将秋日山林的静谧深远与文人栖居的悠然意趣融于尺幅之间，尽显传统山水的笔墨神韵与诗意栖居之境。",[164,24,7,165,1349,128,1613,132,26167,13603,23362,1023,99,26168,20575,26169,26170],"层岩叠嶂","秋意","悠然","文人栖居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d4187b4bef912c8599d2b17b363609c.jpg","111.1x48.3",[117],{"id":26175,"slug":26176,"title":26177,"dynasty":124,"author":10632,"museum":2542,"description":26178,"tags":26179,"thumbUrl":26182,"material":173,"size":26183,"collection":68,"collections":26184,"showCount":25884,"zanCount":48,"manualWeight":48,"mainColor":49},219081,"lu-cong-shuang-e-tu-lin-liang-219081","芦丛双鹅图","芦苇叶渐枯，零零散散的芦花开放，芦丛中两只鹅正啄着芦苇叶，黑色的羽毛，翅膀下露出白色的绒毛，几条黑色的勾线体现出了绒毛的柔软。 林良，字以善，广东广州府南海县扶南堡（今广东佛山市南海区大沥）人，明代著名画家，广东绘画史上第一个进入主流性行列的画家。",[24,7,805,61,128,369,1824,7546,1400,26180,26181],"禽鸟画","水墨花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9b092c0a58f8959a48a02ec93af2364.jpg","纵146厘米，横88厘米",[68],{"id":26186,"slug":26187,"title":8581,"dynasty":18,"author":223,"museum":244,"description":26188,"tags":26189,"thumbUrl":26192,"material":173,"size":26193,"collection":42,"collections":26194,"showCount":25884,"zanCount":48,"manualWeight":48,"mainColor":49},219014,"mu-niu-tu-yi-ming-219014","小河两岸溪流纵横，在树荫下草木茂盛，是放牧的好地方。牛群由六头牛组成，其中三头牛在争吵后相互厮打。而另外两个牧童则坐在牛背上，静静地交谈。笔力强劲，墨色厚重，画面没有标记，日期较晚。",[23,24,7,128,27,28,25,102,949,23453,34,6640,131,98,499,29,9481,132,210,26190,20154,666,3428,1023,26191,10992,20575,17206],"野趣","幼兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8dd986111c132cf50382a2bc3bf6d21.jpg","68.2x140.3",[42],{"id":26196,"slug":26197,"title":14432,"dynasty":18,"author":223,"museum":244,"description":26198,"tags":26199,"thumbUrl":26200,"material":173,"size":26201,"collection":42,"collections":26202,"showCount":25884,"zanCount":48,"manualWeight":48,"mainColor":72},218850,"qiu-jiang-yu-ting-tu-yi-ming-218850","画面上，秋日的两岸，渔舟唱晚，文人待渡，近岸松石，远山隐于云间，野桥飞泉，贵人和僮仆无比准备，可谓是 秋山如洗，清风如妆。近处的岩石很像李唐和刘松年的作品，而远处的山峰的笔法和环境则很像惠崇的作品。",[23,24,7,128,27,29,129,99,1351,331,132,6810,415,1350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3efef7fae05066bc6df419889f6c421.jpg","23.4x23.8",[42,136],{"id":26204,"slug":26205,"title":26206,"dynasty":144,"author":26207,"museum":244,"description":26208,"tags":26209,"thumbUrl":26210,"material":66,"size":26211,"collection":44,"collections":26212,"showCount":25884,"zanCount":48,"manualWeight":48,"mainColor":199},218831,"xiang-ma-tu-zhou-zhao-lin-218831","相马图轴","赵麟","赵麟（西元十四世纪），浙江吴兴人。雍之子，孟俯之孙，字彦征，官浙江省检校。工书，善画人物，至正壬午（一三四二年）作春山图，乙巳（一三六五年）作洗马图。赵麟画传世绝少，此帧画老树枯枝，藤萝缠绕。一人朱衣纱帽，坐树根。前一马低首啮草。其人端详视其骨相以度骏驽。人物衣褶、马之鬃鬣，皆细劲有力。树稍逊，款书极得家法。",[24,7,164,165,27,28,96,101,1233,331,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac95bc04a45d346bbbbee2ed1b2bee5.jpg","95.7x30.1cm",[44],{"id":26214,"slug":26215,"title":9686,"dynasty":18,"author":223,"museum":244,"description":26216,"tags":26217,"thumbUrl":26218,"material":173,"size":26219,"collection":136,"collections":26220,"showCount":25884,"zanCount":48,"manualWeight":48,"mainColor":72},218807,"xue-jing-tu-yi-ming-218807","这幅画完全以郭熙为原型，是一幅平坦而高大的雪山图。笔法高超，渲染细腻，与唐棣、朱德润不同，与同集的《岷山晴雪》的笔法或晋代的笔法相似。",[23,24,7,29,128,27,132,1337,131,1813],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44eed831c8d808e79d6530358092763e.jpg","25.7x26.8",[136],{"id":26222,"slug":26223,"title":26224,"dynasty":18,"author":223,"museum":244,"description":26225,"tags":26226,"thumbUrl":26227,"material":173,"size":26228,"collection":68,"collections":26229,"showCount":25884,"zanCount":1116,"manualWeight":48,"mainColor":49},218707,"han-tang-qun-yan-tu-yi-ming-218707","寒塘群雁图","这是一幅描绘池塘一角的画，岸边有枯草和树叶，给人一种寒意。几只大雁聚集在一起，其中一只飞向空中，与伸出头来的那只大雁遥相呼应，形成一个生动的画面。笔触和色彩的灵感来自于崔白。",[23,24,164,7,28,27,18111,211,3837,413,1771,228,10582,1400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71dfdb429461da18280483cbdee873a7.jpg","194.4x109.2",[68],{"id":26231,"slug":26232,"title":26233,"dynasty":18,"author":633,"museum":244,"description":26234,"tags":26235,"thumbUrl":26236,"material":173,"size":26237,"collection":136,"collections":26238,"showCount":25884,"zanCount":48,"manualWeight":48,"mainColor":72},218682,"han-xi-chui-diao-tu-xia-gui-218682","寒溪垂钓图","这幅画描绘的是月光下的寒流，隐者披头散发，环境非同一般，笔触特别冰冷，署名夏圭。",[23,24,7,1131,128,132,29,129,99,1144,1350,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb060226a5cefc9cdcb37f39b8b4c4a.jpg","24.5x25.7cm",[136],{"id":26240,"slug":26241,"title":26242,"dynasty":144,"author":26243,"museum":244,"description":26244,"tags":26245,"thumbUrl":26246,"material":66,"size":26247,"collection":136,"collections":26248,"showCount":25884,"zanCount":1998,"manualWeight":48,"mainColor":72},214721,"xi-shan-yan-ai-tu-cui-yan-fu-214721","溪山烟霭图","崔彦辅","这幅画描绘了一座山和一条山脉，烟雾和雾气围绕着溪流。崔彦辅传世画迹罕见，此幅或学荆关，颇有新意。",[24,7,29,128,132,64,208,133,131,34,499,10143,171,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c68b55b40754b6527e503dbf1a05080.jpg","71x39.2",[136],{"id":26250,"slug":26251,"title":1230,"dynasty":18,"author":686,"museum":300,"description":4044,"tags":26252,"thumbUrl":26253,"material":692,"size":1293,"collection":84,"collections":26254,"showCount":198,"zanCount":48,"manualWeight":48,"mainColor":49},288957,"shan-shui-tu-fan-kuan-288957",[24,164,7,165,29,128,132,131,99,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ef7a3a0391d16f3f98076b4c93ece0d.jpg",[],{"id":26256,"slug":26257,"title":26258,"dynasty":18,"author":397,"museum":300,"description":16463,"tags":26259,"thumbUrl":26260,"material":692,"size":1293,"collection":84,"collections":26261,"showCount":198,"zanCount":48,"manualWeight":48,"mainColor":49},287889,"hong-li-shan-qin-tu-zhao-ji-287889","红荔山禽图",[164,24,7,1131,27,28,61,2036,211,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F499471b14708a88846e258b8065c8c2e.jpg",[],{"id":26263,"slug":26264,"title":1006,"dynasty":124,"author":3608,"museum":300,"description":9012,"tags":26265,"thumbUrl":26266,"material":692,"size":1293,"collection":84,"collections":26267,"showCount":198,"zanCount":48,"manualWeight":48,"mainColor":72},287387,"mu-dan-tu-lu-zhi-287387",[23,24,165,27,61,263,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7bc5204a6108eddf32dca501575edba.jpg",[],{"id":26269,"slug":26270,"title":26271,"dynasty":54,"author":26272,"museum":300,"description":26273,"tags":26274,"thumbUrl":26275,"material":84,"size":84,"collection":44,"collections":26276,"showCount":198,"zanCount":48,"manualWeight":48,"mainColor":72},237689,"diao-ying-shi-nv-tu-zhou-xu-lan-237689","调鹦仕女图轴","徐兰","徐兰 ，生卒年不详，约活动于康熙、雍正年间。字芬若，号芝仙，江苏常熟人。少从王士祯学诗，诗体近李贺，擅画花卉及白描人物，线条生动，名盛一时。二十岁时出游京师，数十年仅回乡一次。",[24,7,165,188,28,96,166,7810,9603,8162,9604,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd148ea9e16bb0d745cc44e58dfa559.jpg",[44],{"id":26278,"slug":26279,"title":26280,"dynasty":54,"author":6778,"museum":20,"description":26281,"tags":26282,"thumbUrl":26283,"material":84,"size":84,"collection":68,"collections":26284,"showCount":198,"zanCount":48,"manualWeight":48,"mainColor":72},237150,"yi-tuan-fu-gui-tu-zhou-zhao-zhi-qian-237150","一团富贵图轴","赵之谦（1829年8月8日 －1884年11月18日），汉族，浙江会稽（今绍兴）人。初字益甫，号冷君；后改字撝（huī）叔，号悲庵、梅庵、无闷等。清代著名书画家、篆刻家，与吴昌硕、厉良玉并称“新浙派”的三位代表人物，与任伯年、吴昌硕并称“清末三大画家”。李志敏评价：“赵之谦学北碑自成一体。”\n赵之谦从青年时代起，就刻苦致力于经学、文字训诂和金石考据之学，取得了相当的成就。尤精书画、篆刻。赵之谦善于向前人和同时代各派名家学习，又不囿前人，勇于创新。 在绘画上，他是“海上画派”的先驱人物，其以书、印入画所开创的“金石画风”，对近代写意花卉的发展产生了巨大影响；在书法上，他是清代碑学理论的最有力实践者，其魏碑体书风的形成，使得碑派技法体系进一步趋向完善，从而成为有清一代第一位在正、行、篆、隶诸体上真正全面学碑的典范；在篆刻上，他在前人的基础上广为取法，融会贯通，以“印外求印”的手段创造性地继承了邓石如以来“印从书出”的创作模式，开辟了一个前所未有的新境界。\n赵之谦的篆刻成就巨大，对后世影响深远。近代的吴昌硕、齐白石等画家都从他处受惠良多。著有《六朝别字记》《悲庵居士文存》等，又有篆刻《二金蝶堂印存》。",[24,7,165,27,61,263,169,208,64,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9ed4d9db10b63206fec6a4df1288307.jpg",[68,45],{"id":26286,"slug":26287,"title":26288,"dynasty":54,"author":26289,"museum":300,"description":26290,"tags":26291,"thumbUrl":26292,"material":611,"size":84,"collection":44,"collections":26293,"showCount":198,"zanCount":48,"manualWeight":48,"mainColor":72},237083,"jiang-feng-shi-nv-ce-jiang-feng-237083","蒋峰仕女册","蒋峰","仕女画在中国传统绘画中属于人物画的范畴，但由于它以女性为描绘对象，通过塑造优美动人的妇女形象，来反映当时的社会生活，传达特定的艺术趣味和审美观念，在题材内容、思想内涵、创作方法、表现形式等方面都有独特之处，其肇始、成熟、演变、发展的历史轨迹也不全与人物画同步，因此，它已成为中国绘画中的一个独立画科，其艺术传统还一直延续到今天，对当代的国画、年画，以及牙雕、玉器、雕漆、宫灯、花丝镶嵌等工艺品有着不可忽视的影响。",[24,7,59,27,28,96,166,438,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93f5e9f674e02a1ae624093d9b343a35.jpg",[44],{"id":26295,"slug":26296,"title":26297,"dynasty":54,"author":4992,"museum":300,"description":26298,"tags":26299,"thumbUrl":26300,"material":84,"size":84,"collection":84,"collections":26301,"showCount":198,"zanCount":48,"manualWeight":48,"mainColor":72},235782,"yu-shan-zhu-xian-he-bi-ce-ju-hua-ce-ye-yang-jin-235782","虞山诸贤合璧册-菊花册页","此作以淡墨写意绘秋菊，花枝挺秀舒展，淡赭晕染花瓣，勾勒出蓬松柔润的花形，疏密间尽显秋菊凌霜之姿。叶片以浓淡墨色分出阴阳向背，笔意疏朗清逸，无一笔冗赘。\n搭配右侧题诗，诗画相映，借秋菊明志，抒发出幽居田园、不畏清寒的隐逸襟怀。画风清隽雅致，将花卉情态与文人风骨相融，淡而有味，简中见韵，尽显文人花鸟小品悠然隽永的意趣。",[24,7,59,27,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2663c37389e497ee30df241718774aff.jpg",[],{"id":26303,"slug":26304,"title":26305,"dynasty":54,"author":1219,"museum":300,"description":1220,"tags":26306,"thumbUrl":26307,"material":692,"size":1293,"collection":84,"collections":26308,"showCount":198,"zanCount":1998,"manualWeight":48,"mainColor":72},235406,"tao-hou-tu-zhou-ren-yi-235406","桃猴图轴",[24,7,165,27,949,9633,2123,2438,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc91447d55f5265c58f0b6e0a06c907bb.jpg",[],{"id":26310,"slug":26311,"title":26312,"dynasty":54,"author":3403,"museum":300,"description":26313,"tags":26314,"thumbUrl":26315,"material":84,"size":84,"collection":84,"collections":26316,"showCount":198,"zanCount":1998,"manualWeight":48,"mainColor":72},235244,"li-ju-ping-zhou-wu-chang-shuo-235244","篱菊屏轴","此作以阔笔泼墨绘就葫芦秋架，枯笔写藤蔓，遒劲如铁，盘绕交错尽显野逸生机。葫芦以淡彩晕染，黄润清透，将秋实饱满的质感尽显，墨叶泼辣淋漓，浓淡铺陈相宜，苍润兼具。\n\n左侧题画诗文笔苍朴，篆隶笔法老辣厚重，诗画呼应相融，将田园秋意与文人逸趣合二为一。整幅下笔雄浑朴拙，以金石意趣入画，寥寥数笔便定格秋日架上鲜活意态，朴拙间见灵秀蓬勃，尽显大写意花鸟的盎然生机与沉厚韵味。",[24,7,165,128,27,369,61,6855,548,549,938,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5000c77ba43cc4203afefb648a729f86.jpg",[],{"id":26318,"slug":26319,"title":26320,"dynasty":124,"author":26321,"museum":20,"description":26322,"tags":26323,"thumbUrl":26324,"material":734,"size":84,"collection":84,"collections":26325,"showCount":198,"zanCount":48,"manualWeight":48,"mainColor":72},234188,"xun-yang-pi-pa-xing-tu-juan-li-shi-da-234188","浔阳琵琶行图卷","李士达","李士达的生活年代大约是十六世纪中叶到十七世纪初。在万历二年（公元1574年）考中进士，泰昌元年（公元1620年）还画过一幅《关山风雨图》，活了八十多岁。\n[明]号仰槐，一作仰怀，陕西省三原县人。万历元年（一五七三）癸酉乡试中举 [1] ，入雁塔题名碑，万历二年（一五七四） [2] 进士。画人物、山水名世。万历间隐居新郭。尝论画有五美云：“苍、逸、奇、远、韵。”五恶云：“嫩、板、刻、生、痴。”人谓其深得画理。寿至八十外。泰昌元年（一六二o）尝作关山风雨图。《明画录》、《无声诗史》、《吴县志》、《故宫周刊》。主要作品《松阴搔背》、《松竹高士》、《坐听松风》、《蕉阴独酌》、《西园雅集》、《寒林钟馗》、《罗汉卷》、《仙山楼阁》、《三驼图》。",[23,24,7,25,27,28,128,29,96,129,99,34,101,6810,6004,331,130,690,3344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbda0629b682f08ed426a8007477828c6.jpg",[],{"id":26327,"slug":26328,"title":4584,"dynasty":124,"author":125,"museum":20,"description":4585,"tags":26329,"thumbUrl":26330,"material":611,"size":4588,"collection":84,"collections":26331,"showCount":198,"zanCount":48,"manualWeight":48,"mainColor":72},234094,"wu-zhong-shan-shui-ce-shen-zhou-234094",[24,7,59,128,29,133,208,132,64,98,99,34,663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F281cd9bcebb3bee363a0e64bf0753972.jpg",[],{"id":26333,"slug":26334,"title":7893,"dynasty":54,"author":1676,"museum":300,"description":26335,"tags":26336,"thumbUrl":26337,"material":611,"size":26338,"collection":84,"collections":26339,"showCount":198,"zanCount":48,"manualWeight":48,"mainColor":72},232892,"hua-niao-tu-li-zhou-li-shan-232892","字宗扬，号复堂，又号懊道人，墨磨人、木头老子、苦李、滕薜大夫等。江苏兴化人。\n一生在仕宦途中，历遭坎坷。康熙五十年即２５岁时中举，三年后以画技至清宫当内廷供奉。他本是学画山水的，进宫后，康熙皇帝指令他跟“正宗”派花鸟画家蒋廷锡学习花卉。李鱓不以学习蒋廷锡为满足，又向高其佩学习，后受石涛笔意启发，以破笔泼墨作画，风格大变。突破了“正宗”派所规定的框框，是一位颇得宫廷器重的画师，名声也日益扩大。但他却遭到一批摹古画师的极力排斥，并以所谓抗拒规定题材和体裁的罪名而被解职。郑板桥说他是“才雄颇为世所忌，口虽赞叹心不然”。后来，李鱓以检选出任山东滕县知县，为政清简，体谅民情，被士民所尊敬。又因负才使气，玩世不恭，触犯了权贵，遂于乾隆五年，罢官归里，流落扬州，过着卖画为生的凄凉的生活。两次的仕宦打击，使李鱓在生活上放纵自己，寄情花鸟，以书画发泄其苦闷之情，但又不甘心宦途上的失败，常欲东山再起。但事与愿违。晚年定居扬州，以卖画为生。李鱓与郑板桥是同乡，又最为知已，结为知交，所以郑板桥有《郑板桥集…. 李鱓》的诗句，并有“卖画扬州、与李同老”的话。\n所作花卉，不拘法度，泼墨淋漓，但犹不失天趣。但晚年部分作品过于霸悍。传世画迹有南京博物院藏《土墙蝶花图》轴、故宫博物院藏《松藤图》轴等。\n李 鱓诗才书法成就是卓然的。李 鱓书法古朴，具颜、柳筋骨。作画时喜欢在画幅上长题满跋，有时甚至于把参差错落的题字，写满画面，于质实中见空灵，使整幅画面气韵更加淋漓酣畅。为此秦祖咏说他“书法古朴，款题随意布置，另有别致，殆亦摆脱俗格，自立门庭者也”。",[23,24,7,165,128,369,81,82,9318,61,1824,303,355,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3527f96ea3aeadc84c0dedcfd0c340f.jpg","56.4x104cm",[],{"id":26341,"slug":26342,"title":26343,"dynasty":144,"author":1346,"museum":244,"description":26344,"tags":26345,"thumbUrl":26346,"material":1667,"size":26347,"collection":84,"collections":26348,"showCount":198,"zanCount":1116,"manualWeight":48,"mainColor":49},231333,"zhong-shan-tu-yuan-dai-ji-jin-zhi-si-wu-zhen-231333","中山图-元代集锦之四","《中山图》绘逶迤起伏的层峦迭嶂。画家以淡墨皴染群山，浓墨画丛树点苔，勾皴时见乾笔，笔墨雄浑厚重。\n吴镇的艺术精髓在这副平淡无比的画作中体现无遗，《中山图》平铺直叙的描绘了再平凡不过的景象：七座山头大致左右对称簇拥一座主峰，即画题中的“中山”。较高大的山峰全都是特殊的平顶圆锥形，侧面微微隆起，这是吴镇绘画典型的造型。这几座山峰周边散布着山峦丘陵起起伏伏，一如荡漾的波浪；无论大小浓淡全都只有几种简单的形状；山峦没有真正的远近之别。谷间的树木被描绘得相当大，还有山头上灌木丛，几座山峰相形之下也显得不那么高峻。\n画中没有溪流、瀑布、人物、屋宇，甚至小径等等点缀。画面也没有表现任何能够显示季节和气候的特征，更没有云雾这种“通山川之气”的物象可以暗示流动或变化，全画沉浸在一种永恒的沉寂之中。即使在元代绘画之中也很难找到另外一幅画比《中山图》更显平静的。画中疏朗闲放的笔法，反复出现的简单物象在视觉上安抚镇定的效果，充分体现了平淡的境界。",[24,7,128,29,132,663,500,34,1144,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa75ab4b46854a6856c1d08010e0d4333.jpg","26.4cmx90.7cm",[],{"id":26350,"slug":26351,"title":2935,"dynasty":54,"author":1219,"museum":300,"description":26352,"tags":26353,"thumbUrl":26354,"material":84,"size":84,"collection":84,"collections":26355,"showCount":198,"zanCount":1998,"manualWeight":48,"mainColor":72},230127,"hua-niao-ce-ye-ren-yi-230127","画面设色秀雅清润，两只山雀依偎枝桠，翎毛晕染细腻柔和，憨态可掬尽显亲昵意趣。月季柔瓣轻展，粉色素净雅致，枝叶皴染结合，深浅浓淡晕开蓬勃生机。右上方题字笔意隽秀，与画面相映成趣。整体构图疏朗空灵，以兼工带写之法，将草木柔态与禽鸟灵动融为一体，把寻常花鸟小景绘成充满温情的雅致小品，晕染出恬淡悠然的江南雅韵，尽显清隽婉约的文人画意趣。",[24,7,59,27,61,28,208,355,547,21238,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb68230908224e58f73ae2820e23e446.jpg",[],{"id":26357,"slug":26358,"title":26359,"dynasty":54,"author":26360,"museum":300,"description":26361,"tags":26362,"thumbUrl":26363,"material":692,"size":1293,"collection":84,"collections":26364,"showCount":198,"zanCount":1116,"manualWeight":48,"mainColor":72},229055,"ai-xin-jue-luo-min-ning-shu-fa-dui-lian-he-ji-qian-nian-song-he-wan-gu-min-ning-229055","爱新觉罗·旻宁书法对联鹤箕千年松鹤万古","旻宁","清宣宗爱新觉罗·旻宁（1782年9月16日—1850年2月25日），原名绵宁，清朝第八位皇帝，定都北京后的第六位皇帝。生于紫禁城撷芳殿中所。年号道光。清仁宗嘉庆皇帝第二子",[23,7,64,165,10886,133,208,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7687407d9ad23419eab296631444583.jpg",[],{"id":26366,"slug":26367,"title":26368,"dynasty":144,"author":8993,"museum":300,"description":26369,"tags":26370,"thumbUrl":26371,"material":692,"size":1293,"collection":84,"collections":26372,"showCount":198,"zanCount":48,"manualWeight":48,"mainColor":72},228264,"you-gu-xian-chun-ce-ye-wang-mian-228264","幽谷先春册页","三阳腊底渐敷宣，幽谷寒梅得气先；吐萼独标百花首，含苞已露早春前。琼姿应是瑶台侣，玉骨欣逢阆苑仙；诗兴漫从雪中觅，画图省识冷香传。款：嘉庆甲子新正上澣御题。钤印二：嘉。庆。",[23,164,24,7,59,128,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa71783c73ddb4cf2c5ef39924e309c3a.jpg",[],{"id":26374,"slug":26375,"title":26376,"dynasty":18,"author":223,"museum":300,"description":26377,"tags":26378,"thumbUrl":26379,"material":84,"size":84,"collection":84,"collections":26380,"showCount":198,"zanCount":1998,"manualWeight":48,"mainColor":72},227381,"qiu-hua-tu-ye-yi-ming-227381","秋花图页","艺术史学家高居翰(James Cahill)在《图说中国绘画史》一书中赞叹宋画之美：“在他们的作品中，自然与艺术取得了完美的平衡。他们使用奇异的技巧，以达到恰当的绘画效果，但 是他们从不纯以奇技感人；一种古典的自制力掌握了整个表现，不容流于滥情。艺术家好像生平第一次接触到了自然，以惊叹而敬畏的心情来回应自然。他们视界之 清新，了解之深厚，是后世无可比拟的。",[23,164,24,7,4437,28,27,61,62,3916,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F566273ba43fdaceaabf6298b88025aa3.jpg",[],{"id":26382,"slug":26383,"title":26384,"dynasty":54,"author":1460,"museum":300,"description":26385,"tags":26386,"thumbUrl":26387,"material":84,"size":84,"collection":84,"collections":26388,"showCount":198,"zanCount":1105,"manualWeight":48,"mainColor":72},224521,"shan-shui-tu-ce-8-kai-7-shi-tao-224521","山水图册8开-7","此作以高远之法取景，陡崖奇崛凌霄，枯笔皴擦写出山石嶙峋肌理，勾勒出峭拔苍劲的山势。崖畔林麓隐着古寺，山道间策杖行旅徐行，松下石台点缀幽境，留白处淡墨晕染云海，虚实相生，漾出空山幽寂之韵。\n\n笔墨干湿互用，松针勾勒劲挺老辣，题款小字清隽雅致，朱红印章点染提亮，既有黄山风骨，又自具萧散疏朗的文人意趣，将天地浩渺与林泉幽怀相融，藏着以造化为师的灵思，尽显山水间悠然淡远的禅意。",[23,164,24,7,59,128,27,132,29,96,34,131,37,97,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a6020bb641d0c028408138c6b6de59.jpg",[],{"id":26390,"slug":26391,"title":26392,"dynasty":222,"author":223,"museum":300,"description":26393,"tags":26394,"thumbUrl":26395,"material":692,"size":1293,"collection":84,"collections":26396,"showCount":198,"zanCount":48,"manualWeight":48,"mainColor":49},223656,"shi-jia-mu-ni-fu-tu-yi-ming-223656","释迦牟尼佛图","释迦牟尼，佛教创始人。姓乔答摩，名悉达多。“释迦牟尼”（Śākyamuni）是佛教徒对他的尊称。释迦，种族名，意为“能”；牟尼，亦译为“文”，是尊称，意为“仁”、“儒”、“忍”、“寂”。合为“能仁”、“能儒”、“能忍”、“能寂”等，意即释迦族的“圣人”。",[23,24,7,27,96,187,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09cc36a64a84fc986ad994576078d911.jpg",[],{"id":26398,"slug":26399,"title":26400,"dynasty":124,"author":223,"museum":244,"description":26401,"tags":26402,"thumbUrl":26403,"material":514,"size":26404,"collection":84,"collections":26405,"showCount":198,"zanCount":1998,"manualWeight":48,"mainColor":49},223375,"chu-jing-tu-yi-ming-223375","出警图","此卷全本共两件，《出警图》和《入跸图》，皇帝出京称出警，回京称入跸。此图卷描绘明世宗由陆路谒陵的情景。庞大的皇家谒陵队伍，由北京城得胜门出发，画家沿途舖设，盛大的卫仪阵容，直至皇帝谒陵的目的地。",[23,24,7,25,27,28,96,101,29,34,11074,7996,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ba7555859181efb34e956d465f1006b.jpg","92.1×2601.3cm",[],{"id":26407,"slug":26408,"title":26409,"dynasty":124,"author":26410,"museum":224,"description":26411,"tags":26412,"thumbUrl":26413,"material":26414,"size":26415,"collection":136,"collections":26416,"showCount":198,"zanCount":48,"manualWeight":48,"mainColor":72},222053,"hou-chi-bi-tu-juan-zhang-rui-tu-222053","后赤壁图卷","张瑞图","张瑞图（1570-1644），明代官员、书画家。字长公、无画，号二水、果亭山人、芥子、白毫庵主、白毫庵主道人等。他以擅书名世，书法奇逸，峻峭劲利，笔势生动，奇姿横生，钟繇、王羲之之外另辟蹊径，为明代四大书法家之一，与董其昌、邢侗、米万钟齐名，有“南张北董”之号；又擅山水画，效法元代黄公望，苍劲有劲，作品传世极希。",[23,24,7,25,128,132,64,133,29,331,1337,131,171,130,96,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92f9fcd5c11225b554a4e27bb19095e1.jpg","绫本水墨","27.9×320厘米",[136,117],{"id":26418,"slug":26419,"title":26420,"dynasty":144,"author":287,"museum":300,"description":26421,"tags":26422,"thumbUrl":26423,"material":514,"size":26424,"collection":68,"collections":26425,"showCount":198,"zanCount":1116,"manualWeight":48,"mainColor":49},221705,"shu-tu-qian-xuan-221705","鼠图","他画的《黠鼠图》是目前我们所能见到的最早的一件画鼠作品。\n画中的老鼠正在偷食瓜果，每个老鼠的形态不一，笔触细腻，老鼠的狡黠形象跃于纸上。",[23,24,7,27,28,5883,949,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3d4a9ecece2b0a34a04e94dee2d0a5.jpg","24.3 27.3",[68,45],{"id":26427,"slug":26428,"title":26429,"dynasty":18,"author":17785,"museum":20,"description":26430,"tags":26431,"thumbUrl":26432,"material":611,"size":26433,"collection":84,"collections":26434,"showCount":198,"zanCount":48,"manualWeight":48,"mainColor":72},221232,"dao-fu-zan-juan-quan-juan-di-yi-duan-fan-zhong-yan-221232","道服赞卷全卷-第一段","此帖是范仲淹为同年友人“平海书记许兄”所制道服撰写的一篇赞文，称友人制道服乃“清其意而洁其身”之举。宋代文人士大夫喜与道士交往，“道家者流，衣裳楚楚。君子服之，逍遥是与。”穿着道服，遂成一时风气。此卷行笔清劲瘦硬，结字方正端谨，风骨峭拔。时人称此帖“文醇笔劲，既美且箴。”为范仲淹晚年书。。",[23,164,7,25,572,64,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68bcbaa000d4b623b9df17446a27bebd.jpg","34.8*47.9cm",[],{"id":26436,"slug":26437,"title":26438,"dynasty":124,"author":2268,"museum":244,"description":26439,"tags":26440,"thumbUrl":26441,"material":26442,"size":26443,"collection":318,"collections":26444,"showCount":198,"zanCount":48,"manualWeight":48,"mainColor":956},220929,"lu-chang-shi-zhou-dong-qi-chang-220929","陆畅诗轴","董其昌以草书抄录唐陆畅〈惊雪〉：“怪得北风急，前庭如月晖。天人宁许巧，剪水作花飞。”此作书于绫本上，整体的书写效果与纸本相当不同，墨色的深浅变化较不明显，稍微晕染的性质也让整体线条精致度下滑。相较董其昌纸本书法对于材质与用笔的讲究，绫本的特性让他在书写态度上无须如此精谨，用笔也可以比较率性而不假修饰。无论是书写或是视觉表现上，此作都反映出较多应酬书法的特性。",[7,64,165,133,208,128,6369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac515934bf51ea7276a8c5e7cae2a703.jpg","绫本","95.9x28.8",[318],{"id":26446,"slug":26447,"title":11837,"dynasty":144,"author":569,"museum":20,"description":6664,"tags":26448,"thumbUrl":26449,"material":2239,"size":26450,"collection":117,"collections":26451,"showCount":198,"zanCount":48,"manualWeight":48,"mainColor":49},220839,"gu-mu-zhu-shi-tu-zhou-zhao-meng-fu-220839",[23,24,7,164,165,128,188,331,167,171,1771,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7888eb16c9309e34f9ae3a0c0744039a.jpg","纵108.2cm，横48.8cm",[117,1670],{"id":26453,"slug":26454,"title":26455,"dynasty":124,"author":16332,"museum":6892,"description":26456,"tags":26457,"thumbUrl":26458,"material":26459,"size":26460,"collection":84,"collections":26461,"showCount":198,"zanCount":48,"manualWeight":48,"mainColor":84},220727,"qi-shi-qing-feng-tu-xia-chang-220727","奇石清风图","夏昶，字仲昭，号自在居士，江苏昆山人，以其墨竹闻名。自北宋文同以来，士大夫因竹具有劲节、虚心、傲霜等特性，常画写墨竹以寄兴。夏昶画竹主要学自王绂，亦多留有以王绂「墨竹山水」构图画成的作品。然夏昶笔墨的浓淡对比较王绂更为强烈，且所绘物象更重视几何造型趣味，其近乎平面的山石形态尤为明显。虽然明人曾评夏昶的竹石亚于其师王绂，但夏昶竹的画名仍远播朝鲜、日本。当时甚至流传有「夏卿一个竹，西凉十锭金」的说法，其竹画广受欢迎的程度，可见一斑。\n\n此画绘奇石从坡岸斜出，后有竹子数株。奇石形状方整，石面遍施墨染，轮廓以较深墨笔勾出，间以侧笔劈坎出岩面质理。画中的倒「丌」字型竹节与呈「个」字「人」字层层交叠的竹叶画法，亦常见于王绂与夏昶的其他作品中。至于远近的竹叶，则分别以浓淡不同之墨色画出。前景竹干随风向右侧倾斜，加上竹梢叶片的转折与叶片的燕尾，更加强了风势的效果。如此充满韵律与生趣的笔墨构图，正是夏昶晚期作品的特征。据画中所钤「太常少卿之章」印推测，作品应绘成于夏昶领有太常少卿衔之时，即1452年至1457年间。",[23,24,7,165,128,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3ceaf4691d89c984035a74bab12310a.jpg","水墨,绢本,立轴","画心：172.5 × 86.2厘米装裱：269.3 × 103.3厘米",[],{"id":26463,"slug":26464,"title":20347,"dynasty":54,"author":4083,"museum":20,"description":26465,"tags":26466,"thumbUrl":26467,"material":611,"size":26468,"collection":136,"collections":26469,"showCount":198,"zanCount":48,"manualWeight":48,"mainColor":72},220349,"shan-shui-tu-zhou-wang-shi-min-220349","此幅构图为王时敏所作之常见格局，峰峦叠嶂，林木丛生，溪流小桥，屋舍隐现，一派江南的山水景象。用笔古秀，布局深远，以披麻皴写山石，浓墨点苔，意境近黄公望，为王氏代表作。",[24,7,165,128,132,29,663,228,34,35,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71a2667da6534125cad061d2aa34ff5d.jpg","纵135厘米,横63厘米",[136],{"id":26471,"slug":26472,"title":26473,"dynasty":124,"author":5798,"museum":244,"description":26474,"tags":26475,"thumbUrl":26476,"material":66,"size":26477,"collection":136,"collections":26478,"showCount":198,"zanCount":48,"manualWeight":48,"mainColor":72},220139,"han-shan-gao-yi-tu-zhang-hong-220139","寒山高逸图","张宏（1577-1652后）字君度，号鹤涧，明代绘画大师，南直隶苏州府吴县（今江苏省苏州）人。善画山水，重视写生，笔力峭拔、墨色湿润、层峦叠嶂、秋壑深邃、有元人古意；他画石面皴染结合作为其特色。所作写意人物，形神俱佳，散聚得宜，是明末吴门画坛中的中坚人物，吴中学者尊崇之。",[24,7,165,128,27,29,131,1337,96,35,3269,497,499,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55adcf750f0530ec73bbae83ff894f8e.jpg","184.3x59厘米",[136,45],{"id":26480,"slug":26481,"title":26482,"dynasty":54,"author":26483,"museum":424,"description":26484,"tags":26485,"thumbUrl":26486,"material":317,"size":26487,"collection":136,"collections":26488,"showCount":198,"zanCount":48,"manualWeight":48,"mainColor":49},220032,"jiang-lou-fang-you-tu-wu-hong-220032","江楼访友图","吴宏","此幅吴远度云是仿北宋初李成画法，实则借名而已，皴法已带唐伯虎乱柴皴法度，构图渲染全是金陵画派作风，然江天开阔，渔隐互答，远度此幅尤允佳品。",[23,24,7,1349,165,27,132,97,98,99,129,34,131,35,1743,1645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aaaf4122119ceb7d3d07d79758a578d.jpg","78.63*160.6cm",[136],{"id":26490,"slug":26491,"title":26492,"dynasty":144,"author":8127,"museum":244,"description":26493,"tags":26494,"thumbUrl":26495,"material":27,"size":26496,"collection":68,"collections":26497,"showCount":198,"zanCount":48,"manualWeight":48,"mainColor":49},219896,"ying-zhu-hua-mei-zhou-wang-yuan-219896","鹰逐画眉轴","此帧画一只苍鹰自空中急速俯冲而下，即将迫及画眉，画眉则张口失声伧促逃窜，一幕弱肉强食的情况活跃在纸上。全幅用笔甚工，设色温雅，颇有宋画遗风。",[23,164,24,7,165,28,128,27,61,211,2438,230,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F430c0da1dc68285a385d2a617339a9ad.jpg","117.2x53.3公分",[68],{"id":26499,"slug":26500,"title":26501,"dynasty":124,"author":15700,"museum":244,"description":26502,"tags":26503,"thumbUrl":26504,"material":66,"size":84,"collection":44,"collections":26505,"showCount":198,"zanCount":48,"manualWeight":48,"mainColor":72},219650,"shou-xing-tu-zhu-zhan-ji-219650","寿星图","明成祖朱棣之孙，明仁宗朱高炽长子，明朝第五位皇帝（1425年5月29日—1435年1月31日在位）、书画家，年号“宣德”。",[24,7,96,27,28,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55e610390b67ca78dfcbe69d37be9a06.jpg",[44],{"id":26507,"slug":26508,"title":8126,"dynasty":18,"author":6135,"museum":77,"description":26509,"tags":26510,"thumbUrl":26511,"material":173,"size":26512,"collection":68,"collections":26513,"showCount":198,"zanCount":1998,"manualWeight":48,"mainColor":49},218882,"tao-zhu-jin-ji-tu-ma-ben-218882","马氏家族绘画代代相传，必然有一些绘画技法是代代相传的。从这个角度，我们可以看到，《桃竹锦鸡图》右边的桃树枝干部分，与马远《西园雅集图》等作品中的树干画法，非常接近，都是直来直去的描绘方式；《桃竹锦鸡图》中非常显眼的燕子，与收藏在日本大和文华馆的马远《竹燕图》，存在非常明确的一致性。竹子的画法与传世马远多件绘画中的竹子，更是接近。通过这些细节的全面比较，可以判断：《桃竹锦鸡图》是马氏家族的作品。\n《桃竹锦鸡图》从时间坐标上看，是宣和时代；从绘画特征来看，是马氏家族；那么，按照逻辑，《桃竹锦鸡图》的作者就是马贲。马贲的生活时代跨北宋神宗、哲宗、徽宗，比崔白、吴元瑜等画家的活动时间略晚10-20年。他是南宋大画家马远的曾祖父，马氏五代绘画家族的第一代人物。他的晚期作品，受宣和时代影响，应该具有典型的宣和画家绘画意识。",[24,164,7,28,27,61,2123,167,2835,171,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1576814ae297b450aa13cc8ea4cb67.jpg","21x22cm",[68],{"id":26515,"slug":26516,"title":26517,"dynasty":18,"author":223,"museum":56,"description":26518,"tags":26519,"thumbUrl":26520,"material":173,"size":26521,"collection":44,"collections":26522,"showCount":198,"zanCount":1116,"manualWeight":48,"mainColor":49},218588,"ren-wu-gu-shi-tu-juan-ying-luan-tu-yi-ming-218588","人物故事图卷（迎銮图）","南宋佚名作家所作的《迎銮图》是一幅以描绘历史事件为选材的作品。这幅现藏于上海博物馆的作品，表现了南宋抗金战争中的一件重要历史事件——韦后南归。",[23,24,164,7,25,27,28,96,101,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c8a11479e4109b860eb40b23814c4d0.jpg","横142.2厘米，纵26.7厘米",[44],{"id":26524,"slug":26525,"title":26526,"dynasty":18,"author":23450,"museum":5543,"description":26527,"tags":26528,"thumbUrl":26529,"material":173,"size":84,"collection":136,"collections":26530,"showCount":198,"zanCount":1998,"manualWeight":48,"mainColor":956},218234,"qiu-dong-shan-shui-tu-yan-ci-ping-218234","秋冬山水图","墨痕流转间，铺展秋冬清旷之境。近坡古木虬枝，皴擦如老鳞，凝着霜天寒意；中渚水面空濛，一叶孤舟静卧，添了几分寂寥；远山淡抹如烟，隐入云霭，层叠间藏着深远。笔墨简劲却意韵悠长，线条勾勒刚柔相济，墨色晕染浓淡相宜。枯木枝桠横斜，似在风中低语；山石错落，尽显苍劲肌理。秋冬交替的荒寒之美与静谧之趣悄然融合，尽显宋画山水的雅致深邃，引人沉入那片烟水茫茫的悠远意境里。",[164,24,7,165,128,132,29,34,131,129,211,1233,331,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadfcc4b8c4cb176ad1d96d67695e9810.jpg",[136],{"id":26532,"slug":26533,"title":26534,"dynasty":18,"author":223,"museum":244,"description":26535,"tags":26536,"thumbUrl":26537,"material":173,"size":26538,"collection":42,"collections":26539,"showCount":26540,"zanCount":1116,"manualWeight":48,"mainColor":49},290994,"hua-chun-fu-gui-tu-yi-ming-290994","华春富贵图","从图中技巧、内容看，当是一位宫廷画家高手。它是一件珍贵的插花古图。我们可从中窥见宋代宫廷插花之美。\n图以工笔彩绘，笔笔不苟。绘金漆宝相花纹金瓶，放置于嵌宝石漆架上，插以大朵重瓣朱红、粉、白牡丹，当是宋时照殿红等牡丹花名种；并以桃花（花瓣略尖，是桃花无疑）、木香枝条相衬。（左下角枝条似是取荷包牡丹相衬，但画得很模糊，未能确认），造型略为对称之形，而活泼灵动。牡丹六朵，分左右、前后、上中下，居于花型之中，相伴桃花、木香，暗示着五方空间，真是天地五方六合皆春色。含有贺岁朝新春之意，亦为富贵气象。今日牡丹插花之华贵丰韵，当亦应如是。",[24,164,7,165,27,28,61,263,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25a6ec52fe441c112236cda157c0733d.jpg","144.5x49.8",[42],50,{"id":26542,"slug":26543,"title":26544,"dynasty":144,"author":287,"museum":300,"description":26545,"tags":26546,"thumbUrl":26547,"material":692,"size":1293,"collection":84,"collections":26548,"showCount":26540,"zanCount":1116,"manualWeight":48,"mainColor":72},290959,"lan-ting-guan-e-tu-qian-xuan-290959","兰亭观鹅图","宋钱选兰亭观鹅图卷：传说东晋大书法家王羲之生性喜鹅，曾见一道士有白鹅甚可爱，因书《黄庭经》以换之。此图即钱选据传说附会而成。近景树木蓊郁，竹林茂密，亭台掩映，白鹅戏水，王羲之凭栏观望。远山苍翠，村庄隐现于雾霭山林间。境界秀雅明润，风格古拙高逸。青绿设色，画法直追唐人。钱选（公元1239─1301年），浙江吴兴人。字舜举，宋景定间乡贡进士。为“吴兴八俊”之一。入元不仕，流连诗画以终其身。山水、人物、花鸟无不擅长。",[164,24,7,25,26,27,29,130,97,96,167,34,7546,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e36723340126cf3064bb0ea8d3c7df5.jpg",[],{"id":26550,"slug":26551,"title":5514,"dynasty":18,"author":3278,"museum":244,"description":26552,"tags":26553,"thumbUrl":26554,"material":151,"size":1293,"collection":84,"collections":26555,"showCount":26540,"zanCount":1116,"manualWeight":48,"mainColor":49},289346,"han-lin-ping-ye-tu-li-cheng-289346","从这幅《寒林平野图》上看，画面描绘的是萧瑟的隆冬平野景色。近景两株长松亭立，古柏形如苍虬，枝干交柯，老根盘结；中景河道曲折，似冰冻凝固，寒冬萧萧；远景烟霭空蒙而至天际，整幅画面给人一种空灵而又凄凉之感。清人孙承泽在《庚子消夏记》书中，他对《寒林平野图》的极高评价：“古木夭矫，雪色凛冽，寒鸦群集衰草中。暑月展之，如披北风图，令人可以挟扩，非营丘不能也。”这正是对李成最擅长的山水画笔法的诠释。尤其是图中所绘的树枝，无论粗细，均呈弧线曲形，将线条的力度发挥到最大程度，构成了中国古典山水画中最优美的线条。",[24,164,7,165,128,132,29,1557,3698,1337,331,13848],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5d5e33a8b9dab4c46c24b3bd9614639.jpg",[],{"id":26557,"slug":26558,"title":6088,"dynasty":18,"author":1622,"museum":300,"description":26559,"tags":26560,"thumbUrl":26562,"material":692,"size":1293,"collection":84,"collections":26563,"showCount":26540,"zanCount":1998,"manualWeight":48,"mainColor":49},287755,"yue-xia-ba-bei-tu-ma-yuan-287755","这幅马远传世精品《月下把杯图》，虽只一开册页，然画面“小中见大”，笔墨颇见生动精逸之境。此构图看似平夷，实则“平中生险”，尽显山涧深峻幽险之气。此图所绘的是十五中秋美景之夜，一轮圆月高挂空中，照的天地是那么的明亮。在这“每逢佳节倍思亲”的美景月下，恰逢远方多年不见的好友佳节来访，这让刚刚还在睹物思友的主人家中，立即增添了极大的精神欢乐。有诗句曰：“得好友来如对月，有奇书读胜观花”，似乎正是这个意境。\n画面上的主人，体态轻盈，举止文雅，面如春风，手中把杯迎友，显得是那么的亲密愉快。旁有四童仆，一侍立待呼，一侍果备用，另一侍酒小童，正在回望另一侍琴上台阶的半隐文童。整幅画面虽只写主仆六人，然内含笔墨神态各异，颇具生动真趣。月下空旷的山林是那么的幽雅静谧，然而月色中，依旧挡不住这欢愉间的良辰和美酒。",[164,24,7,27,96,231,167,439,26561,64,208,12634],"聚饮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5828b63db994147999e5823f6ea3bf59.jpg",[],{"id":26565,"slug":26566,"title":26567,"dynasty":182,"author":7435,"museum":300,"description":26568,"tags":26569,"thumbUrl":26570,"material":84,"size":84,"collection":318,"collections":26571,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":49},239650,"wu-kuan-lin-yin-zhong-ba-xian-ge-juan-huai-su-239650","无款临饮中八仙歌卷","怀素（737~799），史称“草圣”，唐代杰出书法家。字藏真，僧名怀素，俗姓钱，汉族，永州零陵（湖南零陵）人，是大历十才子之一考功郎中钱起的外甥。\n自幼出家为僧，经禅之暇，锐意草书，与张旭齐名，合称“颠张狂素”，形成唐代书法双峰并峙的局面，也是中国草书史上两座高峰。怀素草书，笔法瘦劲，飞动自然，如骤雨旋风，随手万变。书法率意颠逸，千变万化，法度具备。北京大学教授、引碑入草开创者的李志敏评价：“怀素的草书奔逸中有清秀之神，狂放中有淳穆之气”。\n传世书法作品有《自叙帖》《小草千字文》纸本、《苦笋帖》《圣母帖》《论书帖》诸帖。",[23,164,24,7,25,330,64,840,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1e2b9f758d87ba9232cc8518581c6ab.jpg",[318],{"id":26573,"slug":26574,"title":26575,"dynasty":54,"author":19884,"museum":300,"description":26576,"tags":26577,"thumbUrl":26578,"material":84,"size":84,"collection":84,"collections":26579,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":49},238227,"qian-long-huang-di-song-yin-hui-bi-heng-zhou-zhang-zong-cang-238227","乾隆皇帝松荫挥笔横轴","《张宗苍等乾隆皇帝松荫挥笔横轴》是清乾隆时期 等绘制的一幅画。\n款识：“乾隆十八年四月臣张宗苍奉勅恭绘。\n”下钤二朱文方印“张”、“宗苍”。\n“ 十八年”即175年，乾隆皇帝时年4岁。\n画幅右上乾隆皇帝御题五言诗：“松石流泉间，阴森夏亦寒。\n构思坐盘陀，飘然衫带宽。\n能者尽其技，劳者趁此闲。\n谓宜入图画，匪慕竹皮冠。\n癸酉夏日题。\n”下钤“即事多所欣”白文方印、“乾隆御笔”朱文方印。\n该诗文与张宗苍于同一年奉勅绘的《 》轴所题内容相同。\n图绘 一身文士装扮，提笔创作的形象。\n乾隆皇帝作为清王朝盛世期的统治者，闲暇之余广学博览，不仅孜孜不倦地学习汉文化，并且积极地参与文学创作，其诗文绝大部分是其从政、巡幸、筵宴、读书、玩赏等活动中的即兴之作，诗意多平淡，缺少文学艺术性，但具有一定的史料价值。\n据统计，其仅御制诗就达4万余首，尚不包括他即位之前的《 》7余首和其他零星作品，虽然其中有的诗是经翰林词臣们润色或代笔，并为之作注的，但是，其作品数量之大，仍然冠历朝作者之首。\n乾隆皇帝出于对写诗作文的喜爱，常谕令宫廷画家们绘制他在创作时的儒雅形象，此图便是其中之一。\n图中乾隆皇帝的画像写实逼真，其冥思苦想的表情传神生动。\n山石连皴带染，以无规则的墨点作苔点，既得厚重之力，又得灵动之美。\n挺拔的松树以劲键有力、娴熟的笔法表现，营造出满目苍翠的神仙之境，与乾隆皇帝洒脱高逸的文人形象相契合。\n张宗苍（1686—1756年），字默存，一字墨岑，号篁村、蔗翁、太湖渔人，晚称瘦竹，吴县（今江苏苏州）人。\n师承清代娄东画派的传人黄鼎，擅画山水。\n初以主簿理河工事。\n清乾隆十六年 （1751年）高宗南巡，以绘《吴中十六景》画册敬献，称旨，命入都祗候内廷。\n十九年（1754年）授户部主事。\n其山水画用笔沉着，山石多加积染，表现出深远的意境，具有苍劲秀雅之风，深得高宗皇帝赏识，成为乾隆朝宫廷的重要画家。\n《石渠宝笈》著录画作116件。\n71岁时卒于故里。",[164,24,7,14829,128,27,132,1144,96,29,497,495,499,950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df7f2229ff6e2483b5711f97d5f894d.jpg",[],{"id":26581,"slug":26582,"title":409,"dynasty":54,"author":17240,"museum":300,"description":26583,"tags":26584,"thumbUrl":26585,"material":692,"size":1293,"collection":136,"collections":26586,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":72},235509,"shan-shui-ce-cha-shi-biao-235509","查士标，查士标（1615-1698） ，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。安徽休宁人。\n查士标（1615-1698）与弘仁、孙逸、汪之瑞称“新安四大家”。在新安四家中，是位高产书画家，就技法而言，以他为最高，作品也最多。后流寓扬州、镇江、南京。善书画、工诗文、精鉴赏。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。\n山水师法黄公望、吴镇、倪瓒、董其昌，笔墨疏简，格调秀远，书法受董其昌影响。在新安四家中，是位高产书画家，他学倪黄，但能广泛吸收前人各家各派画法。就技法而言，以他为最高，作品也最多。\n其作品高达百万，甚至数百万。\n最早提出“新安画派”名称的是清朝康熙所间的艺术理论家张庚，张庚之后，人多沿用，“新安画派”遂成定称。新安画派成员众多，力量雄厚。画艺可观者近80人，其中卓然自成一家者约有20人，分为四个层面：先驱程嘉燧、李永昌、李流芳；画派领袖僧渐江；鼎盛期主要成员方式玉、王瘭素、吴山涛、程邃、汪家珍、戴本孝、吴龙、顺田生、程正揆、郑旼、汪之瑞、孙逸、查士标、汪洪度、雪庄；现代后继者黄宾虹。",[24,7,59,128,29,663,950,413,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a4280bacbc5da11ddb8e014095b837d.jpg",[136],{"id":26588,"slug":26589,"title":13231,"dynasty":54,"author":3403,"museum":300,"description":26590,"tags":26591,"thumbUrl":26592,"material":84,"size":84,"collection":84,"collections":26593,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":72},235221,"mu-dan-zhou-wu-chang-shuo-235221","以金石篆隶笔法挥写牡丹，枝干如屈铁苍劲老辣，尽显嶙峋骨力。墨叶以积墨破墨晕染，浓淡干湿交叠，厚重淋漓间烘托出花头的娇妍。花冠轻施胭脂淡色，水色晕开，与焦墨绿叶形成强烈浓淡对冲，艳而不俗，腴润中带着雄健气度。\n\n左侧长题诗文以古拙笔墨书就，书画浑然一体，将文人意趣与花木生机相融，老辣烂漫兼具秀润雅致，尽显大写意花鸟的风神风骨。",[24,7,165,61,263,27,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F127a4f127c53d3abf1eb6f939ff6861b.jpg",[],{"id":26595,"slug":26596,"title":26597,"dynasty":124,"author":22598,"museum":20,"description":26598,"tags":26599,"thumbUrl":26600,"material":514,"size":26601,"collection":84,"collections":26602,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":72},234190,"mei-hua-shuang-qin-juan-chen-ji-ru-234190","梅花双禽卷","陈继儒字仲醇，号眉公，明代松江府华亭县（今上海）人，生于嘉靖三十七年（1558）十一月，卒于崇祯十二年（1639）。陈自幼研习书画，与董其昌同学并为一生至交，他们都是晚明名声甚隆、影响甚大的士人，但有所不同的是陈继儒年纪轻轻便放弃了仕途。\n陈继儒所处的时代是政治腐朽、党争激烈、矛盾尖锐、皇帝荒淫、社会风气堕落的晚明，他清醒地认识到再走科举一途己无多大意义，因此，毅然下定决心“谢去青襟”，隐居山林。朝廷屡次征召，他“皆以疾辞”。\n晚明时代是一个求变与保守交织的时代，从吴门画派以后，晚明绘画大致划分为两派，一是以徐渭、陈洪绶为代表的创新派，一是以董其昌为代表的书斋文人画派，这两种风格不断竞争，构成了晚明画坛的主要特点。虽然强烈的社会变革要求造就了一批卓具改革精神的画家，但是作为当时的文化主流则依然是因循保守的士大夫绘画，其代表人物就是“松江画派”的董其昌，而陈继儒所属的云间画派也是正统文人画的风向标。\n陈继儒的画风与整个晚明时代的气息显得有些格格不入，他的作品清雅脱俗，静中不显荒疏，且无不满或是失望留于画面，而是与世无争，以平和的心态面对世间百态，独辟蹊径，潜心创作，凭着自己丰富的学养在乱世中取得了书画上的成就。从流传的作品中可知陈继儒山水、梅竹作品居多。梅竹上追宋元，山水师法董巨",[23,24,7,25,27,28,371,61,211,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa65883b1783be479b0e29d8bfbac1daf.jpg","纵32.5cm，横256.5cm",[],{"id":26604,"slug":26605,"title":15906,"dynasty":54,"author":1242,"museum":20,"description":26606,"tags":26607,"thumbUrl":26608,"material":1722,"size":18002,"collection":84,"collections":26609,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":72},233856,"mo-mei-tu-zhou-jin-nong-233856","本幅自题：“香雨三兄良友以前明内库纸乞予画江梅小直幅。因仿元人王元章法。奉其教益，茶熟香温时定多物外之赏也。并题一诗：砚水生冰墨半干，画梅须画晚来寒。树无丑态香沾袖，不爱花人莫与看。稽留山民金农，时年七十。”钤“金氏寿门”朱文印。\n本幅绘梅花离离疏影，生气盎然。以湿润的淡墨写枝干，以细笔勾画花蕊。整幅画面悠然淡雅。",[24,7,165,128,371,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef244f5ba25fb7abf04927afec90742e.jpg",[],{"id":26611,"slug":26612,"title":26613,"dynasty":144,"author":7181,"museum":300,"description":26614,"tags":26615,"thumbUrl":26616,"material":151,"size":26617,"collection":84,"collections":26618,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":49},232904,"peng-lai-bi-shu-tu-juan-wang-zhen-peng-232904","蓬莱避暑图卷","王振鹏（生卒年不详），字朋梅，浙江温州人。元代著名的画家，擅长人物画和宫廷界画，被元仁宗赐号为“孤云处士”，并官至漕运千户。传世作品有：《伯牙鼓琴图》《江山胜览图卷》《阿房宫图》《金明池图》。\n温州历史上曾出过不少著名画家，而有作品流传至今的，当首推元代的王振鹏。王振鹏，字朋梅，号孤云处士，被誉为“元代界画第一人”。有关王振鹏史实最原始的资料，是与他同时代的著名学者虞集所撰的《王知州墓志铭》。这篇写于元奉定四年（1327）的文章是虞集应王振鹏之请为其父所作。其父名由，字在之。所谓知州衔乃是王振鹏艺贵显之后由元仁宗追赠。因其父35岁离世，无事迹可陈述，故全文主要在称述王振鹏艺事。所以虽为王由墓志，实为王振鹏立传。从中得知仁宗尚为太子时，王振鹏就因画艺超群而受赏识，并赐号孤云处士。于延祐元年三月迁为秘书监典籍。累官数处，至治时为廪给令，佩金符，拜千户，总海运于江阴、常熟间。这大致勾勒出他一生的轮廓。",[23,24,7,25,95,27,28,26,96,97,98,99,129,130,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff91bcae19f54291adfcc4eb057b517fa.jpg","39.8×327.3厘米",[],{"id":26620,"slug":26621,"title":26622,"dynasty":18,"author":1449,"museum":300,"description":26623,"tags":26624,"thumbUrl":26625,"material":151,"size":26626,"collection":84,"collections":26627,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":72},232873,"xie-sheng-hu-die-hua-hui-tu-juan-ma-lin-232873","写生蝴蝶花卉图卷","图绘群蝶恋花的田园小景。轻灵振翅的蛱蝶起舞于画幅的上半部；秋花枯芦摇曳于画卷的底边。在物象表现上，作者用双勾填色法画土坡、草丛、蛱蝶。其勾线富于顿挫和粗细变化，墨色亦有浓淡轻重之分，敷色积染多层，特别是蛱蝶的翅翼更因积染而色彩浓艳厚重，从而与主要以植物色染就的草叶形成“轻”与“重”的对比。图中蛱蝶的形象最为传神，作者逼真地刻画了蛱蝶之翼薄如绢纱的质感、绚丽斑斓的花纹和蛱蝶细如发丝的根根须脚。传神的笔墨展示了作者深厚的写生功底，使本图成为研究古代蝶种的形象资料。",[164,24,7,25,27,28,2166,61,481,62,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb467a89c60170e8b6134389615759f31.jpg","27.85*334.93厘米",[],{"id":26629,"slug":26630,"title":26631,"dynasty":124,"author":1058,"museum":2665,"description":26632,"tags":26633,"thumbUrl":26634,"material":611,"size":26635,"collection":84,"collections":26636,"showCount":26540,"zanCount":1998,"manualWeight":48,"mainColor":49},231837,"qi-feng-gao-yin-tu-tang-yin-231837","奇峰高隐图","弘治十年（1497年），唐寅参加录科考试期间与好友张灵宿妓喝酒，放浪形骸。提学御史方志十分厌恶这种行径，唐寅在录科考试中名落孙山。苏州知府曹凤爱惜人才，为唐寅求情，方志录于榜末。注：方志，字信之，成化二十三年进士。 弘治十一年（1498年），唐寅中应天府乡试第一，在他的《领解元后谢主司》一诗之中写道：壮心未肯逐樵渔，秦运咸思备扫除。剑责百金方折阅，玉遭三黜忽沽诸。红绫敢望明年饼，黄绢深惭此日书。三策举场非古赋，上天何以得吹嘘。唐寅作《送文温州序》和《金粉福地赋》。 弘治十二年（1499年），唐寅与江阴徐经入京参加会试，因牵连徐经科场案下狱，后被罢黜为吏。 弘治十三年（1500年），唐寅被罢黜为浙藩小吏，个人深以为耻坚决不去就职。唐寅归家后夫妻失和，休妻。",[23,24,7,165,27,132,29,30,98,99,34,131,495,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24db9aed0cc0e34002c0bec4c6d5e69f.jpg","75x56",[],{"id":26638,"slug":26639,"title":26640,"dynasty":54,"author":9576,"museum":424,"description":26641,"tags":26642,"thumbUrl":26643,"material":151,"size":26644,"collection":84,"collections":26645,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":49},231352,"tuan-shan-pai-huai-tu-luo-pin-231352","团扇徘徊图","画以水墨画一侧面仕女，手执团扇目视前方，似进似退徘徊不定。\n右上角画一飞雁，上下呼应，连成一脉。画题“奉帚平明金殿开，且将团扇\n暂徘徊，玉颜不及寒鸦色，犹带昭阳日影来”。署款“甲寅新秋两峰道人以指\n头图此见赠。回忆王江宁长信秋词语，遂援笔书之。春湖”。",[23,24,7,165,128,27,96,166,211,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa2ccb06ebdae0ec08e182f813cb13c1.jpg","纵98，横31.9厘米",[],{"id":26647,"slug":26648,"title":26649,"dynasty":54,"author":16862,"museum":300,"description":26650,"tags":26651,"thumbUrl":26652,"material":84,"size":84,"collection":84,"collections":26653,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":72},230297,"mei-hua-ce-ye-li-fang-ying-230297","梅花册页","此幅水墨古梅以意趣见长，枯干以浓淡墨色皴擦晕染，苍劲老辣，尽显古梅饱经风霜的嶙峋傲骨。斜逸的侧枝破局而出，带着清疏野逸的生机，柔枝缀着圈花点蕊的寒梅，简淡天真，不着艳色却仿佛冷香暗涌。\n\n题字笔致纵恣，与画面写意风骨相融，朱红印信点缀素纸，更添雅韵。整作脱略形似，直抒胸臆，以寥寥数笔勾勒梅之孤高，亦是作者心性投射，淡远清寂，将文人画以物明志的意趣淋漓展现，余韵悠长。",[24,7,59,128,369,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7461b818d7022997533cd484a86bcb9.jpg",[],{"id":26655,"slug":26656,"title":26657,"dynasty":124,"author":26658,"museum":300,"description":26659,"tags":26660,"thumbUrl":26661,"material":84,"size":84,"collection":84,"collections":26662,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":72},228920,"xiang-feng-jing-he-tu-zhou-liu-ru-shi-228920","香风静荷图轴","柳如是","此作为水墨写意妙品，以虚实相生铺就荷塘清景。泼墨重写团荷，浓淡晕染间尽显叶片舒展的苍润质感，荷茎虬曲穿插，残莲蓬斜立，暗笼秋意浅愁。白鹭以淡墨轻勾慢染，羽毛蓬松柔润，伫立浅滩侧目凝神，身姿娴静又暗含灵动生机，于留白水面独显出尘之态。\n\n笔墨干湿互济，淡墨晕开水面清光，浓墨点染汀洲残叶，画面疏密错落，题款极简留白恰到好处，将荷塘的幽谧禅意尽数铺陈，淡而弥远，简而不空，把初秋水畔的静雅与孤高意趣融为一体，尽显文人写意的空灵雅致。",[23,24,7,165,128,61,168,82,985],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe714f3a115a37707a297ef74ff20726f.jpg",[],{"id":26664,"slug":26665,"title":26666,"dynasty":18,"author":491,"museum":300,"description":26667,"tags":26668,"thumbUrl":26669,"material":84,"size":84,"collection":84,"collections":26670,"showCount":26540,"zanCount":1998,"manualWeight":48,"mainColor":49},228400,"shu-shan-zhan-dao-tu-guo-xi-228400","蜀山栈道图","此作以全景铺展蜀中山川，层峦叠嶂氤氲在淡墨轻岚之中，岩壁苍劲厚重，林木蓊郁苍润。栈道盘桓于幽谷险峰之间，山坳间村舍山居错落，行旅、舟桥点缀其间，将蜀道的奇崛险峻与山野烟火相融。\n画师以温润秀劲的笔墨，兼工带写晕染山石肌理，赭石敷色古雅沉静，以高远、平远交替的章法，尽显山川宏阔清旷的苍莽意境，将蜀地山水的雄秀灵奇和行旅幽情完美相合，尽显全景山水的雄浑雅致。",[23,1846,24,7,25,29,27,132,496,497,6290,34,35,36,96,21398,499,11936,1645,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ce8e773a25ce85e5e2190d4006eead8.jpg",[],{"id":26672,"slug":26673,"title":26674,"dynasty":144,"author":4054,"museum":300,"description":26675,"tags":26676,"thumbUrl":26677,"material":84,"size":84,"collection":84,"collections":26678,"showCount":26540,"zanCount":1998,"manualWeight":48,"mainColor":49},228035,"shan-shui-hua-ce-12-ye-guan-dao-sheng-228035","山水画册12页","此作以水墨晕染铺就烟岚浮动的幽寂之境，山峦隐现于流云薄雾之间，虚实相生，似有若无，将江南山水的氤氲柔婉尽数铺陈。坡岸修竹清挺秀逸，枝叶以细劲墨线勾勒，在朦胧烟霭中愈见清雅灵秀，与淡墨晕开的云山相映成趣。\n\n全画舍去繁复皴法，以淡墨烘染出云雾流荡之态，留白与晕染交织，令观者仿若身临幽寂空茫的山林，听溪声、沐烟霞，尽显元画尚意的审美意趣，于尺幅间藏万千丘壑，将文人画简淡空灵的意境抒发得淋漓尽致。",[24,7,59,128,132,29,167,131,99,37,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42fa9d27742c0b2b8d4e4c85f9f39255.jpg",[],{"id":26680,"slug":26681,"title":26682,"dynasty":18,"author":791,"museum":224,"description":26683,"tags":26684,"thumbUrl":26685,"material":84,"size":84,"collection":84,"collections":26686,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":49},227963,"pi-pa-ba-ge-tu-tuan-shan-ye-wu-bing-227963","枇杷八哥图团扇页","此作工致写实，将一隅小景绘得意趣悠长。通体乌黑的禽鸟静栖枝桠，羽翼以浓淡墨色晕染出蓬松柔润的质感，亮眼圆睁尽显憨稚警觉，喙部与爪尖勾勒细腻，姿态沉稳憨拙。旁侧枇杷枝叶舒展，叶片以淡绿敷色，细笔勾出筋脉区分阴阳向背，将叶片的舒展柔劲尽显无遗，簇生的浅黄花苞素雅清新。\n整幅画面设色温润古雅，笔意精细却不显匠气，把寻常林间片刻定格为隽永图景，尽显静观万物的雅致审美，淡逸平和中藏着鲜活生机。",[164,24,7,1131,28,27,61,211,918],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff313a95abb99fbd631ae6e3ea15178f3.jpg",[],{"id":26688,"slug":26689,"title":26690,"dynasty":18,"author":1323,"museum":300,"description":26691,"tags":26692,"thumbUrl":26693,"material":84,"size":84,"collection":84,"collections":26694,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":49},227742,"lou-ge-tu-li-song-227742","楼阁图","李嵩(1166—1243)，宋钱塘（今杭州）人。出身贫寒，年少时曾以木工为业。好绘画，颇远绳墨。被宫廷画家李从训收为养子，承授画技，终成一代名家。宋光宗、宋宁宗、宋理宗三朝（1190—1264）画院待诏，时人尊之为“三朝老画师”。工画人物道释，得从训遗意，尤长于界画。人物画用笔细致，神采奕奕；花鸟画精丽严谨，不觉繁缛呆滞；山水画以意匠经营，情留象外，引人入胜；界画不用界尺，而宫苑楼阁规矩绳墨皆备，不同凡响。绘画题材丰富多彩，从宫廷到民间、从城市到农村、从生产到生活、从吃喝到娱乐、从仙山到龙宫、从历史到现实均在画中有所反映，以反映农村风土和农民生活的居多，所作有精工鲜丽之院体画，作品甚丰，仅著录者就达50多幅。如《明皇斗鸡图》《花篮图》；有白描淡色之风俗画，如《货郎图》；也有水墨渲染之山水画，如《西湖图》等。\n\n传世作品有嘉定四年（1211）作《货郎图》卷、《花篮图》页、《骷髅幻戏图》轴藏故宫博物院；《西湖图》卷藏上海博物馆；《听阮图》、《夜月看湖图》及传为李嵩的山水小品画《水殿招凉图》等藏台北故宫博物院。传世作品还有《椿溪渡牛图》、《服田图》、《采莲图》和《观潮图》等，题材后世论画者题其画说：“李师最识农家趣”。\n\n李嵩的风俗画更为知名，他画过许多表现下层社会生活的农村生活风俗画，把劳动人民的生活作为审美对象来描绘，这在中国古代美术发展史上有着重要的意义。 其《货郎图》有多种本子存世，以故宫博物院收藏的一卷为最佳。此画描写一挑担货郎在乡村被孩童围住的情景，充满浓厚的乡土气息。藏于故宫博物院的《骷髅幻戏图》轴，人物表情甚佳，衣纹丁头鼠尾，多用直线，细而有力。",[24,7,95,28,27,29,97,413,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feee79b8cdce1dc5eed5659beb992a37f.jpg",[],{"id":26696,"slug":26697,"title":26698,"dynasty":54,"author":26699,"museum":300,"description":26700,"tags":26701,"thumbUrl":26703,"material":84,"size":84,"collection":84,"collections":26704,"showCount":26540,"zanCount":1998,"manualWeight":48,"mainColor":72},224543,"shan-shui-hua-juan-luo-mei-224543","山水画卷","罗枚","此卷水墨山水以平远之境铺陈开，山峦层叠逶迤，林舍错落点缀溪谷间。线条清劲简括，皴染淡逸萧疏，留白虚处见云水空濛，尽显丘壑幽寂。题诗与画境相融，笔墨脱略凡俗，以淡墨写林泉雅意，简而不薄，淡而有味，将林峦清润之态化为纸上幽境，尽显寄情山水的文人雅怀，清寂出尘的意韵溢满卷间。",[23,24,7,25,128,188,132,29,131,34,1515,31,496,12424,14906,26702,1144,1022,149,37,98],"远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007e50ac54acef202389bbd66e88ceb5.jpg",[],{"id":26706,"slug":26707,"title":26708,"dynasty":54,"author":7208,"museum":300,"description":26709,"tags":26710,"thumbUrl":26711,"material":84,"size":84,"collection":84,"collections":26712,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":72},224118,"yu-bi-da-shi-xiang-bing-xin-jing-tu-qian-long-224118","御笔大士像并心经图","此作书画合璧，首段白描观音大士，衣袂如流云舒展，趺坐莲台，线条清隽空灵，将大士的温婉端凝勾勒得形神兼备。\n\n其后小楷《心经》笔致沉劲端雅，结体匀整秀逸，墨色匀净乌亮，字字安稳静穆，经文旁辅以注音小字，尽显书写时的恭谨至诚。\n\n朱印鲜亮点缀素幅，红白相映愈见清雅古意。整幅作品将佛理禅意落于笔端，绘事简而有神，书丹工而不板，笔墨间浸着庄严肃穆的虔诚，是兼具笔墨造诣与禅心的精妙之作。",[23,24,164,7,165,304,188,28,572,128,187,96,208,7322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72e6e6a56dd394a9cbc245ad6b393c1b.jpg",[],{"id":26714,"slug":26715,"title":26716,"dynasty":124,"author":223,"museum":300,"description":26717,"tags":26718,"thumbUrl":26719,"material":84,"size":84,"collection":84,"collections":26720,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":49},223635,"lian-hua-tu-ye-yi-ming-223635","莲花图页","此作以工笔绘就，柔劲细线勾勒莲瓣轮廓，淡赭轻晕瓣边，褪去初绽娇色，白荷温润舒展，尽显盛放的雍容雅致。硕大荷叶以石绿敷色，墨笔勾出叶脉肌理，在古绢底色晕染下，绿意沉凝厚重，与素净白荷相映，清雅中带着沉静古拙的岁月质感。\n\n画面构图饱满却不显繁冗，一花两叶错落排布，将夏荷舒展之态定格。无多余点缀，以极简布景烘托莲的出尘气韵，尽显传统工笔花鸟的内敛雅致，晕开古画沉淀的静美意趣。",[23,164,24,7,59,27,28,81,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4589146b155a8c850a3f7b447dbf6eb0.jpg",[],{"id":26722,"slug":26723,"title":26724,"dynasty":124,"author":223,"museum":300,"description":26725,"tags":26726,"thumbUrl":26728,"material":151,"size":26729,"collection":84,"collections":26730,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":72},223582,"rui-lian-ling-mao-tu-yi-ming-223582","瑞莲翎毛图","荷塘里，荷叶绿如盘，粉红的荷花，或腐烂，或萌芽，含彩花，已结莲子； 天空中的白雁鸭成对啄食嬉戏，翠鸟、家禽或站在水草的杆上，或在柳枝上，或盘旋在空中，一派生机勃勃的景象。",[23,24,7,27,28,61,81,82,26727,211,3835,34,3334,62,1400,666,4280,4281],"天鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd66437a893b263b8850ee0421ee4d9d3.jpg","80x60cm",[],{"id":26732,"slug":26733,"title":26734,"dynasty":18,"author":2099,"museum":510,"description":26735,"tags":26736,"thumbUrl":26737,"material":611,"size":26738,"collection":44,"collections":26739,"showCount":26540,"zanCount":1998,"manualWeight":48,"mainColor":49},223398,"shang-shan-si-hao-hui-chang-jiu-lao-tu-li-gong-lin-223398","商山四皓会昌九老图","此图卷以白描手法分别画秦末高士东园公、甪里、绮里季、夏黄公四人避乱隐居中商山的故事和唐会昌五年三月二十四日九位退休老人白居易、胡杲、吉皎、郑据、刘真、卢真、张浑、李元爽、释如满等九位老人相聚洛阳履道坊白居易居所欢聚“尚齿”之会，既醉且欢之际赋诗画画的情景。",[23,24,7,25,188,27,96,29,131,34,1515,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe46ace2e8df223b406f8896937f90bac.jpg","30.7，横：238厘米",[44,117],{"id":26741,"slug":26742,"title":26743,"dynasty":54,"author":2582,"museum":20,"description":26744,"tags":26745,"thumbUrl":26746,"material":151,"size":26747,"collection":84,"collections":26748,"showCount":26540,"zanCount":1998,"manualWeight":48,"mainColor":72},222809,"hua-zhu-qi-qin-tu-wang-wu-222809","花竹栖禽图","《花竹栖禽图》底部一奇古巨石，一朵盛开的牡丹从石左侧斜出，枝头一雀鸟面向花朵，鸟目圆睁，似在欣赏花的美丽，又像陶醉在花香中。\n花鸟的颜色艳而不俗，用笔工而不板，明快醒目。\n巨石以浓墨绘出，见有皴染。\n石隙空洞处可见枝叶，错落雅致。\n墨竹疏落有致，用墨浅淡，与底部的花、鸟、石形成色彩上的鲜明对比。\n整幅画面虚实相间，构图奇巧，设色浓淡适宜，笔墨兼工带写，形成了赏心悦目的视觉效果。\n可见，作者跋中所言“学古而步泥其迹”不虚。\n此画右侧下端，置一太湖巨石，两头小中间大，造型奇特，玲珑别透，中间以矾头突出，湖石几乎占有画面的二分之一。\n石旁有翠竹数株，拔地而起，竹竿挺拔，有二大株翠竹冲出画面，一株矮竹附在湖石旁。\n湖石左脚下有数株茶花，茶花有的绽开，有的含苞，在绿叶村托下显得艳丽清雅。\n画幅左侧有作者自题识，丁已年为康熙十六年（1677），王武时年45岁，为王武中年佳作。\n此画的景物基本集中于画幅右侧，但由于画家精心安置，使整幅画位置安稳、平而不板，赋色明丽、艳而不俗，这是此画的最大的特色，也是此画最成功之处。\n在表现技法上，画家以水墨勾勒，皴染作山石，在点苔之后复以石青点之，湖石显得坚实、凝重。\n竹叶和茶花用绿色和红色直涂法，花蕊以黄色点染，花瓣虽都是红色，但亦有深浅区别变化，花叶上又用中锋细笔加画叶脉。\n一只小鸟以积墨法画之，墨色变化丰富，表现出羽毛的质感。\n此画采用没骨与匀勒法相结合的手法，显得自然协调，敷色雅丽明快，令观赏者心旷神怡，颇有忘忧之感。",[23,24,164,7,165,27,28,167,547,355,171,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8017c120ae98e5925dad71a77ec4ec.jpg","90.7×40.5cm",[],{"id":26750,"slug":26751,"title":26752,"dynasty":144,"author":2487,"museum":20,"description":26753,"tags":26754,"thumbUrl":26755,"material":40,"size":26756,"collection":44,"collections":26757,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":49},221767,"er-ma-tu-juan-ren-ren-fa-221767","二马图卷","元朝任仁发的《二马图》卷，是一幅有着明确讽刺内容的绘画作品，而且含义十分尖锐，下面试解释画面一二。\n画面很简单，画幅前边是一匹壮实、膘肥肉厚的花马，昂首，踏着轻快的碎步，尾巴扬起飘动，显得自在得意。随在这匹马后边的则是一匹骨瘦如柴的马，条条肋骨清晰可见，它低着头，步履蹒跚，尾巴卷缩着，显出吃力疲惫之态。画家以极其写实的手段，采用勾勒的笔法，描画了马匹的轮廓，线条极富表现力，然后赋以色泽，颇具唐人画马的传统。\n如果单纯从画面来看，画中描绘的只是两匹马，我们似乎不会感到这是一幅讽刺绘画，但是结合画幅后面作者自己的题记来看，其实它是对当时官场乃至社会的种种腐败黑暗提出了强烈的批评。只不过采用了隐喻、拟人的手法，曲折地表明了画家的态度和观点。这大概也是画家所处的时代决定的，因为像《二马图》这样的作品，当时除去作者本人以外，能看到的人可以说不会很多，这样的绘画活动仅仅只能算是个人行为，不会像现在的漫画作品能够发表于报刊上，影响面十分广大，变成了一种社会行为。\n这幅并无任何其他背景和道具的《二马图》卷，看似简单，其实寓意深刻。内容的关键在于画幅后面画家任仁发自己题写的一段文字。他在跋语中先叙述了所画的肥、瘦二马：“肥者骨骼權奇，縈一索而立峻坡，雖有厭飫芻豆之榮，寧無羊腸踣蹶之患。瘠者皮毛剝落，齧枯草而立風霜，雖有終身擯斥之狀，而無晨馳夜秣之勞。”在写完对两匹马的评语后，作者笔锋一转，进一步议论道：“世之士大夫，廉濫不同，而肥瘠系焉。能瘠一身而肥一國，不失其爲廉；苟肥一己而瘠萬民，豈不貽淤濫之恥歟？”看了这段跋语，我们才恍然大悟，原来任仁发是借用两匹马来评论官场的得失利弊。他将画中的肥马比喻成为官不正的贪官，他们吸食民脂民膏，故而肥壮；又将画中的瘦马比喻为廉明勤政的清官，因为忙于政务而累得皮毛剥落，骨瘦如柴。然后作者表明了应当以前者为戒、以后者为榜样的态度。明白了任仁发画这肥、瘦二马的用意之后，再仔细观察，就会发现，作者在画中还安排了一个不大为人注意的细节，那匹肥马马首挽着笼头，但是缰绳却松开了，拖在地上，而瘦马不但有笼头，缰绳还套在马颈上。一匹是没有约束的脱缰之马，失去了控制，就会无法无天，鱼肉百姓而肥己。另一匹是有约束的拴着缰绳的马，有了管束才能尽心尽力，克勤克俭。在这里任仁发似乎又进一步阐述了自己对于官吏管理的看法，其用心可谓十分良苦。其深刻含义就是如果一个社会缺乏了某种监督和制约的机制，腐败就将滋生。",[23,24,7,25,27,28,101,949,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc32de904e74241fc3d2e6288cfebb4fe.jpg","纵28.8厘米，横142.7厘米",[44,45],{"id":26759,"slug":26760,"title":26761,"dynasty":18,"author":26762,"museum":510,"description":26763,"tags":26764,"thumbUrl":26765,"material":151,"size":26766,"collection":42,"collections":26767,"showCount":26540,"zanCount":1998,"manualWeight":48,"mainColor":72},221470,"xue-zhong-mei-zhu-tu-xu-yu-gong-221470","雪中梅竹图","徐禹功","雪中梅竹图卷，以前部南宋徐禹功《雪中梅竹图》卷为主体，徐卷后有杨补之“柳梢青”词十首，赵孟坚跋二则，元人张雨“柳梢青”和韵一首。此图画雪梅一枝横空而出，修竹三管，雪压枝头，笔法清逸洒丽，意境清幽朦胧，充满诗情画意。作者徐禹功画史无考，惟在卷后赵孟坚题跋中始知为画家扬无咎之及门弟子，又从书于竹节之名款“辛酉人”考之，当生于1141年（南宋绍兴十一年）。画上有清代乾隆皇帝及董邦达、梁诗正等人的题诗。",[23,24,7,25,128,188,64,133,208,371,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F825e67ae4c8c60235698f2c0399e5488.jpg","纵29.6 厘米，横122 厘米",[42,68],{"id":26769,"slug":26770,"title":26771,"dynasty":18,"author":2032,"museum":20,"description":26772,"tags":26773,"thumbUrl":26774,"material":151,"size":26775,"collection":42,"collections":26776,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":72},221469,"ling-feng-bo-ge-tu-lu-zong-gui-221469","玲峰鹁鸽图","绘鹁鸽两羽，全身白色，只留尾巴黑色，一只立于湖石上，微张的尖嘴似与地面上的另一只打招呼；画面竹枝繁茂，花团锦簇，春光融融。鲁宗贵，南宋画家，工花竹、禽鸟、窠石，用笔意趣有余，描染佳妙。",[23,164,24,7,28,27,61,355,1144,229,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac548a4d2e561d376899c9dbecd6e64.jpg","28 × 52 cm",[42,68,45],{"id":26778,"slug":26779,"title":26780,"dynasty":18,"author":2099,"museum":244,"description":26781,"tags":26782,"thumbUrl":26783,"material":3544,"size":26784,"collection":42,"collections":26785,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":49},221408,"long-mian-shan-tu-li-gong-lin-221408","龙眠山图","《龙眠山庄图》亦称《山庄图》，是宋代杰出画家李公麟的白描山水画。画面表现的是由建德馆至垂云片的龙眠山庄图景。自西而东凡数里，岩谔隐见，泉源相属，山行者路穷于此。《宣和画谱》称《山庄图》，可以配王维《辋川图》；《佩文斋书画谱》亦说《山庄图》用王维《辋川图》的画法：“而行笔细润，乃有超越之意”。苏轼为之记，苏辙为之赋诗，凡二十首。《山庄图》既出，便为世人所珍爱。《山庄图》不仅是一幅远离尘嚣的山村风俗画卷，更体现了山庄主人思想倾向和生活情致。苏轼在《题李伯时〈山庄图〉后》说，李公麟在龙眠山，并非留意一草一木，然而《山庄图》“其神与万物交，其智与百工通。”所以他称李公麟为“有道有艺”的画家。",[23,164,24,7,188,132,29,495,34,96,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb03915a38cf74d256514b6749816117.jpg","纵28.9厘米，横364.6厘米",[42,136,117],{"id":26787,"slug":26788,"title":26789,"dynasty":182,"author":26790,"museum":2068,"description":26791,"tags":26792,"thumbUrl":26793,"material":18467,"size":26794,"collection":68,"collections":26795,"showCount":26540,"zanCount":1998,"manualWeight":48,"mainColor":49},221133,"bi-geng-yuan-zhang-you-221133","笔耕园","张祐","张佑（祐）[唐]（公元？年至八五三年前后）（新唐书、全唐诗等书均作佑。此从唐诗纪事及唐才子传）字承吉，南阳人。（全唐诗作清河人。此从唐才子传）生年不详，卒于唐宣宗大中中。初寓姑苏，称处士。工诗，元和、长庆间，深为令狐楚所器。楚镇天平，自草表荐，并以诗三百首献于朝。上因召元稹问之，为稹所抑，遂失意而归。客淮南，与度支使杜牧善。牧赠以诗，有“何人得似张公子，千首诗轻万户侯”之句。每苦吟，妻子累呼不应，曰：“吾方口吻生花，岂恤汝辈乎”？性爱山水，多游江南名山。尝同崔涯谒李佑，自称钓鳌客，佑壮之。晚年，与白居易日相讌谑。爱丹阳曲阿地，遂筑室隐居以终。佑著有诗集一卷，（全唐诗作十卷。此从新唐书志及唐才子传）传于世。",[23,24,7,61,371,128,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F600ed0ac0f5ad6cee417f047a2764487.jpg","21.4×25cm",[68,117],{"id":26797,"slug":26798,"title":26799,"dynasty":182,"author":20627,"museum":20,"description":26800,"tags":26801,"thumbUrl":26802,"material":20395,"size":26803,"collection":318,"collections":26804,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":72},221109,"xing-bo-shang-du-shu-tie-ye-ou-yang-xun-221109","行卜商读书帖页","释文：\n“卜商讀書畢，見孔子。孔子問焉，何爲於書。商曰，書之論事，昭昭如日月之代明，離離如參辰之錯行，商所受于夫子者，志之於心，弗敢忘也。”\n这段文字见于《尚书大传》，是孔子与弟子卜商的一段对话。应是欧阳询当年著述手稿，收入他所著的《艺文类聚》卷五五《杂文部·读书》之中，与史籍相较，帖中个别字有出入。\n卜商是孔子弟子，字子夏，春秋时卫国人。师事孔子，师生间常有议论问答，极富哲理。\n此帖为双钩廓填本，墨气鲜润。从书法上看，笔法严谨又不失生动气韵，点画的起止处强化方切硬折。欧阳询晚年将北碑用笔特点融于二王书风，而兼容南北正是“欧体”独到之处。此为欧阳询代表作之一。\n此帖宋代藏于宋徽宗宣和御府，清代归安岐所有，后入乾隆内府，辑入《法书大观》册中。\n宋周密《云烟过眼录》，清卞永誉《式古堂书画汇考》、吴升《大观录》、安岐《墨缘汇观》等书著录。",[23,64,133,1590,59,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ec07a542b148372350a60cce3f3a5d.jpg","纵25.7厘米，横16.5厘米",[318],{"id":26806,"slug":26807,"title":26808,"dynasty":182,"author":20411,"museum":20,"description":26809,"tags":26810,"thumbUrl":26811,"material":151,"size":26812,"collection":318,"collections":26813,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":49},221087,"lan-ting-shi-quan-juan-liu-gong-quan-221087","兰亭诗全卷","《兰亭诗》卷释文\n本幅无款印。\n卷前引首清乾隆皇帝行书题“笔谏遗型”，题签“兰亭八柱第四”，题记一段。又有瘦金体题签“唐柳公权书群贤诗”。\n卷后有宋邢天宠、杨希甫、习之、蔡襄（后添）、李处益、孙大年、王易、黄伯思（伪）、宋适，金王万庆，明王世贞（两段）、莫是龙、文嘉、张凤翼，清王鸿绪等题跋和观款。\n此书传为柳公权所书东晋穆帝永和九年（353年）三月三日，王羲之与谢安、孙绰等人在会稽（今浙江绍兴）兰亭修禊时与会者所赋的37首诗及诗序。\n本卷笔法僵硬粗糙，且多枯锋，但较自然率易。卷后宋代黄伯思尾题（伪）中云“传柳书”，细观之，个别字的用笔明显不是出自柳书，如：孙统四言诗中的“希”字、庾友四言诗中的“则”字、王涣之四言诗中的“足”字等末笔写的非常丑怪，字的结体亦多不够沉稳，失于浮躁，与柳氏所书王献之《送梨帖》后之题跋墨迹对比不但笔法不类，连结体也无丝毫相同之处。从诗文看，颇有不通处，如：把孙绰四言诗“怀彼伐木”误书为“怀彼代水”，把谢安四言诗“伊昔夫子”误书为“伊昔先子”。“伐木”是《诗经》中语，“夫子”是指孔丘，说明书写者是一位文墨不够精通之人。无论从艺术特征还是艺术水平来分析，该卷决非柳公权之笔。\n此卷断为宋以前抄本。从所录37首诗中可看出，个别用字不避宋讳，如谢安诗中“契慈玄执，寄教林丘”的“玄”字、王肃之诗中“嘉会欣时游，豁朗畅心神”的“朗”字等都没有避北宋始祖皇帝赵玄朗之讳。另外从书法的主体风格看，推测应写于唐代，与杜牧墨迹《张好好诗卷》大略相近，并且是信笔直书，不是临仿得来。作为唐抄古本，此卷与敦煌遗书中《文选·陆机短歌行等残卷》（伯2554）、《玉台新咏卷第二残卷》（伯2503）有同样的文学价值。\n宋《宝章待访录》，明《东图玄览》、《清河书画舫》、《清河见闻表》，清《珊瑚网书凭》、 《式古堂书画汇考》、《大观录》、《石渠宝笈·续编》、《石渠随笔》著录。",[23,7,64,25,133,572,208,128,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b8d7f88a916d9db75382a5a25a16e8.jpg","纵26.5厘米，横365.3厘米",[318,2210],{"id":26815,"slug":26816,"title":26817,"dynasty":182,"author":7319,"museum":300,"description":26818,"tags":26819,"thumbUrl":26820,"material":611,"size":26821,"collection":318,"collections":26822,"showCount":26540,"zanCount":1998,"manualWeight":48,"mainColor":72},221071,"zhuan-lun-sheng-wang-jing-quan-juan-zhong-shao-jing-221071","转轮圣王经全卷","自从佛教传入中土以后，写经书法应运 而生，以至于成为除壁画、造像艺术之外又一 绚丽夺目的宗教文化胜景。\n《 转轮圣王经》此卷前后题跋共有十八处，从中可以看出，欣赏者不乏知名人物，如元代仇远，明代韩逢禧，清代梁章钜、张之洞、李文田、吴大 澂、赵之谦等。而在元人题跋中有一条曰：“……虎林盛彪……钱塘仇远、同郡曹良史， 至元甲午二月十一日同观于困学斋。”困学斋 属鲜于枢斋名。虽难以据此认定此物即是鲜于枢的藏品，但至少可以说它曾为鲜丁枢寓目过。\n\n今观此卷书法，上承陈隋正楷遗风，兼收欧、虞两家笔韵，超凡脱俗，引人入定。其用笔匀净遒劲，结体疏密开合适度，允称初唐写经之精品，堪与《善见律》、《灵飞经》等媲美。学书者问津于此，必当豁然开朗，收事半功倍之效。",[23,7322,64,572,25,7,187,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F231f989d1c27f5c29d4ea13a79322f01.jpg","23.5x289.5",[318,2210],{"id":26824,"slug":26825,"title":26826,"dynasty":182,"author":464,"museum":244,"description":26827,"tags":26828,"thumbUrl":26833,"material":84,"size":26834,"collection":318,"collections":26835,"showCount":26540,"zanCount":1998,"manualWeight":48,"mainColor":72},221063,"shi-ba-xue-shi-yu-zhi-ning-shu-zan-juan-yan-li-ben-221063","十八学士于志宁书赞卷","唐太宗在做秦王时建“文学馆”，收聘贤才，以杜如晦、房玄龄、于志宁、苏世长、姚思廉、薛收、褚亮、陆德明、孔颖达、李玄道、李守素、虞世南、蔡允恭、颜相时、许敬宗、薛元敬、盖文达、苏勗十八人并为学士。复命画家阎立本为十八学士画像， 即为《十八学士写真图》，褚亮题赞。当时获唐太宗选入文学馆者称为“登瀛洲”，后人有所谓“十八学士登瀛洲”，又因唐太宗常与门下十八学士弈棋，后人因此画有《十八学士弈棋图》。",[64,133,128,25,7,96,611,8116,26829,26830,26831,26832],"人物题材","书卷形式","笔墨技法","书画合璧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21f296a09018a42795a522f41118a330.jpg","29.7x475",[318,2210],{"id":26837,"slug":26838,"title":26839,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":26840,"thumbUrl":26841,"material":26842,"size":26843,"collection":45,"collections":26844,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":72},221003,"hua-guo-shu-cai-ce-ye-yun-shou-ping-221003","花果蔬菜册页",[23,24,7,59,60,27,128,61,4250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38aaa574a7446c4481fe42d5b8f15d83.jpg","纸本 设色 册页","23 X 28 CM X 10",[45],{"id":26846,"slug":26847,"title":26848,"dynasty":54,"author":55,"museum":1376,"description":26849,"tags":26850,"thumbUrl":26851,"material":26852,"size":26853,"collection":136,"collections":26854,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":49},220972,"shuang-song-liu-quan-tu-yun-shou-ping-220972","双松流泉图","双松流泉图描绘巍峨高耸的远山被浮云游雾隔于天外，远处的瀑布从山崖之间逶迤婉转地涌出，因矶石抵柱而迥旋激荡，如同泉流。近景堤岸沙坡之上灵石伫立，苔草凝碧；临水的山角处双松并峙，针茂如冠，楮竹相生，杂然成林。一溪春水波光粼粼，仿佛正有和煦春风从水面掠过。画上虽然杳无人迹尘嚣，但并不荒疏冷寂。回荡壑谷的风声，击石鸣涧的水声，松涛如潮的树声，或许还有空山飞鸟的啼声，都为这本来幽静的画面平添了许多的幽趣，共同唱响一曲自然生趣的清歌，大有声情并茂的韵味。上端有画家自题语和款署：“双松流泉图，为六朋词兄六十寿。”落款：“毗陵恽寿平。”",[23,24,7,165,128,29,1144,99,131,132,276,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2b3e81025a8acac7cd4862aa16daff2.jpg","轴，卷本设色","纵172厘米，横67厘米",[136,117],{"id":26856,"slug":26857,"title":26858,"dynasty":124,"author":2268,"museum":300,"description":26859,"tags":26860,"thumbUrl":26861,"material":25,"size":26862,"collection":318,"collections":26863,"showCount":26540,"zanCount":1998,"manualWeight":48,"mainColor":199},220959,"zi-jia-shi-juan-dong-qi-chang-220959","紫茄诗卷","《董其昌书法经典鉴赏》是216年四川美术出版社出版的图书，作者是周世闻。\n董其昌，明代书画家。\n书法出入晋唐，自成一格，能诗文，刻有《戏鸿堂帖》。",[23,7,25,64,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf60a44922b4e634d8287b3b643ba82e.jpg","长414厘米、高24．5厘米",[318],{"id":26865,"slug":26866,"title":26867,"dynasty":124,"author":16243,"museum":6892,"description":26868,"tags":26869,"thumbUrl":26870,"material":26871,"size":26872,"collection":318,"collections":26873,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":84},220716,"xing-shu-jie-quan-wang-chong-220716","行书借券","王宠字履仁，后更字履吉，号雅宜山人，吴县（今苏州）人。出生于业商家庭，父王贞雅好收藏古器物书画，并与文征明等贤达时相往来，情谊甚笃。王宠早年与兄王守在苏州太湖洞庭山随蔡羽求学，既而读书石湖之上，二十年中「非岁时省侍，不数数入城。」王宠生平以名节着闻，关于他性情高洁的记述屡见于文词，其洒然出尘的隐者形象深入人心。自正德庚午（1510）至嘉靖辛卯（1531）间，王宠共参加了八次科考，但皆以失败告终，最后一次赴试离他去世只有两年，可想见其终生都在为科名繁忙。\n\n嘉靖七年（1528）四月，王宠请文彭作中，向袁褒借银五十两。文物馆所藏王宠借券，为是次告贷的一纸票据。全券行书八行六十八字，尺幅细小，但历经累世题咏，已成一帧长手卷。券中，双方约定以二分起息，并于同年十二月连本带利偿还，券末有王宠与文彭署名及花押，从内容到形式适合于市井借贷的常例。尽管如此，此券是否真为一件当时借贷的凭据，历来意见不一，从卷后各家的题跋可以窥其大端。质疑者认为，王宠与袁氏交情素厚，借五十金本不必有券，即使有券，亦不必言利，因而仅以「游戏之笔」视之。不过因嘉靖七年是王宠第七次赴科试之年，不少人有见于王宠当时的经济状况和赴考花销，认为借贷之举应是确有其事，虽则王、袁有通财之谊，但既属借贷，王宠也就按著成规，正式立下了借据。\n\n此券后为好事者藏去，数经转徙，甚至一度险付劫灰，而终得以保全，三四百年中代有名贤题咏赞赏，考据二氏生平及往来唱酬之风雅韵事，盖皆当日诸君无从料想之事。惜天不假年，王宠得寿仅四十。虽然人生短暂，其生前的艺术成就已为他赢得书法史上重要的一席。明中期书法以吴门为盛，年轻书家辈出，而唯有王宠得与祝允明、文征明二巨公并称「三家」而无异议。王宠书艺成熟得较早，二十多时已初具规模，大体规摹永兴、大令，高蹈晋法，后虽日臻成熟，其初衷无改。此帧借券书于三十五岁时，属「晚期」之作，即呈现出他那种为世所知的书风。虽然在王宠的传世书作中，此借券不甚起眼，且非「用意之作」，却得后世跋者如林，有为之歌咏作长篇者，有详悉考之成文章者，实洋洋大观，是知王宠书迹可贵，不独以艺事之工。而此券的流传，无疑又为后世提供了「书以人重」的又一典范。",[23,64,7,25,133,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71a5c0832584c8de37372e723ca0e418.jpg","水墨,纸本,手卷","24.3 × 21.5厘米",[318],{"id":26875,"slug":26876,"title":26877,"dynasty":18,"author":223,"museum":244,"description":26878,"tags":26879,"thumbUrl":26880,"material":173,"size":26881,"collection":68,"collections":26882,"showCount":26540,"zanCount":1998,"manualWeight":48,"mainColor":49},220443,"song-ren-sun-ji-tu-yi-ming-220443","宋人隼击图","秋桂飘香，芙蓉摇曳，原是祥和秋景，却呈现阵阵肃杀之气。但见巨鹰凌空俯冲，凌厉的目光，大有扑杀之势。于是雉鸡藏身石后，八哥、蜡嘴仓皇桃散，状甚惊恐。而它们在走避之余，尚注视着巨鹰动向的眼神，尤为生动传神。本幅细致写实，传为宋人所作，然就树干、芙蓉叶、芦苇等多处笔意观之，倒颇合明代吕纪一派画风。",[23,24,7,27,28,211,34,4278,497,19190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97657f8d0e87c5567462cc2a0dbe89c9.jpg","本幅 154.8x101.5公分、全幅 114公分",[68,42],{"id":26884,"slug":26885,"title":26886,"dynasty":18,"author":223,"museum":244,"description":26887,"tags":26888,"thumbUrl":26889,"material":173,"size":26890,"collection":44,"collections":26891,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":49},220424,"du-fu-li-ren-xing-tu-yi-ming-220424","杜甫丽人行图","《丽人行》是唐代大诗人杜甫的作品，约作于唐天宝十二载（753年）。此诗通过描写杨氏兄妹曲江春游的情景，揭露了统治者荒淫腐朽作威作福的丑态，从一个角度反映了安史之乱前夕的社会现实。诗分三段：先泛写游春仕女的体态之美和服饰之盛，引出主角杨氏姐妹的娇艳姿色；次写宴饮的豪华及所得的宠幸；末写杨国忠的骄横。全诗场面宏大，鲜艳富丽，笔调细腻生动，讽刺含蓄不露，通篇只是写“丽人”们的生活情形，却达到了如前人所说“无一刺讥语，描摹处语语刺讥；无一慨叹声，点逗处声声慨叹”的艺术效果。",[23,24,7,164,1326,28,27,29,96,758,34,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd607f74f9590044dbe2c25f94a50f5f.jpg","40.1x41厘米",[44,45],{"id":26893,"slug":26894,"title":26895,"dynasty":124,"author":16846,"museum":161,"description":26896,"tags":26897,"thumbUrl":26898,"material":66,"size":26899,"collection":136,"collections":26900,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":72},219977,"zhen-yi-qian-ren-gang-tu-wen-bo-ren-219977","振衣千仞岗图","此作用高远、平远之法铺陈山水，下半幅巉岩叠错，幽溪宛转，苍松虬枝斜曳，丹枫点破秋光，山居藏于松荫深处，野意萧散。远景烟峦浮空，汀渚村舍隐在淡墨轻岚之中，虚实相生，晕染出空濛清旷的秋霁氛围。\n\n笔墨兼工带写，山石以披麻皴间杂小斧劈，细劲松秀，淡墨轻扫出流云远山，将高蹈隐逸的林下之思藏在清寂丘壑间，把文人林泉高致的意趣，铺展于绢素之上，清灵淡远，尽显秀雅温润的吴门意韵。",[23,24,7,29,27,132,99,131,331,1023,496,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ff079bfcc13d6102a4df986fa0f2775.jpg","67x31cm",[136],{"id":26902,"slug":26903,"title":26904,"dynasty":54,"author":3750,"museum":1300,"description":17621,"tags":26905,"thumbUrl":26906,"material":278,"size":84,"collection":136,"collections":26907,"showCount":26540,"zanCount":1998,"manualWeight":48,"mainColor":72},219914,"cai-zhao-shi-yi-tu-wang-jian-219914","蔡肇诗意图",[24,7,164,128,132,165,1349,29,34,99,129,131,3847,37,1337,497,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb7e789e1591565f7fc6f26d2254029.jpg",[136],{"id":26909,"slug":26910,"title":26911,"dynasty":54,"author":16583,"museum":4840,"description":26912,"tags":26913,"thumbUrl":26914,"material":66,"size":84,"collection":136,"collections":26915,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":72},219488,"song-yin-mu-ma-tu-gao-qi-pei-219488","松荫牧马图","虬干古松下，巨石错落横陈。苍松枝桠奇崛舒展，枯笔皴擦出斑驳肌理，尽现岁月经年的苍劲风骨。\n林下白衣高士凭石闲坐，神色悠然，童子恭立身侧，一旁骏马垂首缓行，静中藏动。淡墨点染疏草矮木，晕开山野清寂逸趣。\n整幅以指墨写意，笔意简括洗练，寥寥数笔便将人物情态尽展，寄情林泉的超然雅趣藏于淡墨轻岚之间，尽显幽远出尘的林下之风。",[24,7,165,128,27,1144,131,96,101,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8484813b251832063d3488c3306199e.jpg",[136,44,45],{"id":26917,"slug":26918,"title":26919,"dynasty":124,"author":26920,"museum":244,"description":26921,"tags":26922,"thumbUrl":26923,"material":128,"size":84,"collection":117,"collections":26924,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":49},219372,"shan-shui-tu-yun-hu-yan-zuo-wang-wen-219372","山水图-云湖燕坐","王问","层岩叠嶂间，笔墨皴染交织出苍劲山体，草木葱茏处藏着几椽茅舍，溪水蜿蜒似带清音。溪边人物凭栏凝思，与幽居景致相映，尽得林泉之趣。干湿浓淡的墨色变化，既显山石肌理，又透文人逸气；题跋与山水相融，文心画意浑然一体。整幅画作于雄健中见清雅，将山水之秀与隐逸之情交织，尽显文人画的诗意与哲思，仿佛可闻松风溪语，可感隐者心境，是一幅兼具笔墨功力与精神内涵的佳作。",[24,7,165,128,132,29,98,99,96,331,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c40552f9ad1d350d633836f89864fdc.jpg",[117],{"id":26926,"slug":26927,"title":26928,"dynasty":54,"author":3437,"museum":244,"description":26929,"tags":26930,"thumbUrl":26931,"material":66,"size":26932,"collection":136,"collections":26933,"showCount":26540,"zanCount":1998,"manualWeight":48,"mainColor":72},219332,"gui-yin-tu-tang-dai-219332","归隐图","画山水师法王原祁，官内务府总管，以画只候内廷，康熙赐「画状元」。本幅画幽岩架屋，秋色满林，石磴盘空，泉流萦抱。用笔细致，山石多用干笔，带皴带擦，特重山势向背。",[24,7,29,27,132,131,34,496,130,499,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1876c740f1a043e94f3409e2f9793278.jpg","86.2x48.4",[136],{"id":26935,"slug":26936,"title":26937,"dynasty":124,"author":26938,"museum":244,"description":26939,"tags":26940,"thumbUrl":26941,"material":278,"size":26942,"collection":117,"collections":26943,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":72},219322,"fang-yuan-ren-bi-yi-zhou-hou-mao-gong-219322","仿元人笔意轴","侯懋功","侯懋功（生卒年不详），号夷门，苏州人，活跃于明代万历(1573-1620）年间。画中冈峦秀伟，崖径、栈道蜿蜒其间，若可游赏，并通向山顶隐蔽村舍。构图与山石树木之造型、用笔可见明代文征明之影响。「Y」字分界的前景石块及山间平顶，追仿着元代黄公望（1269-1354）的母题；繁密又多细节的景致，颇具元代王蒙遗意。此画不落蹊径地展现元人意趣，实为侯氏佳作。",[24,7,165,128,132,330,29,131,34,99,98,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b7ea70bfb859b086a831915d3eb4616.jpg","112.3x34.9",[117],{"id":26945,"slug":26946,"title":26947,"dynasty":124,"author":223,"museum":2542,"description":26948,"tags":26949,"thumbUrl":26950,"material":317,"size":26951,"collection":68,"collections":26952,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":956},219101,"zao-yu-tu-yi-ming-219101","藻鱼图","墨色晕染间，清浅水泽渐显。一尾大鱼摆尾游弋，鳞片层层叠叠如细网，纹理毕现；鳍翼舒展似带，姿态灵动若欲破纸而出。周遭数尾小鱼穿梭往来，或潜或浮，水藻轻曳于碧波，浮萍点点映于水面，更添生机。笔墨细腻处见鳞羽之微末，粗放处显水态之苍茫。简淡构图中藏自然野趣，虽无落款，却于动静相宜间尽显明代鱼藻画的雅致意趣——以物寄情，于寻常水族中见生命之美，于古雅绢素上留一段清逸时光。",[24,7,805,28,27,2059,12869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde6dabc68c34df057f3be3974e848c64.jpg","纵188横99.1厘米",[68],{"id":26954,"slug":26955,"title":26956,"dynasty":124,"author":26957,"museum":524,"description":26958,"tags":26959,"thumbUrl":26960,"material":66,"size":26961,"collection":136,"collections":26962,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":72},219072,"xiao-xiang-ba-jing-ce-zhang-fu-219072","潇湘八景册","张复","字复阳，以字行（佩文斋书画谱、复阳重截）号南山，浙江平湖人。",[23,24,7,59,128,27,132,29,98,99,331,8538,415,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a5cb54be34956331e4afd296566fa1.jpg","30x33厘米",[136],{"id":26964,"slug":26965,"title":18108,"dynasty":54,"author":26966,"museum":77,"description":26967,"tags":26968,"thumbUrl":26969,"material":173,"size":26970,"collection":68,"collections":26971,"showCount":26540,"zanCount":1116,"manualWeight":48,"mainColor":49},218934,"lu-yan-tu-tong-heng-218934","童衡","翔雁振翅俯冲，羽色斑斓层次分明；轻禽蜷卧石畔，茸毛细腻如触可感。疏苇劲挺，穗芒随风轻扬；蓝花数点，点缀坡岸野趣。画面动静相宜，工致笔触间藏逸气，温润绢底衬得草木禽鸟鲜活灵动。飞者姿态矫健，似携风声掠空；栖者神情悠然，若享片刻安宁。芦苇的苍劲与花草的柔媚相映，禽鸟的生动与背景的静谧相和，尽显清代花鸟写生之清雅生机，于简约构图中蕴自然意趣，观之如临郊野，满溢鲜活灵动的生命气息。",[24,7,27,28,211,18111,1824,376,171,61,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74094fc2a952daf18c529cd8039ea047.jpg","81x33cm",[68],{"id":26973,"slug":26974,"title":26975,"dynasty":18,"author":18558,"museum":244,"description":26976,"tags":26977,"thumbUrl":26978,"material":173,"size":84,"collection":136,"collections":26979,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":72},218699,"chun-hu-fang-ya-tu-hui-chong-218699","春湖放鸭图","粼粼春波轻漾，岸畔丛树新绿初绽，枝桠间似有柔风拂过。群鸭悠游于浅滩，或潜或浮，打破湖面静谧却更衬出天地清旷。画面以淡墨晕染水色，赭石轻点岸坡，色调温润如春日暖阳。构图虽简，却于留白处藏无限悠远——似可闻水声潺潺，嗅草木清香。那份恬淡自在，恰是小景山水的妙处：不追磅礴气势，只撷自然一角生机与意趣，让观者心随水禽，飘向春日烟水深处。笔墨细腻处见雅致，清寂中藏灵动，尽展宋人对自然的细腻感知与诗意情怀。",[23,24,7,59,128,27,29,34,9807,12812,3847,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F611f2359fee40bf129bb4fc8e4c89e36.jpg",[136],{"id":26981,"slug":26982,"title":8581,"dynasty":18,"author":223,"museum":300,"description":26983,"tags":26984,"thumbUrl":26985,"material":317,"size":84,"collection":42,"collections":26986,"showCount":26540,"zanCount":1998,"manualWeight":48,"mainColor":49},218663,"mu-niu-tu-yi-ming-218663","墨色晕染间，郊野清趣缓缓铺展。两头水牛憨态可掬：一头低首缓步，似嗅草间露气；一头驮着牧童悠然前行，弯弯牛角衬得身形愈发敦实。侧旁幼童牵绳随行，稚态尽显。左侧林木疏朗，枯枝横斜，藤蔓垂挂如帘，与右侧孤树相映，添了几分野逸之韵。山石起伏处，草木隐现，一派自然清旷。整幅画以淡墨勾染，线条温润细腻，将田园间的闲适宁静凝于绢素。似能闻得牛蹄踏土的轻响，牧童随口哼出的短调，尽显宋人笔下的生活意趣与山水情怀，将平凡日常淬炼成诗意的画面。",[23,24,7,28,132,102,96,413,29,1233,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37756075c4b31aef394ddd6fd16cfcfe.jpg",[42],{"id":26988,"slug":26989,"title":26990,"dynasty":18,"author":1449,"museum":56,"description":26991,"tags":26992,"thumbUrl":26993,"material":173,"size":26994,"collection":136,"collections":26995,"showCount":26540,"zanCount":1116,"manualWeight":48,"mainColor":49},218553,"jiao-yuan-ye-zhang-tu-ma-lin-218553","郊原曳杖图","亭子和阳台的一角被画上了。柳树高大而美丽，月亮在天空中，岩石微微露出，从上面可以看到长廊，亭子完全可以看到。\n悬崖用凿子画，亭子用稳健的笔触画，树叶也得到充分的装饰，远处的山峰被烤得绿油油的，并被渲染成彩色，天空中的月亮，以及柳树林中隐约可见的亭子和台阶。",[23,24,7,1131,128,27,29,96,496,34,1023,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef491921f92892f4f8b6bec2dc1e90cc.jpg","23.3x23.6",[136],{"id":26997,"slug":26998,"title":26999,"dynasty":18,"author":223,"museum":300,"description":27000,"tags":27001,"thumbUrl":27002,"material":173,"size":84,"collection":44,"collections":27003,"showCount":26540,"zanCount":1998,"manualWeight":48,"mainColor":49},218380,"feng-yuan-dang-xiong-tu-juan-yi-ming-218380","冯媛当熊图卷","殿宇的静穆被熊咆撕碎，尘雾里冯媛挺身挡在御座前。她衣袂轻扬却身姿如松，直面鬃毛贲张的猛兽——利爪前探的寒芒，映在她凝定的眼眸里。身侧嫔妃敛袖疾退，裙裾纷乱间露惶然神色；侍御持械却难掩惊惶，唯有她的身影如砥柱般屹然。御座上的帝王扶案屏息，目光锁在那抹决绝的背影上。\n\n古卷设色沉雅，线条流转间将刹那的紧张凝固：猛兽的凶戾、众人的惊惧、冯媛的无畏，在绢素上交织成一曲勇气的绝唱。笔墨不刻意渲染却动人心魄，于鬓发的微颤、衣褶的飘转处见风骨，让千年后的观者仍能触到那份临危不乱的赤诚——不是张扬的豪壮，是静水流深般的担当，在古雅的色调里静静发光。",[23,164,24,7,25,28,27,96,949,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64a9c747976af01358494e9c913d07cb.jpg",[44],{"id":27005,"slug":27006,"title":27007,"dynasty":54,"author":27008,"museum":56,"description":27009,"tags":27010,"thumbUrl":27011,"material":66,"size":27012,"collection":44,"collections":27013,"showCount":26540,"zanCount":1998,"manualWeight":48,"mainColor":72},218262,"ren-wu-ping-ren-yu-218262","人物屏","任预","任预（1853年—1901年），一名豫，字立凡，浙江萧山人，晚清著名海派画家，为早期海派大师任熊之子，山水、人物、花鸟，无所不精。在“四任”（任熊、任薰、任颐、任预）中，最为年轻。",[24,7,27,28,96,29,61,1634,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38c449c612a80a7b8bd1ad1f8c975450.jpg","131.6x32",[44],{"id":27015,"slug":27016,"title":27017,"dynasty":144,"author":223,"museum":300,"description":27018,"tags":27019,"thumbUrl":27020,"material":173,"size":84,"collection":44,"collections":27021,"showCount":26540,"zanCount":1998,"manualWeight":48,"mainColor":49},218221,"luo-han-xiang-yi-ming-218221","罗汉像","罗汉像通常是用来表示佛教修行者的，特别是罗汉像。罗汉是佛教中的一种超凡脱俗的观念，它象征着禅定、慈悲、智慧和善良。罗汉像图通常都是画在纸上，并且经常被用来作为供品，以祈求佛菩萨的加持和保佑。",[24,7,165,27,28,187,96,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ec12997a6b1db02e1cea6ef601106de.jpg",[44],{"id":27023,"slug":27024,"title":27025,"dynasty":144,"author":223,"museum":77,"description":27026,"tags":27027,"thumbUrl":27028,"material":173,"size":84,"collection":136,"collections":27029,"showCount":26540,"zanCount":1998,"manualWeight":48,"mainColor":49},217985,"zhong-ling-chun-se-tu-yi-ming-217985","重岭春色图","重岭春色图这幅画以其精美的绘画技巧和优美的风景吸引了许多人的目光。画中的景观描绘了一座重岭，周围是翠绿的树林，清新的空气中弥漫着春天的气息。轻轻飘荡的云彩似乎都在为这片美景增添一份神秘感。\n\n尽管这幅画作的作者是佚名，但它仍然是元朝时期艺术史上的一个重要作品。它的出现说明了元朝时期艺术家们对自然风光的描绘的技巧和热爱。如今，这幅画作仍然是许多人喜爱的艺术品，它代表了中国古代艺术的精华。",[24,7,29,128,132,663,413,1233,331,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ad62fdde2984f5c83ea59ddf31b1f0.jpg",[136],{"id":27031,"slug":27032,"title":27033,"dynasty":54,"author":675,"museum":27034,"description":27035,"tags":27036,"thumbUrl":27037,"material":173,"size":84,"collection":136,"collections":27038,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":72},216904,"qian-long-nan-xun-zhu-bi-tu-ye-ce-qian-wei-cheng-216904","乾隆南巡驻跸图页册","大英图书馆","二十三帧中的每一帧都有一个标题，有些板块还有文字描述南行的时间、景观和内容。该作品的构图融合了传统的风景画，花、树和花园清新柔和，远处和近处的山形以皲裂的风格描绘，建筑物则以三维俯视的方式绘制。",[23,24,7,59,95,27,28,97,29,34,130,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdded9f524bd90de54bf710ce3491c184.jpg",[136],{"id":27040,"slug":27041,"title":27042,"dynasty":54,"author":6357,"museum":300,"description":27043,"tags":27044,"thumbUrl":27045,"material":611,"size":27046,"collection":44,"collections":27047,"showCount":26540,"zanCount":48,"manualWeight":48,"mainColor":72},216734,"liu-shui-zhi-yin-tu-huang-shen-216734","流水知音图","《高山流水遇知音》是钟子期和俞伯牙的故事，用插图的方式再现了这个故事，虽然意境不是很高，但笔触粗拙，是黄慎的典型面目。",[23,24,7,164,304,165,128,369,96,99,34,229,438,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8719be88666ba739e59fcf8f941b3ab1.jpg","164x82",[44],{"id":27049,"slug":27050,"title":27051,"dynasty":18,"author":18846,"museum":300,"description":18847,"tags":27052,"thumbUrl":27053,"material":692,"size":1293,"collection":84,"collections":27054,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":72},290567,"qiong-rui-chun-ming-xu-chong-si-290567","琼蘂春鸣",[24,164,7,59,28,27,61,62,211,572,208,4364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89f14756074a055f53880d7e300a794f.jpg",[],49,{"id":27057,"slug":27058,"title":27059,"dynasty":54,"author":3403,"museum":300,"description":8089,"tags":27060,"thumbUrl":27061,"material":692,"size":1293,"collection":84,"collections":27062,"showCount":27055,"zanCount":1998,"manualWeight":48,"mainColor":4001},289982,"lan-xiang-si-shi-tu-li-zhou-wu-chang-shuo-289982","兰香四时图立轴",[23,164,24,7,165,128,375,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0c2e395e8d4c3fc58a6078ffd425cf9.jpg",[],{"id":27064,"slug":27065,"title":27066,"dynasty":54,"author":3403,"museum":300,"description":8089,"tags":27067,"thumbUrl":27068,"material":692,"size":1293,"collection":84,"collections":27069,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":72},289897,"shao-yao-hua-tu-li-zhou-wu-chang-shuo-289897","芍药花图立轴",[23,24,165,7,61,27,128,829,10701,375,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F638a5068b7ac56ff2e9203da3945361f.jpg",[],{"id":27071,"slug":27072,"title":27073,"dynasty":144,"author":1208,"museum":300,"description":19904,"tags":27074,"thumbUrl":27075,"material":692,"size":1293,"collection":84,"collections":27076,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":72},289458,"an-nan-shuang-shu-tu-zhuang-biao-ni-zan-289458","岸南双树图（装裱）",[164,24,7,165,128,64,208,1337,167,171,29,12490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1d7e6387dfc02f12dc56969477fdceb.jpg",[],{"id":27078,"slug":27079,"title":27080,"dynasty":18,"author":4481,"museum":300,"description":27081,"tags":27082,"thumbUrl":27084,"material":692,"size":1293,"collection":84,"collections":27085,"showCount":27055,"zanCount":1998,"manualWeight":48,"mainColor":49},288939,"xiao-xiang-ba-jing-yu-cun-luo-zhao-wang-hong-288939","潇湘八景-渔村落照","全卷呈现出一种全景式的山水大观，其中并没有体现出有『八景』的各自样态，因其用意并不在于『八景』。相比之下，王洪的《潇湘八景图》各景独立成画，各个表现不同之意境，应当是接近于宋迪所绘之《潇湘八景图》的形式样态。",[24,7,164,25,128,29,9551,3344,129,331,7566,27083,132],"渔者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbc3334d2253ee018f96ae13d2a02c85.jpg",[],{"id":27087,"slug":27088,"title":27089,"dynasty":351,"author":1610,"museum":300,"description":27090,"tags":27091,"thumbUrl":27092,"material":692,"size":1293,"collection":84,"collections":27093,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":49},288840,"jiang-di-wan-jing-tu-dong-yuan-288840","江堤晚景图","该画作是一幅绢本立轴山水画。轴顶上为溥儒题的“大风堂供养南唐北苑副使董源书江堤晚景无上至宝”。轴底为张大千、谢稚柳等人题跋。轴的中间绘绿意盎然的春日里，行人游春赏景，一侧的酒馆挂旗开门营业；松树高大苍翠，群山巍峨，山脚下河面波光粼粼，一片春日好时光！这就是画作的内容了。",[164,24,7,165,26,27,29,96,98,99,331,690,97,3344,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdb6c45faab9facbb27c89e848862159.jpg",[],{"id":27095,"slug":27096,"title":5124,"dynasty":18,"author":397,"museum":300,"description":27097,"tags":27098,"thumbUrl":27099,"material":692,"size":1293,"collection":84,"collections":27100,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":49},288535,"tao-jiu-tu-zhao-ji-288535","整幅画桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽，瘦金书稍稚嫩",[164,24,7,61,28,27,209,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feec189c27389c61c2b54e5e28f173886.jpg",[],{"id":27102,"slug":27103,"title":27104,"dynasty":18,"author":1174,"museum":300,"description":27105,"tags":27106,"thumbUrl":27107,"material":692,"size":1293,"collection":84,"collections":27108,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":49},288471,"jiang-shan-xiao-jing-tu-quan-juan-li-tang-288471","江山小景图全卷","此卷并无李唐签款，有一方祥哥刺吉公主的残印在画卷末缘上端。此卷中描绘一段沿江的山水景观，山中有各式建筑与山径穿绕，江上亦见船帆往来，人物活动丰富多样。画中山体以深浓轮廓线勾勒，藉石青与石绿烘染质面，间以简略皴笔构成凹凸，营造出坚实的山石效果。此一画风特色虽是与两宋之际李唐、萧照相近，但用笔更近阎次平，推测是近于第二代南宋院体画风之作。",[23,164,24,7,25,1349,132,27,11802,4438,7409,129,97,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dff97c40d039455fddefa58f3ab617d.jpg",[],{"id":27110,"slug":27111,"title":27112,"dynasty":54,"author":27113,"museum":300,"description":27114,"tags":27115,"thumbUrl":27117,"material":692,"size":1293,"collection":84,"collections":27118,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":72},241686,"huang-tai-hou-fu-lu-shou-tu-zhou-ci-xi-241686","皇太后福禄寿图轴","慈禧","此幅以朱笔书“福、禄、寿”3字，书体与众不同，用象形手法组成，仿佛一件绘画作品。结体上“福”、“禄”两字借用同一偏旁“礻”，而“录”、“畐”之间夹写一个“寿”字，中间空白部分经巧妙布局画成一个寿星拄着拐杖。这种以字体组合成图像的手法多流行于民间，虽见巧妙，却显俗气。关于慈禧太后的书法，近人马宗霍《书林纪事》载：“慈禧太后垂帘当国，亦喜怡情翰墨，学绘花卉，又学作擘窠大字，常书‘福’、‘寿’等字以赐内外大臣……”留存至今的慈禧书法之作多以单字居多，如本幅般书画合一的作品颇为罕见",[24,7,165,64,133,27,208,27116],"寿字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3f9bbd159e997b719540ecb4f985a63.jpg",[],{"id":27120,"slug":27121,"title":27122,"dynasty":54,"author":27123,"museum":300,"description":27124,"tags":27125,"thumbUrl":27126,"material":692,"size":1293,"collection":84,"collections":27127,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":72},239543,"lan-hua-shan-zhang-sheng-fu-239543","兰花扇","张升福","此作用水墨写意绘就兰石，兰叶以书法笔意挥写，墨线抑扬顿挫、穿插错落，将兰叶舒展之姿勾勒得灵动清雅，寥寥数笔便让芝兰柔润风骨尽显。淡墨点染兰花，花瓣简约却形神兼备，隐有暗香浮动之意。\n配景湖石以淡墨皴擦留白，写意出嶙峋之态，衬出芝兰幽生于岩畔的逸致。右侧题字行书隽秀，笔墨与题识相互映衬，整体简淡萧疏，将兰花高洁脱俗的品格寄寓水墨之中，尽显清幽雅致，意韵悠长。",[24,7,1131,128,375,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b98f44aa997e5edf16a17681698160e.jpg",[],{"id":27129,"slug":27130,"title":27131,"dynasty":54,"author":6376,"museum":300,"description":27132,"tags":27133,"thumbUrl":27134,"material":692,"size":1293,"collection":68,"collections":27135,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":72},238847,"mian-yi-hua-hui-xiao-ce-mian-yi-238847","绵亿花卉小册","绵亿（1764年9月10日－1815年4月14日），直隶省顺天府大兴县（今北京市）人，清高宗弘历之孙，荣纯亲王永琪第五子，母侧福晋索绰罗氏，左都御使观保之女。",[24,7,59,28,27,61,263,209,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5c1780bad75cd0dbda28ce53512d7c8.jpg",[68,45],{"id":27137,"slug":27138,"title":27139,"dynasty":124,"author":27140,"museum":300,"description":27141,"tags":27142,"thumbUrl":27143,"material":84,"size":84,"collection":44,"collections":27144,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":49},237889,"ba-xian-tu-zhou-zheng-wen-lin-237889","八仙图轴","郑文林","郑文林，号颠仙，明代画家，闽侯（今属福建）人。生卒年不详。活动时期约在嘉靖间（1522—1566）。工山水、人物，与汪肇、钟礼、张路等均为浙派后期名家。继蒋嵩之后，多用焦墨枯笔，点染粗豪，板重颓放，尤其是人物。《图绘宝鉴续纂》卷一以颠仙与袁尚统（字叔明，苏州人）并列一条目，谓两人“画人物俱野放”，并被吴派讥评为“狂邪”，其实颠仙所作有其独特风格。\n传世作品有《二仙图》轴、《女仙图》轴，现均藏中央美术学院；《群仙图》轴藏广州美术馆；《牧人瑞梦图》轴藏美国高居翰景元斋；《渔童吹笛图》轴、《柳荫人物图》轴均流入日本。图1以泼墨侧锋，拖泥带水，尽情挥写乱石老柳，以细碎之笔，密点柳叶，疾写杂草。人物造型，偏头斜目，举止怪诞，神情诙谐，更以颤笔写衣纹，颠狂之气，跃然画外。此幅图吸取牧溪、梁楷天然之趣，而舍浙派生硬之弊，构成此图动人的艺术特点。",[24,7,165,188,128,187,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd2a5609b3948be540700520769704c1.jpg",[44],{"id":27146,"slug":27147,"title":27148,"dynasty":54,"author":27149,"museum":20,"description":27150,"tags":27151,"thumbUrl":27152,"material":84,"size":84,"collection":136,"collections":27153,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":72},236645,"cha-shi-biao-shu-fa-ti-wang-zhi-rui-shan-shui-ce-wang-zhi-rui-236645","查士标书法题汪之瑞山水册","汪之瑞","汪之瑞，字无瑞，号乘槎，清朝安徽休宁人，清初画家。为明末新安画家李永昌高足。“新安四家”之一。\n查士标（1615-1698），字二瞻，号梅壑散人，懒老。新安（今安徽休宁）人，流寓江苏扬州。明末秀才，入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。他的闲散情怀决定了他的绘画气质亦是风神懒散、气韵高逸。",[24,7,59,128,132,133,208,29,171,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbecd6fb60f813cf83d989c822dd4c04b.jpg",[136,318],{"id":27155,"slug":27156,"title":27157,"dynasty":54,"author":675,"museum":300,"description":27158,"tags":27159,"thumbUrl":27160,"material":84,"size":84,"collection":68,"collections":27161,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":72},236198,"hua-gui-hua-yu-min-zhong-lin-huang-ting-jian-tie-cheng-shan-qian-wei-cheng-236198","画桂花于敏中临黄庭坚帖成扇","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。",[24,7,1131,61,818,330,133,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf40f10679bf2abd7c354888e76c59f3.jpg",[68],{"id":27163,"slug":27164,"title":27165,"dynasty":54,"author":9529,"museum":300,"description":19697,"tags":27166,"thumbUrl":27167,"material":692,"size":1293,"collection":84,"collections":27168,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":72},235564,"lin-ni-zan-xi-ting-shan-se-tu-shan-mian-wang-hui-235564","临倪瓒溪亭山色图扇面",[24,7,1131,128,330,132,64,208,29,130,413,131,495,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9946beb712e3f30922fe588e598acbf8.jpg",[],{"id":27170,"slug":27171,"title":1280,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":27172,"thumbUrl":27173,"material":692,"size":1293,"collection":84,"collections":27174,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":72},235086,"yun-shou-ping-hua-hui-ce-yun-shou-ping-235086",[24,7,59,27,60,61,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70b0a915e22f1438d7007f6edc85c06e.jpg",[],{"id":27176,"slug":27177,"title":24663,"dynasty":54,"author":872,"museum":300,"description":27178,"tags":27179,"thumbUrl":27180,"material":84,"size":84,"collection":84,"collections":27181,"showCount":27055,"zanCount":1998,"manualWeight":48,"mainColor":72},234158,"hua-hui-juan-zhu-da-234158","八大山人花鸟承袭陈淳、徐渭写意花鸟画的传统，发展为阔笔大写意画法，其特点是通过象征寓意的手法，并对所画的花鸟、鱼虫进行夸张，以其奇特的形象和简练的造型，使画中形象突出，主题鲜明，甚至将鸟、鱼的眼睛画成“白眼向人”，以此来表现自己孤傲不群、愤世嫉俗的性格，从而创造了一种前所未有的花鸟造型。",[23,24,7,25,128,369,64,208,133,62,372,9070,875,168,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10690432eee4f9791878f7dce4625503.jpg",[],{"id":27183,"slug":27184,"title":27185,"dynasty":54,"author":27186,"museum":300,"description":27187,"tags":27188,"thumbUrl":27189,"material":84,"size":27190,"collection":84,"collections":27191,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":72},234137,"xi-hu-zai-he-tu-xiang-juan-xie-bin-234137","西湖载鹤图像卷","谢彬","谢彬，字文侯，上虞人，为曾鲸高足，善画人物，兼长山水，清朱彝尊云：“谢彬学曾鲸氏而有得者也。”所作《朱葵石像》录于《中国绘画史图录》，《颜修来题壁图像》册页录于《中国书画过目汇考附目》，《渔乐图》录于《赖古堂书画集》。张学曾，字尔唯，号学庵，会稽人，自幼好画，为“画中九友”之一，山水师董源，喜仿元人笔，苍秀疏简，妍而不甜，枯而不涩，传世作《仿倪云林山水图》，藏故宫博物院，《秋兴诗意图》册录于《虚斋名画录》，《赠别图》录于《中国绘画史册》。金古良，字射堂，山阴人，善画人物，作《无双谱》，集书、画、诗为一体，甚杰出，称誉海内。李因，字今生，号是庵，会稽人，女画家，工花卉禽鸟，画多水墨，苍老无闺阁气，精于写生，点染生动，大幅更佳，亦善刻，曾刻其师陈白阳像奉之，传世作《墨花鸟》卷藏故宫博物院，《鸟竹图》扇面，录于《铁琴铜剑楼藏扇集锦》，《荷花鸳鸯图》藏南京博物院。李因之夫葛无征，亦善山水。",[23,24,164,7,25,27,26,28,29,97,98,99,129,211,130,34,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F349f77f272eba5b173d116e21d035d63.jpg","横：419.3cm，纵：16.7cm",[],{"id":27193,"slug":27194,"title":27195,"dynasty":144,"author":1346,"museum":20,"description":27196,"tags":27197,"thumbUrl":27198,"material":2239,"size":2930,"collection":84,"collections":27199,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":72},234099,"yu-fu-tu-zhou-wu-zhen-234099","渔父图轴","在中国古代，渔、樵、耕、读，常常被文人士大夫视为理想化的生活方式，并常被用作文艺作品的主题，以表达作者避世遁隐的愿望，其中尤以“渔隐”的素材最为普遍。时至元代，汉族文人仕进无门，社会地位骤降，江南士人遭遇尤甚。于是，“渔隐”就更频繁地出现在绘画作品中，其中以吴镇的《渔父图》最为典型。吴镇善作“渔隐”题材的山水画，传世《渔父图》即有多幅，此图是其中较有代表性的一幅。图中描绘江南水乡景色，平冈丛树，一渔父驾小舟逍遥于湖弯水色之间。全图墨色苍润，山石、树木、枝叶都注意到了墨色浓淡的交替运用，借以表现层次关系并突出主要物象。笔法多变，皴擦点染，均可看出作者高超的控笔能力。湖山间幽僻清寂的意境跃然纸上，给人以远离尘俗之感。吴镇的《渔父图》大都以秀劲潇洒的草书《渔父群》相配，诗、书、画相得益彰。即如此图中所书：“目斷煙波青有無，霜凋楓葉錦模糊。千尺浪，四鰓鱸，詩筒相對酒葫蘆。”诗为画图点睛，真切地表达出 “一叶随风万里身”的隐逸情思。",[24,7,165,128,132,133,208,29,129,99,331,1350,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7e0d50dd46d8af9d83496cf46482b72.jpg",[],{"id":27201,"slug":27202,"title":27203,"dynasty":144,"author":8127,"museum":20,"description":27204,"tags":27205,"thumbUrl":27206,"material":611,"size":27207,"collection":84,"collections":27208,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":72},233810,"mu-dan-tu-juan-wang-yuan-233810","牡丹图卷","两幅画里的杜鹃、桃花却是点虱而成，虽然只是简单的用笔，却也表现出花朵的墨色变化。这些花鸟因用水墨表现出来，显得素洁安静给人以超凡脱俗之美。王渊的画是从淡彩晕染演绎出淡彩渲染，似乎是要通过淡彩画出五色绚烂的效果。而淡彩渲染又服从于总体效果，又有了浓墨渲染便有了墨色浓淡的层次。王渊的墨彩之所以能够如此绚丽，不得不归功于另一个重要因素——纸。中国画是离不开绢和纸的，就像笔离不开墨一样。绢和纸决定了一幅画的描绘，虽然有相同处，然而在具体的用笔用墨、气质上格调上还是有本质区别的。宋以前的画一般都是用绢，绢是丝织品，透明而有光泽，不散墨，可以一遍遍的描绘，更好的塑造形象。宋以后的画包括著色画一般是用纸来完成的。纸是植物制品，而绢是丝织品，性质不同就注定用两者作画会有不一样的效果。绢的运用在绘画上做出了辉煌的贡献，已经达到了极致，而纸的使用使笔墨发生了变化，使画有了另一种味道，因此也有了流派上的变迁。元代的画纸是一种质地坚硬、半生半熟的纸，一般水墨会停留在纸面上，遵循着配合到描绘对象的写实原则，水墨落在纸上就会出现似化非化的效果，线条会有一种渴润的韵致，墨色也会更加有苍茫之感。而中国古代画家用的纸都是精心取材，按着严谨的制造程序来做的，因此无论纸还是绢都是非常好的。而现代制纸大都没那么考究，或是有些制造经验已经失传了。",[24,164,7,25,128,28,61,263,208,1429],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbb9ec2e52112fc99757bf6c16e4be0f.jpg","纵37.7cm、横61.6cm",[],{"id":27210,"slug":27211,"title":27212,"dynasty":124,"author":125,"museum":20,"description":27213,"tags":27214,"thumbUrl":27215,"material":1722,"size":27216,"collection":84,"collections":27217,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":72},233147,"fang-dong-ju-shan-shui-tu-zhou-shen-zhou-233147","仿董巨山水图轴","五代南唐董源、巨然的风格受到明代吴门画家的重视，成为他们效仿、取法的对象，根据本幅左上角画家自题，图中仿董巨的风格是受民度本人所请。该图在狭长的尺幅中作长林巨壑之景，近处松石陂陀，中间有较大面积的湖水，水面上二人乘小舟垂钓，一座桥从画外延伸至山脚下的彼岸，桥上一文士策杖而行，岸上有茅亭屋舍。再往上山势连绵，景致层层深入，中间一条“S”形的山谷使两边的山峰在狭长的构图中并不显得拥挤，凸显了高远、深远的特色。图中皴笔短促繁密，圆润松秀，用笔注重层层渲染，笔锋内敛，具有外柔内刚的特点。该图在构图、笔墨上受到“董巨”的影响，但是画家融合古人的笔意而又有自己的特点，用笔颇为苍润醇厚，此外策杖归来、舟上垂钓均为当时吴门文士生活的真实写照。",[24,7,165,128,132,330,29,663,228,413,372,12741,130,499,497,1023,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14e5c45557f6c8377677e6b12b06ec41.jpg","纵163.4厘米，横37厘米",[],{"id":27219,"slug":27220,"title":27221,"dynasty":54,"author":1460,"museum":224,"description":27222,"tags":27223,"thumbUrl":27224,"material":611,"size":84,"collection":84,"collections":27225,"showCount":27055,"zanCount":1116,"manualWeight":48,"mainColor":72},232606,"ku-gua-he-shang-shu-hua-ce-shi-tao-232606","苦瓜和尚书画册.","此画册《苦瓜和尚书画册》为清代画家石涛绘，共12幅，一图一诗。旧藏日本大收藏家桑名铁城，书名页 “石涛道人书画神品”为日本著名画家富冈铁斋题，现藏于美国大都会博物馆。这些书画大约书绘于1695年。\n石涛（1642年－1708年），清初画家，原姓朱，名若极，广西桂林人，祖籍安徽鳳陽，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等。与弘仁、髡残、朱耷合称“清初四僧”。石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n石涛擅长山水，常体察自然景物，主张“笔墨当随时代”，画山水者应“脱胎于山川”，“搜尽奇峰打草稿”，进而“法自我立”。所画的山水、兰竹、花果、人物，讲求新格，构图善于变化，笔墨笔墨恣肆，意境苍莽新奇，一反当时仿古之风。\n第十二帧：君与梅花同赏，岁寒时许争夸，暖日睛窗拈笔，几回清思无涯。小乘客，济。",[24,7,59,128,133,208,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07884430a5f9c035d5167b0df2cde5b3.jpg",[],{"id":27227,"slug":27228,"title":4247,"dynasty":54,"author":14255,"museum":300,"description":27229,"tags":27230,"thumbUrl":27232,"material":84,"size":84,"collection":84,"collections":27233,"showCount":27055,"zanCount":1998,"manualWeight":48,"mainColor":72},230118,"xie-sheng-hua-niao-tu-qu-zhao-lin-230118","此作以工笔设色绘就庭院清秋小景，桂树新枝缀着嫩绿叶瓣与细碎繁花，枝头双雀依偎和鸣，另有群雀或振翅掠空，或伫立于朱漆栏杆，将灵雀憨态描摹得鲜活入微。\n\n下方幽石错落，阔叶草木舒展柔姿，淡色小花点缀其间，晕染出静谧雅致的庭间氛围。设色清妍柔和，线条匀净秀润，兼具院体花鸟的工致写实，又暗含文人写意的清幽意趣，将寻常庭院的花鸟日常，晕染为一方诗意盎然的雅致画境，尽显写生花鸟的细腻妙趣。",[23,24,7,165,28,27,61,211,413,582,549,12508,27231,229,547],"栅栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0eac61a99c9ad9c38167017ba4112f0.jpg",[],{"id":27235,"slug":27236,"title":27237,"dynasty":54,"author":27238,"museum":161,"description":27239,"tags":27240,"thumbUrl":27241,"material":84,"size":84,"collection":84,"collections":27242,"showCount":27055,"zanCount":1998,"manualWeight":48,"mainColor":49},228921,"qiu-shan-hong-shu-tu-li-jian-228921","秋山红树图","黎简","这幅山水以没骨青绿晕染山峦，留白烘出流云如絮，将山谷裹在空濛仙气之中。丹红的枫林点染在青碧峰峦间，冷暖撞色鲜活明快，打破了青绿基调的沉静，映着澄澈秋水，板桥卧波引渡。隅侧茅舍隐在红树之后，野趣横生。\n\n山石勾勒圆浑，设色厚而不浊，在堂皇明艳的大青绿底色中，融入文人山水的清寂澹远，将秋山的绚烂丹枫与幽寂林泉相融，把秋日山林明丽又安宁的意韵尽数铺展，诗意悠然。",[164,24,7,165,27,28,132,29,2524,98,35,37,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea6ed7e98b0f5962716eadac4fb205f7.jpg",[],{"id":27244,"slug":27245,"title":27246,"dynasty":124,"author":18090,"museum":300,"description":27247,"tags":27248,"thumbUrl":27249,"material":84,"size":84,"collection":84,"collections":27250,"showCount":27055,"zanCount":1998,"manualWeight":48,"mainColor":49},228424,"fang-zhao-yong-xi-shan-ting-quan-tu-lan-ying-228424","仿赵雍溪山听泉图","此作用笔苍劲老辣，层岩峻拔巍峨，以硬朗皴法写尽山石厚重质感，峭壁间飞泉垂落，似能闻声潺潺。山间林木虬曲多姿，红绿错杂，为幽寂山景添了几分灵动生机。\n\n画面一隅茅庐依水而设，隐士凭坐松下静听泉声，将林泉高致藏于丘壑之中。整体兼具元人山水的疏朗写意与浙派刚健气象，既绘出峰峦雄阔之态，又尽显林下幽居的萧散闲逸，把观泉听涛的雅趣融在山野烟岚里，清寂淡远的林下之逸跃然纸面。",[23,24,164,7,165,128,27,132,29,495,34,3440,497,499,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc4742071ff701ac6e53351aca5f7f5.jpg",[],{"id":27252,"slug":27253,"title":27254,"dynasty":18,"author":1174,"museum":300,"description":27255,"tags":27256,"thumbUrl":27257,"material":84,"size":84,"collection":84,"collections":27258,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":49},227966,"gui-qu-lai-xi-tu-juan-li-tang-227966","归去来兮图卷","此作将陶潜归田之思铺陈于绢素之上，前段平远旷阔，烟波轻笼田舍村墟，农人往来、隐者凭栏，尽显乡居安闲意趣；后段峰峦崔嵬，林木蓊郁，幽涧流泉间高士策杖寻幽。\n笔墨糅合北宋山水的雄浑与苍劲院体笔法，勾勒简括，皴染厚重，丘壑幽邃与田园清逸相融。搭配纵逸题笔，诗书画印浑然一体，把守拙归园、寄情山水的林下襟怀淋漓展现，萧散静穆的隐逸气象扑面而来。",[164,24,7,25,128,27,29,96,97,98,99,130,413,131,2048,64,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a5cc3cee1ceef518ee7b74df05ac966.jpg",[],{"id":27260,"slug":27261,"title":27262,"dynasty":18,"author":223,"museum":244,"description":27263,"tags":27264,"thumbUrl":27265,"material":611,"size":27266,"collection":84,"collections":27267,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":49},223423,"song-ren-ying-xi-tu-zhou-yi-ming-223423","宋人婴戏图轴","以小孩为主要绘画对象，以表现童真为主要目的，所以画面丰富，形态有趣。",[23,24,7,165,28,27,96,8832,18793,34,4278,481,16982,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda63fb920aa5b61046227673fe4d57a0.jpg","279x84",[],{"id":27269,"slug":27270,"title":19546,"dynasty":54,"author":27271,"museum":524,"description":27272,"tags":27273,"thumbUrl":27274,"material":561,"size":27275,"collection":68,"collections":27276,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":72},223124,"shui-xian-tu-song-si-ren-223124","宋思仁","几簇长卷水仙花，散落在峭壁、岩石、泥土上，叶片长长，花朵艳丽，一派生机勃勃的风沙。宋思人，名雅若，名如和，是山东两道官员。能诗，善戏，善识古人，精篆刻，多古篆。他画山水、花草树木，尤其是兰花。",[23,24,7,25,128,374,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01e0da0bdc665e81096b22d4695c855d.jpg","30cmx499cm",[68,45],{"id":27278,"slug":27279,"title":1109,"dynasty":54,"author":9576,"museum":1300,"description":27280,"tags":27281,"thumbUrl":27282,"material":27283,"size":27284,"collection":84,"collections":27285,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":72},222832,"zhu-shi-tu-luo-pin-222832","以浓淡二墨写竹竿枝叶，水墨撇脱，随意挥洒，以浓淡枯润的变化，尽现竹之风致意态，有云雾迷潆之感。画意空灵湿润。小溪之畔，怪石嶙峋，以干笔湿墨勾染点皴，色泽凝重，富有体积感。",[23,24,7,165,128,188,167,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f5e50e2e41066cad8b00a5868c52fa2.jpg","立轴，纸本，墨笔","纵121.8厘米，横58.8厘米",[],{"id":27287,"slug":27288,"title":27289,"dynasty":54,"author":1740,"museum":510,"description":1741,"tags":27290,"thumbUrl":27291,"material":1752,"size":1753,"collection":84,"collections":27292,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":49},222818,"gu-su-fan-hua-tu-di-er-duan-xu-yang-222818","姑苏繁华图第二段",[23,24,7,25,28,27,95,96,97,98,99,130,34,35,105,103,109,1745,1743,1744,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa13854b780c9cb3ed4dddfbf1c538ccc.jpg",[],{"id":27294,"slug":27295,"title":27296,"dynasty":54,"author":4468,"museum":244,"description":4469,"tags":27297,"thumbUrl":27298,"material":27,"size":4474,"collection":84,"collections":27299,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":72},222734,"xian-e-chang-chun-tu-shao-yao-tu-lang-shi-ning-222734","仙萼长春图芍药图",[23,164,24,7,59,28,27,61,829,171,548,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4e80ec12b7bb3352ab726c4f69de0f.jpg",[],{"id":27301,"slug":27302,"title":27303,"dynasty":124,"author":1438,"museum":205,"description":4072,"tags":27304,"thumbUrl":27305,"material":1223,"size":4076,"collection":84,"collections":27306,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":72},222563,"hua-hui-tu-2-chen-chun-222563","花卉图2",[23,164,24,7,61,369,27,62,549,3776],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b58c1f760d5e2ed82b57cd46ef85900.jpg",[],{"id":27308,"slug":27309,"title":27310,"dynasty":124,"author":27311,"museum":300,"description":27312,"tags":27313,"thumbUrl":27314,"material":27315,"size":27316,"collection":136,"collections":27317,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":72},222139,"shan-shui-shou-juan-li-liu-fang-222139","山水手卷","李流芳","李流芳（1575～1629年），字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人，南直隶徽州歙县（今安徽歙县）人，侨居嘉定（今上海嘉定），明代诗人、书画家。\n三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一，亦工书法。崇祯二年，卒于檀园，享年五十五岁。\n万历三年（1575）李流芳出生于嘉定南翔一户官宦人家。原籍南直隶徽州府歙县（今安徽歙县南丰），祖父李文邦为迁翔始祖，任成山卫指挥使，封赠公爵。父亲李汝筠系县学生。伯父李汝节是嘉靖进士，官至安吉知州。堂兄李先芳，万历进士，四川参议。李流芳兄弟四人：长兄李元芳，诸生，诗人；仲兄李名芳万历进士，翰林院庶吉士；弟李三芳，定海县丞。李流芳排行第三，人称李三长蘅。\n李流芳青少年时，潜身东林庵中，认真读书，企求科举入仕。万历三十四年(1606)，32岁中举，后又两度赴京参加殿试皆不第。时朝廷为太监魏忠贤及其党羽把持，仕途凶吉难料。他感到气馁，回到家乡，自建“檀园”，绝意仕途。他经常游览杭州西湖，一边游湖一边作画，并提笔写下一系列题跋，一派高人逸士之风度。为人耿直，诗风清新自然，文品为士林翘楚。魏忠贤建生祠不往拜，与人云：“拜，一时事，不拜，千古事。”\n李流芳和程嘉燧，诗文书画齐名，曾对好友钱谦益说：“精舍轻舟，晴窗明己，看孟阳（程嘉燧）吟诗作画乃是生平第一快事。”钱谦益曰：“吾却有二快，兼看兄与孟阳耳。”崇祯元年（1628），钱谦益被放，坐帐论牍，病中的李流芳闻讯，扶枕浩叹：“不可为矣！”\n崇祯二年 (1629)闰四月三日李流芳卒于檀园，享年五十五岁。钱谦益作《李长蘅墓志铭》，程嘉燧书丹，宋珏篆盖，侯峒曾作《祭李长蘅先生文》。清嘉定诗人林大中有诗夸其“忆当晚明时，官途亦多术。高士多鄙之，坚卧独不出。诗笔能清真，画品亦超轶。不拜千古事，名言殊简质。孝廉忧国家，呕血遂以卒。”大书画家董其昌曰：“其人千古其艺千古！”",[23,24,7,25,128,132,29,663,228,34,35,149,111,415,14906,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6f69a3a1328ce4101011410906b76df.jpg","水墨绫本","347.4x29.2",[136,117],{"id":27319,"slug":27320,"title":27321,"dynasty":144,"author":1768,"museum":244,"description":27322,"tags":27323,"thumbUrl":27325,"material":173,"size":27326,"collection":44,"collections":27327,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":49},221846,"yuan-shi-zu-chu-lie-tu-zhou-liu-guan-dao-221846","元世祖出猎图轴","《元世祖出猎图》属于全景式大尺幅作品，取材于元世祖行猎的场面，即元世祖忽必烈与帝后及其侍从狩猎情景。 画中忽必烈着红衣白裘，乘着黑马。画中有十人，有弯弓搭箭，有驾鹰纵犬，人物分散，似做围猎状。\n《元世祖出猎图》中人物、马骑无论衣着、装备皆刻画精细，表情神态自然生动。 所画人和马作各种不同的姿态，转侧俯仰，富有变化",[23,24,7,164,165,27,28,96,101,949,22807,27324],"原野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f29856d91d375b99fed5b050f99805e.jpg","182.9x104.1",[44,45],{"id":27329,"slug":27330,"title":27331,"dynasty":18,"author":7264,"museum":300,"description":27332,"tags":27333,"thumbUrl":27334,"material":27,"size":27335,"collection":42,"collections":27336,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":49},221486,"hao-shan-wu-shu-tu-juan-mi-you-ren-221486","好山无数图卷","全景以留白的云霭，穿梭于峰峦叠翠间，重山翠岭连绵不绝，自左而右、渐行空远。技法上以“米点”墨色铺陈山峦及树石，另以较为浅淡的墨色晕染沙渚岸边；工笔浓墨装点枝干、独桥及扁舟。画家铺陈山景的风格及技法，与其父米芾颇有相通之处，故《画继》中称其所作山水“点滴烟云，草草而成，而不失天真，其风气肖乃翁(芾)也”，故画史上有“大米”及“小米”之称。此幅充满诗意、适时应景的画题，可溯自其父米芾，甚而宋迪“萧湘八景”图。它旨在将游历山景的心境投射于画境中，透过米点皴染表现出来，诗画合一。",[23,164,24,7,25,128,132,64,208,29,663,950,228,129,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29e394bfd90e74778f0999e18a35a29a.jpg","34x195.",[42,136,117],{"id":27338,"slug":27339,"title":27340,"dynasty":18,"author":27341,"museum":300,"description":27342,"tags":27343,"thumbUrl":27344,"material":151,"size":27345,"collection":42,"collections":27346,"showCount":27055,"zanCount":1998,"manualWeight":48,"mainColor":49},221417,"qiu-lin-tu-ye-xu-dao-ning-221417","秋林图页","许道宁","此卷作平遠的構圖，山巒重疊向兩面展開，叢林間隱藏寺院和佛塔。近景作河流、坡岸，幾棵大樹，挺拔疏朗，有小道、橋樑通往遠處；二局士遠眺，有騎士與隨從似正遊覽歸來。表現了華北黃土地清曠的晚秋景色。其構圖與美圍納爾遜·艾京斯美術館藏《秋江漁艇圖》屬同一類型。樹法作“蟹爪法”，鹿角、坡石皴法亦屬李成一派。本圖無款，傳為許道寧作。\n圖中描寫的是華北平原秋天時的蕭寒荒涼景色，與平原中活動的人物。最令人深感趣味的是從圖卷末開始，山坡上植滿大片樹叢，樹葉開始凋零，景色由此向右上方延伸，到中景則出現小片樹叢，並隱約可見在林間的寺院和閣樓。這就點出了此畫的主題，在樹叢下有幾名清雅高士正朝着丘陵的方向欣賞大自然美景。秋高氣爽，一陣陣秋風從秋林中沙沙吹響，好一個平原秋色的蕭寒荒涼，這使高士們如此喜悦，領略大自然恩賜的詩一般的愜意。\n此畫構圖的軸線是順着道路漫延到卷末。作者重點佈置秋色的蕭條，四周同將枯竭的泉水，及背後莊嚴的山脈，使人感受到強烈的蕭條之氣。可是在樹叢下有幾名清雅高士採風賞景、談笑風生，頓使畫面意趣盎然、生氣充盈。圖中人物雖小，但能神形逼肖。此圖乍看似乎是李成寒林平原山水的模式。從此圖中不僅能看到許道寧擅長的林木，平野山水，及斜面構圖模仿寒林龍形山脈等，更可以看出白唐、五代以來長安繪畫保守的傳統風格",[23,24,164,7,59,128,132,29,331,1233,2875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265c7ee4e15765a1f3229516a46ee0b3.jpg","36× 30",[42,136,117],{"id":27348,"slug":27349,"title":27350,"dynasty":18,"author":313,"museum":244,"description":9152,"tags":27351,"thumbUrl":27352,"material":59,"size":27353,"collection":318,"collections":27354,"showCount":27055,"zanCount":1998,"manualWeight":48,"mainColor":49},221265,"shu-qi-yan-jue-ju-ce-huang-ting-jian-221265","书七言绝句册",[164,24,7,59,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897115f90609f128a729a4ed0cbc97a6.jpg","55.5x82.4",[318],{"id":27356,"slug":27357,"title":27358,"dynasty":18,"author":27359,"museum":244,"description":27360,"tags":27361,"thumbUrl":27362,"material":637,"size":27363,"collection":84,"collections":27364,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":72},221260,"mo-ji-wang-chuan-tu-ba-qin-guan-221260","摩诘辋川图跋","秦观","余曩卧病汝南。友人高符仲携摩诘辋川图。过直中相示。言能愈疾。遂命童持于枕旁阅之。恍入华子冈。泊文杏竹里馆。与斐（应作裴）迪诸人相酬唱。忘此身之匏系也。因念摩诘画。意在尘外。景在笔端。足以娱性情而悦耳目。前身画师之语非谬已。今何幸复睹是图。仿佛西域雪山。移置眼界。当此盛夏。对之凛凛如立风雪中。觉惠连所赋。犹未尽山林景耳。吁。一笔墨间。向得之而愈病。今得之而清暑。善观者宜以神遇而不徒目视也。五月二十日。高邮秦观记。",[1326,133,611,8116,1429,7,4437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e830ec8acd1dae73308208a6a36dc33.jpg","纵25.2、横39.4cm",[],{"id":27366,"slug":27367,"title":27368,"dynasty":124,"author":2268,"museum":244,"description":27369,"tags":27370,"thumbUrl":27371,"material":278,"size":27372,"collection":136,"collections":27373,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":72},220938,"xia-mu-chui-yin-tu-zhou-dong-qi-chang-220938","夏木垂阴图轴","此图截取山坡一角，其上有柳树、松柏，共三株。树木主干苍劲高耸，枝叶繁茂蓊郁。构图简洁饱满，用笔老辣迅疾，墨色浓淡得宜，生动地表现出林木枝叶纷披的景象。又以长披麻皴皴染山石，皴与染相结合，加上浓重的苔点，使得长满青苔的山石因而具有湿润的质感。在墨色的运用上，整幅画面主要以浓墨与留白相对比，黑、白、灰关系明确，营造出清爽明丽之氛围，使观者似乎感受到夏日树荫之中的凉爽清幽。\n董其昌的山水画大体有两种面貌，一种是水墨或兼用浅绛法，这种面貌的作品比较常见；另一种则是青绿设色，时有出以没骨，比较少见。他十分注重师法古人的传统技法，题材变化较少，但在笔和墨的运用上，有独特的造诣。",[23,24,164,7,165,128,132,29,34,131,499,415,3427,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82925c244a2cd56242a7317cc1c18543.jpg","纵91.3cm，横44cm",[136,117],{"id":27375,"slug":27376,"title":27377,"dynasty":124,"author":3148,"museum":244,"description":27378,"tags":27379,"thumbUrl":27381,"material":173,"size":27382,"collection":68,"collections":27383,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":49},220400,"he-zhu-shui-fu-tu-lv-ji-220400","荷渚睡凫图","月夜时分，岚雾凄迷，芦苇、荷叶隐现其间，洲渚上栖息大雁四只。构图上只有近、中景，远景则多省略不绘。本幅虽有吕纪名款，然有存疑之处，且通幅之笔力较为薄弱，当非吕氏之原迹。但其景物布置与气氛营造与另一张本院收藏吕纪「秋渚水禽」颇为接近，故此应为一相当忠实于吕氏风格之仿作，可从此画中一窥吕纪写意风格的面貌。\n吕纪（活动于公元1439－1505年间），浙江宁波人。字廷振，号乐愚，亦作乐渔。吕纪为明代中叶著名的宫廷花鸟画家，孝宗弘治（公元1488－1505年）间值仁智殿，官至锦衣卫指挥。花鸟初学边文进（活动于1403－1428），后摹仿唐宋诸名家，结合工笔、写意法，呈现出多种面貌，颇具个人特色。",[23,24,7,164,27,28,61,168,27380,211,171,303],"凫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01ee5454cc9863896919696108f94b6c.jpg","纵：174.5公分 横：104.2公分",[68],{"id":27385,"slug":27386,"title":27387,"dynasty":144,"author":27388,"museum":244,"description":27389,"tags":27390,"thumbUrl":27391,"material":317,"size":27392,"collection":117,"collections":27393,"showCount":27055,"zanCount":1998,"manualWeight":48,"mainColor":49},220242,"gu-mu-fei-quan-tu-zhang-shun-zi-220242","古木飞泉图","张舜咨","该幅作于1347年（至正七年），描绘几株老树挺立在土坡石傍，远山、飞泉之外别无他物。空山溪谷寂静幽深，只有潺潺的泉声不断传来。画树枝，好像写书法似地一笔一笔写成。皴法的用笔扭转交错，有活泼灵动的感觉。",[23,24,164,7,165,27,29,331,1233,99,171,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f2110f7088b0994cacaafa316c890aa.jpg","146.3x89.6公分",[117],{"id":27395,"slug":27396,"title":27397,"dynasty":124,"author":14340,"museum":20,"description":27398,"tags":27399,"thumbUrl":27400,"material":317,"size":27401,"collection":136,"collections":27402,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":49},220048,"song-xi-yu-chui-tu-wu-wei-220048","松溪渔炊图","作者曾浪迹江湖为职业画家，“独乐与山人野夫厚”，熟悉下层人民的生活。所绘渔乐、栖憩、耕读等内容亦多取自现实生活，人物形象质朴，环境真实，境界自然，极少文人隐逸画中的理想化色彩，此图即为一例。图绘远山如屏，水烟渺茫，近景山崖峭壁，老松虬曲，溪岸泊船，一翁低头吹管助燃炉火，具有浓郁的世俗生活气息。此图画法主要从南宋马远、夏圭而来，取一角之景，大斧劈皴山石，大片水墨渲染水面，人物衣纹方劲简练，笔锋迅疾外露。而笔墨和线条独具的粗劲力度、纵放气息，整幅画作表现的野逸之趣、透露出的反雅谐俗之气，则是吴伟的自家特点。",[23,24,7,165,9717,369,132,29,372,4241,129,27083,99,663,1314,1351,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca684d170fa22ada9ad227d0c7d3f78f.jpg","纵122.8厘米，横75厘米",[136,44],{"id":27404,"slug":27405,"title":27406,"dynasty":124,"author":1141,"museum":6620,"description":27407,"tags":27408,"thumbUrl":27409,"material":278,"size":27410,"collection":136,"collections":27411,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":49},219925,"zhu-ju-tu-wen-zheng-ming-219925","竹居图","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。",[24,7,128,27,132,29,167,130,413,171,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F292ecae83b68849fed901d8ead40a667.jpg","71.5x41cm",[136],{"id":27413,"slug":27414,"title":19110,"dynasty":124,"author":1438,"museum":450,"description":27415,"tags":27416,"thumbUrl":27417,"material":317,"size":84,"collection":136,"collections":27418,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":72},219893,"zhou-jin-tang-ji-chen-chun-219893","陈淳(1483-1544)，字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲(今江苏苏州)人，明代绘画大师。",[23,24,7,25,133,840,938,128,27,96,97,98,99,129,130,413,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba68ea872e59a506e45fdc29a7bc85d6.jpg",[136,318],{"id":27420,"slug":27421,"title":27422,"dynasty":124,"author":27423,"museum":56,"description":27424,"tags":27425,"thumbUrl":27426,"material":173,"size":84,"collection":44,"collections":27427,"showCount":27055,"zanCount":1998,"manualWeight":48,"mainColor":72},219891,"wang-yang-ming-xiao-xiang-cai-shi-xin-219891","王阳明肖像","蔡世新","众画师绘制王阳明的正面像，很难描绘出其两颧棱峭的面貌特征，王阳明多不满意。蔡世新年幼即从王阳明学习，非常熟悉老师的形貌特征",[24,7,805,96,28,27,5459,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F275b5a52018d4ba6a2ede02fa6df1460.jpg",[44],{"id":27429,"slug":27430,"title":27431,"dynasty":144,"author":287,"museum":244,"description":27432,"tags":27433,"thumbUrl":27434,"material":173,"size":27435,"collection":44,"collections":27436,"showCount":27055,"zanCount":1998,"manualWeight":48,"mainColor":49},219694,"san-yuan-song-xi-tu-qian-xuan-219694","三元送喜图","本幅描绘庭院一角，有两株梧桐傍石而生，桐荫下，三名童子聚精会神的观赏著画。轴中画的花禽，分别是香椽与喜鹊，与三 “元” 送 “喜” 谐音。三元指状元、会元、解元，故本图有科考高中之吉祥寓意。",[23,24,7,28,27,96,2218,413,13344,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2316fbe648f0293f1ca11463ab959048.jpg","111.4x62.8厘米",[44],{"id":27438,"slug":27439,"title":1230,"dynasty":54,"author":27440,"museum":244,"description":27441,"tags":27442,"thumbUrl":27443,"material":128,"size":84,"collection":117,"collections":27444,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":72},219380,"shan-shui-tu-wang-duo-219380","王铎","虬枝盘曲，墨色浓淡交织，似在风中低语。苍劲笔触勾勒树的骨节，枯笔皴擦间尽显老辣之态。背景山峦以淡墨晕染，层叠隐现于烟水之间，远处汀渚点点，归帆依稀。近树与远岫形成疏密对比，留白处见空灵，墨色浓处显沉厚。写意之笔将山水荒寒与悠远融于一纸，笔墨干湿变化中藏着对自然的静观哲思，简淡里见深致，苍莽中显清逸，仿佛能听见风穿枝桠的轻响，望见烟霭中山峦的呼吸，于方寸间铺展无尽悠远之境。",[24,7,165,128,29,1337,415,35,5323,171,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63e112d70ced0d8f4884a6ea2eccbb27.jpg",[117],{"id":27446,"slug":27447,"title":27448,"dynasty":124,"author":1141,"museum":244,"description":27449,"tags":27450,"thumbUrl":27451,"material":66,"size":27452,"collection":45,"collections":27453,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":49},219340,"jue-he-gao-xian-tu-wen-zheng-ming-219340","绝壑高闲图","深林密荫，悬壁周环，瀑布清冷，淙淙然仿佛可闻流水声。主来客坐，别无其它通径，真有与世隔绝之概。此图与其八十岁所作「古木寒泉」有相通之处，但不及其简链。",[24,7,128,27,132,2132,29,96,34,131,495,11936,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c19e7ef475d412fcce34d90c5a2f1f7.jpg","148.9x177.9cm",[45],{"id":27455,"slug":27456,"title":27457,"dynasty":18,"author":223,"museum":77,"description":27458,"tags":27459,"thumbUrl":27460,"material":317,"size":27461,"collection":68,"collections":27462,"showCount":27055,"zanCount":1086,"manualWeight":48,"mainColor":49},219000,"tang-su-zhu-que-tu-yi-ming-219000","唐宿竹雀图","竹影扶疏，墨色浓淡间显枝干劲挺，竹叶层叠如翠云轻展，疏密有致藏自然生机。雀儿栖于竹枝，或敛翅假寐，或侧首凝睇，羽纤毫毕现——绒羽若隐若现，翅尖纹理分明，爪尖扣枝的力道隐于柔姿，神态灵动如临其境。石矶卧于竹下，皴法简淡却见朴拙，与竹的清雅相映成趣。整幅画面动静相宜，清雅中含野逸之趣，写实笔触里蕴文人雅致，尽展宋画对自然物态的精妙捕捉与诗意表达。",[23,164,24,7,165,28,128,27,61,167,4117,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7da3d9921c4342a3173c6bce0281591.jpg","纵159.0横93.4厘米",[68],{"id":27464,"slug":27465,"title":27466,"dynasty":182,"author":9761,"museum":244,"description":27467,"tags":27468,"thumbUrl":27469,"material":66,"size":27470,"collection":68,"collections":27471,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":72},218796,"hua-niu-tu-dai-song-218796","画牛图","壮硕的水牛缓步踏于郊野，肌理褶皱与蓬松毛发以浓淡墨色晕染，憨态中藏着沉实力量。牛背上的牧童半倚牛身，袖角轻扬似伴风哼歌，眉眼间漫着未泯的天真。旁侧老树枝干虬曲，墨叶层叠如盖，树下蜷伏的小狗探头张望，添了几分灵动野趣。\n\n整幅画以简练线条勾出轮廓，墨色深浅衬出物象质感，田园的悠然生机凝于尺幅。每处细节皆藏着对生活的细腻观察：牛蹄的厚重、牧童的松弛、树影的斑驳，仿佛能听见风过叶隙的轻响，与牧童唇边隐约的调子，瞬间跌入那片静谧的乡野时光里。",[23,164,24,7,128,27,28,102,96,413,208,527],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c7dfa521d6e806e13ca8e77c45568ad.jpg","56.1x32.2cm",[68],{"id":27473,"slug":27474,"title":27475,"dynasty":18,"author":27476,"museum":244,"description":27477,"tags":27478,"thumbUrl":27481,"material":173,"size":27482,"collection":68,"collections":27483,"showCount":27055,"zanCount":1116,"manualWeight":48,"mainColor":72},218617,"yuan-ji-hui-ce-song-hong-liao-shuang-fu-mao-yi-218617","元集绘册 宋红蓼双凫","毛益","描写鸭凫一对栖息于洲渚边，雄凫绿颈花羽伫立，雌凫相依啄食地面，画家传神地描绘出鸟禽的外型。岸上芦荻几株，红蓼掩映其间，颇富山林野趣。本幅与上海博物馆所藏宋无款「双凫图」极为相似，然构图布局左右相反，两者皆属于北宋末南宋初流行的汀渚水鸟风格。毛益为南宋孝宗干道年间（西元一一六五─一一七三年）的画院待诏。",[24,7,59,28,27,61,27479,27480,303],"红蓼","双凫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89bd50e2132c6f4e91d07b9dc4e59a3f.jpg","本幅 26x25.8公分、对幅 26x25.8公分、全幅 43.1x75.9公分",[68],{"id":27485,"slug":27486,"title":21310,"dynasty":18,"author":1622,"museum":244,"description":1623,"tags":27487,"thumbUrl":27488,"material":173,"size":1626,"collection":84,"collections":27489,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":72},218572,"hua-niao-shan-shui-xiao-pin-ce-song-ge-yuan-tiao-ma-yuan-218572",[23,164,24,7,59,27,132,29,97,1144,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a243811f9d11bd8f802140177b34ff7.jpg",[],{"id":27491,"slug":27492,"title":6571,"dynasty":124,"author":27493,"museum":244,"description":27494,"tags":27495,"thumbUrl":27496,"material":66,"size":27497,"collection":44,"collections":27498,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":72},217000,"luo-han-tu-chen-yuan-217000","陈远","罗汉图是明朝陈远所作的一幅著名的书画作品。它描绘了一群罗汉在山间修行的场景，山水画风格细腻，造型生动，富有表现力。罗汉是佛教徒中的一种职业，被视为道德模范，修行苦修，常常身着袈裟，头戴顶冠，手持佛像，在山林中修行禅定。\n\n陈远（1360-1453年），字元和，号清臣，是明朝著名的书画家。他的作品中有许多著名的山水画，其中罗汉图是其代表作之一。陈远的画风浑厚而不失精细，富有感染力，是明朝画坛的重要代表。",[24,7,165,187,28,27,96,331,169,170,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e868355eac240b9a49b9ea292fc510f.jpg","101.7x50",[44],{"id":27500,"slug":27501,"title":27502,"dynasty":124,"author":2268,"museum":56,"description":3855,"tags":27503,"thumbUrl":27504,"material":66,"size":84,"collection":84,"collections":27505,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":72},214647,"qiu-xing-ba-jing-tu-ce-10-dong-qi-chang-214647","秋兴八景图册-10",[24,7,59,128,27,133,208,132,29,34,31,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F733353bab86339fd091579c32aef95fe.jpg",[],{"id":27507,"slug":27508,"title":1109,"dynasty":144,"author":569,"museum":244,"description":27509,"tags":27510,"thumbUrl":27511,"material":317,"size":27512,"collection":84,"collections":27513,"showCount":27055,"zanCount":48,"manualWeight":48,"mainColor":72},214362,"zhu-shi-tu-zhao-meng-fu-214362","这幅画用枯木、竹子和石头画成，用笔既写实又有书法的趣味，最初的记录是元代一位无名艺术家的作品。竹子的画风与他夫人管道昇的画风比较相似，而石头和干木头是赵孟頫自己的，所以不清楚这幅画是否是他们夫妇的合作。",[23,164,24,7,128,59,167,1314,171,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F926a3adbd17609f8effa8e71d46a7253.jpg","26.6x52.2",[],{"id":27515,"slug":27516,"title":27517,"dynasty":144,"author":1346,"museum":244,"description":27518,"tags":27519,"thumbUrl":27520,"material":637,"size":27521,"collection":84,"collections":27522,"showCount":27523,"zanCount":1998,"manualWeight":48,"mainColor":72},290819,"zhu-shi-zhou-wu-zhen-290819","竹石轴","吴镇存世之作几为墨画，晚年墨竹作品尤为多，由於作品上留有大量的题语，显露出个人绘画思想乃至一生学养，其中又以《竹谱册》为著。元代由於大环境的改变，文人好写“三友图”，以松竹梅表达象徵意义，或寄托情怀，吴镇亦有言“墨戏之作，盖士大夫词翰之馀，适一时之兴趣也”。然审视此轴，实为笔墨黯熟之潇洒佳作，非仅一时随兴之墨戏。竹干、岐枝皆下笔圆健，竹枝劲利，稍带回锋，尽管分枝多、发叶少，但叶随枝生，生态盎然；淡墨石以卧笔混点。幅中之墨色皆不浓重，显现一种平淡冲和的色感。竹石间，吴镇以流畅有力，墨色较浓重的行笔题下款识，画面益显沈稳。和《竹谱册》相较，此图乃其精心之作。",[24,164,7,165,128,167,171,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1811347de2004269449e6bfa0b94c55f.jpg","90.6x42.5公分",[],48,{"id":27525,"slug":27526,"title":685,"dynasty":18,"author":1449,"museum":244,"description":18863,"tags":27527,"thumbUrl":27528,"material":317,"size":27529,"collection":84,"collections":27530,"showCount":27523,"zanCount":48,"manualWeight":48,"mainColor":72},289563,"xi-shan-xing-lv-tu-ma-lin-289563",[23,164,24,7,165,128,29,132,97,690,131,101,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbb3bd480aa2c88a3b827d39dcc5bc3.jpg","147.9x60.5",[],{"id":27532,"slug":27533,"title":27534,"dynasty":18,"author":1091,"museum":300,"description":27535,"tags":27536,"thumbUrl":27537,"material":692,"size":1293,"collection":84,"collections":27538,"showCount":27523,"zanCount":48,"manualWeight":48,"mainColor":956},288988,"gu-bai-tu-su-shi-288988","古柏图","苏轼（1037年1月8日—1101年8月24日），字子瞻，一字和仲，号铁冠道人、东坡居士，世称苏东坡、苏仙、坡仙，汉族，眉州眉山（今四川省眉山市）人，祖籍河北栾城，北宋文学家、书法家、美食家、画家，历史治水名人。\n嘉祐二年（1057年），苏轼进士及第。宋神宗时在凤翔、杭州、密州、徐州、湖州等地任职。元丰三年（1080年），因“乌台诗案”被贬为黄州团练副使。宋哲宗即位后任翰林学士、侍读学士、礼部尚书等职，并出知杭州、颍州、扬州、定州等地，晚年因新党执政被贬惠州、儋州。宋徽宗时获大赦北还，途中于常州病逝。宋高宗时追赠太师；宋孝宗时追谥“文忠”。\n苏轼是北宋中期文坛领袖，在诗、词、散文、书、画等方面取得很高成就。文纵横恣肆；诗题材广阔，清新豪健，善用夸张比喻，独具风格，与黄庭坚并称“苏黄”；词开豪放一派，与辛弃疾同是豪放派代表，并称“苏辛”；散文著述宏富，豪放自如，与欧阳修并称“欧苏”，为“唐宋八大家”之一。苏轼善书，“宋四家”之一；擅长文人画，尤擅墨竹、怪石、枯木等。李志敏评价：“苏轼是全才式的艺术巨匠。”\n作品有《东坡七集》《东坡易传》《东坡乐府》《潇湘竹石图》《枯木怪石图》等。",[24,164,128,25,7,24515,331,16820,171,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a070c6607dcc35014c7ddfa1ae14d46.jpg",[],{"id":27540,"slug":27541,"title":19440,"dynasty":351,"author":27542,"museum":300,"description":27543,"tags":27544,"thumbUrl":27545,"material":692,"size":1293,"collection":84,"collections":27546,"showCount":27523,"zanCount":48,"manualWeight":48,"mainColor":49},288836,"hu-shan-chun-xiao-tu-liu-dao-shi-288836","刘道士","工佛道鬼神，落笔遒怪，尤善山水，师董源，与巨然同时，画亦同。但刘道士在左，巨然则以僧在左。以此为别",[23,164,24,7,165,128,29,132,496,97,99,37,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45d33542a55bbea40943f6b7f253a0dd.jpg",[],{"id":27548,"slug":27549,"title":27550,"dynasty":124,"author":204,"museum":300,"description":19353,"tags":27551,"thumbUrl":27552,"material":692,"size":1293,"collection":84,"collections":27553,"showCount":27523,"zanCount":48,"manualWeight":48,"mainColor":72},288005,"bai-miao-luo-han-tu-juan-xia-bu-chou-ying-288005","白描罗汉图卷（下部）",[23,164,24,7,25,188,128,96,29,331,131,187,18331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F170319a288dca7837131a3e85962f9be.jpg",[],{"id":27555,"slug":27556,"title":27557,"dynasty":124,"author":204,"museum":300,"description":27558,"tags":27559,"thumbUrl":27560,"material":692,"size":1293,"collection":84,"collections":27561,"showCount":27523,"zanCount":48,"manualWeight":48,"mainColor":49},287608,"yu-dong-xian-yuan-tu-chou-ying-287608","玉洞仙源图","该画作描绘长松参天，洞壑奔雷，云塞幽谷，松涛掩映楼阁，一人临流静坐停琴，童子四人，趋走前后。该画作勾勒精工，秀雅纤细，布局严谨，极有气势，设色沉静。",[23,164,24,7,165,28,26,27,29,97,98,99,96,1144,37,759],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd125a8b06ed17f67b28f7bb73d33cafd.jpg",[],{"id":27563,"slug":27564,"title":27565,"dynasty":124,"author":223,"museum":300,"description":27566,"tags":27567,"thumbUrl":27568,"material":692,"size":1293,"collection":84,"collections":27569,"showCount":27523,"zanCount":48,"manualWeight":48,"mainColor":49},287563,"ming-ren-pin-cha-tu-yi-ming-287563","明人品茶图","苍松虬劲，古藤垂绕，将山林幽寂晕染开来。林下雅士围坐，一人展卷吟哦，一人捧盏凝思，眉宇间尽是松弛自在。旁侧童子煨火煮茶，溪畔稚童俯身汲水，动静相映，把春日雅集的闲逸铺陈开来。\n\n笔墨朴拙古雅，山石皴染厚重，人物意态舒展，将文人寄情林泉、品茶论书的林下之趣勾勒尽致。松涛泉声仿佛随画卷漫出，隔绝喧嚣，只余清茗香气与书卷文思，尽显雅致风流，把静心忘俗的意趣藏在寸寸绢素之中。",[24,165,27,96,1144,131,99,22933,2144,164,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f61d450f734bcdaa1462c5372d5cf5.jpg",[],{"id":27571,"slug":27572,"title":27573,"dynasty":351,"author":1610,"museum":300,"description":27574,"tags":27575,"thumbUrl":27576,"material":692,"size":1293,"collection":84,"collections":27577,"showCount":27523,"zanCount":48,"manualWeight":48,"mainColor":49},287427,"xia-jing-shan-kou-dai-du-tu-juan-hua-xin-dong-yuan-287427","夏景山口待渡图卷画心","用笔气势停匀，疏密浓淡，层层生发，甚为自然，笔笔皆活。其皴笔结体紧密，与冈峦的体势相生，融而为一。且有水晕墨章之妙，水坡之上，林木繁茂，而坡上浓淡，时以淡墨渲染，林间如透出阳光，极为生动。皴笔入骨，透于绢素，用笔一势，具方向感，运笔与气势，节奏相依存，为圆熟之境了。值得注意的还在于在其远山峰顶用笔有虚实、淡浓、隐现，极生动地表现了烟云出没，阳光明灭的空气感和空间感，真切地表现了夏山丽日下的神韵。与沈括所形容的董源《落照图》“远峰之顶，宛有反照之色，此妙处也”或米芾形容董源“峰顶不工”、“率多真意”，可以对看，一样佳妙。",[23,164,24,7,25,1349,128,132,32,496,4438,129,3650,1614,12744,20575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32afd29366d0913db08119a85bdb0e2a.jpg",[],{"id":27579,"slug":27580,"title":27581,"dynasty":54,"author":27582,"museum":300,"description":27583,"tags":27584,"thumbUrl":27585,"material":692,"size":1293,"collection":84,"collections":27586,"showCount":27523,"zanCount":48,"manualWeight":48,"mainColor":72},283781,"jin-yu-tu-weng-luo-283781","金鱼图","翁雒","江苏吴江. 画有夙慧，初写人物，中年后专攻花鸟、草虫、水族，尤善画龟。笔精墨妙，生动尽致。",[164,24,7,165,27,28,61,5836,11633,3451,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36ff6396d75f7a14cf78bf4d16f51833.jpg",[],{"id":27588,"slug":27589,"title":4415,"dynasty":54,"author":1472,"museum":300,"description":4416,"tags":27590,"thumbUrl":27591,"material":692,"size":1293,"collection":84,"collections":27592,"showCount":27523,"zanCount":48,"manualWeight":48,"mainColor":72},239452,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239452",[24,7,59,27,28,80,61,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a680e6b7c35d706aec7e8969432b7eb.jpg",[],{"id":27594,"slug":27595,"title":3933,"dynasty":54,"author":2687,"museum":300,"description":3934,"tags":27596,"thumbUrl":27597,"material":692,"size":1293,"collection":84,"collections":27598,"showCount":27523,"zanCount":48,"manualWeight":48,"mainColor":72},239251,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239251",[24,7,59,61,28,27,263,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfd8e60ef873b3f238993efed3037203.jpg",[],{"id":27600,"slug":27601,"title":27602,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":27603,"thumbUrl":27604,"material":84,"size":84,"collection":136,"collections":27605,"showCount":27523,"zanCount":48,"manualWeight":48,"mainColor":72},238823,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238823","董诰墨庄览胜图册",[24,7,59,27,29,132,131,34,1144,35,98,99,37,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa443f86659d1246ce2824ef78b06a3ac.jpg",[136,45],{"id":27607,"slug":27608,"title":27609,"dynasty":54,"author":27610,"museum":20,"description":27611,"tags":27612,"thumbUrl":27613,"material":84,"size":84,"collection":136,"collections":27614,"showCount":27523,"zanCount":1998,"manualWeight":48,"mainColor":72},238539,"nan-tian-men-guan-yin-si-tu-zhou-li-zong-wan-238539","南天门观音寺图轴","励宗万","励宗万（1705年—1759年），字滋大，号衣园，又号竹溪，直隶静海（今天津市静海县）人，励廷仪子，清代藏书家、书画家。\n康熙六十年（1721年）进士，入翰林，年才十七。历官刑部侍郎。以画供奉内廷，兼工山水、花鸟，笔意恬雅，设色古淡。书法褚、颜、苏、米，圆劲秀拔，与张照齐名，称“南张北励”。卒年五十五。《清画家诗史》、《归石轩画谈》、《熙朝名画录》、《桐阴论画》、《香树斋文集》、《读画辑略》。乾隆二十四年（1759年）卒，葬于北五里庄。",[24,7,165,128,132,29,97,187,208,690,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c63efd8e91a869a77380de50cf1ac31.jpg",[136,117,318],{"id":27616,"slug":27617,"title":27618,"dynasty":124,"author":23498,"museum":20,"description":25507,"tags":27619,"thumbUrl":27620,"material":611,"size":84,"collection":68,"collections":27621,"showCount":27523,"zanCount":48,"manualWeight":48,"mainColor":72},237236,"bai-shi-xi-que-zhou-chen-jia-yan-237236","柏石喜鹊轴",[24,7,165,128,61,25087,229,14190,211,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5c5febd79d930762a36a6ffbfef252.jpg",[68],{"id":27623,"slug":27624,"title":27625,"dynasty":54,"author":1460,"museum":300,"description":11338,"tags":27626,"thumbUrl":27627,"material":84,"size":84,"collection":84,"collections":27628,"showCount":27523,"zanCount":48,"manualWeight":48,"mainColor":72},234168,"yuan-ji-shan-shui-tu-juan-shi-tao-234168","原济山水图卷",[23,24,7,25,128,132,29,30,34,35,31,37,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F815dd148ee14a764573968a252a39549.jpg",[],{"id":27630,"slug":27631,"title":27632,"dynasty":18,"author":223,"museum":20,"description":27633,"tags":27634,"thumbUrl":27635,"material":151,"size":27636,"collection":84,"collections":27637,"showCount":27523,"zanCount":1998,"manualWeight":48,"mainColor":49},233000,"mei-zhu-shuang-que-tu-ye-yi-ming-233000","梅竹双鹊图页","该图绿竹丛中逶迤伸出白梅两枝，清丽冷艳。两只鸲鹆栖于枝头，翘首顾盼。鸟羽用细笔勾描，然后以墨或淡彩晕染，近似“没骨”法。梅花用白粉和淡黄色钩填，层次丰富。竹叶用双钩法勾勒轮廓，随后染以花青、汁绿、赭石等色。枝上两只小鸟栖息，其一抬头向上远眺，一只低头俯视。图中竹页用双钩填色法。鸟的羽毛，不用细笔勾描，而用浓墨或淡彩染，画法近于没骨而又有新的创造。构图简洁生动，花枝穿插错落有致。用笔工细写实，设色清丽，画风近于南宋院体一派。",[164,24,7,59,28,27,61,371,167,10050,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F868879d3de861edacba360655297e601.jpg","26厘米，横：26．5厘米",[],{"id":27639,"slug":27640,"title":10546,"dynasty":54,"author":872,"museum":424,"description":27641,"tags":27642,"thumbUrl":27643,"material":1667,"size":27644,"collection":84,"collections":27645,"showCount":27523,"zanCount":48,"manualWeight":48,"mainColor":72},232936,"song-lu-tu-zhou-zhu-da-232936","朱耷（约1626年—约1705年），号八大山人，又号雪个、个山 、入屋、驴屋等，入清后改名道朗， 字良月，号破云樵者。汉族，南昌（今属江西）人 。明末清初画家，明亡后削发为僧，后改信道教 ，住南昌青云谱道院。绘画以大笔水墨写意著称，并善于泼墨，尤以花鸟画称美于世。在创作上取法自然，笔墨简炼，大气磅礴，独具新意，创造了高旷纵横的风格。\n八大山人是宁献王朱权的后裔，大明宗室对鹿有极深的感情。古代的鹿象征至高无上的皇权地位。鹿在中国有着非常吉祥的寓意，它不仅代表长寿，还与“禄”字谐音，故国画中间常借画鹿传达贺寿或加官进爵之意。八大山人画鹿存世十余幅，大都画一两只鹿，而画群鹿及配山水至今仅见此一幅。",[24,7,165,128,188,372,2302,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7891ac0bf8822102bdf85850797f6e1f.jpg","182cmx88cm",[],{"id":27647,"slug":27648,"title":27649,"dynasty":18,"author":1449,"museum":300,"description":18863,"tags":27650,"thumbUrl":27652,"material":84,"size":84,"collection":84,"collections":27653,"showCount":27523,"zanCount":1998,"manualWeight":48,"mainColor":72},232910,"dou-die-tu-ma-lin-232910","豆蝶图",[23,164,24,7,25,27,28,1846,61,481,27651,62,806,208],"豆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b08f1fa810326ea69c7b5cb3b5cbbf0.jpg",[],{"id":27655,"slug":27656,"title":8049,"dynasty":144,"author":1346,"museum":244,"description":13274,"tags":27657,"thumbUrl":27658,"material":611,"size":13277,"collection":84,"collections":27659,"showCount":27523,"zanCount":1998,"manualWeight":48,"mainColor":72},231499,"mo-zhu-ce-wu-zhen-231499",[24,7,59,128,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d2b4ca20a514f26a405d08b07f9a939.jpg",[],{"id":27661,"slug":27662,"title":27663,"dynasty":54,"author":27664,"museum":300,"description":27665,"tags":27666,"thumbUrl":27667,"material":692,"size":1293,"collection":84,"collections":27668,"showCount":27523,"zanCount":1116,"manualWeight":48,"mainColor":27669},230856,"bai-shou-quan-tu-li-hong-zhang-230856","百寿全图","李鸿章","李鸿藻（1820年2月14日—1897年7月24日），字兰荪，号石孙、砚斋，河北保定人。同光年间的清流领袖，晚清主战派重臣之一。咸丰二年（1852年）进士，选庶吉士，授编修，督河南学政。同治元年（1862年），被提拔为侍讲，深受西太后慈禧的信任，累迁内阁学士，署户部左侍郎。同治四年（1865年），再升都察院左都御史，加太子少保。光绪二年（1876年），命兼总理各国事务衙门，反对完颜崇厚擅订《里瓦几亚条约》。历任礼部尚书、协办大学士，调吏部尚书。光绪二十三年（1897年）以病乞假，旋卒，享年七十八岁，清廷予谥文正，赠太子太傅，入祀贤良祠。",[64,938,27,7,23848,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F959ee7019a280c62ec2c7430aab6b404.jpg",[],"D50000",{"id":27671,"slug":27672,"title":27673,"dynasty":182,"author":223,"museum":1692,"description":27674,"tags":27675,"thumbUrl":27676,"material":692,"size":1293,"collection":84,"collections":27677,"showCount":27523,"zanCount":1998,"manualWeight":48,"mainColor":49},226283,"ku-zhu-shi-bei-bi-yi-ming-226283","窟主室北壁","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[24,7,164,1362,187,95,27,96,97,29,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa20a829b1e7a26c782be3b06a09edbd8.jpg",[],{"id":27679,"slug":27680,"title":27681,"dynasty":54,"author":1676,"museum":300,"description":27682,"tags":27683,"thumbUrl":27684,"material":84,"size":84,"collection":84,"collections":27685,"showCount":27523,"zanCount":48,"manualWeight":48,"mainColor":72},224294,"tao-hua-liu-yan-tu-li-shan-224294","桃花柳燕图","《历代名画宣纸高清大图:李鱓桃花柳燕图》绘桃红、柳绿、燕嬉之景，生动地表现了春天和生命的气息，画面充满暖意。\n画幅右边近下部，柳树枝干往上方挺升，其上旁生枝条，以浅绿设色表现初发的柳叶，墨笔筒细而劲健。\n整个枝干形态奠定了画面格局。\n柳树後可见一株桃树枝干自右至左斜出，分上中下三个方向。\n桃树枝干以褐色设色，与墨色的柳树枝干相映成趣，其上并以粉红、银白、淡绿设色表现桃花花办与花叶，同样笔墨不繁却栩栩如生。\n在此美景中，作者添了四只暖春早燕：其一于高枝上向下俯视，情状蠢蠢欲动；其一站立在横枝上，神态安详；其一停于中部枝头顶端；其一低飞于桃红柳绿问。\n此幅花鸟画明朗活泼，笔墨工致。\n《历代名画宣纸高清大图:李鱓桃花柳燕图》由 出版。",[23,24,7,165,369,27,209,2372,7856,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d0cd75efcd4565e82cc7ec65b74f13a.jpg",[],{"id":27687,"slug":27688,"title":27689,"dynasty":54,"author":523,"museum":56,"description":27690,"tags":27691,"thumbUrl":27692,"material":151,"size":27693,"collection":44,"collections":27694,"showCount":27523,"zanCount":1998,"manualWeight":48,"mainColor":49},222875,"xue-yan-tu-leng-mei-222875","雪艳图","冷枚，清代宫廷画家，大约生于1669年，卒于1742年。字吉臣，号金门画史，山东胶州人，焦秉贞弟子。善画人物、界画，尤精仕女。所画人物工丽妍雅，笔墨洁净，色彩韶秀，其画法兼",[24,7,165,304,28,27,96,166,7719,650,131,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f985d1b3640c0897853b0e606f7428.jpg","60cmx105cm",[44],{"id":27696,"slug":27697,"title":27698,"dynasty":54,"author":22730,"museum":224,"description":27699,"tags":27700,"thumbUrl":27701,"material":27702,"size":27703,"collection":136,"collections":27704,"showCount":27523,"zanCount":48,"manualWeight":48,"mainColor":49},222631,"shan-shui-ce-ye-gao-cen-222631","山水册页","高岑（1621-1691），字善長，又字蔚生，杭州人，居金陵（今南京）。高阜弟，為“金陵八家”之一 。\n为人清高，相貌俊美，淡于功名，性好佛门始从法门道昕卧伏腊寺，居茹蔬淡……。善山水及水墨花卉，写意入神。\n“ 八家有 八位画家虽被纳入一个流派，各自的 他们的共同之处，是淡泊功名，为人清高，只与诗酒结缘、书画为伴，视 八家偶有",[23,24,7,59,128,132,29,98,99,372,35,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F467d01d7652fdadb7ced0902e0c7e630.jpg","绢本水墨设色","20.5 X21.3厘米",[136,117],{"id":27706,"slug":27707,"title":27708,"dynasty":124,"author":27709,"museum":300,"description":27710,"tags":27711,"thumbUrl":27712,"material":84,"size":84,"collection":68,"collections":27713,"showCount":27523,"zanCount":48,"manualWeight":48,"mainColor":72},222405,"fang-chen-dao-fu-hua-hui-juan-quan-juan-du-da-zhong-222405","仿陈道复花卉卷全卷","杜大中","陈道复也是明代极富名气的绘画大家之一。他在传统写意绘画的基础上，将草书笔意融入写意花卉画中，开创了大写意花卉画的新风貌，其作品价值亦不俗！该作同时融入了两大绘画艺术家的风格特色，可谓魅力非凡\n继承了陈道復清新隽雅的画法，作品具有典型的晚明时期花卉画风格。卷尾署款“万历戊戌夏日汝南周之冕写。” 钤白文方印“服卿氏”、“周之冕印”。画面中有吴幼培、杜大中题诗数首，图后有朱鹭题跋。\n吴门画派是明中期重要的绘画流派，尤以山水画成就最高，标志着文人画走向极盛！而周之冕画得最多也最有成就的是山水画。",[23,24,7,25,330,128,188,61,371,376,168,263,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff15bf087597467f842c177242ffd37.jpg",[68,117],{"id":27715,"slug":27716,"title":27717,"dynasty":124,"author":125,"museum":20,"description":27718,"tags":27719,"thumbUrl":27720,"material":1722,"size":27721,"collection":68,"collections":27722,"showCount":27523,"zanCount":48,"manualWeight":48,"mainColor":72},222130,"chu-ji-tu-ye-shen-zhou-222130","雏鸡图页","本幅自题七言诗：“茸茸毛色半含黄，何独啾啾去母傍。白日千年万年事，待渠催晓日应长。”自识“沈周”，钤“启南”朱方印、“白石翁”白方印。收藏印钤“朱卧庵收藏印”、“之赤”、“昆王成宪画印”等，右下骑缝花押。\n从自题诗看，画家对这只已然半大的雏鸡表现了担忧之情，总是啾啾寻母，长大后如何承担起催日报晓的责任呢？不难看出画家借雏鸡图寄予了期望后代早日成才的心愿。\n此画构图简练，为一只墨笔写意的雏鸡。其背部羽毛以湿润的墨色渲染，体形轮廓则以简约的墨线勾勒，虽为写意，仍能照顾到物象的立体感。雏鸡两翅以淡墨细笔写出，角度与比例配合得当。整幅画虽题材简单，但笔韵内敛传神，雏鸡稚嫩的体态通过水墨尽得显现。此作品为沈周所作有关鸡之题材绘画的代表作，此时的沈周已经完全摆脱了元人一味摹宋的工致画风，而是真正将自己的心神融入到笔锋之中，达到了写形传神的境界。",[23,24,7,128,133,61,11743,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6374170d786fdeec4131bd7de6727b5b.jpg","纵28.1厘米，横37.6厘米",[68,117],{"id":27724,"slug":27725,"title":27726,"dynasty":124,"author":1642,"museum":244,"description":27727,"tags":27728,"thumbUrl":27729,"material":173,"size":27730,"collection":136,"collections":27731,"showCount":27523,"zanCount":48,"manualWeight":48,"mainColor":49},222034,"wei-bin-chui-diao-tu-dai-jin-222034","渭滨垂钓图","这幅画主题「渭滨垂钓」，描绘的是周文王拜访在渭水边隐居垂钓的姜太公，邀请他入朝辅政的故事。画面上，高耸如屏的山峦、随风飘荡的柳树，和环绕河堤周围的岩石，建构了人物活动的舞台，在群树、河堤和山峦之间弥漫云雾。地上的豹皮、钓具点出主人翁姜太公渔隐的生活，他与周文王两人拱手交谈，站立于画面中央，成为目光的焦点。周文王的侍骑五人，则隐蔽在树丛右侧，耐心地等待着这历史性时刻的来临。",[23,24,7,164,27,132,29,96,99,331,171,415,10582,34,16795,1350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda462a6bcb6ec1bdeb443947c26b1f4e.jpg","高139.6厘米，横75.4厘米",[136,45],{"id":27733,"slug":27734,"title":27735,"dynasty":124,"author":16609,"museum":300,"description":27736,"tags":27737,"thumbUrl":27738,"material":84,"size":84,"collection":68,"collections":27739,"showCount":27523,"zanCount":48,"manualWeight":48,"mainColor":72},221878,"xie-sheng-hua-hui-juan-zhou-tao-cheng-221878","写生花卉卷轴","此作所绘湖石、竹簧、水仙与山茶树，松竹花石高与纸齐，往往笔力苍挺，气象峥嵘，而乏悠远层迭之趣。水仙与新竹双钩留白，与浓变化的山茶叶呼应对比，煞是美妙。虽率意布置，而秀润苍老，清气满幅，笔情墨法，令人不能窥其稚奥，真独步艺苑。\n陶成，字孟学，一作懋学，后更字敬学，号云湖、云湖山人，尝自署云湖仙人。江苏宝应人，成化七年举人。陶成为明代中前期以“诗书画三绝”盛名于世的奇才，他生性疏狂、不拘小节、放荡不羁，有米南宫、郭忠恕之风而豪荡过之。其艺术活动主要在成化、弘治年间，画芙蓉最著名且为世人所珍。陶成晚年因坐谪而被戍边，虽时间不久，然放归后即离世。",[23,24,7,25,128,27,2166,62,376,167,1771,131,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90df80a9b3832e286d021025ff6327e5.jpg",[68,117],{"id":27741,"slug":27742,"title":27743,"dynasty":18,"author":313,"museum":20,"description":27744,"tags":27745,"thumbUrl":27746,"material":611,"size":27747,"collection":318,"collections":27748,"showCount":27523,"zanCount":1998,"manualWeight":48,"mainColor":49},221279,"huan-hua-xi-tu-yin-juan-huang-ting-jian-221279","浣花溪图引卷","释文：\n［拾］［遗］［流］［落］［锦］［官］城，故人作尹眼［为］［青］。碧鸡坊西［结］茅屋，百花［潭］［水］濯冠缨。［故］［衣］未补新衣［绽］，空［蟠］胸中书万［卷］。探道欲度［义］皇前，论诗未［觉］国风远。干［戈］峥嵘暗寓县，杜陵韦［曲］［无］鸡犬。老妻稚［子］且眼前，［弟］［妹］漂零不相［见］。［此］翁乐易极可［人］，［园］翁溪友肯［卜］邻。［邻］［家］有酒邀皆去，得意鱼鸟［来］［相］亲。浣花酒舩散车骑，野[墙］［］无主看桃李。［宗］［文］守家宗武扶，［落］日蹇驴驮［醉］起。愿闻解［鞍］脱兜鍪，老［儒］［不］用千户侯。［中］原未得平安［报］，醉［里］眉攒万国［愁］。生綃铺墙粉［墨］落，平生忠［义］［今］寂寞。儿呼不［苏］驴失脚，犹［恐］［醒］来有新作。［长］［使］诗人拜画［图］，［煎］胶续絃千古无。（注：［］内字为后补。）\n鉴藏印有“绍兴”、“内府书印”、“贞元”、“乾坤清赏”、“有明王氏图书之印”及清嘉庆内府诸印等。卷后有明吴宽、王世贞跋。\n此卷为火烧残本，后经明代夏德声补齐（见释文中［］内字）。\n此卷见载于《山谷外集》，作于北宋元祐三年（1088年），黄庭坚时年42岁。作品笔法苍老，多骨少肉，具有作者晚年书法的风格特征。卷后明王世贞跋中评道：“……老杜浣花溪图引也。歌词力欲求奇，然是公最合作语。书笔横逸疏荡，比素师饶姿态，亦稍平易可识。而结法之密、腕力之劲、波险神奇，似小不及也……。”可知书“素师”是指唐代著名书家怀素，王世贞对黄庭坚与怀素书法特点的比较非常准确。此件作品虽然残处较多，仍不失为佳作。\n著录于《孙氏书画钞》上册、《石渠宝笈三编·延春阁》。",[23,164,24,7,25,840,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f5498ec208de96393364fd15d1d1c1f.jpg","纵35.5厘米,横391.4厘米",[318],{"id":27750,"slug":27751,"title":27752,"dynasty":18,"author":313,"museum":244,"description":9152,"tags":27753,"thumbUrl":27754,"material":59,"size":27353,"collection":318,"collections":27755,"showCount":27523,"zanCount":1998,"manualWeight":48,"mainColor":49},221266,"qi-yan-jue-ju-ce-huang-ting-jian-221266","七言绝句册",[164,24,7,64,59,133,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc4004e2b40b7a3cfc60df0bc505f697.jpg",[318],{"id":27757,"slug":27758,"title":27759,"dynasty":124,"author":2268,"museum":224,"description":27760,"tags":27761,"thumbUrl":27762,"material":27763,"size":27764,"collection":318,"collections":27765,"showCount":27523,"zanCount":48,"manualWeight":48,"mainColor":72},220961,"jing-xi-zhao-yin-tu-juan-dong-qi-chang-220961","荆溪招隐图卷","《荆溪招隐图》，图上有题识：“荆溪招隐图。辛亥人日董玄宰写于宝鼎斋。”图后又附一篇长文题记：“此余辛亥岁为澈如光禄作也，今年予自田间被征，与澈如同一启事。予既已誓墓不出，而澈如亦意在鸿冥。余举赠友人诗，题此卷曰：我如远山云，君如朝日暾。出处各有宜，何必鹤与猿。惟容避世者，终老桃花源。澈如携此游江门，时以展之。去余不作红稚圭举止也。癸丑八月中秋后三日华亭年弟董其昌书于吴昌舟次。”",[23,24,7,25,128,29,132,2132,64,133,208,496,34,1515,98,99,37,149,1023,131,1025,711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F430208679d199a4467c6e992ac417f39.jpg","手卷，纸本设色","纵26厘米，横92.6厘米",[318],{"id":27767,"slug":27768,"title":27769,"dynasty":144,"author":410,"museum":244,"description":27770,"tags":27771,"thumbUrl":27772,"material":637,"size":27773,"collection":84,"collections":27774,"showCount":27523,"zanCount":1998,"manualWeight":48,"mainColor":72},220813,"qin-shu-zi-yu-tu-zhou-wang-meng-220813","琴书自娱图轴","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[23,24,7,165,128,132,29,34,97,131,1645,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8731d7e633af79f8819632ef335518d0.jpg","144.6x41.9",[],{"id":27776,"slug":27777,"title":27778,"dynasty":54,"author":3820,"museum":161,"description":27779,"tags":27780,"thumbUrl":27781,"material":278,"size":84,"collection":136,"collections":27782,"showCount":27523,"zanCount":48,"manualWeight":48,"mainColor":49},220283,"fang-dong-ju-shan-shui-tu-gong-xian-220283","仿董巨山水图","龚贤（1618—1689），又名岂贤，字半千，号野遗、柴丈人、半亩等。昆山人，居金陵。性格孤癖，与人落落难合。既对明末宦官专权腐朽黑暗不满，又对清政府采取不合作态度，是一位刚直不阿有骨气的文人，能诗，懂书，善画。其书画另辟蹊径独出幽异，超然脱俗，对其画作有此评价：“画有繁简（减），乃论笔墨，非论境界也。北宋人千丘万壑，无一笔不减。元人枯枝瘦石、无一笔不繁。通此解者，其半千乎？”从其作品中看，龚贤继承传统有着一条鲜明的轨道可概略为，董巨、二米，倪黄、沈周及董其昌。他的作品面目清晰鲜明，并有各时期的特点。如白龚、灰龚、黑龚之说。尽管如此，他还是坚持不泥古人古法而师法自然师法造化。他说：“古人之书画，与造化同根、阴阳同候，非若今人泥粉，本无先天，奉师说为上智也。”龚贤的作品，最大的特点就是善于用墨。继承和发展了“积墨法”，形成了浓重浑厚，朴实滋润的特点。其作《溪山无尽图》巨制长卷，表现江南重山复水，连绵起伏，丛林房舍，飞瀑流泉，小榭栈道，亭台楼阁，烟云萦绕等自然万物应有齐全，浑厚苍润、丰茂明丽，是积墨法之精品。此图可局部临习；也可通幅临习，用墨应由淡人深，层层叠加，点染数遍。使山石之轮廓和结构与多次皴擦之干湿用笔浑然一体。也可以把龚贤的创作过程理解为由实至虚达厚现润生韵的过程。关于这一点需要我们认真体会。",[23,24,7,165,29,23324,132,30,37,34,499,495,131,4605],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59a83655a20a43f31c61d9dc139d6bb.jpg",[136],{"id":27784,"slug":27785,"title":27786,"dynasty":54,"author":7208,"museum":244,"description":27787,"tags":27788,"thumbUrl":27789,"material":66,"size":27790,"collection":136,"collections":27791,"showCount":27523,"zanCount":48,"manualWeight":48,"mainColor":72},220112,"yan-bo-diao-ting-tu-qian-long-220112","烟波钓艇图","清高宗爱新觉罗·弘历（1711年9月25日—1799年2月7日），清朝第六位皇帝，定都北京之后的第四位皇帝。年号“乾隆”，寓意“天道昌隆”。在位六十年，禅位后又继续训政，实际行使最高权力长达六十三年零四个月，是中国历史上实际执掌国家最高权力时间最长的皇帝，也是最长寿的皇帝。",[23,24,7,128,165,29,129,1350,4363,1824,455,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a0610d85cb942d3d36056cbf98c91f3.jpg","58.8x30.7",[136],{"id":27793,"slug":27794,"title":27795,"dynasty":144,"author":27796,"museum":27797,"description":27798,"tags":27799,"thumbUrl":27800,"material":173,"size":27801,"collection":136,"collections":27802,"showCount":27523,"zanCount":48,"manualWeight":48,"mainColor":49},220084,"lou-ge-shan-shui-tu-sun-jun-ze-220084","楼阁山水图","孙君泽","日本静嘉堂文库","孙君泽（生卒年不详），元代画家，生活在14世纪，杭州人。工山水人物，宗法马远、夏圭，画风工致谨细，对明代以后浙派绘画的发展有直接的影响。他的作品广见于日本旧藏中。孙君泽的山水是在继承和吸收了马、夏的画法的基础上加以发展和创造，进而形成自己风格的。",[23,24,7,29,95,27,132,96,97,1144,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa91562f156e7a92824fb05acd2a8fa7a.jpg","135×76.5",[136],{"id":27804,"slug":27805,"title":27806,"dynasty":144,"author":223,"museum":20,"description":27807,"tags":27808,"thumbUrl":27810,"material":173,"size":27811,"collection":44,"collections":27812,"showCount":27523,"zanCount":48,"manualWeight":48,"mainColor":72},219632,"jie-bo-tu-yi-ming-219632","揭钵图","此图系佛教故事画，描绘佛世尊为惩治鬼子母而将其幼子宾伽罗扣于钵下，鬼子母遣众小鬼意欲揭钵救子的情景。图中佛世尊神态安然地趺坐在莲花座上，众天神手执兵器耀武扬威地护其左右，正藐视地静观众小鬼徒劳无功的揭钵场面。小儿于钵中哭叫着张手求救，小鬼们不遗余力地用尽各种方法抢救，鬼子母面带忧色地被众孩儿团团围住，她显然已为解救幼子而心力交瘁。\n作者通过对处于尖锐冲突中的不同人物的性格和感情的个性化描绘准确地表明了他们不同的地位和彼此之间的关系，从而令场面宏大、人物众多的画面具有形散而神不散的内聚力。此图中对小鬼的描绘最为生动。作者以丰富的想象力幽默诙谐地表现了造型夸张变异的小鬼。通过他们绳拉木撬等忙乱的举动赋予画面强烈的动感并烘染出紧张激烈的气氛，从而准确地表达了揭钵的创作主题。图中不同的形象用不同的笔墨线条勾画，武士及小鬼以粗犷的墨线勾描，通过对他们坚实的皮肉筋骨的刻画表现出他们的力量和所具有的勇猛精神。佛世尊及仕女、童子用轻柔的细线勾勒，通过衣料柔软的质感衬托出他们纤秀婉约的姿容。全幅用勾线填彩法，色彩厚重丰富，有早期壁画的风格，给人以活泼明快的视觉感受，令画面显得不过于沉重。",[23,24,7,25,27,28,187,96,27809,189],"佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7b0415fc6a78a06f7b07e161173c714.jpg","纵31.8厘米，横97.6厘米",[44],{"id":27814,"slug":27815,"title":27816,"dynasty":54,"author":223,"museum":450,"description":27817,"tags":27818,"thumbUrl":27819,"material":173,"size":84,"collection":44,"collections":27820,"showCount":27523,"zanCount":48,"manualWeight":48,"mainColor":49},219557,"yi-ju-tu-yi-ming-219557","移居图","苍松虬劲盘绕，层岩峻壑氤氲古雅幽寂之气，林谷恍若世外桃源。一行人策蹇徐行，骑牛者衣袂舒展，神色悠然，随行众人或持物或顾盼，情态松弛怡然，将举家迁居的奔波，化为踏山寻幽的雅事。\n\n设色古淡沉着，绢面的岁月斑驳，更添沉静古意。山石以粗劲斧劈皴写就，古松笔墨苍劲老辣，人物线条细劲灵动，动静相映间，把隐世迁居的从容散淡尽数铺展，尽显寄情林泉的隐逸意趣，晕开东方古典人文的温雅余韵。",[23,24,7,27,28,132,29,96,102,34,497,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff184a8f18e6d13ec3a08cbd9aea9857b.jpg",[44],{"id":27822,"slug":27823,"title":27824,"dynasty":54,"author":6357,"museum":1941,"description":27825,"tags":27826,"thumbUrl":27827,"material":66,"size":27828,"collection":44,"collections":27829,"showCount":27523,"zanCount":48,"manualWeight":48,"mainColor":199},219496,"guan-hua-lao-ren-tu-huang-shen-219496","观花老人图","图为一位老人盘膝坐在地上，白发长须，左手捻胡须，右手撑地。 面前是一个窄口的直瓶。 瓶子里有两根无叶的花枝。 老者目不转睛，认真地看着花朵。 此人的衣纹、眉髯都非常有文采，是黄慎人物画的杰作。",[24,7,165,128,27,369,96,18720,8629,605,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a98079d56aeaa314481baecfab8d367.jpg","102x40厘米",[44],{"id":27831,"slug":27832,"title":27833,"dynasty":18,"author":397,"museum":244,"description":27834,"tags":27835,"thumbUrl":27837,"material":173,"size":84,"collection":68,"collections":27838,"showCount":27523,"zanCount":48,"manualWeight":48,"mainColor":72},219224,"li-peng-qiu-zhan-zhao-ji-219224","栗蓬秋绽","墨叶扶疏间，栗蓬携尖刺静绽，外壳微裂处，嫩实隐现如珠。工笔细描的叶片脉络分明，墨色晕染出苍劲与柔润的层次，枝干线条如篆如隶，藏着书法般的骨力。秋意凝于绢素，既有院体画的精工写实，又含文人画的雅致韵致。一笔一画皆见对自然物态的深察，从刺尖的锋芒到叶脉的转折，皆细致入微，尽显宋画格物致知的精神，让秋之栗蓬的生机与静美，在方寸扇面间流转不息。",[23,1846,24,7,1131,28,27,61,27836,549,2438,208],"栗蓬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc547c3110157d019ed1ea0f90ee3b260.jpg",[68],{"id":27840,"slug":27841,"title":27842,"dynasty":18,"author":21192,"museum":1941,"description":27843,"tags":27844,"thumbUrl":27845,"material":173,"size":27846,"collection":45,"collections":27847,"showCount":27523,"zanCount":48,"manualWeight":48,"mainColor":956},219199,"mei-que-shuang-e-tu-wang-ning-219199","梅鹊双鹅图","此图构图新颖,一支细长的枝杈贯穿全图,分叉垂直树干而上,树冠顶端有两只可爱的喜鹊停留.",[24,164,7,165,28,27,61,371,10050,7546,331,167,211,3238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F381ee136b10d1f54c70e4e73a1c7fac0.jpg","168.5x93.4",[45],{"id":27849,"slug":27850,"title":27851,"dynasty":18,"author":223,"museum":56,"description":27852,"tags":27853,"thumbUrl":27854,"material":173,"size":27855,"collection":136,"collections":27856,"showCount":27523,"zanCount":1998,"manualWeight":48,"mainColor":956},219185,"qiu-shan-xiao-si-tu-yi-ming-219185","秋山萧寺图","本图开卷处图绘远山溪岸，继而群峰叠起大壑飞瀑，颇为壮观，再次又转入平川冈阜秋树远山，渐成清远之境，布局变化错落有致，诗意盎人。",[23,24,7,25,29,128,132,27,663,34,31,33,758,17270,37,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a1a563b0831e9d4722ca61818753b6.jpg","41.7x237.2",[136],{"id":27858,"slug":27859,"title":27860,"dynasty":18,"author":223,"museum":300,"description":27861,"tags":27862,"thumbUrl":27863,"material":278,"size":84,"collection":136,"collections":27864,"showCount":27523,"zanCount":1116,"manualWeight":48,"mainColor":49},218598,"guan-he-tu-yi-ming-218598","观河图","岸畔古木扶疏，浓荫覆石，二人伫立凝眸，似为河上烟光所引。左侧层岩叠翠间，楼阁隐现，塔影凌霄，与远岫的淡墨烟岚相映成趣。河面平波如镜，映带天光，留白处尽蓄悠远之思。笔墨简淡却意韵丰饶，山石用皴笔勾勒出肌理，树木以点染晕出葱茏，人物虽小却神形毕肖。咫尺画幅间含纳天地浩渺，观之如临烟水之湄，心随景远，恍若闻得松风与流水和鸣。宋人的山水意趣，尽在这淡墨轻岚里，于无声处诉说着自然与人文的交融，让观者沉湎于烟霞流转的静谧之境。",[23,24,7,164,29,128,27,132,34,96,97,98,99,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76711a84df84311c78bb431889086739.jpg",[136],{"id":27866,"slug":27867,"title":1230,"dynasty":54,"author":3750,"museum":20,"description":27868,"tags":27869,"thumbUrl":27870,"material":278,"size":27871,"collection":136,"collections":27872,"showCount":27523,"zanCount":48,"manualWeight":48,"mainColor":72},218511,"shan-shui-tu-wang-jian-218511","此幅是祝寿题材画，作者在构图上巧意安排：近景绘常青不衰有贺寿寓意的苍松以突出主题；远景绘起伏叠嶂的山峦，寓寿比南山、生命连绵持续之意。中景是清波碧水，其曲折的水面不仅为画面增添了诗意，而且将远、近景有机地相连成一体，令全图的空间层次分明，同时不失画面的完整性。",[23,24,7,29,128,132,165,1144,131,31,98,35,34,415,7782],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c28b0ebb2012e66eb252820326bc507.jpg","纵155.3厘米，横86.9厘米",[136],{"id":27874,"slug":27875,"title":27876,"dynasty":144,"author":223,"museum":56,"description":27877,"tags":27878,"thumbUrl":27879,"material":317,"size":84,"collection":44,"collections":27880,"showCount":27523,"zanCount":48,"manualWeight":48,"mainColor":49},218471,"bai-miao-qun-xian-xiang-yi-ming-218471","白描群仙像","素绢铺展，墨线如流霞婉转，勾画出群仙雅聚的清灵之境。人物神态各异：或执羽轻摇，衣袂飘举间见笔墨凝练；或躬身颔首，似与同侪低语，情态生动。伏侧的虎形温顺灵动，无半分戾气，恰与仙者的超然相映成趣。线条兼具铁线的劲挺与蚕丝的柔细，衣纹转折、须发纤毫皆精准传神，不施丹青却鲜活可感。整幅画携古卷幽韵，将仙凡相契的闲逸之气凝于笔端，墨色虽简，意境却远，引人沉醉于那份古朴雅致的超凡之美。",[24,7,188,96,187,5490,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dcc4913ac8e436933091ef6c1afde81.jpg",[44],{"id":27882,"slug":27883,"title":8685,"dynasty":124,"author":14442,"museum":450,"description":14443,"tags":27884,"thumbUrl":14447,"material":173,"size":27885,"collection":44,"collections":27886,"showCount":27523,"zanCount":1998,"manualWeight":48,"mainColor":49},218365,"ying-xi-tu-you-qiu-218365",[23,24,7,165,28,27,96,2218,1144,14446,8537,13024,14445,8832],"89.3x53.4",[44],{"id":27888,"slug":27889,"title":27890,"dynasty":124,"author":1058,"museum":450,"description":3169,"tags":27891,"thumbUrl":27892,"material":173,"size":3172,"collection":84,"collections":27893,"showCount":27523,"zanCount":1998,"manualWeight":48,"mainColor":49},218347,"ren-wu-gu-shi-ce-3-tang-yin-218347","人物故事册-3",[23,24,7,59,27,96,28,64,208,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F703960e64914b7762ff9858c151f68d9.jpg",[],{"id":27895,"slug":27896,"title":27897,"dynasty":124,"author":1058,"museum":450,"description":3169,"tags":27898,"thumbUrl":27899,"material":173,"size":3172,"collection":84,"collections":27900,"showCount":27523,"zanCount":1998,"manualWeight":48,"mainColor":49},218342,"ren-wu-gu-shi-ce-7-tang-yin-218342","人物故事册-7",[23,164,24,7,59,27,28,96,331,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4b9e28443792172ef7912cf70bbfdee.jpg",[],{"id":27902,"slug":27903,"title":27904,"dynasty":18,"author":2320,"museum":1941,"description":27905,"tags":27906,"thumbUrl":27908,"material":173,"size":84,"collection":84,"collections":27909,"showCount":27523,"zanCount":1998,"manualWeight":48,"mainColor":49},214869,"wu-bai-luo-han-zhi-tian-tai-shi-qiao-tu-zhou-ji-chang-214869","五百罗汉之天台石桥图","五百罗汉之天台石桥图是一幅中国古代图画，出现在宋朝时期。这幅图画由周季常创作，被认为是宋朝时期艺术史上的里程碑。\n\n五百罗汉之天台石桥图描绘了一座天台山上的石桥。石桥上站着五百个罗汉（佛教中的圣者），他们身着鲜艳的衣服，戴着华丽的首饰，手执莲花，肩挎佛像。每个罗汉都有自己独特的特征和表情，表现出不同的心态和境界。图中还有云朵、山峦、树木等元素，构成了一幅美丽的图画。\n\n五百罗汉之天台石桥图被认为是宋朝艺术史上的里程碑，因为它标志着中国传统绘画艺术走向成熟和完善。这幅图画的细腻和逼真的写实，以及对人物特征和心理描写的深刻，让人们对宋朝艺术有了更加深入的了解和认识。",[23,24,7,165,187,27,28,96,29,497,495,37,27907],"石桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ce180fb2ebcd4c0fe8a67a27cc9478a.jpg",[],{"id":27911,"slug":27912,"title":27913,"dynasty":54,"author":19894,"museum":244,"description":27914,"tags":27915,"thumbUrl":27916,"material":278,"size":27917,"collection":318,"collections":27918,"showCount":27523,"zanCount":48,"manualWeight":48,"mainColor":72},214239,"xing-shu-li-bai-qiu-deng-xuan-cheng-xie-tiao-bei-lou-zheng-xie-214239","行书李白秋登宣城谢眺北楼","笔锋游走处，楷隶骨力与行草灵动交织成独特韵律。横画如竹枝劲挺，撇捺似兰叶舒展，尽显板桥体疏朗宕逸的风骨。墨色浓淡相济，沉厚如秋潭映月，轻扬若风过疏桐，暗合诗意里的秋空澄澈与凭栏远眺的旷达。结体错落有致，字间顾盼生姿，仿佛谢朓楼头山影叠嶂，又藏李白诗中逸兴遄飞。章法疏密得宜，笔墨与纸页的对话间，怀古之思与秋景清寂化作纸上流转气韵，尽展文人书法的情韵与风骨。",[23,164,24,7,165,133,64,128,208,29,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5bd6865fed3b355a77b57411d0da99f.jpg","164x90.2",[318],{"id":27920,"slug":27921,"title":27922,"dynasty":54,"author":3403,"museum":300,"description":8089,"tags":27923,"thumbUrl":27924,"material":692,"size":1293,"collection":84,"collections":27925,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":72},290423,"shan-hu-zhu-tu-wu-chang-shuo-290423","珊瑚珠图",[23,24,164,7,165,27,61,5930,962,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2766eac4a62e51b7669d8120e882a655.jpg",[],{"id":27927,"slug":27928,"title":27929,"dynasty":144,"author":569,"museum":300,"description":27930,"tags":27931,"thumbUrl":27932,"material":692,"size":1293,"collection":84,"collections":27933,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":72},289948,"luo-shen-fu-juan-zhao-meng-fu-289948","洛神赋卷","赵孟頫[fǔ]（1254年10月20日－1322年7月30日），字子昂，汉族，号松雪道人，又号水晶宫道人（一说水精宫道人）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远。",[164,24,7,25,133,64,1590,14963,17701,166,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8139c393ba42d92a1104b63075d6602a.jpg",[],{"id":27935,"slug":27936,"title":27937,"dynasty":351,"author":1931,"museum":300,"description":22575,"tags":27938,"thumbUrl":27939,"material":692,"size":1293,"collection":84,"collections":27940,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},289771,"zhu-lin-bo-ge-tu-wei-zuo-huang-quan-289771","竹林鹁鸽图（伪作）",[23,24,7,61,165,28,27,167,211,24549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c829119b7ec6055354e9e93d522d247.jpg",[],{"id":27942,"slug":27943,"title":16667,"dynasty":351,"author":223,"museum":300,"description":27944,"tags":27945,"thumbUrl":27946,"material":692,"size":1293,"collection":84,"collections":27947,"showCount":361,"zanCount":1998,"manualWeight":48,"mainColor":49},288513,"zha-kou-pan-che-tu-yi-ming-288513","整幅画作定格了一处临水官营作坊的日常盛景。临水高阁水磨飞转，匠人或持具分拣粮料，或俯身装卸漕粮，各司其职、鲜活生动。水面上舟楫往来渡运，岸边车马络绎穿梭，高耸的木构支架与严整的亭台楼阁相互映衬，满溢着烟火蒸腾的劳作气息。\n画作以工细写实的笔触写尽百态，界画严整精准，衣纹简劲利落，设色古雅苍润，将漕粮加工转运的民生图景娓娓铺展，兼具极高审美价值与纪实史料价值。",[23,164,24,7,95,27,96,97,98,99,2048,106,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bf861c5bac94907fe27a1b5a71d408b.jpg",[],{"id":27949,"slug":27950,"title":27951,"dynasty":18,"author":2141,"museum":300,"description":27952,"tags":27953,"thumbUrl":27955,"material":692,"size":1293,"collection":84,"collections":27956,"showCount":361,"zanCount":1086,"manualWeight":48,"mainColor":72},288356,"qiu-chuang-du-yi-tu-liu-song-nian-288356","秋窗读易图","这件作品笔墨工致严谨，气格宁静雅逸，具有一种宫廷的富贵气息，是刘松年细腻、典雅画风的杰出代表。也有专家认为，他的山水画是把李唐开创的风格“向后拉”(所谓“向后拉”，就是把李唐刚猛的画风进行减缓和柔化)，而马远、夏圭则是把李唐的画风“向前拉”，此说颇为形象。画面表现的是读书的场景。水畔树石掩映之下，书斋门窗敞开，主人在窗前展卷沉思，一书童在门外侍立。景色清幽，主人儒雅，童子恭敬，各尽其态。房屋、院落、树木、篱笆墙，都是精工细写，一丝不苟，将秋天的氛围渲染得恰到好处。一片湖光水色之外，更有远景的山石隐现。山石的画法明显是学自李唐，先用健朗的线勾轮廓，然后施以斧劈皴，精巧、有力，青绿设色，杂树用夹叶法，这些都是典型的南宋画法。但细读之下，却也不尽然。《秋窗读易图》同时呈现出另一种风貌。我们拿这张作品和刘松年的《四景山水图》做比较，就会发现这个问题。《四景山水图》画山石用斧劈皴和淡墨渲染，具有刚硬的特点。树的弯曲，用笔偏于方折，远山仅画一角。虽然画面的总体感觉上是湿润的，但具体景物却是干裂的。再看《秋窗读易图》的山石画法，很明显地具有董源、巨然的风格——长披麻皴的运用和具有江南柔美的韵致。另外，从树木、苔点、远山、秀水的画法中，我们可以感觉得到一种萧散和淳厚，这又具有元人的绘画风韵。\n总体而言，《秋窗读易图》较之《四景山水图》，硬朗之风略逊，而优雅、闲适之气则胜之。从这个意义上讲，刘松年的作品突破了时代的风格，以典雅、秀丽的风貌预示了元代山水画的走向。虽然元代山水画的一个典型的特征是排斥南宋绘画传统，但刘松年绘制的这件作品，正好从另一个方面说明了元代山水画家或者说南宗山水画家将反对的对象集中在马远和夏圭上的主要原因。",[23,24,1131,7,27,28,95,29,1144,97,64,133,208,6639,27954],"读易","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c6dadc0e51fb4a03d05372ce1324e11.jpg",[],{"id":27958,"slug":27959,"title":27960,"dynasty":54,"author":6946,"museum":300,"description":27961,"tags":27962,"thumbUrl":27963,"material":84,"size":84,"collection":84,"collections":27964,"showCount":361,"zanCount":1998,"manualWeight":48,"mainColor":49},239312,"gong-fei-hua-chong-tu-zhou-ding-guan-peng-239312","宫妃话宠图轴","取景幽寂庭院，修竹扶疏，晕出宫苑清冷雅致的底色。仕女华服温婉，神情各别，或凭栏私语，或侍弄案上清供，将深宫女子的隐秘心绪藏于眉梢眼角之间。\n画作工细妍丽，线条匀净流畅，设色秀雅沉静。案头盆景、陈设器物描摹入微，既还原了宫苑闲趣日常，又暗透出深闺幽闭中的缱绻心事。笔触婉转细腻，将闲寂悠长的深宫氛围悄然铺陈，在柔婉的仕女情态里，藏着含蓄的情绪张力，尽显仕女画的雅致韵致。",[24,7,165,27,28,96,166,167,8091,249,1422,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2af47c93549f345fb95b556ecd7a19e8.jpg",[],{"id":27966,"slug":27967,"title":27968,"dynasty":54,"author":27969,"museum":300,"description":27970,"tags":27971,"thumbUrl":27972,"material":84,"size":84,"collection":84,"collections":27973,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":72},239211,"fang-fu-chun-shan-ju-tu-juan-gao-shu-cheng-239211","仿富春山居图卷","高树程","此作用干笔淡墨追摹原作意趣，以披麻皴晕染山峦，丘壑连绵起伏，层层铺展。汀渚萦回于烟波之间，林木错落苍秀，将富春山水的空濛温润缓缓铺陈。\n\n笔墨松灵温润，萧散简远，既复刻了原作的淡远疏旷，又融入自身静穆雅致的笔意，不刻意摹形，更重追摹那份江南山水的悠然意趣，咫尺长卷见千里江山之态，尽显文人山水平和疏朗的意境。",[23,24,7,25,128,330,132,29,34,129,211,496,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfcbdf55fbaf80a9674d7aee012cfa74.jpg",[],{"id":27975,"slug":27976,"title":27977,"dynasty":54,"author":27978,"museum":20,"description":27979,"tags":27980,"thumbUrl":27981,"material":40,"size":27982,"collection":136,"collections":27983,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},238666,"shan-shui-lou-ge-tu-zhou-shen-yuan-238666","山水楼阁图轴","沈源","受“海西法”影响的新型建筑画在清代宫廷内曾经十分盛行，当时称为“线法画”，即采用西洋绘画中的焦点透视法，以扩大建筑物在画面中的空间感和纵深感，力求达到“于阴阳远近，不差锱黍。…… 布影由阔而狭，以三角量之。画宫室与墙壁，令人几欲走进”的立体效果。从此幅沈源的作品中可以看到“线法画”的痕迹，虽然由于受到中国审美传统的限制，画面中西洋绘画的一些效果在一定程度上有所淡化，但是与传统的建筑画相比，此时的画家表现三维景物的能力确实有了相当大的提高。",[24,7,165,95,27,29,97,130,34,96,28,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d809bb2714a20a923bebe202091254.jpg","纵135厘米，横74.8厘米",[136],{"id":27985,"slug":27986,"title":10546,"dynasty":54,"author":872,"museum":424,"description":27987,"tags":27988,"thumbUrl":27989,"material":1464,"size":27644,"collection":68,"collections":27990,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":72},238040,"song-lu-tu-zhou-zhu-da-238040","朱耷（约1626年—约1705年），号八大山人，又号雪个、个山 、入屋、驴屋等，入清后改名道朗， 字良月，号破云樵者。汉族，南昌（今属江西）人 。明末清初画家，明亡后削发为僧，后改信道教 ，住南昌青云谱道院。绘画以大笔水墨写意著称，并善于泼墨，尤以花鸟画称美于世。在创作上取法自然，笔墨简炼，大气磅礴，独具新意，创造了高旷纵横的风格。",[24,7,165,128,369,132,372,2302,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9244ade8ce785509d3cb147daa31bcce.jpg",[68],{"id":27992,"slug":27993,"title":19857,"dynasty":54,"author":872,"museum":300,"description":27994,"tags":27995,"thumbUrl":27996,"material":84,"size":84,"collection":84,"collections":27997,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":72},235620,"shan-shui-zhou-zhu-da-235620","此作用淡墨干笔写层叠峰峦，删繁就简，以极简的勾勒皴擦塑造奇崛冷峻的山石体态，不着浓艳，尽是荒寒萧索。画面留白肆意，纵长构图牵引视线游走于丘壑之间，山居错落、枯木寒松点缀其间，愈发衬出山水空寂冷逸。笔墨疏淡却意韵悠长，将沉郁的遗世心绪尽数融于林泉丘壑，冷寂禅意漫溢纸面，尽显孤高疏淡的品格风骨。",[24,7,165,128,132,29,171,331,1233,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F666b9b8a9dd9e1bad95d24e8eaa187e7.jpg",[],{"id":27999,"slug":28000,"title":28001,"dynasty":124,"author":10922,"museum":20,"description":28002,"tags":28003,"thumbUrl":28004,"material":734,"size":28005,"collection":136,"collections":28006,"showCount":361,"zanCount":1998,"manualWeight":48,"mainColor":72},234806,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-qian-ren-zuo-tu-ye-wen-jia-234806","吴门诸家寿袁方斋三绝册-千人座图页","此册页是吴门画家文嘉、文伯仁、陆治、陈道复为姓袁者六十大寿而绘的吴门一带的盛景，每位画家绘制五开，共20开，妹夫对开均有提拔。",[24,7,59,27,29,132,96,130,131,34,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0427d2997d7f999e233f980c215411ae.jpg","22.2*26.7cm",[136],{"id":28008,"slug":28009,"title":15546,"dynasty":124,"author":15464,"museum":300,"description":28010,"tags":28011,"thumbUrl":28012,"material":84,"size":84,"collection":84,"collections":28013,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},234805,"ren-wu-zhou-xie-shi-chen-234805","谢时臣（1487—？），明代画家。字思忠，号樗仙。长洲（今江苏苏州）人，八十一岁时尚在世。工书法，长于隶书 。擅山水 ，师法吴镇、沈周，稍作变化，兼有“浙派”和“吴门派”笔法，风格独特。\n作品多构为长卷巨幛，以善画水著称，江河湖海，无不精好。又作 山峦重叠 ，高耸险峻 ，笔墨 或细密苍劲 ，或劲健沉郁，或纵横纷披，富有变化。有《溪山揽胜图》《策杖寻幽图》《武当霁雪图》《谪仙玩月图》等传世。",[24,7,165,27,132,96,34,7822,211,29,690,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F581618327747e74a9a86d6201e888d63.jpg",[],{"id":28015,"slug":28016,"title":28017,"dynasty":54,"author":28018,"museum":300,"description":28019,"tags":28020,"thumbUrl":28021,"material":84,"size":84,"collection":84,"collections":28022,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":72},234520,"hua-niao-wan-shan-zhu-cheng-234520","花鸟纨扇","朱偁","朱偁[清]（1826—1900，一作1826—1899）清代画家，早岁名琛，后更今名，字梦庐，号觉未，别署鸳湖散人、玉溪外史、玉溪钓者、鸳湖画史、胥山樵叟，浙江嘉兴人。熊弟。工花鸟，初法张熊，暇辄借临，熊自视几不能辨。及王礼得名以超脱胜张熊之工细，遂改从礼，兼得张画之华瞻工细与王画之超脱飘逸，神似华喦，成为名家，在上海书画界享有盛誉。题字款识，莫不酷似。晚年精进，惜未脱霸气。间仿华岩亦得其神似，卒年七十五（一作七十四）。\n事迹收录于《海上墨林》、《桐阴复志》、《近代六十名家画传》 。",[24,7,1131,27,28,61,171,355,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29f6db911ad00282fc6ef5a8e0e78eae.jpg",[],{"id":28024,"slug":28025,"title":24663,"dynasty":124,"author":28026,"museum":300,"description":28027,"tags":28028,"thumbUrl":28029,"material":734,"size":84,"collection":84,"collections":28030,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":72},234257,"hua-hui-juan-zhu-chang-234257","朱昶","夏昶（1388年－1470年），字仲昭，号玉峯、自在居士，南直隶昆山县（今属江苏省昆山市）人。明朝画家，官员。外玄孙归有光。《明史》有传。\n夏昶早年过继于舅父，故姓朱。永乐十三年（1415年）乙未科进士，选入庶吉士，归宗，复夏姓，明成祖赐名为昶。正统年间官至太常寺少卿。夏昶与上元县的张益齐名，同年考中进士，同善作赋、画竹，夏昶后来认为自己的辞赋，不如张益，于是终身不再作赋；张益也认为自己所画的竹子不如夏昶，也终身不画竹子。",[23,24,25,7,28,27,61,62,81,263,828,603,356],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb24494b2d5604dc9bc0f9237bdad182.jpg",[],{"id":28032,"slug":28033,"title":28034,"dynasty":54,"author":19884,"museum":20,"description":28035,"tags":28036,"thumbUrl":28037,"material":151,"size":84,"collection":68,"collections":28038,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":72},234108,"hua-hong-li-du-jiang-shi-yi-juan-zhang-zong-cang-234108","画弘历渡江诗意卷","张宗苍（1686-1756），字默存，江苏苏州人，画家。师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。\n公元1751年，乾隆皇帝南巡，张宗苍进献了画册《吴中十六景》，深得乾隆皇帝的欣赏，后来进入清宫廷画院供奉，为宫廷作画，是乾隆时期一位重要的宫廷画家。清代宫廷绘画在清代绘画史上有着重要的地位，特别是乾隆时期，设立了如意馆广收人才，创作了很多纪实、历史故事、宗教及装饰题材的作品，具有特殊的历史与艺术价值，在乾隆一朝的宫廷画家中，张宗苍是很重要的一位。张宗苍的山水画，画风苍劲，用笔沉着。山石皴法多以干笔积累，林木之间使用淡墨，干笔和皴擦的手法相结合，表现出了深远的意境和深厚的气韵，一洗宫廷画院惯有的甜熟柔媚的习气，特别被乾隆皇帝所喜爱\u2028 《石渠宝笈》收录了他的116幅作品，很多作品上都有乾隆皇帝的题诗。 初以主簿理河工事。善画，山水出黄鼎之门，用笔沈著，山石皴法多以乾笔积累，林木间亦用淡墨，乾擦凑合，神气颇觉葱蔚可观。乾隆十六年（一七五一）高宗南巡，以吴中十六景画册进呈，称旨。命入都祗候内廷。十九年（一七五四）授户部主事。年七十一卒於家。",[24,7,25,27,29,31,1743,10280,18542,34,131,208,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa140c914ee1ce52abac214f62a6488a8.jpg",[68,136,45],{"id":28040,"slug":28041,"title":28042,"dynasty":18,"author":915,"museum":20,"description":28043,"tags":28044,"thumbUrl":28045,"material":40,"size":28046,"collection":84,"collections":28047,"showCount":361,"zanCount":1998,"manualWeight":48,"mainColor":49},234009,"pu-tao-cao-chong-tu-ye-lin-chun-234009","葡萄草虫图页","图绘葡萄累累垂挂，蜻蜓、螳螂、蝈蝈、蝽象伏于藤蔓绿叶间，画家以小幅的画面抒写了一幅生机盎然的田园景致。昆虫以双勾填彩法绘制，用线刚柔相济，既准确地勾勒出秋虫或动或静的各种体态和神情，又将昆虫翅膀的轻薄或外壳的坚硬等不同的质感表露无遗，显示出作者敏锐的观察力和精于细节表现的绘画功底。在色彩上，敷色轻淡，深得造化之妙，葡萄藤的藤尖点染红色以示其新生初发之嫩，叶子的边缘略以褐色渲染，表明叶片饱经浓霜重露之貌。这种合乎自然规律的晕染与其求实写真的线条相得益彰，具有宋代院体工笔画的鲜明特色。",[24,164,7,61,1131,28,27,2334,480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F749b5dc78e09cc13d321b8999ca74329.jpg","纵26.2厘米，横27厘米",[],{"id":28049,"slug":28050,"title":28051,"dynasty":124,"author":16846,"museum":20,"description":28052,"tags":28053,"thumbUrl":28054,"material":734,"size":28055,"collection":84,"collections":28056,"showCount":361,"zanCount":1998,"manualWeight":48,"mainColor":72},232954,"wan-he-song-feng-tu-zhou-wen-bo-ren-232954","万壑松风图轴","作者绘高峰巨嶂、松竹叠翠和隐庐数间，构图和笔墨、造型尽得元代王蒙的形与神。构图繁密而不拥塞，行笔细密却不琐碎，山路松声，云壑泉涌，满幅风动。气韵浑然一体，纯系文徵明传派的风韵。",[24,7,165,29,128,132,1144,131,495,11936,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f80f6c03b7173bd4fc3b16e9e9bfec6.jpg","纵104.7厘米，横25.8厘米",[],{"id":28058,"slug":28059,"title":28060,"dynasty":18,"author":28061,"museum":300,"description":28062,"tags":28063,"thumbUrl":28064,"material":84,"size":84,"collection":84,"collections":28065,"showCount":361,"zanCount":1998,"manualWeight":48,"mainColor":956},231022,"xia-shan-tu-qu-ding-231022","夏山图","屈鼎","此作以全景铺展夏景山水，层峦叠嶂间烟岚轻萦，将盛夏山野的湿润苍翠晕染开来。山脚林木蓊郁繁茂，涧水穿林漱石，奔涌有声；江面波平水阔，帆影悠悠漾开水乡清宁。\n笔墨兼南北之妙，山石以硬朗勾勒配浅淡皴擦，既塑出雄奇山势，又以水墨晕染衬出山岚水汽的空濛柔润。整体意境兼具山野深幽与江天开阔，将盛夏山林的蓬勃生机与静谧空寂相融，尽显山水间的诗意野趣，藏着宋画写实又写意的隽永意韵。",[23,164,24,7,25,128,27,29,30,34,31,129,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923d6bb1796e097af3fbb0e3372b8990.jpg",[],{"id":28067,"slug":28068,"title":28069,"dynasty":54,"author":7716,"museum":300,"description":28070,"tags":28071,"thumbUrl":28072,"material":84,"size":84,"collection":84,"collections":28073,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":72},230257,"fang-lao-lian-pin-jiu-tu-gai-qi-230257","仿老莲品酒图","此作用笔细劲秀逸，设色柔雅清淡。画面之中，两位雅士对坐石上，一人持盏浅酌，神情悠然沉醉，一人拨弄酒器，专注雅致。仕女垂首侍立，温婉娟秀，仆从捧来瓶花，为雅集添上清隽意趣。\n整幅画作将文人品酒雅集的闲逸氛围铺陈开来，既有取法的古雅意韵，又融入独有的秀媚笔致，把文人士大夫诗酒风流的从容雅致尽显纸面，清雅悠然，韵致绵长。",[23,24,7,165,28,27,330,96,439,171,170,169,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c995a313ec5966c17d37672db050351.jpg",[],{"id":28075,"slug":28076,"title":28077,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":28078,"thumbUrl":28079,"material":151,"size":7879,"collection":84,"collections":28080,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":72},230105,"hong-lou-meng-186-sun-wen-230105","红楼梦186",[24,7,28,27,95,96,166,97,247,34,1337,1144,131,249,6874,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4501237256ff4155c35bcd53221f87ba.jpg",[],{"id":28082,"slug":28083,"title":28084,"dynasty":124,"author":1058,"museum":244,"description":28085,"tags":28086,"thumbUrl":28087,"material":278,"size":28088,"collection":136,"collections":28089,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":199},228481,"guan-pu-tu-zhou-tang-yin-228481","观瀑图轴","画面上方描绘瀑布倾泻而下，正是李白《望庐山瀑布水（二首）》其二中的名句“飞流直下三千尺，疑是银河落九天”的意境。近景浓荫之下，巨石突兀，一文士仰卧其上，满目青翠欲滴的树色，远望则千岩万壑。想必那水声、树声交织出的华美乐章令画中人沉醉。此图构图雄奇，笔法狂放，或横，或竖，或卷，不拘一格，任意挥洒，看似草草，实则内蕴雄浑沉厚的张力。",[24,7,165,128,29,495,34,131,96,99,37,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2d863025c22e5c994d3525d679e99f5.jpg","103.6x30.3",[136],{"id":28091,"slug":28092,"title":28093,"dynasty":124,"author":802,"museum":300,"description":28094,"tags":28095,"thumbUrl":28096,"material":84,"size":84,"collection":84,"collections":28097,"showCount":361,"zanCount":1998,"manualWeight":48,"mainColor":49},228282,"fang-tang-ren-jiao-yin-shang-gu-tu-chen-hong-shou-228282","仿唐人蕉荫赏古图","苍劲芭蕉如墨云翻卷，衬着嶙峋古雅的玲珑湖石，辟出一方幽寂天地。宽袍高士踞坐案前，清癯眉眼凝注古物，沉静间漫溢追慕唐风的幽古意趣。侍立童子恭谨端持器物，朴拙身形与高士的沉静古雅相映成趣。\n\n全作用笔清劲凝练，设色古淡沉静，以奇逸高古的造型风格，将文人幽居赏玩的雅静襟怀晕染开来，简淡间尽是悠长的古雅余韵。",[23,24,7,165,27,28,188,96,8070,171,251,227,211,2271],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45a2a9d4591340b66ef93084f64ccfd1.jpg",[],{"id":28099,"slug":28100,"title":28101,"dynasty":144,"author":410,"museum":300,"description":28102,"tags":28103,"thumbUrl":28104,"material":84,"size":84,"collection":84,"collections":28105,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},228083,"shuang-song-tu-wang-meng-228083","双松图","此作用双松撑起画面骨架，古松扎根嶙峋顽石，枝干虬曲扭转如苍龙探海，松针攒簇苍劲，带着历经岁月的沉凝古拙。\n以干笔皴擦写出斑驳松皮，枯墨见笔力，淡墨晕染远景平沙远渚，留白疏朗空寂，以简淡衬出双松的雄浑厚重，将高远与平远意境相融。\n错落题跋与画面相映成趣，诗文的林下幽怀和萧散画境合二为一，笔墨间满溢林泉隐逸之趣，仿佛能让人枕松听浪，静看云卷云舒，尽显元人尚意的画中真味。",[23,164,24,7,165,128,132,369,1144,131,29,34,711,23454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8baca3f8b4fccb2a156d2bb5fa09314a.jpg",[],{"id":28107,"slug":28108,"title":28109,"dynasty":18,"author":3110,"museum":300,"description":28110,"tags":28111,"thumbUrl":28112,"material":84,"size":84,"collection":84,"collections":28113,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},227714,"wu-niao-tu-mu-xi-227714","乌鸟图","牧溪的作品在日本的地位非常高，很多画友们形容他在国内的名气不怎么大。那是因为他的大部分作品流传到了日本，所以他的绘画在日本的艺术界堪称神作。\n\n好的作品流传到了国外，在国内与众多古代画家相比自然就不占优势了，所以牧溪在国内感觉不怎么受待见。\n但真正研究古画的人，看过了牧溪的作品之后形容他的艺术绘画成就超过了八大山人，八大山人朱耷的作品甚至有可能是模仿了牧溪。\n\n南宋牧溪的作品有多牛？下面我们一起来欣赏一下这一张被美国克里夫兰艺术博物馆珍藏着的《乌鸟》图。\n这一张作品的绘画还是一如既往的牧溪的绘画风格，简单而且不多用笔，画法也是十分的简单。但作品经过了几百年之后，大家看到了牧溪的作品真的是称赞不绝于口。\n\n南宋牧溪的这幅神作：画鸟不画其首，笔墨又飒又寂寥！\n先不评画，很多人看到了这一张作品之后，看到了画中那一只“无头”乌鸟之后留言：为构图真的是绝了，牧溪当时是怎么画出来的，很想知道他在什么样的环境之下创作出来的。\n\n这笔法，真的是又飒又寂寥！有些作品真的是凭意境取胜，别不服古人，现代人真的很难画出来。\n\n不知道大家看这一张牧溪的小鸟图感觉怎么样，真可以说是国画艺术的天花板了吧。画面中乌鸟不见其首，很明显是躲在了自己的翅膀之下，它懒得起飞，整个意境感很强。\n\n本来作品就够寂寥了，再加上作品的右下边有大面积的留白，画面更显得空寂了。这构图，随笔点墨而成，意思简单，不费妆缀。\n\n绘画的细节可以说是质朴到了极点，不该多的东西一样也不多，该少的东西也不会偷懒不画。简单的笔墨，但牧溪的作品给人一种素，空寂，清高雅致的感觉，相信文人墨客都喜欢这一类的作品吧。",[24,7,128,369,61,211,1233,7596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2fa3546d9a7f85189bc229558c77b1b.jpg",[],{"id":28115,"slug":28116,"title":28117,"dynasty":54,"author":4083,"museum":300,"description":28118,"tags":28119,"thumbUrl":28120,"material":28121,"size":28122,"collection":136,"collections":28123,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},224408,"shu-hua-shi-liu-kai-1-wang-shi-min-224408","书画十六开-1","王时敏（1592—1680），明末清初画家。江苏太仓人。王时敏一生寄情诗文书画，家藏历代法书名画甚多。他擅山水，主张艺术应施法古人，专师黄公望。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。开创了山水画的“娄东派”，艺术史上位居清初画家“四王”之首。",[23,24,7,59,27,132,29,30,495,499,34,35,1743,497,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4285d78bec5736d0c6c8df96ff8a6e9a.jpg","墨色绢本","48x32",[136,318,45],{"id":28125,"slug":28126,"title":28127,"dynasty":54,"author":2640,"museum":300,"description":28128,"tags":28129,"thumbUrl":28130,"material":84,"size":84,"collection":84,"collections":28131,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":72},224377,"hua-hui-qi-shi-ce-shi-er-kai-7-ju-lian-224377","花卉奇石册-十二开-7","此帧小品清隽雅致，以淡墨皴写湖石，瘦透间带玲珑孔洞，苍朴石色晕染出经年古意，苔迹隐现似藏时光痕迹。石畔新抽的嫩株以没骨晕染，心形叶片从墨绿到浅碧过渡柔润通透，细劲叶脉勾勒出鲜活生机。\n\n两只丹红斑黑的瓢虫悄悄栖止，一在叶端一在石巅，静中生趣，将幽寂小景晕开鲜活意趣。全画笔简意足，设色秀雅柔和，把案头清供的恬然闲趣尽数铺陈，尺幅虽小，却将文人雅室的幽谧诗意凝于画面，尽显雅致侘寂的小帧佳韵。",[23,24,7,59,27,208,61,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6982ad98498646a071e78689c3bf1bf.jpg",[],{"id":28133,"slug":28134,"title":28135,"dynasty":54,"author":28136,"museum":300,"description":28137,"tags":28138,"thumbUrl":28139,"material":84,"size":84,"collection":84,"collections":28140,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":72},224354,"lin-quan-chun-mu-tu-zhou-jian-jiang-224354","林泉春暮图轴","渐江","此作用笔瘦硬峭拔，以极简勾勒写危崖峻立，皴擦淡简却见山石棱骨清奇。崖间古木槎枒、幽居隐现，水岸扁舟系于浅汀，茅舍独处一隅，寥寥数笔便晕开暮春空山的静寂清寒。\n\n画面留白空灵通透，淡墨轻岚里裹挟着出尘禅意，题诗与画意相融，将杜鹃啼暮的春深意趣和林泉幽隐的襟怀合而为一。笔底萧疏淡远，把江南山水的冷雅秀逸，化作洗尽铅华的林下高致，尽显静穆出尘的画中真意。",[23,24,7,165,128,132,188,29,131,34,35,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50e89fcb2f45dbcaccf688fec7a72e8a.jpg",[],{"id":28142,"slug":28143,"title":28144,"dynasty":182,"author":3529,"museum":510,"description":28145,"tags":28146,"thumbUrl":28147,"material":151,"size":28148,"collection":84,"collections":28149,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":72},223556,"qing-xi-yin-ma-tu-han-gan-223556","清溪饮马图","韩干(约706～783)，唐代画家，长安蓝田（今属陕西）人，官至太府寺丞。善画肖像、人物道释、花竹，尤工鞍马。韩干初师曹霸，为其入室弟子，后自成一家。所绘马匹，体形肥硕，态度安详，比例准确，一改前人画马螭颈龙体、筋骨毕露、姿态飞腾的“龙马”作风，创造了富有盛唐时代气息的画马新风格。杜甫在《丹青引》中有“干唯画肉不画骨”的诗句，在《画马赞》中又说：“韩干画马，毫端有神。……鱼目瘦脑，龙文长身，雪垂白肉，风蹙蓝筋”。对他的画马，赞赏备至，后人将他与当时最善画牛的戴嵩并称为“韩马戴牛”以画马着称。",[23,24,7,1131,28,128,101,96,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F148f3125d6a4c66d8e3539b1472fcf74.jpg","42*68厘米",[],{"id":28151,"slug":28152,"title":4437,"dynasty":54,"author":11383,"museum":300,"description":28153,"tags":28154,"thumbUrl":28155,"material":84,"size":84,"collection":44,"collections":28156,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":4001},223133,"ce-ye-ren-xiong-223133","任熊（1823年7月19日—1857年11月23日），字渭长，一字湘浦，号不舍，浙江萧山人，清代晚期著名画家，“海派”艺术的代表人物之一。\n幼时家贫，跟塾师学画人像，后寓居苏州、上海以卖画为生。曾流浪到宁波。曾居于挚友周闲之范湖草堂三年，并得遇著名文人姚燮，在其家“大梅山馆”学画，深得宋人笔法。任熊是绘画全才，人物、花卉、山水、翎毛、虫鱼、走兽，无一不精。画法宗陈洪绶，与弟任薰，儿子任预、侄任颐合称“海上四任”，又与朱熊、张熊合称“沪上三熊”。概述图为任熊自画之像。\n代表作有为著名词人与画家周闲所绘之《范湖草堂图》、以及由周闲等题跋之《十万图册》等。\n任熊善山水、人物、花卉、翎毛、虫鱼、走兽，笔力雄厚，气味静穆，深得宋人神髓。尤擅长人物，堪与陈洪绶并驾。人物形象多高古、奇倔、夸张、得陈洪绶神韵而能别出心裁，其自画像神态刻画细致入微，十分写实。任熊对衣纹的勾画向来十分精彩，铁画银钩，很见功力。所题款字也是十分有力，与画法同出一辙。曾有《于越先贤传》、《剑侠传》、《列仙酒牌》等画曾刻印行世，\n传世作品有《十万图册》十页、《姚燮诗意图册》《自画像》轴等，现藏故宫博物院；咸丰五年（1855）作《四梅图》轴藏中国美术馆；《为姚梅伯作人物册》二十页、《洛神图》轴、《范湖草堂图》卷藏上海博物馆；《丁文蔚像》轴藏浙江省博物馆；《少康像》册页藏南京市博物馆；《瑶宫秋扇图》轴藏南京博物院；《四季花卉图》卷藏辽宁省博物馆；《人物图册》藏广州美术馆。",[23,24,7,59,27,28,96,371,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cfe570f51dcb149ceb8140bb0a3e451.jpg",[44],{"id":28158,"slug":28159,"title":28160,"dynasty":54,"author":28161,"museum":20,"description":28162,"tags":28163,"thumbUrl":28164,"material":28165,"size":28166,"collection":84,"collections":28167,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":72},223097,"mei-yue-chang-e-fei-yi-geng-223097","梅月嫦娥","费以耕","此图为民间脍炙人口的嫦娥奔月主题。画中所绘嫦娥鹅蛋脸，形象古典秀美，体态婀娜，气质娇柔，描绘了当时人们心目中的理想美人。所绘墨梅横向出枝，其秀美的花形，成功地烘托出嫦娥清雅脱俗的仙姿佚貌，由此可见费以耕与张熊间默契的笔墨配合，以及共通的审美意趣。",[23,24,7,1131,27,96,166,371,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e351174213781c8cc14e95b053c0b66.jpg","金笺，设色","纵17.9cm，横52.8cm",[],{"id":28169,"slug":28170,"title":23709,"dynasty":124,"author":1438,"museum":244,"description":3708,"tags":28171,"thumbUrl":28173,"material":28174,"size":28175,"collection":84,"collections":28176,"showCount":361,"zanCount":1998,"manualWeight":48,"mainColor":72},222571,"hua-hui-shan-mian-chen-chun-222571",[23,24,7,1131,369,128,27,133,62,5399,6193,6279,28172,1009],"笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77b227089b3a30105cdc5394e4006f97.jpg","纸本，泥金","纵18.6厘米横54.1厘米",[],{"id":28178,"slug":28179,"title":28180,"dynasty":18,"author":7553,"museum":300,"description":24429,"tags":28181,"thumbUrl":28182,"material":151,"size":28183,"collection":42,"collections":28184,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},221423,"mo-tang-wang-you-cheng-jiang-gan-xue-ji-tu-juan-yan-wen-gui-221423","摹唐王右丞江干雪霁图卷",[23,164,24,7,25,330,29,132,99,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F502e8ef62b5bf7a6eef655aaac89f06e.jpg","25.7x144cm",[42,136,117],{"id":28186,"slug":28187,"title":28188,"dynasty":18,"author":313,"museum":20,"description":28189,"tags":28190,"thumbUrl":28191,"material":28192,"size":28193,"collection":318,"collections":28194,"showCount":361,"zanCount":1998,"manualWeight":48,"mainColor":72},221270,"ba-fan-zhong-yan-dao-fu-zan-huang-ting-jian-221270","跋范仲淹道服赞","宋代政治家、书法家范仲淹墨迹。\n范仲淹(989～152)字希文，吴县(今江苏苏州)人。\n祥符八年进士,官至枢密副使,参知政事,卒谥“文正”。\n道服赞并序，自识为“平海书记许兄”作。\n书法方劲，落笔痛快沉着，略有《乐毅论》遗法。\n卷后文同、吴立礼、戴蒙、柳贯、胡助、刘魁、戴仁、马、吴宽、卢濬、王世贞跋。\n另黄庭坚一题，是后人抄录其文，非黄氏亲笔所书。",[64,7,133,208,9910,1429],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aa8080d7d4c8bfd22a1317a584909e9.jpg","纸本（疑伪）","纵 4.8厘米，横 47.9厘米",[318],{"id":28196,"slug":28197,"title":28198,"dynasty":18,"author":1449,"museum":224,"description":28199,"tags":28200,"thumbUrl":28201,"material":40,"size":28202,"collection":68,"collections":28203,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},221190,"xue-mei-tu-ye-ma-lin-221190","雪梅图页","《雪梅图》中梅花枝条从左上角斜逸而出，伸向右下角，枝条纤细有骨力。梅花以墨线勾勒，浓墨点出花苞，枝条上和花瓣上尤有雪痕。整体观之，疏影横斜，暗香浮动，耐人揣摩",[23,164,24,7,1131,27,61,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9feb1bb92a02678ce933bdbe405dd03d.jpg","30x31",[68,45],{"id":28205,"slug":28206,"title":28207,"dynasty":182,"author":3943,"museum":56,"description":3944,"tags":28208,"thumbUrl":28210,"material":151,"size":28211,"collection":44,"collections":28212,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},221084,"gao-yi-tu-mu-ke-sun-wei-221084","高逸图木刻",[23,24,7,25,28,27,96,171,34,208,64,133,234,28209],"木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff531a3b611b3a21aa2db9603ee4a93f9.jpg","45.2*168.7cm",[44,45],{"id":28214,"slug":28215,"title":23105,"dynasty":182,"author":12791,"museum":510,"description":28216,"tags":28217,"thumbUrl":28218,"material":611,"size":28219,"collection":318,"collections":28220,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":72},221082,"qian-zi-wen-quan-juan-sun-guo-ting-221082","孙过庭（活动於七世纪後期），一说名虔礼，字过庭，河南陈留人，一说名过庭，字虔礼，浙江富阳人。根据本卷自题，为吴郡人，名过庭。出身寒微，迟至不惑之年始出任率府录事参军之职，以性高洁遭谗议而去官。之後，遂专注於书法研究。",[23,7,25,840,64,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb478245946dbc530b0f20c7fa56686df.jpg","25.7cmX82.5cm",[318,2210],{"id":28222,"slug":28223,"title":28224,"dynasty":124,"author":2268,"museum":244,"description":28225,"tags":28226,"thumbUrl":28227,"material":151,"size":10712,"collection":136,"collections":28228,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":72},220949,"shuang-lin-qiu-si-zhou-dong-qi-chang-220949","霜林秋思轴","此画近景崎岖不平的山石，其中有的山石较陡与中景的山石相粘接，近景的山石间有几棵树木，有的树干粗壮挺拔，有的枝干弯扭，但其枝叶茂密，大树下和山腰间有两间茅屋座落其间。\n中景的山石与远景的山石一样浓重；那片决定中、远景的距离感的白色炯云，上连霄汉，下通江湖，犹如“一炬之光，通体皆灵”。\n此画构图紧凑。\n画法上用淡笔勾出轮廓，作横笔米点皴；山石用润笔，连皴带擦，远处树不分叶，近树横点，画面突出主峰，渲染江南秀丽风光。\n从总体来看，此画笔墨清雅温和，秀润恬淡，能代表他的一般风格和思想情趣：董氏笔墨秀朗，此图可视为代表作。",[23,164,24,7,165,132,27,133,64,208,29,331,1233,1955,130,99,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bd267582e0fb38cd6c5d23cf8ca4e0a.jpg",[136,45],{"id":28230,"slug":28231,"title":28232,"dynasty":124,"author":2268,"museum":244,"description":28233,"tags":28234,"thumbUrl":28235,"material":13440,"size":28236,"collection":136,"collections":28237,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},220946,"yu-shan-yu-ji-zhou-dong-qi-chang-220946","虞山雨霁轴","幅中以長披麻皴作山石，演繹黃公望如北京故宮所藏〈天池石壁〉一系風格。前景坡岸茅屋兩間，後有小坡圈圍水域，自成一區。\n中景巨石頂上陡斜平臺，數株佳樹展列，與其後堆疊向上的遠山，連成一氣，若有擎天之勢。畫中平臺所敷色料，似因年久變色，原色應較青綠。 此作山石樹法與北京故宮所藏趙左萬曆四十一年繪製的山水冊近似，疑為趙左代筆、董其昌題款的作品。",[23,24,7,165,128,27,132,29,34,131,31,35,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cc7b8372b4b3ac2ca482b3a013bba9b.jpg","12×48.7厘米",[136,45],{"id":28239,"slug":28240,"title":28241,"dynasty":124,"author":2268,"museum":244,"description":7282,"tags":28242,"thumbUrl":28243,"material":7285,"size":84,"collection":136,"collections":28244,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":72},220933,"fang-song-yuan-ren-suo-ben-hua-ji-ba-ce-dong-qi-chang-220933","仿宋元人缩本画及跋册",[164,24,7,59,330,29,1813,171,128,132,208,133,151,611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F795fd891f5b93b5371f8d9eee15c8941.jpg",[136,117],{"id":28246,"slug":28247,"title":28248,"dynasty":144,"author":569,"museum":244,"description":28249,"tags":28250,"thumbUrl":28251,"material":611,"size":28252,"collection":318,"collections":28253,"showCount":361,"zanCount":1998,"manualWeight":48,"mainColor":72},220887,"zhi-xian-yu-shu-chi-du-zhao-meng-fu-220887","致鲜于枢尺牍","该帖基本上是将行书和草书两种写法交替使用\n释文：（前文残缺）陆沉于尘土中。不得致书。悬仰之怀。何可云喻。即日伏惟动静胜常。昨见教化公。言有铜器见赠。留足下处。望附良便。发与湖州舍下为感。都下绝不见古器物。书画却时得见之。多绝品。至有不可名状者。（有晋人谢稚三牛图。妙入神。非牛非麟。古不可言。）近见双幅董元著色大青大绿。真神品也。（韩干明皇试马。张萱日本女骑。皆真迹。）若以人拟之。是一个无拘管放泼底李思训也。上际山。下际幅。皆细描浪纹。中作小江船。何可当也。又两轴屈原渔父。又一轴江乡渔父。皆董元绝品。并双幅。不得不报耳。（鲁公自书太子少师告。朝回马病帖。乞米帖。怀素客舍等帖。伯时天神鬼马。妙。又驴鸣马惊图。）因赵彦伯侍郎南去。辄附片纸。近有新收。不惜报示也。正远惟善护兴息。不宣。四月廿四日。孟頫再拜。（伯几想安胜。便中冀为道意。）",[23,64,133,128,7,4057,9909,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4d22ce51678593caef9837e5d02c776.jpg","38.4x60.6厘米",[318],{"id":28255,"slug":28256,"title":28257,"dynasty":18,"author":7583,"museum":5543,"description":28258,"tags":28259,"thumbUrl":28261,"material":173,"size":28262,"collection":42,"collections":28263,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},220095,"liu-long-gu-che-guo-zhong-shu-220095","柳龙骨车","描绘我国传统的农具＂牛转翻车＂，写实地再现了龙骨车（翻车）的构造，为研究我国农业史、技术史提供了宝贵资料。此图收录于东京国立博物馆收藏的唐绘手鉴《笔耕园》中。\n翻车是一种古代中国劳动人民发明的用于排水灌溉的机械，也是世界上出现最早、使用最久的水车，因为其形状犹如“龙骨”，故又名“龙骨车”或“龙骨水车”。有时候也泛称为“水车”。\n用牛拽转的水车，称为“牛转翻车”，有的是借流水的力量推动，称为“水转翻车”。“牛转翻车”俗称“牛车”，是以牛为动力来拽动转盘，通过轮齿带动龙骨链刮水板，将水刮起的灌溉农具。",[23,18,24,7,95,27,2372,413,99,28260],"龙骨车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F051b462fa439b75c775dabdb35d1a7d7.jpg","24.5×26.8",[42],{"id":28265,"slug":28266,"title":28267,"dynasty":18,"author":1091,"museum":244,"description":28268,"tags":28269,"thumbUrl":28270,"material":611,"size":28271,"collection":318,"collections":28272,"showCount":361,"zanCount":1116,"manualWeight":48,"mainColor":72},220037,"dong-wu-tie-su-shi-220037","东武帖","苏轼于元佑四年写的手札",[23,64,133,208,7,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1252dbf3f75818f4f173fe00671dccc5.jpg","28.7厘米×66.1厘米",[318],{"id":28274,"slug":28275,"title":28276,"dynasty":144,"author":13522,"museum":8363,"description":28277,"tags":28278,"thumbUrl":28279,"material":278,"size":28280,"collection":136,"collections":28281,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":72},219943,"cheng-xi-jing-yue-tu-ma-wan-219943","澄溪静樾图","马琬（？—1378？）元末明初画家。字文璧，号鲁钝生、灌园人、西处士。江苏南京人，长期寓居松江府（今上海金山吕巷）。有志节，工诗善画，诗工古歌行，画长山水，官至抚州郡守。善画山水人物，工诗能书。诗书画时号“三绝”。",[23,164,24,7,165,128,132,29,98,99,131,34,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5f75498f05d30a6b58ef024fbc5bd1b.jpg","58.5x31.0厘米",[136],{"id":28283,"slug":28284,"title":28285,"dynasty":18,"author":1622,"museum":8363,"description":28286,"tags":28287,"thumbUrl":28288,"material":66,"size":28289,"collection":42,"collections":28290,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":72},219697,"shang-shan-si-hao-tu-ma-yuan-219697","商山四皓图","《商山四皓图》绘秦末汉初隐居于商山（今陕西省商洛市境内）的四位高士之超迈风神。画中绘冈峦起伏、老树横斜之景，四位高士或策杖而立，或对弈酣战，俊逸磊落。全卷以水墨绘成，山石用马远标志性的“大斧劈皴”，笔法流畅淋漓，苍劲有力。即便该作并非马远亲笔，就其珍贵的艺术性和历史价值，仍应为世人所重。",[23,24,7,1846,28,27,96,29,34,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4b037bb9f139acf9d6f48ab5a68345.jpg","纵33.0厘米 横307.3厘米",[42,44],{"id":28292,"slug":28293,"title":28294,"dynasty":18,"author":5533,"museum":13984,"description":28295,"tags":28296,"thumbUrl":28297,"material":317,"size":28298,"collection":44,"collections":28299,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},219489,"zhu-tou-he-shang-tu-liang-kai-219489","猪头和尚图","。画中用笔凌厉刚劲，墨色苍润凝专画风率性而潇洒。 宋代方勺《泊宅编》中记载了一则民间故事：婺州（今浙江金华）有僧嗜猪头，行为莫测，或曰 猪头和尚。有衢守馔猪头召师食，守自牖窥之，见一鬼从旁食，师无预焉。已而师坐亡。衢人奉香火良谨, 有祷辄应。梁楷曾流寓杭州，或听过此传说。",[164,24,7,128,10170,96,187,64,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F039957feaf907cdaebe3debd5fc5b332.jpg","23.7x37.8厘米",[44],{"id":28301,"slug":28302,"title":28303,"dynasty":124,"author":3608,"museum":56,"description":28304,"tags":28305,"thumbUrl":28306,"material":66,"size":28307,"collection":44,"collections":28308,"showCount":361,"zanCount":1998,"manualWeight":48,"mainColor":72},219413,"yuan-ye-yan-ji-tu-juan-lu-zhi-219413","元夜燕集图卷","陆治（1495-1576），字叔平，号包山，江苏苏州人。明代书画家，擅行、楷，尤精绘事。为祝允明、文徵明弟子。工写生，得徐、黄遗意。山水受吴门派影响，也兼取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗。\n这幅画是陆治记录嘉靖二十六年丁未（1547）年元旦参加文徵明家元旦集会的纪实之作，卷后附诗并记其事。钤朱文“叔”、“平”连珠印。",[23,124,24,7,25,27,28,133,64,208,96,97,130,34,131,247,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef790692ba6b005ce05b71ce60c88a59.jpg","纵28厘米，横118.4厘米",[44,318],{"id":28310,"slug":28311,"title":28312,"dynasty":18,"author":4899,"museum":4840,"description":28313,"tags":28314,"thumbUrl":28315,"material":66,"size":28316,"collection":68,"collections":28317,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},219133,"pu-bian-you-lu-tu-ma-he-zhi-219133","瀑边游鹿图","瀑流如素练倾泻而下，溅起碎玉般的水花，山石间苔痕隐现。左侧枯树盘曲，枝桠似铁线勾勒，苍劲中藏清逸之姿。几只游鹿或低头饮泉，或侧耳听瀑，姿态悠然，与山林气韵相融。淡墨晕染山石，线条灵动婉转，将宋人的雅致与自然野趣揉合——无喧嚣纷扰，唯余水声潺潺、风声轻拂与鹿鸣低吟，仿佛能嗅到山林间湿润的草木气息。留白处似有云雾流转，拓展出深远意境，于方寸扇面间藏纳天地生机，尽显宋人对山水灵韵的极致捕捉，让观者心随画境，沉入这片静谧悠然的林泉之乐里。",[164,24,7,1131,27,29,949,6005,131,99,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f935cf5ded05b595572aec0df2933a.jpg","20.3x23.5cm",[68],{"id":28319,"slug":28320,"title":28321,"dynasty":144,"author":569,"museum":77,"description":28322,"tags":28323,"thumbUrl":28324,"material":173,"size":28325,"collection":68,"collections":28326,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},218945,"yan-zhi-cong-shu-hua-he-bi-tu-zhao-meng-fu-218945","胭脂骢书画合璧图","朱红骏马静立柳下，鬃毛如缎顺滑，温顺随文人轻牵缰绳。文人素袍宽袖，神态悠然，似在林间暂歇。虬枝盘曲的老柳，枝叶垂落如帘，背景淡墨晕染的山石，更添静谧。左侧行书笔墨流转，诗句与画面相映，诗中意境与画里闲情交融，尽显书画合璧的雅致。整幅作品笔墨温润，色彩雅致，将文人与马的悠然瞬间定格，满溢古雅闲逸之趣。",[24,164,7,27,96,101,331,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5dbfc6d9b0280b6016d847fe99dffd2.jpg","26.5x63cm",[68],{"id":28328,"slug":28329,"title":6394,"dynasty":18,"author":223,"museum":244,"description":28330,"tags":28331,"thumbUrl":28332,"material":173,"size":28333,"collection":42,"collections":28334,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":72},218852,"kong-shan-guan-pu-tu-yi-ming-218852","画面上画的是悬崖上的松树，枝干粗壮，分叉有致，一位高僧坐在松树下的空位上，看着叮咚作响的泉水，俗话说得好。智者乐水。这幅画复制了李唐和夏圭的笔法，但笔法过分转折，可能是明代浙派画家的作品。",[23,24,7,164,128,132,29,495,1144,497,663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cd35279e156a6ba9386da672ffb1e86.jpg","23.4x25.5",[42],{"id":28336,"slug":28337,"title":28338,"dynasty":144,"author":4034,"museum":244,"description":28339,"tags":28340,"thumbUrl":28341,"material":173,"size":84,"collection":84,"collections":28342,"showCount":361,"zanCount":1116,"manualWeight":48,"mainColor":72},218776,"qing-lin-cui-ai-tu-sheng-mao-218776","青林翠霭图","画面轻烟如纱，青林错落生姿，翠霭氤氲漫过山峦。近树以中锋勾出苍劲骨态，侧锋晕染枝叶润意；远山层叠似黛色屏障，皴擦笔触藏着山石厚重。霭气用淡墨晕出虚实，牵起远近景致呼应，让山林浸在朦胧里，似醒非醒。笔墨兼工带写，工致处见细节，疏朗处显逸气，凝住元代文人的林泉之趣。目光游走间，仿佛触到山间润凉，听见风过林梢轻响，心境随翠霭舒展，跌入烟霞缭绕的清幽之境。",[23,24,7,1131,27,29,34,98,99,37,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76dd3226144d3acd2cf8d656af4e3d72.jpg",[],{"id":28344,"slug":28345,"title":28346,"dynasty":144,"author":28347,"museum":5543,"description":28348,"tags":28349,"thumbUrl":28351,"material":173,"size":28352,"collection":68,"collections":28353,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},218742,"xue-ting-you-qin-tu-luo-zhi-chuan-218742","雪汀游禽图","罗稚川","罗稚川，元代前期的文人画家。临川新喻（江西省清江）人。在中国的画史等文献中并无其相关记录，其详细经历不明，但因与同乡元代范德机（－1330）等人交友，故人们将其活跃期推定在至正年以前至后至元（1335－1340）年间。\n本图是罗稚川为数不多的一幅作品，描绘了荒凉的寒林平远景色，展示了继承北宋寒林平远图形式的元代李郭派的画风。前景部分的中央着重描绘了复杂曲折的老树和延至左方的枯木、以及栖息在枯苇与树枝上的鸟、或是寒空中交错飞过的群鸟等景物，主要以水墨表现出的世界中，枯苇和竹叶却略施淡彩，只有寒风下缩身于枯木中的长尾鸡和枯苇中的野鸭施有浓彩，令人对雪汀荒寒的景色印象深刻。图中有“罗氏稚川” 之印（白文方印）。",[23,164,24,7,128,132,29,211,1337,17726,28350,415],"汀岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79112c7b3314cbaa0d7594df0ebd6017.jpg","52x77cm",[68],{"id":28355,"slug":28356,"title":28357,"dynasty":351,"author":6787,"museum":244,"description":28358,"tags":28359,"thumbUrl":28360,"material":317,"size":28361,"collection":136,"collections":28362,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":72},218706,"shan-ting-wen-dao-tu-ju-ran-218706","山亭问道图","这幅画描绘了一座问路的山，有巨大的岩石和树木，在小溪边有一个小茅草亭，虽然简陋，但里面一定有一个修道的师傅。",[23,24,7,128,27,29,130,663,34,497,37,132,1613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa35c73daf4c527b29a12c205fd5defa.jpg","18.6x24cm",[136],{"id":28364,"slug":28365,"title":28366,"dynasty":18,"author":491,"museum":244,"description":28367,"tags":28368,"thumbUrl":28371,"material":173,"size":28372,"collection":136,"collections":28373,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":72},218686,"yan-yu-jiang-fan-tu-guo-xi-218686","烟雨江帆图","这幅画描绘了秋雨中从泉水中升起的瀑布，一个撑着伞的行人，以及远处的河帆。这是郭熙图的一个更正式的版本，应该是明清两代的模仿对象。",[24,7,128,27,132,29,17243,28369,129,131,34,37,6004,415,3427,28370],"江帆","帆影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4f60d63f6a7a645911e3539d415c2f.jpg","28.1x27.7cm",[136],{"id":28375,"slug":28376,"title":28377,"dynasty":18,"author":223,"museum":77,"description":28378,"tags":28379,"thumbUrl":28380,"material":173,"size":84,"collection":68,"collections":28381,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},218622,"dou-que-tu-yi-ming-218622","斗雀图","翅羽翻飞如墨染云团，喙爪相搏间迸出野性张力。两只雀鸟凝眸对峙，每根翎毛都透着较劲的劲儿——墨色浓淡勾绒羽之软，焦墨点染翅尖之利，连尾羽弧度都带着不甘示弱の倔强。旁侧野菊舒蕊，兰叶斜欹，石苔细点铺就，似能闻露水滴落轻响。静穆草木与躁动生灵相映，恰是宋代小品妙趣：笔墨简劲却藏入微观察，将小生灵瞬间酣斗定格为古绢上鲜活永恒。泛黄绢色里时光凝住，只留这场雀鸟嬉戏，在雅致构图中透出自然生趣与生命蓬勃。\n\n（注：此处の为日式助词？不，换回来，用“的”更合适。修改：连尾羽弧度都带着不甘示弱的倔强。）\n\n调整后：\n\n翅羽翻飞如墨染云团，喙爪相搏间迸出野性张力。两只雀鸟凝眸对峙，每根翎毛都透着较劲的劲儿——墨色浓淡勾绒羽之软，焦墨点染翅尖之利，连尾羽弧度都带着不甘示弱的倔强。旁侧野菊舒蕊，兰叶斜欹，石苔细点铺就，似能闻露水滴落轻响。静穆草木与躁动生灵相映，恰是宋代小品妙趣：笔墨简劲却藏入微观察，将小生灵瞬间酣斗定格为古绢上鲜活永恒。泛黄绢色里时光凝住，只留这场雀鸟嬉戏，在雅致构图中透出自然生趣与生命蓬勃。\n\n完美，符合所有要求。\u003C\u002Fthink_never_used_51bce0c785ca2f68081bfa7d91973934>翅羽翻飞如墨染云团，喙爪相搏间迸出野性张力。两只雀鸟凝眸对峙，每根翎毛都透着较劲的劲儿——墨色浓淡勾绒羽之软，焦墨点染翅尖之利，连尾羽弧度都带着不甘示弱的倔强。旁侧野菊舒蕊，兰叶斜欹，石苔细点铺就，似能闻露水滴落轻响。静穆草木与躁动生灵相映，恰是宋代小品妙趣：笔墨简劲却藏入微观察，将小生灵瞬间酣斗定格为古绢上鲜活永恒。泛黄绢色里时光凝住，只留这场雀鸟嬉戏，在雅致构图中透出自然生趣与生命蓬勃。",[23,164,24,7,28,27,61,4117,376,171,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba0aefe9c75944a321bf250100378bff.jpg",[68],{"id":28383,"slug":28384,"title":28385,"dynasty":54,"author":9529,"museum":20,"description":28386,"tags":28387,"thumbUrl":28388,"material":66,"size":28389,"collection":136,"collections":28390,"showCount":361,"zanCount":1116,"manualWeight":48,"mainColor":72},218369,"dou-he-ben-quan-tu-wang-hui-218369","陡壑奔泉图","此图为王翚于康熙十五年（1676年），时年四十五岁时所作，仿王蒙画法，皴法细腻，墨色干湿相间，层次分明，气韵秀润。该图为清宫旧藏。",[23,24,7,165,128,132,29,34,1144,131,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F843436601bf77f374d0da682061f8e02.jpg","纵74.3厘米，横31.4厘米",[136],{"id":28392,"slug":28393,"title":28394,"dynasty":54,"author":5623,"museum":450,"description":5624,"tags":28395,"thumbUrl":28396,"material":173,"size":5628,"collection":84,"collections":28397,"showCount":361,"zanCount":1998,"manualWeight":48,"mainColor":72},218352,"shi-nv-tu-ce-3-li-ting-xun-218352","仕女图册-3",[24,7,59,28,27,96,166,170,232],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e79a6195bb4cd5fb18ae41f17f2c4cf.jpg",[],{"id":28399,"slug":28400,"title":28401,"dynasty":124,"author":1058,"museum":450,"description":3169,"tags":28402,"thumbUrl":28403,"material":173,"size":3172,"collection":84,"collections":28404,"showCount":361,"zanCount":1998,"manualWeight":48,"mainColor":49},218349,"ren-wu-gu-shi-ce-2-tang-yin-218349","人物故事册-2",[23,24,7,59,27,96,1350,171,331,1771,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ca306525f4cf012010116dad3d5517c.jpg",[],{"id":28406,"slug":28407,"title":6935,"dynasty":124,"author":28408,"museum":77,"description":28409,"tags":28410,"thumbUrl":28411,"material":173,"size":28412,"collection":136,"collections":28413,"showCount":361,"zanCount":1998,"manualWeight":48,"mainColor":49},218309,"fang-huang-gong-wang-shan-shui-tu-ying-huang-218309","应黄","笔墨苍润清逸，承黄公望山水遗风。山峦以淡墨皴染，叠嶂起伏间见空灵之致；林木萧疏有致，或挺拔或欹侧，与山石相映成趣。屋舍隐于林泉深处，隐约可见，似藏幽居之境。画面气脉连贯，远近层次分明，淡赭底色更添古雅质感。虽为仿作，却于笔墨间流露自身心性，尽显文人画中寄情山水、追求清雅的雅致情怀，观之令人心生悠然之意。",[164,24,7,29,330,27,132,128,663,34,35,99,497,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe654dfe126da316ec152c9d55c386cf.jpg","35.5x24.9cm",[136],{"id":28415,"slug":28416,"title":28417,"dynasty":144,"author":223,"museum":56,"description":28418,"tags":28419,"thumbUrl":28420,"material":173,"size":28421,"collection":136,"collections":28422,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},218220,"xue-xi-mai-yu-tu-yi-ming-218220","雪溪卖鱼图","这是一幅带有民间生活情趣的山水小景。画面以渔舟上卖鱼的蓑翁与酒店里买鱼的食客为中心，著笔虽然不多，却将二人的形象动态表现得活泼有趣。其馀景物颇为简洁，远山尤为洗练概括，树木多用短直笔画，点划相间，追求一份简素之意。",[24,7,1131,128,27,29,34,35,96,2059,1556,99,1351,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fb9e36dd9d614a500c0ddfca9e4b48b.jpg","25.2x24.6cm",[136],{"id":28424,"slug":28425,"title":2195,"dynasty":124,"author":223,"museum":1941,"description":28426,"tags":28427,"thumbUrl":28429,"material":278,"size":28430,"collection":136,"collections":28431,"showCount":361,"zanCount":1998,"manualWeight":48,"mainColor":72},217955,"lian-she-tu-yi-ming-217955","《莲花社》说了慧远的故事：东晋元兴年间，慧远在庐山东林寺与十八位专修净土的圣人一起，寻求脱离污秽之地，希望往生极乐世界。",[23,164,24,25,7,187,18381,96,64,133,28428],"莲社","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15dee5dc0c3904ed22a998b96f72a044.jpg","30.1x595.8cm",[136,44],{"id":28433,"slug":28434,"title":28435,"dynasty":124,"author":204,"museum":300,"description":2216,"tags":28436,"thumbUrl":28437,"material":173,"size":84,"collection":84,"collections":28438,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},216290,"er-shi-si-xiao-tu-5-chou-ying-216290","二十四孝图-5",[24,7,28,27,96,29,1337,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82c3a9804fb203921bac19a332163675.jpg",[],{"id":28440,"slug":28441,"title":28442,"dynasty":124,"author":28443,"museum":244,"description":28444,"tags":28445,"thumbUrl":28446,"material":278,"size":28447,"collection":318,"collections":28448,"showCount":361,"zanCount":1998,"manualWeight":48,"mainColor":956},214224,"gong-yan-shi-song-ke-214224","公宴诗","宋克","公宴诗是一首中国古代诗歌，作者是宋克明。公宴是中国古代的一种社交形式，通常由统治者或较高社会地位的人主办，以向与会者表示尊敬和感谢。\n\n这首诗歌描述了一场公宴的气氛和场景，表达了作者对古代文化和社会生活的热爱。根据诗歌的内容，我们可以想象出这场公宴是一个盛大而隆重的活动，充满了美食、音乐、艺术、娱乐和交流的氛围。",[23,24,7,64,165,133,840,128,805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818c8d2b7b8096f89247b372eedeb655.jpg","111.7x32.4",[318],{"id":28450,"slug":28451,"title":28452,"dynasty":144,"author":1346,"museum":300,"description":14804,"tags":28453,"thumbUrl":28454,"material":692,"size":1293,"collection":84,"collections":28455,"showCount":28456,"zanCount":1116,"manualWeight":48,"mainColor":49},290818,"hou-chi-bi-fu-tu-zhou-wu-zhen-290818","后赤壁赋图轴",[24,7,165,128,29,129,171,211,96,99,34,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8fc9aa4f2daf4de27981cc4e04cc0c.jpg",[],46,{"id":28458,"slug":28459,"title":5945,"dynasty":18,"author":620,"museum":244,"description":16809,"tags":28460,"thumbUrl":28461,"material":692,"size":1293,"collection":84,"collections":28462,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":72},290311,"sui-chao-tu-zhou-zhao-chang-290311",[164,24,7,165,28,27,61,263,374,171,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb52957ae581f17b47d34d35a52e539e8.jpg",[],{"id":28464,"slug":28465,"title":2903,"dynasty":144,"author":28466,"museum":300,"description":28467,"tags":28468,"thumbUrl":28469,"material":692,"size":1293,"collection":84,"collections":28470,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":49},290138,"xue-zhu-tu-tan-zhi-rui-290138","檀芝瑞","檀芝瑞，明代画家，生卒年不详。只见于《中国美术人名大辞典》，寥寥数语。介绍为元代人，擅长梅兰墨竹。",[23,164,24,7,128,167,171,1556,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19287786270e4376bfc16080de26ef0.jpg",[],{"id":28472,"slug":28473,"title":9499,"dynasty":18,"author":491,"museum":300,"description":28474,"tags":28475,"thumbUrl":28476,"material":692,"size":1293,"collection":84,"collections":28477,"showCount":28456,"zanCount":1998,"manualWeight":48,"mainColor":49},288643,"shu-se-ping-yuan-tu-guo-xi-288643","描绘的是一河流两岸树色平远的景色。画中之景以河为界可分作前后两部分。前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。",[164,24,7,25,128,29,331,130,98,129,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef0cf467d4d396a0fbafbe38d1de4739.jpg",[],{"id":28479,"slug":28480,"title":28481,"dynasty":54,"author":12395,"museum":300,"description":28482,"tags":28483,"thumbUrl":28484,"material":84,"size":84,"collection":84,"collections":28485,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":72},239087,"si-ji-hua-hui-ping-zhang-xiong-239087","四季花卉屏","张熊(1803—1886)，又名张熊祥，字寿甫，亦作寿父，号子祥，晚号祥翁，别号鸳湖外史，鸳湖老人，鸳湖老者，鸳鸯湖外史，西厢客。别署清河伯子，髯参军。室名银藤花馆。秀水（今浙江嘉兴）人，张熊年青时代就移居上海，参加各种美术活动",[24,7,165,27,61,371,167,374,355,171,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce344acb81c42a71b0d0c6bdde720fd.jpg",[],{"id":28487,"slug":28488,"title":4991,"dynasty":54,"author":4992,"museum":300,"description":4993,"tags":28489,"thumbUrl":28490,"material":692,"size":1293,"collection":84,"collections":28491,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":72},239061,"shan-shui-hua-niao-ce-yang-jin-239061",[24,7,59,128,61,371,355,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe891ac60b5d32342d48e1d85f1585b35.jpg",[],{"id":28493,"slug":28494,"title":28495,"dynasty":124,"author":25117,"museum":300,"description":28496,"tags":28497,"thumbUrl":28498,"material":84,"size":84,"collection":44,"collections":28499,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":72},238667,"cai-lian-tu-zhou-shen-zhen-238667","采莲图轴","沈贞（1400－？ ）一名贞吉，号南斋、陶然道人，长洲（今江苏苏州）人，画家沈周的伯父。工诗文，善绘事，山水取法董源，得元代诸家尤多，与其弟恒吉（沈周之父），诗词皆甚有名，互相唱酬，时谓“埙箴相映”。",[24,7,165,27,28,96,129,168,413,171,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33d15d0ab56023439f09f62b240c241.jpg",[44],{"id":28501,"slug":28502,"title":28503,"dynasty":54,"author":646,"museum":300,"description":28504,"tags":28505,"thumbUrl":28506,"material":692,"size":1293,"collection":68,"collections":28507,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":72},238386,"dong-gao-tao-li-yi-shou-tu-xiao-ce-dong-gao-238386","董诰陶篱益寿图小册","董诰（1740—1818年），字雅伦，号蔗林，清浙江富阳人。乾隆二十八年（1763年）进士，官至内阁学士，充四库馆副总裁。甚得高宗、仁宗宠遇。朝廷编修，多有由其主持者。善画。谥文恭。著有《满洲源流考》、《高宗实录》等。",[24,7,59,27,28,61,376,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eb8691a4eb4254aa7a1767cfe05698c.jpg",[68,45],{"id":28509,"slug":28510,"title":28511,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":28512,"thumbUrl":28513,"material":692,"size":1293,"collection":136,"collections":28514,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":72},238331,"hua-hong-li-si-ji-lan-shi-yi-ce-dong-gao-238331","画弘历四季兰诗意册",[24,7,59,27,28,371,375,169,133,208,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9557078f5bed9b33308411e988eb0b40.jpg",[136,45],{"id":28516,"slug":28517,"title":28518,"dynasty":124,"author":16332,"museum":300,"description":28519,"tags":28520,"thumbUrl":28521,"material":84,"size":84,"collection":68,"collections":28522,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":49},237861,"yi-chuang-chun-yu-zhou-xia-chang-237861","一窗春雨轴","夏昶（1388—1470），字仲昭，号自在居士、玉峰，昆山人，后人誉其画竹高手。他初姓朱，名昶，后复姓夏，太宗为之更名昶，字仲昭。号自在居士，又号玉峯，江苏昆山人，夏昺弟。正统中官至太常寺卿直内阁。画墨竹师王绂，能得其妙，时推第一，名驰绝域，争以金购之。\n永乐十三年(公元1415年)中进士，为翰林院庶吉士。文皇十分赏识他的楷书，被推荐供事内省，授中书舍人。永乐命书宫殿榜。尝待从皇帝出巡于南、北二京。\n宣德(公元1426一1435年)中，转考工主事，仍供内直。正统(公元1436—1449年)中升太常卿。他为人坦率乐易，不拘小节，时常出入礼法间，人们也不怎么去责怪他。晚年回到故乡居住，以诗画宴乐自娱。\n夏昶以楷书笔法画竹，所作竹枝烟姿雨色，偃直浓巯，各循矩度而气韵生动。当时学他画竹的人很多，画史记载的如同里(昆山)的屈礿(字处诚)、海虞(常熟)的张绪(字廷瑞)、钱塘(杭州)的詹和（字仲和)。而以屈礿为突出。明吴宽《匏庵集》说：“今人家多得，往往出其手，真伪固自能辨。”徐沁《明画录》说夏昶“写竹时称第一，名驰绝域，争以兼金购求，故有‘夏昶一箇竹，西凉十锭金’之谣”。所作竹枝烟姿雨色，偃值浓疎，动和榘度，盖行家也。昆山之人师之者更数辈，独屈约颇类之，而人所得，往往出其手。尤精楷法，永乐命书宫殿榜。卒年八十三。",[24,7,165,128,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97ffe0f0713ce4807c396998164f7582.jpg",[68],{"id":28524,"slug":28525,"title":28526,"dynasty":124,"author":1438,"museum":300,"description":13247,"tags":28527,"thumbUrl":28528,"material":692,"size":1293,"collection":84,"collections":28529,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":72},235797,"zhu-shi-shui-xian-tu-shan-chen-chun-235797","竹石水仙图扇",[24,7,1131,128,61,167,1314,374,208,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16dff079fbf4e388d791315f264fcf06.jpg",[],{"id":28531,"slug":28532,"title":7864,"dynasty":54,"author":872,"museum":300,"description":6719,"tags":28533,"thumbUrl":28534,"material":692,"size":1293,"collection":84,"collections":28535,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":72},235508,"za-hua-ce-zhu-da-235508",[24,7,59,128,168,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ad5e619dc1b48683cf49fe5f2e82cd5.jpg",[],{"id":28537,"slug":28538,"title":28539,"dynasty":54,"author":223,"museum":300,"description":9208,"tags":28540,"thumbUrl":28542,"material":84,"size":84,"collection":84,"collections":28543,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":72},234590,"xu-liang-biao-zhong-kui-jia-mei-wan-shan-yi-ming-234590","许良标钟馗嫁妹纨扇",[24,7,1131,304,27,28,96,7067,28541,187],"轮车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ec5c85bb02e13742198d4579ee0569f.jpg",[],{"id":28545,"slug":28546,"title":28547,"dynasty":54,"author":223,"museum":300,"description":28548,"tags":28549,"thumbUrl":28550,"material":84,"size":84,"collection":84,"collections":28551,"showCount":28456,"zanCount":1998,"manualWeight":48,"mainColor":72},234225,"lan-zhu-juan-yi-ming-234225","兰竹卷","此作用水墨写意挥洒兰竹，尽显草木清魂。中锋走笔写竹干，枯湿浓淡区分老干新篁，笔力沉厚见挺劲；焦墨撇写竹叶，聚散疏密如惊风穿林，欹斜之中自带着清刚傲骨。兰叶以淡墨舒卷，笔致柔婉修长，与劲竹刚柔相映，芝石以破墨晕染，静立草木之侧，更衬幽逸。\n\n长卷铺陈间虚实相生，留白空灵如江上烟岚，兰竹俯仰顾盼，似有风过林动，清韵暗生。笔墨简淡而意态丰盈，将林下幽人的疏旷襟怀藏于毫锋，尽显文人画重韵尚简的雅趣风骨。",[23,24,7,25,128,375,167,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9161ab891439c39cd6b1c0c97e0f882.jpg",[],{"id":28553,"slug":28554,"title":28555,"dynasty":144,"author":1208,"museum":20,"description":28556,"tags":28557,"thumbUrl":28560,"material":3544,"size":28561,"collection":84,"collections":28562,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":49},233884,"lin-ting-yuan-xiu-tu-zhou-ni-zan-233884","林亭远岫图轴","《林亭远岫图轴》为倪瓒“三段式”构图的典型之作，行笔施墨较简逸，绘坡地上有高树修竹，临江建草亭，远山起伏，隔江相望。“一水两岸”的“三段式”是指在近处画石坡和土岸，上面有几棵枯树，远景画的是平缓的山峦。远处的山与近处的树之间有很大面积的空白是水面，广阔的水面上基本上一个物体也没有，通常看不见人。“三段式”的构图方法到倪瓒达到了一个顶峰，至少是前无古人，后无来者，倪瓒把它发挥得淋漓尽致，运用得出神入化。我们可以这样说，是倪瓒铸就了“三段式”绘图方法的经典运用和不朽传奇，而“三段式”的构图方法成就了倪瓒在中国绘画史上不可替代的位置。",[24,7,165,128,29,28558,20038,9481,12424,28559,1337,35,131,99,1429,133,171],"干笔皴擦","林亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3daac7b068ff6b3cd54bbe1eb7114c01.jpg","纵87.3厘米，横31.4厘米",[],{"id":28564,"slug":28565,"title":9846,"dynasty":144,"author":1208,"museum":20,"description":28566,"tags":28567,"thumbUrl":28568,"material":9850,"size":9851,"collection":84,"collections":28569,"showCount":28456,"zanCount":1998,"manualWeight":48,"mainColor":72},233883,"ku-mu-you-huang-tu-zhou-ni-zan-233883","该图画一平坡之上立一巨石，石边一寒树独立，树旁又有双竹挺立，并分向左右弯曲生长，其周围亦有细篁数丛。\n该图中上方有作者自题诗一道：“古木幽篁寂寞滨，斑斑鲜石翠含春。自知不入时人眼，画与皎溪古遗民，云林生。”画幅上还有马治，松泉隐者诗题。\n画中笔法疏率，画树以鹿角法，画石以折带皴，二者皆用淡墨干笔，画竹叶亦以轻盈简率的介字点法。\n平坡上大石一堵，枯树矗立，两旁幽篁细竹相衬。淡墨写枯树干挺枝疏，竹叶以湿笔点画，挺劲洒脱。石头用干笔则锋勾皴，浓墨点醒，层次向背分明。全画笔墨简淡，风格秀逸。\n构景简洁是倪云林画的突出特色，该图亦通过一石、一树、数竹这极简之景构成一个荒寒萧疏的意境。",[24,7,165,128,454,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd35cbb863ee23b56d80a3506b492b05d.jpg",[],{"id":28571,"slug":28572,"title":7133,"dynasty":144,"author":145,"museum":20,"description":7134,"tags":28573,"thumbUrl":28574,"material":734,"size":7137,"collection":84,"collections":28575,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":72},233745,"dan-ya-yu-shu-tu-zhou-huang-gong-wang-233745",[24,7,165,29,128,132,18332,34,1144,131,496,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1070ac311ec6c2b81b3e0fff9701a55d.jpg",[],{"id":28577,"slug":28578,"title":5047,"dynasty":124,"author":366,"museum":20,"description":5048,"tags":28579,"thumbUrl":28580,"material":3544,"size":5052,"collection":84,"collections":28581,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":72},233477,"ren-wu-hua-hui-ce-xu-wei-233477",[24,7,59,128,369,62,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96bef8a2d314d7233986a3b547635d2c.jpg",[],{"id":28583,"slug":28584,"title":28585,"dynasty":18,"author":491,"museum":20,"description":28586,"tags":28587,"thumbUrl":28588,"material":3785,"size":28046,"collection":84,"collections":28589,"showCount":28456,"zanCount":1998,"manualWeight":48,"mainColor":72},232992,"chun-jiang-fan-bao-tu-ye-guo-xi-232992","春江帆饱图页","《春江帆饱图》传为郭熙作品，其画风也与郭熙相似。原载《四朝选藻册》，绘远岫高松，中分一水。右岸竹离茅舍，窜石丛林。岸边二帆船停泊。远方夕阳西下，江水如潮。二小船饱帆破浪前进，从而点出了画面的主题。图中远山用淡墨勾染，浓墨点小树，松树，帆船用细笔勾描。全图笔法缜密严谨，画风学郭熙一派而又另立新意，不愧是宋期小幅山水的佳作。画面无款。对幅有清高宗弘历的题诗。此作曾经清内府收藏，《石渠宝笈续编》著录。",[24,7,59,29,128,132,129,331,131,99,34,3386,7566,415,455],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F757940eae81773af499baea0cc31c22e.jpg",[],{"id":28591,"slug":28592,"title":4229,"dynasty":54,"author":4468,"museum":20,"description":11261,"tags":28593,"thumbUrl":28594,"material":40,"size":11264,"collection":84,"collections":28595,"showCount":28456,"zanCount":1998,"manualWeight":48,"mainColor":72},232972,"hua-niao-ce-lang-shi-ning-232972",[24,7,59,28,27,64,208,61,547,549,7857,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb51a29033cad5a16e9df56e5c4465f8c.jpg",[],{"id":28597,"slug":28598,"title":14885,"dynasty":144,"author":287,"museum":77,"description":28599,"tags":28600,"thumbUrl":28601,"material":151,"size":28602,"collection":84,"collections":28603,"showCount":28456,"zanCount":1998,"manualWeight":48,"mainColor":49},232831,"xie-sheng-cao-chong-tu-juan-qian-xuan-232831","此卷设色典雅，用笔精微，一花一竹，一虫一鸟，皆细致入神，工中见意，精巧传神，一丝不苟，可谓写生妙手。\n钱选（1239-1299），宋末元初著名画家，与赵孟?等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。山水师从赵令穰，人物师从李公麟，花鸟师赵昌，青绿山水师赵伯驹。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。",[23,24,7,25,27,28,2166,61,480,548,549,62,806,230,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b6e400748db309145ac39941fe71144.jpg","34x310厘米",[],{"id":28605,"slug":28606,"title":3618,"dynasty":144,"author":1208,"museum":12686,"description":28607,"tags":28608,"thumbUrl":28609,"material":611,"size":28610,"collection":84,"collections":28611,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":72},231478,"mo-zhu-tu-ni-zan-231478","倪瓒善画水墨山水画，元朝， 创造“折带皴”，是平远画法的典型，取材于太湖一带平原风景，其画萧瑟幽寂，寒林浅水，不见人踪，画出他伤时感事的心情。倪瓒以这种空旷而辽远的太湖意境征服了画坛，以致后世常有“太湖属于倪云林”之说。\n倪瓒的画“似嫩而苍”，简中寓繁，小中见大，外落寞而内蕴激情。他也善画墨竹，风格“遒逸”，瘦劲开张。画中题咏很多。他的画由于简练，多年来伪作甚多，但不容易仿出他的萧条淡泊的气质。\n倪瓒的绘画属于宋代兴起的“文人画”——通过主观的描绘表达更多的作者自身情怀，进入“有我之境”（李泽厚语）。他将自己的画法风格和追求总结成“逸气”一语， 可以说是中国画“笔墨”一说的最好代表。",[164,24,7,128,167,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1cb10c76f5727e7efa78d2e5d9ea2c9.jpg","高29.2厘米，宽28.7厘米",[],{"id":28613,"slug":28614,"title":28615,"dynasty":351,"author":4456,"museum":300,"description":28616,"tags":28617,"thumbUrl":28619,"material":84,"size":84,"collection":84,"collections":28620,"showCount":28456,"zanCount":1998,"manualWeight":48,"mainColor":49},231033,"ting-yuan-tong-xi-tu-zhou-wen-ju-231033","庭院童戏图","画面里，玲珑湖石错落而立，旁侧蜀葵抽茎绽红，晕开雅致清幽的庭中底色。三个稚童于廊下嬉玩，或俯地、或跪坐，手持玩具专注投入，憨态天真尽显笔端。\n\n作者以精细笔触勾勒出衣纹的软柔灵动，设色古雅温润，将孩童嬉闹的鲜活日常描摹得生动自然。静谧庭苑与稚子烂漫相映，把细碎童趣晕化成悠然平和的古典意趣，藏着旧时世家庭院里的温柔烟火气。",[23,164,24,7,28,27,96,28618,171,98,247,230,62],"童戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c8bf418623c3f4f8d9458352c316f86.jpg",[],{"id":28622,"slug":28623,"title":28624,"dynasty":222,"author":223,"museum":300,"description":28625,"tags":28626,"thumbUrl":28627,"material":692,"size":1293,"collection":84,"collections":28628,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":49},230546,"shan-shui-ping-feng-yi-ming-230546","山水屏风","泥金为底，石青石绿晕染出层叠丘壑，斑驳残损的绢面晕开岁月晕染的朦胧诗意。画面铺展开合间，远岫浮空，浅渚横陈，近岸疏林错落，将山野清趣与人间烟火揉为一体。\n\n林间隐着村居茅舍，有人正于门前流连；一侧道旁，行旅牵马暂歇，三两山客徐行林麓。没有枯寂的出世幽冷，反将隐逸山居的闲静与俗世行旅的暖意相融，笔致简淡却意韵悠长。古旧的肌理裹着山水古意，让丘壑烟岚与市井日常温柔相逢，漫溢出沉静古朴的雅致意趣。",[23,24,7,27,26,29,413,96,101,35,663,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe86e9104c686a6523976541b0b99df0c.jpg",[],{"id":28630,"slug":28631,"title":28632,"dynasty":54,"author":28633,"museum":300,"description":28634,"tags":28635,"thumbUrl":28637,"material":84,"size":84,"collection":84,"collections":28638,"showCount":28456,"zanCount":1116,"manualWeight":48,"mainColor":49},230229,"guang-xu-tong-guang-shi-san-jue-zhong-cai-tu-juan-shen-rong-pu-230229","光绪 同光十三绝重彩图卷","沈蓉圃","此作工笔重彩刻画入微，将十三位梨园宗师的神采风骨定格于卷上。生旦净丑各行当扮相俱全，衣饰纹样繁丽精工，珠翠翎毛分毫毕现。各人眉眼神态各有千秋，或威严凝重，或温婉柔媚，或诙谐灵动，既带着戏中角色的魂魄，又留存着名伶本人的气韵，将晚清京剧鼎盛之时的风华凝于尺幅之间，让百年前的梨园风姿鲜活重现于眼前。",[23,164,24,7,25,27,8189,28,96,28636,170],"戏曲人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3a6d01122cb40fed604a2d2815de271.jpg",[],{"id":28640,"slug":28641,"title":28642,"dynasty":54,"author":1460,"museum":300,"description":28643,"tags":28644,"thumbUrl":28645,"material":84,"size":84,"collection":84,"collections":28646,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":72},228976,"shan-shui-ce-12-kai-shi-tao-228976","山水册12开","此帧取峡谷行舟之景，以淡赭浅绿晕染峰峦，笔墨清润秀雅。江流蜿蜒淌过春色，两岸崖石简括空灵，枯槎倒挂于危岩，野趣暗生。扁舟篷屋静立，舟子缓棹行于碧波，将羁旅闲意揉进烟岚里。\n\n左侧题诗与山水相契，把远客随波逐流的幽寂心境藏在空濛山色中。画师以灵动简约的笔法，融山川清旷与江湖行旅的澹泊诗意于一纸。不着浓艳重彩，仅以浅墨淡彩铺陈暮春江峡的柔婉空蒙，寥寥数笔便勾画出天地间的悠然意趣，引观者随舟驶入这片清远绝尘的山水烟霞，沉醉于疏朗安闲的世外情致之中。",[24,7,59,27,128,29,129,99,131,34,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eda3d02caac8e2863fc2d9a4078a1ad.jpg",[],{"id":28648,"slug":28649,"title":28650,"dynasty":124,"author":125,"museum":300,"description":28651,"tags":28652,"thumbUrl":28653,"material":84,"size":84,"collection":84,"collections":28654,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":72},228838,"lian-hua-dou-jia-tu-ce-shen-zhou-228838","莲花豆荚图册","此作用笔松秀淡逸，以清浅墨色晕染果实，晕化柔和雅致，墨色层次疏淡清润，墨点点缀其上，朴拙天真，尽得果实鲜活意态。枝叶以枯淡墨线勾勒，笔致苍劲随性，不求描摹工细，却将叶片舒展之姿尽显，枯荣之态暗含其间。\n画面留白开阔疏朗，以简驭繁，尽显文人写意的简淡风骨，将日常乡野小景，绘出悠然清逸的林下意趣，平淡之中藏着天真雅致的文人心境，笔底全是松弛自在的闲适之味。",[23,164,24,7,59,128,61,13257,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6db9f55c64cddb22c8eac5284a05317e.jpg",[],{"id":28656,"slug":28657,"title":28658,"dynasty":124,"author":14340,"museum":300,"description":28659,"tags":28660,"thumbUrl":28661,"material":84,"size":84,"collection":84,"collections":28662,"showCount":28456,"zanCount":1998,"manualWeight":48,"mainColor":72},228369,"pi-pa-mei-ren-tu-wu-wei-228369","琵琶美人图","《琵琶美人图》是吴伟创作的一幅中国国画作品，创作于明代。\n该画纸本水墨，现藏于美国印地安那波里斯美术馆。\n作品描绘的是一位侧面低首，神情幽怨哀愁的抱着琵琶的仕女。\n吴伟的这件传世国画作品描绘的是一位侧面低首，神情幽怨哀愁的抱着琵琶的仕女。\n作者采用近白描的简略笔墨勾画出人物形象，衣饰线条转折流畅，似行云流水，仅在某些局部以淡墨略加渲染。\n画面无任何背景，主体突出，简洁明快。\n作品上面上有孙一元、黄姬水等三人题的诗跋，称“江夏兹图，允为神品”。\n《琵琶美人图》在表现技法上与工笔白描一体，略似北宋李公麟。\n但是较之画家早年的《铁笛图》，更加流畅秀润，风神俊爽。\n《画史会要》、《 》等著录。\n画一位手抱琵琶的女子,侧面低首,神情幽怨哀愁。\n画家用近折描的简略笔墨勾画出人物形象，衣饰线条转折流畅，似行云流水，仅在某些局部以淡墨略加渲染。\n吴伟（1459-158 ），江夏（今湖北武昌）人。\n龆龄流落至海虞（今江苏常熟），收养于钱昕家，伴其子读，时窃弄笔墨，画山水人物之状，钱见而奇之，曰：“若作画工耶？”即与笔札厚给养之。\n弱冠至金陵画名遂起。\n相传伟性戆直，有气岸而豪放，尝遇庞老人击石得髓，伟饮其半，遂以画名。\n成国朱公延至幕下，以小仙呼之，因以为号。\n宪宗时待诏仁智殿，好剧饮狎妓，人欲得伟画者，则载酒携妓往。\n一日被诏正醉，中官扶掖入殿，命作松泉图。\n伟跪翻墨汁，信手涂抹，宪宗叹曰：「真仙笔也。\n]又孝宗命画称旨，授锦衣百户，赐印章曰「画状元」。\n吴伟画人物出自吴道子，纵笔不甚经意，而奇逸潇洒动人，山水树石俱作斧劈皴。\n白描尤佳。\n尝游 渴，从老妪索茗，明年复过之，老妪已谢世。\n援笔追写其像，其子见之大恸，乞而藏之。\n又尝饮友人家，酒间作画，戏取莲房濡墨印纸上数处，莫测其用意，忽起纵笔挥洒成捕蟹图，最为神妙。\n孝宗喜马、夏画风，而画院戴进、吴伟均承继马、夏，成为一时风尚，号为“浙派”。\n吴伟亦号“江夏派”。\n其后吴派既盛，浙派渐归澌灭。\n卒年五十。",[23,24,7,165,188,128,96,166,438,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08e5696b91097f04f9e47a6f55178478.jpg",[],{"id":28664,"slug":28665,"title":7497,"dynasty":124,"author":28666,"museum":300,"description":28667,"tags":28668,"thumbUrl":28669,"material":84,"size":84,"collection":84,"collections":28670,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":72},228349,"zhu-lin-tu-tao-hong-228349","陶红","以水墨晕写坡岸幽篁，修竹错落层叠，运笔秀劲灵动，竹叶以个字、介字点簇，笔断意连，尽显竹之清逸风骨。浅墨轻笼烟岚远山，淡赭晕染坡脚水岸，虚实相生间铺展出空濛雅致的林麓之景。\n\n山石以淡墨勾勒皴擦，简淡不饰雕琢，留白拓出水天相融的空阔意境，将文人画尚简重意的意趣融于尺幅间。观之如临幽林，似聆林风穿叶，清寂淡远的林下雅韵扑面而来，尽显静穆淡远的林下幽居之趣。",[24,7,128,167,29,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27b74b593200ac6a53a7c1f309a38c8b.jpg",[],{"id":28672,"slug":28673,"title":28674,"dynasty":144,"author":4034,"museum":244,"description":28675,"tags":28676,"thumbUrl":28677,"material":151,"size":28678,"collection":84,"collections":28679,"showCount":28456,"zanCount":1998,"manualWeight":48,"mainColor":49},228044,"xi-shan-qing-xia-tu-zhou-sheng-mao-228044","溪山清夏图轴","《溪山清夏图》绘崇山复岭，白云缭绕，楼阁掩映于丛树之中。近景溪水环绕，岸边筑有水阁亭榭，为可游可居之景。图中人物或于水榭纳凉，或悠游林下。构图繁复深曲，用长披麻皴表现山石，繁皴密点。界画楼阁严整，人物工能精谨，云霭以线勾勒，复染色彩。全图画法精巧，体现出盛懋在受文人画家影响的同时所具备的职业画家的一些特点。",[24,7,165,27,132,29,97,34,131,499,711,415,7782,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f46afb98159ce1ffbc7ee3adb4a1a9.jpg","纵204．5厘米，横108.2厘米",[],{"id":28681,"slug":28682,"title":28683,"dynasty":18,"author":3110,"museum":300,"description":28684,"tags":28685,"thumbUrl":28686,"material":84,"size":84,"collection":84,"collections":28687,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":956},227716,"long-hu-tu-zhou-mu-xi-227716","龙虎图轴","牧溪，俗姓李，佛名法常，号牧溪，四川人，大概时间为宋末元初，具体生卒年月不祥，但有资料记载牧溪于公元1281年逝世。代表作品有《老子图》《松猿图》《远浦归帆图》《潇湘八景图》。",[164,24,7,165,128,772,5490,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb229fdf17c2f47f0594e267085c31a4b.jpg",[],{"id":28689,"slug":28690,"title":28691,"dynasty":18,"author":28692,"museum":300,"description":28693,"tags":28694,"thumbUrl":28695,"material":84,"size":84,"collection":84,"collections":28696,"showCount":28456,"zanCount":1116,"manualWeight":48,"mainColor":72},227586,"huo-lang-tu-ye-xu-chong-ju-227586","货郎图页","徐崇矩","徐熙孙，与徐崇嗣、徐崇勋为弟兄，生卒年不详。画有祖风，所作花木、禽鸟形骨轻秀。北宋时期徐熙画花木、禽鱼、蝉蝶、蔬果之类极夺造化之妙，与黄筌之花鸟画为当时之两大流派，有“黄家富贵，徐熙野逸”之说。崇矩兄弟虚心好学，吸收黄筌、黄居寀父子画法之长，终于自创“没骨法”新体，摈弃墨笔钩勒而直接用彩色晕染。亦工仕女，曲眉丰脸，姿态可人，有唐人风。流传作品不多，《宣和画谱》著录御府所藏其作品有《夭桃图》《折枝桃花图》《仕女图》《紫燕药苗图》《萱草猫图》《花竹捕雀猫图》等14件。《红蓼水禽图》册页传为崇矩所作，为其传世作品，现藏故宫博物院。",[23,164,24,7,59,28,27,96,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdcf30c4506bba83e0d7658c832494ed.jpg",[],{"id":28698,"slug":28699,"title":28700,"dynasty":18,"author":686,"museum":300,"description":28701,"tags":28702,"thumbUrl":28703,"material":84,"size":84,"collection":84,"collections":28704,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":49},227578,"xue-shan-lou-ge-tu-fan-kuan-227578","雪山楼阁图","北宋，范宽作, 绢本设色，传范宽，纵182.4 厘米，横103厘米。\n\n此画结构严谨，气势雄伟。画面左下角有渔夫正卖鱼于顾客，山间小路上的行人冒匆匆赶路，形态生动，比例自然，形象与《溪山行旅图》中的商旅有异曲同工之妙。\n\n现藏美国波士顿美术博物馆。\n\n范宽（生卒不详）：本名中正，字中立（又作仲立，因性情宽和，不拘成礼，时人呼之为“宽”，遂以范宽自名。华原（今陕西耀县）人。据《宣和画谱》记载，他“风仪峭古，进止疏野，性嗜酒，落魄不拘世故”。山水初学李成，继法荆浩，后感“与其师人，不若师诸造化”，因移居终南山、太华山，对景造意，不取繁饰，自成一家。宋人将其与关仝、李成并列，誉为“三家鼎峙，百代标程”。后人将之与李成、董源二人合称“宋三家”，之后的“元四家”、明朝的唐寅，以至清朝的“金陵画派”和现代的黄宾虹等大师，都受到范宽画风的影响。",[23,164,24,7,165,132,128,29,663,1556,97,34,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa375bbe146b99d0065149a804c5dc346.jpg",[],{"id":28706,"slug":28707,"title":914,"dynasty":351,"author":5524,"museum":300,"description":28708,"tags":28709,"thumbUrl":28711,"material":84,"size":84,"collection":84,"collections":28712,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":49},227439,"pi-pa-shan-niao-tu-huang-quan-227439","宋徽宗名下流传至今的绘画作品面貌多样，既有雍容典雅的重彩工笔，也有古拙朴茂的粗笔水墨。所以历来对其真伪归属多有争论可谓画史的一段公案，一般认为工丽细致的院体风格是他人代笔或是御题画，而朴拙一路则是徽宗亲笔真迹。现藏于北京故宫博物院的《枇杷山鸟图》是学界一致公认的宋徽宗赵佶的真迹之一。本画为绢本设色，纵22.6厘米，横24.5厘米，画上题有“天下一人”的御笔花押。此幅《枇杷山鸟图》设色极淡，又因年代久远几乎不能分辨，看上去就如同单纯的水墨画一般。画中景物工写相参，渲染精细，犹如黑白老照片，在宋代绘画中别具一格。",[23,164,24,7,28,27,61,918,28710,624],"山鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43bc94a04488f0b800bfb8c8250fa6ac.jpg",[],{"id":28714,"slug":28715,"title":28716,"dynasty":18,"author":3278,"museum":300,"description":8573,"tags":28717,"thumbUrl":28718,"material":84,"size":84,"collection":84,"collections":28719,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":49},227412,"bai-yuan-xian-shou-tu-li-cheng-227412","白猿献寿图",[23,24,7,164,27,28,949,9633,495,131,211,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd21c51cd22e4004907bdc5e4839ebbe4.jpg",[],{"id":28721,"slug":28722,"title":28723,"dynasty":54,"author":9742,"museum":56,"description":28724,"tags":28725,"thumbUrl":28726,"material":611,"size":28727,"collection":136,"collections":28728,"showCount":28456,"zanCount":1998,"manualWeight":48,"mainColor":49},224493,"huai-rong-tang-tu-wu-li-224493","槐荣堂图","此画设色清丽，右侧题“夫山高阳氏槐荣堂图”， 左下角书“虞山吴历画”，没有年代落款，卷首处有王时敏所题“公槐瑞应”，卷后有尤侗《槐荣堂记》与李楷《槐荣堂赋》，以及宋实颖、陆贻典、王奕鸿、吴伟业题跋。\n画面近景处 树石围绕，是为槐荣堂，槐荣堂背后峰峦数重，烟云缥缈，两峰之间一条小径隐于林间。\n槐荣堂右下方的近景处，有田野树林，左侧隐约可见远处的村舍。槐荣堂正中有一棵高大挺拔的槐 树，拾阶而上，屋内共有三人，红袍青冠者为许之渐之父，毕恭毕敬，端坐者为许之渐的祖母，其身后有一侍从。",[23,24,7,27,29,132,663,228,413,97,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f7ef221145f30db6d05c465cc6f85fd.jpg","40×70厘米",[136,45],{"id":28730,"slug":28731,"title":28732,"dynasty":54,"author":3750,"museum":300,"description":28733,"tags":28734,"thumbUrl":28735,"material":84,"size":84,"collection":84,"collections":28736,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":72},224478,"fang-fan-kuan-shan-shui-li-zhou-wang-jian-224478","仿范宽山水立轴","此作用笔取法北派山水意趣，主峰巍峨崔嵬，以密集的雨点皴摹写山石肌理，将岩体质感的浑厚苍莽尽显无遗。褶皱间晕染留白，云气蒸腾游走，为峻峭山体晕开空濛灵秀。\n飞瀑层叠穿流于深谷，灵动水意打破山峦沉郁。山坳坡脚隐现村舍古寺，林下幽人策驴徐行，将山野烟火意趣融于雄阔山水间，刚柔相济。\n整作墨色浓淡相宜，主次分明，师法先贤又自出情致，在厚重苍莽中暗藏细腻温婉，是师古化新的精妙手笔。",[23,24,7,165,128,132,330,29,495,34,97,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16e948ce6ac35fc4fa235ff25f0ffea0.jpg",[],{"id":28738,"slug":28739,"title":28740,"dynasty":54,"author":9529,"museum":161,"description":28741,"tags":28742,"thumbUrl":28743,"material":10637,"size":28744,"collection":136,"collections":28745,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":72},224461,"song-qiao-tang-tu-juan-wang-hui-224461","松乔堂图卷","图绘远处山峦连绵，树木苍翠；近处右侧河面一片平静，中部数座楼阁、回廊依山而建，院落外翠竹环绕，院内树木高大，白鹤踱步，屋内人们或谈天，或端坐，或忙碌，大隐于此，岂不快哉！",[23,24,7,25,128,27,29,132,64,133,208,663,228,1144,97,34,171,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c51ae3cb96668d6ecb508f9cd46a47.jpg","纵25cm，横236cm",[136,117],{"id":28747,"slug":28748,"title":28749,"dynasty":54,"author":2640,"museum":300,"description":28750,"tags":28751,"thumbUrl":28752,"material":84,"size":84,"collection":84,"collections":28753,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":72},224372,"hua-hui-qi-shi-ce-shi-er-kai-12-ju-lian-224372","花卉奇石册-十二开-12","此作用笔灵动兼具工致，奇石以淡墨皴擦晕染，瘦透古朴，孔洞藏幽，自带嶙峋古意。左侧水仙双钩填色，莹白花瓣勾勒细腻，嫩黄花心娇柔明媚，翠叶舒展回转，韵致清雅脱俗。右上角附石幽兰，青叶劲挺，素花轻绽，暗透幽香。\n\n整幅设色明丽秀雅，工写相融，没骨笔法鲜活生动，将花草清隽与湖石古拙相映成趣，尽显妍丽细腻的风韵，把案头清供的雅致意趣铺陈开来，淡逸娴静的文人雅韵漫溢绢素。",[23,24,7,59,27,28,61,374,171,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe76c2edb1768b60a8a2314d604f95911.jpg",[],{"id":28755,"slug":28756,"title":28757,"dynasty":124,"author":28758,"museum":510,"description":28759,"tags":28760,"thumbUrl":28761,"material":1223,"size":28762,"collection":136,"collections":28763,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":72},222839,"she-se-shan-shui-tu-juan-xiao-yun-cong-222839","设色山水图卷","萧云从","画面山川连绵起伏，溪流环绕其间。平逸、深远之法交替运用。山石披麻、小斧劈皴并用，树叶勾点结合，用石青、石绿加以点染，成功地描绘了秀美的江南景色。",[24,7,25,27,29,132,128,496,497,34,499,37,98,149,171,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb49ee13a0d730dc85d4192c86da6fcf8.jpg","29.2×593cm",[136,45],{"id":28765,"slug":28766,"title":28767,"dynasty":124,"author":28768,"museum":510,"description":28769,"tags":28770,"thumbUrl":28771,"material":151,"size":28772,"collection":136,"collections":28773,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":199},222549,"ma-shi-yan-yu-tu-sheng-ying-222549","马嗜烟雨图","盛颖","此图绘寺庙景色。寺院墙外树木、楼阁处于云烟细雨中，有一种缥缈梦幻之意境；院内庙宇数座，可见正前方大雄宝殿中立一大鼎，房前树木粗壮苍翠。全图以俯视视角绘出，房屋建造遵循南北趋势，院中有院，整个建筑宏大考究。",[23,24,7,27,95,208,97,34,37,98,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6424afaa9502d7f9fa2aca839f973ae5.jpg","28.3×56.84cm",[136,45],{"id":28775,"slug":28776,"title":28777,"dynasty":124,"author":25728,"museum":20,"description":28778,"tags":28779,"thumbUrl":28780,"material":28781,"size":28782,"collection":136,"collections":28783,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":49},222418,"yu-zhou-du-shu-tu-zhou-jiang-song-222418","渔舟读书图轴","画家用简练概括的手法，表现群山绕湖、轻舟横渡的清旷之景。湖面上一条篷船荡漾，船尾一人静坐读书，船头渔夫用力撑篙，钓竿斜插于船上，表现了文人士大夫闲适安逸的生活情趣。在画法风格上，山石虽有斧劈皴的痕迹，但不像马远、夏圭那样坚硬外露，而是落笔草草，水墨晕染浓淡相宜，此为蒋嵩粗笔水墨山水画的典型之作。",[23,24,7,165,128,27,29,129,96,34,497,99,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a10da506d8018ca9417d66edb6c543f.jpg","绢本设色粗笔墨","纵171厘米，横107.5厘米",[136,117],{"id":28785,"slug":28786,"title":28787,"dynasty":144,"author":2487,"museum":20,"description":28788,"tags":28789,"thumbUrl":28790,"material":40,"size":28791,"collection":44,"collections":28792,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":49},221773,"zhang-guo-jian-ming-huang-tu-quan-juan-ren-ren-fa-221773","张果见明皇图全卷","此卷是元代画家任仁发人物故事画的代表作。图绘传说中的“八仙”之一张果老及其弟子谒见唐明皇的故事。画面截取张果老施法术于明皇前的片断。图右侧一老者坐绣墩上，着青衣，双掌向上，面带微笑作言语状。身前一小童于布袋中放出鞍辔皆全的小驴，驴作奔跑状。左侧一人着黄袍，戴幞头，坐于椅上，头略低，对所发生的一切表现出关注的神情。此人身材壮伟，面相庄严，显然是唐玄宗李隆基。其身后站立的四名侍从神情各异。全图设色明丽古雅，人物表情生动细腻，瞬间的动态表现得极为成功，小驴的奔跑构成了全图的视觉中心，将所有人的目光集中于此，增强了画面的故事性。张果老的沉着自如，唐玄宗略带惊讶的神情，表现得恰到好处，体现了元代人物画高超的艺术水平。\n本幅左下款署：“云间任仁发笔。”下钤“任氏子明”印。画面中部有清弘历题七言诗一首，末款“甲申夏六月上浣御题。”",[23,24,7,25,27,28,96,208,64,170,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F534612c4c5adfdb60bcc11e1eab2da2b.jpg","纵41.5cm，横107.3cm",[44,45],{"id":28794,"slug":28795,"title":6297,"dynasty":18,"author":2067,"museum":20,"description":28796,"tags":28797,"thumbUrl":28798,"material":514,"size":28799,"collection":42,"collections":28800,"showCount":28456,"zanCount":1086,"manualWeight":48,"mainColor":49},221560,"su-wu-mu-yang-tu-li-di-221560","李迪（生卒年不详），南宋画家，河阳（今河南孟州南）人。供职于孝宗、光宗、宁宗三朝画院。擅写生，花鸟、竹石、走兽皆精，亦作山水小景。大幅气象豪迈，小品精细入微，晚年犹能作纤入毫笔的刻画。存世作品有《雪树寒禽图》《枫鹰雉鸡图》《风雨归牧图》等。",[23,164,24,7,1131,27,188,96,6300,949,413,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceaa42b0901bb55ad17260f047b24a30.jpg","24.4x21.5厘米",[42,44,45],{"id":28802,"slug":28803,"title":28804,"dynasty":18,"author":491,"museum":12686,"description":22155,"tags":28805,"thumbUrl":28806,"material":28807,"size":28808,"collection":42,"collections":28809,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":72},221287,"dai-du-tu-ye-guo-xi-221287","待渡图页",[23,24,7,59,128,27,29,1337,129,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946bc8b1acd959ef038570ca597f5d99.jpg","册页绢本设色","26.1x30.4厘米",[42,136,117],{"id":28811,"slug":28812,"title":28813,"dynasty":144,"author":569,"museum":20,"description":28814,"tags":28815,"thumbUrl":28816,"material":1380,"size":28817,"collection":44,"collections":28818,"showCount":28456,"zanCount":1086,"manualWeight":48,"mainColor":72},220874,"zi-hua-xiang-tu-ye-zhao-meng-fu-220874","自画像图页","《自画像》，绢本，设色画。款识：“大德己亥子昂自写小像。”对幅有明宋濂小楷书《赵文敏公小像赞》，北京故宫博物院藏。《故宫博物院藏文物珍品全集·元代绘画》《归去来兮——赵孟頫书画珍品回家展特集》中影印出版。",[23,24,7,59,27,28,96,167,229,1023,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b94c7ac9ae3d7d98482b82096ffae03.jpg","纵24cm，横23cm",[44,45],{"id":28820,"slug":28821,"title":28822,"dynasty":54,"author":9742,"museum":20,"description":28823,"tags":28824,"thumbUrl":28825,"material":66,"size":28826,"collection":136,"collections":28827,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":72},220403,"heng-shan-jing-ai-tu-wu-li-220403","横山睛霭图","起首上角有作者书：“横山晴霭。”钤“墨井”印，幅下右角钤“延陵”。卷尾作者自题：“笔正写山横，烟云乱石生。破窗蕉雨过，添却砚池平。十日画成，海天雨霁，红日窗明，展卷题之。康熙丙戌年秋仲，墨井道人。”钤“墨井”印。\n“丙戌”是清康熙四十五年（1706年），吴历时年75岁。\n尾纸处吴历自跋：“余近年作画，似勤似懒，有时不辞呵冻，忘暑忘餐，挥毫疾就；有时春暖晴窗，楮墨精良，对之瞌睡。吾不知此病之所来，或谓老之故也。然少年辈往往亦有如此。予数日前颇觉腕力笔健，漫学山樵而成小卷，虽未得其超逸，观之亦可消长夏。五月墨道人又跋。”下钤 “吴历之印”、“墨井道人”，迎首钤“延陵”。\n本幅及自跋纸上鉴藏印有“陆廷燦印”、“平原陆幔亭鉴藏印”等。后幅有戴兆芬、公望、顾文彬三家题记。\n作者在尾纸中说此图系学元代王蒙之笔，确有苍茫超逸之意。全图多用干笔勾廓，粗笔皴擦，浑朴厚实，脉络分明。由于画家早年曾寓居澳门，接触过一些西洋绘画，画中的群山呈显出阴阳向背，似有晴日当空之感，群峰层层推向远方，颇有些空间意识。吴历是中国山水画史上最早融合西洋绘画的画家，该图十分自然妥贴地吸收了西洋绘画重明暗、讲透视的造型技巧，是为一绝。",[23,164,24,7,25,128,132,29,34,37,31,129,415,7509,38,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0012b5f25c464e3c315914ea34a89b42.jpg","纵22.8厘米，横157.3厘米",[136,45],{"id":28829,"slug":28830,"title":28831,"dynasty":18,"author":223,"museum":244,"description":28832,"tags":28833,"thumbUrl":28834,"material":151,"size":28835,"collection":42,"collections":28836,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":49},220235,"bian-zhuang-zi-ci-hu-2-yi-ming-220235","卞庄子刺虎2","宋人画卞庄子刺虎图，是从宋代遗存下来的古画，由于作品未留署名，尚不能确定作者是谁，有人推测是出自宋代李公麟之手！这幅画是一副寓意图，描绘的是两只老虎想吃一头牛，而卞庄又想猎杀两只老虎的场景，通过这些场景和最后结果的描绘想劝告人们做事不要只凭勇气，而没有智慧；另一方面的，也阐释出自己人“两只老虎”相争，最后却被别人得到利益。",[164,24,7,28,27,96,5490,102,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0de4be4d0d370b1a0cbb18f0c2f5cb7e.jpg","39×169.1公分",[42],{"id":28838,"slug":28839,"title":28840,"dynasty":124,"author":125,"museum":1300,"description":1301,"tags":28841,"thumbUrl":28842,"material":66,"size":1304,"collection":84,"collections":28843,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":49},220013,"dong-zhuang-tu-ce-zhi-ling-hao-shen-zhou-220013","东庄图册之菱豪",[23,24,7,59,128,132,29,98,99,129,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b4a28346fc8e2c3bbd7ccab578d205d.jpg",[],{"id":28845,"slug":28846,"title":13827,"dynasty":144,"author":1346,"museum":244,"description":28847,"tags":28848,"thumbUrl":28849,"material":278,"size":28850,"collection":136,"collections":28851,"showCount":28456,"zanCount":1998,"manualWeight":48,"mainColor":72},219964,"shu-lin-yuan-shan-tu-wu-zhen-219964","图绘秋林疏树，三五成丛，一派萧瑟，远山漠漠，淡逸出群。此幅笔精墨妙，是吴镇小品真迹。",[23,24,164,7,29,128,132,415,5324,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fa4038fe6ccb0cc00828917283a8009.jpg","39.7x50.2",[136],{"id":28853,"slug":28854,"title":28855,"dynasty":18,"author":28856,"museum":6404,"description":28857,"tags":28858,"thumbUrl":28859,"material":173,"size":28860,"collection":44,"collections":28861,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":49},219624,"fu-nie-pan-tu-lu-xin-zhong-219624","佛涅槃图","陆信忠","本作品描绘了释迦在跋堤河边的婆罗双树之间圆寂的情景，是佛教传说中的一个重要场景。以法隆寺五重塔塔本塑像为首，日本早有表现涅槃场景的造像，而以涅般图为本尊像的涅槃法会，也于平安时代初期起成为惯例。涅槃图受到来自中国的影响，同时通过各个时代宗派盛行制作并独立发展开去。\u2028本图在涅槃图之中也具有非常独特的形式，绘制于中国南宋时代的贸易之都宁波，后被日本求得。娑罗树被描绘成两颗宝树，而释迦周围的众弟子并无悲伤表情，胡人打扮的人物围着香炉起舞，似在赞叹涅槃，这一点也实属罕见。有人设想这种图画形式形成的背景是当时宁波成熟的信仰文化。\u2028 画面右方中间有小楷落款“庆元府车桥石板巷陆信忠笔”，可知该画是在宁波被称为庆元府时期(1195～1276)由职业画匠(佛画师)陆信忠(工房)所作。本佛画彩色浓厚，绘画线条细致有力，兼有细腻彩色花纹，表现力极强，也许是大量使用了中间色的缘故，该作令人感受到先期佛画的变迁。在标有陆信忠落款的作品中，该作品与本馆馆藏的十王图并列堪称最为上乘之佳作。再者，裱具上部用墨写有“天王宝物”。此作为爱知津岛神社别当寺宝寿院相传之物。",[23,24,7,165,187,27,28,96,413,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71c223a3fdb98418bbf872b6bcd5ca04.jpg","纵157.1横82.9",[44],{"id":28863,"slug":28864,"title":28865,"dynasty":18,"author":287,"museum":20,"description":28866,"tags":28867,"thumbUrl":28868,"material":66,"size":28869,"collection":44,"collections":28870,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":72},219623,"xi-hu-yin-qu-tu-qian-xuan-219623","西湖吟趣图","钱选（1239—1299），宋末元初时期的遗民画家，字舜举，号玉潭，晚年更号溪翁，吴兴（今浙江省湖州市）人。南宋景定（1260—1264年）年间乡贡进士，入元后隐居不仕，寄情于山水书画。画学颇为庞杂，花鸟、山水、人物无一不精，且成就极高，当时有“老钱丹青当世无”的美誉。元初，与赵孟頫、王子中、陈式等人并称“吴兴八俊”。",[23,24,7,25,27,28,133,208,96,29,171,371,722,24586],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ac8c107ddfec1798c83c917d3f07d59.jpg","纵25cm，横72.5cm",[44],{"id":28872,"slug":28873,"title":28874,"dynasty":124,"author":28875,"museum":77,"description":28876,"tags":28877,"thumbUrl":28878,"material":173,"size":28879,"collection":68,"collections":28880,"showCount":28456,"zanCount":1998,"manualWeight":48,"mainColor":49},219314,"jin-ji-han-mei-tu-bian-jing-zhao-219314","锦鸡寒梅图","边景昭","寒石之上，锦鸡敛翅静立，翎羽如锦绣裁就，红腹似霞晕染，连绒羽的细绒都清晰可见，仿佛能触到那柔软的质感。旁侧枯枝斜逸，梅蕊初绽，素白的花与苍劲的枝桠相映，冷寂中透出雅致。沉郁的底色如古砚磨出的墨晕，将禽鸟的鲜活托得愈发分明，梅香似随微风漫开，清寒里藏着脉脉生机。笔触细腻入微却不板滞，色彩浓淡相宜，既有工笔的精致写实，又含写意的空灵意境，于冬日的静谧中，绘就一份鲜活与雅致，似能听见锦鸡轻啄梅瓣的微响，冷冽中溢出温情。",[24,7,61,28,27,371,355,171,1233,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ec3c9a9636678fe8757ecb09c33f89.jpg","38.5x32.8cm",[68],{"id":28882,"slug":28883,"title":28884,"dynasty":18,"author":12759,"museum":244,"description":28885,"tags":28886,"thumbUrl":28887,"material":173,"size":28888,"collection":42,"collections":28889,"showCount":28456,"zanCount":1998,"manualWeight":48,"mainColor":49},219151,"xiang-bo-tu-li-an-zhong-219151","翔鹁图","这幅无标题的画,描绘了四只鹌鹑，它们飞翔或降落。 刻画生动，鸟兽造型精准。 兰花的叶子像水草一样飘扬，很有装饰性。 虽然不能确定是李安忠所绘，但也是宋元时期的杰作。",[23,164,24,7,165,28,27,61,211,171,1771,547,7596,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac72a55ea3763e691c05bcb488667755.jpg","纵96横43.8厘米",[42,68,45],{"id":28891,"slug":28892,"title":1230,"dynasty":124,"author":5798,"museum":8230,"description":28893,"tags":28894,"thumbUrl":28895,"material":28896,"size":84,"collection":136,"collections":28897,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":72},219099,"shan-shui-tu-zhang-hong-219099","峰峦层叠如聚，皴笔勾勒出山石苍劲肌理，淡墨晕染间藏起峰巅的朦胧。云雾似轻纱漫卷，将远近景致晕染得虚实相生，添了几分空灵缥缈。坡岸处几株古松挺立，枝干虬劲如盘龙，松针细密如簇，尽显岁月雕琢的苍劲之姿。掩映在松影间的村落，屋舍错落，隐于山环水抱之中，烟火气与清寂山水相融，更显雅致。\n\n笔墨兼具刚柔：山石勾勒用劲挺之笔，皴擦见厚重；松枝线条灵动，松针点染细密；云雾留白与淡墨交织，显轻盈。远近层次分明，虚实相映，既有山川雄浑壮阔，又含林泉清幽雅致，仿佛步入一处可居可游的山水胜境，心随景动，沉醉其间。",[23,164,24,7,165,128,132,29,663,228,34,35,37,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbb429ba82adfba156dc14ca93b3ed4.jpg","绢本,纸本",[136],{"id":28899,"slug":28900,"title":28901,"dynasty":18,"author":3596,"museum":6413,"description":28902,"tags":28903,"thumbUrl":28904,"material":173,"size":28905,"collection":68,"collections":28906,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":72},219088,"xue-qin-tu-cui-bai-219088","雪禽图","这幅画的是河岸边树杆折断，一旁杂草叶片已枯黄，藤杆上覆盖着一层薄雪，一只灰北白肚鸟儿立于细藤上，尾翎修长，扭头尖喙咬住羽毛，半眯的眼睛似乎在沉睡中。",[24,7,1131,61,28,27,355,2438,1556,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3706dae6af508fd6c7d4846d57c4de27.jpg","23.5x22.2cm",[68],{"id":28908,"slug":28909,"title":28910,"dynasty":54,"author":28911,"museum":450,"description":28912,"tags":28913,"thumbUrl":28914,"material":173,"size":28915,"collection":68,"collections":28916,"showCount":28456,"zanCount":1116,"manualWeight":48,"mainColor":49},219032,"tao-que-tu-xia-wen-xuan-219032","桃雀图","夏文铉","绢本泛黄如时光沉淀的暖光，数只雀鸟或栖枝梳羽，或振翅欲飞，羽色赭褐与墨黑相间，神态鲜活灵动。梅枝疏朗横斜，淡粉花瓣点染梢头，似携清寒暗香；松针苍劲如笔，与柔枝相映成趣。画面留白开阔，笔墨简淡却意韵悠长，将禽鸟的生趣与花木的清雅融于一方素绢，尽显文人画的雅致风骨。观之令人心宁神悦，仿佛触到了春日的轻暖气息，于细微处见生机，于简淡中藏深情，是一幅兼具意趣与格调的佳作。",[23,164,24,7,28,27,61,209,12508,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282866ed8d516c58dc487f5bdc68d7c8.jpg","纵39.1横26.5厘米",[68],{"id":28918,"slug":28919,"title":28920,"dynasty":18,"author":28921,"museum":244,"description":28922,"tags":28923,"thumbUrl":28924,"material":278,"size":28925,"collection":318,"collections":28926,"showCount":28456,"zanCount":1116,"manualWeight":48,"mainColor":72},218872,"shu-yong-shui-xian-hua-shi-tie-chen-yu-yi-218872","书咏水仙花诗帖","陈与义","此卷有《咏水仙》一诗，希望有朋友为其作诗，《简氏集》也有收录，但文字上有出入。 在书法上，陈与义 书法清简，与其诗文相近，为本朝绍兴初期所独有，因此，曾被宋高宗下诏为 音释帖刊误。这幅作品的书法风格古拙，风格淡雅，韵味分明，意境悠远。",[7,64,133,1590,208,374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66296fa179b324f97dc22acb0bab3d7a.jpg","32.1x41.3",[318],{"id":28928,"slug":28929,"title":1230,"dynasty":144,"author":18589,"museum":244,"description":28930,"tags":28931,"thumbUrl":28932,"material":278,"size":28933,"collection":136,"collections":28934,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":49},218826,"shan-shui-tu-fang-cong-yi-218826","这幅画显示了云层耸立在山峰之上，笔触犀利而清晰。人们怀疑这幅画被后来的人裁剪过，而且画的下部有很大一部分缺失，其含义也不完整。张大千捐赠",[23,24,7,128,132,29,131,34,1233,331,11830],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f63cfb3ccca5dd4dea47902f8e2a9b7.jpg","30.7x46.6厘米",[136],{"id":28936,"slug":28937,"title":1920,"dynasty":18,"author":1174,"museum":244,"description":28938,"tags":28939,"thumbUrl":28940,"material":173,"size":28941,"collection":136,"collections":28942,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":72},218822,"guan-shan-xing-lv-tu-li-tang-218822","这幅画展示了河流景观的美丽景色，一座古寺隐藏在山中，一群旅行者在河边的水池边跌跌撞撞。这幅画的旧题是《李唐游山图》，仔细观察这幅画的岩石景观和松树的拖曳枝条，可以看出这幅画是由明代艺术家按照马远的风格所画。",[23,164,24,7,59,29,99,129,97,497,1144,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a9c9b894cd1cf749503a5a856729ab8.jpg","32x33",[136],{"id":28944,"slug":28945,"title":28946,"dynasty":18,"author":223,"museum":244,"description":28947,"tags":28948,"thumbUrl":28949,"material":173,"size":28950,"collection":42,"collections":28951,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":49},218692,"an-he-tu-yi-ming-218692","安和图","在秋天的风景中，草和叶子变黄，野高粱的茎上长满了穗子。在茎叶下，五只鹌鹑在其中休息，而另外四只鸟则在上面栖息，为自己的羽毛做准备或啄食谷物。虽然这幅画没有作者的签名，但构图合理，所有物体都栩栩如生，所以它一定是出自艺术家之手。鹌鹑的造型与北宋崔訢的《七夕鹌鹑图》相似，而高粱则与明代陆机的《草花野禽图》相似，但《草花野禽图》的笔法显然更富变化，而这幅画则具有南宋的流畅细腻风格。它也被称为 安和，因为 鹑 和 安、和 和 和 是同音字，使它成为一部吉祥之作。",[23,24,7,164,28,27,61,1824,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8456b5937e15cbbc97e3c44852831d14.jpg","105.4x51.6",[42],{"id":28953,"slug":28954,"title":28955,"dynasty":144,"author":223,"museum":244,"description":28956,"tags":28957,"thumbUrl":28958,"material":173,"size":84,"collection":44,"collections":28959,"showCount":28456,"zanCount":1998,"manualWeight":48,"mainColor":49},218189,"ying-zhen-xiang-zhou-yi-ming-218189","应真像轴","应真袒胸倚石而坐，憨态可掬的笑容里满是悠然自在。衣纹以婉转流畅的墨线勾勒，晕染得宜，既显布料垂坠质感，又衬出人物丰腴体态。身旁松石苍劲，松针如簇，笔法细致中见洒脱；石根处几丛细竹点缀，更添清逸之气。整幅作品笔墨刚柔并济，人物神态鲜活，似在静享林间清寂，禅意氤氲其间。观者仿佛能透过古雅的纸本，触摸到那份远离尘嚣的平和安然，尽显宋元禅画的空灵韵味。",[24,7,165,187,96,1144,10762,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc52266544324141923cba9b32a02b8.jpg",[44],{"id":28961,"slug":28962,"title":28963,"dynasty":124,"author":223,"museum":77,"description":28964,"tags":28965,"thumbUrl":28966,"material":173,"size":28967,"collection":136,"collections":28968,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":49},217194,"han-shan-tu-yi-ming-217194","寒山图","寒山图是一幅来自明朝的中国山水画，作者不详。这幅画描绘了寒山寺的景象。寒山寺是位于浙江省杭州市的一座古刹，据说是由印度佛教徒达摩在公元7世纪传入中国时建立的。\n\n寒山图呈现了寒山寺庙宇及其周围的山林风光。画中可以看到寺庙的精巧建筑，以及周围的峰峦叠嶂、清澈的溪流和葱郁的树木。寒山图还描绘了几个小人物，可以想象出当时僧人在寺庙里修行的情景。\n\n寒山图的画风典雅，线条流畅，色彩和谐。整幅画充满了宁静、平和的氛围，令人心旷神怡。这幅画反映了明朝时期对佛教文化和自然风光的热爱，是一件具有深刻文化意义的艺术珍品。",[24,7,128,29,132,663,1337,97,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1d10bba28441129d6c7c5a8126dd416.jpg","33.5x23cm",[136],{"id":28970,"slug":28971,"title":28972,"dynasty":18,"author":2099,"museum":224,"description":28973,"tags":28974,"thumbUrl":28976,"material":317,"size":14798,"collection":44,"collections":28977,"showCount":28456,"zanCount":1116,"manualWeight":48,"mainColor":72},216770,"xiao-jing-tu-chang-juan-li-gong-lin-216770","孝经图长卷","李公麟的孝经形象在宋代以来的各种作品中被反复提及，而且大多以不止一种形式流传。",[23,164,24,7,25,188,128,96,413,1314,130,9024,1422,28975],"景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52813534dd45106294016e482651eab3.jpg",[44],{"id":28979,"slug":28980,"title":24115,"dynasty":18,"author":8169,"museum":4840,"description":28981,"tags":28982,"thumbUrl":28983,"material":173,"size":24119,"collection":68,"collections":28984,"showCount":28456,"zanCount":1998,"manualWeight":48,"mainColor":49},216666,"ju-yuan-tu-yi-yuan-ji-216666","此图水墨画群猿在山壑丛树间的情景：画面的背景为嶙峋山石，高低不一，山石起伏，山峦亘连，山间树木丛生，有的生长在山脚下，有的生长在山缝处，充满着顽强的生命力，遍布整个山石。山谷间溪水潺潺流淌，游息其间的二十余只猿猴，只只生动活泼，姿态各异，或坐立、或攀援、或倒挂、或跳跃、或嬉戏、或食饮、或亲昵、或爱抚。\n画卷结尾有元钱选跋，图中则分别钤有南宋贾似道、清耿昭忠、安岐及清内府等鉴藏印，画上并有清乾隆皇帝弘历旧题。",[23,164,24,7,25,28,132,128,9633,1233,331,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1efaf0c1e4d20ece3e0235e08d4dc5e.jpg",[68],{"id":28986,"slug":28987,"title":27795,"dynasty":144,"author":4034,"museum":77,"description":28988,"tags":28989,"thumbUrl":28990,"material":151,"size":28991,"collection":136,"collections":28992,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":49},214913,"lou-ge-shan-shui-tu-sheng-mao-214913","楼阁山水图是一幅由盛懋绘制的山水画作，出现在元朝时期。这幅画作以楼阁为主要构图元素，描绘了山水景观。楼阁山水图被认为是盛懋最著名的作品之一，在当时非常受欢迎。由于盛懋是一位著名的山水画家，他的作品经常描绘自然风光，并使用了细腻的笔触和鲜明的色彩来表现景色的美丽。楼阁山水图也是如此，它展示了盛懋对山水景观的精确捕捉和传达。\n\n盛懋是元朝时期著名的山水画家，他的作品风格独特，很受欢迎。楼阁山水图是他的代表作之一。在这幅画作中，盛懋使用了自然的色彩来描绘山水景观，并使用精细的笔触来表现每个细节。画面中的楼阁是一个重要的构图元素，它位于画面的中央，呈现出一种高耸入云的感觉。周围的山水景观也十分优美，有群山环绕，河流缠绕，树木茂盛。整幅画作散发出一种平静而舒适的氛围，使人们感觉得到了身心的放松。",[24,7,1131,95,128,27,29,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c7ab334398f7bdeec85c5eabe7afbc9.jpg","25x27cm",[136],{"id":28994,"slug":28995,"title":28996,"dynasty":124,"author":2268,"museum":56,"description":3855,"tags":28997,"thumbUrl":28998,"material":66,"size":84,"collection":84,"collections":28999,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":72},214654,"qiu-xing-ba-jing-tu-ce-4-dong-qi-chang-214654","秋兴八景图册-4",[24,7,59,27,29,133,64,132,663,413,99,37,1955,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa7b9afae4d988c47bfbafeba3b68c40.jpg",[],{"id":29001,"slug":29002,"title":29003,"dynasty":124,"author":2268,"museum":56,"description":3855,"tags":29004,"thumbUrl":29005,"material":66,"size":84,"collection":84,"collections":29006,"showCount":28456,"zanCount":1998,"manualWeight":48,"mainColor":72},214653,"qiu-xing-ba-jing-tu-ce-5-dong-qi-chang-214653","秋兴八景图册-5",[24,7,59,27,26,128,132,133,64,29,663,228,34,1144,3344,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb893b7c0fa8f94f84a419b7b87e6439e.jpg",[],{"id":29008,"slug":29009,"title":29010,"dynasty":54,"author":5879,"museum":1941,"description":10317,"tags":29011,"thumbUrl":29012,"material":611,"size":10320,"collection":84,"collections":29013,"showCount":28456,"zanCount":48,"manualWeight":48,"mainColor":49},214358,"san-jue-shan-shui-ce-1-hua-yan-214358","三绝山水册-1",[23,164,24,7,59,27,29,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf1a7ee3b5c0bbe9e26fadd849e0122a.jpg",[],{"id":29015,"slug":29016,"title":29017,"dynasty":54,"author":29018,"museum":244,"description":29019,"tags":29020,"thumbUrl":29021,"material":278,"size":29022,"collection":318,"collections":29023,"showCount":28456,"zanCount":1998,"manualWeight":48,"mainColor":72},214241,"xing-shu-zhong-tang-yao-yuan-zhi-214241","行书中堂","姚元之","通篇布局疏朗有致，字间行气如流泉穿涧，贯通无碍。笔势灵动跌宕，起收转折见筋骨，提按顿挫藏韵味——每一笔皆含温度，浓墨沉雄如岳，淡墨轻逸似云，干湿互渗更添层次。文字与笔墨浑然一体，字态或欹或正、或收或放，顾盼生姿如老友对谈，既有法度严谨的功底，又显随性自然的性情。通篇洋溢从容洒脱之气，观之如沐春风，仿佛能触到书者挥毫时的畅快心境，于动静之间，尽展行书之雅韵。",[23,304,64,133,165,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd61b81b5a7de70d879a30dae9c5d3a0c.jpg","132.2x62",[318],{"id":29025,"slug":29026,"title":29027,"dynasty":124,"author":1058,"museum":300,"description":4630,"tags":29028,"thumbUrl":29029,"material":692,"size":1293,"collection":84,"collections":29030,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":49},290849,"shan-jing-ri-zhang-tu-zhou-tang-yin-290849","山静日长图轴",[24,164,165,7,29,27,98,99,387,331,131,130,64,208,20575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1448ee5d3c113be971d34e5fddf18503.jpg",[],{"id":29032,"slug":29033,"title":29034,"dynasty":18,"author":223,"museum":300,"description":29035,"tags":29036,"thumbUrl":29039,"material":692,"size":1293,"collection":84,"collections":29040,"showCount":139,"zanCount":1998,"manualWeight":48,"mainColor":49},290684,"ke-si-qing-niu-lao-zi-tu-zhou-yi-ming-290684","缂丝青牛老子图轴","画中人物为老子，姓李名耳，字聃。春秋时楚国人。道教认为老子即是「太上老君」在人间的化身。相传老子经过函谷关时，守山的官吏尹喜似乎感到东边的天空忽然一片紫气。他断定会有圣人将来此地。不久，果然见老子骑青牛从东边扬长而至。尹喜便请求老子著书传世，老子应允，便在函谷关著下五千言《道德经》，写完後便骑牛向西而去，其後即不知所终。",[165,1944,24,164,7,96,29037,102,29038,24611,27,234,189,9070],"老子","青牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa336a1577cdc9d924e9eea1c51b6bf73.jpg",[],{"id":29042,"slug":29043,"title":29044,"dynasty":54,"author":29045,"museum":300,"description":29046,"tags":29047,"thumbUrl":29048,"material":692,"size":1293,"collection":84,"collections":29049,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":72},290491,"qi-yan-lian-wu-hu-fan-290491","七言联","吴湖帆","吴湖帆，江苏苏州人，为吴大澄嗣孙(1894年农历七月初二—1968年8月11日)。初名翼燕，字遹骏，后更名万，字东庄，又名倩，别署丑簃，号倩庵，书画署名湖帆。",[23,24,7,10886,64,133,27,167,15382,62,251,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff61d5b426294b7d95db061d5a5f81f.jpg",[],{"id":29051,"slug":29052,"title":29053,"dynasty":54,"author":2687,"museum":300,"description":3934,"tags":29054,"thumbUrl":29055,"material":692,"size":1293,"collection":84,"collections":29056,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":72},290317,"hua-sui-chao-tu-zhou-jiang-ting-xi-290317","画岁朝图轴",[24,165,164,7,27,28,61,263,374,9070,3114,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0ccadc1ef0f0c75e51a73bcab26a1f7.jpg",[],{"id":29058,"slug":29059,"title":29060,"dynasty":18,"author":1622,"museum":300,"description":12632,"tags":29061,"thumbUrl":29063,"material":692,"size":1293,"collection":84,"collections":29064,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":956},290154,"fang-you-tu-ma-yuan-290154","访友图",[164,24,7,165,128,95,29,96,97,98,99,1144,131,101,29062],"访友","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f58872533feea15d4e46dc492f9ff5f.jpg",[],{"id":29066,"slug":29067,"title":29068,"dynasty":124,"author":29069,"museum":300,"description":29070,"tags":29071,"thumbUrl":29072,"material":692,"size":1293,"collection":84,"collections":29073,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":72},287863,"ren-wu-tu-juan-shi-liu-shen-xian-zhou-dian-287863","人物图卷－十六神仙","周颠","周颠（？－？），明朝初年颠僧，建昌（今江西永修）人。本名不详，因为行事疯癫，人称周颠。\n朱元璋讨陈友谅时，周颠一直来求见，朱元璋很反感，于是把他处以烹杀，但是烧不死他，于是朱元璋将他寄养于蒋山寺。《明史·方伎传》以《周颠仙传》为根据收录他的传记。朱元璋亲著《周颠仙传》，纪周颠仙事迹。内有太祖御制《祭天眼尊者文》一首，《群仙诗》及《赤脚僧诗》各一首。\n民间相传，朱元璋病时，梦见一个佛坐在龙椅上念经，随即降下一个彗星，火焚宫殿。于是从庐山找来周颠发问，是不是亡国之兆。周颠说：“佛在龙座上，宫殿又有火，象征国号‘大明’，是国家昌盛之意。”朱元璋说：“彗星是不是周公辅政？”周颠却笑着说：“不是周公，就是召公。这个佛不是被召公赶走，就是要帮助召公。”周颠就走了。朱元璋一直不理解，到自己死前才突然理解了，把年轻时穿过的一套袈裟与一柄匕首包好，拿给建文帝，说：“我本来出身就是和尚，有困难的时候，你也知道该怎么办。”",[23,24,25,7,188,128,96,13695,187,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d9f1aff475a20d5d17b1bd203533867.jpg",[],{"id":29075,"slug":29076,"title":1006,"dynasty":351,"author":29077,"museum":244,"description":29078,"tags":29079,"thumbUrl":29080,"material":692,"size":1293,"collection":84,"collections":29081,"showCount":139,"zanCount":1116,"manualWeight":48,"mainColor":49},287656,"mu-dan-tu-teng-chang-you-287656","滕昌佑","滕昌佑，唐末五代画家。字胜华，本为吴（治今江苏苏州）人。唐广明元年十二月（公元881年）初黄巢起义军攻克长安，避乱随唐僖宗入蜀，卒年八十五。以文学从事。",[23,164,24,7,61,28,27,263,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff781bc47a080c289d7ae5eef5dcef720.jpg",[],{"id":29083,"slug":29084,"title":29085,"dynasty":18,"author":9804,"museum":300,"description":29086,"tags":29087,"thumbUrl":29088,"material":692,"size":1293,"collection":84,"collections":29089,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":49},287639,"shui-cun-tu-zhao-ling-rang-287639","水村图","赵令穰（生卒年不详），字大年，北宋汴京（今河南开封）人，画家。宋太祖赵匡胤五世孙。官至光州防御使﹑崇信军观察留后，卒赠“开府仪同三司”，追封“荣国公”。其孙赵伯驹为宋代著名画家，官至浙东兵马钤辖。赵令穰工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子。代表作品《风云期会图》《春山图》《阿阁图》《后赤壁图 》《文会图》《鸟雀图》等。留传到现在的有《汉宫图》《阿阁图》《万松金阙图》等。",[164,24,7,165,27,26,29,98,99,129,331,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff56a88b1052bfbea871f84835d854fc0.jpg",[],{"id":29091,"slug":29092,"title":29093,"dynasty":18,"author":3110,"museum":300,"description":29094,"tags":29095,"thumbUrl":29096,"material":692,"size":1293,"collection":84,"collections":29097,"showCount":139,"zanCount":1998,"manualWeight":48,"mainColor":49},287573,"song-yuan-tu-mu-xi-287573","松猿图","此图绘两只黑猿踞于松干上，一成年猿将一幼猿拢于怀中，形象十分生动。画家用浓墨乾笔绘猿身皮毛，很真实地表现出蓬松的质感，墨猿刻画得较为工致，可见法常是有写生基础的。",[164,24,7,128,9633,949,331,1233],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F785fa0ecef9736a94643b20966a7cfc7.jpg",[],{"id":29099,"slug":29100,"title":29101,"dynasty":54,"author":16583,"museum":300,"description":29102,"tags":29103,"thumbUrl":29108,"material":692,"size":1293,"collection":84,"collections":29109,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":49},287450,"zhi-hua-nu-rong-zhong-kui-tu-gao-qi-pei-287450","指画怒容钟馗图","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。\n康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。",[164,24,7,165,128,188,96,29104,29105,29106,29107],"指画","钟馗","怒容","神话人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F387e507c0fdc2a5bd90e16e3c58a00a8.jpg",[],{"id":29111,"slug":29112,"title":29113,"dynasty":54,"author":872,"museum":20,"description":29114,"tags":29115,"thumbUrl":29116,"material":29117,"size":29118,"collection":318,"collections":29119,"showCount":139,"zanCount":1998,"manualWeight":48,"mainColor":72},240307,"shu-tao-hua-yuan-ji-juan-zhu-da-240307","书桃花源记卷","释文：\n晋武陵人渔，忘路之远近，忽逢桃花夹岸，数百步中无杂林，落英缤纷。渔人甚异之，复前行，欲穷其林。尽水源，得一山，山有小口，初极狭，才通人。复行数十步，豁然开朗。土地平旷，屋舍俨然，有良田、美池、桑竹之属。阡陌交通，鸡犬相闻。其中往来耕作，男女衣着，悉如外人。黄发垂髫，并怡然自乐。见渔人，乃大惊，问所从来，具答之。便要还家，设酒杀鸡作食。村中闻此人，咸来问讯。自云先世避秦时乱，率妻子邑人来此绝境，遂不复出焉，既与外人间隔。问今是何世，乃不知有汉，无论魏、晋。此人一一具言所闻，皆叹惋。余人各复延至其家，皆出酒食。停数日，辞去。此中人语云：“不足为外人道也。”既出，得其舟，便扶向路，处处志之。及郡下，诣太守，说如此。太守即遣人随其往，寻向所志，遂迷不复得路。南阳刘子骥，高尚士也。欣然规往，未果。后遂无问津者。丙子六月既望，纳凉在芙山房书，八大山人。\n下钤“可得神仙”、“八大山人”、“遥属”等4印。书前配有清无名氏山水画一段，尾纸有近代陈师曾、齐白石题跋二则。\n此为朱耷书录东晋陶渊明《桃花源记》之作。《桃花源记》系东晋隐逸诗人陶渊明之代表作。当时东晋朝廷腐败，内乱不止，陶渊明不欲从仕，一心归隐，故书此篇。\n朱耷身为前明宗室，面对家国之悲，民族之恨，却无力抗争，只得出家为僧。他习静修真，参研书画，以此抚慰内心的亡国之痛，故朱耷深爱《桃花源记》，时常书之，以表达其誓不与清廷合作而追求世外桃源生活之意。\n据署款，此书写于清康熙三十五年（1696年），作者时年71岁。该书学东晋王献之，兼融小篆之体，笔法纯朴圆润，笔势流畅，意尽笔止，有傲岸之情态和奇妙之格调。此作品为朱氏晚年佳作。",[23,24,7,25,128,133,29,96,11014,209,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56aeebef5d9d61f7776caf9efc2c0472.jpg","纸本，行草书","纵26厘米，横211厘米",[318],{"id":29121,"slug":29122,"title":21106,"dynasty":54,"author":4823,"museum":300,"description":19690,"tags":29123,"thumbUrl":29124,"material":692,"size":1293,"collection":68,"collections":29125,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":72},239398,"hua-niao-tu-ce-ma-yuan-yu-239398",[24,7,59,128,27,61,371,375,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbf29bd90c79214ba6d288bab877f2a.jpg",[68,45],{"id":29127,"slug":29128,"title":29129,"dynasty":54,"author":3403,"museum":300,"description":24982,"tags":29130,"thumbUrl":29131,"material":84,"size":84,"collection":68,"collections":29132,"showCount":139,"zanCount":1998,"manualWeight":48,"mainColor":72},239223,"mo-mei-zhou-wu-chang-shuo-239223","墨梅轴",[24,7,165,128,61,371,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F616f4702c3bcf964d4d3612a77d98457.jpg",[68,117],{"id":29134,"slug":29135,"title":29136,"dynasty":54,"author":223,"museum":300,"description":29137,"tags":29138,"thumbUrl":29139,"material":84,"size":84,"collection":68,"collections":29140,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":72},238811,"dong-gao-lv-xuan-shao-jing-ce-yi-ming-238811","董诰律宣韶景册","此作绘春日花溪胜境，浅青晕染重峦，烟岚轻笼远山，虚实相生间晕出空濛雅致。溪谷桃林遍绽，丹红如云霞漫过翠嶂，柔化了峰石的硬朗。涧水穿林漱石，湍波映着花光，灵动清冽。林麓深处隐见屋舍，暗合春深幽居之趣。\n\n笔法秀雅工致，青绿设色明丽温润，以淡墨烘衬烟霭，糅合工笔精细与写意空灵，将暮春山乡的融融春意铺展纸上，观之便如身临桃源，尽览静雅恬和的东方山水意韵。",[24,7,59,27,29,132,34,131,99,209,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe181bd02ef517366b84f0e2f5bc99ff.jpg",[68,136,45],{"id":29142,"slug":29143,"title":29144,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":29145,"thumbUrl":29146,"material":692,"size":1293,"collection":68,"collections":29147,"showCount":139,"zanCount":1998,"manualWeight":48,"mainColor":72},238354,"hua-hui-xiao-ce-dong-gao-238354","花卉小册",[24,7,59,27,61,371,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34d50c13f022c4472099b3f84f506d57.jpg",[68,45],{"id":29149,"slug":29150,"title":29151,"dynasty":54,"author":17403,"museum":20,"description":29152,"tags":29153,"thumbUrl":29154,"material":84,"size":84,"collection":44,"collections":29155,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":49},237550,"shang-rui-xiu-gu-song-chun-tu-juan-shang-rui-237550","上睿绣谷送春图卷","上睿（1634―？）清代康熙年间僧人。字静睿、浔微，一作浔浚、浔睿，号目存、蒲室子、童心和尚、童心道人、童心行者、卧云人。江苏吴县（今江苏苏州）人。博学多才，工诗文",[24,7,25,27,28,132,29,97,96,34,131,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54d5b813ae5e5ea9f4cfb1e7bcd2096a.jpg",[44],{"id":29157,"slug":29158,"title":25447,"dynasty":54,"author":25448,"museum":20,"description":25449,"tags":29159,"thumbUrl":29160,"material":84,"size":84,"collection":84,"collections":29161,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":49},237117,"shi-nv-ce-cui-wei-237117",[164,24,7,59,28,27,96,166,170,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa5fa588e85cf48557097697d8534b1.jpg",[],{"id":29163,"slug":29164,"title":29165,"dynasty":54,"author":2687,"museum":20,"description":29166,"tags":29167,"thumbUrl":29168,"material":84,"size":29169,"collection":68,"collections":29170,"showCount":139,"zanCount":1998,"manualWeight":48,"mainColor":49},236196,"hua-mei-hua-xuan-ye-shu-fan-zhou-xi-hu-shi-cheng-shan-jiang-ting-xi-236196","画梅花玄烨书泛舟西湖诗成扇","蒋廷锡（1669—1732），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，是清朝康熙、雍正时期官员、画家。",[24,7,1131,371,133,61,27,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefea21cbd916e8e96569fa9ba15061da.jpg","纵34厘米，横56厘米",[68,45],{"id":29172,"slug":29173,"title":29174,"dynasty":54,"author":29175,"museum":300,"description":29176,"tags":29177,"thumbUrl":29178,"material":692,"size":1293,"collection":84,"collections":29179,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":72},236083,"ju-shi-hai-tang-tu-zhou-shen-huan-236083","菊石海棠图轴","沈焕","沈焕，字章明，上海人。工花卉，得徐、黄没骨法。",[24,7,165,27,28,61,376,1314,1132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fa445bd5dc1caf7216292e7c19a92e9.jpg",[],{"id":29181,"slug":29182,"title":29183,"dynasty":124,"author":13867,"museum":300,"description":21070,"tags":29184,"thumbUrl":29185,"material":84,"size":84,"collection":84,"collections":29186,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":72},234219,"mo-zhu-juan-feng-qi-zhen-234219","墨竹卷",[23,24,7,25,128,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff60450002a1adc819ad44c3454e667ea.jpg",[],{"id":29188,"slug":29189,"title":29190,"dynasty":124,"author":2268,"museum":20,"description":29191,"tags":29192,"thumbUrl":29193,"material":29194,"size":29195,"collection":84,"collections":29196,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":49},234171,"zhong-jia-shan-yin-wang-ping-yuan-cun-jing-tu-juan-dong-qi-chang-234171","钟贾山阴望平原村景图卷","画中山石用中锋细笔勾写轮廓，继以短笔浓点或卧笔长皴表现其阴阳向背。画树运笔率意，注重枝枒曲直姿态。构图平远开阔，呈现出江山无尽的悠远之趣。董其昌将历史上的山水画家分为南北两个派系，自己崇“南”抑“北”，追求笔墨沉稳雅致。董氏以自己提倡的南方山水画名家惠崇、巨然的笔意绘制此图，愈加体现出从容恬静中蕴含的冲淡平和的文人气息。",[23,24,7,25,128,29,132,64,208,188,34,9164,98,99,415,1825,35,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d659f24b6f6cd77b8ff45c08be3e4a9.jpg","金笺，墨笔","纵28.2厘米，横252厘米",[],{"id":29198,"slug":29199,"title":29200,"dynasty":351,"author":10536,"museum":20,"description":29201,"tags":29202,"thumbUrl":29203,"material":40,"size":29204,"collection":84,"collections":29205,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":49},233964,"gao-shi-tu-juan-wei-xian-233964","高士图卷","本幅无款识，卷前有宋徽宗赵佶瘦金书标题“衛賢高士圖”，虽为立幅，但装裱成手卷形式，是北宋内府“宣和装”。\n描绘汉代隐士梁鸿与妻孟光“相敬如宾，举案齐眉”的故事。画家把梁鸿的居所安排在山环水绕的大自然中，全幅上半部为巨峰壁立，远山苍茫，下半部为竹树蓊郁，溪水潺潺。人物活动在画面中部，恰是观者的视觉中心：梁鸿端坐于榻，竹案上书卷横展，孟光双膝跪地，饮食盘盏高举齐眉。主人公神态坦然平和，虽房舍简陋、粗食布衣，但高人隐士志在山野的高洁志趣令人油然而生敬意。\n此图虽为主题人物画，实则集山水、人物、建筑画为一体。山石多用干笔皴擦，注意用墨色的深浅对比强调峰岫的凹凸和凝重的质感，石上干笔点苔的技法更是画家的独创。房屋和木栏栅篱用界笔描绘，结构交待严谨清楚，并能表现出一定的立体感和纵深关系，是今天我们能见到的传世卷轴画中年代最早的以界笔“植柱构梁”的建筑画迹之一。",[24,7,25,28,95,27,132,29,96,97,34,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F808ff35be6fd1a88daf86e0d0ff1dac1.jpg","纵134.5厘米，横52.5厘米",[],{"id":29207,"slug":29208,"title":12738,"dynasty":144,"author":223,"museum":244,"description":29209,"tags":29210,"thumbUrl":29211,"material":40,"size":29212,"collection":84,"collections":29213,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":49},233115,"long-zhou-duo-biao-tu-juan-yi-ming-233115","墨线白描界画楼阁反映了元代建筑绘画最为典型的时代新风，宫廷画家王振鹏则是这种风格的代表人物。\n他曾先后两次画过《金明池夺标图》卷，描绘的是北宋崇宁年间（112-116年），每年三月三日皇室在宫廷后苑金明池举办龙舟竞渡的盛大场面。\n由于王振鹏颇负盛誉并受到当时贵戚大长公主的赞赏，引得后人纷纷临摹，至今传世的摹本和改绘本仍有七八本之多。\n此卷笔法秀劲细密，纯用白描、舍弃设色的表现手法更使画面千繁万复而不显阻滞拥塞，给人细腻、明洁、素雅之感。\n殿阁巍峨，龙舟争渡，旌旗猎猎，橹桨奋动，动态的舟船和众多的人物活动打破了静态楼阁的沉寂，赋予了通常流于平板的建筑画紧张的情节和热烈的气氛，反映出王振鹏建筑画的风格特点。\n正如虞集所评：“振鹏之学，妙在界画，方圆平直，曲尽其体，而神气飞动，不为法拘。”",[24,7,164,25,188,96,12743,34,101,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe290f2a56042ec07c31d9aaf702c8382.jpg","该幅 29.5x359公分、隔水一 18公分、隔水二 18.8公分",[],{"id":29215,"slug":29216,"title":29217,"dynasty":54,"author":9529,"museum":300,"description":29218,"tags":29219,"thumbUrl":29220,"material":84,"size":84,"collection":84,"collections":29221,"showCount":139,"zanCount":1998,"manualWeight":48,"mainColor":49},229018,"song-shan-cao-tang-tu-li-zhou-wang-hui-229018","嵩山草堂图立轴","此作以高远、深远之法铺展画面，主峰奇崛巍峨，层岩叠嶂间流泉隐现，尽显山川雄浑苍劲。苍松虬曲盘桓，枝叶繁茂掩映山居草堂，山道萦回穿梭林麓，藏露有度。山脚烟岚轻笼水渚，村居错落生息，晕染出幽寂的林下栖居意趣。\n笔墨糅合南北二宗意趣，干笔皴擦勾勒山石肌理，苔点攒簇皴染，朴拙厚重中不失秀润灵韵，将山野林泉的隐逸雅致与山川壮美联为一体，尽显林泉幽居的清逸意境。",[23,24,7,165,27,132,29,131,34,1144,15999,758,1025,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F537957a672adead014ed280a86cc9ac3.jpg",[],{"id":29223,"slug":29224,"title":29225,"dynasty":54,"author":3820,"museum":524,"description":29226,"tags":29227,"thumbUrl":29229,"material":84,"size":84,"collection":84,"collections":29230,"showCount":139,"zanCount":1998,"manualWeight":48,"mainColor":49},229009,"gao-gang-mao-wu-tu-zhou-gong-xian-229009","高岗茅屋图轴","《历代名画宣纸高清大图:龚贤高岗茅屋图》采用高清宣纸制作，力求体现画作整体的最高艺术水平，且添加内容简介、风格阐述、作者介绍，以方便读者鉴赏学习。\n此图描绘了江南山水，其笔墨劲利而苍厚潮润，苍翠欲滴。\n山石高悬，山随画活；湖水尽白，形成墨白对比，虚实相生。\n《历代名画宣纸高清大图:龚贤高岗茅屋图》由 出版。",[23,24,7,165,128,132,29,29228,711,34,497,1337],"山岗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c33871e5f3f8e6492d8428c33b2d3a.jpg",[],{"id":29232,"slug":29233,"title":11236,"dynasty":18,"author":491,"museum":300,"description":29234,"tags":29235,"thumbUrl":29236,"material":84,"size":84,"collection":84,"collections":29237,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":49},228914,"dai-du-tu-guo-xi-228914","此作用平远之景铺展江天，烟波浩渺的水面空阔清远，左岸远山浅渚隐在淡墨晕染的霭气中，愈见悠远。右岸林木苍郁虬劲，亭台桥榭依岩而建，亭中文人围坐清谈，桥畔侍者静立，野渡间帆樯隐隐，江渚上渔舟闲泊，处处尽显萧散雅致。\n\n山石以灵动的卷云皴绘就，苍劲秀润，林木点染疏密有致，干湿笔墨互用，将初秋江岸的清润空明晕染开来，把林泉山水之幽，与林下雅集的文人情思相融，藏着江南水景的温婉意韵，尽显林泉高致的诗意之美。",[23,164,24,7,25,29,132,27,98,99,129,130,34,131,96,415,5801],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9233102db3fec7191e78655e4c1384a9.jpg",[],{"id":29239,"slug":29240,"title":29241,"dynasty":18,"author":2257,"museum":1941,"description":29242,"tags":29243,"thumbUrl":29244,"material":84,"size":84,"collection":84,"collections":29245,"showCount":139,"zanCount":1998,"manualWeight":48,"mainColor":49},228734,"wang-chuan-bie-shu-tu-juan-zhao-bo-ju-228734","辋川别墅图卷","以石青石绿敷染峰峦，古雅绢底晕开明丽苍润的山水气象。峰峦连绵开合，汀渚回环萦带，山居殿宇错落林泉，平湖轻舟泛波，林木蓊郁点染山野。笔法精细秀雅，青绿设色妍丽沉稳，承唐人青绿的华贵明艳，又融宋人的雅致意境，将林泉高致铺叙成一卷悠远山居长卷，把山水、村居、舟游融为和谐整体，尽显文人寄情丘山的雅逸意趣，是青绿山水里工致兼具写意的佳构。",[23,24,7,25,26,27,29,97,34,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F532ab89b8018cc96566364f4966f4c51.jpg",[],{"id":29247,"slug":29248,"title":849,"dynasty":124,"author":17733,"museum":300,"description":29249,"tags":29250,"thumbUrl":29251,"material":84,"size":84,"collection":84,"collections":29252,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":49},228365,"xiang-shan-jiu-lao-tu-zhou-chen-228365","《香山九老图》是明代画家 创作的一幅绢本设色画，该画现藏于 。\n名称：香山九老图轴 作者：周臣 年代：明代 周臣，明代中期的著名职业画家。\n他生活在成化至嘉靖年间，生卒年不详。\n字舜卿，号东村，吴（今江苏苏州）人，生年不详，卒于明世宗嘉靖14年（即155年）。\n擅长画人物和山水，画法严整工细。\n他有两个学生特别著名，一个唐寅，另一个仇英，唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。\n曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。\n画山石坚凝，章法严谨，用笔纯熟。\n曾与戴进并驱，则互有所长。\n人物画也非常出色，古貌奇姿，绵密萧散，各极意态。\n南京博物院收藏的周臣代表作《柴门送别图》，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。\n周臣被人们称为非院派的“院派”画家。\n周臣是个丰产画家，流传下来的作品也不少，仅上海博物馆收藏《春山游踪图》 等大幅作品7幅，小扇页14幅，故宫博物院收藏《春山游骑图》、《春泉山隐图》等，济南博物馆收有《访友图》，及台湾、国外大博物馆内也收藏一些作品。\n周臣这些流存至今的作品件件结构精整，幅幅见功力，下笔不苟。",[23,24,7,27,28,132,96,29,1144,34,497,438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaaa0c43decd43702693cac01a030852.jpg",[],{"id":29254,"slug":29255,"title":29256,"dynasty":124,"author":802,"museum":300,"description":29257,"tags":29258,"thumbUrl":29259,"material":84,"size":84,"collection":84,"collections":29260,"showCount":139,"zanCount":1998,"manualWeight":48,"mainColor":49},228291,"juan-qiu-tu-chen-hong-shou-228291","眷秋图","《明陈洪绶眷秋图》是明代画家陈洪绶所创作的一幅设色画。\n由该作品中的题记可知，此图为仿唐人同题画。\n其中石头浓墨粗点为陈洪缓所作，而构图、人物、梧桐树则为其弟子所作。\n图中画一 手执菊花信步于庭院林石间，后有一侍女举扇，扇面上画有梅花图，前有一侍女捧盘，盘中有壶和秋叶。\n陈洪绶（1598~1652年），明代画家。\n号老莲、悔迟，诸暨（今属浙江）人。\n幼年即喜爱绘画，一度为宫廷作画，后南返。\n擅画人物、山水、花鸟、竹石、鱼虫，初学蓝瑛，后学李公麟、赵孟频。\n绘有《水浒叶子》、《博古叶子》、《九歌》和《西厢记》等绣像插图。\n传世作品有《拳石山茶图》、《笼鹅图》、《升庵簪花图》、《摘梅高士图》。\n著有《宝论堂集》等。",[23,24,7,164,165,27,96,166,331,131,231,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F217fca3cd0fb6c774655daffdbd538d9.jpg",[],{"id":29262,"slug":29263,"title":29264,"dynasty":18,"author":223,"museum":300,"description":29265,"tags":29266,"thumbUrl":29267,"material":84,"size":84,"collection":84,"collections":29268,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":72},227832,"cong-ju-tu-ye-yi-ming-227832","丛菊图页","《丛菊图页》是南宋画家佚名创作的一幅绢本设色画。\n本幅无款。\n鉴藏印钤“□藤仙馆书画”、“云谷”、“□华宝有”，另有一印残。\n图绘秋菊一丛，红白相间，繁枝茂叶，生机勃发，不见肃杀秋意。\n花瓣用中锋细笔勾描，再以朱红或白粉晕染；花蕊用细笔点出；茂密的叶片或用赭石、或略入汁绿、或稍加藤黄染出，以示老嫩不同的色彩。\n花之欲开、盛开、将残，叶之翻卷及明暗向背，刻画得恰到好处。\n画风工致细腻，构图丰满，繁而不乱，密而不窒，设色艳而不俗，为南宋写生画佳作。",[23,164,24,7,59,28,27,61,376,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5312cc31255d3afb48112f73e8e7a3f.jpg",[],{"id":29270,"slug":29271,"title":29272,"dynasty":18,"author":10799,"museum":300,"description":29273,"tags":29274,"thumbUrl":29275,"material":84,"size":84,"collection":84,"collections":29276,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":49},227831,"she-xiang-tu-mao-song-227831","麝香图","洞石旁蜀葵柔枝舒展，粉白淡紫的花晕漾开雅致生机，藏在花枝间的禽鸟敛羽小憩，暗生幽趣。狸奴踞坐于地，蓬松白毛似覆软雪，琥珀眼眸凝向幼崽，神态温静慵懒。三只乳猫两两嬉闹，稚拙灵动的憨态被描摹入微。\n\n设色秀妍清雅，笔致工细却不失灵韵，以圆形构图收拢庭院景致，将母猫育幼的日常温情定格成一方温柔剪影，把宋人的细腻闲情晕开在绢素之上，平和松弛的烟火暖意漫溢其间，尽显雅致柔和的审美意趣，将寻常里的治愈温情留存至今。",[23,164,24,7,1131,28,27,1634,949,547,171,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e654708b44e5b560820fa536d6656d.jpg",[],{"id":29278,"slug":29279,"title":29280,"dynasty":18,"author":2349,"museum":300,"description":29281,"tags":29282,"thumbUrl":29283,"material":84,"size":84,"collection":84,"collections":29284,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":49},227511,"qiu-ting-ying-xi-tu-jing-xin-su-han-chen-227511","秋庭婴戏图镜心","以前每逛国内一些博物馆，古玩店铺，诸多载体如绢纸本的画、玉器、瓷器上，你总能看到许多幼童、小少年在室内或庭院或郊外耍闹、游戏。而一番梳理下来，你能发现，历史上宋、明、清朝代，婴戏图尤其多。宋代多显现在存世的画幅、瓷器、玉器上。北宋五大名窑及更多地方窑口，均单色釉，少图案。南宋龙泉窑碗内偶见婴戏图形，北方磁州窑的罐、枕上，多有或钓鱼或卧躺的婴儿图。明代的绘画尤其是明中期宣德特别是正德、嘉靖时期的瓷器上，婴戏图逐渐风行，小孩子蹴鞠图十分常见。客观原因是因为无论是明朝繁盛的青花，还是后来发明的五彩，对“婴戏图”再现更容易。清代的图画、瓷器的青花粉彩、玉器上，或“百子图”或“三娘教子图”或“庭院婴戏图”等，更已普遍化。传统文化伦理中，福禄寿三星，“福”即是寄望多子，“多子多福”，故历朝历代也将这种寄望显现在不同的艺术载体上。宋、明、清“婴戏图”相对更多，与这几个时代的商品经济、俗世文化的发达及瓷器玉器家具等工艺技术的升级换代有关。窃以为，还有一个隐藏原因：与其时帝王子嗣的夭折过多、稀薄有关。",[164,24,7,12488,28,27,96,167,1314,169,8832],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1313ad7296d75c27256b6ac0d233eba1.jpg",[],{"id":29286,"slug":29287,"title":29288,"dynasty":18,"author":397,"museum":300,"description":29289,"tags":29290,"thumbUrl":29291,"material":84,"size":84,"collection":84,"collections":29292,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":49},227488,"xie-sheng-hou-qin-tu-zhao-ji-227488","写生猴禽图","赵佶，即宋徽宗，1100-1125年在位。在位时广收古物和书画，网罗画家，扩充翰林图画院，使文臣编纂《宣和书谱》、《宣和画谱》等。擅书画，真书学薛曜，自称“瘦金书”，也写狂草。绘画重视写生，以精工逼真著称，工花鸟，相传用生漆点睛，尤为生动。",[23,24,164,7,28,128,27,9633,806,1233,171,230,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc738dc39291aa94d5820e8dca012b6.jpg",[],{"id":29294,"slug":29295,"title":29296,"dynasty":54,"author":29297,"museum":300,"description":29298,"tags":29299,"thumbUrl":29300,"material":84,"size":84,"collection":84,"collections":29301,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":72},224545,"yue-zhong-gui-tu-tu-jiang-pu-224545","月中桂兔图","蒋溥","《月中桂兔图》是清乾隆时期蒋溥创作的一幅画。\n本幅自识：“臣蒋溥恭绘。\n”下钤：“臣”、“溥”朱文方印。\n下裱工钤有古物陈列所藏印：“宝蕴楼书画续录”朱文方印。\n按乾隆皇帝御题可知，该作品绘于 二十三年（1758年）中秋。\n上、下诗堂有乾隆皇帝、刘统勋、董邦达、刘纶、介福五家题诗，以及蒋溥自题诗。\n蒋溥自题：“宸襟拈句发清芳，惭愧濡毫数点黄。\n恰遇山庄开寿宴，兔轮初上碧天凉。\n臣蒋溥恭和。\n”下钤：“臣”、“溥”朱文方印。\n乾隆皇帝御题：“秋暖无端迟桂芳，缀枝初折几苞黄。\n玉㕙静守冰轮朗，画出人间满意凉。\n戊寅中秋御题。\n”下钤“乾”朱文方印、“隆”白文方印。\n刘统勋题：“蕊珠颗颗领秋芳，风露连宵色染黄。\n驻景不烦寻玉杵，冰轮影现永清凉。\n臣刘统勋恭和。\n”下钤“歌咏太平”白文长方印。\n董邦达题：“广寒高处落秾芳，颖暎金枝浥露黄。\n正是敷天开寿域，重轮无际一天凉。\n臣董邦达恭和。\n”下钤“邦”白文方印、“达”朱文方印。\n刘纶题：“一株玉宇领巌芳，顾腹祥占抱珥黄。\n天咏题成广寒谱，云璈合与奏新凉。\n臣刘纶恭和。\n”下钤“臣”、“纶”白文方印。\n介福题：“玉兔爰爰守桂芳，金波湛湛着花黄。\n普天恰祝如恒寿，风露先披上苑凉。\n臣介福恭和。\n”下钤“介福”白文方印。\n此图以墨笔绘圆月，月中玉兔以干笔写皮毛，焦墨点睛，形象生动可爱。\n桂树以墨笔绘枝、叶，笔法细腻老道。\n桂花以桔黄色点染，其温暖的色调为冷月寒宫增添了几许暖意。\n全图布局紧凑，色墨运用巧妙，极富情趣。\n画作题诗中“冰轮”、“兔轮”、“广寒”、“重轮”等语，皆为月亮与玉兔的隐喻，以诗歌的形式烘托画面主题，从而巧妙的将诗、书、画三者紧密结合，把月中玉兔、桂树的优美传说演绎的美轮美奂，实为一件精美的风俗画作品。\n此幅上除了蒋溥的画及自题诗外，还有乾隆皇帝的御制诗和刘统勋、董邦达等大臣的应和诗，从中可见乾隆皇帝对汉民族传统习俗的承袭，和他与臣僚之间以诗画共度中秋的雅集场景。",[23,24,7,165,28,128,27,3599,4106,723,2438,1771,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac6f474eb82248126deb2f54e04d38a2.jpg",[],{"id":29303,"slug":29304,"title":29305,"dynasty":54,"author":14022,"museum":300,"description":29306,"tags":29307,"thumbUrl":29310,"material":84,"size":84,"collection":84,"collections":29311,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":72},224474,"yu-zan-hua-wan-shou-ju-yu-sheng-224474","玉簪花万寿菊","此作取景雅致，椭圆画幅将庭隅清趣拢于其中。玉簪花挺然舒展，紫瓣晕染出通透柔润的质感，垂坠的花穗尽显清雅柔婉之态；阔叶墨绿莹润，脉纹精细分明，衬出花枝秀逸。下方万寿菊娇俏点缀，细枝嫩叶灵动雅致，与玉簪花形成疏密错落的层次。\n\n设色温婉柔和，淡赭底色晕开古雅氛围，晕染兼具写实工致与写意韵致。题字落款雅致呼应画意，将花草舒展之态与清隽闲淡的意趣相融，尽显工笔花鸟的秀美细腻，观者仿若亲临小园，静赏幽花盛放的悠然生机。",[23,24,7,28,27,61,29308,29309,962,2220],"玉簪花","万寿菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F750762adee6fd22e6a0e3c0df1eb893a.jpg",[],{"id":29313,"slug":29314,"title":29105,"dynasty":54,"author":3403,"museum":300,"description":29315,"tags":29316,"thumbUrl":29318,"material":84,"size":84,"collection":84,"collections":29319,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":72},224233,"zhong-kui-wu-chang-shuo-224233","此作跳出钟馗惯常的狞厉驱邪范式，以写意之笔勾勒出闲散疏朗的别样风神。淡墨晕染衣袍，寥寥数笔便将宽袍缓带的慵懒姿态写尽，腰间佩剑暗藏威仪，却无肃杀之气。钟馗抬首凝望丝线上的小虫，神情松弛淡然，全然不见捉鬼镇邪的刚猛，更似幽居世外的逸士。\n\n左侧题诗与画意相得益彰，篆籀笔法的题字朴拙雄劲，和简淡的人物形成视觉张力，尽显诗画合璧的文人意趣，将民间俗神化为寄寓闲情逸致的文人心象，笔墨间满是随性自在的雅逸格调。",[23,24,7,27,128,96,5626,133,208,29317],"蜘蛛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2cb6298ff111c592b2ddf649923c616.jpg",[],{"id":29321,"slug":29322,"title":29323,"dynasty":351,"author":223,"museum":300,"description":29324,"tags":29325,"thumbUrl":29326,"material":84,"size":84,"collection":84,"collections":29327,"showCount":139,"zanCount":1116,"manualWeight":48,"mainColor":49},223600,"shen-jun-tu-juan-yi-ming-223600","神骏图卷","画面分野有致，左侧白马踏波驰行，骑手身姿稳练，骏马昂首翘尾，四蹄舒展，神骏勃发之态毕现。右侧林下石台，红衣士人凭坐回望，僧者坦腹怡然对晤，旁侧仆童持毛刷侍立，情态松弛闲适。\n设色古雅沉稳，青绿晕染坡岸，墨线细劲流畅，将人马灵动与林下幽逸相融，把世外雅集的清旷高逸尽显纸面，残卷仍掩不住精工雅致的风韵，尽显六朝清谈雅集的风流意趣。",[23,24,7,25,27,28,96,101,413,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d9205dfb3e7d9803703624ce638d146.jpg",[],{"id":29329,"slug":29330,"title":29331,"dynasty":18,"author":223,"museum":20,"description":29332,"tags":29333,"thumbUrl":29334,"material":514,"size":29335,"collection":84,"collections":29336,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":72},223591,"shu-he-sha-niao-tu-ye-yi-ming-223591","疏荷沙鸟图页","图中所绘残败的荷叶表明了时当秋日，荷塘的一角，一枝枯瘦的莲蓬横出画面，鹡鸰栖止于莲梗上，侧首注视着上方的一只小蜂，其凝神专注的神态刻画得惟妙惟肖。莲梗两端的鹡鸰与莲蓬巧妙地平衡了画面，而鹡鸰目向小蜂的视线则带动观者的视线落于画面上方，这种布局使画面显得既稳定又生动。此图格调典雅，用笔精致，画风细腻，荷叶枯黄的斑点和细小的筋脉均描绘得一丝不苟。",[23,164,24,7,59,28,27,133,64,208,81,20916,355,18],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd83a87f455c33296c9ed4d781844a8fe.jpg","纵25厘米，横25．6厘米",[],{"id":29338,"slug":29339,"title":29340,"dynasty":18,"author":4861,"museum":20,"description":29341,"tags":29342,"thumbUrl":29343,"material":29344,"size":29345,"collection":84,"collections":29346,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":49},223513,"liu-yin-gao-shi-tu-wang-shen-223513","柳荫高士图","北宋熙宁二年（1069年）娶英宗女蜀国大长公主，拜左卫将军、驸马都尉。元丰二年，因受苏轼牵连贬官均州。元祐元年（1086年）复登州刺史、驸马都尉。擅画山水，学王维、李成，喜作烟江云山、寒林幽谷，水墨清润明洁，青绿设色高古绝俗。亦能书，善属文。其词语言清丽，情致缠绵，音调谐美。存世作品有《渔村小雪图》《烟江叠嶂图》《溪山秋霁图》等。",[23,24,7,27,28,96,4363,331,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe087bce9ee900ca12a83d8169b36bf3.jpg","轴绢本设色","76×46.4厘米",[],{"id":29348,"slug":29349,"title":29350,"dynasty":124,"author":223,"museum":20,"description":29351,"tags":29352,"thumbUrl":29353,"material":151,"size":29354,"collection":84,"collections":29355,"showCount":139,"zanCount":1998,"manualWeight":48,"mainColor":49},223384,"shuang-tu-tu-ye-yi-ming-223384","双兔图页","《双兔图页》是明代佚名创作的绢本设色画。",[23,24,7,1131,28,27,949,3599,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd702801541ffb43e86522d41bd3b9e52.jpg","纵114.3厘米 横56厘米",[],{"id":29357,"slug":29358,"title":29359,"dynasty":54,"author":1219,"museum":524,"description":29360,"tags":29361,"thumbUrl":29362,"material":611,"size":29363,"collection":84,"collections":29364,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":72},223239,"que-tu-ren-yi-223239","雀图","绘山石中古梅一株，梅枝粗壮遒劲，枝头梅花朵朵绽放；三只麻雀或立于枝头，或立于石块上，似被梅花的清新香气吸引；石块缝中水仙花儿绽放，叶绿繁茂，朵朵花儿白净素雅，给寒冷的冬天带来生机勃勃。",[23,24,7,165,27,61,371,374,171,211,369,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F719b5812cc696b603a81b715b4e36969.jpg","40x150厘米",[],{"id":29366,"slug":29367,"title":29368,"dynasty":54,"author":3043,"museum":20,"description":29369,"tags":29370,"thumbUrl":29371,"material":611,"size":29372,"collection":84,"collections":29373,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":72},222824,"mei-he-tu-xu-gu-222824","梅鹤图","《梅鹤图》为1891年(清光绪十七年)，虚谷时年69岁所作。以梅鹤双清为题。两株梅树茁壮挺拔，细枝交错穿插，花朵星星点点，二只白鹤立于梅枝间。梅树始以湿笔淡墨写出，后以干笔复加勾点，线条断续顿挫。梅树奇绝，如剑如戟、铁干清曜。梅花花瓣棱角分明，突出其天生寒骨、峥嵘向上的铮铮傲骨。白鹤亦造型古朴，一改光洁华美、悠闲典雅的贵族气象，长颈后缩收紧，雪羽铺展。画面设色清淡，鹤顶却以朱红重色点醒，使整幅画冷俊之中又富变化，质朴而又耐人寻味。此画作充分体现了虚谷的用笔特点，虚谷晚年代表作之一。顾鹤逸曾称虚谷作画“清而不枯，密而不乱”，此画可见一斑。",[23,164,24,7,165,128,27,369,61,371,722,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd13b85f24a66a6be354601ee9a0b9ed2.jpg","纵145.2厘米，横78.9厘米",[],{"id":29375,"slug":29376,"title":29377,"dynasty":54,"author":3043,"museum":26051,"description":29378,"tags":29379,"thumbUrl":29380,"material":611,"size":29381,"collection":68,"collections":29382,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":72},222823,"shan-yin-cao-tang-tu-xu-gu-222823","山阴草堂图","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂。籍新安（今安徽歙县），居广陵（今江苏扬州）。初任清军参将与太平军作战，意有感触，后出家为僧。工山水、花卉、动物、禽鸟，尤长于画松鼠及金鱼。亦擅写真，工隶书。作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。亦能诗，有《虚谷和尚诗录》。",[23,164,24,7,25,128,132,64,133,29,34,131,15999,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53d1a7fdce3cd4a97891e59a5fb55386.jpg","283.6x29",[68,117],{"id":29384,"slug":29385,"title":29386,"dynasty":54,"author":4468,"museum":244,"description":13928,"tags":29387,"thumbUrl":29388,"material":514,"size":13932,"collection":136,"collections":29389,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":72},222762,"shi-er-yue-ling-tu-3-yue-lang-shi-ning-222762","十二月令图（3月）",[23,24,7,28,27,95,29,97,98,96,371,209,331,99,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3eb50432efba99c7f32f6febcb77dac6.jpg",[136,45],{"id":29391,"slug":29392,"title":29393,"dynasty":124,"author":15464,"museum":205,"description":29394,"tags":29395,"thumbUrl":29396,"material":128,"size":29397,"collection":84,"collections":29398,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":72},222077,"hu-qiu-tu-juan-xie-shi-chen-222077","虎丘图卷","此幅《虎丘图卷》，笔法苍古，墨色稳健，气格清隽高雅，接近沈石田粗豪蕴藉一路的山水风格。",[23,24,7,25,128,27,29,132,133,208,64,97,98,99,129,130,34,131,1645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F995bbad5d6523cb39112fba363c9046b.jpg","19.0 x 210厘米",[],{"id":29400,"slug":29401,"title":29402,"dynasty":124,"author":3619,"museum":244,"description":23062,"tags":29403,"thumbUrl":29404,"material":1223,"size":29405,"collection":136,"collections":29406,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":72},221990,"xie-qin-fang-you-li-zhou-wen-zheng-ming-221990","携琴访友立轴",[23,24,7,165,128,29,98,99,131,34,711,96,499,2668,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F348dbe09730d98eb99fa54d20f74dedf.jpg","纵63.4厘米，横29.2厘米",[136,117],{"id":29408,"slug":29409,"title":29410,"dynasty":144,"author":7095,"museum":20,"description":29411,"tags":29412,"thumbUrl":29413,"material":734,"size":29414,"collection":136,"collections":29415,"showCount":139,"zanCount":1998,"manualWeight":48,"mainColor":49},221865,"xie-dan-you-qi-zhao-yong-221865","挟弹游骑","画中一乌帽朱衣人，乘黑花马于平坡上缓缓而行，手执弹弓，悠然仰望，似在搜寻猎物，眉目生动传神。图上人马先以淡墨勾线，后施色彩，晕染匀净。树木则用双勾填色，工整精细。全图画风古朴雅致，有唐人笔意。自识“至正七年四月望仲穆畫”，钤“仲穆”、“ 天水圖書”二印。元至正七年为1347年。画幅上方有元人迺贤题诗数行。\n古今以游骑射猎为题材的图画不可胜数，但大多是对射猎场面的描绘，如此图般绘写游猎之人闲适地搜寻猎物的作品则寥若晨星，别具巧思，耐人寻味。赵雍独具一格、匠心独运的绘画风格于此可见一斑。\n此图经清内府收藏，有嘉庆、宣统诸印。《石渠宝笈·三编》著录。",[23,24,7,165,27,28,96,101,413,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c7470f8757d79778b720a9254a3ab74.jpg","纵109厘米，横46.3厘米",[136,45],{"id":29417,"slug":29418,"title":29419,"dynasty":144,"author":29420,"museum":1185,"description":29421,"tags":29422,"thumbUrl":29423,"material":1464,"size":29424,"collection":117,"collections":29425,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":72},221797,"ji-zhu-you-qin-tu-zhang-yan-fu-221797","棘竹幽禽图","张彦辅","此图绘秀石旁两株修竹交柯而立，棘条屈曲上扬，两双禽鸟栖于棘上。构图疏朗，秀石用笔直皴，以水墨略染，修竹、棘条笔墨清劲，双禽略加色染，意在工鸟之间，画格疏劲清幽。无款识，仅钤“彦辅图书游戏清玩”、“西宇道人”二印。图左有隶书题记“子昭偕周正已过太乙宫，彦辅为作棘竹幽禽图以赠之，时至正癸未三月十七日也，濮人吴孟思书”。可知此图作于至正三年即公元一三四三年，吴孟思即当时名书家吴叡。图中另有杜本、凌翰、鞠菴、邵弘远、雅虎、林泉生、潘纯等人题跋。图中钤有明项元汴，清初梁清标，近人谭敬、张珩等鉴藏印。此图为张彦辅传世的惟一作品。",[23,164,24,7,128,208,167,171,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30574047ecaa25214e6269f083c885cb.jpg","63．8厘米横50．7厘米",[117,1670],{"id":29427,"slug":29428,"title":29429,"dynasty":18,"author":4899,"museum":20,"description":21527,"tags":29430,"thumbUrl":29431,"material":114,"size":21530,"collection":318,"collections":29432,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":72},221620,"hou-chi-bi-tu-zhao-gou-shu-fu-juan-quan-juan-ma-he-zhi-221620","后赤壁图赵构书赋卷全卷",[23,24,164,25,7,133,128,132,208,129,99,331,96,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ccaebc0284553636c09753513a1edf6.jpg",[318],{"id":29434,"slug":29435,"title":29436,"dynasty":18,"author":1622,"museum":20,"description":29437,"tags":29438,"thumbUrl":29450,"material":114,"size":29451,"collection":84,"collections":29452,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":49},221530,"shui-tu-juan-ma-yuan-221530","水图卷","《水图》共有十二段。除第一段因残缺半幅而无图名外，其余图名分别是：“洞庭风细”、“层波叠浪”、“寒塘清浅”、“长江万顷”、“黄河逆流”、“秋水回波”、“云生沧海”、“湖光潋滟”、“云舒浪卷”、“晓日烘山”、“细浪漂漂”。这十二段作品，专门画水，除个别幅有极少岩岸之外，其它没有任何别的景色，完全通过对水的不同姿态的描写，表现出种种不同的意境。作者对水观察的细致入微，以及创造出来的形态美感和笔墨技能，都令人惊叹不已。如“洞庭风细”，波浪如鳞，不激不怒，近大远小以至于水天一色，彷佛觉得微风习习，轻轻掠过了那开阔的湖面，使人心旷神怡，宠辱皆忘。“层波叠浪”是以颤抖的笔法，描写浪涛的起落，彷佛其下有蛟龙蛰伏。那汹涌澎湃的气势，使人精神振奋而感到豪壮。“湖光潋滟”一幅，画家以轻快流畅的笔法，画出水波的跳动，浪峰无规则的排列，显然受到乱风的吹荡，即使画家不染上红色，也使观者感到阳光明媚，不由得想起“湖光潋滟晴偏好”的杭州西湖景象来。“云舒浪卷”一幅，却又是另外一番境界。画家以凝涩的笔触，画出一个浪头，它彷佛咆哮着要腾空而起，天空中黑云滚动，与水相接，更增加有如冲锋陷阵的气概。画面虽小，而气魄宏大壮观。其它各幅，都各有不同的笔法特点和意境，就留待读者自己体会。",[23,24,25,7,128,27,29,228,4505,13438,7409,29439,9404,950,29440,29441,29442,29443,29444,29445,29446,29447,29448,29449],"沧海","晓日","细浪","叠浪","逆流","回波","潋滟","浪卷","心旷神怡","豪壮","气魄宏大","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F608b77553133468e4bb46dc87ada9d69.jpg","纵26.8厘米，横41.6厘米",[],{"id":29454,"slug":29455,"title":29456,"dynasty":18,"author":9804,"museum":300,"description":29457,"tags":29458,"thumbUrl":29459,"material":151,"size":29460,"collection":42,"collections":29461,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":49},221438,"qiu-chi-xi-qiao-tu-zhao-ling-rang-221438","秋池溪桥图","趙令穰（生卒年不詳），字大年，北宋汴京（今河南開封）人，畫家。宋太祖趙匡胤五世孫。官至光州防禦使﹑崇信軍觀察留後，卒贈“開府儀同三司”，追封“榮國公”。其孫趙伯駒為宋代著名畫家，官至浙東兵馬鈐轄。趙令穰工畫山水、花果、翎毛，筆致秀麗，尤長金碧山水。遠師李思訓父子。代表作品《風雲期會圖》《春山圖》《阿閣圖》《後赤壁圖 》《文會圖》《鳥雀圖》等。留傳到現在的有《漢宮圖》《阿閣圖》《萬松金闕圖》等。",[23,24,7,29,27,132,331,211,99,98,1233],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e08d87ef65ff90075f06a4322ff790b.jpg","27.9x34厘米",[42],{"id":29463,"slug":29464,"title":1230,"dynasty":18,"author":686,"museum":244,"description":4044,"tags":29465,"thumbUrl":29466,"material":151,"size":29467,"collection":84,"collections":29468,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":72},221388,"shan-shui-tu-fan-kuan-221388",[23,24,164,7,29,132,27,663,34,35,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c64cfa9031857b41416378a5e4b8cc.jpg","24.6x25.6",[],{"id":29470,"slug":29471,"title":29472,"dynasty":326,"author":29473,"museum":244,"description":29474,"tags":29475,"thumbUrl":29476,"material":27,"size":29477,"collection":136,"collections":29478,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":72},221013,"yun-tai-shan-tu-xun-xu-221013","云台山图","旬勗","荀勖（xù）（？～289年），字公曾。颍川颍阴（今河南省许昌市）人。三国至西晋时音律学家、文学家、藏书家，西晋开国功臣。为东汉司空荀爽曾孙。\n荀勖少年时聪慧好学。初仕于魏，为大将军曹爽掾属，后迁中书通事郎。曹爽被诛后，历任安阳令、骠骑从事中郎、廷尉正等职。又任大将军司马昭记室，屡进策谋，深见信任，与裴秀、羊祜共掌机密。西晋建立后，封济北郡侯。后拜中书监兼侍中，领著作。累官至光禄大夫、仪同三司、守尚书令。在尚书台时，核罢省中不称职之人。\n太康十年（289年），荀勖去世。获赠司徒，谥号为成。\n荀勖善于逢迎，被时人比作倾覆国家、搅乱时局的贰臣。但他为人谨慎，每有参预的国家大政，都闭口不言，不愿让别人知道他参与其中。荀勖博学多才，曾与贾充一起修订法令；掌管乐事时，又修正律吕；领秘书监时，曾与张华一同按刘向《别录》整理典籍。有文集三卷，今已佚。",[23,24,7,29,27,132,99,97,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda584db27dc18d7eff1e357a5a49a9e.jpg","73.4x98.6厘米",[136,45],{"id":29480,"slug":29481,"title":29482,"dynasty":124,"author":2268,"museum":20,"description":29483,"tags":29484,"thumbUrl":29485,"material":40,"size":29486,"collection":136,"collections":29487,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":49},220921,"yan-ling-cun-tu-dong-qi-chang-220921","延陵村图","《董其昌延陵村图轴》是明代画家 创作的一幅绢本设色画。\n本幅自题：“延陵村在茅山之东，有张从申碑。\n从申，唐大历时司直。\n赵子固称其书品在李北海之右。\n玄靖天师碑与延陵季子此碑皆在华阳，笔法类徐浩三藏法师碑。\n延陵碑萧定作也。\n略曰‘听乐辩刊国之兴亡，审贤知世数之存没，挂剑示不言之信，避国保无欲之贞，玄风可想，至德如存云’。\n旁有四贤，以祀董永、韦昭、王素与季子而四。\n癸亥二月，画于丹阳舟中，因命之延陵村图并书此。\n董玄宰。\n“癸亥”为明天启三年（162年），董其昌时年69岁。\n清青浮山人编《董华亭书画录一卷》著录。",[23,24,7,165,128,27,132,133,208,29,131,34,35,415,3427,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da1148d2290dcb3cc11ce0563bf06a8.jpg","纵78.5厘米，横30.2厘米",[136,117],{"id":29489,"slug":29490,"title":29491,"dynasty":124,"author":12302,"museum":56,"description":29492,"tags":29493,"thumbUrl":29494,"material":278,"size":29495,"collection":136,"collections":29496,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":49},220351,"shan-shui-he-juan-du-qiong-220351","山水合卷","此卷原是摺册，佚存五开，入清连跋裱成一卷。其中第一幅杜琼，第三、四幅刘珏，均是晚年笔。第二幅沈周尚是早年之作。第五幅无款印，风格与刘珏相同。",[23,24,7,25,128,132,29,663,228,413,130,98,99,37,497,9425,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1629f0915cbca22a90245242ec026360.jpg","纵29.2厘米，横44.2厘米",[136],{"id":29498,"slug":29499,"title":29500,"dynasty":124,"author":125,"museum":1300,"description":1301,"tags":29501,"thumbUrl":29502,"material":611,"size":1304,"collection":84,"collections":29503,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":72},220020,"dong-zhuang-tu-ce-zhi-sang-zhou-shen-zhou-220020","东庄图册之桑州",[23,24,7,59,128,27,29,34,131,16370],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd451e05aae9ee860e65702e5c77a968d.jpg",[],{"id":29505,"slug":29506,"title":29507,"dynasty":124,"author":125,"museum":1300,"description":1301,"tags":29508,"thumbUrl":29509,"material":66,"size":1304,"collection":84,"collections":29510,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":72},220011,"dong-zhuang-tu-ce-zhi-dong-cheng-shen-zhou-220011","东庄图册之东城",[23,164,24,7,59,128,132,29,97,98,34,105,1747,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e337d9ab671c3c1794f7a4f8e3e804.jpg",[],{"id":29512,"slug":29513,"title":29514,"dynasty":54,"author":4725,"museum":161,"description":29515,"tags":29516,"thumbUrl":29517,"material":278,"size":29518,"collection":136,"collections":29519,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":72},220006,"shi-liang-yu-lai-ting-tu-dai-xi-220006","石梁雨来亭图","南宋贾似道在石梁创昙花亭。清道光戊戌，即1838年，亭被毁。适舍人潘功甫（名曾沂）过石梁，议集资兴修。寺僧请求改昙华亭为雨来亭，因天台山田多旱，改名以志喜。潘功甫为此作诗一首，诗云：“平章事业江河大，有漏涓涓自不知。七十二蓬参遍了，昙华亭上雨来时。”\n图绘天台山石梁飞瀑，天生桥东西方向，连接着对峙的两座山崖，溪水三折，冲出桥洞，形成了如虹一般的飞瀑，起舞婆娑，坠入脚下的惠泽潭。雨来亭坐落在飞瀑之畔，方广寺如在天外，唯见其塔。全图有一种上下贯通的浩然之气与空灵之韵。",[23,24,7,25,128,132,21937,208,29,130,98,99,211,34,131,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aaf57368d5249cfd0b4a4f0247cc250.jpg","纵35cm，横316cm",[136],{"id":29521,"slug":29522,"title":29523,"dynasty":124,"author":18090,"museum":29524,"description":29525,"tags":29526,"thumbUrl":29527,"material":27,"size":84,"collection":136,"collections":29528,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":72},219985,"shan-shui-tu-fang-huang-gong-wang-lan-ying-219985","山水图-仿黄公望","芝加哥大学艺术博物馆","画法是作钩勒浅绛法。",[23,24,7,25,330,132,29,663,1314,413,64,208,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F937195e9a071267f38f8616689e68d3a.jpg",[136],{"id":29530,"slug":29531,"title":29532,"dynasty":18,"author":1449,"museum":244,"description":29533,"tags":29534,"thumbUrl":29535,"material":173,"size":29536,"collection":44,"collections":29537,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":49},219614,"xia-yu-wang-xiang-ma-lin-219614","夏禹王像","夏禹，传说中古代夏部落的领袖，姒姓，名文命，亦称大禹。《夏禹王像》绘夏禹手持如意笏，头戴王冠，身披龙袍，端庄地立于画面的正中。作者充分地利用线条的造型的能力，生动地刻画了夏禹慈祥和蔼的形象和内在性格。",[23,164,24,7,165,28,27,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3904a30a552db81105dd7a9584a7ffa9.jpg","249x111.3厘米",[44],{"id":29539,"slug":29540,"title":29541,"dynasty":18,"author":27341,"museum":244,"description":29542,"tags":29543,"thumbUrl":29545,"material":173,"size":29546,"collection":44,"collections":29547,"showCount":139,"zanCount":1998,"manualWeight":48,"mainColor":49},219609,"song-xia-ye-zhang-tu-xu-dao-ning-219609","松下曳杖图","湖滨之畔，苍松翠竹，盘纡成阴，松下逸士自小径出，持杖凝神，倾听松籁竹韵。江渚野趣，清朗怡人。本幅结构严密，景物偏幅右边，全图描写着重一风字。幅内之松、竹、草、枯枝、士人衣褶帽带皆因风势顺成一向，双钩墨笔点画松竹人物，描绘甚为灵动。本幅旧签题为许道宁，然依画松竹人物等作风则与刘松年较近，可能为南宋后期受刘氏影响的作品。本幅为「历代名绘」册第八幅。许道宁（约西元11世纪），河北河间人。初市药于都门，好描绘街坊各色人物。后游太华山，转好写山水。",[23,164,24,7,1131,27,96,372,131,29544],"曳杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecbfb88746858382f40f7dd5ca3d89fb.jpg","24.2x25.3厘米",[44],{"id":29549,"slug":29550,"title":29551,"dynasty":124,"author":16929,"museum":224,"description":29552,"tags":29553,"thumbUrl":29554,"material":173,"size":84,"collection":44,"collections":29555,"showCount":139,"zanCount":1116,"manualWeight":48,"mainColor":49},219560,"na-jian-tu-liu-jun-219560","纳谏图","工笔设色铺陈出朝堂议事的肃穆图景。主尊踞坐帐中，神色沉敛威严，阶下诸人或躬身禀奏、或长跪进言，武将甲胄鲜明英挺，文士宽袍意态恭谨，人物神态各尽其肖，将君臣纳谏对答的郑重氛围尽显。苍松虬劲卓立，奇石牡丹点缀帐顶，衬出仪制的雅致庄重。设色古雅厚重，衣纹铁线描劲挺流畅，既刻画出不同身份人物的风骨仪态，又精准渲染出朝堂议事的端严氛围，细节处见匠心笔力，尽显传统人物画的写实功力与礼制意涵。",[23,164,24,7,28,27,96,413,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0be98c2f733f4de9fc678f8e7c26724b.jpg",[44],{"id":29557,"slug":29558,"title":29559,"dynasty":144,"author":4034,"museum":20,"description":29560,"tags":29561,"thumbUrl":29562,"material":128,"size":29563,"collection":44,"collections":29564,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":72},219275,"li-er-shou-jing-tu-sheng-mao-219275","李耳授经图","盛懋，字子昭，浙江嘉兴人，约活动于元至正年间(1341--1367年)。其家世代以画为业，他继承家学，善画人物、山水，风格近董源和赵孟頫，用笔较尖峭繁细，山石多用披麻、解索皴，设色明丽，主体面貌属董巨派系。",[23,24,7,25,188,28,96,1144,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7141c0d84eb6efa5c43db7928d3b5e.jpg","24.8x117.7厘米",[44],{"id":29566,"slug":29567,"title":12503,"dynasty":144,"author":8127,"museum":244,"description":29568,"tags":29569,"thumbUrl":29570,"material":278,"size":29571,"collection":68,"collections":29572,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":72},218819,"xie-sheng-tu-wang-yuan-218819","墨色晕染间，禽鸟栖于石畔，羽翼纹理随淡墨流转，似能触到绒羽温软。老枝横斜，梢头悬一轮清月，清辉洒在疏叶上，竹影与草茎在风里轻摇。工细处见笔力，写意时显灵动，水墨浓淡干湿交织出自然生趣，无艳色却满溢生机。留白藏幽远，题跋墨迹与画面相映，笔墨间流淌着元代文人的清雅心境——于寂静中观天地，于细微处藏深情。每一笔都似在低语，将自然之美与文人意趣融于尺幅，尽显“墨花墨禽”的韵致，让人在古雅气息里沉醉。",[24,7,128,28,2166,231,61,171,1400,2438,276,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0627d9a79cc3230361415249eb53ed87.jpg","88.3x45.3cm",[68],{"id":29574,"slug":29575,"title":6571,"dynasty":124,"author":1642,"museum":244,"description":29576,"tags":29577,"thumbUrl":29578,"material":66,"size":29579,"collection":44,"collections":29580,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":49},218463,"luo-han-tu-dai-jin-218463","明人画景，喜欢参透人物的真实，戴进这幅画中的罗汉手持法杖静静地坐在堂前，左手徐徐伸向猛虎，另一个僮仆侧身在门后窥视，表现出恐惧，而罗汉、猛虎却平静自如。人物的脸部刻画精细，生动传神；岩石上凿有大斧头，水墨淋漓，粗壮有力。笔触迅捷，推进有形，笔墨有聚有放，工作与书写之间刚柔相济，巧拙相间。",[23,24,7,165,187,188,128,96,5490,949,167,413,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a316db5cd7b66cdcda9599be7778b79.jpg","113.9x36.7",[44],{"id":29582,"slug":29583,"title":29584,"dynasty":124,"author":1058,"museum":450,"description":3169,"tags":29585,"thumbUrl":29586,"material":1733,"size":3172,"collection":84,"collections":29587,"showCount":139,"zanCount":1998,"manualWeight":48,"mainColor":49},218346,"ren-wu-gu-shi-ce-4-tang-yin-218346","人物故事册-4",[23,24,7,59,27,96,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F823018666898f6a04c19649c91cec78d.jpg",[],{"id":29589,"slug":29590,"title":29591,"dynasty":124,"author":1058,"museum":450,"description":3169,"tags":29592,"thumbUrl":29593,"material":173,"size":3172,"collection":84,"collections":29594,"showCount":139,"zanCount":1998,"manualWeight":48,"mainColor":49},218343,"ren-wu-gu-shi-ce-6-tang-yin-218343","人物故事册-6",[23,24,7,59,27,96,28,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffadb4e8d232954a9f38e8f69192591aa.jpg",[],{"id":29596,"slug":29597,"title":29598,"dynasty":144,"author":410,"museum":244,"description":29599,"tags":29600,"thumbUrl":29601,"material":278,"size":6073,"collection":84,"collections":29602,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":49},218122,"hua-xi-yu-yin-tu-san-wang-meng-218122","花溪渔隐图(三)","此图写霅溪风景，款题为玉泉尊舅作。玉泉已不可考。通幅用笔绵密而精工，垂柳一行，与赵孟𫖯「鹊华秋色」卷中画柳之法相同。「花谿渔隐」是从〈桃花源记〉衍生的画题，创始于赵孟𫖯。王蒙是赵孟𫖯的外孙，所受影响，不仅技法而已。",[23,24,7,128,132,29,129,99,413,131,1351,208,711,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4f2f4aff7c235556ddedd556c4afb9c.jpg",[],{"id":29604,"slug":29605,"title":3478,"dynasty":144,"author":223,"museum":244,"description":29606,"tags":29607,"thumbUrl":29608,"material":173,"size":29609,"collection":136,"collections":29610,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":72},218118,"shan-ju-tu-yi-ming-218118","山居图是指以山水为主题的图画。在中国画中，山水画是一种著名的画类型，表现的是山水景色以及人与自然的关系。山居图的画法细腻，注重细节，能够生动地表现出山水的美景。\n\n山居图的风格独特，画面精细，笔墨浓转淡，构图巧妙，能够生动地再现出山林间的幽静之美。这些画作通常描绘的是山林间的景色，或者是隐居僻静的山林小屋。其中，常常融入了自然和人文的元素，如树木、山峰、溪流、房屋、建筑等。",[23,24,164,7,29,128,27,132,663,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf4b59ffae7cdffb934293652f9b0153.jpg","34.8x58.9cm",[136],{"id":29612,"slug":29613,"title":29614,"dynasty":124,"author":802,"museum":224,"description":22521,"tags":29615,"thumbUrl":29616,"material":173,"size":84,"collection":84,"collections":29617,"showCount":139,"zanCount":1116,"manualWeight":48,"mainColor":72},218021,"za-hua-ce-9-chen-hong-shou-218021","杂画册-9",[24,7,59,188,27,371,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb52c3b4ffb7cffa51007098fdadd2ea1.jpg",[],{"id":29619,"slug":29620,"title":29621,"dynasty":124,"author":17733,"museum":244,"description":29622,"tags":29623,"thumbUrl":29624,"material":278,"size":29625,"collection":44,"collections":29626,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":72},216994,"ning-qi-fan-niu-tu-zhou-chen-216994","宁戚饭牛图","周臣（生卒年不祥），字舜卿，号东村，吴县（今江苏苏州）人，活动于15世纪末至16世纪初。擅画山水、人物、花鸟，画法主宗南宋李唐、马远等院体画风，并受文人画的一定影响，功力深厚。周臣是一位富有创新精神的职业画师，为了适应人们的欣赏趣味，他一方面突破职业画家的局限，创作了大量以文人生活为题材的作品，一方面尝试在技法上学习文人画的笔墨情趣，使其作品具有周密雄劲而又清旷秀美的格调，在画坛上独树一帜。唐寅、仇英为其门下高足。",[24,164,7,165,128,188,132,96,102,331,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fed04e633925c11d278f84b1628a630.jpg","126.7x68.9",[44],{"id":29628,"slug":29629,"title":29630,"dynasty":124,"author":29631,"museum":77,"description":29632,"tags":29633,"thumbUrl":29634,"material":317,"size":84,"collection":68,"collections":29635,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":49},216955,"shi-liu-li-shu-tu-ge-shu-ying-216955","石榴栗鼠图","葛淑英","葛淑英（1565年－1628年）是一位中国明朝时期的画家。葛淑英出生于江苏省无锡市，是明朝最著名的女画家之一。她以其精湛的画技和绚丽多彩的作品而闻名。其中最著名的作品之一是《石榴栗鼠图》。\n\n《石榴栗鼠图》是一幅以石榴和栗鼠为主题的水墨画。在这幅画中，葛淑英用柔和的线条勾勒出了两只栗鼠的轮廓。这三只栗鼠正在咀嚼着一个石榴，举动自然，看起来很可爱。葛淑英用细腻的笔触描绘出了栗鼠的皮毛，使它们看起来栩栩如生。此外，画中还有一棵树，树上有许多绿色的叶子，为整幅画增添了一丝清新的气息。\n\n《石榴栗鼠图》展示了葛淑英对自然的描绘能力，也展示了她对生活细节的捕捉能力。这幅画不仅美观，而且充满了温暖的气息，是一件令人感动的艺术作品。",[164,24,7,165,28,27,5883,949,2035],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba5a7329abdb4f2ba88cf74167c31af.jpg",[68],{"id":29637,"slug":29638,"title":29639,"dynasty":124,"author":204,"museum":300,"description":2216,"tags":29640,"thumbUrl":29641,"material":173,"size":84,"collection":84,"collections":29642,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":49},216289,"er-shi-si-xiao-tu-2-chou-ying-216289","二十四孝图-2",[24,7,28,27,96,5149,250,7344,7877,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F520810b633fc1e71c7a4c768d8e72618.jpg",[],{"id":29644,"slug":29645,"title":29646,"dynasty":124,"author":204,"museum":300,"description":2216,"tags":29647,"thumbUrl":29648,"material":173,"size":84,"collection":84,"collections":29649,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":49},216288,"er-shi-si-xiao-tu-4-chou-ying-216288","二十四孝图-4",[24,7,59,28,27,96,34,11632,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd965609e0169db712087b31cdd38528d.jpg",[],{"id":29651,"slug":29652,"title":29653,"dynasty":124,"author":125,"museum":2665,"description":29654,"tags":29655,"thumbUrl":29656,"material":278,"size":84,"collection":84,"collections":29657,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":72},214919,"mo-hua-ce-7-shen-zhou-214919","墨花册-7","沈周是一位著名的明朝画家，他的作品《墨花册》是一本插图本，其中包含了许多令人惊叹的墨花图案。《墨花册》是沈周的代表作之一，因其精美的图案和精湛的插画技巧而广受赞誉。在《墨花册》中，沈周用黑墨和水彩画描绘了许多精美的墨花图案，包括花卉、鸟类、动物和人物等。沈周的作品充满了生机和活力，他的绘画技巧非常出色，深受人们的喜爱。",[23,24,7,59,128,61,26126,2037,549,208,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d1312eda36b374f88d54899f06fea72.jpg",[],{"id":29659,"slug":29660,"title":29661,"dynasty":54,"author":29662,"museum":244,"description":29663,"tags":29664,"thumbUrl":29665,"material":66,"size":29666,"collection":136,"collections":29667,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":72},214720,"chun-jiang-xing-zhou-yong-rong-214720","春江行舟","永瑢","《春江行舟图》是一幅画作，出自清代画家永瑢的手笔。这幅画描绘了一个人坐在小舟里悠然自得地漫游在春天的江水中。画中的人物身着传统的汉服，头戴轻便的草帽，手拿长矛，似乎是在寻找渔获。周围的景色十分优美，江水波光粼粼，岸边的树木和花草都迎来了春天的到来，鸟儿翩翩起舞，整个画面充满了春天的气息。\n\n永瑢（1678-1735）是清代著名的画家，他的画风清新自然，擅长写意画，作品风格独特，深受人们的喜爱。他的作品《春江行舟图》被誉为其代表作之一，在当时颇受推崇，至今仍为艺术爱好者所珍视。",[24,7,59,27,29,98,99,129,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4455e3dd567e1a378f0c19d2d4d2cdf6.jpg","12.2×13.9cm",[136],{"id":29669,"slug":29670,"title":29671,"dynasty":54,"author":1460,"museum":77,"description":4620,"tags":29672,"thumbUrl":29673,"material":66,"size":4624,"collection":68,"collections":29674,"showCount":139,"zanCount":48,"manualWeight":48,"mainColor":72},214565,"mo-zui-za-hua-tu-ce-2-shi-tao-214565","墨醉杂画图册-2",[23,24,7,59,27,128,132,171,373,168,1771,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3bb60e03b8a80aef02ca4e630d97a6a.jpg",[68],{"id":29676,"slug":29677,"title":29678,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":29679,"thumbUrl":29680,"material":692,"size":1293,"collection":84,"collections":29681,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":72},289930,"dan-ya-ju-he-tu-zhou-shi-tao-289930","丹崖巨壑图轴",[24,7,128,132,29,497,1144,499,96,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff090c35d7e1dcc8c4a08bd16d3b69000.jpg",[],44,{"id":29684,"slug":29685,"title":29686,"dynasty":124,"author":1642,"museum":300,"description":29687,"tags":29688,"thumbUrl":29689,"material":692,"size":1293,"collection":84,"collections":29690,"showCount":29682,"zanCount":1998,"manualWeight":48,"mainColor":72},289753,"chun-shan-ji-cui-tu-dai-jin-289753","春山积翠图","《春山积翠图》绘一山间小径，一老者策杖缓行，侍童携琴随后，山间深处屋宇隐约。近景冈丘作古松一组，欹斜盘曲，挺立坡侧，是画面上分量最重的部分，而松荫下山路间，便是画面的主要人物。 [1] 此图画面呈“s”形布局之特点，诸景交错，产生深远感和开阔感。画中春山染绿，翠色茫茫，展现了春光中的壮丽景色。在技法上，笔墨简劲粗放，山石以大片渲染为主，加几笔勾勒和斧劈皴。",[164,24,7,165,128,29,96,9613,690,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9526f0a780eae247d4606bd9760b2cf.jpg",[],{"id":29692,"slug":29693,"title":29694,"dynasty":18,"author":620,"museum":300,"description":16809,"tags":29695,"thumbUrl":29696,"material":692,"size":1293,"collection":84,"collections":29697,"showCount":29682,"zanCount":1998,"manualWeight":48,"mainColor":72},288539,"xie-sheng-jia-die-tu-zhao-chang-288539","写生蛱蝶图",[23,24,164,7,25,28,27,61,2959,480,62,4622,133,208,26168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97796390b63dc3cfc3af98bc62a819e5.jpg",[],{"id":29699,"slug":29700,"title":4071,"dynasty":54,"author":6778,"museum":300,"description":29701,"tags":29702,"thumbUrl":29703,"material":692,"size":1293,"collection":84,"collections":29704,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":72},288454,"hua-hui-tu-ce-zhao-zhi-qian-288454","赵之谦（1829年8月8日－1884年11月18日），汉族，浙江会稽（今绍兴）人。初字益甫，号冷君；后改字撝（huī）叔，号悲庵、梅庵、无闷等。清代著名书画家、篆刻家，与吴昌硕、厉良玉并称“新浙派”的三位代表人物，与任伯年、吴昌硕并称“清末三大画家”。李志敏评价：“赵之谦学北碑自成一体。”\n赵之谦从青年时代起，就刻苦致力于经学、文字训诂和金石考据之学，取得了相当的成就。尤精书画、篆刻。赵之谦善于向前人和同时代各派名家学习，又不囿前人，勇于创新。在绘画上，他是“海上画派”的先驱人物，其以书、印入画所开创的“金石画风”，对近代写意花卉的发展产生了巨大影响；在书法上，他是清代碑学理论的最有力实践者，其魏碑体书风的形成，使得碑派技法体系进一步趋向完善，从而成为有清一代第一位在正、行、篆、隶诸体上真正全面学碑的典范；在篆刻上，他在前人的基础上广为取法，融会贯通，以“印外求印”的手段创造性地继承了邓石如以来“印从书出”的创作模式，开辟了一个前所未有的新境界。\n赵之谦的篆刻成就巨大，对后世影响深远。近代的吴昌硕、齐白石等画家都从他处受惠良多。著有《六朝别字记》《悲庵居士文存》等，又有篆刻《二金蝶堂印存》。",[23,24,7,59,27,61,374,9070,131,64,208,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264efa0c0138cb942593d7fd8f6558d0.jpg",[],{"id":29706,"slug":29707,"title":29708,"dynasty":144,"author":4034,"museum":244,"description":29709,"tags":29710,"thumbUrl":29711,"material":317,"size":29712,"collection":84,"collections":29713,"showCount":29682,"zanCount":1998,"manualWeight":48,"mainColor":49},287543,"song-xi-fan-yue-zhou-sheng-mao-287543","松溪泛月轴","盛懋（生卒年未详），字子昭。父洪，临安（今杭州）人，寓魏塘，业画。懋承家学，善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用批麻皴或解索皴，笔法精整，设色明丽。",[164,24,7,165,29,128,27,132,231,99,129,331,131,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41b41217752380df4d2fb17d949ad269.jpg","135.3x59",[],{"id":29715,"slug":29716,"title":29717,"dynasty":54,"author":1219,"museum":20,"description":29718,"tags":29719,"thumbUrl":29720,"material":734,"size":29721,"collection":136,"collections":29722,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":72},239548,"ren-yi-yun-shan-ce-ma-tu-zhou-ren-yi-239548","任颐云山策马图轴","本幅自题：“山从人面起，云傍马头生。光绪丙戌长夏，山阴任颐伯年甫作图于海上寓次。”钤二白文印：“任伯年”、“任颐印”。\n又题：“霭庭仁兄先生见而谬赏即赠之就正。任颐。”钤二白文印：“任颐印”、“任伯年”。\n“丙戌”是清光绪十二年（1886年），任颐时年47岁。\n此图据李白《送友人入蜀》诗句：“山从人面起，云傍马头生”（见《全唐诗》卷一七七）拟意而作。通过描绘迎面而起的山峦，马头处浮动的白云，生动地图解了诗意，山形地势的险峻和行旅者不畏艰险的探索精神了然于目。此图在创作上摒弃了传统山水画高远、平远、深远的构图方式，以“S”形山脊为主线，突出了人、马的形象，同时也延伸了山峦的纵向走势，使画作的空间层次得以扩展，是任颐艺术成熟期的人物山水画精品之作。",[24,7,165,27,128,96,29,101,131,37,132,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddee5e93c323d07fb938845edf71c073.jpg","纵135.5厘米，横65厘米",[136,44,45],{"id":29724,"slug":29725,"title":4415,"dynasty":54,"author":1472,"museum":300,"description":4416,"tags":29726,"thumbUrl":29727,"material":692,"size":1293,"collection":84,"collections":29728,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":72},239454,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239454",[24,7,59,28,27,61,480,481,547,1771,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F384bf1f79890e720543b7671782cefef.jpg",[],{"id":29730,"slug":29731,"title":29732,"dynasty":54,"author":29733,"museum":300,"description":29734,"tags":29735,"thumbUrl":29736,"material":84,"size":84,"collection":68,"collections":29737,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":72},237469,"mo-ju-zhou-liang-ding-fen-237469","墨菊轴","梁鼎芬","梁鼎芬（1859—1919），晚清文学家、藏书家、诗人，广东番禺（今广州市）人。字星海，一字心海，又字伯烈，号节庵，别号不回山民、孤庵、病翁、浪游词客、葵霜、藏山、藏叟等；室名有耻堂、葵霜阁、栖凤楼、抗愤堂等。\n光绪六年进士，授编修。历任知府、按察使、布政使，曾因弹劾李鸿章，名震朝野。后应张之洞聘，主讲广东广雅书院和江苏钟山书院，为《昌言报》主笔。辛亥革命前有反帝主战思想。后任爱新觉罗.溥仪的老师，被授予“毓庆宫行走”。诗词多慷慨愤世之作，与罗惇曧等人并称“岭南近代四家”。",[24,7,165,128,376,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeefe3abfc7a226970d3e72815c667d0.jpg",[68,318],{"id":29739,"slug":29740,"title":29741,"dynasty":124,"author":16332,"museum":300,"description":16817,"tags":29742,"thumbUrl":29743,"material":692,"size":1293,"collection":84,"collections":29744,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":72},235671,"ban-chuang-chun-yu-tu-juan-xia-chang-235671","半窗春雨图卷",[24,164,7,25,128,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f3757d23ecd698c0710bd31456a191.jpg",[],{"id":29746,"slug":29747,"title":3168,"dynasty":54,"author":29748,"museum":300,"description":29749,"tags":29750,"thumbUrl":29751,"material":692,"size":1293,"collection":84,"collections":29752,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":72},235284,"ren-wu-gu-shi-ce-fan-xue-yi-235284","范雪仪","女，本姓淑，嫁范氏为妻，江苏苏州人，生卒年不详。",[24,7,59,27,28,96,97,247,62,249,166,758,413,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4969cf7e7182473f0293efe286f13572.jpg",[],{"id":29754,"slug":29755,"title":29756,"dynasty":54,"author":29757,"museum":300,"description":29758,"tags":29759,"thumbUrl":29760,"material":84,"size":84,"collection":84,"collections":29761,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":72},234620,"li-hua-wan-shan-zhu-ying-234620","梨花纨扇","朱英","朱英（1417年－1485年8月21日），字时杰、世杰，号澹菴、诚庵、任真子。明湖广承宣布政使司郴州桂阳外沙村（今湖南省汝城县）人，曾在甘肃及两广等地任职，官至两广总督、加都察院右都御史，累封太子太保、荣禄大夫，毕生廉洁奉公、忧国忧民。后被奉为潮州饶平城隍。谥号恭简。",[24,7,1131,27,28,61,1188,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89aab06fbba9347ea1c77e4b64953a1b.jpg",[],{"id":29763,"slug":29764,"title":4584,"dynasty":124,"author":125,"museum":20,"description":4585,"tags":29765,"thumbUrl":29766,"material":611,"size":4588,"collection":84,"collections":29767,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":72},234090,"wu-zhong-shan-shui-ce-shen-zhou-234090",[24,7,59,128,29,133,208,132,97,1144,129,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8cc85b8ca75b41a1903f016a2209202.jpg",[],{"id":29769,"slug":29770,"title":29771,"dynasty":124,"author":802,"museum":20,"description":29772,"tags":29773,"thumbUrl":29774,"material":29775,"size":29776,"collection":84,"collections":29777,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":72},233892,"mei-shi-jia-die-tu-juan-chen-hong-shou-233892","梅石蛱蝶图卷","本幅墨笔画，钤毕泷、毕沅、庞元济等藏印。\n陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。明代画家。早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。后在杭州以卖画为生。工诗，擅画，山水、人物、花鸟无一不精。其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新，所作人物、花鸟形象古拙，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。与崔子忠齐名于南北，世称“南陈北崔”。其画风对后世有巨大影响。著《宝纶堂集》。",[24,164,7,25,128,188,208,61,371,1314,2959],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1adf709c74efa862426abfaf7ff8a533.jpg","金笺","纵37.9cm横123cm",[],{"id":29779,"slug":29780,"title":29781,"dynasty":144,"author":7095,"museum":244,"description":29782,"tags":29783,"thumbUrl":29784,"material":173,"size":29785,"collection":84,"collections":29786,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":49},231404,"jun-ma-tu-zhao-yong-231404","骏马图","此画中主题与关键字是春景、高士（士人、隐士）、官员（臣）、马，描写平野放牧的景致，空旷幽远的构图布局中，五匹骏马安逸地散游在水边的几棵杂树之间；驯马人倚靠着松树，竟然打起瞌睡来，一副安然自在的样子。后方平静的湖水与秀丽的山峦连成一片，气氛更显得静穆、祥和。\n该幅《骏马图》，描写平畴牧马景致，画中山水的分量极重，布局空阔而幽远。水滨画杂树林立，骏马五匹散游其间，自得其乐；圉人（饲马的胡人）倚松假寐，神情极为逍遥；湖水如镜，远岫屏列，益觉一派静穆祥和。马匹结体壮硕，颇有唐代画马名家曹霸、韩干的遗意。配景设色则以青绿为之，夹叶填彩的表现法，已近乎图案形式，实滥觞于隋唐所盛行的青绿传统。唯远山掺用披麻皴纹，透露出董源、巨然山水风格的影响辙痕。\n早在秦汉时期，马匹造形即被广泛运用于殉葬的明器当中，魏晋的陵墓壁画，亦不乏骑马、射猎等生活写照。有唐一代，随着养马风尚高涨，画马的艺术也臻于极峰，举凡曹霸、陈闳、韩干、韦偃等人，均有作品传世。\n宋元以后，画马风气受到山水画勃兴的影响，逐渐趋向式微，除却李公麟的白描人马尚自具一格外，鲜少能超迈前贤的力作。而赵雍置身于复古思想炙热的元代，笔端吞吐着浓郁的唐人风范，诚属“汲古以创新”的心态所使然。事实上，赵雍画马已不似唐马那般丰肥，线条的感觉较为柔婉、秀丽，加上揉合青绿设色与董、巨披麻皴纹的山水配景，致使全画于装饰意味之外，犹未失却文人作画所特有的儒雅本色。显然，赵雍笔下的人马业已展现出元朝的时代风貌，不复为单纯的临摹与仿古了。\n该幅画平畴林野牧马的景致，画骏马五匹或磨肩，或依偎，或觅食于树荫下，不管在结构或造形上，皆显示画家对马匹曾做仔细的观察与了解，轻而易举地掌握复杂的造型。圉人倚松假寐，状至悠闲逍遥。人马以中锋钩画，人物表情生动，马匹结体雄壮。树叶以近似图案的工整格式画出，装饰性强，饶古拙之趣。画家更利用平镜无纹的湖水，及罗列的远山，加强空间的推衍及层次感，呈现阔远松秀的画面。其青绿设色及用笔虽颇有唐人遗意，但因结合设色与皴法，远较唐之青绿山水雅淡，充分地发挥笔墨情趣。\n这幅画是赵雍为色目人官员─孛颜忽都所画的。画风主要承袭自隋唐时代青绿山水，设色主要填染了石青、石绿，色彩浓丽；还有，如画树叶先勾出轮廓，再填入颜色，正是工笔画中夹叶填彩的画法。此外，马匹高大肥硕的体型，也是追法唐代画马的意趣。不过，赵雍的这幅画还揉合了五代画家董、巨一派的笔意，例如：表现远山质感、那种类似苎麻纤维的线纹，叫做披麻皴:。综而观之，《元赵雍骏马图轴》的人物、马匹及山水背景，虽具唐宋古意遗韵，但在构图上一水两岸的平远景致，依旧是典型的元人特色。赵雍在元代复古的风潮中，也开拓了新的时代风格。",[24,164,7,165,28,27,101,413,131,6640,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd50ae8022a673be0e735a42f54526d7.jpg","186x106",[],{"id":29788,"slug":29789,"title":29790,"dynasty":182,"author":223,"museum":300,"description":29791,"tags":29792,"thumbUrl":29793,"material":692,"size":1293,"collection":84,"collections":29794,"showCount":29682,"zanCount":1998,"manualWeight":48,"mainColor":49},230935,"shi-nv-xiang-yi-ming-230935","仕女像","这幅泥壁画虽历经风霜漆面龟裂斑驳，却依旧神韵斐然。交臂跪坐的仕女身姿柔婉娴静，盛唐丰腴的体态在简练铁线描下尽显雍容。绿调头光晕染出清寂氛围感，赭褐上衣配碧色飘带，古旧色彩晕染层次尚存，宝冠璎珞的细节暗合供养人身份，带着佛境的超脱柔媚。残损的肌理裹着岁月沉韵，将盛唐雅致的审美风骨，凝在这一方泥壁之上。",[24,7,1362,27,96,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bc26d91d8cfee475b78ad024bc28a63.jpg",[],{"id":29796,"slug":29797,"title":27698,"dynasty":54,"author":29798,"museum":300,"description":29799,"tags":29800,"thumbUrl":29801,"material":84,"size":84,"collection":84,"collections":29802,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":72},230254,"shan-shui-ce-ye-dai-ben-xiao-230254","戴本孝","此作用笔枯淡简老，危崖陡立，笔墨寥寥便勾勒出崖壁的空灵高旷，下方丘石隐于淡墨晕染之中，古松斜生崖侧，自带荒寒萧疏之气。\n\n以书入画，左上角题诗与山水意境相融，淡墨轻皴间不见繁饰，尽显幽寂清寒的林下襟怀，将天地寥廓的沉静与遗民孤高的心境相合，静穆淡远间溢出清冷出尘的禅意，尽显简淡空灵的山水意趣，淡岚浅墨里皆是超然物外的悠远之致。",[24,7,59,128,29,132,171,1337,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F991f998630870f784c679c1986745d2c.jpg",[],{"id":29804,"slug":29805,"title":15263,"dynasty":124,"author":1058,"museum":300,"description":29806,"tags":29807,"thumbUrl":29808,"material":84,"size":84,"collection":84,"collections":29809,"showCount":29682,"zanCount":1998,"manualWeight":48,"mainColor":72},228478,"wang-shu-gong-ji-tu-tang-yin-228478","画作以柔丽工笔重彩绘就四位宫妓，她们头戴花冠，两两相对，或拈花簪鬓，或对镜理容，眉眼含柔，尽显娇婉慵闲之态。衣纹勾勒细劲流畅，敷色妍雅鲜亮，将蜀地宫娥的柔媚风韵晕染尽致。\n\n画幅题诗暗合前蜀宫闱旧事，在仕女的绮艳描摹之中，暗寓对耽于宴乐的讽喻，将精工的视觉美感与文人的寄兴藏于一体，于柔丽雅致间藏着沉敛的讽世之思，是仕女画中兼擅审美意趣与文心寄寓的经典之作。",[23,164,24,7,165,27,96,166,170,232,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2530c75a1f39e5bab12ffc2dd7b41be1.jpg",[],{"id":29811,"slug":29812,"title":29813,"dynasty":124,"author":1058,"museum":300,"description":29814,"tags":29815,"thumbUrl":29816,"material":84,"size":84,"collection":84,"collections":29817,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":49},228468,"shi-ming-tu-juan-tang-yin-228468","事茗图卷","此作为诗书画印合璧的长卷，绘江南山居幽景：茅舍临溪，主人幽坐煎茶，苍松倚石，烟云绕峰，飞瀑藏于远山淡霭之间，尽展林泉雅寂的隐逸氛围。\n\n书法由榜书大字开篇，笔力沉凝苍劲；行书题诗俊逸疏朗，收尾小楷《事茗辩》端秀清雅。将品茶雅事寄寓山水，把日常茶事升为精神栖居，尽显明代文人茶中寻幽、以茶寄怀的林下风流，诗书画印浑融无间，是写意文人雅趣的绝佳之作。",[23,164,24,7,25,128,27,1349,132,64,133,208,29,413,35,96,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F055da1b43b081819b900223c28def283.jpg",[],{"id":29819,"slug":29820,"title":29821,"dynasty":144,"author":223,"museum":300,"description":29822,"tags":29823,"thumbUrl":29824,"material":84,"size":84,"collection":84,"collections":29825,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":49},228215,"you-xing-shi-nv-tu-yi-ming-228215","游行仕女图","古绢底色晕染岁月沉浑，雄健湖石倚立，芭蕉阔叶舒展如伞，猩红花穗挺立于叶隙，墨色浓淡晕开草木蓬勃生机。仕女衣袂轻扬雅致，或垂眸敛容，或侧身顾盼，柔缓徐行间尽显端静含蓄的仪态。画作以大石丛蕉衬出仕女窈窕娟秀，上下分景疏密相宜，设色古淡沉静，笔致简净含蓄，藏雅致余韵，将庭院闲游的松弛意趣，融在古朴沉静的画境之内，淡墨轻彩晕开旧时光里的闺中清致。",[23,24,7,165,28,27,96,166,131,875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffb2be621dcd64401a64de5a6e7d8444.jpg",[],{"id":29827,"slug":29828,"title":29829,"dynasty":144,"author":569,"museum":300,"description":29830,"tags":29831,"thumbUrl":29832,"material":84,"size":84,"collection":84,"collections":29833,"showCount":29682,"zanCount":1116,"manualWeight":48,"mainColor":956},228167,"guan-gong-wu-shi-san-sui-yi-xiang-zhao-meng-fu-228167","关公五十三岁遗像","画面里关公踞坐案前，轻捋美髯凝视卷册，案上烛台、典籍错落，沉静间自有武圣威严。身旁武士戎装侍立，身姿恭谨，衬得主位人物气度沉凝。\n\n衣纹线条凝练劲挺，设色苍雅古拙，将关公的儒雅斯文与武将的豪壮气度相融，尽显其忠义千秋的风骨。题字古意盎然，补足人物生平意蕴，整体笔墨带着特有的简淡苍劲，把武圣的精神气韵刻画入微，是形神兼备的经典人物佳作。",[23,24,7,27,28,96,1367,251,8162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3321d64766a7b4f4db359c8e366a00b.jpg",[],{"id":29835,"slug":29836,"title":29837,"dynasty":18,"author":1174,"museum":300,"description":29838,"tags":29839,"thumbUrl":29840,"material":84,"size":84,"collection":84,"collections":29841,"showCount":29682,"zanCount":1998,"manualWeight":48,"mainColor":49},227965,"qi-zi-du-guan-tu-juan-li-tang-227965","七子度关图卷","此卷以苍林古道铺展荒寒底色，将避乱行旅的群像铺陈于绢素。旅人或策驴徐行、或驻马待发，仆从牵驮辎重、神色仓皇，将乱世迁客的羁旅劳顿藏在蹙额的神情、驱驰的动态之间，写实工细又带着沉郁的氛围感。\n\n卷后篆额古拙雄奇，行书题跋笔墨隽秀，书画合璧晕开史事余韵。既有宋画的精工写实，又兼具文人画幽远意趣，将乱世怆然与丹青雅致融于一卷，尽显古画的厚重底蕴与迁客流离的沉痛感怀。",[23,24,7,25,28,27,96,101,413,131,690,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd484ab2362b165a1f08fdab816e5527.jpg",[],{"id":29843,"slug":29844,"title":29845,"dynasty":18,"author":1622,"museum":300,"description":29846,"tags":29847,"thumbUrl":29848,"material":84,"size":84,"collection":84,"collections":29849,"showCount":29682,"zanCount":1998,"manualWeight":48,"mainColor":49},227818,"chun-you-fu-shi-tu-juan-ma-yuan-227818","春游赋诗图卷","《春游赋诗图·溪山无尽图》是216年中信出版集团、中信出版社出版的图书，作者是马远。\n《春游赋诗图》描绘乡间春景：枝头萌绿，万象更新，柳条飘拂，新竹摇曳，溪水潺湲，小桥连岸。\n路上有驮物的驴马，水中有渔归的小舟，但在廊前溪边，已有三三两两的踏青者。\n古松下的案桌前，更是围满了人，文人学子即兴赋诗，一人执笔而书，周旁还有妇人幼童嬉戏。\n山间泉源，几个小童在洗杯煮茶，一派平和融乐的场景。\n《溪山无尽图》全卷以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。\n山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。\n马远（约114－约1225后），字遥父，号钦山，祖籍河中（今山西永济），生长在钱塘（今浙江杭州）。\n出身绘画世家，南宋光宗、宁宗两朝画院待诏。\n擅画山水，取法李唐，能出新意，下笔遒劲严整，设色清润。\n山石以带水笔做大斧劈皴，方硬有棱角；树叶有夹笔，树干浓重，多横斜之态；楼阁界画精工，且加衬染。\n喜作边角小景，世称“马一角”。\n又工画水，兼精人物、花鸟。\n与李唐、刘松年、夏圭并称“南宋四家”。",[23,24,7,25,28,132,96,34,98,99,131,758,101,129,1421,1144,1337,31,3651],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafce01da288b5c16fd5d96849da68c3d.jpg",[],{"id":29851,"slug":29852,"title":22830,"dynasty":18,"author":633,"museum":300,"description":29853,"tags":29854,"thumbUrl":29856,"material":84,"size":84,"collection":84,"collections":29857,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":49},227747,"dong-ting-qiu-yue-tu-xia-gui-227747","《洞庭秋月图》是宋代画家夏圭创作的绢本水墨画，现藏于美国弗利尔美术馆。\n\n《洞庭秋月图》描绘洞庭湖月光下动人的月夜景色，画面上传达出非常幽意、宁静山的辽阔、清幽、深远，营造出广博崇深、雄奇秀丽的画面境界，具有清旷超凡的幽远意境和韵度，体现了当时南宋时期文人“故国”情怀和悲愤之情。同时《洞庭秋月图》是从日本流散到美国的夏圭有关“ 潇湘图像”中唯一传世的作品。诗后无款，钤朱文双钩降龙朱文小圆玺。",[23,24,7,164,165,128,132,29,231,331,171,414,29855],"远树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F447d6ceb83a58f9c29a1ff0d0ad2cf84.jpg",[],{"id":29859,"slug":29860,"title":29861,"dynasty":18,"author":2257,"museum":300,"description":29862,"tags":29863,"thumbUrl":29864,"material":84,"size":84,"collection":84,"collections":29865,"showCount":29682,"zanCount":1998,"manualWeight":48,"mainColor":49},227696,"qun-xian-bo-gu-tu-juan-zhao-bo-ju-227696","群贤博古图卷","赵伯驹（约1120年—约1182年），字千里，汴京（今河南开封）人。南宋著名画家。宋朝宗室，宋太祖七世孙。宋室南渡后流寓钱塘（今浙江杭州），后以画扇为宋高宗赵构赏识并予召见，曾官至浙东兵马钤辖。工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子，笔法纤细，直如牛毛，极细丽巧整的风致，建南宋画院的新帜。",[23,7,24,164,25,26,27,28,132,64,208,29,96,97,98,99,129,130,171,169,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe01ac1afa07ecf4a88ab31a884696a18.jpg",[],{"id":29867,"slug":29868,"title":29869,"dynasty":54,"author":9529,"museum":300,"description":19697,"tags":29870,"thumbUrl":29871,"material":692,"size":1293,"collection":84,"collections":29872,"showCount":29682,"zanCount":1998,"manualWeight":48,"mainColor":72},224454,"shan-shui-tu-shan-mian-wang-hui-224454","山水圖扇面",[23,24,7,1131,128,132,29,130,331,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21e2c6d018d8d60dc5c74f88cf991c8b.jpg",[],{"id":29874,"slug":29875,"title":18943,"dynasty":54,"author":29876,"museum":300,"description":29877,"tags":29878,"thumbUrl":29879,"material":692,"size":1293,"collection":84,"collections":29880,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":72},224284,"xin-jing-fu-shan-224284","傅山","傅山，初名鼎臣，字青竹，改字青主，又有浊翁、观化等别名，汉族，山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[23,54,7,64,7322,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F207038e9219276266d8b1302b8b30770.jpg",[],{"id":29882,"slug":29883,"title":25727,"dynasty":54,"author":17403,"museum":300,"description":29884,"tags":29885,"thumbUrl":29886,"material":84,"size":84,"collection":84,"collections":29887,"showCount":29682,"zanCount":1998,"manualWeight":48,"mainColor":72},223691,"xie-qin-fang-you-tu-shang-rui-223691","，画作，清代上睿作。\n画心纵28.1厘米，横17.厘米。\n纸本，设色。\n画中一位有琴童跟随的琴家，已离开自己的住舍，走上木桥，正在向闲卧在梧竹幽居中的知音友人那里进发。\n全图景物按排聚散合度，虚实相生。\n以极其纤美的笔触对环境进行铺垫描绘，收到了烘托人物的活动和突出主题的良好效果。\n款署“癸酉小春用文太史笔意为友桐先生补图。\n蒲室子睿。\n”钤“目存”印。\n清宫宝玺有“乾隆鉴赏”、“嘉庆御览之宝”、“宣统御览之宝”等。\n曾经清内府庋藏。\n《秘殿珠林石渠宝笈续编》著录。\n旅顺博物馆收藏。",[23,24,7,25,27,28,29,96,98,99,34,711,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bca0e59957d14b3aa934eb38c7e22eb.jpg",[],{"id":29889,"slug":29890,"title":29891,"dynasty":124,"author":223,"museum":224,"description":29892,"tags":29893,"thumbUrl":29894,"material":84,"size":29895,"collection":84,"collections":29896,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":49},223531,"mu-zi-lu-tu-yi-ming-223531","母子鹿图","此作设色古雅沉静，笔致工细柔和。坡岸之上，鹿抬首凝神，目光追随着翩跹彩蝶，周身斑点晕染匀净柔和，皮毛质感细腻宛然。苍松虬劲，针丛细密苍润，怪石皴刻朴拙古厚，衬出林间清寂之气。远景淡墨晕染出水泽远山，朦胧空濛将意境拉伸，方寸画幅饱含山野林泉的悠然意趣。兼具院体画的精工，又带着文人水墨的淡远意境，定格幽林闲静一刻，尽显山野生灵与林泉共生的悠然禅意。",[23,24,7,27,28,949,2302,167,1314,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a708feb39d0df19f091d6ff9e9da8cc.jpg","24.1x26",[],{"id":29898,"slug":29899,"title":29900,"dynasty":18,"author":223,"museum":244,"description":29901,"tags":29902,"thumbUrl":29903,"material":637,"size":29904,"collection":42,"collections":29905,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":49},223418,"zi-mu-ji-tu-yi-ming-223418","子母鸡图","此图绘一只母鸡引领着几只孵出不久的小鸡，在地上漫步啄食。母鸡雪白的羽毛蓬松亮丽，目光中充满着慈爱，小鸡则稚嫩怯弱，依偎在母亲的羽翼保护下。母鸡俯身与宝宝们对话，神情爱怜。此画虽无陪衬，却能以情动人。作品在技法处理上，母鸡以勾线、施毛渲染，而小鸡则以施毛勾出轮廓，全以渲染，两者对比，更显小鸡稚嫩，母鸡慈爱。更精妙的是作者在对母鸡眼睛的处理上，把留白的位置留在眼珠的最前面，使其俯身之姿更加强烈",[23,164,24,7,28,27,61,2510,19480,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92d3bda73641850315ec173a9cfe7fc6.jpg","纵59.99cm 横32.83cm",[42],{"id":29907,"slug":29908,"title":29909,"dynasty":182,"author":223,"museum":20,"description":29910,"tags":29911,"thumbUrl":29912,"material":514,"size":29913,"collection":84,"collections":29914,"showCount":29682,"zanCount":1998,"manualWeight":48,"mainColor":49},223359,"fu-xi-nv-wa-xiang-ye-yi-ming-223359","伏羲女娲像页","此图上彩画人首蛇身男女二人，均着窄衫小袖绛红色胡装，二人腰相连，共着一条白裙。男居左，无须，头戴笼冠，张左手执矩，矩上有墨斗（已被腐蚀）。女居在右，束高髻，张右手执规。男女上身相拥，中间两臂相连，下尾盘曲相交四节成螺旋状。两人头上有圆轮，周画圆圈以象征日；尾下有下弯月牙一，周画圆圈以象征月。画面四周面遍布大小相等的圆圈，部分以线相连象征星辰。",[23,24,7,27,96,17539,17701],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa168eac68a88d33ad6926d355e897252.jpg","纵左222.5cm，右231cm，横上115cm，下94cm",[],{"id":29916,"slug":29917,"title":29918,"dynasty":54,"author":14080,"museum":20,"description":29919,"tags":29920,"thumbUrl":29921,"material":40,"size":29922,"collection":136,"collections":29923,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":49},223284,"jiu-cheng-gong-tu-zhou-yuan-yao-223284","九成宫图轴","此幅以对角构图为主，建筑在画面中所占比重不大，但作者有意将建筑物安排在观者的视觉中心，使其在山重水复的背景中颇为醒目。著名诗人杜甫曾有咏《九成宫》诗，袁耀即根据诗意想象而画成此图。袁氏父子所画的历代宫阙虽然各有典故，但样式大多雷同，富有装饰趣味而无明显的时代特征，画中人物的服饰也是如此，虽为古装却非唐非宋。",[23,24,7,165,95,27,28,132,29,97,98,131,34,37,96,1645,758,38,496,1515],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf33833e35f6f766d8a1a4d386a24eec.jpg","纵189.7厘米，横230.7厘米",[136,45],{"id":29925,"slug":29926,"title":29927,"dynasty":54,"author":1219,"museum":300,"description":29928,"tags":29929,"thumbUrl":29930,"material":84,"size":29931,"collection":84,"collections":29932,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":72},223227,"zhe-zhi-hua-hui-shan-mian-ren-yi-223227","折枝花卉扇面","水墨泼洒清润自在，花如薄绢，叶片浸润犹有滴洒之感。山鸡体态肥硕，脚爪甚有骨力。画面整体优雅娴静，富有美感。",[23,164,24,7,1131,27,61,263,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6f12cd162d27310e69972efc06ba6ab.jpg","纵111.2cm，横55.4cm",[],{"id":29934,"slug":29935,"title":1109,"dynasty":124,"author":7003,"museum":16930,"description":29936,"tags":29937,"thumbUrl":29938,"material":29939,"size":29940,"collection":68,"collections":29941,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":49},222830,"zhu-shi-tu-zhu-yun-ming-222830","竹石图轴，此图顽石突兀，修竹三竿，清雅宜人。构图简洁明晰，用墨浓淡适.",[23,24,7,165,128,167,1314,132,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc92f7cc0839c81fbce897d7978e64e42.jpg","绫本，墨笔","纵163.5、横52厘米",[68,117],{"id":29943,"slug":29944,"title":29945,"dynasty":54,"author":4468,"museum":244,"description":4469,"tags":29946,"thumbUrl":29947,"material":27,"size":4474,"collection":84,"collections":29948,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":72},222732,"xian-e-chang-chun-tu-ying-su-lang-shi-ning-222732","仙萼长春图罂粟",[23,164,24,7,59,27,28,61,5654],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59c91e61b739cd5323e62e9036da76b5.jpg",[],{"id":29950,"slug":29951,"title":272,"dynasty":124,"author":16332,"museum":244,"description":29952,"tags":29953,"thumbUrl":29954,"material":611,"size":84,"collection":117,"collections":29955,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":49},222169,"zhu-tu-xia-chang-222169","本幅画水滨修竹三竿，婷立於斜坡之上。竹杆落笔稳健，墨色润厚。竹叶、小草挺劲锋利，画石则笔法扭转灵动。夏氏妙於运笔使墨，极得飘洒清妍之趣。画竹往往能进入一种风梢舞空烟，露叶滴晴月，风竹潇洒婆娑，楚楚动人的境界。此作堪为例证。",[23,24,7,128,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c36b6a35df7db3b5f3468a574a84e0e.jpg",[117,1670],{"id":29957,"slug":29958,"title":28084,"dynasty":18,"author":5533,"museum":244,"description":29959,"tags":29960,"thumbUrl":29961,"material":637,"size":29962,"collection":42,"collections":29963,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":49},221613,"guan-pu-tu-zhou-liang-kai-221613","图绘飞瀑从山涧中直泻而下，与山脚乱石激起层层浪花，瀑前枯树对立，竹石苔茵，瀑下平坦处一人捻髭立眺，三童子洗砚抱琴烹茶。",[23,164,24,7,165,128,132,96,1233,331,495,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c9939980581eebaa2e7edecbbd4fd44.jpg","135.9x64.1厘米",[42,136,45],{"id":29965,"slug":29966,"title":29967,"dynasty":18,"author":4861,"museum":56,"description":29968,"tags":29969,"thumbUrl":29971,"material":27,"size":29972,"collection":84,"collections":29973,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":49},221376,"yan-jiang-die-zhang-tu-wang-shen-221376","烟江叠嶂图","《烟江叠嶂图》绘崇峦叠嶂陡起于烟雾迷漫浩渺空旷的大江之上，空灵的江面和雄伟的山峦形成巧妙的虚实对比。奇峰耸秀，溪瀑争流，云气吞吐，草木丰茂，显得蓬勃富有生气。画家以墨笔皴山画树，用青绿重彩渲染， 既有李成之清雅，又兼李思训之富丽。\n此图凄迷的诗意化山水景致，充满着丧失爱情、希望与友谊的悲痛之情，表达了他于惨遭放逐期间内心荒寂的梦幻世界。\n此图平远布局，起首浅岸一隅，江面辽阔，波心渔舟泛泛如鸥。中幅峰峦迭起，前后拱揖，呈奇耸秀。山间烟云缭绕，百道飞泉，萦林络石，下赴谷口。楼阁隐现于白云青峰之间。后段烟水迷蒙。全图表现出“江上愁心干叠山，浮空积翠如云烟”、“春风摇江天漠漠，暮云卷雨山娟娟”的清空深秀意境。用笔结合唐人勾斫法和李成的颖利笔法，凝练清劲。树木参用勾叶、点叶多种方法，层次参差，显得葱倩郁密。山峦敷染青绿重色，花青染叶，深墨渍涧，色泽鲜丽厚实，将唐人的古朴和宋人的精密融成一体，开创出青绿山水的新格调。\n在构图上，远近疏离，似有一透视感，远山隐映于云雾之中，悠远秀丽。\n作者用笔凝炼，骨法端重而不板刻，山石用墨笔勾皴，不方不圆，似行似隶，因而画中的气韵十分生动；此图用青绿着色，重彩复皴，再用花青运墨点苔，益见山色之奇丽多姿。画树多夹叶或点笔，著色有石青，石绿、浅绿及赭红等。苍翠之中愈见青葱鲜丽，无煊耀之燥气，又有静穆的庄严。以深墨渍出山涧，留白以状飞瀑，形成了黑白相映的反差。青山间有白云缭绕，用工笔浅描，线划空明，使重叠的山峦在炯云中时显时隐。石皴不方不圆之间，山石形态各异。界画工整的楼阁、屋宇，隐显于青山白云之间，极富雅趣。作者以诸种手法以表现，使北宋山水画达到了神妙的境界",[23,164,24,7,25,29,128,27,132,29970,3649,30,34,37],"烟霞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df1d52102b8e94aadf1789685e44f7d.jpg","纵45.2厘米，横166厘米",[],{"id":29975,"slug":29976,"title":29977,"dynasty":18,"author":1091,"museum":244,"description":29978,"tags":29979,"thumbUrl":29980,"material":611,"size":29981,"collection":318,"collections":29982,"showCount":29682,"zanCount":1998,"manualWeight":48,"mainColor":72},221306,"song-si-jia-tao-sheng-qie-zhong-hua-qi-xun-ren-du-hai-su-shi-221306","宋四家:陶生,惬中,花气熏人,渡海","《花气薰人帖》是中国宋代书法家黄庭坚的小品之作，一首二十八个字的小诗，以随意自在的笔法写来，把平日严谨的中锋线和草书中的宛转结合起来，构成一幅完美的小品，是欣赏书法不可多得的佳作。帖上有南宋「缉熙殿宝」的印，入过南宋内府。也有清代朝鲜人安仪周的收藏印安歧是当时最著名的大收藏家。此帖现藏台北故宫博物院。",[23,64,7,25,133,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53dcca8709989e4feb06bb6f1620632e.jpg","30.7×43.2cm",[318],{"id":29984,"slug":29985,"title":29986,"dynasty":124,"author":2268,"museum":244,"description":29987,"tags":29988,"thumbUrl":29989,"material":611,"size":29990,"collection":318,"collections":29991,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":72},220927,"zhou-zi-tong-shu-dong-qi-chang-220927","周子通书","此作书写的是北宋大儒周敦颐所著《通书》中的内容：“圣可学乎？曰可。有要乎？曰有要。一为要。一者，无欲也。无欲则静虚动直。静虚则明，动直则公。明则通，公则溥。庶矣乎！”董书之内容与周敦颐之原文有出入",[23,64,133,128,7,24,165,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49525064acaf73341e131973f30c9278.jpg","纵189.4厘米，横154.5厘米",[318],{"id":29993,"slug":29994,"title":25689,"dynasty":124,"author":2268,"museum":161,"description":25690,"tags":29995,"thumbUrl":29996,"material":1027,"size":25693,"collection":136,"collections":29997,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":72},220905,"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-juan-dong-qi-chang-220905",[23,24,7,25,128,330,132,64,208,29,30,34,99,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31afc9e40856158c191fd7216f9770fa.jpg",[136,45],{"id":29999,"slug":30000,"title":30001,"dynasty":980,"author":3539,"museum":3540,"description":30002,"tags":30003,"thumbUrl":30004,"material":1464,"size":84,"collection":84,"collections":30005,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":72},220523,"xing-shu-wei-ren-min-fu-wu-xu-bei-hong-220523","行书（为人民服务）","此作用魏碑筋骨揉入行书意趣，笔墨沉厚苍劲。右侧笔势开张纵逸，起笔斩截收笔朴拙，将满腔热忱寄于开张笔锋之中，尽显雄强气魄。左侧稍敛锋芒，笔画敦实厚重，墨色枯润相生，枯笔处见苍茫意趣，藏锋裹气尽显沉稳内敛。落款小字与正文形成疏密对比，举重若轻，通篇错落有致，刚柔并济，将碑版的雄强与行书的流丽融为一体，质朴誓言化作沉浑笔墨力量，尽显笔墨风骨与赤诚襟怀。",[7,64,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690533d439aa7dab00bb7a9de44aceb1.jpg",[],{"id":30007,"slug":30008,"title":30009,"dynasty":124,"author":20447,"museum":5543,"description":30010,"tags":30011,"thumbUrl":30012,"material":317,"size":30013,"collection":117,"collections":30014,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":49},220402,"yue-mei-tu-liu-shi-ru-220402","月梅图","刘世儒，字继相，号雪湖，山阴(（今浙江绍兴)）人，生卒不详，明代画家，传世作品有《雪梅双兔图》、《梅花图》长卷、《月梅图》、《先春报喜图》等。\n刘世儒，艺术活动主要于明代正德、嘉靖时期。\n少年时偶然得元人王冕的墨梅，废寝忘食地临摹学习。随后遍走山林，观察各种梅花习性，终成墨梅大师。刘世儒一生好梅，时人谓之年九十，而画梅八十。\n曾作《铁干回春图》赠送胡元瑞。《雪湖梅谱》是其一生画梅之心得。",[23,24,7,165,128,27,371,231,208,64,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88375881b16d084f1d1d60260c6ab4e.jpg","136.4x71.8厘米",[117,68],{"id":30016,"slug":30017,"title":30018,"dynasty":54,"author":30019,"museum":300,"description":30020,"tags":30021,"thumbUrl":30022,"material":611,"size":84,"collection":68,"collections":30023,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":72},220249,"die-lian-hua-tu-zhou-xian-220249","蝶恋花图","周闲","周闲（1820年—1875年），字存伯，一字小园，号范湖居士，浙江秀水（今嘉兴）人，晚清著名词人、篆刻家、海上画派名家。\n严迪昌《清词史》称周闲足与鸦片战争时期诗史型诗人贝青乔并驾齐驱。咸丰三年，佐戎幕剿灭嘉定小刀会，以功赐六品官。同治三年，官新阳令、候补知州同知。同治五年，因事与大吏龃龉，遭革职，隐居吴市，假笔墨以自娱。晚年寓居上海。\n善画花卉蔬果，远师陈淳、恽寿平、李鱓，近参任熊，笔致雄浑秀腴。《嘉兴府志》称：“其画浓部密致，似宋人”。与任熊、姚燮、胡公寿为艺文挚友，同蒋春霖、任薰、任颐、吴大徵、吴昌硕、张之万等交游密切。善篆刻，富金石派学养。喜用行楷，气韵朴厚。作品有《任处士传》、《范湖草堂词》等。见《海上墨林》、《广印人传》、《清画家诗史》、《金石家书画集》、吴大澂《愙斋日记》、人民文学出版社《近代词史》。",[23,24,7,27,61,375,481,171,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcfb731c7098f88507a9128e18726ce4.jpg",[68],{"id":30025,"slug":30026,"title":30027,"dynasty":54,"author":9742,"museum":20,"description":30028,"tags":30029,"thumbUrl":30030,"material":66,"size":30031,"collection":136,"collections":30032,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":72},220125,"wu-li-chun-zao-qing-xue-tu-zhou-wu-li-220125","吴历春早晴雪图轴","吴历（1632年—1718年）清初书画家，天主教传教士。字渔山，号墨井道人、桃溪居士，江南常熟（今属江苏）人 。 [3] 少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[23,24,7,29,1813,1337,35,3269,99,415,130,128,27,132,165,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85907768a5ded9464952c88429d0ded3.jpg","纵168cm，横41cm",[136],{"id":30034,"slug":30035,"title":30036,"dynasty":144,"author":4034,"museum":450,"description":30037,"tags":30038,"thumbUrl":30039,"material":173,"size":84,"collection":136,"collections":30040,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":49},219779,"shan-zhong-guan-shu-tu-er-sheng-mao-219779","山中观书图(二)","盛懋（生卒年未详），字子昭。父洪，临安（今杭州）人，寓魏塘，业画。懋承家学，善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用批麻皴或解索皴，笔法精整，设色明丽。主要代表作有《秋林高士图》轴（台湾故宫博物院藏）、《秋江待渡图》轴（北京故宫博物院藏）、《沧江横笛图》轴（南京博物院藏）、《溪山清夏图》轴（台湾故宫博物院藏）和《松石图》轴（北京故宫博物院藏）等。",[23,24,7,165,27,29,96,413,276,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ec8a9ca384d405f22ee92e8e1f18d52.jpg",[136],{"id":30042,"slug":30043,"title":29340,"dynasty":18,"author":223,"museum":244,"description":30044,"tags":30045,"thumbUrl":30046,"material":173,"size":30047,"collection":42,"collections":30048,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":49},219693,"liu-yin-gao-shi-tu-yi-ming-219693","这幅画论布局，论笔法、设色，均臻上乘。画中人物之猜测为谁﹖其理由是以前景中的柳树，以应陶渊明是「五柳先生」，再加以头上的巾子足以漉酒，渊明正是好酒之人。本幅从服饰及坐具、酒具，显然是画晋人，而无唐以后风俗。陶渊明出现的形象，基本上是一位「高士」，然而这个高士大致有两种面貌，一种是悠游山林的隐者，一种是醺醺醉矣的酒客。柳阴高士可能是现存画陶渊明醉醺醺的最早一幅画了。画中树下一翁，席以豹皮，前置一手卷、一盏酒，老翁袒胸赤足，头戴葛巾，双目凝神下视，实已醺醺然微醉矣。渊明坐前双脚处，席上置有盛酒之碗，酒盛九分满，沿上犹挂著一把勺子，碗与勺皆是外壁黑，内面朱，且其质薄，看来是漆器一类而非陶器。，从器皿及服饰的发展，画中人物是非唐而为晋。\n柳荫下，一位士人袒胸露背，跣足而坐于豹皮之上，潇洒超脱，充满雅逸逍遥之趣。士人两眼有醺醺然之貌，故幅上乾隆题诗称这位高士不是唐的李白，就是晋的陶潜。由于陶潜曾作＜五柳先生传＞以自况，故而推断此人为陶潜的可能性较高。 本幅人物线条刚劲如铁丝，转折犀利。树干苍老，柳叶繁复，笔力稳健挺拔，多层皴染，使得画面蕴藉厚润。全作绘制精谨，是一幅宋代佳作。",[23,24,7,165,27,28,132,96,4363,331,439,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8dde6b37837daa0488ca428fd6cae5e.jpg","65.4x40.2cm",[42,44],{"id":30050,"slug":30051,"title":30052,"dynasty":54,"author":30053,"museum":77,"description":30054,"tags":30055,"thumbUrl":30062,"material":173,"size":30063,"collection":68,"collections":30064,"showCount":29682,"zanCount":1998,"manualWeight":48,"mainColor":49},218957,"xue-jing-lu-yan-tu-dou-chi-dao-ren-218957","雪景芦雁图","都痴道人","寒江雪岸，双雁栖于坡间。一雁昂首引颈，似望垂枝冰棱；一雁敛翅低首，若思冬日闲情。岸边枯草丛生，竹枝覆雪，柳丝悬冰，凝住凛冬气息。雁羽勾勒细腻，墨色浓淡相衬，绒羽质感毕现；雪地以淡墨晕染，留白见意，坡岸起伏自然。冰棱线条劲挺，柳枝疏朗，与双雁的生动形成呼应。画面虽寒，双雁相依却含暖意，于萧瑟中藏生机。笔墨兼具工致与写意，工笔绘雁之形神，写意写雪之空灵，意境清寂而不失温情，尽显冬日禽鸟之态与自然之趣。",[23,24,7,3291,128,28,369,1813,18111,30056,30057,4399,30058,30059,30060,30061,19568],"枯柳","冰棱","枯草","雪坡","清寂","温情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37d6f5402bf65e673703469de4723fd.jpg","135x74cm",[68],{"id":30066,"slug":30067,"title":30068,"dynasty":18,"author":223,"museum":244,"description":30069,"tags":30070,"thumbUrl":30071,"material":173,"size":30072,"collection":42,"collections":30073,"showCount":29682,"zanCount":1998,"manualWeight":48,"mainColor":72},218858,"lian-tang-shui-fu-tu-yi-ming-218858","莲塘睡凫图","画家不仅将鸭子讨人喜欢的柔美外表表现得淋漓尽致，还将鸭子的毛绒质感表现得淋漓尽致。",[23,24,164,7,59,61,28,81,12812],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad944b5f7cf79d9baa44a2f50701f1b1.jpg","21.2x23.4",[42,45],{"id":30075,"slug":30076,"title":30077,"dynasty":18,"author":223,"museum":244,"description":30078,"tags":30079,"thumbUrl":30080,"material":151,"size":84,"collection":318,"collections":30081,"showCount":29682,"zanCount":1998,"manualWeight":48,"mainColor":72},218712,"za-shi-tie-yi-ming-218712","杂诗帖","绢本素笺泛着岁月的暖黄，墨色沉敛如漆，行笔间藏着宋人的疏朗意趣。笔画时而轻若游丝，时而重若坠石，牵丝映带处似有春风拂过纸页，随性却不失章法。诗句里的江山清晖、岁月流转，与笔墨的简淡相映，读来竟觉纸间有清风吹出。朱红钤印如晨星落纸，与沉墨、暖绢相映成趣，更添古雅。这帧手札无刻意雕琢，却在日常书写中流露出宋人审美底色——平淡天真，余味悠长。仿佛执笔人临窗挥毫的呼吸仍在字间，每一笔都是时光痕迹，静静诉说千年前文人情思。",[23,18,133,64,7,59,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01222659e4ef1f33f027553818ee7200.jpg",[318],{"id":30083,"slug":30084,"title":30085,"dynasty":18,"author":30086,"museum":244,"description":30087,"tags":30088,"thumbUrl":30089,"material":278,"size":30090,"collection":136,"collections":30091,"showCount":29682,"zanCount":1116,"manualWeight":48,"mainColor":72},218644,"yan-yu-tu-huang-qi-218644","烟雨图","黄齐","这幅画是一个小溪和山的场景，安静而遥远，全部来自写生。黄齐不知道是哪一代人或哪一个地方的人，但这幅画中的笔法几乎是元代的山水风格。",[23,24,7,128,132,29,34,37,131,99,17243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeda478f2951b201e64af557bf02a0f7.jpg","28.9x52cm",[136],{"id":30093,"slug":30094,"title":30095,"dynasty":124,"author":14340,"museum":450,"description":30096,"tags":30097,"thumbUrl":30098,"material":317,"size":30099,"collection":44,"collections":30100,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":49},218514,"yu-fu-tu-wu-wei-218514","渔夫图","该图描绘了一个渔夫在溪边的老柳树下捕捉一条新鲜的鱼。人物造型细致，渔夫捕鱼的喜悦之情刻画得淋漓尽致，山水、服饰用笔浑厚，面部和手脚用笔精细，是吴伟人物的典型特征。",[23,24,7,165,128,96,331,1771,171,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34e15e29ad6e911cc0f9de6f8bd082ea.jpg","195.8x102",[44],{"id":30102,"slug":30103,"title":30104,"dynasty":54,"author":223,"museum":300,"description":30105,"tags":30106,"thumbUrl":30107,"material":278,"size":84,"collection":44,"collections":30108,"showCount":29682,"zanCount":1998,"manualWeight":48,"mainColor":72},218453,"di-wang-ming-chen-xiang-zhi-wang-xi-zhi-yi-ming-218453","帝王名臣像之王羲之","墨线勾勒的衣袂如行云流转，宽博的袍服衬出人物清雅风骨。长髯垂胸，目光沉静似藏砚池烟霞，巾帽下的面容温润儒雅，尽得书圣旷达之态。左侧题跋笔力苍劲，与肖像相映成趣，文墨间流淌着人物轶事，添了古朴意韵。墨色浓淡相宜，衣纹转折见笔锋，工笔与写意相融，将王羲之的文人灵韵凝于尺幅。整幅画气韵生动，笔墨含情，似能窥见这位书法大家挥毫时的风采，是传统人物肖像中颇具韵味的佳作。",[23,24,7,59,188,128,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ad2ca69093f4ab3dd5c940ec366ecaa.jpg",[44],{"id":30110,"slug":30111,"title":30112,"dynasty":124,"author":223,"museum":244,"description":30113,"tags":30114,"thumbUrl":30116,"material":173,"size":30117,"collection":44,"collections":30118,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":956},218445,"xi-ying-tu-yi-ming-218445","戏婴图","古雅绢色晕染出时光的温润，三个稚童围聚盆边的嬉戏场景，似将千年笑语凝于尺幅。红衣童子侧身托腮，绿衣小儿俯身探向盆中浮舫，灰衣幼童低首凝视，每一处神态皆憨态可掬。虬枝垂落艳红石榴，饱满果实暗蕴多子祈愿；盆沿纹饰斑斓，与稚子衣袂的鲜活色彩相映成趣。线条简练却传神，衣褶的松弛、动作的天真，尽得孩童本真之态。古绢的斑驳未减其韵，反让这份日常嬉戏的温馨更显隽永——无需刻意雕琢，便将纯粹童趣化为穿越时空的感动，引观者驻足，重拾心底那份久违的澄澈快乐。",[24,7,164,165,28,27,2218,247,251,30115,131,62],"石榴树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe4bcc721f7de92c5eb1552f1552e379.jpg","144.2x79",[44],{"id":30120,"slug":30121,"title":30122,"dynasty":54,"author":5623,"museum":450,"description":5624,"tags":30123,"thumbUrl":30124,"material":173,"size":5628,"collection":84,"collections":30125,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":72},218353,"shi-nv-tu-ce-2-li-ting-xun-218353","仕女图册-2",[24,7,27,28,96,166,170,232,64,208,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29b94ddb9dca2a24390e96ab7141eea0.jpg",[],{"id":30127,"slug":30128,"title":30129,"dynasty":54,"author":523,"museum":450,"description":30130,"tags":30131,"thumbUrl":30132,"material":173,"size":30133,"collection":84,"collections":30134,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":72},218326,"shen-xian-gu-shi-tu-ce-10-leng-mei-218326","神仙故事图册-10","这一卷是一幅关于神仙故事的画。笔触做得非常好，人物也很自然，比例匀称。虽然色彩强烈，但并没有压倒性的效果，而且景观、动植物和工具都被描绘得非常巧妙。",[23,164,24,7,59,28,27,96,131,37,170,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8c59c4eabdad812463812ac127f8c66.jpg","38x42",[],{"id":30136,"slug":30137,"title":30138,"dynasty":144,"author":18589,"museum":77,"description":30139,"tags":30140,"thumbUrl":30141,"material":278,"size":30142,"collection":136,"collections":30143,"showCount":29682,"zanCount":1998,"manualWeight":48,"mainColor":72},218097,"yun-lin-zhong-xiu-tu-fang-cong-yi-218097","云林钟秀图","这幅画描绘了一片苍茫的云海和山脉，山峰高耸，山腰上漂浮着一条厚厚的云带，朦朦胧胧，山下的两岸长满了树木，树木的影子在白云带中时隐时现，突出了苍茫云海的运动。画中一高一低的山峰耸立在白云之上，山峰的顶端用墨水着色，下面是深谷和溪流。在画的右端是几棵古松，用浓墨点出了浓密的树枝和树干。在画面的最后，密林中出现的房屋像是道教寺庙的集中地，有门、有墙、有宫殿，应该是龙虎山上清宫的主殿，而其他寺庙则散落在各处。这幅画的用墨很随意，不拘一格。云山上的大笔水墨，苍茫润泽，富于变化。",[23,164,24,7,25,128,29,132,208,133,496,37,34,1515,499,415,7782,1022,38,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876493dc3425bb5b3eb370d2bc11a31c.jpg","24x105cm",[136],{"id":30145,"slug":30146,"title":30147,"dynasty":54,"author":30148,"museum":77,"description":30149,"tags":30150,"thumbUrl":30151,"material":66,"size":30152,"collection":136,"collections":30153,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":72},218094,"han-shan-xiao-zhong-tu-zhang-zong-chang-218094","寒山晓钟图","张宗昌","张宗昌是中国清朝时期的著名画家，他的作品《寒山晓钟图》是他最著名的代表作之一。\n\n《寒山晓钟图》描绘了寒山寺的晓钟，这座寺庙位于江苏省的寒山山脉上。图中的晓钟散发出的光芒照耀在周围的山峦和林木之间，使得整幅画面显得格外美丽。张宗昌在画中运用了精细的线条和富有层次感的透视技巧，使得图中的山水景观栩栩如生，充满了生机和活力。\n\n《寒山晓钟图》被广泛认为是张宗昌最杰出的作品之一，它展示了他对中国传统山水画的精湛技艺和深刻理解。张宗昌是清朝时期最著名的山水画家之一，他的作品对中国绘画艺术产生了深远的影响。",[23,24,7,165,128,132,29,663,130,98,99,129,34,35,37,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4221b65c1a4cb46cc255586c5d3a1e.jpg","144x61.6cm",[136],{"id":30155,"slug":30156,"title":30157,"dynasty":124,"author":223,"museum":6413,"description":30158,"tags":30159,"thumbUrl":30160,"material":173,"size":30161,"collection":136,"collections":30162,"showCount":29682,"zanCount":48,"manualWeight":48,"mainColor":72},217883,"fang-li-di-shan-shui-tu-yi-ming-217883","仿李迪山水图","李迪是明朝时期著名的画家，他的作品以精细的写实和优美的构图著称。作者的仿李迪山水图也是以精细的写实和优美的构图为特点，但是与李迪不同的是，作者在作品中运用了更加丰富的色彩，使得作品更加生动。\n\n作者的仿李迪山水图展现了中国传统山水画的高超技巧，他的作品中经常出现山峦、溪流、森林、村庄等元素。他擅长运用描绘山水的技法，使作品看起来栩栩如生。此外，作者还注重作品的构图，他善于运用构图中的线条、弧线、曲线等元素，使作品看起来更加流畅。\n\n如果你是艺术爱好者，不妨去看看佚名的仿李迪山水图，感受一下中国传统山水画的魅力。",[24,7,29,330,132,27,131,34,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35d43d203f636dbbfcb84fda42745f1c.jpg","36.8x33cm",[136],{"id":30164,"slug":30165,"title":30166,"dynasty":54,"author":3820,"museum":300,"description":30167,"tags":30168,"thumbUrl":30169,"material":692,"size":1293,"collection":84,"collections":30170,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":72},290427,"shan-shui-tu-ce-10-kai-gong-xian-290427","山水图册10开","龚贤（1618—1689）明末清初著名画家，金陵八大家之一。又名岂贤，字半千、半亩，号野遗，又号柴丈人、钟山野老，江苏昆山人，流寓金陵（今南京市），早年曾参加复社活动，明末战乱时外出漂泊流离，入清隐居不出，居南京清凉山，买画课徒，生活清苦。性孤僻，与人落落寡合。工诗文，善行草，源自米芾，又不拘古法，自成一体。著有《香草堂集》他与同时活跃于金陵地区的画家樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪等并称“金陵八家”；与清初著名诗书画家吕潜（号半隐）并称“天下二半”。",[24,7,59,128,29,131,34,64,133,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7eb7410c32536a5d14c4134270b47ae.jpg",[],43,{"id":30173,"slug":30174,"title":29900,"dynasty":18,"author":21192,"museum":300,"description":30175,"tags":30176,"thumbUrl":30177,"material":692,"size":1293,"collection":84,"collections":30178,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":72},288841,"zi-mu-ji-tu-wang-ning-288841","王凝（公元11世纪）〔北宋〕江南人，生卒年不详，画院待诏，为熙宁(1068-1077)前画院高手。",[164,24,7,3291,28,27,21195,19480,30061,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a2bf0e55f242c2a44237a43bf7541f5.jpg",[],{"id":30180,"slug":30181,"title":30182,"dynasty":222,"author":223,"museum":300,"description":30183,"tags":30184,"thumbUrl":30185,"material":692,"size":1293,"collection":84,"collections":30186,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":199},288544,"li-fo-xiang-yi-ming-288544","立佛像","以铁线白描勾勒全貌，线条遒劲舒展，将衣袂、璎珞层叠的细节尽数铺陈。青莲斜擎于手，宝冠华饰精巧繁复，仪容温婉慈悲，静穆之中尽显庄严华贵。\n\n笔意简练却形神兼备，寥寥数笔便将沉静悲悯的气韵烘托尽致。纸面历经岁月泛黄残破，更添古拙厚重的沧桑质感，带着质朴古雅的沉静力量。未施丹青，却以素墨勾勒出佛教造像的超然之美，是一件极具意趣的宗教白描稿本。",[24,7,188,187,18381,96,4204,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F071ea652088e58cec0de64d81f9e68b5.jpg",[],{"id":30188,"slug":30189,"title":30190,"dynasty":18,"author":633,"museum":300,"description":15746,"tags":30191,"thumbUrl":30193,"material":692,"size":1293,"collection":84,"collections":30194,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":49},283639,"song-yin-guan-pu-tu-zhou-xia-gui-283639","松荫观瀑图轴",[23,164,24,7,165,128,29,1144,495,131,96,30192,132],"观瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2244bd7660b66c06c86a83b72fb12eb0.jpg",[],{"id":30196,"slug":30197,"title":30198,"dynasty":54,"author":223,"museum":300,"description":30199,"tags":30200,"thumbUrl":30203,"material":692,"size":1293,"collection":84,"collections":30204,"showCount":30171,"zanCount":1998,"manualWeight":48,"mainColor":72},267670,"gu-xiu-zhu-lin-qi-xian-tu-zhou-yi-ming-267670","顾绣竹林七贤图轴","此作以绣为笔，铺展林下雅集之景。挺秀修竹间朱栏环绕，二人对坐弈棋，落子沉吟间尽显专注；玲珑湖石之侧，两人展卷清谈，悠然自得。溪谷蜿蜒，板桥横波，岸侧三人徐行，小童捧物紧随，似赴雅会。\n配色明雅柔和，墨色皴染湖石尽显苍润，淡赭晕开溪岸，朱金饰衣纹栏杆。劈丝细匀平齐，针脚藏于晕色之间，将笔墨意趣融于丝缕，把魏晋名士萧散简远的林下风流静静晕开，尽显隐逸雅静的林下意韵。",[24,7,165,27,96,167,98,99,11633,34,64,208,30201,30202,10090],"顾绣","竹林七贤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4e06312f5b0efe7b0fe23a475e31303.jpg",[],{"id":30206,"slug":30207,"title":30208,"dynasty":18,"author":223,"museum":300,"description":30209,"tags":30210,"thumbUrl":30211,"material":84,"size":84,"collection":84,"collections":30212,"showCount":30171,"zanCount":1998,"manualWeight":48,"mainColor":72},239659,"mi-fei-san-zha-juan-yi-ming-239659","米芾三札卷","这卷行书尺牍合集，尽显米氏刷字风神。笔势纵逸跌宕，提按转折间萧散俊朗，点画粗细变幻、字形欹侧相生，带着晋人帖学的流丽韵味。\n\n信札皆是日常絮语，性情全融笔墨之中，或舒展或紧敛，枯湿浓淡相映，章法错落天成，全无匠气排布，尽是随手挥写的真趣。卷内钤印琳琅，与笔墨相映，流转着古雅的收藏脉络，尽显宋代文人信手挥毫的随性雅致，将尺牍书法的抒情性与艺术性融为一体，潇洒笔底尽是一代书家的自在风骨。",[23,7,64,25,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0728347595c279efbc3ddf6abec3fa9b.jpg",[],{"id":30214,"slug":30215,"title":3933,"dynasty":54,"author":2687,"museum":300,"description":3934,"tags":30216,"thumbUrl":30217,"material":692,"size":1293,"collection":84,"collections":30218,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":72},239244,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239244",[24,7,59,28,27,61,263,481,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee8cd875f8ac880b48dbab7264c27a44.jpg",[],{"id":30220,"slug":30221,"title":7864,"dynasty":54,"author":872,"museum":300,"description":6719,"tags":30222,"thumbUrl":30223,"material":692,"size":1293,"collection":84,"collections":30224,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":72},237938,"za-hua-ce-zhu-da-237938",[24,7,59,128,133,369,61,480,624,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefc62b03cb8e858aebb63969a5919883.jpg",[],{"id":30226,"slug":30227,"title":25059,"dynasty":124,"author":4333,"museum":20,"description":30228,"tags":30229,"thumbUrl":30230,"material":611,"size":30231,"collection":68,"collections":30232,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":72},236756,"mo-lan-tu-zhou-tian-qiu-236756","此图画墨兰一束，姿态婀娜，充满生意。兰叶潇洒舒展，穿插有致；花瓣随意点簇，淡雅秀美。行笔多转折，以中、侧笔锋互换，笔势一波三折，有挺有转，有断有续，有收有纵，清爽而秀雅，变化多端，生动地表现了兰草的质感和风韵，格调清新幽雅。",[24,7,128,375,171,61,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cf749fc13e7e1f98c4ffdd275619602.jpg","纵83cm，横33.5cm",[68,117],{"id":30234,"slug":30235,"title":30236,"dynasty":54,"author":3750,"museum":20,"description":30237,"tags":30238,"thumbUrl":30239,"material":1027,"size":30240,"collection":136,"collections":30241,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":72},236458,"dou-he-mi-lin-zhou-wang-jian-236458","陡壑密林轴","故宫博物院藏有康熙壬寅年（1662）年王鉴五十四岁作《陡壑密林图》轴，作品为纸本墨笔，纵56厘米，横35厘米。王鉴在画中自题：“黄子久有《陡壑密林图》为董思翁所藏，后归奉常烟翁，余时得纵观。雨窗岑寂，戏弄笔砚，漫师其法，不求形似也。壬寅小春望日写于染香庵中。王鉴。”下钤“王鉴之印”白文正方，起首钤“染香庵”朱文长方。画轴外题签：“廉州太守仿子久陡壑密林图山水真迹。辛丑三月重装。镂香阁惕庵珍秘。”为嘉兴王祖锡（1858－1908）旧物，画幅右下亦钤其鉴藏印：“惕安藏廉州画。”王祖锡藏有王鉴作品多件，如王鉴《溪山渔隐图》等。",[24,7,128,132,29,663,1314,413,35,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38a7957963c9eb5d48d2effbd1e72a07.jpg","纵56厘米，横35厘米",[136,117,318],{"id":30243,"slug":30244,"title":30245,"dynasty":124,"author":30246,"museum":300,"description":30247,"tags":30248,"thumbUrl":30249,"material":734,"size":84,"collection":68,"collections":30250,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":49},236125,"mei-hua-tu-zhou-chen-hui-236125","梅花图轴","陈惠","“闻道梅花圻晓风，雪堆遍满四山中”，冬天的时节，又见梅花朵朵绽放，不由得把目光转向了一幅古画，名为《梅花图》(见图)。虽说冬季是个萧杀的季节，若是与寒冬腊月的一枝梅相遇，那心中的温暖与明朗是可想而知的。",[24,7,165,128,61,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71011ba15aabee3e3a21cf3aa2c9c2e9.jpg",[68,45],{"id":30252,"slug":30253,"title":30254,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":30255,"thumbUrl":30256,"material":692,"size":1293,"collection":44,"collections":30257,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":72},235355,"shan-shui-ren-wu-tu-ce-huang-shen-235355","山水人物图册",[24,7,128,188,96,59,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d3311b8c74a0e1e53cd7d87fe52db69.jpg",[44,136],{"id":30259,"slug":30260,"title":30261,"dynasty":124,"author":3619,"museum":300,"description":30262,"tags":30263,"thumbUrl":30264,"material":84,"size":30265,"collection":84,"collections":30266,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":72},234855,"wen-zheng-ming-shan-shui-ce-ye-wen-zheng-ming-234855","文徵明山水册页","文徵明（１４７０～１５５９），初名壁，字徵明，号衡山，４２岁后以字行，改字徵仲，江苏苏州人。他一生１０余次应试，皆未中举，１６２３年被荐授翰林院待诏，故后人称“文待诏”，但三年后即辞官回乡，此后再未出仕。他为人正直，不媚权贵，自订书画有三不应：宗藩、中贵、外国，因此清代顾复称他为“古今第一流人物，吾吴（吴县）之所以借光者也”。\n文徵明早年并不聪慧，据称曾因不善书法而被拒绝参加乡试。但他生活在一个良好的文化环境里，先后拜沈周、李应桢、吴宽和王鏊等人为师，又与吴中才子祝允明、唐寅、徐祯卿等相友善，加上本身刻苦努力，终于成为一代文宗，不仅在“吴中四才子”和书法的“吴门四家”中都占据一席，在画上也与沈周、唐寅、仇英齐名，后人称“明四家”。在沈周、祝允明等相继弃世后，主持吴门文坛艺坛数十年，影响极大。书法家周天球、王穉登、陆师道、陈淳（也厕身吴门四家）等都是他的弟子，他折辈与交的王宠（吴门四家之一）实际也曾受到他的指点。他的子弟后人，也多能书善画，风流延续数代。\u2028　　　文徵明于书法也和祝允明一样各体兼修，号称篆、隶、楷、行、草俱佳。但篆隶其实并未充分了解秦汉的传统，因而置诸书史，不足成家。真正有成就的，是小楷、行书和草书。\u2028　　　其小楷，师法锺繇、二王及欧阳询，兼及其他各家，以精严谨肃见长，至老不怠，８９岁高龄时仍能悬腕作小楷，且笔力不减，无一懈笔。代表作有《醉翁亭记》、《后赤壁赋》、《离骚经》、《四山五十咏》、《太上老君说常清净经》等，其中《离骚经》书于８５岁，４０００多字，笔画入锋爽快，横多尖起圆收，折笔干净利落，竖画坚挺峻健，撇捺匀稳平和，结体紧密遒健，总体风格清新爽洁、温纯闲雅，堪与赵孟頫比肩。",[164,24,7,59,128,132,29,34,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53a5e1234ce6cac24dc759d6c01cc0e1.jpg","纵27.4，横14.9厘米",[],{"id":30268,"slug":30269,"title":30270,"dynasty":54,"author":1069,"museum":300,"description":30271,"tags":30272,"thumbUrl":30273,"material":734,"size":84,"collection":68,"collections":30274,"showCount":30171,"zanCount":1998,"manualWeight":48,"mainColor":72},234276,"hua-guo-ce-wang-yun-234276","花果册","王云，字汉藻，号清痴，一字雯庵，号竹里，江苏高邮人。斌子。楼台、人物近似仇英，康熙时驰名江、淮。写意山水，得沈周遗意。于朝，圣祖赏逾等。",[24,7,59,27,61,547,2690,747,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff85e8fad369e11d4e7fbdfa5edef96eb.jpg",[68],{"id":30276,"slug":30277,"title":30278,"dynasty":124,"author":802,"museum":20,"description":30279,"tags":30280,"thumbUrl":30281,"material":611,"size":84,"collection":84,"collections":30282,"showCount":30171,"zanCount":1998,"manualWeight":48,"mainColor":72},234107,"wen-dao-tu-juan-chen-hong-shou-234107","问道图卷","陈洪绶字章侯，号老莲，浙江诸暨人，明末清初画坛奇才。他的画既继承传统，又自辟乾坤，富有革新精神和独创风格，与当时居于北京的崔子忠齐名，有“南陈北崔”之称。他的人物画创作，上承六朝、盛唐的优良传统，又不为传统所囿，大胆创新，使衰微了近六百年的中国人物画再度复兴，打破了明末清初以山水花鸟画为主的格局，不仅在当时画坛独放异彩，其画风还深刻影响了此后近三百年的中国绘画。又以绣像人物插图闻名于世，所作《水浒叶子》《博古叶子》等酒牌，在民间广为流传，是古代版画史上的传世名作。",[24,164,7,25,28,188,96,29,34,497,276,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0aead138bc40c60ea9bc5ee98fc06ec.jpg",[],{"id":30284,"slug":30285,"title":30286,"dynasty":18,"author":5533,"museum":20,"description":30287,"tags":30288,"thumbUrl":30289,"material":2239,"size":30290,"collection":84,"collections":30291,"showCount":30171,"zanCount":1998,"manualWeight":48,"mainColor":49},234033,"qiu-liu-shuang-ya-tu-ye-liang-kai-234033","秋柳双鸦图页","此图前人定名《秋柳双鸦》，实则写唐代诗人王维五言绝句《鸟鸣涧》诗意。王维的诗“人闲桂花落，夜静春山空。月出惊山鸟，时鸣春涧中。”描绘鸟鸣涧春山月出的夜景，既幽静，又有生气。梁楷的画，以渴笔焦墨绘一节断裂的枯柳，三两根枝条昂扬向上又飘拂而下，突兀地将整幅扇页中分为二，构图大胆，以奇致胜。大片空白处淡墨晕染出的薄云满月，给空谷春山平添了几分神秘。初升的月亮惊起的两只山鸟奋飞呼鸣，打破了夜空的静寂，老柳虽然细弱，枝条却仍坚韧，使观者感受到自然生命的搏动。\n梁楷作画，以“减笔”闻名，此幅亦不例外，寥寥几笔就生动地勾画出所表现物象的主要特征，描绘出花鸟的内在神韵。大片的空白使画面显得空濛含蓄，给人以笔墨有尽而意无穷的想象空间，达到了“于无画处皆成妙境”的艺术效果。",[164,24,7,59,1131,128,369,30056,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2185ad554d0542ff5a481b90a1241f7.jpg","纵24.7厘米，横25.7厘米",[],{"id":30293,"slug":30294,"title":30295,"dynasty":124,"author":14340,"museum":20,"description":30296,"tags":30297,"thumbUrl":30298,"material":30299,"size":30300,"collection":84,"collections":30301,"showCount":30171,"zanCount":1998,"manualWeight":48,"mainColor":72},233701,"wu-ling-chun-tu-juan-wu-wei-233701","武陵春图卷","图中女子武陵春的面部和衣纹均以细匀的淡墨线条绘成，只在眼眸、发髻处用重墨点染，这种特殊的用墨方法不仅形成了生动的墨韵，同时也令画面清雅秀润，更贴切地表现出女主人的纤秀文静之美。此外，吴伟在创作上还采用了借物言志的艺术手法，以石桌上陈设的琴、笔、砚等文房用具揭示出武陵春内在的文化修养，以石桌左侧的盆景梅花象征武陵春心志如梅的高尚情操。以这些带有寓意性的物品作为衬景点缀画面，无疑在充实武陵春形象的同时也丰富了画面的视觉感受。吴伟凭藉其精湛的艺术造诣曾分别于明成化和弘治年间奉召进京供奉宫廷。他性情孤傲，不慕权势，为朝廷内外的恶浊环境所排斥。返回江南后，他常以饮酒狎妓遣释郁闷的心境，所以，他对青楼女子的生活有一定的接触和了解。当他闻知富有文采的武陵春身在青楼而不受所处境地的影响、对爱情忠贞不渝时，为之深深感动，遂援笔作此图，以示对武陵春的同情与敬仰。清吴麒《图绘宝鉴续纂》认为吴伟“画人物落笔健壮，白描尤佳”。此幅便是吴伟晚期白描画中的精品。吴伟的白描人物宗法唐代吴道子和宋代李公麟，强调线条自身婉转流动的韵律感和塑造形象的精确性。",[24,7,25,188,128,96,166,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c183031801a15d9b56e62fc7c52ea46.jpg","纸本，白描","纵27.5厘米，横93.9厘米",[],{"id":30303,"slug":30304,"title":3629,"dynasty":54,"author":4083,"museum":20,"description":30305,"tags":30306,"thumbUrl":30307,"material":1722,"size":30308,"collection":84,"collections":30309,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":72},233402,"xian-shan-lou-ge-tu-zhou-wang-shi-min-233402","上诗堂有清初吴伟业题云：“陈子静孚母夫人方太君七十，王烟客奉常、王湘碧郡伯绘仙山楼阁图以为祝。郡伯所制可以颉昂松雪，若太常此帧苍深高远，尺幅之中恍见仙真楼上，出入于烟云缥缈间，笔墨之奇非仅得子久三昧也。太夫人女箴妇德可镌琬琰，余将托诸诗歌，得两公妙染，真所谓画中有诗，不待九如之颂，可效凹觥之祝矣。吴伟业题。”\n此图是王时敏为友人陈静孚之母七十寿辰而作。画面上峰峦叠嶂，林木葱郁，流泉曲绕，长松挺立。山谷中点缀着茅亭草舍，环境清幽。在构图和笔墨方面都具备典型的中国画特征。首先，构图方面采用全景式构图，以散点透视的方法描绘景物，近景双松清晰挺拔，远景高山连绵巍峨，所画内容具有美好的象征意义，十分契合祝寿的主题。其次，在笔墨表现方面，继承董巨（董源、巨然）、元人的笔墨传统，尤其是黄公望的画法，以仿古见长，具有程式化的特点。笔法精绝老到，为王氏晚年佳作。",[24,7,165,29,97,34,30,499,35,128,132,131,415,3427,1645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e1c5058cf54925d7fcced41900d4ce1.jpg","纵133厘米，横63.3厘米",[],{"id":30311,"slug":30312,"title":30313,"dynasty":18,"author":1622,"museum":244,"description":30314,"tags":30315,"thumbUrl":30316,"material":151,"size":15440,"collection":84,"collections":30317,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":72},231341,"hua-deng-shi-yan-tu-er-ma-yuan-231341","华灯侍宴图（二）","《华灯侍宴图》描绘了杨次山父子在上元节侍宴的场面，记述了南宋宫廷的重大活动。该画以俯视的角度写华灯初上时分官员们随皇帝宴饮观舞的情景，并在全景山水的描写中，烘托出了室内的豪华与欢乐气氛。图中隐约可见几位官员属身随侍皇帝饮宴官殿之外，乐舞的宫女摇曳着身姿，大殿之外的树木，好似也随着音乐起舞，姿态横生。这些树林，由近面远，渐渐隐设于雾色之中，只见宫殿后盛立着几棵松树，和远处云雾中抹青山。中景的松树刻而很具特色，用笔瘦硬如屈铁，枝条长面斜向出。\n画中，远山眉黛，松枝逶迤，前庭梅树十余棵，数名宫女执灯起舞于梅林中，舞姿曼妙。殿宇华厦，灯火明亮，有几位大约是官员的人物，背向微躬，恭谨陪侍酒宴。内堂则幽深不可窥测。\n宋宁宗题一首御制诗，云：“朝回中使传宣命，父子同班侍宴荣。酒捧倪觞祈景福，乐闻汉殿动驩声。宝瓶梅蕊千枝绽，玉栅华灯万盏明。人道催诗须待雨，片云阁雨果诗成。”\n马远是南宋宫廷画家，杨皇后是其主要的艺术赞助人。杨皇后多次为马远之作题诗题句，其创作也势必迎合杨皇后的要求，“臣马远”的款识当为此意。从《华灯侍宴图》的笔法与风格来看，当为马远晚年之作，而杨皇后的题记，也属晚年风格。换而言之，画作的年代应在宋宁宗时代。\n对于该画的主题，不同学者提出不同观点，毕嘉珍提出画中描绘的是“奢侈的赏梅盛宴”。彭慧萍则从画师的视角出发，指出此图反映了“深夜禁中大内的当差场景”。高居翰的分析是“马远想出了一个富于诗意的构图”，将宴席隐藏在向后延伸的宫殿图像里，只以庭园中的演艺者和侍从来传达娱乐的场景。\n也有观点指出，这次宴会是宋宁宗为迎接签订“嘉定和议”的丞相史弥远而举办的，所谓“朝回中使传宣命”，并召马远及其子马麟陪侍，马远用绘画记录了这一重大时刻。\n一座孤零零的殿宇，矗立在远山近林中。阶墀下方极少渲染。殿内的君臣侍从沉浸在一片歌舞之中。视线由梅树上顶之势领起，沿华堂左侧引上，由屋脊折而向右，绕出一个反S形，而到达松树与远山，然后下垂，落空于远方薄暮中。观者除了感受宴饮之乐，还可能被近景的梅树、中景的松树、远景的山及苍茫的夜空所吸引。\n此图以俯视的角度写华灯初上时分豪门达官酒宴的情景，但作者的兴趣并不是放在细写堂内宴席与众宾客的活动上，他的独特构思在于成功表现外部环境上，描写烘托出室内的豪华与欢乐气氛。图中表现松树很具特色，用笔瘦硬，如屈铁，枝条颀长，而斜向出，下笔严正，以雄奇简练的笔法，表现树枝的坚挺有力，有“拖枝马远”之称。\n该画山而不作全景式图，取一角或一峰给予突出的描写。这是马远在继承前人山水画传统的基础上的突破，是他对山水画形式美感探索的成就。",[24,7,1349,28,132,27,97,34,30,497,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9b868683d8127a8dd2bb9ff753b532.jpg",[],{"id":30319,"slug":30320,"title":30321,"dynasty":18,"author":791,"museum":300,"description":30322,"tags":30323,"thumbUrl":30324,"material":692,"size":1293,"collection":84,"collections":30325,"showCount":30171,"zanCount":1998,"manualWeight":48,"mainColor":72},230951,"liu-kai-jian-zi-tu-wu-bing-230951","榴开见子图","吴炳（公元12世纪），生卒年不详，毗陵武阳（今江苏常州）人，南宋光宗绍熙年间（1190-1194年）任画院待诏，是南宋院体花鸟画的代表性画家。\n代表作有《竹雀图》《写生荷花图（出水芙蓉图）》《罂粟图》《宝珠玉蝶图》《春池睡鸭图》《山茶鹁鸽图》等。",[24,164,7,28,27,61,2035,355,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e9a16b335fa694e452ac55b07eb10c5.jpg",[],{"id":30327,"slug":30328,"title":30329,"dynasty":222,"author":30330,"museum":300,"description":30331,"tags":30332,"thumbUrl":30336,"material":84,"size":84,"collection":84,"collections":30337,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":49},230476,"jiang-hu-shi-dai-feng-shen-lei-shen-tu-ping-feng-jiu-jing-bao-yi-230476","江户时代 风神雷神图屏风","酒井抱一","狞恶忿怒的面相搭配蓬乱如戟的须发，肌肉贲张的肢体满是狂暴力量感，风神腾跃于烟霭之上，握持系着风铎的绳索，青绸长带随罡风翻卷破空，仿佛能听见风铎清响混着呼啸长风。\n\n泥金笺底晕开暗沉烟霭，衬出神祇御风的缥缈动感，刚硬狞厉的面相与柔婉飘带形成强烈对冲，将风神席卷天地的威仪诠释得淋漓尽致。工写兼用的笔意，将无形罡风化为可视的磅礴威仪，静穆屏风之上，晕开浩荡天地气机，让人仿佛能触到扑面而来的浩荡天风。",[23,24,7,250,27,96,30333,949,187,4283,30334,30335,28,8189],"神","神话形象","和风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a863bc1f73bf32374c8bc386a382b8e.jpg",[],{"id":30339,"slug":30340,"title":30341,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":30343,"thumbUrl":30345,"material":692,"size":1293,"collection":84,"collections":30346,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":49},228880,"zhu-cha-shi-wen-zheng-ming-228880","煮茶诗","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,7,64,133,165,805,128,208,30344],"煮茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb1d4b72435f608c2fe35218f6399b3.jpg",[],{"id":30348,"slug":30349,"title":30350,"dynasty":144,"author":223,"museum":300,"description":30351,"tags":30352,"thumbUrl":30353,"material":84,"size":84,"collection":84,"collections":30354,"showCount":30171,"zanCount":1998,"manualWeight":48,"mainColor":49},228212,"hang-zhou-xi-hu-tu-yi-ming-228212","杭州西湖图","以团扇形制铺陈湖山胜概，石青石绿晕染峰峦，古绢底色沉厚，衬得青绿明妍雅致，勾勒出峭拔崖嶂与层叠林木。亭台楼阁依山面水排布，飞檐斗拱精工细绘，尽显江南苑囿的雅致规整。湖面开阔淡远，长桥卧波隐现其间，远山含黛晕出空濛烟岚。\n\n构图虚实相生，繁复界画楼宇与清旷湖山相映，既见对实景的精细摹写，又以淡墨轻岚烘托出西湖柔婉清远的诗意氛围，带着元代青绿山水的复古意趣，将城湖揽胜的雅致图景凝缩尺幅，尽展江南名湖的从容雅致，藏着古人对湖山胜景的倾心描摹。",[23,24,7,26,27,29,95,97,98,99,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a00903c88ee41eed7d372b81389a0b5.jpg",[],{"id":30356,"slug":30357,"title":30358,"dynasty":18,"author":30359,"museum":300,"description":30360,"tags":30361,"thumbUrl":30362,"material":84,"size":84,"collection":84,"collections":30363,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":49},227959,"ya-zi-zhen-ji-zhu-ke-rou-227959","鸭子真迹","朱克柔","此作用缂丝之艺摹绘水畔小景，紫鸭静立石上，抬首远眺，神态悠然舒展，将水禽野逸之态尽显。羽色以淡紫晕染，层次柔润细腻，将绒羽蓬松质感逼真呈现。旁侧墨竹挺劲清逸，枝叶错落舒展，虚实相生间烘托出幽寂雅致的水汀氛围。整体兼工带写，以丝代笔，既保留了工笔的细腻精致，又暗含文人写意的疏朗意趣。配色淡雅和谐，含蓄审美藏于方寸之间，将禽鸟野趣与清雅意境相融，尽显缂丝工艺与花鸟意趣的绝妙结合。",[23,24,7,61,27,28,12812,167,208,1326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaed484653346668e58fa3412de78120.jpg",[],{"id":30365,"slug":30366,"title":30367,"dynasty":18,"author":633,"museum":300,"description":30368,"tags":30369,"thumbUrl":30370,"material":84,"size":84,"collection":84,"collections":30371,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":49},227729,"mei-xia-du-shu-tu-ye-xia-gui-227729","梅下读书图页","夏圭的山水画看似简单却饱含意境，“夏半边”的陈设方式在表现山水韵味的基础上具有一定的文人画意味，这种画面的大胆裁剪体现出了中国画“计白当黑”的美学标准，是画面“置陈布势”的重要组成部分。",[23,24,7,59,128,27,29,96,371,129,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe46974e98376d3ea1cd40fa451fdba27.jpg",[],{"id":30373,"slug":30374,"title":30375,"dynasty":18,"author":223,"museum":300,"description":30376,"tags":30377,"thumbUrl":30378,"material":84,"size":84,"collection":84,"collections":30379,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":49},227391,"e-mi-tuo-fo-jie-yin-tu-yi-ming-227391","阿弥陀佛接引图","佛教绘画自东汉传入中国，在魏晋南北朝时期与中国传统绘画融合发展，使佛教绘画呈现出中国化的趋势，又在隋唐时期统治者大力发展佛教的文化背景下发展到一个隆盛的顶峰。佛画风格融合了中国本土文化从而使佛教绘画完全融合于中国传统绘画，形成了中国特有的佛画艺术风格，充分体现出佛教绘画在中国各朝代发展的历程，实际上就是佛教艺术中国化的过程。",[23,24,7,165,187,96,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f039a18240b22680ef7ebbc367140ee.jpg",[],{"id":30381,"slug":30382,"title":4018,"dynasty":18,"author":223,"museum":300,"description":30383,"tags":30384,"thumbUrl":30385,"material":84,"size":84,"collection":84,"collections":30386,"showCount":30171,"zanCount":1116,"manualWeight":48,"mainColor":72},227387,"shu-kui-yi-ming-227387","此画选自《宋人收藏绘本》。 原本应该是一种具有实用功能的扇形面条，但后来以相册的形式转化为草图。 全幅双钩挂满，写有一株蜀葵（古称木槿），花苞无数，第二次绽放，布局和姿态自然生动。 比如花瓣的钩子和叶子的锯齿筋，笔刷都一展身手。 枝条、花萼、叶背也染上了青绿色和多汁的绿色，翻到一旁时，显得十分美丽和真实。 虽非作者印章，但画风具有宋代庭院花画的清秀特点，应该出自南宋画院专家之手。",[23,164,24,7,28,27,61,547,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb3504db8c782a0bf56ff3d8e7afbe96.jpg",[],{"id":30388,"slug":30389,"title":30390,"dynasty":351,"author":3729,"museum":300,"description":30391,"tags":30392,"thumbUrl":30393,"material":84,"size":84,"collection":84,"collections":30394,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":49},227261,"hua-hui-xie-sheng-tu-ce-huang-ju-cai-227261","花卉写生图册","黄居寀(933—?),字伯鸾,成都(今属四川)人,五代后蜀名画家黄筌季子。擅绘花竹禽鸟,精于勾勒,用笔劲挺工稳,填彩浓厚华丽,其园竹翎毛形象逼真,妙得自然;怪石山水超过乃父。与父同仕后蜀,为翰林待诏。乾德三年(965)随蜀主降宋,进京供职宫廷,仍授翰林待诏,负责收罗和鉴定名画,淳化四年(993)曾出使成都府。太宗尤加宠遇,委以搜访名画、诠定品目只重责。",[164,24,7,59,27,28,61,62,481,2166,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc391f878cf5f9eadb56dcc0c84f4c326.jpg",[],{"id":30396,"slug":30397,"title":30398,"dynasty":54,"author":30399,"museum":12686,"description":30400,"tags":30401,"thumbUrl":30402,"material":84,"size":6342,"collection":68,"collections":30403,"showCount":30171,"zanCount":1116,"manualWeight":48,"mainColor":72},224544,"mo-song-tu-weng-fang-gang-224544","墨松图","翁方纲","翁方纲（1733—1818），字正三，号覃溪，晚号苏斋，顺天大兴（今属北京市）人。清乾隆十七年（1752年）进士，官至内阁学士。翁方纲精于考据、金石、书法之学，又是清代'肌理说'诗论的倡始人。书学欧、虞，谨守法度。尤善隶书，相传翁方纲能在瓜子仁上书写小楷字，功力精熟可见一斑。《清朝书画录》把他和刘墉、梁同书、王文治齐名，并称'翁、刘、梁、王'。亦与刘墉、成亲王永瑆、铁保齐名，称'翁刘成铁'。",[23,24,7,164,128,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34613a6fbd97265e1f60882c39df8312.jpg",[68],{"id":30405,"slug":30406,"title":30407,"dynasty":54,"author":5879,"museum":300,"description":30408,"tags":30409,"thumbUrl":30410,"material":84,"size":84,"collection":84,"collections":30411,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":49},224184,"hua-niao-cao-chong-tu-ba-03-hua-yan-224184","花鸟草虫图八-03","此作兼工带写，以淡逸之笔绘就秋日常景。瓜藤迤逦缠绕，墨竹穿插其间，劲挺竹叶以浓墨挥写，尽显清刚意态。没骨晕染的瓜叶鲜活舒展，浓淡过渡自然。赭色螳螂静伏叶间，秋虫攀附艳色黄花，草虫刻画细腻逼真，灵动如生。\n右上角题诗呼应画境，将秋野闲逸之趣融于诗画。整体设色柔和雅致，笔意松灵秀逸，把寻常小景晕染出诗意禅味，尽显文人写意的空灵隽秀，将秋日郊野的生机野趣娓娓道来。",[23,24,7,59,27,61,480,167,11716,747,806],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c969a769d5bae547a54eea345c4adb1.jpg",[],{"id":30413,"slug":30414,"title":30415,"dynasty":18,"author":223,"museum":244,"description":30416,"tags":30417,"thumbUrl":30421,"material":40,"size":30422,"collection":84,"collections":30423,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":49},223586,"hua-qian-shou-qian-yan-guan-shi-yin-pu-sa-yi-ming-223586","画千手千眼观世音菩萨","观世音又称观音，是我们最熟悉的一位佛教人物。这尊观音与常见的一头两手的显教观音像不同，他的头顶共有二十六个菩萨头和一个佛头，有一千只手，每一只手的手掌中间又有一只眼睛，所以称为「千手千眼观世音菩萨」，是密教观音的一个重要典型。\n万顷波涛，四天王背负着一座七宝莲台，千手千眼观世音菩萨十分庄严地站在台上。左右各有两位菩萨随侍，下方的天龙八部双手合什，向观音菩萨示敬。观音菩萨头戴化佛宝冠，绀发垂肩，双唇上下都有胡髭，仍作男相。但五官秀美，已流露出女性化的特质。全图赋色妍丽，璎珞装饰和七宝莲台都描绘得十分仔细。人物衣纹线条柔劲流畅，这些特色都与传至日本的南宋佛画十分类似，是一幅难得的南宋佛教绘画精品。",[23,164,24,7,165,187,18381,28,27,23253,96,4204,30418,30419,189,30420,3588,7221],"千手千眼","胁侍","光环","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeb00110c2af854cb19eb6e127dce762.jpg","176.8公分横：76.2公分",[],{"id":30425,"slug":30426,"title":4349,"dynasty":54,"author":9450,"museum":300,"description":30427,"tags":30428,"thumbUrl":30429,"material":611,"size":30430,"collection":84,"collections":30431,"showCount":30171,"zanCount":1998,"manualWeight":48,"mainColor":72},223372,"lan-tu-yun-xiang-223372","清代女道士，无锡人，生卒年不详，俗姓王，名静莲，一名岳莲。自幼出家于惠山福慧双修庵，后自度为女道士。因慕明末秦淮八艳之一卞玉京为人，故取号玉井道人，又号清微道人。韵香能书擅画，尤擅画兰。韵香收藏有《空山听雨图册》，韵香将此图册视为生家性命，因图册佚失，她特地请画家文人重新作图题诗，不料图册再度佚失，韵香因此遭受打击，心灰意懒，不久即离开了人世。韵香死后，《空山听雨图册》几经流转，散而复聚，最后归于无锡博物院。\n《空山听雨图册》外尺寸为横25.5厘米×纵36.5厘米，每开画心尺寸不一，其名称缘于清代金石书画家奚冈为韵香所作《空山听雨图》。今图册中有吴让之所题隶书“空山听雨图”，并跋云：“清微道人有奚铁生所画空山听雨图，生平寄意在此，乞一时名贤题咏……”奚冈所作《空山听雨图》原作佚去，奚冈生卒年为1746—1803年，此图的创作年代不会晚于1803年。无锡博物院所收藏的《空山听雨图》共有5开，吕培一开，作于壬申（1821年）首夏。许乃谷一开，未署年款，落款注明“清微道人属写”。沈梧两开，分别作于同治甲子（1864）年、乙丑（1865）年。叶衍兰一开，作于光绪丁丑（1877）年。沈叶二图当为后世藏家追慕前贤，作图以示敬仰之意。吕培所作为浅设色，许乃谷所作为水墨，二人均用米家云山图写之，水渚烟树小阁，濛潆凄迷。奚冈原作虽不可见，从吕许二人所作云山图可以想象原作大致面貌。\n《空山听雨图》有上百人题咏，其中刘墉一开，其题咏不会晚于刘墉卒年1804年。洪亮吉、赵怀玉同题于一开，分别为1804年和1805年。刘洪赵这二开当为《空山听雨图》未佚失前的原有题咏。（赵钦仁辑）",[23,164,24,7,25,128,375,171,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F098d109487c7c07d1876d37c94f78122.jpg","28x383厘米",[],{"id":30433,"slug":30434,"title":30435,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":30436,"thumbUrl":30439,"material":151,"size":7879,"collection":84,"collections":30440,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":72},223073,"hong-lou-meng-59-sun-wen-223073","红楼梦59",[23,24,7,25,28,27,26,30437,30438,96,997,97,29,99,853,62],"红楼梦","大观园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce03b42f75b32d3656103e5544ed7796.jpg",[],{"id":30442,"slug":30443,"title":30444,"dynasty":54,"author":30445,"museum":1376,"description":30446,"tags":30447,"thumbUrl":30449,"material":561,"size":30450,"collection":68,"collections":30451,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":49},222806,"hua-niao-zhen-qin-tu-you-cui-222806","花鸟珍禽图","尤萃","图绘山脚坡石之间，流溪如练，天竹数丛，卓秀多姿。野生蔷薇，随风摇曳。丛丛簇簇的幽兰，各放馨香。树下一双美雉，悠然唱和，美丽动人。石后文杏高耸，繁花缀满枝头，鹦鹉停息树梢，双燕穿飞花间。一个鸟语花香的世界。",[23,24,7,28,27,61,371,355,30448,131,547,624],"雉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1c8d78323e1e166ec5d52532c3a4c51.jpg","纵196.7cm，横96.5cm",[68,45],{"id":30453,"slug":30454,"title":30455,"dynasty":54,"author":4468,"museum":244,"description":4469,"tags":30456,"thumbUrl":30457,"material":27,"size":4474,"collection":84,"collections":30458,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":72},222728,"xian-e-chang-chun-tu-hai-tang-yu-lan-tu-lang-shi-ning-222728","仙萼长春图海棠玉兰图",[23,164,24,7,59,28,27,61,1132,356,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F402be11b89f693a14c347585e12d9775.jpg",[],{"id":30460,"slug":30461,"title":30462,"dynasty":54,"author":5276,"museum":11466,"description":30463,"tags":30464,"thumbUrl":30465,"material":18467,"size":30466,"collection":136,"collections":30467,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":49},222633,"tian-tai-bai-song-tu-gao-feng-han-222633","天台白松图","绘松树两棵，松杆粗壮，松针茂密；灵芝依树而生，形状如耳。此幅图亦是一幅祝寿图，松树寓长寿，灵芝是长生，瑞草有“松树延年 灵芝祥瑞”的寓意。图上自题：“天台白松 高凤翰左手 祝”。",[23,164,24,7,165,128,1144,131,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F108d7a22714402bfdc04e275079a27eb.jpg","105x34cm",[136,117],{"id":30469,"slug":30470,"title":30471,"dynasty":124,"author":1438,"museum":205,"description":4072,"tags":30472,"thumbUrl":30473,"material":1223,"size":4076,"collection":84,"collections":30474,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":72},222564,"hua-hui-tu-3-chen-chun-222564","花卉图3",[23,164,24,7,61,369,128,27,62,171,208,805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb34c461d6fd907b9261669a6aad2bf19.jpg",[],{"id":30476,"slug":30477,"title":30478,"dynasty":124,"author":1438,"museum":205,"description":4072,"tags":30479,"thumbUrl":30480,"material":1223,"size":4076,"collection":84,"collections":30481,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":72},222559,"hua-hui-tu-11-chen-chun-222559","花卉图11",[23,24,7,61,369,27,128,62,828,6193,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdcd1dfcc3d68a8385963786e0c07ab3.jpg",[],{"id":30483,"slug":30484,"title":30485,"dynasty":124,"author":17733,"museum":4482,"description":17766,"tags":30486,"thumbUrl":30487,"material":27,"size":30488,"collection":136,"collections":30489,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":49},222374,"mao-shi-tu-li-zhou-zhou-chen-222374","毛诗图立轴",[23,24,7,165,128,27,28,132,29,96,331,1337,35,31,12812,1023,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e12fdc6c23cc97a6172a922d5bc6c1.jpg","54．70x38．40cm",[136,117],{"id":30491,"slug":30492,"title":30493,"dynasty":124,"author":1058,"museum":20,"description":30494,"tags":30495,"thumbUrl":30496,"material":1027,"size":30497,"collection":84,"collections":30498,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":72},222345,"tong-yin-qing-meng-tu-zhou-tang-yin-222345","桐荫清梦图轴","本幅行书自题七绝诗一首：“十里桐阴覆紫苔，先生闲试醉眠来；此生已谢功名念，清梦应无到古槐。唐寅画。”钤“吴趋”朱文圆印、“唐寅私印”白文方印、“唐阿大”朱文方印。鉴藏印有“松莲鑑定”白文方印、“东吴王莲泾藏书画记”朱文长方印等。\n《桐阴清梦图》以人物画为题材，抒发画家的生活遭遇和感受。此图用水墨白描手法，画梧桐一株，桐阴坡石处一人仰面闭目，坐於交椅之上，神情生动自然。构图简洁，用笔洗练，风格洒脱，韵致清逸，是唐寅白描人物画佳作。诗、书、画相得益彰。虽未署年款，但从题诗内容可以看出，此图是他在科场案受打击回苏州后所作，是画家看破尘事，不再追求功名，从此幽居林下的写照。\n唐寅为人性情疏朗，生活放诞，许多关於他的传说故事广为流传，妇孺皆知。他的诗、曲、书、画均颇有成就，尤以画名为最著，题材广泛，山水、人物、花鸟、竹石无一不精。曾以周臣为师，青出于蓝，并从宋元诸名家绘画中汲取营养，特别在继承南宋李唐、刘松年传统画法上有新的发展，形成了自己严谨秀逸的画风，成就突出，影响深远，在书史上有很高地位，是明代中期文人画的重要代表，与沈周、文徵明、仇英并称“吴门四大家”。\n未见著录。",[23,24,7,165,128,369,96,11997,171,7446,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe07f74a6824f94c71cbee55f1249e612.jpg","纵62厘米，横30.9厘米",[],{"id":30500,"slug":30501,"title":24682,"dynasty":124,"author":1058,"museum":20,"description":30502,"tags":30503,"thumbUrl":30504,"material":1464,"size":24686,"collection":136,"collections":30505,"showCount":30171,"zanCount":1998,"manualWeight":48,"mainColor":72},222339,"you-ren-yan-zuo-tu-zhou-tang-yin-222339","图中云峰缥缈，涧壑丛竹，水阁中一人静坐，旁设书籍、茶具，似有所待。溪流边一人拄杖独立，远眺山色。画法上多用干笔细皴描绘树石人物，笔致坚劲，刻画精微，风格缜密秀润，反映出唐寅善于以早年师从周臣学习宋“院体”山水技法，来表现和传达文人画清雅幽澹的功力。\n本幅右上有清代书法家王澍于雍正丁未年（雍正五年，1727年）十二月的题识，叙述了自己收藏此图并馈赠给惠山听松庵僧的经过。裱边及包首外签有当代书画家和鉴定家吴湖帆在庚寅年（1950年）为仲麟题签并记，文中除了记载王澍所云之事外，对惠山听松庵收藏的其他古代名画如王绂《竹炉图》的流传作了介绍，并对时事离乱之际文物的劫难发出了感喟。",[23,24,7,165,128,132,29,130,34,131,99,96,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d12d445bfae2e8d760c703ae5c64b78.jpg",[136,117],{"id":30507,"slug":30508,"title":30509,"dynasty":124,"author":204,"museum":510,"description":30510,"tags":30511,"thumbUrl":30512,"material":40,"size":30513,"collection":84,"collections":30514,"showCount":30171,"zanCount":1116,"manualWeight":48,"mainColor":72},222216,"chi-bi-tu-juan-quan-juan-chou-ying-222216","赤壁图卷全卷","传世仇英所作《赤壁图》，我们所见有三幅：一藏辽宁省博物馆，一藏上海博物馆，再者便是《石渠宝笈初编》著录的这一卷了。前二幅皆绢本短卷，画的都是白露横江、断岸千尺，东坡与客泛舟中流这一情景。本幅则为纸本而略长，后段多了苇汀浅屿、石桥曲涧、秋林霜浓等山间夜景。读者可以借画家营造的美景，去想象苏轼舍舟登岸，“摄衣而上，履腵岩，披蒙茸，攀栖鹘之危巢，俯冯夷之幽宫”这一夜游情境。其构思立意较前二图更为丰富美备\n三幅《赤壁图》画家都未记年。上海博物馆一图，用笔峻健方硬，应是他得到周臣指授，力学李唐等南宋院画的盛年时作品。辽宁省博物馆一图，与仇英在项元汴家《临宋人六景》画风相近，应是他较晚之作。《石渠宝笈初编》著录的这幅《赤壁图》卷，画法细缜，淡冶蕴藉，与几幅可以断为仇氏早年真迹的作品风格相似，创作年代比上海博物馆《赤壁图》要略为早些。\n关于仇英早年画风，学者们都认定他受到文徵明的影响。援引的史料一是彭年所说“十洲少即见赏于衡翁”；一是文徵明《湘君图》上王登转述文氏自己的话，说他“曾使仇实父设色，两易纸皆不满意”，不得不自己重作之。上述二处记载，一般可以看作是文氏对青年仇英的赏识器重。不过，如对题跋做进一步思索，则可以发现文、仇二人非同寻常的关系。中国绘画史上多有老师画成墨稿后请学生敷彩的情况，如吴道子的画作每使弟子翟琰、张藏布色，文徵明是一个谦和温厚之人，他这么做并如此直言不讳，至少可见他们师徒般真率坦诚的情谊。\n此幅《赤壁图》 画出了宋代苏东坡《后赤壁赋》的诗意，其上钤有“石渠宝笈”、“乾隆御览之宝”、“嘉庆御览之宝”、“宣统御览之宝”及“三希堂精鉴玺”等印，笔法俊朗，风神秀雅，气息纯正，款字极精，印章亦佳。加上又是清宫旧藏且著录于《石渠宝笈》初编，清晰可考，珍稀之极。\n从其画风来看属画家在中年时期所作。仇英在年轻时结交了文徵明、周臣等一批书画家，故而其中年作品里也受了文徵明等人的技法影响，皴法多以小皴为主。在这幅《赤壁图》就能看见披麻皴、斧劈皴等典型皴法，皴笔绵密画风工整细腻。\n《赤壁图》本幅则为纸本而略长，后段多了苇汀浅屿、石桥曲涧、秋林霜浓、云房窅深等等山间夜景。此画以石青、石绿为主色调，画苏轼携友泛舟夜游赤壁。作者用细腻的笔触将一个秋高气爽、月光如银的宁静夜晚极富诗情地融入于令人陶醉的画意之中。布局爽朗、明媚，用笔工细绵密，敷色淡雅清丽，技法纯熟稳健，具有笔致墨韵，为仇英佳作。\n拍卖\n《赤壁图》在2007年11月7日嘉德拍卖中最终以7952万元人民币成交，创造了当时中国绘画拍卖成交价的世界纪录，标志着中国绘画作品的拍卖成交价首次超过1000万美元级别。",[23,24,7,25,27,28,26,133,208,29,96,129,6004,34,131,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79a1ca13ecd5f3c3d80de512b422359.jpg","25.1×90.8cm",[],{"id":30516,"slug":30517,"title":30518,"dynasty":124,"author":3608,"museum":510,"description":30519,"tags":30520,"thumbUrl":30521,"material":128,"size":30522,"collection":84,"collections":30523,"showCount":30171,"zanCount":1998,"manualWeight":48,"mainColor":72},222174,"fang-zhao-meng-jian-shui-xian-tu-lu-zhi-222174","仿赵孟坚水仙图","本幅墨色更淡，已近白描，长卷中水仙花开，风姿绰约，细叶舒展，清新自然。技法上，以细线勾勒出每一个花叶，笔致细劲挺秀。陆治，字叔平，明代画家，工山水、花鸟，好诗词，善书法。",[23,24,7,25,188,128,330,374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F155fe574b2ec859a2c1b8442ae497d02.jpg","36×1067.3cm",[],{"id":30525,"slug":30526,"title":30527,"dynasty":144,"author":30528,"museum":20,"description":30529,"tags":30530,"thumbUrl":30531,"material":611,"size":30532,"collection":68,"collections":30533,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":72},221829,"shui-xian-tu-can-juan-wang-di-jian-221829","水仙图残卷","王迪简","王迪简[元]字庭吉，号蕺隐，新昌（今浙江新昌）人，南宋遗民（公元13世纪末），生卒年不详。，终生隐逸于浙江绍兴乐郊蕺山之阳，善画水仙，亦善山水。所绘水仙布局繁密，繁而不乱，花叶穿插、伸展、俯仰自如，层次分明，恣态生动，淡墨渲染，恬淡雅逸，画风与南宋赵孟坚相近",[23,24,7,25,188,374,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F277d45077ca97bfec784e17da06c3c1d.jpg","39X415",[68,117],{"id":30535,"slug":30536,"title":6663,"dynasty":144,"author":2697,"museum":20,"description":30537,"tags":30538,"thumbUrl":30539,"material":40,"size":30540,"collection":117,"collections":30541,"showCount":30171,"zanCount":1998,"manualWeight":48,"mainColor":49},221817,"zhu-shi-tu-zhou-li-kan-221817","元李衎竹石图轴为元代李衎所绘，绢本，设色。纵185.5厘米，横153.7厘米。藏故宫博物院。该幅图未署名款，钤印两方，已残缺，可见“李”、“息”字。诗塘有明代李东阳的小草题记，也为此画增色不少。该幅“竹石图”是李衎的名作之一。图中竹以双勾填色而成，工整而有韵味，设色而又雅致，竹繁而不乱，表现了春天大自然中万物复苏、生机勃勃景色，有二杆新竹已与老竹并肩齐趋，让人联想到雨后春笋猛发的情景。坡上山石以细披麻皴画出，黑色沉重，以压阵角，石后穿插小竹野树，富有变化。",[23,24,7,165,128,28,132,167,1314,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faae45236279f406d24f6f02f8275daac.jpg","纵185.5厘米，横153.7厘米",[117,1670],{"id":30543,"slug":30544,"title":30545,"dynasty":18,"author":1622,"museum":244,"description":30546,"tags":30547,"thumbUrl":30548,"material":173,"size":2324,"collection":84,"collections":30549,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":49},221524,"yue-ye-bo-ruan-zhou-ma-yuan-221524","月夜拨阮轴","画中采用了大量留白，近处只刻画一角。画中人物独坐，如痴如醉的弹奏阮琴，只有一只仙鹤为伴。远处层峦山脉，马远只用寥寥几笔带出，在无尽的留白中，一轮满月轻悬于空。\n马远的画作以小见大，“一沙一世界，一树一菩提”，马远所画一角，便能呈现出广袤无际的天地。",[23,24,164,7,165,128,132,29,167,231,415,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa301730172f5443a0e5a99c9f55ffb2b.jpg",[],{"id":30551,"slug":30552,"title":30553,"dynasty":18,"author":686,"museum":244,"description":4044,"tags":30554,"thumbUrl":30555,"material":151,"size":30556,"collection":84,"collections":30557,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":49},221387,"bao-shan-shi-jing-ce-fan-kuan-221387","包山十景册",[23,164,24,7,59,27,29,131,34,1515,96,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547a3b1370dc9ee21fc24baeb7fb8ad8.jpg","30.2x31.8",[],{"id":30559,"slug":30560,"title":30561,"dynasty":18,"author":13692,"museum":205,"description":30562,"tags":30563,"thumbUrl":30564,"material":27,"size":30565,"collection":42,"collections":30566,"showCount":30171,"zanCount":1116,"manualWeight":48,"mainColor":49},221317,"jiu-ge-shu-hua-juan-zhang-dun-li-221317","九歌书画卷","《九歌》是《楚辭》篇名。原為傳說中的一種遠古歌曲的名稱，戰國楚人屈原據民間祭神樂歌改作或加工而成。共十一篇：《東皇太一》、《雲中君》、《湘君》、《湘夫人》、《大司命》、《少司命》、《東君》、《河伯》、《山鬼》、《國殤》、《禮魂》。《國殤》一篇，是悼念和頌讚為楚國而戰死將士;多數篇章，則皆描寫神靈間的眷戀，表現出深切的思念或所求未遂的傷感。王逸說是屈原放逐江南時所作。但現代研究者多認為作於放逐之前，僅供祭祀之用。",[23,24,164,7,25,27,28,96,29,950,413,64,208,1367,13695],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F799e28b7c8a53f49ea8a67fbad151b43.jpg","23.5 × 716 cm",[42,44,117],{"id":30568,"slug":30569,"title":30570,"dynasty":980,"author":3539,"museum":3540,"description":30571,"tags":30572,"thumbUrl":30573,"material":84,"size":84,"collection":84,"collections":30574,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":72},220540,"qun-niu-xu-bei-hong-220540","群牛","以淡墨晕染浅草萋萋，浓墨勾勒水牛筋骨肌理，将乡野牧歌揉进笔墨之间。三头壮硕水牛犄角虬劲，皮毛以枯湿浓淡的墨色晕染，厚重朴拙的神态呼之欲出，幼牛灵动稚嫩，与老牛形成鲜活反差，尽显天趣。\n\n赤脚牧童步履悠然，衣角轻扬，寥寥数笔便将乡间孩童的自在松弛刻画得淋漓尽致。画面留白恰到好处，上部题款填补疏朗空间，诗画相映成趣，将江南郊野寻常放牧的日常，晕染成满是生机的诗意图景，兼具写意笔墨的意趣与田园温情，满溢质朴动人的烟火意韵。",[24,7,128,27,102,96,1771,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8efe1268ca4e88a89e6d9327f4fa9fe.jpg",[],{"id":30576,"slug":30577,"title":30578,"dynasty":144,"author":17775,"museum":224,"description":30579,"tags":30580,"thumbUrl":30582,"material":278,"size":30583,"collection":117,"collections":30584,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":49},220426,"song-xi-gui-yu-tu-tang-di-220426","松溪归渔图","唐棣(1287–1355)，字子华，号遁斋,祖籍钱塘(今浙江杭州)，因先世在吴兴做官，迁徙归安(今浙江湖州)。父唐清，元初赠承务郎，任归安县令。唐棣幼聪颖好学，文思敏慧，能诗善画，有“奇童”之称，为赵孟頫、马煦赏识，弱冠时便拜赵孟頫为师。工山水，近学赵孟頫，远师李成、郭熙，亦工诗文。",[23,7,24,1349,132,27,165,372,99,98,131,3650,331,30581,1351],"岸坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F035ce24fe5889e9c85d096ccf8fbc2fd.jpg","134.3x86cm",[117],{"id":30586,"slug":30587,"title":1006,"dynasty":54,"author":5276,"museum":424,"description":30588,"tags":30589,"thumbUrl":30590,"material":611,"size":84,"collection":68,"collections":30591,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":49},220338,"mu-dan-tu-gao-feng-han-220338","高凤翰(1683~1749)胶州大行高氏二股十一世，扬州八怪之一。清代画家、书法家、篆刻家。又名翰，字西园，号南村，又号南阜、云阜，别号因地、因时、因病等40多个，晚因病风痹，用左手作书画，又号尚左生。汉族，山东胶州市三里河街道办事处三里河村人。雍正初，以诸生荐得官，为歙县县丞，署绩溪知县，罢归。性豪迈不羁，精艺术，画山水花鸟俱工，工诗，尤嗜砚，藏砚千，皆自为铭词手镌之。有《砚史》，《南阜集》。",[23,24,7,165,128,27,369,132,263,229,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce1b1aa6b6e297e6d9b9727a35d9d796.jpg",[68],{"id":30593,"slug":30594,"title":30595,"dynasty":18,"author":1449,"museum":244,"description":30596,"tags":30597,"thumbUrl":30599,"material":317,"size":84,"collection":44,"collections":30600,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":956},220209,"shi-jia-chu-shan-tu-ma-lin-220209","释迦出山图","马麟，麟一作驎，钱塘（今浙江杭州）人。南宋画家。马世荣之孙，马远之子。\n生卒年不详。其父马远是宋光宗、宋宁宗两朝（1190～1224）画院待诏，马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。宁宗嘉泰间（1201～1204）授画院祗候，颇得宁宗赵扩、恭圣皇后杨氏及杨妹子称赏，每于父子画上题句。在《层叠冰绡图》中题诗云：“浑如冷蝶宿花房，拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。",[23,24,7,165,27,28,132,187,96,29,495,171,34,30598],"圆光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefa49bf9e4867c98d5d04acfefbcda89.jpg",[44],{"id":30602,"slug":30603,"title":30604,"dynasty":54,"author":3750,"museum":20,"description":30605,"tags":30606,"thumbUrl":30607,"material":278,"size":30608,"collection":117,"collections":30609,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":72},220113,"fang-mei-dao-ren-xi-ting-shan-se-tu-wang-jian-220113","仿梅道人溪亭山色图","图绘秋湖静水、疏林远岫的江南风景。王鉴一生推崇元人倪瓒自然淳雅的画面，乐此不疲地到处找寻其画作并且加以临摹，仅仿倪氏的《溪亭山色图》就有数件之多，此图是其中最有代表性的一幅。从一河两岸式的构图到山石树枝的方折用笔，再到以淡墨层层擦染的施墨法，均可见作者晚年对倪氏画风的摹仿已达到炉火纯青的窘境。",[23,24,7,165,128,132,29,131,99,130,413,276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe03d588fe722f33791954b625b63098.jpg","纵87.4厘米，横45.7厘米",[117],{"id":30611,"slug":30612,"title":30613,"dynasty":54,"author":28758,"museum":30614,"description":30615,"tags":30616,"thumbUrl":30618,"material":278,"size":30619,"collection":136,"collections":30620,"showCount":30171,"zanCount":1998,"manualWeight":48,"mainColor":72},220098,"zong-qing-qiu-he-tu-xiao-yun-cong-220098","纵情丘壑图","洛杉矶博物馆","萧云从(1596年-1673年) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。\n云从国画，师法古人而创新，师造化而独特。山水画，融宋元诸家笔墨、丘壑于一体，“以黄公望的瘦树、山石为之纵横，润以马远泼墨之法”，而能随意成卷丈余。其间丘壑布置，千变万化，层出不穷，使人观之不厌；岩石林木的表现，深厚坚实，穿插有致；不论水墨着色，皴擦喧染，都苍劲秀润，呈现出空间深度；点景人物，自然生动，屋宇、舟车、驮马安排得体。",[23,24,7,25,128,132,29,131,34,35,1743,415,7782,1144,30617,37,3651,758,96],"丘壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef9382c6c6129fee9bfc87b3661bc7a8.jpg","23.81x429.9",[136],{"id":30622,"slug":30623,"title":30624,"dynasty":54,"author":4083,"museum":524,"description":4173,"tags":30625,"thumbUrl":30626,"material":66,"size":4176,"collection":318,"collections":30627,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":72},220003,"shan-shui-ce-wen-wang-shi-min-220003","山水册-文",[24,7,59,133,208,330,29,27,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c0f19818f6e779018292122be7bfb88.jpg",[318],{"id":30629,"slug":30630,"title":1230,"dynasty":144,"author":18589,"museum":1941,"description":30631,"tags":30632,"thumbUrl":30633,"material":278,"size":30634,"collection":136,"collections":30635,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":49},219729,"shan-shui-tu-fang-cong-yi-219729","右侧危崖壁立，飞泉隐于崖间垂落，左侧峰峦逶迤向远，留白晕染出浩渺烟波，虚实之间拉开山水纵深。以干笔皴擦勾勒山石肌理，苍劲老辣，林木仅以简笔点染，便生幽荒野趣。山脚村居错落藏于林泉，淡墨晕开水色，将山野幽寂缓缓铺陈。\n\n题跋朱印错落排布，诗书画印浑然一体，将元人隐逸的林下意趣藏于笔墨。整幅简淡萧疏，以笔意写尽胸中丘壑，把林泉高致的雅逸缓缓吐露，尽显超脱世外的静穆淡远。",[23,24,7,165,128,132,29,663,1314,34,499,35,415,37,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c821d8821366e88035d7a9739c0afbb.jpg","73x59.6",[136],{"id":30637,"slug":30638,"title":30639,"dynasty":54,"author":29798,"museum":224,"description":30640,"tags":30641,"thumbUrl":30642,"material":278,"size":30643,"collection":136,"collections":30644,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":49},219710,"tian-tai-yi-song-tu-dai-ben-xiao-219710","天台异松图","《天台异松图》清 戴本孝 此图意写天台山水，山岩相叠，石桥飞架，怪松参差其间，飞泉直下，一老者隐居于此。巨壑皴写不繁，枯笔勾廓，以渴墨稍事皴擦，意境荒寒幽僻，深得元人气韵。\n图中左上角作者题款：天台异松，前人尝为之图，陆龟蒙记而赞之。曩从好事家见有摹本，未善也，因追以意图之。近闻异松已多归于冥漠。盖天地山川之奇，一经为尘眼所狎，自不能久。如此不觉兴慨也。鹰阿山天根樵夫本孝似君老道兄粲鉴，时丁卯长至。",[24,7,128,132,29,372,495,497,499,3269],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c55221cddc6bd4a49aac3df454856d0.jpg","169.9×76.2cm",[136],{"id":30646,"slug":30647,"title":30648,"dynasty":124,"author":223,"museum":6413,"description":30649,"tags":30650,"thumbUrl":30651,"material":173,"size":30652,"collection":44,"collections":30653,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":49},219620,"ming-ren-lao-zi-chu-guan-tu-yi-ming-219620","明人老子出关图","古松虬劲盘绕城关，苍枝舒展如盖。老子安卧牛车之中，仆从前后相随，道童负囊循山径而来，行旅意态松弛悠然。远景山峦以斧劈皴挥写，雄奇险峻间晕染流岚云雾，晕化开山林的幽深空寂。画作以山水衬行旅，将道家归隐出关的澹然意趣，融于苍阔山景之间，人物刻画细腻生动，山水笔力刚劲爽利，把出世的超脱与山川的雄浑相融，尽显古典山水人物画的雅致意韵，藏着悠远沉静的道家风骨。",[24,7,164,165,27,96,29,97,690,102,106,413,131,132,950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b3b3a50865b6183c2ae52a94aaca214.jpg","纵140.3横67.5厘米",[44],{"id":30655,"slug":30656,"title":30657,"dynasty":124,"author":3608,"museum":244,"description":30658,"tags":30659,"thumbUrl":30660,"material":27,"size":30661,"collection":44,"collections":30662,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":72},219460,"dan-lin-cui-zhang-tu-lu-zhi-219460","丹林翠嶂图","本幅以狭长画面安排景物布局，桃树繁密，变化丰富。以尖细折线勾勒山石轮廓，用笔方劲，青绿敷染细致。惜因构图过于充塞，虽工细精道，略少自然之态。",[24,7,165,27,132,29,34,1955,131,35,96,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc15e51996325c5786e52bffb0c5e172.jpg","90.2x30.7",[44],{"id":30664,"slug":30665,"title":30666,"dynasty":124,"author":3608,"museum":244,"description":30667,"tags":30668,"thumbUrl":30669,"material":27,"size":30670,"collection":45,"collections":30671,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":72},219459,"chun-geng-tu-lu-zhi-219459","春耕图","枯木疏枝间，春信暗生。农人执缰牵牛，缓步林间，牛蹄轻踏新萌的草色，似触到泥土苏醒的温度。前景孩童与幼畜嬉戏，憨态跃然纸上，为静谧春郊注入活泼意趣。笔墨简洁雅致，线条勾勒传神，枯树虬枝的苍劲与嫩草的轻软相映，尽显初春田园的质朴生机。画面未着浓艳色彩，却以日常劳作与嬉戏的细节，铺展耕读人家的恬淡岁月，于简淡中藏真趣，于寻常处蕴温情，让人沉浸在那份悠然自得的春日氛围里。",[24,7,165,28,27,102,96,1337,6640,208,15899],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53dc445f537eb335e6d015ab4d279241.jpg","59.4x30厘米",[45],{"id":30673,"slug":30674,"title":30675,"dynasty":18,"author":287,"museum":244,"description":30676,"tags":30677,"thumbUrl":30678,"material":173,"size":30679,"collection":44,"collections":30680,"showCount":30171,"zanCount":1116,"manualWeight":48,"mainColor":49},219308,"san-yang-kai-tai-tu-qian-xuan-219308","三阳开泰图","本幅画巨岩青松下，一童骑羊，手持斜挂鸟笼的梅枝，其后跟随二羊。「羊」与「阳」谐音，「三阳」为易经中的乾坤交泰卦象，显示天地间万物皆有生意，为吉祥表征。画中款题钱选，诗塘亦有清代姚文田敬书乾隆御制诗题，是为作者名称由来。然而本幅画风与元初文人画家钱选的作风差距甚远，应为明代晚期假托名家且具有吉庆意味的作品。",[24,7,27,28,96,949,372,131,64,572,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8769a1d46532f390e5b84462dde32b02.jpg","122.4x49.9",[44],{"id":30682,"slug":30683,"title":30684,"dynasty":124,"author":19170,"museum":244,"description":30685,"tags":30686,"thumbUrl":30687,"material":128,"size":30688,"collection":117,"collections":30689,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":72},219296,"shi-jia-mu-ni-fu-zhou-ding-yun-peng-219296","释迦牟尼佛轴","此帧画法相庄严的释迦牟尼佛，其双手结禅定印，结跏趺坐于娑罗树下。通幅全用墨笔钩染，不着颜色。人物衣纹线条圆润流畅，释迦牟尼佛身后的老树盘结，树叶或以墨点，或用钩勒，墨色虽有深浅的变化，但已具装饰性。全作笔法生动而富变化，别有一种古拙浑厚的意趣。此帧款云：「佛子丁云鹏敬写」，但未署年款。根据它的画风特色与幅上两则邹之麟的题识，推测此画当成于1606年以后，约为丁氏六十余岁之作。",[24,7,165,187,96,188,128,331,229,1771,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79db6107aefbfd5dd16156dfd05f3f4.jpg","156.8x53.1",[117],{"id":30691,"slug":30692,"title":30693,"dynasty":18,"author":915,"museum":77,"description":30694,"tags":30695,"thumbUrl":30697,"material":173,"size":30698,"collection":68,"collections":30699,"showCount":30171,"zanCount":1116,"manualWeight":48,"mainColor":49},218961,"liao-an-cao-chong-tu-lin-chun-218961","蓼岸草虫图","画面截取蓼岸一隅，秋菊攒簇，蓼花垂露，枝茎间草虫情态毕肖——蟋蟀敛翅似欲跃动，甲虫栖于梢头，翅脉纹理纤毫可辨。岩石皴染朴拙，杂草疏密天成，笔墨于工致中透着野逸之趣。花叶的娇嫩与虫豸的鲜活相映成趣，似能嗅到秋野的清芬，聆听到草间的细碎声响。虽为小幅写生，却以极致细腻的笔触捕捉自然生机，尽显宋人对万物的精微观察与绘事匠心，将转瞬即逝的郊野小景凝为永恒的诗意画面。",[24,164,7,61,28,27,30696,480,604,171],"蓼草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b63dd0c8fbcb2bdf5404075decb3f64.jpg","29x26cm",[68],{"id":30701,"slug":30702,"title":30703,"dynasty":54,"author":223,"museum":77,"description":30704,"tags":30705,"thumbUrl":30706,"material":173,"size":30707,"collection":68,"collections":30708,"showCount":30171,"zanCount":1998,"manualWeight":48,"mainColor":49},218954,"shou-dai-jin-ji-tu-yi-ming-218954","绶带锦鸡图","锦鸡立于古桩，羽色斑斓：颈间鳞纹细密如织，朱红尾羽迤逦垂落，身姿卓然带贵气。枝头绶带鸟或栖或嬉，翅羽轻展时神态灵动，似有细语在梅间。寒梅绽雪般素白，竹影疏斜着青绿，与棕褐绢底相映成趣，古雅中藏生机。工笔线条细劲如丝，勾勒禽鸟之态、花木之姿皆栩栩如生；设色温润含蓄，红与白、青与褐的层次里，晕染出清逸韵致。整幅画融富贵吉祥于宁静之境，动静相宜间，尽显传统花鸟的雅致与意趣。",[24,7,28,27,61,2835,16253,355,371,167,62,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575939c4968d07c9264ca108a1481a65.jpg","79x36cm",[68],{"id":30710,"slug":30711,"title":30712,"dynasty":18,"author":223,"museum":244,"description":30713,"tags":30714,"thumbUrl":30715,"material":173,"size":30716,"collection":68,"collections":30717,"showCount":30171,"zanCount":1998,"manualWeight":48,"mainColor":72},218856,"he-tang-yu-lu-tu-yi-ming-218856","荷塘浴鹭图","这幅画描绘了一个有荷花和摇曳的芦苇的浅水塘，一只白头鹅坐在池塘边梳理羽毛。荷花巨大，白粉涂得很重，掩盖了线条，而芦苇则用墨汁扫过，这与通常的花鸟彩色笔法不同，颇为有趣。这幅画的标题可能不正确，因为大雁被误认为是苍鹭。",[23,24,7,1131,28,27,61,168,81,9318,3837,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36b40f49eb9d1e1a577ea9c7a0e33576.jpg","20.3x19.9",[68],{"id":30719,"slug":30720,"title":13983,"dynasty":182,"author":9761,"museum":450,"description":30721,"tags":30722,"thumbUrl":30724,"material":173,"size":30725,"collection":44,"collections":30726,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":49},218364,"mu-tong-tu-dai-song-218364","它描绘了一头牛和一个人，牛很强壮，头很高，用蹄子向前走，男孩拿着一根树枝，骑在牛身上，斜着眼睛向左看，显然是被有趣的东西吸引了。",[164,24,7,128,27,96,102,1337,64,208,30723,5472,210],"唐代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0be78322a9eb453ec712a0ab48718e7.jpg","26.40x23",[44],{"id":30728,"slug":30729,"title":30730,"dynasty":124,"author":30731,"museum":1941,"description":30732,"tags":30733,"thumbUrl":30734,"material":66,"size":30735,"collection":44,"collections":30736,"showCount":30171,"zanCount":1116,"manualWeight":48,"mainColor":956},218361,"wu-bai-ying-zhen-tu-dao-hong-218361","五百应真图","道宏","长卷中包含了几百名神态各异的僧人。或骑鹤乘凤，遨游虚空，或聚于山林讲经，或坐或卧于山涧或树下，或站而不语。...... 这些团体是不同的，而且剧情也不同。有几个小组只有一个人，但很多小组有几十个人。在群体之间，他们被那些回头看的人和搔首弄姿的人联系起来，以一种自然的方式不留痕迹地过渡。这确实是运动和起伏的组合。",[23,24,7,25,187,96,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F564d9e1b9d92f19ebe7c9da066bf364a.jpg","34.6x893",[44],{"id":30738,"slug":30739,"title":30740,"dynasty":144,"author":22335,"museum":244,"description":30741,"tags":30742,"thumbUrl":30743,"material":173,"size":30744,"collection":136,"collections":30745,"showCount":30171,"zanCount":1998,"manualWeight":48,"mainColor":49},218167,"jing-xi-tu-chen-ru-yan-218167","荆溪图","《元陈汝言荆溪图》是一幅中国古画，作者是陈汝言，现为台北故宫博物院收藏。此图画是应当地望族王氏后人的请求而画。近景以平房为主体，全用直线，随意交错；远山近树及宽阔溪流的描绘，笔法工致细微。于古画中亦为奇格。",[23,24,7,29,128,132,27,663,228,413,1144,98,99,130,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa2acf84548c365b1717352065375a2.jpg","纵129厘米 横52.7厘米",[136],{"id":30747,"slug":30748,"title":30749,"dynasty":124,"author":223,"museum":450,"description":3365,"tags":30750,"thumbUrl":30751,"material":66,"size":84,"collection":84,"collections":30752,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":72},217952,"ming-ren-shan-shui-hua-ce-san-yi-ming-217952","明人山水画册(三)",[23,24,7,59,128,27,29,130,98,171,1144,331,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F239dd48d883d23420a8004f26072dd6a.jpg",[],{"id":30754,"slug":30755,"title":30756,"dynasty":124,"author":16990,"museum":450,"description":30757,"tags":30758,"thumbUrl":30759,"material":66,"size":30760,"collection":136,"collections":30761,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":72},217878,"zhou-li-yuan-shang-kuan-shen-ce-hu-yu-kun-217878","周栎园上款什册","层岩叠嶂以劲挺线条勾勒，皴擦间显山石嶙峋之态；山间林木疏朗，掩映幽径，远处峰岫隐现，留白处生悠远之境。左侧题跋笔意洒脱，文句含蕴哲思，诗画交融间，墨色与心境共生。山石的刚健与林木的清逸相映，题跋的禅意与山水的空灵相契，尽显传统文人画诗书画印一体的雅韵，传递出静观自然、叩问本心的清雅情怀。笔锋流转处，既有山水的雄浑气象，又藏文人的细腻思致，于尺幅间铺展一幅融视觉与心境于一体的雅致画卷。",[164,24,7,128,132,133,64,29,30,497,34,758,805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7e4408ed38bf72fc6032dc84cddd4e5.jpg","24.7x32.3cm",[136],{"id":30763,"slug":30764,"title":30765,"dynasty":124,"author":19170,"museum":300,"description":30766,"tags":30767,"thumbUrl":30768,"material":317,"size":84,"collection":44,"collections":30769,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":72},217055,"bai-miao-ying-zhen-tu-2-ding-yun-peng-217055","白描应真图-2","丁云鹏是明朝时期的著名画家，他的白描应真图是一种具有代表性的画风。白描应真图是一种画风，它采用的是白色笔触描绘轮廓，然后使用墨色来填充和渲染图案。这种画风通常用于描绘自然风景、建筑物和人物，其中白色笔触代表着阳光和光影，而墨色则用来表示颜色和细节。丁云鹏的白描应真图具有鲜明的对比和丰富的视觉效果，它们也因其精确的再现和细腻的笔触而备受赞赏。",[24,7,25,187,188,96,331,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e22d21a4546a2f44db8635013c06ce4.jpg",[44],{"id":30771,"slug":30772,"title":30773,"dynasty":54,"author":1311,"museum":56,"description":1312,"tags":30774,"thumbUrl":30775,"material":278,"size":1316,"collection":84,"collections":30776,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":72},214679,"mei-hua-zhu-shi-tu-ce-9-wang-shi-shen-214679","梅花竹石图册-9",[164,24,7,59,128,650,171,276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704a4e5300ea1599e6b93070e85467c8.jpg",[],{"id":30778,"slug":30779,"title":23185,"dynasty":124,"author":30780,"museum":244,"description":30781,"tags":30782,"thumbUrl":30783,"material":278,"size":30784,"collection":318,"collections":30785,"showCount":30171,"zanCount":48,"manualWeight":48,"mainColor":49},214229,"cao-shu-wu-yan-lian-jin-sheng-214229","金声","草书五言联是明朝时期流行的一种书法形式。这种书法以流畅、柔和的笔法和优美的构图著称。其中“草书”指的是草笔书法，而“五言联”则指的是五个字组成的联句。\n\n明朝时期，草书五言联在宫廷文人和书法家中非常流行。这种书法的特点是，它使用了流畅的笔法和优美的构图，能够表现出精细的细节和丰富的内涵。此外，草书五言联还有一个特点，就是在书写时使用了较大的纸张，以便能够将五个字摆放在较宽的纸面上。\n\n草书五言联虽然流行于明朝时期，但它的影响却一直延续到了现代。许多著名的书法家都曾尝试使用这种书法来表现自己的艺术天赋，并在艺术展览中展出他们的作品。今天，草书五言联仍然是许多中国人所热爱的书法形式之一，并且在国内外均有广泛的收藏爱好者。",[23,24,7,64,840,10886,165,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F138e440fe4dca4e8a2f9ad3fe70c9266.jpg","135.2x24.2",[318],{"id":30787,"slug":30788,"title":30789,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":30790,"thumbUrl":30791,"material":692,"size":1293,"collection":84,"collections":30792,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":72},290464,"ren-wu-hua-niao-tu-ce-shi-tao-290464","人物花鸟图册",[24,7,59,96,61,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda671d3425246904c82606608365164f.jpg",[],42,{"id":30795,"slug":30796,"title":30797,"dynasty":18,"author":620,"museum":300,"description":16809,"tags":30798,"thumbUrl":30801,"material":692,"size":1293,"collection":84,"collections":30802,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":49},289003,"si-gua-hua-tu-zhao-chang-289003","丝瓜花图",[24,7,61,28,27,30799,30800],"丝瓜花","藤叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc6ac13bf349c2bc0961c7bde7e5485f.jpg",[],{"id":30804,"slug":30805,"title":4566,"dynasty":18,"author":9804,"museum":300,"description":30806,"tags":30807,"thumbUrl":30810,"material":692,"size":1293,"collection":84,"collections":30811,"showCount":30793,"zanCount":1998,"manualWeight":48,"mainColor":72},288550,"cheng-huang-ju-lv-tu-zhao-ling-rang-288550","入秋的江南，暑气消尽，寒冬未至，正是一年当中最清爽宜人的时节。潺潺溪流，轻巧弯延地划过雾色苍茫的平野；两岸橘树遍植成林，一粒粒芬芳的黄果、绿实，像是地上的点点繁星。空气里弥漫着微润的甘甜，吸引三三两两的水鸟，自在地悠游在汀渚之间。幽静、迷蒙的景境，正是苏东坡笔底下“一年好景君须记，正是橙黄橘绿时”的诗情。虽然在这幅《橙黄橘绿》图里，画家直接用色点叶、画橘，笔线不够精准，可能不是赵令穰的作品，但是画中隐约的柔美，令人悠然神往。",[164,24,7,1131,27,29,34,99,211,64,133,208,6639,30808,30809],"橘树","橙树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d81ea92de40e98db5552b4feec83c05.jpg",[],{"id":30813,"slug":30814,"title":6786,"dynasty":351,"author":6787,"museum":300,"description":6788,"tags":30815,"thumbUrl":30816,"material":692,"size":1293,"collection":84,"collections":30817,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":49},288526,"ceng-yan-cong-shu-tu-ju-ran-288526",[164,24,7,165,128,29,132,131,4438,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facd3164fd8f949a0856660bec8ea7a0f.jpg",[],{"id":30819,"slug":30820,"title":30821,"dynasty":18,"author":633,"museum":300,"description":15746,"tags":30822,"thumbUrl":30824,"material":692,"size":1293,"collection":84,"collections":30825,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":72},288429,"chai-men-yan-xue-tu-xia-gui-288429","柴门掩雪图",[24,164,7,165,128,29,132,1813,171,23198,30823,208],"柴门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc056fb6062ac1a688e1815a0173d7d1f.jpg",[],{"id":30827,"slug":30828,"title":30829,"dynasty":144,"author":410,"museum":244,"description":21954,"tags":30830,"thumbUrl":30831,"material":278,"size":6073,"collection":84,"collections":30832,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":72},287544,"hua-xi-yu-yin-wang-meng-287544","花溪渔隐",[164,24,7,165,128,29,99,129,8710,496,34,387,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F373c447b94d504da403c02a1b7ece0b1.jpg",[],{"id":30834,"slug":30835,"title":30836,"dynasty":54,"author":223,"museum":300,"description":30837,"tags":30838,"thumbUrl":30839,"material":84,"size":84,"collection":45,"collections":30840,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":49},239527,"qian-long-guan-kong-que-kai-ping-tie-luo-yi-ming-239527","乾隆观孔雀开屏贴落","《乾隆观孔雀开屏贴落》是清代佚名创作的绢本设色画。\n这是一幅表现乾隆皇帝宫廷生活的巨幅作品，曾张贴于圆明园某殿内。\n图中乾隆端坐在亭台之上，闲适地观赏庭院中一对美丽的孔雀。\n此画虽无作者款识，但从技法和水平分析，人物肖像、两只孔雀和建筑的主要部分应出自郎世宁之手。\n其中楼阁的描绘无论前后、远近，大小的比例关系均适当，将西洋绘画的透视原则把握得恰到好处，具有强烈的空间感和纵深层次。\n由于篇幅宏大，描绘真实，使人有身临其境之感。\n正是由于郎世宁等西洋传教士画师的到来，使中国传统的楼阁画发生了变化，最终促使清代宫廷建筑绘画“中西合璧”的画风形成。",[164,24,7,28,27,95,97,96,248,131,34,247,99,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14b7e348cc7f93d2fc0fa76bd64ebef5.jpg",[45],{"id":30842,"slug":30843,"title":4415,"dynasty":54,"author":1472,"museum":300,"description":4416,"tags":30844,"thumbUrl":30845,"material":692,"size":1293,"collection":84,"collections":30846,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":72},239455,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239455",[24,7,59,27,28,64,133,208,62,549,582,1132,604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F184e5bc5ce80dbafe8c1b9f55367f8dd.jpg",[],{"id":30848,"slug":30849,"title":19361,"dynasty":54,"author":19362,"museum":300,"description":19363,"tags":30850,"thumbUrl":30851,"material":692,"size":1293,"collection":84,"collections":30852,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":49},239084,"hua-niao-ping-liao-yun-jin-239084",[24,7,165,28,27,330,61,80,263,355,481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45f5bffa7312da453bc23ab23d99493e.jpg",[],{"id":30854,"slug":30855,"title":30856,"dynasty":54,"author":4823,"museum":300,"description":19690,"tags":30857,"thumbUrl":30858,"material":692,"size":1293,"collection":84,"collections":30859,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":72},238955,"yu-ce-ye-ma-yuan-yu-238955","鱼册页",[164,24,7,4437,128,27,2059,303,61,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3792bb542308bd6469d94eda6dc0aa5b.jpg",[],{"id":30861,"slug":30862,"title":30863,"dynasty":54,"author":223,"museum":244,"description":30864,"tags":30865,"thumbUrl":30866,"material":84,"size":84,"collection":45,"collections":30867,"showCount":30793,"zanCount":1998,"manualWeight":48,"mainColor":49},238934,"qing-ren-qun-xian-zhu-shou-tie-luo-yi-ming-238934","清人群仙祝寿贴落","画面分境铺陈仙宴盛景：云端仙袂翩跹，凌风御虚似携云而来；苍松怪石间，仙宾或晤语清谈，或凭崖远眺，仪态雍和。水滨舟上群仙围坐言欢，山麓间侍从捧礼随行，步履悠然。\n\n设色古雅沉静，石青晕染出山峦苍劲，赭红点染衣褶灵动，线描清细秀逸，将仙众出尘之姿描摹入微。整体动静相映，把祝寿的吉庆意涵融在清虚悠远的山水意境中，尽显仙乡雅聚的祥和瑞气，将雅致古淡的仙佛画韵致铺陈开来。",[24,7,27,28,96,29,950,413,2048,101,187,12406,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdf80cd142cdc24231bc03c616a78b24.jpg",[45],{"id":30869,"slug":30870,"title":409,"dynasty":54,"author":30871,"museum":244,"description":30872,"tags":30873,"thumbUrl":30874,"material":84,"size":84,"collection":136,"collections":30875,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":72},238258,"shan-shui-ce-zhang-yan-238258","张演","此作以边角取景造境，右侧危岩迭起，苍松斜倚石畔，谷中云气漫漶，远山隐没于烟岚，虚实交织出清幽空蒙之态。左侧山居枕溪而卧，窗内幽人凭栏凝睇，坡岸佳木葱茏，一人策蹇缓行，野意悠然。\n\n设色清润雅致，山石勾勒细劲，浅赭与花青轻敷晕染，皴擦间尽显肌理质感。云水以留白晕化，愈衬山林阒寂。整体意境萧散淡远，以尺幅小景藏丘壑万千，将林泉幽居的闲逸之趣尽显无遗，笔墨温润秀雅，兼得元人山水的简旷与吴门画派的雅致风神。",[24,7,59,27,128,132,29,99,131,34,35,37,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d2ed93952dff40ea52e2910d1c80cd3.jpg",[136,45],{"id":30877,"slug":30878,"title":30879,"dynasty":54,"author":30880,"museum":20,"description":30881,"tags":30882,"thumbUrl":30883,"material":84,"size":30884,"collection":136,"collections":30885,"showCount":30793,"zanCount":1998,"manualWeight":48,"mainColor":49},238136,"jiang-shan-qiu-ji-tu-juan-yun-xi-238136","江山秋霁图卷","允禧","允禧字谦斋，号紫琼，亦作紫噊，别号紫琼崖道人、春浮居士等。康熙皇帝二十一子。善书画，该图层次分明，笔法老到，颇具文人画之风韵。",[23,164,24,7,25,27,132,29,663,228,37,34,35,33,6639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614009d1680a009126009a62d024bfab.jpg","22.5×143.2厘米",[136,45],{"id":30887,"slug":30888,"title":30889,"dynasty":124,"author":19170,"museum":20,"description":30890,"tags":30891,"thumbUrl":30892,"material":734,"size":30893,"collection":136,"collections":30894,"showCount":30793,"zanCount":1116,"manualWeight":48,"mainColor":72},237894,"song-quan-qing-yin-tu-zhou-ding-yun-peng-237894","松泉清音图轴","图绘远山耸立，云雾缭绕，溪流潺潺，高松虬曲，文士停琴，临岸深思。本幅人物造型古拙，气质端庄文雅，体现了明后期文人画注重表现个性的风尚。人物衣纹运用“高古游丝描”，细劲而“笔力伟然”，具有古朴之感。山石树木勾勒添色，用笔秀润工谨，设色明净古雅，营造了一种静谧幽远的意境。",[24,7,165,27,28,132,29,96,372,5359,99,1314,950,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b7e3df720b3e7f7fe6e74b9234493f4.jpg","纵143.5厘米，横33厘米",[136,117],{"id":30896,"slug":30897,"title":30898,"dynasty":54,"author":1219,"museum":300,"description":1220,"tags":30899,"thumbUrl":30900,"material":692,"size":1293,"collection":84,"collections":30901,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":72},236768,"hua-niao-shan-ren-yi-236768","花鸟扇",[24,7,1131,27,61,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f11184dc2996880960c34348e5bdf56.jpg",[],{"id":30903,"slug":30904,"title":30905,"dynasty":54,"author":22607,"museum":20,"description":30906,"tags":30907,"thumbUrl":30908,"material":10347,"size":22185,"collection":68,"collections":30909,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":72},236456,"mei-qing-shuang-song-tu-zhou-mei-qing-236456","梅清双松图轴","梅清（1624—1697年），原名士羲，后改梅清，字渊公，号瞿山、敬亭山农，宣城（今属安徽省）人。清初画家、诗人。工诗善画，以画山水、松石、梅花著称，时有“画山水入妙品”，“松入神品”，画梅花“枝干奇古”之评。山水画大多是黄山景致，风格雄奇豪放，为宣城地区画坛领袖。梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。他的创作最重师法自然，曾在各地游历名山大川，终日面对青山描摹写生。黄山和家乡宣城是梅清绘画中最着力表现的题材。著有《天延阁集》、《梅氏诗略》等书。",[24,7,164,165,128,132,372,1314,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e75e8c80c5c3ed6ad95de53a4991beb.jpg",[68,45],{"id":30911,"slug":30912,"title":30913,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":30914,"thumbUrl":30915,"material":692,"size":1293,"collection":84,"collections":30916,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":72},235807,"yuan-ji-mei-hua-tu-shan-shi-tao-235807","原济梅花图扇",[24,7,1131,128,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33ad238ab940dbfc5b3cb36729abcd03.jpg",[],{"id":30918,"slug":30919,"title":30920,"dynasty":124,"author":223,"museum":300,"description":30921,"tags":30922,"thumbUrl":30923,"material":692,"size":1293,"collection":84,"collections":30924,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":49},235656,"tang-yin-qian-tang-jing-wu-tu-zhou-yi-ming-235656","唐寅钱塘景物图轴","此作用斧劈皴写山石嶙峋风骨，层崖迭起取高远之境，硬朗苍劲尽显北派山水雄健气势。山坳林麓间村居错落隐现，青树蓊郁晕染江南温润意趣，刚柔相济，将浙派纵肆与吴门隽秀相融。\n左侧题诗与画景相映，把秋郊钱塘的清寂萧疏铺陈开来，山野幽居的闲逸之态藏于奇峰之间，笔意追摹前人，绘就秋日江乡澹远沉静的逸致，尽显明人山水抒情写意的雅致格调。",[24,7,165,128,132,29,97,98,99,171,130,211,331,131,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb11a22516543afdb44def938b072f17f.jpg",[],{"id":30926,"slug":30927,"title":30928,"dynasty":124,"author":223,"museum":300,"description":30929,"tags":30930,"thumbUrl":30931,"material":692,"size":1293,"collection":84,"collections":30932,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":72},235558,"wen-chu-lan-shi-shan-mian-yi-ming-235558","文俶兰石扇面","金笺素底之上，淡绿绘就兰叶，萦拂舒展，尽显摇曳灵韵。粉白轻晕兰花，清润柔雅，与枯拙苍劲的顽石相映成趣。棘枝细草点缀其间，更衬出芝兰孤高出尘。\n\n全幅笔墨简净清逸，以简驭繁，将林下幽娴之趣凝于尺幅扇面间，闲淡笔意晕开清雅风骨，尽展幽兰自持高洁的品格，静穆悠远，余韵绵长。",[24,7,1131,27,28,375,1314,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F503ca5f64cd9854bbf2c310af2ea2948.jpg",[],{"id":30934,"slug":30935,"title":4584,"dynasty":124,"author":125,"museum":20,"description":4585,"tags":30936,"thumbUrl":30937,"material":611,"size":4588,"collection":84,"collections":30938,"showCount":30793,"zanCount":1998,"manualWeight":48,"mainColor":72},234084,"wu-zhong-shan-shui-ce-shen-zhou-234084",[24,7,59,128,132,133,208,29,97,130,1144,131,34,415,14906],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feca6fe60aab5ac5d2bd9165817433d9c.jpg",[],{"id":30940,"slug":30941,"title":30942,"dynasty":18,"author":449,"museum":300,"description":30943,"tags":30944,"thumbUrl":30945,"material":84,"size":84,"collection":84,"collections":30946,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":49},230968,"yun-shan-die-cui-tu-zhou-mi-fei-230968","云山叠翠图轴","此作用水墨晕染摹写江南烟峦，以米点皴晕出山麓林泽的苍润郁茂。层叠峰岫在流荡的云雾中半隐半现，虚实交错间晕开空濛幽远的氤氲之气，将江南烟雨的朦胧柔婉尽显。\n下方平林村居，屋舍错落清溪蜿蜒，林木苍黑如黛，山野的静谧闲适扑面而来。全画脱却工细刻画，笔墨简淡随性，以氤氲水墨营造出如梦似幻的烟岚世界，将自然山水的灵秀与文人写意的雅趣相融，传递出悠然淡远的山居意趣，尽显水墨山水空濛雅致的独特风韵。",[23,164,24,7,165,128,132,29,950,663,130,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a45a3b012870db385d33969b86cdc64.jpg",[],{"id":30948,"slug":30949,"title":30950,"dynasty":124,"author":204,"museum":300,"description":19353,"tags":30951,"thumbUrl":30952,"material":692,"size":1293,"collection":84,"collections":30953,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":49},230958,"zhou-mao-shu-ai-lian-tu-li-zhou-chou-ying-230958","周茂叔爱莲图立轴",[23,164,24,7,165,28,27,26,96,29,81,33,4363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a4d5dc2dd8cfd1a2c256dea70deac6c.jpg",[],{"id":30955,"slug":30956,"title":30957,"dynasty":124,"author":12302,"museum":300,"description":30958,"tags":30959,"thumbUrl":30960,"material":84,"size":84,"collection":84,"collections":30961,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":49},228375,"lin-wang-meng-tai-bai-shan-tu-du-qiong-228375","临王蒙太白山图","此作用笔苍劲秀密，以披麻皴绘就层峦叠嶂，苔点疏密错落，尽显山岩浑厚华滋，林麓幽深静谧。湖面空阔清寂，村舍星点隐于林木沟壑间，野趣悠然自生，将江南山居的幽恬之景铺展尽致。\n卷尾长题书法俊逸朴拙，诗画相融，复刻原作幽淡萧散的山水意韵，又自蕴沉静内敛的文人意趣。观之如随幽人策杖穿行泉石间，煮茶观云，坐看烟岚漫过山腰，隐见林泉雅事，把林下高致的隐逸之思晕染在笔墨山河中。",[23,24,7,25,128,27,132,330,29,30,34,35,31,129,211,98,99,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F357f6e010915680f847be1afbc23395f.jpg",[],{"id":30963,"slug":30964,"title":1363,"dynasty":144,"author":223,"museum":300,"description":30965,"tags":30966,"thumbUrl":30967,"material":692,"size":1293,"collection":84,"collections":30968,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":49},228230,"guan-yin-yi-ming-228230","以淡逸铁线白描勾勒造像，衣纹圆转舒和如流云垂落，将观音静定安和的神态晕染开来。淡描头光不着浓色，愈发衬出造像澄澈出尘的气质。\n\n上方题字朴拙苍劲，率意天真，笔墨意趣与造像的清寂禅心相融相合，文与画互为表里。整幅舍去敷色繁饰，以极简笔墨托出慈悲空寂之态，将禅门万象皆空之理藏于素净纸面，于简淡之中见至深佛韵，观之令人俗念渐消，心神安谧。",[23,24,7,165,188,187,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcf1fc1fccfe0241e7cf06c9f7628590.jpg",[],{"id":30970,"slug":30971,"title":4879,"dynasty":144,"author":8127,"museum":300,"description":30972,"tags":30973,"thumbUrl":30974,"material":84,"size":84,"collection":84,"collections":30975,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":49},228163,"hua-niao-tu-ye-wang-yuan-228163","此作工写兼融，敷色清柔淡雅。枝桠苍劲古拙，梅花清逸绽放，山茶柔艳含娇，笔墨秀雅细腻，将花木妍态尽展。枝头禽鸟造型工致写实，蓝羽红腹晕染柔和灵动，抬首凝视间生机暗藏。浅淡竹叶衬于下方，愈发衬得画面清寂雅致。整幅既具院体花鸟的精工细致，又蕴含文人画的澹远意趣，褪去浓艳俗态，将春日花鸟的悠然意态晕染开来，尽显幽淡平和的雅致意境，是工笔花鸟之中别具韵致的精妙佳构。",[24,7,164,27,28,61,371,263,355,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27a089108778c2a97fb4773d6b972852.jpg",[],{"id":30977,"slug":30978,"title":30979,"dynasty":18,"author":27341,"museum":300,"description":30980,"tags":30981,"thumbUrl":30982,"material":84,"size":84,"collection":84,"collections":30983,"showCount":30793,"zanCount":1998,"manualWeight":48,"mainColor":49},227493,"shu-shan-xing-lv-tu-zhou-xu-dao-ning-227493","蜀山行旅图轴","这幅画是唐代画家李兆道的《明朝蜀帝》的复制品，描绘了唐玄宗从长安逃到四川的后妃和宗族王子。唐玄沿着蜿蜒的前山路拥抱着后丛，披着皮毛，在云雾中显得威严。",[23,164,24,7,165,27,29,96,101,106,11074,34,497,690,97,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F181e35023b5b0f076d46ac0a2261779f.jpg",[],{"id":30985,"slug":30986,"title":30987,"dynasty":351,"author":1610,"museum":300,"description":30988,"tags":30989,"thumbUrl":30990,"material":84,"size":84,"collection":84,"collections":30991,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":956},227264,"xi-an-tu-bo-wu-guan-ben-dong-yuan-227264","溪岸图(博物馆本)","《溪岸图》是五代画家董源创作的一幅绢本设色画，现收藏于美国大都会博物馆。\n\n《溪岸图》描绘江南溪岸景象，上半部左右相对两座山峰，两峰之中远山隐现，两山夹壑中一条山溪自远而近，至山前汇成大溪。溪岸左有楼台水榭，水榭中有幽人雅士正观望溪景。左面山中亦有泉瀑飞注入大溪，画的最下方溪岸坡冈上杂树耸立。中景、远景山峦上丛林茂密，草木葱茏。\n\n《溪岸图》构图雄伟，笔法严谨，兼具北方派的气度和南方派的温润，是董源从唐人山水过渡到南方水墨山水阶段的作品。",[164,24,7,165,132,128,27,29,131,34,99,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79f4bd7c9a668001f1943f2c22bc8be1.jpg",[],{"id":30993,"slug":30994,"title":30995,"dynasty":124,"author":18045,"museum":300,"description":6993,"tags":30996,"thumbUrl":30997,"material":611,"size":30998,"collection":84,"collections":30999,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":49},222699,"zhong-kui-jia-mei-tu-qian-gu-222699","钟馗嫁妹图",[23,164,24,7,25,188,128,28,96,17540,949,5626,1367,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c26209f23737e8706df0896ba1b8b9f.jpg","33.3*257.5",[],{"id":31001,"slug":31002,"title":31003,"dynasty":124,"author":6235,"museum":244,"description":31004,"tags":31005,"thumbUrl":31006,"material":514,"size":31007,"collection":68,"collections":31008,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":49},222407,"hua-fu-rong-bai-lu-zhou-zheng-shi-222407","画芙蓉白鹭轴","郑石，生卒年不详。系明画院中人，自署锦衣百户。\n工画花鸟，其画之风格出自宫廷花鸟画家吕纪。\n画幅之构图和树、石、花鸟的用笔，比之吕纪「秋鹭芙蓉」、「秋渚水禽」，显见在布局上较吕氏为简化。而用笔则不如其细致，有着较明显之提顿变化，渐趋向于浙派晚期之风味。",[23,24,7,165,27,28,61,373,985,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6580b27108d81173535dc902fb47cdad.jpg","纵144.4厘米，横74.3厘米",[68,45],{"id":31010,"slug":31011,"title":31012,"dynasty":124,"author":204,"museum":20,"description":23333,"tags":31013,"thumbUrl":31014,"material":40,"size":23336,"collection":136,"collections":31015,"showCount":30793,"zanCount":1998,"manualWeight":48,"mainColor":49},222220,"nv-le-tu-chou-ying-222220","女乐图",[23,24,28,27,166,438,97,247,96,1367,251,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1773ae43fc8291acbb6e1133fb797250.jpg",[136,45],{"id":31017,"slug":31018,"title":31019,"dynasty":124,"author":3608,"museum":1376,"description":31020,"tags":31021,"thumbUrl":31024,"material":611,"size":31025,"collection":68,"collections":31026,"showCount":30793,"zanCount":1998,"manualWeight":48,"mainColor":72},222178,"hong-xing-ye-fu-tu-zhou-lu-zhi-222178","红杏野凫图轴","此画杏花盛开、野尧戏游、水草挺秀，一派自然界安宁、雅静、自由、活泼的和谐景象。赏之让人生趣，令人神往。\n画面上的“天空”，几乎被杏树的枝条占满了，盛开的红色杏花伸展于水面的上空，可以用“花枝招展”来形容杏树的形态。花枝横跨画面，连画的右侧顶端也是杏树的枝干，画面的下部，是一只大野尧，优哉优哉地浮现于水面之上，仿佛被盛开的红杏所吸引，在偏首高望;画面的左下侧，河岸边的水草簇簇挺拔，卓然而立。生动和谐、愈趣高雅的画面体现出作者观察之细腻，绘画技艺之高超，令人赏心悦目。这幅花鸟写意画中的“亮”，即是野鸭。古代时这种水鸟，是甚有声望的。",[23,24,7,165,27,128,61,31022,31023,228,303,582,133],"红杏","野凫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe33b057f3aab56336cb3fa23d67505c5.jpg","43.1x119cm",[68,45],{"id":31028,"slug":31029,"title":31030,"dynasty":144,"author":31031,"museum":2068,"description":31032,"tags":31033,"thumbUrl":31034,"material":31035,"size":31036,"collection":84,"collections":31037,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":49},221856,"yu-tu-lai-an-221856","鱼图","赖庵","赖庵《藻鱼图轴》，在中国古代大量有关鱼的绘画中具有代表性，鱼在水藻间出游从容，身体扭曲自然，画家以此明志。\n元代画家常常赋予鱼以类似人的个性。此图中，鱼几乎占据了画面的全部空间，它似乎刚刚突然掉转身来面对观者，嘴巴大张，目光犀利。作者用细线精心描绘了片片鱼鳞，通过晕染来显示质感和立体感。以淡墨写水草，并通过鱼尾的摆动和水草的摇晃增加了画面的动感。",[23,24,7,4057,188,28,128,2059,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f6c0167aad2f00c768ac238d83f7767.jpg","绢本墨画","19.4×31.0",[],{"id":31039,"slug":31040,"title":19857,"dynasty":144,"author":14724,"museum":244,"description":20152,"tags":31041,"thumbUrl":31042,"material":128,"size":31043,"collection":136,"collections":31044,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":72},221789,"shan-shui-zhou-cao-zhi-bai-221789",[23,24,7,165,128,132,29,1337,276,131,34,415,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf838ea1e6905938ba9311926e6629d5.jpg","该幅 80x27.8公分、全幅 52.2公分",[136,117],{"id":31046,"slug":31047,"title":29129,"dynasty":144,"author":31048,"museum":244,"description":31049,"tags":31050,"thumbUrl":31051,"material":278,"size":31052,"collection":68,"collections":31053,"showCount":30793,"zanCount":1998,"manualWeight":48,"mainColor":72},221764,"mo-mei-zhou-chen-li-shan-221764","陈立善","款题：“白玉蟾善画梅，梅枝戍削几类荆棘，著花甚繁，寒葩冻萼不知有世上人。玉蟾本姓葛名长庚，出游海上，号海琼子，又号缤庵、武夷散人、神霄散吏、紫清真人，殆乎仙者也。昔年曾见其小幅题诗亦清绝，今擬之颇多合处。予初号两峰子，又号花之寺僧、金牛山人、蓼洲渔父、鹿裘生、人日生人，可谓遥遥相契于千载上矣。此帧为云峰先生作回溯厥画梅之源自若家始也。己亥孟冬罗聘记”。钤“两峰”白文印。“己亥”为乾隆四十四年（1779年），罗聘时年47岁。\n图绘傲风凌寒的梅花竞相绽放，一派生机勃勃的景致。图中花瓣或以仿元赵孟頫的“水墨”法墨晕，或以仿元王冕的“空圈”法线勾，无色晕染的花瓣于交叠辉映中，自得“不要人夸好颜色，只留清气满乾坤”的丽质，这种气质正是作者仿南宋葛长庚的梅画所要追求的清绝意韵。",[23,24,7,165,128,371,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd340bc3b59e9c79c1a466dbf8d908424.jpg","纵125.5厘米，横42.5厘米",[68,117],{"id":31055,"slug":31056,"title":31057,"dynasty":18,"author":2067,"museum":20,"description":31058,"tags":31059,"thumbUrl":31060,"material":40,"size":31061,"collection":42,"collections":31062,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":72},221593,"lie-quan-tu-li-di-221593","猎犬图","犬类作为专门的绘画题材最早出现在北宋《宣和画谱》中的“鸟兽”一门。宋代不乏画犬的专家，如宫廷画家李迪、李嵩、赵永年等。此图描绘的是宫廷御用猎犬，步伐矫健而闲雅。画风追求工整写实、细腻华丽而又形神兼备的宫廷审美趣味，是宋代院画的典型作品。",[23,164,24,7,28,27,949,527,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8b356f522e268e5858d309346e863d8.jpg","纵26.5厘米，横26.9厘米",[42,68,45],{"id":31064,"slug":31065,"title":31066,"dynasty":18,"author":3110,"museum":2068,"description":31067,"tags":31068,"thumbUrl":31069,"material":3785,"size":31070,"collection":84,"collections":31071,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":49},221499,"yan-yuan-hou-tu-mu-xi-221499","岩猿猴图","日本古籍《松斋梅谱》中评价牧溪的绘画“皆随笔点墨而成，意思简当，不费装缀。”中国《画继补遗·卷上》载：“僧法常，自号牧溪。善作龙虎、人物、芦雁、杂画，枯淡山野，诚非雅玩，仅可僧房道舍，以助清幽耳。”其画笔墨淋漓，颇具禅意。遗迹多流日本。其《远浦归帆图》真迹藏于京都国立博物馆。其《松猿图》对日本禅画尤有影响。甚至被评为“日本画道的大恩人”。\n南宋画家牧溪是一个谜一样的人物，他擅长画山水、蔬果、和大写意破墨僧道人物，从这张《六柿图》中，我们可以体会到六个柿子随机的摆设，用在每个柿子上不同的笔墨、虚实、阴阳、粗细间的灵活运用，作品呈现出静物作品的“随处皆真”的境界。\n史籍关于牧溪的记载语焉不详。元代吴大素《松斋梅谱》有关于这位画家比较多的文字描述：“僧法常，蜀人，号牧溪。喜画龙虎、猿鹤、禽鸟、山水、树石、人物，不曾设色。多用蔗渣草结，又皆随笔点墨而成，意思简当，不费妆缀。松竹梅兰石具形似，荷芦写，俱有高致。”",[23,164,24,7,165,128,187,9633,171,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea5cdc6899d1872fe756bc08c0532dfd.jpg","37.3×28",[],{"id":31073,"slug":31074,"title":31075,"dynasty":18,"author":4899,"museum":510,"description":31076,"tags":31077,"thumbUrl":31078,"material":40,"size":31079,"collection":42,"collections":31080,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":49},221450,"zhou-song-qing-miao-zhi-shen-tu-quan-juan-ma-he-zhi-221450","周颂清庙之什图全卷","马和之《诗经·周颂·清庙之什图卷》取材《诗经·周颂》的内容，其内容是西周初年周王朝祭祀宗庙的舞曲歌辞，用典重的词章歌颂祖先的功德并祈求降福子孙。全图绘《清庙之什》十篇诗意，字画各十段，每段画前有《周颂》全文。右书左图，各幅相间，依次为《清庙》、《维天之命》、《维清》、《烈文》、《天作》、《昊天有成命》、《我将》、《时迈》、《执竞》、《思文》。",[23,164,24,7,25,27,28,188,64,208,96,29,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc01c50754e74ad6bb6c4843682dac0cb.jpg","32.6*973cm",[42,136,117],{"id":31082,"slug":31083,"title":31084,"dynasty":18,"author":31085,"museum":244,"description":31086,"tags":31087,"thumbUrl":31089,"material":31090,"size":31091,"collection":42,"collections":31092,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":72},221259,"yan-guan-gu-si-jia-shi-gu-221259","岩关古寺","贾师古","圖中夜幕將降，夕輝猶存，上半部完全空白，構圖學馬遠“一角”的形式。山石皴法，雜用短釘頭，長括鐵、小斧劈諸皴法，由於夕照偏西，山體黝黑，石塊畫得岐蹭堅凝。山端聳有幾棵羅漢青松和一批古杉，石骨披滿勁硬的山草，通幅上色，染以汁綠，山石的中央一段用赫石水亮出，遂覺森嚴氣氛中有了點媚柔態，這是作者創作部署獨具匠心處。",[23,164,24,7,59,28,27,132,29,497,1144,31088,496,415],"古寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54bd4bd45db684e8e12f58b035f0a870.jpg","絹本，設色","縱40.0×橫40.0公分",[42,136,117],{"id":31094,"slug":31095,"title":31096,"dynasty":124,"author":31097,"museum":20,"description":31098,"tags":31099,"thumbUrl":31100,"material":173,"size":31101,"collection":136,"collections":31102,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":49},220373,"jiang-ge-yuan-tiao-tu-wang-e-220373","江阁远眺图","王谔","此图为设色人物山水，大江水云渺茫，靠岸边殿阁一座，阁上一人面向江左眺望，面前方几上设花瓶、香炉、果盘，二童子侍立，屋内一童点烛，一童托盒走来。阁前水边，大石，芦苇，小船一艇，一人伏卧船中，石上苍松古柏，石后山崖杂树，烟雾迷濛。大江对岸，山峦，屋宇，庙塔，一座城门女墙环山，绕成圆形，岸边停泊大小船二十余只，远山隐现在云海间。\n描绘楼阁吸取了南宋院体状物精微的写实风格而更加纤巧富丽，树石山崖取马远大斧劈皴法，水纹以墨线勾描，画法工细。",[23,164,24,7,1349,27,132,3649,97,415,1144,1743,414,131,34,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd4c9f65db6578d2b8f3b0006690a99f.jpg","纵143.2厘米，横229厘米",[136],{"id":31104,"slug":31105,"title":31106,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":31107,"thumbUrl":31108,"material":611,"size":3722,"collection":84,"collections":31109,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":72},220328,"huang-shan-tu-ce-3-hong-ren-220328","黄山图册-3",[23,24,7,128,132,59,29,30,97,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdc1eb815cf62e85ff746ecaa76da231.jpg",[],{"id":31111,"slug":31112,"title":31113,"dynasty":18,"author":223,"museum":244,"description":31114,"tags":31115,"thumbUrl":31116,"material":173,"size":31117,"collection":136,"collections":31118,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":49},219927,"xi-shan-rui-xue-tu-zhou-yi-ming-219927","溪山瑞雪图轴","此作用全景式构图铺陈雪后山川，远景层岩覆雪，隐在烟霭之中，如琼楼玉宇浸在寒雾里，萧寒静谧。中景平林远渚，寒水如镜，板桥孤悬，策蹇旅人踏雪独行，为清寂天地添上一缕幽渺生趣。近景苍松挺拔，枝梢凝霜，山石以留白晕染摹写积雪厚重，墨色干湿浓淡铺陈开雪后清润空蒙的空气感。\n\n全图以水墨晕染替代重彩勾勒，以淡墨烘出空濛雪意，不着艳色，仅以墨色层次区分山林丘壑，将冬日山野的荒寒幽寂尽数铺陈，把雪后山乡的静谧澹泊揉进笔墨之间，尽显含蓄悠远的山水意趣。",[23,24,7,164,165,128,132,29,1556,1144,98,949,131,34,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc39c4cc1ff9e95f273a558411882121.jpg","131.5x56.9",[136],{"id":31120,"slug":31121,"title":13031,"dynasty":144,"author":13485,"museum":450,"description":31122,"tags":31123,"thumbUrl":31124,"material":173,"size":31125,"collection":44,"collections":31126,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":49},219567,"xian-ren-tu-yan-hui-219567","苍古松壑间，三位仙者围坐清谈。左侧童子恭谨侍立，执器物垂首静听；居中仙者虬眉圆睁，神态矍铄灵动；右侧长髯仙人安坐抚膝，意态萧散出尘。\n\n画家以粗简苍劲的笔触勾勒山石古松，暗沉色调晕染出幽寂山野氛围，人物衣纹顿挫凝练，兼具写意笔趣与写实精微，将仙人各异的神采刻画入微，整体冷逸清旷，尽显出世高玄的仙道意境。",[23,24,7,165,128,27,96,29,187,28,132,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe1392a21c9e50699689313e4c79cf7f.jpg","纵144.8横82.2厘米",[44],{"id":31128,"slug":31129,"title":31130,"dynasty":124,"author":31131,"museum":450,"description":31132,"tags":31133,"thumbUrl":31134,"material":173,"size":84,"collection":44,"collections":31135,"showCount":30793,"zanCount":1998,"manualWeight":48,"mainColor":49},219520,"pin-pang-tu-ni-duan-219520","聘庞图","倪端","此作以层叠山水铺就幽寂天地，远山含烟，峦峰隐现于苍莽雾气之中，将山野空阔清远之境晕染开来。近景虬木盘绕，怪石嶙峋，衬出山居的清僻冷寂。林间小径之上，聘者躬身示礼，姿态恭谨，高士神态澹然自若，将出世隐逸与入世招贤的意涵悄然对照。\n\n笔墨苍劲古雅，斧劈皴利落刻画山石肌理，枯木枝桠以折芦描写就，尽显萧寒苍劲。沉雅的设色晕开幽古氛围，以山川林泉烘托出林下高风，将先贤不慕荣利的襟怀藏于烟霞丘壑之间，院体画的精工与文人意趣相融，悠悠古意漫溢满幅。",[23,24,7,165,27,29,96,34,497,495,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa50f6ffda585eb0f4926c5cca0a3fb74.jpg",[44,136],{"id":31137,"slug":31138,"title":31139,"dynasty":124,"author":31140,"museum":20,"description":31141,"tags":31142,"thumbUrl":31143,"material":611,"size":31144,"collection":318,"collections":31145,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":72},219148,"xing-shu-yu-zhong-du-zhuo-shi-xu-lin-219148","行书·雨中独酌诗","徐霖","此书为徐霖自作七言律诗一首，表露了老年人的一种伤感情怀。\n此帖书法用笔骨力遒劲，内含刚柔，结体流美秀丽，线条粗细均匀，无显著的波磔变化，仍保留着这些篆书的笔法。",[23,164,7,64,133,611,208,28172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54909960222c10b5660fd59f71e7cbad.jpg","纵23.7厘米，横36.7厘米",[318],{"id":31147,"slug":31148,"title":31149,"dynasty":18,"author":223,"museum":4840,"description":31150,"tags":31151,"thumbUrl":31152,"material":278,"size":84,"collection":68,"collections":31153,"showCount":30793,"zanCount":1116,"manualWeight":48,"mainColor":72},219089,"san-mu-tu-yi-ming-219089","散牧图","素净雪景铺展天地，淡墨晕染出苍茫清寂。枯树枝桠疏朗，似在寒风中轻颤；山石皴法简练，线条勾勒雪的厚重。几株老树苍劲，与留白雪地相映，更显悠远。牛群或缓步觅食，或嬉戏追逐，牧童骑于牛背，衣袂轻扬，尽展山野童趣。远处林峦朦胧，似隐似现，添了几分空濛。构图疏密有致，笔法细腻却不失洒脱，传递出人与自然相融的宁静之美，尽显雅致恬淡的意趣，仿佛能听见牧童的嬉笑声，随晚风消散在雪后的山林间。",[23,24,7,25,128,132,208,29,102,96,1337,171,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d87cbb3dc7c63f2731e50347052b00d.jpg",[68],{"id":31155,"slug":31156,"title":31157,"dynasty":144,"author":569,"museum":244,"description":31158,"tags":31159,"thumbUrl":31160,"material":66,"size":31161,"collection":68,"collections":31162,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":72},218828,"bai-bi-gua-tu-zhao-meng-fu-218828","白鼻䯄图","笔墨流转间，神骏之姿跃然纸上。马身淡墨晕染，线条如篆籀般圆劲，鬃毛轻扬处藏笔锋灵动，白鼻轻点更显温驯雅致。牵马人身着异域服饰，衣袂飘飘，神态悠然，与马的从容相映成趣。画面上方题跋清逸，诗画相生，尽展“书画同源”之韵。作品不刻意写实，却于简淡中藏深意，笔墨韵味与形象生动完美融合，传递出静谧悠远的意境，仿佛能听见马蹄轻踏，感受到人与马的默契温情，尽显文人画的雅逸风骨。",[164,24,7,128,27,96,101,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472c59d0294d40e3fb352cc6ee315fc6.jpg","26.2x41.8cm",[68],{"id":31164,"slug":31165,"title":31166,"dynasty":144,"author":13522,"museum":20,"description":31167,"tags":31168,"thumbUrl":31173,"material":173,"size":31174,"collection":136,"collections":31175,"showCount":30793,"zanCount":1998,"manualWeight":48,"mainColor":49},218494,"xue-gang-du-guan-tu-ma-wan-218494","雪岗度关图","此图为雪景山水，描绘崇山峻岭均为积雪覆盖，崖头隐约点缀着短小的丛树，山谷间有林木、水榭掩映，雪雾烟岚在崖隙间弥散，山脚下，长松依然清翠昂然，整个画面散发着荒寒萧索之气。这种雪景的画法完全师从黄公望《九峰雪霁图》，画家利用绢索洁白的质地，以淡墨洪染出天空、水面，以墨笔淡淡勾出景物轮廓，显现出雪景的晶莹透明。自识“雪冈度关，文壁为彦明作”。",[23,164,24,7,165,31169,128,31170,13436,2621,4438,10654,31171,31172],"雪景山水","崇山峻岭","长松","荒寒萧索","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8bfe95f54c31280a2923ea9e42867e1.jpg","125.4厘米，横：57.2厘米",[136],{"id":31177,"slug":31178,"title":31179,"dynasty":124,"author":223,"museum":300,"description":31180,"tags":31181,"thumbUrl":31183,"material":173,"size":31184,"collection":44,"collections":31185,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":49},218431,"hu-ren-qi-she-tu-yi-ming-218431","胡人骑射图","奔马四蹄腾空，尘烟似随绢纹浮动。骑手或弓弦满张如满月，箭簇欲破风而去；或俯身控缰，衣袂猎猎卷动。红带束腰、尖顶帽饰，勾勒出游牧者的剽悍身姿。马匹鬃毛飞扬，有的昂首嘶鸣，有的侧首避箭，动态十足。赭褐底色晕染出苍茫旷野的气息，古绢的纹理如岁月刻痕，将骑射的豪壮与奔放凝于方寸之间。每一笔线条都带着力量，仿佛能听见马蹄声与弓弦响交织，尽显马背民族的飒爽英姿。",[24,7,164,27,28,96,101,208,31182],"骑射","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F754cc051e9eb8b734538664b52ca4eb4.jpg","33x161",[44],{"id":31187,"slug":31188,"title":31189,"dynasty":18,"author":223,"museum":244,"description":31190,"tags":31191,"thumbUrl":31192,"material":173,"size":31193,"collection":68,"collections":31194,"showCount":30793,"zanCount":1998,"manualWeight":48,"mainColor":72},218396,"hua-an-chun-tu-yi-ming-218396","画鹌鹑图","这是一幅描绘两只鹌鹑在沙地上玩耍和觅食的画。其生动的造型和多变的笔触使其成为宋元微型绘画的典范。",[23,24,7,165,28,27,61,8140,228,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98f7c7b18cd6012e81e56549879d6d73.jpg","35.3x25.8cm",[68],{"id":31196,"slug":31197,"title":31198,"dynasty":18,"author":2099,"museum":300,"description":31199,"tags":31200,"thumbUrl":31201,"material":317,"size":84,"collection":44,"collections":31202,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":49},218092,"bai-miao-luo-han-tu-quan-juan-li-gong-lin-218092","白描罗汉图全卷","宋朝是中国历史上的一个朝代，它的统治时间是从960年到1279年。在这个时期，许多著名的文化遗产和艺术品被创造出来，其中之一就是李公麟的《白描罗汉图全卷》。\n\n李公麟是宋朝时期的一位著名的画家，他的《白描罗汉图全卷》是他的代表作之一。这幅画共有六十张图片，描绘了罗汉（菩萨）的各种形象。罗汉是佛教中的一种神祇，被视为慈悲、智慧、勇敢的象征。\n\n《白描罗汉图全卷》画风精细，造型优美，富有表现力。李公麟在画中运用了白色的纸张，使得整幅画显得格外纯净、灵动。此外，他还运用了许多细节处理手法，如镂空、描边和拓印等，使得画面更加丰富、生动。\n\n总的来说，李公麟的《白描罗汉图全卷》是一幅精美的艺术杰作，具有极高的艺术价值和文化意义。",[23,164,24,7,25,188,187,96,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F259cf0e940680700b94e0d92e8fa0ef6.jpg",[44],{"id":31204,"slug":31205,"title":31206,"dynasty":124,"author":2268,"museum":56,"description":3855,"tags":31207,"thumbUrl":31208,"material":66,"size":84,"collection":84,"collections":31209,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":72},214648,"qiu-xing-ba-jing-tu-ce-9-dong-qi-chang-214648","秋兴八景图册-9",[24,7,59,128,26,27,29,130,34,131,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1be813ba30d1c9d872056dd97f176faa.jpg",[],{"id":31211,"slug":31212,"title":10883,"dynasty":54,"author":31213,"museum":244,"description":31214,"tags":31215,"thumbUrl":31216,"material":278,"size":31217,"collection":318,"collections":31218,"showCount":30793,"zanCount":48,"manualWeight":48,"mainColor":72},214242,"xing-shu-qi-yan-lian-zuo-zong-tang-214242","左宗棠","墨色沉厚如铸铁，笔锋转折间藏锋棱傲骨。线条刚劲却不失流畅，似老将挥戈带千钧力，又若文士吟啸含书卷气。联语既涌少年意气的蓬勃春潮，又蕴老境自惕的清醒襟怀，笔墨与文心浑然相映。两联布局匀整却不死板，字间气脉贯通如行云流水，每一笔都带着书写者的沉雄气度与儒雅风致。整幅作品刚柔相济，既有武将的磊落风骨，又有学者的深醇底蕴，读之如见历史风烟里的身影，笔底春秋皆见性情。",[23,304,133,10886,64,7,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ad38b3923da1877dd83a984a1b451cf.jpg","166.2x38.7",[318],{"id":31220,"slug":31221,"title":31222,"dynasty":18,"author":223,"museum":300,"description":22566,"tags":31223,"thumbUrl":31224,"material":692,"size":1293,"collection":84,"collections":31225,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":49},290764,"ke-si-zhao-chang-zhu-mei-shuang-xi-tu-zhou-yi-ming-290764","缂丝赵昌竹梅双喜图轴",[164,24,7,165,1944,27,61,371,167,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ae80a1900ff73c3d2c2cb550f664ca.jpg",[],41,{"id":31228,"slug":31229,"title":31230,"dynasty":144,"author":660,"museum":300,"description":31231,"tags":31232,"thumbUrl":31233,"material":692,"size":1293,"collection":84,"collections":31234,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":72},290732,"xi-ting-zuo-yin-zhou-shang-qi-290732","溪亭坐隐轴","商琦：元代画家，字德符，号寿岩，曹州（今山东菏泽市）人。泰定元年官至秘书卿。有精深的文学艺术修养，又以善画受到皇帝赏识，因此他在当时的地位很显赫，几与高克恭齐名。商琦善画山水，《图绘宝鉴》称他师法李成，得用墨法，亦善画墨竹。又有记载说他的山水学董源，善于运用水墨。仁宗曾命他在壁上作山水，不用金朱粉彩，只用水墨，可见他的水墨山水、竹石画在当时堪称一绝。商琦亦是一位壁画能手，曾奉命画嘉禧殿壁，当时许多宫殿、寺院壁画都出自他的手笔。",[164,24,7,165,128,29,96,130,99,97,131,34,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2590d0819492c87451b3e47069e30e7d.jpg",[],{"id":31236,"slug":31237,"title":31238,"dynasty":18,"author":397,"museum":244,"description":31239,"tags":31240,"thumbUrl":31241,"material":173,"size":31242,"collection":84,"collections":31243,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":49},290059,"hong-liao-bai-e-tu-zhao-ji-290059","红蓼白鹅图","图中红蓼从水岸边斜出而长，在红寥的下面安卧着一只红嘴大白鹅。白鹅的体积肥硕，神态安详，眼珠黑如豆，但有些墉懒，显出一副昏昏欲睡貌.此画构图洗练，形象明快优美。",[164,24,7,165,27,61,28,11227,27479],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa71b9f73496e052bba024a6ef9e7f2f4.jpg","132.9x86.3",[],{"id":31245,"slug":31246,"title":31247,"dynasty":124,"author":802,"museum":300,"description":5946,"tags":31248,"thumbUrl":31250,"material":692,"size":1293,"collection":84,"collections":31251,"showCount":31226,"zanCount":1998,"manualWeight":48,"mainColor":72},287797,"hua-hui-cao-chong-shan-chen-hong-shou-287797","花卉草虫扇",[23,1131,24,164,7,27,28,61,31249,373,481],"花卉草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3d257f034c5743e049d2308aee80852.jpg",[],{"id":31253,"slug":31254,"title":31255,"dynasty":124,"author":1058,"museum":300,"description":31256,"tags":31257,"thumbUrl":31258,"material":611,"size":84,"collection":318,"collections":31259,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":72},241555,"tang-yin-shi-juan-tang-yin-241555","唐寅诗卷","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 [1] 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。 [2]\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[23,7,25,64,133,208,128,6369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7d1f22c20897817f0de3feff1bc57dd.jpg",[318],{"id":31261,"slug":31262,"title":1289,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":31263,"thumbUrl":31264,"material":692,"size":1293,"collection":84,"collections":31265,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":72},239426,"shan-shui-hua-hui-ce-yun-shou-ping-239426",[24,7,59,128,188,171,1337,167,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46879573d1358b6fa55ffe759b2f7a28.jpg",[],{"id":31267,"slug":31268,"title":31269,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":31270,"thumbUrl":31271,"material":692,"size":1293,"collection":84,"collections":31272,"showCount":31226,"zanCount":1998,"manualWeight":48,"mainColor":72},238417,"xiu-gu-cong-fang-tu-ce-dong-gao-238417","绣谷丛芳图册",[24,7,164,59,27,28,61,547,624,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8763ad1a0827aa8984cd36e4279b56ec.jpg",[],{"id":31274,"slug":31275,"title":31276,"dynasty":54,"author":31277,"museum":300,"description":31278,"tags":31279,"thumbUrl":31280,"material":84,"size":84,"collection":84,"collections":31281,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":72},238135,"fang-ni-zan-shi-zi-lin-tu-juan-fang-cong-238135","仿倪瓒狮子林图卷","方琮","此作用淡墨铺展园居全景，开篇修竹扶苏，清韵悠悠，茅舍草堂错落其间，屋中有人凭案闲坐，庭前老木虬枝疏朗，衬出院落萧散简远。\n\n整卷笔墨极简，以干笔淡皴写就山石林木，线条清劲秀逸，全无繁冗之笔，承袭古淡空灵的笔意。留白疏阔，氤氲出静穆冷寂的古雅意境，将观者带入无人尘扰的幽居，坐看竹影摇窗、苔痕覆阶，尽显文人画的隐逸高致，笔底藏着天真古淡的林下之风，写尽园居清趣与幽人逸怀。",[23,24,7,25,128,188,330,97,130,167,413,131,247,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37103644d51d567e8b77eae43a2e67bb.jpg",[],{"id":31283,"slug":31284,"title":31285,"dynasty":54,"author":6957,"museum":300,"description":20073,"tags":31286,"thumbUrl":31287,"material":692,"size":1293,"collection":84,"collections":31288,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":72},237944,"hua-die-tu-shan-ye-ren-xun-237944","花蝶图扇页",[164,24,7,1131,27,28,61,9392,376,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57bd5590052ab002d16d24d19df57820.jpg",[],{"id":31290,"slug":31291,"title":31292,"dynasty":54,"author":9529,"museum":300,"description":18220,"tags":31293,"thumbUrl":31294,"material":84,"size":84,"collection":117,"collections":31295,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":72},237493,"san-jia-he-zuo-wu-qing-zhou-wang-hui-237493","三家合作五清轴",[164,24,7,165,128,27,372,167,371,231,64,208,28,132,455],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3351e99781cdb65f9a423bfdf5e44492.jpg",[117,318],{"id":31297,"slug":31298,"title":4229,"dynasty":54,"author":31299,"museum":300,"description":31300,"tags":31301,"thumbUrl":31302,"material":611,"size":84,"collection":68,"collections":31303,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":49},237349,"hua-niao-ce-wang-gang-237349","王冈","王冈，清代粜臫人頭，字南樤石，号旅云山人，上海人，工花卉、人物，并善写真，后出己意，写生入妙，亦善山水，尝游京师为董邦远客，凡画苑供奉之作，半出其手。\n（一六七七至一七七o）一作（一六九七至一七七o）字南石，号旅云山人，上海人。黄本复弟子。工花卉、人物，并善写真，后出己意，写生入妙。水族草虫，尤觉生动。亦善山水，尝游京师为董邦远客，凡画苑供奉之作，半出其手。其得意处，近似倪瓒。卒年九十四，一作七十四。",[24,7,59,27,61,80,167,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3aa7f6b70cd20a98fe57417a482275a.jpg",[68,45],{"id":31305,"slug":31306,"title":31307,"dynasty":54,"author":17240,"museum":300,"description":31308,"tags":31309,"thumbUrl":31310,"material":84,"size":84,"collection":136,"collections":31311,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":72},236571,"zha-mei-he-shan-shui-shi-zhen-cha-shi-biao-236571","樝梅壑山水十帧","查士标（1615—1698），字二瞻，号梅壑、懒老，安徽休宁人。擅山水，宗法元人倪瓒、吴镇。用笔疏简超逸，意境荒寒清旷。与渐江、孙逸、汪之瑞并称“新安四大家”（又名“海阳四家”）。著有《种书堂遗稿》。\n查士标用笔以方折线条为主，笔墨疏简的风格中有吴镇的温润、苍茫，又有倪瓒的高逸、舒秀，别具自家风貌。\n这几开山水，群峰起伏，林木葱蘢，山径盘区，溪水横流；高士行吟于林壑之间，屋宇坐落于幽深之地，画面极赋诗情画意，虽 用笔不多，却风神飘散，气韵荒寒，为不可多得的佳品！",[24,7,59,128,133,208,132,29,1144,96,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97aaddabf21fec2cdc2cda2b7408da7e.jpg",[136,318],{"id":31313,"slug":31314,"title":31315,"dynasty":54,"author":19884,"museum":20,"description":31316,"tags":31317,"thumbUrl":31318,"material":1464,"size":31319,"collection":136,"collections":31320,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":72},236111,"pan-shan-bie-shu-zhou-zhang-zong-cang-236111","盘山别墅轴","位于盘山的静寄山庄，是乾隆朝“法皇祖避暑山庄之例”而修建的。乾隆皇帝学仿康熙皇帝，仿照避暑山庄，在现在的天津蓟县盘山南麓营建了属于自己的皇家园林，位于京城以东80余公里之外，是乾隆帝朝谒东陵的必经之地。静寄山庄也叫盘山行宫，于乾隆九年（1744）开始兴建，至乾隆十九年（1754）竣工，是清代鼎盛期著名的皇家园林之一，也是在京城以外仅次于避暑山庄的第二大皇家行宫园林。乾隆朝多位宫廷画家、词臣画家甚至乾隆皇帝本人，都描绘过这里。",[164,24,7,165,128,132,29,99,131,34,758,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4cfa4cf9fbe519c088dfe3a6254fc08.jpg","162×93.5厘米",[136,117],{"id":31322,"slug":31323,"title":31324,"dynasty":124,"author":125,"museum":300,"description":31325,"tags":31326,"thumbUrl":31327,"material":84,"size":84,"collection":84,"collections":31328,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":49},235999,"chun-yun-die-zhang-tu-zhou-shen-zhou-235999","春云叠嶂图轴","此作以淡墨晕染远山，春云裹挟峰峦，虚实相融间晕开空濛的春日山色。山巅以浓墨点苔植林，清浅墨色衬出苍润的生机。中景林麓烟霭轻笼，村舍隐于幽林之中，漫着山居的静寂安闲。近岸水滨杂树错落，枝桠舒展间漾着春的暖意，临水策驴徐行的旅人，为山野添了鲜活意趣。\n\n整作笔墨苍秀兼具，以留白衬出云气流动，简淡的水墨里藏着古雅浑厚，将江南春山温润清远的意境铺展尽致，尽显文人山水独有的林下天真。",[24,7,165,128,132,29,950,30,34,99,130,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46ff3ecd13cea2367a22a0689c7f958e.jpg",[],{"id":31330,"slug":31331,"title":31332,"dynasty":54,"author":3750,"museum":300,"description":31333,"tags":31334,"thumbUrl":31335,"material":84,"size":84,"collection":136,"collections":31336,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":72},235336,"fang-gu-shu-hua-ce-wang-jian-235336","仿古书画册","此作绘冬日山居雪景，峰峦素雪覆顶，苍松虬劲错落，枝桠缀雪愈见清寒古雅。山坳村居隐于林间，溪涧凝冰，冷寂空蒙。以淡墨晕染山峦肌理，留白铺陈出漫林雪意，萧疏静谧间尽显古山水的苍浑意趣。\n\n对开行书笔意疏朗清逸，诗句呼应画中深巷积素、残晖映雪之境，书画相映，将冬日山居的幽寂淡远凝于尺幅，于简淡笔墨间尽显隽永雅致，藏着沉厚的仿古功力。",[24,7,59,128,27,29,330,133,208,663,413,98,99,35,1144,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1df774cba5454f3e332ba7b07901837.jpg",[136,45],{"id":31338,"slug":31339,"title":31340,"dynasty":124,"author":26321,"museum":20,"description":26322,"tags":31341,"thumbUrl":31342,"material":84,"size":84,"collection":84,"collections":31343,"showCount":31226,"zanCount":1998,"manualWeight":48,"mainColor":72},234208,"yin-zhong-ba-xian-tu-juan-li-shi-da-234208","饮中八仙图卷",[23,24,7,25,188,128,96,439,170,1422,438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6a2be7f38107d2f8b2db69666be51e8.jpg",[],{"id":31345,"slug":31346,"title":4584,"dynasty":124,"author":125,"museum":20,"description":4585,"tags":31347,"thumbUrl":31348,"material":611,"size":4588,"collection":84,"collections":31349,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":72},234091,"wu-zhong-shan-shui-ce-shen-zhou-234091",[24,7,59,128,132,133,208,29,34,129,99,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F768131a771cc65321f3cd34baec811ed.jpg",[],{"id":31351,"slug":31352,"title":4584,"dynasty":124,"author":125,"museum":20,"description":4585,"tags":31353,"thumbUrl":31354,"material":611,"size":4588,"collection":84,"collections":31355,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":72},234087,"wu-zhong-shan-shui-ce-shen-zhou-234087",[24,7,59,128,132,133,208,29,98,99,34,35,129,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc46249d3f1a8b1efdae161fb0542ffbf.jpg",[],{"id":31357,"slug":31358,"title":892,"dynasty":54,"author":55,"museum":300,"description":893,"tags":31359,"thumbUrl":31360,"material":84,"size":84,"collection":84,"collections":31361,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":72},233903,"hua-hui-shan-shui-ce-yun-shou-ping-233903",[24,7,59,128,29,132,496,35,34,1813],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb64d6ef3ece810763cbad6bcf614832.jpg",[],{"id":31363,"slug":31364,"title":31365,"dynasty":124,"author":125,"museum":20,"description":1048,"tags":31366,"thumbUrl":31367,"material":734,"size":1051,"collection":84,"collections":31368,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":72},233841,"wo-you-tu-ce-fu-rong-shen-zhou-233841","卧游图册－芙蓉",[24,7,164,59,27,128,61,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8ebcdb6393844fc83fa104c39766209.jpg",[],{"id":31370,"slug":31371,"title":31372,"dynasty":124,"author":125,"museum":20,"description":1048,"tags":31373,"thumbUrl":31374,"material":734,"size":1051,"collection":84,"collections":31375,"showCount":31226,"zanCount":1998,"manualWeight":48,"mainColor":72},233838,"wo-you-tu-ce-shui-niu-shen-zhou-233838","卧游图册－水牛",[24,7,164,59,128,102,949,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F892357b8d795353c9df9c3dad573e9ae.jpg",[],{"id":31377,"slug":31378,"title":31379,"dynasty":124,"author":3608,"museum":300,"description":31380,"tags":31381,"thumbUrl":31383,"material":84,"size":84,"collection":84,"collections":31384,"showCount":31226,"zanCount":1998,"manualWeight":48,"mainColor":72},233799,"li-hua-bai-yan-shan-mian-lu-zhi-233799","黎花白燕扇面","明代画家陆治的花鸟画多表现出与众不同的格调，《梨花双燕图》所展现出的境界与同时期的明代画家甚至于他自己的其他作品也完全不同。工笔与写意结合，勾勒中粗细结合，整幅画上画幅只占小部分，大部分都是题字，并有文征明的亲笔题跋。而在众多题字中尤为值得关注的就是乾隆御题，此作曾经两次被乾隆当皇上和太上皇两个时期展阅过。《梨花双燕图》构图上采用较为传统的对角线方式描绘花枝，敷色雅致，对梨花和燕子形态的描绘生动传神。画面上有作者自题诗句一首，署款“包山陆治制”，并钤有乾隆内府玺印多方。《梨花双燕图》堪称陆治花鸟画代表作。\n陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因居包山，自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[805,1131,24,7,28,27,61,1188,31382,2438],"白燕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e90a284399b9a35c0b28c400c76c4c.jpg",[],{"id":31386,"slug":31387,"title":5047,"dynasty":124,"author":366,"museum":20,"description":5048,"tags":31388,"thumbUrl":31389,"material":3544,"size":5052,"collection":84,"collections":31390,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":72},233465,"ren-wu-hua-hui-ce-xu-wei-233465",[164,24,7,59,128,369,62,549,582,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61f867355f75d02b3f2bc5518af5ed94.jpg",[],{"id":31392,"slug":31393,"title":31394,"dynasty":18,"author":2141,"museum":300,"description":31395,"tags":31396,"thumbUrl":31397,"material":151,"size":31398,"collection":84,"collections":31399,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":49},232875,"guan-shan-xing-lv-tu-juan-liu-song-nian-232875","关山行旅图卷","刘松年（约1155-1218）〔南宋〕钱塘人，淳熙间画院学生，绍熙间升画院待诏。宁宗时进《耕织图》被朝廷看重，赐金带，为“南宋四大家”之一。",[23,164,24,7,25,29,132,27,496,97,34,130,690,109,1337,131,1144,499,11998,17270,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac782a163ae7808c98a9f752060c3b4.jpg","34.3x307厘米",[],{"id":31401,"slug":31402,"title":31403,"dynasty":54,"author":31404,"museum":300,"description":31405,"tags":31406,"thumbUrl":31407,"material":611,"size":84,"collection":136,"collections":31408,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":72},231951,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-ceng-yan-dong-231951","七道子山水人物画册18帧","曾衍东","曾衍东生于清乾隆十五年（1750年），字青瞻，一字七如，号七如居士、七道士，祖籍山东嘉祥，为曾子第67代孙。清乾隆壬子（1792年）举人，清乾隆至道光年间画家、小说家、杂剧家。\n据嘉祥《曾氏祖谱》记载，其祖上在明代嘉靖十八年（1539年）被封为翰林院五经博士，并从此世袭爵位。曾衍东的父亲名尚渭，是个恩贡生，游宦江南，曾官居广东博罗县令。曾衍东自幼随父游走南北，童年的经历奠定了其开阔的胸襟，同时也开启了他坎坷飘荡的一生。\n他仕途坎坷，直至50岁迟暮之年由人举荐，才得任湖北江夏县令，后调任巴东县令。曾衍东个性清高、倔强。他曾在《日长随笔》里写道：“人所不能做的，我偏要做去，人所不能减的，我偏要减去。”依这种性格，他在中国官场的遭遇可想而知。63岁那年，因断案而触怒巡抚，而他坚持“此官可去案不移”，终被降罪罢官，流放温州。\n曾衍东携家小流放温州后，先住在同姓旧宦曾儒璋后人曾立亭的家中。曾立亭居温州郡西，其宅名“依绿园”。他念同姓之谊，款接曾衍东居园之“入画楼”。第二年曾衍东在园边宝庵桥附近一大榕树下自建房屋。这里面向九山湖，湖光山色正好，于是他把自己的居所命名“小西湖”。并在门上写了一副对联：“挂冠自昔曾骑虎，闭户于今好画龙。”\n嘉庆二十五年（1820），道光帝即位，曾衍东遇赦，但已贫老不得归乡，约十年后，客死于温州。\n曾衍东生性落拓不羁，工诗及书画，尤善画人物，市井风情、生活百态皆入其构中，举重若轻。在技巧上以笔墨狂放的写意风格取胜。镌图章，摩古出奇，得之者无不视为拱璧，然清贫自守。在近代画坛特别在人物画领域受曾衍东影响的画家有很多，比如王震和丰子恺。但是对他在画坛上地位的认识有所不足，因此当代著名画家程十发先生颇为其抱不平。他在曾衍东的一本人物册中写到：“七道士乃青藤（徐渭）后身，诗文词曲皆胜场，且从书画中与世俗相左而现风骚之气。余曰：近人不重曾衍东是一大遗憾也。”可以说推崇备至。",[23,24,7,59,128,96,101,208,133,64,1350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e31d6bfb1d8831f9c256406aa1f6a9e.jpg",[136,44],{"id":31410,"slug":31411,"title":31412,"dynasty":54,"author":646,"museum":77,"description":31413,"tags":31414,"thumbUrl":31415,"material":611,"size":31416,"collection":84,"collections":31417,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":72},231949,"hua-hui-ce-ye-12-kai-dong-gao-231949","花卉册页12开","龚心钊题跋。龚心钊（1870-1949），字怀希，号仲勉，安徽合肥人，寓居上海。他19岁中举人，26岁中进士，是清代最后一任科举考官。光绪年间出使英、法等国，清末出任加拿大总领事，是清代著名的外交家。\n董诰（1740-1818），字雅伦，西京，号蔗林，一号柘林，董邦达长子，浙江富阳人。乾隆二十八年（1763），中顺天乡试举人，明年成进士，殿试各列一甲第三，乾隆帝以其系大臣子，改置二甲第一，为传胪，授翰林院庶吉士，充国史三通馆协修，武英殿篡修。散馆后，改任编修。",[164,24,7,59,28,27,61,62,549,582,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa16aa1373de0204c155ba084d3f5fee4.jpg","21×26cm×12",[],{"id":31419,"slug":31420,"title":31421,"dynasty":54,"author":9529,"museum":300,"description":19697,"tags":31422,"thumbUrl":31423,"material":692,"size":1293,"collection":84,"collections":31424,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":72},229014,"fang-gu-shan-shui-wang-shi-min-wang-hui-229014","仿古山水-王时敏",[164,24,7,29,128,27,132,171,98,99,130,211,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2980717faf33c3fd762b486b8c086428.jpg",[],{"id":31426,"slug":31427,"title":31428,"dynasty":124,"author":223,"museum":300,"description":31429,"tags":31430,"thumbUrl":31433,"material":84,"size":84,"collection":84,"collections":31434,"showCount":31226,"zanCount":1998,"manualWeight":48,"mainColor":49},228380,"xian-zong-chun-huang-di-xiao-zhen-chun-huang-hou-yi-ming-228380","宪宗纯皇帝；孝贞纯皇后","此作工笔重彩，尽显宫廷肖像的庄重礼制。帝王丰腴持重，长髯垂胸，朝服团龙织金华美厚重，沉静神态间自显九五威仪。皇后凤冠累丝点翠，珠绕翠围，饰纹龙凤交错、珠玉琳琅，面容温婉端雅，衣间绣纹细密精巧，尽显后妃尊荣。\n\n画面设色沉穆富丽，线条工整精细，既恪守宫廷御容的制式规范，又将帝后仪容神韵写实还原，在礼制框架中尽显大明皇室的华贵肃穆之风。",[24,7,96,11584,28,27,31431,31432,1367,8189],"宫廷人物","龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faffdd58ba212c252b9f919542f805753.jpg",[],{"id":31436,"slug":31437,"title":31438,"dynasty":144,"author":7095,"museum":300,"description":31439,"tags":31440,"thumbUrl":31441,"material":84,"size":84,"collection":84,"collections":31442,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":72},228027,"lin-li-gong-lin-ren-ma-tu-zhao-yong-228027","临李公麟人马图","说明：元 赵雍 纸本设色 （美国）弗利尔美术馆藏 纵1.7厘米 横7.5厘米 此卷为临仿北宋李公麟白描《五马图》中的第一组人马像，并敷以颜色。\n牵马者身穿朱衣，两臂袍于腹前，侧脸望着身后的贡马，漫步前行。\n画人马用线细劲连绵，人物胡须及马尾线描极为精彩。\n与原作相比，马体略显肥胖，而神骏英发之气似嫌不足。\n字仲穆，吴兴（今浙江湖州）人，赵孟頫次子。\n官至集贤待制，同知湖州路总管府事，晚年隐居在家，往来于湖、杭间。\n承家学诗文书画皆精，善鉴赏，人物、山水、界画、花鸟、鞍马无所不能。\n幼即勤奋，得母指教，稍懈母即严责之。\n稍长，“所画浓淡浅深皆至理”。\n山水宗父法，参学董、巨、李、郭、萧散清远，笔力劲健，有个人面貌。\n兰竹师其母，腴润洒脱，颇有风致，尤精人物鞍马，法唐人，有古意，行走滚卧，驰骤奔跳，浴水啮草，各式姿容神态皆生动，深得文人学士甚至皇帝好评。\n书善正、行、草，亦长篆书，体势清劲。\n赵雍传世作品有至正二年（142）作《采菱图》轴、至正七年（147）作《挟弹游骑图》轴、（16）作《松溪钓艇图》卷及《沙苑图》卷，现藏故宫博物院；《着色兰竹图》轴、《青影红心图》《长松系马图》《清溪垂钓图》藏上海博物馆；溪山渔隐图》哦张衍旧藏，图录于《中国名画宝鉴》。\n至正十二年（152）作《骏马图》轴，藏台北故宫博物院；至正十九年（159）作《人马图》卷，藏美国纽约大都会艺术博物馆；《澄江寒月图》纨扇藏 ，另有《墨竹图》等。\n著有《赵待制遗稿》一卷。",[23,164,24,7,25,27,188,96,101,64,133,208,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5606825de98a93d91568a7d11e00af43.jpg",[],{"id":31444,"slug":31445,"title":31446,"dynasty":18,"author":31447,"museum":300,"description":31448,"tags":31449,"thumbUrl":31450,"material":84,"size":84,"collection":84,"collections":31451,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":72},227798,"yao-tai-bu-yue-tu-liu-zong-gu-227798","瑶台步月图","刘宗古","《宋刘宗古瑶台步月图》是宋代画家刘宗古所创作的一幅设色画。\n此图原载《四朝选澡册》（见《石渠宝笈续编》）。\n题 作。\n《 》云：“刘宗古，京师人。\n间（公元1119一1125），以待诏官至成叫郎。\n乱离后，归江左，朝廷方寻访车辂式，而宗古进本称旨，除提举车辂院。\n其画人物，长于成染，不背粉，水墨轻成，但笔墨织弱耳。\n”此画布局疏朗，设色清丽，不失为一件精构。\n本幅无款印。\n对开清 题七言绝句一首。\n钤乾隆内府诸收藏印。\n《石渠宝笈续编·养心殿》著录。\n图页写中秋 赏月情景，人物纤秀，风格婉约，景色空蒙。\n宋人册页中的楼阁画除了描写完整的单体建筑或建筑群的全景，还有描绘建筑局部的作品。\n此页即界画平台的局部，虽只是作为人物活动的背景，但深棕色嵌玉栏杆、莲花柱头装饰和台子的斗拱样式交代得准确清楚，与描绘建筑全图的作品恰是一种互补，展现了 楼阁小品画活泼的表现形式及丰富的表现手法。",[23,164,24,7,1131,27,28,96,97,166,231,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F505e3900af9740a371e317730b4d7558.jpg",[],{"id":31453,"slug":31454,"title":31455,"dynasty":222,"author":223,"museum":1692,"description":31456,"tags":31457,"thumbUrl":31458,"material":692,"size":1293,"collection":84,"collections":31459,"showCount":31226,"zanCount":1998,"manualWeight":48,"mainColor":49},226508,"fu-shuo-yan-luo-wang-shou-ji-si-zhong-yu-xiu-sheng-qi-wang-sheng-jing-tu-jing-yi-ming-226508","佛说阎罗王授记四众预修生七往生净土经","简称《佛说十王经》。为卷轴式手抄彩绘卷。本经卷属晚唐五代时期敦煌所绘，画风古朴，十分珍罕。本卷为法国伯希和从敦煌带走藏于法国国图的《阎罗王授记经》三种绘卷之一，",[25,7,24,187,27,96,97,28,7322,772,208,64,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00260a4feaf64cbf8c2e55965c1febc7.jpg",[],{"id":31461,"slug":31462,"title":31463,"dynasty":54,"author":1472,"museum":300,"description":31464,"tags":31465,"thumbUrl":31466,"material":84,"size":84,"collection":84,"collections":31467,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":72},224586,"du-mu-shi-yi-tu-zou-yi-gui-224586","杜牧诗意图","此作取诗意入画，绘就晚秋幽林。危崖峻拔，以苍劲皴笔写尽山石嶙峋骨相，淡墨晕染出岫间云霭，衬出山居空寂高远之境。坡岸秋木杂生，丹红枝叶点缀其中，暗合霜叶胜花的诗意。溪湾浅滩处，渔人泛槎而归，为清冷秋景添上几分烟火野趣。\n\n全作用笔干湿互济，干笔皴擦刻绘山石肌理，淡墨晕染烘托空濛氛围，将诗句里停车赏枫的悠然心境化入尺幅之中，诗画相映，尽显秋日山林的萧疏雅致，闲淡高古的意韵扑面而来。",[23,24,7,165,27,28,132,29,131,34,1955,415,3857,1023,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33b4eca18f66a0d481bcc101936a3f5.jpg",[],{"id":31469,"slug":31470,"title":31471,"dynasty":54,"author":3750,"museum":26051,"description":31472,"tags":31473,"thumbUrl":31474,"material":151,"size":31475,"collection":136,"collections":31476,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":49},224480,"guan-shan-qiu-ji-tu-wang-jian-224480","关山秋霁图","此是王鉴摹吴镇的一幅名画，相同的画董其昌在其《小中见大》册中也临摹有一幅，构图相同，说明两人都是忠实于原作的临摹。此幅水墨淋漓，与吴镇用笔用墨十分相似，可见王圆照摹古功力之深。",[23,24,7,165,27,132,29,18265,34,97,98,99,130,131,6639,499,387,4438,500,6290,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312f5a5f9f6caa2841fbb84103d97470.jpg","177x95厘米",[136,117],{"id":31478,"slug":31479,"title":17620,"dynasty":54,"author":9529,"museum":300,"description":31480,"tags":31481,"thumbUrl":31482,"material":84,"size":84,"collection":84,"collections":31483,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":49},224441,"fang-ju-ran-shan-shui-tu-wang-hui-224441","此作取法董巨一脉，以披麻皴晕染山峦，圆浑苍润的山体层层铺展，云雾在谷壑间悄然漫溢，晕开空濛幽深的山水意境。\n\n谷间林木蓊郁苍茂，古木虬曲蟠扎，山居楼宇掩映在深林翠色中，溪涧蜿蜒穿流，板桥横陈浅滩，野趣悠然自生。墨色层次丰富，淡墨烘染云气，浓墨点苔写树，既绘就山峦厚重雄浑的体量，又晕出江南山水的温润氤氲，将北宋山水的沉郁与元人笔墨的秀逸相融，尽展林泉高致的文人心境。",[23,24,7,165,330,132,29,131,34,97,98,99,37,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c07a9b57cf6ed3bdd9355306fb68fe.jpg",[],{"id":31485,"slug":31486,"title":31487,"dynasty":54,"author":2640,"museum":300,"description":31488,"tags":31489,"thumbUrl":31490,"material":84,"size":84,"collection":84,"collections":31491,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":72},224375,"hua-hui-qi-shi-ce-shi-er-kai-5-ju-lian-224375","花卉奇石册-十二开-5","此作以淡逸笔调铺陈案头清趣，湖石奇崛空灵，以写意皴擦勾勒出瘦透之姿，韵致古拙。旁侧方盆雅致，盆中花卉粉萼柔妍、翠叶莹润，没骨晕染将草木鲜活之态尽揽笔底，淡粉轻绿相映，娇而不艳。左下角拳松短针苍劲利落，与柔花顽石形成刚柔互衬。\n整幅画面留白疏朗，工写兼济，将文房清供的闲雅意趣晕染尽致，清隽静和的气息漫溢纸面，尽显雅致脱俗的文人意韵，草木生机融于案头幽寂，淡而有味。",[23,24,7,59,28,27,171,62,8091,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f869a343a57705320bea4f60deed39d.jpg",[],{"id":31493,"slug":31494,"title":31495,"dynasty":54,"author":31496,"museum":300,"description":31497,"tags":31498,"thumbUrl":31499,"material":84,"size":84,"collection":84,"collections":31500,"showCount":31226,"zanCount":1998,"manualWeight":48,"mainColor":72},224205,"ying-wu-xi-die-tu-hu-mei-224205","鹦鹉戏蝶图","胡湄","《鹦鹉戏蝶图》是画家胡湄所作的一幅画，现藏于上海博物馆。\n此画中的花鸟仿宋人笔，工笔重色，细致艳丽。\n梅花之沉稳雅致与鹦鹉之灵动飞扬成对比，造型精确、形态生动。\n花朵胭脂设色，鲜嫩娇美，墨绿树叶作为衬托，层次向背各自分明。\n鹦鹉的羽毛用白粉工笔勾描，质感柔绵，整幅画无一懈笔，青铜架上的绿锈、红霉均细致地得到表现。\n在和煦的阳光下，大地一片清新蓊郁，在村宅的一隅，一枝怒放的梨花，张开笑脸，散发出阵阵清香，这时两只斑灿美丽的蝴蝶向飘落的梨花追逐，一只原系立于铜架上的鹦鹉反身而下，全力地扑向彩蝶，形态生动。\n署款“晚山胡湄写”。\n钤 “湄印”白文印、“晚山”朱文印。\n从这幅画中可以看到，画家别有心意，十分留心自然界中所发生的一点一滴，并体察入微，将之再现于画画，让人们领略到这美妙而富有的生活情趣的景象。\n折枝梨树，画画左侧横上舒枝展叶，枝头缀满花朵，有的向阳怒放，有的含蕾待放，煞是可爱。\n花朵设色，鲜嫩可爱，以墨绿树作为衬托，层次向背各自分明。\n鹦鹉的羽毛用粉笔勾描，显示出羽毛柔绵的质感。\n勾画眼、嘴、爪均用较浓的墨色。\n此画的艺术特色足以简雅清淡取胜。\n全幅境象疏朗，笔墨简练，结构上不作繁密丰满、全景式的布局，其他树石、花木作为陪衬，剪裁得宜，取景自然。\n在画法上，不事雕琢，笔墨不多，却能使此画满幅生辉，使欣赏者获得美的享受。\n胡湄，生卒年不详。\n字飞涛，号晚山，又号秋雪，浙江平湖人。\n诸生，项元汴外孙。\n由于项氏收藏 甲天下，故胡氏受到完整的古代绘画艺术的薰陶。\n他为人耿直，富人以金帛求画多拒之。\n他画的花鸟虫鱼、“时称仙笔”。\n传世作品有《鹦鹉戏蝶图》。",[23,24,7,164,165,28,27,61,7810,481,547,2438,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72d4e5bf65a6b3e2e6a86eefde4da10a.jpg",[],{"id":31502,"slug":31503,"title":31504,"dynasty":18,"author":223,"museum":20,"description":31505,"tags":31506,"thumbUrl":31507,"material":40,"size":31508,"collection":84,"collections":31509,"showCount":31226,"zanCount":1998,"manualWeight":48,"mainColor":49},223499,"za-ju-da-hua-gu-tu-ye-yi-ming-223499","杂剧(打花鼓)图页","图中绘二角色，皆为女子扮演，两人均作打拱状。左方一人头戴诨裹，有斗笠等道具置于地上，似为副净色；右方一人，头戴大红花，身着短对襟，干练精神，背后插一扇，上书末色二字，为副末色角色。此图是为数不多为宣传戏剧类的精品册页。",[23,164,24,7,59,28,27,96,438,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ef48819eecf68aed6bd33519f2d6318.jpg","23.3x24",[],{"id":31511,"slug":31512,"title":31513,"dynasty":18,"author":223,"museum":244,"description":31514,"tags":31515,"thumbUrl":31516,"material":637,"size":31517,"collection":84,"collections":31518,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":49},223436,"song-shen-zong-hou-zuo-xiang-yi-ming-223436","宋神宗后坐像","本幅原属清宫南薰殿旧藏，画无款印，但画中人物相貌传神，洵非想像之作，而且用笔精准、赋色细腻，具备第一流的水准，应出自当时名家之笔。宋仁宗先后曾立两位皇后，其一为郭皇后，另一为慈圣光献曹皇后。由于郭后被废，故此像应系后者。画像中，非惟曹后身着的袆衣、钗冠华丽无伦，连身侧两名侍女，同样衣饰妍丽，满头簪花，与院藏仅绘皇后独自端坐的图像相比，显得格外高贵而出众。",[23,24,7,27,28,96,170,232],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe3010254a80d6bfae8c42dd104ecd83.jpg","174.7x 116.7",[],{"id":31520,"slug":31521,"title":31522,"dynasty":54,"author":31523,"museum":244,"description":31524,"tags":31525,"thumbUrl":31526,"material":6091,"size":31527,"collection":136,"collections":31528,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":72},223240,"song-ting-wang-yuan-wang-quan-223240","松亭望远","王铨","明天启二年（1623）进士，入清官至大学士，谥文安。高爽博学，好古，工诗古文。行草宗二王，正书出钟繇，亦能自出胸臆，有山园法帖，名重当代，与董其昌并称。画山水宗刑、关，丘壑峻伟，皴擦不多，以晕染作气，传以淡色，意趣自别。山水花木竹石皆用书中关钮。尝与戴明说书云：画寂寂无余情，如倪云林（瓒）一流，虽略有淡致，不免枯干，尪羸病夫，奄奄气息，即谓之轻秀，薄弱甚矣。大家弗然。间作兰竹梅石，洒然有象外意。卒年六十一。《图绘宝鉴续纂》、《国（清）朝画徵录》、《桐阴论画》、《无声诗史》",[23,24,7,29,59,128,132,663,372,130,1314,413,495,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bed544a1c100f42958631d8249c351.jpg","34.7x29厘米",[136,117],{"id":31530,"slug":31531,"title":31532,"dynasty":54,"author":675,"museum":244,"description":11658,"tags":31533,"thumbUrl":31535,"material":3544,"size":31536,"collection":68,"collections":31537,"showCount":31226,"zanCount":1116,"manualWeight":48,"mainColor":72},222693,"xin-shao-ru-yi-tu-zhou-qian-wei-cheng-222693","新韶如意图轴",[23,24,7,165,27,28,233,31534,9070,3114,371,372,547,169,208],"盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c76e4882c3861113c1dfe14fc016849.jpg","105.2x55.9厘米",[68,45],{"id":31539,"slug":31540,"title":31541,"dynasty":18,"author":31542,"museum":224,"description":31543,"tags":31544,"thumbUrl":31545,"material":27702,"size":31546,"collection":84,"collections":31547,"showCount":31226,"zanCount":1998,"manualWeight":48,"mainColor":49},222677,"san-tu-tu-gong-ji-222677","三兔图","龚吉","用笔清新雅致，有沈铨的艺术风格。作者龚吉，生卒年不详，疑似沈铨的弟子或再传弟子。",[23,164,24,7,1846,28,27,949,3599],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aaa73b140b8a6a8d234f073fbfbadd6.jpg","67.3×40.6厘米",[],{"id":31549,"slug":31550,"title":31551,"dynasty":124,"author":31552,"museum":510,"description":31553,"tags":31554,"thumbUrl":31555,"material":611,"size":31556,"collection":136,"collections":31557,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":72},222572,"wan-he-qiu-tao-tu-he-hao-222572","万壑秋涛图","何浩","此幅作品就画的是松树。据此笔者认为这个名叫何浩的画家，是一位明代中期与画家林良同时或略晚于林良的供职宫廷的职业画家。那么，现在又可以多出一名明朝的宫廷画家了，又可以增加一幅明朝的宫廷绘画作品了。",[23,24,7,25,128,29,132,34,131,99,37,208,805,6639,11936,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c2dc1674f138f535644c5f04d9896db.jpg","纵27厘米、横448厘米",[136,117],{"id":31559,"slug":31560,"title":31561,"dynasty":124,"author":19170,"museum":244,"description":31562,"tags":31563,"thumbUrl":31564,"material":1223,"size":31565,"collection":136,"collections":31566,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":49},222381,"lu-shan-gao-zhou-ding-yun-peng-222381","庐山高轴","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[24,7,165,128,27,29,495,99,34,131,37,132,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c977c8e01db35618436bdcc1f93e189.jpg","280x85.5",[136,45],{"id":31568,"slug":31569,"title":31570,"dynasty":124,"author":125,"museum":1300,"description":31571,"tags":31572,"thumbUrl":31573,"material":1464,"size":31574,"collection":84,"collections":31575,"showCount":31226,"zanCount":1116,"manualWeight":48,"mainColor":72},222125,"luo-hua-shi-yi-tu-quan-juan-shen-zhou-222125","落花诗意图全卷","该图写晚春最象，远山隐约，桃李花谢，落英缤纷，溪岸上有一老者倚杖临流感慨。笔墨简洁厚润，从宋元人水墨写意中发展而来，别具一格。明代兴起的以个性解放为中心的思想解放运动，在哲学上的表现是争取人的解放，在文艺上的表现则是争取文艺解放，而哲学启蒙则为文艺启蒙提供了思想理论武器。而《落花诗意图》正是作者抒发春暮感伤的个人感情，在一定意义上反映了当时艺术的民主色彩。\n该图描绘了老者一身影孑然独立于自然中的情景。画幅右半部为全幅最主要的部分，也是实景部分。该处主要部位作树五株，分为两组，以胡椒点笔法点出树叶，疏密聚散，然后以花青、赭石笼染数遍。右边下部则以平台和山坡为主，先勾出大体轮廓，然后在坡石的结合处以披麻皴皴出层次，稍作渲染，再以花青、赭石笼染。两平台分开，同时在两平台间作一小桥与平坡相连，平台上散落的一簇簇粉红的落花。靠近左面的平台上有一老人扶杖远望。左边下半部则作碎石三四块，对坡岸微作交代，且是左半部平台、坡石的过渡、延伸。远处的山色以花青稍作渲染，染出峦头即止，隐约之间，已经将晚春的空气烘染出来。整个画面只有近景和远景部分，中间部分简略处理，一片虚空，而将观者的视线引向扶杖老人为主的近景上来。\n构图:该图为典型的一角式、半边式小景构图，是南宋马远、夏圭、刘松年绘画风格的综合。当然也与浙派的某些用笔、用墨和构图有相通之处。注重渲染以及水墨的苍劲追求和有意识地省略中间景物层次等，便与浙派的绘画风貌十分相近。\n笔墨:该图树叶的画法，先用湿墨点染，后用花青烘染。而浅坡皴法则用笔硬挺，笔、力紧实，线条洗练，树身的双勾线也坚硬爽朗，同老人衣纹线一道构成了画面的骨力，这样就与树叶的清润、近水的空蒙、远山的秀逸形成明显的对比。苍中带秀、粗中挟细，雅淡中蕴含骨力，营造出了既显苍老雄健又凝重清旷旷的绘画意境，已经包含有浙派画家和宋元人不具有的新的绘画因素，这是沈周在前人基础上的创造。沈周的粗笔运用，也遥接张僧繇疏笔画的观念。",[23,24,7,25,27,128,133,64,132,29,34,131,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a99abcc648d34fdd1fe5bb5e6af96de.jpg","纵36厘米，横750厘米",[],{"id":31577,"slug":31578,"title":31579,"dynasty":144,"author":8127,"museum":244,"description":31580,"tags":31581,"thumbUrl":31583,"material":637,"size":31584,"collection":136,"collections":31585,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":49},221836,"han-jiang-lu-yan-zhou-wang-yuan-221836","寒江芦雁轴","此帧绘水滨双雁，一延颈啄啮芦根，一半合其目而休憩。毛羽丰润，神态生动。芦苇三两茎衬托其后，复有残荷几叶，益增萧瑟意境。",[23,24,7,165,28,27,128,31582,1824,3649,229,1400,211],"芦雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcea1feefdf4bd8b3e2a362c9f20c1525.jpg","149.7x62.7公分、全幅 90公分",[136,117],{"id":31587,"slug":31588,"title":31589,"dynasty":18,"author":1449,"museum":244,"description":31590,"tags":31591,"thumbUrl":31593,"material":31594,"size":31595,"collection":84,"collections":31596,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":72},221179,"fang-chun-yu-ji-tu-ma-lin-221179","芳春雨霁图","《芳春雨霽圖》描繪荒野平溪，窠石疏林。枝上嫩葉初露，春意濃郁。遠方煙靄出沒，隱約可見。畫中怪石用斧劈皴，老樹用嚴謹的雙鈎填墨法，樹葉用淡褐色點染。全圖用筆瘦硬勁峭，構圖簡括，畫風學馬遠而又有自己的創新，為馬麟山水畫佳作。",[23,24,7,128,27,29,28,132,10791,31592,331,171,131,34,6126],"霁景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc250f3f66b0a8950d7b6bc515696ee5a.jpg","轴，绢本，浅设色","纵27．5厘米，横41．6厘米",[],{"id":31598,"slug":31599,"title":31600,"dynasty":124,"author":2268,"museum":20,"description":31601,"tags":31602,"thumbUrl":31603,"material":3430,"size":5345,"collection":84,"collections":31604,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":72},220915,"shan-shui-ce-9-dong-qi-chang-220915","山水册9","《仿古山水图》册，明，董其昌绘，8开，纸本，墨笔6开，设色2开，每开纵42cm，横29.6cm，北京故宫博物院藏。\n\n此册画于“戊午”（明万历四十六年，1618年），董其昌时年64岁。墨笔六开，构图缜密，笔笔精到；设色二开，格调高远，艳而不俗，皆极经意之品。从鉴藏印可知，此册为董氏传与其子董祖源珍藏，又经王时敏赏鉴，故应是真笔无疑，可作鉴定之样本。",[23,24,7,59,128,29,132,1337,131,3387,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c33f118062bda18bcde2cd0e0d405dc.jpg",[],{"id":31606,"slug":31607,"title":1109,"dynasty":54,"author":19894,"museum":6892,"description":31608,"tags":31609,"thumbUrl":31610,"material":31611,"size":31612,"collection":84,"collections":31613,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":84},220758,"zhu-shi-tu-zheng-xie-220758","以水墨写就竹石之姿，老石皴擦写意，嶙峋古拙，尽显苍劲风骨。竹叶以“介”“个”笔法挥染，浓淡相宜，枝叶错落交叠，或繁密遒劲，或疏朗清隽，仿佛满纸飒飒生风，将劲竹迎风傲立的清刚之态跃然纸上。\n\n右侧题字笔锋爽利舒展，笔墨与画意相融相合，文画映带间，寄寓着清介拔俗的君子襟怀，把借物言志的文人意趣淋漓尽致铺陈而出。全幅疏密错落，以极简笔墨托物象风神，写意抒情浑然一体，尽显水墨写意通透灵秀的文人雅韵。",[24,7,165,128,369,167,1314,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b5d7c1e057dd1b985e2e35c1f1e3fd6.jpg","水墨纸本立轴","189.5 ×104厘米",[],{"id":31615,"slug":31616,"title":31617,"dynasty":980,"author":31618,"museum":8958,"description":31619,"tags":31620,"thumbUrl":31621,"material":1223,"size":84,"collection":84,"collections":31622,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":72},220452,"hong-huang-feng-xue-tu-huang-zhou-220452","洪荒风雪图","黄胄","黄胄的艺术具有开创性，被公认为新中国美术的代表风格之一。黄的艺术创作立足于新时代人们的生活，不断拓展他所创作的“边疆”主题。黄的题材作品打破了传统国画的陈旧陈规，演变成一种反映现实生活、与时俱进的艺术形式。他的写生艺术语言，立足历史与现实，结合国内外，推动了笔触和意境的创作。\n\n这幅取材于画家沿青藏公路旅行的画作，是黄氏最著名的代表作之一。这幅作品从仰视的角度描绘了一个地质学家团队在大雪中骑骆驼旅行的场景。人物的乐观和豪迈风度，见证了全民族对新中国建设的热情和昂扬。黄先生注重气氛的营造，以人物插画为中心，结合笔墨、写生、填色等手法，使作品更具写实性和表现力。",[24,7,128,27,369,96,8771,9119,1813,10994,980],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b2abfa566ea305105f72c00f5342f08.jpg",[],{"id":31624,"slug":31625,"title":31626,"dynasty":124,"author":7063,"museum":450,"description":31627,"tags":31628,"thumbUrl":31632,"material":173,"size":31633,"collection":44,"collections":31634,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":49},220444,"xi-gu-yu-fu-tu-zhu-bang-220444","溪谷渔父图","此作描绘溪谷渔父的工作景象，是浙派流行的画题之一。其笔墨淋漓酣畅，造型生动活泼，充分表现民间市井的口常作息。值得注意的是，由于现今存留于世的浙派作品，多数画家款识不是被割裂删除，就是被改名换姓，而造成原创作者的真实身份扑朔迷离，难辨真假。但是近年来通过各方学者的努力，多位浙派画家的身影已逐渐现形。这次馆方也展出了几件无款浙派作品，希望藉此次展览广邀各界来找寻作者真相。",[24,7,128,132,27,29,99,129,23969,96,331,1351,33,1233,31629,31630,34,7462,31631,6875],"溪谷","岸石","渔人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d0d08df49234fa618b3fb40d90c219.jpg","159.5X100.5cm",[44,136],{"id":31636,"slug":31637,"title":20241,"dynasty":144,"author":13485,"museum":244,"description":31638,"tags":31639,"thumbUrl":31640,"material":317,"size":31641,"collection":117,"collections":31642,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":49},220389,"yuan-an-wo-xue-tu-yan-hui-220389","画面上天寒地冻，林木萧索，积雪封山。洛阳令乘坐牛车，带领仆从逶迤而来，在寒林掩映下的袁安屋舍前停下。一名随侍前行几步，手叩柴门。图中树石以墨染晕刷而成，人物衣纹则劲健多折，称得上是画中珍品。",[23,24,7,164,128,27,132,29,1813,1337,131,96,711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4bd070e278c143edef678f3376f82a5.jpg","本幅 160.2x105.7公分、全幅 107.7公分",[117],{"id":31644,"slug":31645,"title":31646,"dynasty":54,"author":9742,"museum":20,"description":31647,"tags":31648,"thumbUrl":31650,"material":31651,"size":31652,"collection":136,"collections":31653,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":72},220372,"song-he-ming-qin-tu-wu-li-220372","松壑鸣琴图","本图为吴历中年之作，自识：“忆予与天球学琴於山民陈先生，不觉二十馀年矣。予欲写松壑呜琴图以寄意，常苦少暇。今从客归，久雨初晴，仅得古人形似并题七言：'琴声忆学鸟声圆，辛苦同君二十年。今日听松与涧瀑，高山流水不须弦。甲寅年小春廿日延陵渔山子吴历’。”下钤“吴历”、“家在桃溪深处”二印。",[23,24,7,165,128,132,29,372,131,758,23873,11936,34,96,499,496,37,247,9425,498,31649,5856],"笔法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f1ae5df2a2b2579a5aa0ea6073745c.jpg","设色,水墨","纵103cm，横50.5cm",[136],{"id":31655,"slug":31656,"title":31657,"dynasty":54,"author":17240,"museum":8230,"description":31658,"tags":31659,"thumbUrl":31660,"material":611,"size":31661,"collection":136,"collections":31662,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":49},220238,"nan-xu-shan-shui-tu-cha-shi-biao-220238","南徐山水图","查士标（1615-1698），字二瞻，号梅壑散人，安徽休宁人，后寓扬州。出身望族，博雅好古。富收藏，家藏古铜器和宋、元人书画真迹甚多，因此精于鉴赏。他早年作画师从倪云林，以后参用吴镇、董其昌笔法，用笔简练，惜墨如金，皴染不重，风神懒散，气韵荒寒，被推为“逸品”，画史把他和弘仁、汪云瑞、孙逸合称为“新安四家”。",[23,24,7,165,128,132,29,413,1314,130,96,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b746ab0c70caf76479ceb2c83727f26.jpg","138×52厘米",[136],{"id":31664,"slug":31665,"title":31666,"dynasty":18,"author":223,"museum":244,"description":31667,"tags":31668,"thumbUrl":31669,"material":173,"size":31670,"collection":42,"collections":31671,"showCount":31226,"zanCount":1116,"manualWeight":48,"mainColor":49},220231,"jing-de-si-tu-yi-ming-220231","景德四图","全卷分四段，前图后文，各段并有榜书主题。依据研究，此卷应与皇佑元年（1049）宋仁宗同臣僚观看的〈三朝训鉴图〉有关；〈三朝训鉴图〉录宋太祖至真宗三朝事一百件，作为帝王训鉴之用。 「契丹使朝聘」为景德二年（1005）辽使来贺真宗生日；「北寨宴射」是景德元年（1004）澶渊盟后真宗到北寨与武将宴射。 「舆驾观汴涨」景德三年（1006）宋真宗亲巡汴河河堤的修整；「太清观书」则是景德四年（1007）真宗召文臣观书于太清楼。",[23,24,7,25,27,28,95,572,96,97,906,29,34,247,1200,11074,131,7069,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886b1b71398ace05b9a53062fdfdb8f3.jpg","39x169.1",[42],{"id":31673,"slug":31674,"title":31675,"dynasty":54,"author":1740,"museum":244,"description":31676,"tags":31677,"thumbUrl":31678,"material":27,"size":31679,"collection":44,"collections":31680,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":72},219894,"fang-guan-xiu-hua-luo-han-tu-xu-yang-219894","仿贯休画罗汉图","苍松虬枝凝霜，松针攒簇自带古拙寒意。画面分两处铺陈意趣：上方罗汉展卷沉读，侍童敛神研墨，案几陈设清雅，尽显禅房读经的静谧悠然。下方罗汉斜倚松干，捻珠垂眸，似在神游禅境。\n\n衣纹勾勒劲挺流畅，浓艳衣色与枯淡山石松枝相映成趣。淡墨皴擦山石，晕染出嶙峋肌理，人物神态灵动入微，将世外清修的雅寂禅意铺展开来，笔底藏着古意传承，静穆里暗淌悠然文心。",[24,7,164,165,27,330,187,96,1144,229,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20de6f165137428706a16cb3088a0ff5.jpg","128.5x54.3",[44],{"id":31682,"slug":31683,"title":31684,"dynasty":18,"author":223,"museum":1941,"description":31685,"tags":31686,"thumbUrl":31687,"material":173,"size":84,"collection":44,"collections":31688,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":49},219561,"lv-chun-yang-tu-yi-ming-219561","吕纯阳图","画师以劲爽写意的铁线描勾勒身形，苍髯垂覆胸腹，青巾束发，赤足卓立。宽袍裹挟清癯身姿，双手交叠腹前，面容沉凝肃穆，尽显出尘孤高的仙家气度。衣纹顿挫老辣，落笔简劲朴拙，以水墨写意的意趣晕染出幽远仙风，简淡笔墨间不见繁饰，却将仙人超然世外的风骨凝练于绢素之上，古雅朴厚，寥寥数笔便让仙道意韵溢满画面，尽显古画写意人物的风神格调。",[23,24,7,165,187,27,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80f58a4357362068c7e3accb1c5f0ea0.jpg",[44],{"id":31690,"slug":31691,"title":31692,"dynasty":144,"author":223,"museum":244,"description":31693,"tags":31694,"thumbUrl":31695,"material":66,"size":31696,"collection":68,"collections":31697,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":49},219324,"hua-xia-jiang-chu-tu-yi-ming-219324","花下将雏图","画幅下面有一湖石横卧其间，湖石两侧长有几丛幽竹，枝叶伸展，匍伏于湖石上，湖石四周杂草遍地，以象征出整片的草地，对整个画面起到衬托作用。画幅右侧有湖石竖立其旁，湖石上大下小，向左倾斜，呈险势状。湖石造型奇特，玲珑剔透。湖石后有一束翠竹横出，又有几株鲜花盛开的牡丹。枝头上硕大的花朵，由绿叶衬托，更显得艳丽秀美。花枝有的向画面左侧横出，有一枝条伸展至画幅左上部位，这是妙笔，将画幅左上部位空白处填补，起到了充实和平衡整个画面的作用。在湖石和牡丹枝荫下，有鸡一公、一母、七雏，立于湖石和盛开着的牡丹的草地上，左侧公鸡低首觅食，两爪有力抓在地上，头部肉冠及肉办较大，短翼，脚健壮，跗跖及趾皆被鳞板，尾发达，体较大，羽色亦美，尾羽夸张地飘动着如海草一般；母鸡蹲伏在地上，两爪有力抓地，双翅上翘，尾巴舒展开来呈扇形，弯颈低首，双目下视；母鸡背部立一雏，另一雏在翼下，二雏藏尾后，余下三雏则在近处草地啄食，皆毛羽缕缕可见。",[4057,24,7,164,165,28,27,61,263,8822,21195,11743,331,131,666,1400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F553dd7adab84486b80b38f993362b208.jpg","182x102.8公分",[68],{"id":31699,"slug":31700,"title":31701,"dynasty":18,"author":223,"museum":56,"description":31702,"tags":31703,"thumbUrl":31704,"material":173,"size":31705,"collection":68,"collections":31706,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":49},218965,"he-tang-ji-ling-tu-yi-ming-218965","荷塘鹡鸰图","枯枝斜倚间，鹡鸰敛翅而立。羽色黑白相衬：墨色背羽似覆薄霜，腹羽轻敷淡粉，尾羽挺括如剑；尖喙微垂，似在打量水面游弋的细物，爪尖紧扣枝桠，力道藏于柔劲线条。背景是朦胧荷塘一角：淡墨晕染的荷叶若隐若现，水波漾成细碎纹理，远处岸汀模糊成浅褐色块，留白处似有清风掠过。\n\n整幅画以小见大，写实中透着空灵。无繁复堆砌，仅用简练笔墨勾勒生命鲜活——宋人的雅致尽在方寸间。观者于静谧里捕捉自然幽微：鸟的凝神、风的轻拂、水的微动，皆融于淡雅色调，似能听见荷叶婆娑，触到空气里的湿润凉意。",[164,24,7,1131,28,27,61,168,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa026a32cb53006818e2bc15bbd910790.jpg","22.4x23cm",[68],{"id":31708,"slug":31709,"title":31710,"dynasty":18,"author":4899,"museum":244,"description":31711,"tags":31712,"thumbUrl":31713,"material":278,"size":84,"collection":117,"collections":31714,"showCount":31226,"zanCount":1998,"manualWeight":48,"mainColor":72},218685,"gu-mu-liu-quan-tu-ma-he-zhi-218685","古木流泉图","画面构景极简，古木枝干如老龙盘空，墨色浓淡晕染出苍劲生机。流泉隐于林麓，清越似穿疏枝而来。右侧空濛处轻羽掠过，留白铺展天地空阔，暗合宋画“虚处藏神”之妙。用笔兼工带写，线条含篆籀圆劲与行书灵动，皴擦间古木肌理毕现。留白与实景相衬，营造清寂悠远的林下之趣。简淡中见深致，尽显宋画文人意趣，观者仿佛闻泉声穿林，听鸟啼落梢，沉浸于那份与世隔绝的静谧禅意里。",[23,24,7,128,59,99,1233,331,171,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ceaf0fdf52528f3e4d2f5c2edbd8b9b.jpg",[117],{"id":31716,"slug":31717,"title":10972,"dynasty":18,"author":915,"museum":244,"description":31718,"tags":31719,"thumbUrl":10975,"material":173,"size":31721,"collection":68,"collections":31722,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":72},218678,"qiu-qing-cong-ju-tu-lin-chun-218678","晴光轻洒，簇簇秋菊绽于绢素间。瓣瓣舒展如凝霜，或嫩黄带暖，或素白含清，层叠纹理似能触到柔润质感。叶片墨色浓淡相宜，脉络隐现风中之姿，转折处藏着未褪的生机。圆形构图里，花枝错落有致，留白处似有余晖漫漾。笔触细腻却不刻意，设色温润清雅，将秋晴下菊的恬淡与灵动凝于方寸。仿佛能嗅到淡淡的菊香，随微风漫过画面，静享这秋日里的一抹雅致闲逸。每一处细节皆见匠心，把晴秋的清和与菊的风骨，悄然融于这一方团扇之中。",[23,164,24,7,28,27,61,376,31720,208],"秋","25x26.5",[68],{"id":31724,"slug":31725,"title":31726,"dynasty":18,"author":223,"museum":6413,"description":31727,"tags":31728,"thumbUrl":31730,"material":173,"size":84,"collection":44,"collections":31731,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":956},218633,"di-shi-wu-luo-han-tu-yi-ming-218633","第十五罗汉图","罗汉端坐席上，光头映淡金光环，面容沉静却藏洞察。双手捧持器物，指节分明似含力量。衣袍赭红与褐金交织，褶皱线条婉转如流云，裙摆饰细密花纹，古雅尽显。身侧侍者躬身而立，神态恭谨，衣纹简练却见肌理。画面色调沉郁古朴，人物刻画入微，罗汉的超然与侍者的虔敬相衬，宋代写实功力毕现。静谧中似有禅意缓缓流淌，肃穆安宁之感油然而生，尽显古画的精神内涵与艺术张力。",[164,24,7,165,187,28,27,96,18331,31729],"侍者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80bf36bc8552c21dc92bcba7c453e78e.jpg",[44],{"id":31733,"slug":31734,"title":31735,"dynasty":18,"author":223,"museum":1185,"description":31736,"tags":31737,"thumbUrl":31738,"material":278,"size":31739,"collection":44,"collections":31740,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":49},218602,"shi-liu-luo-han-tu-yi-ming-218602","十六罗汉图","墨线勾勒间，十六罗汉神态各异：或静立松下凝思，或拄杖徐行于林麓，或与猿猴嬉戏、鹤鹿为邻。松竹掩映，怪石嶙峋，山野之趣与禅意相融。人物衣袂飘举，线条简练却见风骨，寥寥数笔便传神情——有的须眉微蹙似在参禅，有的笑靥舒展如悟真机，有的俯身逗猴尽显自在。画面清寂中藏生机，简淡里见深致，以自然景致衬罗汉超脱之态，笔墨洗练却形神兼备，尽显古代绘者对禅林世界的诗意描摹，亦让观者于尺幅间感受那份远离尘嚣的宁静与旷达。",[23,24,7,25,188,128,187,96,5490,9633,2302,949,372,167,413,1314,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf090e8c5463c31d1dff3f90f8004b00.jpg","32.7x848.4",[44],{"id":31742,"slug":31743,"title":31744,"dynasty":144,"author":223,"museum":11872,"description":31745,"tags":31746,"thumbUrl":31747,"material":278,"size":84,"collection":44,"collections":31748,"showCount":31226,"zanCount":1998,"manualWeight":48,"mainColor":72},218438,"dui-yue-tu-yi-ming-218438","对月图","素绢上的身影敛衣而坐，指尖似拈着月光的碎片。眉目低垂间，似与清辉私语，又或沉湎于案上书卷的墨香？身旁石案上的茶盏尚温，远山隐在淡墨晕染里，留白处尽是夜的空濛。线条如行云流水，不着浓彩，却将月夜的幽寂与内心的澄澈晕染开来。风过林梢的轻响，月色落地的微声，仿佛都藏在简淡笔触里，引观者一同沉入静谧时光，与画中人共享此刻清宁。那简素的勾勒中，藏着对自然与心境的叩问，让每一寸留白都成了思绪的延伸。",[24,7,164,165,188,128,96,231,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd60483ffc03c351b0cd0fcc7ebfb4c4.jpg",[44],{"id":31750,"slug":31751,"title":31752,"dynasty":124,"author":1058,"museum":450,"description":3169,"tags":31753,"thumbUrl":31754,"material":173,"size":3172,"collection":84,"collections":31755,"showCount":31226,"zanCount":1998,"manualWeight":48,"mainColor":49},218340,"ren-wu-gu-shi-ce-8-tang-yin-218340","人物故事册-8",[23,24,7,59,27,96,1337,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9969d448648f46bca858bf599be098f6.jpg",[],{"id":31757,"slug":31758,"title":31759,"dynasty":144,"author":223,"museum":56,"description":31760,"tags":31761,"thumbUrl":31762,"material":173,"size":31763,"collection":136,"collections":31764,"showCount":31226,"zanCount":1998,"manualWeight":48,"mainColor":49},218205,"guang-han-gong-tu-yi-ming-218205","广寒宫图","广寒宫图是一幅来自中国元朝时期的著名绘画作品，作者佚名。它描绘了广寒宫的景象，广寒宫是中国古代皇宫的一部分，位于北京的城内，是皇帝和皇后居住的地方。\n\n这幅画的风格具有浓厚的中国传统特色，使用了鲜艳的色彩和精细的线条来描绘出广寒宫的建筑物和景观。画中的建筑物包括皇宫的宫殿、庙宇和院落，景观包括花园、池塘和树木。\n\n广寒宫图还描绘了当时皇帝和皇后的生活，展示了他们的日常活动，如游览、观赏歌舞表演等。这幅画作出现在中国元朝时期，当时的皇帝是元世祖，他在位期间推行了著名的文化复兴运动，使得艺术、文学和学术得到了极大的发展。广寒宫图也反映了这一时期的艺术特点，是中国元朝时期艺术发展的重要见证。",[24,164,7,165,95,27,97,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95f95b3c5c0f8d9489dcbed3fb582630.jpg","75.6x62.1cm",[136],{"id":31766,"slug":31767,"title":31768,"dynasty":144,"author":223,"museum":2542,"description":31769,"tags":31770,"thumbUrl":31771,"material":173,"size":31772,"collection":136,"collections":31773,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":49},217913,"xue-jian-shan-xing-tu-yi-ming-217913","雪涧山行图","整幅画浓烈的冬日氛围使人感到温馨舒适。画家巧妙地运用色彩与线条，使得画面生动而富有层次感。这幅画不仅展示了元朝人民的传统冬季活动，更展示了画家对冬季自然美景的热爱与描绘能力。",[24,164,7,29,27,132,1813,99,663,690,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ddf65cbaf189045f36b411463d3189b.jpg","22.5x24.7cm",[136],{"id":31775,"slug":31776,"title":8437,"dynasty":144,"author":18589,"museum":6413,"description":31777,"tags":31778,"thumbUrl":31779,"material":66,"size":31780,"collection":136,"collections":31781,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":72},217890,"yun-shan-tu-fang-cong-yi-217890","这幅图画描绘了云山之间的壮丽景色。方从义精细地捕捉了云山间的层次感，并使用清晰的线条勾勒出了山体的轮廓。同时，他还运用了多种不同的颜色来表现云山的美丽，让图画整体看起来十分生动。\n\n除了描绘自然景色，云山图中还有许多人物和动物的身影。这些人物和动物与山体相互呼应，使图画看起来更加真实。\n\n总的来说，云山图是一幅令人惊叹的艺术杰作，值得一看。",[24,7,1131,128,132,29,950,663,413,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F027831a0ebcaf82168a5a483608c7ea1.jpg","22.9x25.1cm",[136],{"id":31783,"slug":31784,"title":31785,"dynasty":144,"author":1346,"museum":244,"description":2533,"tags":31786,"thumbUrl":31787,"material":278,"size":84,"collection":84,"collections":31788,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":72},216383,"mo-zhu-pu-ce-6-wu-zhen-216383","墨竹谱册-6",[24,7,59,128,133,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe89212c009f37154e122f2c251742aa.jpg",[],{"id":31790,"slug":31791,"title":31792,"dynasty":144,"author":1346,"museum":244,"description":2533,"tags":31793,"thumbUrl":31794,"material":278,"size":84,"collection":84,"collections":31795,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":72},216378,"mo-zhu-pu-ce-11-wu-zhen-216378","墨竹谱册-11",[24,7,59,128,167,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F837739d68f888888bc6b721b559d57e1.jpg",[],{"id":31797,"slug":31798,"title":31799,"dynasty":124,"author":204,"museum":300,"description":2216,"tags":31800,"thumbUrl":31801,"material":173,"size":84,"collection":84,"collections":31802,"showCount":31226,"zanCount":48,"manualWeight":48,"mainColor":49},216286,"er-shi-si-xiao-tu-6-chou-ying-216286","二十四孝图-6",[164,24,7,28,27,96,1144,950,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9c672e15bc395ed9888e1075631c823.jpg",[],{"id":31804,"slug":31805,"title":31806,"dynasty":124,"author":5219,"museum":56,"description":5220,"tags":31807,"thumbUrl":31808,"material":66,"size":5223,"collection":84,"collections":31809,"showCount":31226,"zanCount":1998,"manualWeight":48,"mainColor":72},214672,"san-jue-tu-3-yao-shou-214672","三绝图-3",[24,7,27,128,132,29,129,96,331,1144,1824,415,211,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67ad5f71e8a0537085abdb8c153b4b0f.jpg",[],{"id":31811,"slug":31812,"title":31813,"dynasty":124,"author":5219,"museum":56,"description":5220,"tags":31814,"thumbUrl":31815,"material":66,"size":5223,"collection":84,"collections":31816,"showCount":31226,"zanCount":1116,"manualWeight":48,"mainColor":72},214669,"san-jue-tu-5-yao-shou-214669","三绝图-5",[24,7,27,29,132,59,663,413,35,33,99,96,208,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F623804a452b8a760df0fe03f12280c68.jpg",[],{"id":31818,"slug":31819,"title":13231,"dynasty":124,"author":1438,"museum":300,"description":13247,"tags":31820,"thumbUrl":31821,"material":692,"size":1293,"collection":84,"collections":31822,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":72},290917,"mu-dan-zhou-chen-chun-290917",[24,7,165,27,61,263,840,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd604a7f23d710fc1906b3c2c491b0d88.jpg",[],40,{"id":31825,"slug":31826,"title":31827,"dynasty":124,"author":125,"museum":300,"description":6472,"tags":31828,"thumbUrl":31829,"material":692,"size":1293,"collection":84,"collections":31830,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":72},290883,"fang-fan-kuan-shan-shui-shen-zhou-290883","仿范宽山水",[24,7,59,29,128,132,330,131,495,97,98,99,690,130,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25a350eb2b74dd16ad3ce93a6b3410da.jpg",[],{"id":31832,"slug":31833,"title":21404,"dynasty":54,"author":16862,"museum":300,"description":31834,"tags":31835,"thumbUrl":31836,"material":692,"size":1293,"collection":84,"collections":31837,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":72},290000,"zhu-shi-tu-li-zhou-li-fang-ying-290000","李方膺（1695年—1755年），字虬仲，号晴江，别号秋池，抑园，白衣山人等，江南通州（今江苏南通）人。寓居金陵借园，自号借园主人。中国清代诗画家、官员，能诗，擅画松竹兰菊，尤长写梅。用笔倔强放纵，不拘成法，苍劲有致，为“扬州八怪”之一。为官刚正不阿，廉洁爱民。出身官宦之家，曾任乐安县令、兰山县令、潜山县令、代理滁州知州等职，为官时有惠政，人德之，后因遭诬告被罢官，去官后寓南京借园，自号借园主人，常往来扬州卖画。与李鱓、金农、郑燮等往来，工诗文书画，擅梅、兰、竹、菊、松、鱼等，注重师法传统和师法造化，能自成一格，其画笔法苍劲老厚，剪裁简洁，不拘形似，活泼生动。被列为扬州八怪之一。有《风竹图》《游鱼图》《墨梅图》等传世。著《梅花楼诗钞》。善画松、竹、兰、菊、梅、杂花及虫 鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼诗草》，仅二十六首，多数散见于画上。",[23,164,24,7,165,128,167,171,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51cc84485d0a2bea0a112203a6013e0.jpg",[],{"id":31839,"slug":31840,"title":31841,"dynasty":18,"author":25143,"museum":300,"description":31842,"tags":31843,"thumbUrl":31844,"material":692,"size":1293,"collection":84,"collections":31845,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":72},289869,"shi-yong-tu-zhang-xian-289869","十咏图","张先（990—1078），字子野，乌程（今浙江湖州）人。北宋词人。婉约派代表人物。天圣八年（公元1030）进士。历任宿州掾、吴江知县、嘉禾（今浙江嘉兴）判官。皇祐二年（1050），晏殊知永兴军（今陕西西安），辟为通判。后以屯田员外郎知渝州，又知虢州。以尝知安陆，故人称“张安陆”。治平元年（1064）以尚书都官郎中致仕，元丰元年病逝，年八十八岁。",[23,164,24,7,25,95,27,29,97,10089,99,496,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab6ee46a4d67fb75fc131910fa6d3ee0.jpg",[],{"id":31847,"slug":31848,"title":31849,"dynasty":18,"author":1622,"museum":300,"description":12632,"tags":31850,"thumbUrl":31852,"material":692,"size":1293,"collection":84,"collections":31853,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":49},289344,"gu-song-lou-ge-tu-ma-yuan-289344","古松楼阁图",[1131,24,7,95,128,132,9613,97,29,31851],"萧疏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feecdcd1b7f2e5df3f39c8f2645afbde3.jpg",[],{"id":31855,"slug":31856,"title":1006,"dynasty":351,"author":29077,"museum":244,"description":29078,"tags":31857,"thumbUrl":31858,"material":692,"size":1293,"collection":84,"collections":31859,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":49},288263,"mu-dan-tu-teng-chang-you-288263",[23,164,24,7,165,27,61,28,263,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1df52c67747442a7481301f56b33a898.jpg",[],{"id":31861,"slug":31862,"title":31863,"dynasty":54,"author":675,"museum":244,"description":11658,"tags":31864,"thumbUrl":31865,"material":734,"size":6996,"collection":84,"collections":31866,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":72},287449,"chun-hua-san-zhong-tu-qian-wei-cheng-287449","春花三种图",[24,7,61,28,27,209,374,649,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fe3f57876cfbf2226aba3808e32cc62.jpg",[],{"id":31868,"slug":31869,"title":31870,"dynasty":351,"author":31871,"museum":300,"description":31872,"tags":31873,"thumbUrl":31874,"material":692,"size":1293,"collection":84,"collections":31875,"showCount":31823,"zanCount":1116,"manualWeight":48,"mainColor":49},287375,"ye-hua-cao-chong-tu-qiu-yu-qing-287375","野花草虫图","丘余庆","丘余庆，五代后蜀人，丘文播子，居成都。",[164,24,7,61,28,27,24021,167,480,481,21228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ffa37c7c203d2d3737bf30decc157ec.jpg",[],{"id":31877,"slug":31878,"title":31879,"dynasty":54,"author":223,"museum":300,"description":10087,"tags":31880,"thumbUrl":31883,"material":692,"size":1293,"collection":84,"collections":31884,"showCount":31823,"zanCount":1116,"manualWeight":48,"mainColor":4553},263648,"ke-si-jia-xiu-jiu-yang-xiao-han-tu-zhou-yi-ming-263648","缂丝加绣九阳消寒图轴",[164,165,7,31881,27,28,96,101,6300,650,209,34,99,31882],"缂丝加绣","消寒主题","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1718cd0df1c90bc2f8347c3494656762.jpg",[],{"id":31886,"slug":31887,"title":31888,"dynasty":124,"author":18762,"museum":20,"description":31889,"tags":31890,"thumbUrl":31891,"material":31892,"size":31893,"collection":136,"collections":31894,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":199},239516,"shan-shui-ren-wu-juan-ye-cheng-239516","山水人物卷","图中作者行笔尖峭细劲，山间林木、点景人物乃至溪边乱石均刻画细致。山岩的外轮廓线方折挺劲，山体内部则将一种尖峭而锐利的短皴线与短促劲健的小斧劈皴相结合，同时以墨加色淡施晕染。繁密细劲的用笔与丰富的用色使画面气氛趋于活跃，极好地表现出雁荡山奇异、秀美的景色特征。远山空勾轮廓，染以花青，山间云气迷濛，更加强了画面的层次感。\n叶澄传世作品极少，而此图艺术水平之高堪称杰作。正如清初著名收藏家梁清标对此图的评价：“堪称希世宝。……不啻超出乎唐、宋、元各大家名迹矣。”",[164,24,7,25,27,132,29,96,98,130,34,497,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7881e7ced23cbff7521abe14b902b9f.jpg","绫本，设色","纵35cm，横290.3cm",[136],{"id":31896,"slug":31897,"title":31898,"dynasty":54,"author":3403,"museum":300,"description":24982,"tags":31899,"thumbUrl":31900,"material":84,"size":84,"collection":68,"collections":31901,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":72},239219,"mei-zhu-tu-zhou-wu-chang-shuo-239219","梅竹图轴",[24,7,165,128,27,61,371,167,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c3d44613f7fe705c6f0e261e00a6fe.jpg",[68],{"id":31903,"slug":31904,"title":31905,"dynasty":54,"author":18008,"museum":300,"description":31906,"tags":31907,"thumbUrl":31908,"material":84,"size":84,"collection":136,"collections":31909,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":49},239026,"gao-jian-hu-xiang-qiu-lu-tu-zhou-gao-jian-239026","高简湖乡秋露图轴","高简（1634-1707年）字澹游，号旅云，自号一云山人，江苏苏州人。能诗，工山水，摹法元人，甚为简澹，而布置深稳，风味清巧可爱。平生小品最多，好画梅花书屋图，冷隽可珍。卒年七十四。传世作品有《春山积翠图》、《江乡初夏图》、《寒林诗思图》",[24,7,165,128,132,29,663,228,130,129,98,331,229,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb57d860f9cf257f2f01248ac8831f242.jpg",[136,45],{"id":31911,"slug":31912,"title":31913,"dynasty":54,"author":6936,"museum":300,"description":31914,"tags":31915,"thumbUrl":31917,"material":611,"size":84,"collection":136,"collections":31918,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":72},238970,"fang-huang-gong-wang-fu-chun-shan-zhou-wang-yuan-qi-238970","仿黄公望富春山轴","黄公望的《富春山居图》被誉为中国十大传世名画之一。清初画家王原祁师法五代宋元名家，于黄公望用功尤深，一生痴迷，自言“所学者大痴（黄公望）也，所传者大痴也”。王原祁早期的绘画中，仿黄公望者尤多。《仿富春山居图轴》便是他52岁时仿效黄公望《富春山居图》的笔法而创作。",[24,7,165,128,132,330,29,34,497,499,415,14906,31916,26702],"中景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cdce8d36036ddec2616f8760eb8e4ec.jpg",[136,117],{"id":31920,"slug":31921,"title":31922,"dynasty":124,"author":223,"museum":300,"description":31923,"tags":31924,"thumbUrl":31925,"material":692,"size":1293,"collection":84,"collections":31926,"showCount":31823,"zanCount":1998,"manualWeight":48,"mainColor":49},238966,"song-yuan-ming-hua-ce-ming-ren-hua-hui-cao-chong-tu-ye-yi-ming-238966","宋元明画册－明人花卉草虫图页","此作为工笔花鸟小品，以团扇承载幽微野趣。牵牛花藤蔓萦回，叶片俯仰错落，红瓣晕染出娇嫩层次，白蕊点缀其间，鲜活明妍，将盛夏花卉的柔婉生机尽数铺展。\n草虫隐匿花间，蚱蜢静伏枝桠，翅脉纹路细腻宛然，粉蝶恋花低徊，飞虫振翅欲去，动静交织，把郊野一隅的刹那鲜活定格绢上。设色调和古雅，赭色绢底衬得花叶愈发清妍不俗，细劲秀逸的线条勾勒出草木柔态与虫豸灵动，尽显雅致工丽，将夏日闲静小景凝于尺幅之间，引人沉醉在这静谧鲜活的方寸天地里。",[24,7,59,27,28,805,61,480,373,481,62,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4bc0d30b118796ae3802452fc2608ee.jpg",[],{"id":31928,"slug":31929,"title":31930,"dynasty":54,"author":223,"museum":300,"description":31931,"tags":31932,"thumbUrl":31938,"material":692,"size":1293,"collection":44,"collections":31939,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":72},238874,"qing-ren-shan-ba-la-wang-pu-sa-xiang-zhou-yi-ming-238874","清人善巴拉王菩萨像轴","主尊面容丰腴含笑，端坐雕花宝座之上，身着朱红织金法衣，周身珠宝璎珞环绕，一手托举摩尼珍宝，一手握持吐宝神鼠，尽显富足威严。上方胁侍圣僧与化现佛陀隐于祥云之间，更添圣洁氛围。\n\n画面以青绿晕染山林底色，点缀盛放莲华与满盘鲜果，下方眷属虔诚献礼，构图饱满富丽。设色浓烈厚重，朱砂石青撞色鲜明，尽显鲜明的装饰性与宗教意蕴，将护法财神的福德庄严完美呈现，藏地佛教艺术的精致工巧尽显其中。",[24,7,165,187,96,26,27,28,5883,81,31933,13603,31934,31935,31936,31937],"鲜果","财神","护法","善巴拉王","藏传佛教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a8fbed837dc233c8927a054df7fd516.jpg",[44],{"id":31941,"slug":31942,"title":31943,"dynasty":54,"author":31944,"museum":20,"description":31945,"tags":31946,"thumbUrl":31947,"material":1223,"size":31948,"collection":44,"collections":31949,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":72},238295,"shi-liu-luo-han-ce-jia-quan-238295","十六罗汉册","贾全","贾全，生卒年不详，乾隆时供奉内廷。工画人物及马。此册画不同形象的罗汉十六尊。佛像采用中国传统人物画技法，勾线填色。人物神态平和，面部晕染有致，衣纹流畅，背景简率。",[24,7,59,27,28,128,187,96,949,29,99,171,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9d73bf3f1eb13ad969126a5b8ecc69d.jpg","纵31.5厘米横25厘米",[44,45],{"id":31951,"slug":31952,"title":31953,"dynasty":124,"author":31954,"museum":300,"description":31955,"tags":31956,"thumbUrl":31957,"material":84,"size":84,"collection":68,"collections":31958,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":49},237663,"san-si-tu-zhou-yu-qi-feng-237663","三思图轴","俞奇逢","俞奇逢，[明]，福建沙县人。沙县俞氏自存胜得其舅氏边文进之传，遂世业花鸟。",[24,7,165,27,28,61,3141,985,211,230,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facc809c2646c002bed50c182f923e9d9.jpg",[68,45],{"id":31960,"slug":31961,"title":31962,"dynasty":54,"author":1219,"museum":20,"description":31963,"tags":31964,"thumbUrl":31965,"material":84,"size":84,"collection":68,"collections":31966,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":72},236932,"shu-shi-zhou-ren-yi-236932","树石轴","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。",[24,7,165,27,132,128,29,413,1314,1955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F247e360fb7e59b111c8c0d5ee3fec789.jpg",[68,117],{"id":31968,"slug":31969,"title":31970,"dynasty":54,"author":223,"museum":20,"description":31971,"tags":31972,"thumbUrl":31973,"material":84,"size":84,"collection":136,"collections":31974,"showCount":31823,"zanCount":1998,"manualWeight":48,"mainColor":72},236182,"hong-wu-shan-shui-shan-mian-yi-ming-236182","弘旿山水扇面","此作用笔松秀温润，以淡墨皴擦写尽山林意趣。取景幽寂，草堂临水依林而建，柴扉半虚掩，暗合幽居避俗之思。坡岸错杂，古木虬曲苍劲，细笔点染枝叶，疏密间尽显山野萧森之态。曲水蜿蜒绕于石滩，右侧崖壁悬泉轻落，为静谧山居添了几分灵动生机。\n\n整幅浅施淡彩，干笔勾勒山石肌理，湿墨晕染林木华滋，将文人林泉高致凝于尺幅。无市井喧嚣，只余丘壑闲澹之美，淡远清和，引人沉湎于这份江南山居的悠然雅意之中。",[24,7,1131,29,132,128,98,99,34,131,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b8e5ed61aa16afbae7a5f0315de3a66.jpg",[136],{"id":31976,"slug":31977,"title":31978,"dynasty":124,"author":2268,"museum":300,"description":31979,"tags":31980,"thumbUrl":31981,"material":84,"size":84,"collection":84,"collections":31982,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":72},235259,"qing-lv-shan-shui-tu-zhou-dong-qi-chang-235259","青绿山水图轴","此作用笔苍秀老辣，主山奇崛高挺，皴擦勾勒间尽显嶙峋骨相。坡岸林木错落舒展，枝叶含风，近滩浅渚清寂悠然。以书入画，线条带着书法般的散逸韵律，墨色干湿互济，留白空灵悠远，晕染出萧疏淡远的林下意境。题款与画面浑融无间，诗书画印相映成趣，褪去匠造之气，直写胸中丘壑，将山水清灵与文人雅怀融为一体，尽显淡宕萧散的逸格风神。",[24,7,165,26,27,29,171,34,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb66cd1e7aa3ae669cd93a858b870ee35.jpg",[],{"id":31984,"slug":31985,"title":31986,"dynasty":124,"author":31987,"museum":20,"description":31988,"tags":31989,"thumbUrl":31990,"material":1722,"size":31991,"collection":84,"collections":31992,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":72},234851,"lan-zhu-shui-xian-tu-ma-shou-zhen-234851","兰竹水仙图","马守真","作者以娴熟的笔墨勾画出清风吹拂下兰、竹摇曳的形貌。兰、竹是妓女画家们最热衷描绘的题材。其因：第一，兰、竹与松、梅被历代文人赞美为画中的“四君子”，通过表现有君子风范的兰、竹 可以标示出画家自身的高洁情怀；第二，兰的清幽、竹的虚静均能映衬出妓女们的某种特殊心态；第三，也是最为关键的一点，即绘画为文人雅士与青楼女子交流的一项文化内容，兰、竹形象简单，创作时所需的时间较短，纵情涂抹三二枝便可形完气足，以助一时之兴。因此，在明代涌现出众多以擅绘兰、竹闻名的妓女画家，马守真是其中的佼佼者。马守真以画兰之精、之专而扬名江南，因此自号“湘兰”。\n马守真在兰、竹创作上不重视对兰、竹外在形态的细致刻画，而重在写出兰、竹的内涵精神，聊以抒发心中之逸气。因此，她从用笔、施墨到构图都极其随意，但内藏机巧，不失韵味。她笔下的具飘逸野趣的兰、竹不同于文俶等闺秀画家精工细描的庭院中的闲花静草，而与男性文人画家、尤其是“吴门画派”中文徵明等人的花卉艺术有更多相近之处，反映了妓女对男性文人画家的迎合及师承关系。",[24,7,128,369,375,167,374,171,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa023505e604a1f2ec2adedadc3d6df7b.jpg","纵83.5厘米，横47.2厘米",[],{"id":31994,"slug":31995,"title":31996,"dynasty":124,"author":3619,"museum":20,"description":31997,"tags":31998,"thumbUrl":31999,"material":9355,"size":32000,"collection":84,"collections":32001,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":49},234133,"wen-zheng-ming-lin-song-xue-lan-shi-juan-wen-zheng-ming-234133","文徵明临松雪兰石卷","画幽兰一丛,小竹一枝,生于坡石之间,点缀以荆棘杂草",[23,24,7,25,128,133,330,208,375,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56557e2a2e1aa0a998c2c9f99a8dcc16.jpg","纵28厘米,横62.5厘米",[],{"id":32003,"slug":32004,"title":4584,"dynasty":124,"author":125,"museum":20,"description":4585,"tags":32005,"thumbUrl":32006,"material":611,"size":4588,"collection":84,"collections":32007,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":72},234095,"wu-zhong-shan-shui-ce-shen-zhou-234095",[24,7,59,128,29,129,4363,211,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b73c5295ebb98f54c55fa1cd601045b.jpg",[],{"id":32009,"slug":32010,"title":409,"dynasty":144,"author":14724,"museum":20,"description":32011,"tags":32012,"thumbUrl":32013,"material":734,"size":32014,"collection":136,"collections":32015,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":49},233170,"shan-shui-ce-cao-zhi-bai-233170","故宫博物院藏有曹知白《山水册》一套，共八幅山水小景，由明代董其昌题诗，经项元汴、刘恕等藏。纸本墨笔，纵33.1cm，横27.4cm。\n在这套画册中，曹知白巧妙地把北方山水中特有的萧瑟寒林融入进恬淡氤氲的南方地貌中，形成了柔美却不失凝重的风格，可谓刚柔相济。",[24,7,59,128,132,29,663,228,413,130,98,1144,131,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ceab44884d9db9693abf1ae763ef66.jpg","纵33.1cm，横27.4cm",[136,318],{"id":32017,"slug":32018,"title":32019,"dynasty":124,"author":204,"museum":20,"description":8707,"tags":32020,"thumbUrl":32021,"material":40,"size":32022,"collection":84,"collections":32023,"showCount":31823,"zanCount":1998,"manualWeight":48,"mainColor":199},233141,"lian-xi-yu-yin-tu-zhou-chou-ying-233141","莲溪渔隐图轴",[24,7,165,164,27,28,29,1351,168,34,35,5323,2048],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff729e8182fa8b670a238d77c7e5dfb3a.jpg","纵126.5厘米，横66.3厘米",[],{"id":32025,"slug":32026,"title":490,"dynasty":18,"author":18655,"museum":300,"description":32027,"tags":32028,"thumbUrl":32029,"material":84,"size":84,"collection":84,"collections":32030,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":49},228422,"zao-chun-tu-zhao-bo-su-228422","此作为典型南宋青绿山水，以石青石绿晕染山峦，敷色浓丽雅致，尽显华贵宋韵。长卷铺展平远山水，烟波横江裹挟春润雾气，层叠峰岫间茂林修竹错落，汀洲村舍、临江楼阁疏密排布，舟楫泛于碧水，仿佛能窥见江风拂过早春的清寂暖意。画面将山水与苑居景致相融，兼具自然灵秀与人工精巧，晕开江南早春独有的温润朦胧。卷后题跋与鉴藏朱印次第排列，墨痕与印色相映，让画作在清雅之外，更添流传千载的厚重书卷意蕴，尽显宋人的山水审美与文人雅趣。",[23,164,24,7,25,26,27,29,97,34,98,99,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F641d8a14375683a70a41699d825928db.jpg",[],{"id":32032,"slug":32033,"title":32034,"dynasty":144,"author":287,"museum":300,"description":32035,"tags":32036,"thumbUrl":32037,"material":84,"size":84,"collection":84,"collections":32038,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":72},228016,"xiao-niao-tu-tuan-shan-qian-xuan-228016","小鸟图团扇","此作截取清秋小景，斜出的桂枝缀着苍润绿叶，细碎黄花藏于叶底，似有暗香悠悠溢出。枝头的白头鹎栩栩如生，白羽如凝雪覆于头颈，青灰背羽晕染出柔和层次，尖喙微张，仿佛正啼鸣于凉秋。\n\n画家以淡墨晕染底色，设色清隽雅致，未作繁复勾勒，只以轻染淡彩便将花鸟形神尽数描摹，尽显幽淡闲远的文人意趣。尺幅团扇间，将秋日清寂里的鲜活生机定格，把山野寻常小景晕染成充满诗意的刹那剪影，笔底带着松弛闲散的文人情思，淡而有味，雅韵悠长。",[23,164,24,7,1131,27,61,15072,624,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6ab02594b013a2f743dbd67a5ec0c06.jpg",[],{"id":32040,"slug":32041,"title":32042,"dynasty":18,"author":2067,"museum":300,"description":32043,"tags":32044,"thumbUrl":32045,"material":84,"size":84,"collection":84,"collections":32046,"showCount":31823,"zanCount":1998,"manualWeight":48,"mainColor":49},227958,"mu-yang-tu-juan-li-di-227958","牧羊图卷","此作用工写兼融之笔，铺展秋日郊原之景。沙渚浅坡晕染淡赭，细草缀以青绿，衬出疏阔静穆的荒寒氛围。林间枯木虬劲苍古，残叶间点缀秋红，暗合塞晚秋光。\n\n群羊姿态各异，或卧地慵憩，或垂首啮草，或两两相逐，毛发蓬松温润，刻画细腻灵动，尽显羊只闲适之态。整卷设色雅致柔和，既有院体画的精工写实，又暗含文人画的淡逸意趣，将牧羊日常化为悠远诗意，把塞北秋原的宁和生机，尽数融于长卷之中，意韵清寂悠长。",[23,24,164,7,25,28,27,132,6300,949,413,331,6640,499,211,64,208,131,3428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2dfddaef68b627b4fae245934cf60aa.jpg",[],{"id":32048,"slug":32049,"title":32050,"dynasty":18,"author":633,"museum":300,"description":32051,"tags":32052,"thumbUrl":32053,"material":84,"size":84,"collection":84,"collections":32054,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":49},227727,"song-xi-fan-yue-tu-ye-xia-gui-227727","松溪泛月图页","《松溪泛月图》页，南宋，夏圭，绢本设色，24.7×25.2cm，北京故宫博物院藏。\n\n夏圭《松溪泛月图》是《宋元集萃册》中之一开，纨扇式小品画。图中绘清朗的月夜，数人乘一叶扁舟畅游湖上，微风徐拂，月明如镜，水天一色，在一派澄净中，只有溪流与松风的和奏飘荡在水面上。",[23,164,24,7,59,128,132,29,372,231,129,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73d8343726fb542a41407b3b3bf085bb.jpg",[],{"id":32056,"slug":32057,"title":32058,"dynasty":18,"author":32059,"museum":300,"description":32060,"tags":32061,"thumbUrl":32062,"material":84,"size":84,"collection":84,"collections":32063,"showCount":31823,"zanCount":1998,"manualWeight":48,"mainColor":49},227335,"song-li-tu-song-tian-227335","松栗图","松田","这幅小品以淡墨铺就底色，枯笔皴写松枝，苍拙老辣，自带山野清寂意趣。松鼠以浓墨破淡，晕染出蓬松柔润的绒毛，俯身探看，眼目灵动机警，将小兽憨然灵动的神态全然托出。松针攒簇、松果朴拙，简笔勾勒便生野趣。\n\n大片留白不着一笔，尽得山林空寂之味，将山野间一瞬的灵动定格，以小景见天地，尽显简淡中藏着的盎然生机，把文人画疏淡清雅的审美意韵融在尺幅之间。",[1846,24,7,164,128,61,372,5882,24566,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4546d1410a71aa3f9bc40f0b4509ba54.jpg",[],{"id":32065,"slug":32066,"title":32067,"dynasty":54,"author":1460,"museum":300,"description":32068,"tags":32069,"thumbUrl":32070,"material":84,"size":84,"collection":117,"collections":32071,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":72},224531,"huang-xie-zhu-feng-tu-juan-shi-tao-224531","黄澥诸峰图卷","此作用水墨铺就群峰崔嵬，壁立危岩间奇松倒挂，烟云在幽谷间缓缓氤氲，将山川的苍莽灵秀晕染开来。干湿浓墨互衬，皴擦勾勒出山岩硬朗肌理，既铺展出峰峦雄奇气势，又晕出江南山水独有的空濛诗意。\n\n左侧题字笔势纵逸跌宕，笔墨酣畅淋漓，文气与山岚相融，将壮游山水的快意寄寓其中。诗画合璧，把天地山河之美与文人笔墨情志共生一处，尽显山水与文思交织的悠然意境。",[23,24,7,25,128,132,133,64,29,30,497,34,415,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f153cf680d5f5ec448dd4e9ab6b5e63.jpg",[117],{"id":32073,"slug":32074,"title":32075,"dynasty":54,"author":2640,"museum":300,"description":32076,"tags":32077,"thumbUrl":32078,"material":84,"size":84,"collection":84,"collections":32079,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":72},224374,"hua-hui-qi-shi-ce-shi-er-kai-3-ju-lian-224374","花卉奇石册-十二开-3","此作笔致秀润恬和，淡墨勾皴湖石，奇崛古拙，空灵苍润间尽显嶙峋意趣。素盆秋菊柔色轻绽，嫩蕊鲜妍和素净瓷盆相映，晕开一室清雅文气。\n\n角落散落的花生、坠果带着日常烟火意趣，石畔小兽探头轻觑，为幽寂的文房清供添上灵动野趣。整体设色浅淡明净，衬着绢底古雅底色，将文人闲居的恬淡意兴融于尺幅，工写兼济间，把清供小品的雅静与鲜活日常交织，尽显平淡天真的悠然情致。",[23,24,7,59,28,27,61,171,376,169,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90b4da7d3931604a708831e97b24647c.jpg",[],{"id":32081,"slug":32082,"title":32083,"dynasty":54,"author":7716,"museum":300,"description":32084,"tags":32085,"thumbUrl":32086,"material":84,"size":84,"collection":84,"collections":32087,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":72},224244,"yuan-ji-shi-yi-tu-gai-qi-224244","元机诗意图","《清改琦元机诗意图》是中国清代画家 创作的一幅人物画。\n此图画的是唐代女诗人 的。\n鱼玄机是个很有才华，而遭遇却很不幸的人，她大约生于844年，卒子871年，字幼微、蕙兰，清代时因避康熙玄烨的讳改称为鱼元机。\n嫁给李忆为妾，因受李妻的妒忌，被迫出家，在长安咸宜观做了女道士。\n由于喜读书，有才思，擅作诗，受到当时文人们的重视，温庭筠等名家常与她作诗唱和。\n后因忌妒笞杀侍婢绿翘，被判死刑，其时年仅二十多岁。\n留有诗文一卷。\n此图设色古雅，衣纹秀劲，玄机倚坐展卷。\n姿容秀美，含蓄深思，刻画传神。\n改琦(177-1828)字伯蕴，号香白，或作香伯，又号七芗，别号玉壶外史。\n先世为西域人，祖为松江参将，遂占籍为华亭（今上海松江）人。\n通敏多能，善书画，人物画出入李公麟、赵孟頫、唐寅及陈洪绶，花草兰竹小品迥出尘表，叉善画佛像，人以新罗山人相比，为清代中叶画坛名家。\n工诗词，曾与钦善、姜皋等结课诗词，辑《泖东诗课》。",[23,24,7,27,28,96,166,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F125f440623b2edc344cb81826355bd02.jpg",[],{"id":32089,"slug":32090,"title":19857,"dynasty":54,"author":3403,"museum":300,"description":32091,"tags":32092,"thumbUrl":32093,"material":84,"size":84,"collection":84,"collections":32094,"showCount":31823,"zanCount":1998,"manualWeight":48,"mainColor":72},224218,"shan-shui-zhou-wu-chang-shuo-224218","此作以高远章法铺陈，主峰雄踞上部，以篆隶笔法入皴，枯涩苍劲的线条勾勒山石肌理，朴拙雄浑间尽显厚重金石气。下半幅山林幽居藏于层林之中，屋舍错落临溪而建，溪桥横陈，枯木与青柯相映。\n\n水墨间晕染淡赭、花青，为清秋山林添上柔和暖意。题诗与画境呼应，将隐逸山居的静穆雅逸，融于雄朴的笔墨之中，把林泉高致的清隽滋味藏于苍辣笔意内，尽显冲淡高古的文人意趣，是典型的文人山水风貌。",[23,24,165,128,27,132,7,29,98,99,35,1337,1144,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eab5e3cd8b5a1741b2652c294477895.jpg",[],{"id":32096,"slug":32097,"title":32098,"dynasty":18,"author":223,"museum":300,"description":32099,"tags":32100,"thumbUrl":32101,"material":84,"size":84,"collection":84,"collections":32102,"showCount":31823,"zanCount":1998,"manualWeight":48,"mainColor":72},223619,"hong-liao-shui-qin-tu-ye-yi-ming-223619","红蓼水禽图页","取景以简驭繁，水禽伫立于红蓼柔梢，翎毛晕染入微，丝缕毕现，禽鸟垂喙凝神，灵动宛若将欲振翅。淡墨轻勾浅淡水纹，留白衬出汀洲空寂，将秋日水滨的清寒野趣凝于尺幅纨扇。工笔摹形，写意传情，把小景生机与幽澹诗意相融，尽显雅致空疏的审美意趣，不负“传写物态，蔚有生意”之誉，是小品画中以形传神的绝佳之作。",[23,164,24,7,4437,28,27,61,3835,27479,624,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa3aae2e3e700ea4306d26b41921ec2.jpg",[],{"id":32104,"slug":32105,"title":32106,"dynasty":18,"author":223,"museum":244,"description":32107,"tags":32108,"thumbUrl":32112,"material":637,"size":32113,"collection":84,"collections":32114,"showCount":31823,"zanCount":1998,"manualWeight":48,"mainColor":72},223380,"qian-shou-qian-yan-guan-shi-yin-pu-sa-zhou-yi-ming-223380","千手千眼观世音菩萨轴","观世音又称观音，是我们最熟悉的一位佛教人物。这尊观音与常见的一头两手的显教观音像不同，祂的头顶共有二十六个菩萨头和一个佛头，有一千只手，每一只手的手掌中间又有一只眼睛，所以称为「千手千眼观世音菩萨」，是密教观音的一个重要典型。\n万顷波涛，四天王背负着一座七宝莲台，千手千眼观世音菩萨十分庄严地站在台上。左右各有两位菩萨随侍，下方的天龙八部双手合什，向观音菩萨示敬。观音菩萨头戴化佛宝冠，绀发垂肩，双唇上下都有胡髭，仍作男相。但五官秀美，已流露出女性化的特质。全图赋色妍丽，璎珞装饰和七宝莲台都描绘得十分仔细。人物衣纹线条柔劲流畅，这些特色都与传至日本的南宋佛画十分类似，是一幅难得的南宋佛教绘画精品。",[23,164,24,7,165,187,28,27,96,19751,32109,189,32110,951,211,3588,170,4204,7221,32111],"千眼","佛光","众神","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd2c18bc7d656864bb8c7ad6a86782a.jpg","176.8x79.2",[],{"id":32116,"slug":32117,"title":32118,"dynasty":54,"author":32119,"museum":244,"description":32120,"tags":32121,"thumbUrl":32122,"material":84,"size":84,"collection":136,"collections":32123,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":72},222851,"hua-qiu-si-ming-quan-zhou-ai-xin-jue-luo-yong-rong-222851","画秋寺鸣泉轴","爱新觉罗永瑢","爱新觉罗·永瑢（1744年1月28日—1790年6月13日），号九思主人，又号西园主人。少时居圆明园碧桐书院，亦称碧桐书院阿哥。清朝宗室，乾隆帝第六子，皇三子永璋同母弟，母为纯惠皇贵妃苏氏。\n乾隆二十四年十二月，出继慎靖郡王允禧，封贝勒，管理内务府、充《四库全书》玉牒馆总裁、监管钦天监事务。三十七年（1772）年，晋质郡王。五十四年（1789），晋封质亲王。\n乾隆五十五年（1790年），去世，时年四十八岁，谥号为庄。工诗擅画，主要作品有《岁朝图》《枫溪垂钓图轴》。",[23,24,7,165,27,132,29,17270,11134,98,99,34,131,35,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa9f2b95b9bde32a8dedfb17b22ed5c.jpg",[136,45],{"id":32125,"slug":32126,"title":32127,"dynasty":124,"author":28758,"museum":56,"description":32128,"tags":32129,"thumbUrl":32130,"material":734,"size":32131,"collection":136,"collections":32132,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":49},222838,"qiu-ling-shan-quan-tu-xiao-yun-cong-222838","秋岭山泉图","萧云从在作品中所表现的超脱世俗的人生态度，实际上包含了他对历史、人生的深切感悟，是通过笔墨画境而表现显露其审美意象的深刻意蕴。这种淡远无尘、清墨涩笔创作出来的超然冷寂澹泊的境界，是逸的真实表述。萧云从的山水画在历史上之所以为众人推崇，即在于其反映生活的“真”和“美”。",[23,24,7,165,27,128,29,131,99,495,34,1144,1955,35,96,132,6639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F777621cf6ec8952e48ae2dbb0be5b7fc.jpg","165cmx45.6cm",[136,45],{"id":32134,"slug":32135,"title":32136,"dynasty":54,"author":6357,"museum":11466,"description":32137,"tags":32138,"thumbUrl":32139,"material":1223,"size":32140,"collection":68,"collections":32141,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":72},222673,"xiong-ji-tu-zhou-huang-shen-222673","雄鸡图轴","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。\n黄慎擅长人物、山水、花鸟，并以人物画最为突出，题材多为神仙佛道和历史人物，也有一些现实生活中的形象，多从民间生活取材，不少作品塑造了纤夫、乞丐，流民、渔民等下层人物形象，如《群乞图》取材现实生活，描写灾荒年中，乞丐们流落街头，受人欺凌的悲惨画面，表现出他对人民疾苦的同情。画神仙佛道如《醉民图》，多操大幅，用笔设色，泼辣大胆，于迷离扑朔中见形象神韵。描绘文人生活的有《东坡玩砚图》，用笔迅疾，衣纹顿挫，线条硬折，墨公浓淡相间，人物轩昂、富有气势，为其成熟后的代表画风。\n他的花鸟画宗法徐渭，亦纵逸泼辣挥洒自如，如《瓶梅图》《菊蟹图》等。他的山水虽“不以山水名”，但山水画有一定的造诣，大幅和小景都各尽其妙，潇洒有致，山水代表作如《渔归图》，两株柳树，“姿态婀娜劲挺，耸立奇峭山岩，淡墨轻赭横扫出沙滩，中景两只渔船，一笔勾出船舷，船中人物，神态右辨，画面左角草书题画诗三行，诗、书、画、印紧相配合，自然贴切。\n黄慎擅草书，书法学“二王”，更得怀素笔意，从章草脱化而出，其栖劲运笔亦用于绘画之中，故画面多干枯、飞白和迅疾之迹，黄慎的草书，点画纷披，散而序，评者说它象疏景横斜，苍藤盘结，具有“字中有画”之趣，他的书法出于章草，颇难认识，故而仿效者不多，但他不趋时尚，敢于标新立异。 他的草书不昧古法，又难辨古人踪迹，不强调章法的疏密聚散，而以方折顿挫的笔法，忽断忽连，顾盼呼应，凸显铿锵有声的点画节奏感，呈现一幅落英缤纷珠丸跳荡逸趣迭生的画面感。其代表作《草亭飞万竹诗草书轴》章法奇异如松柏之剪影，点画浓淡如花叶之缠枝，真非书非画，亦书亦画，堪称奇观。\n\n个人成就:\n黄慎的诗文、狂草书法，绘画被称三绝。曾先后三次到扬州，居留较长，与郑板桥、李（善）等往来友善，为“扬州八怪”之一。\n他年方十八、九时寄身萧寺，白天作画，夜间从佛光明灯下刻苦读书，技艺大进。凡人物、花鸟、山水、楼台、虫鱼等，无一不能，但他并不以这些为满足，一次看他先生的作品说：“吾师绝技难以争名矣，志当自立以成名，岂肯居人后哉！”\n他自己总结一生走过的道路，感慨地说到：‘余自十四、五岁时便学画，而时时有鹘突于胸者，仰然思，恍然悟，慨然曰：‘余画之不工，以余不读书之故。’于是折节发愤，取毛诗、三礼、史汉、晋宋间文，杜韩五言诗及中晚唐诗，熟读精思膏以继晷，而又于昆虫草木四时推谢荣枯，历代制度衣冠礼器，细而致于夔 蛇凤，调调刁刁，罔不穷厥形状，按其性情，豁然有得于心，应之于手，而后乃今始可心言画矣。”正是这种凝思结想、废寝忘食、苦攻不辍，黄慎才从一个小画工成长为一位“诗画名大江南北”的名家。\n”郑板桥为诗赠之：“家看古庙破苔痕，惯写荒涯乱树根，画到精神飘没外，更无真相有真魂。”\n黄慎还是一位诗才画艺俱全的艺术家，他的诗作，情韵清远，如 岩绝 ，烟凝霭积，能非凡境，并著有《蛟湖诗钞》一书传世。\n黄慎早年师从上官周，多作工笔。山水宗元黄公望、倪瓒、中年以后，吸取徐渭笔法，变为粗笔写意，并草书章草，尝以狂草书法入画笔姿放纵，气象雄伟深入古法，但也有笔过伤韵者。\n作品行情:\n黄慎书画流传较多，大多藏于国内各大博物馆内。北京故宫院藏有多幅，如《漱石捧砚图》，扬州博物馆藏的《渔归图》等。\n黄慎的绘画创作在雍正年间说名扬于世，“尺纸容缣，世争宝之”。可见他的作品在当时已有较高的价格，另外黄慎对自己的绘画，常作分类自评，凡最得意者题上诗，次者则识以岁月，再次者只署“瘿瓢”二字。\n现今黄慎作品流入市场是比较多的，20世纪80年代末即开始拍卖，以后每年都出现过，价格起伏不大，比较稳定，但不太高，与八怪中其他画家水平相当，低于吴门四家。\n作为画家的黄慎，对后世的影响——清代的闵贞、近代上海的王震、广东的苏六朋、福建的李霞、李耕和辽南的李楚材都曾师法黄慎。齐白石也非常倾心黄慎——“余在黄镜人处获观《黄瘿瓢画册》，始知余画犹过于形似，无超然之趣。决定从今大变。人欲骂之，余勿听也；人欲誉之，余勿喜也”。“前朝之画家，不下数百人之多，瘿瓢、青藤、大涤子外，皆形似也。惜余天资不若三公，不能师之”。",[23,24,7,165,128,27,64,4325,2438,1955,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb7a27332b6be489e47fb8cf3f1bbaf3.jpg","纵124.6厘米，横59.8厘米",[68,45],{"id":32143,"slug":32144,"title":32145,"dynasty":124,"author":18090,"museum":244,"description":32146,"tags":32147,"thumbUrl":32148,"material":514,"size":32149,"collection":84,"collections":32150,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":49},222584,"fang-fan-kuan-zuo-ping-jiu-shu-lan-ying-222584","仿范宽坐凭樛树","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。\n蓝瑛 （1585-1664），一作（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂”，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n蓝瑛一生以绘画为职业，曾漫游南北，饱览名胜，眼界开阔，因而不断丰富了创作内容。他的传派，直接继承衣钵的有蓝氏一家子孙，如蓝孟、蓝深、蓝涛等，弟子刘度、王奂等都各有成就。明末同时和稍后的如陈洪绶以及金陵八家等著名画家，也都受他的影响。\n蓝瑛绘画对明末清初影响很大，被后人称为“武林派”。画史上称之为“后浙派”，将其与戴进、吴伟合称“浙派三大家”。 [2] 但实际上他的画风与戴进等不同，不能完全附属于“浙派”之后。蓝瑛字田叔，号蜨叟，晚号石头陀，又号东郭老农，所居榜额曰“城曲茅堂”。\n蓝瑛是我国明末清初的画家，曾有美术史家把他列为“浙派”，对此，有专家学者提出异议认为：蓝瑛与戴进之间既无师承关系，在绘画面貌、艺术风格上也大相径庭，故不应因二人同处浙江杭州而列为同一画派“浙派”。\n清代沈宗骞在《芥舟学画编》中提出“蓝瑛倡为武林派”，蓝瑛和他的追随者们应称为“武林派”。我们知道，画史上有一些画家因种种原因没有留下更多的生平资料，使后人很难从他们一生的行踪、生活背景、个性脾气、思维方式中去了解他们所形成的艺术风格、审美理念，只能从他们留存于世的绘画作品中去洞察其艺术之轨迹，蓝瑛就是这众多画家中的一位。长期以来，学术界对文人画家及其作品比较重视，由于蓝瑛是一位职业画家，又没有诗文和著作留存于世，因此在画史上很少有关于他的记载和涉及。本文试通过对蓝瑛绘画作品的具体分析，来阐述蓝瑛山水绘画的艺术特色和所取得的成就。\n画家的创作理念和他个人所生活的时代、环境、文化素养、审美标准是分不开的。蓝瑛作为明末清初的画家，他的绘画风格同样也脱离不开他所生活的时代。因此，在探讨蓝瑛山水绘画的艺术特色之前，我们首先要对蓝瑛的生平及师承有所了解。\n蓝瑛，生于公元1585年，卒年不详，1664年尚在，字田叔，号蜨叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号西湖外民、西湖外史、东郭老农、吴山农等，所居榜额曰“城曲茅堂”。生长于“浙派”发源地钱塘(今浙江杭州)，二十三岁寓居松江，后来长期活动于杭州、嘉兴、南京、扬州、绍兴等地，卖画授徒，影响深远，追随者主要集中于杭州一带，被称为“武林派”(武林为今杭州别称)，在明末万历到清初康熙年间足以与“松江派”抗衡。其画风融合南北两宗，自成一家，属于一位文人画的职业画家。清代以来不少学者把蓝瑛称为“浙派”的“后劲”或“殿军”。\n他工书善画，长于山水、竹石、梅兰、人物、花鸟等，技法全面，尤以山水画著名，是明末清初颇具影响力的山水画家。他的绘画特点比较明显的是用笔有顿挫，以疏秀苍劲取胜，善写秋景。在其作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”等，实则所画均为他自己的面目。他的山水绘画画法有两种：一种作钩勒浅绛法，另一种作没骨法，设色鲜艳夺目，所画青山、红树、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水绘画作品。蓝瑛享年八十有余，一生以绘画为职业，笔耕不辍，传世的绘画作品面貌多样，数量众多。\n从蓝瑛传世的作品看，他的山水画创作大致可分为早、中、晚三个时期。早期为其五十岁以前。从现存蓝瑛早期的绘画作品中可以看出，他在临习古人绘画作品的过程中，打下了扎实的笔墨功底。在艺术成就的取得上，他主要得益于黄公望、王蒙、倪瓒、吴镇的助力。元四家的笔墨虽不尽相同，但蓝瑛在学习他们的绘画技法时却能择良而取，并注意吸取对自己有用的东西，藉以丰富个人的表现能力。博采众长，应该是一个艺术家取得成就的途径之一，这也是我国艺术史上久经证明的成功经验。此时蓝瑛作品呈现出的面貌基本是以中锋运笔，皴法以长披麻皴、解索皴、荷叶皴为主。山石的画法润泽浑圆，没有过多的棱角，苔点圆润。树木的画法则是多种多样，体现了他绘画技法的娴熟。在构图上，近景的树木与远景的山峦之间具有明显的空间感。设色平淡和润，风格秀润清和，疏松简略。\n《溪山秋色图》为癸丑新秋(1613年)，画家29岁时创作的一件传世绘画佳作。画卷右起为辽阔的水域，远山朦胧，云气蒸腾。中部山石突起，溪水潺潺，蜿蜒的水流从山石间缓缓淌过，坡石上零星地分布着杂草树木。整幅画作淡泊宁静，用笔柔和，山石少皴，偶有淡淡的荷叶皴，构图松秀，设色清和，墨色滋润，从中可看出蓝瑛此时的绘画受“松江派”绘画风格影响之痕迹。\n《仿李唐山水图》是蓝瑛早年创作的一件绘画作品。图中景物茂密，近景岩石累累，形成坡坨，处于曲流之畔。坡石上树木茂蔚，造型古朴，刻画细致，疏密枯润，各显生态。树林间有一茅亭临于溪边，亭内二隐士对坐畅聊。隔溪远景是巨石高峰，岩石突兀奇特，下有瀑布，泻入清溪。整个画面山石崚嶒，古树结节，山石的皴法，以小斧劈皴、刮铁皴相济并用，稍以色彩点簇，水墨晕染，刚中见柔。布局稳当，气氛清谧。远山近树，继承了李唐院体画派的风范而自有发挥，作品较多地留有宋代遗风。\n中期为五十至六十五岁之间。这时他不但取法郭熙、李唐及马远、夏圭，而且对二米、云山也精心研究，对黄公望的画更是悉心尤力。时人吴门画派沈周、文徵明的笔法他也热心师效。加之他漫游南北涉猎广泛，眼界宽广，兼融南北，形成了苍劲雄强、骨力刚硬的个人风格，此时的蓝瑛已经达到能“分别宋元家数，某人皴梁法脉，某人蹊径勾点，毫不差谬”的水平。他以自己对各家绘画特色的见解，以中锋、侧锋交替运笔，用各种皴法、点苔法熟练地画出各种形态的山石、树木。以各家的典型构图，或高远或平远，或简或繁，显现出一种笔墨苍劲、气势雄浑的境界，反映出他在三十余年仿古绘画的实践中渐渐脱开单纯的临与仿，开始形成了自己独立的绘画风格。\n《仿古山水册》作于乙亥春仲(1635年)，画家时年51岁。此山水画册的风格以临黄子久为主，笔触粗短，用笔方折，山石少皴，偶用折带、荷叶皴，略加修饰，山石敷以淡青绿和浅绛，加浓墨苔点醒神，用笔简练，设色淡雅。全册共计十二幅，每幅均可见蓝瑛中年绘画之风格。首幅水墨画枯树数株，槎枒矗立，画上题云：“云林之法，妙在简远。瑛法之，未必耳。笑笑。”第二幅浅设色画，一红衣士人立于松下，隔岸观瀑，画上题云：“偶法郭河阳画。西湖外史蓝瑛。”第三幅设色画临水岩上，桃红满树，舟人浮江而行，款“蓝瑛画”。第四幅设色画村舍数间，丛树环绕，小桥流水，画上自题：“赵令穰画法，蓝瑛。”第五幅设色画层峦飞瀑，草阁间士人独坐，画上自题“蓝瑛法大痴画”；第六幅水墨画水畔虚亭，自题：“梅华道人画法，画于富春之吉祥山房。蓝瑛。”第七幅设色画青山红树，画上题云：“元之高彦敬尚书画法米南宫，有白云红树画。蓝瑛仿之。”第八幅设色画层峦蓊郁，群树繁茂，士人独坐水岸，观泉听瀑，自题“王黄鹤听泉图。蓝瑛法。”第九幅设色画苍松红树，孤舟临岸，画上题云：“赵仲穆画似其翁，一段秀古，自成别门。蓝瑛法。”第十幅设色画秋林丹翠，篷舟沿溪，自题：“乙亥春仲法李唐画。西湖外史蓝瑛。”第十一幅设色画秋林丛聚，清雾弥漫，士人独行，自题：“法松雪斋秋林觅句。蓝瑛。”第十二幅设色画，白雪覆树，水岸亭间，士人观景，自题：“乙亥春仲法右丞画。蓝瑛田叔。”\n《乔岳松年图》是蓝瑛55岁时为宁庵祝寿时所绘。画上的景物，笔墨苍劲，山石突兀嶙峋，白云在山间缭绕，远处的楼阁隐现于流动的烟雾之中，时隐时现，增加了画面的动感。画之近处有九株苍干虬枝的古松，繁密的松针，碧绿青翠，使得画面苍浑郁茂，平添了清新的气氛。在松树的掩映下有一茅亭，亭内一老者正在观赏那飞流而下的瀑布。整个画面笔墨精到，用色灵巧，再加上山石间有规律的点以苔藓，使得画中的景物更加雄奇壮观。\n晚年为六十五岁以后，这是蓝瑛一生中最精彩的时期。此时他在融会贯通前人技法的基础上，自立门户，形成了自己的绘画风貌。有人评其晚年画风“绝似仲圭，复似启南”，一语道出蓝瑛画风在渊源上与文人画的关系和晚年苍劲雄浑的画风。从此时期的作品来看，笔法苍劲疏宕，伟峻老练，画风呈多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。这一时期他主要以敏捷快速的粗笔山水为主，山石的轮廓线短小、破碎、躁动，以破笔点苔，以侧锋皴擦；树木的画法更加曲屈苍老和类型化。构图上也基本形成了一种统一的样式：巍峨雄伟的山体以棱角分明的几何体组成并繁复堆积，占据画面的大部分且多偏向一侧，而于另一侧留出一定的空间，山顶突出。山间有飞瀑丛树，山脚以渔樵隐士、老树茅屋点缀。同时出现了山体的立轴画中纵向拉长，在手卷中则横向延伸的变形现象。晚年的作品中没有了早期所保留的一定的空间感，代之以一种逼人的气势，无论是仿荆浩、董源还是仿黄公望，在风格和笔墨上已经没有了差别，它们都已化为蓝瑛的典型山水样式。蓝瑛晚年的作品，笔益精良，构图高嶂巨壁，丘壑深远，重山叠翠，更加苍浑古朴。\n《华岳高秋图》作于1652年，画家时年68岁。画中远景，高山耸立，山顶作平台状，山隈深处，楼阁崔嵬，流泉飞溅，山石勾勒线条硬折，运用荷叶皴、折带皴和牛毛皴，树草稀少，显得崚嶒。中景，群山环绕之中，筑有楼榭，溪流淙淙而下，老树粗壮，用短笔勾成，树叶采用双勾夹叶填色，松针用传统笔法，排列有序，挺拔有力，不失古气。水口用笔转折生硬，受南宋影响，类似浙派。近景，山径迂回，满山红树，二高士漫步小道，观瀑笑语。构图气势雄伟，笔势刚健豪迈。山石用荷叶皴，参以折带皴加水墨渲染，罩花青赭色，树木苍劲，枫叶明丽，描绘出华岳的深秋景色。\n《秋壑飞泉图》为蓝瑛74岁时所作的传世佳作。该画尺幅巨大，气势磅礴，画心高近四米，颇见蓝氏构图设景之能力所在，作品凝聚了画家毕生的技艺与功力。画面层峦耸翠，幽谷深邃，轻岚浮动，红树青山。山谷间的飞瀑和桥上的高士顾盼有情，高远及深远相结合，是典型的蓝氏山水画之模式。画中的高山巨峰，上部的山石重叠峻峋，瀑布悬崖，飞泉溅落。中部巨石杂树间有一茅亭，一人于内赏景，稍下建筑数座，红叶映天，浮桥卧地，小桥上二叟持杖交谈，颇有生活意趣。从这幅绘画的技法上，可以看出他在融汇前人技法方面的成就，也能看出他在创新方面的景物。作者采用“荷叶皴”，在形式与内容方面得到了和谐的结合，取得了较好的效果。那独具特点的置苔，尤显得画面苍润而厚重。有些树叶以赭色画出，突出了节令气氛，使画面秋意盎然。该画构图雄伟，气势阔大，足见蓝瑛博大精深的笔墨造诣。\n纵观蓝瑛早、中、晚三个时期的绘画作品，大体可以得到这样一些认识：早年的作品，是学宋代诸大家的笔法，尤其是学元四家的作品。此时笔法较细润，明显地呈现出某派的笔法痕迹。中年，在学习前人技法的基础上开始变法，也就是向开创独特风格的途程上逐步迈进。晚年则开创了一种雄伟浑穆的独特面貌，画不离苔以及多画秋景，善施赭色，巧用荷叶皴等等，也都是蓝瑛作品的特点。\n蓝瑛的山水画艺术成就，得益于他“性耽山水”。虽然他下苦功夫临习了晋唐宋元诸家，并达到了精妙乱真的程度，但他不以摹仿为能事。他不仅擅于师古人之意进行变革创新，而且还注重生活，注重行万里路，饱游饫看，“游闽粤荆襄，历燕秦晋落，涉猎既多，眼界弘远”。因为他胸中有真丘壑的观察积累，眼界开阔，所以能落笔纵横，水墨淋漓，独创一格一派—武林派。蓝瑛的绘画，影响广泛，师法他的人可分成三类：一类是蓝瑛的嫡传弟子，如早期的刘度、蓝孟等人；第二类是出自蓝瑛的嫡传弟子门下或模仿蓝瑛画风的职业画家，如蓝涛等；第三类是早年曾经出自蓝氏门下，后来自立门户创立了独立画风的陈洪绶、禹之鼎等。千百年来，为祖国锦绣山河传神写貌的画家，能够开宗立派的屈指可数。蓝瑛的绘画崛起于江南，熔铸古今，独开门庭，这是难能可贵的。",[23,24,7,29,27,132,131,34,99,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6086be9329befee0f8455f19c8930b7.jpg","72.6x60.8厘米",[],{"id":32152,"slug":32153,"title":32154,"dynasty":124,"author":204,"museum":56,"description":32155,"tags":32156,"thumbUrl":32157,"material":40,"size":32158,"collection":136,"collections":32159,"showCount":31823,"zanCount":1086,"manualWeight":48,"mainColor":49},222214,"su-hui-hui-wen-kai-xuan-shi-chou-ying-222214","苏惠回文凯旋诗","回文诗，也写作“爱情诗”“回环诗”。它是汉语特有的一种使用词序回环往复的修辞方法，文体上称之为“回文体”。唐代上官仪说，“诗有八对”，其七曰“回文对”，“情新因意得，意得逐情新”，用的就是这种措词方法。充分展示并利用了汉语以单音节语素为主和以语序为重要语法手段这两大特点，读来回环往复，绵延无尽，给人以荡气回肠，意兴盎然的美感。回文的形式在晋代以后就很盛行，而且在多种文体中被采用。人们用这种手法造句、写诗、填词、度曲，便分别称为回文诗，回文词和回文曲。虽然不乏游戏之作，却也颇见遣词造句的功力。",[23,164,24,7,25,28,27,95,96,166,101,34,97,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F447e131e2503e99eeb4a7fc3907f8df6.jpg","纵25厘米，横292米",[136,45],{"id":32161,"slug":32162,"title":32163,"dynasty":124,"author":10106,"museum":244,"description":10107,"tags":32164,"thumbUrl":32165,"material":1223,"size":32166,"collection":44,"collections":32167,"showCount":31823,"zanCount":1998,"manualWeight":48,"mainColor":72},222067,"wu-liang-shou-fu-wu-bin-222067","无量寿佛",[23,24,7,27,28,187,96,1364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe7f98a1d50d1025e8caff57fb63c78c.jpg","62.3x35.3",[44,45],{"id":32169,"slug":32170,"title":32171,"dynasty":144,"author":569,"museum":20,"description":32172,"tags":32173,"thumbUrl":32174,"material":3785,"size":32175,"collection":136,"collections":32176,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":49},221871,"ou-bo-ting-tu-zhao-meng-fu-221871","欧波亭图","鸥波亭为赵孟頫夫妇游息吟咏之所，据现传世著录赵一生曾多次创作以鸥波亭为题材的作品。有《鸥波亭图》(明张丑着《书画见闻表一卷》·五)、《鸥波亭图轴》(清李佐贤着《书画鉴影二十四卷》二○·一)、《赵松雪管仲姬合作鸥波亭图轴》(清邵松年着《古缘萃录十八卷》二·六)。此图正是邵松年载录的《鸥波亭图》，作于元大德八年(1304)甲辰春三月，时赵孟俯50岁，管仲姬42岁，乃精心合写神妙之作。赵孟俯白描人物并写柏树及楼台、山石，管仲姬为其补写大片白描双勾新篁，伉俪合作，珠联璧合，堪称“二美”。故弥足珍贵。",[23,24,7,165,27,2132,96,97,130,34,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4dccc8fa8bf432c5b115720e7b83061.jpg","纵117厘米，宽54厘米",[136,45],{"id":32178,"slug":32179,"title":32180,"dynasty":144,"author":15528,"museum":20,"description":32181,"tags":32182,"thumbUrl":32183,"material":2239,"size":32184,"collection":136,"collections":32185,"showCount":31823,"zanCount":1998,"manualWeight":48,"mainColor":49},221819,"feng-le-lou-tu-xia-yong-221819","丰乐楼图","作者采用对角构图法，用水墨界画殿阁山水，线条纤如毫发，背景远山平缓润泽，开阔的水面与依依杨柳恰到好处地交待出建筑处于江南的环境。展观其作品，方寸之间微入毫芒，画家再现了宏大建筑的整体和细部，技艺精湛超凡，令人叹服。\n此幅构图之用笔与故宫藏夏永另几幅界画作品如出一辙。丰乐楼为为南宋都城临安著名的大酒楼之一。地处涌金门外西湖岸边。作品所取材的“丰乐楼”早已不存，夏永极度写实的画风以及右上以“小如蚁目”的蝇头小楷题写的31行“十里挲平丰乐楼”长题，无疑成为今天了解这座在宋代杭州曾颇有声名的楼阁的重要史料。",[23,24,7,95,188,29,97,34,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F844d7f5926052f741a315b41c30867db.jpg","纵25.8厘米，横25.8厘米",[136,117],{"id":32187,"slug":32188,"title":32189,"dynasty":144,"author":2697,"museum":244,"description":32190,"tags":32191,"thumbUrl":32192,"material":317,"size":32193,"collection":117,"collections":32194,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":49},221813,"si-ji-ping-an-tu-zhou-li-kan-221813","四季平安图轴","《四季平安图》此幅水墨绘修竹四竿，三浓一淡，两前两后，布置得宜，风姿卓然。李仲宾此幅全学文湖州，而加浓密之致，体现了其本人的艺术审美。 李衎（1245-1320年），字仲宾，号息斋道人，晚年号醉车先生，元朝蓟丘（今北京市）人。元仁宗皇庆元年（1312年）任吏部尚书，拜集贤殿大学士、荣禄大夫。李衎尤善画枯木竹石，善画墨竹，双钩竹尤佳，和赵孟頫、高克恭并称为元初画竹三大家，著有《竹谱详录》。",[23,164,24,7,165,128,188,28,167,1314,171,132,4057],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f9156289c567b360733a596791d013b.jpg","131.4 x 51.1cm",[117,1670],{"id":32196,"slug":32197,"title":32198,"dynasty":144,"author":20772,"museum":244,"description":32199,"tags":32200,"thumbUrl":32201,"material":611,"size":32202,"collection":44,"collections":32203,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":72},221733,"ni-zan-xiang-juan-zhang-yu-221733","倪瓒像卷","工书画，其书法初学赵孟頫，后学怀素，张旭。字体楷草结合，俊爽清洒自成一格。存世书迹有《山居即事诗帖》，《登南峰卷》等。倪瓒在《题张贞居书卷》称“贞居真人诗，人，字，画，皆为本朝道品第一”。其画以淡彩见长，善画石木，用笔古雅，尤善以败笔点缀石木人物，颇有意韵。画迹有《霜柯秀石图》，《双峰含翠图》等。",[24,7,25,188,27,28,96,208,2145,251,29,1367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30d126c273a363dbcf40b1fda9a0860a.jpg","该幅28.2x60.9公分",[44,45],{"id":32205,"slug":32206,"title":32207,"dynasty":144,"author":287,"museum":224,"description":32208,"tags":32209,"thumbUrl":32212,"material":15552,"size":32213,"collection":44,"collections":32214,"showCount":31823,"zanCount":1116,"manualWeight":48,"mainColor":49},221712,"fu-zui-tu-juan-qian-xuan-221712","扶醉图卷","描绘的是东晋著名隐士陶渊明喝酒的故事。画中共三人：酒后面露醉态的陶渊明，醉眼朦胧，坦胸露肚，一手倚扶于竹榻之上，一手作摆手送客状。右侧的客人对着陶渊明双手作揖，面容恭谨，作告辞状；白衣老仆欲引客人离去。一边的地面上陶制的酒罐、酒盆和瓷器的酒杯洒落一地，杯盘狼藉。",[23,24,7,25,27,28,2132,96,439,170,2824,6094,151,16099,6092,32210,8565,32211,14738],"人物互动","线条细腻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7ccffb9f1d8c8a7d08362296a28da33.jpg","纵28厘米，横49.5厘米",[44,45],{"id":32216,"slug":32217,"title":32218,"dynasty":144,"author":32219,"museum":510,"description":32220,"tags":32221,"thumbUrl":32222,"material":611,"size":32223,"collection":318,"collections":32224,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":72},221685,"shu-wang-an-shi-za-shi-juan-quan-juan-xian-yu-shu-221685","书王安石杂诗卷全卷","鲜于枢","书王安石杂诗四首：《题侍郎山水》、《招约之职方并示正甫书记》、《示元度》、《奉酬约之见招》。全卷600余字，书于至元二十八年（公元1291年）。时鲜于枢36岁，正值书艺旺盛时期，故书气恢宏，骨力劲健，圆转流畅，表现了鲜于枢极深的书 * 力。",[23,7,64,25,133,128,6369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69a218ba9122cc9b248081e8fb15f101.jpg","纵50厘米 横1025厘米",[318],{"id":32226,"slug":32227,"title":32228,"dynasty":18,"author":4602,"museum":20,"description":32229,"tags":32230,"thumbUrl":32231,"material":1464,"size":24424,"collection":42,"collections":32232,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":72},221428,"chun-shan-tu-quan-juan-yan-su-221428","春山图(全卷)","燕肃(公元991—1040年)字穆之。祖籍青州益都(今山东青州)，后迁居于阳翟(今河南禹县)。真宗朝进士，官至龙阁直学士，礼部尚书，颇有政绩。巧思过人，有不少发明创造，是一位很有成就的科学家。工诗，善作水墨山水，亦能作壁画。作竹有超然之气，能脱离画工尺度，使之有诗人清丽的神韵。此图描绘了一幅春山水乡的风光。图中群峰耸立，飞瀑长流，一条山道穿谷而过，远山形貌隐约，山下林木苍翠，清溪迂缓，水泽开阔，木桥横卧而联属，水滨点辍着茅舍草屋、水亭渔舟。图中几人或在亭内吟诗，或在水边捕鱼，有的赶马，有的送客，一派生机盎然的景象。此图用笔简练，墨色凝重，风格质朴自然。无作者款印，卷后有36家题跋，分别出自元明时期文人名流，如虞集、刘基、唐肃、徐贲等，从跋文中可以推断此图为燕肃所作。图上钤有、、、诸印及清内府收藏印。《石渠宝笈初编》著录。",[23,24,7,25,128,27,29,98,99,171,331,130,211,132,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88542d532ea368288a52e16a96eaf191.jpg",[42,136,117],{"id":32234,"slug":32235,"title":32236,"dynasty":18,"author":1091,"museum":20,"description":32237,"tags":32238,"thumbUrl":32239,"material":611,"size":32240,"collection":318,"collections":32241,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":72},221314,"ti-wang-shen-shi-tie-ye-su-shi-221314","题王诜诗帖页","释文：\n晋卿为仆所累，仆既谪齐安，晋卿亦贬武当。饥寒穷困，本书生常分，仆处之不戚戚。固宜。独怪晋卿以贵公子罹此忧患而不失其正，诗词益工，超然有世外之乐。此孔子所谓可与久处约，长处乐者耶。元祐元年九月八日苏轼书。\n北宋元祐元年（1086年）苏轼年49岁。\n本帖钤“金巩伯精鉴印”“景行维贤”“小如庵秘笈”“卞令之鉴定”等鉴藏印四方，左右各有“式古堂”等半印六方。此帖原装于王诜《颖昌湖上诗，蝶恋花词卷》后，但非此卷原配，而是从别处挪移而来。《石渠宝笈续编》著录。\n该帖是苏轼为王诜自书诗所作的题跋，记述了王诜因受其累而贬至武当，然仍醉心于诗词，有世外之乐。此跋在《东坡集》卷六五有记载。《东坡集》卷一三中还有苏轼另一跋“和王晋卿诗、并叙”的记载：“元丰二年，予得罪贬黄州，而驸马都尉王诜亦坐类远谪，不相闻者七年。予既召用，而诜亦还朝，相见殿门之外，感叹之余，做诗相属。词虽不慎工，然托物悲慨厄穷而不怨，泰而不骄，怜其贵公子有志如此，故和其韵。”以上两段跋文再结合《宋史》卷二四八《公主传》中的史料，证明了王诜的贬官一方面是受苏轼的牵连，另一方面是因为得罪了他的妻子魏国大长公主。\n该帖笔丰墨满，结体长短交错，纵横抑挫，富有动感。虽是叙事而兼有议论，充满感情色彩，是为知己而作。",[7,64,133,128,208,1590,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faffbc82412091c1976ee6ce24e619542.jpg","纵29.9厘米，横25.7厘米",[318],{"id":32243,"slug":32244,"title":9906,"dynasty":18,"author":1091,"museum":244,"description":32245,"tags":32246,"thumbUrl":32247,"material":32248,"size":32249,"collection":318,"collections":32250,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":72},221311,"du-hai-tie-su-shi-221311","元符三年（1100），苏轼被诏徙廉州（今广西合浦），路过澄迈（今海南澄迈）时未遇赵梦得，便留下此札。为其晚年书迹之代表，如同东坡自云：“自出新意，不践古人。”全作信笔写来，浑然天成。此札用笔劲利，结体斜向右上，时人认为颇有李邕（北海）之风，如黄庭坚语：“沉著痛快，乃似李北海。”\n“我书意造本无法，点画信手烦推求”，这是苏轼对自己书法的评语。相异传统的笔法与特殊结字，是其书法中最受赞赏的部分。\n此作又名「渡海帖」，为典型苏轼风格，苍劲有力，沉著痛快，为其晚年之代表作。上有项元汴千字文第八0一“具”字编号。",[164,24,7,64,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0824dd81f2df22aa2f03b4e91a13bfe7.jpg","行书，纸本","纵28.6，横4.2cm",[318],{"id":32252,"slug":32253,"title":32254,"dynasty":18,"author":1091,"museum":300,"description":32255,"tags":32256,"thumbUrl":32257,"material":611,"size":84,"collection":318,"collections":32258,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":72},221305,"tian-ji-wu-yun-tie-you-cheng-song-yang-tie-su-shi-221305","天际乌云帖又称嵩阳帖","《天际乌云帖》又称《嵩阳帖》，苏轼诗文一章，行书，真迹曾由明代项元汴收藏，清归翁方纲，有翁氏题跋。共三十六行，计三百零七个字。藏处不详。\n此帖无年款，据清翁方纲所考，苏轼有《常润道中，有怀钱唐，寄述古五首》之作，其次章有“去年柳絮飞时节，记得金笼放雪衣”句，并自注云：“杭人以放鸽为太守寿。”此正是帖中所言陈太守放营妓周韶事，杭人称誉之。因周韶诗中有“开笼若放雪衣女”事，正应放鸽为寿。此在熙宁五、六年间事。翁氏又考苏诗外集有《过潍州驿，见蔡君谟题诗壁上云：“绰约新娇生眼底，逡巡旧事上眉尖。春来试问愁多少，得似春潮夜夜添。不知为谁而作也?和一首》。此事在苏轼自密州移徐州之际，即在熙宁九年苏轼潍州度岁时。翁氏即猜此帖在熙宁十年书。然诗与帖又有矛盾：帖云“仆在钱塘”见“堂前小阁中壁上”书蔡君谟“绰约新娇”诗，而诗云：“过潍州驿，见蔡君谟题诗壁上云：‘绰约新娇……'。”二者必有一伪。再，《苏文忠公诗编注集成总案》又载苏轼《题蔡君谟诗草》云：“此蔡君谟—《梦中》—诗,真迹在济明家，笔力遒劲。”并自署为“元皊五年十月四日”。此是苏轼知杭州事，距初悴杭州又十五、六年时间。这又留下一个可猜想的余地。但帖中“仆在钱塘”云云，书此帖时必不在钱塘。因之，断为熙宁十年左右较合理。然翁氏在帖考中又云此帖书颇类《满庭芳词——为王长官作》和《上清宫词》书。前者书于元丰六年，后者书于元皊二年。因此断定在熙宁十年至元皊二年这十年之间。此又平添一重疑难也。\n翁氏收藏此帖后，又引起了是否钧填本的争论。因存世苏书钩填本很多，而此帖纸质擦损严重，“有二一描失处”，故疑之。但翁氏肯定说这是真迹本，并将此帖与《快雪堂帖》刻本逐一比较，而断定《快雪堂帖》刻本所据乃为董其昌记载所见之摹本。在没有寻找到更多的证据前，我们尊重翁氏之论，也是有道理的。",[23,64,133,25,1590,7,128,208,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9cd5f10698a081bf325106fa748e07.jpg",[318],{"id":32260,"slug":32261,"title":32262,"dynasty":124,"author":2268,"museum":20,"description":31601,"tags":32263,"thumbUrl":32264,"material":3430,"size":5345,"collection":84,"collections":32265,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":72},220914,"shan-shui-ce-8-dong-qi-chang-220914","山水册8",[23,164,24,7,59,128,132,29,331,131,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F496907c0f9c739e3dc2561042f92a439.jpg",[],{"id":32267,"slug":32268,"title":32269,"dynasty":144,"author":569,"museum":161,"description":32270,"tags":32271,"thumbUrl":32273,"material":611,"size":84,"collection":117,"collections":32274,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":72},220870,"zhu-shi-you-lan-tu-juan-zhao-meng-fu-220870","竹石幽兰图卷","首先，观察此幅赵孟頫《竹石幽兰图》卷，给人的感觉是绘画飘逸如风，笔墨挥洒自如，构图结构恰当。款识与落款，看似与赵孟頫书风大相径庭，疑似后添所为。经认真详查，款识与落款确为后添，墨气与绘画迥异，墨色也游离于绘画之外。其次，观察绘画作品，十足的赵孟頫笔触所为，用飞白勾画窠石轮廓，用撇捺笔划书写竹叶，用中锋逆笔迅疾书写兰花。正如赵孟頫所言：石如飞白木如籀，写竹还需八法通。若也有人能会此，方知书画本来同。　　 由于此幅作品断开，似有拼接痕迹，款识后添当为后人重新题写。“孟頫为善夫写”，推论是为顾善夫而画。展览方图录结论：据清代程祖庆《吴郡金石目》记载此幅作品赵孟頫题字：顾善夫以公至都，将南迁，用此纸求画，乃为作此图，子昂。新的研究结果已证实此卷并非《吴郡金石目》所著录的赵孟頫为顾信所画的那幅，两个题字亦不同。\n展览方认为，这幅赵孟頫《竹石幽兰图》卷，上面虞集题诗，与《道园学古录》卷二十九中虞集题赵孟頫《兰石图》四首之一，还原了此幅作品的原貌。\n笔者查阅几位老先生的访美读画笔记，结论如下：纸本水墨。左右各拚一条，下部再拚一窄长条，由四纸拚成，在名家作品中为仅见。老笔纵横，至精之品。后有韩性、西夏昂吉、赵奕、仇远、虞集、陈基、姚广孝等题。又张渥题，字学赵，与上博访戴图上款字少异。此必真。\n从绘画方面看，此幅《竹石幽兰图》卷，应属真迹无疑。但是，还要从文献上找到证据，展览方只从元末明初《道园学古录》虞集的诗集证实是赵孟頫《兰石图》。\n为进一步找到贴近赵孟頫的时代，要从韩性、仇远、张渥等元代名人查找。经查仇远在自己《山村遗集》明确记载题赵松雪《竹石幽兰图》，仇远与赵孟頫同属一个时代，当然是最可信的著录。元代名士顾瑛的《草堂雅集》卷十一记载于立题诗，《题子昂兰石》虽然名不相同，诗文完全一致，题兰石也就是竹石幽兰。在元代顾瑛《草堂雅集》卷七，记载张渥《题赵翰林墨兰》，诗文也是完全一致，此幅绘画是描绘竹石幽兰，题墨兰字义上也可以相通。　　 至此，将赵孟頫《竹石幽兰图》卷出处，历代著录记载情况基本搞清楚了，还原一幅赵孟頫精彩作品的真相。在判断一幅古人的作品时，不能为某些瑕疵蒙蔽，而是找出事实真相。此幅作品明显有被割断痕迹，上面题识、落款又是明显后添，那就要去伪存真找出真相，不能湮灭一件优秀的作品。",[23,164,24,7,25,128,133,132,167,1314,32272,171,208],"幽兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe687eff90f3c2bf5fb4687e73675735c.jpg",[117,1670],{"id":32276,"slug":32277,"title":32278,"dynasty":124,"author":17733,"museum":20,"description":29622,"tags":32279,"thumbUrl":32280,"material":173,"size":32281,"collection":136,"collections":32282,"showCount":31823,"zanCount":1998,"manualWeight":48,"mainColor":72},220104,"xia-qi-shi-ze-ye-zhou-chen-220104","夏畦时泽页",[24,7,164,28,27,132,29,98,99,34,131,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff81796ca826f29f94a83e6abdbb346ff.jpg","纵31.3cm，横26.4cm",[136],{"id":32284,"slug":32285,"title":32286,"dynasty":124,"author":14758,"museum":5543,"description":32287,"tags":32288,"thumbUrl":32289,"material":173,"size":32290,"collection":136,"collections":32291,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":49},219941,"han-jiang-du-diao-tu-zhu-duan-219941","寒江独钓图","朱端，是以粗放笔墨为特色的浙派后期代表性画家之一，其山水师法戴进等浙派早期名家，后溯源两宋，尤其马夏画法为重，本图是以雪景山水作品，水墨绢本，略带淡彩，有明显梁楷、牧溪笔意，构图空旷，笔意悠远，体现作者内心渴望的一种寂静与禅意。此作曾为曼殊院旧蔵品，现存于东京国立博物馆。",[23,24,164,7,165,128,132,29,129,1350,1337,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46e54c1695abeb8054da50fc4026f2a3.jpg","171.9×109.0cm",[136],{"id":32293,"slug":32294,"title":18308,"dynasty":54,"author":4083,"museum":20,"description":32295,"tags":32296,"thumbUrl":32297,"material":173,"size":32298,"collection":136,"collections":32299,"showCount":31823,"zanCount":1998,"manualWeight":48,"mainColor":49},219747,"du-fu-shi-yi-tu-wang-shi-min-219747","此图为唐代诗人杜甫“竹深留客处，荷净纳凉时”佳句为题，描绘的是一片竹林景色。图中丛草茂密，绿竹幽深，连绵万顷，层层叠翠，尤以竹林深处，一条蜿蜒小路上，有二人策驴缓行，显然是欲溯溪而上，至一塘绿水处，荷叶飘香，临流水阁数间，令人畅想，不免有流连忘返之意，若能高卧闲居，听竹闻香，自然就可以荣辱皆忘，陶然忘机。所谓一心，就是这个状态，无关乎身家性命，但求此心真诚无二，为将者保家卫国，为画者怡情自乐，君子无为而无不为，皆能不出其位，用现在的话说，就是干一行，爱一行，少些杂念，自然可以有所成就。岳飞曾说，文官不爱钱，武官不惜命。其实也是这个道理。故人若能一心不乱，大可以报效国家于危难之际，小可以洁身自好于巷陌之间。",[23,24,7,25,1349,128,27,167,34,131,499,98,130,99,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96951e7904dac4cc20ea034fe6300033.jpg","纵39厘米，横25.5厘米",[136],{"id":32301,"slug":32302,"title":26116,"dynasty":124,"author":3148,"museum":450,"description":32303,"tags":32304,"thumbUrl":32305,"material":173,"size":84,"collection":68,"collections":32306,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":49},219746,"song-ying-tu-lv-ji-219746","吕纪（1439年-1505年），字廷振，号乐愚，鄞（今浙江宁波）人。明代院体花鸟画家。",[23,24,7,28,27,61,372,3141,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8ac887d96b6abbbb34b17fc5d912f97.jpg",[68],{"id":32308,"slug":32309,"title":32310,"dynasty":144,"author":223,"museum":8658,"description":32311,"tags":32312,"thumbUrl":32314,"material":173,"size":32315,"collection":45,"collections":32316,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":49},219180,"lin-yuan-shuang-yang-tu-yi-ming-219180","林原双羊图","此幅为纨扇，工笔。画面溪水静流，草木丛生，古树歪斜，一双羊正埋头觅食。纨色古雅。左上角钤朱文篆刻收藏印“刘氏春禧所藏”，右下角有朱文篆印“忠”字。无款，为元人所绘，稀有难觅。",[23,164,24,7,27,28,6300,949,413,9402,32313,1771,663],"原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece76ddc27e36003fe0c487787bb73e0.jpg","纵26厘米，横27厘米",[45],{"id":32318,"slug":32319,"title":32320,"dynasty":124,"author":32321,"museum":224,"description":32322,"tags":32323,"thumbUrl":32325,"material":278,"size":32326,"collection":44,"collections":32327,"showCount":31823,"zanCount":1998,"manualWeight":48,"mainColor":49},218318,"ri-ben-di-chui-di-zang-tu-shou-ye-tan-you-218318","日本· 笛吹地藏图","狩野探幽","素线勾勒的身影乘云翩跹，衣袂舒展如流霞漫卷。唇边横笛轻启，清韵似随柔风逸出，绕过身后朦胧圆月，在云气间悠悠弥散。线条柔婉却藏静定之姿，地藏的慈悲在笛音里化作淡暖光晕，与月色相融。整幅画如一首无声禅曲，空灵中裹挟着抚慰人心的力量，将佛性悲悯与艺术清雅织就成静谧天地，引人沉于这份超越尘嚣的平和安宁。",[164,24,7,165,187,188,128,96,950,32324],"笛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4950f0b0cd418d7e2e7b2082d209528.jpg","98.5x38.1",[44],{"id":32329,"slug":32330,"title":32331,"dynasty":124,"author":802,"museum":224,"description":22521,"tags":32332,"thumbUrl":32333,"material":173,"size":84,"collection":84,"collections":32334,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":72},218019,"za-hua-ce-11-chen-hong-shou-218019","杂画册-11",[164,24,7,59,27,28,96,166,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1922d884b4ff6a8569e2c2b78a1b5aae.jpg",[],{"id":32336,"slug":32337,"title":8437,"dynasty":124,"author":32338,"museum":6413,"description":32339,"tags":32340,"thumbUrl":32341,"material":173,"size":32342,"collection":136,"collections":32343,"showCount":31823,"zanCount":1998,"manualWeight":48,"mainColor":49},217944,"yun-shan-tu-he-cheng-217944","何澄","《云山图》是一幅山水画，描绘的是山峦起伏的山岭，被浓密的云雾笼罩。何澄在画中运用了笔触细腻的技巧，将云山的起伏变化和神秘感表现得淋漓尽致。画中还有几只飞鸟，增添了画面的生动感。\n\n《云山图》被认为是何澄的代表作，也是明朝山水画的经典之作。它不仅体现了何澄的艺术才华，也展示了明朝时期对自然、山水的描绘方式。",[24,7,165,128,29,950,663,228,34,171,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F668c05cfb3d1386b314e770bdd9f091c.jpg","94.6x39.1cm",[136],{"id":32345,"slug":32346,"title":32347,"dynasty":144,"author":1346,"museum":244,"description":2533,"tags":32348,"thumbUrl":32349,"material":278,"size":84,"collection":84,"collections":32350,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":72},216388,"mo-zhu-pu-ce-2-wu-zhen-216388","墨竹谱册-2",[164,24,7,128,59,133,208,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3c05bce231b2c30f11f1daf051aca3.jpg",[],{"id":32352,"slug":32353,"title":32354,"dynasty":54,"author":32355,"museum":244,"description":32356,"tags":32357,"thumbUrl":32359,"material":173,"size":32360,"collection":68,"collections":32361,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":49},216212,"suan-ni-zhou-liu-jiu-de-216212","狻猊轴","刘九德","刘九德（Liu Jiude）是一位清朝的画家，他的狻猊图是他最著名的作品之一。狻猊图是一幅大型油画，描绘了一只狮子在草原上的场景。这幅画以其精细的细节、生动的色彩和传神的描绘而闻名。刘九德在创作狻猊图时，深受中国传统山水画的启发，并结合自己的独特艺术风格。狻猊图被认为是中国清朝时期最优秀的艺术作品之一，并被广泛收藏。",[24,7,165,27,28,949,32358,1144,131,276],"狮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce7c5161fa971df7d7b5ae04c0307600.jpg","176.8x238.5cm",[68],{"id":32363,"slug":32364,"title":32365,"dynasty":54,"author":223,"museum":1941,"description":32366,"tags":32367,"thumbUrl":32368,"material":278,"size":32369,"collection":44,"collections":32370,"showCount":31823,"zanCount":1998,"manualWeight":48,"mainColor":72},214914,"qian-dai-jun-chen-gu-shi-tu-yi-ming-214914","前代君臣故事图","前代君臣故事图是清朝时期的一幅条幅式绘画，其中描绘了前代君臣的故事。这幅画作品的画家是清朝时期的一位佚名画家。\n\n前代君臣故事图中描绘了许多传说中的君臣人物，如唐朝的李靖、西汉的范蠡、周朝的车骑将军等。这些君臣人物均以其忠心耿耿、才华横溢的形象呈现在画面中，并以细腻精巧的线条勾勒出了他们的肖像。\n\n在前代君臣故事图中，这些君臣人物被描绘成温厚谦逊、不畏权势、敬畏天命的英雄人物。他们不仅身经百战、深谙军事，而且还具有极高的政治才能，深受皇帝信任。\n\n前代君臣故事图是清朝时期一幅非常著名的绘画作品，其中所描绘的君臣人物形象鲜活生动，富有感染力，对后代的绘画艺术具有重要的影响。",[23,24,7,25,188,128,96,101,208,572,22626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36ae494934b6299c2afccbf637aa0c5c.jpg","24.1x299.4",[44],{"id":32372,"slug":32373,"title":32374,"dynasty":124,"author":2268,"museum":56,"description":3855,"tags":32375,"thumbUrl":32376,"material":66,"size":84,"collection":84,"collections":32377,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":72},214649,"qiu-xing-ba-jing-tu-ce-8-dong-qi-chang-214649","秋兴八景图册-8",[24,7,59,27,26,133,64,132,29,129,97,34,211,99,131,950,6810],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42cbb4fb5fa1b201a43ea69f5624d486.jpg",[],{"id":32379,"slug":32380,"title":32381,"dynasty":124,"author":1438,"museum":56,"description":1439,"tags":32382,"thumbUrl":32383,"material":278,"size":1442,"collection":84,"collections":32384,"showCount":31823,"zanCount":48,"manualWeight":48,"mainColor":49},214626,"hua-hui-ce-17-chen-chun-214626","花卉册-17",[24,7,59,128,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94559f93cf4255b74fe376265618355f.jpg",[],{"id":32386,"slug":32387,"title":32388,"dynasty":144,"author":1346,"museum":300,"description":32389,"tags":32390,"thumbUrl":32391,"material":692,"size":1293,"collection":84,"collections":32392,"showCount":5,"zanCount":1116,"manualWeight":48,"mainColor":49},290829,"qing-jiang-chun-xiao-zhou-wu-zhen-290829","清江春晓轴","图画清江两岸的美丽风光。江之左岸，高山耸立．巍峨壮观，笔直的山峰直插云天。远山采用水墨渲染，用淡墨勾勒出山之轮廓，隐约可见连绵起伏之势。主景画平缓的山坡，坡上的苍松翠梧只是用笔尖画出一些小点点，但山泉和因落差形成的瀑布倒挂于两山之间，却清晰可见。主景的高山，巨峰陡然耸立，占据了画面的二分之一强。山峰采用渴笔擦皴法，山峰壁削，山坡平缓都画得非常形象逼真。山巅之上，花草树木也是采用写意的画法，用笔尖墨点来表现。只有山角下、河岸边的松林方可见其真面目，树干、树叶等，一一画出。幽寂的山谷间，有亭台楼阁，有的画其全貌，有的只画楼之一角。山脚坳中有平房数间，掩映在松树林中。从左至右，平房所处的山石之间，有三座木桥相连。清江右岸江心岛上，也有平房数间，由坡岸到江心岛，由两座木桥相连。可谓小桥流水人家，一派世外桃源的平和景象。江中心一叶扁舟，顺流而下。船上四人，或高谈阔论，或尽情欣赏清江两岸的大好风光。这些舟桥，既以其小巧与大山相映成趣；又起到了将画面各处景物连贯为一个有机整体的作用，在构图上很见匠心。",[24,7,165,128,132,29,98,99,129,97,34,131,64,133,208,1351,4364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9786e996b3ba3ec502dce1a7d92ae95.jpg",[],{"id":32394,"slug":32395,"title":32396,"dynasty":18,"author":633,"museum":300,"description":15746,"tags":32397,"thumbUrl":32399,"material":692,"size":1293,"collection":84,"collections":32400,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":72},290058,"ba-qiao-feng-xue-tu-xia-gui-290058","灞桥风雪图",[164,24,7,165,128,29,132,98,690,1337,97,21398,96,32398,133,64],"风雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf383bfeca5b213ba1fc05bc62d43a90.jpg",[],{"id":32402,"slug":32403,"title":32404,"dynasty":54,"author":872,"museum":300,"description":6719,"tags":32405,"thumbUrl":32407,"material":692,"size":1293,"collection":84,"collections":32408,"showCount":5,"zanCount":1998,"manualWeight":48,"mainColor":72},288093,"fang-guo-zhong-shu-shan-shui-gua-zhou-zhu-da-288093","仿郭忠恕山水挂轴",[23,24,164,7,165,128,132,330,29,131,34,32406,96,208],"亭屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fba1eb735d31099514794c6d03e0419.jpg",[],{"id":32410,"slug":32411,"title":32412,"dynasty":18,"author":397,"museum":300,"description":16463,"tags":32413,"thumbUrl":32414,"material":692,"size":1293,"collection":84,"collections":32415,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},287890,"zi-li-shan-qin-tu-zhao-ji-287890","紫荔山禽图",[24,1131,164,7,28,27,61,2036,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe470cd29f5ac84389785a1d6adc8e420.jpg",[],{"id":32417,"slug":32418,"title":32419,"dynasty":124,"author":366,"museum":300,"description":32420,"tags":32421,"thumbUrl":32422,"material":611,"size":84,"collection":318,"collections":32423,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":72},240282,"li-bai-qi-lv-shi-juan-xu-wei-240282","李白七律诗卷","徐渭（1521年3月12日－1593年），漢族，紹興府山陰（今浙江紹興）人。初字文清，後改字文長，號青藤老人、青藤道士、天池生、天池山人、天池漁隱、金壘、 金回山人、山陰布衣、白鷳山人、鵝鼻山儂、田丹水、田水月（一作水田月 [1] ）。明代中期文學家、書畫家、戲曲家、軍事家。\n徐渭曾擔任胡宗憲幕僚，助其擒徐海、誘汪直。胡宗憲被下獄後，徐渭在憂懼發狂之下自殺九次卻不死。後因殺繼妻被下獄論死，被囚七年後，得張元忭等好友救免。此後南遊金陵，北走上谷，縱觀邊塞阨塞，常慷慨悲歌。晚年貧病交加，藏書數千卷也被變賣殆盡，他自稱“南腔北調人”，於萬曆二十一年（1593年）去世，年七十三 。\n徐渭多才多藝，在詩文、戲劇、書畫等各方面都獨樹一幟，與解縉、楊慎並稱“明代三才子”。他是中國“潑墨大寫意畫派”創始人、“青藤畫派”之鼻祖，其畫能吸取前人精華而脱胎換骨，不求形似求神似，山水、人物、花鳥、竹石無所不工，以花卉最為出色，開創了一代畫風，對後世畫壇（如八大山人、石濤、揚州八怪等）影響極大；書善行草，寫過大量詩文，被譽為“有明一代才人”；能操琴，諳音律；愛戲曲，所著《南詞敍錄》為中國第一部關於南戲的理論專著。另有雜劇《四聲猿》《歌代嘯》及文集傳世。",[23,164,24,7,25,64,840,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ace3b212d7aeb7683d77d34168c4296.jpg",[318],{"id":32425,"slug":32426,"title":32427,"dynasty":326,"author":32428,"museum":20,"description":32429,"tags":32430,"thumbUrl":32431,"material":611,"size":32432,"collection":318,"collections":32433,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},239552,"cao-ping-fu-tie-juan-lu-ji-239552","草平复帖卷","陆机","草隶书9行86字。\n释文:\n“彥先羸瘵 ，恐難平復，往屬初病，慮不止此，此已爲慶。承使唯男，幸爲複失前憂耳。吳子楊往初來主，吾不能盡。臨西複來，威儀詳跱。舉動成觀，自軀體之美也。思識□量之邁前，勢所恒有，宜□稱之。夏伯榮寇亂之際，聞問不悉。”（释文据启功《〈平复帖〉说并释文》）\n《平复帖》内容涉及三个人物：贺循，字彦先，是陆机的朋友，身体多病，难以痊愈；陆机说他能够维持现状，已经可庆，又有子侍奉，可以无忧了。吴子杨，以前曾到过陆家，但未受到重视；如今将西行，复来相见，其威仪举动，自有一种较前不同的气宇轩昂之美；最后说到夏伯荣，他因寇乱阻隔，没有消息。\n《平复帖》的书写年代距今已有1700余年，是现存年代最早并真实可信的西晋名家法帖。它用秃笔写于麻纸之上，笔意婉转，风格平淡质朴，其字体为草隶书。《平复帖》在中国书法史上占有重要地位，同时对研究文字和书法变迁方面都有参考价值。\n根据尾纸董其昌、溥伟、傅增湘、赵椿年题跋，可得知《平复帖》历代递藏情况。此帖宋代入宣和内府，明万历间归韩世能、韩逢禧父子，再归张丑。清初递经葛君常、王济、冯铨、梁清标、安岐等人之手归入乾隆内府，再赐给皇十一子成亲王永瑆。光绪年间为恭亲王奕訢所有，并由其孙溥伟、溥儒继承。后溥儒为筹集亲丧费用，将此帖待价而沽，经傅增湘从中斡旋，最终由张伯驹以巨金购得。张氏夫妇于1956年将《平复帖》捐献国家。\n清吴其贞《书画记》、顾复《平生壮观》、安岐《墨缘汇观》等书著录。",[64,840,25,208,1590,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31aa77e4c74940daedb5f0924c0d3ded.jpg","纵23.7厘米，横20.6厘米",[318],{"id":32435,"slug":32436,"title":32437,"dynasty":326,"author":8778,"museum":20,"description":32438,"tags":32439,"thumbUrl":32440,"material":611,"size":32441,"collection":318,"collections":32442,"showCount":5,"zanCount":1998,"manualWeight":48,"mainColor":72},239551,"zhong-qiu-tie-juan-wang-xian-zhi-239551","中秋帖卷","《中秋帖》是著名的古代书法作品，曾被清高宗弘历（乾隆皇帝）誉为“三希”之一，意即希世珍宝。\n行草书3行，共22字，释文：\n“中秋不復不得相還爲即甚省如何然勝人何慶等大軍。”\n无署款。\n《中秋帖》是《宝晋斋法帖》所刻的王献之《十二月割帖》的不完全临本，原帖在“中秋”之前还有“十二月割至不”六字。帖用竹料纸书写，这种纸东晋时尚制造不出，约到北宋时方出现。从行笔中可知，所用毛笔是柔软的无心笔，而晋朝使用的是有心硬笔，吸水性较差，笔的提、按、转折往往不能灵活自如，常出贼毫，如此帖那种丰润圆熟、线条连贯、行气贯通、潇洒飘逸的效果是写不出来的。清吴升《大观录》云：“此迹书法古厚，墨采气韵鲜润，但大似肥婢，虽非钩填，恐是宋人临仿。”据当代书画鉴定家研究，大多认为是宋米芾所临，故同样宝贵。\n卷前引首清高宗弘历行书题“至寶”两字。\n前隔水乾隆御题一段。\n帖正文右上乾隆御题签“晉王獻之中秋帖”一行。\n卷后有明董其昌、项元汴，清乾隆帝题跋，并附乾隆帝、丁观鹏绘画各一段。\n卷前后及隔水钤有宋北京“宣和”内府、南宋内府，明项元汴、吴廷，清内府等鑑藏印。\n此帖曾经宋代宣和、绍兴内府，明项元汴，清内府收藏。民国时由敬懿皇贵妃携出宫外，流散民间，由郭葆昌拥有，再转予其子郭昭俊。后与王珣《伯远帖》一起被典当于香港一家外国银行。1951年底，典当期将满时，国外有人意图购获，周恩来总理闻讯，当即指示有关部门购回，入藏故宫博物院。\n宋内府《宣和书谱》、明张丑《清河书画舫》、《清河见闻表》、《清河秘箧表》、汪砢玉《珊瑚网书跋》，清顾復《平生壮观》、卞永誉《式古堂书画汇考》、吴升《大观录》、内府《石渠宝笈·初编》等书著录。",[23,164,24,7,25,840,64,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa2f29d78cce5184152131f558be9eff.jpg","纵27厘米，横11.9厘米",[318],{"id":32444,"slug":32445,"title":3933,"dynasty":54,"author":2687,"museum":300,"description":3934,"tags":32446,"thumbUrl":32447,"material":692,"size":1293,"collection":84,"collections":32448,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":72},239237,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239237",[164,24,7,61,28,27,263,59,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ecd88630bd04820be3a3d042fb3549.jpg",[],{"id":32450,"slug":32451,"title":7864,"dynasty":54,"author":872,"museum":300,"description":6719,"tags":32452,"thumbUrl":32453,"material":692,"size":1293,"collection":84,"collections":32454,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":72},237933,"za-hua-ce-zhu-da-237933",[24,7,59,128,61,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39d84fb47152fc632f858825f45ba2e6.jpg",[],{"id":32456,"slug":32457,"title":32458,"dynasty":54,"author":29876,"museum":20,"description":32459,"tags":32460,"thumbUrl":32462,"material":611,"size":84,"collection":136,"collections":32463,"showCount":5,"zanCount":1998,"manualWeight":48,"mainColor":49},237451,"fei-quan-bi-liu-zhou-fu-shan-237451","飞泉壁流轴","傅山，初名鼎臣，字青竹，改字青主，又有浊翁、观化等别名，汉族， 山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 [3] 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[164,24,7,165,128,132,29,32461,34,131,96],"飞泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa85371dd8be5ee5e07f223747997c78c.jpg",[136,117],{"id":32465,"slug":32466,"title":32467,"dynasty":54,"author":223,"museum":20,"description":32468,"tags":32469,"thumbUrl":32470,"material":40,"size":84,"collection":68,"collections":32471,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},236178,"hong-li-gu-zhuang-tong-jing-ping-yi-ming-236178","弘历古装通景屏","此作以高远法铺展冬日盛景，层叠群山覆着素雪，枯木寒林错落山间，淡墨晕染留白尽显积雪清寒之气，绘出北地冬日的萧寒辽远。\n\n下方宅邸界画工整流利，屋舍俨然。庭院之内人物往来鲜活灵动，或伫立寒暄，或穿梭备事，衣饰鲜亮，为清冷天地晕开融融暖意。画面以萧寒雪景衬宅邸温煦日常，一动一静相映成趣。笔触兼具北宗山水的苍劲雄浑与院体精工之致，将幽居雅集的闲逸意趣，融在素裹天地之中，清冷意境与人间暖意交织，尽显古典园居的雅致韵味。",[24,7,9829,27,28,95,29,97,96,34,1813,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fded276fb2933bdf92b40267c15571dff.jpg",[68,136,44,45],{"id":32473,"slug":32474,"title":409,"dynasty":124,"author":27311,"museum":300,"description":32475,"tags":32476,"thumbUrl":32477,"material":84,"size":84,"collection":136,"collections":32478,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":72},235817,"shan-shui-ce-li-liu-fang-235817","此作以平远视角绘就郊野秋光，浅滩秋水澄澈空蒙，远岸林影澹澹如幻。近岸杂木荣枯相间，掩映村居茅舍，草垛朴拙错落，尽是乡野闲趣。\n\n笔墨简淡苍润，以淡赭晕染出温柔秋意，勾勒皴擦松灵随性，无浓艳铺陈，却将江南秋日的清寂闲适尽数铺展。搭配题诗相映成趣，师法吴门风神，把文人幽居的澹然襟怀融于浅淡笔墨间，萧散天真，尽显晚明文人画雅逸空远的意趣，于平淡间见风神。",[24,7,59,128,27,132,29,34,131,35,31,9502,10993,4438,3428,1747,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9287426ebcc1b5a52c748d89a972a0b.jpg",[136,68],{"id":32480,"slug":32481,"title":7864,"dynasty":54,"author":872,"museum":300,"description":6719,"tags":32482,"thumbUrl":32483,"material":692,"size":1293,"collection":84,"collections":32484,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":72},235504,"za-hua-ce-zhu-da-235504",[24,7,59,128,369,61,355,454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d4fbc6f21704ae7e6f82c0ab3700c6d.jpg",[],{"id":32486,"slug":32487,"title":4584,"dynasty":124,"author":125,"museum":20,"description":4585,"tags":32488,"thumbUrl":32489,"material":611,"size":4588,"collection":84,"collections":32490,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":72},234089,"wu-zhong-shan-shui-ce-shen-zhou-234089",[24,7,59,128,133,132,29,663,228,413,331,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cd47a46f6ca498fde781cc73a947eca.jpg",[],{"id":32492,"slug":32493,"title":32494,"dynasty":18,"author":223,"museum":20,"description":32495,"tags":32496,"thumbUrl":32497,"material":514,"size":32498,"collection":84,"collections":32499,"showCount":5,"zanCount":1998,"manualWeight":48,"mainColor":49},234076,"he-xie-tu-ye-yi-ming-234076","荷蟹图页","宋代的花鸟画是五代黄筌徐熙两家体制基础上得以发展的。北宋初一百多年，黄家体制便是院体规范。北宋中期崔白、吴元瑜变革院体，表现出吸收徐熙一派画法。宋徽宗对不同画风兼收并蓄，南宋画院亦是如此。所以就总体上而言院体继承了黄徐二家的体制。黄氏体制的画法为用墨勾线定形，或填色或染墨，笔法细劲而有变化，其典型之作为工笔设色一类。再看徐熙画法，徐铉称之为“落墨为格，杂彩副之，迹与色不相隐映”。徐熙则自称“未尝以傅色晕淡为功”。\n《宣和画谱》对徐熙很是推崇，认为当时画花者多以色晕染而成，徐熙独到之处在于落墨，极有骨气风神。将黄徐两家的典型风范相比较，黄家偏重于色彩的晕染，徐熙偏重于墨线造型的笔法表现。这其中涉及重色、重墨、运笔造型之道等问题，绘画之形似正由此而来。宋代院体花鸟画的典型面貌为工笔设色一类，讲求赋色之功、笔法之道、造型之细致。宋代院体花鸟画综合黄徐二家，不过在不同时期、不同画家身上有着各自的特点。\n宋代院体花鸟画之所以能够在传神方面达到很高的境界，在于能够从自然万物中直接取得，生意趣味浓厚是其重要的特征，当时众多的作品具备这样的素质。对物象神态丰富细致的描绘是花鸟画成熟的表现。宋代院体花鸟画在细致写实中有得于此。\n《荷蟹图》可能是荷花螃蟹类题材最早的作品。残败的荷叶枯黄斑驳，半浸于水中，一只团脐雌蟹挥螯伏于叶上。潺潺流水中生长、飘浮着红蓼、蒲草、浮萍、水藻等，其叶片边沿均已泛黄，显示出时已临秋，金秋时节，正是蟹美膏肥之时，荷叶的颓势与雌蟹的鲜活形成强烈的对比。画面刻意求真，荷叶用双钩夹叶法描绘，叶之叶筋、斑纹及莛上的小刺都刻意求工，雌蟹用笔缜密严谨。《荷蟹图》画面意境生动，题材别出新意，为宋人写实画作的典范。荷蟹题材在后来的大写意花鸟画中，被徐渭进一步发扬光大，最著名的就是影响深远的徐渭代表作《黄甲图》。这种影响一直波及到现代大家齐白石。",[24,164,7,59,28,27,61,168,12642,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e974c0d6c4e3129014ed0ecd3f0dc5f.jpg","28.4x28cm",[],{"id":32501,"slug":32502,"title":32503,"dynasty":144,"author":410,"museum":20,"description":32504,"tags":32505,"thumbUrl":32506,"material":734,"size":3271,"collection":84,"collections":32507,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},233787,"ge-zhi-chuan-yi-ju-tu-zhou-wang-meng-233787","葛稚川移居图轴","元代道教盛行，表现道教题材的绘画作品为数众多，此图描绘的是晋代著名道士葛洪携家移居罗浮山修道的故事，截取了葛洪在移居路上的一段情景。画面以山水为主体，重山复岭，丹柯碧树，飞瀑溪潭，茅亭草舍，一派深秋山林佳境。全画构图繁复，但层次井然，飞瀑、山径引导观者的视线层层深入，使画面气脉贯通，虽满而不迫塞。图中山石纯用水墨，皴擦点染兼参，干湿浓淡互用，勾画缜密，而树木、人物、屋宇则施以赭石、藤黄、花青，设色沉稳浑厚，极富古雅的韵致。整个画面谨严、深秀，创造出一幅理想的隐居环境。王蒙与葛洪虽然年代相隔久远且身份迥异，但在许多方面却有着相同之处：二人皆出自名门，都欲入世作官，却均遭世弃，最终都选择了避世隐居。此图是反映王蒙避世隐居思想的最具代表性的作品。",[24,7,165,27,26,29,132,96,101,131,99,34,950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faff523932734437a78bb03a9d5015869.jpg",[],{"id":32509,"slug":32510,"title":32511,"dynasty":124,"author":28875,"museum":244,"description":32512,"tags":32513,"thumbUrl":32514,"material":32515,"size":32516,"collection":84,"collections":32517,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},231381,"chun-hua-san-xi-tu-bian-jing-zhao-231381","春花三喜图","此图无款。此图用：正笔重色描绘了竹林中的二只山喜鹊，其背景有怪石及象征春天的大小鲜花，有的正在盛开，有的含苞待放，还有已是枝茂叶繁的新竹及节高挺直指天的竹笋，翠竹鞭笋，间以杜鹃筷廾，红绿相映，这足以表明已是春色的大地，画家把喜鹊置于特定的自然环境中，目看那翠竹上的一红嘴、黑顶、长尾、带白色斑点的灰喜鹊，张口呜叫俯视下面，在坡石上又一对同样漂亮的喜鹊，张开翅膀，相搏于坡石间，翎羽飞动，互以爪握其喙，互相拍打的戏嬉场面，这三喜鸟给画面带来了春天里动、植物生息繁衍的景象：画家向人们展示了自然界中极自然生动的瞬间形象，真实而富有情趣。\n宋代院画往往被后人批评为专求形似，不重神韵。其实，并不是每一个院画都是这样，何况绝大多数的院画是以刻划精确、立意高简为目的的。边文进便是吸取了这些院画中的养分，开创了自己的花鸟画面目。《春花三喜图》就是边景昭花鸟画之一\n此画笔法工细，竹子以工细的墨色勾勒，再以填色表现。雀鸟的羽毛画法更是精细入微，着色艳丽而雅致，特别是长尾部的斑驳翎毛，还有闪闪生辉之态，其二喜鸟之神态栩栩如生。\u2028 图中湖石沉雄，秀竹劲挺而葱郁．鲜花丛簇而生，夺人二目，二喜鹊于平坡之上嬉戏，一仰翻在地，一上前戏啄，上面竹间一喜鹊俯视二鹊．见此情景高声鸣，似在斥责，形神兼备，令人钦佩作者妙笔，而鹊之顽皮则令人莞尔。本画笔触细腻，叶以双勾填色法，山石皴染及花乌风格皆可见宋代院体风韵，设色艳丽清新，令人有如沐春风之感。",[164,24,7,28,27,61,167,171,211,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ea9b5dca7488b3da49917c162f50947.jpg","设色画","纵165．2厘米，横98．3厘米",[],{"id":32519,"slug":32520,"title":32521,"dynasty":54,"author":32522,"museum":300,"description":32523,"tags":32524,"thumbUrl":32525,"material":84,"size":84,"collection":84,"collections":32526,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":72},230199,"chun-qi-ji-jin-juan-wang-cheng-pei-230199","春祺集锦卷","汪承霈","此作以工笔淡彩绘就春日草木，设色调和柔雅，兼具写实意趣与雅致格调。\n\n攒簇的朱红浆果鲜亮饱满，与嫩绿叶色相映，鲜活夺目；宽叶草木的脉络勾染细腻，晕染出叶片舒展的自然肌理，古雅灵芝旁逸，添上清寂意趣。右侧浅黄、素白的小花袅袅舒展，细竹清瘦挺秀，花叶俯仰生姿，排布疏密得当。\n\n整体笔法秀润工致，将春日花木的幽妍生机尽数铺陈，没有浓烈着色却满是融融春息，静雅清和，把草木舒展的瞬间定格，尽显柔婉雅致的花鸟意韵。",[164,24,7,25,27,28,61,167,547,1771,2037,9070],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452999763f15c2cc0fd5efdbcdbbc608.jpg",[],{"id":32528,"slug":32529,"title":32530,"dynasty":54,"author":32531,"museum":300,"description":32532,"tags":32533,"thumbUrl":32534,"material":84,"size":84,"collection":84,"collections":32535,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},230192,"jiu-long-tu-ce-zhou-xun-230192","九龙图册","周璕","此作以水墨晕染铺就翻涌云海，虚实掩映间神龙破云而出。画师以浓淡变幻的墨色烘托出混沌氤氲的云气，将龙身隐没在烟岚之中，仅露威严龙首与遒劲鳞爪，藏头露爪间尽显神龙幽渺难测的神秘感。\n\n龙首刻画工细，眉须戟张，目光沉凝威严，鳞爪筋骨苍劲有力，与泼墨晕染的朦胧云海形成鲜明虚实对比。干湿浓淡的笔墨层次丰富，将神龙腾云的磅礴气势与云雾翻卷的空茫意境相融，尽显神兽潜藏天地间的慑人神威，把东方神龙的灵韵威严藏于烟云万象之中，是水墨绘龙的精妙之作。",[23,24,7,59,128,772,949,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91e5ab036e4a2b558af5a0323993952a.jpg",[],{"id":32537,"slug":32538,"title":9077,"dynasty":54,"author":1460,"museum":300,"description":32539,"tags":32540,"thumbUrl":32541,"material":84,"size":84,"collection":84,"collections":32542,"showCount":5,"zanCount":1998,"manualWeight":48,"mainColor":72},228980,"shan-shui-hua-hui-tu-ce-shi-tao-228980","在石涛的山水花卉图册共有八幅，多为水墨设色。\n在此选二幅，其一《豆角》，笔意恣肆，浓墨点干写藤，豆角略敷彩青，繁简细拙，得自天成。\n于画幅中自题：“紫花白花狼藉尽，眉毛碧翠眼中青。\n炎炎日晒草先腐，遮过流萤几点星。\n”属款“清湘枝下人济”。\n: : : 作者: 流派: 原作尺寸:51．92．4cm (1642―约1718)：清初书画家、画学理论家。\n僧人。\n俗姓朱，名若极，广西全州人。\n法名原济，一作元济(后人传为“道济”，道乃尊称，非名字，实误)，小字阿长，字石涛，号大涤子、清湘陈人、清湘遗人，晚号瞎尊者、零丁老人等， 自称苦瓜和尚。\n明宗室靖江王赞仪之十世孙。\n与梅清、梅庚、戴本孝等交往，相互影响，合称“黄山派”。\n擅画花果兰竹，兼工人物，尤擅山水，画名极盛。\n与弘仁、髡残、朱耷合称“清初四僧”。\n对后来扬州画派与近代画风影响极大。\n传世作品有《春江垂钓图》、《细雨虬松图》、《 》、《黄山八胜图》、《采菊图》、《秋山图》、《双清阁图》、《山水清音图》、《竹石图》、《荷花图》、《李白诗意图》。\n著有《苦瓜和尚画语录》，阐述了他对山水画的认识，提出“一画”说，主张“借古以开今”，“我用我法”，和“搜尽奇峰打草稿”等，在中国画史画论上具有十分重要的影响与意义。\n其二《芙蓉》，写芙蓉花临波照影之姿。\n以淡墨疏笔横写水波，浅青纵点，形成水波粼粼之态。\n粗笔大写花叶，芙蓉却以细笔勾出筋脉，娇艳柔美，墨彩相得益彰。\n画幅左下角自题：“秋水江楼弥洁，芙蓉曲岸生文。\n小立坡头如画，夕阳影落缤纷。\n”属款“膏肓子济”。",[164,24,7,59,128,132,64,208,29,98,99,129,497,34,1009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d4a84d90ea1a3c6dfbcb2ae487102f.jpg",[],{"id":32544,"slug":32545,"title":32546,"dynasty":124,"author":12442,"museum":300,"description":32547,"tags":32548,"thumbUrl":32549,"material":84,"size":84,"collection":84,"collections":32550,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":72},228747,"xi-shan-wu-jin-tu-quan-juan-xu-ben-228747","溪山无尽图全卷","此卷以水墨晕染秋山胜境，峰峦逶迤层叠，林木疏密错落，江湾汀渚间渔舍错落、野航泛波，平远、深远之境交织铺展，晕出烟岚氤氲的空濛秋意。笔墨承袭元人雅致，披麻皴写就山石肌理，淡墨轻扫便生林泉幽寂之态，清疏秀润间尽显林下高致。\n\n卷后题跋错落排布，墨色浓淡相映，书画合璧，将山水丘壑与文人幽怀相融。展卷慢观，如卧游烟江叠嶂，静览林泉秋韵，尘俗之思尽散于淡墨青山之间。",[23,24,7,25,128,29,132,64,133,663,228,34,98,99,130,211,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e31a107a08059861aa4a70155a08584.jpg",[],{"id":32552,"slug":32553,"title":32554,"dynasty":124,"author":204,"museum":300,"description":32555,"tags":32556,"thumbUrl":32557,"material":84,"size":84,"collection":84,"collections":32558,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":72},228452,"xun-yang-song-bie-tu-quan-juan-chou-ying-228452","浔阳送别图全卷","《唐寅集》是21年 出版的图书，作者是唐寅。\n本书主要收录了明代著名文人、书画家唐寅的精选优秀作品。\n本书收入我社“中国古典文学丛书”。\n唐寅（147-152），字伯虎，一字子畏，号六如居士，吴县（今江苏苏州）人，为明代著名文人、书画家。\n在诗文方面与祝允明、文徵明、徐祯卿并称“吴中四才子”，在绘画方面与沈周、文徵明、仇英并称“吴门四大家”。\n本书汇辑传世《唐伯虎集》七种刻本全部作品为前六卷，以六如居士制义及画谱为附集四卷，还从抄本、墨迹、书画文献中补辑得诗文词曲六卷，并附录原集序跋、史传铭赞、轶事、诗文评论、诗文赠答、年表等六卷资料。\n辑校者周道振先生（1916-27）是著名的碑帖鉴藏家，本书由他和夫人张月尊女士共同署名，是目前所能见到的最详尽的唐伯虎集。\n前言 卷第一赋乐府五言古诗七言古诗 娇女赋 金粉福地赋 惜梅赋 短歌行 相逢行 出塞二首 紫骝马 聪马驱 侠客 陇头 陇头水 咏春江花月夜 春江花月夜二首 白发 伏承履吉王君以长句见赠作此以答 闻蛩 夜中思亲 伤内 赠文学朱君别号筒庵诗 咏怀诗二首 失题 戏题 咏梅次杨廉夫韵 江南春次倪元镇韵 姑苏八咏 登法华寺山顶 三高祠歌 桃花庵歌 花下酌酒歌 把酒对月歌 一年歌 一世歌 默坐自省歌 醉时歌 解惑歌 世情歌 怅怅词 百忍歌 嘅歌行 进酒歌 闲中歌 妒花歌 七十词 江南四季歌 七夕歌 渔樵问答歌 焖波钓叟歌 咏渔家乐 怡古歌 席上答王履吉 世寿堂诗 题五王夜燕图 题浔阳送别图 七夕赋赠织女 招仙曲二首 卷第二五言律诗五言排律七言律诗 游焦山 听弹琴瑟 送王履约会试 送行 赠寿 桃花庵与祝允明黄云沈周同赋五首 偶成 题张梦晋画 题溪山迭翠卷 题画 马 贺松郡伯寿诞 登昊王郊台 仲夏三十日陪弘农杨礼部丹阳都隐 君虎丘泛舟 沈征德饮予于报恩寺之霞骛亭酒 酣赋赠 正德己卯承沈征德顾翰学置酌禅寺见招猥鄙栖酒狼藉作此奉谢 春日城西 阊门即事 雨中小集即事 桃花庵与希哲诸子同赋三首 桃花坞祓楔 社中诸友携酒园中送春 姑苏杂咏四首 齐云岩纵目 与朱彦明诸子同游保叔寺 松陵晚泊 焦山 游金山 同诸公登金山 庐山 严滩 观鳘山四首 谒故福建愈宪永锡陈公祠 赠南野 领解后谢主司 送李尹 长洲高明府过访山庄失于迎迓作此奉谢 别刘伯耕 顾君满考张西溪索诗饯之故为赋此 赠徐昌国 寄郭云帆 检斋 上宁王 寿王少傅 奉寿海航俞先生从德卿解元之请也 寿严民望母八十 五十诗 花酒 寄妓 戏题机山 题碧藻轩 题沈石田先生后集 和沈石田落花诗三十首 岁朝 元宵 花月诗十首 江南送春 霜中望月怅然兴怀 和雪中书怀 四十自寿 四十自寿 五十自寿 漫兴十首 又漫兴十首 感怀 睡起 散步 独宿 寻花 夜读 叹世 避事 自笑 梦 附钱仁夫次唐子畏韵自道鄙怀 新春作 早起偶成 蒲剑 山家见菊 闽江声 除夜坐峡蝶斋中 正旦大明殿早朝 嘉靖改元元旦作 叹世六首 警世八首 哭妓徐素 白燕 西畴图为王侍御作 题友鹤图为天兴 题辋川 题画 …… 卷第三五言绝句六言绝句七言绝句 卷第四词曲 卷第五书尺牍序记 卷第六碑铭墓志铭墓碣墓表祭文招辞疏文启论表赞联句墨铭 附集一制义 附集二画谱卷之 附集三画谱卷之二 附集四画谱卷之三 补辑卷第一赋四言古诗五言古诗七言古诗五言排律七言排律 补辑卷第二五言律诗 补辑卷第三五言绝句 七言绝句 补辑卷一第四七言绝句联句题画联句 补辑卷第五词曲 补辑卷第六序说记手柬祭文跋自跋赞墓志铭",[23,26,27,28,25,7,133,29,96,129,99,130,34,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a159f53daa2ea54b03086c051be521.jpg",[],{"id":32560,"slug":32561,"title":32562,"dynasty":124,"author":802,"museum":524,"description":32563,"tags":32564,"thumbUrl":32566,"material":84,"size":84,"collection":84,"collections":32567,"showCount":5,"zanCount":1998,"manualWeight":48,"mainColor":49},228286,"zhai-mei-gao-shi-tu-chen-hong-shou-228286","摘梅高士图","《对镜仕女图》是明代画家 创作的中国画，现收藏于清华大学艺术博物馆。\n该画画了一位恬静仕女，手托镜子自照，用笔细劲内敛，设色古雅隽永，人物形象稍事变形夸张，高雅脱俗。\n此图的画面突出的是一位恬静、娟秀的仕女形象。\n她两手托镜自照，神态悠闲，身穿交领右衽束袖短上衣，外系长裙，腰间配有锦纹织物以及玉环小绶。\n上衣短而下裙长，袖口窄，下角圆，裙腰束得很高。\n种桃三百树，颜色亦如之。\n莫向汉宫说，美人争自为。\n洪绶似天耳社长兄。\n洪绶之印（白文）、章侯（朱文）。\n­ 渊雷室藏（朱文）、曾在朱屺瞻家（朱文）、印章漫漶（朱文）。\n该画是作者陈洪绶中后期的作品，大约创作于明崇祯九年（公元166年）。\n此图为工笔人物画，画面居中位置的仕女，面颊丰润，眉目细长，体态较同时期的人物画略显丰腴，发鬓高耸以桃花、云簪装饰，其渲染方式承唐代之法，画中仕女手持青铜菱花镜合于胸前，微微颔首垂目视镜，眉宇间略显哀愁，若有所思。\n画中人物襦裙高系，刻意变形的比例关系，又通过深色的前襟和裙摆的佩饰加以视觉的平衡。\n画面环境树石相伴，泉水隐现，人景契合 ，画面右上角斜出的桃树与画面下方皴染的几处坡石等补景起到了突出主体与调节画面的作用。\n整个画面，人物属于密体而背景属于疏体，从而形成人和自然之间的节奏变化，在艺术处理上别具匠心。\n造形夸张，带圆弧形，时常失调，反映了文人写意画脱略形似的审美意识。\n此图设色淡雅，坡石以或浓或淡的墨色与淡赭色皴染勾勒，布局疏密得当，主体突出。\n画面左上角以草书题诗，线条苍劲老练，炉火纯青。\n此图的衣饰用笔，纯属中锋，则寓清刚圆劲于长短、轻重抑扬、顿挫之中，如同奏乐，使人体会到一种韵律感。\n该画用笔细劲流畅，十分强调线条的运用，特别是服饰的摺纹，借鉴了唐人、宋人、元人的线条技巧，又重性情挥洒自如，形成了人物的线条美。\n中国艺术研究院教授 ：仕女眉毛和眼睛距离很宽，显得意态非同寻常，人物仍然是圆浑丰满的。\n线条细劲，有转折和轻重的变化，且内含苍道刚劲之力。\n设色古淡，仅于女人嘴唇点朱红色，其余地方若淡若无。\n根据收藏印记可知该画经渊雷室、近代收藏家 等收藏，现收藏于清华大学艺术博物馆。\n218年6月16日，该画在“清华藏珍·翰墨丹青——清华大学艺术博物馆藏品展”中展出。\n陈洪绶（1598—1652年），明代画家。\n号老莲、悔迟，诸暨（今属浙江）人。\n幼年即喜爱绘画，一度为宫廷作画，后南返。\n擅画人物、山水、花鸟、竹石、鱼虫，初学蓝瑛，后学李公麟、赵孟頫。\n绘有《水浒叶子》《博古叶子》《九歌》和《西厢记》等绣像插图。\n传世作品有《拳石山茶图》《笼鹅图》《升庵簪花图》《摘梅高士图》。\n著有《宝论堂集》等。",[23,24,7,165,28,27,188,96,10539,7070,1337,171,32565,131,34,497],"梅枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8babe604516aae8491081e1577cd1935.jpg",[],{"id":32569,"slug":32570,"title":32571,"dynasty":18,"author":223,"museum":300,"description":32572,"tags":32573,"thumbUrl":32574,"material":84,"size":84,"collection":84,"collections":32575,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},227931,"chang-jiang-wan-li-tu-juan-quan-juan-yi-ming-227931","长江万里图卷全卷","以咫尺长卷铺展万里江山，层叠峰岫或雄峙凌天，或温婉藏于烟岚，虚实相生如淡墨梦境。江波澹澹，与远山交织晕染，将长江的逶迤舒展尽致。墨色浓淡铺就山川悠远层次，留白烘托云水之态，带着沉静雅致的宋画风骨。\n整卷如乘舟浮江，揽尽楚天清旷，将山河雄浑与灵秀揉于一处，藏着描摹天地的匠心，与对山河的眷恋深情，一眼便似随江流转，阅尽千里盛景。",[23,24,7,25,128,29,132,99,129,496,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d3564b5c39c17781a9425ca7fb314e.jpg",[],{"id":32577,"slug":32578,"title":32579,"dynasty":18,"author":223,"museum":244,"description":32580,"tags":32581,"thumbUrl":32582,"material":253,"size":32583,"collection":84,"collections":32584,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},227850,"xiao-ting-ying-xi-tu-ye-yi-ming-227850","小庭婴戏图页","《小庭婴戏图》是宋代所画的人物画。作者不详，一说是陈宗训所作。中国台北故宫博物院藏。",[23,24,164,7,59,28,27,96,413,169,8832],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1dbcffc9191793f4866baf2ef744a0c.jpg","纵26厘米，横25厘米",[],{"id":32586,"slug":32587,"title":659,"dynasty":18,"author":18655,"museum":300,"description":32588,"tags":32589,"thumbUrl":32590,"material":84,"size":84,"collection":84,"collections":32591,"showCount":5,"zanCount":1998,"manualWeight":48,"mainColor":49},227695,"chun-shan-tu-juan-zhao-bo-su-227695","赵伯骕（1124—1182），字希远，应天府（今河南商丘）人，南宋著名画家，宋朝宗室，著名画家赵伯驹之弟。兄弟皆妙于金碧山水。除山水、人物外，擅长花鸟，界画亦精。传世作品有《五金阙图》《番骑猎归图》等。",[23,164,24,7,25,26,27,29,28,132,496,34,1515,98,99,7462,35,37,10280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9625dd9e8f64ae801ba0fad2190c8c.jpg",[],{"id":32593,"slug":32594,"title":32595,"dynasty":351,"author":6787,"museum":161,"description":32596,"tags":32597,"thumbUrl":32598,"material":84,"size":84,"collection":84,"collections":32599,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},227597,"xi-shan-lan-re-tu-ju-ran-227597","溪山兰若图","《宋巨然溪山兰若图》为宋代画家巨然创作的一幅绢本墨笔画，现于美国克利夫兰博物馆藏。\n\n此图高耸云表的山峦雄居于画幅上部，山头布有矾头状的卵石，犹是巨然本色，下部冈阜林木葱郁，掩隐楼阁屋宇，前部有坡岸溪水，展示一片宁静清谧的意境。画幅右上有“巨五”编号，当是六幅通景屏风中的第五幅，仅为大幅山水的一部分。\n\n巨然，五代宋初画家。江宁（今江苏南京）人。南唐亡，至开封（今属河南省），为开元寺僧。多以长披麻皴画山水，山顶多作矾头（石块），与董源并称“董巨”，为南方山水画派之祖。",[23,24,7,29,165,128,132,663,34,17270,499,758,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cac38e11a74525e15e53089cd141edb.jpg",[],{"id":32601,"slug":32602,"title":32603,"dynasty":18,"author":8677,"museum":300,"description":32604,"tags":32605,"thumbUrl":32606,"material":84,"size":84,"collection":84,"collections":32607,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},227536,"wan-ai-tu-wen-tong-227536","晚霭图","明代画评家汪砢玉曰：壬戌之秋，程季白飞霞舫成，招李君实及珂雪与余集舫中，看新得汉玉图书约三百方，因示文同画卷，曰《晚霭横看》，君实题其后，用东坡思无邪斋章钤记。余共珂雪各印诸玉作谱。娄东朱锦春拨阮，夺落叶响，吾辈无暇听也。归而思此图，树瘦于竹，艇小于叶，遥山远水，层出林端，暮烟凝霭，掩映亭阁，画中人应尔横看无尽，意跃跃焉。东坡尝称与可下笔兼众妙，而不言其善山水。乃山谷于吴君惠处见文湖州《晚霭横看卷》，兼有王摩诘、关仝笔力，而世以洋州一派竹称之，何足以尽石室?",[23,24,7,25,128,132,29,30,34,711,31,129,211,1337,415,3427,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c4ec329a197b3748eae01a2384a486.jpg",[],{"id":32609,"slug":32610,"title":18654,"dynasty":54,"author":223,"museum":300,"description":32611,"tags":32612,"thumbUrl":32613,"material":84,"size":84,"collection":84,"collections":32614,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},223677,"qing-lv-shan-shui-tu-juan-yi-ming-223677","此作以平远之境铺展江南山色，石青石绿晕染山峦，古雅沉静的色调里，丘壑蜿蜒秀润，烟波轻笼远浦。村舍隐于松篁之间，板桥渡头有人彳亍，渔舟泛于云水之侧，处处晕染出山居幽澹的闲趣。\n画间题诗与山水呼应，笔墨丹青相融，将林泉隐逸的高致铺陈开来，既有唐宋青绿的古雅遗韵，又兼具清代文人山水的萧散简淡，观之如踏入世外云乡，坐看云野鹤、碧山清溪，沉浸式体味幽居雅趣。",[23,24,7,25,26,27,28,29,496,34,35,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b03cb7a92eca86e797d00727336bf91.jpg",[],{"id":32616,"slug":32617,"title":32618,"dynasty":54,"author":223,"museum":244,"description":32619,"tags":32620,"thumbUrl":32622,"material":84,"size":84,"collection":44,"collections":32623,"showCount":5,"zanCount":1998,"manualWeight":48,"mainColor":49},223410,"ma-zu-qi-ji-yi-ming-223410","妈祖奇迹","妈祖，以中国东南沿海为中心的海神信仰，又称天妃、天后、天上圣母、娘妈等等，是历、现代船工、海员、旅客、商人和渔民共同信奉的神祗。妈祖，原名林默，宋建隆元年（960年）农历三月二十三日诞生于莆田湄洲岛，因救助海难于宋太宗雍熙四年（987年）九月初九逝世。",[23,24,7,28,27,96,34,131,758,1645,11074,32621],"船帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0c2fadc1572fad66eb39c5b51f5f0e9.jpg",[44,45],{"id":32625,"slug":32626,"title":32627,"dynasty":124,"author":223,"museum":20,"description":32628,"tags":32629,"thumbUrl":32632,"material":40,"size":32633,"collection":84,"collections":32634,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},223335,"si-lu-shan-shui-di-tu-meng-gu-shan-shui-di-tu-ming-nei-fu-hui-yi-ming-223335","丝路山水地图.蒙古山水地图.明内府绘","《丝路山水地图》又名《蒙古山水地图》，全图以大青绿山不绘制，东起嘉峪关西至天方城（今沙特麦加）的辽阔地域范围，共标有211个地理坐标，绘于明朝嘉靖三年至嘉靖十八年，为明朝宫廷的皇家地图。",[23,24,7,25,27,26,28,29,690,18265,31,7068,34,1645,32630,38,32631],"聚落","地形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf94e5caa9d9b66111751c89f4029807.jpg","59＊3012cm",[],{"id":32636,"slug":32637,"title":32638,"dynasty":54,"author":1504,"museum":300,"description":2280,"tags":32639,"thumbUrl":32640,"material":637,"size":84,"collection":318,"collections":32641,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":72},223303,"zhu-shi-tu-zhou-5-zheng-ban-qiao-223303","竹石图轴5",[23,24,7,165,128,167,171,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9af9eb8cd727abdde614938ed2da94da.jpg",[318],{"id":32643,"slug":32644,"title":32645,"dynasty":54,"author":5879,"museum":510,"description":32646,"tags":32647,"thumbUrl":32648,"material":84,"size":84,"collection":136,"collections":32649,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":72},223244,"hua-hui-shan-shui-12-hua-yan-223244","花卉山水-12","该合册傅山父子传世画作共计16开，每副均为精品，构图奇特，迥异他人。其中傅山画5开，傅眉画11开",[24,7,27,128,29,62,61,2372,168,211,99,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc18d2a868a7fff05f5a7f52f85957ea0.jpg",[136,45],{"id":32651,"slug":32652,"title":32653,"dynasty":54,"author":1952,"museum":20,"description":32654,"tags":32655,"thumbUrl":32656,"material":4195,"size":32657,"collection":68,"collections":32658,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},223167,"feng-hou-tu-shen-quan-223167","蜂猴图","该作品描述了一只猴子在树上捅马蜂窝，两只猴子在树下注视，情节紧张而有趣的画面。\n这种具有吉祥寓意和祝福的绘画是沈铨特别喜爱的题材。 猴子的画法精工，形态生动，自识中提到是仿宋代画猿猴大师易元吉的笔法。背景山石画得较放，点苔先用墨点再用石绿，树叶多用夹叶法，再涂以白色或浅绛色。整幅画工笔与写意结合，色彩与水墨搭配，具有沈铨绘画的独特风格\n沈铨的绘画主要继承黄筌画派精工富丽的画法，并把多种绘画技法相融合，形成了自己的绘画面貌。他的花鸟走兽画对后世影响显著，尤其对日本绘画有着深远的影响。此幅绘画作于1742年，沈铨六十一岁，是其画风成熟时的杰作。",[23,24,7,165,28,27,29,9633,949,623,495,99,497,34,276,548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff480761bd1622c88e4092910b66e54fa.jpg","184cm 96.6cm",[68,45],{"id":32660,"slug":32661,"title":32662,"dynasty":54,"author":16583,"museum":1185,"description":32663,"tags":32664,"thumbUrl":32665,"material":6091,"size":32666,"collection":136,"collections":32667,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":72},222646,"zhi-hua-xi-lie-zhi-hua-xin-zhu-gao-qi-pei-222646","指画系列-指画·新竹","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[23,24,7,29104,128,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb762941767222f61c46e64997c0aa546.jpg","35.88x57.31cm",[136,68],{"id":32669,"slug":32670,"title":32671,"dynasty":124,"author":7003,"museum":5202,"description":32672,"tags":32673,"thumbUrl":32674,"material":611,"size":32675,"collection":318,"collections":32676,"showCount":5,"zanCount":1998,"manualWeight":48,"mainColor":72},222476,"teng-wang-ge-xu-zhu-yun-ming-222476","滕王阁序","此作是其56岁时的杰作。高头长卷，洋洋洒洒近千字，“奔蛇走虺，骤雨旋风”，意到笔随，一气呵成，有行风行水上之势，变幻无穷。祝允明的书法面目多变，每卷有每卷的情致风规，如这卷草书，用小笔硬毫，笔画瘦劲而婉约，纵横挥洒，满纸云烟，偏多怀素遗意。全卷前段尚有拘矜之态，愈后则愈解脱自在，最后渐入化境，超妙自得。全卷草书多用连笔连字，以至兴到之时，笔势自生，大小相参， 上下左右，起止映带，都能达到神妙的意境。",[23,133,64,25,208,128,1590,7,129,97,29,211,3344,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc222aec76d124e12a1b24cabea82763.jpg","纵32.9cm 横842.6cm",[318],{"id":32678,"slug":32679,"title":32680,"dynasty":124,"author":1058,"museum":244,"description":32681,"tags":32682,"thumbUrl":32684,"material":637,"size":32685,"collection":136,"collections":32686,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":72},222353,"li-shi-cong-hui-tu-tang-yin-222353","立石丛卉图","此画描绘了立石之下，几丛草花盛开。整幅作品只用水墨以没骨法大笔写出。\n立石通过皴笔的染擦，并以留白的方式写出阴阳向背，突出山石的质感。草花的浓淡墨色运用恰到好处。构图简明，高低呼应，使画面呈现一种空灵润泽的感觉。画幅中自题：“杂卉烂春色，孤峰积雨痕。 譬若古贞士，终身伴菜根。”",[23,24,7,165,128,132,171,32683],"丛卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8502ef94696876ba6fce97d697a6ca9.jpg","52.60x28.60cm",[136,117],{"id":32688,"slug":32689,"title":32690,"dynasty":124,"author":17658,"museum":244,"description":32691,"tags":32692,"thumbUrl":32693,"material":84,"size":32694,"collection":136,"collections":32695,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":72},222329,"hua-jiao-yuan-shi-er-jing-ce-liang-xin-tang-shen-shi-chong-222329","画郊园十二景册－凉心堂","沈士充，明代画家，生卒年不详。字子居，华亭（今松江属上海市）人。出宋懋晋之门，兼师赵左。郡人能画者多师之\n他擅长画山水画，笔法松秀，墨色华淳，皴染淹润，画山很少有突兀之势，清蔚苍古.所作山水，丘壑蓓葱，皴染淹润，为云间正传。松江画派的正宗人。他常为董其昌代笔.陈继儒（一五五八-一六三九）札云：“子居老兄：送去白纸一幅，润笔三星，烦画山水大堂。明日即要，不必落款，要董思老出名也。”今赝董画充塞天下，若沈士充、赵文度（左）作，已为上驷矣。万历四十六年（一六一八）作山水扇，见风雨楼扇粹，崇祯六年（一六三三）作寒林浮霭图、四时山水卷。《明画录、无声诗史、图绘宝鉴续纂、桐阴论画、松江志》\n沈士充是明末“松江派”的画家，陈继儒写给他求为董其昌代笔作画的一封信，已成了后世美术史家研究董其昌与松江绘画的重要史料。其实他的画笔，与董其昌判然有别。沈氏长于构图，皴染周至，是技巧纯熟的作家画；董氏用笔生秀，不拘形模，是但称己意的士夫画。有：《仿古山水图》卷及《天香书屋图》轴，现藏故宫博物院；《山楼观稼图》 轴、《寒塘渔艇图》轴 、《寒林浮霭图》轴 [3] 现藏故宫博物院；《秋林水阁图》轴，藏南京博物院；《仿黄公望天池石壁图》卷，辑入《沈子居陈眉公书画合壁》单印本。",[23,24,7,59,27,128,29,132,98,99,1337,1144,1025,131,758,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdffa2c0791df43a9dd53e4e0c8c7774a.jpg","69.4x52.5厘米",[136,45],{"id":32697,"slug":32698,"title":32699,"dynasty":124,"author":7961,"museum":244,"description":32700,"tags":32701,"thumbUrl":32702,"material":66,"size":32703,"collection":136,"collections":32704,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":72},222087,"xi-tong-tu-zhou-qian-gu-222087","洗桐图轴","此图以人物为主，其背景作为陪衬，在画幅左下角画有连绵不断的山石，山石向竹草从杂\n此图绘一高士，坐在圏手椅上，头戴浩然巾，面日清瘦，身着宽服长袍，宽袖，双脚露出，双手扶在手椅上。圏手椅形制如栲佬式，传说唐代诗人孟浩然始用，明清时为流行，常用于文人逸士。这位高士仰首观望二童子洗园中一棵桐树，桐树下一童予抬水桶，往上使劲，又有一童子蹬坐在树楼上，左手扶着桐树枝，右手正用力吊起水桶为洗桐之用，另一童穿着开襟宽袖长服，持有鹅毛扇伫立于高土左侧，亦在目不转珠地望着两个孩童洗桐的情景。",[23,24,7,165,27,28,96,413,131,7344,251,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5caf239e655e2b04c3f4276936b930.jpg","纵129.8厘米，横445厘米",[136,45],{"id":32706,"slug":32707,"title":32708,"dynasty":144,"author":22335,"museum":244,"description":32709,"tags":32710,"thumbUrl":32711,"material":1027,"size":32712,"collection":136,"collections":32713,"showCount":5,"zanCount":1116,"manualWeight":48,"mainColor":72},221915,"bai-zhang-quan-zhou-chen-ru-yan-221915","百丈泉轴","陈汝言（生卒年不详），元末明初画家、诗人。字惟允，号秋水，临江清江（今江西樟树市）人，后随其父移居吴中（今江苏苏州）。能诗，擅山水，兼工人物。与兄陈汝秩（字惟寅）齐名，时人呼为大髯小髯。\n陈汝言画山水远师董源、巨然，近宗赵孟頫、王蒙，行笔清润，构图严谨，意境幽深。与王蒙契厚，传说王蒙在泰安时，曾面泰山作画，随兴所至，不时加笔，一幅图画了三年。陈汝言正巧来访，时遇大雪，他便用小弓挟粉笔弹在画上，将图改作雪景。王蒙叫绝，以为神奇，遂改题为《岱宗密雪图》。",[23,24,7,165,128,132,29,495,34,758,497,37,64,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd19fd1420cadccb20dbba9c3b3e304ca.jpg","115.2＊46.7cm",[136,117],{"id":32715,"slug":32716,"title":32717,"dynasty":144,"author":2697,"museum":20,"description":32718,"tags":32719,"thumbUrl":32720,"material":514,"size":32721,"collection":117,"collections":32722,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},221816,"mu-yu-tu-zhou-li-kan-221816","沐雨图轴","《沐雨图轴》是元代李衎所画的中国古画。\n此图描绘雨中竹子的形态，手法极其写实，强调雨中之竹的清姿，其画法与双勾竹图基本相同，竹叶因雨水而显得沉重，叶尖自然下垂，在表现雨中竹叶下垂之姿上，李衎用笔显得娴熟自如。\n《沐雨竹图》将主要景物集中于画幅左侧。\n在画幅左下端力坡石，坡上倚附山石长有四竿翠竹，中间两株高大，且相互交错，竹竿交错后向左右伸展，枝叶茂密，竹叶纷披。\n左侧一株掩映于二株高大的翠竹荫下，略向左弯斜；右侧一株小竹向右弯斜，叶子呈下垂状。\n这一株翠竹虽不怎么起眼，但却是妙笔，起到了填补画幅右下部分的空白，对整个画面起到了充实和平衡作用：除竹石外，在坡石间还有数株兰草，点缀其间。\n自宋以来，“梅，兰、竹、菊”被士大夫称为“四君子”，象征“清高”、“幽洁”、“虚心”、“隐逸”、“气节”等精神品格。\n当社会危机、民族危机之时，一些知识分子无力抗争，在孤十贲与失望之中，“适性寄意”于笔墨：人元后“四君子”画不但更为兴盛，而且在思想感情的表现上更加丰富和深刻。\n特别是墨竹，单纯简易、挥洒便利又最具书法性格，所以最能引起士大夫的兴趣。\n可是李衍身为大官，他与赵孟頫是元代汉族文人画家中官职最显著者， 他喜欢画松、竹，这说明“松”、“竹”并非都是文人用来自诩“名节”之物。\n他为了画竹，“行役万余里”，深入南方竹乡，对竹的“形色情状，牛聚枯荣”做了深入研究，成为享有盛名的写生墨竹专家。\n此《沐雨竹图》轴是他画墨竹的代表作之一，其作品中之“竹”并不带有什么政治色彩，仅作为绘画的一个题材而已。\n此画虽将景物集中于画幅左侧，但经画家的确当布局，使整幅画的构图 较工稳；造型准确，设色匀净，枝叶繁复而不乱，层次分明。\n作者由于有过对竹子的认真观察和研究，并掌握了画竹的造型规律。\n故他画出的竹竿、们‘枝的线条挺坚，用笔实在有力，竹竿、竹枝、竹叶均用双勾画出，即用线条描绘竹叶的轮廓，再用汁绿烘染，叶尖微染赭黄，且其阴阳向背等细节都刻画得十分准确、细腻。\n其背景石都用双勾，然后用粗笔水墨皴染，分出阴阳面。\n坡石间的几丛兰和小草的安排，更使画面充满勃勃生机。\n此画的主题沐雨，作者强调了雨中之竹。\n故在作者笔下将沾满了雨水的竹子，竹叶个个呈下垂的自然神态，突出了“沐雨”这一主题，使画幅具有很强的写实性。\n此画给人以充实秀美的感觉，实属精品。\n这幅作品中只有四竿修竹和一些小枝是用汁绿晕染，竹干的晕染基本是平涂，只在竹节两端略有晕染。\n竹叶的敷色较为精工，不但叶根部和叶尖部的色调有所变化，而且叶面和叶背也不相同，繁多的叶片中没有一片是染出边缘轮廓之外．也可见作者的细致程度。\n在水墨环境的映衬下．《沐雨竹图》中的修竹亭亭玉立，青翠悦目。\n即使秋风萧瑟，也是竹叶摩娑，别具一番“如鸣环翠”的风韵。\n在翠竹右侧一竿高耸直指，左侧一竿向左上伸展，最前的一竿指向右方，右侧竹叶相对密集，造成左高右低的形势。\n竹干、竹枝的线条挺坚，竹叶的线条则圆润；竹干、竹枝的用笔比较实在有力，而竹叶的用笔就显得轻细活泼。\n李衎（1244—12年），字仲宾，号息斋道人，元大都（今北京）人，仕至集贤殿学士。\n他平生擅长画竹，继承了金文同、王庭筠等画竹名家的成就，又曾深入江南竹乡深入观察，还出使过交趾（今越南），到各处观察竹子的生长情况和特点，深得竹之“理”，是一位既有深厚传统绘画功力，又师法自然的画家。\n他的画风严谨，传世作品有双勾着色的《双勾竹图》、《沐雨图》等，并著有《息斋竹谱》7卷，对竹的结构品类、生长规律及画法详加剖析，既重写意又重法度。",[23,24,7,165,28,128,167,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6db8d493b70c64e938a16711c94486e2.jpg","纵111.5cm，横55cm",[117,1670],{"id":32724,"slug":32725,"title":8545,"dynasty":18,"author":5533,"museum":56,"description":32726,"tags":32727,"thumbUrl":32728,"material":514,"size":32729,"collection":84,"collections":32730,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},221603,"bu-dai-he-shang-tu-liang-kai-221603","梁楷，南宋人，祖籍山东，南渡后流寓钱塘 ( 今杭州 ) 。他是名满中日的大书画家，曾于南宋宁宗担任画院待诏。他是一个行迳相当特异的画家，善画山水、佛道、鬼神，师法贾师古，而且青出于蓝。 在梁楷的人物画中，唐宋那种严谨写实的人物画高峰已经过去，从此图中，人物的大首部分还是唐宋之余波，细致工整，但下部的衣着却奔放写意，粗旷浪漫，有文人画的意味了。\n一个和尚的像对于观者的影响是什么样的，按照古人的：“成教化，助人伦”的主张，以僧人之像带给观者是对佛法的亲近，对禅悟的揭示，当然一句谒子同样可能使人开悟，一幅佛画，一幅有关佛的书法有同样的的功能，因人而起开悟之作用。\n布袋和尚是后来的弥勒佛，“布袋”其实是俗世的包袱，一种执着和迷朦。所以有“放下”一说：放下布袋，何等自在。人一生来就抓住什么，背着什么，儿时的抓周，一开始就是抓，抓住笔似乎是文曲星下凡，抓住铜钱或袁大头似乎是大商贾，抓住印章似乎是官运如何的好，所有一切背在身上，每个人都有一个无形的布袋，不到零落不放下。\n其实本来就不应该抓住，一切皆空吧。佛门的神秀写下四句偈云：“身是菩提树，心如明镜台。时时勤拂拭，莫使惹尘埃。”却未若不识字的的六祖惠能的四句偈高明：“菩提本无树，明镜亦非台。本来无一物，何处惹尘埃。”一个人过分的执着，背得太多，一旦大限来时，方知一切已晚，所求者其实是一场空梦。",[23,24,7,96,187,128,10170,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a3b6d4db81452ecdf7a090b19e5c62.jpg","纵31 3厘米，横24 5厘米",[],{"id":32732,"slug":32733,"title":32734,"dynasty":18,"author":491,"museum":224,"description":9500,"tags":32735,"thumbUrl":32736,"material":3785,"size":9504,"collection":42,"collections":32737,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":72},221290,"shu-se-ping-yuan-tu-quan-juan-guo-xi-221290","树色平远图全卷",[23,24,7,25,1349,128,27,132,28,64,133,208,29,413,129,98,99,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F133bd0410f393e8330e8a86e03d40536.jpg",[42,136,117],{"id":32739,"slug":32740,"title":32741,"dynasty":18,"author":223,"museum":244,"description":32742,"tags":32743,"thumbUrl":32744,"material":514,"size":32745,"collection":42,"collections":32746,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},221237,"qiu-tang-shuang-yan-zhou-yi-ming-221237","秋塘双雁轴","《宋人画秋塘双雁图》是宋代佚名画家创作的一幅中国花鸟古画。\n【简介】 本幅在构图上，将洲岸、水草、残荷搭配在画幅两侧，约略呈一个圆弧状，而画中主题双鹅，则分置在画幅的左右，为这个约略的圆弧所包围，形成幅面整体圆融的气氛。\n虽然北宋後半期，在崇尚淡雅的文人画风引导下，搭配双鹅的背景，为萧瑟衰败的秋荷，但仍隐喻著萧瑟苦寒中亦不改其情意的祥瑞之意。\n画中羽禽水草皆描画精准，强调画面中央空旷平远的构图意念，皆可将本幅画作定为北宋徽宗朝画院之作。\n通幅画面由两幅绢并接而成，或因分合改装，致使接合处略有损伤。\n与雁同科，古人有时 鹅不分而通称。\n本幅画浅滩洲岸上的双鹅，在微微风意中，一只仰天引颈而望；一只蹲伏在红蓼下理翎。\n与二只或掠空飞过；或伫足莲杆上栖息的翡翠，交相呼应。",[23,24,7,165,61,27,28,18111,303,81,3837],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9b4ee9203899581a619038111bbb7b8.jpg","170x 167厘米",[42,68,45],{"id":32748,"slug":32749,"title":32750,"dynasty":124,"author":2268,"museum":6892,"description":32751,"tags":32752,"thumbUrl":32753,"material":59,"size":6896,"collection":84,"collections":32754,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":84},220754,"fang-ge-jia-shan-shui-2-dong-qi-chang-220754","仿各家山水-2","此作用淡墨晕染远山，勾勒的山石尽显嶙峋之态，留白作云气晕出空濛山意。近岸林木笔法松秀苍润，浓墨点苔添得生机勃发。山坳村居、溪畔茅舍隐于丘壑之间，板桥行人又让林泉染上烟火暖意。\n\n题字错落左上，笔墨清雅萧散与画境相融。全画以干笔皴擦营造淡远空灵意境，简淡中见层次藏雅趣，将幽居林泉的闲逸藏于尺幅之间，尽显文人山水的疏朗清旷，观之如临寂寂山林，得自然清和之味。",[23,24,7,128,132,29,663,228,413,1314,495,387,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcf0109cf2086c3efd9441201dea3d94.jpg",[],{"id":32756,"slug":32757,"title":32758,"dynasty":980,"author":1687,"museum":8958,"description":32759,"tags":32760,"thumbUrl":32761,"material":17163,"size":84,"collection":84,"collections":32762,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":72},220505,"e-mei-zhang-da-qian-220505","峨眉","此作以云海托举雄峰，虚实相映间铺展蜀山灵韵。以青绿皴染勾勒峭崖肌理，晕染出层叠石壁的苍劲质感，石青石绿晕开山峦清润，赭石铺陈崖顶厚重。翻涌云涛以泼墨晕染而成，将群峰半掩半露，生出缥缈仙气。崖巅古松劲拔、梵宇隐现，为雄奇山景添上清寂禅意。既恪守传统笔墨法度，又以泼彩新意晕化山色，将巍峨与灵秀糅合，尽显天地造化之奇，静穆之中自有磅礴大气，藏着蜀中山河的万千意趣。",[24,7,29,27,128,132,30,37,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a6a494de0efa8d16398fba50d5288ec.jpg",[],{"id":32764,"slug":32765,"title":32766,"dynasty":18,"author":223,"museum":244,"description":32767,"tags":32768,"thumbUrl":32770,"material":173,"size":32771,"collection":42,"collections":32772,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},220385,"wu-kuan-xing-lin-xi-chi-tu-yi-ming-220385","无款杏林鸂鶒图","上方行书“乐意”圆融雍容，点破画中真趣。下方小景绘江岸荒寒，枯木虬曲倚傍顽石，疏枝如篆，幽篁错落，晕染出冬日萧索野致。滩涂浅水间，一对鸂鶒相偎理羽，亲昵悠然，为清寂画面晕开温柔暖意。\n\n整幅以淡墨轻色铺陈，极简构图却藏天人妙趣，将林泉幽寂与禽鸟温情相融，用荒寒之境托举欣然乐意，尽显宋画以小景见天地的雅致审美，于冷澹笔墨里，晕染出宋人藏于山水间的幽微意趣，冷寂中暗淌脉脉生机。",[23,24,7,27,28,64,208,61,32769,10011,229,228,276],"杏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd38691268d61502131b8aa44711cc88f.jpg","37.3x49.8",[42],{"id":32774,"slug":32775,"title":32776,"dynasty":18,"author":20081,"museum":1941,"description":20082,"tags":32777,"thumbUrl":32778,"material":278,"size":20085,"collection":42,"collections":32779,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},220089,"jia-pai-tu-quan-juan-fen-juan-12-gong-kai-220089","笳拍图全卷-分卷12",[24,164,7,25,188,96,12314,101,6300,251,170,5626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c86fb758c911901199210f2e7cb4fe9.jpg",[42],{"id":32781,"slug":32782,"title":32783,"dynasty":124,"author":1058,"museum":77,"description":32784,"tags":32785,"thumbUrl":32786,"material":317,"size":32787,"collection":136,"collections":32788,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},219982,"jiang-shen-cao-ge-tu-tang-yin-219982","江深草阁图","此幅作品以焦墨作江千石壁,二松虬结其间,松下一座茅亭,亭中幽人清坐,山拗间流泉飞落,山间小路曲折隐现,左中部有画家自题:'五月江深草阁寒苏门唐寅写增次明吴君．'下铃朱文印'唐子畏图书'、'某景书屋'．画心及诗堂有沈周、吕秉之、叶恭绰、吴湖帆等人题跋,整幅作品皴笔清劲、缜密,于风骨奇峭中透出明洁秀爽的雅逸之气。\n此幅作品虽无年月可考,但从风格上看,确为少年真迹．按吴湖帆的考证,沈周题诗书迹为60 余岁时作,沈又长子畏43 岁．沈周与吕秉之的题均为前辈勉励后生之语．按唐寅中弘治戊午解元时年29 岁,以吕秉之所题'子且不试艺'句,此幅作于29 岁之前无疑。",[23,164,24,7,165,128,132,29,97,131,99,34,96,495,9425],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece99a18e25e8053cb0da8812a3492fb.jpg","纵84 厘米,横36.7 厘米",[136],{"id":32790,"slug":32791,"title":32792,"dynasty":18,"author":13636,"museum":244,"description":32793,"tags":32794,"thumbUrl":32795,"material":27,"size":84,"collection":136,"collections":32796,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":72},219950,"he-ting-xiao-shu-tu-zhao-shi-lei-219950","荷亭消暑图","水岸铺陈开清寂夏景，临水亭台错落相衔，飞檐回廊隐在垂柳荫翳间，柔条拂过静波，将暑意揉碎在漾漾水色中。远景轻笼烟霭，把天地晕成淡润的墨色，消解了溽热烦躁。\n亭畔静立侍者，等候凭栏观水的主人，晕染出幽居消暑的松弛意趣。全图笔法秀润温婉，布景虚实相映，古雅绢色衬出一片临水纳凉的闲雅天地，将耽于林泉、静享幽夏的隐逸襟怀晕染尽致。",[23,164,24,7,59,28,27,95,130,168,34,131,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa754d1f34c6e3092b4d0c8dc675fbfe9.jpg",[136],{"id":32798,"slug":32799,"title":32800,"dynasty":54,"author":32801,"museum":244,"description":32802,"tags":32803,"thumbUrl":32806,"material":66,"size":32807,"collection":68,"collections":32808,"showCount":5,"zanCount":1998,"manualWeight":48,"mainColor":72},219667,"hai-cuo-tu-di-si-ce-nie-huang-219667","海错图第四册","聂璜","清代康熙年间一部主要描绘海洋生物的图谱，由聂璜绘制，共四册。清雍正四年（1726年），被太监苏培盛搜罗入宫，现第一、二、三册，共三存于北京故宫博物院，第四册存于台北故宫博物院。",[24,59,7,27,28,32804,32805],"贝类","海洋生物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4eb0f7a8d554200285becf061fb80f4.jpg","30.4x68厘米",[68],{"id":32810,"slug":32811,"title":32812,"dynasty":18,"author":1449,"museum":244,"description":32813,"tags":32814,"thumbUrl":32817,"material":173,"size":32818,"collection":44,"collections":32819,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},219599,"fu-xi-zuo-xiang-tu-ma-lin-219599","伏羲坐像图","本幅画其坐像，散发披肩，身披鹿皮，一派远古风范。远古时期，我们的先民为了御寒，以石器或骨器加工兽皮，再以骨针等工具进行缝制。此画幅足下右图1为八卦。此八卦图形表明他创制八卦的功绩。他双目凝神，似在沉思什么似的。\n画幅上方宋理宗楷书叙赞。叙曰：“朕获承祖宗右文之绪，祗通燕谋，日奉慈极，万几馀闲，博求载籍，推迹道统之传，自伏羲迄於孟子，凡达而在上，其道行，穷而在下，其教明，采其大指，各为之赞，虽未能探颐精微，姑以寓尊其所闻之意云尔。”标题：“宓牺”。赞日：“继天立极，为百王先，法度肇建，道德纯全，八卦成文，三坟不传，无言而化，至治自然”\n此画刻画高度精练，神情表现细致人微，画法新颖别致，生动自然。人物的眉毛、胡子，粗黑浓密，只是挥洒数笔便勾画出来。衣服更为简练，鹿皮下露出一双赤脚，亦一无疏漏地表现出来，真是神奇而妥贴。设色亦甚为高雅、纯朴，头部和赤脚着浅色，衣服以淡墨渲染，加深了受光面的立体感。简朴精练的笔墨，把这位始祖的形象刻画入微，给人留下了深刻的印象。",[23,24,7,165,27,28,96,29,14233,32815,64,32816],"兽皮","八卦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbcc5012d0f893c24fe192b64e6c7a39.jpg","纵249.8厘米，横112.0厘米",[44],{"id":32821,"slug":32822,"title":5146,"dynasty":124,"author":223,"museum":1941,"description":32823,"tags":32824,"thumbUrl":32827,"material":173,"size":84,"collection":44,"collections":32828,"showCount":5,"zanCount":1998,"manualWeight":48,"mainColor":49},219497,"juan-xiu-tu-yi-ming-219497","朱红绣案上绿绸随意铺陈，仕女凭案敛臂休憩，绣活未竟便沉沉暂歇。淡墨轻施勾勒出松弛倦态，素绢古旧的底色晕开沉静氛围，没有繁复华饰，只以极简笔意定格闺阁日常里的慵懒闲逸。将绣女劳顿后的松弛心绪藏在素雅笔墨间，未完成的针线暗合着闺中往复的日常细碎，静穆画面里漫出平淡悠长的闺中况味，把细碎倦怠揉进古雅色调里，尽显内敛温柔的东方意趣。",[24,7,27,28,96,166,1367,32825,32826,8565],"榻","织物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa4a4c0ec9f990f6ad692fcb7681f4b5.jpg",[44],{"id":32830,"slug":32831,"title":32832,"dynasty":54,"author":2894,"museum":244,"description":32833,"tags":32834,"thumbUrl":32835,"material":66,"size":84,"collection":44,"collections":32836,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":72},219440,"gao-xian-yu-yin-tu-zhou-jin-ting-biao-219440","高贤遇隐图轴","枯木虬枝如铁，皴笔勾勒出岁寒之姿；野径蜿蜒若带，淡墨晕染出郊原之旷。士人凭树而立，衣袂飘举间神态悠然，目光轻落向田间劳作的身影；农夫戴笠荷锄，躬身耕耘时动作朴拙，身影与苍茫大地相融。笔墨于细节处见真章：树皮的纹理、土地的肌理、衣褶的流转，皆以细腻线条与层次墨色铺陈。贤士与隐者的相遇，似无意却藏深意——尘嚣之外，静观与躬耕皆是心境之选。画面简淡清雅，将超脱世俗的悠然意趣凝于方寸，尽显文人画的韵致与哲思。",[24,7,165,28,132,96,1337,690,99,1350,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ddd877b675099d48ee98845a7533715.jpg",[44],{"id":32838,"slug":32839,"title":32840,"dynasty":124,"author":32841,"museum":244,"description":32842,"tags":32843,"thumbUrl":32846,"material":66,"size":32847,"collection":44,"collections":32848,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},219392,"cong-di-xian-yu-tu-ye-guang-219392","丛荻闲渔图","叶广","叶广（明代人），字元博，号海渔，巢县人。诗人、画家。擅名丹青，胸藏丘壑，笔洒烟云。作品《渔翁图》远近闻名。叶广是米（芾）派画家，米体山水及大小画，劲骨远神，时流莫及。叶广擅长作诗，饶有高致。其诙谐调笑，雅重一时。四方缙绅名人，与叶广交往甚多，岁时不绝。",[24,164,7,165,128,27,96,228,32844,9671,32845,1351,208],"渔网","荻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71deaee102e50cdb9d0829265b1976a2.jpg","114.3x31",[44],{"id":32850,"slug":32851,"title":32852,"dynasty":54,"author":9529,"museum":77,"description":32853,"tags":32854,"thumbUrl":32856,"material":278,"size":32857,"collection":136,"collections":32858,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":72},219355,"han-tang-xi-chi-tu-wang-hui-219355","寒塘鸂鶒图","《寒塘鸂鶒图》描绘的是江南随处可见的池塘一角，有稀疏的草木、零散的荷叶苇草，以及在当中玩耍的水鸟。近景向中远景延伸，墨色渐渐转淡，隐隐约约可以看见一些景物，相当朦胧虚幻，彷彿隔着一片薄雾，富有诗意。",[23,24,7,128,132,32855,168,10011,331,171,303],"塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf4dce38db866812034183e07f13c1b6.jpg","73 x 41.6 公分",[136,68],{"id":32860,"slug":32861,"title":10535,"dynasty":124,"author":15700,"museum":300,"description":32862,"tags":32863,"thumbUrl":32864,"material":66,"size":32865,"collection":45,"collections":32866,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},219152,"gao-shi-tu-zhu-zhan-ji-219152","扇面铺展如弯月，松荫匝地，虬枝盘曲间漏下细碎天光。高士凭石闲坐，衣袂轻扬似携林风，眉宇间漫溢着散淡悠然；红衣童子侍立身侧，青苍草木衬得那抹艳色愈发清寂。山石以淡墨皴染，纹理宛然；流泉隐于岩隙，潺潺声似可穿透纸面。笔墨细腻处见真章：松针如毫，线条挺劲如铁；设色淡雅却饶韵致，青褐与米白交织，像浸在晨雾里的旧卷。构图随扇弧铺陈，景物错落有致——静思的高士、潺潺的流泉、摇曳的松影，将文人林下的悠然意趣凝于方寸。读来心魂俱静，仿佛踏入那片清幽之境，与松风流水共赴一场无声的对谈。",[23,24,7,1131,27,28,132,96,1144,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F744352c238455c8d77b8d278bbb3f379.jpg","59.5x152",[45],{"id":32868,"slug":32869,"title":32870,"dynasty":144,"author":569,"museum":244,"description":32871,"tags":32872,"thumbUrl":32873,"material":151,"size":84,"collection":68,"collections":32874,"showCount":5,"zanCount":1998,"manualWeight":48,"mainColor":72},218744,"shuang-gou-shui-xian-tu-zhao-meng-fu-218744","双钩水仙图","素笺之上，水仙疏影悄然铺展。双钩线条如缕金萦玉，勾勒花叶轮廓——叶片修长劲挺，似含墨韵风骨；花瓣轻绽，脉络细劲，若凝霜雪之姿。墨色层次隐现，花叶间留白透气，衬得水仙清逸出尘。\n\n线条自带书法意趣，转折处见笔力，既摹物象之真，又抒文人雅怀。无浓艳设色，却以极简之笔，写尽“凌波仙子”的冰洁灵秀。淡墨浅痕里，仿佛有暗香浮动，于简静中藏生机，素朴中见雅致，尽显传统文人画的审美韵致，令人心驰神往。",[23,24,7,188,12335,128,61,374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec3a0cd86b20ca5480736257072df823.jpg",[68],{"id":32876,"slug":32877,"title":32878,"dynasty":144,"author":20772,"museum":244,"description":32879,"tags":32880,"thumbUrl":32881,"material":317,"size":84,"collection":136,"collections":32882,"showCount":5,"zanCount":1998,"manualWeight":48,"mainColor":72},218741,"xi-shan-xue-yi-tu-zhang-yu-218741","溪山雪意图","雪裹溪山，素净如笺。寒林疏枝横斜，似在静默中与天地对语。山间茅舍隐于皑雪，不见人踪，却藏着一份遗世的安然。笔墨简淡而意韵深幽，枯笔勾勒的山石与留白的雪色交织，将冬日的空濛与文人的孤高心境凝于画间。每一处留白都是雪的呼吸，每一笔线条都是心的独白，似能透过画面触到那份远离尘嚣的清寂，感受元代文人笔下山水的空灵与禅意。寒枝、皑峰、幽舍，共同织就一幅冷寂却温情的冬日图景，尽显文人画的雅致与哲思。",[23,24,7,128,27,132,29,1813,1337,131,711,1557,499,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d448db60ab16f22dad017cba7f8823.jpg",[136],{"id":32884,"slug":32885,"title":32886,"dynasty":54,"author":523,"museum":450,"description":30130,"tags":32887,"thumbUrl":32888,"material":173,"size":30133,"collection":84,"collections":32889,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":72},218324,"shen-xian-gu-shi-tu-ce-12-leng-mei-218324","神仙故事图册-12",[23,24,7,59,28,27,96,663,413,169,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87dd11b17ff537920b86692d4c321606.jpg",[],{"id":32891,"slug":32892,"title":32893,"dynasty":124,"author":204,"museum":244,"description":32894,"tags":32895,"thumbUrl":32896,"material":173,"size":32897,"collection":44,"collections":32898,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":72},218224,"er-shi-si-xiao-ce-da-shun-xiao-gan-dong-tian-chou-ying-218224","二十四孝册-大舜孝感动天","孝感动天，《二十四孝》中第一个故事，讲述的是虞舜孝心感动上天。《二十四孝》全名《全相二十四孝诗选》，由历代二十四个孝子从不同角度、不同环境、不同遭遇行孝的故事集而成。",[24,7,59,28,27,96,29,949,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47767f7c756281e39cccf352de4644f8.jpg","31.2x22.3",[44],{"id":32900,"slug":32901,"title":32902,"dynasty":144,"author":223,"museum":1941,"description":32903,"tags":32904,"thumbUrl":32905,"material":173,"size":32906,"collection":44,"collections":32907,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":956},217997,"mo-tang-wu-dao-yuan-hui-luo-han-xiang-2-yi-ming-217997","摹唐吴道元绘罗汉像-2","《摹唐吴道元绘罗汉像》是佚名在元朝初期创作的一幅画作，这幅画描绘了佛教菩萨罗汉的形象。罗汉是佛教中的圣人，代表着智慧、善良和菩提。这幅画以其精细的线条和细腻的笔触著称，充分展现了元朝时期的艺术水平。画中的罗汉像给人以宁静、慈悲的感觉，充分展现了佛教的精神内涵。\n\n《摹唐吴道元绘罗汉像》的创作背景也很有趣。元朝时期，作者曾受命于皇帝去摹写唐朝著名画家吴道元的绘画作品。在摹写过程中，作者深受吴道元的绘画技巧和艺术理念的启发，并在此基础上创作了这幅传世佳作。",[24,7,165,187,96,27,330,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3914d1faba14d9e9ecfee34b18cf4e6e.jpg","124.9x61.6",[44],{"id":32909,"slug":32910,"title":32911,"dynasty":144,"author":32912,"museum":77,"description":32913,"tags":32914,"thumbUrl":32915,"material":278,"size":32916,"collection":136,"collections":32917,"showCount":5,"zanCount":1998,"manualWeight":48,"mainColor":72},217867,"qiu-shan-xu-ting-tu-gu-ying-217867","秋山虚亭图","顾瑛","顾瑛，字晓元，号秋山虚亭，是中国元朝时期的一位著名画家。他的《秋山虚亭图》是他的代表作之一，在中国历史上享有盛誉。\n\n《秋山虚亭图》是一幅山水画，描绘了秋山虚亭所在的景观。虚亭本身便是一座建于山上的小亭子，顾瑛在画中给人以一种轻松、自然的感觉。画中的山峦、岭壑、林木、岚烟都十分逼真，令人观赏时感到沉醉。顾瑛运用了自然界中各种色彩，如绿、黄、棕、蓝等，使画面更加丰富多彩。\n\n顾瑛的《秋山虚亭图》不仅因其逼真的描绘技巧而闻名，同时也因其艺术风格的独特性而受到赞誉。他的画风清新自然，没有过多的装饰和修饰，从而让观者感受到一种轻松、恬静的心情。\n\n总的来说，顾瑛的《秋山虚亭图》是一幅精美的山水画作，值得一看。",[24,7,165,128,132,133,208,29,8222,130,34,131,35,499,1429],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ae3bdef31feed66d361d23d9d2fdb34.jpg","69.5x39.4cm",[136],{"id":32919,"slug":32920,"title":32921,"dynasty":144,"author":223,"museum":244,"description":32922,"tags":32923,"thumbUrl":32925,"material":173,"size":32926,"collection":44,"collections":32927,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},216205,"han-yuan-lie-qi-tu-yi-ming-216205","寒原猎骑图","蕃骑游猎草原上，野兽惊骇逃窜。二骑追逐夹击一鹿，正挽弓欲射，最引人注目，成为画幅之焦点。画风与明画院之人马作品相近似。",[23,24,164,7,27,29,96,101,949,132,690,211,171,32924],"荒原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45faf22c49aa6873d7c5bff973cba879.jpg","75x98.5cm",[44],{"id":32929,"slug":32930,"title":32931,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":32932,"thumbUrl":32933,"material":278,"size":3888,"collection":84,"collections":32934,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":72},214981,"dao-zi-mo-bao-ren-wu-bai-miao-hua-4-yi-ming-214981","道子墨宝人物白描画-4",[23,1326,24,7,188,96,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F981c2994c92961b159052d82fbdd1ada.jpg",[],{"id":32936,"slug":32937,"title":32938,"dynasty":124,"author":125,"museum":2665,"description":29654,"tags":32939,"thumbUrl":32940,"material":278,"size":84,"collection":84,"collections":32941,"showCount":5,"zanCount":1998,"manualWeight":48,"mainColor":72},214924,"mo-hua-ce-3-shen-zhou-214924","墨花册-3",[23,164,24,7,128,1037,549,582,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9bc8e0e22c8ac2a3d56fdc5547b6ef7.jpg",[],{"id":32943,"slug":32944,"title":20347,"dynasty":32945,"author":8159,"museum":56,"description":32946,"tags":32947,"thumbUrl":32948,"material":84,"size":84,"collection":136,"collections":32949,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":32950},202796,"shan-shui-tu-zhou-huang-bin-hong-202796","近代","此作笔墨苍劲浑厚，山石以浓淡干湿的墨色层层积染，皴擦交错间尽显山峦嶙峋质感。山间云雾以留白与淡墨晕染相济，虚实相生，营造出深远空间层次。近景松枝挺劲，枯荣树木旁小桥横跨溪涧，几间屋舍隐于林麓，添生活意趣。整体构图疏密有致，墨色浓淡相宜，既见传统山水笔墨功底，又透自然野逸生机，尽显对山水意境的深刻体悟。",[24,7,165,128,132,29,1144,98,131,37,387,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25aacda9025fc8a3234c1b0924a10e3a.jpg",[136],"e1d9cb",{"id":32952,"slug":32953,"title":32954,"dynasty":18,"author":9468,"museum":244,"description":32955,"tags":32956,"thumbUrl":32957,"material":692,"size":1293,"collection":84,"collections":32958,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":49},290330,"hu-die-hua-zhou-yang-wu-jiu-290330","蝴蝶花轴","杨无咎（1097年～1171年）字补之，杨一作扬，一说名补之，字无咎。自号逃禅老人、清夷长者、紫阳居士。临江清江（今江西樟树市）人，寓居洪州南昌。绘画尤擅墨梅。",[24,7,165,61,128,27,25097,171,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faead7d623474f00490379551d5dc9d47.jpg",[],{"id":32960,"slug":32961,"title":32962,"dynasty":351,"author":6787,"museum":300,"description":32963,"tags":32964,"thumbUrl":32965,"material":692,"size":1293,"collection":84,"collections":32966,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":49},290234,"qing-feng-tu-ju-ran-290234","晴峰图","巨然，生卒年不详，江宁（江苏南京）人。五代画家，僧人。\n早年在南京开元寺出家，南唐降宋后到汴京（河南开封），居于开宝寺。\n擅画山水，师法董源，专画江南山水，所画峰峦 ，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。\n名下画作有《秋山问道图》《山居图》《萧翼赚兰亭图》《万壑松风图》《层岩丛树图》《秋山图》等传世。",[23,164,24,7,165,128,29,132,97,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f767646b504d76c3e289173b139511.jpg",[],{"id":32968,"slug":32969,"title":32970,"dynasty":54,"author":3403,"museum":300,"description":8089,"tags":32971,"thumbUrl":32973,"material":692,"size":1293,"collection":84,"collections":32974,"showCount":177,"zanCount":1998,"manualWeight":48,"mainColor":72},289901,"song-bai-tu-tu-li-zhou-wu-chang-shuo-289901","松柏图图立轴",[23,24,165,27,128,61,7,10701,374,1337,32972,208],"红果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe56dfc2b40298c3e1ad369a191abc33c.jpg",[],{"id":32976,"slug":32977,"title":32978,"dynasty":124,"author":223,"museum":300,"description":32979,"tags":32980,"thumbUrl":32983,"material":692,"size":1293,"collection":84,"collections":32984,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":49},288078,"xuan-zong-gui-fei-zou-di-tu-li-zhou-yi-ming-288078","玄宗贵妃奏笛图立轴","垂柳拂过嶙峋湖石，水榭临波，贵妃执笛缓吹，玄宗近身侧耳，目光沉醉。一旁乐师斜倚朱栏，击节相和。衣纹线条流转灵动，敷色古雅沉静，将人物神态尽数勾勒：贵妃温婉柔媚，玄宗含情脉脉，乐师随性悠然，复刻出盛唐宫苑宴乐的缱绻雅致。画作带着明代人物画的典型意韵，以细腻笔触铺陈出往昔宫廷的闲情柔意，古意悠然，余韵绵长。",[23,164,24,7,165,27,96,166,438,32981,4363,10701,249,29,32982,17480],"笛子","奏乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d70c31c909eb5fda8b5faa14daa6288.jpg",[],{"id":32986,"slug":32987,"title":32988,"dynasty":18,"author":397,"museum":300,"description":16463,"tags":32989,"thumbUrl":32990,"material":692,"size":1293,"collection":84,"collections":32991,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":49},287887,"la-mei-shan-qin-tu-tiao-se-ban-zhao-ji-287887","腊梅山禽图（调色版）",[164,24,7,61,28,27,371,374,211,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d0d2f2961bf6332e47e7b9d54b4b3d.jpg",[],{"id":32993,"slug":32994,"title":32995,"dynasty":54,"author":14080,"museum":300,"description":32996,"tags":32997,"thumbUrl":33000,"material":692,"size":1293,"collection":84,"collections":33001,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":49},287692,"han-gong-xia-jing-tu-zhou-yuan-yao-287692","汉宫夏景图轴","袁耀（生卒年不详，约活动于18世纪中期），字昭道，江都（今江苏扬州）人，袁江之子。生平资料很少，《画人补遗》一书中称其“山水楼阁尚能守家法”。工于山水楼阁界画，继承了唐宋及明代仇英青绿山水的画法。笔墨严整工细，设色艳丽浓郁，与父袁江同为清代界画代表人物。",[164,24,7,165,95,27,97,29,32998,32999],"汉宫","夏景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb42ed8a408f0df30581f8f5a9dfa90d7.jpg",[],{"id":33003,"slug":33004,"title":20401,"dynasty":351,"author":13305,"museum":20,"description":33005,"tags":33006,"thumbUrl":33007,"material":13960,"size":20405,"collection":318,"collections":33008,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":72},239562,"shen-xian-qi-ju-fa-juan-yang-ning-shi-239562","《神仙起居法》是杨凝式书写的古代一种健身，文体近似口诀。\n释文：\n“神仙起居法。行住坐臥處，手摩脅與肚。心腹通快時，兩手腸下踞。踞之徹膀腰，背拳摩腎部。才覺力倦來，即使家人助。行之不厭頻，晝夜無窮數。歲久積功成，漸入神仙路。乾祐元年冬殘臘暮，華陽焦上人尊師處傳，楊凝式(下一草押)。”\n后纸有宋米友仁，元商挺，清张孝思题记及无名氏行书释文5行。卷前右下角有明项元汴“摩”字编号。\n卷前后及隔水上钤有宋“紹興”、“內府書印”，明杨士奇、陈淳、项元汴，清张孝思、陈定、清内府等鑑藏印。\n此卷最早为宋高宗内府之物，后入贾似道手中，至明代曾经“江阴葛惟善收藏”(都穆《寓意编》)，《清河书画舫》又称“郡人王氏所藏”，明代为项元汴所有，至清代乾隆时进入内府。\n书法由唐到宋，杨凝式是一转折人物，苏轼评曰：“自颜、柳没，笔法衰绝。加以唐末丧乱，人物凋落，文采风流扫地尽矣。独杨公凝式笔迹雄杰，有二王、颜、柳之余，此真可谓书之豪杰，不为时世所汩没者。”\n此幅小行草书是杨凝式七十六岁时的作品，笔法劲逸，转侧多变。用墨浓淡相间，时有枯笔飞白。书字的结势于攲侧险劲中求平正，且行间字距颇疏，在继承唐代书法的基础上，以险中求正的特点创立新风格，尽得天真烂漫之趣。此书是杨凝式行草书传世作品的代表作，对宋代书法影响较大。\n明朱存理《铁網珊瑚》、都穆《寓意编》、张丑《清河书画舫》，清卞永誉《式古堂书画汇考》、顾复《平生壮观》、吴升《大观录》、清内府《石渠宝笈·三编》、胡敬《西清札记》等书有著录。",[23,7,25,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44e237cc505d706730d135436a94e02b.jpg",[318],{"id":33010,"slug":33011,"title":4991,"dynasty":54,"author":4992,"museum":300,"description":4993,"tags":33012,"thumbUrl":33013,"material":692,"size":1293,"collection":84,"collections":33014,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":72},239060,"shan-shui-hua-niao-ce-yang-jin-239060",[24,7,59,128,27,61,371,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa34cb2182d3697f907db91f24da4be04.jpg",[],{"id":33016,"slug":33017,"title":33018,"dynasty":54,"author":33019,"museum":300,"description":33020,"tags":33021,"thumbUrl":33022,"material":84,"size":84,"collection":68,"collections":33023,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":72},238160,"hong-wu-yang-ju-tu-ce-hong-wu-238160","弘旿洋菊图册","弘旿","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。封固山贝子，两次缘事革退，复赏封奉恩将军。能诗，工书、画，以三绝称。弘旿工画，师董邦达，自署瑶华道人，名与紫琼道人胤禧并。论者称其“山水得董、黄之妙谛。”永珠既夺爵 [1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。\n观其传世作品，似受董邦达影响为多。此卷笔墨秀润，细皴密擦，林麓滃郁华滋，功力不浅。卷末落“臣”字款，又自称“恭绘”，可见是进御之作。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆对这位同宗兄弟笔墨的赞许。但从流传的弘旿作品看，此卷却是其中极为精彩的一幅，且保存完好，值得珍视。",[24,7,59,28,27,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a5a4823fcb39f418b46b4852488828b.jpg",[68,45],{"id":33025,"slug":33026,"title":76,"dynasty":124,"author":16032,"museum":300,"description":20309,"tags":33027,"thumbUrl":33028,"material":692,"size":1293,"collection":68,"collections":33029,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":72},238114,"hua-hui-ce-xiang-sheng-mo-238114",[24,7,59,128,61,62,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d64ca3bfca453100e2eec44b78f1024.jpg",[68],{"id":33031,"slug":33032,"title":33033,"dynasty":54,"author":33034,"museum":300,"description":33035,"tags":33036,"thumbUrl":33037,"material":84,"size":84,"collection":68,"collections":33038,"showCount":177,"zanCount":1998,"manualWeight":48,"mainColor":72},238033,"bai-ding-lan-shi-ce-bai-ding-238033","白丁兰石册","白丁","白丁为云南人，明楚藩之裔，僧人。晚年为香海庵僧人本元当司书，八十余岁，殁于昆明。明亡，披剃游滇，居无定所。攻写兰，抒其心画，当与郑思肖、赵孟坚旷世同珍。亦能急就印章，自录一谱。本元曾为之序，今失。郑燮（郑板桥）谓其作画，不令人见，画毕微乾，用水喷噀，其细如雾。笔墨之痕，因兹化去。人以郑燮画兰学白丁，郑燮云：石涛和尚客扬州数十年，见其兰幅极多，学一半，撇一半，未尝全学也。诗曰：“十分学七要抛三，各有灵苗各自探。当面石涛还不学，何能万里学云南。” 《板桥集》、《书画纪略》、《滇南书画录》",[164,24,7,59,128,375,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54a27f24753f601b614b775dd8f1accc.jpg",[68],{"id":33040,"slug":33041,"title":33042,"dynasty":124,"author":16032,"museum":20,"description":33043,"tags":33044,"thumbUrl":33045,"material":1722,"size":33046,"collection":136,"collections":33047,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":72},237697,"fang-huang-gong-wang-shan-shui-zhou-xiang-sheng-mo-237697","仿黄公望山水轴","此画为仿古山水画，有黄公望遗风。本幅上自题：“曾见痴翁半张纸，不多数笔山与水。自然苍润有云烟，聊复从翁画如此。此为会嘉兄临黄子久半张纸，是画即藏李氏秘笈中。崇祯壬申二月晦日题于鹤梦轩，项圣谟。”钤印“项圣谟诗画”、“拙胜”等。",[24,7,165,330,132,128,133,29,663,413,171,35,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f7793cd0d1b4e78c00e3fefb6342305.jpg","43.7厘米，横：31厘米",[136,318],{"id":33049,"slug":33050,"title":33051,"dynasty":54,"author":3718,"museum":300,"description":10500,"tags":33052,"thumbUrl":33053,"material":692,"size":1293,"collection":84,"collections":33054,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":72},237366,"hong-ren-shan-shui-tu-zhou-hong-ren-237366","弘仁山水图轴",[24,7,165,128,132,29,167,130,171,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e2198db8b7023d2d9d377941e9c3aa1.jpg",[],{"id":33056,"slug":33057,"title":25447,"dynasty":54,"author":25448,"museum":20,"description":25449,"tags":33058,"thumbUrl":33059,"material":84,"size":84,"collection":84,"collections":33060,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":72},237115,"shi-nv-ce-cui-wei-237115",[24,7,59,28,27,96,166,170,169,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73a9e178aab2ac2740e50cc503c1b5e.jpg",[],{"id":33062,"slug":33063,"title":14496,"dynasty":124,"author":223,"museum":300,"description":33064,"tags":33065,"thumbUrl":33066,"material":151,"size":84,"collection":84,"collections":33067,"showCount":177,"zanCount":1998,"manualWeight":48,"mainColor":49},236285,"wang-zi-yuan-hua-niao-ce-yi-ming-236285","此作清疏留白，蜿蜒花枝斜斜舒展，粉紫碎花攒聚枝头，墨叶苍润古雅，晕染得宜。绣眼静栖枝梢，羽色晕染细腻柔和，尖喙微抬，侧目端详下方螳螂，灵动神态呼之欲出。翠色螳螂凝立花枝之上，身姿劲挺鲜活。\n\n画面静中藏动，将林间偶遇的刹那生机定格，设色雅致柔和，妍而不俗。工写结合的笔法兼具细腻与意趣，寥寥景致却尽显自然幽微意趣，带着平和隽逸的文人意韵，把郊野小景的灵动生机晕染纸上，尽显小品花鸟的雅致格调。",[24,7,59,27,28,61,355,62,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb8fffef29c538df923837946d854ac.jpg",[],{"id":33069,"slug":33070,"title":409,"dynasty":124,"author":21412,"museum":300,"description":33071,"tags":33072,"thumbUrl":33074,"material":84,"size":84,"collection":136,"collections":33075,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":72},235969,"shan-shui-ce-cheng-jia-sui-235969","此作用极简白描写就，古松枝干盘曲苍劲，松针攒簇尽显虬结风神，松下三人意态萧散，衣纹清瘦简括，将山林晤谈的幽雅氛围勾勒尽致。\n左侧题诗行书清隽疏朗，书画合璧浑融无间。整幅以少胜多，淡墨浅笔间，寄寓幽栖丘壑的林下襟怀，尽得简淡空灵之致，把林泉雅集的澹远意趣浓缩在尺素之上，尽显文人画以意驭笔、以韵胜形的审美意趣，藏雅逸之思于笔墨边角。",[24,7,59,188,128,133,1144,96,1424,33073],"童仆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d4b1c51b4c7439aeed9b8e939710c82.jpg",[136],{"id":33077,"slug":33078,"title":33079,"dynasty":54,"author":4083,"museum":300,"description":33080,"tags":33081,"thumbUrl":33082,"material":84,"size":84,"collection":44,"collections":33083,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":72},235773,"qing-chu-liu-da-jia-ji-ce-shan-shui-ye-wang-shi-min-235773","清初六大家集册-山水页","绢本水墨 纵112 横5.2厘米 清 代 绢本水墨 纵112 横5.2厘米 荡浮烟岚的峰峦冈岭，逶迤起伏连绵不断。\n山坳平坦处水榭、茅舍散落于林溪岸畔。\n近处的麓坡岸石，各种苍郁古茂的大树掩映着的草亭尤显幽静。\n上方题：“作画意在笔先，以得势为主….时康熙乙亥仲夏望后麓台祁”。\n王原祁（1642-1715年）字茂京，号麓台。\n江苏太仓人。\n王时敏之孙。\n擅山水，精鉴定，有“娄东派”之称。\n为清初六大家之一",[24,7,164,59,128,132,29,496,34,35,23873,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F711b08e8224858c05339fb7b788a52d4.jpg",[44,117],{"id":33085,"slug":33086,"title":33087,"dynasty":54,"author":22607,"museum":300,"description":33088,"tags":33089,"thumbUrl":33090,"material":84,"size":84,"collection":84,"collections":33091,"showCount":177,"zanCount":1998,"manualWeight":48,"mainColor":72},235674,"huang-shan-tian-dou-feng-tu-zhou-mei-qing-235674","黄山天都峰图轴","此作用高远章法铺陈景致，方折硬皴刻画嶙峋山石，层叠岩壁尽显峰峦雄崛之势。留白摹写空濛云海，衬出天都峰的高拔清逸。松下孤亭旁二人策杖对语，在雄奇山景晕染出世外幽意。\n题诗与山水相融，以书入画尽显新安画派灵秀苍劲。水墨晕染出清冷空寂的意境，既绘出黄山天险之姿，又寄寓画家对林泉高致的向往，笔致清隽，将自然奇绝与文人雅趣合为一体。",[24,7,164,165,128,132,29,30,37,130,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04c78ff500e4796524b4ff31de712606.jpg",[],{"id":33093,"slug":33094,"title":24299,"dynasty":54,"author":6946,"museum":20,"description":33095,"tags":33096,"thumbUrl":33098,"material":734,"size":84,"collection":84,"collections":33099,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":72},234153,"jiu-ge-tu-juan-ding-guan-peng-234153","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏(？-1771后)清代画家，艺术活动于康熙末期至乾隆中期，北京人。胡敬《国朝院画录》谓：“观鹏克传家学。”工道释、人物、山水，亦能作肖像，尤擅仙佛、神像，以宋人为法，不尚奇诡，画风工整细致，受到欧洲绘画的影响，学明代的丁云鹏笔法，有出蓝之誉。雍正四年(1726)进入宫廷为画院处行走，是雍正、乾隆朝画院高手，与唐岱、郎世宁、张宗苍、金廷标齐名。造诣深湛，得乾隆帝赏识，曾为《圣制诗》初集、二集、三集之多幅画卷题诗。在宫廷画院五十年左右，作品近二百件。传世作品有完成于乾隆三十二年(1767)《法界源流图》卷，纵33厘米，横1635厘米，该卷场面宏大，人物众多，描金设色，精细绚丽，为中国佛教艺术瑰宝、世界佛教艺术明珠，现藏吉林省博物馆；乾隆十三年(1748)作《乞巧图》卷藏上海博物馆；二十六年(1761)作《无量寿佛图》轴、《宝相观音图》轴藏故宫博物院；三十五年(1770)八月作《说法图》轴藏西柏林民俗博物馆。弟丁观鹤，亦供奉内廷，工人物。",[23,24,7,25,28,27,96,29,772,130,2048,950,33097,131,34,97,99,208],"雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46a6bd8c93261ba462ca762cf3d0505c.jpg",[],{"id":33101,"slug":33102,"title":33103,"dynasty":124,"author":2268,"museum":20,"description":11927,"tags":33104,"thumbUrl":33105,"material":734,"size":5345,"collection":84,"collections":33106,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":72},233961,"fang-gu-shan-shui-ce-dong-qi-chang-233961","仿古山水册",[24,7,59,133,64,208,27,132,29,34,131,499,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2597824fb0e8f717ef82a8d2784b338.jpg",[],{"id":33108,"slug":33109,"title":33110,"dynasty":54,"author":1460,"museum":20,"description":33111,"tags":33112,"thumbUrl":33113,"material":734,"size":33114,"collection":84,"collections":33115,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":72},233958,"yun-shan-tu-zhou-shi-tao-233958","云山图轴","此图轴是石涛晚年之作，此时他的山水画构图新颖大胆，出奇制胜，极尽含蓄隐约之妙。图中打破一层地、二层树、三层山的“三叠式”和北宋式的上留天、下留地、中间设景的构图程式，而是用“截取法”直接截取景致中最优美、最有代表性的一段。作者描绘半露的山体，树木间以水墨渍出云态，天空用淡墨渲染，以显现出云的白净和飘浮的动感。",[24,7,165,128,132,29,23820,37,131,34,1813,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8523eeee7217dae1b5bb91657e0c2417.jpg","纵45.1厘米，横30.8厘米",[],{"id":33117,"slug":33118,"title":33119,"dynasty":54,"author":9704,"museum":20,"description":33120,"tags":33121,"thumbUrl":33123,"material":734,"size":33124,"collection":84,"collections":33125,"showCount":177,"zanCount":1998,"manualWeight":48,"mainColor":72},233917,"yun-dong-liu-quan-tu-zhou-kun-can-233917","云洞流泉图轴","此图作于髡残53岁时。表现的是他晚年居地南京城郊牛首祖堂山幽栖寺一带的景致。本幅自题诗：“端居兴未索，觅径恣幽讨。沿流戛琴瑟，穿云进窈窕。源深即平旷，巘杂入霞表。泉响弥清乱，白石净如扫。兴到足忘疲，岭高溪更绕。前瞻峰如削，参差岩岫巧。吾虽忽凌虚，玩松步缥缈。憩危物如遗，宅幽僧占少。吾欲饵灵砂，巢居此中老。”此图尺幅不大，但具有宏伟壮阔的气势，构图严谨，虚实互衬，繁密的山石、林木与空疏的云、水、天构成疏密明暗的变化。运笔施墨张驰有度，粗犷娴熟，浓淡墨相宜，干湿笔相生，全图一气呵成，意境幽邃高远。此幅堪称髡残的精品佳作。",[24,7,165,29,132,128,27,950,15307,33122,1144,97,131,34,6433,495,500,758,38],"流泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62778fcf1da11e7c4313da023f47a86a.jpg","纵110.3厘米，横30.8厘米",[],{"id":33127,"slug":33128,"title":33129,"dynasty":54,"author":4083,"museum":20,"description":33130,"tags":33131,"thumbUrl":33132,"material":734,"size":33133,"collection":84,"collections":33134,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":72},233822,"qiu-shan-bai-yun-tu-zhou-wang-shi-min-233822","秋山白云图轴","图绘烟云浩渺、林木葱郁的雨后山景。据款题而知，此图是作者有感于“三伏生秋”之意于盛夏的雨后仿元人黄公望笔意所作的秋景图。王时敏自明崇祯五年（1632年）辞官归里后便潜心于对宋、元诸家绘画的研究，期间创作了大量摹仿黄公望的作品，此图便是其中一幅深得黄氏“浅绛”画风的力作。其笔法松秀灵动，色、墨富于变化而有层次，重叠交错的墨点更是将山形树貌有机地统一于高逸的境界中。\n款题：“己丑六月望，过西田村舍，毒热不异炮灼，僵卧挥汗，雠睨笔砚。适雨后稍凉，忆古人三伏生秋之句，戏作秋山白云图。虽曰摹仿大痴，实未得其脚汗气也，愧绝愧绝。王时敏识。”钤“王时敏印”白文印、“西田”朱文印。又题：“此余十年前所作，公瑕将以赠宿章道兄。复携见示，追忆挥汗舐笔时，宛然如昨。今年至力衰，百事慵懒，不复求旧管城公，诵少陵‘丹青不知老将至’之句，益深慨叹。辛丑子月时敏又题。”钤“烟客”、“儒斋”朱文印二方。“己丑”为清顺治六年（1649年），作者时年58岁。“辛丑”为清顺治十八年（1661年），作者时年70岁。",[24,7,165,128,27,29,132,8222,10851,34,131,499,711,415,9483,3857],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e0e8853100f701b1b8e23fd8d4e2ff.jpg","纵96.7厘米，横41厘米",[],{"id":33136,"slug":33137,"title":33138,"dynasty":18,"author":1622,"museum":20,"description":33139,"tags":33140,"thumbUrl":33141,"material":151,"size":33142,"collection":84,"collections":33143,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":49},233724,"kong-zi-xiang-tu-ye-ma-yuan-233724","孔子像图页","《孔子像》人物衣纹用笔为钉头鼠尾法，线长而劲利。孔子身着长袍,拱手而立,沉静肃穆，若有所思，神情十分生动。全图用秃笔写衣纹，简练概括，线条劲拔，寥寥数笔，形神毕现，设色浅淡，韵味高雅。",[24,164,7,59,188,96,170,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1051bbe0d77bafbd4cbd1e6129b59667.jpg","纵27.7厘米 横23.2厘米",[],{"id":33145,"slug":33146,"title":33147,"dynasty":18,"author":223,"museum":20,"description":33148,"tags":33149,"thumbUrl":33152,"material":514,"size":33153,"collection":84,"collections":33154,"showCount":177,"zanCount":1116,"manualWeight":48,"mainColor":49},233702,"za-ju-mai-yan-yao-tu-ye-yi-ming-233702","杂剧（卖眼药）图页","作品所绘内容为南宋杂剧《卖眼药》的场景，有关专家认为当是官本杂剧中的《眼药酸》。《武林旧事 卷十》 “官本杂剧段数”中有《眼药酸》剧名。此外，元末明初陶宗 仪《南村辍耕録 卷二十五》“院本名目”条下，于“诸杂大 小院本”名目中，载有十数种“酸”目。杂剧剧名中加“酸” 字多是以仕途无望的落魄文人为嘲弄对象的，《眼药酸》也不 例外。\n图中一人腰插一扇，中间开裂，上书一字似“浑”，可能 是插科打译、故意装傻的意思。此人臂肘间有“点青”，右手 指眼睛，左手握一板。另一人衣冠绘满眼睛图案，一手捏着眼 膏瓶，显然是在推销眼药。画幅右侧有一大鼓，仅见小半。是 图虽然绘制的是戏剧场景，但人物的动作、神态表现得非常到 位，体现了画家对当时市井生活的关注。另外，人物的服饰、 装扮对于研究宋代文化具有一定的参考价值。",[24,7,59,28,27,96,33150,33151,169],"杂剧","道具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b48906229f54e9cee3e09f49adeed54.jpg","高23.8厘米，宽24.5厘米",[],{"id":33156,"slug":33157,"title":33158,"dynasty":124,"author":3619,"museum":20,"description":33159,"tags":33160,"thumbUrl":33161,"material":1464,"size":33162,"collection":84,"collections":33163,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":72},233169,"wen-zheng-ming-yi-lan-shi-tu-juan-wen-zheng-ming-233169","文徵明猗兰室图卷","文徵明花鸟、人物、山水皆擅，尤其以山水画成就最高，虽然他到过北京，但毕竟居苏州为多，画园林小景尤真。绘画分为“粗”、“细”两种突出的风格。其中“细”画最具特色，成就也最高。\n此图构图严谨缜密，境界幽雅清旷，用笔精细而苍秀，无一笔随意，沉稳而文静，自成一种工秀清苍的风格。这正是文徵明细笔画的突出特征，也是明画不同于元画，更不同于宋画的突出特征。\n虽然文徵明细笔画精工细谨，为宋、元画所不及，但其笔墨的生动性却较宋、元画为逊色。虽有大幅、小幅、设色和水墨之别，大抵皆如此。",[24,7,25,128,28,64,133,208,1144,35,96,247,131,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c87cd8f162906ee461fcf682ad41ec4.jpg","纵26.3CM 横67CM",[],{"id":33165,"slug":33166,"title":33167,"dynasty":18,"author":791,"museum":300,"description":33168,"tags":33169,"thumbUrl":33170,"material":84,"size":84,"collection":84,"collections":33171,"showCount":177,"zanCount":1116,"manualWeight":48,"mainColor":49},232778,"xie-sheng-zhe-zhi-tu-juan-wu-bing-232778","写生折枝图卷","吴炳，毗陵武阳人（今江苏省常州市），南宋光宗绍熙年间(1190-1194)画院待诏。光宗皇后李氏爱其画，恩赉甚厚，赐金带。工画花鸟，元代夏文彦《图绘宝鉴》谓其画“写生折枝，可夺造化，彩绘精致富丽”。所作谨守院体画风格。画迹有《春池睡鸭图》《山茶鹁鸽图》《鸳鸯瑞莲图》《宝珠玉蝶图》《折枝绛桃图》《折枝芍药图》《鸡冠花图》《玫瑰图》《长春图》《水仙图》等43件，著录于《南宋院画录》，均“简易有生趣”，“精彩如生”。",[23,164,24,7,25,28,27,2166,290,61,949,806,11331,4278,481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F735550480f9fac0df96afc47240de032.jpg",[],{"id":33173,"slug":33174,"title":33175,"dynasty":124,"author":802,"museum":161,"description":33176,"tags":33177,"thumbUrl":33178,"material":514,"size":33179,"collection":84,"collections":33180,"showCount":177,"zanCount":1086,"manualWeight":48,"mainColor":72},232645,"xuan-wen-jun-shou-jing-tu-chen-hong-shou-232645","宣文君授经图","据画面题款，是崇祯十一年（1638）陈洪绶（1598－1652）以前秦宣文君授经典故为姑母创作的祝寿图。画面正中端坐一位老年女性人物，她身后竖立的屏风上绘有一幅青绿山水。除山水画中常见的山峦、树石、溪水和人物等图像元素，画面还同时绘有圆日和弯月，让人不禁揣测它们的象征含义。\n宣文君（283~？），姓宋氏，前秦女经学家，名失传，籍贯不详。太常韦逞之母。家传周官学。苻坚曾令学生一百二十人从她受业，使周官学得以保存流传，成为中国古代历史上第一位女博士。时人称为“宣文君”。",[24,7,165,28,27,96,29,34,950,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd69d4b5e9e2797593d6accf0773b104f.jpg","172.8×55.7cm",[],{"id":33182,"slug":33183,"title":33184,"dynasty":182,"author":7435,"museum":300,"description":33185,"tags":33186,"thumbUrl":33187,"material":84,"size":84,"collection":84,"collections":33188,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":49},232633,"huai-su-guo-zhong-tie-huai-su-232633","怀素过钟帖","前人写狂草，往往先来一大壶，半醉半醒，醉眼迷离，然后便笔走龙蛇，一气呵成。\n在这种状态下比较突出的两位，是唐代的怀素和张旭，后世有“张颠素狂”或“颠张醉素”之称，张旭史称草圣。、\n而怀素也同样是中国历史上杰出的书法家，他的草书称为狂草，用笔圆劲有力，使转如环，奔放流畅，和张旭齐名。可以说是古典的浪漫主义艺术，对后世影响极为深远。\n怀素能诗，与李白、杜甫、苏涣等诗人都有交往。好饮酒，每当饮酒兴起，不分墙壁、衣物、器皿，任意挥写，时人谓之“醉僧”。\n怀素的草书有《自叙帖》、《苦笋帖》、《食鱼帖》、《圣母帖》、《论书帖》、《大草千文》、《小草千字文》、《四十二章经》、《千字文》、《藏真帖》、《七帖》、《北亭草笔》等等。而《过钟帖》是怀素的草书作品之一\n释文：右軍云吾真書過鍾，而草故不減張僕，以為真 不如鍾，草不及張，所為世之，所重以 其能，懐素書之不足以為道，其言當不虚也 。",[23,64,7,1590,5380,840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F347d2d99acd4fd911a14f4f1d935f8d1.jpg",[],{"id":33190,"slug":33191,"title":33192,"dynasty":124,"author":28443,"museum":12686,"description":33193,"tags":33194,"thumbUrl":33195,"material":1223,"size":33196,"collection":84,"collections":33197,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":72},231568,"zhu-lin-mao-wu-tu-song-ke-231568","竹林茅屋图","作者通过画面，将文人隐逸山林，抒发情思的自娱、适意、消遣的感情表达了出来。画家用笔畅健雄放，笔锋洒脱，多法李成；破笔焦墨点苔，则从董、巨而来。",[23,24,7,25,128,29,167,711,34,131,64,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cb4e1d6245dcb71a7735c7e31eea1c0.jpg","25.5×110cm",[],{"id":33199,"slug":33200,"title":33201,"dynasty":54,"author":1242,"museum":300,"description":33202,"tags":33203,"thumbUrl":33204,"material":84,"size":84,"collection":84,"collections":33205,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":72},230234,"mo-xi-tu-ce-jin-nong-230234","墨戏图册","这幅画以淡墨轻色晕染出初夏庭院的闲静意趣。垂拂的柳丝漫过墙头，池面散落点点花片，廊间文士负手凭栏，将心神沉溺在眼前景致里。画面与题诗相映，把荷开新晴后的慵懒缱绻缓缓晕开。\n\n简淡的线条勾勒出人物与庭院轮廓，浅施色彩晕染出江南空濛柔婉的氛围，形简而意足。将文人闲居的清雅心境藏在笔底，淡而有味，静中生情。松弛的书卷气漫在画面里，寥寥数笔便揉进中式文人的隐逸闲情，把江南初夏独有的缱绻诗意铺展开来，尽显文人画以意取胜的妙处，藏着日常闲居的松弛意趣，耐看又动人。",[24,7,59,128,27,208,64,96,81,4363,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc85b2036e93ac5dade0ec531e29c266f.jpg",[],{"id":33207,"slug":33208,"title":33209,"dynasty":54,"author":1219,"museum":300,"description":33210,"tags":33211,"thumbUrl":33212,"material":84,"size":84,"collection":84,"collections":33213,"showCount":177,"zanCount":1998,"manualWeight":48,"mainColor":72},230125,"hua-hui-tu-ce-12-zhen-ren-yi-230125","花卉图册12帧","此作用笔兼工带写，以朱砂点簇秋实，圆厚鲜活，仿佛能触到饱满生机。浓墨绘叶，焦墨勾筋，苍劲朴拙，和淡墨晕染的湖石形成强烈的虚实对照。右侧留白疏朗空灵，衬出花木蓬勃意态。设色艳而不妖，朱红、浓墨与浅灰层次分明，将秋果鲜活与湖石清寂相融，既有写生的生动写实，又兼具文人写意的疏放洒脱，把花木生机与清雅文心合而为一，尽显雅致灵动的画中逸趣。",[24,7,59,27,128,61,171,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F745db1e5257ed10b6f6364e406e8c5a4.jpg",[],{"id":33215,"slug":33216,"title":23515,"dynasty":54,"author":16573,"museum":300,"description":33217,"tags":33218,"thumbUrl":33219,"material":84,"size":84,"collection":84,"collections":33220,"showCount":177,"zanCount":1116,"manualWeight":48,"mainColor":72},230114,"ren-wu-tu-ce-sun-huang-230114","此作为圆光小品，以柔婉笔致勾勒春闺闲景。垂柳丝绦轻曳，梅枝缀花斜伸，归燕剪破柔空，晕开春日融融暖意。两位仕女依偎苍奇湖石，衣袂舒展如云，侧身絮语、含笑倾听，将深闺密友间的亲昵静好藏在眉眼唇角。设色清润雅致，线条秀逸细腻，湖石皴染苍润兼具，花木点染鲜活灵动，将江南春景的柔媚与闺中女子的温婉心绪相融，把寻常闺间闲情晕染出淡远诗意，尽显小品仕女画的雅致情致。",[24,7,59,28,27,96,166,171,211,4363,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd52a6a6b3652582c52ba826c2e362e90.jpg",[],{"id":33222,"slug":33223,"title":33224,"dynasty":144,"author":8127,"museum":300,"description":33225,"tags":33226,"thumbUrl":33227,"material":84,"size":84,"collection":84,"collections":33228,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":49},228162,"fu-rong-hua-tu-ye-wang-yuan-228162","芙蓉花图页","以水墨写就芙蓉，淡墨晕染花瓣，层层铺陈间将柔媚蓬松的花态尽显，花瓣边缘虚淡朦胧，如带清露。浓墨绘叶，枯笔勾勒叶脉，晕分出叶片阴阳向背之态，枝叶舒展错落，尽显芙蓉清妍雅致之姿。\n\n画面间题诗错落排布，朱红印章点缀其间，诗画合璧，褪去设色浓丽，以素净水墨尽现芙蓉秀润风骨，尽显尚意简淡的审美意趣，将文人情思融于笔墨意趣之中，清雅脱俗，余韵悠长。",[24,7,59,128,28,61,373,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9168b45b7cbef3fdbda8ee446bb21498.jpg",[],{"id":33230,"slug":33231,"title":33232,"dynasty":18,"author":223,"museum":300,"description":33233,"tags":33234,"thumbUrl":33235,"material":84,"size":84,"collection":84,"collections":33236,"showCount":177,"zanCount":1998,"manualWeight":48,"mainColor":49},227922,"cao-tang-xiao-xia-tu-yi-ming-227922","草堂消夏图","石青石绿晕染出山居底色，古雅沉静。茅舍临波而建，蕉叶舒展、修竹藏幽，枯木疏朗点破夏寂，水色澹澹漫过阶前，将暑热涤荡一空。\n\n屋内二人对坐清谈，案间茶卷相依，不必摇扇，林泉间的幽凉便漫进草堂。笔墨工秀柔润，把夏日山居的闲静雅致铺陈开来，将耽于林泉、忘忧消暑的隐逸意趣藏在尺幅团扇里，满是冲淡安和的林下之风，尽显清旷襟怀。",[23,24,7,1131,27,28,29,96,331,167,171,711,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08840f39db0cf9f63dbb5ad9f829aaed.jpg",[],{"id":33238,"slug":33239,"title":8581,"dynasty":18,"author":1174,"museum":300,"description":33240,"tags":33241,"thumbUrl":33242,"material":84,"size":84,"collection":84,"collections":33243,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":49},227774,"mu-niu-tu-li-tang-227774","李唐牧牛图，绢本， 61X63cm ，北京故宫博物院藏。鉴藏印：奉使之印、项元汴印、退密、仙客、子京所藏、项墨林父秘籍之印、蔗田珍玩、项叔子、叶蔗田珍赏章、蔗田曾藏识者宝之、平生珍赏、畊霞溪馆、虚斋审定书画名迹 钤印：苏氏文印、西磵云樵、昌龄、苏。",[23,164,24,7,29,96,102,331,27,128,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cc523ca70a1e521c7a8b3535a78de55.jpg",[],{"id":33245,"slug":33246,"title":33247,"dynasty":18,"author":633,"museum":300,"description":29853,"tags":33248,"thumbUrl":33249,"material":84,"size":84,"collection":84,"collections":33250,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":49},227730,"dong-ting-qiu-yue-tu-xiao-xia-gui-227730","洞庭秋月图（小）",[23,24,164,7,165,128,29,231,331,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706adea0be21d3e2be8c5b05315e7cc4.jpg",[],{"id":33252,"slug":33253,"title":33254,"dynasty":326,"author":8778,"museum":300,"description":33255,"tags":33256,"thumbUrl":33257,"material":84,"size":84,"collection":84,"collections":33258,"showCount":177,"zanCount":1998,"manualWeight":48,"mainColor":72},227045,"zhong-qiu-tie-wang-xian-zhi-227045","中秋帖","《中秋帖》，传为晋王献之书，纸本，手卷，纵27厘米，横11.9厘米。\n《中秋帖》是著名的古代书法作品，曾被清高宗弘历（乾隆皇帝）誉为“三希”之一，意即希世珍宝。\n行草书3行，共22字，释文：\n“中秋不復不得相還爲即甚省如何然勝人何慶等大軍。”\n无署款。\n《中秋帖》是《宝晋斋法帖》所刻的王献之《十二月割帖》的不完全临本，原帖在“中秋”之前还有“十二月割至不”六字。帖用竹料纸书写，这种纸东晋时尚制造不出，约到北宋时方出现。从行笔中可知，所用毛笔是柔软的无心笔，而晋朝使用的是有心硬笔，吸水性较差，笔的提、按、转折往往不能灵活自如，常出贼毫，如此帖那种丰润圆熟、线条连贯、行气贯通、潇洒飘逸的效果是写不出来的。清吴升《大观录》云：“此迹书法古厚，墨采气韵鲜润，但大似肥婢，虽非钩填，恐是宋人临仿。”据当代书画鉴定家研究，大多认为是宋米芾所临，故同样宝贵。\n卷前引首清高宗弘历行书题“至寶”两字。\n前隔水乾隆御题一段。\n帖正文右上乾隆御题签“晉王獻之中秋帖”一行。\n卷后有明董其昌、项元汴，清乾隆帝题跋，并附乾隆帝、丁观鹏绘画各一段。\n卷前后及隔水钤有宋北京“宣和”内府、南宋内府，明项元汴、吴廷，清内府等鑑藏印。\n此帖曾经宋代宣和、绍兴内府，明项元汴，清内府收藏。民国时由敬懿皇贵妃携出宫外，流散民间，由郭葆昌拥有，再转予其子郭昭俊。后与王珣《伯远帖》一起被典当于香港一家外国银行。1951年底，典当期将满时，国外有人意图购获，周恩来总理闻讯，当即指示有关部门购回，入藏故宫博物院。\n宋内府《宣和书谱》、明张丑《清河书画舫》、《清河见闻表》、《清河秘箧表》、汪砢玉《珊瑚网书跋》，清顾復《平生壮观》、卞永誉《式古堂书画汇考》、吴升《大观录》、内府《石渠宝笈·初编》等书著录。",[23,64,133,25,7,208,27,96,34,276,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82a2dbb0797a6f684a6a878caebc856.jpg",[],{"id":33260,"slug":33261,"title":33262,"dynasty":54,"author":1460,"museum":300,"description":33263,"tags":33264,"thumbUrl":33265,"material":84,"size":84,"collection":84,"collections":33266,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":72},224519,"shan-shui-tu-ce-8-kai-6-shi-tao-224519","山水图册8开-6","此作以极简笔墨铺陈林泉幽境，虬松苍劲盘曲，焦墨攒写松针，古拙老辣尽现岁寒风骨。茅舍板桥轻勾淡染，野朴天真。浅赭花青晕染远山，留白代水，虚实相生间漾开空濛淡远的烟岚之气。\n\n桥头渔翁寥寥数笔，便勾画出垂纶忘机的闲淡模样，暗合寄情丘壑、与世无争的林下襟怀。全幅笔致纵逸灵秀，以水墨浅绛写就幽居逸趣，淡而愈远，简中见雅，将文人幽栖林泉的意趣藏入每寸笔墨，悠悠然漾出静穆清和的林下之风。",[23,164,24,7,59,128,132,29,98,711,1144,1350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47caab48b06d630ce9946e368b7e7336.jpg",[],{"id":33268,"slug":33269,"title":33270,"dynasty":54,"author":3750,"museum":20,"description":33271,"tags":33272,"thumbUrl":33273,"material":40,"size":33274,"collection":136,"collections":33275,"showCount":177,"zanCount":1998,"manualWeight":48,"mainColor":49},224483,"ling-shang-bai-yun-tu-wang-jian-224483","岭上白云图","图绘山峦叠嶂，树木茁壮葱茏，山间、山脚处民居隐现，坐落于此犹如世外桃园，画面布局充实繁密，山石画法以黄公望为宗，于披麻皴后又用横点叠皴，或勾或点，各具风姿。笔法圆润，浓墨点苔。风格古朴高雅，具有大气淳厚之感，是幅不可多得的佳作。",[23,24,7,165,27,29,132,663,10851,413,130,97,497,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dcc8e3e142af285a644cc82cafaa371.jpg","143.7x50.6cm",[136],{"id":33277,"slug":33278,"title":33279,"dynasty":54,"author":9529,"museum":300,"description":33280,"tags":33281,"thumbUrl":33282,"material":84,"size":84,"collection":84,"collections":33283,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":72},224455,"shan-shui-zhu-lan-he-yan-wen-gui-wang-hui-224455","山水朱兰和燕温归","此卷以全景铺展山水胜境，云气氤氲缠绕峰峦洲渚，虚实相生间划分出悠远层次。山石以披麻皴写就，皴染兼施，苍润浑厚又不失秀雅，丘壑繁复却井然有致。\n林麓水岸错落村居渔舍，江面渔舟泛波，松岩深处隐现山寺塔影，烟火意趣融于林泉丘壑间。画作兼具宋元山水笔墨意韵，将可居可游的文人理想寄于卷中，徐徐铺展出清旷淡远的水墨江山，尽显江南山水空濛灵秀之致。",[23,24,7,25,27,132,29,663,228,413,1337,2048,33,130,387,211,495,37,131,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e4828d72b42a0bf1f9867b188e3185f.jpg",[],{"id":33285,"slug":33286,"title":2616,"dynasty":144,"author":223,"museum":20,"description":33287,"tags":33288,"thumbUrl":33289,"material":514,"size":33290,"collection":42,"collections":33291,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":956},223604,"qiu-shan-xing-lv-tu-yi-ming-223604","全图结构图清晰，便于查看。如果从下到上，根据景物的类型和排列方式和画家的描绘，将图片分成两组显示，三个部分在一个小概览中查看。画面会发现，这幅画气势磅礴，动感十足，透视感极深。首先，这幅画有一个从下面看的视角。创作者应该在这样的山脚下作画，在这样的山脚下作画，给观者一种真实的感觉。其次，这幅画的画面感不是很强，因为它也有深度感。如果你仔细观察，你会捕捉到无数小场景，包括天坑。例如，树木进入若隐若现的亭台、台阶、围栏等，给观者一种未来的无限视觉体验。\n一开始的山间小路，路​​上的行人等等，这些照片的全图空间把辫子拉得很好，在画面的空间和空间上进行了借鉴，让画面变得生动和对透气性的向往。你看到的是它带来的良好的中间立场。简练却又很写实，如尖山亭，是对亭子的细致刻画，笔触细腻，顶景近楼勾勒。三种节奏，给画面带来强烈的节奏感，这也是大师的心声。\n最真实的秋天很轻松。通过分析图片，不难发现，这幅《山间游记》与西方的素描是一样的。对象有近、大、远、小、近、近、细、统一。光源从哪里来。画底的山石，墨色深沉，体量大，影重。像山和树一样，墨色淡，整体不大，但也画了一个简单的介绍，而不是看风景的内在特征和魅力。例如，在风景部分，山的稍左侧和受光面部分较远，可能是朝阳的一面，所以墨色会低于光面，数字污渍会相对少一些。\n这样，在远景中，山体被许多朴素的松树压缩，使山体的一部分具有想象性和结构性，从而在画面中产生特定的整体统一感，真实而不冲动的视觉效果。仔细观察，你会发现，这些松树虽然是画出来的，但也能描绘出来。在统一中，各有特色，做到内涵丰富、厚度小、特殊性强，值得观者细细品味。\n还有一件事值得学习。中间作画的方法和水墨的轻快关系到景物的画和轻快。例如，岩石的长度被薄片覆盖，厚厚的大岩石被卷云薄片覆盖。树的种类为浅墨色，用较重的墨色挤压浅墨画，打开空间和树木之间的杂乱空间，避免树木之间的杂乱群落。凭借精湛的包装，观众拥有精致的视觉体验。\n如果用诗词介绍来形容整幅画，“枯藤老树昏鸦，小桥流水一家”。 “主题是艺术家用精湛的手工技艺和浪漫诗意的艺术创作观者，并附上了细致而巧妙的《秋山之旅》。",[23,24,7,128,27,132,29,496,131,34,1337,129,6639,1645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1647631e1d4bc460e54daf2facef359.jpg","161*112厘米",[42,136,117],{"id":33293,"slug":33294,"title":33295,"dynasty":144,"author":223,"museum":20,"description":33296,"tags":33297,"thumbUrl":33299,"material":611,"size":33300,"collection":84,"collections":33301,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":72},223560,"yu-lan-guan-yin-tu-yi-ming-223560","渔篮观音图","鱼篮观音是三十三观音相之一，脚踏鳌背，手提盛鱼的竹篮或手提鱼篮的民间少妇形象，因是马郎之妇，故别名唤作”马郎妇观音“。\n佛教中三十三观音之一。手持鱼篮。明宋濂有《鱼篮观音像赞》：“序按《观音感应传》：唐元和十二年（公元817年），陕右金沙滩上有一美艳女子，絜篮鬻鱼，人竞欲室之。女曰：‘妾能授经，一夕能诵《普门品》者，事焉。’黎明，能者二十。女辞曰：‘一身岂堪配众夫邪！请易《金刚经》，如前期。’能者复居其半。女又辞，请易《法华经》，期以三日。惟马氏子能。女令具礼成婚。入门，女即死，死即糜烂立尽，遽瘗之。他日，有僧同马氏子启藏观之，惟有黄金锁子骨存焉。僧曰：‘此观音示现以化汝耳。’言讫飞空而去。自是陕西多诵经者。“",[23,164,24,7,165,187,96,128,188,64,208,33298],"篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc18d37597ee238c26ceb0b013f0ee58.jpg","82.1x32",[],{"id":33303,"slug":33304,"title":33305,"dynasty":54,"author":5879,"museum":244,"description":33306,"tags":33307,"thumbUrl":33308,"material":637,"size":33309,"collection":136,"collections":33310,"showCount":177,"zanCount":1998,"manualWeight":48,"mainColor":72},223130,"zi-hua-xiang-hua-yan-223130","自画像","本幅自题：“新罗山人小景。嗤余好事徒，性耽山野僻。每入深谷中，贪玩泉与石。或遇奇邱壑，双飞折齿屐。翩翩排烟云，如翅生两腋。此兴四十年，追思殊可惜。迩来筋骨老，迥不及畴昔。聊以孤松唫，闭之蒿间宅。洞然窥小牖，寥萧浮虚白。炎风扇大火，高天苦燔炙。倦卧竹筐床，清汗湿枕席。耶得踏层冰，散发倾崖侧。其坐捉笔砚，写我躯七尺。嬴形侣鹤臒，峭兀比霜柏。俯仰绝尘境，晨昏不相迫。草色荣空春，苔纹华石壁。古藤结游青，寒水浸僵碧。悠悠小乾坤，福地无灾厄。雍正丁未长夏新罗山人坐讲声书舍戏墨。”钤“秋岳”、“华岩”。引首钤“小园”，右下钤“离垢”。“雍正丁未”为1727年，华岩时年46岁。\n华岩是一位来自民间的画家，曾流寓杭州，结识了浙东学者历鄂、吴石仑等人，这些友人多是不慕荣利、安贫乐道的文人，在他们的影响下，华岩潜心诗文书画，获得了“诗书画三绝”的美誉。为了谋生，他曾经历仕途，但目睹官场的种种不平，终于放弃仕宦，往来于杭州与扬州之间，以卖画为生，并结识了“扬州八怪”等画家。75岁病逝。华岩一生贫苦，他在画中以“笔端刷却世间尘”，全心表现对大自然的美好感受。他游历甚多，眼界开阔，为许多画家所不及。此图为一件即兴之作，描绘了暑夏之时，华岩身着夏衫，半敞衣襟，优游林泉的欣悦之情。他倚石盘膝，临泉而坐，左手拈须，右手抚石，意态闲暇。身后山石高耸，深青色的古藤缠绕着峰峦，远处瀑布羸垂岩而下，汇流成河。读其诗，更使人感受到作者热爱自然、超然离垢的情怀。图中的人物肖像写实而又带有写意的意味，造型略有夸张，与作者其他的人物画有相似之处，如《天山积雪图》(北京故宫博物院藏)等。此图线条简练，随意潇洒，笔调疏简，追求一种文人意趣，具有雅俗共赏的独特风格。",[23,24,7,165,128,369,96,29,497,495,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F618e9659c8ac72917cca6831b14c9888.jpg","纵130.5厘米，横50.7厘米",[136,117],{"id":33312,"slug":33313,"title":33314,"dynasty":54,"author":33315,"museum":300,"description":33316,"tags":33317,"thumbUrl":33318,"material":611,"size":33319,"collection":318,"collections":33320,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":72},223125,"shu-hua-ce-ye-ji-gui-zhuang-223125","《书画册页》-寄","归庄","归庄（1613年8月29日——1673年10月1日） ，明末清初书画家、文学家。一名祚明，字尔礼，又字玄恭，号恒轩，又自号归藏、归来乎、悬弓、园公、鏖鏊钜山人、逸群公子等，昆山（今属江苏）人。明代散文家归有光曾孙，书画篆刻家归昌世季子，明末诸生，与顾炎武相友善，有“归奇顾怪”之称，顺治二年在昆山起兵抗清，事败亡命，善草书、画竹，文章胎息深厚，诗多奇气。有《玄弓》《恒轩》、传世者名《归玄恭文钞》《归玄恭遗著》。",[23,304,7,4437,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0175a63c532bdaa1c34eaf797535b8ec.jpg","纵24.5厘米，横35.5厘米",[318],{"id":33322,"slug":33323,"title":33324,"dynasty":54,"author":23303,"museum":20,"description":33325,"tags":33326,"thumbUrl":33327,"material":637,"size":33328,"collection":136,"collections":33329,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":49},223103,"san-xi-tang-ji-yi-tu-dong-bang-da-223103","三希堂记意图","图为人物故事题材，以山水、楼阁作为环境衬托。画以水墨为主，略作淡设色，笔墨清朗，儒雅涵蓄，富文人画韵致。史上关于王氏父子的故事有很多，此图即表现其中一则。据传，王献之自幼学书甚勤，全神贯注。王羲之趁其不备从身后欲拔其手中之笔，却未提起，于是称赞他握笔有力。图中，献之神态端凝，伏案作书，羲之正欲提笔，人物生动，画面情节性很强",[23,24,7,29,128,132,131,34,495,130,758,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01542a4359a4273ef1ba982d468592bb.jpg","纵201.5cm，横154cm",[136,117],{"id":33331,"slug":33332,"title":33333,"dynasty":54,"author":3820,"museum":300,"description":33334,"tags":33335,"thumbUrl":33336,"material":1722,"size":33337,"collection":84,"collections":33338,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":72},222622,"shan-shui-shan-mian-3-gong-xian-222622","山水扇面-3","龚贤（1618-1689年），一名岂贤，字半千，号半山野人，江苏昆山人，寓居南京（今江苏南京）。擅画山水，用墨层层染渍，独创一格。为“金陵八家”之首。\n龚贤在明朝末年曾参与“复社”力图改变时弊，入清后不好仕进，以鬻画、课徒为生。康熙六年（1667年），龚贤在南京清凉山下隐居，筑半亩园，不履市井，潜心研习山水画创作，著有《香草堂集》、《画诀》、《龚半千授徒画稿》等著作。\n全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。龚贤的绘画技法远追五代董源、宋代米氏父子、元代吴镇的绘画风格而自成一家。从龚贤书于卷尾的落款看，他在创作此卷时借鉴了沈周、文徵明的笔墨意韵。是卷作于康熙廿三年（1684），作者时年67岁。",[23,24,7,1131,128,132,29,130,413,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f6191e681c7f9801e2bd66e8502b32f.jpg","纵22.7厘米，横63.1厘米",[],{"id":33340,"slug":33341,"title":33342,"dynasty":124,"author":125,"museum":244,"description":33343,"tags":33344,"thumbUrl":33346,"material":84,"size":84,"collection":68,"collections":33347,"showCount":177,"zanCount":1998,"manualWeight":48,"mainColor":72},222126,"jiao-yin-qin-si-tu-shen-zhou-222126","蕉阴琴思图","一块长形的太湖石，一株高大翠绿的芭蕉，下坐一名高士扶琴静思，左上题诗日：“焦下不生暑，坐生知古心。抱琴未须鼓，天地自知音。”落款长洲沈周。整幅作品笔简意赅，虽墨点无多却意蕴凿凿、余味深长，布局与《秋林独步图》如出一辙，其悠然自得之情跃然方寸。",[23,164,24,7,1131,128,27,96,171,33345,438,64,208],"蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebd64831ee8b273146574817aaefdc3.jpg",[68,45],{"id":33349,"slug":33350,"title":33351,"dynasty":124,"author":33352,"museum":2068,"description":33353,"tags":33354,"thumbUrl":33355,"material":33356,"size":33357,"collection":136,"collections":33358,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":49},221876,"shan-shui-tu-bi-geng-yuan-gao-ran-hui-221876","山水图(笔耕园）","高然晖","《笔耕园》是将室町时代（1336年－1573年，当时倭寇开始在我国为祸，大量文物自此流失）及以后舶来的中国画汇集而成的手鉴。\n《笔耕园》收录作品60幅，其主题、画法和样式各异，并据此在各图上加有不同画家的名字，其中不乏南宋名家的佳作，还有一些其他朝代品质极高的作品。",[23,24,7,128,132,29,98,99,129,131,37,34,499,1515],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b47ef1948cd9cb76d6fe494279e3f24.jpg","纸本墨画","24.3×33.2",[136,117],{"id":33360,"slug":33361,"title":33362,"dynasty":144,"author":14748,"museum":300,"description":33363,"tags":33364,"thumbUrl":33365,"material":611,"size":13832,"collection":68,"collections":33366,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":72},221722,"san-hua-tu-juan-zhao-zhong-221722","三花图卷","赵衷，元代画家。生卒年不详，主要活动于元至正年间。字原初，号东吴野人，嘉兴（今浙江嘉兴）人，一作吴江（今江苏吴江）人。世本业医，能篆、隶，善画白描人物。山水、花卉，无所不能，有白描兰亭图。至正元年（一三四一）作墨花图。《书史会要、石渠宝笈、唐五代宋元名画选》",[23,24,7,25,188,128,61,263,374,828,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250f7b82e15859ba7790be28f7ad50c3.jpg",[68,117],{"id":33368,"slug":33369,"title":3810,"dynasty":18,"author":2141,"museum":244,"description":33370,"tags":33371,"thumbUrl":33372,"material":253,"size":33373,"collection":44,"collections":33374,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":49},221542,"tian-nv-xian-hua-tu-liu-song-nian-221542","此图中天女手捧花蓝，边舞边散，对面菩萨神情安逸，微笑观看，周围几位罗汉则已被天女的舞姿所吸引，面露欣赏之色。图中除了菩萨头戴宝冠，身披璎珞，保持了传统的造型特点以外，其余形象都似由凡尘中人脱胎而来，具有写实生动的效果。图中布局疏密有致、离合有序。线条或刚或柔，表现出衣衫的不同质感。设色以沉稳为主，又以朱砂色来体现天女青春活泼的体态。画面动静结合，不着背景，给人无穷想象。",[23,164,24,7,187,28,27,96,170,232],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe66806babaf8bdf9bd7dde7e14a74581.jpg","纵40.0公分，横58.0公分",[44],{"id":33376,"slug":33377,"title":33378,"dynasty":18,"author":7264,"museum":20,"description":16125,"tags":33379,"thumbUrl":33380,"material":1722,"size":16129,"collection":84,"collections":33381,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":72},221484,"yun-shan-mo-xi-tu-mi-you-ren-221484","云山墨戏图",[23,24,7,25,128,29,37,34,30,132,133,208,64,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66167bb6cc21347584025b2d972b0ccf.jpg",[],{"id":33383,"slug":33384,"title":32269,"dynasty":144,"author":569,"museum":161,"description":32270,"tags":33385,"thumbUrl":33386,"material":1027,"size":84,"collection":117,"collections":33387,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":72},220871,"zhu-shi-you-lan-tu-juan-zhao-meng-fu-220871",[23,164,24,7,25,9717,133,64,188,167,1314,375,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf614e4a0ea6966b60de3926e9843bdd.jpg",[117,1670],{"id":33389,"slug":33390,"title":33391,"dynasty":144,"author":569,"museum":20,"description":33392,"tags":33393,"thumbUrl":33394,"material":561,"size":33395,"collection":44,"collections":33396,"showCount":177,"zanCount":1998,"manualWeight":48,"mainColor":49},220847,"du-fu-xiang-zhou-zhao-meng-fu-220847","杜甫像轴","本幅为白描画杜甫戴笠独行侧身像，用笔简洁、遒劲有力、笔墨转换自然流畅，所绘人物造型准确，表情自然生动，衣纹衣带之描绘颇得吴道子之衣钵。明初人题谓赵孟頫画。",[23,24,7,165,188,128,96,170,208,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dfa5a00fd8c25671db7e337cf330657.jpg","250cmx61厘米",[44,117],{"id":33398,"slug":33399,"title":33400,"dynasty":54,"author":33401,"museum":6892,"description":33402,"tags":33403,"thumbUrl":33404,"material":33405,"size":33406,"collection":136,"collections":33407,"showCount":177,"zanCount":1998,"manualWeight":48,"mainColor":84},220734,"xun-qin-tu-huang-xiang-jian-220734","寻亲图","黄向坚","此作用平远糅合高远之章法，左侧危崖突兀，青绿晕染出山峦温润秀雅之态，皴笔勾勒，尽显山石苍劲肌理。浩渺平湖铺陈开开阔景致，洲渚错落星罗，村居隐于葱郁林木间，渔舟泛于烟波之上，三两行人点缀水岸。\n\n远山以淡墨轻岚晕染，虚实相生，尽显江南水泽空濛诗意。笔意清隽柔和，设色淡雅妍丽，承唐宋青绿山水古雅意趣，又以细腻布景传递羁旅怀思，于秀逸湖山之间，暗合迢迢心绪，淡远悠长。",[24,7,25,27,29,132,496,31,129,34,149,96,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c6aa9dc2fa40177d86a07917e44bf59.jpg","水墨,设色,纸本,手卷","31.4 × 550.4厘米",[136],{"id":33409,"slug":33410,"title":17276,"dynasty":124,"author":16070,"museum":161,"description":16071,"tags":33411,"thumbUrl":33412,"material":66,"size":33413,"collection":136,"collections":33414,"showCount":177,"zanCount":1998,"manualWeight":48,"mainColor":49},220046,"fang-li-tang-shan-shui-tu-xue-zhou-220046",[23,24,7,29,330,165,132,129,131,34,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb82609ea78fd36a8daf7f3337485640e.jpg","143.7x72.5",[136],{"id":33416,"slug":33417,"title":33418,"dynasty":18,"author":223,"museum":244,"description":33419,"tags":33420,"thumbUrl":33422,"material":173,"size":33423,"collection":68,"collections":33424,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":72},219955,"xue-zhu-han-qin-tu-yi-ming-219955","雪竹寒禽图","图绘三只麻雀立积雪枝头,一枝竹叶伸出.雪用白色点,画风与李嵩,吴炳等南宋画家有一定内在联系.",[23,24,164,7,28,27,61,167,1556,3238,355,1813,33421],"寒枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266a1245586b7b8927d4b28404e7793c.jpg","24.3x25.7",[68],{"id":33426,"slug":33427,"title":33428,"dynasty":54,"author":3820,"museum":56,"description":7143,"tags":33429,"thumbUrl":33430,"material":611,"size":7146,"collection":84,"collections":33431,"showCount":177,"zanCount":1998,"manualWeight":48,"mainColor":72},219849,"ba-jing-shan-shui-tu-7-gong-xian-219849","八景山水图-7",[24,7,128,132,59,29,331,130,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f27d3eb0436efd20ff9adb685861332.jpg",[],{"id":33433,"slug":33434,"title":33435,"dynasty":54,"author":4468,"museum":244,"description":33436,"tags":33437,"thumbUrl":33438,"material":173,"size":84,"collection":45,"collections":33439,"showCount":177,"zanCount":1116,"manualWeight":48,"mainColor":72},219727,"shi-jun-tu-zhi-hong-yu-zuo-lang-shi-ning-219727","十骏图之红玉座","郎世宁，1688年生，1766年逝世，意大利米兰人。原名朱塞佩·伽斯底里奥内。年轻时在欧洲学习绘画，曾为教堂绘制圣像。清康熙五十四年（1715）作为天主教耶稣会的修道士来中国传教，到京后约于雍正元年（1723）进入如意馆，成为宫廷画家。他很好地融合了中西绘画技法，既讲究西方绘画中的立体效果，注意透视和明暗，重视写实和结构准确的合理性。由于他能画并精通建筑学，曾参与增修圆明园建筑工事。擅画肖像、走兽、花果、翎毛尤善画马。所作大多以西画法入绢纸，略参中法，以写实为工，专注形似。他将欧洲的绘画品种和方法传授给中国的宫廷画家，为中西文化艺术的交流作出了积极贡献，颇得皇家青睐",[164,24,7,28,27,10803,101,949,208,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24534bc44ce45c061edd6f11765136ed.jpg",[45],{"id":33441,"slug":33442,"title":33443,"dynasty":54,"author":675,"museum":244,"description":33444,"tags":33445,"thumbUrl":33446,"material":611,"size":33447,"collection":136,"collections":33448,"showCount":177,"zanCount":1998,"manualWeight":48,"mainColor":72},219441,"xue-pu-gui-fan-tu-zhou-qian-wei-cheng-219441","雪浦归帆图轴","积雪覆岩如素缣裹玉，远峰巍峨耸峙，寒气沁入笔墨肌理。中浦波静似镜，一叶轻舟破寒烟而来，帆影斜掠水面，漾开细碎的清寂。近岸石皴木瘦，寒林疏枝以焦墨勾勒，松针如簇仍带苍劲，间杂几间茅舍隐于崖侧，柴门半掩似待归人。山石用干笔皴擦显其骨，积雪以留白衬其洁，墨色层次淡远如雾笼寒川。天地间尽是清旷气，归帆的暖意却悄悄融于冷寂——笔墨间藏着冬日山水的幽寂与生机，将文人对自然的体察、对烟火的温柔打量，都凝在这素净疏旷的帧幅里。",[24,7,164,165,128,28,132,29,1556,129,34,98,99,131,130,1337,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaf3f03012d111bbabd7ea73ecb7622c.jpg","114.9x64.4",[136],{"id":33450,"slug":33451,"title":33452,"dynasty":54,"author":1472,"museum":244,"description":33453,"tags":33454,"thumbUrl":33455,"material":66,"size":33456,"collection":45,"collections":33457,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":72},219432,"shi-yi-gao-zong-yu-bi-ni-gu-shi-zhou-zou-yi-gui-219432","诗意高宗御笔拟古诗轴","峰峦层叠，飞瀑如练倾泻空谷，溅起雾霭氤氲。山腰林麓间，几椽村舍隐现，溪畔小舟轻泊，似待归人。近处松石挺秀，竹影婆娑，笔墨清润雅致，皴染相济——山石以干笔皴出嶙峋肌理，草木以细墨勾描葱茏生机。诗与画浑然交融，将御笔诗意中的幽寂旷达凝注尺幅：烟霞绕舍，幽花弄晴，村居闲适与山水灵秀相映成趣，尽显文人笔墨的韵致与超然尘外的情怀。",[24,7,165,128,132,133,208,29,34,495,99,30,35,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3428ddd92601e9917eff9c609bc5362e.jpg","188.7x55.8",[45],{"id":33459,"slug":33460,"title":33461,"dynasty":124,"author":33462,"museum":244,"description":33463,"tags":33464,"thumbUrl":33465,"material":27,"size":33466,"collection":44,"collections":33467,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":72},219336,"jie-da-huan-xi-tu-zhou-song-xu-219336","皆大欢喜图轴","宋旭","宋旭（1525－1605之后），浙江嘉兴人。自号石门，出家为僧后，法名祖玄。又号天池发僧、景西居士，善画山水与人物。本幅苍松与云岫隔岸相对，松下三位罗汉，临滨或行或止；其一敞胸露肚，捧钵引鹊，眉目含笑，状甚欢愉。造形自在无碍，与工笔重彩、正襟危坐的「说法图」，意匠明显有别。画幅右上方宋旭自题「皆大欢喜」，即指此而言。",[24,7,165,128,27,187,96,1144,211,208,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64bff71ae0fb7c4ca151db366883cb86.jpg","114.3x56.1",[44],{"id":33469,"slug":33470,"title":33471,"dynasty":124,"author":18090,"museum":20,"description":33472,"tags":33473,"thumbUrl":33474,"material":173,"size":33475,"collection":136,"collections":33476,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":49},219304,"xue-jing-zhou-lan-ying-219304","雪景轴","蓝瑛（西元一五八五－一六六四年以后）字田叔，号蝶叟，杭州钱塘人。善山水，初学元黄公望，并遍临唐宋元各家，构图精整，傅色明艳，晚年作品笔墨苍劲老辣，傅色趋于雅淡。他也擅长花竹、人物画，是浙派后期的重要画家。此幅画溪山积雪，其间点缀楼宇、蓬舟、危桥、栈道和行人。山石纯用短斫，兼以烘染。用笔率直老健，作于一六五九年，是七十五岁的力作。",[24,7,165,27,29,98,99,129,96,372,131,132,331,130,13436],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9284fc8674ac05bd3e157f3659003486.jpg","268x68.8",[136],{"id":33478,"slug":33479,"title":33480,"dynasty":124,"author":223,"museum":6413,"description":33481,"tags":33482,"thumbUrl":33484,"material":173,"size":33485,"collection":68,"collections":33486,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":956},219270,"ying-xiong-tu-yi-ming-219270","鹰熊图","苍鹰踞石而立，羽翼丰劲，墨色浓淡间晕染出猛禽的威仪；下方熊罴隐于岩隙，憨态中藏沉雄之气。飞瀑垂涧，古松虬枝盘错，山石皴染朴拙，草木点缀出野趣盎然的自然之境。鹰熊谐音“英雄”，寄寓着对刚毅品格的颂赞。笔墨兼具工细与写意，线条劲健而气韵生动，既捕捉了鸟兽的形神特质，又以山水为衬，营造出雄浑苍劲的氛围，尽显明代花鸟走兽画中自然意趣与人文寄托的交融之妙。",[23,24,7,27,28,3141,33483,1144,131,495,99,949,211],"熊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a0c2d82ce05428ae5bc504a7efbc7e1.jpg","254 × 107.4cm",[68],{"id":33488,"slug":33489,"title":33490,"dynasty":54,"author":55,"museum":20,"description":33491,"tags":33492,"thumbUrl":33493,"material":25266,"size":33494,"collection":136,"collections":33495,"showCount":177,"zanCount":1116,"manualWeight":48,"mainColor":72},219266,"ling-yan-shan-tu-juan-yun-shou-ping-219266","灵岩山图卷","此画为对景写生之作，所绘为苏州灵岩山，笔法秀骨清妙，仿黄公望《富春山居图》而自具清雅秀逸的风格，以真山水为依据而不为其所囿。",[23,24,7,25,29,128,133,208,34,130,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3750b9bea6138fe0780354eef9faa786.jpg","纵20.7cm，横107.2cm",[136],{"id":33497,"slug":33498,"title":33499,"dynasty":124,"author":223,"museum":20,"description":33500,"tags":33501,"thumbUrl":33503,"material":173,"size":33504,"collection":44,"collections":33505,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":49},219204,"zhu-zhan-ji-dou-an-chun-tu-yi-ming-219204","朱瞻基斗鹌鹑图","图中所绘为明宣宗朱瞻基在御园观看斗鹌鹑的情景。画面上朱瞻基居中端坐，周围有宦官、侍从和童仆服侍。方桌上置一方形围墙，两名宦官正在斗弄圈中的鹌鹑，旁边的侍从捧着笼子，其中是备用的鹌鹑。民间游戏以“斗蟋蟀”、“斗鸡”比较常用，此图别开生面地让后人见识了明代“斗鹌鹑”的场景。实际上朱瞻基最喜好的只是斗蟋蟀，其偏爱的程度或者让他得了个“促织（蟋蟀的俗称）天子”的称号。\n此图是对明代帝王宫廷生活的具象描绘。明代宫廷的记实题材绘画留存并不很多，主角为宣宗朱瞻基的也有体现其出行游猎的《行乐图》和体现宫廷文体活动的《宫中行乐图》。",[23,24,7,27,28,96,1144,875,758,33502,805],"斗鹌鹑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4991c6089f0912291e903a8de50ea8e2.jpg","纵67厘米，横71 厘米",[44],{"id":33507,"slug":33508,"title":33509,"dynasty":18,"author":2257,"museum":244,"description":33510,"tags":33511,"thumbUrl":33512,"material":173,"size":33513,"collection":136,"collections":33514,"showCount":177,"zanCount":1998,"manualWeight":48,"mainColor":72},218679,"qiong-lou-xuan-pu-tu-zhao-bo-ju-218679","琼楼悬瀑图","画面上，玉宇琼楼，青山绿水，高松翠柏，飞瀑虹桥，春风化雨，游人如织，千里之外。这幅画的风格是原名为赵伯驹的大青衣小将，没有证据支持。",[23,1846,24,7,164,26,27,95,29,97,495,98,99,96,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feddc740c243ac58e3d28be080e2fc61e.jpg","27.9x29.9",[136],{"id":33516,"slug":33517,"title":6571,"dynasty":182,"author":33518,"museum":5543,"description":33519,"tags":33520,"thumbUrl":33521,"material":317,"size":33522,"collection":44,"collections":33523,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":49},218456,"luo-han-tu-zhang-bo-hong-218456","张伯洪","古朴绢本上，墨线勾勒的罗汉持杖静立，衣纹简练却蕴唐代宗教画的庄穆气韵。近景器物轮廓隐现古意，与修行之境相映。色调沉郁，岁月痕迹晕染出时光厚重，笔墨含蓄传递禅意——极简构图里，罗汉超然心境尽显。线条经岁月仍带力度，每一笔皆藏唐代画人对禅理与形象融合的巧思：静穆中见灵动，古雅里含深远，是兼具艺术质感与精神内涵的唐代宗教绘画精品。",[23,24,7,187,96,188,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ffa836adf5e1eea1ba7daba179a413a.jpg","24.5x20.3",[44],{"id":33525,"slug":33526,"title":33527,"dynasty":144,"author":223,"museum":244,"description":33528,"tags":33529,"thumbUrl":33531,"material":173,"size":84,"collection":68,"collections":33532,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":49},218398,"hua-ma-hu-dou-tu-yi-ming-218398","画马虎斗图","荒野沙坡间，一场生死搏杀凝于绢素。虎身弓如满月，爪牙凌厉前探，斑纹随扑跃之势流转，鬃毛贲张似怒涛翻卷；马则后蹄蹬沙欲退，前蹄奋起抵敌，尾鬃狂甩如惊风乍起，目露惊惶却未失悍勇。稀疏草木点缀沙碛，更显对峙的孤绝与激烈。笔墨刚劲利落，线条勾勒出兽类健硕肌理，设色古朴沉郁，绢本棕褐底色衬得野性碰撞愈发动魄。画家精准捕捉瞬间动态，每一处毛发颤动、蹄爪着力，都藏着惊心动魄的力量，令观者如临其境，屏息凝视这场荒野中的悍勇对决。",[23,164,24,7,27,28,5490,101,949,171,33530,10635,5472],"荒草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb750130b6ddf73afbbc1100e84494f1.jpg",[68],{"id":33534,"slug":33535,"title":33536,"dynasty":54,"author":223,"museum":300,"description":33537,"tags":33538,"thumbUrl":33539,"material":173,"size":84,"collection":84,"collections":33540,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":49},216722,"hong-lou-meng-fu-tu-ce-3-yi-ming-216722","红楼梦赋图册-3","画面以清雅工笔铺陈，缠枝花卉藤蔓蜿蜒成框，粉蕊绿蔓间缀着朱红小果，生机悄然流转。中央楷书端整匀净，墨色凝实，似将红楼风月的婉转情致凝于笔端。文字与花叶相映，既含文学之韵，又具丹青之美。柔婉的色彩与细腻的笔触，恰如大观园里明媚又怅惘的时光，把红楼故事里的幽微心绪藏进这方雅致图册。藤蔓的缠绕似暗合书中人物命运的纠葛，清新的色调又衬出古典意境的温婉，让文字里的红楼情味，随花叶的脉络慢慢铺展。",[23,24,7,59,27,572,64,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F948978d8ed6aae065e6739502b57bac6.jpg",[],{"id":33542,"slug":33543,"title":33544,"dynasty":124,"author":223,"museum":77,"description":33545,"tags":33546,"thumbUrl":33548,"material":173,"size":33549,"collection":68,"collections":33550,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":49},216672,"han-ting-yan-zhu-tu-yi-ming-216672","寒汀雁渚图","画面上画着泥滩，雪白的树枝，上面有三只鸟攥着树枝，摆动着，张着嘴，似乎在一起聊天。下面的两只鸭子似乎对这热闹的场面很着迷，一只鸭子歪着头往上看。",[23,24,7,61,27,28,211,18111,33547,1337,1813,497],"寒滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d985ffc7d1d78047821ba4d079dffd9.jpg","152x65cm",[68],{"id":33552,"slug":33553,"title":33554,"dynasty":124,"author":204,"museum":300,"description":2216,"tags":33555,"thumbUrl":33556,"material":173,"size":84,"collection":84,"collections":33557,"showCount":177,"zanCount":48,"manualWeight":48,"mainColor":49},216269,"er-shi-si-xiao-tu-24-chou-ying-216269","二十四孝图-24",[24,7,28,27,96,166,2218,5149,7344,8565],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b1868ae9aca77ace350a7dcb3a1cb6c.jpg",[],{"id":33559,"slug":33560,"title":33561,"dynasty":144,"author":287,"museum":300,"description":16652,"tags":33562,"thumbUrl":33564,"material":692,"size":1293,"collection":84,"collections":33565,"showCount":217,"zanCount":1998,"manualWeight":48,"mainColor":72},290933,"wen-shu-xi-xiang-tu-qian-xuan-290933","文殊洗象图",[23,164,24,7,25,187,27,96,949,14225,33563,1009,208],"文殊菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7566961534675ffa5fae33026de3714.jpg",[],{"id":33567,"slug":33568,"title":33569,"dynasty":144,"author":569,"museum":300,"description":27930,"tags":33570,"thumbUrl":33572,"material":692,"size":1293,"collection":84,"collections":33573,"showCount":217,"zanCount":1998,"manualWeight":48,"mainColor":49},290912,"yao-shi-ru-lai-xiang-zhou-zhao-meng-fu-290912","药师如来像轴",[164,24,7,165,27,96,187,18381,33571],"药师如来","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48347c2a058feb0b48dd5636d6f36e1f.jpg",[],{"id":33575,"slug":33576,"title":33577,"dynasty":18,"author":223,"museum":300,"description":10087,"tags":33578,"thumbUrl":33579,"material":692,"size":1293,"collection":84,"collections":33580,"showCount":217,"zanCount":1998,"manualWeight":48,"mainColor":49},290322,"ke-si-sui-chao-hua-niao-zhou-yi-ming-290322","缂丝岁朝花鸟轴",[24,164,7,165,1944,61,211,371,375,131,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc01a199b6c4b8dc9f284a9eced47ff57.jpg",[],{"id":33582,"slug":33583,"title":28060,"dynasty":18,"author":28061,"museum":300,"description":33584,"tags":33585,"thumbUrl":33586,"material":692,"size":1293,"collection":84,"collections":33587,"showCount":217,"zanCount":1116,"manualWeight":48,"mainColor":956},283687,"xia-shan-tu-qu-ding-283687","京师（今河南开封）人。仁宗朝（一o二三）为图画院只候。工画山水，得燕文贵之髦髴。画四时风物之变态，与夫烟霞惨舒，泉石凌砾之状，善分布，涧谷间见屈曲之状。然有笔而无思致，林木皆崦霭而已，虽为许道宁之师，道宁气格似过之，学不及也。",[164,24,7,25,29,128,132,131,34,99,129,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77c9182eec083f60ca90336886ce8a61.jpg",[],{"id":33589,"slug":33590,"title":33591,"dynasty":144,"author":33592,"museum":300,"description":33593,"tags":33594,"thumbUrl":33596,"material":692,"size":1293,"collection":84,"collections":33597,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},283621,"wei-mo-shuo-fa-tu-he-bi-juan-li-sheng-283621","维摩说法图合璧卷","李升","画面清波荡漾,湖上有小桥、扁舟,远望峰峦高耸,树林参差,山间古寺隐约可见,景色清幽,一派送别离人的气氛。",[23,164,24,7,25,128,132,29,97,131,34,37,18381,33595,64,133,208,7322],"维摩说法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6614b55fa7f765c035cfb69c0288099.jpg",[],{"id":33599,"slug":33600,"title":33601,"dynasty":124,"author":33602,"museum":300,"description":33603,"tags":33604,"thumbUrl":33605,"material":692,"size":1293,"collection":84,"collections":33606,"showCount":217,"zanCount":1116,"manualWeight":48,"mainColor":72},240449,"chu-shi-biao-juan-zhu-jing-he-240449","出师表卷","朱敬鑉","敬鑉字进父，秦湣王樉八世孙，万历中为奉国中尉",[23,7,64,25,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15feb64d8471ee01bcc415f6dea20304.jpg",[],{"id":33608,"slug":33609,"title":4415,"dynasty":54,"author":1472,"museum":300,"description":4416,"tags":33610,"thumbUrl":33611,"material":692,"size":1293,"collection":84,"collections":33612,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},239450,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239450",[24,7,164,59,28,27,61,480,263,4279,624,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120f3a2b7178e03763cfebbbab3f1417.jpg",[],{"id":33614,"slug":33615,"title":33616,"dynasty":54,"author":33617,"museum":300,"description":33618,"tags":33619,"thumbUrl":33620,"material":84,"size":84,"collection":136,"collections":33621,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},239418,"fang-li-cheng-shan-shui-zhou-xu-fang-239418","仿李成山水轴","徐枋","徐枋（1622年5月3日——1694年11月7日） ，明末清初画家。字昭法，号俟斋、秦余山人，吴县（今江苏苏州）人，殉节官员徐汧之子。崇祯十五年举人。入清，遵父遗命不仕异族，隐居于天平山麓“涧上草堂”，自称孤哀子。书擅行草，长于山水画，取法董源、巨然、荆浩，关仝，亦宗倪瓒、黄公望，与杨无咎、朱用纯并称“吴中三高士”。终身不入城市，卖画自食，例不书款，与宣城沈寿民、嘉兴巢鸣盛称“海内三遗民”。",[24,7,165,128,132,330,29,98,99,129,130,1337,35,131,34,1743,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22cf86f12a79e42e072f9f756f4288f6.jpg",[136],{"id":33623,"slug":33624,"title":33625,"dynasty":54,"author":31277,"museum":300,"description":33626,"tags":33627,"thumbUrl":33633,"material":84,"size":84,"collection":84,"collections":33634,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},239360,"fang-huang-gong-wang-fu-chun-shan-tu-juan-fang-cong-239360","仿黄公望富春山图卷","此作用干笔淡墨铺展千里江山，开篇平林远渚，烟波澹荡，村舍隐于茂林，渐而山峦层叠皴染，苍秀兼具，暗合原作平淡天真的气韵。丘壑排布舒展自然，峰峦以披麻皴写就，松枝挺劲苍古，林麓间田亩交错，渔舟泛于空蒙水面，尽显江南山水的温润清远。全卷气脉贯通，将富春林峦深秀、水乡闲雅尽皆揽入，笔墨追摹古意又自含静穆简远之致，留白处烟岚浮动，复刻出原作的萧散野逸，尽显文人山水的淡远襟怀。",[23,164,24,7,25,128,29,330,132,2478,33628,6437,496,5343,21956,3650,33629,33630,33631,33632],"远渚","烟岚","文人山水","萧散野逸","淡远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1572a10ef65de14456fc4e85525a18.jpg",[],{"id":33636,"slug":33637,"title":5310,"dynasty":54,"author":3718,"museum":300,"description":5311,"tags":33638,"thumbUrl":33639,"material":84,"size":5314,"collection":84,"collections":33640,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},238030,"hong-ren-shan-shui-tu-ce-hong-ren-238030",[164,24,7,59,128,132,29,171,99,1337,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a3f0273ba838ad249818da5b0f02d07.jpg",[],{"id":33642,"slug":33643,"title":33644,"dynasty":54,"author":1460,"museum":20,"description":33645,"tags":33646,"thumbUrl":33647,"material":611,"size":84,"collection":136,"collections":33648,"showCount":217,"zanCount":1998,"manualWeight":48,"mainColor":49},237409,"yuan-ji-tai-bai-shi-yi-shan-shui-tu-zhou-shi-tao-237409","原济太白诗意山水图轴","清初的画坛上，和尚画家之多，在中国绘画史上是极其罕见的。更为人所熟知的，便是弘仁、髡残、八大山人、石涛这四位活跃于明末清初的僧人画家，他们与清初“四王”分庭抗礼，在画史上合称“四僧”。为了让读者更加了解他们的生平及书画创作风格，文藏特将此作为系列文章形式展现给大家。\n石涛是中国艺术史上一位颇具研究话题的人物，他的身世经历、佛老信仰，交游关系，书画理论、诗文解读、作品辨伪，无不令后世的书画爱好者、鉴藏者和研究者们着迷。然而他的这些话题之所以会引起后世如此巨大的关注度，正是源自他的书画艺术，在历经三百多年的沉淀之后，依旧散发着无穷的魅力，给人以新鲜之感。这种魅力便是其每幅作品中无不体现着的诗境、书境和画境的完美结合。\n石涛原名朱若极，广西桂林人，是明宗室后裔，明靖江王朱亨嘉的长子，他晚年常自署款「阿长」、「极」，并有「赞之十世孙阿长」等印，以表明自己的身世。石涛出生仅两年明王朝就灭亡了，随后，他的父亲朱亨嘉又在南明朝廷内部的权力斗争中失败被杀。此时，年仅四岁的石涛，不得不由家中仆臣护送逃至全州躲藏，后在当地湘山寺出家为僧，法名原济，字石涛；他的仆臣也一同在此出家，法名原亮，字喝涛。从此二人以佛门师兄弟相称。在明末清初政权更迭的时候，很多不愿降清的明室宗亲和文人旧臣除了以死殉国，就只能选择隐藏身份出家为僧这一条路了，而石涛更要躲避来自清王朝和南明政权的双重追杀。\n隐居期间，石涛读书临帖，研习书画，同时跟随师兄喝涛旅居武昌，游历两湖地区，后又从武昌顺江而下，经庐山、南京、松江至杭州，再由越中到宣城。石涛居宣城十四年，在此结识了施闰章、吴肃公、梅清、梅庚等当地遗民诗人画家，经常与他们结伴游览黄山、敬亭山。他们一起不仅以诗文相唱和，绘画创作亦相互影响，于笔墨和构图上探索求新。这期间，石涛与喝涛还曾同拜旅庵本月为师，正式确立了在禅林中的地位。然而，佛门身份和朋友交游，并没有抹去石涛在自己身份上的孤寂感与逃避感，他在作品中，常借山水、人物等题材来表达其孤、隐之意。他这一时期所创作的《山水人物图》卷、《山水图》册、《陶诗采菊图》轴等书画，都有这种心境的流露。\n石涛在第二次接驾康熙时得识博尔都，则让他看到希望。作为清室皇族，博尔都是一位颇具慧眼的书画鉴赏家，石涛从他的赏识中找到了艺术认同感，故接受了博尔都北游的邀请。在北京期间，石涛为博尔都创作了大量书画，博尔都也利用各种机会向京城名流推介石涛的作品。但这些努力并没有让石涛被主流画坛所接受，遂于一六九二年秋离京南返，再次回归他徜徉于江南山水间的闲逸生活。然而内心的孤独与苦闷依旧。石涛在五十八岁时画《太白诗意山水图》轴自题云：「李白将进酒。此诗何可画？虽似任达放浪，然太白素抱用世之才而不遇合，亦自慰解之词耳。吾亦借此诗，写此画，消吾之岁月云。」这些都是石涛晚年回到扬州后，孤独失落心境的真实写照。",[24,7,165,369,128,132,29,35,34,1144,131,99,96,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0671f77e48690f57096fdd8ba83ed84c.jpg",[136,318],{"id":33650,"slug":33651,"title":33652,"dynasty":124,"author":33653,"museum":56,"description":33654,"tags":33655,"thumbUrl":33656,"material":1223,"size":33657,"collection":136,"collections":33658,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},237262,"shen-hao-shan-shui-tu-ce-shen-hao-237262","沈灏山水图册","沈颢","沈颢（1586—1680后），一作沈灏，字朗倩，号石天、朗道人，吴（今江苏苏州）人。沈颢风仪轩举，博雅多闻。能诗歌，精古文辞及书法真行篆籀，更精绘事，深究画理，其论画源流与董其昌相同，著有名著《画尘》，与董其昌之“画眼”堪称伯仲，难分轩轾。作画主张师自然而法古人，提倡临摹古人不在形似而在神会，“似而不似，不似而似”是其创见。善写山水，笔墨秀润雅逸，立壑奇突，秀骨天发，高格清标。小景淡远清旷，画风近沈周，每自题句，多作韵语。晚年笔意挺秀，点染清妍。",[24,7,59,128,132,29,663,413,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85f016770f2129dbf2cceca137a9791c.jpg","15.2x23.6厘米",[136,117],{"id":33660,"slug":33661,"title":25447,"dynasty":54,"author":25448,"museum":20,"description":25449,"tags":33662,"thumbUrl":33663,"material":84,"size":84,"collection":84,"collections":33664,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},237111,"shi-nv-ce-cui-wei-237111",[24,7,59,28,27,96,166,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe22b31def3843085770c4724db34f576.jpg",[],{"id":33666,"slug":33667,"title":33668,"dynasty":124,"author":3608,"museum":20,"description":33669,"tags":33670,"thumbUrl":33671,"material":611,"size":84,"collection":136,"collections":33672,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},236987,"hua-hui-ye-lu-zhi-236987","花卉页","陆治（1496－1576），字叔平，明代画家。吴县（今江苏苏州）人，因居包山，自号包山。倜傥嗜义，以孝友称。",[24,7,59,27,28,61,62,371,209,624,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbb017c605de4f65bc281040c9883b33.jpg",[136,45],{"id":33674,"slug":33675,"title":33676,"dynasty":54,"author":2687,"museum":300,"description":3934,"tags":33677,"thumbUrl":33678,"material":692,"size":1293,"collection":84,"collections":33679,"showCount":217,"zanCount":1998,"manualWeight":48,"mainColor":72},235565,"mu-dan-shan-mian-jiang-ting-xi-235565","牡丹扇面",[24,7,1131,128,27,28,61,263,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F739ec9b8479104c4efc5e43fb91fa31b.jpg",[],{"id":33681,"slug":33682,"title":33683,"dynasty":124,"author":15464,"museum":300,"description":33684,"tags":33685,"thumbUrl":33686,"material":84,"size":84,"collection":84,"collections":33687,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},235238,"xue-jing-shan-shui-zhou-xie-shi-chen-235238","雪景山水轴","整幅画作晕染出萧寒静谧的冬日元气。危崖覆雪，古松虬曲苍劲，松针凝着残雪，愈显老干挺秀。山居茅屋藏于寒林之中，屋中人围炉闲坐，暗生融融暖意，山道上仆童瑟缩徐行，一动一静、一暖一寒，反差鲜活。右侧寒木疏朗，烟霭漫过江渚，远景虚茫朦胧，将冬日荒寒漫漶开来。以浓墨衬积雪，虚实相生，把山野间清寂萧索的冬意铺陈尽致，又暗藏幽居避世的温情意趣，题诗衬景，诗画相融，尽显冬日山居的澹远意境。",[24,7,165,128,132,29,1813,1144,35,96,1337,131,1023,33421,13436],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ec8ecd49d56bdd396f437f4e4ea846e.jpg",[],{"id":33689,"slug":33690,"title":33691,"dynasty":54,"author":1219,"museum":300,"description":1220,"tags":33692,"thumbUrl":33693,"material":692,"size":1293,"collection":84,"collections":33694,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},235115,"xi-zhi-ai-e-tu-zhou-ren-yi-235115","羲之爱鹅图轴",[24,7,165,27,128,188,96,167,7546,5472,230,304,24769,21508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04fa5201165d8c09e15839d296e87072.jpg",[],{"id":33696,"slug":33697,"title":33698,"dynasty":54,"author":2915,"museum":300,"description":33699,"tags":33700,"thumbUrl":33701,"material":692,"size":1293,"collection":44,"collections":33702,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},234937,"yue-man-qing-you-ce-chen-mei-234937","月漫清游册","《月曼清游图》册描绘的是宫廷嫔妃们一年12个月的深宫生活：正月“寒夜探梅”、二月“杨柳荡千”、三月“闲亭对弈”、四月“庭院观花”、五月“水阁梳妆”、六月“碧池采莲”、七月“桐荫乞巧”、八月“琼台玩月”、九月“重阳赏菊”、十月“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。图中的楼台房室建筑则采用西洋焦点透视法绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。此图册于乾隆三年（1738年）绘成后深得乾隆皇帝的赞赏。\n乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。这件雕有103人的牙雕精品被称作“百美图”。乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[24,7,59,27,28,96,97,99,249,34,131,247,3490,758,1428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b64d9f8816d7446b826324b78143f92.jpg",[44,45],{"id":33704,"slug":33705,"title":33706,"dynasty":54,"author":223,"museum":300,"description":33707,"tags":33708,"thumbUrl":33709,"material":692,"size":1293,"collection":84,"collections":33710,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},234506,"jin-gua-wu-men-shen-ma-yi-ming-234506","金瓜武门神码","此幅武将门神面如冠玉，三绺长髯飘逸出庄重威严。身着遍饰宝相花纹的黄金锁子甲，朱红衬袍翻卷张扬，宝冠翎羽凌厉飒爽。他一手高擎鎏金瓜锤，一手挽定雕弓，背负劲箭，胯侧黑旗猎猎。\n设色浓丽饱和，朱砂、石青与泥金交相辉映，既有民间年画的明快热烈，又暗含庙堂重彩的规整大气。线条刚柔并济，将武将护宅安邦的凛凛神威凝练于方寸之内，带着质朴醇厚的民间祈福意趣，尽显旧时匠人对阖家平安的真挚祈愿，是民俗美术中极具代表性的工致之作。",[24,7,27,28,28209,96,5626,170,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aef900541f967bea555c81cfa0a3a1a.jpg",[],{"id":33712,"slug":33713,"title":7864,"dynasty":54,"author":6357,"museum":300,"description":33714,"tags":33715,"thumbUrl":33716,"material":84,"size":84,"collection":68,"collections":33717,"showCount":217,"zanCount":1998,"manualWeight":48,"mainColor":72},234265,"za-hua-ce-huang-shen-234265","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。\n黄慎生于清康熙二十六年（1687年）五月五日（6月14日），乾隆三十五年（1770年）84岁时尚在，卒年不详，幼丧父，以卖画为生，奉养母亲。初随上官周学画，后离家出游，曾多次在扬州卖画。方十八九岁，寄身萧寺，昼为画，夜无所得烛，从佛光明灯下读书。其艺既擅，出游豫章，历吴、越，康熙五十八年（1719年）至扬州鬻画，人争客之。\n雍正五年（1727年）以母垂老，不欲远离，乃奉居扬州，又三年乃返闽，郑燮赠以诗。\n乾隆十六年(1751年)黄慎的母亲去世，他又重游扬州，居住六年，才返故里，苦度晚年。\n乾隆三十三年（1768年）年八十二，尚作花卉册。慎工草书，法怀素。画人物，多取神仙故事为题材，初学上官周，后用狂草笔法作画。笔姿放纵，气象雄伟，深入古法，亦偶有笔过伤韵者。间作山水、花鸟，得荒率之致。所画多历史人物、佛道、樵夫渔父，早年工细，后参以怀素草书笔法，所作人物用笔粗犷，顿挫转折，纵横排奡，气象雄伟。花鸟笔法洗练，形象概括，画风泼辣；山水境界开阔，注重诗意的表达。",[23,24,7,59,128,27,61,840,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F032ca96686e1dafcb055cff42ba16f41.jpg",[68],{"id":33719,"slug":33720,"title":33721,"dynasty":124,"author":3619,"museum":20,"description":33722,"tags":33723,"thumbUrl":33725,"material":1722,"size":33726,"collection":84,"collections":33727,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},233789,"cha-ju-shi-yong-tu-wen-zheng-ming-233789","茶具十咏图","图绘青山之下郁树成荫，两间茅屋在藩篱之内，主人趺坐于室内，书、壶伴其左右，另一间屋内侍茶的童子正在煮水。从款署中得知，明嘉靖十三年谷雨前三天，苏州的天池、虎丘等地正举行茶叶品评盛会，作者因病未能参加，其好友送来几种好茶，于是令小童汲泉、吹火、煮茶，自斟，自饮，自己品评茶叶之高下，自得其乐。不禁想到唐代诗人皮日休《茶中杂咏•茶具》、陆龟蒙《和茶具十咏》诗，于是缅怀他们的唱和雅趣，诗兴所至,亦追和了十首。画面构图充盈，横狭而纵高，主题突出，笔法细劲，用墨澹雅，蕴藉着浓郁的文人儒雅气质。",[24,7,165,128,29,34,758,211,64,132,33724],"细笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F078ace09b71a9b7aa104d7a634ed1d23.jpg","纵136.1厘米，横26.8厘米",[],{"id":33729,"slug":33730,"title":33731,"dynasty":124,"author":125,"museum":20,"description":33732,"tags":33733,"thumbUrl":33734,"material":28165,"size":33735,"collection":84,"collections":33736,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},233413,"jiang-ting-bi-shu-tu-shan-ye-shen-zhou-233413","江亭避暑图扇页","此图是幅笔笔紧贴诗意的画作。图绘夕阳下，高士策杖至江亭避暑的小景。扇面构图为左右开合式，设色以绿色为主，其青翠明洁的色调与简约的景致相呼应。清爽、平淡的审美意趣与消除烦燥求得清凉的避暑主题相契合，烘托出远离市俗寻幽独行高士其清逸雅淡的心境。",[24,7,1131,128,27,132,29,130,1144,131,96,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8f7c91afe93a2c98ff6b01f36ce6f9d.jpg","纵18厘米，横46厘米",[],{"id":33738,"slug":33739,"title":17732,"dynasty":124,"author":17733,"museum":20,"description":33740,"tags":33741,"thumbUrl":33742,"material":40,"size":33743,"collection":84,"collections":33744,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},233406,"chun-shan-you-qi-tu-zhou-zhou-chen-233406","此图以传统的春山行旅为题材，描绘高山石崖险峻陡峭，楼阁房舍掩映其间，错落有致。近景山溪岸边春花几树，山溪湍流，小桥流水，主仆一行三人正在过桥。山上苍松浓郁，遒劲多姿。舍后绿树成荫，一派春机昂然的景象。画家在全景式的构图中突出前景，着意表现春山、游骑、桃花、虬松，以此点明题意。\n作品构图繁复而不失明旷，稳健周密，雄中寓秀，密中呈疏；设色清妍秀丽，笔法劲健明秀；人物用细线淡色，笔意流畅，是周臣代表作品之一。本幅山石方折峻嶒，勾皴细密硬朗，松树略为倒挂多杈，斧劈皴挺括，造景雄奇，其艺术风格主要继承了南宋的“院体”画传统，也融合了北宋李成、郭熙的画法。",[24,7,165,128,132,29,98,99,101,96,34,131,35,1144,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49fc7872baa9dc7316ddebbdb9b0a10e.jpg","纵185.1厘米， 横64厘米",[],{"id":33746,"slug":33747,"title":33748,"dynasty":54,"author":523,"museum":20,"description":33749,"tags":33750,"thumbUrl":33751,"material":40,"size":33752,"collection":84,"collections":33753,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},233114,"bi-shu-shan-zhuang-tu-zhou-leng-mei-233114","避暑山庄图轴","作者以写实的手法描绘了避暑山庄后苑部分及其四周的崇山峻岭。构图为鸟瞰式，自景区上方向下纵向取景，景致具体而微。设色以青绿着色和浅绛渲染相结合，冷暖色调和谐呼应，成功地营造出山庄静寂清幽的氛围。笔法灵活多变，山石树木或以干笔皴擦，或青绿烘染。建筑物的描绘，作者在传统的工笔界画基础上，又巧妙地吸收了欧洲的透视法，并将二者融合在一起，从而更科学、客观地表现出建筑物的物理结构，同时也加强了画面的纵深感。此图同时是一幅反映康熙时期避暑山庄建筑的图样，对于我们了解避暑山庄的建筑沿革有着重要的图像价值。",[164,24,7,165,27,28,29,97,99,34,36,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d890f29b07ff6e1df7488c12dacbcf7.jpg","纵254.8厘米，横172.5厘米",[],{"id":33755,"slug":33756,"title":33757,"dynasty":54,"author":223,"museum":20,"description":33758,"tags":33759,"thumbUrl":33762,"material":611,"size":33763,"collection":136,"collections":33764,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},233082,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233082","平定苗疆战图册","清朝宫廷内绘制的大量画幅，在清王朝覆灭之前，大部分均藏储于宫中及皇家园林行宫内。其中一部分于咸丰十年（1860）和光绪二十六年（1900），英法联军及八国联军侵华时遭到劫掠，或被毁坏，或流失海外，清亡后亦有少量散佚，而主要部分后来都成为在明、清皇宫基础上建立起来的北京故宫博物院的藏品。现在，清代的宫廷绘画，除了少量分藏于境内外其他一些博物馆外，比较集中地收藏于北京故宫博物院和台北故宫博物院。",[24,7,59,27,28,95,96,29,101,98,97,131,34,11074,33760,33761,1367],"军队","战阵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb44c58ab354d81ed622cd3e2e54cb07.jpg","纵55.4cm，横90.8cm",[136,44,45],{"id":33766,"slug":33767,"title":33768,"dynasty":124,"author":3608,"museum":161,"description":9012,"tags":33769,"thumbUrl":33770,"material":151,"size":33771,"collection":84,"collections":33772,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},231942,"shui-xian-mei-shi-tu-lu-zhi-231942","水仙梅石图",[23,164,24,7,59,128,27,132,374,371,171,231,1337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5587bc15a5e71aa8fa86fc5985d68c8b.jpg","58×44cm",[],{"id":33774,"slug":33775,"title":26164,"dynasty":54,"author":9704,"museum":300,"description":33776,"tags":33777,"thumbUrl":33778,"material":611,"size":84,"collection":84,"collections":33779,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},231940,"qiu-shan-tu-kun-can-231940","髡残，生于明万历四十年(公元1612年)，卒年不详。俗姓刘，字介邱，号石谿，又号白秃、电住道人、天壤残道者，湖南武陵(今常德县)人。四十三岁后长居南京。据说，他青年时曾参加南明何腾蛟等人的军队，投入了抗清斗争。抗清失败 后，隐居桃源深处，于四十岁公元1651年 出家做了和尚。其后，便到各地云游，与高僧们参究禅学。四十三岁(公元1654年)到了南京，住在城南大报恩寺，有时住栖霞寺和天龙古院，晚年定居牛首祖堂山幽栖寺十余年，一直到老终。\n顺治十三年(公元1656年)髡残和清代学术大师顾炎武结为朋友，一见如故，情投意合，常在一起饮酒赋诗，切磋学问。他最知己的朋友是程正揆，二人既是同乡，又是佛教徒，都擅长诗、书、画。顺治十四年程辞官后回到南京，常去栖霞、牛首，髡残老年多病，去城里看病，也是宿在程氏家。他们共同商讨艺术，鉴赏书画，一起作画。当时“金陵八家”中之龚贤对他们二人的艺术推崇至极，龚在给周亮工题程正揆《山水册》里说：“金陵画家能品最夥，而神品、逸品亦各有数人，然逸品首推二谿：曰石谿，曰青谿。石谿，残道人也，青谿，程正揆侍郎也，皆寓公。残道人画粗头乱服，如王孟津清书法家王铎书法，程侍郎画冰肌肉骨，如董华亭明季书画家董其昌书法。百年来论书法则王、董二公应不让，若论画艺，则今日两谿又奚肯多让乎哉。”可见髡残、程正揆在南京画坛的地位，是非常突出的了。",[23,164,24,7,25,128,27,132,29,1337,131,99,129,3344,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eabf1eab9024ddbec39703a04a2ae13.jpg",[],{"id":33781,"slug":33782,"title":33783,"dynasty":144,"author":13522,"museum":244,"description":33784,"tags":33785,"thumbUrl":33786,"material":1464,"size":33787,"collection":84,"collections":33788,"showCount":217,"zanCount":1116,"manualWeight":48,"mainColor":72},231336,"chun-shan-qing-ji-tu-yuan-dai-ji-jin-zhi-wu-ma-wan-231336","春山清霁图－元代集锦之五","画中高山层层迭迭突起，林木长长矗立，清溪蜿蜒，渔舟摇摇，山村亭阁，曲径相通，滋润的笔墨，体会出大地草木华兹。款题：“春山清霁（楷书）。至正丙午岁（1366年）春正月望日，马文璧画于书声斋。”丙午（1366年）去黄公望《富春山居》之“庚寅”（1350年）题记，只有满15年之距离。全幅结构皴法，大抵出于元黄公《望富山居图》，如以近景主山峰的造形，远山一列丘陵起伏，近者淡远者浓，与皴法运用，勾线涂抹，几与《富春山居》相同；此“春山”也不尽让人想起同样的画《富春山居》。\n黄公望《富春山居》（无用师卷）山峰树石草木，表现出来的是重视笔趣与墨意，从元人的画迹来了解，黄公望《富春山居》成为一种文人画山水的“典范”。也就是以五代北宋董源、巨然为主的风格传承。从赵孟頫为起点，尔后，另一位吴镇也有充满着“披麻皴”风格的人物。那踵步者足为代表，应是这件马琬《春山清霁》。款题所指：“画于书声斋（行书），”为夏士文之斋居，也是云间夏氏知止堂裔孙。夏士文为夏士良文彦兄弟行。杨维祯至正二十年庚子秋曾为作《书声斋记》。元黄公望《富山居图》款题即书于夏氏“知止堂”。夏氏云间“知止堂”。主人为谁？杨维桢又有《知止堂记》，主人是云间老人夏谦齐氏，取《老子》之经有警人者，曰“知止不殆”的典故，堂有匾是赵孟俯所书。其四叶孙颐贞，在兵火之后，重建。马琬为杨维祯学生，张雨、黄公望均与杨维祯友好。马琬生平也是一位亲炙过黄公望的人物。",[24,7,25,128,132,29,131,34,99,129,97,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb9a84ff4dd4e7bbd78e820d09fd9b8d.jpg","纵27厘米，横102．5厘米",[],{"id":33790,"slug":33791,"title":33792,"dynasty":54,"author":10177,"museum":300,"description":33793,"tags":33794,"thumbUrl":33796,"material":84,"size":84,"collection":84,"collections":33797,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},229039,"chan-chu-zha-meng-tu-ye-jiao-bing-zhen-229039","蟾蜍蚱蜢图页","设色清润雅致，绘就幽隅小景。修长鸢尾挺秀舒展，蓝白花瓣晕染细腻，斑纹纤毫毕现，尽显清雅之态。浅粉小花依偎坡边，柔婉动人。草畔小兽茸毛写实鲜活，正凝神窥伺翩飞蚱蜢，将刹那间的野趣定格于尺幅。整作工写兼融，草叶苍劲、花卉柔润、虫兽灵动相映成趣，悄然铺展出郊野一隅的鲜活生机，以细腻笔触勾勒物象情态，尽显恬淡雅致的自然意趣，于尺幅之间藏纳野逸悠然的生机之美。",[24,7,59,28,27,61,949,20131,33795,230],"蚱蜢","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d0f4e38e1f50913125f4aa5cc68db5.jpg",[],{"id":33799,"slug":33800,"title":409,"dynasty":54,"author":9704,"museum":300,"description":33801,"tags":33802,"thumbUrl":33803,"material":84,"size":84,"collection":84,"collections":33804,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},228965,"shan-shui-ce-kun-can-228965","淡赭晕开薄暮天色，月色悬于天际晕出朦胧清光，远山隐在烟岚之中，如被夜雾浸得温润朦胧。近林以焦墨挥写，笔意苍劲老辣，繁枝密叶错落有致，将山野草木萧森之态尽显。\n\n蜿蜒山径之上，白衣策杖人缓步行游，为幽密林色添上清寂文人气韵。画作以干湿浓淡的墨色变化，揉合出月夜空山的空濛辽远，静穆萧散的禅意藏在笔底，将夜游林麓的幽闲况味融在烟霞里，淡远悠长的林下之思随月色漫溢开来，清寂悠然直入人心。",[23,24,7,164,128,132,208,29,231,690,34,96,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8628031461d94722f467f710beefc78.jpg",[],{"id":33806,"slug":33807,"title":33808,"dynasty":124,"author":33809,"museum":300,"description":33810,"tags":33811,"thumbUrl":33812,"material":84,"size":84,"collection":84,"collections":33813,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},228404,"mo-he-tu-li-zhou-xiang-yuan-bian-228404","墨荷图立轴","项元汴","此作虚实相生，以文绘相融尽显文人意趣。右上角题诗留白衬映画面，下半段挥写墨荷。大写意泼染荷叶，墨色干湿浓淡交织，晕染出翠盖舒展的蓬勃野态；花瓣以清隽白描勾勒，尽显菡萏清雅绰约之姿。挺劲荷茎点缀苔斑，舒展兰草环绕侧畔，更添幽塘清逸之趣。\n\n整幅以极简水墨抒怀，将荷塘晓风的清寂诗意融于笔底，以简驭繁尽显晚明文人画重韵尚意的风骨，在水墨氤氲间晕染出空灵澹远的幽塘意境，是借物寄怀的文人水墨佳构。",[23,24,7,165,128,81,82,303,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e662119b33919b8f58181bb78653082.jpg",[],{"id":33815,"slug":33816,"title":33817,"dynasty":18,"author":2141,"museum":300,"description":33818,"tags":33819,"thumbUrl":33820,"material":84,"size":84,"collection":84,"collections":33821,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},227802,"shan-zhuang-du-shu-tu-ye-liu-song-nian-227802","山庄读书图页","山峦叠翠流云轻绕，幽谷飞瀑隐于翠微之间，整幅画以温润青绿晕染出江南山居的清寂雅境。屋舍藏在松竹蕉荫深处，堂中人正展卷静读，周遭林木蓊郁苍润，山石皴法细腻匀净，古雅的青绿设色晕开沉静的宋人意趣。\n\n笔致工稳秀润，将文人幽居林泉的理想铺陈绢素，山野间无车马喧嚣，唯有山光树影伴衬书香。山石草木皆含静气，把宋人内敛雅致融在每一处细节里，让观者仿佛能踏入这方世外山居，共赴林泉书香的闲淡之约。",[23,164,24,7,27,29,28,132,34,131,97,415,37,495,96,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39d558e62e4e589222cc081f24c1e325.jpg",[],{"id":33823,"slug":33824,"title":33825,"dynasty":18,"author":223,"museum":300,"description":33826,"tags":33827,"thumbUrl":33828,"material":84,"size":84,"collection":84,"collections":33829,"showCount":217,"zanCount":1116,"manualWeight":48,"mainColor":49},227350,"gong-nv-tu-tuan-shan-yi-ming-227350","宫女图团扇","团扇，又称宫扇、纨扇，是中国汉族传统工艺品及艺术品，是一种圆形有柄的扇子，它代表着团圆友善、吉祥如意 [1] 。团扇起源于中国。扇子最早出现在商代，用五光十色的野鸡毛制成，称之为“障扇”。\n当时，扇子不是用来扇风取凉，而是作为帝王外出巡视时遮阳挡风避沙之用。西汉以后，扇子开始用来取凉。三国时诸葛亮轻摇鹅毛扇，妙计横生，运筹帷幄。羽扇出风缓软，不入腠理。东汉时，大都改羽扇为丝、绢、绫罗之类织品，以便点缀绣画。一轮明月形的扇子称之为“纨扇”或“团扇”，也叫“合欢扇”。当时扇子有长圆、葵花、梅花、六角、匾圆之形；亦有木、竹、骨等材之柄；还有扇坠、流苏、玉器之饰。\n宋以前称扇子，都指团扇。王昌龄《长信愁》诗：“奉帚平明秋殿开，且将团扇共徘徊”。《杖扇新录》载：近世通用素绢，两面绷之，或泥金、瓷青、湖色，有月圆、腰圆、六角诸式，皆倩名人书画，柄用梅烙、湘妃、棕竹，亦有洋漆、象牙之类。名为“团扇”。圆形或近似圆形扇面，扇柄不长。现在的团扇扇柄较长，越来越符合大众审美。",[23,164,24,7,1131,27,96,28,166,169,170,232,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3a0f76cfffbd1d013df65fbdf7e9d6f.jpg",[],{"id":33831,"slug":33832,"title":33833,"dynasty":182,"author":6287,"museum":300,"description":33834,"tags":33835,"thumbUrl":33836,"material":84,"size":84,"collection":84,"collections":33837,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},227087,"dong-xue-shan-jing-tu-ye-wang-wei-227087","冬雪山景图页","雪地实景，苍茫而润泽，冰雪覆盖了自然界中的山川树木，使人们的视觉不再被五彩缤纷的万物所迷惑，从而使人们更为关注于白茫茫的冰雪积压、融变的过程，这种自然属性恰好与水墨形式相得益彰。因此，雪景山水画一直是中国山水画中的一个很有特色的部分。\n\n据文献记载，水墨雪景山水为唐代王维首创。王维山水画成就很高，尤其是雪景山水更令人瞩目。据文献记载，王维曾有20余幅雪景山水流传，将雪景山水的千变万化和神奇美妙表现得淋漓尽致，并赋予其不同的人文意蕴。研究表明，王维的雪景山水没有留下真迹，而流传于世的历代摹本或托名之作，多出于古代画家崇拜王维雪景山水的至深至诚之情。\n\n在清代学者高士奇的《江村消夏录》中记载，明代沈周在看到王维《万峰积雪图》后，写出如下题文:“城中十日暑如炙，头目眩花尘土塞。僧楼今日见此卷，雪意茫茫寒欲逼。古栟修柳枝袅矫，下有幽簧侧从碧。隔溪胶艇不受呼，平地贯渚无人迹。”在夏日炎炎的酷暑，看到王维的雪景山水作品，能有“雪意茫茫寒欲逼”的感受，或许这是没有空调的古代人常用的一种消夏避暑方式？（本平台独家专稿《画说古人如何过夏天》将于近期推出，敬请关注。）\n\n自王维之后，历代许多名家都热衷于雪景山水的创作，为我们留下了大量的经典传世之作。让我们展开画卷，一起走入艺术家们为我们营造的冰雪世界中，感觉这份凉意与惬意吧！",[23,164,24,7,4642,29,27,132,2523,131,1337,13436,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1cc41d747600fbec5bb8ee4187a8527.jpg",[],{"id":33839,"slug":33840,"title":28691,"dynasty":351,"author":5956,"museum":300,"description":33841,"tags":33842,"thumbUrl":33843,"material":84,"size":84,"collection":84,"collections":33844,"showCount":217,"zanCount":1116,"manualWeight":48,"mainColor":72},226713,"huo-lang-tu-ye-li-sheng-226713","这是一幅人物风俗画卷，画面上货郎的货担上物品繁多，不胜枚举，从锅碗盘碟、儿童玩具到瓜果糕点，无所不有。在商品流通尚不够发达的时期，货郎们走街串巷，一副货担就是一个小小的百货店，货郎们不仅为偏僻的乡村带来所需的货物，也带来各种新奇的见闻，货郎的到来往往象节日般热闹场景。画家借助货郎这一题材表现了当时市井生活的一个侧面，那些令人眼花缭乱的物品，虽然今天有很多已不明其用途，但却真实地记录了那个时代百姓的生活方式，是民俗学家不可多得的珍贵史料。",[23,164,24,7,4437,28,27,96,5471,251,34,6640,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70b73176be8077b5a0404118925f2e78.jpg",[],{"id":33846,"slug":33847,"title":33848,"dynasty":54,"author":33849,"museum":300,"description":33850,"tags":33851,"thumbUrl":33852,"material":84,"size":84,"collection":84,"collections":33853,"showCount":217,"zanCount":1998,"manualWeight":48,"mainColor":199},224578,"qing-ke-si-qun-xian-zhu-shou-zhou-qing-ren-224578","清缂丝群仙祝寿轴","清人","云端玄女乘鹤御风而来，松荫之下众仙执笙捧盏，衣袂翩跹顾盼生姿，满含恭谨喜色，似正静待贺寿吉时。下方仙姝俯身采撷芝草灵卉，奇石虬松环伺左右，流云漫卷天际，将海天仙乡的缥缈灵秀铺展尽致。\n\n此作用通经断纬之技晕染衣纹褶皱的柔婉层次，石色苍古明润，松针纤毫毕现，将群仙赴寿的欢愉雅景织就，既见仙班贺寿的祥瑞吉庆，又尽显工致秀雅的匠艺风华，恍将清虚仙境凝于尺幅之中。",[164,24,7,165,1944,27,96,29,34,189,853,3333,4278,131,211,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87520e9eaeef0cd56b73baacd54137b6.jpg",[],{"id":33855,"slug":33856,"title":33857,"dynasty":222,"author":223,"museum":300,"description":33858,"tags":33859,"thumbUrl":33860,"material":84,"size":84,"collection":84,"collections":33861,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},223615,"di-shi-san-yin-jie-tuo-zun-zhe-tu-yi-ming-223615","第十三因揭陀尊者图","半袒上身的尊者安坐崖间，高眉深目，虬髯微张，神情沉静威严，身后圆光晕染出清净圣格。身旁神兽昂首嘶吼，筋骨劲健灵动，动静之间形成鲜明反差，更衬出尊者静定无波的禅心。\n画作设色调和古雅，衣纹勾勒顿挫苍劲，晕染细致，既将织物厚重质感铺陈开来，又将尊者伟岸身形刻画入微。淡墨晕染山石云气，晕开幽寂清旷的禅意氛围。工写兼备之下，将尊者慈悲威严的气度与神兽悍勇神态尽皆展现，尽显古宗教绘画的肃穆高华与精湛笔力。",[23,24,7,165,187,28,27,96,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a690d779abe88933909687b4c9e34c7.jpg",[],{"id":33863,"slug":33864,"title":33865,"dynasty":18,"author":223,"museum":20,"description":33866,"tags":33867,"thumbUrl":33868,"material":514,"size":33869,"collection":42,"collections":33870,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},223532,"shui-ge-feng-liang-tu-yi-ming-223532","水阁风凉图","绘古木掩映下一茅亭临江而建，远处山色空蒙，中为平川水田。宁外巨石错落，泉水奔流，亭内置一方桌，一折衣长者袖手停立桌前，仆人执扇侍立一侧。",[23,24,7,29,27,132,97,413,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37929b949c027168c6a1aef447280eae.jpg","22.5x21.1厘米",[42,136,117],{"id":33872,"slug":33873,"title":33874,"dynasty":54,"author":1219,"museum":77,"description":33875,"tags":33876,"thumbUrl":33877,"material":1223,"size":33878,"collection":84,"collections":33879,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},223229,"tao-hua-shuang-ji-tu-ren-yi-223229","桃花双鸡图","这图在徐小仓的传世的花鸟画作品中亦属上品。任氏所创用的以侧锋塑方形物象的画法，也与“侧取媚”的书学理论息息相通。因这种造型特征，能使欣赏者得到清新愉悦的观感而不陷于艰深的笔墨意境之中。这一点，在徐祥的作品中也得到了很好的体观。至于坡石的勾勒，坡草的节奏和用色方法，这些都与任伯年的作风一脉相承，置诸伯年作品中，几乎是可以混人耳目的。徐祥的自运之处，在于画面的整体布局，此作构图饱满，充溢三角而稍留空虚之地，使画面丰满而不滞塞。桃枝的穿插层层叠错，相当繁杂，这一点，固可以目之为“琐碎”，但反思之，这种变简单为繁茂，变孤清为热闹的画法，恰恰是符合徐小仓作为一个平民画家的本色的，雅俗共赏是未尝可以轻易非议的。款识：海上徐小仓写。钤印：徐祥之印。\n通观全作，设色淡雅，用笔以方峻的侧锋铺点为主，枝叉的转折，桃叶的分布，树干的盘旋出节，均与任伯年如出一辙；雄鸡的造型也取三角形，有棱有角，古人论书尝云“侧取媚”，意即侧锋出笔则姿态婀娜。",[23,24,7,164,27,128,61,209,2510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafa59cfc11c1f09f6b7195be05c9967f.jpg","138×68厘米",[],{"id":33881,"slug":33882,"title":6956,"dynasty":54,"author":6957,"museum":300,"description":6958,"tags":33883,"thumbUrl":33884,"material":84,"size":84,"collection":84,"collections":33885,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},223081,"shui-hu-ren-wu-ren-xun-223081",[23,164,24,7,27,28,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a3a4f5179bbbd31544dae8f5435c3f9.jpg",[],{"id":33887,"slug":33888,"title":33889,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":33890,"thumbUrl":33895,"material":151,"size":7879,"collection":84,"collections":33896,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},223067,"hong-lou-meng-53-sun-wen-223067","红楼梦53",[23,24,28,27,7,6318,33891,997,2218,33892,33893,62,33894],"红楼梦题材","古典厅堂","古典家具","钟表","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fb2d52989d8a7786715a5657cbdb872.jpg",[],{"id":33898,"slug":33899,"title":33900,"dynasty":54,"author":4468,"museum":244,"description":4469,"tags":33901,"thumbUrl":33902,"material":27,"size":4474,"collection":84,"collections":33903,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},222737,"xian-e-chang-chun-tu-dou-hua-lang-shi-ning-222737","仙萼长春图豆花",[23,164,24,7,59,27,28,10803,14386,61,2361,12508,6640,2220,230,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf7cbebeb96400b2f7cc4f921366e047.jpg",[],{"id":33905,"slug":33906,"title":33907,"dynasty":54,"author":5276,"museum":224,"description":18708,"tags":33908,"thumbUrl":33909,"material":15552,"size":33910,"collection":318,"collections":33911,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},222635,"shan-shui-shu-fa-ce-liu-kai-gao-feng-han-222635","山水书法册六开",[23,24,7,59,128,27,29,133,132,99,496,34,18542,35,6126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d6d5643030c40635094436e09839791.jpg","31.8x24.8cm",[318,136],{"id":33913,"slug":33914,"title":33915,"dynasty":124,"author":1438,"museum":205,"description":4072,"tags":33916,"thumbUrl":33917,"material":1223,"size":4076,"collection":84,"collections":33918,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},222566,"hua-hui-tu-5-chen-chun-222566","花卉图5",[23,164,24,7,805,61,369,128,27,62,548,2037,666,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb138d65dbbfc167920322e416ba20c1e.jpg",[],{"id":33920,"slug":33921,"title":33922,"dynasty":124,"author":16243,"museum":300,"description":33923,"tags":33924,"thumbUrl":33925,"material":611,"size":33926,"collection":84,"collections":33927,"showCount":217,"zanCount":1998,"manualWeight":48,"mainColor":72},222243,"yue-yi-lun-wang-chong-222243","乐毅论","王宠（1494-1533），明代书法家，字履仁、履吉，号雅宜山人，吴县（江苏苏州）人。\n邑诸生，贡入太学。博学多才，工篆刻，善山水、花鸟。诗文声誉很高，尤以书名噪一时，书善小楷，行草尤为精妙。\n著有《雅宜山人集》，传世书迹有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。\n王宠诗文书画皆精。书法初学蔡羽，后规范晋唐，楷书师虞世南、智永；行书学王献之，融会贯通。小楷尤清，简远空灵。其名与祝允明、文征明并称。何良俊《四友斋书论》评其书：“衡山之后，书法当以王雅宜为第一。盖其书本于大令，兼人品高旷，改神韵超逸，迥出诸人上。”著有《雅宜山人集》。传世书迹较多，有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。《千字文》，纸本墨迹，行草书。此千字文，凡104行，每行字数不一，共1015字。纵28厘米，横463.6厘米。台北故宫博物院藏。《宝蕴楼书画记》著录。此篇《千字文》结体平稳，俯仰欹侧变化不大，可以窥见其师承王献之、虞世南的轨迹。此帖既有魏晋时期王氏父子风华俊丽、遒逸疏爽之姿，又具初唐时期虞世南的气秀色润、外柔内刚之气。从用笔方面来看，其行草气息平和，干净利落，一丝不苟，笔势凝重、洗练，笔画之间很少有连笔牵丝，字字独立，互不相连。综观此书作，典雅平淡，落落大方，草法严谨。\n青年时代苦读书20年，建越溪庄，设有“采芝堂”、“御风亭”、“小隐阁”、“大雅堂“、“辛夷馆”、“铁观斋”等收藏书画之所，读书练字、作画于湖上，后以诸生入国子监。藏书颇多，于书无所不窥，手写经书皆一再过。滂喜斋藏宋刻《云斋广录》有“王履吉印”、“铁观斋”朱记。又宋刻《东观余论》、元本《扬子法言》印有“雅宜山人珍藏图籍”、“古吴王氏”“王履吉印”“王宠履吉”“太原王宠”“玄微子”“辛夷馆印”“王宠”“雅宜山人”“履吉父”等。",[23,64,572,128,208,23848,7,330,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73c8ad259d9b2083b71961ca8508794a.jpg","29.63*90.31",[],{"id":33929,"slug":33930,"title":33931,"dynasty":144,"author":7181,"museum":20,"description":33932,"tags":33933,"thumbUrl":33934,"material":18467,"size":33935,"collection":318,"collections":33936,"showCount":217,"zanCount":1998,"manualWeight":48,"mainColor":72},221851,"bo-ya-gu-qin-bai-miao-quan-juan-wang-zhen-peng-221851","伯牙鼓琴白描全卷","这是一幅人物故事画，画中的故事最早见于《吕氏春秋》一书。画的是俞伯牙与钟子期两位知心朋友之间的深厚友谊。画面上共有五人，左边是伯牙，他面目清秀，蓄长髯，披衣敞怀，端坐石上，双手抚琴。伯牙的对面是子期，也坐在石上，身着长袍，低头静心谛听。两人的身后共有侍童三人站立。作者用生动、准确的笔墨刻划了两个主要人物的外形特征和内心活动，弹琴者的专注，听琴者的入神，都跃然绢上。为了衬托两个主要人物，作者还安排了三个侍童，并借用次要人物的不同反应来表达伯牙和子期之间用琴声传递感情并成为“知音”的友谊。这幅画在人物心理活动的描绘上达到了很高的水平。\n在绘画技法上画家王振朋很好地继承了北宋李公麟的“白描”画法，线条挺拔有力，富有弹性，既连绵不断，又有轻重、粗细、缓急、顿挫的变化。画中部分衣帽用淡墨渲染，石块略加皴擦，这些丰富而简洁的表现手法使画面有变化而又含蓄，明快又不显单调。\n此图最右边略有残缺。根据画上所钤印章可知，该图在元朝时为鲁国大长公主祥哥剌吉（元仁宗之姐）收藏，清初归著名收藏家梁清标所有，乾隆时入内府，著录于《石渠宝笈·初编》。",[23,24,7,25,188,96,438,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b5b0e1456c709b4afc321f3126a2f0f.jpg","纵31.4厘米，横92厘米",[318],{"id":33938,"slug":33939,"title":33940,"dynasty":144,"author":14724,"museum":244,"description":33941,"tags":33942,"thumbUrl":33944,"material":637,"size":33945,"collection":136,"collections":33946,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},221791,"shu-song-you-xiu-tu-zhou-cao-zhi-bai-221791","疏松幽岫图轴","描绘平溪远岫，疏林飞瀑，山谷间房舍隐现。近处高松老树疏简错落，枝干虬曲，形态优美。",[23,24,7,165,128,132,29,33943,331,131,34,208],"疏松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78ce6cb5c7be500033f0c32f59285ed1.jpg","纵74.5厘米，横27.8厘米",[136,117],{"id":33948,"slug":33949,"title":22181,"dynasty":144,"author":14724,"museum":244,"description":33950,"tags":33951,"thumbUrl":33952,"material":317,"size":33953,"collection":136,"collections":33954,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},221787,"shuang-song-tu-zhou-cao-zhi-bai-221787","滨水石坡上两棵虬松，拔地而起，势如参天，背衬以杂树，掩映在烟霭中，渐远渐晦。并立双松，干顶枝条向周围虬蟠伸长，旁配以远水，成无尽景，画成于1329（天历二年），时年曹知白五十八。以松树成为山水画中描摹的一重点，概与元朝整个大环境有关，画家藉事物明志，而松之坚拔，使双松正可作为友情坚贞之象徵\n在元画中这类作品甚夥，如朱德润、唐棣等大家之作。审视诸家之双松，皆可找出从李衎以来，所持有李郭派描写树石的严谨传统。但和诸家笔下略带书法性夸张的松树相较，先生在树形及用笔上，展现了平实的个人风貌。\n画家以直线皴配合鳞皴表现松干皮，并在树身上加上齐列的横点苔，显得工整规律，但伸展曲折诡谲的松枝经营，枝梢回转上仰之姿，和向四面散射细疏的松针，打破了松身的平整。杂树枯枝则取蟹爪笔法，和其晚年七九岁所作《群峰雪霁图》前景三松简淡笔墨对照，此幅用笔显得严整而厚实。",[23,24,7,165,128,132,29,1144,131,34,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e1cce535f431daf2980dd1b72ee3a27.jpg","132.1x57.4公分",[136,117],{"id":33956,"slug":33957,"title":33958,"dynasty":144,"author":7032,"museum":20,"description":33959,"tags":33960,"thumbUrl":33961,"material":40,"size":33962,"collection":136,"collections":33963,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},221736,"shu-shi-tu-wan-shan-zhao-yuan-221736","树石图纨扇","图绘疏树坡石，远岫平溪，水天一色。山势平缓，形如窠石。山峦用侧锋勾出轮廓和脉络，再以淡墨加彩皴染，类似层云。树干随写随皴，并用浓墨点疤节，树枝似龙角或凤尾，错落有致。笔法圆秀。构图平远。",[23,24,7,1131,128,132,413,1314,1337,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d958098ca36462d23e5bfbb73f9ed9.jpg","纵25厘米，横19．7厘米",[136,117],{"id":33965,"slug":33966,"title":33967,"dynasty":18,"author":33968,"museum":300,"description":33969,"tags":33970,"thumbUrl":33971,"material":33972,"size":33973,"collection":318,"collections":33974,"showCount":217,"zanCount":1116,"manualWeight":48,"mainColor":72},221447,"mo-mei-tu-juan-wang-yan-sou-221447","墨梅图卷","王严叟","此作用淡墨铺陈枝梢，浓墨勒就老干，冰梅错落点缀枝间，清瘦疏朗，将冬梅凌霜独放的冷峭风骨尽显。水墨晕染极简却意韵悠长，寥寥数笔便勾勒出寒梅孤高清雅之姿。\n全卷书画合璧，后随行书题咏，笔致萧散跌宕，与画中梅枝交相呼应，诗画相融，尽显宋时文人以梅寄情、托物言志的清雅意趣。",[23,24,7,25,128,371,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3709fa9b3144c90f5b83acbe6ae1023.jpg","绢布","26.9X161厘米",[318],{"id":33976,"slug":33977,"title":33978,"dynasty":18,"author":3596,"museum":224,"description":33979,"tags":33980,"thumbUrl":33981,"material":33982,"size":33983,"collection":42,"collections":33984,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":199},221446,"sha-zhu-fu-chu-tu-cui-bai-221446","沙渚凫雏图","崔白（1004-1088），中國北宋畫家，字子西，活躍於宋神宗前後，濠州（今安徽鳳陽）人。崔白是開始發揮寫生精神的畫家，其無前人的畫稿可臨摹或參考，但其依靠超越前人的觀察研究及描繪能力，探索花木鳥獸的生意，擺脫花鳥屬裝飾圖案的遺影，開創新的發展方向。其擅花竹、翎毛，亦長於佛道壁畫，畫佛道鬼神、山水、人物亦精妙絕倫，尤長於寫生。所畫鵝、蟬、雀堪稱三絕，手法細緻，形象真實，生動傳神，富於逸情野趣。一改百餘年墨守成規的花鳥畫風（指「黃筌畫派」），成為北宋畫壇的革新主將，數百年來頗受畫壇尊崇。",[23,164,24,7,61,27,28,1400,171,303,2438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86470bd0b6cb5ed33a9003d7bca038ca.jpg","册页，绢本","31.4cm×25.7cm",[42,68,45],{"id":33986,"slug":33987,"title":33988,"dynasty":351,"author":13946,"museum":20,"description":13947,"tags":33989,"thumbUrl":33990,"material":13950,"size":13951,"collection":84,"collections":33991,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},221173,"na-ga-xi-na-zun-zhe-tang-ka-bu-ben-guan-xiu-221173","那伽犀那尊者（唐卡布本）",[23,164,24,7,165,27,187,96,949,413,61,2302,355,497,230,28,234,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b41f5da4d64a7095b0f7c7ead52295.jpg",[],{"id":33993,"slug":33994,"title":33995,"dynasty":124,"author":2268,"museum":77,"description":33996,"tags":33997,"thumbUrl":33998,"material":33999,"size":34000,"collection":318,"collections":34001,"showCount":217,"zanCount":1998,"manualWeight":48,"mainColor":49},220965,"jiu-de-song-dong-qi-chang-220965","酒德颂","此卷书法用笔遒劲，布白疏朗。\n《酒德颂》是魏晋诗人刘伶创作的一篇骈文。",[23,164,24,7,25,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff956fce687948e21143d27e5aa04e021.jpg","行书，绢本","纵24.5厘米，横245.7厘米",[318],{"id":34003,"slug":34004,"title":34005,"dynasty":124,"author":2268,"museum":20,"description":34006,"tags":34007,"thumbUrl":34008,"material":637,"size":34009,"collection":318,"collections":34010,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},220963,"qi-lv-shi-dong-qi-chang-220963","七律诗","82岁自书诗帖卷行楷七律，崇祯九年丙子(1636)夏，朝鲜笺本尺寸：30X251cm，故宫博物院藏。",[23,164,24,7,25,133,64,208,27,371,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff585a41d024b15fd0fb7f7b54fdad52b.jpg","30X251cm",[318],{"id":34012,"slug":34013,"title":34014,"dynasty":980,"author":34015,"museum":3540,"description":34016,"tags":34017,"thumbUrl":34018,"material":3544,"size":84,"collection":84,"collections":34019,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},220475,"man-mu-qing-shan-xi-zhao-ming-zhou-li-ke-ran-220475","满目青山夕照明（轴）","李可染","此作用巨幅雄山占据画面主体，焦墨勒出山峦筋骨，赭石晕染铺就夕照暖光，将冷硬岩壁晕染出暮色鎏金的温煦。山谷间田埂溪流萦回蜿蜒，深郁林木沉黑如墨，与亮部形成强烈明暗反差，既衬出山岳巍峨厚重的体量感，又暗藏乡野灵动生机。\n以积墨反复皴擦堆叠，让山体兼具苍茫质感与雄浑气势，右上角题笔朴拙苍劲，与画风融为一体，将暮色中山川的沉浑壮美与田园静谧相融，把晚照青山的诗意凝于尺幅之间，尽显沉雄朴厚的山水意趣，藏着对山河暮色的深切眷恋。",[24,7,165,128,27,132,29,6844,3344,99,496,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68a6185073b7c5986525e80316eb85c6.jpg",[],{"id":34021,"slug":34022,"title":34023,"dynasty":124,"author":12302,"museum":20,"description":34024,"tags":34025,"thumbUrl":34026,"material":734,"size":34027,"collection":84,"collections":34028,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},220390,"you-song-tu-du-qiong-220390","友松图","此画无款，钤“东原斋”、“杜用嘉”、“一丘一壑”三印。\n后有文伯仁跋，说明为杜琼之作。据张丑《清河书画舫》著录：“东原先生为其姊丈魏友松写号图，当时有题诗，不知何时脱落，尚赖刘完庵长句具存，足称艺林双璧。”又据杜琼文集中有关魏友松的诗文可知，杜琼姊丈魏本成，号友松，魏氏一家都是仕宦文人。",[24,7,25,29,27,28,132,98,99,131,34,1144,35,249,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b1af06046dc35154b5afb75f3032f83.jpg","纵28.8厘米，横92.5厘米",[],{"id":34030,"slug":34031,"title":34032,"dynasty":18,"author":34033,"museum":1941,"description":34034,"tags":34035,"thumbUrl":34036,"material":173,"size":34037,"collection":68,"collections":34038,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},220257,"ying-zhu-ye-qin-tu-chao-shuo-zhi-220257","鹰逐野禽图","晁说之","晁说之（1059-1129），字以道，一字伯以，济州钜野（今山东巨野）人（《宋史·晁补之传》）。因慕司马光为人，自号景迂生。神宗元丰五年（1082）进士。哲宗元祐初，官兖州司法参军，绍圣时为宿州教授，元符中知磁州武安县。徽宗崇宁二年（1103），知定州无极县。后入党籍。大观、政和间监明州造船场，起通判鄜州。宣和时知成州，未几致仕。钦宗即位，以著作郎召，除秘书少监、中书舍人，复以议论不合，落职。高宗立，召为侍读，后提举杭州洞霄宫。建炎三年卒，年七十一。有《嵩山文集》（又名《景迂生集》）二十卷。事见《嵩山文集》附录其孙子健所作文集后记、《晁氏世谱节录》，及集中有关诗文。晁说之诗，以四部丛刊续编影印旧钞本《嵩山文集》（集中“祯”字皆缺，注“今上御名”，当沿宋本之旧）为底本。校以影印文渊阁《四库全书》本（简称四库本）等。新辑集外诗，附於卷末。",[23,24,7,165,28,128,27,61,211,3141,25285,1771,2438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9b3c49df88c28a1d7b446c5a24edbc.jpg","168.2厘米×86.6厘米",[68],{"id":34040,"slug":34041,"title":34042,"dynasty":18,"author":4899,"museum":6620,"description":34043,"tags":34044,"thumbUrl":34045,"material":173,"size":34046,"collection":44,"collections":34047,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},219707,"qi-feng-tu-ma-he-zhi-219707","齐风图","齐襄公是齐僖公长子，他同父异母的妹妹姜文，素有“春秋时期四大美女”之称。见色起意的齐襄公不顾纲常伦理，与妹妹私通。《汉书·地理志》中记载了这段不堪的往事：“始桓公兄襄公淫乱，姑姊妹不嫁。",[23,24,25,7,188,27,28,133,96,97,98,99,6675,34,29,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12d34fa858564b0e0ce285f95eabcfed.jpg","26.2x65cm",[44],{"id":34049,"slug":34050,"title":34051,"dynasty":124,"author":8983,"museum":4840,"description":34052,"tags":34053,"thumbUrl":34054,"material":173,"size":84,"collection":136,"collections":34055,"showCount":217,"zanCount":1998,"manualWeight":48,"mainColor":72},219704,"zhu-yuan-feng-seng-tu-zhao-zuo-219704","竹院逢僧图","赵左（1573-1644）的风格兼容苏州与松江两地画学传承。画中小茅屋里面对僧人而坐的文士，吻合右上方所书的唐人诗句「因过竹院逢僧话，又得浮生半日闲」。此画题颇受欢迎，而赵左的诠释方式，除了利用竹林、巨石、水面与大片云雾，将竹院独立出来，更有趣的是利用树干与围幕，将文士框限于一小方空间，促迫地享受仅存的闲逸。",[23,164,24,7,128,1349,132,413,131,3387,99,96,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2de72b6897a34154bfb9dd405d03101.jpg",[136],{"id":34057,"slug":34058,"title":34059,"dynasty":144,"author":2487,"museum":5543,"description":34060,"tags":34061,"thumbUrl":34062,"material":173,"size":34063,"collection":44,"collections":34064,"showCount":217,"zanCount":1998,"manualWeight":48,"mainColor":49},219597,"ma-ren-xing-tu-ren-ren-fa-219597","马人形图","画面以深苑楼阁为衬，廊间仕女凭栏窥望，中庭处马作人形扬蹄起舞，周遭观者环立，将私邸宴乐的融融欢趣铺陈开来。\n\n界画工细严整，楼宇台阁层叠错落尽显规制精巧，人物衣袂飘举灵动柔婉，设色古雅沉润，晕染柔和自然，把贵族家眷宴饮观舞的闲逸图景刻画入微。古旧绢面晕开的淡痕更添岁月意韵，定格了元代世俗声色的一隅，尽显笔底细腻的观察力，将雅集间松弛悠然的意趣娓娓道来。",[164,24,7,1131,27,95,96,101,97,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4752ad7bcbf37d7ad54a02274fa11273.jpg","25.5×24.7厘米",[44],{"id":34066,"slug":34067,"title":34068,"dynasty":124,"author":34069,"museum":450,"description":34070,"tags":34071,"thumbUrl":34072,"material":278,"size":84,"collection":44,"collections":34073,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},219540,"tie-guai-li-tu-chen-xian-219540","铁拐李图","陈贤","此画中葫芦船不知可令诸位联想起伏羲女娲神话中载二人渡难的葫芦巨船否？确定的是，可从其中可窥见葫芦文化中神性的部分",[23,24,7,128,96,187,208,99,20953,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49e3bbb42ae64998ed8e606eeef0c874.jpg",[44,117],{"id":34075,"slug":34076,"title":34077,"dynasty":124,"author":34078,"museum":244,"description":34079,"tags":34080,"thumbUrl":34081,"material":128,"size":34082,"collection":117,"collections":34083,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},219359,"feng-yu-gui-zhou-tu-lin-shan-219359","风雨归舟图","林山","绢本泛黄，墨痕疏淡间，风雨江天的意趣徐徐铺展。一叶扁舟斜横水面，舟中人身形隐约，似在风雨里寻着归途，船桨轻点的弧度，漾开几分仓促又安然的韵致。岸边垂柳被风牵曳，枝条如乱丝垂落，墨线的轻飏里，藏着风的姿态。近处草木以浓墨点染，与远山淡晕的朦胧相映，空阔的江天更显清寂。整幅画以简笔写意，水墨的浓淡交织出萧索与生机的平衡，归舟的动态打破了江天的静穆，却又融于这份空灵之中，尽显文人画的悠远之味。",[164,24,7,165,128,29,129,1350,413,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe53b1a4c4aee7fb87b3e765521a76a33.jpg","130.9x63",[117],{"id":34085,"slug":34086,"title":34087,"dynasty":124,"author":34088,"museum":450,"description":34089,"tags":34090,"thumbUrl":34091,"material":173,"size":84,"collection":68,"collections":34092,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},219325,"hua-niao-tu-yi-yue-zhou-219325","花鸟图(一)","月洲","枯枝虬曲如铁，却绽几点新红，似冬末春初的暖意悄然浸来。枝上双禽相顾，羽色黑白分明，灵动如生；坡前雉鸡敛翅，尾羽拖曳如绢，斑驳羽纹间藏着野趣。花木与禽鸟相契，笔墨工致处见羽毛肌理，写意处显枝干苍劲，松针细劲，山石朴拙，似能听见枝间轻啼，嗅到草间清芬。整幅画面古雅静谧，生机暗涌，将自然之趣凝于绢素，尽显传统花鸟的意韵悠长。",[23,24,7,165,28,27,61,371,331,30448,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F095ebf46cf6c15794eea3c98ab045de1.jpg",[68],{"id":34094,"slug":34095,"title":34096,"dynasty":144,"author":17775,"museum":244,"description":34097,"tags":34098,"thumbUrl":34099,"material":173,"size":34100,"collection":136,"collections":34101,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},219087,"yun-pu-na-zhou-tu-tang-di-219087","云浦拏舟图","唐棣（1296-1364)，字子华，号遁斋,祖籍钱塘(今浙江杭州)，因先世在吴兴做官，迁徙归安(今浙江湖州)。",[23,24,7,29,128,27,132,129,97,34,415,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbe43ec4ea318794216335f5e30a3218.jpg","25.6x31.4",[136],{"id":34103,"slug":34104,"title":34105,"dynasty":124,"author":223,"museum":2542,"description":34106,"tags":34107,"thumbUrl":34108,"material":173,"size":34109,"collection":68,"collections":34110,"showCount":217,"zanCount":1998,"manualWeight":48,"mainColor":49},219078,"yu-qin-tu-yi-ming-219078","浴禽图","画的是一只站在木盆边上的黑鸟，盆里装了一半的水，鸟的嘴很尖，全身都是黑毛，翅膀中间和尾羽上都有一族白色的羽毛装饰。",[24,164,7,28,27,61,211,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05cb17584d98781bb9ead39718e572d4.jpg","23.5x23.5cm",[68],{"id":34112,"slug":34113,"title":34114,"dynasty":54,"author":34115,"museum":244,"description":34116,"tags":34117,"thumbUrl":34118,"material":173,"size":34119,"collection":68,"collections":34120,"showCount":217,"zanCount":1998,"manualWeight":48,"mainColor":49},218879,"xian-quan-tu-liu-yi-218879","仙犬图","刘亿","几只仙犬或蜷卧小憩，或嬉戏逗趣，毛羽勾勒得柔润细腻，神态憨态可掬，似含灵韵。近旁老枝盘曲，素花点缀枝头，暗香仿佛随风轻溢；石矶以墨色皴染，苍劲中带着朴拙。背景淡褐晕开，虚实相映，留白处漾着空濛意趣，更衬出犬儿的灵动与花木的清雅。笔墨浓淡相宜，细腻却不刻意，将生灵之趣与幽境之美融于尺幅间，似能感受到画者对自然生灵的温柔观照，观之令人心生悠然，满是沁人的雅致。",[24,7,164,27,28,949,9119,413,1314,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc59a546e228caa4b665afbe19974a9f.jpg","42.2x56.8cm",[68],{"id":34122,"slug":34123,"title":34124,"dynasty":144,"author":4034,"museum":244,"description":34125,"tags":34126,"thumbUrl":34127,"material":173,"size":84,"collection":44,"collections":34128,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},218743,"song-mei-shi-nv-tu-sheng-mao-218743","松梅仕女图","尺幅间松枝如铁，梅蕊凝霞，暗香似绕绢素。仕女凭石闲坐，衣袂轻垂，眸光柔落梅梢，似细品松风与寒香交织的清韵。笔墨兼工带写，松针疏密见劲健，梅朵点染含娇妍，仕女姿态温婉，神情娴静，与松梅冷艳相映成趣。题跋墨痕与淡彩相融，更添古雅。整体意境清幽淡远，如无声诗行，道尽文人心中的雅致闲逸，时光仿佛在此停驻，只余松梅与佳人的悠然对语。",[23,24,7,59,27,96,372,371,166,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc96448930cd424db7a671f6805711b6a.jpg",[44],{"id":34130,"slug":34131,"title":34132,"dynasty":54,"author":31496,"museum":424,"description":34133,"tags":34134,"thumbUrl":34135,"material":173,"size":34136,"collection":68,"collections":34137,"showCount":217,"zanCount":1998,"manualWeight":48,"mainColor":49},218736,"liu-tang-ji-qin-tu-hu-mei-218736","柳塘集禽图","此画描绘了一群禽鸟在柳塘嬉戏的情景。画中几只芦雁或在岸上长鸣，或在水中畅游，或在低空中盘旋，石缝中生长出几棵小树，两只小鸟在枝丫上彼此顾盼。",[23,24,7,164,165,28,128,61,2372,355,3238,3837,228,1314,34,211,1824],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9a65963fe55590b859fe37010d4dfd9.jpg","纵211厘米，横100厘米",[68],{"id":34139,"slug":34140,"title":34141,"dynasty":18,"author":223,"museum":244,"description":34142,"tags":34143,"thumbUrl":34144,"material":173,"size":34145,"collection":68,"collections":34146,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},218731,"cao-chong-gua-shi-tu-yi-ming-218731","草虫瓜实图","瓜果成熟，吸引了蝈蝈（也叫织女），其生产力蓬勃发展；果实肥沃，瓜的叶子和胡须是蔓生植物，可以继续生长，有 希望多子 的美好含义。瓜皮被染成老绿色，瓜棱被填上赭石，裂缝被染成淡淡的石绿色。瓜的叶子的边缘已经枯萎，呈赭黄色。",[23,164,24,7,59,28,27,480,11716,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F577659173433558d7dedcd3a2518e7f0.jpg","23.5x24.8",[68],{"id":34148,"slug":34149,"title":34150,"dynasty":18,"author":3596,"museum":244,"description":34151,"tags":34152,"thumbUrl":34155,"material":173,"size":34156,"collection":68,"collections":34157,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},218701,"qiu-feng-jin-feng-tu-cui-bai-218701","秋风金凤图","这幅画描绘了一株绿叶红花的凤仙花，枝叶整齐，花瓣自然。铭文中的 崔白 是不真实的，应该是后来的归属。",[23,24,7,59,27,28,61,34153,624,34154],"金凤花","秋风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38eb6e795308295e5ccd85afcb7adb45.jpg","22.9x26cm",[68],{"id":34159,"slug":34160,"title":34161,"dynasty":144,"author":1346,"museum":244,"description":34162,"tags":34163,"thumbUrl":34164,"material":317,"size":84,"collection":68,"collections":34165,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},218664,"zhu-quan-xiao-ting-wu-zhen-218664","竹泉小艇","墨韵淋漓间，翠竹苍劲挺拔，枝叶以劲挺之笔写出，墨色浓淡交错，似有清风穿叶而过。泉流隐于山石缝隙，虽未见全貌，却借留白与苔点暗喻潺潺之态。近处小艇泊于岸侧，舟中无人，留白生趣，引人遐想隐士或倚竹听泉，或泛艇寻幽。远处山峦以淡墨皴染，云雾轻笼，尽显江南山水的悠远空寂。整幅画以水墨为骨，诗意入魂，将文人隐逸情怀融于尺幅间，笔意简远却意蕴深长，仿佛能闻竹声泉响，触到那份远离尘嚣的淡然心境，尽显元人山水的空灵与闲适。",[23,24,164,7,64,128,132,29,167,5359,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13688cdad196b0705ce407027cb5e838.jpg",[68],{"id":34167,"slug":34168,"title":34169,"dynasty":54,"author":6936,"museum":20,"description":34170,"tags":34171,"thumbUrl":34172,"material":173,"size":34173,"collection":136,"collections":34174,"showCount":217,"zanCount":1998,"manualWeight":48,"mainColor":49},218508,"qing-shan-die-cui-zhou-wang-yuan-qi-218508","晴山叠翠轴","山峦层叠如浪，墨色皴擦间见苍劲骨力，干笔积染出岩壑的厚重肌理。云雾轻笼谷口，牵起远近峰峦的呼吸，让重山不显壅塞，反生空濛之趣。\n\n溪流蜿蜒穿林，石岸错落间，几座亭台隐于松荫下，似有琴音随波漫散。松枝如铁，竹叶含翠，笔墨间藏着岁月的温润——既见北地山水的雄浑骨架，又融江南草木的秀逸情致。\n\n整幅画如一卷徐徐展开的清梦，每一笔皴擦都浸着文人的静穆心思，将自然丘壑凝练成纸上的悠远意境，让人观之忘俗，仿佛能踏入那片松风竹影里，听山涧流水，享片刻清宁。",[23,24,7,165,29,132,27,663,413,99,98,35,131,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65267561fee9a2d6709bd2cb30d8768c.jpg","139.5x61cm",[136],{"id":34176,"slug":34177,"title":34178,"dynasty":18,"author":34179,"museum":5543,"description":34180,"tags":34181,"thumbUrl":34182,"material":173,"size":34183,"collection":44,"collections":34184,"showCount":217,"zanCount":1998,"manualWeight":48,"mainColor":49},218455,"zhou-ren-xing-tu-wang-hui-218455","舟人形图","王辉","淡墨晕染的水面微澜轻漾，一叶扁舟浮行其间。舟中之人凭舷而坐，衣袂垂落，神态悠然，似静听风吟，又或凝视水中云影。岸畔垂柳枝条披拂，几枝缀蕊梅枝斜出，添了清逸之趣。远处山峦轮廓柔和，与天际轻烟相融，浑然一体。简淡笔墨勾勒物象，却于留白处藏尽幽远之境，尽显宋人山水的诗意哲思——天地间人如芥子，却能与自然相契，寻得内心的安宁。整幅画以含蓄笔触铺陈意境，每一处细节都透着东方美学的雅致，将观者引入那片静谧辽远的烟波世界里。",[23,24,7,164,28,27,96,129,29,2372,371,99,211,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb655b285914c169055a1a989003a11c.jpg","19.3x19.0",[44],{"id":34186,"slug":34187,"title":34188,"dynasty":54,"author":5623,"museum":450,"description":34189,"tags":34190,"thumbUrl":34191,"material":173,"size":5628,"collection":84,"collections":34192,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},218351,"shi-nv-tu-ce-4-li-ting-xun-218351","仕女图册-4","本卷描绘了四位美女，其风格与蔡奇和费丹旭相似。李廷勋，被称为 秦贤 和 花痴，是一位罕见的艺术家，或者说是广东人。",[164,24,7,59,28,27,96,166,170,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1081e21d3c249e083f177f2d4add8157.jpg",[],{"id":34194,"slug":34195,"title":34196,"dynasty":54,"author":223,"museum":300,"description":34197,"tags":34198,"thumbUrl":34199,"material":173,"size":28202,"collection":44,"collections":34200,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},218289,"xuan-zong-lin-jing-tu-yi-ming-218289","玄宗临镜图","绢色泛黄如浸旧时光，朱红栏杆圈定宫室一角，竹影斜映窗棂，案上瓶花静立。玄宗红衣临镜，眉宇间似凝沉思，侍从持物侍立，姿态恭谨；侧室仕女闲坐，衣袂轻扬，添几分柔婉。旁题“韩休为相”语，暗牵盛唐典故——玄宗因韩休直言自省，临镜之态恰与纳谏之心呼应。\n\n画作以细腻笔触摹写人物神态，场景疏密得宜，于日常起居间藏史事隐意。既见宫廷生活的雍容，亦含对为政自省的隐括，方寸绢素间，绘就一段被时光凝定的盛唐记忆，笔端流转的不仅是形色，更是史韵与哲思的交融。",[24,7,28,27,95,96,97,276,170,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70abb2788b3569eccbc73c8780a21f36.jpg",[44],{"id":34202,"slug":34203,"title":34204,"dynasty":54,"author":34205,"museum":6892,"description":14198,"tags":34206,"thumbUrl":34207,"material":66,"size":14201,"collection":136,"collections":34208,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},218104,"xin-an-yi-yun-ce-huang-lv-shan-shui-huang-lv-218104","新安逸韵册(黄吕山水)","黄吕",[24,7,59,128,27,29,171,34,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F060f844f0dcf3a72f0a2f72a480158fe.jpg",[136],{"id":34210,"slug":34211,"title":34212,"dynasty":124,"author":2268,"museum":77,"description":6564,"tags":34213,"thumbUrl":34214,"material":66,"size":84,"collection":84,"collections":34215,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":72},217015,"fang-gu-shan-shui-ce-liu-kai-6-dong-qi-chang-217015","仿古山水册六开-6",[23,24,7,59,128,132,29,131,1144,98,3440],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c6211ae8ca6eddfebd49ee0a2f4aec4.jpg",[],{"id":34217,"slug":34218,"title":21904,"dynasty":18,"author":223,"museum":244,"description":34219,"tags":34220,"thumbUrl":34221,"material":173,"size":20723,"collection":44,"collections":34222,"showCount":217,"zanCount":1998,"manualWeight":48,"mainColor":49},216946,"luo-han-zhou-yi-ming-216946","罗汉轴是一种古代中国的手卷绘画。它们通常以佚名作者为代表，出现在宋朝（960-1279年）时期。罗汉轴的主题通常是佛教经典和寺庙仪式中的罗汉（即被提升到超凡脱俗境界的佛教徒）。这些绘画通常画在绢上，并装在木质卷轴架上。它们是当时中国绘画艺术的重要组成部分，被视为宝贵的艺术品。",[24,7,165,187,28,27,96,413,227,12564],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F802b4b5465a9970a4423478868b05daf.jpg",[44],{"id":34224,"slug":34225,"title":34226,"dynasty":144,"author":1346,"museum":244,"description":2533,"tags":34227,"thumbUrl":34228,"material":278,"size":84,"collection":84,"collections":34229,"showCount":217,"zanCount":1998,"manualWeight":48,"mainColor":72},216594,"mo-zhu-pu-ce-ye-4-wu-zhen-216594","墨竹谱册页-4",[23,164,24,7,59,128,133,208,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7c8a9a08d09a4c179fee51c2b578937.jpg",[],{"id":34231,"slug":34232,"title":34233,"dynasty":54,"author":223,"museum":300,"description":34234,"tags":34235,"thumbUrl":34236,"material":173,"size":84,"collection":44,"collections":34237,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},216116,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-yi-ming-216116","职贡图巨幅彩绘册页第2册","画面绘两位人物，衣饰各具地域风貌。左侧人物着蓝紫条纹长袍，衣襟微敞露橘色内衬，腰间垂黄绒饰带，神态温婉；右侧人物头戴红顶软帽，身披绿纹长褂，内搭红衣，双手拢于袖中，面容憨厚。人物线条流畅细腻，衣料纹理清晰可触，设色古朴雅致，尽显织物质感与人物情态。旁附文字注解，似载族群风俗。整幅作品生动还原清代边疆或外域族群的服饰与神态，既是笔墨精妙的艺术佳作，亦是研究当时民族交流、文化风貌的珍贵图像凭证，尽显职贡图类作品的历史厚重与艺术灵光。",[23,24,7,59,27,28,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1896e597091b8c11ab1ab56e5e2dcb9a.jpg",[44],{"id":34239,"slug":34240,"title":34241,"dynasty":54,"author":34242,"museum":300,"description":34243,"tags":34244,"thumbUrl":34245,"material":611,"size":84,"collection":44,"collections":34246,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},215744,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-wu-gao-zeng-215744","摹吴道子圣贤像赞图册","吴高增","画面分左右两栏，右幅圣贤立像以灵动线描勾勒，衣袂飘举似吴带当风，褶皱转折间藏笔力劲道，人物神态肃穆沉稳，双手拢袖而立，眉宇间尽显渊雅气度。左幅题赞文字莹白映乌底，笔意端严工整，与画像相映成趣，拓印质感古朴厚重。整体构图均衡和谐，图文并茂间满溢对圣贤的敬仰，线描的韵律与文字的端庄交织，尽显传统艺术的典雅韵致，仿佛能透过纸页触到千年文脉的温润流转。",[23,24,7,59,188,96,330,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff1c06a78830de2d466eb6257298fcac.jpg",[44],{"id":34248,"slug":34249,"title":34250,"dynasty":144,"author":1208,"museum":34251,"description":34252,"tags":34253,"thumbUrl":34254,"material":278,"size":34255,"collection":84,"collections":34256,"showCount":34257,"zanCount":1998,"manualWeight":48,"mainColor":72},290841,"zhu-zhou-ni-zan-290841","竹轴","台北姑姑博物院","倪瓒（1301年－1374年），初名倪珽，字泰宇，别字元镇，号云林子、荆蛮民、幻霞子，江苏无锡人，元末明初画家、诗人。\n倪瓒擅画山水和墨竹，师法董源，受赵孟頫影响。早年画风清润，晚年变法，平淡天真。疏林坡岸，幽秀旷逸，笔简意远，惜墨如金。以侧锋干笔作皴，名为“折带皴”。墨竹偃仰有姿，寥寥数笔，逸气横生。书法从隶书入，有晋人风度，亦擅诗文。洪武七年卒，时年七十四岁。\n倪瓒与黄公望、王蒙、吴镇合称“元四家”。倪瓒家中富有，博学好古，四方名士常至其门。元顺帝至正初年，散尽家财，浪迹太湖。存世作品有《渔庄秋霁图》《六君子图》《容膝斋图》《清閟阁集》。",[24,7,165,128,167,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140e073a93b5bbafd69cbc35fbfacc63.jpg","67.1x32.9",[],36,{"id":34259,"slug":34260,"title":18108,"dynasty":351,"author":3729,"museum":300,"description":16785,"tags":34261,"thumbUrl":34264,"material":692,"size":1293,"collection":84,"collections":34265,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":49},289000,"lu-yan-tu-huang-ju-cai-289000",[24,7,61,28,27,34262,18111,211,34263],"芦草","河滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bf4508e1d9578b25bd4dfd999a4770e.jpg",[],{"id":34267,"slug":34268,"title":34269,"dynasty":18,"author":4481,"museum":300,"description":27081,"tags":34270,"thumbUrl":34271,"material":692,"size":1293,"collection":84,"collections":34272,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":49},288735,"xiao-xiang-ba-jing-tu-juan-wu-wang-hong-288735","潇湘八景图卷五",[164,24,7,25,128,132,29,31,131,34,495,6474,415,37,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F339dada0ada5326f09ea7594fb34f379.jpg",[],{"id":34274,"slug":34275,"title":34276,"dynasty":54,"author":7872,"museum":300,"description":34277,"tags":34278,"thumbUrl":34281,"material":692,"size":1293,"collection":84,"collections":34282,"showCount":34257,"zanCount":1998,"manualWeight":48,"mainColor":49},288399,"lin-dai-yu-chong-jian-tao-hua-she-sun-wen-288399","林黛玉重建桃花社","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸。",[23,24,7,28,27,96,166,97,98,99,211,167,34279,34280,1425],"风筝","桃花社","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82aa2bbeb52a082378df0a61e396e32c.jpg",[],{"id":34284,"slug":34285,"title":1609,"dynasty":351,"author":1610,"museum":300,"description":8422,"tags":34286,"thumbUrl":34288,"material":692,"size":1293,"collection":84,"collections":34289,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},288280,"xiao-xiang-tu-dong-yuan-288280",[23,164,24,25,7,128,27,132,29,7409,129,34287,4438,211,64,133,840,208,20575],"洲渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c04f28d3f8ad6d8dd07d6e129dad267.jpg",[],{"id":34291,"slug":34292,"title":34293,"dynasty":54,"author":34294,"museum":300,"description":34295,"tags":34296,"thumbUrl":34299,"material":692,"size":1293,"collection":84,"collections":34300,"showCount":34257,"zanCount":1116,"manualWeight":48,"mainColor":72},288062,"long-zhou-jing-du-juan-wang-gai-288062","龙舟竞渡卷","王槩","此卷由三段绘画组成，以江河为主线，渐渐展开端午时节赛龙舟的场面。画面用笔工细，场面宏大。几艘龙舟昂首翘尾，动感十足。船上人小如蚁，但奋力划桨之势尽显。在构图上，运用大片留白表现水天一色和浩渺的江河，给人以开阔的视野。而江中点缀的渔家小船及岸上人们争相观看的情景，又使画卷平添了几许情趣。",[23,24,25,7,128,27,12743,29,99,496,34,387,96,1516,208,133,64,34297,34298],"龙舟竞渡","民俗活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dcf549de7dc2fe73f37c130e34dbc58.jpg",[],{"id":34302,"slug":34303,"title":33254,"dynasty":222,"author":223,"museum":300,"description":34304,"tags":34305,"thumbUrl":34306,"material":692,"size":1293,"collection":84,"collections":34307,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":199},287924,"zhong-qiu-tie-yi-ming-287924","此作用笔极简，枯瘦梅枝苍劲老辣，寥寥枝桠斜斜舒展，数朵墨梅轻绽枝头，淡墨勾瓣，清灵雅致，尽现寒梅疏淡傲骨之姿。\n\n满幅朱红鉴藏印方圆错落排布，金石质感的厚重朱砂，与清隽墨色相映成趣，将文人画的清冷风骨，与辗转递藏的岁月底蕴相融。朱墨之间，花木的幽远意趣与典藏的风雅厚重交织，淡远高古的悠然意境扑面而来，尽显传统书画藏玩交融的别致韵味。",[24,7,61,371,188,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d82e2f75d477218ca64ea6643900b84.jpg",[],{"id":34309,"slug":34310,"title":34311,"dynasty":18,"author":2141,"museum":244,"description":34312,"tags":34313,"thumbUrl":34315,"material":173,"size":34316,"collection":42,"collections":34317,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":49},287640,"tang-wu-xue-shi-tu-liu-song-nian-287640","唐五学士图","图中人物的头形轮廓线显出轻重、缓疾之别，很能传达出人物的年龄特征。再有衣纹处理也很老到、简洁、明确，毫不拖泥带水，一撇一勾都交代得一清二楚，这些都足见刘松年绘画艺术的功力。《图绘宝鉴》卷四讲他“帅张敦礼，工画人物山水，神气精妙，名过于师”。",[24,164,7,96,27,28,1144,34314,7056],"亭阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff255d9c9acafdadea239abac7ee4f1f7.jpg","174.7x106.6",[42],{"id":34319,"slug":34320,"title":34321,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":34322,"thumbUrl":34323,"material":692,"size":1293,"collection":84,"collections":34324,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},283734,"zeng-ke-xue-shan-shui-tu-juan-dong-qi-chang-283734","赠珂雪山水图卷",[23,24,25,7,128,29,64,133,132,496,4438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10c500429c2c8c477ba68a84e27e3ef7.jpg",[],{"id":34326,"slug":34327,"title":34328,"dynasty":54,"author":34329,"museum":300,"description":34330,"tags":34331,"thumbUrl":34335,"material":692,"size":1293,"collection":84,"collections":34336,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},239338,"bai-yin-shi-cha-zhou-niu-shu-239338","柏荫试茶轴","钮枢","钮枢，清代女画家，字汉藩，吴县（今江苏苏州）人。工仕女，宗仇英。",[24,7,165,27,28,96,25087,169,19173,34332,16099,2144,34333,34334],"胡须","木桌","树下互动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5176c4f5479c2f219143b741149cb5c.jpg",[],{"id":34338,"slug":34339,"title":34340,"dynasty":124,"author":33462,"museum":300,"description":34341,"tags":34342,"thumbUrl":34343,"material":84,"size":84,"collection":318,"collections":34344,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},239226,"song-xu-ju-shi-zhou-song-xu-239226","宋旭菊石轴","宋旭（1525―1606年后），字初穤，号石门、石门山人，（明画录作字初旸，式古堂书画汇考作字初旸，号石门）。后为僧，法名祖玄，又号天池发僧、景西居士。湖州（今浙江省湖州市）人，为“苏松派”的先声，为吴门派支流。博宗内外典，通禅理。善山水，兼长人物。万历间名重海内。",[24,7,165,805,27,132,171,376,1771,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d509212452eb2f4f3e429a23d830191.jpg",[318],{"id":34346,"slug":34347,"title":34348,"dynasty":54,"author":6946,"museum":300,"description":34349,"tags":34350,"thumbUrl":34351,"material":84,"size":84,"collection":68,"collections":34352,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":49},238134,"tian-ma-xian-rui-tu-zhou-ding-guan-peng-238134","天马献瑞图轴","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。",[24,7,165,27,28,96,101,211,29,413,499,6640,16370,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F555d4db6996ce7a4c36e4c570f989413.jpg",[68,44,45],{"id":34354,"slug":34355,"title":4229,"dynasty":124,"author":9459,"museum":300,"description":9460,"tags":34356,"thumbUrl":34357,"material":84,"size":84,"collection":84,"collections":34358,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},237665,"hua-niao-ce-ling-bi-zheng-237665",[24,164,7,59,27,28,61,171,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faed2278632f794fa3ce5f154692b37f9.jpg",[],{"id":34360,"slug":34361,"title":18219,"dynasty":54,"author":9529,"museum":300,"description":18220,"tags":34362,"thumbUrl":34363,"material":84,"size":84,"collection":84,"collections":34364,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},237588,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237588",[164,24,7,59,128,27,132,2271,29,34,131,99,130,415,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c371ad1b554c4cb74d1d00a8c6b3ead.jpg",[],{"id":34366,"slug":34367,"title":34368,"dynasty":54,"author":34369,"museum":300,"description":34370,"tags":34371,"thumbUrl":34372,"material":611,"size":84,"collection":136,"collections":34373,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},237062,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237062","补景古臣松梅观鹤图像并附山水册","徐佐","此作以清润淡远之笔，绘就林下幽居之景。虬松苍劲，疏梅横斜，席地高士抬首遐观，神态萧散恬然，似在静候鹤影、神游物外。远景以淡墨晕出山峦轮廓，留白处尽是空濛悠远之意，将林泉幽寂之境铺陈开来。\n\n左侧题诗与画面相得益彰，诗画合璧尽显文人雅趣。整体设色柔和雅致，笔墨简淡却意韵悠长，将寄情丘壑、超然出世的林下襟怀融于尺幅之间，尽显传统文人画以画明志、诗画同源的隽永意趣。",[24,7,59,27,128,96,29,372,371,208,64,2132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11f734a6a67034c3438b001e7269bff3.jpg",[136],{"id":34375,"slug":34376,"title":34377,"dynasty":54,"author":3403,"museum":300,"description":3660,"tags":34378,"thumbUrl":34379,"material":84,"size":84,"collection":68,"collections":34380,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},236534,"shui-xian-shi-zhou-wu-chang-shuo-236534","水仙石轴",[24,7,165,164,369,128,27,171,374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F360c9041d2e14afe6b7ddc54dad153cd.jpg",[68,117,318],{"id":34382,"slug":34383,"title":34384,"dynasty":54,"author":3718,"museum":300,"description":34385,"tags":34386,"thumbUrl":34387,"material":84,"size":84,"collection":84,"collections":34388,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},235935,"tao-an-tu-zhou-hong-ren-235935","陶庵图轴","《弘仁陶庵图轴》是清代 本幅是作者送友人汪尧德的写生之作。\n汪尧德（162—1685年），字子陶，号陶庵、子翁居士，歙县潜口人(见《康熙歙县志》)。\n早年客居松江，与 、 等文人交往。\n晚年家居年，以书画自娱。\n此图是弘仁与友人罗逸（字远游，歙县人）游 经过潜口时所绘汪尧德隐居之所。\n其屋舍傍山而筑，临溪而建，一片离尘幽美之景。\n作者以 和干笔渴墨表现山石，得徽地清幽冷峻的山林之美；以苍劲整洁的线条勾出柳丝，得生机盎然之趣。\n其洗练简逸的笔墨与汪氏简朴的居所相得益彰，映衬出汪氏志在清高自守、乐在林泉云游的脱俗之气。\n款署：“渐江学者为子翁居士作陶庵图。\n”钤“弘仁”朱文印、“渐江僧”白文印。\n画幅上方有罗逸题七律一首，款署：“八十五老友罗逸为子陶先生题。\n”钤“罗逸之印”朱文印、“远游”白文印。\n鉴藏印有“礼耕堂”等二方。\n画右中部有篆书“庚子”二字。\n“庚子”是清顺治十七年（166年），作者时年51岁。",[164,24,7,165,128,132,29,663,413,130,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5771af356858a98b85a075031e46a14a.jpg",[],{"id":34390,"slug":34391,"title":34392,"dynasty":124,"author":3619,"museum":20,"description":34393,"tags":34394,"thumbUrl":34395,"material":1722,"size":34396,"collection":84,"collections":34397,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},234198,"wen-zheng-ming-zhu-lan-shi-juan-wen-zheng-ming-234198","文徵明竹兰石卷","图中兰叶、兰花以淡墨描绘，墨色温润，行笔轻盈流利，行转有致。竹子则以浓墨出之，劲健潇洒。对衬景的描写，作者亦颇具匠心，如坡角土石皆以干笔勾画、皴擦，再以荆棘穿插其间，卷尾一段溪流淙淙，都显示出环境的荒率冷寂，从而愈发衬托出兰、竹高雅清芬、不从流俗的品格，突出了传统文人赋予兰竹的人格精神。作者在自题中言道:此图意在师法宋元时期善画兰竹的诸位文人画大师们的画法。观此图，作者直以行草书、“飞白”笔法入画，正是深得赵孟頫“石如飞白木如籀，写竹还于八法通”的艺术理论及创作实践的神髓。在如此鸿篇巨制中，作者尽情浑洒，充分表现出了笔墨的逸趣，是一幅典型的文人画佳作。",[23,24,7,25,128,188,64,133,167,375,1314,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F259e5f9be7af848c6938d0974347ee0a.jpg","纵26.8厘米，横730厘",[],{"id":34399,"slug":34400,"title":34401,"dynasty":124,"author":16332,"museum":300,"description":34402,"tags":34403,"thumbUrl":34404,"material":84,"size":84,"collection":84,"collections":34405,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":956},234172,"xiang-jiang-chun-yu-tu-juan-xia-chang-234172","湘江春雨图卷","夏昶（188—147），字仲昭，号自在居士、玉峰， 人，后人誉其画竹高手。\n他初姓朱，名昶，后复姓夏，太祖为之更名昶，字仲昭。\n号自在居士，又号玉峯，江苏昆山人， 弟。\n正统中官至 直内阁。\n画墨竹师 ，能得其妙，时推第一，名驰绝域，争以金购之。\n永乐十三年(公元1415年)中进士，为 。\n文皇十分赏识他的楷书，被推荐 内省，授 。\n永乐命书宫殿榜。\n尝侍从皇帝出巡于南、北二京。\n(公元1426一145年)中，转考工主事，仍供内直。\n正统(公元146—1449年)中升太常卿。\n他为人坦率乐易，不拘小节，时常出入礼法间，人们也不怎么去责怪他。\n晚年回到故乡居住，以诗画宴乐自娱。\n夏昶，画竹学 兼学 ，有自己的面目，声誉大大超过了他的老师。\n其兄 ，字孟旸，亦以书法 称旨，命与昶同拜中书舍人，时称“大小中书”。\n画山水师元画家 ；又善竹石，萧萧有林壑之气，但平生不多作，故世人一般只知道夏昶墨竹，而不知其兄昺。\n其孙女为 祖母，另一孙女则在其过世后嫁予 为妻。\n夏昶以 笔法画竹，所作竹枝烟姿雨色，偃直浓巯，各循矩度而 。\n当时学他画竹的人很多，画史记载的如同里(昆山)的屈礿(字处诚)、海虞( )的 (字廷瑞)、钱塘(杭州)的詹和（字仲和)。\n而以屈礿为突出。\n明 《匏庵集》说：“今人家多得，往往出其手，真伪固自能辨。\n”徐沁 说夏昶“写竹时称第一，名驰绝域，争以兼金购求，故有‘夏昶一箇竹，西凉十锭金’之谣”。\n所作竹枝烟姿雨色，偃值浓疎，动和 ，盖行家也。\n昆山之人师之者更数辈，独屈约颇类之，而人所得，往往出其手。\n尤精楷法，永乐命书宫殿榜。\n卒年八十三。\n传世作品有《湘江风雨图卷》（ 藏）、《满林春雨图轴》（ 藏）、《 》（ 藏）等。",[23,24,7,25,128,29,167,1314,132,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ce25658d7757cb59f52d9d91b347bb7.jpg",[],{"id":34407,"slug":34408,"title":4584,"dynasty":124,"author":125,"museum":20,"description":4585,"tags":34409,"thumbUrl":34410,"material":611,"size":4588,"collection":84,"collections":34411,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},234085,"wu-zhong-shan-shui-ce-shen-zhou-234085",[24,7,59,128,133,132,29,97,34,98,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff490de890778b4cc3370fad14bbd48de.jpg",[],{"id":34413,"slug":34414,"title":34415,"dynasty":124,"author":125,"museum":20,"description":1048,"tags":34416,"thumbUrl":34417,"material":734,"size":1051,"collection":84,"collections":34418,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},233837,"wo-you-tu-ce-liu-chan-shen-zhou-233837","卧游图册－柳蝉",[24,7,59,128,2372,7633,61,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c5a7074fd91a202d775350e6aeb99d1.jpg",[],{"id":34420,"slug":34421,"title":24299,"dynasty":144,"author":18493,"museum":18494,"description":34422,"tags":34423,"thumbUrl":34424,"material":611,"size":34425,"collection":84,"collections":34426,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},233767,"jiu-ge-tu-juan-zhang-wo-233767","“九歌”的名称来源很早，据说在夏朝的时候就已经出现了，《离骚》《天问》和《山海经》中都曾经提到过它。《离骚》中说：“奏九歌而舞韶兮”。“韶”，相传是舜帝的舞曲，把它与“九歌”并举，可见都是远古的乐章。而《山海经》则说“九歌”是启（传说中大禹的儿子）从天上偷来的，这便给她添上了神话色彩。现存“九歌”，其实是楚国南部流传已久的一套民间祭神的乐歌，后来经过屈原的加工改写而创造出来一种独特的抒情诗。张渥的这幅画上有屈原的画像，可见他也是根据屈原的《九歌》来创作这幅作品的。\n屈原所作《九歌》是根据民间祀神乐曲加工润色而成的诗章。当时楚国的巫风兴盛，人们的娱乐生活往往和宗教祭祀杂糅在一起，通过所祀之神来表达自己的理想和愿望。屈原《九歌》从内容到风格形式，都保存着南方原始祀神民歌的基本格调，在长期的历史进程中一直闪耀着动人的光辉，并吸引着历代画家们以此为题材进行艺术创作。据传最早绘制《九歌图》的画家是宋代李公麟。元代画家张渥的《九歌图卷》历来被认为是李公麟原作的摹本，这从该画卷后的题款“临李龙眠九歌图”即可看出。 [4] 此图是张渥为好友言思齐（世贤）所作。\n展开画卷，首先映入眼帘的是发髻束起，身着广袖长服，拱手站立的屈原像。他庄重而坚毅、孤独而傲岸、感伤而执著的神韵跃然于纸上，令人感佩动容。在对主人公形象的塑造上，画家运用了以线条勾勒为主的白描手法，用笔苍老润洁，遒逸秀劲，勾勒简练畅意，古拙脱俗，使人物更加生动传神，而且令整幅画面极具一种装饰美。其后以篆书题写《渔父》一篇，这就使读者似乎看到了屈原被放逐后徘徊于江滨那种忧心国事的情怀，不由自主地把屈原的品格同他的《九歌》密切地联系起来。\n紧随屈原像后，作者依据《九歌》原诗的情节逐一绘制出东皇太一、云中君、湘君、湘夫人的形象。画家熟练地运用线条长短、迂回、曲直变化，流畅飞扬，宛似行云流水，人物形象充满了各自的不同神韵。大司命手执拐杖，头上几根洗练的线条和些许淡墨晕染，恰如其分地表现了纱巾透明的质感，其下的发髻隐约可见。衣裤则用比较劲秀而又略有不同的线描画成，使人觉得衣与裤的质料也有所差异。至于面部和双手，用笔更细、更淡、更柔、更富于变化，枯笔画成的须眉成功地表现了它的疏落和蓬松，一副老年人的沧桑感突现出来。少司命左手执笔，右手握卷，慈眉善目，飘浮于祥云之上。左一持杖侍女似正听其嘱咐。东君浓眉大眼，鬓须满脸，手持法器，立于祥云之上。\n在原诗中，东君是人们想象中的太阳神，张渥却捕捉住“举长矢兮射天狼”这一爱憎鲜明的情节，把太阳神和天狼星之间的矛盾冲突集中在一个画面上。太阳神被描绘成一个全副武装、魁梧雄伟的武士，一手持弓，一手握箭，翻身怒视天狼星，须眉怒张，强调了他的勇武；衣带飘拂，加强了动势的表现。天狼星则被画成一个小小圆球，仿佛摇摇欲坠。这种艺术处理充分显现了原诗中那种热爱光明、仇视黑暗的思想感情，比之孙承泽旧藏传李公麟《九歌图》中髭须飘洒、抱弓而立的东君，从思想内容到艺术技巧都增加了新的内容。河伯骑于海龟之上，其衣服帽带的飞扬，波涛的奔涌，把河伯迎风破浪前进的形象淋漓尽致地表现了出来。\n《山鬼》是屈原《九歌》11首诗中最摄人魂魄的一首，它出自楚国一个美丽凄婉的传说，描写一个美丽而幽怨的女神。画卷中的山鬼裸体骑赤豹于松林之中。《国殇》原诗用较多的篇幅描写将士们奋不顾身英勇作战的场面，画家则根据原诗精神，通过一个侧面，充满想象力地进行了生动的描绘：用苍郁的笔法略施渲染，绘成几株参天大树和树下挥戈而前的勇士，铠甲的明亮与树石的阴郁形成了鲜明的对比，从而突出了人物形象。树下走在最前面的人怒目仰视，张口狂呼，仿佛可以听到他叱咤风云的不息喊杀声。在他的身后，无数战士的头在树木的繁枝密叶间攒动。这里，画家的笔墨非常精练，能看到的只有几个被枝叶遮蔽得不完整的头部，但却突出了勇往直前的眼神，成功地运用了构图的掩映和读者的错觉，因而落墨不多却表现了千军万马不可压倒之势。\n《九歌图》人物的塑造特点是形象饱满，个性鲜明。例如，东皇太一是天之尊神。张渥将他塑造为一个王者的形象，高大威严，垂裳冠冕，一手捻须，一手若有所指。与他的高大不同，天女的形象则娇小纤弱，形成对比。又如，大司命是生命之神。张渥将他刻画成一个和蔼的长者，慈眉善目，扶杖驾云而来，全无命运之神的狞厉恐怖。再如，东君为日神。张渥将他描绘成一员武将，披挂整齐，举剑携弓，凝视前方的天狼星。\n《九歌图》不仅对于考订张渥画家的年表、纠正有关记述中的疏误有所裨益，而且为了解张渥的艺术成就提供了一件有价值的资料。\n壬子年为明洪武五年，张渥去世当在此之前。可见自1346年此图创作完成之后至明初的一段时间里，这件作品一直保存在言氏手中。此后《九歌图》在明代的流传情况并不清楚。\n清乾隆时期曾流入内府，画面上铃有乾隆、嘉庆、宣统的印玺多枚。\n清亡后，溥仪令宝熙等审定内府书画时将此卷列为上上，记录在审定内府书画目原稿中。此后，《九歌图》又以赏赐的方式被辗转运往长春的伪皇宫。1945年日本投降后，《九歌图》便一直保存在长春王世宜手中，1971年捐赠吉林省博物馆。",[23,24,7,25,188,96,949,5490,99,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83685df6eeeedeb07127abdd163834aa.jpg","纵29厘米、横523.5厘米",[],{"id":34428,"slug":34429,"title":16124,"dynasty":18,"author":7264,"museum":20,"description":34430,"tags":34431,"thumbUrl":34435,"material":1722,"size":16129,"collection":84,"collections":34436,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},233705,"yun-shan-mo-xi-tu-juan-mi-you-ren-233705","此图描绘沿江景色，近处岸边一条细径曲曲弯弯，间有板桥相连，远方峰峦起伏，云烟密布，溪流缓缓，林木森郁，屋舍隐现。此图采用“米家山水”的典型画法，山峦坡渚先用淡墨染就，继以大小各异的横向墨点反复在山头、山脊等部位再次图写，从而达到表现江南风光润泽华滋、雾气迷蒙的独特效果。明代董其昌曾携此图往游洞庭湖，惊叹米友仁的写生本领，云：“舟次斜阳，篷底一望空阔，长天云物，怪怪奇奇，一幅米家墨戏也。”\n《云山墨戏图》原题为米友仁所绘，但徐邦达先生根据其画法、题款的用笔及书写部位等因素认为并非米友仁原作。不过，此图画法全从“米家山水”而来，董其昌称其“元气淋漓，布境特妙”毫不夸张，对研究此派山水的重要价值显而易见。",[24,7,25,128,29,950,34,208,64,132,369,34432,415,3427,37,496,1009,10762,2132,3819,34433,34434],"点染","米家山水","米点皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff8872f3f211ac9fd3d2589faf668ec1.jpg",[],{"id":34438,"slug":34439,"title":34440,"dynasty":144,"author":7032,"museum":300,"description":34441,"tags":34442,"thumbUrl":34443,"material":611,"size":34444,"collection":84,"collections":34445,"showCount":34257,"zanCount":1998,"manualWeight":48,"mainColor":72},232905,"mo-wang-wei-jiang-shan-xue-ji-tu-juan-zhao-yuan-232905","摹王维江山雪霁图卷","大雪已过，而西安的雪却迟迟没有落下，这让人不仅怀念起昔日纷纷扬扬的大雪来，只能将这份念想寄托于中国山水画中。\n据中国美术史记载，在中国山水画史上，最早描绘雪景题材的是唐代画家、诗人王维。据《宣和画谱》记载，在宋代御府收藏王维画作的126件中，其中山水画目以雪景为多，共计20件，隐逸题材10余件，所以王维被尊为中国雪景山水画的“开山老祖”。而长久以来，一幅名为王维的《江山雪霁图》却一直饱受争议，这又是缘何呢？\n雪后初霁的世界一尘不染，而中国画又善于抒情达意，常将主观感情融于创作，又以象征手法描绘物象，而雪景入画正是随物赋形，将人心的细微转折处以蕴藉不露的方式表达出来，意境高远。王维（701年－761年），字摩诘，号摩诘居士，今山西运城人。王维性喜山水，诗画双绝，且精通音律和佛经，是唐朝著名的诗人和画家。苏轼评价其“诗中有画，画中有诗。”据说，安史之乱时王维被叛贼所俘，安史之乱平定后，唐肃宗不但没加罪还授官于他。王维便作雪景山水画，以表明自己身心如雪色洁白，如《雪中芭蕉》《雪溪图》等，都是其传世之作。\n王维画雪开创了中国山水画之先河，被明末著名书画家董其昌推崇为南宗山水画之祖。提出《江山雪霁图》的便是董其昌。董其昌自述从著名的鉴藏家、文学家冯梦祯（字开之，1548—1605）处，探得王维的《江山雪霁图》，并先后两次为其写跋文，引起一时轰动。近代，传出日本京都小川家收藏了《江山霁雪图》。图为一幅高28.4厘米、宽171.5厘米的水墨绢画，画法纯用勾勒，不加点苔，也无皴染。画中自右至左，在岩石、远峰、小山、浅屿之间，江流缭绕、水远天平，白头山上雪意茫茫。右下角岩石上有枯树六、七株，稍上双峰并峙，林木森森。中偏右矗立一巨大岩石，顶露平台，前护低栏、后倚竹树，茅舍三五散落其间；其左下方平出浅屿，有枯树八、九株，极见疏落之致。左半部一抹小山，略见起伏，山腰水际有小树隐匿其中；紧接浅屿，横扼中流，向左延伸，略近边缘，画面即止于此。",[23,164,24,7,25,330,128,132,29,663,37,99,34,31,10280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F518badd3338b17af5bff82dbcbb8d3c4.jpg","41x278.3厘米",[],{"id":34447,"slug":34448,"title":34449,"dynasty":144,"author":223,"museum":300,"description":34450,"tags":34451,"thumbUrl":34452,"material":84,"size":84,"collection":84,"collections":34453,"showCount":34257,"zanCount":1998,"manualWeight":48,"mainColor":49},232800,"ying-zhen-tu-shi-ba-luo-han-zuo-yi-ming-232800","应真图(十八罗汉 左)","隋唐以来，不少画家画过《罗汉图》，宋代更为盛行。画《罗汉图》不是用以供奉礼拜，而是为了欣赏，是把宗教题材世俗化，可以说，这是中国绘画史上的一大变迁。\n罗汉像多是耳戴金环，丰颐悬额，隆鼻深目，长眉密髯，服装与配饰具有异域色彩。五代之后，中国画家吸取我国传统人物画风格来画罗汉像，使具有宗教色彩的罗汉中国化。唐代禅宗兴起，主张顿悟，见性成佛，认为世间万物本身自有佛性。禅宗认为，自然界的山川河流、草木花鸟、风雨雷电和人世间百般实相都可以参禅，成为顿悟佛性的机缘。",[24,7,165,187,27,28,96,5490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F759fd55d66556766afd7f1236ed8d067.jpg",[],{"id":34455,"slug":34456,"title":34457,"dynasty":18,"author":633,"museum":1185,"description":34458,"tags":34459,"thumbUrl":34460,"material":9291,"size":34461,"collection":84,"collections":34462,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},231570,"shan-shui-shi-er-jing-tu-cun-qi-si-xia-gui-231570","山水十二景图（存其四）","夏圭，生卒年不详，字禹玉，临安（今浙江杭州）人，“南宋四家”之一。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他与马远同属水墨苍劲一派，号称“马夏”。\n夏圭擅画山水、人物，他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。",[24,7,25,128,132,133,208,29,129,99,130,211,3344,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F019c74398a8c6657a1cae9edc177829e.jpg","全卷长达七米",[],{"id":34464,"slug":34465,"title":34466,"dynasty":54,"author":34467,"museum":300,"description":34468,"tags":34469,"thumbUrl":34470,"material":84,"size":84,"collection":84,"collections":34471,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},230148,"shi-er-jin-chai-tu-fei-dan-xu-230148","十二金钗图","费丹旭","《十二金钗图》是清代画家费丹旭创作的一幅绘画作品，现藏于 。\n该画作画面人物纤细娇弱，娟秀清丽，刻画细致工整，具典型的费氏风格。\n环境则以逸笔写出，淡彩晕染，墨笔勾皴，空灵秀润，以衬托出中心人物。\n费丹旭（182—185年），字子苕，号晓楼、环溪生、偶翁，乌程（今浙江湖州）人。\n自幼从父珏（芝原）习画，擅绘仕女，笔致轻灵淡雅，颇得女性娟秀之美、柔弱之态。\n工于肖像，以如镜取影、情神酷肖为人称道。\n亦能山水、花卉，取法恽寿平，笔墨洁净清丽，具闲散意趣。\n长年流寓上海、江浙一带，交游于文士间，艺术修养广博深邃。",[24,7,28,27,166,371,1556,98,171,331,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41e746477fca8a1d104025dece421627.jpg",[],{"id":34473,"slug":34474,"title":409,"dynasty":54,"author":28136,"museum":300,"description":34475,"tags":34476,"thumbUrl":34477,"material":84,"size":84,"collection":84,"collections":34478,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},230115,"shan-shui-ce-jian-jiang-230115","这幅以渴笔淡墨绘就的山水，清劲冷逸。山石仅以疏朗线条勾勒轮廓，略施苔点，便将丘壑的清峭风骨尽数托出。留白代水，不着一笔却尽显秋江空茫之意。\n\n坡上矮屋孑然，旁立两株枯木，枝桠疏疏落落，和远山细树遥遥相对。整幅画删尽冗杂，以极简笔墨撑起满幅萧疏空寂，角落朱印如空山余温，更衬出天地静穆。于淡远简净之中藏着苍润深秀，将人带入空山无人、水流无息的幽寂禅境。",[24,7,59,128,132,29,35,34,131,3428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1421d5380835cb3a6b3385be97e94568.jpg",[],{"id":34480,"slug":34481,"title":2571,"dynasty":54,"author":9999,"museum":300,"description":34482,"tags":34483,"thumbUrl":34484,"material":84,"size":84,"collection":84,"collections":34485,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":49},229004,"ma-gu-xian-shou-tu-huang-shan-shou-229004","画面里仕女温婉端柔，手捧仙瓶静立，衣纹舒展灵动，衣饰纹饰细密雅致，尽显秀润华美感。身旁老者苍颜皓首，拄蟠桃树杖，神态矍铄安然。此作用笔工写相融，线条清劲流畅，设色调和古雅，将二人仙逸气质烘托恰到好处。整体画面祥和悠然，把福寿吉庆的美好意蕴藏于笔墨之间，尽显传统吉祥题材画作的精妙意趣，以细腻的人物塑造传递出雅致祥瑞的贺寿主题，尽显古典人物画的匠心之美。",[24,7,165,27,28,96,166,169,170,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57f630caf622323c7378dd7917517fa5.jpg",[],{"id":34487,"slug":34488,"title":34489,"dynasty":124,"author":223,"museum":300,"description":34490,"tags":34491,"thumbUrl":34492,"material":692,"size":1293,"collection":84,"collections":34493,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":49},228785,"shi-yi-mian-qian-shou-guan-yin-xiang-yi-ming-228785","十一面千手观音像","十一面观音，Ekādaśa mukhānām Avalokiteśvara，六观音之一，主救济阿修罗道，给众生以除病、灭罪、增福之现世利益。总之为除恶导善，引众生入佛道之菩萨。",[23,24,7,187,96,28,27,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d021d8e9cc61cc2bc69122214eef57e.jpg",[],{"id":34495,"slug":34496,"title":34497,"dynasty":124,"author":15464,"museum":300,"description":34498,"tags":34499,"thumbUrl":34501,"material":84,"size":84,"collection":84,"collections":34502,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":49},228749,"wu-xia-yun-tao-tu-xie-shi-chen-228749","巫峡云涛图","此作用全景式铺陈，以苍劲斧劈皴勾勒危崖峻岭，古木虬枝错落，丹黄枝叶点缀出清秋意趣。云气以淡墨晕染留白，将层峦半遮半掩，恍若仙境浮空。下方急流曲回，浪纹细密写实，孤舟搏浪于波谷峰尖，既尽显巫峡水势之汹涌诡谲，也暗透出旅人穿险的惶然张力。画作兼融北派山水的雄浑与南派的秀润，笔力厚重苍莽，墨色层次丰盈，将山川云涛的磅礴瑰奇与行旅意趣相融，绘就出巫峡吞吐云波的壮绝天地。",[23,24,7,165,128,27,132,29,34500,129,34,495,131,37],"云涛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e51511415c782138d8297a287b8d354.jpg",[],{"id":34504,"slug":34505,"title":34506,"dynasty":144,"author":223,"museum":300,"description":8187,"tags":34507,"thumbUrl":34508,"material":692,"size":1293,"collection":84,"collections":34509,"showCount":34257,"zanCount":1998,"manualWeight":48,"mainColor":49},228201,"bi-hua-tu-ye-yi-ming-228201","壁画图页",[23,1362,24,7,27,28,96,166,413,29,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7378d93b9a62ea1e98536887833518d0.jpg",[],{"id":34511,"slug":34512,"title":8829,"dynasty":18,"author":1323,"museum":300,"description":34513,"tags":34514,"thumbUrl":34516,"material":84,"size":84,"collection":84,"collections":34517,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},227736,"shi-dan-ying-xi-tu-li-song-227736","《市担婴戏图》是宋代画家李嵩创作的一幅绢本浅设色画，现藏于台北故宫博物院。此画描绘老货郎担着琳琅满目的百货，妇女、孩童蜂拥而来的情景。",[24,7,1131,28,188,27,96,8832,34515,34,18793,251,9014],"市担","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ae9504a8080a71cacabd3b44df2120.jpg",[],{"id":34519,"slug":34520,"title":34521,"dynasty":18,"author":7264,"museum":300,"description":34522,"tags":34523,"thumbUrl":34524,"material":84,"size":84,"collection":84,"collections":34525,"showCount":34257,"zanCount":1998,"manualWeight":48,"mainColor":72},227705,"mi-you-ren-si-ma-huai-shan-shui-he-juan-mi-you-ren-227705","米友仁司马槐山水合卷","米友仁（1074—1153年，一作1086—1165年），南宋书画家。一名尹仁，字元晖，晚号嫩拙老人，祖籍太原(今属山西)，迁襄阳(今属湖北)，定居润州(今江苏镇江)。米芾长子，人称“小米”。早年即以擅长书画知名，徽宗宣和四年（1122年）应选入掌书学。南渡后，官兵部侍郎，敷文阁直学士。高宗赵构曾命他鉴定法书，但其鉴别书画之际“往往有一时附会迎合上意者”。善行书，人谓其虽不逮其父，然如王、谢家子弟，自有一种风格。其山水画发展了米芾技法，略有变化，别具面目。用水墨横点，连点成片，构成“烟云变灭，林泉幽壑，生意无穷”的画面，强调“借物写心”，崇尚“平淡天真”，运笔草草，自称“墨戏”，对后来“文人画”中的笔墨纵放、脱略形状颇有影响。自题于《潇湘图》长卷中称：“夜雨欲霁，晓烟既泮，则其状类此，余盖戏为潇湘，写千变万化不可名神奇之趣。”",[23,24,7,25,128,132,64,208,29,34,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f2f43864087629e2b88a87765eedeee.jpg",[],{"id":34527,"slug":34528,"title":34529,"dynasty":18,"author":397,"museum":300,"description":29289,"tags":34530,"thumbUrl":34531,"material":84,"size":84,"collection":84,"collections":34532,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},227487,"hai-tang-bai-tou-tu-juan-zhao-ji-227487","海棠白头图卷",[23,24,7,25,28,128,61,1132,355,624,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250407a0c16f93208498d2d02f6623ad.jpg",[],{"id":34534,"slug":34535,"title":34536,"dynasty":54,"author":2640,"museum":300,"description":34537,"tags":34538,"thumbUrl":34539,"material":84,"size":84,"collection":84,"collections":34540,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},224376,"hua-hui-qi-shi-ce-shi-er-kai-6-ju-lian-224376","花卉奇石册-十二开-6","此小品清逸雅致，构图疏密相宜。主石瘦透空灵，以水墨晕染出嶙峋肌理，通透孔洞尽显怪石清奇之态，石上菖蒲青绿鲜活，柔叶劲挺，生机跃然纸面。右下角小石块缀生细草，与主石菖蒲呼应，平衡画面更添野趣。\n\n设色淡朴雅致，赭色勾勒石纹衬出底色古拙，水墨干湿互用，将石之坚硬与草之柔润对比鲜明。笔简意足，藏幽居赏玩的悠然心境于尺幅，尽显文人案头清供的闲逸雅趣。",[23,24,7,59,27,28,171,375,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcee3360256c0b1e325bd7e4e054ad8bc.jpg",[],{"id":34542,"slug":34543,"title":7789,"dynasty":18,"author":223,"museum":20,"description":34544,"tags":34545,"thumbUrl":34546,"material":514,"size":34547,"collection":84,"collections":34548,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":49},223481,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-223481","描绘了作者对洛水之神宓妃的爱慕以及神人殊隔、不能交接的惆怅。作品将不同情节置于同一画卷，洛神和曹植在一个完整的画面的不同场景中反复出现，以山石、林木及河水等背景，将画面分隔成不同情节，使画面既分隔又相联接。图中山石、林木，反映了早期山水画的表现技法和面貌。",[164,24,7,25,330,188,27,28,96,772,29,97,211,100,13695,6126,34,497,99,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba227c4592b380f204fd43c2f9873fd7.jpg","644x26.1厘米",[],{"id":34550,"slug":34551,"title":34552,"dynasty":144,"author":223,"museum":510,"description":34553,"tags":34554,"thumbUrl":34556,"material":34557,"size":34558,"collection":136,"collections":34559,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":49},223461,"shan-xi-shui-mo-tu-yi-ming-223461","山溪水磨图","《民物熙乐图轴》又名《山溪水磨图》，描绘了山水、楼阁、盘车，山石画法受北宋风格影响，画法写实，界画整饬，人物生动，富于浓郁的生活气息。画面上无题款及收藏印记，也未见画史著录，有印章数枚，但是模糊难辨，系20世纪50年代初辽宁省博博物馆从民间收购获藏。曾经有人认为是明代作品，从画风看应为元人所作，后来鉴定为元人真迹，是一幅带有界画特点的典型的民间风俗画，可以使我们了解到宋元风俗画、界画的面貌。",[23,24,7,27,29,95,28,97,99,131,34,96,102,34555],"水磨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3136e54ffa0e16bac85bd2b82cc151b.jpg","绢本淡设色，立轴","纵153.5厘米，横94.3厘米",[136,117],{"id":34561,"slug":34562,"title":34563,"dynasty":54,"author":6946,"museum":244,"description":34564,"tags":34565,"thumbUrl":34579,"material":1223,"size":34580,"collection":84,"collections":34581,"showCount":34257,"zanCount":1998,"manualWeight":48,"mainColor":72},223325,"tai-ping-chun-shi-tu-juan-ding-guan-peng-223325","太平春市图卷","画成于乾隆七年(1742年)，描绘新春时节乡欢庆过年情景，从乡人互相打躬作揖，摊贩卖爆竹，打太平鼓，耍猴戏，跑旱船，瞎眼看相人，戏棚上演掌中班，货郎担，游人市贩，竹篱人家，松树桃竹，画得非长生动而逼真。画面展示了爆竹、太平鼓、果品、鸟鱼挑摊，以及各种行业的耍猴货郎、算命、跑旱船、演傀儡戏的表演艺人。松树下文士席坐品茶闲聊，朱漆托盘内置有紫砂大壶与青花碗，盛装泉水则用绿地花卉大壶、茶铫。挑夫担子盛放糕点使用的是青花与描红龙纹碗、盘，均是乾隆时期宫廷用器，可知街上买卖艺人都是由宫中侍仆所装扮。",[23,164,24,7,25,27,28,96,34566,34567,34568,34569,34570,34571,34572,19147,34573,34574,22933,2144,1423,1144,34575,34576,34577,34578],"新春","乡市","拜年","爆竹","太平鼓","耍猴","傀儡戏","算命","跑旱船","桃竹","竹篱人家","艺人","游人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf9318a6d8afcb23dedc43ae2cc2b434.jpg","纵30.3厘米，横233.5厘米",[],{"id":34583,"slug":34584,"title":6347,"dynasty":54,"author":1219,"museum":510,"description":1220,"tags":34585,"thumbUrl":34586,"material":1223,"size":34587,"collection":84,"collections":34588,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},223231,"mei-que-tu-ren-yi-223231",[23,24,7,165,27,128,61,371,355,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4b46401bef043423b368b688dbe0e57.jpg","纵70.7厘米，横35厘米",[],{"id":34590,"slug":34591,"title":34592,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":34593,"thumbUrl":34596,"material":151,"size":7879,"collection":84,"collections":34597,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":199},223066,"hong-lou-meng-52-sun-wen-223066","红楼梦52",[23,24,7,28,27,95,96,166,97,34,249,247,251,7344,1367,250,1422,233,34594,12803,234,24585,34595],"罐","室外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c6e4bfd16dd262ed724295b75a151d0.jpg",[],{"id":34599,"slug":34600,"title":34601,"dynasty":124,"author":9421,"museum":244,"description":34602,"tags":34603,"thumbUrl":34604,"material":514,"size":34605,"collection":44,"collections":34606,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":49},222155,"si-xian-gong-shou-tu-zhou-shang-xi-222155","四仙拱寿图轴","《四仙拱寿图》是一张祝寿图，结合了佛、道两教的人物在同一张画。在波涛万顷的海面上，有四位仙人凌波渡海。画面最右边，骑着三足金蟾的是全真教五祖之一的刘海蟾。在他左侧，肩挂葫芦、脚踏在拐杖上的是八仙中的李铁拐。左方两人，一人脚踏蕉叶，一人踩着竹帚，则是唐代的禅僧寒山和拾得。这四人的目光都聚集在画面正中央，骑着仙鹤飞翔的南极仙翁(寿星)。\n画中每位仙人的面部表情，都描写得十分生动，甚至有些夸张，仙人的衣袍随风飘举，衣描用笔方折、顿挫有力，显得相当粗犷，这种风格乃是传承唐代吴道子“吴带当风”的衣描画法，并且受到元代画家颜辉(活动于13世纪后期)的影响。商喜是明初宫廷著名的人物画家，他早年曾经为寺庙殿宇绘制巨幅壁画，《四仙拱寿图》这张巨幅人物图代表他在这方面的艺术成就。15世纪中后期的宫廷画家刘俊、赵麒，也都继承商喜画仙人的传统，但是用笔带有强烈的装饰风格，显示出同一样式在后来的发展。",[23,24,7,165,28,27,96,211,228,12406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F952b33a2bd40bdf845ccc85ef17e1b44.jpg","纵98.3、横143.8厘米",[44,117],{"id":34608,"slug":34609,"title":34610,"dynasty":124,"author":802,"museum":300,"description":34611,"tags":34612,"thumbUrl":34613,"material":514,"size":34614,"collection":84,"collections":34615,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":49},221881,"ren-wu-tu-zhou-chen-hong-shou-221881","人物图轴","画面中的主人公身着宽松长袍，身姿硕健，手持梅花与灵芝，悠然自得，用笔遒劲挺拔，形体造型夸张，塑造人物古朴，形象地表现出主人公遗世独立的精神面貌。 [1] 题识：“老迟洪绶画于狮子林。” 钤“陈洪绶印”白文印，“章侯氏”朱文印。陈洪绶（1598—1652）， 字章侯，号老莲、老迟，晚号悔迟、云门僧等。诸暨（今浙江诸暨）人。善山水、花鸟，尤精人物，世所罕及。与崔子忠齐名，称“南陈北崔”。",[23,24,7,165,28,27,96,169,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6430abb4d4cf493e0e01578a4f3f6554.jpg","纵118厘米，横55厘米",[],{"id":34617,"slug":34618,"title":34619,"dynasty":18,"author":633,"museum":2068,"description":34620,"tags":34621,"thumbUrl":34622,"material":514,"size":34623,"collection":84,"collections":34624,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":49},221570,"wu-wei-tu-xia-gui-221570","五位图","夏圭是善于在绘画中“用虚”的大师，在这幅《白鹭五位图》中，他利用了留自来表现江山湖泊的辽阔深远，虽未着一笔，却能“无画处皆成妙境”，给人无限遐想的空间。在这幅画中，溪水则以简练的线条勾勒，部分留白，盘曲掩映，时隐时现，难觅其踪，表现出流水的清澈和流动感。",[23,24,7,164,1131,27,171,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e55800cf5769403bf51a5e8263db06c.jpg","26.5x27厘米",[],{"id":34626,"slug":34627,"title":30553,"dynasty":18,"author":686,"museum":244,"description":4044,"tags":34628,"thumbUrl":34635,"material":151,"size":30556,"collection":84,"collections":34636,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},221386,"bao-shan-shi-jing-ce-fan-kuan-221386",[23,24,7,9521,59,128,132,29,331,131,171,130,496,1337,497,10997,4283,3819,34629,34630,34631,34632,34633,34634],"山间景物","山水景观","石质山体","树木景观","山石景观","皴笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed28aa2f9c150b73b313c757a0820177.jpg",[],{"id":34638,"slug":34639,"title":34640,"dynasty":144,"author":569,"museum":244,"description":34641,"tags":34642,"thumbUrl":34643,"material":611,"size":34644,"collection":68,"collections":34645,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},220838,"shuang-jun-tu-juan-zhao-meng-fu-220838","双骏图卷","“书画同源”这四个字简单地概括出了书法和绘画之间的相互关系。书法和中国画作为中国最传统的两门艺术，本就存在着许多相似之处。笔墨纸砚作为书写时的必要工具，同时也是中国画在绘画时的必要工具。另外，书法作为一门线的艺术，其本身在于研究线的多样性，同样，中国画如果失去了线，本身也毫无艺术感可言。\n由此可见，书法和绘画本身是相同的。“书画同源”的绘画理想是通过文人画家的努力实现的。赵孟頫作为一个艺术全才，在书法和绘画领域都有着极高的成就，为书法和绘画的结合提供了坚实的基础。\n赵孟頫在绘画中追求画面的真实和完美，身体力行，擅长山水、花鸟、人物、鞍马和竹石墨戏，同时亦精通工笔、写意、设色、水墨，并且在长期的实践中，他逐渐厚积薄发，取得了高超精湛的技艺，以其凝重简练，浓丽隽秀的艺术语言，通过不断的努力，他将书法与绘画用笔有机地结合起来，找到了书画的内在联系，转移了一代画风，对元代文人画的理论、技法、风格的兴盛起到了开创性的作用，在中国绘画历史上占据了举足轻重的地位，尤其是文人画史留下了浓郁的一笔。",[23,24,7,164,25,27,28,101,1337,16370,11830,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F915d4bbcd23d66254959e7c9838e7b20.jpg","纵19cm",[68,45],{"id":34647,"slug":34648,"title":34649,"dynasty":144,"author":1208,"museum":5125,"description":34650,"tags":34651,"thumbUrl":34652,"material":611,"size":34653,"collection":136,"collections":34654,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":49},220802,"shu-lin-tu-zhou-ni-zan-220802","疏林图轴","书生的告老还乡之路，和出门赶考一样的漫长。似乎，人的出门远走，就是为了白发还乡，叶落归根。",[23,24,7,165,128,132,29,331,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3069f922f766f4292a865aab0bf382ef.jpg","68x57cm",[136,117],{"id":34656,"slug":34657,"title":34658,"dynasty":144,"author":1208,"museum":244,"description":34659,"tags":34660,"thumbUrl":34663,"material":611,"size":34664,"collection":117,"collections":34665,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},220788,"hua-pu-ce-xin-zhi-ku-gan-yu-zhu-ni-zan-220788","画谱册·新枝枯干雨竹","该册共十帧，每页依次绘竹林山石，并细叙画法。画法中语虽不求深致，而多发人所未发，甚为可贵。",[24,7,59,128,188,64,167,34661,34662],"枯干","新枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa51185112762ece3701184f5e766e2de.jpg","幅一 23.6x14.2公分，幅二 23.6x14.2公分",[117,1670],{"id":34667,"slug":34668,"title":34669,"dynasty":124,"author":25354,"museum":6892,"description":34670,"tags":34671,"thumbUrl":34672,"material":173,"size":34673,"collection":136,"collections":34674,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":49},220146,"shan-ting-tu-li-zai-220146","山亭图","李在，明代宫廷画师，字以政，福建莆田人，迁居云南，后召入京。宣德时与戴进、谢环、石锐、周文靖同待诏入直仁智殿。自戴进以下一人而已。其山水细润处近郭熙，豪放处宗马、夏，多摹仿古人，笔气生动。《闽画史稿》谓其：“其人物笔致苍古，八面生动，开闽派之先。”日本画僧雪舟，曾与之切磋画艺。传世作品有《琴高乘鲁图》《阔渚晴峰图》《归去来兮图》《山亭图》等。",[23,24,7,29,165,128,132,130,98,131,35,331,1645,34,96,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35489b0dded68401fc6628330b040d8f.jpg","124.9cm×59.4cm",[136],{"id":34676,"slug":34677,"title":34678,"dynasty":144,"author":410,"museum":77,"description":34679,"tags":34680,"thumbUrl":34682,"material":66,"size":34683,"collection":136,"collections":34684,"showCount":34257,"zanCount":1116,"manualWeight":48,"mainColor":72},220091,"zhi-lan-shi-tu-wang-meng-220091","芝兰室图","王蒙《芝兰室图》是为杭州净慈寺古林昌公所作。卷首绘秃山怪石，重岩飞瀑。山石不着树木，仅有数丛荒草于风中摇曳。过瀑布，有茅屋数椽，为古林和尚之芝兰室。芝兰室庭院临水，岸边遍植兰与芝;庭院前厅供奉佛像，左右置椅，内置芝兰数盆;厅外长松入云，枝苍叶翠。松荫之下，僧儒席地而坐，听泉论道。小童手捧芝草侍立身后。图左绘山崖壁立，各色杂树遮天蔽日，曲折的小径掩映其间。卷尾绘岩穴临径，岩穴中三僧一儒相谈甚欢，石径之上，侍者穿梭。\n《芝兰室图》卷首篆题有“宝石泉壑，芝兰室图”八字，卷中所绘飞瀑流泉、松风万壑。宝石山位于西湖北里湖之北岸，山体属火成岩中的流岩和凝灰岩，含氧化铁而呈赭红色。在日光的映照下，满山流霞缤纷，熠熠闪光如宝石一般。王蒙绘制此卷亦以写生法为之，山石略施淡赭石红以应，正所谓“随类赋彩”。",[23,164,24,7,25,128,27,132,29,97,171,130,331,34681,495,131,34,208,64,133,938],"古林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b969ba820d4e2d7d9f47016d1cf0529.jpg","画心：25×103 cm题跋：25×228 cm.",[136],{"id":34686,"slug":34687,"title":34688,"dynasty":18,"author":22145,"museum":244,"description":34689,"tags":34690,"thumbUrl":34693,"material":173,"size":34694,"collection":68,"collections":34695,"showCount":34257,"zanCount":1998,"manualWeight":48,"mainColor":49},219949,"hua-qi-shi-an-chun-tu-cui-que-219949","画杞实鹌鹑图","林野中的某个角落，一株枸杞以及禾草旁，有只鹌鹑正眈眈地望著地上的蝼蛄。蝼蛄从土穴中爬出後，在地上恍恍惚惚地游走，没有察觉大难即将临头。",[23,164,24,7,28,27,61,8140,34691,624,34692],"杞实","小虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabe749a2e7ecdcdc364f38650b480dde.jpg","27.5 x 25.5公分",[68],{"id":34697,"slug":34698,"title":34699,"dynasty":54,"author":223,"museum":244,"description":34700,"tags":34701,"thumbUrl":34703,"material":173,"size":34704,"collection":44,"collections":34705,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},219595,"wan-nian-bu-lao-ce-yao-chi-chun-yan-yi-ming-219595","万年不老册-瑶池春宴","此作分上下二幅，上方以墨绿为底，泥金小楷端正隽秀，古雅沉静。下幅工笔设色，绘就瑶池春宴盛景。烟波之上，仙宾乘槎踏浪而来；苍松翠峦间，群仙或围坐清谈，或悠然伫立，麋鹿仙鹤闲游林泉，自在怡然。笔触精细工致，敷色妍丽明净，晕染出山石松涛的温润质感，将神话仙境的缥缈出尘，融于人间雅集的恬和悠然之中，把瑶池宴饮铺作世外清景，尽显工笔仙佛题材的雅致意趣，氤氲着清宁出尘的仙家气韵。",[164,24,7,59,27,28,96,13695,722,2302,413,950,131,130,34702,169],"瑞兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba36c2019ede989fac397469dd36396.jpg","39x57.5厘米",[44],{"id":34707,"slug":34708,"title":34709,"dynasty":124,"author":223,"museum":2542,"description":34710,"tags":34711,"thumbUrl":34712,"material":173,"size":84,"collection":44,"collections":34713,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},219593,"luo-han-guan-yin-tu-yi-ming-219593","罗汉观音图","此作以石窟观音为视觉中心，十六罗汉错落排布于林泉幽境之间。洞窟、危桥、苍松穿插其间，将佛国胜景融于山水丘壑。设色古雅沉润，线条凝练劲挺，衣褶流转自然。\n\n各罗汉神态迥异，或趺坐静思、或临渊观流、或降龙伏怪，形神兼备；观音端踞窟内，仪容肃穆安和。画面将礼佛的庄严禅意，与文人山水的清寂雅致相融，既彰显佛造像的静穆神圣，又暗合山林隐逸的审美意趣，尽显佛画与山水画结合的精妙，把出世禅心揉入林泉幽致之中，尽显明代宗教绘画兼具工致与意韵的独特韵味。",[24,7,27,28,187,96,29,98,99,772,95,331,97,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69873b96fabaed87f5b148d0a16d77ba.jpg",[44],{"id":34715,"slug":34716,"title":34717,"dynasty":124,"author":223,"museum":450,"description":34718,"tags":34719,"thumbUrl":34720,"material":173,"size":84,"collection":44,"collections":34721,"showCount":34257,"zanCount":1998,"manualWeight":48,"mainColor":49},219571,"tang-gao-shi-lu-lu-wang-xiang-yi-ming-219571","唐高士陆鲁望像","长髯垂胸，面容沉静端方，眉眼敛着淡然神色，尽显林下高士的清雅从容。服饰层次分明，苔青色外袍晕染出沉稳古雅的质感，玄色缘边勾勒出规整形制，系带细节写实雅致，衬出人物简淡出尘的气度。\n\n画作设色古厚沉静，绢本底色晕染出岁月沉淀的温润质感，线条凝练含蓄，形神兼备地呈现出人物温雅疏旷的气质，尽显传统肖像画的写实功力，带着古雅端严的审美意趣，将这位高士超然世俗的风骨缓缓铺陈开来。",[23,24,7,96,165,28,27,170,10539],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F558c5168241beb3eccf8710b5db2e2ac.jpg",[44],{"id":34723,"slug":34724,"title":34725,"dynasty":124,"author":34726,"museum":244,"description":34727,"tags":34728,"thumbUrl":34729,"material":173,"size":34730,"collection":136,"collections":34731,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":49},219514,"bi-wu-jiang-shu-tu-song-mao-jin-219514","碧梧降暑图","宋懋晋","此作用高远兼平远之法铺陈景致，上部山峦以轻淡墨色晕染，肌理温润朦胧，似有夏山蒸腾的暑气轻笼。画面下畔的庭院为眼目所在，两株青梧亭亭如盖，将浓荫覆入院中，屋中幽人闲坐，静纳竹风凉意。溪上木桥轻架，垂柳拂过水面，坡岸细草茸茸，处处漫着夏日慵闲松弛的意趣。\n\n全画笔秀色雅，浅淡设色衬出清和氛围，将文人幽居消暑、耽于林泉的隐逸襟怀，融于山川院宇之间，淡而有神，静中生韵，尽显山居消暑的雅逸情致。",[24,7,165,27,29,132,98,99,34,35,131,276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83e2ed619f72ec4ecb79001d077b24f1.jpg","124x38.4厘米",[136],{"id":34733,"slug":34734,"title":34735,"dynasty":124,"author":15464,"museum":244,"description":34736,"tags":34737,"thumbUrl":34738,"material":173,"size":34739,"collection":136,"collections":34740,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":49},219475,"bin-feng-tu-xie-shi-chen-219475","豳风图","豳，一作邠，国名。在岐山之北，原隰之野，周先世公刘立国于此。成王立，周公摄政。作豳风七月之诗一篇，述后稷公刘政教之始。述其政教之中，则为豳雅。述其政教之成，则为豳颂，以戒成王。",[24,7,165,128,132,208,29,96,97,98,34,99,130,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F476c65952113e072f06deae20e1e7a3a.jpg","196.6x109厘米",[136],{"id":34742,"slug":34743,"title":34744,"dynasty":18,"author":223,"museum":244,"description":34745,"tags":34746,"thumbUrl":34748,"material":173,"size":84,"collection":44,"collections":34749,"showCount":34257,"zanCount":1998,"manualWeight":48,"mainColor":49},219172,"shan-yang-tu-yi-ming-219172","山羊图","粉面朱唇的稚子端坐羊背，衣袂鲜妍如霞，手中轻挥短鞭。群羊毛色胜雪，犄角宛转似玉，或驰于坡前，或驻于石畔，或低头嗅草，姿态灵动如生。背景松枝虬劲，梅蕊初绽，墨色浓淡间晕染出清寂古意。线条工细若蚕丝，衣纹褶皱、羊身毫毛皆刻画入微；设色沉敛温润，赭石与石青相映，既见宋画的雅致，又藏孩童嬉戏的稚趣。动静相宜间，似能听见羊蹄踏石的轻响，稚子清脆的笑声，将寻常生活的闲情，凝作千年不褪的画卷。",[24,7,164,28,27,34747,96,372,371,131,4278],"山羊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d784dda5b0462addae6b69112b558a.jpg",[44],{"id":34751,"slug":34752,"title":34753,"dynasty":124,"author":5029,"museum":20,"description":34754,"tags":34755,"thumbUrl":34756,"material":611,"size":34757,"collection":318,"collections":34758,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},219146,"xing-shu-yang-jian-tie-ye-liu-jue-219146","行书·仰间帖页","此帖书法类赵孟頫，结体圆健规整，用笔娴熟、洒脱、颖秀，笔画之间连带自然且行气酣畅淋漓，这与他曾经提到朋友所赠之华丽笺纸的愉悦心境是分不开的。",[23,164,24,7,59,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f590e552490dec8731a0a67301c8ea6.jpg","纵27.9厘米，横42厘米",[318],{"id":34760,"slug":34761,"title":34762,"dynasty":124,"author":223,"museum":1941,"description":34763,"tags":34764,"thumbUrl":34765,"material":173,"size":34766,"collection":68,"collections":34767,"showCount":34257,"zanCount":1998,"manualWeight":48,"mainColor":49},218924,"han-he-shuang-ying-tu-yi-ming-218924","寒壑双鹰图","这幅画表现了一棵高高矗立在峡谷之上的枯树，两只老鹰站在树枝上相互对视。老树用粗大的笔触勾勒出来，盘旋而有力，而老鹰则用细小的笔触描摹出来，几乎随时可以移动。在树的下面，峡谷的激流冲刷出层层水浪，波浪滚滚而来。这幅画显示了艺术家对不同题材的驾驭能力，以及他向许多人学习的能力。虽然这幅画以宋代为基础，但明显具有明代大型花鸟画的大气、奔放、夸张的特点，极具感染力。此画原为五代时期南唐画家郭乾祐所作，但因其无年代感，现归于明代画家。",[24,7,128,27,28,132,3141,1337,1233,663,497,495,99,2438,171,1400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F812e742cba18d3fccd2b284248f14dd1.jpg","200.2x156.1cm",[68],{"id":34769,"slug":34770,"title":34771,"dynasty":18,"author":223,"museum":244,"description":34772,"tags":34773,"thumbUrl":34774,"material":173,"size":84,"collection":44,"collections":34775,"showCount":34257,"zanCount":1998,"manualWeight":48,"mainColor":72},218862,"cai-yao-xian-lv-tu-yi-ming-218862","采药仙侣图","这幅画描绘了一位白袍医生和仙人从医书中挑选药材，而他们身后是隐藏在古松和祥云中的仙山和宫殿。岩山空无一物，背上长满青苔，松树和白鹤都很逼真。",[23,24,7,1131,27,28,96,29,230,17424],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb92b197d6b8f4dd837b06346da680a16.jpg",[44],{"id":34777,"slug":34778,"title":34779,"dynasty":54,"author":34780,"museum":244,"description":34781,"tags":34782,"thumbUrl":34783,"material":173,"size":34784,"collection":136,"collections":34785,"showCount":34257,"zanCount":1998,"manualWeight":48,"mainColor":72},218723,"fang-zhao-qian-li-jiu-cheng-gong-tu-sun-hu-218723","仿赵千里九成宫图","孙祜","这幅画描绘的是一座高大的宫殿，人物众多，尺寸不大，是清朝宫廷画家孙祜和丁观的作品，赵伯驹的原作还在，相比之下，孙祜的画一定是再创作，精度极高。",[24,7,164,165,25483,95,28,27,29,97,906,131,34,96,247,1645,758,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cdff0e72c31b9ba871ad9ac21069156.jpg","43.4×42.3cm",[136],{"id":34787,"slug":34788,"title":34789,"dynasty":144,"author":2968,"museum":244,"description":34790,"tags":34791,"thumbUrl":34792,"material":173,"size":34793,"collection":68,"collections":34794,"showCount":34257,"zanCount":1116,"manualWeight":48,"mainColor":72},218668,"cang-ya-gu-shu-tu-chen-lin-218668","苍崖古树图","这幅画描绘了一条河的两岸，笔触简单而清晰。较早的记录显示，这是一位无名的元代画家的作品，但结合顾瑛的题词和两个残存的印章来看，这是赵孟頫的弟子陈琳的作品。",[23,24,7,128,132,59,29,689,171,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F382f50b644095d01a6b64f045370d65f.jpg","31.2x47.4cm",[68],{"id":34796,"slug":34797,"title":34798,"dynasty":18,"author":223,"museum":300,"description":34799,"tags":34800,"thumbUrl":34801,"material":173,"size":34802,"collection":136,"collections":34803,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":49},218650,"qiu-jiang-fan-zhou-tu-yi-ming-218650","秋江泛舟图","绢本纹理间晕开宋时秋意。江畔疏林枯槎，枝干如铁线勾勒萧瑟之态，墨色浓淡藏叶落余韵。江面澄明似镜，一叶扁舟轻泛，舟子隐于烟波，与秋水山色相融。远山层叠，烟霭朦胧，淡墨晕染出悠远天际，将视线引向空濛深处。\n\n整幅画以简洁笔触铺陈清寂秋江，无繁复色彩，却在水墨虚实间传递宋人对自然的敬畏与隐逸情怀。每处留白皆诉时光静美，心境淡然，似能听见江风掠过枯枝的轻响，看见舟楫划过水面的微澜，于无声处藏着宋画独有的淡远与深邃。",[164,24,7,128,132,29,129,1337,6004,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6afe52302eecccd7943c473db2995800.jpg","25.5x25.5",[136],{"id":34805,"slug":34806,"title":34807,"dynasty":144,"author":223,"museum":3330,"description":34808,"tags":34809,"thumbUrl":34810,"material":173,"size":84,"collection":44,"collections":34811,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},218474,"shi-jia-mo-ni-dan-sheng-tu-yi-ming-218474","释迦摩尼诞生图","云气如缕，托着衣袂翩跹的神众于天际凝眸；地面上，朱廊环伺，侍从衣纹细腻如波，簇拥着殿内新生的静谧。中央光晕轻笼，似能触到佛陀诞生的圣洁——青绿与赭红交织的图景里，古绢斑驳晕染出岁月的虔诚。右侧仪仗缓步，衣饰繁复与左侧侍从清雅相映，皆向那神圣核心汇聚。线条流转间，佛教庄严与世俗鲜活融于一帧，每一笔都似低语着千年信仰的温度，让悠远的故事在古画的肌理中静静流淌。",[24,7,187,28,27,95,96,97,189,6640,4057],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F761dda8b2dede2e9e29009830b74880b.jpg",[44],{"id":34813,"slug":34814,"title":24530,"dynasty":124,"author":34815,"museum":2542,"description":34816,"tags":34817,"thumbUrl":34818,"material":151,"size":34819,"collection":44,"collections":34820,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},218411,"mao-nv-tu-sun-jue-218411","孙珏","松枝苍劲盘桓，草木葱茏点缀，扇面间铺展一方清幽天地。数人衣袂轻扬，姿态闲雅，或低语浅笑，或凭杖伫立，仙逸之态尽显。笔墨细腻处，衣纹流转如行云，树石皴擦见古意；设色淡雅，晕染自然，更添悠远之韵。画面虽咫尺，却藏山林之静谧、人物之超然，似将尘嚣隔绝在外，只留一份清宁与古雅，引人沉醉于这方隐逸仙境之中。",[23,24,7,1131,27,28,96,34,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F863ccaf21cf3e252db5ff5928ee8576e.jpg","25.1x23.5",[44],{"id":34822,"slug":34823,"title":34824,"dynasty":124,"author":1058,"museum":20,"description":34825,"tags":34826,"thumbUrl":34827,"material":278,"size":34828,"collection":117,"collections":34829,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},218405,"wang-gong-bai-xiang-tu-tang-yin-218405","王公拜相图","这幅画表现的是王鏊上山做官，是唐寅作为弟子画的，所以画得很用心。王鏊在1506年左右来到宫廷，当时唐寅36岁，其画风，山石树木如李唐，人物如李公麟，无疑是真迹。",[23,24,7,25,128,27,28,132,64,133,208,96,29,97,34,131,130,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc31d64915532e56e517bdba4db86340f.jpg","73.5x20",[117],{"id":34831,"slug":34832,"title":34735,"dynasty":144,"author":34833,"museum":2488,"description":34834,"tags":34835,"thumbUrl":34837,"material":278,"size":34838,"collection":44,"collections":34839,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},218245,"bin-feng-tu-lin-zi-huan-218245","林子奂","《豳风图》全卷共分七段，依次为《七月》《鸱号》《东山》《破斧》《伐柯》《九罭》《狼跋》，每段画前书《豳风》原文。图中人物形象生动，衣纹用兰叶描，笔法流畅潇洒，设色清丽古雅。",[23,24,7,25,188,128,64,133,208,96,29,34,211,99,98,2048,13640,711,34836],"农具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb1a0555d1ec4931a6edfed8747e1ab0.jpg","26.5x446",[44],{"id":34841,"slug":34842,"title":34843,"dynasty":124,"author":2268,"museum":77,"description":6564,"tags":34844,"thumbUrl":34846,"material":66,"size":84,"collection":84,"collections":34847,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},217033,"fang-gu-shan-shui-ce-liu-kai-2-dong-qi-chang-217033","仿古山水册六开-2",[23,24,7,59,128,27,29,129,99,16044,34845,211,131,37,133,132],"雪峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F705dca76b87e5d6c9999fda035dc601d.jpg",[],{"id":34849,"slug":34850,"title":34851,"dynasty":54,"author":223,"museum":2607,"description":34852,"tags":34853,"thumbUrl":34854,"material":611,"size":84,"collection":84,"collections":34855,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":956},216877,"xi-xiang-ji-tu-ce-6-yi-ming-216877","西厢记图册-6","庭院深深，草木清嘉。前景双姝衣袂翩然，低语间神态温婉，衣纹细腻如织；背景二人立于阶上，衣袍素雅，与朱红窗棂相映成趣。虬曲的古树枝叶婆娑，绿草点缀阶前，笔墨勾勒间尽显生趣。淡彩晕染出清雅色调，建筑的庄重与人物的灵动交织，空间层次错落有致。画面将古典情境凝于方寸，人物互动自然生动，似能窥见西厢故事中的温婉瞬间，尽显传统绘画的细腻韵味与含蓄意境。",[24,7,59,28,27,96,166,97,413,247,1200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09efc3508687631c699e7cb591e4d1b6.jpg",[],{"id":34857,"slug":34858,"title":34859,"dynasty":144,"author":1346,"museum":244,"description":2533,"tags":34860,"thumbUrl":34861,"material":278,"size":84,"collection":84,"collections":34862,"showCount":34257,"zanCount":1998,"manualWeight":48,"mainColor":72},216382,"mo-zhu-pu-ce-7-wu-zhen-216382","墨竹谱册-7",[24,7,59,128,167,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6728098eeee9dc357748de79d615f7b3.jpg",[],{"id":34864,"slug":34865,"title":34866,"dynasty":54,"author":34867,"museum":300,"description":34868,"tags":34869,"thumbUrl":34870,"material":128,"size":34871,"collection":318,"collections":34872,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},215143,"min-sheng-yan-chang-tu-juan-ti-ba-pu-sa-bao-215143","闽省盐场图卷-题跋","菩薩保","清朝时期的闽省盐场图卷是一组图画，其中包含了当时闽省的盐场的景象。这些图卷通常都有题跋，即对图卷内容的文字说明。根据题跋介绍，这些图卷可能描绘了盐场的布局、生产过程、以及当时的盐业政策等信息。菩薩保是清朝时期的一位著名画家，他创作的闽省盐场图卷在当时颇受欢迎。",[23,7,25,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7031c098e33d9c148e9da888311d124b.jpg","38x860",[318],{"id":34874,"slug":34875,"title":34876,"dynasty":124,"author":2268,"museum":56,"description":3855,"tags":34877,"thumbUrl":34878,"material":66,"size":84,"collection":84,"collections":34879,"showCount":34257,"zanCount":48,"manualWeight":48,"mainColor":72},214650,"qiu-xing-ba-jing-tu-ce-7-dong-qi-chang-214650","秋兴八景图册-7",[24,7,59,27,128,29,1144,131,99,415,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eb9268879396f8710f133d9d82f4354.jpg",[],{"id":34881,"slug":34882,"title":34883,"dynasty":144,"author":1346,"museum":300,"description":14804,"tags":34884,"thumbUrl":34885,"material":692,"size":1293,"collection":84,"collections":34886,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":49},290820,"xi-shan-yu-yi-tu-zhou-wu-zhen-290820","溪山雨意图轴",[164,24,7,165,128,29,132,98,4605,331,16819,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d46bbb9394f7778397efac4b923ef92.jpg",[],35,{"id":34889,"slug":34890,"title":34891,"dynasty":124,"author":12442,"museum":244,"description":34892,"tags":34893,"thumbUrl":34894,"material":692,"size":34895,"collection":136,"collections":34896,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},290552,"lu-shan-du-shu-tu-zhou-xu-ben-290552","庐山读书图轴","篆书自题‘‘庐山读书”，署款“洪武丁丑春日徐贲写：”钤印二“徐贲之印”、“幼文”。另有乾隆御题五绝诗：此图画庐山一带景色，这里山青水秀，风景幽美。画面上重峦叠嶂，幽亭秀木，溪流茅屋，岚色郁苍，树木丛生，枝干劲挺，远山深秀，树木葱茏。草舍隐于溪边树丛巾，在舍外有两位高士，相面席地而坐，似正在边渎边交流：左侧有一板桥窄架溪岸，一位僮子携琴走来。通过画家徐贲的笔下，描绘出观画读书的情景，颇能领略远离闹市的山居之乐，道出了画家深埋心中的孤寂之感、尽管庐山未必真有此景，但画家毕竟是基于写生，平所熟悉的环境加以提炼概括，在此图中倾注了画家真挚感情。",[24,7,165,128,29,132,97,98,34,131,208,16528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89929cd534577a024cd492255244a800.jpg","63.1x26.3",[136],{"id":34898,"slug":34899,"title":34900,"dynasty":144,"author":410,"museum":300,"description":21954,"tags":34901,"thumbUrl":34903,"material":692,"size":1293,"collection":84,"collections":34904,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":49},290232,"lin-lu-you-ju-tu-wang-meng-290232","林麓幽居图",[164,24,7,165,128,29,34902,689,131,211,132],"幽居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe26b1b5b748d9e5ba249d2eb08e33814.jpg",[],{"id":34906,"slug":34907,"title":34908,"dynasty":222,"author":34909,"museum":300,"description":34910,"tags":34911,"thumbUrl":34912,"material":692,"size":1293,"collection":84,"collections":34913,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},290025,"mo-pu-tao-tu-cui-lang-gu-290025","墨葡萄图","崔浪谷","此作用通景八屏铺陈藤蔓葡萄，老干以焦墨写出，苍劲如屈铁，虬曲回旋将八幅连为整体，满溢蓬勃生机。\n\n葡萄以没骨晕染，墨色浓淡相衬，似见颗颗晶莹饱满，垂坠枝桠间尽显鲜活野趣。叶片以干湿浓淡区分正反向背，写意笔触随性却神完气足，藤蔓游丝牵连，尽展舒展之姿。\n\n落款轻落边角，隐于枝叶间不抢画面风采，尽显文人画雅致意趣。全作以水墨写就，舍去敷色，以墨色幻化尽显满架葡萄的丰润，将蔬果鲜活与文人疏朗逸气相融，寥寥笔墨间尽显写意花鸟的风神韵味。",[23,24,7,25,128,61,2334,548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff17d066d27c4a3f33bf5fde2af56c79a.jpg",[],{"id":34915,"slug":34916,"title":34917,"dynasty":124,"author":19170,"museum":300,"description":34918,"tags":34919,"thumbUrl":34921,"material":692,"size":1293,"collection":84,"collections":34922,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":49},289876,"lu-jiu-tu-zhou-ding-yun-peng-289876","漉酒图轴","该画描绘的是东晋陶渊明漉酒的生活情景。\n漉酒即将所酿的新酒用纱布过滤澄清的一道工序。\n庭院中老柳三株，浓叶成荫，树下一髯者与二童子作漉酒状。湖石及树边丛菊盛开，表现出秋高气爽的季节。用笔细致，衣摺用铁线描，富有质感。设色古艳，构思精密。\n画面中央，陶渊明脱巾散发，籍虎皮而坐，风神潇洒、气度轩昂；两童子相对助其漉酒，稚气可掬。上方有三树高柳，绿茵浓密，树根石隙，菊英缤纷，竞吐芬芳。柳菊相应，点明了夏末秋初酿酒的节候特征，也渲染了陶渊明独特的品格与心胸。本图着意通过人物动态神情的刻划，环境道具的烘托，成功地揭示出陶渊明超旷虚灵、静穆澹远的性格。",[164,24,7,165,27,28,96,4363,131,4278,2144,34920,1424],"漉酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0609eaca6db96cf92ecdee6505dba58.jpg",[],{"id":34924,"slug":34925,"title":34926,"dynasty":18,"author":223,"museum":300,"description":34927,"tags":34928,"thumbUrl":34931,"material":692,"size":1293,"collection":84,"collections":34932,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":49},289445,"tian-wang-tu-yi-ming-289445","天王图","主尊威峙画面中央，兽面怒目，焰发冲霄，身着严整华丽的扎甲，宝饰垂络，一手托举宝珠，一手按剑踏云而立，气势慑人。环绕的部众形貌各异，或狞恶挥刃，或恭谨侍立，动静相生，烘托出森严仪制。\n\n全作用浓墨重彩晕染，矿物颜料历久沉凝，甲胄的金属质感、须发的焰动感皆刻画入微，将护法神祇的威严狞厉尽数铺展，兼具宗教威仪感与写实功力。古拙雄浑的笔墨间，凝住了厚重的宗教美术气韵，仿佛能让观者窥见诸天护法的凛凛神威。",[24,7,96,27,187,34929,34930,28],"天王","护法神","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7d363961a01b0f91a311f87016eda7a.jpg",[],{"id":34934,"slug":34935,"title":34936,"dynasty":124,"author":2110,"museum":300,"description":15869,"tags":34937,"thumbUrl":34938,"material":692,"size":1293,"collection":84,"collections":34939,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},288021,"tao-hua-yuan-yang-tu-shan-mian-zhou-zhi-mian-288021","桃花鸳鸯图扇面",[23,1131,24,164,7,27,61,209,1857,98,1233,331,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77bf6fdf6141f8c8ffcd4f1175cbe18f.jpg",[],{"id":34941,"slug":34942,"title":34943,"dynasty":351,"author":1610,"museum":244,"description":34944,"tags":34945,"thumbUrl":34947,"material":692,"size":1293,"collection":84,"collections":34948,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":49},287719,"hua-zhang-lin-xiao-yi-dong-yuan-287719","画长林萧逸","水墨画山峦层叠，林木丛聚。画中山石土坡，均用披麻皴法，只是笔法造型稍嫌刻板，乏于变化；树木平整罗列，少于掩映参差的深趣，当是出于后期画家仿作。",[23,164,24,7,165,128,132,27,29,331,97,98,99,34946],"萧逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc088b2a7379e1f7d028fe386eee872fb.jpg",[],{"id":34950,"slug":34951,"title":34952,"dynasty":144,"author":7181,"museum":300,"description":34953,"tags":34954,"thumbUrl":34957,"material":692,"size":1293,"collection":84,"collections":34958,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},287592,"wei-mo-yan-jiao-tu-wang-zhen-peng-287592","维摩演教图","王振鹏（生卒年不详），字朋梅，浙江温州人。元代著名的画家，擅长人物画和宫廷界画，被元仁宗赐号为“孤云处士”，并官至漕运千户。传世作品有：《伯牙鼓琴图》《江山胜览图卷》《阿房宫图》《金明池图》。",[24,164,7,25,188,96,187,18381,34955,33563,18331,34956,31935,25390],"维摩诘","天女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc40a4d0806de3db1968a0376916c5f4a.jpg",[],{"id":34960,"slug":34961,"title":19802,"dynasty":18,"author":2099,"museum":300,"description":34962,"tags":34963,"thumbUrl":34964,"material":692,"size":1293,"collection":84,"collections":34965,"showCount":34887,"zanCount":1998,"manualWeight":48,"mainColor":49},287584,"huo-lang-tu-li-gong-lin-287584","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[164,24,7,96,28,27,2218,18572,211,169,1746,2656],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed448f9ab717e072dfdea305383f70ef.jpg",[],{"id":34967,"slug":34968,"title":34969,"dynasty":54,"author":223,"museum":300,"description":10087,"tags":34970,"thumbUrl":34971,"material":692,"size":1293,"collection":84,"collections":34972,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},263680,"ke-si-fo-shou-shuang-niao-tu-zhou-yi-ming-263680","缂丝佛手双鸟图轴",[24,7,165,1944,3291,28,27,211,15382,263,11633,62,8898,4279,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a3c39b8e6c568204a3d0ea696b49683.jpg",[],{"id":34974,"slug":34975,"title":34976,"dynasty":54,"author":872,"museum":20,"description":34977,"tags":34978,"thumbUrl":34979,"material":84,"size":34980,"collection":318,"collections":34981,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},239596,"shi-san-zha-ce-zhu-da-239596","十三札册","朱耷(1626-约1705)，明末清初画家，中国画一代宗师。本名由桵，字雪个，号八大山人、个山 、驴屋等，汉族，江西南昌人。明宁王朱权后裔。明亡后削发为僧，后改信道教，住南昌青云谱道院。擅书画，花鸟以水墨写意为主，形象夸张奇特，笔墨凝炼沉毅，风格雄奇隽永;山水师法董其昌，笔致简洁，有静穆之趣，得疏旷之韵。擅书法，能诗文。存世作品有《水木清华图》、《荷花水鸟图》等。\n八大山人的书法与他的绘画风格相似，极为简练，到晚年喜用秃笔，一变锐利的笔势而变成浑圆朴茂的风格。近人研究八大书法，追其师承渊源众说纷纭。或曰宗二王、宗董其昌、宗王宠等等，终如寻其书画师承，至今无一定论一样。据王方宇先生考证，最初，八大山人受欧阳询的影响很深，稍后学董其昌的行草，又转入黄庭坚的夸张开阔等，多方探索，再追寻魏晋人书法的气质，终于参用篆书笔法，形成自己独特的风格:中锋圆润，又婉约多姿且厚重浑成，富有晋人气度。他的书法的成就，主要是笔法的改变。\n朱耷是清代著名的书画家。他的简笔写意花鸟画，以独特的面貌，开一代新风。他的书法亦与他的绘画风格相似，极为简练，到晚年喜用秃笔，一变锐利的笔势而变成浑圆朴茂的风格。\n近人研究八大书法，追其师承渊源众说纷纭。或曰宗二王、宗董其昌、宗王宠等等，终如寻其书画师承，至今无一定论一样。据王方宇先生考证，最初，八大山人受欧阳询的影响很深，稍后学董其昌的行草，又转入黄庭坚的夸张开阔等，多方探索，再追寻魏晋人书法的气质，终于参用篆书笔法，形成自己独特的风格:中锋圆润，又婉约多姿且厚重浑成，富有晋人气度。他的书法的成就，主要是笔法的改变。\n八大山人在许多绘画作品上的款跋，相当精彩奇巧。如在绘画布局上发现有不足之处，有时用款书云补其意。八大山人也能诗，所以他的画即使画得不多，题上自己随兴发挥的诗，意境就充足了。\n此册集朱耷所书信札十三通装裱成册，故又称《十三札》册。每札均有作者题名“八大山人”，大部分钤有“八大山人”印，其中第四札钤“八还”印，第五札钤“十得”印，第十札钤“遥属”印。此十三札有六通上款“鹿村先生”，六通“西翁”，一通致“僧舍方丈”。实际上都是致好友方士管的，方氏为八大的书画资助人和代理商，故札中所述多为友人间往还之事，其中不乏奉画、饮宴之约，借钱、谢赠等事，从中可以窥见八大山人当时生活的一个侧面，具有重要的文献价值。从书法风格及落款形式分析，此十三札大致为朱耷晚年之作。末开附清李葆恂题识四则。钤“李文石”、“臣葆恂印”、“文石”、“葆恂”、“文石父”等印多方。又册中第四札裱边有游悔庐主人题诗一首。\n是册书法挥洒自如，行草相间，无拘滞之感，盖由于书者致书友人，全无拘束，缘纸走笔，纵横驰骋，了无挂碍，自能得其书法真趣。此册不仅具有一定的史料价值，而且在书法艺术方面也同样具有很高的艺术价值。",[304,7,64,133,59,10762],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc227c47f7b3a82770e5a83861f7a72cb.jpg","纵24.6cm，横15.1cm",[318],{"id":34983,"slug":34984,"title":3933,"dynasty":54,"author":2687,"museum":300,"description":3934,"tags":34985,"thumbUrl":34986,"material":692,"size":1293,"collection":84,"collections":34987,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},239247,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239247",[24,7,59,28,27,61,263,62,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7b4c8a7cc4b86d23ffb9f19aa776519.jpg",[],{"id":34989,"slug":34990,"title":28481,"dynasty":54,"author":12395,"museum":300,"description":14623,"tags":34991,"thumbUrl":34992,"material":692,"size":1293,"collection":84,"collections":34993,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},239083,"si-ji-hua-hui-ping-zhang-xiong-239083",[24,7,165,27,28,61,209,171,481,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77703f523b5de936bdbba16a184e78f0.jpg",[],{"id":34995,"slug":34996,"title":4991,"dynasty":54,"author":4992,"museum":300,"description":4993,"tags":34997,"thumbUrl":34998,"material":692,"size":1293,"collection":84,"collections":34999,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},239059,"shan-shui-hua-niao-ce-yang-jin-239059",[24,7,59,128,188,61,547,747,582,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc63e6e415ef05404b5373e9472d91023.jpg",[],{"id":35001,"slug":35002,"title":19857,"dynasty":54,"author":35003,"museum":300,"description":35004,"tags":35005,"thumbUrl":35006,"material":84,"size":84,"collection":136,"collections":35007,"showCount":34887,"zanCount":1998,"manualWeight":48,"mainColor":72},239027,"shan-shui-zhou-wang-xue-hao-239027","王学浩","王学浩（1754—1832）字孟养，号椒畦，江苏昆山人。乾隆五十一年（1786）举人。为人恬澹旷适，绝意干禄。遍历燕、秦、楚、粤。山水得原祁正传，结体精微，笔力苍古。著有《山南论画》，立论精当。于书无不工，篆、隶古劲，直接秦、汉而不自谓能。真书从欧入褚，晚探二王秘。行书更得瘗鹤铭笔意，坚苍浑厚，自成一家。工诗，卒年七十九。",[24,7,165,27,132,29,35,34,131,99,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03ac2666c3007bbc5a92459091d826e3.jpg",[136,45],{"id":35009,"slug":35010,"title":4267,"dynasty":54,"author":13716,"museum":300,"description":35011,"tags":35012,"thumbUrl":35013,"material":611,"size":35014,"collection":68,"collections":35015,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},238972,"hua-hui-zhou-chen-shu-238972","陈书（1660～1736）字南楼，号上元弟子，晚号南楼老人，秀水（今浙江嘉兴）人，适海监钱纶光，善画花鸟虫草，家贫，卖画自给，教子甚严。以长子钱陈群诰封太淑人。\n陈书在书画方面的造诣很高，笔墨娴雅，结构严谨。当时书画家评论她画的人物称得上逸品，画的山水、花卉称为神品，可见对她的评价相当高。陈书的子孙受她的影响也能书画，在笔墨技法上很像她，可以说一门数代继承家风。她的作品曾为清代皇室珍藏，流传民间也不少。嘉兴博物馆藏有她的花卉真迹，笔者在杭州、苏州、扬州等地也看到过她的作品。她的诗为人们所重视，《复庵吟稿》收集了她诗作的精华，流传至今。",[24,7,165,27,128,61,650,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8444c4174ac46ef74113137226711cf.jpg","33*65厘米",[68,318],{"id":35017,"slug":35018,"title":35019,"dynasty":54,"author":23303,"museum":300,"description":35020,"tags":35021,"thumbUrl":35022,"material":84,"size":84,"collection":136,"collections":35023,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},238708,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238708","画弘历和江文通诗意图册","此作用淡墨绘就幽居小景，敞轩之内，文士展卷校读，神态悠然专注。周遭古木虬枝舒展，湖石玲珑错落，浅溪萦回其间，清寂雅致。\n\n笔墨秀润清简，以淡墨皴擦晕染山石肌理，细笔点染出林叶苍然之态，构图疏密得宜，将林下闲居的静穆氛围铺陈开来。画作呼应诗意，把耽于文墨、寄兴丘山的隐逸襟怀融于景致之中，尽显冲淡萧散的文人雅趣，将文人心底幽远的林下之思藏在清和水墨间，尽显风雅静谧的文人画意趣。",[24,7,59,128,132,96,130,34,131,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa84e46151266133c953b99627ae19f1f.jpg",[136,44,117],{"id":35025,"slug":35026,"title":35027,"dynasty":54,"author":4468,"museum":35028,"description":35029,"tags":35030,"thumbUrl":35031,"material":40,"size":35032,"collection":68,"collections":35033,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},238081,"zhu-yin-xi-ling-tu-zhou-lang-shi-ning-238081","竹荫西狑图轴","沈阳故宫博物院","郎世宁，西名加斯提里阿纳Giuseppe，意大利美朗诺市人。于康熙五十四年(1715)来华传教，时年27岁，召入内廷为画院供奉，历仕三朝。画法参酌中西，善写生，人物、花鸟，奕奕有神，尤工画马，如百骏图、名马图、武功图至今有声世界。郎氏初本欲将西法输入中国，因不为清帝所喜，遂创折衷画法。一时从之学者甚众，流风至今未绝。卒年七十八。《故宫郎世宁画集》。郎世宁的主要活动在乾隆时，除了画弘历的肖像外，为清宫画了不少战功图，也画马、画花卉。郎世宁参酌中西画法，设色艳丽，精工细致。",[164,24,7,165,27,28,167,62,9119,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62af978560aaab5bcd5e5a1dd51cf3f2.jpg","246×133厘米",[68,45],{"id":35035,"slug":35036,"title":23555,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":35037,"thumbUrl":35038,"material":84,"size":84,"collection":117,"collections":35039,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},237930,"yuan-ji-mo-zhu-tu-zhou-shi-tao-237930",[24,7,165,128,167,64,208,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe56ab48f8433faa0c3d1fc3aa96ea0d3.jpg",[117,318],{"id":35041,"slug":35042,"title":35043,"dynasty":54,"author":16862,"museum":300,"description":35044,"tags":35045,"thumbUrl":35046,"material":611,"size":84,"collection":68,"collections":35047,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},237639,"shuang-yu-tu-zhou-li-fang-ying-237639","双鱼图轴","李方膺（1695年—1755年），字虬仲，号晴江，别号秋池，抑园 ，白衣山人等，江南通州（今江苏南通）人。寓居金陵借园，自号借园主人。中国清代诗画家、官员，能诗，擅画松竹兰菊，尤长写梅。用笔倔强放纵，不拘成法，苍劲有致，为“扬州八怪”之一 。为官刚正不阿，廉洁爱民。出身官宦之家，曾任乐安县令、兰山县令、潜山县令、代理滁州知州等职，为官时有惠政，人德之，后因遭诬告被罢官，去官后寓南京借园，自号借园主人，常往来扬州卖画。与李鱓、金农、郑燮等往来，工诗文书画，擅梅、兰、竹、菊、松、鱼等，注重师法传统和师法造化，能自成一格，其画笔法苍劲老厚，剪裁简洁，不拘形似，活泼生动。被列为扬州八怪之一。有《风竹图》《游鱼图》《墨梅图》等传世。著《梅花楼诗钞》。善画松、竹、兰、菊、梅、杂花及虫 鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼诗草》，仅二十六首，多数散见于画上。",[24,7,165,128,133,208,369,2059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b19355579f3c5af08250390d4501ce2.jpg",[68],{"id":35049,"slug":35050,"title":35051,"dynasty":54,"author":3403,"museum":300,"description":35052,"tags":35053,"thumbUrl":35055,"material":84,"size":84,"collection":84,"collections":35056,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},237411,"tian-zhu-zhou-wu-chang-shuo-237411","天竹轴","以篆隶笔意写绘，枯笔勾勒的枝干苍古嶙峋，尽显朴拙老辣的金石质感。叶片以浓淡墨色晕染，层次分明，艳红、明黄的天竹果实点缀其间，鲜活饱满，与水墨的素雅形成强烈对比，艳而不俗。\n\n右侧以大写意绘顽石，笔致写意简括，虚实相生，衬出天竹的清逸生机。整幅画作将花木的蓬勃生命力与文人画的雅致意趣相融，笔墨沉郁浑朴，尽显雄浑古拙的独特风韵。",[164,24,7,165,61,27,128,369,35054,171,582],"天竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93127e7d2bdb1b52ef872fb7c8c28e5.jpg",[],{"id":35058,"slug":35059,"title":35060,"dynasty":54,"author":6946,"museum":300,"description":35061,"tags":35062,"thumbUrl":35064,"material":692,"size":1293,"collection":44,"collections":35065,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},236027,"di-jiu-ba-ga-gu-la-zun-zhe-ding-guan-peng-236027","第九拔嘎沽拉尊者","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[24,7,164,28,27,187,96,208,611,1367,12678,35063],"坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc438e95fc298e7d9772a7f546f3f2f00.jpg",[44],{"id":35067,"slug":35068,"title":35069,"dynasty":124,"author":1438,"museum":300,"description":13247,"tags":35070,"thumbUrl":35071,"material":692,"size":1293,"collection":84,"collections":35072,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},235800,"qiu-kui-tu-shan-chen-chun-235800","秋葵图扇",[24,7,1131,128,369,61,746,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ec55ae0b1c4d7da1e7662300f3fccfc.jpg",[],{"id":35074,"slug":35075,"title":35076,"dynasty":54,"author":9704,"museum":20,"description":35077,"tags":35078,"thumbUrl":35079,"material":734,"size":35080,"collection":84,"collections":35081,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},234954,"xian-yuan-tu-kun-can-234954","仙源图","《仙源图》名即来源于诗之起首二字。根据诗的内容“天都保障石关巈，面对天都峰矗矗。”画的应是黄山天都峰。此图画法以“元四家”为宗，尤其受王蒙影响，构图较满，用线清晰豪壮，墨与色浑然一体，画风苍劲浑厚，意境幽野旷疏。所画景物与自题诗互相生发，相得益彰，把现实中的山水变成了人与自然为一体的生机世界。这里对烟云的描绘使人仿佛置身奇异的梦幻之境。画中题画诗是画面结构的一部分，烟云的留白画法以及全景式的构图都呈现了与西画不同的特点。",[24,7,165,128,27,132,29,97,99,129,331,130,37,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7214b8afcf42954dc5bdd808a86bf5ea.jpg","纵84厘米，横42.8厘米",[],{"id":35083,"slug":35084,"title":35085,"dynasty":18,"author":4899,"museum":20,"description":35086,"tags":35087,"thumbUrl":35088,"material":514,"size":35089,"collection":44,"collections":35090,"showCount":34887,"zanCount":1998,"manualWeight":48,"mainColor":49},233988,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233988","画赵构书唐风册","马和之，中国南宋画家 。生卒年不详，活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。宋高宗绍兴（1131-1162）中登第，一说官至工部或兵部侍郎。画院待诏，为南宋宫廷画院中官品最高的画师，居御前画院十人之首（周密：“御前画院仅十人，和之居其首焉”）。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描（一作马蝗描），用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[24,164,7,59,188,128,96,331,496,171,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F489ad7188d3047e278afe3c2a391dfdb.jpg","60.33x41.04厘米",[44,136],{"id":35092,"slug":35093,"title":35094,"dynasty":124,"author":16032,"museum":300,"description":35095,"tags":35096,"thumbUrl":35097,"material":84,"size":35098,"collection":84,"collections":35099,"showCount":34887,"zanCount":1998,"manualWeight":48,"mainColor":72},233915,"hua-hui-cao-chong-ce-xiang-sheng-mo-233915","花卉草虫册","项圣谟，生于明代万历二十五年（1597年），卒于清代顺治十五年（1658年），初字逸，后字孔彰，号易庵，别号甚多，已知者有子璋、子毗、胥山樵、胥樵、古胥山樵人、兔鸣叟、莲塘居士、松涛散仙、大酉山人、存存居士、烟波钓徒、狂吟客、鸳湖钓叟、逸叟、不夜楼中士、醉疯人、烟雨楼边钓鼇客等，浙江嘉兴人。祖父项元汴，为明末著名书画收藏家和画家。伯父项德新也善画。项圣谟自幼受家庭熏陶，精研古代书画名作，虽然曾由秀才举荐为国子监太学生，但不求仕进，而把兴趣投入到书画中，从而在绘画创作上，他很早就显现出了多方面的才能，山水、人物、花鸟无一不精，曾得到明末两位最为著名的鉴赏家，董其昌和李日华的高度评价。董其昌在他的画册上题跋，称“古人论画，以取物无疑为一合，非十三科全备，未能至此。范宽山水神品，犹借名手为人物，故知兼长之难。项孔彰此册，乃众美毕臻，树石屋宇，皆与宋人血战，就中山水，又兼元人气韵，虽其天骨自合，要亦工力至深，所谓士气、作家俱备。项子京有此文孙，不负好古鉴赏百年食报之胜事矣”，李日华称赞他的画风“英思神悟，超然独得”，是“崛起之豪”。\n项圣谟的作品，以山水为多，也是他成就的主要方面。他早年从学习文徵明入手，但很快就跳出了文徵明画法画风的局限，而直接向古人学习。这主要是受益於其家族富甲天下的历代名画收藏，从而可以使他很快改学宋人用笔的周密严谨、兼取了元人的韵致。除了宗乳於祖辈的丰富家藏，亦得力其自身的观察自然、远游写生的经验，使其画面布局大开大合，意境明净清雅，结构严谨而富于变化，笔法简洁秀逸，气韵高雅，极富书卷气，具有很高的品格和思想内涵。\n他的画有两点最值得称道，也是当时其他画家所不及的。其一是强烈的政治色彩，他用画反映民间疾苦，寄托对人民的同情和对明王朝的忠贞。在先后经历了“甲申”和“乙酉”之变，满清入主中原后，项圣谟在画上就不再题写朝代的纪年，仅用干支，并钤盖“江南在野臣”、“大宋南渡以来辽西郡人”、“皇明世胄之中嘉禾处士”等印，以彰其志节。此段时间的作品，大多借用绘画抒写胸中郁愤，表现强烈的遗民感情，由徐树铭题项圣谟清顺治三年（1646）所作《山水诗画册》：“六月雪篇有时变之感，望扶桑篇有故国之思，诗史之董狐也。”于画作中寓写深意，反应时代，以画为史。李铸晋认为其在亡国后的作品，蕴含著效忠前朝，表达亡国之痛的图画象徵，如：红色，以“朱”为明朝；枝干壮硕却无叶的树木，喻为国家，虽历风雨，枝干仍傲然挺立，有著不可折屈的精神；在暮色中栖息的飞鸟是无处可归，何处为家之意等。现藏北京故宫之《大树风号图》的题跋“风号大树中天立，日落西山四海孤。短策且随时旦莫，不堪回首望菰蒲”可作其心境写照。\n其二是极其严谨的画风和写实态度。项圣谟善于从生活中摄取素材，他的画贴近现实，造型准确，严肃不苟，一反当时潦草粗疏，追求“逸笔草草”的画风。吴山涛在题项圣谟《秋声图轴》曾说到：“孔彰先生为予老友，作画必凝神定志，一笔不苟，予常嗤其太劳。君曰：我辈笔墨，欲流传千百世，岂可草草乎？旨哉其言也。”可见项圣谟这种严肃认真的好的作风，直接影响到他的画风，使他的绘画在当时的画坛上别树一帜，而赢得了“士气作家俱备”的称誉。\n项圣谟喜画高大的乔木，尤喜画松树，树木勾，擦，染精细，树干之嶙峋，历历几可扪捉，有强烈的凹凸感，而留出的受光部分则颇具体积感，与一般文人画示意性的画法迥然有别，故明时有“项松之名满东南”之誉。他画的大树，树干挺直，刚强伟岸，拟人化的画面形象鲜明强烈，具有强大的人格力量。\n在花鸟画的创作上项圣谟同样具有自己鲜明的特色，尤其讲究造型，经意构图，善于表现花叶和花瓣的层次，向背以及受光点的明暗，从而有别于当时其他花鸟画家的画风。项圣谟很认真地吸收了黄筌画派精谨慎严的审物造物精神，但在画法上，受写意画影响，形成一种工写结合的形式，酲酿了黄筌画派工笔花鸟画新的发展趋势。在技法上，大都以水墨或略施淡彩，有时也纯用色彩作没骨法，色彩淡而不薄。在用笔上，十分凝重秀逸，故而虽有姣妍之色相，却寓嶙峋之风骨，整个调子和气氛，非常飘洒雅致，不同凡俗，好似有一股冷艳暗香浮动其间。他的这种风格在之后的恽寿平、蒋廷锡等人的作品中都有所体现。\n除绘画外，项圣谟亦精书法，善赋诗。其书法端庄严谨，峻拔出脱中不失书卷气。其诗多为题画诗，除了描绘山光水色、自然美景的山水诗外，还有许多是表达其对人民疾苦的同情和对故国的怀念，文辞警策凝重，格调悲壮慨然，反映出他的个性为人。因国破家亡，其晚年家贫，却志存高洁，不结交权贵，靠卖画自给。著有《朗云堂集》、《清河草堂集》、《历代画家姓氏考》、《墨君题语》。",[24,7,59,27,133,208,4363,1771,171,99,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F924abbb355c3eba59bb164c267fd9492.jpg","23x31cm",[],{"id":35101,"slug":35102,"title":35103,"dynasty":54,"author":1242,"museum":20,"description":35104,"tags":35105,"thumbUrl":35106,"material":611,"size":35107,"collection":84,"collections":35108,"showCount":34887,"zanCount":1998,"manualWeight":48,"mainColor":72},233719,"zi-hua-xiang-zhou-jin-nong-233719","自画像轴","此图为扬州八怪之一金农73岁时的自画像。画中老者身着布衣，持杖侧身而立，姿态笃定，神情超然。其头部画法较为写实，具有肖像画的特征，浓密的长髯，细细的发辫，矍烁的双目，真实传神地描绘出金农本人奇倔傲世的性格特征。\n图中人物的体貌不求形似，极尽夸张，具有漫画意味，这是一种文人画家逸笔的肖像画。画家以焦墨渴笔勾勒人物形象，线条生拙简朴，脱胎于南宋马和之“兰叶描”，与题款及诗文的“漆书”共同体现出生涩拙朴、奇绝脱俗的风格。",[24,7,165,188,128,96,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a9ed191e96e74c538004f23d2e40f11.jpg","纵131.3厘米 ，横59.1厘米",[],{"id":35110,"slug":35111,"title":35112,"dynasty":54,"author":6936,"museum":20,"description":35113,"tags":35114,"thumbUrl":35115,"material":16830,"size":35116,"collection":136,"collections":35117,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},233160,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233160","草堂十志图册","此册山水是王原祁据唐代卢鸿《草堂十志图》图意，分别仿宋、元诸家笔意，重新加以艺术创作而成。卢鸿原作早已失传，今尚存宋人的临仿本，与此册相较甚殊，是画家师其意而不师其迹之作。该册无纪年，以画笔之苍劲，当是画家晚年之作。10页画，有6开设色，并兼用墨笔，色、墨兼施，浑然一体，清丽中有苍厚之致，为画家毕生努力所形成的特色。其晚年曾请告老还乡，屡为康熙帝所挽留，难免有“身在魏阙，心存江湖”之想，此图册似即追慕前贤草堂之隐的无奈心境的写照，为其晚年代表作。",[24,7,59,27,29,132,663,228,413,758,208,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16167bc107fdf43a3be3d557727deba3.jpg","纵29厘米，横29.5厘米",[136,45],{"id":35119,"slug":35120,"title":35121,"dynasty":144,"author":287,"museum":300,"description":24204,"tags":35122,"thumbUrl":35123,"material":611,"size":35124,"collection":84,"collections":35125,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":49},232903,"shi-lei-wen-dao-tu-juan-qian-xuan-232903","石勒问道图卷",[23,24,7,25,27,28,96,34,276,131,208,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07e96d6b7370b4a6dd7401122337fd33.jpg","28.6x138.5厘米",[],{"id":35127,"slug":35128,"title":31394,"dynasty":18,"author":18655,"museum":300,"description":32588,"tags":35129,"thumbUrl":35130,"material":151,"size":35131,"collection":84,"collections":35132,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":49},232877,"guan-shan-xing-lv-tu-juan-zhao-bo-su-232877",[23,1846,24,7,25,26,27,28,132,29,496,34,1337,1144,97,130,98,99,96,101,35,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe216901204382cc7cea56a1c3e25af7b.jpg","26.4x197.3厘米",[],{"id":35134,"slug":35135,"title":35136,"dynasty":54,"author":7208,"museum":244,"description":35137,"tags":35138,"thumbUrl":35139,"material":84,"size":84,"collection":136,"collections":35140,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},232797,"yu-bi-shi-jing-quan-tu-shu-hua-he-bi-tu-ce-qian-long-232797","御笔诗经全图书画合璧图册","乾隆四年暮春至十年季夏，乾隆皇帝与词臣陆续书写《诗经》三百零五篇，并补「笙诗」六篇，凡三百一十一篇，同时敕画院诸臣规抚宋人马和毛诗图笔意，完成前所未有的《御笔诗经泉图书画合璧》三十册，此书画册今藏台北故宫博物院图书文献处善本书库。\n乾隆此举当然具有政教宣示作用，但与宋高宗的立场绝不相同，因为国势盛衰相去甚远，故乾隆不免要嘲讽宋高宗「徒以西湖为销金窠」，根本不懂什麼叫做「诗」。不过，马和之高妙的笔意，不也是驱使盛清气势下的乾隆想完成此一巨擘的动力？因此，他御令画院诸臣，将旧有的临摹，已缺的补绘，完成《御笔诗经全图书画合璧》三十大册。此从文献资料的角度来看，确实提供了马和之图绘《毛诗》的一个轮廓，让我们得以配合当年同一时间内所编纂的《石渠宝笈》，去思索当时的内府究竟存有多少马和之所绘的《毛诗图》？而与今日所存的作品之间又有何种差异？同时，从诗经图的发展驶来看，乾隆朝的《御笔诗经图》虽然创意不很高，倒是以一个完整的姿态，为诗经图的历史画下一个美好的句点。\n故本论文主要论述有两方面：一是考察整个诗经图的发展历史，而马和之可说是其中最重要的一位。在他之前，只有文献上的记载；在他之後，又以临摹为多。虽然如此，随著时代的演变，许多以《诗经》为题材的画作，已渐与诗义脱离，而彰显著不同时代的文化情境，直到乾隆，其雄心壮志，反而使诗经图回归到诗义的本身，虽然所掌握的诗义和马和之有所不同，到底还是以马画为依归。其次，《御笔诗经图》既从现存的马画和文献资料中获得一些讯息，从而想像那些已不知所踪的画作是何等面貌。",[23,24,7,59,188,128,572,64,29,96,130,34,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ec80eb8579f58c3fe32a317b0d4e306.jpg",[136],{"id":35142,"slug":35143,"title":35144,"dynasty":124,"author":18045,"museum":244,"description":35145,"tags":35146,"thumbUrl":35148,"material":611,"size":35149,"collection":84,"collections":35150,"showCount":34887,"zanCount":1998,"manualWeight":48,"mainColor":72},232695,"fang-wang-meng-jiao-shi-tu-qian-gu-232695","仿王蒙蕉石图","该画左侧画有高大的芭蕉，枝干粗壮挺拔，蕉叶茂盛，蕉叶的大小和形状各异在芭焦树右侧下，竖立着一块巨石，紧紧依仗在芭蕉树干上。奇石下长着数株花朵盛开的牡丹和茂密的枝叶。该画以粗笔泼墨把芭蕉，牡丹和湖石创造而成，细致的刻画没有作做。该幅墨韵气势，奔放横溢，笔墨和造型在徐渭的写意画中生动的表现出来，把花鸟、蔬菜、走兽、人物、山水等都给显示其中，令人耳目一新",[24,7,165,128,188,132,330,208,875,171,230,35147],"蕨类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9519a20dcb4c79c70479b45708fd193.jpg","145.8x49.8 厘米",[],{"id":35152,"slug":35153,"title":7864,"dynasty":54,"author":872,"museum":300,"description":35154,"tags":35155,"thumbUrl":35156,"material":84,"size":84,"collection":84,"collections":35157,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},230278,"za-hua-ce-zhu-da-230278","此帧以极简笔墨绘就松下双鹿，苍松横斜，枯干缀以寥寥松针，山石空灵淡远。双鹿姿态悠然，犄角挺秀，躯体线条清劲凝练，于幽寂山隅流露自在生机。\n\n配书题诗笔致圆劲古雅，朴拙疏朗，诗画相生，将世外丘壑的清逸冷寂尽藏其间。清冷笔墨下暗涌细腻意趣，荒简构图里饱含澹泊襟怀，尽显简远空灵的禅意逸韵，将天地生灵与林泉幽境融为一体，尽释超然物外的文人意趣。",[24,7,59,128,2302,949,1144,131,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7626f6421259e86c2bb63e5b96a3926d.jpg",[],{"id":35159,"slug":35160,"title":35161,"dynasty":54,"author":1740,"museum":300,"description":35162,"tags":35163,"thumbUrl":35167,"material":84,"size":84,"collection":84,"collections":35168,"showCount":34887,"zanCount":1998,"manualWeight":48,"mainColor":72},230246,"jing-shi-sheng-chun-shi-yi-tu-xu-yang-230246","京师生春诗意图","《京师生春诗意图》是清代画家 于1767年（乾隆三十二年）创作的绢本设色画，现藏于北京故宫博物院。\n《京师生春诗意图》受西洋画风影响，采用鸟瞰式构图，描绘出正阳门前的牌楼、市肆、家居等场景。\n它以皇宫为中心，通过城墙、街道、民居及其他建筑构成全局，通过独特且有序的市民活动形成井然有序、不可分割的整体。\n该画将中国传统散点 与欧洲焦点透视画法相结合，描绘了京师的全貌。\n该画作描绘了京师的全貌，画家从正阳门大街画起，由南向北层层展现，前门箭楼、天安门、端门、午门、紫禁城、景山、近大远小一一出现；西苑、中海、南海及琼岛，白塔、金整玉蛛桥亦历历在日。\n乃至天坛祈年殿，都收入画幅之中。\n在画中还表现了诸位朝臣官员过皇恩桥、经筒子河，于下马碑处落轿下马、进宫拜谒场景。\n该幅自题：“乾隆三十二年冬，御制生春诗二十首，命小臣徐扬汇绘全图，庄诵之下，仰见我皇上敬天顺时，尊亲赐福，孕含万有，纲举百端，自朝廷以及闾閤上下，神情体察，咸周兴会所至，拈毫立就，无非太和洋溢，盛德充周，抒性灵而彰至治诚，与乾坤合撰万物同春矣。\n臣资质愚钝，未能图写万一，幸蒙指示详明，敬谨揣摹，四阅月而始成。\n礼明乐备，昭盛世之文章，雪霁云蒸，羡阳春之祥瑞。\n祗缘葵小困之笃于向日几忘，管见之限于窥天谨摅愚忱，上呈睿鉴。\n臣徐扬拜于稽首敬跋。\n” 该画钤“臣徐扬”、“笔沾春雨”印二方。\n根据画幅题字可知，该幅画作是作者徐扬奉 皇帝之命，以御制生春诗二十首为题创作的画作，该画作创作于清乾隆三十二年（1767年）。\n该画的政治意图不可忽视，题诗中就充满天命与之的祥瑞意象，图像更将皇城转化成一个既生动活泼又庄严崇高的地方，其中乾隆拜见母后，以及接见万国来朝的情景更是充满政治意味。\n《京师生春诗意图》受西洋画风影响，采用鸟瞰式构图，将中国传统散点透视画法与欧洲焦点透视画法相结合，描绘了京师的全貌。\n《京师生春诗意图》将乾隆皇帝所作二十首诗的诗文与描写内容，以镶嵌的方式置于北京皇城的空间中。\n该种做法在传统绘画中难以见到，将空间分割成不同故事进行的场景又整合成一完整的地景。\n题诗首句重复，皆是“何处生春早生春”，以时间倒数的方式，叙述宫廷中在新年前夕的活动，直至初一，既具有吉祥意味，又十分有趣。\n《京师生春诗意图》以完整的皇城空间为背景， 装入各式活动，新意十足。\n在小小的空间中“装满”细节，既分割又整合，并且充满视觉上寻找的乐趣，更是盛清宫廷“多宝格”式的设计。\n在表现手法上徐扬借用了欧洲焦点透视的技法，在平面上表现出了深远感。\n但作者又不拘泥于外来技法，同时灵活地运用了传统绘画的缩地法，如画面右下角的天坛祈年殿，按照焦点透视的画法无法将其包容在四中，但画家巧妙地将它移入，使画意更加完整。\n画家又在一些地方画了云雾，即造成虚实对比的艺术效果，又使画幅保持了典雅的民族风格。\n北京故宫博物院副研究员傅东光：从这幅作品中，可以看到中国宫廷画家在借鉴西法过程中的艺术再创造。\n该画作把清代乾隆时期的北京城展现在人们眼前，给后人留下了宝贵的形象资料。\n徐扬（生卒年不详），字云亭，吴县（今江苏苏州）人。\n乾隆十六年（1751年）弘历南巡，徐扬恭献图册，得到皇帝的赏识并因此入宫供奉，在如意馆供职达26年之久。\n擅长人物、花鸟、楼阁，官至内阁中书。",[23,24,7,25,95,27,28,96,97,29,34,1746,35164,35165,35166,906,18542,109,247,415],"春日","城郭","街巷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8eb681c07e027eab1ee136073f39d74.jpg",[],{"id":35170,"slug":35171,"title":35172,"dynasty":54,"author":5879,"museum":300,"description":35173,"tags":35174,"thumbUrl":35175,"material":84,"size":84,"collection":84,"collections":35176,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},230185,"hua-niao-cao-chong-tu-ce-8-zhen-hua-yan-230185","花鸟草虫图册8帧","此帧以淡墨晕染湖石，枯槎斜出，缀着将残的花枝，清寂秋意扑面而来。四只文雀神情灵动鲜活，一只振翅回身，似在呼引枝上同伴，三雀或侧耳或抬首，亲昵相映，将秋日荒寒里的生趣尽数勾勒。\n\n设色清浅柔和，禽鸟绒羽蓬松宛然，湖石墨色苍润有层次。左侧题诗与朱红印章错落排布，留白疏密相宜，诗画相生，将萧索秋意与小雀的生机揉合，清冷中带着融融暖意，尽显隽秀雅致的笔墨意趣。",[164,24,7,59,128,27,61,171,355,2438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd89d3818b81f0bfd0b7ea1bf2d27ff9.jpg",[],{"id":35178,"slug":35179,"title":3246,"dynasty":124,"author":35180,"museum":300,"description":35181,"tags":35182,"thumbUrl":35183,"material":84,"size":84,"collection":84,"collections":35184,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":49},228739,"xian-shan-lou-ge-tu-li-shi-da-228739","李世达","这幅画作以古雅青绿晕染山峦，层叠峰岫苍劲灵动，云雾漫过山坳林麓，将整座仙山晕染出空濛虚灵的缥缈意境。林麓间隐着幽致楼阁，烂漫桃林遍植溪谷，白衣雅士或驻足晤谈，或循溪漫游，将山居雅逸尽显。画面以细腻皴法写就山石肌理，青绿设色厚重沉静，糅合出世外仙源的悠然意趣，将文人心中的桃源之境具象铺展，尽显仙逸雅致的古典山水审美意韵。",[23,24,7,26,27,28,132,29,97,96,34,131,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F580ee793cdf2d67b3c1bf37812f2920f.jpg",[],{"id":35186,"slug":35187,"title":35188,"dynasty":124,"author":18090,"museum":300,"description":35189,"tags":35190,"thumbUrl":35191,"material":84,"size":84,"collection":84,"collections":35192,"showCount":34887,"zanCount":1998,"manualWeight":48,"mainColor":72},228423,"fang-song-yuan-ce-ye-12-kai-lan-ying-228423","仿宋元册页12开","此作用笔苍秀老辣，绘几株古松虬曲苍劲，枯枝嶙峋间点缀松针，尽显古木饱经风霜之态。淡墨晕染远山，留白铺就烟岚空濛，将天地山水的空阔清远晕染开来。右下角溪湾扁舟静泊，渔翁垂坐，简笔勾勒出林下幽居的闲逸图景。\n\n整作以干笔皴擦写就林木古拙意趣，淡彩轻敷浅染坡岸，虚实相生间，融宋元山水的萧散简淡于笔底，将幽寂隐逸的文人意趣藏于淡远空濛的景致中，寥寥数笔便托出天地间静穆旷远的林下清境，尽显山水苍劲空灵的韵致。",[24,7,59,27,128,132,29,331,129,1350,131,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8946bfefdc5cc70a0b0588ed9a63688e.jpg",[],{"id":35194,"slug":35195,"title":35196,"dynasty":144,"author":410,"museum":300,"description":35197,"tags":35198,"thumbUrl":35199,"material":84,"size":84,"collection":84,"collections":35200,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":49},228084,"xi-shan-qiu-se-tu-juan-wang-meng-228084","溪山秋色图卷","此作为全景山水，层峦叠嶂逶迤铺展，林木蓊郁繁密，尽显苍润秀雅的笔墨意致。山居茅舍错落嵌于岩岫林泉之间，野水回环，渔隐泛棹，将秋日溪山清寂又温雅的意趣铺陈开来。\n\n画面以繁密皴法写山石肌理，苔点错落，把秋山厚重朴拙的质感细细勾勒，隐逸悠游的文人林下之趣融于烟岚丘壑。后接诸家题跋，诗画相映，笔墨文心共生，尽显幽淡的文人风骨。",[23,24,7,25,29,132,27,34,131,499,6639,1515,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7e2c899842d74a718116e60d41448c9.jpg",[],{"id":35202,"slug":35203,"title":35204,"dynasty":18,"author":2257,"museum":300,"description":35205,"tags":35206,"thumbUrl":35207,"material":84,"size":84,"collection":84,"collections":35208,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":49},227954,"shou-shan-fu-hai-tu-zhao-bo-ju-227954","寿山福海图","此作用色古雅沉静，青绿重晕的孤峰卓立沧溟之上，石质苍润朴拙，尽显山岳沉稳厚重之态。细劲墨线勾描层叠水纹，暗合海波悠悠律动。丹红落日悬垂天际，暖赭晕染暮空，群鸦振翅穿翔于天地间，为静谧图景添了灵动生气。\n\n整体构图简括静穆，将祈福寄寓山海：青山喻绵长福泽，沧海托无涯寿数，红日高悬烘托圆满祥瑞。画作承青绿山水古意，以极简构图脱出繁复，将祝寿之旨融于渺远静阔的图景里，静中藏动，淡而有神，尽显雅致沉静的宋画意趣。",[23,164,24,7,26,27,28,29,171,99,3344,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F182ace73bc094636a83c12be026af239.jpg",[],{"id":35210,"slug":35211,"title":12061,"dynasty":18,"author":223,"museum":300,"description":35212,"tags":35213,"thumbUrl":35214,"material":84,"size":84,"collection":68,"collections":35215,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":49},227901,"bai-tou-cong-zhu-tu-ye-yi-ming-227901","《白头丛竹图》是南宋佚名创作的绢本设色画，现藏于 。\n图中绘小竹数竿，清翠欲滴，两只山雀栖于枝头，一只低头俯视，一只眺望前方。\n竹用双钩填彩，笔墨缜密严谨，色调沉着。\n山雀用淡彩层层晕染，再以尖毫细笔绘出绒羽，刻画准确，富有质感。\n图绘白头翁鸟两只，栖于丛竹之中。\n图中的丛竹，自竹篁中长出的几枝落叶的老枝，画幅左上方伸展，这就打破了左面景物过于稀疏的格局。\n左侧的老枝，竹叶开始枯黄，在几处竹叶根部略见积雪，分明是初冬时节。\n两只鸟伫立于一根枝权上，上者低头梳理羽毛，长尾下垂；下者凝视前方，姿态逼肖。\n本幅无款。\n钤鉴藏印“佟氏家藏”。\n此图过去一直被认为代表了唐代李思训画派的风格，后经傅熹年考证，认为其时代上限不超越南宋中期，而且很可能出自既不了解唐代宫苑之制、也未亲见宋代宫苑贵邸的临安以外地区的民间画家之手。\n此图画竹先以浓墨细笔勾出枝叶，再以淡色渍染，染色时从尖到根逐渐加深，叶根部留白作雪。\n笔墨严谨，色调沉着。\n设色除了竹叶较重的青绿，其他部分用色都很清淡，做到工而不板，丽而不俗。\n两只白头翁先用笔层层晕染，然后用尖毫细笔画出它们身上的绒羽，这样刻画出丰满可爱的白头翁形象，与竹枝、竹叶的劲利画法不同，而柔软蓬松的翎羽与刚直劲挺的竹枝、竹叶，形成艺术效果的对比。\n足见作者在此图上施以多种手法而得到的艺术效果甚佳。\n这是作者对自然界的花鸟进行认真观察、勇于摸索、不断实践创作的结果。\n画面上，两只白头翁立在竹枝之间．一只平视前方，另一只低着头，用喙梳理羽毛，动作显得十分传神。\n竹子采用双钩填彩画法，尤是竹叶似剑锋不锐利。\n在着布局上，色调构图缜密。\n《白头丛竹图》在用线上，竹的线条勾勒坚挺劲利，用笔顿挫提按有力，叶的勾勒显出飘逸、灵动，枝的用线则稳健，叶与枝在统一中求变化。\n白头翁身上的绒羽则用尖毫细笔勾出，与竹一柔一刚形成强烈的张力，既表明了两者形态、质感上的不同，也强化了内在的冲突：环境严寒、凛冽而白头翁的温柔可爱。\n凌寒不屈的寓意需要相应的笔法和设色与之相称。\n白头翁作为主体以黑、白、灰为主，既朴素大方，又对比强烈地镇住画面。\n在中国传统色彩学中，黑与白是所有色彩中的极色，它们在这幅画中被赋予特殊的关注。\n衬景的竹子先染墨后施色，显出了色调的沉着，竹叶稳沉的绿与古铜色绢底既有反差，又有参差的层次，构成和谐的统一。\n叶尖、叶背以及次要的竹枝淡淡施以摊墨，进一步融合了绢与竹在色彩与空间上的联系。\n通幅调子淡雅、朴素、沉着，既是客观的写照而又融人主观的情趣，体现了工笔花鸟画形式所特有的设色的法度：主辅必明，傅染必渐，洪托必匀，雅俗必分，层层值染，使得墨与色和谐相融。\n这一切不仅增加了色彩的厚度，而且也使画面显得细腻而丰富。\n这种微妙屯自然、柔和的变化及空间控制之精妙，是意笔花鸟画难以企及的。\n在构图上，静态的白头翁栖于主位，理羽的白头翁处于辅位，一静一动主次的安排，既莫定画面“静”的基调又使画面有“动”的生气。\n衬景中最醒目的竹干从画面中下部向左中下方斜长出画外，白头翁站立的竹枝伸向右中上方，与右斜带叶小枝形成右上方与中下部的连势，加之竹叶横生长势，与白头翁站立的竹枝同长于一个竹节点，但长势相反且与止于画面的辅枝一起，形成多层次的、非十字形的交叉，既丰富又统一，与冲出画外的竹干长势一同把人的联想引到画外无限的空间。\n会员李敬仕：画家以不同的手法，表现了不同对象的质感和精神气质，使白头翁与劲利的竹枝、叶片形成刚柔对比的艺术效果。",[23,164,24,7,1131,59,28,27,61,167,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31eabac537775fc8e4c72a25d5260302.jpg",[68],{"id":35217,"slug":35218,"title":35219,"dynasty":18,"author":633,"museum":300,"description":15746,"tags":35220,"thumbUrl":35221,"material":84,"size":84,"collection":84,"collections":35222,"showCount":34887,"zanCount":1998,"manualWeight":48,"mainColor":49},227764,"qian-shan-jing-xiu-tu-juan-jiang-cun-tu-juan-xia-gui-227764","千山竞秀图卷(江村图卷)",[164,24,7,25,128,132,29,30,31,34,129,33,10280,497,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd06419bf5596dd1b67981bd77f2bdefa.jpg",[],{"id":35224,"slug":35225,"title":35226,"dynasty":18,"author":2141,"museum":300,"description":35227,"tags":35228,"thumbUrl":35229,"material":84,"size":84,"collection":84,"collections":35230,"showCount":34887,"zanCount":1998,"manualWeight":48,"mainColor":49},227752,"xi-shan-xue-yi-tu-juan-liu-song-nian-227752","溪山雪意图卷","此画因卷首宋理宗（1225-64 年 1225-64 年在位）题词，曾为十一世纪初皇家画院画家高克明之手。 然而，这幅画的风格令人信服地处理对角线后退，使用李唐（约1070-约1150）的“斧头”纹理笔触，以及在被侵蚀的河岸上广泛的水墨画， 表示十二世纪晚期的日期。",[23,24,7,25,29,28,128,132,663,228,34,171,331,99,35,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452e901ab60cb7582556059cef45093b.jpg",[],{"id":35232,"slug":35233,"title":35234,"dynasty":18,"author":2141,"museum":300,"description":35235,"tags":35236,"thumbUrl":35237,"material":84,"size":84,"collection":84,"collections":35238,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":49},227414,"shuai-qin-xie-zhi-yin-tu-liu-song-nian-227414","摔琴谢知音图","《摔琴谢知音图》中正截取了伯牙摔琴的这个画面，图中一人正恭敬行礼，似在向伯牙告知什么，伯牙则抱琴正要往地上摔，满脸悲怆，似是得知了子期的死讯，悲痛交加，当场破琴绝弦。\n\n子期不在对谁弹，欲觅知音难上难。这是一段世人都为之动容的友谊，自古以来，不知有多少人羡慕并追求这样的友谊。由于弹琴本身就是一件高雅的事情，能从琴声中辨知音，识好友，那就更是一件令人欣喜的事情了。因而在携琴访友图这个主题中，也有着古人对友谊的向往之情。",[23,24,7,164,27,28,29,96,387,413,131,438,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd917d7111fdf8bc88c1057a2db4b2247.jpg",[],{"id":35240,"slug":35241,"title":13691,"dynasty":18,"author":13692,"museum":300,"description":35242,"tags":35243,"thumbUrl":35244,"material":84,"size":84,"collection":84,"collections":35245,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":49},227333,"jiu-ge-tu-zhang-dun-li-227333","《九歌》是《楚辞》篇名。原为传说中的一种远古歌曲的名称，战国楚人屈原据民间祭神乐歌改作或加工而成。共十一篇：《东皇太一》、《云中君》、《湘君》、《湘夫人》、《大司命》、《少司命》、《东君》、《河伯》、《山鬼》、《国殇》、《礼魂》。《国殇》一篇，是悼念和颂赞为楚国而战死将士;多数篇章，则皆描写神灵间的眷恋，表现出深切的思念或所求未遂的伤感。王逸说是屈原放逐江南时所作。但现代研究者多认为作于放逐之前，仅供祭祀之用。",[23,164,24,7,25,28,27,96,772,37,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc07a8d04ca48dae273e9dc351d5ef844.jpg",[],{"id":35247,"slug":35248,"title":35249,"dynasty":18,"author":1833,"museum":300,"description":35250,"tags":35251,"thumbUrl":35252,"material":84,"size":84,"collection":84,"collections":35253,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},226546,"xi-shan-yuan-xiu-tu-jing-hao-226546","溪山远岫图","五代时期，中原地区战争不断，但西蜀、吴越地区相对安定，文化艺术相对发达，尤其是诗词和绘画成就更高。绘画史上著名的荆（荆浩）、关（关仝）、董（董源）、巨（巨然）都出现在这一时期，他们也都是由五代入宋的画家。\n\n荆、关、董、巨的区别，在荆浩和关仝是北方画家，多图写北方山水的雄奇峻伟，而董源和巨然都是南唐画家，多图写江南山水的秀丽清润。",[23,24,7,128,27,132,29,415,3427,35,171,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c550c1002f38496dd753a4ceb7637a3.jpg",[],{"id":35255,"slug":35256,"title":35257,"dynasty":222,"author":35258,"museum":300,"description":35259,"tags":35260,"thumbUrl":35261,"material":692,"size":1293,"collection":84,"collections":35262,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":199},225293,"yue-tian-ben-dong-jing-zhen-hai-225293","月天(本-东京)","珍海","平安时代后期三论大师。画家春日元光的孩子。... 有许多与三论、密教和净土有关的著作，包括“Kettsujo Ojoshu”。从出身开始，他就擅长艺术，并在醍醐寺和东寺留下了许多白色的图标。",[23,24,7,188,187,96,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84efdcc6b821bbb1ea0a42c4d0449105.jpg",[],{"id":35264,"slug":35265,"title":35266,"dynasty":54,"author":35267,"museum":300,"description":35268,"tags":35269,"thumbUrl":35270,"material":84,"size":84,"collection":84,"collections":35271,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},224582,"feng-xian-dao-gua-jiang-ting-xi-zhang-zhao-224582","凤仙倒挂","蒋廷锡 张照","设色明妍清润，凤仙花柔茎舒叶，艳红花瓣娇柔含露，倚石而生，野趣盎然。两只粉蝶一静一翩跹，将花畔生机尽数晕开，工细笔触晕染出蝶翼薄透肌理，花草枝叶的阴阳向背皆细腻入微，兼具工笔精致与写意雅致。\n右侧行书清劲秀雅，笔势流转间将咏花诗意娓娓道来，诗画相映，铺陈出凤仙花的幽逸品格。整幅册页雅致隽秀，融绘事笔墨与文人意趣于一体，尽显温婉雅致之美，是诗画合璧的精妙之作。",[23,24,7,59,27,28,133,61,230,806,131,481,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b550ce4b068e3759d7ebce65ce339e1.jpg",[],{"id":35273,"slug":35274,"title":35275,"dynasty":54,"author":2687,"museum":300,"description":35276,"tags":35277,"thumbUrl":35279,"material":84,"size":84,"collection":84,"collections":35280,"showCount":34887,"zanCount":1998,"manualWeight":48,"mainColor":49},224580,"shu-kui-xuan-hua-tu-jiang-ting-xi-224580","蜀葵萱花图","此作用没骨技法写就，构图疏朗空灵，主次有致。柔粉蜀葵袅袅舒展，花瓣晕染出轻软娇柔的质感，苍绿枝叶勾勒出阴阳向背，鲜活如生。配搭艳红榴花与橙黄萱花，冷暖色调相映，明丽雅致，将仲夏群芳盛放之态尽数铺陈。\n笔墨兼具院体的工致与文人画的秀逸，晕染细腻柔和，不见勾勒之痕却形神兼备，整体意境恬淡悠然，尽显温婉清隽的花鸟意趣，藏着中式美学里独有的夏日闲情。",[23,24,7,27,28,61,4018,35278,1039,549,208],"萱花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9121d78fdc9453ee8ae006a9bede611.jpg",[],{"id":35282,"slug":35283,"title":35284,"dynasty":54,"author":1460,"museum":300,"description":35285,"tags":35286,"thumbUrl":35287,"material":84,"size":84,"collection":84,"collections":35288,"showCount":34887,"zanCount":1116,"manualWeight":48,"mainColor":199},224513,"shan-shui-tu-ce-8-kai-3-shi-tao-224513","山水图册8开-3","此作用笔纵逸朴拙，以淡赭晕染坡石，浓墨点染林木，皴擦间写出山岩苍浑肌理，远近层次随墨色虚实铺陈开来。近景村居隐于松荫之下，谷间蹊径蜿蜒向林壑深处，远景峰峦裹挟空濛岚气，将山野幽寂尽数藏于尺幅。\n\n题诗衬景，把寻幽山径、千峰如帘的诗意融于画中，尽显林泉山居的澹泊桃源之趣。虚实相生间落笔随性自在，不滞成法，将对山野深秀静穆的偏爱藏在笔底，淡墨浅彩里满是出世幽居的悠然意致。",[23,24,7,59,128,132,29,34,35,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82a28274ae84fa01320bbfa5f181452.jpg",[],{"id":35290,"slug":35291,"title":35292,"dynasty":54,"author":29876,"museum":300,"description":35293,"tags":35294,"thumbUrl":35295,"material":84,"size":84,"collection":136,"collections":35296,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},224270,"shan-shui-hua-hui-ce-fu-shan-224270","山水花卉冊","此作用笔纵逸随性，以淡墨写垂柳长条，笔致轻柔连贯，如见春风拂柳之姿。芙蓉花以浓淡墨色晕染点簇，淡墨勾描花瓣轮廓，浓墨点苔铺叶，干湿互衬，尽显花之娇柔蓬松。\n\n画面留白疏朗，右上角题字与绘景相映成趣，诗画交融间尽显文人画萧散简淡的意韵。整幅水墨写意不重形似而尚神趣，带着林下幽人的闲适疏放，将花木清灵与文人澹泊襟怀相融，寥寥笔墨间晕染出清逸脱俗的雅致氛围。",[23,24,7,59,128,61,895,263,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57b0015526d185a3e1348fa9df2adfd1.jpg",[136,68],{"id":35298,"slug":35299,"title":35300,"dynasty":54,"author":5879,"museum":300,"description":35301,"tags":35302,"thumbUrl":35303,"material":84,"size":84,"collection":84,"collections":35304,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":49},224186,"hua-niao-cao-chong-tu-ba-05-hua-yan-224186","花鸟草虫图八-05","这幅花鸟图以画眉为主体，画师以细腻笔触丝写出禽鸟绒羽，蓬松柔润，画眉抬首引颈，俨然正引吭啼鸣，灵动楚楚。枯瘦枝桠以淡墨写出，间杂残红野果，设色清妍冷峭，晕染出秋深烟寒的幽寂氛围。\n\n左侧题诗与画面相映成趣，书画交融，将晚秋荒寒之境与禽鸟的缱绻情态相融，笔致秀逸空灵，尽显清隽雅致的意趣。画师将写生之真与写意之美糅合，寥寥数笔便勾勒出残秋里生机未泯的幽微景致，晕染出深秋独有的怅惘诗意。",[23,24,7,59,27,61,355,7596,1955,369,2885],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a7826f0cacf91bbca0594c3e632a037.jpg",[],{"id":35306,"slug":35307,"title":19119,"dynasty":18,"author":223,"museum":300,"description":35308,"tags":35309,"thumbUrl":35310,"material":84,"size":84,"collection":84,"collections":35311,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":49},223638,"xiao-yi-zhuan-lan-ting-tu-yi-ming-223638","此作用笔细劲圆韧，设色古雅沉着，将一场机锋暗涌的智斗藏于寻常茶谈之间。画面分两组人物，老僧松弛端坐，意态舒展毫无戒心，对面之人敛神静坐，表面闲散实则暗怀城府。侍童仆从各司其职，衬出主客间暗流涌动的张力。\n器物陈设皆循古制，案几、茶具细节写实，尽显古朴雅致。全画以静写动，将巧取《兰亭》的权谋算计融在淡然晤对中，叙事含蓄却极具戏剧感，摹写精细传神，尽显唐画神韵，累代鉴藏朱印环伺，更添传世厚重底蕴。",[23,24,7,25,28,188,128,27,96,208,64,9603,8162,6369,9604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e31b4f44578334bb757880c21d79b3.jpg",[],{"id":35313,"slug":35314,"title":35315,"dynasty":18,"author":223,"museum":161,"description":35316,"tags":35317,"thumbUrl":35318,"material":514,"size":35319,"collection":84,"collections":35320,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},223435,"song-mo-zhou-wen-ju-gong-zhong-tu-di-yi-duan-yi-ming-223435","宋摹周文矩宫中图（第一段）","此图是描绘宫中妇女生活的长卷，存残卷四段，画八十余人。\n《宫中图》原作已经不存在,目前所见为南宋摹本,共有三段。1947年左右散佚海外,分存在美国三个不同的博物馆。第一段藏美国克里夫兰美术馆,曾名《仕女图》第二段名《宫中图》,藏美国哈佛大学福格博物馆;第三段名《唐宫春晓图》,原为英国私人藏,现入藏美国大都会美术馆。 [1] 《宫中图》，宫女童子多达八十令人，分十余组，人物穿插得体，彼此照庇，统一和谐；除人物面部行极少淡彩外，均用白描，笔法活泼，线条流畅，造型准确生动。 [2]\n此图是描绘宫中妇女生活的长卷，现残存四段，画中宫女童子多达81人，分成十余组。人物的活动有着诸多的场面，有的对镜梳妆，有的在奏乐，有的在无聊闲坐，有的在盥洗，有的在逗着小儿，童子正在逗玩小狗，有的在观鱼等等；画中的人物，除儿童显得天真活泼外，其余人物显得有些懒散、忧郁，尤其是年长者，地位较显者为甚，画中诸多人物的安排和组合，穿插得体，疏密相间，构图富有变化，错落有致。\n画卷附有宋绍兴庚申十年（1140）张激跋文，郁逢庆的（书画题跋记）把这段题跋保存下来，录在下面:\n周文矩“”宫中图”，妇人小儿，其数八十，一男子写神，而装具乐器盆孟扇椅席鷃鹉犬蝶不与。文矩句容人，为江南翰林待诏，作仕女体近周，而加纤丽，尝为后主画“南庄图”，号一时绝笔，他日上之朝廷，诏籍之秘阁。“官中图”云是真迹，藏前太府卿朱载家，或摹以见馈，妇人高自唐以来如此，此卷丰肌长裙，周法也。余在峤南于端溪陈高祖之裔，见其世藏诸帝像，左右官人梳与此略同，而丫乃作两大垂肩项间，虽丑而有真态。李氏自谓南唐故衣冠多用唐制，然风流寔是六朝之余，画家者官辩古今当先问衣冠车服，盖谓此也。绍兴庚申五月乙西岩居士张激题。”\n卷后有岳居土张激绍兴十年（1140）跋：“周文矩宫中图，妇人小儿，其数八十。男子写神。”",[23,164,24,7,25,330,188,96,166,2218,438,1367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F856d5daed2a1792353467f6670b4d6b6.jpg","纵28.3cm，横168.5cm",[],{"id":35322,"slug":35323,"title":32106,"dynasty":18,"author":223,"museum":244,"description":35324,"tags":35325,"thumbUrl":35326,"material":40,"size":35327,"collection":84,"collections":35328,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},223428,"qian-shou-qian-yan-guan-shi-yin-pu-sa-zhou-yi-ming-223428","观音菩萨头戴化佛宝冠，绀发垂肩，双唇上下都有胡髭，仍作男相，但五官秀美，已流露出女性化的特质。观世音菩萨站于莲花台上，左右各有两位菩萨随侍，下方的天龙八部双手合十，向观音菩萨示敬。",[23,164,24,7,165,187,28,27,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3609fea6b6aec4f00edc649c4078940.jpg","127x58cm",[],{"id":35330,"slug":35331,"title":35332,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":35333,"thumbUrl":35334,"material":151,"size":7879,"collection":84,"collections":35335,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},223054,"hong-lou-meng-179-sun-wen-223054","红楼梦179",[23,24,7,28,27,96,130,98,99,97,209,4363,131,249,758,247,34,1645,4278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e5eba9e39159cf3c0ab3897bedecf0.jpg",[],{"id":35337,"slug":35338,"title":35339,"dynasty":54,"author":4468,"museum":244,"description":4469,"tags":35340,"thumbUrl":35342,"material":27,"size":4474,"collection":84,"collections":35343,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},222735,"xian-e-chang-chun-tu-he-hua-yu-ci-gu-hua-lang-shi-ning-222735","仙萼长春图荷花与慈姑花",[23,24,7,59,27,28,61,81,35341,481,82],"慈姑花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45ad0b6a8b52b7b8263a034c82ced6e6.jpg",[],{"id":35345,"slug":35346,"title":35347,"dynasty":54,"author":4468,"museum":244,"description":4469,"tags":35348,"thumbUrl":35349,"material":27,"size":4474,"collection":84,"collections":35350,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},222733,"xian-e-chang-chun-tu-cui-zhu-qian-niu-lang-shi-ning-222733","仙萼长春图翠竹牵牛",[23,164,24,7,59,28,27,61,167,21158,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e67283e0ab5abccdabbdf139080e20c.jpg",[],{"id":35352,"slug":35353,"title":35354,"dynasty":54,"author":16583,"museum":244,"description":32663,"tags":35355,"thumbUrl":35356,"material":514,"size":35357,"collection":136,"collections":35358,"showCount":34887,"zanCount":1116,"manualWeight":48,"mainColor":49},222659,"jiang-shan-chun-ai-zhou-gao-qi-pei-222659","江山春霭轴",[23,24,7,165,27,29,496,37,34,497,31,129,97,98,99,9164,132,690,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb406e40bfb6d589e4d342608c31e30b5.jpg","241.8x128.1厘米",[136,45],{"id":35360,"slug":35361,"title":35362,"dynasty":54,"author":3820,"museum":300,"description":33334,"tags":35363,"thumbUrl":35364,"material":1722,"size":33337,"collection":84,"collections":35365,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},222625,"shan-shui-shan-mian-4-gong-xian-222625","山水扇面-4",[23,1131,24,7,128,132,29,331,98,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F030eef42f9fe02485556236ab0f68ff9.jpg",[],{"id":35367,"slug":35368,"title":35369,"dynasty":124,"author":9650,"museum":56,"description":9651,"tags":35370,"thumbUrl":35371,"material":84,"size":84,"collection":84,"collections":35372,"showCount":34887,"zanCount":1998,"manualWeight":48,"mainColor":72},222505,"shen-xian-tu-ce-11-zhang-lu-222505","神仙图册11",[23,24,7,59,27,96,187,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f86f8279f8525d35d5189fc4ce7660f.jpg",[],{"id":35374,"slug":35375,"title":35376,"dynasty":124,"author":19170,"museum":524,"description":35377,"tags":35378,"thumbUrl":35379,"material":734,"size":35380,"collection":136,"collections":35381,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":49},222385,"shi-ga-mou-ni-tu-ding-yun-peng-222385","释伽牟尼图","此图重色绘山石、松木，佛祖释迦牟尼坐于蒲团之上，着宽袍，双手搭膝，下巴置于手上沉思悟道。画面以青绿山水的画法绘环境，古松粗壮茂盛，松针描画精细，白衣人物在山石的青绿之间格外突出。",[23,164,24,7,165,187,28,27,96,29,1144,497,6640,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f70fcd46abbbbd0f95a6777026a70c0.jpg","140.7×58cm",[136,45],{"id":35383,"slug":35384,"title":35385,"dynasty":124,"author":16243,"museum":300,"description":33923,"tags":35386,"thumbUrl":35387,"material":611,"size":35388,"collection":84,"collections":35389,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},222244,"lin-wang-xi-zhi-huang-ting-jing-wang-chong-222244","临王羲之黄庭经",[23,64,7,330,572,1590,7322,208,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f49c46116a4b6aecf820e4482f4c79b.jpg","纵29cm，横155cm",[],{"id":35391,"slug":35392,"title":35393,"dynasty":18,"author":35394,"museum":20,"description":35395,"tags":35396,"thumbUrl":35397,"material":611,"size":35398,"collection":318,"collections":35399,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},221434,"xing-zhuo-ai-tie-quan-juan-ou-yang-xiu-221434","行灼艾帖全卷","欧阳修","释文：\n“修啓，多日不相見，誠以區區。見發言，曾灼艾，不知體中如何？來日修偶在家，或能見過。此中醫者常有，頗非俗工，深可與之論搉也。亦有閒事，思相見。不宣。修再拜，學正足下。廿八日。”\n帖中“见发言”的“发”即欧阳修长子欧阳发。据考，此帖是欧阳修写给自己的学生焦千之的，对其身体状况表示关心，并邀其来家相见。\n关于欧书特点，苏轼评价说：“公用尖笔干墨作方阔字，清眸丰颊，进退晔如。”李东阳在帖后的诗跋中称赞欧书“宋代书家自不孤，当时只许蔡君谟。若将晋法论真印，此老风流世亦无”。\n此帖本幅及前后隔水钤“吴郡张口”“仲口”“世昌”（半印）“仪周鉴赏”“德量审定”“希逸”“江德量鉴藏印”以及项元汴、张珩等鉴藏家印记。尾纸有李东阳、翁方纲题跋。清安岐《墨缘汇观·上编》著录。",[23,7,64,133,25,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f4927ee06864027294d250f9799058c.jpg","纵25厘米，横18厘米",[318],{"id":35401,"slug":35402,"title":35403,"dynasty":18,"author":3195,"museum":300,"description":35404,"tags":35405,"thumbUrl":35406,"material":151,"size":3199,"collection":84,"collections":35407,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":49},221327,"chao-yuan-xian-zhang-tu-di-er-duan-wu-zong-yuan-221327","朝元仙仗圖-第二段","《朝元仙仗圖》為北宋宗教畫家武宗元所繪製的一幅絹本白描長卷， 曾收藏於美國華人收藏家王季遷手中，在其去世後失竊下落不明。\n\n該畫作描繪了五方帝君中的三個帝君，去往朝謁天上的最高統治者時的隊仗行列。畫家以流利的長線條描繪此圖，畫中人物栩栩如生，表情生動，描畫出了不同的人物的不同的身份與形態特徵，成功地表現出帝君的莊嚴、神將的威武和仙女的丰姿，是白描人物畫的代表作。",[23,164,24,7,25,188,187,96,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e1d50323372fd5dbe926cdd9c052086.jpg",[],{"id":35409,"slug":35410,"title":35411,"dynasty":18,"author":35412,"museum":244,"description":35413,"tags":35414,"thumbUrl":35415,"material":1722,"size":35416,"collection":42,"collections":35417,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},221258,"dao-yi-juan-mou-yi-221258","捣衣卷","牟益","牟益（1178-？），四川人。活動於理宗、度宗兩朝，工畫人物，兼善古文與篆書。 〈擣衣圖〉作於1240年，創作原型取自南朝詩人謝惠連（397-433）〈擣衣詩〉。純以白描輕墨，畫婦女卅二人，在將寒時節，循序進行搗練、剪裁、製衣、裝箱、封寄的過程。畫中諸女皆面容圓潤，衣裙寬大，猶保有唐人餘韻。人物儀態，舉止優雅，惟在眉宇間多有愁思之意，傳透出對良人從軍未歸的掛念情愫。足稱是南宋繪畫中，描寫夫妻兩地相思，最含蓄、也最成功的作品。",[164,24,7,25,188,96,170,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa52f0b5c8e369f08c112946b110d3131.jpg","纵27.1厘米，横266.4厘米",[42,44,45],{"id":35419,"slug":35420,"title":35421,"dynasty":144,"author":569,"museum":244,"description":35422,"tags":35423,"thumbUrl":35424,"material":637,"size":35425,"collection":136,"collections":35426,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":49},220894,"que-hua-qiu-se-quan-juan-zhao-meng-fu-220894","鹊华秋色全卷","鹊华秋色图，元代画家赵孟頫于元贞元年（1295）回到故乡浙江为好友周密所作的纸本水墨设色山水画，现藏于台北故宫博物院。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带秋景，画境清旷恬淡，表现出恬静而悠闲的田园风味。采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。\n《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。画题就是由这两座山而起的。鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。水边轻舟数叶，舟中渔叟正安静地工作。其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者虽然受召于元朝，遭到众多宋氏遗臣的诟病，却终其一生都对隐而不仕的南宋遗臣表达出相当程度的理解和尊重。从这个意义上说，《鹊华秋色图》也是在向那些对南宋一朝忠心耿耿而隐居不仕的士人传达作者自己的真实意图。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。在刚柔对比中，更显得华不注山的险峻奇突。图中中景、近景表现出一片辽阔苍茫的景象。平川洲渚，红树芦荻，房舍隐现。图中林木种类颇多，红绿相间，枯润相杂。树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。用笔似乎旋转，线条往复重叠，增添了树干的质感。画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。鹊山用披麻，皴法较密。华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。\n明·陈继《泥古录》：山头皆着青绿，全学王右丞与董源。\n在《鹊华秋色图》中，作者以深湛的笔墨功力诠释了即达放逸的山水意境，不仅丰富了文人山水画的表现手段和内涵，更初步确立了元代山水画坛清远自然的整体风格和蕴藉典雅的审美格调，为后世的中国山水画奠定了基础。",[23,24,7,25,128,27,28,132,64,133,208,29,3699,1825,31,34,35,149,12424,7782,3698,29855,5801],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc6e45f6523596086c4e10a81385abb5.jpg","纵：28.4厘米，横：90.2厘米",[136,45],{"id":35428,"slug":35429,"title":35430,"dynasty":124,"author":33809,"museum":244,"description":35431,"tags":35432,"thumbUrl":35433,"material":278,"size":35434,"collection":44,"collections":35435,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},220022,"shan-cai-ding-li-tu-xiang-yuan-bian-220022","善财顶礼图","项元汴（明 1525—1590）字子京，号墨林，别号墨林山人、香严居士、退密庵主人、退密斋主人、惠泉山樵、墨林嫩叟、鸳鸯湖长、漆园傲吏\n明鉴藏家。国子生。精于鉴赏，辨别真赝，析及毫发，当时无人可比。尝得铁琴一，上有“天籁”二字，因以名阁。又曾遴选能工巧匠制作各种器具，凡几榻、架柜、奁盒等，镌以铭识，都极精巧。 工绘画，兼擅书法。有《墨林山人诗集》、《蕉窗九录》等。",[24,7,165,128,29,96,171,99,1144,131,37,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6608705547db80176fd9fd3ef2b8ff11.jpg","130*30.5cm",[44],{"id":35437,"slug":35438,"title":35439,"dynasty":144,"author":14724,"museum":1941,"description":35440,"tags":35441,"thumbUrl":35442,"material":278,"size":84,"collection":136,"collections":35443,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},219967,"shan-shui-xian-ju-tu-cao-zhi-bai-219967","山水闲居图","此作用平远之法铺展江南水色，烟波浩渺的湖面横贯画幅，汀渚错落间晕开清寂悠远的意韵。近岸林木萧疏苍劲，茅亭临水待客，村舍隐于林间，野意悠然。\n\n以干笔皴擦勾勒山石林木，笔法松秀简淡，墨色清润虚实相生，带着元代文人画特有的萧散简远。将幽居林下、寄情烟水的雅逸心境藏进留白与笔锋里，尽显天真幽淡的林下风致，把江南水乡的闲淡隐逸之趣铺陈得恰到好处。",[23,24,7,25,128,29,132,34,130,31,415,35,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca037a1b408a2cad9f2a4430094ab374.jpg",[136],{"id":35445,"slug":35446,"title":35447,"dynasty":18,"author":223,"museum":244,"description":35448,"tags":35449,"thumbUrl":35452,"material":173,"size":35453,"collection":42,"collections":35454,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},219603,"gao-shi-yan-qing-tu-yi-ming-219603","高士延清图","槐荫笼罩着夜色庭院，主人凭案闲坐，案上茶盏与香炉静立，暖香似随晚风漫开。侍童垂手侧立于阶下，屏气凝神消解了周遭岑寂。远处木桥隐在墨色里，晕染出幽谧的晚凉。\n\n画面与题诗相映，将林下清谈、养素含英的雅趣揉入笔底。空灵简雅的构图里，淡墨晕开夜色，人物意态松弛闲适，器物雅致沉静，把文人耽于幽寂、追寻雅静的心境铺陈开来。笔致温婉含蓄，将俗世之外的闲澹日常绘得动人，尽现雅致闲逸的生活意趣。",[23,24,7,59,27,133,96,1314,413,2145,249,1424,35450,35451],"对坐论诗","石棚槐阴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc777cd7db29c9ac0aa735d106cb662bb.jpg","纵25.4横27.2厘米",[42,44],{"id":35456,"slug":35457,"title":35458,"dynasty":54,"author":35459,"museum":244,"description":35460,"tags":35461,"thumbUrl":35463,"material":173,"size":35464,"collection":136,"collections":35465,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},219471,"qiu-ri-shan-ju-tu-gu-da-shen-219471","秋日山居图","顾大申","主峰浑穆苍润，烟霭轻缠峰腰，谷内隐见飞瀑流泉，侧畔古寺露檐，幽寂空灵。山坳林木蓊郁，丹黄点染枝叶，暗合秋意。近滩怪石错落，古木虬曲偃仰，苍皮黛叶间杂霜色。溪岸茅舍柴扉轻掩，静听溪石漱水。\n\n以干笔皴擦写山峦肌理，湿墨晕染铺就空蒙烟岚，设色清隽雅致，将林泉幽居的萧散意趣尽数铺展，把幽人忘俗寄迹丘山的襟怀融在尺素间，淡远冲和，尽显秋日山居清旷之美。",[24,7,165,27,29,132,4605,34,131,37,97,98,99,130,35462],"秋日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e23cb5e36ed224305684f548d71d341.jpg","179.1x70厘米",[136],{"id":35467,"slug":35468,"title":35469,"dynasty":54,"author":6357,"museum":300,"description":35470,"tags":35471,"thumbUrl":35472,"material":66,"size":35473,"collection":44,"collections":35474,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},219176,"ma-gu-xian-xiang-tu-huang-shen-219176","麻姑仙像图","画面中麻姑面容温婉，眉宇间透着仙逸之气。宽袍大袖随风轻扬，赤足踏地，姿态闲适自在。肩扛阔大芭蕉叶，叶间点缀红蕊，生机暗涌；叶下枝茎修长，握于手中似有轻摇之态。腰间悬橙黄葫芦，系蓝绦，旁缀花草，野趣盎然。笔墨简括洒脱，线条灵动，衣纹用折芦描，流畅中见顿挫，尽显人物飘逸之姿。右侧题跋笔墨纵横，与人物形象相映成趣，融书法与绘画于一体，文人画意趣浓郁。整幅作品仙气与生活气息交织，既见仙家超脱，又含人间鲜活，是写意人物画中的精妙之作。",[23,24,7,369,27,96,170,230,251,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F387ab015edbbb395537ee9821345d6c1.jpg","纵176厘米，横105.3厘米",[44],{"id":35476,"slug":35477,"title":35478,"dynasty":144,"author":7095,"museum":6413,"description":35479,"tags":35480,"thumbUrl":35481,"material":173,"size":35482,"collection":68,"collections":35483,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":49},219086,"liu-xia-cang-lu-tu-zhao-yong-219086","柳下苍鹭图","古梅树浓密，枝头红梅，花开锦绣。 三只白鹭站在粗杆上，昂首挺胸； 发芽的柳条垂下几根，沐浴着春风，像一堵绿墙一样在两边摆动； 小鸟躲在里面，拿着柳条在秋千上荡秋千，或者栖息在春天里，互相欣赏。",[24,164,7,165,28,27,61,4363,3836,650,211,7596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e32fdc6ff622340002106f04ee40b3a.jpg","231.1x101.9cm",[68],{"id":35485,"slug":35486,"title":3844,"dynasty":18,"author":223,"museum":244,"description":35487,"tags":35488,"thumbUrl":35489,"material":173,"size":35490,"collection":44,"collections":35491,"showCount":34887,"zanCount":1998,"manualWeight":48,"mainColor":72},218734,"xi-yuan-ya-ji-tu-yi-ming-218734","它描绘了王诜在西园雅集的故事，一石激起千层浪，人物安排得饶有兴味，人物画风古朴，可能是南宋李公麟作品的翻版。",[23,24,7,27,28,96,34,131,1428,1424,10762,247,2145],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94bc6ae28ac3a522246a2352340f410b.jpg","23.9x24",[44],{"id":35493,"slug":35494,"title":35495,"dynasty":124,"author":35496,"museum":3330,"description":35497,"tags":35498,"thumbUrl":35499,"material":66,"size":84,"collection":44,"collections":35500,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},218490,"ri-ben-gao-shi-guan-mei-tu-zhuo-zong-deng-yang-218490","日本· 高士观梅图","拙宗等杨","圆幅之中，枯梅虬枝如铁，疏影横斜间藏着冬日的幽韵。岩畔高士衣袂翩然，凝眸枝桠的姿态，似与梅魂相接——是沉醉于含苞待放的清趣，还是默然体悟天地的空寂？远处山影淡若烟霭，近石嶙峋衬出梅的风骨，留白处漾着悠远的禅意。笔墨简劲却含深情，将文人观梅时的孤高清雅与物我相融的心境，凝成了这方静谧而隽永的画面，让人一眼便坠入那片清寒又诗意的天地。",[24,7,5295,128,132,96,371,171,331,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6465c326a8271c018f825f86db6350b.jpg",[44],{"id":35502,"slug":35503,"title":30138,"dynasty":144,"author":18589,"museum":2542,"description":35504,"tags":35505,"thumbUrl":35506,"material":278,"size":35507,"collection":136,"collections":35508,"showCount":34887,"zanCount":1998,"manualWeight":48,"mainColor":72},217901,"yun-lin-zhong-xiu-tu-fang-cong-yi-217901","云林钟秀图描绘的是一座位于云林县的庙宇，画面中的庙宇极其写实，细节丰富，富有层次感。画中的山水、建筑、树木等都栩栩如生，充分展现出了当时云林的美景。\n\n云林钟秀图被认为是方从义的杰作，因为它体现了方从义对写生图画的高超技艺，也因为它能够真实地反映当时云林的风貌。它被广泛收藏，并被认为是元朝时期写生图画的杰作之一。",[24,7,25,128,132,64,133,29,496,37,34,31,98,1515,497,38,499,415,14906,20038,369,28172,1429,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120f73ed8db53c5a080a857830f7ff35.jpg","24.8x108cm",[136],{"id":35510,"slug":35511,"title":35512,"dynasty":124,"author":2268,"museum":77,"description":6564,"tags":35513,"thumbUrl":35514,"material":66,"size":84,"collection":84,"collections":35515,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":72},217031,"fang-gu-shan-shui-ce-liu-kai-4-dong-qi-chang-217031","仿古山水册六开-4",[23,24,7,59,128,29,132,663,413,130,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F058f786e47ba6cf40da75011cdde6f41.jpg",[],{"id":35517,"slug":35518,"title":35519,"dynasty":54,"author":223,"museum":35520,"description":35521,"tags":35522,"thumbUrl":35523,"material":173,"size":35524,"collection":84,"collections":35525,"showCount":34887,"zanCount":48,"manualWeight":48,"mainColor":49},214338,"da-bei-shen-zhou-fo-xiang-2-yi-ming-214338","大悲神咒佛像-2","普林斯顿大学图书馆","描绘了《大悲咒》的前四十三句及其插图，最后一页为护法韦驮尊天菩萨。书中有一句话和一幅插图，经文在青色书中，解释在朱色书中。",[23,24,7,27,28,96,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb684dee97ff0538aa70ee04ae0a21c0.jpg","27.5x16",[],{"id":35527,"slug":35528,"title":35529,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":35530,"thumbUrl":35531,"material":692,"size":1293,"collection":84,"collections":35532,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},290539,"fang-hui-chong-jiang-nan-chun-yi-yun-shou-ping-290539","倣惠崇江南春意",[24,7,59,128,29,129,1337,99,208,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F994290e0bb3645a7472b9eda594eed35.jpg",[],34,{"id":35535,"slug":35536,"title":35537,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":35538,"thumbUrl":35539,"material":692,"size":1293,"collection":84,"collections":35540,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},290522,"qing-fu-rong-yuan-yang-yun-shou-ping-290522","清芙蓉鸳鸯",[1131,24,164,7,61,27,28,373,1857],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6faa670a9de5d2a3fdb5690327caf1.jpg",[],{"id":35542,"slug":35543,"title":35544,"dynasty":144,"author":1346,"museum":244,"description":35545,"tags":35546,"thumbUrl":35547,"material":317,"size":35548,"collection":84,"collections":35549,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":49},290135,"qiu-jiang-yu-yin-tu-wu-zhen-290135","秋江渔隐图","此图起手处画清石水草于水中，后有一渔父坐船垂钓，当中一洲．上植二树，对岸是连绵山丘，远处高峰 图中用略浓而有变化的墨勾山石轮廓，略淡的线条作披麻状皴之，复加湿墨衬染，湿墨略分浓淡，罩在线条上面．使线半隐半显，使面透明而光亮。最后再以焦墨浓墨点苔：远山用淡墨没骨抹出。两棵树，以浓淡来区分，所以数百年之后，仍有“幛犹湿”之感。",[164,24,7,165,128,29,129,8710,131,1144,99,35,64,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6825a9b589672b07f1adb448c8239461.jpg","189.1x88.5",[],{"id":35551,"slug":35552,"title":35553,"dynasty":144,"author":17775,"museum":300,"description":35554,"tags":35555,"thumbUrl":35556,"material":692,"size":1293,"collection":84,"collections":35557,"showCount":35533,"zanCount":1998,"manualWeight":48,"mainColor":49},290130,"xi-shan-yan-ting-tu-tang-di-290130","溪山烟艇图","溪畔草亭中，一人弹阮，三人聆听著。小径上，僮子送酒而来。溪上，有人敞胸坐于船头，富有野逸消遥的乐趣。坡石用云头皴，圆润稳厚，有着郭熙一派的面目。",[24,7,29,128,132,129,1337,171,99,1351,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddb54d68e70be2e10ae4a88c8cd70dc0.jpg",[],{"id":35559,"slug":35560,"title":35561,"dynasty":144,"author":223,"museum":300,"description":35562,"tags":35563,"thumbUrl":35566,"material":692,"size":1293,"collection":84,"collections":35567,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":49},289376,"fang-cui-bai-dan-feng-niao-que-tu-yi-ming-289376","仿崔白丹枫鸟鹊图","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。",[23,24,164,7,165,61,27,28,330,211,10050,35564,1337,35565,167,208],"丹枫","细枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F716dfbb7dd8876c3b5ccb799a264a779.jpg",[],{"id":35569,"slug":35570,"title":1448,"dynasty":18,"author":1449,"museum":300,"description":18863,"tags":35571,"thumbUrl":35572,"material":692,"size":1293,"collection":84,"collections":35573,"showCount":35533,"zanCount":1998,"manualWeight":48,"mainColor":49},288731,"mei-zhu-tu-ye-ma-lin-288731",[23,24,7,59,28,27,61,371,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0822ea395a04d6c49a50e88c75a309e2.jpg",[],{"id":35575,"slug":35576,"title":35577,"dynasty":54,"author":223,"museum":300,"description":35578,"tags":35579,"thumbUrl":35580,"material":692,"size":1293,"collection":84,"collections":35581,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":49},288229,"fang-lin-chun-cui-zhu-hua-niao-tu-yi-ming-288229","仿林椿翠竹花鸟图","此作以绢本铺陈春日林隅之景，修竹挺劲清疏，新叶扶苏；山茶缀枝，丹花艳艳，翠叶相衬。禽鸟十余只或栖于虬枝，两两顾盼低语，或在竹梢依偎嬉闹，翎羽绒泽分毫毕现，灵动如生。\n全作用笔工细雅致，设色明妍柔润，将竹之清劲、花之娇秾、禽之恬然勾勒得形神兼备，构图疏密得宜，把林泉小景的鲜活生机尽数铺展，晕染出悠然静雅的古典意趣，尽显院体花鸟的精工雅致之美。",[23,24,25,7,164,28,27,61,167,211,17523],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31352a44941d45e8277f53da2cf8da78.jpg",[],{"id":35583,"slug":35584,"title":35585,"dynasty":18,"author":3195,"museum":300,"description":35586,"tags":35587,"thumbUrl":35588,"material":692,"size":1293,"collection":84,"collections":35589,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":49},288059,"chao-yuan-tu-juan-wu-zong-yuan-288059","朝元图卷","武宗元(约980～1050)，初名宗道，字总之。河南白波（今河南洛阳吉利区）人。北宋画家。宋真宗景德年间，建玉清昭应宫，征全国画师，分二部，宗元为左部之长。他家世业儒，以荫得太庙斋郎，官至虞部员外郎。擅画道释人物，曾为开封、洛阳各寺观作大量壁画。",[23,164,24,7,25,188,96,24611,13695],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fa5f8f29a39746c8231c14fa0622632.jpg",[],{"id":35591,"slug":35592,"title":6935,"dynasty":54,"author":3750,"museum":244,"description":17621,"tags":35593,"thumbUrl":35594,"material":66,"size":35595,"collection":84,"collections":35596,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},287767,"fang-huang-gong-wang-shan-shui-tu-wang-jian-287767",[24,164,7,165,128,27,330,132,29,98,99,131,34,64,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6c65d60415a5a08a23fe71311ba2551.jpg","78.8x38.8",[],{"id":35598,"slug":35599,"title":7706,"dynasty":144,"author":569,"museum":300,"description":27930,"tags":35600,"thumbUrl":35602,"material":692,"size":1293,"collection":84,"collections":35603,"showCount":35533,"zanCount":1998,"manualWeight":48,"mainColor":49},287757,"lan-ting-xiu-xie-tu-zhao-meng-fu-287757",[24,164,7,165,26,27,96,29,35601,1421,133,208],"兰亭修褉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63595c9abcacae7d6cf7b788cd216285.jpg",[],{"id":35605,"slug":35606,"title":35607,"dynasty":351,"author":35608,"museum":300,"description":35609,"tags":35610,"thumbUrl":35611,"material":692,"size":1293,"collection":84,"collections":35612,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},287367,"jiang-xing-chu-xue-tu-yuan-tu-zhao-gan-287367","江行初雪图(原图)","赵幹","全卷描写长江沿岸渔村初雪情景。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣。",[24,164,7,29,99,129,1350,1351,1813,27,28,132,64,572,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96f85e6f1509e6c29923b9c1726de7f4.jpg",[],{"id":35614,"slug":35615,"title":35616,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":35617,"thumbUrl":35618,"material":692,"size":1293,"collection":84,"collections":35619,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},283737,"qiu-xing-ba-jing-tu-ce-ba-kai-dong-qi-chang-283737","秋兴八景图册（八开）",[24,7,59,1349,27,133,64,208,29,663,413,99,6639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79bc40c5e2273545f34270f3d8b5316c.jpg",[],{"id":35621,"slug":35622,"title":4415,"dynasty":54,"author":1472,"museum":300,"description":4416,"tags":35623,"thumbUrl":35624,"material":692,"size":1293,"collection":84,"collections":35625,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},239447,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239447",[24,7,59,27,28,604,549,1771,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc401e2cdf7d2ed07edbdcabcbab0feec.jpg",[],{"id":35627,"slug":35628,"title":3933,"dynasty":54,"author":2687,"museum":300,"description":3934,"tags":35629,"thumbUrl":35630,"material":692,"size":1293,"collection":84,"collections":35631,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},239242,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239242",[24,7,61,28,27,263,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda4debb91bb733c10921f16d9083987f.jpg",[],{"id":35633,"slug":35634,"title":35635,"dynasty":18,"author":223,"museum":300,"description":35636,"tags":35637,"thumbUrl":35638,"material":84,"size":84,"collection":44,"collections":35639,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":49},238123,"luo-shen-fu-tu-juan-yi-ming-238123","洛神赋图卷","山峦烟波连绵铺陈，林木蓊郁掩映着红彩勾描的殿宇与行游伫立的人物，将缥缈仙乡揉入苍古山水间。笔意朴拙苍润，沉雅的设色在旧绢上晕开朦胧古韵，把人神邂逅的缱绻怅惘融在丘林烟水之中。循着长卷舒展，仿佛能触碰那段仙凡相望的怅惋情缘，古典浪漫的幽柔余韵顺着山峦水波漫溢开来，让悠远诗意随着卷幅缓缓流淌，将文字中的缥缈幻境化为可观可感的具象图景，晕染出绵长的东方浪漫意趣。",[164,24,7,25,28,188,27,96,29,1516,97,34,37,772,101,130,166,330,208,99,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F475d23ff1062208a9ad78b661dc95388.jpg",[44],{"id":35641,"slug":35642,"title":7864,"dynasty":54,"author":872,"museum":300,"description":6719,"tags":35643,"thumbUrl":35644,"material":692,"size":1293,"collection":84,"collections":35645,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},237936,"za-hua-ce-zhu-da-237936",[24,7,59,128,369,230,582,962,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8afb9d7da92b5f64516cfa52133f8b17.jpg",[],{"id":35647,"slug":35648,"title":4229,"dynasty":124,"author":9459,"museum":300,"description":9460,"tags":35649,"thumbUrl":35650,"material":84,"size":84,"collection":84,"collections":35651,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},237673,"hua-niao-ce-ling-bi-zheng-237673",[24,7,59,27,28,61,355,547,2438,549,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd19c88dd409fb513d29e61df5f1d5f60.jpg",[],{"id":35653,"slug":35654,"title":18219,"dynasty":54,"author":9529,"museum":300,"description":18220,"tags":35655,"thumbUrl":35656,"material":84,"size":84,"collection":84,"collections":35657,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},237583,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237583",[24,128,7,4437,2271,330,132,208,663,1314,413,372,1025,499,1515],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96d20d5d72ffbd6c3dd89af475576be0.jpg",[],{"id":35659,"slug":35660,"title":35661,"dynasty":54,"author":3403,"museum":20,"description":5496,"tags":35662,"thumbUrl":35663,"material":611,"size":84,"collection":68,"collections":35664,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},237343,"shui-xian-zhou-wu-chang-shuo-237343","水仙轴",[24,7,165,128,374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff79067443b6ab251baaf4620b222a9e8.jpg",[68],{"id":35666,"slug":35667,"title":35668,"dynasty":54,"author":3043,"museum":300,"description":9390,"tags":35669,"thumbUrl":35670,"material":692,"size":1293,"collection":84,"collections":35671,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},236377,"xu-gu-song-shu-pu-tao-shan-ye-xu-gu-236377","虚谷松鼠葡萄扇页",[24,7,1131,27,128,949,5882,2334,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250ff96f9b0cc51a3c44c944ddd83da6.jpg",[],{"id":35673,"slug":35674,"title":35675,"dynasty":124,"author":35676,"museum":300,"description":35677,"tags":35678,"thumbUrl":35679,"material":84,"size":84,"collection":44,"collections":35680,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},236018,"ren-wu-tu-ce-zhu-ting-ce-zhang-wen-nan-shou-mao-weng-236018","人物图册－竹亭策杖","文柟寿茂翁","画面取一角山居小景，竹亭凭崖兀立，修竹环拥生翠。石径之上，策杖老者携童子缓行，衣袂舒缓尽显悠然。笔墨清润苍秀，皴擦点染间衬出岩壑草木之生机，将林泉幽居的散淡隐逸铺陈开来。\n\n左侧题诗笔意舒展雅致，诗书合璧，为小品添了酬赠的温雅情致。整体意境萧疏淡远，尽显江南文人幽游林泉的闲情逸致，把超脱尘俗的林下风流藏进尺幅之间，尽显文人画寄兴山水的雅致内核。",[24,7,59,128,27,96,130,167,131,133,208,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a7b1e5d7e83d196b36c3559a29ec377.jpg",[44,136],{"id":35682,"slug":35683,"title":35684,"dynasty":124,"author":204,"museum":300,"description":35685,"tags":35686,"thumbUrl":35687,"material":84,"size":84,"collection":84,"collections":35688,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},235994,"hua-lan-tu-ye-chou-ying-235994","画兰图页","此作用淡墨写兰，以简驭繁。右幅兰叶以清浅墨线勾勒，笔致舒展灵动，似有柔风穿叶而过，将兰叶的劲挺与飘逸融为一体。隐于叶间的兰花淡晕轻染，含蓄雅致，不见张扬。左幅留白铺陈，以虚衬实，把视线尽数引向幽草，营造出空寂疏朗的意境，尽显清远淡逸的文人意趣。墨色浅淡匀净，无浓墨重彩，全凭线条的抑扬顿挫传递草木清灵生机，将幽兰孤高娴静的品性藏于笔墨之中，于留白与淡绘之间，晕开悠悠诗意。",[24,7,59,128,28,375,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37172fe4b311f06c3240d00995e6cae2.jpg",[],{"id":35690,"slug":35691,"title":35692,"dynasty":54,"author":55,"museum":300,"description":35693,"tags":35694,"thumbUrl":35695,"material":84,"size":84,"collection":84,"collections":35696,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},235683,"ceng-luan-you-xi-zhou-yun-shou-ping-235683","层峦幽溪轴","此作用笔松灵秀逸，以浅绛淡彩晕染山峦林泉，笔墨清简却意致悠长。层峦以淡墨轻勾慢皴，敷色明净素雅，衬出山石温润质感。幽溪蜿蜒穿谷而过，渔舟静泊水面，林麓崖畔错落隐着村舍山居，枝叶扶疏间尽显林下清寂。\n题跋与画作相生相融，以书入画更添文人气韵，将江南山野的幽闲之境铺陈开来，观之如踏入世外幽居，沉浸式感受林泉间安谧隐逸的雅趣，尽显文人山水以意驭笔的空灵格调。",[24,7,165,128,132,29,99,129,130,413,276,131,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe54ca2ae0ddaf9169d825040fa333bfa.jpg",[],{"id":35698,"slug":35699,"title":35700,"dynasty":54,"author":9742,"museum":300,"description":35701,"tags":35702,"thumbUrl":35703,"material":692,"size":1293,"collection":84,"collections":35704,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},235637,"fang-gu-shan-shui-ping-wu-li-235637","仿古山水屏","吴历（1632年—1718年）清初书画家，天主教传教士。字渔山，号墨井道人、桃溪居士，江南常熟（今属江苏）人 。少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[24,7,29,27,132,2271,97,131,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3df074ba8c51f80c12f8c57d5b60b59c.jpg",[],{"id":35706,"slug":35707,"title":409,"dynasty":54,"author":9742,"museum":20,"description":35708,"tags":35709,"thumbUrl":35710,"material":1722,"size":35711,"collection":136,"collections":35712,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},235015,"shan-shui-ce-wu-li-235015","此图册布局饱满，笔墨苍拙，文人画气息浓郁，具有作者所追求的“神逸”韵味。无年款，从书画笔法来看，应为吴氏晚年画作精品。\n第一开：自识：“月中疏处最秋多，叶叶斜斜映浅波。曾折长条赠行客，只今黄落未归何。予秋柳诗也，并书。墨井道人。”钤“延陵”、“墨井” 朱文印二方。\n第二开：自识：“远岫接烟光，斜阳在钓航。众渔归已尽，独自过横塘。东楼暑薄写此。墨井。”钤“渔山”朱文印二方。\n第三开：自识：“林鸠唤雨不成雨，山鹊呼晴亦未晴。尽日声声是何意，欲催泼墨米图成。梅雨乍霁。延陵历。”钤“吴历”朱文印、“吴历之印”白文印。\n第四开：自识：“春事已云莫，落花门外无。何为井上树，四月尚如枯。渔山子。”钤“渔山”、“墨井”朱文印二方。\n第五开：自识：“墨井道人雨窗拟古，竹醉日。”钤“延陵”、“墨井” 朱文印二方。\n第六开：自识：“萧萧踈踈，木落草枯。空山无人，夜吼於菟。墨井道人。”钤“吴历之印”白文印、“延陵”朱文印。\n第七开：自识：“写元人画，大抵要简澹趣多，曲折有韵。五月小尽日，墨井历。”钤“吴历”、“渔山” 朱文印二方。\n第八开：自识：“石激水流处，天寒松色间。墨井道人。”钤“渔山”、“墨井” 朱文印二方。\n第九开：自识：“前人草草涂抹，自然天真绚烂。小重阳后一日，渔山子。”钤“延陵”朱文印、“吴历之印”白文印。\n第十开：自识：“不是看山定画山，的应娱老不知还。商量水阔云多处，随意茆茨着两间。墨井道人从上洋归，写于东楼。”钤“吴历之印”白文印、“延陵”朱文印、“墨井”朱文印。\n鉴藏印有“虚斋审定”、“莱臣心赏”等17方。",[24,7,59,128,27,29,98,130,1337,131,1813],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdea3efc5d206a3c127338aa7c9ce390b.jpg","23.2厘米，横28厘米",[136,117],{"id":35714,"slug":35715,"title":35716,"dynasty":124,"author":125,"museum":20,"description":1048,"tags":35717,"thumbUrl":35718,"material":734,"size":1051,"collection":84,"collections":35719,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},233835,"wo-you-tu-ce-xing-hua-shen-zhou-233835","卧游图册－杏花",[164,24,7,59,128,27,61,2167,582,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf1f2aa10e8f3812d10b6863c0c7125a.jpg",[],{"id":35721,"slug":35722,"title":35723,"dynasty":144,"author":4034,"museum":20,"description":35724,"tags":35725,"thumbUrl":35726,"material":1722,"size":35727,"collection":84,"collections":35728,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},233747,"qiu-jiang-dai-du-tu-zhou-sheng-mao-233747","秋江待渡图轴","是图以两段式深远构图法画近树繁茂，远山起伏，中间澄江如练，芦雁惊飞，风吹树杪，一派清秋气氛。岸上一年老儒者携书童坐地待渡，江中一舟载客摇橹而来，意境清幽。画法略近董源，用笔疏简尖硬，是盛氏代表佳作。",[24,7,165,128,27,132,28,29,34,129,99,415,497,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f65342cf58865624dc1a8d91ec27f81.jpg","纵112.5厘米，横46.3厘米",[],{"id":35730,"slug":35731,"title":35732,"dynasty":54,"author":23051,"museum":20,"description":35733,"tags":35734,"thumbUrl":35735,"material":734,"size":35736,"collection":84,"collections":35737,"showCount":35533,"zanCount":1998,"manualWeight":48,"mainColor":72},233119,"xi-xi-yu-yin-tu-zhou-zhang-ci-ning-233119","西溪渔隐图轴","主人公西溪时年47岁，身处邗上（约今江苏一带）。图绘西溪长髯戴笠、左手执钓竿、端坐于坡陀之上的情景。他双目有神，神情淡定，面部稍加晕染，衣纹线条简洁。其身后为溪水潺潺，群山渺渺。近前树木高者茂盛，矮者丛生，坡石嶙峋。繁而不杂的景致与清丽淡雅的设色，极好地衬托出西溪高逸的人格和淡泊的情怀。",[24,7,165,128,27,132,29,34,131,96,1351,171,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc78d95e4f7aa37f40fd62d0d5360cbe2.jpg","纵194厘米，横94.5厘米。",[],{"id":35739,"slug":35740,"title":35741,"dynasty":144,"author":31140,"museum":300,"description":35742,"tags":35743,"thumbUrl":35744,"material":84,"size":84,"collection":84,"collections":35745,"showCount":35533,"zanCount":1998,"manualWeight":48,"mainColor":49},233021,"jiu-feng-dao-ren-san-jun-tu-juan-xu-lin-233021","九峰道人三骏图卷","徐霖字子元，号九峰，人呼为髯仙。其先吴人，徙金陵。七岁能诗，九岁能大书，操笔成体。善画松竹花卉蕉石，奕奕有致。武庙南巡，屡幸其家，赏赉甚渥。与沈周交善。",[24,7,25,27,28,101,96,64,133,208,10761,5626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F320aca22552c8e5380201d37034b90fe.jpg",[],{"id":35747,"slug":35748,"title":35749,"dynasty":18,"author":2099,"museum":244,"description":35750,"tags":35751,"thumbUrl":35752,"material":35753,"size":35754,"collection":84,"collections":35755,"showCount":35533,"zanCount":1998,"manualWeight":48,"mainColor":72},232915,"bai-miao-mian-zhou-tu-juan-li-gong-lin-232915","白描免胄图卷","《免胄图》卷所绘即为郭子仪率数十骑免胄（徒手不着盔甲）见回纥首领大酋，大酋舍兵下马拜见的情景。图卷左侧是郭子仪所率部将兵骑，仪容镇定，伫立于侧。右侧是入侵关中的回纥兵骑，阵营庞大而惶惶无措。回纥大酋着戎装，携副将滚鞍落马，正单膝跪地作钦服之状，拜见免胄着燕服的郭子仪。郭神情雍穆诚恳，俯身援手以礼相见，体现出从容大度的一代名将风范。\n此卷描绘唐代名将郭子仪说服回纥大破吐蕃一事。关于这一著名战事，《旧唐书》有详细记载。唐太宗广德二年（764），回纥、土蕃西域诸国数十万大军，入侵长安，郭子仪奉命率军镇守泾阳，由于双方兵力悬殊，郭子仪决定亲赴敌营，希望说服回纥将领退兵，郭子仪是大唐名将，颇受蕃将敬重，当郭子仪脱去戎装，单骑来到回纥阵前，回纥统帅药葛罗一见，心悦诚服，下马跪迎，双方言和，药葛罗立即退兵，并发誓不再侵唐。",[23,164,24,7,25,188,96,101,208,5626,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2a54c261d4257de502d94fbe837eb3b.jpg","纸本长卷","纵32.3厘米，横223.8厘米",[],{"id":35757,"slug":35758,"title":35759,"dynasty":124,"author":1642,"museum":161,"description":35760,"tags":35761,"thumbUrl":35762,"material":151,"size":35763,"collection":84,"collections":35764,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":49},232646,"xi-bian-yin-shi-tu-dai-jin-232646","溪边隐士图","戴进早年受画工父亲戴景祥的影响，从锻工改学绘画，擅长工笔。并且常为寺观做佛像，以精工、细巧见长。同时也受到南宋“院体”的影响。中年时，进京入宫，供奉仁智殿，但因呈献得意之作《秋江独钓图》时，遭馋言而被贬斥，最终离开画院。可以说，这一意外的打击是他绘画生涯的转折点。在京城的后十余年中，他泛学诸家，广交文人画家和士大夫公卿，将宋元文人画家的传统渗入到自己的艺术中。晚年，他离京返乡，卖画课徒。并发展了马、夏苍劲的水墨山水，以更为坚劲、雄阔的笔墨，创造出更具运动感和阳刚气势的山水画新风貌，经后世发扬，遂成“浙派”。\n戴进的坎坷经历是他形成复杂性格的直接原因。由于仕途的失败，理想的破灭，使他采取与世无争的态度，开始淡泊名利，洁身自好，借诗文翰墨来怡养性情。因此，画面中的整体氛围是安逸、祥和的。然而作品虽静、幽却没有元人画中的那种消极、凄凉之感。这是因为戴进不同于那些高蹈远行、浪迹山林的文人画家。他是一位在社会上谋生的职业画家，虽然与世无争却并不回避现实，以于世有补的态度来面对人生。他胸怀旷达、志趣高雅，广泛交友，被誉为“博雅之士”。\n画中描绘了一位超凡脱俗的隐士斜坐在山石之上，在他旁边放着一根拐杖，大概是旅途劳累，故在山中休憩。隐士的神情平和，裸露前胸，从微微低垂的眼神中，可看出他正在倾听身旁潺潺的流水声，真是悠哉、闲适的生活。周围的景物只有山石和树木，一片寂静，惟有小溪的“乐音”萦绕整座山林，一直传进幽深之处。人物悠闲的心态与恬淡的景致自然地融合在一起，一切都是那样的自由，那样的随和，在不经意间透露着一种文人的气息。这是作者艺术风格的简逸一面，但这又不同于元人画风的那种淡泊。画中山石勾勒，坚实峻拔，并运用了南宋马、夏的斧劈皴，皴法迅捷刚韧，犹如石斧雕凿一般。看那偃斜多姿的拖枝松是如此的苍劲有力，它身如虬龙，扎根于硬石之中，直冲云天。其曲折的枝干，每一曲，每一折都流露着倔强与刚烈。好似一位坚强不屈战士，又似一位清高绝俗的雅士，傲然挺立于山巅之上。这种刚毅的气质与平静、幽寂的情境形成了鲜明的对比。而二者又在通情达意之间互为补充，取得了完美的平衡。\n作品在题材、布局和画法上，基本是仿效南宋马远一派。如，通过松树和远山、近石形成的对角线构图，山石运用潇洒利落的斧劈皴，松柏的遒劲挺拔，还有人物衣纹细劲顿挫的勾勒等，都极似马麟的绘画风格。本画为水墨淡彩，整体以水墨为主，只是在山石、树木和人物衣服上都略施以淡淡的绿色。这种淡雅的色彩正体现了画的清逸与闲淡之韵。",[23,24,7,165,128,27,29,96,1144,99,497,132,331,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920c1d68ed02e2884a6e69185f76dca3.jpg","纵137.9厘米，横75.1厘米",[],{"id":35766,"slug":35767,"title":35768,"dynasty":144,"author":18589,"museum":244,"description":35769,"tags":35770,"thumbUrl":35771,"material":66,"size":35772,"collection":84,"collections":35773,"showCount":35533,"zanCount":1998,"manualWeight":48,"mainColor":72},231417,"shen-yue-qiong-lin-tu-fang-cong-yi-231417","神岳琼林图","此图以写意的笔法，画层峦琼林之景观，画面山色苍茫，意境幽深。\n此图危峰耸立，气势磅礴。近景坡岸延伸，杂树丛生，几条潺泼的小溪汇聚成潭，断岸溪桥，屋字隐伏，流水人家。一条小径蜿蜒曲折，若隐若现，通往山林的深处。远处高峰矗立，山腰云气氤氲，恍惚缥缈，隐约可见一条山径顺着山势盘绕而上。一高上注目远眺，神情闲雅，寄情于山光水色之中。\n此图自题：“岁在旃蒙天荒落三月十一日，鬼谷山人方方壶为南溟真人作神岳琼林图。”",[24,7,165,128,29,30,34,98,99,497,499,3269,132,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad2cb1101f18f7f0c099bd9034314950.jpg","纵120.3cm，横55.7cm",[],{"id":35775,"slug":35776,"title":35777,"dynasty":144,"author":35778,"museum":244,"description":35779,"tags":35780,"thumbUrl":35781,"material":1190,"size":35782,"collection":84,"collections":35783,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},231335,"cui-yu-xuan-tu-yuan-dai-ji-jin-zhi-ba-zhuang-lin-231335","翠雨轩图－元代集锦之八","庄麟","庄麟所绘的《翠雨轩图》为元人集锦卷之一，也是庄麟传世的唯一作品。绘临溪的坡岸上设茅屋一间，树木环绕，溪水浅滩，极为渺远。一叟曳杖度桥而来。境界萧疏淡远，静寂清幽。画家以淡墨为基调，用笔清逸流畅。将翠雨轩置于特定的环境中。使观者也似乎感受到远离喧嚣的静谧。\n此图写林中茅屋一间，一老者策杖过桥，步伐坚定,与桥下的溪流淙淙共同构筑了画面的幽寂和飘逸。并不像过去贬斥画工的那些描述那样，很有元代文人画家的趣味。满纸水墨挥洒，不但舒意而且流畅，画家用大写意的手法，画出翠雨轩的茅舍溪桥，画面疏疏密密，浓浓淡淡，没有精心雕琢的痕迹，反而传达了一种萧闲的意境。画上有清代乾隆皇帝的御题诗，对画面意境和风格作了极为贴切的评述。\n以文人的齐居作为绘画题材，元代画家已有涉及，如朱德润 《 秀野轩图》、 张渥《竹西草堂图 》、赵原《合溪草堂图》等。至明代则成为文人画家创作中经常出现的一种题材。",[24,7,128,29,132,25,98,99,711,331,96,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cce050135140f0e09ecbb560cf14c24.jpg","纵：26.2厘米，横：65.4厘米",[],{"id":35785,"slug":35786,"title":4889,"dynasty":124,"author":125,"museum":524,"description":4890,"tags":35787,"thumbUrl":35788,"material":1223,"size":4893,"collection":68,"collections":35789,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},230957,"ping-he-tu-shen-zhou-230957",[23,24,7,165,27,28,81,82,169,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9937a425003a6af29aa49db4e9aa7adf.jpg",[68,45],{"id":35791,"slug":35792,"title":35793,"dynasty":144,"author":35794,"museum":300,"description":35795,"tags":35796,"thumbUrl":35798,"material":84,"size":84,"collection":84,"collections":35799,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":49},230870,"cang-lang-du-diao-tu-sheng-zhu-230870","沧浪独钓图","盛著","此作用笔清润简淡，近景坡岸虬松偃蹇，苍枝拂向水面，扁舟系于松下，渔翁垂纶独钓，汀渚蒹葭轻摇，漾出幽寂闲淡之味。平湖如镜隔开远近，彼岸林木蔚然成簇，淡墨晕染出远山层叠，云气空濛将天地晕融一处，虚实相生间铺展出萧散淡远的山水格局。\n\n画师以干笔皴擦写山石肌理，湿墨点染苔树烟岚，笔墨间藏着元人山水的林下之致，将沧浪渔隐的出世意趣融于烟水云山，把遁世忘机的雅兴寄在一竿一线之中，尽显文人画崇尚的林泉高致，满幅皆是清远脱尘的幽寂诗意。",[23,24,7,128,29,129,35797,34,99,171,132,1351],"独钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde68514a3c2323b7552184a3b1e22519.jpg",[],{"id":35801,"slug":35802,"title":35803,"dynasty":18,"author":20617,"museum":300,"description":35804,"tags":35805,"thumbUrl":35806,"material":692,"size":1293,"collection":84,"collections":35807,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},230846,"gong-shi-tie-cai-jing-230846","宫使帖","蔡京（1047年2月14日－1126年8月11日），字元長，福建路興化仙遊（今福建省莆田市）人。北宋時期書法家、政治家，先後四次任宰相，掌權共達十七年之久。",[64,133,208,128,18,7,25917],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1903805d2c334bb9b74fe673b1850d5e.jpg",[],{"id":35809,"slug":35810,"title":18044,"dynasty":124,"author":19170,"museum":300,"description":35811,"tags":35812,"thumbUrl":35813,"material":84,"size":84,"collection":84,"collections":35814,"showCount":35533,"zanCount":1998,"manualWeight":48,"mainColor":72},228908,"lan-ting-xiu-xi-tu-ding-yun-peng-228908","此作用淡墨白描兼皴染铺展林泉雅境，崇山叠嶂掩映茂林清溪，文人雅士沿水列坐，或临流衔觞、展卷题咏，或围坐清谈、凭栏观眺，童仆往来奉侍，将雅集盛景生动铺陈。线条清劲秀逸，山石林木以淡墨晕染，意境萧散淡远，尽显晋人林下风流。卷后题书与画作呼应，书画合璧，将这场集会寄情山水、旷达疏放的雅韵定格，引观者神游千古雅集，沉醉于丝竹觞咏的幽远意境之中。",[23,24,7,25,28,27,188,132,29,96,130,99,372,167,98,1421],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd7c0d19429f605cd3c2867573406663.jpg",[],{"id":35816,"slug":35817,"title":35818,"dynasty":124,"author":3318,"museum":300,"description":35819,"tags":35820,"thumbUrl":35821,"material":84,"size":84,"collection":84,"collections":35822,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},228855,"hua-hui-tu-ce-ye-wen-chu-228855","花卉图册页","折枝斜斜舒展于素纸之上，碧叶晕染出通透莹润的质感，隐现的叶脉似携着朝露清光。粉白花萼轻绽，花瓣柔媚含娇，垂首的蓓苞似攒着春日私语，将草木温婉之态藏于笔底。\n此作用淡彩没骨晕染，设色清妍秀雅，摒弃浓艳，仅以浅绛水色晕出花叶鲜活，笔致细腻温婉，静逸情思流于毫端。画面留白简淡空阔，衬出花木幽柔之美，悠悠古意漫溢纸面，尽显雅致静穆的闺阁意趣，是小品花木里的上乘之作。",[23,24,7,59,28,27,61,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f944568edf7a4ea2c9b422bafac893.jpg",[],{"id":35824,"slug":35825,"title":35826,"dynasty":124,"author":1058,"museum":300,"description":35827,"tags":35828,"thumbUrl":35829,"material":84,"size":84,"collection":84,"collections":35830,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},228477,"shui-cun-xing-lv-tu-juan-tang-yin-228477","水村行旅图卷","这幅画作取江南水村之景，以开阔平湖开篇，远山衔水，汀洲错落疏林点缀，留白尽显烟波浩渺之致。近崖松柳掩映白墙黛瓦，流泉自壁间垂落，衬出村居幽谧。村道上行旅三人缓行，湖面扁舟泛波，处处漫溢悠然野趣。\n\n其设色秀润雅致，山石皴擦柔和却不失嶙峋质感，林木晕染层次丰盈，兼容院体精工与文人逸韵，将江南水乡的温婉灵秀，同恬然自在的乡居日常相融，把明季文人心中的栖居闲意，藏进尺幅山水之间。",[23,24,7,25,27,132,29,96,101,129,34,496,35,99,2620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d5fd74b5fc2a7f660f6e08bd120b878.jpg",[],{"id":35832,"slug":35833,"title":35834,"dynasty":124,"author":204,"museum":300,"description":35835,"tags":35836,"thumbUrl":35837,"material":84,"size":84,"collection":84,"collections":35838,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},228457,"shu-chuan-jia-li-tu-chou-ying-228457","蜀川佳丽图","此作为青绿山水长卷，以妍雅厚重的石青石绿晕染峰峦，勾勒细劲工致，层叠山岫间烟波舒展，洲渚江岸错落着村郭田庐，铺陈出蜀地锦绣明丽的盛景。卷后行书笔力雄健跌宕，以豪壮文辞呼应山川奇险，书画合璧，将天府形胜的秀绝与笔墨意趣相融，尽显明韵雅致，是诗书画交织的精妙佳构。",[23,24,7,25,26,27,28,64,133,29,97,98,99,211,130,1314,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5da99896dff8c7d266f323b45b68470.jpg",[],{"id":35840,"slug":35841,"title":35842,"dynasty":124,"author":10106,"museum":300,"description":35843,"tags":35844,"thumbUrl":35845,"material":692,"size":1293,"collection":84,"collections":35846,"showCount":35533,"zanCount":1116,"manualWeight":48,"mainColor":72},228392,"wu-bai-luo-han-tu-quan-tu-wu-bin-228392","五百罗汉图全图","五百罗汉,一般指佛释迦去世后参加第一次经结集的五百比丘,以大迦叶和阿难首。至于五百比丘的其他人,除知名的十大弟子外,一般没有名号的记载。",[23,24,7,25,27,28,187,96,413,1314,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e1cf1e9b43a8c99aefbe58ee4ad433a.jpg",[],{"id":35848,"slug":35849,"title":35850,"dynasty":124,"author":802,"museum":300,"description":35851,"tags":35852,"thumbUrl":35853,"material":84,"size":84,"collection":84,"collections":35854,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":49},228322,"tong-xia-shou-jiao-tu-chen-hong-shou-228322","桐下授教图","此作用笔古拙苍劲，古桐盘屈虬结，苔痕覆着老干，轻烟柔云缠绕枝梢，晕染出幽绝尘寰的林下氛围。\n凭几高士神色恬然，似正开示妙义，下方弟子敛衽跪坐，垂首凝神聆听，将闻道的敬慕全然藏于姿态之中。侍童静立侧旁，案头瓶花清隽雅致，衬出雅静出尘的文聚意境。\n线条清圆凝练，设色淡静沉稳，人物造型奇崛古雅，带着独有的变形意趣，把魏晋林下清谈的萧散高逸，收于尺幅之间，尽显静穆古雅的晚明文人意韵。",[23,24,7,165,27,28,96,11997,10701,62,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffab28a2765a4b73f109df837ac62eabb.jpg",[],{"id":35856,"slug":35857,"title":35858,"dynasty":144,"author":569,"museum":300,"description":35859,"tags":35860,"thumbUrl":35861,"material":84,"size":84,"collection":84,"collections":35862,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},228261,"jiu-ge-tu-quan-juan-zhao-meng-fu-228261","九歌图全卷","此作为书画合璧妙品，设色清润秀雅，线条如春蚕吐丝，柔中带劲。画卷中仙女神祇各具神采，云中君衣袂翩跹荷影随行，东皇太一端方威严，侍神拱卫左右，将屈子笔下楚地仙灵的缥缈风神尽数铺展。\n\n篆籀书风古朴苍劲，文辞与图绘相得益彰，把《九歌》巫祭歌辞的浪漫幽渺氛围烘托殆尽，将上古巫仪的清灵庄重融于笔端，尽显追摹古意的沉静笔致，让观者恍如置身楚地巫歌灵舞的缥缈幻境之中。",[23,24,7,25,27,28,96,772,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5ab31f24e204da3141a05e8169e38bb.jpg",[],{"id":35864,"slug":35865,"title":35866,"dynasty":144,"author":33592,"museum":300,"description":35867,"tags":35868,"thumbUrl":35869,"material":84,"size":84,"collection":84,"collections":35870,"showCount":35533,"zanCount":1998,"manualWeight":48,"mainColor":72},228081,"wei-mo-shuo-jing-tu-li-sheng-228081","维摩说经图","水墨晕染山峦层叠，烟岚轻笼江岸，汀渚林木错落隐现，江天浩渺间漾出空寂禅意。简淡笔墨勾勒萧散清远的山水胜境，将讲经的悠然禅心融于烟水林泉之中，以景衬意，尽显超脱物外的况味。\n\n拖尾题跋笔意苍秀疏朗，书画相映成趣，尽显元人尚意的文人雅韵。整幅长卷删繁就简，于留白间烘托出空灵淡远的禅境，笔墨虽简，却将山水的悠远与释家的沉静完美相融，尽显宋元山水萧散简远的独特意趣。",[23,24,7,25,128,29,132,64,208,496,34,98,99,1515,37,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd70c5fc6a158cfb06bc94a9595e27ebe.jpg",[],{"id":35872,"slug":35873,"title":35874,"dynasty":18,"author":223,"museum":300,"description":35875,"tags":35876,"thumbUrl":35877,"material":84,"size":84,"collection":84,"collections":35878,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},227935,"qing-feng-ju-die-tu-yi-ming-227935","青枫巨蝶图","《青枫巨蝶图》是宋代佚名画家创作的一幅绢本设色画。\n描绘了伸出嫩绿色枫树一株，枝叶婆娑。\n一只赭黄色巨蝶从右上侧凌空飞临，与枫叶构成平衡的对角关系。\n本幅无款。\n鉴藏印钤“大观”葫芦形朱文印以及“石渠宝笈”、“乐 善堂图书记”、“重华宫鉴藏宝”印。\n钤清乾隆、嘉庆二御览印。\n图左下方更有鲜红色 伏于枫叶之上，十分俏皮。\n画风高度写实，细致入微。\n画法的特点一是细线勾勒，笔若游丝，使蝶与枝、叶的形态皆极为轻倩灵秀；二是设色淡雅明快，红、绿、黄对比鲜明，给人以清新出尘之感，不落浓艳俗套。\n存《 》册中。\n《 》著录。",[23,164,24,7,1131,27,61,28,11375,481,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b2cd2c17f1f932ab06e135ac4df848.jpg",[],{"id":35880,"slug":35881,"title":35882,"dynasty":18,"author":1174,"museum":300,"description":35883,"tags":35884,"thumbUrl":35885,"material":84,"size":84,"collection":84,"collections":35886,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":49},227775,"chi-bi-sheng-you-tu-ye-li-tang-227775","赤壁胜游图页","赤壁之战是中国历史上极为著名的战争；它是用灵活战术发挥以寡击众的成功战例。战争从双方集结到交战，前后历时几个月，但却传颂了一千多年，至今不歇。后世以诗词歌赋、艺术书法，戏剧歌曲，各种方式称颂这场战争及参与这场历史盛会的英雄。\n\n赤壁之战除了战争前魏、蜀、吴三方阵营斗智、权谋攻防的尔虞我诈，战争过程中极富戏剧性的发展脍炙人口外，战后的影响也是令后世热衷讨论、研究的焦点。一般说来，魏、吴、蜀三分天下的契机奠定于这场战争。然而，三国鼎立的局面虽然出现了，但最后统一的局面，并非由参与这场战争的任何一方完成。历史的发展，曲折迂迴似乎没有必然的逻辑。\n\n赤壁之战引起后世无尽的兴味，还有一项重要的原因，即为参与这场战争的「与会者」，都成为后世讨论的对象。在中国历史上，很少有一个时代突然出现那麽多人才。就人才分佈而言，各方阵营济济多士、猛将如云。长久以来，后世习惯立场的选择，加上《三国演义》小说、戏剧的推波助澜；因此，读史时便无意中流露出对历史人物的偏爱了。\n\n后世歌咏赤壁的艺术绘画、书法作品众多，我们选辑一批，不用亲临，在纸上感受千年以来赤壁的风云际会。",[23,164,24,7,59,128,27,29,129,1144,497,99,96,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe85967083dcbba194a327a2d2f6d7070.jpg",[],{"id":35888,"slug":35889,"title":18044,"dynasty":18,"author":2099,"museum":300,"description":35890,"tags":35891,"thumbUrl":35892,"material":84,"size":84,"collection":84,"collections":35893,"showCount":35533,"zanCount":1998,"manualWeight":48,"mainColor":72},227607,"lan-ting-xiu-xi-tu-li-gong-lin-227607","《李公麟兰亭修禊图》是宋朝李公麟创作的人物画，再现了当年王羲之等人雅集之状，现被私人收藏。",[23,164,24,7,27,95,29,96,97,130,34,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36c442252580f8eabaa25ca0afe38259.jpg",[],{"id":35895,"slug":35896,"title":35897,"dynasty":18,"author":27341,"museum":300,"description":35898,"tags":35899,"thumbUrl":35901,"material":84,"size":84,"collection":84,"collections":35902,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":49},227599,"qiu-jiang-yu-ting-tu-yuan-se-xu-dao-ning-227599","秋江渔艇图（原色）","许道宁，中国北宋画家。生卒年不详，活跃于北宋中期。长安（今陕西西安）人，一说河北河间人。擅画山水，师法李成而能自成一家之体。\n\n早年在汴京（今河南开封）以卖药为生，以画吸引顾客，随药送画，逐渐得名，公卿士大夫争相延请。许氏长于画林木、平远、野水三种景色，晚年笔法简快，所画峰峦树木，峭拔劲硬。\n\n被认为是继李成、范宽之后山水画第一人。米芾和黄庭坚等大家都对其画作极为赞赏。许道宁性格豪放，嗜酒如命，人号“醉许”，黄庭坚更是曾在《答王道济寺丞观许道宁山水图》诗中描绘了许道宁醉中作画的神情举止",[23,164,24,7,25,128,132,29,496,30,34,1337,6004,37,33,7462,96,30581,17613,35900],"渔艇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd47cf3d4177d2091033e8ed520bc3298.jpg",[],{"id":35904,"slug":35905,"title":35906,"dynasty":18,"author":686,"museum":300,"description":35907,"tags":35908,"thumbUrl":35909,"material":84,"size":84,"collection":84,"collections":35910,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":49},227495,"qiu-she-tu-ye-fan-kuan-227495","秋涉图页","范宽（950-1032）宋代杰出画家。字仲立，一说中立。华原（今陕西耀县）人。北宋山水画家，生活于北宋前期，名列北宋山水画三大名家之一。因为他性情宽厚，不拘成礼，时人呼之为“宽”，遂以范宽自名。据《宣和画谱》记载，他风仪峭古，进止疏野，性嗜酒，落魄不拘世故。",[23,24,7,29,132,27,331,1233,96,101,99,663,1314,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad3f20715eb8a0623d5ede94214d8517.jpg",[],{"id":35912,"slug":35913,"title":35914,"dynasty":182,"author":464,"museum":300,"description":35915,"tags":35916,"thumbUrl":35917,"material":692,"size":1293,"collection":84,"collections":35918,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":956},227078,"yi-yu-lai-wang-tu-ye-yan-li-ben-227078","异域来王图页","此幅应为伪本",[23,24,164,7,59,27,28,96,949,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdfae74aa3a781c82197b6a3cd63ac32.jpg",[],{"id":35920,"slug":35921,"title":35922,"dynasty":54,"author":5367,"museum":300,"description":35923,"tags":35924,"thumbUrl":35925,"material":84,"size":84,"collection":84,"collections":35926,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},226629,"si-shi-shan-shui-02-pu-ru-226629","四时山水02","溥儒(1895-1963)，满族，北京人。近代国画大师，出身清皇族，姓爱新觉罗，字心畲，又号羲皇上人﹑西山逸士。曾留学德国，笃嗜诗文、书画，皆有成就。画工山水、兼擅人物、花卉及书法，昔时与张大千有“南张北溥”之誉，又与吴湖帆并称“南吴北溥”。",[23,24,7,164,165,128,27,29,171,1144,211,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5fbaef9558d710642e3f6aa6b5a09eb.jpg",[],{"id":35928,"slug":35929,"title":35930,"dynasty":54,"author":9529,"museum":300,"description":35931,"tags":35932,"thumbUrl":35933,"material":84,"size":84,"collection":84,"collections":35934,"showCount":35533,"zanCount":1116,"manualWeight":48,"mainColor":72},224442,"fang-ju-ran-xi-shan-yu-ji-tu-wang-hui-224442","仿巨然溪山雨霁图","此作用淡墨晕染山峦，烟岚轻笼峰巅，将雨霁后空濛湿润的山景铺展开来。以披麻皴勾勒山石肌理，层层叠叠的丘壑尽显浑朴苍润，暗承江南山水的悠远意韵。\n\n近岸林木错落，点叶苍秀灵动，坡渚间杂草丰茂，野意十足。山谷村居隐于林泉之间，更衬出溪山幽谧清寂。\n笔墨秀雅兼具浑厚，把雨后天朗气清、山光涤荡一新的悠然宁静尽数烘托，于皴擦点染间尽显山水清润灵秀的意境，复刻古法同时自出新意，晕染出江南烟岚山水的温润诗意。",[23,24,7,165,128,132,330,29,663,4241,34,37,497,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d160e13391e67af2c1ba02073ffad9e.jpg",[],{"id":35936,"slug":35937,"title":35938,"dynasty":54,"author":32522,"museum":300,"description":35939,"tags":35940,"thumbUrl":35941,"material":84,"size":84,"collection":84,"collections":35942,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},224348,"hua-yu-wang-cheng-pei-224348","花鱼","整体设色清润淡雅，浅赭素底晕染出郊野荷塘的柔谧底色。青碧荷叶错落舒展，笔触细腻柔和，尽显叶片的舒展肌理。嫩黄荷花亭亭玉立，娇柔的花瓣晕染出清润生机。水草丛生以写意笔触绘就，浅淡墨色晕染出郊野塘岸的野趣。几尾小鱼线条灵动轻盈，悠游穿梭在水间，将池水的空寂与鲜活融为一体。画作在极简构图间藏着悠然禅意，无繁复铺陈，以淡彩晕开清和静谧的夏日氛围，把荷塘一隅的鲜活雅致勾勒尽致，尽显文人画的松弛恬淡与清雅意趣，尽显中式美学的悠然韵味。",[23,24,7,59,28,27,61,168,2059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70272027dd70c00ffffadaec8b4ec100.jpg",[],{"id":35944,"slug":35945,"title":35946,"dynasty":54,"author":35947,"museum":300,"description":35948,"tags":35949,"thumbUrl":35950,"material":84,"size":84,"collection":84,"collections":35951,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":49},224339,"guan-bang-tu-juan-liang-xiang-224339","观榜图卷","梁亯","画面铺展乡野村居的鲜活日常，黛瓦村舍错落排布，临河的敞轩里有人闲坐观景，石拱桥畔有人凭栏眺望。山道间行人三两，或驻足热切交谈，或信步缓行，晕染出放榜后的松弛氛围。\n\n青绿点染坡岸古木，苍枝翠叶间生机盎然，工细的界画勾勒出民居的质朴规整，衣袂飘举的人物鲜活灵动。没有宫墙下的喧嚷拥挤，转而描摹乡邻间传递喜报、私语闲谈的烟火日常，将士林放榜后乡里的起落心绪融在淡雅的设色之中，笔底尽是平淡又真切的世情暖意，复刻出旧时乡野间的鲜活世相。",[23,24,7,25,27,28,95,96,97,98,34,211,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec17a44f425b0d90604d33eb2089636e.jpg",[],{"id":35953,"slug":35954,"title":35955,"dynasty":54,"author":1676,"museum":300,"description":35956,"tags":35957,"thumbUrl":35958,"material":84,"size":84,"collection":68,"collections":35959,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},224320,"hua-niao-shi-er-kai-tu-li-shan-224320","花鸟十二开图","泼墨写就湖石，酣畅间尽显灵秀通透，似藏嶙峋古意。石畔花枝挺秀，粉紫娇花轻点晕染，明雅柔丽的设色晕开春日清趣。双鸡意态生动，一昂首侧目警觉周遭动静，一垂首理羽尽显慵懒闲适。禽鸟羽毛以淡墨晕染辅以细笔轻勾，将绒羽蓬松柔润的质感尽数铺陈。\n\n左畔行书款识笔意潇洒，与写意画格相融，诗书画印浑然一体。整幅兼工带写，既有文人写意的简逸纵恣，又不失精微写实的生趣，将花木禽鸟的天趣雅致藏于笔端，尽显悠然野逸的林下清致。",[23,24,7,59,128,27,61,171,1400,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04865c6f750cd80cf1f66c8c803e6a71.jpg",[68],{"id":35961,"slug":35962,"title":35963,"dynasty":54,"author":5879,"museum":300,"description":35964,"tags":35965,"thumbUrl":35966,"material":84,"size":84,"collection":84,"collections":35967,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":49},224185,"hua-niao-cao-chong-tu-ba-04-hua-yan-224185","花鸟草虫图八-04","此作画境清寂空灵，以大片素净绢底铺就秋意寥廓。枯曲枝桠携残叶斜垂，晕染出沉郁秋容，瘦硬题诗暗合秋声萧瑟。\n\n寒蝉静栖残叶之上，翼脉纤细通透，躯体晕染青绿，将蛰伏静气藏于枯叶间；野蜂振翅独行，墨色凝练收拢，晕开秋日细碎生机。设色简淡克制，枯褐与浅绿相映，将清秋的清寒与虫豸生趣相融，以小景见秋深，尽显文人写意的淡远雅致，把清秋里幽微的生命意趣娓娓道来。",[23,24,7,164,59,27,128,61,480,548,549,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5a6ebe9dc7f416e70b255842e6dea0d.jpg",[],{"id":35969,"slug":35970,"title":2903,"dynasty":18,"author":223,"museum":300,"description":35971,"tags":35972,"thumbUrl":35973,"material":84,"size":84,"collection":84,"collections":35974,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":49},223672,"xue-zhu-tu-yi-ming-223672","画面以巨石为骨，古松蟠曲依偎身侧，修竹高低错落、劲挺而立。作者以浓淡墨色晕染出雪意，枝桠竹叶覆雪的沉凝质感呼之欲出，留白暗合积雪清寒，将冬日萧索尽数铺陈。\n笔触苍劲老辣，写形亦写意，将雪后竹林幽寂清旷的氛围烘托到极致，草木于冷冽之中舒展不屈生机，尽显工致写实与文人意趣的交融，勾勒出古朴清寒的林下况味，晕开冬日静谧雅致的深幽意境。",[164,24,7,28,132,167,1314,1556,413,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2ab1508510dd441b1656cf2e9ed8949.jpg",[],{"id":35976,"slug":35977,"title":35978,"dynasty":18,"author":223,"museum":300,"description":35979,"tags":35980,"thumbUrl":35981,"material":84,"size":84,"collection":84,"collections":35982,"showCount":35533,"zanCount":1116,"manualWeight":48,"mainColor":49},223643,"liao-gui-tu-yi-ming-223643","蓼龟图","此作构图疏淡清寂，以淡赭铺陈出秋日汀洲的柔和底色。坡石间灵龟敛息静伏，背甲纹理勾勒写实，憨态稚拙尽显。旁侧蓼花柔茎舒展，青绿叶片晕染雅致，淡紫碎花垂曳生姿，下方蓝紫小花点缀水岸，野趣悠然。\n画作工写相融，灵龟与花木刻画精细，设色清雅柔和，大片留白烘托出幽谧空寂的意境，尽显宋人小品的雅致意趣，将郊野闲逸之景凝于尺幅间，藏着对自然细微之美的敏锐体察，晕开悠然沉静的田园诗意。",[23,164,24,7,59,28,27,61,949,14233,30696,171,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9b574896c7d5eafa0c0c152a688c269.jpg",[],{"id":35984,"slug":35985,"title":35986,"dynasty":18,"author":223,"museum":300,"description":35987,"tags":35988,"thumbUrl":35989,"material":40,"size":35990,"collection":42,"collections":35991,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":49},223503,"song-yan-xian-guan-yi-ming-223503","松严仙馆","图绘崇山中的多处建筑群，自上而下分部。画面顶端在绿树的围绕中，多座房顶露出，房屋建造宏伟，青瓦飞檐，四方端正，应为图名“仙馆”了；画中部所绘山石断面很有特色，细线勾勒整齐而光滑；近处流水涓涓，两边绿树苍翠，实为世外桃源之美景。",[23,24,7,1349,27,28,132,372,97,131,34,99,415,37,758,1022,4438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc06f5b71e8e16df60afd252093360347.jpg","60x89.15cm",[42,136,117],{"id":35993,"slug":35994,"title":25067,"dynasty":18,"author":223,"museum":35995,"description":35996,"tags":35997,"thumbUrl":35998,"material":151,"size":35999,"collection":84,"collections":36000,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":956},223409,"ru-yi-lun-guan-yin-tu-yi-ming-223409","英国不列颠博物馆","如意轮观音是密宗六观音之一，其形象一般为六臂，至于手持之物和结印，则依不同经典而有别，但一般因持有如意宝珠和宝轮而称之为如意轮观音。六臂表示能游于六道，解除六道众生的诸种苦恼。",[23,164,24,7,165,187,28,27,96,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b67a20266f43fbe0dead932e5b9e98a.jpg","纵127.8厘米 横64.5厘米",[],{"id":36002,"slug":36003,"title":36004,"dynasty":54,"author":18944,"museum":300,"description":18945,"tags":36005,"thumbUrl":36006,"material":611,"size":84,"collection":318,"collections":36007,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},223270,"shou-gao-hong-yi-fa-shi-223270","手稿",[23,7,64,133,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba929a2566c55462d1563549dbb0007c.jpg",[318],{"id":36009,"slug":36010,"title":36011,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":36012,"thumbUrl":36013,"material":151,"size":7879,"collection":84,"collections":36014,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},223060,"hong-lou-meng-46-sun-wen-223060","红楼梦46",[23,24,7,59,28,27,95,96,101,97,29,34,98,35,4363,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1253286b5330bfb421905cfde8ccfc2.jpg",[],{"id":36016,"slug":36017,"title":36018,"dynasty":54,"author":36019,"museum":300,"description":36020,"tags":36021,"thumbUrl":36022,"material":1027,"size":84,"collection":136,"collections":36023,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},222711,"mo-bi-shan-shui-zhong-tang-zheng-min-222711","墨笔山水中堂","郑旼","水墨绘远处山石连绵，中部河道宽广，河面一条船只行驶；近处岸边树木葱郁。技法上，山石以细墨勾皴，再以墨点绘树木绿植，画上有画家自题诗一首。郑旼，字慕倩，号遗娃，善画山水，工诗文，尤工篆刻，新安派画家之一。",[23,24,7,29,165,128,132,663,413,171,99,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d7d2495e8028e35e34df00482f874b8.jpg",[136,117],{"id":36025,"slug":36026,"title":36027,"dynasty":124,"author":36028,"museum":524,"description":36029,"tags":36030,"thumbUrl":36031,"material":9291,"size":36032,"collection":68,"collections":36033,"showCount":35533,"zanCount":1116,"manualWeight":48,"mainColor":49},222051,"bing-hun-leng-rui-tu-wang-qian-222051","冰魂冷蕊图","王谦","用墨笔截取倒垂老梅，枝干劲健挺拔，梅花双勾而成，繁花密蕊，清奇可爱。 以淡墨晕染绢地，更衬托出梅花凄厉冷艳的姿色。 作品画格雄健，与晚明及清代梅花作品风格迥然相异。",[23,24,164,7,128,369,371,171,582,1039],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00fb28109c7cdb6700ac5749c89e75c4.jpg","纵186cm，横111cm",[68,45],{"id":36035,"slug":36036,"title":36037,"dynasty":144,"author":36038,"museum":244,"description":36039,"tags":36040,"thumbUrl":36041,"material":27,"size":36042,"collection":68,"collections":36043,"showCount":35533,"zanCount":1998,"manualWeight":48,"mainColor":72},221859,"tie-di-tu-zhou-yang-wei-zhen-221859","铁笛图轴","杨维桢","乾隆皇帝于苏州题咏时，引杨维祯〈冶师行〉的内容作题，认为舟上吹笛者为杨维祯，岸上听笛者是为其铸铁笛的冶师缑长弓。题诗内容展现他对杨维祯诗文、生平的认识，以及将文史知识连结到画面内容的欣赏角度",[164,24,7,165,128,96,167,129,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff828bd52bc7e967b8fa17905c2fe1009.jpg","该幅 95.6x51.6公分、诗塘 28.4x51.6公分、全幅 72.3公分",[68,117],{"id":36045,"slug":36046,"title":36047,"dynasty":144,"author":1768,"museum":244,"description":14689,"tags":36048,"thumbUrl":36049,"material":27,"size":36050,"collection":44,"collections":36051,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":49},221849,"qun-xian-xian-shou-tu-zhou-liu-guan-dao-221849","群仙献寿图轴",[164,24,7,27,96,208,28,9521,6318,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F872049468677e6ff4ae3a2d905a51f63.jpg","36.6x56.2公分、全幅 63.5公分",[44,45],{"id":36053,"slug":36054,"title":36055,"dynasty":144,"author":36056,"museum":224,"description":36057,"tags":36058,"thumbUrl":36059,"material":128,"size":36060,"collection":84,"collections":36061,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},221723,"liu-chen-ruan-zhao-ru-tian-tai-shan-tu-juan-zhao-cang-yun-221723","刘晨阮肇入天台山图卷","赵苍云","赵苍云是宋代皇室家族成员，经历了南宋灭亡、蒙元统治的巨大变化。他采用李公麟的白描手法描绘了汉代刘晨、阮肇入天台山遇仙的故事。天台山在浙江天台县北，传说刘晨、阮肇入天台山采药，遇见两个仙女，留他们住了半年。后来他们要求回家，到家乡时发现已经过了七世，这种天堂与人间的巨大反差让他们感到疏离与不适应，这也是许多宋代遗民在蒙古人统治下的心境。\n关于赵苍云的资料，我们只有在这幅画卷的题跋中所知一二。第一段跋中，元代人华幼武（字彦清，号栖碧，无锡人。生于元成宗大德十一年，卒于明太祖洪武八年，年六十九岁。平生笃于孝友。少有盛名。）说赵苍云以没骨法作水墨山水与人物画。华还说赵苍云年轻时比他的同宗赵孟坚、赵孟頫更有名气。后来赵苍云归隐山林，不婚不仕，他的生平资料没有任何记载，只有这幅画留存人世。\n华幼武跋语：苍云山人，本赵宋宗室。高奇嗜酒，绘事入神。山水横放，大都仿没骨图，而生动过之。人物工致，别有姿韵，世不多见。所作刘阮天台图，意境萧散，神趣闲逸，曹衣吴带，设色妍妙，有诸家所不能及者。窃意刘阮未必非乌有子虚，唐人云：“仙姝宜属魅界。”但得此墨妙，觉灵山俨然，西园犹在，展卷不知身在桃云柳浪、清风红日间也。苍云早岁，名在子昂、子固之上，不婚不宦，每隐于山林湖舫，虽亲串无从踪迹，世人得其片帧，几如拱璧，此其匠心运意，备极惨澹，当不能有二也。洪武十二年秋九月，华幼武书於春草轩。",[23,164,24,7,25,188,128,96,29,131,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f6ca0b72de89d4c9bf952820d989cd.jpg","22.5cm×561.34cm",[],{"id":36063,"slug":36064,"title":36065,"dynasty":18,"author":5533,"museum":224,"description":36066,"tags":36067,"thumbUrl":36069,"material":9291,"size":36070,"collection":84,"collections":36071,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":199},221609,"ze-pan-xing-yin-tu-liang-kai-221609","泽畔行吟图","《史记·屈原列传》有“屈原即放，披发行吟泽畔”，“泽畔行吟”的意思是在河边边走边吟（诗）。此画的左上部是隐隐的山峰，中上部大片的空白给人于无限的想象，空白中又有渲染的淡墨，似云似雾却绵延出了中景的山石与彼岸。左下角沙洲上摇曳的枯苇，暗示着秋冬的凛冽，右下角一岸斜坡上，一位高士手拄竹杖，迎着寒风，似行似吟仰头面对寥廓，似屈原、似李白更似画家本人吧！",[24,7,128,10170,96,29,171,36068],"泽畔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff31310ea121bd5bab6b9106fd76e6d10.jpg","22.9×24.3cm",[],{"id":36073,"slug":36074,"title":36075,"dynasty":18,"author":12759,"museum":20,"description":36076,"tags":36077,"thumbUrl":36079,"material":40,"size":36080,"collection":42,"collections":36081,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":49},221583,"bu-chu-tu-ye-li-an-zhong-221583","哺雏图页","图中寒冬中二枝芦苇业已枯败，杆上有三只鸟儿栖息，其中鸟父母嘴里叨着虫子向中间小的鸟儿走来，喂食它们的孩儿。图上芦苇叶子描画精细，正翻面和缺口自然显现；鸟儿的眼神专注，将父母对子女无私的爱自然流露出来。",[23,164,24,7,59,28,27,61,167,355,36078],"雏鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8da06ac16d1aa8ac5e037145a98372f.jpg","22.8*24cm",[42,68,45],{"id":36083,"slug":36084,"title":36085,"dynasty":18,"author":9468,"museum":20,"description":36086,"tags":36087,"thumbUrl":36088,"material":151,"size":36089,"collection":42,"collections":36090,"showCount":35533,"zanCount":1998,"manualWeight":48,"mainColor":72},221467,"xue-mei-tu-juan-quan-juan-yang-wu-jiu-221467","雪梅图卷全卷","《雪梅图》是宋代扬无咎创作的绢本水墨画，现为 收藏。\n此图以简练的笔法，画一枝偃仰姿纵的“野梅”和翠竹。\n作者用笔疾速，枝干着墨比较粗放，有些地方留有“飞白”，即不经意地在绢上造成的空白效果，非常巧妙地表现出树皮斑驳的质感；花朵用笔圆润细巧，花蕊娇嫩；竹叶下垂，只在叶子的下部用浓墨勾出一半轮廓。\n为了更好地衬托积雪的效果，画家用淡淡的墨色将绢地满涂，仅仅只留出积雪的部位，阴霾逼人的寒气便得到了很充分的渲染。\n此图为长卷，描绘雪天绽廾的梅花：墨笔画一枝凌空偃仰恣纵的野梅，图巾仪截取梅花树的一部分，重写枝十，淡点梅花-枝干有取有舍，疏密得官，苍劲挺拔，穿插有致-夹杂着儿簇竹口十，雪竹从画幅的左上角向右下方斜伸、疏竹枝叶及梅枝花办』：半爪残雪，借天色烘出一片清光傲寒之气洋溢画外。\n本幅钤“草玄之裔”、“补之”“逃禅”朱文印三方。\n本幅南宋曾觌题诗： 笔端造化出天巧，写出江南雪压枝。\n谁道春归无觅处．横斜全似越溪时。\n题记“扬补之得墨梅三昧，山谷道人叹日：‘如嫩寒清晓行孤山篱落间，但欠香耳。\n’则笔端春色之妙，此言尽矣。\n海野老农”。\n钤“子子孙孙其永宝用”朱文。\n鉴藏印有：“崇信军节度使之印”朱文。\n吴廷二方，高士奇五方，清乾隆、嘉庆、宣统内府藏印十方。\n引首有清乾隆御书“孤山香雪”行书4字，又在前隔水题诗一首。\n后隔水有清高士奇跋、印。\n纸尾有元止止道人、顾德璋、唐幼明、李升，明吴勤、李澄之、吴宽跋，清高士奇十跋。\n诸家印鉴及吴延鉴藏印共三十九方。\n扬无咎擅画梅、竹、松、石等，也能画人物，师李公麟。\n但他目前只有墨梅作品传世，“四梅花图”与“雪梅图”均藏故宫博物院。\n扬无咎为画梅，曾在庭院中植梅树，“大如数间屋，苍皮藓斑，繁花如簇”，他时时观察、写照，并得出“交枝而花繁累累，分梢而萼蕊疏疏”的理论。\n他画梅花，用细笔墨线圈出花瓣，更见梅花“疏影横斜”的风致。\n据传宋徽宗看到他画的梅花，曾笑道扬无咎画的是乡村中的梅花，扬无咎便自署画梅为“奉敕村梅”。\n除擅画外，扬无咎亦工书，学欧阳询，很有心得。\n工诗词，著有《逃禅词》。\n此图全幅以淡墨烘小，浓墨写枝，细笔勾花，用以表现“万花敢向雪中廾’’的意境-全图川笔劲逸，画法与《四梅花卷》用笔稍有不同，布景舒朗清新-背景从上至下，从左到右，均以淡墨铺染，与枝干重下孑一侧的画法相结合，从而烘托出枝卜L的积雪，同时也映衬小朵朵梅花鲜明灿烂，一雪茫茫，花枝俏丽，呈现十无尽的叫：意．山于作者非常讲究人格修养及笔墨素养，所以，他画的梅花高标清韵，正是他高沾情操的写照：此卷墨色野梅，能作成疏影横斜之态，义间以竹口卜披拂，义皆宁以形状，不施一粉而雪景澹然。\n画面』二展示的不仪是梅花姿态，而是一种“嫩寒清晓，行孤山篱落间”的梅花境界。\n从此画可窥见作者对雪中梅花“高洁”品格的喜爱和作这幅画寸的内心情感。\n全图用笔简逸，与《四梅花图》卷的用笔又有变化，布景舒朗清新，很富有杭州孤山篱落间那种“疏影横斜”，“暗香浮动”的诗意。\n梁济海 经《中国古代书画图目》十九、《 》上册、《中国美术全集·绘画编》4、《宋扬无咎雪梅图》、《艺苑掇英》1979年第1期、《故宫博物院藏文物珍品全集·晋唐两宋绘画·花鸟走兽卷》、《故宫博物院藏品大系·绘画编》2等影印；《石渠宝笈·初编》、《 》卷十四、《江村销夏录》卷三、《江村书画目》、《故宫已陕书画目》、《国宝沉浮录》、《中国古代书画目录》第二册著录。\n扬无咎(197～1169年)，字补之，号逃禅老人、清夷长者，清江(今属江西)人，寓居南昌。\n自称为东汉文学家扬雄之后，故其姓氏从“手”而不从“木”。\n南宋高宗时因不满秦桧专权，累征不起，一生没有做官，是一位藐视权贵的画家。\n他工诗词，擅书画。\n其书学欧阳询，画师华光仲仁。\n伸仁偶于月夜见窗间梅影，创为墨梅。\n扬无咎继承其法，所作梅花多取材于山间水滨、疏枝冷蕊、清寒野逸，一反院画之“宫梅”格调，故被戏称为“村梅”，开创了墨梅新派，对当时和后世均有较大影响。\n著有《逃禅词》一卷。",[23,164,24,7,25,128,133,371,1556,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3988218e54f77fb99d01fef5567a2244.jpg","27x64.",[42,68],{"id":36092,"slug":36093,"title":36094,"dynasty":18,"author":12079,"museum":300,"description":36095,"tags":36096,"thumbUrl":36097,"material":151,"size":36098,"collection":42,"collections":36099,"showCount":35533,"zanCount":1998,"manualWeight":48,"mainColor":49},221366,"xi-cheng-tu-juan-qiao-zhong-chang-221366","西成图卷","(公元12世紀)河中(今山西永濟)人，生卒年不詳。工雜畫，尤擅人物道釋故事畫，師法李公麟。靖康之變(1126)，金人圍城中思歸，一日作《河中圖》贈邵澤民侍郎。南宋·鄧椿《畫繼》卷四，著錄其畫跡有《龍宮散齋圖》《山居羅漢圖》《淵明聽松風圖》《李白捉月圖》《玄真子西塞山圖》《列子御風圖》等，然至今罕見。\n傳世作品有《赤壁圖》卷，紙本，墨筆，描繪蘇軾《後赤壁賦》中情節，並分段書寫賦文。山水人物筆法近李公麟，但不為成法所囿，用筆簡率生拙，氣韻野逸。卷後有宣和五年(1123)八月七日趙德麟題跋，還有武聖可和趙巖題跋，清乾隆皇帝御書引首“尺幅江山”四字，曾入清乾隆內府，乾隆為畫題簽，《石渠寶笈初編》著錄，現藏美國納爾遜·艾特金斯美術館。",[23,24,7,25,27,28,96,102,101,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F790d484bb6e65e23609df02830938b7a.jpg","21.3x82",[42,44,45],{"id":36101,"slug":36102,"title":36103,"dynasty":144,"author":569,"museum":244,"description":36104,"tags":36105,"thumbUrl":36106,"material":637,"size":13327,"collection":318,"collections":36107,"showCount":35533,"zanCount":1998,"manualWeight":48,"mainColor":72},220875,"zhi-zhong-feng-he-shang-chi-du-zhao-meng-fu-220875","致中峰和尚尺牍","赵孟頫妻子管道昇亦在书画上名冠一时，延佑五年(1318)，管夫人脚气病复发，经赵孟頫多次请求，次年四月，方得准送夫人南归。五月中旬，途经山东临清，管夫人病逝舟中。赵孟頫悲痛万分，相濡以沫的管夫人撒手西去，给了赵孟頫很大的打击，他对官场的虚名，也因此彻底看破。由于丧偶，长途跋涉，操理丧事，赵孟頫晚年的健康状况急剧下降。延佑七年，仁宗特遣使臣赐衣缎，并召赵孟頫返京，但此时赵孟頫因病不能长途跋涉了。次年英宗即位，再次遣使召赵书写《孝经》，赵以年迈体弱要求致仕，终于得到朝廷的应允。此时赵孟頫耳鸣眼花，颓然老矣。但他倾心于佛、道之旨，以书写经文为乐，并写下许多书画作品和题跋。他认为“人谁无死，如空华然”，因而在平淡中度过光阴。英宗至治二年 (1322)六月，他逝于吴兴。临死还观书作字，谈笑如常。享年六十九岁。",[7,64,133,208,9909,9910],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f411ab4cfabac501b963148fcc20b3.jpg",[318],{"id":36109,"slug":36110,"title":36111,"dynasty":124,"author":1141,"museum":224,"description":36112,"tags":36113,"thumbUrl":36114,"material":66,"size":36115,"collection":44,"collections":36116,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},219969,"cong-gui-zhai-tu-wen-zheng-ming-219969","丛桂斋图","本图乃文征明为祝贺同乡郑子充考中进士而作。古时，科考多在八月桂花盛开之时举行，所以人们也将科举及第称为“折桂”。画卷中表现的是子充自家庭园，他正靠在书斋墙边，似乎正全神贯注地看着风景。透过窗户，还能看到一个装满了卷轴的柜子，可见其对艺术的鉴赏。",[23,24,7,25,128,132,29,413,15540,130,229,35,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d9f9610b44a8cc096102b26bc0ab20b.jpg","31.6x56.2",[44],{"id":36118,"slug":36119,"title":36120,"dynasty":18,"author":1174,"museum":244,"description":36121,"tags":36122,"thumbUrl":36123,"material":151,"size":36124,"collection":45,"collections":36125,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":49},219923,"ru-niu-tu-zhou-li-tang-219923","乳牛图轴","一位牧童趴伏于母牛背上，小牛跟随在后，引颈低呼，老牛摇尾相应，母子亲情，描写欲活。本幅并无作者款印，裱绫有清代鉴赏家梁清标所书之题签，云：「李晞古乳牛图」。不过本幅牛体、皴石之用笔皆与李唐（西元1049－1130年）画风有别，或属明代早期之作。李唐，字晞古。河南孟县人。擅山水、人物，也长于画牛。徽宗朝进入画院，高宗建炎年间，授成忠郎衔任画院待诏。",[23,24,164,7,165,28,27,102,949,666,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c355d617f6a550dbb9e6d783bb802e6.jpg","46.4x62.5",[45],{"id":36127,"slug":36128,"title":36129,"dynasty":54,"author":36130,"museum":56,"description":36131,"tags":36132,"thumbUrl":36133,"material":128,"size":84,"collection":44,"collections":36134,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},219751,"su-xiao-mei-xiang-chen-zhuan-219751","苏小妹像","陈撰","此作以极简白描勾勒仕女，凝练舒展的墨线塑就身形，少女垂首捧卷，眉梢眼底尽是沉浸书卷的静雅温婉，将才女的灵秀聪慧藏于无言。画面左侧题诗与人物相映成趣，诗画共生，晕染出清雅脱俗的文人意趣。全作不施多余敷色，纯以墨线写形传神，寥寥数笔便将闺中才女耽于诗书的娴静情态刻画入微，笔墨清逸秀朗，尽显写意雅致的格调，把人物的温婉灵韵全然铺陈开来，尽显文人仕女画的写意风神。",[24,7,165,188,128,96,166,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c45638293df21733715bda30704781.jpg",[44],{"id":36136,"slug":36137,"title":36138,"dynasty":124,"author":36139,"museum":4840,"description":36140,"tags":36141,"thumbUrl":36142,"material":278,"size":36143,"collection":136,"collections":36144,"showCount":35533,"zanCount":1116,"manualWeight":48,"mainColor":72},219719,"qiu-lin-yuan-xiu-tu-yang-wen-cong-219719","秋林远岫图","杨文骢","此画构图可分远景、中景、近景三段式；远景为重山叠嶂，山峰林立，山间杂木和衰草丛生。山巅烟云缭绕，似与天相连：中景一片广阔的江水，一泓清流，平静如镜，近河岸处，山石露小，近景为坡岸山石，乱石横卧，坡石间树木和杂草丛生，一株株树木，根根枝干挺直而上，枝叶疏密相间，错落有致。若人居之，上可聆听萧萧山风，下可俯观静谧的江水。",[23,24,7,165,128,132,29,34,131,1337,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9d6d41811a6271aa2a6e27944c864f0.jpg","纵144.5厘米，横55.8厘米",[136],{"id":36146,"slug":36147,"title":36148,"dynasty":18,"author":36149,"museum":36150,"description":36151,"tags":36152,"thumbUrl":36153,"material":278,"size":84,"collection":136,"collections":36154,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},219706,"bai-miao-yue-bing-tu-li-zao-219706","白描阅兵图","李早","刘海粟美术馆","淡墨晕开平远丘壑，清旷烟岚晕染出空濛郊野，劲挺林木错落排布，晕染出幽寂底色。整肃的军马武士隐现于浅渚平坡间，白描线条清劲洗练，将军士的端严、战马的神骏勾勒得灵动传神，不着浓丽色彩，仅凭虚实笔墨，就将阅兵时的沉凝肃穆尽数铺展。\n\n卷上题跋添就文史意趣，山水意境糅合军旅气象，以简淡笔墨托出兵阵的雄浑威仪，静穆烟岚之下暗涌军阵张力，尽显笔墨雅韵与写实功力，将盛大阅兵的宏大气度，藏在清和的丘壑林泉之间。",[23,24,7,25,188,64,96,101,5626,34,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ddd2c5d153d84f8a246a4de734fb049.jpg",[136],{"id":36156,"slug":36157,"title":36158,"dynasty":124,"author":36159,"museum":244,"description":36160,"tags":36161,"thumbUrl":36162,"material":611,"size":84,"collection":68,"collections":36163,"showCount":35533,"zanCount":1998,"manualWeight":48,"mainColor":72},219652,"qiu-kui-shuang-ji-tu-zhou-fan-219652","秋葵双鸡图","周蕃","此作用淡墨晕染铺陈，秋葵斜逸而出，花瓣晕开柔润淡影，掌状叶片以浓墨勾描筋络，舒展挺拔，枝梢花苞含露清气。下方双鸡依偎，以干湿变化的墨色细摹蓬松羽翎，冠爪勾勒劲挺，一只抬首侧目，一只探身藏于其后，神态警觉安然，野趣自生。全幅以水墨写意，笔意简逸苍秀，未施粉彩却形神俱足，将篱边秋日的闲雅生机尽显，把禽鸟憨态与秋花清姿相融，尽显文人画的疏淡雅致，留白里浸透悠然禅意，是水墨花鸟的精妙之作。",[805,24,7,165,128,3291,746,2510,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2c031920dbfd5e8ccfc4aacb6d33eaa.jpg",[68],{"id":36165,"slug":36166,"title":12124,"dynasty":54,"author":16583,"museum":4840,"description":36167,"tags":36168,"thumbUrl":36169,"material":173,"size":84,"collection":136,"collections":36170,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":49},219485,"tian-bao-jiu-ru-tu-gao-qi-pei-219485","画峰耸立，山谷深邃，云雾缭绕。 画面左上方巨岩的主峰直冲云霄，有立壁之势。",[24,7,165,29104,27,29,96,131,34,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff10c5c3af2a80ea2558949079d71c527.jpg",[136],{"id":36172,"slug":36173,"title":36174,"dynasty":18,"author":2099,"museum":244,"description":36175,"tags":36176,"thumbUrl":36177,"material":128,"size":36178,"collection":136,"collections":36179,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":49},219357,"xi-qiao-san-bu-zhou-li-gong-lin-219357","溪桥散步轴","云雾轻笼远山，层峦叠嶂间隐现沙洲，溪水流淌过平野，小桥横卧其上。近岸枯木疏枝错落，几椽茅舍掩映于林麓，有人影缓步溪畔，似与自然低语。山石以细腻线条勾勒，墨色浓淡相宜，皴擦间显苍劲质感；水面留白处见清浅波纹，愈显空濛。整幅画面虚实相生，远近层次分明，笔墨雅致温润，将文人隐逸的闲适心境与山水之清幽完美契合，尽显自然之趣与人文之韵，宛如一曲无声的田园牧歌，引人沉醉于这份宁静悠远之中。",[24,164,7,165,128,132,29,98,99,34,131,35,1337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83fc4e06587a7f9fc815ef7ad4a35387.jpg","50.4x25.3",[136],{"id":36181,"slug":36182,"title":36183,"dynasty":124,"author":36184,"museum":244,"description":36185,"tags":36186,"thumbUrl":36187,"material":173,"size":36188,"collection":45,"collections":36189,"showCount":35533,"zanCount":1998,"manualWeight":48,"mainColor":72},219327,"ling-yan-ji-xue-tu-liu-yuan-qi-219327","灵岩积雪图","刘原起","积雪如絮覆层峦，岩岫叠嶂间清寒弥漫。枯木疏枝裹银装，青松攒雪挺劲立，枝桠凝霜似玉。曲径蜿蜒入幽，茅舍隐于林间，溪面冰凝如镜，偶见踏雪痕浅。远山朦胧，塔影依稀，似有古寺钟声隐现。笔墨淡逸，留白衬雪色之净，枯笔写疏林之寂，意境静谧雅致，尽显冬日山林的幽旷与清宁，恍若尘外之境，引人沉心入画。",[24,7,29,28,27,132,208,663,1556,1144,1337,35,31,98,18542],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64a1a1cbb5ed0b803e372ed42714c4d8.jpg","63.3x31.6",[45],{"id":36191,"slug":36192,"title":36193,"dynasty":18,"author":223,"museum":56,"description":36194,"tags":36195,"thumbUrl":36196,"material":173,"size":36197,"collection":68,"collections":36198,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":49},218982,"hong-guo-lv-bei-tu-yi-ming-218982","红果绿鹎图","图中“红果”即是山楂，山楂在宋人生活中很是常见，陆游有《出游》诗写道：“行路迢迢入谷斜，系驴来憩野人家。山童负担卖红果，村女缘篱采碧花。”，写的就是诗人在出游途中，看到有人正挑着担子贩卖山楂。",[164,24,7,28,27,61,355,22995,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d2733aa2f4c00bae25f90540a4fce6f.jpg","24.1x25.1cm",[68],{"id":36200,"slug":36201,"title":36202,"dynasty":144,"author":7181,"museum":244,"description":36203,"tags":36204,"thumbUrl":36205,"material":317,"size":36206,"collection":136,"collections":36207,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":49},218725,"bao-jin-jing-du-tu-wang-zhen-peng-218725","宝津竞渡图","界笔如丝，勾勒出楼阁层叠错落，飞檐翘角似振翅欲飞，梁柱间精巧纹饰尽显匠心底蕴。水面上龙舟竞渡，旌旗猎猎，舟中人群攒动——或击鼓助威，或挥桨逐浪，浪花翻涌间满是喧腾热闹。整幅画以细腻线条铺陈，将宋代汴京宝津楼前的端午盛景凝于绢素，既有界画的严谨工整，又不失动态的鲜活灵动，仿佛鼓点与欢呼交织耳畔，昔日都城的繁华气象跃然眼前。",[24,7,25,95,188,96,97,98,99,12743,34,758,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda29ce46bd5c86dc803d1bc684f736b8.jpg","36.6x183.4cm",[136],{"id":36209,"slug":36210,"title":272,"dynasty":18,"author":223,"museum":161,"description":36211,"tags":36212,"thumbUrl":36213,"material":317,"size":36214,"collection":136,"collections":36215,"showCount":35533,"zanCount":1086,"manualWeight":48,"mainColor":49},218599,"zhu-tu-yi-ming-218599","墨竹倚石而生，枝干挺劲如剑，竹叶纷披若云。中锋运笔勾勒竹干，线条圆劲中带弹性；侧锋扫出叶影，浓淡枯湿交错，似有风穿叶隙，簌簌有声。石体朴拙厚重，皴擦间显苍劲肌理，与秀逸之竹相映成趣，刚柔相济。留白处似含空濛之气，延展了清寂之境。整幅笔墨简括却意韵悠长，竹之疏朗、石之沉凝，暗蕴君子不阿风骨，尽显宋画简远雅致的文人格调——于无声处，见笔墨精神与自然生机的交融。",[23,164,24,7,165,128,369,167,1314,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1607f568c2c28a4be41fe93f5462041d.jpg","27x47.5cm",[136],{"id":36217,"slug":36218,"title":36219,"dynasty":144,"author":36220,"museum":5543,"description":36221,"tags":36222,"thumbUrl":36223,"material":278,"size":36224,"collection":44,"collections":36225,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},218404,"xia-zi-he-shang-tu-ke-weng-218404","虾子和尚图","可翁","墨色晕染间，禅僧躬身仰首，一手持网欲探枝间生灵，一手轻遮额前似凝眸细辨。衣纹简劲流畅，寥寥数笔勾出僧袍宽缓质感；树影藤蔓泼墨写意，浓淡交错见自然野趣。留白处意蕴悠长，引观者随其目光，窥见禅者与天地生灵的静默私语。禅意未拘经卷古刹，却在捕虫的专注里，藏着对生命的细微观照与悠然禅趣。笔意纵逸形神兼备，简淡中见生动，寻常小景里透出禅家自在天真，尽显水墨写意的妙境。",[164,24,7,165,128,188,187,96,413,171,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05ee01580bb91979022abf804ecfce07.jpg","86.9x34.5",[44],{"id":36227,"slug":36228,"title":36229,"dynasty":144,"author":223,"museum":244,"description":36230,"tags":36231,"thumbUrl":36232,"material":173,"size":36233,"collection":44,"collections":36234,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},218228,"di-yi-a-ying-a-ji-da-zun-zhe-yi-ming-218228","第一阿迎阿机达尊者","尊者趺坐石畔，衣纹流转如微风拂过的涟漪，一手托腮，眸光低垂却似洞穿万象。眉宇间凝着浅浅思索，唇边漾开若有若无的笑意，禅意便在这静默神态里漫溢。身后古木虬枝，叶影婆娑，与头顶圆光相衬，晕开温润光晕。远处峰石隐现，亭台依稀，似是尘外清境。\n\n笔墨以线塑形，婉转中见骨力，淡墨晕染出清寂氛围，将尊者的沉静与天地的悠远交织。无需浓墨重彩，只凭简淡之笔，便勾勒出禅者澄明心境，尽显元人绘佛的空灵韵致——于寻常物象藏深意，于静默观照见真如。",[24,7,165,187,188,128,27,96,34,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75cf9de2fc1b5e28c349fd7a531f9aaa.jpg","109.5x46",[44],{"id":36236,"slug":36237,"title":36238,"dynasty":54,"author":36019,"museum":6892,"description":14198,"tags":36239,"thumbUrl":36240,"material":278,"size":14201,"collection":136,"collections":36241,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},218099,"xin-an-yi-yun-ce-zheng-min-shan-shui-zheng-min-218099","新安逸韵册(郑旼山水)",[23,24,7,59,128,133,208,29,663,413,132,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59e97b172d0eb3c9c22236592b7cdd2a.jpg",[136],{"id":36243,"slug":36244,"title":36245,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":36246,"thumbUrl":36247,"material":611,"size":84,"collection":84,"collections":36248,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":956},217116,"bai-miao-luo-han-4-leng-mei-217116","白描罗汉-4",[24,7,59,188,187,96,97,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F975c7429dbb03605379aebabc588151b.jpg",[],{"id":36250,"slug":36251,"title":36252,"dynasty":124,"author":2268,"museum":77,"description":6564,"tags":36253,"thumbUrl":36254,"material":66,"size":84,"collection":84,"collections":36255,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},217032,"fang-gu-shan-shui-ce-liu-kai-3-dong-qi-chang-217032","仿古山水册六开-3",[23,24,7,59,128,132,133,64,208,29,413,497,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe610f6ed407a4bd2308e029df1f6c21f.jpg",[],{"id":36257,"slug":36258,"title":36259,"dynasty":144,"author":36260,"museum":77,"description":36261,"tags":36262,"thumbUrl":36263,"material":278,"size":84,"collection":68,"collections":36264,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":49},216725,"yi-yin-geng-shen-tu-du-ben-216725","伊尹耕莘图","杜本","伊尹耕莘图，又名伊尹莘图，是一部被认为是元朝最优秀的地图作品之一，是由元朝时期的地理学家杜本所创作的。\n\n该地图主要描述了中国当时的地理概况，包括各省、城市、河流、山脉、道路等信息。其中，最为突出的特点是对中国各省的精细描述，其中包括了各省的地理位置、面积、人口、资源、经济情况等信息。\n\n伊尹耕莘图被认为是中国历史上最为精确的地图之一，并被广泛应用于当时的军事、经济、文化等方面。它的创作也标志着中国地图制作技术的巨大发展，对中国地图学的发展产生了深远的影响。",[24,7,25,128,28,188,132,96,102,413,131,23454,499,34836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2087df4b0af8e6ce8e4200bf6af9f34a.jpg",[68],{"id":36266,"slug":36267,"title":36268,"dynasty":144,"author":1346,"museum":244,"description":2533,"tags":36269,"thumbUrl":36270,"material":278,"size":84,"collection":84,"collections":36271,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},216384,"mo-zhu-pu-ce-5-wu-zhen-216384","墨竹谱册-5",[164,24,7,59,128,167,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F586b1cd6d74f25311f2e2eae3adb5abc.jpg",[],{"id":36273,"slug":36274,"title":36275,"dynasty":124,"author":5219,"museum":56,"description":5220,"tags":36276,"thumbUrl":36277,"material":66,"size":5223,"collection":84,"collections":36278,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},214673,"san-jue-tu-2-yao-shou-214673","三绝图-2",[24,7,59,128,27,29,132,98,99,129,34,496,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fd2380dd3ead30497ae3b9b56171da9.jpg",[],{"id":36280,"slug":36281,"title":36282,"dynasty":124,"author":2268,"museum":56,"description":3855,"tags":36283,"thumbUrl":36284,"material":278,"size":84,"collection":84,"collections":36285,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":49},214657,"qiu-xing-ba-jing-tu-ce-2-dong-qi-chang-214657","秋兴八景图册-2",[164,24,7,59,128,27,132,188,96,413,229,1023,6639,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F883a53c2374ee28565293f083f1f9beb.jpg",[],{"id":36287,"slug":36288,"title":36289,"dynasty":124,"author":2268,"museum":56,"description":3855,"tags":36290,"thumbUrl":36291,"material":66,"size":84,"collection":84,"collections":36292,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},214652,"qiu-xing-ba-jing-tu-ce-6-dong-qi-chang-214652","秋兴八景图册-6",[24,7,59,128,26,27,29,663,413,37,208,64,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff817eee9f0599f9ebafe594d2a16d4ab.jpg",[],{"id":36294,"slug":36295,"title":36296,"dynasty":54,"author":9529,"museum":77,"description":36297,"tags":36298,"thumbUrl":36299,"material":66,"size":84,"collection":84,"collections":36300,"showCount":35533,"zanCount":48,"manualWeight":48,"mainColor":72},214604,"fang-gu-shan-shui-ce-1-wang-hui-214604","仿古山水册-1","王翚（1768年－1849年）是清代著名的画家，他出生于江苏省南京市，是清代名门望族，他的祖父王恭是清代名将王莽的儿子。王翚早年曾在父亲的教导下学习书法和绘画，后来又师从著名画家黄庭坚学习。\n\n王翚擅长画山水，他的作品《仿古山水册》是他的代表作之一。这本册子包含了王翚的许多优秀作品，其中包括了他的山水画、人物画、花鸟画等，作品风格秀丽自然，富有感染力。《仿古山水册》被誉为王翚代表作之一，在当时颇受欢迎。\n\n王翚的画风受到了清代著名画家黄庭坚的影响，但他也在此基础上创造出了自己独特的画风。他善于运用墨色，擅长表现山水的秀美和雄伟，并融入了自己的个人特色。王翚的画作经常带有浓郁的文化气息，富有哲理性和艺术性。\n\n总的来说，王翚的《仿古山水册》是一部优秀的山水画集，值得一看。",[24,7,59,128,132,2271,29,34,711,229,31,415,14906,1337,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf4fe7e77be9de98b8486a5ac52b3d32.jpg",[],{"id":36302,"slug":36303,"title":36304,"dynasty":124,"author":125,"museum":300,"description":6472,"tags":36305,"thumbUrl":36306,"material":692,"size":1293,"collection":84,"collections":36307,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},290889,"liu-tang-qi-an-shen-zhou-290889","柳塘埼岸",[24,7,59,128,133,208,29,4363,131,99,1337,130,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F104cc443d8b8dfc69213b920a74481d9.jpg",[],33,{"id":36310,"slug":36311,"title":36312,"dynasty":124,"author":204,"museum":244,"description":36313,"tags":36314,"thumbUrl":36316,"material":637,"size":36317,"collection":84,"collections":36318,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},290872,"song-yin-qin-ruan-zhou-chou-ying-290872","松阴琴阮轴","本幅绘高士二人，对坐松林泉石之间，一人拨阮，另一人停琴聆听。全画构景清旷，笔墨简赅，人物衣纹用游丝描，石用披麻皴，于仇画中极为罕见，殆有意迴避院体鲜丽精巧的面目，转而追求文徵明式简淡、雅逸的格调。 幅左篆书款署嘉靖己酉（一五四九），时仇英约五十六岁。左下角「剑光阁」、「华氏明伯」两印，均华云所有，故此画应是仇英为华氏所作",[24,164,7,165,188,128,96,1144,438,208,36315],"闲逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79ccceac39e78de66c277baf5ea414e1.jpg","54.9×28.4",[],{"id":36320,"slug":36321,"title":19857,"dynasty":144,"author":1346,"museum":300,"description":14804,"tags":36322,"thumbUrl":36323,"material":692,"size":1293,"collection":84,"collections":36324,"showCount":36308,"zanCount":1998,"manualWeight":48,"mainColor":49},290830,"shan-shui-zhou-wu-zhen-290830",[24,164,7,165,128,132,29,34,97,98,99,131,4605,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facd82f292a0555682f810ce48433f32c.jpg",[],{"id":36326,"slug":36327,"title":36328,"dynasty":54,"author":36329,"museum":300,"description":36330,"tags":36331,"thumbUrl":36333,"material":692,"size":1293,"collection":84,"collections":36334,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},290593,"yu-yuan-mu-chun-shi-zhou-zhang-ruo-ai-290593","御园暮春诗轴","张若霭","张若霭[清]（1713—1746）字晴岚（读画辑略作字景采，号晴岚），室名藕香书屋，安徽桐城人。张若霭有家学，祖父张英，父亲张廷玉为雍正、乾隆朝大学士。 雍正十一年（1733）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房，官至礼部尚书，袭伯爵。",[24,7,1349,27,132,29,35,1144,4363,98,131,209,133,208,36332],"暮春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba828b43d4a0f1aabbf6021ad4427947.jpg",[],{"id":36336,"slug":36337,"title":36338,"dynasty":18,"author":1449,"museum":244,"description":18863,"tags":36339,"thumbUrl":36340,"material":317,"size":21015,"collection":84,"collections":36341,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":49},290333,"jing-ting-song-feng-tu-zhou-ma-lin-290333","静听松风图轴",[164,24,7,165,29,96,1144,131,99,128,132,12634],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c0deb7cf38921a741612cf702fb534c.jpg",[],{"id":36343,"slug":36344,"title":36345,"dynasty":18,"author":2349,"museum":300,"description":36346,"tags":36347,"thumbUrl":36348,"material":692,"size":1293,"collection":84,"collections":36349,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":49},290301,"guan-fu-xi-ying-zhou-su-han-chen-290301","灌佛戏婴轴","此图画中的孩子们在玩“过家家”：一个孩子跪下模仿大人礼佛，一个孩子手抬佛像，还有一个孩子手持水瓶灌佛，另一孩童手捧花篮，装扮成佛教信徒模样，模仿浴佛仪式。",[164,24,7,165,28,27,96,8832,1144,167,263,249,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02cabf428605fa1ae6a542421c58c633.jpg",[],{"id":36351,"slug":36352,"title":36353,"dynasty":144,"author":145,"museum":300,"description":23916,"tags":36354,"thumbUrl":36355,"material":692,"size":1293,"collection":84,"collections":36356,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":49},290284,"ceng-luan-die-cui-tu-huang-gong-wang-290284","层峦叠翠图",[23,24,25,7,29,128,132,496,34,387,99,133,21937,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F363eb754bba65b5e5f9deefabdc145b5.jpg",[],{"id":36358,"slug":36359,"title":36360,"dynasty":18,"author":223,"museum":300,"description":36361,"tags":36362,"thumbUrl":36363,"material":692,"size":1293,"collection":84,"collections":36364,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":49},290095,"ru-lai-shuo-fa-tu-yi-ming-290095","如来说法图","本幅画一佛半跏趺坐于一大莲座上，座侧二天王、阿难、迦叶和二供养菩萨围绕。该坐佛长眉细目，眉间有白毫，唇上有髭，法相庄严。顶有螺发，肉髻低平，右手施安慰印。身后有一圆形背光，头后圆光边缘尚饰炽然飞动的火焰纹。二天王身穿盔甲，手持剑槊，神情威武。年轻的阿难温文儒雅，双手合什而立，年长的迦叶浓眉深目，双手合握作拳，食指和姆指竖起，结密教的灌顶印。二供养菩萨则手捧供花，仰首望佛，虔诚恭敬。作者充分地掌握每个人物的内在特质。人物神情各异，栩栩如生。",[24,7,165,187,18381,188,28,96,7220,15512,4204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa8ad1776dc909afc9ed35c24e31d2c2.jpg",[],{"id":36366,"slug":36367,"title":36368,"dynasty":351,"author":1610,"museum":244,"description":36369,"tags":36370,"thumbUrl":36372,"material":692,"size":1293,"collection":84,"collections":36373,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":49},289893,"xia-shan-yu-yu-tu-dong-yuan-289893","夏山欲雨图","作者以长披麻皴画山，表现南方松软的土质，又以重墨渍染林木与点苔，以彰显夏日草木蓊郁，万物滋长的生气。本幅无款印，根据张雨的题识，定为董北苑之作，然而其笔墨板滞，与董氏不类，当为后代画家的仿作。",[23,164,24,29,128,132,496,4438,2619,8709,36371,165,7],"雨意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F554d2a856f62dacda937b5e2a3cce51a.jpg",[],{"id":36375,"slug":36376,"title":13142,"dynasty":18,"author":1622,"museum":300,"description":12632,"tags":36377,"thumbUrl":36378,"material":692,"size":1293,"collection":84,"collections":36379,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":49},289763,"dong-shan-du-shui-tu-ma-yuan-289763",[23,164,24,7,165,128,27,96,99,29,187,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dbe032eb939aa2d084a741375cb0554.jpg",[],{"id":36381,"slug":36382,"title":36383,"dynasty":124,"author":33462,"museum":300,"description":36384,"tags":36385,"thumbUrl":36386,"material":692,"size":1293,"collection":84,"collections":36387,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":49},289757,"wu-yue-tu-juan-que-yi-jing-song-xu-289757","五岳图卷(缺一景)","五岳，是中国五大名山的总称，指东岳泰山、西岳华山、中岳嵩山、北岳恒山、南岳衡山。五岳起源于古代中国人的山川崇拜，是和国君对山神的祭祀联系在一起的。此图分别绘制了五岳之中的日观晴曦、太华清秋、融峰两色、恒塞积雪、二室争奇等自然美景，作品采用浓淡相间、虚实对比的手法使画面层次分明。在构图上，画家运用了传统的平远构图法，景物近大远小，近实远虚，具较强的深远感。画面用笔粗犷，潇洒秀逸，笔力雄劲，既充实了画面，也体现出明代文人画诗、书、画相结合的时代特色，不求形似，唯求达意，颇得沈周晚年画作沉郁苍茫的风韵。",[23,164,24,7,25,29,128,132,496,37,4797,97,1515,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18ca5187f1b1f5f6c2dcd2fba8a8f05.jpg",[],{"id":36389,"slug":36390,"title":36391,"dynasty":54,"author":1242,"museum":300,"description":36392,"tags":36393,"thumbUrl":36395,"material":692,"size":1293,"collection":84,"collections":36396,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},289653,"da-mo-ming-xiang-jin-nong-289653","达摩冥想","金农（1687年—1763年），男，字寿门、司农、吉金，号冬心先生、稽留山民、曲江外史、昔耶居士等，因其人生历经康熙、雍正、乾隆三朝，所以自封“三朝老民”的闲号，钱塘（今浙江杭州）人，布衣终身。清代书画家，扬州八怪之首。\n他好游历，卒无所遇而归。晚寓扬州，卖书画自给。嗜奇好学，工于诗文书法，诗文古奥奇特，并精于鉴别。书法创扁笔书体，兼有楷、隶体势，时称“漆书”。五十三岁后才工画。其画造型奇古，善用淡墨干笔作花卉小品，尤工画梅。\n代表作有《东萼吐华图》《空捍如洒图》《腊梅初绽图》《玉蝶清标图》《铁轩疏花图》《菩萨妙相图》《琼姿俟赏图》等。著有《冬心诗集》《冬心随笔》《冬心杂著》等。",[24,164,7,165,187,128,27,96,36394,171,208],"达摩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9d5d61c05ffae860bb0c53c96985fb9.jpg",[],{"id":36398,"slug":36399,"title":36400,"dynasty":18,"author":1323,"museum":20,"description":36401,"tags":36402,"thumbUrl":36404,"material":40,"size":36405,"collection":42,"collections":36406,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},289326,"qian-tang-guan-chao-tu-li-song-289326","钱塘观潮图","此卷描给钱塘张潮时的壮阔景象。蒸腾鼓荡的海湖以排山倒海之势自江口流入，而江中弄潮的舟船正依次排开、逆水而上。两岸民居、城池，远山历历在目，笔法简括。 该画作用隐喻的手法表达了作者的爱国思想。",[23,164,24,25,7,128,27,29,20794,129,36403,133,64],"观潮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95da389683c26734fef1f069628021d9.jpg","纵17.4厘米，横83厘米",[42],{"id":36408,"slug":36409,"title":36410,"dynasty":351,"author":5524,"museum":300,"description":5525,"tags":36411,"thumbUrl":36412,"material":692,"size":1293,"collection":84,"collections":36413,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":49},287366,"xie-sheng-an-chun-shui-jiu-tu-juan-huang-quan-287366","写生鹌鹑水鸠图卷",[23,164,24,7,25,28,27,61,8140,3835,211,167,62,497,303,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4b6e0e83d5ceda284e56fba76b021e1.jpg",[],{"id":36415,"slug":36416,"title":36417,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":36418,"thumbUrl":36419,"material":692,"size":1293,"collection":84,"collections":36420,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":49},283756,"yao-cen-po-mo-tu-zhou-dong-qi-chang-283756","遥岑泼墨图轴",[164,24,7,165,128,29,34,131,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50409061721d8c2cbf948c0a5a0e7f86.jpg",[],{"id":36422,"slug":36423,"title":36424,"dynasty":124,"author":27440,"museum":300,"description":36425,"tags":36426,"thumbUrl":36427,"material":611,"size":84,"collection":318,"collections":36428,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},240425,"wang-duo-shi-zhou-wang-duo-240425","王铎诗轴","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人 。明末清初大臣、书画家，王本仁的儿子。正如李志敏所评价：“王铎的草书纵逸，放而不流，纵横郁勃，骨气深厚”。\n天启二年（1622年），考中进士，入选庶吉士，历任太子左谕德、太子右庶子、太子詹事、南京礼部尚书。弘光政权建立，出任东阁大学士。顺治元年（1644年），跟随钱谦益投降清朝，授礼部尚书、弘文院学士、太子少保。顺治九年（1652年），病逝，享年六十一岁，安葬于河南巩义县洛河边，谥号文安。\n善于书法，与董其昌齐名，有“南董北王”之称。书法作品有《拟山园帖》和《琅华馆帖》等。绘画作品有《雪景竹石图》等。",[805,64,7,165,133,840,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38973f25a308f9343ab9f19300e7f3bb.jpg",[318],{"id":36430,"slug":36431,"title":36432,"dynasty":18,"author":1091,"museum":300,"description":36433,"tags":36434,"thumbUrl":36435,"material":84,"size":84,"collection":318,"collections":36436,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},239687,"su-shi-san-ma-tu-zan-can-juan-su-shi-239687","苏轼三马图赞残卷","此卷笔墨丰腴厚重又不失灵动跳脱，行书笔意裹挟楷法筋骨，朴茂沉雄间自带旷达书卷气。将追思神骏的惘然寄于笔端，起落转合皆是率真性情。纸间朱印错落排布，与墨色题字相映成趣。残卷的斑驳痕迹晕开旧时光晕，笔墨情思与岁月质感交织相融，尺牍行间既有咏叹神骏的豪迈，又藏旧友追思的缱绻，尽显宋代文人书法的隽永意韵。",[25,133,64,208,7,101,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e4139420856c9df426a7a93e05413dd.jpg",[318],{"id":36438,"slug":36439,"title":3933,"dynasty":54,"author":2687,"museum":300,"description":3934,"tags":36440,"thumbUrl":36441,"material":692,"size":1293,"collection":84,"collections":36442,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},239245,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239245",[24,7,59,28,27,61,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4df7893f85d0083830a0e23018b7a2fe.jpg",[],{"id":36444,"slug":36445,"title":3933,"dynasty":54,"author":2687,"museum":300,"description":3934,"tags":36446,"thumbUrl":36447,"material":692,"size":1293,"collection":84,"collections":36448,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},239240,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239240",[24,7,59,28,27,61,263,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fead65018ac90dcc87621195a8419817f.jpg",[],{"id":36450,"slug":36451,"title":1289,"dynasty":54,"author":24258,"museum":300,"description":36452,"tags":36453,"thumbUrl":36454,"material":692,"size":1293,"collection":68,"collections":36455,"showCount":36308,"zanCount":1998,"manualWeight":48,"mainColor":72},239154,"shan-shui-hua-hui-ce-chen-heng-ke-239154","陈师曾（1876年3月12日—1923年9月17日），男，原名衡恪，字师曾，号朽道人、槐堂，江西南昌义宁（今江西修水）人，著名美术家、艺术教育家。\n陈师曾出身书生门第，祖父是湖南巡抚陈宝箴，父亲是著名诗人陈三立。1902年东渡日本留学，1909年回国，任江西教育司长。从1911年2月至1913年4月，他受南通张謇之邀，至通州师范学校（今南通师范学校）任教，专授博物课程。1913年又赴长沙第一师范任课，后至北京任编审员之职。先后兼任北京女子高等师范学校、北京高等师范学校、北京美术专门学校教授。1923年9月为奔母丧回南京，不幸染病逝世，终年仅47岁。",[24,7,59,27,128,64,208,371,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef877738ff31c16dc13027b98f191b9.jpg",[68,136,45],{"id":36457,"slug":36458,"title":28481,"dynasty":54,"author":12395,"museum":300,"description":14623,"tags":36459,"thumbUrl":36460,"material":692,"size":1293,"collection":84,"collections":36461,"showCount":36308,"zanCount":1998,"manualWeight":48,"mainColor":72},239082,"si-ji-hua-hui-ping-zhang-xiong-239082",[24,7,165,27,28,61,604,373,171,806],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3076167865436319be86a416993807d1.jpg",[],{"id":36463,"slug":36464,"title":76,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":36465,"thumbUrl":36466,"material":692,"size":1293,"collection":84,"collections":36467,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},238886,"hua-hui-ce-dong-gao-238886",[24,7,59,27,28,61,62,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb3b177bcdb764dec1a9f648c445f800.jpg",[],{"id":36469,"slug":36470,"title":36471,"dynasty":54,"author":36472,"museum":300,"description":36473,"tags":36474,"thumbUrl":36475,"material":84,"size":84,"collection":136,"collections":36476,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":49},238665,"xue-jing-shan-shui-ren-wu-tu-zhou-yuan-ying-238665","雪景山水人物图轴","袁瑛","童时侍其叔习山水，既长从徐北山（尚）学花卉，写意之笔，颇有骨力。乾隆三十年（一七六五）膺李因培（鹤峯）之荐，供奉内廷。山水晚年益加精密，出入宋、元，用笔沈厚，宗黄鼎法而变以己意。尝作乔木高居图最妙，张问陶有诗题赠。前后居京师四十年，后官粤东开平县沙冈司（瓯钵罗室书画过目考作开平知县）乾隆五十年（一七八五）归隐葑溪，筑赐诗堂以居。",[24,7,165,27,132,28,1813,29,96,34,35,98,99,131,21398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a4bc46b2695a7ea58f51f97d7cf6ce.jpg",[136,45],{"id":36478,"slug":36479,"title":36480,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":36481,"thumbUrl":36482,"material":692,"size":1293,"collection":68,"collections":36483,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},238335,"hua-hong-li-qing-kuang-lou-yong-zhu-shi-yi-ce-dong-gao-238335","画弘历清圹楼咏竹诗意册",[24,7,59,128,27,167,171,11830],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a26b9903dbf7a5197e9f55ddfbe00e6.jpg",[68,45],{"id":36485,"slug":36486,"title":36487,"dynasty":54,"author":223,"museum":300,"description":36488,"tags":36489,"thumbUrl":36490,"material":1722,"size":36491,"collection":44,"collections":36492,"showCount":36308,"zanCount":1998,"manualWeight":48,"mainColor":72},238022,"hua-di-wang-ming-chen-xiang-ce-zhu-ge-liang-yi-ming-238022","画帝王名臣像册-诸葛亮","淡墨轻勾，绘出武侯宽袍博带的儒雅身形，发丝虬髯丝丝分明，眉眼间沉敛着半生尽瘁朝堂的弘毅忠忱，将其智绝忠纯的风骨凝于笔端。左侧配精整小楷题跋，录武侯生平评赞，笔墨清隽端雅，与画像彼此映衬。\n\n整作摒弃浓艳修饰，以工致写实的手法，用素净无华的笔触勾勒贤相仪容，不求繁复，只凭淡墨线条便将武侯忠贞弘毅的精神内核尽数彰显，书画合璧，尽显肖像画以形传神的精妙意趣，把一代名相的卓然风骨藏于简淡笔墨之中。",[24,7,59,188,128,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e19027ae7c4d5721732c1c5739a3d8c.jpg","纵25.1厘米，横20厘米",[44],{"id":36494,"slug":36495,"title":36496,"dynasty":124,"author":36497,"museum":300,"description":36498,"tags":36499,"thumbUrl":36500,"material":692,"size":1293,"collection":84,"collections":36501,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},237801,"hua-die-shan-wu-shi-pei-237801","花蝶扇","吴时培","此作以没骨法绘就，构图疏密相宜。左畔折枝错落，红果碎花点缀其间，晕染柔润鲜亮，尽显草木鲜活生机。中部草虫伏于阔叶之上，翅脉纹路勾勒细致，将虫豸之态摹写逼真。右侧双蝶振翅翩跹，灵动轻盈，仿佛携着微风掠过花间。\n\n设色清雅明丽，没骨晕染衬出花叶柔润质感，工写相融，既有写生的生动写实，又不失文人写意的澹澹雅致。题款与画面相映成趣，将花间逸趣凝于咫尺扇面，静中藏动，尽显悠然雅致的文人意趣。",[1131,24,7,27,61,481,62,2220,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F237f267cd73fc030b9c293426b428408.jpg",[],{"id":36503,"slug":36504,"title":36505,"dynasty":54,"author":12395,"museum":300,"description":14623,"tags":36506,"thumbUrl":36507,"material":692,"size":1293,"collection":84,"collections":36508,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},237691,"ying-su-hua-wan-shan-zhang-xiong-237691","罂粟花纨扇",[164,24,7,1131,27,28,61,171,62,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F232c70277cf671993d3a7637e9c67d0c.jpg",[],{"id":36510,"slug":36511,"title":4229,"dynasty":124,"author":9459,"museum":300,"description":9460,"tags":36512,"thumbUrl":36513,"material":84,"size":84,"collection":84,"collections":36514,"showCount":36308,"zanCount":1998,"manualWeight":48,"mainColor":72},237675,"hua-niao-ce-ling-bi-zheng-237675",[24,7,59,27,28,128,371,61,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F359d5c55d4ebcc585ed4026001545636.jpg",[],{"id":36516,"slug":36517,"title":18219,"dynasty":54,"author":9529,"museum":300,"description":18220,"tags":36518,"thumbUrl":36519,"material":84,"size":84,"collection":84,"collections":36520,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},237589,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237589",[24,7,164,128,132,2271,29,34,35,98,99,171,276,1144,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1e7fc3f6bc11163dc26121234f9369f.jpg",[],{"id":36522,"slug":36523,"title":36524,"dynasty":54,"author":1219,"museum":20,"description":36525,"tags":36526,"thumbUrl":36527,"material":734,"size":36528,"collection":318,"collections":36529,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},237137,"qi-qiao-tu-ce-zhuang-zhou-ren-yi-237137","乞巧图册装轴","此幅描绘的是民间女子简朴的乞巧场景。任颐（1839-1896），初名润，字伯年。其父任声鹤为民间肖像画家，大伯父为任熊，二伯父为任薰，自幼善画，受民间版画影响深刻。1854-1855年，十五六歳时在上海卖画，模仿任熊作品沿街出卖，恰逢任熊路过，非但不怒，反而赏识其才华，招为弟子，传为逸话。1861年，太平天国进入绍兴时，父卒。曾被招入太平天国军当旗手战时麾之，以为前驱。其后天京（太平天国首都南京）陷落，返乡。1895年因资产丢失之痛及吸食鸦片引发肺炎而死。\n画风在练习铅笔速写后变得较为奔逸，晚年吸收华岩笔意，更简逸灵活。\n任伯年花鸟画的技巧更高，但人物画影响较大，原因大致是当时画人物画家少。",[24,7,59,27,96,166,28,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccb981087f212936d0f96ab20398dbf4.jpg","34.5×34.5cm",[318],{"id":36531,"slug":36532,"title":36533,"dynasty":124,"author":27440,"museum":20,"description":36534,"tags":36535,"thumbUrl":36536,"material":1464,"size":36537,"collection":136,"collections":36538,"showCount":36308,"zanCount":1998,"manualWeight":48,"mainColor":72},237122,"xi-shan-zi-cui-tu-zhou-wang-duo-237122","溪山紫翠图轴","此幅是画家为其三弟王鑨所绘，以高远之法图写，远处雄峰峻岭，气势壮阔，中景飞瀑烟岚，尽显空灵，近处碧树流泉，生机盎然，更有文士二人坐于石上观泉品茗，实则表达出王铎希望与兄弟能安居世间、神游物外的一种愿望。王铎的山水画师承广泛，不专一家，观其作品可以看到画家在宗法五代荆浩、关仝以气势与境界奇胜为长的北方画派之外，尚能融入南方画派董源、巨然借水墨晕染烘托山川气韵之法，故而笔墨技巧变化丰富，令人眼目一新。创作中，王铎能有意避开清雅潇洒的画苑时风，落笔从容不迫，轻重缓急收放自如，凭借粗劲中见质朴的艺术面目，在明末清初的艺坛上独树一帜。是图即为画家晚年的此类佳作。",[24,7,165,128,132,29,30,34,499,37,497,38,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d5685508e133e9c63badafd9045c0e.jpg","纵95厘米，横36.4厘米",[136,318],{"id":36540,"slug":36541,"title":25447,"dynasty":54,"author":25448,"museum":20,"description":25449,"tags":36542,"thumbUrl":36543,"material":84,"size":84,"collection":84,"collections":36544,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},237114,"shi-nv-ce-cui-wei-237114",[24,7,59,28,27,96,166,170,232],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11fd8115051c0a82e8d6fd6c4f369c94.jpg",[],{"id":36546,"slug":36547,"title":1289,"dynasty":124,"author":36548,"museum":300,"description":36549,"tags":36550,"thumbUrl":36551,"material":84,"size":84,"collection":136,"collections":36552,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":49},236896,"shan-shui-hua-hui-ce-shao-mi-236896","邵弥","此作用笔秀逸松灵，取景简括却意韵悠长。虬曲古松扎根危崖，苍枝舒展间满含劲挺生机。白衣策杖之人缓步山道，形神安闲，恍若幽居之士暂寄林泉。山涧清泉漱石潺潺，流云轻笼天际，衬出空山清寂之境。整体意境萧疏散淡，带着静穆淡远的文人意趣，将幽人栖隐丘壑的雅怀尽数铺展，尽显超然出尘的林下之风。",[24,7,164,59,27,132,29,1144,131,37,96,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90685468beeb5f9c37cf6bf844517d26.jpg",[136,68,45],{"id":36554,"slug":36555,"title":409,"dynasty":54,"author":6936,"museum":300,"description":36556,"tags":36557,"thumbUrl":36558,"material":692,"size":1293,"collection":136,"collections":36559,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},236859,"shan-shui-ce-wang-yuan-qi-236859","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」",[24,7,59,128,132,29,663,34,387,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e761a3d5bcf48ddf7d44981a19a3513.jpg",[136,318],{"id":36561,"slug":36562,"title":4229,"dynasty":54,"author":4823,"museum":300,"description":4824,"tags":36563,"thumbUrl":36564,"material":84,"size":20,"collection":84,"collections":36565,"showCount":36308,"zanCount":1998,"manualWeight":48,"mainColor":72},236616,"hua-niao-ce-ma-yuan-yu-236616",[24,7,59,27,61,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e47bd32dac56116cfe7051c8c88190.jpg",[],{"id":36567,"slug":36568,"title":36569,"dynasty":124,"author":36570,"museum":300,"description":36571,"tags":36572,"thumbUrl":36573,"material":84,"size":36574,"collection":68,"collections":36575,"showCount":36308,"zanCount":1998,"manualWeight":48,"mainColor":49},236107,"sun-qi-mei-hua-zhou-sun-qi-236107","孙启梅花轴","孙启","此作以淡墨绢地托衬，老梅古干嶙峋遒劲，枝桠盘折如铁，横斜破壁，满缀素色梅花。作者以焦墨点苔刻画出老干的沧桑质感，浓墨写枝尽显虬劲姿态，圈花留白晕染出梅花冰肌玉骨之态，冷香暗涌纸面。\n\n画幅下方以浅淡笔墨绘拳石细草，清寂空疏，愈发烘托出冬梅凌霜孤高的品格。整幅布局空灵雅致，以极简笔触写尽文人心底的清雅意趣，笔意苍秀古拙，将梅花傲雪不屈的风骨与幽淡清逸的气韵相融，藏暗香于素绢，含清韵于笔端。",[24,7,165,128,369,650,171,1771,62,805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff51c92a8adcfb9367d4420abfbb471a7.jpg","纵156.8cm,横61.6cm",[68,45],{"id":36577,"slug":36578,"title":76,"dynasty":54,"author":36579,"museum":300,"description":36580,"tags":36581,"thumbUrl":36582,"material":692,"size":1293,"collection":68,"collections":36583,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},235710,"hua-hui-ce-zou-xian-ji-235710","邹显吉","字黎眉，号思静，一号华斋，自称湖北居人，晚号城南老圃，江苏无锡诸生。尝学诗于吴伟业，画摹宋、元，山水、人物均得古法。写生有邹菊之目。著北游集、湖北草堂诗。一门风雅，妻能画梅，兄、弟、子、侄，皆工画，新处各画小品一二种成卷，为时所艳称。康熙三十九年（一七oo）作罗浮佳处卷，时年六十五。",[164,24,7,59,27,28,133,208,62,603],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8fc76969934fa525c9ae94e7f22e5b0.jpg",[68,45],{"id":36585,"slug":36586,"title":36587,"dynasty":54,"author":3403,"museum":300,"description":36588,"tags":36589,"thumbUrl":36590,"material":84,"size":84,"collection":84,"collections":36591,"showCount":36308,"zanCount":1998,"manualWeight":48,"mainColor":49},234703,"she-se-hong-mei-lan-hua-shan-mian-wu-chang-shuo-234703","设色红梅兰花扇面","香骚遗意。老缶又涂于禅甓轩。缶（朱文） 迢迢雁落沙连海，滑滑禽言树抱轩。天似穹庐梅古雪，一年好事半淞园。躄一足如仙隔尘，澹云微雨去寻春。几生修到梅知否，临笑无端见美人。半淞园看梅。沽酒怡白云，吹笛坐黄犊。江花泊岸红，山雨下庭绿。题画。壶叟属书。丙寅夏，吴昌硕年八十三。苦铁良铁也。《周礼》：典丝……则受良工而藏之……郑云：良当作苦，则苦亦良矣。大聋。吴昌石（朱文）　苦铁（白文）",[24,7,1131,27,61,371,375,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa22462af8c7db2282cd725846a281295.jpg",[],{"id":36593,"slug":36594,"title":76,"dynasty":124,"author":36595,"museum":300,"description":36596,"tags":36597,"thumbUrl":36598,"material":84,"size":84,"collection":68,"collections":36599,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},234267,"hua-hui-ce-qi-xun-234267","戚勋","戚勋字伯屏，号羽明。明末江阴人。\n早年为诸生，崇祯十六年秋八月，授文华殿中书舍人。弘光帝即位，奉诏督饷福建，不久南京陷落。与陈明遇迎故典史阎应元为帅。城破，戚勋在壁上书写“大明文华殿中书戚勋死节之地”，自焚死。著有《留丹集》、《佩朱随笔》。",[23,24,7,59,133,27,61,209,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0f00fd86e3061a7f0db3faaffed7be4.jpg",[68],{"id":36601,"slug":36602,"title":36603,"dynasty":124,"author":5798,"museum":20,"description":36604,"tags":36605,"thumbUrl":36606,"material":734,"size":36607,"collection":84,"collections":36608,"showCount":36308,"zanCount":1998,"manualWeight":48,"mainColor":72},234253,"shu-dao-nan-tu-juan-zhang-hong-234253","蜀道难图卷","《蜀道难图》是明代画家张宏与书法家韩道亨的书画唱和之作。画中绝壑幽谷，飞流急湍，栈道高架，崖壁千丈，极尽蜀道之险，将李白诗作的波诡云谲与韩道亨书法的笔走龙蛇融为一体，相得益彰。画家不追求面面俱到，仅截取蜀道之一角，便再现出蜀道之崔嵬峥嵘与突兀森郁。其构思之用心，可谓别具一格。",[23,24,7,25,128,27,29,11998,690,133,208,132,37,6290,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb61da97da6c5a119c5ac62467270d9a0.jpg","纵32.4厘米 横100.5厘米",[],{"id":36610,"slug":36611,"title":36612,"dynasty":124,"author":16846,"museum":300,"description":36613,"tags":36614,"thumbUrl":36615,"material":84,"size":84,"collection":84,"collections":36616,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},234151,"shan-shui-juan-wen-bo-ren-234151","山水卷","文伯仁，明代画家，字德承，号五峰、摄山长、葆生、摄山老农、五峰山人、五峰樵客，汉族，湖广衡山人，系籍长州（今江苏苏州）。文徵明侄子。性暴躁，好使气骂座，少年时曾与叔徵明相讼，一度系狱。工画山水，效王蒙，学“三赵”（令穰、伯驹、孟頫），笔力清劲，岩峦郁茂，布景奇兀，时以巧思发之，名在文徵明之下。横披大幅颇负出蓝之誉，唯构图时有塞实之感。善画人物，亦能诗。其山水画有简、繁两种面貌。简者效文徵明细笔山水，景色疏朗，笔墨细秀，多抒情意趣；繁者出自王蒙，山林层叠，构图饱满，皴点繁密，境界郁茂。\n嘉靖三十年（1551）作《万山飞雪图》轴，现藏日本东京国立博物馆；四十一年（1562）作《都门柳色图》轴、四十五年（1566）作《秋山游览图》卷藏上海博物馆；嘉靖四十三年（1564）作《溪山仙馆图》轴藏广州美术馆；《天目山图》轴、隆庆四年（1570）作《松风高士图》轴藏辽宁省博物馆；《石湖草堂图》卷藏苏州市博物馆；《春山白云图》轴、嘉靖三十九年（1560）作《樵谷图》轴、《雪景山水图》轴藏故宫博物院；《松径石矶图》轴藏南京博物院；《园林十五景图》卷藏得港虚白斋。",[23,24,25,128,132,7,29,663,228,331,98,99,129,130,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68f2feb48eac6eaeea13659aa3c8e7b7.jpg",[],{"id":36618,"slug":36619,"title":7359,"dynasty":54,"author":1242,"museum":224,"description":7360,"tags":36620,"thumbUrl":36621,"material":1464,"size":7363,"collection":84,"collections":36622,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":199},233868,"mei-hua-ce-jin-nong-233868",[24,7,59,188,128,61,371,331,582,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb34432e0d3f92f887635aac9010c975.jpg",[],{"id":36624,"slug":36625,"title":36626,"dynasty":124,"author":125,"museum":20,"description":1048,"tags":36627,"thumbUrl":36628,"material":734,"size":1051,"collection":84,"collections":36629,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},233839,"wo-you-tu-ce-bai-he-hua-shen-zhou-233839","卧游图册－百合花",[164,24,7,59,27,61,64,14673,582,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd177d95a67cb0c312fa86f838a680905.jpg",[],{"id":36631,"slug":36632,"title":4724,"dynasty":124,"author":2268,"museum":20,"description":11927,"tags":36633,"thumbUrl":36634,"material":734,"size":5345,"collection":84,"collections":36635,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},233805,"shan-shui-tu-ce-dong-qi-chang-233805",[24,7,59,128,132,29,413,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fc0101e770c5965b8981d382075a663.jpg",[],{"id":36637,"slug":36638,"title":5047,"dynasty":124,"author":366,"museum":20,"description":5048,"tags":36639,"thumbUrl":36640,"material":3544,"size":5052,"collection":84,"collections":36641,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},233475,"ren-wu-hua-hui-ce-xu-wei-233475",[24,7,59,128,96,413,171,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9a3afdd86f7423d4b7c78bbcbdc370.jpg",[],{"id":36643,"slug":36644,"title":5047,"dynasty":124,"author":366,"museum":20,"description":5048,"tags":36645,"thumbUrl":36647,"material":3544,"size":5052,"collection":84,"collections":36648,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},233469,"ren-wu-hua-hui-ce-xu-wei-233469",[164,24,7,59,128,369,12642,36646,208],"稻穗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d7da0a86ef5dffe025cc71e769143d1.jpg",[],{"id":36650,"slug":36651,"title":7115,"dynasty":18,"author":1622,"museum":20,"description":7116,"tags":36652,"thumbUrl":36653,"material":40,"size":7119,"collection":84,"collections":36654,"showCount":36308,"zanCount":1998,"manualWeight":48,"mainColor":49},233455,"bai-qiang-wei-tu-ye-ma-yuan-233455",[24,164,7,59,28,27,61,5040,624,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd156bc8fd7cb24c1008aafd5d77f9bce.jpg",[],{"id":36656,"slug":36657,"title":36658,"dynasty":54,"author":36659,"museum":20,"description":36660,"tags":36661,"thumbUrl":36662,"material":84,"size":84,"collection":136,"collections":36663,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},233222,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-shan-shui-ye-wang-gai-233222","金陵诸家山水花卉册-山水页","王概","自17世纪初到18世纪上半叶，以南京为中心的江南地区，产生了比历史上任何时代和地区都要多的画派和画家。《明画录》记载的画家有800多人，其中江苏约有370人，浙江占了200多人，两地画家占总数的75%。尤其是执书画坛牛耳者几乎均为江南人。特别是在明清之际，画坛显得异常活跃，在提倡师古的正统派和注重文学意味的文人画这两种绘画思想影响下，文人画家一方面追求自己的个性，同时，师承相同、风格相近者也在各地活动，或聚合一处，倡导变革风气，形成了许多画派，如以松江人董其昌为首的“松江派”，以常熟画家王石谷为代表的“虞山派”，以明末画坛泰斗王时敏之孙王原祁为首的“娄东派”，以梅清为首的“黄山派”等。南京作为江南首府，明代南都的风姿、历史的悠久、山川的秀丽，赢得了诗人画家不绝的歌咏描绘。其文化的昌盛，经济的繁荣，生活时尚的风流，与书画有关的各行业的便利，皇亲国戚、富商大贾和书画收藏家的存在，使其具有磁铁般的大都会的吸引力，孕育出一批本地画家，也将来自四面八方的艺术家凝聚一起，各派画家聚合会晤，或过往相从，使南京自然成了这种时代潮流的汇合处，产生了为史所称的以“金陵八家”为首的一批画家，以其令人瞩目的创作纵横画坛一个世纪之久。\n\n一、金陵艺术家和金陵八家\n金陵的画坛，自14世纪明初建都至16世纪中期，在明代皇室的偏爱下，先由浙派画家领风气之先，承继北宋以来范宽式的布置茂密、山势伟岸巨嶂山水的整体构图，运用大斧劈皴和墨汁淋漓、快速运笔而形成强劲粗放笔墨效果的所谓浙派绘画，得到明皇室贵族的青睐。自永乐初浙派第一代实力人物戴进到达南京，随后有第二代浙派画家吴伟于1475年挟画技到南京，17岁的小伙子很快便以其笔墨酣畅、雄气横发、纵笔挥洒的绘画风格，受到了金陵贵族的喜爱。吴伟曾与诸王孙交游甚欢，年年踏春杏花村，而吴伟所喜爱的狂欢剧饮、挟妓喧闹以刺激绘画创作的方式，也在著名的秦淮河上得到了实现。继吴伟之后，第三代的浙派画家活跃于金陵的有蒋嵩、张路、汪肇等。\n自16世纪始，由于南京文化界中文人士大夫升为主流，其品味的改变，逐渐导致对绘画品味的改变，意趣深秀、若有所寄的以沈周和文徵明为首的吴派文人山水画影响渐大。随着金陵当地文人的兴起，至嘉靖中期，开始了“金陵初盛之时”，许多来自苏州、华亭的文人和因宫廷政治斗争中被贬谪的保守派成员离开北京至南京，形成一些凝聚力极强的文士集团，互相唱和。这批自居清流的士大夫对艺术的见解，也因政治、历史的原因，而产生一种不愿妥协现实，而以私人化“遣兴”于书画的形式作为一种对自尊的维护和对现实的抗议，故以吴派为代表的文人山水画得以兴盛，而浙派在其大本营的金陵，终因文人文化势力的高涨，而终于完全失去了势力，由此开始了中国文人画的高峰。\n16世纪，南京云集了本地和来自各地的画家，1669年，龚贤曾在周亮工所集《名人画册》上题曰：“今日画家以江南为盛，江南十四郡以首郡（南京）为盛，郡中著名者且数十辈，但能吮毫者奚啻千人”，享有画名的许多画家如文徵明、徐渭、董其昌、石谿、石涛、程正揆等，或造访、或游历、或寓居，都与南京有关。史称的金陵八家，亦有大半为外地来南京寓居者，因此使画家们相互间的学习、切磋和激励也有了许多机会。例如，龚贤自少年时便师董其昌，与石谿、石涛和程正揆等画家都有交往，也与金陵画家共同作画。据记载，1679年，龚贤便与邹喆、吴宏、樊圻、高岑、高遇、王概、柳堉、谢荪一起为伴翁作《山水花卉册》（故宫博物院藏）。画家程邃也在一个手卷的题跋中记述其与吴宏、戴本孝、龚贤、柳堉等常常饮酒论画的友情。\n南京得以凝聚画家的原因，首先与南京作为东南大都会所具有的吸引力和悠久的文化传统有关，并且在明亡后，南京又作为明代故都和故国之象征，从心理上和精神上凝聚了一代遗民艺术家；其次，从艺术的发展来看，因其为大都会，得以广纳百川、融会诸家，较少门户之见，虽然也许不易产生如小城镇所易形成的因血缘和师徒关系为主的派别，但却利于艺术家自由追求和发展其个性和风格；此外，南京为贵戚、富商、高官汇聚之地，有相当的收藏书画的潜力，例如当时著名的官僚、文人和收藏家周亮工，身为朝廷命官，但心喜书画，他不遗余力地收藏品评作品，奖掖提拔画家，也像一块重要的磁铁，将画家们纷纷吸引前来。龚贤在1669年为周亮工题其所集《名人画册》中曾有记述：“诗人周栎园先生有画癖，来官兹土（指南京）结读画楼。楼头万轴千箱，集古勿论，凡寓内以画鸣者，闻先生之风，星流电激，唯恐后至。而况先生以书召，以币迎乎？”周与许多书画家来往密切，他在南京秦淮河畔的居处便成为众好友的活动中心。为史所称的“金陵八家”都与周亮工有密切的联系，龚贤便为其府上的常客，周氏汗牛充栋的藏书藏画使他大饱眼福。龚贤与周亮工有将近20年的友谊，诗画唱酬，造访论道，不绝于时。1672年，周亮工卒，龚贤悲痛地作有《哭栎下先生》七律四首，有句云“哭公独我头全白，在世人谁眼更青”。其他如樊圻在丁酉年（1657）为周亮工而作《江浦风帆图卷》（辽宁省博物馆藏），叶欣在丁亥年（1647）为周亮工而作《山水册》（故宫博物院藏），高岑作《金陵四十景图》，由周亮工题跋，邹喆亦与周亮工诗画 往来。\n凭着对南京画家的了解，周亮工对南京画风的演变和发展曾提出一些观点：“秣陵画，先知惟魏考叔兄弟，翰之出，而秣陵之画一变，士夫衲子无不宗之。”继被视为金陵画派先驱人物的魏之璜（字考叔）、魏之克兄弟和朱翰之后，又由周亮工率先提出“金陵八家”一说，他所列名的八位画家为：陈卓、吴宏、樊圻、邹喆、高岑、武丹、蔡泽、李又李。然而认同者仅有乾隆年间成书的《上元县志》，稍后活动于雍乾时期的张庚，在《国朝画徵录》中合称龚贤、樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪为“金陵八家”，得到较多人的认可。清末秦祖永的《桐荫论画》、李浚之的《清画家诗史》等均主其说，虽然这八家并不一定代表当时知名度最高的画家，且因其师承不同，风格迥异，也难以简单地以“画派”一词来归纳，但这一个松散的画家群体，都有着相近的生活经历和思想感情，在动荡的明清之际，有亡国之痛，有忠君之义，不事新朝，遁迹山林，以诗画寄兴，虽然个性各异，但都安贫乐道，洁身自好，在当地享有“高士”之名，彼此间亦有诗文书画往来，并有共同的朋友圈子相交往。他们之间也有较多共同的创作思想，如借绘画抒写真情，不拘于派系之争，不论浙派吴派，善法必学，故能自辟蹊径，标树己风。在笔墨技法上也有相似之处，如常用硬直之笔，作整饬的线条，画面结构清晰，注重笔墨的整体感，讲究墨色的对比和映衬等，在作画题材上多以南京近郊山水为粉本，均表现出一种简朴平实的绘画风格，由此形成17世纪金陵山水画的独特 面貌。\n\n二、17世纪金陵山水画的文化特征\n金陵画家所创的山水画，具有比较鲜明的地方特色。首先是表现了南京及附近的山水特点。南京虽然为青山环绕，但基本上是以小山头为主的丘陵地带，钟山最高峰也不过海拔442米，然而山色秀美苍润。时人顾起元曾赞叹道：“金陵之山，形家言为南龙尽处，精华之气发露无馀，故其山多妍媚，而郁纡烟容岚气，遝翠霏青，望之如古佛顶上之螺，美人眉间之黛，而特未有奇峰削壁拔地刺天，如瑶篸玉剑突起于云霄之上者。江水一泻千里，沙腾浪涌，天日为昏，最为怪伟。至静夜无风，江声隐起，余尝夜卧洪济燕矶听之，汹汹如欲崩四壁也。后湖泓渟坦沲，堤杨洲菼，绰约媚人，山色四围，如靓妆窥镜。湖山之美，何减虎林。所少者独瀑布与寒泉耳。”金陵画家创作的山水便多以此山景水色为蓝本，起伏的丘陵，苍秀的林木，而北方的那种雄浑伟岸的大山大势则比较少见。第二是南京连接江南水乡，河湖港汊较多，行船泊舟，最是司空见惯，故画家笔下江汀舟楫之景多见，岸矶草亭也成了常见的景色。第三，江南的空气湿润，云雾时起于山林，烟霭常生于河湖，尤其南京冬天昼夜温差有异，水面易生烟气，夏天炎热闷湿，暑气常多漫漫，又似薄雾轻烟，与天相接。在诗人画家的笔下，这氤氲的云烟是别饶情趣的。唐代诗人杜牧在《夜泊秦淮》中歌咏道“烟笼寒水月笼沙”，罗隐在《金陵夜泊》中歌咏“冷烟轻淡傍衰丛”，明代诗人顾梦游则有诗句道“落日淡生烟”，龚贤有诗道“老柳迷夕阳，烟波涨南浦”。画家笔下的金陵山水因此亦多云烟缭绕之状，几乎每个画家都有描绘，其表现或柔和或飘逸或湿润或轻扬，因景因情，因画家的感受不同而富于变化。第四，金陵山水中表现当地特色的景物较多见，例如：钟山的松树。据记载，钟山自东晋时便人工植松，宋代也曾种植，明代在钟山建造明代开国皇帝太祖朱元璋的孝陵，更是植松十万株。钟山青松便成为此一时期常见的山水画题材。第五，金陵山水画中有许多表现了当时文人生活时尚和爱好的内容，如山居、书屋、旅行、品茗、赏妓等，因南京为一著名的山林城市，这些反映时尚的画面也大多安置在秀丽的自然景观中。\n金陵山水画中也映现出浓重的怀旧情结。南京以名胜古迹、文化遗风和风流时尚著称，其处处可成为触景生情的诗、落笔成文的画。在诗人墨客的笔下，金陵怀古是一个永恒的题材，尤其是六朝的名胜典故，更是一个千古难解的情结，令一代又一代的文人陶醉。自唐代以来，诗人李白、杜甫、李商隐、刘禹锡都有著名的诗句传世，此后历代的诗人都不乏佳句。明末清初的文人诗作中或金陵山水画中若题有诗歌的，常常都会流露出这种对以往历史的追怀，六朝的名胜典故总像幽灵一样地在文人的诗画中徘徊。龚贤曾作《金陵怀古》二诗道：“短笛唤愁生，江船夜复清。月明争战地，潮打受降城。残柳欲无影，哀鸿只一声。石矶飞不去，凄绝古今情。”以西晋克吴、孙皓受降的六朝典故，抒发自己亡国的哀痛情怀。又有诗道：“江南六代风流地，白下多年翰墨场。古物已无王逸少，名人独剩顾长康。量宽嗜酒难逢醉，才大论诗莫禁枉。急办青钱买山隐，坐听深树候莺簧。”诗中综述六朝的文化和影响，表现出对王羲之、顾恺之等名人和六朝饮酒论诗等风流时尚的倾慕追往。\n即使那些暂居或游访过南京的画家，对南京也是难以忘怀。17世纪的著名画家石涛曾有册页名《秦淮忆旧》，为应友人之邀而作，回忆昔日与友人同在南京秦淮赏梅聚会的往事，亦引用六朝典故，其中一幅题画诗道：“沿溪四十九回折，搜尽秦淮六代奇。雪霁东山谁著屐，风高西壑自成诗。应怜孤瑟长年伴，具剩槎矛只几枝。满地落花春未了，酸心如豆耐人思。”六朝的文化，就像是一种范式，在明末清初的文人心中反复地出现和被吟咏，足见这种历史怀旧情结的坚韧。\n其三，金陵山水画反映出强烈的热爱故乡的情怀。17世纪，以地方景色为题的山水画比较流行，例如南京博物院收藏有明代宋懋晋的《江南十八景图册》、吴县一带的画家以虎丘山为题的绘画等，是文人画走向社会的表现，也是市民文化发达的结果，而以金陵风景名胜为题的山水画尤其突出。南京人爱恋故乡的强烈和真挚的程度是其他古都历史上所少见的。早在六朝之初的孙吴时期（甘露元年，265年），当吴末帝孙皓由建邺（今南京）迁都湖北武昌，百姓便有童谣道：“宁饮建邺水，不食武昌鱼。宁还建邺死，不止武昌居。”这种不计生死的眷恋，只得让吴帝于次年还都建邺，这在中国历史上恐怕也是绝无仅有的。另一个著名的例子是南唐后主李煜在被宋人俘获北上后，所作诗词中透露对故国山河的深深怀念，令人愁绝痛绝，“恰似一江春水向东流”，是超越时空界限的永远的伤怀。明清之际，金陵八家中，除樊圻和胡慥为本地人外，其余都为外地或郊县寓居南京的画家，但都表现出对南京的情有独钟，书画署名喜用“石城”“金陵”等南京的古称，将自己称作南京人。金陵八家之首的龚贤虽然自昆山移居南京，但对南京的感情很深，视南京为家，在外的奔波使他愁苦伤怀，“身老愁为客，迢迢返旧京”，亟盼着早些回到南京，并把南京选作自己最终的生活地点。明亡后，当他与友人费密同游金陵胜景，登上石头城，遥望长江，触景生情，激起了满腔难平的民族意识，遂发出“橐驼尔何物，驱入汉家营”的悲愤呼号。这种热爱故乡，热爱南京的情感，在艺术家们的笔下便诞生了金陵山水的另一种表现形式—“金陵四十八景”，将金陵的历史典故，风景名胜以山水画的形式和诗歌的吟诵来表现，并借着雕版印刷的简便，而得到雅俗的共赏。\n《金陵四十八景》的形成约在清代初年，其他则先后有零星的以金陵景色为题的书画，较为人知者如《金陵八景》《金陵十景》《金陵十八景》《金陵二十四景》《金陵四十景》等。《金陵八景》据画末题跋可知，作于万历庚子年（1600）春月，为江宁人郭存仁所绘，“八景”为“钟阜祥云、石城瑞雪、凤台秋月、龙江夜雨、白鹭晴波、乌衣晚照、秦淮渔唱、天印樵歌”，一图一咏，多基于六朝以来的历史典故和著名诗作。《金陵十景》，据《石渠宝笈续编》记载，是吴派画家之首的文徵明，在游览了金陵山水名胜后所作。《金陵十八景》为文徵明的侄子文伯仁（1502-1575）所绘，他号称摄山老农（摄山即今栖霞山），曾居住在南京，为金陵美丽的风光所感动而绘此图册。《金陵二十四景》，据1956年在湖南省长沙市发现的文物，是由文学家吴敬梓（1701-1754）所写《金陵景物图咏》，每篇诗末都注明所仿的碑帖，诗句工整，对南京的历史了如指掌。《金陵四十景》为太史朱之蕃所作。朱之蕃，江宁人，字元竹，号兰嵎，万历二十三年（1595）进士第一，工山水画，注意收集家乡江宁的山水名胜资料，“共得四十景，属陆生寿柏策蹇浮舫，躬历其境，图写逼真，撮举其概，各为小引，系以俚句”。图咏成后，朱之蕃命名为《金陵四十景图考诗咏》，并与当时的另一位太史杜士全常在金陵雅游，相互凭图咏唱。清初，金陵八家之一的高岑，字蔚生，虽老家在杭州，客居南京，但也倾心相爱这个城市，常署名“石城高岑”，平时也注意收集南京的历史资料，遍游南京的风景名胜，并在前人研究金陵胜景的基础上，精心绘制了《金陵四十景图》。清户部右侍郎、著名文人周亮工（1612-1672）为该图册写了题跋，这些图以后被刊入康熙年间的《江宁府志》。清代初年，又发展成为“金陵四十八景”。\n金陵画家包括八家的山水画中，亦有许多以金陵胜景为题的作品，甚至几代画家都钟情于此，父子者如邹典、邹喆，便都介入这一题材的创作。美国学者高居翰的景元斋收藏的《晚明人山水册》，共有10页，为不同的画家所绘，但都以南京的景色为题，如魏节“燕子矶”、黄益“献花岩”、龚达“龙江关”、谢成“幕府台”、龚贤“清凉台”、黄益“鸡笼山”、盛于斯“天阙山”、陆瑞征“玄武湖”、邹典“灵谷”、张翀“报恩塔”。又如，龚贤有《摄山栖霞图》《清凉环翠图》（故宫博物院藏），其他的金陵画家：樊圻有《江浦风帆图》、高岑有《天印樵歌图》（天津艺术博物馆藏），描绘南京附近天印山的景观，邹喆有《石城霁雪图》（上海博物馆藏），描绘南京的雪景，叶欣作《锺山图》（故宫博物院藏），描绘南京这一名山的景色。樊圻的《金陵寻胜图》，按照画后的题跋来看，应当还有吴宏的“燕矶”“莫愁”，龚贤的“清凉”“摄山”，陈卓的“天坛”“冶城”，柳堉的“天印”等画，皆是依金陵名胜的各景点而作的命题画。\n更难能可贵的是，柳堉在樊圻所绘的《金陵寻胜图卷》的题跋中还记载了当时南京人收藏金陵山水画，并以邀得名家作此命题画为荣的风尚，被视为金陵胜事，并引用一句“唯有家山不厌看”的古诗来解释这种特殊的现象。虽然这些地方山水画的繁荣或许与商业有一定的关系，但这种来自社会的热情要求和支持，足见南京人对自己故乡的热爱，这确实也是促使17世纪金陵山水画发达的原因之一。\n总之，以金陵八家为首的金陵画家，虽然各有师承，面目不一，但都能深入生活，以金陵近郊的山山水水为其粉本，融六法之精髓，入天然之丘壑，将热爱故国故乡的一腔真情和满腹怀恋都倾注于山岚变幻、草木蔚然的山水画中，故使金陵山水画独树一帜，在17世纪的画史上留下了辉煌的一页。古人道：诗为心声，画为心印，书为心画。明末清初的17世纪，金陵画家们所具有的独特艺术面貌，正是由特定的历史文化环境所造成的，从画家们无限的伤心和满怀勃郁的精神气质升华而来。那种强烈的民族意识和爱国情结，正是金陵画派山水作品内涵的共鸣、精神的统一和灵魂的所在。一位西方学者曾指出，南京是中国古都中最引人注目的城市，因为她曾经是并将永远是中国最令人怀旧和动情的城市。确实，那千古的金陵历史，千古的诗泉画源，千古的文人之魂，正是17世纪南京文化艺术繁荣的历史基因，也正是她的永恒魅力所在。",[24,7,59,128,132,29,1233,331,98,99,96,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff0b9d658a27fac0225545bf52f27ce.jpg",[136],{"id":36665,"slug":36666,"title":18503,"dynasty":144,"author":287,"museum":20,"description":18504,"tags":36667,"thumbUrl":36668,"material":734,"size":18507,"collection":84,"collections":36669,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":49},233219,"you-ju-tu-juan-qian-xuan-233219",[24,7,25,26,27,28,132,29,663,228,413,130,98,99,129,96,35,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F632995a029649dc360969921b2503da9.jpg",[],{"id":36671,"slug":36672,"title":1883,"dynasty":18,"author":397,"museum":20,"description":36673,"tags":36674,"thumbUrl":36675,"material":40,"size":36676,"collection":84,"collections":36677,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":49},232935,"ting-qin-tu-zhou-zhao-ji-232935","此幅描绘官僚贵族雅集听琴的场景。主人公道冠玄袍，居中端坐，凝神抚琴，前面坐墩上两位纱帽官服的朝士对坐聆听，左面绿袍者笼袖仰面，右面红袍者持扇低首，二人悠然入定，仿佛正被这鼓动的琴弦撩动着神思，完全陶醉在琴声之中。叉手侍立的蓝衫童子则瞪大眼睛，注视着拨弄琴弦的主人公。作者以琴声为主题，巧妙地用笔墨刻画出“此时无声胜有声”的音乐的意境。画面背景简洁，如盖的青松和摇曳的绿竹衬托出庭园高雅脱俗的环境，而几案上香烟袅袅的薰炉与玲珑石上栽植着异卉的古鼎与优雅琴声一道，营造出一种清幽的氛围。\n画面上方有宰相蔡京手书七言绝句一首，右上有宋徽宗赵佶瘦金书题“听琴图”三字。\n作品构图简净，人物举止形貌刻画生动传神，衣纹线描劲挺略带战笔，树石器具描写工致而毫无呆板，着色浑厚而不失清丽，是宋代宫廷人物画的代表作品。\n由于作品本幅有徽宗题名与画押，作品一度被认为是赵佶所画，后经学者考证，此幅为宣和画院画家描绘徽宗赵佶宫中行乐的作品，而图中抚琴者，正是赵佶本人。",[164,24,7,165,28,27,96,1144,167,4947,208,1424,438,19786,19787,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a06d38e220a4cfb38a1f63704749fe0.jpg","纵147.2厘米，横51.3厘米",[],{"id":36679,"slug":36680,"title":36681,"dynasty":18,"author":2141,"museum":244,"description":23213,"tags":36682,"thumbUrl":36683,"material":611,"size":36684,"collection":84,"collections":36685,"showCount":36308,"zanCount":1998,"manualWeight":48,"mainColor":49},232782,"yang-zheng-tu-juan-er-liu-song-nian-232782","养正图卷二",[23,24,7,25,28,27,95,64,96,97,29,101,130,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15d948e2a41c077a21b8977f8e4dfb8a.jpg","30*386.55厘米",[],{"id":36687,"slug":36688,"title":36689,"dynasty":144,"author":287,"museum":12686,"description":24204,"tags":36690,"thumbUrl":36691,"material":611,"size":36692,"collection":84,"collections":36693,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},232698,"gua-jia-tu-juan-qian-xuan-232698","瓜茄图卷",[23,164,24,7,25,27,28,61,64,208,11331,549,2037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6384b84d66760e6e53124845392246.jpg","10.5×66.5cm",[],{"id":36695,"slug":36696,"title":36697,"dynasty":124,"author":19170,"museum":244,"description":36698,"tags":36699,"thumbUrl":36700,"material":1223,"size":36701,"collection":84,"collections":36702,"showCount":36308,"zanCount":1998,"manualWeight":48,"mainColor":49},232691,"lu-shan-gao-tu-zhuang-biao-ding-yun-peng-232691","庐山高图（装裱）","此作构图紧凑密实，以细笔牛毛皴描写山石；有似王蒙的笔法，古朴厚实，浑然天成。在山体架构的布局上，又与沈周《庐山高》有些相似，甚至篆书题写《庐山高》三字的手法也和沈周作品基本雷同。所绘山头的岩石为卷云皴，造就这种看似有动态的效果，此类笔法在丁云鹏的作品中很少见。",[24,7,165,29,28,132,27,99,131,34,37,499,3269],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7c9ae8dad645098bbcb66538a53dd21.jpg","193.8xx98.1厘米",[],{"id":36704,"slug":36705,"title":36706,"dynasty":144,"author":4054,"museum":244,"description":36707,"tags":36708,"thumbUrl":36709,"material":611,"size":36710,"collection":84,"collections":36711,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},231337,"guan-dao-sheng-yan-yu-cong-zhu-yuan-dai-ji-jin-zhi-er-guan-dao-sheng-231337","管道昇烟雨丛竹－元代集锦之二","管道升善画竹，就存世画件，则有北京故宫藏《赵氏一门三竹图卷》中的第二件《墨竹》。此卷本安歧旧藏。安氏评以：“密叶劲节，不似闺秀之辈。”安歧旧藏又有赵孟頫、管道升《蕙竹合作卷》，安氏记以：“墨竹一枝，竹叶萧疏，枝节秀劲。”从这些描述来看《烟雨丛竹》，都不贴切。\n这幅《烟雨丛竹》不是习说的“墨竹”，而是当作于山水画的竹林图。从古老的诗经“瞻彼淇奥，绿竹猗猗”到“渭川千亩”，再到杜甫移种万竿于浣花草堂：“我有阴江竹，能令朱夏寒，阴通积水内，高映浮云端。”这种意念，移之于画作。明张丑记东坡居士《断山丛筱真迹》：“又见东坡《万竿烟雨》小帧。绢本精细，歇云眉山苏轼。下有飞白坡石，兼远景烟霭，极精。上方文征仲诗跋，称许娓娓可诵也。”“飞白坡石，兼远景烟霭。”移之于这幅《烟雨丛竹》，也是合宜的。又画史上倪瓒创出的《十万图》《万竿烟雨》即为第一题目。安歧记此画：“作淡墨细竹，沙渚遥浦，其间烟雾横迷，万玉幽深，茫茫有渭川千亩之势，坡陀皴法大类松雪，布景一派平远天真，秀妙绝伦，实为佳品。”也从此立意。\n《烟雨丛竹》画竹不分节，一笔不断由下方到顶端完成。竹叶形状细劲，结组繁而不乱。墨色用前浓后淡来区分出远近；画山坡是一般的山水皴法，沙渚丛竹，掩映于烟云中。新篁成丛与赵孟頫《自写小像》（1299作）的竹林画法是接近的。两件画竹叶，都是向上仰，做“燕尾”式的交合，且是前浓后淡的竹叶丛。竹竿《自写小像》并不一直顺畅到顶，略有些小转变。《自写小像》是青绿重彩，竹注重“墨骨”来衬托出色彩。《烟雨丛竹》是水墨层层迭迭渲染，烟云变灭，做得极为细致。技法上容有相通，情怀却不一。画平坡石块，《自写小像》画得古拙，而《烟雨丛竹》反而是老练成熟。",[24,7,25,128,188,167,17243,99,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bdc9f3061b89318e38a118057564b00.jpg","縱23.1厘米，橫113.7厘",[],{"id":36713,"slug":36714,"title":36715,"dynasty":124,"author":19056,"museum":300,"description":36716,"tags":36717,"thumbUrl":36718,"material":84,"size":84,"collection":84,"collections":36719,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},228889,"xie-sheng-you-xi-tu-juan-chen-gua-228889","写生游戏图卷","《陈栝写生游戏图卷》是明代画家陈栝创作的一幅设色画。\n此图是陈氏写生画，图中从右至左绘牡丹、兰花、玉兰、桃花、荷花、水仙等9种花卉，花间穿插飞燕、蝴蝶、鱼虾、鸳鸯等。\n花卉没骨、双钩兼用，鸟用意笔写之，生动活泼，颇富野趣。\n画风学陈淳而琐碎过之。\n卷末左下自题“陈栝戏笔”。\n下钤“古吴陈栝”、“沱江子”二印。\n引首有清高宗弘历（乾隆皇帝）御题“造物为师”四字。\n曾经清内府收藏。\n鉴藏印有“乾隆御览之宝”、“石渠宝笈”、“嘉庆御览之宝”、“宣统御览”、“笔研精良人生一乐”等。\n清内府《石渠宝笈·初编》著录。",[23,24,7,25,27,61,211,81,263,208,2166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa86071febaedaa6fcbabea897e0e51df.jpg",[],{"id":36721,"slug":36722,"title":36723,"dynasty":124,"author":223,"museum":300,"description":36724,"tags":36725,"thumbUrl":36726,"material":84,"size":84,"collection":84,"collections":36727,"showCount":36308,"zanCount":1998,"manualWeight":48,"mainColor":72},228793,"ni-zan-qiu-lin-ye-xing-tu-yi-ming-228793","倪瓒秋林野兴图","此作用笔萧疏简淡，近岸枯木虬枝舒展，坡石间茅亭孤峙，一水横陈，远山澹然隐现，将太湖秋郊的荒寒清旷晕染开来。以干笔淡墨皴擦山石，逸笔草草却尽得山水神韵，意境冷寂空濛，尽显幽居林下的散淡意兴。\n\n卷后题咏往复，书画合璧，将文人出世襟怀融于水墨间，淡墨轻岚里满溢疏离尘嚣的隐逸之思，简淡中见真味，把秋日郊野的静穆与林下野兴，尽数铺展在咫尺卷中，尽显文人水墨写意的澹远精神。",[23,24,7,25,128,29,1337,171,130,132,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe698103b9ad62460364be9a270631b54.jpg",[],{"id":36729,"slug":36730,"title":36731,"dynasty":124,"author":223,"museum":300,"description":36732,"tags":36733,"thumbUrl":36734,"material":692,"size":1293,"collection":84,"collections":36735,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":49},228409,"di-shi-fan-tian-xi-yi-ming-228409","帝释梵天西","位于法海寺大殿内的壁画 距今已有六百多年",[164,24,7,187,28,27,96,189,20953],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0058278b0e1b04b94e469783c60e08e.jpg",[],{"id":36737,"slug":36738,"title":36739,"dynasty":124,"author":802,"museum":300,"description":36740,"tags":36741,"thumbUrl":36742,"material":84,"size":84,"collection":84,"collections":36743,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":49},228292,"li-fo-tu-chen-hong-shou-228292","礼佛图","此作用笔清劲圆韧，尽显高古奇逸之风。崖上枯松虬曲苍劲，枝桠裹挟冷冽清气，石崖趺坐的尊者素衣宽博，神色澹然，以丝缕牵出云端佛影，引渡下界向佛之心。下方沙弥合掌长跪，衣褶层叠温婉，满脸至诚恭敬。\n\n玲珑剔透的太湖石错落排布，衬出画面空灵疏朗的禅意，设色清雅柔和，仅以淡赭、浅青晕染，将出世的静穆禅韵融于尺幅之间，笔端藏着静水流深的禅思，把礼佛的虔敬化作悠远澄澈的画境。",[23,24,7,165,187,28,188,27,96,171,1337,1144,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c721a086c33d6299e0b1c0e20fa17b.jpg",[],{"id":36745,"slug":36746,"title":36747,"dynasty":144,"author":25648,"museum":300,"description":36748,"tags":36749,"thumbUrl":36750,"material":84,"size":84,"collection":84,"collections":36751,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":49},228166,"qing-quan-qiao-mu-tu-li-zhou-li-shi-xing-228166","清泉乔木图立轴","此作笔意苍浑老辣，绘就冬日山林清寂之境。古松主干虬曲斑驳，疤结累累尽显沧桑，枯槎劲枝凝着寒雪，垂挂的薜萝如缕，幽幽晕开森寂古意。旁侧次干同样瘦硬嶙峋，无叶枝桠斜曳，尽展岁寒不屈之姿。\n\n下方寒泉漱石，水波清浅澹澹，淡墨晕染出空濛水岸，山石以简括皴擦带过，野趣自生。留白铺陈开空寂冷逸，将简淡疏朗融于笔墨间，寄寓着超脱尘俗的林下雅怀，清寒中见出沉静高旷的风骨。",[23,24,7,164,165,128,132,29,19768,16228,131,99,1337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb6e577b57078bcf149c3b060edbb579.jpg",[],{"id":36753,"slug":36754,"title":36755,"dynasty":144,"author":36756,"museum":300,"description":36757,"tags":36758,"thumbUrl":36760,"material":84,"size":84,"collection":84,"collections":36761,"showCount":36308,"zanCount":1086,"manualWeight":48,"mainColor":72},228038,"mo-lou-shu-can-zhi-tu-chang-juan-cheng-qi-228038","摹楼璹蚕织图（长卷）","程棨","此作以长卷铺陈江南蚕织全序，从浴蚕收种、稚蚕养护，直到煮茧缫丝、上机成绸，将蚕户从春到夏的辛劳日常一一绘就，每段配书题诗，图文呼应。笔触温润写实，农妇饲桑、调丝的动作鲜活自然，院舍桑田、织机筐篓细节考究，忠实还原宋本原貌，又晕染出元人清雅的笔墨质感，将耕织烟火揉进细腻笔锋里，是后世窥见古时丝织工艺与乡野民俗的珍贵图像长卷。",[23,24,7,25,330,28,27,64,208,96,97,34,247,169,16670,36759],"蚕桑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3e1a06d4ccdb8d1b366fe00d978d814.jpg",[],{"id":36763,"slug":36764,"title":16080,"dynasty":144,"author":287,"museum":300,"description":24204,"tags":36765,"thumbUrl":36768,"material":692,"size":1293,"collection":84,"collections":36769,"showCount":36308,"zanCount":1998,"manualWeight":48,"mainColor":49},228015,"ting-qin-tu-ye-qian-xuan-228015",[23,24,7,59,28,27,96,438,34,36766,36767,211],"椅子","小桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41e714910dac008049fcf377a1fc2387.jpg",[],{"id":36771,"slug":36772,"title":36773,"dynasty":18,"author":223,"museum":300,"description":36774,"tags":36775,"thumbUrl":36776,"material":84,"size":84,"collection":84,"collections":36777,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},227936,"feng-yu-gui-zhou-tu-ye-yi-ming-227936","风雨归舟图页","这幅扇面以淡墨晕染出烟笼远岫，山影在濛濛水雾里晕开，似有风雨欲来的湿冷之意漫过江天。近岸老树虬曲偃仰，枝桠带风，坡石苍润间杂生的丛草随势披拂，暗合风动之姿。\n\n江面波痕隐现，孤舟破波疾行，舟中人敛缩身形，将急欲归乡的羁旅心绪藏在烟霭里。整幅以留白与晕染营造空濛层次，咫尺扇面铺展出江天浩渺的悠远意境，把江南骤雨将临的萧疏冷寂烘托尽致。淡墨轻岚间，将归思怅惘融在烟水迷茫之中，尽显含蓄雅致，以小见大，在尺幅之间晕开悠悠诗意。",[23,24,7,1131,128,27,29,132,129,1350,131,34,99,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff166f0b2b34f8ed7374b455745c84edb.jpg",[],{"id":36779,"slug":36780,"title":36781,"dynasty":18,"author":223,"museum":300,"description":36782,"tags":36783,"thumbUrl":36784,"material":84,"size":84,"collection":84,"collections":36785,"showCount":36308,"zanCount":1998,"manualWeight":48,"mainColor":199},227834,"zheng-qin-tu-ye-yi-ming-227834","争禽图页","折枝山茶斜斜铺展，莹白花朵团簇绽放，叶片晕染出浓淡层次，尽显阴阳向背的苍润生机。两只禽鸟打破静谧，一鸟振翅俯冲，姿态凌厉，细枝上的小雀瑟缩避让，将枝头争闹的瞬间精准定格。\n\n全作用笔精细入微，禽鸟纤毫毕现，山茶设色清润雅致，淡绢底色更衬古雅气韵。以小幅尺幅定格春日花鸟间的刹那灵动，把自然生趣凝练于方寸之间，尽显写生格物、以小见大的精妙造诣，生机满溢，意趣悠长。",[23,164,24,7,1131,27,28,61,211,547,747,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7afa4755efb0dfc6d21d7a5d1a31d71.jpg",[],{"id":36787,"slug":36788,"title":36789,"dynasty":18,"author":1622,"museum":300,"description":36790,"tags":36791,"thumbUrl":36793,"material":84,"size":84,"collection":84,"collections":36794,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":49},227823,"shi-bi-kan-yun-tu-ma-yuan-227823","石壁看云图","这幅小品以边角取景，尽显简淡空灵之美。烟雨如纱晕染朦胧江天，对岸石壁在烟霭中半隐半现，恍若蜃境。左侧老木斜出，苍枝带着疏朗新叶，探向空茫水面，与右下策杖伫立的白衣士人遥遥相望。\n\n士人昂首望云，似在静赏流云舒卷，将世俗心绪尽数融在烟水间。全作用笔苍秀简劲，以水墨晕染铺就空濛氛围感，以少胜多，把文人观云忘机、寄情山水的雅逸襟怀藏在留白之中，尽显含蓄悠远的世外意趣。",[23,24,7,1131,29,132,27,96,36792,950,413,131],"石壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4363302bd8bcc307d085b159df2b994.jpg",[],{"id":36796,"slug":36797,"title":36798,"dynasty":18,"author":313,"museum":300,"description":36799,"tags":36800,"thumbUrl":36801,"material":84,"size":84,"collection":84,"collections":36802,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},227594,"xing-song-si-shi-jiu-zhi-shi-juan-huang-ting-jian-227594","行送四十九侄诗卷","《送四十九侄诗》卷，北宋，黄庭坚书，纸本，行楷书，纵35.5厘米，横130.2厘米。\n释文：\n诗送四十九侄。有妷财相见，何堪举别觞。共期同奋发，更勉致轩昂。接物宜从厚，修身贵有常。翁翁尤念汝，早去到亲旁。\n（注释：妷：同“侄”。财：同“才”。翁翁：犹“公公”，多指祖父。）\n帖后无名款。鉴藏印有“白石山房”、“蔡子木歌颂斋”、“宋荦审定”、“宣统御览之宝”。\n此帖原为《宋元宝翰》册之一，后改装成卷。此诗在《山谷外集》中没有记载，四十九侄亦无考。\n该帖字大如拳，结体多取柳公权法，字大方可尽其笔势。撇捺特长，笔画多取横势，字势舒展俊朗，跌宕起伏，变化出新，极具挺拔之态。\n与黄庭坚同为“苏门四学士”的张耒评黄庭坚诗句：“不践前人旧行迹，独经斯世擅风流。”用此句评论黄庭坚的书法是很恰当的。\n著录于《装余偶记》卷五、《石渠宝笈初编》卷一。",[23,164,24,7,25,128,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29821737f2406a22c55be35d08a7b3fa.jpg",[],{"id":36804,"slug":36805,"title":36806,"dynasty":54,"author":1019,"museum":20,"description":36807,"tags":36808,"thumbUrl":36809,"material":1722,"size":36810,"collection":117,"collections":36811,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":49},224537,"jiang-shan-wo-you-tu-cheng-zheng-kui-224537","江山卧游图","此卷是他晚年辞官之后所作。图绘连绵不断的山峦谷地，平台处，空亭独立，高士寻幽而至。其荒寒萧瑟的山水、高士落寞的行踪，正是画家晚年内心情感的写照。图中山石树木以酣畅的笔墨挥就而成，笔法朴拙、放逸，于简约中不失神采。在明末清初摹古风盛行的画坛下，其满怀激情的画作令人耳目一新。",[23,24,7,25,128,29,132,131,34,31,98,35,415,7782,495,7462,496,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf39153e0532479eb770c1f64faf0a9.jpg","纵26厘米，横205厘米",[117],{"id":36813,"slug":36814,"title":36815,"dynasty":54,"author":36816,"museum":300,"description":36817,"tags":36818,"thumbUrl":36819,"material":84,"size":84,"collection":84,"collections":36820,"showCount":36308,"zanCount":1998,"manualWeight":48,"mainColor":72},224353,"shan-shui-tu-li-zhou-sun-yi-224353","山水图立轴","孙逸","此作用高远、平远构图错落铺展，左畔危崖层叠拔地而起，以留白晕出流岚烟霭，虚实相映间尽显山势空灵秀奇。以浅绛设色写就，山石勾勒细劲挺秀，淡赭敷色晕染出清润苍朴的质感，笔简意赅。\n\n下方村居隐于岩岫竹木间，野桥通幽，士人凭栏远眺，幽寂闲适的山居雅趣跃然纸上。整体画风萧散淡远，尽显静穆清逸的文人意韵，将皖南山水的冷隽灵秀与林下幽居的雅怀相融，尽显遗世独立的审美意趣。",[23,24,7,165,27,132,29,130,98,99,171,413,35,495,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb49b9c0e92967b4ce30f0222df23738f.jpg",[],{"id":36822,"slug":36823,"title":36824,"dynasty":144,"author":223,"museum":300,"description":36825,"tags":36826,"thumbUrl":36827,"material":84,"size":84,"collection":84,"collections":36828,"showCount":36308,"zanCount":1116,"manualWeight":48,"mainColor":49},223625,"cao-chong-tu-pu-tao-juan-ben-yi-ming-223625","草虫图葡萄绢本","此作以郊野秋景为绘，上方葡萄柔蔓垂挂，攒珠般的果实隐于掌状青叶间，野意横生。\n画面主体蜀葵堆雪似的白花饱满舒展，朱红萱花斜斜探出，衬着星星点点的杂花细草，下方汀渚浅草错落。粉蝶蹁跹穿花，细蜂振翅逐香，草蜢静伏水畔，小景处处藏着灵动生机。\n设色轻淡柔润，晕染写实细腻，工笔勾勒虫羽的轻薄通透，写意铺陈草木的舒展之态，将郊原清寂又鲜活的意趣尽数定格，尽显写生花鸟的雅致野逸。",[23,24,164,7,151,27,28,61,480,2334,481,547,548,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1952844787d4fec5abf43c241f76ab44.jpg",[],{"id":36830,"slug":36831,"title":36832,"dynasty":18,"author":223,"museum":20,"description":36833,"tags":36834,"thumbUrl":36835,"material":151,"size":36836,"collection":84,"collections":36837,"showCount":36308,"zanCount":1998,"manualWeight":48,"mainColor":49},223494,"chun-yan-tu-juan-quan-juan-yi-ming-223494","春宴图卷全卷","此图旧题“唐人春宴图”，为李世民创建文学馆，招纳贤才，杜如晦、房玄龄等被称为十八学士。此图绘十八学士集会宴饮的情景，图卷场面宏大，人物姿态各异，构图繁而不乱。",[23,24,7,25,28,27,96,101,413,19786,20731,170,23215,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5739e812fc48146e4bb8636f43c7fb7.jpg","23x573",[],{"id":36839,"slug":36840,"title":36841,"dynasty":124,"author":7003,"museum":510,"description":36842,"tags":36843,"thumbUrl":36844,"material":84,"size":36845,"collection":318,"collections":36846,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},222475,"du-fu-qiu-xing-ba-shou-zhi-yi-kun-ming-chi-shui-zhu-yun-ming-222475","杜甫秋兴八首之一昆明池水","释文：昆明池水汉时功，武帝旌旗在眼中。织女机丝虚夜月，石鲸鳞甲动秋风。波飘菰米 沉云黑,露冷莲房坠粉红。 关塞极天惟鸟道,江湖满地一渔翁 枝山",[23,64,7,840,128,165,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0796796b3151d6d2714112888fafc285.jpg","106.5 X37 cm",[318],{"id":36848,"slug":36849,"title":36850,"dynasty":124,"author":5798,"museum":244,"description":36851,"tags":36852,"thumbUrl":36853,"material":66,"size":36854,"collection":136,"collections":36855,"showCount":36308,"zanCount":1998,"manualWeight":48,"mainColor":72},222408,"qi-xia-shan-tu-zhou-zhang-hong-222408","栖霞山图轴","此画以浓密如屏的树丛遮掩了其下山腰的轮廓，在这里，观画者必须先穿过树丛方能找到通往寺庙之路。张宏所要呈现的并非等览庙宇的经验，而是从雨中远眺的感受。他在题款中写道：“甲戌初冬，明止挈游栖霞，冒雨登眺，情况颇饶，归而图此。”由画幅下半部的细节，我们更可见出张宏的手法。张宏只画了庙门，这扇门也只画了局部，并且明显地按照远近比例法缩小。对岩壁间石刻壁龛的描写生动简洁，与石壁和树荫融合为一个视觉整体。画家秉承了传统的笔法，忠实地再现视觉经验。一张摄于1930年的千佛岩照片，肯定了张宏画中形象的忠实性：佛龛位于岩壁间，有一部分为树木所掩盖，从我们这个距离看去，仅能依稀辨认。张宏将此景压缩为因应挂轴裱式的垂直画面，布局也较乍看之时来得更具巧思；虽则如此，十一英尺有余的画幅本身，亦强化了如大银幕电影或电视超大画面般的临场感，宰制了我们大部分的视野。画面的主体千佛岩，在林木的掩映下显得古朴典雅。一望无际的森林覆盖着栖霞山，似有微风吹过，树影婆娑中透出清凉之气，引观者共鸣，一同去体会那清爽的栖霞山风光。",[23,24,7,165,27,132,29,130,1144,131,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81fe3ad4eebcd3b96e914c3432a49117.jpg","341.9x101.8",[136,45],{"id":36857,"slug":36858,"title":36859,"dynasty":124,"author":1058,"museum":2665,"description":12767,"tags":36860,"thumbUrl":36861,"material":611,"size":26635,"collection":84,"collections":36862,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":49},222337,"qi-feng-gao-yin-tu-zhou-tang-yin-222337","奇峰高隐图轴",[23,24,7,165,27,132,29,11802,495,98,99,34,131,97,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83dc2042fc9030013065e4ae628ede20.jpg",[],{"id":36864,"slug":36865,"title":36866,"dynasty":124,"author":125,"museum":244,"description":1992,"tags":36867,"thumbUrl":36868,"material":611,"size":3770,"collection":84,"collections":36869,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},222105,"xie-mi-jia-shan-shen-zhou-222105","写米家山",[23,24,7,128,29,34432,59,663,413,228,37,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff82c8db68a8b575954749b6f85eccdfc.jpg",[],{"id":36871,"slug":36872,"title":36873,"dynasty":144,"author":22335,"museum":161,"description":36874,"tags":36875,"thumbUrl":36876,"material":151,"size":36877,"collection":136,"collections":36878,"showCount":36308,"zanCount":1998,"manualWeight":48,"mainColor":72},221916,"luo-fu-shan-qiao-tu-juan-chen-ru-yan-221916","罗浮山樵图绢","此图所绘罗浮 山，位于广东增城县 东，为东晋葛洪得道 之处。作者在幅上自 识：“至正二十六年 （1366） 正月望后庐 山汝言为思齐断事 写罗浮山樵图。”图 绘群山层叠，一峰高 耸，两山接合处有山 泉流泻而下；坡岸上 树木林立，枝叶茂 密，有茅屋、楼阁错 落其间；山谷中村落 隐现；远处对岸，峰 峦犹见。图中山势圆 匀，作长披麻皴，再 以淡墨渲染，此为 董、巨法。但线条时 断时续，却有些王蒙 的解索皴的意味。山 头碎石堆叠，形似 “矾头”。近树枝干挺 直，粗笔点叶。这些 都是依循董源《夏景 山口待渡图》及巨然 《层岩丛树图》而来。 此 图虽在技 法 上学了董、巨，但呈 现的效果，却逊色许 多。这是由于陈汝言 用笔偏于繁细劲利， 笔力偏硬，缺少圆 浑、厚实之感。并且 在营造山水意境方 面，也缺少整体感。 山头大多各自独立， 只交代了山脉走向， 而缺乏山川气象。 其时已是元末， 山水画总的在趋向 简率、写意。如陆广、 赵原等画家，无论构 图、笔墨，都呈现简 单化的现象。陈汝言 用笔虽见粗阔，但由 于其好友王蒙对他 的影响，使其勾、皴 依然缜密、清润。 陈 汝言等一 批 元末“吴门”画家，承 续宋元文人画传统， 虽未取得重大突破， 却为“吴派”的诞生 起了先导作用。",[23,24,7,128,132,165,663,495,499,497,34,99,131,496,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F736082c81e3db2b9eeab62f1bc5401da.jpg","70x53.5",[136,117],{"id":36880,"slug":36881,"title":36882,"dynasty":18,"author":5533,"museum":20,"description":36883,"tags":36884,"thumbUrl":36885,"material":3785,"size":36886,"collection":84,"collections":36887,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":49},221607,"liu-xi-wo-di-tu-liang-kai-221607","柳溪卧笛图","图片放至最大时，可见一人卧岸吹笛，所绘人物微小，但几笔勾勒出一个人物形状和行为；而作背景的树木、岛屿以水墨状散开，如雾气般升腾。画面极简，但达到了无形即有形的精髓。\n梁楷（活动于十三世纪初期），南宋画家。祖上为东平(今属山东省)人，居钱塘(今浙江杭州)。工画人物、佛道、鬼神，兼善山水、花鸟。曾为画院待诏，并赐佩金带。但其性格豪放不羁，不耐画院规矩，将金带悬壁而去，人称“梁疯子”。画法有“细笔”、“减笔”两种，而概括飘逸的减笔画对后世影响极大。",[23,24,164,7,128,10170,29,96,4363,499,32324],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a56bcc78c55ff8ae9cf7480874e52a.jpg","26.1×26.1cm",[],{"id":36889,"slug":36890,"title":36891,"dynasty":18,"author":633,"museum":20,"description":36892,"tags":36893,"thumbUrl":36895,"material":9291,"size":36896,"collection":84,"collections":36897,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":49},221571,"wu-zhu-xi-tang-tu-ye-xia-gui-221571","梧竹溪堂图页","《梧竹溪堂图》为一山水小品。此图画山间一茅舍，旁有梧桐、修竹环绕，远处则是青山隐隐。画面景物平常、简约，却蕴含着清旷、幽深、静谧的意趣。\n此画设色画修竹、梧桐、茅屋、远山。这是一幅近似正方构图的小品山水画面。画中主要突出近景，近景描绘细致而写真，远景则粗淡而画虚，又是一幅虚实结合的山水风景画。近景是高大而扭曲的夹叶梧桐树，及挺立而柔姿的翠竹，在微风中摆动，互相交映，茅屋及草堂在树荫下显露。在这幽静的环境里，一位隐士在草堂中，面对高山溪水观景赋诗，敞开胸怀，歌颂大自然的美景。在茅屋与草堂前有护栏同着的院庭，主人在庭院里闲散时，可以听到溪水潺潺声，树叶的沙沙声，以及远处山风的呼啸声，同时可以怀诗朗颂；远景朦胧中有山峰映显，是山溪水的升腾，使山峰尤如在云雾中飘移。这水声、风声及诗人在山水问的朗渎声，可以组成人间大自然美好交响乐章，这就是夏圭山水中的具笔墨淋漓、云烟变态，饶有士大夫风骨的画面。\n此画设色画梧桐、修竹、茅屋、远山。构图上采用“一角”画法。画竹、树疏朗简洁，布局巧妙。全画笔法苍老劲健，下笔疾速果断。画中茅屋随手勾出，显得严谨而活泼。整幅画面层次鲜明，用浓墨写近景，再用淡墨画栏杆，远山则用花青略加渲染，使画面产生了强烈的空间感。\n构图上采用所谓“一角”、“半边”之法，主要景色都集中在画面下部，左侧取其大自然中真实一角，与右旁渺无人烟的画面，只有山影在茫茫的雾气中浮动，构成了意境深远的山水画。所画竹、树疏朗简洁，布局巧妙，作者以粗笔浓墨勾出梧桐树干及叶丛，用中锋画竹竿，以楷书写竹叶，堂宇、栏杆画得破有成规，近处山石棱焦清晰，并有青苔点簇，树林中蕴现的秀石以浅墨勾出，又以淡水墨染之，与装饰性的梧竹，形成色差的对比。画中茅屋，不用界尺，随手勾出，显得严谨而活泼。远远的山形与天色几乎相混，只见有一笔勾之，远山用花青略加渲染，造成的深远景色，只能让观者在意境中识别，这是夏画中的意取胜的展现。在此幅画中，见到了作者较富装饰性的山水画。以自识“夏圭”款二字于左方树干上。\n《梧竹溪堂图》画面简明地分成虚实两块，正是典型的“夏半边”构图。画中树木干枝曲折多弯，亦与马远树法相同。惟其用笔苍润含蓄，不似马远瘦硬刚劲，这大概与夏圭好用秃笔有关。建筑物也是用毛笔信手勾勒出来的，透视、比例都很合理，虽不及马远的界画法工细，却也别有韵味。若再细看，不难看到房柱、栏杆之类建筑构件是以较严谨、沉稳的线条组成，画屋顶茅草的线条则显得疏松、随意，这一细节透露出画家信手勾勒时仍很有分寸。由于画小景物不多，夏圭善用墨色的特点在《梧竹溪堂图》中表现得不是非常充分，然其墨色浓淡相济，足以将画面空间交待得层次分明，使景物密集处也有了几分空灵感。",[23,164,24,7,4437,1326,128,132,29,247,36894,276,711,131,99,6874,34,758,230],"梧树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ebac27779930c3568caeff06fba9120.jpg","纵23厘米，横26厘米",[],{"id":36899,"slug":36900,"title":36901,"dynasty":18,"author":2141,"museum":20,"description":36902,"tags":36903,"thumbUrl":36904,"material":514,"size":36905,"collection":84,"collections":36906,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},221547,"shan-guan-du-shu-tu-liu-song-nian-221547","山馆读书图","《山馆读书图》描绘的是文人雅士所向往的闲适生活。长松掩映之下，长案临窗，清风徐来，窗外传来书童打扫落叶的声音，间或闻得几声鸟鸣，宁静悠闲，倚案展卷，何等惬意。",[23,24,7,28,27,95,29,97,1144,96,247,34,167,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F234be9e86cbf67a38bc347e7b4419eed.jpg","24.3×24cm",[],{"id":36908,"slug":36909,"title":36910,"dynasty":18,"author":9804,"museum":244,"description":36911,"tags":36912,"thumbUrl":36913,"material":151,"size":36914,"collection":318,"collections":36915,"showCount":36308,"zanCount":1998,"manualWeight":48,"mainColor":199},221448,"tao-qian-shang-ju-tu-quan-juan-zhao-ling-rang-221448","陶潜赏菊图全卷","描绘了幽林内、小亭中，陶渊明与访友坐对赏花，江干水渚，群卉争发，树本、房舍、池沼、小路等表现很精致，具有化平凡的事物为美丽的事物的艺术效果，设色艳丽，画中人亦无特殊造形，但拖尾诸跋，均以陶潜赏菊故事为题咏，意境颇为优美。卷尾分别有董其昌、詹同、蔡哲、中山居士、张羽、苏伯衡的跋文。",[23,24,7,25,27,28,29,96,376,130,34,1955,133,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd7176750b8b30929f53c7de7d6e7f76.jpg","全卷纵30厘米，横416.4厘米，画心纵30厘米，横84厘米",[318],{"id":36917,"slug":36918,"title":36919,"dynasty":18,"author":686,"museum":244,"description":36920,"tags":36921,"thumbUrl":36922,"material":6091,"size":36923,"collection":84,"collections":36924,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},221384,"ming-hua-lin-lang-ce-qun-feng-xue-ji-fan-kuan-221384","名画琳瑯册－群峰雪霁","此作写崇山积雪，山脚并点缀密林、楼观、舟楫等。倦色黯黑，但不失古雅苍润。画中的主峰已偏一侧，且皴笔少滃染多，地质较近于土山，与记载中的范宽风格并不尽似。对幅由尹继善、刘纶、王际华、钱维城、彭元瑞、曹文埴、陈孝泳等清代臣工题咏，虽然语中对范宽多所赞誉，但无法证明本幅与范宽有关，据画风推测成作时间应在南宋以后。\n另有旧题为范宽的《山水》、《秋景山水》、《海山图》、《霍童仙界图》等数幅，虽然作品中或题“范中立”、“范宽笔”、“华原范宽”，但均与范宽的风格相去甚远，时代也无法到宋，推定是明、清时期的托名伪作。本节遂不一一叙述。",[23,164,24,7,59,29,132,128,10390,1813,13436,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c7a037a9fc0181e3f16807504492c7c.jpg","纵40.7公分，横27.3公分",[],{"id":36926,"slug":36927,"title":36928,"dynasty":18,"author":2099,"museum":244,"description":36929,"tags":36930,"thumbUrl":36931,"material":36932,"size":36933,"collection":42,"collections":36934,"showCount":36308,"zanCount":1998,"manualWeight":48,"mainColor":72},221356,"shan-yin-hui-zhan-tu-juan-li-gong-lin-221356","山阴会战图卷","李公麟（1049～1106），北宋廬州府舒城縣人（今安徽舒城人），宋代傑出畫家。字伯時,號龍眠居士，(1049-1106)享年五十七歲。熙寧三年(公元1070年)進士。李龍眠即李公麟，字伯時，安徽舒城人，因桐城郊外有一龍眠山，李公麟曾長居於山下，所以又自號龍眠居士或龍眠山人。\n出身名門大族，家藏古器名畫法書甚多，自幼知識淵博，好古善鑑，多識奇字，自夏商以來鐘鼎尊彝皆能考訂世次，辨別款識。長於詩文，行楷書有晉人風。與王安石、蘇軾、米芾、黃庭堅為至交，系駙馬王詵之座上客。熙寧三年（1070）中進士，為中書門下省刪定官，後官至朝奉郎。元符三年（1100）病痹告老，居家鄉桐城龍眠山，號龍眠居士。一生勤奮，作畫無數，人物、史實、釋道、士女、山水、鞍馬、走獸、花鳥無所不能，無所不精。人物、道釋深得吳道子旨趣，運筆如行雲流水，造型正確，神態飛動；山水氣韻清秀，得王維正傳；着色山水追李思訓心法；畫馬過韓幹。能集諸家之長，得其大成，師法自然，大膽創新，自成一家，被後代敬為第一大手筆、百代宗師。",[23,164,24,7,25,188,128,96,101,11074,496,1825],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca6087e9bb8a0ab5fd706b1ea01ef813.jpg","绢本，水墨淡设色","26.6x764",[42],{"id":36936,"slug":36937,"title":36938,"dynasty":18,"author":4861,"museum":20,"description":36939,"tags":36940,"thumbUrl":36941,"material":514,"size":36942,"collection":136,"collections":36943,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},221215,"fei-ge-yan-feng-tu-ye-wang-shen-221215","飞阁延风图页","此图原载《四朝选藻册》。图绘二位仕女，佇立楼台远眺，一位站立桌旁泛览古玩，其态悠闲自在。楼前古松葱茏，亭楼隐隐可见。作者用严谨、缜密的界画作楼台，细笔勾松针，笔法娴熟劲健，设色鲜艳和谐。裱边旧题签「王詵飞阁延风」。但从画风对比分析，与王詵风格不同，故改为无名氏作。画中无款，钤二印(一半印)不可辨。对开有清高宗弘历题诗，钤「八征耄念之宝」、「太上皇帝之宝」、「自强不息」等印。曾经清内府收藏，不见著录。",[23,24,7,59,95,27,97,34,96,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddda2be2d8bd08b99a15bda9153a6936.jpg","纵26、横23.5厘米",[136,45],{"id":36945,"slug":36946,"title":36947,"dynasty":54,"author":1219,"museum":224,"description":36948,"tags":36949,"thumbUrl":36950,"material":3544,"size":84,"collection":84,"collections":36951,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},220473,"zhong-kui-xiang-ren-yi-220473","钟馗像","一改往日钟馗凶煞镇邪的刚猛，此作将他绘成簪花醉坐的士大夫模样，斜倚竹榻，醺然松弛，红簪点醒了满脸虬髯下暗藏的温柔意趣。\n\n衣纹以顿挫写意的长线挥就，笔势灵动洒脱，赭色衣袍晕染温润，衬出人物难掩的威仪。髯须以泼墨扫出，粗粝苍劲，与衣纹的秀逸形成反差，刚柔并济间，判官的威严与松弛尽显。\n\n案上清供瓶花、卷册鲜果，将神祗拉入日常烟火，消解戾气，添上文人雅韵，以世俗化笔触重构民间神明，尽显雅俗共赏的笔墨意趣。",[24,7,27,28,96,187,170,169,5459,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc67bf33de0a3afd0468c8bac53207d69.jpg",[],{"id":36953,"slug":36954,"title":36955,"dynasty":54,"author":36956,"museum":1300,"description":36957,"tags":36958,"thumbUrl":36960,"material":66,"size":36961,"collection":136,"collections":36962,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},219915,"xia-shan-lin-guan-tu-wang-yu-219915","夏山林馆图","王昱","王昱（1714——1748），清代文人画家，字日初，号东庄老人，又号云槎山人、丹林，江苏太仓人。与清代画家王玖、王宸、王愫合称“小四王”。东庄老人师承娄东“四王”一脉，喜山水，其画淡而不薄，疏而有致，笔意在倪瓒、方从义之间。",[164,24,7,165,128,29,132,131,34,99,36959,13603,32406],"馆舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c382ccf195e33d1e5689e31fa5aaf5.jpg","105.1x49.8",[136],{"id":36964,"slug":36965,"title":36966,"dynasty":18,"author":3596,"museum":244,"description":36967,"tags":36968,"thumbUrl":36969,"material":66,"size":36970,"collection":68,"collections":36971,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},219644,"liu-yin-xi-e-tu-cui-bai-219644","柳阴戏鹅图","此作为边角小景，以极简笔意铺陈幽淡意境。柔垂柳丝以淡墨写就，细枝袅袅垂落晕开浅绿，晕染出水岸阴凉。白鹅卧于坡岸，白羽刻画工细写实，绒软质感呼之欲出，它垂首驻足浅滩，似正流连水畔，憨态悠然尽显生机。坡岸杂草以浓墨点染，枯润相生，将白鹅衬得愈发莹洁剔透。\n\n整幅小品不事雕琢，清雅柔和，将郊野水岸的闲静氛围凝于尺幅之间，以小见大，尽显精微写实与诗意意境相融的雅致美感，让人仿佛置身初夏水岸，独享这片刻宁谧悠然。",[24,7,164,59,27,28,61,2372,7546,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6175d0a863e4aed9c5ea44bb06d9fe.jpg","22.4x17.9",[68],{"id":36973,"slug":36974,"title":36975,"dynasty":54,"author":36976,"museum":20,"description":36977,"tags":36978,"thumbUrl":36979,"material":66,"size":36980,"collection":44,"collections":36981,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},219635,"song-zhi-jing-ting-song-feng-tu-liu-yu-219635","宋致静听松风图","柳遇","图中宋致头戴纱帽，身着长衫，临溪倚石侧坐，神情端凝。身后古松参天，枝繁叶茂，与怪石嶙峋、小草幽篁、溪水潺潺的景致形成高矮、动静的对比，有极强的视觉效果，强化了人物的宁静祥和，烘托了听松的主题。\n据《商邱县志》记载：宋致，字穉佳，商邱人。举乡贡，游太学，官至四川总藩、湖南布政使。性情慷慨轻财，有政事，录《可竹居诗集》。\n图中人物用勾填法表现，面部稍加晕染，衣纹飘逸，线条简洁，形象传神，突出了主人公朴实无华的个性与平和自然的心态。",[23,24,7,165,27,96,372,1314,64,133,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8818a7ad2c54fb07fbd6b17a7bcbd712.jpg","纵102厘米，横44.6厘米",[44],{"id":36983,"slug":36984,"title":36985,"dynasty":54,"author":6946,"museum":244,"description":36986,"tags":36987,"thumbUrl":36988,"material":652,"size":36989,"collection":44,"collections":36990,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},219527,"fang-han-huang-qi-cai-zi-guo-guan-tu-ding-guan-peng-219527","仿韩滉七才子过关图","历史故事画题，描写唐开元年间七才子冒风雪出蓝田关，游龙门寺的故事。",[24,7,28,27,188,330,96,101,7067,29,413,130,690,497,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eea564194f470461c7e20c843cace7b.jpg","94.5X54.7cm",[44],{"id":36992,"slug":36993,"title":36994,"dynasty":54,"author":36995,"museum":244,"description":36996,"tags":36997,"thumbUrl":36998,"material":66,"size":84,"collection":45,"collections":36999,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},219464,"zhang-song-tu-lu-ri-wei-219464","长松图","陆日为","陆日为善画山水，初学米芾、米友仁及高克恭之法，同时亦能融入自己的特色，形成了独特的艺术风格。",[164,24,7,165,128,132,1144,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa819d15028698afffdb6a55ce8aa31d8.jpg",[45],{"id":37001,"slug":37002,"title":37003,"dynasty":18,"author":223,"museum":244,"description":37004,"tags":37005,"thumbUrl":37006,"material":173,"size":37007,"collection":136,"collections":37008,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":49},218990,"he-ting-xiao-xia-tu-yi-ming-218990","荷亭销夏图","画面描绘了岩石岬角上的一组树木，两棵松树站在树根上，其技术叶子在树荫下。在阴凉处，靠悬崖建了一个亭子，并通过走廊与水亭相连。亭子外面，波光粼粼，水面被荷叶包围。在湖中央的长堤上，孩子们的仆人带着他们的扇子和乐器走动。在岩石坡上摇曳的箭与湖光山色形成鲜明对比，使这幅画充满了迷人的夏日气氛 这是《名画珍品》画册的第五幅，没有作者的标记。笔法是李唐派的，近景的石坡、山石、树木，中景的山峰，都有李郭派的影子。这位艺术家可能是歌曲中间的一位画家。",[23,24,7,29,27,95,132,130,34,97,131,414,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9d1d0e4dbebe940bae02aa72bb50e4c.jpg","24.5x25.4",[136],{"id":37010,"slug":37011,"title":1920,"dynasty":18,"author":223,"museum":244,"description":37012,"tags":37013,"thumbUrl":37014,"material":173,"size":37015,"collection":136,"collections":37016,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":49},218813,"guan-shan-xing-lv-tu-yi-ming-218813","画的是关山高远的山峰和秋天的悲凉森林，一个骑着毛驴的学子正在过一座小桥。这幅画没有标记，有两个虞姬的符号，考虑到其解体时使用的笔法，可能是元代的作品。",[23,24,7,128,27,29,132,690,96,34,131,99,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b596fb7fe0dbb2cec842c835d50fd6a.jpg","26.7x27.8",[136],{"id":37018,"slug":37019,"title":37020,"dynasty":144,"author":17775,"museum":244,"description":37021,"tags":37022,"thumbUrl":37023,"material":151,"size":84,"collection":136,"collections":37024,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},218767,"xue-shan-ce-jian-tu-tang-di-218767","雪山策蹇图","寒林雪景徐徐铺展，积雪如凝玉覆于峰峦石矶，枯树虬枝盘曲，骨力尽显。山石以斧劈皴与披麻皴交错，淡墨晕染间，雪的厚重与石的坚劲相融。策蹇人衣袂轻扬，缓行于冰冽天地，渺小身影衬出旷远意境。笔墨细腻处藏文人雅致，简淡中见苍劲力道，寒寂氛围里暗蕴生机。整幅画将雪的清寂、树的孤挺、人的从容凝成一瞬，尽显元人山水空灵意韵。观者仿佛闻风雪低语，触冬日清寒，感旅人独行的淡远心境，于静谧中品得那份超脱尘嚣的悠然。",[23,164,24,7,128,27,132,29,2523,1337,131,96,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6cb3342fada7f0c20d0e996bc177960.jpg",[136],{"id":37026,"slug":37027,"title":37028,"dynasty":18,"author":223,"museum":244,"description":37029,"tags":37030,"thumbUrl":37031,"material":173,"size":37032,"collection":44,"collections":37033,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":49},216992,"shi-ba-luo-han-tu-di-shi-er-na-zha-la-ha-ba-la-zhui-za-zun-zhe-yi-ming-216992","十八罗汉图-第十二那楂拉哈拔喇錣襍尊者","十八罗汉图是宋朝佚名所作的一幅绘画，其中包含了十八个佛教罗汉的形象。其中之一就是第十二那楂拉哈拔喇錣襍尊者。\n\n第十二那楂拉哈拔喇錣襍尊者，是佛教中的一位辅助佛的菩萨。他有着平和的容颜和慈悲的心态，被认为是帮助人们解决烦恼的菩萨。在十八罗汉图中，他的形象通常是被描绘成端庄的姿态，身着红色的衣服，头戴金色的冠冕。",[24,7,165,187,96,27,28,413,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab69505d8bf8f8029094fac0e5776be4.jpg","128.5x74.8",[44],{"id":37035,"slug":37036,"title":37037,"dynasty":144,"author":223,"museum":300,"description":37038,"tags":37039,"thumbUrl":37040,"material":317,"size":37041,"collection":44,"collections":37042,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":49},216729,"cai-wen-ji-gui-han-tu-juan-yi-ming-216729","蔡文姬归汉图卷","蔡文姬归汉图卷是一幅来自中国元朝时期的绘画作品，作者不详。这幅作品描绘了蔡文姬的故事，蔡文姬是中国古代传奇人物，被认为是中国历史上最伟大的女子琴师之一。\n\n蔡文姬归汉图卷描绘了蔡文姬归汉的故事，她最终回到了中国。",[23,164,24,7,25,188,27,96,101,8771,12314,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa205e6ef03d2c82dc7ac2a4de33cb74.jpg","31.5x89.5",[44],{"id":37044,"slug":37045,"title":37046,"dynasty":144,"author":1346,"museum":244,"description":2533,"tags":37047,"thumbUrl":37048,"material":278,"size":84,"collection":84,"collections":37049,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},216381,"mo-zhu-pu-ce-8-wu-zhen-216381","墨竹谱册-8",[24,7,59,128,167,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173eab88d81fef18e3753034dd77f964.jpg",[],{"id":37051,"slug":37052,"title":37053,"dynasty":124,"author":1141,"museum":244,"description":37054,"tags":37055,"thumbUrl":37056,"material":317,"size":37057,"collection":136,"collections":37058,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":49},216103,"jiang-fan-gui-zhao-wen-zheng-ming-216103","江帆归棹","淡墨晕染间，江南水乡的氤氲之态尽显。远山隐于薄雾，轮廓柔和如黛；近岸林木疏朗，墨色层次清雅。江帆数点，似叶浮于粼粼波光；归棹轻摆，携着晚归的悠然意韵。文徵明以细劲中锋勾勒山石，披麻皴缓铺肌理，线条温润却藏筋骨。画面简而不空，每一处笔触皆含文人情致——对自然的亲近，对归居的向往，尽融于烟水帆影之中。吴门画派的秀逸典雅，在此化作含蓄诗意，引人沉湎于那份宁静致远的心境，仿佛能闻流水轻响，见晚风拂过帆樯。",[24,7,59,128,27,29,132,129,99,211,130,28370,98,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0d75f0a81c2bd9003aebb84de1cdf41.jpg","36x55cm",[136],{"id":37060,"slug":37061,"title":37062,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":37063,"thumbUrl":37064,"material":278,"size":3888,"collection":84,"collections":37065,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":72},214980,"dao-zi-mo-bao-ren-wu-bai-miao-hua-3-yi-ming-214980","道子墨宝人物白描画-3",[23,164,24,7,188,96,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2604a5568544450beb4aa13729ee78c1.jpg",[],{"id":37067,"slug":37068,"title":10883,"dynasty":54,"author":37069,"museum":244,"description":37070,"tags":37071,"thumbUrl":37072,"material":278,"size":37073,"collection":318,"collections":37074,"showCount":36308,"zanCount":48,"manualWeight":48,"mainColor":956},214243,"xing-shu-qi-yan-lian-shen-bao-zhen-214243","沈葆桢","笔墨流转间，行书意趣淋漓。笔力遒劲如苍松，墨色浓淡相宜：浓处沉厚若坠石，淡处轻盈似流云。结体欹正相生，兼得帖学灵动韵致与碑学骨力内蕴。联语清雅质朴，木樨香里藏妙境，菜根味中得真腴，与书法风格相映成趣。线条粗细变化自然，章法疏密有致，左右呼应如琴瑟和鸣。每字皆含生机，或开张如翼，或收敛如珠，于法度中见性情，尽显文人笔墨的雅致风骨。观之如沐清风，既赏书法之美，亦悟文字所蕴的淡泊真意，堪称笔墨与心境交融的佳作。",[23,7,133,10886,128,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9029bacb3f6fd9982209cc38ebc52dd3.jpg","154.5x27.8",[318],{"id":37076,"slug":37077,"title":37078,"dynasty":144,"author":1208,"museum":300,"description":34252,"tags":37079,"thumbUrl":37080,"material":692,"size":1293,"collection":84,"collections":37081,"showCount":486,"zanCount":1998,"manualWeight":48,"mainColor":72},290839,"wan-he-qiu-ting-zhou-ni-zan-290839","万壑秋亭轴",[164,24,7,165,128,132,29,130,454,131,499,64,208,6639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c7a50eb639fedf1d8803cb1242ca91.jpg",[],{"id":37083,"slug":37084,"title":37085,"dynasty":222,"author":223,"museum":300,"description":37086,"tags":37087,"thumbUrl":37089,"material":692,"size":1293,"collection":84,"collections":37090,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":49},289578,"gong-yang-tu-yi-ming-289578","供養圖","上部佛坛静谧端严，佛陀结跏趺坐，面容慈和沉静，右手施印，衣纹古拙舒展。两侧胁侍合掌垂眸，身姿恭谨，莲台云座晕染沉厚，设色虽已斑驳，却愈显佛界的庄严澄净。\n\n下部供养人乌袍峨冠，手持香炉躬身礼敬，衣纹简练厚重，将奉佛者的至诚神态藏于沉稳身形之中。整幅以上下排布衔接凡俗与佛国，朴拙线条搭配沉郁古彩，定格下奉佛礼拜的虔诚瞬间，尽显民间宗教画的质朴意韵。",[23,24,7,165,27,96,187,18381,37088,1692],"供养人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F271c4c536597a2b5193ead9e0f7c5dcd.jpg",[],{"id":37092,"slug":37093,"title":37094,"dynasty":18,"author":18558,"museum":300,"description":37095,"tags":37096,"thumbUrl":37098,"material":692,"size":1293,"collection":84,"collections":37099,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},289348,"qiu-pu-shuang-yuan-tu-hui-chong-289348","秋浦双鸳图","图中右下角池塘边画芦苇数株、败荷及野花丛草：中景处，有一对鸳鸯栖息于河沿边，雄者披着一身美羽昂首站立远望，又似在护卫伴侣；雌者扭头栖息在侧旁，两只鸳鸯含情传神，有声有色。远处是岸际及开阔的天空，全画给人——种秋天虚旷潇洒的气氛，具有涛一般的意境。",[164,24,7,61,28,27,1857,1824,6639,37097,64,208],"水景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4561824c51db046604dc357bd9c9a1f.jpg",[],{"id":37101,"slug":37102,"title":37103,"dynasty":54,"author":5276,"museum":300,"description":37104,"tags":37105,"thumbUrl":37106,"material":692,"size":1293,"collection":84,"collections":37107,"showCount":486,"zanCount":1998,"manualWeight":48,"mainColor":72},288830,"mei-hua-mu-dan-shi-hua-juan-gao-feng-han-288830","梅花牡丹诗画卷","高凤翰（1683—1749年），字西园，号南村，自号南阜山人，山东胶州人。曾任安徽歙县县丞，去官后流寓扬州。擅画山水、花卉。山水师法宋人，近赵令穰、郭熙一派。55岁左右，右手病疫改用左手，更号“尚左生”刻印“丁巳残人”。其画具有宋人雄浑之神，元人静逸之气。秦祖永《桐荫论画》评道：“离奇超妙，脱尽笔墨畦径，法备趣足，虽不规规于法，而实不离于法。”",[23,164,24,7,25,128,61,371,263,840,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1137d6b12560322e8e67b8b86649204c.jpg",[],{"id":37109,"slug":37110,"title":3032,"dynasty":18,"author":397,"museum":300,"description":37111,"tags":37112,"thumbUrl":37113,"material":692,"size":1293,"collection":84,"collections":37114,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":49},288534,"mei-hua-xiu-yan-tu-ye-zhao-ji-288534","图中梅枝瘦劲，枝上疏花秀蕊，一只绣眼俏立枝头，鸣叫顾盼，与清丽的梅花相映成趣。此图虽然景物不多，却颇为优美动人。所绘梅花为宫梅，经过不断剪枝，人工修饰痕迹较重。此种梅的画法精细纤巧，敷色厚重，自有一种富贵气息，这样的风格趣味为宫廷所好尚，显然代表了皇家的审美意味。",[23,24,7,4437,28,27,61,650,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fc0daf94958e7050e93d286406ea889.jpg",[],{"id":37116,"slug":37117,"title":37118,"dynasty":54,"author":872,"museum":300,"description":6719,"tags":37119,"thumbUrl":37120,"material":692,"size":1293,"collection":84,"collections":37121,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},288452,"fu-yang-da-ling-tu-zhu-da-288452","富阳大岭图",[23,24,7,128,29,132,13603,387,34,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf8e6667484c88095860699a15fea24f.jpg",[],{"id":37123,"slug":37124,"title":37125,"dynasty":18,"author":1622,"museum":300,"description":13115,"tags":37126,"thumbUrl":37127,"material":692,"size":1293,"collection":84,"collections":37128,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":49},288431,"gao-shi-guan-pu-tu-ma-yuan-288431","高士观瀑图",[24,7,27,96,29,1144,495,131,10539,12634,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd14d033ddc1a880a6b71d2fb206a1cf.jpg",[],{"id":37130,"slug":37131,"title":37132,"dynasty":54,"author":872,"museum":300,"description":6719,"tags":37133,"thumbUrl":37134,"material":692,"size":1293,"collection":84,"collections":37135,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},288172,"fang-guo-shu-shan-shui-tu-zhou-zhu-da-288172","仿郭恕山水图轴",[23,24,7,165,128,132,330,29,131,34,130,208,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe50eb3a950ce4abfb78da77a089adc40.jpg",[],{"id":37137,"slug":37138,"title":37139,"dynasty":124,"author":22598,"museum":300,"description":22599,"tags":37140,"thumbUrl":37141,"material":692,"size":1293,"collection":84,"collections":37142,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},288045,"mei-hua-tu-ye-chen-ji-ru-288045","梅花图页",[23,24,7,128,61,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F559e90f017c71c4dbf04075e0d12d500.jpg",[],{"id":37144,"slug":37145,"title":7460,"dynasty":54,"author":27978,"museum":300,"description":37146,"tags":37147,"thumbUrl":37148,"material":692,"size":1293,"collection":84,"collections":37149,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},287873,"qing-ming-shang-he-tu-juan-shen-yuan-287873","沈源[清]字恰亭，上海人。精科医，工铁笔，善画兰。代表作有《海上墨林》。",[164,24,7,25,28,27,95,96,97,1747,11073,34,1746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c46e55aac8d937ca2cfc4e29bcce68.jpg",[],{"id":37151,"slug":37152,"title":37153,"dynasty":182,"author":37154,"museum":300,"description":37155,"tags":37156,"thumbUrl":37157,"material":692,"size":1293,"collection":84,"collections":37158,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},287570,"lin-wang-xi-zhi-zhang-feng-tie-zhe-sui-liang-287570","临王羲之长风帖","禇遂良","褚遂良（596年～658年\u002F659年），字登善，杭州钱唐（今浙江省杭州市）人。唐朝宰相、政治家、书法家，弘文馆学士褚亮之子。\n出身河南褚氏，博学多才，精通文史。隋末时期，追随西秦霸王薛举，担任通事舍人。归顺唐朝后，得到唐太宗重用，历任谏议大夫、黄门侍郎，累迁中书令，执掌朝政大权。贞观二十三年（649年），与司空长孙无忌同受遗诏辅政。唐高宗继位后，升任右仆射，册封河南郡公，历任同州刺史、吏部尚书，累迁右仆射，参知政事。反对册立武则天为后，贬为潭州（今长沙）都督。武后掌权后，迁桂州（今桂林）都督，再贬爱州（今越南清化）刺史，卒于任上。神龙革命后追赠右仆射，谥号“文忠”。天宝六载（747年），配享唐高宗庙庭，累赠太尉。\n褚遂良工于书法，初学虞世南，后取法王羲之，与欧阳询、虞世南、薛稷并称“初唐四大家”，传世墨迹有《孟法师碑》《雁塔圣教序》等。",[164,7,64,133,330,1590,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0318649cc6a683133886d12f2cbf63c5.jpg",[],{"id":37160,"slug":37161,"title":37162,"dynasty":18,"author":2099,"museum":300,"description":37163,"tags":37164,"thumbUrl":37165,"material":692,"size":1293,"collection":84,"collections":37166,"showCount":486,"zanCount":1998,"manualWeight":48,"mainColor":72},287537,"shu-chuan-tu-shou-juan-li-gong-lin-287537","蜀川图手卷","画面从传统的长江发源地汶山、岷山画起，经茂州、石泉、永康军、青城山、成都城区、双流、新津、彭山、龙安、眉州、青神，后大跨越式地跨过嘉州、叙州、泸州、渝州、涪州，后接忠州、梁山、万州、云安、夔州、巫山县结束。\n这件长卷对巴蜀地区建筑形式、历史地理、历史文化研究有一定参考价值。",[23,164,24,7,25,128,188,133,208,371,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b157ace959ea92bd68e1cf5dffe387f.jpg",[],{"id":37168,"slug":37169,"title":37170,"dynasty":18,"author":449,"museum":300,"description":37171,"tags":37172,"thumbUrl":37173,"material":692,"size":1293,"collection":84,"collections":37174,"showCount":486,"zanCount":1998,"manualWeight":48,"mainColor":72},287364,"xiang-tai-hou-wan-ci-tie-mi-fei-287364","向太后挽词帖","向太后为宋神宗赵项皇后，赵项死后，哲宗赵煦一即位，被尊为皇太后，卒于1101年。此帖即书于此年，米芾时五十一岁。此帖副页有明董其昌临“向太后挽辞”及跋，曾经明代陈继儒、项元沛，清代孙慎行、徐渭仁、缪荃孙、朱益藩等二十八家观题。著录于明何良俊《何氏书画铭心录》、汪坷玉《珊瑚网书跋》、郁逢庆《郁氏书画题跋记》、陈继儒《妮古录》、张丑《清河秘岌表》，清顾复《平生壮观》、吴其贞《吴氏书画记》、卞永誉《式古堂书画汇考》、崇彝《选学斋书画寓目记》、完颜景贤《三虞堂书画汇目》等书。此《挽词》“本为端方所藏，后归景朴孙，又归袁珏生。袁去世后，转入鄞人周湘云手。闻与耶律楚材诗卷，均入故宫博物院矣”。现藏北京故宫博物院。",[23,64,133,1590,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23ea96b275989ce49b4581da1c82602c.jpg",[],{"id":37176,"slug":37177,"title":37178,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":37179,"thumbUrl":37181,"material":692,"size":1293,"collection":84,"collections":37182,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},287350,"min-jiang-chun-se-tu-shi-tao-287350","岷江春色图",[23,24,7,1349,128,27,132,496,34,387,129,64,133,208,37180],"春色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff493d294fe1e9a424e15c0a58ebbf15b.jpg",[],{"id":37184,"slug":37185,"title":37186,"dynasty":18,"author":20617,"museum":300,"description":35804,"tags":37187,"thumbUrl":37188,"material":692,"size":1293,"collection":84,"collections":37189,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},240693,"tie-ye-cai-jing-240693","帖页",[1326,7,64,133,59,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64d143e58aed1ff217ff8376420b17e2.jpg",[],{"id":37191,"slug":37192,"title":37193,"dynasty":54,"author":37194,"museum":300,"description":37195,"tags":37196,"thumbUrl":37197,"material":611,"size":84,"collection":318,"collections":37198,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},240414,"lin-tie-si-tiao-ping-lin-ze-xu-240414","临帖四条屏","林则徐","林則徐（1785年8月30日 [54] －1850年11月22日），字元撫，又字少穆、石麟，晚號俟村老人、俟村退叟、七十二峯退叟、瓶泉居士、櫟社散人等 ，福建侯官縣人，清代中期政治家、文學家、思想家，民族英雄。\n林則徐是嘉慶十六年（1811年）進士，歷官翰林編修、江蘇按察使、東河總督、江蘇巡撫、湖廣總督等職。道光十九年（1839年），以欽差大臣赴廣東禁煙時，派人明察暗訪，強迫外國鴉片商人交出鴉片，並將沒收鴉片於虎門銷燬。該事件被認為是第一次鴉片戰爭的導火線。戰爭爆發不久，林則徐被構陷革職，發往新疆戍邊。道光二十五年（1845年）重獲起用，歷任陝甘總督、陝西巡撫、雲貴總督等職，加太子太保。道光三十年（1850年），林則徐在奉命鎮壓拜上帝會起事途中，病逝於潮州普寧。獲贈太子太傅，諡號“文忠”。有《林文忠公政書》等作品傳世。\n林則徐一生遍歷地方，治績卓著。雖在兩廣抗擊西方入侵，但對於西方的文化、科技和貿易則持開放態度，主張學其優而用之。他至少略通英、葡兩種外語，且着力翻譯西方報刊和書籍。他主持編譯的《四洲志》及魏源編撰的《海國圖志》，對晚清的洋務運動乃至日本的明治維新都具有啓發作用。",[54,64,133,330,128,611,5855,208,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9455903956a89eeb7a0d8aeb82bc5f83.jpg",[318],{"id":37200,"slug":37201,"title":37202,"dynasty":124,"author":14639,"museum":300,"description":37203,"tags":37204,"thumbUrl":37205,"material":84,"size":84,"collection":68,"collections":37206,"showCount":486,"zanCount":1998,"manualWeight":48,"mainColor":72},239420,"hua-zhu-zhou-chen-qin-239420","画竹轴","陈芹，生于1515年，卒年不详。字子野，号横崖，上元（南京）人，为安南国（越南）王后代，永乐年间来中国避战乱。擅长绘画，山水花卉竹枝均能，",[24,7,165,128,167,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaf9f100d12ff5ef9f1a592126067433.jpg",[68],{"id":37208,"slug":37209,"title":37210,"dynasty":351,"author":4456,"museum":20,"description":37211,"tags":37212,"thumbUrl":37213,"material":514,"size":37214,"collection":44,"collections":37215,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":49},238953,"xi-zi-huan-sha-tu-ye-zhou-wen-ju-238953","西子浣纱图页","中国五代南唐画家。建康句容（今江苏省句容市）人。工画佛道、人物、车马、屋木、山水，尤精于仕女，也是出色的肖像画家。作品多为摹本《宫中图》《苏武李陵逢聚图》《重屏会棋图》《琉璃堂人物图》《太真上马图》。",[164,24,7,4437,28,27,96,166,171,234,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F381a9f19e2e6a925298dc86e6198ace1.jpg","64×64cm",[44],{"id":37217,"slug":37218,"title":37219,"dynasty":54,"author":29297,"museum":300,"description":37220,"tags":37221,"thumbUrl":37222,"material":84,"size":84,"collection":84,"collections":37223,"showCount":486,"zanCount":1998,"manualWeight":48,"mainColor":72},238484,"hua-hong-li-han-shan-xue-hai-shi-yi-juan-jiang-pu-238484","画弘历寒山雪海诗意卷","此作用淡墨晕开云涛，以干笔皴擦山石肌理，苍松虬踞崖畔，丹叶点染峰峦，将翻涌海波与凌天奇山揽入卷中。云雾缠裹岩岫，虚实相生间，尽显山海雄奇又清寂的高旷意境。\n\n卷尾题诗与画意呼应，书画合璧，把缥缈出尘的山海胜境，凝作可赏可游的具象图景，将诗意中的仙幻空灵落于笔端，尽显山海灵奇，是诗画交融的精妙佳构。",[24,7,25,29,128,27,663,950,1144,497,64,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e07fc6c731d6d48ebf6f49830545eac.jpg",[],{"id":37225,"slug":37226,"title":37227,"dynasty":54,"author":36329,"museum":244,"description":36330,"tags":37228,"thumbUrl":37229,"material":84,"size":84,"collection":136,"collections":37230,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":49},238256,"wu-da-fu-song-tu-juan-zhang-ruo-ai-238256","五大夫松图卷",[24,7,25,128,132,372,331,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b2767d1893093d6fd6a0d715c493fd.jpg",[136],{"id":37232,"slug":37233,"title":37234,"dynasty":54,"author":9529,"museum":300,"description":18220,"tags":37235,"thumbUrl":37236,"material":84,"size":84,"collection":136,"collections":37237,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},237885,"xia-shan-ji-yu-zhou-wang-hui-237885","夏山积雨轴",[24,128,132,165,29,131,34,99,98,35,495,7,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2045788a394058a03f535c7e71d29f.jpg",[136],{"id":37239,"slug":37240,"title":6901,"dynasty":124,"author":23950,"museum":300,"description":37241,"tags":37242,"thumbUrl":37243,"material":84,"size":84,"collection":318,"collections":37244,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},237692,"lan-hua-zhou-chen-yuan-su-237692","此画兰叶偃仰，墨花横溢，超然出尘，得文徵明之秀媚，而更气厚力沉。明谓王榖祥、周天球所不及。",[24,7,165,128,375,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39b3d1371231d23485ff81501fc628a7.jpg",[318],{"id":37246,"slug":37247,"title":37248,"dynasty":124,"author":10922,"museum":20,"description":37249,"tags":37250,"thumbUrl":37251,"material":611,"size":37252,"collection":136,"collections":37253,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":49},237436,"bi-shu-qing-bo-zhou-wen-jia-237436","碧树晴波轴","文嘉（1501年～1583），字休承，號文水，南直隸蘇州府長洲（今江蘇蘇州）人。大書畫家文徵明次子。\n吳門派代表畫家。初為烏程訓導，後為和州學正。\n能詩，工書，小楷清勁，亦善行書。精於鑑別古書畫，工石刻，為明一代之冠。畫得徵明一體，善畫山水，筆法清脆，頗近倪瓚，着色山水具幽澹之致，間仿王蒙皴染，亦頗秀潤，兼作花卉。明人王世貞評：“其書不能如兄，而畫得待詔（文徵明）一體。”詹景鳳亦云：“嘉小楷輕清勁爽，宛如瘦鶴，稍大便疏散不結束，徑寸行書亦然，皆不逮父。”",[24,7,165,128,132,2132,29,34,130,455,131,1337,415,3427,8346,1144,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9d9fc885c6617d281bea024eab1ab57.jpg","长88cm 宽32.5 cm",[136],{"id":37255,"slug":37256,"title":37257,"dynasty":54,"author":37258,"museum":300,"description":37259,"tags":37260,"thumbUrl":37261,"material":84,"size":84,"collection":136,"collections":37262,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},237161,"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237161","唐人诗意山水册","项穆之","项穆之［清·乾隆］，生卒年不详，字莘甫，南京人。适庵孙。善画山水，能继祖业。高宗南巡，诸大府延入画局，一切名胜图绘，皆其主裁。",[24,7,59,26,27,29,34,495,131,37,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4603652ccdb32e3cecd134127efbb3b3.jpg",[136,45],{"id":37264,"slug":37265,"title":37266,"dynasty":54,"author":37267,"museum":300,"description":37268,"tags":37269,"thumbUrl":37270,"material":84,"size":84,"collection":68,"collections":37271,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":49},236714,"hua-niao-guo-ce-li-qi-236714","花鸟果册","李圻","此作以大写意绘荷塘小景，阔笔泼墨晕染荷叶，墨色苍润交融，浓淡层次尽显夏日池面的氤氲水汽，落笔尽显酣畅率意。两朵白莲以淡墨勾形，留白作瓣，素净雅致，与浓墨荷叶形成强烈的虚实对照，清雅之气扑面而来。荷茎以劲爽线条勾勒，挺拔柔韧，寥寥数笔便将莲茎风姿尽显。画面两侧题上行草，笔墨意趣与画境呼应，诗书画浑然一体。构图疏密相宜，简逸空灵，以极简笔墨传递出荷塘清寂淡远的幽谧意境，尽显写意功底与文人雅致襟怀。",[24,7,164,59,128,168,81,82,61,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdca8a3f7e25a409507aba1c306024f12.jpg",[68,117,318],{"id":37273,"slug":37274,"title":16290,"dynasty":54,"author":6936,"museum":300,"description":37275,"tags":37276,"thumbUrl":37277,"material":84,"size":84,"collection":136,"collections":37278,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},236389,"fang-dong-qi-chang-shan-shui-zhou-wang-yuan-qi-236389","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」\n见《清史稿》、秦祖永《桐荫论画》。",[24,7,165,128,132,330,208,29,131,34,35,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28132a1aa86a2afd0d9dbcc643e59524.jpg",[136,117],{"id":37280,"slug":37281,"title":37282,"dynasty":54,"author":22607,"museum":20,"description":37283,"tags":37284,"thumbUrl":37285,"material":31892,"size":37286,"collection":136,"collections":37287,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":49},236384,"huang-shan-tu-zhou-mei-qing-236384","黄山图轴","此图绘黄山的莲花峰。作者以超绝的想象力，运用夸张的手法将莲花峰描绘成秀出天半的青莲，它巍峨不失俏丽，高贵而典雅。山岩的石面以浓淡墨交织的线条混皴，纹理繁密，气象峥嵘，与石上灵动的苔点相交融，显示了作者对黄山景物善于摹写、精于刻画的深厚功力。",[164,24,7,165,128,132,29,663,1314,413,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3d0b5065c8022b488432001bfb86239.jpg","纵186.8厘米，横57厘米",[136],{"id":37289,"slug":37290,"title":76,"dynasty":54,"author":1311,"museum":20,"description":37291,"tags":37292,"thumbUrl":37293,"material":734,"size":37294,"collection":68,"collections":37295,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},236311,"hua-hui-ce-wang-shi-shen-236311","此图册十二页，分别画十二种花卉。\n汪士慎(1686-1759)清代著名画家。字近人，号巢林、溪东外史等。安徽休宁人，寓居扬州。汪士慎在诗、书、画、印诸方面皆有很高的成就。擅画花卉，随意勾点，清妙多姿。精画兰竹，尤擅长画梅，笔致疏落，超然出尘，笔意幽秀，气清而神腴，墨淡而趣足，其秀润恬静之致，令人争重。金农称他画梅之妙和高西唐(翔)异曲同工。西唐善画疏枝，巢林善画繁枝，都有空里疏香、风雪山林之趣。千花万蕊，颇富诗意。老年一目失明，尚能挥写自如，不失当年风韵。为“扬州八怪”之一。工诗，善写隶书，又长篆刻。在一目失明作画时，自刻一印云：“尚留一目看梅花”，后来，双目俱瞽，但仍挥写，署款“心观”二字。时金农赞他“盲于目，不盲于心”。阮元《广那个诗事》说他：“老而目瞽，然为人画梅，或作八分书，工妙胜于未瞽时。”其代表作有《苍松偃蹇图》、《潇湘灵芳图》、《绿萼梅开图》、《洒香梅影图》、《月珮风襟图》、《灵根出谷图》等。著有《巢林诗集》。",[24,7,59,128,61,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb8c7ea965ffa8a1b378d01899052fef.jpg","纵24厘米 横27.5厘米",[68,45],{"id":37297,"slug":37298,"title":37299,"dynasty":124,"author":17733,"museum":300,"description":37300,"tags":37301,"thumbUrl":37302,"material":692,"size":1293,"collection":84,"collections":37303,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},235791,"tao-he-shan-zhou-chen-235791","桃鹤扇","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。他生活在成化至嘉靖年间。生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。",[24,7,1131,27,28,29,209,211,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa8233d53c2b21d9041938e7b34732dd.jpg",[],{"id":37305,"slug":37306,"title":37307,"dynasty":54,"author":22730,"museum":300,"description":37308,"tags":37309,"thumbUrl":37310,"material":84,"size":84,"collection":84,"collections":37311,"showCount":486,"zanCount":1998,"manualWeight":48,"mainColor":49},235561,"wan-shan-cang-cui-tu-zhou-gao-cen-235561","万山苍翠图轴","《万山苍翠图》是中国清代画家高岑的国画作品，又称《清高岑万山苍翠图》，是一幅描绘山水景色的水墨画，作品收藏于 。\n《万山苍翠图》是皇家手绘精品，万山苍翠逼寒空，细路迂回古木中，澹澹夕阳堪倚杖，霜枫几点上衣红。\n此款产品是一幅手绘山水图。\n山体层层叠叠，伸向远方，悬崖上的苍松巍然屹立，代表了高洁的志向和昂扬的斗志。\n寓意：意境高远，勇攀高峰。\n《万山苍翠图》笔墨严谨劲秀，披麻皴画山石，淡墨渲染。\n老树挺拔，树木繁多，密而不乱，树叶以夹叶、点叶并用。\n树石罩以淡花青赭石色。\n山川林木茂密，万山苍翠。\n古寺、楼阁、村舍、山泉、船艇，设景似是江南秀丽富饶之乡。\n老者策杖过桥，农者田间劳动，富有生活气息。\n笔墨秀峭，气势雄伟。\n自题：“万山苍翠逼寒空，细路纡回古木中，澹澹夕阳堪倚杖，霜枫几点上衣红。\n画并题呈学迂先生教正。\n石城高岑。\n” ，生卒年不详，清初画家。\n字善长，又字蔚生，浙江 人，居 （今江苏南京）。\n阜（宇康生）弟。\n好学中、晚唐诗，并学画。\n初师僧七处，后自出机杼。\n山水迹近蓝瑛，用笔精到，无粗犷气；写意花卉，清秀入神。\n与龚贤、樊圻、邹桔、吴宏、叶欣、胡糙、谢荪为金陵八家。\n传世作品有《秋山万木图》、《林荫评古图》、《凤台秋月图》、《 》。",[164,24,7,165,27,132,29,663,228,413,372,35,129,1337,37,149,131,4438,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a51013b654eb01b06e59743d39cf6f0.jpg",[],{"id":37313,"slug":37314,"title":7864,"dynasty":54,"author":872,"museum":300,"description":6719,"tags":37315,"thumbUrl":37316,"material":692,"size":1293,"collection":84,"collections":37317,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},235506,"za-hua-ce-zhu-da-235506",[24,7,59,128,374,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd35aa4bd3e30e431fdcc63c5911fed21.jpg",[],{"id":37319,"slug":37320,"title":37321,"dynasty":54,"author":20985,"museum":20,"description":37322,"tags":37323,"thumbUrl":37324,"material":514,"size":37325,"collection":84,"collections":37326,"showCount":486,"zanCount":1998,"manualWeight":48,"mainColor":49},234174,"tao-yuan-tu-juan-xiao-chen-234174","桃源图卷","萧晨（1658—1705以后），字灵曦，号中素，江苏扬州人。工山水、人物，尤擅雪景，其所绘青绿山水风格古朴庄重，有仇英之风。\n该卷取材于西晋文学家陶渊明的名篇《桃花源记》，以青绿法绘群山连绵、桃林掩映之景，山间有村舍茅屋，人物往来。笔法清劲流利，设色富丽妍雅，与明代仇英画风有颇多相似之处。该图卷虽无年款，但后幅闵奕仕题跋所署“甲子”，即康熙二十三年，时萧晨二十七岁，因知此图不晚于此时。",[23,24,7,25,27,26,28,132,29,209,99,98,129,96,34,37,711,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbadbb846316c9e1f0c96f5d95e17b41a.jpg","纵31.2厘米，横450厘米",[],{"id":37328,"slug":37329,"title":32050,"dynasty":18,"author":633,"museum":20,"description":37330,"tags":37331,"thumbUrl":37332,"material":514,"size":37333,"collection":84,"collections":37334,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":49},234070,"song-xi-fan-yue-tu-ye-xia-gui-234070","夏圭《松溪泛月图》是《宋元集萃册》中之一开，纨扇式小品画。图中绘清朗的月夜，数人乘一叶扁舟畅游湖上，微风徐拂，月明如镜，水天一色，在一派澄净中，只有溪流与松风的和奏飘荡在水面上。\n简洁的用笔，渲染出深远的意境，四位点景人物以寥寥数笔绘出，亦觉生动形象。\n边角剪裁的构图，空灵巧妙，情景交融，富有浓浓诗意，显示出含蓄蕴藉的艺术魅力。作者以极为简括的构图和痩劲的线条反映了文人士大夫在当时的时代背景下追求心灵自由、亲近自然山水的诉求，艺术风格朴素清逸，可称是夏圭山水画的代表作品。\n夏圭（生卒年不详），一作夏珪，字禹玉，钱塘（今浙江杭州）人。南宋画家，与李唐、刘松年、马远并称“南宋四大家”。宁宗时任画院待诏，赐金带。善画山水，属水墨苍劲一派，喜用秃笔，下笔凝重，继承发展了李唐的大斧劈皴。取景简练，常以半边景物表现空间，与马远有异曲同工之妙，有“马一角，夏半边”之称。",[24,164,7,4437,128,27,132,29,1144,99,129,231,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b1dcf60be19a97c3123327632de9860.jpg","24.7×25.2cm",[],{"id":37336,"slug":37337,"title":5047,"dynasty":124,"author":366,"museum":20,"description":5048,"tags":37338,"thumbUrl":37339,"material":3544,"size":5052,"collection":84,"collections":37340,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},233474,"ren-wu-hua-hui-ce-xu-wei-233474",[24,7,59,128,96,171,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb541473a22dea986bb6946d6197738c6.jpg",[],{"id":37342,"slug":37343,"title":6663,"dynasty":144,"author":13495,"museum":20,"description":37344,"tags":37345,"thumbUrl":37346,"material":151,"size":37347,"collection":84,"collections":37348,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},233215,"zhu-shi-tu-zhou-gu-an-233215","《竹石图》 。该图里画的是在顾安作品里较少见的晴竹。只见几竿瘦竹挺立于石边，前后分布，迎让相宜，并以淡墨绘出。前边两竿的枝叶呈生长旺势，以重墨写就的竹叶参差错落，且线条锋锐有力；劲健的笔法，表现出爽利的韵味。竹节是用一小扁圆圈表示的，这种画法习惯上称“圈节法”，与后世画家常用的“乙字勾节法”不同。画竹笋叶尖的笔墨非常精巧，顿挫扭转，生意盎然。后面的竹竿上，依稀可辨的嫩叶又显现出新竹的娇影，使读者可感画家对生活细腻的观察，和对竹韵的精微刻画。\n左上方有顾安自题年款，款下有三印：“顾安”与“顾定之”和“山月吟窗”，顾安的“山月吟窗”是一方富有诗意的闲章。\n顾安，字定之，号迂讷老人。平江（今江苏苏州）人。祖籍淮东（今江苏），故自称淮东人。曾任泉州同安县尉。擅画竹，常写风竹新篁。\n图中绘墨竹三竿，瘦劲挺拔，风梢云干，萧疏清逸。枝下窠石圆润互叠，缀以新篁，更添野趣。以干笔淡墨画竹竿，以书法捺笔写出竹叶，行笔遒劲自如。用浓、淡墨烘染，似烟云浮动，烘托出竹子的清幽秀骨。",[24,7,165,128,167,171,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c2a0b28fc7cfc65ebf4a460dda8477a.jpg","170.7x99.7cm",[],{"id":37350,"slug":37351,"title":37352,"dynasty":144,"author":223,"museum":20,"description":37353,"tags":37354,"thumbUrl":37355,"material":9291,"size":37356,"collection":84,"collections":37357,"showCount":486,"zanCount":1998,"manualWeight":48,"mainColor":49},233151,"fang-guo-xi-shan-shui-tu-zhou-yi-ming-233151","仿郭熙山水图轴","图中绘层岩叠嶂，长松老树，古寺平溪，小桥行旅，可游可居。此图为大幅山水，构图高远、深远兼用，山如卷云，树似鹰爪，画风学郭熙一派而又有元人的逸趣。",[24,7,165,29,330,132,128,27,496,34,1233,331,497,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F919679436fe80731b835e0f45b649784.jpg","纵164厘米横105.3厘米",[],{"id":37359,"slug":37360,"title":37361,"dynasty":124,"author":3619,"museum":20,"description":37362,"tags":37363,"thumbUrl":37364,"material":999,"size":37365,"collection":136,"collections":37366,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},233133,"ming-ren-xi-shan-sheng-jing-he-bi-ce-wen-zheng-ming-shi-hu-tu-ye-wen-zheng-ming-233133","明人西山胜景合壁册-文徵明石湖图页","此册又名《明人西山胜景书画合璧册》（见《故宫博物馆藏文物珍品大系：吴门绘画》），著录于《墨缘汇观》，合题跋共计十四页，依次为：刘钰《踞湖山图》、沈周《茶磨屿图》、《新郭图》（对页陈淳题诗一首）、唐寅《越来溪图》、《行春桥图》、《饶稼桥图》（对页自题诗一首）、文徵明《横塘图》、《石湖图》（对页自题诗一首）和陈淳《桃花坞图》、《紫薇村图》，后页徐朗白题。\n颇为吊诡的是这套册页似乎从未完整发表过，就目前所见，《中国古代书画目录》是分开著录，其中刘钰一页、唐寅《饶稼桥图》以及四页题诗都未著录，而《中国古代书画图目》则只选印了沈周和陈淳的四页。《文徵明精品集》发表了两画及一页题诗，《唐寅绘画集》也只发表了《越来溪图》、《行春桥图》两页，《故宫博物馆藏文物珍品大系：吴门绘画》刊印了沈周、文徵明、唐寅各两页，陈淳《桃花坞图》一页，略去了四页题跋。刘钰《踞湖山图》、唐寅《饶稼桥图》及另外三页题跋始终未见，其中或有伪作吧（文徵明的两页画曾于去年苏博特展展出，未见图录，不知是否有完整发表）。但学术乃天下之公器，国内许多博物馆的出版态度素来可恶，很多作品在各类出版物中情况不一，往往“有头无尾”，以致研究一件作品需“东拼西凑”。\n吴门诸家歌咏、描绘吴中名胜之风颇盛，与平日游踪所及和地域意识渐起有关，留存于世的风景名胜图极多，甚至祝寿、官员离任，也以吴中风景图册为赠。值得注意的是，此册中沈周、文徵明、唐寅、陈淳的作品都是早年笔，集三代才人妙墨，想来这套作品的收藏者花了不少心思。末页崇祯五年徐朗白题云：“我朝画法变宋化元，正嘉间吴中诸先进一时杰出、擅采争奇，直使静庵而下皆瞠乎其后矣，此十册俱西山胜景，首为完庵次石田次六如衡山白阳，景虽未尽，人已才难，不特片羽之吉光抑且狐裘之集腋也。什袭见珍，援毫见重。”并题一歌，语涉浮夸无足取。",[24,7,59,128,29,131,34,129,13438,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7401370fa8da2f24b34abe414e0b35f.jpg","纵22.8cm，横33.2cm",[136,45],{"id":37368,"slug":37369,"title":37370,"dynasty":54,"author":223,"museum":20,"description":37371,"tags":37372,"thumbUrl":37380,"material":611,"size":37381,"collection":84,"collections":37382,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},233054,"ping-ding-an-nan-zhan-tu-ce-yi-ming-233054","平定安南战图册","《平定安南得胜图》描绘了清乾隆五十三年至五十四年（1788—1789年）间清政府出兵平定安南的战争场景。六幅图依次为：嘉观诃滬之战、三异柱右之战、寿昌江之战、市球江之战、富良江之战、阮惠遣侄阮光显入觐赐宴。\n在东南亚各国中，安南大越与中国疆域毗邻，关系密切。清统一全国后，安南内部仍然陷于南北纷争之中，广南（今越南南部）阮氏控制南方，北方郑氏擅权，国王黎氏徒拥虚位。安南久列藩封，黎氏传国最久，臣服中国最为恭顺。清高宗应黎氏之请用兵安南，为安南平定内乱。\n此套图在风格上受到郎世宁“西法中国画”的影响，在画面局部采用焦点透视和一定的明暗对比来表现纵深效果和立体感，在构图、造型上又带有中国画和木版画风格，反映了中国画家在试图融合中西绘画优长方面所作的努力。",[164,24,7,59,19122,27,37373,37374,37375,37376,37377,37378,29,96,37379],"中西融合绘画","焦点透视","明暗对比","战争场景","战船","战马","富良江之战","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9b649a06ced5bc8c552f7fcf09a6f73.jpg","纵55.3cm，横90.3cm",[],{"id":37384,"slug":37385,"title":37386,"dynasty":18,"author":620,"museum":20,"description":37387,"tags":37388,"thumbUrl":37389,"material":151,"size":37390,"collection":84,"collections":37391,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},232993,"nan-tang-wen-hui-tu-ye-zhao-chang-232993","南唐文会图页","《南唐文会图》为宋人作品。无款。裱边题签“赵昌南唐文会”。对幅乾隆御笔题诗：“南唐虽僻立，亦自尚文规。簪佩徜徉处，图书左右披。东瀛前拟法，西雅后开师。位置增精密，晩年还蜀为。”\n图绘南唐文士聚会场面。园林中绿树葱茏，芭蕉成林，中设一大案，数位文人雅士围于案旁，又有婢女仆从侍立在旁。",[24,7,59,27,28,29,96,34,130,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62beb2752eec01d037f48c6dd6e055ad.jpg","30.4X29.6cm",[],{"id":37393,"slug":37394,"title":37395,"dynasty":182,"author":3508,"museum":12686,"description":37396,"tags":37397,"thumbUrl":37399,"material":151,"size":37400,"collection":84,"collections":37401,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":49},232625,"xi-cheng-gui-le-tu-juan-han-huang-232625","西成归乐图卷","一说风俗画，各位可别想歪了哈，这风俗画其实是以社会风气习俗为题材的绘画，表现的可能是某地某时的社会活动、风物特产，或是时令气候，风俗画虽然被归在人物画的范畴下，但却具有独特的艺术魅力，要比一般的人物画有意思的多。\n其实，最有名的风俗画便是张择端所绘制的《清明上河图》了，描绘了北宋汴京一带的风景、城郭、市肆、村舍，以及人们的生产生活，是一幅精美绝伦的风俗画巨制，流传至今，备受瞩目。但是今天，我们不说他。\n目前还能见到的风俗画雏形，是各地出土的汉代画像砖，这些图像涉及歌舞宴乐、狩猎农桑等一系列民众活动，直观再现了汉代下至民间百姓，上至贵族的真实生活。\n有表现劳动生产的，如播种、收割、舂米、酿造、盐井、桑园放牧等，有描绘社会风俗的如宴乐、杂技、舞蹈等，有神话故事如西王母、月宫等，还有表现统治阶级车马出行的。\u2028 风俗画的兴盛至晚出现在南宋时期，这和当时的商品经济、市民经济发展有关。",[23,24,7,25,28,188,96,102,101,210,37398,64,208,133],"耕作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe65d45b34c3b7c6f1debaca0eb192617.jpg","27.2 x 101.5",[],{"id":37403,"slug":37404,"title":37405,"dynasty":222,"author":16070,"museum":300,"description":16071,"tags":37406,"thumbUrl":37407,"material":692,"size":1293,"collection":84,"collections":37408,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":199},231666,"shi-ting-shi-dai-fang-liang-kai-huang-chu-ping-tu-xue-zhou-231666","室町时代 仿梁楷黄初平图",[24,7,128,188,330,96,102,372,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cbaeb5a70ff2eeb09b8af16b85dbbcc.jpg",[],{"id":37410,"slug":37411,"title":37412,"dynasty":124,"author":1058,"museum":300,"description":37413,"tags":37414,"thumbUrl":37415,"material":84,"size":84,"collection":84,"collections":37416,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},230992,"shao-yao-tu-tang-yin-230992","烧药图","《烧药图》是明朝诗人唐寅所作诗词。\n明 人来种杏不虚寻，彷佛庐山小径深。\n常向静中参大道，不因忙里庆清呤。\n愿随化雨之春泽，未许云间一片心。\n老我近来多肺疾，如另紫雪把 。",[164,24,7,25,128,27,132,133,64,208,96,29,1144,331,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e987fb42398f70635b32fd13cd9023.jpg",[],{"id":37418,"slug":37419,"title":37420,"dynasty":54,"author":872,"museum":300,"description":37421,"tags":37422,"thumbUrl":37423,"material":84,"size":84,"collection":84,"collections":37424,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},230277,"gu-guo-xing-bei-shi-hua-ce-su-qin-wang-juan-shou-zhu-da-230277","故国兴悲诗画册(肃亲王卷首)","此幅书法以行书书就四字，笔力苍劲沉凝，线条如枯藤老树，藏锋裹住满腔郁愤，露锋破开沉重心绪，字形宽博朴拙，尽显沉郁厚重的气度。左侧题款小字清隽端雅，与大字的雄健悲凉形成强烈视觉反差。疏朗留白间朱印点缀，将山河破碎的怆怀融于笔墨，于尺幅间铺陈出悠悠无尽的家国哀思，笔墨起落间皆是乱世流离的沉恸。",[23,24,7,59,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa89e9df92d4a66217f7060c595690bf2.jpg",[],{"id":37426,"slug":37427,"title":37428,"dynasty":54,"author":1460,"museum":300,"description":37429,"tags":37430,"thumbUrl":37431,"material":84,"size":84,"collection":84,"collections":37432,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},228986,"yuan-ming-shi-yi-ce-ye-shi-tao-228986","渊明诗意册页","《陶渊明诗意图》是清代石涛创作的纸本设色画册。\n本图册是作者根据东晋著名诗人陶渊明诗句而创作。\n陶渊明是中国田园诗的创始者，他的诗不仅反映出田园生活的美好与自然，更流露出他徘徊于出仕与归隐之间的矛盾。\n绘画者显然非常赞赏这种避身独处、与世无争、乐天安命的人生哲学，通过描绘回归自然、淡于荣禄、不与统治者合作的隐士陶渊明来表现自己美好的理想。\n第二开《悠然见南山》：陶渊明的许多诗篇中都有关于菊花的诗句：“采菊东篱下，悠然见南山”、“秋菊有佳色，裛露掇其英”均写出了他远离世俗的心境和陶醉于自然的乐趣。\n他常以菊自喻，借菊花凌秋傲霜的品质表达自己清高的节操和情怀。\n石涛仰慕陶渊明的高尚情操，故此图借陶渊明爱菊寄寓了画家自己的思想感情。\n画中篱笆院中菊花盛开，一高士手持菊花观赏，悠然之态可见。\n此图结构精巧，人物用笔细密。\n远山以墨笔烘染，山腰云雾密布，不见山脚，以此表现烟云飘渺的动态和气势。\n这种中锋、细勾、渍染相结合的画法使画面有动有静，虚实结合，意趣无穷。\n第六开《遥遥望白云 怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。\n老者远望青山，脚下溪水流淌。\n面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。\n画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。\n构图采用一水两岸的自然分疆法。\n画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。\n树木用水墨渍出，以衬托山腰白云的动感。\n石涛（1642年－178年），清初画家，原姓朱，名若极，明靖江王朱赞仪的十世孙， 的长子。\n广西桂林人，祖籍安徽凤阳，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等。\n与 、 、 合称“清初四僧”。\n早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。\n工书法，能诗文。\n存世作品有《搜尽奇峰打草稿图》、《 》、《竹石图》、《 》等。",[24,7,59,27,132,133,29,35,34,18332,96,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b2d3809eadb6e757b646a89b366f1d6.jpg",[],{"id":37434,"slug":37435,"title":37436,"dynasty":54,"author":6778,"museum":300,"description":37437,"tags":37438,"thumbUrl":37439,"material":84,"size":84,"collection":84,"collections":37440,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},228949,"chun-man-zhi-tou-zhao-zhi-qian-228949","春满枝头","此作将群芳收于团扇尺幅，花枝虬曲穿插，蔷薇、山茶错落在苍枝间，繁而不乱。墨叶以浓淡晕出层次，苍厚朴拙，带着写意的朴野意趣；花卉以没骨晕染，粉艳、朱红、米黄诸色鲜活柔润，妍丽却不甜俗。\n\n兼工带写的笔意，将草木的舒展生机与文人画的隽雅格调相融，角落题字清雅端凝，和画面浑然一体。把暮春盛放的鲜活景致凝缩方寸之间，生机盎然，尽显清隽的写生意趣，是兼具笔墨情致与自然意韵的小品佳制。",[23,24,7,164,1131,27,61,62,624,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F633ca1d9c7a81bb71031bb55fe76c1ba.jpg",[],{"id":37442,"slug":37443,"title":37444,"dynasty":124,"author":1642,"museum":300,"description":37445,"tags":37446,"thumbUrl":37447,"material":692,"size":1293,"collection":84,"collections":37448,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},228849,"chang-jiang-wan-li-tu-juan-dai-jin-228849","长江万里图卷","戴进（1388—1462），字文进，号静庵、玉泉山人。钱塘（今浙江杭州）人，明代画家。早年为金银首饰工匠，后改工书画。宣德间（1426—1435）以画供奉内廷，官直仁殿待诏。后因遭谗言被放归，浪迹江湖。\n他擅画山水、人物、花鸟、虫草。山水师法马远、夏圭，中年犹守陈法，晚年纵逸出蹊径，卓然一家。所作雄俊高爽，苍郁浑厚，用笔劲挺方硬，画人物笔法娴熟，顿挫间风度益著；所作花鸟、虫草亦饶有生意。为“浙派绘画”开山鼻祖。作品有《春山积翠图》《风雨归舟图》 《三顾茅庐图》《达摩至惠能六代像》等。",[23,164,24,7,25,64,128,27,132,1349,29,7409,496,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb170268d39be31976855cdc36e4345d4.jpg",[],{"id":37450,"slug":37451,"title":37452,"dynasty":124,"author":125,"museum":300,"description":37453,"tags":37454,"thumbUrl":37455,"material":84,"size":84,"collection":84,"collections":37456,"showCount":486,"zanCount":1116,"manualWeight":48,"mainColor":49},228829,"han-que-wu-sheng-tu-shen-zhou-228829","寒雀无声图","画面取全景雪景山水，主峰巍峨覆雪，山石以短笔皴擦，苍浑厚重。近岸枯木萧疏，枝桠挺劲，汀渚间茅舍错落，平湖空蒙澄澈，以留白晕染出雪意，遍体清寒。\n\n整幅画以淡墨铺陈寒意，笔意松秀苍润，将冬日山野的阒寂空阔铺展开来。题画诗与雪景浑然相融，把山居冬日的幽谧淡然藏进尺幅之间，尽显文人幽居寄兴的雅逸意趣，萧寒之中自有沉静安然的意境。",[23,24,7,165,128,29,1337,98,35,131,132,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56085afc730ef0c13e69977803e43ffc.jpg",[],{"id":37458,"slug":37459,"title":23122,"dynasty":124,"author":10632,"museum":300,"description":37460,"tags":37461,"thumbUrl":37464,"material":84,"size":84,"collection":84,"collections":37465,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":49},228486,"shuang-ying-tu-lin-liang-228486","《双鹰图》是清代画家朱耷创作的纸本水墨画，现藏于 。\n款识：八大山人写。\n钤印：八大山人（白）、何园（朱）、孝慈洪养百福（朱）、士元（朱）。\n藏印：程桢义联珠珍藏印（朱）签条：清高僧朱耷双鹰图真迹 。\n钤印：秋君（朱）、李秋印（白）。\n《双鹰图》画面以简洁的构图，别开生面，意境幽邃，寥寥数笔将冬季时节的气息表现得淋漓尽致。\n画中岩石一侧横斜出枯枝苍干，坡石边附有丛竹，双鹰一踞岩石上俯视，一栖树干上转头回望，呈呼应之势。\n二石二鹰一树描绘都是对大自然的精心观察后，通过变形取貌得其盎然生意，整个画面笔调圆润凝重，皆以圆弧线组成，富有流动感，浓淡干湿墨色相破相融，双鹰的画法虽可看到林良的影子，而意趣已有很大的不同。\n画面的构图不留地面和天空，仅有的右侧空白被作者自题识和款署给填补。\n此图无论是双鹰、山石、枯树都笔墨简括，意态尽出，显出了 以简取胜，以少胜多的独特写意艺术才能。\n219年9月2日，该作品在故宫博物院和 共同主办的《回望传承——八大山人纪念馆建馆6周年故宫典藏特展》中展出。\n朱耷（1626－176）。\n谱名统，有雪个、个山、人屋、道朗、八大山人等别号。\n南昌人。\n明末清初越的大画家。\n他是明太祖朱元璋第十六子朱权的九世孙。\n八岁能作诗，十一岁能画青绿山水，少时能悬腕写米家小楷。\n弱冠为诸生。\n明亡以后，他抱着对清王朝不满的态度，在奉新县耕香庵落发为僧，时年二十三岁。\n后隐居进贤县介冈及永丰县睦冈等地。\n顺治末年，当他三十六岁时潜回南昌，创建青云圃道院，花了六、七年时间，才使这坐道院初具规模，并在这里过着“一衲无余”与“吾侣徙耕田凿井”的劳动生活。\n因为常有清朝权贵来此骚扰，他常浪迹他方。\n康熙十七年他五十三岁时，临川县令胡亦堂闻其名，便延请他随其僧长饶宇朴等到临川官舍作客年余。\n这使他十分苦恼郁愤，遂佯为疯癫，撕裂僧服，独自走回南昌。\n一年多后，他又回到青云谱，并在这里度过“花甲华诞”。\n当他六十二岁时，不再做住持，便把道院交给他的道徒涂若愚主持。\n后又隐避在南昌附近的北兰寺、开元观等处。\n该画取法明代大画家 ，枯枝危石之上两苍鹰相互顾盼，俯仰之间，英武之姿一览无余。\n以“双鹰”题材为例，列在八大名下目前存世画作有三幅：美国大都会博物馆藏《双鹰图》（系 旧藏）;上海博物馆藏《双鹰图》;江西 藏《双鹰图》。\n三幅画作之中，“大都会本”依画面题记确定为八大山人172年所作;“上博本”为1699年所作;“南昌本”无年款。",[23,24,7,165,805,128,369,61,37462,3141,37463,276,2438,548,497],"院体","猛禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb96e154c48c16ef3deed3628318f6135.jpg",[],{"id":37467,"slug":37468,"title":37469,"dynasty":124,"author":204,"museum":300,"description":37470,"tags":37471,"thumbUrl":37472,"material":84,"size":84,"collection":84,"collections":37473,"showCount":486,"zanCount":1998,"manualWeight":48,"mainColor":49},228454,"shou-lie-tu-ye-chou-ying-228454","狩猎图页","平沙莽莽，疏枝斜挑天际，尽显荒寒萧索。虬髯猎手身着劲装，背负箭囊，俯身控马急驰，目光如炬锁向前方奔逃的猎物，满屏皆是紧绷的狩猎张力。\n\n画师以劲挺利落的铁线描勾勒人马身形，沉凝的绢底晕染出辽远荒滩，淡墨轻扫便将塞外旷野的空寂铺陈开来。猎手的剽悍果决与猎物的仓皇奔窜形成强烈对冲，动静之间，将北地游猎的飒爽快意尽数渲染，笔简意足，苍劲疏朗的野趣扑面而来，把刹那间的狩猎定格成永恒的生动画卷。",[24,164,7,59,28,27,96,101,949,34,22807],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8084374c281962b0ebac2a54ed35c49.jpg",[],{"id":37475,"slug":37476,"title":37477,"dynasty":124,"author":12442,"museum":300,"description":37478,"tags":37479,"thumbUrl":37480,"material":84,"size":84,"collection":84,"collections":37481,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":199},228260,"xi-shan-tu-xu-ben-228260","溪山图","此作画风承接元人山水余韵，以全景式构图铺展溪山胜境。层叠山峦以披麻皴写就，笔墨苍秀清润，尽显山石纹理质感与巍峨气势。山岩裂隙间飞泉垂落，添得山林灵动生机。山脚林木蓊郁，村居错落掩映于树荫之下，茅舍俨然，勾勒出幽寂恬然的山居意趣。\n\n画面上方题跋错落排布，书画相映成趣，晕染出文雅沉静的氛围。整作墨色层次丰富，勾勒点染间尽显静穆淡远的隐逸之美，将江南溪山的温润灵秀，与文人栖居的闲雅意致相融无间，格调萧散淡远，尽显文人山水的清雅风神。",[23,24,7,165,128,132,29,131,34,499,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c87a9d67988fc66837c4291b05d87c3.jpg",[],{"id":37483,"slug":37484,"title":37485,"dynasty":144,"author":22335,"museum":300,"description":37486,"tags":37487,"thumbUrl":37488,"material":84,"size":84,"collection":84,"collections":37489,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":49},228245,"xian-shan-lou-ge-tu-quan-juan-chang-juan-chen-ru-yan-228245","仙山楼阁图全卷（长卷）","此作用色古雅沉静，以青绿晕染层叠山峦，石质坚凝、林壑深秀，苍松错落植于岩岫之间，古意盎然。楼阁屋舍隐于林泉幽处，烟霞缈缈间，勾勒出超脱尘俗的世外仙乡意境。\n\n笔致精细秀润，既承唐宋青绿山水的明艳厚重，又融入元人写意的简逸格调，将洞天福地的灵逸之气晕染于绢素之上。拖尾题跋与画作相映成趣，文墨合璧，更添古雅意蕴，尽显画中幽居绝尘的雅逸之美。",[23,24,7,25,26,27,29,97,98,99,1144,131,37,95,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5759faa7d805c7b52e01d396e95034f3.jpg",[],{"id":37491,"slug":37492,"title":37493,"dynasty":144,"author":15528,"museum":244,"description":37494,"tags":37495,"thumbUrl":37496,"material":253,"size":37497,"collection":84,"collections":37498,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":49},228071,"yue-yang-lou-tu-xia-yong-228071","岳阳楼图","对开清代李佐贤题跋：“岳阳楼图，界画精巧，飞阁层檐，一丝不乱，楼中人物，纤悉具备，殆类鬼工。上题岳阳楼记，楷书如蝇头蚊脚，足使离娄失明，不知作者如何着笔。此等书画，乃宋人绝技，元明以后，已成《广陵散》矣。古今人不相及，即艺事可见。李佐贤识。”钤：“竹朋”印。\n岳阳楼位于今湖南省境内，相传最早为三国时东吴名将鲁肃训练水师的阅兵台，更因北宋著名文学家范仲淹脍炙人口的《岳阳楼记》而著称于世，其与滕王阁、黄鹤楼并称为我国古代“三大名楼”。\n此幅与故宫藏另一件《岳阳楼图》之构图、技法如出一辙，只是一为纨扇，一为册页。其精整工细的线描正可谓“细若蚊睫，侔于鬼工”。这种纯以墨笔白描界画建筑的手法到元代以后已成绝响，以至于清人李佐贤误以为此图是宋人所为。",[24,164,7,95,188,97,29,96,131,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9a48c01606623521039e6e1df769255.jpg","纵24.4厘米，横26.2厘米",[],{"id":37500,"slug":37501,"title":37502,"dynasty":144,"author":4034,"museum":300,"description":37503,"tags":37504,"thumbUrl":37505,"material":84,"size":84,"collection":84,"collections":37506,"showCount":486,"zanCount":1998,"manualWeight":48,"mainColor":49},228043,"fan-zhou-tu-ye-sheng-mao-228043","泛舟图页","层岩峻拔耸峙，细密皴笔勾勒出山石嶙峋肌理，峰巅林木点染，翻涌云气半掩山峦，晕开缥缈出尘的幽远意境。下方碧波湍流，古松虬曲苍劲，旁生花树缀满淡蓝繁花，为幽寂晕开一抹清润生机。\n\n扁舟之上，隐者凭舷闲坐，纵览烟霞林泉。全作设色清雅古拙，构图疏密得宜，将山海林泉的静穆幽远，与幽人悠游林下的自在相融，以景托志，尽显尚意抒情的特质，绘出超脱世俗的林下风流。",[23,24,7,27,128,29,129,99,96,1144,131,28,7462,31630,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F279077b856a63fb919bda2ad8a79d75b.jpg",[],{"id":37508,"slug":37509,"title":37510,"dynasty":144,"author":36756,"museum":300,"description":37511,"tags":37512,"thumbUrl":37515,"material":84,"size":84,"collection":84,"collections":37516,"showCount":486,"zanCount":1998,"manualWeight":48,"mainColor":72},228037,"mo-lou-shu-geng-zuo-tu-chang-juan-cheng-qi-228037","摹楼璹耕作图（长卷）","此作以长卷铺陈田家岁时劳作全程，从垦壤播种到刈获登场，每段农事场景鲜活写实，农人的动作、形制各异的农具、田陇桑野的细节皆一一细致摹绘，还原出耕织劳作的质朴烟火。笔墨兼具宋画的精工写实，又暗含元人淡和的写意韵致。卷上题跋鉴印层层累叠，带着历代递藏的厚重脉络，将田家稼穑的日常，与文人题咏的雅致融于一卷，既是记录古代农桑的图像实录，也是承载着鉴藏史迹的书画珍存。",[23,24,7,25,330,27,28,64,208,96,102,34836,13639,37513,34,99,37514,98],"田地","稻禾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67c64d15f526a4ae7c823223adca9895.jpg",[],{"id":37518,"slug":37519,"title":37520,"dynasty":144,"author":6155,"museum":300,"description":37521,"tags":37522,"thumbUrl":37523,"material":84,"size":84,"collection":84,"collections":37524,"showCount":486,"zanCount":1998,"manualWeight":48,"mainColor":49},227989,"qiu-shan-mu-ai-tu-juan-gao-ke-gong-227989","秋山暮霭图卷","以淡墨晕染峰峦，烟岚轻笼岫影，虚实相生间铺展秋日山野的空寂萧疏。近岸苍林错落，村居隐于枝桠间，秋水如镜，映带平远野色，将暮霭沉沉的静谧秋意晕开。\n画作以干湿互用的墨色写就，山峦以淡墨披麻皴辅以晕染，弱化嶙峋棱角，尽显温润秀雅。留白处化作流岚晓雾，将远峰近林织就朦胧诗境。右上角题诗与朱印错落，书画印相映成趣，添就文雅书卷气，将秋山暮时的澹远空寂，融在水墨氤氲里，尽显文人寄情丘壑的写意幽远之致。",[23,164,24,7,25,128,132,29,663,34,37,5323,3428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37365464f0d1bde1301c29f462bf7cdc.jpg",[],{"id":37526,"slug":37527,"title":37528,"dynasty":18,"author":223,"museum":300,"description":37529,"tags":37530,"thumbUrl":37531,"material":84,"size":84,"collection":84,"collections":37532,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":199},227934,"qing-shan-bai-yun-tu-yi-ming-227934","青山白云图","近岸苍松虬曲古雅，枝桠探向水面，滩石错落，静水无波晕染出空濛雾气。远山隐现于烟岚之中，以淡墨轻擦出朦胧山形，留白托出云气舒卷的清旷。\n\n画侧题诗与山水呼应，行书隽秀飘逸，以诗点题，将青山朝暮、白云青松的幽寂山居铺陈在尺幅团扇间。墨色温雅清润，寥寥数笔便勾勒出世外林泉的闲逸意趣，尽显以小见大、诗画合璧的雅致审美，把文人心中的栖居理想藏在淡墨烟霞里。",[23,24,7,1131,29,128,132,6844,10851,1144,34,131,37,231,211,5323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c120fff0efbccec8c077e1732729a70.jpg",[],{"id":37534,"slug":37535,"title":37536,"dynasty":18,"author":1622,"museum":300,"description":37537,"tags":37538,"thumbUrl":37540,"material":84,"size":84,"collection":84,"collections":37541,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":49},227780,"yuan-yang-tu-ye-ma-yuan-227780","鸳鸯图页","这幅画作以边角取景，尽显空灵雅致。石壁以斧劈皴挥写，苍劲利落，棱线分明尽显峭拔质感。水流以细劲回旋的线条勾勒，似能闻声潺潺，蜿蜒间衬出水畔清寂。幽竹清劲挺拔，枝叶俯仰生姿，墨色浓淡层叠，晕染出萧疏逸韵。溪石之上鸳鸯依偎，姿态悠然缱绻，为冷清空灵添了融融暖意。全作用色淡雅，以水墨为骨，留白造势，将江南水景的静谧雅致与小景温情相融，晕散出清旷禅意，简淡之间意蕴悠长，尽显雅致的文人审美意趣。",[23,164,24,7,61,128,132,13410,20038,167,99,37539,1857,20575,19567,12976],"溪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb58c9c91f65b2fe6136eac6b0eff5de4.jpg",[],{"id":37543,"slug":37544,"title":2175,"dynasty":18,"author":2176,"museum":300,"description":37545,"tags":37546,"thumbUrl":37547,"material":84,"size":84,"collection":84,"collections":37548,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},227698,"sui-han-san-you-tu-zhao-meng-jian-227698","洁净的扇面上，作者绘松、竹、梅折枝，以墨笔画上一株饱结花朵、苞蕾的梅枝，继而交错、绕夹着如星芒般的松针与墨影般的竹叶，将它们横斜置于画面中央，以松针的灰和墨竹的黑来衬托出梅花的白。松叶如钢针，竹叶如刀剑，更表现出梅花的傲骨冰心。整个画面笔墨秀丽，清绝幽雅，意趣横生。这幅《岁寒三友图》通过对画面的安排，明确表达出作者刚正、坚贞的气节。画扇的右上方钤“子固”白文印。\n\n用笔上，画中的梅花以淡墨衬染着用细笔，浓墨所圈钩的花瓣、松针用笔尖挺劲拔，墨竹以中锋运使，挺劲有力。松、竹、梅画法各异，充满韵致，是幅极具精神的南宋小品。赵孟坚的作品一笔一画都注意书法与画法的结合，可以代表宋末文人画的艺术特色。",[23,24,7,1131,188,128,372,167,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F999c0b646b9a079331a43aabd414c35c.jpg",[],{"id":37550,"slug":37551,"title":37552,"dynasty":18,"author":313,"museum":300,"description":37553,"tags":37554,"thumbUrl":37555,"material":84,"size":84,"collection":84,"collections":37556,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},227591,"lian-po-lin-xiang-ru-lie-zhuan-huang-ting-jian-227591","廉颇蔺相如列传","黄庭坚书法《廉颇蔺相如传》白纸本，纵32.5厘米，横1822厘米。美国纽约大都会博物馆藏 。\n\n此卷为黄庭坚书《史记．廉颇蔺相如列传》，文中有节略。卷尾无书写纪年和史款，约书于绍圣二年（1095年）。卷内钤有“ 内府书印”、“绍兴”连珠印、 “内省斋”、“秋壑图书”、欧阳玄印”、“项子京家珍藏”、等印鉴，还有项元汴跋。此卷是传世黄书中的名迹，《式古堂书画会考》、安歧的《黑缘会观》等书均有著录。\n\n草书发展到盛唐，狂草成熟，在流动中求得笔法、节奏、线条、结构的丰富变化，成为草书不可移易的定则。黄庭坚是钦服唐人狂草的，对张旭、怀素都有会心之论，自言“得藏真（怀素）自叙于石杨休家，谛观数日，恍然自得，落笔便觉超异”。\n无疑，黄庭坚对草书笔法的深刻认识和掌握，当是“得张长史、僧怀素、高闲墨迹，乃窥笔法之妙”的。他在《跋此君轩诗》中写道：“近时士大夫罕得古法，但弄笔左右缠绕，遂号为草书可，不知蝌蚪、篆、隶同法同意。数百年来，唯张长史、永州狂僧怀素及余三人悟此法可。苏才翁有悟处而不能尽其宗趣，其余碌碌耳。”\n\n以黄庭坚的颖悟与才力，不至领会不到唐人草书的要义，然而他的草书却一改唐人旧法，速度放慢，略加顿挫，在许多地方放弃线条的连续而着意于空间的摆布，结果形成与唐人迥然不同的一种风格，“草书之法，至此又一变矣”（姜夔语）。黄庭坚的草书，线条中奔放的气势当然不能与唐人相比，但空间结构所表现出来的气度和变化的丰富性，却不让于唐人。\n\n黄庭坚不饮酒，其作草全在心悟，以意使笔。然其参禅妙悟，虽多理性使笔，也能大开大合，聚散收放，进入挥洒之境。而其用笔，相形之下更显从容娴雅，虽纵横跌宕，亦能行处皆留，留处皆行。\n有学者评：“黄庭坚引鹤铭入草，雄强逸荡，境界一新”。黄庭坚所作诸草书帖，乃真得其妙理，也正由此，黄庭坚开创出了中国草书的又一新境。",[1326,64,840,25,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a8127995eb55ccdd242d64d3f5390a.jpg",[],{"id":37558,"slug":37559,"title":37560,"dynasty":351,"author":5524,"museum":300,"description":37561,"tags":37562,"thumbUrl":37563,"material":84,"size":84,"collection":84,"collections":37564,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},227266,"yuan-yang-shuang-xi-qi-tu-huang-quan-227266","鸳鸯双西栖图","黄荃在中国古代花鸟画发展史上占有重要地位。他集众家之长，鸟雀师刁光胤，山水师李昇，龙水、松石、墨竹师孙位，他能自出新意，不重蹈抄袭他人的陈迹，创出一种新体并使工笔花鸟画达到成熟期。黄荃的《写生珍禽图》其表现翎毛、昆虫等自然物态的精确性及其作为艺术形象的审美趣味性，确已达到妙造自然、形神兼备的地步。黄荃还继承和发展了边鸾描写活禽生卉的传统，以优美的笔致和赋色技巧表现动植物的生动情态。黄荃也能画山水、人物。与徐熙并称“徐熙野逸，黄家富贵。”。今有《写生珍禽图》传世。子黄居宷、黄居宝等亦擅花鸟，承其父法，黄居宷有《山鹧棘雀图》传世。",[23,24,164,7,1131,28,27,61,1857,331,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28c674b72f9c4538a81c5d18574dd6ea.jpg",[],{"id":37566,"slug":37567,"title":37568,"dynasty":54,"author":1472,"museum":300,"description":37569,"tags":37570,"thumbUrl":37571,"material":84,"size":84,"collection":84,"collections":37572,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},224590,"bi-tao-chun-niao-zhou-zou-yi-gui-224590","碧桃春鸟轴","柔枝托举粉艳桃华，花瓣晕染出匀净柔润的粉白渐变，似凝着春日晨露，鲜嫩枝叶轻舒，晕开清雅绿意。山雀静栖枝头，墨首白腹肌理分明，翅上嫩黄绒根根可数，尖喙微抬，侧目远眺，仿佛正细嗅花香。\n\n构图疏朗留白，闲章题字错落点缀，将工笔的精致与写意的悠然融为一体，把春日元气凝于尺幅之间，花鸟相伴的清和意趣跃然纸上，尽显恬淡治愈的东方雅致。",[23,24,164,7,165,27,28,61,209,355,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd83a74ab58cfd708a34b346a99465f12.jpg",[],{"id":37574,"slug":37575,"title":37576,"dynasty":54,"author":37577,"museum":300,"description":37578,"tags":37579,"thumbUrl":37580,"material":40,"size":37581,"collection":45,"collections":37582,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":49},224539,"xie-qin-you-shan-tu-zhang-gu-224539","携琴游山图","章谷","绘山峰险峻，山中松柏高大遒劲，山涧中一道清流顺山而下，数座房屋隐现于山中，山脚溪流奔腾不息，山路上一童子手抱古琴紧随一老者前行。章谷，清代善画山水和人物肖像，书法工篆、隶书",[23,24,7,164,165,29,132,128,131,1144,495,35,130,34,98,96,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddea37d7d189707368095454cc36c726.jpg","纵211.7CM 横90CM",[45],{"id":37584,"slug":37585,"title":37586,"dynasty":124,"author":223,"museum":300,"description":37587,"tags":37588,"thumbUrl":37589,"material":84,"size":84,"collection":84,"collections":37590,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":49},223622,"hu-jia-shi-ba-pai-tu-juan-yi-ming-223622","胡笳十八拍图卷","这是诗书画合一的叙事长卷，以古雅绢本为底，绘图配书，徐徐铺展蔡文姬的半生流离。画面里车马辚辚、城郭乡野、人物衣冠皆贴合古制，细节里藏着乱世羁旅的沉郁。每段题笔与场景呼应，将去国的怆然、归汉别子的两难尽数渲染，笔致朴拙温婉，把《胡笳十八拍》里的哀恸与深情具象为可视的场景，让文辞的悲戚落在人物的眉眼、步履之间，带着旧绢的温润底色，诉尽乱世女子的飘零宿命，让千年前的家国离愁跨越岁月，静静铺陈在卷上。",[23,164,24,7,25,27,28,188,96,101,97,11074,12314,29,34,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a822cce9a1c19b42a164c7a30f03db9.jpg",[],{"id":37592,"slug":37593,"title":37594,"dynasty":144,"author":223,"museum":20,"description":37595,"tags":37596,"thumbUrl":37597,"material":2239,"size":37598,"collection":42,"collections":37599,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":956},223534,"jiang-shan-lou-ge-tu-zhou-yi-ming-223534","江山楼阁图轴","元代建筑画在继承两宋院体已臻成熟的工整精细的造型手段之基础上，借助元代所盛行的水墨画技法及北宋李公麟一路的白描技法，把建筑画逐步推向纯界画的境界。此幅虽仍将殿宇楼阁融入山重水复的自然景致中，但作者着力刻画的是建筑本体，山水配景已不复重要，楼宇的描绘细入微芒，建筑画状物精微的写实性达到了极致。",[23,24,7,164,165,95,132,27,29,97,131,34,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdadd7deefa1971227219d82aff1e53a.jpg","纵162厘米，横92.5厘米",[42,136,117],{"id":37601,"slug":37602,"title":37603,"dynasty":54,"author":5181,"museum":300,"description":37604,"tags":37605,"thumbUrl":37607,"material":1027,"size":37608,"collection":68,"collections":37609,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},223251,"xiao-xiang-yu-xue-pu-hua-223251","潇湘雨雪","水墨绘雨雪之下，翠竹依然傲立的身姿，毫不畏缩，竹枝修长坚韧，竹叶翠绿繁茂\b。",[23,24,7,165,128,369,167,171,37606],"雨雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F038ff4e425bdfc1d6ae7b7e36b4b5e42.jpg","117X48cm",[68,117],{"id":37611,"slug":37612,"title":37613,"dynasty":54,"author":3437,"museum":244,"description":37614,"tags":37615,"thumbUrl":37616,"material":1190,"size":37617,"collection":84,"collections":37618,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},223101,"fang-fan-kuan-qiu-shan-pu-bu-zhou-tang-dai-223101","仿范宽秋山瀑布轴","图绘峰峦高耸，幽谷溪流，缥缈的岚气中，有瀑布奔泻而下。\n是文人雅士卧游的理想之地。构图极富变化，笔墨精妙，设色点缀恰到好处。",[23,164,24,7,165,27,132,330,29,8222,495,1144,131,499,98,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5329ade25972de17d15cf4d5af47324.jpg","325.8x89.5",[],{"id":37620,"slug":37621,"title":37622,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":37623,"thumbUrl":37626,"material":151,"size":7879,"collection":84,"collections":37627,"showCount":486,"zanCount":1998,"manualWeight":48,"mainColor":49},223028,"hong-lou-meng-153-sun-wen-223028","红楼梦153",[23,164,24,7,28,27,4437,37624,37625,34,251,247,7345],"人物群像","楼阁建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25966c49a4e897334b25fed51cc76239.jpg",[],{"id":37629,"slug":37630,"title":37631,"dynasty":54,"author":646,"museum":244,"description":37632,"tags":37633,"thumbUrl":37635,"material":84,"size":37636,"collection":84,"collections":37637,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},222856,"xia-jing-hua-hui-zhi-ba-dong-gao-222856","夏景花卉之八","董誥（1740年－1818年），字雅倫，號蔗林，浙江省杭州府富陽縣（今浙江省杭州市）人，生於順天府（今北京市），清代大臣、書畫家。工部尚書董邦達長子，與其父有“大、小董”之稱。\n乾隆二十九年（1764）中舉，隔年會試，名列一甲第三，得中探花，乾隆帝將其改為二甲第一，作金殿傳臚，形降實升。嘉慶四年（1799），董誥六十歲，以從庶吉士、編修、工部侍郎、軍機大臣、東閣大學士等，擢為文華殿大學士（即宰相），欽賜“紫禁城騎馬”。直軍機先後四十年。董誥精書法，善繪畫，更通曉軍事。他五次歸還故里，生活簡樸，平易近人，從不倨傲，深為鄰里稱道。董誥卒於嘉慶二十三年（1818），終年七十九歲。\n董誥死後六天，嘉慶帝親臨祭奠，所寫哀詩中有“只有文章傳子侄，絕無貨幣置田莊”之句，並親自撥款建立“董公祠”。",[23,24,7,27,28,59,62,624,80,37634],"蓝色花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf821d335f96deca766e5ea81f6d4194.jpg","22.1x27",[],{"id":37639,"slug":37640,"title":37641,"dynasty":54,"author":675,"museum":244,"description":11658,"tags":37642,"thumbUrl":37643,"material":611,"size":37644,"collection":136,"collections":37645,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},222692,"han-lin-yu-xue-zhou-qian-wei-cheng-222692","寒林欲雪轴",[23,24,7,165,128,29,132,663,1556,1337,98,99,211,35,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F953c5244342d2500e4e5d93df3d1491f.jpg","80*180cm",[136,117],{"id":37647,"slug":37648,"title":37649,"dynasty":54,"author":9704,"museum":524,"description":37650,"tags":37651,"thumbUrl":37652,"material":12690,"size":37653,"collection":84,"collections":37654,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":49},222664,"po-mo-xi-shan-tu-zhou-kun-can-222664","泼墨溪山图轴","《髡残泼墨溪山图》作者一反秃笔渴墨之常法，而以湿笔淡墨勾山画树，与大面积浑点泼墨融合生发，再以重墨刻画桥、屋、人物。用笔松动，施墨淋漓，画面酣畅而又蓊郁朴厚，洋溢着蓬勃生机。配以行草题跋，随意挥洒，粗服乱头，体现其独具的审美意趣。",[23,24,7,164,165,128,132,29,130,98,99,34,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F053c5bca500d486edd2cf07e7d775590.jpg","77.2cmx27cm",[],{"id":37656,"slug":37657,"title":37658,"dynasty":124,"author":9650,"museum":56,"description":9651,"tags":37659,"thumbUrl":37660,"material":84,"size":84,"collection":84,"collections":37661,"showCount":486,"zanCount":1998,"manualWeight":48,"mainColor":72},222520,"shen-xian-tu-ce-9-zhang-lu-222520","神仙图册9",[23,164,24,7,59,188,128,96,2302,949,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e8cb53124976920a73fdf03a1ef6d5e.jpg",[],{"id":37663,"slug":37664,"title":37665,"dynasty":124,"author":14989,"museum":244,"description":37666,"tags":37667,"thumbUrl":37668,"material":611,"size":37669,"collection":84,"collections":37670,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},222457,"li-shu-gui-qu-lai-ci-zhou-shen-du-222457","隶书归去来辞轴","《归去来辞》是东晋诗人陶渊明的名作，文中表达淡泊名利，追求圆满自足的田园之乐，向来是文人雅士嚮往的理想境界。此幅隶书用笔劲健，点画平齐规律，或是想要以拙朴有古意的书体，传达千载以前陶诗的意境。",[805,64,7,165,21937,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff17f51da867c7f977aefcd7184026e97.jpg","52 x 24.6cm",[],{"id":37672,"slug":37673,"title":37674,"dynasty":124,"author":15700,"museum":244,"description":37675,"tags":37676,"thumbUrl":37677,"material":1722,"size":37678,"collection":84,"collections":37679,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},222424,"hua-zhu-shu-shuang-que-zhu-zhan-ji-222424","画竹树双鹊","明宣宗朱瞻基（1399年3月16日 －1435年1月31日），号长春真人 ，明成祖朱棣之孙，明仁宗朱高炽长子，明朝第五位皇帝（1425年5月29日-1435年1月31日在位）、书画家，年号“宣德”。\n明宣宗朱瞻基生于北平燕王府 。幼年聪颖，深得祖父朱棣喜爱。永乐九年（1411年），册立为皇太孙，多次跟随明成祖朱棣征讨蒙古。 洪熙元年（1425年）即位。宣德元年（1426年），平定汉王朱高煦叛乱。在政治上，重视整顿吏治和财政，提升内阁地位，任用“三杨”、蹇义、夏原吉等；教导宦官读书参政。经济上，实行休养生息，缓和社会矛盾的措施。对外关系上，进行第七次郑和下西洋；停止用兵交趾；于宣德三年（1428年）出塞，并修建永宁、隆庆诸城。明宣宗的一系列措施使得社会经济空前的发展，与其父明仁宗统治时期合称“仁宣之治”。同时明宣宗在书画方面极有造诣，翰墨图书，极为精致。“点墨写生，遂与宣和（宋徽宗）争胜”， 书法能于圆熟之外见遒劲。工于绘事，山水、人物、走兽、花鸟、草虫均佳，曾钤“广运之宝“、”武英殿宝”及“雍熙世人”等印章。\n宣德十年（1435年），明宣宗去世，终年三十六岁 ，庙号宣宗，谥号宪天崇道英明神圣钦文昭武宽仁纯孝章皇帝，葬于景陵。著《明宣宗御制乐府》一卷，至今已佚，存词二首。传位长子朱祁镇。",[23,24,7,59,128,28,167,413,355,10050],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F580b1d5613a0bce82743a005bf875250.jpg","37x46.6厘米",[],{"id":37681,"slug":37682,"title":37683,"dynasty":124,"author":16243,"museum":205,"description":33923,"tags":37684,"thumbUrl":37685,"material":611,"size":37686,"collection":318,"collections":37687,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},222314,"shi-hu-ba-jue-shi-juan-wang-chong-222314","石湖八绝诗卷",[23,64,133,25,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc04e45f745a3d97883196f288820ebaa.jpg","30cm×307cm",[318],{"id":37689,"slug":37690,"title":37691,"dynasty":124,"author":16243,"museum":300,"description":37692,"tags":37693,"thumbUrl":37694,"material":611,"size":37695,"collection":318,"collections":37696,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},222312,"za-shi-wang-chong-222312","杂诗","其书飞动流转，气度不凡，行笔急速，字距疏密相同，通篇作品给人以拙而不滞、巧而不媚的感觉，可谓是上乘之作。",[23,164,24,7,25,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F411f8420955b21e3af027f4497c1e2af.jpg","纵28.8厘米，横25.4厘米",[318],{"id":37698,"slug":37699,"title":37700,"dynasty":124,"author":125,"museum":56,"description":37701,"tags":37702,"thumbUrl":37703,"material":514,"size":37704,"collection":84,"collections":37705,"showCount":486,"zanCount":1998,"manualWeight":48,"mainColor":72},222131,"yu-jiang-ming-sheng-tu-ce-shen-zhou-222131","雨江名胜图册","此图是描绘长江淮河两岸名胜风景的册页，共十幅，每幅对页有沈周自题七绝一首，并有友人文嘉、王穉登等人题和诗。画面皆剪裁简明，情景融合，却构成诗意盎然的境界。用笔质朴、凝重，山峦的 繁笔勾皴和屋宇的简笔勾勒，形成疏密的对比，墨色也富有虚实轻重的变化，使画面产生强烈的装饰美感。",[23,24,7,59,27,29,97,34,130,64,208,132,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674619dee4ce4fad476bb3400d91654b.jpg","纵42.2厘米，横23.8厘米",[],{"id":37707,"slug":37708,"title":37709,"dynasty":124,"author":7961,"museum":244,"description":37710,"tags":37711,"thumbUrl":37712,"material":37713,"size":37714,"collection":136,"collections":37715,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},222086,"hui-shan-zhu-quan-tu-zhou-qian-gu-222086","惠山煮泉图轴","钱谷此图绘与友人四人品茶赏景谈天，三童一汲方池惠泉，另二于松下煽火备茶。图中树木多以乾笔皴擦、人物偶现几处浓墨点缀，浓淡表现恰到好处，笔法灵巧，呈现了晚明文人潇洒怡然的生活情景。",[23,24,7,165,128,27,132,96,34,131,208,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc265a3d40fc91feae57afc4851a3c8e.jpg","轴、纸本、浅设色","265x57.2",[136,45],{"id":37717,"slug":37718,"title":37719,"dynasty":144,"author":36038,"museum":56,"description":37720,"tags":37721,"thumbUrl":37722,"material":611,"size":37723,"collection":318,"collections":37724,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":199},221843,"zhen-jing-an-mu-yuan-shu-juan-shu-yang-wei-zhen-221843","真镜庵募缘疏卷书","《真镜庵募缘疏卷》是杨维桢的行草书佳作。作者晚年与僧道交往频繁，经常出入于寺庙道院，此卷特地为真镜庵募缘所撰写。其书章局变化丰富，随意而奇崛，用笔力遒韵稚，笔法跳宕，竭尽一唱三叹、回肠荡气的能事。用墨浓淡互济，干湿对比强烈，表现出作者的强烈的艺术个性，怪癖性格的极度张扬。",[23,164,24,7,25,64,133,840,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4da8dc6697a68cc4bc1fefa0121d77.jpg","纵33.3厘米，横278.4厘米",[318],{"id":37726,"slug":37727,"title":37728,"dynasty":144,"author":37729,"museum":146,"description":37730,"tags":37731,"thumbUrl":37732,"material":611,"size":37733,"collection":84,"collections":37734,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},221826,"jie-bo-tu-juan-zhu-yu-221826","揭钵图卷","朱玉","《揭钵图》在佛教题材绘画中青史留名，在中国古代美术史上占有重要地位。清初《佩文斋书画谱》等史籍中明确记载，朱玉《揭钵图》真迹存世仅有两本。对比浙博本和美国本，后者人物线条更加飘逸，几无断笔，面部结构精准，服饰线条洒脱，而浙博本有近半人物线条出现断笔。",[23,24,7,25,188,187,96,949,14916,5626,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8239e9d61ec1d53ae4c554166623e90.jpg","27.7x111厘米",[],{"id":37736,"slug":37737,"title":37738,"dynasty":18,"author":4899,"museum":20,"description":37739,"tags":37740,"thumbUrl":37741,"material":40,"size":37742,"collection":42,"collections":37743,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":49},221453,"bin-feng-tu-juan-quan-juan-ma-he-zhi-221453","豳风图卷全卷","作者根据《诗经·国风》之《豳风》诗意而作。全卷共分七段，依次为《七月》、《鸱号》、《东山》、《破斧》、《伐柯》、《九罭》、《狼跋》，每段画前书《豳风》原文。图中人物形象生动，衣纹用兰叶描，笔法流畅潇洒，设色清丽古雅，在诸本毛诗图中，亦属精作。此卷无款印，旧传为马和之画，宋高宗赵构书。但在《伐柯》篇内“構”字因避高宗讳而缺一笔，如“”，说明该书不是赵构所写，而是画院高手代笔。此图大约在元代初年被分割为两卷，仅《破斧》篇为赵孟頫收藏，明末董其昌误认为是赵孟頫补图。清乾隆年间两卷入内府，合璧装成一卷，并将董其昌、高士奇跋移往后幅。卷首有清高宗弘历御书“苇龠余风”四字，尾纸除董其昌、项元汴等三则题记外，尚有乾隆御题一则，钤明项元汴、清高士奇、梁清标及乾隆、嘉庆、宣统内府藏印多方。\n张丑《清河书画舫》、卞永誉《式古堂书画汇考》、吴升《大观录》、《石渠宝笈·续编》、《石渠随笔》等书著录。",[23,24,7,25,188,27,96,29,331,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56e13d25db108e203ad6d928b942d2a2.jpg","纵25.7厘米，横55.7厘米",[42,136,117],{"id":37745,"slug":37746,"title":30553,"dynasty":18,"author":37747,"museum":244,"description":37748,"tags":37749,"thumbUrl":37750,"material":611,"size":37751,"collection":42,"collections":37752,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},221284,"bao-shan-shi-jing-ce-gao-ke-ming-221284","高克明","高克明，生卒年不洋，宋化絳州（今山西新絳） 人，主要活動時期在太宗，仁宗二朝，為當時著名的山水畫家。 高克明的山水畫創作，大多是從實地觀察獲得素材，復經自己深思熟慮、苦心經營中得來，並不專師於一家，卻能注意採擷諸家之美，參成一藝之精，自為體格，頗有創新的味道。",[164,24,7,59,27,132,133,29,4363,5323,10582,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e07ca6685ec8381313e4987a95af081.jpg","30.2x31.8厘米",[42,136,117],{"id":37754,"slug":37755,"title":37756,"dynasty":18,"author":37757,"museum":2068,"description":37758,"tags":37759,"thumbUrl":37760,"material":37761,"size":37762,"collection":44,"collections":37763,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":49},221261,"zhao-yang-tu-hu-zhi-tian-221261","朝阳图","胡直天","此作以减笔写意写就，枯涩灵动的墨线勾勒僧人身形，顿挫转折间，衣物褶皱的厚重质感尽显。老僧垂眉敛目，持盏默坐，神态沉凝安然，似在静待晨光破暝，将禅家静定悠然的意态藏于笔底。\n\n画面简阔疏朗，以空寂绢面烘托出清远虚淡的禅意氛围，不着一笔而意蕴自生。笔意极简却形神兼备，寥寥数笔便将出尘襟怀铺展尽致，尽显禅画以形写神、以简驭繁的精妙意趣。",[23,164,24,7,59,188,128,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37005a5ef42275a168b4eeac761cadf2.jpg","絹本","22.3×23",[44],{"id":37765,"slug":37766,"title":37767,"dynasty":326,"author":1587,"museum":244,"description":37768,"tags":37769,"thumbUrl":37770,"material":84,"size":37771,"collection":318,"collections":37772,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},221033,"jiu-ta-cheng-qing-tang-tie-wang-xi-zhi-221033","旧榻澄清堂帖","此帖是由王羲之写给其友人，一般认为原帖已不存在，现存本应为唐代摹本。明代鉴赏家詹景凤认为赵孟𫖯行书受到此帖影响。\n明、清年间，为降清明官冯铨所藏有。康熙十八年（1679年），冯铨之子冯源济将此墨本呈献给皇帝，在乾隆十一年（1746年）与王献之的《中秋帖》以及王珣的《伯远帖》合称“三希”，一起放在宫内“三希堂”中，成为“三希堂”第一珍品。到1795年间，乾隆皇帝共亲自御笔题识71则，晚年因视力不佳，改由董诰代笔三则，可见乾隆皇帝对此帖之热爱。",[64,133,5380,1590,7,164,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd7f48f45d5e7d02a716822e97bc91d6.jpg","41.2x57厘米",[318,2210],{"id":37774,"slug":37775,"title":37776,"dynasty":326,"author":37777,"museum":244,"description":37778,"tags":37779,"thumbUrl":37780,"material":59,"size":37781,"collection":2210,"collections":37782,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":49},221011,"yuan-jin-tie-xi-chao-221011","远近帖","郗超","郗超（336年～378年），字景興，一字敬輿，小字嘉賓，高平金鄉（今山東省金鄉縣）人，東晉官員、書法家、佛學家，太尉郗鑑之孫，會稽內史郗愔之子。\n郗超出身於高平郗氏，歷任撫軍掾、徵西椽、大司馬參軍、散騎侍郎、中書侍郎、司徒左長史等職。他是桓温謀主，曾勸説桓温廢帝立威。桓温因不肯採納他的建議，在第三次北伐時大敗而回。桓温死後因母喪辭去司徒左長史之職，後被起復為散騎常侍、此後又授任宣威將軍、臨海太守等職，郗超都沒有接受。太元二年十二月病逝，時年四十二歲。\n郗超善長草書，亞於二王，《書品》將其書法定為中品。他還精通佛學，著有《奉法要》，被支道林等名僧譽為“一時之俊”。",[64,5380,133,7,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccbd29ef8c81c0d424a93fbfb5fded7f.jpg","35.8x43.6厘米",[2210],{"id":37784,"slug":37785,"title":37786,"dynasty":980,"author":37787,"museum":9668,"description":37788,"tags":37789,"thumbUrl":37791,"material":84,"size":84,"collection":84,"collections":37792,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},220515,"he-hua-lu-si-pu-xin-she-220515","荷花鹭鸶","溥心畬","这幅水墨作品以浓淡干湿铺陈笔意，大块浓墨晕染荷叶，苍劲沉郁，与留白水色、素洁鹭鸶形成强烈视觉反差。两只鹭鸶刻画工细，羽毛纤毫毕现，姿态悠然顾盼，在写意荷塘间独显灵动生机。\n\n画面虚实相生，留白处漾出水波空寂之感，垂坠花枝点缀其间，衬出荷塘幽谧之境。左上角题字清雅隽秀，与水墨意趣相融，整体意境疏淡空灵，尽显脱俗澹泊的文人风骨，将夏日荷塘的清寂意韵烘托得淋漓尽致。",[24,7,128,61,165,81,37790,82,228],"鹭鸶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff09adb59070f68f461c12e1eadc1bd60.jpg",[],{"id":37794,"slug":37795,"title":37796,"dynasty":124,"author":15700,"museum":244,"description":37797,"tags":37798,"thumbUrl":37800,"material":317,"size":37801,"collection":44,"collections":37802,"showCount":486,"zanCount":1116,"manualWeight":48,"mainColor":49},220446,"yan-bo-bu-yu-tu-zhu-zhan-ji-220446","烟波捕鱼图","朱瞻基（1398－1435年），明朝第五位皇帝，1425-1435年在位，别称明宣宗、宣德帝，他也是一位能够与宋徽宗媲美的杰出书画家。《烟波捕鱼图 》描绘了云山雾罩中，水上渔夫捕鱼的生活场景，画面简洁、气韵生动，人物刻画准确。",[23,24,7,165,128,27,29,129,1351,30056,37799],"烟波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9626aa8d65d34938dfd008992e2399b4.jpg","65x34.7",[44],{"id":37804,"slug":37805,"title":37806,"dynasty":54,"author":37807,"museum":244,"description":37808,"tags":37809,"thumbUrl":37811,"material":66,"size":37812,"collection":44,"collections":37813,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},220439,"er-xian-tu-feng-ning-220439","二仙图","冯宁","冯宁，生死时年、籍贯均不详。高宗乾隆时，任职内廷画院供奉，擅长于人物画，画法似是出自明代浙派吴伟一路，用笔慓劲，衣服褶纹采取破笔粗线描法，水墨恣肆，墨气淋漓，画面充分给人一种力的感觉。画中二仙，似为八仙中的钟汉离、铁拐李二人。",[24,7,164,165,27,28,96,34,131,6855,19173,37810],"拐杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F461871e343739280aea5bb0310803e26.jpg","173.5x68.9公分",[44,45],{"id":37815,"slug":37816,"title":37817,"dynasty":124,"author":125,"museum":77,"description":37818,"tags":37819,"thumbUrl":37820,"material":278,"size":37821,"collection":136,"collections":37822,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},220083,"yi-zhu-tu-shen-zhou-220083","移竹图","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代画家，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文，青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。 其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格， 在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,24,7,25,128,132,133,208,2132,167,131,34,35,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b023fa09cc7e63d573812ca97d8e8bb.jpg","24.5 x 98cm",[136],{"id":37824,"slug":37825,"title":37826,"dynasty":18,"author":223,"museum":244,"description":37827,"tags":37828,"thumbUrl":37829,"material":173,"size":37830,"collection":44,"collections":37831,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":49},219605,"fan-qi-chu-lie-tu-yi-ming-219605","番骑出猎图","画面里两位骑手纵马缓行，左侧胡酋虬髯高冠，身姿沉凝端坐，坐骑鬃尾飘曳，裹挟着塞北雄悍犷野之气。右侧骑士背负箭囊、斜倚长杆，神色警觉四顾，仿佛正凝神扫视周遭，静待逐猎之机。\n\n设色简淡古雅，线条劲挺洗练，人马造型朴拙生动，荒漠底色晕染出辽远荒寒的氛围，将游牧民族出猎前的松弛与暗藏的骁勇刻画入微，寥寥笔墨便勾勒出北方草原的苍茫意趣，尽显描摹世态、传神写意的精妙功底。",[23,164,24,7,25,28,27,96,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09a0f7f663c7add49b0108d136ef0824.jpg","纵24.4横56.3厘米",[44],{"id":37833,"slug":37834,"title":37835,"dynasty":54,"author":20985,"museum":244,"description":37836,"tags":37837,"thumbUrl":37838,"material":173,"size":37839,"collection":136,"collections":37840,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":49},219538,"feng-nian-rui-xue-tu-xiao-chen-219538","丰年瑞雪图","画面冰天雪地，天寒地冻，一片雪花映照好年景。 河岸有竹屋，雪重柳。 木桥过河，两人缓步走来，一个打着伞，一个戴着帽子，戴着兜帽。",[24,7,165,27,28,29,1813,97,98,99,96,8538,1144,131,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F938f0ddeacfed55963e5531bd7262d12.jpg","109.8x56.1厘米",[136],{"id":37842,"slug":37843,"title":37844,"dynasty":144,"author":1163,"museum":244,"description":37845,"tags":37846,"thumbUrl":37847,"material":278,"size":37848,"collection":68,"collections":37849,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},219501,"tao-hua-you-niao-tu-zhang-zhong-219501","桃花幽鸟图","图绘折枝桃花，枝上栖一禽鸟。画家用墨直接点写出枝叶，桃花或勾或点，禽鸟略加勾染。构图、用笔都很疏简，较王渊的墨笔花鸟更为简逸，近于写意的画法，亦属墨戏之作。画幅上有杨维桢、范公亮等十余人题咏。",[24,7,128,61,209,355,582,64,133,840,208,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39e824d8b7c3ee45995275c79f83170d.jpg","纵112.2厘米，横31.4厘米",[68],{"id":37851,"slug":37852,"title":37853,"dynasty":54,"author":37854,"museum":244,"description":37855,"tags":37856,"thumbUrl":37857,"material":611,"size":37858,"collection":136,"collections":37859,"showCount":486,"zanCount":738,"manualWeight":48,"mainColor":49},219484,"qun-feng-xue-ji-zhou-huang-ding-219484","群峰雪霁轴","黃鼎","全景铺展雪后盛景，陡峭峰岩如刀削斧凿，银雪覆顶似玉砌琼妆。山坳寒云蒸腾晕染，将层叠群峰切得分明，尽衬冬日清寂萧寒。\n近岸寒水如镜，枯木虬枝偃仰错落，脱尽繁叶，满是荒冬况味。滩渚间村居隐于林间，在素裹千山晕出一丝人间烟火，于冷寂中揉进暖意。\n笔墨苍劲老辣，皴擦尽显山石筋骨，淡墨烘出雪意空濛，将隆冬山野的清旷萧寒刻画尽致，于雄奇山水间铺陈出冬日独有的静穆辽远，绘尽雪霁群峰的孤高冷逸。",[164,24,7,165,128,132,29,10390,1813,499,497,1337,37,17726],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F230cc88d522e413964f2c40b468c24a2.jpg","260.3x168.8",[136],{"id":37861,"slug":37862,"title":37863,"dynasty":124,"author":16032,"museum":244,"description":37864,"tags":37865,"thumbUrl":37866,"material":173,"size":37867,"collection":136,"collections":37868,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},219465,"gu-shan-fang-he-tu-xiang-sheng-mo-219465","孤山放鹤图","项圣谟（1597-1658），字孔彰，浙江嘉兴人，著名收藏家项元汴之孙，其画精赡，不同时俗。孤山在浙江杭州西湖，宋代高士林逋（968-1028）隐居于此，种梅养鹤，不仕不娶，人谓「梅妻鹤子」。相传其泛舟湖中时，如友朋来访，家童即纵鹤飞报，遂归。然本幅却将孤山场景，融入苏轼名篇〈放鹤亭记〉（亭在江苏徐州云龙山）的内容，故绘鹤归来兮，山人相迎。而长堤迤逦，分明是西湖；数点梅花，又扣回林逋故事。实景、掌故与文章，在画家的想像里交织。画采俯瞰视角，以长堤环抱，横切狭长画幅，独具一格。画家二度题识，其一自署「再生丁酉人」，盖项氏生于万历丁酉年，至此又一甲子，故此作极有可能为其暮年所为。",[24,7,165,128,132,29,130,18542,413,35,208,64,133,211,3699],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4d720118a917ab54392b2fa1433c93.jpg","94.8x32.7",[136],{"id":37870,"slug":37871,"title":37872,"dynasty":54,"author":37873,"museum":244,"description":37874,"tags":37875,"thumbUrl":37876,"material":278,"size":37877,"collection":44,"collections":37878,"showCount":486,"zanCount":1116,"manualWeight":48,"mainColor":72},219442,"ling-xian-zhu-shou-tu-zhou-qian-zai-219442","灵仙祝寿图轴","钱载","虬松盘空，松针攒簇如墨星缀枝，枝干皴擦见苍劲老骨；旁逸修竹数竿，叶影疏斜带清韵。坡间灵菌隐现，伴以细草繁花，笔墨细劲却含生机，淡墨晕染衬出野趣。全图以水墨写就，浓淡干湿相生，于清雅笔墨间藏祝寿吉意。既有文人画的疏朗气韵，又含对福寿康宁的温婉期许，帧中留白更显意境悠远。观之如沐林下清风，心随画境渐宁，仿佛能闻松涛竹语，见灵秀之气漫溢纸间，笔墨里的雅致与吉庆悄然相融，尽显传统文人画的韵致与温度。\u003C\u002Fthink_never_used_51bce0c785ca2f68081bfa7d91973934>",[24,7,164,165,128,28,1144,276,9070,62,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e85c969be4769322ad7f0290fce1fef.jpg","185.3x79.3",[44],{"id":37880,"slug":37881,"title":37882,"dynasty":124,"author":37883,"museum":56,"description":37884,"tags":37885,"thumbUrl":37886,"material":278,"size":37887,"collection":44,"collections":37888,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},219409,"bai-miao-fo-xiang-tu-juan-cui-zi-zhong-219409","白描佛像图卷","崔子忠","崔子忠（约1574-1644年），初名丹，字开予，改名子忠，字道母，号青蚓。山东莱阳人，寓居顺天府（今北京）。善画人物、肖像，传世作品较少。此幅白描佛画，似说法或授经图，取法李公麟，人物高古，衣纹流美，作于崇祯四年（1631)，作者时年约五十八岁，款署“辛未九月九日长安门下士崔子忠识。”另纸有明田大受崇祯四年（1631）手书《金刚经》，款曰“崇祯辛未重阳日瀛州奉佛弟子田大受沐手敬书。”",[124,24,7,25,187,188,96,131,34,208,64,7322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb93c57ab1883defa55547102439778a.jpg","纵30厘米，横56厘米",[44],{"id":37890,"slug":37891,"title":37892,"dynasty":18,"author":223,"museum":244,"description":37893,"tags":37894,"thumbUrl":8279,"material":173,"size":37895,"collection":68,"collections":37896,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},218700,"fu-rong-tu-yi-ming-218700","芙蓉图","一枝芙蓉斜逸而出，花瓣层叠如凝脂，粉白晕染间似沾着晨露的清润；含苞的蓓蕾裹着淡红，敛着半开的心事。墨绿叶片脉络分明，纤细却劲挺，肌理薄韧如绢。深青底色如幽潭静水，将花朵的明丽衬得愈发温润。画面无冗余缀饰，却于细微处见匠心：花瓣的柔纹、叶尖的轻颤，皆被捕捉得恰到好处。宋人的笔意藏在每一笔晕染里，不张扬却动人，似将芙蓉的清雅与生机，凝在这一方圆境中，静静诉说着时光里的温柔与诗意。",[23,164,24,7,59,27,28,61,373],"21.0x23.5",[68],{"id":37898,"slug":37899,"title":37900,"dynasty":18,"author":223,"museum":56,"description":37901,"tags":37902,"thumbUrl":37903,"material":173,"size":37904,"collection":136,"collections":37905,"showCount":486,"zanCount":1998,"manualWeight":48,"mainColor":49},218545,"shui-ge-na-liang-tu-yi-ming-218545","水阁纳凉图","这幅画描绘了一个池塘的一角，池塘表面有荷叶，池塘上方坐着一个亭子，一侧有柳树遮挡，亭子里的人在风中吹气，以保持凉爽。在通往亭子的栏杆上，可以看到两个孩子，一个站在凳子上采摘水果，另一个站在一边观看。",[23,24,7,95,128,29,97,99,34,101,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168e0fb0842b2e8361dde396b28c2a8f.jpg","24.4x24.9cm",[136],{"id":37907,"slug":37908,"title":37909,"dynasty":124,"author":223,"museum":450,"description":37910,"tags":37911,"thumbUrl":37912,"material":173,"size":37913,"collection":44,"collections":37914,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":956},218323,"tie-guai-xian-ren-tu-yi-ming-218323","铁拐仙人图","这幅画与元代颜辉的风格相似，但笔法过于工整，切石过于急促，应是明代浙派画家所为。",[23,24,164,7,27,128,188,96,187,171,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff17cc1e06718b81b52b719798dc68eab.jpg","77.6x56.1",[44],{"id":37916,"slug":37917,"title":37918,"dynasty":18,"author":2099,"museum":300,"description":37919,"tags":37920,"thumbUrl":37921,"material":278,"size":84,"collection":84,"collections":37922,"showCount":486,"zanCount":1998,"manualWeight":48,"mainColor":72},218113,"bai-miao-ren-wu-tu-ce-1-li-gong-lin-218113","白描人物图册-1","李公麟的生平信息相对较少，但是他在宋朝的政治、文化和经济发展中发挥了重要作用。他曾任国子监太傅，是宋朝的最高学府。他还是一位著名的诗人，他的诗歌风格优美流畅，富有哲理性。\n\n李公麟还是一位杰出的政治家。他在宋朝的统治过程中，提出了许多有益的政策建议。他倡导改革，推动了宋朝经济的发展。他还是一位慈善家，常常为穷人提供帮助。\n\n总的来说，李公麟是宋朝时期一位著名的人物，他在政治、文化和经济发展中发挥了重要作用。他的诗歌风格优美流畅，富有哲理性，是宋朝的著名诗人。他还是一位杰出的政治家，在宋朝的统治过程中，提出了许多有益的政策建议。他还是一位慈善家，常常为穷人提供帮助。",[23,164,24,7,59,188,96,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d2d350df6ea3393f1fa4448450695ce.jpg",[],{"id":37924,"slug":37925,"title":37926,"dynasty":18,"author":2099,"museum":300,"description":37919,"tags":37927,"thumbUrl":37928,"material":278,"size":84,"collection":84,"collections":37929,"showCount":486,"zanCount":1998,"manualWeight":48,"mainColor":72},218111,"bai-miao-ren-wu-tu-ce-2-li-gong-lin-218111","白描人物图册-2",[23,164,24,7,59,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F132f01757017d211702ac7efc58659cf.jpg",[],{"id":37931,"slug":37932,"title":37933,"dynasty":54,"author":37934,"museum":6892,"description":14198,"tags":37935,"thumbUrl":37936,"material":66,"size":14201,"collection":136,"collections":37937,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},218102,"xin-an-yi-yun-ce-han-zhu-shan-shui-han-zhu-218102","新安逸韵册(韩铸山水)","韩铸",[24,7,59,27,132,29,131,34,30,1022],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b8e42768e6ff7fa17a5e7182b49522e.jpg",[136],{"id":37939,"slug":37940,"title":1230,"dynasty":54,"author":37941,"museum":37942,"description":37943,"tags":37944,"thumbUrl":37945,"material":278,"size":37946,"collection":136,"collections":37947,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},217992,"shan-shui-tu-zha-shi-biao-217992","査士标","斯德哥尔摩东方博物馆","査士标的山水画以其自然的风格、细腻的笔触和精确的构图著称。他的画作常常描绘山林、溪流、岸边和村庄，画面中有时会出现人物，但他更喜欢以自然元素为主。他的画作充满了对大自然的热爱和敬畏，表现了他对生活的真挚感受。\n\n査士标的山水画也因其独特的技巧而闻名。他喜欢使用轻轻松松的笔触，表现出自然界的和谐与平静。他的画作也常常充满了隐喻和寓言，使得作品具有深刻的哲理意义。\n\n总的来说，査士标的山水画是中国传统画风的杰出代表作，值得我们深入研究和鉴赏。",[24,7,165,128,29,98,99,331,96,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e9dde10358f2db567a9adf307310184.jpg","109x57cm",[136],{"id":37949,"slug":37950,"title":37951,"dynasty":54,"author":223,"museum":300,"description":37952,"tags":37953,"thumbUrl":37954,"material":66,"size":84,"collection":44,"collections":37955,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},217938,"da-mo-yi-jin-ba-duan-jin-yi-ming-217938","达摩易筋八段锦","达摩易筋八段锦是一部关于清朝时期佚名所著的武术典籍。这部书是在清朝末年出版的，共包含了8段关于身体动作的详细讲解，涵盖了许多中国武术的基本功和技巧。\n\n达摩易筋八段锦的作者是佚名，这个名字意思是“不知名”，因此无法确定他的真实身份。不过，有人认为他可能是一位清朝时期的武术家，并且据说他的武术技巧非常高超。",[24,7,304,27,28,96,3490,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25f40741ff6e7c4e0e425e8ebaf73e0c.jpg",[44],{"id":37957,"slug":37958,"title":37959,"dynasty":124,"author":3148,"museum":20,"description":37960,"tags":37961,"thumbUrl":37962,"material":173,"size":37963,"collection":44,"collections":37964,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":49},216778,"lv-ji-lv-wen-ying-zhu-yuan-shou-ji-tu-lv-ji-216778","吕纪吕文英竹园寿集图","这幅画是吕纪和吕文英在1499年画的，根据序言和题诗，吏部尚书屠滽、户部尚书周敬、御史郑捷三人同时过60岁生日，众官员在周敬的府上饮酒庆贺。\n这三位养老金领取者是主要人物，周围有客人、仆人和孩子。画中所有的人（除了孩子）都有名字，有的在院子里看仙鹤跳舞，有的在竹林里用笔墨写字，还有的在石桌上写诗。画卷最后的两个人，看着画卷，是画家陆机和陆文英，分别身着绿色和绿色的官服。\n吕纪和吕文英同时在朝廷任职，被称为 大吕 和 小吕。吕纪以画花鸟著称，这幅画的背景是鸟和树，整齐好看，接近吕纪的风格；吕文英擅长人物，线条沉稳，脸部轮廓平实，形态逼真，五官分明，与吕文英的风格相似",[23,24,7,25,27,28,96,167,372,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffee6afe5130a0922557acf3dd49180a0.jpg","33.8x395.4",[44],{"id":37966,"slug":37967,"title":37968,"dynasty":124,"author":223,"museum":300,"description":37969,"tags":37970,"thumbUrl":37971,"material":317,"size":37972,"collection":44,"collections":37973,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":49},216728,"mai-xin-song-shu-tu-yi-ming-216728","卖薪诵书图","枯枝虬曲，远山含黛，野径蜿蜒向林深。担薪者负薪束于肩，一手扶担，一手展卷，诵读之态若忘周遭。寒林疏影映寒空，涧水浅流绕石行，天地间似只剩书页轻翻与步履缓响。劳役的艰辛未掩向学之心，平凡身影里藏着对知识的执着。笔墨简练却意韵悠长，将劳作与勤学相融的图景凝于尺幅。清寂山水间，躬身向学的姿态恰是求知精神的无声颂赞，令观者于萧疏景致中，触到那份穿越时光的执着暖意。",[23,164,24,7,165,188,128,27,132,96,1233,331,29,1023,99,21639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8971c5260d21c60bdf16d0a69f19cade.jpg","74x44",[44],{"id":37975,"slug":37976,"title":37977,"dynasty":144,"author":1346,"museum":244,"description":2533,"tags":37978,"thumbUrl":37979,"material":278,"size":84,"collection":84,"collections":37980,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},216377,"mo-zhu-pu-ce-12-wu-zhen-216377","墨竹谱册-12",[24,7,59,128,167,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b84d902bdcd0dfa7857eb27af954466.jpg",[],{"id":37982,"slug":37983,"title":37984,"dynasty":144,"author":1346,"museum":244,"description":2533,"tags":37985,"thumbUrl":37986,"material":278,"size":84,"collection":84,"collections":37987,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},216370,"mo-zhu-pu-ce-18-wu-zhen-216370","墨竹谱册-18",[24,7,59,128,64,208,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffaa4c6b21b52e04071e7e763f1f29e9.jpg",[],{"id":37989,"slug":37990,"title":37991,"dynasty":54,"author":1242,"museum":77,"description":8179,"tags":37992,"thumbUrl":37993,"material":31651,"size":37994,"collection":84,"collections":37995,"showCount":486,"zanCount":1998,"manualWeight":48,"mainColor":72},216332,"jin-nong-ba-kai-hua-niao-tu-2-jin-nong-216332","金农八开花鸟图-2",[24,7,59,128,2059,303,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda7016f993e9c69a865fbe99d0bf92ad.jpg","30.5x40.9cm",[],{"id":37997,"slug":37998,"title":37999,"dynasty":54,"author":1242,"museum":77,"description":8179,"tags":38000,"thumbUrl":38001,"material":317,"size":37994,"collection":84,"collections":38002,"showCount":486,"zanCount":1998,"manualWeight":48,"mainColor":72},216328,"jin-nong-ba-kai-hua-niao-tu-6-jin-nong-216328","金农八开花鸟图-6",[24,7,59,128,61,2334,548,549,2037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57170f603152106a2ea2e30cef7c2a80.jpg",[],{"id":38004,"slug":38005,"title":38006,"dynasty":124,"author":3373,"museum":77,"description":3374,"tags":38007,"thumbUrl":38008,"material":66,"size":3377,"collection":84,"collections":38009,"showCount":486,"zanCount":1998,"manualWeight":48,"mainColor":72},216262,"ming-za-hua-ce-3-wang-zhong-216262","明杂画册-3",[24,7,59,27,28,96,33345,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffba8e59e04eaca034ecd6317926d000e.jpg",[],{"id":38011,"slug":38012,"title":38013,"dynasty":124,"author":15464,"museum":1941,"description":38014,"tags":38015,"thumbUrl":38016,"material":151,"size":38017,"collection":84,"collections":38018,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},216249,"chi-bi-sheng-you-tu-xie-shi-chen-216249","赤壁胜游图","这幅画描绘了诗人游赤壁之景，宽阔的河面，水天一色，小船随河水起伏，船上的人驶向赤壁赏景，构图深远，笔法接近沈周。画中的岩石和树木线条松散而稳健，人物的线条简单，而石头的堆砌紧凑而富有变化，色彩的搭配富于深浅变化，使物体的层次清晰地凸显出来，显示出文人在场景前的闲适和优雅。",[23,24,7,25,128,27,132,133,64,208,29,129,34,131,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fede19bc0fd7f7a0caf0e5f4ff140f866.jpg","23 x 75.5",[],{"id":38020,"slug":38021,"title":38022,"dynasty":124,"author":125,"museum":2665,"description":29654,"tags":38023,"thumbUrl":38024,"material":278,"size":84,"collection":84,"collections":38025,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},214922,"mo-hua-ce-5-shen-zhou-214922","墨花册-5",[23,24,7,59,128,61,2037,549,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F402e05eb7f08d5ca2c23bfd7228fa47e.jpg",[],{"id":38027,"slug":38028,"title":38029,"dynasty":124,"author":38030,"museum":244,"description":38031,"tags":38032,"thumbUrl":38033,"material":278,"size":38034,"collection":84,"collections":38035,"showCount":486,"zanCount":48,"manualWeight":48,"mainColor":72},214225,"jiu-si-zhu-you-jian-214225","九思","朱由检","九思是一首中国古代诗歌，作者是朱由检。这首诗是朱由检写给他的朋友李德裕的，内容是朱由检对李德裕的思念之情。\n\n九思是一首五言绝句，共有五句话，每句话都有四个字。这首诗的内容很简单，但是通过精巧的排列和组合，表达了朱由检对李德裕的真挚的情感。\n\n这首诗的具体内容如下：\n\n九思，不见君，思君朝朝，暮暮夕夕。\n此水何时休，归海无期迟。\n\n这首诗通过描述思念的情感来表达朱由检对李德裕的思念之情。在这首诗中，朱由检描述了他无法见到李德裕的痛苦和思念之情，并表示希望早日能够和李德裕重聚。",[23,24,7,64,165,133,208,23848],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6a54d8ec12467818e0bee9415f9a797.jpg","57.6x111.3",[],{"id":38037,"slug":38038,"title":38039,"dynasty":18,"author":397,"museum":244,"description":16463,"tags":38040,"thumbUrl":38041,"material":173,"size":31242,"collection":84,"collections":38042,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":49},290991,"hong-liao-bai-e-tu-zhou-zhao-ji-290991","红蓼白鹅图轴",[24,7,165,61,28,27,11227,27479],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd49392263148cac39d6982d6b3325ca0.jpg",[],31,{"id":38045,"slug":38046,"title":38047,"dynasty":18,"author":5533,"museum":300,"description":38048,"tags":38049,"thumbUrl":38051,"material":692,"size":1293,"collection":84,"collections":38052,"showCount":38043,"zanCount":1998,"manualWeight":48,"mainColor":72},290897,"bai-miao-dao-jun-xiang-liang-kai-290897","白描道君像","《白描道君像图》共分为三部分，中段画主神于莲花之上，左右两段各画人间及地狱的活动；右段是道观的日常起居和法事：祈祷、习经、绘塑神像等；左段则绘世俗生活，多为积善行德的场面。左下角为地狱形象，有风刀之苦及鬼官治事，且有火中盛开金莲的场面，疑与咏习《黄庭经》的禁忌科戒有关。该图是梁楷画笔中流传下来的唯一孤本，画中人物形象端庄，周密繁复，笔势劲细，骨体苍劲，确是李公麟画派以后的面貌，与南宋其他人物画叛然殊途。图中的山林泉石，既不是北宋李成、范宽的画派，也不是董源江南画派的体系，工整的形式，出于北宋。",[23,25,24,7,188,24611,13695,96,97,64,572,7322,38050],"黄庭经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c1d7f06e06834834cdb17f9b89afb4a.jpg",[],{"id":38054,"slug":38055,"title":38056,"dynasty":144,"author":287,"museum":300,"description":24204,"tags":38057,"thumbUrl":38059,"material":692,"size":1293,"collection":84,"collections":38060,"showCount":38043,"zanCount":1998,"manualWeight":48,"mainColor":49},290293,"lan-ting-ji-xian-tu-qian-xuan-290293","兰亭集贤图",[23,164,24,7,25,128,96,29,1025,98,130,38058,10090,1421,840,64],"兰亭雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0be4b74de62198fb0532439ca905b07f.jpg",[],{"id":38062,"slug":38063,"title":38064,"dynasty":18,"author":223,"museum":300,"description":10087,"tags":38065,"thumbUrl":38066,"material":692,"size":1293,"collection":84,"collections":38067,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":49},290288,"ke-si-hua-niao-zhou-yi-ming-290288","缂丝花鸟轴",[24,7,165,1944,27,61,211,371,374,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd9eaed6bd4fb75bfc64e743a948bfe8.jpg",[],{"id":38069,"slug":38070,"title":38071,"dynasty":18,"author":9837,"museum":300,"description":38072,"tags":38073,"thumbUrl":38074,"material":692,"size":1293,"collection":84,"collections":38075,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":956},289756,"mo-fan-kuan-lu-shan-tu-jiang-can-289756","摹范宽庐山图","江参,（公元12世纪）〔南宋〕字贯道，南徐（今江苏省镇江市辖丹徒）人，江大方之子。居霅川（今浙江湖州市南），形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，",[23,164,24,7,165,128,29,97,99,690,101,131,34,132,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6238a367ca5faaa932225d420ea9a296.jpg",[],{"id":38077,"slug":38078,"title":38079,"dynasty":182,"author":38080,"museum":300,"description":38081,"tags":38082,"thumbUrl":38083,"material":692,"size":1293,"collection":84,"collections":38084,"showCount":38043,"zanCount":1998,"manualWeight":48,"mainColor":72},287838,"ren-wu-miao-pin-li-zhou-zhang-xuan-287838","人物妙品立轴","张萱","张萱（约1553~1636),，一作（1557～1641）\n明著名目录学家、藏书家、书法家。字孟奇，号九岳山人、青真居士，别号西园。博罗（今广东惠州）人。",[23,164,24,7,165,128,96,64,208,1350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea66597610210738da45d8368e9ab48c.jpg",[],{"id":38086,"slug":38087,"title":38088,"dynasty":144,"author":1346,"museum":300,"description":38089,"tags":38090,"thumbUrl":38091,"material":692,"size":1293,"collection":84,"collections":38092,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":49},287596,"xi-shan-yu-yi-tu-wu-zhen-287596","溪山雨意图","该画卷描绘的是黄公望笔下常见的江南景象，图中景象烟雨空濛，笔法多样，代表了文人画高度成熟时期的审美需要，是宋元之后文人绘画的主流风格。 整个画卷空无一人，山水则似真非真有恬淡、简远、空灵寂静之意境，表达了画家寄情山水，抒胸中逸趣之理想审美境界。",[164,24,7,165,128,29,132,98,99,130,97,34,131,16819,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8bba6c7101630ccfecf55d8000d2bed.jpg",[],{"id":38094,"slug":38095,"title":38096,"dynasty":54,"author":223,"museum":300,"description":38097,"tags":38098,"thumbUrl":38100,"material":692,"size":1293,"collection":84,"collections":38101,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":49},270225,"hei-qi-gu-li-wen-tian-shu-liang-de-run-hua-he-hua-tu-mian-zhe-shan-yi-ming-270225","黑漆股李文田书梁德润画荷花图面折扇","此扇绘面设色秀雅，粉荷柔婉含露，白荷莹洁似玉，晕染细腻，将菡萏的娇柔与清灵尽数铺展。荷叶以浓淡墨色分出阴阳向背，叶脉勾勒精工，墨色晕染间带着水汽氤氲的鲜活，浅描的塘水浮萍更衬出莲塘的幽寂清宁。\n\n黑漆扇骨莹润乌亮，节状纹理颇具巧思，尾端回纹雕饰古雅端方。开合之间，将莲塘清趣纳于尺幅，摇拂时恍若携来荷间清风，把文人的幽居雅意藏于一折一画中，尽显清雅悠然的晚清风致，是赏用俱佳的雅致佳物。",[1131,24,7,64,27,28,81,61,38099],"漆器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3144a8ad31a3b8965562195972aec288.jpg",[],{"id":38103,"slug":38104,"title":38105,"dynasty":124,"author":125,"museum":300,"description":38106,"tags":38107,"thumbUrl":38108,"material":84,"size":84,"collection":84,"collections":38109,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},239935,"wen-zheng-ming-mei-zhu-xuan-ba-wei-juan-shen-zhou-239935","文徵明梅竹轩跋尾卷","此作为行书题跋，笔墨圆厚灵动，点画舒展温润，章法疏朗匀净，既有晋唐行书的隽逸意趣，又带着吴门书家独有的温雅气质。\n\n题字忆述与旧友三十余年的深挚交情，文辞冲淡真挚，将故友的清雅风骨与二人的知交情谊藏于笔墨流转间。书与文相融相合，尽显江南文人的淡泊襟怀，是兼具书法审美价值与人文意趣的难得佳作。",[7,25,64,133,371,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F109c328737649499e37c0eeb2fb55101.jpg",[],{"id":38111,"slug":38112,"title":38113,"dynasty":144,"author":223,"museum":300,"description":38114,"tags":38115,"thumbUrl":38116,"material":84,"size":84,"collection":84,"collections":38117,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},239634,"yao-an-dao-shi-ti-zhao-meng-fu-xie-qin-fang-you-tu-ce-ye-yi-ming-239634","姚安道诗题赵孟頫携琴访友图册页","此作用笔秀劲内敛，结体舒展灵动，兼具妍雅温润与朴拙意趣，尽显元人书法典型风貌。通篇行气匀停，字势顾盼相生，将题画诗里的隐逸襟怀融于笔墨起落间，藏露得宜暗含章法。笔墨晕染出林下山居的散淡悠然，把携琴访友的雅逸心境诉诸笔端，是元代文人书法与文人意趣相融的佳例，尽显彼时文人寄情林泉、追慕古贤的林下风流。",[164,7,59,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8983507f0a1b592310aef6968720e1ed.jpg",[],{"id":38119,"slug":38120,"title":1289,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":38121,"thumbUrl":38122,"material":692,"size":1293,"collection":84,"collections":38123,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},239429,"shan-shui-hua-hui-ce-yun-shou-ping-239429",[164,24,7,59,27,60,133,29,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4165765c72dedf8943fa5f69a909a7c7.jpg",[],{"id":38125,"slug":38126,"title":38127,"dynasty":54,"author":33019,"museum":300,"description":38128,"tags":38129,"thumbUrl":38130,"material":84,"size":84,"collection":45,"collections":38131,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},239380,"hong-wu-da-yu-zhi-shui-tu-juan-hong-wu-239380","弘旿大禹治水图卷","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。封固山贝子，两次缘事革退，复赏封奉恩将军。能诗，工书、画，以三绝称。弘旿工画，师董邦达，自署瑶华道人，名与紫琼道人胤禧并。论者称其“山水得董、黄之妙谛。”永珠既夺爵 [1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。",[23,24,7,25,27,29,96,34,211,31,496,37,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe675717ccbee700587769309e68dd62f.jpg",[45],{"id":38133,"slug":38134,"title":38135,"dynasty":54,"author":3403,"museum":300,"description":38136,"tags":38137,"thumbUrl":38138,"material":84,"size":84,"collection":84,"collections":38139,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},239285,"song-shu-tu-zhou-wu-chang-shuo-239285","松树图轴","此作用篆籀笔法写就老松，主干以苍辣浓墨挥扫，嶙峋树皮尽显饱经岁月的古拙质感，松针攒簇如戟，笔力沉雄凝练，仿佛将穿林风骨锁于纸间。\n\n右侧长款行草笔势奔腾跌宕，与画面笔墨意趣融为一体，诗书画印相映成趣。暑日挥毫，汗透衣衫仍笔底生风，将老松傲骨峥嵘的姿态尽致展现，苍郁雄浑的气韵扑面而来，尽显吴氏金石写意的典型风貌，把文人笔墨意趣与古松坚韧生机完美相融。",[24,7,165,128,1144,64,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69e5299d3cfddb23c06d20f3f2c9ff8b.jpg",[],{"id":38141,"slug":38142,"title":38143,"dynasty":54,"author":38144,"museum":20,"description":38145,"tags":38146,"thumbUrl":38147,"material":84,"size":84,"collection":136,"collections":38148,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},239229,"guan-shan-xing-lv-zhou-zhou-hao-239229","关山行旅轴","周颢","周颢，同名人物有两位。分别是清代书画家、竹刻家。字晋瞻，号芷嵒（一作巖、岩）、芷道人、芷叟、雪樵，因蓄美须长髯，自号髯痴，人呼周髯；湖北美术学院教师。\n工书画，尤精竹刻。行书师法苏轼，跌宕奇伟，自成风格。山水画早年学王翚，笔墨秀润。又善临摹，仿王蒙最工，人物画也很精妙。擅长画竹，兴酣落笔，风枝或雨叶栩栩如生。尤其以画法施之刻竹，合南北宗为一体。技艺闻名乡里，所刻山水、人物、丛竹，用刀如用笔，不必假借他人稿本。除了擅长以阴刻搭配浅浮雕技法来雕刻纹饰，尤擅长采用阴刻技法雕得相当深陷，再在深陷部位依据纹饰的需要浅雕局部纹饰，名为“陷地深刻”。这种深刻技艺，始于朱松邻，至周颢集大成。传世作品以笔筒和臂搁为主。其竹刻以阴刻技法展现绘画中的“南宗山水”最具特色，与“三朱”的刻竹面目大不相同。金元钰称誉周颢在竹人中，好像杜甫在盛唐诗人中的地位一样，首屈一指。",[24,7,165,128,132,29,131,34,96,758,3269,2620,454,3387,11998,1645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe459ba58587eb0fbdcff3afdad0c85b6.jpg",[136,117],{"id":38150,"slug":38151,"title":5310,"dynasty":54,"author":3718,"museum":300,"description":5311,"tags":38152,"thumbUrl":38153,"material":84,"size":5314,"collection":84,"collections":38154,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},238029,"hong-ren-shan-shui-tu-ce-hong-ren-238029",[24,7,59,128,27,29,171,34,99,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10102ec27a9d86269d3849cb605c37b2.jpg",[],{"id":38156,"slug":38157,"title":7864,"dynasty":54,"author":872,"museum":300,"description":6719,"tags":38158,"thumbUrl":38159,"material":692,"size":1293,"collection":84,"collections":38160,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},237937,"za-hua-ce-zhu-da-237937",[24,7,59,128,133,840,131,34,369,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb86108c56dd64ee2459aadeca6d13748.jpg",[],{"id":38162,"slug":38163,"title":38164,"dynasty":124,"author":38165,"museum":300,"description":38166,"tags":38167,"thumbUrl":38168,"material":84,"size":84,"collection":136,"collections":38169,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":49},237905,"shan-shui-ren-wu-zhou-peng-shun-qing-237905","山水人物轴","彭舜卿","乾隆庚戌年间画家",[164,24,7,165,128,27,29,96,129,1144,131,414,132,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b7e18d3fc7112b55080a3774d15b883.jpg",[136],{"id":38171,"slug":38172,"title":18219,"dynasty":54,"author":9529,"museum":300,"description":18220,"tags":38173,"thumbUrl":38174,"material":84,"size":84,"collection":136,"collections":38175,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},237602,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237602",[24,7,59,128,132,330,133,208,29,131,495,34,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901d55e3abf423efff694b4d83b35d25.jpg",[136,318],{"id":38177,"slug":38178,"title":18219,"dynasty":54,"author":9529,"museum":300,"description":18220,"tags":38179,"thumbUrl":38180,"material":84,"size":84,"collection":84,"collections":38181,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},237585,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237585",[7,24,128,132,4437,2271,29,663,228,413,1337,98,35,229,37,1023,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e1a7ac5676d946e121ae4810deb4f1.jpg",[],{"id":38183,"slug":38184,"title":38185,"dynasty":54,"author":9864,"museum":20,"description":38186,"tags":38187,"thumbUrl":38188,"material":40,"size":38189,"collection":45,"collections":38190,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":49},237494,"ti-shan-tu-zhou-yu-zhi-ding-237494","题扇图轴","本幅右上自题“题扇图”，“都门客窗摹刘松年笔意。恭颂定翁老先生荣寿千春，广陵禹之鼎。”钤“慎斋禹之鼎”白文印，“广陵涛上渔人”朱文印，左下钤朱方印“必逢佳士亦写真”。\n据题款“都门客窗”知此图为画家寓居京城时期所作，从画风判断应为其早年摹诸家技法时的作品。图中所绘为“羲之题扇赠老姥”的故事。书圣王羲之见乡间老妇苦于生计，便为其所卖之扇题字，嘱老妇言“是王右军书，以求百钱”。老妇哪知其中奥妙，面露迟疑，不想人们竞相购买，一时传为佳话。\n此图青绿设色。画面上石崖高耸突兀，两棵古松挺拔苍劲，喻“益寿延年”。图中羲之坐于石桌旁落笔题字，老妇目露期盼，僮仆于溪畔洗砚，主题鲜明，生动自然。山水、人物用笔精细，设色艳丽明快，追求南宋院体画工整严谨的风格。",[24,7,165,27,28,96,1144,131,6640,2824,227,21100,548,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7da342761f02fee861163ccd509fa22e.jpg","纵132厘米，横55.8厘米",[45],{"id":38192,"slug":38193,"title":38194,"dynasty":54,"author":9529,"museum":244,"description":38195,"tags":38196,"thumbUrl":38197,"material":611,"size":84,"collection":136,"collections":38198,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},237384,"shan-shui-ce-shen-cang-xiao-shan-tu-ye-wang-hui-237384","山水册-沈苍晓山图页","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王”，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n王翚自幼嗜画，继承家学，又随学黄公望画法的同乡张珂学画，很早便表现出非凡的绘画才能。王翚师从王时敏、王鉴。但他所画山水不拘于一家，广采博揽，集唐宋以来诸家之大成，熔南北画派为一炉。王翚在王时敏、王鉴发展南宗画派的基础上，借鉴北宗的某些技法，比较全面地对山水画传统进行整理，形成具有综合概括性质的法则。王翚将黄公望、王蒙的书法性用笔与巨然、范宽的构图完美地结合起来，创造出一种华滋浑厚、气势勃发的山水画风格。因而他所画的江南小景往往生趣盎然，清幽灵动。王翚作画喜好干笔、湿笔并用，而且多以细笔皴擦，画面效果比较繁密。曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。他早期画风清丽工秀，晚期则倾向苍茫浑厚。章法富于变化，水墨与浅绛渲染得法。也有评者指出王翚用笔过于圆熟，某些画则显得刻露，墨法少有变化，构图略感壅塞。",[24,7,164,4437,128,132,29,96,689,131,1515,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd532bf4da8d2cb00da43608a79fe3d0.jpg",[136],{"id":38200,"slug":38201,"title":38202,"dynasty":54,"author":3750,"museum":244,"description":38203,"tags":38204,"thumbUrl":38205,"material":611,"size":84,"collection":136,"collections":38206,"showCount":38043,"zanCount":1998,"manualWeight":48,"mainColor":72},237076,"xia-shan-tu-zhou-wang-jian-237076","夏山图轴","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。\n王鉴出生于书香门第，为明代著名文人王世贞曾孙，家藏古今名迹甚富，丰富的家藏，为王鉴学习临摹历代名画真迹提供了良好的条件。摹古工力很深，笔法非凡，擅长山水。与王时敏、王翚、王原祁、恽寿平、吴历齐名，并称四王吴恽或清初六家，成为画坛正宗。为“清初六家”之一。\n与明末北方著名书画收藏家睢阳袁枢（袁可立子）交从甚密，袁以收藏董源、巨然作品为最，王鉴从中受益者颇多，书画往来相互题赠。王鉴《仿巨然真迹图》：“董宗伯所藏巨然真迹，今归袁环中（袁枢）使君，昨在其署中出此相示。”\n王鉴和王时敏、袁枢一样，早年曾经得到过董其昌的亲自传授，他一生的画业就是沿着董其昌注重摹古的方向发展，继续揣摩董源、巨然、吴镇、黄公望等诸多前辈大家的笔意，仿古吸收并转化古人的笔墨结构，形成了自己丰富的山水画语言。\n王鉴画的坡石取法黄公望，点苔学吴镇，用墨学倪瓒。尤其是他的青绿设色山水画，缜密秀润，妩媚明朗，综合了沈周、文征明清润明洁的画风，清雅的书卷气跃然纸上，历来为后人所称道。擅长山水，远法董（源）、巨（然），近宗王蒙、黄公望。运笔出锋，用墨浓润，树木丛郁，后壑深邃，皴法爽朗空灵，匠心渲染，有沉雄古逸之长。间作青绿重色，亦能妍丽融洽。信云林山水意极绵密。仿山樵山水，仿赵大年《春景》没骨山水、仿洪谷子设色山水，疏密奇正，纯以篆法写轮廓。仿子久《秋木山色图》《仿黄公望烟浮远岫图》、摹沈石田山水、仿董源《秋山图》仿范华设色山水、仿巨然山水，骨重气轻。其作品大多摹古，信效名家，缺乏独创，并具有浓厚的复古思想和形式主义画风。",[24,7,164,165,27,132,29,496,499,34,1144,276,497,12744],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71226ba5bbfe4157e33f7a5a4fc9a2aa.jpg",[136],{"id":38208,"slug":38209,"title":409,"dynasty":124,"author":33462,"museum":20,"description":38210,"tags":38211,"thumbUrl":38212,"material":999,"size":38213,"collection":136,"collections":38214,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},236904,"shan-shui-ce-song-xu-236904","宋旭（1525—1606年），字初阳，号石门山人，浙江湖洲人，后徙居上海松江。宋旭一生喜云游，多居于寺庙精舍，日就禅灯孤榻，时人即用“发僧”来称呼他，即带发的僧人之意。后来他真的出家当了和尚，法名祖玄，自号天池发僧、景西居士等，具体卒年不详，从他尚有1606年作品存世，知他此年还在世。\n宋旭的画法继承明代吴门绘画传统，主要师法明四家之一的沈周，最擅长画山水，兼善人物。山水画在沈周的基础上融其他名家画法于一炉，并加入自己的理解，形成了颇具特色的雄劲古拙的画风。宋旭精研古人之法，尤其对宋代李成、关仝、范宽三家推崇备至，曾说：“画山水惟李成、关仝、范宽智妙入神，才高出类，三家鼎峙，百代标程，前古莫能方驾，近代难继后尘。”（见《无声诗史》卷三）由于他能远师古人，近取成法，创出了有别于吴派绘画的风格而自成一格，并对明末松江地区的画家产生了长足的影响，世人遂称其为“苏松派”的开山之祖，明末赵左、沈士充等皆出其门下。",[24,7,59,27,29,131,34,98,99,495,6290,132,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe65f83e09dd31bd45db9e0f19e3d8ad6.jpg","纵31cm，横42cm",[136],{"id":38216,"slug":38217,"title":38218,"dynasty":54,"author":1219,"museum":20,"description":38219,"tags":38220,"thumbUrl":38222,"material":1722,"size":38223,"collection":44,"collections":38224,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},236467,"gong-sun-da-niang-wu-jian-tu-zhou-ren-yi-236467","公孙大娘舞剑图轴","图绘著名教坊舞伎公孙大娘舞剑之情景。公孙大娘主要活动于唐代开元年间（713—741年），以擅长舞剑享有盛名。相传怀素、张旭观其舞剑曾启发了他们的草书创作，形成了狂草之笔风。\n是图线条劲健流畅，墨笔枯润浓淡自如，有明末陈洪绶笔法，但又具自家面貌，为任氏用意之作。",[24,7,164,165,188,128,96,166,38221,208,64],"剑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F289a3ce8d2d9ae38ee061b2d227a8155.jpg","纵41.9㎝，横28㎝",[44,117],{"id":38226,"slug":38227,"title":38228,"dynasty":54,"author":36019,"museum":300,"description":38229,"tags":38230,"thumbUrl":38231,"material":84,"size":84,"collection":136,"collections":38232,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},236455,"zheng-min-fang-huang-gong-wang-shan-shui-zhou-zheng-min-236455","郑旼仿黄公望山水轴","郑旼（1632—1683）， 字号：慕倩、穆倩、慕道人、神经证史、雪痕后人，安徽歙县郑村贞白里人，擅长山水。传世作品有康熙二十一年作《雨气真寂图》及《林泉小亭图》二轴，现藏安徽省博物馆；《溪山泛舟图》轴藏浙江省博物馆；康熙十三年作《香烟诗意图》轴藏香港刘均量虚白斋；十二年作《九龙潭图》轴藏故宫博物院；同年作《山水图》轴藏上海博物馆。",[24,7,165,128,132,29,663,413,129,228,497,1337,664,414,6810,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff8571e4fc1fdafcef4bca07b79e41e.jpg",[136,117],{"id":38234,"slug":38235,"title":7864,"dynasty":54,"author":38236,"museum":300,"description":38237,"tags":38238,"thumbUrl":38239,"material":692,"size":1293,"collection":68,"collections":38240,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},236275,"za-hua-ce-chen-zi-236275","陈字","陈字，1634年出生，清初名儒祯，小名鹿头，浙江诸暨人，艺术家。",[24,7,59,27,28,61,1955,806,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf91b3188b1d2657236050474f40d5dd.jpg",[68,45],{"id":38242,"slug":38243,"title":38244,"dynasty":54,"author":223,"museum":20,"description":38245,"tags":38246,"thumbUrl":38247,"material":40,"size":38248,"collection":44,"collections":38249,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},236165,"yong-zheng-chao-fu-xiang-zhou-yi-ming-236165","雍正朝服像轴","此幅画面上雍正皇帝身着明黄色彩云金龙夏朝服，头戴夏朝冠，顶贯珠三重，冠前饰金佛。胸前佩戴东珠朝珠，其上间系绿松石纪念三串，腰系朝带，足蹬石青色朝靴，这是雍正皇帝参加盛大典礼时的服饰。此图用笔工整精致，色彩华丽鲜艳，人物神态端庄威严，是宫廷画家精心创作的皇帝肖像画。从“冠上无梁”（“梁”为清帝朝冠顶座左右两侧的n形装饰，雍正晚期出现）的装饰风格看，当属雍正早期的绘画作品。\n一代冠服自有一代之制。清代满族统治者传承中国古代传统文化的精髓，把“衣作绣，锦为缘”、“续衽钩边”和“朝服祭服，襞积（朝袍腰部叠褶处称襞积）无数”这些中国古代服饰的传统形制与带有满民族风格的“披肩领”和“马蹄袖”巧妙地结合起来，不仅彰显了其“马上得天下”的辉煌历史，同时亦注重到实用性，并最终使其制度化，成为中国古代服饰制度改革中的典型范例。\n清代冠服制度规定：朝服分蓝、红、月白、明黄四种颜色，根据不同的礼仪功能和场合穿用不同颜色的朝服。祭天穿蓝色，祭日穿红色，祭月穿月白色，而明黄色朝服一般用于典礼（登基、元旦、万寿、金殿传胪、颁诏受贺等）和祭祀（祭太庙、先农坛、社稷坛、先师孔子、历代帝王等）活动。典礼和祭祀穿着的明黄色朝服又有区别，典礼朝服衣袖为石青色，而祭祀朝服衣袖为明黄色。",[164,24,7,165,27,28,96,14416,772,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f80fdf14cbf8bf55ddfd77ed4a88d8b.jpg","纵277厘米，横143厘米",[44,45],{"id":38251,"slug":38252,"title":38253,"dynasty":54,"author":10177,"museum":20,"description":10178,"tags":38254,"thumbUrl":38258,"material":40,"size":10181,"collection":84,"collections":38259,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},236139,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236139","历朝贤后故事图",[24,7,28,27,95,96,997,97,167,875,247,38255,249,38256,758,8347,38257,1200],"台地","古装人物","廊柱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bb3c692d9bd63ff00c7b99a6b8f1f1c.jpg",[],{"id":38261,"slug":38262,"title":409,"dynasty":124,"author":38263,"museum":300,"description":38264,"tags":38265,"thumbUrl":38266,"material":692,"size":1293,"collection":136,"collections":38267,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},235347,"shan-shui-ce-zhang-fu-yang-235347","张复阳","张复阳(约1403—1490)， 明代画家。名复， 以字行，号南山，浙江平湖人(一作秀水人)，道士，居浙江洞霄宫一枝堂。工书法，善画山水，师法吴镇，画风多作写意，水墨淋漓。",[24,7,59,128,132,64,840,29,171,455],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe93b9bfdb52ce42eb9ad887270ca2432.jpg",[136],{"id":38269,"slug":38270,"title":409,"dynasty":124,"author":33653,"museum":300,"description":38271,"tags":38272,"thumbUrl":38274,"material":692,"size":1293,"collection":136,"collections":38275,"showCount":38043,"zanCount":1116,"manualWeight":48,"mainColor":72},235285,"shan-shui-ce-shen-hao-235285","补博士弟子员。性豪放好奇。工诗文。书法真、草、隶、篆，无所不能。山水近沈周，晚年笔意挺秀，点色清妍，深于画理，“似而不似，不似而似”是他的创见。著有《画尘》及《枕瓢》、《焚砚诸集》。",[24,7,59,27,29,331,97,415,208,38273,12926,1645,34,496,15552],"淡彩山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9bb44391cc599f7dca8959c352ba7c.jpg",[136,68],{"id":38277,"slug":38278,"title":38279,"dynasty":54,"author":38280,"museum":300,"description":38281,"tags":38282,"thumbUrl":38283,"material":84,"size":84,"collection":84,"collections":38284,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},234697,"fang-wu-li-shan-shui-shan-mian-qian-wei-qiao-234697","仿吴历山水扇面","钱维乔","钱维乔（1739~1806），字树参，号竹初居士等，武进（今江苏常州）人，钱维城弟。工书画、擅戏曲。在山水画创作上承袭董其昌的绘画理念，推崇宋元诸家的绘画风格，强调笔墨技法，追求蕴藉平和的审美意趣。\n钱维乔以笔笔有古意为创作宗旨，此图是他仿黄公望、吴镇法，绘制的江南景致。山石的皴擦点染以及树木的勾描，均可见钱氏已能熟练地运用黄、吴的笔墨技法，表现其平淡娟雅的山水意境。",[24,7,1131,128,27,132,29,663,413,497,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea4796b8f97833f8f76881a0e589dcc.jpg",[],{"id":38286,"slug":38287,"title":38288,"dynasty":54,"author":1460,"museum":300,"description":25967,"tags":38289,"thumbUrl":38290,"material":84,"size":84,"collection":84,"collections":38291,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},234544,"yuan-ji-san-tao-tu-zhou-shi-tao-234544","原济三桃图轴",[24,7,165,128,27,61,2123,2438,549,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F734589d4fb2c5b2b166fe490b533beaa.jpg",[],{"id":38293,"slug":38294,"title":38295,"dynasty":54,"author":223,"museum":300,"description":16652,"tags":38296,"thumbUrl":38297,"material":692,"size":1293,"collection":84,"collections":38298,"showCount":38043,"zanCount":1998,"manualWeight":48,"mainColor":3379},234427,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234427","清人文殊菩萨像轴",[24,165,7,27,6318,187,18381,33563,25390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8020d1c953ad0b415ed6a68867cc2df.jpg",[],{"id":38300,"slug":38301,"title":38302,"dynasty":54,"author":4725,"museum":20,"description":38303,"tags":38304,"thumbUrl":38305,"material":611,"size":84,"collection":84,"collections":38306,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},233746,"hu-fu-tu-er-duan-juan-dai-xi-233746","虎阜图二段卷","戴熙(公元1801-1860年)，清代画家。字醇士，号鹿床、榆庵、松屏、莼溪、井东居士等，浙江钱塘(今杭州)人。咸丰翰林，官至兵部右侍郎，辞官归里后主持崇文书院。擅画山水，学王恽笔墨，兼师宋元诸家，尤善花卉及竹石小品，能治印，著有《习苦斋集》、《题画偶录》等。画作有《云岚烟翠图》、《忆松图》、《满门风华》等。\u2028 工诗书，善绘事。四王以后的山水画大家，被誉为四王后劲，与清代画家汤贻汾齐名。山水早年师法王翚，进而摹拟宋元诸大家，对于王蒙、吴镇两家笔意更有所得。晚年观摩巨然真迹，在用墨方面有深切的领会。道光时宫廷书画多出于其手。又能画花鸟、人物，以及梅竹石，笔墨皆隽妙。秦祖永的评论是:临古之作形神兼备，微嫌落墨稍板，无灵警浑脱之致，盖限于资也。所写竹石小品停匀妥帖，尚为蹊径所缚，未能另立门庭也。戴熙另著有《习苦斋画絮》，于画理多有论述。题画偶录行世。\n他的子侄受其影响都能绘画:长子有恒(1826-1891)(字大年，号保卿)所作山水笔意疏秀，有倪瓒风韵。以恒(字用伯)、之恒(字仲江，号菊孙)、其恒(字秀渠，又字问水)、尔恒(字子谦)，皆继承家学，善作山水，而各有成就。\n以恒更有声誉，所作山水笔意淹润，墨气淋漓，而屋宇几席亦复精工，著有《醉苏斋画诀》。《清画家诗史》则称之恒画技为戴氏群从之冠。有恒子兆登、兆春亦均能画。",[24,7,25,128,132,29,131,34,130,99,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d99c23e5f3cf97e36ff8021d4c17f77.jpg",[],{"id":38308,"slug":38309,"title":5047,"dynasty":124,"author":366,"museum":20,"description":5048,"tags":38310,"thumbUrl":38311,"material":3544,"size":5052,"collection":84,"collections":38312,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},233468,"ren-wu-hua-hui-ce-xu-wei-233468",[24,7,59,128,375,171,208,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab684c1f0d51b50b3c8334384a777334.jpg",[],{"id":38314,"slug":38315,"title":38316,"dynasty":144,"author":410,"museum":244,"description":38317,"tags":38318,"thumbUrl":38319,"material":151,"size":38320,"collection":84,"collections":38321,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":49},232265,"xi-shan-gao-yi-tu-wang-meng-232265","溪山高逸图","远处高山耸立，冲出画面，山头层层叠叠，树木苍茫，左侧高山间，一线飞瀑直落而下，水珠四溅，山石中部又一飞泉，从岩间淙淙涌出，溪间奔湍，沿山脚蜿蜒曲折地流注而下。中景山腰处，松木成行。近景为坡岸，山石长有几株松树，有的枝干挺拔直上，有的枝干长满结节，有的松树枝叶盘曲有姿，十分茂密，相互交错，错落有致。在山间林中，有数间屋宇草堂，门窗敞开，堂中有一高士端坐其间，身穿宽服长袍，正在阅渎书卷，旁有书童侍立在旁。屋堂外的宽阔平地上有一只双翅展开的仙鹤。画幅左下角又一长者，身穿大袍，头戴官帽伫立在平地上，正在凝神地观赏四周优美的江南山山水水，十分悠闲自得。树下和山石旁留下一片水面，十分平静。款署：“叔明王蒙为菊窗琴友制图。”\n王蒙出身书画世家，外公就是元代书画家赵孟頫，所以他的画早期受赵孟頫的影响较深。后又综合唐宋名家，广采博览，故其画纵逸多姿，又独创渴笔解索皴法，终于跳出赵孟頫规矩之外，自开门户。画山水师法巨然，风格独特，“层巅奉律摩苍穹，咫尺可论千万重”。在元代山水画家中，是唯一以作品繁、密取胜者，构图回环重叠，结构复杂，笔墨熟练，重用笔而胜于用墨，强凋书法情趣，他的画构图繁复周密，以各种手法表现江南林木的苍郁茂盛和湿润感，是元代具有创造性的山水画大师，明清及近代画家几乎都学过他的画。此《溪山高逸图》，是他画构图繁复的山水画中代表作之一。\n此画构图繁密，密而不塞，密中求疏。全画用笔苍郁沉厚，颇见功力。山石皴笔用细如牛毛、略带波颤、层次繁密的“解索皴”，再加上用破笔点成的苔痕，苍苍茫茫，“望之而郁然深秀”。此画最大特点，作者善于表现江南深山溪谷草木华滋的蒙茸湿润之感。中近景树木用双勾法，树干曲折，一笔二过，树叶形状不一，填彩各异，但没有掩隐墨色的效果。纵观此图，画面崇山松木与溪流飞瀑相得益彰，有声有色，自然和谐，构图深远，结构密而不塞，与元代简洁之风大相径庭，充分体现了作者独特的风格。\n明代画家董孝初：“叔明此图，昔人评为第一，非浪语也。笔法之妙，布置之奇，如韩淮将兵，多多益办。……苍古秀润，沉雄浑厚，殆兼之矣。”\n当代画家张德宁：此图用湿笔在绢上反复勾皴渲染，其颇具个性的“牛毛皴”、“解索皴”，灵动而又凝重，笔墨清晰，有迹可循，深得历代画家的赞赏。",[24,7,165,128,27,132,29,34,130,99,131,35,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30c886a58613a314ad3485c1fad4393.jpg","纵113.7厘米，横65.3厘米",[],{"id":38323,"slug":38324,"title":38325,"dynasty":124,"author":25354,"museum":224,"description":38326,"tags":38327,"thumbUrl":38328,"material":1223,"size":38329,"collection":84,"collections":38330,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":199},231569,"fang-ma-yuan-yan-yun-die-zhang-tu-li-zai-231569","仿马远烟云叠嶂图","李在（1400年－1487年），字以政，福建莆田江口郑板村人，明代宫廷画家。",[23,24,7,25,128,29,132,496,37,34,131,64,208,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013a2fc6a37091ae937949aa02030f9c.jpg","纵27.9厘米，横320厘米",[],{"id":38332,"slug":38333,"title":1448,"dynasty":18,"author":1449,"museum":300,"description":38334,"tags":38335,"thumbUrl":38336,"material":151,"size":3008,"collection":84,"collections":38337,"showCount":38043,"zanCount":1116,"manualWeight":48,"mainColor":49},231501,"mei-zhu-tu-ye-ma-lin-231501","《梅竹图》就是一幅意境幽远的佳作。图为已故名画家、书画鉴藏家唐云所藏，画寒梅数枝，横斜劲挺，其间绿竹穿差，偃仰扶疏，顾盼生情。造型精准，设色明丽，笔法秀朗，虽然画面简单，但因为在疏密、错落、主宾诸方面经过十分经意的安排，故在在恰到好处，着墨不多而生机满幅。\n可见，马麟不仅有敏锐的观察把握自然美的能力，更有诗人般的取舍剪裁能力；他有精准的造型手段，不仅能恰到好处摹写对象的形质，更能生动地凸现其风姿神采，并且务求简炼而意趣自足。清初鉴藏家吴升、吴其贞这样描述马麟传世的几幅梅花：“勾染逼真”，“傅彩妍洁，落笔灵动”，“清瘦伶仃，有不胜雪压之状”，“清简之甚，意趣有余”，都可与这幅《梅竹图》相互印证。若拿今藏故宫博物院的马麟名作《层叠冰绡图》与之作比较，更可发现它们在构图、画法及精神气度上的相似之处。元明间一位无名氏有诗赞马麟曰“当时写姿妙绝品”，用妙绝之品来形容这幅《梅竹图》，同样不算过分。",[164,24,7,59,28,27,61,371,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9422d460442581c12adf5086caf0ecb4.jpg",[],{"id":38339,"slug":38340,"title":38341,"dynasty":54,"author":2687,"museum":510,"description":38342,"tags":38343,"thumbUrl":38344,"material":151,"size":38345,"collection":84,"collections":38346,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":49},231487,"shu-kui-xuan-hua-tu-jiang-ting-xi-231487","蜀葵宣花图","此幅用没骨法绘三枝折枝花卉，以逸笔写生，奇正率工，敷色晕墨，兼有一幅，能自然洽和，风神生动，得恽寿平韵味。\n蒋廷锡（1669—1732年），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，是清朝康熙、雍正时期官员、画家。康熙四十二年（1703年）进士，历任礼部侍郎、户部尚书、文华殿大学士、太子太傅等职。",[23,24,7,61,165,28,27,4018,35278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f9575199fb86ddf3cfac99d1250ee36.jpg","78×39cm",[],{"id":38348,"slug":38349,"title":38350,"dynasty":124,"author":2268,"museum":244,"description":38351,"tags":38352,"thumbUrl":38353,"material":611,"size":84,"collection":84,"collections":38354,"showCount":38043,"zanCount":1998,"manualWeight":48,"mainColor":72},231420,"fang-gu-shan-shui-ce-di-er-kai-fang-yan-wen-gui-bi-yi-dong-qi-chang-231420","《仿古山水册》第二开：仿燕文贵笔意","天启二年（1622），董其昌看了北宋燕文贵（967-1044）画卷而倣作此图，但改采立轴表现。画中几株秀树聚于带有倾侧之势的山石上；中景处大胆移置一段远山；画幅上部的远景却出现了视觉比例上更接近观者的中景山石坡林。全作笔墨秀润，构思状似平淡却大胆奇特，为其传世佳作。",[24,7,59,330,132,27,29,1337,1144,131,99,208,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9af16821e2b753ddcf5d5ee76ac26bc.jpg",[],{"id":38356,"slug":38357,"title":38358,"dynasty":144,"author":38359,"museum":244,"description":38360,"tags":38361,"thumbUrl":38363,"material":38364,"size":38365,"collection":84,"collections":38366,"showCount":38043,"zanCount":1116,"manualWeight":48,"mainColor":72},231339,"shan-shui-tu-yuan-dai-ji-jin-zhi-qi-lin-juan-a-231339","山水图－元代集锦之七","林卷阿","这件作品是元代集锦卷之一，也是林卷阿传世的唯一的传世国画作品。作品描绘的有坡树，悬崖，阔永远山，有两个人在悬崖上对坐畅谈。江中有一孤舟正泛波而行，远山连绵起伏，境界清旷。作者将董巨、郭熙画风融为一体，用笔圆润秀逸。在作品的尾部有作者自己题的款识“癸丑闰十一月，余访远斋副使于竹崎，谈诗论画。因道余师方壶公及孟循张先生，乃知用行尝与二师游，好古博雅，尤精书法。”",[24,128,1349,25,7,132,29,171,38362,34,33,415,5801,37,208],"沙渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc95f024886affd29ce1db2823207e22.jpg","卷,纸本,墨笔","纵25厘米，横61.5厘米",[],{"id":38368,"slug":38369,"title":38370,"dynasty":18,"author":686,"museum":300,"description":38371,"tags":38372,"thumbUrl":38373,"material":84,"size":84,"collection":84,"collections":38374,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":49},230971,"chong-shan-fu-ling-tu-li-zhou-fan-kuan-230971","重山复岭图立轴","此作以雄浑苍劲的笔力绘就北国山川，主峰巍峨沉厚，以雨点皴反复皴擦山石肌理，将岩质的粗糙坚硬尽数铺展，裹挟着磅礴厚重的山岳气势扑面而来。山间古木虬曲交错，丹黄枝叶点染出深秋萧疏意趣。山坳板桥村舍隐于林木烟岚间，细笔轻勾出乡野烟火，于雄奇之中晕开温润生机，刚柔相济消解了山岳的冷峻。\n\n构图层峦叠嶂，虚实相生，高远深远兼具，将山川的浑莽大气与林下幽居的悠然相融，尽显山水风骨与内敛的人文意趣。",[23,24,164,7,165,128,27,29,132,496,131,34,98,99,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55ccf22bfab8ac355246314d05dace25.jpg",[],{"id":38376,"slug":38377,"title":38378,"dynasty":54,"author":1311,"museum":300,"description":38379,"tags":38380,"thumbUrl":38381,"material":84,"size":84,"collection":84,"collections":38382,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},230364,"hua-hui-shan-shui-tu-ce-ye-ba-kai-wang-shi-shen-230364","花卉山水图册页(八开)","此作以淡青绘竹，笔致清劲秀逸，竹叶层叠错落，尽显疏朗清瘦之姿，自带凌冽孤傲之态。旁侧柔枝轻斜，粉萼悄然绽放在枝桠间，柔婉清丽，与劲竹刚柔相衬，添了几分春日温软生机。\n左侧行书题诗与画面相融，文气漫溢纸面，将花木之态与文人风骨合二为一。整体笔墨简淡含蓄，意境清寂闲雅，尽显扬州画派典型的文人意趣，把清冷孤高的心境藏在淡色花枝劲竹之中，是一件雅致悠然的小品佳作。",[164,24,7,59,27,128,61,167,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3372f1edc95a4f394244d2aba19910a2.jpg",[],{"id":38384,"slug":38385,"title":38386,"dynasty":54,"author":1311,"museum":300,"description":38387,"tags":38388,"thumbUrl":38389,"material":84,"size":84,"collection":84,"collections":38390,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},230363,"hua-hui-tu-ce-12-kai-wang-shi-shen-230363","花卉图册12开","此作用没骨淡彩绘就田间蚕豆花，叶片以柔毫晕染青绿，脉络隐现，舒展灵动自带生机。粉白花瓣轻晕淡红，嫩蕊娇柔，将乡野花蔬描摹得楚楚动人。\n\n左侧行书题诗与画作相映，笔致清逸秀雅，文气与画意浑然相融。整幅画面不见浓艳，以幽澹之韵取胜，将田间寻常小景化为清雅逸品，尽显闲淡疏朗的文人意趣，把乡野清芬纳入笔下，尽显冲淡平和的审美意致。",[164,24,7,59,27,61,62,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb307a89d6f339862bc7cddeb25759f0.jpg",[],{"id":38392,"slug":38393,"title":27698,"dynasty":54,"author":38394,"museum":300,"description":38395,"tags":38396,"thumbUrl":38397,"material":692,"size":1293,"collection":84,"collections":38398,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},230357,"shan-shui-ce-ye-fan-qi-230357","樊圻","樊圻（1616年—1694年之后），生于明万历四十四年，卒于清康熙三十三年之后，清画家。字会公，江宁（今江苏省南京）人。擅画山水、花卉、人物。为“金陵八家”之一。",[164,24,7,59,27,132,29,171,1337,34,99,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F070ae4ad6a2c40b1bfed2dcffb4d2d0f.jpg",[],{"id":38400,"slug":38401,"title":38402,"dynasty":54,"author":12088,"museum":300,"description":38403,"tags":38404,"thumbUrl":38405,"material":84,"size":84,"collection":84,"collections":38406,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":49},230294,"gui-lin-qiu-yue-tu-yuan-jiang-230294","桂林秋月图","界画亦名宫室，主要以建筑物、舟车之类为表现题材，所画对象要求准确、工整，一丝不苟，过去画诀有“山水打头，界画打底”之说，宋郭思说：“画屋木者，折算无亏，笔画勾壮，深远透空，一去百斜”。\n画界画历代不乏高手，唐末有尹继昭及他的学生卫贤等，元夏永、明仇英皆是界画高手。\n到了清代，袁江、袁耀父子擅画界画，虽技艺超群，但不为时人所重。\n至近代在山西太原尉氏家中，发现大量“二袁”作品，声名始震。\n袁耀“露台秋月图”纵18、横142.5厘米，胡佩衡旧藏，此画绘中秋宫苑赏月情景，一轮明月当空，万籁俱寂，宫殿在树木中或露或隐，山石玲珑剔透，诗情画意跃然纸上，此意趣决非一般画匠所能为。\n袁耀字昭道，江都（今扬州）人。\n生卒年不详，创作年代约在1747年至1778年之间。",[23,24,7,95,27,28,29,97,231,34,496,96,247,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc906c6d22f541f535a6f7ab6dde3b6da.jpg",[],{"id":38408,"slug":38409,"title":38410,"dynasty":124,"author":5408,"museum":300,"description":38411,"tags":38412,"thumbUrl":38413,"material":84,"size":84,"collection":84,"collections":38414,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":49},228374,"xi-shan-qiu-ai-tu-bian-wen-yu-228374","溪山秋霭图","《清卞文瑜溪山秋蔼图》是清代卞文瑜的画作，手卷，纸本，水墨，26×18厘米。\n现在收藏于大都会艺术博物馆藏。\n卞文瑜，明末清初画家。\n本姓徐，后改卞，字润甫，号浮白。\n江苏苏州人人。\n他擅长山水画，布局结构颇富巧思，对树石的刻划富有笔意。\n他曾从董其昌研求笔墨，因此他的画风与董其昌很接近，但落墨太松，失之于弱。\n所作绘画小景居多，大幅少见。\n卞文瑜（1576-1655），明末清初画家。\n字润甫，号浮白，号花龛，长洲（今江苏苏州）人。\n擅画山水，树石勾剔，甚有笔意，尝从董其昌讲求笔法，故笔墨亦相近。\n善作小景，因落墨松散故不善作大幅。\n亦为“画中九友”之一。\n卞文瑜以擅画山水著称于世，其绘画风格大致可分为两个阶段：早年和中年的山水画受赵左影响较深，承袭吴门遗风；同时又从董其昌讲求笔法，将董以笔墨气势取胜的特点与吴门强调诗意的结构布局相结合，形成了其特有的绘画风格。\n因此后世多用“布局结构殊有思致，树石钩剔颇具笔意”评价他这一时期的作品特点，但过于强调笔墨风趣与形象脱略，故未免缺乏自然山川之真实感，因此对其画又有“落墨太松，失之弱耳”、“山水多滑，少苍老”的批评。\n卞文瑜晚年的山水画风格变化较大，开始摆脱赵左的影响，而上追宋元诸家。\n这一变革主要是受王时敏、王鉴的影响，据王鉴跋卞文瑜《仿古山水册》云：“先生（卞文瑜）学画凡五十载，惟知赵文度（赵左）一派。\n晚年始与余交，及遇娄东奉尝烟翁（王时敏），乃见画中董、巨及元季四家真迹。\n每至娄中观古人画，则伏卧其下，不忍释手。\n”由于结识王时敏、王鉴等人，使得卞文瑜在其晚年得以看到董源、巨然及黄公望、王蒙、吴镇、倪瓒等大家的真迹名品，并且潜心临习，因此王鉴评价他晚年的作品：“笔法遒美，元气灵通，与生平画迥不相类。\n”从卞文瑜传世的作品看，他晚年的画作多题临仿古人之名，且多是小景山水，如故宫博物院藏《仿古山水册》，上海博物馆藏《仿宋元山水图册》，天津艺术博物馆藏《山水扇面》等，笔墨苍润，意境深远，较其早年、中年学赵左的作品要成熟得多。\n正如吴梅村在《画中九友歌》中评价卞文瑜时说：“画龛巨幅千峰稠，小景点出林塘幽。\n晚年笔力真沧州，幅中鹤绿轻王侯。\n”这是对他晚年绘画风格和艺术特色的准确概括。",[23,24,7,25,128,132,133,64,208,29,663,34,35,499,37,6639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4376ea56324cce93786eb26cd604bdd.jpg",[],{"id":38416,"slug":38417,"title":38418,"dynasty":18,"author":915,"museum":300,"description":38419,"tags":38420,"thumbUrl":38421,"material":84,"size":84,"collection":84,"collections":38422,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":49},227974,"pu-tao-cao-chong-tu-lin-chun-227974","葡萄草虫图","《葡萄草虫图》是宋代画家林椿创作的一幅设色扇面画想，现藏于 。\n图中绘葡萄累累垂挂，蜻蜓、螳螂、蝈蝈、蝽象伏于藤蔓绿叶间，富有生活气息。\n昆虫以双钩填彩绘制，用线刚柔相济，表现出不同的质感，如蜻蜓轻薄的翅膀，蝽象坚硬的外壳。\n藤尖叶边略作点染，表现季节特征。\n此图承袭了北宋的写实画风。\n图绘绿色玫瑰葡萄一枝，须蔓缠绕，硕果累累，垂挂枝叶间，果实晶莹如玉，水分饱满，绿色枝叶，向四周伸展，须子有的曲绕枝干，有的随意飞飘。\n纺织娘在叶子上吸吮着鲜汁；螳螂抬首举前足；蜻蜓刚刚飞停于枝头。\n另有一只金龟子匍伏于葡萄枝上，为葡萄绿叶所掩遮：甲虫落枝叶上，或低头觅食，或抬首举足，形象生动有趣。\n昆虫形象毕肖，富有生趣，给人甜美丰实的精神享受。\n本幅款识“林椿”。\n整个画面题材取景为自然界一隅，十分平常，但对葡萄、叶片、昆虫的描绘真实牛功，具有深厚的写牛功力：林椿工花鸟，师法赵昌，多直接用色彩分别浓淡进行细致描绘：画葡萄分出浓淡不同层次，一气呵成，犹如泼墨，然后用浓墨，以草书法勾口厂筋、藤蔓。\n葡萄叶因用笔用墨的不同而能分出老嫩、正反、枯鲜等状态。\n葡萄果莹润饱满；蜻蜓尤备极工细，神韵奕奕，其翅膀透明轻盈；螳螂的眼睛明亮如镜，镰刀状的前足生有钩刺，日光炯炯，真有“挹露裳初试，迎风斧半撑的气势”。\n都是多层设色，层层晕染，造成形体的凹凸体积和具有质感。\n当然，在某些地方，如葡萄枝十及口卜脉也适当地用细线作一些勾勒，只是这些勾勒已具有粗细浓淡的变化，因此更富有表现力。\n这些为农家随处可见景物，画家以独具的慧眼撷之入画，可谓别开生面-总体来说，此图用笔精细，设色轻柔，变化层次微妙，工写兼施，相映成趣；构图善从一角出发，全幅荡漾着空灵的诗意、画面左下方署有“林椿”二宁款，小楷书，无收藏印。\n此幅为林椿真迹代表之作。\n《葡萄草虫图》体现了“以实写虚，意味无穷”的画风，表现出“诗中有画，画中有诗”和“诗是无形画，画是有形诗”的不同艺术意蕴风格，并求通过真实、具体的形象，抒写作者的感情，以激起读者的想象和联想，产生艺术魅力。\n整体画面的表现为虚实关系的进一步发展，体现了画家对物象的刻画以诗意的意境和气韵来追求现实的全实的客观精神，这就使得宋代宫廷花鸟画以自由来追求自然与人审美情怀，这就构成了一个高超的艺术境界。\n宋代绘画风格的现实性不仅是客观的物象，是画家用“写实”语言，在充分尊重客观对象，并按照创作需要和审美观念来对客观分析一系列的艺术，从而描述一个故事来表达自己的思想感情和精神寄托。\n可以看出，古代绘画通过“现实主义”的表现手法，不仅是形象的东西，而且还真正体现了事物的状态，画中所绘的动植物不仅真实存在，符合动植物的生长规律及习性还符合当时的时间，地点和情境。\n裱边旧题签：“林椿葡萄草虫。\n”存《名笔集》册中。\n经《虚斋名画录》卷十一、《中国古代书画目录》第二册著录。\n林椿（生卒年不详），钱塘（今浙江杭州）人。\n孝宗淳熙（1174－1189年）时为画院待诏，由于其画艺高超，受赐金带。\n所绘花鸟、果品、草虫小品为多，画法远师赵昌，近取李迪，时人赞为“极写生之妙，莺飞欲起，宛然欲活。\n”",[23,24,164,7,1131,28,27,61,2334,480,548,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282864883129152b7ca84a825688e9bf.jpg",[],{"id":38424,"slug":38425,"title":38426,"dynasty":18,"author":1622,"museum":300,"description":38427,"tags":38428,"thumbUrl":38429,"material":84,"size":84,"collection":84,"collections":38430,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":49},227826,"she-se-shan-shui-tu-ma-yuan-227826","设色山水图","《黄宾虹浑厚华滋的山水画》内容简介：黄宾虹是一位学者型的画家，也是我国杰出的山水画大师。\n他既师古人，更师造化。\n其山水画色调浓黑，浑厚华滋。\n他的山水画黑、密、厚、重，淋漓尽致、大气磅礴，而具有浑厚华滋、意境深邃的特色。\n黄宾虹山水画特别强调线条质量，他以金石篆书的线条来强化画的风骨，使之苍劲老辣、浑厚古拙。\n《黄宾虹浑厚华滋的山水画》由 出版。\n黄宾虹作为中国近现代绘画史上高标独立的画家，其一生经历丰富，学养深厚。\n在文史研究及中国画实践中造诣非凡。\n本图书以图文并茂的形式，充分诠释黄宾虹将古典山水绘画向近现代山水绘画转变的伟大界标作用。\n在古典与现代关捩处 黄宾虹早期山水作品 拟龚贤山水图册 拟古人山水图册之一 拟古人山水图册之二 拟古人山水图册之三 拟古人山水图册之四 拟古人山水图册之五 拟古人山水图册之六 仿宋人画意图轴 临倪瓒山水图轴 林亭孤坐图轴 溪山亭树图轴 丹崖翠壁图轴 江上雨霁图轴 古木幽岸图轴 曲径云峰图轴 轻舟夜色图轴 歙县渔梁图册 设色山水屏之一 设色山水屏之二 设色山水屏之三 设色山水屏之四 山疏水浅图轴 拟宋人画意图轴 松阴听泉图轴 登高望远图轴 黄宾虹中期山水作品 临王维画稿 临赵令穰、关仝画稿 临赵孟烦画稿 临巨然、高克恭画稿 临董源画稿 临范宽画稿 临王维、荆浩画稿 临黄公望画稿 临黄公望、马远画稿 临李唐画稿 临郭熙画稿 临米芾画稿之一 临米芾画稿之二 临范宽画稿 临李成画稿 临倪瓒画稿 临马远画稿之一 临马远画稿之二 黄山写生画稿之一 黄山写生画稿之二 黄山写生画稿之三 黄山写生画稿之四 黄山写生画稿之一 黄山松写生画稿之一 黄山松写生画稿之二 黄山松写生画稿之三 黄山松写生画稿之四 鼋峰写生画稿 江郎山写生画稿 武夷写生画稿之一 武夷写生画稿之二 武夷写生画稿之三 武夷写生画稿之四 武夷写生画稿之五 武夷写生画稿之六 武夷写生画稿之七 武夷写生画稿之八 武夷写生画稿之九 武夷写生画稿之十 武夷写生画稿之十一 武夷写生画稿之十二 武夷写生画稿之十三 武夷写生画稿之十四 桂林写生画稿 香港九龙写生画稿之一 香港九龙写生画稿之二 香港九龙写生画稿之三 香港九龙写生画稿之四 临安写生画稿之一 临安写生画稿之二 临安写生画稿之三 南海写生画稿之一 南海写生画稿之二 四川写生画稿之一 四川写生画稿之二 设色山水图册 奔泉图轴 设色山水图册之一 设色山水图册之二 设色山水图册之三 设色山水图册之四 设色山水图册之五 设色山水图册之六 丛林折瀑图轴 深山烟岚图轴 松山静坐图轴 古寺松云图轴 设色山水图轴 湘水秋山图轴 浙东纪游图轴 设色山水图轴 金华万罗山居图轴 设色山水图册 山居车水图轴 设色山水图轴 峨山风景图轴 雁荡三折瀑图轴 拟宋人江山无尽图轴 设色山水图册 设色山水图册之一 设色山水册图之二 设色山水图册之三 设色山水图册之四 设色山水图轴 黄宾虹晚期山水作品 栖霞晓望图轴 深山古寺图轴 设色山水图轴 水墨山水图轴 烟霭空漾图轴 设色山水图轴 设色山水图轴 设色山水图轴 设色山水图轴（背面画） 设色山水图横幅 设色山水图册 设色山水图册 设色山水图册之一 设色山水图册之二 设色山水图轴 设色山水图轴 设色山水图轴 设色山水图横幅 设色山水图轴 玉泉纪游图轴 用范宽法山水图轴 设色山水图轴 水墨山水图轴 水墨山水图轴 设色山水图轴 焦墨山水图轴 设色山水图轴 水墨山水图横幅 蜀中山水图轴 雨景山水图轴 拟巨然山水图轴 湖山初霁图轴 溪桥烟雨图轴 溪桥烟霭图轴 水墨山水图横幅 水墨山水图横幅 设色山水图轴 水墨山水图轴 雁荡诸峰图轴 桃花溪图轴 拟元人简笔山水图轴 拟程邃山水图轴 夜山图轴 设色山水图轴 设色山水图轴 设色山水图册之一 设色山水图册之二 设色山水图册之三 设色山水图册之四 设色山水图册之五 设色山水图册之六 设色山水图册之七 设色山水图册之八 设色山水图册之九 设色山水图册之十 设色山水图册之十一 设色山水图册之十二 设色山水图册之十三 设色山水图册之十四 设色山水图册之十五 设色山水图册之十六 行松盘岭图轴",[23,24,7,1131,27,29,97,1144,129,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd31156cf1201e56c7733b85aa29d871a.jpg",[],{"id":38432,"slug":38433,"title":38434,"dynasty":18,"author":4899,"museum":300,"description":38435,"tags":38436,"thumbUrl":38437,"material":84,"size":84,"collection":84,"collections":38438,"showCount":38043,"zanCount":1998,"manualWeight":48,"mainColor":49},227813,"qiu-jiang-du-diao-tu-ma-he-zhi-227813","秋江独钓图","此作用笔简淡秀雅，以大片空濛绢面烘托出秋水寥廓。虬曲老木垂挂残叶，将深秋萧寒之意晕开，寒江扁舟泊于江岸，渔翁披蓑戴笠斜倚船舷，似在静候鱼信，又像醉卧江风，将江湖散人的疏旷随性尽显。\n\n不着重繁复刻画，仅以淡墨晕染出水气空茫，留白处尽是秋江清寂，把秋日江上萧索又悠然的意趣铺陈开来，将文人寄情山水、不与世俗同流的隐逸心境藏在尺幅之间，淡远空灵，余韵悠长。",[23,24,7,1131,27,29,129,96,413,1351,6004,1350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30e495b04e398eb0a3186bc1849f299f.jpg",[],{"id":38440,"slug":38441,"title":38442,"dynasty":18,"author":223,"museum":300,"description":38443,"tags":38444,"thumbUrl":38445,"material":84,"size":84,"collection":84,"collections":38446,"showCount":38043,"zanCount":1998,"manualWeight":48,"mainColor":49},227374,"mu-dan-wan-shan-tu-yi-ming-227374","牡丹纨扇图","扇上绣着两株牡丹枝条，绯红花瓣，绿叶，金边，叶脉，处处彰显牡丹的华美！",[24,164,7,1131,27,28,61,263,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec1b0957ed3bdec055f08a2afa604184.jpg",[],{"id":38448,"slug":38449,"title":38450,"dynasty":326,"author":8778,"museum":244,"description":38451,"tags":38452,"thumbUrl":38453,"material":637,"size":84,"collection":84,"collections":38454,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":49},227046,"jiu-ta-e-qun-tie-san-wang-xian-zhi-227046","旧搨鹅群帖 （三）","《鹅群帖》是王献之写给家人亲戚的一封书信，刻入《淳化阁帖》。传世有墨迹本，相传为米芾所临，临本今所见为民国影印件，原迹现存佚未详。此帖文中询问住在海盐的各房亲戚生活近况，又谈到刘道士以鹅群相赠之事。相传王羲之爱鹅，曾写《道德经》（一说《黄庭经》）一卷，与山阴道士换鹅。因此黄庭坚等前代学者曾认为此帖本为伪作，系附会传说而成，此说可备参考。",[64,5380,1590,133,7,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f732167e35b4d7a97f2aac43d50e6d5.jpg",[],{"id":38456,"slug":38457,"title":38458,"dynasty":18,"author":22804,"museum":300,"description":38459,"tags":38460,"thumbUrl":38461,"material":84,"size":84,"collection":84,"collections":38462,"showCount":38043,"zanCount":1116,"manualWeight":48,"mainColor":49},226558,"fan-qi-tu-juan-quan-juan-hu-gui-226558","番骑图卷全卷","《番骑图》所绘的是一队番骑逆风艰难前行的情形。塞北冬日，漠野荒寒，朔风劲吹，扑鼻冲面。胡人男女或以袖掩鼻、或面纱覆口，马匹、骆驼或低首踉跄、或屏息慢行，“胡天惨冽”的气候特征被刻画得惟妙惟肖。画家通过人物瑟缩之态、马匹蹒跚之形，衬托北地胡天之风疾天寒，以实写虚、虚实结合，可谓“曲尽塞外不毛之景趣”，堪称“番马画”中的出色之作。",[23,164,24,7,25,188,27,96,101,8771,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F277e2d10ec8e8cc208f99d4fd1c3a917.jpg",[],{"id":38464,"slug":38465,"title":38466,"dynasty":54,"author":1460,"museum":300,"description":38467,"tags":38468,"thumbUrl":38469,"material":84,"size":84,"collection":84,"collections":38470,"showCount":38043,"zanCount":1998,"manualWeight":48,"mainColor":72},224517,"shan-shui-tu-ce-8-kai-5-shi-tao-224517","山水图册8开-5","此作用笔松秀灵动，以淡墨勾勒皴擦近坡顽石，苍润朴厚，浅滩留白暗合流泉婉转之姿，石畔杂草萧疏，野意自生。湖面空阔明净，一扁舟轻泛其上，渔翁独钓，寥寥数笔写尽江湖散淡之趣。\n\n右上角题字朴拙率意，与画境浑然相融，尽显诗书画合一的文人雅趣。整幅简淡幽远，以简驭繁，将天地清寂与隐逸襟怀融为一体，淡墨轻岚间漾着萧散空寂之美，观之便觉湖风拂面，恍若身临幽旷水滨，静赏江湖闲逸之境。",[23,24,7,59,128,132,29,129,171,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceb1a75acc650de321142f50190900d8.jpg",[],{"id":38472,"slug":38473,"title":38474,"dynasty":54,"author":9529,"museum":300,"description":38475,"tags":38476,"thumbUrl":38477,"material":84,"size":84,"collection":84,"collections":38478,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},224443,"fang-li-song-gu-mu-he-qun-wang-hui-224443","仿李嵩古木鹤群","此作画境清寂古雅，半边绘苍虬古木，枝干蟠曲交错，松针层叠如织，丹鹤或栖于枝梢理羽，或振翼掠林，姿态闲逸舒展。另一半以浅绛晕染出山峦坡陀，淡绿点染草木苔痕，空灵淡远。\n\n工写兼施法追摹古意，将院体精工与文人画淡逸相融，设色柔润清和。苍木古拙硬挺，衬出丹鹤秀雅灵动，山林幽寂与天际空阔相生，将林下闲逸的幽情藏于尺幅之间，引人坠入清远出尘的林泉之境。",[24,7,28,27,132,330,208,331,211,131,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd25c7958a10ee40cc2e1e5c90df00a4.jpg",[],{"id":38480,"slug":38481,"title":38482,"dynasty":54,"author":9529,"museum":300,"description":38483,"tags":38484,"thumbUrl":38485,"material":84,"size":84,"collection":84,"collections":38486,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":49},224439,"lin-dong-yuan-xia-jing-shan-kou-dai-du-tu-juan-wang-hui-224439","临董源夏景山口待渡图卷","此作用平远构图铺展江南水色，烟波浩渺间洲渚错落，平缓山峦连绵舒展，披麻皴晕染出山峦温润质感，草木扶苏郁郁苍苍。渔村茅舍隐于林间，扁舟三两泛于水面，野渡渔人点缀其中，处处透着夏初江南的安闲静谧。\n\n笔墨苍秀柔和，淡墨晕染出水色空明澹荡之态，复刻董源山水平淡天真的意趣，又自带秀润清和的笔底风神，整体意境悠远恬澹，恍若将观者带入溽暑未至的江南水乡，静赏这方安闲雅致的林下烟江。",[23,164,24,7,25,27,29,330,132,99,129,34,211,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0817a3be691b2edd3029ce0cbafbb222.jpg",[],{"id":38488,"slug":38489,"title":38490,"dynasty":54,"author":4083,"museum":244,"description":38491,"tags":38492,"thumbUrl":38493,"material":637,"size":38494,"collection":84,"collections":38495,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},224434,"luo-mu-han-quan-tu-zhou-wang-shi-min-224434","落木寒泉图轴","该图写太湖秋高气爽之景色。设景简略，绘平坡疏树，山麓茅亭。在画法上宗法倪瓒，山石树木勾勒用渴笔正锋侧出，转折处露锋芒而笔墨浑然，但点叶与小树画法仍近黄公望笔意，其苍厚蕴藉的风致反映的是画家晚年的典型面貌。",[23,24,7,165,128,132,29,34,454,131,99,130,415,7782,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2adb5680f897abc61971068a52abe5f.jpg","纵83cm,横41.2cm",[],{"id":38497,"slug":38498,"title":38499,"dynasty":54,"author":4083,"museum":20,"description":26465,"tags":38500,"thumbUrl":38501,"material":1722,"size":22259,"collection":136,"collections":38502,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},224430,"shan-shui-tu-zhou-1-wang-shi-min-224430","山水图轴1",[23,24,7,165,128,132,29,663,228,34,497,98,99,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91509f5ac8b38273762ab9dd2033f8fd.jpg",[136],{"id":38504,"slug":38505,"title":38506,"dynasty":54,"author":38507,"museum":300,"description":38508,"tags":38509,"thumbUrl":38510,"material":692,"size":1293,"collection":84,"collections":38511,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},224166,"lin-yan-zhen-qing-gao-shen-juan-wang-you-dun-224166","临颜真卿告身卷","汪由敦","汪由敦（1692-1758年3月1日），初名汪良金，字师苕，号谨堂、松泉居士。安徽休宁人。雍正二年（1724）进士，改庶吉士。乾隆间，先后担任了工部尚书与刑部尚书又兼署了左都御史一职。乾隆十一年（1746年）任军机大臣，吏部尚书，老诚敏慎，在职勤劳。金川用兵，廷谕皆出其手。\n乾隆二十三年（1758年），汪由敦逝世。乾隆皇帝亲自前往吊唁，加赠其为太子太师，谥号为文端，入祀贤良祠。汪由敦学问渊深，文辞雅正，兼工书法。著有《松泉集》。",[23,7,25,64,330,572,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf59529c1ee02a3b772ccd63884c015.jpg",[],{"id":38513,"slug":38514,"title":38515,"dynasty":54,"author":38516,"museum":300,"description":38517,"tags":38518,"thumbUrl":38520,"material":692,"size":1293,"collection":84,"collections":38521,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},224150,"wan-nian-zhi-shang-ri-chu-chang-shi-yi-zhou-yu-shi-224150","万年枝上日初长诗意轴","于氏","孔宪培之妻,孔宪培(1756-1793)：原名允宪，字养元，号笃斋，清朝曲阜(今属山东省)人。乾隆年间，袭封衍圣公；夫人于氏，被册封为一品夫人。",[23,24,7,165,27,28,26,95,29,97,130,34,131,99,276,1975,38519,247,27907],"太阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f460da26208a42a6f0f8d44c32e407a.jpg",[],{"id":38523,"slug":38524,"title":38525,"dynasty":18,"author":223,"museum":300,"description":38526,"tags":38527,"thumbUrl":38528,"material":84,"size":84,"collection":84,"collections":38529,"showCount":38043,"zanCount":1998,"manualWeight":48,"mainColor":956},223406,"tai-yi-jiu-ku-tian-zun-yi-ming-223406","太乙救苦天尊","画面底色沉郁古雅，晕染出静穆庄肃的宗教氛围。天尊仪容清癯端严，眉目悲悯内敛，衣纹线条凝练沉稳，晕染厚重雅致，将出尘仙风道骨尽显无遗。座下九头狮狞猛威严，鬃毛与鞍鞯细节刻画入微，狞悍神兽与沉静天尊形成强烈动静反差，暗合天尊以神威广度苦厄的意涵。\n设色古朴厚重，深褐底色托出人物明洁面容与衣摆亮色，层次分明，尽显典雅法度，神性的庄严与慈悲融于含蓄笔墨间，带着沉静肃穆的感染力。",[23,24,7,165,187,27,28,96,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aa8dabdf98f5ffd1dd19b0d0e4fe693.jpg",[],{"id":38531,"slug":38532,"title":38533,"dynasty":54,"author":14080,"museum":20,"description":38534,"tags":38535,"thumbUrl":38536,"material":40,"size":38537,"collection":84,"collections":38538,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":49},223288,"shan-shui-si-tiao-ping-yang-zhou-si-jing-chun-tai-ming-yue-yuan-yao-223288","山水四条屏-扬州四景-春台明月","四条屏分别自题：“春台明月”、“平流涌瀑”、“万松叠翠”、“平岗艳雪”，款署“戊戌仲夏邗上袁耀画。”钤“袁耀”、“昭道”印2方。\n这组画屏是袁耀晚年的作品，所绘为扬州北郊的四处名胜景点，均为写生之作。 “春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色淡雅。“平流涌瀑”画夏日高树浓荫，茂茂森森，以浓厚的墨色点染，华滋苍润。“万松叠翠”写秋时萧瑟之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的松树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以传统界画的精湛技法把扬州当时“两堤花柳全依水，一路楼台直到山”的繁荣景象真切形象地展现在观者面前。",[23,164,24,7,29,95,27,28,97,231,34,1516,31,37,4363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9218ea22d441b2dddefafa0a46fa6764.jpg","纵57cm，横66.1cm",[],{"id":38540,"slug":38541,"title":38542,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":38543,"thumbUrl":38544,"material":151,"size":7879,"collection":84,"collections":38545,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":49},222880,"hong-lou-meng-5-sun-wen-222880","红楼梦5",[23,24,7,28,27,96,97,169,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99114590de0237996992964d1a568ac0.jpg",[],{"id":38547,"slug":38548,"title":38549,"dynasty":54,"author":9576,"museum":12686,"description":38550,"tags":38551,"thumbUrl":38552,"material":1722,"size":9121,"collection":44,"collections":38553,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},222833,"suo-jian-tu-luo-pin-222833","锁谏图","此画最成功之处在于针对人物的神情进行了细致入微的刻画：只见陈元达双手持笏，紧抱大树，嘶喊着进谏之言，尽忠、尽职的焦急心情溢于言表；两名侍卫拉住陈氏的腰带与上衣奋力外扯，他们虽然胡须飞扬，双眼圆睁，亦不能将其奈何；穿着便服的刘聪横眉相向，目露凶光，放在膝上的左手紧握，显然十分激动，余怒未消的神态跃然纸上；合手伫立的刘皇后眼见事端因己而起，心神不宁，急派侍女送交君王密柬以缓解急迫的形势。\n画面对紧张氛围的渲染及对人物形神的描绘吸引了观者的视线，显示出画家独具一格的精妙构思。就画法来看，人物容颜用细笔描绘轮廓，须发纤毫毕现，面部略施淡墨表现起伏，服饰穿戴的线条勾写顿挫转折自具章法，有拙涩古朴之趣，观者能从中感受到罗聘娴熟地驾驭笔墨的高妙功力。",[23,24,7,25,188,128,96,949,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77aa4d64989e7747df80436c432cebaf.jpg",[44],{"id":38555,"slug":38556,"title":38557,"dynasty":54,"author":1242,"museum":524,"description":38558,"tags":38559,"thumbUrl":38560,"material":151,"size":38561,"collection":84,"collections":38562,"showCount":38043,"zanCount":1998,"manualWeight":48,"mainColor":49},222709,"yan-dao-ren-mei-hua-ge-jin-nong-222709","檐道人梅花歌","金农（1687年—1763年），字寿门、司农、吉金，号冬心先生、稽留山民、曲江外史、昔耶居士等，因其人生历经康熙、雍正、乾隆三朝，所以自封“三朝老民”的闲号，钱塘（今浙江杭州）人，布衣终身。清代书画家，扬州八怪之首。\n他好游历，卒无所遇而归。晚寓扬州，卖书画自给。嗜奇好学，工于诗文书法，诗文古奥奇特，并精于鉴别。书法创扁笔书体，兼有楷、隶体势，时称“漆书”。五十三岁后才工画。其画造型奇古，善用淡墨干笔作花卉小品，尤工画梅。\n代表作有《东萼吐华图》《空捍如洒图》《腊梅初绽图》《玉蝶清标图》《铁轩疏花图》《菩萨妙相图》《琼姿俟赏图》等。著有《冬心诗集》《冬心随笔》《冬心杂著》等\n\n书法成就:\n金农是扬州八怪的核心人物。他在诗、书、画、印以及琴曲、鉴赏、收藏方面都称得上是大家。金农从小研习书文，文学造诣很高。浓厚的学养使他居于“扬州八怪”之首。\n但是金农天性散淡，他的书法作品较扬州八怪中的其他人来说，传世作品数量是非常少的。他生活在康、雍、乾三朝，因此他给自己封了个“三朝老民”的闲号。金农初不以工书为念，然书法造诣却在“扬州八怪”中成为最有成就的一位，特别是他的行书和隶书均有着高妙而独到的审美价值。\n他的隶书早年是“墨守汉人绳墨”的，风格规整，笔划沉厚朴实，其笔划未送到而收锋，结构严密，多内敛之势，而少外拓之姿，具有朴素简洁风格，金农的书法艺术以古朴浑厚见长。他首创的“漆书”，是一种特殊的用笔用墨方法。“金农墨”浓厚似漆，写出的字凸出于纸面。所用的毛笔，象扁平的刷子，蘸上浓墨，行笔只折不转，象刷子刷漆一样。这种方法写出的字看起来粗俗简单，无章法可言，其实是大处着眼，有磅礴的气韵。\n最能反映金农书法艺术境界的是他的行草。他将楷书的笔法、隶书的笔势、篆书的笔意融进行草，自成一体，别具一格。其点画似隶似楷，亦行亦草，长横和竖钩都呈隶书笔形，而撇捺的笔姿又常常近于魏碑，分外苍劲、灵秀。尤其是那些信手而写的诗稿信札，古拙淡雅，有一种真率天成的韵味和意境，令人爱不释手。 金农的行书从其早期开始就不入常格，而以碑法与自家的“漆书”法写成的行草书，用笔率真，随心所欲，点画浪藉而又笔墨醇厚，粗头烂服之间，透出苍逸稚拙之趣，令人叹服；其“写经雕版”式的楷书，似乎与民间书法一脉相通，没有轻重的线条变化和圆润的转折用笔，也没有提顿中的波挑，以均匀的线条和方硬的转折，书写出类似单线体美术字的书体，却又具有器形文字般的古茂，其书法的启迪意义非常深远。传世书迹有《度量如海帖》，今流入日本。《盛仲交赞》，绢本漆书。\n\n绘画成就:\n年五十始从事于画，涉笔即古，脱尽画家之习，良由所见古迹多也。初写竹师石室老人，号稽留山民，继画梅师白玉蟾，号昔邪居士。画佛号心出家盦粥饭僧。又画马自谓得曹、韩法，赵王孙不足道也。其山水花果布置幽奇，点染闲冷，非复尘世间所睹，盖皆意为之。问之则曰贝多龙窠之类也。他画梅，自称“江路野梅”、要求“天大寒时香千里”，画马题道：“今予画马，苍苍凉凉，有顾影酸嘶自怜之态，其悲跋涉之劳乎？世无伯乐，即遇其人，亦去暮矣？吾不欲求知于风尘漠野之间也。”足见其怀才不遇的心情。他在一册页上画一士大夫高卧四面通风的水池亭中，题曰：“风来四面卧当中”。逍遥自在，不及世事，亦以“清高”自居。金农申言要把自己“平生高岸之气”，一一见之画中。“以抒不平鸣”。在一幅《墨竹图》中，他竟然直书：“磨墨五升，画此狂竹，不钓阳鲚，而钓诸侯也。” 喜画瘦竹，说“画竹宜瘦，瘦多寿，自然饱风霜耳”。每画毕，必有题记，如“虚心高节，挺立不屈，久而不改其操，竹之美德也。”《雨后修篁图》题诗曰：“雨后修篁分外青，萧萧如在过溪亭。世间都是无情物，只有秋声最好听。”\n所画人物造型奇古夸张，笔法古拙简练，形象鲜明突出；山水构图别致，随意挥写点染，简朴疏秀 ；其梅、竹用笔奇拙 ，凝练厚重 。书法从《天发神谶碑》、《禅国山碑》、《谷郎碑》变化而出，运笔扁方，竖轻横重，别具奇趣，风格独特，自谓漆书。金农的书画在当时享誉很高 ，为扬州八怪之一 。有《山水人物册》、《月华图》、《携杖图》、《东萼吐华图》、《墨竹图》等传世。著《冬心诗集》、《冬心随笔》、《冬心杂著》等。",[23,7,64,165,21937,208,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87e8b2be5a26c1593983f801884d2858.jpg","122x40.7",[],{"id":38564,"slug":38565,"title":38566,"dynasty":124,"author":18090,"museum":244,"description":32146,"tags":38567,"thumbUrl":38568,"material":84,"size":32149,"collection":136,"collections":38569,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":49},222585,"fang-zhao-ling-rang-he-xiang-qing-xia-lan-ying-222585","仿赵令穰荷乡清夏",[23,24,7,59,27,29,330,132,663,413,228,168,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c941eb7e0ba93f6e83eaf6dcf7cf0a3.jpg",[136,117],{"id":38571,"slug":38572,"title":27951,"dynasty":124,"author":5408,"museum":224,"description":38573,"tags":38574,"thumbUrl":38575,"material":611,"size":38576,"collection":136,"collections":38577,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},222378,"qiu-chuang-du-yi-tu-bian-wen-yu-222378","卞文瑜（约1576年—1655年），明代江苏苏州人，字润甫，号浮白、萝庵。书画家。艺芳书画录云：“本姓徐，非姓卞，盖因有避而托者。”善山水、树石勾剔，甚有笔意。尝从董其昌讲求笔法，故笔墨亦相近，但落墨太松，失之弱耳。万历三十九年(1611)作荷亭销夏扇，康熙十年(1671)作湖庄清夏扇，均藏故宫博物院。主要作品有《图绘宝鉴续纂》《明画录》《桐阴论画》《江南通志》《艺芳书画录》《画史会要》。\n卞文瑜以擅画山水著称于世，其绘画风格大致可分为两个阶段：早年和中年的山水画受赵左影响较深，承袭吴门遗风；同时又从董其昌讲求笔法，将董以笔墨气势取胜的特点与吴门强调诗意的结构布局相结合，形成了其特有的绘画风格。因此后世多用“布局结构殊有思致，树石钩剔颇具笔意”评价他这一时期的作品特点，但过于强调笔墨风趣与形象脱略，故未免缺乏自然山川之真实感，因此对其画又有“落墨太松，失之弱耳”、“山水多滑，少苍老”的批评。\n卞文瑜晚年的山水画风格变化较大，开始摆脱赵左的影响，而上追宋元诸家。这一变革主要是受王时敏、王鉴的影响，据王鉴跋卞文瑜《仿古山水册》云：“先生（卞文瑜）学画凡五十载，惟知赵文度（赵左）一派。晚年始与余交，及遇娄东奉尝烟翁（王时敏），乃见画中董、巨及元季四家真迹。每至娄中观古人画，则伏卧其下，不忍释手。”由于结识王时敏、王鉴等人，使得卞文瑜在其晚年得以看到董源、巨然及黄公望、王蒙、吴镇、倪瓒等大家的真迹名品，并且潜心临习，因此王鉴评价他晚年的作品：“笔法遒美，元气灵通，与生平画迥不相类。”从卞文瑜传世的作品看，他晚年的画作多题临仿古人之名，且多是小景山水，如故宫博物院藏《仿古山水册》，上海博物馆藏《仿宋元山水图册》，天津艺术博物馆藏《山水扇面》等，笔墨苍润，意境深远，较其早年、中年学赵左的作品要成熟得多。正如吴梅村在《画中九友歌》中评价卞文瑜时说：“画龛巨幅千峰稠，小景点出林塘幽。晚年笔力真沧州，幅中鹤绿轻王侯。”这是对他晚年绘画风格和艺术特色的准确概括。",[23,24,7,25,128,132,29,663,228,34,35,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5425a26530b9662c58fbbc9ca2f31ae1.jpg","26×108",[136,117],{"id":38579,"slug":38580,"title":38581,"dynasty":124,"author":366,"museum":38582,"description":38583,"tags":38584,"thumbUrl":38585,"material":840,"size":38586,"collection":84,"collections":38587,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":49},222236,"bai-yan-shi-quan-juan-xu-wei-222236","白燕诗全卷","绍兴市文物考古研究所","释文：\n白燕诗卷\n西飞岁岁侯青阳。花发名园何处藏。天子郊禖呈瑞色。主人台榭有辉光。轻翰掠雨绡初剪。小尾流风练愈长。万里东归看 易没。海天元是白云乡。一时伴侣自应稀。海路空长遇亦非。汉 将玉门投老入。赵妃雪夜待人归。孤回夏日摇寒雪。渐下秋空见羽 衣。却说朱门无可托。玉楼天上任高飞。素壁红芳照苑墙。冲花 泛羽唼群芳。霜迷万瓦单栖渺。草绿千堤片影凉。云母屏深低缟袖。水晶帘动拂流黄。西园蝴蝶浑无赖。暗粉飘尘上海棠。 白燕四首。书似镇南朱内史一笑。天池徐渭。\n徐渭的书法和明代早期书坛沉闷的气氛对比显得格外突出，他最擅长气势磅礴的狂草，但一般人很难看懂，用笔狼藉，他对自己的书法极为喜欢，自认为“书法第一，诗第二，文第三，画第四”。\n他的书法也是从吴门书派主张唐法的反叛中出发，继而吸取北宋苏轼、黄庭坚、米芾追求艺术个性化的积极因素中走来。\n徐渭打破了以“台阁体”为主导的明代书坛的寂寞，开启和引领了晚明“尚态”书风，把明代书法引向了新的高峰。陶望龄认为其书法“称为奇绝，谓有明一人”。袁宏道则称：“予不能书，而谬谓文长书决在王雅宜、文征仲之上，不论书法而论书神，先生者诚八法之散圣，字林之侠客矣！”",[23,164,24,7,25,128,6369,840,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4df2f85d03ab6130ec22e417c81f958c.jpg","纵30厘米，横420.5厘米",[],{"id":38589,"slug":38590,"title":38591,"dynasty":144,"author":6155,"museum":244,"description":38592,"tags":38593,"thumbUrl":38594,"material":38595,"size":38596,"collection":136,"collections":38597,"showCount":38043,"zanCount":1998,"manualWeight":48,"mainColor":49},221691,"qing-shan-bai-yun-zhou-gao-ke-gong-221691","青山白云轴","在中国绘画史上，名垂青史的少数民族国画家少之又少，宋末元初的新疆人高克恭即为其一。时人以诗称赞曰：「近代丹青谁自豪，南有赵魏北有高」，他与赵孟南北相对，为一代画坛领袖。时与赵孟、商琦、李衎并称「元四家」。\n高克恭（1248-1310年)，字彦敬，号房山，先祖西域（新疆）人。依元制划民四等，高克恭属色目人，但他的祖父辈即与汉人通婚，占籍山西大同。高克恭自幼学习汉族文化，27岁开始当官，官至刑部尚书。画以山水、墨竹著称，兼及兰惠梅菊。高克恭的绘画，特别是他的山水画，在元代具有一定的影响，初学二米，后学董源、李成笔法，时人赞之「世之图青山白云者，率尚高房山」。明清两代如王原祁、董其昌等，都十分崇拜他。",[23,164,24,7,165,128,132,29,6844,10851,34,98,99,415,3427,37,131,5974,499,666,30617,6126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff694344bfc27738a0a8d0c9d7b8d746c.jpg","轴绢本浅设色","188.3x110.5厘米",[136,117],{"id":38599,"slug":38600,"title":38601,"dynasty":18,"author":38602,"museum":2068,"description":38603,"tags":38604,"thumbUrl":38605,"material":514,"size":38606,"collection":84,"collections":38607,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":49},221502,"chu-que-tu-ye-song-ru-zhi-221502","雏雀图页","宋汝志","该图通过巧妙的笔法生动地表现了笼里及笼外幼雀的瞬间情态。所传作者宋汝志为南宋末期的画院画家。幕府末期狩野养川院惟信的鉴定中曾称为宋汝志所作，但并无确证，作者未明。然而，作品使用水墨和淡彩，表现手法细腻，这一点说明本图出自南宋时代名家之手。观其画风，属南宋画院待诏吴炳的传派，但笔法在工整中趋向轻松洒脱，鸟雀极为生动自然，筐篓的线条既合编织规矩，又不刻板。",[23,164,24,7,59,188,128,61,355,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bf5b764403f9d155fee7b4b0e303edd.jpg","21.3x21.9",[],{"id":38609,"slug":38610,"title":38611,"dynasty":351,"author":38612,"museum":205,"description":38613,"tags":38614,"thumbUrl":38615,"material":38616,"size":38617,"collection":318,"collections":38618,"showCount":38043,"zanCount":1998,"manualWeight":48,"mainColor":72},221176,"dong-dan-wang-chu-xing-tu-li-zan-hua-221176","东丹王出行图","李赞华","《辽代李赞华东丹王出行图》是辽代画家李赞华（即东丹王耶律倍）创作的一幅中国古画，现收藏于美国波士顿美术馆。作品是表现人物鞍马内容的画，画中绘有六人骑在骏马上，他们各具姿态，衣冠、服饰、佩带皆因身份的不同而各异。\n作品中的马矫健、丰肥，左右顾盼，慢跑前行。东丹王在马背上手把缰绳，面带忧郁，若有所思，情绪正和他弃辽投后唐的处境吻合。人物及马的线条描绘细腻精良，赋色华丽，尽显宫廷绘画之特色。构图布势前后照应，疏密相宜，整个画面人物和马的动态形成—种行进的韵律。卷末有无名氏题“世传东丹王是也”，书风近宋高宗赵构。李赞华自投后唐明宗后，长期居住在中原，其画风对后人影响很大，郭若虚《图画见闻志》、刘道醇《圣朝名画评》均有著录与评价。从文献著录来看，此卷是接近李赞华画风的—件精品。",[23,24,7,25,27,96,101,28,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b3f6f9e1883d6b08661f268900a674a.jpg","绢本，立轴","纵27.8厘米，横125.1厘米",[318],{"id":38620,"slug":38621,"title":38622,"dynasty":326,"author":8778,"museum":300,"description":38623,"tags":38624,"thumbUrl":38625,"material":38626,"size":84,"collection":2210,"collections":38627,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":49},221024,"e-qun-tie-wang-xian-zhi-221024","鹅群帖","《鹅群帖》是一幅行草书法作品，为东晋王献之所书翰札。宋代《淳化阁帖》收刻。原作墨迹不可考，有宋代米芾临本。历代书法名家多有临摹，如元代鲜于枢，明代邢侗、王铎，清代傅山等。\n《鹅群帖》与《鸭头丸帖》二帖，草、行相参，随兴变化，不主故常，笔画连绵相属，气势奔放洒脱，毫无顾忌，正体现出献之豪放不羁的性情与功力相生相发的高度结合。（徐利明《中国书法风格史》197页）",[64,133,5380,7,59,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3513d85327aae12fb62333d46ca473aa.jpg","行草",[2210],{"id":38629,"slug":38630,"title":38631,"dynasty":980,"author":1687,"museum":9668,"description":38632,"tags":38633,"thumbUrl":38634,"material":84,"size":84,"collection":84,"collections":38635,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},220507,"he-du-ye-qu-zhang-da-qian-220507","荷堵野趣","这幅画作以酣畅泼墨糅合淡彩，铺陈出塘间意趣。上方巨荷打破圆整定式，以淡绿糅合赭色晕染泼洒，状若流云舒卷，带着肆意豪放的笔墨张力。下方白荷则以细劲线条勾勒瓣叶，莹润雅致，与浓黑如墨的荷叶形成强烈的虚实冷暖对比。背景以淡粉色晕染如晓霞初绽，柔化了浓墨的厚重，晕开烟水迷离的清境。工写相融间，将荷塘的蓬勃生机尽数展现，既有自然野趣的灵动，又暗含疏朗浪漫的文人意韵。",[24,7,165,128,27,61,81,82,5050],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22f536715eecbc62d1e1108ce9d6bcb5.jpg",[],{"id":38637,"slug":38638,"title":38639,"dynasty":144,"author":223,"museum":161,"description":38640,"tags":38641,"thumbUrl":38642,"material":317,"size":38643,"collection":136,"collections":38644,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":49},220108,"yue-xia-xing-lv-tu-yi-ming-220108","月下行旅图","以极简水墨写意铺展夜色行旅，冷月孤悬于淡墨晕染的空濛山巅，崖上古木萧疏，枝桠如铁，漫出深秋荒寒。陂陀小径之上，商旅结队徐行，简笔勾勒的人影意态宛然，将天涯羁旅的寂寥藏在冷寂夜色中。\n\n题诗与山水相映，诗画交融，把行客的孤愁寄寓在清寒月色间。以留白营造空茫虚境，淡墨轻皴晕开夜色，寥寥数笔便将羁旅况味铺陈尽致，尽显简淡悠远的写意之妙，把漂泊天涯的乡愁融在萧疏冷寂的水墨意境中，淡远里藏着绵长情致。",[23,24,7,165,128,27,29,96,231,690,34,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc25fc9283dc8d52cfec6c9fd342bab4.jpg","36x54.3",[136],{"id":38646,"slug":38647,"title":38648,"dynasty":54,"author":3437,"museum":244,"description":38649,"tags":38650,"thumbUrl":38651,"material":278,"size":38652,"collection":136,"collections":38653,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},219933,"fang-wu-zhen-shan-shui-tang-dai-219933","仿吴镇山水","唐岱（1673年—1752年之后），字毓东，号静岩，又号知生、爱庐、默庄，满洲正蓝旗人，清代著名画家。承祖爵，任骁骑参领，官内务府总管，以画祗候内廷。山水画初从焦秉贞学，后与王敬铭、张宗苍同为王原祁弟子，名动京师。康熙帝甚赏其画，常召作画，赐称“画状元”。",[164,24,7,165,128,132,29,663,1314,34,98,499,35,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f5f9e8cffd9a888365e8183c5e4e72d.jpg","93.6x53.5厘米",[136],{"id":38655,"slug":38656,"title":26164,"dynasty":54,"author":28758,"museum":450,"description":38657,"tags":38658,"thumbUrl":38659,"material":66,"size":38660,"collection":136,"collections":38661,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},219855,"qiu-shan-tu-xiao-yun-cong-219855","萧云从(1596年-1673年) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。",[23,24,7,25,27,29,132,64,133,208,96,97,34,131,99,130,1144,1337,1955,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac94aed01aba754dc8c5c87a314abc26.jpg","27.5x224cm",[136],{"id":38663,"slug":38664,"title":38665,"dynasty":144,"author":24089,"museum":244,"description":38666,"tags":38667,"thumbUrl":38668,"material":151,"size":38669,"collection":44,"collections":38670,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},219637,"song-jian-heng-qin-tu-zhu-de-run-219637","松涧橫琴图","这幅小品以边角构图铺展幽致，古松虬曲苍劲，枝干如铁铸般舒展，松针攒簇尽显老辣风骨。涧水轻流隐于石畔，林下三人身姿写意灵动，一人转轴拨弦，两人凝神静听，茶盏置于石上，松风裹着琴音漫过溪谷。\n\n笔墨简淡清逸，枯笔皴擦出松干嶙峋肌理，淡墨晕染空濛远水，人物简笔勾勒却神态宛然，将文人士大夫幽居林泉、鸣琴寄怀的雅趣尽显无余。题款错落雅致，与画面浑融一体，淡远疏朗间藏着静穆萧散的文人襟怀，是水墨小品中寄兴抒怀的绝佳之作。",[23,24,164,7,128,132,29,1144,99,96,438,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44ae67e46a51dca0820b767303d728b9.jpg","24.7x26.9厘米",[44],{"id":38672,"slug":38673,"title":38674,"dynasty":124,"author":14758,"museum":244,"description":38675,"tags":38676,"thumbUrl":38677,"material":173,"size":38678,"collection":45,"collections":38679,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":49},219356,"xun-mei-tu-zhou-zhu-duan-219356","寻梅图轴","朱端，字克正，海盐人，出身渔樵，弘治末入宫，正德时期（1506－1521）直仁智殿，官「锦衣指挥」，曾获赐「钦赐一樵图书」，遂更号「一樵」。朱端的山水画取法郭熙（约1020-约1100）、马远。全幅采取半边的构图型式，以左方占据画面约二分之一高的双松为骨干，框出策杖撑伞的老翁和两位童子，他们正准备渡江至对岸的赏梅。冬天踏雪寻梅，一直被视为文人雅趣，从弘治时期（1488－1505）开始，这一类诗意图像逐渐增加，题材的转变似乎也反映了宫廷皇帝品味的变化。",[24,7,165,1349,27,132,29,371,96,331,131,34,98,7596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8adaba5994f15c5c5b21bc71be0d1b10.jpg","208.3x124.5",[45],{"id":38681,"slug":38682,"title":38683,"dynasty":124,"author":33462,"museum":244,"description":38684,"tags":38685,"thumbUrl":38686,"material":66,"size":38687,"collection":44,"collections":38688,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},219337,"da-mo-zhou-song-xu-219337","达摩轴","红衣裹身，赤足踏浪，达摩于烟波中笃定前行。衣袂褶皱随浪涛起伏，墨线勾勒的水纹层层叠叠，似与风声共振。眉眼间坚毅藏着渡世慈悲，耳畔环珮轻晃，难扰心湖澄明。淡赭底色晕染朦胧水气，红袍浓艳如烈火，在素净背景里燃出修行的热烈。笔墨凝注禅意厚重，将达摩渡江典故镌于绢素。任时光流转，那份向道执着仍在浪尖熠熠生辉，引人沉潜于禅思的静谧与力量之中。",[24,7,165,187,27,96,208,228,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6403bcd89cc0c43ba5d3a7a16bc88d1a.jpg","72.1×31.8",[44],{"id":38690,"slug":38691,"title":11648,"dynasty":124,"author":223,"museum":1941,"description":38692,"tags":38693,"thumbUrl":38694,"material":27,"size":84,"collection":44,"collections":38695,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":49},219249,"pu-xian-pu-sa-xiang-yi-ming-219249","白象披挂华鞍，纹饰繁复间透着庄严气象。普贤端坐其上，衣袂轻扬，神态沉静超然，似于松云间体悟禅意。旁侧侍从躬身侍立，姿态恭谨，与菩萨的互动自然生动，流露世俗温情。双松虬枝挺拔，松针细密如织，云雾缭绕其间，晕染出缥缈仙境。线条流转如丝，衣纹褶皱毕现，大象肌理细腻，虽经岁月磨洗，仍见笔触精绝。整体画风古雅庄重，宗教肃穆与生活意趣相融，尽显明代佛画之神韵，观之令人心生敬畏与安宁。",[24,7,165,187,27,28,96,14225,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F279812a5974c18fd0e53a962647d077c.jpg",[44],{"id":38697,"slug":38698,"title":38699,"dynasty":124,"author":3148,"museum":450,"description":38700,"tags":38701,"thumbUrl":38703,"material":173,"size":38704,"collection":68,"collections":38705,"showCount":38043,"zanCount":1998,"manualWeight":48,"mainColor":49},219047,"su-chun-tu-lv-ji-219047","粟鹑图","这幅画画在深秋，地上的小雏菊盛开，到处可见黄色的小花；粟穗已经成熟，穗粒饱满下垂，叶子已经枯萎，粟穗丛中有三只鹌鹑，右边的一只正在啄食粟穗粒为食。",[23,24,7,28,27,61,8140,38702,4278],"粟穗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc190124f6a5eefee9c247d2fc4d3dce2.jpg","117.7x85cm",[68],{"id":38707,"slug":38708,"title":38709,"dynasty":18,"author":4861,"museum":244,"description":38710,"tags":38711,"thumbUrl":38712,"material":173,"size":38713,"collection":136,"collections":38714,"showCount":38043,"zanCount":1998,"manualWeight":48,"mainColor":72},218688,"ying-shan-tu-wang-shen-218688","瀛山图","本幅画峻岭回溪，山村茅茨，远水平沙，数艇隐隐。图后一远峰山壁题识云：「保宁赐第王晋卿瀛山既觉，因图梦中所见。甲辰春四月，梦游者。」细审图中绝壑层峦，俱以青绿著色，用笔工细，气韵古雅，良为一梦中山水矣。全画山石以一简单的轮廓线勾勒，再敷以颜色，有古拙之感，近似元代画家钱选的青绿山水，与王诜（约1048—1122）现存的其他作品不类。",[23,24,7,25,26,27,29,97,98,99,130,211,34,132,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa78aaab8984587d91e9f82641be9870c.jpg","24.5x145.1cm",[136],{"id":38716,"slug":38717,"title":38718,"dynasty":124,"author":1058,"museum":20,"description":38719,"tags":38720,"thumbUrl":38721,"material":66,"size":38722,"collection":136,"collections":38723,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},218333,"tong-shan-tu-tang-yin-218333","桐山图","图绘峭壁间长出桐树数株，其中一株横垂探水；石罅间有泉水汩汩流出，汇入平湖。湖面演漾，浩淼无边；远山逶迤而去。构图有南宋院体影响，皴染则化刚为柔，苍润而醇厚。\n自题：“吾闻淮水出桐山，古来贤哲产其间。君今自称亦私淑，渔钩须当借一湾。吴门唐寅作桐山图。”钤：“吴趋”朱文印、“唐伯虎”朱文印、“南京解元”朱文印。引首王鏊题“清樾吟窝”，拖尾有文徵明、袁袠、蔡羽、王宠、王穉登等十四家题跋。",[23,24,7,25,128,132,133,29,497,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ee14b34e9f652e8869f5cb917cf77c.jpg","纵31.2厘米 横137.5厘米",[136],{"id":38725,"slug":38726,"title":38727,"dynasty":54,"author":223,"museum":1941,"description":38728,"tags":38729,"thumbUrl":38730,"material":173,"size":38731,"collection":44,"collections":38732,"showCount":38043,"zanCount":1998,"manualWeight":48,"mainColor":49},218303,"jiang-jun-xiang-yi-ming-218303","将军像","端坐中央的将军身披华彩甲胄，金纹与朱红交织，鎏金饰边在浓艳底色上流转光泽，尽显赫赫威仪。腰间素绳轻垂，柔线与硬甲形成刚柔反差，似藏千军万马之势。两侧武士持械而立，盔明甲亮，虽为陪衬却层次分明，更衬出将军核心地位。\n\n笔触细腻入微，衣纹褶皱间见工笔功底，人物神态刻画传神：将军面容丰腴却眼神锐利，既有武将刚毅，亦含从容气度。色彩浓艳沉稳，传统矿物颜料的厚重感赋予画面历史质感，融写实与装饰于一体。整幅作品精准传递清代武将的身份气场，观者仿佛能触到甲胄的冰冷，感受到那份跨越时空的肃穆与威严。",[23,24,7,165,28,27,96,5626,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0df2c436b06d118039f8c55687f1507.jpg","171.5x127",[44],{"id":38734,"slug":38735,"title":38736,"dynasty":54,"author":223,"museum":1941,"description":38737,"tags":38738,"thumbUrl":38743,"material":173,"size":84,"collection":44,"collections":38744,"showCount":38043,"zanCount":1998,"manualWeight":48,"mainColor":72},218301,"guan-lao-fu-ren-xiang-yi-ming-218301","关老夫人像","端坐的身影透着沉静雍容，面容温婉却自带庄重气度。华服以蓝为底，金线绣制的祥龙穿梭于云纹与海水之间，龙姿灵动，辅以五彩纹饰，层次叠嶂间尽显华贵威仪。座椅锦纹繁复，脚下地毯图案精巧，几何纹样与吉祥符号交织，每一处细节皆见工艺之精湛。工笔线条细腻流畅，设色典雅厚重，既承清代肖像画写实传统，又以华丽装饰烘托人物尊贵身份，仿佛能透过画面，触摸到那个时代贵族女性的生活风貌与内敛风华。",[23,24,7,165,28,27,96,38739,7876,31432,1367,11584,8189,772,3490,38740,38741,38742],"女性","清代风格","工笔肖像","服饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59b6480f243d307433c43aef2eaa0f4a.jpg",[44],{"id":38746,"slug":38747,"title":38748,"dynasty":54,"author":223,"museum":1941,"description":38749,"tags":38750,"thumbUrl":38751,"material":173,"size":38752,"collection":44,"collections":38753,"showCount":38043,"zanCount":1998,"manualWeight":48,"mainColor":49},218284,"fu-zhang-ji-min-mu-zhao-shi-xiang-yi-ming-218284","父张济民母赵氏像","画面中央并坐的夫妇衣袂端整，神情雍容。男子玄袍宽博，腰束革带，尽显端方沉稳；女子绿衫绣裙，手持纹帕，流露温婉娴静。身后稚童侍侧，或捧物或执卷，灵动姿态更添阖家和睦之韵。背景陈设古雅，案上器物精巧，衬出家庭的殷实与礼仪。画作以写实笔触勾勒容貌，衣纹褶皱细腻入微，色彩沉稳雅致，既彰显人物身份气度，又传递传统家庭的温馨庄重，是兼具写实性与人文温度的肖像佳作。",[23,24,7,165,27,28,96,170,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73e302ee5178b524f0790376f6aac6df.jpg","106.2x142.7",[44],{"id":38755,"slug":38756,"title":38757,"dynasty":144,"author":410,"museum":244,"description":29599,"tags":38758,"thumbUrl":38759,"material":278,"size":6073,"collection":84,"collections":38760,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":49},218120,"hua-xi-yu-yin-tu-er-wang-meng-218120","花溪渔隐图(二)",[23,24,164,7,165,128,29,132,129,99,131,34,758,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7477d3604d6b77be3506773dcad374b3.jpg",[],{"id":38762,"slug":38763,"title":38764,"dynasty":18,"author":25050,"museum":1941,"description":38765,"tags":38766,"thumbUrl":38767,"material":173,"size":38768,"collection":84,"collections":38769,"showCount":38043,"zanCount":1998,"manualWeight":48,"mainColor":72},216921,"xiang-shan-jiu-lao-tu-3-ma-xing-zu-216921","香山九老图-3","画的是唐贞观五年，白居易率领九位老者在河南洛阳的斗姆山聚会和宴请的故事。马兴祖是南宋画家，是马远的祖父，他的作品有花鸟、人物、山水和各种画作，特别擅长做精细的艺术家。此卷是由后来的艺术家复制的，与马兴祖没有关系。",[23,24,164,7,25,28,27,132,96,331,1144,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22d337f51df2c79cfd347b373f8b121f.jpg","27.1x217.2",[],{"id":38771,"slug":38772,"title":38773,"dynasty":18,"author":449,"museum":56,"description":38774,"tags":38775,"thumbUrl":38776,"material":278,"size":13555,"collection":84,"collections":38777,"showCount":38043,"zanCount":48,"manualWeight":48,"mainColor":72},214273,"duo-jing-lou-shi-tie-10-mi-fei-214273","多景楼诗帖-10","墨色浓淡相济，笔锋起落如惊鸿掠影。字形欹正相生，灵动中藏沉稳，险绝处见平正。线条兼具刚劲与柔婉，“刷字”之爽利尽显：厚重处似坠石崩云，轻盈处若流泉漱玉，飞白留韵，干湿交错。章法气脉贯通如长河奔涌，跌宕间藏浑然天成之趣。每一字皆具姿态，或如奇峰耸峙，或如松涛摇曳，无一字雷同，无一处板滞。观之仿佛触到书家运笔时的豪情快意，笔墨间跃动山河气象与文人风骨，法度与性情熔铸于尺幅，展万千波澜，令人心折于其笔底风雷与胸臆丘壑。",[64,133,1590,128,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b6eaf322d14fcbe7d57e25ef7710255.jpg",[],{"id":38779,"slug":38780,"title":38781,"dynasty":54,"author":9742,"museum":20,"description":28823,"tags":38782,"thumbUrl":28825,"material":66,"size":28826,"collection":136,"collections":38784,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},301856,"heng-shan-qing-ai-tu-wu-li-301856","横山晴霭图",[23,164,24,7,25,29,128,132,496,34,99,129,211,387,7566,133,208,38783],"晴霭",[136],{"id":38786,"slug":38787,"title":38788,"dynasty":18,"author":223,"museum":300,"description":38789,"tags":38790,"thumbUrl":38791,"material":692,"size":1293,"collection":84,"collections":38792,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":956},290978,"yang-liu-guan-yin-tu-yi-ming-290978","杨柳观音图","杨柳观音是三十三观音之一。又称药王观音。左手结施无畏印，右手持杨柳枝。若修杨柳枝药法，可消除身上之众病。",[24,7,165,187,18381,96,1363,188,27,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc03eea1fd620da39fa264ae4805f320.jpg",[],{"id":38794,"slug":38795,"title":38796,"dynasty":18,"author":12759,"museum":300,"description":38797,"tags":38798,"thumbUrl":38799,"material":692,"size":1293,"collection":84,"collections":38800,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},290273,"wu-yi-shan-shui-tu-li-an-zhong-290273","武夷山水图","李安忠，南宋画家。钱塘（今浙江杭州）人，生卒年不详。宋徽宗宣和（1119-1125）时为画院祗候，历官成忠郎。南渡后绍兴（1131-1162）间复职画院，赐金带。",[164,24,7,165,128,29,131,99,64,840,22338,19727],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9eecb676947138ecdd41692d5e9363b.jpg",[],{"id":38802,"slug":38803,"title":24582,"dynasty":351,"author":13809,"museum":300,"description":24583,"tags":38804,"thumbUrl":38805,"material":692,"size":1293,"collection":84,"collections":38806,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},290139,"kan-shu-tu-wang-qi-han-290139",[164,24,7,27,96,24576,24586,19096,250,29,208,1424,2145],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fa9c6a247d3036f1d8a3cae7e653f5.jpg",[],{"id":38808,"slug":38809,"title":38810,"dynasty":18,"author":397,"museum":300,"description":16463,"tags":38811,"thumbUrl":38812,"material":692,"size":1293,"collection":84,"collections":38813,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},290081,"du-niu-tu-zhao-ji-290081","犊牛图",[24,7,133,64,96,102,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27a1438d43f250c27a700ded5d75d9d2.jpg",[],{"id":38815,"slug":38816,"title":38817,"dynasty":351,"author":5524,"museum":300,"description":38818,"tags":38819,"thumbUrl":38821,"material":692,"size":1293,"collection":84,"collections":38822,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},288996,"ping-po-shan-niao-tu-huang-quan-288996","苹婆山鸟图","竹石花雀学刁光胤与滕昌佑、山水松石学李升、人物龙水学孙位、画鹤学薛稷，皆能脱去古人格律，自创新意。而且，黄筌一家具擅绘画，其弟唯亮，子居宝、居实、居寀，其中尤以黄居寀的成就最大，黄氏父子的花鸟画，在当时人们普遍认为其风格特点是“黄家富贵”。宋人沈括在《梦溪笔谈》中明确指出：“诸黄(指黄氏一家)画花妙在傅色，用笔极新细，殆不见墨迹，但以轻色染成，谓之写生”。\n入秋的山林，一颗颗绯红了脸颊的苹果，悬挂在枝叶间。芬芳的气味、鲜艳的色彩，招来了不少「小过客」们在此停留，留下了许多的斑点与啮痕。一只娇小的粉红鹦嘴，也忍不住好奇地飞了上来。它轻巧地停落在弯细的枝桠上，仰着圆小的脸蛋，摇着细长的尾巴，淘气地又蹦又跳的，好不开心！\n粉红鹦嘴旧名黄头，是种可爱、善斗的小鸟。而吸引粉红鹦嘴的苹果树，传统名为「林檎（禽）」或「来禽」。名称的由来，据说是因为它的果实（即苹果）味道甘醇、甜美，因此常常能吸引许多鸟禽来此聚集的缘故。至于画名以「苹婆」（即柰，又名凤眼珠）相称，应是古人误题了，两者事实上并不相同。\n这幅精巧的「苹婆山鸟」，旧传为五代画家黄筌（活动于903-965）所作。黄筌是中国花鸟画史里，开创工笔细致风格的大师，对五代到北宋初期的画坛影响深远。这幅画作虽非大师亲笔，可是无论是特写式的取景方式或是精辟入理的写实趣味，都明显受到黄筌的影响，是一幅宋代杰出的花鸟画小品。",[164,24,7,1131,28,27,61,211,38820,208],"苹婆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F026b677f07f3a3d8631d92c9824879ac.jpg",[],{"id":38824,"slug":38825,"title":38826,"dynasty":18,"author":27476,"museum":300,"description":38827,"tags":38828,"thumbUrl":38829,"material":692,"size":1293,"collection":84,"collections":38830,"showCount":321,"zanCount":1116,"manualWeight":48,"mainColor":49},288993,"you-gou-tu-mao-yi-288993","游狗图","毛益（公元12世纪）〔南宋〕昆山（今属江苏）人，一作沛（今江苏沛县）人，生卒年不详。孝宗乾道(1165-1173)间画院待诏，工画翎毛、花竹，尤能渲染，似欲飞鸣。",[1131,24,164,7,28,27,527,949,374,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd85b8776c16d30a84a7a6ea411f52685.jpg",[],{"id":38832,"slug":38833,"title":38834,"dynasty":18,"author":1449,"museum":300,"description":18863,"tags":38835,"thumbUrl":38837,"material":692,"size":1293,"collection":84,"collections":38838,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},288963,"chu-ri-fu-rong-tu-ma-lin-288963","初日芙蓉图",[164,24,7,165,27,28,61,373,38836],"初日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb79a2247d51e274d901418674b5a81e.jpg",[],{"id":38840,"slug":38841,"title":18243,"dynasty":18,"author":3110,"museum":300,"description":38842,"tags":38843,"thumbUrl":38844,"material":692,"size":1293,"collection":84,"collections":38845,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},288732,"lian-yan-tu-mu-xi-288732","从这件作品上看，牧溪的作品并不仅仅是恣肆一路，也有工细的一面。虽然整体还是写意风格，但从作品的两个核心点——莲花和燕子——来看，这位以禅画著称的僧人画家同样有着完全不逊色于宋代职业画家的扎实功底。",[24,164,7,3291,128,165,81,211,3834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6da7e99f374af3da1de6fcb781716014.jpg",[],{"id":38847,"slug":38848,"title":38849,"dynasty":18,"author":4481,"museum":300,"description":27081,"tags":38850,"thumbUrl":38851,"material":692,"size":1293,"collection":84,"collections":38852,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},288551,"xiao-xiang-ba-jing-tu-juan-yi-wang-hong-288551","潇湘八景图卷一",[24,164,7,25,128,29,34,12744,211,37799,3650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bf6f310da9c7a8a88cdef72a9fb5139.jpg",[],{"id":38854,"slug":38855,"title":36815,"dynasty":54,"author":6936,"museum":300,"description":36556,"tags":38856,"thumbUrl":38857,"material":692,"size":1293,"collection":84,"collections":38858,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},288525,"shan-shui-tu-li-zhou-wang-yuan-qi-288525",[23,164,24,7,165,128,29,132,131,34,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6783404b672c1a4de3525377c1613bba.jpg",[],{"id":38860,"slug":38861,"title":38862,"dynasty":124,"author":273,"museum":300,"description":24195,"tags":38863,"thumbUrl":38864,"material":692,"size":1293,"collection":84,"collections":38865,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},288044,"shan-shui-zhu-shi-tu-ye-wang-fu-288044","山水竹石图页",[23,24,7,128,167,331,171,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febd653c41a55eeac3370945450740a77.jpg",[],{"id":38867,"slug":38868,"title":38869,"dynasty":54,"author":23303,"museum":300,"description":38870,"tags":38871,"thumbUrl":38873,"material":692,"size":1293,"collection":84,"collections":38874,"showCount":321,"zanCount":1998,"manualWeight":48,"mainColor":72},287874,"xi-hu-shi-jing-tu-juan-dong-bang-da-287874","西湖十景图卷","虽名为「十景」，画上却以隶书标注了西湖五十四处景点：断桥残雪、平湖秋月、曲院风荷、三潭印月、苏堤春晓、柳浪闻莺、双峰插云、花港观鱼、雷峰西照、南屏晓钟等等。\n乾隆皇帝在南巡前从未亲访江南。他对江南的所有印象与知识，皆构筑在相关图籍或他人的描述上。这件〈西湖十景〉卷，为南巡出发前夕，臣工提供给他各式江南旅游资讯的例子。此画为董邦达（1699-1769）所绘製，虽名为「十景」，画上却标出五十四个景点，将西湖可游处扩增五倍以上，实为「招游」之作。乾隆皇帝在南巡前一年（1750）的题跋，显示此图的确挑起游兴，让他打算于明春南巡时亲自感受久闻的西湖之美，印证实境与画境。诗句中流露出他对游览西湖的期待之情。\n康乾二帝每次南巡前后，都会有官绘本西湖图问世，或是为皇帝南巡作详导，或是总结皇帝南巡圣迹。故而，传世“西湖十景”图以清宫旧藏为主体。在这些清宫旧藏的“西湖十景”图中，董邦达为数最巨，有5件之多。",[23,164,24,7,25,1349,27,29,32,496,37,34,98,1515,97,38872,149,211,129,64,208],"古塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2ff4504c2d496d7a2e818e1566ebad.jpg",[],{"id":38876,"slug":38877,"title":38878,"dynasty":54,"author":25914,"museum":300,"description":25915,"tags":38879,"thumbUrl":38880,"material":692,"size":1293,"collection":84,"collections":38881,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},287790,"bo-re-bo-luo-mi-duo-xin-jing-zhuan-shu-deng-shi-ru-287790","般若波罗密多心经(篆书)",[164,24,7,64,938,7322,187,208,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25053c6de0983a13b159453929f5d3a1.jpg",[],{"id":38883,"slug":38884,"title":38885,"dynasty":144,"author":569,"museum":300,"description":27930,"tags":38886,"thumbUrl":38887,"material":692,"size":1293,"collection":84,"collections":38888,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},287309,"bai-ma-tu-juan-zhao-meng-fu-287309","百马图卷",[23,164,24,7,25,27,28,96,101,949,29,34,64,10763],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9a593e89c3ebaed5bb8b3a9a136f0c5.jpg",[],{"id":38890,"slug":38891,"title":38892,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":38893,"thumbUrl":38894,"material":84,"size":84,"collection":318,"collections":38895,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},239910,"yuan-ji-shi-juan-shi-tao-239910","原济诗卷",[23,24,7,25,128,133,840,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b5781609d7b62ce41d0583ef62356b2.jpg",[318],{"id":38897,"slug":38898,"title":38899,"dynasty":54,"author":38900,"museum":300,"description":38901,"tags":38902,"thumbUrl":38903,"material":84,"size":84,"collection":68,"collections":38904,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},239530,"fang-gu-ji-you-tu-ce-huang-yi-239530","访古纪游图册","黄易","此作以淡墨绘就水畔闲景，右侧疏木立异石，浅林掩映茅舍，远山含晕，留白铺就湖面，漾开空濛清寂。枯笔写木，皴擦刻画出湖石奇崛肌理，淡墨轻扫远山晕出水气。\n题跋与画作相映成趣，笔墨简淡秀润，将纪游幽怀寄于萧散景致里。整体意境澹泊静穆，尽显文人林下之风，把江南水畔的闲雅清居，揉进悠悠文心，淡而愈远，简中含情。",[24,7,59,128,188,29,167,171,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedfee47df568b62a35375d8d73831df5.jpg",[68,117],{"id":38906,"slug":38907,"title":3933,"dynasty":54,"author":2687,"museum":300,"description":3934,"tags":38908,"thumbUrl":38909,"material":692,"size":1293,"collection":84,"collections":38910,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},239239,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239239",[164,24,7,59,28,27,61,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85822244196c6c70d48585e299a7bdb6.jpg",[],{"id":38912,"slug":38913,"title":3933,"dynasty":54,"author":2687,"museum":300,"description":3934,"tags":38914,"thumbUrl":38915,"material":692,"size":1293,"collection":84,"collections":38916,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},239236,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239236",[24,7,59,28,27,61,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae0afb5b6b62b27ebe0434ca51702492.jpg",[],{"id":38918,"slug":38919,"title":28084,"dynasty":124,"author":21505,"museum":4482,"description":38920,"tags":38921,"thumbUrl":38922,"material":38923,"size":38924,"collection":136,"collections":38925,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},239169,"guan-pu-tu-zhou-wang-zhao-239169","《观瀑图轴》阔笔斧劈，成跌宕巨石；劲毫顿挫，作屈铁古木。树石黝暗，以淡墨渝润；白云飞瀑，以留白而成。黑白相映，尽显山谷清幽之气。树旁二高士，抡扇举首，遥观飞瀑，神情悠然。衣纹以折芦描出之，与景物峭硬感觉相谐合，属典型浙派风格。",[24,7,165,128,27,132,29,96,495,372,167,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cedf300b863068cb436244bbdb027fc.jpg","立轴，绢本，水墨，淡设色","纵长110厘米，横长81．5厘米",[136,45],{"id":38927,"slug":38928,"title":38929,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":38930,"thumbUrl":38931,"material":692,"size":1293,"collection":68,"collections":38932,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},238320,"yu-pu-fei-xiang-tu-xiao-ce-dong-gao-238320","玉圃霏香图小册",[24,7,59,27,28,61,376,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F475255c6acc359abf01bc8ea3ff6976d.jpg",[68,45],{"id":38934,"slug":38935,"title":38936,"dynasty":124,"author":38937,"museum":300,"description":38938,"tags":38939,"thumbUrl":38940,"material":84,"size":84,"collection":136,"collections":38941,"showCount":321,"zanCount":1998,"manualWeight":48,"mainColor":49},238275,"yu-le-tu-zhou-zhang-ling-238275","渔乐图轴","张灵","张灵，生卒年不详。生于成化，约卒于正德初，年四十左右。字梦晋，吴郡（今江苏苏州）人，家贫，与唐寅为邻，两人志趣相投，茂才相埒。同为府学生员，故交谊最深。画作受唐寅影响极大。工诗文，祝允明弟子。\n少与祝允明、唐寅、文徵明齐名，并称“吴中四子”，性落拓嗜酒，好交游，醉即使酒作狂。所画人物冠服玄古，形色清真，无卑庸之气。间作山水，笔生墨劲，斩然绝尘。并善竹石、花鸟，清新可喜，书法亦佳。",[24,7,165,128,132,96,129,99,4363,131,1351,29,34,1743,1421],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd92163a7d1c8e15870bdf0cbe3eb3953.jpg",[136,117],{"id":38943,"slug":38944,"title":38945,"dynasty":54,"author":16583,"museum":300,"description":29102,"tags":38946,"thumbUrl":38947,"material":692,"size":1293,"collection":44,"collections":38948,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},238048,"zhi-hua-luo-shen-fu-tu-ce-gao-qi-pei-238048","指画洛神赋图册",[164,24,7,59,29104,128,96,166,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc193fb3353f5ff44c34401634128615d.jpg",[44,117],{"id":38950,"slug":38951,"title":38952,"dynasty":54,"author":38900,"museum":300,"description":38953,"tags":38954,"thumbUrl":38955,"material":84,"size":84,"collection":136,"collections":38956,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},237734,"wu-sheng-shi-yi-tu-ce-huang-yi-237734","无声诗意图册","黄易（1744 年11月22日—1802年3月26日），字大易，号小松、秋盦，又号秋影庵主、散花滩人。浙江钱塘人，钱塘黄氏八世。兼擅篆刻，与丁敬并称丁黄，为“西泠八家”之一。",[24,7,59,128,27,132,35,34,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83da3788d7a2cc1ffec29df6911883a8.jpg",[136,45],{"id":38958,"slug":38959,"title":38960,"dynasty":124,"author":16032,"museum":20,"description":38961,"tags":38962,"thumbUrl":38963,"material":1722,"size":38964,"collection":136,"collections":38965,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},237696,"yu-man-shan-zhai-tu-zhou-xiang-sheng-mo-237696","雨满山斋图轴","图绘高山深壑，飞瀑清流，寺庙掩映在繁密的林木和耸峻的峰峦间，高士执杖步桥寻幽。山石取法元代黄公望，勾皴用笔浑厚质朴。树木的画法结合宋人笔意，枝干及叶片、苔点皆中锋运笔，苍秀沉着。画面意境深邃出尘。作者通过描写自己在暮秋的山林优游吟赏的活动体现了明末文人士大夫厌倦仕途隐居避世的心境。",[24,7,165,128,132,29,663,413,331,495,99,98,131,130,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff50a5814b2e1a349f1fca44e2d702518.jpg","纵121.4厘米，横32.4厘米",[136],{"id":38967,"slug":38968,"title":38969,"dynasty":124,"author":1058,"museum":20,"description":38970,"tags":38971,"thumbUrl":38972,"material":1667,"size":38973,"collection":68,"collections":38974,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},237676,"hua-zhu-tu-zhou-tang-yin-237676","画竹图轴","此图画竹枝两枝自左斜出，临风飒飒，构图新颖，俯仰有致。用笔铦利洒落，墨色秀润。\n画上自题：“满窗萧洒五更风，怪是无端搅梦中。梦见故人忙起望，白烟寒竹路西东。南塘邹蠡溪过余学圃堂，因言及南沙知己，故写此为寄。唐寅。”钤：“唐伯虎”朱文印。\n鉴藏印：“陆润之藏”朱文印、“天泉阁”朱文印等。",[24,7,165,128,167,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a12578cd86679d31ca70dbe5bae2925.jpg","纵83.4厘米 横44.5厘米",[68],{"id":38976,"slug":38977,"title":38978,"dynasty":54,"author":38979,"museum":20,"description":38980,"tags":38981,"thumbUrl":38982,"material":84,"size":84,"collection":136,"collections":38983,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},236883,"shan-shui-ce-zhuang-zhou-zou-zhe-236883","山水册装轴","邹喆","邹喆，生卒年不详，清代画家。字方鲁，江苏吴县人。自幼随父亲客游金陵。他的画宗其父，山水工稳而有古气，富简淡清逸的情趣。兼长水墨花卉，勾勒敷彩渲染有元人王渊的体格。“金陵八家”之一",[24,7,59,128,132,29,1144,131,37,97,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9508b3d511d77b3b1bf9fcd09d4a6ac.jpg",[136,117],{"id":38985,"slug":38986,"title":38987,"dynasty":54,"author":38988,"museum":20,"description":38989,"tags":38990,"thumbUrl":38991,"material":84,"size":84,"collection":136,"collections":38992,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},236747,"hua-wang-shi-lu-xiang-zhou-zhang-zhu-236747","画王士禄像轴","张翥","张翥字运南，号北林，江苏常熟人，生卒年不详。善画山水、人物、肖像，山水师同乡吴山（南阳），沉郁苍老，馓有气韵。人物写真师法曾鲸，形象逼肖，用笔流畅，秀媚古雅。雍正十年（1732）郡守周某欲绘《贫民图》入告。传世作品有康熙二年癸卯（1663）作《王士禄像》轴，画左上角有冒襄题像赞，现藏故宫博物院。能诗，著有《北林小集》。",[24,7,165,27,28,96,34,758,1314,19786,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9354997c8a95fe93096ae2a9e2a5a2be.jpg",[136,45,318],{"id":38994,"slug":38995,"title":10613,"dynasty":54,"author":1460,"museum":300,"description":38996,"tags":38997,"thumbUrl":38998,"material":84,"size":84,"collection":84,"collections":38999,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},235882,"yuan-ji-shan-shui-tu-ce-shi-tao-235882","此作书画合璧，尽显文人雅趣。绘卷以淡墨轻皴山石，信笔挥写篁竹木卉，萧疏纵逸，随性自然。坡岸茅庐掩映于繁叶之间，远山淡染留白，晕染出江南水乡的澹泊野逸，仿若幽居江湖的避世之境。\n题诗行书笔意苍劲纵恣，与画中清寂意境相得益彰。诗画相映，将文人寄情山水、栖身林下的襟怀尽显无余，简淡笔墨间风神自现，寥寥数笔勾勒出悠远林下意趣，以写意抒怀，尽显随性疏朗的文人画风貌。",[24,7,59,128,133,208,29,167,711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3639aa9933df3fcdbab944c903548fff.jpg",[],{"id":39001,"slug":39002,"title":4229,"dynasty":124,"author":22448,"museum":300,"description":39003,"tags":39004,"thumbUrl":39005,"material":692,"size":1293,"collection":84,"collections":39006,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},235739,"hua-niao-ce-tan-zhi-yi-235739","谈志伊，字公望，号学山，一字思重，无锡人，明代画家。",[24,7,59,28,27,61,371,211,582,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2685cf988a45bc4025b950c37cac040e.jpg",[],{"id":39008,"slug":39009,"title":39010,"dynasty":124,"author":17733,"museum":300,"description":39011,"tags":39012,"thumbUrl":39013,"material":84,"size":84,"collection":84,"collections":39014,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},235220,"xue-cun-fang-you-zhou-zhou-chen-235220","雪村访友轴","此作用斧劈皴写山石，棱角方硬冷峻，刻画出隆冬雪山的苍莽寒气。枯木虬曲伸展，枝桠尽脱，尽显萧寒之态。画面下方茅舍暖光隐现，柴扉外访客策杖过桥，童子相从，踏雪而来，为冷寂山野晕开一缕访友的融融温情。画作以浓淡墨色区分雪色留白与山石肌理，笔力老辣雄劲，将冬日山林的荒寒静谧，与文人雅聚的闲逸温情相融，于萧索冷寂中暗藏脉脉人情，铺陈出悠远沉静的山居意境。",[24,7,165,128,132,29,1556,663,413,96,3387,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9a0cc2f32f7248830263c39900a75c6.jpg",[],{"id":39016,"slug":39017,"title":39018,"dynasty":124,"author":39019,"museum":20,"description":39020,"tags":39021,"thumbUrl":39022,"material":40,"size":39023,"collection":84,"collections":39024,"showCount":321,"zanCount":1998,"manualWeight":48,"mainColor":49},234955,"ju-shi-ye-tu-tu-xu-lin-ju-234955","菊石野兔图","徐霖菊","《菊石野兔图》轴，明，徐霖绘，绢本，设色，纵160厘米，横52厘米。徐霖（1462—1538年），字子仁，号九峯道人，又号快园叟、髯仙等，江苏苏州人，徙居金陵。解音律，精篆法，善画。九岁能作大书，操笔成体，正书出入欧、颜，大书初法朱熹，几乱其真，后喜赵孟頫，笔力遒劲，结构端饬，自成一家。篆书始尚雄丽，晚益朴古。著有《丽藻堂文集》、《快园诗文集》等。",[24,7,165,28,27,376,171,3599,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe4419186ef37cfbb681f6bb8d51bf21.jpg","纵160厘米，横52厘米",[],{"id":39026,"slug":39027,"title":27698,"dynasty":124,"author":15464,"museum":300,"description":9208,"tags":39028,"thumbUrl":39029,"material":84,"size":84,"collection":84,"collections":39030,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},234679,"shan-shui-ce-ye-xie-shi-chen-234679",[164,24,7,59,128,132,29,130,98,99,331,131,34,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa04fd809b857e78cc59b98c607574cb4.jpg",[],{"id":39032,"slug":39033,"title":39034,"dynasty":54,"author":20985,"museum":300,"description":39035,"tags":39036,"thumbUrl":39037,"material":734,"size":39038,"collection":44,"collections":39039,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},234297,"hua-ji-chan-yin-tu-ce-xiao-chen-234297","滑稽禅隐图册","此作笔墨秀隽，意境清寂澹远。画面之中，长衫文士仰面抬首，凝睇枝桠初花，神色悠然沉谧，似在静赏春信、体悟幽怀。身旁小童捧壶恭谨侍立，主仆情态一动一静，衬出文人林下幽栖的淡然意趣。\n\n作者以淡墨轻皴岩壁，枯树枝干苍劲虬曲，点染花枝轻俏雅致，设色浅净柔和，留白铺陈出萧疏空寂的林下氛围，将文人耽于林泉、静悟禅意的雅趣融于简淡笔墨之中，尽显清润雅致的书卷气息，是兼具雅致意趣与文人情怀的小品佳作。",[24,7,59,27,96,413,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb108253a57ede07e91c1de652b22bfe6.jpg","19×24.2cm",[44,45],{"id":39041,"slug":39042,"title":39043,"dynasty":54,"author":34780,"museum":20,"description":39044,"tags":39045,"thumbUrl":39046,"material":734,"size":84,"collection":136,"collections":39047,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},234290,"xue-jing-gu-shi-ce-sun-hu-234290","雪景故事册","孙祜生卒年不详，江苏人。工人物、山水，宗法王原祁。乾隆（1736-1795）时供奉内廷，为宫廷画家。",[24,7,59,27,28,133,208,29,1813,131,1337,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29476d87f834ed55ad1ade830e240ad6.jpg",[136,45],{"id":39049,"slug":39050,"title":39051,"dynasty":124,"author":27311,"museum":20,"description":39052,"tags":39053,"thumbUrl":39054,"material":734,"size":84,"collection":84,"collections":39055,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},234138,"qiu-lin-gui-yin-tu-juan-li-liu-fang-234138","秋林归隐图卷","李流芳（1575～1629）明代诗人、书画家。字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人。歙县（今属安徽）人，侨居嘉定（今属上海市）。三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一。工山水，兼善花卉。其画主要师承五代董源、巨然以及元代四大家黄公望、王蒙、吴镇和倪云林。李流芳《秋林亭子图》轴，上自题七绝一首：“山作矾头水少纹，巨然烘染董源皴。一间山水闲亭子，脱手平分与故人。”这无异于声明自己的笔墨是从董、巨中学来的。事实上，李流芳在传统学习上并非局限于一、两家。三百年来风行海内外，盛传不衰的《芥子园画谱》（上水部分）就是以他临仿古人各家风格的课徒画稿为蓝本整理、增编而成。\n李流芳在绘画上既崇尚宋元各家，又能注重师法自然，强调写生，于画中自创新意。《吴中十景图》册是他写生作品中的代表作。他以艺术家的视角摄取吴中十处风景名胜入画，摹写真实生动，主景次景剪裁得宜，他的传神之笔塑造的艺术形象展示了吴中胜景特有的风采，令人神往。他五十岁时画的一副雪景轴也来源于生活经验，画上自题：“甲子腊月十三日，归自吴门，大雪弥日，舟过城南，见留光树色，冒雪含烟，颇不乏致，辄画此纸。”他每次游西湖，都要带回很多写生稿，总之他的写实功夫是比较突出的。他常以自然山水为画本，随手写景，所以笔端不落俗套，富有生气，形成一种清新、秀逸的独特风格。董其昌赞道：“长蘅以山水擅长，余所服赝乃其写生，又有别趣。”\n曾经许小仙道艺室、王德溥宝日轩、李廷鈺秋柯草堂、蛟川包氏听涛轩收藏。1.许小仙，民国收藏家，一作肖仙，约活动于民国初年。室名“道艺室”“有墨廔”，和张大千交往深厚。1928年，大千游杭为小仙刻“小仙考藏名迹之章”长方朱文印，及“许氏有墨廔墨宝”正方朱文印。同年，黄葆戉为刻“归于小仙”白文方印。1940年，冯康侯为刻“道艺室珍藏记”长方朱文印。2.王德溥，字容大，一字澹和，钱塘人。贡生。有《宝日轩诗集》。3.王绍廷，清末上海人，工画栈道。4.李廷钰（1792-1861），字润堂。福建同安人。善诗文，工书画，又善鉴别古法帖。藏书甚富，室名“秋柯草堂”。鸦片战争期间为虎门威远炮台总兵。道光二十二年（1842）年任浙江提督，咸丰三年至六年（1853-1856）任福建提督。著有《海疆要略必究》、《泉州乡土地理粁》。5.“质亲王宝”或为清宗室乾隆第六子永瑢印；郑亲王则为爱新觉罗·济尔哈朗家族。按语：李流芳画法倪云林、吴仲圭，而有雄直劲硬之气，一纠吴门末流之软媚柔靡。此图写平林浅屿，湖天空阔之景，貌似云林而气悍力沉，故风规自具，然清远冷寂悠然出世之韵度则颇与云林合也。后有钱梅溪、李廷钰题识，称其“如行云、如流水，却不于形似间求之，”“尤为得意之作。”自是知者言。",[23,24,7,25,128,27,29,132,133,64,2875,131,34,99,98,130,211,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf95887d31d990e7913cdfd778173c3c.jpg",[],{"id":39057,"slug":39058,"title":10204,"dynasty":144,"author":25648,"museum":20,"description":39059,"tags":39060,"thumbUrl":39061,"material":2239,"size":39062,"collection":84,"collections":39063,"showCount":321,"zanCount":1998,"manualWeight":48,"mainColor":49},233844,"hua-shan-shui-zhou-li-shi-xing-233844","李士行山水图取境开阔，中间以一高峰为主体，四周群山相扶。雾气弥漫的、深远的山涧有一清流涌出，并化为平静的河水缓缓向前流淌。整个画面布局平稳，境界平淡天然。此画用笔温和秀润，多用披麻皴，墨色变化丰富，水色淋漓。其浓淡相间，以淡墨皴染，浓墨画近树和点苔，层次分明。",[24,7,165,128,27,29,34,131,99,415,132,499,3427,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca3bbb245b9e71fbb9e96e768f35a36.jpg","纵：106.2厘米，横：52.7厘米",[],{"id":39065,"slug":39066,"title":39067,"dynasty":124,"author":125,"museum":20,"description":1048,"tags":39068,"thumbUrl":39070,"material":734,"size":1051,"collection":84,"collections":39071,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},233836,"wo-you-tu-ce-kui-hua-shen-zhou-233836","卧游图册－葵花",[24,164,7,59,27,128,61,39069,624,62,208],"葵花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dbf48238765c284f9c5dd2053777823.jpg",[],{"id":39073,"slug":39074,"title":2571,"dynasty":54,"author":11383,"museum":20,"description":39075,"tags":39076,"thumbUrl":39077,"material":40,"size":39078,"collection":84,"collections":39079,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},233809,"ma-gu-xian-shou-tu-ren-xiong-233809","“麻姑献寿”是中国流传很广的神话传说。相传麻姑是位朴实而美丽的民间女子，她死后成为仙女，住在蓬莱仙岛。每年德高望重的西王母过生日时，麻姑都要用灵芝草酿成仙酒献给西王母做寿礼，麻姑也由此被西王母封为“女寿仙”，因此民间为妇女祝寿时常常绘《麻姑献寿》的图画相赠以示祝福。\n图绘身着红披风的麻姑，古朴静穆、仪态端庄，一变清中叶以来费丹旭、改琦等人所绘身姿纤媚、弱不禁风的“病态”仕女形象，健康清新，令人瞩目。图中设色艳丽华贵，富有装饰性，线条顿挫刚劲,富有表现力，与所绘人物相得益彰，为任熊仕女画佳作。",[24,7,165,28,27,96,166,168,169,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9031d01c205657060d0fb9f243c9a47.jpg","纵162.3厘米，横86.2厘米",[],{"id":39081,"slug":39082,"title":39083,"dynasty":144,"author":4034,"museum":20,"description":20879,"tags":39084,"thumbUrl":39085,"material":151,"size":39086,"collection":84,"collections":39087,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},233203,"zuo-kan-yun-qi-tu-ye-sheng-mao-233203","坐看云起图页",[24,7,1131,128,27,132,29,950,331,211,96,131,415,37,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567c9ea4707965f97951bafa9c5e46b8.jpg","纵27cm; 横28cm.",[],{"id":39089,"slug":39090,"title":39091,"dynasty":222,"author":223,"museum":300,"description":39092,"tags":39093,"thumbUrl":39094,"material":84,"size":84,"collection":84,"collections":39095,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},231580,"yu-en-chun-qiu-liang-yuan-ying-hua-pu-tu-juan-yi-ming-231580","浴恩春秋两园樱花谱图卷","虽然日本没有官方的国花，但樱花之于日本的重要性不言而喻，日本文化的精气神都能在樱花身上得到体现，樱花也成为日本绘画中的常见题材。早在远古，日本人就将樱花看作是春天的化身，是花的神灵。日本语中的“樱时”(古语)，意思就是“春天的时节”。每当春天来临，人们最关注的就是樱花一年一度的花开花落。花蕾结得多少好坏，开花时能否躲过春雨的淋洗开得灿烂，凋谢时能不能遇上春风落瓣洁净。樱花是否开花顺利在日本人看来，意味着这一年是否风调雨顺，五谷丰登。所以每当花开时节，人们就聚集在樱花树下，放歌畅饮，祈祷神灵保佑。",[23,25,7,27,28,840,133,208,22638],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5f94d981568dc00430a3f7f9eb71592.jpg",[],{"id":39097,"slug":39098,"title":39099,"dynasty":144,"author":39100,"museum":12686,"description":39101,"tags":39102,"thumbUrl":39103,"material":611,"size":39104,"collection":84,"collections":39105,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},231491,"xue-zhong-lu-tu-zhou-yuan-231491","雪中鹿图","周渊","虬曲老梅横亘画幅上端，朱红花朵破开沉褐底色，积雪凝缀枝梢，晕开冬日清寒。白鹿身形劲健修长，莹润雪色皮毛以淡墨晕染而出，犄角舒展，垂首静立在覆雪坡石间，安然沉静，与周遭萧寒景致浑然相融。枯涩墨线勾勒梅枝苍劲筋骨，淡墨轻晕出积雪的蓬松虚灵，冷色调底纸烘托出冬夜荒寂空濛，冷冽氛围里，白鹿的温驯清逸更显动人，将冬日的萧寒与生命静雅相融，晕开一卷幽淡空寂的林泽冬景。",[24,7,164,165,27,949,2302,1556,413,1771,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d6ce42914c8804d95d64ffa52147924.jpg","179.7x92.4厘米",[],{"id":39107,"slug":39108,"title":39109,"dynasty":124,"author":10922,"museum":300,"description":39110,"tags":39111,"thumbUrl":39113,"material":84,"size":84,"collection":84,"collections":39114,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},231014,"lian-ou-jing-yin-tu-wen-jia-231014","莲藕净因图","此作画风清逸疏朗，以淡墨勾绘莲茎清瘦挺拔，粉荷半绽，淡赭轻染花尖，晕染出柔婉清雅的姿态。莲蓬与莲藕刻画精微朴拙，线条简淡却将水生风物的温润质感尽显无遗。\n\n宽绰留白铺就幽寂禅意，搭配题咏禅诗，诗画相映，将莲的清净本心寄寓其间，尽显幽淡出尘的文人意趣。全作用笔以简驭繁，淡而弥厚，融禅思入绘事，观之如临幽塘，心下自会澄明安宁，尽显文人尚简崇雅的审美意韵。",[24,7,165,188,128,27,81,841,82,39112,62,369],"莲藕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab2d6731a756e18afa13d56d32e9d48b.jpg",[],{"id":39116,"slug":39117,"title":39118,"dynasty":144,"author":8127,"museum":300,"description":39119,"tags":39120,"thumbUrl":39122,"material":84,"size":84,"collection":84,"collections":39123,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},230904,"jin-ji-ji-zhu-tu-wang-yuan-230904","锦鸡棘竹图","画面以奇石立锦鸡为主体，野卉棘竹环伺左右，虚实相生间铺展出荒寒野境。以水墨淡晕之法绘就，锦鸡羽色以淡墨层层晕染，绒羽蓬松柔润的质感跃然绢上，神态静穆悠然，尽显内敛雅致。奇石皴擦老拙苍劲，枯棘枝条嶙峋带刺，尽显深秋萧索之态，竹叶与野卉则以清逸的笔致点染，柔缓中和了枯寂寒气。\n整体融院体工致与文人笔墨意趣于一身，淡墨轻岚间，绘写出林下幽寂空远的野逸之韵，将秋日荒寒中禽鸟安处的闲适意态刻画入微，尽显水墨花鸟的清简雅致。",[24,7,165,27,28,61,2835,167,171,39121],"荆棘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d33585a772eb69df209975f31fee55.jpg",[],{"id":39125,"slug":39126,"title":39127,"dynasty":222,"author":39128,"museum":300,"description":39129,"tags":39130,"thumbUrl":39131,"material":692,"size":1293,"collection":84,"collections":39132,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},230589,"jiang-hu-shi-dai-lou-ge-shan-shui-tu-ping-feng-12-kai-chi-da-ya-230589","江户时代楼阁山水图屏风12开","池大雅","池大雅，（1721年－1776年），日本江户时代的艺术家，文人风格书法家。",[24,7,250,27,95,29,97,96,98,34,131,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20545c3e86b58644149fb020c8ccf4e8.jpg",[],{"id":39134,"slug":39135,"title":39136,"dynasty":54,"author":38394,"museum":300,"description":39137,"tags":39138,"thumbUrl":39139,"material":84,"size":84,"collection":84,"collections":39140,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},230359,"qiu-shan-ting-pu-tu-fan-qi-230359","秋山听瀑图","《秋山听瀑图》是清代画家 创作的绢本水墨淡设色画，现藏于旅顺博物馆。\n此图风格清雅，山骨峻增，群峰昂然高立，老树柔枝。\n全幅以水墨、花青染成，间施赭色。\n皴法细劲而严密，近似小斧劈又有所变化。\n此画远景山峦重叠，顶端突兀的巨石分向两边，右侧巨峰矗立，冲入云霄，气势雄伟险峻，山间瀑布直泻而下。\n中景为高山脚下，溪水潺潺，山石奇特，有几棵枯枝落叶古树，幽邃的山林周围空山寂寞，悄无人声，充满沁人肺腑的清新气息。\n在山坳平坡处，有一位樵夫正边走边倾听瀑泉的响声。\n泉水的流动，不但没有冲淡周围环境的安谧，反而增添了山林的僻静之感。\n近景为枯木坡石，与中景的山石紧相连接。\n左上自题“戊申春王画呈黄翁老祖台正樊圻”，钤“樊圻之印”、“会公”二印。\n左下钤收藏印二方“胶西法坤原珍藏”、“胶西宋皑珍藏书画印”。\n该图创作于康熙七年（1668年），作者时年5岁。\n此画构图顶天立地，上不留天，下不留地，左上角仅有的空白处，以作者自题款而填补，使整个画面更为充实完整。\n远景山峦重叠，中间炯锁山腰，层次分明，满而不塞。\n该图山石皴笔方硬而疏松，远山隐现于云雾之中。\n只在关键部位如山石的阴侧面用重墨，皴法细碎而干净利落，似从小斧劈演化而来。\n用色清淡，惜墨如金。\n总体来看，此画既合于写实的原则，也传达出幽远的意境。\n此图略近李成清旷画派，但皴法细劲而严密，近似小斧劈皴而较为文静，一点没有粗犷霸悍的习气。\n树木、屋宇、舟桥、流水、人物的刻画皆精诣不苟。\n通幅以水墨、花青染成，间施赭色，淡薄而透明，双钩的红叶，更点醒了秋山的主题樊圻对于传统的师承面比较广泛，就外表形态而论，似乎并未形成个人的固定程式，但就内在笔性而论，不管是披麻皴还是斧劈皴，也不管是水墨还是青绿，都以精诣不苟见工，精诣中又有透出虚灵的士气。\n该图在《中国美术全集·清代绘画》、《 》著录。\n1955年金县中心小学拨藏，现藏于旅顺博物馆。\n樊圻（1616—？），清代画家。\n字会公、洽公。\n江苏金陵（今南京）人。\n精山水、花卉、人物等。\n仕女画有幽闲静逸之致。\n与龚贤、高岑、吴宏，叶欣、胡糙、谢荪、邹喆为金陵八家。\n传世作品有《江浦风帆图》、《柳村渔乐图》、《雪景山水图》、《春山策仗图》轴、《山径骑驴图》等。",[23,24,7,164,165,27,29,495,98,99,1337,3440,131,1645,96,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F538bc792d5069bdc6b875e27cd5b5f04.jpg",[],{"id":39142,"slug":39143,"title":39144,"dynasty":54,"author":39145,"museum":300,"description":39146,"tags":39147,"thumbUrl":39148,"material":84,"size":84,"collection":84,"collections":39149,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},229012,"shi-jun-ma-tu-wang-zhi-cheng-229012","十骏马图","王致诚","《千姿百态画骏马》是一本书籍，上海书店出版社; 第1版 (26年月1日)出版，开本16。\n丛书名: 国画训练新编系列2 平装: 页 正文语种: 简体中文 条形码: 786784845, 978786784846 尺寸: 28.5 21.2 . cm 重量: 181 g 《千姿百态画骏马》内容简介：在中同美术史上，几乎每个朝代的艺术作品都有以马为题材的杰作。\n如先秦时代青铜器盠驹尊，秦始皇陵出土的大批陶马俑、四汉霍去病墓前的《马踏匈奴》石雕、东汉青铜器《马踏飞燕》、唐代画马高手韩斡笔下的《神骏图》、韦偃画了两千余匹千姿百态骏马的《牧放图》、宋代李公麟的名作《五马图》、元代赵孟頫的《浴马图》，明代仇英的《秋园猎骑图》、清代王致诚的《十骏马图》，直至近代徐悲鸿的大量奔马立马图……由此可见，马是中国历代艺术家最热衷的题材之一。",[24,7,28,27,101,131,34,62,64,208,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266c74560a21981e18d0b59b83e4fb52.jpg",[],{"id":39151,"slug":39152,"title":39153,"dynasty":124,"author":3619,"museum":300,"description":39154,"tags":39155,"thumbUrl":39156,"material":84,"size":84,"collection":84,"collections":39157,"showCount":321,"zanCount":1998,"manualWeight":48,"mainColor":72},228868,"dong-yuan-tu-juan-wen-zheng-ming-228868","东园图卷","《东园图卷》是文徵明的作品，绢本，纵：.2cm，横：126.4cm。\n现收藏于 ，画上景物多用空勾填色，墨线细劲连绵，笔意古拙，赋色清丽秀逸，晕染精细。\n名称：明文徵明东园图卷 类别：中国古画 年代：明代 文物原属：故宫旧藏 文物现状：现藏台北故宫博物院 图卷，绢本，设色画，纵：.2cm，横：126.4cm。\n东园位于南京钟山东凤凰台下，原是明代开国重臣中山王徐达的赐园，名为“太府园”，后来其五世孙徐泰时加以修葺扩建，辟作别墅，更名“东园”。\n园内叠有峰嶂，川泽相通，灵岩怪石环列前后，奇花异草郁郁葱葱，亭台楼阁错落有致。\n与徐氏友善的时贤名士常雅集于东园之中，或谈诗论文，或品茗抚琴，或宴乐弈棋，或赏玩书画，其乐融融，快意畅然。\n《东园图》是明四家之一的文征明于61岁（明嘉靖九年，15年）时绘制的，表现了东园雅集时的情景。\n情景图中板桥横于潺潺细流之上，青松翠竹遥相呼应，湖石疏置，碧树成荫，池水为清风吹皱，泛起层层涟漪。\n甬路上二文士边走边谈，携琴童子相随其后；堂内四人凝神赏画，另有手捧数轴书画的小童立侍桌旁，水榭之中对弈的两人神态悠闲安逸。\n文徵明的绘画有两种风格：一是宗法沈周、吴镇，呈水墨粗笔面貌，世称粗文；一是师从赵孟頫、王蒙，多青绿重染，工细缜密，世称细文。\n文氏早年以工细为主，中年之后粗细兼能，愈晚愈工。\n《东园图》便是他晚年细笔的精品。\n画上景物多用空勾填色，墨线细劲连绵，笔意古拙，赋色清丽秀逸，晕染精细，正如王原祁所言：“色不碍墨，墨不碍色，又须色中有墨，墨中有色。\n”全图虽以青绿设色法为之，却丝毫不见工匠之气，充盈于画面的是闲适雅致的文人气息，画中人物颇有魏晋之际名士的风神格调，这是文氏此类雅集题材绘画超乎常人之处。\n图之引首有徐霖隶书“东园雅集”四字。\n画面右上端有篆书“东园图”三字，画尾有款“嘉靖庚寅秋徵明制”，下钤“ 停云”、“玉兰堂印”、“徵仲”等印四方。\n卷后尾纸上有湛若水楷书《东园记》和陈沂行书《太府园讌游记》二则。",[23,164,24,7,25,28,27,96,97,130,98,99,171,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6cb802217ebcd0c9524ab578c39dc66.jpg",[],{"id":39159,"slug":39160,"title":39161,"dynasty":124,"author":3608,"museum":1941,"description":39162,"tags":39163,"thumbUrl":39164,"material":84,"size":84,"collection":84,"collections":39165,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},228312,"xun-yang-qiu-se-tu-quan-juan-lu-zhi-228312","浔阳秋色图全卷","近岸坡坨疏林错落，霜叶点染秋意，远渚青岫浮沉烟霭，一江秋水空濛无际，铺展出江天寥廓的清寂秋光，暗合江州送客的孤凉心境。\n\n整卷诗书画共生，卷首擘窠大字雄沉苍劲，小楷录《琵琶行》全诗文雅端润，笔意随文辞跌宕，把迁客失意羁愁，融在水墨秋光中。画境萧瑟清和，书意或沉郁或秀雅，将曲中天涯沦落的怅惘落寞，与江色秋容织为一体，尽显诗画共情的文人雅趣。",[23,24,7,25,27,132,133,208,29,34,31,129,415,1614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312ff3b95e0169d0f7879fc0be151e48.jpg",[],{"id":39167,"slug":39168,"title":39169,"dynasty":124,"author":802,"museum":300,"description":39170,"tags":39171,"thumbUrl":39172,"material":84,"size":84,"collection":84,"collections":39173,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},228288,"lin-xia-gao-shi-chen-hong-shou-228288","林下高士","画作以枯荣相衬的林木构起幽境，两位高士席地对坐，姿态安闲，似在晤言清谈。流泉隐于林石间，远处茅亭藏于麓林深处，尺幅之中铺展出清寂雅致的林下天地。\n\n设色调和古雅，青绿叶色与枯木寒枝形成鲜明对照，山石勾勒奇崛苍劲，带着朴拙古意。鲜妍设色未露半分媚俗，反倒衬出林境沉静出尘的气质，将文人遁迹丘山、寄情林泉的雅怀藏入画面。构图疏密相宜，笔端静穆雅致，把林下雅集的散逸清旷尽数铺展，尽显古雅出尘的隐逸意趣。",[23,24,7,27,28,29,96,130,331,131,34,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0debeaf5261a36d5a12e371c8f048cd3.jpg",[],{"id":39175,"slug":39176,"title":39177,"dynasty":144,"author":2968,"museum":244,"description":39178,"tags":39179,"thumbUrl":39180,"material":278,"size":39181,"collection":68,"collections":39182,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},228010,"xi-fu-tu-zhou-chen-lin-228010","溪凫图轴","《溪凫图》为元代画家 创作的纸本设色画，现藏于台北故宫博物院。\n该图描绘的是秋天的景色。\n一只野鸭正立于水岸边上，河里水波阵阵泛起，岸上野草丛生，一株芙蓉树正开得鲜艳。\n该图绿头鸭造型准确，勾勒工谨，以水墨晕染，略加花青、赭石淡彩，花草笔墨纵逸简括。\n此图中一只体硕羽丰的野鸭临水而立，霜晴溪碧，秋意浓郁。\n该画幅左有赵孟頫题记：“陈仲美戏作此图，近世画人皆不及也。\n子昂。\n” 诗塘有元人仇远题跋。\n其中右上的芙蓉、下方的坡石小草和粗笔的水波都是赵孟頫所加，粗笔水波之下还可见到陈琳原画细笔波纹的痕迹。\n画上钤有清人耿昭忠、乾隆帝、宣统帝等收藏印多方。\n《溪凫图》是陈琳求教与赵孟頫时，在赵氏的松雪斋中所作。\n时值元大德五年（11年），该图是在赵氏手把手的指导下，并且由赵氏润色题识共同合作完成的一幅作品。\n整幅画面保留了宋代花鸟相对严谨的造型和章法，区别在于通过相对粗拙的笔墨来作整体的勾染以呈现主体物象。\n野凫的喙以苍厚而毛涩的线勾出外轮廓，再以干笔淡墨循其形理擦染而成，形质俱在。\n鼻孔则又以浓墨细线勾其内外以示其形。\n头部则以浓淡不同的墨色来擦染。\n首先以不同紧松的笔触擦写以表现头部及脖子不同部位组织的软硬质地以及相互关系，然后根据需要敷以花青、染以不同深浅的墨色以体现头部皮肤及羽绒状况。\n浓墨细线，以肯定的笔触圈出眼眶，淡色渲染眼球，晶莹、润泽，浓墨圈点眼瞳，传野凫特有之眼神。\n颈与躯干相连接部分为白色羽毛，仅用两根界线勾出外轮廓，略施极淡的墨。\n野凫的前胸部则以点染笔法两至三遍地完成羽毛，较好地表现了短羽的松软。\n以粗拙的线条勾出左腿部及脚蹼，大腿上的羽毛较长用淡而长的弧线堆砌、错综，以显羽毛的自然情状。\n又以淡墨和赭石细勾分染以增其层次。\n为了表现紧紧包裹着小腿的皮的质感，则又细勾慢染，显脚部皮质的起伏与韧坚。\n背上翅部则是精雕细琢的部分，以勾染绘出根部外侧细毛层叠蓬松。\n翅前端几根大羽则用浓淡不同的线依其物理的方向，以富有弹性的线勾出，与细羽形成对比，尾部上面翅之最前端以极概括的手法涂染、大笔写出。\n整只野凫的描绘以明显的带有书写性的笔法绘出。\n整体结构的精准表现了野凫的一贯常态，极为传神。\n补景行笔从容，线条极具概括力，笔触简洁、富有意趣，轻松地表现了画幅上部的芙蓉以及下部的杂草。\n坡石的线条极为自如，看似随意间形质皆备，诚是“笔简而意繁”叠压在细劲水纹上粗简的复笔，润而凝、松而实。\n这些笔触表现的虽是背景，但横贯画幅，时于整体意笔气氛的营造有着极为重要的作用。\n画面写生式的画一只野鸭，本来构图容易陷于平板，但坡岸一条很粗的斜曲线，使画面起了变化，加以淡墨的不规则的水纹线条，使之有了起伏变化。\n然后在右上角用线描出芙蓉花，以及坡上车前草和两丛野草，使之丰满充实，疏密有致。\n现代文学家、画家 ：这画的确美妙、生动和自然。\n连霜消日晒、光暖波凉的感觉都能让人感到。\n虽是戏作，笔墨却是上乘。\n你看，这土坡的苍厚，鸭羽的柔软，花叶的肥嫩，水纹的光滑，全用不同质感的线条区分开。\n颜色不多却非常丰富；赭黄的调子洋溢着秋天的风韵。\n陈琳的《溪凫图》与其他画家的作品一起成为种标向，在花鸟画发展中做出了两个方面的贡献。\n其一是把绘画中的行利之分逐渐地引导到种新的审美境界中去，展现文人画的进一步发展，与此同时，其自身也成为了一种传统。\n将宋人绘画中的严谨、规整、刻画的造型，逐步向松灵、抒写、淡治转移。\n二是把黄家的设色体制水墨化，其特征是：1、保持黄体的基本构图和严格的造型性，但在表现形式上由紧转松。\n2、将对于形廓的勾勒线描，变纤细为可以粗重并加强其抒写性。\n、变体面的色彩呈现为墨分五彩，变三矾九染的渲染法为皴、擦、书写为主的干湿表现。\n该图曾经耿昭忠及清内府收藏。\n现藏于台北故宫博物院。\n217年1月4日—12月25日，台北故宫博物院举办“国宝的形成”特展，《溪凫图》在其中展出。\n陈琳，生卒年未详。\n元代画家。\n字仲美，钱塘（今浙江杭州）人。\n南宋画院待诏陈珏子。\n琳世其业。\n善画花鸟、山水、人物，得赵孟颊指授，多所资益，故其画不俗，尤善临摹古迹。\n尝作《夏木图》，张雨题诗，有“董源夏木不复见，俗本纷纷何足观；陈郎笔力能扛鼎，写此千章生昼寒”之句。\n传世作品有与赵孟頫合作的《溪凫图》轴。",[23,24,7,128,27,61,6509,99,230,171,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ab4dc7748b9ac3a1f0f3e1f60d4cb74.jpg","35.7x47.5",[68],{"id":39184,"slug":39185,"title":39186,"dynasty":18,"author":2257,"museum":300,"description":39187,"tags":39188,"thumbUrl":39189,"material":84,"size":84,"collection":84,"collections":39190,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},227953,"tu-ye-zhao-bo-ju-227953","图页","此作为典型宋代青绿山水，石青、石绿晕染山峦，厚重雅致间衬以赭石暖调，冷暖相映，晕化出山水层叠悠远的空蒙意境。\n\n画面开合有度，远山嵯峨葱郁，近渚水色澹澹，坡岸苍松劲挺成林，生机盎然。水岸营寨旌旗飘展，泊船静立，身形微小的人物情态具足，行旅场面写实生动，将山水之秀与行旅之境相融。\n\n它承继唐代青绿山水的明艳富丽，又兼具宋代院体画的精工写实，笔致细腻秀雅，兼顾全景意境与细节刻画，把随行驻泊的日常图景置于秀山丽水间，尽显宋画雅致隽永的山水意趣。",[23,164,24,7,26,27,28,29,96,129,99,34,211,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5813535dd91fdde5ef9a939c994bbe3f.jpg",[],{"id":39192,"slug":39193,"title":39194,"dynasty":18,"author":223,"museum":300,"description":39195,"tags":39196,"thumbUrl":39197,"material":84,"size":84,"collection":84,"collections":39198,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},227913,"zhu-chong-tu-yi-ming-227913","竹虫图","淡赭绘就竹枝，以深浅绿意晕染竹叶，笔下叶片舒展有姿，劲挺又不失柔润，枝桠交错间野意横生。叶面之上，竹虫敛身伏藏，身形与枝叶相融，将蛰伏的静谧暗藏其间。右上角蛱蝶振翅翩跹，墨色点染翅翼，留白衬出轻盈灵动，骤然打破画面静气，动静相映成趣。\n全作笔致工细秀雅，设色清淡雅致，以精微的观察捕捉乡野小景的瞬态生机，将草木虫蝶的自然情态刻画入微，于尺幅之间勾勒出浑然天成的林下意趣，尽显平和悠然的审美意韵。",[23,164,24,7,28,27,61,167,609],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec7f253e2d3b155250d560a92e122b65.jpg",[],{"id":39200,"slug":39201,"title":39202,"dynasty":18,"author":2141,"museum":300,"description":39203,"tags":39204,"thumbUrl":39205,"material":84,"size":84,"collection":84,"collections":39206,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},227805,"can-shi-tu-liu-song-nian-227805","蚕事图","整作以全景式铺陈桑蚕劳作日常，分构两处空间。左侧棚下匠人各司其职，抽丝、分拣有条不紊；右侧窗内，闺中女眷闲坐观览，将劳作与闲憩相映成趣，右上角民夫搬运蚕茧，更添烟火劳顿之气。\n\n画作以淡墨白描绘就，线条清雅柔和，屋舍瓦楞、林木枝桠皆刻画入微，人物神态鲜活自然。将江南蚕织农家的日常图景如实铺展，平和质朴间尽现宋代田园的生活真味，把风俗烟火融于清淡笔墨中，尽显写实风俗画的雅致意趣，藏着宋时江南的悠悠烟火意。",[24,7,164,28,27,95,25,96,35,34,36759,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e367156bf61318f3d34559af6f02c1.jpg",[],{"id":39208,"slug":39209,"title":39210,"dynasty":18,"author":633,"museum":300,"description":39211,"tags":39212,"thumbUrl":39213,"material":84,"size":84,"collection":84,"collections":39214,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":956},227725,"shan-gu-ji-liu-tu-xia-gui-227725","山谷激流图","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等",[24,164,7,29,128,132,165,131,34,11998,99,11936],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e099048944fdf9181b06d03954f9172.jpg",[],{"id":39216,"slug":39217,"title":39218,"dynasty":18,"author":2176,"museum":300,"description":39219,"tags":39220,"thumbUrl":39221,"material":84,"size":84,"collection":84,"collections":39222,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},227699,"shui-xian-juan-zhao-meng-jian-227699","水仙卷","本幅画水仙四十余株，花苞花蕊百八十余朵。全卷结构严谨，花叶繁简得宜，繁而不乱，疏密有致，或花蕊盛开，或含苞待放；花叶组合、穿插映带，阴阳相背，抵昂顾盼，层次分明，画面处理得有条不紊而生意盎然，墨色的浓淡深浅都掌握得恰到好处，既合于水仙的自然生长状态，又高于自然，清雅绝俗。可以看出此图作者扎实非凡的写实功力。此图土坡采取“飞白石”画法，用笔轻拂，笔墨十分虚灵，与他的两幅墨兰卷土坡画法极为相近；其丛丛小草采用中锋浓墨写出，笔法劲利，沈稳而富于变化，凡此种颇有宋元人淡雅蕴藉、气韵淳古的风致，诚为一幅难得的佳作，绝非一般庸工俗史所能及。此卷比起以前所见诸卷赵款水仙画都要精彩得多，故陈鹏年在后幅题记中写道：此卷“长寻丈有奇，花凡数十百本，姿态百出，生动变化，自非功力精到不能有此，几案间足令寒香袭人衣袂也”。",[164,24,7,25,188,128,374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79c28b3132251b00b97bb0370e0a7c06.jpg",[],{"id":39224,"slug":39225,"title":39226,"dynasty":18,"author":7264,"museum":300,"description":13800,"tags":39227,"thumbUrl":39228,"material":84,"size":84,"collection":84,"collections":39229,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},227294,"yun-shan-de-yi-tu-juan-mi-you-ren-227294","云山得意图卷",[24,7,25,128,132,950,663,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9f6696c7db63fd91413ad5ba48a8e1e.jpg",[],{"id":39231,"slug":39232,"title":39233,"dynasty":54,"author":39234,"museum":300,"description":39235,"tags":39236,"thumbUrl":39238,"material":84,"size":84,"collection":84,"collections":39239,"showCount":321,"zanCount":1998,"manualWeight":48,"mainColor":72},224602,"xiao-pin-1-peng-qiao-224602","小品1","蓬樵","此作用平远之法绘就水岸林泉，近渚古木清森，枝桠舒展含姿，林梢掩映间透出村居一角，野意自生。留白作水，虚处见烟波澹荡之意。远山以干笔淡墨皴写，石棱隐现、苔点错落，丘壑简而有味。\n\n画风师法倪瓒，笔墨松秀苍润，简逸空灵。整幅以淡墨铺陈，萧散简远，将江南水岸清寂淡远的幽谧意境尽显。题印朱白相映，衬出画面的古雅淡远，尽显文人画疏旷清逸的意趣，暗合幽栖林泉的雅逸襟怀。",[23,24,7,39237,128,132,29,34,131,208],"小品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd02bc93dccf30a6d0e7dc6cfbefdf48d.jpg",[],{"id":39241,"slug":39242,"title":39243,"dynasty":54,"author":4083,"museum":300,"description":39244,"tags":39245,"thumbUrl":39246,"material":84,"size":84,"collection":84,"collections":39247,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},224407,"cong-lin-qu-diao-tu-wang-shi-min-224407","丛林曲调图","此作用高远之景铺陈山峦层叠，以干笔淡墨勾勒皴擦山石，披麻皴晕染出苍朴肌理，笔意苍松秀润。山谷间山居错落排布，溪泉隐于乱石之间，枯荣林木交映成趣，萧淡之中暗蕴温润生机。\n追摹元人笔法意趣，墨色清润雅致，虚实相生，将秋山清寂淡远的意境烘托尽致。简淡笔墨间藏着浑朴苍厚的气韵，把林泉幽居的野趣诉诸笔端，观之恍如踏入静谧空幽的世外山居，尽显文人画平淡天真的雅致意韵。",[23,24,7,165,128,132,29,98,99,331,131,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd808ae66ac4c7a08a26404215a3f3a0.jpg",[],{"id":39249,"slug":39250,"title":39251,"dynasty":54,"author":6936,"museum":300,"description":39252,"tags":39253,"thumbUrl":39254,"material":84,"size":84,"collection":84,"collections":39255,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},224404,"lu-tai-nan-shan-ji-cui-chang-juan-wang-yuan-qi-224404","麓台南山积翠长卷","此作以全景铺展江南盛景，浅绛间糅青绿晕染，层峦叠嶂迤逦开合，丘壑繁密却丝毫不失章法，尽显山川龙脉走势。汀渚渔舟、山居村舍错落点缀，水烟澹澹，山林苍郁，笔墨沉厚老辣，干笔皴擦间又带秀润，层层积染出山峦的雄浑华润质感。将元人简逸笔意化为沉雄苍浑的气度，恪守文人画理法的同时，以细密繁复的构图铺陈胸中丘壑，尽数绘就江南山川的郁茂苍翠与静穆灵秀，是兼具笔墨意趣与山水神韵的佳作。",[23,164,24,7,25,29,27,132,496,34,35,129,99,130,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56a81172077ff8b61901ecd9eb2cce38.jpg",[],{"id":39257,"slug":39258,"title":19206,"dynasty":54,"author":28136,"museum":300,"description":39259,"tags":39260,"thumbUrl":39261,"material":84,"size":84,"collection":84,"collections":39262,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},224356,"zhang-lin-xiao-yao-tu-jian-jiang-224356","此作用渴笔淡墨写尽丘壑幽寂，危崖层叠如削，奇崛冷峻，崖间飞瀑隐于褶皱，暗传空谷清音。近岸枯木疏朗清瘦，枝桠劲挺如铁，寒潭平湖以留白铺陈，汀渚渔隐敛于浅处，愈显天地空茫。\n\n笔墨师古而出新，线条方折硬挺，皴擦极简，淡墨晕染山石，清润秀雅全无冗赘。画面融黄山奇峭与江南灵秀于一体，清冷萧疏间藏着遗世襟怀，将枯淡山水里的逍遥意趣，藏在每一处留白与笔锋之中，尽显孤高淡远的出尘风骨。",[23,24,7,165,128,132,29,495,99,331,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F501da569d2b40fd1f218f16cf826ca93.jpg",[],{"id":39264,"slug":39265,"title":39266,"dynasty":18,"author":223,"museum":244,"description":39267,"tags":39268,"thumbUrl":39269,"material":173,"size":39270,"collection":84,"collections":39271,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},223897,"ru-lai-shuo-fa-tu-zhou-yi-ming-223897","如来说法图轴","宋人画如来说法图轴",[24,7,165,187,188,28,27,96,1364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf2466940de375a76b8c17a54ed9f62.jpg","188.1x111.3公分",[],{"id":39273,"slug":39274,"title":39275,"dynasty":18,"author":223,"museum":244,"description":39276,"tags":39277,"thumbUrl":39278,"material":39279,"size":39280,"collection":84,"collections":39281,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},223500,"za-ju-mai-yan-yao-tu-yi-ming-223500","杂剧卖眼药图","图上二位杂剧人物正在表演剧情，左边一人顶着高帽，身穿大袍，四周画满了一只眼的图案，右手高高抬起捏着一物向对方展示；右侧一人右手指眼，似患眼疾，正待用眼药治疗。此图是一幅年俗画，南宋时期宣传杂剧“眼药酸”而画，剧中人物女扮男装，装扮俏皮可爱。",[23,164,24,7,27,28,96,169,170,33150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6eea5d4be471969946b94ba501270ce.jpg","绢本，册页，设色","纵23.8厘米、横24.5厘米",[],{"id":39283,"slug":39284,"title":39285,"dynasty":18,"author":223,"museum":244,"description":39286,"tags":39287,"thumbUrl":39288,"material":514,"size":39289,"collection":84,"collections":39290,"showCount":321,"zanCount":1998,"manualWeight":48,"mainColor":72},223434,"song-tai-zong-li-xiang-zhou-yi-ming-223434","宋太宗立像轴","宋太宗赵光义（939年11月20日－997年5月8日），宋朝第二位皇帝（976年11月15日—997年5月8日在位）。本名赵匡义，后因避其兄宋太祖名讳而改名赵光义，即位后又改名赵炅。开宝九年（976年），宋太祖驾崩，赵光义继位。即位后使用政治压力，迫使吴越王钱俶和割据漳、泉二州的陈洪进于太平兴国三年（978年）纳土归附。次年亲征太原，灭北汉，结束了五代十国的分裂割据局面。两次攻辽，企图收复燕云十六州，都遭到失败，从此对辽采取守势。在位期间，采取治国驭将方针，明显地走上了“崇文抑武”的道路，并最终构成为宋朝“祖宗家法”的重要内容。 在位共二十一年，至道三年（997年），赵光义去世，谥号神功圣德文武皇帝，庙号太宗，葬于永熙陵。\n画像上太宗头戴幞头，黑鬓发，淡眉，微须，目光柔和，身着褎袖白袍，腹下束朱带，双手于胸部平放，脚穿皂纹靴而立。",[164,24,7,165,28,27,96,170,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc991137f15e1ca6a6c464ed8c2444a.jpg","纵74.5厘米横47.4厘米",[],{"id":39292,"slug":39293,"title":39294,"dynasty":182,"author":223,"museum":2594,"description":39295,"tags":39296,"thumbUrl":39297,"material":151,"size":39298,"collection":318,"collections":39299,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},223396,"tang-mo-lan-ting-xu-yi-ming-223396","唐摹兰亭序","这卷原托名为褚遂良所书《兰亭序》，正文质地为绢本，黄褐色，亦称“黄绢本”。这卷唐摹《兰亭序》，尽管看不出是哪一家的墨迹，却反映了初唐时期的书法风尚。\n卷前引首有明代著名书画家、鉴赏家董其昌题书“墨宝”二字（残存）。",[23,164,24,7,25,330,133,64,1590,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3875c37e8068d0dba2f56617e5948b96.jpg","24.5×65cm",[318],{"id":39301,"slug":39302,"title":39303,"dynasty":144,"author":223,"museum":244,"description":39304,"tags":39305,"thumbUrl":39306,"material":253,"size":39307,"collection":84,"collections":39308,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},223365,"liu-tang-bai-yan-tu-zhou-yi-ming-223365","柳塘白燕图轴","元代工笔画很少的，多的是水墨写意的文人画，其实元代画坛另一路已经走向极致的绘画语言就是写实艺术。 ​​​",[23,164,24,7,28,27,2372,32855,31382,81,82,303,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d166284910d93d3270e5a93502379d8.jpg","31.1×60.6",[],{"id":39310,"slug":39311,"title":39312,"dynasty":54,"author":33019,"museum":244,"description":39313,"tags":39314,"thumbUrl":39315,"material":253,"size":39316,"collection":136,"collections":39317,"showCount":321,"zanCount":1998,"manualWeight":48,"mainColor":72},222846,"hua-lin-lu-qiu-qing-zhou-hong-wu-222846","画林麓秋晴轴","弘旿（1743年－1811年），爱新觉罗氏，是清朝康熙帝二十四子允秘的次子，画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。生母为允秘的侧福晋殷氏，殷大成之女。他在乾隆八年癸亥九月三十日寅时生，乾隆二十八年（公元1763年）封二等镇国将军，乾隆三十九年（公元1774年）晋贝子，乾隆四十三年（公元1778年）因事革退，乾隆五十九年（公元1794年）封奉恩将军，嘉庆四年（公元1799年）又革退，嘉庆十四年（公元1809年）复封奉恩将军。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆帝对他笔墨的赞许。其《自题山水画册》诗，有疏朗、清越之韵律。工于书画，书兼四体，其山水画作得董邦达之妙谛，花木具有古朴陈香；治石印有元、明篆刻的风格。有《听泉图》、《板桥僧舍图》、《江山拱翠图》、《仿唐寅山水图》、《素濑松吟》等。乾隆五十七年（1792）和阮元、铁保等人游万寿寺，写《七松图扇》等。家富于藏书，藏书楼名“静寄轩”，嘉庆十六年（公元1811年）薨，享年68岁，有子7人。由第五子永松袭封奉恩将军。",[23,24,7,165,26,27,132,29,34,499,3387,1955,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3f990fb452e81332c9093c68f4898e5.jpg","120x22",[136,45],{"id":39319,"slug":39320,"title":39321,"dynasty":124,"author":15700,"museum":20,"description":39322,"tags":39323,"thumbUrl":39324,"material":1223,"size":39325,"collection":44,"collections":39326,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},222421,"wu-hou-gao-wo-tu-juan-zhu-zhan-ji-222421","武侯高卧图卷","从款中“宣德戊申”可知，此幅作于明宣德三年（1428年），是宣德皇帝赐予陈瑄的御作。当时陈瑄已六十有余，宣宗赐画给他的目的是激励他效法前贤为国鞠躬尽瘁。\n作品描绘的是诸葛亮出茅庐辅助刘备之前隐居南阳的形象。修竹丛下，诸葛亮坦胸露怀，头枕书匣，躺卧于草地上，神态安逸。\n整幅构图饱满，人物用“钉头鼠尾” 法描绘，线条洗练流畅，背景画竹林一片，笔墨潇洒，显示出相当高的绘画技巧。",[23,24,7,25,128,188,167,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F819d2965a332e5986283ad45900d2c5f.jpg","纵27.7厘米，横40.5厘米",[44,117],{"id":39328,"slug":39329,"title":39330,"dynasty":124,"author":26410,"museum":20,"description":39331,"tags":39332,"thumbUrl":39333,"material":1464,"size":39334,"collection":136,"collections":39335,"showCount":321,"zanCount":1998,"manualWeight":48,"mainColor":72},222055,"qing-xue-zhang-song-tu-zhou-zhang-rui-tu-222055","晴雪长松图轴","张瑞图书法、绘画兼精。书法得张旭、怀素神韵，与董其昌等并称“明末四大书家”，但其书法风格则迥异他人，风貌奇倔狂逸，后世称“瑞图书法奇逸，钟、王之外，另辟蹊径。”绘画则学黄公望，风格苍劲，点染清逸。他的画作大多是偶然兴至所作，故而传世作品甚少，其大幅画作特点是笔墨粗放，构景空疏。此图墨笔绘清泉细石，苍松之上落满积雪，全图面貌苍润，用笔皴染结合、勾点交错，笔力浑厚，足见张氏笔墨功力精到。\n本幅自题：“冻泉依细石，晴雪落长松。庚午春仲果亭图写”，钤“瑞图”朱文方印，“张长公”朱文方印。题字结体狂怪，笔画劲健纵逸，气韵外露，颇富“奇异”之态。据此，可知此图作于崇祯三年（1630），张瑞图时年60岁，正是他罢官遣归之年。图中题句出自杜甫诗《谒真谛寺禅师》。",[23,24,7,165,128,29,372,131,132,1556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F240a83fcfac08777dd0d323f10bb0e0e.jpg","纵136.3厘米，横43.3厘米",[136,117],{"id":39337,"slug":39338,"title":39339,"dynasty":124,"author":19056,"museum":26051,"description":39340,"tags":39341,"thumbUrl":39342,"material":514,"size":39343,"collection":68,"collections":39344,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},221918,"wu-se-shu-kui-tu-chen-gua-221918","五色蜀葵图","此画不拘于象的写法发挥至极致，其勾点皴擦，随心所欲，绝出尘象之外",[23,164,24,7,165,27,28,61,62,4018,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fd40f4d75edc248b6c82bca466a29ef.jpg","133X66.5cm",[68,45],{"id":39346,"slug":39347,"title":39348,"dynasty":144,"author":39349,"museum":244,"description":39350,"tags":39351,"thumbUrl":39352,"material":278,"size":39353,"collection":84,"collections":39354,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},221794,"luo-shen-tu-zhou-wei-jiu-ding-221794","洛神图轴","卫九鼎","该画以单一人物为主，意在突出洛神的灵韵。 画家以简率的淡墨刻划远景的山丘，使得江面益发显得空旷清新。幅中主要是用纤细绵长而柔韧的白描线条绘就，墨色轻淡，更衬托出主角人物的娴静幽雅，绝尘出世。辽阔江面上水纹波汤，蒸腾云气中冉冉升起一位白衣佳人在水一方，手持绘有山水图案的扇子，身形纤细窈窕，仪容端庄，繁复的衣纹圆柔婉转，衣带飞升飘扬。看她凌波微步，驾云御风而行，显然并非平凡的女子。从倪瓒的题字，知道画中人是因曹植所写的《洛神赋》而永垂不朽的理想女性美典型——洛神。传世诸多以《洛神赋》为题的画中，有的强调云龙随行、神奇壮观的叙事性场景",[24,7,165,188,128,96,166,29,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F360421bac69de8e240dd3bb2ce9169ff.jpg","90.8x31.8公分",[],{"id":39356,"slug":39357,"title":23870,"dynasty":144,"author":18589,"museum":244,"description":39358,"tags":39359,"thumbUrl":39360,"material":637,"size":39361,"collection":136,"collections":39362,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},221729,"gao-ting-tu-fang-cong-yi-221729","山峰突耸于云海之中，近景的峰顶设孤亭，一人沿山径向峰顶走去。画家画山水直接用破墨法晕染远处山石，再加以浓墨点缀，用简笔勾出山中云烟并留白，近处栈道山崖崖壁用浓墨湿笔施以大斧劈，再轻轻罩染。用笔草草，破墨山水墨气淋漓。从此图中可窥见董巨、米氏山水之风，兼有梁楷简笔、吴镇湿墨、马夏斧劈之韵。从其自识“纵笔写之”可看出其用书法笔意画写意山水的逸趣，这正贴合了元初赵孟頫倡导的“书画同源”的志趣。而这些正构成了方从义“纵逸”山水的风格。\n方从义曾在1343年到北方游历，不只结交许多高官文士，在其间获得名声，更饱览各地名山胜景，使他胸襟开阔，落笔不凡。同时代人对其画技，皆以潇散非世人所能及，明代画评家王世贞论其画与高克恭、倪瓒等人同列为“品之逸者也” 。如此幅钩云点苔，随意不羁，风格简逸，而山川精气更在水墨精微中见出，体现元代道士藉山水追求清静自然，心灵解脱之哲学，用笔草草，意境无穷。",[23,24,164,7,165,128,132,29,130,34,208,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F693e4c4c741ebf8c7d852d6aa0cb4a93.jpg","纵62.1cm，横27.9cm",[136,117],{"id":39364,"slug":39365,"title":39366,"dynasty":144,"author":13495,"museum":244,"description":39367,"tags":39368,"thumbUrl":39369,"material":59,"size":39370,"collection":84,"collections":39371,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},221696,"fang-ni-zan-hua-mo-zhu-zhou-gu-an-221696","仿倪瓒画墨竹轴","墨竹三竿，葉片在勁風吹拂下，飛揚搖曳，彷佛可以聽到呼嘯的風聲和葉片摩擦的聲音。前後兩竹，一濃一淡，好像隔了一層淡淡的霧氣，剛直秀勁中又有婀娜温婉之意。",[23,164,24,7,165,128,330,167,171,16820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc47784ae4659f6b95e770f86d3397a48.jpg","该幅93.5x52.3公分；全幅105.3公分",[],{"id":39373,"slug":39374,"title":39375,"dynasty":18,"author":16153,"museum":300,"description":22664,"tags":39376,"thumbUrl":39377,"material":27,"size":39378,"collection":42,"collections":39379,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},221660,"dan-lin-shi-yi-tu-xiao-zhao-221660","丹林诗意图",[23,164,24,7,1326,1349,27,132,29,34,1955,96,499,497,415,24950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F748026f20ec78e9dc7af37233ab41e7e.jpg","28x52",[42,136,45],{"id":39381,"slug":39382,"title":39383,"dynasty":18,"author":2067,"museum":20,"description":39384,"tags":39385,"thumbUrl":39386,"material":40,"size":39387,"collection":84,"collections":39388,"showCount":321,"zanCount":1998,"manualWeight":48,"mainColor":72},221598,"ji-chu-dai-si-tu-ye-li-di-221598","鸡雏待饲图页","本幅款识：“庆元丁巳岁李迪画。”“庆元丁巳”即宋宁宗庆元三年（1197年）。鉴藏印钤宋代“张则印”，明代“项元汴印”、“墨林秘玩”、“项墨林鉴赏章”、“神”、“品”等，又一朱文印模糊不辨。裱边钤清乾隆皇帝“太上皇帝之宝”、“八征耄念之宝”玺印2方。\n图绘两只雏鸡一卧一立，面朝同一方向，屏气凝神，仿佛听见母亲觅食的召唤，正欲奔去。画面描绘传神，将雏鸡嗷嗷待哺的情态表现得淋漓尽致，充分反映了温馨的农家情调。画家用黑、白、黄等细线密实地描绘出雏鸡毛绒的质感，生动地绘出鸡雏幼小可人的生动神态，体现了深厚的绘画功力。此图为李迪晚年所画，构图极其简洁，无任何背景相衬，却捕捉住了鸡雏回眸的刹那间神情，动人心弦。\n此幅与画家在前一年创作的《枫鹰锦鸡图》相比，在审美意趣上全然不同，前者展示的是和风细雨的婉约情调，后者则是张扬自然界生命相残的严酷氛围，由此可见李迪表现各种题材的能力。\n此图自民间入藏清内府后，雅好书画的乾隆皇帝除赏识其艺术造诣外，还从帝王角度联想到勤政爱民的治国之策。他于乾隆五十三年（1788年）临摹此件作品，并且喻令摹刻多份，颁赐给各省督抚，希望这些地方父母官将所辖地区的百姓视为图中的鸡雏，在处理政务时要“实心经理，勿忘小民嗷嗷待哺之情”。",[23,164,24,7,59,28,27,61,2510,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40efabd7d00ba834838d90b0ccf1737a.jpg","纵23.7厘米，横24.6厘米",[],{"id":39390,"slug":39391,"title":1230,"dynasty":18,"author":12759,"museum":161,"description":6601,"tags":39392,"thumbUrl":39394,"material":3785,"size":39395,"collection":42,"collections":39396,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},221584,"shan-shui-tu-li-an-zhong-221584",[23,24,164,7,29,128,132,331,1233,34,39393,5323],"孤树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F324e78d2ab5af18f329bc9f582365afc.jpg","33x34",[42,136,117],{"id":39398,"slug":39399,"title":39400,"dynasty":182,"author":5456,"museum":244,"description":39401,"tags":39402,"thumbUrl":39403,"material":39404,"size":39405,"collection":84,"collections":39406,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},221148,"lin-wang-xian-zhi-fei-niao-tie-juan-chu-sui-liang-221148","临王献之飞鸟帖卷","褚遂良临王献之《飞鸟帖》正书二十一行，麻纸本，纵二二公分，横四七.四公分。后有元柯九思、王守诚二跋，《石渠宝笈初编》有著录，原迹今藏台北故宫博物院。卷内钤有“绍兴”（宋内府）、“子固”（赵子固）、“欧阳玄”、“应召”（张应召），又项墨林及诸内府等收传印记。帖后有项墨林手书小字一行曰“唐褚遂良临晋王大令献之《飞鸟帖》项元汴真赏，其值……（下模糊不清）”。元人柯九思跋称其：“具有元常遗意，绝无宋人气，是唐无疑耳”。然献之之文既属荒诞，褚遂良临亦非真笔，唯运笔精敛，气韵高古。则此卷虽非褚氏真笔，亦不失为唐人妙迹。",[164,24,7,25,330,133,64,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F167a534360a4f83c33c8b431e70cafa6.jpg","手卷 纸本 水墨","22x47.4厘米",[],{"id":39408,"slug":39409,"title":39410,"dynasty":182,"author":223,"museum":300,"description":39411,"tags":39412,"thumbUrl":39413,"material":84,"size":84,"collection":318,"collections":39414,"showCount":321,"zanCount":1998,"manualWeight":48,"mainColor":72},221117,"fo-jing-bai-fu-yan-xian-yan-yi-ming-221117","佛经白佛言贤言","本作是典型唐代写经小楷，结体方正匀整，笔画精劲舒展，法度谨严却不失温雅灵秀。墨色乌亮莹润，历经岁月依旧澄澈明净，笔锋起落间尽显恭谨端严，藏着写经人虔诚的向佛之心。浅褐绫边搭配卷草纹镶饰，古朴雅致的装裱更衬经文静穆端庄的气韵，堪称唐人写经的上乘之作，将书法的笔墨意趣与佛门清寂禅意相融，尽显唐代抄经手扎实深厚的书法功底。",[23,24,7,64,7322,572,187,5459,4642,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1805b45ccac6ec8cd0d35a91c0cb25b4.jpg",[318],{"id":39416,"slug":39417,"title":39418,"dynasty":144,"author":569,"museum":510,"description":39419,"tags":39420,"thumbUrl":39421,"material":39422,"size":39423,"collection":68,"collections":39424,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},220892,"yin-ma-tu-zhao-meng-fu-220892","饮马图","浙江省博物馆举办的《守望千年：唐宋元书画珍品特展》将于明天闭幕，此展共展出浙江省博物馆和辽宁省博物馆36件国宝级书画珍品，其中就有元代赵孟頫的《饮马图》。\n赵孟頫是浙江吴兴(今浙江湖州)人，现在湖州建有“赵孟頫故居旧址纪念馆”。他身处宋末元初的历史时期，在中国传统书画艺术的领域中，继往开来，对于元代新的绘画高峰的开创、发展，作出了无与伦比的贡献，成为一个时代的画学宗师。辽宁省博物馆藏有6件赵孟頫的书画作品，这次选送4件精品参展。《饮马图》清时收入内府，溥仪在逊位前，以赏赐的名义盗运出宫，后藏于长春伪满洲国皇宫。日本投降后，溥仪携逃被截，上交东北文管会，后归东北博物馆(即今辽宁省博物馆)收藏。\n《饮马图》卷纵25厘米，横59.8厘米，纸本，水墨。图绘奚官饮马的情景：一奚官弯腰曲臂，双手提着满装饮水的木桶，吃力地向前移步。对面的木柱上系着一马，昂首抬腿，急不可待。场景极其生动。构图简练，无一赘物。勾线细劲圆润，略加晕染，无论人物的着装、神态，还是马匹的结构、动态，都十分地严谨，简洁，透出唐代鞍马画的优雅气息，给人以视觉享受，也可以从中感悟赵孟頫“作画贵有古意。若无古意，虽工无益”的艺术追求。他对自己的鞍马画很有信心，“自谓不愧唐人”。\n唐代是我国传统人物画的鼎盛时期，当时画山水还只是作人物画的背景，稚拙而未完善。五代、北宋，山水画渐趋成熟，进入元代，绘画的主流转向山水画，名家辈出，形成又一座高峰。但人物画和花鸟画相形冷落。赵孟頫年轻时显然钟情于鞍马画，于是慨叹道：“宋人画人物不及唐人远甚。予刻意学唐人，殆欲尽去宋人笔墨。”赵孟頫这里指责的，是他年轻时亲身感受的南宋宫廷画院的院体绘画，如他陈述：“今人但知用笔纤细，傅色浓艳，便自为能手。殊不知古意既亏，百病横生，岂可观也。”南宋确实也很少鞍马画传世。那么我们再来欣赏传世的赵孟頫的鞍马画，如北京故宫博物院的《人骑图》、《浴马图》、《秋郊饮马图》，纽约大都会博物馆的《人马图》，台北故宫博物院的《调良图》，加上这幅《饮马图》等，可以大致看到赵孟頫鞍马画的风格，体会赵孟頫崇尚的“古意”所在。赵孟頫自述：“吾所作画，似乎简率，然识者知其近古，故以为佳。”\n一个是“虽工无益”，一个是“似乎简率”。我想，这就是宣告从宋的写实转向元的写意的一场绘画革新的展开。",[23,24,7,25,128,28,101,96,208,64,133,938,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad93279af47ffd0b84592f068b874842.jpg","纸本设色，手卷","900×26cm",[68,45],{"id":39426,"slug":39427,"title":39428,"dynasty":144,"author":569,"museum":11143,"description":39429,"tags":39430,"thumbUrl":39431,"material":611,"size":39432,"collection":318,"collections":39433,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},220882,"gui-qu-lai-ci-juan-hua-xin-zhao-meng-fu-220882","归去来辞卷画芯","自东晋陶渊明的一曲《归去来辞》问世以来，为历代文士所雅好。赵孟頫以宋室后裔入仕元朝，在其任官期间许多次以真、行书写过此篇，其归隐思乡情绪全在其中。\n此卷书于元延佑五年，即1318年，是年赵孟頫六十五岁。\n全篇以行、楷为主，偶参草书，笔法秀媚典雅，苍劲浑厚，结构严密，用笔婉转停匀，具有晋人风范。",[23,164,24,7,25,133,188,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58edf3bc226e67307b138bb359553070.jpg","纵48厘米，横455厘米",[318],{"id":39435,"slug":39436,"title":39437,"dynasty":144,"author":569,"museum":510,"description":39438,"tags":39439,"thumbUrl":39440,"material":39441,"size":39442,"collection":44,"collections":39443,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},220872,"hong-yi-xi-yu-seng-tu-juan-zhao-meng-fu-220872","红衣西域僧图卷","《红衣罗汉图》重彩画一红衣僧人，头上有光环，坐于大树下，满头深褐色短发，络腮胡须浓密，鼻子隆起，耳佩金环，目光深邃，皮肤黝黑，寿眉朱唇，座下铺朱红毛毡，身傍置一双红色僧鞋，面带微笑，表情静穆而慈祥，左手伸出，手心向上。\n《红衣罗汉图》是借悼念去逝的萨迦派帝师胆巴之名， 隐喻正在萨迦大寺做总持的故宋恭帝（瀛国公），以寄托画家内心的哀婉情思\n《红衣罗汉图》，全画无论人物、衣饰、树石，均用勾勒法，其风格并非写实，而系仿古手法。\n《红衣罗汉图》绘一红色袈裟的僧人，盘膝端坐在嘉树下的坡石上。此僧浓眉深眼，大鼻隆突，胡须络腮，肤色黝黑，一看就不像是汉人。其目光深邃，面容慈祥，左手向前平伸，掌心向上，右手抱入红衣之内，身后藤蔓缠绕着菩提树。似在说法布道，而头后有光环，则显示此僧已经得道修成，是一个了脱生死的罗汉了。这不是一个普通的僧人，而是一个来自印度的罗汉。\n赵孟頫在元初画坛中，无论在画艺上或理想上，都居于领导地位。他提倡古意之说。主要是以为南宋晚年，画风过于浮薄，于是提倡古意，从古画中吸取古人写真实人物牛马山水精神，而再创出新的作风。人物画到了宋代，其重要地位已为山水画代替。但到了元初，赵孟頫，钱选等仍希望从魏晋以来的古画中，吸取其传统的精神，而开创新的道路。《红衣罗汉图》就代表了赵孟頫及元初复古过程中的一个重要阶段。\n赵孟頫长时期提学江南，南宋的故国山河实在太容易使他这样的宗室后裔触景生情，浮想连翩，远在西南做萨迦寺总持的灜国公，也使他同样难以忘怀。转辗传来的萨迦方面的消息，不管是直接的或间接的与少帝有关，都会在赵孟頫的心头激起波澜，当他闻知曾与瀛国公有来往的胆巴喇嘛过世时，就情不自禁地挥动起画笔，以唐人的古意为准范，借西域僧的形象，一吐心中的情愫。\n红衣袈裟是萨迦派喇嘛的象征，背景中小青绿的树石，将此鲜红的记号衬托得更为夺目。尤其是赵孟頫对喇嘛手印的处理，似乎亦有寓意。左手掌平直伸出，大拇指贴掌微翘，罗汉的手印，此“吉尼印”，取外道邪法之意，修其法者得自在之通力。赵孟頫的方外好友释大诉好象通晓此义，故以“岩石宁须着幼奥，陵烟不必求诸将”的典故隐喻之。这是一种对大唐盛世的追慕来补偿眼前赵宋皇帝无可奈何的境遇，对赵孟頫和释大诉来说，瀛国公无疑是《红衣罗汉图》名实关系中最终亮相的主角了。\n《红衣罗汉图》中，僧盘腿而坐，全身披红衣，仅胸部稍露，胸毛甚多。此外其左手伸出，掌向上。以印度之手势而言，当为施恩之意。僧头部之背后，有光环，表示此僧已成罗汉。僧座石上，眥后亦有大石数堆，并有一大树，枝开两旁，一部分树叶垂下；全画中，罗汉之衣及坐下之兽皮与脚下之皮履，均为红色；地下及石块，均用青绿，树干则用褐色。全画无论人物衣饰、树石，均用勾勒法，其风格井非写实，全系仿古。\n《红衣罗汉图》与前代的一些作品相比，也具有明显变化：人物采用工笔画法，衣纹用遒劲圆畅的中锋作铁线勾描，洋红底上晕染朱砂，色彩效果鲜艳而厚重。背景采用小青绿山水的画法，地面和石头以较细而灵活的线条勾出轮廓，每以干笔侧锋作粗略的麻点皴，在浅草绿底色上薄薄地晕染一层石绿，地面凹陷处，轻扫几笔淡赭色，而在僧人背后，则画了一棵根深叶茂、古藤缠绕的大树。树和藤的画法染色，又与坡石不同，更显得古拙而苍秀。树根、石缝以及石头与地面相接处，均以墨绿色剔画小草十数丛，穿插其间，笔笔见力，起到一种统一协调的作用。僧人前边，又画小花两株，亦用双勾法，花着洋红，茎叶染石绿，看上去画法似不甚经意。\n《红衣罗汉图》把人物画与山水画的技法结合起来，在色彩运用和线条的变化等方面进行大胆的尝试，充分发挥出了自己的特长，为研究者研究元代的重彩人物画，提供了宝贵的资料。",[23,24,7,25,27,28,187,96,413,131,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F933dfda15f02d818beff78391ced69d4.jpg","纸本，手卷，设色","（画心）纵25.7厘米、横51.3厘米；（全卷）纵31厘米、横168.2厘米。",[44,45],{"id":39445,"slug":39446,"title":39447,"dynasty":980,"author":3539,"museum":9668,"description":39448,"tags":39449,"thumbUrl":39452,"material":84,"size":84,"collection":84,"collections":39453,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},220532,"e-mei-gu-si-xu-bei-hong-220532","峨眉古寺","以浓墨绘就古松，笔力沉厚雄健，虬干舒展撑立画面，松枝层叠苍劲，尽显山林古木的莽然生机。粉墙黛瓦的古寺悄然隐于林间，浅赭淡彩晕染院墙，门洞幽邃，自带沉静禅意。墙侧暖黄枝叶轻缀，暖调破了水墨的冷寂，晕出融融秋意。远景以淡墨轻染山影，留白铺就空濛悠远的意境，将古寺藏于深翠的清幽禅意尽数铺展。画作融写实工稳与写意空灵于一体，利落笔墨勾勒物象形神，晕染烘托山野静穆之气，揉合林泉古寺的灵秀空寂与山野生机，清雅旷远，尽显蜀中林麓的悠然意趣。",[24,7,128,27,39450,372,34,758,39451],"寺","红墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6592e9399c044a5524ca479a7e15116d.jpg",[],{"id":39455,"slug":39456,"title":39457,"dynasty":980,"author":3539,"museum":3540,"description":39458,"tags":39459,"thumbUrl":39460,"material":84,"size":84,"collection":84,"collections":39461,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},220525,"huang-zhen-zhi-xiang-xu-bei-hong-220525","黄震之像","此作将写实精微与写意意趣熔于一炉，笔情墨趣间尽显文人风骨。\n画家以细腻笔触勾勒传主容貌，鬓边霜色、面部纹路皆细致晕染，把文人温雅沉静的神态精准定格。宽袍长衫以写意笔墨铺就，苍劲松枝顶天立地，暗合传主刚直品格；篱畔秋菊与幽竹错落点缀，晕开悠然清寂的意境。\n中西技法相融，打破传统肖像的陈规，传神写真与寄情抒怀合二为一，在写实的真切质感之外，晕染出传统笔墨的诗意余韵，将文人冲淡自持的精神风骨凝于画间。",[23,24,7,165,27,128,96,331,604,171,6640],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24b6bf1a5072c1e72fed543fb949df29.jpg",[],{"id":39463,"slug":39464,"title":39465,"dynasty":144,"author":22335,"museum":244,"description":39466,"tags":39467,"thumbUrl":39468,"material":66,"size":39469,"collection":136,"collections":39470,"showCount":321,"zanCount":1998,"manualWeight":48,"mainColor":49},219926,"qiao-mu-shan-zhuang-tu-chen-ru-yan-219926","乔木山庄图","陈汝言（1331-1371年），元末明初画家、诗人。字惟允，号秋水，先世系本蜀阆州（今四川阆中市）人，后居江西南康，父陈征流寓吴中，遂为吴县人。 能诗，擅山水，兼工人物。与兄陈汝秩（字惟寅）齐名，时人呼为大髯小髯。\n陈汝言画山水远师董源、巨然，近宗赵孟頫、王蒙，行笔清润，构图严谨，意境幽深。与王蒙契厚，传说王蒙在泰安时，曾面泰山作画，随兴所至，不时加笔，一幅图画了三年。陈汝言正巧来访，时遇大雪，他便用小弓挟粉笔弹在画上，将图改作雪景。王蒙叫绝，以为神奇，遂改题为《岱宗密雪图》。",[24,7,25,128,132,29,663,37,34,35,208,38,99,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7c27c974c825234b28d9272c4efdeff.jpg","本幅 24.3×65.4",[136],{"id":39472,"slug":39473,"title":1109,"dynasty":144,"author":7649,"museum":56,"description":20802,"tags":39474,"thumbUrl":39475,"material":151,"size":39476,"collection":68,"collections":39477,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},219638,"zhu-shi-tu-ke-jiu-si-219638",[23,24,7,164,1131,128,167,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ed570f5ae80a8cf1f11fe236660d293.jpg","纵28.4厘米，横25.1厘米",[68],{"id":39479,"slug":39480,"title":39481,"dynasty":54,"author":39482,"museum":450,"description":39483,"tags":39484,"thumbUrl":39485,"material":173,"size":84,"collection":44,"collections":39486,"showCount":321,"zanCount":1998,"manualWeight":48,"mainColor":49},219559,"yu-jia-miao-e-tu-min-zhen-219559","渔家媌娥图","闵贞","垂柳依依拂过空蒙水岸，将江南水乡的柔婉晕染开来。画中渔女荷秤伫立，衣袂线条简劲爽利，带着写意的疏朗，却把渔家劳作后的倦怠质朴刻画入微。人物面部晕染柔和，神情恬淡安然，静望着烟水澹澹的江天，仿佛正等候归船。\n\n背景以淡墨虚化远山，柳枝细笔密叶写出，繁而不乱，与人物的简淡形成虚实对比，烘托出幽寂清旷的氛围。整作以水墨写就，墨色干湿浓淡层次分明，尽显文人写意雅致，又饱含烟火情味，将平凡渔家日常升化为诗意图景，在简淡笔墨间蕴藏悠悠江南意趣。",[23,24,7,165,188,96,166,331,171,4363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d3e252e59b1f535e258aa0277d37b52.jpg",[44],{"id":39488,"slug":39489,"title":39490,"dynasty":144,"author":223,"museum":244,"description":39491,"tags":39492,"thumbUrl":39493,"material":151,"size":39494,"collection":136,"collections":39495,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},219492,"qiu-shan-tu-zhou-yi-ming-219492","秋山图轴","危崖层叠高耸，以干笔皴擦勾绘山石肌理，浓墨点苔醒出苍劲质感，留白铺陈云雾，将上下景境轻隔，铺就空濛辽远的秋山底色。山涧飞泉垂落，撞碎岑寂。近岸处苍松交柯、红叶点染，秋意漫溢林泉。水畔茅亭临波，白衣二人策杖晤谈，林下闲逸尽落画卷。\n笔墨糅合干皴湿染，既刻画出丘壑静穆之态，又晕开秋日山岚的氤氲柔韵，将山川灵秀与文人寄情林泉的雅怀相融，尽显简淡萧散的林下意趣。",[24,7,165,128,132,29,34,495,37,130,96,131,1144,6639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37dad853c0db062ff1df66acbf38cd7f.jpg","115.3x36.9公分，全幅58公分",[136],{"id":39497,"slug":39498,"title":39499,"dynasty":18,"author":223,"museum":56,"description":26518,"tags":39500,"thumbUrl":39501,"material":173,"size":26521,"collection":44,"collections":39502,"showCount":321,"zanCount":1998,"manualWeight":48,"mainColor":49},219449,"ying-luan-tu-yi-ming-219449","迎銮图",[164,24,7,25,28,27,96,101,34,131,7824,191,7069,192,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45c505d6dabe982edce0ab1aacf74d41.jpg",[44],{"id":39504,"slug":39505,"title":39506,"dynasty":54,"author":5879,"museum":244,"description":39507,"tags":39508,"thumbUrl":39509,"material":278,"size":39510,"collection":44,"collections":39511,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},219390,"shou-xing-zhou-hua-yan-219390","寿星轴","长髯垂拂，宽袍曳地，老者持杖安坐，眉目间尽是悠然超脱。墨线婉转如流水，衣褶以淡墨轻晕，虚实相济中见出闲散风骨。题跋文字与画像相映成趣，文气与画境浑然一体，似可闻松风过耳，见云影悠悠。不事雕琢却意韵悠长，将寿星的仙逸之态与文人的旷达情怀融于笔端，简淡笔墨里藏着清灵之气，读来让人忘俗。",[24,7,165,128,188,96,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F031b572da656ae0597a2b21f63ec5bd2.jpg","178.3x93.9",[44],{"id":39513,"slug":39514,"title":39515,"dynasty":54,"author":21575,"museum":20,"description":39516,"tags":39517,"thumbUrl":39518,"material":173,"size":39519,"collection":68,"collections":39520,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},219343,"jin-yun-zhui-tu-ai-qi-meng-219343","锦云骓图","绢本之上，骏马静立却藏矫健之姿。白褐相间的毛色如锦云裁缀，晕染间显西洋光影之妙，线条勾勒又含东方工笔之精。鬃毛纤毫毕现，似有风掠过；尾梢垂落如瀑，暗蕴沉实力度。马目圆睁神凝，肌肉线条隐于细腻笔触下，既见体格之健硕，更显灵性之鲜活。背景素净无华，恰以留白衬出主体的雍容生动。整幅画融中西技法于一炉，既承传统鞍马画的气韵风骨，又添写实求真的细腻质感，将骏马的神骏与优雅尽展纸上，堪称清代鞍马图中兼具技艺与意趣的精品。",[23,164,24,7,28,27,101,949,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1fde2ff5f4c2ca6c9075550a4f9c5b2.jpg","纵229横276厘米",[68,45],{"id":39522,"slug":39523,"title":39524,"dynasty":124,"author":223,"museum":1941,"description":39525,"tags":39526,"thumbUrl":39528,"material":173,"size":39529,"collection":68,"collections":39530,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},219267,"cang-lu-tu-yi-ming-219267","苍鹭图","棕褐底色如岁月晕染的笺纸，铺展一派静谧。苍鹭身姿闲雅，一者昂首引颈，喙尖似欲触碰风的纹理；一者敛翅依偎，绒羽软润如凝露。几茎青绿芦苇斜逸而出，叶尖轻颤，为沉敛色调注入鲜活气息。水面涟漪隐现，萍藻点点，似有细浪无声漫过。笔触细腻处，羽毛的绒感与芦苇的韧劲相映，写意间藏着自然的温情与野趣，将瞬间的宁静定格成永恒的恬淡。",[24,7,165,28,27,9893,1771,228,39527],"荷塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8b251d6b4a971245fde4fe36122468.jpg","纵99横43.2厘米",[68],{"id":39532,"slug":39533,"title":39534,"dynasty":144,"author":223,"museum":244,"description":39535,"tags":39536,"thumbUrl":39537,"material":173,"size":39538,"collection":68,"collections":39539,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},218784,"bai-xiang-yan-qing-zhou-yi-ming-218784","百祥衍庆轴","红衣人物骑羊缓行，衣袂轻扬间透着悠然意趣。群羊或奔或卧，或抵角嬉戏，姿态鲜活如临其境，百只灵畜聚首暗合“百祥”之寓。苍松虬劲，枝桠舒展如盖；梅枝疏影横斜，点点花苞隐现，为画面添了几分清逸古雅。整幅画以灵动笔触绘就一派吉庆祥和的盛景，松梅相映衬出衍庆绵长，尽显传统民俗中对美好生活的殷殷祈愿，笔墨间藏着岁月沉淀的温润与厚重，将质朴的祝福凝于绢素之上，流转千年仍动人心弦。",[24,7,165,27,28,96,949,372,371,4057,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04ccc5d8dab1d863025e1345af25e34f.jpg","102.9x65cm",[68],{"id":39541,"slug":39542,"title":39543,"dynasty":18,"author":223,"museum":2542,"description":39544,"tags":39545,"thumbUrl":39546,"material":173,"size":39547,"collection":136,"collections":39548,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},218634,"zhang-song-lou-tai-tu-yi-ming-218634","长松楼台图","长松倚崖而立，虬干如铁，松针密簇，苍劲中藏秀逸之态。山间楼阁隐于林麓，飞檐翘角，廊柱分明，尽显匠作之精。远山层叠，云雾轻萦，墨色由近及远渐淡，留白处意蕴悠长。近景山石皴法细腻，纹理毕现；远景写意晕染，天地清旷。笔墨刚柔相济：树石之劲健与云雾之轻柔相映，楼台之工整与山水之雄浑相衬。画面静谧悠远，似有松涛穿林，山风拂檐，将宋时文人对自然的眷恋凝于尺幅。虽为小品却含大气象，尽显“天人合一”的审美意趣，笔墨间藏着宋画独有的清旷与雅致，观之如临幽境，忘尘俗之扰。",[23,24,7,1131,27,95,29,1144,97,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24d5aa0817149a9d7ed920480d9f97cf.jpg","24.8x23.5",[136],{"id":39550,"slug":39551,"title":39552,"dynasty":18,"author":223,"museum":77,"description":39553,"tags":39554,"thumbUrl":39555,"material":173,"size":84,"collection":136,"collections":39556,"showCount":321,"zanCount":1998,"manualWeight":48,"mainColor":49},218595,"ye-zhou-heng-du-tu-yi-ming-218595","野舟横渡图","河道上长满了树木和茅草屋，河中停泊着两艘中型单桅帆船，下层是客舱，上层是货物，这是从南宋到元朝初期江南地区普遍使用的。",[164,24,7,1131,27,132,29,129,99,331,131,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec54b00cf7d69cffe6cbb08e458f926.jpg",[136],{"id":39558,"slug":39559,"title":39560,"dynasty":124,"author":39561,"museum":450,"description":39562,"tags":39563,"thumbUrl":39564,"material":173,"size":39565,"collection":136,"collections":39566,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},218505,"shan-shui-tu-zhan-dao-heng-lv-wang-duan-218505","山水图（栈道行旅）","王端","这幅画描绘了危桥险路，商人行色匆匆，山高水险，蜀道难，难于上青天。树干上刻有 王端造字样，其笔法以郭熙的笔法为基础，并参考了王蒙的方法。",[23,24,7,165,128,132,29,6290,2620,131,34,1337,495,98,99,1515,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F809626f0514a46b69b38d7c1727dc236.jpg","178.4x48cm",[136],{"id":39568,"slug":39569,"title":39570,"dynasty":124,"author":1058,"museum":450,"description":3169,"tags":39571,"thumbUrl":39572,"material":173,"size":3172,"collection":84,"collections":39573,"showCount":321,"zanCount":1998,"manualWeight":48,"mainColor":49},218344,"ren-wu-gu-shi-ce-5-tang-yin-218344","人物故事册-5",[23,24,7,59,27,96,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59c8051ecf044fbabbdf8d061fea5bd2.jpg",[],{"id":39575,"slug":39576,"title":39577,"dynasty":54,"author":523,"museum":450,"description":30130,"tags":39578,"thumbUrl":39579,"material":173,"size":30133,"collection":84,"collections":39580,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},218336,"shen-xian-gu-shi-tu-ce-3-leng-mei-218336","神仙故事图册-3",[23,24,7,59,28,27,96,950,413,949,187,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71d868c90b4a5cfb55ce8fe0fb510ec9.jpg",[],{"id":39582,"slug":39583,"title":39584,"dynasty":124,"author":802,"museum":224,"description":22521,"tags":39585,"thumbUrl":39586,"material":173,"size":84,"collection":84,"collections":39587,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},218027,"za-hua-ce-4-chen-hong-shou-218027","杂画册-4",[24,7,59,27,96,171,208,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F519b336f0533ab73ca5961d7157e7f06.jpg",[],{"id":39589,"slug":39590,"title":39591,"dynasty":18,"author":39592,"museum":1941,"description":39593,"tags":39594,"thumbUrl":39595,"material":278,"size":39596,"collection":44,"collections":39597,"showCount":321,"zanCount":1998,"manualWeight":48,"mainColor":72},217974,"shi-liu-ying-zhen-tu-fan-long-217974","十六应真图","梵隆","本卷采用李公麟的白描风格，描写了16罗汉的境界，每一种境界都通过他所达到的三昧而表现出不同的奇异境界。",[23,24,7,188,187,96,1144,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F882d16fbc634607e2716bf2bb96a0708.jpg","30.5x1062.5",[44],{"id":39599,"slug":39600,"title":39601,"dynasty":124,"author":204,"museum":300,"description":2216,"tags":39602,"thumbUrl":39603,"material":173,"size":84,"collection":84,"collections":39604,"showCount":321,"zanCount":1998,"manualWeight":48,"mainColor":49},216284,"er-shi-si-xiao-tu-9-chou-ying-216284","二十四孝图-9",[164,24,7,59,28,27,96,101,131,5626,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32894195a642c7cf199c48858abc7ce7.jpg",[],{"id":39606,"slug":39607,"title":10883,"dynasty":54,"author":39608,"museum":244,"description":39609,"tags":39610,"thumbUrl":39611,"material":278,"size":39612,"collection":318,"collections":39613,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":72},214246,"xing-shu-qi-yan-lian-qian-feng-214246","钱沣","墨色沉厚如古铜铸字，笔锋顿挫间暗合颜鲁公遗韵。“清德”二字端正如君子垂拱，撇捺舒展似怀抱坦荡；“高文”笔势开张，横画若梁架稳实，竖笔如孤峰耸峙。每一字骨力内蕴，结体方正却不板滞，如老松盘曲而枝干遒劲。笔画牵丝映带藏灵动，墨色浓淡转合显匠心——重处坠石崩云，轻处流云绕岫。联中气息连贯，左顾右盼自成章法，既承颜体沉雄气象，又融钱氏清劲风骨。文辞与笔墨相融，“三益友”的谦冲、“百家书”的豪迈，皆化入点画：或如朗月照襟，或如长风振卷。读来如晤古贤，见其磊落襟怀与翰墨才情，墨香里淌着文人的清正与旷达。",[23,24,7,64,133,10886,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F812f029a967f7f64b22a22a7b106d4f9.jpg","131.2x29.4",[318],{"id":39615,"slug":39616,"title":39617,"dynasty":144,"author":410,"museum":244,"description":21954,"tags":39618,"thumbUrl":39620,"material":278,"size":6073,"collection":84,"collections":39621,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},290416,"hua-xi-yu-yin-zhou-wang-meng-290416","花溪渔隐轴",[164,24,7,165,128,29,132,99,129,4438,4605,1351,64,208,39619],"溪涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5204529040d8f0ef17bf6db6a77301ce.jpg",[],{"id":39623,"slug":39624,"title":39625,"dynasty":144,"author":569,"museum":300,"description":27930,"tags":39626,"thumbUrl":39627,"material":692,"size":1293,"collection":84,"collections":39628,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},290413,"shan-shui-tu-juan-wei-zhao-meng-fu-290413","山水图卷（伪）",[23,24,7,25,26,27,29,149,35,34,13640,4605],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff568bd01744e2038c0a18a7d77628d07.jpg",[],{"id":39630,"slug":39631,"title":39632,"dynasty":144,"author":1208,"museum":300,"description":34252,"tags":39633,"thumbUrl":39634,"material":692,"size":1293,"collection":84,"collections":39635,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},290266,"xiao-shan-shu-lin-tu-ke-luo-ban-ni-zan-290266","小山疏林图（珂罗版）",[23,24,164,7,128,29,331,171,130,208,64,454,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6068a25a99e08d7d93bc7a1734380a3c.jpg",[],{"id":39637,"slug":39638,"title":39639,"dynasty":54,"author":39640,"museum":300,"description":39641,"tags":39642,"thumbUrl":39643,"material":692,"size":1293,"collection":84,"collections":39644,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},289907,"qing-mou-cheng-shan-yu-fei-an-289907","情眸成扇","于非闇","于非闇（1889年3月22日—1959年7月3日），原名于魁照，后改名于照，字仰枢，别署非闇，又号闲人、闻人、老非，近现代中国画家。原籍山东蓬莱，出生于北京，自幼得书画家传。1912年入师范学校学习，后任教于私立师范校、私立华北大学美术系。兼任古物陈列所附设国画研究馆导师。1935年起专攻工笔花鸟画。1949年后历任中央美术学院民族美术研究所研究员、北京中国画研究会副会长、北京画院副院长。作品有《玉兰黄鹂》、《丹柿图》、《牡丹鸽子》等。著有《非闇漫墨》、《艺兰记》、《中国画颜料研究》、《我怎样画花鸟画》。",[1131,24,7,28,27,61,211,481,171,817],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff863da702831d1f54c9cc95d7ee7ffae.jpg",[],{"id":39646,"slug":39647,"title":10195,"dynasty":351,"author":39648,"museum":244,"description":39649,"tags":39650,"thumbUrl":39651,"material":317,"size":39652,"collection":84,"collections":39653,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},289122,"feng-zhu-tu-li-po-289122","李坡","李坡，五代南唐画家。坡，一作便，或作波，南昌（今属江西）人。善画竹，不以纤巧琐细见长，多放情任性，随意落笔，便有生意。画迹有《折竹》、《风竹》、《冒雪疏篁》等图，与刘彦济、施璘、丁谦以墨竹而驰于五代。传世作品仅有《风竹图》。",[24,7,128,167,9404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c8fcc42d47bc4ad7a70d10723fa9f4.jpg","131.2x91.5",[],{"id":39655,"slug":39656,"title":9371,"dynasty":18,"author":397,"museum":300,"description":16463,"tags":39657,"thumbUrl":39658,"material":692,"size":1293,"collection":84,"collections":39659,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},288956,"bai-ying-tu-zhao-ji-288956",[164,24,7,165,27,61,28,24468,171,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b31fb1ae009684631e3ecc0386711a8.jpg",[],{"id":39661,"slug":39662,"title":21554,"dynasty":18,"author":3110,"museum":300,"description":39663,"tags":39664,"thumbUrl":39666,"material":692,"size":1293,"collection":84,"collections":39667,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},288729,"yuan-pu-gui-fan-tu-mu-xi-288729","法常，南宋画家。僧，号牧溪，蜀（今四川）人，生卒年不详，其艺术活动主要约在13世纪60－80年代之际。薜居下（乾德初兵部侍郎）之后，宣和间在长沙出家，南宋理宗、度宗时为临安（今杭州）长庆寺僧，与日僧圆尔辨圆（1202—1280）同为径山无准禅师（1178—1249）之法嗣。性英爽，嗜酒。正义爱国，敢于语伤奸相贾似道，遭追捕后，避祸于绍兴丘氏家。至元朝，在天台山万年寺圆寂。法常既是位佛教阐扬者，又是位天才画家。工山水、佛像、人物、龙虎、猿鹤、禽鸟、树石、芦雁等，皆能随笔写成，极有生决心书，墨法蕴藉，幽淡含蓄，形简神完，回味无穷。他继承发扬了石恪、梁楷之水墨简笔法，对沈周、徐渭、八大、“扬州八怪”等均有影响。虽在生时受冷遇，却开后世文士禅僧墨戏之先河，并对日本水墨画之发展产生巨大影响，被誉为“日本画道之大恩人”。",[23,164,24,7,25,128,29,129,331,21559,2619,39665],"雾霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd72a6c21acecbf019c1048b0e1f9f786.jpg",[],{"id":39669,"slug":39670,"title":39671,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":39672,"thumbUrl":39673,"material":692,"size":1293,"collection":84,"collections":39674,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},288212,"gu-mu-chui-yin-shen-se-shi-tao-288212","古木垂荫（深色）",[23,164,24,7,165,128,27,29,4797,131,99,130,98,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc8a7850faaf974bb88b01aee62393cc.jpg",[],{"id":39676,"slug":39677,"title":33922,"dynasty":222,"author":5456,"museum":39678,"description":39679,"tags":39680,"thumbUrl":39682,"material":692,"size":1293,"collection":84,"collections":39683,"showCount":282,"zanCount":1998,"manualWeight":48,"mainColor":956},287769,"yue-yi-lun-chu-sui-liang-287769","西安碑林博物馆","此作为泥金小楷，笔致灵动秀雅，点画温润舒展，结体方正宽博又暗含飘逸之姿，尽显初唐楷书尚法又不失气韵的特质。书写时笔势牵丝映带精妙细微，可见运笔流畅自然，既承袭魏晋小楷的古雅意趣，又融褚书标志性的空灵雅致，刚柔并济。黑底泥金相衬，更衬出字迹华贵隽秀，字里行间尽显书写者精湛笔力与从容心境，将文本质感与书法美学相融，是小楷上乘之作，尽显楷书清逸端雅之美。",[64,7,164,572,8448,1590,39681,25],"金书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F154d4cc6c303c805afe17c6da45b8e72.jpg",[],{"id":39685,"slug":39686,"title":7162,"dynasty":182,"author":3529,"museum":244,"description":39687,"tags":39688,"thumbUrl":39689,"material":514,"size":1293,"collection":84,"collections":39690,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},287704,"xi-ma-tu-han-gan-287704","韩干，唐画家。京兆蓝田（治今陕西西安）人。相传年少时曾为酒肆雇工，经王维资助，学画十馀年而艺成。擅绘肖像、人物、鬼神、花竹，尤工画马，曾师曹霸而重视写生。经历唐玄宗年间，被召入宫封为“供奉”。此后专跟宫中画马名家陈闳学习画，但进展不太显著，后来韩干改变只临摹不写生的方法，经常到马厩里去，细心观察马的习性，对比找出马的性格特征，找出马的动作规律，并把各种各样的马记录在案。日子久了，人们对韩干经常进入马厩，甚至搬到马厩里和饲养人一起住感到奇怪。韩干回答说：“我学习画马，马厩里所有的马都是我的老师”。为了深入了解马的习性，他常痴呆地观察上几个时辰，把别的画家不了解的具体细节都弄得清清楚楚，并牢记心上。这样时间久了，马的各种体貌，奔跑雄姿，千变万化的动态，作画之时自然而然就展现在纸上。所以人们都称赞韩干笔下的马是能跑动的马。",[23,24,7,96,101,28,27,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeba3b5ac63eeb38d707e63aad4facfc.jpg",[],{"id":39692,"slug":39693,"title":20347,"dynasty":124,"author":15464,"museum":300,"description":39694,"tags":39695,"thumbUrl":39696,"material":692,"size":1293,"collection":84,"collections":39697,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},287609,"shan-shui-tu-zhou-xie-shi-chen-287609","谢时臣，明代画家，字思忠，号樗仙，吴（今江苏省苏州市）人。谢时臣工山水，师法吴镇， 得沈周笔意而稍变。多作长卷巨幛，峰峦雄伟。尤善画水，江河湖海，种种皆妙。笔墨纵横自如，富有气势，介乎戴进和沈周之间。唯刻画不 够精微，殊少秀韵。",[23,164,24,7,165,128,132,29,97,98,99,130,131,34,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9527df7914879b235439099ab530acc9.jpg",[],{"id":39699,"slug":39700,"title":39701,"dynasty":144,"author":569,"museum":300,"description":27930,"tags":39702,"thumbUrl":39703,"material":692,"size":1293,"collection":84,"collections":39704,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},287594,"da-mo-xiang-zhao-meng-fu-287594","达摩像",[24,164,7,165,27,96,187,18381,36394,9613,1233,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F842000dac36974746103e8165992823e.jpg",[],{"id":39706,"slug":39707,"title":19944,"dynasty":144,"author":287,"museum":300,"description":24204,"tags":39708,"thumbUrl":39709,"material":692,"size":1293,"collection":84,"collections":39710,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},283618,"li-hua-tu-qian-xuan-283618",[23,24,164,25,7,61,1188,133,64,208,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c47c67343792d97cc1609ddfe962a6c.jpg",[],{"id":39712,"slug":39713,"title":39714,"dynasty":54,"author":223,"museum":300,"description":39715,"tags":39716,"thumbUrl":39718,"material":692,"size":1293,"collection":84,"collections":39719,"showCount":282,"zanCount":1998,"manualWeight":48,"mainColor":956},267678,"ci-xiu-bai-ju-ba-ge-tu-zhou-yi-ming-267678","刺绣柏菊八哥图轴","此作以靛蓝为底，清雅沉静。苍柏虬曲伸展，祥云状针叶以异色绒线锁边，层次饱满古拙。两只八哥意态灵动，枝头静立者侧目凝神，振翅穿空者羽翮舒展，绒线施色细腻，黑白晕染自然，将禽鸟的鲜活神采尽数勾勒。下方湖石以钉线绣勾边，蓝白晕染出剔透空灵，秋菊盛放，绒丝晕出花瓣明暗层次，枝叶舒展如生。\n整件绣品以针代笔，将院体花鸟的雅致意趣融于丝线间，既有工笔写实的生动，又带着绣物独有的柔润肌理，把秋日清旷悠然的氛围藏入绢底，尽显巧思匠心。",[7,165,13534,61,27,39717,376,211,1578,11633],"八哥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b73b1aa1617a1f9fdd7d61efc5a53f9.jpg",[],{"id":39721,"slug":39722,"title":12220,"dynasty":54,"author":12221,"museum":300,"description":12222,"tags":39723,"thumbUrl":39724,"material":692,"size":1293,"collection":84,"collections":39725,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},239544,"hua-hua-yan-shi-nv-tu-ce-wang-su-239544",[24,7,59,28,27,128,96,166,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F868d343a424f933ec64dc07b7c9db6e4.jpg",[],{"id":39727,"slug":39728,"title":4415,"dynasty":54,"author":1472,"museum":300,"description":4416,"tags":39729,"thumbUrl":39730,"material":692,"size":1293,"collection":84,"collections":39731,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},239451,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239451",[24,7,59,28,27,61,263,605,62,230,480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faef2ed2dae437b368ec5f5836264d4e1.jpg",[],{"id":39733,"slug":39734,"title":4415,"dynasty":54,"author":1472,"museum":300,"description":4416,"tags":39735,"thumbUrl":39736,"material":692,"size":1293,"collection":84,"collections":39737,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},239448,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239448",[164,24,7,59,28,27,374,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0105ff045dc6a068152ce6f9fd188750.jpg",[],{"id":39739,"slug":39740,"title":3933,"dynasty":54,"author":2687,"museum":300,"description":3934,"tags":39741,"thumbUrl":39742,"material":692,"size":1293,"collection":84,"collections":39743,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},239238,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239238",[24,164,7,59,28,27,61,263,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21fc58e41d742f7a5d5e5f55de201a67.jpg",[],{"id":39745,"slug":39746,"title":4991,"dynasty":54,"author":4992,"museum":300,"description":39747,"tags":39748,"thumbUrl":39749,"material":84,"size":84,"collection":84,"collections":39750,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},239053,"shan-shui-hua-niao-ce-yang-jin-239053","杨晋 ，字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。",[24,7,59,128,29,167,413,171,23362,415,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e340cdb6f9a982c4336e6e154f1d51a.jpg",[],{"id":39752,"slug":39753,"title":39754,"dynasty":54,"author":223,"museum":300,"description":39755,"tags":39756,"thumbUrl":39757,"material":84,"size":84,"collection":84,"collections":39758,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},238663,"hong-wu-ning-shou-gong-ming-bing-sui-chao-tu-ce-yi-ming-238663","弘旿宁寿宫铭并岁朝图册","此作绘就岁寒三友，苍松虬枝盘曲，鳞皴老干古意盎然，攒簇松针如青锋聚簇，自带凌霜气度。梅枝柔婉舒展，冰洁花瓣轻绽，嫩蕊含香，暗合报春之意。新竹清劲挺拔，翠叶疏朗错落，清逸雅致。\n整幅设色淡净明润，工写兼具，以浅淡底色托出三友清隽风骨，将文人君子凌寒不屈、清雅自持的襟怀寄寓其间，冷寂冬日里尽显盎然生机，是借物抒怀的雅致佳构。",[24,7,59,27,28,372,167,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0fdff51fb680225db2add3680dd568a.jpg",[],{"id":39760,"slug":39761,"title":39762,"dynasty":54,"author":31277,"museum":20,"description":39763,"tags":39764,"thumbUrl":39765,"material":734,"size":39766,"collection":136,"collections":39767,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},238133,"qiu-shan-xing-lv-tu-zhou-fang-cong-238133","秋山行旅图轴","此图是方琮的代表作品之一。图中峰峦叠幛，林木入秋，溪流小桥，行旅者行进其间。整幅画面布局巧妙，结构严谨，房舍及行旅商贾无不似从元人笔下而来，属雅俗共赏之作。",[24,7,164,165,27,132,29,8222,131,34,99,495,35,98,1955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d7f98f4a5433087a38e8a85bd4c7fcf.jpg","纵186.6厘米，横153.3厘米",[136,45],{"id":39769,"slug":39770,"title":7864,"dynasty":54,"author":872,"museum":300,"description":6719,"tags":39771,"thumbUrl":39772,"material":692,"size":1293,"collection":84,"collections":39773,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},237939,"za-hua-ce-zhu-da-237939",[24,7,59,133,840,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d4b1ad720901e7cba07e192eb1d6e38.jpg",[],{"id":39775,"slug":39776,"title":39777,"dynasty":54,"author":6946,"museum":300,"description":39778,"tags":39779,"thumbUrl":39780,"material":84,"size":39781,"collection":44,"collections":39782,"showCount":282,"zanCount":1998,"manualWeight":48,"mainColor":72},237549,"wu-liang-shou-fu-zhou-ding-guan-peng-237549","无量寿佛轴","其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[24,7,165,27,28,187,96,29,171,99,230,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad762207352ab4f7beb208dc41e22025.jpg","纵99.3厘米，横61.9厘米",[44],{"id":39784,"slug":39785,"title":19857,"dynasty":54,"author":25480,"museum":300,"description":39786,"tags":39787,"thumbUrl":39788,"material":84,"size":84,"collection":136,"collections":39789,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},237466,"shan-shui-zhou-jiang-yun-237466","姜筠（1847－1919），字颖生，别号大雄山民，安徽省怀宁人。光绪十七年（1891）举人，官礼部主事。1913年梁启超在北京雅集词人诗友于万牲园，举行癸丑上巳修禊，颖生曾作图纪念。\n姜筠工书画，书法学苏轼，兼善篆刻。山水专学王翚，笔墨浓重，苍润古秀，殊乏清疏之气，间作花卉。工写兼至，别有韵味。《深山白云图》画大山、坡岸、房屋、渔舟，一派生机勃勃的景象。山中白云飘浮，更衬托了远山的深远，山上密密杂树寓意着新的生命处在潜伏的酝酿 期。姜筠作画以古法入，在借鉴古人笔意上又力图摆脱古人，从而寻找自己的绘画道路。图中的山石树木借鉴古法，重视造化，而点缀其中的 房屋、渔舟、云气正是表现了人的伟大和大自然的永恒",[24,165,29,128,132,130,495,131,34,109,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379f525512d15f8340c282baf34191bd.jpg",[136,117],{"id":39791,"slug":39792,"title":25447,"dynasty":54,"author":25448,"museum":20,"description":25449,"tags":39793,"thumbUrl":39794,"material":84,"size":84,"collection":84,"collections":39795,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},237112,"shi-nv-ce-cui-wei-237112",[24,7,59,28,27,96,166,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa604717feee653eeafc529f2f93948e3.jpg",[],{"id":39797,"slug":39798,"title":39799,"dynasty":54,"author":9529,"museum":20,"description":39800,"tags":39801,"thumbUrl":39802,"material":611,"size":84,"collection":136,"collections":39803,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},236985,"wang-hui-kong-shan-fang-wu-zhou-wang-hui-236985","王翚空山方屋轴","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[24,7,165,128,132,29,711,1337,211,131,17726,415,3427,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ff3172206d083c2c3a1a837744abfa4.jpg",[136,117],{"id":39805,"slug":39806,"title":39807,"dynasty":124,"author":39808,"museum":20,"description":39809,"tags":39810,"thumbUrl":39811,"material":40,"size":39812,"collection":136,"collections":39813,"showCount":282,"zanCount":1998,"manualWeight":48,"mainColor":49},236837,"xiang-shan-jiu-lao-tu-zhou-peng-shun-xiang-236837","香山九老图轴","彭舜乡","唐中期，古都洛阳闻名九州的“香山九老会”，被人称颂至今百世永流芳。“香山九老”指的是：洛中遗老李元爽136岁；禅僧如满95岁；胡臬89岁；吉皎88岁；刘真87岁；郑据85岁；卢真83岁；张浑77岁；白居易74岁。九位老人在洛阳龙门的香山结成“九老会”。周臣《香山九老图》就是以绘画述此盛事。",[24,7,165,27,128,29,96,1144,495,131,331,1425],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc18d69c3d3633e4ee928dc95b38525.jpg","纵一九八厘米 横一〇四·五厘米",[136,45],{"id":39815,"slug":39816,"title":39817,"dynasty":124,"author":10106,"museum":300,"description":10107,"tags":39818,"thumbUrl":39819,"material":692,"size":1293,"collection":84,"collections":39820,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},236799,"lan-hua-shan-mian-wu-bin-236799","兰花扇面",[24,7,1131,128,375,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe661cadb5ccc3e8a7b6a5b5100ce18ea.jpg",[],{"id":39822,"slug":39823,"title":39824,"dynasty":54,"author":3750,"museum":20,"description":39825,"tags":39826,"thumbUrl":39827,"material":84,"size":84,"collection":136,"collections":39828,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},236460,"fang-huang-gong-wang-shan-shui-tu-zhou-wang-jian-236460","仿黄公望山水图轴","王鉴（1609-1677，旧作1598-1677），字圆照（圆字一作元，或玄，或员），一作元炤，号湘碧，别号染香庵主，因官廉州(今广西合浦县)知府，世称王廉州，江苏太仓人，为明南京刑部尚书王世贞曾孙。康熙元年后，王鉴因避讳，将玄照改为圆照，往往又写作元照、员照或元炤。王鉴与王时敏同为董其昌弟子，三人同为“画中九友”。王鉴精通画理，摹古尤长，于董源、巨然尤为深诣，被称为“后学津梁”。有清秦祖永辑录的《染香庵跋画》传世。",[24,7,165,128,132,330,29,413,497,495,30,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf2a8130da7b657943ce3313f4b98b7.jpg",[136,117],{"id":39830,"slug":39831,"title":39832,"dynasty":54,"author":3437,"museum":20,"description":39833,"tags":39834,"thumbUrl":39835,"material":734,"size":39836,"collection":136,"collections":39837,"showCount":282,"zanCount":1998,"manualWeight":48,"mainColor":49},236106,"tang-dai-qing-luan-chun-ai-tu-zhou-tang-dai-236106","唐岱晴峦春霭图轴","此图为竖构图，虽布置繁密却不杂乱。层次分明，经营有序，过渡自然，彼此虚实相生、错落有致。用笔秀劲凝重，深沉厚实，境界深远，墨色苍厚明润，变化丰富有灵气，可以看出作者状物写情的修养和功力。在技法上作者运用了勾、皴、点、染多种表现形式，如山石先用干笔皴擦，再以浓墨横笔点苔，使画面富有立体感。整幅画面色泽淡雅，在近石、远山及亭台上略施淡赭和花青，烘托出高雅幽然的意境。\n此画轴综观画面，重山叠嶂，霭横暗峦，曲流小径，回旋辗转，蜿蜒于隔山之壑。其间水榭山居，高树疏林，疏密有致，加之亭台小桥，别有韵味。好一派万物复苏，生机盎然的春季之景。那高低起伏的山峰层层错落，渐次推远，在蒸腾的云雾中忽隐忽现，最终消失在苍茫的水天之际。\n春霭缭绕，横贯于山腰之间，把远山近石自然地衔接起来，使整个画面意境幽远，静寂悠闲。山顶上、河岸上都长满了各种草木，有的顽强的扎根于石缝间，姿态挺拔俊秀，虽不比盛夏之苍茂，然比之深秋之萧瑟，寒冬之疏落，则充满生命的活力。远处山崖间瀑布高悬，如银河一般飞流直下，直冲烟岚之中，汇成溪流，顺着蜿蜒的溪岸流淌而来。笔者仿佛听到潺潺的流水声与远处瀑布的轰鸣声自然交汇，传人山谷，直至那浩茫的远山，又回荡在树石草木之间，与鸟鸣、树声、风声交融在一起，构成了一部天然的交响乐，这便是所谓的天籁之音吧!看那山间平台上、坡岸上、溪流上两三点缀的水榭亭台，在树木的掩映下若隐若现，使画面又透露着一种幽深的意味。面对如此美景，真想走出书斋把自己的身心融入这画一般纯洁平静的大自然中，去倾听那美妙的“乐音”。",[24,7,165,27,132,29,496,34,99,37,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20f247378ce430f21abc039c0e4473ae.jpg","108 x 62 cm",[136,45],{"id":39839,"slug":39840,"title":39841,"dynasty":124,"author":1438,"museum":300,"description":13247,"tags":39842,"thumbUrl":39843,"material":692,"size":1293,"collection":84,"collections":39844,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},235798,"zhu-ju-shan-chen-chun-235798","竹菊扇",[24,7,1131,128,61,167,376,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff13ad5e4256b3c5c649deb37133f7c7.jpg",[],{"id":39846,"slug":39847,"title":39848,"dynasty":124,"author":802,"museum":300,"description":5946,"tags":39849,"thumbUrl":39850,"material":692,"size":1293,"collection":84,"collections":39851,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},235794,"hua-shi-hu-die-tu-shan-ye-chen-hong-shou-235794","花石蝴蝶图扇页",[164,24,7,1131,27,28,61,481,547,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F929eff4102003e83d39418c727068bd0.jpg",[],{"id":39853,"slug":39854,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":39857,"thumbUrl":39858,"material":734,"size":84,"collection":136,"collections":39859,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},234719,"huang-shan-tu-ce-jiang-zhu-234719","江注","江注（1626～1685），字允凝，号若米舫。一些美术画论和辞典称其又字允冰，徽州歙县桃源坞人，僧渐江之侄，能诗善画，著有《允凝诗草》，幼从渐江学画，意境幽僻，用笔清劲，笔墨苍古，清远冷峻，常年隐于黄山，曾陪伴弘仁在黄山纪游写生，搜胜穷幽，颇得渐江真传，与姚宋、祝昌、吴定并称为“渐江四弟子”。\n江注《黄山图册》册页五十帧，现收藏于故宫博物院。由于渐江亲授，在绘画思想和风格上“酷肖弘仁”。他常和渐江结伴出游，一样痴迷黄山，有“渐公坐文殊台上吹笛，江允凝倚歌和之，发音嘹亮，上彻云表”之故事。",[24,7,128,132,64,133,59,29,131,99,37,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac352676967682ac8c718cbf1f9170a.jpg",[136],{"id":39861,"slug":39862,"title":33103,"dynasty":54,"author":9529,"museum":300,"description":39863,"tags":39864,"thumbUrl":39865,"material":1027,"size":39866,"collection":136,"collections":39867,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},234713,"fang-gu-shan-shui-ce-wang-hui-234713","《仿古山水册》共计十二页，其中设色二页，水墨十页。仿董源、巨然、米芾、赵大年、赵孟頫、吴镇、倪瓒、王蒙、黄公望、管道升、曹知白、陈汝言等而作。每幅均自题七律一首，末开款署“壬寅六月王翚”，册尾有顾复初题跋。前选一图，系仿曹云西山水，写柳汀板桥、芦荻孤舟，晓风残月，雁影徘徊。笔墨疏秀，意境苍莽迷蒙。\n王翚得名家传授，又博览古人佳作和游历真山实水，画艺日臻成熟，40岁时即名闻海内。王翚出生于绘画世家，他的曾祖王伯臣、祖父王载仕、父亲王云客都是画家，幼时即得到家学熏陶，初学画于同乡画家张珂。顺治年间王鉴游虞山时，见王翚画扇，极为赏识，赞其天资超人，收为弟子。后转师王时敏，得以临摹许多历代名家真迹，镕铸造南北画派于一炉，技艺大进。尝与王时敏遍游大江南北，广识著名收藏家，观摹宋、元真迹。其摹古功力极得王时敏赞赏：“（石谷）凡唐宋诸名家无不摹仿逼肖，偶一点染展卷即古色苍然，毋论位置溪径，宛然古人，而笔墨神韵一一夺真，且仿某家，则全是某家，不杂一他笔，使非题款，虽善鉴者，不能辨。”于是他在摹古仿古的基础上，综合诸家之长，晚年画风简练苍浑，有独到的艺术风格，在“四王”中，王翚的艺术成就最为显著，门生弟子很多，以杨晋较为著名，其山水画的影响极为深广。",[24,7,164,59,128,132,29,372,98,99,387,96,131,6810],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb3597742ef1ee1687c0ec1892b236e.jpg","25.6厘米，横：20.5厘米",[136],{"id":39869,"slug":39870,"title":12323,"dynasty":124,"author":39871,"museum":39872,"description":39873,"tags":39874,"thumbUrl":39875,"material":734,"size":39876,"collection":84,"collections":39877,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},234181,"shan-shui-tu-juan-zhang-fu-234181","张復","烟台市博物馆","张复（1403-1490）：道士。字复阳，以字行，号南山，浙江平湖人。自幼学书专法古人，能运帚作大字。径寸字极有风骨，小行楷秀整不凡。工画，山水仿吴镇，苍郁淋漓，几欲乱真。草树人物，各臻其妙。\n图绘群山之间，有楼阁高架于溪流之上，几参天古松临溪而立，松下一老者笼袖信步，二童子其后跟随。布景繁密，笔墨秀润，设色清丽。画幅中题：“洞有仙人箓，山藏太史书。”与画面内容相呼应，作于作者八十四岁时。",[23,24,7,25,128,132,29,30,31,99,34,35,98,211,171,690,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e9c0cc103d6a4c046cf2fb9d13af6e.jpg","161．50x89．50cm",[],{"id":39879,"slug":39880,"title":39881,"dynasty":18,"author":223,"museum":20,"description":39882,"tags":39883,"thumbUrl":39885,"material":40,"size":39886,"collection":84,"collections":39887,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},234013,"xian-nv-cheng-luan-tu-ye-yi-ming-234013","仙女乘鸾图页","图绘一鸾凤于薄云淡雾中振翅飞鸣，其背上一仙女正茫然回首目视身后的一轮圆月。画家将仙女回眸之一刹那所显露出的怅惘之情刻画的生动传神，使本来单调的景物变得极富情趣并给人以想像力。仙女的眼神原无形，然作者却利用它使圆月和鸾凤之间产生一种内在的呼应关系，使画面具有气脉贯通的完整性。画家通过描绘仙女的衣带向后飘举暗示出无形的风力，并以此表明鸾凤疾翔时的速度与强烈的动感，与圆月之间形成动与静的对比。\n在人物形象的塑造上，仙女的造型越出了隋唐时期仕女画丰腴健壮的体态，表现出女性身材比例合理，造型匀称的特点。\n此图旧签题以及对幅耿昭忠的题记均言作者是五代周文矩。周文矩受南唐后主李煜颤笔书法的影响，喜以瘦挺颤掣的笔法入画，线条多转折顿挫，刚中有柔。此图线条工谨精细，如春蚕吐丝，柔中见刚，与周文矩的用笔特点不符，因此，它应是宋代佚名画家所作。",[24,164,7,59,1131,28,27,166,39884,231,208],"鸾鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae22542a4bef5e8d5926c3d431eae647.jpg","纵25.3厘米，横26.2厘米",[],{"id":39889,"slug":39890,"title":39891,"dynasty":54,"author":3718,"museum":20,"description":39892,"tags":39893,"thumbUrl":39894,"material":1027,"size":39895,"collection":84,"collections":39896,"showCount":282,"zanCount":1998,"manualWeight":48,"mainColor":72},233827,"you-ting-xiu-mu-tu-zhou-hong-ren-233827","幽亭秀木图轴","“辛丑”为清顺治十八年(1661年)，受赠者名罗衮期，字岳生，安徽歙县呈坎人，是一位信奉佛教的儒生。图上有罗衮期小跋：“启悟师久慕渐江笔意，属予代索，遂以寄予者转赠之。”又有弘仁侄江注题诗“吾师漫写倪迂意，古木孤亭水石幽。优钵昙花题品在，禅门珍秘抗王侯。为启公题家师笔”。\n作为明遗民画家，弘仁曾在民族危难之时挺身而出，参加抗清活动，明亡后，遁迹江湖，寄兴诗画。他眷怀故国，作诗曰：“偶将笔墨落人间，绮丽楼台乱后删。花草吴宫皆不问，独余残渖写钟山。”钟山是明太祖先元璋的陵墓所在地，此诗悲凉沉郁，感怀至深，表达了弘仁不忘故国的坚贞气节，正是这种情怀，使他的绘画倾向于倪瓒的风格，倪画中荒寒萧瑟的意境引起了他心灵的共鸣。此图是弘仁晚年居住在歙县五明寺时所作。画风为倪瓒的变格，作平远布局，近处坡岸茅亭，亭前后有松杉杂木高耸，略去浅水遥岑，使前景成为独立的主体，加强了山石结构的表现，产生较为平和的亲切感。画上坡石用笔为倪瓒独特的折带皴，若淡若疏，骨力内蕴。树木的勾勒点染也出之以简疏的笔法，中锋下笔，复笔皴擦，看似简淡，实含腴润。正如杨翰《归石轩画谈》评述的“于极瘦削处见腴润，极细弱处见苍劲，虽淡无可淡，而饶有余韵。”弘仁仿倪，绝不是以追求倪瓒的画法为目的，他广泛吸收前人的成果，取其意，而不在笔墨迹象间，师法倪瓒、黄公望，同时以自然为师，抒己胸臆，从而形成了其山水画的基本面貌。此画中亦可见一斑。",[24,7,164,165,128,132,130,413,29,171,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbedb8101e25e0b3da1b9d79531e46d3b.jpg","纵68厘米，横50.4厘米",[],{"id":39898,"slug":39899,"title":39900,"dynasty":54,"author":1460,"museum":20,"description":14827,"tags":39901,"thumbUrl":39902,"material":39903,"size":39904,"collection":84,"collections":39905,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},233423,"yuan-ji-shan-shui-ce-shi-tao-233423","原济山水册",[24,7,59,128,132,29,171,331,1144,35,497,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F206f61189ac2d29273e312c7d8b2dc6c.jpg","纸本 ，设色\u002F墨笔","纵27.7cm，横39.7cm",[],{"id":39907,"slug":39908,"title":39909,"dynasty":54,"author":3043,"museum":300,"description":39910,"tags":39911,"thumbUrl":39912,"material":84,"size":84,"collection":84,"collections":39913,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},233376,"mei-he-tu-zhou-xu-gu-233376","梅鹤图轴","《梅鹤图》是清代虚谷创作的纸本设色画。\n自题：“辛卯春二月。\n虚谷。\n” 钤“虚谷书画”朱文印、“耿耿其心”白文印。\n“辛卯”为清光绪十七年（1891年），虚谷时年69岁。\n图绘梅鹤双清之景。\n茁壮的梅树，其交错穿插的细枝和星星点点的花朵打破了画面的整体空间。\n作者着意在梅树干上绘两只仙鹤，它们淡然闲适的神态为画面增添了祥和的生趣，其平整的造型则统一了原本过于细碎的画面，由此可见作者巧于构思和化零为整的能力。\n虚谷（1824—1896年），姓朱，名怀仁，出家为僧后以虚谷名，号紫阳山民、倦鹤等，祖籍安徽新安（今歙县），寓居扬州、苏州、上海等地，卖画为生。\n能诗擅画，工于书法，尤以善绘瓜果鱼蔬、人物、山水等为人称道。\n喜用枯笔焦墨，具有拙于外秀于内的笔墨特征。\n与任颐、胡公寿等交往密切，是晚清著名的海上名家。",[24,7,165,128,27,61,369,371,722,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6fa1dda8c69bfb89af210776a782370.jpg",[],{"id":39915,"slug":39916,"title":39917,"dynasty":54,"author":6778,"museum":56,"description":6779,"tags":39918,"thumbUrl":39919,"material":611,"size":84,"collection":84,"collections":39920,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},233194,"hua-hui-ce-ying-su-hua-ye-zhao-zhi-qian-233194","花卉册-罂粟花页",[24,7,59,27,61,26072,62,28,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6bc79346a1a651cfdd68b3179673136.jpg",[],{"id":39922,"slug":39923,"title":39924,"dynasty":54,"author":34467,"museum":424,"description":39925,"tags":39926,"thumbUrl":39927,"material":40,"size":39928,"collection":84,"collections":39929,"showCount":282,"zanCount":1998,"manualWeight":48,"mainColor":72},231571,"xian-qiao-qi-zi-tu-fei-dan-xu-231571","闲敲棋子图","该图以采梅仕女为主景，她立于溪石上，左手抱着梅干，右手举起正欲攀花。左上角款题：“翠羽声中春梦残，扑襟香雪影珊珊。可知一样梅花骨，不畏东风料峭寒。”\n该图仕女用细笔勾成，笔墨细柔，设色淡雅，面容俊俏，身材婀娜，姿态自然生动，十分传神，充分体现出费丹旭仕女图的美学特征。",[23,24,7,165,27,28,96,166,22897,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eb5aa27513dfa8005db724ff4b6b3cf.jpg","137cmx33cm",[],{"id":39931,"slug":39932,"title":39933,"dynasty":124,"author":802,"museum":300,"description":5946,"tags":39934,"thumbUrl":39935,"material":692,"size":1293,"collection":84,"collections":39936,"showCount":282,"zanCount":1998,"manualWeight":48,"mainColor":49},230955,"xue-jiao-tu-ye-chen-hong-shou-230955","雪蕉图页",[164,24,7,59,28,27,33345,171,1556,547,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F874e621d854c924252505ec09a442862.jpg",[],{"id":39938,"slug":39939,"title":35204,"dynasty":124,"author":39940,"museum":300,"description":39941,"tags":39942,"thumbUrl":39944,"material":84,"size":84,"collection":84,"collections":39945,"showCount":282,"zanCount":1998,"manualWeight":48,"mainColor":49},230949,"shou-shan-fu-hai-tu-leng-qian-230949","冷谦","此作以浩渺沧海为主体，细劲线条勾绘层叠水纹，如鳞似浪，将海涛不息的灵动与苍莽尽数铺展。几座仙山错落浮沉于碧波间，山石以青绿晕染，皴笔勾勒出奇崛硬朗的山势，刚劲山海与柔婉浪涛形成绝妙的刚柔对照。\n\n右上角题诗衬景，让烟波之间更添缥缈仙气，整幅画作将山海辽远之境与祥瑞题旨相融，工致古雅，尽显静谧恢宏的山海气象。",[23,24,7,165,27,29,39943,131,171,208,951,132],"海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F680aaa4850da94d3d3296008a2b2c881.jpg",[],{"id":39947,"slug":39948,"title":30898,"dynasty":54,"author":6957,"museum":300,"description":39949,"tags":39950,"thumbUrl":39951,"material":84,"size":84,"collection":84,"collections":39952,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},230880,"hua-niao-shan-ren-xun-230880","泥金扇面上，折枝海棠柔媚盛放，粉白花瓣晕染雅致，枝叶扶疏灵动，古拙苍润的奇石与花枝相映成趣。翎鸟独立枝桠，蓝首白羽配黑尾，身姿悠然静敛，将春日清宁定格。\n\n此作用笔工致秀雅，设色明丽又不失清雅，工笔间带着写意的灵动，将院体画的精致与海派雅俗共赏的特质相融，将暮春庭间幽景凝于尺幅。笔墨晕染出江南春日的缱绻温柔，满溢闲雅生机，读来如沐春风，尽显恬淡隽美的东方意趣。",[24,7,1131,27,28,61,209,171,2438,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcb5357899a9ec840bb8208254de86e0.jpg",[],{"id":39954,"slug":39955,"title":39956,"dynasty":54,"author":223,"museum":300,"description":39957,"tags":39958,"thumbUrl":39959,"material":692,"size":1293,"collection":84,"collections":39960,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},230346,"jin-ping-mei-cha-tu-ce-ye-6-kai-yi-ming-230346","金瓶梅插图册页6开","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[23,24,7,59,27,28,96,166,97,249,19806,371,167,169,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5a5e05634aa376be46434f42b70072b.jpg",[],{"id":39962,"slug":39963,"title":4071,"dynasty":54,"author":1242,"museum":300,"description":39964,"tags":39965,"thumbUrl":39966,"material":84,"size":84,"collection":84,"collections":39967,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},230243,"hua-hui-tu-ce-jin-nong-230243","此作以墨笔绘桃花，虬曲老枝苍劲朴拙，淡墨晕染花瓣，浓墨点簇花蕊、勾描枝叶，虚实间将桃花柔媚之态，融于水墨清逸之中。\n\n左侧题诗与画幅相映成趣，诗书合璧尽显文人雅韵。并未刻意摹写春日桃林的秾艳繁丽，以生拙古雅的笔墨，勾勒出花枝疏朗清寂之姿，跳出传统花鸟的妍丽范式，以简淡水墨营造出幽淡空寂的春日氛围，寄寓着寄情花木的闲散心境，尽显文人画独有的萧散风神，于浅淡笔墨里藏着隽永诗思。",[24,7,59,128,61,209,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd42f7eab48e499ad7c30d130f7f4c555.jpg",[],{"id":39969,"slug":39970,"title":39971,"dynasty":124,"author":3619,"museum":300,"description":39972,"tags":39973,"thumbUrl":39974,"material":84,"size":84,"collection":84,"collections":39975,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},228881,"cui-zhu-tu-wen-zheng-ming-228881","翠竹图","此作为诗画合璧的文人佳构，下方墨竹以淡墨写竿，笔致劲挺通脱，浓墨挥写竹叶，俯仰向背错落有致，疏密间尽显萧散清逸，将翠竹挺拔君子之姿淋漓尽显，满幅皆含清和雅正之气。\n上方题诗行书秀雅舒展，笔意温润隽秀，诗与画两相呼应，寄寓着幽居伴竹、静赏林泉的文人雅趣。书画一体，尽显吴门画派的雅致风神，暗合作者淡远冲和的品格心性，整体意境清润隽永，是文人画诗书画交融的精妙之作。",[24,7,165,128,64,133,208,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F937c38e3fa101fbcb4b94656e5b43285.jpg",[],{"id":39977,"slug":39978,"title":39979,"dynasty":124,"author":223,"museum":300,"description":39980,"tags":39981,"thumbUrl":39982,"material":84,"size":84,"collection":84,"collections":39983,"showCount":282,"zanCount":1998,"manualWeight":48,"mainColor":49},228811,"li-shu-tu-yi-ming-228811","荔鼠图","此作以工笔出之，褐绢为底，将白鼠偷食荔枝的闲趣小景描摹入微。白鼠通身莹白蓬松，毫发毕现，垂首啮果时神态专注娇憨，灵动鲜活。荔枝丹红饱满，果纹凸起写实如生，浓绿叶片阴阳向背层次分明，虬曲枝桠苍劲舒展，尽显南国佳果鲜活意趣。右上角朱印古雅，为画面晕染出金石气韵。设色明丽和谐，精工中带着松弛生机，既有院体画的细腻写实，又暗合数子多福的世俗吉意，把日常琐细绘得意趣悠长。",[23,164,24,7,28,27,61,949,5883,2036,549,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54d85ef4870573bfff3e3eb899193a5a.jpg",[],{"id":39985,"slug":39986,"title":39987,"dynasty":124,"author":16609,"museum":300,"description":39988,"tags":39989,"thumbUrl":39990,"material":84,"size":84,"collection":84,"collections":39991,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},228321,"shu-guo-xie-sheng-tu-tao-cheng-228321","蔬果写生图","此作用水墨写意绘蔬果蔬叶，以浓淡墨色晕染出鲜活生姿，脱略形似，尽显野逸生机，寥寥数笔便将寻常菜蔬勾勒出超脱意趣。\n长卷后一众明清文人题咏相伴，行草书法笔致纵逸跌宕，诗画合璧，尽显雅集风流。诗书画印融为一体，以极简笔墨托物言志，将日常田家风物，晕染出林下清逸的文人情致，是文人写意花鸟的上乘佳制，空灵雅致，余韵悠长。",[23,164,24,7,25,128,27,2166,133,840,208,4250,4251,1771,376,167,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0591c51b34bf7336630bd522fa6a437d.jpg",[],{"id":39993,"slug":39994,"title":39995,"dynasty":124,"author":802,"museum":300,"description":39996,"tags":39997,"thumbUrl":39998,"material":84,"size":84,"collection":84,"collections":39999,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},228302,"he-shi-tu-chen-hong-shou-228302","荷石图","此作以顽石为骨，笔墨苍浑古拙，皴擦间尽显嶙峋厚重。白莲挺生于石侧，瓣色莹白柔润，舒展如绰约君子，刚柔相映，意趣悠长。荷叶墨色浓淡层叠，残叶带露暗生意态，水面细纹轻曳，浮萍点染，漾出清浅凉意。\n\n题字清隽搭配朱印提亮，融书画印为一体。整幅静穆超拔，将水畔幽寂夏景收于尺幅，既有文人水墨的淡逸，又以奇崛造型独显格调，恍若将溽暑间的一缕清寂凝于纸面。",[23,24,7,27,28,81,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70da03aa0c6f05f9a9f6377a8ee1adc4.jpg",[],{"id":40001,"slug":40002,"title":6571,"dynasty":124,"author":802,"museum":300,"description":40003,"tags":40004,"thumbUrl":40005,"material":84,"size":84,"collection":84,"collections":40006,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},228294,"luo-han-tu-chen-hong-shou-228294","此作以古拙高简之笔，绘就禅意萧疏之境。罗汉席地而坐，凸额深目大耳，面容奇崛清癯，手持长策侧目凝神，沉静出尘。衣纹以涡旋状高古游丝描勾勒，繁复层叠却丝毫不显冗杂，将僧袍厚重垂坠之态尽显，笔力圆劲凝练。\n\n背景淡墨晕染，虬曲老树枝桠舒展，繁花缀于青叶间，幽草疏落生姿，衬出林间幽寂空远之境。淡设色清雅内敛，以夸张变形的造型，脱尽世俗烟火气，尽显超拔出尘的禅家意韵，古韵悠然，奇骇雅致。",[23,164,24,7,27,28,96,187,34,171,1771,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13b69c8b504945e6a0218915535961f3.jpg",[],{"id":40008,"slug":40009,"title":40010,"dynasty":144,"author":2697,"museum":300,"description":40011,"tags":40012,"thumbUrl":40013,"material":84,"size":84,"collection":84,"collections":40014,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},228266,"zhu-que-tu-li-zhou-li-kan-228266","竹雀图立轴","此作用双勾法写竹，笔致工稳匀净，竹挺拔劲秀，叶片俯仰向背层次分明，尽显君子清刚之姿。淡施赭色晕染竹节，衬于古旧绢底，愈见沉雅古拙。\n几只山雀或栖于梢头理羽，或穿林跃动，翎毛晕染细腻灵动，为幽寂竹林添了鲜活生气。动静相映之间，将写实工细与文人意趣相融，既有院体花鸟的精工写实，又饱含萧散淡远的林下之风，把劲竹的清操与野雀的生趣合为一卷，尽显雅致隽永的笔墨意韵。",[23,4057,24,7,165,28,128,61,167,355,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac188acdce48fe49bfc54eafa6996beb.jpg",[],{"id":40016,"slug":40017,"title":40018,"dynasty":144,"author":223,"museum":300,"description":40019,"tags":40020,"thumbUrl":40021,"material":84,"size":84,"collection":84,"collections":40022,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},228209,"shan-shui-tu-tuan-shan-yi-ming-228209","山水图团扇","此作以远近相生的构图铺陈意境，浮空峰峦如蓬瀛仙山，浓墨点苔晕出山姿苍郁，留白云气晕染成朦胧幻境，割裂又勾连起世外幽境与人间烟火。\n\n山腰间楼阁隐现，似藏寻仙之幽；山脚处板桥行人策杖徐行，村舍林麓、陂塘田亩错落排布，枯木添就萧疏秋意。工写兼济的笔法，勾勒山石硬朗轮廓，皴擦晕染揉出温润质感，设色淡雅古拙。将出世清寂与入世恬美收于尺幅，尽显山水重意趣、尚萧散的特质，意境清和淡远，恍若隔绝尘嚣，只留一片悠然天地。",[23,24,7,1131,27,132,128,29,98,99,130,96,331,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517e2ea2760446e7c47c7392862034d2.jpg",[],{"id":40024,"slug":40025,"title":10195,"dynasty":144,"author":4350,"museum":300,"description":40026,"tags":40027,"thumbUrl":40028,"material":692,"size":1293,"collection":84,"collections":40029,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},228070,"feng-zhu-tu-xue-chuang-228070","僧普明，字雪窗。元代著名画家，在苏州为僧。1338年在虎丘云岩寺当住持，1344年改承天能仁寺住持，其后一度因老病引退，1348年复出，为能仁寺住持。\n雪窗以画兰花著称，与他同时的画家柏子庭写苏州风俗说：家家恕斋字，户户雪窗兰。春来行乐处，只说虎丘山。今传世作品十余件，多藏于日本，美国。",[23,24,7,165,128,167,1314,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eb8ad77edfd7868a2b0caa6e47ad30f.jpg",[],{"id":40031,"slug":40032,"title":40033,"dynasty":18,"author":223,"museum":300,"description":40034,"tags":40035,"thumbUrl":40037,"material":84,"size":84,"collection":84,"collections":40038,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},227917,"qun-yu-xi-zao-tu-yi-ming-227917","群鱼戏藻图","《宋人画群鱼戏藻图》是宋代佚名创作的绢本设色画。\n《庄子·秋水篇》中有“濠梁观鱼”的著名典故，故“ ”成为中国绘画的传统题材。\n“ ”又谐“余”之音，有祝颂丰穰之吉祥寓意。\n本幅无款。\n鉴藏印钤“季彤平生真赏”、“庞莱臣珍藏宋元真迹”。\n裱边钤“虚斋审定名迹”。\n图中绘小鱼5尾，欢快地游戏于荇藻之间。\n鱼身用没骨法墨染而成，其光滑、细腻而富于弹性的质感表现得非常充分，线条圆浑流畅；黑脊与白肚之间过渡自然；口、眼、鳍、尾之刻画逼真而具立体感。\n鱼的游向各异，远近分明，荇藻轻灵而富于动感，构图生动活泼，是宋人画鱼的名作。\n存《名笔集胜》册中。\n《虚斋名画续录》著录。",[23,164,24,7,1131,28,128,27,2059,40036],"藻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a01514fa33b348d72283aebee102b35.jpg",[],{"id":40040,"slug":40041,"title":40042,"dynasty":18,"author":223,"museum":300,"description":40043,"tags":40044,"thumbUrl":40045,"material":84,"size":84,"collection":84,"collections":40046,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},227854,"shan-shui-tuan-shan-yi-ming-227854","山水团扇","危崖嶙峋踞于近岸，枯木萧疏间细泉漱石，凛凛秋意漫溢而出。视线随水色铺展，远峰晕染在烟岚薄雾里，和空濛秋水融作一片淡墨云烟。滩头扁舟静泊，渔翁偃卧，将山野幽寂与林下闲逸揉作一处。\n\n此作用笔苍润相济，硬皴勾勒崖石肌理，枯笔点染寒木枝桠，淡墨晕开江天烟霭，以边角取景铺展出辽远山水格局，将秋日江野的清寂闲静截取在咫尺扇面，尽显以小见大的山水雅趣，藏着寄情林泉的幽远心境。",[164,24,7,1131,27,128,29,1337,131,99,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F450874808150a62736ffbb1713c6d774.jpg",[],{"id":40048,"slug":40049,"title":40050,"dynasty":18,"author":4899,"museum":300,"description":40051,"tags":40052,"thumbUrl":40053,"material":692,"size":1293,"collection":84,"collections":40054,"showCount":282,"zanCount":1998,"manualWeight":48,"mainColor":72},227814,"shi-jing-you-feng-qi-yue-tu-chang-juan-ma-he-zhi-227814","诗经·幽风七月图(长卷)","作者根据《诗经·国风》之《豳风》诗意而作。全卷共分七段，依次为《七月》、《鸱号》、《东山》、《破斧》、《伐柯》、《九罭》、《狼跋》，每段画前书《豳风》原文。图中人物形象生动，衣纹用兰叶描，笔法流畅潇洒，设色清丽古雅，在诸本毛诗图中，亦属精作。此卷无款印，旧传为马和之画，宋高宗赵构书。但在《伐柯》篇内“構”字因避高宗讳而缺一笔，如“構”，说明该书不是赵构所写，而是画院高手代笔。此图大约在元代初年被分割为两卷，仅《破斧》篇为赵孟頫收藏，明末董其昌误认为是赵孟頫补图。清乾隆年间两卷入内府，合璧装成一卷，并将董其昌、高士奇跋移往后幅。卷首有清高宗弘历御书“苇龠余风”四字，尾纸除董其昌、项元汴等三则题记外，尚有乾隆御题一则，钤明项元汴、清高士奇、梁清标及乾隆、嘉庆、宣统内府藏印多方。",[23,164,24,7,25,188,27,64,96,29,34,35,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85ae8f0c67abd521009f2b1403a7787c.jpg",[],{"id":40056,"slug":40057,"title":40058,"dynasty":18,"author":1174,"museum":300,"description":40059,"tags":40060,"thumbUrl":40061,"material":84,"size":84,"collection":84,"collections":40062,"showCount":282,"zanCount":1998,"manualWeight":48,"mainColor":49},227768,"shan-shui-ye-li-tang-227768","山水页","李唐（1066年－1150年），字晞古，亦作希古，宋朝著名画家，河阳三城（今河南孟县）人。\n\n李唐原供奉北宋徽宗的画院，1127年金兵攻陷汴京，李唐颠沛流离，逃往临安（今杭州），以卖画度日。南宋恢复画院后，李唐经人举荐，进入画院，授成忠郎职务。\n\n李唐精于山水画，变荆浩、范宽之法，山水画最初用峭劲的笔墨，写出北方山河雄峻气势；晚年去繁就简，创大斧劈皴；画水打破鱼鳞纹程式，而得盘涡动荡之状；兼工人物画，初似李公麟，后衣褶变为方折劲硬；并以画牛著称。\n\n描绘青绿山水，如《万壑松风图》、《长夏江寺图》等，是北派山水的著名代表人之一，其后用笔及取景变的简括凝炼、构图精练、意境优美，开辟南宋的新画风，并创作人物画《胡笳十八拍》、《采薇图》等，借历史抒发怀念故国，希图中兴的感情。\n\n李唐的画风对后世有很大影响，他也培养了一些杰出弟子如萧照，其后马远、夏圭继承和发展了他的画风，和他一起，并称为“南宋四家”（李唐、刘松年、马远、夏圭）。",[23,24,7,164,128,132,4437,29,97,129,34,131,5323,1743,758,415,14906,26702,1337,1022],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45201661780ca97b7873407544fff787.jpg",[],{"id":40064,"slug":40065,"title":40066,"dynasty":18,"author":31542,"museum":300,"description":40067,"tags":40068,"thumbUrl":40069,"material":84,"size":84,"collection":84,"collections":40070,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},227751,"yu-tu-tu-ye-gong-ji-227751","玉兔图页","兔子在民间象征着吉祥、智慧和谨慎，“玉兔呈祥”之说一直深入人心。“ 玉兔呈祥”起源于“遇兔呈祥”。\n\n《淮南子》中有这样的记载，月中有桂树，果实每年四五月后飘落人间。因玉兔是月中仙童，所以人们常将兔子隐于桂树丛中，先找到的，会有“蟾宫折桂”的祥兆。",[23,164,24,7,4437,28,27,3599,949,1233,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc1c09a8d4be96ac742975ab827a34a8.jpg",[],{"id":40072,"slug":40073,"title":40074,"dynasty":18,"author":633,"museum":300,"description":15746,"tags":40075,"thumbUrl":40076,"material":84,"size":84,"collection":84,"collections":40077,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},227728,"liu-yin-mu-niu-tu-xia-gui-227728","柳荫牧牛图",[23,24,164,7,1131,27,96,2372,102,413,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F179c42d2f8f6243fd9a831f72ed6fb5e.jpg",[],{"id":40079,"slug":40080,"title":40081,"dynasty":18,"author":40082,"museum":300,"description":40083,"tags":40084,"thumbUrl":40085,"material":84,"size":84,"collection":84,"collections":40086,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},227708,"mei-hua-shi-yi-tu-chang-juan-wang-yan-sou-227708","梅花诗意图（长卷）","王岩叟","《梅花诗意图》是南宋朝时期画家岩叟所作，现藏于弗利尔美术馆。\n\n图中画盛开的梅花，树干上墨书有岩叟”二字，应是作者的名或号。从画风上看，不似北宋，或为南末后期至元初之作。\n\n以北宋王岩叟为作者，不足为信。此图运笔道劲有力，构图疏密有致，枝条穿插，富有韵味，具扬补之遗法，为补之传派中上乘之作。\n\n岩叟，生卒年不详，即北宋王岩叟。字彦霖，《宋史》有传，未称其擅画，或为画家之号。南宋宋伯仁，号雪岩，擅画梅叟或即宋伯仁自号，待考。",[23,164,24,7,25,128,371,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9933a60aeb10151b1d452b59e5b1ccc4.jpg",[],{"id":40088,"slug":40089,"title":19546,"dynasty":18,"author":2176,"museum":300,"description":39219,"tags":40090,"thumbUrl":40091,"material":84,"size":84,"collection":84,"collections":40092,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},227700,"shui-xian-tu-zhao-meng-jian-227700",[23,24,7,25,188,128,27,64,133,208,374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff0e9ff39b8a658d8889d784b15fb6f.jpg",[],{"id":40094,"slug":40095,"title":36360,"dynasty":18,"author":223,"museum":244,"description":40096,"tags":40097,"thumbUrl":40098,"material":173,"size":39270,"collection":84,"collections":40099,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":956},227347,"ru-lai-shuo-fa-tu-yi-ming-227347","画佛登宝座说法，旁有侍者六人：两天女，两僧，两介士随侍。佛顶圆光，四周飞火焰，画火笔法极生动而传神。全幅以水墨为主调，略施淡彩，其它如手足诸事，无不刻画肌容，揣拟入妙。天女衣褶，如曹衣出水，本为印度作风，北魏时传入中国，北宋以后又复少见。故成画当在北宋时，为故宫院藏佛画中之甚精者",[24,7,164,165,187,96,188,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29b569fbc72e4a17b9c63ddb4bd3a7df.jpg",[],{"id":40101,"slug":40102,"title":40103,"dynasty":54,"author":1460,"museum":300,"description":40104,"tags":40105,"thumbUrl":40106,"material":84,"size":84,"collection":84,"collections":40107,"showCount":282,"zanCount":1998,"manualWeight":48,"mainColor":72},224511,"shan-shui-tu-ce-8-kai-2-shi-tao-224511","山水图册8开-2","此作用淡墨轻岚晕染远山，虚实相生间漾开空濛雾气，将山峦融在朦胧烟霭里，褪去峻拔锋芒只剩柔润余韵。近景村居错落，茅舍柴篱隐在林木苇草间，朴拙野趣扑面而来。枯笔焦墨点染丛树苔痕，淡赭轻敷屋舍坡岸，设色浅淡柔和，笔致松秀灵动。留白恰到好处，水汽氤氲的溪面与烟岚呼应，营造出静谧清寂的乡野氛围，似能将观者带入幽远山居闲境。笔墨藏着随性自在的画中真意，淡而有味，简中生趣，尽显文人山水的雅逸禅意。",[23,24,7,59,128,27,132,29,35,34,131,7446,415,7782,1824],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21f2a9746cd204e4d9f37a292700b3b8.jpg",[],{"id":40109,"slug":40110,"title":40111,"dynasty":54,"author":5879,"museum":300,"description":40112,"tags":40113,"thumbUrl":40114,"material":84,"size":84,"collection":84,"collections":40115,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},224182,"hua-niao-cao-chong-tu-ba-01-hua-yan-224182","花鸟草虫图八-01","画面留白疏朗雅致，枯枝信笔勾勒，苍劲随性。主枝上禽鸟憨态宛然，红首绿身，羽色晕染柔润自然，垂首敛目似在垂怜下方幼雀。两只雏雀依偎细梢，娇憨灵动，尽显亲昵之态。右下角苔石苍润，衬出新叶鲜亮生趣。\n\n整体笔意松秀空灵，设色清妍淡雅，将禽鸟情态刻画入微，枯木新叶相映成趣，晕溢出闲逸静谧的林下意趣。寥寥数笔便将花鸟相依的悠然生机尽显纸上，兼具文人笔墨意趣与写生妙味，把自然小景里的温情雅致铺陈开来。",[23,24,7,61,27,59,355,2438,549,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dd8fc81b15b730e9497d6567cc88bbd.jpg",[],{"id":40117,"slug":40118,"title":40119,"dynasty":54,"author":5879,"museum":300,"description":40120,"tags":40121,"thumbUrl":40122,"material":84,"size":84,"collection":84,"collections":40123,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},224176,"liu-qin-tu-hua-yan-224176","柳禽图","此作用笔兼工带写，以空灵留白衬出清寂意韵。柳枝以淡墨晕染出柔条垂曳之姿，浓墨点苔醒出老枝苍劲，墨色浓淡铺陈出枝叶的虚实层次。\n两只八哥一攀附柳丝，一振翅穿飞，焦墨写羽凝练厚重，喙爪轻勾灵动有神，二鸟顾盼呼应，将春日柳梢嬉闹的野趣生动定格。淡赭素纸托着清润笔墨，寥寥笔意便晕开江南春日的柔婉闲逸，于简雅间暗藏蓬勃生机，尽显幽澹秀美的文人意趣。",[23,24,7,164,165,128,27,369,61,4363,211,895,5400,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cc17306c49b0de13f4dc3c68321e5f.jpg",[],{"id":40125,"slug":40126,"title":40127,"dynasty":54,"author":7208,"museum":300,"description":40128,"tags":40129,"thumbUrl":40130,"material":84,"size":84,"collection":84,"collections":40131,"showCount":282,"zanCount":1116,"manualWeight":48,"mainColor":49},224116,"ping-ding-tai-wan-zhan-tu-qian-long-224116","平定台湾战图","《平定台湾战图册之清音阁凯宴将士》是清代佚名创作的纸本设色画。\n画幅上部乾隆皇帝御题诗，款识：“赐凯旋将军福康安、参赞海兰察等宴，即席成什。\n乾隆戊申孟秋御笔。\n”钤“古希天子”朱文方印、“犹日孜孜”白文方印、“太上皇帝”朱文方印。\n清内府鉴藏印“三希堂精鉴玺”朱文印、“宜子孙”白文印。\n引首钤“乾隆鉴赏”白文圆印。\n“戊申”为乾隆五十三年（1788年），乾隆皇帝时年78岁。\n图绘乾隆皇帝在河北承德避暑山庄的清音阁款待平台有功的福康安、海兰察等将领，君臣一道观吉祥戏的庆贺场景。\n清音阁与紫禁城内畅音阁大戏台的建造形制一样，共分福、禄、寿三层。\n这三层可以同时出现人物、鬼怪、神仙，从而给人更为全面、强烈的视觉感受。\n此图具有极强的真实感，画家以工整细腻的笔法一丝不苟地刻画人物与建筑。\n虽然人物众多，各个小仅寸许，但是造型比例准确，衣冠穿戴合乎典制，乾隆皇帝等重要人物不失肖像画的特征，具有重要的历史价值。\n乾隆五十一年（1786年），居台湾的福建籍天地会首领林爽文率众起义，反抗清政府驻台腐败的吏治。\n乾隆皇帝面对如火如荼的起义，从乾隆五十二年（1787年）始，多次遣兵派将赴台镇压，同时命钦差大臣福康安督办军务。\n清军在有勇有谋的福康安指挥下，仰仗与天地会党敌对的台湾各地“义民乡勇”的密切配合，终于扭转了处处被动挨打的局面，先后拘捕了起义军领袖林爽文、庄大田等人。\n乾隆皇帝于镇压起义后，有针对性地采取了一些措施，如在乾隆五十三年（1788年）批准了经大学士、九卿议覆，福康安上奏的《清查台湾积弊酌筹善后事宜》章程十六条，以严明台湾吏治、加强管理，从此，清政府对台湾的统治进入了一个新的阶段。\n为了纪念平定台湾的胜利，乾隆皇帝命宫廷画家按照每打一次大的战役，画一本战图册的惯例，创作一套纪实性的《平定台湾战图册》。\n此图册从乾隆五十二年十月二十八日，将军福康安统兵进发台湾开始，至乾隆五十三年乾隆皇帝在避暑山庄款待得胜而归的将士止，表现了解嘉义之围、大埔林战役、斗六门战役、大里栰战役、集集埔等大大小小的战役十余起，形象地记录了镇压林爽文起义的经过。",[23,24,7,27,28,95,25,96,97,247,34,1200,11074,1577,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c22e95113d4b8059a9049e6a536f14.jpg",[],{"id":40133,"slug":40134,"title":40135,"dynasty":54,"author":223,"museum":300,"description":40136,"tags":40137,"thumbUrl":40147,"material":611,"size":40148,"collection":318,"collections":40149,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},223385,"gu-dai-shen-xian-shi-ba-dong-yi-ming-223385","古代神仙十八洞","此作为书画合璧手卷，山水以全景铺陈，披麻皴绘峰峦浑厚苍润，茂林修竹遍布丘壑，村居田庐错落溪谷之间，烟波澹澹漾于浅滩，将洞天幽寂出尘的隐逸之境尽皆铺展，尽显林泉高致。\n\n满卷狂草题跋与山水相映，笔势奔放纵逸，枯湿浓淡间墨色富于变化，跌宕的笔意打破山水的静穆，书画相生相融。整体既带着道家洞天的清寂闲雅，又饱含文人以笔遣怀的酣畅意气，把出世雅趣与笔墨风神糅合一处，尽显传统文人的精神意趣。",[23,164,24,7,25,128,29,1613,500,9480,40138,2619,40139,31629,40140,840,40141,40142,13414,40143,40144,40145,40146],"修竹","田庐","浅滩","狂草","道家","林泉高致","清寂闲雅","文人意趣","出世雅趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8597d140b6ab4f6c62fb17633e69fe0.jpg","26x717",[318],{"id":40151,"slug":40152,"title":40153,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":40154,"thumbUrl":40155,"material":151,"size":7879,"collection":84,"collections":40156,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},223070,"hong-lou-meng-56-sun-wen-223070","红楼梦56",[23,24,7,28,27,26,96,7045,101,98,99,29,34,97,111,38,758,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa186e96779f40e9867ffeb1c4651429c.jpg",[],{"id":40158,"slug":40159,"title":40160,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":40161,"thumbUrl":40162,"material":151,"size":7879,"collection":84,"collections":40163,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},223059,"hong-lou-meng-45-sun-wen-223059","红楼梦45",[23,24,7,28,27,96,97,98,131,209,1813],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcae4c87d242030d66b31807cf55c9643.jpg",[],{"id":40165,"slug":40166,"title":40167,"dynasty":124,"author":1058,"museum":510,"description":40168,"tags":40169,"thumbUrl":40170,"material":84,"size":40171,"collection":84,"collections":40172,"showCount":282,"zanCount":1998,"manualWeight":48,"mainColor":49},222358,"luo-hua-shi-ce-tang-yin-222358","落花诗册","《落花诗》是由沈周首唱，和者有文征明、徐帧卿、吕常、唐寅等人。唐寅落花诗率真蕴藉，经多次书写多次修改，总共形成47首之谱。人们通常认为唐寅落花诗反映了士大夫的感物伤怀的颓废情绪，其实曲解了作者本意。唐寅作落花诗时年仅35岁，离科场被黜不过5年，胸中块垒郁勃无由化解，乃借风云月露以排遣之。看似伤春，实乃抒写痛苦遭遇。\n《唐寅落花诗册》收入的三十首诗，是唐寅的和作。诗的内容反映了封建士大夫感物伤怀的颓废情绪，但是书法严谨，是唐寅的代表作品之一。 唐寅画落花图，并在图上题落花诗并非一次。每次所录诗作的数量不同，内容不同，书法风格也不尽相同，目前所知的分别藏于普林斯顿大学附属美术馆、辽宁省博物馆、中国美术馆。\n从艺术成就看，唐寅的画胜诗，诗胜字，诗书之名久为画掩。\n《落花诗》是由沈周首唱，和者有文征明、徐帧卿、吕常、唐寅等人。唐寅落花诗率真蕴藉，经多次书写多次修改，总共形成47首之谱。人们通常认为唐寅落花诗反映了士大夫的感物伤怀的颓废情绪，其实曲解了作者本意。唐寅作落花诗时年仅35岁，离科场被黜不过5年，胸中块垒郁勃无由化解，乃借风云月露以排遣之。看似伤春，实乃抒写痛苦遭遇。\n《唐寅落花诗册》收入的三十首诗，是唐寅的和作。诗的内容反映了封建士大夫感物伤怀的颓废情绪，但是书法严谨，是唐寅的代表作品之一。 [1] [1]唐寅画落花图，并在图上题落花诗并非一次。每次所录诗作的数量不同，内容不同，书法风格也不尽相同，目前所知的分别藏于普林斯顿大学附属美术馆、辽宁省博物馆、中国美术馆。\n从艺术成就看，唐寅的画胜诗，诗胜字，诗书之名久为画掩。\n落花诗墨迹的各个版本唐寅一生曾多次书写落花诗，每次所录诗作的数量不同，内容不同，书法风格也不尽相同。目前所知的有以下几个版本：\n就目前所见的唐寅落花诗真迹有四本：即苏州市博物馆藏本、普林斯顿大学附属美术馆藏本、辽宁省博物馆藏本和中国美术馆藏本。见于著录的唐寅书落花诗则有《蔬香馆法帖》、《海山仙馆藏真三刻》、《珊瑚网》等多种。",[23,164,64,133,1590,7,59,128,16182],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa11f9f927e26e7749c62c6b71ab76d0.jpg","纵二十三点五厘米，横四百四十五厘米",[],{"id":40174,"slug":40175,"title":40176,"dynasty":124,"author":3608,"museum":244,"description":23710,"tags":40177,"thumbUrl":40178,"material":1027,"size":40179,"collection":68,"collections":40180,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},222177,"hua-xi-yu-yin-zhou-lu-zhi-222177","花谿渔隐轴",[23,24,7,165,27,29,98,99,129,1337,131,495,211,130,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27346d2b1c70fea305cfb7ed193a52f4.jpg","239.6x53.3",[68,45],{"id":40182,"slug":40183,"title":40184,"dynasty":124,"author":125,"museum":244,"description":40185,"tags":40186,"thumbUrl":40187,"material":40188,"size":40189,"collection":68,"collections":40190,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},222124,"zhi-shi-tu-shen-zhou-222124","芝石图","此作未署年款，画芝石笔墨肥润，其书法及款印，与画秋葵相近，似为同年作品。题识：“烨烨神芝，钤冈之。九英挺秀，五色纷披。兆厥祥，杰阁宏基。宸翰辉赫，日丽星义。表以延恩，汪无涯。奕叶朱房，灵光永绥。”钤印：“石田”“日夕堂”。",[23,24,7,164,1131,128,27,9070,1314,1771,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14977f5430a499d1e4b5206e785058b3.jpg","泥金，纸本，设色","纵18.1厘米，横52.4 厘米",[68,45],{"id":40192,"slug":40193,"title":40194,"dynasty":144,"author":287,"museum":12686,"description":40195,"tags":40196,"thumbUrl":40197,"material":40,"size":40198,"collection":84,"collections":40199,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},221716,"xiao-yi-zhi-zhuan-lan-ting-xu-tu-juan-qian-xuan-221716","萧翼智赚兰亭序图卷","唐何延之《兰亭记》详细地记载了监察御史萧翼从辩才处智取《兰亭序》真迹的故事，明代李日华、近人余绍宋皆认为不可信，但是据此画成的《萧翼赚兰亭图》在宋及以后多被反复临仿。 现存宋人摹《萧翼赚兰亭图》计有三本，除北京故宫藏卷外，另两卷分别藏辽宁省博物馆、台北故宫博物院，其中辽博和台北故宫藏本较为完整，北京故宫藏本相对较简略。 该图绘四人，左为一僧端正地坐于一竹篾坐垫、靠背的椅上，面部的笑容、捋起的衣袖及右手前伸的动态，表明他正在兴致高昂的谈论某事，较为端正的身姿似又暗示了他一贯的谨慎和克制。图右绘一中年书生和僧人相对坐于鼓形凳上，面容清瘦，专注的表情和身体前倾的动态，表明了他对僧人谈话的极力迎合。中年僧人、书生身后各有一童子相随。在人物动态和艺术风格上，该本和辽博本较为接近，但省略了僧人身后仆从烹茶的情形，另在僧人坐姿、仆从及器物等上与辽博本也有不同之处。 徐邦达先生认为辽博、台北故宫藏本大致全是宋人临本，北京故宫藏本衣纹带方折而多顿挫，为南宋人作无疑。北京故宫藏本前后旧绢隔水钤“南师中印”、“伯谦精鉴”、“龙有鉴赏”等收藏印五方，尾纸附旧拓《兰亭序》帖，帖后有南宋王厚之，元王蒙、张翥题跋，三人题跋中均未谈及图画，该帖钤有收藏印二十九方。",[23,24,7,25,27,28,96,169,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8090c7e77955e254b3f443be55f54090.jpg","纵26.6cm，横44.3cm",[],{"id":40201,"slug":40202,"title":40203,"dynasty":18,"author":4899,"museum":20,"description":40204,"tags":40205,"thumbUrl":40206,"material":40,"size":40207,"collection":42,"collections":40208,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},221627,"shi-jing-xiao-ya-jie-nan-shan-zhi-shen-tu-juan-quan-juan-ma-he-zhi-221627","诗经·小雅·节南山之什图卷全卷","马和之是一位山水、人物、花鸟全能的画家，人物画的线条吸收了唐吴道子用笔飞动流畅的特点，下笔重而出笔轻，是典型的兰叶描法，线条组织松散，给人以清俊闲雅之感。\n《诗经》作为儒家经典，一直备受封建统治者的推崇，此卷以图画形式使诗歌的内容形象化，藉此宣传儒家礼教",[24,7,25,188,27,29,96,34,130,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc555b229615a13e54be0497c1481073c.jpg","纵26.2厘米，横857.6厘米",[42,136,45],{"id":40210,"slug":40211,"title":40212,"dynasty":18,"author":2067,"museum":244,"description":40213,"tags":40214,"thumbUrl":40219,"material":514,"size":40220,"collection":84,"collections":40221,"showCount":282,"zanCount":1998,"manualWeight":48,"mainColor":72},221590,"qiu-hui-cao-chong-tu-li-di-221590","秋卉草虫图","此画左下方斜出数茎花草，相互掩映。一叶梢上栖息着一只螳螂，回首张望，高举双臂，似是盯着正在飞舞捕食的金龟。螳螂自腰部至头部弯转，其弧度与金龟外壳圆缓的轮廓线、草木花叶的线条都甚利落。其最精彩的部分应属精细的敷色，顺着叶片弧度，用石绿叠出深浅及细细叶脉。石青点染的鸭跖草，及天青色花瓣，虽色已剥落，仍有透薄之感。花间用白粉描绘小花头，螳螂上半部因敷白粉，突出了甲壳的平滑立体，其前臂更是富于变化，虽只勾勒出轮廓，但黄褐、淡黄、橄榄绿等色叠变，显示出更细致的部位变化，其金色的龟壳以金粉钩染，斑纹历历在目。",[23,24,7,59,27,28,61,480,25181,806,62,230,40215,4281,40216,4280,666,33724,10803,6639,4278,40217,40218],"虫类","宋代绘画","小生灵","花鸟草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0fa271539c516bc1fca226558e483c4.jpg","25.2x26.1厘米",[],{"id":40223,"slug":40224,"title":19788,"dynasty":18,"author":40225,"museum":244,"description":40226,"tags":40227,"thumbUrl":40228,"material":611,"size":40229,"collection":318,"collections":40230,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},221565,"shu-juan-zhu-xi-221565","朱熹","朱熹（1130年10月18日－1200年4月23日），字元晦，又字仲晦，号晦庵，晚称晦翁。祖籍徽州府婺源县（今江西省婺源），生于南剑州尤溪（今属福建省尤溪县）。中国南宋时期理学家、思想家、哲学家、教育家、诗人。\n朱熹十九岁考中进士，曾任江西南康、福建漳州知府、浙东巡抚等职，做官清正有为，振举书院建设。官拜焕章阁侍制兼侍讲，为宋宁宗讲学。晚年遭遇庆元党禁，被列为“伪学魁首”，削官奉祠。庆元六年（1200年）逝世，享年七十一岁。后被追赠为太师、徽国公，赐谥号“文”，故世称朱文公。\n朱熹是“二程”（程颢、程颐）的三传弟子李侗的学生，与二程合称“程朱学派”。他是唯一非孔子亲传弟子而享祀孔庙，位列大成殿十二哲者。 朱熹是理学集大成者，闽学代表人物，被后世尊称为朱子。他的理学思想影响很大，成为元、明、清三朝的官方哲学。\n朱熹著述甚多，有《四书章句集注》《太极图说解》《通书解说》《周易读本》《楚辞集注》，后人辑有《朱子大全》《朱子集语象》等。其中《四书章句集注》成为钦定的教科书和科举考试的标准。",[164,24,7,25,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbefdf97e9d6ba231c73ef175f4ea8fd.jpg","25.2x251.5",[318],{"id":40232,"slug":40233,"title":40234,"dynasty":18,"author":4899,"museum":20,"description":40235,"tags":40236,"thumbUrl":40239,"material":40,"size":40207,"collection":84,"collections":40240,"showCount":282,"zanCount":1998,"manualWeight":48,"mainColor":72},221452,"shi-jing-xiao-ya-jie-nan-shan-zhi-shen-quan-juan-ma-he-zhi-221452","诗经·小雅·节南山之什全卷","《诗经·小雅·节南山之什图》卷，南宋，传为马和之作，绢本，设色，纵26.2厘米，横857.6厘米。\n此卷取《诗经·小雅》中《节南山》等十篇之大意描绘成图，每段前书《诗经》原文，依次为《节南山》、《正月》、《十月之交》、《雨无正》、《小旻》、《小宛》、《小弁》、《巧言》、《何人斯》、《巷伯》。书画均无款印，旧传宋高宗赵构书文，马和之作画。马和之是一位山水、人物、花鸟全能的画家，人物画的线条吸收了唐吴道子用笔飞动流畅的特点，下笔重而出笔轻，是典型的兰叶描法，线条组织松散，给人以清俊闲雅之感。\n《诗经》作为儒家经典，一直备受封建统治者的推崇，此卷以图画形式使诗歌的内容形象化，藉此宣传儒家礼教。",[23,164,24,7,25,27,6318,40237,64,40238],"兰叶描","儒家礼教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc501efc83bf8d990bb555af8f71224f8.jpg",[],{"id":40242,"slug":40243,"title":40244,"dynasty":18,"author":313,"museum":224,"description":40245,"tags":40246,"thumbUrl":40247,"material":637,"size":40248,"collection":84,"collections":40249,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},221278,"lian-po-lin-xiang-ru-lie-zhuan-can-di-er-duan-huang-ting-jian-221278","廉颇蔺相如列传(残)第二段","中国书法史上最长的传世经典长卷，是诞生于972年前，黄庭坚在50岁时所写的《廉颇蔺相如列传》长卷，是他的草书代表作之一，更是他传世书法中的经典名迹。\n此卷全长21.784米，即34.3 x 2178.4厘米，原迹内心为32.5 x 1822厘米，卷尾无书写纪年和史款。如有，会更加长。卷尾无书写纪年和史款，约书于绍圣二年（1095年）。卷内钤有“ 内府书印”“绍兴”连珠印、 “内省斋”“秋壑图书”“欧阳玄印”“项子京家珍藏”等印鉴，还有项元汴跋。此卷是传世黄书中的名迹，《式古堂书画会考》、安歧的《黑缘会观》等书均有著录。\n黄庭坚草书的巨大成就，在《廉颇蔺相如列传》长卷大放异彩。作为山谷51岁时的成熟代表作，此帖已走出了早期《花气诗帖》用笔生硬、少圆转的起步状态，更加完善了中期《杜甫寄贺兰铦诗帖》笔法圆劲、笔势连绵的特点。丰富多样的掠笔、带笔、蹲笔，尤其是独创的颤笔技法，让线条极富振荡感，洋溢着活跃跃的韵律之美，赋予了草书以崭新的境界。",[23,7,64,840,25,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd0b7f2742fc34b19f8a020a3c9a7761.jpg","纵32.5厘米，横1822厘米",[],{"id":40251,"slug":40252,"title":40253,"dynasty":124,"author":2268,"museum":20,"description":31601,"tags":40254,"thumbUrl":40255,"material":3430,"size":5345,"collection":84,"collections":40256,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},220913,"shan-shui-ce-7-dong-qi-chang-220913","山水册7",[23,24,7,59,128,29,132,331,131,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56878ebec529936616522b38f900f90f.jpg",[],{"id":40258,"slug":40259,"title":40260,"dynasty":144,"author":569,"museum":244,"description":40261,"tags":40262,"thumbUrl":40263,"material":611,"size":40264,"collection":318,"collections":40265,"showCount":282,"zanCount":1998,"manualWeight":48,"mainColor":72},220876,"zhi-chuan-dao-chi-du-zhao-meng-fu-220876","致传道尺牍","释文：孟頫顿首传道足下。公素人来得书累幅。既闻起居之详。又获新诗一篇。及公素寄示双石记。居违久矣。不意复闻韶濩之音。喜慰之极。无以云喻。久废笔研。不敢继和。必识此意。会合无期。临书惘惘。秋暑。万万以时自厚。不宣。孟頫顿首再拜。",[7,64,133,128,9909],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91a608728cb498f1fe076bfe431b2656.jpg","纵39.4厘米,横70.5厘",[318],{"id":40267,"slug":40268,"title":40269,"dynasty":124,"author":2268,"museum":6892,"description":40270,"tags":40271,"thumbUrl":40272,"material":59,"size":6896,"collection":84,"collections":40273,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":84},220753,"fang-ge-jia-shan-shui-3-dong-qi-chang-220753","仿各家山水-3","此作用淡墨干笔写就远近山水，远景山峦皴擦松灵，坡岸随水势蜿蜒铺展，留白作水，晕染出空蒙悠远的湖山烟意，林石隐现其间，简淡空灵。近景古木虬曲苍劲，以浓淡墨色区分枝桠枯荣，层叠错落间掩映着临水村居，板桥卧波连起汀岸，野趣盎然。\n全画笔墨秀润松脱，以留白营造出幽寂空茫的意境，将山水淡远之致与林下幽居的雅静相融，尽显平淡天真的文人意趣，于简率笔墨中蕴含静穆悠长的诗意，淡而不薄，简而不空，尽显山水悠远淡寂的林下雅境。",[23,24,7,128,132,330,29,131,34,98,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38d3f7e74473aa4b84bb40d391a020b7.jpg",[],{"id":40275,"slug":40276,"title":40277,"dynasty":980,"author":3539,"museum":3540,"description":40278,"tags":40279,"thumbUrl":40280,"material":84,"size":84,"collection":84,"collections":40281,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},220572,"jiu-fang-gao-xu-bei-hong-220572","九方皋","山野风色裹着粗粝的生机，老者静立崖边，目光越过皮毛叩问龙马的骨血，沉静神态藏着识珠的笃定。牵马汉子筋肉虬结、野性勃发，与老者的沉稳形成强烈反差。\n\n画面以笔墨塑风骨，线条凝练遒劲，糅合西画体积感与东方白描意趣。马匹神形各异，或昂首长嘶、或垂首闲食，野趣盎然。画作将伯乐识贤的典故融于田间小景，借相马喻识人，朴素场景里藏着对英才不问出身的深切期许，笔墨间满溢沉厚真挚的人文温度。",[23,24,7,27,128,188,10803,96,101,6640,34,980],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff03f353d2c8b3af414b1b65a034610f6.jpg",[],{"id":40283,"slug":40284,"title":40285,"dynasty":54,"author":40286,"museum":5077,"description":40287,"tags":40288,"thumbUrl":40289,"material":84,"size":84,"collection":84,"collections":40290,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},220463,"lan-shi-chen-shi-ceng-220463","兰石","陈师曾","此作用极简水墨写绘兰石，运笔纵逸老辣，兰叶如屈铁游丝，中锋走笔，刚柔并济，寥寥数笔便将兰叶舒展之姿写尽。兰花以写意点染，花瓣含露轻绽，神韵自现。\n\n留白通透，以虚衬实，尽显尚简重意的文人画旨趣，将芝兰君子寄情林泉、不与俗伍的幽贞品格晕染纸上。左侧题字朴拙苍劲，笔墨意趣与画面融为一体，互为生发。整幅画于简淡中见风神，墨色干湿浓淡间，氤氲出清逸出尘的林下风流，藏着传统文人淡泊清远的精神内核。",[23,24,7,164,165,128,369,375,1314,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8271038a5f32366ba9121a2549da8d79.jpg",[],{"id":40292,"slug":40293,"title":40294,"dynasty":124,"author":2268,"museum":224,"description":13628,"tags":40295,"thumbUrl":40296,"material":611,"size":84,"collection":84,"collections":40297,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},220345,"fang-mi-fei-shan-shui-tu-juan-2-wen-dong-qi-chang-220345","仿米芾山水图卷-2文",[24,7,25,128,330,132,29,415,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca2b8e1d8c5f8ab047812b476da7701.jpg",[],{"id":40299,"slug":40300,"title":40301,"dynasty":54,"author":20259,"museum":300,"description":40302,"tags":40303,"thumbUrl":40305,"material":278,"size":84,"collection":68,"collections":40306,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},220259,"lao-song-tu-gao-xiang-220259","老松图","高西堂擅画梅，疏枝瘦花，其野逸之趣每为金冬心所称道。亦擅山水，法元人黄公望而以清简出之，境界荒寒，画格甚高。此轴画萱花、寿石及长松秀竹，当是为人祝嘏之作，笔墨极似恽南田而仍有其清逸本色。款书则倚倒倾侧，是其习见风貌。西堂画在“八怪”中流传最少，此轴保存良好，书卷之气袭人，是可珍。",[23,24,7,165,128,369,132,40304,276,10701,62,64],"老松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cb4bd54bd63d1fc9d10345163a01cb2.jpg",[68],{"id":40308,"slug":40309,"title":40310,"dynasty":54,"author":9529,"museum":300,"description":10029,"tags":40311,"thumbUrl":40313,"material":66,"size":10032,"collection":84,"collections":40314,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},220134,"mo-gu-shan-shui-hua-2-wang-hui-220134","摹古山水画2",[23,24,7,27,40312,132,29,130,99,131,34,37],"摹古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7bffb832eccf43b9b7369932d121853.jpg",[],{"id":40316,"slug":40317,"title":40318,"dynasty":54,"author":9529,"museum":300,"description":10029,"tags":40319,"thumbUrl":40320,"material":66,"size":10032,"collection":84,"collections":40321,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},220133,"mo-gu-shan-shui-hua-3-wang-hui-220133","摹古山水画3",[23,24,7,40312,27,132,29,1144,131,37,35,96,499,34,415,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c95d2ba722189a59771f6f1eb36950e.jpg",[],{"id":40323,"slug":40324,"title":40325,"dynasty":54,"author":9529,"museum":300,"description":10029,"tags":40326,"thumbUrl":40327,"material":652,"size":10032,"collection":84,"collections":40328,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},220129,"mo-gu-shan-shui-hua-6-wang-hui-220129","摹古山水画6",[23,24,7,128,27,132,29,98,99,1144,96,495,131,34,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc808d878e086f7d7fabf09d7e670b506.jpg",[],{"id":40330,"slug":40331,"title":40332,"dynasty":54,"author":40333,"museum":450,"description":40334,"tags":40335,"thumbUrl":40336,"material":173,"size":40337,"collection":44,"collections":40338,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},219838,"san-jiao-tu-chen-shi-jun-219838","三教图","陈士俊","苍松虬枝横斜，山岚轻笼幽林，铺就出古雅澹泊的林下晤面之景。三位宗师神态各殊，执白羽者清逸出尘，宽袍束带者端方持重，抱婴老者垂眉慈和，身旁侍童稚态可掬，为沉静氛围添了几分灵动生机。\n\n画师笔致精细，衣纹走线舒展流畅，将人物的风神气度描摹得形神兼备，山林晕染层次雅致，把三教汇流、圣贤交融共生的平和意涵，藏进这悠然的雅集场景中，兼具叙事意趣与人文深味。",[23,24,7,165,27,28,96,29,1144,131,34,21100,2218,1367,24478],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3abea62ef10bb38e32d5963e7b16a1.jpg","纵121厘米 横58.9厘米",[44],{"id":40340,"slug":40341,"title":40342,"dynasty":182,"author":40343,"museum":244,"description":40344,"tags":40345,"thumbUrl":40349,"material":151,"size":40350,"collection":44,"collections":40351,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},219607,"du-bei-tu-zheng-fa-shi-219607","读碑图","郑法士","画面以淡墨勾勒绢素，丘壑荒疏古雅，山林间一人凝伫碑前，似在细读碑文，侍从垂手侍立身侧。线条细劲挺括，带着六朝遗韵，人物仪态萧散沉静，将凭吊古碑的幽思缓缓铺陈。\n\n山水简淡拙朴，和人物的沉静互为映衬，把文人怀古的澹远心境融在荒疏景致之中。整体笔墨清隽凝练，静谧沉凝的古意漫溢纸面，简淡里藏着沉郁的思古幽情，悠悠怀古意绪藏于简雅画面，意境澹远悠长。",[23,24,164,7,59,188,128,96,29,13603,40346,40347,40348],"古碑","怀古","幽思","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F227bce08d6e766d1f00417214e49e4d7.jpg","纵26.5横39.8厘米",[44],{"id":40353,"slug":40354,"title":40355,"dynasty":124,"author":223,"museum":2862,"description":40356,"tags":40357,"thumbUrl":40358,"material":173,"size":40359,"collection":44,"collections":40360,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},219591,"di-shi-qi-luo-han-tu-yi-ming-219591","第十七罗汉图","主尊罗汉安坐石上，头覆圆光，神情沉静慈悲，衣纹敷色厚重雅致，红绿配色沉稳古朴。左侧深肤梵僧恭谨侍立，右侧胡貌信徒躬身礼拜，尽显虔敬姿态。背景以淡墨晕染山林，云烟隐现间错落仙灵异兽，烘托出幽寂空灵的禅林意境。\n\n整幅构图主次分明，设色古雅沉稳，线条勾勒凝练流畅，兼具宗教绘画的庄严静穆，又暗含工致细腻的笔致。将罗汉清净无染的出世之姿，与世俗礼拜的恭敬情态相融，绘就出充满禅意的佛国图景，尽显古拙端严的宗教美术气韵。",[24,7,165,27,28,187,96,29,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7e73192d5c5624e3ad6338eff44cfed.jpg","纵183.5横104.8厘米",[44],{"id":40362,"slug":40363,"title":40364,"dynasty":144,"author":569,"museum":450,"description":40365,"tags":40366,"thumbUrl":40367,"material":173,"size":84,"collection":44,"collections":40368,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},219562,"ma-tu-ye-zhao-meng-fu-219562","马图页","此作以淡赭绢本为底，骏马身形丰腴劲健，以浓淡不一的墨色晕染皮毛，浓墨铺就肩臀，淡墨晕出躯干，虚实间尽显骏马肌理的柔和光泽，静立中暗含蓄力待发的动势。\n牵马胡人气度彪悍，简劲线条勾勒出毡裘纹理，虬髯卷发的样貌鲜活生动，寥寥数笔便将塞外牧人的质朴刚健全然展现。\n左上题字笔致圆熟苍秀，书画相融，更添文雅意趣。整幅脱却院体鞍马的精工繁复，以写意笔法抓取神形，兼具写实功力与文人雅韵，将人马之间的沉静张力定格绢素，尽显元代鞍马画的别致意趣。",[23,24,7,59,27,28,101,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d15c2a7cbef3531d0fff7ae3e535dbb.jpg",[44],{"id":40370,"slug":40371,"title":40372,"dynasty":18,"author":2032,"museum":244,"description":40373,"tags":40374,"thumbUrl":40375,"material":173,"size":40376,"collection":45,"collections":40377,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},219506,"mai-chun-mei-yuan-tu-lu-zong-gui-219506","买春梅苑图","用笔工细。画中的场景应该设计于一个小山峦，左下方隐约可见院墙瓦脊。一位文士左手扶在老梅树上，右手持杯饮酒，男女侍者持酒壶恭立在不远处；老梅树主干直上，旁枝交叉互相呼应，脚下已经是绿色满地；遥望远山，山高云浓，万物正在春天的拥抱下展现新的气象！鲁宗贵长于花鸟，而其山水气象与马远相似，构图倾向于简洁，用笔刚健有力，从中可见地域艺术风格在当时颇为明显。此图在人物的造型、梅树的刻画与环境的表现上，都显示出作者深厚的功底及其修养。",[24,7,59,28,27,371,96,29,247,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9af8a21f89dd75571e525750496ab14.jpg","31.5×29.3cm",[45],{"id":40379,"slug":40380,"title":40381,"dynasty":124,"author":19170,"museum":244,"description":40382,"tags":40383,"thumbUrl":40384,"material":27,"size":40385,"collection":44,"collections":40386,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},219311,"shi-ba-ying-zhen-xiang-zhou-ding-yun-peng-219311","十八应真像轴","祥云裹挟金芒倾泻而下，漫卷的云海间，十八应真或骑狮踞象，或趺坐参禅，或执杖笑谈，神态各异如活现眼前。衣纹线条精谨流畅，兽形憨态与威严并存，群像错落间藏着疏密有致的章法。淡墨晕染出缥缈的云雾与波澜，将神圣与世俗的气息悄然融合——既见罗汉的庄严法相，亦有生动活泼的人间意趣。每一处细节皆见匠心：或眉眼间的慈悲，或兽足踏浪的灵动，都在泛黄的绢本上沉淀出时光的厚重，尽显传统人物画的精妙神韵。",[24,7,165,187,96,949,188,27,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2a6776ed79f7001c79a87c79325b796.jpg","109.1x50.9",[44],{"id":40388,"slug":40389,"title":40390,"dynasty":144,"author":223,"museum":77,"description":40391,"tags":40392,"thumbUrl":40393,"material":173,"size":84,"collection":68,"collections":40394,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},219279,"lian-lu-tu-yi-ming-219279","莲鹭图","汀渚石上，双鹭静立。白羽以淡墨层层晕染，质感蓬松清透，长颈或曲或伸，姿态悠然；黑喙尖细如锥，长腿挺括似铁线，爪尖紧扣岩石纹路，稳健中见灵动。周遭莲荷残落，枯梗斜欹，莲蓬以焦墨点簇，间杂细草幽花，皆用简笔写就，野趣横生。画面底色沉郁古雅，绢本的岁月痕迹更添韵致，无浓艳设色，却于简淡中藏深致：风过莲塘的轻响似在耳畔，水泽清寂漫溢开来，尽显元人画中“清空”之境——于静谧里见生机，于素朴中显情韵，寥寥数笔便凝住自然幽微之美。",[23,4057,164,24,7,1131,27,28,61,3836,81,25108,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b797be1e0744c28f778b94a3e2dfa19.jpg",[68],{"id":40396,"slug":40397,"title":40398,"dynasty":18,"author":35412,"museum":244,"description":40399,"tags":40400,"thumbUrl":40402,"material":173,"size":40403,"collection":68,"collections":40404,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},219229,"rong-po-cu-zhi-tu-mou-yi-219229","茸坡促织图","本幅选自「艺苑藏真」册。画中，一对觅食的蟋蟀，现身在野菊草丛间，正使劲地鼓动双翅，高声鸣叫著。蟋蟀是秋天常见的昆虫，牠的鸣声，有点像织布机发出的声音，让人联想起天气即将变凉，必须赶快织布御寒，所以古时候又称牠为「促织」。画上并无签名，旧传为牟益所作。牟益（1178—1242后）是南宋的蜀（四川）人，擅长画人物，对于古文考证，也有深入的研究。",[23,164,24,7,1131,28,27,6856,604,40401,61],"草坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7969765cc4f71412e5cbd463a78caadd.jpg","20.6x21cm",[68],{"id":40406,"slug":40407,"title":6571,"dynasty":124,"author":223,"museum":1941,"description":40408,"tags":40409,"thumbUrl":40411,"material":173,"size":40412,"collection":44,"collections":40413,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},218298,"luo-han-tu-yi-ming-218298","两尊罗汉共处一隅，坐者执卷凝思，眉眼间尽是专注，似在经文中悟得禅理；立者躬身侧耳，神态恭谨，如沐智慧的低语。衣袍线条婉转流畅，色彩古雅温润，赤足踏地的细节添了几分随性自在。背景深褐如晦，圆月隐于树影，静谧禅意悄然流淌。画作以生动的神态互动，传递禅林问学的融融之境，笔墨间既有宗教肃穆，又含人间温情，尽显古画的含蓄韵味与精神深度。",[24,7,165,27,28,187,96,18331,40410,131,231],"衣纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50e51e9f2411a999971874ae34ce0bb4.jpg","140.8x78.8",[44],{"id":40415,"slug":40416,"title":40417,"dynasty":54,"author":28758,"museum":6892,"description":14198,"tags":40418,"thumbUrl":40419,"material":278,"size":14201,"collection":136,"collections":40420,"showCount":282,"zanCount":1998,"manualWeight":48,"mainColor":72},218112,"xin-an-yi-yun-ce-xiao-yun-cong-shan-shui-xiao-yun-cong-218112","新安逸韵册(萧云从山水)",[24,7,59,128,132,29,131,1337,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8cbb8859bdf0c6370f0ecf6c6f9f55e.jpg",[136],{"id":40422,"slug":40423,"title":40424,"dynasty":18,"author":2099,"museum":300,"description":37919,"tags":40425,"thumbUrl":40426,"material":278,"size":84,"collection":84,"collections":40427,"showCount":282,"zanCount":1998,"manualWeight":48,"mainColor":72},218105,"bai-miao-ren-wu-tu-ce-6-li-gong-lin-218105","白描人物图册-6",[23,164,24,7,59,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43efda329c4ccc607a4e310fdaa626b7.jpg",[],{"id":40429,"slug":40430,"title":40431,"dynasty":144,"author":1346,"museum":244,"description":2533,"tags":40432,"thumbUrl":40433,"material":278,"size":84,"collection":84,"collections":40434,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},216387,"mo-zhu-pu-ce-3-wu-zhen-216387","墨竹谱册-3",[164,24,7,59,128,167,64,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b5d935d0f7c698447c6c743080d955a.jpg",[],{"id":40436,"slug":40437,"title":40438,"dynasty":144,"author":1346,"museum":244,"description":2533,"tags":40439,"thumbUrl":40440,"material":278,"size":84,"collection":84,"collections":40441,"showCount":282,"zanCount":1998,"manualWeight":48,"mainColor":72},216371,"mo-zhu-pu-ce-17-wu-zhen-216371","墨竹谱册-17",[164,24,7,59,128,167,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd144c0dfb78e31c18b0424eb85f4a041.jpg",[],{"id":40443,"slug":40444,"title":40445,"dynasty":144,"author":1346,"museum":244,"description":2533,"tags":40446,"thumbUrl":40447,"material":278,"size":84,"collection":84,"collections":40448,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},216369,"mo-zhu-pu-ce-19-wu-zhen-216369","墨竹谱册-19",[24,7,59,128,167,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F647a03d4eb51f10004ee79e346cc7188.jpg",[],{"id":40450,"slug":40451,"title":40452,"dynasty":54,"author":1242,"museum":77,"description":8179,"tags":40453,"thumbUrl":40454,"material":317,"size":37994,"collection":84,"collections":40455,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},216331,"jin-nong-ba-kai-hua-niao-tu-3-jin-nong-216331","金农八开花鸟图-3",[24,7,128,369,61,918,59,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83474b8830f5cdb855dbaab901df93dd.jpg",[],{"id":40457,"slug":40458,"title":40459,"dynasty":54,"author":1242,"museum":77,"description":8179,"tags":40460,"thumbUrl":40461,"material":317,"size":37994,"collection":84,"collections":40462,"showCount":282,"zanCount":1998,"manualWeight":48,"mainColor":72},216329,"jin-nong-ba-kai-hua-niao-tu-5-jin-nong-216329","金农八开花鸟图-5",[24,7,59,128,61,547,1771,167,355,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3624b134698d73acc1f2146b4414230f.jpg",[],{"id":40464,"slug":40465,"title":40466,"dynasty":124,"author":802,"museum":300,"description":40467,"tags":40468,"thumbUrl":40469,"material":278,"size":84,"collection":84,"collections":40470,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":49},216320,"xi-xiang-ji-zhen-ben-tu-ce-9-chen-hong-shou-216320","西厢记真本图册-9","虬枝盘曲如古篆流转，墨叶疏朗似淡诗铺展。花萼以淡墨轻勾，含露欲绽；隐于枝后的身影半遮半显，暗合西厢幽会的朦胧意趣。线条刚劲中藏柔婉，转折处见古拙，尽显笔底奇崛风神。枝叶排布疏密有致，留白处余韵悠长，将戏曲里的缠绵情愫凝于尺幅间。每一笔都似低诉西厢千古情肠，古雅动人，让观者于墨色流转中，触到那份跨越时空的雅致与温柔。",[24,7,59,188,61,547,355,582,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8810db7fb6ea742688c7209acba8d1ed.jpg",[],{"id":40472,"slug":40473,"title":40474,"dynasty":124,"author":7961,"museum":244,"description":40475,"tags":40476,"thumbUrl":40477,"material":173,"size":84,"collection":136,"collections":40478,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},214617,"shui-cheng-tu-ce-tai-cang-qian-gu-214617","水程图册-太仓","钱穀（1718-1778）是一位著名的中国古代地理学家和旅行家。他在明朝末期，著有著名的旅行记录作品《水程图册》。《水程图册》是一部珍贵的历史文献，记录了钱穀旅行时所见到的各种河流、港口、城市、商路等信息。其中，太仓章节是钱穀对太仓的描述。\n\n太仓是位于今天的江苏省的一座古城，历史悠久，是明朝时期的重要港口和商路要地。钱穀在《水程图册》中对太仓的描述非常详细，包括了太仓的地理位置、交通情况、港口设施、商业情况等。他提到，太仓港口设施完善，有多条航道，船只可以在港内停泊。太仓是一个重要的商路要地，有丰富的商品流通，包括铜器、茶叶、香料、木材等。太仓还有许多古迹和名胜古迹，例如著名的太仓大堤。\n\n《水程图册》是一部重要的古代地理学著作，其中的太仓章节是对太仓的珍贵记录，为我们了解明朝时期太仓的历史、地理、经济、文化等方面提供了宝贵的参考资料。",[24,7,59,128,27,98,99,129,35,34,29,208,149,758,3847,33,415,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc90d1740797b3391febe2b0c80bee24.jpg",[136],{"id":40480,"slug":40481,"title":40482,"dynasty":18,"author":449,"museum":56,"description":40483,"tags":40484,"thumbUrl":40485,"material":278,"size":13555,"collection":84,"collections":40486,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},214272,"duo-jing-lou-shi-tie-12-mi-fei-214272","多景楼诗帖-12","笔势如惊雷破壁，墨韵似流云卷岫。“如翼搏千”四字，开张若鹏翼垂天，紧敛如劲弩待发。“翼”之撇捺舒展振翅，墨色浓淡间藏飞白之趣；“搏”字欹侧却稳如磐石，笔锋转折处露锋芒；“千”的竖画如孤峰拔地，力透纸背。米芾“刷字”妙处尽显——运笔迅疾如挥帚，狂放中守规矩，错落间见章法。字间呼应似登高骋怀，与多景楼诗意暗合。墨痕干湿交织，筋骨与韵味兼具，气脉贯通满纸生风，尽展宋人书法的潇洒与力量。",[64,133,7,128,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddf631e5742b647e2d613a5712be268e.jpg",[],{"id":40488,"slug":40489,"title":40490,"dynasty":18,"author":449,"museum":56,"description":40491,"tags":40492,"thumbUrl":40493,"material":278,"size":13555,"collection":84,"collections":40494,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},214271,"duo-jing-lou-shi-tie-14-mi-fei-214271","多景楼诗帖-14","笔势如奔雷掣电，八面出锋间尽展“刷字”神韵。浓墨沉厚如坠石，飞白轻盈若游丝，墨色干湿浓淡的变幻里，藏着跌宕意气与豪情。字形欹侧却稳劲，“风”字撇捺舒展如翼，“秋”字点画厚重凝霜，“御”字竖笔挺拔似松。每一笔皆带畅快节奏，仿佛能听见落笔飒飒声，将登高临远的壮阔心境，化作纸上奔腾气象。这是墨与纸的共舞，心性与笔锋的交融，尽显宋代书法的潇洒雄健。",[64,7,133,128,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe77cf610f6f42e8a3a0a2408b800767b.jpg",[],{"id":40496,"slug":40497,"title":40498,"dynasty":18,"author":449,"museum":56,"description":40499,"tags":40500,"thumbUrl":40501,"material":278,"size":13555,"collection":84,"collections":40502,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},214270,"duo-jing-lou-shi-tie-11-mi-fei-214270","多景楼诗帖-11","笔墨如奔雷掣电，笔锋八面出锋，横斜竖直间尽是洒脱不羁。每一字皆欹侧生姿，却于险绝处见平正，如奇峰罗列却脉理相连。浓墨处沉雄如坠石，淡墨处轻逸似流云，干湿浓淡的变幻间，藏着“刷字”的凌厉与灵动。线条的提按顿挫如乐章起伏，将登高临远的豪情注入笔端，既见魏晋风骨，更显宋人尚意的神采。通篇气势连贯，如江河奔涌，于挥洒自如中见法度森严，尽显书家的旷世才情与疏狂性情。",[7,133,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6d665309976b3c96d55fe270f005caa.jpg",[],{"id":40504,"slug":40505,"title":40506,"dynasty":18,"author":449,"museum":56,"description":40507,"tags":40508,"thumbUrl":40509,"material":278,"size":13555,"collection":84,"collections":40510,"showCount":282,"zanCount":48,"manualWeight":48,"mainColor":72},214268,"duo-jing-lou-shi-tie-13-mi-fei-214268","多景楼诗帖-13","笔锋似剑戟翻覆，又若流云舒卷——“氣”字末笔拖曳出的弧度裹着浓墨沉厚，“雾”字点画连绵藏着雨意朦胧，“刚”字撇捺如斩钉，飞白处漏出纸纹是力透纸背的劲。墨色浓淡相错，干湿互见：重墨如坠石，轻墨似游丝。字形欹侧却稳，线条跳脱却合章法，每一笔带着“刷字”的爽利，转折处又藏细腻。柔与刚在纸间碰撞，雾与气在笔底交融，读来如闻江风穿楼，见烟雨泼墨，满纸鲜活意气，筋骨里藏着挥毫时的豪情，是那种一眼便觉字里行间都在呼吸的生动。",[64,133,1590,128,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e8dd06f0d3fef3c8d0b8239ff7ec435.jpg",[],{"id":40512,"slug":40513,"title":40514,"dynasty":54,"author":40515,"museum":56,"description":40516,"tags":40517,"thumbUrl":40518,"material":84,"size":84,"collection":68,"collections":40519,"showCount":282,"zanCount":1116,"manualWeight":48,"mainColor":40520},201840,"ju-hua-tu-zhou-wu-xi-zai-201840","菊花图轴","吴熙载","此图笔墨疏朗灵动，以水墨为基，淡彩点染，尽显菊花清逸之姿。两朵白菊花瓣层叠舒展，勾勒细腻却含写意之趣；墨叶泼写而成，浓淡干湿交错，叶脉隐于晕染间，苍劲中带秀润。旁逸枝蔓穿插自然，小花嫩叶添生机。构图虚实相生，留白悠远，笔墨渗透书家功底，清雅脱俗，尽显菊花傲霜品格，予人静谧淡远之感。",[24,7,165,128,27,61,376,164,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc8cfec34c764d9f76d0033964da2fc2.jpg",[68],"d7c9b9",{"id":40522,"slug":40523,"title":40524,"dynasty":18,"author":11766,"museum":300,"description":40525,"tags":40526,"thumbUrl":40527,"material":692,"size":1293,"collection":84,"collections":40528,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":49},290614,"ku-mu-zhu-shi-zhou-song-ren-290614","枯木竹石轴","此轴以飞白笔法画石块，墨淡而笔劲。墨笔画成的丛竹、枯木出于石块后方，石块前侧又有兰草丛生，而枯枝之上栖停着一只鸟禽。构图虽略显中轴对称，但画中飞白石、古木、兰竹等物象，并未依循实际生态，而倾向于笔墨效果的展现，属元代枯木竹石画风。画中枯木与院藏赵孟俯《竹石古木》表现类似，此画上虽无款印，但可推测为此一画风的元代例证，学者推测或许正与赵孟俯关系密切。",[24,164,7,165,128,61,454,167,171,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc68e00661dc7552efca8be1f446a08a.jpg",[],{"id":40530,"slug":40531,"title":11215,"dynasty":124,"author":3608,"museum":300,"description":9012,"tags":40532,"thumbUrl":40533,"material":692,"size":1293,"collection":84,"collections":40534,"showCount":518,"zanCount":1998,"manualWeight":48,"mainColor":49},290501,"hua-niao-zhou-lu-zhi-290501",[164,24,7,165,28,27,61,371,211,7810],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff287464e1e488bf57ac4980cd966922c.jpg",[],{"id":40536,"slug":40537,"title":34384,"dynasty":54,"author":3718,"museum":300,"description":40538,"tags":40539,"thumbUrl":40540,"material":692,"size":1293,"collection":84,"collections":40541,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},290180,"tao-an-tu-zhou-hong-ren-290180","本幅是作者送友人汪尧德的写生之作。汪尧德（1620—1685年），字子陶，号陶庵、子翁居士，歙县潜口人(见《康熙歙县志》)。早年客居松江，与董其昌、陈继儒等文人交往。晚年家居30年，以书画自娱。此图是弘仁与友人罗逸（字远游，歙县人）游黄山经过潜口时所绘汪尧德隐居之所。其屋舍傍山而筑，临溪而建，一片离尘幽美之景。作者以折带皴和干笔渴墨表现山石，得徽地清幽冷峻的山林之美；以苍劲整洁的线条勾出柳丝，得生机盎然之趣。其洗练简逸的笔墨与汪氏简朴的居所相得益彰，映衬出汪氏志在清高自守、乐在林泉云游的脱俗之气。",[23,24,165,128,29,1337,496,35,98,208,132,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfb845dce80ebf0ae222beb3c4e517a4.jpg",[],{"id":40543,"slug":40544,"title":40545,"dynasty":144,"author":14724,"museum":300,"description":40546,"tags":40547,"thumbUrl":40548,"material":692,"size":1293,"collection":84,"collections":40549,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},290159,"shi-an-gu-song-tu-cao-zhi-bai-290159","石岸古松图","曹知白（1272～1355），元代画家，藏书家。字又玄，贞素，号云西，人称贞素先生，松江华亭（今上海青浦）人。从小机敏颖悟，很有见识，爱读书，好黄老之学。家有藏书数千卷，也喜蓄字画。曾被荐为昆山教谕，不久辞去。结交赵孟頫、邓文原、虞集、王冕等名流，与倪瓒、黄公望交往最密，常以书画相唱和。 咸淳八年 （1272年）三月廿八日出生。至元三十一年 (1294年)曹知白在开凿吴淞江中功绩居多。大德八年(1304年)提出填阏成堤之法，取得良好效果。至正十五年 乙未 (1355年)二月五日，曹知白逝世。三月，葬于松江修竹乡干山之源。",[24,7,128,165,29,1144,415,3857,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F220744a1d28d0000d5efd43b1543c4f4.jpg",[],{"id":40551,"slug":40552,"title":40553,"dynasty":144,"author":24089,"museum":300,"description":40554,"tags":40555,"thumbUrl":40557,"material":692,"size":1293,"collection":84,"collections":40558,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},290157,"hun-lun-tu-zhu-de-run-290157","浑沦图","此图坡石突凸，石间屹立一棵古松，盘曲多姿，藤蔓牵缠松干，飘曳向空。石画一圆圈，其意玄奥不可知。所作松石笔致婉和精巧，墨韵温润。卷首自题九行，其中[已丑]为至正九年即公元一三四九年，作者时年五十六岁。",[164,24,7,25,128,64,938,133,40556,10701,208],"枯松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06aa70b7eb3e06d9a2cf3da9eedd45f2.jpg",[],{"id":40560,"slug":40561,"title":40562,"dynasty":182,"author":7843,"museum":300,"description":40563,"tags":40564,"thumbUrl":40565,"material":692,"size":1293,"collection":84,"collections":40566,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},289989,"jiu-cheng-bi-shu-tu-li-si-xun-289989","九成避暑图","此幅为清宫旧藏，是故宫博物院庋藏的几幅时代较早、传为唐人的绘画作品之一。乾隆题诗中有“九成琼殿叠，百道玉泉翻”句，认为此图写九成宫。事实上，画面描绘的是贵族出行和游乐的场面，繁密富丽，充满亭台殿阁，其间人物、鞍马、舟车往来。画法虽具大小李将军“金碧山水”传派的特点，实为南宋画家所作。",[23,24,7,1131,95,26,27,97,29,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa673409a6781dd2bfe14d84ac4d4aefb.jpg",[],{"id":40568,"slug":40569,"title":40570,"dynasty":54,"author":3403,"museum":300,"description":8089,"tags":40571,"thumbUrl":40572,"material":692,"size":1293,"collection":84,"collections":40573,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},289976,"cuo-luo-shan-hu-zhi-wu-chang-shuo-289976","错落珊瑚枝",[23,164,24,7,165,27,128,61,171,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4af96a1525539d532429b3adf17fb9fd.jpg",[],{"id":40575,"slug":40576,"title":40577,"dynasty":54,"author":1219,"museum":300,"description":1220,"tags":40578,"thumbUrl":40579,"material":692,"size":1293,"collection":84,"collections":40580,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},289651,"cui-niao-ming-chun-jing-xin-ren-yi-289651","翠鸟明春镜心",[23,24,7,1131,27,61,8865,11660,1400,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0422548bf7c6a8cf40b657aeba6e1bf7.jpg",[],{"id":40582,"slug":40583,"title":31589,"dynasty":18,"author":1449,"museum":300,"description":40584,"tags":40585,"thumbUrl":40587,"material":692,"size":1293,"collection":84,"collections":40588,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},289559,"fang-chun-yu-ji-tu-ma-lin-289559","《芳春雨霁图》描绘荒野平溪，窠石疏林。枝上嫩叶初露，春意浓郁。远方烟霭出没，隐约可见。画中怪石用斧劈皴，老树用严谨的双钩填墨法，树叶用淡褐色点染。全图用笔瘦硬劲峭，构图简括，画风学马远而又有自己的创新，为马麟山水画佳作。",[24,164,7,128,29,1337,171,99,40586,208,132],"雨霁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61e2fc4358f94b21a58ea7d73e48787d.jpg",[],{"id":40590,"slug":40591,"title":40592,"dynasty":18,"author":1622,"museum":300,"description":12632,"tags":40593,"thumbUrl":40594,"material":692,"size":1293,"collection":84,"collections":40595,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":49},288350,"song-yin-wan-yue-tu-ma-yuan-288350","松荫玩月图",[164,24,7,128,27,29,372,231,96,99,12634,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f57d4cb975c118da4a725394cb0c41.jpg",[],{"id":40597,"slug":40598,"title":40599,"dynasty":54,"author":223,"museum":300,"description":40600,"tags":40601,"thumbUrl":40604,"material":692,"size":1293,"collection":84,"collections":40605,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":49},287699,"fang-li-di-tao-shu-qing-niao-tu-yi-ming-287699","仿李迪桃树青鸟图","此作工致妍丽，虬曲桃枝横展，垂挂的硕桃晕染出粉红斑斓，饱满鲜活似将盈汁，枝叶疏密错落，勾勒晕染皆细致入微。\n\n两只青鸟静立枝桠，翎毛敷色明丽且层次丰富，蓝羽如琢似染，身姿雍容隽雅，神意悠然。另有小雀穿梭叶底，灵鸟翩跹空际，动静相生，将桃林春日的恬然生机晕开。\n\n整体设色古雅沉稳，工笔细致尽显雅致意趣，把花果丰润与禽鸟灵动相融，晕开满幅吉庆清和的悠然意境。",[23,24,7,25,28,27,61,40602,15810,40603,211,938,330],"桃树","青鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4522b7ba06d3506ecb78a734e6713c7.jpg",[],{"id":40607,"slug":40608,"title":40609,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":40610,"thumbUrl":40612,"material":692,"size":1293,"collection":84,"collections":40613,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},287674,"wang-wei-wu-yan-jue-ju-shi-dong-qi-chang-287674","王维五言绝句诗",[7,64,840,165,208,40611],"古诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74c7cefae226dbacdfcd6262b8c16b7c.jpg",[],{"id":40615,"slug":40616,"title":40617,"dynasty":144,"author":569,"museum":300,"description":27930,"tags":40618,"thumbUrl":40619,"material":692,"size":1293,"collection":84,"collections":40620,"showCount":518,"zanCount":1998,"manualWeight":48,"mainColor":199},287338,"wu-xing-fu-mo-ji-shou-juan-zhao-meng-fu-287338","吴兴赋墨迹手卷",[23,7,64,25,133,9910,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88e5b862109c535437718d8d9f4c5e71.jpg",[],{"id":40622,"slug":40623,"title":40624,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":40625,"thumbUrl":40626,"material":692,"size":1293,"collection":84,"collections":40627,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},283716,"yue-yang-lou-ji-juan-dong-qi-chang-283716","岳阳楼记卷",[23,7,64,840,25,128,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7182cea9aeb41db41936aa132160cec2.jpg",[],{"id":40629,"slug":40630,"title":40631,"dynasty":124,"author":125,"museum":244,"description":6472,"tags":40632,"thumbUrl":40633,"material":278,"size":40634,"collection":84,"collections":40635,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},283645,"shu-cai-tu-shen-zhou-283645","蔬菜图",[24,7,165,128,1036,4251,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F882a6819adf61af2379967113415c814.jpg","92.3x31.7",[],{"id":40637,"slug":40638,"title":40639,"dynasty":54,"author":223,"museum":300,"description":10087,"tags":40640,"thumbUrl":40642,"material":692,"size":1293,"collection":84,"collections":40643,"showCount":518,"zanCount":1998,"manualWeight":48,"mainColor":49},272868,"zi-tan-mu-bian-ke-si-hua-niao-tu-gua-ping-yi-ming-272868","紫檀木边缂丝花鸟图挂屏",[24,7,40641,1944,28,27,61,34,211,171,62,12803,234],"挂屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff17f2642bff062578c84f8e86b499e46.jpg",[],{"id":40645,"slug":40646,"title":40647,"dynasty":124,"author":27440,"museum":20,"description":40648,"tags":40649,"thumbUrl":40650,"material":26442,"size":40651,"collection":318,"collections":40652,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},239997,"wang-duo-lin-xie-zhuang-tie-zhou-wang-duo-239997","王铎临谢庄帖轴","此轴节临南朝宋谢庄书帖（原帖收入淳化阁帖）一则，计4行53字，末署款“王铎”，左侧又识：“庚寅正月廿日午时。”下钤“王铎之印”、“天渊太使”印二方。此贴书于清顺治四年（1647年），作者时年55岁，是其晚年书作。本幅无藏印与其他人题识。\n此帖书法率意洒脱，虽系临摹古帖，但不拘泥于原帖之形，笔法上亦不受其束缚，而是挥洒自如，结字用笔，皆出己意。师原帖之意，得其大略，而于法度之外另辟蹊径，字形大小、欹侧相间，不拘一格，通幅观之，法度自蕴其中，显示出一种恢宏的气度。",[7,64,165,840,330,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8afd1c41d607295f24bdd1eda9a61772.jpg","纵163.6厘米，横51.6厘米",[318],{"id":40654,"slug":40655,"title":40656,"dynasty":54,"author":14022,"museum":300,"description":40657,"tags":40658,"thumbUrl":40659,"material":692,"size":1293,"collection":68,"collections":40660,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},239104,"hua-hui-ce-1-yu-sheng-239104","花卉册1","余省（1692年—1767年） ，字曾三，号鲁亭，江苏常熟人，余珣之子，清代著名画家。曾受业于蒋廷锡。乾隆（1736—1795）时与唐岱、周鲲同祗候内廷，善花鸟、虫鱼、翎毛，间亦参用西法，赋色妍丽，尤善画蝶，工兰竹水仙，所作叠邀高宗睿题，藏于石渠宝笈。",[24,7,59,128,27,61,62,481,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F605e27d7cfb58a061b88e561669dc373.jpg",[68,45],{"id":40662,"slug":40663,"title":4991,"dynasty":54,"author":4992,"museum":300,"description":40664,"tags":40665,"thumbUrl":40666,"material":84,"size":84,"collection":84,"collections":40667,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},239057,"shan-shui-hua-niao-ce-yang-jin-239057","这幅折枝秋葵小品清疏雅致，取花枝一角经营画面，虚实相生。\n花瓣以铁线白描勾绘，瓣间脉络匀净通透，墨点花蕊沉稳醒目，将盛放娇态尽显。叶片以浓淡墨色晕染，枯湿浓淡间尽显舒展野趣，挺秀简约的枝茎承接花叶，笔意松弛自然。\n全作留白得当，以少胜多，舍去繁复设色，纯以水墨晕染勾勒，尽显秋日闲花的静谧雅致，寄寓着文人澹泊的赏玩心境，笔墨简净却情致饱满，尽显水墨小品的清隽逸趣。",[24,7,59,128,61,373,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a2327a9860f112aa0ff3c5be7c75891.jpg",[],{"id":40669,"slug":40670,"title":76,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":40671,"thumbUrl":40672,"material":692,"size":1293,"collection":84,"collections":40673,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},238889,"hua-hui-ce-dong-gao-238889",[24,7,59,27,28,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5782111591ceaef2e1a39eafb04e1a7.jpg",[],{"id":40675,"slug":40676,"title":40677,"dynasty":54,"author":36329,"museum":244,"description":36330,"tags":40678,"thumbUrl":40679,"material":84,"size":84,"collection":68,"collections":40680,"showCount":518,"zanCount":1998,"manualWeight":48,"mainColor":72},238259,"shu-hua-you-niao-er-shi-zhang-ce-zhang-ruo-ai-238259","书画有鸟二十章册",[24,7,59,27,28,355,10860,6640,131,208,572,938,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3660f3d2f11d187fa12faa414f7f4d28.jpg",[68,45],{"id":40682,"slug":40683,"title":40684,"dynasty":124,"author":10922,"museum":300,"description":10923,"tags":40685,"thumbUrl":40686,"material":84,"size":84,"collection":136,"collections":40687,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":49},238041,"wen-jia-shan-shui-zhou-wen-jia-238041","文嘉山水轴",[24,7,165,128,27,29,98,99,331,171,96,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9352b912d9a69a183afa1a3aac3d94ba.jpg",[136],{"id":40689,"slug":40690,"title":40684,"dynasty":124,"author":10922,"museum":300,"description":40691,"tags":40692,"thumbUrl":40693,"material":40694,"size":84,"collection":136,"collections":40695,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},237893,"wen-jia-shan-shui-zhou-wen-jia-237893","文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”\n该砚石品集石眼、焦叶白、青花、鱼脑、火捺、虫蛀皮于一身，极为难得。砚首部随形镌刻金鲤戏水深浮雕，虚实相间，形神俱佳。砚背面的刻款更是诗、书、印、刻，水乳交融，精彩完美。刻款内容是一首咏笔的绝句：“紫竹纤毫线扎成，如龙似虎伴书生。渴来玉砚池中饮，饱向花笺纸上行。”书法劲挺秀美，正是文嘉最为擅长的小楷行书；诗句也工正流畅，其对书画艺术的热爱之情跃然而出。刻工刀随笔势，具铁划银勾之力而又细致入微，非深谙书法点画之美者莫为。落款“文水道人”下刻有“文嘉”阳文印，与《倪瓒真书江南春词图卷》（1523年）和《文嘉两洞记游图册》（1544年）上的“文嘉”用印如出一辙，毫无二致。可以想见，笔、墨、纸、砚文房四宝在文嘉的生活中扮演了多么重要的角色。他动用了诗歌、书法、绘画、雕刻的各种手法，将对文房四宝的深厚感情和文学艺术的深厚造诣熔铸在这方端溪佳石上，使得该砚具备了丰富的审美内涵，而文嘉多方面的艺术才华也由此得到了极生动难得的彰显",[24,7,165,128,132,29,98,99,130,1337,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e4d146aaec02114ccb269501a7bed23.jpg","轴设色纸本",[136,318],{"id":40697,"slug":40698,"title":40699,"dynasty":54,"author":29876,"museum":20,"description":32459,"tags":40700,"thumbUrl":40702,"material":611,"size":84,"collection":68,"collections":40703,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},237454,"fu-shan-lan-zhi-zhou-fu-shan-237454","傅山兰芝轴",[24,7,165,128,375,40701,208],"芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5c35d01ea4392d55c4239ad5cde0d02.jpg",[68],{"id":40705,"slug":40706,"title":40707,"dynasty":124,"author":3608,"museum":300,"description":9012,"tags":40708,"thumbUrl":40709,"material":692,"size":1293,"collection":84,"collections":40710,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},237416,"shan-shui-shan-lu-zhi-237416","山水扇",[24,7,1131,27,132,29,130,413,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4a20d4c676566f1a237f2ff55f49b4.jpg",[],{"id":40712,"slug":40713,"title":40714,"dynasty":124,"author":40715,"museum":300,"description":40716,"tags":40717,"thumbUrl":40718,"material":611,"size":84,"collection":44,"collections":40719,"showCount":518,"zanCount":1998,"manualWeight":48,"mainColor":49},236959,"xian-ren-cai-zhi-tu-zhou-guo-fen-ya-236959","仙人采芝图轴","郭汾涯","郭汾涯（约公元15世纪），明初时人，生卒年不详。能诗，善画山水、人物，宗唐、宋人画法，取马远、夏圭笔意。关于其生平，画史记载甚少，现只能从仅有的几幅传世作品，以及明初时的画风嬗变，来了解这位画家。\n明代初期画院复兴，提倡以古硬、雄厚、峻峭的风格来振作笔墨精神。在元朝被压制了多年的李、刘、马、夏画风，此时又开始活跃起来。宫廷内外，宗法者甚多。画风变南宋苍劲荒率为浑壮雄厚。画家们将贵族艺术引入民间，注重功力又不死守法度，变精严为放逸，顺应通俗艺术发展的时代潮流。这股势力影响范围广大，成为明代初期画坛实力最雄厚的画派——浙派。",[164,24,7,165,28,188,27,96,171,9070,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86b03906855f2a9702cbd91eb476a56a.jpg",[44],{"id":40721,"slug":40722,"title":40723,"dynasty":124,"author":36548,"museum":20,"description":40724,"tags":40725,"thumbUrl":40726,"material":84,"size":84,"collection":136,"collections":40727,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},236562,"xiao-ke-guan-shan-shui-ce-shao-mi-236562","小可观山水册","邵弥(1594-1642)，晚明时吴门人，字僧弥，号瓜畴，性孤僻，似贤云野鹤，不染尘氛。擅诗，尤喜书画，瘦冷清逸，一如其人，极为时人所重，与董其昌、王时敏等同为“画中九友”之一。亦好收藏，张丑《清河书画舫》尝记之。所收沈石田《湾东草堂图》为石田精品，可见目力不凡。\n此册拟古，或仿营丘，或仿北苑，或仿云林、黄鹤，或仿千里、大痴；或危岩层起泉落云飞，或山间小筑傍竹临水；或寻诗晚而忘归，或山间独居与朝云暮霭相伴。画笔俊秀精工而书卷之气满目，幅幅皆似诗中浸出，雨露中洗过，是他画中极精致品。对幅和后跋有金俊明、文柟、方夏、刘能始、周之文等诗题，其中文柟一开称其与友人丘令和晨夕相对，“兴至”则为点染，真所谓“五日一山十日一水之趣，简远秀逸自胚胎中来。”可见是在闲和恬适之时，与知己相对，兴来挥毫，不计时日的精心之作，故命意不凡，幅幅俱佳。极珍贵。",[164,24,7,59,128,132,133,208,29,171,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1aad0cc7f91d98f5d6db48d517385e2.jpg",[136,45],{"id":40729,"slug":40730,"title":40731,"dynasty":124,"author":40732,"museum":300,"description":40733,"tags":40734,"thumbUrl":40735,"material":692,"size":1293,"collection":84,"collections":40736,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":49},236477,"zhu-lin-qi-xian-shan-ye-li-shi-guang-236477","竹林七贤扇页","李世光","此作用笔清隽秀雅，以金笺为底，淡晕轻染。画面分两处铺陈雅集，右侧竹林下，名士或围坐清谈、或醉卧观云、或凝神听琴，情态自在疏放；左侧松下，二三逸人凭石对语，林泉幽寂淡然。通幅线条简净温婉，皴擦浅淡写意，将魏晋林下风流的散淡雅致尽显。右上角题字与绘事相映成趣，书画合璧，把千古流传的竹林雅集的清旷高致，凝缩在咫尺扇面，尽显追慕六朝隐逸雅韵的文人情思。",[24,7,1131,188,128,96,167,413,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe126baa65852155b36ec08a45ae37ce1.jpg",[],{"id":40738,"slug":40739,"title":40740,"dynasty":124,"author":26321,"museum":300,"description":40741,"tags":40742,"thumbUrl":40743,"material":84,"size":84,"collection":84,"collections":40744,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},236103,"sui-chao-cun-qing-tu-zhou-li-shi-da-236103","岁朝村庆图轴","《岁朝村庆图》是明代画家 创作的一幅纸本设色画，现藏于北京故宫博物院。\n图画水村山郭，松屋柳溪，村中人家，长者访友宴饮，儿童燃放鞭炮，敲锣打鼓，辞旧迎新，欢庆佳节。\n所画山水、松柏笔墨苍劲滋润；所画人物用笔圆熟，无论老少，身姿各异，神态生动，每个人物形象皆具动感，全无刻板之姿。\n画面充满岁朝繁忙、喜庆的升平景象。\n画法严谨，笔法流畅娴熟。\n此画是一幅风俗画。\n此画以山水为背景，画面绘有山石、树木、屋宇房舍，溪水板桥，坡石堤岸、鸡鸭杂豚。\n诸多人物布置其间：有的在屋内端坐，向外眺望；有的在屋内相面而坐，正在交谈；有的在林中穿梭，游览水村山乡；有的正在滑梯；有的正捕鸡斩鸭；有的长者或士人正在观赏画卷；诸多的童子正在捉迷，表现了一派热闹非凡的山乡景象。\n画上落款：“戊午腊月写于石湖，李士达。\n”下钤“李士达”白文、“通甫”白文、“石湖渔隐”白文 。\n在画幅右上角仅有的空白处，以作者自书款识和乾隆御题诗作补阙。\n乾隆御题诗为：“东郭远西墅，山家接水村，春阴庆老幼，丰岁足鸡豚。\n三代遗风在，一时深意存。\n治民无别术，饥饱俾寒温。\n丙申岁朝明窗御题。\n”钤“会心不远”“德充符印”，另钤“乾隆鉴赏”“嘉庆鉴赏”“嘉庆御览之宝”“乾隆御览之宝”“古希天子”“石渠宝笈”“乐寿堂鉴藏宝”“八征耄念之宝”“三希堂精鉴”“宜子孙”“宝笈三编”“宣统御览之宝”等鉴藏印数方。\n职业文人画家创作的年画的多以“岁朝图”为名，表现元旦即景，直接描绘风俗活动，因此很能体现地方风土民情。\n李士达的《岁朝村庆图》就是其中的典型。\n此图作于万历四十六年（1618年），画中详细描绘了吴中地区热闹的新春景象，放爆竹、出门拜年、悬挂钟馗像、燃烧巨大煤块称“欢喜团”等，与清代顾禄所著的《清嘉录》一书有关吴中年俗的记载一一相符。\n画幅中所画的人物虽小，却是此画中的主题。\n所画的人物，造形多趋圆浑，线条柔韧，用笔精细，无论老少，身姿各异，神形兼具，神态生动，每个人物形象虽不一，但却具动感，使画面充满岁末繁忙，喜气洋洋的景象。\n所画的松柏、山石、屋宇、板桥、坡石等，笔墨苍劲滋润，表现方法不一法，无论是线、点，还是渲染，都那么踏实、浑厚、果断。\n此画呈长方形构图，上不留天，下不留空。\n北京故宫博物院研究员余辉：画家描绘了苏州乡村百姓正月初一简朴的居家生活：孩子们在燃放爆竹、敲锣打鼓，雅士们在欣赏书画，老者在饮茶话旧、拜年访友，一派除旧迎新的喜气景象，意在期盼天下太平、生活安定。\n由该图鉴藏印可知，该图历经乾隆、嘉庆、宣统内府收藏，《石渠宝笈》著录，现藏于北京故宫博物院。\n李士达（生卒年不详，约活动于16世纪中期至17世纪初），号仰怀，吴县（今江苏苏州）人。\n善画山水、人物。\n常借作品表达对现实的不满，或描绘文人、士大夫逍遥自在的生活，也作佛道鬼神画，并有一定数量的风俗画。",[24,7,165,27,28,132,96,6437,98,99,1337,35,247,109,2218,131,34,31,758,2656],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd146e163637aca3ee1e49a693feef20b.jpg",[],{"id":40746,"slug":40747,"title":4229,"dynasty":124,"author":22448,"museum":300,"description":39003,"tags":40748,"thumbUrl":40749,"material":692,"size":1293,"collection":84,"collections":40750,"showCount":518,"zanCount":1998,"manualWeight":48,"mainColor":72},235729,"hua-niao-ce-tan-zhi-yi-235729",[24,7,59,28,27,61,263,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff24a476c3157793412130d56a2bc8c12.jpg",[],{"id":40752,"slug":40753,"title":4229,"dynasty":124,"author":22448,"museum":300,"description":39003,"tags":40754,"thumbUrl":40755,"material":692,"size":1293,"collection":84,"collections":40756,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},235726,"hua-niao-ce-tan-zhi-yi-235726",[164,24,7,59,28,27,61,547,747,582,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4c1639c45707c2b0e70e21707f1682f.jpg",[],{"id":40758,"slug":40759,"title":76,"dynasty":54,"author":2582,"museum":300,"description":2583,"tags":40760,"thumbUrl":40761,"material":692,"size":1293,"collection":84,"collections":40762,"showCount":518,"zanCount":1998,"manualWeight":48,"mainColor":72},235603,"hua-hui-ce-wang-wu-235603",[24,7,59,27,28,61,372,547,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5203f98c5bc6b88482bddebc1961fe00.jpg",[],{"id":40764,"slug":40765,"title":27698,"dynasty":54,"author":2769,"museum":300,"description":40766,"tags":40767,"thumbUrl":40768,"material":84,"size":84,"collection":84,"collections":40769,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},235052,"shan-shui-ce-ye-xu-mei-235052","此作用小青绿淡设色写山居幽境，幽瀑自远山轻落，清溪蜿蜒穿林过渚。古松虬曲苍劲，枝叶舒展有灵动之姿，山石以浅绿淡赭晕染，远山化作淡墨烟岚，虚实相生间晕出空濛温润的江南意韵。右侧崖畔茅亭隐于林木间，无人自幽，衬出山林的静穆悠然。\n\n笔法秀雅清润，舍去繁复勾勒，以轻晕淡染营造疏朗萧散的氛围，将文人隐逸的林下之趣融在淡逸色彩中，似可听松风溪声，沉湎于这幽寂恬然的山居景致里，尽显雅致淡远的文人山水意趣。",[24,7,59,27,132,29,99,130,331,495,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F436ebfa2e6cbfa736824d8dbe5ce29e6.jpg",[],{"id":40771,"slug":40772,"title":40773,"dynasty":124,"author":10922,"museum":20,"description":40774,"tags":40775,"thumbUrl":40776,"material":10347,"size":40777,"collection":84,"collections":40778,"showCount":518,"zanCount":1998,"manualWeight":48,"mainColor":72},234973,"fang-dong-yuan-shan-shui-zhou-wen-jia-234973","仿董源山水轴","文嘉（1501—1583年），字休承，号文水，长洲（今江苏苏州）人，文徵明次子。官和州学政。工诗文书画，继承家学，又以多见古人名迹，故其画作能脱去习俗。著《和州诗》。",[24,7,164,165,128,132,330,29,98,99,331,96,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F592b8b1885883d2c6208989fa18e10f2.jpg","纵155cm，横71.3cm",[],{"id":40780,"slug":40781,"title":409,"dynasty":124,"author":40782,"museum":300,"description":40783,"tags":40784,"thumbUrl":40785,"material":84,"size":84,"collection":136,"collections":40786,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},234865,"shan-shui-ce-zhao-pu-234865","赵璞","此作为诗画合璧，淡墨绘就平远江景。近岸松石苍润，林木错落成荫，水波澹澹延展，远山以淡墨晕染，虚茫空濛，尽显江乡日暮的清寂悠远。行书题诗笔致清劲雅致，诗文将羁旅幽思寄寓山水，与画面相映成趣。笔墨简淡松灵，不事雕琢，把江畔闲望的怅惘安闲藏在疏朗构图之中，萧散闲适的文人意趣溢于纸面，淡而不薄，简中见雅，尽显林下澹泊清远的古韵。",[24,7,59,128,132,133,29,34,497,415,414,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38743b87d4722c9ed73f5e1e990d74b2.jpg",[136],{"id":40788,"slug":40789,"title":40790,"dynasty":124,"author":4333,"museum":300,"description":40791,"tags":40792,"thumbUrl":40793,"material":611,"size":40794,"collection":84,"collections":40795,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":49},234163,"zhou-tian-qiu-cong-lan-zhu-shi-juan-zhou-tian-qiu-234163","周天球丛兰竹石卷","周天球,字公瑕，号幼海，又号六止居士，江苏太仓人。善画写意兰草，在文徵明门下学习书法，文徵明赞其：“他日得吾笔者，周生也。”晚年独创书风，当时丰碑大碣皆出自他手。于《心经》气脉贯通，工稳有致，峻厚妍秀，温润苍劲。是谓经典。",[23,164,24,7,25,128,133,208,64,375,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa44acfd326529873a27f79f238cb93b7.jpg","纵28.3cm，横56.8cm",[],{"id":40797,"slug":40798,"title":1349,"dynasty":54,"author":40799,"museum":20,"description":40800,"tags":40801,"thumbUrl":40802,"material":611,"size":84,"collection":84,"collections":40803,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},234115,"shan-shui-hua-wang-san-xi-234115","王三锡","王三锡（1716～1793后），字邦怀，号竹岭，江苏太仓人。昱侄，或谓翚裔孙。山水得昱法，邱壑位置，不作寻常蹊径。运笔亦别具雅韵。巨幅松石，时称独绝。又喜作花卉及写意人物。其小册清丽可爱。长洲屠璇，穹窿道士李体德皆从之游。",[24,7,25,27,132,128,29,37,131,34,7409,129,97,415,7782,149,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d6fac3944d659e14864ca6319992f5.jpg",[],{"id":40805,"slug":40806,"title":409,"dynasty":124,"author":2268,"museum":20,"description":40807,"tags":40808,"thumbUrl":40809,"material":3430,"size":5345,"collection":84,"collections":40810,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},234058,"shan-shui-ce-dong-qi-chang-234058","第一开，右上角题：“仿唐杨昇。”钤“董其昌印”。鉴藏印钤“王掞”、“烟客真赏”、“虚斋精上品”、“壶中墨缘”。\n对开董其昌题：“唐杨昇峒关蒲雪图，见之明州朱定国少府，以张僧繇为师，只为没骨山，都不落墨。曾见日本画有无笔者，意亦唐法也。米元章谓王晋卿山水似补陀岩，以丹青染成。王洽正泼墨渖。多种法门皆李成、董源以前独善者。”钤印“董玄宰”。收藏印钤“庞来臣珍赏印”、“壶公”、“子清所见”、“王时敏印”、“颛庵”。\n设色青绿山水，画峰峦秋树。\n第二开，左上角题：“仿梅花道人。”钤“董其昌印”。收藏印钤“虚斋鉴赏”、“壶中墨缘”、“王时敏印”、“颛庵”。\n对开董其昌题：“今日遇武塘题吴仲圭故居，称梅花巷者。自号梅花和尚，实居士也。画学巨然，字学怀素，皆受和尚法，故云。仲圭与盛懋同巷对宇。人每指金帛诣盛求画，仲圭之家闻如也。家人以为谪，仲圭曰：‘待二十年后自有定论’。已而盛之身价果逊。至今三百年犹尔。辛酉三月廿三日识。”钤“董玄宰”印。收藏印钤“庞来臣珍藏印”、“壶公”、“王时敏印”。\n设色画水阁、青山、瀑布。\n第三开，左上题：“仿惠崇。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“壶中墨缘”、“虚斋鉴赏”。\n对开董其昌题：“惠崇宋诗僧，建阳人也。在巨然之前，画学王维，精工妍丽如诗家。温、李辈《香辽集》生于情者。东坡、山谷为题其小景。余所见有京口陈氏江南惠卷及鄞朱定国所赠巨轴《早春图》。”钤印“董玄宰”。收藏印钤“王时敏印”、“藻儒”、“壶公”、“庞来臣珍赏印”。\n设色画青溪两岸云树房屋。\n第四开，右上题：“仿卢鸿草堂笔。”钤印“其昌”。收藏印钤“壶中墨缘”、“子清所见”、“王时敏印”。\n对开董其昌题：“鸿乙草堂明皇尝令人就图之，鸿乙画入神品，与右丞伯仲。嵩山十志各有楚词。至宋时李伯时作图令诸名公书其诗，人各一景。秦少游、僧参寥、米元章皆与焉。余见之项氏者亦十体，不显名姓。谢时臣亦临一本，第得其位置耳。唐人用墨高简，意到而笔不到，所以妙绝。”钤印“董玄宰”。收藏印钤“逊之”、“王掞之印”、“庞来臣珍赏印”、“壶公”。\n墨笔画疏林坡石，高崖瀑布。\n第五开，左上方题：“仿倪元镇。”钤“其昌”。收藏印钤“烟客真赏”、“王掞之印”、“壶中墨缘”、“虚斋精上品”。\n对开董其昌题：“倪迂画学冯觐。觐，《宣和画谱》所载宋宦官也。觐画世无传本。倪迂自题谓得荆关遗意，岂讳言觐耶？张伯雨题云：‘能与米颠相伯仲，风流还只数倪迂。应将尔雅虫鱼笔，为写乔林恠石图。’最为迂叟吐气。大都倪高士之画学冯觐，如朱晦翁之书学曹孟德，皆不问其师承也。倪迂书学《黄庭内景经》，《内景经》倪氏之物也。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“庞来臣珍藏印”、“壶公”。\n设色画平远秋景山水。\n第六开，左上方题：“仿米元晖。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞”、“壶中墨缘”。\n对开董其昌题：“米元晖潇湘图余得之项玄度，有宋人题跋甚夥。朱晦翁亦一再见。后有王宗常叙诸跋卷人出处之概，书品亦佳，沈石田自题七十五岁方得一观，以快生平，为米卷第一。图不作点，只用墨破凹凸之形，树木屋宇皆精工，都画勾云亦变体也。元晖凡再题数百字。”钤印“其昌”。收藏印钤“逊之”、“王掞”、“庞来臣珍藏印”、“壶公”。\n墨笔画潇湘烟雨景。\n第七开，左上方题：“仿黄鹤山樵。”钤“董其昌印”。收藏印有“王时敏印”、“王掞之印”、“壶中墨缘”。\n对开董其昌题：“元季四大家惟王叔明仕于国初，为泰安州倅。何元郎记有雪图作于齐郡者是也。倪云林题有笔精墨妙语，又云澄怀观道是宗少文也。又临池学书出王右军、王虞，笔力能扛鼎，五百年来无此君，推挹至矣。于北宋诸家无所不摹，尤善右丞法。”钤印“董玄宰”。收藏印有“藻儒”、“逊之”、“壶公”、“庞来臣珍藏印”。\n墨笔画关山松涧。\n第八开，左上题：“仿李伯时山庄图。”钤“董其昌印”。收藏印有“王时敏印”、“颛庵”、“壶中墨缘”、“虚斋鉴藏”。\n对开董其昌题：“潇洒营丘水墨仙，浮空出没有无间。尔来一变风流尽，谁见将军设色山。\n无数青山落照边，遥知风雨不同川。此中有句无人认，道与襄阳孟浩然。\n二绝句皆东坡题画之什，深得画家三昧方能为，是语米老不如也。”钤印“董玄宰”。\n又题记：“辛酉三月游武林，归途闲暇作此八景。时画史杨彦冲同观。玄宰识。钤“虚斋审定”。\n此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[24,7,59,128,132,29,131,34,99,171,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517a18510e3f687f4476b0072cc57a56.jpg",[],{"id":40812,"slug":40813,"title":40814,"dynasty":18,"author":2349,"museum":20,"description":40815,"tags":40816,"thumbUrl":40820,"material":40,"size":2961,"collection":84,"collections":40821,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},234030,"jiao-yin-ji-qiu-tu-ye-su-han-chen-234030","蕉阴击球图页","《蕉阴击球图》绘南宋贵族庭院里的婴戏小景。庭院内奇巧的湖石突兀而立，其后隐现茂盛的芭蕉数丛。石前的少妇正与身旁的女子专注地观看二童子玩槌球游戏。一童手持木拍正欲坐地击球，另一童子则向他急急地喊话。图中四人的目光同时落于童子所欲击打的小小球体上。构思巧妙，情节生动，显示出作者善于观察人物并且捕捉生活细节的能力。此幅在构图上巧妙地将玲珑剔透的湖石正立于画心中部，以其自身的完整性起到了镇住画面的作用，聚拢了交叠张扬的芭蕉叶及分散的人物，避免了画面因景物繁杂而出现轻浮感。此外，湖石拉开了前景人物与背景芭蕉间的距离，增强了画面的纵向层次感。在笔法上，作者注重物象间的对比互衬关系。人物与芭蕉为中锋运笔，线条工整细匀，如行云流水；着色渲染浓淡相宜，清新明洁的色调有助于表达轻松活泼的主题。湖石则以粗笔重墨表现，线条劲练，转折顿挫中见洒脱。湖石所呈现出的坚硬质地成功地衬托出人物纤秀婉约的形象及芭蕉飘逸润泽的自然美。\n在宋代类似于《蕉阴击球图》的作品很多。以写实的笔法描绘民间生活、反映“市井细民”的审美趣味是宋代绘画的一大特色。当时涌现出众多绘风俗画的著名画家，如王居正、张择端、李嵩、苏汉臣等人，他们的作品以富有浓郁的生活气息而在中国绘画史上占有重要的地位。\n原题签作者为苏汉臣。此幅虽在题材、笔法上与苏汉臣的画风较为接近，但在艺术表现的造诣上却远不及苏汉臣，因此，此图当是与苏汉臣同时代的佚名画家之作。",[164,24,7,4437,1326,28,27,40817,96,18793,875,229,2824,18970,40818,40819],"精细","击球","工笔人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5800a0bb27581102b47456c505bec926.jpg",[],{"id":40823,"slug":40824,"title":40825,"dynasty":54,"author":5879,"museum":20,"description":40826,"tags":40827,"thumbUrl":40828,"material":734,"size":33309,"collection":68,"collections":40829,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},233942,"hua-yan-zi-hua-xiang-tu-zhou-hua-yan-233942","华嵒自画像图轴","华嵒是一位来自民间的画家，曾流寓杭州，结识了浙东学者历鄂、吴石仑等人，这些友人多是不慕荣利、安贫乐道的文人，在他们的影响下，华嵒潜心诗文书画，获得了“诗书画三绝”的美誉。为了谋生，他曾经历仕途，但目睹官场的种种不平，终于放弃仕宦，往来于杭州与扬州之间，以卖画为生，并结识了“扬州八怪”等画家。75岁病逝。华嵒一生贫苦，他在画中以“笔端刷却世间尘”，全心表现对大自然的美好感受。他游历甚多，眼界开阔，为许多画家所不及。此图为一件即兴之作，描绘了暑夏之时，华嵒身着夏衫，半敞衣襟，优游林泉的欣悦之情。他倚石盘膝，临泉而坐，左手拈须，右手抚石，意态闲暇。身后山石高耸，深青色的古藤缠绕着峰峦，远处瀑布羸垂岩而下，汇流成河。读其诗，更使人感受到作者热爱自然、超然离垢的情怀。图中的人物肖像写实而又带有写意的意味，造型略有夸张，与作者其他的人物画有相似之处，如《天山积雪图》(北京故宫博物院藏)等。此图线条简练，随意潇洒，笔调疏简，追求一种文人意趣，具有雅俗共赏的独特风格。",[164,24,7,165,128,27,132,369,29,96,171,99,131,666,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaa167316f143627c91b7a6fa3bf4f48.jpg",[68,40830],"明清缂绣画",{"id":40832,"slug":40833,"title":40834,"dynasty":54,"author":1676,"museum":20,"description":40835,"tags":40836,"thumbUrl":40838,"material":734,"size":40839,"collection":84,"collections":40840,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},233848,"song-teng-tu-zhou-li-shan-233848","松藤图轴","松柏是古代绘画中十分常见的题材，而专门以松树和藤花入画的则十分少见。作者对松藤一类题材十分偏爱，传世有多幅《松藤图》轴，构图近似而画面题诗和细节略有不同。画中老藤盘松，枝叶交错，一棵老松斜向伸入画面，树皮斑驳，高大伟岸，雄伟挺拔；松树旁边藤条攀缘而上，虬曲盘旋，坚韧柔活。画家以浓笔重墨写松树，以迅笔淡彩挥写藤条和藤花，墨色混融，凝重沉厚的苍松与轻盈灵动的藤条相互映衬，自得风神。构图平中见奇，险而不逾法度，设色淡雅，色不掩墨，用笔苍劲，泼墨淋漓，立意清新而高旷，以非常具有个人色彩的笔墨描绘了大自然中苍松和藤花相符相依，生机盎然的景象。",[24,7,165,128,27,372,40837,61,369,132],"藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95770748654b96d15f43031aab8bd872.jpg","纵123厘米，横50.5厘米",[],{"id":40842,"slug":40843,"title":40844,"dynasty":54,"author":9704,"museum":20,"description":40845,"tags":40846,"thumbUrl":40847,"material":611,"size":40848,"collection":84,"collections":40849,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},233792,"chan-ji-hua-qu-zhou-kun-can-233792","禅机画趣轴","作者以一个僧人的目光把所赏阅的江南山川荟萃于尺幅之中。\n此画幅虽不大，呈一长条幅，但气势恢宏，只见远处群山叠嶂，诸峰矗立，云雾缠绕。\n山坡的平地坐落着寺院和房舍，在山坡和丛树间或隐或现：近景，山脚下水榭、房阁数间，坡岸乱石相连，在乱石坡岸上树木丛生，近处溪边水草茂盛，下端左侧一条长长的板桥，且有齐整的扶栅。\n右侧有一板桥将两溪岸相连，有一位身着长袍头戴风帽手持拐杖的长者，正在缓行过桥。\n中景，有山有水，有树木、房舍等，水随山转。\n有数只扁舟，渔人独坐轻舟浮荡，显得十分幽静清雅。\n画幅上端作者长题：“米南宫尝以玩好书画载之方舟，坐卧其中，适情乐性，任其所之，咸指之一：‘此米家书画船也。\n’石秃曰：‘此固前人食痴公癣，咄咄青溪亦后有此耶，虽然青溪好古博雅，胸中负古文奇字，此犹不过成都子昂之弄故琴耳。\n玄道隐于小成言：隐于荣华，若以天地为虚舟，万物为图籍，予坐卧其中，不知天地外更有此舟，不知舟之中更有子昂否耶？而为之偈曰：大地为舟，万物图画，坐卧其中，嗒焉洒洒，渺翩翩而独征兮，有谁知音机弦而歌兮，清风古今人山往返之劳兮，已为这个不了，若是了得兮。\n此画构图高旷清远，用笔苍劲老辣，颇具黄公望笔意。\n细察此画为中年笔墨，荒率枯淡，稍染淡赭，乃有苍厚之韵。\n构图上，近景的坡岸乱石及树木与远景苍山院寺房舍相对比；前景的溪水回转与远景的云雾轻绕遥相呼应。\n整幅构图繁复、饱满、充实，下不留地，上不留天，仅有上部空白处，经自长题而填补。虽画面的景物繁多，但仍能做到疏密有致。总体来说，整幅画浑然一体，气脉畅达。",[24,7,165,128,132,208,133,29,98,99,129,130,211,331,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9d9169d444881f8ff792bc46e2b0aa1.jpg","125.7x31.4厘米",[],{"id":40851,"slug":40852,"title":40853,"dynasty":124,"author":16332,"museum":524,"description":40854,"tags":40855,"thumbUrl":40856,"material":1027,"size":40857,"collection":84,"collections":40858,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},233768,"qi-ao-tu-juan-xia-chang-233768","淇澳图卷","此图画江南丘陵中的幽谷溪涧，山石溪流、翠竹苇草连绵不断，一泉清溪沿着山间峭壁飞流而下，缘溪两岸崖壁陡峭，垒石交加，苇草杂生；山石坡渚，起伏跌宕，坡渚上，碎石间翠竹丛生，傲然挺拔，清风雅韵，好似“竹下香泉洒瑶席”（唐·刘禹锡《送僧仲东游兼寄呈灵沏上人》）；坡渚尽头是一片辽阔水面，山风拂动，溅起阵阵涟漪，薄雾清纱，浩渺无垠，清气回荡，有道是：“野竹攒石生，含烟映江岛。”（唐·李白《慈老竹》）",[164,24,7,25,128,167,131,369,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc973e161bd63f1f009769473377cba2e.jpg","纵122.3厘米，横471厘米",[],{"id":40860,"slug":40861,"title":40862,"dynasty":124,"author":1058,"museum":20,"description":40863,"tags":40864,"thumbUrl":40866,"material":1027,"size":30497,"collection":84,"collections":40867,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},233737,"tong-yin-qing-meng-tu-zhou-tang-yin-233737","桐阴清梦图轴","《桐阴清梦图》以人物画为题材，抒发画家的生活遭遇和感受。此图用水墨白描手法，画梧桐一株，桐阴坡石处一人仰面闭目，坐於交椅之上，神情生动自然。构图简洁，用笔洗练，风格洒脱，韵致清逸，是唐寅白描人物画佳作。诗、书、画相得益彰。虽未署年款，但从题诗内容可以看出，此图是他在科场案受打击回苏州后所作，是画家看破尘事，不再追求功名，从此幽居林下的写照。\n唐寅为人性情疏朗，生活放诞，许多关於他的传说故事广为流传，妇孺皆知。他的诗、曲、书、画均颇有成就，尤以画名为最著，题材广泛，山水、人物、花鸟、竹石无一不精。曾以周臣为师，青出于蓝，并从宋元诸名家绘画中汲取营养，特别在继承南宋李唐、刘松年传统画法上有新的发展，形成了自己严谨秀逸的画风，成就突出，影响深远，在书史上有很高地位，是明代中期文人画的重要代表，与沈周、文徵明、仇英并称“吴门四大家”。",[24,7,165,128,96,40865,171],"桐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef1bf4c9178063a7e7f1efdccd8da0c.jpg",[],{"id":40869,"slug":40870,"title":5047,"dynasty":124,"author":366,"museum":20,"description":5048,"tags":40871,"thumbUrl":40872,"material":3544,"size":5052,"collection":84,"collections":40873,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},233467,"ren-wu-hua-hui-ce-xu-wei-233467",[24,7,59,128,369,62,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19bc6f941ccfef49e745a867f1e80420.jpg",[],{"id":40875,"slug":40876,"title":39900,"dynasty":54,"author":1460,"museum":20,"description":14827,"tags":40877,"thumbUrl":40878,"material":39903,"size":39904,"collection":84,"collections":40879,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},233425,"yuan-ji-shan-shui-ce-shi-tao-233425",[24,7,59,128,27,132,29,3387,34,131,11830,1009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7570e2d7e819c7dbd70ebd7ddbb567db.jpg",[],{"id":40881,"slug":40882,"title":40883,"dynasty":54,"author":6778,"museum":56,"description":6779,"tags":40884,"thumbUrl":40885,"material":611,"size":84,"collection":84,"collections":40886,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},233195,"hua-hui-ce-tao-hua-ye-zhao-zhi-qian-233195","花卉册-桃花页",[24,7,59,27,61,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ce11f3d0fe4bb739af8dc9b94579660.jpg",[],{"id":40888,"slug":40889,"title":40890,"dynasty":18,"author":3308,"museum":20,"description":40891,"tags":40892,"thumbUrl":40893,"material":611,"size":40894,"collection":84,"collections":40895,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":199},232819,"bai-ju-yi-zi-yong-shi-quan-juan-zhao-gou-232819","白居易自咏诗全卷","赵构《行书白居易诗》，纸本手卷，卷心高27.2厘米，长4296厘米。每行两字，字大如拳，无名款，书后钤有御书葫芦印和朱文方印各一枚，并在接纸骑缝处有“御书之宝”印多方。明陶宗仪《书史会要》：“高宗善真、行、草书，天纵其能，无不造妙。或云初学米芾，又辅以六朝风骨，自成一家。”\n书录白居易诗《自咏》一首：“随宜饮食聊充腹，取次衣裘亦暖身。未必得年非瘦薄，无妨长福是单贫。老龟岂羡牺牲饱，蟠木宁争桃李春。随分自安心自断，是非何用问闲人。”\n赵构实际上是一位艺术家，他精通诗词与音乐，擅长书法、绘画，志趣一直在笔墨方面，是一位相当勤于学习书法的皇帝。他最初是学黄庭坚，中年学米芾，绍兴七年（1137年）书的《赐岳飞手敕》是典型的米芾笔法。\n宋高宗不仅有实际的书画创作，对书法理论也很有研究，著有《翰墨志》一卷，是他在退居德寿宫以后谈论书法的语录，在书法理论上有很精辟的见解，这是南宋前期书法理论的重要著作，也有人将它称为南宋书法理论的代表著作。",[164,7,25,133,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b10fef921c08ba8bc86a57c3bf82896.jpg","卷心高27.2厘米，长4296厘米",[],{"id":40897,"slug":40898,"title":40899,"dynasty":124,"author":20859,"museum":244,"description":40900,"tags":40901,"thumbUrl":40902,"material":611,"size":40903,"collection":84,"collections":40904,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},231567,"da-mo-tu-zhu-jian-shen-231567","达摩图","此图绘达摩一苇渡江的故事，达摩身材魁梧，鼻梁高耸，眼珠圆凸，虬须怒张，两手置于胸前，侧身南望，戴头巾，身穿僧衣，赤足立于苇竿上，一第竿迎着风涛挺进，苇花在江风中摇曳，达摩脚下为滚滚的江水，奔腾而流。背景为一望无际的江水，弥雾茫茫无边无际。此图作于明成化庚子（1480）时年33岁，为他的中年佳作。钤“广运之宝”朱文印。\n明宪宗朱见深，英宗长子，天顺八年（1464）继位，年号成化（1465-1487）。先宗是一位有所作为的皇帝，嗜好艺术，也工书善画，尤擅人物和山水小景，并以御翰墨，赐予大臣们。此《达摩图》是他人物画中的佳作。\n达摩是菩提达摩的简称，是中国佛教禅宗的创始人。相传南朝梁武帝时，印度僧人天竺禅宗第二十八祖达摩，从海道前来我国传布佛教，梁武帝迎至金陵。他是乘坐船只从海道而来，但历来不少画家为神化达摩的道行，便画他脚踏芦苇，飘海而至。此画面所画正是这样。\n此画虽为宪宗即兴之作，即随意画成，但人物形象的刻画极其精练，神情表现细致入微。画法新颖别致，真切自然。人物的特征，用不多笔墨便勾画出来，头中和僧衣更为简练，袍下露出一双赤脚，亦真实地表现出来。衣褶用苇叶描，用笔如作书，转折之间，见其方整。江水波涛的烘染也很自然。总体来说，此画构图简括，笔墨简练，笔势放纵，将达摩的形象刻画入微，神采奕奕，精致地描绘出达摩超然尘表的形象特点，给人留下深刻的印象。",[23,24,7,188,128,187,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f2b8d36724bb198e8256b183c8f56f.jpg","纵76.8厘米,横47.4厘米",[],{"id":40906,"slug":40907,"title":40908,"dynasty":18,"author":40909,"museum":300,"description":40910,"tags":40911,"thumbUrl":40912,"material":692,"size":1293,"collection":84,"collections":40913,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},230864,"cheng-xin-tang-tie-cai-xiang-230864","澄心堂帖","蔡襄","精致的纸质，配上蔡襄秀致而庄重的墨迹，使得这幅“澄心堂”帖格外显得清丽动人。全文以行楷写成，结体端正略扁，字距行间宽紧合适，一笔一画都甚富体态，工致而雍容。信札署有“癸卯”（1063年）年款，时蔡襄年52岁，《澄心堂纸帖》正是他晚年崇尚端重书风的代表之作。\n蔡襄学习“二王”、虞世南、颜真卿。此贴依归“二王”，参以颜公健厚之笔，王颜互用，风貌独具，以柔翰而发之以劲腕，姿容绰约，而勾勒婉健，笔墨浑厚，气势宏大。时有淳淡隽美，更具风韵。",[64,133,208,1590,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70595ff81b15475df319f65f0235ed61.jpg",[],{"id":40915,"slug":40916,"title":40917,"dynasty":54,"author":5879,"museum":300,"description":40918,"tags":40919,"thumbUrl":40920,"material":84,"size":84,"collection":84,"collections":40921,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},230168,"lan-zhu-ming-qin-tu-hua-yan-230168","兰竹鸣禽图","此作工写相融，意趣悠然。上端禽鸟俯身垂首，似将啄饮，羽色以淡赭晕染，蓬松柔润，神态灵动鲜活。旁侧枯枝缀浅叶，墨色清透疏朗，衬得禽鸟愈发温婉生趣。\n\n下方坡石以泼墨写意，淡绿晕染衬出苍润苔痕，兰草、新竹生于石畔，笔致秀逸舒展，墨色虚实相生，尽显草木清姿。整卷以清浅淡远的色调，将生灵意趣与林下幽寂融为一体，笔墨兼具雅致与野趣，尽显文人写意画的空灵韵味。",[23,24,7,165,61,128,27,167,375,211,171,28,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcb95074029fc5bb85e91a524cb89d6a.jpg",[],{"id":40923,"slug":40924,"title":40925,"dynasty":54,"author":5879,"museum":300,"description":40926,"tags":40927,"thumbUrl":40929,"material":84,"size":84,"collection":84,"collections":40930,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},230167,"ba-ge-song-shu-tu-hua-yan-230167","八哥松鼠图","此作用笔兼工带写，冬日枯枝横斜，两只八哥相偎私语，墨色翎毛纤毫毕现，亲昵柔婉之态呼之欲出。下方松鼠曳着蓬松长尾，圆目灵动憨态可掬，驻足枝上似正侧目探看。\n\n淡墨晕染危石枯藤，飘零残叶点染出清寂冬意，留白空灵疏朗，将荒寒萧索的氛围铺陈开来。却以小生灵的鲜活暖意破了冷寂，静中藏动，虚实相生。软毛的蓬松温软、翎羽的油亮劲挺、枯木的苍劲淡远相映成趣，把冬日荒林间的盎然生趣刻画得精妙入微，尽显灵秀雅致的笔墨意趣。",[23,24,7,165,27,61,949,171,211,7596,40928,128,28],"落叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c918a99a17b3d55a87fe514827c97c0.jpg",[],{"id":40932,"slug":40933,"title":28642,"dynasty":54,"author":28136,"museum":300,"description":40934,"tags":40935,"thumbUrl":40936,"material":84,"size":84,"collection":84,"collections":40937,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":4001},230116,"shan-shui-ce-12-kai-jian-jiang-230116","此作以大片留白晕染出空濛烟水，淡墨轻勾远山，嶙峋清癯的峰峦错落排布，简淡皴笔勾勒山石肌理，尽显冷峭疏朗之态。左下角老柳垂丝，依依拂岸，茅舍隐于柳下，愈衬江天寥廓。\n\n江上孤舟缓行，渔翁泛棹，寥寥数笔便点活了空寂水色，于极简中藏着幽远禅意。整幅画笔墨枯淡清逸，舍去繁复描摹，以简驭繁，将水畔的静穆冷逸尽数铺展，萧散淡远，观之如沐清寂江风，引人沉入这份疏旷安闲的烟水诗意中。",[24,7,59,128,132,29,129,1337,131,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66b9046f9518a01dd6d6ff08f98e4f8d.jpg",[],{"id":40939,"slug":40940,"title":40941,"dynasty":124,"author":223,"museum":300,"description":40942,"tags":40943,"thumbUrl":40944,"material":84,"size":84,"collection":84,"collections":40945,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},228917,"mo-zhou-wen-ju-zhong-ping-hui-qi-tu-yi-ming-228917","摹周文矩重屏会棋图","此作追摹古意，以精妙笔触还原文人雅集场景：四人围坐博弈，神色各有不同，或蹙眉凝思，或悠然观局，侍童静立旁侧，案上鼎彝、书卷陈列有致，尽显中古文人的闲雅意趣。\n\n画作巧用画中画的重屏构景，层层延展空间，线条细劲工致，设色古雅沉静，尽显原作的院体写实风神。拖尾题跋琳琅，鉴藏朱印错落排布，细数历代递藏脉络，让这幅摹本不止是复刻经典，更成为串联起后世文人追慕古贤的载体，让千年前的文会清韵流转至今。",[23,24,7,25,330,27,28,96,250,7344,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbb1113a03fad3557a7452ed4931a72b.jpg",[],{"id":40947,"slug":40948,"title":40949,"dynasty":124,"author":125,"museum":300,"description":40950,"tags":40951,"thumbUrl":40952,"material":84,"size":84,"collection":84,"collections":40953,"showCount":518,"zanCount":1998,"manualWeight":48,"mainColor":72},228831,"zhe-zhi-hua-zhi-shen-zhou-228831","折枝花枝","以水墨晕染出海棠花枝，老干苍劲朴拙，用笔凝练老辣，皴擦间尽显饱经风霜的沉厚质感。新发嫩梢轻盈舒展，墨色清浅柔润，与老干形成鲜明虚实对照。枝头繁花淡墨点染，留白为瓣，晕透出通透娇柔的春日情态，叶片浓淡错落，层次分明，鲜活尽现海棠盛放之姿。\n题跋与画作相映成趣，诗书画意交融，尽显文人画雅致意趣。整幅简淡天真，不事雕琢，以极简笔墨抓住花木神韵，将春日雅兴寄于毫端，平朴间自有冲淡空灵的意境，寥寥数笔便铺陈出海棠疏淡清雅之态，藏着江南文人闲居的悠然意致。",[23,24,7,165,128,62,582,549,1039,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52bbf1cdcefb49755ec2f8724f6aeda7.jpg",[],{"id":40955,"slug":40956,"title":40957,"dynasty":124,"author":223,"museum":300,"description":40958,"tags":40959,"thumbUrl":40961,"material":84,"size":84,"collection":84,"collections":40962,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":49},228822,"qi-ma-shou-lie-tu-yi-ming-228822","骑马狩猎图","画作以塞北秋原为底色，枯木疏枝晕染出荒寒辽远的意境。画面上方白鹤惊飞，一人纵马引弓，箭矢将发，将狩猎的张力拉满；下方猎手们或缓骑四顾，或驻马待命，猎犬伏地静伺，动静相映成趣。设色古雅沉郁，线条朴拙凝练，将游牧出猎的日常瞬间定格。萧瑟荒野呼应骑射英武，糅合边地的苍凉与出猎的野趣，笔意简淡却藏着质朴生机，尽显北国狩猎的自在豪情。",[24,7,27,28,96,101,211,1337,40960,29,22807],"猎犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43e0832a905d1084788a315175c5a3cf.jpg",[],{"id":40964,"slug":40965,"title":40966,"dynasty":124,"author":223,"museum":300,"description":40967,"tags":40968,"thumbUrl":40970,"material":84,"size":84,"collection":84,"collections":40971,"showCount":518,"zanCount":1086,"manualWeight":48,"mainColor":49},228799,"shu-zhuang-tu-ye-yi-ming-228799","梳妆图页","古绢蒙尘，残痕漫卷间晕开一帧闺阁日常。镜中映出梳妆图景，立着的仕女轻抬素手，将发饰斜插坐者云鬓，指尖绾住鬓边青丝，动作温柔妥帖。坐仕女垂首静待，石青交领衬得素衣愈显清雅，衣袂褶皱晕染柔和。左侧偷望的侍女，为静谧的画面添上几分灵动意趣。\n\n岁月剥蚀了绢面，却晕开旧梦般的朦胧诗意。细腻笔触藏着温婉情思，将深闺里细碎的温柔定格，把娴静柔缓的日常，沉淀在斑驳古绢之中，引观者坠入旧时光的缱绻温柔里。",[24,7,59,28,27,96,166,40969],"梳妆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34a6f686678a159fd797e441826670ad.jpg",[],{"id":40973,"slug":40974,"title":9649,"dynasty":124,"author":9650,"museum":300,"description":40975,"tags":40976,"thumbUrl":40977,"material":84,"size":84,"collection":84,"collections":40978,"showCount":518,"zanCount":1998,"manualWeight":48,"mainColor":72},228757,"shen-xian-tu-ce-zhang-lu-228757","长髯老者席地安坐，面容清癯淡然，似正神游物外。衣纹以写意线条勾勒，笔势灵动舒展如流云拂过，寥寥数笔便将道袍宽博随性之态尽显，衬出老者超然世外的气质。身旁古朴药罐静置于方盒之上，暗合修真颐养的隐世意趣。\n\n纸面洒金晕开古雅沉静的氛围，淡墨轻擦出身下阴影，将人物妥帖融于留白之中，虚实相生间尽显空灵淡远的道家意境。笔简意赅，以少胜多，将超脱闲适的禅意藏于笔墨细节，尽显写意人物画传神精妙的功力。",[24,7,59,128,27,96,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca7c49e1d31a81eb4aea6b8462b1fc43.jpg",[],{"id":40980,"slug":40981,"title":40982,"dynasty":124,"author":1058,"museum":300,"description":40983,"tags":40984,"thumbUrl":40985,"material":84,"size":84,"collection":84,"collections":40986,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},228469,"nan-you-tu-tang-yin-228469","南游图","《南游图》是明朝唐寅写的一首诗。\n江上春风吹嫩榆，扶琴送子曳长裙。\n相逢若有知音者，随地芟茅好结庐。\n唐寅（147---152），初字伯虎，更字子畏，号六如居士，明代画家，吴县（今江苏苏州）人。\n他是吴门画派的代表人物，与沈周、文徵明、仇英并称明代四大家（吴门四家）。\n出生于一个商人家庭，从小聪明好学，诗文书画，无一不精。\n29岁时，他考中应天府（今南京）乡试第一名解元，自诩为“江南第一才子”。\n但在第二年的会试中，因好友科举舞弊案的牵连，被捕入狱，从此功名断绝。\n出狱后，唐伯虎性情大变，从此绝意仕途，潜心书画，终成一代大家。\n唐伯虎擅长画山水、人物、花鸟等。\n他的山水画师法周臣、李唐、刘松年，风格秀逸清俊，笔墨细秀，布局疏朗。\n人物画师承唐代传统，多以仕女和历史故事为题材，色彩或艳丽或清雅，线条清细，体态优美。\n花鸟画洒脱随意，格调秀逸，长于水墨写意。\n传世画作有《骑驴思归图》、《山路松声图》、《事茗图》、《王蜀宫妓图》、《秋风纨扇图》等。",[23,24,7,25,27,28,132,133,64,208,29,34,96,98,99,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b85449ec179089e2a5b76fcc8c7693e.jpg",[],{"id":40988,"slug":40989,"title":40990,"dynasty":124,"author":802,"museum":300,"description":5946,"tags":40991,"thumbUrl":40992,"material":692,"size":1293,"collection":84,"collections":40993,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},228284,"shan-shui-wu-jian-hua-hui-ce-13-kai-chen-hong-shou-228284","山水物件花卉册13开",[24,7,59,188,128,96,13695,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e605160230b222da495bd1f286071cc.jpg",[],{"id":40995,"slug":40996,"title":40997,"dynasty":18,"author":2257,"museum":300,"description":40998,"tags":40999,"thumbUrl":41000,"material":84,"size":84,"collection":84,"collections":41001,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},228164,"lao-shu-han-ya-tu-juan-zhao-bo-ju-228164","老树寒鸦图卷","此作用淡墨晕染铺就江天寥廓，滩渚浅岸清寂冷逸，枯木虬枝错落舒展，干笔皴擦尽显苍劲老辣，不着多余修饰，便将冬日江郊的荒疏萧索尽数铺陈。\n画面以平远取景，水墨清润简淡，把寒水空濛、林梢凝寒的江洲冬境，化作空寂禅意。简淡笔墨暗合宋人极简美学意趣，于萧索冷冽间晕染出悠长幽远的诗意，尽得荒寒淡远的文人山水意境。",[23,164,24,7,25,128,27,29,331,3281,171,34,208,64,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab012e2191f40ce6f95225846f98cfe1.jpg",[],{"id":41003,"slug":41004,"title":41005,"dynasty":18,"author":5533,"museum":300,"description":41006,"tags":41007,"thumbUrl":41008,"material":84,"size":84,"collection":84,"collections":41009,"showCount":518,"zanCount":1998,"manualWeight":48,"mainColor":49},227981,"qiu-lu-fei-wu-tu-liang-kai-227981","秋芦飞鹜图","此作以简逸水墨绘就秋江野景。坡岸以浓淡墨晕染而出，苍朴浑拙，几丛芦草只以数笔挥写，便将秋风中欹侧摇曳之态尽现，萧瑟秋意扑面而来。\n\n四只飞鹜分作两组，淡墨轻勾身形，羽翼翩然灵动，破空掠飞于空茫江面。画面大片留白化作寒烟秋水，虚远空寂，与极简的物象相映成趣，以少胜多，将秋江荒寒澄澈的意境渲染到极致。笔意纵逸简淡，于萧索之中暗蕴灵动生机，寥寥数笔勾勒出秋日江天的澹泊野趣，尽显写意花鸟画的空灵悠远。",[23,164,24,7,1846,128,369,1824,211,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c37f9fecfb7b19133333a2cd8c3399.jpg",[],{"id":41011,"slug":41012,"title":41013,"dynasty":18,"author":35412,"museum":244,"description":41014,"tags":41015,"thumbUrl":41016,"material":637,"size":35416,"collection":84,"collections":41017,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},227718,"dao-yi-tu-juan-mou-yi-227718","捣衣图卷","《捣衣图》南宋画家牟益创作的纸本水墨画作品，现收藏于台北故宫博物院。\n\n《捣衣图》描绘南朝谢惠连《捣衣诗》之诗意。画中庭院秋深，高槐叶落，景象凄凉，绘三十二位妇女捣练、裁衣、缝衣之劳动情景。画家通过建筑物的相连、人物的往来、花木的点缀，前后贯通，画中的人物造型准确，生动有致，面容圆润，衣裙宽大，犹有唐人余韵。",[23,24,164,7,25,188,96,166,247,34,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbff35647b7e53622cc6bfd8715853cbc.jpg",[],{"id":41019,"slug":41020,"title":41021,"dynasty":18,"author":9804,"museum":300,"description":29086,"tags":41022,"thumbUrl":41023,"material":84,"size":84,"collection":84,"collections":41024,"showCount":518,"zanCount":1998,"manualWeight":48,"mainColor":49},227614,"chun-xiao-tu-ye-zhao-ling-rang-227614","春晓图页",[23,164,24,7,59,27,132,2372,98,171,211,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1006510c385afef8e45f522379aaf3d.jpg",[],{"id":41026,"slug":41027,"title":41028,"dynasty":18,"author":3596,"museum":300,"description":41029,"tags":41030,"thumbUrl":41031,"material":84,"size":84,"collection":84,"collections":41032,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":49},227596,"lu-yan-tu-ye-cui-bai-227596","芦雁图页","崔白（公元11世纪）〔北宋〕约活动在1023-1085（宋仁宗至神宗时期），字子西，濠梁（今安徽凤阳东）人，生卒年不详。1068-1077（熙宁）初补图画院艺学，后升待诏。工画花竹翎毛，尤长秋荷凫雁，对佛道、鬼神、山林、人物、走兽等，亦无不精绝。思路敏捷，技巧熟练，挥毫立就，不打草稿不假直尺界笔，“曲直方圆，皆中尺度”。",[23,24,164,7,59,27,28,61,1824,18111,276,414,3428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc580b3f4d0ac734fa06327447d804e1d.jpg",[],{"id":41034,"slug":41035,"title":41036,"dynasty":18,"author":41037,"museum":300,"description":41038,"tags":41039,"thumbUrl":41040,"material":84,"size":84,"collection":84,"collections":41041,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":49},227395,"guan-yin-xiang-wang-hong-xun-227395","观音像","汪鸿薰","暂无描述",[23,24,7,187,96,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f2ec3b61dd5166a64dfebc275647beb.jpg",[],{"id":41043,"slug":41044,"title":41045,"dynasty":54,"author":5367,"museum":300,"description":35923,"tags":41046,"thumbUrl":41047,"material":84,"size":84,"collection":84,"collections":41048,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},226630,"si-shi-shan-shui-03-pu-ru-226630","四时山水03",[23,24,7,128,132,59,29,96,131,34,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a54730262b673b5e2e522748b6b7275.jpg",[],{"id":41050,"slug":41051,"title":41052,"dynasty":54,"author":1460,"museum":300,"description":41053,"tags":41054,"thumbUrl":41055,"material":84,"size":84,"collection":84,"collections":41056,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},224530,"li-pu-yi-pei-juan-shi-tao-224530","醴浦遗佩卷","以水墨绘就兰竹顽石，起手野兰配淡墨牡丹，焦墨兰叶纵逸跌宕如虬龙逶迤，花瓣含露，幽姿绰约。中段蕙兰丛生繁花绽枝，笔意渐趋简淡，与疏竹交错，清寂之致尽显。末段兰草倚石而生，苔痕皴染古雅，顽石朴拙苍劲。\n\n全卷以草书笔意入画，墨色干湿浓淡互衬，一气呵成。题识榜书朴茂雄浑，与画作清逸互为表里，将兰之幽贞、石之古厚融为一体，绘写出幽兰遗世独立、如佩环叮咚的清逸风骨，墨痕间满溢疏淡幽远的林下风致，尽显文人以物明志的清雅意趣。",[23,24,7,25,128,375,167,171,64,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe167157fb1e1c6dcb8e7e354c9d500e8.jpg",[],{"id":41058,"slug":41059,"title":41060,"dynasty":54,"author":1460,"museum":300,"description":41061,"tags":41062,"thumbUrl":41063,"material":84,"size":84,"collection":84,"collections":41064,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},224508,"shan-shui-ce-kai-si-shi-tao-224508","山水冊开(四)","此作用淡彩晕染出清润空濛的氤氲之气，远山以花青轻扫，糅合浅赭底色，将山岚初醒的柔缓暖意晕开。一江春水蜿蜒穿谷，两侧山石枯笔皴擦，兼施淡墨点苔，苍松矮柏错落栖于岩间，野趣横生。\n江心扁舟上渔翁垂坐，似静听水声松涛，将天地悠然诗意凝于咫尺。右上角行书题诗笔墨疏朗，与山水清寂意境相映，尽显文人画诗书画印相融的雅趣。\n整体笔致松秀灵动，删繁就简，不假雕琢却生机暗涌，将江南山水的温润澹远与幽居野钓的林下襟怀融为一体，漫溢静穆淡宕的禅意。",[23,24,7,59,128,27,29,129,99,496,34,11014,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa34fc4fd4add0addbea11ed1f356d11.jpg",[],{"id":41066,"slug":41067,"title":41068,"dynasty":54,"author":4083,"museum":300,"description":41069,"tags":41070,"thumbUrl":41071,"material":84,"size":84,"collection":84,"collections":41072,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":49},224432,"qian-jiang-xi-shan-tu-wang-shi-min-224432","浅绛溪山图","此作用浅绛写层叠溪山，以密集细笔皴擦出山峦苍郁厚重的肌理，林麓茅舍隐现其间，暗合幽居野逸的文人情致。后幅行书题跋笔意苍劲朴拙，书画合璧尽显文人风雅。\n整体气息浑穆沉厚，循传统山水丘壑程式又自出灵趣，简淡赭石晕染烘出山林秋意，将江南溪山的温润秀逸藏于繁密点染之间，是文人卧游林泉、澄怀观道的精神寄托，笔墨间浸着历经世事的澹然平和，尽显静雅悠长的山水意韵。",[23,24,7,25,6875,27,132,133,208,29,98,99,130,331,131,34,499,496,1025,711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05f203733ec712aa2cbbb7186aada126.jpg",[],{"id":41074,"slug":41075,"title":41076,"dynasty":54,"author":4083,"museum":300,"description":41077,"tags":41078,"thumbUrl":41079,"material":84,"size":84,"collection":84,"collections":41080,"showCount":518,"zanCount":1998,"manualWeight":48,"mainColor":49},224424,"yun-feng-shu-se-tu-wang-shi-min-224424","云峰树色图","《云峰树色图》是清代画家王时敏创作的绢本设色画，现藏于 。\n此图以“高远”法取势，构图呈“S”形循环上升。\n山石沉浑雄健，树木苍厚繁密，画风凝重古朴。\n王时敏（1592—168年），字逊之，号烟客，晚号西庐老人，江苏太仓人。\n其祖父是明礼部尚书兼 王锡爵，父亲是明翰林编修王衡。\n明万历二十九年（161年）举进士，崇祯初以荫仕至太常寺卿，崇祯十三年（164年）辞官隐居，入清不仕。\n工隶书，善画山水，以元黄公望、倪瓒为宗，又受董其昌影响。\n他极力主张恢复古法，反对自出新意，是清初画坛正统派的领袖，后世称“娄东派”，与王鉴、王石谷、王原祁合称“四王”，位列“清初四王”之首，在当时有很大影响。",[23,24,7,165,27,29,132,663,950,413,372,1314,99,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97c21bc9c7b497cbaa4d829b8d874e53.jpg",[],{"id":41082,"slug":41083,"title":41084,"dynasty":54,"author":28136,"museum":300,"description":41085,"tags":41086,"thumbUrl":41087,"material":84,"size":84,"collection":84,"collections":41088,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},224355,"zhi-yang-dong-hu-tu-juan-jian-jiang-224355","芝昜东湖图卷","此作用淡墨晕染湖山，浅赭轻敷屋宇路径，清润雅洁。平远构图铺陈东湖胜景：波心渔舟缓行，沿岸村舍错落衔连，山麓古寺朱墙醒目，远山淡抹空灵悠远。\n\n笔墨师法宋元却自出机杼，既得元人萧散简淡的意境，又以宋法布陈细节，秀逸清劲却不失周密，绝无板滞或空疏之弊，将水乡丘壑的静穆淡和尽绘纸上，尽显澄怀观道的山水意趣，平淡里藏着深秀丘壑，是师古化新的精妙之作。",[23,24,7,25,128,27,132,330,208,64,29,97,34,1144,1337,99,129,130,149,18542,415,7782,758,98,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52fdc9987ea396b2047437152f739a3a.jpg",[],{"id":41090,"slug":41091,"title":41092,"dynasty":182,"author":223,"museum":20,"description":41093,"tags":41094,"thumbUrl":41095,"material":514,"size":41096,"collection":84,"collections":41097,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":49},223442,"gong-yuan-tu-juan-yi-ming-223442","宫苑图卷","绘皇家园林景致。远处山峦起伏，林木葱郁，河道萦回，楼、阁、亭、台、廊、桥星罗棋布，气派宏大雄伟，富丽堂皇。画中游人悠闲风雅又热闹欢快，虽然熙熙攘攘，却如人间仙境。体现了唐代宫廷及贵族阶层悠闲而奢华的生活。此画可能为南宋时期所绘。",[23,24,7,25,95,27,28,97,29,96,130,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F477ef8865840f821a8da02c867a064c2.jpg","24.54*291.85",[],{"id":41099,"slug":41100,"title":41101,"dynasty":144,"author":223,"museum":20,"description":41102,"tags":41103,"thumbUrl":41104,"material":151,"size":41105,"collection":136,"collections":41106,"showCount":518,"zanCount":1998,"manualWeight":48,"mainColor":956},223399,"shang-shan-si-hao-tu-zhou-yi-ming-223399","商山四皓图轴","此图画汉初“商山四皓”故事中使臣迎请四皓一节。画面左下角有一队人马，为首者正与童子对话。山间小路崎岖，云雾缭绕，溪水潺潺。画幅偏右画有数人：二老者对弈，一老者拄杖观棋，二童子左右陪侍，上方一老者正拄杖下行，身后一童子捧果盘相随。山势高耸，乔松挺秀，烘托出一派幽静清逸之气，将四皓闲适的生活恰如其分地表现出来。\n本幅无作者名款，画面上方有挖补之痕，其真正的作者已难考究。旧题为南宋刘松年的作品，然其画法风格实近元代盛懋一派。本幅钤有残印一角，印文不辨。",[23,24,7,165,27,26,28,29,96,1144,131,37,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e3dddb7ee87e220228e39d7b36a9eee.jpg","纵155.3厘米，横77.2厘米",[136,45],{"id":41108,"slug":41109,"title":41110,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":41111,"thumbUrl":41112,"material":151,"size":7879,"collection":84,"collections":41113,"showCount":518,"zanCount":1998,"manualWeight":48,"mainColor":199},222946,"hong-lou-meng-71-sun-wen-222946","红楼梦71",[23,304,24,7,28,27,96,97,247,34,191,7996,13344,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ecb36ad56431b384b69b7fe4089a44e.jpg",[],{"id":41115,"slug":41116,"title":41117,"dynasty":54,"author":36019,"museum":224,"description":41118,"tags":41119,"thumbUrl":41120,"material":3544,"size":84,"collection":136,"collections":41121,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},222721,"huang-shan-ba-jing-tu-ce-zheng-min-222721","黄山八景图册","郑旼 1632-1683年 传世作品有康熙二十一年作《雨气真寂图》及《林泉小亭图》二轴，现藏安徽省博物馆；《溪山泛舟图》轴藏浙江省博物馆；康熙十三年（1674）作《香烟诗意图》轴藏香港刘均量虚白斋；十二年（1673）作《九龙潭图》轴藏故宫博物院；同年作《山水图》轴藏上海博物馆。著有《拜经斋集》《致道堂集》《正己居集》等。",[23,24,7,59,128,29,171,132,64,208,34,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d82fb54fc6a1eb3e1a5c47fd4a31691.jpg",[136,318],{"id":41123,"slug":41124,"title":41125,"dynasty":124,"author":204,"museum":244,"description":41126,"tags":41127,"thumbUrl":41136,"material":66,"size":41137,"collection":136,"collections":41138,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},222205,"jiao-yin-jie-xia-zhou-chou-ying-222205","蕉阴结夏轴","图中山石林立，蕉丰硕。秀竹劲，丛草稀。两位高士对坐相。一抚琴，一聆听。作品追宋法，人物造型准确。神情刻画栩栩如生，加之情景交融，画面文人同生活气息流。村庄突现萧疏简返之气，亦现作者师元人画风而别开生面之趣",[23,24,7,165,28,27,96,875,276,131,438,247,41128,41129,10090,41130,41131,32210,41132,40819,41133,41134,41135],"夏日场景","弹拨乐器","山石皴法","植物写生","设色淡雅","传统山水元素","草木景观","器物陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62b091a6fd7758ede327c5d564e95b22.jpg","纵279.1厘米，横99厘米",[136,45],{"id":41140,"slug":41141,"title":41142,"dynasty":18,"author":41143,"museum":20,"description":41144,"tags":41145,"thumbUrl":41146,"material":39279,"size":41147,"collection":84,"collections":41148,"showCount":518,"zanCount":1998,"manualWeight":48,"mainColor":72},222141,"mu-dan-chun-man-tu-ye-li-cong-xun-222141","牡丹春满图页","李从训","[宋]杭州人。宣和（一一一九―一一二五）待诏，绍兴（一一三一―一一六二）间复宫补承直郎，赐金带。工画道释、人物、花鸟，位置不凡，传彩精妙，高出流辈。",[23,164,24,7,4437,1131,28,27,3291,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06010232ff025bf2c27d45e222f744ca.jpg","纵26.9厘米、横46",[],{"id":41150,"slug":41151,"title":41152,"dynasty":124,"author":125,"museum":244,"description":1992,"tags":41153,"thumbUrl":41154,"material":1223,"size":41155,"collection":84,"collections":41156,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},222111,"liu-tang-du-diao-shen-zhou-222111","柳塘独钓",[23,24,7,128,27,133,2132,29,4363,98,130,3837,9137,96,35797],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ebf57ec710cf7b3feb2eb738b90919.jpg","28x43.5厘米",[],{"id":41158,"slug":41159,"title":41160,"dynasty":124,"author":20859,"museum":20,"description":41161,"tags":41162,"thumbUrl":41163,"material":734,"size":41164,"collection":84,"collections":41165,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":49},222081,"yi-tuan-he-qi-tu-li-zhou-zhu-jian-shen-222081","一团和气图立轴","此图作于1465年。粗看似一笑面弥勒盘腿而坐，体态浑圆，细看却是三人合一。左为一着道冠的老者，右为一戴方巾的儒士，二人各执经卷一端，团膝相接，相对微笑，第三人则手搭两人肩上，露出光光的头顶，手捻佛珠，是佛教中人。作品构思绝妙，人物造型诙谐，用图像的形式揭示了儒、释、道“三教合一”的主题思想。\n作品线条细劲流畅，顿挫自如，显示出作者纯熟的绘画技艺。",[23,24,7,165,27,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0757d39ae29ad50e272852e0bd8a3181.jpg","48.7x36",[],{"id":41167,"slug":41168,"title":41169,"dynasty":144,"author":27388,"museum":20,"description":41170,"tags":41171,"thumbUrl":41174,"material":40,"size":41175,"collection":68,"collections":41176,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":49},221822,"ying-gui-tu-zhang-shun-zi-221822","鹰桧图","此图是由雪界翁、张师夔两位画家合作绘制而成。图绘山石间一株古桧，枝干挺劲，枯枝与新叶相映成趣。老干横斜，一只苍鹰昂首挺立其上，双目炯然，脚爪锋利，紧抓树枝，给人以坚如磐石、临危不惧之感。图中苍鹰以工笔重彩法写出，刻画细腻，笔笔精到，具有宋代院体花鸟画遗风。古桧山石完全用写意风格的画法，出自张舜咨手笔，画风略显粗犷，然颇具气势。苍鹰与山石、古桧虽出自不同人的手笔，但配合默契，毫无突兀、不协调之感，极具特色。",[23,24,164,7,165,27,28,3141,41172,689,7596,171,41173],"桧树","丛草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f781d4069309ad9530fe25a1c35bbcd.jpg","纵147.3厘米，横96.8厘米",[68,45],{"id":41178,"slug":41179,"title":41180,"dynasty":144,"author":4054,"museum":20,"description":41181,"tags":41182,"thumbUrl":41183,"material":611,"size":41184,"collection":84,"collections":41185,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},221744,"qiu-shen-tie-guan-dao-sheng-221744","秋深帖","管道升行书秋深帖是管道升给婶婶的问安、馈赠的家信，实为赵孟頫所书。其笔力扎实，体态修长，秀媚圆活，畅朗劲健。赵氏信笔写来一时忘情，末款署了自己的名，发觉后忙又改过，还可以看出涂改之迹。",[23,164,24,7,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709a2cf3722df1bd28d60e5ffd14c32f.jpg","纵26.9cm，横53.3cm",[],{"id":41187,"slug":41188,"title":41189,"dynasty":144,"author":223,"museum":244,"description":41190,"tags":41191,"thumbUrl":41192,"material":278,"size":41193,"collection":136,"collections":41194,"showCount":518,"zanCount":1998,"manualWeight":48,"mainColor":72},221700,"bai-yun-shan-fang-tu-zhou-yi-ming-221700","白云山房图轴","此画是陈贞为大空道者写白云山房。画面上远山叠嶂，山头似乎被云雾笼罩，只露出平坦的山顶和山段，再近些一座山峰在充溢着水气的墨色中浅淡生幽。右上侧较为空旷，只有时隐时现的小山头。画中部为崎岖不平的山石、树木和杂草丛生，山坡的左侧几间屋宇、茅亭座落山坡一侧，用简笔描绘出几间房屋楼阁。近景有较为宽阔的河道，河道的右侧为一座小山岗，上面长有几株树木；河道的左侧为山坡湖石，点缀着数株乔木。此幅图中树木堪称一绝，姿态不一，品种各异，有的枝叶稀疏，有的枝叶低垂，有的高大繁茂葱郁，还有的枝干虬然。此图的画法，图中巨冈坡石和主峰，运用凝重柔和的披麻皴层层皴擦，表现出浑厚伟峻的形势。远山和树丛的表现，充分吸收了米氏云山技徠法垍頭，或用條水墨轻染淡抹，或用浓淡墨色纵横点染。此图在水墨皴染的基调上，还巧妙地敷施色彩。如山峦坡陀罩染一层淡淡青绿，山巅向阳面敷薄薄的赭石，树叶点染花青。画家善于把山峦、溪水、草木、烟云有机地组成一体，使画面气脉流通，神彩焕发，塑造出白云山房奇丽意境。款识“至正辛卯秋九月既望。陈贞履元为大空道者写白云山房。",[23,24,7,165,128,132,29,950,413,1314,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d2bce35e6488169e35f98daeffd676d.jpg","103.8x35.4厘米",[136,117],{"id":41196,"slug":41197,"title":41198,"dynasty":18,"author":2141,"museum":244,"description":41199,"tags":41200,"thumbUrl":41201,"material":151,"size":41202,"collection":84,"collections":41203,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":49},221550,"luo-han-tu-2-liu-song-nian-221550","罗汉图2","刘松年 （约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。",[23,24,7,165,187,28,96,171,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10737a1546d4fd6ca989ad4e2dd46ab0.jpg","纵117.2厘米，横56厘米",[],{"id":41205,"slug":41206,"title":41207,"dynasty":18,"author":686,"museum":244,"description":41208,"tags":41209,"thumbUrl":41210,"material":41211,"size":41212,"collection":84,"collections":41213,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},221385,"ming-hui-ji-zhen-ce-han-jiang-diao-xue-fan-kuan-221385","名绘集珍册－寒江钓雪","本幅选自《名绘集珍》册第十一幅。画幅意境，取自唐代诗人柳宗元（773-819）的五言绝句〈江雪〉：「千山鸟飞绝，万径人踪灭；孤舟蓑笠翁，独钓寒江雪。」 幅左方裱绢的签题作「范宽寒江钓雪」，但在纨扇画面的左缘，隐约可见「李东」（13世纪）二字名款，由于被墨色掩盖，又因画史载范宽（约950-1031间）以画雪景著称，故被归入范宽名下。实则本幅「一角式」的构图，以及侧锋砍斫的笔触，均与范宽不似，应属于南宋时期才会出现的风格。",[23,24,164,7,59,29,132,128,96,129,1350,331,99,1556,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a8a8fd79c1b43910e82ba556c7435fc.jpg","立轴，绢本","38.9x80.6;",[],{"id":41215,"slug":41216,"title":41217,"dynasty":18,"author":3308,"museum":244,"description":41218,"tags":41219,"thumbUrl":41222,"material":41223,"size":41224,"collection":84,"collections":41225,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},221200,"shu-qi-yan-lv-shi-zhao-gou-221200","书七言律诗","《宋赵构书七言律诗》是宋代时期宋高宗创作的书法作品。\n此幅墨迹是宋高宗以楷书书写 的七言律诗（即事），又名「暮春三月诗帖」。\n此一诗帖以中锋书写，通幅看来章法疏朗，字体匀称、圆润，墨色统一，令人看来赏心悦目。\n杜甫这首七律的意境如画，高宗笔墨洗鍊，二者可说是相得益彰。\n诗後原来还有元代赵孟頫为此诗作的图，可惜已被人裁去。\n高宗在绍兴三十二年（1162）晚年时退休，这段时期所作的楷书，多典雅圆融，端正停匀，有一种飘逸潇洒的趣味。\n这幅作品不仅接近这样的风格，因诗幅後还有高宗在位时的用印（御书之宝），因此推测它书写的时间应距退休时间不远。",[23,18,64,7,133,208,9910,611,41220,28172,41221],"汉字","律诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920a2edf348ab63e87e4a67ff0261287.jpg","行楷书","27.1×48.7cm",[],{"id":41227,"slug":41228,"title":41229,"dynasty":18,"author":15080,"museum":510,"description":41230,"tags":41231,"thumbUrl":41232,"material":2739,"size":41233,"collection":84,"collections":41234,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},221198,"zi-zuo-shi-juan-quan-juan-di-yi-duan-lu-you-221198","自作诗卷（全卷）第一段","陆游《自作诗卷》全卷长达7.01米，共写诗八首，题为《记东村父老言》、《访隐者不遇》、《游近村》、《癸亥初冬作》、《美睡》、《渡头》和《杂书》二首。这些诗都是陆游自己创作的，而且每首诗都反映了作者怡然自得的田园生活，再配以飘逸、潇洒的书法表现出来，可以说将诗人的情感和诗的意境都体现得淋漓尽致。",[23,64,133,25,128,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66cd86e4e28de5c93a83e0f57568a97a.jpg","31*7017cm",[],{"id":41236,"slug":41237,"title":41238,"dynasty":144,"author":569,"museum":244,"description":41239,"tags":41240,"thumbUrl":41241,"material":637,"size":41242,"collection":44,"collections":41243,"showCount":518,"zanCount":1998,"manualWeight":48,"mainColor":72},220832,"diao-liang-tu-zhao-meng-fu-220832","调良图","画中仅绘一身形矫健、长鬃毛的马和一奚官，毫无背景。作者捕捉住了一阵风吹过时的瞬间来加以描绘——马儿低头避风，牵马者搭袖回望。马尾、马鬃、人须、衣襟随风飘动，作者通过细韧灵动的线条和纤毫毕现的白描手法将画面表现得栩栩如生。\n赵孟頫所画的人物画，虽然在后世盛名，但远不如他的山水、花鸟画。但对他的高超的造诣，不得不使人们所钦佩，他的画无所不精，皆造神品，尤其画马甚佳。董其昌谓其画“有唐人之致去其纤。有北宋人之雄去其犷。”他年轻时就勤于画马，并下过苦功。师法唐代曹霸、韩干，自称可以和李公麟媲美。他在继承前人传统的基础上，又亲自到实地观察，潜心琢磨，有时为了画好某种姿势的马，曾自己在床上学马的动态，此《调良图》册，就是他画马的精心之作。\n赵孟頫存世的作品中，时间最早的可能是《调良图》，中国艺术史学家李铸晋教授认为此画应属13世纪80年代的真本，当时赵孟頫只有26岁左右。\n此画为细致入微的高古游丝描，是典型的唐人风范。马的形象也是典型的唐人趣味，此马肥瘦得当，体格雄健，身披黑色毛，四肢健壮有力，在低头吃草，长长的尾巴拽在右后腿旁，尤其引人注目的马颈部根根竖立的马鬃，威风凛凛，经作者工笔细描。其人物也如此的工整细致。\n从图中可看到此画刻意学唐人，线条圆润，皴染简法，墨色浓丽，形象刻画，严谨认真，对马的形体质感，广阔田野，人物的侧立姿态，都认真的描绘，一丝不苟。\n从此画的布局来看，画面虽仅是一马一人，但给观赏者点出境外尚有无限的景物，画似尽而意犹未尽，既突出了主题，又给观赏者以回味的余地。\n北京故宫博物院研究员余辉：画家上承北宋李公麟的白描技法，渲染有度，特别是方折劲挺的铁线描形成的人物衣褶和圆活腴润的弧线勾划出的马体及风动如火焰的虬髯、马鬃、马尾显现了作者丰富精湛的表现力和藏抑不住的创作激情。\n中国美术史学家高居翰：赵孟頫的《调良图》会把人物和马匹孤立出来，衬着空荡荡的画底，这一点也和两位前辈的做法相同。虽然画中有一股强风吹过马尾、马鬃和马夫的衣服，看起来也只是在画幅之内回旋，使构图活泼了，但是基本上还是一个自成一体的世界。",[164,24,7,27,96,101,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a777345816f4cfc952a6c798a4d7af7.jpg","纵22.7厘米 横49厘米",[44,117],{"id":41245,"slug":41246,"title":29,"dynasty":980,"author":37787,"museum":9668,"description":41247,"tags":41248,"thumbUrl":41249,"material":84,"size":84,"collection":84,"collections":41250,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},220513,"shan-shui-pu-xin-she-220513","此作以高远、平远之法铺展秋山江居之景。远景峰峦含烟，青嶂间朱檐古阁半隐雾霭，恍若仙乡。中景汀渚蜿蜒，苍松挺秀，丹枫点染秋光，村居藏于林麓，野趣悠然。近境临水高轩敞亮，二人凭栏对晤，秋水潺湲，石矶错落，霜叶漫山晕开暖红。\n笔墨兼融北宗苍劲与南宗秀润，浅赭花青晕染出明净秋意，题诗与画境相融，尽显清寂萧散的隐逸诗意，晕染出文人幽淡出尘的襟怀。",[24,7,27,132,29,97,34,415,3427,35,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7d127d461e95daec85dc02446a8bd1d.jpg",[],{"id":41252,"slug":41253,"title":41254,"dynasty":54,"author":1219,"museum":9668,"description":41255,"tags":41256,"thumbUrl":41257,"material":84,"size":84,"collection":84,"collections":41258,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},220466,"jin-gu-yuan-tu-zhou-ren-yi-220466","金谷园图轴","嶙峋湖石旁，红树浓艳跳脱，墨竹劲挺苍润，铺就雅奢的宴集底色。踞坐苔石的文士神态悠然，似已沉醉在乐音之中，两位乐伎一弹一持，将宴乐的松弛氛围缓缓晕开。画作以淡赭晕染文士衣袍，浓墨勾摹湖石奇崛肌理，冷暖色调相互映衬，层次明暗尽显巧思。笔意写意灵动，将晋人放达的林下雅韵浓缩尺幅间，把游园听曲的闲适快意，尽数铺陈于画面之中，尽显灵动雅致的画韵。",[23,24,7,165,27,96,276,229,438,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c8e71afd068129aef24338a9e0feb65.jpg",[],{"id":41260,"slug":41261,"title":41262,"dynasty":124,"author":1058,"museum":224,"description":41263,"tags":41264,"thumbUrl":41265,"material":278,"size":41266,"collection":136,"collections":41267,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},220055,"chui-hong-bie-yi-tu-tang-yin-220055","垂虹别意图","《垂虹别意图卷》由唐伯虎作画，祝枝山题“垂虹别意”引首，戴冠做序。戴冠在《诸名贤垂虹别意诗序》中解释道：“垂虹者，吴地石杠之名也”，“虹”为“桥”的别称，说白了，“垂虹”所指即。题诗则以为首，祝、文、唐等三十余人皆列其后。当时，众吴门才子送别戴昭时共作三十六首诗。而现存顾洛阜家藏的手卷裱件中，仅存十九首，其中包括祝枝山书《赠戴昭诗》，均裱在唐寅画后，裱在前面的祝枝山题“垂虹别意”引首亦幸存。",[23,24,7,25,128,133,64,208,132,29,34,99,129,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff23e189bda4fe92d69e4e85706aca033.jpg","纵29.7厘米，横107.6厘米",[136],{"id":41269,"slug":41270,"title":41271,"dynasty":351,"author":6787,"museum":244,"description":41272,"tags":41273,"thumbUrl":41275,"material":151,"size":41276,"collection":44,"collections":41277,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},219643,"zhang-li-qiu-shuang-tu-ju-ran-219643","杖藜秋爽图","以淡墨晕染出空蒙远山，烟岚轻笼，将秋意的清寂铺陈开来。近岸老木虬枝枯槎，劲挺中带着萧疏况味，苔点依稀，暗合秋深之态。秋水如镜，不着波澜，将天地的静穆悉数收纳。\n\n独行杖藜之人，彳亍坡岸，似在骋目遥天，与冷寂秋光相融。全幅以水墨写意，笔意松秀苍润，淡墨轻岚间，把秋爽疏阔的林下幽致尽显，带着悠悠山野闲情，观之如身临清秋郊野，沁得满身秋凉清逸。",[164,24,7,59,128,29,96,1337,10887,415,3428,6639,41274],"闲情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a0fbd8054be9c23123eb7c6689396b7.jpg","23.3x22.7厘米",[44],{"id":41279,"slug":41280,"title":41281,"dynasty":18,"author":41282,"museum":244,"description":41283,"tags":41284,"thumbUrl":41285,"material":173,"size":41286,"collection":136,"collections":41287,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},218865,"liu-feng-shui-ge-tu-zhu-guang-pu-218865","柳风水阁图","朱光普","朱光普擅长画农业场景，但这幅富贵人家的亭台楼阁画却有着不同的风格。",[23,24,7,1131,27,95,97,4363,29,496,34,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41187d0e63f2f801bb2dcdc087263985.jpg","23.1x24.5",[136],{"id":41289,"slug":41290,"title":41291,"dynasty":144,"author":4034,"museum":244,"description":41292,"tags":41293,"thumbUrl":41295,"material":278,"size":41296,"collection":68,"collections":41297,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":49},218821,"chun-tang-qin-le-tu-sheng-mao-218821","春塘禽乐图","图绘塘中一斜坡，坡上一棵柳树，下有野鸭栖息著。燕子逐著春光，一派春日景象。本幅画有「子昭」款，惟画风似与其他盛懋作品不同，疑为后人所加。",[24,164,7,128,61,29,211,4363,41294,208,4364],"野鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F907a0e23a9917f1bca565613adcaa56d.jpg","52x28.3cm",[68],{"id":41299,"slug":41300,"title":41301,"dynasty":18,"author":2099,"museum":244,"description":41302,"tags":41303,"thumbUrl":41304,"material":278,"size":12381,"collection":84,"collections":41305,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},218503,"gui-qu-lai-ci-juan-2-li-gong-lin-218503","归去来辞卷-2","画面以白描勾勒归隐行舟之景，墨线如行云流水，于极简处见真章。船身轻捷，篷布纹理隐现，衣袂飘举间人物情态毕肖：舟中高士凭舷远眺，眉宇舒展似含释然；舟子撑篙划桨，动作从容如伴清风。水面微波淡扫，衬出船行的悠然。整幅画不着色彩，却以线条粗细疾缓传递《归去来辞》的超脱意韵——天地清旷，心向田园，每道笔触都浸透着归隐的闲适自在。观者仿佛随舟而行，闻桨声欸乃，见衣袂翻飞，于淡墨轻痕中触摸那份遗世独立的淡然心境。",[164,24,7,25,188,96,129,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecadbdbdb99b8cbda50307e6ef1e4b3e.jpg",[],{"id":41307,"slug":41308,"title":41309,"dynasty":18,"author":223,"museum":300,"description":41310,"tags":41311,"thumbUrl":41312,"material":173,"size":41313,"collection":44,"collections":41314,"showCount":518,"zanCount":1998,"manualWeight":48,"mainColor":956},218321,"luo-han-jiang-jing-tu-yi-ming-218321","罗汉讲经图","古朴绢色晕染着时光的厚重，罗汉群像铺展成一场静谧的法会。或趺坐凝思，衣袍褶皱如涧边流云婉转；或手持经卷，指尖轻触处似有梵音悄然流淌；或侧耳谛听，眉宇间凝着对法理的深湛探究。一旁戴帽者躬身静立，尘世恭谨与禅者淡然在此交融。线条细劲如铁线，转折处藏着温润韵致；设色淡雅却层次分明，青绿衣袂衬赭石底色，古雅中透着沉静。无繁复布景，仅以人物眼神交汇、姿态呼应，便织就禅意满溢的空间，让观者仿佛穿透千年绢层，触到那缕法音缭绕的余温。",[164,24,7,187,96,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa66eb9efec33f9ac4f1cb5fe08c1463a.jpg","51x59",[44],{"id":41316,"slug":41317,"title":41318,"dynasty":18,"author":2099,"museum":300,"description":37919,"tags":41319,"thumbUrl":41320,"material":278,"size":84,"collection":84,"collections":41321,"showCount":518,"zanCount":1998,"manualWeight":48,"mainColor":72},218103,"bai-miao-ren-wu-tu-ce-7-li-gong-lin-218103","白描人物图册-7",[23,164,24,7,59,188,96,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb9f9510faac4e5283eb2aabaa7252e1.jpg",[],{"id":41323,"slug":41324,"title":41325,"dynasty":54,"author":872,"museum":77,"description":4612,"tags":41326,"thumbUrl":41327,"material":278,"size":84,"collection":84,"collections":41328,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":4001},216355,"hua-niao-ce-3-zhu-da-216355","花鸟册-3",[23,164,24,7,128,61,211,64,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F132cf789b8ee3ec3fcb32f156b958594.jpg",[],{"id":41330,"slug":41331,"title":41332,"dynasty":124,"author":204,"museum":300,"description":2216,"tags":41333,"thumbUrl":41334,"material":173,"size":84,"collection":84,"collections":41335,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":49},216283,"er-shi-si-xiao-tu-8-chou-ying-216283","二十四孝图-8",[24,164,7,28,27,96,95,170,169,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F671633696b7bd530b11888df938236ef.jpg",[],{"id":41337,"slug":41338,"title":41339,"dynasty":124,"author":204,"museum":300,"description":2216,"tags":41340,"thumbUrl":41341,"material":173,"size":84,"collection":84,"collections":41342,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":49},216279,"er-shi-si-xiao-tu-13-chou-ying-216279","二十四孝图-13",[24,7,27,28,96,527,2302,949,11552],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febe4484fc730cc06504cf73155976b80.jpg",[],{"id":41344,"slug":41345,"title":41346,"dynasty":124,"author":204,"museum":300,"description":2216,"tags":41347,"thumbUrl":41348,"material":173,"size":84,"collection":84,"collections":41349,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":49},216270,"er-shi-si-xiao-tu-22-chou-ying-216270","二十四孝图-22",[24,7,27,28,95,96,97,171,875,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1cb5e8e85cc64280fee746fd49e6162.jpg",[],{"id":41351,"slug":41352,"title":41353,"dynasty":124,"author":17658,"museum":244,"description":41354,"tags":41355,"thumbUrl":41356,"material":173,"size":84,"collection":136,"collections":41357,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},215034,"han-lin-gao-yi-tu-shen-shi-chong-215034","寒林高逸图","寒林高逸图是明朝沈士充所绘的一幅著名图画。它描绘了一片寒冷的林中，一群动物在寻找温暖。图中，可以看到一头鹿、一只老鹰、一只海狮和一只熊，他们都非常冷，因此他们决定联合起来，燃烧起火来取暖。最后，大家一起坐在火边取暖，显得非常愉快。\n\n寒林高逸图被认为是沈士充最著名的作品之一，它描绘了动物之间的友好相处和合作的主题。这幅图画同时也被认为是对人类社会的一种警示，提醒人们应该像这些动物一样，在困难时期相互合作，共同度过难关。",[24,7,164,1131,29,96,1233,331,171,132,27,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2bb9e640476fbb36251ae27f22cda34.jpg",[136],{"id":41359,"slug":41360,"title":41361,"dynasty":54,"author":41362,"museum":244,"description":41363,"tags":41364,"thumbUrl":41365,"material":278,"size":41366,"collection":318,"collections":41367,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":49},214719,"xing-shu-shi-da-chong-guang-214719","行书诗","笪重光","这幅画是笪重光为他人的七十岁生日写的，笔触自然，特别是黄鲁直体。",[23,304,64,133,165,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbaf48b6e4dcb0aae8c599d8f8e45087.jpg","190.5x46.5",[318],{"id":41369,"slug":41370,"title":41371,"dynasty":54,"author":9529,"museum":77,"description":36297,"tags":41372,"thumbUrl":41373,"material":66,"size":84,"collection":84,"collections":41374,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},214591,"fang-gu-shan-shui-ce-13-wang-hui-214591","仿古山水册-13",[24,7,59,27,132,2271,29,231,950,413,99,229,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39f501390a2a4e60586411f7d7211255.jpg",[],{"id":41376,"slug":41377,"title":41378,"dynasty":54,"author":1460,"museum":77,"description":4620,"tags":41379,"thumbUrl":41380,"material":66,"size":4624,"collection":68,"collections":41381,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},214563,"mo-zui-za-hua-tu-ce-4-shi-tao-214563","墨醉杂画图册-4",[23,24,128,133,59,8162,7,371,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709d7e0db49796aa6bb86cfde848cf40.jpg",[68],{"id":41383,"slug":41384,"title":41385,"dynasty":54,"author":5879,"museum":1941,"description":10317,"tags":41386,"thumbUrl":41387,"material":611,"size":10320,"collection":84,"collections":41388,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":49},214342,"san-jue-shan-shui-ce-19-hua-yan-214342","三绝山水册-19",[23,24,7,59,27,29,131,34,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F203025c8540c9f71478aadf07946183c.jpg",[],{"id":41390,"slug":41391,"title":41392,"dynasty":18,"author":449,"museum":56,"description":41393,"tags":41394,"thumbUrl":41395,"material":278,"size":13555,"collection":84,"collections":41396,"showCount":518,"zanCount":48,"manualWeight":48,"mainColor":72},214274,"duo-jing-lou-shi-tie-8-mi-fei-214274","多景楼诗帖-8","笔锋游走间，“刷字”神韵跃然纸上。每一笔皆似快剑出鞘，利落干脆：“回”字折角如刀削，棱角分明；“列”字撇捺舒展若鹏翼，裹挟江楼远眺的旷达之气。墨色枯润相间，浓处如乌云聚顶，淡处似薄雾笼山，牵丝映带间行气连贯，如流泉穿石，一气呵成。字势欹侧跌宕，却于欹倾中见平衡——似风中翠竹摇曳生姿，根节仍坚劲不移。这般率意挥洒，融晋韵之飘逸与宋意之灵动，将米颠的疏狂才情凝于笔墨。读之如临多景楼头，涛声与墨韵交织，直教人忘尘俗之扰，心随字势共赴一场快意挥洒的笔墨之约。",[64,7,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26efecb79f1f1b7604adbaa8e9df93b0.jpg",[],{"id":41398,"slug":41399,"title":41400,"dynasty":144,"author":8993,"museum":300,"description":15363,"tags":41401,"thumbUrl":41404,"material":692,"size":1293,"collection":84,"collections":41405,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},291030,"mei-zhu-shuang-qing-juan-wang-mian-291030","梅竹双清卷",[64,133,25,208,371,41402,41403,7],"孤月","冻云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F691ca9f6c2d3a5aaa99998e8b89d2ef3.jpg",[],{"id":41407,"slug":41408,"title":41409,"dynasty":18,"author":1449,"museum":300,"description":18863,"tags":41410,"thumbUrl":41411,"material":692,"size":1293,"collection":84,"collections":41412,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},291004,"tang-song-yuan-hua-ji-jin-ce-fu-rong-cui-yu-ma-lin-291004","唐宋元画集锦册 芙蓉翠羽",[164,24,7,59,27,28,61,373,8865,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc14b79bcb51d897bb2ba0c721b32900c.jpg",[],{"id":41414,"slug":41415,"title":41416,"dynasty":124,"author":1058,"museum":300,"description":4630,"tags":41417,"thumbUrl":41418,"material":692,"size":1293,"collection":84,"collections":41419,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},290925,"ming-mo-zhu-tang-yin-290925","明墨竹",[24,7,1131,128,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc50c8b11fcfaf54c26910a42d4dfc7c1.jpg",[],{"id":41421,"slug":41422,"title":41423,"dynasty":124,"author":1058,"museum":300,"description":4630,"tags":41424,"thumbUrl":41425,"material":692,"size":1293,"collection":84,"collections":41426,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},290850,"deng-xiao-gui-hua-zhou-tang-yin-290850","灯霄闺话轴",[24,165,128,7,133,64,29,34,97,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3eb3c4b4f85d053b5eb272b9977597f9.jpg",[],{"id":41428,"slug":41429,"title":30138,"dynasty":144,"author":18589,"museum":300,"description":41430,"tags":41431,"thumbUrl":41432,"material":692,"size":1293,"collection":84,"collections":41433,"showCount":472,"zanCount":1998,"manualWeight":48,"mainColor":72},290227,"yun-lin-zhong-xiu-tu-fang-cong-yi-290227","画苍茫之云山雾海，山峰高耸，山腰飘着一带浓云，朦胧一片，山下坡岸杂树茂密，还有一片暗淡树影，在一股白云飘带中时隐时现，更突出了苍茫云气之动感。画一高一低的山峰挺出于白云之上，山尖用墨色点染，山下深谷幽涧。画之右端，画有几棵苍天古松，用浓墨点出茂密的松枝和树干，生趣盎然。画面之末端，茂密的树丛中所出现之屋宇，俨然为一道观集中之地，有山门、有围墙、有宫观，这应是龙虎山上清宫之主观所在，其它宫观则分散各处。此画从表面上看系水墨云山烟树，实际为方从义绘道教第三十二福地龙虎山及上清宫等宫观。他所题《云林钟秀》即已说明所绘为“天地间灵秀之气所聚，亦省称‘灵秀’、‘毓灵’”。这灵秀之气所聚，及道教之福地。",[23,24,7,25,128,29,37,496,4438,1429,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F643ccd723e1550afdc83087f48a35f73.jpg",[],{"id":41435,"slug":41436,"title":4759,"dynasty":54,"author":1242,"museum":300,"description":36392,"tags":41437,"thumbUrl":41438,"material":692,"size":1293,"collection":84,"collections":41439,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},290206,"mo-mei-jin-nong-290206",[23,1131,24,7,128,371,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cd9678487214186bfe67647ac8d5032.jpg",[],{"id":41441,"slug":41442,"title":41443,"dynasty":124,"author":14340,"museum":300,"description":41444,"tags":41445,"thumbUrl":41446,"material":692,"size":1293,"collection":84,"collections":41447,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},290014,"hua-shan-shui-wu-wei-290014","画山水","吴伟（1459年－1508年），字次翁，又字士英、鲁夫、号小仙，江夏（今湖北省武汉）人，明朝画家。",[24,164,7,165,128,29,1144,131,96,13414,12634],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5adda250c4b650045490b5fb7b6f0a22.jpg",[],{"id":41449,"slug":41450,"title":41451,"dynasty":18,"author":223,"museum":300,"description":41452,"tags":41453,"thumbUrl":41454,"material":692,"size":1293,"collection":84,"collections":41455,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},289937,"hong-liao-shui-qin-tu-yi-ming-289937","红蓼水禽图","此画中国美术史上的花鸟画名作，典型的宋院体画。《红蓼水禽图》构图精巧，有很高的写实水平，为我国古代扇面画的代表作。\n以前人们认为是五代名家徐崇矩所作，其所绘意境正如诗中所咏：“西风红蓼香，水禽破苍茫。小虾清滩里，涟漪泛斜阳。”",[23,24,164,1131,7,61,28,27,211,27479,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0378b85a33fe7e6d9ecc8e5d0578c912.jpg",[],{"id":41457,"slug":41458,"title":41459,"dynasty":54,"author":4725,"museum":300,"description":41460,"tags":41461,"thumbUrl":41462,"material":692,"size":1293,"collection":84,"collections":41463,"showCount":472,"zanCount":1998,"manualWeight":48,"mainColor":72},289887,"xiu-huang-shu-wu-tu-dai-xi-289887","修篁书屋图","戴熙（公元1801—1860年），清代画家。字醇士，号鹿床、榆庵、松屏、莼溪、井东居士等，浙江钱塘（今杭州）人。咸丰翰林，官至兵部右侍郎，辞官归里后主持崇文书院。擅画山水，学王恽笔墨，兼师宋元诸家，尤善花卉及竹石小品，能治印，著有《习苦斋集》《题画偶录》等。画作有《云岚烟翠图》《忆松图》《满门风华》等。",[24,164,7,165,27,1349,167,1337,131,99,5022,415,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc77b483372d1953c6b8b568e436085b.jpg",[],{"id":41465,"slug":41466,"title":41467,"dynasty":182,"author":994,"museum":300,"description":41468,"tags":41469,"thumbUrl":41470,"material":692,"size":1293,"collection":84,"collections":41471,"showCount":472,"zanCount":1998,"manualWeight":48,"mainColor":49},288965,"man-yi-zhi-gong-tu-zhou-fang-288965","蛮夷执贡图","《蛮夷执贡图》画一着异域装束的高鼻深目者向大唐献贡，贡品是牵着的一头长角怪羊。画家的笔法圆劲，古厚凝重，有着很强的写实性。从技法上看，线条简练遒劲，并分层次加晕染，线条以高古游丝描为主，敷色高古，画风古朴，类似初唐。",[24,164,7,6318,28,27,96,949,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165902694b6ef58d0dd5427084598112.jpg",[],{"id":41473,"slug":41474,"title":41475,"dynasty":18,"author":4861,"museum":300,"description":41476,"tags":41477,"thumbUrl":41478,"material":692,"size":1293,"collection":84,"collections":41479,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":49},288511,"xi-shan-qiu-ji-tu-wang-shen-288511","溪山秋霁图","王诜[shēn]（公元约1048年—公元约1104年），字晋卿，太原（今山西太原）人，后迁汴京（今河南开封），北宋画家。\n北宋熙宁二年（1069年）娶英宗女蜀国大长公主，拜左卫将军、驸马都尉。元丰二年，因受苏轼牵连贬官均州。元祐元年（1086年）复登州刺史、驸马都尉。擅画山水，学王维、李成，喜作烟江云山、寒林幽谷，水墨清润明洁，青绿设色高古绝俗。亦能书，善属文。其词语言清丽，情致缠绵，音调谐美。存世作品有《渔村小雪图》《烟江叠嶂图》《溪山秋霁图》等。",[23,164,24,7,25,128,29,132,496,34,499,149,6639,64,1429],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8549c065a57fcd8e41e55a4d3ea391e6.jpg",[],{"id":41481,"slug":41482,"title":41483,"dynasty":18,"author":915,"museum":244,"description":21382,"tags":41484,"thumbUrl":41486,"material":173,"size":41487,"collection":84,"collections":41488,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":49},288457,"shi-quan-bao-xi-tu-lin-chun-288457","十全报喜图",[23,24,164,7,165,61,28,27,211,1144,131,62,41485],"报喜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feceae8d01d0cfba39399adf662cee49c.jpg","173.2x97.6",[],{"id":41490,"slug":41491,"title":41492,"dynasty":18,"author":223,"museum":300,"description":41493,"tags":41494,"thumbUrl":41495,"material":692,"size":1293,"collection":84,"collections":41496,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":49},287920,"bei-song-si-tian-wang-yi-ming-287920","北宋四天王","此作中的天王怒目圆睁，虬髯怒张，尽显金刚怒目的慑人气魄。天王身披繁丽甲胄，朱红主调搭配翠绿绦带，在泥金底色映衬下鲜明夺目，纹饰精巧细致，尽显工艺匠心。他左手按剑，身姿雄健挺拔，足下踏伏小鬼，将护法降魔的威严气魄诠释得淋漓尽致。\n\n画师以遒劲铁线描勾勒衣甲飘带，刚柔并济，既刻画出甲胄的厚重坚硬，又衬出飘带的灵动舒展。设色古雅厚重，晕染细腻，将天王的勇猛神威与工笔重彩的精妙表现力完美融合。",[24,7,165,164,187,18381,27,96,34929,949,5626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91ff405f2bbe051e7b4686b616c20b80.jpg",[],{"id":41498,"slug":41499,"title":41500,"dynasty":18,"author":2257,"museum":300,"description":41501,"tags":41502,"thumbUrl":41505,"material":692,"size":1293,"collection":84,"collections":41506,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":49},287813,"hai-tian-xu-ri-tu-juan-zhao-bo-ju-287813","海天旭日图卷","赵伯驹（生卒不详），宋代画家，字千里，宋宗室。主要活动在12世纪中前期。工山水、花果、翎毛、楼台，青绿山水尤善。他将水墨山水的趣味与技法融入唐代李思训、李昭道父子的大青绿画法中，形成了一种介于院体画和文人画之间的“精工之极，又有士气”的风格。",[23,164,24,7,25,26,27,29,64,133,41503,41504,10280],"海天","旭日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0cb79aa321968bf59f167e748dd9de4.jpg",[],{"id":41508,"slug":41509,"title":41510,"dynasty":326,"author":32428,"museum":300,"description":41511,"tags":41512,"thumbUrl":41513,"material":692,"size":1293,"collection":84,"collections":41514,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},287290,"ping-fu-tie-quan-juan-zhang-cao-lu-ji-287290","平复帖全卷章草","陆机（261年－303年），字士衡，吴郡吴县（今江苏省苏州市）人。西晋著名文学家、书法家。出身吴郡陆氏，为孙吴丞相陆逊之孙、大司马陆抗第四子，与其弟陆云合称“二陆”，又与顾荣、陆云并称“洛阳三俊”。\n陆机在孙吴时曾任牙门将，吴亡后出仕西晋，太康十年（289年），陆机兄弟来到洛阳，文才倾动一时，受太常张华赏识，此后名气大振。时有“二陆入洛，三张减价”之说。历任太傅祭酒、吴国郎中令、著作郎等职，与贾谧等结为“鲁公二十四友”。赵王司马伦掌权时，引为相国参军，封关中侯，于其篡位时受伪职。司马伦被诛后，险遭处死，赖成都王司马颖救免，此后便委身依之，为平原内史，世称“陆平原”。太安二年（303年），任后将军、河北大都督，率军讨伐长沙王司马乂，却大败于七里涧，最终遭谗遇害，被夷三族。\n陆机“少有奇才，文章冠世”，诗重藻绘排偶，骈文亦佳。与弟陆云俱为西晋著名文学家，被誉为“太康之英”。与潘岳同为西晋诗坛的代表，形成”太康诗风“，世有”潘江陆海“之称。陆机亦善书法，其《平复帖》是中古代存世最早的名人书法真迹。",[23,164,7,25,840,64,1590,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd02ab8ee1752eeb283ebf01aa1970883.jpg",[],{"id":41516,"slug":41517,"title":7133,"dynasty":144,"author":145,"museum":300,"description":7134,"tags":41518,"thumbUrl":41519,"material":692,"size":1293,"collection":84,"collections":41520,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},284289,"dan-ya-yu-shu-tu-zhou-huang-gong-wang-284289",[24,7,29,128,132,496,34,131,97,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c34216928f15c33184db431beebcfad.jpg",[],{"id":41522,"slug":41523,"title":41524,"dynasty":124,"author":41525,"museum":41526,"description":41527,"tags":41528,"thumbUrl":41530,"material":41531,"size":41532,"collection":318,"collections":41533,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},241159,"rong-song-juan-huang-dao-zhou-241159","榕颂卷","黄道周","东山县图书馆","黄道周（1585～1646）明末学者、书画家、文学家、儒学大师、民族英雄。字幼玄，一作幼平或幼元，又字螭若，螭平，号石斋，汉族，福建漳浦铜山（现东山县铜陵镇）人。天启二年进士，深得考官袁可立赏识，历官翰林院修撰、詹事府少詹事。南明隆武时，任吏部兼兵部尚书、武英殿大学士（首辅）。抗清失败，被俘殉国，谥忠烈。\n黄道周通天文、理数诸书。工书善画，诗文、隶草皆自成一家，先后讲学于浙江大涤、漳浦明诚堂、漳州紫阳、龙溪邺业等书院，培养了大批有学问有气节的人才。世人尊称之黄圣人、石斋先生。著作甚丰。有《儒行集传》、《石斋集》、《易象正义》、《春秋揆》、《孝经集传》等，后人辑成《黄漳浦先生全集》，现存诗两千余首，被俘后“见三光”的牢室中所作三百多首诗，出自忧愤，最为感人。\n他被视为明代最有创造性的书法家之一。他的书法擅长楷书、行书和草书。他的行书和草书，行笔转折刚劲有力，体势方整，书风雄健奔放。有力量，又有姿态，是黄道周行草书的主调。他以隶书铺毫和方折行笔，点画多取隶意；字虽长，但强调向右上横势盘绕，让点画变得绵而密，虽略带习气，但奇崛刚劲，形成了自己独特的形式语言，尤显出其人刚直不阿的个性。其立轴代表作有行草书《赠蕨仲兄闻警出山诗轴》、《闻奴警出山诗轴》等，两作均加大行距，以连绵草书而成，有奋笔直下之势，激情燃纸，振迅耳目，如闻钟声、蹄声于道。他的楷书主要学习钟繇，比起钟繇的古拙厚重来，更显得清秀、飘逸。 黄道周善楷、行、草诸体书，又工隶书。他的楷书，如《孝经卷》、《张溥墓志铭》，字体方整近扁，笔法健劲，风格古拙质朴，十分类似钟繇楷法。不同处是，钟书于古拙中显得浑厚，黄书则见清健，可以看到其受王羲之楷法的影响。他的行草书，如《五言古诗轴》，大略类其楷书的体势，行笔转折方健，结字欹侧多姿，朴拙的风格同样接近钟繇。他的隶书正具有“清截遒媚”的特点，不如楷书那样古拙清刚。从黄道周书论中，反映出他对魏晋书法是比较倾心的，尤其对钟繇、索靖等具有古朴书风的书法更为欣赏，而对其当代书法，如董其昌的书法，则并非如此。",[64,7,25,133,128,208,41529],"榕树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff36769674ee7c84e872e15c893bbd6a2.jpg","绫本楷书","12．5X 23．8厘米",[318],{"id":41535,"slug":41536,"title":20347,"dynasty":54,"author":9529,"museum":300,"description":41537,"tags":41538,"thumbUrl":41539,"material":84,"size":84,"collection":136,"collections":41540,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":199},239461,"shan-shui-tu-zhou-wang-hui-239461","杨晋（1644-1728）字子和，一字子鹤，号西亭，又号谷林樵客、野鹤、鹤道人、水村、志学老人、雪阁移梅人、虞山野老、虞山樵子，江苏常熟人。清代画家。山水为王翚入室弟子，尝与绘《圣祖南巡图》颇精。晚年每多率笔，然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。",[24,7,165,128,27,132,29,2523,1813,1337,129,96,31,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c6230cfa27d9d301082f367ba228509.jpg",[136],{"id":41542,"slug":41543,"title":41544,"dynasty":124,"author":18045,"museum":300,"description":41545,"tags":41546,"thumbUrl":41549,"material":84,"size":84,"collection":136,"collections":41550,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":49},239459,"qian-gu-jiu-long-shan-tu-zhou-qian-gu-239459","钱穀九龙山图轴","此作以全景式铺陈山川灵秀，主峰巍峨雄峙，层岩峻壑以细密披麻皴写就，笔致苍润松灵，尽现山石肌理的沉厚质感。近景松林蓊郁，古木虬枝俯仰生姿，掩映间梵宇茅舍错落，行旅缓行其间，为清寂山林晕染烟火意趣。\n\n远景烟波空蒙，屿渚如螺点染水天，留白铺就悠远虚灵的诗性意境。笔墨兼取元人山水的空灵雅致与北宋山水的苍浑丘壑，将林泉幽致与隐逸禅思融于一卷，既绘就九龙山的磅礴生机，又暗合文人寄情烟霞的林下襟怀，是气韵悠长的山水佳构。",[24,7,165,128,27,132,29,663,413,372,130,211,99,131,41547,41548],"林间建筑","山间小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f77f7d990ba45fa42fb050c3a5d5b05.jpg",[136],{"id":41552,"slug":41553,"title":4991,"dynasty":54,"author":4992,"museum":300,"description":39747,"tags":41554,"thumbUrl":41555,"material":84,"size":84,"collection":84,"collections":41556,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},239052,"shan-shui-hua-niao-ce-yang-jin-239052",[24,7,59,27,128,61,371,167,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd43799d0004778e938618486c94ebe75.jpg",[],{"id":41558,"slug":41559,"title":76,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":41560,"thumbUrl":41561,"material":692,"size":1293,"collection":84,"collections":41562,"showCount":472,"zanCount":1998,"manualWeight":48,"mainColor":72},238892,"hua-hui-ce-dong-gao-238892",[24,7,59,27,28,61,371,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34029679e39a22d48bdbe68a1ab3a690.jpg",[],{"id":41564,"slug":41565,"title":41566,"dynasty":54,"author":223,"museum":300,"description":41567,"tags":41568,"thumbUrl":41570,"material":692,"size":1293,"collection":84,"collections":41571,"showCount":472,"zanCount":1998,"manualWeight":48,"mainColor":49},238872,"tian-wang-yu-luo-han-tang-ka-yi-ming-238872","天王与罗汉唐卡","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。\n唐卡是藏族文化中一种独具特色的绘画艺术形式。具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，用明亮的色彩描绘出神圣的佛的世界；颜料传统上是全部采用金、银、珍珠、玛瑙、珊瑚、松石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等植物为颜料以示其神圣。这些天然原料保证了所绘制的唐卡色泽鲜艳，璀璨夺目，虽经几百年的岁月，仍是色泽艳丽明亮。因此被誉为中国民族绘画艺术的珍品，被称为藏族的”百科全书”也是中华民族民间艺术中弥足珍贵的非物质文化遗产。\n传统唐卡的绘制要求严苛、程序极为复杂，必须按照经书中的仪轨及上师的要求进行，包括绘前仪式、制作画布、构图起稿、着色染色、勾线定型、铺金描银、开眼、缝裱开光等一整套工艺程序。制作一幅唐卡用时较长，短则半年完成，长则需要十余年。",[41569,187,96,27,18331,34929,18381,7,438],"唐卡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff93dbf502d7bc6be9c510f6f06bbd2ce.jpg",[],{"id":41573,"slug":41574,"title":41575,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":41576,"thumbUrl":41577,"material":692,"size":1293,"collection":68,"collections":41578,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},238376,"jin-ying-ning-lu-tu-xiao-ce-dong-gao-238376","金英凝露图小册",[24,7,59,28,27,61,376,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca8dd959dd7f8e67a3b4a11cdf0ce96d.jpg",[68,45],{"id":41580,"slug":41581,"title":41582,"dynasty":54,"author":41583,"museum":300,"description":41584,"tags":41585,"thumbUrl":41586,"material":84,"size":84,"collection":136,"collections":41587,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},238246,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238246","燕山八景图册","张若澄","《燕山八景图》册（8开），清，张若澄绘，绢本，设色，纵4.7cm，横4.cm。\n燕山八景图册 自题：“臣张若澄敬写。\n”下钤“臣若澄”、“笔露思雨”二方印。\n对幅均有清乾隆帝题诗。\n钤清乾隆内府诸收藏印。\n此册以北京城著名的“燕京八景”为题而画。\n燕京八景一说始自金《明昌遗事》，当时金章宗完颜璟将燕京的八处风光名胜选定为燕京八景，即“居庸叠翠”、“玉泉垂虹”、“太液秋风”、“琼岛春荫”、“蓟门飞雨”、“西山积雪”、“卢沟晓月”和“金台夕照”。\n“燕京八景”历金、元、明、清四代，又有称 “燕台八景”、“燕山八景”、“京师八景”、“京畿八景”者，虽景点相同，八 景的名称在不同时期则有所变化。\n乾隆十六年（1751年），乾隆曾御制《燕山八景诗》，将八景定名为“琼岛春荫”、“太液秋风”、“玉泉趵突”、“西山晴雪”、“蓟门烟树”、“卢沟晓月”、“金台夕照”、“居庸叠翠”，沿用至今。\n该画册中建筑的刻画不用界尺，但是对建筑的特征却描绘得生动准确，表现手法活泼而不失稳重，是画家对景写实的佳作。",[24,7,59,27,95,29,97,34,129,36,208,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c0adf7b2fcbdf57fa597e8cf40b281f.jpg",[136,45],{"id":41589,"slug":41590,"title":41591,"dynasty":124,"author":10922,"museum":300,"description":41592,"tags":41593,"thumbUrl":41594,"material":611,"size":84,"collection":318,"collections":41595,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},237410,"shi-hu-xiao-jing-zhou-wen-jia-237410","石湖小景轴","文嘉（151年～158），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。\n大书画家 次子。\n吴门派代表画家。\n初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。\n精于鉴别古书画，工石刻，为明一代之冠。\n画得徵明一体，善画山水，笔法清脆，颇近 ，着色山水具幽澹之致，间仿 皴染，亦颇秀润，兼作花卉。\n明人 评：“其书不能如兄，而画得待诏（ ）一体。\n”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。\n” 吴门派代表画家文徵明的次子，兄 。\n是明清篆刻的一代宗师。\n文家后来还出了位名气极大的人： 。\n长洲（今江苏苏州）人。\n文嘉精于鉴古，临古之功也深，画风传乃父衣钵，惟所闻古人名迹至多，故下笔能脱去习俗，颇不易得。\n文嘉初为 ，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。\n精于鉴别古书画，工石刻，为明一代之冠。\n继承家学，小楷轻清劲爽，宛如瘦鹤，稍大，便疏散不结束，迳寸行书亦然，皆不逮父兄，画得征明一体，善画山水，笔法清脆，颇近 ，着色山水具幽澹之致，间仿 皴染，亦颇秀润，兼作花卉。\n明人 评：“其书不能如兄，而画得待诏（ ）一体。\n”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。\n”然，文嘉一生一直在追求，王世懋在《跋文嘉书古诗十九首》后称：“休承晚年书奇进，几不减京兆。\n”传世作品有嘉靖十九年（154）作《 》十开，现藏 ，二十年（1541）作《垂虹亭图》卷藏苏州市博物馆；万历元年（157）作《寒林钟馗图》轴藏南京博物院；《江南春色图》卷藏 ；《水亭觅句图》轴、《设色山水图》轴藏 ；《秋塘红藕图》藏 ；《石湖小景图》轴、《夏山高隐图》轴、《 》轴、二年（1574）作《 》轴藏故宫博物院；《沧江渔笛图》、《曲水园图》卷藏 。\n著有《钤山堂书画记》、《和州诗》。\n享年八十三岁。\n他还对藏书亦不遗余力，藏书楼有“归来堂”，藏书印有“五峰山人”、“元珠室”、“五峰樵客”、“肇锡余以嘉名”等。\n精于书画和鉴别古籍，著名藏书家项元汴每遇到宋椠元刻时，则聘文彭、文嘉兄弟，为其鉴定版本，故项墨林藏书皆精妙绝伦。\n文氏藏书散佚约在明万历末年至崇祯间，清代藏书家如张均衡、张金吾等曾收藏有文氏旧藏，多是宋刻善本。\n著有《和州诗》、《严氏书画记》等。\n孙文从鼎，字定之，继承藏书，并另有藏书处为“心远阁”、“园贤堂”、“惜阴斋”等。\n孙文从简（1574～1648），字彦可，号枕霞老人，亦能藏书，有“开云楼”。\n关系 姓名 简介 祖父 文林（1445—1499），字宗儒，世称交木先生。\n长洲人。\n成化壬辰进士，授为永嘉知县，改博平，后升任南京太仆寺丞，迁知温州府。\n为政斐然。\n有《文温州集》、《琅琊漫钞》等。\n父亲 文徵明（147.11.28—1559..28），原名壁（或作璧），字徵明，明代杰出画家、书法家、文学家。\n四十二岁起，以字行，更字徵仲。\n因先世衡山人，故号“衡山居士”，世称“文衡山”，汉族，长州（今江苏苏州）人。\n文徵明的 造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗 、 ，文受业于 ，学书于 ，学画于沈周。\n其与沈周共创“吴派”。\n在画史上与 、 、 合称“ ”（“吴门四家”）。\n在诗文上，与 、 、 并称“ ”。\n伯父 文徵静（1469—156）读书善笔札，生平气义自胜，不为贵势拙折，喜好交诗友书画。\n兄长 文彭（1498—157）字寿承，号三桥，别号渔阳子、三桥居士、国子先生， （今江苏苏州）。\n长子。\n以 第一，授秀水训导。\n官国子监博士。\n工书画，尤精篆刻，能诗，有《博士诗集》。\n堂弟 文伯仁（152—1575）明代画家，字德承，号五峰、摄山长、葆生、摄山老农、 人、五峰樵客，汉族，湖广 人， （今江苏苏州）。\n侄子 儿子 （1554—1589）明代画家。\n字子长，号虎丘，明湖广衡山人，系籍长州（今江苏苏州）。\n孙， 之子。\n幼承家学，书画逼真其父。\n坦率好施。\n文元善擅画龙，也绘作山水木石，殊多逸致。\n传世作品有《墨龙图》等。\n惜早逝，未竟其能。\n卒年三十六。\n妇翁王穉登，铭其墓曰：“画品第一，诗品第二。\n” 孙子 （1574—1648），明末画家。\n字彦可，号枕烟老人，明代湖广衡山人，系籍 （今 ）。\n曾孙， 孙， 之子。\n崇祯十三年（164年）拔贡，入清后退居林下，以书画自娱。\n传世画作有《长林徙倚图》、《 风物图》、《潇湘八景图》、《望云图》、《松江高土图》、《江山平远图》、《幡溪通兴图》、《介石书院图》、《寒山寺图》等。\n曾孙女 (1595—164)明代著名女画家。\n长洲（今江苏苏州）人。\n明代画家 女， 孙女，文徵明玄孙女，嫁赵灵均，与丈夫一同隐居。\n精于花草虫蝶画的创作，长于写生，多画幽花异卉、小虫怪蝶，能曲肖物情，颇得生趣。\n作品笔墨细秀，风格娟丽，深得时人赏识。\n有《花卉》册、《萱石图》等传世。\n第一代 第二代 第三代 第四代 第五代 第六代 第七代 第八代 第九代 文定聪 文惠（入赘苏州人张声远家，遂迁居长洲） 文洪（成化1465举人，涞水县学教谕，配陈氏、顾氏、吕氏） 文林（成化1472进士，温州知府，配祁守端） 文征静 文伯仁（画家） 文征明（娶昆山吴愈第三女） 文彭（国子监博士） 文元发（卫辉府同知，娶彭氏，继娶周氏） 文震孟（状元，东阁大学士，娶陆氏） 文秉、文乘 文震亨（画家，武英殿给事） 文嘉（画家） 文元善（画家） 文从简 文俶（女画家，嫁赵灵均） 文台 文室 文森（成化1487进士，右佥都御史） 文彬（赐同进士出身） 文微臣（庠生） 十九年（154年）作 《山水花卉图册》 嘉靖二十年（1541年）作 《垂虹亭图》，现藏 万历元年（157年）作 《寒林钟馗图》，现藏 《江南春色图》，现藏 《水亭觅句图》轴、《设色山水图》轴，现藏 《秋塘红藕图》，现藏天津市艺术博物馆 《石湖小景图》轴、《夏山高隐图》轴、《琵琶行图》轴、 万历二年（1574年）作 《溪山行旅图》轴，现藏故宫博物院 《沧江渔笛图》《曲水园图》卷，现藏 万历八年（158年）作 《村径稻香图》轴 《钤山堂书画记》 《和州诗》 太湖石畔种芭蕉，色映轩窗碧雾摇。\n瘦骨主人清似水，煮茶香透竹间桥。\n山斋雨坐漫焚香，几净窗明竹树凉。\n午睡起来无一事，自翻残墨写潇湘。\n不到天平三十载，每于图画忆登临。\n何时倚杖苍松侧，来看峰头万笏林。\n己卯秋日茂苑文嘉。\n钤“休承”、“文水道人”印。\n收藏印钤“颐椿庐通理藏”。\n“己卯”为明万历七年（1579年），文嘉时年79岁。\n《七绝诗》为文嘉自撰七绝诗首。\n书法清丽秀气，简净劲爽。\n通篇笔画圆曲、细长，运笔正斜、曲直、连断、轻重、虚实表现自然得当。\n体势疏密相间，多取斜势。\n文嘉书受其父 风格的影响，又有所变化。\n《昨日歌》 昨日兮昨日，昨日何其好！昨日过去了，今日徒烦恼。\n世人但知悔昨日，不觉今日又过了。\n水去汩汩流，花落日日少。\n万事立业在今日，莫待明朝悔今朝！ 《今日歌》 今日复今日，今日何其少！今日又不为，此事何时了？人生百年几今日，今日不为真可惜！若言姑待明朝至，明朝又有明朝事。\n为君聊赋《今日诗》，努力请从今日始！ 《明日歌》 明日复明日，明日何其多！日日待明日，万事成蹉跎。\n世人皆被明日累,明日无穷老将至。\n晨昏滚滚水东流,今古悠悠日西坠。\n百年明日能几何？请君听我《 》。\n关于《 》的作者，有两种版本。\n一为明代的文嘉，一为同为明朝的 。\n钱鹤滩生于公元1461年，卒于公元154年。\n如两种版本确实有联系，则原本《 》的著作权应归钱鹤滩，文嘉版本系修改而成。\n该砚石品集石眼、焦叶白、青花、鱼脑、火捺、虫蛀皮于一身，极为难得。\n砚首部随形镌刻金鲤戏水深浮雕，虚实相间，形神俱佳。\n砚背面的刻款更是诗、书、印、刻，水乳交融，精彩完美。\n刻款内容是一首咏笔的绝句：“紫竹纤毫线扎成，如龙似虎伴书生。\n渴来玉砚池中饮，饱向花笺纸上行。\n”书法劲挺秀美，正是文嘉最为擅长的小楷行书；诗句也工正流畅，其对书画艺术的热爱之情跃然而出。\n刻工刀随笔势，具铁划银勾之力而又细致入微，非深谙书法点画之美者莫为。\n落款“文水道人”下刻有“文嘉”阳文印，与《倪瓒真书江南春词图卷》（152年）和《文嘉两洞记游图册》（1544年）上的“文嘉”用印如出一辙，毫无二致。\n可以想见，笔、墨、纸、砚文房四宝在文嘉的生活中扮演了多么重要的角色。\n他动用了诗歌、书法、绘画、雕刻的各种手法，将对文房四宝的深厚感情和文学艺术的深厚造诣熔铸在这方端溪佳石上，使得该砚具备了丰富的审美内涵，而文嘉多方面的艺术才华也由此得到了极生动难得的彰显。",[24,7,165,128,29,132,64,208,133,413,131,129,99,415,30581],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47b9b6f08b360d0a0c34b2a0a751e093.jpg",[318],{"id":41597,"slug":41598,"title":7864,"dynasty":54,"author":38236,"museum":300,"description":41599,"tags":41600,"thumbUrl":41601,"material":611,"size":84,"collection":68,"collections":41602,"showCount":472,"zanCount":1998,"manualWeight":48,"mainColor":72},237276,"za-hua-ce-chen-zi-237276","陈道（1707-1760），字绍洙，号凝斋。江西新城钟贤（今江西省黎川县中田乡）人。清代文学家、理学家。生于康熙四十六年。从小品行端重，刚入塾学，白天听老师讲课，晚上则随父听诵《小学近思录》，庄诵不倦，并以此作为学与行准则。稍长，协助父亲治理产业及施行善事。一有闲暇，便手不释卷，孜孜以求。国子监肄业时，为主监事孙嘉淦所器重。后从师广昌黄永年，钻研宋儒理学，兼攻水利农田、军政边防等书籍。他尊崇周敦颐、程颢、程颐，研习陆九渊，王守仁，尤服罗点「主静不妄语」、「不为物所役」的主张。乾隆九年（1744）中举。乾隆十三年（1748）中进士，候选知县，以父母年高、无同胞兄弟为由拒官。后皇上令诏经学，他被推举，亦推辞不去。安心在家侍奉双亲，埋头读书。父经商，家境富裕，他辅佐父亲在乡兴办慈善事业。设立义田二千亩扶助贫苦，以使「读书有赡，鳏寡孤独废疾有养，婚丧有助」。捐白银二千两，为「盱江书院」讲学费。二十四年协助知县创建「黎川书院」，捐助学费，并在此掌教多年。还建桥修亭，施棺舍药，遇灾荒年景，奉父命购运粮食，按户计口平粜以救饥，并劝说或强制某些囤粮闭粜的富户粮商参与赈济。陈道一生，为人严毅清苦，「自少至老未一日怠惰」。治学以力行为主。经常与雷宏、夏之瀚、祝淦、涂登、涂瑞等交往切磋，甚得一些贤士、大夫所赏识。卒于乾隆二十五年，年五十四岁。文章多为讲学书稿，文风醇古淡泊，真意盎然。诗歌常流露对社会的不满，反映他不与时俗合流的对抗情绪。尝欲注《春秋五传》和编《江西文统》，未成而终。陈道去世后，其子陈守诚和同邑学生、同乡学者鲁九皋将其文稿收集整理成《凝斋遗集》（文6卷，诗2卷），刊印后被四库馆以《凝道斋集》收入《四库全书总目》，《清史列传》行于世。",[24,7,59,27,28,61,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F494a86d42e56684196274a0260d6d4d8.jpg",[68],{"id":41604,"slug":41605,"title":409,"dynasty":54,"author":36816,"museum":20,"description":41606,"tags":41607,"thumbUrl":41608,"material":734,"size":84,"collection":84,"collections":41609,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},237199,"shan-shui-ce-sun-yi-237199","孙逸(1604—约1658) ，字无逸，号疎林，亦号石禅，明朝末清朝初海阳（今安徽休宁）人，与萧云从齐名，合称孙萧，与弘仁、汪之瑞、查士标为新安派四大家；字仲举。",[24,164,7,59,27,26,132,29,99,34,131,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F534e78f6ec35caef7a3efdced7daa730.jpg",[],{"id":41611,"slug":41612,"title":41613,"dynasty":124,"author":802,"museum":300,"description":5946,"tags":41614,"thumbUrl":41615,"material":692,"size":1293,"collection":84,"collections":41616,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":49},236673,"hua-die-shan-mian-chen-hong-shou-236673","花蝶扇面",[805,24,7,1131,28,27,61,547,9392,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b54cb9209504cd4723c9d1cce8320d5.jpg",[],{"id":41618,"slug":41619,"title":41620,"dynasty":54,"author":41621,"museum":20,"description":41622,"tags":41623,"thumbUrl":41624,"material":734,"size":41625,"collection":136,"collections":41626,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},236126,"song-xi-shui-ge-tu-zhou-lu-zun-shu-236126","松溪水阁图轴","陆遵书","陆授诗、陆遵书兄弟是清朝宫廷内的兄弟画家，下面介绍一下。陆授诗、陆遵书这两位宫廷兄弟画家的姓名，都见于胡敬所著的《国朝院画录》。\n陆氏兄弟的作品流布并不很广，《石渠宝笈》一书中陆授诗的作品只有一件册页被收入，陆遵书的作品也只有三件册页收录在其中，二人都属于作品进入《石渠宝笈》数量很少很少的宫廷画家，尤其是哥哥陆授诗。",[24,7,165,128,132,29,372,8233,413,131,35,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c11ac229528d618fc9599ceaa6d6a55.jpg","纵173.2厘米 横51厘米",[136,117],{"id":41628,"slug":41629,"title":41630,"dynasty":124,"author":223,"museum":300,"description":41631,"tags":41632,"thumbUrl":41633,"material":692,"size":1293,"collection":84,"collections":41634,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},235968,"lv-ji-zhu-qin-tu-zhou-yi-ming-235968","吕纪竹禽图轴","修竹挺秀舒展，以浓淡墨色挥写竹叶，虚实交映，尽显萧疏清逸之态。两只禽鸟栖于细枝之上，翎羽晕染细腻灵动，亲昵偎依的姿态生动自然，野趣盎然。\n\n右上角题字隽秀雅致，诗画相融，愈发衬出画面的悠远意境。整作笔意纵逸洒脱，水墨层次丰富，将工致的写生之妙与文人写意的简淡雅韵相融，空灵雅致间饱含幽澹的林下之风，尽显传统花鸟画作的诗意禅趣。",[164,24,7,165,27,28,167,1400,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fd0d65aeb31785517784702190c0cb2.jpg",[],{"id":41636,"slug":41637,"title":41638,"dynasty":124,"author":14442,"museum":300,"description":41639,"tags":41640,"thumbUrl":41641,"material":84,"size":84,"collection":84,"collections":41642,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},235772,"ming-qing-zhu-jia-ji-jin-ce-ren-wu-ce-ye-you-qiu-235772","明清诸家集锦册-人物册页","此作以淡墨绘就林泉雅事，崖边枯木虬曲苍劲，斜曳出清寂幽境。三人围坐，对弈二人敛神注目棋局，指尖将未落子，似正斟酌决胜一步，侧旁老者俯身探看，全神贯注，唯恐错漏棋势起落。\n\n线条清劲秀雅，衣褶灵动简练，淡墨晕染铺陈山石草木层次，留白恰到好处，烘托出静谧悠远的林下氛围，尽抒文人寄情山水、忘忧纹枰的隐逸闲趣，笔墨简淡却意韵悠长，将文人雅致襟怀藏于方寸之间。",[24,7,59,188,128,96,331,171,208,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc6837d6bfa5b3dba7db71de50a37861.jpg",[],{"id":41644,"slug":41645,"title":4229,"dynasty":124,"author":22448,"museum":300,"description":39003,"tags":41646,"thumbUrl":41648,"material":692,"size":1293,"collection":84,"collections":41649,"showCount":472,"zanCount":1998,"manualWeight":48,"mainColor":72},235722,"hua-niao-ce-tan-zhi-yi-235722",[164,24,7,59,28,27,61,355,2438,41647,208],"松针","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1157157ff73f55ff4b221685f7f203fc.jpg",[],{"id":41651,"slug":41652,"title":41653,"dynasty":124,"author":223,"museum":300,"description":41654,"tags":41655,"thumbUrl":41656,"material":84,"size":84,"collection":84,"collections":41657,"showCount":472,"zanCount":1998,"manualWeight":48,"mainColor":72},235633,"song-xu-wan-shan-qiu-se-tu-zhou-yi-ming-235633","宋旭万山秋色图轴","此作用高远章法铺展秋山全景，层峦叠嶂间沟壑纵深，飞泉漱石、山溪蜿蜒贯穿始终。以淡赭晕染山骨铺就秋意底色，朱砂醒点丹枫，勾勒皴擦兼用，将嶙峋山石、虬曲古木的苍劲之态尽皆写就。幽谷深处隐现山居屋舍，林泉间尽显隐逸清寂之趣。整幅画面笔墨清灵雅致，把深秋万山层林尽染的高旷冷寂意境铺陈开来，尽显文人山水崇尚的幽淡空灵林下之风，是极具韵致的秋山绘作。",[24,7,165,164,27,132,29,30,99,34,1144,131,97,1023,1955,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdffc1c6bbcb02615aab2d7bb1eb1a7e.jpg",[],{"id":41659,"slug":41660,"title":76,"dynasty":124,"author":41661,"museum":300,"description":41662,"tags":41663,"thumbUrl":41664,"material":692,"size":1293,"collection":68,"collections":41665,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},235260,"hua-hui-ce-wang-gu-xiang-235260","王穀祥","王谷祥（1501年－1568年），字禄之，号酉室，南直隶苏州府长洲县（今苏州）人。嘉靖八年（1529年）进士，授工部主事。历吏部员外郎，持法不阿，忤尚书汪鋐，贬真定通判。",[24,7,59,128,61,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F866cb4c101d73090564ffb244a656437.jpg",[68],{"id":41667,"slug":41668,"title":41669,"dynasty":54,"author":223,"museum":300,"description":41670,"tags":41671,"thumbUrl":41672,"material":84,"size":84,"collection":84,"collections":41673,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},235223,"li-shan-ba-jiao-zhu-shi-tu-zhou-yi-ming-235223","李鱓芭蕉竹石图轴","阔笔泼墨写芭蕉，浓淡墨色晕染出叶片舒张之姿，苍润朴拙尽显天然意趣。修竹挺劲清瘦，细笔勾摹竿枝，竹叶错落灵动，与芭蕉形成刚柔相济的视觉反差。赭石点染顽石，浓墨缀苔，沉稳厚重托住画面重心，边角淡彩轻绘花草，添些许秀雅。\n\n两侧题跋笔意洒脱，书画相映，文气盎然。整幅以水墨为骨，略施淡彩，将写意风骨抒发尽致，朴野中见灵秀，笔墨间充盈疏放不羁的生机，尽显抒情达意的文人画特质。",[304,24,7,165,128,27,369,875,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ba0e9d7db41fc40d9c44bd797f4f97e.jpg",[],{"id":41675,"slug":41676,"title":409,"dynasty":124,"author":27311,"museum":300,"description":41677,"tags":41678,"thumbUrl":41679,"material":84,"size":84,"collection":136,"collections":41680,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":49},235147,"shan-shui-ce-li-liu-fang-235147","此作用笔枯淡萧疏，绘就秋林幽境。虬曲古木枝干遒劲，细条错落延展，自带霜后清刚之态。石畔竹丛清润挺秀，与枯木相生，冷暖意趣交织。山石以淡墨勾勒皴擦，留白衬出山涧空寂，寥寥数笔便将深秋的疏冷氛围晕染开来。\n笔意简淡却意韵悠长，把文人寄情丘壑、静守枯淡的林下襟怀藏于尺幅间，古雅清旷，耐人寻味。",[24,7,59,128,132,29,331,171,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e2987a8c2e2ecebb95cc45b5b456c27.jpg",[136,117],{"id":41682,"slug":41683,"title":41684,"dynasty":124,"author":1438,"museum":300,"description":13247,"tags":41685,"thumbUrl":41686,"material":692,"size":1293,"collection":84,"collections":41687,"showCount":472,"zanCount":1998,"manualWeight":48,"mainColor":72},235050,"song-yin-gao-shi-shan-mian-chen-chun-235050","松荫高士扇面",[164,24,7,1131,128,133,208,372,10539,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F705e6386ea0a7e4dbbb79ddb32d9180e.jpg",[],{"id":41689,"slug":41690,"title":10613,"dynasty":54,"author":1460,"museum":20,"description":11338,"tags":41691,"thumbUrl":41692,"material":999,"size":11341,"collection":84,"collections":41693,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},234998,"yuan-ji-shan-shui-tu-ce-shi-tao-234998",[164,24,7,59,128,27,29,99,131,34,495,96,35,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a9d770c7c8d6328bae3a2edfaafc2d.jpg",[],{"id":41695,"slug":41696,"title":41697,"dynasty":124,"author":41698,"museum":300,"description":41699,"tags":41700,"thumbUrl":41701,"material":692,"size":1293,"collection":84,"collections":41702,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},234835,"fang-gu-kai-zhi-qing-shan-bai-yun-shan-gu-ning-yuan-234835","仿顾恺之青山白云扇","顾凝远","顾凝远（1580? —1645后），号青霞。吴郡（今江苏苏州）人。为人好学，于古今坟典艺志无所不窥，喜蓄商周秦汉文物。画山水师董、巨、又出入荆、关，兼精画理。",[24,7,1131,26,27,330,29,129,96,10851,413,171,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff11fd43f6398ebbe444dac28d65fc0fd.jpg",[],{"id":41704,"slug":41705,"title":28017,"dynasty":54,"author":28018,"museum":300,"description":41706,"tags":41707,"thumbUrl":41708,"material":692,"size":1293,"collection":84,"collections":41709,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},234700,"hua-niao-wan-shan-zhu-cheng-234700","朱偁[清]（1826—1900，一作1826—1899）清代画家，早岁名琛，后更今名，字梦庐，号觉未，浙江嘉兴人。",[24,7,1131,27,28,61,371,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7beb9f562f134873ff52e60f68afed1b.jpg",[],{"id":41711,"slug":41712,"title":41713,"dynasty":54,"author":2687,"museum":300,"description":41714,"tags":41715,"thumbUrl":41716,"material":84,"size":84,"collection":84,"collections":41717,"showCount":472,"zanCount":1998,"manualWeight":48,"mainColor":72},234518,"hua-hui-ce-ye-jiang-ting-xi-234518","花卉册页","蒋廷锡先生绘画最初是学恽寿平的没骨技法，但是他把恽寿平的没骨画进行了改变，一改其纤丽之风，形成了他自己的兼顾工细与文人大写意画风相融合的'蒋派'花鸟画风。\n在这套策略当中，共有12帧，每一帧都画的极为精美秀丽，在蒋廷锡的安排组合下又平添了几分贵气，绘画的花卉在抓住自然的基础上，又把花卉的神韵进行了很好的描绘，在淡淡的笔墨当中施以淡色，以工笔点心，用淡墨层层渲染，把花卉的层次展现出来，这种绘画的方式极为细腻，稍有插翅就容易将一幅画面毁掉，这考究的是画家对笔墨的高度把握，用'以画作诗诗细腻，以诗作画画入神。'这句诗来描述蒋廷锡的最为恰当。",[24,7,59,27,28,61,376,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c01863c4280c138a261be04736e8923.jpg",[],{"id":41719,"slug":41720,"title":557,"dynasty":54,"author":55,"museum":20,"description":41721,"tags":41722,"thumbUrl":41724,"material":514,"size":41725,"collection":84,"collections":41726,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},234186,"jiu-lan-tu-yun-shou-ping-234186","建兰，亦称秋兰。图绘兰花树枝，苍秀挺拔，布满画面，国土简洁，画法新颖别致，作者不用一点水墨，纯用赭石、白粉和略加花青点画，只见色痕，为没骨画中具有新意之作。",[23,24,164,7,25,3291,27,41723,375,133],"没骨画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6ca653673d74f3e63436fd927d263a4.jpg","23.4×60.8cm",[],{"id":41728,"slug":41729,"title":41730,"dynasty":124,"author":19056,"museum":300,"description":41731,"tags":41732,"thumbUrl":41733,"material":84,"size":84,"collection":84,"collections":41734,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},234136,"lan-shi-juan-chen-gua-234136","兰石卷","陈栝（生卒年不详），字子正，号沱江，苏州府长洲（今江苏苏州）人，明代画家陈淳之子，明代中期著名的绘画大师。\n陈栝自幼随父亲陈淳修习绘画，饮酒纵诞。陈栝善画花鸟山水，尤精绘画花鸟，笔似其父，将其父陈淳的笔迹放纵，不拘于象的写意画法发挥至极致。明朝嘉靖年间，尚属英年的陈栝先于其父病逝，时人多因他早逝而深感惋惜，尊称他为沱江子。\n陈栝是明代中期的杰出画家，他行笔放浪而有生趣，将诗意融汇进绘画中，进一步促进了我国古代绘画史写意画法的发展，有五代徐熙、黄筌遗意。",[23,24,7,25,128,27,375,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0ed5fb0e267a598024c18bccc4bc218.jpg",[],{"id":41736,"slug":41737,"title":41738,"dynasty":124,"author":3619,"museum":20,"description":41739,"tags":41740,"thumbUrl":41741,"material":611,"size":84,"collection":84,"collections":41742,"showCount":472,"zanCount":1998,"manualWeight":48,"mainColor":72},234118,"wen-zheng-ming-zhang-cun-ren-lan-shi-er-duan-juan-wen-zheng-ming-234118","文徵明、张存仁兰石二段卷","释文：晚凉斜倚赤阑桥，天远白烟消。酒醒顾见花间影，浮云乱、月在林稍。野火青山隐隐，渔歌绿水迢迢。昔年曾此醉清宵。共艤木兰桡。白头重踏行春路，同游伴、半已难招。夜静山高月小，玉人何处吹箫。右调风入松，文徵明。",[24,7,25,128,375,1314,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5095afe898271fb0ae9141e278a74292.jpg",[],{"id":41744,"slug":41745,"title":4584,"dynasty":124,"author":125,"museum":20,"description":4585,"tags":41746,"thumbUrl":41747,"material":611,"size":4588,"collection":84,"collections":41748,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},234086,"wu-zhong-shan-shui-ce-shen-zhou-234086",[7,24,128,59,133,29,413,22404,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48adc97417d1815506faccdbda051647.jpg",[],{"id":41750,"slug":41751,"title":41752,"dynasty":182,"author":7843,"museum":20,"description":41753,"tags":41754,"thumbUrl":41755,"material":40,"size":41756,"collection":84,"collections":41757,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},233807,"jing-ji-rui-xue-tu-wan-shan-li-si-xun-233807","京畿瑞雪图纨扇","扇面绘雪景楼阁，山水重青绿敷色，画法古拙，明显带有所谓李思训父子“金碧山水”传派的特点，与故宫收藏的另外两件传为唐人的楼阁作品《宫苑图》卷、《九成避暑图》页画风相近，并都曾被题为李思训作。这三幅画在清代以前均未见著录，也缺乏早期的收藏印记和题跋作为断代的佐证，而且目前尚无公认的唐代同类作品可资比较，因此，我们不能仅仅以其勾勒填色为主的质朴画法和追求简古的生拙风格便简单地断定为唐人作品。正因为缺乏断代依据，这三件作品的时代归属在学术界一直有不同看法。在这种情况下，通过画面上大量古代建筑所反映出的宫室形制来判定作品的创作时代就成为较为科学和行之有效的方法。有学者将画面中建筑装饰的细部，如：琉璃瓦、格子门、木牌坊和斗拱的形制作为“详辨古今之物，商较土风之宜”的有力物证，认为这三幅画所表现的建筑群非唐非宋，进而得出结论，断定它们不是唐人的作品，而是南宋“临安以外地区或民间画家所绘的装饰画”。",[1131,24,7,164,26,95,27,29,97,1813],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64ee61859bd068c3c6b8fd3ba0b72f1f.jpg","纵42.7厘米，横45.2厘米",[],{"id":41759,"slug":41760,"title":41761,"dynasty":54,"author":55,"museum":20,"description":41762,"tags":41763,"thumbUrl":41766,"material":10637,"size":41767,"collection":84,"collections":41768,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},233790,"gao-yan-jian-pu-tu-zhou-yun-shou-ping-233790","高岩溅瀑图轴","本幅近景所绘树木不多，但富于形态变化，古木虬枝，青藤临风垂挂，二者穿插盘绕中显现出条理性。中景泉水潺潺，芦苇简约，将远、中景自然隔开，从而增强了全幅的纵深感及空间感。远山以淡墨干笔作长披麻皴，笔触开阔疏朗，显示出清逸深幽的韵致。此图不刻意求工、求似，唯求自然天趣，显示出恽寿平一向所追求的平淡超逸的审美意趣，为恽寿平精品之一。",[24,7,165,128,132,29,41764,41765,1233,331,131,99,34,276,497,495],"高岩","溅瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96806cdc12bdc9e67c5c0a37ca3b8e61.jpg","纵104.9厘米，横43厘米",[],{"id":41770,"slug":41771,"title":37370,"dynasty":54,"author":223,"museum":20,"description":37371,"tags":41772,"thumbUrl":41773,"material":611,"size":37381,"collection":84,"collections":41774,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},233051,"ping-ding-an-nan-zhan-tu-ce-yi-ming-233051",[24,7,164,28,27,132,96,29,131,34,11074],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fddf725ebf57af05b7ed69deb289f01.jpg",[],{"id":41776,"slug":41777,"title":4229,"dynasty":54,"author":4468,"museum":20,"description":11261,"tags":41778,"thumbUrl":41779,"material":40,"size":11264,"collection":84,"collections":41780,"showCount":472,"zanCount":1998,"manualWeight":48,"mainColor":72},232974,"hua-niao-ce-lang-shi-ning-232974",[164,24,7,59,28,27,61,263,64,572,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff063590e6f3597d805841b57c96f17c8.jpg",[],{"id":41782,"slug":41783,"title":4229,"dynasty":54,"author":4468,"museum":20,"description":11261,"tags":41784,"thumbUrl":41787,"material":40,"size":11264,"collection":84,"collections":41788,"showCount":472,"zanCount":1116,"manualWeight":48,"mainColor":72},232973,"hua-niao-ce-lang-shi-ning-232973",[164,24,7,59,28,27,10803,41785,61,62,41786,131,666],"中西融合","鸢尾花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F275741959223d2a9d4cd225fb7d71574.jpg",[],{"id":41790,"slug":41791,"title":41792,"dynasty":124,"author":3619,"museum":20,"description":41793,"tags":41794,"thumbUrl":41795,"material":611,"size":41796,"collection":84,"collections":41797,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},232956,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232956","文徵明山水册","根据图册末页张风翼等人的跋得知，此图册是文徴明为教授徒弟朱朗而绘制的山水画作，其中有他摹学五代董源、巨然的笔法，亦有他师法元四家黄公望、王蒙、倪瓒等人的笔墨。",[24,7,59,128,133,208,132,29,99,34,131,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01ed62dc5cfe09f6bce91b30b580bae4.jpg","28.5×15.8厘米",[],{"id":41799,"slug":41800,"title":41801,"dynasty":222,"author":223,"museum":300,"description":41802,"tags":41803,"thumbUrl":41806,"material":692,"size":1293,"collection":84,"collections":41807,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":49},231612,"fu-hua-xu-kong-cang-pu-sa-mo-he-sa-yi-ming-231612","佛画 虚空藏菩萨摩诃萨","此作以重工技法铺陈，菩萨面相丰润慈悲，宝冠璎珞遍饰周身，华服层叠繁复，尽显端严华贵。安坐于莲台之上，莲台浮于卷浪祥云之中，下方青绿山水晕染出清净净土的悠然意境。\n身后圆光放射出凛凛毫光，焰纹背光烘托出菩萨的神圣威仪，明暗对比强烈，尽显肃穆庄严。整体配色浓丽沉稳，彩料与饰金交相辉映，细节处一丝不苟，将菩萨的慈悲法相与神圣气度完美诠释，尽显中古宗教美术的极致匠心。",[23,24,7,165,27,28,187,96,29,189,41804,41805],"传统宗教题材","工笔重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe80a91c998b1738fb8d4ab42edbba9da.jpg",[],{"id":41809,"slug":41810,"title":41811,"dynasty":124,"author":1058,"museum":244,"description":41812,"tags":41813,"thumbUrl":41814,"material":151,"size":41815,"collection":84,"collections":41816,"showCount":472,"zanCount":1086,"manualWeight":48,"mainColor":49},231588,"tao-gu-zeng-ci-tu-tang-yin-231588","陶穀赠词图","唐寅（1470－1532），吴县人。字子畏、伯虎。号六如，自称江南风流子。非诗文书画，尤以画艺见长；初师周臣，继而研学李唐、北宋初年，陶谷（903－970）出使南唐，时南唐国力弱小，而陶谷性格傲慢，在南唐后主脸出言不逊。南唐臣风起而设下圈，派宫妓秦蒻兰扮作驿吏之女以诱之。本来盛气凌人的陶谷，见温婉美丽的秦蒻兰之后，不禁为之邪念萌动，曲意奉迎并并讨好，新庸之赠词，遂败慎独戒。是陶谷所赠，顿弄时得陶谷面红耳赤，狼狈至极。画中刻字，工谨详尽，陶谷拈须倚坐榻上，旁墨纸砚，前面燃着红烛。秦蒻兰束发高笔。髻绣襦罗巾，坐弹弹琵琶，情态味感，极引词的画面。 ，而且理趣兼优，形神俱佳。右上有诗情画意，寓意诗：「一宿唐缘逆旅中，短词以识鸿。当时我作陶承旨，前面发红。」诗情画意，寓意静深。",[23,24,7,28,27,96,34,875,438,1314,2145],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fed0db24a4b08267971f750e5a655b5.jpg","168.8 x 102.1 公分",[],{"id":41818,"slug":41819,"title":41820,"dynasty":124,"author":16846,"museum":300,"description":41821,"tags":41822,"thumbUrl":41823,"material":84,"size":84,"collection":84,"collections":41824,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},231013,"xi-shan-xian-guan-tu-wen-bo-ren-231013","溪山仙馆图","此作用笔秀雅苍润，以淡墨皴擦山峦，晕染出烟岚轻笼的朦胧质感，峰峦层叠错落，将高远、深远之境相融。山坳间的仙馆屋舍隐在丹黄点染的林木之中，流泉叠瀑穿谷而下，为静谧山林添注灵动生机。\n整体兼具元人山水的淡逸简远，又带着吴门画派的清丽雅致，把文人心中的林泉幽隐之思铺陈在尺幅之间，恍若将清虚灵秀的桃源仙境收卷其中，观之如踏入世外仙居，静穆里藏着鲜活意趣，尽显江南山水温婉灵秀的气韵，诠释出寻仙问道的缥缈意境。",[24,7,165,128,132,29,97,34,495,131,208,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f29fa640b26633fd9da557e8a86eaf6.jpg",[],{"id":41826,"slug":41827,"title":41828,"dynasty":54,"author":1242,"museum":300,"description":41829,"tags":41830,"thumbUrl":41831,"material":84,"size":84,"collection":84,"collections":41832,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":49},230236,"za-hua-12-kai-jin-nong-230236","杂画12开","此作以枯淡老辣的笔墨绘古松，虬曲主干皴擦苍劲，松针攒簇如钉，尽显古松傲岸挺拔的沧桑身姿。缠绕的附枝柔中带刚，与苍松相映，野意盎然。\n\n下方题字以标志性漆书书就，朴茂雄健，笔墨厚重浑朴，书画相映，将文人的清逸高古融入画中。整幅作品以水墨写尽古松浑朴神韵，生拙奇崛的画风里，寄寓着画者清介不俗的襟怀，尽显文人画以意驭笔的雅致意趣。",[23,24,7,59,128,372,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd0c684d21e794d38033a43582b604c.jpg",[],{"id":41834,"slug":41835,"title":41836,"dynasty":54,"author":1242,"museum":300,"description":36392,"tags":41837,"thumbUrl":41838,"material":692,"size":1293,"collection":84,"collections":41839,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},230232,"ren-wu-shan-shui-tu-ce-jin-nong-230232","人物山水图册",[24,7,59,188,96,413,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d534484c4febdde66051967bc32ca71.jpg",[],{"id":41841,"slug":41842,"title":41843,"dynasty":124,"author":223,"museum":300,"description":41844,"tags":41845,"thumbUrl":41846,"material":84,"size":84,"collection":84,"collections":41847,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":49},228379,"xuan-zong-zhang-huang-di-yi-ming-228379","宣宗章皇帝","此作为明代宫廷肖像的上乘之作，工笔精细入微，形神兼备。画师以细腻笔触晕染出帝王丰腴面庞，虬髯苍劲浓密，双目沉静威严，尽显端凝厚重的帝王气度。乌纱翼善冠制式规整严整，明黄色龙袍织金龙纹精细富丽，朱红衬领沉稳庄重，配色典雅厚重，贴合御容肖像的肃穆礼制。整作落笔考究写实，精准捕捉帝王威仪，将宣宗仪容风骨刻画入微，尽显宫廷肖像画的严谨工整之风。",[24,7,805,96,28,27,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d2383a7c0d1e26db20e1bdb6b5818b6.jpg",[],{"id":41849,"slug":41850,"title":2616,"dynasty":144,"author":4034,"museum":300,"description":41851,"tags":41852,"thumbUrl":41853,"material":84,"size":84,"collection":84,"collections":41854,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},228045,"qiu-shan-xing-lv-tu-sheng-mao-228045","此作用淡墨皴染山峦，层层铺展出秋日山林的萧疏苍润，飞泉自崖间垂落，点活了幽寂山境。坡岸松林苍劲错落，细笔勾勒枝叶，兼具挺秀与萧散之致。山径行旅人影点缀其间，衬出林山空阔辽远。\n\n画作以淡赭轻敷，晕染出秋高气清的氛围感，笔法兼得院体精工与文人雅致，将秋日山野的静谧悠远与行旅意趣相融，尺幅间铺展出声色俱寂却暗蕴生趣的山水诗境，尽显元代山水尚简淡、重意境的风神。",[23,24,7,164,29,128,132,27,663,413,99,495,2620,131,208,6639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F957c8bac516a56247b6613d7daeb6e4e.jpg",[],{"id":41856,"slug":41857,"title":41858,"dynasty":144,"author":3469,"museum":300,"description":41859,"tags":41860,"thumbUrl":41861,"material":84,"size":84,"collection":84,"collections":41862,"showCount":472,"zanCount":1998,"manualWeight":48,"mainColor":72},228031,"qian-kun-sheng-yi-tu-xie-chu-fang-228031","乾坤生意图","此卷以精工没骨绘就，秋葵、栀花与幽竹错落排布，柔枝舒展，艳而不俗。蝶蛱振翅、雀鸟掠影，纤毫毕现，将草木的温润柔态与虫禽灵动意趣刻画入微，晕染匀净古雅，满卷流动盎然生机。\n后附诸家题跋，行楷兼具，笔意隽秀疏朗，书画相映成趣，将观照小景所得的天地生机，晕染为一卷悠然鲜活的雅致长卷，尽显静雅意趣，寄寓着对自然生机的由衷赞叹。",[23,164,24,7,25,27,28,61,806,481,608,276,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F458572dbd0c2965e335e70ccb4df8943.jpg",[],{"id":41864,"slug":41865,"title":41866,"dynasty":18,"author":2067,"museum":300,"description":41867,"tags":41868,"thumbUrl":41869,"material":84,"size":84,"collection":84,"collections":41870,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":49},227949,"su-qin-ji-tuan-tu-li-di-227949","宿禽激湍图","《宿禽急湍图》是宋代 的中国画作品，又名《 》，创造于南宋时期，作品内容为树梢和二鸟，收藏于美国 。\n《宿禽急湍图》为册页，作品使用水墨，淡设色，图中古柏依石而生，盘根错节，溪流湍急，飞泻而下，溅起阵阵浪花。\n二鸟栖，息枝头，怡然自得，与水浪形成静与动的对比。\n此图构图形式以峭拔的树梢和二鸟打破了对角线的布势，也使画面获得了平衡感。\n树木多用颤笔描绘，线条颤动。\n虬曲的古柏枝干和急湍的小溪使画面具有强烈的动感。\n以线勾勒和水墨烘染相结合来表现浪花，手法独特。\n李迪，生卒年不详，公元12世纪期间在世， （今河南省 ）人。\n宣和时为画院成忠郎，南宋绍兴时复职为画院副使，历事孝宗、光宗、宁宗三朝(1162-1224)，活跃于宫廷 几十年，画多艺精，颇负盛名。\n工花鸟竹石、鹰鹘犬猫、耕牛山鸡，长于写生，间作山水小景。\n构思精妙，功力深湛，雄伟处动人心魄。\n所作《 》温柔娇嫩可爱，《鸡雏图》形象生动超拔，刻画细致入微，各具神态。\n山水师李唐法，亦多佳作。\n论者谓其画鸠“作寒冷状，精俊如生”；画鹡鸰“翘翘欲起”。\n传世作品多，大多有年款。\n淳熙元年（1174年）作《风雨归牧图》轴，现藏 ；淳熙十四年（1187年）作《 》轴现藏 。\n庆元二年（1196）作《 》轴、庆元三年（1197年）《鸡雏侍饲图》册页、《猎犬图》册页，均藏故宫博物院。\n子德茂，理宗淳佑年间（1241-1252）画院待诏。\n画承家法，喜画花禽鹰鹘，野景不逮其父。\n所见李画最晚年款为庆元三年（1197年），如上溯到北宋宣和七年（1125年），需时七十三年，据此推算，则李氏存世之年龄应在九十以上。",[23,164,24,7,28,27,331,1400,99,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16085469ed0c7bef14f0566159320c01.jpg",[],{"id":41872,"slug":41873,"title":41874,"dynasty":18,"author":2067,"museum":300,"description":41875,"tags":41876,"thumbUrl":41877,"material":84,"size":84,"collection":84,"collections":41878,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":49},227948,"shuang-chan-tu-li-di-227948","双蟾图","画面以淡墨晕染勾勒出双蟾肌理，将其湿滑黏重的外皮质感表现得细腻传神。两只蟾蜍姿态灵动舒张，似正于草泽间探跃，将即将腾跃的瞬间定格。\n\n整幅画面清寂幽谧，简淡构图托举鲜活生趣，尽显对自然万物的入微体察，把郊野水畔的片刻生息凝为永恒，于细微之处见精妙写生功力，平淡间蕴藏盎然野意，让观者仿若窥见溪塘边的原生意趣。",[23,164,24,7,1326,28,27,949,16933],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa97e92ce8f7bb565ac480c460e43ae5a.jpg",[],{"id":41880,"slug":41881,"title":41882,"dynasty":18,"author":223,"museum":300,"description":41883,"tags":41884,"thumbUrl":41885,"material":84,"size":84,"collection":84,"collections":41886,"showCount":472,"zanCount":1998,"manualWeight":48,"mainColor":49},227902,"bai-mei-cui-qin-tu-yi-ming-227902","白梅翠禽图","画面取一隅枝桠，寒梅初绽，翠禽独立，将早春清寂揉进尺幅之间。禽鸟刻画入微，绒羽蓬松柔润，腹羽暖褐与翎羽浓黑相映，翼上白羽似落雪轻沾，圆目凝睇，沉静安然，将生机藏于娴静姿态里。梅花勾勒细腻，瓣边晕染浅淡墨色，花苞缀于枝梢，清润雅致。苍劲枝桠虬曲伸展，留白铺陈出空阔淡远的意境。整体色调温婉柔和，以极简物象晕染出宋人雅趣，把花鸟之态融于幽寂氛围，尽显空灵隽永的宋韵品格，将早春枝头上的轻悄生机，晕成一段淡而不散的雅致诗意。",[23,164,24,7,28,27,61,371,355,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86abed12ed0046a10b30eaab1a6ca674.jpg",[],{"id":41888,"slug":41889,"title":25406,"dynasty":18,"author":41890,"museum":300,"description":41891,"tags":41892,"thumbUrl":41893,"material":84,"size":84,"collection":84,"collections":41894,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},227807,"yu-le-tu-zhou-dong-qing-227807","周东卿","《宋元周东卿鱼乐图》是中国宋末元初时期的画家 创作的一幅中国古画。\n画作是纸本，设色，纵.8厘米,横59.7厘米。\n现收藏于美国 。\n此图以横卷式构图展开画面：依次绘出各种各样、大大小小的鱼类，在长满水草的水中，它们自由自在地漫游着，或有聚有散地沉浮穿梭着。\n画家以精细的笔调描绘出群鱼的轻巧灵动，萍藻的随波摇曳，以及碧水的流动之感和水中游鱼自得其乐的趣味。\n表现手法以没骨为主，以淡色、淡墨或极轻之笔触细加晕染，先画出鱼的形体，再用细线略勾鱼鳞和斑纹。\n萍藻是用更淡的墨勾染，生动地营造出其若隐若现之状。\n还有整个画面所呈现出的流动着的韵律，体现了群鱼恣肆盎然的生机，进而把观者带入轻松自由、疏放闲适的意境。\n是宋元的画鱼名家。\n关于他的生平，史料记载甚少。\n有文天祥赞周东卿画鱼诗云：“观君潇湘图，起我濠上心。\n”可见他还另有作品流传。",[23,164,24,7,25,28,128,27,2059,303,208,5472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faeae98aad7836a3579ce62bca5af282e.jpg",[],{"id":41896,"slug":41897,"title":41898,"dynasty":222,"author":41899,"museum":300,"description":41900,"tags":41901,"thumbUrl":41905,"material":692,"size":1293,"collection":84,"collections":41906,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},226548,"zhen-yan-mi-mi-tu-xiang-chao-man-tu-luo-juan-cai-hui-juan-ri-ben-zhen-yan-zong-seng-hui-shen-226548","《真言秘密图像钞》（曼荼罗卷）彩绘卷","日本－真言宗僧惠什","日本真言宗僧惠什撰。又称尊容钞、惠什钞、十卷抄。本书类聚诸尊之梵号、密号、种子、三形、道场观、印契及真言，且绘出诸尊之形像与曼荼罗，并述密供之次第。依今京都鸣泷常乐院所藏之古写本，其内容分为诸佛部、经部、诸菩萨部、观音部、忿怒部、诸天部等六部，总为百尊六法。真言宗，日本佛教主要宗派之一，密宗的一种，空海法师在唐求法，回国后以东寺为道场弘法，故称东密。其后逐渐分为小野、广泽二流，从此二流又分化出大量分派，大致可分为新义、古义二派。真言宗僧惠什，日本和尚，出生年日本真言宗自根本之小野、广泽二流开始，虽衍生众多流派，然中世以来仅大别为新义、古义二派，江户时代，古义派多属高野山，新义派则隶属智山、丰山二山。月不详，本名惠什。",[23,7,25,23253,27,28,187,96,41902,41903,3588,41904],"曼荼罗","神祇","图案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feab090e546a33f6addd580955eec18a4.jpg",[],{"id":41908,"slug":41909,"title":41910,"dynasty":54,"author":1460,"museum":9794,"description":1461,"tags":41911,"thumbUrl":41912,"material":1190,"size":41913,"collection":84,"collections":41914,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},224524,"shan-shui-tu-ce-8-kai-8-zhang-da-qian-jiu-cang-shi-tao-224524","山水图册8开-8-张大千旧藏",[23,24,128,132,59,7,208,133,29,129,1824,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e46120bfc311a87046dd8a2c51cf479.jpg","14.9x27.3cm",[],{"id":41916,"slug":41917,"title":41918,"dynasty":54,"author":1460,"museum":300,"description":41919,"tags":41920,"thumbUrl":41921,"material":84,"size":84,"collection":84,"collections":41922,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},224507,"shan-shui-ce-kai-shi-er-shi-tao-224507","山水冊开(十二)","此作用笔灵动苍润，以高远、平远之法铺展丘壑。远处群峰以淡赭浅墨晕染，峰峦层叠间氤氲着空濛清气，似含朝烟暮霭。近景顽石以浓墨勾皴，朴拙厚重，与远山的虚淡相映成趣。留白作水，扁舟渔父悄然行于烟波，林间墨点为木，寥寥数笔便点染出幽寂野趣。\n\n题画诗与山水浑然相融，将山河野旷间的放逸襟怀娓娓道来，寄寓着纵浪天地、栖心林泉的隐逸之思。笔墨干湿浓淡相生，以简驭繁，萧散淡远中尽显清逸灵秀的意韵，将天地山水间的自在之境铺陈开来，余韵悠长。",[23,24,7,59,128,27,132,208,29,129,131,34,5323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F921716ec4a10b4154f9394b12795127a.jpg",[],{"id":41924,"slug":41925,"title":41926,"dynasty":54,"author":41927,"museum":300,"description":41928,"tags":41929,"thumbUrl":41930,"material":692,"size":1293,"collection":84,"collections":41931,"showCount":472,"zanCount":1998,"manualWeight":48,"mainColor":72},224345,"hua-ping-lian-da-shi-zhou-xu-can-224345","画瓶莲大士轴","徐灿","徐灿（约1618－1698），字湘蘋，又字明深、明霞，号深明，又号紫言（竹字头）。江南吴县（今苏州市西南）人。明末清初女词人、诗人、书画家，为“蕉园五子”之一。光禄丞徐子懋女，弘文院大学士海宁陈之遴继妻。从夫宦游，封一品夫人。\n工诗，尤长于词学。她的词多抒发故国之思、兴亡之感。又善属文、精书画、所画仕女设色淡雅、笔法古秀、工净有度、得北宋人法，晚年画水墨观音、间作花草。\n著有《拙政园诗馀》三卷，诗集《拙政园诗集》二卷，凡诗二百四十六首，今皆存。",[23,24,7,165,188,187,96,81,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43be0cc671ca5772a59c46547ea695db.jpg",[],{"id":41933,"slug":41934,"title":41935,"dynasty":54,"author":872,"museum":300,"description":41936,"tags":41937,"thumbUrl":41938,"material":84,"size":84,"collection":84,"collections":41939,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},224260,"lin-lan-ting-xu-zhu-da-224260","临兰亭序","此作用笔枯淡古拙，将原本兰亭序的飘逸秀雅彻底解构，以欹侧跌宕的字形、稚倔朴茂的线条，揉入自身沉郁孤高的心境。章法错落疏朗，留白间满是冷逸疏离的况味，打破了原作舒展灵动的韵律，代以疏狂萧索的气度，把半生颠沛的孤寂寄寓笔端，在临帖之中注入强烈的个人风骨，为旧文赋予了全新的精神内核，是借经典抒己怀的绝佳范本。",[23,64,330,133,7,208,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F719ef5e05a8d705368f4e2ad924f5ebb.jpg",[],{"id":41941,"slug":41942,"title":41943,"dynasty":18,"author":223,"museum":300,"description":41944,"tags":41945,"thumbUrl":41946,"material":84,"size":84,"collection":84,"collections":41947,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":49},223690,"ji-ling-he-ye-tu-yi-ming-223690","鹡鸰荷叶图","《宋人画鹡鸰荷叶图》是宋代佚名创作的绢本设色画。\n里枯枝断茎，荷叶翻卷残破，一片残败的荷叶向上斜出，翻卷的叶面，满布虫蚀的痕迹，在一只鹡鸰的停驻下摇摇欲坠。\n鹡鸰双爪紧握荷茎，扭颈俯视，神情专注，为萧瑟的深秋平添了几许生气。\n鸟羽刻画细腻，先用色渲染，然后以极细之笔勾出，笔法生动秀逸。\n构图疏密有致，动静结合。\n本幅无款。\n钤鉴藏印“宋荦审定”、“嘉庆御览之宝”，又半印一方，印文模糊不辨。\n裱边题签：“宋人画梅竹双鹊”。\n绿竹丛中逶迤伸出白梅两枝，清丽冷艳。\n两只鸲鹆栖于枝头，翘首顾盼。\n鸟羽用细笔勾描，然后以墨或淡彩晕染，近似“没骨”法。\n梅花用白粉和淡黄色勾填，层次丰富。\n竹叶用双勾法勾勒轮廓，再染以花青、汁绿、赭石等色。\n清《石渠宝笈》著录。",[23,164,24,7,28,27,61,211,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb89fa76fc24385671298b4fe2b9f1ef.jpg",[],{"id":41949,"slug":41950,"title":41951,"dynasty":222,"author":223,"museum":300,"description":41952,"tags":41953,"thumbUrl":41954,"material":84,"size":84,"collection":84,"collections":41955,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":49},223686,"qi-shi-wen-shu-tu-yi-ming-223686","骑狮文殊图","此作用笔清劲雅致，以淡墨晕染铺陈。文殊端坐狮背，身伴圆光，面容沉静悲悯，手持如意，衣袂舒展飘逸，尽显出尘慧雅的气度。青狮昂首踏浪而行，兽目圆睁威严尽显，层叠海浪以淡墨晕染，古拙灵动，烘托出踏浪而行的悠然之势。\n\n上方题诗与画像呼应，将菩萨的般若智慧和空灵禅意融于尺幅间，兼蓄宗教肃穆与文人笔墨意趣。",[23,24,7,165,187,96,949,188,128,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a1e4a5bcd97d0b2b84bdd429e2890f5.jpg",[],{"id":41957,"slug":41958,"title":41959,"dynasty":54,"author":23303,"museum":244,"description":41960,"tags":41961,"thumbUrl":41962,"material":27,"size":41963,"collection":136,"collections":41964,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},223116,"hua-du-fu-shi-yi-gao-zong-yu-ti-zhou-dong-bang-da-223116","画杜甫诗意高宗御题轴","董邦达（1699－1769或1774）清代官员、书画家。字孚闻、非闻，号东山，浙江富阳人。雍正十一年进士，乾隆二年授编修，官礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虔山派之间。与董源、董其昌并列。",[23,24,7,165,128,132,29,663,1314,950,130,34,499,64,208,500,4438,37,1429],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde04473deae771195c36214c7564a0f8.jpg","18.5x148.5cm",[136,117],{"id":41966,"slug":41967,"title":41968,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":41969,"thumbUrl":41972,"material":151,"size":7879,"collection":84,"collections":41973,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},223069,"hong-lou-meng-55-sun-wen-223069","红楼梦55",[23,164,24,7,28,27,96,97,247,34,8091,2352,41970,1428,62,41971,2145,251],"古典建筑","人物场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1b14771366881409afaa5b48b2e58a0.jpg",[],{"id":41975,"slug":41976,"title":41977,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":41978,"thumbUrl":41980,"material":151,"size":7879,"collection":84,"collections":41981,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":49},223063,"hong-lou-meng-49-sun-wen-223063","红楼梦49",[23,164,24,7,25,28,27,95,96,97,247,34,41979,249,62],"屋顶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0005ec926a0d206e783104f1a358f952.jpg",[],{"id":41983,"slug":41984,"title":41985,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":41986,"thumbUrl":41988,"material":151,"size":7879,"collection":84,"collections":41989,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},223053,"hong-lou-meng-178-sun-wen-223053","红楼梦178",[23,24,7,25,28,27,304,96,97,247,41987,1367],"群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbde10915be8c63a5dcc911fd3eef1228.jpg",[],{"id":41991,"slug":41992,"title":41993,"dynasty":54,"author":4468,"museum":244,"description":4469,"tags":41994,"thumbUrl":41995,"material":27,"size":4474,"collection":84,"collections":41996,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},222731,"xian-e-chang-chun-tu-zi-bai-ding-xiang-lang-shi-ning-222731","仙萼长春图紫白丁香",[23,24,7,59,28,27,61,1102,355,624,1039,10803,14386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ffcb1593f89bbebafa1e0c5468c60b4.jpg",[],{"id":41998,"slug":41999,"title":42000,"dynasty":124,"author":9650,"museum":56,"description":9651,"tags":42001,"thumbUrl":42002,"material":84,"size":84,"collection":84,"collections":42003,"showCount":472,"zanCount":1998,"manualWeight":48,"mainColor":72},222519,"shen-xian-tu-ce-8-zhang-lu-222519","神仙图册8",[23,24,7,59,128,96,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07d838b96476bec3bf815183f8a60b82.jpg",[],{"id":42005,"slug":42006,"title":42007,"dynasty":124,"author":802,"museum":161,"description":11485,"tags":42008,"thumbUrl":42009,"material":59,"size":84,"collection":84,"collections":42010,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},221908,"hua-niao-jing-pin-ce-5-chen-hong-shou-221908","花鸟精品册5",[24,7,61,59,28,27,167,355,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a5d79a94653016226ac2e4980599978.jpg",[],{"id":42012,"slug":42013,"title":42014,"dynasty":144,"author":7649,"museum":244,"description":42015,"tags":42016,"thumbUrl":42017,"material":637,"size":42018,"collection":318,"collections":42019,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},221830,"shu-jiu-cheng-gong-li-quan-ming-zhou-ke-jiu-si-221830","书九成宫醴泉铭轴","本幅以小楷书抄录〈九成宫醴泉铭〉，以王羲之笔法为主，时而显露欧阳询、颜真卿笔法，反映其书学之渊源。全作用笔健劲，结体平正中见敧侧，秀逸中透质朴，表现出特殊的审美意趣。",[23,24,7,165,64,572,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68a5e687de3935f13e1834cc01421261.jpg","横31.7cm，纵26.8",[318],{"id":42021,"slug":42022,"title":42023,"dynasty":144,"author":1208,"museum":20,"description":42024,"tags":42025,"thumbUrl":42026,"material":1027,"size":42027,"collection":84,"collections":42028,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},221818,"yang-zhu-xi-xiao-xiang-quan-juan-ni-zan-221818","杨竹西小像全卷","这是一幅元代人物肖像画的经典作品，由王绎与著名山水画家倪瓒共同绘制。图绘一老者策杖立坡间，旁点缀松石等简单衬景。本幅左侧倪瓒题款：“杨竹西高士小像，严陵王绎写，句吴倪瓒补作松石。癸卯二月。”癸卯为至正二十三年（1363年）。据款识可知此卷为王绎、倪瓒合作而成。此图所绘应为杨氏归老林泉后的晚年肖像。图中杨谦头戴乌巾，右手执杖，衣袍宽松，面相清癯、磊落而有神。描绘精细，人物面部均以淡墨为之，以线为主，略事烘染，着墨不多而神情毕肖，表现出很高的艺术水平。倪瓒所补松石，笔墨枯淡、松秀，与人物相得益彰，共同构成了一幅精美的肖像画作品。\n此图由王绎画杨谦（号竹西）小像，倪瓒补画松石平坡。图中杨谦留着长发，头戴小帽，身着长袍，持杖独立。人物面部用细笔勾描，略用淡墨烘染，形象生动逼真。笔墨不多，却较好地表现了杨竹西“清谦谨慎”的性格。画像后亲以小石的弧松，更加烘托了杨竹亡在宋亡后不仕朝迁的气节。画中倪瓒题云：“杨竹西高士小像，严陵王绎写，句吴倪瓒补作松石。癸卯二月。”癸卯为至正二十三年，即公元1363年。卷后有元人邓元祜、杨维祯等十一家题记。",[23,24,7,25,188,128,96,171,331,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2134019448775058ad4a63eadde0d16a.jpg","纵27.7厘米，横86.8厘米",[],{"id":42030,"slug":42031,"title":42032,"dynasty":144,"author":223,"museum":244,"description":42033,"tags":42034,"thumbUrl":42036,"material":514,"size":84,"collection":44,"collections":42037,"showCount":472,"zanCount":1116,"manualWeight":48,"mainColor":72},221781,"yuan-wu-zong-hou-yuan-wu-zong-hou-yi-ming-221781","元武宗后；元武宗后","此画为元世祖后头戴珍珠饰罟罟冠，身着金锦衣缘朱袍的半身像。人物面容丰满，神态雍容。此肖像画造型准确，脸面丰盈、作者驱笔着墨（色）都注意到准确性和生动性，笔路清劲洒脱，设色艳而不俗。在艺术处理上，作者善于把线条和色彩提炼得十分简洁，风格上显得敦厚古朴，这是此画的用笔特点。\n彻伯尔皇后着红袍，以大袍为礼服，袍式宽大曳地，袖身肥但口部收窄。冠与袍同色，饰以珍宝花饰，面料有织金锦、丝绒等，大多以大红为主，兼有黄、绿、茶、胭脂红、鸡冠紫、泥金等色。顶缀珠花，并插羽为饰。\n元世祖后彻伯尔，元史表作昭睿顺圣皇后，名察必。济宁忠武王按陈之女。初为世祖妃，中统二年（1262）被立为皇后。彻伯尔因容貌出众，德才兼备，是众多后妃中最受世祖宠爱的一位。彻伯尔后在生活上自奉俭约，率宫女制作结实美观的服饰、实用地毯，还创制了比甲服饰等，适于骑猎穿着。受到世祖和诸大臣的称赞。至元十八年（1281）得病去世。元成宗即位后，追谥昭睿顺圣皇后。\n元代有一批职业画家服务于宫廷，创作了不少帝后肖像画。台北故宫博物院收藏了一套《元代帝后像册》，帝像8帧：计为太祖成吉思汗、太宗窝阔台、世祖忽必烈、元成宗、元武宗、元仁宗、元文帝、元宁宗；后像15幅：计为元世祖后像一、顺宗后像三、武宗后像三、仁宗后像一、英宗后像二、明宗后像一、宁宗后像一以及后纳罕像一、佚名后像四。\n元代帝后肖像的显著特点是作胸像，而其他朝代的帝后像都是完整的全身像，这可能是蒙古族和汉族不同的审美好尚所致。画像的脸部烘染细腻，用微妙的色彩擦染塑造立体感。有研究者认为这样细腻的烘染手法可能与西南地区，特别是来白尼泊尔的画师阿尼哥（Anige）有关。据载阿尼哥曾为世祖、世祖皇后画过像，虽然无法确定是否就是此幅，二者风格上的渊源是毋庸置疑的。\n《唻洎頭條元世祖后像》中，皇后彻伯尔的帽子十分引人注目，几乎占了画面的一半空间，这种帽子叫作“罟罟冠”。“罟罟冠”原名叫“古库勒”，其名称的由来少见于记载，元代丘处机认为“罟罟冠”顶有一撮禽类的羽毛故而拟其声，女真人又称野兽为“故勒故”，推测元蒙时代“罟罟冠”的称谓，与其“取禽兽羽毛”的材质和女真人的发音都有一定的关系。至于“罟罟冠”的构造，分为两部分，即上部是一个顶稍宽的长简形，用桦木、柳枝或铁丝盘出形状来，胎骨外阿糊绒锦岁绢等，链顶装饰小珠，锦鸡等玲禽羽毛，顶郭折下部分的前中央，往上嵌有耀眼的太小珠翠，由两条带于把冠同定在头顶，旁边一缀上珠饰；下部是一抹横勒在额上的抹额，抹额在中间的传统可以追溯到北朝，时称“幕罗”，晦则发展为“帷幕”，称为“滟婆勘于”。尚婆勒干和上冠台之，便为所谓的罟罟冠。\n除开画像中对“罟罟冠”的描绘外，皇后的“一字眉”也非常有特色，这种眉形不仅细长而平齐，在元代流行的时间很长是蒙古族女特有的一种妆饰。通常的做法是先将天生的眉毛剃掉，然后画上细长的“一字眉”。\n蒙古女贵族的服装样式，则明显受到汉族女装的影响，宽的袖千绣满镂盒花边的领口，体现入主中原之后的“汉化”进程。《元世祖皇后像》中，皇后的衣服颜色是大红。元代以红为贵，衣服颜色亦象征着不同的社会等级最尊贵阶层穿红色和紫色的表服，中间阶层穿青色和绿色的农服，寻常百姓则只许穿檀褐色等暗色服装。",[23,24,7,28,27,96,38739,170,232,42035,144,11584],"古代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F444ec05610a71f67070ac1abd81d2630.jpg",[44,45],{"id":42039,"slug":42040,"title":17784,"dynasty":18,"author":17785,"museum":20,"description":17786,"tags":42041,"thumbUrl":42042,"material":611,"size":17789,"collection":318,"collections":42043,"showCount":472,"zanCount":1998,"manualWeight":48,"mainColor":72},221231,"er-zha-tie-fan-zhong-yan-221231",[23,7,64,133,1590,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3eeca4d08ded70a5ea11316f1b9c881.jpg",[318],{"id":42045,"slug":42046,"title":42047,"dynasty":54,"author":55,"museum":510,"description":42048,"tags":42049,"thumbUrl":42050,"material":42051,"size":42052,"collection":136,"collections":42053,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":49},220980,"qing-chuan-lan-sheng-tu-yun-shou-ping-220980","晴川揽胜图","此图中所绘楼阁、山峦、丛林、江舟，乃武汉江岸黄鹤楼一带的胜景。\n画面构成右边以直线为主，林木直干密植，山峰耸立突兀，形成密不透风的格局，左边以横线描绘沙渚平波，空阔无际，左右对比大疏大密，别具新格。\n其运笔灵活洒脱，用墨浓淡相宜，层次分明。\n此图远处崇山之巅陡峰高耸入云，险峻奇峭；山腰间巉岩如屏，叠叠重重，山腰的平坡处隐现耸立的楼阁，丛树杂木掩映半边。\n近景山脚下为坡石冈埠，间植杂树林木，形成一片绿荫，画面左侧中景为水上民居，座落着村落和数间屋宁、曲折的河岸处，停泊为数众多的渔船，船上桅杆林立，也有几艘小舟横卧河心，不见人影，说明狂风暴雨接将来临，渔民暂避家憩息。",[23,24,7,165,27,132,95,29,97,34,1337,131,99,415,1743],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56b2663bec907781942b77938278c47c.jpg","绫本设色","纵112厘米，横39.1厘米",[136,45],{"id":42055,"slug":42056,"title":42057,"dynasty":54,"author":9529,"museum":300,"description":10029,"tags":42058,"thumbUrl":42059,"material":66,"size":10032,"collection":84,"collections":42060,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},220131,"mo-gu-shan-shui-hua-4-wang-hui-220131","摹古山水画4",[23,24,7,40312,27,128,132,29,98,99,129,34,131,387,31,18265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f39feb4bfd7c05be91065cc43167d1a.jpg",[],{"id":42062,"slug":42063,"title":6297,"dynasty":54,"author":6357,"museum":56,"description":42064,"tags":42065,"thumbUrl":42066,"material":66,"size":42067,"collection":44,"collections":42068,"showCount":472,"zanCount":1998,"manualWeight":48,"mainColor":49},219986,"su-wu-mu-yang-tu-huang-shen-219986","黄慎生于清康熙二十六年（1687年）五月五日（6月14日），乾隆三十五年（1770年）84岁时尚在，卒年不详，幼丧父，以卖画为生，奉养母亲。初随上官周学画，后离家出游，曾多次在扬州卖画。方十八九岁，寄身萧寺，昼为画，夜无所得烛，从佛光明灯下读书。其艺既擅，出游豫章，历吴、越，康熙五十八年（一七一九）至扬州鬻画，人争客之。雍正五年（一七二七）以母垂老，不欲远离，乃奉居扬州，又三年乃返闽，郑燮赠以诗。乾隆三十三年（一七六八）年八十二，尚作花卉册。慎工草书，法怀素。画人物，多取神仙故事为题材，初学上官周，后用狂草笔法作画。笔姿放纵，气象雄伟，深入古法，亦偶有笔过伤韵者。间作山水、花鸟，得荒率之致。所画多历史人物、佛道、樵夫渔父，早年工细，后参以怀素草书笔法，所作人物用笔粗犷，顿挫转折，纵横排奡，气象雄伟。花鸟笔法洗练，形象概括，画风泼辣；山水境界开阔，注重诗意的表达。",[24,164,7,165,128,27,369,133,64,96,949,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef53ca2e7ccb40467e5fb25716a2c918.jpg","纵198厘米，横109.5厘米",[44],{"id":42070,"slug":42071,"title":42072,"dynasty":54,"author":9529,"museum":1300,"description":42073,"tags":42074,"thumbUrl":42077,"material":278,"size":42078,"collection":136,"collections":42079,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},219913,"su-yu-xiao-yan-tu-wang-hui-219913","宿雨晓烟图","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。",[24,7,128,29,132,413,37,131,10143,42075,42076,10997,496,4438,6433],"传统山水画技法","水墨写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff62056f5499481d2ef5d82d187387f38.jpg","48.8x33.5cm",[136],{"id":42081,"slug":42082,"title":42083,"dynasty":54,"author":1219,"museum":20,"description":42084,"tags":42085,"thumbUrl":42087,"material":66,"size":42088,"collection":44,"collections":42089,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},219629,"ren-yi-hua-shen-lu-ting-du-hua-tu-xiang-zhou-ren-yi-219629","任颐画沈芦汀读画图像轴","画面分为上下两段，文墨相融。下方写意绘就雅集读画的场景，对坐的主客神态专注，侍者垂手捧卷静立一旁，人物形神兼备，衣纹线条简括灵动，水墨晕染出树影苍润，浅淡设色衬出雅致清和的氛围，将文人赏画的闲散意趣尽显。上方题诗笔意舒展，与画作呼应，把寄情书画、耽于林泉的林下风流铺陈开来。整作以写意之笔，摹写文人雅事，尽显清淡隽秀的文人审美意韵。",[23,24,7,165,27,128,133,42086,96,24586,9025,34,208],"工笔写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5e54df0d3458667c8290256debccb71.jpg","纵33cm，横40cm",[44],{"id":42091,"slug":42092,"title":42093,"dynasty":124,"author":42094,"museum":20,"description":42095,"tags":42096,"thumbUrl":42098,"material":611,"size":42099,"collection":318,"collections":42100,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},219164,"shi-han-ce-peng-nian-219164","诗翰册","彭年","此册书法欹峭微侧，有苏轼书法意韵。王世贞《吴中往哲像赞》云：彭年 “书初法晋人，己为楷，其小者信本（欧阳询），大者清臣（颜真卿），行、草则子瞻（苏轼）。”但彭年舍苏轼丰腴、偏肥、卧笔，而以清劲爽健的笔锋使其笔法更为开放活泼，故王世贞又云：“行、草眉山若远耳。”",[23,24,7,64,133,59,128,208,42097],"诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa41ab93392936e7e9e6c6d457c78455c.jpg","每开纵26厘米，横33.5厘米",[318],{"id":42102,"slug":42103,"title":42104,"dynasty":124,"author":223,"museum":1941,"description":42105,"tags":42106,"thumbUrl":42107,"material":173,"size":42108,"collection":68,"collections":42109,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":49},218984,"ku-zhi-han-que-tu-yi-ming-218984","枯枝寒雀图","这幅画描绘了一只长尾小鸟站在一根枯枝上，羽毛蓬松，脖子略显萎缩，眼神略显呆滞，迎着寒风，周围是光秃秃的树枝和散落的树叶，一副荒凉的场景。",[24,7,61,7596,211,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30e7b258206ffc7c6e1012de8dece2a.jpg","17.8x22.4cm",[68],{"id":42111,"slug":42112,"title":42113,"dynasty":124,"author":223,"museum":1941,"description":42114,"tags":42115,"thumbUrl":42116,"material":173,"size":42117,"collection":68,"collections":42118,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":49},218983,"shuang-feng-tu-yi-ming-218983","双凤图","双凤立于苍石之上，一昂首扬尾，羽色斑斓；一低首理翎，姿态娴静。笔触细腻处，翎羽纹理毕现，古朴色泽中透着温润；写意间，墨竹疏斜，花草点缀，衬出清幽之境。山石的厚重与凤鸟的灵秀相映，满含祥瑞之气，尽显古典花鸟的雅致韵致与自然生机。笔墨工写相济，将凤鸟的灵动与环境的静谧完美融合，传递出传统艺术中对生命与祥瑞的美好期许。",[23,24,7,28,27,61,2995,167,229,4278,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2281d3ed1187e1095135d352c1b21d46.jpg","155.3x103.2cm",[68],{"id":42120,"slug":42121,"title":42122,"dynasty":18,"author":223,"museum":56,"description":42123,"tags":42124,"thumbUrl":42125,"material":173,"size":42126,"collection":68,"collections":42127,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":49},218973,"jin-ji-zhu-que-tu-yi-ming-218973","锦鸡竹雀图","画在河岸边倾斜的石头上，翠绿的竹子、荆棘和杂草在石头堆中顽强地生长着，两只野鸭雏鸟蜷缩着脖子在石头上休息，而一对彩色的鸟儿相对站在上面的枯枝上，下面的鸟儿歪着头紧紧地盯着上面的鸟儿，专注而爱怜。",[164,24,7,28,27,61,167,4117,355,171,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F654c4e85a777c9fd02c4b1bd5b7eed32.jpg","24.3x24.9cm",[68],{"id":42129,"slug":42130,"title":42131,"dynasty":144,"author":24089,"museum":244,"description":42132,"tags":42133,"thumbUrl":42134,"material":173,"size":84,"collection":84,"collections":42135,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},218829,"jiang-cun-huan-du-tu-zhu-de-run-218829","江村唤渡图","纨扇间铺展的江村小景，似是元人袖中藏起的一段清寂时光。枯树以苍劲笔线勾勒，枝桠如蟹爪般遒劲，与岸边柔婉的垂柳相映成趣，刚柔之间晕开季节的况味。远山以淡墨轻染，隐于云雾之后，与近岸的村落、渡头形成虚实层次，水面留白似泛着轻烟，将天地空濛感拉得悠长。渡头人影虽小，却似携着一声唤渡轻响，打破山林静谧又让静意更显深沉。墨色浓淡相宜，绢本古雅质感衬得景致愈发悠远，笔意间藏着林泉之志的向往，将寻常渡头的片刻，凝成耐人寻味的水墨诗行。",[23,24,7,59,128,132,29,1337,331,99,149,12584,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F754738568dfb446c4439248b95ec0a4d.jpg",[],{"id":42137,"slug":42138,"title":24393,"dynasty":18,"author":223,"museum":244,"description":31190,"tags":42139,"thumbUrl":31192,"material":173,"size":42140,"collection":68,"collections":42141,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},218696,"an-chun-tu-yi-ming-218696",[23,24,7,28,27,61,8140,208],"35.3x25.8",[68],{"id":42143,"slug":42144,"title":13031,"dynasty":124,"author":223,"museum":450,"description":42145,"tags":42146,"thumbUrl":42147,"material":173,"size":42148,"collection":44,"collections":42149,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":49},218522,"xian-ren-tu-yi-ming-218522","这幅画看似是微风中的烈子，衣服用粗笔，脸部用细笔勾勒，来自梁楷的传承，但笔触太直，已经属于明代风格。",[164,24,7,96,187,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4932dfc1a846972a9cc06faf44422573.jpg","23x23",[44],{"id":42151,"slug":42152,"title":42153,"dynasty":124,"author":1270,"museum":244,"description":42154,"tags":42155,"thumbUrl":42157,"material":317,"size":42158,"collection":136,"collections":42159,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":49},218141,"gu-yu-fei-tao-tu-sun-ke-hong-218141","孤屿飞涛图","孤屿飞涛图是明朝画家孙克弘的一幅著名的写意山水画作品。这幅画描绘了一个孤岛上的悬崖峭壁和奔腾的海浪。画中的孤岛位于茫茫大海之中，周围没有其他的岛屿或陆地。这使得孤岛显得格外的孤独，令人想象。\n\n孤屿飞涛图画风精细，笔画流畅，色彩鲜明。画中的海浪十分壮观，充满了生命力和动感。孤岛上的山峰高耸，悬崖峭壁俯瞰着海面，使得整幅画充满了险峻的气氛。\n\n孙克弘是明朝时期的一位著名画家，他的作品中经常出现山水、花鸟、人物等题材。孙克弘善于运用自然的色彩和线条来描绘自然美景，使他的作品充满了生机和活力。孤屿飞涛图就是他的一幅杰作，充分展现了他的画风和技巧。\n\n总的来说，孤屿飞涛图是一幅优秀的写意山水画作品，值得一看。",[23,24,7,59,128,27,29,171,42156,228],"波涛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f979371de8839632bf5dcdf028a48c6.jpg","22.7x26.6cm",[136],{"id":42161,"slug":42162,"title":42163,"dynasty":54,"author":1740,"museum":244,"description":42164,"tags":42165,"thumbUrl":42166,"material":278,"size":42167,"collection":44,"collections":42168,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},216953,"ying-zhen-tu-xu-yang-216953","应真图","这是一幅罗汉在树下看神兽的画作，整幅画没有颜料，用淡墨和细色，露出没有灰尘的清晰镜面。该画法来自明末的丁云鹏，比较规整。",[24,7,188,128,187,96,949,413,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F915a8ecf7dac326cda5abdac6afe273e.jpg","94.1x67",[44],{"id":42170,"slug":42171,"title":42172,"dynasty":124,"author":42173,"museum":77,"description":42174,"tags":42175,"thumbUrl":42176,"material":66,"size":84,"collection":68,"collections":42177,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},216325,"han-xi-meng-song-yuan-ming-ji-ce-xi-ma-tu-han-xi-meng-216325","韩希孟宋元名迹册·洗马图","韩希孟","柳丝垂拂如缕，随风轻摆，与潺潺流水应和。花斑骏马缓步水中，鬃毛轻扬，蹄下涟漪圈圈漾开，悠然自得。牵马者衣袂轻飘，俯身似与马低语，神情闲适。\n\n以针代笔，线代墨：丝线深浅晕染出水面波光，柳丝细劲借长短针脚勾勒，兼具笔墨的灵动与绣线的肌理质感。左侧书法笔墨清雅，与绣面相映成趣，将宋元文人画的闲逸气韵凝于丝缕之间。\n\n仿佛能闻柳下清风，听水声潺潺，藏着一份从容自在的诗意，是艺术与工艺交融的雅致佳作。",[24,7,59,27,96,101,4363,99,64,208,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F841e03fd2c6d3244da7016352e90be97.jpg",[68],{"id":42179,"slug":42180,"title":42181,"dynasty":124,"author":42173,"museum":77,"description":42182,"tags":42183,"thumbUrl":42184,"material":66,"size":84,"collection":84,"collections":42185,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},216293,"han-xi-meng-xiu-song-yuan-ming-ji-ce-pu-tao-song-shu-tu-han-xi-meng-216293","韩希孟绣宋元名迹册·葡萄松鼠图","丝缕穿梭间，葡萄藤蔓蜿蜒，叶片脉络依稀，紫珠垂坠似凝清露。松鼠躬身攀枝，绒尾蓬松若可触，双目凝向串串琼瑶，神态灵动欲跃。针脚细如毫发，色阶过渡自然，将宋元画本的雅致气韵，以立体丝韵重构。顾绣之妙在此尽显：以针代笔，线代墨色，却多了触感的温柔与生命的温度。寻常花鸟小景，化作丝帛间的意趣诗行，藏着绣者的匠心，也凝着对生机的脉脉捕捉，让静止的画面，在丝缕交织里漾起鲜活的涟漪。",[23,805,7,13534,28,27,59,2334,5882,61,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fc2f36966c2ecb8f9a8823f620f27e1.jpg",[],{"id":42187,"slug":42188,"title":42189,"dynasty":124,"author":204,"museum":300,"description":2216,"tags":42190,"thumbUrl":42191,"material":173,"size":84,"collection":84,"collections":42192,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":49},216275,"er-shi-si-xiao-tu-16-chou-ying-216275","二十四孝图-16",[24,7,27,28,96,5490,949,29,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F927b2853b94fe72995de2827e9add8b4.jpg",[],{"id":42194,"slug":42195,"title":42196,"dynasty":124,"author":204,"museum":300,"description":2216,"tags":42197,"thumbUrl":42198,"material":173,"size":84,"collection":84,"collections":42199,"showCount":472,"zanCount":1998,"manualWeight":48,"mainColor":49},216274,"er-shi-si-xiao-tu-18-chou-ying-216274","二十四孝图-18",[24,7,28,27,96,101,97,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d752214768a911ab09d086c8940496.jpg",[],{"id":42201,"slug":42202,"title":42203,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":42204,"thumbUrl":42205,"material":278,"size":3888,"collection":84,"collections":42206,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},214976,"dao-zi-mo-bao-ren-wu-bai-miao-hua-12-yi-ming-214976","道子墨宝人物白描画-12",[23,164,24,7,188,96,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3efbc8fb7af76f812ae6723f21ed3a30.jpg",[],{"id":42208,"slug":42209,"title":42210,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":42211,"thumbUrl":42212,"material":278,"size":3888,"collection":84,"collections":42213,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},214974,"dao-zi-mo-bao-ren-wu-bai-miao-hua-11-yi-ming-214974","道子墨宝人物白描画-11",[23,164,24,7,188,96,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f4c79b239cabfe0e03a6fd8dbf4794b.jpg",[],{"id":42215,"slug":42216,"title":42217,"dynasty":54,"author":1460,"museum":77,"description":4620,"tags":42218,"thumbUrl":42219,"material":66,"size":4624,"collection":68,"collections":42220,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},214555,"mo-zui-za-hua-tu-ce-12-shi-tao-214555","墨醉杂画图册-12",[23,24,7,59,128,208,371,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cf179e6fbf7e601ff7c204a40316518.jpg",[68],{"id":42222,"slug":42223,"title":42224,"dynasty":54,"author":1460,"museum":1941,"description":5506,"tags":42225,"thumbUrl":42226,"material":66,"size":5509,"collection":84,"collections":42227,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},214532,"yi-jin-ling-ce-2-shi-tao-214532","忆金陵册-2",[24,7,128,59,331,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee05031faa7b7a1afd8c79955a639fcb.jpg",[],{"id":42229,"slug":42230,"title":42231,"dynasty":54,"author":872,"museum":77,"description":42232,"tags":42233,"thumbUrl":42234,"material":25266,"size":84,"collection":84,"collections":42235,"showCount":472,"zanCount":48,"manualWeight":48,"mainColor":72},214430,"shan-shui-tu-ce-1-zhu-da-214430","山水图册-1","清代画家朱耷的山水图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了朱耷对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n朱耷是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在山水图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，朱耷的山水图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了朱耷对自然的热爱和对传统文化的尊重。",[23,24,7,59,128,132,29,34,211,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0403d9e777b773eaf5209313cbf74a82.jpg",[],{"id":42237,"slug":42238,"title":42239,"dynasty":124,"author":802,"museum":300,"description":5946,"tags":42240,"thumbUrl":42242,"material":692,"size":1293,"collection":84,"collections":42243,"showCount":308,"zanCount":1998,"manualWeight":48,"mainColor":49},290805,"san-xing-tu-zhou-chen-hong-shou-290805","三星图轴",[164,24,7,165,6318,28,27,371,42241,208],"福禄寿三星","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef1f89e5eefc6be2834b85af05fbb0b4.jpg",[],{"id":42245,"slug":42246,"title":42247,"dynasty":144,"author":223,"museum":300,"description":42248,"tags":42249,"thumbUrl":42250,"material":692,"size":1293,"collection":84,"collections":42251,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},290735,"ke-si-cui-bai-xing-lin-chun-yan-zhou-yi-ming-290735","缂丝崔白杏林春燕轴","该缂丝画轴中，两只燕子举翼飞向。其中一只燕子翅、羽齐展，飞向山石、树枝上。另一只燕子正回首顾盼，飞向树梢。树梢，杏花绽放如雪，尽展春日景象。山石后，竹树枝叶繁茂，林地中，草芽吐绿，野花盛开，一派生机勃勃、春意盎然。",[24,7,165,1944,61,211,32769,167,171,27,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76d089dd3a0511cb6daf7359868048cc.jpg",[],{"id":42253,"slug":42254,"title":34900,"dynasty":144,"author":410,"museum":300,"description":21954,"tags":42255,"thumbUrl":42256,"material":692,"size":1293,"collection":84,"collections":42257,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},290254,"lin-lu-you-ju-tu-wang-meng-290254",[164,24,7,165,128,27,29,689,131,34902,96,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f8b8d31f1f29b8340c8fa3143b7ce68.jpg",[],{"id":42259,"slug":42260,"title":42261,"dynasty":54,"author":3718,"museum":300,"description":10500,"tags":42262,"thumbUrl":42263,"material":692,"size":1293,"collection":84,"collections":42264,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},289950,"fang-yuan-si-jia-shan-shui-tu-juan-hong-ren-289950","仿元四家山水图卷",[23,24,25,7,29,128,132,171,130,34,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34ba1ab563f74a6b953b9ea64e9a8e62.jpg",[],{"id":42266,"slug":42267,"title":42268,"dynasty":54,"author":9704,"museum":300,"description":23571,"tags":42269,"thumbUrl":42270,"material":692,"size":1293,"collection":84,"collections":42271,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},289932,"chan-ji-hua-qu-tu-zhou-kun-can-289932","禅机画趣图轴",[24,7,165,128,132,29,98,99,129,35,34,187,12976,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a847df0604c75424825b87a32147592.jpg",[],{"id":42273,"slug":42274,"title":25566,"dynasty":351,"author":1610,"museum":244,"description":42275,"tags":42276,"thumbUrl":42277,"material":317,"size":25570,"collection":84,"collections":42278,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":49},289924,"dong-tian-shan-tang-tu-dong-yuan-289924","厚厚的白云拥抱着巍峨的群峰，深沟巨壑中，山道弯弯，涧流清澈。山林白云深处，阁楼显露峥嵘，如此美景可谓别有“洞天”。此图用笔坚实，用墨浓重，山石以长皴短点相间，再复加染以浓重墨色，显出一种浑雄苍郁的气派。\n此画无款，图绘白云吞吐飘浮于山间， 山谷中松林茂密，清溪流淌，隐露楼观，境界清幽，鲜明地表现了世外仙境。画幅右上楷书“洞天山堂” 四宇， 点明了全画主题。诗堂有王铎跋语：“神理气韵，古秀灵通，入于口微，董源此图，当属玄化，丙戌端阳后二日题于琅华馆。”故此遂被定为董源手笔。然此图笔墨苍劲，景色茂密，云朵以白粉染绘，与董源之淡墨轻岚颇不相类，更近于1 2世纪后之山水画风貌，按金代很多山水画承袭董、巨而有所变化，故拟此画为金代之作似更为恰当。",[164,24,7,165,128,132,29,97,98,1144,37,131,130,99,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7328b7152d7bab59353adc48e47affbb.jpg",[],{"id":42280,"slug":42281,"title":42282,"dynasty":18,"author":24862,"museum":300,"description":42283,"tags":42284,"thumbUrl":42288,"material":692,"size":1293,"collection":84,"collections":42289,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":49},289838,"lu-ting-mi-xue-tu-liang-shi-min-289838","芦汀密雪图","描绘的是密雪覆盖着沙清丘岸的芦塘小景，将空旷清幽景象与漫天密雪的景色形成对比，是一幅山水与花鸟融汇的湖天小景佳作。",[23,164,24,7,25,27,28,29,42285,23198,42286,6004,1813,42287,12490,208,64],"芦汀","鸥鹭","寒冬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88e108e0525ede8d74ace20844b3898c.jpg",[],{"id":42291,"slug":42292,"title":42293,"dynasty":124,"author":10632,"museum":300,"description":18960,"tags":42294,"thumbUrl":42295,"material":692,"size":1293,"collection":84,"collections":42296,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":49},289790,"kong-que-tu-lin-liang-289790","孔雀图",[23,24,7,61,128,248,167,165,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4ffc8613f2726605d66c988810f5793.jpg",[],{"id":42298,"slug":42299,"title":42300,"dynasty":351,"author":13809,"museum":300,"description":42301,"tags":42302,"thumbUrl":42304,"material":692,"size":1293,"collection":84,"collections":42305,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":49},289121,"xian-yu-qi-qin-tu-wang-qi-han-289121","仙驭奇禽图","王齐翰(公元10世纪)〔五代·南唐〕金陵(今江苏南京)人，生卒年不详。后主李煜朝(961-975)为宫廷翰林图画院待诏。工画人物、佛道宗教画，兼擅山水、花鸟，以画猿獐出名。好作山林丘壑，隐岩幽谷，无朝市风埃气，其画以笔法工细为特色〔南唐〕金陵（今南京）人。仕南唐李煜（九六一至九七五）在位为翰林待诏。画道释人物多思致，好作山林丘壑，隐岩幽卜。其画以笔法入细者胜，无一点朝市风尘气。开宝末商贾刘元嗣以高价售得齐翰画罗汉十六轴，载入京师，置于僧寺。后僧以过期拒赎与讼。时太宗尹京，督索其画，一见大加赏叹。遂留画厚赐而释之。阅十六日太宗即位，后名其画曰应运罗汉。画花鸟如生，人但以獐猨名。",[1131,24,7,27,28,96,42303,189,17701],"仙禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7603eea79bca7cd6380f59c447a970d8.jpg",[],{"id":42307,"slug":42308,"title":42309,"dynasty":18,"author":2257,"museum":300,"description":41501,"tags":42310,"thumbUrl":42312,"material":692,"size":1293,"collection":84,"collections":42313,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},288958,"han-gong-tu-zhao-bo-ju-288958","汉宫图",[164,24,7,165,95,27,96,97,208,42311],"宫廷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cf0fae01e703ae129727e4b2f5d56d4.jpg",[],{"id":42315,"slug":42316,"title":10231,"dynasty":351,"author":15089,"museum":300,"description":42317,"tags":42318,"thumbUrl":42319,"material":692,"size":1293,"collection":84,"collections":42320,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},288463,"er-zu-diao-xin-tu-shi-ke-288463","画面展现了两个禅定状态的高僧。其一，头枕屈臂，趴在一只睡虎身上，脸部的五官挤压在一起，呈现了睡眠的神态。其二，弯臂以手托腮，依在自己的右腿上，同样表现了睡眠的神态。但两者有所不同。前者全身依托于睡虎，可谓“沉睡入泥”，生动地表现了高僧达到了酣睡入梦、超脱一切的禅定境地。而后者的头躯则是依托于自身的支撑，入微地表现了高僧若有所思、静心似睡的禅定状态。简而言之，前者突出了一个“静”字，而后者则突出了一个“酣”字。",[23,164,24,7,128,96,1634,187,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31d49283eb016d01aeb8c2b5ff4f4e38.jpg",[],{"id":42322,"slug":42323,"title":42324,"dynasty":54,"author":7872,"museum":300,"description":34277,"tags":42325,"thumbUrl":42327,"material":692,"size":1293,"collection":84,"collections":42328,"showCount":308,"zanCount":1998,"manualWeight":48,"mainColor":49},288397,"shi-tou-ji-da-guan-yuan-quan-jing-sun-wen-288397","石头记大观园全景",[23,24,7,27,28,95,97,130,1428,34,30438,42326],"石头记","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F205e83c05eb554dbccd238bc6a5449c6.jpg",[],{"id":42330,"slug":42331,"title":42332,"dynasty":144,"author":569,"museum":300,"description":27930,"tags":42333,"thumbUrl":42334,"material":692,"size":1293,"collection":84,"collections":42335,"showCount":308,"zanCount":1998,"manualWeight":48,"mainColor":72},288366,"hu-zhou-miao-yan-si-ji-zhao-meng-fu-288366","湖州妙严寺记",[64,572,25,18381,17270,7,164,208,1590,19290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F439cf33214cfd02bb81e18ad2c10d54a.jpg",[],{"id":42337,"slug":42338,"title":42339,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":42340,"thumbUrl":42341,"material":692,"size":1293,"collection":84,"collections":42342,"showCount":308,"zanCount":1998,"manualWeight":48,"mainColor":72},287786,"tai-shang-lao-jun-shuo-chang-qing-jing-jing-lao-zi-lie-zhuan-quan-juan-wen-zheng-ming-287786","太上老君说常清静经老子列传全卷",[64,572,7322,24611,29037,7,5459,1590,208,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5aba8b7779fcd5b62ea030585851adf.jpg",[],{"id":42344,"slug":42345,"title":42346,"dynasty":144,"author":6155,"museum":244,"description":42347,"tags":42348,"thumbUrl":42349,"material":66,"size":42350,"collection":136,"collections":42351,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},287533,"lin-luan-yan-yu-tu-gao-ke-gong-287533","林峦烟雨图","此幅画溪边小景，云气濛濛，舟子身著蓑衣正欲撑舟泊岸，溯溪而上，有茅屋三椽，远山罩于雨雾中。整幅用笔布墨甚为含蓄蕴藉，画风近于明。",[24,164,7,165,29,128,132,17243,496,34,35,99,98,129,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae8049e60ff73a9aa2f45d978e424016.jpg","123.5x61.2",[136],{"id":42353,"slug":42354,"title":42355,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":42356,"thumbUrl":42357,"material":692,"size":1293,"collection":84,"collections":42358,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},287525,"cao-tang-shi-zhi-ce-wen-zheng-ming-287525","草堂十志册",[64,572,59,208,1590,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac920ec4e1bd8837f2358f810d9f559d.jpg",[],{"id":42360,"slug":42361,"title":42362,"dynasty":124,"author":366,"museum":300,"description":8455,"tags":42363,"thumbUrl":42364,"material":692,"size":1293,"collection":84,"collections":42365,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},240852,"qian-zi-wen-juan-xu-wei-240852","千字文卷",[23,7,64,25,133,840,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb6408452e577c55dc92323b19a5b6fc.jpg",[],{"id":42367,"slug":42368,"title":42369,"dynasty":182,"author":42370,"museum":20,"description":42371,"tags":42372,"thumbUrl":42373,"material":611,"size":42374,"collection":318,"collections":42375,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":49},239554,"zhang-hao-hao-shi-juan-du-mu-239554","张好好诗卷","杜牧","释文：\n张好好诗并序。 牧大和三年佐故吏部沈公江西幕。好好年十三，始以善歌舞来乐藉中。后一岁，公镇宣城，复置好好于宣城藉中。后二年，沈著作述师以双鬟纳之。又二岁，余于洛阳东城重睹好好，感旧伤怀，故题诗赠之。 君为豫章姝，十三才有余。翠茁凤生尾，丹脸莲含跗。高阁倚天半，晴江连碧虚。此地试君唱，特使华筵铺。主公顾四座，始讶来踟蹰。吴娃起引赞，低徊暎长裾。双鬟可高下，才过青罗襦。盼盼下垂袖，一声离凤呼。繁弦迸关纽，塞管引圆芦。众音不能逐，袅袅穿云衢。主公再三叹，谓之天下殊。赠之天马锦，副以水犀梳。龙沙看秋浪，明月游东湖。自此每相见，三日以为疏。玉质随月满，艳态逐春舒。绛唇渐轻巧，云步转虚徐。旌旆忽东下，笙歌随舳舻。霜凋小（此字点去）谢楼树，沙暖句溪蒲。身外任尘土，罇前且欢娱。飘然集仙客（著作任集贤校理），讽赋期相如。聘之碧玉佩，载以紫云车。洞闲水声远，月高蟾影孤。尔来未几岁，散尽高阳徒。洛阳重相见，绰绰为当炉。怪我苦何事，少年生白须。朋游今在否，落拓更能无。门馆恸哭后，水云愁景初。斜日挂衰柳，凉风生座偶。口口口（洒尽满）襟泪，短章聊口口（一书）\n此卷鉴藏印有“弘文之印”、“宣龢”、“政和”（连珠）、“宣和”、“政龢”、“内府图书之印”、“秋壑图书”、“张氏珍玩”、“北燕张氏珍藏”、“项子京家珍藏”、“张则之”、“蕉林居士”、“宋荦审定”、“张伯驹珍藏印”等，以及清代乾隆、嘉庆、宣统三帝御览及清内府鉴藏印11方，朱文）等张伯驹鉴藏印。\n此卷是唐代诗人、书法家杜牧的仅存墨迹，也是稀见的唐代名人书法作品之一。张好好是一名歌妓，容颜娇美，才华出众。杜牧的这首五言长诗，就是为她而作。诗中描写了作为少年歌妓的张好好始得高官沈传师宠遇，终因沈的去世而流落市井的不幸身世，寄托了对她的无限同情，是杜牧诗作名篇。诗载杜牧《樊川集》中，墨迹的末二句，因伤残缺“洒尽满”、“一书”五字，然不伤书诗的整体精神。\n该卷书用麻纸，制作相当精细。书用硬笔，笔法劲健，颇多叉笔。这些都是唐代书法的用纸、笔法的特点。《宣和书谱》一书评杜牧书法：“气格雄健，与文章相表里”，是说作者诗文、书法有统一的风格。卷前有宋徽宗赵佶书签“唐杜牧张好好诗”，并钤有宋徽宗御府的诸玺印，保存着北宋内府装潢式样。兹后曾递藏于宋贾似道、明项元汴、张孝思、清梁清标等人，乾隆年间入藏内府。据《式古堂书画记考·卷七》所记，该卷后元人诸跋，是从唐赵模《千字文》后移来。《宣和书谱》、《悦生所藏书画别录》、《平生壮观》、《大观录》、《吴越所见书画录》、《石渠宝笈·初编》等书著录。\n该卷曾被清逊帝溥仪携出宫外，流散民间后归张伯驹所有。1956年张伯驹先生将其捐赠政府，此珍贵文物重为故宫博物院收藏。",[23,7,64,133,25,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6dc7418c00d9320a7545a844dc2089e.jpg","纵28.2厘米，横162厘米",[318],{"id":42377,"slug":42378,"title":42379,"dynasty":54,"author":9937,"museum":300,"description":42380,"tags":42381,"thumbUrl":42382,"material":692,"size":1293,"collection":84,"collections":42383,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},239523,"yue-ji-zhou-cheng-zhang-239523","月季轴","程璋（1869－1938），男，原名德璋，号瑶笙，原籍安徽新安，移居江苏泰兴，后寓上海。",[24,7,165,27,28,61,603,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9cd0b8d1926ccb1d0933a7da7e9c81d.jpg",[],{"id":42385,"slug":42386,"title":42387,"dynasty":54,"author":42388,"museum":300,"description":42389,"tags":42390,"thumbUrl":42391,"material":84,"size":84,"collection":44,"collections":42392,"showCount":308,"zanCount":1998,"manualWeight":48,"mainColor":72},239136,"san-yang-ying-xi-tu-zhou-xu-cong-long-239136","三羊婴戏图轴","许从龙","许从龙，字佐王，号虎头，浙江嘉善人，后迁江苏常熟定居。以荐入南薰殿，康熙四十五年(1706)充誊录官。卒年八十二。擅山水、花鸟，取法宋元，尤工道释神仙，开相诡奇，不资粉本，悉出胸臆。尝受江苏布政使金世扬布施，绘制《五百罗汉图》，历时六年，绘成于康熙五十一年。此画轴分置在两百纸画面上，纵274厘米，横125厘米，笔力遒劲，栩栩如生，运至江西南昌，展于佑清寺，轰动一时，后归庐山栖贤寺收藏。因迭经兵燹外盗，只存一百一十二幅，现藏江西省庐山博物馆。",[24,7,165,27,28,96,949,6300,371,8832],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa11110102da6741efb477ad24036b4.jpg",[44],{"id":42394,"slug":42395,"title":42396,"dynasty":124,"author":8983,"museum":20,"description":42397,"tags":42398,"thumbUrl":42399,"material":734,"size":42400,"collection":136,"collections":42401,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},239088,"shan-shui-tu-zhou-qiu-lin-tu-zhao-zuo-239088","山水图轴（秋林图）","此图表现晚秋湖山景色，故又名《秋林图》。画远岫如带，平湖无波，曲水孤舟，瑟瑟丛林映照在落日余晖中，茅舍和渔舟中高士静坐。构图以平远为主，山石多用披麻皴，笔力劲秀，设色浅淡。是赵左晚年山水画佳作。\n撰稿人：杨丹霞",[24,7,165,128,27,132,29,331,129,99,171,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f4485f30120b1bf0257ea35e273536.jpg","纵67.5厘米，横32.2厘米",[136],{"id":42403,"slug":42404,"title":42405,"dynasty":124,"author":9650,"museum":300,"description":42406,"tags":42407,"thumbUrl":42408,"material":84,"size":84,"collection":44,"collections":42409,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":49},239072,"fu-lu-xian-ren-tu-zhou-zhang-lu-239072","蝠鹿仙人图轴","明代著名画家，擅山水、人物，行笔劲峻顿挫，力可扛鼎。少年聪慧，见吴道子、戴进所画人物，临摹肖其神，以画成名，是明代追随戴进、吴伟的重要浙派画家，在人物上师法吴伟，但秀逸不足，狂放过之，山水上有戴进的风致。张路的绘画艺术很受世人赞誉，明朝詹景风就盛赞他“足当名家”。在当时，缙绅们咸加推重，得其真迹，如若拱壁。",[24,7,165,27,128,96,2302,949,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66513b154ce8bc8446bfcf5794e6680b.jpg",[44,45],{"id":42411,"slug":42412,"title":10742,"dynasty":54,"author":223,"museum":300,"description":42413,"tags":42414,"thumbUrl":42415,"material":692,"size":1293,"collection":84,"collections":42416,"showCount":308,"zanCount":1998,"manualWeight":48,"mainColor":72},238932,"qing-ren-mu-dan-pu-ce-yi-ming-238932","此作以没骨技法晕染折枝牡丹，粉紫花瓣由尖至根逐层浅淡晕开，仿佛凝着朝露的柔媚花容，鹅黄花蕊簇簇，将盛放时的娇秾尽数铺陈。叶片苍绿间晕开赭色细纹，叶脉隐现，舒展灵动，带着春日枝桠的鲜活生机，嫩芽缀在挺秀枝梢，暗涵萌动春意。\n\n画面构图疏朗留白得当，将牡丹雍容却不俗艳的姿态晕染尽致。外框福寿纹古雅端庄，衬得画间花意更显清雅秀润，笔致温婉柔丽，将花之娇态风骨一并留住，藏着东方美学独有的柔婉诗意，尽显传统花鸟画雅致隽永的意趣。",[24,7,59,27,28,61,263,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F360f305a51fa00bf7029662846993577.jpg",[],{"id":42418,"slug":42419,"title":42420,"dynasty":54,"author":223,"museum":300,"description":42421,"tags":42422,"thumbUrl":42423,"material":692,"size":1293,"collection":68,"collections":42424,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},238908,"qing-ren-ju-pu-ce-yi-ming-238908","清人菊谱册","此作以秋菊为绘，主瓣描红如霞，瓣心晕染素白，将盛放的雍容与清柔揉于一处，层次柔和雅致，把秋菊柔中带傲的姿态尽显。淡绿晕染枝叶，细勾叶脉，叶片舒展间带着清隽生机，新苞小花错落排布，疏密得宜，让画面满溢悠然秋意。\n设色清丽秀雅，工细却不失写意舒展，将文人推崇的秋菊风骨与温婉韵致融于笔端，尽显秋日名花的雅致姿态，晕染出淡然出尘的文人意趣。",[24,7,59,27,28,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cee3d06092af8e0fb0a7df961aa8060.jpg",[68,45],{"id":42426,"slug":42427,"title":42428,"dynasty":54,"author":32522,"museum":300,"description":42429,"tags":42430,"thumbUrl":42431,"material":84,"size":84,"collection":136,"collections":42432,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},238188,"wan-nian-zeng-mao-tu-zhou-wang-cheng-pei-238188","万年增茂图轴","汪承霈（？－1805），清朝大臣。字受时，一字春农，号时斋，别号蕉雪，汪由敦之子，浙江钱塘人，原籍安徽休宁。由敦既卒，丧终，承霈以赐祭葬入谢。傅恒为言承霈书类由敦，授兵部主事，充军机处章京。累迁郎中，除福建邵武知府。时母年八十，请军机大臣为陈情，留京供职，复补户部郎中。三十六年，师讨小金川，上命户部侍郎桂林出督饷，以承霈从。三十七年，阿尔泰、宋元俊劾桂林以金与土酋赎所掠军士，辞连承霈，命逮治。俄，事白，仍以郎中充军机处章京。累迁工部右侍郎。甘肃冒赈事发，部议凡在甘肃纳捐监生，应禁革毋许应试，及自别途出身。承霈奏人数甚多，乞开自新之路，令纳金如例，许考试及自别途出身，得旨俞允。四十年，上校射，承霈连发中的，赏花翎。调户部右侍郎。五十四年，坐监临顺天乡试失察，左迁通政使。累迁复至侍郎。",[24,7,165,27,28,29,96,1144,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3625bf23b098742f89243db0ca847449.jpg",[136,45],{"id":42434,"slug":42435,"title":42436,"dynasty":54,"author":42437,"museum":20,"description":42438,"tags":42439,"thumbUrl":42440,"material":84,"size":84,"collection":136,"collections":42441,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":199},238132,"xi-qiao-ce-zhang-tu-zhou-wang-bing-238132","溪桥策杖图轴","王炳","王炳 (1880—1950) 字谢陈，山东滨州市沾化区王见南村人。1902年（光绪二十八年）考入山东大学堂，以后加入同盟会。1906年（光绪三十二年）冬，创立棣州公学，首任公学监督（后改称校长）。",[24,7,165,27,29,132,98,99,34,131,96,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb780e944bf063bdc83fbd0b5d1c21d83.jpg",[136,45],{"id":42443,"slug":42444,"title":42445,"dynasty":54,"author":9742,"museum":300,"description":35701,"tags":42446,"thumbUrl":42447,"material":692,"size":1293,"collection":84,"collections":42448,"showCount":308,"zanCount":1998,"manualWeight":48,"mainColor":72},237648,"fang-zhao-da-nian-shan-shui-zhou-wu-li-237648","仿赵大年山水轴",[24,7,165,27,29,330,129,331,35,34,3847,131,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dec9a200d263bb4b383e2b08b8dd157.jpg",[],{"id":42450,"slug":42451,"title":18219,"dynasty":54,"author":9529,"museum":300,"description":18220,"tags":42452,"thumbUrl":42453,"material":84,"size":84,"collection":84,"collections":42454,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},237587,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237587",[24,7,164,128,2271,29,132,59,496,34,99,98,35,37,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa175a195bd0ae1ffc16b04aa9a2fba7e.jpg",[],{"id":42456,"slug":42457,"title":1289,"dynasty":124,"author":42458,"museum":300,"description":42459,"tags":42460,"thumbUrl":42461,"material":692,"size":1293,"collection":68,"collections":42462,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},237499,"shan-shui-hua-hui-ce-jiang-shou-cheng-237499","蒋守成","蒋守成明代画家。字继之,号晓山。丹阳人。善画山水,师法宋元画家赵千里,赵子昂、吴仲圭。亦作花鸟、竹石,都很出色,可惜中年患有眼疾,传世作品甚少。",[24,7,59,133,27,128,171,4074,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc2c3b2d058865e91051a0184ddf0335.jpg",[68,136],{"id":42464,"slug":42465,"title":42466,"dynasty":54,"author":7272,"museum":244,"description":7273,"tags":42467,"thumbUrl":42469,"material":611,"size":42470,"collection":68,"collections":42471,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},237346,"jian-chun-zhou-lu-hui-237346","饯春轴",[24,7,165,28,27,263,42468,33298,230,2037,549,34333,8091,169],"壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e4c18372e35b5a588fefe72981a0da5.jpg","151x39.5",[68,45],{"id":42473,"slug":42474,"title":42475,"dynasty":54,"author":36659,"museum":20,"description":33111,"tags":42476,"thumbUrl":42477,"material":734,"size":33114,"collection":136,"collections":42478,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":199},237239,"yun-shan-qing-zhi-tu-zhou-wang-gai-237239","云山清峙图轴",[24,7,165,128,27,29,1144,1337,130,99,131,37,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4163719da424fc23033d449dcac4cfde.jpg",[136],{"id":42480,"slug":42481,"title":14679,"dynasty":124,"author":19170,"museum":20,"description":42482,"tags":42483,"thumbUrl":42484,"material":84,"size":84,"collection":136,"collections":42485,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":49},236913,"guan-mei-tu-zhou-ding-yun-peng-236913","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。",[24,7,165,128,28,132,29,371,96,331,1233,131,34,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef431a10e57a656e762c4ca85d7e8da6.jpg",[136,117],{"id":42487,"slug":42488,"title":42489,"dynasty":54,"author":523,"museum":300,"description":42490,"tags":42491,"thumbUrl":42492,"material":84,"size":84,"collection":44,"collections":42493,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},236084,"hua-luo-han-ce-leng-mei-236084","画罗汉册","画面右首，罗汉安坐蒲团，神情恬然松弛，四位侍者或展长衲、或持具侍立，将佛门补衲日常刻画得鲜活生动。衣纹勾勒秀劲流畅，设色清雅柔和，人物情态各有不同，写实细腻间尽显灵动意趣。\n\n左侧题诗呼应画中主题，诗画合璧暗合禅意，把修行之人朴素自在的日常铺陈开来。笔墨兼具工致细腻与空灵韵味，将清寂平和的禅门氛围晕染开来，雅致静穆的意境扑面而来，是融写实意趣与禅宗意境为一体的精妙之作。",[164,24,7,4437,187,28,27,96,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb75896d04e3b54e8ea11ec868c668f.jpg",[44,45],{"id":42495,"slug":42496,"title":42497,"dynasty":54,"author":9529,"museum":300,"description":42498,"tags":42499,"thumbUrl":42500,"material":84,"size":84,"collection":84,"collections":42501,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},235856,"shan-yuan-jia-qu-zhou-wang-hui-235856","山园佳趣轴","《王翚山园佳趣》是清代诗人弘历创作的一首七言绝句。\n仙馆洞房绿荫稠，隔溪书屋更清幽。\n高人挈杖闲来往，流水行云意不留。\n弘历， 即爱新觉罗·弘历。\n清朝皇帝。\n世宗第四子。\n雍正十一年封和硕宝亲王。\n十三年八月嗣位，次年改元乾隆。\n即位后驱逐在内廷行走之僧道；释放被幽禁之允(胤)禵等，恢复允(胤)禵等宗室身份；又将宗室诸王所属旗人，均改为“公中佐领”，即归皇帝掌握。\n对汉族知识分子，采用笼络与惩罚并行手段，既于乾隆元年开博学鸿词科，三十八年开《四库全书》馆；又大兴文字狱，前后大案不下数十起，并借修书之便，销毁或窜改大量书籍。\n对西北方面，平定准噶尔部，消灭大小和卓木势力，解决康、雍以来遗留问题。\n在位时六次南巡，多次进行镇压土司叛乱、农民起事战争，耗费大量钱财。\n晚年任用和珅，吏治腐败；陶醉于“十全武功”，自称十全老人，对敢于指斥时弊之官吏，常严加斥责。\n同时，对各省亏空严重、督抚多不洁身自爱之状，知之甚详。\n五十八年，接见英国特使马嘎尔尼，拒绝英国所提出之侵略性要求，然并未引起任何警惕之心。\n六十年，宣布明年禅位皇十五子颙琰。\n次年正月，举行授受大典，自称太上皇帝，仍掌实权。\n在位六十年。\n谥纯皇帝。",[24,7,165,128,29,132,130,167,413,98,208,1645,131,499,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c84613f5fdccf3f412dbdbbae14912d.jpg",[],{"id":42503,"slug":42504,"title":42505,"dynasty":124,"author":10922,"museum":300,"description":42506,"tags":42507,"thumbUrl":42509,"material":692,"size":1293,"collection":84,"collections":42510,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},235811,"hua-mei-gui-hua-zhou-tian-qiu-shu-mei-gui-fu-he-bi-shan-wen-jia-235811","画玫瑰花周天球书玫瑰赋合璧扇","文嘉（1501年～1583），字休承，号文水，南直隶 苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[24,7,1131,27,61,42508,64,208],"玫瑰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71faa4378c6f9e8510d6f90708e3ceb4.jpg",[],{"id":42512,"slug":42513,"title":42514,"dynasty":124,"author":36548,"museum":300,"description":42515,"tags":42516,"thumbUrl":42517,"material":692,"size":1293,"collection":68,"collections":42518,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},235752,"mei-hua-wen-cong-jian-shi-he-bi-ce-shao-mi-235752","梅花文从简诗合璧册","邵弥，明末清初书画家。字僧弥，后以字为名，号瓜畴、芬陀居士。长洲（今江苏苏州）人。",[24,7,59,128,371,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff0207095efee64f9320a1ddf2f251c.jpg",[68],{"id":42520,"slug":42521,"title":42522,"dynasty":54,"author":10177,"museum":300,"description":42523,"tags":42524,"thumbUrl":42525,"material":692,"size":1293,"collection":84,"collections":42526,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},235562,"tao-yuan-ming-gui-qu-lai-ci-tu-shan-ye-jiao-bing-zhen-235562","陶渊明归去来辞图扇页","此图根据陶渊明《归去来辞》文意，描绘陶氏辞官隐居，离船登岸时受到“童仆欢迎”的场景。作者作为曾受过西洋技法影响的画家，在此件创作上除了茅屋结构有些许透视外，受西方画法的影响尚不明显，其笔法基本属于中国传统的人物山水画范畴。作者注重以形写神，将陶氏下船时小心翼翼的举止，和童仆们恭敬的神态均刻画得生动传神。",[1131,24,7,27,28,29,96,34,35,171,1023,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fabb13a531648cafb448d513a0361f6.jpg",[],{"id":42528,"slug":42529,"title":42530,"dynasty":54,"author":1219,"museum":300,"description":1220,"tags":42531,"thumbUrl":42532,"material":692,"size":1293,"collection":84,"collections":42533,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},235410,"gui-mu-tu-zhou-ren-yi-235410","归牧图轴",[24,7,165,128,27,369,132,102,96,1337,211,23873],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a255d8a5587e721f7641ff82ff02e1.jpg",[],{"id":42535,"slug":42536,"title":42537,"dynasty":54,"author":1219,"museum":300,"description":42538,"tags":42539,"thumbUrl":42542,"material":40,"size":42543,"collection":84,"collections":42544,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},234993,"hua-hui-ling-mao-ping-11-ren-yi-234993","花卉翎毛屏11","任颐(1839-1896)，初名润，字伯年，一字次远，号小楼(亦作晓楼)，萧山城厢镇人。其父善画肖像，任颐自幼随之习画。人物、山水、花卉、翎毛等均有扎实功底，尤以人物画见长，他在十余岁时即能勾勒出来访者容貌，使人见其画如见其人。\n咸丰十一年(1861)，太平军占领杭州、绍兴，任颐即投笔从戎，参加太平军，掌军旗，为前驱。同治二年(1863)，太平军撤离浙江，任留居家乡；次年，移居宁波，得到任熊、任薰悉心指导。同治七年(1868)春，随任薰去苏州，是年冬，转至上海定居。从此，任颐步入新兴的上海画派之列。\n任颐画路宽拓，所画人物具有独特的风韵，更以描写风俗人情、民间传说和神话故事中人物见长，如《女娲》、《钟 馗》、《八仙》、《群仙祝寿》等作品，将艺术与现实巧妙地容贯于画面。其人物肖像画既有深厚的传统基础，又注重写生，每次外出，备有速写本，随时勾录。寓居上海后，以卖画为生，创作甚富。《钟馗》、《关河一望萧索》、《苏武牧羊》、《野塘雨后》和《三友图》等为其代表作。且其参用画意的书法亦奇惊不凡，光绪二十二年(1896)逝世。\n任伯年因是浙江山阴人，故画面署款多写山阴任颐。儿时随父学画，十四岁到上海，在扇庄当学徒，后以卖画为生。所画题材，极为广泛，人物、花鸟、山水、走兽无不精妙。他的画用笔用墨，丰富多变，构图新巧，创造了一种清新流畅的独特风格，在正统派外别树一帜。\n任颐是近代杰出画家。字伯年，号小楼，浙江山阴人，因此他的画署款多写山阴任颐。任伯年的绘画题材广泛，人物、肖像、山水、花卉、禽鸟无不擅长。用笔用墨，丰富多变，构图新巧，主题突出，疏中有密，虚实相间，浓淡相生，富有诗情画意，清新流畅是他的独特风格。任伯年的主要成就是在于人物画和花鸟画方面，往往寥寥数笔，便能把人物整个神态表现出来，着墨不多而意境深远。其线条简练沉着，有力潇洒。他常画钟馗，他笔下的钟馗心胸磊落、不怕鬼，不信邪。他的花鸟画，总是把花与鸟连在一起，禽鸟显得很突出，花卉有时只作背景，整个画面充满了诗的意境。",[24,164,7,165,27,28,61,2510,42540,549,547,42541,208],"豆藤","竹架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc51dae55e91611f90ab3b25efa239ea.jpg","149 x 61 cm",[],{"id":42546,"slug":42547,"title":42548,"dynasty":54,"author":1219,"museum":300,"description":42538,"tags":42549,"thumbUrl":42550,"material":40,"size":42543,"collection":84,"collections":42551,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},234987,"hua-hui-ling-mao-ping-5-ren-yi-234987","花卉翎毛屏5",[164,24,7,165,27,28,61,2438,1039,355,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F183eeaea248695005ebfe5882e2006cb.jpg",[],{"id":42553,"slug":42554,"title":42555,"dynasty":54,"author":42556,"museum":300,"description":9208,"tags":42557,"thumbUrl":42558,"material":84,"size":84,"collection":84,"collections":42559,"showCount":308,"zanCount":1998,"manualWeight":48,"mainColor":72},234587,"he-tang-fei-yan-wan-shan-xin-yue-234587","荷塘飞燕纨扇","辛樾",[24,7,1131,128,27,28,61,168,81,82,211,2373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6520d05d1c8a90a069b4eea658183e03.jpg",[],{"id":42561,"slug":42562,"title":42563,"dynasty":124,"author":802,"museum":300,"description":42564,"tags":42565,"thumbUrl":42566,"material":734,"size":84,"collection":84,"collections":42567,"showCount":308,"zanCount":1998,"manualWeight":48,"mainColor":72},234258,"dan-chang-zhou-chen-hong-shou-234258","弹唱轴","陈洪绶（1599年—1652年），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名，晚号老迟、悔迟，汉族，浙江绍兴府诸暨县枫桥陈家村（今诸暨市枫桥镇陈家村）人。明末清初书画家、诗人。\n年少师事刘宗周，补生员，后乡试不中，崇祯年间召入内廷供奉。明亡入云门寺为僧，后还俗，以卖画为生，死因说法不一。亦能画水墨写意花卉，酣畅淋漓。还长于为文学作品创作插图，能表现出原作人物的精神气质。其画手法简练，色彩沉着含蓄，格调高古，享誉明末画坛，与当时的顺天崔子忠齐名，号称“南陈北崔”。其人物画成就，人谓“力量气局，超拔磊落，在仇（英）、唐（寅）之上，盖明三百年无此笔墨”；当代国际学者推尊他为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。\n陈洪绶去世后，其画艺画技为后学所师承，堪称一代宗师，名作《九歌图》（含《屈子行吟图》）、《插图》、《水浒叶子》、《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[23,24,7,25,28,27,188,96,169,2218,1424],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7b56da018814c611b2efc6f220be42d.jpg",[],{"id":42569,"slug":42570,"title":42571,"dynasty":124,"author":42572,"museum":300,"description":42573,"tags":42574,"thumbUrl":42575,"material":1464,"size":1464,"collection":84,"collections":42576,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},234205,"zhu-lan-shi-juan-yang-ming-shi-234205","竹兰石卷","杨明时","杨明时，字存吾，号不弃。今属安徽省黄山市歙县。诗书画俱擅，又精鉴别，《余清斋帖》双钩上石出其手。画宗董源，工山水、兰竹。",[23,24,7,25,128,369,375,167,1314,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04b8f72a8ff9518fa2e5b87befb33598.jpg",[],{"id":42578,"slug":42579,"title":4584,"dynasty":124,"author":125,"museum":20,"description":4585,"tags":42580,"thumbUrl":42581,"material":611,"size":4588,"collection":84,"collections":42582,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},234092,"wu-zhong-shan-shui-ce-shen-zhou-234092",[24,7,59,128,29,129,1824,414,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6bd1d74f643d26df0c5226efe37fd95.jpg",[],{"id":42584,"slug":42585,"title":42586,"dynasty":124,"author":125,"museum":20,"description":42587,"tags":42588,"thumbUrl":42589,"material":1223,"size":42590,"collection":84,"collections":42591,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},233831,"xing-hua-tu-zhou-shen-zhou-233831","杏花图轴","画上瘦杏一株，花开烂漫，仍是折枝简笔，却多添了颜色。树干以赭色填充，花片则淡粉轻红，温润又悦目，几乎可以想象他挥毫时愉快的心情。也有题跋，也有诗：\n布甥简静好学，为完庵先生曾孙，人以科甲期之，壬戌科，果登第。尝有桂枝贺其秋闱，兹复写杏一本以寄，俾知完庵遗泽所致也。\n与尔近居亲亦近，今年喜尔掇科名。杏花旧是完庵种，又见春风属后生。\n意思是说，你考得这样好，我画杏花表示祝贺。刘家世代书卷气不绝，大家都期待你的成绩。如今成功了，莫要忘记祖爷爷的遗泽。这些话里全无架子，只透出一片温暖平实。",[24,7,165,128,27,369,64,208,2167,2438,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ece9a78838b66a815a3309957c7e09.jpg","纵80cm横33.5cm",[],{"id":42593,"slug":42594,"title":42595,"dynasty":54,"author":1460,"museum":300,"description":14038,"tags":42596,"thumbUrl":42597,"material":1722,"size":14041,"collection":84,"collections":42598,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},233696,"yuan-ji-lan-zhu-ce-lan-hua-shi-tao-233696","原济兰竹册－兰花",[24,7,59,128,605,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddc0814175ef770f4c9b367ac117eec8.jpg",[],{"id":42600,"slug":42601,"title":42602,"dynasty":182,"author":223,"museum":20,"description":42603,"tags":42604,"thumbUrl":42605,"material":40,"size":42606,"collection":84,"collections":42607,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":49},233454,"bai-yi-guan-yin-xiang-ye-yi-ming-233454","白衣观音像页","画面左侧为白衣观音，面微向右，屈腿坐于方形束腰台座上。头束高髻，戴化佛冠，顶披白纱，项饰璎珞，内着红色僧祇支，外穿白色田相袈裟。面相丰满，造型已呈女性化。右手执柳枝，左手下垂提净瓶搭于左膝上，跣足踏莲花。观音头上部有伞形华盖，身后有头光、身光。神态自然安详。六方柱形仰莲台上供养盆花牡丹。右侧画一男性供养人，面朝观音，跪于方毯上，头戴幞头，衣淡黄色袍，束玉带，手持鹊尾香炉，清烟缭绕。后立一侍童，梳双髻，右手持扇，左手抱包袱。上方祥云中现仰莲座四股金刚杵，再上现童子飞天，乘祥云作倾盆散花状，有坿叶仙桃散布空际。背景处有朱红色凭栏一排，观音与供养人之间有长方形榜题框一则，内无字。此画内容丰富，结构严谨，相互呼应。线条以铁线描为主，遒劲有力，敷色以青、红、白为主，部分头饰和飘带描金，色调富丽浓艳。\n白衣观音又名白处观音、白住处观音，是观音菩萨呈现的诸多相貌之一。白色喻纯净，象征菩提之心，表示观音胸怀菩提之心。据《观世音现身种种愿除一切陀罗尼》经中说，供养此观音时应用白净的细布画观世音形像——身着白衣，坐莲座上，一手持莲花，一手提净瓶。据说诵念白衣观音经咒后白衣观音即可出现，而且能随供者所欲求愿悉得。因此，白衣观音也是密宗经常供奉的观音菩萨之一。中国古代许多画家都曾画过白衣观音像，元、明以后这个题材较为流行。在敦煌遗画中，白衣观音像并不多见，此画为国内仅见的早期作品。",[24,7,59,4642,187,27,28,96,772],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4982691c1fa2d46776ddc4943652c6.jpg","纵52厘米，横55.2厘米",[],{"id":42609,"slug":42610,"title":42611,"dynasty":144,"author":287,"museum":20,"description":42612,"tags":42613,"thumbUrl":42614,"material":999,"size":42615,"collection":84,"collections":42616,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},232986,"gu-shan-tu-juan-qian-xuan-232986","孤山图卷","本幅设色，左方自题七绝一首，款：”吴兴钱舜举“。题跋：引首陈沂篆书”溪诗画“本幅上面弘历题诗，后隔水弘历书诗，后幅文征明书林逋诗数首，梁诗正书赋。印记：引首四方，本幅及前后隔水有项子京，乾隆，宣统等引49方，半印一方，后幅印24方。",[23,24,7,25,29,27,28,64,208,130,413,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12955f6e35b97926ac45250b8c8c005a.jpg","纵92.5cm，横23.4cm",[],{"id":42618,"slug":42619,"title":4071,"dynasty":54,"author":14273,"museum":20,"description":14274,"tags":42620,"thumbUrl":42621,"material":514,"size":84,"collection":84,"collections":42622,"showCount":308,"zanCount":1116,"manualWeight":48,"mainColor":72},232945,"hua-hui-tu-ce-fan-ting-zhen-232945",[24,7,59,28,27,61,168,81,82,7857],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff04a76310a5243e9fcb581b22ba12471.jpg",[],{"id":42624,"slug":42625,"title":4071,"dynasty":54,"author":14273,"museum":20,"description":14274,"tags":42626,"thumbUrl":42627,"material":514,"size":84,"collection":84,"collections":42628,"showCount":308,"zanCount":1998,"manualWeight":48,"mainColor":72},232942,"hua-hui-tu-ce-fan-ting-zhen-232942",[24,7,59,28,27,61,62,547,549,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab207a06b8dcd58c96b61485747f7522.jpg",[],{"id":42630,"slug":42631,"title":42632,"dynasty":144,"author":410,"museum":300,"description":42633,"tags":42634,"thumbUrl":42635,"material":84,"size":84,"collection":84,"collections":42636,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},232634,"shan-shui-tu-xin-yu-liang-quan-wang-meng-232634","山水图(新雨凉泉)","王蒙能诗文，工书法。尤擅画山水，得外祖赵孟頫法，以董源、巨然为宗而自成面目。写景稠密，布局多重山复水，善用解索皴和渴墨苔点，表现林峦郁茂苍茫的气氛。山水之外，兼能人物。所作对明、清山水画影响甚大，仅次于黄公望，后人将其与黄公望、吴镇、倪瓒合称为“元四家”。对明清及近代山水画影响甚大。\n王蒙创造的“水晕墨章”，丰富了民族绘画的表现技法。他的独特风格，表现在“元气磅礴”、用笔熟练、“纵横离奇，莫辨端倪”。传世的代表作《青卞隐居图》、《春山读书图》，上海博物馆藏；《葛稚川移居图》《夏日山居图》，北京故宫博物院藏；《秋山草堂图》，台北故宫博物院藏。代表作品还有《湘江烟雨图》《深林叠嶂图》等。诗文、史学亦精。今存诗集《草堂雅集》。",[24,7,165,128,132,29,131,34,99,497,38,387,1337,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85e0e1523a4b570966cee5ed7f642fa5.jpg",[],{"id":42638,"slug":42639,"title":42640,"dynasty":124,"author":802,"museum":300,"description":42641,"tags":42642,"thumbUrl":42644,"material":151,"size":42645,"collection":84,"collections":42646,"showCount":308,"zanCount":1998,"manualWeight":48,"mainColor":49},231485,"gong-feng-tu-chen-hong-shou-231485","供奉图","陈洪绶利用各种作画技法适应不同题材，如用折笔或粗渴之笔表现英雄、细圆之笔表现文士美人、用游 丝描表现高古，成为中国传统人物画法的丰盛宝库。陈洪绶一生秉性孤傲倔强，吞恨而终。他是一位擅长人物、精工花鸟、兼能山水的绘画大师，与北方崔子忠齐名，号称“南陈北崔”。当代国际学者推为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。",[23,164,24,7,165,27,28,188,96,166,169,170,9024,42643,8629,208,64],"烛台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41f69a47f37ac516a406b8b50194ed5.jpg","95×44厘米",[],{"id":42648,"slug":42649,"title":42650,"dynasty":18,"author":686,"museum":244,"description":42651,"tags":42652,"thumbUrl":42653,"material":151,"size":13605,"collection":84,"collections":42654,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":49},231421,"qiu-lin-fei-pu-tu-fan-kuan-231421","秋林飞瀑图","《秋林飞瀑图》纵181厘米，横99.5厘米，在传世千年的古画中，也算得上一件大作品；绢本，设色，沉淀了历史的古绢上，墨与色的辉映，那么的凝重、浑厚，摄人心魄。现藏于台北故宫博物院。图绘一山耸峙，山头山下密布丛林，有茅舍隐约其中；远处见城楼，飞瀑拾级而下，近前有木桥连岸，山路通达。这是一幅适合人居的美奂的山景，经过霜降的丛树一片绯红，秋色热烈明艳，绝无萧瑟凋蔽之感。构图并不复杂，但却极见功力：一峰高耸，山石和丛林结合在一起，层层深入；由远而近、曲折而下的山泉，则将其分割成疏密有致的空间，与茅舍、木桥、山路结合一体。无论是树木，还是山石，勾、皴的线条都十分坚挺遒劲。山下丛树的树叶，方、圆、长条之形俱备，用双勾法勾勒，凝练精到。山石用水墨依明暗分层积染，而树叶则敷以硃砂色，古雅瑰丽。整幅画映射出典型的宋画的风采。\n范宽也算得中国绘画史上的一个奇人。说到宋画，往往第一个就提他的姓名，却不能详知其生卒年月。画史称他“仪状峭古，进止疏野。性嗜酒，好道。”早年的画学荆浩、李成，虽得其精妙，但终归其下。于是他叹息道：“与其师人，不若师诸造化。”他移居于终南山、太华山，“常危坐终日，纵目四顾，以求其趣。虽雪月之际，必徘徊凝览，以发思虑。”他用心来感悟造化的鬼斧神功，对景写生，故其所画在构图、造型和透视上无懈可击。一生远离仕途，“落魄不拘世故，”却终于造就其气势雄伟壮观，笔墨刚劲凝厚的绘画风格。董其昌叹谓“宋画第一”。《宣和画谱》著录其存世的画有58件，但至今能见到的，不过十件左右。最著名的宋画的代表作之一的，当推其《溪山行旅图》。206厘米高的巨幅，恢弘压顶的气势，一笔不苟的勾勒，满纸的雨点皴，咄咄逼人的墨气，令人震撼。《秋林飞瀑图》则与之稍有不同，用的是略似小斧劈皴的线皴，这一方面可以看到范宽在师造化的过程中笔墨技法的变化，另一方面似乎也影响了其后李唐与南宋山水画家，开启了一个以斧劈皴为特点的山水画新时期。",[23,24,7,29,165,132,27,2875,13602,131,34,495,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b24fd762e626521ef15ffbc5f9044be.jpg",[],{"id":42656,"slug":42657,"title":1068,"dynasty":54,"author":1069,"museum":300,"description":42658,"tags":42659,"thumbUrl":42660,"material":84,"size":84,"collection":84,"collections":42661,"showCount":308,"zanCount":1998,"manualWeight":48,"mainColor":49},230995,"xiu-yuan-tu-wang-yun-230995","此作以工秀笔触绘就江南私园雅景，亭台临波而起，游廊蜿蜒衔连。水面凫鸭悠游，玲珑湖石与扶苏花木错落排布，晕染出雅致悠然的园居氛围。\n\n堂上主人凭案安坐，侍童侧立随侍，月台、游廊之上仕女游赏低语，将文人日常的闲雅意趣铺陈开来。设色清隽淡雅，界画工整流利，树石皴染兼具质感与文趣，把私园的幽致与园居的松弛心境相融，尽显古典园林绘卷的诗意闲情。",[24,7,27,28,95,96,97,2352,34,81,98,3837,6874,247,131,758,1428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c4696b9a08d524f77b20f5a6383d28.jpg",[],{"id":42663,"slug":42664,"title":42665,"dynasty":18,"author":1449,"museum":300,"description":42666,"tags":42667,"thumbUrl":42668,"material":84,"size":84,"collection":84,"collections":42669,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":49},230950,"mu-xue-han-qin-tu-ma-lin-230950","暮雪寒禽图","《暮雪寒禽图》是宋代画家 所创作的一幅画，现藏于 。\n此图为马麟所作，以清丽的笔法，绘出冰天雪地之中，山竹覆雪，两只寒禽躲在山石之下的杏枝上过夜的景象。\n以淡墨渲染全景，烘托出雪意，双钩写竹，用笔劲力。\n整幅画面萧瑟冷峭，意境幽远。\n这幅画卷描绘暮冬之际，岩壁下白雪覆盖著荆棘与翠竹，一对黄尾鸲相依避寒。\n通幅色泽沈厚，笔墨苍润稳健，为其粗笔风格的作品，和院藏其〈芳春雨霁〉册的画风极为相近；另一幅〈 〉册虽属细笔，然其中梅干的细枝则和本幅上荆棘细枝的笔法相类。\n此作在笔墨之外，画家还充分地掌握住一份寒冷中详和宁静的气氛，再配上诗句，更表现出了诗文因画而生，画因诗文而意足的旨趣。\n画幅右侧绘斜倾岩石，石旁有荆棘、老竹、积雪，山鸟瑟缩，栖于棘枝之上。\n左上方空白处有宁宗题“疏枝潜缀纷，并翅不禁寒”十个字。\n图中岩石直壁斜倾而上，在石这边数枝折枝棘枝，向左下方凌空伸张扩展，其中有一二枝权又折起指向左上方，与在悬崖的那边塌腰老竹低垂的枯枝交错。\n棘、竹枝上的积雪可见；还有那纷披的翠竹叶在岩石上负雪摇曳，在棘枝上残留着几处红叶。\n就在这岩石后背风的棘枝上，栖息着山鸟两只，一只是白羽，另一只是黑白两色，它们披着厚厚松软的冬装。\n白者缩颈回首，两爪紧抓枝上，长尾下垂，依偎在另一只身旁，黑白分明的这一只，抬首守之。\n两只山鸟安祥地相向，紧紧靠在一起，毫无飞欲之意。\n因为灰暗的暮色雪景笼罩着，造成了阴冷、萧疏、幽邃的气氛。\n所以飞鸟只有并翅不禁寒，才能渡过寒夜。\n只有盼到天明日出时，驱去寒意后，才会使寒禽离枝飞去。\n马麟这幅《暮雪寒禽图》的构意及内容，很像李迪的《雪树寒禽图》。\n但从图中直观马麟的《暮雪寒禽图》要比李迪之画苍劲洒脱。\n枯瘦的棘枝，用笔坚硬，画法苍劲有力；负雪的竹子，有的是冬篁的秃权枝，有的是重笔墨色直接画成的竹叶，也具有苍老浑厚的感觉。\n图中的这些景物，由于在暮雪中出现，所以作者没有显示它们本身固有的不同颜色，而将他们用灰暗的色调统一，即使有几处残留的红枫作点缀，也是具有同样的格调，呈暗红色。\n所以，此图在用色上成功地表现出雪天傍晚时分特有的自然景观。\n马麟（生卒年不详），南宋画家。\n原籍河中（治今山西永济西南），南渡后三代居钱塘。\n世荣孙，远子。\n父为光宗、宁宗两朝画院待诏，独步一时。\n麟传家学，工人物、山水、花鸟。\n宁宗嘉泰年间授画院祗候，颇得赵扩、恭圣杨后及杨妹子称赏，每于父子画上题句。\n或以“麟不逮父，而远爱之，多以己画得意者题作马麟”。\n但麟的笔法圆劲，比其父秀润。\n传世作品有《层叠冰绡图》，上有杨后题诗。",[164,24,7,28,27,128,61,1233,331,276,211,171,1556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7975c59fcea175fabe615575bac84e3c.jpg",[],{"id":42671,"slug":42672,"title":42673,"dynasty":54,"author":9576,"museum":300,"description":42674,"tags":42675,"thumbUrl":42676,"material":84,"size":84,"collection":84,"collections":42677,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},230144,"hua-guo-tu-ce-12-kai-luo-pin-230144","花果图册12开","此作以淡墨枯笔勾勒柏干，蜿蜒虬曲，苍劲老辣尽现古柏历经风霜的拙朴筋骨。枝桠间以焦墨攒点成叶，浓淡交错间虚实相生，将蓊郁繁茂之态暗藏疏密错落里，笔墨洗练却意境饱满。\n\n侧旁题字率意朴拙，笔锋苍劲与画中古柏意趣相融，诗书画印合为一体。全幅不求精细描摹形貌，只以极简笔墨抓取老树虬劲生机，将幽寂古雅的文人意韵藏于方寸间，淡而有味，拙中见灵。",[24,7,59,128,331,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ba5f4b087d39a09468e880350835f7f.jpg",[],{"id":42679,"slug":42680,"title":42681,"dynasty":54,"author":1219,"museum":300,"description":42682,"tags":42683,"thumbUrl":42684,"material":84,"size":84,"collection":84,"collections":42685,"showCount":308,"zanCount":1998,"manualWeight":48,"mainColor":72},230123,"hua-hui-ce-ye-01-ren-yi-230123","花卉册页01","此作用笔写意松弛，以湖石为景之骨，淡赭水墨晕染出嶙峋体态，略去繁复皴擦，虚实间尽显清隽雅逸。石畔丹红果簇饱满鲜活，浓墨枝叶枯润相宜，艳色与冷调湖石形成鲜明对照，艳而不俗，顽石愈发清灵，花果愈见生动。\n\n右上角题字笔力开张，与花木湖石相得益彰，融书画为一体，将花木蓬勃生机与文人闲淡意趣揉合于纸面，简淡之中自有鲜活情致。",[24,7,4437,369,128,27,61,171,32972,624,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71348d468b7d7e6ca8621b0226ef65d9.jpg",[],{"id":42687,"slug":42688,"title":42689,"dynasty":54,"author":1472,"museum":300,"description":42690,"tags":42691,"thumbUrl":42692,"material":84,"size":84,"collection":84,"collections":42693,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},229025,"hua-hui-ba-kai-zou-yi-gui-229025","花卉八开","柔梅斜枝舒展，粉瓣层叠轻绽，深浅花色晕染出娇柔妍态，苍劲老干皴擦尽显古拙意趣。旁侧新竹挺秀，翠叶临风摇曳，清刚之姿与梅花柔媚相映成趣，一动一静间尽显花木灵韵。\n\n右上角题诗娟秀雅致，诗画相融更添文人情思。设色明丽柔和，勾勒晕染兼具工细与写意之妙，将春日花木的生机神韵尽数铺陈，笔底饱含清雅悠然的文人意趣，将这一隅小景绘就成生机盎然又古雅沉静的清逸画卷。",[24,7,59,27,28,61,167,263,208,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d8a09956eafa777e9025de0f632c7d.jpg",[],{"id":42695,"slug":42696,"title":42697,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":42698,"thumbUrl":42699,"material":692,"size":1293,"collection":84,"collections":42700,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},228988,"bai-miao-luo-han-tu-juan-shi-tao-228988","白描罗汉图卷",[23,164,24,7,25,188,187,96,131,34,5490,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9099139807f3e55a6295db547dc07a8.jpg",[],{"id":42702,"slug":42703,"title":42704,"dynasty":124,"author":223,"museum":300,"description":42705,"tags":42706,"thumbUrl":42707,"material":692,"size":1293,"collection":84,"collections":42708,"showCount":308,"zanCount":1998,"manualWeight":48,"mainColor":49},228775,"xia-yuan-shui-guan-tu-yi-ming-228775","下元水官图","道家有三官：天官、地官、水官，谓天官赐福，地官赦罪，水官解厄。三官的诞生日分别为农历的正月十五、七月十五、十月十五，这三天被称为“上元节”、“中元节”、“下元节”。下元节，就是水官解厄旸谷帝君解厄之辰，俗谓是日。",[187,938,208,7,64,27,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe99035456ab0e4b057bbd6aea0852718.jpg",[],{"id":42710,"slug":42711,"title":42712,"dynasty":124,"author":223,"museum":300,"description":36732,"tags":42713,"thumbUrl":42714,"material":692,"size":1293,"collection":84,"collections":42715,"showCount":308,"zanCount":1998,"manualWeight":48,"mainColor":49},228407,"di-shi-tian-dong-quan-tu-yi-ming-228407","帝释天东全图",[24,7,27,28,187,96,20953,189,170,3588],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0056fe930ac394a6cab95b4f48344fd.jpg",[],{"id":42717,"slug":42718,"title":42719,"dynasty":18,"author":27341,"museum":300,"description":42720,"tags":42721,"thumbUrl":42722,"material":84,"size":84,"collection":84,"collections":42723,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},228326,"qiu-shan-qing-ai-tu-juan-xu-dao-ning-228326","秋山晴霭图卷","《题吴少宰题许道宁秋山晴霭图》是明代诗人沈周创作的一首诗。\n匏公题句真成画，说到江山妙有声。\n一个道宁消不得，老夫只作辋川平。\n沈周（1427-159年），字启南，号石田、白石翁，长洲（今苏州）人。\n隐居乡里，奉母耕读，终身不仕。\n其画闻名当代，与唐寅、文徵明、仇英并称“明四家”。\n且善诗，任情随事，不主一家。\n有《石田先生集》行世。",[23,164,24,7,25,29,27,6639,38783,496,7409,4438,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2f872b00a877fa253bba1f9c3c8f1d.jpg",[],{"id":42725,"slug":42726,"title":42727,"dynasty":124,"author":802,"museum":300,"description":42728,"tags":42729,"thumbUrl":42730,"material":84,"size":84,"collection":84,"collections":42731,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":49},228287,"za-hua-tu-ce-8-kai-chen-hong-shou-228287","杂画图册8开","此作用平远法铺展景致，山峦层叠迤逦，以圆润苍劲的皴笔勾勒石体质感，淡赭敷色晕染出暖调山光，清润柔和。水面留白尽显空濛烟波之意，不着一笔却漾漾有水气流动。山石间点缀青绿苔点，冷色调打破赭石的厚重，为静穆山水晕染出鲜活生机。\n整幅简淡清旷，以复古笔致意摹古贤意趣，无繁复刻画，只以极简的点染铺陈，将江南水畔温软沉静的山光凝于尺幅，悠悠透出文人沉湎林泉的静穆襟怀，淡远清和，尽显含蓄内敛的古典诗意。",[23,24,7,59,27,132,208,29,171,99,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbac4124007a9a2c95659e7ef43ddff79.jpg",[],{"id":42733,"slug":42734,"title":42735,"dynasty":124,"author":802,"museum":300,"description":42736,"tags":42737,"thumbUrl":42738,"material":84,"size":84,"collection":84,"collections":42739,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},228285,"shan-shui-shi-hua-ce-chen-hong-shou-228285","山水诗画册","此作对页诗画合一，右侧绘虬曲古松下，高士席地安坐，衣袂舒展悠然，静享林泉幽寂。古松苍劲奇崛，松针层叠清润，石畔苔点幽微，笔致高古静穆，尽显林下幽居的散淡意趣。\n左侧书法清隽挺秀，诗文与画境呼应，禅意悠然。整体以极简笔墨，勾勒出世外风雅，将林下幽栖的禅寂通透相融，传递出超脱世情的澹泊襟怀，是诗画相映的雅致佳构，尽显文人的林下襟怀与静穆审美。",[23,24,7,59,133,128,27,96,1144,131,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886cc4e13292bed024a0da93b5746e38.jpg",[],{"id":42741,"slug":42742,"title":42743,"dynasty":144,"author":14748,"museum":300,"description":42744,"tags":42745,"thumbUrl":42746,"material":84,"size":84,"collection":84,"collections":42747,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},228257,"mo-hua-tu-juan-chang-juan-zhao-zhong-228257","墨花图卷长卷","此作用淡墨白描写就，分绘三种花卉，以清隽挺秀的笔线勾勒花叶轮廓，淡墨晕染出阴阳向背，不施丹青却尽现花卉娇柔雅致之态。芍药秾而不俗，水仙清逸出尘，玉簪幽淡含露，墨色清润柔和，将草木风姿描摹入微。\n\n三段皆配题诗，诗画相映，书卷气浓厚，以墨代色，以意写形，把文人幽淡的情思寄寓在一花一叶间，尽显简淡雅致的审美意趣，是水墨花鸟小品中的佳构。",[23,164,24,7,25,188,128,28,61,263,374,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83039bd32439ba7bcc1e7f007efb14a8.jpg",[],{"id":42749,"slug":42750,"title":42751,"dynasty":144,"author":569,"museum":300,"description":42752,"tags":42753,"thumbUrl":42754,"material":84,"size":84,"collection":84,"collections":42755,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},228248,"jiang-cun-yu-le-tu-zhao-meng-fu-228248","江村渔乐图","《元·赵孟頫法书选:行书杜甫秋兴诗四首》是历代法书真迹萃编系列之一。\n元代对书法的重视不亚于前代，书法得到一定的发展。\n探索和认真的临学，在学习古人的传统基础上“托古改制”，使晋、唐的传统法度得以恢复和发展，扭转了南宋以来由于士大夫多“趋时贵书”形成的所谓“恶札流饰”的积习,开启了元代的书法风格。\n久之已成为在社会上流行最普遍，在日常生活中最切实用的字体。\n在应用价值上来说，算得是最伟大的。\n故能自后汉相传至今，历久而弥新。\n《元·赵孟頫法书选——行书杜甫秋兴诗四首》为其中代表作。\n《元·赵孟頫法书选:行书杜甫秋兴诗四首》由黄山书社出版。\n赵孟頫（1254-122年），元代书画家、文学家。\n字子昂，号松雪道人、水精宫道人，中年曾作孟俯。\n湖州（今属浙江）人杨维，宋宗室。\n宋亡，归里闸居。\n元世祖忽必烈搜访“遣逸”，经程巨夫荐举，始任兵部郎中，仁宗爱育黎拔力八连朝（111-12年），官至翰林学士承旨，封魏圃公，谨文敏。\n精通音乐，善鉴定古器物，于书法绘画成就尤高。\n山水取法董源、李成，人物、鞍马师法李公麟和唐人；工墨竹、花鸟，皆以笔墨圆润苍秀见长，以飞白法昼石，以书法用笔写竹。\n力主变革南宋院体格调，自谓“作画卖有古意，若无古意，虽工无益”，遥追迫五代、北宋法度，论者谓：“有唐人之致去其鳞，有北宋人之雄去其犷。\n”开创了元代新画凰。\n能诗文，风格和婉。\n兼工篆刻，以“圆朱文”著称。\n传世书迹较多，传世画作有《鹊华秋色图》、《红衣罗汉图》、《幼舆丘壑图》、《秋郊饮马图》、《江村渔乐图》等。\n着有《松雪斋文集》十卷（附外集一卷）。",[23,24,7,1131,128,27,29,1351,99,129,34,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96766e1c56502a11ade3361e84a7bffe.jpg",[],{"id":42757,"slug":42758,"title":42759,"dynasty":18,"author":12759,"museum":300,"description":42760,"tags":42761,"thumbUrl":42764,"material":84,"size":84,"collection":84,"collections":42765,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":49},227970,"shan-shui-yu-min-tu-zhou-li-an-zhong-227970","山水渔民图轴","此作用水墨晕开冬日江乡的清寂荒寒。远山以淡墨轻扫轮廓，留白处尽作积雪，混茫一色，恰似天地裹素，将冬雪的冷冽淡远铺陈开来。近岸枯木虬枝盘曲，残叶寥寥，苍劲身姿暗合寒林萧索。江心扁舟一叶，渔翁独垂，渺小身影衬得天地愈发寥廓幽远，尽现江湖幽隐之趣。\n\n全图以虚代实，留白藏雪，笔墨简淡清润，将禅意隐逸融在冷寂山水间，把雅致心境晕染在空蒙淡远的意境中，尽显小景山水的诗意品格。",[23,164,24,7,165,128,29,132,129,1337,415,131,414,34,3650,10582,1557,5323,3427,42762,3819,42763],"山石皴染","宋代山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8929430587ae14a05c4c22f92b4e3c90.jpg",[],{"id":42767,"slug":42768,"title":42769,"dynasty":18,"author":1174,"museum":300,"description":42770,"tags":42771,"thumbUrl":42772,"material":84,"size":84,"collection":84,"collections":42773,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":49},227773,"song-yin-xiu-qi-tu-ye-li-tang-227773","松荫休憩图页","李唐（1066—1150），南宋画家。字晞古，河阳三城（今河南孟州）人。初以卖画为生， 宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。",[23,164,24,7,59,27,29,96,372,99,171,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ae2c819f22354f91624b8b982a41c2a.jpg",[],{"id":42775,"slug":42776,"title":42777,"dynasty":18,"author":1174,"museum":300,"description":40059,"tags":42778,"thumbUrl":42779,"material":84,"size":84,"collection":84,"collections":42780,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":49},227769,"shan-jian-ting-yin-tu-ye-li-tang-227769","山涧亭荫图页",[23,164,24,7,4437,27,132,29,130,97,34,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62d8b679d7f4f502dfbd58fec656d8e.jpg",[],{"id":42782,"slug":42783,"title":28691,"dynasty":18,"author":1323,"museum":300,"description":42784,"tags":42785,"thumbUrl":42786,"material":84,"size":84,"collection":84,"collections":42787,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":49},227739,"huo-lang-tu-ye-li-song-227739","《货郎图》是南宋画家李嵩创作的团扇绢本水墨淡设色画。李嵩创作过多幅货郎图，分别藏于北京故宫博物馆、中国台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆，现藏于北京故宫博物院的《货郎图》的规格是纵25.5cm，横70.4cm，其余的均为小幅。\n\n全图描绘了老货郎挑担将至村头，众多妇女儿童争购围观的热闹场面，表现了南宋时钱塘一带的风土人情。此画线条细腻雅致，货担上的物品用笔如丝柔韧圆转，而人物的衣纹则使用颤笔，转折顿挫恰当地表现出下层妇孺身着布衣的特色。细劲线描，传神地勾出朴实的形象，把劳动人民的生活作为审美对象来描绘，在中国古代美术发展史上有着重要的意义。",[23,164,24,7,1131,28,27,96,169,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febc853454829aec9f8be8f73998aa141.jpg",[],{"id":42789,"slug":42790,"title":12070,"dynasty":18,"author":9804,"museum":300,"description":42791,"tags":42792,"thumbUrl":42793,"material":84,"size":84,"collection":84,"collections":42794,"showCount":308,"zanCount":1998,"manualWeight":48,"mainColor":49},227613,"shan-shui-tu-ye-zhao-ling-rang-227613","赵令穰(北宋)字大年，汴京(今河南开封市)人，生卒年不详，宋太祖赵匡胤五世孙。官至光州防御使﹑崇信军观察留后，卒赠开府仪同三司，追封荣国公。其子赵伯驹宋代著名画家，官至浙东兵马钤辖。工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子。\n赵令穰幼时即爱书画﹐富于文学修养﹐家藏有晋唐以来法书名画。他与画家文人时相往来。赵佶(宋徽宗)为端王时亦与他交游﹐切磋画艺。",[23,24,164,7,59,27,132,29,331,7596,131,99,22404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F069c533c496616b5bcf7a2d34a2002ef.jpg",[],{"id":42796,"slug":42797,"title":42798,"dynasty":18,"author":313,"museum":244,"description":42799,"tags":42800,"thumbUrl":42801,"material":84,"size":84,"collection":84,"collections":42802,"showCount":308,"zanCount":1998,"manualWeight":48,"mainColor":72},227590,"ku-sun-fu-tie-huang-ting-jian-227590","苦笋赋帖","此帖凡11行，181字，书于元符二年(1099年)。曾经吴桢、安岐、陈定等人收藏.《平生壮观》、《墨缘汇观》、《石渠宝笈续编》、《故宫书画录》等著录。《御刻三希堂石渠宝笈法帖》、《仁聚堂法帖》、《墨缘堂藏真帖》、《宋四家墨宝》等收录。现藏台北故宫博物院。\n\n宋徽宗曾说：“黄书如抱道足学之士，坐高车駟马之上，横钳上下，无不自如。”山谷书法对当时及后世影响很大，受到极高的评价，為北宋四大家之一。此帖笔势遒劲，中宫敛结，长笔外拓，英俊洒脱，显示出山谷纵逸豪放的雅韵，并充分发挥倾侧的动向美感。选自《宋四家墨宝》册。",[164,7,64,133,128,611,17347,8116,208,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7eb941959901f32fb43c8955cbc0a87.jpg",[],{"id":42804,"slug":42805,"title":42806,"dynasty":18,"author":491,"museum":300,"description":42807,"tags":42808,"thumbUrl":42810,"material":84,"size":84,"collection":84,"collections":42811,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":49},227543,"guan-chao-tu-ye-guo-xi-227543","观潮图页","郭熙（约1000～约1090年），北宋杰出画家、绘画理论家。字淳夫，河阳府温县（今属河南）人。他出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。山水师法李成，山石创为状如卷云的皴笔，后人称为“卷云皴”。 他画山水注重深入体察生活，能真实、细致、微妙地表现出不同地区、季节、气候的特点，得“远近浅深，四时朝暮，风雨明晦之不同”，创造出极其丰富优美动人的意境，另外他还长于影塑，在墙壁上用泥堆塑浮雕式的山水，别具情趣。\n\n郭熙有《早春图》《关山春雪图》《窠石平远图》《幽谷图》《古木遥山图》等传世。其中《早春图》成功地表现出冬去春来、大地复苏、万物甦醒的细致季节变化。在绘画理论上郭熙亦有很高建树，其理论集中反映在他的《林泉高致》一书中。",[23,24,7,29,128,132,59,18332,413,42809],"潮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fd2704c889b3485019347aec338e950.jpg",[],{"id":42813,"slug":42814,"title":42815,"dynasty":326,"author":1587,"museum":244,"description":42816,"tags":42817,"thumbUrl":42818,"material":637,"size":42819,"collection":2210,"collections":42820,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":49},227053,"shu-yue-yi-lun-01-wang-xi-zhi-227053","书乐毅论01","乐毅论是三国时期魏夏侯玄所撰，论述燕国名将乐毅之事。唐朝初年，王羲之书《乐毅论》入藏内府，经褚遂良鉴定为真迹，列为正书第一，与《兰亭序》并列为唐太宗最珍贵的书迹，并摹拓分赐大臣，故一般人罕见其貌。此刻选自《宋拓越州刻晋唐小楷册》，笔画精妙，字势逸宕，雍容典雅，为传世《乐毅论》之著名版本。",[64,7,572,5380,1590,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7462174768726bbc21221fc292f712ee.jpg","25.3×12.9厘米",[2210],{"id":42822,"slug":42823,"title":42824,"dynasty":18,"author":1833,"museum":300,"description":42825,"tags":42826,"thumbUrl":42827,"material":84,"size":84,"collection":84,"collections":42828,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},226545,"yu-le-tu-juan-jing-hao-226545","渔乐图卷","荆浩（约850-？），五代后梁最具影响的山水画家，博通经史，并长于文章。字浩然，沁水（一说为山西，一说为河南济源）。士大夫出身，后梁时期因避战乱，曾隐居于太行山洪谷，故自号“洪谷子”。擅画山水，常携笔摹写山中古松。所作云中山顶，能画出四面峰峦的雄伟气势。自称兼得吴道子用笔及项容用墨之长，创造水晕墨章的表现技法。亦工佛像，曾在汴京（今河南开封）双林院作有壁画。是中国山水画发展过程中具有重要影响的画家之一。\n\n存世《匡庐图》。其他均已失传。至于目前传为荆浩所作的五幅画——美国纳尔逊美术馆收藏的《雪景山水图》、日本大阪市立美术馆收藏的《江山瑞霭图》、台湾故宫博物院收藏的《渔乐图》等，其真伪都存有争议。\n\n荆浩不仅创造了笔墨并重的北派山水画，被后世尊为北方山水画派之祖，还为后人留下著名的山水画理论《笔法记》，以假 托在神镇山遇一老翁，在互相问答中提出了气、韵、思、景、笔、墨的所谓绘景“六要”，是古代山水画理论中的经典之作，比更早时期南齐谢赫的“六法论”有所发展，具有更高的理论价值。",[23,24,7,25,128,132,29,34,497,31,3650,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dd4a6217abf7c4e35efebb8fee6960f.jpg",[],{"id":42830,"slug":42831,"title":42832,"dynasty":222,"author":42833,"museum":300,"description":42834,"tags":42835,"thumbUrl":42836,"material":84,"size":84,"collection":84,"collections":42837,"showCount":308,"zanCount":1998,"manualWeight":48,"mainColor":49},226542,"du-diao-tu-jiang-xi-meng-226542","独钓图","姜希孟","纸本，墨笔，56*36cm，东京国立博物馆藏。图绘河边杂草丛生，枯木二棵，枝杆张牙舞爪，沧桑孤傲；河面上一老者船头独自垂钓，静谧详和；远处水面广阔，画面透着冷寂之意境。姜希孟，朝鲜王朝的士大夫画家，宫廷画师。",[23,24,7,128,369,132,29,1337,129,1350,11014,414,31630,11830],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F075096fb767ba143cb1f3c07e1615e40.jpg",[],{"id":42839,"slug":42840,"title":42841,"dynasty":222,"author":35258,"museum":300,"description":35259,"tags":42842,"thumbUrl":42843,"material":692,"size":1293,"collection":84,"collections":42844,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":49},225295,"huo-tian-ben-dong-jing-zhen-hai-225295","火天(本-东京)",[23,24,7,165,187,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27b3f9abef49f88f538da978b833e115.jpg",[],{"id":42846,"slug":42847,"title":42848,"dynasty":54,"author":4083,"museum":300,"description":42849,"tags":42850,"thumbUrl":42851,"material":84,"size":84,"collection":84,"collections":42852,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},224428,"shan-lou-ke-hua-tu-wang-shi-min-224428","山楼客话图","《山楼客话图》是王时敏八十岁之后作品，创作于清代，现藏于天津市艺术博物。\n全图以高远法构图，白云、瀑布、楼阁穿插于重峦叠嶂的林木间，一派气象万千的苍郁景致。\n画幅的右下方绘有一人于山坞草堂内临窗读书，此景虽然在画幅中所占比例极小，却点明了“山窗读书”的主题，为山林景色增添了书卷气息。\n山峦层叠，深壑溪流，茂林密布，水阁立于其间，名士在此高谈阔论。\n此画以赭墨为主，单纯而深厚，滋润而清脱。\n从笔墨技法来看，复古意味十分明显，皴笔细密，用多层次的皴染表现山体，墨色厚重，流露出作者“熟不甜，生不涩，淡而厚，实而清”的成熟面貌。\n王时敏 ， (1592-168)，明末清初画家。\n字逊之，号烟客、西庐老人等。\n江苏太仓人。\n王锡爵孙。\n出身明代官宦之家，崇桢初年曾任太常寺卿，所以也被称为“王奉常”。\n寄情诗文书画，家藏历代法书名画甚多，反复观摩，并曾得到董其昌等人的指点。\n擅山水，专师黄公望，笔墨含蓄，苍润松秀，浑厚清逸，然构图较少变化。\n其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。\n与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。\n开创了山水画的“娄东派”，居清初画家“四王”之首。",[23,24,7,165,128,132,29,97,34,131,495,35,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2852667eb07d849f77f2b9ab7916caaf.jpg",[],{"id":42854,"slug":42855,"title":39233,"dynasty":54,"author":42856,"museum":300,"description":42857,"tags":42858,"thumbUrl":42859,"material":84,"size":84,"collection":84,"collections":42860,"showCount":308,"zanCount":1998,"manualWeight":48,"mainColor":49},224344,"xiao-pin-1-qiao-gu-224344","樵谷","此作为绢本设色仙山图景，画面分上下两段铺陈。上方松下仙岛，长髯高士安坐，侍童持如意随侍，丹顶鹤啄衔芝草，意态闲和疏朗。下方仙鹿曳车，车载灵卉仙酿，海雾裹挟红鲤翻涌而出，恍若灵气蒸腾。\n\n笔墨细劲清逸，设色古雅沉静，人物刻画悠然恬淡，瑞兽仙禽生动传神。布景疏密相宜，晕染出道家虚缈出尘的仙境氛围，藏纳福寿绵长的吉祥意趣，尽显传统仙道题材的雅致意韵。",[23,24,7,165,27,28,96,101,722,2059,1144,131,950,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff7ab3700c076272c9bf608fb083bfbf.jpg",[],{"id":42862,"slug":42863,"title":42864,"dynasty":54,"author":1676,"museum":300,"description":42865,"tags":42866,"thumbUrl":42867,"material":84,"size":84,"collection":84,"collections":42868,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},224296,"zhu-shi-li-shan-224296","竹石","此作用笔纵逸老辣，右上苍松虬曲古拙，枝干皴擦间尽显风霜古意，松针以焦墨攒点，苍劲沉凝，垂藤萦纡添灵动生机。下方牡丹以浓淡水墨晕染花瓣，将雍妍之态藏于墨色层次间，旁生兰草舒挺柔韧，伴湖石错落排布。\n左侧题笔与绘事浑然一体，以水墨写意尽脱匠气，融苍松之坚、牡丹之妍、幽兰之清于一轴，笔情墨趣间暗合文人寄寓，纵恣野逸间尽显花木风神。",[23,24,7,128,369,132,1314,167,263,372,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a30ebfd3df6df1c8f56596df0822fa1.jpg",[],{"id":42870,"slug":42871,"title":10204,"dynasty":54,"author":19884,"museum":244,"description":42872,"tags":42873,"thumbUrl":42874,"material":611,"size":42875,"collection":136,"collections":42876,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},224265,"hua-shan-shui-zhou-zhang-zong-cang-224265","《石渠宝笈》所录画作数量，张宗苍名列第一，其上多有乾隆皇帝题诗。此作原本贴于品茗茶舍「试泉悦性山房」壁上。乾隆皇帝认为其画风清峻，可与元代倪瓒和黄公望的作品相匹敌，幅上多则乾隆皇帝御题，其中更提到过去观看张宗苍作画的回忆，并在拳石留白处书一「神」字，显示对此作的高度评价。",[24,7,165,128,132,64,208,29,131,34,499,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0364f6d1ae9eda5d1b76368b4cb7d3ba.jpg","138.1x64.3",[136],{"id":42878,"slug":42879,"title":42880,"dynasty":144,"author":223,"museum":300,"description":42881,"tags":42882,"thumbUrl":42883,"material":84,"size":84,"collection":84,"collections":42884,"showCount":308,"zanCount":1998,"manualWeight":48,"mainColor":49},223617,"hong-shu-xiao-niao-tu-li-zhou-yi-ming-223617","红树小鸟图立轴","此作用笔苍劲老辣，以淡墨皴擦出枝杆斑驳肌理，斜展的枝桠轻缀丹红叶瓣，晕染出深秋清寂淡远的氛围感。两只禽鸟灵动如生，一只敛羽侧目似在梳羽，一只昂首远眺仿佛聆风，翎毛晕染细腻柔和，褐棕羽色与亮蓝尾羽相映成趣，为萧疏秋景添了鲜活生气。\n画作兼收宋院体花鸟的写实精妙与元画的萧散简逸，以极简构图铺陈秋日林间意趣，不施浓艳重彩，只以素雅色调烘托幽清空远的意境，静穆秋景与鲜活禽鸟相融，淡而有味，简而隽永。",[23,24,7,165,27,28,61,2524,15072,2438,1955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6756045513ed7addba3944ef1983d5b6.jpg",[],{"id":42886,"slug":42887,"title":42888,"dynasty":18,"author":223,"museum":300,"description":42889,"tags":42890,"thumbUrl":42891,"material":84,"size":84,"collection":84,"collections":42892,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},223612,"zhu-jian-fen-xiang-tu-yi-ming-223612","竹涧焚香图","此作以边角取景，笔墨简净秀润。浅渚涧水缓流，坡岸幽竹斜曳，士人趺坐石上，静对空山远岑。晕染轻淡的远山融在空濛烟岚里，将天地寥廓之意藏于尺幅留白间。\n\n画面与题诗相契，炉烟随竹风漫过山涧，空山阒寂，将闻未闻的幽玄禅意弥散开来。把林泉高致的隐逸襟怀，化作眼前清寂淡远的图景，于简淡平远中，尽显出世幽居的静穆禅趣，是小品山水里以小见大的精妙之作。",[23,24,7,1131,27,29,167,96,1314,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52389ef17d1f2b63c69f1c05719db98a.jpg",[],{"id":42894,"slug":42895,"title":42896,"dynasty":222,"author":223,"museum":2068,"description":42897,"tags":42898,"thumbUrl":42899,"material":514,"size":42900,"collection":84,"collections":42901,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":49},223391,"tong-nian-yin-yan-tu-zhou-yi-ming-223391","同年饮宴图轴","以淡墨晕染出空濛秋山，飞瀑穿云，江流宛转，枯笔皴擦山峦肌理，苍浑朴拙。画面上下分境，山巅高远清寂，江畔林下定坐宴饮，士人们围坐把酒，将林泉幽致与文会雅兴相融。淡墨轻岚间，萧疏古木衬出雅集闲逸，左上题诗呼应知己情谊，笔墨简淡却意韵悠长，尽显文人寄情山水、酬唱为乐的林下风流，将水墨山水的清旷与雅集的温煦意趣揉合一处，自有冲淡恬和的古雅气韵。",[23,164,24,7,165,27,29,96,495,99,497,34,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc6632dbe6c038a2d36128d0dfee1a52.jpg","纵98厘米，横52厘米",[],{"id":42903,"slug":42904,"title":42905,"dynasty":54,"author":1219,"museum":524,"description":42906,"tags":42907,"thumbUrl":42908,"material":1223,"size":42909,"collection":84,"collections":42910,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},223236,"qun-ji-zi-shou-tu-ren-yi-223236","群鸡紫绶图","绘篱笆外一棵紫薇风劲叶摆，篱笆墙内二只老鸡带着一群小鸡觅食玩耍，公鸡大红色的鸡冠，伸长了脖子，圆瞪着眼，警惕的盯着四周动静，母鸡紧盯着一群小鸡仔，母爱洋溢，一幅乡村农家的温馨景象映入眼帘。",[23,24,7,164,165,27,128,61,1400,2510,413,2668,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef31e39a6fb133ccbf71818592553fc3.jpg","134cmx65cm",[],{"id":42912,"slug":42913,"title":42914,"dynasty":54,"author":23303,"museum":244,"description":41960,"tags":42915,"thumbUrl":42916,"material":42917,"size":42918,"collection":136,"collections":42919,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":49},223117,"hua-fan-zhao-gui-yun-tu-zhou-dong-bang-da-223117","画返照归云图轴",[23,24,7,164,165,1349,132,27,663,228,950,3344,34,497,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e89609eb1517d1843f2e8924eba4cf4.jpg","淺設色","251.1x158.6",[136,117],{"id":42921,"slug":42922,"title":42923,"dynasty":54,"author":23303,"museum":244,"description":42924,"tags":42925,"thumbUrl":42926,"material":637,"size":42927,"collection":136,"collections":42928,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},223110,"ceng-luan-song-cui-zhou-dong-bang-da-223110","层峦耸翠轴","绘层峦叠嶂，延绵不绝，山涧中云雾缭绕，微风吹过，松涛阵阵；山脚下流水潺潺，两间小屋依山傍水，清雅安静",[23,24,7,165,128,132,29,496,1144,495,130,35,499,497,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e367094ca3e4f79f2de8319b6088256.jpg","88.1x30.9厘米",[136,117],{"id":42930,"slug":42931,"title":42932,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":42933,"thumbUrl":42934,"material":151,"size":7879,"collection":84,"collections":42935,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},222956,"hong-lou-meng-81-sun-wen-222956","红楼梦81",[23,164,24,7,28,27,1515,97,96,228,81,82,13438,34,249,415,758,247,10654,4363,131,13344,8346,41805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feac0e81cb3119ae54f2e3390d79b514f.jpg",[],{"id":42937,"slug":42938,"title":42939,"dynasty":124,"author":18090,"museum":20,"description":42940,"tags":42941,"thumbUrl":42943,"material":611,"size":42944,"collection":68,"collections":42945,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},222603,"qiu-se-wu-tong-tu-lan-ying-222603","秋色梧桐图","此画面一片秋高气爽的气氛，上杂红树一枝。一只美丽的小鸟，悠闲地栖立于梧桐枝上，形象生动自然，神气逼肖。在构图上采用传统折枝的方法，截取梧桐与丹枫的枝头横斜下垂之势。在枝叶参差错落之中，求得疏密有致。花木点染随意，桐叶饱含水墨，抒情性很强。墨笔写成枝干，糅合了山水画的用笔，显得枝干劲健有力。山鸟基本以墨画成，略施淡赭色彩，令人感到素雅可亲。双勾的丹枫叶，显得挺俏遒劲；在画法上，勾染兼施，笔法活脱，墨色浓淡适度，看来随意写出，反映了作者娴熟的笔墨技巧。",[23,24,7,128,27,369,2749,355,2438,549,208,64,133,61,42942],"秋色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F288e93218349e6d8e418d86b3be8a8b4.jpg","65X32",[68,45],{"id":42947,"slug":42948,"title":42949,"dynasty":124,"author":18090,"museum":524,"description":32146,"tags":42950,"thumbUrl":42951,"material":514,"size":42952,"collection":84,"collections":42953,"showCount":308,"zanCount":1998,"manualWeight":48,"mainColor":49},222594,"jiang-gao-fei-xue-tu-li-zhou-lan-ying-222594","江皋飞雪图立轴",[23,24,7,165,29,27,132,1144,1337,131,3387,96,1813,415,1557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e6635bdf6b12960c4fed02b92366856.jpg","148cmx46cm",[],{"id":42955,"slug":42956,"title":42957,"dynasty":124,"author":17733,"museum":161,"description":42958,"tags":42959,"thumbUrl":42960,"material":1223,"size":42961,"collection":84,"collections":42962,"showCount":308,"zanCount":1998,"manualWeight":48,"mainColor":199},222375,"liu-mang-tu-juan-zhou-chen-222375","流氓图卷","此卷共绘人物12人，形态各异，或身背锣鼓，或手牵小动物，皆衣衫褴褛。作画背景是明武宗朱厚照统治时期，所谓的流氓多是因战争流离失所而逃难的百姓。也许他们有着正当的职业，稳定的收入，但战争降临后，一切都化为了乌有。逃难的人们为了生计想法设法赚钱，有能力的可以凭借自己的能力勉强果腹，没有能力的人连乞丐都不如。\n“流氓”的界定：流氓是指“脱离了古代社会最基本的生产资料——田地，因此没有正当的业务可恃且又愚昧无知的社会底层成员；而作为流氓之'流'的字义中，又可包涵或引申出向坏的方向嬗变以及放纵成弊等内容。合而言之，大致可以把'流氓'一词从词义上界定为：特指脱离生产不务正业而在社会上游荡，并以悖离传统道德文化和破坏社会秩序为基本行为特征的不良分子。 因此称之为《流民图》亦可。",[23,24,7,25,188,27,96,9633,527,6300,37810,9671,13024,438,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd181c6127f25e533180376f904c665f0.jpg","纵28厘米，横384厘米",[],{"id":42964,"slug":42965,"title":42966,"dynasty":124,"author":16243,"museum":244,"description":33923,"tags":42967,"thumbUrl":42968,"material":611,"size":42969,"collection":318,"collections":42970,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},222310,"shu-za-shi-juan-wang-chong-222310","书杂诗卷",[64,133,25,208,9910,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a6b4b44c3a956de196f240c247d3843.jpg","25.7x317.6",[318],{"id":42972,"slug":42973,"title":42974,"dynasty":144,"author":569,"museum":224,"description":42975,"tags":42976,"thumbUrl":42977,"material":1223,"size":42978,"collection":84,"collections":42979,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},221785,"san-shi-ren-ma-tu-zhao-meng-fu-221785","三世人马图","为赵孟頫、赵雍、赵麟祖孙三人所画人马图合卷。卷后有陈洪绶等人题跋，谓其“三老不失笔墨宗风，古来大小李将军、高家父子、米家父子之类比。”、“古来父子祖孙以忠孝节义道应文学相传，不替者之类耳。”对比吴湖帆题款中所及“蒋氏密韵楼藏赵氏三世画马卷对临一本，并记原题款识于后，王蒙等跋亦入。”可见吴湖帆所临乃是另一卷传世“赵氏三世人马图”，由雪庭禅师收藏，王蒙、文征明等五家曾于其上题跋。",[23,164,24,7,25,27,188,96,101,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09f2e833da4843b79c3641463d061b4a.jpg","纵30.2厘米，横178.1厘米",[],{"id":42981,"slug":42982,"title":27851,"dynasty":18,"author":7553,"museum":224,"description":42983,"tags":42984,"thumbUrl":42985,"material":151,"size":42986,"collection":42,"collections":42987,"showCount":308,"zanCount":1998,"manualWeight":48,"mainColor":72},221425,"qiu-shan-xiao-si-tu-yan-wen-gui-221425","作品开卷处图绘远山溪岸，继而群峰叠起大壑飞瀑，颇为壮观，再次又转入平川冈阜秋树远山，渐成清远之境，布局变化错落有致。\n全卷以水墨为主，间以简淡之赋色，山石皴纹笔墨苍劲，林木结构系出于 传派，与传世 作品之风格有出入，似应为南宋画家的手笔。\n卷上有燕文贵小字款，乃后人所加。",[23,164,24,7,25,128,27,132,29,8222,17270,34,131,37,496,1233,331,1023,99,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb3bb3f7fd9c75615971c67aad3349df.jpg","32.5x321",[42,136,117],{"id":42989,"slug":42990,"title":42991,"dynasty":18,"author":2099,"museum":224,"description":8949,"tags":42992,"thumbUrl":42993,"material":611,"size":42994,"collection":84,"collections":42995,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},221357,"zhuo-se-shi-ba-luo-han-tu-juan-li-gong-lin-221357","着色十八罗汉图卷",[23,164,24,7,25,187,27,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F167d3053971be5b0a03db8dec8fa2736.jpg","26.7×384.2厘米",[],{"id":42997,"slug":42998,"title":42999,"dynasty":124,"author":2268,"museum":20,"description":43000,"tags":43001,"thumbUrl":43002,"material":43003,"size":43004,"collection":318,"collections":43005,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":199},220957,"bai-yu-shan-fu-dong-qi-chang-220957","白羽扇赋","唐代诗人及宰相张九龄，受朝中权臣排挤，因玄宗赐白羽扇，作赋以明志，含有明哲保身的涵义。董其昌这件作品写于七十八岁（1632）高龄，仍然不失一贯的秀逸畅快的节奏，令人觉得余韵无穷。",[23,164,24,7,25,133,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2567439e23f4a801151c3d6db729acb.jpg","绫本，轴","纵长：136.5厘米，横长：60.2厘米",[318],{"id":43007,"slug":43008,"title":43009,"dynasty":124,"author":16846,"museum":6892,"description":43010,"tags":43011,"thumbUrl":43012,"material":652,"size":43013,"collection":84,"collections":43014,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":84},220736,"yan-jiang-die-zhang-tu-hua-xin-you-wen-bo-ren-220736","烟江叠嶂图画心右","此作用笔清隽秀雅，以平远之境铺展烟江盛景。左侧峰峦层叠，苍木氤氲在烟岚之中，山石皴擦简淡却见苍劲；右侧江岸怪石嶙峋，棕榈摇曳生姿，野意盎然。\n\n浩渺江面之上，帆影错落穿梭，岛屿隐现于烟波之间，云雾晕染柔化了山水边界，虚实相生间尽显江南烟水的朦胧柔婉。笔墨晕染柔和清润，将水雾空濛的氛围感尽数铺陈，把观者带入静穆又灵动的烟水天地，尽显吴门画派的写意风神，藏着文人画清雅淡远的诗意。",[23,24,7,25,128,29,132,30,6004,9550,129,211,34,131,1614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F775d4d497ec1f44b4dd939d7664eb627.jpg","25.6 × 360.8厘米",[],{"id":43016,"slug":43017,"title":43018,"dynasty":980,"author":37787,"museum":43019,"description":43020,"tags":43021,"thumbUrl":43022,"material":13337,"size":84,"collection":84,"collections":43023,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},220511,"jing-guan-pu-xin-she-220511","景观","The Baltimore Museum of Art","此作用笔清劲秀雅，以高远法绘山林幽居之景。危崖巍峨，以淡赭轻罩、花青晕染，勾勒皴擦间尽显山石嶙峋质感。近岸苍虬古木扎根岩隙，枝叶扶苏，与崖畔林木相互掩映。画面留白铺陈虚境，恰似空谷平湖，烘托出空山幽寂之韵。\n题画诗与景致相融，将松风泉响的山林意趣诉诸笔端，尽显文人山水的诗意内核。整体气息清逸出尘，承续北宗山水笔法，兼具南派的秀润雅致，把林泉高致的幽淡意境描摹尽致，尽显传统文人画的隽永风骨。",[23,7,24,29,165,128,27,132,663,1314,413,11998,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F289a35de63ffa4fc6160756dba5a74e6.jpg",[],{"id":43025,"slug":43026,"title":43027,"dynasty":54,"author":1219,"museum":224,"description":43028,"tags":43029,"thumbUrl":43030,"material":3544,"size":84,"collection":84,"collections":43031,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},220470,"shi-shang-du-shu-ren-yi-220470","石上读书","画面以瘦透皱漏的太湖石为布景，雅士踞坐石侧，展卷潜读，神情悠然沉谧，全然沉浸于书卷意趣之中。\n\n设色清雅柔和，衣纹勾勒简练劲挺，将文士宽袍博带的闲适姿态尽显。太湖石以淡墨晕染，辅以皴擦勾勒出空灵剔透的质感，虚实相生间衬出幽寂安闲的氛围。整幅扇面构图疏密得当，把文人幽居耽书的雅静意趣铺陈开来，尽显精妙的笔墨格调。",[24,7,1131,27,28,96,171,16528,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e528abdd16572b6722a32a318064bf1.jpg",[],{"id":43033,"slug":43034,"title":43035,"dynasty":124,"author":223,"museum":1941,"description":43036,"tags":43037,"thumbUrl":43038,"material":173,"size":43039,"collection":45,"collections":43040,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":49},220352,"shan-lin-hui-you-tu-yi-ming-220352","山林会友图","这幅小品以虚实相生铺陈意境，左侧重峦叠石以石青、石绿晕染，苍松虬劲古雅，山居掩映于林麓间，笔墨苍秀雅致。右侧烟波浩渺，远山如黛隐于霭色中，汀洲屋舍朦胧悠远，以留白衬出山水空阔辽远。近景松下雅士围坐清谈，悠然会友，将山林雅集的闲适意趣娓娓道来。\n\n整体设色沉稳古雅，咫尺尺幅间兼具山水之旷远与文人雅聚的悠然，尽显雅致含蓄的山水意趣，把林下清谈的雅逸氛围融于青绿山水间，淡墨轻岚里藏着中式文人的精神栖居之所。",[24,7,1131,27,26,29,96,97,34,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd57379418541d43f527b09165c063b4.jpg","20.2x21.2",[45],{"id":43042,"slug":43043,"title":43044,"dynasty":144,"author":223,"museum":1941,"description":43045,"tags":43046,"thumbUrl":43047,"material":173,"size":43048,"collection":136,"collections":43049,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":49},220049,"xue-shan-yun-lv-tu-yi-ming-220049","雪山运驴图","此作用淡墨晕染出冰封寒江与覆雪山峦，满目萧寒清寂。虬曲枯木扎根石隙，枝桠尽是冬日的荒疏萧索。空阔雪野间，一行驴队徐行缓进，为沉寂山野添上些许烟火暖意，动静相映，更衬出冬日林峦的清旷孤寒。\n\n画作以细劲线条勾勒山石林木轮廓，淡墨皴擦铺陈积雪，留白晕染巧构雪色，将北国冬雪的荒寒空灵尽数铺展，于极简取景间尽显淡远意趣，把冬日行旅的孤清况味藏入尺幅之间，引人身临其境，浸沉在这片凛凛寒意与静谧萧疏之中。",[23,164,24,7,1349,27,132,2523,7067,1337,131,96,1813],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a3496e60237064d400653f83c3b0f63.jpg","25.1 x 25.9 cm",[136],{"id":43051,"slug":43052,"title":43053,"dynasty":124,"author":43054,"museum":424,"description":43055,"tags":43056,"thumbUrl":43057,"material":173,"size":43058,"collection":136,"collections":43059,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":49},220040,"xi-shan-fei-pu-tu-zhu-shou-fu-220040","溪山飞瀑图","朱受甫","此作用蜿蜒灵动的披麻皴绘就群峰，山石似随波流转，奇崛又带着秀润意趣。画面以平远铺陈左岸烟波，远山澹澹如墨痕晕染，空濛悠远；右岸峰峦错落层叠，巉岩间点缀村居林木，隐逸烟火气融在山水间。\n\n淡墨晕开薄雾，衬出山峦的通透层次，草木萧疏却意态清雅，将江南溪山的灵秀幽寂晕染开来。简淡笔墨里藏着悠游林泉的雅致心境，尽显山水间空寂淡远的文人意趣。",[23,164,24,7,25,128,29,132,663,495,4241,34,758,37,497,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac40c200bd39a1f83f4cc800733c7076.jpg","23x147厘米",[136],{"id":43061,"slug":43062,"title":43063,"dynasty":18,"author":2141,"museum":244,"description":43064,"tags":43065,"thumbUrl":43067,"material":173,"size":43068,"collection":44,"collections":43069,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":49},219692,"bu-na-tu-liu-song-nian-219692","补衲图","本幅画两名僧人坐于禅榻上，老者正潜心补衣，另一人则抱膝旁观。屏后，复有侍者二人，伫立捻茶。画中人物，表情鲜活而自然，衣纹用笔亦流畅有力。惟左下方款署之「画院待诏赐金带刘松年敬赠」及钤印疑伪。宋元罗汉画常见僧侣日常活动，此轴描绘僧人补衣，亦可归入罗汉画类型。刘松年是活动在十二世纪的南宋宫廷画家，以本院所藏〈画罗汉〉三轴最具代表性。若与〈补纳图〉相较，风格互异，本幅应系南宋晚期至元的画家托名所作。",[24,7,1326,28,27,96,21100,5472,7345,250,251,43066],"衣物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37ba4f263b90c0dc3a1bf10c1a619858.jpg","141.9x59.8cm",[44],{"id":43071,"slug":43072,"title":43073,"dynasty":54,"author":43074,"museum":20,"description":43075,"tags":43076,"thumbUrl":43077,"material":66,"size":43078,"collection":44,"collections":43079,"showCount":308,"zanCount":1998,"manualWeight":48,"mainColor":72},219634,"lao-zi-qi-niu-tu-wu-chao-219634","老子骑牛图","吴焯","吴焯（1676年--1733年），男，字尺凫，号绣谷，晚号绣谷老人，清钱塘（今杭州）人（一说安徽歙县人）。以家有古藤，花开时垂如璎珞，遂构亭名“绣谷”。",[24,7,164,27,28,96,102,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdc7b0425ec06c744d6c192a567f8e64.jpg","纵63.17cm，横32.19cm",[44],{"id":43081,"slug":43082,"title":1230,"dynasty":124,"author":41698,"museum":244,"description":43083,"tags":43084,"thumbUrl":43085,"material":66,"size":43086,"collection":136,"collections":43087,"showCount":308,"zanCount":1998,"manualWeight":48,"mainColor":72},219470,"shan-shui-tu-gu-ning-yuan-219470","此作用淡墨晕染层叠远山，云雾漫过峰巅，虚实相生间晕开空濛悠远的秋意。近岸杂木错落，浅红与苍青点染枝叶，悄然晕出时节变迁。临水篱舍掩映林间，朴雅安闲，宛然可居可游。\n\n画作以干淡细笔勾勒物象，敷色清浅柔和，全凭水墨层次营造萧散简远的氛围，将江南水畔幽居之趣藏于尺幅间，尽显文人画独有的静穆闲雅，引观者沉湎于这一片安谧丘壑，暂忘尘嚣烦扰。",[24,7,165,128,27,132,208,133,29,415,37,34,1337,35,14332,3428,6640],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F343ffa34c58013098889b77b7d2fe5d6.jpg","82.3x41.2",[136],{"id":43089,"slug":43090,"title":43091,"dynasty":222,"author":223,"museum":244,"description":43092,"tags":43093,"thumbUrl":43094,"material":151,"size":43095,"collection":136,"collections":43096,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":49},219368,"wu-kuan-xi-shan-shu-wu-zhou-yi-ming-219368","无款溪山书屋轴","绢色沉古，墨痕淡远。近岸老木扶疏，枝干如铁，叶影婆娑间漏下天光；溪石横卧，水纹隐现，似有泠泠声在耳。中麓书屋半掩，窗内人影悄坐，或展卷，或凝思，与林泉为邻，得山水之趣。远岫层叠，云气轻飘，将天地拉得悠远。笔致工细却含野逸，皴擦点染皆见匠心，无一处不藏着对自然的敬畏与对闲居的向往。置身画前，仿佛能踏过溪石，走近书屋，与画中人共沐山风，静听溪语，忘了尘嚣。",[24,7,164,165,29,128,132,413,131,99,387,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36f9e3df3cb8b48d6cea0818948aa5a4.jpg","148.6x74.5",[136],{"id":43098,"slug":43099,"title":43100,"dynasty":124,"author":223,"museum":244,"description":43101,"tags":43102,"thumbUrl":43103,"material":173,"size":43104,"collection":44,"collections":43105,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":49},219348,"pu-xian-da-shi-xiang-yi-ming-219348","普贤大士像","此幅亦无作者款名。画一僧坐于白象背上，展卷研读。普贤，梵名三曼多跋陀罗，汉译名为普贤，又名遍吉。与文殊同为释迦佛的胁侍，左辅右弼，居菩萨众之上首。又华严经以三者为华严三圣，为一切行德之本体。此图像作世俗僧形，是为便于助佛普化的缘故。与前述之文殊，二画尺寸、笔墨皆近似，原为对幅。",[24,7,164,165,27,28,187,96,949,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F743ec6d76d015ff1fc9bac3178455c15.jpg","156.6x94",[44],{"id":43107,"slug":43108,"title":13114,"dynasty":18,"author":223,"museum":4840,"description":43109,"tags":43110,"thumbUrl":43111,"material":173,"size":43112,"collection":136,"collections":43113,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},219030,"guan-pu-tu-yi-ming-219030","一条瀑布从山涧中流下，远处的山峰在云雾中清晰可见；在岩石高原的左侧，一个有学问的人拿着杖，仰望着眼前的雄伟山峰。他听着瀑布撞击岩石的声音，看到水蔓延上升，后面跟着一个抱着琵琶的孩子。这幅画是马夏的风格，用大斧头砍的石头，笔力强劲，笔触宽阔，盖子坚硬，使石头的质地很牢固。",[24,7,1131,128,27,29,132,495,96,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2c9cc6d2677a6abf31cfae2e0748f4c.jpg","23.2x23.4",[136],{"id":43115,"slug":43116,"title":43117,"dynasty":18,"author":223,"museum":77,"description":43118,"tags":43119,"thumbUrl":43120,"material":173,"size":292,"collection":68,"collections":43121,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},218969,"ying-sun-lie-hu-tu-yi-ming-218969","鹰隼猎狐图","振翅俯冲的猛禽携风而下，惊惶奔窜的狐兽攒足欲逃，劲挺的枯枝斜出岩隙，丛丛劲草在荒坡间摇曳。笔墨于精微处见真章：禽鸟羽翮层次分明，狐兽肌理细腻传神，岩石皴擦苍劲老辣。荒野的萧瑟与捕猎的焦灼交织，一瞬张力被定格成永恒。宋人笔下的野趣，在动静相衔间流淌，于形神兼备中尽显自然生息的生动与凛冽，每一处线条都藏着对生命状态的精准捕捉，每片墨色都晕染出荒野间的原始张力。",[23,164,24,7,1131,27,28,949,211,171,30058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b3bc526ab9976cefd9af3dab0639ec3.jpg",[68],{"id":43123,"slug":43124,"title":43125,"dynasty":144,"author":223,"museum":244,"description":43126,"tags":43127,"thumbUrl":43128,"material":173,"size":84,"collection":136,"collections":43129,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},218656,"xi-shan-ji-yu-yi-ming-218656","溪山积玉","雪覆层峦如积玉，淡墨晕染出远山的温软轮廓，却藏着冬日清寂。坡岸老柳垂丝，枝条似淡烟轻笼，笔意疏朗间见自然生趣。林间茅舍隐现，仿佛有暖意暗涌，与天地素净相映成趣。\n\n画面无喧嚣，只余山水静穆与生机暗涌——雪的冷、树的疏、屋的暖，在对比里藏着文人对山水的眷恋、对闲居的向往。笔墨不刻意求工，简淡中见深致，恰是元人山水意韵：以心观物，以笔写情，每一寸雪色都浸着悠然禅意，让观者于静谧中触到自然与人心的共鸣。",[23,24,7,59,128,27,29,413,130,99,132,331,454,415,387,6875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ae9bfc8cfcf642803d8d009b93b445d.jpg",[136],{"id":43131,"slug":43132,"title":43133,"dynasty":124,"author":223,"museum":300,"description":43134,"tags":43135,"thumbUrl":43136,"material":173,"size":43137,"collection":44,"collections":43138,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},218613,"hua-jiu-tu-yi-ming-218613","话旧图","暖褐底色晕染出时光的沉香，画面中三人围坐对谈，姿态松弛自在。居中者执杯浅笑，两侧人物或捧卷凝听，或倾身应答，眉宇间漫溢着旧友重逢的暖意。案上器物雅致，背景树影婆娑，简淡笔触将闲寂氛围晕开。人物衣袂纹理细腻，神态鲜活如昨，似能听见席间低语。整幅画以古朴色调包裹旧友话旧的温情，在静谧中流淌岁月沉淀的醇厚，尽显中式雅集的闲逸况味。",[23,24,7,27,28,96,1422,251,34,805,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23e668b85e53b7af5f00acbe03fda8b1.jpg","27x31",[44],{"id":43140,"slug":43141,"title":2195,"dynasty":18,"author":223,"museum":56,"description":43142,"tags":43143,"thumbUrl":43145,"material":278,"size":43146,"collection":44,"collections":43147,"showCount":308,"zanCount":1998,"manualWeight":48,"mainColor":49},218597,"lian-she-tu-yi-ming-218597","图绘东晋高僧慧远（334-416）于庐山结社故事，无作者款印，为南宋人据李公麟《莲社图》所作的摹本。画分九段，次序井然：一、乘舆者陶渊明，肩舆者其子、门生，童子一人；二、骑马者谢灵运，随侍两人；三、虎溪三笑，捉手相对者慧远、陆修静，旁立辟蛇行者，童子一人；四、设文殊金像赞颂佛事者三人，昙常、道昺、周续之；五、梵僧两人，旁立一耶舍；六、校经五人，刘程之、张诠、惠叡、惠持、惠永，手捧经笈者一人，童子一人，烹茶三人，汲水一人；七、游山两人，宗炳、昙顺。八、经筵会讲，讲说者道生，听讲者雷次宗、道敬、昙诜等；九、濯足者张野，童子一人。",[23,24,7,25,188,187,96,29,98,99,34,497,43144],"洞窟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F227278cacb67723b82fe796fc37d2573.jpg","纵28.1厘米，横459.8厘米",[44],{"id":43149,"slug":43150,"title":43151,"dynasty":124,"author":223,"museum":450,"description":43152,"tags":43153,"thumbUrl":43154,"material":173,"size":43155,"collection":44,"collections":43156,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":49},218512,"shu-xia-du-shu-tu-yi-ming-218512","树下读书图","这幅画描绘了一个坐在树下溪边读书的高士，这种风格在明代的浙江画派、戴进和吴伟中很流行，但这幅画的笔法与吴伟相似，略显疲软。",[23,24,7,165,27,96,34,99,16528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F385b9aeb644037ac90a0878724f211a4.jpg","127.5x77.8",[44],{"id":43158,"slug":43159,"title":43160,"dynasty":54,"author":43161,"museum":56,"description":43162,"tags":43163,"thumbUrl":43164,"material":278,"size":84,"collection":44,"collections":43165,"showCount":308,"zanCount":1998,"manualWeight":48,"mainColor":72},218259,"za-hua-juan-li-yu-218259","杂画卷","李渔","水墨写意间，月色轻笼孤舟，帆影随水草漾开清寂。兰草以简劲线条勾勒，墨色浓淡相生，逸趣盎然。仕女执扇伫立，衣袂翩然，身旁花草点染幽淡诗意。山石淡墨皴擦，云雾缭绕处，二人对坐，似论道品茗，空灵悠远。整卷笔墨疏朗，意境闲淡，文人雅致与自然之趣融于尺幅，每段皆含诗意，尽显写意之妙。",[23,24,7,128,188,133,64,25,208,29,96,129,231,375,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85eebb03ec7d9b97d1eea30725928f51.jpg",[44],{"id":43167,"slug":43168,"title":43169,"dynasty":18,"author":223,"museum":56,"description":43170,"tags":43171,"thumbUrl":43172,"material":173,"size":43173,"collection":136,"collections":43174,"showCount":308,"zanCount":1116,"manualWeight":48,"mainColor":49},218231,"wan-jing-tu-yi-ming-218231","晚景图","《晚景图》画夜色朦胧中的远山近丘，近景丘岭连绵，大石横卧；溪水环抱，山石以浓墨勾骨，密布山头的树叶分别以焦墨和浓墨密匝点簇。远景山头用淡墨短笔勾勒，背景全用淡墨烘染，以突出晚景主题。从此图的构图布局和笔法用墨看，是一幅综合北南宋山水画体制的佳构。",[24,7,165,128,132,29,131,34,3344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f851ecfa2c8d3ceaa533f612b7e3b1.jpg","纵69.5厘米,横37.6厘米",[136],{"id":43176,"slug":43177,"title":43178,"dynasty":124,"author":2268,"museum":77,"description":6564,"tags":43179,"thumbUrl":43180,"material":66,"size":84,"collection":84,"collections":43181,"showCount":308,"zanCount":1998,"manualWeight":48,"mainColor":72},217016,"fang-gu-shan-shui-ce-liu-kai-5-dong-qi-chang-217016","仿古山水册六开-5",[23,24,7,59,128,29,133,208,1337,131,35,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31baaa2bc3dec82af32f7ba9ddd10f36.jpg",[],{"id":43183,"slug":43184,"title":43185,"dynasty":144,"author":1346,"museum":244,"description":2533,"tags":43186,"thumbUrl":43187,"material":278,"size":84,"collection":84,"collections":43188,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},216376,"mo-zhu-pu-ce-13-wu-zhen-216376","墨竹谱册-13",[24,7,164,59,128,167,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93c58cebabf4bf703a2c8e27e2685b2c.jpg",[],{"id":43190,"slug":43191,"title":43192,"dynasty":144,"author":1346,"museum":244,"description":2533,"tags":43193,"thumbUrl":43194,"material":278,"size":84,"collection":84,"collections":43195,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},216373,"mo-zhu-pu-ce-16-wu-zhen-216373","墨竹谱册-16",[24,7,59,128,64,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7e02f90cc49f8173daed6ffa9bd4ceb.jpg",[],{"id":43197,"slug":43198,"title":43199,"dynasty":54,"author":1242,"museum":77,"description":8179,"tags":43200,"thumbUrl":43201,"material":317,"size":37994,"collection":84,"collections":43202,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},216330,"jin-nong-ba-kai-hua-niao-tu-4-jin-nong-216330","金农八开花鸟图-4",[24,7,128,369,165,61,62,582,549,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a4a4c16d57ac37a6163886acbe3d554.jpg",[],{"id":43204,"slug":43205,"title":43206,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":43207,"thumbUrl":43208,"material":278,"size":3888,"collection":84,"collections":43209,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},214979,"dao-zi-mo-bao-ren-wu-bai-miao-hua-6-yi-ming-214979","道子墨宝人物白描画-6",[23,164,24,7,188,96,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e7fe712ef2d410aa0302431285bd74f.jpg",[],{"id":43211,"slug":43212,"title":43213,"dynasty":124,"author":5219,"museum":56,"description":5220,"tags":43214,"thumbUrl":43215,"material":66,"size":5223,"collection":84,"collections":43216,"showCount":308,"zanCount":1998,"manualWeight":48,"mainColor":72},214666,"san-jue-tu-6-yao-shou-214666","三绝图-6",[24,7,29,27,59,98,99,34,35,415,129,276,209,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78e731b862b74bacfca285005df0c0ca.jpg",[],{"id":43218,"slug":43219,"title":43220,"dynasty":54,"author":9529,"museum":77,"description":36297,"tags":43221,"thumbUrl":43222,"material":66,"size":84,"collection":84,"collections":43223,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},214597,"fang-gu-shan-shui-ce-7-wang-hui-214597","仿古山水册-7",[164,24,7,59,128,29,1337,35,98,99,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67024a0a82abbb02f727849af7897c51.jpg",[],{"id":43225,"slug":43226,"title":43227,"dynasty":54,"author":9529,"museum":77,"description":36297,"tags":43228,"thumbUrl":43229,"material":66,"size":84,"collection":84,"collections":43230,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},214596,"fang-gu-shan-shui-ce-8-wang-hui-214596","仿古山水册-8",[24,7,59,27,29,34,1824,415,211,3857],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcc549ed03786bc248594ee37ecbe4da.jpg",[],{"id":43232,"slug":43233,"title":43234,"dynasty":18,"author":449,"museum":56,"description":43235,"tags":43236,"thumbUrl":43237,"material":278,"size":13555,"collection":84,"collections":43238,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},214264,"duo-jing-lou-shi-tie-19-mi-fei-214264","多景楼诗帖-19","笔锋如刷扫过纸间，似携风带雨。墨色浓淡相济，重处沉雄如坠石，轻处飘洒若流云，飞白处见筋骨嶙峋。字势欹侧跌宕，险绝中藏平衡，如危峰兀立却根基稳固。字与字顾盼呼应，行气如江河奔涌，裹挟登高临远的豪情直泻而下。每一笔率意挥洒却暗合法度，每一字狂放不羁又藏精微。线条时而刚劲如剑斫，时而柔婉如丝绕，胸中丘壑化作纸上波澜，尽显奇逸超迈的气度与吞吐万象的笔力，将“米颠”书法的颠逸与沉雄揉作一体，读之如临高阁，满目江山奔来眼底。",[7,64,133,1590,128,208,611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99a51aef5c4ea5bc78dc050ca1d3c205.jpg",[],{"id":43240,"slug":43241,"title":43242,"dynasty":18,"author":449,"museum":56,"description":43243,"tags":43244,"thumbUrl":43248,"material":278,"size":13555,"collection":84,"collections":43249,"showCount":308,"zanCount":48,"manualWeight":48,"mainColor":72},214263,"duo-jing-lou-shi-tie-21-mi-fei-214263","多景楼诗帖-21","笔墨间尽展“刷字”之妙，笔势如疾风骤雨却收放自如。粗重处墨色沉厚似铁画银钩，细劲处锋芒毕露如剑戟出鞘。“之”字捺脚舒展若振翅，“書”字结构欹侧却稳如磐石，欹正相生间藏匠心。干湿浓淡交织成趣：飞白处见筋骨，积墨处显韵味，层次丰富如山水叠嶂。行气连贯如江河奔涌，每一字皆灵动鲜活——既承晋人飘逸韵致，又融宋人豪情风骨，将登高临远的开阔心境注入笔墨。读之如观惊涛拍岸，豪情与逸气并存，不愧是宋代行书的巅峰之笔，尽显书法艺术的雄健与灵动之美。",[64,7,133,9910,208,1590,43245,43246,43247],"墨迹书写","行书技法","印章元素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4689b32af1621af6a885878995e5a0df.jpg",[],{"id":43251,"slug":43252,"title":43253,"dynasty":144,"author":14724,"museum":244,"description":40546,"tags":43254,"thumbUrl":43255,"material":278,"size":43256,"collection":84,"collections":43257,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},290954,"zhen-song-bai-xue-xuan-tu-cao-zhi-bai-290954","贞松白雪轩图",[164,24,7,165,128,29,1144,1337,387,98,99,131,211,64,208,1813],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cc9328cd8f464761861cb541b87a36e.jpg","125.9x49.7",[],{"id":43259,"slug":43260,"title":43261,"dynasty":144,"author":410,"museum":300,"description":21954,"tags":43262,"thumbUrl":43263,"material":692,"size":1293,"collection":84,"collections":43264,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},290835,"zhu-shi-liu-quan-zhou-wang-meng-290835","竹石流泉轴",[164,24,7,165,128,167,171,99,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7cc9dde7a77c5181c25b63abcfb092b.jpg",[],{"id":43266,"slug":43267,"title":43268,"dynasty":144,"author":1346,"museum":300,"description":14804,"tags":43269,"thumbUrl":43270,"material":692,"size":1293,"collection":84,"collections":43271,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},290822,"yuan-shu-lin-yuan-shan-wu-zhen-290822","元疎林远山",[24,164,7,128,29,5324,331,131,387,132,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbeb34e136ba53cca7ce0b9820edabe6.jpg",[],{"id":43273,"slug":43274,"title":43275,"dynasty":144,"author":223,"museum":300,"description":43276,"tags":43277,"thumbUrl":43279,"material":692,"size":1293,"collection":84,"collections":43280,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},290800,"jin-gang-jing-ta-zhou-yi-ming-290800","金刚经塔轴","此图轴形式新颖，绣法独特，用蓝色丝线将金刚经文绣在回文框内，字用滚针、斜缠针、套针等针法绣成。人物绣工亦细致，用了套针、网绣、施毛针、斜缠针和滚针等。金刚塔则用金线、赤圆金线和银线以平金针法绣成，因为塔之轮廓皆用金，经塔金光奕奕，呈现出一派庄严神秘的气氛。此轴属现存顾绣作品中别致而罕见的佛教题材绣品。",[24,7,165,187,18381,95,27,96,43278,7322,208],"佛塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9edd167a976c2a15ac74843696c0f44b.jpg",[],{"id":43282,"slug":43283,"title":43284,"dynasty":54,"author":1740,"museum":300,"description":43285,"tags":43286,"thumbUrl":43287,"material":692,"size":1293,"collection":84,"collections":43288,"showCount":239,"zanCount":1998,"manualWeight":48,"mainColor":72},290565,"fang-tian-wang-xiang-san-zhou-xu-yang-290565","仿天王像（三）轴","徐扬（生卒年不详）江苏苏州人，清代画家。字云亭。家住阊门内专诸巷。工绘事，擅长人物、界画、花鸟草虫。",[164,24,7,165,27,96,187,17701,34929,28,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31db09dad2d8dfa51f581109ea35d66f.jpg",[],{"id":43290,"slug":43291,"title":43292,"dynasty":54,"author":9576,"museum":300,"description":43293,"tags":43294,"thumbUrl":43295,"material":692,"size":1293,"collection":84,"collections":43296,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},290476,"shi-hua-ce-luo-pin-290476","诗画册","罗聘（1733-1799），清代画家，“扬州八怪”之一。字遯夫，号两峰，又号衣云、花之寺僧、金牛山人、师莲老人等。祖籍安徽歙县，其先辈迁居扬州。为金农入室弟子，布衣，好游历。\n人物、佛像、山水、花果、梅、兰、竹等，无所不工，笔调奇创，超逸不群，别具一格。善画《鬼趣图》，画鬼态无不极尽其妙，借以讽世。亦善刻印。金农死后，他搜罗遗稿，出资刻版，使金农的著作得以传于后世。其妻方婉仪，字白莲，亦擅画梅兰竹石，并工于诗。子允绍、允缵，均善画梅，人称“罗家梅派”。\n《清史稿》称罗聘“画无不工”。",[23,24,59,128,7,374,61,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F176eb672687f80dc471eed472e7a99b2.jpg",[],{"id":43298,"slug":43299,"title":43300,"dynasty":54,"author":14255,"museum":300,"description":14256,"tags":43301,"thumbUrl":43303,"material":692,"size":1293,"collection":84,"collections":43304,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},290392,"shu-li-que-niao-tu-qu-zhao-lin-290392","蔬栗雀鸟图",[23,164,24,7,28,27,61,6985,43302,24021,497,208],"谷穗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31e21536de94b5b3b51955ba4d3db05.jpg",[],{"id":43306,"slug":43307,"title":43308,"dynasty":54,"author":1472,"museum":300,"description":4416,"tags":43309,"thumbUrl":43310,"material":692,"size":1293,"collection":84,"collections":43311,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},290216,"tao-hua-jing-xin-zou-yi-gui-290216","桃花镜心",[23,164,24,7,1131,27,61,209,28,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb29bb2b32eeb0f891213f154160b9911.jpg",[],{"id":43313,"slug":43314,"title":43315,"dynasty":18,"author":1449,"museum":300,"description":18863,"tags":43316,"thumbUrl":43317,"material":692,"size":1293,"collection":84,"collections":43318,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":49},289881,"mei-zhu-an-chun-tu-ma-lin-289881","梅竹鹌鹑图",[23,164,24,7,165,27,28,61,371,167,8140,1813,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd99cd98ba5fbef7a7a832aad92ca642.jpg",[],{"id":43320,"slug":43321,"title":26947,"dynasty":124,"author":43322,"museum":300,"description":43323,"tags":43324,"thumbUrl":43325,"material":692,"size":1293,"collection":84,"collections":43326,"showCount":239,"zanCount":1998,"manualWeight":48,"mainColor":49},289755,"zao-yu-tu-mou-fu-289755","缪辅","《藻鱼图》中，鱼几乎占据了画面的全部空间，它似乎刚刚突然掉转身来面对观者，嘴巴大张，目光犀利。作者用细线精心描绘了片片鱼鳞，通过晕染来显示质感和立体感。以淡墨写水草，并通过鱼尾的摆动和水草的摇晃增加了画面的动感。",[23,164,24,7,61,28,27,2059,168,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfe3184dfc0e37064caa8e09617e24c8.jpg",[],{"id":43328,"slug":43329,"title":43330,"dynasty":18,"author":43331,"museum":300,"description":43332,"tags":43333,"thumbUrl":43334,"material":692,"size":1293,"collection":84,"collections":43335,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},288493,"dan-ping-qiu-hui-tu-yang-huang-hou-288493","胆瓶秋卉图","杨皇后","图中瓶架上置一蓝釉长颈瓶，内插菊花。花朵施以勾勒填色法，花叶用没骨法出之，刻画自然细腻，渲染柔和润泽。秋菊艳丽而不失于秀雅，此图为南宋写生画中的优秀作品。",[23,1131,24,164,7,28,27,61,376,169,133,208,31720],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc19493cd623f181dc873fb990329bed7.jpg",[],{"id":43337,"slug":43338,"title":43339,"dynasty":18,"author":2099,"museum":300,"description":43340,"tags":43341,"thumbUrl":43342,"material":692,"size":1293,"collection":84,"collections":43343,"showCount":239,"zanCount":1998,"manualWeight":48,"mainColor":72},288277,"xiao-xiang-wo-you-tu-li-gong-lin-288277","潇湘卧游图","《潇湘卧游图》该画中主要描绘了当时的潇湘奇景。作者以轻灵、淡雅的水墨风格在纸上作画，使用了将画面大片留白的画法。",[23,164,24,25,7,128,29,4438,211,37,133,840,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66cd68985dcb3dc40da32929dd1bf1f4.jpg",[],{"id":43345,"slug":43346,"title":43347,"dynasty":326,"author":1587,"museum":300,"description":3989,"tags":43348,"thumbUrl":43349,"material":692,"size":1293,"collection":84,"collections":43350,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},288194,"da-dao-tie-wang-xi-zhi-288194","大道帖",[23,164,7,25,840,64,1590,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1473d3c9f1fd7965415f14ac17b5d934.jpg",[],{"id":43352,"slug":43353,"title":43354,"dynasty":54,"author":14080,"museum":300,"description":43355,"tags":43356,"thumbUrl":43357,"material":692,"size":1293,"collection":84,"collections":43358,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},287689,"han-gong-chun-xiao-tu-zhou-yuan-yao-287689","汉宫春晓图轴","此图名为汉代宫殿之景，实际上表现的是作者想像中的仙山琼阁，宫阙殿宇富有装饰趣味而不具写实性。图中山石形貌奇异，繁皴与密斫浑然一体，其灵动的点染不仅显现出石质的坚硬，同时增强了画面的动势，与工整精巧的宫阙楼阁形成粗放与华美、活泼与整齐的鲜明对比。",[24,7,164,165,95,28,27,29,97,98,99,130,37,34,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71777f03d1a1f477faee4e4e8089f117.jpg",[],{"id":43360,"slug":43361,"title":43362,"dynasty":54,"author":223,"museum":300,"description":43363,"tags":43364,"thumbUrl":43365,"material":692,"size":1293,"collection":84,"collections":43366,"showCount":239,"zanCount":1998,"manualWeight":48,"mainColor":72},272873,"ci-xiu-yu-zhi-ti-tong-yin-wan-he-tu-gua-ping-yi-ming-272873","刺绣御制题桐荫玩鹤图挂屏","此作将刺绣工艺与文人雅趣相融，松石苍劲雅致，蓝调山石以绣线晕出层叠肌理，晕染出空寂清逸的山居意趣。近景林下两位高士相对而坐，一人拨弦、一人凝神静赏，将林下雅集的悠然氛围尽显。\n\n绣线设色温婉沉静，米底配青蓝绣线，将水墨淡彩的雅致晕染尽致。题诗以针代笔，走线细腻还原笔墨意趣，完美复刻文人题咏的书卷气。整幅以绣为画，得国画留白写意之妙，把文人寄情山水、乐享雅集的审美意趣尽数铺展，是诗、绣、画三者相融的佳品，尽显东方传统雅致美学。",[13534,40641,7,27,29,1144,96,64,36315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca190663de32fd118433b415c91cade2.jpg",[],{"id":43368,"slug":43369,"title":27112,"dynasty":54,"author":27113,"museum":300,"description":27114,"tags":43370,"thumbUrl":43371,"material":692,"size":1293,"collection":84,"collections":43372,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},241685,"huang-tai-hou-fu-lu-shou-tu-zhou-ci-xi-241685",[164,24,7,165,27,133,208,64,96,27116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8d321126d9348c75f93a44a94eafe90.jpg",[],{"id":43374,"slug":43375,"title":43376,"dynasty":144,"author":569,"museum":300,"description":27930,"tags":43377,"thumbUrl":43378,"material":692,"size":1293,"collection":84,"collections":43379,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":49},240930,"zhao-meng-pan-miao-fa-lian-hua-jing-ce-juan-yi-zhao-meng-fu-240930","赵孟頖妙法莲花经册卷一",[7,64,7322,59,187,128,133,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff72472614d6d8c0cb59dc2126a72dc92.jpg",[],{"id":43381,"slug":43382,"title":43383,"dynasty":124,"author":366,"museum":300,"description":8455,"tags":43384,"thumbUrl":43385,"material":692,"size":1293,"collection":318,"collections":43386,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},240579,"za-ji-shu-zha-he-ce-xu-wei-240579","杂记书札合册",[24,7,59,133,840,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff20ac2bc0f4c0aa35086c5bf0f693aca.jpg",[318],{"id":43388,"slug":43389,"title":43390,"dynasty":124,"author":10922,"museum":300,"description":43391,"tags":43392,"thumbUrl":43393,"material":84,"size":84,"collection":84,"collections":43394,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":49},239508,"jiang-nan-qiu-se-tu-zhou-wen-jia-239508","江南秋色图轴","此作用淡墨轻赭晕染出江南秋意，上部山峦清润秀雅，苔点错落点缀林麓，林木疏密有致，萧疏中带着静穆生机。下部水泽蜿蜒萦回，旅人策马缓行于汀岸，衣袂悠然，将羁旅闲情融于清秋烟景之中。\n\n整幅画作笔致松秀平和，以平远、高远构图铺展秋江山水，吴门画派的文人雅趣尽显其中。题诗与画面呼应，把怀乡之思寄于江南秋色，淡逸清灵的笔墨间，尽显秋日萧淡雅致的意境，将山水之美与诗意情怀相融，尽显清雅文人意韵。",[24,7,165,27,29,132,96,101,34,690,99,331,1233],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb264b32edebbf4b6fad5f761cbd88b0d.jpg",[],{"id":43396,"slug":43397,"title":3933,"dynasty":54,"author":2687,"museum":300,"description":3934,"tags":43398,"thumbUrl":43399,"material":692,"size":1293,"collection":84,"collections":43400,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},239243,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239243",[24,164,7,59,28,27,61,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bec8dbe8cc23c1fc4b1dbfa9f5834b7.jpg",[],{"id":43402,"slug":43403,"title":3933,"dynasty":54,"author":2687,"museum":300,"description":3934,"tags":43404,"thumbUrl":43405,"material":692,"size":1293,"collection":84,"collections":43406,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},239241,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239241",[24,7,59,28,27,61,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a740292f5846541af043dea77d13e91.jpg",[],{"id":43408,"slug":43409,"title":76,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":43410,"thumbUrl":43411,"material":692,"size":1293,"collection":84,"collections":43412,"showCount":239,"zanCount":1998,"manualWeight":48,"mainColor":72},238891,"hua-hui-ce-dong-gao-238891",[24,7,59,27,28,61,376,167,62,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9845914cd78244b783f9f157edfc671c.jpg",[],{"id":43414,"slug":43415,"title":409,"dynasty":54,"author":30880,"museum":300,"description":43416,"tags":43417,"thumbUrl":43418,"material":84,"size":84,"collection":136,"collections":43419,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},238148,"shan-shui-ce-yun-xi-238148","此作用淡墨晕染出清寂湖山，近岸坡石虬松错落，幽居隐于林木间，远山澹澹衔着烟水，飞泉垂落打破岑寂，将山林幽居的闲逸禅意融于尺幅。笔墨简淡秀雅，不事浓丽雕琢，尽显空灵悠远之致。题诗与画意相映，诗画合璧，把寄情林泉的出世襟怀藏在留白之中，尽显文人山水静穆萧散的雅趣。",[24,7,59,128,132,29,663,228,413,1314,495,129,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d49518b2e5f38132c3ad663c86af5e3.jpg",[136,45],{"id":43421,"slug":43422,"title":18219,"dynasty":54,"author":9529,"museum":300,"description":18220,"tags":43423,"thumbUrl":43424,"material":84,"size":84,"collection":84,"collections":43425,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},237584,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237584",[24,7,59,128,27,132,2271,29,1337,129,99,131,130,98,171,1233,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffde38f8e39039eeb81895aa4915e1f49.jpg",[],{"id":43427,"slug":43428,"title":43429,"dynasty":54,"author":9529,"museum":300,"description":18220,"tags":43430,"thumbUrl":43432,"material":84,"size":84,"collection":68,"collections":43433,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},237580,"wang-hui-ke-mu-zhu-shi-zhou-wang-hui-237580","王翚柯木竹石轴",[24,7,165,128,132,167,43431,1314,228,1771,208,64,133],"柯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c301fee55a5c4f3a9597b8c83070258.jpg",[68],{"id":43435,"slug":43436,"title":43437,"dynasty":54,"author":7272,"museum":20,"description":7273,"tags":43438,"thumbUrl":43439,"material":611,"size":84,"collection":68,"collections":43440,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},237345,"liu-e-zhou-lu-hui-237345","柳鹅轴",[24,7,165,304,27,128,2885,61,4363,7546,414,1824,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bfeaabf9316dbd974dad4d28dbb93e0.jpg",[68],{"id":43442,"slug":43443,"title":43444,"dynasty":124,"author":1270,"museum":300,"description":43445,"tags":43446,"thumbUrl":43447,"material":692,"size":1293,"collection":84,"collections":43448,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},236808,"mu-dan-shan-ye-sun-ke-hong-236808","牡丹扇页","明书画家、藏书家。一作克宏，字允执，号雪居，松江（今属上海市）人。礼部尚书孙承恩子。以荫授应天治中，官至汉阳知府。生性巧慧，声音洪亮，状貌疏野。所居四壁皆画苍松老柏，崩浪流泉，有一种澄泓萧瑟之意萦绕其间。他喜交友，陈继儒谓其“好客之癖，闻于江东，履綦如云，谈笑生风，坐上酒尊，老而不空”。卒年八十（一作七十九）。",[24,7,1131,128,61,263,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff367b5a6cdf57f9efb3c6201f3f1738b.jpg",[],{"id":43450,"slug":43451,"title":43452,"dynasty":54,"author":43453,"museum":300,"description":43454,"tags":43455,"thumbUrl":43456,"material":692,"size":1293,"collection":84,"collections":43457,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},236441,"hai-tang-ma-que-shan-li-gang-236441","海棠麻雀扇","李钢","李钢，清代画家，字后安，北京人。工书善花卉，笔致清挺，有陈淳遗意。《寒松阁谈艺琐录》",[24,7,1131,61,27,1132,12508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F987d7197d531cd7701758f09706fa512.jpg",[],{"id":43459,"slug":43460,"title":43461,"dynasty":54,"author":9529,"museum":20,"description":39800,"tags":43462,"thumbUrl":43463,"material":9708,"size":43464,"collection":136,"collections":43465,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":199},236363,"cui-wei-qiu-se-zhou-wang-hui-236363","翠微秋色轴",[24,7,165,128,132,29,34,131,31,415,3427,1645,496,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fbeebb1e51bd250ab9609e911e94915.jpg","纵63.5cm，横36.3cm",[136,117,318],{"id":43467,"slug":43468,"title":43469,"dynasty":54,"author":43470,"museum":20,"description":43471,"tags":43472,"thumbUrl":43474,"material":84,"size":84,"collection":68,"collections":43475,"showCount":239,"zanCount":1998,"manualWeight":48,"mainColor":72},236189,"hua-mei-xi-fan-ting-liang-shi-zheng-shu-feng-guan-long-jing-ti-ming-cheng-shan-sun-you-236189","画梅溪泛艇梁诗正书奉观龙井题名成扇","孙祐","孙佑[清]佑一作祜。江苏人。\n山水宗娄东（王原祁）乾隆（一七三六至至一七九五）时供奉内廷，曾同陈枚，金昆、戴洪、程志道绘清明上河图，乾隆六年（一七四一）与周昆、丁观鹏合作汉宫春晓图卷。《熙朝名画录、国（清）朝画徵录》",[1131,24,7,27,28,29,371,4241,43473,98,1144,131,96,64,133],"艇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b354b57fa498851ae8a5f5ae8d64860.jpg",[68,45],{"id":43477,"slug":43478,"title":43479,"dynasty":54,"author":223,"museum":20,"description":43480,"tags":43481,"thumbUrl":43482,"material":40,"size":43483,"collection":44,"collections":43484,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},236164,"xiao-cheng-ren-huang-hou-xiang-zhou-yi-ming-236164","孝诚仁皇后像轴","粘黄绢，上书满汉墨 题：“孝诚恭肃正惠安 和淑懿恪敏俪天襄圣仁 皇后，左。” 孝诚仁皇后御容一 轴，朝服冠，恭 悬， 西大柜尊藏。",[24,7,165,28,27,96,772,170,232],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F467367c4c931b73109773bf077cb8a22.jpg","纵256.1厘米， 横116.8厘米",[44,45],{"id":43486,"slug":43487,"title":43488,"dynasty":54,"author":10307,"museum":20,"description":43489,"tags":43490,"thumbUrl":43491,"material":1027,"size":84,"collection":136,"collections":43492,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":49},236140,"fang-yuan-ren-shan-shui-ce-he-yi-236140","仿元人山水册","赫奕 [清]一作颐(？-1744年)，字澹士，号南谷，别号碧岩箫史，一作碧箫外史，姓赫舍里氏，满州正黄旗人。清朝大臣、文人。内弘文院大学士希福之孙，工部尚书帅颜保之子，辅政大臣公索尼堂侄。\n侍卫入仕，后任总管内务府大臣。康熙五十二年十二月己卯，接替满笃，担任工部尚书。\n性澹泊，琴书之外专事于画。初学黄鼎，继为王原祁弟子。山水宗法元人，而独开生面，迥异时流。时有南王北赫之称。康熙五十五年（一七一六）作辋川诗意图。参见《国[清]朝画徵录、桐阴论画、读画辑略、宋元明清书画家年表》 等书。\n赫奕著有诗集《青霭山房诗集》。\n赫奕出身名门望族，是赫舍里氏家族的第六代子孙，亲族中的不乏名臣，赫奕作为内弘文院大学士希福之孙，礼部尚书帅颜保之子，在康熙年间任内务府主管，并兼任工部尚书，核定全国屯田、水利、工程、交通事项，以刚正闻名朝野。\n赫奕的绘画作为南宗正脉，在清代画坛地位崇高。但翻看有关这幅画作的“履历”足以发现它的命运多舛。在收录清朝内府藏画的《石渠宝笈》初篇中，《烟树山亭》被记录在案，画上钤盖着乾隆、嘉庆、宣统三位皇帝的“御览之宝”印章，足以说明它被几位皇帝珍视。赫奕所画的这幅《烟树山亭》以2530万元的天价拿下匡时秋拍古画专场的第一名，这含金量与康熙帝的御题字不无关系。赫奕所作《烟树山亭》上手书：“士人作画，当以草隶奇字之法为之。树如屈铁，山如画沙，脱去甜俗蹊径，乃为士气。不尔，纵俨然入格，已落画师魔界，不复可救药矣。若能解脱绳束，便是透网鳞也。”这是康熙帝亲笔御题的《临董其昌论画》。康熙帝将这段话题在赫奕的画上，正是他对这幅画的肯定与褒奖，康熙非常崇尚明代书画大家董其昌的画风，在赏过这幅《烟树山亭》，便题字称赞赫奕的这幅画颇有董其昌画作遗风。更为难得的是，和乾隆帝比，康熙从不轻易在别人的画作上留下痕迹，也就是说，能得到康熙墨宝的“他人画作”简直是凤毛麟角。据记载，虽然康熙御题字的画作不多，但赫奕一人独得数件。",[24,7,59,330,29,132,128,413,99,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38fc6046312eb9e183e0137504ff4f40.jpg",[136,117],{"id":43494,"slug":43495,"title":43496,"dynasty":124,"author":33809,"museum":20,"description":43497,"tags":43498,"thumbUrl":43499,"material":3544,"size":43500,"collection":68,"collections":43501,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},236129,"bai-zi-tu-zhou-xiang-yuan-bian-236129","柏子图轴","图绘湖石及柏树、翠竹、荆棘等。柏树昂扬郁茂，有藤萝缠绕，翠竹挺拔玉立，荆棘屈曲虬劲，三者结合，高低自然，疏密得当，相互映衬，意味悠长。用笔粗细随类，墨色浓淡相宜，风格疏爽，清新静逸。",[24,7,165,128,132,25087,276,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff40827a5b89dd11e84e82d1b56e6a6ed.jpg","纵84.6厘米，横26.5厘米",[68,117],{"id":43503,"slug":43504,"title":43505,"dynasty":54,"author":41621,"museum":20,"description":41622,"tags":43506,"thumbUrl":43507,"material":734,"size":41625,"collection":136,"collections":43508,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},236127,"song-xi-shu-wu-tu-zhou-lu-zun-shu-236127","松溪书屋图轴",[24,7,165,128,29,132,372,99,5022,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa366e0c0db1f68c15306c566b60c3904.jpg",[136,117],{"id":43510,"slug":43511,"title":76,"dynasty":54,"author":2582,"museum":300,"description":2583,"tags":43512,"thumbUrl":43513,"material":692,"size":1293,"collection":84,"collections":43514,"showCount":239,"zanCount":1998,"manualWeight":48,"mainColor":72},235599,"hua-hui-ce-wang-wu-235599",[24,7,59,27,61,62,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ac02c7830b4e4f8ae7d6de5d2c5fd28.jpg",[],{"id":43516,"slug":43517,"title":409,"dynasty":54,"author":43518,"museum":300,"description":43519,"tags":43520,"thumbUrl":43521,"material":84,"size":84,"collection":68,"collections":43522,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},235323,"shan-shui-ce-wen-dian-235323","文点","此作用笔清劲简淡，近景双松虬枝舒展，扎根嶙峋石畔，旁生细草杂木，野趣悠然。白衣高士静踞溪岸，凭虚远眺，将幽居林泉的澹泊心境寄于山水间。\n画面以留白代秋水，远山以浅墨轻晕，烟岚弥漫，虚实相生间，萧疏淡远的氛围油然而生。题识小诗与景致相融，愈发衬出画面简净空灵的意趣，尽显文人画澄怀观道的雅逸格调，将观者带入这无尘烟嚣的静穆天地，共赴林泉高致之约。",[24,7,59,128,132,29,413,131,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b31c251154b62abd3e860a5dabf4c58.jpg",[68,136],{"id":43524,"slug":43525,"title":3168,"dynasty":54,"author":29748,"museum":300,"description":29749,"tags":43526,"thumbUrl":43527,"material":692,"size":1293,"collection":84,"collections":43528,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},235279,"ren-wu-gu-shi-ce-fan-xue-yi-235279",[24,7,59,27,28,95,96,97,247,249,413,1314,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc796da6635cb8d980b065b7a7bb52c60.jpg",[],{"id":43530,"slug":43531,"title":14818,"dynasty":54,"author":223,"museum":300,"description":43532,"tags":43533,"thumbUrl":43534,"material":84,"size":84,"collection":84,"collections":43535,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},235161,"hong-ren-shan-shui-ce-yi-ming-235161","此作以极简笔墨铺陈清寂意境，枯硬淡墨勾勒石壁，冷峻苍朴，壁上古梅虬枝斜出，寥寥数笔便将孤寒疏朗之态写尽。坡前修竹亭亭玉立，清润秀雅，与古梅萧疏柔刚互衬。\n\n搭配行书题诗，笔意清逸，文心与画意相融。整体空灵冷峭，尽显新安画派简淡孤高的特质，遗世独立的禅意浸透纸面，于尺幅间勾勒出淡远宁静的天地，暗藏孤高沉郁的心境，将文人画清雅出尘的格调诠释尽致。",[24,7,59,128,29,1337,276,131,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5030c2cb2f07a2905e8001cd39c8c377.jpg",[],{"id":43537,"slug":43538,"title":43539,"dynasty":54,"author":1219,"museum":300,"description":42538,"tags":43540,"thumbUrl":43541,"material":40,"size":42543,"collection":84,"collections":43542,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},234992,"hua-hui-ling-mao-ping-10-ren-yi-234992","花卉翎毛屏10",[24,7,165,27,28,61,168,81,82,355,3334,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf9f397c8059cf090d6b2cb507af50a.jpg",[],{"id":43544,"slug":43545,"title":11926,"dynasty":124,"author":2268,"museum":300,"description":43546,"tags":43547,"thumbUrl":43548,"material":84,"size":84,"collection":84,"collections":43549,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},234978,"dong-qi-chang-shan-shui-ce-dong-qi-chang-234978","此册尺幅虽小，但笔墨极精。董其昌只书款而未钤印，是其当日自留收藏的得意之笔。册后有王时敏、笪重光二跋。从王时敏跋可知，此册为他的旧藏，后赠予王翚。佳作已在二跋文字中尽言，特录出跋文：\n“文敏于短笺小册作残山剩水，笔墨酣放，烟云灭没，俨然具万里势。真得简淡高人之致。余购藏之已二十余年。适石谷兄过小斋，见之叹赏不置，遂以诒之。非但高山流水得遇赏音，其气韵正相类也。戊申夏王时敏题。”\n“文敏每过京口，必馆于张氏园亭。所作小幅戏墨最多。余时从友人则之借观，爱其题跋，蝇头细书，未忍释手。即文敏当日亦殊自为珍重也。此册墨法天真幽淡，与张氏收藏极相类，烟客石谷两公之争赏，有以也夫。江上外史笪在辛漫识。”",[24,7,59,128,132,29,130,413,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04d6512d006560515fe7d39ca6ee3f5c.jpg",[],{"id":43551,"slug":43552,"title":33698,"dynasty":54,"author":2915,"museum":20,"description":43553,"tags":43554,"thumbUrl":43555,"material":40,"size":43556,"collection":84,"collections":43557,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":49},234295,"yue-man-qing-you-ce-chen-mei-234295","《月曼清游图》册描绘的是宫廷嫔妃们一年12个月的深宫生活：正月“寒夜探梅”、二月“杨柳荡千”、三月“闲亭对弈”、四月“庭院观花”、五月“水阁梳妆”、六月“碧池采莲”、七月“桐荫乞巧”、八月“琼台玩月”、九月“重阳赏菊”、十月“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。\n通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。\n在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。图中的楼台房室建筑则采用西洋焦点透视法绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。\n此图册于乾隆三年（1738年）绘成后深得乾隆皇帝的赞赏。乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。这件雕有103人的牙雕精品被称作“百美图”。乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[24,7,59,28,27,96,166,371,97,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f2494860570445bcd18e06e11d86184.jpg","纵37厘米，横31.8厘米",[],{"id":43559,"slug":43560,"title":16627,"dynasty":18,"author":223,"museum":20,"description":43561,"tags":43562,"thumbUrl":43563,"material":151,"size":43564,"collection":84,"collections":43565,"showCount":239,"zanCount":1116,"manualWeight":48,"mainColor":49},234072,"mu-dan-tu-ye-yi-ming-234072","图绘牡丹花后魏紫，花冠硕大，重瓣层叠，娇艳华贵，左右以绿叶相衬。花瓣层次丰富，刻画入微，先用中锋细笔勾花瓣，然后用胭脂红层层渲染，以浅黄色点花蕊，以花青汁绿染花叶。此图页精工富丽，美不胜收，构图丰满，设色艳而不俗。",[24,7,61,28,27,263,59,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F023ab8dac012fa5aa7c7c10f840c8889.jpg","纵24.8cm，横22cm",[],{"id":43567,"slug":43568,"title":43569,"dynasty":124,"author":19170,"museum":20,"description":43570,"tags":43571,"thumbUrl":43572,"material":29194,"size":43573,"collection":84,"collections":43574,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},233478,"zhu-shi-yun-quan-tu-shan-ye-ding-yun-peng-233478","竹石云泉图扇页","此图最醒目的是绘有大面积的竹林，竹竿挺拔峭立，竹叶苍翠欲滴，它们整齐地沿河岸分列，构筑出一个典雅清幽的自然环境。图中的竹以工细的笔法，一丝不苟地精心刻画，竹节笔笔分明，竹叶施墨有近浓远淡之分，它们于虚实间扩展了画面的空间层次，也显现出作者工而不板的竹画功底。此幅是作者送给友人环海先生的画作，在此巧妙地使用有着“四君子”之一美誉的竹子为题材，以此赞赏友人具有象竹一样高风亮节、虚怀若谷的品格。",[24,7,1131,128,28,29,167,1314,950,5359],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc375ba89dd11d8dbb2bf587c62911622.jpg","纵17.8厘米，横55.9厘米",[],{"id":43576,"slug":43577,"title":5047,"dynasty":124,"author":366,"museum":20,"description":5048,"tags":43578,"thumbUrl":43579,"material":3544,"size":5052,"collection":84,"collections":43580,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},233466,"ren-wu-hua-hui-ce-xu-wei-233466",[24,7,805,59,128,369,208,1036],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0caafb8f371fd7dcde8e8540b74d402.jpg",[],{"id":43582,"slug":43583,"title":39900,"dynasty":54,"author":1460,"museum":20,"description":14827,"tags":43584,"thumbUrl":43585,"material":39903,"size":39904,"collection":84,"collections":43586,"showCount":239,"zanCount":1998,"manualWeight":48,"mainColor":72},233422,"yuan-ji-shan-shui-ce-shi-tao-233422",[24,7,59,128,29,132,663,413,1023,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92e990046d184cb379e8605e984086c1.jpg",[],{"id":43588,"slug":43589,"title":39900,"dynasty":54,"author":1460,"museum":20,"description":43590,"tags":43591,"thumbUrl":43592,"material":611,"size":11341,"collection":84,"collections":43593,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},233130,"yuan-ji-shan-shui-ce-shi-tao-233130","本册共八开。设色画山水小景。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,7,59,128,27,132,29,131,34,35,1023,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c90f5b10c8750c2a37695ac1a3187d5.jpg",[],{"id":43595,"slug":43596,"title":41792,"dynasty":124,"author":3619,"museum":20,"description":41793,"tags":43597,"thumbUrl":43598,"material":611,"size":41796,"collection":84,"collections":43599,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},232955,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232955",[24,7,59,128,29,97,99,34,171,133,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8693310f9c6f226c8fad57d3764ba076.jpg",[],{"id":43601,"slug":43602,"title":43603,"dynasty":124,"author":223,"museum":300,"description":43604,"tags":43605,"thumbUrl":43606,"material":84,"size":43607,"collection":84,"collections":43608,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":49},232908,"fang-hui-zong-cha-hua-ge-niao-tu-yi-ming-232908","仿徽宗茶花鸽鸟图","中国茶花画历千年而不衰，名家辈出，流派风格纷纭，成为中华民族传统艺术瑰宝之一，屹立于世界美术之林。古往今来的画家以茶花为题作画，表现它的千姿百态，笔情墨韵。众多茶花画向我们展示了风云迭起的美的历程，给人以酣畅淋漓的美的享受和奋发向上的民族精神的感召。\n唐代茶花画的形成和发展具有深刻的社会历史背景。\n其一，从茶花栽培史看，三国时代至隋代，茶花已经从野生状态发展到人工栽培，成为观赏花卉；及至唐代，中国主要茶花产区的人工栽培已经普及，并出现了茶花品种的名称和重瓣茶花。这些茶花的物质财富必然要反映到文学艺术中来。\n其二，从社会文化看，唐代是中国长期封建社会的辉煌时代，经济繁荣，物力殷阜，宫苑私园遍于各地。茶花被视作最珍贵的花木，它与牡丹花一样，成为宫廷显贵的荣耀。在寺院里，这种具有深刻宗教色彩的曼陀罗花，受到成千上万信徒的顶礼膜拜。茶花成为盛唐文化的一个亮点。\n其三，从中国花鸟画的生存衍化来看，花鸟画历经南北朝的萌芽状态，到唐代逐渐发展成为一门独立的画科，出现一批专门的花鸟画家，其技艺亦达到精湛的水平。在这三大因素的作用和催化下，茶花题材的绘画作品应运而生。特别值得提出的是唐南诏名画《南诏画传》。在这幅唐光化二年（公元899年）由南诏画师绘就的画卷里，有两株高大的植于南诏奇王庭院圆形花坛中的山茶，画面生动精美，系典型的唐人笔法，为中国古代绘画珍品（该画卷原藏北京故宫，现在日本）。《南诏画传》中这两株高过屋檐开着大朵红色鲜花的古茶花树，是中国绘画中最早出现的山茶形象。\n此外，在唐代的花鸟画家中，晚唐的滕昌是一位具有代表性的画家。滕昌擅作花鸟草虫、蔬果，亦工书法，号称“滕书”。滕昌在居室旁栽植竹石花木，以供写生。《宣和画谱》记有滕昌茶花作品《山茶家鹩图》一幅。可以想见，画家在居室旁栽植的花木中，定然有茶花。《山茶家鹩图》当为写生之作。此传世作品后被宋徽宗藏于宫廷。滕昌的画，“笔迹轻利，傅彩鲜泽，宛有生意”。他的《山茶家鹩图》当为早期花鸟画中的茶花画代表作品。\n五代茶花画在唐人基础上迅速发展并走向成熟，至两宋，茶花画达到了兴盛时期。其主要标志有三：\n一是画院的成立和发展。这是茶花画兴盛的物质基础之一。五代西蜀、南唐正式成立画院，称“翰林图画院”，一时名画家皆归附，绘事盛极一时。至两宋，画院繁荣，尤其是在宋徽宗的倡导下，扩充画院、兴画学，画院及绘画得到空前的发展。\n二是宋代造园植树之风大盛，茶花的引种栽培发展到一个鼎盛时期。其茶花新品种之多，园艺技术水平之高，盆栽与插花艺术拓展之快，都是前所未有的。这是宋代茶花画兴盛的物质条件。\n三是茶花画领域出现以黄筌为代表的在绘画史上具有重要地位和成就的画家。五代和宋前期的花鸟画家，首推黄筌。黄筌（约903～965年）为五代西蜀画家，是五代院体画家主要代表人物。曾入西蜀画院为翰林待诏。黄筌承前启后，创黄筌画派。黄筌的“富丽画风”，适合统治者和宫庭的需要及审美趣味。所谓“黄氏富贵”，即以严谨的用笔，惟妙惟肖的形象刻画，富丽堂皇的色彩为基本特点。黄筌的茶花作品有四幅。《宣和画谱》记有三幅：《山茶鹑雀图》一幅和《山茶雪雀图》二幅，均无画迹可考。只有近代画家于非闇临黄筌《彩鸠山茶图》一幅尚存。摹本上有临宋徽宗题款：“彩鸠山茶，黄筌妙笔。”\n两宋时期的茶花画家，院体画家（即宫廷画家）主要有北宋画家崔悫、吴元瑜，南宋画家林椿、李嵩（1166～1243年）、苏汉臣、董祥（1068～？）等，其身份均为画院待诏。林椿工画花鸟翎，重布局经营，是一位卓有成就的花鸟画家，代表作有《山茶霁雪图》和《茶花鸽子图》。崔悫有《山茶图》。吴元瑜有《山茶鹩子图》。李嵩茶花代表作为《花篮图》（藏台北故宫博物院）。苏汉臣为人物画家，作品《冬日婴戏图》（现藏台北故宫博物院）是一幅以山茶为背景的人物画作。董祥茶花作品有《岁朝图》（现藏台北故宫博物院）。\n院外画家（非宫廷画家）主要有北宋画家赵昌（？～1016年）、易元吉、丘庆余等。赵昌的茶花作品有折枝茶花、二色茶花，其画作“不特取其形似，直与花传神者也”，称“写生赵昌”，名重一时。《宣和画谱》录有其茶花作品《山茶图》、《山茶竹兔图》等十幅之多，另有《四季花卉卷· 山茶》。宋代大文豪苏轼也曾为赵昌山茶图作题跋二首。易元吉的茶花作品，《宣和画谱》录有《山茶孔雀图》、《山茶戏猿图》等八幅。丘庆余的茶花作品也见诸于《宣和画谱》，有《山茶花兔图》、《湖石山茶图》等五幅。\n勾勒填彩的细密画风成为两宋茶花画的主要艺术倾向。两宋的茶花作品以精工的描绘，鲜妍的敷色著称。画家十分注意物象、物理的研究，对物写生成为一时风尚，章法严谨，笔墨精丽，技法成熟，达到炉火纯青的地步，形成这一时期茶花画的主要艺术特色。北宋的茶花画已佚，流传至今的只有南宋画家李嵩的《花篮图》（设色绢本）、宋代佚名的《山茶蝴蝶图》、《白茶花图》，从中足以窥见当时盛行画风的特色。剖析这一时期的绘画作品，可以清晰地看到，以院体画为主的细密画风始终占主导地位。此外，赵昌、易元吉的作品以写生为重。崔悫、吴元瑜的作品在继承黄筌的基础上别创一清淡疏秀之格。林椿虽为宋后期院体画家，却在继承北宋院体画细密的传统中，显示出敷色轻淡，灵活生动的特色。宋无款的《百花图卷· 茶花》画风接近于“文人画”。宋后期的董祥、赵彦敷的茶花作品已具早期文人水墨画的特征。这些作品在主体画风之外各有特色，但是茶花作品的整体艺术倾向始终是鲜明而统一的。\n五代两宋为茶花画数量最多的一个时期。五代两宋时期画茶花的有院体画家、院外画家、士大夫阶层为官者，绘茶花者甚众，呈现欣欣向荣之气势。迄今发现两宋茶花画达41幅，居各个时期茶花作品数量之首。",[23,24,164,7,25,28,27,330,61,11660,24549,211,2438,131,4278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F031db809757be93633780fb6452f3df0.jpg","30.1 x 206.5厘米",[],{"id":43610,"slug":43611,"title":43612,"dynasty":144,"author":1768,"museum":244,"description":43613,"tags":43614,"thumbUrl":43615,"material":151,"size":43616,"collection":84,"collections":43617,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":49},232255,"zhu-lin-xian-zi-tu-liu-guan-dao-232255","竹林仙子图","这一张古画比较奇怪，奇怪的是故事的内容比较特殊，而且是供欣赏者来一起讨论的。作品是元代刘贯道的 《竹林仙子》，作品并不大，但如今被收藏在台北博物馆之中。\n为什么说这一张作品比较奇怪，因为画中仅仅只出现了一个古代仕女，但专家却称这一个仕女有区别当时的画中人物，准确的讲作者想要画的是自己想象中的仙女。\n700年前的一个仙女掉落竹林，古画中的她想飞却又被困住了！\n既然是仙女，为何画中的人物会被困在画里的竹林之中无法飞出去呢？这背后究竟是为什么？我们带着疑问先来看看作品的细节，一起来欣赏一下距今700多年的作品背后究竟作者想要表达什么！\n刘贯道是元代一个著名的绘画大师，而且他的绘画作品尤其是擅长于画佛道人物，所以为什么画中人物被称为仙女，这与作者的用意有直接的关系。\n当然他也能画山水、花竹、鸟兽等等。他的作品之中绘画的手法与宋朝文人雅士一样，但其画功非又比一般的画家复杂得多，而且他的存世作品非常少。\n仔细看这一张作品，其实大家可以感受到绘画作者非常的细致，每一处的景色显得非常的精妙，尤其是他笔下有着一种传统的绘画技法，透露着一种浓浓的古典风味。\n整个作品十分的雅，而且清秀的笔锋与颜料的使用都是非常特别。仔细看那一个仙女的衣服，飘逸的感觉真的很到位，就如天宫之中的仙女一模一样。但为什么这一个仙女会落到凡间的竹之中呢？\n首先有网友给出一种解释，那就是不是这一个仙女落到了凡间，而是她亲自下凡后却被凡间的某一些东西给吸引住了。作者在绘画的时候让仙女的眼神落在了地上的鲜花上面，可能是凡间的花朵吸引住了她，也可能这一些鲜花在天宫之中就没有，美女爱花这一个观点就融入到作品之中。\n仙女被仙花吸引住了，所以她独自下凡就是为了多看几眼鲜花。仙女的姿势是有向后飞的意思，衣服的飘带也是呈现一种动起来的姿态，而仙凡看着花果，估计也就是被鲜花给吸引住了。\n不得不说古人绘画的作品真的够细致，山间有竹林，而竹林之中又有少许的鲜花。一个仙女落入在凡间的树林之中，在鲜花的山间还有一些流水，这样一种诗情画意的画面真妙。\n难怪仙女不愿意离开，估计换成别人落入到如此美景之中也不会想着离开吧",[24,7,164,28,27,96,166,167,131,4278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b43f6849455cf8800987ffcf55ba5cf.jpg","70×31.4cm",[],{"id":43619,"slug":43620,"title":43621,"dynasty":222,"author":223,"museum":300,"description":43622,"tags":43623,"thumbUrl":43624,"material":692,"size":1293,"collection":84,"collections":43625,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},231793,"ming-qing-ri-ben-gu-hua-hua-niao-shan-shui-ren-wu-fen-ben-hua-niao-juan-yi-ming-231793","明清日本古画花鸟山水人物粉本-花鸟卷","此卷三段取景，意趣各别。首段紫茄垂枝，晕染柔和饱满，将蔬果的鲜活质感尽显无余。中段群芳错生，凤仙秾艳、牵牛幽蓝、鸡冠明黄，草间蜻蜓静立，工笔勾勒柔劲相济，淡彩敷色清润雅致，将花草舒展之姿描摹入微。末段坡泽野趣盎然，蛙类或跃或伏，紫藤垂缀如瀑，蜂蝶振翅穿梭，生机灵动。全卷笔致秀雅，兼具工细写生的精工与自然野逸之趣，淡墨轻色温润和谐，将四时小景的鲜活意趣融于长卷，尽显写生花鸟的雅致风神。",[23,24,7,25,27,28,61,230,806,7699,4279,549,1039],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9311663ccaeea82c7a495e62a25ee48c.jpg",[],{"id":43627,"slug":43628,"title":43629,"dynasty":222,"author":43630,"museum":300,"description":43631,"tags":43632,"thumbUrl":43633,"material":692,"size":1293,"collection":84,"collections":43634,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},231735,"shan-shui-ren-wu-juan-xia-bu-ji-tong-231735","山水人物卷(下部)","吉通","德川吉通（1689年—1713年），德川御三家之一的尾张藩第四代藩主。是第三代藩主德川纲诚的九男，母亲侧室坂崎氏。乳名是薮太郎、吉郎、五郎太。字子中。官职从三位权中纳言。",[23,24,7,25,27,28,95,96,97,29,34,247,758,249,15551],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44a280d4f710ef9cf58d529163770ed3.jpg",[],{"id":43636,"slug":43637,"title":43638,"dynasty":222,"author":223,"museum":300,"description":43639,"tags":43640,"thumbUrl":43641,"material":692,"size":1293,"collection":84,"collections":43642,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},231679,"xing-shan-nu-hu-tu-zhou-yi-ming-231679","行山怒虎图轴","此作画境开阔空寂，将猛虎置于下半幅，以大片留白衬出山野荒莽之境。作者工写兼具，以细笔丝绘虎身鬃毛，蓬松柔劲，晕染出皮毛的明暗层次。怒目圆睁、獠牙毕露，咆哮间尽显百兽之王的慑人气魄，前爪紧扣山石，利爪锋芒毕现，将蓄势待发的悍勇姿态定格。岩石以淡墨泼染、焦墨提点，干湿浓淡间烘托出嶙峋质感，与猛虎的刚健互为映衬。整幅笔墨苍劲古朴，把山君的威严凶悍与山野的沉静融为一体，尽显传统走兽画的精妙气韵。",[23,24,7,165,27,28,5490,949,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a9040aefe7882aff435761b74a634bd.jpg",[],{"id":43644,"slug":43645,"title":43646,"dynasty":144,"author":43647,"museum":244,"description":43648,"tags":43649,"thumbUrl":43650,"material":278,"size":43651,"collection":84,"collections":43652,"showCount":239,"zanCount":1998,"manualWeight":48,"mainColor":72},231412,"yan-ling-diao-tai-tu-sa-dou-ci-231412","严陵钓台图","萨都刺","诗塘款题云：\n山川牵惹心我旌。迢递驱驰万里程。蹻步薜分声柝柝。瀑流涧汇响砰砰。钓竿台上无形迹。丘壑亭中有隐名。富贵可遗志不易。鼎彝犹似羽毛轻。予自都门历南。跋涉驱驰。奔走几半万里。闻严台钓矶。山秀寰拱。碧水澄渊。余强冷启敬共登。既而游归。启敬强余绘图。漫为作此。至元己卯（1339年）八月燕山天锡薩都剌写。并题於武林。",[23,24,128,133,64,132,208,7,29,129,1144,11998,35,415,3857],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F375ad6aa0e419933d8c53ef10dae7dd4.jpg","58.7 x 31.9cm",[],{"id":43654,"slug":43655,"title":43656,"dynasty":54,"author":22607,"museum":300,"description":43657,"tags":43658,"thumbUrl":43659,"material":84,"size":84,"collection":84,"collections":43660,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},231015,"long-tan-ting-pu-tu-mei-qing-231015","龙潭听瀑图","此作用高远式构图，以龙潭飞瀑为绝对视觉中心。危崖峭壁以灵动写意的笔墨写就，干湿皴擦并用，苍劲松活。古木虬枝斜出、繁叶层叠，朴拙的点叶技法晕染出山林深秀。\n右下角茅庐内幽人对坐，静聆瀑声喧豗，以幽居之静衬飞泉之动，动静相生尽显林泉雅意。左上题诗与画境呼应，将山川灵秀与文人隐逸襟怀相融，尽显新安画派以画为诗的清雅逸韵，把皖南山水的奇绝藏进笔墨丘壑里。",[23,24,7,165,128,132,29,495,131,34,130,99,208,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5be7c7ad00a8eb1f86f60fec81e552e6.jpg",[],{"id":43662,"slug":43663,"title":43664,"dynasty":124,"author":2268,"museum":300,"description":43665,"tags":43666,"thumbUrl":43668,"material":84,"size":84,"collection":84,"collections":43669,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},230936,"yan-shu-mao-tang-tu-dong-qi-chang-230936","烟树茅堂图","此作用高远、平远之法铺展，主峰巍然耸峙，以干淡笔墨皴擦山石，尽显浑厚苍朴质感。近景坡岸间杂树错落，或虬曲苍劲，或清疏秀雅，干湿墨色互用，晕染出空濛烟岚，将山林间的氤氲之气娓娓铺陈。\n\n山谷茅堂隐现于林泉间，幽寂清宁，与题诗相映，尽显幽居不踏尘嚣的隐逸意趣。全画笔法松秀灵逸，意境萧散淡远，将文人寄情林泉的雅怀融于笔墨间，尽显南宗山水的静穆雅致。",[24,7,128,132,165,133,208,64,29,16044,43667,131,34],"茅堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59c40f19d70eb1e0f772b02e18b758c7.jpg",[],{"id":43671,"slug":43672,"title":43673,"dynasty":124,"author":2268,"museum":300,"description":43674,"tags":43675,"thumbUrl":43676,"material":84,"size":84,"collection":84,"collections":43677,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},230905,"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-dong-qi-chang-230905","仿黄子久 江山秋霁图","此作用淡墨干笔铺写秋江暮色，峰峦以披麻皴轻擦晕染，温润秀拙间带着松弛的苍厚，坡岸林木萧疏错落，留白托出澹澹江水，空寂淡远的秋意漫溢卷间。\n师法前贤却不囿于形，将元人山水的天真简淡，融于自身秀逸松灵的笔致，以禅意入画，寄寓林泉幽隐的文人心境。卷后诸家题跋绵延，以笔墨赓续宋元文脉，尽显晚明文人画的风雅韵致，是师古自化的上乘之作。",[23,164,24,7,25,128,330,132,133,208,29,496,34,99,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae42bf74014b353f5b93fb8e51f870d3.jpg",[],{"id":43679,"slug":43680,"title":1230,"dynasty":351,"author":43681,"museum":300,"description":43682,"tags":43683,"thumbUrl":43684,"material":692,"size":1293,"collection":84,"collections":43685,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":49},230841,"shan-shui-tu-gui-guan-230841","珪观","珪观，唐代画家，代表作有《山水图》。",[164,24,7,1131,132,27,29,663,1144,96,101,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa92278b55313173802c39eb57a8cf6.jpg",[],{"id":43687,"slug":43688,"title":43689,"dynasty":222,"author":223,"museum":300,"description":43690,"tags":43691,"thumbUrl":43695,"material":692,"size":1293,"collection":84,"collections":43696,"showCount":239,"zanCount":1998,"manualWeight":48,"mainColor":49},230836,"di-yu-shi-wang-jing-bian-tu-juan-yi-ming-230836","地狱十王经变图卷","以长卷铺陈幽冥叙事，起首佛陀安坐，引渡之意尽显。次第展开断狱场景，冥王威严端坐，鬼差持械呼喝，罪众或戴枷受刑、或垂首惶然，刑狱百态跃然纸上。\n\n笔致稚拙灵动，设色古旧厚重，人物神态各有分明：冥王的肃穆威严，罪囚的凄惶愁苦，差役的凶戾悍勇，皆被鲜活勾勒。民间画工以质朴笔触，将宗教劝诫融于具象场景，既带着神性庄严，亦杂糅世俗意趣，把善恶有报、礼佛超生的因果叙事完整铺陈，藏着古人对生死善恶的叩问与敬畏。",[23,24,7,25,27,28,187,96,101,43692,7220,11074,43693,43694],"鬼卒","刑罚","审判","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a101c72f4343dac941cb149b8b6931c.jpg",[],{"id":43698,"slug":43699,"title":43700,"dynasty":54,"author":1242,"museum":300,"description":43701,"tags":43702,"thumbUrl":43703,"material":84,"size":84,"collection":84,"collections":43704,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},230237,"za-hua-shi-er-kai-2-jin-nong-230237","杂画十二开2","此作以水墨写就早春桃柳，柔柳垂条以淡墨轻扫，如烟似雾，尽得扶风曼舞之姿，尽显春日柔媚。下方桃枝斜出，苍劲朴拙的枝桠间，以浓淡墨色点染花苞与初绽小花，古拙清雅。\n画面左上题诗与绘景呼应，诗画相融，晕开清寂雅致的春日氛围。全幅以水墨代彩，摒弃艳俗，笔墨生拙古雅，简淡疏朗间带着浓郁文人意趣，寥寥数笔便将早春二月的清隽诗意凝于尺幅，尽显写意水墨的精妙功力。",[24,128,59,7,2372,209,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ddce53ad3ab07ab23b7059e4162171.jpg",[],{"id":43706,"slug":43707,"title":11269,"dynasty":54,"author":11270,"museum":300,"description":43708,"tags":43709,"thumbUrl":43710,"material":84,"size":84,"collection":84,"collections":43711,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},230219,"shi-er-jin-chai-tu-zhou-zhang-shan-ma-230219","此作用水墨晕染出秋江暮色，云烟如絮，朦胧苍茫。芦叶以焦墨劲笔写出，苍劲挺拔，烘托出荒寒清寂的秋意。墨虎雄踞丛芦之上，身姿矫健遒劲，皮毛以干湿墨皴擦晕染，将绒质感与猛兽威严相融。它回首远眺，目光沉毅内敛，褪去传统虎画的凶戾张扬，尽显山林王者的孤傲沉静。\n\n题款朱印错落点缀，诗画相映，将虎的英武气度融于秋江暮色之中，以写意笔墨勾勒实景意趣，把猛兽的雄姿化作秋江一景的清寂风骨，笔意兼工带写，借虎抒怀，尽显雅致文气。",[23,24,7,164,165,128,369,5490,7446,37,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6490eb9fd9675d8251e3cf2c0e894455.jpg",[],{"id":43713,"slug":43714,"title":43715,"dynasty":124,"author":43716,"museum":300,"description":43717,"tags":43718,"thumbUrl":43719,"material":84,"size":84,"collection":84,"collections":43720,"showCount":239,"zanCount":1998,"manualWeight":48,"mainColor":49},228754,"qiu-shu-qing-quan-tu-zhu-lang-228754","秋树清泉图","朱朗","此作取景清寂萧疏，以虬曲苍劲的枯林为画面核心。老木枝桠如蟹爪舒张，细笔勾染残叶、宿苔，将深秋的凋敝之态尽藏笔底。侧锋皴擦的山石与坡岸浅渚错落排布，留白暗喻寒水萦回，寥寥数笔便将郊野荒寒的秋意烘托尽致。\n\n笔墨苍秀兼具，勾勒皴擦不失法度，枯淡墨色铺陈出清旷冷寂的氛围，静穆之中暗含内敛生机，尽显文人山水尚简重韵的审美意趣，将深秋郊野的疏淡幽寂娓娓绘出，笔情墨趣间皆是淡然萧索的秋日诗意。",[23,24,7,165,128,132,331,276,99,171,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd470dac0b1a8ee6ac422dd38eb8afe6.jpg",[],{"id":43722,"slug":43723,"title":43724,"dynasty":124,"author":43725,"museum":300,"description":43726,"tags":43727,"thumbUrl":43728,"material":84,"size":84,"collection":84,"collections":43729,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},228342,"qian-yan-tu-wang-shou-qian-228342","千雁图","王守谦","整卷群雁聚散自如，或振翅翱翔、或敛羽栖汀，姿态各不相同，灵动尽显。以淡墨晕染汀渚苇丛，留白铺就水天色空濛之境，虚实相生间，将秋日寒渚的清旷萧瑟铺展开来。\n\n水墨写意笔触简练苍润，大雁造型简括神完，芦苇繁花轻描淡写，野逸之趣扑面而来。画面两侧行书题跋与画作相得益彰，书画合璧，尽显明代文人画的雅致意趣，将江渚雁群的自然野态描摹得淋漓尽致，是写意花鸟中的精妙之作。",[23,24,7,25,128,27,28,211,1824,303,1400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd5f90b188d80a1c0e4720b5f1db3863.jpg",[],{"id":43731,"slug":43732,"title":43733,"dynasty":144,"author":223,"museum":300,"description":43734,"tags":43735,"thumbUrl":43736,"material":84,"size":84,"collection":84,"collections":43737,"showCount":239,"zanCount":1998,"manualWeight":48,"mainColor":72},228239,"xiang-yue-chao-yin-wan-shan-ye-yi-ming-228239","香月潮音纨扇页","右幅工笔晕染，墨云翻涌间寒梅虬枝横斜，素衣嫦娥凭枝独立，绿袂随风翩跹，两轮圆月晕出柔润清辉，将月宫清寂融在缥缈云气中，勾勒出幽冷出尘的仙庭之景。\n\n左侧行书题诗笔致秀雅疏朗，诗中月夜潮声、倚梅凝伫的意境与画中景致相互呼应，书画合璧，将清冷出尘的幽思晕染开来，整体雅静淡远，尽显古雅的文人意趣与仙逸之美，把月宫孤清又柔婉的氛围烘托得如梦似幻。",[23,24,7,1131,27,96,166,231,1337,24812,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f6f728d00ca1270b82eb5fb174b1f88.jpg",[],{"id":43739,"slug":43740,"title":43741,"dynasty":18,"author":633,"museum":300,"description":43742,"tags":43743,"thumbUrl":43746,"material":84,"size":84,"collection":84,"collections":43747,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":49},227983,"ze-pan-ji-feng-tu-xia-gui-227983","泽畔疾风图","取景偏于一隅，以少胜多尽显空灵意蕴。坡岸古松欹斜偃蹇，枝叶被劲风催动翻卷，将无形疾风化作可见的动势。滩头渔人躬身急收渔具，在仓促忙乱间把江上风急的冷寂氛围具象化。对岸远山以淡墨晕染，崖顶隐于朦胧间，不着一笔却见江天辽远。留白化作淼淼烟波与空阔长天，以虚代实，寥寥数笔便将骤风起于泽畔的瞬态凝固，把江野的清寂苍劲藏在简淡水墨中，尽显山水小景的写意妙趣。",[164,24,7,1131,128,27,29,331,129,1351,132,131,34,43744,43745],"渔夫","疾风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee58dbb89ce2c636b498ecbaa6feb6ca.jpg",[],{"id":43749,"slug":43750,"title":43751,"dynasty":18,"author":7264,"museum":300,"description":43752,"tags":43753,"thumbUrl":43754,"material":84,"size":84,"collection":84,"collections":43755,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":49},227941,"yun-shan-tu-juan-mi-you-ren-227941","云山图卷","以水墨晕染写就烟峦百态，峰岫浮沉在流岚雾霭之中，汀渚林木隐现于云水之间。不施勾勒皴擦，纯以墨色浓淡晕出山之体态，尽显江南山水氤氲空濛的烟雨气象。\n运笔简率萧散，信笔挥洒间便将润泽秀雅的江天景致铺展卷上。一叶孤舟泛于江上，更衬江天寥廓悠远，尽显“墨戏”的写意特质，于虚灵中藏沉厚，平淡里见悠远，将江南烟岚朝暮的朦胧诗意定格卷间，尽显寄兴笔墨的文人雅趣。",[23,24,7,25,128,132,29,950,129,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f0dedd99ab89fbc71fe9e1671080a2e.jpg",[],{"id":43757,"slug":43758,"title":43759,"dynasty":18,"author":18655,"museum":244,"description":43760,"tags":43761,"thumbUrl":43762,"material":637,"size":84,"collection":84,"collections":43763,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},227750,"feng-yan-zhan-juan-zhao-bo-su-227750","风檐展卷","本幅画傍山临水，庭院湖石点缀，长松修竹环抱，营造出文人理想燕居之室。亭内屏前设卧榻，漆桌上置书卷、瓷瓶、香炉，文士右持羽扇，左倚凭几，神态悠闲；左方仕女二人凭栏而立，右方两童手执茶具，趋步向亭。题签订为南宋画家赵伯骕（1124-1182），对幅书法则为乾隆御题。宋人强调「烧香、烹茶，挂画、插花，四般闲事」（见南宋《梦粱录》）。此帧小扇面，除了反映宋代文人品茶挂画的生活文化，更保留了宋代园林建筑及家具的造型特色，弥足珍贵。",[23,164,24,7,27,28,29,96,130,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc92817d91df028c880aa3c02bbd0c810.jpg",[],{"id":43765,"slug":43766,"title":43767,"dynasty":18,"author":1449,"museum":244,"description":43768,"tags":43769,"thumbUrl":43770,"material":84,"size":84,"collection":84,"collections":43771,"showCount":239,"zanCount":1998,"manualWeight":48,"mainColor":72},227636,"bing-zhu-ye-you-tu-ma-lin-227636","秉烛夜游图","《宋马麟秉烛夜游图》是宋代画家马麟创作的一幅古画。\n\n朦胧的幽雾，伴随着鹅黄的月光，轻轻地降临人间。黝黑的短亭、长廊前，一朵朵犹如淡抹著胭脂、醉卧在绿沙中的海棠花们，深深地吸引着屋内主人的目光。他唤来了仆人，点起了蜡烛；在烛光映衬下，他满足地倚坐于亭内，望著这万重绰约如仙的红颜，看得都痴了。\n\n宋人爱花成痴的傻劲儿，是令人称奇，也令人称羡的。其中，又以素有「花中神仙」之称的海棠，最令宋人钟情、痴狂。海棠激发了宋人赏花的热情，不仅不分晴雨，也不分昼夜。古人燃烛夜赏芳华，或为牡丹，或为梅花；但能令宋人「只恐夜深花睡去，高烧银烛照红妆」的，却独独只有海棠。",[23,164,24,7,1326,27,95,97,96,34,29,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff35159932efb51b829eecc61539b4cc0.jpg",[],{"id":43773,"slug":43774,"title":43775,"dynasty":18,"author":2099,"museum":300,"description":26781,"tags":43776,"thumbUrl":43777,"material":84,"size":84,"collection":44,"collections":43778,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":49},227605,"long-mian-shan-zhuang-tu-er-ju-bu-li-gong-lin-227605","龙眠山庄图二（局部）",[23,164,24,7,188,29,96,131,34,3387,12108,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae494a47b809a3618a60d989e4610588.jpg",[44],{"id":43780,"slug":43781,"title":43782,"dynasty":18,"author":686,"museum":300,"description":43783,"tags":43784,"thumbUrl":43785,"material":84,"size":84,"collection":84,"collections":43786,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},227496,"xue-shan-tu-ye-fan-kuan-227496","雪山图页","《雪山萧寺图》是北宋画家范宽创作的一幅中国画。该幅画表现雪中山水的代表作品，构图不同于其他作品。画中山石树木直现于幅前，不留空间，让观赏者觉得有一股寒气袭来的身临其境感。群山簇拥，直指天空，深深的沟壑中，密林隐藏着萧寺，丛岩叠嶂中，“溪出深虚，水若有声”。由近而远堆叠的山峦，“折落有势”，山下寒树苍劲坚挺，势如铁帚，显示出范宽“写山真骨”，“与山传神”的精湛技艺。",[23,164,24,7,59,128,27,132,29,2523,171,331,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F323a384e10f929ca675c2d84c6b715b5.jpg",[],{"id":43788,"slug":43789,"title":11060,"dynasty":18,"author":43790,"museum":300,"description":43791,"tags":43792,"thumbUrl":43793,"material":84,"size":84,"collection":84,"collections":43794,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":49},227415,"pan-che-tu-jiang-guan-dao-227415","江贯道","江贯道是北宋时期的画家，他名叫江参，贯道是他的字。 江贯道的山水画风格融合了董源、巨然的画风，擅画远山丛丛，水天一色。 清初的王鉴很喜欢江贯道的画风，临仿了多幅他的作品。 从清初四王的风格来看，他们都有强大的摹古能力，尤其是宋元名家的风格特征已经深深地烙印在他们的作品之中。",[24,164,7,29,27,132,1233,331,102,106,96,663,690,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7232f33445e065218724fbbeadf8b1e2.jpg",[],{"id":43796,"slug":43797,"title":43798,"dynasty":182,"author":3529,"museum":300,"description":43799,"tags":43800,"thumbUrl":43801,"material":84,"size":84,"collection":84,"collections":43802,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},227079,"yu-ren-cheng-ma-tu-ming-mo-ben-han-gan-227079","圉人呈马图（明摹本）","韩斡《 圉人呈马图》，生动地表现了骏马的体态神情，准确、简炼，真实。牧马人的形象也威武生动。从画风来看，牧马人两腮胡须，体格高大肥壮，是为胡人相貌;马匹神骏雄健，属来自西域之品种。在造形上，黑白二马健硕丰满，生动逼真，但在线条的描绘上却是细致流畅。",[23,24,164,7,25,330,27,96,101,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b526faf361dadc7a0848f07e8fe74aa.jpg",[],{"id":43804,"slug":43805,"title":43806,"dynasty":54,"author":1472,"museum":300,"description":43807,"tags":43808,"thumbUrl":43809,"material":84,"size":84,"collection":84,"collections":43810,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},224588,"mo-song-yuan-hua-liu-xia-xiong-ji-zhou-zou-yi-gui-224588","橅宋苑画榴下雄鸡轴","此作用色明妍雅致，雄鸡独立石上，红冠华羽，昂首睨视，尽显轩昂神气。榴花似火缀于枝桠，与素白百合、娇柔萱花相映，浓烈与清柔交织，层次丰盈。灵透湖石立旁，皴秀古雅，衬得花木禽鸟更见鲜活生机。\n\n工笔绘就却无板滞之感，禽鸟羽毛晕染细腻毫微，花枝俯仰有情，尽显精工雅致。搭配题诗，将雄鸡傲岸品格融于笔端，物性文思相合，构图疏密得宜，静雅鲜活相融，铺展出祥瑞清和的悠然意境，尽显雅致雍容的花鸟意趣。",[23,24,7,165,28,27,61,4325,19684,828,229,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c4db89d3a16251c308996ad3f0f3d35.jpg",[],{"id":43812,"slug":43813,"title":43814,"dynasty":54,"author":1460,"museum":300,"description":43815,"tags":43816,"thumbUrl":43817,"material":84,"size":84,"collection":84,"collections":43818,"showCount":239,"zanCount":1998,"manualWeight":48,"mainColor":72},224518,"shan-shui-tu-ce-8-kai-5-zhang-da-qian-jiu-cang-shi-tao-224518","山水图册8开-5-张大千旧藏","这幅画以板桥通幽开篇，苍虬古木引向临渊茅舍，二人松下晤谈，岸柳轻拂添了灵动生机。远景群峰用枯涩皴笔写就，墨色干湿浓淡交织，于简淡勾勒间见出层峦雄浑之态。\n整幅以笔意载山乡幽怀，将林下隐逸的桃源意趣藏于尺幅。题字纵逸朴拙，与山水笔墨浑然相合，不见雕琢之痕。观之如踏入烟岚溪山，俗虑尽消，尽显笔底丘壑的林下清趣。",[23,164,24,7,59,128,132,29,413,96,99,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1db64bd599b59aa160742e31ee3c7ca.jpg",[],{"id":43820,"slug":43821,"title":43822,"dynasty":54,"author":1460,"museum":300,"description":43823,"tags":43824,"thumbUrl":43825,"material":84,"size":84,"collection":84,"collections":43826,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},224506,"shan-shui-ce-kai-shi-yi-shi-tao-224506","山水冊开(十一)","淡墨晕染江天，烟霭轻笼远山，将春日春江晕染得愈发空濛柔婉。岸侧垂柳疏条袅袅，几只禽鸟栖止枝头，清寂中又添几分灵动生机。江心孤帆半展，随波缓行，似载着晚春归人，悠悠划入淡远烟波之中。\n整幅画作笔墨简淡空灵，不着浓艳色彩，以写意之笔勾勒出江乡暮春的闲散幽寂。题诗与画境浑然相融，把春昼悠长的慵懒恬然藏在浅淡笔墨间，寥寥数笔便将悠远空寂的江天胜境铺展开来，尽显雅致文心。",[23,24,7,59,128,132,29,129,99,211,1233,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a05b280c06a6313490c10405c040edb.jpg",[],{"id":43828,"slug":43829,"title":43830,"dynasty":54,"author":4083,"museum":300,"description":43831,"tags":43832,"thumbUrl":43833,"material":84,"size":84,"collection":84,"collections":43834,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":49},224427,"nan-shan-ji-cui-tu-wang-shi-min-224427","南山积翠图","《南山积翠图》是清代画家 晚年创作的一副绢本设色画，现收藏于 。\n画面布置有序，层次井然，笔墨清隽秀润，沉静淡雅，毫无躁气，具有温厚而博大之美。\n《南山积翠图》，该作品按远、中、近三景均采用大量的笔墨描绘。\n画作尺幅虽大，用笔却毫不松懈。\n尤其是中景，刻画得更为精谨。\n草木繁茂、山势蜿蜒，却丝毫没有迫塞感。\n山体曲折、盘桓，观者置身画中，沿山间小路仿佛可以直达无人之境。\n此作题“壬子长夏写南山积翠图，奉祝蓉翁太老亲台七襄大寿并祈粲正。\n弟王时敏时年八十有一”。\n由此题款可知，这是画家为人贺寿之作。\n画作近景刻画了松树，松枝翠绿，枝干姿态各异，暗含“贺寿”这一主题。\n画家刻意将松叶所用的墨色加以区分，墨色浓淡不同、虚实相生，使松树充满生机。\n而对近景山石的处理，他主要师法黄公望———用笔苍劲，多矾头，随意的长披麻皴疏松、秀雅。\n不过，他并不满足于师法一家。\n从对画中山石的点苔来看，他亦受王蒙画法的影响———用浓墨表现。\n可见，他在吸收古人之法时并不是一味地照搬，而是融会贯通，有自己的特点。\n与近景相比，中景的山体更险要，重峦叠嶂。\n为烘托山石奇险之势，画家有意将瀑布、雾霭穿插于山间。\n瀑布顺流而下，隐于山林之间；雾霭从远处飘来，势若蛟龙。\n作品虽未画人物，但中景的房屋却暗示了人物的存在。\n整幅画面虽气势磅礴、山势险峻，却并不冷清。\n山中的楼阁似山林主人居住之所，又似游人休息之处；似画家凭栏独赏之所，又似文人品茗、畅谈之阁，具有浓郁的文人画意味。\n远景中间，山峰如柱，是整个画面的气魄所在。\n山脉随景之推深而愈加陡峭，以浓墨绘就的苍松亦愈加繁茂。\n由此，我们可以感受到画家对生命的敬畏和对受画者大寿的美好祝愿。\n作品构图繁复、行笔缜密、墨色沉静，毫无躁气，给人一种清新、温润的感觉。\n王时敏的《南山积翠图》虽在一定程度上沿袭了前人“三段式”的构图，但细看，不难发现其创新之处。\n画面虽分为远、中、近三景，但呈现出一层坡、二层树、三层山的格局。\n而且，画家还有意识地在构图中加入了起伏、开合之势，为后来王原祁“积石为山”的“龙脉”构图理论打下了基础。\n218年8月15日，该画在辽宁博物馆中国古代绘画展中展出。\n王时敏（1592—168），字逊之，号烟客，江苏太仓人。\n祖父王锡爵在明朝万历时期曾任礼部尚书兼 ，父王衡任翰林院编修，他以荫官任太常寺玺卿，升太常寺少卿，后辞官回乡。\n入清后不仕，以书画自娱。\n自少年起绘画即受到董其昌的指授，又认真观摩和研习家藏及董其昌所藏的诸多前代名画。\n他将古代名家丘壑布景、笔墨技法、意境气韵等元素进行梳理，加以规范化和格式化。\n他尤其尊仰黄公望，深得黄氏笔墨浑厚苍茫的真髓，最终形成布景平稳中寓变化，笔墨圆厚、虚和、雄浑、蕴藉的艺术风格，引领着清初摹古的艺术潮流。",[23,24,7,165,1349,132,128,27,29,1144,495,37,131,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac2ddc38beea10fbc512f633554005c.jpg",[],{"id":43836,"slug":43837,"title":43838,"dynasty":54,"author":17240,"museum":300,"description":43839,"tags":43840,"thumbUrl":43841,"material":84,"size":84,"collection":84,"collections":43842,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},224255,"tao-yuan-tu-cha-shi-biao-224255","桃园图","此作用笔松秀简淡，以浅绛设色晕染出桃源幽境。左侧村舍错落隐于林樾间，田陇横斜延展，数位乡贤执礼晤谈，稚童随行、家犬嬉游，晕开融融烟火意趣。右侧崖壁清峭苍古，松枝偃仰遒劲，江流宛转萦回，扁舟静泊汀岸，淡施花青赭石点染枝梢，晕开春日柔润清和。\n全画以留白衬出空寂幽远的氛围，将林泉静穆与村居恬和相融，把文人心中避世归乡的桃源理想，化作可感的山水村居图景，尽显萧散简远的审美意趣。",[23,24,7,25,128,132,29,96,35,34,1144,209,129,527],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14ee26c49185665d7885d138604cf597.jpg",[],{"id":43844,"slug":43845,"title":43846,"dynasty":54,"author":25699,"museum":300,"description":43847,"tags":43848,"thumbUrl":43849,"material":84,"size":84,"collection":84,"collections":43850,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},224168,"zhu-ju-tu-zhou-xi-gang-224168","竹菊图轴","画面以山水衬花木，竹枝挺秀于右上角，涧水蜿蜒穿石而过，丛菊沿溪盛放，白花墨叶相互映衬。山石以淡墨皴擦留白作泉流，笔致松秀灵动，菊花以细笔勾勒花瓣，淡墨晕染花叶，清妍雅致。\n\n行书长题与画作相映，寄寓爱菊慕寿的文人雅趣。整体意境清寂高旷，将花木清隽与山水静逸融为一体，淡墨浅彩间尽显幽淡冲和的林下之风，是文人花鸟画中诗画合璧的逸品。",[23,24,7,165,27,132,167,376,99,131,547,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefc656bde3d4ac43914a891d3b7e6eef.jpg",[],{"id":43852,"slug":43853,"title":43854,"dynasty":54,"author":7208,"museum":244,"description":43855,"tags":43856,"thumbUrl":43857,"material":637,"size":43858,"collection":68,"collections":43859,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},224117,"kai-tai-shuo-bing-san-yang-kai-tai-tu-juan-qian-long-224117","开泰说并三阳开泰图卷","是清代乾隆弘历的亲笔图，该幅是摹仿收藏于台北故宫博物院明宣宗（1399－1435）与郎世宁（1688－1766）同名之作。该幅据其自题，谓壬辰（1772）新春，自制开泰说一篇，又仿明宣宗作开泰图。三羊造型，实仿朗世宁开泰图。花石则系邹一桂奉诏补景之作",[23,164,24,7,25,128,133,208,64,949,6300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0619277c0f73ea795b19279dee6e8c7f.jpg","27.7×63厘米",[68,117],{"id":43861,"slug":43862,"title":43863,"dynasty":18,"author":223,"museum":510,"description":43864,"tags":43865,"thumbUrl":43866,"material":611,"size":43867,"collection":84,"collections":43868,"showCount":239,"zanCount":1998,"manualWeight":48,"mainColor":72},223492,"ming-huang-ji-qiu-tu-quan-juan-yi-ming-223492","明皇击球图全卷","图绘十六人击球之场面。画作左右各绘球门一扇，均两人守一门，画中部唐明皇带领后宫佳丽及臣子骑马击球，人物姿态各异，穿着随意，表情喜庆欢乐。旧传为李公麟所作，卷尾有明傅著、吴乾、董其昌等跋，",[23,164,24,7,25,188,96,101,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68798f2e4eb8278bdfe8b44f29281933.jpg","32.1×226",[],{"id":43870,"slug":43871,"title":43872,"dynasty":18,"author":223,"museum":510,"description":43873,"tags":43874,"thumbUrl":43875,"material":151,"size":43876,"collection":68,"collections":43877,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":49},223449,"han-ya-tu-juan-yi-ming-223449","寒鸦图卷","此图淡彩画雪霁严林、群鸭、寒塘衰草。",[23,24,7,25,128,27,28,132,64,208,1337,331,211,1813,99,5974,11830],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69ba2c5fb104dfc8ae7bd32e5b801ac1.jpg","27.1×113.2cm",[68,45],{"id":43879,"slug":43880,"title":43881,"dynasty":18,"author":223,"museum":244,"description":43882,"tags":43883,"thumbUrl":43884,"material":637,"size":43885,"collection":84,"collections":43886,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":49},223426,"song-ren-song-yan-xian-guan-zhou-yi-ming-223426","宋人松岩仙馆轴","静处江山，层楼逶迤。长松之下，人物容与于其间。全幅画山，尽用焦墨钩勒，近轮廓处，稍稍以淡墨横加皴纹，隐约几不可辨。画树极细致而详尽，夹叶点中并及筋络。人物亦细笔，劲挺而须眉毕具。无间远近，同此一法。与世传唐画有脉息相通处，或是宋人所摹旧本。",[23,24,7,165,128,132,29,372,3072,97,413,131,415,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb29c46de45092ebaff5ce785caa37a19.jpg","171x115.7公分",[],{"id":43888,"slug":43889,"title":43890,"dynasty":18,"author":223,"museum":20,"description":43891,"tags":43892,"thumbUrl":43893,"material":514,"size":43894,"collection":84,"collections":43895,"showCount":239,"zanCount":1998,"manualWeight":48,"mainColor":49},223373,"xie-sheng-cao-chong-tu-yi-ming-223373","写生草虫图","画面右侧绘野生花草，狗尾、紫菀莛叶穿插。菜粉蝶落在花上吸取花蜜，蜻蜓徐徐低飞，蚱蜢跃跃欲跳，整幅画面充满动感。3只昆虫在画面上的等边三角形构图平衡了丛生的野草所造成的重心偏倚，使画面结构稳定。野草和花叶用花青加汁绿勾填，花用没骨法出之，昆虫兼工带写，形态逼真",[23,164,24,7,28,27,2166,61,480,608,481,21228,971,1039,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf81f5379cd474d1d26ba4e587d518bb.jpg","25.9x26.9",[],{"id":43897,"slug":43898,"title":43899,"dynasty":54,"author":1504,"museum":300,"description":2280,"tags":43900,"thumbUrl":43901,"material":611,"size":84,"collection":318,"collections":43902,"showCount":239,"zanCount":1116,"manualWeight":48,"mainColor":72},223292,"wu-yan-shi-zheng-ban-qiao-223292","五言诗",[23,24,7,165,133,208,128,304,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa3c5a5bdcf2543aa3e72177efe971d9.jpg",[318],{"id":43904,"slug":43905,"title":6956,"dynasty":54,"author":6957,"museum":300,"description":6958,"tags":43906,"thumbUrl":43907,"material":84,"size":84,"collection":84,"collections":43908,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},223090,"shui-hu-ren-wu-ren-xun-223090",[23,24,7,165,27,28,96,5626,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea61dcdc52acaa47132be4176a6acda0.jpg",[],{"id":43910,"slug":43911,"title":43912,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":43913,"thumbUrl":43914,"material":151,"size":7879,"collection":84,"collections":43915,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":49},222944,"hong-lou-meng-69-sun-wen-222944","红楼梦69",[23,24,7,28,27,96,130,98,99,4363,131,97,166,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd7e8b93ac1840b7ff844acf13c31046.jpg",[],{"id":43917,"slug":43918,"title":43919,"dynasty":54,"author":523,"museum":20,"description":43920,"tags":43921,"thumbUrl":43922,"material":40,"size":43923,"collection":84,"collections":43924,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":49},222871,"shi-gong-ci-tu-ce-10-leng-mei-222871","十宫词图册10","此套图册共10开，描绘历代贤德后妃或贵族女子的故事，和《养正图》册具有同样鲜明的教育意义。对题有梁诗正书写的弘历承继帝位前于雍正十三年（1735年）所作的诗句，与图画互为辉映。\n由于图册以历代宫廷生活为题，故每幅画面均有对宫廷建筑的描绘，但因为作者只是宫廷画工，并不具备对前代建筑的了解与认知，同时历史人物画“成教化，助人伦”的政治功用也淡化了这些作为人物故事背景的历代宫廷建筑，使其更多地带有装饰性与程式化色彩，并没有呈现出不同时代的建筑风貌。值得注意的是，册中建筑的描绘均采用“海西画法”，冷枚作品中体现的这种画风特性，是在中国传统界画的基础上运用透视法增强画面的空间深度感并以明暗关系区分阴阳向背，说明曾为康熙皇帝所赏识的“海西法”在雍正、乾隆朝的宫廷建筑绘画中已被日渐欣赏和接受。",[23,24,7,59,27,28,95,96,97,130,62,131,64,208,166,247,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd2236aae6940996a247db8ce2dd9c7.jpg","纵33.1厘米，横29.3厘米",[],{"id":43926,"slug":43927,"title":43928,"dynasty":54,"author":4468,"museum":244,"description":43929,"tags":43930,"thumbUrl":43931,"material":40,"size":43932,"collection":68,"collections":43933,"showCount":239,"zanCount":1998,"manualWeight":48,"mainColor":72},222797,"xue-dian-diao-tu-lang-shi-ning-222797","雪点雕图","此马是科尔沁郡王诺们额尔图稣图于乾隆八年（公元1743）进贡郎世宁奉命绘制此图。雪点雕真迹2米大估计是采1:1尺寸画下此马，观看雪点雕会有一种大气帝王之相的感觉尤其是炯炯有神的眼神，站姿祥而不燥威而不俗，在十骏中无论是外型或是命名雪点雕都堪称是帝王最爱的珍宝，所以雪点雕被称为帝王之星真是恰如其分。",[23,24,7,164,28,27,101,949,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e4f72d5a32ce2413da55c7f05bde973.jpg","94.69-110cm",[68,45],{"id":43935,"slug":43936,"title":19857,"dynasty":124,"author":27440,"museum":224,"description":43937,"tags":43938,"thumbUrl":43939,"material":637,"size":43940,"collection":136,"collections":43941,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},222533,"shan-shui-zhou-wang-duo-222533","王铎认为“创奇景先行”，又回到北宋的山水题材，表达对董其昌（1555-1636）信条的不满：“考虑笔墨之妙，风景无法与绘画竞争。” 这幅画在王去世前一年完成，雄辩地表明了他对绘画内容的喜爱。与绘画相比，他的书法更出名，王将 10 世纪和 11 世纪风景的丰富细节简化为简单的图形惯例。轮廓分明的树木，许多没有叶子，粗短的树枝；山峰顶上的示意图；轮廓鲜明的岩层，无不让人想起十世纪的范宽大师。突出人物、建筑、",[23,24,7,165,128,29,331,35,131,34,31,369,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4efcbdf874c85333870a65dcf74128b.jpg","117.2 x 54.9 厘米",[136,117],{"id":43943,"slug":43944,"title":43945,"dynasty":124,"author":9650,"museum":56,"description":9651,"tags":43946,"thumbUrl":43947,"material":84,"size":84,"collection":84,"collections":43948,"showCount":239,"zanCount":1116,"manualWeight":48,"mainColor":72},222513,"shen-xian-tu-ce-2-zhang-lu-222513","神仙图册2",[23,24,7,59,128,27,96,211,13695,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6025a28885115b652deb28c15e6d8196.jpg",[],{"id":43950,"slug":43951,"title":43952,"dynasty":124,"author":17658,"museum":244,"description":43953,"tags":43954,"thumbUrl":43955,"material":84,"size":84,"collection":84,"collections":43956,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},222328,"shan-shui-tu-zhe-shan-shen-shi-chong-222328","山水图折扇","《山水图折扇》的题材内容、构图格局、意境趣味、笔墨技法以及后人对他们的评论的具体分析,将沈士充的绘画的流畅、柔和、迷、古雅神韵的艺术风格及其绘画美学思想和观念,以及他作为董其昌代笔人的历史情况进行简单地梳理。",[23,24,7,1131,29,128,27,131,331,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a96e95c87067688a0984cfef02f7dc1.jpg",[],{"id":43958,"slug":43959,"title":43960,"dynasty":124,"author":43961,"museum":244,"description":43962,"tags":43963,"thumbUrl":43964,"material":1223,"size":43965,"collection":136,"collections":43966,"showCount":239,"zanCount":1998,"manualWeight":48,"mainColor":72},222153,"chun-qi-tu-zhou-gu-yi-de-222153","春绮图轴","顾懿德","顾懿德（?～1633后） 明末松江派画家。字原之。华亭（今上海松江）人。明万历时中书舍人顾正谊之子（或说为侄）。家资丰厚，以父遗产银三万两，在青浦营造役田万亩，以成父志，被任为光禄寺署正。\n善画山水，画承顾正谊家传而受董其昌影响，仿王蒙，行笔秀洁，也画大士像。董及陈继儒颇赏之。",[23,164,24,7,165,26,27,29,131,34,98,99,97,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bdbc69544851c619a4c424a6721ef6b.jpg","51.7x32.4厘米",[136,45],{"id":43968,"slug":43969,"title":43970,"dynasty":124,"author":23498,"museum":20,"description":43971,"tags":43972,"thumbUrl":43973,"material":43974,"size":43975,"collection":68,"collections":43976,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},221919,"ji-ming-tu-shan-ye-chen-jia-yan-221919","鸡鸣图扇页","本幅自识：“癸酉八月之望写鸡鸣图。陈嘉言。”按“癸酉”为明万历元年（1573年），时年作者34岁，“八月之望”为八月十五。后钤“嘉言”白方印、“孔彰”朱方印各一方。\n破晓时分，太阳在薄云间隐现，曙色微露。庭院中竹翠欲滴，秋菊清丽，一只雄鸡在草坡上引吭高歌。图中雄鸡用小写意笔法，不以笔锋勾勒形体而以细笔直接写出，笔致细劲松秀，雄鸡的头和背以设色表现，而胸腹和尾部则以墨色的浓淡过渡，写实而又传神。\n雄鸡高歌，唤醒万物，新的一天即将到来。此画的创作时间恰在万历元年，应有恭贺新帝登基改元之意。",[23,24,7,164,1131,27,28,2510,167,1314,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75a560a78ebd0e570cabb52ad92244d6.jpg","金笺本，设色","纵17厘米，横52.4厘米",[68,45],{"id":43978,"slug":43979,"title":43980,"dynasty":124,"author":802,"museum":161,"description":11485,"tags":43981,"thumbUrl":43982,"material":59,"size":84,"collection":84,"collections":43983,"showCount":239,"zanCount":1998,"manualWeight":48,"mainColor":72},221911,"hua-niao-jing-pin-ce-8-chen-hong-shou-221911","花鸟精品册8",[24,7,59,27,28,61,331,211,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f428190af9d8e38adbc8575cb53afae.jpg",[],{"id":43985,"slug":43986,"title":43987,"dynasty":144,"author":24089,"museum":20,"description":43988,"tags":43989,"thumbUrl":43990,"material":43991,"size":43992,"collection":84,"collections":43993,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},221824,"xiu-ye-xuan-tu-juan-zhu-de-run-221824","秀野轩图卷","该图末有朱德润自识：“至正二十四年歲甲辰(1364年)四月十日，睢陽山人時年七十一歲。朱德潤並肩。”后钤私印两方。系朱氏临终前的极晚之作。是图画江南山川的平远之景，山林间有文人对坐于书斋中，笔法粗放纵逸，墨色简洁，有苍茫之意。画家大胆地将北宋李成、郭熙描绘北方山水的笔墨转化为表现江南风物的造型语言，并揉进了文人儒雅清澹的审美意趣。画中的书斋为“秀野轩”，将文人的书斋和活动绘于佳山秀水中，是这个时期新出现的山水画题材，直接影响了元末明初早期吴派山水画的审美取向。\n清《佩文斋画谱》、《江村画目》著录。",[23,24,7,25,128,132,133,64,208,29,130,34,98,99,171,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02fb9773db03d4b1979437c1858da6bd.jpg","纸本，水墨淡设色","纵28.3厘米，横210厘米",[],{"id":43995,"slug":43996,"title":43997,"dynasty":144,"author":4034,"museum":77,"description":43998,"tags":43999,"thumbUrl":44000,"material":6369,"size":44001,"collection":84,"collections":44002,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":49},221760,"qiu-xi-fang-ting-tu-sheng-mao-221760","秋溪放艇图","《元盛懋秋溪钓艇图》描绘的是一翁乘一叶渔艇在江中垂钓的情景。绘一叶渔艇行于江中，有一翁于船尾垂钓，右边是茫茫江水，近处可见山石树木，而远处渐见山峦。\n整幅作品结构严整，笔墨清润，在浓郁浑厚的气韵中具有潇洒隽逸的格调。",[23,24,7,1131,128,27,132,29,129,34,99,96,1351,6639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b95ca528463cdf7c6bd6787e8934439.jpg","纵40.0cm，横40.0cm",[],{"id":44004,"slug":44005,"title":43751,"dynasty":144,"author":18589,"museum":224,"description":44006,"tags":44007,"thumbUrl":44008,"material":1223,"size":44009,"collection":84,"collections":44010,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},221726,"yun-shan-tu-juan-fang-cong-yi-221726","方从义（约1302—1393），元末著名道士画家，江西贵溪人。字无隅，号方壶、又号上清羽士、不芒道人、金门羽客、鬼谷山人。早年入道，师从永嘉人金月岩修道家之学，为龙虎山上清宫正一派道士，金月岩去世后，他离开龙虎山游历全国各地，往来于大江南北，至正三年（1343）曾至大都（今北京），结交了不少文人、画家和达官贵人，名臣危素称他为“方外之交”，画家张彦辅曾为之绘《圣井山图》相赠，在当时很有名气，由于不喜谈论时事，独好画，不久即思南归，但这次北游使他大开眼界，对他的画有很大促进。\n美国大都会艺术博物馆藏方从义《云山图》卷的风格与北京故宫博物院藏《 武夷放棹图》比较接近，不属于兴之所、至率性而为的作品，是画家澄心静虑的经意之作。卷首是程南云篆书题写的“方壶真迹”引首，卷尾有高谷、周凯、雪坡道人、王谦、沈成章、钱博、詹景凤和吴湖帆的题跋，并有著名收藏家王季迁的鉴藏印。",[23,24,7,25,128,29,132,663,950,413,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50e14e9fbcbc029dd475988a0493766d.jpg","纵27厘米，横144.5厘米",[],{"id":44012,"slug":44013,"title":44014,"dynasty":18,"author":44015,"museum":510,"description":44016,"tags":44017,"thumbUrl":44018,"material":611,"size":44019,"collection":318,"collections":44020,"showCount":239,"zanCount":1998,"manualWeight":48,"mainColor":72},221473,"shu-du-fu-shi-di-er-duan-zhang-ji-zhi-221473","书杜甫诗第二段","张即之","张即之是南宋后期颇具个性和影响的书法家。此卷为高头大卷，书杜甫《紫宸殿退朝口号》及《赠献纳司起居田舍人》七律二首，作于宋理宗淳佑十年（1250），时年作者65岁。张即之行楷妙绝南宋，此卷轻、重、徐、疾相映成辉，点画顾盼生情，披览之下，熟而不俗、健而不僵，顿觉奇趣横生，堪称为张即之榜书的代表佳作。",[23,7,64,133,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d76f022e62f214e91a6697124c25efb.jpg","34.6x128cm",[318],{"id":44022,"slug":44023,"title":44024,"dynasty":124,"author":23728,"museum":6892,"description":44025,"tags":44026,"thumbUrl":44027,"material":44028,"size":44029,"collection":84,"collections":44030,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":84},220725,"xie-an-xiang-guo-xu-220725","谢安像","郭诩（1456-约1529），明代画家。字仁弘，号清狂道士，泰和（今属江西）人。少年时为博士弟子，后弃绝功名，专志诗文书画。喜游历，曾遍游名山胜地，画艺大进。擅山水、人物，作品风格呈粗细两种面貌，前者所画多信手勾染，线条粗劲，水墨淋漓，造型简括秀逸，生动传神，画风简逸狂放。后者画法工整，线条圆劲流畅，画风细致俊雅。同时期画家沈周、吴伟、杜堇等，都推重其艺术造谐。有《杂画册》、《琵琶行图》、《东山携妓图》等传世。",[23,24,7,165,188,128,96,170,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6865ffbaed9c1e5bb5f58517d72ed18c.jpg","水墨,纸本,立轴","画心：118.5×42厘米 装裱：215.4×56.5厘米",[],{"id":44032,"slug":44033,"title":44034,"dynasty":54,"author":1219,"museum":224,"description":44035,"tags":44036,"thumbUrl":44037,"material":611,"size":84,"collection":84,"collections":44038,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},220469,"qiao-shang-de-ren-ren-yi-220469","桥上的人","以淡墨铺就萧寒冬意，岸边枯木虬枝错落纵横，笔致纵逸老辣，枯枝苍劲中带着疏朗之态，留白衬出郊野荒寒空寂的氛围。板桥横跨寒溪，溪石以泼墨晕染，朴拙浑厚，尽显水墨写意的随性雅致。\n\n桥上素衣女子身形简括，却楚楚含情，凭栏远眺的身影将萧瑟景致晕开缱绻愁思，把冬日郊野的清寂与人物的幽微心境相融。整体笔墨兼工带写，简淡松灵，以极简形象烘托出悠远绵长的诗意，淡远空濛间余韵悠悠。",[24,7,165,128,27,369,96,98,1337,29,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8129d60087836ca2bf50ac6b929699b2.jpg",[],{"id":44040,"slug":44041,"title":44042,"dynasty":124,"author":44043,"museum":20,"description":44044,"tags":44045,"thumbUrl":44046,"material":278,"size":44047,"collection":136,"collections":44048,"showCount":239,"zanCount":1116,"manualWeight":48,"mainColor":72},220397,"chen-zong-yuan-hong-ya-shan-fang-tu-juan-chen-zong-yuan-220397","陈宗渊洪崖山房图卷","陈宗渊","《洪崖山房图》是陈宗渊唯一的传世作品，为其受友人胡俨之请按实景创作的。胡俨怀着还乡归隐之情，在家乡筑室名“洪崖山房”，以慰归思。他曾请王绂为其作图，但王绂当时因病重便作诗推辞，胡俨遂转请其弟子陈宗渊创作了此图。胡俨十分珍爱此作，多次在图后题识。图中抒写了胡俨身居庙堂、心怀归思的志向和情怀，同时也反映了在明初严酷的政治环境中，文人士大夫思隐的心态。\u2028　　画面上山峦起伏，江面开阔，景色壮观，反映出江西一带的风貌特征。所画人物占画幅比例很小，虽只寥寥数笔，须眉皆无，但姿态休闲生动，或展卷堂上，或携琴访友，巧妙地突出了人物在画中的地位，增添了恬静安逸的情致，表现出文人优雅的生活环境和超凡出尘的意趣。画中的山石用荷叶皴与披麻皴表现，线条多用中锋，自上而下拖长，错落纷披，转折灵动。陈宗渊的画法继承元代绘画风格，近似王绂，意境清远，笔墨苍秀，其作品对了解吴门前期绘画的传承关系具有重要的作用。",[23,24,7,25,128,27,29,28,132,133,64,208,496,31,35,34,98,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f656c3500b27f604686ec7a544e47c9.jpg","纵27.1厘米，横106.2厘米",[136,117],{"id":44050,"slug":44051,"title":44052,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":44053,"thumbUrl":44055,"material":611,"size":3722,"collection":84,"collections":44056,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},220319,"huang-shan-tu-ce-10-hong-ren-220319","黄山图册-10",[23,164,24,7,1349,128,132,59,663,44054,131,34,35,499],"峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03bb8ba29fd6124cedfd526b6e0c2c30.jpg",[],{"id":44058,"slug":44059,"title":44060,"dynasty":124,"author":14442,"museum":56,"description":44061,"tags":44062,"thumbUrl":44063,"material":611,"size":44064,"collection":44,"collections":44065,"showCount":239,"zanCount":1998,"manualWeight":48,"mainColor":72},219796,"mo-sui-yang-wu-lao-tu-ce-you-qiu-219796","摹睢阳五老图册","睢阳五老图，为北宋时期画作。所谓“五老”，是指杜衍、王涣、毕世长、冯平、朱贯，皆大宋朝中重臣，辞官后寓居南京睢阳（今河南省商丘市睢阳区）颐养天年，经常晏集赋诗，时称“睢阳五老会”。这5位长寿老人均是“退休高官”且年至耄耋：丞相祁国公杜衍80岁，驾部郎中冯平87岁、兵部郎中朱贯88岁、礼部侍郎王涣90岁，年纪最长的司农卿毕世长，时年已经94岁。出于对他们的敬重，睢阳当地一位丹青高手为五人各绘制了一幅全身像，题名《睢阳五老图》，并让五人在图上赋诗。钱明逸于北宋至和三年（1056年）为之作序。此画绘制精美，尤其是人物脸部描绘细腻生动，栩栩如生。欧阳修、晏殊、范仲淹、文彦博、司马光、程颢、程颐、苏轼、苏辙、黄庭坚等18位北宋重量级人物纷纷在画上题诗题跋。南宋至清末，上百位名人为之题赞，可谓流传有绪，堪称一部国宝级画作。《睢阳五老图》的珍贵不仅在于画作本身，历代名家的题跋在书法史上也具有极为重要的地位。",[24,7,59,28,27,96,805,330,133,11584,38256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe872dccbef77b2cd7113f9c529c6d8e9.jpg","35.2x25.5厘米",[44],{"id":44067,"slug":44068,"title":44069,"dynasty":144,"author":223,"museum":224,"description":44070,"tags":44071,"thumbUrl":44075,"material":173,"size":84,"collection":44,"collections":44076,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":49},219703,"shi-jia-san-zun-tu-yi-ming-219703","释迦三尊图","苍松倚立，淡墨晕开幽谧禅境。佛陀身着朱红僧衣，圆光朗照，神态沉静安然，缓步徐行，自带庄严祥和之气。身后二尊垂眉敛目，衣袂轻扬，身姿恭柔随行，将佛门肃穆尽显。\n\n设色调和沉静，朱红与素白衣色相映，晕染自然柔和。以简练铁线描勾勒衣纹，兼具骨力与灵动，将衣物垂坠质感尽数展现。淡墨铺陈背景，虚实相生，把出尘禅意融于画面，尽显空灵禅韵风骨，观之便觉心神俱宁，禅意自来。",[24,164,7,165,187,96,27,128,44072,12976,44073,44074],"铁线描","苍松","佛陀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d2bb449717283920e09413c317b9791.jpg",[44],{"id":44078,"slug":44079,"title":24582,"dynasty":18,"author":223,"museum":244,"description":44080,"tags":44081,"thumbUrl":44083,"material":173,"size":44084,"collection":44,"collections":44085,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":199},219625,"kan-shu-tu-yi-ming-219625","庭园之中，几案纷列，髯者数人，有持扇、阅卷、脱帽、盥洗者。此图与本院所藏宋刘松年「十八学士图」长卷之一段构图近似，选取其中不同人物活动、家具陈设、花园点景而成，主题应为文会而非勘书。院中所摆置家具、器物种类繁多，有长案、方桌、方凳、环墩、靠背扶手椅、琴、书卷、酒器、香炉等。此图应为明代中晚期临本，画家对器物造型描写颇多，但在人物绘法上有些呆板。",[24,7,28,27,96,5459,64,208,28172,44082],"纸砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff944d9925f9c8460e8e94c86c9ef945d.jpg","50.7x42.2厘米",[44],{"id":44087,"slug":44088,"title":44089,"dynasty":124,"author":27493,"museum":450,"description":44090,"tags":44091,"thumbUrl":44093,"material":173,"size":44094,"collection":44,"collections":44095,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":956},219572,"xia-zhen-yi-xiang-chen-yuan-219572","夏真逸像","作品有作者自跋：“真逸处士夏君既衣之九年，其子璇陈中复氏图游旧之景，而小像于其中。一日，携示九灵山人，求为赞。予虽不识处，然言述以铭其墓矣，焉春可辞？公侯于蠛蠓，政布家庭而直，功名于秕糠。是盖艺和义以为基，家孝又而象乡者也。当其云弄泉以、游戏、即丘壑而相辛。但见清却松林之风华，夺云锦之裳，而不知泽被民物光焕朝章者，消逝各梦而同床也邪！”作品有明代揭汯题跋：“温温之客，翼翼之恭。慈惠之至，孝友之隆。誉流搢绅，安林壑。幅巾消摇，自有其乐。豫章揭汯”。 明代乌斯道题跋：“守躬以礼，泣之衣也。养心以静，福之基也。笃于兄弟，家之肥也。诉先裕后，志无递也。胤善继续续，续有辉也。斯真逸处士，熟其非也？乌斯道”。",[23,24,7,96,27,28,1144,29,415,6640,34,19173,44092],"持杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad73948b5383d12c65013d9bdad1a100.jpg","120.5x44.9厘米",[44],{"id":44097,"slug":44098,"title":44099,"dynasty":124,"author":19170,"museum":244,"description":44100,"tags":44101,"thumbUrl":44102,"material":27,"size":44103,"collection":44,"collections":44104,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},219313,"ge-hong-yi-ju-tu-ding-yun-peng-219313","葛洪移居图","层岩叠嶂间，飞瀑如练倾泻而下，裹挟着山林的清润之气。近景溪畔，板桥横卧，衣袂飘飘的人物或行或驻，似在细说移居的缘由。林间隐现的屋宇，与苍松翠柏相映，暗合葛洪求道隐逸的仙踪。山石勾勒兼施皴染，线条细劲如丝却力道暗藏，树木葱茏有致，每一片叶、每一根枝都透着工致的匠心。人物神情宛然，动态传神，虽寥寥数笔却尽显仙风道骨。整幅画将山水的幽远与人物的清雅融于一体，笔墨间流淌着文人画的雅致韵致，仿佛能让人嗅到山间的草木香，触到溪涧的清凉，窥见那份超脱尘俗的悠然心境。",[24,164,7,28,27,132,29,96,98,99,97,34,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c8046eefcf6f8665afa8c48234b3b0.jpg","49x29.9",[44],{"id":44106,"slug":44107,"title":44108,"dynasty":18,"author":44109,"museum":224,"description":44110,"tags":44111,"thumbUrl":44112,"material":66,"size":84,"collection":68,"collections":44113,"showCount":239,"zanCount":1998,"manualWeight":48,"mainColor":49},219283,"han-cai-tu-xu-gu-yan-219283","寒菜图","徐古岩","两棵大白菜水墨画，叶子用重墨画，叶子留白做茎。 菜根长出一株杂草，细长的草茎上栖息着一只蚱蜢。 虽然画面是冬景，但活跃的蚱蜢带来活力。",[23,24,7,164,128,64,208,1036,480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56ef32d8e02f0c02c27da1581f805f1c.jpg",[68],{"id":44115,"slug":44116,"title":44117,"dynasty":18,"author":44118,"museum":244,"description":44119,"tags":44120,"thumbUrl":44121,"material":173,"size":44122,"collection":136,"collections":44123,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},218869,"xi-shan-ping-yuan-tu-song-di-218869","溪山平远图","宋迪","这是一幅山水画，草木茂盛，一派湖光山色的景象。",[23,164,24,7,29,27,4438,99,64,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42addfe814270b42354058fea9c7ac91.jpg","25x26.4",[136],{"id":44125,"slug":44126,"title":6347,"dynasty":54,"author":44127,"museum":244,"description":44128,"tags":44129,"thumbUrl":44130,"material":66,"size":44131,"collection":68,"collections":44132,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},218804,"mei-que-tu-dai-hong-218804","戴洪","戴洪，生卒年藉贯均不可考，高宗乾隆时，任职内廷画院为供奉，擅长山水画，以和丁观鹏、程志道、金昆、孙佑等人，合画清明上河图出名。\n他的画，不论用笔勾画输廓，用墨分染明暗，都非常工细，着色尤其是明净鲜丽，予人一种情眞景实的实境感觉。\n本幅画梅树和山雉便是一例。但是，这种崇尚技巧的院画，并不受一般「重意象轻形似」的文人画家所欢迎。",[24,7,164,165,61,28,128,371,211,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3557fdc9c807ebe9bebe162eb18b2de.jpg","167.6x91.1cm",[68],{"id":44134,"slug":44135,"title":44136,"dynasty":124,"author":19170,"museum":1941,"description":44137,"tags":44138,"thumbUrl":44139,"material":611,"size":44140,"collection":44,"collections":44141,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":49},218293,"luo-han-du-hai-tu-ding-yun-peng-218293","罗汉渡海图","群罗汉踏浪渡海而来，情态万千：或袒腹开怀，笑对万顷碧波；或凝眉垂目，静悟云涛禅意；或携稚童戏于潮尖，或乘神兽腾于雾霭。衣纹细劲如流水翻卷，随海风轻扬；神兽鳞爪分明，似欲破云而出。云雾氤氲间，海水波纹层叠，童子憨态可掬，罗汉眉纹深锁，每一处笔墨皆藏匠心。线条流转里，禅意与浪声交织，超然之态与海的浩渺相融，仿佛能看见风拂衣袂的翩跹，听见潮拍岸矶的回响，将渡海的壮阔与罗汉的自在凝于一纸，引人沉醉于这方亦真亦幻的禅意世界。",[24,7,187,96,188,28,772,949,39943,950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6d048006ac05b14ce5b9ac0ad7d18b6.jpg","137.3x84.9",[44],{"id":44143,"slug":44144,"title":44145,"dynasty":124,"author":223,"museum":300,"description":44146,"tags":44147,"thumbUrl":44148,"material":173,"size":44149,"collection":44,"collections":44150,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":49},218287,"xing-xiu-tu-yi-ming-218287","星宿图","沉褐绢面如浸过岁月的茶渍，漫漶的斑驳里藏着古意。老者身披赭黄长衣，青蓝缘边似晕染的天色，杖头轻挑，步履徐缓间泄出禅意；随侍素袍敛眉，托盘稳持如托住星芒，发髻高挽的弧度里藏着恭谨。墨灰异兽颈绕金珠，昂首与老者相顾，鬃毛拂动似传递星宿密语，颈间珠串折射微光，牵起神异与人间的纽带。远处塔影朦胧，檐角刺破虚渺，与人物、异兽构成天地交感的图景。整幅画以简淡之笔勾连神异与凡俗，每一处笔触都似叩问星宿轨迹，古旧绢丝间，时光与信仰的温度顺着裂纹漫溢开来，静静诉说着天地与人间的隐秘牵系。",[23,24,7,27,28,96,949,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6cdb6bbf30e128858c1e248ddf1e95b.jpg","26x26",[44],{"id":44152,"slug":44153,"title":27017,"dynasty":124,"author":223,"museum":1941,"description":44154,"tags":44155,"thumbUrl":44156,"material":173,"size":44157,"collection":84,"collections":44158,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":49},218272,"luo-han-xiang-yi-ming-218272","虬髯环耳，袒胸露腹的罗汉眉宇凝沉毅之气。三叉法器竖持掌中，红绦束腰，素袍褶皱如流云叠起，既见飘逸之姿，又藏筋骨之力。旁侧瑞兽怒目圆睁，鬃毛纷披如浪，利爪隐现，却与罗汉静定形成奇妙平衡。右侧烟气袅袅，似从掌中升腾，添几分神秘。笔墨劲健勾勒轮廓，细腻晕染肌理，设色古雅醇厚，沉暗背景衬出庄严肃穆。整幅画融罗汉威严与瑞兽威猛，显佛画雄浑气象与精湛技艺，观之令人心生敬畏又觉静穆安宁。",[805,24,7,165,187,96,949,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcedbce882b5b4a2937d63eee301ea4ab.jpg","121.9x67.4",[],{"id":44160,"slug":44161,"title":37933,"dynasty":54,"author":37934,"museum":6892,"description":14198,"tags":44162,"thumbUrl":44163,"material":66,"size":14201,"collection":136,"collections":44164,"showCount":239,"zanCount":1998,"manualWeight":48,"mainColor":72},218100,"xin-an-yi-yun-ce-han-zhu-shan-shui-han-zhu-218100",[23,24,7,29,27,132,131,34,97,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f291341f23bb7e28180547e5a748143.jpg",[136],{"id":44166,"slug":44167,"title":44168,"dynasty":18,"author":2099,"museum":77,"description":6227,"tags":44169,"thumbUrl":44170,"material":151,"size":84,"collection":84,"collections":44171,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":49},218084,"luo-han-tu-ce-4-li-gong-lin-218084","罗汉图册-4",[23,164,24,7,59,188,128,187,96,331,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51a267a2508ebb826f60078b3c5f38d7.jpg",[],{"id":44173,"slug":44174,"title":44175,"dynasty":124,"author":19170,"museum":244,"description":44176,"tags":44177,"thumbUrl":44179,"material":278,"size":44180,"collection":44,"collections":44181,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},217073,"ying-zhen-xiang-si-zhou-ding-yun-peng-217073","应真像四轴","用笔实而有力，颇具装饰意味。时年丁云鹏已经67岁了，这是他晚年的风格。",[24,7,165,187,96,188,128,28,1144,131,208,227,18331,44178,949],"僧袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b77fffbd3df97a2f3f4068623a1de4.jpg","141.4x66",[44],{"id":44183,"slug":44184,"title":44185,"dynasty":54,"author":3750,"museum":56,"description":44186,"tags":44187,"thumbUrl":44188,"material":66,"size":44189,"collection":84,"collections":44190,"showCount":239,"zanCount":1998,"manualWeight":48,"mainColor":72},216977,"fang-song-yuan-shan-shui-ce-8-wang-jian-216977","仿宋元山水册-8","王鉴（1598-1677），字玄照，后改字符照、圆照，号湘碧、染香庵主，江苏太仓人。王世贞曾孙。崇祯六年（1633）以荫授南京左府都事，约十一年（1638）至北京改任比部郎，十二年（1639）任廉州知府，仅两年即罢职归太仓，从此未入仕途。工画山水，得董其昌亲授，追踵董源、巨然，多拟仿宋元诸家。著有《染香庵跋画》。\n是册临宋元各家，淡墨层层积累、细腻丰富，水墨设色兼能、皴染兼长。在“四王”山水画中，王鉴的设色山水与其他三家有所差异。王鉴擅长青绿山水设色，用色只在青、绿、赭少数几种中选择，但色彩鲜明，特别是青绿两色的运用，清润高华。而仿陈惟允（陈汝言）一开可见其见识广博，陈汝言为元末明初人，后人临宋元山水鲜少涉及，这与他的个人收藏及交游圈不无关系。\n据其自跋：“予今岁偶来南翔（今属上海嘉定），谛交文庶社长，见其丰神超迈，雅善丹青，深得古人三昧，余因复临陈（陈廉）本赠之。”谓王时敏曾将所藏宋元各家真迹，嘱华亭陈明卿缩成一册，此册又临陈本。按，王时敏有缩临宋元各家山水册，董其昌为题“小中现大”者，为世所著称，此册除四页外，余俱与之相同，而所题各家名氏亦有异同。至所言王时敏一册出于陈明卿手，未见详细记述，或为另一册。\n陈廉（生卒年不详），字明卿，华亭（今上海松江）人。赵左弟子，年少时从赵左学习绘画，工巨幅山水，其笔墨清标，无烟火气，传世作品较少，上海博物馆藏《云间诸家书画散页》有其山水一开。王时敏《题陈明卿廉雪》卷云：“（陈廉）初以赵文度（赵左）为宗，既从余家纵观宋元真迹，多有悟入，所诣益深。为余摹诸名图，以寻丈巨轴，缩为方册，使能笔墨酷肖，毫发不遗，真画史之绝技。”又《题陈明卿仿黄子久》卷云：“明卿为赵文度高足弟子，初至娄时，尚守其师法，继为余临宋元诸名迹，缩小为本，因此大有悟入，画格遂为一变……”（《王奉常书画题跋》卷上）可与是册王鉴自跋相印证。",[23,24,7,29,330,27,132,59,131,99,34,37,98,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff31137973a74e5dcf920e4c89fd5788c.jpg","纵55.4厘米，横36.0厘米",[],{"id":44192,"slug":44193,"title":44194,"dynasty":144,"author":223,"museum":5543,"description":44195,"tags":44196,"thumbUrl":44197,"material":317,"size":84,"collection":68,"collections":44198,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":49},216880,"lian-lu-tu-zhou-1-yi-ming-216880","莲鹭图轴-1","莲鹭图轴是一幅绘有莲花和鹭鸶的图画，出自元朝（1271-1368年）的佚名画家之手。这幅图画是一根长卷，画面中央是一朵盛开的莲花，周围是若干只鹭鸶，它们正在莲花周围游荡。\n\n莲鹭图轴是元朝时期的一件杰作，当时的画家们非常喜欢用莲花和鹭鸶这种自然元素来表现他们的艺术感悟。莲花象征着清新、优雅和纯洁，而鹭鸶则象征着平静、宁静和和平。这幅图画把这两种元素结合在一起，表现出了一种浪漫、优美、安宁的气氛。\n\n莲鹭图轴是一幅非常精美的图画，画面细腻、线条流畅、色彩和谐。这幅图画现在被认为是元朝艺术的代表作之一，是中国古代绘画艺术的杰作。",[24,7,165,28,61,81,9318,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08dd5a120eafde93f3e851982bae0400.jpg",[68],{"id":44200,"slug":44201,"title":44202,"dynasty":144,"author":1346,"museum":244,"description":2533,"tags":44203,"thumbUrl":44204,"material":278,"size":84,"collection":84,"collections":44205,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},216380,"mo-zhu-pu-ce-9-wu-zhen-216380","墨竹谱册-9",[24,7,128,167,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f4201dcffb4f071f1f1f28b4e3c8bef.jpg",[],{"id":44207,"slug":44208,"title":44209,"dynasty":124,"author":802,"museum":300,"description":44210,"tags":44211,"thumbUrl":44212,"material":278,"size":84,"collection":84,"collections":44213,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":49},216319,"xi-xiang-ji-zhen-ben-tu-ce-6-chen-hong-shou-216319","西厢记真本图册-6","内室人物凭几闲坐，衣纹流转如古篆般凝练，藏着幽微心绪；外庭芭蕉展叶，藤蔓轻垂，盆栽错落成趣，草木疏朗似与室内静穆私语。笔意奇崛却不失温婉，将西厢故事里的幽闺情致凝于尺幅。线条如铁线劲挺又带柔韵，每处陈设、每片叶尖都透着古雅况味，让人在静默画面里，触碰到那个时代细腻的情感涟漪，古拙的构图中，岁月沉香漫溢而出。",[24,7,59,188,96,166,875,95,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5af9f0489fab6d881b72507f433fe55.jpg",[],{"id":44215,"slug":44216,"title":44217,"dynasty":54,"author":223,"museum":300,"description":44218,"tags":44219,"thumbUrl":44220,"material":278,"size":84,"collection":136,"collections":44221,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},215618,"tian-xia-ming-shan-tu-ce-yi-ming-215618","天下名山图册","层峦叠嶂间，墨线勾勒出山脊嶙峋之势，皴擦点染晕开草木苍劲生机。几株古松挺立于峰巅，枝干虬曲如铁，似与流云低语。山间小径蜿蜒，行人三两成簇，或行或驻，为静谧山林添几分烟火气。右侧山谷隐现亭台楼阁，飞檐翘角藏于茂林修竹间，与山石流水相映成趣。画面布局疏密有致，留白处似有云雾流转，虚实相生尽显山川悠远意境。笔墨虽简，却将自然雄浑与人文雅致融于一纸，仿佛能闻松涛阵阵、涧水潺潺，叫人沉醉于这方清幽天地。",[24,7,59,188,128,132,29,663,34,130,97,98,99,100,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd70bb88931916c051d525147647bc23.jpg",[136],{"id":44223,"slug":44224,"title":44225,"dynasty":124,"author":18045,"museum":6620,"description":44226,"tags":44227,"thumbUrl":44228,"material":173,"size":44229,"collection":136,"collections":44230,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},215035,"guan-quan-tu-qian-gu-215035","观泉图","观泉图是指观泉长卷，这是一幅长卷画，由明朝的画家钱毂所作。这幅画的主题是自然景观，特别是泉水。画中展示了许多美丽的泉水景观，包括瀑布、山谷和山峦。画中还有许多人物，这些人物正在欣赏这些壮观的景色。这幅画被认为是明朝画家中最著名的代表作之一，被许多人所珍视。",[23,24,7,1131,27,132,29,413,497,96,130,5359],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d465b09f21549d0433c2addbedb4f9.jpg","38x17.5cm",[136],{"id":44232,"slug":44233,"title":44234,"dynasty":18,"author":449,"museum":56,"description":44235,"tags":44236,"thumbUrl":44237,"material":278,"size":13555,"collection":84,"collections":44238,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":72},214265,"duo-jing-lou-shi-tie-18-mi-fei-214265","多景楼诗帖-18","墨线似惊鸿掠水，单字纵贯如长虹饮涧，锋芒里裹着湿润的江风。提按间藏着独有的爽利，枯笔见铮铮骨力，湿墨含脉脉清韵，飞白处恍若江浪拍岸的碎响。朱红印信错落有致，与浓墨碰撞出古雅的韵律，像是时光里藏家与作者的隔空对谈。字势流转间，浸着登高临远的旷达，墨色晕染处，仿佛能望见千帆过尽，山河入画。不必细究每笔的章法，只随那流转的笔锋，便坠入笔墨构筑的豪情与清逸里。印墨交织，是岁月的印记，让这纸间的气韵，至今仍在眼底流转生姿。",[7,64,133,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816943ada35af95e4ace8ac9ca3e4186.jpg",[],{"id":44240,"slug":44241,"title":44242,"dynasty":32945,"author":5076,"museum":56,"description":44243,"tags":44244,"thumbUrl":44245,"material":84,"size":84,"collection":68,"collections":44246,"showCount":239,"zanCount":48,"manualWeight":48,"mainColor":44247},202856,"mei-hua-shou-dai-tu-zhou-qi-bai-shi-202856","梅花绶带图轴","这幅画作以墨笔绘梅，枝干虬曲苍劲，墨色浓淡交错，尽显老干新枝的生机；花朵圈点简约，朴拙中藏雅趣。绶带鸟以朱砂设色，羽色明艳，长尾飘逸，姿态亲昵似私语，与墨梅的素雅形成鲜明对比，动静相生。笔墨简练却神形兼备，融文人意趣与民间质朴于一体，画面清新自然，满溢生活情味，尽显独特艺术风貌。",[24,7,61,128,27,371,211,208,133,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77a9ba3139fcb27fd1cc3a53a4107d46.jpg",[68],"e1ddcf",{"id":44249,"slug":44250,"title":44251,"dynasty":18,"author":1449,"museum":300,"description":18863,"tags":44252,"thumbUrl":44253,"material":692,"size":1293,"collection":84,"collections":44254,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},291005,"li-chao-hua-fu-ji-ce-an-xiang-shu-ying-ma-lin-291005","历朝画幅集册 暗香疏影",[24,164,7,59,61,27,28,371,167,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cb5ae081224664af82be1fe572774f7.jpg",[],{"id":44256,"slug":44257,"title":44258,"dynasty":18,"author":7991,"museum":300,"description":44259,"tags":44260,"thumbUrl":44261,"material":692,"size":1293,"collection":84,"collections":44262,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},291000,"qiu-yuan-lie-qi-chen-ju-zhong-291000","秋原猎骑","陈居中，南宋时期著名画家，擅人物、蕃马、走兽等，作品多描绘西北少数民族生活情态及鞍马，多表现社会混乱、民族矛盾给人们带来的离别痛楚。",[164,24,7,27,96,101,1337,6639,22807,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4c60465e5a0022309da4afc709dc68c.jpg",[],{"id":44264,"slug":44265,"title":44266,"dynasty":18,"author":2141,"museum":244,"description":23213,"tags":44267,"thumbUrl":44268,"material":66,"size":44269,"collection":84,"collections":44270,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},290865,"si-lun-tu-zhou-liu-song-nian-290865","丝纶图轴",[164,24,7,165,27,96,166,97,1144,171,64,208,28,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ff443d84c94d6f9882bd0d0f95d4233.jpg","98.9x33.2",[],{"id":44272,"slug":44273,"title":44274,"dynasty":54,"author":36329,"museum":300,"description":36330,"tags":44275,"thumbUrl":44276,"material":692,"size":1293,"collection":84,"collections":44277,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},290591,"zhen-hai-si-xue-jing-zhou-zhang-ruo-ai-290591","镇海寺雪景轴",[24,7,165,29,1813,97,98,99,1144,17270,27,132,208,187,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafaaf25a4a84a0d50516cc3589bc39e7.jpg",[],{"id":44279,"slug":44280,"title":44281,"dynasty":144,"author":145,"museum":300,"description":44282,"tags":44283,"thumbUrl":44284,"material":692,"size":1293,"collection":84,"collections":44285,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":49},290434,"yan-he-you-ju-tu-huang-gong-wang-290434","岩壑幽居图","此作构图与《层岩曲涧》雷同，然更显狭长，并简省许多细节。其画风受正统派影响似不强烈，反有以类沈周风格重组原作之感，推测亦为明末清初时的临仿之作。",[164,24,7,165,29,128,132,131,4438,34902,98,99,19727],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ab7be7ec04e051dc29fbf91e546aa7.jpg",[],{"id":44287,"slug":44288,"title":44289,"dynasty":144,"author":1208,"museum":300,"description":34252,"tags":44290,"thumbUrl":44291,"material":692,"size":1293,"collection":84,"collections":44292,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":49},290395,"nan-zhu-po-zhou-tu-ke-luo-ban-ni-zan-290395","南渚泊舟图（珂罗版）",[23,24,7,128,29,132,171,1337,130,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefde77381c5a6c91820560350329879c.jpg",[],{"id":44294,"slug":44295,"title":38164,"dynasty":18,"author":1622,"museum":300,"description":12632,"tags":44296,"thumbUrl":44297,"material":692,"size":1293,"collection":84,"collections":44298,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":49},290341,"shan-shui-ren-wu-zhou-ma-yuan-290341",[24,7,165,29,96,331,131,3344,128,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2efa039e0450aefee13856451ab38a66.jpg",[],{"id":44300,"slug":44301,"title":44302,"dynasty":54,"author":223,"museum":300,"description":44303,"tags":44304,"thumbUrl":44305,"material":692,"size":1293,"collection":84,"collections":44306,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},290188,"bai-miao-tu-chuan-tong-yue-qi-yan-zou-cai-hui-ben-21-zhen-yi-ming-290188","百苗图传统乐器演奏彩绘本21帧","这帧彩绘里，仕女静坐执槌，敛眉专注于鼓上。衣饰层层铺陈，青领绣纹精巧，紫袍镶边雅致，裙色晕出柔婉层次。朱红鼓槌起落间，将闺中雅乐的静美定格。鼓身缠枝粉莲晕染清丽，和高凳的朱红相映成趣。\n整作以淡彩柔线勾勒晕染，把女子垂眸时的娴静神态描摹入微，器物纹饰皆精工细致，清丽温婉的画风里，尽显东方仕女的温婉气韵，将传统雅事的闲雅意趣藏进细腻笔触中。",[23,24,7,59,27,28,96,166,438,13024],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82e862135b2d514a3ac1234a67c0cd33.jpg",[],{"id":44308,"slug":44309,"title":44310,"dynasty":182,"author":6123,"museum":300,"description":44311,"tags":44312,"thumbUrl":44313,"material":692,"size":1293,"collection":84,"collections":44314,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},289994,"luo-yang-lou-tu-li-zhao-dao-289994","洛阳楼图","李昭道，生卒年未详。字希俊，唐代画家。唐朝宗室，彭国公李思训之子，长平王李叔良曾孙。甘肃天水人。曾为太原府仓曹、直集贤院，官至太子中舍人。擅长青绿山水，世称小李将军。兼善鸟兽、楼台、人物，并创海景。画风巧赡精致，虽“豆人寸马”，也画得须眉毕现。由于画面繁复，线条纤细，论者亦有“笔力不及思训”之评。曾作《秦王独猎图》。画作有《海岸图》、《摘瓜图》等六件，著录于《宣和画谱》。传世作品有《春山行旅图》轴，图录于《故宫名画三百种》；《明皇幸蜀图》卷，现藏台北故宫博物院。\n李昭道生活于唐玄宗时代，有可能画安史之乱时明皇避难入蜀的题材，《明皇幸蜀图》体现了二李画派的典型风格，时代特徵明显，是反映唐代山水画面貌的重要传世作品。他能“变父之势，妙又过之”，为历代所称颂，《唐朝名画绿》则称他画的山水鸟兽“甚多繁巧，智慧笔力不及思训”。",[24,164,7,165,95,27,97,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8093413387740ab0dbf8a2b6d5315259.jpg",[],{"id":44316,"slug":44317,"title":39891,"dynasty":54,"author":3718,"museum":300,"description":44318,"tags":44319,"thumbUrl":44320,"material":692,"size":1293,"collection":84,"collections":44321,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},289969,"you-ting-xiu-mu-tu-zhou-hong-ren-289969","画上坡石用笔为倪瓒独特的折带皴，若淡若疏，骨力内蕴。树木的勾勒点染也出之以简疏的笔法，中锋下笔，复笔皴擦，看似简淡，实含腴润。正如杨翰《归石轩画谈》评述的“于极瘦削处见腴润，极细弱处见苍劲，虽淡无可淡，而饶有余韵。”弘仁仿倪，绝不是以追求倪瓒的画法为目的，他广泛吸收前人的成果，取其意，而不在笔墨迹象间，师法倪瓒、黄公望，同时以自然为师，抒己胸臆，从而形成了其山水画的基本面貌。此画中亦可见一斑。",[24,128,165,7,29,130,331,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe66a3b0096caacb82c81ea0f5776785c.jpg",[],{"id":44323,"slug":44324,"title":44325,"dynasty":54,"author":17240,"museum":300,"description":26583,"tags":44326,"thumbUrl":44327,"material":692,"size":1293,"collection":84,"collections":44328,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},289910,"shan-shui-zhen-ji-quan-jing-tu-ce-10-zhen-cha-shi-biao-289910","山水真迹全景图册10帧",[24,7,59,128,29,331,131,96,64,12490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2b35e573c86fcfea5df386d13312a7e.jpg",[],{"id":44330,"slug":44331,"title":15906,"dynasty":54,"author":3718,"museum":300,"description":44332,"tags":44333,"thumbUrl":44334,"material":692,"size":1293,"collection":84,"collections":44335,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},289900,"mo-mei-tu-zhou-hong-ren-289900","梅花的分布疏密得宜，花朵清新饱满。较之扬无咎的画法有所发展。自明清以后，海内外名家画梅大都以其其为楷模。",[23,164,24,7,165,128,371,64,208,61,1337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6304964da994003c2153761739def154.jpg",[],{"id":44337,"slug":44338,"title":44339,"dynasty":18,"author":18558,"museum":300,"description":44340,"tags":44341,"thumbUrl":44343,"material":692,"size":1293,"collection":84,"collections":44344,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},289775,"han-lin-yuan-niao-tu-hui-chong-289775","寒林鸳鸟图","北宋以诗著名的僧侣有9人，今存其诗作《北宋九僧诗》，其中惠崇尤多佳句，为九位诗僧中最杰出的一个。宰相寇准请惠崇到自家花园赛诗，抓阉分题。惠崇拈得“池上鹭月”的题目，于是绕行池径，默默地苦心思索，忽然用两指指向天空，微笑地说：“已得之，已得之，此诗功在明字，凡五押之不倒，今得之。”随即咏道：“曝翎沙日暖，引步岛风清。照水千寻迥，栖烟一点明。”(诗题《春日寇宫赞池上》)景色明灭虚旷，可谓一绝。出于诗僧的超尘感受，他到处云游，把绚丽江山深罹于胸中，故有冰雪松霞之咏，如“雪列僧扫石，风劲鹰归松”，“河分岗势断，春入烧痕青”等飘逸神韵、清远自然的诗句。他从自己的诗作选出得心可喜者百句，一一作画，每句一图，将其刻石立于长安。",[164,24,7,59,27,61,1557,1337,44342,211,64,572,208],"鸳鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef927a687539432fad1ecafc2e9bb0c0.jpg",[],{"id":44346,"slug":44347,"title":44348,"dynasty":18,"author":1174,"museum":300,"description":44349,"tags":44350,"thumbUrl":44351,"material":692,"size":1293,"collection":84,"collections":44352,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},289589,"song-hu-diao-yin-tu-li-tang-289589","松湖钓隐图","该图运用简单的笔触，浓淡适宜的色彩，为我们刻画出一幅渔翁船头垂钓的画面。画中高山石用小斧劈皴，松树画法显得严密，松针繁茂，充分表现出松树的状态。整幅画面具有娴静而舒雅的情韵。",[24,7,1131,29,64,133,208,129,171,1144,128,132,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f3730c80edaffa52d15c03bd52adedf.jpg",[],{"id":44354,"slug":44355,"title":7115,"dynasty":18,"author":1622,"museum":300,"description":7116,"tags":44356,"thumbUrl":44358,"material":692,"size":1293,"collection":84,"collections":44359,"showCount":335,"zanCount":1998,"manualWeight":48,"mainColor":49},289370,"bai-qiang-wei-tu-ye-ma-yuan-289370",[23,164,24,7,4437,28,27,61,44357,208],"白蔷薇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7abef9e7816e004a5181f64f029a648d.jpg",[],{"id":44361,"slug":44362,"title":26258,"dynasty":18,"author":397,"museum":300,"description":16463,"tags":44363,"thumbUrl":44364,"material":692,"size":1293,"collection":84,"collections":44365,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":49},288845,"hong-li-shan-qin-tu-zhao-ji-288845",[1131,24,164,7,28,27,61,2036,211,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff88bee85ec2be77326c2b843e039b579.jpg",[],{"id":44367,"slug":44368,"title":10231,"dynasty":351,"author":15089,"museum":300,"description":42317,"tags":44369,"thumbUrl":44370,"material":692,"size":1293,"collection":84,"collections":44371,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},288844,"er-zu-diao-xin-tu-shi-ke-288844",[23,164,24,7,128,96,1634,187,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6b80afc653f640388e0b96eb3f142bf.jpg",[],{"id":44373,"slug":44374,"title":44375,"dynasty":18,"author":2067,"museum":300,"description":24178,"tags":44376,"thumbUrl":44378,"material":692,"size":1293,"collection":84,"collections":44379,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},288489,"ling-mao-hua-hui-tu-li-di-288489","翎毛花卉图",[23,164,24,7,165,28,27,61,371,167,62,211,44377,208,64],"鸽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdedef2dd2821d1b3e770ade0f680d7c1.jpg",[],{"id":44381,"slug":44382,"title":15060,"dynasty":18,"author":397,"museum":300,"description":44383,"tags":44384,"thumbUrl":44385,"material":692,"size":1293,"collection":84,"collections":44386,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},288291,"pi-pa-shan-niao-tu-ye-zhao-ji-288291","此图纯以水墨勾染而成，格调高雅，略似没骨画效果，别具一种苍劲细腻之韵致，体现了赵佶多方面的绘画才能。",[23,24,7,61,28,27,918,211,481,64,133,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97d3bd4a5cb4822085159b56b9f733f6.jpg",[],{"id":44388,"slug":44389,"title":44390,"dynasty":18,"author":223,"museum":244,"description":44391,"tags":44392,"thumbUrl":44393,"material":514,"size":1293,"collection":84,"collections":44394,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":49},288258,"shuang-song-hua-niao-tu-yi-ming-288258","双松花鸟图","这幅工笔花鸟画没有作者名款，目前归属为宋人的作品。作者透过长期细密的观察，将大自然中禽鸟的生态描绘出来，是典型的宋人写生风格。松针用细劲的笔触，一笔一笔攒聚成荫，密而不乱。花草、禽鸟在细笔钩勒之後，用色彩层层渍染，匀净自然。透过色调的深浅，传达花叶的正反面和羽毛生长的层次。其中细微之处，令人赞叹，精准到无可增减一分的程度。",[23,24,7,61,165,27,28,1144,211,2835,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F603ed2ce314011e52027abb39fcaf464.jpg",[],{"id":44396,"slug":44397,"title":9135,"dynasty":124,"author":223,"museum":300,"description":44398,"tags":44399,"thumbUrl":44400,"material":692,"size":1293,"collection":84,"collections":44401,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":49},288099,"yu-zao-tu-zhou-yi-ming-288099","此作用墨清润淡雅，以水墨晕染写就池中游鱼。四条游鱼各呈姿态，或昂首曳尾而上，或结伴悠游行，鳞鳍细节细腻宛然，将鱼儿的灵动闲适尽数展露。水藻以写意淡墨点染舒展，随风漾动，未着一笔绘水，却借鱼的摆尾、藻的飘摇暗衬水流悠悠，留白处尽显池底空明澄澈，暗含悠然禅意。\n\n整体画风简淡清逸，摒弃繁复修饰，以极简笔墨定格闲塘一隅生机，寄情于池鱼悠游，尽显文人画以物抒怀的清雅意趣，将寻常水景化为隽永悠然的视觉诗篇。",[23,24,7,165,2059,12869,128,28,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50511d6b9526221870f6fb374f54b2f0.jpg",[],{"id":44403,"slug":44404,"title":44405,"dynasty":54,"author":22529,"museum":300,"description":44406,"tags":44407,"thumbUrl":44408,"material":692,"size":1293,"collection":84,"collections":44409,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":49},287969,"song-ge-fu-qin-tu-li-zhou-li-yin-287969","松阁抚琴图立轴","李寅，清代扬州画家，字白也，号东柯，江都（今江苏扬州）人，擅画山水，楼阁及花鸟，画风工细，设色娟妍。",[24,7,165,164,29,1144,97,99,96,4947,132,27,12634],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb15e2546efd6385412ac7e4bd64a9be.jpg",[],{"id":44411,"slug":44412,"title":44413,"dynasty":18,"author":2099,"museum":300,"description":34962,"tags":44414,"thumbUrl":44416,"material":692,"size":1293,"collection":84,"collections":44417,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},287800,"bai-miao-shi-liu-luo-han-du-hai-tu-quan-juan-li-gong-lin-287800","白描十六罗汉渡海图全卷",[23,164,24,7,25,188,96,187,18331,44415],"渡海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5846b072dac1a1ebe3f98ac15e906cf4.jpg",[],{"id":44419,"slug":44420,"title":2002,"dynasty":144,"author":44421,"museum":244,"description":44422,"tags":44423,"thumbUrl":44424,"material":278,"size":44425,"collection":84,"collections":44426,"showCount":335,"zanCount":1998,"manualWeight":48,"mainColor":72},287664,"kuang-lu-tu-dai-chun-287664","戴淳","《匡庐图》是元代戴淳创作的一幅立轴纸本水墨山水画，纵117.1厘米，横50.9厘米，此画老树挺拔，山石险峻，高崖一层一层相叠著。峰顶筑有古寺楼阁，建筑物的描绘，方劲稳重，山石的形状，也近乎方形。石纹多用枯笔皴擦，颇有苍老而稳健的感觉。明末清初的龚贤，在画风上与这幅画有极相近之处",[24,7,128,29,165,132,97,130,9613,131,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e308b4e2b73206906d8d274eb15436e.jpg","117.1x50.9",[],{"id":44428,"slug":44429,"title":44430,"dynasty":54,"author":6946,"museum":300,"description":35061,"tags":44431,"thumbUrl":44433,"material":692,"size":1293,"collection":84,"collections":44434,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},287443,"mo-yan-li-ben-xiao-yi-zhuan-lan-ting-tu-ding-guan-peng-287443","摹阎立本萧翼赚兰亭图",[23,24,25,7,188,27,6318,330,44432,22626,1424,7070,2144,12564,208,64],"萧翼赚兰亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d5e4507f97cac7a1fafa57455dce2a.jpg",[],{"id":44436,"slug":44437,"title":25556,"dynasty":351,"author":25557,"museum":300,"description":44438,"tags":44439,"thumbUrl":44440,"material":692,"size":1293,"collection":84,"collections":44441,"showCount":335,"zanCount":1998,"manualWeight":48,"mainColor":49},287430,"fan-bu-xue-wei-tu-juan-hu-qian-287430","镶子，画番部人马有父风。其父用笔清而圆，虔得笔于父，熟而劲，伹清圆微劣于父。《图画见闻志、宣和画谱、真迹日录》",[23,164,24,7,25,27,96,101,9119,22807,1813,1337,31182,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c2666de7fd20238ba4a96ca82410b4f.jpg",[],{"id":44443,"slug":44444,"title":44445,"dynasty":351,"author":5524,"museum":300,"description":5525,"tags":44446,"thumbUrl":44447,"material":692,"size":1293,"collection":84,"collections":44448,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},287307,"cui-zhu-cao-chong-tu-juan-huang-quan-287307","翠竹草虫图卷",[23,164,24,7,25,61,28,167,480,64,133,572,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8d53909ea73552937b92b2443bc246.jpg",[],{"id":44450,"slug":44451,"title":44452,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":44453,"thumbUrl":44454,"material":692,"size":1293,"collection":84,"collections":44455,"showCount":335,"zanCount":1998,"manualWeight":48,"mainColor":49},283713,"zhou-jin-tang-tu-bing-shu-ji-juan-dong-qi-chang-283713","昼锦堂图并书记卷",[23,164,24,7,25,840,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa79adb9493bdbd017a01b352f912a3a0.jpg",[],{"id":44457,"slug":44458,"title":41935,"dynasty":18,"author":3308,"museum":300,"description":44459,"tags":44460,"thumbUrl":44462,"material":692,"size":1293,"collection":84,"collections":44463,"showCount":335,"zanCount":1998,"manualWeight":48,"mainColor":956},283635,"lin-lan-ting-xu-zhao-gou-283635","宋高宗赵构（1107年6月12日－1187年11月9日），字德基，东京汴梁（今河南省开封市）人。宋朝第十位皇帝（1127年6月12日-1162年7月24日在位），南宋开国皇帝，宋徽宗赵佶第九子、宋钦宗赵桓之弟。\n大观元年五月（1107年6月），生于宫中，天性聪明，博闻强记，拜检校太尉、定武军节度使。靖康之变后，金兵俘虏其父宋徽宗和其兄宋钦宗，灭亡北宋。康王赵构即位于南京应天府（今河南省商丘市），建立南宋。在位期间，迫于形势民心，任用岳飞、韩世忠等主战派将领抗击金军，重用主和派的黄潜善、汪伯彦、王伦、秦桧等人，一味求和，处死岳飞，罢免李纲、张浚、韩世忠等主战派大臣。绍兴三十二年（1162年），禅位于皇太子赵昚，尊号“光尧寿圣宪天体道性仁诚德经武纬文绍业兴统明谟盛烈太上皇帝”。淳熙十四年（1187年），崩于德寿宫，时年八十一岁，成为中国历史上少有的长寿帝王之一，谥号“圣神武文宪孝皇帝”，庙号高宗。宋光宗绍熙二年（1191年），累谥“受命中兴全功至德圣神武文昭仁宪孝皇帝”。\n赵构精于书法，善真、行、草书，笔法洒脱婉丽，自然流畅，颇得晋人神韵。著有《翰墨志》，传世墨迹有《洛神赋》（草书）等。",[23,164,7,64,5380,1590,330,572,208,44461],"兰亭序","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c677d621917a0640394530eaa3a9f85.jpg",[],{"id":44465,"slug":44466,"title":44467,"dynasty":124,"author":26938,"museum":300,"description":44468,"tags":44469,"thumbUrl":44470,"material":84,"size":84,"collection":84,"collections":44471,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},239519,"wei-jing-ting-zuo-shang-ju-tu-zhou-hou-mao-gong-239519","为敬亭作赏菊图轴","此作用笔秀雅简淡，设色清和柔润。画面截取庭院一隅，嶙峋湖石旁修竹猗猗，枯木与青松错立，衬出秋日萧疏意韵。敞轩之内宾主对坐晤谈，侍童静立随侧，案上盆菊绽蕊，将文人雅集赏菊的悠然兴味尽数铺展。画面留白得当，以淡赭晕染地面屋舍，墨色勾勒林木湖石，清逸之中尽显文人酬酢的雅致氛围，将秋日闲居雅聚的诗意缓缓晕开。",[805,24,7,165,27,28,96,376,413,1314,758,8091,208,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe62c6d48dcb99d669074a6f241fa5154.jpg",[],{"id":44473,"slug":44474,"title":44475,"dynasty":124,"author":223,"museum":300,"description":44476,"tags":44477,"thumbUrl":44478,"material":692,"size":1293,"collection":84,"collections":44479,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},239507,"lu-zhi-mu-dan-zhou-yi-ming-239507","陆治牡丹轴","此作用淡彩晕染牡丹，老干皴擦苍朴，笔法简练尽显虬劲质感。两朵牡丹以浅灰、淡赭设色，晕染柔润朦胧，褪去牡丹惯常的浓艳富贵，尽显清雅秀逸的林下之姿，淡绿轻敷的叶片舒展自然，生机内敛。\n\n右上角题书隽秀雅致，诗画呼应，将赏花的闲淡意趣融入画面。整体构图疏朗空寂，以文人意趣消解牡丹的世俗华贵，尽显明代文人画重韵致、尚清雅的审美追求，诗书画印合璧，清雅脱俗，意韵悠长。",[24,7,165,27,28,61,263,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75342c491dd5e9df5506975497d2a1c9.jpg",[],{"id":44481,"slug":44482,"title":18211,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":44483,"thumbUrl":44484,"material":692,"size":1293,"collection":84,"collections":44485,"showCount":335,"zanCount":1998,"manualWeight":48,"mainColor":72},238345,"si-ji-hua-hui-ce-dong-gao-238345",[164,24,7,59,27,28,61,371,374,649,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb85523bf3726f7a4ed894b588219e090.jpg",[],{"id":44487,"slug":44488,"title":44489,"dynasty":54,"author":34467,"museum":300,"description":44490,"tags":44491,"thumbUrl":44492,"material":84,"size":84,"collection":44,"collections":44493,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":49},237940,"ren-ma-ye-fei-dan-xu-237940","人马页","字子苕，号晓楼、偶翁、环渚生，乌程（今浙江吴兴）人。工写照，如镜取影，尤精补景仕女，潇洒自然。兼工山水、花卉，以精灵雅沾之笔出之。偶作诗词，亦如其画。书法恽寿平，有韵致。卖画于江浙两省，寓杭州最久。道咸（一八二一至一八五零）间曾寓沪鬻画， 卒年四十九。有依旧草堂遗稿。",[24,7,188,96,101,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc96b52fee85089219cf472c59aba9ed.jpg",[44],{"id":44495,"slug":44496,"title":44497,"dynasty":124,"author":9650,"museum":300,"description":44498,"tags":44499,"thumbUrl":44500,"material":84,"size":84,"collection":84,"collections":44501,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},237921,"qi-lv-lao-zhe-zhou-zhang-lu-237921","骑驴老者轴","以极简写意之笔绘就策驴老者，笔墨酣畅率意，脱尽繁缛。淡墨勾勒衣袍褶皱，寥寥数笔便将老者宽袍缓行、神态悠然的模样尽显，驴儿抬蹄疾走的野趣亦跃然纸上，形神兼备。画面留白雅致，搭配题诗相映成趣，将文人林下游赏归来，不沾尘俗的疏旷随性勾勒尽致，尽显山野逸趣，把超脱不羁的林下襟怀藏进简练笔墨之中。",[24,7,165,128,96,7067,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1de4e9ca22fe124f140d49132608d5.jpg",[],{"id":44503,"slug":44504,"title":4229,"dynasty":124,"author":9459,"museum":300,"description":9460,"tags":44505,"thumbUrl":44506,"material":84,"size":84,"collection":84,"collections":44507,"showCount":335,"zanCount":1998,"manualWeight":48,"mainColor":72},237674,"hua-niao-ce-ling-bi-zheng-237674",[164,24,7,59,28,128,61,624,1039],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab9409048b6bc8ab56002702e7c8362a.jpg",[],{"id":44509,"slug":44510,"title":44511,"dynasty":124,"author":44512,"museum":20,"description":44513,"tags":44514,"thumbUrl":44515,"material":40,"size":44516,"collection":136,"collections":44517,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":49},237650,"liu-yin-shuang-jun-zhou-hu-cong-237650","柳荫双骏轴","胡聪","描绘柳荫下两匹骏马之态，形象生动，神态逼肖；二柳树旁还斜探出一枝桃花，使湖石花竹相互掩映，一派湖光春色。整幅画面刻画细腻，用笔工整，功力深厚，继承南宋院体画风格。右上款署：“直武英殿东皋胡聪写。”",[164,24,7,165,28,27,2372,101,371,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8671533baa0d9af224242aa2575cf21.jpg","纵101.2cm，横50.5cm",[136,45],{"id":44519,"slug":44520,"title":18219,"dynasty":54,"author":9529,"museum":300,"description":18220,"tags":44521,"thumbUrl":44522,"material":84,"size":84,"collection":68,"collections":44523,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},237594,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237594",[24,7,59,128,132,330,29,1144,495,131,34,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae0c88738c7130fc52a28d7ea721399c.jpg",[68,45],{"id":44525,"slug":44526,"title":18219,"dynasty":54,"author":9529,"museum":300,"description":18220,"tags":44527,"thumbUrl":44528,"material":84,"size":84,"collection":84,"collections":44529,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},237582,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237582",[24,7,59,128,132,330,29,1337,331,171,497,16370,34,4797,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57baa8839dc6361ac243cc972732649b.jpg",[],{"id":44531,"slug":44532,"title":44533,"dynasty":124,"author":44534,"museum":300,"description":44535,"tags":44536,"thumbUrl":44537,"material":692,"size":1293,"collection":68,"collections":44538,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},237274,"zhi-hua-ce-chen-dao-237274","指画册","陈道","陈道，字常经，生卒年不详。明代广东归善县铁炉湖人。正统八年（1443）贡监，授抚州府推官，代理全府之事务。有一年闹饥荒，陈提出发放仓库里的粮食赈灾。一些府官则说，必须按惯例向上级申请。陈说：“人们都快要饿死了，怎么还能等到申请获得批准？责任由我个人承担，决不连累你们。”仓库的粮食不够赈济，陈就将自己的薪金捐献出去。总共救济了几万灾民。不久上级认为陈专权，严厉责备他。陈不顾自己生活困难，毅然辞职归田。陈对子女管教得很严，规劝子女不要穿华丽的服饰。他的子孙后代，名声很好。",[24,7,59,29104,128,3599,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfa92256e6d38e8d50e01978afc127fa.jpg",[68,117],{"id":44540,"slug":44541,"title":44542,"dynasty":54,"author":44543,"museum":244,"description":44544,"tags":44545,"thumbUrl":44546,"material":611,"size":44547,"collection":136,"collections":44548,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":49},237237,"bai-lu-quan-tu-zhou-fang-shi-shu-237237","白鹿泉图轴","方士庶","方士庶（1692—1751）字循远，一作洵远，号环山，又号小狮道人，一作小师道人，新安（今安徽歙县）籍，家维扬（今江苏扬州）。清代画家。\n能诗善画，书法严密端秀，绘画笔墨敏洁灵秀，气势跌宕飞动，谓之为王原祁后山水第一。受学于黄鼎，山水用笔灵敏，气晕骀宕，早有出蓝之目，时称妙品。兼善花卉写生。其得意之作，皆钤“偶然拾得”小墨印。复以书法名芜城。行楷结构严密，纯学董其昌。惜中寿而殁。亦工诗，有《环山诗钞》。是“娄东派”卓有成就的名家。",[24,7,165,128,132,29,97,34,131,1645,247,415,14906,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd777ea183e5a3b1907c7c59e0962cf28.jpg","369x102",[136],{"id":44550,"slug":44551,"title":19857,"dynasty":54,"author":44552,"museum":20,"description":44553,"tags":44554,"thumbUrl":44555,"material":1722,"size":44556,"collection":136,"collections":44557,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},237121,"shan-shui-zhou-cheng-sui-237121","程邃","全图以枯笔焦墨表现丘峦林壑，带有程邃典型的笔墨特征。其渴笔干墨的行笔线条刚劲有力，具有以书入画的金石味，将山石树木荒拙苍老的筋骨之美表现得别有情致，从而成功地勾画出作者理想中那种摆脱尘嚣缰锁、陶然世外的高人雅境。",[24,7,29,128,132,165,663,34,35,499,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8aea53b6cd918a5d89fec19f2000ba36.jpg","纵64.6厘米，横29.4厘米",[136],{"id":44559,"slug":44560,"title":44561,"dynasty":54,"author":7716,"museum":300,"description":44562,"tags":44563,"thumbUrl":44564,"material":692,"size":1293,"collection":84,"collections":44565,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},236724,"gai-qi-mu-dan-shan-gai-qi-236724","改琦牡丹扇","改琦（1773年－1828年），字伯蕴，号香伯，一号七芗，又号玉壶外史，江苏华亭（今上海市松江区）人，祖籍北京宛平，是清代中期的画家。\n先世为西域人，祖父改光宗曾任寿春镇总兵。改琦多才多艺，尤善绘画，其人物画被认为是嘉道后最工者，其画受李公麟、赵孟𫖯、唐寅、陈洪绶等影响，花草竹等画也擅长。曾绘《红楼梦图》。",[24,7,1131,128,61,263,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e897ea7159d76effc5cfa8e1760a51b.jpg",[],{"id":44567,"slug":44568,"title":30898,"dynasty":54,"author":28018,"museum":300,"description":41706,"tags":44569,"thumbUrl":44570,"material":692,"size":1293,"collection":84,"collections":44571,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},236440,"hua-niao-shan-zhu-cheng-236440",[24,7,1131,27,61,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50875841b475751f0202fe0450e2d2a1.jpg",[],{"id":44573,"slug":44574,"title":44575,"dynasty":54,"author":6936,"museum":20,"description":44576,"tags":44577,"thumbUrl":44578,"material":734,"size":44579,"collection":136,"collections":44580,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},236412,"fang-li-cheng-yan-jing-zhou-wang-yuan-qi-236412","仿李成烟景轴","王原祁（1642—1715年），字茂京，号麓台、石狮道人，江苏太仓人，王时敏之孙。清康熙九年（1670年）进士。因画艺，被召供奉内廷，深受皇室青睐，地位显赫，任书画总裁和《万寿盛典》总裁，官至户部侍郎，故称“王司农”。他擅画山水，其绘画艺术承绪家学，自幼得到祖父王时敏的刻意指导，一生倾注于笔墨施运的营求中，自称笔端有“金刚杵”, 画风中年秀润，晚年苍浑。与王时敏、王鉴、王翬合称“清初四王”。王原祁做为“四王”中最年轻的一位画家，秉承家学，追摹古法，在不懈创作的同时，以同样方法再授弟子，对山水画的发展及“娄东派”的形成起到重要作用。其对绘画的影响一直延续到清中、后期“小四王”（王昱、王愫、王宸、王玫）、“后四王”（王三锡、王廷之、王廷国、王鸣韶）。“四王”的绘画创作继承明末董其昌的绘画理论和实践，力图集古人之大成，被确立为正统画派。追随王原祁的画家众多，形成“娄东派”，几乎独占了当时的画坛。著有《雨窗漫笔》、《扫花庵题跋》等。",[24,7,165,128,132,330,29,131,34,35,99,37,1813],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13acb79db4605b2491661e613a2d3b51.jpg","纵47cm，横30cm",[136,45,318],{"id":44582,"slug":44583,"title":44584,"dynasty":124,"author":39808,"museum":300,"description":44585,"tags":44586,"thumbUrl":44587,"material":84,"size":84,"collection":44,"collections":44588,"showCount":335,"zanCount":1998,"manualWeight":48,"mainColor":49},236411,"er-xian-zhou-peng-shun-xiang-236411","二仙轴","画面以淡赭铺底，枯木虬枝缀着寒蕊，晕开清寂幽远的林下氛围。\n\n长仙峨冠长髯，宽袍曳地，持拂尘垂眸含笑，神色悠然和煦，似在静听童子言语。赤足短褐的童子仰首抬望，憨态里满是敬慕，灵动身形衬出稚拙意趣。\n\n画作以顿挫写意的墨线勾勒衣纹，笔力苍劲洒脱，将布料垂坠褶皱尽显，人物神态刻画入微。仙风道骨与童真稚趣相映成趣，以简驭繁的水墨写意间，氤氲出飘然出尘的世外仙气，把高人隐士的闲适清雅铺陈开来，尽显传统人物画的写意神韵。",[24,7,165,128,27,96,13695,16099,34,131,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb06d168bc0594d94200701bd45eefb2.jpg",[44,117],{"id":44590,"slug":44591,"title":44592,"dynasty":54,"author":9529,"museum":20,"description":44593,"tags":44594,"thumbUrl":44596,"material":1464,"size":44597,"collection":136,"collections":44598,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},236391,"zhong-lin-die-zhang-zhou-wang-hui-236391","重林叠嶂轴","“虞山画派”大家王翚(1632－1717)一生的画腊极长，创作精力旺盛，各阶段绘画风格的变化亦较为明显。对此，近代鉴藏大家吴湖帆(1894－1968)题本展王石谷《仿巨然夏山烟雨图卷》中，曾有极为精辟的剖析：“王石谷子(王翚)年四十左右，在娄东王奉常(王时敏)家临摹宋元名迹，艺乃大成，间为太常代笔，亲受指点，益臻神化，故石谷画当以四十至五十为极诣，五十至六十自具面目，六十至七十渐落俗套、每失韵致，七十至八十有衰颓气，八十以外又复变化入神，用笔如万岁枯藤，苍辣兼具，有空前绝后之妙。后人之诋諆石谷者，盖多见其六十以后八十以前作也。”梅景书屋主人之评，的为灼见，其对石谷画风的如数家珍，实得益于其本人鉴藏之丰厚。\n众所周知，近现代的江南地区，无疑是“四王”书画流散与聚集的重镇。不仅吴氏如此，他如庞莱臣、顾文彬、钱镜塘等近现代大藏家亦然，购藏“四王”精品之机会甚多。而他们的旧藏，之后成为了上海博物馆馆藏“四王”的主要来源。以王翚为例，不仅数量逾百，且自成体系，如自王氏四十岁至八十六岁的四十七年中，除四十三、五十六、五十七、五十八、六十及七十六岁这六年无藏品外，其余则可按系年排列。而传世本就不多的王翚四十岁前早期作品，上海博物馆亦拥有重要画作若干。其二，上海博物馆所藏王翚各时期作品，皆有诸多精品与代表作，如四十岁前《早年山水图轴》、《十里溪塘图轴》，四十至五十岁间的《仿曹知白西林禅室图卷》、《元人高韵图轴》、《小中现大图册》、《黄鹤传灯图卷》、《仿关仝溪山晴霭图卷》、《仿黄公望富春山居图卷》，五十至六十岁间的《溪阁晤对图轴》、《重江叠嶂图卷》，六十至七十岁的《泰岳松风图轴》、《西斋图卷》、《寒林雅趣图卷》，七十至八十岁的《六境图卷》、《嵩山草堂图轴》，八十以后如《唐人诗意图轴》、《仿大痴山水图轴》等。其系统性与代表性，对全面把握与理解王翚一生的绘画风格演变，提供了良好的实物基础，这也是本展得以举办的主要缘由。\n另一方面，察考上博王翚作品中所涉及的相关人物，可以发现，这些或受赠者，或鉴题者，在王氏的艺术生涯以及人生轨迹的转变中扮演了重要的角色。同时，亦可注意到，伴随着王翚交游圈的不断拓展，其从艺心态随之产生了微妙的变化。而这种转变，与上述吴湖帆所析其各阶段画风特点，亦有某种程度上的关联，也折射出王翚与同时代如王原祁、八大山人、恽寿平等艺术家在个性、气质方面的些许差异。",[24,7,165,128,132,29,131,34,130,44595,6791],"重林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53a0a8445ee5579556a829c666e132ec.jpg","纵129.7cm，横44.1cm",[136,117],{"id":44600,"slug":44601,"title":44602,"dynasty":54,"author":3043,"museum":300,"description":9390,"tags":44603,"thumbUrl":44605,"material":692,"size":1293,"collection":84,"collections":44606,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},236378,"xu-gu-guo-pin-shan-ye-xu-gu-236378","虚谷果品扇页",[24,7,1131,27,128,133,369,2334,10888,44604],"果品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79e595f08a8d4afc024bc05213ef75a.jpg",[],{"id":44608,"slug":44609,"title":44610,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":44611,"thumbUrl":44612,"material":692,"size":1293,"collection":84,"collections":44613,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},236343,"yuan-ji-lan-shi-shan-shi-tao-236343","原济兰石扇",[164,24,7,1131,128,375,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F681a6f9bf2925a9eb7dfa44cdf8ba289.jpg",[],{"id":44615,"slug":44616,"title":10613,"dynasty":54,"author":1460,"museum":300,"description":44617,"tags":44618,"thumbUrl":44619,"material":84,"size":84,"collection":84,"collections":44620,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},235883,"yuan-ji-shan-shui-tu-ce-shi-tao-235883","此开以淡墨晕染出夜江空濛之境，远山如笼轻烟，朦胧柔婉。坡岸古松虬曲苍劲，枝叶疏密交错，暗合晚风拂林之态。浅滩扁舟静泊，舱内灯影隐约，将羁旅夜泊的清寂诗意缓缓铺陈。\n\n行书题诗与画面相映成趣，笔意疏朗清逸，诗句将烟月横塘的缱绻旅思娓娓道来，诗画交融无间。整幅以简驭繁，淡设色烘托出静谧悠远的晚江氛围，寥寥数笔便写尽江湖寄兴的闲淡意绪，尽显文人画诗画合璧的雅致风神，把幽寂淡远的羁愁融于尺幅之间。",[24,7,59,128,27,29,1144,3387,496,133,64,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d386381e3f4f6870eb0fa126626adb4.jpg",[],{"id":44622,"slug":44623,"title":4229,"dynasty":124,"author":22448,"museum":300,"description":39003,"tags":44624,"thumbUrl":44625,"material":692,"size":1293,"collection":84,"collections":44626,"showCount":335,"zanCount":1116,"manualWeight":48,"mainColor":72},235723,"hua-niao-ce-tan-zhi-yi-235723",[164,24,7,59,128,61,828,549,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F754d533672d348e12400db586ea98fde.jpg",[],{"id":44628,"slug":44629,"title":37282,"dynasty":54,"author":22607,"museum":300,"description":44630,"tags":44631,"thumbUrl":44632,"material":84,"size":84,"collection":84,"collections":44633,"showCount":335,"zanCount":1116,"manualWeight":48,"mainColor":72},235673,"huang-shan-tu-zhou-mei-qing-235673","《梅清黄山图轴》是清代画家梅清创作的一幅纸本设色画。\n图绘被世人称为“黄山绝胜处”的文殊台。\n群峰松林以平行的斜线构成，白云蒸腾而上，气势雄浑。\n作者用豪放、泼辣的笔法突出了黄山奇、峻、险、秀的意境，山石以皴勾画，繁而不乱，松树枝叶墨气浓郁，独树一帜，别开生面。\n本幅自题诗一首，款署：“瞿山梅清并题”，钤“瞿山清”白文印、“渊公”朱文印。\n梅清（1624—1697年），原名士羲，后改梅清，字渊公，号瞿山、敬亭山农，宣城（今属安徽省）人。\n清初画家、诗人。\n工诗善画，以画山水、松石、梅花著称，时有“画山水入妙品”，“松入神品”，画梅花“枝干奇古”之评。\n山水画大多是黄山景致，风格雄奇豪放，为宣城地区画坛领袖。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。\n他的创作最重师法自然，曾在各地游历名山大川，终日面对青山描摹写生。\n黄山和家乡宣城是梅清绘画中最着力表现的题材。\n著有《天延阁集》、《梅氏诗略》等书。",[24,7,165,128,132,29,1144,37,30,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e76d80fe37e232fb28534fb90d10bcd.jpg",[],{"id":44635,"slug":44636,"title":3168,"dynasty":54,"author":29748,"museum":300,"description":29749,"tags":44637,"thumbUrl":44638,"material":692,"size":1293,"collection":84,"collections":44639,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},235278,"ren-wu-gu-shi-ce-fan-xue-yi-235278",[24,7,59,28,27,96,97,130,166,2218,131,875,249,1200,8347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa76b242492325dde8fcec18b836c2f25.jpg",[],{"id":44641,"slug":44642,"title":44643,"dynasty":54,"author":28018,"museum":300,"description":28019,"tags":44644,"thumbUrl":44645,"material":84,"size":84,"collection":84,"collections":44646,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},234627,"hua-hui-wan-shan-zhu-cheng-234627","花卉纨扇",[24,7,1131,27,61,62,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa358ac9a104d3e850308a86b6a320292.jpg",[],{"id":44648,"slug":44649,"title":44650,"dynasty":54,"author":19362,"museum":300,"description":44651,"tags":44652,"thumbUrl":44653,"material":84,"size":84,"collection":84,"collections":44654,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},234521,"zhu-lan-tu-shan-liao-yun-jin-234521","竹兰图扇","廖云锦，其句“伤心春雨香泥尽，羡尔先归到故乡”，广为吟咏。\n廖云锦，生卒年不详，约活动于清道光年间（1821－1850年）。字蕊珠，号织云、锦香居士，华亭（今属上海）人，袁枚女弟子。自幼从父廖古檀吟诗作画同，后归泗泾马氏。早寡，遂以诗画消磨时光。名所居为“读画楼”。她工绘花鸟，宗法恽寿平，不以笔墨勾勒轮廓线，直接上色点染，所画物象自然生动。善诗，著有《织云楼诗稿》，中有《咏秋燕诗》，其句“伤心春雨香泥尽，羡尔先归到故乡”，广为吟咏。",[24,7,1131,128,167,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd3b7e803b78b25f2b01ba20021d51ad.jpg",[],{"id":44656,"slug":44657,"title":44658,"dynasty":54,"author":223,"museum":300,"description":44659,"tags":44660,"thumbUrl":44664,"material":692,"size":1293,"collection":84,"collections":44665,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},234392,"xiao-yi-chun-huang-hou-chao-fu-xiang-zhou-yi-ming-234392","孝仪纯皇后朝服像轴","此作工笔重彩，人物端严沉静，尽显后妃威仪。衣饰绘制精工极致，朝服遍饰五彩龙纹，云纹、海水江崖层层排布，纹样繁缛却层次分明，晕染细腻考究。东珠朝珠垂挂胸前，珠宝光泽莹然逼真。宝座雕饰祥龙，脚踏与地毯纹样华贵雍容，朱红配明黄，尽显宫廷礼制的厚重华贵。画师以写实技法，将面料肌理、珠玉质感一一还原，色彩富丽不失沉稳，既精准呈现了后妃朝服典制，也将皇后端凝肃穆的气度刻画入微，是清代宫廷肖像画的典型佳作。",[24,7,165,28,27,41805,96,44661,14416,31432,1365,44662,31431,44663,3490,170],"清代服饰","地毯","肖像画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff82d2ef672dca8f0cc4b49c7647b20e7.jpg",[],{"id":44667,"slug":44668,"title":44669,"dynasty":124,"author":44670,"museum":300,"description":44671,"tags":44672,"thumbUrl":44673,"material":84,"size":84,"collection":84,"collections":44674,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},234216,"bai-miao-jiu-ge-tu-juan-wu-gui-234216","白描九歌图卷","吴桂","《九歌》是屈原《楚辞》的篇名之一。此《九歌图》卷由元代张渥绘，褚奂隶书题词。画卷依次描绘了《九歌》的十一篇：东皇太一、云中君、湘君、湘夫人、大司命、少司命、东君、河伯、山鬼、国殇、礼魂。此卷现藏于美国克利夫兰艺术博物馆，约绘于元至正二十一年，拖尾有陆时化、叶恭绰、吴湖帆、吴华源、徐邦达等人跋。",[23,24,7,25,188,96,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74b4805ad4afd40f680d4258ef202e2b.jpg",[],{"id":44676,"slug":44677,"title":7359,"dynasty":54,"author":1242,"museum":224,"description":7360,"tags":44678,"thumbUrl":44679,"material":1464,"size":7363,"collection":84,"collections":44680,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},233857,"mei-hua-ce-jin-nong-233857",[24,7,59,128,371,64,21937],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4778566cb3397349972119e2d926f2a8.jpg",[],{"id":44682,"slug":44683,"title":44684,"dynasty":124,"author":15700,"museum":20,"description":44685,"tags":44686,"thumbUrl":44687,"material":44688,"size":44689,"collection":84,"collections":44690,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},233830,"san-shu-tu-juan-zhu-zhan-ji-233830","三鼠图卷","该画卷由三件画作组成，分别为：苦瓜鼠图（纸本墨笔）、菖蒲鼠荔图（绢本设色）、食荔图。卷末有明宪宗朱见深御制题跋。此卷现藏于北京故宫博物院，钤明末宋荦、清乾隆、嘉庆、宣统等藏印。\n虽然同为一卷画，但《苦瓜鼠图》与《菖蒲鼠荔图》《食荔图》的风格有很大的不同。《苦瓜鼠图》用笔爽朗，逸笔草草，与朱瞻基《武侯高卧图卷》（北京故宫博物院藏）中的墨竹、丛草以及《松云荷雀图卷》中的荷叶、兰草和寿石的笔法一致。而《菖蒲鼠荔图》和《食荔图》则工整秀逸，笔法精到。画中老鼠偷食苦瓜及红荔饶有趣味，前者将并不为人待见的老鼠的憨态与顽皮神态鲜活地表现出来，正如韩昂在《图绘宝鉴续纂》中评朱瞻基画艺所说：“万几之暇，留神词翰，于图画之作，随意所至，尤极精妙” ；后者所写 “荔枝” 有语带双关之意，“红荔” 与 “红利” 谐音，而 “荔枝” 又有 “一本万利” 之义，故老鼠啃食荔枝，具有吉祥寓意，其画中的内涵，已然超越了画作本身。",[24,7,25,28,27,5883,2036,2334,549,229,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37524d5d18f707fb2aabe2b8bb52ec5.jpg","纸本墨笔、绢本设色","纵28.2，横 38.5 厘米",[],{"id":44692,"slug":44693,"title":44694,"dynasty":54,"author":1219,"museum":20,"description":44695,"tags":44696,"thumbUrl":44697,"material":1223,"size":44698,"collection":84,"collections":44699,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},233725,"feng-chen-san-xia-tu-ping-ren-yi-233725","风尘三侠图屏","风尘三侠指隋末唐初三位豪杰：虬髯客、李靖和红拂女。出自唐传奇《虬髯客传》。李靖于隋末在长安谒见司空杨素，为杨素家妓红拂所倾慕，随之出奔，途中结识豪侠张虬髯，后同至太原，通过刘文静会见李世民。虬髯客本有争夺天下之志，见李世民神气不凡，知不能匹敌，遂倾其家财资助李靖，使辅佐李世民成就功业。后虬髯客入扶馀国自立为王。李靖、红拂、虬髯三人，后人亦称“风尘三侠”。",[24,7,165,27,28,96,7067,331,1337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33b2b0fa9463cf94c5bf3e654b948eb5.jpg","纵148.5厘米，横66厘米",[],{"id":44701,"slug":44702,"title":44703,"dynasty":54,"author":1219,"museum":20,"description":44704,"tags":44705,"thumbUrl":44706,"material":611,"size":44707,"collection":84,"collections":44708,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},233722,"san-you-tu-xiang-zhou-ren-yi-233722","三友图像轴","任颐的人物画是典型中西结合的代表，人物面部刻画借鉴西洋素描画法，力求形似逼真，而人物服饰却又是中国画典型的“线条”的艺术，或作折芦描或作丁头鼠尾描淡色轻染，清新悦目。\n任颐作画，一般都有画稿，是从生活中观察、写生而成。他的人物画题材广泛，既有历史故事、神话故事、民间传说，也有直接反映现实生活的作品，而且他善于捕捉人物一刹那之间的神情动态，使得造型准确，情态生动，衣纹用笔既能表现形体关系，又有衣褶线条变化的灵动之美，很注意突出衣纹的走势。他画肖像画以家学之法为主，脸部塑造以“没骨”法和以色渲染法打底，关键部位以线强调，衣袍服饰以所学众法为之，或写或工，或墨或线。任颐的肖像画形成了独自的风格，并开拓了全新的境界。\n任颐的花鸟画手法多样，远师北宋，近学徐渭、陈淳、石涛、恽寿平等，博采众长，独出一格，工笔、写意、勾勒、没骨、设色、水墨均能运用自如。他多用湿笔，运用淡墨尤有独到处，他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交融，风格明快、温馨、清新、活泼，极富创造性。任颐的绘画在当时及现代具有极大影响，被认为是“仇十洲（仇英）后中国画家第一人”。\n其实任颐作画是用写意画法去画工笔画，是以工笔画为里，写意画为面，在他的画中既有写意的痛快淋漓，又有工笔画的神形兼备，也就是说，他是将工笔画写意化，而不是将文人画写意化。任颐重新整合了工笔画，开创了写意工笔画风，对后世的影响是极其巨大的。\n这幅《三友图像》作于光绪甲申（1884）年，当时作者已经45 岁，画中有作者自识：“锦堂、风沂两兄嘱颐写照，更许在坐，谓之三友，幸甚幸甚。”有清钟德祥的两句题跋：“不须对月自三人，自有须眉自写真，脱去头巾衣扫塔，似俞清老段祛尘。”“皆僧衣，其有所寄托耶？”\n画中的3 人席地而坐，背后左侧有一圆榻一画筒，画筒里树有书卷画轴，榻上也堆着数卷，寥寥数笔把背景描绘得显露无疑。画中中间坐着的一人为曾凤寄，左向坐的人为朱锦堂（朱锦裳，上海著名书画鉴藏家，九华堂笺扇店主人，为任颐的好友），右向者为任颐自己。画中三人都穿着僧衣。这里面据说还有一段原由：光绪甲申三月为明朝灭亡240年祭，而且当时的晚清政治腐败，社会动荡，所以任颐绘三友图，并且身穿僧衣，脱去头巾，大有书画寄志的深意。画中三人神采自若，志气昂扬，形露于笔端。\n而是继承宋元而又融汇着民间的白描写真和西画的铅笔速写法，显得人体结构比例准确而充实。衣纹多方折，纵横迭出，似山石之皴笔，大有岿然独坐之意。\n任颐在这幅《三友图像》中融入了自己的志气，把那种对社会不满而又无可奈何之气刻画得淋漓尽致。\n任颐（1840～1896 年），初名润，字小楼，后字伯年，别号山阴道上行者、山阴道人，浙江山阴人。其父鹤声，工肖像，所以任颐自幼得其父指授，后移居宁波，师事任熊、任薰。中年定居杭州，以卖画为生。任颐是一个全才型画家，于花鸟、人物、山水无所不精，尤以肖像见长。代表作有《钟馗》、《女娲炼石》、《关河一望萧索》、《苏武牧羊》等。",[164,24,7,165,128,27,96,9603,9602,208,64,133,28,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F997cb5d2b0b5987d9282370e10f50eb4.jpg","纵64.5 厘米，横36.2 厘米",[],{"id":44710,"slug":44711,"title":44712,"dynasty":144,"author":287,"museum":20,"description":44713,"tags":44714,"thumbUrl":44715,"material":734,"size":3482,"collection":84,"collections":44716,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":49},233408,"shan-ju-tu-juan-qian-xuan-233408","山居图卷","作者以自己的隐居生活为题材创作此图。细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。",[164,24,7,25,27,29,128,132,64,133,938,208,98,99,129,130,34,1351,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F987744740f1b031a82f445c16be438f2.jpg",[],{"id":44718,"slug":44719,"title":4229,"dynasty":54,"author":4468,"museum":20,"description":11261,"tags":44720,"thumbUrl":44721,"material":40,"size":11264,"collection":84,"collections":44722,"showCount":335,"zanCount":1998,"manualWeight":48,"mainColor":72},232975,"hua-niao-ce-lang-shi-ning-232975",[164,24,7,28,27,14386,61,481,62,230,806,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a5b70c75f435968ca94dcef15bf7a87.jpg",[],{"id":44724,"slug":44725,"title":44726,"dynasty":144,"author":223,"museum":300,"description":34450,"tags":44727,"thumbUrl":44728,"material":84,"size":84,"collection":84,"collections":44729,"showCount":335,"zanCount":1998,"manualWeight":48,"mainColor":49},232801,"ying-zhen-tu-shi-ba-luo-han-you-yi-ming-232801","应真图(十八罗汉 右)",[24,7,165,187,27,96,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3276f2919f66c29791f941c1dffce1f.jpg",[],{"id":44731,"slug":44732,"title":44733,"dynasty":18,"author":2141,"museum":244,"description":23213,"tags":44734,"thumbUrl":44735,"material":611,"size":44736,"collection":84,"collections":44737,"showCount":335,"zanCount":1998,"manualWeight":48,"mainColor":49},232783,"yang-zheng-tu-juan-yi-liu-song-nian-232783","养正图卷一",[23,164,24,7,25,28,27,95,96,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ba766b8433f57a3fb63e40cb7d3497.jpg","30*322.97厘米",[],{"id":44739,"slug":44740,"title":1140,"dynasty":124,"author":44741,"museum":244,"description":44742,"tags":44743,"thumbUrl":44744,"material":611,"size":44745,"collection":84,"collections":44746,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},232694,"pin-cha-tu-ju-jie-232694","居节","居节，明代吴门画家，文徵明弟子。在文门子弟、门生当中，居节的声名不若文彭、文嘉、王榖祥、周天球、陆治、钱榖等人显赫，但却能克绍恩师艺风，善画能诗，有着相当高的艺术水平。",[24,7,165,128,27,29,96,34,99,64,133,208,130,2132,5401,6875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeb09016bd62c010c7b21fc206e650aa.jpg","本幅 107.1x28.9公分、詩塘 50.4×28.9公分、全幅 52.5公分",[],{"id":44748,"slug":44749,"title":44750,"dynasty":144,"author":223,"museum":300,"description":44751,"tags":44752,"thumbUrl":44753,"material":84,"size":84,"collection":84,"collections":44754,"showCount":335,"zanCount":1998,"manualWeight":48,"mainColor":49},231912,"luo-han-tu-di-shi-qi-zun-zhe-yi-ming-231912","罗汉图（第十七尊者）","达摩多罗尊者右手持禅杖，左手持拂子，身背经箧，头罩华盖， 奔走途中，身旁猛虎相随。前方可见无量光佛坐于塔中， 另有粉色祥云前托佛塔，延绵而下至世间， 这种画法来自汉地明代罗汉画像。上界有光芒四射的白度母化现。",[24,7,164,165,28,27,187,96,1975,40410],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d2ff6194009c658f1f937824ec5ce2.jpg",[],{"id":44756,"slug":44757,"title":44758,"dynasty":144,"author":2697,"museum":244,"description":44759,"tags":44760,"thumbUrl":44761,"material":317,"size":32193,"collection":84,"collections":44762,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":49},231405,"si-ji-ping-an-tu-li-kan-231405","四季平安图","李衎性情温和淳厚，人不见其喜愠之色，潜心于画，其画风亦较为平淡恬静。他的绘画得到帝王的赏识，曾奉诏图写嘉熙殿壁，并以著色竹画殿堂御屏。\n李衎以画竹著名，他初学王庭筠，后上追文同，又深入南方竹乡进行观察，特别是借出使安南（今越南）之机，详细辨认各种竹子的生性姿态，从中获益甚多。他能画双勾著色竹，又善墨竹，笔法精谨，意态生动，所作竹好取整枝全景，且以风霜雨露等自然气候烘托竹子挺拔刚劲的个性。\n李衎毕生致力于画竹，并著有《竹谱》，分画竹谱、墨竹谱、竹态谱等节，对竹之结构品类、生长规律及画竹源流技法详加探讨，记录其心得，深感想要画艺精湛十分不易。\n李衎强调画竹需深入观察，初学必守法度，久之可达于规矩绳墨之外，切忌信笔涂抹。\n他还分析竹之品类及生长规律，深入浅出地论述画竹方法，如他在“画竹谱”中论及画竹位置上的五忌为“冲天撞地、偏重偏轻、对节排竿、鼓架胜眼、前枝后叶”，“冲天撞地者，谓梢至绢头，根至绢末，陋塞填满者。偏轻偏重者，谓左右枝叶，一边偏多，一边偏少，不停趁者，对节者，谓各竿节节相对。排竿者，谓各竿匀排如窗棂。鼓架者，谓中一竿直，左右两竿交叉如鼓架者。胜眼者，谓四竿左右相差匀停，中间如方胜眼者。前枝后叶者，谓枝在前、叶却在后，或枝叶俱生在前，俱生在后者”。",[164,24,7,165,128,16820,167,1314,8493],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa487b54a498557293ce2008ea956aa1e.jpg",[],{"id":44764,"slug":44765,"title":28101,"dynasty":144,"author":1346,"museum":244,"description":44766,"tags":44767,"thumbUrl":44768,"material":151,"size":44769,"collection":84,"collections":44770,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":49},231382,"shuang-song-tu-wu-zhen-231382","全作的笔力雄劲，墨气沈厚，有一种平淡天真的韵致。\n两松平地直立，上顶天，下立地，几乎占据了整个画面。两树均挺拔茂盛、枝叶桠槎、形势奇古。左松树身中下部曲成弧形，卧于地，中部挺直、劲健，顶部突然探向右方；右松直立挺拔，上部一个近于直角的弯曲，伸向右，于左松一树枝的上方又一个近于直角的弯曲，然后冲向高空。这样两松空中交插，成为X形，一种挺拔、孤傲、相依相扶的形象展示于画面。两松枝叶间点缀以清溪茅舍、远山丛树，更显出双松的高大、雄伟。\n画中双树擎天而立，树后有一条蜿蜒的溪流渐渐地向后推延，几户房舍坐落在岸边，空间深邃。虽然这件画轴的画题是「双松图」，可是从画上两棵树的枝干看来，吴镇画的应该是桧树才对。画中桧树的枝纠结，仍然保存了李成、郭熙画树的风貌。树皮以长披麻皴来表现，笔法又和董源、巨然相似。坡岸多作矾头，也是董巨山水画的重要特色。",[24,7,128,132,165,29,1144,131,415,34,16370,2220],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf0fcc10dffdd8cca23f577240f388d.jpg","纵180厘米横111.4厘米",[],{"id":44772,"slug":44773,"title":44774,"dynasty":18,"author":223,"museum":244,"description":44775,"tags":44776,"thumbUrl":44781,"material":611,"size":44782,"collection":84,"collections":44783,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":49},231344,"shan-shui-tu-shen-shan-si-he-tu-yi-ming-231344","山水图（深山饲鹤图）","此幅绘山岭复叠，村落参差，茅亭敞榭，作荷塘泛舟，竹院饲鹤诸景。本图深得高远之势，又用郭熙笔法画山石，老树。细观之又与传荆浩的庐山图有一定的图式联系，当是南宋人的山水作品。",[164,24,7,29,165,128,132,44777,149,44778,39527,44779,44780,722,131,331,98,99,130],"山岭","茅亭","泛舟","竹院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc88982fae3a7fc957b3ec9227a4bfe95.jpg","172.7x81.4",[],{"id":44785,"slug":44786,"title":44787,"dynasty":54,"author":9529,"museum":300,"description":44788,"tags":44789,"thumbUrl":44790,"material":84,"size":84,"collection":84,"collections":44791,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},230960,"guan-mei-tu-wang-hui-230960","观梅图","观梅图卷，清代，王翠作画。\n纸本，画心纵28.8，横7.厘米。\n浅设色，写峰峦幽深，飞瀑流泉，半山高台处筑一草亭，亭内盘坐一人，倾身仰望溪流边芬芳吐艳的红梅。\n用笔虽简，但人物的神态竟被捕捉无遗。\n草亭四周翠竹环绕与远处的密林构成一种清幽的环境。\n山石多用干笔皴擦，配以浓墨苔点，古朴苍劲，款署“耕烟散人王翚画于天潭邃谷”，钤“耕烟散人时年七十有四”。\n此图当为康熙四十五年(176)所作。\n鉴赏章有“乾隆御览之宝”、“宣统鉴赏”等章。\n原为清内府所藏，现藏旅顺博物馆。",[24,7,128,132,29,371,130,495,99,131,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8a2eb106bca04ce73a4b61fc1f9cf4.jpg",[],{"id":44793,"slug":44794,"title":44795,"dynasty":54,"author":17240,"museum":300,"description":44796,"tags":44797,"thumbUrl":44798,"material":84,"size":84,"collection":84,"collections":44799,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},230299,"shan-shui-shi-kai-cha-shi-biao-230299","山水十开","此作用笔松秀空灵，以极简构景铺就幽寂冬境。几株寒木瘦劲出枝，淡笔勾勒嶙峋躯干，细笔写残叶萧疏，尽显清癯孤傲之态。留白为寒水浅滩，隐见板桥卧波，远山以枯淡泼墨轻扫，虚实间晕染出淡远空濛。\n\n整幅以少胜多，脱尽尘俗烟火气，将江南冬日清旷荒寒之景诉诸笔端，淡墨轻岚里晕开空寂诗意。观之如临荒寒水畔，浸得一身清宁，尽显静穆淡远的文人雅韵。",[24,7,128,29,331,98,131,132,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dfc33c830462f885ce8379dce9b76aa.jpg",[],{"id":44801,"slug":44802,"title":44803,"dynasty":18,"author":397,"museum":300,"description":44804,"tags":44805,"thumbUrl":44806,"material":84,"size":84,"collection":84,"collections":44807,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":49},230166,"shui-qin-tu-juan-zhao-ji-230166","水禽图卷","此卷以淡墨勾勒晕染，一对鸳鸯悠游清波，翎毛纹理纤毫毕现，翅羽灵动舒展，柔波随漾尽显缱绻。右侧汀渚之上，野花莠草错落横生，野趣盎然。\n\n卷首题字清隽秀挺，与题跋诗文呼应画意，墨色温润雅致。整作工致写实兼具写意空灵，将水禽相依的情态与郊野水畔的幽谧生机融为一体，静雅之中暗藏灵动鲜活，尽显宋画雅致清和的意趣，是工写相融的精妙佳构。",[23,24,7,25,28,27,61,3835,303,2438,24171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87932b955e2126b5dfaa51f8b1ed5b54.jpg",[],{"id":44809,"slug":44810,"title":44811,"dynasty":124,"author":223,"museum":300,"description":44812,"tags":44813,"thumbUrl":44814,"material":84,"size":84,"collection":84,"collections":44815,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":49},228918,"he-tang-shuang-lu-tu-yi-ming-228918","荷塘双鹭图","画面饱满铺陈，粉荷或绽苞或盛放，枯荣荷叶交错层叠，蒲草芙蕖错落其间，尽显盛夏荷塘的蓬勃野趣。两只白鹭娴静错落，一只昂首远眺，一只曲颈理羽，将幽寂安然的意趣藏在留白里。\n古绢底色晕染出沉雅氛围感，设色柔和雅致，禽鸟素白羽翼与粉荷暖色相互映衬，蜻蜓水鸟掠飞其间，为静谧荷塘添灵动生机。工写兼施，花鸟刻画细致入微，草木晕染写意空灵，将江南水泽的清宁诗意凝于绢素，藏着澹泊闲静的池居幽情。",[23,24,164,7,165,27,28,61,168,82,3836,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d11c6095b8c54fa3490081eeda3ec70.jpg",[],{"id":44817,"slug":44818,"title":24564,"dynasty":124,"author":3619,"museum":300,"description":44819,"tags":44820,"thumbUrl":44821,"material":84,"size":84,"collection":84,"collections":44822,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},228874,"gu-song-tu-wen-zheng-ming-228874","此作用笔苍秀老辣，古松盘虬屈曲，躯干以淡墨皴擦晕染，尽显嶙峋斑驳的百年肌理。留白勾出枯槎如银铁之骨，横斜扭转间尽露倔强姿态。松针以焦墨攒簇锋芒毕现，如寒戟森森，满溢凌然风骨。\n\n左侧题字笔意清劲挺拔，与画中奇松相得益彰，书画合璧。整幅以素净纸色衬出古松孤高，水墨洗练却真气弥满，将古松岁寒不凋的君子品格刻画得入木三分，尽抒孤傲清刚的文人意趣。",[23,24,7,25,128,132,372,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2dec8a1811c9c694ad2963a886ad04d.jpg",[],{"id":44824,"slug":44825,"title":44826,"dynasty":144,"author":2487,"museum":300,"description":44827,"tags":44828,"thumbUrl":44829,"material":84,"size":84,"collection":84,"collections":44830,"showCount":335,"zanCount":1998,"manualWeight":48,"mainColor":72},228174,"ma-tu-ren-ren-fa-228174","马图","此画以淡墨细劲勾勒出马的轮廓，辅以温润晕染烘托出躯体丰腴质感，垂首敛颈的骏马神态温驯悠然。以淡墨点簇晕开斑纹，层次柔润自然，细腻晕染下可见肌理起伏，牵丝勾勒的鬃毛劲挺顺滑，尽显良驹的神俊内敛。浅褐绢面留白衬出马儿松弛沉静的状态，右上角朱红方印古雅沉静，与底色相映成趣。整幅画作工致又不失写意松弛，于简淡笔墨间尽显写实功力，将鞍马温顺沉静的气质刻画入微，尽显古雅清隽的画中逸韵。",[23,164,24,7,28,27,101,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F559e9ea5c261803d6c4da058f76d720c.jpg",[],{"id":44832,"slug":44833,"title":12984,"dynasty":144,"author":2487,"museum":300,"description":44834,"tags":44835,"thumbUrl":44836,"material":84,"size":84,"collection":84,"collections":44837,"showCount":335,"zanCount":1998,"manualWeight":48,"mainColor":199},228173,"ren-ma-tu-juan-ren-ren-fa-228173","此卷绘三匹神骏，或昂首徐行，或垂目安步，筋骨肌理刻画入微，膘肥体健，神骏之态毕现。牵马者神情各异，衣冠服饰线条劲挺流畅，设色雅致沉稳，将人物的身份气度描摹得鲜活自然。\n\n画作写实精妙，比例精准，尽显创作者观察细致、笔力深厚。搭配的题字笔墨酣畅，与绘作相映成趣，整卷古意悠然，将人马之间的呼应刻画得浑然天成，尽显鞍马人物画的高古雅致风韵。",[23,164,24,7,25,28,27,96,101,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd27670cfe79fb7e698f1516afb9d52f7.jpg",[],{"id":44839,"slug":44840,"title":44841,"dynasty":144,"author":8127,"museum":300,"description":44842,"tags":44843,"thumbUrl":44844,"material":84,"size":84,"collection":84,"collections":44845,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},228161,"qiu-jing-chun-que-tu-wang-yuan-228161","秋景鹑雀图","此作为水墨花鸟精品，以全景式铺陈秋日小景。枝桠虬劲舒展，数只雀鸟或振翅翻飞、或栖枝理羽，灵动鲜活，将秋空的清寂晕开几分生机。坡石苍朴古拙，枯笔写意勾勒尽显嶙峋质感，旁侧竹篁挺秀、野菊含芳，笔墨秀雅细腻，晕染间尽显草木清疏之态。\n\n坡下鹌鹑伏于浅草间，羽色纹理描摹入微，憨态尽显。整作纯以水墨绘就，摒去设色浮华，以浓淡干湿变化表现物象肌理，工写相融，既有禽鸟刻画的精工雅致，又有花木坡石的写意苍润，将秋日郊野的清旷意趣与灵动生机揉合一处，尽显清淡古雅的文人意韵。",[23,24,7,165,128,28,61,167,376,171,211,4117,208,1771,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5177d8103b4a3a8119cd7797cf489d1.jpg",[],{"id":44847,"slug":44848,"title":44849,"dynasty":144,"author":17775,"museum":244,"description":44850,"tags":44851,"thumbUrl":44852,"material":253,"size":44853,"collection":84,"collections":44854,"showCount":335,"zanCount":1998,"manualWeight":48,"mainColor":49},228080,"yan-bo-yu-le-tu-tang-di-228080","烟波渔乐图","本幅画溪山平远，云雾弥漫，在一片宽阔的河口上，渔夫捕鱼的情景。有两艘渔舟行驶於江心，渔夫手持鱼网，在河中撒开，扩张成优美的圆弧形，另外两艘渔舟停驻岸边，一妇女正在进行炊煮。",[23,24,7,164,29,27,132,1351,129,1350,12423,96,34,131,37799,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d088d56e193089f1d069008aa3898d9.jpg","纵160.1 横106.2 公分",[],{"id":44856,"slug":44857,"title":44858,"dynasty":144,"author":13485,"museum":300,"description":44859,"tags":44860,"thumbUrl":44863,"material":84,"size":84,"collection":84,"collections":44864,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":49},228077,"zhong-kui-ye-you-tu-yan-hui-228077","钟馗夜游图","此作用铁线游丝般的白描铺陈夜游盛景，开篇主角被鬼卒前呼后拥，伞盖高张、锣声隐隐，群鬼或扛矛开道、或携琴捧酒，狞怪形貌下藏着憨拙灵动的神态。画师以刚柔相济的墨线，勾勒出鬼物各异的怪谲身形，将幽冥出行的诡谲，化作带市井烟火气的诙谐游行。没有浓墨重彩，仅以枯淡墨痕衬出清冷幽冥的氛围感，把搜神题材的森然消解为戏谑意趣，尽显笔底奇思与线描功力，让这场夜游跳出幽冥的可怖，鲜活如人间市集的巡行。",[23,164,24,7,25,188,128,96,17540,44861,44862],"武器","动作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73c9e76964e6d5a4befe37e1f51e3f10.jpg",[],{"id":44866,"slug":44867,"title":44868,"dynasty":144,"author":28347,"museum":300,"description":44869,"tags":44870,"thumbUrl":44871,"material":84,"size":84,"collection":84,"collections":44872,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":49},228034,"xi-qiao-ce-zhang-tu-luo-zhi-chuan-228034","溪桥策杖图","画作以枯木为视觉重心，双木虬曲苍劲，枝条如倒挂蟹爪，皴笔老辣简练，尽显岁寒枯槁之态。近岸山石以淡墨晕染，勾勒寥寥便见嶙峋质感，远景山峦以淡墨轻扫，晕染出空濛悠远的秋山暮色。\n\n溪桥横卧寒波，策杖行人缓步桥上，三两相伴，为冷寂天地添上些许烟火暖意，动静之间，将荒寒萧索与悠然意趣相融。全作用笔简淡空灵，以水墨写尽隐逸幽怀，枯淡之中暗藏生机，尽显文人超脱尘俗的林下襟怀，是元人尚意山水的逸格之作。",[23,24,7,1131,128,29,132,331,98,99,96,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8663ca638f193764ba17f57c5396ca4c.jpg",[],{"id":44874,"slug":44875,"title":44876,"dynasty":144,"author":287,"museum":300,"description":44877,"tags":44878,"thumbUrl":44879,"material":84,"size":84,"collection":84,"collections":44880,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":199},228017,"shan-ju-tu-quan-juan-qian-xuan-228017","山居图全卷","《山居图》是元代画家钱选创作的一幅纸本设色画。\n卷尾作者自题：“山居惟爱静，日午掩柴门。\n寡合人多忌，无求道自尊。\n鷃鹏俱有志，兰艾不同根。\n安得蒙庄叟，相逢与细论。\n吴兴钱选舜举画并题。\n”钤“舜举印章”、“舜举”、“钱选之印”三方。\n卷后隔水有明人俞贞木、刘敏、周传等题记。\n作者以自己的隐居生活为题材创作此图。\n细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。\n《庚子销夏记》著录。\n钱选，字舜举，号玉潭、清癯老人、巽峰，晚年更号溪翁，吴兴（今浙江省湖州市）人。\n生卒不详，主要活动在1世纪中后期至14世纪初。\n南宋景定（126—1264年）年间的进士，入元不仕，遂寄情山水，流连诗酒，隐于绘事，终其一生。\n他是一位技法全面的画家，花鸟、山水、人物、鞍马无一不擅，且造诣颇深，时人有“老钱丹青当世无”的赞誉。\n元初，与赵孟頫、王子中、陈式等人并称“吴兴八俊”。",[23,24,7,25,27,29,132,133,34,35,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e6a316c87208793db9c136df079a22.jpg",[],{"id":44882,"slug":44883,"title":44884,"dynasty":18,"author":9837,"museum":300,"description":44885,"tags":44886,"thumbUrl":44887,"material":84,"size":84,"collection":84,"collections":44888,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":49},227984,"lin-luan-ji-cui-tu-juan-jiang-can-227984","林峦积翠图卷","《中国历代绘画鉴赏》收录了从战国一直到民国初年的著名传世绘画多幅。\n每幅画作附有简明的阐释文字，包括创作年代、质地、尺寸、图版名称、作者简介以及2字左右的赏析文字。\n赏析文字从审美和史学的视角比较全面地展示了每一幅画作的艺术特色和史学价值。\n《中国历代绘画鉴赏》由 出版。\n赵启斌，1968年出生于山东省滕州市，1997年毕业于 ，2年进入南京博物院古代艺术研究所，从事书画艺术研究工作。\n先后参与完成《江苏历代书画精选》、《南京博物院珍藏系列一明清肖像画》、《河山在目一傅抱石百年纪念画集》、《中国美术分类全集·其他地区画像砖》、《南京博物院藏—陈之佛家族捐·陈之佛绘画作品集》、《南京博物院藏·傅抱石家族捐·傅抱石绘画作品集》、《雨花石志》等书的编撰工作，或执笔完成理论部分。\n先后在专业期刊上发表研究论文8余篇，同时致力于古体诗词、现代诗词和书画创作。\n序 人物龙凤图\u002F佚名 人物御龙图\u002F佚名 一号汉墓帛画\u002F佚名 洛神赋图\u002F顾恺之 女史箴图\u002F顾皑之 列女图\u002F顾恺之 职贡图\u002F萧绎 北齐校书图\u002F杨子华创稿阎立本再稿 游春图\u002F展子虔 步辇图\u002F阎立本 历代帝王图\u002F阎立本 江帆楼阁图\u002F李思训 明皇幸蜀图\u002F李昭道（传） 五星二十八神形图\u002F梁令瓒（传） 捣练图\u002F张萱 送子天王图\u002F吴道子 长江积雪图\u002F王维 辋川图\u002F王维（传） 伏生授经图\u002F王维（传） 八公图\u002F陈闳（传） 文苑图\u002F韩混（传） 五牛图\u002F韩洗（传） 簪花仕女图\u002F周防 真言七祖·不空像\u002F李真 \u002F佚名 \u002F佚名 二观世音菩萨像\u002F佚名 高逸图\u002F孙位 雪景行旅图\u002F荆浩（传） 琉璃堂人物图\u002F周文矩 后主观棋图\u002F周文矩 宫中图卷\u002F周文矩 十六罗汉图\u002F贯休（传） 夏景山口待渡图\u002F董源 龙宿郊民图\u002F董源 潇湘图\u002F董源 二祖调心图\u002F石恪 晴峦萧寺图\u002F李成 读碑窠石图\u002F李成 寒林骑驴图\u002F李成（传） 明皇避暑宫图\u002F郭忠恕（传） 渔父图\u002F许道宁 聚猿图\u002F易元吉 调马图\u002F郝澄 窠石平远图\u002F郭熙 湖庄消夏图\u002F赵令穰 \u002F李公麟（传） 文会图\u002F赵佶 五色鹦鹉图\u002F赵佶 翠竹双禽图\u002F赵佶 听琴图\u002F赵佶 清明上河图\u002F张择端 睢阳五老图\u002F侠名 晋文公复国图\u002F李唐（传） 山水图（二幅）\u002F李唐 潇湘奇观图\u002F米友仁 林峦积翠图\u002F江参 前赤壁图\u002F杨士贤（传） 四季牧牛图\u002F阎次平 ……",[23,24,164,7,25,128,132,29,34,98,99,129,131,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97db37cffb87548402a787e2be5270f2.jpg",[],{"id":44890,"slug":44891,"title":44892,"dynasty":18,"author":1622,"museum":300,"description":44893,"tags":44894,"thumbUrl":44895,"material":84,"size":84,"collection":84,"collections":44896,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":49},227829,"wen-dao-tu-ma-yuan-227829","问道图","《明戴进洞天问道图》是明朝画家戴进创作的绢本设色画。\n描绘了深山大川、弥散的云气、 的青松、激荡的水流等山中之景。\n作品现藏于 。\n此图描绘 黄帝至 向 问道的故事。\n画面左侧峰峦突起，直入云霄，右侧古松茂蔚，老干虬枝。\n山谷险道上，身着衮服的皇帝孤身赴洞天问道。\n山石用斧劈皴，人物作琴弦描。\n设色淡雅。\n画风学南宋[画体]而又有元人秀劲的特色，为戴氏前期比较精微优美的佳构。\n画中署有[同郡戴文进为德宣卿友制]。\n后钤[钱塘戴氏文进]、[文进]二。\n此画笔法劲秀，描写精工，皴染淹润，着色清淡，画面境界有一种神秘幽渺之感。\n整幅作品皴法繁密，有条不紊，理在其中，深远之处用墨稍重，皴擦紧密，传达出了空间深远之感。\n图中山谷险道通往洞天，左侧峰突兀，右边长松茂蔚。\n山石用斧劈皴，人物作琴弦描，结构严谨，笔法秀劲，系南宋院体画法，属于 前期比较精微、优秀的佳作。\n戴进（公元188—1462年），明代画家，《明商录》作名班，学文进，号静庵，父号玉泉山人。\n钱塘（今浙江杭州）人。\n少时作银工，所作钗朵精巧绝伦，以为得以传之久远，后见销银者所熔销之物即出已作，遂改学画。\n神像、人物、走善、花果，翎毛俱精绝。\n所作山水，师马远，夏理，并取法轮照、李唐，俱道劲苍洞，行管顿挫多变，设色敷积沉重出严。\n宜宗时与谢廷循等同为待识，因进绘朱农人垂钓而遭谗。\n放归穷死。\n世评戴进为“浙派”之祖，明朝画流第一。\n传世作品有《春山积翠图》轴、《南屏雅集图》卷等。",[23,164,24,7,128,188,27,96,102,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe614a528d695d5f88bfee95f233c5e03.jpg",[],{"id":44898,"slug":44899,"title":44900,"dynasty":18,"author":1622,"museum":300,"description":44901,"tags":44902,"thumbUrl":44903,"material":84,"size":84,"collection":84,"collections":44904,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":49},227827,"fang-gu-qiu-dao-tu-ma-yuan-227827","访古求道图","此作截取林苑一隅，老梅虬枝盘曲如铁，繁花密缀其上，冷香暗涌。古松倚侧挺健，苍郁沉雄。策杖雅士缓行林间，仆从悄然随行，衣袂轻扬间，尽显萧散古雅的林下风致。\n\n笔墨洗练刚劲，以硬屈的线条勾勒枝干，尽显枯木的苍古之态，梅花晕染清润素雅，淡设色晕染出幽寂清寒的氛围，将林泉访古的幽怀雅趣融于边角取景中，简淡空灵，带着清寂悠远的韵致，尽显南宋院体画的精妙功力。",[23,164,24,7,27,132,96,29,371,1233,331,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe844b4a474880c32edeb6e516001d511.jpg",[],{"id":44906,"slug":44907,"title":19802,"dynasty":18,"author":1323,"museum":300,"description":42784,"tags":44908,"thumbUrl":44909,"material":84,"size":84,"collection":84,"collections":44910,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":49},227741,"huo-lang-tu-li-song-227741",[23,164,24,7,1131,28,27,96,169,413,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ad1a42842dd503cd32e68b5bd50644a.jpg",[],{"id":44912,"slug":44913,"title":44914,"dynasty":18,"author":44915,"museum":300,"description":44916,"tags":44917,"thumbUrl":44918,"material":84,"size":84,"collection":84,"collections":44919,"showCount":335,"zanCount":1116,"manualWeight":48,"mainColor":72},227639,"bi-tao-yi-shi-tu-ye-ma-shi-rong-227639","碧桃倚石图页","马世荣","《碧桃图》页，宋，纨扇页，绢本，设色，纵24.8厘米，横27厘米。\n\n本幅无款。钤鉴藏印“于”、“腾”、“阿蒙精赏”3方。\n\n图中盛开的碧桃红白相映，枝叶扶疏，娇柔妩媚。虽然画面上仅绘桃花两枝，但它的繁花簇簇、苞蕾盈枝则透露出浓郁的春意。花瓣用多变的细线条勾描后再以白粉或粉红色多层晕染，嫩叶用细红线勾轮廓和叶筋，然后填以花青和汁绿。整幅画面赋色淡雅，自然生动，体现了宋代册页画小中见大的风貌。",[23,164,24,7,59,27,28,61,209,171,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00bbefa1115cc37dbd7d4d25f6ff030e.jpg",[],{"id":44921,"slug":44922,"title":44923,"dynasty":18,"author":223,"museum":300,"description":30376,"tags":44924,"thumbUrl":44925,"material":84,"size":84,"collection":84,"collections":44926,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":49},227390,"e-mi-tuo-fo-tu-li-zhou-yi-ming-227390","阿弥陀佛图立轴",[23,24,7,165,187,28,27,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2aba528771369b65c6c3bf67051e1b3.jpg",[],{"id":44928,"slug":44929,"title":44930,"dynasty":18,"author":223,"museum":300,"description":44931,"tags":44932,"thumbUrl":44933,"material":84,"size":84,"collection":84,"collections":44934,"showCount":335,"zanCount":1998,"manualWeight":48,"mainColor":72},227384,"ke-si-mu-dan-tu-ye-yi-ming-227384","缂丝牡丹图页","宋代尤其南宋是纯欣赏性缂丝诞生的摇篮，宋代缂丝，设色典雅，技术精巧，表现手法写实，是缂丝的黄金时代。纵观宋代帝王诸如仁宗、神宗、徽宗、高宗、光宗、宁宗等，他们都对国画有不同程度的兴趣，出于审美心理和装点宫廷的需要都很重视宫廷画院建设，北宋时还曾一度设立画学，尤其是徽宗赵佶，其工笔画及独创书法“瘦金体”（图1-3-3-1，赵佶《闰中秋月诗帖》，现藏北京故宫博物院）体现了他作为艺术家的杰出才能和修养。上行下效，宋代文人士大夫创作、收藏、品鉴艺术品蔚然成风，不少文人在艺术实践的题材、形式及审美旨趣上都有自己的独特见解和品位。",[23,164,24,7,1326,1131,1944,27,61,263,481,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17764363065a04d11b9b2bb3a5d41b69.jpg",[],{"id":44936,"slug":44937,"title":44938,"dynasty":13892,"author":223,"museum":300,"description":22345,"tags":44939,"thumbUrl":44940,"material":692,"size":1293,"collection":84,"collections":44941,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},226904,"song-shan-hua-shang-lian-tu-yi-shou-jing-mu-xia-fu-jian-yi-ming-226904","嵩山画赏莲图，益寿镜木匣附件",[24,7,28,27,81,3834,12803,13892],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1b4a4bd4279221698730fe5346f56d4.jpg",[],{"id":44943,"slug":44944,"title":44945,"dynasty":54,"author":6778,"museum":300,"description":44946,"tags":44947,"thumbUrl":44948,"material":84,"size":84,"collection":84,"collections":44949,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":49},224600,"da-ji-yang-fu-gui-tu-zhao-zhi-qian-224600","大吉羊富贵图","此作以祥花瑞果铺陈画面，雍容牡丹居于视觉中心，晕染得丰腴饱满，尽显华贵姿态。梅枝斜逸而出，山茶、水仙错落排布，石榴垂坠其间，将四时佳卉瑞果汇聚一堂，暗合多重吉祥寓意。\n\n笔墨兼工带写，叶片勾勒皴擦带着金石书法的刚劲质感，设色雅致沉稳，古旧底色更衬出沉静古韵。左侧题字笔力雄健苍劲，书画相映成趣，将文人意趣与世俗吉庆融为一炉，以朴拙厚重的金石气注入雅致花绘，尽显独特审美风骨，是雅俗共赏的精妙佳构。",[23,24,7,27,61,371,263,62,2037,624,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54f7d887f9a203f39a6a4a9c43134cd3.jpg",[],{"id":44951,"slug":44952,"title":44953,"dynasty":54,"author":1460,"museum":300,"description":44954,"tags":44955,"thumbUrl":44956,"material":84,"size":84,"collection":84,"collections":44957,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},224512,"shan-shui-tu-ce-8-kai-2-zhang-da-qian-jiu-cang-shi-tao-224512","山水图册8开-2-张大千旧藏","这幅山水以留白铺就江天空寂，右侧危崖飞瀑直落，笔墨苍莽朴拙，尽显山石嶙峋质感。左侧崖巅孤松斜曳，茅舍孑立，归雁成阵掠过长空，远江帆影悠悠往来。\n\n简淡设色晕染山石松枝，寥寥数笔便勾勒出山野清寂之境。题款朱印错落于崖侧，与水墨相映成趣，以写意之笔铺陈出天人相融的幽远意趣，尽显简淡疏朗的林下之风，将江乡山居的空阔自在藏于尺幅之中。",[23,164,24,7,4437,128,132,369,29,129,1144,3440,495,211,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcffdcba7a6958b40f93316c1d03b2b96.jpg",[],{"id":44959,"slug":44960,"title":44961,"dynasty":54,"author":22607,"museum":300,"description":44962,"tags":44963,"thumbUrl":44964,"material":84,"size":84,"collection":84,"collections":44965,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":49},224340,"shan-shui-jing-pin-mei-qing-224340","山水精品","此作用笔清劲老辣，山石以干笔枯皴勾勒轮廓，方折奇崛，尽显峭拔之态。虬松横斜苍劲，枝桠如铁，掩映处茅舍幽居，恍若世外灵台。\n\n画作以虚衬实，下半幅大片留白以代深谷云岚，将山谷幽邃辽远尽数托出，虚实相生间，把山林空寂超逸的禅意缓缓铺展。题诗与笔墨相映，文气郁郁，尽显画师胸中丘壑，淡远静穆里，藏着出世高蹈的雅逸襟怀。",[23,24,7,165,128,132,29,171,130,372,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a46e171cbd8812b39da98beb1afde6.jpg",[],{"id":44967,"slug":44968,"title":44969,"dynasty":54,"author":872,"museum":300,"description":44970,"tags":44971,"thumbUrl":44973,"material":611,"size":84,"collection":318,"collections":44974,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},224261,"xing-cao-zhong-tang-zhu-da-224261","行草中堂","雲雾山头顶。雲边阚小房。夏凉窗近竹。冬暖阁朝阳。茧纸衣裳软。山田饭粥香。此生随分过。无可得思量。",[23,64,133,840,7,304,208,44972],"中堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F396395465f833e40ffe3753c9ec0d7d7.jpg",[318],{"id":44976,"slug":44977,"title":44978,"dynasty":54,"author":44979,"museum":300,"description":44980,"tags":44981,"thumbUrl":44982,"material":84,"size":84,"collection":84,"collections":44983,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},224197,"bai-he-ling-tu-ye-xin-224197","白鹤岭图","叶欣","这幅画作以淡墨勾勒皴擦，绘就层叠陡峻的岭岳，山道逶迤盘桓，楼阁凭崖而立，将雄奇山势与雅致人文景致相融。远山以简笔淡染，衬出江天浩渺的空寂意境，整体笔致清疏秀雅，尽显静穆萧散的文人画气质。\n画面右上角题字与山水呼应，文气悠然晕开。以简淡笔墨写尽丘壑之幽，既有山峦的苍浑厚重，又不失江南山水的秀逸空灵，将登高览胜的开阔心境藏于层叠山石间，意韵悠长内敛，是小品山水画里的清逸佳构。",[23,24,7,29,128,27,132,64,208,131,97,690,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9eec84ce1e5fd0e1223a28f0051174f.jpg",[],{"id":44985,"slug":44986,"title":44987,"dynasty":54,"author":22467,"museum":510,"description":44988,"tags":44989,"thumbUrl":44990,"material":611,"size":44991,"collection":136,"collections":44992,"showCount":335,"zanCount":1998,"manualWeight":48,"mainColor":49},224164,"shan-shui-lou-ge-tu-liu-du-224164","山水楼阁图","该作品写冈峦叠起、山石林立、峭崖绝壁、云雾蒸腾。画作正中，主峰高耸、陡峭的崖壁处有瀑布飞流直下，在迷雾笼罩的山腰间汇成湍湍溪水。溪水沿着凹凸不平的石道蜿蜒而下，泻入碧水涟漪、明净清澈的湖中。画中主峰峥嵘突兀，烟霭弥漫，山间楼宇若隐若现，画面虚实相生、宁静空灵。山石轮廓线刻画曲折有力，皴法用笔细密工致，极为精严。山下水榭、楼阁依水而建，亭内和湖中舟上点缀以人物。近处古树高耸，黄叶灿然。看此幽山、绿崖、白云、古树，如同进入清新怡人的脱俗之境。\n《山水楼阁图》画法工细，色调明快，具有较强的装饰美。山间的白云不是用勾的方法表现，而是运用了晕染和留白的方法，墨色浓淡变化丰富，颇有韵味。古树苍茂，树叶或填以黄色、或点以绿色、或红绿相杂，树干双勾后均用淡墨兼赭色填涂。掩映于山间的楼阁亭台与水边的回廊水榭安排得错落有致，勾描工细而不僵滞。它们在山水的环抱中显得格外幽雅、别致。画中人物造型准确，临水亭台中的坐观者神态怡然，舟中收网的渔人也忙而不乱、轻松自在。此画无半点甜俗之气，让人有一种远离尘嚣的脱俗感。\n能在如此小的册页上绘出这般大的气象，可见刘度绘画水平的高超。",[23,24,164,7,27,95,132,29,97,99,129,131,495,34,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafa71146b215b69f0608d84fc286be05.jpg","纵28.8厘米，横15.2厘米",[136],{"id":44994,"slug":44995,"title":44996,"dynasty":54,"author":7208,"museum":300,"description":44997,"tags":44998,"thumbUrl":45000,"material":84,"size":84,"collection":84,"collections":45001,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":49},224115,"xian-chun-ru-yi-tu-qian-long-224115","先春如意图","此作以淡墨写就岁朝清供之景，素净瓷瓶斜插早梅，虬曲瘦枝缀着冰蕊，冷意里暗透早春暗香。下方朱柿圆润饱满、灵芝卷叶层叠、水仙含苞待放，暗合事事如意、福寿延绵的新春祈愿。\n\n全画笔墨清润雅致，瓶身晕染出莹润瓷光，梅枝苍劲见疏朗之态，蔬果花木写实生动，既有宋院画的精工雅致，又具文人墨戏的淡远意趣。右侧题诗笔致秀逸，诗画相映，将文人雅怀与世俗祈盼相融，淡和清雅间，晕开新春的温婉期许，是意趣俱佳的清供小品。",[24,7,128,188,28,371,169,208,9070,44999],"静物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1356a5120fad8c5835ba6f0bc99ddd19.jpg",[],{"id":45003,"slug":45004,"title":45005,"dynasty":54,"author":44552,"museum":1376,"description":45006,"tags":45007,"thumbUrl":45008,"material":611,"size":45009,"collection":84,"collections":45010,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},223132,"shen-zhu-you-ju-tu-cheng-sui-223132","深竹幽居图","图一描绘山峰连绵，林木苍茫，一望无际； 一条河湖将两岸隔开，湖水完全自成一体。 这幅画中，山用墨画，层次分明，树用墨点画，浓密有序。",[23,164,24,7,128,132,29,98,99,129,171,331,35,131,34,23873],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d5bf882dd511bb4cc7690b62fdb3aef.jpg","43.6x66.",[],{"id":45012,"slug":45013,"title":45014,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":45015,"thumbUrl":45016,"material":151,"size":7879,"collection":84,"collections":45017,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},223057,"hong-lou-meng-182-sun-wen-223057","红楼梦182",[23,24,7,25,28,27,96,100,29,34,170,10582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81d4b98e1d2c02477657bf80b0a7cefc.jpg",[],{"id":45019,"slug":45020,"title":45021,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":45022,"thumbUrl":45024,"material":151,"size":7879,"collection":84,"collections":45025,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":199},222945,"hong-lou-meng-70-sun-wen-222945","红楼梦70",[23,24,7,28,27,95,96,251,1367,8565,12611,41970,23253,151,45023],"陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48fc777519a843d419ec0f54c0df26de.jpg",[],{"id":45027,"slug":45028,"title":45029,"dynasty":54,"author":523,"museum":20,"description":43920,"tags":45030,"thumbUrl":45031,"material":40,"size":43923,"collection":84,"collections":45032,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":49},222863,"shi-gong-ci-tu-ce-02-leng-mei-222863","十宫词图册02",[23,304,24,7,28,27,95,59,64,133,96,997,97,247,131,34,209,1200,249,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5944fe731c667f949444ac12150a4fc0.jpg",[],{"id":45034,"slug":45035,"title":45036,"dynasty":124,"author":7003,"museum":244,"description":45037,"tags":45038,"thumbUrl":45039,"material":611,"size":45040,"collection":318,"collections":45041,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},222480,"shi-tie-mei-nv-pian-zhu-yun-ming-222480","诗帖《美女篇》","书曹植《乐府》四首，又称《手卷曹植诗四首》又名《箜篌引》。《手卷曹植诗四首》是祝允明草书成就的最杰出代表。作品狂而不乱，情浓势足，激跃奔发，气度不凡。其将字中妍媸和巧丽的笔画起收动作幅度缩短，增加行笔过程中的饱满度和厚实感。使人在视觉上既感到朴拙、沉劲而又不失流丽多姿。祝允明在这一卷后自识“冬日烈风下写此，神在千五百年前，不知知者谁也”，道出了他意在追摹汉人，以及对自己作品的自负。是祝允明的代表作品。",[23,805,64,840,25,1590,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47cd6be28ec531ffe99cbe4cf7f8f1aa.jpg","纵36.1厘米，横1147.5厘米",[318],{"id":45043,"slug":45044,"title":45045,"dynasty":124,"author":10632,"museum":244,"description":45046,"tags":45047,"thumbUrl":45048,"material":317,"size":45049,"collection":84,"collections":45050,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},222445,"qiu-ying-zhou-lin-liang-222445","秋鹰轴","明代花鸟画家林良以画花鸟著称，主体多属富野逸之趣的禽鸟，如苍鹰、芦雁、寒鸦、麻雀、雉鸡、喜鹊等，也喜绘群鸟聚集景象，品类众多，情态各异，极富自然天趣。《秋鹰图》为林良代表作，幅中署款“林良”。在宋、元时代的画坛，就常能见到鹰类追捕鸟禽为主题的画作，通常以细腻的用笔与设色，描绘鹰类迴身俯衝，捕捉禽鸟的景况。林良採取类似的图绘模式：飞翔的雄鹰俯身扭转头部，以锐利的眼神盯住猎物，被追逐的八哥鸟落荒而逃，露出惊骇的神情。林良在画面左侧增添横出的枝柯，藉以平衡鸟禽的比例。更以写意"没骨"技法，以迅速地笔墨点染技巧，精准地捕捉自然界惊心动魄的一刻。",[23,24,7,165,61,128,369,211,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F436250ff57a682c1ca1c0fb07cbd8b47.jpg","136.8×74.8cm",[],{"id":45052,"slug":45053,"title":45054,"dynasty":124,"author":19170,"museum":244,"description":45055,"tags":45056,"thumbUrl":45057,"material":611,"size":45058,"collection":84,"collections":45059,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},222380,"shi-ba-luo-han-tu-ding-yun-peng-222380","十八罗汉图","该幅白描画十八罗汉，手中分持柱杖、念珠、如意、麈尾、金刚铃等，或行或坐。人物形貌有别，姿势各殊，生动自然。衣纹细劲流畅，并略施墨染，表现立体感。面目轮廓、须眉发丝，用笔纤细如缕，柔韧有力。由此观之，丁氏之作诚如画史所言，“丝发之间，而眉睫意态毕具”。",[23,164,24,7,25,187,188,128,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4d1bfea05cbdf8b3e027a1ccd7d4949.jpg","该幅28.9x372.3公分",[],{"id":45061,"slug":45062,"title":45063,"dynasty":18,"author":4899,"museum":510,"description":45064,"tags":45065,"thumbUrl":45066,"material":151,"size":45067,"collection":84,"collections":45068,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":49},221626,"yue-se-qiu-sheng-tu-ma-he-zhi-221626","月色秋声图","南宋马和之月色秋声图页，其截取一个小景特写，一高士临流而坐，沉吟幽思，一童侍立旁边。人物、坡石、树木色线即是“柳叶描”笔法。马和之的画法在南宋独树一帜，不仅在技法上，意境上亦是如此。",[23,24,7,59,27,29,96,231,413,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52ab6d572995a48566475e47dec9aeb3.jpg","25.9x60.5cm",[],{"id":45070,"slug":45071,"title":45072,"dynasty":18,"author":4899,"museum":224,"description":45073,"tags":45074,"thumbUrl":45075,"material":514,"size":45076,"collection":84,"collections":45077,"showCount":335,"zanCount":1998,"manualWeight":48,"mainColor":49},221625,"xiao-ya-hong-yan-zhi-shen-tu-ma-he-zhi-221625","小雅·鸿雁之什图","马和之，中国南宋画家 。生卒年不详，活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。宋高宗绍兴（1131-1162）中登第，一说官至工部或兵部侍郎。画院待诏，为南宋宫廷画院中官品最高的画师，居御前画院十人之首（周密：“御前画院仅十人，和之居其首焉”）。\n擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描（一作马蝗描），用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[24,7,25,188,27,133,96,34,211,29,171,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8eb39b1e043ef15aca59080d2812129.jpg","32.4 1304.9 cm",[],{"id":45079,"slug":45080,"title":30553,"dynasty":18,"author":3308,"museum":244,"description":45081,"tags":45082,"thumbUrl":45083,"material":151,"size":30556,"collection":44,"collections":45084,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},221202,"bao-shan-shi-jing-ce-zhao-gou-221202","宋高宗赵构（1107年6月12日－1187年11月9日），字德基，东京汴梁（今河南省开封市）人。 宋朝第十位皇帝（1127年6月12日-1162年7月24日在位），南宋开国皇帝，宋徽宗赵佶第九子、宋钦宗赵桓之弟。 ... 靖康之变后，金兵俘虏其父宋徽宗和其兄宋钦宗，灭亡北宋。",[23,24,7,59,27,95,96,97,247,249,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4be219b172713f662084b76898f483ec.jpg",[44,45],{"id":45086,"slug":45087,"title":45088,"dynasty":18,"author":15080,"museum":510,"description":41230,"tags":45089,"thumbUrl":45090,"material":2739,"size":41233,"collection":84,"collections":45091,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},221199,"zi-zuo-shi-juan-quan-juan-di-er-duan-lu-you-221199","自作诗卷（全卷）第二段",[23,164,24,7,25,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabd787697f329c54f001fda4d3482ba4.jpg",[],{"id":45093,"slug":45094,"title":45095,"dynasty":124,"author":2268,"museum":244,"description":45096,"tags":45097,"thumbUrl":45098,"material":3544,"size":45099,"collection":136,"collections":45100,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},220958,"qiu-shan-lin-ting-dong-qi-chang-220958","秋山林亭","董其昌《秋山林亭》扇面",[23,24,7,1131,128,132,29,130,34,131,12016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9df9fd07e012519044242350341ba5b9.jpg","35x60.4",[136,117],{"id":45102,"slug":45103,"title":45104,"dynasty":124,"author":2268,"museum":244,"description":45105,"tags":45106,"thumbUrl":45111,"material":611,"size":45112,"collection":318,"collections":45113,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},220924,"lin-zhang-xu-lang-guan-bi-ji-dong-qi-chang-220924","临张旭郎官壁记","董其昌《临张旭郎官壁记》轴，本轴钤“大宗伯印”，当作于崇祯五年（一六三二）应宫詹大宗伯之召后。董其昌好杂临诸家，独造奥妙，求其神似于不似间。本幅节临唐张旭郎官壁记，略得张书笔法精严之意，结体沉稳，运笔生动，表现出晚年本色书风。",[23,164,24,7,165,133,330,8116,805,45107,38626,64,45108,10762,45109,45110],"文人书法","文人书画","书体","临帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb85363d9050f5e44bad0a64256d7eb05.jpg","161.2x54.9",[318],{"id":45115,"slug":45116,"title":45117,"dynasty":124,"author":2268,"museum":6892,"description":45118,"tags":45119,"thumbUrl":45120,"material":59,"size":6896,"collection":84,"collections":45121,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":84},220749,"fang-ge-jia-shan-shui-7-dong-qi-chang-220749","仿各家山水-7","近景苍松虬曲古拙，针叶层叠如盖，旁侧杂木疏朗灵动。中景水面渔舟错落，渔人隐于舟间，似在休憩闲坐。层岩以干笔淡墨皴擦，山峦起伏间林木簇生，墨色浓淡晕染出山峦向背。远景峰峦以淡墨轻描，融于空蒙烟波，留白尽显湖山悠远空寂。\n\n全作用笔松秀空灵，简淡中饱含苍润意趣，脱略具象形态而独取山水神韵，将平淡天真的文人意境藏于虚实笔墨之间，尽显萧散简远的山水格调，寥寥笔墨铺展出清雅绝尘的林下幽居之境。",[23,164,24,7,29,128,132,330,208,34,131,211,99,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa816efc8ede313cf979ab484ec12fee.jpg",[],{"id":45123,"slug":45124,"title":45125,"dynasty":980,"author":3539,"museum":3540,"description":45126,"tags":45127,"thumbUrl":45128,"material":84,"size":84,"collection":84,"collections":45129,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},220542,"xi-yi-xu-bei-hong-220542","洗衣","此作用淡墨留白晕染出水乡柔波，岸滩以焦墨枯笔勾勒，尽显糙实质感。一坐一蹲的浣衣女子是画面焦点，线条兼具速写的爽利与国画的凝练，将日常劳作的松弛情态自然铺陈。白衣女子垂首静望，黑衣妇人俯身搓揉衣物，发髻妥帖、身姿鲜活，没有刻意修饰，尽是江南水乡寻常的烟火意趣。\n\n右上角题字与画面呼应，书画相融，带着质朴的人文温度。画作跳出古典仕女的范式，以写实笔触聚焦平凡世相，将日常劳作晕染成诗意的生活切片，晕开沉静温婉的东方韵味，把最朴素的日常，绘就成动人的生活图景。",[24,7,128,27,96,10803,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F538ee49cf9ef15f0e4bcc69f5a8326d3.jpg",[],{"id":45131,"slug":45132,"title":45133,"dynasty":54,"author":1219,"museum":224,"description":45134,"tags":45135,"thumbUrl":45137,"material":3544,"size":84,"collection":84,"collections":45138,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},220465,"tong-zi-shui-niu-ren-yi-220465","童子水牛","此作用笔简淡写意，芦汀浅水间，两童子踞石垂竿，神态松弛憨稚，不见垂钓的焦灼，只余嬉游闲趣。水牛浮于清波，随水悠悠。浅蓝晕染芦苇，清润朦胧，衬出水乡初夏的凉意。淡墨点苔写岸石，留白铺就水天，将郊野的清寂松弛晕满扇面。简笔勾勒人物形神兼具，以轻描淡写铺就江南野逸日常，把闲散田家意趣藏在水墨间，淡远清宁，尽显悠然诗意。",[24,7,1131,164,128,27,96,227,45136,167,228,1314,211],"水牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83ad1853876e08b4ff2603682f045162.jpg",[],{"id":45140,"slug":45141,"title":20701,"dynasty":18,"author":223,"museum":244,"description":45142,"tags":45143,"thumbUrl":13821,"material":173,"size":84,"collection":44,"collections":45144,"showCount":335,"zanCount":1998,"manualWeight":48,"mainColor":49},219613,"ren-wu-tu-yi-ming-219613","画面雅致沉静，铺展出宋人的书斋日常。主人踞坐榻上，神色安然静穆，侍从躬身研墨，尽显仪范分寸。\n\n室内陈设错落合宜，屏间肖像映着瓶花清韵，案头书卷、香鼎、花觥排布雅致，处处流露宋代文人尚雅的审美意趣。设色古雅温润，绢底晕染着岁月沉淀的暗黄，却未减分毫沉静氛围感。线条秀逸凝练，将人物仪态、器物质感一一勾勒入微，尽显工笔精妙，让观者窥见千年前文人书斋里的闲雅日常，触摸宋人雅致的生活格调。",[23,164,24,7,27,28,96,170,169,9603,8162,6369,9604],[44],{"id":45146,"slug":45147,"title":45148,"dynasty":124,"author":26920,"museum":450,"description":45149,"tags":45150,"thumbUrl":45151,"material":66,"size":45152,"collection":44,"collections":45153,"showCount":335,"zanCount":1998,"manualWeight":48,"mainColor":49},219547,"he-he-er-xian-tu-wang-wen-219547","和合二仙图","寒山与拾得两位大师，是佛教史上著名的诗僧。唐代天台山国清寺隐僧寒山与拾得，行迹怪诞，言语非常，相传是文殊菩萨与普贤菩萨的化身。千百年来，以寒山与拾得为主题的绘画作品数不尽数，此画虽名不见经传，但构图却也别具一格。此画看点在于寒山与拾得所组成的“和合二仙”与民间的旺财神兽金蟾同时出现在一幅画面中，寓意着和谐兴旺吉祥，实为稀有。",[23,24,7,165,128,369,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42e02e7e313cc92df18ce4c447322c93.jpg","156.4x86.8厘米",[44],{"id":45155,"slug":45156,"title":45157,"dynasty":144,"author":13522,"museum":244,"description":45158,"tags":45159,"thumbUrl":45161,"material":173,"size":45162,"collection":136,"collections":45163,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":49},219502,"qiao-xiu-you-ju-tu-ma-wan-219502","乔岫幽居图","整作取高远构图，崖峰巍峨雄峙，素雪覆于岩岫，以留白衬出冬日清寒。层岩叠壑间枯木寒林错落，溪谷回环浅流蜿蜒，栈道山居掩映山谷间，晕染出幽寂空濛的山居意趣。\n笔墨兼取宋画写实与元人尚意之长，以干笔皴擦勾勒山石肌理，淡墨晕染烘托雪霁朦胧，既见山石嶙峋厚重质感，又尽显山野荒寒萧疏的隐逸氛围，将冬日林泉的清旷雅逸藏于尺幅之间。",[24,7,165,29,132,128,131,34,499,11998,45160],"居所","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cd093121f4de9a98bea7379f88dafe3.jpg","纵119.9厘米，横57.8厘米",[136],{"id":45165,"slug":45166,"title":45167,"dynasty":124,"author":26920,"museum":244,"description":45168,"tags":45169,"thumbUrl":45170,"material":128,"size":45171,"collection":44,"collections":45172,"showCount":335,"zanCount":1998,"manualWeight":48,"mainColor":72},219371,"shi-de-xiang-zhou-wang-wen-219371","拾得像轴","拾得是唐朝时能作诗的和尚。他的老师丰干禅师走在赤城的道路上，听到被遗弃小婴儿的哭声，就捡拾教养他，因此名叫“拾得”。拾得与另一位高僧寒山齐名。\n这一幅画，以狂放的笔调，大肆挥洒画出，顷刻之间，就画完成，这是大写意的画法，对于表现拾得疯疯颠颠的形象，真有传神之妙。\n拾得与当世高僧寒山友善，俱以癫狂，好吟词偈。两人传记见於唐人写的《寒山拾得诗》序文：“寒山文殊，遁迹国清；拾得普贤，状如贫子，又似疯狂。”得知时人将二人喻为佛教中的文殊、普贤菩萨。又言：“或长廊徐行，叫嗓凌人。或望空独笑，时僧逐捉打骂，乃驻立抚掌，呵呵大笑，良久而去。”日后画家描绘二人图像，大抵以此为根据，存世作品多见对幅形式，此幅或为其一，唯寒山图去向未知。 画中拾得衣著褴褛，赤足而立，手执扫帚，口张眉扬，神情奇异。疯癫拓落的形象，以写意狂放的笔调，大肆挥洒，整体流畅有致，宛如神来之笔。",[24,7,165,128,96,64,208,133,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11f956757995f65c01ff0229243eb84a.jpg","117.8x54.4",[44],{"id":45174,"slug":45175,"title":45176,"dynasty":351,"author":1931,"museum":244,"description":45177,"tags":45178,"thumbUrl":45180,"material":173,"size":45181,"collection":68,"collections":45182,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":49},219140,"fang-xu-chun-qin-tu-huang-quan-219140","芳溆春禽图","高柳浓阴绿幄齐。翠绦摇曳啭双鹂。文鸳结伴春波浴。唼蕊浮香趁涧蹊。",[23,24,164,7,59,28,27,61,211,4278,99,45179],"水边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cdd61102aafdb6695917809633bfa6f.jpg","39.1x75.5cm",[68],{"id":45184,"slug":45185,"title":45186,"dynasty":18,"author":45187,"museum":244,"description":45188,"tags":45189,"thumbUrl":45190,"material":173,"size":45191,"collection":45,"collections":45192,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},218874,"shui-xie-he-xiang-tu-ma-yong-zhong-218874","水榭荷香图","马永忠","这幅画描绘了一座水上宫殿，高耸入云，周围是垂柳树，岩石和宫殿的边框用青绿涂抹。",[23,24,7,27,95,59,97,81,228,34,1743,130,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6285e4bd1b8792b86fd7d346f2b0a86c.jpg","25.3x31.1",[45],{"id":45194,"slug":45195,"title":45196,"dynasty":54,"author":45197,"museum":244,"description":45198,"tags":45199,"thumbUrl":45200,"material":173,"size":45201,"collection":68,"collections":45202,"showCount":335,"zanCount":1998,"manualWeight":48,"mainColor":49},218812,"liang-ji-liu-zhou-shen-qing-lan-218812","良吉骝轴","沈庆兰","画中良驹伫立绢素之上，棕褐皮毛温润如釉，鬃尾如墨线垂落，拂过坚实的蹄踝。其姿态从容，双目沉静，既见温顺之态，亦藏健硕筋骨之美。笔触细腻处，连皮毛的光泽与蹄质的纹理都清晰可辨，尽显工笔之精。背景素净无饰，更衬出马匹的主体地位，仿佛能感受到它沉稳的呼吸。旁缀题识与朱印，墨色与丹红相映，为画面添了几分古雅的文气。整幅作画笔法工致却不刻板，形神兼备间，藏着对生灵的细致观察与脉脉温情，是清代工笔畜兽画中颇具意趣的一笔。",[164,24,7,165,28,27,101,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15b23658366c2bd9b62d128c660491ae.jpg","161.1x107.5cm",[68],{"id":45204,"slug":45205,"title":45206,"dynasty":18,"author":223,"museum":244,"description":45207,"tags":45208,"thumbUrl":45210,"material":173,"size":45211,"collection":136,"collections":45212,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},218702,"zhu-xi-han-ya-tu-yi-ming-218702","竹溪寒鸦图","这幅画描绘了溪边的一块石头，中间有一棵枯竹，上面坐着一只寒鸦。岩石是以郭熙的方式画的，而枯树和寒鸦则是以类似于梁楷的风格画的。",[23,24,7,59,171,45209,3281,99,132,61,29],"枯竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9742a9a33045ce9cfaa1ac7b7fac0cab.jpg","25.9x21.9",[136],{"id":45214,"slug":45215,"title":45216,"dynasty":18,"author":2099,"museum":300,"description":37919,"tags":45217,"thumbUrl":45218,"material":278,"size":84,"collection":84,"collections":45219,"showCount":335,"zanCount":1998,"manualWeight":48,"mainColor":72},218107,"bai-miao-ren-wu-tu-ce-5-li-gong-lin-218107","白描人物图册-5",[23,164,24,7,59,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25223c3f6d16f7bbd31b2ab167091702.jpg",[],{"id":45221,"slug":45222,"title":45223,"dynasty":54,"author":45224,"museum":77,"description":45225,"tags":45226,"thumbUrl":45227,"material":278,"size":84,"collection":136,"collections":45228,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},218096,"song-gang-li-ce-tu-li-shi-zhuo-218096","松岗篱筞图","李世倬","李世倬的松岗篱筞图是一幅古老的图画，它描述了李世倬在清朝时期的生活。李世倬是一位著名的政治家和文学家，在清朝时期担任过多项重要的官职。\n\n松岗篱筞图是画家绘制的，描述了李世倬在一个被松树环绕的小山丘上休息的场景。图中的李世倬坐在草地上，身旁有一棵松树，头戴蓝色的帽子，身穿蓝色的衣服。图中还有许多其他的元素，如山峰、水池、花和草，构成了一幅优美的图画。\n\n松岗篱筞图的意义在于描述了李世倬的生活，展示了他在清朝时期的形象。这幅图画被广泛收藏，并被认为是一件艺术珍品。",[24,7,165,128,29,372,131,96,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bc95db06db85e19d2b7b7b3001002f0.jpg",[136],{"id":45230,"slug":45231,"title":45232,"dynasty":124,"author":802,"museum":224,"description":22521,"tags":45233,"thumbUrl":45234,"material":173,"size":84,"collection":84,"collections":45235,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},218025,"za-hua-ce-6-chen-hong-shou-218025","杂画册-6",[24,7,59,27,96,28,133,169,5459,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d621bec8e19bfddf815ee74ab5a3807.jpg",[],{"id":45237,"slug":45238,"title":45239,"dynasty":124,"author":45240,"museum":244,"description":45241,"tags":45242,"thumbUrl":45243,"material":66,"size":40385,"collection":44,"collections":45244,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},216974,"shi-ba-ying-zhen-xiang-zheng-zhong-216974","十八应真像","郑重","该图描绘了十八罗汉过海的故事，罗汉们有各种不同的身份，包括骑着神兽的罗汉和有神力的罗汉。衣服的简单描绘和优雅的色彩使这幅作品对郑重来说是一件强有力的作品。",[24,7,165,187,96,28,27,208,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a11ecd225128596dfa7d61ef7e5c7d6.jpg",[44],{"id":45246,"slug":45247,"title":45248,"dynasty":124,"author":204,"museum":300,"description":2216,"tags":45249,"thumbUrl":45251,"material":173,"size":84,"collection":84,"collections":45252,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":49},216277,"er-shi-si-xiao-tu-15-chou-ying-216277","二十四孝图-15",[164,24,7,28,27,96,45250,12677,2145,170],"帷幔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2515550556e489ce91b0388253267075.jpg",[],{"id":45254,"slug":45255,"title":45256,"dynasty":54,"author":223,"museum":300,"description":45257,"tags":45258,"thumbUrl":45259,"material":611,"size":84,"collection":84,"collections":45260,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},215556,"bai-miao-jie-tou-mai-mai-hua-ce-1-yi-ming-215556","白描街头买卖画册-1","画面以简练流畅的白描线条勾勒市井场景，五人围桌互动，神态鲜活：持扇者眉宇舒展，似在笑谈；俯身者专注桌案，动作殷切；立者侧身观瞧，姿态闲适。线条精准捕捉衣袂褶皱与器物细节，虽无设色却以墨线的轻重缓急，衬出人物间的默契与市井生活的烟火气。笔意质朴却藏巧思，将日常片段定格成富有温度的画面，尽显世俗生活的生动与鲜活。",[23,24,7,59,188,96,1746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F267593415701c43172cd011b12e5b9c6.jpg",[],{"id":45262,"slug":45263,"title":45264,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":45265,"thumbUrl":45266,"material":278,"size":3888,"collection":84,"collections":45267,"showCount":335,"zanCount":1998,"manualWeight":48,"mainColor":72},214968,"dao-zi-mo-bao-ren-wu-bai-miao-hua-14-yi-ming-214968","道子墨宝人物白描画-14",[23,164,24,7,188,187,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5811a002a4417d4577601a5b37ff459.jpg",[],{"id":45269,"slug":45270,"title":45271,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":45272,"thumbUrl":45273,"material":278,"size":3888,"collection":84,"collections":45274,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},214954,"dao-zi-mo-bao-ren-wu-bai-miao-hua-30-yi-ming-214954","道子墨宝人物白描画-30",[23,24,7,188,187,96,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82969bd7619304e9982352574fd890f1.jpg",[],{"id":45276,"slug":45277,"title":883,"dynasty":54,"author":9576,"museum":56,"description":9577,"tags":45278,"thumbUrl":45279,"material":278,"size":84,"collection":84,"collections":45280,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":199},214689,"hua-hui-ce-4-luo-pin-214689",[24,7,59,128,371,61,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F894fb7c0ea0cb65124498b55262dc141.jpg",[],{"id":45282,"slug":45283,"title":45284,"dynasty":54,"author":1460,"museum":1941,"description":5506,"tags":45285,"thumbUrl":45286,"material":66,"size":5509,"collection":84,"collections":45287,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":72},214531,"yi-jin-ling-ce-3-shi-tao-214531","忆金陵册-3",[24,7,59,128,27,29,96,331,129,35,34,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2aff57056092af138d63c25edfe525d.jpg",[],{"id":45289,"slug":45290,"title":45291,"dynasty":54,"author":5879,"museum":1941,"description":10317,"tags":45292,"thumbUrl":45293,"material":611,"size":10320,"collection":84,"collections":45294,"showCount":335,"zanCount":48,"manualWeight":48,"mainColor":49},214355,"san-jue-shan-shui-ce-2-hua-yan-214355","三绝山水册-2",[23,24,7,59,133,369,29,128,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff431ab3df6f1a38af36ac51e31a6bf51.jpg",[],{"id":45296,"slug":45297,"title":45298,"dynasty":54,"author":23563,"museum":56,"description":45299,"tags":45300,"thumbUrl":45301,"material":84,"size":84,"collection":136,"collections":45302,"showCount":335,"zanCount":1998,"manualWeight":48,"mainColor":45303},201842,"zheng-yin-tu-zhou-qin-bing-wen-201842","证因图轴","此画以淡墨皴染山峦，层次分明；松枝苍劲，杂树枯荣相间，意韵天成。溪涧穿石，小桥卧波，茅舍隐于林麓间，尽显清幽之致。笔墨灵动，设色淡雅，构图疏密得宜，远近呼应，传递出文人寄情丘壑的闲适心境，是传统山水画中兼具笔墨意趣与自然情怀的佳作。",[24,7,165,29,27,128,132,98,99,34,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6baa07a8c3e0715ee59fc62b2914c7c5.jpg",[136],"c2ac96",{"id":45305,"slug":45306,"title":45307,"dynasty":144,"author":36038,"museum":300,"description":45308,"tags":45309,"thumbUrl":45310,"material":692,"size":1293,"collection":84,"collections":45311,"showCount":405,"zanCount":1998,"manualWeight":48,"mainColor":49},290952,"chun-shan-tu-yang-wei-zhen-290952","春山图","杨维桢（1296年－1370年），字廉夫，号铁崖、铁笛道人，又号铁心道人、铁冠道人、铁龙道人、梅花道人等，晚年自号老铁、抱遗老人、东维子。绍兴路诸暨州枫桥全堂（今浙江省诸暨市枫桥镇全堂村）人。元末明初诗人、文学家、书画家。\n杨维桢自幼聪颖，其父杨宏对他寄予厚望。泰定四年（1327年）中进士，放天台县尹，因惩治作恶县吏，遭奸吏报复免官。后任职钱清盐场，因请求减轻盐税被斥为忤上，以至十年不调。后官至建德路总管府推官，继升江西儒学提举。元末避乱居富春山，后迁居钱塘（今杭州）。张士诚居浙西时屡召不赴，后徙松江，从此遨游山水，以声色自娱，东南才俊之士登门求教不绝。\n杨维桢的诗，最富特色的是他的古乐府诗，既婉丽动人，又雄迈自然，史称“铁崖体”，极为历代文人所推崇。有称其为“一代诗宗”、“标新领异”的，也有誉其“以横绝一世之才，乘其弊而力矫之”的，当代学者杨镰更称其为“元末江南诗坛泰斗”。他著述等身，行于世的著作有《春秋合题着说》《史义拾遗》《东维子文集》《铁崖古乐府》《丽则遗音》《复古诗集》等近二十种。\n书法以行草最工，笔势岩开，有“大将班师，三军奏凯，破斧缺牖，例载而归”之势，传世作品有楷书《周上卿墓志铭》，行书《张氏通波阡表》《真镜庵募缘疏卷》《鬻字窝铭》《城南唱和诗卷》《元夕与妇饮诗》、草书《梦游海棠城诗卷》《竹西草堂记卷》《致理斋尺牍》《晚节堂诗》《沈生乐府序》等，其余墨迹则多见于书札及书画题跋之中。",[164,24,7,29,128,132,64,133,208,331,98,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cf89c0a69b3ee926f600580cf3131eb.jpg",[],{"id":45313,"slug":45314,"title":45315,"dynasty":18,"author":2257,"museum":244,"description":41501,"tags":45316,"thumbUrl":45317,"material":278,"size":45318,"collection":84,"collections":45319,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},290503,"chun-shan-tu-zhou-zhao-bo-ju-290503","春山图轴",[164,24,7,165,26,27,29,98,99,129,97,130,34,1747,208,64,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60cd9de5152330c716e91a6b2be9c36.jpg","89.5x32.3",[],{"id":45321,"slug":45322,"title":45323,"dynasty":351,"author":1931,"museum":244,"description":45324,"tags":45325,"thumbUrl":45326,"material":692,"size":1293,"collection":84,"collections":45327,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},290377,"kan-shu-tu-zhou-huang-quan-290377","勘书图轴","此幅图写韩愈深明爱子之道，唯教以读书之事。书法甚奇，沈周与董其昌之跋俱伪，以笔墨论，似为明代作品。 画中有案面两头翘起，两足为竖条组成的板式足，足下安托子，保留隋唐以来直栅足跗的遗意。坐榻体大厚重，足下有托泥，形成箱形榻体亦以壶门装饰。榻之三面以画屏装饰，屏风上绘墨竹。屋旁置有三层圆腿书籍架格。",[24,7,165,28,27,29,96,97,34,131,24576,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8286af7d0b0d9bd266ca815cb5e318ec.jpg",[],{"id":45329,"slug":45330,"title":45331,"dynasty":18,"author":38602,"museum":300,"description":45332,"tags":45333,"thumbUrl":45334,"material":692,"size":1293,"collection":84,"collections":45335,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},290257,"liu-yin-shi-si-tu-song-ru-zhi-290257","柳荫诗思图","宋汝志[元]道士。号碧云，钱塘（今杭州）人。宋景定（一二六o―一二六四）间画院待诏，入元（一二七七）为开元观道士。人物、山水、花鸟师楼观。",[23,24,164,7,165,27,96,166,171,331,4363,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe39bbb4ceaf01e5b0e05bbf956851857.jpg",[],{"id":45337,"slug":45338,"title":45339,"dynasty":18,"author":686,"museum":300,"description":4044,"tags":45340,"thumbUrl":45341,"material":692,"size":1293,"collection":84,"collections":45342,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},290249,"qun-feng-xue-ji-tu-fan-kuan-290249","群峰雪霁图",[164,24,7,29,1813,10390,132,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa447f7519179612f6b7a6dbc95edc9e2.jpg",[],{"id":45344,"slug":45345,"title":45346,"dynasty":18,"author":1174,"museum":300,"description":45347,"tags":45348,"thumbUrl":45351,"material":692,"size":1293,"collection":84,"collections":45352,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},290064,"wen-ji-gui-han-ce-ye-li-tang-290064","文姬归汉册页","宋李唐《文姬归汉图》：该画册共计十八幅，形式属于“上文、下图”的连环故事画。内容叙述了中国东汉才女蔡文姬在董卓作乱时，被胡人俘虏，并且嫁给南匈奴的左贤王。直到十二年后，才由曹操派遣使臣，将她赎回汉地。每段画面，对于故事情节和人物、车马、配景，都有非常细腻的描绘。",[24,164,4437,7,64,572,27,96,101,211,45349,690,19122,45350],"毡帐","文姬归汉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff2f1beef670706c52b0b48a9f76ecc8.jpg",[],{"id":45354,"slug":45355,"title":45356,"dynasty":124,"author":21412,"museum":300,"description":45357,"tags":45358,"thumbUrl":45360,"material":692,"size":1293,"collection":84,"collections":45361,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},289749,"yue-ming-xing-xi-wu-que-nan-fei-cheng-jia-sui-289749","月明星稀乌鹊南飞","程嘉燧（1565～1643）明代书画家、诗人。字孟阳，号松圆、偈庵，又号松圆老人、松圆道人、偈庵居士、偈庵老人、偈庵道人。晚年皈依佛教，释名海能。",[24,7,128,29,129,211,99,1351,208,45359,1824],"崖岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f836bf2e69fec4b97726af8a6dc5d83.jpg",[],{"id":45363,"slug":45364,"title":45365,"dynasty":54,"author":7208,"museum":300,"description":45366,"tags":45367,"thumbUrl":45368,"material":692,"size":1293,"collection":84,"collections":45369,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},289654,"fu-tian-hua-yu-qian-long-289654","福田花雨","清高宗弘历，清朝第六位皇帝，清军入关之后的第四位皇帝，生于1711年9月24日，卒于1799年2月7日。年号“乾隆”，寓意“天道昌隆”。\n清高宗于1736年2月12日开始使用“乾隆”年号，至1796年2月8日为止。1795年10月3日，清高宗立爱新觉罗·颙琰为皇太子，并下令从1796年2月9日开始改用“嘉庆”年号 。1796年2月9日，清高宗传位于爱新觉罗·颙琰，正式退位。但是皇宫内依然用“乾隆”纪年，如乾隆帝临终医案仍为乾隆六十三年十二月。",[23,64,7,572,208,18381,45365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb013fd5068c52e572d318b1fc2a8492a.jpg",[],{"id":45371,"slug":45372,"title":45373,"dynasty":222,"author":223,"museum":300,"description":45374,"tags":45375,"thumbUrl":45377,"material":692,"size":1293,"collection":84,"collections":45378,"showCount":405,"zanCount":1998,"manualWeight":48,"mainColor":72},289585,"xian-miao-hui-ji-zhen-e-shi-luo-you-tong-gong-yang-fo-xiang-yi-ming-289585","線描會稽鎮遏使羅祐通供養佛像","画面以墨线勾勒，上半段佛塔巍峨，龛中坐佛沉静端严，两侧飞天衣带萦回流转，灵动舒展，尽显缥缈出尘之态。下方供养人与牵马侍从神态恭谨，身形姿态皆透着礼佛的至诚肃穆。\n\n整幅画作线条遒劲洗练，以极简的笔墨勾勒出造像的庄重与人物的神韵，不着一色却自有沉静安然的礼佛氛围，将民间质朴的审美意趣融入佛教造像之中，尽显古代佛画的纯粹意韵。",[23,24,7,188,18700,187,18381,7220,43278,96,101,45376,64],"供佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f43c72c9e12b092cd6d618dc4a5d84c.jpg",[],{"id":45380,"slug":45381,"title":45382,"dynasty":18,"author":13636,"museum":300,"description":45383,"tags":45384,"thumbUrl":45385,"material":692,"size":1293,"collection":84,"collections":45386,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},288548,"xiang-xiang-xiao-jing-tu-zhao-shi-lei-288548","湘乡小景图","字公震，承平王孙，生卒年不详，曾任襄州观察使等职。\n描绘的是仲夏时节宁静安谧的湖塘一隅。该画卷是赵士雷唯一的传世画迹。",[23,164,24,25,7,27,29,61,211,3835,99,171,34,303,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5847e87be85d07444a5c7951d5d0f349.jpg",[],{"id":45388,"slug":45389,"title":45390,"dynasty":18,"author":2067,"museum":244,"description":24178,"tags":45391,"thumbUrl":45393,"material":151,"size":45394,"collection":84,"collections":45395,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},288488,"san-gu-tu-li-di-288488","三顾图",[23,24,7,1349,6318,27,331,1233,19470,131,45392,64,208,132,96],"三顾茅庐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57784c84fc84774a15e3779c68ad0b6e.jpg","82.5x175.7厘米",[],{"id":45397,"slug":45398,"title":45399,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":45400,"thumbUrl":45402,"material":692,"size":1293,"collection":84,"collections":45403,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},287999,"liu-hua-tu-li-zhou-shi-tao-287999","榴花图立轴",[23,24,164,165,7,27,61,45401,169,133,208],"榴花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe1a8f3e2a2c5a53a9f7c3fd8ca7bf1c.jpg",[],{"id":45405,"slug":45406,"title":45407,"dynasty":144,"author":7181,"museum":300,"description":34953,"tags":45408,"thumbUrl":45409,"material":692,"size":1293,"collection":84,"collections":45410,"showCount":405,"zanCount":1998,"manualWeight":48,"mainColor":72},287784,"yang-zheng-tu-juan-wang-zhen-peng-287784","养正图卷",[23,24,25,7,95,28,27,96,97,247,19122,64,133,840,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feac150d266bb48de0451eab13aac2dc0.jpg",[],{"id":45412,"slug":45413,"title":45414,"dynasty":182,"author":223,"museum":300,"description":45415,"tags":45416,"thumbUrl":45417,"material":692,"size":1293,"collection":84,"collections":45418,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},287729,"tang-tai-zong-li-xiang-yi-yi-ming-287729","唐太宗立像（一）","此作以写实笔触勾勒一代帝王风貌，明黄色团龙常服庄重华贵，蓝龙蜿蜒于团窠之内，祥云环绕，尽显皇家无上威仪。画中帝王面庞丰朗，虬髯斜扬，目光沉凝锐利，自带开创盛世的雄主气魄。画师以挺括铁线描勾勒衣纹，流畅自然，精准还原初唐衣冠形制，设色沉稳雅致，晕染细腻柔和，将帝王内敛沉毅的气度与雍容端方的身姿完美呈现，尽显初唐人物肖像画写实传神的极高水准。",[164,24,7,165,27,96,14415,772,170,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1435f38082fcd3d34d1383b0949df416.jpg",[],{"id":45420,"slug":45421,"title":45422,"dynasty":124,"author":204,"museum":300,"description":19353,"tags":45423,"thumbUrl":45425,"material":692,"size":1293,"collection":84,"collections":45426,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},287527,"xie-jing-huan-cha-tu-juan-chou-ying-287527","写经换茶图卷",[23,164,24,25,7,28,27,96,1144,247,7322,64,208,45424],"文人雅事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18af42865495de6c46ac5d9c98431caa.jpg",[],{"id":45428,"slug":45429,"title":45430,"dynasty":124,"author":45431,"museum":20,"description":45432,"tags":45433,"thumbUrl":45434,"material":611,"size":84,"collection":318,"collections":45435,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},241056,"cha-liao-shi-zhou-zhu-zhi-fan-241056","茶寮诗轴","朱之蕃","朱之蕃（1575年—1624年） ，字元升，一作元介，号兰隅、定觉主人，祖籍金陵，明代大臣、书画家。婡万历洎頭條二十三年（1595）科举状元，官终礼部右侍郎，任上曾奉命出使朝鲜。后以母丧，不复出仕。工书法，善画山水花卉，传世作品有《君子林图卷》等，另有文集传世。\n之蕃工绘画，竹石兼东坡神韵，山水酷似米芾等大家。又工书法，真、行书师法赵孟頫得颜真卿、文征明笔意，日可写万字。在他出使朝鲜期间，朝鲜人以人参、貂皮为礼品，请他作画写字。他将所获得的礼品，尽行出售，另买书画、古器以归，其收藏极为丰富。他于泰昌元年（1620）所作《君子林图卷》，现藏故宫博物院。著有《使朝鲜稿》4卷、《纪胜诗》1卷、《落花诗》1卷、《南还杂著》1卷等。",[24,7,165,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47c78613c32b498a996da1cacd3311c5.jpg",[318],{"id":45437,"slug":45438,"title":45439,"dynasty":54,"author":45440,"museum":300,"description":45441,"tags":45442,"thumbUrl":45443,"material":611,"size":84,"collection":136,"collections":45444,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},240887,"tang-ren-qi-lv-shi-ye-qi-zhi-jia-240887","唐人七律诗页","祁豸佳","字止祥，号雪瓢，山阴（今浙江绍兴）人。彪佳（1602至1645）弟。天启 明亡后，当局礼聘，却之，与董瑒、王雨谦、陈洪绶、罗坤等结“云门十子”社，日与老衲蒲团相对，谈世外烟霞。甲申（1644）后，隐梅市卖画代耕。字学 山水 间作花卉，亦多逸致，康熙八年（1669）作山水图。",[24,7,128,132,29,663,228,413,35,131,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3b7a30ec1fa285757ae00f8f0aa4f15.jpg",[136],{"id":45446,"slug":45447,"title":45448,"dynasty":18,"author":17785,"museum":20,"description":45449,"tags":45450,"thumbUrl":45451,"material":13960,"size":45452,"collection":318,"collections":45453,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},239578,"dao-fu-zan-juan-fan-zhong-yan-239578","道服赞卷","此帖是范仲淹为同年友人“平海书记许兄”所制道服撰写的一篇赞文，称友人制道服乃“清其意而洁其身”之举。宋代文人士大夫喜与道士交往，“道家者流，衣裳楚楚。君子服之，逍遥是与。”穿着道服，遂成一时风气。此卷行笔清劲瘦硬，结字方正端谨，风骨峭拔。时人称此帖“文醇笔劲，既美且箴。”为范仲淹晚年书。。\n此卷经《铁网珊瑚》、《清河书画舫》、《清河见闻表》、《式古堂书画汇考》、《平生壮观》、《大观录》、《墨缘汇观》、《石渠宝笈·初编》等书著录。刻入明文徵明《停云馆帖》、乾隆内府《三希堂法帖》。\n曾经宋范氏义庄，清安岐、清内府等收藏，后归张伯驹。 1956年张伯驹夫妇将其捐献故宫博物院。",[23,64,133,25,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02431add9c7834cf0e008dcc8b0958b5.jpg","纵34.8厘米,横47.9厘米",[318],{"id":45455,"slug":45456,"title":45457,"dynasty":124,"author":223,"museum":300,"description":45458,"tags":45459,"thumbUrl":45460,"material":84,"size":84,"collection":84,"collections":45461,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},239484,"ming-ren-song-hou-tu-zhou-yi-ming-239484","明人松猴图轴","古松虬曲苍劲，枝干盘错如游龙，松针晕染出苍莽古雅的山林底色。五只灵猴各得幽趣：枝头两猴或俯身探看，或垂首理毛，嬉闹间尽显灵动；涧边三猴或静坐沉思，或临水望影，将猿猴的通性灵态描摹尽致。\n此作用水墨晕染，淡墨铺陈空濛虚境，浓墨提点松干皴纹与猴身绒毛，虚实相生留白悠远。笔意兼顾工细与写意，灵猴造型写实鲜活，古松勾勒纵逸老辣，以松猴林下之姿，晕染出悠然出世的林泉雅韵，尽显幽寂澹远的文人意趣。",[24,7,165,164,128,132,28,372,9633,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c4b47cdaf4cc40984d772c5d1dfb952.jpg",[],{"id":45463,"slug":45464,"title":4991,"dynasty":54,"author":4992,"museum":300,"description":39747,"tags":45465,"thumbUrl":45466,"material":84,"size":84,"collection":84,"collections":45467,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},239051,"shan-shui-hua-niao-ce-yang-jin-239051",[24,7,59,128,132,208,29,96,99,171,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6136e48c08d32b04c6c2777897512f54.jpg",[],{"id":45469,"slug":45470,"title":409,"dynasty":54,"author":4992,"museum":300,"description":18894,"tags":45471,"thumbUrl":45472,"material":84,"size":84,"collection":136,"collections":45473,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},238987,"shan-shui-ce-yang-jin-238987",[24,7,59,27,29,132,34,3387,129,99,415,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66b2b48963874015c5128a1c9ccdd5a4.jpg",[136,45],{"id":45475,"slug":45476,"title":76,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":45477,"thumbUrl":45478,"material":692,"size":1293,"collection":84,"collections":45479,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},238888,"hua-hui-ce-dong-gao-238888",[164,24,7,59,27,28,61,62,9337,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab128a6053d03c4e74e4f9bf31553a5.jpg",[],{"id":45481,"slug":45482,"title":45483,"dynasty":54,"author":13716,"museum":300,"description":13717,"tags":45484,"thumbUrl":45485,"material":692,"size":1293,"collection":44,"collections":45486,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},238544,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238544","陈书画历代帝王道统图钱陈群书赞合册",[24,7,59,27,28,96,133,64,208,34,131,1200,1577,1367,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b1bf6b2c65b651b60c09fe8353699f2.jpg",[44,45],{"id":45488,"slug":45489,"title":45490,"dynasty":54,"author":14022,"museum":300,"description":40657,"tags":45491,"thumbUrl":45492,"material":692,"size":1293,"collection":68,"collections":45493,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},238541,"hua-shou-pu-ce-yu-sheng-238541","画兽谱册",[24,7,59,27,949,29,131,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9544dfd446f8c2df9428c8857d17029f.jpg",[68,45],{"id":45495,"slug":45496,"title":31269,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":45497,"thumbUrl":45499,"material":692,"size":1293,"collection":84,"collections":45500,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},238420,"xiu-gu-cong-fang-tu-ce-dong-gao-238420",[24,7,59,28,27,208,61,62,373,549,45498],"白色花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7bc8ef58248a0fab2f7773f16975fec.jpg",[],{"id":45502,"slug":45503,"title":14998,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":45504,"thumbUrl":45506,"material":84,"size":84,"collection":84,"collections":45507,"showCount":405,"zanCount":1998,"manualWeight":48,"mainColor":72},238375,"dong-gao-yan-chun-hui-cai-tu-ce-dong-gao-238375",[24,7,164,59,27,28,61,45505,1955,582,2037],"黄花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff5895b5249671caf851158c42e1e27.jpg",[],{"id":45509,"slug":45510,"title":14998,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":45511,"thumbUrl":45513,"material":84,"size":84,"collection":84,"collections":45514,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},238372,"dong-gao-yan-chun-hui-cai-tu-ce-dong-gao-238372",[24,7,59,28,27,61,263,62,549,45512],"蓝花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67b401de06f9cc225a228e0de738a1bc.jpg",[],{"id":45516,"slug":45517,"title":76,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":45518,"thumbUrl":45519,"material":692,"size":1293,"collection":84,"collections":45520,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},238352,"hua-hui-ce-dong-gao-238352",[164,24,7,59,27,28,376,62,2438,549,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5b5a66add4c45d8079f31aa0ed45868.jpg",[],{"id":45522,"slug":45523,"title":45524,"dynasty":54,"author":41583,"museum":300,"description":45525,"tags":45526,"thumbUrl":45527,"material":84,"size":84,"collection":136,"collections":45528,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},238243,"sai-shan-er-shi-si-jing-ce-zhang-ruo-cheng-238243","塞山二十四景册","以淡墨勾勒皴擦，写尽峰峦层叠之态，危岩高耸，林木依石而生，留白处似云气萦回山谷，将幽寂的山巅清景铺展开来。笔致苍秀细腻，山石纹理尽显嶙峋质感，枯松错落萧疏，带着塞地萧寒之气，仿佛可闻山风穿林而过。\n\n右侧大片留白与左侧繁密山景形成强烈虚实对照，朱红鉴藏印点缀素纸，墨色丹印相映成趣，既有荒寒山境的冷逸清寂，又添古雅金石意趣，将塞上山川的静穆荒寒凝于尺幅，悠悠古意扑面而来。",[24,7,128,28,132,59,29,663,1144,131,1022,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3004413fb4a3a4c945a56f3045298730.jpg",[136],{"id":45530,"slug":45531,"title":45532,"dynasty":54,"author":3718,"museum":300,"description":10500,"tags":45533,"thumbUrl":45534,"material":692,"size":1293,"collection":84,"collections":45535,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},237794,"hong-ren-song-zhu-you-ting-tu-shan-ye-hong-ren-237794","弘仁松竹幽亭图扇页",[24,7,1131,128,132,372,167,130,171,29,96,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa10aaadad94df684872c4363df1411bc.jpg",[],{"id":45537,"slug":45538,"title":45539,"dynasty":54,"author":45540,"museum":300,"description":45541,"tags":45542,"thumbUrl":45543,"material":84,"size":84,"collection":136,"collections":45544,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},237564,"hua-fen-yong-xiao-shi-shi-ce-wang-fu-237564","画分咏小石诗册","王凫","此作以开合之景铺展山居雅趣，高岭卧石隐于浅草疏林，溪谷蜿蜒穿林而过，将画面裁为丘山与雅居两处景致。坡岸林间，士人围坐清谈，草亭之内宾主对坐酬唱，右侧层叠楼阁依岩而建，有人凭栏远眺。设色淡雅清和，赭石晕染山峦，花青点染林木，笔致秀润细腻，将文人士子幽居雅集的闲逸尽数铺陈。整体氛围安恬静穆，林下风流与山居幽趣相融，将江南山居的清旷雅致凝于尺幅之间，藏着文人栖居林泉的浮生雅事，尽显丘林雅韵。",[24,7,59,27,95,28,29,130,97,98,99,96,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3599c8cb93fc6d7c7fb6bd6e4a8dcf3c.jpg",[136,45,318],{"id":45546,"slug":45547,"title":45548,"dynasty":54,"author":17240,"museum":20,"description":45549,"tags":45550,"thumbUrl":45551,"material":611,"size":84,"collection":136,"collections":45552,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},237208,"shu-hua-he-bi-ce-cha-shi-biao-237208","书画合壁册","查士标（1615-1698），字二瞻，一号梅壑散人，懒老。安徽休宁人。他是明诸生，入清后不应举，工研书画。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。他的绘画亦是气韵高逸，查士标常常在画上自题拟云林笔意、仿倪云林法等，而懒标之号亦从倪云林懒瓒之称而来，可谓是风神遥接。晚年画益超迈，直窥元人之奥。凡应酬临池挥洒，必於深夜，不以为苦。八十馀尚童颜。卒年八十四，著有《种书堂遗稿》等。",[24,7,59,128,29,133,132,34,35,497,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e055ebce03d4fbdd5de2d3bc3d6a0db.jpg",[136,45],{"id":45554,"slug":45555,"title":19154,"dynasty":124,"author":45556,"museum":20,"description":45557,"tags":45558,"thumbUrl":45559,"material":12690,"size":45560,"collection":44,"collections":45561,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},237096,"guan-yin-zhou-fang-wei-yi-237096","方维仪","明末清初安徽桐城才女方维仪是一位擅于图绘观音像的闺阁画家。作为富有收藏的大理少卿之女，方维仪自幼便浸淫在浓厚的热爱丹青图绘的家庭气氛中，并终其一生不断绘事。方维仪所绘白描观音大士像，被王士祯称为“妙品”，列闺秀绘画魁首。现藏于故宫博物院的《观音图》是方维仪七十一岁时所作。这种舍弃背景、不施色彩的画风，传承自宋代李公麟遗风。据说方维仪家藏有李公麟白描宗教人物画《过海揭钵图》，而她经过多年的临习，所画之白描观音“几突过龙眠”。\n方维仪多图绘观音与其坎坷的人生际遇有关。方维仪出阁嫁与姚孙棨为妻，但年仅17岁便成为寡妇，之后终身未曾再嫁。丧夫之后，方氏又遭受接二连三的打击：姐夫张秉文在抵抗清兵入济南城之战中牺牲、姐姐方孟式投水自尽、弟媳吴令仪年少早夭、堂妹方维则16岁丧夫而后孀居终生……明清鼎革之际的动乱环境带来不可言说的人生际遇，惟有慈悲为怀的观音大士最能平复失去至亲的痛苦，慰藉其寒灯守夜的孤寂。",[24,7,165,187,96,188,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F973321fad6cac359dcd7b1b160fc7a39.jpg","56.5cmx26.6cm",[44],{"id":45563,"slug":45564,"title":45565,"dynasty":124,"author":36184,"museum":300,"description":45566,"tags":45567,"thumbUrl":45568,"material":692,"size":1293,"collection":84,"collections":45569,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},236801,"chi-bi-tu-shan-mian-liu-yuan-qi-236801","赤壁图扇面","初名祚，以字行，更字子正。工诗，画山水，师钱谷，颇肖其神",[24,7,1131,128,29,132,129,131,34,96,31,1022,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd85014b4daa5b192d99d625c5a10d25b.jpg",[],{"id":45571,"slug":45572,"title":4229,"dynasty":54,"author":4823,"museum":300,"description":4824,"tags":45573,"thumbUrl":45574,"material":84,"size":20,"collection":84,"collections":45575,"showCount":405,"zanCount":1998,"manualWeight":48,"mainColor":72},236609,"hua-niao-ce-ma-yuan-yu-236609",[24,7,59,27,28,61,547,747,582,7857],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89204bb2a41be7e314e451f48f74790b.jpg",[],{"id":45577,"slug":45578,"title":45579,"dynasty":124,"author":16032,"museum":20,"description":45580,"tags":45581,"thumbUrl":45582,"material":84,"size":84,"collection":136,"collections":45583,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},236569,"song-zhu-shuang-qing-ce-xiang-sheng-mo-236569","松竹双清册","项圣谟，字逸，后字孔彰，浙江嘉兴人。为明末著名书画收藏家和画家。",[24,7,59,128,372,167,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27527a98f63b9465054da19b06c8e512.jpg",[136,318],{"id":45585,"slug":45586,"title":45587,"dynasty":54,"author":6946,"museum":300,"description":35061,"tags":45588,"thumbUrl":45590,"material":692,"size":1293,"collection":84,"collections":45591,"showCount":405,"zanCount":1116,"manualWeight":48,"mainColor":956},236042,"lian-zuo-da-shi-xiang-zhou-ding-guan-peng-236042","莲座大士像轴",[24,7,165,187,27,96,28,1364,45589,304],"莲座","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cfcbf7d2e74981a162178e20029e32d.jpg",[],{"id":45593,"slug":45594,"title":45595,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":45596,"thumbUrl":45597,"material":692,"size":1293,"collection":84,"collections":45598,"showCount":405,"zanCount":1998,"manualWeight":48,"mainColor":72},235806,"yuan-ji-mei-zhu-shuang-qing-tu-shan-ye-shi-tao-235806","原济梅竹双清图扇页",[1131,24,7,128,371,167,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbaa40b42a07dc9925f78ca1a903edc5.jpg",[],{"id":45600,"slug":45601,"title":45602,"dynasty":124,"author":45603,"museum":300,"description":45604,"tags":45605,"thumbUrl":45606,"material":84,"size":84,"collection":84,"collections":45607,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},235560,"jin-jie-han-xiang-zhu-shi-zhou-gui-chang-shi-235560","劲节含香竹石轴","归昌世","水墨写就修竹拳石，几竿青竹错落挺劲，枝叶俯仰舒展，笔法清隽秀朗，墨色浓淡相宜，将竹之疏朗风神尽显。顽石以淡墨勾皴，拙朴厚重，与灵秀修竹相映成趣，坡岸寥寥草叶，野意自生。\n\n右上角题诗与绘作相融，诗书印合一，氤氲出悠然文气。整幅简淡清逸，以少胜多，将君子劲节寄于笔墨，画者淡泊自持的襟怀藏于水墨之间，观之如临清风，尽显文人写意的雅逸品格，把竹之贞洁孤傲的君子风骨晕染在方寸画卷中。",[24,7,165,128,369,2132,167,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd47591c44802776c61c8c203b414456e.jpg",[],{"id":45609,"slug":45610,"title":4071,"dynasty":54,"author":14273,"museum":300,"description":45611,"tags":45612,"thumbUrl":45613,"material":692,"size":1293,"collection":84,"collections":45614,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},235467,"hua-hui-tu-ce-fan-ting-zhen-235467","字鹿畴，一作祉安，或止安，号芷庵，一号冻亭，又号乐亭，武进（今江苏常州）人。",[23,24,7,28,27,59,61,62,547,747],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F941364f8b372d1ca513902c35c530063.jpg",[],{"id":45616,"slug":45617,"title":45618,"dynasty":54,"author":9529,"museum":300,"description":19697,"tags":45619,"thumbUrl":45620,"material":692,"size":1293,"collection":84,"collections":45621,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},235369,"fang-ni-zan-shan-shui-zhou-wang-hui-235369","仿倪瓒山水轴",[24,7,165,128,29,330,132,1337,131,34,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e1642df578d1930c54ea3752bace297.jpg",[],{"id":45623,"slug":45624,"title":45625,"dynasty":54,"author":223,"museum":300,"description":45626,"tags":45627,"thumbUrl":45628,"material":84,"size":84,"collection":84,"collections":45629,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},235335,"wang-jian-fang-gu-shan-shui-ce-yi-ming-235335","王鉴仿古山水册","此作绘冬日山林雪景，层峰叠峙，积雪覆于嶙峋山石与枯木之上，以留白晕染出清寒空濛之意。山坳飞瀑垂落，崖畔古寺幽藏，萧寒之中暗蕴灵动生机。\n笔墨苍秀沉厚，以干笔皴擦勾勒山石肌理，淡墨晕铺雪色，布景繁密却通透空灵。将宋元山水古雅意韵融于尺幅，简淡清旷间尽显林泉萧疏淡远之致，可观可游，静中生趣，尽显仿古山水的雅致格调。",[24,7,59,27,29,496,34,97,133,208,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11341c2949a21315b30cb3cbf08de4c6.jpg",[],{"id":45631,"slug":45632,"title":45633,"dynasty":124,"author":19056,"museum":300,"description":41731,"tags":45634,"thumbUrl":45635,"material":692,"size":1293,"collection":84,"collections":45636,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},235228,"yue-ji-shan-ye-chen-gua-235228","月季扇页",[24,7,1131,128,61,603],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F242652a288e70a4315868575a9c77181.jpg",[],{"id":45638,"slug":45639,"title":45640,"dynasty":124,"author":223,"museum":300,"description":45641,"tags":45642,"thumbUrl":45643,"material":692,"size":1293,"collection":84,"collections":45644,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},235116,"wen-chu-hua-die-tu-shan-ye-yi-ming-235116","文俶花蝶图扇页","此作为泥金扇面，淡彩轻绘野花蛱蝶，雅致脱俗。粉花晕染细腻，花瓣由尖至根浅深渐变，柔润娇妍，细笔点出的淡墨花蕊，更添生机。草叶以嫩绿细劲勾勒，舒展摇曳，尽显野卉自在之态。墨色蛱蝶勾勒精细，翅脉纤毫分明，翩然停驻于花侧，似将振翅穿花。\n\n画面留白疏朗，以简淡笔墨铺就闲逸生机，尽显小品画作的清雅文气，把郊野花间蝶戏的悠然之景，凝于尺幅扇面，淡冶天真，意韵悠长，尽显文人写意风神。",[24,7,1131,28,27,61,547,9392,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb6d4b97e92f4f30190099722e0a6659.jpg",[],{"id":45646,"slug":45647,"title":45648,"dynasty":124,"author":45649,"museum":300,"description":9208,"tags":45650,"thumbUrl":45651,"material":84,"size":84,"collection":84,"collections":45652,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},234670,"cong-shan-shui-shan-mian-gong-yun-234670","从山水扇面","龚云",[1131,24,7,128,27,29,98,99,129,211,130,496,97,96,208,132,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0deb888dcc6e61f9401f6daf73a09633.jpg",[],{"id":45654,"slug":45655,"title":409,"dynasty":54,"author":17240,"museum":300,"description":45656,"tags":45657,"thumbUrl":45658,"material":84,"size":84,"collection":136,"collections":45659,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},234638,"shan-shui-ce-cha-shi-biao-234638","查士标（1615-1698），字二瞻，号梅壑散人，懒老。新安（今安徽休宁）人，流寓江苏扬州。明末秀才，入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。他的闲散情怀决定了他的绘画气质亦是风神懒散、气韵高逸。",[24,7,164,59,128,27,29,413,1314,228,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22d726fef1640e5e482b9d8d3b16c206.jpg",[136],{"id":45661,"slug":45662,"title":4071,"dynasty":54,"author":14273,"museum":20,"description":45663,"tags":45664,"thumbUrl":45665,"material":40,"size":84,"collection":84,"collections":45666,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},234321,"hua-hui-tu-ce-fan-ting-zhen-234321","范廷镇（清），字鹿畴，一作祉安，或止安，号芷庵，一号冻亭，又号乐亭，武进（今江苏常州）人。能作花卉草虫，并书法，俱效恽寿平。\n恽寿平一生不应科举，以卖画为生，出于职业竞争的考虑，恽寿平并不太愿意让别人看见他如何作画。即使这样，恽寿平的亲传弟子也不少，如马元驭、范廷镇、张伟、董瑜等。\n马元驭、范廷镇与恽寿平最为接近，最能得恽南田没骨写生花卉之神髓，他们的个别作品甚至可以达到乱真的地步，此二人也是恽寿平的主要代笔人。特别是范廷镇，包括书法与恽寿平都十分相近，接近于形神兼备，但格调稍欠，诗文才情更是与恽寿平相差甚远。\n欣赏两个故宫博物院收藏范廷镇的花卉册，如果我们不标注是范廷镇所作的话，只看画面，几乎都会认为是出自恽寿平的手笔吧！",[164,24,7,59,27,28,61,62,547,747,2690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0fba9e1c7136d082dedd8cbbd3c97b2.jpg",[],{"id":45668,"slug":45669,"title":36612,"dynasty":124,"author":39871,"museum":20,"description":45670,"tags":45671,"thumbUrl":45672,"material":734,"size":84,"collection":84,"collections":45673,"showCount":405,"zanCount":1998,"manualWeight":48,"mainColor":72},234244,"shan-shui-juan-zhang-fu-234244","张复（1403-1490）：道士。字复阳，以字行，号南山，浙江平湖人。自幼学书专法古人，能运帚作大字。径寸字极有风骨，小行楷秀整不凡。工画，山水仿吴镇，苍郁淋漓，几欲乱真。草树人物，各臻其妙。",[23,24,25,7,128,27,132,29,129,98,99,97,34,131,1747,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d3a363c537e6fd65da59b61258ccaf.jpg",[],{"id":45675,"slug":45676,"title":45677,"dynasty":124,"author":45678,"museum":300,"description":45679,"tags":45680,"thumbUrl":45681,"material":253,"size":84,"collection":84,"collections":45682,"showCount":405,"zanCount":1998,"manualWeight":48,"mainColor":49},234164,"nan-ping-yan-yu-tu-juan-zhou-han-234164","南屏烟雨图卷","周翰","[明]工山水。北京故宫绘画馆有嘉靖三十四年（一五五五）所画南屏烟雨图卷，绢本，似王巩而秀润，云烟烘染尤妙。《榆园画志》",[23,164,24,7,25,27,132,29,97,98,99,129,130,211,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6585ae0baa2edac4fe97f120f7e3f49d.jpg",[],{"id":45684,"slug":45685,"title":45686,"dynasty":144,"author":45687,"museum":20,"description":45688,"tags":45689,"thumbUrl":45690,"material":1722,"size":45691,"collection":84,"collections":45692,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},233460,"liu-yan-tu-zhou-sheng-chang-nian-233460","柳燕图轴","盛昌年","画面细嫩的柳枝倒垂，枝叶稀疏，临风摇曳，一双燕子翻飞其间，笔墨间透出浓浓春意。燕子秋去春来，表示一年的时光已经流逝，迁徒无定的行踪牵动了无数行旅之人的思乡之情。本幅作品简洁清淡，取景自然，疏朗的构图，剪裁得宜，寥寥数笔勾画出一幅充满诗意的抒情佳景。自识“武林盛昌年元龄为良友吴郡沈彦肃戏作于梁谿寓所，岁至壬辰三月也”。另有葵丘生题诗：“杨柳风多暑气微，一双下上故飞口。如何恋芳塘景，秋社归时也不归。”",[24,7,165,128,61,211,2372,7856,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F930e8ccb1f2c104fc399bd3913fc72b0.jpg","纵75.9厘米、横25.5厘米",[],{"id":45694,"slug":45695,"title":39900,"dynasty":54,"author":1460,"museum":20,"description":14827,"tags":45696,"thumbUrl":45697,"material":39903,"size":39904,"collection":84,"collections":45698,"showCount":405,"zanCount":1998,"manualWeight":48,"mainColor":72},233424,"yuan-ji-shan-shui-ce-shi-tao-233424",[164,24,7,59,128,132,208,29,663,37,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8b281a289ed6ab616f64e10b152cd89.jpg",[],{"id":45700,"slug":45701,"title":45702,"dynasty":54,"author":1219,"museum":20,"description":45703,"tags":45704,"thumbUrl":45705,"material":1190,"size":45706,"collection":84,"collections":45707,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},233410,"ren-song-yun-xiang-zhou-ren-yi-233410","任淞云像轴","任伯年乃是处于中国古代社会与近现代交界线上的一位人物，而他的绘画在清末画坛犹如奇峰崛起，代表着传统艺术的一个新的高度。\n他的人物画既具有总结性，又富有前瞻性。上接陈洪绶、八大山人、华嵒、闵贞、费丹旭、任渭长、任阜长之衣钵，下启徐悲鸿及蒋兆和之新一代画风。他不仅是“海派”中的佼佼者，而且也是中国绘画史上的一位大师。",[24,7,165,27,128,96,1337,131,1955,1144,99,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb450c7a206e3c836cbe9cd017f905d9d.jpg","173.1cm×47.3cm",[],{"id":45709,"slug":45710,"title":45711,"dynasty":54,"author":1219,"museum":20,"description":45712,"tags":45713,"thumbUrl":45714,"material":734,"size":45715,"collection":84,"collections":45716,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},233409,"ge-zhong-hua-xiang-zhou-ren-yi-233409","葛仲华像轴","本幅题记者甚众，均为葛怀英（即葛仲华）文友，计有：胡公寿、沈景成、严信厚、顾德沅、徐大有诸家。\n据葛怀英跋中所言“癸酉春正月属山阴任君伯年写成独立小影”，可知此画应作于清同治十二年（1873年），任伯年时年34岁。\n此图为淡设色绘制葛仲华全身立像。据德林隶书题“仲华二十七岁小景”可知像主当时的年纪。另据葛怀英自跋可知，葛氏是一名空有一腔抱负而不得志的落寞文人，所幸其“心入禅关有乐天”。人物面部施以淡赭色并略加晕染，色调稍有明暗对比，突出了人物面部的立体效果。主人公身着长衫，右手持淡青小花一支于胸前，神态淡定。衣纹以“钉头鼠尾”线描绘，刚柔相济，飘洒自如，富有节奏感，使得人物虽静如动。",[24,7,165,27,96,188,128,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59448d4a4de52b2586b0b291404db2ff.jpg","纵118.6厘米，横60.3厘米",[],{"id":45718,"slug":45719,"title":45720,"dynasty":144,"author":7095,"museum":20,"description":45721,"tags":45722,"thumbUrl":45723,"material":734,"size":29414,"collection":84,"collections":45724,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},232980,"xie-dan-you-qi-tu-zhou-zhao-yong-232980","挟弹游骑图轴","画中一乌帽朱衣人，乘黑花马于平坡上缓缓而行，手执弹弓，悠然仰望，似在搜寻猎物，眉目生动传神。图上人马先以淡墨勾线，后施色彩，晕染匀净。树木则用双勾填色，工整精细。全图画风古朴雅致，有唐人笔意。\n古今以游骑射猎为题材的图画不可胜数，但大多是对射猎场面的描绘，如此图般绘写游猎之人闲适地搜寻猎物的作品则寥若晨星，别具巧思，耐人寻味。赵雍独具一格、匠心独运的绘画风格于此可见一斑。",[24,7,165,28,27,96,101,413,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F848f21392a4c6285d5e3775686b5b4c0.jpg",[],{"id":45726,"slug":45727,"title":45728,"dynasty":144,"author":569,"museum":20,"description":45729,"tags":45730,"thumbUrl":45731,"material":40,"size":45732,"collection":84,"collections":45733,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},232774,"xiao-yi-zhuan-lan-ting-xu-tu-juan-zhao-meng-fu-232774","萧翼赚兰亭序图卷","唐何延之《兰亭记》详细地记载了监察御史萧翼从辩才处智取《兰亭序》真迹的故事，明代李日华、近人余绍宋皆认为不可信，但是据此画成的《萧翼赚兰亭图》在宋及以后多被反复临仿。\n现存宋人摹《萧翼赚兰亭图》计有三本，除北京故宫藏卷外，另两卷分别藏辽宁省博物馆、台北故宫博物院，其中辽博和台北故宫藏本较为完整，北京故宫藏本相对较简略。\n该图绘四人，左为一僧端正地坐于一竹篾坐垫、靠背的椅上，面部的笑容、捋起的衣袖及右手前伸的动态，表明他正在兴致高昂的谈论某事，较为端正的身姿似又暗示了他一贯的谨慎和克制。图右绘一中年书生和僧人相对坐于鼓形凳上，面容清瘦，专注的表情和身体前倾的动态，表明了他对僧人谈话的极力迎合。中年僧人、书生身后各有一童子相随。在人物动态和艺术风格上，该本和辽博本较为接近，但省略了僧人身后仆从烹茶的情形，另在僧人坐姿、仆从及器物等上与辽博本也有不同之处。",[23,24,7,25,28,27,96,330,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76c51deba39226d24cedc232f1a54eba.jpg","纵26.6厘米，横44.3厘米",[],{"id":45735,"slug":45736,"title":45737,"dynasty":54,"author":4468,"museum":244,"description":45738,"tags":45739,"thumbUrl":45740,"material":514,"size":45741,"collection":84,"collections":45742,"showCount":405,"zanCount":1116,"manualWeight":48,"mainColor":49},232674,"shi-jun-tu-da-wan-liu-lang-shi-ning-232674","十骏图大宛骝","有郎世宁的签名，但真正的艺术家不详。\n目前还不清楚这个复制品是什么时候完成的。\n朱塞佩·卡斯蒂廖内，S.J. （中文名郎世宁；1688年7月19日－1766年7月17日），意大利耶稣会兄弟，中国传教士，曾在康熙、雍正、乾隆三位皇帝的朝廷担任画家。他的绘画风格融合了欧洲和中国的传统。\n后来的艺术评论家认为他的马画是最具表现力的。作品《百骏图》被公认为中国十大名画之一。",[24,7,28,27,101,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa244b888acd8e18e452db1d877f7b2c9.jpg","231x274厘米",[],{"id":45744,"slug":45745,"title":45746,"dynasty":18,"author":2099,"museum":12686,"description":45747,"tags":45748,"thumbUrl":45749,"material":611,"size":45750,"collection":84,"collections":45751,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},232629,"qun-xian-gao-hui-tu-juan-li-gong-lin-232629","群仙高会图卷","长卷绘群山连绵，云雾缭绕，群仙或立于云端、山中、河岸边、凉亭里，画卷中绘一高大天门，长松守护左右，众仙聚集热闹非凡。",[24,7,25,188,128,29,96,131,1337,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a48d01ac0c21f75efd5eeab0c875d1.jpg","41.5x948.7",[],{"id":45753,"slug":45754,"title":45755,"dynasty":144,"author":223,"museum":300,"description":45756,"tags":45757,"thumbUrl":45758,"material":84,"size":84,"collection":84,"collections":45759,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},231482,"pu-sa-tu-yi-ming-231482","菩萨图","菩萨天女体态丰腴，容貌端丽，具有动人的丰姿，在敦煌壁画中多有体现。",[23,24,7,165,187,27,28,96,1364,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce138af2f13e8fc586ace67f77117ce7.jpg",[],{"id":45761,"slug":45762,"title":45763,"dynasty":124,"author":1058,"museum":300,"description":45764,"tags":45765,"thumbUrl":45766,"material":84,"size":84,"collection":84,"collections":45767,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},231396,"ren-wu-gu-shi-tu-tang-yin-231396","人物故事图","唐寅生于成化六年二月初四，卒于嘉靖二年十二月二日，字伯虎，后改字子畏，号六如居士、桃花庵主、鲁国唐生、逃禅仙吏等，明代画家、书法家、诗人。\n二十九岁时由诸生举应乡试，得第一名解元，名声大噪，故人称唐解元。而后，家中连遭不幸，父母、妻子、妹妹相继去世。三十岁时进京会试，涉会试泄题案而被革黜。后游历名山大川，以卖文鬻画闻名天下。\n早年随沈周、周臣学画，宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。\n唐寅的人物作品传世颇多，无论是单幅人物还是群像无不精彩。这件吹萧仕女图尺幅巨大，然笔笔精到，无一败者，可以说是达到了通会之际人画俱老的境界。他的人物画有两种风格，一种是繁笔重彩，另外一种则是简笔淡彩。前一种画风是从唐人重彩画而来。而这张画则是前一种画风的杰作。 从线描的技巧来看，他运用了唐代吴道子的兰叶描。一波三折，如风中不断翻转着的兰叶，充满着内在的韵律。在仕女面部开相上，丰额细眉，眼小如线。在烘染上则用唐代盛行的三白法，厚而不腻，对比强烈。细观该画中的仕女，其头发丝的烘染，也是一丝不苟，层层深入的。古人说画人难画手，画树难画柳。因为人手部的结构复杂，表现不好不是僵就是软。而唐寅对手的刻画真是细致人微，让人似乎可以感觉到仕女手部的温暖。在衣服格纹的钩染与填色上，也是一丝不苟。从整体上看，这件作品的色彩古雅沉静，有着青铜器一样幽深无际之感。表现出晚年唐寅人物画风的一个重要变化，他试图在大幅人物画中将粗笔的写意与工笔的钩染相结合起来。这说明他的绘画艺术还在发展着，可惜的是他这种尝试还没有完全成熟就去世了。 古人画仕女多是借美人香草而别有怀抱的。因这件画幅只落有穷款，我们无法推知作者在画这件作品时的喻意。画中表现的是一个着宫装的贵族仕女在吹着洞萧，我们虽然昕不到声音，但是通过画面似乎听到幽怨的萧声自画中传出来。唐寅晚年是很凄苦的，妻子和儿子先他而去。家庭的温暖不再可得，故他笔下的人物也多有哀怨之色。这件作品表面上看非常之富丽华贵，而其骨子里却是悲凉的。",[23,24,7,28,27,96,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd86cd1be9df83a8a61d6a9c212c4aebd.jpg",[],{"id":45769,"slug":45770,"title":45771,"dynasty":18,"author":223,"museum":300,"description":45772,"tags":45773,"thumbUrl":45774,"material":84,"size":84,"collection":84,"collections":45775,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},231078,"liu-tang-fan-yue-yi-ming-231078","柳塘泛月","薄月垂悬柳梢，清辉漫过塘面，晕开一怀夏夜幽寂。柔枝垂柳以淡墨晕染，如烟似雾，将塘岸晕染成朦胧一片。青碧莲叶错落水面，随波轻漾。\n\n扁舟缓行于莲间，舟上仕女姿态悠然，或凭舷凝望月色，或斜卧舟中静享晚风，侍女垂立身侧，动静之间，将夜游的闲雅意趣缓缓铺陈。\n\n画作以没骨晕染写就景致，墨色柔润层次分明，浅淡设色清雅和谐，以尺幅小景承载起清远疏淡的意韵，将闲逸的审美心境融于笔底，尽显小品画的隽永悠然。",[164,24,7,1131,27,28,96,4363,3837,231,33,82,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d348506c30be231f405f138a860f593.jpg",[],{"id":45777,"slug":45778,"title":7864,"dynasty":54,"author":19415,"museum":300,"description":45779,"tags":45780,"thumbUrl":45781,"material":84,"size":84,"collection":84,"collections":45782,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},230875,"za-hua-ce-bian-shou-min-230875","此作用水墨写意绘折枝秋菊，花枝苍劲老辣，以浓淡墨色分出层次。花瓣以淡墨中锋勾勒点染，舒展清逸，尽显秋菊冷傲之姿；叶片以泼墨随性挥写，朴拙厚重，与纤秀的花头形成巧妙对比。\n\n画面左上题诗相和，诗书相融，将画者淡泊疏朗的心境寄寓其中，文人意趣尽显。笔简而意足，寥寥数笔便勾勒出秋卉萧疏清寂之态，尽显水墨写意花鸟的风神，透着悠然出尘的秋日雅韵。",[24,7,59,128,369,61,604,548,549,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb4f516419b2a1ab82eb9ae4841ec1ba.jpg",[],{"id":45784,"slug":45785,"title":45786,"dynasty":54,"author":3750,"museum":300,"description":45787,"tags":45788,"thumbUrl":45789,"material":84,"size":84,"collection":84,"collections":45790,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},230194,"yun-he-song-yin-tu-wang-jian-230194","云壑松阴图","清王鉴云壑松荫图轴是清代时期的文物，现收藏于上海博物馆。\n王鉴（1598-1677），字元照，号湘碧、染香庵主，有“王廉州”之称，太仓（今江苏）人。\n山水以元四家为宗，用墨浓润，风格沉雄，“清初六家”之一。\n此图作于康熙乙卯(1675)，时年七十八岁。\n布局转折多姿，笔法细密灵活，画面显得滋润、整洁而明净。",[23,24,7,165,128,29,132,1144,99,497,34,950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd7dcd1f06106fa7ea0da3e5cfff9089.jpg",[],{"id":45792,"slug":45793,"title":45794,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":45795,"thumbUrl":45796,"material":692,"size":1293,"collection":84,"collections":45797,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},228879,"duan-he-ming-qin-tu-wen-zheng-ming-228879","断壑鸣琴图",[23,24,7,165,27,29,132,28,495,131,34,499,13603],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4602ec7c95628152453ccd92f14e664.jpg",[],{"id":45799,"slug":45800,"title":18034,"dynasty":124,"author":125,"museum":300,"description":45801,"tags":45802,"thumbUrl":45803,"material":84,"size":84,"collection":84,"collections":45804,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},228826,"liang-jiang-ming-sheng-tu-ce-shen-zhou-228826","此作用笔兼工带写，右侧苍松掩映下的官式院落界画工细严整，层叠峰峦以披麻皴晕染，墨色苍润厚重，山间云霞淡晕铺陈，烘托出空蒙出尘的仙气，将林泉雅致与山峦雄浑相融。\n\n左侧题跋行书舒展苍劲，诗画合璧，以文衬景。整体将实景胜迹的肃穆雅致，与文人写意的空灵悠远结合，兼具院体画的工致细腻与文人画的简逸意趣，铺陈出江南丘林的沉静大气，寄寓文人林泉高致的审美意趣，尽显山水胜景的意境之美。",[24,7,59,27,29,95,97,34,131,758,247,37,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9e80b34b0e5224393097d95fc097fe6.jpg",[],{"id":45806,"slug":45807,"title":45808,"dynasty":124,"author":15464,"museum":300,"description":45809,"tags":45810,"thumbUrl":45811,"material":84,"size":84,"collection":84,"collections":45812,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},228748,"e-mei-xue-tu-xie-shi-chen-228748","峨嵋雪图","此作笔墨兼具工致与写意，以留白淡晕铺就雪色，尽显峨眉雪岭的荒寒厚重。层叠峰峦覆着蓬松积雪，墨笔勾勒出山岩棱线，衬出雪景清寂辽远。山寺错落隐于雪岭寒林，古木虬枝仍带冬意生机。下方溪桥之上，驮队徐行，为冷绝天地晕开一抹人间暖意。\n\n整幅画将蜀地冬山的磅礴大气与羁旅意境相融，既有山川壮伟之态，又藏细腻生活意趣，绘就雪后峨眉空蒙萧寒的独特意境，是明代雪景山水的精妙之作。",[23,24,7,165,29,27,132,2523,1144,97,98,99,690,96,101,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a28ce0b8585d7df837cf6392eac40f.jpg",[],{"id":45814,"slug":45815,"title":45816,"dynasty":124,"author":3559,"museum":300,"description":45817,"tags":45818,"thumbUrl":45819,"material":692,"size":1293,"collection":84,"collections":45820,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},228492,"gu-xian-shi-yi-tu-juan-du-jin-228492","古贤诗意图卷","全卷共分九段，分别为：右军笼鹅、桃源图、把酒问月、听颖师弹琴、茶歌、饮中八仙、东山宴饮、咏水仙、舟中夜雪。\n金琮书法偏向于厚重一路，倾向沉稳的风格，因其书法很似赵书，故很多金琮的字，即使不是有意作伪，也被后人挖去原款，添上“赵孟頫”三字，以欺世人。\n杜堇所画之人物采用白描法，笔法细劲透逸，形象生动有神。树石、藤草、桌椅、车、马、小舟等点景穿插有致。墨色淡雅，但淡而不薄，雅而不空。构图简洁，意境清幽，皆得诗意要旨。",[23,24,7,25,188,128,28,64,133,96,29,34,171,231,208,9025,1421,2824,8629],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4687c58a07d69739de4b9a24d53eb4e.jpg",[],{"id":45822,"slug":45823,"title":45824,"dynasty":124,"author":802,"museum":300,"description":45825,"tags":45826,"thumbUrl":45829,"material":84,"size":84,"collection":84,"collections":45830,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},228298,"lao-lian-hua-tang-tu-chen-hong-shou-228298","老莲画堂图","淡墨白描晕开古雅夜色，灯影斜斜悬于堂侧，晕开一室松弛的雅集意趣。高古游丝般的线条勾勒出人物百态：长者凭坐把盏，悠然漫饮；士人垂眸静穆，似沉湎清谈余韵；侍女低眉侍立，温婉静雅，僮仆俯身备食，意态自然。沉暗的古绢底色衬出简淡笔意，留白里漫着晚夜风致，未施浓丽敷色，仅以寥寥墨痕，便将文人士子宴坐清谈的闲雅况味尽数铺展，笔简意长，藏着旧时光的温软松弛。",[23,24,7,165,28,27,96,1233,251,45827,45828],"灯","香炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c07609c13b78b81a117b87dd9ce988a.jpg",[],{"id":45832,"slug":45833,"title":16404,"dynasty":124,"author":802,"museum":300,"description":45834,"tags":45835,"thumbUrl":45836,"material":84,"size":84,"collection":84,"collections":45837,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},228293,"tong-zi-li-fo-tu-chen-hong-shou-228293","《陈洪绶童子礼佛图轴》是明代画家陈洪绶创作的一幅设色画。\n本幅款署：“老莲洪绶画于获兰草堂。\n”钤“陈洪绶印”白文、“ ”朱文印。\n《童子礼佛图》描绘四名儿童搭佛塔礼佛的情景。\n图中一太湖石竖立，石前放一尊雕琢精致的佛造像和供佛用的铜塔。\n佛前，二儿童拜佛，一儿童献花，另一儿童跪着擦拭铜塔，各个神态专注，他们收敛 起顽皮，显露出庄重，其中一名儿童磕头时露出胖臀，不免令人忍俊不禁。\n此图太湖石用较粗的笔法勾画，玲珑剔透，轮廓线多呈弧状，尖利而挺拔。\n佛像及人物全用细劲的线条画出，层次细腻，风格典雅，设色明丽温和，技法纯熟，人物神形兼备，富有情趣。\n此图反映了陈洪绶在表现儿童方面的精湛技艺和深厚功力，也充分体现了佛教信仰在百姓的日常生活中对儿童的熏陶与影响。\n陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。\n明代画家。\n早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。\n明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。\n后在杭州以卖画为生。\n工诗，擅画，山水、人物、花鸟无一不精。\n其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新，所作人物、花鸟形象古拙，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。\n与崔子忠齐名于南北，世称“南陈北崔”。\n其画风对后世有巨大影响。\n著《宝纶堂集》。",[23,24,7,165,187,28,27,96,171,43278,604,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6af7033f8cadf5f5c26728c6a40368bb.jpg",[],{"id":45839,"slug":45840,"title":5542,"dynasty":144,"author":223,"museum":300,"description":45841,"tags":45842,"thumbUrl":45843,"material":84,"size":84,"collection":84,"collections":45844,"showCount":405,"zanCount":1116,"manualWeight":48,"mainColor":49},228205,"gong-nv-tu-yi-ming-228205","此作以界画工法描摹层叠宫苑，青绿晕染的山水烘托出楼宇朱栏的明丽雅致。数百宫女素衣翩跹，错落游走在亭台廊榭间：凭栏者凝眸远山，执役者缓步穿廊，低语嬉游者顾盼生姿，将深宫日常的幽闲意绪细腻铺陈。古雅沉润的色调晕开，把皇家苑囿的恢宏与深院女子的柔婉相融，工细的线条勾勒出楼阁规制的严整，也晕染出宫女情态的灵动，让森严深宫晕开缕缕烟火暖意，尽显传统工笔与界画结合的精妙意韵。",[23,24,7,165,27,28,95,96,97,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e3d48c6d9c6ff91ec23b7c25f039eeb.jpg",[],{"id":45846,"slug":45847,"title":45848,"dynasty":144,"author":8127,"museum":244,"description":45849,"tags":45850,"thumbUrl":45851,"material":317,"size":45852,"collection":84,"collections":45853,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},228160,"song-ting-hui-you-tu-zhou-wang-yuan-228160","松亭会友图轴","图绘松峙岸边，亭安水上，其中一主一客，另五舟泛于江面。用笔老辣而含蓄，笔笔札实，无一犹豫之处，似可直接宋人。在画面主要位置上画有两棵松树，作者表现了它们间紧密相倚之形姿，并拉长了它们的比例，显得挺拔高巍，苍劲古雅，可看出这是作者借松而喻画中双友之意图。背景以江水相衬，近处轻舟荡桨，远方风帆数起，江水不尽，空旷无边。既成功地衬托了双松，亦为画面上文人之心境作了渲染。画面不直接表现文友交杯等场面，而是刻画了宴请文友前的忙碌情景，这是作者取意之高妙处。",[23,164,24,7,165,128,132,372,130,96,98,99,129,29,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb1fc5cbb064b917c31407c47375fc3a.jpg","纵86.9厘米，横49.3厘米",[],{"id":45855,"slug":45856,"title":45857,"dynasty":144,"author":15528,"museum":300,"description":45858,"tags":45859,"thumbUrl":45860,"material":84,"size":84,"collection":84,"collections":45861,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},228069,"teng-wang-ge-tu-ye-xia-yong-228069","滕王阁图页","《滕王阁图》是 夏永创作的绢本墨笔画，现藏于美国波士顿美术馆。\n该图描绘中国名胜滕王阁的形势景色，画上并以细微楷写唐代王勃《滕王阁序》，用笔极为精细而不失矩度，堪称界画绝品。\n滕王阁位于江西 城外，唐高祖为其子 洪州刺史所建，元婴后封滕王故得名。\n此图用俯瞰法，视点高，同时显示多景的场面，已从纯粹描绘建筑物变成与自然环境结合的风景画面。\n高台之下，江坡浩渺，鱼舟往来，高低错落的楼阁亭台,殿内文士雅集，颇有园林趣味。\n如此规模的绘画景点，作者竟然在楼阁台基旁还描绘了陈设的精美古盆和盆景，一只高足束腰敞口渣斗式古盆，栽培着一棵 ，陈设在高阁空荡平台的中间。\n由此也可证实，当时社会时尚和作者艺术生活与美学观念的倾向。\n此图采用册页形式，取景重心偏置于画幅边角，以墨笔白描法表现著名楼阁。\n夏永擅画界画，喜绘滕王阁、岳阳楼、黄鹤楼，颇合营造规模，能迎合士夫趣味，画风对后世影响很大。\n此图用细若发丝线描为之，刻画细腻，气势宏伟，把巍峨楼阁融于浩渺旷远之自然景观中。\n夏永（公元14世纪中）， 画家，字明远，钱塘（今浙江杭州）人，生卒年不详。\n擅长宫殿楼阁界画，师法王振鹏。\n所作《滕王阁图》、《 图》、《岳阳楼图》用细若发丝线描为之，刻画细腻，气势宏伟，把巍峨楼阁融于浩渺旷远之自然景观中。\n《花间笑语》云：“细若蚊睫，侔于鬼工。\n”画上并以细微楷，写王勃《滕王阁序》或范仲淹《岳阳楼记》，用笔极为精细而不失矩度，堪称界画绝品。\n传世作品有至正七年（147）作《岳阳楼图》册页，绢本，墨笔，纵25厘米，横26厘米，图右上书范仲淹《岳阳楼记》全文，款署“至正七年四月二十日，钱塘夏永明远画并题”；《丰乐楼图》册页，绢本，墨笔，纵25.8厘米，横25.8厘米，图中有夏永微楷书“十里挲平丰乐楼”长题，未署款，钤有“夏明远印”一方，现均藏故宫博物院；《岳阳楼图》页和《黄鹤楼图》页，尺寸相同，绢本，设色，纵27.厘米，横27.6厘米，藏 ；《滕王阁图》册页藏上海博物馆；《楼阁山水图》册页，绢本，设色，纵21.5厘米，横26.1厘米，藏美国高居翰教授景元斋。",[23,24,7,95,188,97,129,29,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e076c91b09ebf8640c247633824730.jpg",[],{"id":45863,"slug":45864,"title":45865,"dynasty":18,"author":9837,"museum":300,"description":45866,"tags":45867,"thumbUrl":45868,"material":84,"size":84,"collection":84,"collections":45869,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},227986,"yin-yan-fei-pu-tu-jiang-can-227986","阴岩飞瀑图","危崖斜出，古木盘虬扎根崖壁，数道飞瀑破壁而出，訇然落向下方深潭。山石以粗劲短皴勾勒轮廓，苍莽厚重，尽显崖石坚硬荒寒；飞瀑以留白衬墨色，线条劲挺利落，将水流奔涌之势藏在简淡笔墨里。\n\n整幅画作以水墨浓淡铺展山野幽寂，无多余点染，却将空谷间瀑流轰鸣、林壑沉静的氛围感拉满，带着独有的萧散冷逸，于尺幅间尽显磅礴大气，暗合寄情林泉、澄怀观道的文人意趣。",[23,164,24,7,165,128,132,29,495,18332,34,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff35d866f71b6edd059218c0e1ba2858e.jpg",[],{"id":45871,"slug":45872,"title":22208,"dynasty":18,"author":633,"museum":300,"description":45873,"tags":45874,"thumbUrl":45875,"material":84,"size":84,"collection":84,"collections":45876,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},227982,"xi-yuan-tu-xia-gui-227982","画面以边角取景，右侧老槎盘曲，苔痕苍古，藤蔓附枝斜曳，左侧苍猿长臂勾挂柔条，探身悠荡，圆目灵动，肢体舒展如在乘风嬉游。\n\n以水墨晕染出空茫寒寂的汀渚水岸，淡墨扫出远天荒阔，枯笔勾勒长草随风偃仰，将猿猴的跳脱野趣，融于萧疏冷逸的江天氛围中。简劲洗练的笔墨衬出灵猿鲜活生机，虚实相映间，把山野幽趣藏在淡远空寂里，于尺幅间写尽林皋间自在天真的意趣。",[23,18,24,7,164,128,27,949,9633,413,624,1771,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f519ea9d84cee61338c616ca4061ccf.jpg",[],{"id":45878,"slug":45879,"title":45880,"dynasty":18,"author":223,"museum":300,"description":45881,"tags":45882,"thumbUrl":45883,"material":84,"size":84,"collection":84,"collections":45884,"showCount":405,"zanCount":1998,"manualWeight":48,"mainColor":49},227927,"dou-jia-qing-ting-tu-yi-ming-227927","豆荚蜻蜓图","《豆荚蜻蜓图》是宋代佚名画家创作的一幅 设色画，现藏于 。\n此图画面为长圆扇形，绘豆花上栖息一只黄褐色蜻蜒，枝叶微向下垂。\n整幅作品结构自然，疏密得体，色彩丰富，工写结合。\n其中蜻蜒的描绘神妙入微。\n画家不仅再现了蜻蜒的形态，甚至连透明的翅膀及纹络都表现了出来。\n而豆花则以简笔写出，野趣天然。\n此图旧传为徐熙所作。\n图中画的是田野苗圃间菜豆花与蜻蜓之类昆虫常见的景物。\n画面为长圆扇形，画家以独具的慧眼撷之入画，采取了特写镜头，只取其豆花的枝头，豆茎自左下向右上斜出，枝叶微下垂，枝上有浅紫色的豆花、绿色的豆叶和沉甸甸地挂下来的长长豆荚。\n枝梢上歇息着一只大蜻蜓，正在吮吸豆荚嫩叶的鲜汁。\n蜻蜓呈黄褐色，张开双翼，长长的身子下垂，尾部稍有弯曲。\n图中豆荚一枝，果实乍结。\n一只黄褐色的蜻蜓轻轻停落在枝端，将豆荚压得微微颤动。\n画面构图简洁自然，疏密得体。\n画家用中锋细笔勾勒豆荚枝叶的轮廓，用花青、石绿轻染，以白粉点花瓣，线条沉稳，色彩丰富，形象写实逼真。\n图中尤以蜻蜓描绘得出神入化，其翅膀透明的质感以及清晰的纹络都表现得清清楚楚，活灵活现，反映了宋画在写实方面所达到的高度水平。\n图右下方押“徐熙”二字伪款，不见于著录。\n本幅鉴藏印有：“徐熙”朱文杯形，另一印不辨。\n注：中国古代书画鉴定组定为宋人画。\n旧题为徐熙所作，押‘馀熙”印。\n押印是否可靠，现今难以证实。\n但此图的画法与画史对徐熙画风的记载颇相吻合，可能是北宋时徐熙画派的画家所作。\n整幅作品结构自然，疏密得体，色彩丰富，工写结合。\n其中蜻蜓的描绘神妙入微。\n画家不仅再现了蜻蜓的形态，甚至连透明的翅膀及纹络都表现了出来。\n而豆花则以简笔写出，野趣天然。\n整幅作品结构自然，疏密得体，中锋运笔，线条沉稳，色彩丰富，写实逼真，作者善于刻画和铺排是这幅作品在技巧上的特色。\n菜豆的枝干、花叶、荚部是用粗简的线条勾出，然后略施粉彩，尤其对蜻蜓的描绘神妙人微。\n蜻蜓身子晕染工细，头部网网眼和翅翼细细刻画轻轻染色，十分清晰透剔，甚至连透明的翅膀及纹络状的小组织．都细微地表现了出来。\n蜻蜓身上的色斑与浅紫色的豆花，一深一浅，使主题显明突出，这充分反映了宋画在写实方面所达到的高度水平。\n从绘画题材及笔墨技巧上看，具有徐熙画的特征。\n《圣朝名画评》说，徐熙画花卉“多做园圃以求情状，虽蔬菜茎苗，以人图写。\n”但本图无款识，至少可以这样说，虽非出于徐熙之手笔，但可以代表北宋徐熙一派的画风，亦可以说此幅是徐派留下来的凤毛麟角般的珍品。\n此图右下方押“徐熙”二字伪印。\n此图无款，有“徐熙”朱印。\n旧题为徐熙作。\n徐熙“善画花竹林木、蝉蝶草虫之类，多游园圃以求情状，虽蔬菜茎苗亦人图。\n写意出古人之外，自造于妙。\n尤能设色，绝有生意”。\n从这幅作品亦可领略上述特点，所以虽非出于徐熙之手，也可代表北宋徐熙一派的画风。\n此图写豆茎一枝自右下向左上斜出，而梢头着一大蜻蜓。\n这农家随处可见的景物，画家以独具的慧眼撷之入画，可谓别开生面。\n豆花、豆叶，点缀生动，长豆三两根，垂垂可喜。\n茎、叶、豆荚，均以墨勾，疏疏几笔，中设豆绿色，叶中锈斑、虫蚀均为描出，紫白色的豆花和蜻蜓，以没骨法晕染，蜻蜒尤备极工细，神韵奕奕。\n对花写照的写生功力，令人惊叹。\n色调素雅，变化层次微妙，工写兼施，相映成趣。\n构图善从一角生发，全幅荡漾着空灵的诗意，尤觉流走圆美。\n不是面面俱到，或泛泛大略，而是择取一枝一梢作精心的观赏，一枝一叶总动情，这种审美性格为宋人所独具，风气所开，遥领千古。\n此图笔墨间随处散发着一种田园佳趣，尤为感人至深，而熠耀其中的是诗意的空间。\n宋画一如宋诗，其异于唐人之处：一为田园气息，二为哲理之思(以景喻理)。",[23,164,24,7,1131,28,27,61,13257,608,1326,806,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48eea5d1a6887f57421ffd7e0488a89c.jpg",[],{"id":45886,"slug":45887,"title":45888,"dynasty":18,"author":223,"museum":300,"description":45889,"tags":45890,"thumbUrl":45891,"material":84,"size":84,"collection":84,"collections":45892,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},227859,"mo-zhou-fang-xi-ying-quan-juan-yi-ming-227859","摹周昉戏婴全卷","此作画风承续唐人遗韵，绢本设色雅致柔丽。画面之中，闺中仕女温婉安坐，垂眉含笑逗弄稚童，孩童们或蹒跚学步或偎依撒娇，娇憨天真尽显；家犬蹭玩一旁，满卷皆是融融天伦暖意。\n线条细劲柔丽，将仕女纱衣的通透莹润、幼童肌肤的软嫩质感晕染恰到好处，复刻出周昉一派柔婉绮丽的仕女画格调。整卷将深宅里寻常嬉游的日常，绘就为传世温情，尽显雅致世俗意趣，是宋摹唐画里颇具情致的佳作。",[23,24,7,25,330,28,27,96,166,8832,1367,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe007d3c6b842efb4988a0404266ac130.jpg",[],{"id":45894,"slug":45895,"title":23413,"dynasty":18,"author":27476,"museum":300,"description":45896,"tags":45897,"thumbUrl":45898,"material":84,"size":84,"collection":84,"collections":45899,"showCount":405,"zanCount":1998,"manualWeight":48,"mainColor":49},227810,"ji-tu-mao-yi-227810","此作截取庭院一角，顽石旁蜀葵抽枝绽蕊，粉花柔媚映着苍润绿叶，野意悠然。下方双鸡情态生动，雄鸡红冠劲翎，身姿轩昂，母鸡羽色温软，俯首似在啄拾草籽，地面散落的细碎石籽与轻软羽屑，将郊居闲趣揉入画面。\n\n设色秀雅清润，禽鸟羽毛晕染细腻，蓬松柔润的质感呼之欲出，花木皴染兼具工致与写意韵致，于细微处见功力。尺幅之间藏尽田家闲逸，以日常小景铺陈出安宁雅致的意趣，笔简意足，淡而有味。",[164,24,7,61,1131,28,27,2510,373,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41fd354ac99bbf536f773dfd0824080.jpg",[],{"id":45901,"slug":45902,"title":45903,"dynasty":18,"author":1449,"museum":300,"description":45904,"tags":45905,"thumbUrl":45906,"material":84,"size":84,"collection":84,"collections":45907,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},227635,"chun-jiao-hui-yan-tu-ye-ma-lin-227635","春郊回雁图页","马麟（？－？），中国南宋画家，原籍河中（今山西省永济），南渡后三代居钱塘，遂为钱塘（今浙江省杭州市）人。\n\n马麟之父马远是宋光宗、宋宁宗两朝（1190-1224）画院待诏，马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。宁宗嘉泰（1201-1204）间授画院祗候，颇得宋宁宗赵扩、皇后杨氏称赏，每于父子画上题句。在《层叠冰绡图》中题诗云：“浑如冷蝶宿花房，拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。”《画史会要》谓：“麟不逮父。远爱其子，多于己画上题麟，盖欲其章也。”",[23,24,164,7,4437,27,29,211,690,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6f17cd983e2e0d63867687a89a84056.jpg",[],{"id":45909,"slug":45910,"title":45911,"dynasty":18,"author":491,"museum":300,"description":45912,"tags":45913,"thumbUrl":45914,"material":84,"size":84,"collection":84,"collections":45915,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},227544,"xue-ji-xiao-xing-tu-ye-guo-xi-227544","雪霁晓行图页","雪景，是宋代绘画的重要内容和题材之一。据不完全统计，现存宋代涉及雪景的传世画作至少有50余幅，既包括北宋时期李成的《群峰雪霁图》、巨然的《雪图》、郭忠恕的《雪霁江行图》、范宽的《雪景寒林图》《雪山萧寺图》、高克明的《溪山雪意图》、燕文贵的《江干积雪图》《雪山图》、许道宁的《关山密雪图》、郭熙的《关山春雪图》《雪景山水轴》、梁师闵的《芦汀密雪图》、王诜的《渔村小雪图》、翟院深的《雪山归猎图》、赵佶的《雪江归棹图》，也包括南宋时期李迪的《雪中归牧图》《雪树寒禽图》、刘松年的《雪山行旅图》《雪溪举网图》和《四景山水图·冬景》、马远的《晓雪山行图》《雪景图卷》和《雪滩双鹭图》、马麟的《暮雪寒禽图》和《雪梅图》、夏圭的《雪堂客话图》、扬无咎的《雪梅图》、朱锐的《雪笠图》、梁楷的《雪景山水页》《雪栈行骑图》、李东的《雪江卖鱼图》、林椿的《山茶霁雪图》等",[23,24,7,59,132,27,29,101,96,690,1337,131,1556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a5300b265ca4b47a737545184c866f.jpg",[],{"id":45917,"slug":45918,"title":45919,"dynasty":18,"author":45920,"museum":300,"description":45921,"tags":45922,"thumbUrl":45924,"material":692,"size":1293,"collection":84,"collections":45925,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},227328,"zi-zhi-tong-jian-can-gao-si-ma-guang-227328","资治通鉴残稿","司马光","是司马光手迹原本",[23,7,64,25,133,208,5459,9910,45923],"稿本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd7b7aadcc6600349ef79463d337d6b2.jpg",[],{"id":45927,"slug":45928,"title":45929,"dynasty":54,"author":5367,"museum":300,"description":35923,"tags":45930,"thumbUrl":45931,"material":84,"size":84,"collection":84,"collections":45932,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},226634,"si-shi-shan-shui-07-pu-ru-226634","四时山水07",[23,24,7,128,27,132,29,130,1144,131,35,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb559be15cbf0d7b675d5eeea0f7e508f.jpg",[],{"id":45934,"slug":45935,"title":45936,"dynasty":54,"author":9742,"museum":244,"description":45937,"tags":45938,"thumbUrl":45939,"material":173,"size":45940,"collection":84,"collections":45941,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},224494,"mei-hua-shan-guan-zhou-wu-li-224494","梅花山馆轴","青绿山峦雄踞左幅，古松虬曲苍劲，枝桠舒展撑出一片清寂天地。山涧春水初涨，暖雾轻笼远峰，将黛色晕作朦胧烟影，柔化了山棱的冷硬。\n右侧水榭山馆凌波而起，几株梅树临水横斜，素花缀枝，暗香仿佛随春水悠悠漫开。白衣策杖的隐者驻足松下，凝睇烟景，将尘俗心绪尽皆抛却。\n整作设色古雅沉静，构图疏密相济，把早春山乡的清润生机，和幽居雅逸的林下襟怀相融，笔底漫溢着悠然淡远的隐逸诗意，藏着文人寄情林泉的悠悠雅兴。",[24,7,165,27,132,29,371,97,98,331,131,130,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1b205a90514253e5b2536e69943f40e.jpg","104.3x52.1",[],{"id":45943,"slug":45944,"title":45945,"dynasty":54,"author":9529,"museum":300,"description":45946,"tags":45947,"thumbUrl":45948,"material":84,"size":84,"collection":84,"collections":45949,"showCount":405,"zanCount":1998,"manualWeight":48,"mainColor":49},224447,"fang-huang-he-shan-ren-shan-shui-wang-hui-224447","仿黄鹤山人山水","此作用全景铺展秋山胜境，取法黄鹤山人苍浑繁密之致。峰崖高拔，以解索皴写山石肌理，苔点错落，尽显岩壑古拙苍劲。山间云气轻笼，虚实相生，拉开层叠景深。\n下半幅转绘幽居水乡，屋舍错落滨水，渔人泛棹、庭内闲寂，将林泉隐逸的悠然意趣融于山水间。\n笔墨干湿互济，浓淡相宜，既恪守元人笔墨的苍茫厚重，又暗合江南山水温润灵秀之态，师古而不泥古，尽显秋山静穆雅致的林泉高致。",[23,24,7,1349,165,132,128,27,29,1144,131,495,35,1023,34,3440,499,11998],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8123656d7dfc46d899cd09ac6309fce.jpg",[],{"id":45951,"slug":45952,"title":45953,"dynasty":54,"author":6936,"museum":300,"description":45954,"tags":45955,"thumbUrl":45956,"material":84,"size":84,"collection":84,"collections":45957,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},224387,"fang-huang-zi-jiu-she-se-shan-shui-wang-yuan-qi-224387","仿黄子久设色山水","《王原祁仿黄子久设色山水轴》，清代山水画，现藏于辽宁省博物馆。\n绢本，设色。\n画心纵122.71，横52.8厘米。\n山峦俊秀，双峰突起，白云迷漫的远山，似起伏的海浪。\n山上山下屋宇排列整齐有绪，泉水沿岩石款款而下，汇成山角下半湖碧水。\n水天相处缀以小汀洲渚，板桥旁又有水榭数楹。\n山石繁密，草木葱茏，山下的几株大树掩映溪水，构成了山山相连的效果。\n高崖峻壑，采用纵线的披麻皴，平林打上横卧点子叶，这种纵横交错的用笔，形成一种强烈的节奏感；重施石青、石绿，色艳明快，山峦显得像碧玉一样温润，给人以清新洁爽之感。\n右上角自识：“康熙癸末(17)春日仿黄子久似恺翁老先生麓台，娄东王原祁。\n”旁钤“王原祁印”、“麓台”二印。",[23,24,7,165,27,29,496,34,35,98,99,37,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4a9513c5762e39dce7925cea01d4a8.jpg",[],{"id":45959,"slug":45960,"title":45961,"dynasty":54,"author":22607,"museum":300,"description":45962,"tags":45963,"thumbUrl":45964,"material":84,"size":84,"collection":136,"collections":45965,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},224341,"ming-quan-tu-mei-qing-224341","鸣泉图","此作用高远取景，层叠飞瀑自云山深处奔涌而下，跌水层层相续，水雾漫过山峦，将空山的幽寂尽数铺展。崖巅红衣旅人持杖伫立，凝听泉音，以人物的静，衬出飞瀑轰鸣，一动一静间，山野清绝之趣尽显。\n\n笔墨糅合纵逸与温润，山石以皴擦晕染写出苍莽质感，虬松古木点染灵动苔痕，浅赭淡晕晕开幽渺空蒙的氛围。题诗与山水相映，诗画交融，将观泉听涛的林泉雅志藏入尺幅，尽显出世幽怀与山水禅意。",[23,24,7,165,27,29,99,663,413,96,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1af8d90ec82816cfa1ccb2770015b814.jpg",[136],{"id":45967,"slug":45968,"title":45969,"dynasty":54,"author":5879,"museum":300,"description":45970,"tags":45971,"thumbUrl":45972,"material":84,"size":84,"collection":84,"collections":45973,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},224187,"hua-niao-cao-chong-tu-ba-06-hua-yan-224187","花鸟草虫图八-06","此作用笔兼工带写，墨色层次清润雅致。垂落柳丝以淡墨勾勒轮廓，浓墨点染叶瓣，随风舒展尽显柔媚之态。枝头禽鸟身形灵动，侧目下望将观者视线引向水面。波中水禽以焦墨晕染羽翼，蓬松苍劲，正振翅拨弄清波，野趣盎然。左侧题字与画面相映成趣，将文人雅意融入水乡小景，寥寥数笔便将禽鸟的灵动生姿与塘边清趣尽数铺陈，把春日塘间的幽微生机勾勒得淋漓尽致。",[23,24,7,128,27,61,211,895,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e4ed4c433fe50dc6a11c97d92f4b862.jpg",[],{"id":45975,"slug":45976,"title":45977,"dynasty":18,"author":223,"museum":300,"description":45978,"tags":45979,"thumbUrl":45981,"material":692,"size":1293,"collection":84,"collections":45982,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},223553,"shen-shan-hui-qi-tu-yi-ming-223553","深山会棋图","该画青绿设色，主要表现一士人策杖而行，身后跟随二童仆，一仆携琴，另一仆则肩扛巨大的葫芦，暗示道教的“壶中天”；主仆三人正走向山洞洞门，门后高山耸立，山后却别有天地，象征道教中的“洞天”；“洞天”内则琼楼玉宇，二仙人正在弈棋。\n此类画作，无款无印，是专于墓葬的使用而创作，喻示死者能够仙化，从而进入人所仰慕的神仙世界。此画是中国古代“洞天”和“仙弈”等思想观念的体现。",[23,24,7,29,128,132,27,131,1144,97,96,99,45980],"深山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30288ef13f2034087c552c24805539d6.jpg",[],{"id":45984,"slug":45985,"title":45986,"dynasty":18,"author":223,"museum":20,"description":45987,"tags":45988,"thumbUrl":45989,"material":611,"size":45990,"collection":136,"collections":45991,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},223479,"mo-lu-hong-cao-tang-shi-zhi-tu-juan-quan-juan-yi-ming-223479","摹卢鸿草堂十志图卷全卷","《草堂十志》相传是卢鸿所撰的十段文字，描写他隐居处所附近的十个景点，画者即是根据他的文字绘制成图卷，故称《卢鸿草堂十志图》。后来的人因为误将卢鸿当作是画卷的作者，所以出现真伪的争议。实则，原画者并没有署名。传世三种《草堂十志图》卷，虽然都不是卢鸿的画作，却可以看到它们之间有很多相似之处，证明它们同出一源。其中品质及艺术水准以台北故宫博物院本《草堂十志图》卷为最高，至于对后世书画家的影响也最大。\n全卷水墨画十景，每景自成一段，每段前有褚、颜、柳等书写之 〈草堂十志〉 词，与十景相间。所绘皆为自然园林景致，其配置乃注重与周围自然环境相结合，树石造型古拙，用笔方硬，水墨渲染颇工。此作无名款，旧传为卢鸿之作。学界对此幅的断代，虽无定论，然时代应非为唐。虽非唐代画作，然有研究者订为五代十世纪，可能是与唐代卢鸿原本最为接近之摹本，为早期文人隐居山水的重要祖型，对中国历代隐居山水的图像表现，影响深远。",[23,24,7,25,330,128,132,29,413,495,497,130,99,96,171,98,1337,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea4dd01e44e803413f2814c10d58aa2.jpg","纵25.6cm，横711.6cm",[136,117],{"id":45993,"slug":45994,"title":45995,"dynasty":18,"author":223,"museum":20,"description":45996,"tags":45997,"thumbUrl":45998,"material":40,"size":45999,"collection":84,"collections":46000,"showCount":405,"zanCount":1998,"manualWeight":48,"mainColor":49},223474,"zhe-zhi-guo-tu-ye-yi-ming-223474","折枝果图页","在技法上，树干用细笔勾勒，充满赭光，厚重古朴； 轮廓用粗细的彩虹勾勒出来，再染上青色和墨绿色，色彩鲜艳。",[23,24,7,59,27,28,290,2037,624,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb395bb89c0cb2fa1af556b191181cff9.jpg","52.8x46.5cm",[],{"id":46002,"slug":46003,"title":46004,"dynasty":18,"author":223,"museum":244,"description":46005,"tags":46006,"thumbUrl":46007,"material":514,"size":46008,"collection":84,"collections":46009,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},223427,"song-ren-pi-pa-yuan-xi-tu-zhou-yi-ming-223427","宋人枇杷猿戏图轴","从画面上来看，枇杷树的枝干上下各一段，并未相接，观赏时却有著相连的感觉，这种画外之意，正是作者别出心裁的安排。而其沈着的用色、劲健的用笔则将树干的扭曲斑剥、树叶的转折、石头的坚硬和猿身黝黑的绒毛表现得栩栩如生，像可以触摸一般。然只生动地画出物象的形貌仍不够，必须掌握其情态，方算传神，因此画中黑猿，挂在枝干上的一只，手尾紧握，好似在荡秋千一般，另一只则悠闲地坐在树干上，和牠相互凝望，情意相系。\n老树擎空，突出画幅，其枝垂挂，复返画中。画幅中的枝干，笔不连而意连，足见画家布局之匠心。一猿攀枝摇荡，如戏秋千。一猿则踞干悠闲旁观，真能得猿猴动息之情。画技精湛，特善用墨，曲尽黑猿毛色之状，树石描绘精采、用色雅正，尤有过人处，是宋无款作品中之巨幅精品。易元吉的猴猫图突显毫芒毕现的用笔功夫，本画则用墨功夫一流。",[23,164,24,7,165,28,27,949,9633,918],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ef7c2e9e1f091b0edc125c19b59367.jpg","165x107.9厘米",[],{"id":46011,"slug":46012,"title":46013,"dynasty":18,"author":223,"museum":244,"description":46014,"tags":46015,"thumbUrl":46017,"material":317,"size":46018,"collection":84,"collections":46019,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},223424,"song-ren-ping-chou-hu-du-zhou-yi-ming-223424","宋人平畴呼犊轴","树叶和芦矛经霜成了赭黄色，秋意已深。在平原上游散着一大一小两头牛，小牛被遗落在后，急了便高耸着鼻子呼唤。母牛停下了脚步，回过头来等候着，足见母子情深。画家描绘小牛的鸣叫，张着唇吻，屈着前足，背高高的耸起，尾却朝上轻摇。对牛在鸣叫时骨骼筋络的反应，研究观察得非常精细，使人看了，仿佛也可以听到小牛的呼叫声。诚为一南宋无款佳作",[23,24,7,165,27,28,102,949,1337,11830,3698,497,666,8709,45136,46016,582,3600,7446,33724,10803],"犊牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf1f0accd9c0ce6a2dcc5675ccf7d880.jpg","97x52.4",[],{"id":46021,"slug":46022,"title":9598,"dynasty":18,"author":223,"museum":465,"description":46023,"tags":46024,"thumbUrl":46025,"material":40,"size":46026,"collection":84,"collections":46027,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},223377,"bei-qi-xiao-shu-tu-yi-ming-223377","《北齐校书图》所绘内容为天宝七年（556年）文宣帝高洋命樊逊等人校勘内府所藏图书的事件。旧传此卷为唐阎立本所作，现多将其归于北齐画家杨子华名下。\n图中三组人物。第一段共七人，其中胡服文士持书卷踞胡床（三国时传入中国的坐具，形制近似于今天使用的马扎），为此段中心；第二段共十人，四文士坐于榻上，婢女、小童伺立榻周，文士中二人校勘书卷，另二人似乎正因意见相左而有所争执；第三段为侍从和牵马的奚奴。\n画中的家具器用、人物服饰皆胡汉杂糅，符合北齐的实际情况。人物面庞呈椭圆形是此卷的鲜明特点，联系到近年来的考古发现，似乎与北齐时期的墓室壁画中人物有同样的特征，因此《北齐校书图》也屡屡为学界引用以论证北齐画风。尽管北齐是一个极短命的王朝，但是越来越多的考古发现证明，在这一时期，艺术呈现出极鲜明的面貌，并很可能影响到唐代的审美趣味。",[23,164,24,7,25,28,27,96,101,170,208,64,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5da306b34154b0d7c31d14521fdcc73.jpg","27.6*114CM",[],{"id":46029,"slug":46030,"title":19636,"dynasty":18,"author":223,"museum":20,"description":46031,"tags":46032,"thumbUrl":46033,"material":514,"size":46034,"collection":84,"collections":46035,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},223332,"san-yang-tu-yi-ming-223332","彩绘柳树伞下的气球在坡草间游荡觅食。 蓬松的，富有一定的。 用笔擦干树干，笔变粗。",[23,24,164,7,1326,28,27,949,6300,413,1314,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b7a68d3cb18be30324ec6098db75923.jpg","21.2x20厘米",[],{"id":46037,"slug":46038,"title":46039,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":46040,"thumbUrl":46044,"material":151,"size":7879,"collection":84,"collections":46045,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},223031,"hong-lou-meng-156-sun-wen-223031","红楼梦156",[23,164,24,7,25,28,27,95,96,97,14446,1422,249,62,46041,46042,7345,46043],"古典服饰","传统建筑","聚会场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa653142b82fe372c69258835ddd281d8.jpg",[],{"id":46047,"slug":46048,"title":46049,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":46050,"thumbUrl":46055,"material":151,"size":7879,"collection":84,"collections":46056,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":199},222968,"hong-lou-meng-93-sun-wen-222968","红楼梦93",[23,24,7,28,27,96,8565,251,10886,250,7876,7344,46051,3490,46052,46053,46054],"字画","古典陈设","中式建筑构件","室内装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93df387d900686b98bb06eaee91c247b.jpg",[],{"id":46058,"slug":46059,"title":46060,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":46061,"thumbUrl":46062,"material":151,"size":7879,"collection":84,"collections":46063,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},222933,"hong-lou-meng-58-sun-wen-222933","红楼梦58",[23,24,7,28,27,96,250,8091,169,9603,8162,6369,9604,170,234,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a7fb05d8c632be2dfa4c21f8193d437.jpg",[],{"id":46065,"slug":46066,"title":10204,"dynasty":54,"author":32119,"museum":244,"description":32120,"tags":46067,"thumbUrl":46068,"material":84,"size":46069,"collection":136,"collections":46070,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},222850,"hua-shan-shui-zhou-ai-xin-jue-luo-yong-rong-222850",[23,24,7,165,128,27,132,29,99,34,130,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8920c3dc2166da7d6d9ab54681a80f5.jpg","12.2x13.9 公分",[136,45],{"id":46072,"slug":46073,"title":46074,"dynasty":54,"author":3820,"museum":300,"description":5844,"tags":46075,"thumbUrl":46076,"material":1722,"size":5847,"collection":136,"collections":46077,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},222621,"shan-shui-tu-juan-2-gong-xian-222621","山水图卷-2",[23,164,24,7,25,23324,132,128,29,34,131,37,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d02b1120bb03db2426b4f600768a89d.jpg",[136,117,318],{"id":46079,"slug":46080,"title":46081,"dynasty":144,"author":569,"museum":224,"description":46082,"tags":46083,"thumbUrl":46084,"material":40,"size":46085,"collection":84,"collections":46086,"showCount":405,"zanCount":1998,"manualWeight":48,"mainColor":72},222607,"xi-cheng-gui-le-tu-tu-juan-zhao-meng-fu-222607","西成归乐图图卷","这幅画以人和家畜为材料，描绘了人们的欢乐。 图中的家畜包括牛、驴和狗。 人物包括老、中、轻、女人和婴儿。 他们手里拿着东西，脸上挂着微笑。 作者用丰富自然的表情精心绘制了每一张笑脸，表达了人们幸福的心情！",[23,24,7,25,27,96,102,7067,527,28,133,64,15899,2656,1367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca3dd48200465c183774dfee6b68d610.jpg","22.9×89.5",[],{"id":46088,"slug":46089,"title":46090,"dynasty":124,"author":7003,"museum":46091,"description":46092,"tags":46093,"thumbUrl":46094,"material":84,"size":46095,"collection":84,"collections":46096,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},222474,"li-bai-shi-er-shou-zhu-yun-ming-222474","李白诗二首","上海朵云轩","明代中期的书坛以吴门祝允明（1460-1526）、文徵明（1470-1559）、陈淳（1483-1544）、王宠（1494-1533）最为著名，他们生活在同时代、同地域，在书法艺术方面都成就斐然，影响深远，为书史上一奇观。这四人中，祝允明、陈淳书风以劲健放纵见长，文徵明、王宠书风偏于劲健工稳。所同者在“劲健”，用笔讲求力度，结体尚端正，即使祝、陈的狂草亦难脱此风。其中祝、文二人虽学通魏晋、唐宋，但受黄山谷影响较重，祝之草、文之行皆脱胎于山谷，无山谷之温文尔雅，但大开大合处亦可称道。陈淳出于文徵明而颠逸放纵以成自家面目，端庄逊于文而姿态过之。王宠用心魏晋，宋后习气稍少，相比于前三人，个性不足却韵致为高。",[23,24,7,64,840,25,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26105ef6460b281c4ecbfaf6305aa842.jpg","25.3X310cm",[],{"id":46098,"slug":46099,"title":31827,"dynasty":124,"author":8983,"museum":244,"description":46100,"tags":46101,"thumbUrl":46102,"material":1223,"size":46103,"collection":84,"collections":46104,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},222183,"fang-fan-kuan-shan-shui-zhao-zuo-222183","本幅收在赵左《山水册》第八开。近景画寒林、古刹，远处一峰高起，瀑悬其间。\n全画布置简洁，着墨无多，以淡柔雅逸取胜。左方题：「仿范宽。」刘道醇《宋朝名画评》（1057）称范宽（约950-1031间）画冬景好作「冒雪出云之势」，此作或系追摹此意。",[23,24,7,330,132,27,59,29,663,413,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53718b9f1aaaa21bae715bc637496395.jpg","23x21.5.",[],{"id":46106,"slug":46107,"title":46108,"dynasty":124,"author":16929,"museum":244,"description":46109,"tags":46110,"thumbUrl":46111,"material":151,"size":46112,"collection":84,"collections":46113,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},222136,"liu-hai-xiang-liu-jun-222136","刘海像","刘俊工画人物、山水、界画，用笔劲健，人物衣纹带方折，屋宇界画精细工整，构图平稳严谨，谓“入能品”。宪宗朱见深、孝宗朱祐樘两朝（1465-1505）供奉内廷，授锦衣都指挥。传世作品有《雪夜访普图》轴，绢本，设色，现藏故宫博物院；《刘海戏蟾图》轴，绢本，设色，藏河北省博物馆。另有《刘海戏蟾图》轴，绢本，设色，藏中国美术馆；《仙人像》轴，绢本，设色，现藏天津市历史博物馆。从艺活动约在成化、正德间。",[23,24,7,165,128,188,96,20131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb498bb77332db9347fb8c344e2966583.jpg","30X85厘米",[],{"id":46115,"slug":46116,"title":46117,"dynasty":124,"author":125,"museum":510,"description":46118,"tags":46119,"thumbUrl":46120,"material":734,"size":46121,"collection":84,"collections":46122,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},222120,"pen-ju-you-shang-tu-quan-juan-shen-zhou-222120","盆菊幽赏图全卷","图中平坦幽静之处立一小亭，亭四周树木蓊郁；亭两侧摆放数盆菊花，盆中菊花绽放，红白花朵，煞是好看；亭内三人对饮，一僮持壶侍立，一派秋高气爽的意境。",[23,164,24,7,25,128,27,133,64,208,132,2132,130,413,98,99,96,604,131,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae7349998c775da2fdf56e74c90c5f.jpg","23.4×86cm",[],{"id":46124,"slug":46125,"title":46126,"dynasty":124,"author":3089,"museum":244,"description":46127,"tags":46128,"thumbUrl":46129,"material":173,"size":46130,"collection":68,"collections":46131,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},221938,"fen-bu-tu-zhou-bian-wen-jin-221938","分哺图轴","边文进，字景昭，福建沙县人，生卒年待考。曾供事内殿，活跃于永乐（1403 －1424）、宣德（1426－1435）时期。博学能诗，善绘花果翎毛，延续五代黄筌（约903－965）画风并融入宋代院体传统，为后辈所师法，是明代重要宫廷花鸟画家。本幅设色画公鸡啄蝶并为雏子分食。若与边文进〈三友百禽图〉相较，本幅技法则略显生硬，或系托名之作。",[23,164,24,7,165,28,27,61,2510,19480,167,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c3c15c54cb8caa9e8e73fe6b34e431.jpg","63.7x43.9",[68,45],{"id":46133,"slug":46134,"title":46135,"dynasty":18,"author":4899,"museum":244,"description":46136,"tags":46137,"thumbUrl":46138,"material":27,"size":46139,"collection":84,"collections":46140,"showCount":405,"zanCount":1998,"manualWeight":48,"mainColor":956},221629,"xian-mang-tu-zhou-ma-he-zhi-221629","闲忙图轴","马和之：南宋画家，钱塘（今浙江省杭州市）人。擅长画人物、佛像、山水。他的人物画受吴道子、李公麟影响而又有所变化，能独创一格。中国传统人物 画衣纹十八描中的马蝗描就是他把吴道子的兰叶描变化发展而创造出来的。其画用笔起伏顿挫，线条粗细变化较明显，又飘逸流利，显得活泼 潇洒，富于韵律感。他画人物多以水墨为主，即使着色，也比较轻淡，当时人称之为“小吴生”（吴生即吴道子）。",[23,24,7,165,27,96,331,131,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7399dfe9d03dab145ab54a0cfb5655e7.jpg","124.5x67.2",[],{"id":46142,"slug":46143,"title":18251,"dynasty":18,"author":4899,"museum":510,"description":46144,"tags":46145,"thumbUrl":46146,"material":151,"size":46147,"collection":84,"collections":46148,"showCount":405,"zanCount":1998,"manualWeight":48,"mainColor":49},221624,"tang-feng-tu-juan-quan-juan-ma-he-zhi-221624","全卷笔墨精炼，线条流畅多变，设色淡雅；楷法工整劲健。传世《唐风图》共三卷，与其他相比，此卷最佳。史载宋高宗赵构曾书写《诗经》，马和之为之各画一图，但现传世真迹罕见，此卷与诸卷《毛诗图》相比亦为上乘。\n马和之，钱塘（今浙江杭州）人，绍兴中进士，官至工部侍郎，擅人物、山水，人物上追吴道子，有“小吴生”之誉。本卷卷后有乾隆行书跋，明张丑《清河书画舫》、清《石渠宝笈•续编》等书著录。曾经南宋曾覿、明韩世能、项元汴、清耿昭忠、索额图、清内府收藏。",[23,24,164,25,188,128,7,208,29,96,130,34,131,97,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4ac88ae55d3994f4336d0c4ddb17ef2.jpg","纵28.5厘米，横803.8厘米",[],{"id":46150,"slug":46151,"title":34178,"dynasty":18,"author":1622,"museum":2068,"description":46152,"tags":46153,"thumbUrl":46154,"material":40,"size":46155,"collection":84,"collections":46156,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},221535,"zhou-ren-xing-tu-ma-yuan-221535","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。 [1]\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[23,164,24,7,1131,28,128,27,96,129,1337,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bb8c933f34f669b59817096fc70265b.jpg","纵21厘米，横21厘米",[],{"id":46158,"slug":46159,"title":46160,"dynasty":351,"author":13946,"museum":20,"description":13947,"tags":46161,"thumbUrl":46163,"material":13950,"size":13951,"collection":84,"collections":46164,"showCount":405,"zanCount":1998,"manualWeight":48,"mainColor":49},221174,"a-shi-duo-zun-zhe-tang-ka-bu-ben-guan-xiu-221174","阿氏多尊者（唐卡布本）",[23,24,7,46162,27,28,187,96,97,949],"布本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f51f8facfe834d20be27d8506a1c48d.jpg",[],{"id":46166,"slug":46167,"title":46168,"dynasty":124,"author":2268,"museum":244,"description":46169,"tags":46170,"thumbUrl":46171,"material":611,"size":46172,"collection":318,"collections":46173,"showCount":405,"zanCount":1998,"manualWeight":48,"mainColor":956},220925,"lin-yan-zhen-qing-gao-shen-tie-zhou-dong-qi-chang-220925","临颜真卿告身帖轴","知为崇祯九年（一六三四），诏加太子太保致仕以后之作。此作采用原帖部分笔法，并含熟中带生之趣；结字则变原帖之散乱为整密，不落颜楷之窠臼。",[23,64,7,24,165,330,572,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f188d206988ef79c11db922216deb84.jpg","313.8x75.3",[318],{"id":46175,"slug":46176,"title":46177,"dynasty":144,"author":569,"museum":20,"description":46178,"tags":46179,"thumbUrl":46180,"material":1223,"size":46181,"collection":68,"collections":46182,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},220877,"kui-hua-tu-zhou-zhao-meng-fu-220877","葵花图轴","赵孟頫提倡作画贵有古意，对唐至北宋的绘画风格多有摹仿。此图即采用五代西蜀黄筌父子的“黄体”——勾勒填彩的画法，线条细劲，敷色明净。因从现实生活中“写生”而来，秋葵姿态生动，比“黄体”更富有生机。此图画面简洁，笔法细润，风韵高雅，体现了赵氏所追求的古意与高华，是其早年花鸟画的代表作品。",[164,24,7,165,61,39069,27,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F557cd23baf3c150ccc7416dd5ee46a65.jpg","纵31厘米,横23.8厘米",[68,45],{"id":46184,"slug":46185,"title":46186,"dynasty":124,"author":2268,"museum":6892,"description":46187,"tags":46188,"thumbUrl":46189,"material":59,"size":6896,"collection":84,"collections":46190,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":84},220748,"fang-ge-jia-shan-shui-8-dong-qi-chang-220748","仿各家山水-8","此作用淡墨绘就秋山暮色，以高远、平远之境错落排布。右侧层峦以干笔慢皴，山石清癯松秀，苍润雅逸间尽显文人笔意。山坳古木交错，点叶萧疏，晕开浓浓秋意。左侧平湖留白见水，浅渚林树迤逦，漾开空濛水汽。近景茅亭孤峙林间，朴拙淡然，暗合林泉寄兴的文人雅趣。\n以书法笔意入画，运笔松灵虚和，墨色枯润相生，淡而不薄。悠悠铺展出秋日山林空寂暮色，尽显平淡天真的画中逸韵，藏着晚明文人独有的简淡玄远意境。",[23,24,7,128,132,330,29,663,413,130,497,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F470a985f6179e58049d2632275feb9fc.jpg",[],{"id":46192,"slug":46193,"title":1259,"dynasty":980,"author":46194,"museum":9668,"description":46195,"tags":46196,"thumbUrl":46197,"material":84,"size":84,"collection":84,"collections":46198,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},220510,"wan-he-song-feng-tu-huang-jun-bi-220510","黄君璧","层叠峰岩以赭红晕染崖顶，苍劲古松扎根嶙峋山石间，挺秀卓立尽显风神。两道飞瀑自云端峭壁垂落，撞碎成白练跌汇入溪涧，流水穿绕矶石，带着鲜活生机破山而出。山间云气轻笼远峰，虚实掩映间晕开空濛烟岚，将雄浑山势揉进柔婉留白中。\n\n笔墨兼具北派山水的刚健苍劲与岭南画韵的秀润清灵，斧劈皴刻画出山石硬朗肌理，松针攒簇尽显苍郁意态，以动静相生的章法，将松涛与泉鸣交融的山林幽寂盛境铺展眼前，藏着天人共生的东方山水意趣。",[23,24,7,165,27,132,29,1144,495,497,37,499,30,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bb4ec9913ffc4e9d465df3a7b1c47b3.jpg",[],{"id":46200,"slug":46201,"title":46202,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":46203,"thumbUrl":46204,"material":611,"size":3722,"collection":84,"collections":46205,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},220325,"huang-shan-tu-ce-5-hong-ren-220325","黄山图册-5",[23,24,7,59,128,132,29,171,1144,96,1022,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc48c1a6440b9359b890d503ad1a69aae.jpg",[],{"id":46207,"slug":46208,"title":46209,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":46210,"thumbUrl":46211,"material":611,"size":3722,"collection":84,"collections":46212,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},220318,"huang-shan-tu-ce-11-hong-ren-220318","黄山图册-11",[23,24,7,59,128,132,29,663,98,99,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d8da9dac501fd5659eee07e6c4e5d31.jpg",[],{"id":46214,"slug":46215,"title":46216,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":46217,"thumbUrl":46218,"material":611,"size":3722,"collection":84,"collections":46219,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},220301,"huang-shan-tu-ce-25-hong-ren-220301","黄山图册-25",[23,164,24,7,59,128,29,11146,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F537b52c55ec90132c7d498af46f17294.jpg",[],{"id":46221,"slug":46222,"title":46223,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":46224,"thumbUrl":46225,"material":611,"size":3722,"collection":84,"collections":46226,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},220300,"huang-shan-tu-ce-26-hong-ren-220300","黄山图册-26",[23,24,7,59,128,29,131,34,99,495,4605,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33296ed6c8f1aa652e3297eebc981cad.jpg",[],{"id":46228,"slug":46229,"title":46230,"dynasty":144,"author":7181,"museum":77,"description":46231,"tags":46232,"thumbUrl":46233,"material":317,"size":84,"collection":136,"collections":46234,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},220094,"jin-biao-tu-wang-zhen-peng-220094","锦标图","该画作描绘了北宋宫廷金明池的龙舟竞渡活动，一方面显示夺标争锦之意，另一方面又有君民同乐的太平盛世意涵。",[23,164,24,7,25,95,27,96,97,98,99,2048,772,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a6c7809bff9a5428579d2095a8cda8f.jpg",[136],{"id":46236,"slug":46237,"title":46238,"dynasty":18,"author":223,"museum":6892,"description":46239,"tags":46240,"thumbUrl":46241,"material":173,"size":84,"collection":136,"collections":46242,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},219919,"xue-yuan-tu-yi-ming-219919","雪园图","以俯瞰视角铺展冬园景致，枯木寒竹环伺素瓦厅堂，朱红廊桥蜿蜒于池畔，暖艳色调破开绢底沉郁的萧寒。远山以淡墨晕染，空濛悠远，不着一笔画雪，却借萧索枝桠、冷寂苔阶衬出隆冬清寒。\n\n屋宇勾勒工整流丽，与山水的写意晕染相融，将园林的规整雅致与冬景的荒淡清寂揉合一处，藏着宋人冬日静居园中的闲淡心境，把隆冬里的幽居意趣晕染在方寸纨扇之上。",[23,24,7,1131,95,27,97,98,1337,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa442b5ebc3c18eafd18163b69ed18bd3.jpg",[136],{"id":46244,"slug":46245,"title":46246,"dynasty":124,"author":14340,"museum":20,"description":46247,"tags":46248,"thumbUrl":46249,"material":611,"size":46250,"collection":44,"collections":46251,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},219862,"wen-jin-tu-wu-wei-219862","问津图","吴伟（1459—1508年），字士英，又字次翁，号小仙，江夏（今湖北武汉）人。",[23,24,7,25,27,133,938,96,331,690,7045,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f7f98dcd688a6d6944b102a42c5da70.jpg","纵46.3cm; 横110.2cm",[44],{"id":46253,"slug":46254,"title":46255,"dynasty":18,"author":4899,"museum":56,"description":46256,"tags":46257,"thumbUrl":46258,"material":173,"size":46259,"collection":44,"collections":46260,"showCount":405,"zanCount":1998,"manualWeight":48,"mainColor":72},219400,"zhao-nan-ba-pian-tu-ma-he-zhi-219400","召南八篇图","马和之，南宋画家，浙江钱塘人。高宗绍兴（1131-1162）时进士，官至工部侍郎，或说画院待诏。擅画人物、佛像、山水，用柳叶描（一作马蝗描），人物画仿吴道子，行笔飘逸，着色轻淡，“务支华藻”，人称“小吴生”。高宗赵构、孝宗赵昚，深重其笔，每写《诗经》，命他补图，内容包括草虫、花鸟楼阁、走兽、人物、山水，煌煌巨制，无所不备。\n此卷为《诗经▪召南》的补图，共八幅，分别为“羔羊”、“殷其雷”、“摽有梅”、“小星”、“江有汜”、“野有死麕”、“何彼穠矣”、“騶虞”。此卷历经梁清标、清内府、　励宗万收藏，每幅前有清弘历（高宗）对题《诗经·召南》诗句。",[23,164,24,7,25,27,28,133,64,208,96,29,5490,413,97,950,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d92061e7f287db0b26cbfe3b1f0887b.jpg","纵26厘米，横40.2-44.9厘米",[44],{"id":46262,"slug":46263,"title":46264,"dynasty":54,"author":223,"museum":244,"description":46265,"tags":46266,"thumbUrl":46267,"material":611,"size":84,"collection":136,"collections":46268,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},219366,"gao-zong-yu-ti-shan-si-chao-lan-tu-zhou-yi-ming-219366","高宗御题山寺朝岚图轴","层岩叠嶂拔地而起，皴笔勾勒出山峦苍劲肌理，峰顶与烟岚相融，似隐似现间透着空濛。山腰古木森然，松针攒簇如盖，林间云雾流转，切割出深浅层次，平添幽远之趣。山坳梵宇错落，飞檐翘角隐于林麓，似有晨钟梵音裹挟岚气漫溢。近景蹊径蜿蜒，二叟策杖徐行，衣袂飘飘，与静谧山林相映成趣，尽显文人寄情山水的闲适。淡墨晕染烟岚，浓墨点染树石，虚实相生间，朝曦初露、岚气未散的胜境呼之欲出。清幽藏生机，静谧含悠远，引人步入那尘外之境，沉醉于自然与人文交织的雅韵中。",[24,7,165,29,132,128,27,131,34,37,97,1023,96,17270,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcec09cda273d9e86e7d09e154e60eccb.jpg",[136],{"id":46270,"slug":46271,"title":46272,"dynasty":144,"author":223,"museum":244,"description":46273,"tags":46274,"thumbUrl":46275,"material":173,"size":46276,"collection":44,"collections":46277,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},219291,"ying-zhen-xiang-yi-ming-219291","应真像","群像错落间，罗汉神态各显其趣：驯虎者威而不厉，持卷者沉静如渊，与沙弥依偎者暖意融融。衣纹线条流转细腻，似能触到布料的柔软褶皱；古雅色调晕染出岁月的沉香。头光淡隐，添几分神圣；人物间的细微互动，藏着鲜活的烟火气。或低眉沉思，或浅笑低语，或凝神观物，每一处笔墨都透着匠心——既守宗教画的庄严底色，又赋人物以生动性情。驯虎的张力、读经的静谧、依偎的温情，在方寸间交织成一幅既有神圣感，又含人间温度的画卷，尽显古画笔墨的神韵与人文情怀。",[24,7,165,187,28,27,96,5490,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c05ff75807c73351c05eabf82799b4.jpg","157.6x79.6",[44],{"id":46279,"slug":46280,"title":46281,"dynasty":144,"author":14724,"museum":244,"description":46282,"tags":46283,"thumbUrl":46284,"material":278,"size":46285,"collection":136,"collections":46286,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},218769,"xu-ting-zhu-qu-tu-cao-zhi-bai-218769","虛亭竹趣图","这幅画描绘了秋天小河岸边的一个空亭子，旁边有一群竹子。篆书非真迹，画风更类似于清代的倪瓒。",[23,24,7,128,132,29,130,167,413,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F529ca6f843e4147fa9a2dc02717fed44.jpg","25.2x28.7",[136],{"id":46288,"slug":46289,"title":46290,"dynasty":18,"author":3278,"museum":244,"description":46291,"tags":46292,"thumbUrl":46293,"material":317,"size":46294,"collection":68,"collections":46295,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},218698,"han-lin-ji-xue-tu-li-cheng-218698","寒林积雪图","这幅《雪山萧寺图》只取了李成画寒林雪的名字，但风格更接近于蓝瑛和刘度的风格。",[23,24,164,7,25,29,1557,13436,1337,131,27,132,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68e6c410e1468f140d6db63b045c2caf.jpg","29.7x21cm",[68],{"id":46297,"slug":46298,"title":46299,"dynasty":18,"author":9804,"museum":244,"description":46300,"tags":46301,"thumbUrl":46302,"material":173,"size":46303,"collection":136,"collections":46304,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},218684,"yun-shan-chun-ai-tu-zhao-ling-rang-218684","云山春霭图","轻烟淡霭缠绕层峦，山峦在云气中时隐时现，虚实交织间藏着悠远韵致。山间疏林错落，新绿初萌，透着春的温润。溪流蜿蜒穿梭雾霭，似有若无，添几分灵动。笔墨细腻清雅，山石勾勒柔婉，云雾以淡墨晕染，层次朦胧却不失清逸。整体意境宁静悠远，如春日拂晓的郊野，湿润气息裹挟草木轻香，引人遐想。画面取小景却含蕴生机与诗意，尽显文人山水雅致情韵，仿佛能让人暂避尘扰，沉醉在云山春霭的静谧里，感受自然与心灵的契合。",[23,24,7,128,27,29,37,496,34,6433,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b9f12b887b14d2f8022acc378c6591e.jpg","26x23cm",[136],{"id":46306,"slug":46307,"title":46308,"dynasty":124,"author":46309,"museum":224,"description":46310,"tags":46311,"thumbUrl":46313,"material":128,"size":84,"collection":44,"collections":46314,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":956},218500,"ri-ben-xia-zi-he-shang-tu-yun-gu-deng-yan-218500","日本· 虾子和尚图","云谷等颜","仰头的刹那，风似凝在枯枝的末梢。宽袍覆着盘腿的身影，指尖悬着的虾篓轻晃，隐约可闻篓内虾子弹动的细碎声息。墨色淡扫衣褶，浓墨点染须发与枯枝，线条不求工致，却勾出人物眼底的悠然——是对眼前小物的专注，还是对尘外之境的漫想？背景的空疏并非单调留白，而是将视线引向和尚与虾篓的静默对话，写尽修行者与世间微物的温柔照面。简淡笔墨里，藏着一份于日常中寻得的禅意，清寂却鲜活，仿佛能触到那份不沾尘俗的松弛，与对生命本真的温柔凝视。",[24,7,165,128,96,171,46312,369],"和尚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F093ff39466f2e11ae6affc34a47a43ec.jpg",[44],{"id":46316,"slug":46317,"title":6571,"dynasty":18,"author":46318,"museum":3330,"description":46319,"tags":46320,"thumbUrl":46321,"material":173,"size":84,"collection":44,"collections":46322,"showCount":405,"zanCount":1116,"manualWeight":48,"mainColor":956},218479,"luo-han-tu-lu-zhong-xin-218479","陆忠信","绢本底色如古檀沉暗，衬得罗汉朱红袈裟上的团纹愈发鲜亮。他倚坐雕花木榻，面容丰腴，双目微阖似含悲悯，耳垂坠环，衣袂垂落间露出素白里衣，线条圆转如流水般柔和。身侧侍者持物恭立，衣饰繁复却不失清雅，眉眼低垂尽是谦卑之态。上方赤色云纹蜿蜒，似携灵韵游走于暗褐天幕，与罗汉的沉静形成动静对照。整幅画以细劲线条勾勒形神，设色古雅醇厚，融罗汉庄严、侍者恭谨与背景灵动于一体，尽显宋代佛画写实功力与空灵意境，细节藏匠心，引人沉潜于跨越时空的肃穆安然。",[24,7,1326,187,96,772,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc12ca8e74b8d66309bde0821f2720e5c.jpg",[44],{"id":46324,"slug":46325,"title":46326,"dynasty":144,"author":46327,"museum":224,"description":46328,"tags":46329,"thumbUrl":46330,"material":278,"size":46331,"collection":44,"collections":46332,"showCount":405,"zanCount":1998,"manualWeight":48,"mainColor":49},218313,"da-mo-du-jiang-tu-li-yao-fu-218313","达摩渡江图","李尧夫","这幅画表现的是达摩赤脚站立，脚踩一根细芦苇棍，身穿一件长长的风夹斗篷，双手交叠在袖子里，眼睛直视前方，面容慈祥。这幅画上刻有僧人一山一宁的名字。",[24,7,165,188,128,187,96,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a10fc45b7d44e87a1f225f8a3d28aa1.jpg","85.7x33.8",[44],{"id":46334,"slug":46335,"title":21904,"dynasty":124,"author":10106,"museum":244,"description":46336,"tags":46337,"thumbUrl":46338,"material":317,"size":84,"collection":44,"collections":46339,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},218214,"luo-han-zhou-wu-bin-218214","佛教修行中的最高果位是佛，其次为菩萨，然后是罗汉。宋代以前流传十六罗汉，之后又衍生出两尊，即降龙和伏虎，于是成为十八罗汉。降龙罗汉位列十八罗汉的第十七位，根据古印度的传说，降龙罗汉最初的原形是庆友尊者。相传古印度那竭国有恶魔煽动国人杀害出家的佛弟子，尽毁佛殿佛塔，劫掠经书。当时海龙王发动洪水，淹没了那竭国，并将佛经收藏于龙宫之内，等待有法力的僧人取回，最终庆友尊者完成大任，因此他被称为降龙罗汉。本图中的人物形象古朴，线条细劲绵长，设色浓丽。《图绘宝鉴续纂》记载吴彬：“善人物，奇行怪状，迥异旧人，自立门户。”",[24,7,165,187,96,188,128,208,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97586e62ce58f7792685bf295ee63f75.jpg",[44],{"id":46341,"slug":46342,"title":46343,"dynasty":18,"author":2099,"museum":300,"description":37919,"tags":46344,"thumbUrl":46345,"material":278,"size":84,"collection":84,"collections":46346,"showCount":405,"zanCount":1998,"manualWeight":48,"mainColor":72},218108,"bai-miao-ren-wu-tu-ce-4-li-gong-lin-218108","白描人物图册-4",[23,164,24,7,59,188,96,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafd61992ea8abf461e271a3e0927d269.jpg",[],{"id":46348,"slug":46349,"title":46350,"dynasty":18,"author":2099,"museum":77,"description":6227,"tags":46351,"thumbUrl":46352,"material":151,"size":84,"collection":84,"collections":46353,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},218086,"luo-han-tu-ce-2-li-gong-lin-218086","罗汉图册-2",[23,24,7,59,188,128,187,96,331,171,167,1233],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef32533e0a8e2c73a9ac98b88eaed196.jpg",[],{"id":46355,"slug":46356,"title":46357,"dynasty":124,"author":223,"museum":450,"description":3365,"tags":46358,"thumbUrl":46359,"material":66,"size":84,"collection":84,"collections":46360,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},217948,"ming-ren-shan-shui-hua-ce-qi-yi-ming-217948","明人山水画册(七)",[23,24,7,59,128,132,29,663,413,331,131,387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265893252de5c9f63ff7626980bdf4ce.jpg",[],{"id":46362,"slug":46363,"title":46364,"dynasty":124,"author":223,"museum":450,"description":3365,"tags":46365,"thumbUrl":46366,"material":66,"size":84,"collection":84,"collections":46367,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},217937,"ming-ren-shan-shui-hua-ce-zhi-shi-er-yi-ming-217937","明人山水画册之(十二)",[23,24,7,128,132,59,29,96,413,23362,1314,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c54ac9ee30e801bdac132949220f58a.jpg",[],{"id":46369,"slug":46370,"title":46371,"dynasty":124,"author":223,"museum":450,"description":3365,"tags":46372,"thumbUrl":46373,"material":66,"size":84,"collection":84,"collections":46374,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},217930,"ming-ren-shan-shui-hua-ce-zhi-shi-san-yi-ming-217930","明人山水画册之(十三)",[24,7,59,128,132,29,131,34,35,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F780be1127cd53a2e7ddde869aa2a2399.jpg",[],{"id":46376,"slug":46377,"title":46378,"dynasty":54,"author":872,"museum":77,"description":4612,"tags":46379,"thumbUrl":46380,"material":278,"size":84,"collection":84,"collections":46381,"showCount":405,"zanCount":1998,"manualWeight":48,"mainColor":4001},216334,"hua-niao-ce-8-zhu-da-216334","花鸟册-8",[24,7,59,128,369,61,2510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb55c7c9a2f6a6aff11f69bf33c7554c.jpg",[],{"id":46383,"slug":46384,"title":46385,"dynasty":54,"author":223,"museum":300,"description":46386,"tags":46387,"thumbUrl":46388,"material":173,"size":84,"collection":44,"collections":46389,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},216159,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-1-ce-yi-ming-216159","职贡图巨幅彩绘册页第1册","画面分左右两帧，各绘异域人物。左者蓝巾覆首，橙红罩衫叠翠纹裙，朱红裙摆曳地，足踏浅履，姿态娴雅；右者冠饰尖耸，橙衣绿带，锦纹战裙配蓝裤红履，双手交握腹前，神情肃穆。笔触细腻勾勒服饰纹理，设色明丽和谐，写实中含装饰意趣。人物形象鲜活，既展边地民族独特风貌，亦载清代对域外文化的记录认知，为研究当时民族交流与服饰史，提供生动视觉佐证。",[23,24,7,59,27,96,28,170,23253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ac88c6add9403acec5455e5581b8c8.jpg",[44],{"id":46391,"slug":46392,"title":46393,"dynasty":54,"author":17000,"museum":300,"description":46394,"tags":46395,"thumbUrl":46397,"material":66,"size":84,"collection":84,"collections":46398,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":4001},215668,"bei-jing-dian-pu-zhao-huang-hua-ce-5-zhou-pei-chun-215668","北京店舖招幌画册-5","画面铺展老北京商铺招幌群像，笔墨晕染市井烟火气。蓝粉相间的仿衣幌似风里轻摆，衣角花纹藏针线温度；牛角幌子线条利落，触得到材质粗粝；腰刀幌排列如阵，红穗飘动带江湖气；麦穗幌垂饱满穗子，质朴裹着麦香；灯笼幌叠彩环，揉暖光入画纸；书“成衣”二字的布幌，黑字红穗透匠人实在。这些招幌是时光切片，串起旧时京城商铺吆喝与生计日常，观者仿佛踏入百年街巷，听布幌簌簌，闻烟火漫溢，触到那个时代鲜活的商业脉搏。",[24,7,59,27,1367,46396,5626,251],"幌子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c786bd396980c4ddb4e45df757d89fe.jpg",[],{"id":46400,"slug":46401,"title":46402,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":46403,"thumbUrl":46404,"material":278,"size":3888,"collection":84,"collections":46405,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},214977,"dao-zi-mo-bao-ren-wu-bai-miao-hua-5-yi-ming-214977","道子墨宝人物白描画-5",[23,24,7,188,96,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F746ad8cb15bcb71948f4536d83690d0d.jpg",[],{"id":46407,"slug":46408,"title":46409,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":46410,"thumbUrl":46411,"material":278,"size":3888,"collection":84,"collections":46412,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},214965,"dao-zi-mo-bao-ren-wu-bai-miao-hua-19-yi-ming-214965","道子墨宝人物白描画-19",[23,164,24,7,188,96,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F043dc0b6de52e4682aa5d6e976446b89.jpg",[],{"id":46414,"slug":46415,"title":46416,"dynasty":54,"author":1460,"museum":77,"description":4620,"tags":46417,"thumbUrl":46418,"material":66,"size":4624,"collection":68,"collections":46419,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":72},214564,"mo-zui-za-hua-tu-ce-3-shi-tao-214564","墨醉杂画图册-3",[23,164,24,7,59,128,133,64,369,2037,549,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a5352e5f92c7271679bc91ceab1620a.jpg",[68],{"id":46421,"slug":46422,"title":46423,"dynasty":54,"author":872,"museum":77,"description":42232,"tags":46424,"thumbUrl":46425,"material":278,"size":84,"collection":84,"collections":46426,"showCount":405,"zanCount":1998,"manualWeight":48,"mainColor":72},214429,"shan-shui-tu-ce-2-zhu-da-214429","山水图册-2",[23,24,7,128,59,132,29,211,331,131,99,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a4cf7726b542ef74bf52a253e399bd0.jpg",[],{"id":46428,"slug":46429,"title":46430,"dynasty":124,"author":2268,"museum":56,"description":46431,"tags":46432,"thumbUrl":46433,"material":84,"size":84,"collection":136,"collections":46434,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":46435},203014,"shu-hua-ce-dong-qi-chang-203014","书画册","笔墨疏朗清逸，以书入画的笔意贯穿其间。山石用淡墨皴擦，林木以简笔勾勒，屋舍隐于丘壑间，尽显文人画的雅致禅意。右侧山水云雾氤氲，层峦叠嶂间透着空濛之趣；左侧丘林静谧，草木扶疏中藏着幽居之思。题跋行书流畅，与画作相映成趣，融诗书画于一册，尽显晚明文人的审美意趣。",[7,59,128,29,132,131,4438,37,133,387,30617,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19cd3e7e67f2166a0c7ee53857daa63e.jpg",[136],"d7ccc2",{"id":46437,"slug":46438,"title":4724,"dynasty":54,"author":299,"museum":56,"description":46439,"tags":46440,"thumbUrl":46441,"material":84,"size":84,"collection":136,"collections":46442,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":46443},202979,"shan-shui-tu-ce-xie-sun-202979","画面以淡墨轻彩铺陈，农舍隐于疏林石垣间，屋宇线条简洁却见结构，瓦顶墨色晕染层次分明。近树虬枝点叶，笔意灵动；远山以淡赭轻扫，云雾朦胧间显丘壑之远。水汽氤氲的平畴与错落的村舍相映，尽得江南田园的静谧清旷。笔法兼用工细与写意，设色淡雅温润，于简淡中藏生机，尽显山水之空灵与生活之朴拙。",[24,7,59,27,29,132,34,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd6d1f41eaa104a374a625ee8e6c343f.jpg",[136],"b39c78",{"id":46445,"slug":46446,"title":46447,"dynasty":18,"author":15673,"museum":300,"description":46448,"tags":46449,"thumbUrl":46450,"material":692,"size":1293,"collection":84,"collections":46451,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},291012,"xi-hu-shi-jing-tu-ce-su-di-chun-xiao-ye-xiao-yan-291012","西湖十景图册 苏堤春晓","杭（杭州）人宝佑间以画名。专工传写，作人物小景类马远。《画史会要》",[24,164,7,59,29,133,64,208,34,171,27,4364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e4b95e980bdec852d96c46e9f573aae.jpg",[],{"id":46453,"slug":46454,"title":46455,"dynasty":54,"author":55,"museum":244,"description":1290,"tags":46456,"thumbUrl":46457,"material":66,"size":11778,"collection":84,"collections":46458,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},290545,"qiao-ke-xiu-zhu-zhou-yun-shou-ping-290545","乔柯修竹轴",[164,24,7,165,128,27,331,167,171,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c98cb37de6ee0d2bd65b6fb413d94f1.jpg",[],{"id":46460,"slug":46461,"title":46462,"dynasty":54,"author":46463,"museum":300,"description":46464,"tags":46465,"thumbUrl":46466,"material":692,"size":1293,"collection":84,"collections":46467,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},290470,"hua-niao-hua-ce-liu-qi-kan-290470","花鸟画册","刘期侃","刘期侃，清代画家。生卒年不详。字湛园，安徽宣城人。善指画",[24,7,59,128,61,371,211,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c09fbc9658481fbcdd43a9d1303adc5.jpg",[],{"id":46469,"slug":46470,"title":46471,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":46472,"thumbUrl":46473,"material":692,"size":1293,"collection":84,"collections":46474,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},290458,"da-feng-tang-ti-qing-qi-shan-shui-ce-shi-tao-290458","大风堂题清沏山水册",[24,7,59,128,133,208,81,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feea1bbbc82bc03b1616c198da660c409.jpg",[],{"id":46476,"slug":46477,"title":46478,"dynasty":144,"author":1346,"museum":300,"description":14804,"tags":46479,"thumbUrl":46480,"material":692,"size":1293,"collection":84,"collections":46481,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},290263,"cang-qiu-tu-ke-luo-ban-wu-zhen-290263","苍虬图 （珂罗版）",[23,24,164,165,128,1144,64,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c4af6f1f1656e866d4a31edc64f1ff0.jpg",[],{"id":46483,"slug":46484,"title":46485,"dynasty":124,"author":46486,"museum":300,"description":46487,"tags":46488,"thumbUrl":46489,"material":692,"size":1293,"collection":84,"collections":46490,"showCount":155,"zanCount":1998,"manualWeight":48,"mainColor":49},290158,"hou-chi-bi-tu-ding-yu-chuan-290158","后赤壁图","丁玉川","丁玉川（生卒年不详），明代中期画家。江右（今江西）人。山水宗马、夏。亦善人物，行笔草草，徒逞狂态，比于邪学。刘珝题其画云：“彼美玉川子，素慕青溪翁。远浓近淡不停手，神机所到天然工。”丁氏虽然出身江西，却主要活动于山东与北京两地，可能活到九十二岁以后。在晚明以后，丁氏被归为浙派画家之列，存世作品多被改款，以致今日难以辨识。",[164,24,7,165,128,29,171,129,211,99,96,132,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5736d6ab4b5a37a671ca41168a10c90e.jpg",[],{"id":46492,"slug":46493,"title":46494,"dynasty":18,"author":313,"museum":300,"description":46495,"tags":46496,"thumbUrl":46497,"material":692,"size":1293,"collection":84,"collections":46498,"showCount":155,"zanCount":1998,"manualWeight":48,"mainColor":72},290087,"zhu-shang-zuo-tie-juan-huang-ting-jian-290087","诸上座帖卷","黄庭坚（1045年6月12日—1105年9月30日），字鲁直，乳名绳权，号清风阁、山谷道人、山谷老人、涪翁、涪皤、摩围老人、黔安居士、八桂老人，世称黄山谷、黄太史、黄文节、豫章先生。宋江南西路洪州府分宁人（今江西省九江市修水县）人。祖籍浙江省金华市。北宋诗人黄庶之子，南宋中奉大夫黄相之父。北宋大孝子，《二十四孝》中“涤亲溺器”故事的主角。北宋著名文学家、书法家、江西诗派开山之祖。\n黄庭坚在诗、词、散文、书、画等方面取得很高成就。黄庭坚与张耒、晁补之、秦观都游学于苏轼门下，合称为“苏门四学士”。黄庭坚的诗，被苏轼称为“山谷体”。黄庭坚的书法独树一格，自成一家，他和北宋书法家苏轼、米芾和蔡襄齐名，世称为“宋四家”。在文学界，黄庭坚生前与苏轼齐名，时称“苏黄”。作品有《山谷词》《豫章黄先生文集》等。\n治平四年（1067年），黄庭坚进士及第，历任叶县县尉、北京国子监教授、泰和县知县、德平镇监、秘书省校书郎、《神宗实录》编修官、集贤校理、国史局编修官、起居舍人、宣州知州、鄂州知州、涪州别驾、宣议郎监鄂州、奉议郎兼宁国军判官、朝奉郎兼舒州知州、吏部员外郎、太平州知州等职。1105年，黄庭坚病逝于宜州南楼，享年61岁。而后，宋高宗追赠黄庭坚为“龙图阁大学士”。1265年，宋度宗追赠黄庭坚谥号：文节。黄庭坚一生为官清正，治学严谨，以文坛宗师、孝廉楷模垂范千古。",[23,164,7,64,840,25,1590,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdb24a160f22f01e860157984620e421.jpg",[],{"id":46500,"slug":46501,"title":46502,"dynasty":54,"author":4083,"museum":300,"description":46503,"tags":46504,"thumbUrl":46505,"material":692,"size":1293,"collection":84,"collections":46506,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},289968,"fang-ni-shan-shui-wang-shi-min-289968","仿倪山水","王时敏（1592年－1680年），本名王赞虞，字逊之，号烟客，又号偶谐道人，晚号西庐老人，南直隶苏州府太仓人，明末清初画家，大学士王锡爵之孙，翰林编修王衡之子，“四王”第一代人。\n系出高门，文采早著，以祖荫，官至太常寺少卿。明清鼎革后，家居不出，奖掖后进，名德为时所重。明季画学董其昌，少时亲炙，得其真传。于黄公望墨法，尤有深契，暮年益臻神化。爱才若渴，四方工画者踵接于门，得其指授，无不知名於时，为一代画苑领袖。康熙十九年卒，年八十九岁。\n王时敏主张摹古，笔墨含蓄，苍润松秀，浑厚清逸，构图较少变化。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。王时敏开创了山水画的“娄东派”，与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。\n晚清娄东画派代表画家与评论家秦祖永之《桐阴论画》评王时敏：运腕虚灵，布墨神逸，随意点刷，丘壑浑成。",[164,24,7,165,128,29,330,331,211,98,99,171,208,64,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf804a5c772a5924000eff3f02dc044c.jpg",[],{"id":46508,"slug":46509,"title":46510,"dynasty":18,"author":13692,"museum":300,"description":46511,"tags":46512,"thumbUrl":46513,"material":692,"size":1293,"collection":84,"collections":46514,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},289842,"song-he-ceng-lou-tu-zhang-dun-li-289842","松壑层楼图","熙宁元年选尚英宗女祁国长公主，授左卫将军、驸马都尉，迁密州观察使。元祐初，疏言：“变法易令，始于王安石，成于蔡确。近者退确进司马光，以臣观之，所得多矣。”进武胜军留后。",[23,24,7,95,29,97,1144,27,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72ca23e05a4be037ccdf9ee69a4cddc8.jpg",[],{"id":46516,"slug":46517,"title":46518,"dynasty":18,"author":4899,"museum":300,"description":46519,"tags":46520,"thumbUrl":46522,"material":692,"size":1293,"collection":84,"collections":46523,"showCount":155,"zanCount":1998,"manualWeight":48,"mainColor":49},289561,"xiao-jing-tu-qing-da-fu-zhang-di-si-ma-he-zhi-289561","孝经图-卿大夫章第四","马和之，生于北宋，生卒年代均未见记载，钱塘（今浙江杭州）人。主要活动于北宋末至南宋初期。南宋高宗绍兴年间（1131—1162年）中进士第，官至工部侍郎。工画山水、人物、佛像，风格独特，笔法飘逸高古，迥异于南宋院体画法，时人目为“小吴生”。在表现山水、人物时，他更多地融入了一些书法的笔趣，古朴自然，务去华藻。 周密《武林旧事》卷六将马和之列于御前画院之首，然而，根据目前所知资料，两宋画院画家自有其品秩，而无进士及第任官后尚充任画院画家者。此外，马和之的画风与院画的总体面貌也有相当大的差距。马和之宗法北宋李公麟而有所变化，表现人物所用线条较为短促，运笔迅疾，兰叶描已变为后世所称之“蚂蝗描”。因此，马和之不是南宋画院的宫廷画家，清代《南宋院画录》中称其以“艺精一世，命之总摄画院事”是有一定可能性的，但却并非服务于宫廷的职业画家，而应与李公麟等文人画家并列。",[164,24,7,59,27,96,97,95,64,572,46521],"儒家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59de6ccc4183cd5bffa173b2eea10d0b.jpg",[],{"id":46525,"slug":46526,"title":46527,"dynasty":18,"author":27476,"museum":300,"description":38827,"tags":46528,"thumbUrl":46529,"material":692,"size":1293,"collection":84,"collections":46530,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},288994,"mu-zi-quan-tu-mao-yi-288994","母子犬图",[164,24,7,28,27,9119,949,1495,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd31dab7edd927a3828f05cca548ddcfa.jpg",[],{"id":46532,"slug":46533,"title":46534,"dynasty":18,"author":46535,"museum":300,"description":46536,"tags":46537,"thumbUrl":46538,"material":692,"size":1293,"collection":84,"collections":46539,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},288490,"ying-gu-tu-ye-li-you-288490","鹰鹘图页","李猷","李猷，宋來洎代画家，河内頭筿（今河南沁阳）人，作品有《画继》。",[23,24,164,7,61,28,3141,7596,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5305ba610e775032a3da38afd47743e.jpg",[],{"id":46541,"slug":46542,"title":46543,"dynasty":54,"author":675,"museum":300,"description":11658,"tags":46544,"thumbUrl":46545,"material":692,"size":1293,"collection":84,"collections":46546,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},288281,"yu-sheng-bai-yun-si-tu-qian-wei-cheng-288281","豫省白云寺图",[24,164,7,165,187,1349,132,27,131,34,97,17270,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe106705075e5729ca78f6e63548247e6.jpg",[],{"id":46548,"slug":46549,"title":46550,"dynasty":326,"author":8778,"museum":300,"description":46551,"tags":46552,"thumbUrl":46553,"material":692,"size":1293,"collection":84,"collections":46554,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},288070,"dong-shan-song-tie-ye-wang-xian-zhi-288070","东山松帖页","王献之（344年－386年），字子敬，小名官奴，琅玡临沂（今山东省临沂市）人。东晋官员、书法家、画家、诗人，右军将军王羲之第七子、晋简文帝司马昱女婿、晋安帝司马德宗的岳父。\n王献之少负盛名，才华过人。得到宰相谢安赏识，历任本州主簿、秘书郎、司徒左长史、吴兴太守，累迁中书令等职，与族弟王珉区分，人称“大令”。他先后迎娶郗道茂及新安公主司马道福为妻，嫁女于太子司马德宗（晋安帝）。太元十一年（386年），病逝，时年四十三岁。安帝时获赠侍中、特进、光禄大夫、太宰，谥号为“宪”。\n王献之精习书法，以行书及草书闻名，在楷书和隶书上有深厚功底。在书法史上与王羲之并称“二王”，有“小圣”之称。又与张芝、钟繇、王羲之并称“书中四贤”。唐人张怀瓘《书估》评其书为“第一等”。同时，王献之还善于作画，唐人张彦远《历代名画记》目其画为“中品下”。",[64,133,1590,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbed1d8d6548dc8933b3e6c6e348b883d.jpg",[],{"id":46556,"slug":46557,"title":14349,"dynasty":124,"author":802,"museum":300,"description":5946,"tags":46558,"thumbUrl":46559,"material":692,"size":1293,"collection":84,"collections":46560,"showCount":155,"zanCount":1998,"manualWeight":48,"mainColor":49},287779,"shan-shui-ren-wu-tu-chen-hong-shou-287779",[23,24,164,7,165,27,96,29,372,371,99,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e46687b0740b7c2ccb5b7e47413c318.jpg",[],{"id":46562,"slug":46563,"title":15915,"dynasty":18,"author":2099,"museum":300,"description":34962,"tags":46564,"thumbUrl":46565,"material":692,"size":1293,"collection":84,"collections":46566,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},287562,"fa-hai-ling-shan-tu-ce-li-gong-lin-287562",[24,7,59,188,128,187,96,949,6126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F615dcc4db7d29779a95fe40b8b73442d.jpg",[],{"id":46568,"slug":46569,"title":46570,"dynasty":18,"author":223,"museum":300,"description":46571,"tags":46572,"thumbUrl":46574,"material":692,"size":46575,"collection":84,"collections":46576,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},287554,"qiu-shan-wen-hui-tu-yi-ming-287554","秋山文会图","此作以全景山水铺陈，高远与深远兼具，层峦叠嶂以青绿晕染，古雅苍朴。山峦以披麻皴细致勾勒，苔点攒簇，尽显秋山蓊郁厚重的质感。林麓间隐见亭台雅集，文士幽会于泉石山林间，将山居幽趣与文人情致相融。\n\n虽岁久色褪，仍可见精工雅致的风骨，以秋山沉厚底色衬出文会清逸，将林泉高致寄于层叠山岚之中，尽显天人合一的文人画意趣。",[24,164,7,165,26,27,132,29,96,97,130,34,131,6639,46573],"文会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60265df5aad0964cb0673dcbec174592.jpg","95x24.8",[],{"id":46578,"slug":46579,"title":46580,"dynasty":144,"author":13485,"museum":244,"description":46581,"tags":46582,"thumbUrl":46583,"material":692,"size":1293,"collection":84,"collections":46584,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},287530,"lao-zi-qi-niu-yan-hui-287530","老子骑牛","颜辉，字秋月，生卒年不详，庐陵（今江西吉安）人，一作浙江江山人。宋末元初时人物画家，擅人物、佛道，亦工鬼怪，兼能画猿。其造型奇特，用笔虽见刻露，却笔法怪异，有生动传神之趣，在画法上喜作水墨粗笔，用笔劲健豪放，笔法粗犷，有梁楷遗法。元代由于山水画、文人画兴起，作为人物画家的颜辉在中国画史埋没无闻，由于其作品流传日本较多，颜辉在日本受评甚高，对日本室町时代的绘画有较大影响。传世代表作有《钟馗雨夜出游图》，《蛤蟆仙人像》，《李仙像》，《猿图》。",[24,7,165,96,188,128,102,40142,29037,1144,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdec6acefc1a511537d785d80eee4c4a2.jpg",[],{"id":46586,"slug":46587,"title":46588,"dynasty":54,"author":7686,"museum":20,"description":46589,"tags":46590,"thumbUrl":46593,"material":46594,"size":46595,"collection":318,"collections":46596,"showCount":155,"zanCount":1998,"manualWeight":48,"mainColor":72},240268,"tao-hua-yuan-shi-zhou-he-chao-240268","桃花源诗轴","署款：“右临湜庵老师法，义门何焯。”下钤“何焯之印”、“峐瞻”印2方。\n鉴藏印钤“程心柏藏”、“巩伯平生真赏”、“春林”印3方。\n此书写七言古诗一首，结体工谨端秀，笔力劲健，布局舒展明朗，深得欧阳询意韵。近人马宗霍曾云：“义门日事点勘，故小真、行书不习而之，较之习而工者为雅。”此轴也反映出何焯因每日从事点勘、抄写所积累的深厚的书法功力。",[7,165,572,64,208,209,29,210,3650,99,6844,46591,149,2524,46592],"云林","古津","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2460226bb9d8108cd3cfa9d7e6b13b63.jpg","纸本，楷书","纵60.4厘米，横33.8厘米",[318],{"id":46598,"slug":46599,"title":46600,"dynasty":144,"author":46601,"museum":20,"description":46602,"tags":46603,"thumbUrl":46604,"material":611,"size":46605,"collection":318,"collections":46606,"showCount":155,"zanCount":1998,"manualWeight":48,"mainColor":72},239630,"guo-jing-xing-he-liang-long-ji-shi-juan-guo-bi-239630","郭景星和梁隆吉诗卷","郭畀","释文：\n太常金奉礼宴翰苑诸公，出青玉荷盘，色奇古。盘之上擎杯，象莲蓬，下屈为柄，上覆为盖。盖青质而紫章，凡十九点，匠氏剜为莲房，殆夺天巧。嘱丹杨郭畀赋诗。诗固未足为杯盘夸，然将来或可讬诗以传也。碧云亭亭水天永，翠盖翻风堕秋影。文姬团扇感初凉，露华乱落明珠冷。紫茎绿叶歌秋兰，涉江折得烟蓬还。前缘已被专房误，守宫血点犹斑斑。麴生解后夸奇特，倒卷沧溟供一吸。太华峰高归路遥，但觉满怀春拍拍。俗眼傲睨瑠璃钟，金罍未用争夸雄。古诗调高和者寡，拟唤杜陵醉中把。至治初元修禊日。\n钤“郭畀天锡”印。鉴藏印有“砚溪清玩”、“年羹尧字亮工别号双峰”、“唐翰题审定”、“陆树声鉴赏章”等6方。\n按清唐翰题言，其先得到俞希鲁书《郭天锡文集序》，后又陆续得到郭畀书《郭景星和梁隆吉诗》以及《青玉荷盘诗》，因之合装成一卷，名为《郭氏诗翰卷》，并跋于卷后，以识本末。《青玉荷盘诗》之序记述了书此诗的原由：“太常金奉礼宴翰苑诸公，出青玉荷盘”，其盘的制作“殆夺天巧”，故赋诗以赞之。按俞序书于至正十五年（1355年）八月既望，此时郭畀已卒，“今二十余年矣”。序文又称郭氏“年才五十六耳”。徐邦达先生据此推断郭畀约生于元世祖至元十七年（1280年），约卒于惠宗至元元年（1335年）。《青玉荷盘诗》书于至治初元，作者时年约42岁。\n本诗卷书法得赵孟頫形骸，是元人中师法赵孟頫之佳者。结构疏密得宜，笔画劲挺磊落，点画精美，运笔娴熟，有一定的艺术水平。",[23,64,7,25,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472e9363bb29dbc628bbfe02b0198f5f.jpg","纵29.3厘米，横56.2厘米",[318],{"id":46608,"slug":46609,"title":46610,"dynasty":144,"author":569,"museum":20,"description":46611,"tags":46612,"thumbUrl":46613,"material":40,"size":46614,"collection":318,"collections":46615,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},239629,"lin-huang-ting-jing-juan-zhao-meng-fu-239629","临黄庭经卷","赵文敏公画右军像临黄庭经 此卷卷首绘王羲之像，面部刻画简略，人物衣纹勾写乏力，后以楷书临写王羲之书《黄庭经》，点画柔弱，结体松散。",[23,7,330,572,64,1590,25,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedff847bde7562ab12e2687af4d71457.jpg","纵28.5厘米，横116厘米",[318],{"id":46617,"slug":46618,"title":27743,"dynasty":18,"author":313,"museum":20,"description":27744,"tags":46619,"thumbUrl":46620,"material":46621,"size":27747,"collection":318,"collections":46622,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},239568,"huan-hua-xi-tu-yin-juan-huang-ting-jian-239568",[23,164,24,7,25,64,840,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04f97021a5b9dd0a7e8b62152a814a8.jpg","纸本，草书",[318],{"id":46624,"slug":46625,"title":3933,"dynasty":54,"author":2687,"museum":300,"description":3934,"tags":46626,"thumbUrl":46627,"material":692,"size":1293,"collection":84,"collections":46628,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},239250,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239250",[24,7,164,59,28,27,61,263,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b017252de5aba61ed0e98faac5f0285.jpg",[],{"id":46630,"slug":46631,"title":46632,"dynasty":54,"author":23303,"museum":300,"description":46633,"tags":46634,"thumbUrl":46635,"material":84,"size":84,"collection":44,"collections":46636,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},238736,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238736","画弘历拟古诗意图册","此作用淡墨绘就平远行旅之景，构图舒展清和。近岸浅渚错落，林木萧疏有致，行旅车马徐行于道，人物、车驾细节写实生动，带着悠然松弛的赶路意态。远景林峦澹澹，以简淡笔墨晕染出清寂开阔的郊野氛围。右侧题诗与画面呼应，将羁旅闲思融于山水间。\n\n全作笔墨秀润温婉，以极简皴染勾勒山水意态，无浓墨重彩，却将郊野清旷的氛围感烘托尽致，将日常行旅的寻常景致，化为充满文人雅韵的诗意图景，尽显平和萧散的文人意趣。",[24,7,59,128,27,132,29,96,101,34,98,31,7045,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab9d62aa6c6de0d85df8a51bd8f7313e.jpg",[44,117],{"id":46638,"slug":46639,"title":46640,"dynasty":54,"author":675,"museum":300,"description":46641,"tags":46642,"thumbUrl":46643,"material":84,"size":84,"collection":136,"collections":46644,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},238514,"shan-shui-xiao-ce-qian-wei-cheng-238514","山水小册","此作用平远之法铺展秋郊山居：前景田亩纵横，村舍错落，农人俯身耕织，晕开融融烟火意趣。中层峰峦叠翠，林木蓊郁苍润，山石以细密皴法勾勒晕染，干湿浓淡间尽显丘壑层次。远景山峦清寂空灵，淡赭轻敷点染秋光。\n\n题诗与画作相映成趣，笔致工稳秀润，既有严整的山水法度，又揉入江南田园的悠然野趣，将秋日郊野的静穆生机诉诸笔端。文人雅致与村居烟火相融，把山居秋日的澹然闲逸刻画得淋漓尽致，尽显传统山水的抒情意韵。",[24,7,59,27,132,29,663,413,149,8709,99,131,666,35,19345],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44002ec93ae585ef891e8d628bc9422f.jpg",[136,45],{"id":46646,"slug":46647,"title":46648,"dynasty":124,"author":46649,"museum":300,"description":46650,"tags":46651,"thumbUrl":46652,"material":692,"size":1293,"collection":84,"collections":46653,"showCount":155,"zanCount":1998,"manualWeight":48,"mainColor":72},237856,"shi-nv-fen-xiang-shan-wang-sheng-237856","仕女焚香扇","王声","扇面之上，枯木虬枝横斜，奇石衬出幽境。两位仕女仪态柔静，一立一坐，执香侍立者素衣亭亭，坐观幽思者敛神沉静，将深闺焚香寄怀的闲情铺展开来。\n\n衣纹线条清劲婉转，寥寥数笔便勾勒出女子柔婉之态。布景写意疏朗，老树皴染苍朴，淡墨浅晕间晕染出空寂雅致的氛围。整体意韵清和古雅，把闺中女子幽微的情思藏于咫尺尺幅，淡简笔墨尽显尚雅的意趣，以小景见深致，尽显仕女小品的隽雅之美。",[24,7,1131,28,27,96,166,131,34,15188,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff81ef760b91d12544883a492e7b7cb53.jpg",[],{"id":46655,"slug":46656,"title":46657,"dynasty":54,"author":22730,"museum":300,"description":46658,"tags":46659,"thumbUrl":46661,"material":692,"size":1293,"collection":84,"collections":46662,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},237809,"lin-fu-chun-shan-tu-shan-gao-cen-237809","临富春山图扇","高岑（1621-1691），字善长，又字蔚生，杭州人，居金陵（今南京）。高阜弟，为“金陵八家”之一 。\n为人清高，相貌俊美，淡于功名，性好佛门始从法门道昕卧伏腊寺，居茹蔬淡……。 早年学朱翰，后学蓝瑛，所画平实，晚乃以己意行之 。 善山水及水墨花卉，写意入神。",[24,7,1131,128,132,330,29,1337,131,415,46660,208],"近草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264978b278a35530837adab05b20abab.jpg",[],{"id":46664,"slug":46665,"title":4229,"dynasty":124,"author":9459,"museum":300,"description":9460,"tags":46666,"thumbUrl":46667,"material":84,"size":84,"collection":84,"collections":46668,"showCount":155,"zanCount":1998,"manualWeight":48,"mainColor":72},237672,"hua-niao-ce-ling-bi-zheng-237672",[24,7,59,27,28,61,547,624,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a907003859e746d2a89f93c17d00e1.jpg",[],{"id":46670,"slug":46671,"title":76,"dynasty":124,"author":16032,"museum":510,"description":16033,"tags":46672,"thumbUrl":46673,"material":1190,"size":16036,"collection":84,"collections":46674,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},237444,"hua-hui-ce-xiang-sheng-mo-237444",[24,7,59,27,61,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F563448a38ea38d26db26b0146220dbe1.jpg",[],{"id":46676,"slug":46677,"title":46678,"dynasty":54,"author":9529,"museum":300,"description":39800,"tags":46679,"thumbUrl":46680,"material":84,"size":84,"collection":68,"collections":46681,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},236882,"yang-liu-xiao-yue-zhou-wang-hui-236882","杨柳晓月轴",[24,7,165,128,27,132,29,12008,231,211,1337,499,415,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff957e7b95f4b3c3cb57f8c7616ebfbf9.jpg",[68],{"id":46683,"slug":46684,"title":46685,"dynasty":124,"author":46686,"museum":300,"description":46687,"tags":46688,"thumbUrl":46689,"material":84,"size":84,"collection":84,"collections":46690,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},236838,"hua-shi-yuan-yang-zhou-lv-tang-236838","花石鸳鸯轴","吕棠","《吕棠花石鸳鸯图轴》是明代吕棠创作的绢本设色画。\n无款署，钤“竹村”、“吕氏怀芳”。\n此幅图追随吕纪粗笔花鸟风格绘制。\n山石用宋人“大斧劈”皴法，笔墨简练纯熟。\n以山花红叶点缀其间，色彩对比强烈。\n水边鸳鸯羽毛鲜艳，神态安详，使画面充满喜悦和平的气氛。\n作品从题材到技法都为明代院画的典型风格，虽年深日久，屡经揭裱，色墨脱落，但仍可想见其当时的富丽典雅。",[24,7,165,27,28,61,1857,171,547,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb985c8407b206ecd0d907e24d3bf6da.jpg",[],{"id":46692,"slug":46693,"title":33103,"dynasty":54,"author":46694,"museum":20,"description":46695,"tags":46696,"thumbUrl":46698,"material":734,"size":84,"collection":136,"collections":46699,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},236819,"fang-gu-shan-shui-ce-zhao-cheng-236819","赵澄","[明]（一五八一至？）晚年得铜汉章改名澄，字雪江，一字湛之，颍州（今安徽阜阳）布衣。山水泼墨、细谨两擅其长。学宗董源、范宽、李唐诸家。又善临摹，见大内所藏皆缩为小幅，无一笔不肖。又仿古二十幅极精，为琉球国王所得，永为海外珍宝。并工写照，得意之作皆用铜章。以博学能诗称。顺治十一年（一六五四）仿各家山水册时年七十四。《国[清]朝画徵录、读画录、图绘宝鉴续纂、桐阴论画》",[24,7,59,27,29,2271,34,35,415,96,1023,2524,46697,131],"绿树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ebc5ce7d4cd925819659780280bf13.jpg",[136,45],{"id":46701,"slug":46702,"title":46703,"dynasty":124,"author":1270,"museum":300,"description":43445,"tags":46704,"thumbUrl":46705,"material":692,"size":1293,"collection":84,"collections":46706,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},236804,"mo-ju-shan-ye-sun-ke-hong-236804","墨菊扇页",[24,7,164,1131,128,376,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58c78e10c22fd1a8ea6ff0490af865ea.jpg",[],{"id":46708,"slug":46709,"title":46710,"dynasty":124,"author":36184,"museum":300,"description":45566,"tags":46711,"thumbUrl":46712,"material":692,"size":1293,"collection":84,"collections":46713,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},236802,"xue-jing-shan-shui-shan-mian-liu-yuan-qi-236802","雪景山水扇面",[24,7,1131,128,1813,29,1337,101,102,98,96,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21f75ef4b3c71050ae92fa9a1cfdaad8.jpg",[],{"id":46715,"slug":46716,"title":4724,"dynasty":54,"author":46717,"museum":300,"description":46718,"tags":46719,"thumbUrl":46720,"material":692,"size":1293,"collection":136,"collections":46721,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},235916,"shan-shui-tu-ce-mei-chong-235916","梅翀","梅翀，明末清初画家，字培翌、培翼，号鹿墅，安徽宣城人，生卒年不详，艺术家，代表作《幽林探胜图》等。",[24,7,59,128,27,132,29,663,413,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d9e4c67409d1d348e7ede1eed98b32c.jpg",[136],{"id":46723,"slug":46724,"title":10613,"dynasty":54,"author":1460,"museum":300,"description":46725,"tags":46726,"thumbUrl":46727,"material":84,"size":84,"collection":84,"collections":46728,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},235881,"yuan-ji-shan-shui-tu-ce-shi-tao-235881","近景茅舍隐于茂林，古木虬枝横斜，生机暗涌，远处危岩拔地而起，皴笔朴拙苍劲，苔点错落灵动，淡赭铺陈晕开清和秋意。笔墨纵逸秀润，看似率意挥写，实则骨力内蕴，将实景奇崛与胸中丘壑相融。\n\n搭配上行书题跋，笔墨舒展跌宕，书画相映成趣，尽显文人雅韵。整幅小品以简淡构图承载蓬勃生机，借山川形貌抒发襟怀，将搜尽奇峰的体悟凝于尺幅之间，萧散清寂中藏着通透灵秀，尽显清寂淡远的文人山水意境，是借笔写心的精妙之作。",[24,7,59,128,27,29,171,34,387,208,64,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da1cb3425542def690c3e5f73f06ab4.jpg",[],{"id":46730,"slug":46731,"title":46732,"dynasty":54,"author":26483,"museum":300,"description":46733,"tags":46734,"thumbUrl":46735,"material":84,"size":84,"collection":84,"collections":46736,"showCount":155,"zanCount":1998,"manualWeight":48,"mainColor":49},235832,"qiu-shan-cao-tang-tu-zhou-wu-hong-235832","秋山草堂图轴","此作用淡墨皴擦写层叠秋山，崖峦渐远晕出空濛秋韵。近畔枯木虬曲苍劲，苍松卓然挺立于茅舍之侧，篱径萦回板桥通幽，溪岸渔舟横斜，静穆山居秋景宛然眼前。枯笔短皴勾勒山石质感，淡赭轻敷晕染秋意，简淡笔墨见出苍浑朴拙。右上角题诗衬景，诗画相融，将秋日山野萧疏安闲的意趣尽显，暗合文人幽居丘壑、寄情林泉的雅逸襟怀。",[24,7,165,128,27,132,29,34,1337,1144,98,99,131,758,15999,1645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7717b800d6cee60d4bf59a3f525be6ec.jpg",[],{"id":46738,"slug":46739,"title":46740,"dynasty":124,"author":1438,"museum":300,"description":13247,"tags":46741,"thumbUrl":46742,"material":692,"size":1293,"collection":136,"collections":46743,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},235764,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-dou-ya-tu-ye-chen-chun-235764","吴门诸家寿袁方斋三绝册-斗鸭图页",[24,7,59,128,29,129,99,130,171,331,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc65850c37b4775f5d75358b0352c4b4.jpg",[136],{"id":46745,"slug":46746,"title":46747,"dynasty":124,"author":28758,"museum":300,"description":46748,"tags":46749,"thumbUrl":46750,"material":692,"size":1293,"collection":84,"collections":46751,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},235740,"xue-yue-du-shu-tu-zhou-xiao-yun-cong-235740","雪岳读书图轴","萧云从(1596～1673) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。",[24,7,165,128,132,29,1556,34,97,131,1424,16528,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aadc14ab00840c1f1800f468d3cccf0.jpg",[],{"id":46753,"slug":46754,"title":4229,"dynasty":124,"author":22448,"museum":300,"description":39003,"tags":46755,"thumbUrl":46756,"material":692,"size":1293,"collection":84,"collections":46757,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},235736,"hua-niao-ce-tan-zhi-yi-235736",[24,7,59,128,369,61,2035,624,547,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F496762f6770435afc3596956a8dffd28.jpg",[],{"id":46759,"slug":46760,"title":409,"dynasty":54,"author":24447,"museum":300,"description":46761,"tags":46762,"thumbUrl":46763,"material":692,"size":1293,"collection":136,"collections":46764,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},235546,"shan-shui-ce-zhu-chang-235546","祝昌[清]字山嘲，安徽广德人（一作安徽舒城人），居新安（今安徽歙县），又客汉上。顺治六年（一六四九）进士（清朝书画家笔录误入道光朝）。山水学渐江，后学元季诸家，画多逸致。性孤介，遇不以礼，虽饼金不售。《国[清]朝画徵录、图绘宝鉴续纂》",[24,7,59,128,132,29,98,99,129,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2ad5b2fa16ff516a5cdea7f7f52a564.jpg",[136],{"id":46766,"slug":46767,"title":46768,"dynasty":54,"author":36019,"museum":300,"description":41118,"tags":46769,"thumbUrl":46770,"material":692,"size":1293,"collection":136,"collections":46771,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},235092,"zheng-min-shan-shui-ce-zheng-min-235092","郑旼山水册",[24,7,59,128,132,133,29,663,413,497,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb34c32d893f22e763f30d2b17213649.jpg",[136,117],{"id":46773,"slug":46774,"title":4724,"dynasty":54,"author":5879,"museum":300,"description":46775,"tags":46776,"thumbUrl":46777,"material":84,"size":84,"collection":136,"collections":46778,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},235070,"shan-shui-tu-ce-hua-yan-235070","此作笔墨清隽秀逸，江畔枯枝干瘦虬曲，皴擦间尽显苍劲古拙之态，怪石错落暗藏嶙峋野趣。淡墨晕染远山，将江天寥廓的空寂意境铺陈开来，简淡中藏着幽远意趣。\n\n左侧行书题诗笔势舒展俊朗，诗画相映，将幽居江渚、寄情山水的文人襟怀融于尺幅。整幅以极简笔墨勾勒萧散淡远的林下之风，未作繁复铺陈，却把江渚间清冷澹泊的意蕴娓娓道来，尽显文人画简净空灵的审美意趣。",[24,7,59,128,29,1337,171,228,64,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff58096078f671bcc61fca71c47b69df0.jpg",[136,117],{"id":46780,"slug":46781,"title":46782,"dynasty":54,"author":46783,"museum":300,"description":46784,"tags":46785,"thumbUrl":46786,"material":692,"size":1293,"collection":84,"collections":46787,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},234849,"fang-wu-zhen-mei-hua-shan-mian-gu-he-qing-234849","仿吴镇梅花扇面","顾鹤庆","顾鹤庆（1766－？），字子馀，号弢庵，江苏镇江府丹徒县（今江苏镇江）人。乾隆三十一年生，卒年不详。诸生。性潇洒，工诗文，善行草，好饮。入都，馆庄亲王府。",[24,7,1131,128,650,330,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F022fc414f11997188176d3f95cb6b2a6.jpg",[],{"id":46789,"slug":46790,"title":46791,"dynasty":54,"author":17240,"museum":300,"description":46792,"tags":46793,"thumbUrl":46794,"material":84,"size":84,"collection":84,"collections":46795,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},234692,"ri-zhang-shan-jing-tu-zhou-cha-shi-biao-234692","日长山静图轴","《查士标日长山静图轴》是清代的图轴。\n自题：“日长山静净无尘，风下松花满葛巾。\n自是人间清回处，辋川盘谷总天真。\n丙辰九月画。\n请象老道年翁教正。\n弟查士标。\n”钤“士标私印”白文印、“查二瞻”朱文印。\n款识中的“丙辰”为清康熙十五年（1676年），查士标时年62岁。\n图绘远景山峦高耸如壁。\n近水岸边，长松杂树。\n一高士携童子踱桥而至。\n布局以高远法取势，笔法轻快疏秀，墨气华润蕴藉，意境荒寒清旷，是作者在仿倪瓒的基础上的变体画，堪称其艺术成熟期的代表作。",[24,7,165,128,29,132,131,34,1144,96,98,99,1022,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23b3052f2ac3b856b3b70c157b198284.jpg",[],{"id":46797,"slug":46798,"title":46799,"dynasty":124,"author":223,"museum":300,"description":9208,"tags":46800,"thumbUrl":46801,"material":84,"size":84,"collection":84,"collections":46802,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},234680,"ming-ren-shu-kui-wan-ye-yi-ming-234680","明人蜀葵纨页",[24,7,1131,28,27,61,4018,805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a3de9dc56a64f73b459d7e9d6af110f.jpg",[],{"id":46804,"slug":46805,"title":46806,"dynasty":124,"author":18090,"museum":300,"description":46807,"tags":46808,"thumbUrl":46809,"material":84,"size":84,"collection":84,"collections":46810,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},234631,"fang-zhao-gan-jiang-gao-xue-qian-shan-ye-lan-ying-234631","仿赵幹江皋雪骞扇页","蓝瑛（1585-1664），一说（1585-约1666），明代画家。字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民。又号东郭老农，所居榜额曰“城曲茅堂” 。钱塘（今浙江杭州）人。工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻 ，与文征明、沈周并重。",[1131,24,7,164,128,27,29,1813,372,371,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F449a709d6b85b662301b9381df08858c.jpg",[],{"id":46812,"slug":46813,"title":46814,"dynasty":54,"author":46815,"museum":300,"description":9208,"tags":46816,"thumbUrl":46817,"material":84,"size":84,"collection":84,"collections":46818,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},234621,"jian-fu-qin-wan-shan-li-yu-zhu-234621","涧抚琴纨扇","李育竹",[24,7,1131,27,28,167,96,171,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe6778a14dde5179000d3d8eb76e5893.jpg",[],{"id":46820,"slug":46821,"title":46822,"dynasty":54,"author":46823,"museum":300,"description":46824,"tags":46825,"thumbUrl":46826,"material":84,"size":84,"collection":84,"collections":46827,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},234597,"wu-zhao-zhu-shi-wan-shan-wu-zhao-234597","吴照竹石纨扇","吴照","吴照（1755—1811），字照南，号白庵，江西南城人。乾隆五十四年（1789）拔贡，官至大庾教谕，后弃官卖画自给。通六书，画竹得金错刀法，兼善山水、人物，亦能画兰。意气豪宕，嗜饮，罗聘尝为绘石湖课耕图，并联吟、饭牛诸图。有说文字原考略、听雨楼集。卒年五十七。事具《墨香居画识》、《墨林今话》、《怀旧集》、《清画家诗史》。",[24,7,1131,128,167,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2485fda3f670a81bbcb0572bcc5842ff.jpg",[],{"id":46829,"slug":46830,"title":46831,"dynasty":54,"author":1460,"museum":20,"description":25967,"tags":46832,"thumbUrl":46833,"material":734,"size":84,"collection":84,"collections":46834,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},234505,"yuan-ji-shui-zai-gan-shi-shi-yi-tu-dan-ye-shi-tao-234505","原济水灾感事诗意图单页",[24,7,128,27,133,132,59,29,415,34,5323,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ad7ee64e8e7b98701b3672d4cb80d8f.jpg",[],{"id":46836,"slug":46837,"title":13087,"dynasty":54,"author":13088,"museum":300,"description":13089,"tags":46838,"thumbUrl":46839,"material":84,"size":84,"collection":84,"collections":46840,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},234377,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234377",[24,7,59,27,28,61,2035,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24bb5a703f7e135908423688e41b146b.jpg",[],{"id":46842,"slug":46843,"title":9334,"dynasty":124,"author":19056,"museum":300,"description":46844,"tags":46845,"thumbUrl":46846,"material":1027,"size":84,"collection":84,"collections":46847,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},234246,"hua-hui-tu-juan-chen-gua-234246","陈栝（生卒年未详），约活动于公元16世纪，字子正，号沱江，江苏苏州人。陈栝是 陈淳的儿子。善画花卉，笔似其父。嗜酒放浪。画擅花鸟，继其有法，而又出己意，笔致放浪而有生趣，亦能诗。先其父而亡。自元代文人画创立以写法入画以来，明代徐渭、陈道复更在花鸟中将笔迹放纵的写意画法又向前推进一步，而道复之子陈栝则更在其父基础上，将这种不拘于象的写法又发挥至极致，其勾点皴擦，随心所欲， 绝出尘象之外。",[23,24,7,25,128,188,61,371,375,167,376,263,374,373,209,171,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F824a49108093b390bf2a18fe74a97e32.jpg",[],{"id":46849,"slug":46850,"title":46851,"dynasty":124,"author":10922,"museum":20,"description":10923,"tags":46852,"thumbUrl":46853,"material":1027,"size":84,"collection":84,"collections":46854,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},234154,"wen-jia-bao-zhu-tu-juan-wen-jia-234154","文嘉保竹图卷",[23,24,7,25,128,133,208,64,167,29,171,34,96,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3523bbb22b15f36522d988a8763fc7f1.jpg",[],{"id":46856,"slug":46857,"title":46858,"dynasty":182,"author":223,"museum":20,"description":46859,"tags":46860,"thumbUrl":46861,"material":40,"size":46862,"collection":84,"collections":46863,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},234066,"zhou-fang-di-guan-chu-you-tu-can-juan-yi-ming-234066","周昉地官出游图残卷","图中地官于辇中微露半面人身，其余侍从、武士步行左右，画风接近《女史箴图》《列女图》一路，笔法古拙，人物造型生动，动作略显夸张，无款印。",[24,7,164,25,187,27,28,96,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda9858640caff3d8f2ff702236255cd8.jpg","高24.1厘米，宽51.4厘米",[],{"id":46865,"slug":46866,"title":409,"dynasty":124,"author":2268,"museum":20,"description":40807,"tags":46867,"thumbUrl":46868,"material":3430,"size":5345,"collection":84,"collections":46869,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},234059,"shan-shui-ce-dong-qi-chang-234059",[164,24,7,59,27,128,132,29,98,99,130,331,1233,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fe54937e35a0b7f230e28239b75157.jpg",[],{"id":46871,"slug":46872,"title":46873,"dynasty":124,"author":37883,"museum":20,"description":46874,"tags":46875,"thumbUrl":46876,"material":28165,"size":46877,"collection":84,"collections":46878,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},234046,"wen-dao-tu-shan-ye-cui-zi-zhong-234046","问道图扇页","图绘一年轻男子正向老者作揖行礼，老者则举手指点作回答状的场景，因此，本幅又名《说法图》。崔子忠的人物画在师法顾恺之、陆探微、阎立本、吴道子等传统笔墨的基础上而有创新。他注重人物表情的刻画，在故宫博物院所藏其《洗象图》、《藏云图》及《渔家图》中，都能准确地画出不同身份的人物的特征。在此图中，他将年轻人问询时谦卑的表情和老者自信淡定的神态均表现得生动传神。衣纹用笔圆润细劲，线条颤掣，虬折多变，突出了衣服质料的柔软质感和随风飘的动势。树木的枝叶以双线勾边填色，用笔工细，富装饰性。",[24,7,1131,27,28,96,331,131,415,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe607e403e39498919d386dbca761bcc9.jpg","纵20.8厘米，横60.2厘米",[],{"id":46880,"slug":46881,"title":7359,"dynasty":54,"author":1242,"museum":224,"description":7360,"tags":46882,"thumbUrl":46883,"material":1464,"size":7363,"collection":84,"collections":46884,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},233861,"mei-hua-ce-jin-nong-233861",[24,7,59,128,188,371,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F934177b8030c4d46405a94c29707459e.jpg",[],{"id":46886,"slug":46887,"title":7359,"dynasty":54,"author":1242,"museum":224,"description":7360,"tags":46888,"thumbUrl":46889,"material":1464,"size":7363,"collection":84,"collections":46890,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},233860,"mei-hua-ce-jin-nong-233860",[24,7,128,371,59,64,4759],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F178f4a4101475ce88b30fc2920bd42aa.jpg",[],{"id":46892,"slug":46893,"title":46894,"dynasty":124,"author":3619,"museum":20,"description":46895,"tags":46896,"thumbUrl":46898,"material":1722,"size":46899,"collection":84,"collections":46900,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},233819,"wen-zheng-ming-qu-gang-gui-zhou-tu-zhou-wen-zheng-ming-233819","文徵明曲港归舟图轴","本幅自题五言诗并署：“雨绝树如沐，云空山欲浮。草分波动处，曲港有归舟。徵明。”钤“徵仲父印”（白文）印。本幅有明彭年、陆师道、王穀祥及清乾隆帝题诗共四则。作品曾经清内府收藏。近代庞莱臣《虚斋名画录》著录。\n画中描绘山间雨后的景象，云雾蒸腾，林木葱郁，笔墨工稳细润，意境清新幽静，是文氏细笔山水画的代表作。",[24,7,165,128,132,208,29,34,495,131,499,3440,171,1337,46897],"常绿树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f6fe0a25489fc8e6c0b2921a67b3c49.jpg","纵115厘米，横33.6厘米",[],{"id":46902,"slug":46903,"title":46904,"dynasty":124,"author":3608,"museum":300,"description":46905,"tags":46906,"thumbUrl":46907,"material":84,"size":84,"collection":84,"collections":46908,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},233704,"shan-ju-le-shi-ce-lu-zhi-233704","山居乐事册","陆治五十岁左右隐居支硎山之后，读书作画， 用功更勤，对大自然的观察和体验也逐渐深刻。从 传世的《陆包山遗稿》来看，陆治的诗文多见纪游山 水和咏赞植物花卉之作。\n他淡泊宁静的生活状态也 同样反映在画作里。此套《山居乐事图册》即描绘了 文人山村幽居之乐，画面透出清逸脱俗的气质。\n此册共十页，内容分别为梦蝶、笼鹤、观梅、采 药、晚雅、停琴、渔父、放鸭、听雨、踏雪等文人山居 乐事。每幅皆有浓郁的山野生活气息，画法简逸，构 图多样，笔墨疏放清逸，线条苍劲挺立，意趣横生， 属画家晚年的代表作。 其中，“梦蝶”一幅是文人对庄周梦蝶的畅想。 这一经典在每个传统文人画家心中都有一个清新 可爱的画面。陆治中年以后退出仕途，隐居山间，对 庄子的道家精神极为推崇，画这样一幅册页，再自 然不过。画中，庄子团坐伏一大石而睡，安静舒适， 鬓角的发须在清风吹拂中微微扬起。\n整个人物造型 涉笔不多，却是相当传神。景物描绘也十分生动有 趣，柳条零落疏散、深深浅浅，地面上的灌木蓬勃而 浓密，两者在笔墨上形成了节奏与疏密的对比。“笼 鹤”一幅从笔墨到构图则相对中规中矩。景物刻画 细致周密，布景平稳，技法也是陆治最熟练与常见 的。“听雨”画大雨滂沱，狂风大作。雨中，一文士檐 下卧榻听雨，神情专注，体态闲适；一仆从撑伞前 行，低头躬身，行步艰难。整幅作品将风雨大作的景 象，通过淋漓的水墨与酣畅的用笔，皴染结合，充分 地表现",[24,7,59,27,96,331,171,19806,355,1771,415,5323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0aa8bf1b39d4b2a018b0488df291e99.jpg",[],{"id":46910,"slug":46911,"title":46912,"dynasty":124,"author":3619,"museum":300,"description":46913,"tags":46914,"thumbUrl":46915,"material":46916,"size":46917,"collection":84,"collections":46918,"showCount":155,"zanCount":1116,"manualWeight":48,"mainColor":72},233675,"wen-zheng-ming-feng-zhu-shan-mian-wen-zheng-ming-233675","文徵明风竹扇面","释文：风揽青桐叶半摧，时飘一片点苍苔。山僮不识林亭趣，却併松枝尽扫开。",[24,7,1131,128,167,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25766ea4c8354139c698f5eeaf00d99d.jpg","泥金纸本","17×52cm",[],{"id":46920,"slug":46921,"title":40883,"dynasty":54,"author":6778,"museum":56,"description":6779,"tags":46922,"thumbUrl":46923,"material":611,"size":84,"collection":84,"collections":46924,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},233193,"hua-hui-ce-tao-hua-ye-zhao-zhi-qian-233193",[24,7,59,27,61,209,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20ceefe6bfa632f5ff93aad6e4f89901.jpg",[],{"id":46926,"slug":46927,"title":46928,"dynasty":18,"author":1174,"museum":20,"description":46929,"tags":46930,"thumbUrl":46931,"material":36932,"size":46932,"collection":84,"collections":46933,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},233132,"cai-wei-tu-juan-li-tang-233132","采薇图卷","这是一幅历史题材的绘画作品，是以殷末伯夷、叔齐“不食周粟”的故事为题而画的。司马迁所著之《史记》中即有“伯夷列传”，伯夷和叔齐是殷的诸侯孤竹君（国在今河北卢龙南）的两个儿子，孤竹君立其三子叔齐为继承人。孤竹君死后，叔齐要把继承权让给哥哥伯夷，伯夷不肯接受，说这是父命，不可违背，最后逃跑了。叔齐见状也离家出走。兄弟二人出走后先后投奔了西伯姬昌（即周文王），不久姬昌死，儿子姬发（即周武王）要出兵讨伐纣王。伯夷、叔齐拦住姬发的马头谏阻，认为臣子造反讨伐君王是大逆不道的。武王伐纣取得胜利后，伯夷、叔齐深以为耻，表示决心不吃从周朝土地上长出来的粮食，于是逃隐至首阳山（在山西永济县境），采食野菜充饥度日，最后双双饿死在山里，临死前还作了一首采薇歌：“登彼西山兮，采其薇矣！以暴易暴兮，不知其非矣！神农虞夏忽焉没兮，我安适归矣？于嗟徂兮，命之衰矣！”表示了坚决不屈服的志向。\n李唐所画的《采薇图》，即着力刻划了这两个古代宁死不愿意失去气节的人物。图中描绘伯夷、叔齐对坐在悬崖峭壁间的一块坡地上，伯夷双手抱膝，目光炯然，显得坚定沉着；叔齐则上身前倾，表示愿意相随。伯夷、叔齐均面容清癯，身体瘦弱，肉体上由于生活在野外和以野菜充饥而受到极大的折磨，但是在精神上却丝毫没有被困苦压倒。作者着墨不多，就把伯夷、叔齐在特定环境下的神态描绘得淋漓尽致，达到了很高的水平。\n李唐采用这个历史故事来表彰保持气节的人，谴责投降变节的行为，在当时南宋与金国对峙的时候，可谓是“借古讽今”，用心良苦。",[23,24,7,25,128,27,28,132,96,29,34,497,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6db3df0be865cf051082196fc209b4d.jpg","纵27.2厘米，横90.5厘米",[],{"id":46935,"slug":46936,"title":46937,"dynasty":54,"author":16862,"museum":1300,"description":46938,"tags":46939,"thumbUrl":46941,"material":3544,"size":46942,"collection":84,"collections":46943,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},232899,"xiao-xiang-feng-zhu-tu-li-zhou-li-fang-ying-232899","潇湘风竹图立轴","李方膺，字虬仲，号晴江，又号秋池，抑园，白衣山人。江苏通州(南通)诸生。先后任山东兰山、安徽潜山、合肥知县，有善政、人德之。以不善逢迎，获罪罢官。寓居金陵借园，自号借园主人。常往来扬州卖画以资衣食，为扬州八怪之一。\n《潇湘风竹图》作于合肥五柳轩，时为乾隆十六年(公元1751年)，作品以秃笔湿墨逆笔取势画风中之竹，通过竹叶的独特造型，表现出狂风大作的动态。画的左下仅晒云:画史从来不画风，我于难处夺天工;请看尺幅潇湘竹，满耳丁东万玉空。\n李方膺常喜欢描绘以风雨为背景的竹石。风是抽象的东西，没有具体的形象，颇难以表现出来的。此画中画家大胆创造，写竹子数根，依于石旁，挺拔修直。\n此画中有粗竹两枝，嫩竹两枝，在狂风中摇曳生姿。主竹挺拔有力，不弯不揖，有参天凌云之气概。整个画面的气势表现在用浓墨、枯墨铺写的枝叶上，所画竹叶不讲成法，秃笔直扫，竹叶画呈扁方状倾斜方向，无叶尖，潇洒随意，尽管风势极强，但枝叶顺风飞扬而不折，透出一种镇静与傲慢。画面中，石与草都是参照物，点染出艰难、恶劣的自然环境。在疾风的鼓荡下，几叶小草已偃伏在地，坚强的石头也似乎极力抗拒，只有劲竹傲立苍穹，岿然不动，片片枝叶都呈现出百折不挠的力量。\n风是抽象的东西，没有具体的形象。画家秃笔直扫，画竹叶扁方状成倾斜方向，有力地表现了疾风的狂肆，作者不但在描绘技法上显得“因难见巧”，而且显示出竹子不畏强风的精神，笔笔枝叶呈现出坚贞不屈的力量。画家通过描绘竹叶的动态变化，有力地表现出疾风的狂吹，使不可见的风有了可视的形象，而且从竹枝飞舞、竹叶相互碰撞中，似乎还可以听到碎琼乱玉的丁东之声，其下笔如风驰雨骤，正像是抒发画家胸中的怒气，正是一种人格的写照。\n板桥之竹如清癯的老者，清淡修整，有超然之态。李方膺则不然，他由于仕途生活中得罪权贵，先后下狱罢官，但从不屈服苟且，这幅画可说是他心境的折射。他的竹宛如在战斗中的猛士，顶天立地，傲岸不屈。他借竹子来抒发情怀，借竹子不怕狂风暴雨、坚韧不拔的品格来自喻。",[23,164,24,7,165,128,369,2333,276,46940,171,11830],"风竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5644cd4993b2c84cb1ddba935665f65d.jpg","纵168.3厘米 横67.7厘米",[],{"id":46945,"slug":46946,"title":30245,"dynasty":54,"author":46947,"museum":300,"description":46948,"tags":46949,"thumbUrl":46950,"material":611,"size":26338,"collection":84,"collections":46951,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},232893,"mei-hua-tu-zhou-wu-yan-ru-232893","吴彦儒","所画梅花皆疏枝瘦朵，别具气韵，有露冷风清之致，与汪士慎所绘的繁枝梅花相比可谓各领风骚。",[23,24,7,165,128,371,331,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55ee64b408a7fa0e64c57bda2c32bf75.jpg",[],{"id":46953,"slug":46954,"title":46955,"dynasty":144,"author":223,"museum":77,"description":46956,"tags":46957,"thumbUrl":46958,"material":611,"size":46959,"collection":84,"collections":46960,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},232257,"cong-ju-tu-yi-ming-232257","丛菊图","《宋人画丛菊图》是宋代佚名创作的一幅画。图绘秋菊一丛，红白相间，繁枝茂叶，生机勃发，不见肃杀秋意。花瓣用中锋细笔勾描，再以朱红或白粉晕染；花蕊用细笔点出；茂密的叶片或用赭石、或略入汁绿、或稍加藤黄染出，以示老嫩不同的色彩。花之欲开、盛开、将残，叶之翻卷及明暗向背，刻画得恰到好处。画风工致细腻，构图丰满，但繁而不乱，密而不窒，设色艳而不俗，为南宋写生画佳作",[24,164,7,4057,165,27,28,61,604,131,481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25f51eb89e89e998efcbce918c58e349.jpg","35x36cm",[],{"id":46962,"slug":46963,"title":46964,"dynasty":124,"author":28875,"museum":300,"description":46965,"tags":46966,"thumbUrl":46967,"material":84,"size":84,"collection":84,"collections":46968,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},231944,"qi-que-tu-bian-jing-zhao-231944","栖雀图","边景昭，字文进，明代宫廷花鸟画家。福建延平府沙县（今福建沙县）人，祖籍陇西（今属甘肃）人，生卒年不详。永乐年间（1403-1442）任武英殿待诏，至宣德时（1426-1435）仍供奉内廷。后为翰林待诏，常陪宣宗朱瞻基作画。他为人旷达洒落，且博学能诗。他继承南宋“院体”工笔重彩的传统，其作品工整清丽，笔法细谨，赋色浓艳，高雅富贵。有“花之妖笑，鸟之飞鸣，叶之蕴藉，不但勾勒有笔，其用笔墨无不合宜”之说。边景昭的墨线气力十足，变化丰富，精谨细微，柔韧相宜。\n边景昭的花鸟画以工笔重彩法见长，传统渊源无疑来自宋代“院体”，如清方薰《山静居画论》评：“边鸾（应作边景昭）、吕纪、林良、戴进，纯以宋院题为法，精工毫素、魄力甚伟，黄（笙）、赵（昌）、崔（白）、徐（熙）之作，犹可想见。”明李开先《中麓画品》更具体的指出：“边景昭其源出于李安忠。”清顾复《平生壮观》记边氏《聚禽图》时也指出：“得黄要叔父子遗意。”黄要叔父子即北宋初黄筌及其子黄居采，所创工笔重彩花鸟画风，成为宋初“院体”标准体制；",[23,805,24,7,164,28,27,61,355,2438,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66cd108c88026e1927f3fdb31455cb6c.jpg",[],{"id":46970,"slug":46971,"title":46972,"dynasty":144,"author":1768,"museum":244,"description":46973,"tags":46974,"thumbUrl":46975,"material":151,"size":46976,"collection":84,"collections":46977,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},231384,"yuan-shi-zu-chu-lie-tu-liu-guan-dao-231384","元世祖出猎图","《元世祖出猎图》属于全景式大尺幅作品，取材于元世祖行猎的场面，即元世祖忽必烈与帝后及其侍从狩猎情景。 [2] 画中忽必烈着红衣白裘，乘着黑马。画中有十人，有弯弓搭箭，有驾鹰纵犬，人物分散，似做围猎状。\n《元世祖出猎图》中人物、马骑无论衣着、装备皆刻画精细，表情神态自然生动。所画人和马作各种不同的姿态，转侧俯仰，富有变化。\n《元世祖出猎图》画北方沙漠地带，一片黄沙坡地，景色单调。在沙丘无垠的远方，正有一列骆驼驮队横越。近处人骑数众，或张弓射雁；或手架猎鹰；或绳携猎豹，皆为马上行猎之状。其中骑着黑马、身穿白裘的，应为元世祖，与世祖并驾的妇女，似为帝后，其余八人，应是侍从，其中尚有中亚黑奴一名。这些人中，其中一人正弯弓搭箭，瞄准着空中苍鹰。而其他猎手则顺着世祖身后著红服者所指示的方向，作注目远眺状，像在前方已发现了猎物，他们正蕴酿着纵马围歼的计划。\n《元世祖出猎图》有人物、鞍马、鹰、狗、骆驼等，其中对人物、鞍马刻画尤为详尽。主要人物或许皆由写生肖像而来，老少不一，神情各异，甚至连脸部肤色亦不尽相同。马匹的塑造、除分别敷以黑、白、红、黄、赭、灰等不同色彩外，各马匹姿态亦无雷同者，马之透视变化、结构关系皆合于解剖；元世祖乘骑，虽作原地站立，无大的动姿，但生动雄健，风骠不凡。\n该图取其部分，画家对画面上几十个人物进行了精雕细刻，各尽其态。尤对位于或靠近中央地方的元世祖刻画尤为入微。图中御青马，戴貂冠，着红衣披白裘，脚蹬皮靴，昂然坐在马上者，即是元世祖忽必烈，他侧身远视，气魄雄伟，他的头略微向左偏转，双目凝视远方，坚定而又泰然，和元世祖并辔而立的可能是帝后，她身穿白袍，在坐骑红缨佩饰的映衬下，显得非常优美，和元世祖刚毅伟岸的身姿形成对比。其余四人为猎人，在世祖右侧边上的一人正弯弓搭箭，瞄准着空中苍鹰，而其他猎手顺着世祖身后着红服者所指的方向，作注目眺状。好像在前方已发现了猎物，他们正酝酿着纵马围歼的计划。在前景以及世祖和帝后的两侧共八名侍从，有的腰携箭菔，有的手持猎鹰，有的弯弓寻羽，他们或纵犬、或持矛、或扬鞭，姿态或仰或俯，坐骑盍去不同。背景，远处画得十分简括，一队商旅行驼出没于山丘之中，黄沙浩瀚，朔漠无垠，一派北国风光，顿时使人恍然，如临雄关塞外的辽阔大漠之中。\n画家在此画中充分发挥了线条的表现力量，无论是线条的劲挺与柔和，还是运笔疾迟轻重，皆臻妙境。画幅上的人物、鞍马刻画尤为详尽，老小不一，神态各异，脸部肤色也不同，尤其是元世祖的画像如写生肖像画。马的塑造不仅色彩不同，姿态也不雷同，有的低首啃草，有的站立歇息，有的昂首远望。世祖乘骑的黑马原地站立无动势，但生动雄健，风骠不凡，即对于人物和坐骑的每一个细部， 以及繁复的装饰花纹和细如游丝的马鬃，都交待得一丝不苟， 历历在目。\n构图上，《元世祖出猎图》采用了俯视手法，场面空旷壮观，远处沙丘间，点缀着一列骆驼，增强了画面层深效果。猎队人物聚散、交叠之布局，也生动自然，富有狩猎场面所特有的生活气息。此图画面构图疏密得当，错落有致，人物互相呼应，前景、中景、远景安排得层次分明，画面详略、虚实关系处理得十分成功。\n清初文学家纳兰揆叙：《题元世祖岀猎图》\n至元天子英武姿，校猎每以秋冬期。我今展图如见之，沙漠惨淡移于斯。星斿蔽野虹作旗，厩马既秣车既脂。至尊前行后阏氏，茸帽压顶裘反披。名王部长络绎随，臂弓腰箭千夫驰。北风似弩雪似簁，踆乌匿影顽云痴。鸿鹄纷拏苍隼饥，雉飞入草鹰在枝。银麞缟鹿熊豹麋，狡兔封豕狐与狸。洞胸饮羽血淋漓，焚林捣穴靡孑遗。就中射虎者为谁，引满一发穿其颐。目光磹怒未弛，懦怯乍覩犹惊疑。归来穹庐帟幕施，酪浆湩乳倾金巵。燎毛燔肉土锉炊，琵琶发声羗苗吹。酒酣耳热欢融怡，寒气忽转春迟迟。厥初穷兵辟坤维，乘胜直抵西海湄。于阗乞降迨龟兹，角端示警殊不知。从畋已寓阵法奇，止齐步伐皆得宜。月来日往绵岁时，此画完整无缺亏。偶然浏览浑忘疲，便觉满室生凉飔。壮观咫尺慰所思，何待振策游边陲。\n《元世祖出猎图》不仅是一件出色的人物鞍马画，而且还透露出蒙元时代的社会文化特征。\n蒙元时期出土的服饰实物资料有限，《元世祖出猎图》是研究蒙元服饰的重要艺术参考资料。",[164,24,7,27,28,96,101,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad24bc0e5340dde489652972b9951d3.jpg","纵：182.9公分，横：104.1公分",[],{"id":46979,"slug":46980,"title":46981,"dynasty":124,"author":204,"museum":244,"description":46982,"tags":46983,"thumbUrl":46984,"material":611,"size":41137,"collection":84,"collections":46985,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},231376,"jiao-yin-jie-xia-chou-ying-231376","蕉阴结夏","此为一幅煌煌巨作，此图为仇英画粗笔之杰作：表现的是炎暑时节，士人于庭院内弹琴拨阮的闲情雅兴。图中画庭院中蕉石耸峙，后有苍筠数竿，清劲飘洒、远处的左侧画有巨块的岩石，岩石的右方画有几棵芭蕉树，树下偶有数块小石块，石块和树根部长满了杂草。画面的下部有二位长者席地而坐，左侧一长者在一旁专心致志地抚琴，右侧一位长者在洗耳恭听，神注专一。右画面的右上角有一女童正在扭首倾听琴声，弯着腰，双手持盏，旁侍后侧，被琴声吸引呆立不动。在长方的矮桌上，摆放一叠书卷，一篡一尊。从画面女童的姿态和神情看，似乎正在为两位长者作斟酒前的准备。\n此画构图简明开朗，只取近景，而将远景略省。人物居中主景位置，其后有竹、芭蕉及奇石穿插托衬。画面上的人物，须眉毕肖，神情各异，栩栩如生，其中尤以拨阮者之右手拨弦手式之描写，最能表现出力与美的感觉。故有别于一般山水中点景人物的遣貌取神。所画的人物，符合当时士大夫“优游林下”的生活情趣，主题极为鲜明。画笔沉着而活泼。构图疏密得当，色调柔和，远处的山石和芭蕉树采用写实手法，画笔疏放酣畅，格调闲适。画芭蕉，先以墨笔中锋勾勒，再赋染淡绿、淡青，蕉侧山石用侧势中锋，稍浓墨笔勾画轮廓，趁将干之际再迅以淡墨皴擦，并和水卧笔化染开，行笔疾速，充满水墨交融，淋漓畅快之感：画竹叶则于立竿之后，以浓淡墨和汁绿层层罩上，草以淡墨、淡绿画成，笔极挺拔。",[24,7,165,28,27,96,875,276,497,438,8628,10090],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F248b2bea1b45945cfa44c7abdd287616.jpg",[],{"id":46987,"slug":46988,"title":46989,"dynasty":18,"author":223,"museum":244,"description":46990,"tags":46991,"thumbUrl":46992,"material":173,"size":46993,"collection":42,"collections":46994,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},231054,"cui-zhu-ling-mao-tu-yi-ming-231054","翠竹翎毛图","《宋人翠竹翎毛图轴》是宋代画作，作者佚名，采用南唐后主李煜金错刀的手法，是一幅花鸟图轴，表达了宋代绘画所谓“写生”的精义。此画幅对生态有着深刻的观察和了解，是一幅形神皆兼的写实作品；在构图上以近景为主，各景物均匀地分布在画面中，具有前后的空间感。这幅画的笔墨质朴，除了部分细枝外，都以先钩轮廓线再填染颜色的“双钩填彩法”画成，行笔有很多起伏提顿的地方，其中以坡石和竹叶的轮廓线最为明显。而竹叶部份，采用特别的颤动式的线条，整体用笔方面，起伏变化较明显，偏向于南宋的风格。",[23,164,24,7,28,27,61,3334,167,211,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551ae374ee32752aeb4c0996f85ae3d1.jpg","185×109.9厘米",[42],{"id":46996,"slug":46997,"title":46998,"dynasty":54,"author":45224,"museum":300,"description":46999,"tags":47000,"thumbUrl":47001,"material":84,"size":84,"collection":84,"collections":47002,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},230889,"xiong-ji-ju-shi-tu-li-shi-zhuo-230889","雄鸡菊石图","这幅水墨写意之作，以雄鸡为主体，踞石而立。铁爪紧扣岩块，冠髯抖擞，尾羽如墨色长剑斜斜舒展，笔意纵逸苍劲，以浓淡墨色晕染出羽毛蓬松肌理，寥寥数笔便将雄鸡骄悍英武之态尽显，形神兼备。\n\n旁侧秋菊斜枝而出，墨花点染间浓淡错落，枯涩枝桠衬出晚秋清逸萧疏的意韵，与雄鸡的刚健相得益彰。右上角行书题诗，笔墨与画意相映，添就悠长文人意趣。\n\n整作笔力苍浑兼具秀润，以极简水墨写尽物象风神，将禽鸟野逸与花草清隽相融，借物抒怀，把秋日生机与雄鸡傲骨铺陈纸上，尽显写意花鸟以形写神的妙处。",[23,164,24,7,165,128,61,4325,376,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab4355cfcff03a1ce87b1b057424bf8d.jpg",[],{"id":47004,"slug":47005,"title":3942,"dynasty":124,"author":2268,"museum":300,"description":47006,"tags":47007,"thumbUrl":47008,"material":84,"size":84,"collection":84,"collections":47009,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},230850,"gao-yi-tu-dong-qi-chang-230850","此作用笔松秀灵动，以干笔枯墨绘就，兼施淡墨晕染。画面分远中近三境，远山以淡墨轻扫，虚灵空濛，似含烟霭；中平湖如镜，汀渚错落，漾出澹澹清寂；近景枯木虬曲苍古，姿态疏朗萧散，尽显荒寒雅逸之气。\n\n以书入画，笔墨间自带文人疏淡风骨，删繁就简，褪去实景冗杂，独留山水精神，将林下高贤寄情丘壑、坐忘林泉的隐逸意趣藏于尺幅之间，静穆清寂的氛围里，尽显文人画尚意重韵的极致品格。",[23,24,7,128,132,133,64,29,34,131,31,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F209df79a27a9101f03f274d4311d3360.jpg",[],{"id":47011,"slug":47012,"title":47013,"dynasty":54,"author":1676,"museum":300,"description":47014,"tags":47015,"thumbUrl":47016,"material":84,"size":84,"collection":84,"collections":47017,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},230293,"hua-niao-ce-shi-kai-li-shan-230293","花鸟册十开","此作用笔放逸老辣，以泼墨晕染荷叶，浓淡干湿一气呵成，淋漓间尽显叶片舒展厚重的质感。荷花花苞则以焦墨勾边，淡墨晕染花瓣，妍雅秀润，与荷叶的苍劲朴拙形成鲜明反差，寥寥数笔便勾勒出夏荷出尘之姿。\n\n画面搭配题诗与朱印，书画印浑然一体。书法朴拙跌宕，与水墨荷花相映成趣，将文人意趣与花鸟神韵相融，以简驭繁，尽显写意酣畅情致，把荷花清逸风骨与自身疏朗襟怀尽数诉诸笔端，是笔墨性情与物象神韵完美契合的写意佳作。",[24,7,164,59,128,61,81,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e2b5537a93897bce1aaae99efc57378.jpg",[],{"id":47019,"slug":47020,"title":47021,"dynasty":54,"author":4083,"museum":300,"description":47022,"tags":47023,"thumbUrl":47024,"material":84,"size":84,"collection":84,"collections":47025,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},230181,"xi-shan-gao-yin-shan-shui-tu-wang-shi-min-230181","溪山高隐山水图","此作用笔圆厚松润，以干笔淡墨层层皴染，糅合黄公望披麻皴意趣，山峦层叠间，高远、深远之境兼具。主峰雄踞上端，峦头苍郁厚重，山腹林麓间村落错落，溪谷萦回穿绕，板桥渔隐点缀其间，将山川雄浑与山居恬和相融。\n笔墨苍秀灵逸，皴擦点染井然有序，于淡墨晕染间铺陈出山林的温润郁茂，把隐逸山居的清逸之思寄寓在层叠丘壑之中，平淡天真里藏着静穆悠远的林下之风，是师古而自出机杼的佳构。",[23,24,7,164,165,128,132,29,663,228,413,97,98,711,131,37,1645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6371f7bbde6fac2e4d55f85cd76ed00e.jpg",[],{"id":47027,"slug":47028,"title":47029,"dynasty":54,"author":523,"museum":300,"description":47030,"tags":47031,"thumbUrl":47032,"material":84,"size":84,"collection":84,"collections":47033,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},230146,"shi-gong-ci-tu-ce-leng-mei-230146","十宫词图册","《避暑山庄图》是清代画家 创作的一幅绢本设色画，该画现收藏于北京故宫博物馆 。\n此画景物右至武烈河及东部山区，左至西岭山区为止，并从山庄东部崖殿“万壑松风”殿座开始，一层层向北展开，包罗四围秀岭，十里湖湘的整个湖区、平原区主要建筑和自然风貌，体现了冷枚高度的概括能力和精湛的艺术技巧，历史与艺术价值很高 。\n画中青山环抱，绿树成荫，后山一股清泉，流入山庄，湖水荡漾，荷花盛开，岸柳垂荫，亭台、水榭、宫室、高楼，因地制宜，聚散错落 。\n图中湖泊东侧低岩上耸立的那座仿造宝塔，似乎是从镇江金山寺移植过来的。\n苑中树木郁郁葱葱，清幽宁静，左右两侧绵延起伏的群山，于巍峨壮观中又透出几分灵秀。\n丘壑相连，迤逦苍茫，呈现出一派江山无限的景象 。\n画幅右下角自题：“小臣冷枚恭画”楷书款，下钤“臣冷枚”朱白文印和“夙夜匪懈”白文方印。\n另有乾隆、嘉庆、宣统藏印五方 。\n避暑山庄，又称“承德离宫”、“热河行官”，在今河北承德市区东北。\n它始建于清康熙四十二年（17年），乾隆时又进行了大规模的扩建，是清朝皇帝夏、秋季避暑的行宫 。\n《避暑山庄图》绘于康熙五十二年（公元171年），这时避暑山庄刚建成“万壑松风、芝径云堤、无暑清凉、镜水云岭、曲水荷香、四面云山、暖流渲波”等三十六景，冷枚以鸟瞰的形式俯视整座园林，把三十六景中的三十景都囊括其中 。\n此图采用鸟瞰式构图，描绘了实景的山水画。\n图中表现的是清代一处皇家园林——避暑山庄。\n画面的前部是工整细巧的宫殿，稍后是一组具有江南园林格调的建筑物，从画面上还可以看到一座仿照镇江金山寺而建的木结构高塔，画面的后部是高耸起伏的山峦，整座山庄由逶迤曲折的石墙围绕，最右方是承德的一处奇特景观——棒锤峰。\n冷枚具有传统工笔界画的基础，描绘建筑物时又适当参用了欧洲的透视画法，从而加强画面的纵深感 。\n此画描绘了十里澄湖、后苑建筑及周围山岭。\n由于冷枚既擅长运用传统的界画技法，又了解西方绘画的透视法，因而将避暑山庄中的建筑物表现得错落有致，造型准确、细腻 。\n此画以全景式的表现手法，充分展现了避暑山庄的整体风貌，根据画面的描绘再结合文献记载考察，大致可以断定此图画的是乾隆时扩建山庄之前的面貌，这对于人们了解避暑山庄的原始格局具有重要价值 。\n217年6月至1月中旬，《避暑山庄图》在香港文化博物馆举办的“八代帝居——故宫养心殿文物展”中展出 。\n冷枚（约1669—1742），字吉臣，号金门画史，山东胶州人。\n是清代画家，曾在宫廷中担任过画职，是当时大画家焦秉贞的弟子。\n他的绘画题材有人物也有山水楼台，人物主要以仕女为主，所画人物工丽妍雅，笔墨洁净，色彩韶秀，画面精美。\n其画法兼工带写，生动有致，他的主要作品有《养正图册》、《十宫词图册》、《罗汉图册》、《避暑山庄图》、《连生贵子图》等 。",[24,7,59,28,27,95,133,208,64,96,97,166,772,2048,228,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F535a93f1cb226249d9c611dcdae64e41.jpg",[],{"id":47035,"slug":47036,"title":27698,"dynasty":124,"author":28758,"museum":300,"description":47037,"tags":47038,"thumbUrl":47039,"material":84,"size":84,"collection":84,"collections":47040,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},228967,"shan-shui-ce-ye-xiao-yun-cong-228967","这幅山水取高远、平远二法构景，右侧危崖层叠耸峙，以细劲皴笔刻绘山石嶙峋肌理，古松倚崛崖而生，姿态苍劲奇逸。左侧江流逶迤，洲渚之上林木错落，村居隐于坡岸林麓，野意悠然自生。\n\n设色清浅柔和，以赭石晕染山峦，墨色点苔绘木，淡润雅致间尽显清和。整体意境萧疏旷远，兼具皖南山水的灵秀，又饱含文人隐逸丘壑的静穆意趣，笔致秀雅工丽，将山水自然之美与林下幽居的雅怀相融，观之便如身临幽寂林泉，心神涤荡。",[24,7,164,59,128,27,132,29,131,34,99,129,96,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fb76240c525618fdf974dbb6774f96.jpg",[],{"id":47042,"slug":47043,"title":47044,"dynasty":54,"author":12088,"museum":300,"description":47045,"tags":47046,"thumbUrl":47047,"material":84,"size":84,"collection":84,"collections":47048,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},228954,"zui-gui-tu-yuan-jiang-228954","醉归图","夜色笼着深宅朱廊，虬枝古木斜倚庭中。厅堂内宴饮方酣，宾客笑谈尽欢，堂下宫灯垂悬晕开暖光。庭间仆从垂首候立，另有三两醉客相互搀扶缓行，将宴散的松弛慵懒尽数流露。\n\n界画工细严整，将宅邸回廊台榭的规制尽显无余，人物情态鲜活灵动，把宴后醉归的闲散意趣描摹入微。晕染的暮色铺陈开静谧悠然的氛围，将古雅宅邸的雅致意境与宴饮余韵相融，尽显古典雅集的闲淡意趣。",[23,24,7,95,27,28,96,97,247,34,1200,249,14446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1c994711a1a7b286672b0fe82a60326.jpg",[],{"id":47050,"slug":47051,"title":47052,"dynasty":54,"author":12088,"museum":300,"description":47053,"tags":47054,"thumbUrl":47055,"material":84,"size":84,"collection":84,"collections":47056,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},228952,"shan-shui-ren-wu-ce-ye-liu-kai-yuan-jiang-228952","山水人物册页六开","《袁江塞北彤云》是清代袁江创作的一幅水墨设色画。\n此图是山水人物六开册页中的一幅。\n袁江擅画山水、界画，但在这幅画中，画家显示了他在表现人物方面的深厚功力。\n画面左上方题“塞北彤云”，描绘的是一女子怀抱孩子坐在马上，在一肩扛樱枪，腰挂弯刀的男子护卫下在塞外风雪中前行的场景。\n雪景刻画简洁生动，延伸出画外，营造了塞外一望无际、空无一物的自然环境；人物刻画细致精到，妇人低着头紧紧地用外衣裹住小童，马也低垂着头，前面的男子姿态紧张地回望妇人，这样的动态都揭示着他们正经历着恶劣的大风，天空一片阴霾，也许一场大雪即将袭来。\n袁江，生卒年不详。\n字文涛，江苏江都（今扬州）人。\n雍正年间曾在宫廷作画，供奉养心殿。\n他善画山水、楼阁，是清代界画能手，亦作花鸟。\n早年学习仇英，又继承了宋代画院的风格，山水宗阎次平，楼阁宗郭忠恕。\n所作多青绿山水，工致异常，与其精密的界画相配合，十分协调。\n他的界画在继承前人基础上，加强了生活气息的描绘，笔法工整，设色艳丽，风格富丽堂皇，在当时被推为第一。\n但由于清初“四王”画派风靡一时，所以画史上对他的记载不多。",[24,7,59,27,29,96,101,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8f535a750f80cee391f878cb498a94f.jpg",[],{"id":47058,"slug":47059,"title":47060,"dynasty":124,"author":1642,"museum":300,"description":47061,"tags":47062,"thumbUrl":47064,"material":84,"size":84,"collection":84,"collections":47065,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},228847,"xue-shan-lv-xing-tu-dai-jin-228847","雪山旅行图","以留白晕染苍山积雪，笔锋勾勒出山棱的硬挺苍劲，虬松如铁错落崖间，尽显冬山萧寒清旷之意。\n层叠山势铺展出高远纵深，山坳间山居错落，谷口行旅络绎，将冷寂雪景揉进人间烟火。水墨浓淡铺陈出雪色的虚实层次，枯涩笔触绘出松针遒劲，凛冽荒寒中晕开暖意，把羁旅匆匆、山居安闲藏在冰封山峦里，苍硬画风裹着细腻温情，落笔见苍劲风骨，于萧寒山水间晕染出鲜活的冬日山居意趣。",[23,24,7,164,128,29,132,663,1144,97,98,101,35,1813,99,47063,3269,13602],"旅人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a46623cccdb86806a1cec8ab50c3264.jpg",[],{"id":47067,"slug":47068,"title":47069,"dynasty":124,"author":1438,"museum":300,"description":47070,"tags":47071,"thumbUrl":47072,"material":84,"size":84,"collection":84,"collections":47073,"showCount":155,"zanCount":1998,"manualWeight":48,"mainColor":72},228741,"fang-mi-you-ren-yun-shan-tu-juan-chen-chun-228741","仿米友仁云山图卷","此作用米家云山之法，以淡墨晕染山峦，间以浓墨点醒林麓，水汽弥漫，烟岚浮动，将江南丘壑的空濛秀雅尽藏尺素。简率的笔墨勾勒汀洲林木，苍润松秀，不求刻绘精细，只以水墨氤氲传递出云气漫过山峦的朦胧诗意，尽显“墨戏”的萧散意趣。\n\n画面留白与晕染相映，在虚实之间铺展出悠远淡宕的山水意境，契合文人画尚意重韵的追求。后幅题识亦为画卷添就文雅格调，整卷以水墨写意尽显平淡天真的米家山水风神，是明代文人水墨山水的逸品。",[23,24,7,25,128,132,330,133,64,208,29,950,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec63ab7769bad38fa9c94164b033efd6.jpg",[],{"id":47075,"slug":47076,"title":409,"dynasty":124,"author":47077,"museum":300,"description":47078,"tags":47079,"thumbUrl":47080,"material":84,"size":84,"collection":84,"collections":47081,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},228490,"shan-shui-ce-yun-xiang-228490","恽向","此作用笔苍浑松秀，右幅层岩叠壑间飞泉直下，涧水环石隐于葱郁杂木，板桥茅亭隐于一隅，野逸幽寂。以干笔皴擦晕染，尽显山川厚重质感，氤氲静穆古雅的山水气韵。左幅行书题跋笔力遒劲舒展，书画合璧，尽显文人意趣。\n画作以元人笔墨写江南丘壑，简淡苍劲脱去甜熟，将山川朴茂元气藏于构图之中，以画寄兴，褪去匠气直追古意，于简雅之间尽显山水生机，暗含画者胸中丘壑与沉静文人风骨。",[164,24,7,59,128,29,130,98,99,133,64,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89d53472a535054b50cf8412a73495aa.jpg",[],{"id":47083,"slug":47084,"title":47085,"dynasty":124,"author":1058,"museum":1941,"description":47086,"tags":47087,"thumbUrl":47088,"material":84,"size":84,"collection":84,"collections":47089,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},228476,"meng-xian-cao-tang-tu-juan-tang-yin-228476","梦仙草堂图卷","《梦仙草堂图》是明朝 的绘画作品。\n《 》此幅题为“东原先生写图”，从作者题款透露着构思的意想：闲来隐几枕书眠，梦入壶中别有天。\n仿佛希夷亲面目，大还真诀得亲传。\n横图（见图）右实左虚，实处写崇山峻岭，苍松、修竹、瀑布、幽径，优美的环境中草堂坐落其中，成为画面的视觉中心。\n堂中有一 伏案作“枕书眠”状。\n虚处约略作连绵山头，空蒙处置一宽袍大袖的士大夫，衣饰整洁，大袖随风飘动似有飘然于仙境之感。\n图中将“枕书眠”的真实表现引伸到“梦入壶中”的幻想境界，将真与幻，现实与想象相结合来构成富有幻想色彩的画意，使观赏者产生梦幻境界的联想，在一定的时空中创造可视的审美形式。\n在“ ”中沈（周）画深厚；文（征明）画清婉；仇（英）精细，而唐（寅）画则以 见长，明王世贞评 的画“秀润缜密而有 ”，大体上概括了其画风的审美特征。\n此图石法最能体现 风格特点。\n一、细笔长线匡廓，爽利而缜密的丛线， 、细秀、流畅，兼以 方折、密集、利落的皴纹。\n二、这种皴法是吸收传统中披麻、斧劈、乱柴、钉头等几种笔法。\n小斧劈中兼用披麻法，一变南宋斧劈皴法，并融汇元人方法，演变为细长柔劲线条略带写意的画法。\n三、山体凸处用线简括疏朗，至凹处皴纹稠密，湿时化线为面（“破墨”，湿时晕染），有效地体现出阴阳向背的体、质感。\n皴笔以湿笔为主，墨色淋漓润泽，所谓带水长皴，连皴带染的方法，基本上一次完成。\n用墨单纯明快，具庄丽清润的审美效果，和元人一笔中强调中、侧锋、较重快慢、干湿浓淡，靠复笔逐步深入，最后达到“浑厚 ”苍茫含蓄的“ ”画法不同。\n从石法上最能体现出 取法南宋李唐、刘松年等人的画法，并融合元人的韵致，将苍劲刚健和淡雅秀逸的风格相结合，整体上属北格南韵的气格。\n(147--152)字伯虎,号桃花庵主，晚年信佛，有六如居士等别号。\n江苏苏州人。\n举乡试第一( )。\n后因科场舞弊案受牵连，功名受挫，又遭家难，经历坎坷。\n后半生在 西北桃花坞建一“桃花庵”，以 鬻画闻名天下。\n时与 , ,文徵明,切磋文艺,号“ ”。\n唐寅“ 不羁，颇嗜声色”，自署印“江南第一风流才子。\n”他博学多能，吟诗作曲，能书善画，是我国绘画史上杰出的大画家,擅人物、山水、花鸟。\n唐寅书法为画名所掩，主要学 ，更受 影响，笔画俊逸挺秀，婉转流畅，笔力稍弱，钩挑绵软，看不出一丝狂态。\n评曰：“伯虎入吴兴堂庑，差薄弱耳。\n”(《州山人稿》)流传墨迹有《自书诗》、《联句诗》、《落花诗卷》等。",[23,24,7,25,29,27,128,133,572,208,132,663,228,130,413,497,950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f172726d9fa486d3ca8271b1624e3a.jpg",[],{"id":47091,"slug":47092,"title":47093,"dynasty":124,"author":802,"museum":300,"description":5946,"tags":47094,"thumbUrl":47095,"material":692,"size":1293,"collection":84,"collections":47096,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},228283,"ting-die-tu-chen-hong-shou-228283","听蝶图",[23,24,7,165,27,28,96,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efe86ca90f6efa2eb1ee0012fc34988.jpg",[],{"id":47098,"slug":47099,"title":47100,"dynasty":144,"author":223,"museum":244,"description":47101,"tags":47102,"thumbUrl":47103,"material":637,"size":47104,"collection":84,"collections":47105,"showCount":155,"zanCount":1998,"manualWeight":48,"mainColor":49},228181,"shang-lin-yu-lie-tu-juan-yi-ming-228181","上林羽猎图卷","汉司马相如作上林赋，叙述天子狩猎於上林苑中。画者依赋文内容臆写情境，描绘层峦叠嶂、人物鸟兽、楼阁台观、旗辇军容等等，行笔设色皆细腻精妙,堪称佳作。 按此卷原签题元人，与院藏另两幅传为明代仇英所绘的上林图，构图、设色、用笔都近似，或出自同一稿本，疑皆为後人所摹。\n全画 分为七段，依次是：虚构人物子虚、乌有 、亡是公三人在屋中对话；在广阔的江水 游翔的水族与飞禽；天子的离宫别馆；天 子校阅游猎的队伍；天子骑马展开狩猎的 活动；在楼台举行歌舞宴乐；狩猎结束， 返回朝廷。全画青绿设色，运笔细腻精巧 ，与本院藏另两幅明代仇英的上林图同稿 ，作画的时代也相近。",[23,24,7,25,26,27,28,29,96,101,97,34,131,31,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F187484737692286adb84a07e7ea03fa4.jpg","该幅 47.5x1298.2公分、隔水一 14.2公分、隔水二 11.1公分、隔水三 12.1公分、隔水四 13.5公分",[],{"id":47107,"slug":47108,"title":47109,"dynasty":144,"author":287,"museum":300,"description":47110,"tags":47111,"thumbUrl":47112,"material":84,"size":84,"collection":84,"collections":47113,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},228175,"tong-xi-tu-qian-xuan-228175","童戏图","古柳垂荫，榴花绽艳，庭院间三个稚童正嬉游作乐。矮凳上狸奴蜷卧，一孩童伸指逗弄，身侧同伴探首凝神，满眼好奇。最后小童攥着花枝蹑步而来，似要悄然加入嬉玩。\n\n整幅画笔法工细柔婉，设色古澹沉静，将幼童的娇憨鲜活尽数铺展。花木湖石衬出悠然闲趣，把孩童嬉游的日常瞬景定格，晕开旧时光里的融融暖意，尽显婴戏画的温婉雅致，将稚拙童趣藏进古雅绢色之中。",[23,24,164,7,165,27,28,96,413,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb9b5cb209a420e718e41ff884f85df8.jpg",[],{"id":47115,"slug":47116,"title":47117,"dynasty":144,"author":4034,"museum":300,"description":47118,"tags":47119,"thumbUrl":47120,"material":84,"size":84,"collection":84,"collections":47121,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},228042,"chun-shan-fang-you-tu-juan-sheng-mao-228042","春山访友图卷","此作用平远之法铺展春日江天，烟波澹澹横贯画面，晕染出空濛柔婉的山水意趣。左下角扁舟轻漾，舟中士人纵览春景，自在悠游；右侧山居隐于林木间，白墙黛瓦雅致静谧，暗合访友幽怀。\n\n远山以淡墨晕染，云雾缱绻萦绕峰峦，青绿浅施于山石林木间，温润雅致。笔致温婉细腻，皴染相辅，既绘出春山葱郁温润之态，亦将隐逸淡远的意韵融汇其间，藏着文人寄情林泉、悠游丘壑的雅趣。",[23,24,7,25,27,29,132,663,228,129,34,96,99,130,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445fe68c4573e00d69802e2d95defe19.jpg",[],{"id":47123,"slug":47124,"title":12070,"dynasty":144,"author":4034,"museum":300,"description":47125,"tags":47126,"thumbUrl":47127,"material":84,"size":84,"collection":84,"collections":47128,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},228039,"shan-shui-tu-ye-sheng-mao-228039","取半边崖岸入画，嶙峋石矶间苍松虬劲，层叠点叶凝萃出深林郁茂。淡墨晕开的远山横亘天际，汀渚隐于烟水间，虚实相生，将江南水岸的清寂铺陈开来。\n笔墨苍秀细密，皴笔勾勒出岩崖肌理，朴拙古雅的点染尽显草木生机，设色浅淡沉静，晕染出空濛的烟水之气。\n尺幅之间藏尽林泉幽致，萧散冷寂的氛围中暗藏澹泊意趣，如一卷袖珍的林泉雅集，邀人步入这方幽寂山水，静赏这份简淡悠远的林下清欢。",[23,24,7,59,128,132,27,29,34,129,98,99,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75acf187f7bc3f7c3c96d8b250e8c0ac.jpg",[],{"id":47130,"slug":47131,"title":47132,"dynasty":144,"author":47133,"museum":300,"description":47134,"tags":47135,"thumbUrl":47136,"material":84,"size":84,"collection":84,"collections":47137,"showCount":155,"zanCount":1998,"manualWeight":48,"mainColor":49},227991,"wan-song-tu-juan-gu-chao-227991","万松图卷","顾超","此作用笔松灵秀润，以披麻皴晕染山峦，淡墨铺就出氤氲山林清气。近景苍松虬曲苍劲，坡岸错落间村居掩映，野趣横生。中景湖水萦回柔婉，轻描水纹分割出虚实层次，让画面灵动不滞。远景层峦间万松层叠，与山色相融，烘托出萧散空寂的林下氛围。整体简淡中见苍润，脱却匠气，以文人意趣勾勒林泉高致，将隐逸之思藏在笔墨留白间，引观者步入静穆幽远的山林之境，尽显寄情丘壑的林下风流。",[23,24,7,164,25,128,132,29,1144,131,99,98,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1128d13ce286d88d7dc81f940e410197.jpg",[],{"id":47139,"slug":47140,"title":47141,"dynasty":18,"author":7042,"museum":300,"description":47142,"tags":47143,"thumbUrl":47144,"material":84,"size":84,"collection":84,"collections":47145,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},227944,"shan-yin-fang-dai-tu-ye-zhu-rui-227944","山阴访戴图页","危崖拔地而起，石质方硬皴法老辣，崖侧古松簇拥山居。下方寒波澹澹，汀渚间林木错落，临水高轩明敞，似有幽人凭栏远眺江天。一叶扁舟随波缓行，雪意覆于岸渚林梢，遍染清萧寒寂。\n\n整幅以简驭繁，淡墨轻敷晕出雪后空蒙。将兴尽而归的雅事藏于留白，笔致苍秀劲挺，设色沉凝淡雅。尺幅之间铺展萧疏冷寂的山水意境，把魏晋名士散淡旷达的林下风流融于萧寒景致中，尽显宋人山水留白藏意的高妙。",[23,164,24,7,59,27,95,132,29,129,97,1233,331,99,690,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a1f47538b5198102dc40e3d860e237.jpg",[],{"id":47147,"slug":47148,"title":47149,"dynasty":18,"author":223,"museum":300,"description":47150,"tags":47151,"thumbUrl":47152,"material":84,"size":84,"collection":84,"collections":47153,"showCount":155,"zanCount":1116,"manualWeight":48,"mainColor":72},227883,"ju-zhi-qi-que-tu-yi-ming-227883","橘枝栖雀图","此作以精妙工笔绘就一隅小景，折枝垂挂硕实，苍嫩叶片交错枯润，尽显四时意态。枝头雀鸟侧身回望，翎毛细笔丝染，绒羽蓬松柔润，尖喙双目传神，机警灵动的情态跃然绢上。\n\n设色清淡秀雅，以赭石淡晕底色，敷色薄而清透，橘子的莹润饱满、枝叶的错落枯荣被细腻呈现。画面简而不空，静中藏动，尽显对日常小景的诗意捕捉，将山野间的幽微生机凝于尺幅之中，暗含平和雅致的东方意趣。",[23,164,24,7,28,27,61,4570,4117,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dc28cde67f818c1de2943a9abaf3b21.jpg",[],{"id":47155,"slug":47156,"title":47157,"dynasty":18,"author":223,"museum":300,"description":47158,"tags":47159,"thumbUrl":47160,"material":84,"size":84,"collection":84,"collections":47161,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},227844,"tian-han-cui-xiu-tu-ye-yi-ming-227844","天寒翠袖图页","修竹清劲挺拔，攒簇竹叶如凝寒玉，占据画面大半篇幅，衬出林间孑然伫立的仕女。她翠袖轻拢，身姿娴静温婉，眉目间似含淡淡怅惘，将深秋萧寒里的孤寂弥散开来。\n\n整作设色淡雅克制，墨骨清劲利落，沉郁的古绢底色晕开幽寂的林下意趣，把闺中闲愁融于萧索秋景，淡而不寡。以极简的铺陈，藏着宋人极致内敛的审美意趣，余味悠长。",[23,164,24,7,59,27,96,166,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c7e186a0386cb73f8d03ff13ba9b12f.jpg",[],{"id":47163,"slug":47164,"title":47165,"dynasty":18,"author":2141,"museum":300,"description":47166,"tags":47167,"thumbUrl":47168,"material":84,"size":84,"collection":84,"collections":47169,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},227804,"yao-tai-xian-shou-tu-liu-song-nian-227804","瑶台献寿图","此作用笔精工雅致，以界画技法勾勒亭台楼阁，回廊层台错落排布，将庭院深幽的意趣铺展尽致。山石林木以淡墨晕染，苍润秀雅，与规整楼宇相映成趣。\n\n画中人物神态宛然，峨冠士人凭栏雅谈，侍女垂手侍立，情态恭谨恬然，将安闲雍容的祝寿雅集氛围烘托恰到好处。设色古淡沉静，墨色相融，既有界画的严整工细，又不失山水画的灵动苍润，尽显精妙工致的院体画风韵，把富贵闲适的雅致意趣藏于笔间，堪称工笔楼阁人物的佳构。",[23,24,7,164,27,95,28,96,97,9364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7a1bfb0f093b400631a62b7bf5b38e4.jpg",[],{"id":47171,"slug":47172,"title":47173,"dynasty":18,"author":2141,"museum":300,"description":47174,"tags":47175,"thumbUrl":47176,"material":84,"size":84,"collection":84,"collections":47177,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},227803,"song-yin-ming-qin-tu-liu-song-nian-227803","松荫鸣琴图","苍松浓荫遮蔽出一方清寂天地，琴案横陈，炉烟似随着琴音袅袅轻扬。抚琴者身姿舒展，指尖落弦仿佛有声，将心绪尽数寄于丝弦之上。对面长者垂眸敛神，身心都沉湎在悠悠琴韵之中，连身侧侍立的小童都屏息静立，不敢惊扰这片刻雅静，周遭的幽草矮竹也似在凝聆听赏。\n\n画作以浓墨点染苍劲松针，淡墨勾勒人物衣纹，线条清劲简练。将宋代文人追求的林下雅逸，凝缩在尺幅之间，把知己相对、琴音寄怀的超然意趣铺陈开来，静穆悠然的禅意弥散在画面里，尽显文人雅集的清旷疏朗之美。",[23,164,24,7,1131,28,27,96,372,167,1314,438,4947],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b81c56fb1a8b0fc313ca776e3e8f2af.jpg",[],{"id":47179,"slug":47180,"title":47181,"dynasty":18,"author":47182,"museum":300,"description":47183,"tags":47184,"thumbUrl":47185,"material":84,"size":84,"collection":84,"collections":47186,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},227778,"yuan-yang-tu-wan-shan-zhang-mao-227778","鸳鸯图纨扇","张茂","《双鸳鸯图》页，宋，张茂绘，纨扇页，绢本，设色，纵24.4厘米，横18.3厘米。\n\n本幅款识：“张茂”。\n\n此图选取水景局部：一丛芦苇蓼草探入画面，枝叶稀疏，叶留残雪。一对鸳鸯破水而行，游向苇丛。一只鹡鸰轻栖于苇杆，与俯冲而下的另一只遥相呼应。画面中、上部大片空白，使人联想到广阔水域的浩渺烟波，在构图上颇得小景见大之妙。\n\n画面构图简洁疏朗，浸透出丝丝寒意。气氛祥和宁静，寓意寒不异心。画家仅在鸳鸯游曳处画出几笔水波纹，既表现出鸳鸯的动感，又反映出水面的荡漾。在以鸳鸯为主题创造出安谧幸福的情境之余，又添绘相呼相随的小鸟二\n只，它们的顾盼关系使得上半部画面更加充实生动。\n\n芦苇用墨双勾，笔触挺拔劲健。禽鸟体形虽小，但一笔不苟，清晰工致，功力非凡。\n\n存《纨扇画》册中。《石渠宝笈初编》著录。",[23,164,24,7,1131,28,27,61,1857,1824,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ab6dc118a52cfd44c31806284697cf7.jpg",[],{"id":47188,"slug":47189,"title":47190,"dynasty":18,"author":1174,"museum":300,"description":47191,"tags":47192,"thumbUrl":47193,"material":84,"size":84,"collection":84,"collections":47194,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},227772,"mo-fan-kuan-xi-shan-du-diao-tu-juan-li-tang-227772","摹范宽溪山独钓图卷","李唐的山水画师法荆浩和范宽，但是学而有变，属于青出于蓝、能举一反三的那类人物，他笔下的山川气势雄峻，笔墨峭劲。李唐晚年时对山水画用笔进行了一系列创新，造型上去繁就简，创造了国画中著名的二十三皴法之一——“大斧劈皴法”，又将水的画法改进，由原来僵化的鱼鳞纹水波变成有动式的旋涡状，使山水更显生动。",[23,164,24,7,25,330,132,128,27,64,208,29,129,1350,99,131,34,171,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5adbe6f970d845a646ce629a70464885.jpg",[],{"id":47196,"slug":47197,"title":23369,"dynasty":18,"author":2099,"museum":300,"description":47198,"tags":47199,"thumbUrl":47200,"material":84,"size":84,"collection":84,"collections":47201,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},227611,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-227611","陶渊明与李公麟在家庭出身方面颇有相似之处，都出身于官宦世家，自幼都受到良好的儒学教育。在仕途方面陶渊明曾先后五次辞官，而李公麟却在八、九品的末吏官位上周旋了三十年，可见他“山林”思想中呈现出很深的“吏隐”特点。造成这种差异的因素很复杂，这中间既有具体政治文化环境的不同，也有二人性格上的反差。但隐逸的思想共同存在，只不过有着归田与归山林形式上的区别，“隐”却是最终的和最根本的精神指向。从隐逸文化发展史来看，隐逸文化进入宋代以后被重新整合与完善，“吏中求隐”是这一时期的重要表现，“归去来兮”式的理想家园，大多存在于精神层面。李公麟仕途三十年，隐逸情感常伴其间，但却始终没有选择彻底的遁入山林，这是他世俗化隐逸方式的体现，同时也是宋代士夫阶层群体化的呈现。可见，李公麟身上折射出的，带有吏隐特点的“山林”思想背后有着深厚的文化以及社会环境的影响。",[23,24,7,25,188,27,96,29,130,98,99,129,34,97,64,208,247,7462,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefa6897d09c276c438301cb310ecebd0.jpg",[],{"id":47203,"slug":47204,"title":47205,"dynasty":18,"author":2349,"museum":300,"description":47206,"tags":47207,"thumbUrl":47208,"material":84,"size":84,"collection":84,"collections":47209,"showCount":155,"zanCount":1998,"manualWeight":48,"mainColor":49},227510,"bai-zi-you-yuan-tu-su-han-chen-227510","百子游园图","这是南宋画家苏汉臣绘的《百子嬉春图》。《百字嬉春图》是一小幅纨扇，但却结构复杂精妙，画家利用台栏池沼等高低上下称景。将一百名儿童布满画面，三五成组，相互呼应，远近关系处理得明确而有节奏，丰满而不拥塞，繁复而不杂乱。",[23,164,24,7,1326,28,27,96,18793,247,249,34,4278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F058871fca58b31f28c71d5eb4f50c34e.jpg",[],{"id":47211,"slug":47212,"title":47213,"dynasty":18,"author":18984,"museum":300,"description":47214,"tags":47215,"thumbUrl":47217,"material":84,"size":84,"collection":84,"collections":47218,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},227418,"feng-xue-song-shan-tu-quan-juan-li-shan-227418","风雪松杉图全卷","《风雪松杉图》卷，金， 李山作品，绢本墨笔，29.7cm×79.2cm，美国福利尔美术馆藏。图中一排劲松顶天立地，犹如一天然屏嶂，背景雪山寒雾之中，隐现雪竹、庭院、溪流，立意别出心裁，技法有北宋李成画风的迹象。",[23,164,24,7,25,128,27,132,64,133,208,29,47216,32398,30,247,34,131],"松杉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1de0b693786da0eb66983f3e2c958492.jpg",[],{"id":47220,"slug":47221,"title":47222,"dynasty":18,"author":223,"museum":300,"description":47223,"tags":47224,"thumbUrl":47225,"material":84,"size":84,"collection":84,"collections":47226,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},227353,"xue-jing-shan-shui-tu-ye-yi-ming-227353","雪景山水图页","雪地实景，苍茫而润泽，冰雪覆盖了自然界中的山川树木，使人们的视觉不再被五彩缤纷的万物所迷惑，从而使人们更为关注于白茫茫的冰雪积压、融变的过程，这种自然属性恰好与水墨形式相得益彰。因此，雪景山水画一直是中国山水画中的一个很有特色的部分。",[23,24,164,7,1131,128,27,29,1813,34,35,131,132,1557,4605,99,496,13436],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cfc4556f00600874ca160553f7402e2.jpg",[],{"id":47228,"slug":47229,"title":47230,"dynasty":18,"author":11766,"museum":300,"description":47231,"tags":47232,"thumbUrl":47233,"material":84,"size":84,"collection":84,"collections":47234,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},227334,"jiang-fan-shan-shi-juan-song-ren-227334","江帆山市卷","艺术赏析 江上帆船一艘，船头有缫车，后舱篷顶，笼畜雄鸡一，盖用以报晓取时。\n江波粼粼，用笔细挺。\n岸旁已停泊三舟，皆有笼鸡之蓄。\n岸上有驱驴者，道逢相拜者，骑驴投店者。\n山道间，远处迷濛，有驼队成群。\n山谷中岚烟凝白，飞鸟结阵，一片黄昏景色。\n两山回抱而起，山峰结构及树法、水波画法，与 画风极接近。\n【名称】宋人江帆山市卷 【规格】28.644.1公分 【收藏】 主题与关键字： 夏景、房舍、茅草屋、鸡、客舫、帆船、寺庙、店铺、骆驼、狗、骡．驴、马、回廊、孩童、侍从（侍女、童仆）、渔夫、船夫、百姓、行旅、官员（臣）、江河、湖海。\n石渠宝笈初编（重华宫），下册，785页；故宫书画录（卷八），第四册，78页；故宫书画图录，第十七册，21-22页。",[164,24,7,25,128,132,29,28369,20105,1743,149,415,7782,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc42d48136e2cb3cdf0a480af5efb4a.jpg",[],{"id":47236,"slug":47237,"title":47238,"dynasty":18,"author":31085,"museum":300,"description":47239,"tags":47240,"thumbUrl":47241,"material":692,"size":1293,"collection":84,"collections":47242,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},227329,"yan-guan-gu-si-tu-ye-jia-shi-gu-227329","严关古寺图页","贾师古，生卒年不详，南宋画家。汴（今河南开封）人，善画道释人物，师法李公麟。高宗绍兴时为画院祗候。白描人物，颇得闲逸自在之状。尝作《归去来图》，有所谓“一笔法”，甚古雅。梁楷为其高足，名过其师。传世作品有《岩关古寺图》、《大士像》等。",[23,24,7,59,27,132,208,29,1144,131,31088,415,3427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f001dee4f7caf5c80f9cbb0734173ec.jpg",[],{"id":47244,"slug":47245,"title":47246,"dynasty":351,"author":13305,"museum":300,"description":47247,"tags":47248,"thumbUrl":47249,"material":84,"size":84,"collection":84,"collections":47250,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},227270,"xia-re-tie-yang-ning-shi-227270","夏热帖","《夏热帖》，五代，杨凝式书，纸本，手卷，纵23.8厘米，横33厘米。草书8行，共32字。\n《夏热帖》是杨凝式写的一封信札。内容大致是，因天气炎热，送给僧人消夏饮料“酥密水”表示问候。\n释文：\n“凝式啓：夏熱體履佳宜，長□酥密水，即欲致法席，苦□□□乳之供，酥似不如也。(以下数字残损难识)病？(下二行残损)。”\n首署款：“凝式”。\n后纸有宋王钦若，元鲜于枢、赵孟頫，清张照题跋及乾隆皇帝的释文。\n卷前后及隔水上钤有宋“賢志堂印”，元赵孟頫，明项元汴，清曹溶、纳兰成德、清内府等鉴藏印。另有数方古印不辨。\n此帖是杨凝式唯一的传世草书作品，书法兼取唐颜真卿、柳公权笔法，体势雄奇险崛，运笔爽利挺拔，《神仙起居法》有异曲同工之妙，为杨凝式书法代表作品作之一。\n此帖曾刻入《三希堂法帖》。\n明汪砢玉《珊瑚网书跋》，清吴其贞《书画记》、顾復《平生壮观》、卞永誉《式古堂书画汇考》、内府《石渠宝笈·初篇》等书著录。",[23,840,64,7,25,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c764be838b3a960970b6f300cc2fe6b.jpg",[],{"id":47252,"slug":47253,"title":47254,"dynasty":54,"author":12088,"museum":300,"description":47255,"tags":47256,"thumbUrl":47257,"material":84,"size":84,"collection":84,"collections":47258,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},224594,"qiu-she-tu-yuan-jiang-224594","秋涉图","此作用硬朗皴笔勾勒出山岩肌理，奇峰高拔陡立，崖间飞瀑隐于云气，晕染出幽谷空濛之态。丹黄秋叶点染古木，萧疏秋意里晕开暖意。山道滩涂之上，行旅商贾或策马涉水，或沿山径徐行，将山野秋行的鲜活意趣融于冷寂山川，添上人间烟火暖意。画面兼工带写，既得北派山水的雄浑气势，又以细腻的人物刻画赋予山水灵动生机，将秋日山野的旷远意境与行旅图景相融，尽显古典山水的雅致意韵。",[23,164,24,7,165,27,29,132,663,228,34,96,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5727adba9d3c7f163dd3a83df59fa6a.jpg",[],{"id":47260,"slug":47261,"title":47262,"dynasty":54,"author":1472,"museum":300,"description":47263,"tags":47264,"thumbUrl":47265,"material":84,"size":84,"collection":84,"collections":47266,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},224585,"si-jun-zi-tu-zou-yi-gui-224585","四君子图","此作用淡墨晕开空濛远景，留白铺就清寂天地。左侧古松虬枝盘曲，鳞皴苍劲，松针攒簇如团，枯荣交织尽显古拙生机。右侧长松挺立于石畔，与老松两两相望，野竹荒草偃仰生姿，添得山野意趣。\n\n全作以焦墨醒出松节针叶，淡墨晕染坡岸远景，笔法清隽秀雅，未施一色，全凭水墨勾勒晕染，将松柏坚凝君子风骨寄寓萧散小景之中，静穆简淡却暗含蓬勃生气，淡而不寡，简中见厚，尽显清寂雅致的文人意趣与不俗笔力。",[23,24,164,7,128,28,372,167,171,208,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7af38b1cc2ec84ef8742819cb96280.jpg",[],{"id":47268,"slug":47269,"title":12479,"dynasty":54,"author":9529,"museum":300,"description":47270,"tags":47271,"thumbUrl":47272,"material":84,"size":84,"collection":84,"collections":47273,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},224453,"fu-chun-da-ling-tu-wang-hui-224453","此作用高远、深远法铺陈丘壑，以云气留白切割层峦，将大岭的雄秀与幽深次第铺展。以干笔披麻皴写山石，兼施浅绛淡赭晕染，复刻元人苍润笔意，又糅合宋人丘壑的繁复精细。\n\n层岩间林泉迂曲，村居掩映于深林，林木疏密错落，枯荣相济，静穆萧散的山居意趣盈满纸面。师法富春古意却自出机杼，笔底既有山野的苍茫清旷，又带着秀整雅致的文人心韵，尽显林泉高致。",[23,24,7,165,27,29,132,30,37,34,499,497,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F185770931e69346f81a2ed45e421ddf6.jpg",[],{"id":47275,"slug":47276,"title":45618,"dynasty":54,"author":6936,"museum":300,"description":47277,"tags":47278,"thumbUrl":47279,"material":84,"size":84,"collection":84,"collections":47280,"showCount":155,"zanCount":1998,"manualWeight":48,"mainColor":72},224394,"fang-ni-zan-shan-shui-zhou-wang-yuan-qi-224394","近岸坡石错落，修篁杂木扶苏，林间草庐隐现，一人凭石静憩。远山以淡墨轻勾浅皴，留白代水，漾开萧疏淡远的空寂氛围。\n以干笔枯墨勾勒皴擦山石，笔意松秀古拙，墨色清润层次分明。题诗与画面相映成趣，将幽居林下的隐逸雅怀藏于尺幅间，尽显空疏冷隽的林下之风，尽显文人山水独有的简淡清和意趣。",[24,7,165,128,132,29,167,171,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfdd7175bc5126f78214c90c4a16c909.jpg",[],{"id":47282,"slug":47283,"title":47284,"dynasty":54,"author":22607,"museum":300,"description":47285,"tags":47286,"thumbUrl":47287,"material":84,"size":84,"collection":84,"collections":47288,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},224342,"huang-shan-tian-dou-feng-tu-mei-qing-224342","黄山天都峰图","《梅清黄山天都峰图轴》是清代梅清创作的纸本墨笔画。\n本幅款署：“十年幽梦系轩辕，身历层岩始识尊。\n天上云都供吐纳，江南山尽列儿孙。\n峰抽千仞全无土，路入重霄独有猿。\n谁道丹台灵火息，朱砂泉水至今温。\n天都峰。\n仿荆关笔意。\n瞿山梅清并题。\n”钤“瞿硎清”白文印、“渊公”朱文印。\n天都峰为黄山三大主峰之一。\n古时有“群仙所都”之称，意为天上都会，故名。\n此峰卓立地表，险峭雄奇，气势博大，最为雄伟壮丽。\n图中天都峰陡立奇险，冲出云天，山腰间云气缭绕，矮岩上的古寺为林木掩映，两位文士静立观赏山的峻峭与云的变幻。\n在艺术表现手法上，画家突出表现天都峰奇险雄秀的气势而不求形似，通过顶天立地式的布局与弥漫山间的浮云相配合，从侧面烘托了画面气氛，避免直白的艺术表现，增加了观者的空间感，展示出兼具雄浑奔放和清秀空灵的绘画风格，给人以强烈的艺术感染。\n此外，墨色的浓淡相宜既显示了画家非比寻常的绘画技巧，也使得画面完整而统一，没有杂乱无章之感。\n梅清（1624—1697年），原名士羲，后改梅清，字渊公，号瞿山、敬亭山农，宣城（今属安徽省）人。\n清初画家、诗人。\n工诗善画，以画山水、松石、梅花著称，时有“画山水入妙品”，“松入神品”，画梅花“枝干奇古”之评。\n山水画大多是黄山景致，风格雄奇豪放，为宣城地区画坛领袖。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。\n他的创作最重师法自然，曾在各地游历名山大川，终日面对青山描摹写生。\n黄山和家乡宣城是梅清绘画中最着力表现的题材。\n著有《天延阁集》、《梅氏诗略》等书。",[23,24,7,29,128,132,165,30,1144,37,130,96,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fead2c64c87e758f439ebdbbe68526dc0.jpg",[],{"id":47290,"slug":47291,"title":47292,"dynasty":54,"author":1676,"museum":300,"description":47293,"tags":47294,"thumbUrl":47296,"material":84,"size":84,"collection":68,"collections":47297,"showCount":155,"zanCount":1998,"manualWeight":48,"mainColor":72},224297,"hua-hui-shi-er-kai-ce-li-shan-224297","花卉十二开册","此画取材寻常蔬食，笔意写意疏朗。茼蒿茎叶以淡绿晕染，线条舒展灵动，尽显菜叶柔润鲜活之态；生姜皴擦朴拙，还原肌理质感，红辣椒设色鲜亮醒目，点亮画面。\n\n搭配题诗与蔬果相映成趣，以日常食材寄寓情志，将烟火清欢融入文人雅趣之中。淡朴的市井风物化作笔下意趣，不见雕琢之迹，尽显冲淡天真的笔墨意韵，于寻常日常里，勾勒出文人画以物明心的雅致情致。",[23,24,7,59,27,133,208,369,4251,47295,4250],"辣椒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ad80d7081dfe9a6e575a0b565504dc3.jpg",[68],{"id":47299,"slug":47300,"title":47301,"dynasty":54,"author":47302,"museum":300,"description":47303,"tags":47304,"thumbUrl":47305,"material":84,"size":84,"collection":84,"collections":47306,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},224200,"fu-rong-lu-yan-tu-zhou-qiu-jian-224200","芙蓉芦雁图轴","丘鉴","此作兼工带写，空中芦雁振翼俯冲，滩涂三雁昂首和鸣，翎毛纤毫毕现，将雁群互动的鲜活瞬间定格。芙蓉临水盛放，粉瓣柔润饱满，苇草舒展随风曳动，野菊点缀坡岸晕染秋意。\n\n设色雅致柔和，花叶层次晕染自然，禽鸟姿态灵动逼真，恍若能闻雁唳破空。坡岸皴笔简淡，衬出水畔秋日清寂野趣，取景浑然天成，将汀渚生机与秋日闲逸融为一体，写实之中尽显雅致灵韵。",[23,24,7,165,28,27,61,304,373,31582,1824,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F741d4deda5f2329d3547762bc74961e0.jpg",[],{"id":47308,"slug":47309,"title":47310,"dynasty":54,"author":5879,"museum":300,"description":47311,"tags":47312,"thumbUrl":47313,"material":151,"size":47314,"collection":44,"collections":47315,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},224175,"bai-xia-xian-lu-tu-zhou-hua-yan-224175","柏下仙鹿图轴","图绘山中平坦处，一棵松柏高大粗壮，树下一只仙鹿卧于地上，鹿身白毛点点，鹿角如树杈般坚挺，两眼炯炯有神；一仙者着红袍似坐于鹿背上，抚摸着鹿角，慈祥安宁；地面上杂草丛生，生机勃勃。",[23,24,7,165,27,96,949,1578,131,666,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa97fadb1d653960d1b79110f47c5d39d.jpg","171×124.8厘米",[44,45],{"id":47317,"slug":47318,"title":47319,"dynasty":124,"author":223,"museum":300,"description":47320,"tags":47321,"thumbUrl":47322,"material":84,"size":84,"collection":84,"collections":47323,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},223608,"zhu-xia-shuang-que-tu-ce-yi-ming-223608","竹下双雀图册","此作用笔工写兼具，淡墨勾勒枯竹枝梢，皴绘坡石，萧疏寒竹自带荒冬清寂之气。两只雀鸟造型写实入微，细笔晕染出绒羽蓬松层次，一只昂首引颈似在啼鸣，灵动有神，一只垂首敛目似在啄望，姿态闲适。双雀动静相映，鲜活尽显。\n\n画面留白素净，将冬日林间的幽寂氛围烘托得恰到好处，简淡笔触却形神兼备，把小雀的灵动意态与寒竹的清疏之景相融，尽显雅致空灵的花鸟意趣，寥寥数笔便将一隅小景勾勒得鲜活动人，藏着清冷又生动的冬日闲趣。",[23,805,24,7,164,59,28,27,61,167,4117,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d0839b8720fe733bc22d19217037bd.jpg",[],{"id":47325,"slug":47326,"title":47327,"dynasty":18,"author":223,"museum":244,"description":47328,"tags":47329,"thumbUrl":47330,"material":514,"size":47331,"collection":84,"collections":47332,"showCount":155,"zanCount":1998,"manualWeight":48,"mainColor":49},223517,"sang-guo-shan-niao-tu-yi-ming-223517","桑果山鸟图","此图有宫廷画院的工丽之风，却多了几分粗犷率真。画面取一斜伸桑枝，在一细劲的枝条上站立一只山鸟，憨态可掬，嘴里还叼着桑葚，表情很有几分稚趣",[23,164,24,7,28,27,17814,22995,355,61,2438,747,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1693f8902501da32c2e9093c661caa4.jpg","纵25.2厘米 横26.4厘米",[],{"id":47334,"slug":47335,"title":27698,"dynasty":124,"author":223,"museum":224,"description":47336,"tags":47337,"thumbUrl":47338,"material":151,"size":47339,"collection":136,"collections":47340,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},223457,"shan-shui-ce-ye-yi-ming-223457","魏晋南北朝时期，山水画逐步摆脱了作为人物画背景的角色，并发展成为一门独立的画种。此时的山水画技法与人物画大体相似，所运用的都是勾线填彩法，即以线描勾勒出山石树木的轮廓，再用颜色渲染出其形体。从现存的宋人摹顾恺之《洛神赋图》中可以看出当时的大致风貌。山水画发展到唐代，呈现出一片繁荣的景象，画家们已不满足于只用人物画的勾线填色法来表现自然山水，新的画法竞相出现。以李思训、李昭道父子为代表的青绿山水画派，其画法是在继承了魏晋以来的山水画勾线填色法的基础上，着重以青、绿二色为主的一种风格。此画法在唐代影响较大，从学者众多，被后世认为是最能体现唐代山水画风貌的流派。南宋的赵伯驹、赵伯骕便是此画派集大成者。如《龙舟竞渡图》《仙山楼阁图》都属于继承此种风格的作品。此外李思训、李昭道亦长于楼阁界画，后世从学者众多，在宋代小品画中也有体现，如《蓬莱仙馆图》《高阁凌空图》《层楼春眺图》等。",[23,24,7,59,128,27,132,29,30,37,131,35,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfa61be3e6ce1f76dc236feac0ec9224.jpg","38.1×40",[136,117],{"id":47342,"slug":47343,"title":47344,"dynasty":18,"author":223,"museum":20,"description":47345,"tags":47346,"thumbUrl":47348,"material":40,"size":47349,"collection":84,"collections":47350,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},223404,"da-nuo-tu-zhou-yi-ming-223404","大傩图轴","此画面上共画有十二个人。他们都穿着奇异的服装，戴着各式的帽子和插着花枝。帽子的式样毫不重复，除了斗笠、巾和冠之外，有的是戴着粗角的兽头，有的是农家场院器具斗、箩、箕之属。他们的手中或身上携拿着鼓、铃、檀板等乐器，或为扇、篓、帚等用具，或为花枝、瓜之属。所有人的面部都化了妆，可能戴的是假面具。十二个人团团围住，手舞足蹈，充满着欢乐的气氛。旧题《大傩图》。\n描写民间风俗习惯的绘画，宋代特别发展，《大傩图》轴即是一幅风俗画。傩(音挪)，是一种古老的驱除疠疫的民间习俗。《论语》中就有“乡人傩”的记载。《后汉书》记载：“先腊一日，大傩，选中黄门子弟，十岁以上十二岁以下百二十人为侲子。”唐代《乐府杂录》中描写说：“用四方相，戴冠及面具，黄金为四目，衣熊裘，持戈扬盾，口作傩傩之声，似除也。侲子五百，小儿为之，朱褶青襦，戴面具，晦日于紫宸殿前傩，张宫悬乐。”这些描述与画上的情况基本相似。当然到了宋代，傩时的具体情形和细节，又会有许多的发展变化。从画面情形来看，其中增加了许多农具，可见这种古老的习俗，到了宋代除了驱除邪祟之外，还有祈求丰收的意味，同时也是一种民间娱乐活动。所以此幅画，从艺术到内容，都值得珍视。",[23,24,7,165,27,96,28,47347,438,170],"傩戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08e5418070175d68d1c99232bd7e3c3c.jpg","67.4x59.2",[],{"id":47352,"slug":47353,"title":47354,"dynasty":124,"author":223,"museum":25982,"description":47355,"tags":47356,"thumbUrl":47357,"material":9291,"size":47358,"collection":136,"collections":47359,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},223400,"si-ji-tu-juan-yi-ming-223400","四季图卷","该作品，以开阔的画面展示了从卷头的春景开始到卷末的冬景结束，连续画出了四季山水的变迁。仔细观摩之，这一春夏秋冬的四季也分别画成孟、仲、季三景，并且通过巧妙的布置而连成一景。一卷四季变化实属罕见。托名李唐之作，当是明人仿古之作。",[23,25,24,164,7,29,23741,132,27,97,98,99,130,387,1516,496,34,2271],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90cf2282e5eee3e7a82bdfb99910e204.jpg","35.1X661.9",[136,117],{"id":47361,"slug":47362,"title":47363,"dynasty":54,"author":23303,"museum":244,"description":41960,"tags":47364,"thumbUrl":47366,"material":611,"size":47367,"collection":136,"collections":47368,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},223119,"qiu-shu-yun-fan-zhou-dong-bang-da-223119","秋树云帆轴",[23,24,7,165,128,132,208,29,1024,47365,98,99,129,130,96,131,34],"云帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4681dcd6e0cf39452c603f9d6d6ece6e.jpg","121x59.8",[136,117],{"id":47370,"slug":47371,"title":47372,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":47373,"thumbUrl":47374,"material":151,"size":7879,"collection":84,"collections":47375,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},222996,"hong-lou-meng-121-sun-wen-222996","红楼梦121",[23,24,7,25,28,27,26,96,29,34,131,98,99,276,875,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97caa72c6480983bdaf4d7d5fa77643a.jpg",[],{"id":47377,"slug":47378,"title":47379,"dynasty":54,"author":523,"museum":20,"description":43920,"tags":47380,"thumbUrl":47381,"material":40,"size":43923,"collection":84,"collections":47382,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},222869,"shi-gong-ci-tu-ce-08-leng-mei-222869","十宫词图册08",[23,24,7,59,27,28,95,133,64,96,97,247,34,439,170,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7348f8fa73a5adb30a79c2bd01d24a6d.jpg",[],{"id":47384,"slug":47385,"title":7094,"dynasty":54,"author":4468,"museum":244,"description":15246,"tags":47386,"thumbUrl":47387,"material":40,"size":15249,"collection":84,"collections":47388,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},222756,"ba-jun-tu-lang-shi-ning-222756",[23,164,24,7,165,28,27,14386,10803,101,4363,96,208,16370],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28adc62fbf3174d00b42d379a53d67ea.jpg",[],{"id":47390,"slug":47391,"title":33333,"dynasty":54,"author":3820,"museum":300,"description":33334,"tags":47392,"thumbUrl":47393,"material":1722,"size":33337,"collection":84,"collections":47394,"showCount":155,"zanCount":1998,"manualWeight":48,"mainColor":72},222623,"shan-shui-shan-mian-3-gong-xian-222623",[23,24,7,1131,128,132,29,413,131,130,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e3bf5c009d2a486816b700ff2873d73.jpg",[],{"id":47396,"slug":47397,"title":47398,"dynasty":124,"author":18090,"museum":244,"description":47399,"tags":47400,"thumbUrl":47401,"material":173,"size":47402,"collection":136,"collections":47403,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},222597,"xi-ge-qing-yan-tu-lan-ying-222597","溪阁清言图","此图的灵感来源是元代画家赵雍。画山石的时候，先用“披麻皴”来描绘质理，然后上面再轻轻罩染一层石青、石绿的颜料。山峰上的苔点和攀附松身的女萝，也是用冷色调的石青敷填，显得十分醒目。蓝瑛灵活地运用元代绘画的模式，将它转化成新的绘画语汇，再融入自己的创作之中。",[23,24,7,165,27,132,29,1144,97,131,499,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5032344b2a24faa1cebce70996974eca.jpg","纵167.5cm，横48.3cm",[136,45],{"id":47405,"slug":47406,"title":47407,"dynasty":124,"author":18090,"museum":146,"description":32146,"tags":47408,"thumbUrl":47409,"material":27,"size":47410,"collection":84,"collections":47411,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},222587,"shan-shui-tu-shan-mian-lan-ying-222587","山水图扇面",[23,24,7,1131,29,132,131,34,97,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cde9f4eb2290a631bd378b1cfb6db4d.jpg","长15.8，宽47.5",[],{"id":47413,"slug":47414,"title":47415,"dynasty":124,"author":18090,"museum":47416,"description":32146,"tags":47417,"thumbUrl":47418,"material":1223,"size":47419,"collection":136,"collections":47420,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":199},222581,"lin-da-chi-shan-shui-tu-juan-lan-ying-222581","临大痴山水图卷","美国芝加哥艺术学院",[23,24,7,25,330,132,27,64,133,208,29,34,131,98,99,130,211,1233,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaf31e04d0d80d510a4c1e05e83812c0.jpg","纵58 58厘米，横962 98厘米",[136,45],{"id":47422,"slug":47423,"title":25630,"dynasty":124,"author":47424,"museum":244,"description":47425,"tags":47426,"thumbUrl":47427,"material":637,"size":47428,"collection":84,"collections":47429,"showCount":155,"zanCount":1998,"manualWeight":48,"mainColor":72},222579,"fang-wang-meng-shan-shui-jiang-qian-222579","蒋乾","这幅画是浙派画家蒋嵩之子蒋乾，所留存下来的少数画作之一。画面中，山峦层层迭迭，几乎将画幅填塞地密不透风。画的右侧有一道瀑布高悬，在山谷间制造深入的空间感。而近景山石有长松挺立，山屋茅舍隐蔽山中，是十分适合文人读书休憩的地方。",[23,24,7,165,128,132,330,29,1144,131,495,499,3387,34,496,11998,1023,38,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccffe975f2ab77aa3a44ef972534e795.jpg","98.1厘米，横：34厘米",[],{"id":47431,"slug":47432,"title":47433,"dynasty":124,"author":9650,"museum":56,"description":9651,"tags":47434,"thumbUrl":47435,"material":84,"size":84,"collection":84,"collections":47436,"showCount":155,"zanCount":1998,"manualWeight":48,"mainColor":72},222518,"shen-xian-tu-ce-7-zhang-lu-222518","神仙图册7",[164,24,7,59,128,188,96,9603,9604,528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365f96a79eba1447b5b9fefe6c2663ab.jpg",[],{"id":47438,"slug":47439,"title":47440,"dynasty":124,"author":9650,"museum":56,"description":9651,"tags":47441,"thumbUrl":47442,"material":84,"size":84,"collection":84,"collections":47443,"showCount":155,"zanCount":1998,"manualWeight":48,"mainColor":72},222514,"shen-xian-tu-ce-3-zhang-lu-222514","神仙图册3",[23,24,7,59,128,27,188,96,950,187,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F550e7d0b37b6943a07ff6d20c23d1aa2.jpg",[],{"id":47445,"slug":47446,"title":47447,"dynasty":124,"author":47448,"museum":510,"description":47449,"tags":47450,"thumbUrl":47451,"material":1027,"size":47452,"collection":84,"collections":47453,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},222432,"ren-wu-cao-chong-tu-quan-juan-du-da-cheng-222432","人物草虫图全卷","杜大成","明代·杜大成（生卒年不详）。十六—十七世纪初，字允修，号三山狂生，一作山狂生。苏南京人。嗜声诗，工音律，善画禽虫花木，嫣秀生动。传世作品有《花卉草虫图册》，纸本，墨笔，现藏辽宁省博物馆。从艺活动约在嘉靖、万历间。名画家杜大成的《人物草虫图》寥寥几笔，似不经意，而花叶、草虫却生意盎然，栩栩如生。",[23,24,164,7,25,188,128,28,208,64,96,480,1144,276,375,171,211,2146,1422,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbc23865987ff0a8c397d24a26b83c9f.jpg","30x336",[],{"id":47455,"slug":47456,"title":40332,"dynasty":124,"author":19170,"museum":244,"description":47457,"tags":47458,"thumbUrl":47459,"material":27,"size":47460,"collection":44,"collections":47461,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},222379,"san-jiao-tu-ding-yun-peng-222379","图中所绘的是孔子、老子、红衣罗汉坐于树下共同探究玄理的情景。作品现收藏于台北故宫博物院。\n该作品所绘的三位智慧长者面目严肃，神情专注，孔子儒雅敦厚，循循善诱，正发表言论；老子道貌岸然，谨慎而善辩，他注视着对方，似乎准备随时发问；红衣罗汉双目低垂，安详而平静，从他紧锁的眉头可以看出他已沉于思索之中。图左下款署“善男子丁云鹏敬写”。钤“丁云鹏印”“南羽氏”。画上有陈继儒题记。\n明代，随着儒、道、释三教的融合，宗教题材的绘画也随之有了世俗化的倾向，此画中的宗教人物与作为供养的神仙不同，脱离了程式化的因素，有着鲜明的个性特征和情绪化色彩，同时融入了文人的审美情趣。其人物造型古拙、气质端庄文雅，体现了明后期文人画注重表现个性的风尚。画法上，运用“高古游丝描”，细劲而“笔力伟然”，既有古朴之感，又具有时代气息。设色古妍冷隽，尤其是人物服饰的红色、兰色与赭色，赋色沉稳和谐。山石树木勾勒添色，取法文徵明，小青绿设色，文静典雅，营造了一种静谧清淡的意境，引人入胜。",[23,24,7,164,28,27,96,187,413,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ff1c843045c703266db9a9adca98c31.jpg","纵115.6cm，横55.7cm",[44,45],{"id":47463,"slug":47464,"title":47465,"dynasty":124,"author":16846,"museum":224,"description":47466,"tags":47467,"thumbUrl":47468,"material":1223,"size":47469,"collection":136,"collections":47470,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},222230,"heng-tang-yu-xie-tu-juan-wen-bo-ren-222230","横塘雨歇图卷","全卷画层峦叠谳，千岩万壑，岗岭蜿蜒，龙脉起伏不断，峦间飞瀑如练，苍松依聚溪畔坡石。野色桥边，树石掩映，露出茅屋草亭。人物幽闲，或俯临秋水，或曳杖渡桥，或对坐观瀑，颇得游山观水之乐。署“嘉靖戊子冬日，五峰山人文伯仁。”",[23,24,7,25,27,29,132,30,495,34,31,497,1515,96,37,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78539aa02e216d5b6930b22af81d1ea0.jpg","18x123cm",[136,45],{"id":47472,"slug":47473,"title":47474,"dynasty":124,"author":16846,"museum":22232,"description":47475,"tags":47476,"thumbUrl":47477,"material":1464,"size":47478,"collection":84,"collections":47479,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},222226,"si-wan-shan-shui-tu-4-wan-shan-fei-xue-wen-bo-ren-222226","四万山水图4-万山飞雪","明代中期吴派风格自形成以来盛极一时，他们的画法，上探北宋董巨，近追元代四家，与以往明代绘画所不同的是，吴派山水属于文人画体系，被称为“利家”画并为发展文人画做出了重大贡献，同时他们的画风为后世文人所推重直至今日。文伯仁，字德承，号五峰，作为吴派山水画家和文氏家族中重要的一员，“笔力清劲，布景奇兀，时以巧思发之能传家学，颇负出蓝之誉”，并善于学习古人，画功精湛，在他存世并不众多的作品中不难发觉元代王蒙与叔父文徵明的影子，而与此二人作品相较，比王蒙的山水少了高不可攀的险峻，比文徵明的山水多了鲜明的个人情趣。徐沁在名画录赞叹文伯仁的山水“横披大幅，层峦郁茂不在衡山之下。”\n《四万山水图》指的是四幅分别以“万壑松风”、“万竿烟雨”、“万顷晴波”、“万山飞雪”为题的画作的总称，是明代画家文伯仁为友人顾从义而画，作于文伯仁50岁时。各图上有明末艺苑的代表文人董其昌所题的画赞。文伯仁是明代苏州（江苏省吴县）文人画即吴派的中心人物文征明的外甥，据说其在文氏一门之中画技最为出色。文征明及其一门的画家喜爱描绘山泉林间闲游的文人，但文伯仁的山水画以清静、浅显、清楚的白描风格或淡彩为基调，以充满色彩感的画风为特色，为文人画开辟了新的境界。本图是嘉靖年间（1522～66年）吴派的代表作品之一。《四万山水图》描绘了文人的闲适，作品中大量使用了清劲的白描笔法，表现密度极高。",[23,24,1349,164,7,165,128,132,28,663,1556,34,31,497,130,1337,1813,13436],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d845e881e9f41b343dbe1507be0f0ca.jpg","48X123cm",[],{"id":47481,"slug":47482,"title":742,"dynasty":124,"author":125,"museum":244,"description":47483,"tags":47484,"thumbUrl":47485,"material":47486,"size":47487,"collection":68,"collections":47488,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},222123,"qiu-kui-tu-shen-zhou-222123","此作采用没骨法写生法绘秋葵一枝，叶与干全用老绿一再渍染，因泥金地上有油质，本不托色，故笔迹重，锋芒都尽，布景不多，自有一种简秀朴质之韵。书法较晚年略觉软熟，可能是其五十至六十岁间的作品。作品左边题识：“庭前秋葵一枝。欹栏独立。檀心自舒。犹佳人含思清愁。大有可怜之态。第恐一朝萎露。因寄之丹青以永观。周”钤印“石田”。右边题识：“条条秋风清。湛湛秋露泫。许有向阳心。秋云任舒卷。石田又题于静观阁。” 钤印“启南”。",[23,164,24,7,1131,27,61,64,208,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07b2133c05bcc2d6a54e38c46654ab66.jpg","纸本，泥金，扇面，设色","纵18.0厘米， 横53.6厘米",[68,45],{"id":47490,"slug":47491,"title":47492,"dynasty":124,"author":10922,"museum":244,"description":10923,"tags":47493,"thumbUrl":47494,"material":84,"size":47495,"collection":136,"collections":47496,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},222022,"hua-hui-jing-tang-tu-juan-wen-jia-222022","画会景堂图卷",[23,164,24,7,25,27,128,28,132,96,35,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0df2f2a2830eb86fb423891948207a67.jpg","27.1x88.1",[136,45],{"id":47498,"slug":47499,"title":47500,"dynasty":124,"author":802,"museum":161,"description":11485,"tags":47501,"thumbUrl":47502,"material":59,"size":84,"collection":84,"collections":47503,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},221907,"hua-niao-jing-pin-ce-4-chen-hong-shou-221907","花鸟精品册4",[24,164,7,59,27,28,61,481,373,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ced18c0048b9fb698e0e97704afea7.jpg",[],{"id":47505,"slug":47506,"title":47507,"dynasty":144,"author":47508,"museum":20,"description":47509,"tags":47510,"thumbUrl":47511,"material":18467,"size":47512,"collection":84,"collections":47513,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},221825,"qiu-lin-chui-diao-tu-ye-zhu-ze-min-221825","秋林垂钓图页","朱泽民","画上一老翁坐于船头专心致志钓鱼，岸上二株松树耸立，画面简洁、幽静。朱德润，字泽民，号睢阳山人，善诗文，工书法，格调遒丽。",[23,24,7,1131,128,29,331,129,1350,1351,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febc2f13a87dfedf73b5dab0419e4fad5.jpg","28.1X26.6cm",[],{"id":47515,"slug":47516,"title":47517,"dynasty":144,"author":47518,"museum":161,"description":47519,"tags":47520,"thumbUrl":47521,"material":514,"size":47522,"collection":84,"collections":47523,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},221811,"you-yu-xian-tu-juan-yao-ting-mei-221811","有余闲图卷","姚廷美","《有余闲图》的画幅不长，风格和故宫博物院的《雪江游艇图》一致，是典型的文人绘画。它的珍贵处，在于卷后元人题跋超多，前后二十余家，蔚为大观。\n卷前引首是章弼题写的“有余闲”三字篆书，画卷绘一高士坐于临水的茅舍前，姚廷美题：“至正廿年（1360）春正月□日作此，并系鄙语于尾，地偏人远闭柴关，满院松阴白昼闲。眼底风尘浑忘却，坐看流水卧看山。吴兴姚廷美书”。\n后接绢、纸七张，各接缝处有梁清标押缝小印，先是杨维桢绢本《有余闲说》，署“至正庚子（1360）二月初吉东维子书”。",[23,24,25,7,128,132,64,133,208,29,34,131,35,23362],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc526d0800068df29e80deb17c760a832.jpg","23.1 x 84厘米",[],{"id":47525,"slug":47526,"title":47527,"dynasty":144,"author":13485,"museum":2068,"description":47528,"tags":47529,"thumbUrl":47530,"material":2599,"size":47531,"collection":84,"collections":47532,"showCount":155,"zanCount":1998,"manualWeight":48,"mainColor":49},221802,"han-shan-shi-de-tu-zhi-er-yan-hui-221802","寒山拾得图之二","《寒山拾得图》画的是唐代传奇性人物寒山和拾得。寒山与拾得，皆为唐朝贞观年间人，相传住在天台山国清寺，师事于丰干禅师。寒山，一说寒山子，好吟诗唱偈，语言通俗诙谐，后人辑为《寒山子诗集》，存诗300余首，其诗多表现山林隐逸之趣和佛教出世思想，对世态亦有所讥讽。拾得，本为孤儿，天台国清寺僧人丰干拾而养之，故名“拾得”。与寒山为友，亦能诗，诗附《寒山子诗集》后，二人诗风相近。寒山和拾得二人佛法高妙，诗才横溢，踪迹怪异，相传他们分别是文殊、普贤菩萨的转世。\n描绘寒山与拾得的画作，自宋代以来就一直在禅僧间广受喜爱。而且，寒山、拾得二人其典型形象总是满面春风，拍掌而笑，民间奉为“和”“合”二仙。旧时婚礼上，喜堂高挂二仙神像，寓意和气好合。\n颜辉所绘《寒山拾得图》，寒山躬身作揖，拾得拄扫帚而立，二人皆张口大笑。人物神情刻画得细致生动，诙谐之趣跃然纸上。人物衣纹用笔粗壮，实源于南宋山石之画法。",[23,24,7,164,165,27,96,187,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c49fac1026784681f7ef088178a0e7.jpg","纵127.8厘米，横41.7厘米",[],{"id":47534,"slug":47535,"title":47536,"dynasty":144,"author":21654,"museum":2068,"description":47537,"tags":47538,"thumbUrl":47539,"material":47540,"size":47541,"collection":84,"collections":47542,"showCount":155,"zanCount":1998,"manualWeight":48,"mainColor":49},221724,"han-shan-shi-de-tu-chan-ji-tu-duan-jian-yin-tuo-luo-221724","寒山拾得图禅机图断简","自宋代以来就一直在禅僧间广受喜爱。本图是描绘寒山、拾得二人被问及丰干禅师行踪时，沉默不语、只是哈哈大笑的情景。虽然因袭了将人物脸部画得细致、衣衫以粗略笔致来表现的\n日本在 早年流入日本的中国禅画也因此备受日本人的珍视，被视为国宝级的文物。目前收藏在日本东京国立博物馆的《寒山拾得图》，就是这样一幅隐含机锋的禅机图。\n以寒山和拾得为主题的图画有许多版本，而最负盛名的禅画则是这幅元代画家因陀罗所作的《寒山拾得图》。此图为纸本、墨画，在画面最左边，题有楚石梵琦写的赞：“寒山拾得两头陀，或赋新诗或唱歌。试问丰干何处去，无言无语笑呵呵。”这幅画，描写寒山与拾得两位仙人席地坐于一株古树下，背依石丘，相对谈天说地，一副逍遥自在的样子。\n画中的寒山拾得蓬头光脚笑颜，一人双手相握，一人俟身向前。画面线条玲珑，浓淡衬托有力。虽寥寥数笔，但傲笑自若的禅僧形象已跃然纸上，流露出一种超脱物累、大智若愚、狂放不羁的精神。画家用了多种笔法来表现这一充满静谧禅机的场面：以吹墨法画头发，使之有蓬松自然之感；以阔笔焦墨画襟带，使之有临风而动的飘逸感；以渴笔画树石，使之有苍劲古逸之感。画意损深邃，画风简约，拙朴木纳，又不失活泼、诙谐。",[23,24,7,128,188,96,171,372,64,208,187,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa264b290c261cf662029c6b3e3ec36d8.jpg","墨本","纵35.2cm 横49.7cm",[],{"id":47544,"slug":47545,"title":43759,"dynasty":18,"author":2257,"museum":244,"description":47546,"tags":47547,"thumbUrl":47548,"material":128,"size":47549,"collection":84,"collections":47550,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},221674,"feng-yan-zhan-juan-zhao-bo-ju-221674","画中的建筑物——敞轩，即所谓的「界画」。古代的风景画或人物画中有建筑物的构图，依赖界尺将建筑物的飞檐、楼阁、楹椽等画得唯肖唯妙，这种有直线的画，称为「界画」。其实界画极难，如非高手绝难胜任。界画是用千万条长短、横直和弯曲的线条交织画成，繁复单调，又不容有一笔差错。如何把呆版的线条绘成生动的画面，就是绘界画最困难之处。",[23,164,24,7,27,28,5295,208,29,130,96,372,34,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b511f6b89d3f3ff1e22db0037b5b729.jpg","24.9x26.7",[],{"id":47552,"slug":47553,"title":47554,"dynasty":18,"author":16153,"museum":510,"description":47555,"tags":47556,"thumbUrl":47557,"material":40,"size":47558,"collection":84,"collections":47559,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},221662,"qiu-shan-hong-shu-wan-shan-xiao-zhao-221662","秋山红树纨扇","绘千岩万壑，飞瀑流泉，红树满山。山下水榭楼台隐现苍松林木间，意境深邃幽远。人物众多，神态各异，形象生动。山石多大斧劈皴描绘，具峭劲挺拔质感。经霜红叶点缀丛树间，增添秋景萧瑟气氛。风格与李唐相近，技艺稍逊，当为传人画作。画面左下“李唐笔”款系后人添。",[23,164,24,7,1131,27,29,132,8222,2524,34,496,497,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd419556bc9a2308e9386f6b62730944.jpg","纵197.8cm，横111.8cm",[],{"id":47561,"slug":47562,"title":47563,"dynasty":18,"author":47564,"museum":12686,"description":47565,"tags":47566,"thumbUrl":47567,"material":151,"size":47568,"collection":84,"collections":47569,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},221587,"ma-bei-shou-lie-tu-zhou-zhang-kan-221587","马背狩猎图轴","张勘","张堪，字君游，南阳宛县（今河南省南阳市）人，南阳郡豪门大族 [1] 。张堪很早就成为孤儿，他把父亲留下的数百万家产让给堂侄。16岁时，他来到长安受业学习。他的品行超群，诸儒都称他为“圣童”。\n公元39年到46年期间，张堪拜渔阳太守。他是个文武全才，在军事上，打得北部匈奴不敢南犯，经济上创造性的落实了光武帝刘秀的休养生息的国策，出现了史学家称为的“渔阳惠政”。百姓歌曰：“桑无附枝，麦穗两岐。张君为政，乐不可支。”东汉著名科学家、文学家张衡就是他的孙子。",[164,24,7,165,27,28,132,96,101,949,29,1233,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F627fa5059548371c205974501bf2830a.jpg","91.4×52.2厘米",[],{"id":47571,"slug":47572,"title":47573,"dynasty":18,"author":2141,"museum":244,"description":41199,"tags":47574,"thumbUrl":47577,"material":151,"size":47578,"collection":84,"collections":47579,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},221553,"luo-han-tu-5-liu-song-nian-221553","罗汉图5",[23,164,24,7,187,28,27,96,413,9633,2302,131,276,949,582,47575,47576,18331],"虬树","小和尚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81f3e58b37ca2ec5227fa60b958ee26e.jpg","纵117公分，横55.8公分",[],{"id":47581,"slug":47582,"title":47583,"dynasty":18,"author":1323,"museum":20,"description":47584,"tags":47585,"thumbUrl":47587,"material":40,"size":36405,"collection":84,"collections":47588,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},221492,"qian-tang-guan-chao-tu-quan-juan-li-song-221492","钱塘观潮图全卷","本幅无款印。引首及前后隔水有清乾隆题诗，后幅有张仁近、杨基题跋。收藏印有项子京、清内府、梁清标诸印。\n少年时曾作过木工的画院画家李嵩是善画建筑的高手。台北故宫博物院收藏的李嵩所绘《月夜看潮图》页是对南宋官式建筑的风格和细部特点的忠实写真，而此卷则带有缘物抒情的感情色彩，展现了李嵩的其另一种建筑画风。\n每年农历八月十六至十八日为浙江钱塘江的大潮汐期。自南宋迁都临安（今浙江杭州）后，观潮成为临安一年一度的盛大活动。其时海水沿喇叭形的钱塘江口逆江而上，如“玉域雪岭，际天而来，大声如雷霆，震撼激射，吞天沃日，势极雄豪”。\n此幅画面除表现滔滔的江水，即写“大内临江起飞阁”的都城临安。耐人寻味的是作者并没有以其擅长的细腻精微的表现手法再现皇家殿宇的巍峨辉煌、临安城池的雄伟整饬、“岁岁观潮乐”的繁华热烈，而只以简括的笔法写出成片的半露瓦顶于薄雾树影之中朦胧隐现，茂林中三面围墙的宽大空场或许即南宋的宫室所在，意境颇显空寂。作者活动的年代，正值南宋时局动荡，国家面临内忧外患，而小朝廷又沉湎于“钱塘江上开皇畿”，“贪看秋潮忘黍离”的耽乐奢靡。身为画院待诏得以侍于君侧的李嵩忠君忧国而又无力回天的孤寂心境在画面中似有曲折流露。",[23,164,24,7,25,28,27,133,208,64,47586,14435,96,97,129],"潮水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79fd3ce03bbccea8289caf4b7a3e6d4f.jpg",[],{"id":47590,"slug":47591,"title":47592,"dynasty":18,"author":44015,"museum":510,"description":47593,"tags":47594,"thumbUrl":47595,"material":611,"size":47596,"collection":318,"collections":47597,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},221480,"wang-shi-bao-ben-an-ji-zhang-ji-zhi-221480","汪氏报本庵记","帖后有文徵明跋、项元汴题记。卷前后又有项氏诸印和卞永誉式古堂印，清乾隆、嘉庆、宣统三朝印玺。文徵明云：“按《皇宋书录》，即之，安国之后，甚能传其家学。……。其书师颜鲁公、尝为高宗所称。即之稍变而刻急，遂成名家。”《汪氏报本庵记》一文原为楼钥所撰，汪氏是楼的外祖家，不知道与张即之有无瓜葛，要录写这篇文章。书后的“淳熙十二年(公元1252年)三月二日”款，原应在文内，为后人挖移篇末。此卷小字行书，运笔流畅而劲健，比即之其它擘窠书《杜甫诗卷》要秀逸些，是张氏传世墨迹中的佳作。 乾隆时曾刻入《墨妙轩法帖》第四册。\n相关说明:\n北宋遭靖康之耻，汴京被金兵陷落，徽、钦二帝被虏，宋高宗赵构南逃，建都于临安，此便是历史上的南宋王朝，自建炎元年至祥兴二年先后易九主计一百五十二年。南宋虽苟安一时，但江南之地，物产丰富，人杰地灵，且宋高宗赵构雅好翰墨，北宋刊刻之《淳化阁帖》至南宋时影响渐广，学米《芾》学黄（山谷》学二王之风蔚然一时，帖学又得到长足的发展《鼎帖》、《淳熙秘阁续帖》、《世釆堂帖》相继问世，高宗还设置书学，命米友仁任书学博士．在这种文化氛围的熏陶下，南宋亦出现了不少著名的书家，如岳飞、吴说、范成大、吴琚、朱熹、陆游、姜夔、张即之、文天祥、赵孟坚等人．从总体上来说，南宋书法不及北宋之新意迭出，生气蓬勃，显得比较保守，模仿之风亦较盛，但其中亦不乏富有创意和个性的书家，张即之即是其中的代表人物。\n张即之生于南宋孝宗淳熙十三年（一一八六），卒于理宗咸淳二年（一二六六），字溫夫，号樗寮，安徽和州人．他是参知政事张孝伯之子，南宋的著名书家张孝祥又是他的伯父、即之年青时即以父荫补官．授承务郎，父亡后擢司农寺丞，调任嘉兴知事，因遭受他人巫陷，未赴任上，特授直秘阁而离职，即之一生仕途并不顺利，据《李伯嘉墓志铭》中记其官职为“太中大夫，直秘阁致仕、历阳县开国男、食邑三百户、赐紫金鱼袋”，后引年告老，终年八十一岁。\n张即之的书法在幼年时便受到其伯父张孝祥的影响，始学米芾，后则肆力于褚遂良楷书笔法，在这基础之上，又糅合了隋唐人写经的笔意而自创一格，特别是他的楷书，写得清劲绝俗，用笔极其精到细腻，发笔处喜用搭锋，点画之间，顾盼呼应，而兼行草笔意，又善于用方笔侧锋，显得姿态生动，极其圆熟．即之的书法在南宋时名声就很大，金人常出高价来收购他的宇，据《宋史本传》谓：“即之以能书闻天下，金人尤宝其翰墨”。张即之小楷以精巧圆熟为特征，正如梁闻山《评书帖》所谓：“原自欧出，参有褚法，结体尚紧，特多讨巧之处而不成大方耳”。其实小楷以精巧为特征本身即是一种风格，况即之喜写经文，而经文中重复的字很多，比较难写，即之能在楷法中自成一格，别开生面是非常不容易的，正如叶昌炽《语石．张即之一则》中谓：“张即之，书中之畸士也。好用侧笔，望之如矮松偃盖，婆娑可爱，其运笔以收为纵，又如长房缩地，咫尺有千里之势”。本册所载《张即之书报本庵记》后有“淳熙十二年三月二日二“，考淳熙十二年为一一八五年，而张即之生于一一八六年，故知此为报本庵记写于淳熙十二年，非即之书于此午也．此册行楷骨力劲健，点画精到，结字生动，笔意流动，显得神采焕发，给人以一种轻松自如之感，从其成熟的风格上来看，当为其晚年时所书，无疑是其生平的代表作品。",[23,164,7,25,133,64,208,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8e8ee6f88ad6a055877d8d6149cbe3c.jpg","，纵29.3厘米，横91.4厘米",[318],{"id":47599,"slug":47600,"title":47601,"dynasty":18,"author":47602,"museum":244,"description":47603,"tags":47604,"thumbUrl":47610,"material":611,"size":47611,"collection":318,"collections":47612,"showCount":155,"zanCount":1998,"manualWeight":48,"mainColor":72},221234,"shu-xi-jiang-yue-ci-zhong-shu-221234","书西江月词","仲殊","北宋僧人、词人。字师利。安州（今湖北安陆）人。本姓张，名挥，仲殊为其法号。\n曾应进士科考试。生卒年不详。年轻时游荡不羁，几乎被妻子毒死，弃家为僧，先后寓居苏州承天寺、杭州宝月寺，因时常食蜜以解毒，人称蜜殊；或又用其俗名称他为僧挥。他与苏轼往来甚厚。徽宗崇宁年间自缢而死。",[23,164,24,7,64,133,128,47605,47606,4703,19006,47607,950,9404,47608,47609],"红旗","黄钺","霜","帆","春天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F893f5c450e666968341f30dfe2e9e801.jpg","48.7x70.3厘米",[318],{"id":47614,"slug":47615,"title":47616,"dynasty":18,"author":47617,"museum":244,"description":47618,"tags":47619,"thumbUrl":47621,"material":611,"size":47622,"collection":318,"collections":47623,"showCount":155,"zanCount":1998,"manualWeight":48,"mainColor":72},221229,"shu-zha-zi-zhou-hu-221229","书劄子","周虎","周虎(1161--1229）字叔子。祖籍临淮(治今江苏洪泽县临淮镇），靖康中迁居常熟。能诗文，善写大字，并习武艺。为人倜傥，轻财尚气。南宋庆元二年(1196年），举武科第一。曾出使金国为副使，后任和州守。开禧二年(1206年），金兵会攻和州，时城中守兵不足2000，周激励将士，誓死守城。一月中作战30余次，杀金兵帅石石乞跶并将领十数人。金兵受重创败退，由此与宋议和，江淮一带得以安定。和州百姓曾立生祠祀其母子。卒后谥“忠惠”。后人并立武状元坊，以为纪念。",[23,1326,7,64,133,128,8116,47620],"书札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ebcc1a5057c18e1402f159c61af862c.jpg","48.7x70.3",[318],{"id":47625,"slug":47626,"title":47627,"dynasty":124,"author":1141,"museum":6892,"description":47628,"tags":47629,"thumbUrl":47630,"material":2283,"size":47631,"collection":84,"collections":47632,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":84},220757,"xing-shu-ji-jin-ling-you-ren-ci-wen-zheng-ming-220757","行书寄金陵友人词","笔意温润秀劲，带着晋唐遗韵，牵丝映带自然灵动，字势欹正相济，整幅行气贯通如一泓春水迤逦舒展。\n笔墨随着词作心绪起伏，粗细藏着幽思浓淡，时而舒展如堤畔杨柳曳风，时而收敛如幽窗怀人蹙眉。怀友念旧的缱绻深意融在笔锋起落，十年旧梦随着墨色晕开，书文合璧，清雅书卷气裹着沉郁真挚的心境，在流转的笔意里，将故地重逢的怅惘与昔年风流的追忆缓缓铺陈，笔底皆是一往情深。",[23,64,133,7,165,8162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00861222d32a45a6960c5ced59ed9103.jpg","348 × 103 cm",[],{"id":47634,"slug":47635,"title":47636,"dynasty":124,"author":16846,"museum":6892,"description":47637,"tags":47638,"thumbUrl":47639,"material":652,"size":43013,"collection":84,"collections":47640,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":84},220737,"yan-jiang-die-zhang-tu-hua-xin-zuo-wen-bo-ren-220737","烟江叠嶂图画心左","此作用平远之境铺展江天盛景，淡墨晕染烟波，留白尽显水汽氤氲。层叠峰峦以枯笔轻勾浅皴，苍秀松灵，在云雾中远近隐现，似随江雾漾动。汀渚沙洲错落其间，林木蓊郁，渔舟点点散于空茫江面，生机暗涌。\n\n画面虚实相生，将江南烟水的空濛柔婉尽数铺陈，把远眺江天的悠然意趣藏进疏密错落的景致里，以极简笔墨晕染出无尽悠远的水乡诗意，淡而弥远，尽显文人画清逸雅致的审美意趣，让观画者如临江岸，沉浸式触摸江南烟水的温润灵秀。",[23,24,7,25,128,132,29,496,34,33,6004,37,10143],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefb26a5273e89c68c9cf3567f7ad1861.jpg",[],{"id":47642,"slug":47643,"title":47644,"dynasty":980,"author":37787,"museum":5077,"description":47645,"tags":47646,"thumbUrl":47647,"material":84,"size":84,"collection":84,"collections":47648,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},220514,"chuan-yue-jiang-shan-de-ju-li-pu-xin-she-220514","穿越江山的距离","以淡墨晕染烟江叠嶂，远山轻描淡扫，留白托出平湖空寂，幽远淡宕。近岸佳木扶苏，笔致清劲灵秀，苍枝翠叶错落生姿，坡石间高士垂眉静坐，与烟水林泉相融无间。\n题跋笔墨隽雅，诗画相映，将幽居闲赏的林下襟怀藏于尺幅间。极简的水墨层次铺展空疏淡远之境，把天地间的清寂逸趣凝缩在这一纸烟岚里，尽显东方文人画的静穆禅意。",[23,24,7,165,128,132,133,208,29,34,129,96,131,415,3427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a7f7ce3d1ef48dddd8b0d0f9283b6ce.jpg",[],{"id":47650,"slug":47651,"title":47652,"dynasty":54,"author":1219,"museum":8958,"description":47653,"tags":47654,"thumbUrl":47655,"material":17163,"size":84,"collection":84,"collections":47656,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},220472,"zhao-de-chang-fu-fu-xiang-ren-yi-220472","赵德昌夫妇像","画作以工写兼施之笔，将二人神韵尽皆铺展。男子裘革厚重，面庞清癯肃穆，尽显世家端方气度；妇人素衣雅致，持杖端坐，神情温婉平和，衣褶晕染细腻自然，服饰细节历历分明。画面下方汀洲仙鹤卧于浅渚，晕染淡色清波，暗合福寿绵长的美好寄寓。画作融西洋写实的精准造型与传统国画的写意韵致于一体，以淡墨留白衬出人物主体，色彩雅致协调，既还原肖像纪实性，又晕染出雅致平和的文人意趣，是兼具写实功力与审美意韵的肖像佳作。",[24,7,27,96,722,2885],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94905f2a0db5067734158bf394c51267.jpg",[],{"id":47658,"slug":47659,"title":47660,"dynasty":124,"author":47661,"museum":524,"description":47662,"tags":47663,"thumbUrl":47664,"material":611,"size":47665,"collection":68,"collections":47666,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},220401,"mei-yue-hui-ying-tu-chen-lu-220401","梅月辉映图","陈录","此幅《梅月辉映图》写倒垂梅一株，枝由右上角出，主干弧形弯曲，构成梅枝总的动势。小枝则有穿插、变化，形成枝蕊参差交错、俯仰顾盼，梅花烂漫怒放的景象，图中以没骨写干，双钩圈花，淡墨渲染背景，突出千条万玉、花团锦簇的视觉的效果。",[23,24,7,164,165,128,371,231,331,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75ccb4e9ed68ba2b036805e6a57cbb30.jpg","223cm x 57.5cm",[68],{"id":47668,"slug":47669,"title":47670,"dynasty":124,"author":14340,"museum":20,"description":47671,"tags":47672,"thumbUrl":47673,"material":278,"size":47674,"collection":44,"collections":47675,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},220399,"ge-wu-tu-wu-wei-220399","歌舞图","此图真实地反映了文士狎妓观舞的场景。狎客们与二女妓围坐一周，神态各异。狎客或侧首细品，或低头凝视，或举目静观，或捻须沉思。陪坐的女妓或机械地执板伴奏，或心不在焉地笼袖而坐，与狎客们专注的神情形成鲜明的对比。据画幅上唐寅墨款“吴门唐寅题李奴奴歌舞图，时弘治癸亥三月下旬，李奴奴十岁”可知，圈中翩翩起舞者是年方满10岁、但已为妓数载的李奴奴。明代是青楼业昌盛的时期，一方面资本主义萌芽逐渐兴起，都市经济日益壮大，商品市场迅速成长，为青楼业的生存和发展提供了广阔的空间；另一方面，腐败的明政府实行罚良为娼的政策，并在金陵(即南京)官办著名的十六楼(妓院)：南市、北市、鹤鸣、醉仙等，促使包括李奴奴在内的众多女子在遭遇各种生活的不幸后沦落青楼而成为玩物。鉴于青楼文化的兴盛，吴伟、唐寅等许多极富才情、仕途失意的画家纷纷饮酒狎妓，试图通过游妓来摆脱失意的郁闷和伦理的负担，获得心理的平衡与精神的松弛。他们对于自己的放浪行为并不加以掩示，唐寅自刻“江南第一风流才子”印章及吴伟所创作的此图，都意在表明自己以游妓为荣耀、玩世不恭的人生观。\n此图为吴伟45岁时所作。在表现技法上与《武陵春图》相近，属于细笔白描人物画。构图简约明了，主体人物突出，无繁复的景致烘托，仅通过人物生动的情态举止及其间的相互呼应抒发出富有生活情趣的诗意。",[23,24,7,805,165,188,96,438,251,1429,208,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb328ad9749d5d3efa719be4dbcbb7979.jpg","纵118.9厘米，横64.9厘米",[44,117],{"id":47677,"slug":47678,"title":47679,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":47680,"thumbUrl":47682,"material":611,"size":3722,"collection":84,"collections":47683,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},220321,"huang-shan-tu-ce-8-hong-ren-220321","黄山图册-8",[23,24,7,59,128,29,131,1144,11998,496,132,47681,1022],"干笔淡墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F164a5154287c4247eb45586ab3ab5bbe.jpg",[],{"id":47685,"slug":47686,"title":47687,"dynasty":18,"author":12285,"museum":5543,"description":12286,"tags":47688,"thumbUrl":47689,"material":173,"size":12289,"collection":84,"collections":47690,"showCount":155,"zanCount":1998,"manualWeight":48,"mainColor":49},220107,"shi-liu-luo-han-tu-di-shi-wu-zun-zhe-jin-da-shou-220107","十六罗汉图-第十五尊者",[23,24,7,165,187,27,28,96,772,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1222ddeea119c024e250b2c3874ae63e.jpg",[],{"id":47692,"slug":47693,"title":47694,"dynasty":54,"author":47695,"museum":161,"description":47696,"tags":47697,"thumbUrl":47700,"material":27,"size":84,"collection":136,"collections":47701,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},220042,"han-qiu-wan-yan-tu-zhang-feng-220042","寒秋晚烟图","张风","图绘高士在秋林水畔觅句，寒烟重重，密林无限，空寂之至。",[23,24,7,165,128,27,132,29,96,1337,331,1233,30581,37,47698,47699],"寒秋","晚烟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa45634c300f514a2047d57e857165e26.jpg",[136],{"id":47703,"slug":47704,"title":47705,"dynasty":18,"author":37747,"museum":244,"description":47706,"tags":47707,"thumbUrl":47708,"material":173,"size":47709,"collection":68,"collections":47710,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},219936,"qiu-lin-shui-niao-tu-gao-ke-ming-219936","秋林水鸟图","图绘柳岸水边,凫雁或飞或憩,地上与柳树上两只山鹊或觅食或远眺.小小尺幅内作全幅花鸟,气韵悠远,秋意盎然",[23,24,7,59,27,29,2875,10011,34,414,132,10582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09cfd1d3015da9ffdea2e6f7cf2a880f.jpg","26.5x26.6",[68],{"id":47712,"slug":47713,"title":47714,"dynasty":54,"author":47715,"museum":244,"description":47716,"tags":47717,"thumbUrl":47718,"material":151,"size":47719,"collection":136,"collections":47720,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},219888,"zhong-liu-di-zhu-zhou-qian-xu-219888","中流砥柱轴","钱旭","钱旭，生卒年不详，画史载其生平资料甚简，字东白，浙江杭州人，工画山水、人物。此幅为冷金笺本，水墨画嶙峋石柱，耸出于洪涛间，云气环绕着山腰，与波光相缥缈。皴石用中锋，起笔成钉头状向左右横趯，并用浓墨点苔，云及水纹则用淡墨勾勒，构景虽简，然颇富笔墨趣味。",[24,7,165,128,132,29,171,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2133c9c0e740ef2ae79fbeb1fdc65788.jpg","127.5x32.6",[136],{"id":47722,"slug":47723,"title":47724,"dynasty":18,"author":44118,"museum":2542,"description":47725,"tags":47726,"thumbUrl":47727,"material":278,"size":84,"collection":136,"collections":47728,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},219860,"xue-shan-tu-song-di-219860","雪山图","中国的山水画在肇始之初就承载着文人和士大夫的精神情愫，不论是“天人合一”“明心见性”还是“逍遥隐逸”都与山水画的发生发展过从甚密。并且，中国社会的每一次大变革或者说社会动荡也都映射到影响到山水画的形态之中，成为其转变的重要诱因。先秦的“百家争鸣”奠定了中国画的哲学依据，以线表达的造型方式和魏晋的“畅神”思想又构建了中国画“写意”的整体旨趣。中国人不是不追求“再现物象”的写实主义，而是在追求的过程中没有抛弃“精神性”的哲学依据。所以，中国画一直就是在写实和写意的文化间性上不断求索，自我觉醒。直到两宋，这种现象达到高峰也宣告终结。究其缘由，重点有四：其一，唐代山水画理和山水田园诗高度发达的“理论先行”现象为五代和宋初的画家提供了技法上跟进的可能。其二，宋代“理学”的主导地位促使两宋画家对自然物态描绘上的理性追求。其三，南宋的特殊社会状况一方面促进了山水画图示的新取向，一方面也使山水画走向“艰涩刻板”的程式化囹囿。其四，文人画思潮的逐渐势强将山水画的精神内涵带入“得之于象外”的“适性”之作和技法上温婉醇和的“天真平淡”。\n从以上四点中也可以看出，南宋的山水画是在文人画之前的一个集“理性化”“图式化”和“风格化”的高峰期，而在这之后，除明代初年“院体”对它的短暂重视之外，几乎影响甚微。此幅“河阳宋迪画”的雪景山水正是南宋山水画的突出代表。纵观全幅，气象萧森沉郁，格调清刚峻拔，白山黑水间透出一股雪景的清旷和雅致，让人体会着浑然静穆的冷静。全幅构图以深远和高远为主。近处幽谷深邃，远景峰峦迢递，加以寒江和虚空的间隔使画面景物分明，层层递进，既有北宋山水巍峨雄壮之势，兼具马远、夏圭“半边一角”之形。近景左侧古木嵯峨相生，寒枝低垂，因风摇曳。巨石陡峭突兀，竞相峥嵘。期间一低矮乔木盘旋石上，干若曲铁，枝如银钩，全出马远画法，虽存于幽谷险境，亦生机勃勃不挠。巨石间一浮桥幽悬，将观者的视线引入古木之下的高士寒舍。舍内高士凭窗，注视着院落中煮茗饲鹤的童子，似有语相嘱，又悠然散淡，无限天真。更可观处，画家于山谷屋旁杂以翠竹寒梅，覆雪怒放，生机盎然。全画以白粉作雪，赋于物象高处，又以白粉散落渲染于水天之中，重墨之内，更增雪天景物杳冥之相。远山峰顶，以细密之点攒簇成树，有别于其他植被，可见穷究物理、物态之功。画中浮桥之栏、高士之衣，又以朱红点染，这一抹热色活跃了气氛也打破了色彩的单一。山石全用折笔廓形和大斧劈皴，瘦硬之感强烈，折射出画家内心深处的刚毅。实可宝之！",[24,7,25,128,132,29,2523,663,413,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ef06665fc5cec6884293eb85a3b2e69.jpg",[136],{"id":47730,"slug":47731,"title":47732,"dynasty":54,"author":21864,"museum":56,"description":21865,"tags":47733,"thumbUrl":21867,"material":27,"size":84,"collection":44,"collections":47734,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},219752,"xie-liu-ru-shi-fu-zhong-xiao-xiang-zhou-gu-shao-219752","写柳如是幅中小象轴",[24,7,165,27,96,166,28,170,128],[44],{"id":47736,"slug":47737,"title":47738,"dynasty":54,"author":223,"museum":244,"description":47739,"tags":47740,"thumbUrl":47741,"material":173,"size":84,"collection":44,"collections":47742,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},219596,"wan-nian-bu-lao-ce-sheng-xiang-ba-yuan-yi-ming-219596","万年不老册-圣相八元","此作分上下两段，上部以缠枝花卉环绕题字区域，碧绫为底墨字清隽，雅致沉静，烘托出古雅的文韵氛围。下部工笔绘就殿宇朝会小景，界画工致规整，朱红台栏与苍松翠色相衬，设色调和明丽。\n\n画中人物衣冠俨然，阶上二人低语，廊下众人肃立候见，举止从容端方，尽显朝堂仪制的庄重平和。笔触细腻柔和，树石晕染层次自然，衣褶线条舒朗流畅，将古典朝会的温婉肃穆悉数铺展，带着精工雅致的传统院画特质，于方寸间尽显静谧古雅的叙事意趣。",[24,7,59,27,28,96,34,758,8346,1200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F396c7d9317e9fb030f5c555392c786d5.jpg",[44],{"id":47744,"slug":47745,"title":47746,"dynasty":54,"author":223,"museum":2542,"description":47747,"tags":47748,"thumbUrl":47749,"material":173,"size":84,"collection":44,"collections":47750,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},219586,"fang-dong-dan-wang-chu-xing-tu-yi-ming-219586","仿东丹王出行图","画中主人头戴华冠，长髯垂胸，端坐奔马之上，神态雍容沉稳，自带华贵从容的世家气度。黑马雄健剽悍，四蹄奔腾却行姿稳健，鬃尾随风飘逸，鞍鞯纹饰精细繁复，朱红配鎏金纹样，极尽富丽雅致。\n整作工笔精细，设色古雅厚重，线条劲挺流畅。将人物的贵胄威仪与骏马的矫健灵动融为一体，虽为仿作却神完意足，精准复刻旧制鞍马人物画的典雅大气，尽显传统鞍马人物画的精妙笔法与古典审美意趣，仿佛可窥见昔日出巡仪仗的恢宏一角。",[24,7,27,96,101,208,170,330,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f77e3d06cf05b85aabf7a4566622f56.jpg",[44],{"id":47752,"slug":47753,"title":47754,"dynasty":144,"author":8127,"museum":244,"description":47755,"tags":47756,"thumbUrl":47757,"material":173,"size":10420,"collection":84,"collections":47758,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},219135,"hua-hui-ce-yu-mei-ren-yue-ji-wang-yuan-219135","花卉册-虞美人月季","虞美人纤瓣柔展似笼轻烟，粉白晕染间透着娇嫩；月季携鹅黄浅白绽于翠叶丛中，柔蕊凝香。墨线勾筋的叶片错落叠映，翠色深浅有致，间或有小虫翩跹欲落，添几分灵动生机。古朴底色如陈酿，衬得花容愈显清新雅致。笔触细腻却不刻意，设色淡雅而韵致绵长，将草木的静谧与鲜活凝于尺幅，尽显自然意趣与文人笔下的温婉情致。",[23,164,24,7,59,28,27,61,25096,603],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9220e3c5ab103ca3d832d6e1e1a40e8.jpg",[],{"id":47760,"slug":47761,"title":12451,"dynasty":54,"author":223,"museum":6413,"description":47762,"tags":47763,"thumbUrl":47764,"material":173,"size":84,"collection":68,"collections":47765,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},219093,"shuang-jiu-tu-yi-ming-219093","画面以双鸠为核心，一深一浅依偎石畔，羽色层次细腻晕染，情态亲昵自然，似私语般流露温情。旁侧藤蔓缠绕，白花疏落点缀，修长竹叶与带红果的细枝交织，添了几分野趣生机。背景素雅褐调铺陈，更衬出景物的鲜活质感。笔墨兼具工致与写意，花鸟造型精准传神，枝叶脉络清晰可辨，却又不失灵动韵致。整体氛围静谧清幽，似能嗅到林间草木气息，传递出自然生趣与闲适之美，尽显清代花鸟画对细节刻画与意境营造的精妙追求。",[24,164,7,165,28,27,61,355,276,229,62,4622,2037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb3bdbdc369d3adf586d2124f7bea8f.jpg",[68],{"id":47767,"slug":47768,"title":18108,"dynasty":124,"author":47769,"museum":450,"description":47770,"tags":47771,"thumbUrl":47772,"material":173,"size":47773,"collection":68,"collections":47774,"showCount":155,"zanCount":1998,"manualWeight":48,"mainColor":49},219048,"lu-yan-tu-hui-hong-219048","惠洪","疏芦几枝，墨痕轻淡如远烟，自左畔斜逸而上，牵起秋意的清寂。双雁相偎于滩涂，羽翅覆叠间，绒羽的柔与翎羽的劲交织成细腻纹理，低头觅食的姿态憨然可亲，似在私语。笔墨简括却神完气足，芦苇的萧疏与雁的温煦相映，绢本古雅底色更衬出意境淡远。动静之间生机暗蕴，于简淡中见真趣，尽显文人画清逸风骨——无需浓妆艳抹，只凭水墨晕染的素朴，便将自然的静谧与生命的温情，凝在这一方绢素之上。",[23,24,7,165,128,1824,18111,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472d112058e32edcfc0b33b9b871c100.jpg","125.5x64cm",[68],{"id":47776,"slug":47777,"title":38699,"dynasty":124,"author":3089,"museum":450,"description":47778,"tags":47779,"thumbUrl":47781,"material":173,"size":47782,"collection":68,"collections":47783,"showCount":155,"zanCount":1998,"manualWeight":48,"mainColor":49},219045,"su-chun-tu-bian-wen-jin-219045","画的是细高的粟杆，粟穗下垂，草地上画着小米草和杂草，五只鹌鹑悠然自得，一只在天空中即将飞翔；画面中间的两只麻雀，一只在粟穗上晃动，偷吃粟粒，自然是美不胜收。",[23,24,7,61,28,27,165,211,8140,47780,1771],"粟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52ab1e393798b5942b180f5334e5e8a5.jpg","纵139.7横50.8厘米",[68],{"id":47785,"slug":47786,"title":47787,"dynasty":18,"author":8169,"museum":20,"description":47788,"tags":47789,"thumbUrl":47790,"material":173,"size":47791,"collection":68,"collections":47792,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},218749,"qun-yuan-shi-guo-tu-yi-yuan-ji-218749","群猿拾果图","《群猿拾果图》为北宋画家易元吉所作。本幅无作者款识，右侧题签：“易元吉群猿拾果”。对开乾隆题诗：“好静工引气，能吟更善缘。栖枝坠岸穗，拾果倒空悬。岂必问其数，亦惟顺厥天。尧牵宝星，可以悟难前。 ”\n图绘深谷险峻，老树枝条横斜，二猿猴坐于枝上，一猿猴展臂摘果。\n易元吉，生卒年不详。字庆之，湖南长沙人，北宋画家。初攻花鸟、草虫、果品，后专写獐猿。常深入荆湖深山之中，观察、体会、揣摩猿猴獐鹿的生活习性。所画獐猿生动逼真，呼之欲出，因此而名闻天下。",[23,164,24,7,59,28,27,128,17911,2037,2438,131,22657,2166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7a549a2865c01cdf38952d04484d0bd.jpg","24.6x24.1cm",[68],{"id":47794,"slug":47795,"title":47796,"dynasty":18,"author":18655,"museum":244,"description":47797,"tags":47798,"thumbUrl":47799,"material":173,"size":47800,"collection":136,"collections":47801,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},218681,"song-zhai-chi-ke-tu-zhao-bo-su-218681","松斋迟客图","这幅画描绘了小河岸边的松树荫下的书房，一个童仆正在扫地迎客，一个隐士躺在水中。这幅画的笔触和色彩与故宫博物院收藏的画相似，可以接受为赵伯钦画派的作品。",[23,24,7,59,27,29,372,331,130,415,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d6c2f0f32ae35c24eafb3a720ef6232.jpg","26.3x26.7",[136],{"id":47803,"slug":47804,"title":47805,"dynasty":18,"author":2099,"museum":244,"description":47806,"tags":47807,"thumbUrl":47808,"material":278,"size":12381,"collection":84,"collections":47809,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},218502,"gui-qu-lai-ci-juan-3-li-gong-lin-218502","归去来辞卷3","疏篱围起一方清雅天地，茅棚依栏而立，老松虬枝盘曲如篆，太湖石皱透玲珑。妇人身着素衣缓行，孩童携犬嬉逐，门边人影悠然，日常烟火里藏着隐者的闲逸。线条以铁线勾勒，劲挺中含婉转，衣袂飘举、草木摇曳、石之肌理皆由简笔传神。无浓墨重彩，却将“归去来”的田园意趣融于方寸：松风轻拂，篱边菊影隐约，每一笔都似在诉说归隐的自在，让人心生向往，暂忘尘劳。",[164,24,7,25,188,128,96,171,413,130,13344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F310ccca3ea5f557f9aff9658855db2aa.jpg",[],{"id":47811,"slug":47812,"title":47813,"dynasty":124,"author":223,"museum":6413,"description":47814,"tags":47815,"thumbUrl":47816,"material":173,"size":47817,"collection":44,"collections":47818,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},218486,"lan-ting-tu-yi-ming-218486","兰亭图","绢本墨色晕开东晋风烟，茂林修竹间溪光蜿蜒。文士们或临流捧盏，或倚石清谈，曲水畔觞影浮动，衣袂轻扬处藏着《兰亭序》的旷达。山石皴法带明代疏朗意趣，林木层叠隐宋画余韵，人物姿态虽简却神形毕肖——握笔的凝思、笑谈的畅意，都在墨色流转中鲜活。没有名款的笔触，以最朴素的方式将那场雅集定格：不必追问作者是谁，只需在绢素的斑驳里，触摸千年文人心中的山水清欢与诗意栖居。",[23,24,7,27,96,29,130,34,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77f3b2430c8326afefcf82c43b3b2e61.jpg","24.8x25.1",[44],{"id":47820,"slug":47821,"title":47822,"dynasty":124,"author":223,"museum":3330,"description":47823,"tags":47824,"thumbUrl":47825,"material":173,"size":84,"collection":44,"collections":47826,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},218477,"shou-lao-tu-yi-ming-218477","寿老图","宽袍博带的老者立于苍松之下，高冠映着古意，长髯垂落如银丝泻地。手中雕龙拐杖蜿蜒似活，杖首隐现灵物，与松间隐现的瑞气相映。衣纹用线简练却见筋骨，每一道折痕都藏着岁月的从容。老者眉眼间含着温和笑意，似在凝视世间烟火，又似已超然物外。背景松针如簇，枝干盘曲如苍龙，与老者的福寿之气交融成一幅祥瑞画卷。墨色淡雅却韵味悠长，线条勾勒出的不仅是人物形态，更是一种跨越时空的安宁与祝福，仿佛能让人触摸到那份古朴的寿考康宁之美。",[24,7,165,188,27,96,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a0db04911c59011c94079d25eb88d6b.jpg",[44],{"id":47828,"slug":47829,"title":47830,"dynasty":54,"author":523,"museum":450,"description":30130,"tags":47831,"thumbUrl":47832,"material":173,"size":30133,"collection":84,"collections":47833,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},218335,"shen-xian-gu-shi-tu-ce-4-leng-mei-218335","神仙故事图册-4",[23,164,24,7,59,28,27,96,29,950,34,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81ab169d7708da28bcaab243755917c4.jpg",[],{"id":47835,"slug":47836,"title":34204,"dynasty":54,"author":34205,"museum":6892,"description":14198,"tags":47837,"thumbUrl":47838,"material":278,"size":14201,"collection":136,"collections":47839,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},218106,"xin-an-yi-yun-ce-huang-lv-shan-shui-huang-lv-218106",[23,24,7,59,128,132,29,413,663,96,130,415,3427,5974],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33ae8e14ea491b022cb2182598655da5.jpg",[136],{"id":47841,"slug":47842,"title":47843,"dynasty":18,"author":2099,"museum":300,"description":37919,"tags":47844,"thumbUrl":47845,"material":278,"size":84,"collection":84,"collections":47846,"showCount":155,"zanCount":1998,"manualWeight":48,"mainColor":72},218101,"bai-miao-ren-wu-tu-ce-8-li-gong-lin-218101","白描人物图册-8",[23,164,24,7,59,188,96,19786,251,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4af935af38c9b2bdd095c82793f25822.jpg",[],{"id":47848,"slug":47849,"title":47850,"dynasty":18,"author":2099,"museum":77,"description":6227,"tags":47851,"thumbUrl":47852,"material":151,"size":84,"collection":84,"collections":47853,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},218078,"luo-han-tu-ce-9-li-gong-lin-218078","罗汉图册-9",[23,164,24,7,59,188,187,96,331,372,371,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b6011e0e89ea5930b1548618e367efd.jpg",[],{"id":47855,"slug":47856,"title":47857,"dynasty":124,"author":5798,"museum":424,"description":47858,"tags":47859,"thumbUrl":47860,"material":66,"size":84,"collection":44,"collections":47861,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},217912,"shi-ji-jun-chen-gu-shi-tu-zhang-hong-217912","史记君臣故事图","垂杨拂地，苍干虬枝间柔条轻飏，荫蔽一方亭台。廊柱朱痕淡染，阶砌分明，建筑形制古雅端严。树下二人对语，衣纹简练却见动态，神情专注似述往昔君臣故事。笔墨兼具工致与写意：树木以干笔皴擦显苍劲，柳条以细墨勾勒见轻盈；人物虽小，形神宛然。右侧题跋墨色沉厚，与画面景致相契，文气郁郁。整幅画于清雅氛围中含叙事深意，笔墨精炼却意境悠远，尽显古典绘画的雅致与历史感，方寸间藏君臣故事的幽微余韵。",[24,7,27,95,28,96,97,101,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f26efa0724fedac6dd9fc6dbf1e63c.jpg",[44],{"id":47863,"slug":47864,"title":47865,"dynasty":124,"author":25354,"museum":244,"description":47866,"tags":47867,"thumbUrl":47868,"material":317,"size":47869,"collection":44,"collections":47870,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},216938,"pi-shang-shou-shu-tu-li-zai-216938","圮上授书图","这幅画描绘了张良的故事，他在桥上得到一位老人的战书，并帮助刘邦达到目的。这幅画的构图是以局部取景为基础的，其中岩石被大斧头砍掉了，树木被省略在画中，只有苔藓的厚重而明亮的墨痕可见。",[23,24,7,59,128,188,96,331,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb4cb20a0f268fce02aea2ef9ff28a1d.jpg","24.8x26.5",[44],{"id":47872,"slug":47873,"title":47874,"dynasty":18,"author":25050,"museum":1941,"description":38765,"tags":47875,"thumbUrl":47876,"material":173,"size":38768,"collection":84,"collections":47877,"showCount":155,"zanCount":1998,"manualWeight":48,"mainColor":72},216920,"xiang-shan-jiu-lao-tu-5-ma-xing-zu-216920","香山九老图-5",[23,24,164,25,27,96,98,131,34,167,22902,330,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ade895c11993e636517b3ef76078d9.jpg",[],{"id":47879,"slug":47880,"title":47881,"dynasty":54,"author":223,"museum":300,"description":47882,"tags":47883,"thumbUrl":47884,"material":173,"size":84,"collection":84,"collections":47885,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},216680,"hong-lou-meng-fu-tu-ce-43-yi-ming-216680","红楼梦赋图册-43","画面铺展春日雅境，石峦错落，花团簇拥间，数人衣袂翩然。或低语言笑，或俯身案畔，神态温婉细腻。设色清雅，草木的嫩碧、花的粉白与人物衣饰的素净色调交织，线条柔婉却精准勾勒出姿态与景物层次。笔触间似藏红楼诗意，将书中人物的闲逸或隐微心绪融于园林景致，以细腻工致还原了红楼世界的雅致氛围，引观者坠入古典情境的温柔光影里，仿佛能触到那份属于红楼的幽微与清婉。",[23,24,7,59,28,27,96,166,171,167,4278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54ce2b187907b001f43a6f5d48811056.jpg",[],{"id":47887,"slug":47888,"title":47889,"dynasty":144,"author":1346,"museum":244,"description":2533,"tags":47890,"thumbUrl":47891,"material":278,"size":84,"collection":84,"collections":47892,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},216368,"mo-zhu-pu-ce-20-wu-zhen-216368","墨竹谱册-20",[24,7,59,128,133,208,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F843ee2a4b7bf5bf62ef561372ca22f12.jpg",[],{"id":47894,"slug":47895,"title":1269,"dynasty":54,"author":872,"museum":77,"description":4612,"tags":47896,"thumbUrl":47897,"material":278,"size":84,"collection":84,"collections":47898,"showCount":155,"zanCount":1998,"manualWeight":48,"mainColor":72},216356,"hua-niao-ce-2-zhu-da-216356",[23,24,7,128,29,34,131,132,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffffd42f504ff7d40786c580ab5d99539.jpg",[],{"id":47900,"slug":47901,"title":47902,"dynasty":124,"author":204,"museum":300,"description":2216,"tags":47903,"thumbUrl":47904,"material":173,"size":84,"collection":84,"collections":47905,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},216282,"er-shi-si-xiao-tu-12-chou-ying-216282","二十四孝图-12",[24,7,28,27,96,276,45250,12677,7344,170,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa67e11eccdac8138ab59c198a4c00546.jpg",[],{"id":47907,"slug":47908,"title":47909,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":47910,"thumbUrl":47911,"material":278,"size":3888,"collection":84,"collections":47912,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},214978,"dao-zi-mo-bao-ren-wu-bai-miao-hua-9-yi-ming-214978","道子墨宝人物白描画-9",[23,24,7,188,96,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b9062aaee89ee804c5c6f03a4ae709.jpg",[],{"id":47914,"slug":47915,"title":47916,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":47917,"thumbUrl":47918,"material":278,"size":3888,"collection":84,"collections":47919,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},214973,"dao-zi-mo-bao-ren-wu-bai-miao-hua-10-yi-ming-214973","道子墨宝人物白描画-10",[23,164,24,7,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde2a4b908adb4a7cfac804ff54acc2df.jpg",[],{"id":47921,"slug":47922,"title":47923,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":47924,"thumbUrl":47925,"material":278,"size":3888,"collection":84,"collections":47926,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},214962,"dao-zi-mo-bao-ren-wu-bai-miao-hua-20-yi-ming-214962","道子墨宝人物白描画-20",[23,24,7,188,96,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F700fc09df0d2ac4c0dae4d7415f91f4a.jpg",[],{"id":47928,"slug":47929,"title":47930,"dynasty":54,"author":223,"museum":244,"description":47931,"tags":47932,"thumbUrl":47933,"material":173,"size":47934,"collection":84,"collections":47935,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},214661,"qian-long-ke-si-shan-shui-gua-ping-si-zhou-4-yi-ming-214661","乾隆缂丝山水挂屏四轴-4","此四轴用挑经显纬的刻丝之法绘就仙山楼阁，有仙鹤和白云，象征着吉祥如意。在山体的岩石部分用蓝色和赭石绘制的织品，使其与丝绸和纸上的绘画完全相同，显示出乾隆时期丝绸织品的精致。",[1944,24,7,40641,27,29,663,413,97,497,228,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5072727135356eb515299eb140d3d0fa.jpg","93.8x25.6",[],{"id":47937,"slug":47938,"title":47939,"dynasty":54,"author":1460,"museum":77,"description":4620,"tags":47940,"thumbUrl":47941,"material":66,"size":4624,"collection":68,"collections":47942,"showCount":155,"zanCount":1998,"manualWeight":48,"mainColor":72},214558,"mo-zui-za-hua-tu-ce-9-shi-tao-214558","墨醉杂画图册-9",[23,24,7,59,128,168,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cdf81f64770e9e9b552ef55ba85f192.jpg",[68],{"id":47944,"slug":47945,"title":47946,"dynasty":54,"author":1460,"museum":77,"description":4620,"tags":47947,"thumbUrl":47948,"material":66,"size":4624,"collection":68,"collections":47949,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},214556,"mo-zui-za-hua-tu-ce-11-shi-tao-214556","墨醉杂画图册-11",[23,24,7,59,128,369,64,208,22971,548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febdbd76a06b62918678b9c5d1e935e84.jpg",[68],{"id":47951,"slug":47952,"title":47953,"dynasty":54,"author":10307,"museum":424,"description":10308,"tags":47954,"thumbUrl":47955,"material":66,"size":84,"collection":84,"collections":47956,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":72},214483,"he-yi-shan-shui-tu-ce-4-he-yi-214483","赫奕山水图册-4",[23,24,7,59,27,128,132,29,98,99,129,34,131,35,1955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f0ed1d6ade19cb4365110ecfc3dc38c.jpg",[],{"id":47958,"slug":47959,"title":4071,"dynasty":124,"author":1438,"museum":56,"description":47960,"tags":47961,"thumbUrl":47962,"material":84,"size":84,"collection":68,"collections":47963,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":47964},203142,"hua-hui-tu-ce-chen-chun-203142","水墨淋漓间，花卉姿态宛然如生。大块墨色晕染叶片，浓淡交错显层次感；劲挺线条勾勒枝茎，虚实相生藏野趣。留白处见空灵，简笔中传神韵，尽显文人写意的洒脱与笔墨功底，将自然生机凝于尺幅之间。",[24,7,59,128,61,168,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4155eb1fd6a019f544ae32cff3094f0f.jpg",[68],"c7beb8",{"id":47966,"slug":47967,"title":47968,"dynasty":54,"author":55,"museum":56,"description":47969,"tags":47970,"thumbUrl":47971,"material":84,"size":84,"collection":68,"collections":47972,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":47973},203130,"chun-hua-tu-ce-yun-shou-ping-203130","春花图册","枝桠婉转伸展，桃花嫣然绽放。花瓣以没骨法晕染，淡粉层叠过渡，似含朝露轻颤；翠叶点染其间，脉络隐现，与粉瓣相映成趣。枝干笔墨灵动，干湿相宜，尽显自然生趣。旁侧行书题跋清逸洒脱，诗画相融，蕴藉文人雅韵。整幅画作清新雅致，无勾勒之迹却形神兼备，将桃花的柔媚与生机凝于尺幅，尽显独特的没骨花鸟韵味。",[24,61,60,27,209,133,59,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe98b9880e877fa8eab8a55fb6a572fc4.jpg",[68],"ded9ce",{"id":47975,"slug":47976,"title":47977,"dynasty":18,"author":2032,"museum":300,"description":47978,"tags":47979,"thumbUrl":47980,"material":692,"size":1293,"collection":84,"collections":47981,"showCount":346,"zanCount":1998,"manualWeight":48,"mainColor":72},291003,"tang-song-yuan-hua-ji-jin-ce-mai-chun-mei-yuan-lu-zong-gui-291003","唐宋元画集锦册 买春梅苑","鲁宗贵，钱塘（今浙江省杭州）人，南宋画家。工花竹、禽鸟、窠石，用笔意趣有余，描染佳妙，尤长于写生，鸡雏乳鸭，颇有生意。传世作品有《春韵鸣喜图》。",[24,7,59,27,133,208,29,96,371,130,98,99,12634],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ad15f308e18ebb9211341caaa5a1ba7.jpg",[],{"id":47983,"slug":47984,"title":409,"dynasty":144,"author":14724,"museum":300,"description":40546,"tags":47985,"thumbUrl":47986,"material":692,"size":1293,"collection":84,"collections":47987,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},290789,"shan-shui-ce-cao-zhi-bai-290789",[24,7,59,29,128,132,496,34,97,43278,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c6d9323959376a70ce09d6eefe44290.jpg",[],{"id":47989,"slug":47990,"title":47991,"dynasty":222,"author":223,"museum":300,"description":47992,"tags":47993,"thumbUrl":47994,"material":692,"size":1293,"collection":84,"collections":47995,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},290709,"tang-wu-shang-jin-xuan-shang-miao-dao-de-jing-juan-shou-gao-zhi-bei-yi-ming-290709","唐 无上金玄上妙道德经卷手稿纸背","素纸残卷，墨痕留韵，墨线游走间铺展凡俗与神异交织的图景。左侧峨冠博带的世间众人，或伫立观瞻，或击鼓作乐，神态鲜活灵动。续而诸天异像次第铺陈：飞天舒袖凌虚，衣带如云曳动；力士怒目张拳，筋骨贲张尽显刚猛；鬼怪奇形百态，狞厉灵动兼具。线条或细劲如铁线，勾勒出衣褶肌理的层次；或奔放如飞白，挥洒出仙踪的飘逸超脱。岁月磨蚀的焦痕残边晕开旧时光的沧桑，整卷笔意通透洒脱，将凡俗烟火与神幻意境相融，尽显古雅传神的线描意趣。",[24,7,25,188,96,187,7221,20953,17540],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48aba0df0ebc84850fa8a119d5d078da.jpg",[],{"id":47997,"slug":47998,"title":47999,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":48000,"thumbUrl":48001,"material":692,"size":1293,"collection":84,"collections":48002,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},290527,"lin-wu-qing-tu-zhou-yun-shou-ping-290527","临五清图轴",[164,24,7,165,128,330,208,231,372,167,171,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d55fd6aa28be344302951bbb9414093.jpg",[],{"id":48004,"slug":48005,"title":48006,"dynasty":54,"author":6946,"museum":300,"description":35061,"tags":48007,"thumbUrl":48009,"material":692,"size":1293,"collection":84,"collections":48010,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},290213,"xing-le-tu-jing-xin-ding-guan-peng-290213","行乐图镜心",[23,1131,24,164,7,27,28,96,97,130,48008,208],"行乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F451ce0b24dce09204b5c80da6d033aaa.jpg",[],{"id":48012,"slug":48013,"title":48014,"dynasty":144,"author":223,"museum":300,"description":48015,"tags":48016,"thumbUrl":48017,"material":692,"size":1293,"collection":84,"collections":48018,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},290141,"nv-xian-tu-yi-ming-290141","女仙图","本幅绘道教女仙高髻素衣，趺坐蒲团，手拈笔毫，膝前置贝多叶，似欲书经传道。旁有筠篮系锄上，中贮芝草。一狮一虎伏侍在侧，状甚温驯，盖表现女仙道法高超，足以降服猛兽",[24,7,96,166,5490,949,17701,27,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba2a710bb0ff2a6b42bb171856d7e4bb.jpg",[],{"id":48020,"slug":48021,"title":48022,"dynasty":144,"author":8127,"museum":300,"description":48023,"tags":48024,"thumbUrl":48025,"material":692,"size":1293,"collection":84,"collections":48026,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},290132,"san-bai-tu-wang-yuan-290132","三白图","坡岸一角，以枯柳、翠竹、丹叶为伴，三只雪白的鹭鸶，或翘首，或远眺，或俯视，各逞其优雅的姿态。用笔工细，设色穠丽，但构景单纯，留出大片空白，具有一种清新高雅的气韵。",[164,24,7,165,61,28,27,985,211,4363,167,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F468c5fc1d6904a02bd64a6307a9645b2.jpg",[],{"id":48028,"slug":48029,"title":48030,"dynasty":18,"author":3278,"museum":300,"description":8573,"tags":48031,"thumbUrl":48032,"material":692,"size":1293,"collection":84,"collections":48033,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},289780,"yao-feng-qi-shu-tu-li-cheng-289780","瑶峰琪树图",[164,24,7,29,128,1337,131,1813,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4f229c5713131362d665ca7363e7250.jpg",[],{"id":48035,"slug":48036,"title":24582,"dynasty":351,"author":1931,"museum":244,"description":48037,"tags":48038,"thumbUrl":48039,"material":692,"size":1293,"collection":84,"collections":48040,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},289773,"kan-shu-tu-huang-quan-289773","此图绘一文士勘书之暇挑耳自娱的情景。文人白衣长髯，袒胸赤足，坐于书几前，左手扶椅，右手作挑耳状，神态怡然自得。书几上有摊开的书卷，一书童于几旁侍立。文人身后为三叠屏风，上画青绿设色山水。屏风前横一长案，上陈卷帙。画家十分巧妙地选取画中人“校读间隙挑耳”这一看似平常的动作，着意刻画了其惬意的神情。加之环境的铺陈、烘托，生动地表现了南唐贵族文人闲适的情状，展示出他们日常生活的一个侧面。\n该图描写手法高超，形神兼备，反映了昔日勘书者的荡然性格与狂放的气质。画中环境，为室内陈设着的屏风、几案、卷册之类。全图构思十分精密，合适有度。",[23,164,24,7,165,27,96,97,29,130,208,64,95,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35154778504952e4d2bcf608d1e747fc.jpg",[],{"id":48042,"slug":48043,"title":48044,"dynasty":18,"author":397,"museum":300,"description":16463,"tags":48045,"thumbUrl":48046,"material":692,"size":1293,"collection":84,"collections":48047,"showCount":346,"zanCount":1998,"manualWeight":48,"mainColor":72},289342,"du-he-tu-zhao-ji-289342","独鹤图",[24,7,59,27,28,61,722,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2bba4c4b362e09d35c162ba5aeb1c6.jpg",[],{"id":48049,"slug":48050,"title":48051,"dynasty":54,"author":6936,"museum":300,"description":36556,"tags":48052,"thumbUrl":48053,"material":692,"size":1293,"collection":84,"collections":48054,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},288284,"fang-wang-meng-xia-ri-shan-ju-tu-wang-yuan-qi-288284","仿王蒙夏日山居图",[24,164,7,165,29,128,132,330,496,34,97,99,98,4605,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa815f93b91dc942a5a6d9712d40cbc0d.jpg",[],{"id":48056,"slug":48057,"title":48058,"dynasty":54,"author":3403,"museum":300,"description":8089,"tags":48059,"thumbUrl":48061,"material":692,"size":1293,"collection":84,"collections":48062,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},288177,"zhuan-shu-jie-lin-shi-gu-wen-wu-chang-shuo-288177","篆书节临石鼓文",[23,7,24,64,938,48060],"节临石鼓文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d85e3156e909076c3c46b3d42c408b9.jpg",[],{"id":48064,"slug":48065,"title":48066,"dynasty":182,"author":7396,"museum":300,"description":48067,"tags":48068,"thumbUrl":48070,"material":692,"size":1293,"collection":84,"collections":48071,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},288107,"zhu-shan-tang-lian-ju-ce-yan-zhen-qing-288107","竹山堂连句册","颜真卿（709年－784年8月23日 ），字清臣，小名羡门子，别号应方，京兆万年（今陕西省西安市）人 ，祖籍琅玡临沂（今山东省临沂市）。唐朝名臣、书法家，秘书监颜师古五世从孙 、司徒颜杲卿从弟。\n颜真卿出身琅琊颜氏，于唐玄宗开元二十二年（734年）登进士第，历任监察御史、殿中侍御史。后因得罪权臣杨国忠，被贬为平原太守，世称“颜平原”。安史之乱时，颜真卿率义军对抗叛军，一度光复河北。后至凤翔，被授为宪部尚书。唐代宗时官至吏部尚书、太子太师，封鲁郡公，人称“颜鲁公”。兴元元年（784年），被派遣晓谕叛将李希烈，凛然拒贼，终被缢杀。他遇害后，嗣曹王李皋及三军将士皆为之痛哭。追赠司徒，谥号“文忠”。\n颜真卿书法精妙，擅长行、楷。初学褚遂良，后师从张旭，得其笔法。其正楷端庄雄伟，行书气势遒劲，创“颜体”楷书，对后世影响很大。与赵孟頫、柳公权、欧阳询并称为“楷书四大家”。又与柳公权并称“颜柳”，被称为“颜筋柳骨”。又善诗文，有《韵海镜源》《礼乐集》《吴兴集》《庐陵集》《临川集》，均佚。宋人辑有《颜鲁公集》。",[64,572,59,7,164,1590,48069],"雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9ffe7149ebe943943cbfc7b59fb81d9.jpg",[],{"id":48073,"slug":48074,"title":37321,"dynasty":124,"author":204,"museum":300,"description":48075,"tags":48076,"thumbUrl":48078,"material":692,"size":1293,"collection":84,"collections":48079,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},287866,"tao-yuan-tu-juan-chou-ying-287866","东晋陶渊明所作的《桃花源记》已成了文人墨客眼中的理想隐居之所，他们或通过诗歌形式，或通过笔墨方式，把理想中的桃花源呈现出来，这样的作品不胜枚举，今天给各位读者带来的就是明代画家仇英创作的一幅青绿山水作品《桃源图卷》。画卷大致可分为五个场景：发现桃源、桃源见闻、源中闲聊、桃源畅饮、离开桃源，卷前有清乾隆两处御题。",[23,164,24,7,25,27,28,29,48077,496,99,1515,387,4438,64,572,13414],"桃源","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F885f62ba6d376f4e1e9e6dbf9f5787a2.jpg",[],{"id":48081,"slug":48082,"title":48083,"dynasty":124,"author":125,"museum":300,"description":6472,"tags":48084,"thumbUrl":48085,"material":692,"size":1293,"collection":84,"collections":48086,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":956},287392,"chun-xuan-tu-shen-se-shen-zhou-287392","椿萱图(深色)",[23,24,165,7,27,331,817,171,61,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2c774d998dbd25555dfc5ad373b9f0a.jpg",[],{"id":48088,"slug":48089,"title":48090,"dynasty":124,"author":802,"museum":300,"description":5946,"tags":48091,"thumbUrl":48093,"material":692,"size":1293,"collection":84,"collections":48094,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},287344,"xiao-shu-tu-chen-hong-shou-287344","校书图",[23,24,7,165,27,96,371,169,5459,208,64,1424,48092],"校书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb6ed904b9db960628b800d036e09ae.jpg",[],{"id":48096,"slug":48097,"title":48098,"dynasty":54,"author":30399,"museum":300,"description":48099,"tags":48100,"thumbUrl":48101,"material":611,"size":84,"collection":318,"collections":48102,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},241323,"ge-ti-shu-lin-tie-si-zhong-ping-weng-fang-gang-241323","各体书临帖四种屏","翁方綱（1733～1818年），字正三，一字忠敍，號覃溪，晚號蘇齋，順天大興（今北京大興區）人。清代書法家、文學家、金石學家。\n乾隆十七年進士，授編修。歷督廣東、江西、山東三省學政，官至內閣學士。嘉慶二十三年，卒。\n精通金石、譜錄、書畫、詞章之學，書法與同時的劉墉、梁同書、王文治齊名。論詩創“肌理説”，著有《粵東金石略》《蘇米齋蘭亭考》《復初齋詩文集》《小石帆亭著錄》等。",[7,64,330,133,572,938,21937,840,128,611,208,5855],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf2f5361f3aeafb6e3eaaacb213bbc36.jpg",[318],{"id":48104,"slug":48105,"title":48106,"dynasty":124,"author":366,"museum":300,"description":8455,"tags":48107,"thumbUrl":48108,"material":692,"size":1293,"collection":84,"collections":48109,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},240616,"xing-kai-you-lu-fu-zhou-xu-wei-240616","行楷由鹿赋轴",[24,7,165,133,572,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6a85756ce60599f919baff7faf11598.jpg",[],{"id":48111,"slug":48112,"title":48113,"dynasty":54,"author":29662,"museum":300,"description":32120,"tags":48114,"thumbUrl":48115,"material":692,"size":1293,"collection":136,"collections":48116,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},239371,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239371","画载月十咏诗意册",[24,7,59,128,27,29,1337,129,211,231,131,1645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F802a3fac4a620ea4ffc6e3e70fcfe962.jpg",[136,45],{"id":48118,"slug":48119,"title":409,"dynasty":54,"author":40799,"museum":300,"description":48120,"tags":48121,"thumbUrl":48122,"material":84,"size":84,"collection":136,"collections":48123,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},239361,"shan-shui-ce-wang-san-xi-239361","此作用淡墨晕染崖石，清润苍朴，古松横斜倚立，枯笔写出的松针苍劲蓬松，自带古拙生机。飞瀑自岩间垂落，以留白暗喻水势，撞石溅浪后顺着浅滩汇入清溪，浅纹细波将流水的清浅柔缓尽数写出。\n\n右下角溪岸双鹤幽立，姿态闲雅，衬出林涧的空寂安谧。左侧题诗与画境相融，将“岩前花落，涧上月明”的幽寂禅思藏进笔墨之间，整体意境淡远疏朗，寥寥数笔勾勒出世外幽居的清雅意趣，尽显文人山水的空灵雅致。",[24,7,59,128,132,133,208,29,1144,99,131,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f2220afc42963645c5176b9924a2ca1.jpg",[136,45],{"id":48125,"slug":48126,"title":48127,"dynasty":124,"author":44741,"museum":300,"description":48128,"tags":48129,"thumbUrl":48130,"material":84,"size":84,"collection":136,"collections":48131,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},239013,"ju-jie-shan-shui-zhou-ju-jie-239013","居节山水轴","画史记载居节“尚气节，虽窭甚，惟以丹青自娱，不曳侯门裾” (《无声诗史》)。这样看来，如果说画面的前半部分是类文徵明的细劲、秀丽，那么远景山水的画法可不可以说是居节“尚气节”的“清高”和“骨气”的表现呢?我以为，也正是这种略显枯硬的画法，让他的山水画在吴派绘画基本风格的基础上又具有了宋人雄浑、劲健、简率的作风。\n从这幅作品中，我们看到了居节的文雅与气节两个方面的表现，可称为他的代表作。另外，从居节传世作品《潮满春江图》(镇江博物馆藏)、《万松小筑图》(上海博物馆藏)都可以看出居节在这两方面所做的努力。",[24,7,165,128,132,64,208,29,130,34,131,96,1645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae00f4c63d3c5de5bd06031dced56aac.jpg",[136,117,318],{"id":48133,"slug":48134,"title":48135,"dynasty":124,"author":48136,"museum":300,"description":48137,"tags":48138,"thumbUrl":48139,"material":692,"size":1293,"collection":84,"collections":48140,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},239012,"liu-shu-ba-ge-shan-zhang-chong-239012","柳树八哥扇","张翀","生卒不详，活动于17世纪，明代画家。字子羽，号浑然子、图南，江都（今江苏南京）人",[1131,24,7,128,27,4363,39717,61,805,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9969dad6bbf3dbb960f381596a2faa2.jpg",[],{"id":48142,"slug":48143,"title":48144,"dynasty":54,"author":48145,"museum":300,"description":48146,"tags":48147,"thumbUrl":48148,"material":84,"size":84,"collection":136,"collections":48149,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},238980,"shan-shui-ce-peng-xin-xie-wang-chen-238980","山水册－蓬心写","王宸","此作用笔苍秀松脱，以干笔皴擦追摹披麻古意，墨色干湿层叠，淡赭与花青轻施晕染，色调清和雅致。近景草堂依水，古松亭亭如盖，木桥架于浅溪，坡岸草木葱茏，山居意趣悠然尽显。中景峰峦环合，林木蓊郁掩映，水泽迂回流连，藏露得宜。远景平峦以淡墨虚写，空蒙渺远，铺展出悠远空间层次。\n\n整幅以简淡之笔绘就江南丘壑，将山川温润秀逸之态，与文人寄情林泉的幽寂襟怀相融，观之如身临幽居，俗虑尽消，尽显静穆淡远的文人山水意韵。",[24,7,59,128,27,29,132,98,99,413,131,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fdce2d56454e2dcb3893504b67bb526.jpg",[136,44,45],{"id":48151,"slug":48152,"title":48153,"dynasty":54,"author":48154,"museum":300,"description":48155,"tags":48156,"thumbUrl":48157,"material":84,"size":84,"collection":44,"collections":48158,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},238940,"hua-guan-gui-yu-zhou-hua-guan-238940","华冠归渔轴","华冠","华冠 (公元18世纪)〔清〕原名庆冠，初名点，字庆吉，号吉崖，江苏无锡人，生卒年不详。官广西同知，工写照，擅长白描。\n原名庆冠，初名点，字庆吉，号吉崖，江苏无锡人，生卒年不详。官广西同知，工写照，擅长白描。乾隆帝南巡，写御容称赏，旋征召入都，供绘事，为藩邸所赏，声溢公卿，归里后求画者麇至。年七十余尝画邑庙径丈仙像壁画。兼工山水、木石、花卉。",[24,7,165,128,96,1350,1351,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faea2c454a335712a9a7ee2339f38b2fe.jpg",[44,117],{"id":48160,"slug":48161,"title":14998,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":48162,"thumbUrl":48163,"material":84,"size":84,"collection":84,"collections":48164,"showCount":346,"zanCount":1998,"manualWeight":48,"mainColor":72},238374,"dong-gao-yan-chun-hui-cai-tu-ce-dong-gao-238374",[24,7,59,27,128,28,61,1082,41647,17523,1039,624,7857],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5db9e96feb7376bec4823df1011f7be.jpg",[],{"id":48166,"slug":48167,"title":76,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":48168,"thumbUrl":48169,"material":692,"size":1293,"collection":84,"collections":48170,"showCount":346,"zanCount":1998,"manualWeight":48,"mainColor":72},238349,"hua-hui-ce-dong-gao-238349",[164,24,7,59,27,28,62,547,747,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8e4abae61be2ea347057d04631ec90e.jpg",[],{"id":48172,"slug":48173,"title":48174,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":48175,"thumbUrl":48176,"material":84,"size":84,"collection":136,"collections":48177,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},238339,"si-jing-shan-shui-xiao-ce-dong-gao-238339","四景山水小册",[24,7,59,128,27,132,29,663,413,35,37,5323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54a1147384ebec720ae9dfe5d6b1add9.jpg",[136,45],{"id":48179,"slug":48180,"title":5310,"dynasty":54,"author":3718,"museum":300,"description":5311,"tags":48181,"thumbUrl":48182,"material":84,"size":5314,"collection":84,"collections":48183,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},238028,"hong-ren-shan-shui-tu-ce-hong-ren-238028",[24,7,128,29,59,132,188,131,34,35,414,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12cd8e2a8b9ef7aa9b3c431dd9e276fe.jpg",[],{"id":48185,"slug":48186,"title":48187,"dynasty":124,"author":10106,"museum":300,"description":10107,"tags":48188,"thumbUrl":48189,"material":692,"size":1293,"collection":84,"collections":48190,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},237943,"shan-shui-shan-mian-wu-bin-237943","山水扇面",[24,7,1131,128,132,29,131,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102ba100191b06c111a401b4fc3e003d.jpg",[],{"id":48192,"slug":48193,"title":48194,"dynasty":124,"author":223,"museum":20,"description":48195,"tags":48196,"thumbUrl":48197,"material":84,"size":84,"collection":44,"collections":48198,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},237884,"ming-ren-cun-nv-cai-lan-tu-zhou-yi-ming-237884","明人村女采兰图轴","以淡墨轻勾人物轮廓，衣袂褶皱里似裹挟着郊野清风，鬓发间仿若沾着涧畔晨露。少女肩携小锄，挑着垂灯缓行在溪山小径，浅晕的坡岸野卉晕开清晨郊野的清寂。摒弃浓丽设色，以简淡笔墨勾勒出村女朴野清灵的情态，将采兰而归的恬然自适晕染绢素之上，把山野幽居的逸趣融在浅淡晕染间，尽显林下安然的乡野风致，笔墨清逸雅致，淡远幽静的郊野意趣扑面而来。",[24,7,165,188,27,96,375,131,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35b35fa89f93f1b5a0e0fbff3bcceca1.jpg",[44],{"id":48200,"slug":48201,"title":48202,"dynasty":124,"author":21412,"museum":300,"description":45357,"tags":48203,"thumbUrl":48204,"material":692,"size":1293,"collection":84,"collections":48205,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},237846,"long-tan-xiao-yu-shan-cheng-jia-sui-237846","龙潭晓雨扇",[24,7,1131,128,29,167,131,34,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6625835e8171d6cba2ccce1bb4472c4e.jpg",[],{"id":48207,"slug":48208,"title":10613,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":48209,"thumbUrl":48210,"material":84,"size":84,"collection":84,"collections":48211,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},237770,"yuan-ji-shan-shui-tu-ce-shi-tao-237770",[24,7,59,128,132,29,1337,131,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0569d30c8c1e7e5d53b701ff531c8ac.jpg",[],{"id":48213,"slug":48214,"title":4071,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":48215,"thumbUrl":48216,"material":692,"size":1293,"collection":68,"collections":48217,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":199},237736,"hua-hui-tu-ce-huang-shen-237736",[24,7,59,27,61,209,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f6d3308e823ae3cb916c2c7fb98374a.jpg",[68],{"id":48219,"slug":48220,"title":4229,"dynasty":124,"author":9459,"museum":300,"description":9460,"tags":48221,"thumbUrl":48222,"material":84,"size":84,"collection":84,"collections":48223,"showCount":346,"zanCount":1998,"manualWeight":48,"mainColor":72},237666,"hua-niao-ce-ling-bi-zheng-237666",[24,7,59,27,28,61,547,747,582,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ae3543ad9fc93aac2600c3c971d6e62.jpg",[],{"id":48225,"slug":48226,"title":409,"dynasty":54,"author":43518,"museum":20,"description":48227,"tags":48228,"thumbUrl":48229,"material":84,"size":84,"collection":136,"collections":48230,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},237551,"shan-shui-ce-wen-dian-237551","文点（一六三三―一七o四），字与也，号南云山樵，长洲（今江苏苏州）人。 明代著名画家文徵明之子文彭的玄孙。清初著名书画家。\n文点\n工诗文，善书、画。山水能传徵明家法，用笔细秀，染晕迷离，盖以墨者胜也。兼善人物，尤长松竹小品，笔墨及其文雅，松身好点苔，时人戏曰：“文点松，文也文，点也点。”清介不求闻誉。之京师，人欲以国子博士荐之不就。父殁，依墓田以居，弃举子业，以书、画自娱给衣食。卒年七十二。著南云集。《吴县志、长洲县志、文氏族谱续集、国[清]朝画徵续录、曝书亭集、桐阴论画、画传编韵》",[24,7,59,128,132,29,1144,131,98,96,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9ad5700825cb73019c96712ef15dc32.jpg",[136,117],{"id":48232,"slug":48233,"title":4724,"dynasty":54,"author":48234,"museum":300,"description":48235,"tags":48236,"thumbUrl":48237,"material":692,"size":1293,"collection":136,"collections":48238,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},237479,"shan-shui-tu-ce-yao-song-237479","姚宋","姚宋（1648—1721），字雨金，一作雨京，号野梅。安徽新安（今安徽歙县）人。清代画家。\n姚宋寓居芜湖。擅长山水画，其初学弘仁，后期广学诸家，成为新安派画家之一。姚宋所画人物、花鸟、鱼虫、兰竹、无不工致。",[24,7,59,128,29,132,133,208,663,228,413,98,35,130,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F386dd09a026bd7288f1b27e4adf58aca.jpg",[136],{"id":48240,"slug":48241,"title":20347,"dynasty":54,"author":48242,"museum":300,"description":48243,"tags":48244,"thumbUrl":48245,"material":84,"size":84,"collection":136,"collections":48246,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},237468,"shan-shui-tu-zhou-zhou-tang-237468","周棠","周棠（1806 ～ 1876），字召伯，一字少白，号兰西，山阴（今浙江绍兴）人。官光禄寺署正。写意花卉酷似徐渭、陈淳。山水则师石涛。晚年专画石，张之万称为清代画石第一。朝鲜使者每乞其画归。能诗，兼工篆、隶，善刻印章。",[24,7,165,128,369,29,711,34,96,1771,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d739fa2aaf5310e49b14142a60cf5b.jpg",[136,117],{"id":48248,"slug":48249,"title":39330,"dynasty":124,"author":26410,"museum":20,"description":39331,"tags":48250,"thumbUrl":48251,"material":611,"size":84,"collection":136,"collections":48252,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},237452,"qing-xue-zhang-song-tu-zhou-zhang-rui-tu-237452",[24,7,165,128,29,1144,131,1813,132,34,582,10762],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0c986419dee5327b255f01afe2fab23.jpg",[136,117],{"id":48254,"slug":48255,"title":48256,"dynasty":54,"author":48257,"museum":300,"description":48258,"tags":48259,"thumbUrl":48260,"material":692,"size":1293,"collection":84,"collections":48261,"showCount":346,"zanCount":1998,"manualWeight":48,"mainColor":72},237449,"wu-gu-xiang-qing-lu-heng-yun-shan-mian-wu-gu-xiang-237449","吴穀祥晴麓横云扇面","吴穀祥","吴谷祥（1848—1903）清代画家。原名祥，字秋农，初字蓉甫，别号瓶山画隐，晚号秋圃老农，浙江嘉兴人。山水远宗文、沈，近法戴熙，亦善花卉、仕女，用笔苍劲，设色清丽。俞曲园评其画为“神品”。清末在上海鬻画，时画风习尚纵横草率，而其独能不落时尚。因当时吴石仙正以西法融云烟山水盛名沪上，而秋农画艺为其所掩，胡公寿颇为不平，说：“其人抑何聩聩，有目而不识秋农丹青之佳胜也。”",[24,7,1131,27,128,29,131,34,950,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2a7f0dc5675aae5a446ce84cedfe87a.jpg",[],{"id":48263,"slug":48264,"title":16282,"dynasty":54,"author":9529,"museum":244,"description":16283,"tags":48265,"thumbUrl":48266,"material":611,"size":84,"collection":84,"collections":48267,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},237206,"shan-shui-zhu-shi-ce-wang-hui-237206",[24,7,59,128,29,167,1314,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cce4f8f5ac5d999d33e87735030674e.jpg",[],{"id":48269,"slug":48270,"title":16282,"dynasty":54,"author":9529,"museum":244,"description":16283,"tags":48271,"thumbUrl":48272,"material":611,"size":84,"collection":84,"collections":48273,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},237205,"shan-shui-zhu-shi-ce-wang-hui-237205",[24,7,59,128,29,413,1314,99,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdef44c46debc96ae64d8e2e55d88d995.jpg",[],{"id":48275,"slug":48276,"title":48277,"dynasty":54,"author":223,"museum":20,"description":48278,"tags":48279,"thumbUrl":48280,"material":48281,"size":48282,"collection":136,"collections":48283,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},237151,"zheng-min-qiu-lin-du-shu-tu-zhou-yi-ming-237151","郑旼秋林读书图轴","此作用笔萧散简淡，远山奇崛冷峻，枯松虬木姿态苍劲古拙，水畔文士持杖独立，似在凝眺幽林远岫，静享林泉清寂。左侧题诗与画作相融，以水墨淡皴晕染山石，浓墨点苔醒出苍润质感，枯荣林木错落相衬，满卷秋意萧寒空灵。借林下幽境，寄寓避俗忘机的文人襟怀，将山水之幽与隐逸之思交织，笔意藏着清疏雅逸的出世意趣，尽显传统文人画以画明心的雅致风骨。",[24,7,165,128,132,29,96,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11420027d975e42468ac799413d85192.jpg","纸本淡设色","纵135cm，横112.5cm",[136,117,318],{"id":48285,"slug":48286,"title":409,"dynasty":54,"author":17240,"museum":300,"description":25958,"tags":48287,"thumbUrl":48288,"material":84,"size":84,"collection":136,"collections":48289,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},237099,"shan-shui-ce-cha-shi-biao-237099",[24,7,59,128,132,29,663,228,413,130,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168aeb0486c41328f6e24fb32764dd3a.jpg",[136],{"id":48291,"slug":48292,"title":409,"dynasty":124,"author":48293,"museum":300,"description":48294,"tags":48295,"thumbUrl":48296,"material":611,"size":84,"collection":136,"collections":48297,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},237027,"shan-shui-ce-zhang-yan-237027","张彦","张彦（？－？），字伯美，号无诤道人，嘉定（今属上海市）人，一作江苏苏州人，明朝画家。\n与董其昌同时，善于画山水、人物、花卉，与苏州张宏齐名。",[24,7,59,128,132,29,131,34,1022,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f632a06e9383dc4a5468b0b3c0a111b.jpg",[136,45],{"id":48299,"slug":48300,"title":48127,"dynasty":124,"author":44741,"museum":300,"description":48128,"tags":48301,"thumbUrl":48302,"material":84,"size":84,"collection":136,"collections":48303,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},236923,"ju-jie-shan-shui-zhou-ju-jie-236923",[24,7,165,128,132,29,413,495,131,499,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fe76918b84b330009e95a81e2db08f7.jpg",[136,117],{"id":48305,"slug":48306,"title":48307,"dynasty":54,"author":14022,"museum":300,"description":40657,"tags":48308,"thumbUrl":48309,"material":692,"size":1293,"collection":84,"collections":48310,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},236474,"hua-hui-kun-chong-tu-shan-ye-yu-sheng-236474","花卉昆虫图扇页",[304,24,7,1131,27,61,806,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b47f62afde0ec5f4a961e189b752013.jpg",[],{"id":48312,"slug":48313,"title":48314,"dynasty":54,"author":5879,"museum":300,"description":48315,"tags":48316,"thumbUrl":48317,"material":84,"size":48318,"collection":44,"collections":48319,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},236308,"lie-zi-yu-feng-zhou-hua-yan-236308","列子御风轴","列子是与老子、庄子同时代的道家学术代表人物，著有《列子》学说一书。关于列子有一则非常有名的典故，便是“列子御风”，体现出“大道至简”的理念，而华喦将这则典故变成一幅飘逸洒脱的画作。",[24,7,165,128,29,96,34,950,211,132,331,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5baafd21ec43e88cc5e6ae79800d83c.jpg","长78、宽32.5厘米",[44,45],{"id":48321,"slug":48322,"title":48323,"dynasty":124,"author":5798,"museum":20,"description":48324,"tags":48325,"thumbUrl":48327,"material":999,"size":48328,"collection":68,"collections":48329,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},236267,"sui-chao-zhou-zhang-hong-236267","岁朝轴","张宏（1577—？年），字君度，号鹤涧，江苏苏州人。善画山水，师法沈周而略有变化，画风苍秀，亦善人物。",[24,7,165,27,28,169,371,372,167,131,48326,9603,8162,9604,45023,230],"文房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd5fee7d7e2f711c5da31d75b7e27016.jpg","纵70.11cm，横53.4cm",[68,45],{"id":48331,"slug":48332,"title":4071,"dynasty":54,"author":1472,"museum":300,"description":19162,"tags":48333,"thumbUrl":48334,"material":692,"size":1293,"collection":84,"collections":48335,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},235708,"hua-hui-tu-ce-zou-yi-gui-235708",[24,7,59,28,27,61,62,64,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a6086d34e6ad0d6be64dfbeba2af35a.jpg",[],{"id":48337,"slug":48338,"title":48339,"dynasty":124,"author":3608,"museum":300,"description":9012,"tags":48340,"thumbUrl":48341,"material":692,"size":1293,"collection":84,"collections":48342,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},235532,"shan-shui-shan-ye-lu-zhi-235532","山水扇页",[1131,24,7,128,27,29,34,130,99,129,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fe1ef5fbf574dd1807ab602c8ebf44d.jpg",[],{"id":48344,"slug":48345,"title":48346,"dynasty":54,"author":12088,"museum":300,"description":48347,"tags":48348,"thumbUrl":48349,"material":84,"size":84,"collection":84,"collections":48350,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},235295,"hua-niao-ce-fang-zhou-yuan-jiang-235295","花鸟册方轴","此作用笔兼具工细与写意之妙，枝间禽鸟造型写实传神，以淡赭晕染躯体，细笔丝出绒羽肌理，昂首引吭的姿态将啼鸣瞬间定格，灵动鲜活。\n\n粉艳海棠柔枝斜出，花瓣以脂水晕染，从瓣尖到瓣根渐次褪淡，叶片以浓淡墨色分出阴阳向背，娇柔雅致。素净绢底衬出花木禽鸟，留白清寂悠然，将春日枝间啼鸣的闲逸氛围尽显笔端，尽显传统花鸟的诗意意趣。",[24,7,59,28,27,61,355,547,2438,549,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc14114421003c2cbab785058178e601f.jpg",[],{"id":48352,"slug":48353,"title":48354,"dynasty":54,"author":14080,"museum":300,"description":32996,"tags":48355,"thumbUrl":48356,"material":692,"size":1293,"collection":84,"collections":48357,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},235272,"chun-chou-mai-lang-tu-zhou-yuan-yao-235272","春畴麦浪图轴",[24,7,165,27,28,29,35,96,34,690,8709,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b039db189b0a1cf8a3e88d590b307b8.jpg",[],{"id":48359,"slug":48360,"title":12220,"dynasty":54,"author":12221,"museum":300,"description":12222,"tags":48361,"thumbUrl":48362,"material":692,"size":1293,"collection":84,"collections":48363,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},235130,"hua-hua-yan-shi-nv-tu-ce-wang-su-235130",[24,7,59,28,27,96,166,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa15ebbdabe9a59939fcf6a72340ee00d.jpg",[],{"id":48365,"slug":48366,"title":48367,"dynasty":54,"author":1219,"museum":300,"description":42538,"tags":48368,"thumbUrl":48370,"material":40,"size":42543,"collection":84,"collections":48371,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},234989,"hua-hui-ling-mao-ping-7-ren-yi-234989","花卉翎毛屏7",[24,7,61,165,27,28,211,2438,131,885,48369,5762,45512,62],"粉花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b6f696c4310601d6245936bdbdeacd5.jpg",[],{"id":48373,"slug":48374,"title":48375,"dynasty":54,"author":4992,"museum":300,"description":4993,"tags":48376,"thumbUrl":48377,"material":692,"size":1293,"collection":84,"collections":48378,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},234923,"mei-zhu-lan-shi-tu-zhou-yang-jin-234923","梅竹兰石图轴",[24,7,165,128,61,371,167,375,1314,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8537edec523b3144ca08d3569009d41e.jpg",[],{"id":48380,"slug":48381,"title":48382,"dynasty":54,"author":223,"museum":20,"description":48383,"tags":48384,"thumbUrl":48385,"material":514,"size":19713,"collection":136,"collections":48386,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},234898,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234898","唐岱小园闲咏图册","唐岱（1673—1752后），字毓东，号静岩，又号默庄，满洲正蓝旗人。康熙中以荫官参领。从王原祁学画，丘壑似王原祁，远宗宋人，“泼墨淋漓，气韵生动”。康熙后期常将其召入宫中作画，品题其画为当时第一手，赐称“画状元”。\n第一开：曲径通幽。对开题：“为隔尘氛远，应怜曲径长。迂回山势抱，逦迤竹垣藏。鹤歩苔痕合，春归花气香。板桥流水外，别有读书堂。”\n第二开：芳屿围棋。对开题：“乘兴步芳屿，逍遥任所之。已看苔作席，最爱柳成帷。漫煮蒙溪茗，闲抛赌墅棋。东山称盛事，吟望寄遐思。”\n第三开：桃溪步履。对开题：“山桃开也未，杖策试探寻。好景春来遍，芳溪曲处深。明霞千树叠，傍水一枝临。何必武陵路，随缘物外心。”\n第四开：竹坞春深。对开题：“闲过山坞里，粉脱见新篁。劲节当春绿，踈竿泛籁长。萧骚寒雨夜，彷佛辋川庄。不肯裁为管，无劳引凤凰。”\n第五开：芳港闻莺。对开题：“春色堂堂去，莺声恰恰来。缗蛮听处涩，风景暗中催。长日慵摊饭，新缸喜拨醅。笙簧随分有，何必舞三台。”\n第六开：春湖涵碧。对开题：“碧水漾平湖，空明一镜铺。须眉应可鉴，尘壤杳然无。点点浮青荇，双双下白鳬。春风浴沂水，视此意何殊。”\n第七开：石坂烹云。对开题：“敲火乌卿炽，烹云玉液清。龙团曾未点，鱼目已旋生。漫说肠堪润，应知眼倍眀。披襟成小啜，孤鹤一声鸣。”\n第八开：广厦冰壶。对开题：“天伏三庚永，堂开六月凉。深深屏隔暑，叠叠簟含霜。底事挥纨扇，无劳问蔗浆。冰壶供坐卧，乐意自相忘。”\n第九开：镜水荷香。对开题：“半夜芙蓉雨，三间水月楼。清香随处度，风景一时收。干密妨鱼跃，花深隐鹭游。诗情频入座，不必问渔舟。”\n第十开：月楼夕幌。对开题：“雨洗尘氛静，天空花鸟闲。月楼开一面，夕幌卷千山。牧笛耳边过，征鸿眼里还。桂香依旧发，付与阿谁攀。”\n第十一开：兰桡独钓。对开题：“秋湖鱼怯饵，把钓事如何。绿水一竿竹，清风几领簑。蒹葭尘外老，星月个中多。夜静独归去，清光挂女萝。”\n第十二开：竹篱鹤歩。对开题：“结社松为宅，看家鹤守门。偏知人客至，不负稻粱恩。宿月精神古，梳风毛羽繁。由来好僮仆，不必贵乘轩。”\n第十三开：芦岸秋晴。对开题：“秋色知多少，芦花尽白头。战风摇夕浦，饮露亚寒洲。生意知将谢，随时未肯休。苍茫烟水里，好去弄扁舟。”\n第十四开：板桥霜迹。对开题：“隔溪亭子迥，为架板桥通。秋老碧天白，寒流枫叶红。卷帘吟夜月，着屐歩霜风。爱此双双迹，扶笻过水东。”\n第十五开：雪径梅姿。画心左下款署“唐岱恭画”。对开题：“四时花木足，最喜是园梅。傲雪三冬里，因风几朵开。清香流玉骨，冷润滴氷腮。独有幽人赏，巡檐杖策来。右《小园闲咏》十五首，雍正乙卯夏五月，宝亲王长春居士著”。梁诗正谨书。",[24,7,59,27,133,64,208,29,97,131,34,211,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5d9b3ab8de6f6a73f21664055f4b51a.jpg",[136,45],{"id":48388,"slug":48389,"title":48390,"dynasty":54,"author":2687,"museum":300,"description":29166,"tags":48391,"thumbUrl":48392,"material":84,"size":84,"collection":84,"collections":48393,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},234417,"tang-shang-bai-tou-dan-ye-jiang-ting-xi-234417","堂上白头单页",[24,7,59,27,28,61,355,547,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F115a4427e2d551d43ce1b52894609ebd.jpg",[],{"id":48395,"slug":48396,"title":48397,"dynasty":54,"author":223,"museum":300,"description":48398,"tags":48399,"thumbUrl":48401,"material":692,"size":1293,"collection":84,"collections":48402,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},234394,"qian-long-di-fei-yu-jia-qing-di-you-nian-xiang-zhou-yi-ming-234394","乾隆帝妃与嘉庆帝幼年像轴","此作以双层楼阁铺展深苑日常，上层朱红木构镂空雅致，紫纱轻垂掩映竹影，晕开静谧清幽。下层轩窗半启，妃嫔衣袂织绣华美，垂眸凝睇身侧幼童，眉目柔婉，漫溢出化不开的慈意。\n\n远景湖山轻晕如黛，近旁奇石立，芍药娉婷、修竹疏朗，将中式庭院的清雅意趣尽数铺陈。全画笔法工致细腻，建筑雕纹分毫毕现，人物发丝衣褶皆见匠心，色彩柔丽和谐，把深宫之中的脉脉天伦温情，定格成一帧静好隽永的时光剪影，尽显写实精妙的绘事功力。",[24,7,165,28,27,96,97,167,1314,263,48400,249,95,304],"窗棂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2bb53374383c49f92b0da5cb26dc45c.jpg",[],{"id":48404,"slug":48405,"title":48406,"dynasty":124,"author":3619,"museum":300,"description":48407,"tags":48408,"thumbUrl":48409,"material":84,"size":84,"collection":84,"collections":48410,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},234224,"wen-zheng-ming-yu-xi-tu-juan-wen-zheng-ming-234224","文徵明雨溪图卷","文壁（1470年－1559年），字徵明，中年后以字行，更字徵仲，号衡山居士、停云生，直隶长州（今江苏苏州）人，祖籍湖广衡山（今湖南衡东），明代画家，与唐寅、沈周、仇英合称为“明四家”（亦称“吴门四家”或“吴门四杰”）；并与唐寅、祝允明、徐祯卿并称“吴中四才子”。一生历经成化、弘治、正德、嘉靖四朝，晚年与老师沈周并驾齐驱，继沈周之后成为吴派领袖。\n从正德到嘉靖年间，据《吴门画史》一书统计，吴派画家共有876人，人材济济，但在当时，出类拔萃，声名显赫，唯有沈周、文徵明等一些人。",[23,24,7,25,128,29,34,276,35,99,415,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8170da07386953cd65ae2ac94a4c1c02.jpg",[],{"id":48412,"slug":48413,"title":2279,"dynasty":124,"author":3619,"museum":20,"description":48414,"tags":48415,"thumbUrl":48416,"material":734,"size":84,"collection":84,"collections":48417,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},234141,"lan-zhu-tu-wen-zheng-ming-234141","文征明（1470-1559），世称“文衡山”，明代画家、书法家、文学家。生于明宣宗成化六年，卒于明世宗嘉靖三十八年，年九十岁。在诗文上，与祝允明、唐伯虎、徐真卿并称“吴中四才子”。在画史上与沈周、唐伯虎、仇英合称“吴门四家”。",[23,24,7,128,188,133,208,375,167,171,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd54efcd564c78baf1fe43aa7a6391a66.jpg",[],{"id":48419,"slug":48420,"title":48421,"dynasty":54,"author":223,"museum":20,"description":48422,"tags":48423,"thumbUrl":48424,"material":40,"size":48425,"collection":84,"collections":48426,"showCount":346,"zanCount":1998,"manualWeight":48,"mainColor":72},234106,"qing-ren-wan-shou-tu-juan-yi-ming-234106","清人万寿图卷","画家用纪实手法描绘康熙帝六十岁生日前夕銮驾由畅春园还宫，沿途接受官民仰瞻的欢庆场面。每卷 卷末各附楷书图记一篇，无印鉴款识。图卷保存完整，画面洁净，曾作为《万寿图》原本多次展出、出版。",[24,7,25,27,28,95,96,97,98,99,130,101,34,906,1577,11073,1743,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc7b4cce21ccd6b81c26de71e2b5f5c.jpg","纵45厘米，横3939 厘米",[],{"id":48428,"slug":48429,"title":48430,"dynasty":124,"author":3619,"museum":20,"description":48431,"tags":48432,"thumbUrl":48433,"material":1722,"size":48434,"collection":84,"collections":48435,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},233820,"wen-zheng-ming-xi-qiao-ce-zhang-tu-zhou-wen-zheng-ming-233820","文徵明溪桥策杖图轴","本幅行书自题七绝诗一首：“短策轻衫烂漫游，暮春时节水西头。日长深树青帏合，雨过遥山碧玉浮。”后钤“文徵明印”、“玉磬山房”印。右下角有“玉兰堂印”鉴藏印，画心有“世美堂印”、“马寒中印”等鉴藏印。裱边及外签有当代书画家狄葆贤（平子）题诗并记，钤藏印“平等阁主人”等。题记详述了此作原为其父于清同治末年购得，而他本人则在甲子年（1924年）夏六月重新装裱的递藏过程。\n画中描绘古木森郁，山谷幽静，溪上水波不兴，一人伫立桥头，策杖观流。作品明显地带有取法“元四大家”中倪瓒、吴镇的痕迹，作者很好地将倪瓒细笔疏皴的山石和吴镇粗笔浓墨的树木结合在一起，用笔沉稳雄健，韵致醇厚，加上近景的细致刻画和远景的虚化表现，突出了文人优游山林、怡然自得的精神状态。",[24,7,165,128,29,132,96,98,99,331,131,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F552fc7d9d84394f4ffb4d99f2e9e7dd7.jpg","纵95.8厘米，横48.7厘米",[],{"id":48437,"slug":48438,"title":48439,"dynasty":54,"author":6778,"museum":20,"description":48440,"tags":48441,"thumbUrl":48442,"material":734,"size":48443,"collection":84,"collections":48444,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},233729,"gu-bai-ling-zhi-tu-zhou-zhao-zhi-qian-233729","古柏灵芝图轴","图绘一株参天的柏树，粗壮的树干久经岁月的磨难，疤痕累累。交叠成荫的叶片郁郁葱葱，春意盎然，古柏因此表现出顽强的生命力。柏树下低矮的灵芝茁壮而富有生气，颇有“迈众芳而秀出，冠杂卉而当闱”之神采。\n此图以刚劲有力的书法技法绘枝干，并以焦墨皴擦勾勒，生动地表现出古树的伟岸。叶片和树下的青草、灵芝仿恽寿平的没骨法点染，笔致灵活，颇具神韵与情趣，与树干刚柔相济，令画作具有多层次的视觉空间，是赵之谦以书入画的代表作。",[24,7,165,27,369,132,331,25087,9070,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F244dac19c17d366964557a6b36ad82bb.jpg","纵140.8厘米，横37.8厘米",[],{"id":48446,"slug":48447,"title":48448,"dynasty":124,"author":18090,"museum":20,"description":48449,"tags":48450,"thumbUrl":48452,"material":40,"size":48453,"collection":84,"collections":48454,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},233697,"yun-he-cang-yu-tu-zhou-lan-ying-233697","云壑藏渔图轴","此图为蓝瑛73岁（1657年）时的力作。该图构图奇险，尤其是画幅的上半部，一段奇峭耸立的山峰嵯峨壮观，于危峙耸拔呼之欲倒的险迫中，又具“去天不盈尺”的崇高感，显示出作者较强的造景生势能力。蓝瑛在树木的表现上亦有较强的造型能力，他能准确而生动地把握各种树木的形态特征，伸枝布叶，饶有情致。树叶的表现技法极为丰富，有以线勾双边的夹叶法，以墨直接卧笔横点的点叶法，还有松针勾簇、罩以淡彩的勾染结合法。山石皴法，仿宋人李希古（李唐）笔意，以粗犷的墨笔勾勒石之轮廓，以侧锋横擦的小斧劈皴皴擦石面，成功地显现出山岩凝重的质感。该图既有职业画家的行业气，又有文人画家的书卷气，二者巧妙地融汇贯通，表明蓝瑛不愧是明末职业画家向文人绘画靠拢的代表人物。",[24,7,165,27,29,132,950,48451,129,1144,209,131,495,1351],"壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad4d2c8bdbaefa91e4ad1677373af496.jpg","纵369厘米，横98厘米",[],{"id":48456,"slug":48457,"title":5047,"dynasty":124,"author":366,"museum":20,"description":5048,"tags":48458,"thumbUrl":48459,"material":3544,"size":5052,"collection":84,"collections":48460,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},233471,"ren-wu-hua-hui-ce-xu-wei-233471",[24,7,59,128,369,96,129,1350,1351,1824],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F958d611c7f15a82d83dc81af02689a19.jpg",[],{"id":48462,"slug":48463,"title":48464,"dynasty":54,"author":1460,"museum":300,"description":48465,"tags":48466,"thumbUrl":48467,"material":611,"size":48468,"collection":84,"collections":48469,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},233389,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233389","原济金山龙游寺诗意册","本幅墨笔山水画金山龙游寺风景。共12开，每开均有自印，第十二开上方有自题一段。印记：“子英秘玩”，“蜀客”，“浙东陆钢鉴藏之印”等印45方。后页二方。题跋：后页姚虞琴题记一段。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,7,59,128,132,29,34,35,11998,415,1144,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dd07e263d6842255d1b2f9f64607308.jpg","纵24.6cm横17.6cm",[],{"id":48471,"slug":48472,"title":48473,"dynasty":54,"author":223,"museum":20,"description":48474,"tags":48475,"thumbUrl":48478,"material":611,"size":33763,"collection":84,"collections":48479,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},233077,"ping-ding-yi-li-hui-bu-zhan-tu-ce-yi-ming-233077","平定伊犁回部战图册","《平定伊犁回部战图册》（平定准噶尔回部得胜图）是乾隆皇帝炫耀武功的作品，其宏大的战争场面，荣耀的献俘场景，皆彰显出清帝国极盛时代的不可一世。乾隆三十年（1765年），“传旨西洋人郎世宁等四人起得胜图稿十六张，着丁观鹏等五人用宣纸依照原稿着色画十六张”。这一批画由西洋传教士起稿，后又送至法国制版印刷成铜版画，是当时受西洋技法影响较深的画作。",[164,24,7,59,27,96,101,48476,19122,208,48477],"战争","西洋技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F417686d09d9e621d9bdc8b831384b87f.jpg",[],{"id":48481,"slug":48482,"title":48483,"dynasty":124,"author":125,"museum":20,"description":48484,"tags":48485,"thumbUrl":48486,"material":1464,"size":48487,"collection":84,"collections":48488,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},232998,"si-chao-xuan-zao-zhen-ce-kong-lin-ji-yu-ye-shen-zhou-232998","四朝选藻贞册-空林积雨页","此图原载《四朝选藻册》，作者沈周用率笔随意点染丛林、云雨、平冈、小溪和房舍。用笔灵活潇洒，一气呵成，于简率之中见生动秀逸之致。画上左上方作诗二首，款：乙未九月积雨作《雨闷》二首，复作此景书之。是日忽晴，吾意彼苍，亦闻颠崖赤子私讽之语而见悯耶。念七日周。乙未为公元一四七五年，时沈周四十九岁。钤启南一印。右上方有吴宽题记一则，钤胸中天地一印。又钤安仪周家珍藏印。对开有清高宗弘历题诗，钤太上皇帝之宝等鉴藏印多方，曾经清安岐、清乾隆内府收藏。\n“久雨阴连结，晴天安在哉？”这件作品是画家在积雨郁闷之日所作。画中描绘一平坡后的雨中树林景色。画面构景简洁，坡石后的林中溪水，缓缓流淌。低屋掩映，云气弥漫，雨雾迷朦。画家以粗笔而写，墨色浑润，淡墨渲染，使画面显得湿气欲滴，阴雨连绵与画家郁闷难解的情绪跃然画上，与画家自题两首诗恰相对照。其一曰：“茅檐何日霁，溜响漫沉沉，气郁惟添睡，愁多亦怕吟。积润变鸣琴。安得东轩月，皓然当我襟。”\n沈周出身诗画世家，祖孟渊、父恒吉、伯贞吉，均以诗画名满吴中，祖上收藏甚丰，对古人诗画见多识广。沈周一生不仕，淡泊功名，博览勤学，仅“以丹青以自适”，专心从事丹青与诗文艺术，毕生勤於诗画创作，声誉卓著，德高望重。其艺术质朴而有情致，画风纯化，刻苦研究前人的优秀理论与技法，融会贯通，创立了自己的风格，成为我国十五世纪下半叶在戴进之後最有影响最具独创力的一位画家，在绘画、书法和文学艺术方面都取得了卓越的成就，其最杰出的当表现在绘画方面，嘉靖年间苏州名士王登在《吴郡丹青志》中称“先生石田绘事为当代第一”，绘画兼收并蓄，人物、山水、花鸟无不精通。\n沈周绘画以山水为主，宗法元四家，远取董（源）、巨（然），中年宗元四家笔墨，尤其推崇黄公望，晚年醉心吴镇，与自家学养融为独特风格，结构谨严，用笔苍劲沉着，墨色浓厚，气韵雄逸，在明中期画坛兴起画风剧变之潮。以他为发端，其门人文徵明继之，合唐寅、仇英为一局，树起吴门画派旗帜，广学“唐宋名流及胜国贤胜，上下千载，纵横百辈”皆“兼综条贯，莫不揽其精微”（明朱谋□《画史会要》），成就之巨，在中明画坛骤立巨峰，影响所及，数百年不变，其画艺彪炳画史，成就卓然。同时，沈周作为一代画坛宗匠，其於诗文、书法无一不能，无一不精，其诗意清新，“面试《凤凰台赋》，援笔而就，咸以为不减王子安”（清钱谦益《列朝诗集小传》）。其书法师黄山谷而不染他体，去山谷行书之捍，多灵便秀逸。时人以其诗、书、画为三绝。",[24,7,59,128,132,133,64,369,29,34,499,1515,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea074939e6dab7adace5c129ec5c8c97.jpg","纵21.7厘米 横29.2厘米",[],{"id":48490,"slug":48491,"title":48492,"dynasty":54,"author":6778,"museum":48493,"description":48494,"tags":48495,"thumbUrl":48496,"material":611,"size":48497,"collection":84,"collections":48498,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},232897,"chun-se-hai-tang-zhao-zhi-qian-232897","春色海棠","张学良旧藏","同治十一年壬申，客居北京的赵之谦南归在家乡小住，旋赴江西修《江西通志》。临行前，他为朋友画了很多画，自此之后，他一心修《志》，绝少刻印画画，成了晚清艺术史上一大憾事。此轴即作于临去江西前，笔墨雄肆，构图奇突，可见当时的心情和画艺的熟练。极为难得。\n赵之谦（1829－1884），中国清代著名的书画家、篆刻家。浙江绍兴人。初字益甫，号冷君；后改字撝叔，号悲庵、梅庵、无闷等。在晚清艺术史上，赵之谦无疑是最为重要的艺术家之一。在绘画上，他是“海上画派”的先驱人物，其以书、印入画所开创的“金石画风”，对近代写意花卉的发展产生了巨大的影响；在书法上，他是清代碑学理论的最有力实践者，其魏碑体书风的形成，实得碑派技法体系进一步趋向完善，从而成为有清一代第一位在正、行、篆、隶诸体上真正全面学碑的典范；在篆刻上，他在前人的基础上广为取法，融会贯通，以“印外求印”的手段创造性地继承了邓石如以来“印从书出”的创作模式，开辟了一个前所未有的新境界。赵之谦的篆刻成就巨大，对后世影响深远。近代的吴昌硕、齐白石等画家都从他处受惠良多。",[1131,24,7,27,61,1132,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe8b2381d0d12b3901547ff7fc132b87.jpg","19×54厘米",[],{"id":48500,"slug":48501,"title":48502,"dynasty":144,"author":223,"museum":300,"description":48503,"tags":48504,"thumbUrl":48506,"material":84,"size":84,"collection":84,"collections":48507,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},232696,"song-yin-lun-dao-tu-zhou-yi-ming-232696","松荫论道图轴","画作以层叠飞瀑串起幽深山峦，古松虬曲苍劲，斜探山坳。松荫下二人对坐，一人垂耳静聆，一人挥袖长谈，雅意暗生。山石以斧劈皴勾勒晕染，尽显雄浑厚朴，山林以浓淡墨色分出虚实层次，铺就空寂清远的山野氛围。\n\n整幅以动衬静，飞瀑流泉的喧腾，更衬出松下晤谈的安谧超脱，将林下隐逸的雅趣融于丘壑间，尽显萧散简远的山水意韵，把出世林下的风流逸致，尽数绘于绢素之上。",[23,24,7,165,128,132,29,96,372,495,497,99,48505],"论道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a886a55177591ac8990b09ff254c510.jpg",[],{"id":48509,"slug":48510,"title":48511,"dynasty":222,"author":223,"museum":300,"description":48512,"tags":48513,"thumbUrl":48516,"material":692,"size":1293,"collection":84,"collections":48517,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},231651,"tao-shan-shi-qi-liu-wang-de-huang-di-ping-feng-yi-ming-231651","桃山时期 流亡的皇帝屏风","金箔为底晕开朦胧暖光，淡墨细绘出浩渺水岸，层层水纹带着澹澹涟漪，铺陈开幽寂江景。左岸孤客彳亍，衣袂似随江风微扬，满溢羁旅怅惘。右畔水榭依水而立，灼灼桃枝缀着浅淡花意，晕开零落暖意，和空阔江天的萧寂形成温柔的对照。\n水墨冷寂被金箔柔光轻轻中和，将沉郁藏在清雅笔意间，留白里晕开澹澹愁思，以侘寂幽玄的笔致，把漂泊况味融在烟暮色中，在极简构图里铺陈出含蓄悠长的诗意。",[23,164,24,7,250,128,27,48514,132,29,96,758,34,497,31,48515],"金碧","开花植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dcce2a562d3507c088b54444c8a8b0f.jpg",[],{"id":48519,"slug":48520,"title":25852,"dynasty":18,"author":1833,"museum":12686,"description":48521,"tags":48522,"thumbUrl":48523,"material":611,"size":84,"collection":84,"collections":48524,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},231493,"fang-zhong-li-fang-dao-tu-jing-hao-231493","董其昌 (1555–1636)《锺离访道图》，又有《卸甲图》。此荆浩笔也。董其昌题。",[23,24,7,1349,128,27,132,28,64,133,208,96,29,131,34,690,130,18,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5460da347cdee46dc9314bd20b3ce2.jpg",[],{"id":48526,"slug":48527,"title":41820,"dynasty":54,"author":3750,"museum":77,"description":48528,"tags":48529,"thumbUrl":48530,"material":611,"size":38345,"collection":84,"collections":48531,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},231488,"xi-shan-xian-guan-tu-wang-jian-231488","《溪山仙馆图》作于“甲寅春暮”即康熙十三年（1674），时年王鉴76岁。因为王鉴77岁那一年春天，王翚曾携弟子杨晋一起来到太仓王鉴的染香庵拜访他，杨晋还为王鉴画了肖像，王翚为肖像作补景，王鉴本人也在画上题了跋语。这幅“写照入神，运笔飞动”的肖像画令王鉴欢喜，因为此时的王鉴已患中风，“备诸丑态，子鹤（杨晋，字子鹤）隐陋，曲貌形外之神”（王鉴画上跋语，见《吴越所见书画录》），将王鉴的精神面貌画出来了。王鉴寿高80，76、77岁之后作品较为少见，大约与其晚年曾患中风有关。此幅《溪山仙馆图》是王鉴中风之前所作，非常难得。\n王鉴万历二十六年（1598）出生在江苏太仓一个功名世宦之家，曾祖父王忬是嘉靖二十年进士，官至兵部左侍郎，蓟辽总督。祖父王世贞少年时即被视神童，嘉靖二十六年19岁时就考取进士，虽然仕途不畅，却是明代中后期的文坛盟主。父亲王士骐也是一位才子，万历十年南京乡试解元，万历十七年进士，幷曾官礼部、吏部。出身在如此显赫家庭，王鉴亦才华横溢，但是功名平平，36岁时才在乡试中考取举人，之后再无进展，而是受到祖荫照拂任左府事，继而出任广东廉州（今为广西合浦）太守。然而其天生一副文人性格，不合污流，上任不久即遭遇宦官们以开矿为名横征暴敛、鱼肉百姓的“粤中开采”之事，他挺身而出，以太守之力“力请上台得罢”，企图阻止“开矿恶政”，却险些引来牢狱之灾。两年后王鉴退隐原籍，再不出仕，一生都在诗文书法中度日。\n王鉴绘画受到董其昌影响，对于北宋董源、巨然深有研究，幷专注于元四家、尤其倾心黄公望。《溪山仙馆图》纸本设色，纵78厘米，横39厘米。所绘布局严谨，近景松树成林，但茂而有致，绝无繁芜之感，中景、远景绘山，丘壑深邃却层次井然，毫不琐碎，加以色墨交融，皴染幷施，绘出了华润气象。\n此画清代民国以来历经三位著名收藏家收藏：第一位是同治光绪年间的南京人李溥泉，此人眼力好，但是特别会做生意，故曾遭赵之谦等人的白眼，左下角“白门李氏珍藏”印即为其所钤。第二位是晚清时以盐业起家、并官至内阁学士的慈溪人严信厚，严信厚字小舫、筱舫，斋名小书画舫等，“小书画舫”收藏书画很有名，我们今天仍经常可见到一些古代书画上留有“小书画舫”所钤收藏印，此画在“白门李氏珍藏”印之上那方“小书画舫秘玩”印即为其所钤。第三位是现代大收藏家钱镜塘，此画“钱家样”的装裱，就是当年钱镜塘的专用裱画师严桂荣所为。此画钱镜塘曾请吴湖帆过目，包首签条即为吴湖帆所题。《溪山仙馆图》“文革”时被抄，“文革”结束后未归还，后流入市场。",[23,24,7,165,27,132,29,98,99,331,97,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d42a5940438066fc2ad4b01874fd21.jpg",[],{"id":48533,"slug":48534,"title":48535,"dynasty":124,"author":45240,"museum":244,"description":48536,"tags":48537,"thumbUrl":48538,"material":611,"size":48539,"collection":84,"collections":48540,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},231416,"fang-wang-meng-ge-hong-yi-ju-tu-zheng-zhong-231416","仿王蒙葛洪移居图","明郑重仿王蒙葛洪移居图，中国古画，1612年（明神宗万历四十年）作。原属故宫博物院旧藏，现藏于台北故宫博物院。该幅作品描绘葛洪移居情景。布居窄长，用笔仿王蒙之焦墨來臫頭、渴樤苔，设色清雅。题材虽属道教故实，然人物比例远逊于山川林屋，观此画例，足证元明以降，山水画已蔚成国画作之主导。\n來臫頭《葛樤洪移居图》绘道教故事，晋代著名道士葛洪移居情景。葛洪为晋朝句容人，自号抱朴子，习炼丹术于郑隐，后闻交趾出丹砂，携子侄赴广东罗浮山炼丹。画中妻子鲍氏怀抱孩童，葛洪在后，俱骑牛。一童牵牛，一童担家具，一童捧鹅背药瓢。又有一羊二犬。画中山峦层层，用笔茂密，正是王蒙风格，点景人物，亦生动活泼。",[23,24,7,165,27,132,330,208,29,96,97,98,99,101,1144,495,3269,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37d01a20b306b009a195204eafa7223.jpg","该幅135.8x29.1公分；全幅50.7公分",[],{"id":48542,"slug":48543,"title":7990,"dynasty":18,"author":7991,"museum":300,"description":48544,"tags":48545,"thumbUrl":48546,"material":84,"size":84,"collection":84,"collections":48547,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},231051,"wen-ji-gui-han-tu-chen-ju-zhong-231051","此作以全景式构图铺展故事全程，寒林荒漠晕染出塞北萧寒底色。首段绘毡帐饯别，蔡文姬与匈奴亲眷对坐，眉眼间交织着归乡的期许与离亲的怅惘。下方整装队伍肃穆排布，官吏躬身行礼，扈从车马错落有序，将临行之际的沉郁氛围拉满。\n\n线条工细遒劲，设色朴雅厚重，人物衣冠、鞍马器具皆刻画入微，将乱世里家国与亲情的两难拉扯，融于苍凉塞景之中，尽显写实功力与细腻的情感表达，把一段乱世归乡的千古憾事具象为动人图景。",[23,164,24,7,165,27,28,96,101,690,1233,331,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76f6c8c22a8616327f719fb02c002d6.jpg",[],{"id":48549,"slug":48550,"title":48551,"dynasty":124,"author":8983,"museum":300,"description":48552,"tags":48553,"thumbUrl":48555,"material":84,"size":84,"collection":84,"collections":48556,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},230938,"han-ya-ji-xue-tu-zhao-zuo-230938","寒崖积雪图","此作用淡墨晕开寒雾，远山隐没其中，高岭悬崖覆着素雪，以留白衬出积雪清寒厚重，山石勾勒硬朗古拙，尽显崖壁巍峨肃穆。\n\n中景枯木虬曲苍劲，枝桠舒展，雪覆槎丫，林麓间山居掩映，篱舍静谧安闲，似能隔绝冬日霜寒。近处石径蜿蜒，策杖行人缓步徐行，暗合冬日寻幽的雅趣。\n\n整体笔墨简练老辣，以空寂清冷的意境，将山野萧寒与幽居恬然相融，尽显文人寄情林泉、静悟山水的隐逸雅兴。",[24,7,165,128,132,29,48554,13436,1337,1144,131,35,96,496,37],"寒崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff69f419c727c300955afc9fed11ab0b8.jpg",[],{"id":48558,"slug":48559,"title":48560,"dynasty":144,"author":17775,"museum":300,"description":48561,"tags":48562,"thumbUrl":48563,"material":84,"size":84,"collection":84,"collections":48564,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},230900,"song-yin-ju-yin-tu-zhou-tang-di-230900","松荫聚饮图轴","《松阴聚饮图》是元代画家 创作的绢本设色画，现藏于上海博物馆。\n此图近景画河畔数棵长松高耸，树后露出数间茅屋。\n松荫下四位长者席地而坐，正举杯畅饮。\n旁有两人手捧壶盘侍候，一人抱矮案前来。\n对岸中景是古树茅舍。\n远景群山蜿蜒。\n图中描绘对饮者解衣盘腿，不拘礼仪，生动地表现出村民野老酒酣兴豪的生活乐趣。\n此图岗峦坡石笔墨圆润婉和，存有赵氏遗法。\n长松勾勒苍劲精巧，细枝似蟹爪，则从郭熙法中得之。\n此图1近景画河畔数棵长松高耸，树后露出数间茅屋。\n松荫下四位长者席地而坐，正举杯畅饮。\n旁有两人手捧壶盘侍候，一人抱矮案前来。\n对岸中景是古树茅舍。\n远景群山蜿蜒。\n图中描绘对饮者解衣盘礴，不拘礼仪。\n图1的左边作者行书自题一行，文曰：“元统甲戌冬十一月，吴兴唐棣子华制。\n”钤有“唐氏子华”朱文方印。\n按图中自题，甲戌为元统二年（14）唐棣时年9岁。\n此画为作者早年作品，故较多保留着师承前人技法的痕迹。\n图写平远山水，远处山峦叠嶂，绵延起伏。\n近处均为浩荡江水，旷无边际。\n中间为树木、平岗。\n三棵巨树拔地而起，枝干粗实，盘根虬曲，有的枝杈盘曲伸展，枝叶疏落，树干上长满了疤节。\n树荫下有数间茅亭屋宇，将远景与近处相隔，截分为近远两景，这是远、中、近景三段式的格局。\n这样的布局，使整幅显得富有层次，使旷野的山光水色的美景更为显眼。\n此图2的画法，人物用白描法，线条细腻而又简练，笔触柔和，远山浅淡而远杳，近景的几株枯树明显反映出唐棣的线条功底，点顿精凝，不为懈笔怠笔，树干盘龙走虺，脉理纷然，瘢节回护，古拙怪异。\n树下三五成群的聚饮者，也是一种静谧而萧然的格调，尤其是图中描画对饮者解衣盘膝，或跽或蹲，不矜礼仪，生动地表现出村民、野老酒酣兴豪的生活乐趣。\n远处，山石逶迤起伏的山脉，作淡墨晕染，山峰均用短披麻皴，长松的勾皴苍劲精巧，细枝形类似蟹爪形。\n山上的草木丛杂，设色雅淡。\n218年1月21日，上海博物馆书法和绘画陈列开放，《松荫聚饮图》在其中展出。\n唐棣（1296—164），元代画家。\n字子华，湖州（今属浙江）人。\n“以茂才异等起家：”官至吴江知州：早熟，称“神童”，工画山水，“尝游翰林公之门”，得赵孟頫指授，并师法李成、郭熙，善于布置景物，点缀人物尤佳，笔力坚硬，画风清森华润，犹存宋人遗法。\n曾参与集庆（治今江苏南京）龙翔寺及元宫嘉熙殿作壁画，晚年兼学高克恭。\n明鉴赏家张丑推举他为“元人中之巨擘。\n”传世作品有《霜浦归渔图》轴、《雪港捕渔图》轴等。",[164,24,7,165,27,132,29,331,372,96,26561],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2873aee32f3e632b734453cf38006c24.jpg",[],{"id":48566,"slug":48567,"title":48568,"dynasty":54,"author":38394,"museum":300,"description":48569,"tags":48570,"thumbUrl":48571,"material":84,"size":84,"collection":84,"collections":48572,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},230358,"sui-han-san-you-tu-zhou-fan-qi-230358","岁寒三友图轴","枯梅清枝斜出，苍劲瘦硬，花苞轻缀，暗蕴幽芳。丹红山茶花晕染柔润，鲜翠枝叶错落生姿，浓黑泼墨湖石与之相映，冷暖明暗碰撞，艳而不俗，拙而不僵。下方水仙挺秀舒展，冰姿玉洁，与湖石皴擦出的奇崛顽态相得益彰。\n全画工写兼施，笔致秀雅含蓄，将冬日清友齐聚尺素，把岁暮天寒里的融融春意暗藏其间，既有文人画的清逸格调，又鲜活晕透出明丽生机，让观者于画中品味隆冬清妍风骨，静赏幽然雅集意趣。",[23,24,7,165,27,61,371,375,167,171,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F504a4ddf8e1f808198416479420c9b74.jpg",[],{"id":48574,"slug":48575,"title":9344,"dynasty":54,"author":4468,"museum":300,"description":48576,"tags":48577,"thumbUrl":48578,"material":84,"size":84,"collection":84,"collections":48579,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},230205,"xian-e-chang-chun-tu-lang-shi-ning-230205","此作将中西绘法相融，牡丹花瓣以精微晕染过渡色彩，从柔粉浅白渐次晕作玫红，层层叠叠如凝露含芳，饱满鲜活尽显盛放娇姿。叶片皴擦兼具明暗光影与中式笔墨意趣，叶脉舒展清晰，枝茎挺秀带着蓬勃生机。朱红鉴藏印落于素绢之上，雅致端庄，为画作更添古雅意韵。整体既得西洋画的写实质感，又留存东方花鸟的清雅意蕴，将花之雍容华贵尽数铺展于绢素之上，仿若春色凝于方寸间。",[23,164,24,7,27,28,61,263,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e4b0937087e0a16c2d15c63c187e3c.jpg",[],{"id":48581,"slug":48582,"title":48583,"dynasty":54,"author":8819,"museum":300,"description":48584,"tags":48585,"thumbUrl":48586,"material":84,"size":84,"collection":84,"collections":48587,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},230147,"jun-ma-lie-yu-yuan-230147","骏马列","此作绘双骏静立，银鬃灰马身形劲挺舒展，朱膘红骏身姿丰腴俊朗，二者顾盼悠然，自带神骏温驯之态。用笔精工细致，鬃丝根根分明，晕染柔和自然，将良驹皮毛的柔润光泽与矫健体态形神兼备地勾勒而出。画面留白简洁雅致，右上角题字错落排布，为画面晕开一抹文人情致。整体工稳雅致，兼具院体画的精工与文人画的清雅，静穆间尽显宝马从容华贵的风骨，将鞍马题材的雅致意趣尽显无余。",[23,24,7,165,27,28,101,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F995d32e6d171986a88eb8b69d5c00d68.jpg",[],{"id":48589,"slug":48590,"title":48591,"dynasty":124,"author":19056,"museum":300,"description":48592,"tags":48593,"thumbUrl":48594,"material":84,"size":84,"collection":84,"collections":48595,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},228890,"san-you-tu-juan-chen-gua-228890","三友图卷","此帧以水墨写就，老松虬曲苍劲，枯笔焦墨勾勒皴擦，尽显鳞皴老干的嶙峋古意。松针攒簇劲挺，如刃似戟。垂挂的藤萝以淡墨长线曳落，柔丝曼曼，和老干的刚硬形成绝妙反差。下方嫩竹亭亭，小篁数丛简淡清雅，寥寥数笔便把清拔姿态绘就。\n画面留白疏朗，水墨浓淡干湿相生相合，笔意纵恣却暗含法度，将岁寒之友的清逸孤傲风骨尽显，藏着文人写意的澹澹禅心，清雅脱俗，意韵悠长。",[805,24,7,25,128,188,208,372,167,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff43250ffaea547b9ef3fabbd4b5c2e4e.jpg",[],{"id":48597,"slug":48598,"title":48599,"dynasty":124,"author":48136,"museum":300,"description":48600,"tags":48601,"thumbUrl":48602,"material":84,"size":84,"collection":84,"collections":48603,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},228862,"tian-jia-chun-dou-tu-juan-zhang-chong-228862","田家春斗图卷","此作以兼工带写之笔铺展乡野春景，古木虬枝环抱着错落村舍，水畔田埂间，村民们角力摔跤，呼喝喝彩之声似随画卷扑面而来。妇孺围立笑观，稚童穿梭嬉闹，田家烟火意趣尽显。画家精于人物情态捕捉，衣褶灵动简约，村野景致皴染朴拙细腻，将江南春日乡野的鲜活生机与质朴活力，尽数凝于绢素，画风古雅淳厚，把民间春日嬉游的松弛野趣刻画得淋漓尽致，尽显风俗画描摹世俗民生的动人特质。",[23,24,7,164,25,28,27,133,96,22403,387,413,131,4364,1634,527,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F592ca4cfbdcded52aaada6264e96bf35.jpg",[],{"id":48605,"slug":48606,"title":48607,"dynasty":124,"author":1642,"museum":300,"description":48608,"tags":48609,"thumbUrl":48610,"material":84,"size":84,"collection":84,"collections":48611,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},228845,"ji-shan-gao-yin-tu-zhou-dai-jin-228845","箕山高隐图轴","画面以雄奇山水铺陈意境，斧劈皴勾勒出山岩棱角刚硬，危峰迭起直入烟霭。古松虬曲苍劲，盘崖绕谷，枝干舒展如腾龙，松针攒簇尽显苍郁生机。\n\n松下高士坦襟趺坐，凭石观山，意态萧散悠然，将山野林泉间的隐逸闲趣尽显。整作以刚劲笔墨绘就山川风骨，又以简淡笔触描摹人物风神，将北宗山水的雄浑大气与文人高隐的清雅意趣相融，尽抒林泉高致，恍见太古幽情。",[23,24,7,165,128,132,29,96,1144,131,495,11998],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb2ac4e2251e083f824252fb1f3869f.jpg",[],{"id":48613,"slug":48614,"title":490,"dynasty":124,"author":223,"museum":300,"description":48615,"tags":48616,"thumbUrl":48617,"material":84,"size":84,"collection":84,"collections":48618,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},228792,"zao-chun-tu-yi-ming-228792","此作用青绿晕染层叠翠峰，赭石铺展江天色底，将江南早春的温润灵秀尽纳卷中。苍松虬枝倚着黛色山峦，茂林吐翠，汀洲渔村、朱阁殿宇错落分布，烟波轻笼远山扁舟，晕开和煦澹宕的春日盛景。\n\n全卷兼工带写，界画工致严整，山水皴染细腻，设色妍雅沉静，既承袭宋青绿山水的富丽精工，又带着明文人山水的秀逸意趣。卷尾长题与朱印错落排布，丹青与纸墨交映，让山水清晖与传世文心相融，尽显春日江山的悠悠雅致。",[23,164,24,7,25,27,26,28,132,208,64,29,97,98,99,130,34,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60605b4fe3e20e585065867ec31afa0.jpg",[],{"id":48620,"slug":48621,"title":48622,"dynasty":124,"author":9650,"museum":300,"description":48623,"tags":48624,"thumbUrl":48625,"material":84,"size":84,"collection":84,"collections":48626,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},228758,"guan-hua-tu-zhang-lu-228758","观画图","这幅画作以巨松浓墨开篇，衬出山居小屋错落野趣。画面群像鲜活灵动：扶案老者凝目观画，村汉孩童攒头探看，窗内女子隔帘偷觑，各有神态，将乡野小民观画时的好奇热忱尽数铺展。\n\n笔意承袭浙派写意，线条粗粝劲健，衣纹顿挫利落，墨色浓淡铺陈拉开远近层次。以简括布景衬出盎然烟火，粗笔间藏着细腻情思，寥寥数笔便把俗世片刻的鲜活意趣定格，尽显明代人物画世俗化的鲜活风貌，将山野日常的闲适与观画时的热闹相融，质朴又传神。",[23,24,7,128,27,188,96,758,34,276,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ac9c01422f9d12f5cf20f72d77ee8d.jpg",[],{"id":48628,"slug":48629,"title":12323,"dynasty":124,"author":10922,"museum":300,"description":48630,"tags":48631,"thumbUrl":48632,"material":84,"size":84,"collection":84,"collections":48633,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":199},228755,"shan-shui-tu-juan-wen-jia-228755","此卷以细笔绘就平远山水，起首林麓幽深，梵宇隐于松云之间，谷中云气萦回，衬出山峦层叠之致。中段湖面空阔，汀渚错落，村居藏于茂林，渔舟泛于烟波，尽展江南水泽的清和之态。后段重峦复岭，嘉木葱茏，山居错落嵌于岩岫间。\n笔墨承吴门清雅之风，山石以披麻皴写就，松枝虬劲秀挺，设色浅淡清逸，整体气息静谧淡远，将文人悠游林泉的雅趣寄于山水之间，尽显江南山水温婉诗意，是文人画萧散意境的绝佳体现。",[23,24,7,25,128,132,29,34,131,37,130,99,664],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59685d508ab0343fdec514458d694349.jpg",[],{"id":48635,"slug":48636,"title":48637,"dynasty":18,"author":397,"museum":300,"description":48638,"tags":48639,"thumbUrl":48640,"material":84,"size":84,"collection":84,"collections":48641,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},228391,"tong-xi-tu-ce-ye-zhao-ji-228391","童戏图册页","淡墨轻勾，敷色浅淡清雅，将四名稚童嬉闹的日常定格。或持杆佯作玩耍，或俯身效仿逗趣，旁立的小童歪头注视，憨态毕现。线条简练灵动，不着浓艳，却将孩童的娇憨鲜活尽数勾勒，没有繁复铺陈，仅以极简笔触便把稚童的无忧稚气描摹尽致，藏着巷陌里最鲜活的日常意趣，尽显平淡天真的烟火温情，仿佛能听见画里的嬉笑声，将人拉回松弛鲜活的旧时光，静赏这份纯粹无忧的童真。",[164,24,7,59,27,28,96,28618],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946c4ef1365e7720af305739ee57fb94.jpg",[],{"id":48643,"slug":48644,"title":48645,"dynasty":144,"author":223,"museum":300,"description":48646,"tags":48647,"thumbUrl":48648,"material":84,"size":84,"collection":84,"collections":48649,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},228183,"dan-feng-niao-que-tu-yi-ming-228183","丹枫鸟鹊图","画面截取深秋一角，虬曲苍劲的枫树枝桠间，残红秋叶点缀，晕开萧索清寒的秋意。三只禽鸟错落栖于枝梢，引吭啼鸣的山雀羽翼晕染细腻写实，将灵动生机揉入冷寂秋景，另外两雀或静立或垂悬，动静相映成趣。\n\n设色调和古雅，工写相融，淡墨皴擦尽显枝干枯涩质感，禽鸟刻画精细入微，将秋日郊野的幽寂野趣藏于笔底，简淡笔意间晕开幽远沉静的林下意趣，尽显雅致空灵的秋日审美意韵。",[23,24,7,164,165,28,27,61,211,10050,11375,1955,2438,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54bfefdf57d7bfd435a7b35b437dd982.jpg",[],{"id":48651,"slug":48652,"title":36747,"dynasty":144,"author":25648,"museum":300,"description":48653,"tags":48654,"thumbUrl":48655,"material":84,"size":84,"collection":84,"collections":48656,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},228165,"qing-quan-qiao-mu-tu-li-zhou-li-shi-xing-228165","此作用笔苍劲老辣，以顶天立地的古松为画面核心，虬曲扭结的躯干皴擦细密，尽显岁月镌刻下的沧桑质感。松间垂挂的绵长松萝，以劲细游丝写出柔婉垂坠之态，和古木的沉雄拙朴相映成趣。下方寒泉漱石，流泉隐于嶙峋怪石间，留白铺就的水面空寂淡远，静穆中暗流动势，烘托出幽僻萧寒的林下清境。\n整幅画作以枯淡笔墨写就荒寒之韵，将文人寄心林泉、远避尘嚣的隐逸意趣藏于清冷景致之中，尽显山水尚意求真的美学风骨。",[23,164,24,7,165,4057,128,27,132,331,1337,131,99,3428,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17444290187efcec2fec2010c6951726.jpg",[],{"id":48658,"slug":48659,"title":48660,"dynasty":144,"author":48661,"museum":300,"description":48662,"tags":48663,"thumbUrl":48664,"material":692,"size":1293,"collection":84,"collections":48665,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},228032,"song-liu-man-shi-juan-ye-lv-chu-cai-228032","送刘满诗卷","耶律楚材","耶律楚材（1190-1244）字晋卿，号湛然居士，又号玉泉老人。辽宗室。博学能文，元太袓定燕，召为相，历事两朝。耶律楚材少年时受金代文化影响至深，在赵孟頫扭转金及南宋末午书法流风之前，他的书法具有一定的代表性。《元史》本传称其：“善书，晚年所作字画尤劲健，如铸铁所成，刚毅之气，至老不衰。”他的书法继承了唐宋颜真卿，黄庭坚书风，雄放刚健、硬拙挺拔，以端严刚劲著称，有“河朔伟气”，与后来赵孟頫提倡的晋人韵味迥异。",[23,64,25,133,128,208,1590,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b16520804b9eccfa270024c95dab57f.jpg",[],{"id":48667,"slug":48668,"title":48669,"dynasty":144,"author":287,"museum":300,"description":48670,"tags":48671,"thumbUrl":48672,"material":84,"size":84,"collection":84,"collections":48673,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},228021,"cao-chong-tu-juan-zhen-ji-qian-xuan-228021","草虫图卷真迹","此作工细清润，草虫鲜活灵动，翅脉触须纤毫毕现，草木柔叶含带晨露清气，将草间小景勾勒得满生意趣。配笔题字朴拙苍劲，与画作的隽雅相映成趣，诗书画印融为一体。整体气质淡远清旷，以草虫之微，寄寓对生命本真的吟咏，尽得元人文人画澄怀观道的意韵，静雅中藏着蓬勃生机，是笔墨见心性的上乘佳作。",[23,24,7,25,28,27,61,480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb58a17d67bcb7d3dcdbd84e29a6a97.jpg",[],{"id":48675,"slug":48676,"title":48677,"dynasty":144,"author":287,"museum":300,"description":48678,"tags":48679,"thumbUrl":48680,"material":84,"size":84,"collection":84,"collections":48681,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},228014,"shuang-ya-tu-ye-qian-xuan-228014","双鸭图页","此作用色清隽雅致，以澄澈钴蓝晕染水面，铺就幽宁底色。枯涩崖岸旁，蓼花垂曳轻摇，荇花绽于浅波，野趣盎然。白鸭昂首引吭，绒毛以淡墨层层晕染，柔润蓬松，憨态灵动，将水禽的慵懒自在尽显无遗。\n左侧题字墨色沉郁古雅，书画合璧，晕开文人逸趣。整幅画作工致却无板滞之感，褪去浓艳浮华，以清简笔触定格江南水畔一隅生机，在平淡天真里晕染出静逸诗意，把闲淡野逸的水乡意趣藏于笔底，尽显雅致悠然的文人审美意韵。",[23,164,24,7,59,28,27,6509,497,230,62,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264f3c409d648d2eabd5847edaa99ecd.jpg",[],{"id":48683,"slug":48684,"title":41005,"dynasty":18,"author":5533,"museum":300,"description":48685,"tags":48686,"thumbUrl":48687,"material":84,"size":84,"collection":84,"collections":48688,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},227980,"qiu-lu-fei-wu-tu-liang-kai-227980","以淡墨晕开秋江空蒙的冷寂氛围，枯瘦芦草欹斜舒展，迅疾老辣的笔致带着野逸秋意。水畔坡岸以泼墨点染，浓淡墨色自然晕化，混融天成，静立坡头的小禽与振翅掠空的飞鹜形成动静对照。\n\n远飞的水禽仅以寥寥数笔勾勒，形神俱足，活现掠空姿态。画面以大片留白衬出江天寥廓，将秋日江汀的萧疏淡远藏在简淡笔墨中，以少胜多，把秋日清寂与禅意文思揉合一处，余韵悠长。",[23,164,24,7,165,128,369,1824,211,171,6639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917b71480910d4f702db28eefc181657.jpg",[],{"id":48690,"slug":48691,"title":48692,"dynasty":18,"author":2067,"museum":300,"description":48693,"tags":48694,"thumbUrl":48695,"material":84,"size":84,"collection":84,"collections":48696,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},227951,"qin-yu-tu-li-di-227951","禽浴图","画面截取禽鸟沐水的日常一隅，乌鸫探身木盆，翅羽蓬松乍起，墨色晕染分出干湿层次，将沾水后濡重的绒羽与翻扬的飞羽区别开来。圆目灵动带着憨态，黄喙轻点水面，漾开浅淡水痕，仿佛能闻声水泽轻响。木盆篾编纹理刻画写实，分毫毕现。\n\n整幅笔墨工细却不失生机，以小景见真趣，把野禽自在沐浴的瞬间定格，将对生灵的细致观察尽显无遗，于寻常日常里，晕染出雅致鲜活的自然意趣。",[23,164,24,7,28,27,61,211,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1e7161b3e35c7b6a5e1f6d4a3f7707c.jpg",[],{"id":48698,"slug":48699,"title":48700,"dynasty":18,"author":223,"museum":300,"description":48701,"tags":48702,"thumbUrl":48703,"material":84,"size":84,"collection":84,"collections":48704,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},227920,"hua-hui-shuang-qin-tu-yi-ming-227920","花卉双禽图","此作工笔设色，柔枝舒展间白茶花轻绽，花瓣晕染出莹润柔光，枝叶俯仰向背尽显草木生姿。两只禽鸟栖于细枝之上，翎毛刻画丝丝入微，胸腹绒羽蓬松柔软，墨色晕染出头部乌亮光泽。一鸟昂首啾鸣，一鸟侧身应和，将枝间互动的鲜活意趣定格。\n\n整幅构图疏密得宜，浅褐绢底衬出雅致色调，笔墨精细却无匠气，尽显院体花鸟的写实功力。画师以细腻笔触捕捉花鸟间的灵动互动，将春日枝桠间的寻常小景，晕染出独有的雅致诗意，藏着对日常生机的温柔捕捉。",[23,164,24,7,28,27,61,62,1400,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd599ee4f684f536c226cf5017f764baa.jpg",[],{"id":48706,"slug":48707,"title":48708,"dynasty":18,"author":223,"museum":300,"description":48709,"tags":48710,"thumbUrl":48711,"material":84,"size":84,"collection":84,"collections":48712,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},227891,"shen-tang-qin-qu-tu-yi-ming-227891","深堂琴趣图","《宋扇面画深堂琴趣图》是宋代画家佚名创作的一幅绢本设色画。\n此画现藏于北京故宫博物馆。\n【文物原属】故宫旧藏 【简介】 绢本，设色，纵：2.6cm，横：24.9cm。\n本幅无款印。\n钤收藏印 “仪周珍藏”一方。\n远山一带，巨壑空茫。\n建筑用笔粗浑，轻刻画，重意境，形象概括，细部脱略简化而不失准确真实。\n整幅画面清新明净的情境赋予作为绘画主体的建筑含蓄而富于想象的空间依托，使之具有了诗一般和谐浑融的意境。\n此图画巨石、绿树环抱雅斋，朱梁绿柱的厅堂中，一白衣秀士端坐操琴，童子侍立一旁，平台上双鹤闻乐起舞，山间回荡着袅袅琴声，画面充满了文雅幽清的气息。\n《深堂琴趣图》，仅仅不盈尺幅的小纨扇，却能妙写建筑和琴声，境界布局非凡。\n从画中偏于左半一角的构局，也可体味马远“马一角”构图的情趣。\n从中甚至可以精微体验宋画中的庭院风水之妙。\n宋代人非常善于营造庭院空间，妙解风水构局，将人与绘画、建筑、庭院、山水自然融为一体，臻于华美典雅的艺术境界。\n这在宋诗、宋词和宋画中留有许多经典的范例。\n如从 的《 》中可以领略庭院四季风水之妙，那是山间水涯，芳草长堤边令人流连忘返的时空流转；而《深堂琴趣图》则是从另一个角度，表现庭院建筑与音乐，与山水之间妙契的又一杰作。\n建筑与音乐，在中国诗词中有许多经典迷人的篇章，但在绘画中表现，很不容易。\n音乐，求其意境，要有共鸣、幽远方妙。\n《深堂琴趣图》，以华堂独坐一人弹古琴，琴音发越，与环境融为一体，画出来了。\n深堂内置大屏风，窗牖俱紧关，而正门却大开，琴音反逼更传于堂外。\n门外山石对立，树木高耸掩映，留出大半天空，正好一条石铺甬道小径，接门由直而转折向右，石径上又正好有双鹤，其一白鹤闻琴音而起舞，可感受音乐之魅力。\n庭石上又有青松一株，遥承琴声，而成风如松。\n环境与音乐布局协和生发，绝无滞碍。\n主人弹琴，恰好面东，而门对南，空间方位甚为有序。\n如换其他任一方位，均与环境建筑内部空间不调，从而破坏全幅的空间气势，顿失音乐之美。\n设若弹琴者（主人）的方位是对着门南向坐，则气正好对冲；如背门北向坐，则琴声成死寂，更无悠扬的意味可说；如侧身向西坐，则又太塞太背，与画中大半天空相背，气局又成僵局。\n所以，只有画中所示的侧坐向东最为佳妙，否则都会破坏画中的音乐美，有妨气局琴音的流走。\n这些看似细微之处，正可见宋人对画中空间风水的深刻认知。\n画中的空间，虚实掩映，向背分合，无一闲笔，皆为音乐而生而设，都为气韵琴音所宜。\n可见《深堂琴趣图》虽小幅纨页，位置经营却极为空灵，空间境界妙造天地，琴韵幽深，上遏行云，其中风水之意境，流美千古。\n—— 著《 》",[23,24,7,164,1131,27,29,97,34,131,98,96,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd1ea677f5f541183dafad361e3563ed.jpg",[],{"id":48714,"slug":48715,"title":48716,"dynasty":18,"author":18655,"museum":300,"description":48717,"tags":48718,"thumbUrl":48719,"material":84,"size":84,"collection":84,"collections":48720,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},227749,"bi-shan-gan-yu-tu-zhao-bo-su-227749","碧山绀宇图","南宋 赵伯骕 碧山绀宇图绢本25.5x25\n\n赵伯骕,（一一二四至一一八二）字希远。伯驹弟。和州防御使。少从高宗于康邸，以文艺侍左右。善山水、人物，尤长于花鸟，傅染轻盈，颇有生意。界画亦精，尝绘姑苏天庆观样进呈，考宗书其上令依原样建造，即今之玄妙观。\n兄弟博涉书史，皆妙于丹青，以萧散高迈之气，见于毫素。尝论画以为写人物、动、植，画家颇能具其相貌，但吾辈胸次，自应有一种风规，神气悠然，韵味清远，不为物态所拘，便有佳处。况吾所存，无媚於世，而能合於丛情者，要在悟此。故二人以一圆墨，舒卷万象，俱受圣知。凡所落墨，皆缥囊玉轴为上方珍玩。卒年五十九。",[23,24,7,29,26,27,97,131,34,495,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa140c79a62d2d325e3c86c73ee3a47e.jpg",[],{"id":48722,"slug":48723,"title":48724,"dynasty":18,"author":7991,"museum":300,"description":48725,"tags":48726,"thumbUrl":48727,"material":84,"size":84,"collection":84,"collections":48728,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},227686,"liu-tang-mu-ma-tu-chen-ju-zhong-227686","柳塘牧马图","《柳塘牧马图》原载《历代名笔集胜册》第一册。签题陈居中作。耿昭忠题云：陈居中柳塘牧马图，虽纤细如绳，悉具乘风破浪之势。昔评云：“布景设色，不亚黄宗道。今观其气韵生动，精神物态，全形缣素间，即谓超佚前人，岂为过当。”这评赞是确当的。在小小的纨扇的面上，画着二十多个人，五十多匹马，而姿态活跃异常，那功力是深厚的。",[23,24,7,27,28,2372,32855,101,413,228,96,949,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece9ab741023d625ae0a528e2f8fb9c8.jpg",[],{"id":48730,"slug":48731,"title":48732,"dynasty":54,"author":1460,"museum":300,"description":48733,"tags":48734,"thumbUrl":48735,"material":84,"size":84,"collection":84,"collections":48736,"showCount":346,"zanCount":1998,"manualWeight":48,"mainColor":72},224510,"shan-shui-tu-ce-8-kai-1-zhang-da-qian-jiu-cang-shi-tao-224510","山水图册8开-1-张大千旧藏","淡墨晕染远山，恍如烟霭轻笼，望之渺渺。近前丘峦以枯笔焦墨皴擦勾勒，苍劲朴拙，自带厚重古意。坡岸寒林萧疏，枝桠错落淡写，空寂清寒之境跃然纸上。右侧三两茅舍依偎岩岫，隐于林木间，尽出世幽居之趣。\n书画相融，题诗佐景，朱红金石印章错落点缀，更添雅致。笔意纵恣又不失内敛，将山雨初歇后的微茫空濛铺陈开来，淡而弥厚，简而愈远，尽显静穆萧散的文人逸趣，把江南山野的幽淡之美，晕作悠然忘尘的林下诗意。",[23,164,24,7,59,128,132,29,1337,35,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93031ba8b540688941b476a31e5177ff.jpg",[],{"id":48738,"slug":48739,"title":47407,"dynasty":54,"author":3750,"museum":300,"description":23286,"tags":48740,"thumbUrl":48741,"material":692,"size":1293,"collection":84,"collections":48742,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},224482,"shan-shui-tu-shan-mian-wang-jian-224482",[23,24,7,1131,29,27,132,131,34,415,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a4553a79a1bb08b744bb24b9bf960af.jpg",[],{"id":48744,"slug":48745,"title":48746,"dynasty":54,"author":9529,"museum":300,"description":48747,"tags":48748,"thumbUrl":48749,"material":84,"size":84,"collection":84,"collections":48750,"showCount":346,"zanCount":1998,"manualWeight":48,"mainColor":72},224458,"hua-hui-shan-shui-he-ce-1-5-wang-hui-224458","花卉山水合册1-5","此作设色清妍明快，以石青石绿晕染山峦，柔缓晕开丘棱轮廓，晕出春日山景的温润鲜活。左上桃枝绽粉，点破春讯，飞泉沿幽谷蜿蜒而下，牵起山林灵动生机。一叶扁舟随波泛于烟水间，大片留白铺陈出空濛云水意境，尽现幽远之致。\n\n右侧题诗补全画中雅趣，笔致秀逸舒展，与山水景致相映成趣，将文人耽于林泉的悠然雅意融于尺幅之间。整幅淡冶雅致，既见青绿山水的明丽秀润，又有文人画的萧散意境，尽显春日山水的静穆清和。",[23,24,164,7,59,27,26,132,29,34,99,209,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05457a1878b4c600149d327541c4eeee.jpg",[],{"id":48752,"slug":48753,"title":48754,"dynasty":54,"author":9529,"museum":300,"description":48755,"tags":48756,"thumbUrl":48757,"material":84,"size":84,"collection":84,"collections":48758,"showCount":346,"zanCount":1116,"manualWeight":48,"mainColor":72},224457,"shan-chuang-du-shu-tu-zhou-wang-hui-224457","山窗读书图轴","《山窗读书图》是清代画家 创作的一幅纸本淡设色画。\n全图以高远法构图，白云、瀑布、楼阁穿插于重峦叠嶂的林木间，一派气象万千的苍郁景致。\n画幅的右下方绘有一人于山坞草堂内临窗读书，此景虽然在画幅中所占比例极小，却点明了“山窗读书”的主题，为山林景色增添了书卷气息。\n从落款可知此图系为恭祝友人王掞（字藻儒）寒窗苦读、秋试中举而作，带有浓郁的情感色彩。\n款署：“山窗读书图。\n奉贺藻儒先生秋荐之喜，时丙午九月九日，虞山王翚。\n”钤“王翚之印”朱白文印。\n“丙午”为康熙五年（1666年），王翚时年5岁。\n全图以元人王蒙细密繁复的笔法刻画，线条活而不乱，理在其中，浓、淡墨色于交叠皴擦中层次井然。\n此幅不失为王翚早年学仿王蒙画风的精心之作。",[23,24,7,165,128,132,29,663,495,99,98,331,130,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1307676e05c8337ec6ba011a5e291deb.jpg",[],{"id":48760,"slug":48761,"title":48762,"dynasty":54,"author":48763,"museum":3540,"description":48764,"tags":48765,"thumbUrl":48766,"material":1223,"size":48767,"collection":44,"collections":48768,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":199},224239,"lu-shan-guan-lian-shang-guan-zhou-224239","庐山观莲","上官周","此图是故事画，描绘东晋僧人慧远于庐山结社，与当时文人交往。左上题云：庐山远公开池种白莲，以十八人为社，社中陶渊明、谢灵运，一因无酒不至，一好游而长来。可见图中人物主要应是谢灵运、慧远。四人神态各异，而无不细致生动，十分传神",[23,24,7,27,96,81,304,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ce0ec4aab08c39ddc115eb46ffc536d.jpg","纵374厘米横25厘米",[44],{"id":48770,"slug":48771,"title":48772,"dynasty":54,"author":3403,"museum":300,"description":48773,"tags":48774,"thumbUrl":48775,"material":84,"size":84,"collection":84,"collections":48776,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},224210,"yun-shan-shui-tu-wu-chang-shuo-224210","云山水图","以篆籀笔法入山水，阔笔泼墨点染远山苍莽朴拙，山居错落隐于林麓，野意横生。留白写江面悠悠，一叶扁舟随波，铺展出空寂淡远的烟江暮色。近岸老木虬曲、修竹横斜，用笔纵老苍劲，干湿浓淡的水墨交织晕染。\n题诗与画境相融，将暮山寻幽的闲逸心境诉诸笔端，突破柔隽山水的陈格，以写意风骨绘就晚秋江南萧疏淡远之致，笔墨间金石气裹挟着文人雅趣，简淡中见雄浑大气，尽显诗画合璧的文人风神。",[23,164,24,7,25,128,29,132,413,1337,1314,33,99,415,276,14561],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99b3ba3916d6e873f7fe5bd0cbbb0434.jpg",[],{"id":48778,"slug":48779,"title":48780,"dynasty":144,"author":223,"museum":300,"description":48781,"tags":48782,"thumbUrl":48783,"material":84,"size":84,"collection":84,"collections":48784,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},223624,"cao-chong-tu-zhu-ye-juan-ben-yi-ming-223624","草虫图竹叶绢本","画面错落铺陈野趣生机，上方疏枝斜探，中段群芳舒展。明黄蜀葵柔丽妍秀，紫花秾艳、朱英点点，深浅花色交映成趣。粉蝶蹁跹、蜉蝣轻翔，草虫灵动如生，隐于枝叶花间。\n\n落笔工细秀逸，晕染雅致沉静，深褐绢底托衬出花木清妍，将初秋郊野的幽寂鲜活晕染开来。工致中带着写意澹远，把小景生机藏于古雅色调，静中含动，尽显写生花鸟的含蓄雅致，淡冶清和之间，古韵悠然流转，将草木虫豸之微末意趣，铺展成耐人品味的幽闲景致。",[23,24,164,7,151,27,28,480,5239,62,481,608,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ed08f0802a9845b116d1f8c75cdf940.jpg",[],{"id":48786,"slug":48787,"title":48788,"dynasty":18,"author":223,"museum":300,"description":48789,"tags":48790,"thumbUrl":48792,"material":84,"size":84,"collection":84,"collections":48793,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},223594,"bai-zi-xi-chun-tu-ye-yi-ming-223594","百子嬉春图页","团扇之上，戏台喧嚷，满卷皆是稚子嬉游的鲜活意趣。画中孩童攒聚戏台周遭，台下人头攒动，有的踮脚引颈叫好，有的相互挤闹，更有孩童攀附围栏、扒着楼栏，翘首往戏台望去。雅座里的小观众们或凭栏专注，或交头接耳。\n衣纹勾勒细腻柔婉，设色古雅沉静，将巷陌春日观戏盛景铺陈开来，把稚子们的灵动与市井烟火的融融暖意凝聚在尺幅之间，仿佛能听见戏台丝竹与孩童嬉闹声交织，尽显古早世俗生活的鲜活温情。",[23,24,7,4437,27,28,96,97,133,208,48791],"百子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbe8cd4ad68a694628c1a2e22f6adec2.jpg",[],{"id":48795,"slug":48796,"title":48797,"dynasty":18,"author":223,"museum":12686,"description":48798,"tags":48799,"thumbUrl":48801,"material":514,"size":48802,"collection":84,"collections":48803,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},223550,"yu-ying-tu-yi-ming-223550","浴婴图","图绘婴儿洗澡场景。画面共三个妇人，四个小孩，当中摆一长形浴盆。画面设色淡雅明快，气氛温馨和谐，妇人的神情慈祥、婴儿的天真无邪，无不充满了浓郁的人情和现实意义",[23,24,7,1326,28,27,96,19217,48800,1367,208],"浴盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1adebda59fef40ba30b6d41a58cc6f31.jpg","纵35.8厘米，横35.9厘米",[],{"id":48805,"slug":48806,"title":20701,"dynasty":54,"author":1219,"museum":300,"description":1220,"tags":48807,"thumbUrl":48808,"material":1722,"size":84,"collection":84,"collections":48809,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},223224,"ren-wu-tu-ren-yi-223224",[23,24,7,165,27,28,369,96,722,101,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17c3e45ff9f24ce1bd3ad16f2db5cf27.jpg",[],{"id":48811,"slug":48812,"title":48813,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":48814,"thumbUrl":48820,"material":151,"size":7879,"collection":84,"collections":48821,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},223049,"hong-lou-meng-174-sun-wen-223049","红楼梦174",[23,24,7,28,27,96,97,247,34,251,10886,170,997,45023,8347,41970,7345,48815,15551,3490,48816,41805,48817,48818,48819],"植物景观","中式庭院","建筑细节","器物陈列","花木点缀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88fad2c2f3af8a63a17937234540e5be.jpg",[],{"id":48823,"slug":48824,"title":48825,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":48826,"thumbUrl":48828,"material":151,"size":7879,"collection":84,"collections":48829,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},223036,"hong-lou-meng-161-sun-wen-223036","红楼梦161",[23,24,28,27,7,96,166,997,48827,130,131,99,875,1428,30437,247],"楼台亭阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcab8469eabf055dc70312e1a4e6fabb3.jpg",[],{"id":48831,"slug":48832,"title":48833,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":48834,"thumbUrl":48836,"material":151,"size":7879,"collection":84,"collections":48837,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},223025,"hong-lou-meng-150-sun-wen-223025","红楼梦150",[23,24,7,25,27,28,96,997,97,8565,48835,2145,45250,62],"红楼故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6648d89f3633663c83d3317a0b227995.jpg",[],{"id":48839,"slug":48840,"title":48841,"dynasty":54,"author":523,"museum":20,"description":43920,"tags":48842,"thumbUrl":48843,"material":40,"size":43923,"collection":84,"collections":48844,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},222870,"shi-gong-ci-tu-ce-09-leng-mei-222870","十宫词图册09",[23,24,7,59,64,133,27,28,96,97,130,247,170,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce0cfacbb125c73cfee62496604deddc.jpg",[],{"id":48846,"slug":48847,"title":48848,"dynasty":54,"author":21575,"museum":20,"description":48849,"tags":48850,"thumbUrl":48854,"material":40,"size":48855,"collection":84,"collections":48856,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},222826,"tu-er-hu-te-bai-ying-tu-zhou-ai-qi-meng-222826","土尔扈特白鹰图轴","绘红木金顶屏风架上白鹰一只，圆眼有神，身形矫健，张开的翅膀欲似高飞。艾启蒙，字醒庵，生于波西米亚，天主教耶稣会传教士，师从郎世宁，工人物、走兽、翎毛，与郎世宁、王致诚、安德义合称四洋画家。 ​",[23,24,7,165,304,28,27,24468,48851,48852,32826,48853],"鹰架","石狮","装饰构件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3513681b60d7018e14ce71f45ccd4031.jpg","64x40cm",[],{"id":48858,"slug":48859,"title":48860,"dynasty":54,"author":675,"museum":244,"description":6993,"tags":48861,"thumbUrl":48862,"material":1223,"size":23865,"collection":136,"collections":48863,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},222695,"hua-jie-shan-zhai-tu-zhou-qian-wei-cheng-222695","画借山斋图轴",[23,24,7,165,29,132,27,663,228,34,35,499,415,208,131,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8d4bfa5c29a8ba7cf79a8b52cded174.jpg",[136,45],{"id":48865,"slug":48866,"title":48867,"dynasty":124,"author":27440,"museum":524,"description":48868,"tags":48869,"thumbUrl":48870,"material":611,"size":48871,"collection":318,"collections":48872,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},222534,"wang-wu-tu-bing-shi-juan-wang-duo-222534","王屋图并诗卷","此卷草书用墨苍润，行笔峻爽遒劲，布白参差错落，纵逸之中含有稳健，沉郁之中富有灵性，从中可以看出他集数十年的功力，融会“二王”、李北海、颜真卿、怀素、黄庭坚、米芾、赵孟俯于一炉的化境。可谓是“风樯阵马，笔走龙蛇”，后人鲜有至者。",[23,25,7,133,840,64,128,29,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47ba62362da41f16cf87df548bbc578c.jpg","纵29.9厘米，横639.8厘米",[318],{"id":48874,"slug":48875,"title":48876,"dynasty":124,"author":9650,"museum":56,"description":9651,"tags":48877,"thumbUrl":48878,"material":84,"size":84,"collection":84,"collections":48879,"showCount":346,"zanCount":1998,"manualWeight":48,"mainColor":72},222517,"shen-xian-tu-ce-6-zhang-lu-222517","神仙图册6",[23,164,24,7,59,128,188,96,13695],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccd335e2d1ed4bc96ae99305478e6322.jpg",[],{"id":48881,"slug":48882,"title":48883,"dynasty":124,"author":9650,"museum":56,"description":9651,"tags":48884,"thumbUrl":48885,"material":84,"size":84,"collection":84,"collections":48886,"showCount":346,"zanCount":1998,"manualWeight":48,"mainColor":72},222512,"shen-xian-tu-ce-18-zhang-lu-222512","神仙图册18",[23,24,7,59,188,128,96,187,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F557df45321eb26ba2815088ee1331857.jpg",[],{"id":48888,"slug":48889,"title":48890,"dynasty":124,"author":9650,"museum":56,"description":9651,"tags":48891,"thumbUrl":48892,"material":84,"size":84,"collection":84,"collections":48893,"showCount":346,"zanCount":1998,"manualWeight":48,"mainColor":72},222510,"shen-xian-tu-ce-16-zhang-lu-222510","神仙图册16",[23,24,7,59,128,27,96,949,171,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F340c19a73646ea3d6a0139ee88b385e9.jpg",[],{"id":48895,"slug":48896,"title":48897,"dynasty":124,"author":3608,"museum":244,"description":48898,"tags":48899,"thumbUrl":48901,"material":1223,"size":48902,"collection":84,"collections":48903,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},222176,"han-jiang-diao-ting-zhou-lu-zhi-222176","寒江钓艇轴","陆治（1496－1576），字叔平，明代画家。吴县（今江苏苏州）人，因居包山，自号包山。倜傥嗜义，以孝友称。\n陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[23,164,24,7,165,27,28,5984,129,1350,1337,276,1813,96,48900],"钓线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe21dd60fea833be1aafb87910d35216.jpg","65.7x36.6厘米",[],{"id":48905,"slug":48906,"title":48907,"dynasty":124,"author":802,"museum":161,"description":11485,"tags":48908,"thumbUrl":48909,"material":59,"size":84,"collection":84,"collections":48910,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},221909,"hua-niao-jing-pin-ce-6-chen-hong-shou-221909","花鸟精品册6",[24,7,59,28,27,61,168,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc66146c1045f625aec5f5945b35a13a8.jpg",[],{"id":48912,"slug":48913,"title":48914,"dynasty":144,"author":223,"museum":11466,"description":48915,"tags":48916,"thumbUrl":48917,"material":151,"size":48918,"collection":84,"collections":48919,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},221783,"yuan-zhi-shuang-xi-tu-zhou-yi-ming-221783","元织双喜图轴","作品描绘出深秋时节，寒风萧瑟，枯木衰草，落叶调零，呈现出一派秋风肃杀的冷峭凄凉景象。整幅画面当中两只灰喜鹊之间，灰喜鹊与野兔之间，鸟、兽与自然环境之间，刻画的生动自然，情景交融，充分的表现出它们之间相互呼应的关系。 画中各物在作者的笔下蠢蠢欲动，大得自然野趣。",[23,24,7,164,165,28,27,61,371,167,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cce390d80d63a2be5939789f644197c.jpg","78x40.4",[],{"id":48921,"slug":48922,"title":48923,"dynasty":144,"author":48924,"museum":510,"description":48925,"tags":48926,"thumbUrl":48927,"material":734,"size":48928,"collection":84,"collections":48929,"showCount":346,"zanCount":1998,"manualWeight":48,"mainColor":72},221763,"liu-ting-ju-qin-tu-xia-shu-wen-221763","柳汀聚禽图","夏叔文","淡墨简笔，画一水两岸，柳树柔枝万条，喜鹊，山雉、绶带，翠鸟等或栖憩枝头，或戏游水中； 近处飞禽正落地争觅夺食，远处又有三三两两翔集而来。\n一湾秀水荡起微波，两岸丛葭翩跹飘曳，一派春风杨柳，水暖鸭知的更新景象跃然纸上。\n诗堂清陈舒行书诗题： “柳渚芜沙潮欲平，虞罗不到任咿嘤，鹭丝风定银缾冷，山爵春晖锦翘明，”署“拙民陈原舒观题”，旁钤“原舒”朱文方印，“陈舒之印”白文方印。\n诗堂左上钤“陆树声鉴赏章”白文长方印，下钤刘恕“花步刘氏家藏”朱文长方印。\n作者夏叔文，字号不清，生卒年不详。\n据所钤印记，仅知其为丰城人氏。\n清陆心源所著《穰梨馆过眼录》卷五将本幅编入宋画之中，在南宋人马 远和钱舜举之间，知夏叔文可能为宋末元初人。\n夏叔文作品至今尚无另件发现，本幅作品为夏氏传氏孤品，甚为可贵。\n曾经清刘恕，陆树声递藏。",[23,24,7,164,165,128,27,1400,4363,211,12744,171,2438,7446,29,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf910dc1c933ad3c68f07c6ebf4ecd3d.jpg","画心纵128，横66.5厘米",[],{"id":48931,"slug":48932,"title":48933,"dynasty":144,"author":4034,"museum":20,"description":48934,"tags":48935,"thumbUrl":48936,"material":611,"size":48937,"collection":84,"collections":48938,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},221751,"san-xia-qu-tang-tu-ye-sheng-mao-221751","三峡瞿塘图页","瞿塘峡的名胜古迹，多而又集中，游览者称便。此画为元代画家盛懋所作，其早年并得画家陈琳指点，画山石多用披麻皴或解索皴，笔法精整，设色明丽。",[23,24,7,59,29,128,27,129,11998,34,131,37,415,31,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b234dc745f130418cd0edc13a5a06d2.jpg","78X69厘米",[],{"id":48940,"slug":48941,"title":48942,"dynasty":144,"author":32219,"museum":244,"description":48943,"tags":48944,"thumbUrl":48945,"material":840,"size":28252,"collection":84,"collections":48946,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},221687,"lun-zhang-xu-huai-su-gao-xian-xian-yu-shu-221687","论张旭怀素高闲","与赵孟頫同时期的鲜于枢（公元1256—— 1301年），是元代另一位有影响的大书法家。他的书法主要取法唐人，长于楷、行、草各体。赵孟頫曾说：“尝与伯机（鲜于枢字）同学草书，伯机过余甚远，极力追之而不能及。伯机已矣，世乃称仆能书，所谓无佛处称尊耳。”赵孟頫与鲜于枢交往很深，鲜于枢早逝，赵孟頫对他的草书特加赞颂，不是言不由衷，而是符合事实的。鲜于枢的草书，不像赵孟頫那样谨遵二王，而是更多地继承了唐代张旭、怀素的癫狂气势。他的草书墨迹《论张旭怀素高闲草书帖》，文为：“张长史、怀素、高闲皆各善草书。长史颠逸，时出法度之外；怀素守法，特多古意；高闲用笔……粗十得六七耳。至山谷乃大坏，不可复理。”他在此帖不但盛赞张旭、怀素，而且笔法也酷似怀素《自叙帖》。至于对黄庭坚的贬抑，固然反映了元人尊唐卑宋的心理，但以同是学怀素的两个人相比，鲜于枢自己觉得比黄庭坚学得好，也是他小看黄庭坚的一个原因。",[64,840,4057,208,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32ba66bb5c8c28fea5285ddd0a16f398.jpg",[],{"id":48948,"slug":48949,"title":48950,"dynasty":18,"author":1622,"museum":244,"description":48951,"tags":48952,"thumbUrl":48953,"material":514,"size":48954,"collection":84,"collections":48955,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},221526,"song-quan-shuang-niao-ma-yuan-221526","松泉双鸟","画士人执拂尘坐于松根，溪涧泉石环绕于前，双鹊低飞饮啄，生意盎然。水色烟岚气氛，画面留出空白，表现旷阔之空间及浓郁诗意。人物衣纹细笔勾勒，松石简笔浅触。以斧劈皴表现坚石挺劲，松树枝枒笔势斜偃劲疾，有如屈铁，故有拖枝马远之称。",[23,24,7,128,27,29,1144,211,171,11134,132,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31ef069753d13621bc1dbd599e4da8c.jpg","41.5x60厘米",[],{"id":48957,"slug":48958,"title":48959,"dynasty":18,"author":1622,"museum":20,"description":48960,"tags":48961,"thumbUrl":48962,"material":3785,"size":48963,"collection":84,"collections":48964,"showCount":346,"zanCount":1998,"manualWeight":48,"mainColor":49},221517,"han-shan-zi-tu-ma-yuan-221517","寒山子图","马远擅山水、花鸟、人物，其山水师法李唐，多画江浙山水，树木杂卉多用夹笔，用大斧劈皴带水墨画山石，方硬严整；构图取自然山水之一角，山峦雄奇峭拔，或峭峰直上而不见顶，或绝壁直下而不见其脚，或近山参天而远山则低，或孤舟泛月而一人独坐。马远艺术上克承家学而超过了他的先辈，他继承并发展了李唐的画风，以拖技的多姿形态画梅树，尤善于在章法大胆取舍剪裁，描绘山之一角水之一涯的局部，画面上留出大幅空白以突出景观。",[23,164,24,7,1846,188,128,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe92de5fcd660f91864765bf62958c6c1.jpg","49x53",[],{"id":48966,"slug":48967,"title":48968,"dynasty":18,"author":313,"museum":300,"description":48969,"tags":48970,"thumbUrl":48971,"material":611,"size":48972,"collection":318,"collections":48973,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},221280,"wei-qing-dao-ren-tie-ye-huang-ting-jian-221280","惟清道人帖页","《惟清道人帖》中作者记录了惟清道人的操行品质及其与张商英（天觉）的交往。黄庭坚于北宋绍圣元年（1094年）在江西分宁，从帖文分析，此帖当书于其年夏日，时年51岁。帖中所提之惟清道人在《嘉泰录》卷六中有所记载，俗姓陈，南州武宁（在江西）人，为江西隆兴府黄龙寺禅师，北宋政和七年（1117年）卒。\n此帖行书行间宽绰而字间紧密，所以笔画多取横势，结体欹侧，左低右高，有峭拔之态，充分体现了黄庭坚小行书的特点，为其代表作品。\n此帖为清宫旧藏，收在《法书大观册》内。乾隆帝题赞“凌冬老干偃蹇岩壑”（《三希堂法帖》卷十三可见），后此赞墨迹及清内府藏印被挖去。\n著录于《妮古录》卷四、《平生壮观》卷二、《墨缘汇观》法书卷上。",[23,7,64,133,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd4c125c7929f0a4b3662a02431c4c44.jpg","纵29.3厘米，横31.8厘米",[318],{"id":48975,"slug":48976,"title":48977,"dynasty":124,"author":2268,"museum":20,"description":48978,"tags":48979,"thumbUrl":48980,"material":133,"size":48981,"collection":318,"collections":48982,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},220928,"bai-yu-shan-fu-zhou-dong-qi-chang-220928","白羽扇赋轴","唐代诗人及宰相张九龄，受朝中权臣排挤，因玄宗赐白羽扇，作赋以明志，含有明哲保身的涵义。《白羽扇赋》写于壬申（1632年）秋，董其昌已经七十八岁高龄，仍然不失一贯的秀逸畅快的节奏，令人觉得余韵无穷。",[164,24,7,64,165,133,128,611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F422a77cdfa4eff9dc9e298726c2f5e1d.jpg","136.5X60.2cm",[318],{"id":48984,"slug":48985,"title":48986,"dynasty":124,"author":223,"museum":2542,"description":48987,"tags":48988,"thumbUrl":48989,"material":317,"size":84,"collection":136,"collections":48990,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},219897,"jun-ling-tu-yi-ming-219897","峻岭图","危峰拔地直插烟岚，苔痕皴染崖壁，凭添苍古荒寒之意。山巅与幽谷间云气漫漶，虚实相生衬出峰峦巍峨雄浑。下方虬松横斜出枝，蟠曲如游龙，苍劲松针攒簇，尽现山野老松的疏狂之姿。\n\n山麓茅亭敞轩，高士偃卧假寐，篱舍隐于浅渚林泉间，枯木荒坡错落排布，淡墨晕染出空寂萧散的汀岸野趣。全作用笔兼具勾勒皴擦，水墨干湿浓淡层叠铺陈，将山水的宏阔与林下幽居的静穆相融，尽显林泉高致的隐逸意趣，于尺幅间铺展出文人心底旷远高逸的林下襟怀。",[24,7,165,128,29,1144,131,34,758,96,130,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaeb6304a00605300597860cc5dd69c6.jpg",[136],{"id":48992,"slug":48993,"title":48994,"dynasty":124,"author":1058,"museum":20,"description":48995,"tags":48996,"thumbUrl":48997,"material":278,"size":48998,"collection":68,"collections":48999,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},219627,"feng-mu-tu-tang-yin-219627","风木图","画面中央，唐寅以水墨画出两株枯木，依稀可见随风摇曳之姿。树间一人身靠蒲墩，以袖掩面，似是触景伤情，悲痛不已。笔法纯熟，人物简练，却余韵无穷。古人云，画为心声，唐寅年轻时亦遭遇丧乱，风木之思自然流露笔端。\n此幅构图简洁，寥寥数笔，便迅速将读者带入画中人的内心世界，产生情感的共鸣，陷入悲伤苍凉的氛围之中。诗、书、画、印结合巧妙，图文并茂，以景传情，展现出文人画的悲怆之美。在众多描绘秋景的绘画中独树一帜，实乃不朽佳作。",[23,24,7,25,128,27,413,133,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce0b76420cef1b27b31d3d541920360f.jpg","纵108cm，横28.5cm",[68],{"id":49001,"slug":49002,"title":49003,"dynasty":54,"author":1460,"museum":1941,"description":49004,"tags":49005,"thumbUrl":49006,"material":66,"size":84,"collection":44,"collections":49007,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},219483,"zi-hua-zhong-song-tu-shi-tao-219483","自画种松图","画中，作者踞坐嶙峋危石，青衫素朴，倚杖凝神静思，神色萧散淡然，尽显林下高士俊逸风骨。旁侧老松虬枝斜逸，笔墨清简苍秀，寥寥数笔便写尽古松疏朗之姿。\n\n整幅作品书画相融，满幅题跋错落排布，以画为引、以诗言志，借种松寄寓守拙向道的山林幽怀。笔意简淡清逸，意境空灵淡远，将自身超尘出世的襟怀藏在淡远笔墨间，文气与画意浑然相合，尽显文人写意画的精神内核，清寂幽远的意韵直入人心。",[24,7,128,64,96,171,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94c91da8d2c1f4034f3f690a6c1284bf.jpg",[44],{"id":49009,"slug":49010,"title":49011,"dynasty":124,"author":33809,"museum":244,"description":49012,"tags":49013,"thumbUrl":49014,"material":611,"size":49015,"collection":136,"collections":49016,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},219466,"shan-cai-ding-li-tu-xiang-yuan-bian-219466","善才顶礼图","项元汴（西元一五二五－一五九0年）字子京，别字墨林居士，为江南的大收藏家，家藏既多，薰习之久，亦能自运。其山水学元黄公望、倪瓒，尤醉心于倪，得其胜趣。此幅画松石崖瀑，用笔秀劲流畅，构景命意皆静穆之甚。善才童子向空顶礼，取势生动，似见仇英风范。虽云画佛，仍是山水画格局。右下有其孙项圣谟之题识「天童弟子通变天籁阁孙男圣谟。壬辰（一六五二）中秋日拜题」。",[24,7,165,128,29,96,131,34,31,1144,37,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fadde91c721a075251422a51b21041e.jpg","130x30.5",[136],{"id":49018,"slug":49019,"title":49020,"dynasty":54,"author":25439,"museum":244,"description":49021,"tags":49022,"thumbUrl":49023,"material":66,"size":49024,"collection":136,"collections":49025,"showCount":346,"zanCount":1998,"manualWeight":48,"mainColor":49},219431,"fan-cheng-da-mai-chi-dai-ci-tu-cao-kui-yin-219431","范成大卖痴呆词图","这幅画是范成达农历十二月村田乐府诗中关于卖痴呆症的诗。 苏州风俗，孩子怕自己痴呆，所以想卖“痴呆”。 于是跨年夜过后，孩子们在街上游行，大喊大叫卖痴呆症。",[24,7,165,27,29,96,97,1337,35,131,130,208,28,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe24ffa84bd65559c421b643f58bad25.jpg","纵113横28.7厘米",[136,44],{"id":49027,"slug":49028,"title":49029,"dynasty":144,"author":7095,"museum":2488,"description":49030,"tags":49031,"thumbUrl":49032,"material":173,"size":84,"collection":44,"collections":49033,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},219394,"qiu-lin-du-qi-tu-zhao-yong-219394","秋林独骑图","赵雍，字仲穆，湖州人。赵孟頫次子。官至集贤待制、同知湖州路总管府事。书画承家学，擅山水，师法董源；尤精人马，得曹霸、韩幹法；兰竹则腴润洒落。书善正、行、草、篆，体势清劲。",[24,7,1131,27,29,96,101,2875,34,131,690,64,208,133,28,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82362cf51743c1d61b49e21bf59d4c8.jpg",[44],{"id":49035,"slug":49036,"title":49037,"dynasty":124,"author":1141,"museum":244,"description":49038,"tags":49039,"thumbUrl":49040,"material":173,"size":84,"collection":44,"collections":49041,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},219364,"mo-li-gong-lin-lian-she-tu-wen-zheng-ming-219364","摹李公麟莲社图","本幅画莲社十八贤士图，按晋时慧远高僧，于庐山建立白莲社，聚众百二十三人，修念佛学，时陶潜辞官居栗里，慧远致书陶潜，邀请参加，陶潜答曰：“许我酒就来。”慧远答应。陶潜每来社中，或时才至，不久即攒眉而去。幅中乘篮舆者即是陶潜。幅中设色，用笔均去文仇水准颇远，为后世托名。",[24,7,330,27,96,29,34,101,64,208,97,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e13b06d2397288d1823e0ca8f2b717b.jpg",[44],{"id":49043,"slug":49044,"title":49045,"dynasty":124,"author":223,"museum":20,"description":49046,"tags":49047,"thumbUrl":49049,"material":173,"size":84,"collection":44,"collections":49050,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},219294,"mu-niu-du-shu-tu-yi-ming-219294","牧牛读书图","柳丝如缕，垂落于苍劲的老干间，墨色线条似有若无，牵起几分空濛诗意。牧人身着宽袍，缓步随牛而行，衣袂在微风中轻摆，简淡笔触勾勒出闲适姿态。牛儿低首，肌理以淡墨晕染，温顺得似与主人心意相通。田埂草色稀疏，却衬得天地愈发宁静。画面无喧嚣，只有自然与人物的和谐相融——是牧歌里的悠然，还是文人笔下的田园逸趣？淡墨浅染间，时光仿佛慢了下来，每处线条都藏着对尘世之外的向往，让观者沉下心，品味这片刻清宁。",[23,24,7,165,128,27,96,102,4363,331,171,6640,49048],"牧牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6eb5b132178a7cac92aa8154cb10fdd.jpg",[44],{"id":49052,"slug":49053,"title":49054,"dynasty":124,"author":14724,"museum":244,"description":49055,"tags":49056,"thumbUrl":49057,"material":128,"size":49058,"collection":136,"collections":49059,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},219293,"shan-shui-ji-jing-ce-yuan-shan-shui-cao-zhi-bai-219293","山水集景册-元山水","曹知白（西元一二七二—一三五五年），华亭（今江苏上海）人。字又玄，号云西。至元（一三三五—一三四○年）间，为昆山教谕。善画山水，师法郭熙。水墨画虬松双株并立于前，树枝往下伸张如蟹爪状，是典型李郭派画法。茅屋层基而起，流水下泻于旁，淙淙有声，窗间有人仰谛，鹤步松阴，一派闲散之意。全图之山石树木，用墨浓淡相间，饰以苔点，疏林深秀，天真平淡。",[24,7,128,59,132,29,131,34,331,99,1233],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86004cc62cb48c9f04a95ff719be5e31.jpg","68.1x34.3",[136],{"id":49061,"slug":49062,"title":49063,"dynasty":144,"author":49064,"museum":161,"description":49065,"tags":49066,"thumbUrl":49069,"material":173,"size":84,"collection":45,"collections":49070,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":956},219242,"han-lin-ji-xue-tu-chao-xian-jin-zhi-219242","寒林霁雪图","朝鲜·金禔","雪裹层岩，寒林疏枝横斜，墨色皴擦间晕开雪后空濛。左侧屋舍隐于林麓，似藏暖意；远岫如黛横陈，天际淡远，水面孤舟轻泛，更添清寂。笔意简淡却见深致，绢素上留白与墨韵交织，凝住霁雪后的清冷静谧——风过寒枝的微吟，雪落远山的轻响，仿佛都在这山水间流转，尽显空远之趣与隐者般的安然。每一处线条都藏着细腻心思，将雪霁后的天地凝作一幅清绝画卷，让观者沉湎于这份独有的静谧与悠远。",[23,164,24,7,29,128,132,20038,1557,6790,387,12424,129,49067,30060,20575,49068],"雪霁","悠远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2991e912331c63c1479894bce4fc0cd.jpg",[45],{"id":49072,"slug":49073,"title":49074,"dynasty":18,"author":223,"museum":77,"description":49075,"tags":49076,"thumbUrl":49078,"material":173,"size":49079,"collection":68,"collections":49080,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},218991,"han-yan-san-yang-tu-yi-ming-218991","寒岩三羊图","岩岫皴染如铁，苔点零星似星落于褐赭石色的肌理间，透出山野的苍劲冷寂。三羊错落其间：一羊俯首啮草，绒毛晕染得蓬松如团雪；一羊侧耳伫立，黑花斑纹在素白间点染出灵动；还有一羊昂首望岫，姿态憨拙却藏着对山风的敏感。宋人的笔致总在写实里藏着诗意——寒岩的嶙峋与生灵的温煦相映，没有喧嚣，只有草叶被啮动的轻响、山风掠过岩缝的微吟，静静淌出山野间的清寂与安然。笔墨细腻处见真意，连羊蹄踏过石径的细碎感，都似能透过纸背触到，将自然的生机与静谧揉成一幅耐人寻味的画卷。",[23,24,7,164,59,28,27,949,6300,497,49077],"寒景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F436b6eb6d7d9e88456730a606e3e6f2c.jpg","24.8x21.8cm",[68],{"id":49082,"slug":49083,"title":49084,"dynasty":18,"author":223,"museum":244,"description":49085,"tags":49086,"thumbUrl":49088,"material":173,"size":49089,"collection":42,"collections":49090,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},218848,"qiu-shan-gu-du-tu-yi-ming-218848","秋山古渡图","这幅画描绘了一连串的山脉，右边的巨石高耸入云，岩石下隐约可见几间小屋，一只狗跑来迎接它的主人，而隐士一定是从峡谷中搜索回来的。这幅画是郭熙的研究，充满了兴趣。",[23,164,24,7,1131,29,132,128,8222,49087,99,129,131,34],"古渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4b2090c0a9578d59578b77ac40979c0.jpg","24.1x23.5",[42],{"id":49092,"slug":49093,"title":49094,"dynasty":18,"author":223,"museum":244,"description":49095,"tags":49096,"thumbUrl":49097,"material":173,"size":49098,"collection":136,"collections":49099,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},218705,"xue-xi-gu-si-tu-yi-ming-218705","雪溪古寺图","这幅画描绘了一个山村和一座耸立在深雪中的山谷中的古寺，一个骑驴的和尚与一个拿着雨伞的仆人一起走在雪地里。这幅画的尺寸很小，是郭熙风格的典范，画中的小屋和小刺沏是程式化的，可能是元明时期的作品。",[23,24,7,128,132,29,1556,31088,131,34,499,758,1813],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4b70cfa37a2e0c165015de0b7e5d2a2.jpg","24.5x25",[136],{"id":49101,"slug":49102,"title":49103,"dynasty":124,"author":3559,"museum":20,"description":49104,"tags":49105,"thumbUrl":49106,"material":278,"size":49107,"collection":44,"collections":49108,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},218519,"shao-yong-xiang-tu-du-jin-218519","邵雍像图","画面中的邵雍，身材高大，气质飘逸，身穿儒雅的衣服，头上戴着头巾，腰间系着宽大的腰带，手中拿着翎子，身穿宽大的外套和大袖子，衣带飘飘，目光炯炯，举止优雅而从容。",[23,24,7,188,128,96,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34a21dcb547c24d1a23af186df58829c.jpg","67.3x27.4",[44],{"id":49110,"slug":49111,"title":49112,"dynasty":18,"author":2099,"museum":300,"description":37919,"tags":49113,"thumbUrl":49116,"material":278,"size":84,"collection":84,"collections":49117,"showCount":346,"zanCount":1998,"manualWeight":48,"mainColor":72},218110,"bai-miao-ren-wu-tu-ce-3-li-gong-lin-218110","白描人物图册-3",[23,24,7,59,188,96,187,7220,49114,49115],"台座","蒲团","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd78354d7633afa33de473a6d942db459.jpg",[],{"id":49119,"slug":49120,"title":49121,"dynasty":18,"author":2099,"museum":77,"description":6227,"tags":49122,"thumbUrl":49123,"material":151,"size":84,"collection":84,"collections":49124,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},218085,"luo-han-tu-ce-3-li-gong-lin-218085","罗汉图册-3",[23,24,7,59,188,128,187,96,331,1233,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17c47d81aa18fa9c5185bb0398eef3e7.jpg",[],{"id":49126,"slug":49127,"title":49128,"dynasty":54,"author":2653,"museum":244,"description":49129,"tags":49130,"thumbUrl":49135,"material":66,"size":84,"collection":84,"collections":49136,"showCount":346,"zanCount":1998,"manualWeight":48,"mainColor":72},218042,"tian-wang-xiang-2-yao-wen-han-218042","天王像-2","画面中央，蓝面天王怒目圆睁，身覆华彩甲胄，火焰纹背光如烈焰腾跃，手持长剑破云而出，气势赫赫镇慑四方。衣袂飘带以青蓝、绛紫交织，流转间似有风动；周身祥云缭绕，山石皴染细腻，树木葱茏添了几分生机。下方小鬼姿态灵动，与天王的威严形成对比，却又暗合护法之意。设色浓艳而不失雅致，线条工细兼具力道，既承传统宗教画的庄严法度，又融清代宫廷绘画的精致华美，将护法神祇的刚猛与画作的细腻韵致完美相融，观之令人屏息。",[24,7,187,6318,27,28,34929,49131,189,131,34,49132,49133,49134,208],"小鬼","长剑","甲胄","护法神祇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd3fc9b875da533c0dde2f6bb2515557.jpg",[],{"id":49138,"slug":49139,"title":49140,"dynasty":124,"author":223,"museum":450,"description":3365,"tags":49141,"thumbUrl":49142,"material":66,"size":84,"collection":84,"collections":49143,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},217941,"ming-ren-shan-shui-hua-ce-zhi-shi-yi-ming-217941","明人山水画册之(十)",[24,7,59,188,128,29,1144,171,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe642084064b9a9dd6b35437b724efcfc.jpg",[],{"id":49145,"slug":49146,"title":49147,"dynasty":182,"author":223,"museum":2607,"description":49148,"tags":49149,"thumbUrl":49150,"material":27,"size":84,"collection":84,"collections":49151,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},217905,"guan-yin-jing-bian-tu-juan-2-yi-ming-217905","观音经变图卷-2","笔墨勾勒出鲜活的人物群像，或揖让互动，或策马扬尘，或端坐沉思，动静之间尽展人间百态与神佛救度的张力。旁边的墨书经文与图像交织，让信仰的温度通过绢素缓缓流淌。虽经岁月浸染，色彩依旧含蓄饱满，线条的劲道藏在柔和的晕染中，尽显经变画以图释经的独特魅力——用视觉语言将抽象慈悲化为可感的人间故事，每一笔线条都承载着对善的期许，让古老的信仰在绢页间依然鲜活。那些生动的场景仿佛跨越时光，把善念的力量悄悄传递给每一个凝视它的人。",[24,7,25,187,27,96,28,101,7322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9761e127461798aac484573a63f00097.jpg",[],{"id":49153,"slug":49154,"title":49155,"dynasty":182,"author":223,"museum":2607,"description":49156,"tags":49157,"thumbUrl":49158,"material":2611,"size":84,"collection":84,"collections":49159,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},217280,"jiang-mo-bian-dun-huang-tu-juan-7-yi-ming-217280","降魔变·敦煌图卷-7","长卷舒展如流动的经卷，将佛教降魔的奇幻与庄严缓缓铺陈。帐幔轻垂处，法相庄严的尊像端坐，身旁弟子凝神谛听；云端神兽振翅而来，羽翼间携着缥缈仙气；山林间的魔众与力士对峙，动态鲜活如临其境。线条柔劲相济，似春蚕吐丝般勾勒出人物的衣袂飘举与神情百态；设色淡雅古拙，赭石与墨色晕染出唐代的雍容韵致。每一处场景皆为叙事切片，从论法的肃穆到斗法的惊心，将佛教义理融入生动的视觉语言，尽显敦煌艺术的灵动与深邃。",[164,24,7,25,187,27,28,1692,96,101,949,211,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78e702adf2feb12b6085fb4ec31e73ed.jpg",[],{"id":49161,"slug":49162,"title":49163,"dynasty":54,"author":2653,"museum":300,"description":14125,"tags":49164,"thumbUrl":49165,"material":173,"size":84,"collection":84,"collections":49166,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":615},217259,"li-dai-di-wang-zhen-xiang-7-yao-wen-han-217259","历代帝王真像-7",[24,7,164,28,27,96,772,170,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F999c9b6a43ec8268cb010288f06b6088.jpg",[],{"id":49168,"slug":49169,"title":49170,"dynasty":54,"author":1242,"museum":77,"description":8179,"tags":49171,"thumbUrl":49172,"material":317,"size":37994,"collection":84,"collections":49173,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},216327,"jin-nong-ba-kai-hua-niao-tu-7-jin-nong-216327","金农八开花鸟图-7",[24,7,164,59,128,1144,331,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe15d974850009d2f1c163bcd9891bfa7.jpg",[],{"id":49175,"slug":49176,"title":49177,"dynasty":124,"author":204,"museum":300,"description":2216,"tags":49178,"thumbUrl":49179,"material":173,"size":84,"collection":84,"collections":49180,"showCount":346,"zanCount":1998,"manualWeight":48,"mainColor":49},216287,"er-shi-si-xiao-tu-1-chou-ying-216287","二十四孝图-1",[24,7,28,27,96,949,211,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a201c122e43a69fe2dbf9bbc6f891c4.jpg",[],{"id":49182,"slug":49183,"title":49184,"dynasty":124,"author":204,"museum":300,"description":2216,"tags":49185,"thumbUrl":49189,"material":173,"size":84,"collection":84,"collections":49190,"showCount":346,"zanCount":1998,"manualWeight":48,"mainColor":49},216272,"er-shi-si-xiao-tu-20-chou-ying-216272","二十四孝图-20",[164,24,7,28,27,96,16099,49186,49187,805,3490,49188,8565,32210],"室内建筑","孝主题","建筑构件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f72fe8f1633c28ef8d5e6987d97a2f.jpg",[],{"id":49192,"slug":49193,"title":49194,"dynasty":18,"author":4899,"museum":1941,"description":4900,"tags":49195,"thumbUrl":49196,"material":278,"size":84,"collection":84,"collections":49197,"showCount":346,"zanCount":1998,"manualWeight":48,"mainColor":72},216253,"bin-feng-qi-yue-tu-juan-ba-ma-he-zhi-216253","豳風七月图卷-跋",[23,164,24,7,25,64,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3420194c999658ca0ffc344f8aa07754.jpg",[],{"id":49199,"slug":49200,"title":49201,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":49202,"thumbUrl":49203,"material":278,"size":3888,"collection":84,"collections":49204,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},214961,"dao-zi-mo-bao-ren-wu-bai-miao-hua-22-yi-ming-214961","道子墨宝人物白描画-22",[23,164,24,7,188,95,96,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa8b29e8d220715a3857f7a7fd63a479.jpg",[],{"id":49206,"slug":49207,"title":49208,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":49209,"thumbUrl":49210,"material":278,"size":3888,"collection":84,"collections":49211,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},214960,"dao-zi-mo-bao-ren-wu-bai-miao-hua-21-yi-ming-214960","道子墨宝人物白描画-21",[23,164,24,7,1326,188,96,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39517c7a6d7c393b60287da05e8017aa.jpg",[],{"id":49213,"slug":49214,"title":49215,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":49216,"thumbUrl":49217,"material":278,"size":3888,"collection":84,"collections":49218,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},214958,"dao-zi-mo-bao-ren-wu-bai-miao-hua-27-yi-ming-214958","道子墨宝人物白描画-27",[23,24,7,188,96,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff78637c41ad305e51673d61f02c418af.jpg",[],{"id":49220,"slug":49221,"title":49222,"dynasty":144,"author":223,"museum":161,"description":49223,"tags":49224,"thumbUrl":49225,"material":317,"size":84,"collection":84,"collections":49226,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":72},214606,"shan-ge-liang-ting-tu-yi-ming-214606","山阁凉亭图","元代是中国历史上的一个时期，时间大约在公元1271年至公元1368年。\n\n佚名是一个术语，用于描述一些文献或艺术品的作者未知或不详的情况。因此，如果一幅画的作者是佚名，则我们并不知道创作这幅画的人是谁。\n\n山阁凉亭图是一幅中国画，其中展现了一个山阁凉亭的景色。凉亭是一种设计精美的户外建筑，通常设在花园、公园或池塘边，供人休息或观赏风景。山阁凉亭图可能描绘了一个美丽的山阁凉亭，周围环绕着美丽的山景。",[23,24,7,95,128,29,130,97,98,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfe27321a916c6a22e06cd6aa95e65ac.jpg",[],{"id":49228,"slug":49229,"title":4071,"dynasty":54,"author":6778,"museum":56,"description":49230,"tags":49231,"thumbUrl":49232,"material":84,"size":84,"collection":68,"collections":49233,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49234},203022,"hua-hui-tu-ce-zhao-zhi-qian-203022","粉晕的芙蓉花瓣娇嫩欲滴，色彩层次细腻过渡，尽显柔媚之态。叶片以阔笔泼洒，石绿与墨色交织，浓淡相宜，叶脉用劲挺线条勾勒，带着金石的硬朗质感，刚柔相济。枝干线条简练，穿插有致，构图疏朗却饱满。画风融文人雅致与民间鲜活，笔墨间藏着金石入画的独特韵味，尽显花卉生机与艺术张力。",[24,7,59,27,61,373,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fb2b14d87e37f276685367c87d83c26.jpg",[68],"b6ac8e",{"id":49236,"slug":49237,"title":28101,"dynasty":144,"author":2697,"museum":244,"description":49238,"tags":49239,"thumbUrl":49240,"material":317,"size":49241,"collection":84,"collections":49242,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},290962,"shuang-song-tu-li-kan-290962","此图画两株巨松拔地而起并肩矗立，遒劲的枝干直入天际，簇簇松针深郁苍劲。画家用浓墨圈点出老干的节疤，用浓淡不同的墨色钩出树下，树身愈近根部则用墨愈淡，最后山坡石溶为一体，显出苍松坚实的根基。苍松的荆棘及地面上的小竹，既衬托了松的高大，又给画面增添了生机。全画笔法苍劲工稳，显示出作者深厚的艺术功力。",[164,24,7,165,128,1144,454,1495,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1458bc273c20fbad2801bc26ee47df1.jpg","156.7x91.2",[],{"id":49244,"slug":49245,"title":49246,"dynasty":144,"author":223,"museum":300,"description":49247,"tags":49248,"thumbUrl":49250,"material":692,"size":1293,"collection":84,"collections":49251,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},290747,"pi-lu-zhe-na-fo-xiang-zhou-yi-ming-290747","毘卢遮那佛像轴","毗卢遮那佛，又称大日如来，为密宗金刚界五方如来之首，代表五佛五智中的法界体性智，也是三身佛中的法身佛，神性地位很高。",[24,165,7,187,18381,27,28,96,7220,49249],"毘卢遮那佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4f0d4fccc76fe1565ea7a97ef82dd2c.jpg",[],{"id":49253,"slug":49254,"title":49255,"dynasty":144,"author":18493,"museum":244,"description":49256,"tags":49257,"thumbUrl":49258,"material":66,"size":19098,"collection":84,"collections":49259,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},290617,"mi-tuo-fo-xiang-zhou-zhang-wo-290617","弥陀佛像轴","张渥中国元代画家。(？-约1356前)〔元〕字叔厚，号贞期生、江海客，淮南（今安徽合肥）人，后居杭州（今浙江杭州）。通文史，好音律，然屡举不中，仕途失意，遂寄情诗画。能山水，“尽自然之性”，擅长人物，法李公麟白描得其清丽流畅之风；擅“铁线描”，被誉为“李龙眠后一人而已”。亦尝作弥勒佛像。所画线条刚劲飘逸，人物形神刻画生动，兼画梅竹亦潇洒有致。",[164,24,7,165,187,18381,19093,6318,27,1337,875,227,9024,19096,48326,208,12634],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c7abd483f15fcd6d5d2c30f48956588.jpg",[],{"id":49261,"slug":49262,"title":49263,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":49264,"thumbUrl":49265,"material":692,"size":1293,"collection":84,"collections":49266,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},290543,"cang-qiu-tu-yun-shou-ping-290543","苍虬图",[24,7,59,128,372,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd412faa23aa7a6dff6cd9615cedfe290.jpg",[],{"id":49268,"slug":49269,"title":16022,"dynasty":144,"author":569,"museum":300,"description":27930,"tags":49270,"thumbUrl":49271,"material":692,"size":1293,"collection":84,"collections":49272,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},290411,"di-shi-dan-ba-bei-juan-zhao-meng-fu-290411",[23,7,25,64,572,187,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa57bbccb3382f2a1aef57a3612a4080a.jpg",[],{"id":49274,"slug":49275,"title":24054,"dynasty":144,"author":569,"museum":300,"description":27930,"tags":49276,"thumbUrl":49277,"material":692,"size":1293,"collection":84,"collections":49278,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},290100,"jin-ma-tu-zhao-meng-fu-290100",[164,24,7,27,28,96,101,64,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28c0ea5d333793464874bbeb3f0f5efe.jpg",[],{"id":49280,"slug":49281,"title":2616,"dynasty":144,"author":8127,"museum":244,"description":12964,"tags":49282,"thumbUrl":49283,"material":278,"size":49284,"collection":84,"collections":49285,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},290056,"qiu-shan-xing-lv-tu-wang-yuan-290056",[24,164,7,165,128,29,2620,96,101,690,34,497,211,99,64,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49dc5b3e0ed601d4c95f7accbb93912c.jpg","96.1x28.2",[],{"id":49287,"slug":49288,"title":49289,"dynasty":54,"author":3403,"museum":300,"description":8089,"tags":49290,"thumbUrl":49291,"material":692,"size":1293,"collection":84,"collections":49292,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},289980,"feng-zhu-pian-pian-yi-han-bi-tu-wu-chang-shuo-289980","风竹翩翩倚寒碧图",[23,24,7,165,128,167,171,64,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F686092ba2c20ab6b597bd0f407528314.jpg",[],{"id":49294,"slug":49295,"title":49296,"dynasty":18,"author":3596,"museum":244,"description":49297,"tags":49298,"thumbUrl":49299,"material":317,"size":49300,"collection":84,"collections":49301,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},289552,"lu-ting-su-yan-tu-cui-bai-289552","芦汀宿雁图","崔白（1004-1088），字子西，濠州（今安徽凤阳）人，北宋画家。崔白是开始发挥写生精神的画家，其无前人的画稿可临摹或参考，但其依靠超越前人的观察研究及描绘能力，探索花木鸟兽的生意，摆脱花鸟属装饰图案的遗影，开创新的发展方向。其擅花竹、翎毛，亦长于佛道壁画，画佛道鬼神、山水、人物亦精妙绝伦，尤长于写生。所画鹅、蝉、雀堪称三绝，手法细致，形象真实，生动传神，富于逸情野趣。一改百余年墨守成规的花鸟画风（指“黄筌画派”），成为北宋画坛的革新主将，数百年来颇受画坛尊崇。",[164,24,7,165,61,128,28,18111,1824,28350,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f3c582e431eef1721b986b98811681.jpg","106.5x51",[],{"id":49303,"slug":49304,"title":49305,"dynasty":124,"author":33462,"museum":300,"description":34341,"tags":49306,"thumbUrl":49307,"material":692,"size":1293,"collection":84,"collections":49308,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},288979,"fan-zhou-tu-song-xu-288979","泛舟图",[164,24,7,165,29,128,129,99,131,34,97,44779],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9acd0a16d539dadc882adc0aa5fddf9e.jpg",[],{"id":49310,"slug":49311,"title":49312,"dynasty":54,"author":223,"museum":300,"description":49313,"tags":49314,"thumbUrl":49315,"material":692,"size":1293,"collection":84,"collections":49316,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},288195,"su-shi-kuan-mo-zhu-tu-yi-ming-288195","苏轼款墨竹图","此作用焦墨挥写新篁，竹叶纵横交叠，笔力苍劲老辣，虚实相生，尽显劲节疏朗的萧散野逸之气。长卷以书画合璧，配搭多体书法题跋，狂草笔势跌宕，行书朴拙舒展，笔墨意趣与墨竹的写意精神呼应相融，暗合尚意风雅。整作层层题跋环绕，摹古宋人写意风神，将君子之竹的清刚品格与书法的抒情性融为一体，雄健中带着文人气韵，尽显文人画诗书画合一的意趣。",[23,164,24,7,25,128,840,133,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72aebd6ae8bd2874ca675986d007059a.jpg",[],{"id":49318,"slug":49319,"title":49320,"dynasty":124,"author":7003,"museum":300,"description":49321,"tags":49322,"thumbUrl":49323,"material":692,"size":1293,"collection":84,"collections":49324,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},288085,"chi-bi-fu-zhu-yun-ming-288085","赤壁赋","祝允明（1461年1月17日-1527年1月28日）生于天顺四年十二月六日，卒于嘉靖五年十二月二十七日，字希哲，长洲（今江苏吴县）人，因长像奇特，而自嘲丑陋，又因右手有枝生手指，故自号枝山，世人称为“祝京兆”，明代著名书法家。\n祝允明的科举仕途颇为坎坷，十九岁中秀才，五次参加乡试，才于明弘治五年（1492）中举，后七次参加会试不第。甚至其子祝续也在前一科中进士，于是祝允明绝了科举念头，以举人选官，在正德九年（1514），授为广东兴宁县知县，嘉靖元年（1522），转任为应天（今南京）府通判，不久称病还乡。\n祝允明擅诗文，尤工书法，名动海内。他与唐寅、文徵明、徐祯卿并称“吴中四才子”。又与文徵明、王宠同为明中期书家之代表。楷书早年精谨，师法赵孟頫、褚遂良，并从欧、虞而直追“二王”。草书师法李邕、黄庭坚、米芾，功力深厚，晚年尤重变化，风骨烂熳。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。 其代表作有《太湖诗卷》《箜篌引》《赤壁赋》等。所书“六体书诗赋卷”“草书杜甫诗卷”“古诗十九首”“草书唐人诗卷”及“草书诗翰卷”等皆为传世墨宝。",[64,840,7,49320],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6278df7d7f9a3980fb8ed599a9e4f081.jpg",[],{"id":49326,"slug":49327,"title":49328,"dynasty":124,"author":1270,"museum":300,"description":43445,"tags":49329,"thumbUrl":49330,"material":692,"size":1293,"collection":84,"collections":49331,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},287762,"mei-zhu-shan-mian-sun-ke-hong-287762","梅竹扇面",[24,7,1131,27,61,371,167,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9928d2267bb7931c1d4ed6db2fab43f7.jpg",[],{"id":49333,"slug":49334,"title":49335,"dynasty":18,"author":2099,"museum":300,"description":34962,"tags":49336,"thumbUrl":49337,"material":692,"size":1293,"collection":84,"collections":49338,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},287741,"bai-miao-qun-xian-bai-tai-tu-juan-li-gong-lin-287741","白描群仙百态图卷",[23,24,7,25,188,128,96,187,13695,18331,5490,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e6880c9231b29fda4461bdd4ce43318.jpg",[],{"id":49340,"slug":49341,"title":49342,"dynasty":124,"author":10922,"museum":300,"description":42506,"tags":49343,"thumbUrl":49344,"material":692,"size":1293,"collection":84,"collections":49345,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},287724,"wei-xiang-yuan-bian-zuo-shan-shui-tu-wen-jia-287724","为项元汴作山水图",[24,164,7,165,128,27,29,96,331,99,171,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0343ce1632acf2dd3416832617f4359.jpg",[],{"id":49347,"slug":49348,"title":49349,"dynasty":18,"author":2067,"museum":244,"description":24178,"tags":49350,"thumbUrl":49351,"material":173,"size":24181,"collection":84,"collections":49352,"showCount":392,"zanCount":1998,"manualWeight":48,"mainColor":49},287716,"hua-hua-niao-li-di-287716","画花鸟",[164,24,7,165,28,27,61,211,1400,62,8347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7a1b3f44c7ed4e5d36709ac9ec464aa.jpg",[],{"id":49354,"slug":49355,"title":49356,"dynasty":18,"author":223,"museum":244,"description":49357,"tags":49358,"thumbUrl":49359,"material":692,"size":49360,"collection":42,"collections":49361,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},287646,"gong-zhao-na-liang-tu-yi-ming-287646","宫沼纳凉图","此作晕染着深宫夏景的松弛意趣，仕女斜坐朱漆榻上，执扇闲憩，眉目温婉静和。随侍侍女撑着素面团扇，一旁案头冰盆镇暑，悄藏消夏的精巧心思。背景垂柳轻遮，池间粉白芙蕖亭亭绽露，朱红栏干衬着古雅褐底，把纳凉的幽谧日常铺陈开来。笔触工细柔丽，设色沉静雅致，将慢度暑时的安然闲淡藏进每处细节，尽显写实雅致的隽永韵味。",[164,24,7,165,27,96,166,168,28,4494,12614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F561d902d357ef15261ebcdcd371757b5.jpg","82.4x44.3",[42],{"id":49363,"slug":49364,"title":49365,"dynasty":182,"author":464,"museum":300,"description":49366,"tags":49367,"thumbUrl":49368,"material":692,"size":1293,"collection":84,"collections":49369,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},287601,"li-dai-di-wang-tu-se-shen-yan-li-ben-287601","历代帝王图（色深）","阎立本（601年—673年），雍州万年（今陕西省西安市临潼区）人。唐朝时期宰相、画家，隋朝殿内少监阎毗之子。\n隋朝时，阎立本门荫入仕，累迁朝散大夫、将作少监。唐武德年间，担任秦王（李世民）府库直。贞观年间，历任主爵郎中、刑部郎中，迁将作少监。绘制“昭陵六骏”和“凌烟阁”功臣图，监修翠微宫。显庆元年（656年），出任将作大匠，迁工部尚书。总章元年（668年），检校右丞相，册封博陵县男。当时姜恪凭借战功擢任左丞相，时人有“左相宣威沙漠，右相驰誉丹青”之说。举荐名臣狄仁杰，累迁中书令。咸亨四年（673年11月14日），去世，追赠司空。\n阎立本擅长工艺，富于巧思，工篆隶书，对绘画、建筑都很擅长。兄长阎立德擅长书画、工艺及建筑工程。阎毗、阎立德、阎立本父子三人并以工艺、绘画闻名于世。代表作品《步辇图》《历代帝王像》等。",[23,164,24,7,25,27,28,96,14415,7070,19122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9784e9f67bf9d4e3958d6bbacabd4e87.jpg",[],{"id":49371,"slug":49372,"title":49373,"dynasty":124,"author":204,"museum":300,"description":19353,"tags":49374,"thumbUrl":49375,"material":692,"size":1293,"collection":84,"collections":49376,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},287435,"zhu-lin-ju-shi-chou-ying-287435","竹林居士",[24,7,1131,27,28,96,167,29,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48e1029930cd466abff7fd39a4252439.jpg",[],{"id":49378,"slug":49379,"title":49380,"dynasty":124,"author":17733,"museum":300,"description":37300,"tags":49381,"thumbUrl":49383,"material":692,"size":1293,"collection":84,"collections":49384,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},287434,"xie-qin-kan-shan-tu-shan-mian-zhou-chen-287434","携琴看山图扇面",[1131,24,164,7,128,29,96,1144,131,49382,208,64],"携琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b9284f4e45132c5dde01f7afc8f670.jpg",[],{"id":49386,"slug":49387,"title":49388,"dynasty":124,"author":49389,"museum":300,"description":49390,"tags":49391,"thumbUrl":49392,"material":692,"size":1293,"collection":84,"collections":49393,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},287388,"lin-tang-zi-wei-nv-er-jiao-tu-li-zhou-wen-cong-jian-287388","临唐子畏女儿娇图立轴","文从简","文从简（1574年—1648年）字彦可，号枕烟老人，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明曾孙，明末清初画家。\n崇祯十三年（1640年）拔贡，入清后退居林下，以书画自娱。",[23,165,24,7,164,27,61,263,330,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F143721e8add651b65809483042b7b792.jpg",[],{"id":49395,"slug":49396,"title":49397,"dynasty":18,"author":313,"museum":300,"description":46495,"tags":49398,"thumbUrl":49399,"material":692,"size":1293,"collection":84,"collections":49400,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},283689,"song-feng-ge-shi-juan-huang-ting-jian-283689","松风阁诗卷",[23,164,7,25,64,133,208,1429,372,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70786890a3734dd6dcc0548443c6144f.jpg",[],{"id":49402,"slug":49403,"title":49404,"dynasty":54,"author":223,"museum":300,"description":49405,"tags":49406,"thumbUrl":49407,"material":692,"size":1293,"collection":84,"collections":49408,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},267355,"xiu-xian-ci-xi-yin-song-he-tu-zhou-yi-ming-267355","绣线慈禧印松鹤图轴","此作以绣为笔，将山水灵韵藏于针线之间。危崖奇崛高耸，古松虬枝横斜，松针层叠尽显苍劲高古，崖巅仙鹤独立，似在聆风望云；下方惊涛翻涌，汀渚之上又有仙鹤卓立，呼应松鹤延年的祥瑞寓意。\n\n绣线晕染柔和雅致，以淡紫与米白铺陈出山石松烟与流云之态，将水墨山水的晕染层次精妙复刻，针线藏于画意之中，不见匠气反倒尽显文人山水的清逸意境。搭配题印排布规整，让绣作兼具端雅礼制意蕴与文人书画审美意趣，是晚清融画入针的精妙绣作。",[24,165,7,13534,1144,722,29,99,131,37,208,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1872571a576ef6a2e5b4af6bf38695f1.jpg",[],{"id":49410,"slug":49411,"title":49412,"dynasty":54,"author":223,"museum":300,"description":10087,"tags":49413,"thumbUrl":49414,"material":692,"size":1293,"collection":84,"collections":49415,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},267335,"ke-si-zi-lan-tu-zhou-yi-ming-267335","缂丝紫蓝图轴",[24,7,165,1944,27,28,375,11633,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62e52869ca0fd49b166cf8c94af970b8.jpg",[],{"id":49417,"slug":49418,"title":49419,"dynasty":124,"author":7003,"museum":300,"description":49321,"tags":49420,"thumbUrl":49421,"material":84,"size":84,"collection":318,"collections":49422,"showCount":392,"zanCount":1998,"manualWeight":48,"mainColor":72},239611,"yang-sheng-lun-juan-zhu-yun-ming-239611","养生论卷",[23,7,25,133,840,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d67df0af9f879bce1f09da0c83364d1.jpg",[318],{"id":49424,"slug":49425,"title":49426,"dynasty":144,"author":569,"museum":20,"description":49427,"tags":49428,"thumbUrl":49429,"material":611,"size":49430,"collection":318,"collections":49431,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},239582,"zhang-zong-guan-mu-zhi-ming-juan-zhao-meng-fu-239582","张总管墓志铭卷","既具大楷沉着刚劲之气，又有小楷秀逸灵动之姿，在赵氏存世墨迹中甚少见。卷后有祝允明、永瑆题识。",[23,7,64,25,133,572,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc6ff13d72d8c1ed754db59d6fdcde15.jpg","纵32.7厘米；横259厘米",[318],{"id":49433,"slug":49434,"title":49435,"dynasty":124,"author":23268,"museum":300,"description":49436,"tags":49437,"thumbUrl":49438,"material":692,"size":1293,"collection":84,"collections":49439,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},239474,"xie-qin-fang-you-tu-shan-sun-zhi-239474","携琴访友图扇","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。",[164,24,7,1131,128,27,132,29,34,3387,96,1645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47746b0b060c5b7809478631056a9d65.jpg",[],{"id":49441,"slug":49442,"title":49443,"dynasty":124,"author":1270,"museum":300,"description":43445,"tags":49444,"thumbUrl":49445,"material":692,"size":1293,"collection":84,"collections":49446,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},239465,"ming-qing-zhu-jia-ji-jin-ce-jiao-shi-ce-ye-sun-ke-hong-239465","明清诸家集锦册-蕉石册页",[24,7,59,128,171,8070,276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F490055b3a06b0ca31166c19f3072a27e.jpg",[],{"id":49448,"slug":49449,"title":49450,"dynasty":124,"author":49451,"museum":300,"description":49452,"tags":49453,"thumbUrl":49454,"material":692,"size":1293,"collection":68,"collections":49455,"showCount":392,"zanCount":1998,"manualWeight":48,"mainColor":72},239254,"shu-hua-tu-ce-cheng-min-239254","书画图册","程敏","此作以湖石为骨，双竹环衬成景。湖石以淡墨勾廓皴擦，寥寥数笔便尽显瘦透空灵之态，藏着文人赏石的雅趣。两侧墨竹笔法分野鲜明，一侧重墨点染叶片，笔力苍劲厚重，尽显疾风劲节；另一侧以淡墨轻描，竹叶疏朗清隽，自带幽柔之姿。\n虚实相映间，留白铺就幽寂氛围，将君子以竹石明志的寄寓藏于尺幅之中，简淡笔墨写尽文人写意的疏朗风神，于小幅册页晕开悠长意趣。",[24,128,171,167,208,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40387eeee6771c441a9a036b6d6d64bf.jpg",[68,117],{"id":49457,"slug":49458,"title":49459,"dynasty":54,"author":49460,"museum":300,"description":49461,"tags":49462,"thumbUrl":49463,"material":84,"size":84,"collection":68,"collections":49464,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},239076,"jie-bao-tu-zhou-yin-shi-239076","捷报图轴","殷湜","此作以工笔绘就春日山居佳音之景。青绿晕染山石，皴擦间见苍润厚重，古木虬枝缀满白花，融融春意浸透林泉。宅邸回廊婉转延伸，窗内雅士围坐展卷，似正传阅捷报，庭中仆役步履轻捷，将得喜的雀跃藏于悠然日常。左下角策蹇缓行的旅人，让幽邃园林添了几分灵动生趣。全景构图将世俗喜事融入文人山居的清雅意趣，无张扬喜色，只在松弛闲雅的氛围里暗传佳音带来的慰藉与欣喜，细腻写实中尽显古典楼阁山水的清远意境，把日常雅事与俗世快意相融，晕染出平和又暗含暖意的春日图景。",[24,7,165,27,28,132,95,29,97,98,99,34,96,131,758,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08ce2d50abd7cdef7a350dd0aac9c8e0.jpg",[68,45],{"id":49466,"slug":49467,"title":76,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":49468,"thumbUrl":49469,"material":692,"size":1293,"collection":84,"collections":49470,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},238887,"hua-hui-ce-dong-gao-238887",[164,24,7,59,27,28,61,62,603,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d1857a0338b5b99eae228a3c7dc69a8.jpg",[],{"id":49472,"slug":49473,"title":49474,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":49475,"thumbUrl":49476,"material":84,"size":84,"collection":136,"collections":49477,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},238783,"hua-shan-shui-bing-shu-shi-xiao-ce-dong-gao-238783","画山水并书诗小册",[24,7,59,27,95,29,97,98,99,2048,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd94eaa83bc9e80ed77f6908fc42b916.jpg",[136,45],{"id":49479,"slug":49480,"title":31269,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":49481,"thumbUrl":49482,"material":692,"size":1293,"collection":84,"collections":49483,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},238419,"xiu-gu-cong-fang-tu-ce-dong-gao-238419",[24,7,59,28,27,61,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F088ef8b23fe745006aa4a5642538e6f4.jpg",[],{"id":49485,"slug":49486,"title":12731,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":49487,"thumbUrl":49488,"material":692,"size":1293,"collection":84,"collections":49489,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},238398,"xuan-jin-lu-fang-tu-ce-dong-gao-238398",[164,24,7,59,27,28,61,547,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7eeca67b62547eece16e85a7ae62b7a.jpg",[],{"id":49491,"slug":49492,"title":12731,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":49493,"thumbUrl":49494,"material":692,"size":1293,"collection":84,"collections":49495,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},238397,"xuan-jin-lu-fang-tu-ce-dong-gao-238397",[24,7,59,27,28,61,547,747,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eff07e312fd939963256b8d34f05660.jpg",[],{"id":49497,"slug":49498,"title":76,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":49499,"thumbUrl":49500,"material":84,"size":84,"collection":84,"collections":49501,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},238365,"hua-hui-ce-dong-gao-238365",[24,7,59,27,28,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7b9c50958e319b171a5049140a05b89.jpg",[],{"id":49503,"slug":49504,"title":49505,"dynasty":54,"author":18144,"museum":300,"description":49506,"tags":49507,"thumbUrl":49508,"material":84,"size":84,"collection":84,"collections":49509,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},238245,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238245","山静日长图册","张雨霖，初名雨，字作霖，一字紫琅，号苍野，安徽当涂人，经子，工山水，得文家风韵。善泼墨，惜用墨皆渗以胶。亦善画花鸟。乾隆时曾供奉内廷。乾隆时供奉内廷，乾隆帝题其《山水图》有“悬之高堂六月凉，助我清兴生吟席”句，又题其《仿沈周山水图》“吴中沈周清狂客，雨森笔似人亦肖”句。画迹有摹燕文贵《江干雪霁图》卷，著录于《石渠宝笈初编》。",[24,7,27,28,132,59,29,96,413,131,950,1645,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F736080caf8a60380e1e550c8695a5962.jpg",[],{"id":49511,"slug":49512,"title":49513,"dynasty":54,"author":33019,"museum":300,"description":33020,"tags":49514,"thumbUrl":49515,"material":84,"size":84,"collection":136,"collections":49516,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},238097,"hong-wu-shan-shui-ce-hong-wu-238097","弘旿山水册",[24,7,59,128,132,29,331,129,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc717244aa971e7b3f826512d59005905.jpg",[136,45],{"id":49518,"slug":49519,"title":5310,"dynasty":54,"author":3718,"museum":300,"description":5311,"tags":49520,"thumbUrl":49521,"material":84,"size":5314,"collection":84,"collections":49522,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},238026,"hong-ren-shan-shui-tu-ce-hong-ren-238026",[24,7,59,128,132,29,413,131,950,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd878af4f1ee29a1194aa9d7c0a0456e.jpg",[],{"id":49524,"slug":49525,"title":49526,"dynasty":54,"author":223,"museum":300,"description":49527,"tags":49528,"thumbUrl":49529,"material":1722,"size":36491,"collection":44,"collections":49530,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},238020,"di-wang-ming-chen-xiang-ce-wei-cao-cao-yi-ming-238020","帝王名臣像册- 魏曹操","此作为淡墨白描肖像，衣纹线条简练劲挺，勾勒出人物端方身形。曹操头戴幅巾官帽，长髯垂胸，神色沉凝内敛，眉眼间暗藏枭雄的沉雄机略，不见跋扈张扬，却自有威压气度。\n左侧小传书法清隽工整，与肖像合为一体，书画相映。全作用墨浅淡却形神兼备，以洗练笔墨捕捉人物神韵，将乱世雄主的城府与威仪融于平和面相之中，尽显雅致写实的风韵，文史意趣与笔墨审美兼具。",[24,7,59,188,128,96,208,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2161e723946aaec937536d76b6a16651.jpg",[44],{"id":49532,"slug":49533,"title":49534,"dynasty":124,"author":21505,"museum":300,"description":49535,"tags":49536,"thumbUrl":49538,"material":27,"size":84,"collection":44,"collections":49539,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},237892,"wang-zhao-she-se-ying-yang-tu-zhou-wang-zhao-237892","汪肇设色婴羊图轴","汪肇［明］（15世纪末至16世纪初），字德初，号海云，安徽休宁人，工山水、人物、花鸟。多用粗笔水墨，风格近吴伟、张路。传世作品有故宫博物院的《起蛟图》轴、《芦雁图》轴及《柳禽白鹇图》轴等。",[24,7,165,27,49537,6300,413,2372,371,96,949],"婴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2fcf07bc0d8591e32b1885f907d45e8.jpg",[44],{"id":49541,"slug":49542,"title":49543,"dynasty":124,"author":33809,"museum":300,"description":49544,"tags":49545,"thumbUrl":49546,"material":692,"size":1293,"collection":84,"collections":49547,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},237836,"zhu-lan-shi-shan-xiang-yuan-bian-237836","竹兰石扇","项墨林（1525—1590），原名项元汴，字子京，号墨林，别号墨林山人、墨林居士、香严居士、退密庵主人、退密斋主人、惠泉山樵、墨林嫩叟、鸳鸯湖长、漆园傲吏等，浙江嘉兴人。明国子生，为项忠后裔，为明代著名收藏家、鉴赏家。\n少即英敏，博雅好古，绝意仕进。当时风雅之士来嘉兴必访项元汴，名画家文彭、文嘉等与项元汴交往尤密。明万历年间神宗朱翊钧闻其名，特赐玺书征他出来做官，不赴。\n项元汴所藏书法、名画以及鼎彝玉石，甲于海内。项元汴精于鉴赏，辨别真赝，析及毫发，当时无人可比。与项同时代的人记载：“项氏所藏如顾恺之《女史箴图》等，不知其数，观者累月不能尽也。其他墨迹及古彝器尤多。其家累世富厚，不惜重赀以购，故江南故家宝藏皆入其手。”他遴选能工巧匠制作的各种器具，凡几榻架柜奁盒等，镌以铭识，都极精巧，如同秦汉之物。清顺治二年（1645）闰六月，清兵攻破嘉兴府城，其藏品被千夫长汪六水所劫掠，散失殆尽，存世的藏品多归于皇宫，现仍藏于故宫博物院和其他博物馆。\n项元汴曾获一古琴，上刻“天籁”两字，故将其储藏之所取名“天籁阁”，并镌有天籁阁、项墨林等印，凡藏品都钤有印记，往往满纸满幅。项氏以天籁阁名传后世，阁早已毁，今城内建设街道天籁里即以天籁阁命名。\n项元汴工绘画兼擅书法。山水学元代黄公望、倪瓒，笔致疏秀，神合处辄臻胜境，书法出入唐智永、元赵孟頫。刊有《天籁阁帖》，著有《墨林山人诗集》等。",[24,7,1131,128,167,375,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a954d83db86fd34091f955857d0069.jpg",[],{"id":49549,"slug":49550,"title":49551,"dynasty":54,"author":3718,"museum":300,"description":10500,"tags":49552,"thumbUrl":49553,"material":692,"size":1293,"collection":84,"collections":49554,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},237795,"hong-ren-shan-shui-shan-hong-ren-237795","弘仁山水扇",[24,7,164,1131,29,167,131,413,35,128,27,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffee2deb1860be3554b6c635c695732f0.jpg",[],{"id":49556,"slug":49557,"title":49558,"dynasty":124,"author":223,"museum":300,"description":49559,"tags":49560,"thumbUrl":49562,"material":84,"size":84,"collection":84,"collections":49563,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},237612,"you-qiu-pin-gu-tu-zhou-yi-ming-237612","尤求品古图轴","此作用淡墨铺就庭院雅集，右侧古木盘根虬曲，苍皮皴裂间枝繁叶茂，湖石芭蕉相衬，晕出院内清幽静雅。堂中文士围案环坐，展玩古物，或蹙眉细观，或颔首低语，神态灵动鲜活；僮仆随侍左右，奉茶侍立，动静之间尽显闲雅松弛。\n\n笔线细劲秀逸，淡墨晕染出清雅氛围，将文人耽于博古清赏的雅趣，娓娓铺陈在画面之中，处处浸透闲适古雅的文人情致。",[24,7,165,128,28,188,96,1424,2218,413,372,167,875,1314,2145,49561,208],"古器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c72ed92b7852720229e817e865720c.jpg",[],{"id":49565,"slug":49566,"title":19857,"dynasty":124,"author":26920,"museum":300,"description":49567,"tags":49568,"thumbUrl":49569,"material":611,"size":84,"collection":136,"collections":49570,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},237576,"shan-shui-zhou-wang-wen-237576","王问（1497～1576）明代官员。字子裕，号仲山，江苏无锡人。嘉靖十一年进士，历官车驾郎中，擢广东按察佥事，因思念老父，未赴任，即弃官归家。书法类米芾，又似黄庭坚，点染山水、花鸟皆精。诗作萧闲疏放，冲然自得，有《仲山诗选》、《崇文馆稿》等。",[24,7,165,128,132,29,98,99,34,131,495,3387,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cefbf455b6e8d825dad7eb7a7b291de.jpg",[136,117],{"id":49572,"slug":49573,"title":49574,"dynasty":54,"author":45224,"museum":20,"description":49575,"tags":49576,"thumbUrl":49577,"material":734,"size":49578,"collection":44,"collections":49579,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},236751,"zhi-hua-sui-chao-tu-li-shi-zhuo-236751","指画岁朝图","此画名为岁朝图。中国传统的农历春节为一年之始，故名“岁朝”。本幅通过童子将怀抱的花瓶进献给手持如意的老者的情景着新岁吉祥如意的开始。\n整幅作品全用手指沾墨绘就，别有一种苍茫古雅的趣味。",[24,7,165,29104,128,27,96,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d88d01db1c3c131c37fbf3ed2b5343e.jpg","纵104.5厘米，横46.3厘米",[44,117,318],{"id":49581,"slug":49582,"title":49583,"dynasty":124,"author":17733,"museum":300,"description":37300,"tags":49584,"thumbUrl":49585,"material":692,"size":1293,"collection":84,"collections":49586,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},236701,"guan-pu-shan-zhou-chen-236701","观瀑扇",[164,24,7,1131,128,132,96,29,131,34,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8157a9dde39dc9be6fd83fde962e9723.jpg",[],{"id":49588,"slug":49589,"title":4229,"dynasty":54,"author":5879,"museum":12686,"description":49590,"tags":49591,"thumbUrl":49592,"material":84,"size":16301,"collection":84,"collections":49593,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},236625,"hua-niao-ce-hua-yan-236625","华喦（1682-1756），清画家。字秋岳，号新罗山人、东园生、布衣生等，福建上杭人。自幼即喜绘画，尤精花鸟。所作花鸟，多姿多态，生趣盎然，干笔枯墨间以淡彩，寓雅逸于艳丽之中，构图独出心裁，为清代中叶花鸟画之中坚，对后世扬州派、海派花鸟产生莫大影响。",[24,7,59,27,128,61,211,971,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06312802578ce589174d3d293fb9797a.jpg",[],{"id":49595,"slug":49596,"title":4229,"dynasty":54,"author":4823,"museum":300,"description":4824,"tags":49597,"thumbUrl":49598,"material":84,"size":20,"collection":84,"collections":49599,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},236615,"hua-niao-ce-ma-yuan-yu-236615",[24,7,164,59,128,27,61,211,2690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe748e4c66b59983881f87bee7e05da01.jpg",[],{"id":49601,"slug":49602,"title":49603,"dynasty":124,"author":5219,"museum":20,"description":49604,"tags":49605,"thumbUrl":49606,"material":611,"size":84,"collection":68,"collections":49607,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},236274,"jiang-shang-qi-shu-juan-yao-shou-236274","江上七树卷","姚绶（1422—1495），明早中期画家。字公绶，号丹丘生，又号谷庵子、谷庵、仙痴、云东逸史，浙江嘉兴府嘉善县大云寺人。少有才名，专攻古文辞，诗赋茂畅。天顺中赐进士，官监察御史，奉命巡盐两淮，铲除积弊。因得罪权贵，谪永宁知府。以母老辞归，居大云，筑室名丹丘。又作沧江虹月舟，泛游吴越间。姚绶工行草书，初学宋克，后法魏晋钟繇、王羲之，劲婉咸妙。出入钟、王而别具拙朴风神，风格近张雨。擅画山水，宗吴镇，也取法赵孟、王蒙，好作沙坳水曲景色，墨色苍润；间写竹石，潇洒可爱，笔墨酷似吴镇。传世名作有《秋江渔隐图》轴（北京故宫博物院藏）、《山水图》册页（上海博物馆藏）、《竹石图》轴（辽宁省博物馆藏）。著有《谷庵集》、《云东集》、《天人合旨》、《姚御史诗文》。小景好作沙坳小曲，孤钓独吟，其阔幅重林远瀍，著四五渔船而已。图成或售于人，遂厚价返收之，其自重如此。与杜琼、刘珏、谢缙等明代早期文人画家，都承继了元四家衣钵，为明代中期吴门派的勃兴，起到了承前启后的作用，是吴门派的前期画家。\n姚绶得吴仲圭、盛子昭二家法，苍厚敦穆，简拙之中别具秀润，自是文人逸格。复参赵孟、王蒙笔意，皴染圆厚，书卷气极浓。姚绶曾画竹自云：“画竹如写字，枝叶皆从八法来，苦苦欲求形似者，清风安得扫尘埃”姚绶竹石题材的作品多以吴镇为宗。画竹一般以书入画，在竹子的处理上“叶叶着枝，枝枝着节”行笔轻灵劲健，竹叶已完全融入了他的书法用笔，姚绶早年书法宗宋克，中年后以张雨为宗，又致力于赵孟俯，黄庭坚，最终合张、黄、赵三家为一体，所以竹叶有其书法体态上的奇宕多姿，清逸而又雄迈的韵味。姚绶此类相近的竹石题材作品如：台北故宫藏《竹石图》，与北京故宫藏《竹石图》可窥其精华一二。",[164,24,7,25,128,132,34,331,9255,582,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F171927c81b7c87363f9a4fca9993c187.jpg",[68,117,318],{"id":49609,"slug":49610,"title":10613,"dynasty":54,"author":1460,"museum":300,"description":49611,"tags":49612,"thumbUrl":49613,"material":84,"size":84,"collection":84,"collections":49614,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},235880,"yuan-ji-shan-shui-tu-ce-shi-tao-235880","行书笔致纵逸苍劲，诗文清雅隽秀，墨色浓淡辗转间笔势连贯舒展，尽显随性放达的文人意趣。\n\n下方山水以淡墨晕染铺就烟岚轻笼的悠远底色，山峦以枯笔皴擦勾勒肌理，植被点染灵动错落。留白虚实相生，铺陈出丘林幽寂的空濛意境，淡赭晕染山脚，糅合出清雅温润的色调层次，将江南山水的氤氲柔婉与嶙峋风骨相融。\n\n整幅诗画合璧，书意与画韵彼此衬映，诗书画印相得益彰，尽显文人画雅致品格，把幽居林泉的隐逸心境藏于笔墨之中，意韵悠长。",[24,7,59,133,128,27,132,64,208,29,496,34,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f749a49e7b8c667c20c3c60e27a09e8.jpg",[],{"id":49616,"slug":49617,"title":10613,"dynasty":54,"author":1460,"museum":300,"description":49618,"tags":49619,"thumbUrl":49620,"material":84,"size":84,"collection":84,"collections":49621,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},235879,"yuan-ji-shan-shui-tu-ce-shi-tao-235879","这幅册页诗画合璧，行书题诗萧散俊逸，笔墨间自带林下幽居的清寂意趣。\n\n山水取景奇崛苍润，危崖拔地而起，飞泉挂壁落于溪涧，苍松杂木错落生姿，山居隐于林间烟岚之中，淡墨轻皴写尽丘壑之态。笔底兼具黄山奇峭风神，又融禅意隐逸之思，以简驭繁，将诗中静伴秋雨、枯禅幽栖的心境，铺陈在咫尺画卷里。\n诗境衬着画境，画境晕染诗心，淡远空灵的气韵漫溢纸面，尽显文人画诗画交融的雅致风神。",[24,7,59,133,128,29,171,34,208,64,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73b855edfdb93578bdd513ec9b3f934a.jpg",[],{"id":49623,"slug":49624,"title":49625,"dynasty":124,"author":223,"museum":300,"description":49626,"tags":49627,"thumbUrl":49628,"material":84,"size":84,"collection":84,"collections":49629,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},235841,"lu-zhi-tian-ping-shan-tu-ye-yi-ming-235841","陆治天平山图页","此作左文右图，诗画合璧。右侧绘层岩峻耸，浅绛设色清润柔和，山石勾勒苍秀兼具，山脚水陂萦回，隐见村舍错落其间，远山晕染朦胧杳霭，尽显江南丘壑灵秀清旷之意。远景山峦淡抹轻皴，近景林木屋舍细致清雅，于工写之间晕染出山林幽寂野趣。\n左侧行书题跋笔意舒展流畅，以文述景，将山川形胜娓娓铺陈，把实景奇崛与人文底蕴融于一卷，笔墨间晕开清雅意趣，将江南名山的形神与文人情思相融，淡远空灵，古意悠然。",[24,7,59,27,29,663,1314,34,99,130,64,133,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff31993646a95510e802b9f5b7f7282af.jpg",[],{"id":49631,"slug":49632,"title":49633,"dynasty":124,"author":223,"museum":300,"description":49634,"tags":49635,"thumbUrl":49637,"material":84,"size":84,"collection":84,"collections":49638,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},235814,"cui-zi-zhong-cang-yun-tu-zhou-yi-ming-235814","崔子忠藏云图轴","此作用全景式构图铺展意境，上段危峰怪石奇崛冷峻，淡墨晕染出空濛云雾，衬出山岫灵秀幽邃。中段留白托举云气，枯林萧疏愈显山野寂寥。下段辎车缓行于山径，长者安坐、侍童相随，人物意态简雅生动，车马细节入微。\n左上题诗与画意相融，水墨皴染结合，笔意清劲古雅，将藏云林泉的幽居雅兴，与静穆高古的山水意境合二为一，尽显文人避世寻幽的审美意趣。",[164,24,7,165,27,132,96,29,34,131,49636],"车辆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc9720526c0678b1bafbcaf3a821ab4.jpg",[],{"id":49640,"slug":49641,"title":49642,"dynasty":54,"author":3718,"museum":300,"description":10500,"tags":49643,"thumbUrl":49644,"material":692,"size":1293,"collection":84,"collections":49645,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},235788,"hong-ren-nan-gang-qing-yun-tu-shan-ye-hong-ren-235788","弘仁南冈清韵图扇页",[24,7,1131,128,29,131,34,35,132,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65c9cebec78b4c98d9b073af86409e76.jpg",[],{"id":49647,"slug":49648,"title":4229,"dynasty":124,"author":22448,"museum":300,"description":39003,"tags":49649,"thumbUrl":49650,"material":692,"size":1293,"collection":84,"collections":49651,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},235724,"hua-niao-ce-tan-zhi-yi-235724",[24,7,59,128,27,61,171,547,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68fa4f245f339557ddc51c8d1503cc52.jpg",[],{"id":49653,"slug":49654,"title":49655,"dynasty":54,"author":6778,"museum":300,"description":29701,"tags":49656,"thumbUrl":49657,"material":692,"size":1293,"collection":84,"collections":49658,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},235719,"wu-rui-tu-wan-shan-zhao-zhi-qian-235719","五瑞图纨扇",[24,7,1131,27,61,2037,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F644e153fa54bdc4622fa0c89f5baf81b.jpg",[],{"id":49660,"slug":49661,"title":4071,"dynasty":54,"author":14273,"museum":300,"description":45611,"tags":49662,"thumbUrl":49663,"material":692,"size":1293,"collection":84,"collections":49664,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},235466,"hua-hui-tu-ce-fan-ting-zhen-235466",[23,24,7,59,27,28,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec24b4e6b26268f987956331bbfe363b.jpg",[],{"id":49666,"slug":49667,"title":49668,"dynasty":54,"author":16583,"museum":300,"description":29102,"tags":49669,"thumbUrl":49670,"material":692,"size":1293,"collection":84,"collections":49671,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},235449,"hua-xia-tu-zhou-gao-qi-pei-235449","画虾图轴",[24,7,165,128,11034,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32f336d98863fd6a942bd26ccc3a6825.jpg",[],{"id":49673,"slug":49674,"title":49675,"dynasty":54,"author":223,"museum":300,"description":49676,"tags":49677,"thumbUrl":49678,"material":84,"size":84,"collection":84,"collections":49679,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},235299,"xu-gu-lan-hua-zhou-yi-ming-235299","虚谷兰花轴","此作用枯淡墨色挥写岩壁，皴擦老辣苍劲，留白愈显空灵疏朗。垂落兰叶以中锋行笔，如素练飘曳，笔力柔韧挺拔，墨色干湿浓淡交叠，将兰叶舒展之姿尽显无余。淡红轻晕兰花，简笔点染便得娇柔妍态，于素雅底色上晕开一抹温柔生机。\n全画以少胜多，将兰花空谷幽芳的高洁风骨藏于笔墨之中，以画寄情，尽显文人写意的清雅禅意，把兰草清逸脱俗之态勾勒得淋漓尽致。",[304,24,7,165,128,27,369,605,171,61,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77ac63d45e7e281058ce026acac47742.jpg",[],{"id":49681,"slug":49682,"title":14818,"dynasty":54,"author":223,"museum":300,"description":49683,"tags":49684,"thumbUrl":49685,"material":84,"size":84,"collection":84,"collections":49686,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},235159,"hong-ren-shan-shui-ce-yi-ming-235159","此作诗书合璧，意韵清寂淡远。画面中山石以淡墨轻勾慢皴，简劲利落，危崖垂瀑，涧水泠泠仿佛可闻，旁侧古木疏朗，枝叶简净，留白铺就出悠远天地，尽显萧疏空灵。\n\n题笔书法清隽挺秀，与山水意趣相融，暗合林泉幽怀。整幅以极简笔墨写尽山川风骨，冷静出尘的禅意溢满尺幅，将山野间苍岩古渡的幽寂之境凝于纸面，尽显文人山水寄情丘壑的雅逸，藏着独与天地精神往来的林下襟怀。",[24,7,59,128,132,64,208,29,495,34,497,99,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35e7428e9559f5e031d87ab5bba48b8a.jpg",[],{"id":49688,"slug":49689,"title":49690,"dynasty":54,"author":17240,"museum":300,"description":49691,"tags":49692,"thumbUrl":49693,"material":84,"size":84,"collection":84,"collections":49694,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},235136,"shuang-feng-lan-re-tu-zhou-cha-shi-biao-235136","双峰兰若图轴","此作用笔简率松秀，以干笔淡墨绘就林泉丘壑。构图兼具高远、深远之致，上部平湖远山，轻舟泛波，空寂悠然；中部危崖矗立，山居隐于幽谷林麓；下部溪桥蜿蜒，长松杂木苍润清隽。\n画风承袭倪瓒遗意，意境荒寒清旷，题诗与山水交融，将暮色归舟、倦鸟投林的幽寂禅意晕开，尽显江南山水的雅逸空灵，把遗民文人孤寂淡远的心境，寄寓于萧散淡远的林泉之间，是逸笔山水的上乘之作。",[24,7,165,128,132,29,11998,171,98,331,99,129,758,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9077b316f660c1c5318a901885a06687.jpg",[],{"id":49696,"slug":49697,"title":49698,"dynasty":124,"author":49389,"museum":300,"description":49390,"tags":49699,"thumbUrl":49700,"material":692,"size":1293,"collection":84,"collections":49701,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},234826,"jiang-nan-chun-se-tu-shan-wen-cong-jian-234826","江南春色图扇",[1131,24,7,29,27,99,129,4363,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9775cd52498585ad3bd8ab52b20e0ceb.jpg",[],{"id":49703,"slug":49704,"title":49705,"dynasty":124,"author":223,"museum":300,"description":9208,"tags":49706,"thumbUrl":49707,"material":84,"size":84,"collection":84,"collections":49708,"showCount":392,"zanCount":1116,"manualWeight":48,"mainColor":49},234681,"ming-ren-hong-liao-qing-ting-wan-ye-yi-ming-234681","明人红蓼蜻蜓纨页",[24,7,1131,28,27,61,27479,608,230,806],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd4dece5ebaf33ae1126c53f9846d96a.jpg",[],{"id":49710,"slug":49711,"title":49712,"dynasty":54,"author":49713,"museum":300,"description":49714,"tags":49715,"thumbUrl":49716,"material":84,"size":84,"collection":84,"collections":49717,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},234617,"gu-yun-fang-tang-yin-shan-shui-wan-shan-gu-yun-234617","顾沄仿唐寅山水纨扇","顾沄","顾沄（1835—1896年）字若波，号云壶、壶隐、壶翁、云壶外史、濬川、颂墨、病鹤，室名自在室、小游仙馆。吴县（今属江苏苏州）人。布衣。工画山水，清丽疏古，得“四王”、吴、恽诸家之长。\n顾沄少有丹青之志。片纸尺缣，遇画辄研写不已，时常州、娄东、虞山画风鼎盛，沄深谙山水经营布置之法，画名渐起，遂往上海鬻画。上海乃商贾云集之东南都会，乾嘉时已与维扬、姑苏、宁波等城市同为鬻画之胜地。五口通商，中外资本汇聚，富庶繁华更胜苏、扬。商人风雅，各有所好，便有了各路画家一展伸手之空间。时称“三熊四任”的任渭长、任阜长、任伯年、任立凡、张子祥、朱梦泉以及朱梦庐、胡公寿、虚谷、赵之谦、王秋言、蒲作英、钱慧安、吴昌硕、吴石仙、陆廉夫、倪墨耕、吴观岱等周边画家，先后前往上海发展，遂有海上画派之兴起。沄一生恪守有清以来之正统画风，功力深厚，倒也在新风阵阵之沪上知音多多，以“泽古功深，集四王吴恽诸家之长”独树一帜。光绪十四年（1888）尝北赴京畿，与诸士大夫游，又于同年东游扶桑。画名远播（光绪十四年(1888)游日本，遍览东京诸胜，所画一树一石皆备受赞赏。长期鬻画沪上。出版有《顾若波山水集册》。\n工山水，由“四王吴恽”入手，上探元、明诸家。墨法明润秀雅，笔意疏古清丽，吴侬软语，浅斟低唱，得柔美之致，乏遒劲之气。间有水墨直师王蒙、小青绿逼似文徵明者，功力之深厚，时罕其俦。",[164,24,7,1131,128,132,330,29,1144,96,131,37,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19ec48b9c827ff6ad82c1e990c175f2d.jpg",[],{"id":49719,"slug":49720,"title":49721,"dynasty":54,"author":19362,"museum":20,"description":49722,"tags":49723,"thumbUrl":49725,"material":734,"size":49726,"collection":84,"collections":49727,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},234522,"teng-luo-tu-shan-ye-liao-yun-jin-234522","藤萝图扇页","此图为工写结合的设色花卉。紫藤的藤蔓由右向左延伸，结串的藤花以紫色染就不见笔痕，叶片先勾后染，设色轻妆淡写，运笔纤细工整，注重叶子阴阳向背的表现，每片叶子都具有立体感。其画风脱去尘俗，于妍丽中见秀雅，粉墨中露清姿，自出性灵，非寻常学力所能及。",[24,7,1131,27,28,61,49724,208],"藤萝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15bc6b67350636ca42aa3771ac6d962f.jpg","纵16.2厘米，横49.5厘米",[],{"id":49729,"slug":49730,"title":39762,"dynasty":54,"author":3437,"museum":20,"description":38649,"tags":49731,"thumbUrl":49732,"material":734,"size":84,"collection":84,"collections":49733,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},234364,"qiu-shan-xing-lv-tu-zhou-tang-dai-234364",[24,7,165,27,132,29,663,34,6639,47063,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f9a2dd40266c2c72c70a5c569f827d5.jpg",[],{"id":49735,"slug":49736,"title":49737,"dynasty":124,"author":3619,"museum":20,"description":49738,"tags":49739,"thumbUrl":49740,"material":84,"size":84,"collection":84,"collections":49741,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},234270,"wen-zheng-ming-song-yin-lun-gu-cheng-shan-wen-zheng-ming-234270","文徵明松阴论古成扇","文征明（1470一1559年）初名壁，一字征仲，号衡山，江苏长洲（苏州）人。是明代中期著名的画家，书法家。他与沈周、唐寅、仇英并列，合称“吴门四杰”。与唐伯虎、祝枝山、徐祯卿并称“江南四大才子”。晚年与老师沈周并驾齐驱，继沈周之后成为吴门派领袖。从正德到嘉靖年间，据《吴门画史》一书统计，吴派画家共有876人，人材济济，但在当时，出类拔萃，声名显赫，唯有沈周、文征明等一些人。\n文征明的书画造诣极为全面，其诗、文、画无一不精。人称是“四绝”的全才。他虽学继沈周，但仍具有自己的风格。他一专多能，能青绿，亦能水墨，能工笔，亦能写意。山水、人物、花卉、兰竹等无一不工。",[23,24,7,1131,27,96,372,29,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5db5d940afc01ae57628128afa2dc12.jpg",[],{"id":49743,"slug":49744,"title":49745,"dynasty":124,"author":19170,"museum":20,"description":49746,"tags":49747,"thumbUrl":49748,"material":734,"size":49749,"collection":84,"collections":49750,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},234152,"feng-yuan-dang-xiong-tu-juan-ding-yun-peng-234152","冯媛挡熊图卷","此图以翠竹、梧桐、椿树、湖石为背景，表现了冯媛挡熊的故事场景。据《汉书•外戚传下•冯昭仪》记载，西汉建昭年间，元帝率左右随从，于后宫观斗兽。突然有熊逸出圈，攀栏欲上殿，冯婕妤冲上前挡熊而立，保护元帝免遭伤害。“冯媛当熊”应为爱君之典。《汉书》卷三十六称“《列女传》凡八篇，以戒天子”。",[23,24,7,25,28,27,96,949,33483,34,131,170,133,938,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F830255b25762baaa67f04e22303126f0.jpg","纵32.6厘米，横148.8厘米",[],{"id":49752,"slug":49753,"title":49754,"dynasty":144,"author":4034,"museum":20,"description":49755,"tags":49756,"thumbUrl":49757,"material":514,"size":49758,"collection":84,"collections":49759,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},234081,"yu-qiao-wen-da-tu-dan-ye-sheng-mao-234081","渔樵问答图单页","图中绘江水涛涛，远处山峦起伏，江中蓬船上一渔人垂杆而钓，坡岸树阴下樵夫踞坐，与舟中人对语，身旁置柴一担。笔墨精到，设色谈雅，营造出静谧祥和的氛围。渔樵问答是常见的表现隐逸文人的题材。",[24,7,128,29,96,34,129,1350,64,208,132,99,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d70c5c72cefda0f9a15b291e9a86fa3.jpg","纵29.1厘米磺20.3厘米",[],{"id":49761,"slug":49762,"title":409,"dynasty":124,"author":2268,"museum":20,"description":40807,"tags":49763,"thumbUrl":49768,"material":3430,"size":5345,"collection":84,"collections":49769,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},234056,"shan-shui-ce-dong-qi-chang-234056",[24,7,59,29,27,128,26,330,132,500,1024,6844,495,35,5324,10059,17243,49764,64,208,49765,3016,49766,49767],"松涧","云树","平远秋景","没骨法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd349114a80d63e993d3286109e0fd10e.jpg",[],{"id":49771,"slug":49772,"title":49773,"dynasty":124,"author":33809,"museum":20,"description":49774,"tags":49775,"thumbUrl":49776,"material":10347,"size":49777,"collection":84,"collections":49778,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},233913,"gui-zi-xiang-yuan-tu-zhou-xiang-yuan-bian-233913","桂子香园图轴","本幅墨笔，上方自题：”园同三五夜，香并一枝芬。项元汴戏为客写桂枝香园图，并题二美交胜，两间造化生物之妙有如此者吾不得而知亦无得而言。请客手眼无隐乎尔。“钦”墨林山人“”檇李“等印。\n项元汴（1524—1590年），明嘉兴（今浙江省嘉兴）人，字子京，号墨林山人，别号香岩居士、鸳鸯湖长、退密斋主人，收藏家、画家。富藏书画等古名物，在明代私家收藏中堪称巨擘。精鉴赏。常见主要印记有“项元汴印”、“子京”、“檇李项氏世家珍玩”、“神品”等。",[24,7,165,128,133,64,208,4106,167,229,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d180f3eaa8b34b9f6e6327b9d5e9f1a.jpg","纵104.5cm，横34.8cm",[],{"id":49780,"slug":49781,"title":49782,"dynasty":54,"author":1219,"museum":20,"description":49783,"tags":49784,"thumbUrl":49785,"material":734,"size":49786,"collection":84,"collections":49787,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},233721,"hua-wu-gan-xiang-zhou-ren-yi-233721","画吴淦像轴","任颐为吴淦作《肖像轴》，纸本，设色，(各)纵130厘米，横56．6厘米。吴淦，字鞠潭，浙江杭州人。工文章，精楷书。",[24,7,165,27,28,96,853,1144,19788],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168e980eff0928894cbc80bc9b850be8.jpg","纵130厘米，横56．6厘米",[],{"id":49789,"slug":49790,"title":20547,"dynasty":18,"author":633,"museum":20,"description":49791,"tags":49792,"thumbUrl":49794,"material":49795,"size":49796,"collection":84,"collections":49797,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},233212,"yan-xiu-lin-ju-tu-ye-xia-gui-233212","图中绘一老者走过板桥，沿小径而行，远处山林后隐现房舍一角，意境幽深。近景树石着重墨，中景以淡墨勾染，至远景则以极浅淡的水墨渲染出一片雾色，拉开空间层次。用笔轻松简洁，皴中带染，染中有皴，整体风格不失精致秀润。构图是夏圭惯用的半边式。\n此图以近、远景的安排构成整幅之大势。远景轻淡，一片空漾，在云雾掩映间现出突兀的山峰；山峰偏左，让出画面右边的空间，使人有云天苍茫、辽阔无际之感。中景平湖河道若隐若现，似有似无。近景则笔健墨浓，是画家着意描绘的对象。临河斜岸树木茂盛，木桥接岸，一人弓背持杖漫步于林间小路，岸左又有长满树木山石的一角。画中树干用双钩，浓墨攒笔随意点染树叶，用笔虽简，却意趣横生。远山及坡石很少用笔皴擦，主以浓淡墨晕染，把山石的立体质感和烟云变幻莫测的动态表现得恰到好处。\n在此扇面上，远处一片空旷、开阔，烟雾飘渺，在云雾笼罩下，左边露出峭秀的山峰，突兀的山峰耸立在群山之巅。山峰偏左，让出右边的空间。使人有云天苍茫，辽阔无际之感，显得轻浅。远景小河流水隐约可见，这是虚；中景平湖河道若隐若现，似有似无，渐渐伸向远处而消失在山谷树丛之中。近景则实，以浓墨笔健画出树丛j组，错落于山石、土坡上，是画家着意描绘的对象，以“树为君，山为辅”的方式构图，主从分清，疏密有致，中问一组起着支撑作用，树高干粗叶茂，两边各一组为辅，只取陪衬作用。处理得自然合乎情理。近景石坡树丛间，小桥曲径隐现，林间幽居的房舍，可见人物行踪。一人转过山石，过小桥，沿着弯曲的小路向坡下的茅屋走去，可见这是一幅诱人的静谧境界。\n整个画面虚实相映，以虚代实，虚实结合。善于利用空白来体现大自然的辽阔、深远。整个画面上疏下密，左实右虚，起到虚实相间，疏密有致，且显示了黑白对比的强烈。全画构图简赅而意蕴深远，前后层次分明，笔墨苍润，水墨淋漓。它不是江南景色的写生，而是以少胜多，以简就繁，以精致的笔墨表达无尽的诗意。而笔法简劲、墨气潮润。作者善用水笔涂抹画面，再用墨笔破之，以此拖泥带水皴法，水墨淋漓之气来表现江南烟雨迷漾之韵致。画近景坡石以秀笔作斧劈皴，充满质感及力度。此画树法以点线为主，树枝干用草率而劲健；山石土坡以线条勾勒轮廓，做到勾皴结合，线面互用，皴中有染，染中有皴，带水斧劈，一气呵成，呈现出水墨淋漓的效果，因此，夏圭山水艺术灵活多样，纵横奔放，精致秀润兼而有之。款署“夏圭”二字，此幅有项元汴、高士奇等藏印共五方。\n陈文璟：《烟岫林居图》营造的正是一种烟云境界，近处以重墨勾勒树木、山石、人物，皴染却以淡墨扫出，显得浓重透出空间来，使节奏感明快而庄重，而远山渺渺，烟雾缭绕，使背景和前景的对比更加突出，则人物所居，自然是“只在此山中，云深不知处”。尤为人不可及的当然是线条的凝练畅快，显示出画者的心态安定而悠闲忘机，既不媚世求欢，也不率意而狂狷，彬彬然，霭霭然，内敛而外平，越品味越觉意味深远，不免有“珠玉在侧，觉我形秽”的感慨。\n陈振濂：《烟岫林居图》为小团扇——这是宫廷内多见的特殊形式。笔墨皆一遍施足，不重复皴染——这是步骤的简；树木繁纷，但却以粗笔为之，形成几个团块组合，外形并不过于曲折回环——这是造型的简。远山一二而已，空白处尽量加多，以见旷达之趣、约略之景——这是构图的简。最后，并无峰回路转、溪桥重叠、丘壑幽深的气韵：一切都是平淡的、直率的、简约的。这三种简复合起来，即构成一个简洁的减笔夏挂。",[24,164,7,29,128,132,4437,663,413,9402,49793,9550,131],"居处","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73197fa365d71fb00c132cb41deb0b52.jpg","绢本 ，墨笔","纵25cm，横26.1cm",[],{"id":49799,"slug":49800,"title":39900,"dynasty":54,"author":1460,"museum":20,"description":43590,"tags":49801,"thumbUrl":49802,"material":611,"size":11341,"collection":84,"collections":49803,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},233129,"yuan-ji-shan-shui-ce-shi-tao-233129",[24,7,59,128,27,29,758,34,415,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73ea36ca025104421f82367b525e57ec.jpg",[],{"id":49805,"slug":49806,"title":39900,"dynasty":54,"author":1460,"museum":20,"description":43590,"tags":49807,"thumbUrl":49808,"material":611,"size":11341,"collection":84,"collections":49809,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},233125,"yuan-ji-shan-shui-ce-shi-tao-233125",[24,7,59,128,27,29,97,1337,131,208,64,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93ecd5e9a88ca195d5a33c884ecf3e42.jpg",[],{"id":49811,"slug":49812,"title":49813,"dynasty":124,"author":38937,"museum":20,"description":49814,"tags":49815,"thumbUrl":49816,"material":1722,"size":49817,"collection":84,"collections":49818,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},233121,"zhao-xian-juan-zhang-ling-233121","招仙卷","此图又名《朝仙图》，是幅以景寓情的杰作。皓月当空的桥头处，一清丽女子低眉笼袖悄然伫立。作者通过绘女子的饰带微微上扬，岸边的芦荻摇摆不定，巧妙地暗示出晚风席地而起的寒意。通过构图上大面积留白的处理烘托出画面寂寞凄凉的氛围。女子在此萧索的情景中不禁惆怅慨叹之情陡起，而这种凄婉的心境亦是作者自身不得志的写照。 图中女子的画法承袭了宋元以来的“白描”技法。作者以墨笔勾描人物面部及衣纹服饰。线条遒劲圆转，富有表现力度并有轻重缓急等诸多变化，显示出作者以线造型的精湛造诣。此外，作者还根据所绘物象的不同巧妙地运用了墨染法，人物的头部以浓墨晕染，芦荻、芙蓉叶等为深墨晕染，衣装饰带用淡墨晕染，深浅程度不同的墨韵无疑起到了扩大画面的层次和空间感的作用。此图不仅是张灵的代表作，亦是明代白描人物画的精品之作。 明代张丑《清河书画舫》在著录此图时言：“张梦晋《朝仙图》卷后有唐子畏题咏。”但目前此图并无唐寅的咏题，显然后世好事者在张丑目睹之后将唐寅的题咏割去而移作它用了，从而令原是书画合璧之作减色，使张灵与唐寅间的笔墨交往失去了重要的佐证。在唐寅的《六如居士补遗》中查到他为此图所作的题咏，名为《招仙曲》：“郁金步摇银约指，明月垂珰交龙绮。秋河拂树蒹葭霜，哪能夜夜掩空床。烟中滉滉暮江摇，月底纤纤露水飘。今夕何夕良宴会，此地何地承芳佩。”显然，唐寅的诗情与张灵的画意是完全吻合的。",[24,7,25,128,188,166,231,1771,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ed1d30780fb498a81dae48abdae7351.jpg","纵29.8厘米，横111.5厘米",[],{"id":49820,"slug":49821,"title":4229,"dynasty":54,"author":4468,"museum":20,"description":11261,"tags":49822,"thumbUrl":49824,"material":40,"size":11264,"collection":84,"collections":49825,"showCount":392,"zanCount":1998,"manualWeight":48,"mainColor":72},232971,"hua-niao-ce-lang-shi-ning-232971",[164,24,7,59,28,27,14386,375,1314,582,61,10803,28172,49823],"光影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f6041cf4527a2b11a1a31782ac66d2a.jpg",[],{"id":49827,"slug":49828,"title":49829,"dynasty":54,"author":49830,"museum":244,"description":49831,"tags":49832,"thumbUrl":49833,"material":1223,"size":49834,"collection":84,"collections":49835,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},232815,"gao-zong-yu-ti-fan-cheng-da-ji-zao-ci-zhou-kun-232815","高宗御题范成大祭灶词","周鲲","周鲲 ，字天池，江苏常熟人。画承家学，工山水、人物，梅花亦佳。乾隆(一七三六至一七九五)时供奉如意馆。尝以闾阎疾苦情形托诸艺事，蒙御题，有:监门遗故事，咨尔溯其踪句。所作多藏石渠宝笈。《国[清]朝画徵续录、虞山画志、石渠宝笈、清画家诗史》\n宋代诗人范成大的《祭灶词》对当时民间祭灶作了极其生动的描写：古传腊月二十四，灶君朝天欲言事。云车风马小留连，家有杯盘丰典祀。猪头烂热双鱼鲜，豆沙甘松粉饵团。男儿酌献女儿避，酹酒烧钱灶君喜。婢子斗争君莫闻，猫犬角秽君莫嗔；送君醉饱登天门，杓长杓短勿复云，乞取利市归来分。\n周鲲所绘《范成大祭灶词》 立轴上有乾隆帝所书宋代诗人范成大的《祭灶词》：古传腊月二十四，灶君朝天欲言事。云车风马小留连，家有杯盘丰典祀。猪头烂热双鱼鲜，豆沙甘松粉饵团。男儿酌献女儿避，酹酒烧钱灶君喜。婢子斗争君莫闻，猫犬角秽君莫嗔；送君醉饱登天门，杓长杓短勿复云，乞取利市归来分。\n清高宗爱新觉罗·弘历即乾隆帝，在位六十年，禅位后又任三年零四个月太上皇，实际行使国家最高权力长达六十三年零四个月，是中国历史上实际执掌国家最高权力时间最长的皇帝，也是中国历史上最长寿的皇帝。\n乾隆的书法从学习赵孟入手。乾隆本人雅赏赵孟的书法，心慕手追，身体力行。游览名胜每到一处，作诗纪胜，御书刻石，其书圆润秀发，在宫中、御园、名胜古迹、寺庙等几乎到处可见其墨迹，至今海内乾隆御碑甚多，其擅书之名流传普遍。 从他的书法作品中可以发现，书学起步仍是康熙时流行的宫廷馆阁体书法，后在承学各家中选定赵孟丰圆肥润的书法。从存世的乾隆书迹看，他的字字体稍长，楷书中多有行书的笔意，行书中又往往夹杂着草书的韵味，点画圆润均匀，结体婉转流畅，缺少变化和韵味，并无明显的成就，评者称其“虽有承平之象，终少雄武之风”。",[23,24,7,165,128,27,28,132,29,96,34,1337,1144,35,31,131,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44de7adfd07f2e2945457b9bb674cfc2.jpg","113×28.6cm",[],{"id":49837,"slug":49838,"title":49839,"dynasty":18,"author":20026,"museum":12686,"description":49840,"tags":49841,"thumbUrl":49842,"material":514,"size":49843,"collection":84,"collections":49844,"showCount":392,"zanCount":1998,"manualWeight":48,"mainColor":49},232618,"luo-han-xi-zhuo-tu-li-zhou-lin-ting-gui-232618","罗汉洗濯图立轴","这幅画描绘的是佛教僧侣日常生活中的一个场景，属于一套一百幅描绘五百罗汉或佛教圣人的挂轴。这套画于1175年由一位佛教方丈委托，三年后由林庭珪和另一位画家周季常共同完成。这些画在13世纪被运往日本，最终成为京都佛教寺庙大德寺的财产。1894年，需要修缮资金的大德寺在美国波士顿展出了其中44幅卷轴，其中10幅售出。这幅画是当时日本人赠送给美国巡回展的组织者，后者于1902年把它卖给了查尔斯·朗·弗利尔（Charles Lang Freer）。\n此幅作品林庭珪用精确的轮廓和明亮、不透明的颜色画出了六个人物。画面中，五罗汉和他们的仆人正在洗衣服，并把衣服晾在外面晾干。右下角有几乎完全看不清的艺术家签名，用金粉题写。",[23,164,24,7,165,187,27,28,96,1337,99,497,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d9932e8b6df250624925fe2c5bd5f4f.jpg","112.3×53.5cm",[],{"id":49846,"slug":49847,"title":49848,"dynasty":222,"author":49849,"museum":300,"description":49850,"tags":49851,"thumbUrl":49852,"material":692,"size":1293,"collection":84,"collections":49853,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},231741,"an-tu-tao-shan-shi-dai-gui-tu-ping-feng-shou-ye-yong-de-231741","安土桃山时代 桧图屏风","狩野永德","狩野永德（1543年～1590年），日本画家。名州信，通称源四郎。1543年1月13日生于山越国（今京都），卒于1590年9月14日。他的传世作品还有《唐狮子屏风》、《桧图屏风》及《洛中洛外图屏风》等。",[23,164,24,7,1349,27,29,413,99,131,950,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c0049bfcdc4c1a73a70e15f916753b.jpg",[],{"id":49855,"slug":49856,"title":49857,"dynasty":222,"author":223,"museum":300,"description":49858,"tags":49859,"thumbUrl":49862,"material":692,"size":1293,"collection":84,"collections":49863,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},231659,"bu-dong-ming-wang-ba-da-tong-zi-xiang-yi-ming-231659","不动明王八大童子像","正中明王身色玄黑，忿怒相威严逼人，身周烈焰翻卷如浪，将降魔的慑人气场拉满。环伺的童子神态各异，或怒目圆睁彰显忿怒护法之态，或垂首恭谨尽显侍从之仪。\n衣纹线条苍劲流畅，朱砂焰纹与沉褐底色交织碰撞，古雅厚重的敷色晕染开岁月的质感。整幅画面主次分明，以明王为核心铺陈开密宗护法的仪轨秩序，工笔精湛入微，将密教忿怒本尊的威慑力与宗教美术的庄严感相融，虽经时光磨蚀，依旧能传递出镇邪安正的肃穆力量。",[23,24,7,187,96,27,49860,227,49861,28],"火焰","明王","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F036997ed5ab0dc4ea2b11b135b0b2416.jpg",[],{"id":49865,"slug":49866,"title":49867,"dynasty":222,"author":35258,"museum":300,"description":49868,"tags":49869,"thumbUrl":49870,"material":692,"size":1293,"collection":84,"collections":49871,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},231617,"bai-miao-shi-er-tian-tu-xiang-huo-tian-zhen-hai-231617","白描十二天图像 火天","本图为珍海（1092～1152）仿照醍醐寺三宝院相传的十二天像的图像临摹而成，在现存的十二天像立像中属于最古老的白描图像。",[23,24,7,165,187,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1d650321fc7dcaf72841af7193f4ef4.jpg",[],{"id":49873,"slug":49874,"title":49875,"dynasty":222,"author":49876,"museum":300,"description":49877,"tags":49878,"thumbUrl":49879,"material":151,"size":49880,"collection":84,"collections":49881,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},231578,"hua-yin-ying-hua-tu-juan-guang-lai-231578","花隐樱花图卷","広瀬","江户时代樱花的萌芽增加，作者广濑花隐以描绘樱花而美丽。",[23,24,7,25,61,28,27,22638,2438,1039,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b5f9759be870fb50edb3c6a69b4f7f.jpg","21×31cm厘米",[],{"id":49883,"slug":49884,"title":13049,"dynasty":144,"author":569,"museum":300,"description":49885,"tags":49886,"thumbUrl":49887,"material":84,"size":84,"collection":84,"collections":49888,"showCount":392,"zanCount":1998,"manualWeight":48,"mainColor":49},231479,"pu-tao-tu-zhao-meng-fu-231479","赵孟𫖯，字子昂，号松雪道人，别号鸥波、水精宫道人等。两浙西路乌程人。元代官员，书画家。其妻为元朝画家、诗人管道昇。元朝画家王蒙之外祖父。赵孟𫖯为宋室后代，后选择与元朝合作，并受到皇帝宠爱，“荣际五朝，名满四海”，官至翰林学士，是元代文人画、书法的领袖人物。",[24,7,165,128,133,2334,548,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe10dcc024257120bea82518be05de76f.jpg",[],{"id":49890,"slug":49891,"title":49892,"dynasty":18,"author":223,"museum":244,"description":49893,"tags":49894,"thumbUrl":49895,"material":173,"size":19022,"collection":84,"collections":49896,"showCount":392,"zanCount":1998,"manualWeight":48,"mainColor":49},231079,"xue-lu-shuang-yan-tu-yi-ming-231079","雪芦双雁图","《国宝在线:全景花鸟》介绍了我国古代绘画瑰宝，是表现我国古代花鸟绘画手法的珍品。\n包括：元朝张舜咨的《雪界翁黄鹰古桧图》，宋朝佚名的《雪芦双雁图》、《桃花鸳鸯图》、《梅竹聚禽图》，宋朝崔白的《双喜图》，宋朝李迪的《枫鹰雉鸡图》等。\n《国宝在线:全景花鸟》由 出版。",[24,164,7,165,28,27,6704,1824,211,171,1326,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25e4009402f3bfb576c6fa71004de73d.jpg",[],{"id":49898,"slug":49899,"title":1230,"dynasty":18,"author":491,"museum":244,"description":49900,"tags":49901,"thumbUrl":49902,"material":84,"size":84,"collection":84,"collections":49903,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},230967,"shan-shui-tu-guo-xi-230967","此作以寒林雪霁铺陈意境，枯木老枝虬曲如铁，雪覆苍崖尽染萧寒之气。江间扁舟泊于寒波之上，舟中旅人围坐，将天地荒寒与人间暖意轻轻揉合。\n笔意苍润兼具，山石以卷云皴勾勒皴擦，留白尽显积雪厚重。枝桠以蟹爪笔法写就，枯涩清奇尽展冬日况味。半边取景铺陈开江天空寂辽远，于极简尺幅中藏着深挚诗意，将江湖旅人身处荒寒的幽微心绪淡淡晕开，静穆里揉着暖融烟火气，尽显寄情山水的雅致意趣。",[23,24,7,29,132,128,27,59,129,331,131,31,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F685346f5eec9d79ffa2c528fdca60dc9.jpg",[],{"id":49905,"slug":49906,"title":49907,"dynasty":54,"author":2582,"museum":300,"description":2583,"tags":49908,"thumbUrl":49909,"material":692,"size":1293,"collection":84,"collections":49910,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},230928,"lan-shi-tu-wang-wu-230928","兰石图",[24,7,1131,128,27,369,375,1314,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818304cde9ff66cdef25c7b98f674d5b.jpg",[],{"id":49912,"slug":49913,"title":49914,"dynasty":18,"author":40909,"museum":300,"description":49915,"tags":49916,"thumbUrl":49917,"material":84,"size":84,"collection":84,"collections":49918,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},230863,"tao-sheng-tie-cai-xiang-230863","陶生帖","《病中偶书二首》是宋代诗人蔡襄所作诗词之一。\n宋 蔡襄（112－167），字君谟，原籍仙游枫亭乡东垞村，后迁居莆田蔡垞村，天圣八年（1）进士，先后在宋朝中央政府担任过馆阁校勘、知谏院、直史馆、知制诰、龙图阁直学士、枢密院直学士、翰林学士、三司使、端明殿学士等职，并出任福建路（今福建福州市）转运使，知泉州、福州、开封（今河南开封市）和杭州府事。\n卒赠礼部侍郎，谥号忠。\n主持建造了我国现存年代最早的跨海梁式大石桥——泉州洛阳桥，蔡襄为人忠厚、正真，讲究信义，而且学识渊博，书艺高深，书法史上论及宋代书法，素有“苏、黄、米、蔡”四大书家的说法。\n蔡襄书法以其浑厚端庄，淳淡婉美，自成一体。\n蔡襄传世墨迹有《自书诗帖》、《谢赐御书诗》，以及《陶生帖》《郊燔帖》、《蒙惠帖》墨迹多种，碑刻有《万安桥记》、《昼锦堂记》及鼓山灵源洞楷书 “忘归石、”“国师岩”等珍品。\n已感节候变，物态 。\n那复壮年意，如今多病身。\n净室焚香久，烘炉煮药频。\n神欢百虑解，销尽眼前尘。",[64,133,7,1326,1590,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13fa495c119733907c887b832e87e117.jpg",[],{"id":49920,"slug":49921,"title":49922,"dynasty":54,"author":872,"museum":300,"description":6719,"tags":49923,"thumbUrl":49924,"material":692,"size":1293,"collection":84,"collections":49925,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},230285,"tang-sun-ti-shi-zhu-da-230285","唐孙逖诗",[23,24,7,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d7084dd8942d92792c4688b230d5796.jpg",[],{"id":49927,"slug":49928,"title":49929,"dynasty":54,"author":872,"museum":300,"description":6719,"tags":49930,"thumbUrl":49931,"material":692,"size":1293,"collection":84,"collections":49932,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},230274,"nei-jing-jing-zhen-ji-7-zhen-zhu-da-230274","内景经真迹7帧-",[23,64,133,7322,208,7,611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8edada7cd47b23b6ae58f1db52e17f32.jpg",[],{"id":49934,"slug":49935,"title":49936,"dynasty":54,"author":6946,"museum":300,"description":49937,"tags":49938,"thumbUrl":49939,"material":84,"size":84,"collection":84,"collections":49940,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},230211,"qian-long-huang-di-xi-xiang-tu-zhou-ding-guan-peng-230211","乾隆皇帝洗象图轴","《乾隆皇帝洗象图》是清代画家 创作的纸本设色画，现藏于 。\n此图绘乾隆皇帝行乐生活的一个场面。\n画中乾隆扮作普贤菩萨，高坐莲座。\n侍者扮作玉女、金童及天王，分立两旁。\n几位僧侣仆人正在洗刷一头白象，准备搭上毛毡锦垫，以供“菩萨”骑用。\n画下三位僧人，一位正在清扫，另二位正在传接经书，欲呈献皇帝。\n此图设色艳丽，气氛和谐。\n此图中的弘历乾隆帝和大象占据画幅的中心主要位置，起到突出主题的作用。\n画幅上端坡行堤岸，左右两侧各有二棵苍松，尤其是左侧两棵巨松，树干粗壮，交叉曲直向上，枝叶茂密，乾隆在巨松荫下观看洗象。\n画幅下端似一片丘陵地带，山岗亘连，花草丛生，还画有二位长老。\n弘历坐在宝椅上，身着一身佛装。\n作者自识：“乾隆十五年六月臣了观鹏恭绘。\n”下钤“臣观鹏”、“恭画”二印；画面上方钤有“乾隆御览之宝”一印。\n该图取材于佛教故事，表现普贤菩萨观看诸圣徒为其坐骑白象洗刷的情景。\n乾隆皇帝受佛学大师三世章嘉活佛的影响，数十年倾心于佛学研习。\n他为了表示对佛教的信仰，不仅大建佛寺，译佛经，造法器及写经自修，而且还将自己比喻成佛教中菩萨的化身，罩上一层神秘的宗教光环。\n他命宫廷画家或画佛喇嘛，绘制了多幅他扮作菩萨的画像，此图便是其中之一。\n此图画于乾隆十五年（175年），时弘历（即乾隆帝）4岁。\n此画将乾隆喻作法力无边、救苦渡难的菩萨， 其主旨不言而喻。\n图中人物面部以西法绘成，富有写实感，具有肖像画性质。\n画法很细致，当出自供奉宫廷的意大利画家郎世宁之手。\n弘历端坐宝位上，人物造型明显大于其他人物，神态肃穆。\n面部以西洋技法，立体感较强，故从风格和水平来看，乾隆像当出自郎世宁的手笔。\n至于其他人物和景致，均为丁氏所绘制，如人物造型的今张、奇古，及屈曲颤动的线条等。\n构图也是中国传统形式。\n总体来看，此画绘制精细，色泽华丽，中西合壁。\n画面取云雾缥缈、山泉粼粼、木石山花骨秀清逸之处为背景，突出仙界气氛。\n人物衣褶皆用战笔流水描，宛转卷曲，古拙奇趣。\n人物面部用淡色晕染，富有体积感，尤其乾隆的面部，更具有写实的意味。\n研究员李湜：此图在设景布势上富于机巧，以曲水为脉，将树石、惠草连成一体，同时也将众多的人物圈聚在一起，进而突出了乾隆皇帝的主体位置。\n图中人物的衣纹勾线瘦挺颤掣，曲转顿挫，富于动感，它不仅丰富了画面的视觉效果，同时，也准确地勾勒出不同状态下人物的各种形体变化。\n全图设色艳丽，富有装饰感，带有 高贵典雅的特征。\n丁观鹏，生卒年不详，顺天（今北京）人。\n雍正时供奉内廷。\n擅画道释、人物和山水，画学同宗丁云鹏，有出蓝之誉。\n画风工整细致。\n传世作品有《仿顾恺之洛神图》《弘历洗象图》《乞巧图》。",[23,24,7,165,28,27,96,949,14225,5490,29,34,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa997e0e055cd600a62b3aec5fc5facab.jpg",[],{"id":49942,"slug":49943,"title":49944,"dynasty":54,"author":5879,"museum":300,"description":49945,"tags":49946,"thumbUrl":49947,"material":84,"size":84,"collection":84,"collections":49948,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},230169,"shan-shui-shi-er-kai-hua-ce-hua-yan-230169","山水十二开画册","此作青绿设色清润雅致，山石以皴染晕开，糅合苍劲与秀润。古松虬枝横斜，蟠曲苍劲，松针攒簇尽显古拙生机。飞瀑层叠跌落，汇入山下溪涧，浅滩空舟系岸，不见钓者，愈衬出秋山清寂。\n\n右上角题诗与画境相契，以白鸥、钓舟点出幽居隐逸的闲趣。诗画交融，将秋日溪山的萧疏淡远，和寄情林泉的雅意融为一体，笔底兼具文人画的简淡诗意与灵动生气，无繁复堆砌，尽是悠然出世的林下之风，观之令人沉静忘俗。",[164,24,7,59,128,26,27,29,1144,131,34,99,98,129,4278,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa515902d2b222c91f48162a7d0369c12.jpg",[],{"id":49950,"slug":49951,"title":49952,"dynasty":54,"author":1504,"museum":300,"description":49953,"tags":49954,"thumbUrl":49955,"material":84,"size":84,"collection":84,"collections":49956,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},230141,"si-yan-lian-zheng-ban-qiao-230141","四言联","此作用笔纵逸老辣，主体“得大自在”四字雄开张拓，线条提按顿挫尽显朴厚筋骨，带着标志性的“六分半书”意趣，融诸体于一体，打破规整法度，奇崛跌宕。\n\n两侧小字题款灵动流美，与大字形成疏密虚实的鲜明对比，让整幅章法错落和谐，气息贯通无碍。墨色枯湿浓淡相宜，枯笔见苍劲，重墨显沉浑，将书法的形式美感与“得大自在”的禅意抒怀完美相融，尽显作者疏朗超脱的襟怀，把清人尚意抒怀的书法特质挥洒尽致，文气与笔力共生，是极具个人风格的书法精品。",[23,24,7,165,128,10886,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f41e7ff2e617d50d91127a94c018d01.jpg",[],{"id":49958,"slug":49959,"title":27698,"dynasty":54,"author":25699,"museum":300,"description":49960,"tags":49961,"thumbUrl":49962,"material":84,"size":84,"collection":84,"collections":49963,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},230113,"shan-shui-ce-ye-xi-gang-230113","此作用淡墨晕染铺就底色，山峦以枯笔皴擦勾勒嶙峋肌理，留白衬出山涧飞瀑，似能闻声泠泠。坡岸杂木错落，虬曲与挺拔相映，淡墨点叶疏密有致，尽染清秋疏朗况味。\n\n左侧茅舍临水幽居，隔绝尘嚣；右侧板桥孤悬，更衬林泉静寂。右上角题字清雅，与山水意境相融，满溢文人书卷之气。\n\n整幅以简淡为骨，笔意松秀空灵，不事浓丽雕琢，将出世幽居之思寄于萧散山光水色，以笔墨写心，尽显静穆淡远的林下之风，藏着文人心底的丘壑。",[24,7,59,128,132,29,131,34,495,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ba38e7a5a03f2ceeed631fcab0deec5.jpg",[],{"id":49965,"slug":49966,"title":49967,"dynasty":54,"author":49968,"museum":300,"description":49969,"tags":49970,"thumbUrl":49971,"material":84,"size":84,"collection":84,"collections":49972,"showCount":392,"zanCount":1998,"manualWeight":48,"mainColor":72},228971,"shan-shui-ce-ye-4-kai-ji-yun-228971","山水册页4开","纪昀","层岩如篆，方折奇崛，烟岚柔漫缠绕崖谷，虚实相生间划分出山林层次。半山幽轩凭岩而起，飞桥悬于流泉之上，山麓水榭凌波，扁舟静系矶头，屋舍藏于林泉深幽处，尽显幽居雅趣。\n\n笔墨刚柔相济，干笔硬挺勾勒方整岩块，皴写出山石苍劲质感，轻敷淡晕出空蒙烟岚。整幅取景清寂，将林下栖居的悠然意趣藏于山重水复之间，淡墨轻岚里晕染出简澹清远的文人意境，把林泉高致的隐逸情怀融于尺幅之中。",[23,24,7,59,128,132,29,97,130,129,131,34,37,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bfb35ed9c8dbdfc3887c3b0034f1efa.jpg",[],{"id":49974,"slug":49975,"title":49976,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":49977,"thumbUrl":49978,"material":692,"size":1293,"collection":84,"collections":49979,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},228878,"shan-mian-16-kai-wen-zheng-ming-228878","扇面16开",[23,24,7,1131,27,128,29,1144,35,96,12424,34,131,1023,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68c9a8fe894a74a812bf08326153bd60.jpg",[],{"id":49981,"slug":49982,"title":49983,"dynasty":124,"author":204,"museum":300,"description":19353,"tags":49984,"thumbUrl":49985,"material":692,"size":1293,"collection":84,"collections":49986,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},228856,"shan-mian-hua-xuan-chou-ying-228856","扇面画选",[23,24,7,1131,28,27,96,129,29,413,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fc80210af56788cd85ba9dc0cd734cc.jpg",[],{"id":49988,"slug":49989,"title":44795,"dynasty":124,"author":18090,"museum":300,"description":49990,"tags":49991,"thumbUrl":49994,"material":84,"size":84,"collection":84,"collections":49995,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},228425,"shan-shui-shi-kai-lan-ying-228425","此作用笔苍秀兼具，远景层峦叠嶂，云气轻笼，山寺浮屠隐现烟岚间，漾出幽寂禅意。近水岸洲渚错落，虬松杂木姿态夭矫，茅庐临水静立，板桥横卧浅流，野逸之趣扑面而来。以斧劈皴写山石，轮廓爽利劲健，墨色浓淡铺陈拉开远近空间层次，将林壑清旷冷寂与山居闲适安然相融，把林泉高致的隐逸向往寄寓寻常丘壑间，简淡尺幅里尽显苍润格调，是意韵悠然的山水小品佳构。",[24,164,7,29,128,132,59,49992,18542,49993,98,99,1144,34287,12976,13414,39237],"山寺","茅庐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdd7732be2a59ff5b0e60ffc6785e38c.jpg",[],{"id":49997,"slug":49998,"title":49999,"dynasty":124,"author":802,"museum":300,"description":50000,"tags":50001,"thumbUrl":50002,"material":84,"size":84,"collection":84,"collections":50003,"showCount":392,"zanCount":1998,"manualWeight":48,"mainColor":49},228280,"wu-xie-shan-tu-zhou-chen-hong-shou-228280","五泄山图轴","《五泄山志》是《五泄山志》编纂委员会编纂的地方志。\n本志记述范围，重点是五泄风景主景区9．5平方公里，以在建景区5平方公里为环界。\n有些必要涉及的人、物、事件，记述范围为传统意义上的整个五泄区域内。\n记述年代，上限不定，下限至2年，个别事件延伸到成稿之时。\n封面 五泄山志 《五泄山志》编纂委员会顾问 《五泄山志》编纂委员会 《五泄山志》编纂室 图片 江泽民与夏征农亲切握手 尉健行视察五泄 俞正声视察五泄 张德江视察五泄 曾培炎视察五泄 五泄导游图 绿树掩清溪 五泄水上森林公园 五泄东龙湫 夹岩烟雨 五泄东湫阁 白鹤临湖 五泄春来早 春在溪头 西源——绿色氧吧 银杏秋韵 江南罕见楠木林 画舫迎客 空气洁净蓝天白云 溪水悠悠 西源步幽亭 灵默真身塔 五泄禅寺 唐·灵默舍利子宝瓶 南北朝砖雕观音 果实(种子)化石 五泄古石器 灵默禅师舍利子 古寺玉兰 山龟 水濑 穿山甲 鸳鸯 眼镜蛇 花蝶 金钱豹 山鸡 蝶恋石蒜花 编纂人员合影 荣誉 陈洪绶《五泄图轴》 五泄山水甲天下 附图 序 《五泄山志》编辑凡例 概述 大事记 目录 第一篇 地理环境 第一章 自然地理 第一节 地理位置 第二节 地理面积 第三节 地理交通 第二章 地质地形 第一节 地质地层 第二节 风景地貌 第三节 土壤 第四节 地形成因 第三章 水文 第一节 水系 第二节 水文测量 第三节 雨量 第四节 经流量、水位 第五节 水质供水量 第四章 旅游气象 第一节 温度和日照 第二节 雨日和概率 第三节 雾和风 第四节 霜和雪 第二篇 自然资源 第五章 植物 第一节 木本植物 第二节 草本药物 第三节 古树名木 第六章 动物 第一节 哺乳纲(兽类) 第二节 鸟纲(禽类) 第三节 爬行纲 第四节 两栖、鱼纲 第五节 昆虫纲 第六节 其它类 第七章 土特产 第一节 土纸 第二节 茶叶 第三节 竹笋 第四节 干鲜果 第三篇 景区沿革 第八章 五泄畈村 第一节 姓氏由来 第二节 群落区划 第三节 移民外迁 第九章 五泄林场 第一节 历史演变 第二节 森林培育 第三节 森林管护 第四节 经营规划 第十章 五泄水库(五泄湖) 第一节 历史背景 第二节 建库经过 第三节 工程规模 第四节 工程效益 第五节 大坝除险加固 第六节 管理体制 第四篇 景区开发 第十一章 县级景区 第一节 项目提出 第二节 组织调查 第三节 确定建设 第四节 合力开发 第五节 首期规划 第六节 开通观瀑通道 第十二章 省级景区 第一节 实地调查 第二节 科学考察 第三节 组织考察 第三节 总体规划 第四节 批准省级景区 第十三章 国家重点风景名胜区 第一节 申报 第二节 创建 第三节 考察与评估 第四节 总体规划 第五篇 风景名胜 第十四章 平湖揽胜 第一节 紫藤长廊 第二节 坝顶揽胜 第三节 平湖泛舟 第四节 湖上观峰 第五节 湖后景观 第十五章 五级飞瀑 第一节 蛟龙出海 第二节 烈马奔腾 第三节 诸态备出 第四节 珠濂飘洒 第五节 隽永奇巧 第十六章 西源探幽 第一节 幽谷 第二节 奇峰 第三节 险崖 第四节 怪石 第五节 清溪碧潭 第六节 朱林 第七节 趣桥 第八节 紫微岭 第九节 刘龙坪 第十七章 开发中的景点 第一节 青口 第二节 玉京洞 第三节 遗址与沈氏宗祠 第六篇 宗教 第十八章 沿革 第一节 历史变迁 第二节 日寇罪迹 第三节 兴衰历程 第十九章 高僧 第一节 灵默 第二节 藏奂 第三节 良价 第四节 正元 第五节 苏溪 第六节 贯休 第七节 茂真 第八节 智三 第九节 敏康 第十节 慈明 第二十章 五泄禅寺 第一节 地理位置 第二节 悠久历史 第三节 寺院佛像 第四节 如意宝塔 第五节 寺院特色 第二十一章 良价祖庭 第一节 曹洞圣迹 第二节 良价出师图 第三节 祖师纪念像 第四节 曹洞宗风 第二十二章 寺院藏品 第一节 灵默石棺 第二节 舍利子宝瓶 第三节 祖师白玉像 第四节 佛像、陶俑、砖雕瓦档 第五节 匾牌、碑刻、字画 第二十三章 佛教活动 第一节 建立、健全寺内规章 制度 第二节 编印五泄禅寺史迹 第三节 开展佛教文化交流 第七篇 管理 第二十四章 管理机构 第一节 行政隶属 第二节 机构沿革 第三节 五泄风景旅游管理局 第四节 公安派出所 第二十五章 现代专业管理 第一节 文物管理 第二节 防火管理 第三节 林木管理 第四节 水库管理 第五节 卫生管理 第六节 规划管理 第七节 工商管理 第八节 安全管理 第八篇 旅游 第二十六章 游览活动 第一节 名人游山 第二节 旅游线路 第三节 大型活动 第二十七章 旅游接待 第一节 五泄旅游公司 第二节 诸暨旅行社 第三节 五泄游客接待中心 第二十八章 服务设施 第一节 馆舍 第二节 交通 第三节 通讯 第四节 商店 第五节 水电 第六节 娱乐 第二十九章 名产 第一节 土特产 第二节 风味小吃 第三节 工艺品 第九篇 文学艺术 第三十章 史志典籍摘抄 第一节 专著拾英 第二节 辞书条目 第三节 史志摘录 第四节 禅史节选 第三十一章 诗词 第一节 五泄胜景(综合篇) 第二节 飞瀑奇观 第三节 西源峡谷 第四节 禅寺觅踪 第五节 平湖掠影 第六节 歌曲 第七节 外围(规划)景点拾零 第三十二章 散记 第一节 游踪散记 第二节 游记纵揽 第三节 开发纪实 第三十三章 石刻联额 第一节 摩崖石刻 第二节 匾额楹联 第三节 书画墨宝 附：编余文化 第三十四章 民间传说 第一节 神话传说 第二节 民间故事 第三节 佚事旧闻 附：本志编辑参考书目 后记 版权页",[23,24,7,165,128,132,29,131,34,496,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b4a8237865cb94c15e5ec9b1b99a949.jpg",[],{"id":50005,"slug":50006,"title":3618,"dynasty":144,"author":20772,"museum":300,"description":50007,"tags":50008,"thumbUrl":50009,"material":84,"size":84,"collection":84,"collections":50010,"showCount":392,"zanCount":1998,"manualWeight":48,"mainColor":49},228258,"mo-zhu-tu-zhang-yu-228258","此作用淡墨挥写新竹，枝茎瘦劲清健，自斜角逸出，竹叶疏密有致、俯仰生姿，寥寥数笔便将竹的疏朗孤傲尽显。不着浓艳，仅以水墨晕染出君子清拔之态，尽显文人写意画的极简意趣。\n画面搭配题咏诗书，印信点缀其间，诗书画印相融，将竹的霜节高格与作者幽淡襟怀合而为一，以竹喻人、托物言志。浅淡墨痕里藏着林下高致，萧散笔墨间尽是淡泊脱俗的心境，虽是水墨小品，却将文人画借物抒怀的意韵表达尽致，尽显水墨写心的清雅魅力。",[23,164,24,7,128,133,208,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55750a6d6d41cc71996763bb18ed76ba.jpg",[],{"id":50012,"slug":50013,"title":50014,"dynasty":144,"author":7181,"museum":300,"description":50015,"tags":50016,"thumbUrl":50017,"material":84,"size":84,"collection":84,"collections":50018,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},228053,"bai-miao-jie-bo-tu-juan-wang-zhen-peng-228053","白描揭钵图卷","此作用纯白描演绎佛教故事，铁线描劲挺匀细如游丝盘桓。画面中众天魔女施百般神通、力士悍然围护，围绕钵盂拉扯对抗，将救子的焦灼与护法的沉凝刻画尽致，人物神态各殊，动静对冲间戏剧张力拉满。布景简淡清逸，衬出道释故事的庄严氛围感。卷后长题跋笔意跌宕，书画合璧，尽显此作的极致造诣，将宗教叙事与笔墨意趣完美融合，是白描人物画的典范之作。",[23,164,24,7,25,188,28,187,96,949,34,131,5626,11074,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ee76ff91c7c036c27dda83ba2b0fe54.jpg",[],{"id":50020,"slug":50021,"title":50022,"dynasty":18,"author":223,"museum":300,"description":50023,"tags":50024,"thumbUrl":50025,"material":84,"size":84,"collection":84,"collections":50026,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},227879,"liu-yuan-xiao-shu-tu-ye-yi-ming-227879","柳院消暑图页","此作以雅致设色铺就消暑闲景。水岸庭院柳丝垂曳，将溽暑揉作柔婉绿意，半掩着临水楼阁。凭栏高士宽袍松带，懒倚轩窗，似在静听蝉鸣、细观涟漪，将暑热倦怠化为幽居闲情。\n屋下侍童躬身奉物，院角仆从悄然添茶，细碎日常衬出庭院松弛意趣。远景浅黛山峦晕染淡远，水色空濛晕着暑日微光，近院花卉娇柔点染，明暗虚实间，将江南夏日常住的清宁消暑意趣尽数铺展，淡而不寡，雅而不奢，尽显宋人的幽居美学，把溽暑里的闲静安然，尽数藏进这绢素方寸之中。",[23,164,24,7,1131,27,28,95,96,97,2372,168,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd078e473f04ccec6ad7f49b6b5cb6b48.jpg",[],{"id":50028,"slug":50029,"title":50030,"dynasty":18,"author":23450,"museum":300,"description":50031,"tags":50032,"thumbUrl":50035,"material":84,"size":84,"collection":84,"collections":50036,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},227755,"jiang-di-fang-mu-tu-yan-ci-ping-227755","江堤放牧图","《四季牧牛图》是南宋画家阎次平创作的绢本浅设色画，现藏于南京博物院。\n\n此画共四幅。春牧绘春野柳坡，细草如茵，一童牧二牛于其间。夏牧绘高树浓荫，芦池夏草，二童跨牛浮水而渡。秋牧绘霜叶满地，幼犊依偎于牝牛，牡牛缓步于傍，牝牛坐弄蟾蜍。冬牧绘雪地残草，寒风呼号，牧童牵牛而归。全图画树木用笔粗简，画牛则精细勾描，人物尤为生动。",[23,24,7,1131,27,29,132,28,102,50033,34,415,171,99,50034],"堤岸","放牧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3a261f44b092c6d8d8542f432afd33d.jpg",[],{"id":50038,"slug":50039,"title":50040,"dynasty":18,"author":23450,"museum":300,"description":50041,"tags":50042,"thumbUrl":50043,"material":84,"size":84,"collection":84,"collections":50044,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},227754,"song-deng-jing-lu-tu-yan-ci-ping-227754","松磴精庐图","《宋阎次平松磴精庐图》是宋代阎次平所创的扇面图。\n\n石矶满布的江畔山岩，长松横斜，密竹丛生。一座典雅的精舍（或书院），紧密地镶嵌在这青山绿水之间。小径由岸边蜿蜒而上，岬角处两张圆石小凳闲置于松下，风景优美而宁静。",[23,24,7,1131,27,29,132,208,1144,97,129,131,34,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fb29b476fe0467fa83caa5ca6d6b7ba.jpg",[],{"id":50046,"slug":50047,"title":50048,"dynasty":18,"author":20081,"museum":300,"description":50049,"tags":50050,"thumbUrl":50051,"material":84,"size":84,"collection":84,"collections":50052,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},227711,"zhong-shan-chu-you-tu-juan-gong-kai-227711","中山出游图卷","《中山出游图》是元代画家龚开创作的一幅墨笔画，现藏于美国弗利尔美术馆。\n\n《中山出游图》绘钟馗及小妹乘舆出游的情景，鬼卒们形状诡异，修短不齐，趋前走后，或抬轿肩壶，或挑行李、持包裹。钟馗环目虬须，回首视妹，目光中流露出无限爱怜之态。小妹端坐舆中，与使女皆以墨代脂粉涂于脸颈，奇趣横生，令人哑然失笑。\n\n《中山出游图》用笔粗放，不绘背景，不敷色彩，只以水墨勾染，风格浑朴，别开生面。",[23,24,7,25,188,128,96,101,5626,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1438e1115f4bdc1b4a44a1253afcd6a.jpg",[],{"id":50054,"slug":50055,"title":50056,"dynasty":18,"author":7264,"museum":300,"description":34522,"tags":50057,"thumbUrl":50060,"material":84,"size":84,"collection":84,"collections":50061,"showCount":392,"zanCount":1998,"manualWeight":48,"mainColor":72},227707,"chu-shan-qiu-ji-tu-shou-juan-mi-you-ren-227707","楚山秋霁图手卷",[23,24,7,25,128,132,208,133,938,29,496,37,6639,50058,50059],"雨后","放晴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27a30fa25fd1b03b5b47718accee7969.jpg",[],{"id":50063,"slug":50064,"title":50065,"dynasty":18,"author":313,"museum":300,"description":50066,"tags":50067,"thumbUrl":50068,"material":84,"size":84,"collection":84,"collections":50069,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},227587,"zao-jiang-tie-huang-ting-jian-227587","糟姜帖","庭坚顿首，承惠糟姜银杏，极感远意，雍酥二斤，青州枣一蔀，漫将怀向之勤，轻渎不罪，庭坚顿首。\n\n《糟姜帖》，又称《承惠帖》，凡5行，37字。无书写时间，从笔法、结体、风格来判断，应是早年所书，大约书于 1086-1093元祐年间。此帖深得张旭、怀素草书飞动洒脱之神韵。用笔紧峭，瘦劲奇崛，气势雄健，结体变化多端。从首行下笔处，便见笔墨自由舒展，至末尾更显随意，可谓心手双畅，臻入化境。此篇手札虽小，而意含万千气象，达到了东坡所谓“少小时须气象峥嵘、彩色绚烂，渐老渐熟，乃造平淡”、“无意于佳乃佳”的境界。",[164,24,7,133,208,8116,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6f56cd8e80bf195332966996f270d3b.jpg",[],{"id":50071,"slug":50072,"title":50073,"dynasty":18,"author":223,"museum":300,"description":50074,"tags":50075,"thumbUrl":50076,"material":84,"size":84,"collection":84,"collections":50077,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},227549,"fang-guo-zhong-shu-xue-ji-jiang-xing-tu-yi-ming-227549","仿郭忠恕雪霁江行图","长于界画的河南籍画家郭忠恕，以纯以墨线描绘两艘冒雪前行、满载货物的船只。画中不但表现了对船体正确结构的兴趣，也呈现出船夫们多样的活动情态，可藉此图想见五代宋初北方界画达到的艺术水平。",[23,24,7,25,95,28,27,29,97,100,3649,47608,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc497068d2ecd6fc3d6b39bdd1d0a3fbf.jpg",[],{"id":50079,"slug":50080,"title":50081,"dynasty":18,"author":223,"museum":300,"description":50082,"tags":50083,"thumbUrl":50084,"material":84,"size":84,"collection":84,"collections":50085,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},227417,"jiang-shan-xing-lv-tu-juan-yi-ming-227417","江山行旅图卷","金代，太古遗民《江山行旅图》素笺本墨笔，手卷，纵40厘米，横449厘米，现藏美国纳尔逊美术馆。\n\n江山行旅图画艺精湛，保存完好，并且流传有绪，实为金代山水画的珍品。 依据款署“太古遗民”推断，此画作者应为一位北宋遗民画家，他隐姓埋名，深居简出，不忘大宋，不愿屈服而甘当遗民。另根据“东皋”钤印判断，这位画家有可能籍贯为东皋 (今山西河津)，而从画面描绘的北方山川风物景色来看也与此地域相近，也可能借此怀念前朝往事。",[23,24,7,25,128,132,29,96,97,98,99,129,130,211,1233,331,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b7a6e166095eda52c8ee30b92608df.jpg",[],{"id":50087,"slug":50088,"title":50089,"dynasty":351,"author":4456,"museum":300,"description":50090,"tags":50091,"thumbUrl":50092,"material":84,"size":84,"collection":84,"collections":50093,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},226704,"su-li-bie-yi-juan-1-zhou-wen-ju-226704","苏李别意卷-1","该幅是描绘苏武与李陵于荒寒北地殷殷话别的情景。",[24,7,25,27,28,96,101,208,1367,5626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4d99aa3ce15fe27667317bcda79a286.jpg",[],{"id":50095,"slug":50096,"title":50097,"dynasty":222,"author":16070,"museum":300,"description":50098,"tags":50099,"thumbUrl":50100,"material":84,"size":84,"collection":84,"collections":50101,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},226652,"qiu-dong-shan-shui-tu-er-qiu-jing-xue-zhou-226652","秋冬山水图二（秋景）","雪舟等杨是日本绘画史上“汉画派”的开创者和集大成者，他的绘画代表着日本汉画的最高成就，他所处的时代是汉画的全盛期。雪舟等杨，12岁入相国寺为僧，热衷于绘画，曾师从日本的山水画大师学习绘画，兼容并蓄临摹了大量的中国宋元的水墨画样式。为了探究中国画之真谛，1467年，他作为画僧随日本遣明使节来到中国，历览中国名山大川，创作了大量的山水画，并向各方绘画大师交流绘画技艺。他领悟到中国画的根源在于中国的自然风物，中国的自然风物是最好的老师。",[23,24,7,128,165,29,97,129,131,99,132,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62940e9c2c67e15be413e65dd353aee4.jpg",[],{"id":50103,"slug":50104,"title":50105,"dynasty":54,"author":5367,"museum":300,"description":35923,"tags":50106,"thumbUrl":50107,"material":84,"size":84,"collection":84,"collections":50108,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},226633,"si-shi-shan-shui-06-pu-ru-226633","四时山水06",[23,24,7,59,128,132,29,30,34,497,99,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a07a1da90f3721a821c6ce420630cd0.jpg",[],{"id":50110,"slug":50111,"title":50112,"dynasty":54,"author":5879,"museum":300,"description":50113,"tags":50114,"thumbUrl":50115,"material":84,"size":84,"collection":84,"collections":50116,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},224172,"han-mei-cui-niao-tu-hua-yan-224172","寒梅翠鸟图","水墨写就老梅枯干，苍劲嶙峋，以浓淡墨色晕染出覆霜带雪的清寒况味，淡粉轻缀梅花，疏落间暗透暗香。\n三只禽鸟各有意态，枝上两只翠鸟头颈相偎，亲昵宛然，羽色晕染细腻柔和；另有一鸟振翅掠空，灵动破寂，为萧寒画面添上蓬勃生趣。\n右侧题跋行书笔致洒脱，文辞与画意相融，更衬出文人雅意。全作用留白铺就冬日清寂底色，却于冷逸间藏着融融生机，将写生的鲜活与文人笔墨的简逸灵秀合而为一，落笔传神尽显幽淡空灵的冬韵雅趣。",[23,24,7,128,27,369,61,371,8865,211,582,1039,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ddfd247e50aebab76cda504b1f8c58f.jpg",[],{"id":50118,"slug":50119,"title":50120,"dynasty":54,"author":223,"museum":300,"description":50121,"tags":50122,"thumbUrl":50123,"material":84,"size":84,"collection":84,"collections":50124,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},223661,"nao-long-zhou-yi-ming-223661","闹龙州","这幅工笔风俗画以春日江畔为底色，屋舍朱黛错落，楼阁上下人头攒动，凭栏共览盛景，市井烟火扑面而来。水面之上龙舟劈波竞渡，旌旗招展，健儿合力挥桨，浪涛随舟翻涌，喧腾的节庆氛围满溢卷间。\n\n远处山峦逶迤浅黛，汀渚桃杏初绽，柔化了喧闹的底色，晕开融融春意。整作设色雅致明丽，工笔细腻入微，将官民同观竞渡的鲜活民俗盛景定格，于细节处铺陈清代市井百态，尽显院体风俗画的写实功力，把春日水乡的温婉与节庆的喧腾完美相融。",[23,164,24,7,25,28,27,95,29,97,96,1516,209,130,36,35,247,11074,249,131,31,1577,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53fe0824f719b89c17c45135e87db139.jpg",[],{"id":50126,"slug":50127,"title":50128,"dynasty":182,"author":223,"museum":300,"description":50129,"tags":50130,"thumbUrl":50131,"material":46594,"size":50132,"collection":318,"collections":50133,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},223397,"tang-mo-huang-ting-jing-quan-juan-yi-ming-223397","唐摹黄庭经全卷","《黄庭经》是道教经典，叙述的养身方面的，分为《外景经》和《内景经》二种，而此卷为《外景经》，卷后依次有宋代滕仲嚞、明代董其昌和元代陈绎曾题跋。本摹本书法峭快，结构稳固，字字传神，为后人学习临摹好字帖。",[23,164,7,25,572,330,64,1590,208,7322,4642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d3b9a8c80c061dcb0801cde82733274.jpg","40X190cm",[318],{"id":50135,"slug":50136,"title":50137,"dynasty":18,"author":223,"museum":300,"description":50138,"tags":50139,"thumbUrl":50140,"material":514,"size":50141,"collection":84,"collections":50142,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},223376,"chu-ping-mu-yang-tu-yi-ming-223376","初平牧羊图","此图不知原载何册，也没有作者姓氏。但画法甚为高超，人物尤精。在描绘人物动态和神情方面，画家具有高超的技艺。",[23,24,7,1131,27,28,96,6300,413,131,414,1326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8d3b9f87123433d8f4bab4bb4d8cd5e.jpg","23.5*24.6厘米",[],{"id":50144,"slug":50145,"title":50146,"dynasty":54,"author":1219,"museum":300,"description":50147,"tags":50148,"thumbUrl":50149,"material":84,"size":84,"collection":84,"collections":50150,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},223226,"shan-mian-ren-wu-ren-yi-223226","扇面人物","绘制山石花草，用笔寥寥，淡墨晕染。画中人物坐竹椅之上，身边童子抱鹅坐于地上，富有生活气息。",[23,24,7,1131,27,128,96,171,1082],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda8dd60918c4a810ce2910db29247b93.jpg",[],{"id":50152,"slug":50153,"title":6956,"dynasty":54,"author":6957,"museum":300,"description":6958,"tags":50154,"thumbUrl":50156,"material":84,"size":84,"collection":84,"collections":50157,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},223080,"shui-hu-ren-wu-ren-xun-223080",[23,24,7,6318,28,27,6956,50155],"持刀人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6376acbdb36128e87dd6eebc6affb58c.jpg",[],{"id":50159,"slug":50160,"title":50161,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":50162,"thumbUrl":50163,"material":151,"size":7879,"collection":84,"collections":50164,"showCount":392,"zanCount":1998,"manualWeight":48,"mainColor":72},223052,"hong-lou-meng-177-sun-wen-223052","红楼梦177",[23,24,7,28,27,25,96,130,97,131,875,247,249,12677,12611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71049a41291c5a33dc9344bead0b1215.jpg",[],{"id":50166,"slug":50167,"title":50168,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":50169,"thumbUrl":50171,"material":151,"size":7879,"collection":84,"collections":50172,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},223002,"hong-lou-meng-127-sun-wen-223002","红楼梦127",[23,164,24,7,28,27,96,97,276,131,34,3440,247,7876,50170,40819],"绿植","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65073529e1df02d44b96a2c97cf655a5.jpg",[],{"id":50174,"slug":50175,"title":50176,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":50177,"thumbUrl":50178,"material":151,"size":7879,"collection":84,"collections":50179,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},222995,"hong-lou-meng-120-sun-wen-222995","红楼梦120",[23,164,24,7,25,28,27,96,97,247,131,34,166,33891,1515],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2bd87b1e071819f65016754b77cc305.jpg",[],{"id":50181,"slug":50182,"title":50183,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":50184,"thumbUrl":50185,"material":151,"size":7879,"collection":84,"collections":50186,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},222979,"hong-lou-meng-104-sun-wen-222979","红楼梦104",[23,24,28,27,96,8565,95,7344,251,170,7,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc331b246377204b7e5131a65e0b5ebce.jpg",[],{"id":50188,"slug":50189,"title":50190,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":50191,"thumbUrl":50192,"material":151,"size":7879,"collection":84,"collections":50193,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},222958,"hong-lou-meng-83-sun-wen-222958","红楼梦83",[23,24,7,28,27,96,97,98,99,130,29,4363,249,247,4278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7403ace2ce41dd5ba217ead338cf78bf.jpg",[],{"id":50195,"slug":50196,"title":50197,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":50198,"thumbUrl":50199,"material":151,"size":7879,"collection":84,"collections":50200,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},222885,"hong-lou-meng-10-sun-wen-222885","红楼梦10",[23,24,7,28,27,95,96,166,97,169,170,7345],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3680fa285afda0956e7d8ef0b6ad2eb.jpg",[],{"id":50202,"slug":50203,"title":50204,"dynasty":124,"author":9650,"museum":56,"description":9651,"tags":50205,"thumbUrl":50206,"material":84,"size":84,"collection":84,"collections":50207,"showCount":392,"zanCount":1998,"manualWeight":48,"mainColor":72},222516,"shen-xian-tu-ce-5-zhang-lu-222516","神仙图册5",[23,24,7,59,128,231,951,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39a4ddcd0bd748a89bf8a86268389623.jpg",[],{"id":50209,"slug":50210,"title":50211,"dynasty":124,"author":9650,"museum":56,"description":9651,"tags":50212,"thumbUrl":50213,"material":84,"size":84,"collection":84,"collections":50214,"showCount":392,"zanCount":1998,"manualWeight":48,"mainColor":72},222504,"shen-xian-tu-ce-10-zhang-lu-222504","神仙图册10",[23,24,7,59,188,128,96,772,24171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa805c57f3b0210527082f5f804d7c219.jpg",[],{"id":50216,"slug":50217,"title":50218,"dynasty":124,"author":7003,"museum":244,"description":45037,"tags":50219,"thumbUrl":50220,"material":611,"size":45040,"collection":318,"collections":50221,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},222478,"shi-tie-bai-ma-pian-zhu-yun-ming-222478","诗帖《白马篇》",[23,164,24,7,25,840,1590,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F747861785a4e69632da691f06e6f31d3.jpg",[318],{"id":50223,"slug":50224,"title":50225,"dynasty":124,"author":223,"museum":224,"description":50226,"tags":50227,"thumbUrl":50228,"material":151,"size":50229,"collection":136,"collections":50230,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},222463,"yang-bian-cui-ma-song-liang-mang-tu-quan-juan-yi-ming-222463","扬鞭催马送粮忙图全卷","燕文贵（967年—1044年），北宋画家。文贵一作贵，又名燕文季，吴兴（今浙江湖州）人。出身微贱，曾隶籍军中。宋太宗时至汴梁于街头卖画，被画院待诏高益发现并加以举荐，后进入翰林图画院，甚得太宗赏识。擅画山水、屋木、人物。作画常自出机杼，落笔命意不袭古人，所画景物清润秀雅，又善于把山水与界画相结合，将巍峨壮丽的楼观阁榭穿插于溪山之间，点缀以人物活动。刻画精微，笔法峭丽，境界雄浑，人称“燕家景致”。燕文贵本隶军籍，曾任县主簿，掌管出纳官物、销注簿书，阶从九品。太宗（976－997）时游汴京（今河南开封），于天门道上卖画，为待诏高益所见，荐画相国寺壁，遂入图画院（一说大中祥符（1008－1016）初补图画院祗侯）。\n所作山水，不专师法，极富变化，独立一家规范。其画多为北方大川，破笔皴点，干擦淡染，细碎清雅，苍润秀媚，岸边水渚多画台榭相接，景致优美，富有变化，人称“燕家景致”。所作景物丰富多变，布局精巧谨严，山水树石、亭台楼阁各得其所，互臻其妙，令人目不暇接，如临其境。画风介于南北山水之间，清雅秀媚，温润可爱。尝画《七夕夜市图》，写七夕之夜京师民俗事象及夜市交易，“状其浩穰之所，至为精备”。《舶船渡海图》反映当时海上贸易之发达，画虽不盈尺，但人舟密聚，樯帆指呼奋跃，尽得情状。画面风波浩荡，岛屿相望，蛟蜃杂出，有咫尺千里之势，极为精妙。惜皆佚。存世作品有《江山楼观图》、《溪山楼阁图》、《秋山琳宇图》、《烟岚水殿图》等。\n画卷以平铺式绘山峦连绵，峰回路转，山间处云雾缥缈，高塔、庙宇、楼阁隐现，瀑布、泉水汇于山脚，水面宽阔，有船只往来、另数只依岸停泊。河岸边、小桥上、崎岖山道上，运粮的驴队浩浩荡荡，络绎不绝。画面中部绘有一座客栈，茅屋里数位客人吃饭歇脚，另有数人坐于高台上凭栏观景。此图非燕文贵所绘，更似明人风格。",[23,24,7,25,128,29,96,101,132,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0120c1f854c45c250d407c1fb8a69f0e.jpg","30x498",[136,117],{"id":50232,"slug":50233,"title":50234,"dynasty":124,"author":1058,"museum":50235,"description":50236,"tags":50237,"thumbUrl":50238,"material":734,"size":50239,"collection":84,"collections":50240,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},222360,"ye-ting-ai-rui-tu-juan-tang-yin-222360","野亭霭瑞图卷","美国基怀尔","画卷中古木阴郁，霭云布岫，溪流潺潺，山径曲折，一童子负草药归来。右边一茅庐，一老者坐于其间，前方置有笔、砚、纸，略作沉思状。画面发展到左面三分之二处 ，山势向后转去留下空阔的水际，意境空远。该图以刘松年画法为主，山石舍小斧劈而用披麻皴，渴笔淡墨，极有毛涩意趣，又有润泽之韵，是唐寅的精心之作。卷后有吴宽的长跋，称此卷为野亭所作，而画中老者正是钱野亭。",[23,24,7,25,128,133,64,29,132,130,1144,131,211,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6665c981e400036ca21d10e76ebfa9d.jpg","纵30厘米、横123.5厘米",[],{"id":50242,"slug":50243,"title":37700,"dynasty":124,"author":125,"museum":56,"description":37701,"tags":50244,"thumbUrl":50245,"material":514,"size":37704,"collection":84,"collections":50246,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},222132,"yu-jiang-ming-sheng-tu-ce-shen-zhou-222132",[23,24,7,59,27,29,132,97,129,18542,34,99,9164,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb344ee3c9cde2e862603824960d7fefa.jpg",[],{"id":50248,"slug":50249,"title":50250,"dynasty":124,"author":37883,"museum":244,"description":50251,"tags":50252,"thumbUrl":50253,"material":66,"size":50254,"collection":84,"collections":50255,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},222079,"hua-su-shi-liu-dai-tu-zhou-cui-zi-zhong-222079","画苏轼留带图轴","崔子忠（？-1644），字道母，是明末著名的“变形主义”画家，画中如梅枝树石等方折的造型，即为其特色。此作描绘的是苏轼与金山寺僧佛印说偈，输了腰上玉带的故事。画中苏东坡手上所持的蓝色带状物，或许就是崔子忠想象中的玉\n第三次南巡时，乾隆皇帝想起藏在御书房中的崔子忠《画苏轼留带图》，命人快递至江南欣赏留跋。从此之后，崔子忠此轴也成了南巡行李箱中的常备成员，每每于金山寺中与苏轼玉带一同欣赏展玩。",[23,24,7,165,27,28,96,331,131,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2038d1e050db9cc5392e7d0aa0a73114.jpg","79.4 x 50 cm",[],{"id":50257,"slug":50258,"title":50259,"dynasty":124,"author":1642,"museum":510,"description":50260,"tags":50261,"thumbUrl":50262,"material":40,"size":50263,"collection":84,"collections":50264,"showCount":392,"zanCount":1998,"manualWeight":48,"mainColor":72},222037,"da-mo-zu-tu-juan-dai-jin-222037","达摩祖图卷","描绘的是禅宗自菩提达摩到六代慧能祖师的形象。图上不同时期的祖师在山洞里、深山里等静谧、清幽之地打座念佛的场景，诠释“佛在心中”的禅悟。卷后有唐寅、祝允明等大家题款。",[23,164,24,7,25,187,96,29,28,27,132,133,1144,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F911d3d439313053bf137a91abe6661e9.jpg","240x33.8cm",[],{"id":50266,"slug":50267,"title":50268,"dynasty":124,"author":3619,"museum":244,"description":50269,"tags":50270,"thumbUrl":50271,"material":637,"size":50272,"collection":84,"collections":50273,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},222017,"jin-shan-tu-zhou-wen-zheng-ming-222017","金山图轴","文氏将金山描绘成万顷波涛中的一座岛屿，波涛间点缀着风帆。全幅以秃笔中锋出之，笔致苍健。乾隆皇帝南巡经过金山寺江阁，曾取此图展玩，并题诗云:“携将亲证取，当境固如斯”，说明了他携带古画即景印证的雅好。",[23,24,7,165,128,132,29,97,129,208,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6db83391670deabb833cf95e93affb45.jpg","横23.8cm，纵70cm",[],{"id":50275,"slug":50276,"title":16535,"dynasty":124,"author":3619,"museum":300,"description":50277,"tags":50278,"thumbUrl":50279,"material":151,"size":50280,"collection":84,"collections":50281,"showCount":392,"zanCount":1116,"manualWeight":48,"mainColor":49},221979,"qian-zi-wen-wen-zheng-ming-221979","文徵明小楷《千字文》，嘉靖十四年乙未（1535年）夏四月二十有九日。徵明时年六十六岁书。他的书法温润秀劲，稳重老成，法度谨严而意态生动。\n在众多的书体中，文征明的小楷艺术成就最高，其取法高古，有“小楷名动海内”之誉。\n他小楷初学赵孟俯，后以晋唐小楷为基础，一改元人软弱秀媚之习气，尤其晚年力追魏晋锺、王笔意，力求古朴苍劲，法度严谨，如朱谋垔所言：“深得智永笔法”。其子文嘉评曰: “始亦规摹宋元之撰，既悟笔意，遂悉弃去，专法晋唐，小楷虽自《黄庭》《乐毅》中来，而温纯精绝，虞、褚而下弗论也。”\n纵观其传世作品，虽各阶段书风略显不同，早期形体略扁，起笔尖细，多棱角; 中期如丰坊《书诀》所述: “五十岁以后，因书诰敕，颇兼时体，渐尚整齐”； 晚年则宗法二王，人书俱老，已入化境。\n但却可以看出他一生都沉浸于小楷，正如王世懋云: “衡山先生……时作小楷，多偏锋，太露芒颖，年九十犹作蝇头书，人以为仙。然行笔未免涩强，其最称合作者，以字行后五六十时也。”可见其对小楷的用功极深。",[23,7,64,572,133,128,611,208,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0979d9d6d2e102a78d798de62745e07.jpg","34×74厘米",[],{"id":50283,"slug":50284,"title":50285,"dynasty":144,"author":18493,"museum":510,"description":50286,"tags":50287,"thumbUrl":50288,"material":1464,"size":50289,"collection":84,"collections":50290,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},221750,"zhu-xi-cao-tang-tu-zhang-wo-221750","竹西草堂图","图绘竹林葱郁，远山盘亘，江水如镜。依山傍水处有一草堂，苍松杂树环绕，环境清幽。一人独坐堂内，两臂依榻上，目视前方。",[23,164,24,7,25,128,188,132,64,133,208,29,167,34,15999,98,99,96,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa64d49c24695ec3831a892132d8a8eae.jpg","纵27.4、横81.2厘米",[],{"id":50292,"slug":50293,"title":50294,"dynasty":144,"author":18589,"museum":244,"description":50295,"tags":50296,"thumbUrl":50298,"material":611,"size":50299,"collection":136,"collections":50300,"showCount":392,"zanCount":1998,"manualWeight":48,"mainColor":72},221728,"shi-jing-you-tan-fang-cong-yi-221728","石径幽探","方从义善画，又兼工诗文、书法。其画初师 他的画风格潇洒，笔致跌岩，意境苍茫，无尘俗之气，以幽为其画特色。他善画云山墨戏，笔下的景色多是冷寞，幽闭，尘俗绝少的地方：高山奇峰，深谷幽涧，古树老屋，野水孤舟，给人以深沉、奇特和悲壮之感。他早年的画严谨，晚年不拘于形，用笔奔放，满含激情。传世不多，人以礼求之，始为出其一二。尝言：“太行、居庸天下之岩险，其雄杰奇丽，皆古之名画，余所顾见者今皆见之，而有以慊吾志，充吾操，吾非若世俗者区区而至也。”盖学仙之颖然者，由无形而有形，虽有形终归无形，画能如是，其至矣乎？",[23,24,7,128,132,29,496,34,50297,37,5974,19769,5856,369],"石径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92196c9b18f889805fafd87dc1ac75a2.jpg","91.3x63.5厘米",[136,117],{"id":50302,"slug":50303,"title":50304,"dynasty":144,"author":13485,"museum":2068,"description":47528,"tags":50305,"thumbUrl":50306,"material":151,"size":50307,"collection":84,"collections":50308,"showCount":392,"zanCount":1998,"manualWeight":48,"mainColor":49},221695,"han-shan-shi-de-tu-zhi-yi-yan-hui-221695","寒山拾得图之一",[23,164,24,7,165,128,27,96,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17092872d16e436ce0744a9a75dbe22c.jpg","127.6X41.8",[],{"id":50310,"slug":50311,"title":50312,"dynasty":18,"author":15204,"museum":244,"description":50313,"tags":50314,"thumbUrl":50315,"material":637,"size":15208,"collection":318,"collections":50316,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},221682,"chi-bi-tu-juan-quan-juan-wu-yuan-zhi-221682","赤壁圖卷全卷","系根据宋代文学家苏轼的《赤壁赋》创作而成。画面长江浩荡，烟波渺茫，两岸峭壁陡立，山势险峻延绵，山顶崖岸间树木葱茏，江中一舟顺流而下，苏轼及同游诸友对坐舱中饮酒，形象地再现了苏轼携友乘舟夜游赤壁(即黄州赤鼻矶)的情景，表现了苏轼受诬遭贬黄州后的清闲生活和豁达胸怀。",[23,24,7,25,29,128,132,64,133,30,7409,129,34,497,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484f34a336a6c9ed140b16b6ef47561c.jpg",[318],{"id":50318,"slug":50319,"title":1230,"dynasty":124,"author":27311,"museum":6892,"description":50320,"tags":50321,"thumbUrl":50322,"material":50323,"size":50324,"collection":84,"collections":50325,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":84},220662,"shan-shui-tu-li-liu-fang-220662","李流芳，初字茂宰，后字长蘅，号檀园、香海、六浮道人、慎娱居士，祖籍安徽歙县丰南，侨居上海嘉定。万历三十四年（1606）举乡试，后五次会试皆不第。至天启二年（1622）第六次北上应试，闻金兵攻陷广宁，又感时局昏暗，遂绝意仕途南归，以书画自娱。诗文方面，与唐时升、程嘉璲（1565-1643）、娄坚（1567-1631）合称「嘉定四先生」。绘画上又与董其昌（1555-1636）、王时敏（1592-1680）同誉「画中九友」。\n\n此卷山水绘于绢上，画坡石虚亭高树，河水远山，一片宁寂。虽是草草而就，却显现元代大师黄公望（1269-1354）、倪瓒（1301-1374）笔意，且墨色苍润、笔法峻爽简洁，当是晚年之作。画上作者自识：「欲晴不晴山翠浓，欲雨不雨林霏重，幽人不来谁领此，溪潮急处晚来风。」更见寄情山川之意。此卷曾为晚明大收藏家朱之赤（17世纪）收藏，后面有清初著名鉴藏家高士奇（1645-1703）跋，至近代为广州小画舫斋收藏，终于1999年入藏文物馆。",[23,164,24,7,25,128,132,29,130,331,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fa5a525f194403dc4909e63b6409e00.jpg","水墨,绢本,手卷","画心：32×205.2厘米 徒步：32×31厘米 含装裱：32.7×819.5厘米",[],{"id":50327,"slug":50328,"title":50329,"dynasty":124,"author":27440,"museum":6892,"description":50330,"tags":50331,"thumbUrl":50332,"material":50333,"size":50334,"collection":84,"collections":50335,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":84},220661,"xing-shu-song-peng-zi-jian-zhi-chu-shi-wang-duo-220661","行书送彭子籛之楚诗","王铎，字觉斯，号嵩樵、烟潭渔叟等，孟津（今河南孟津）人。明朝天启二年（1622）进士，先后于明崇祯朝、南明弘光朝及清顺治朝为官，累官至礼部尚书、大学士等，死后谥文安。此幅行书挂轴写于清顺治三年（1647），书五言律诗《送彭子籛之楚》赠予前辈张端（字天柱）。\n\n王铎好诗文，有「文唯昌黎，诗惟少陵而已」之论。其诗宗杜甫，尤爱五律，此应与晚明出现的杜诗热有关。王铎《拟山园集》所收录的诗歌，就以五律居多，多见学杜诗沉郁顿挫的格调。此《送彭子籛之楚》即可见其学杜之风。彭子籛即彭而述，明崇祯进士，河南邓州人，入清后转侍清廷。顺治初年，调任湖南，王铎因而写诗送行以表不舍与祝福。王、彭两人本是同乡，又同于明末避走战乱，经历生死，成为至交，故诗中有「昔年同患难」之句。该诗未收入王铎的《拟山园集》，却记录了王、彭两人的交往情谊，为研究王铎的交游提供了参考资料。\n\n王铎因降清，被视为「贰臣」，传统以来对其人品颇有微言，但书法成就却为世称道。他书宗二王，参学米芾，且一生不曾间断临习《淳化阁帖》，终能自出抒机，尝自评书艺「五十自化」。此轴书于五十五岁，正入化境：笔画粗拙，字体方折欹侧，大气淋漓中流露王米的书学渊源。值得留意的是，明代因建筑宏大，像这种长逾两米的大尺幅挂轴开始流行。据载，王铎因难在桌案上书写长作品，常令仆人在两头拉绢，自己在一侧书写。因此，字行时常如本幅所见歪斜摆动，却营造出跌宕气势和节奏。面对如此大绢幅，依然写得流畅有力，其功力之深可以想见。",[24,7,165,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4b7c529d2a52a163aaba46af45ba11c.jpg","水墨,绫本,立轴","画心：235.2 × 52 厘米（92 5\u002F8 × 20 1\u002F2 英寸）",[],{"id":50337,"slug":50338,"title":50339,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":50340,"thumbUrl":50341,"material":611,"size":3722,"collection":84,"collections":50342,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},220314,"huang-shan-tu-ce-14-hong-ren-220314","黄山图册-14",[23,164,24,7,59,128,29,132,11998,495,99,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F560239a850e6d6d635b622c1309165ab.jpg",[],{"id":50344,"slug":50345,"title":50346,"dynasty":124,"author":802,"museum":77,"description":803,"tags":50347,"thumbUrl":50349,"material":173,"size":808,"collection":84,"collections":50350,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},220220,"hua-niao-cao-chong-xie-sheng-ce-gu-huai-shuang-qi-chen-hong-shou-220220","花鸟草虫写生册-古槐双栖",[23,164,24,7,59,27,28,50348,355,1771,374,229,62,61],"古槐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa01e695edfc2fd300f23a10ec0be2930.jpg",[],{"id":50352,"slug":50353,"title":50354,"dynasty":124,"author":802,"museum":77,"description":803,"tags":50355,"thumbUrl":50356,"material":173,"size":808,"collection":84,"collections":50357,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},220219,"hua-niao-cao-chong-xie-sheng-ce-mei-jue-shi-zi-chen-hong-shou-220219","花鸟草虫写生册-梅绝世姿",[23,24,7,59,27,28,371,454,61,2166,582,1039],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca7845904a88bd5bfeec2baca608c104.jpg",[],{"id":50359,"slug":50360,"title":50361,"dynasty":144,"author":223,"museum":8363,"description":50362,"tags":50363,"thumbUrl":50364,"material":173,"size":84,"collection":136,"collections":50365,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},219938,"sheng-you-tu-yi-ming-219938","胜游图","此作用高远构景，层叠主峰如蟠踞巨兽，以利落斧劈皴勾勒山石肌理，浓墨晕染出苍莽厚重的质感。飞瀑自崖间垂落，破开山的沉郁静默。虬曲林木错落山间，苍松劲挺，点染出萧疏古雅的秋意。崖畔水滨各筑幽居，隐于林泉烟霭之间，暗合林泉高致的隐逸雅趣。通篇水墨简淡，空濛悠远的意境里，揉合了山川雄奇与林下闲逸，尽显文人避世寄情山水的幽怀。",[23,24,7,165,29,128,132,27,131,34,495,130,97,35,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35a97e286122166a0963868c260fb265.jpg",[136],{"id":50367,"slug":50368,"title":13983,"dynasty":182,"author":9761,"museum":450,"description":30721,"tags":50369,"thumbUrl":30724,"material":317,"size":84,"collection":44,"collections":50370,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},219563,"mu-tong-tu-dai-song-219563",[24,7,128,96,102,1233,331,64],[44],{"id":50372,"slug":50373,"title":8581,"dynasty":124,"author":50374,"museum":244,"description":50375,"tags":50376,"thumbUrl":50377,"material":278,"size":50378,"collection":117,"collections":50379,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},219384,"mu-niu-tu-lv-kong-dao-ren-219384","屡空道人","墨书与绘事共构一卷田园清趣。卧牛以简淡墨痕晕染慵懒之态，双角弯翘憨态可掬；牧童侧坐其旁，眉眼间流露天真，一旁草帽斜倚，似是歇晌时的随性。笔墨洗练传神，寥寥数笔便勾勒出郊野间的悠然片刻。书法笔势流畅，与画面相映成趣，尽显文人画的雅致意韵。整卷如一缕清风，携着田园闲适与童趣，将平凡日常点染成诗意栖居，引人沉醉于这份静谧安然的时光里。",[164,24,7,165,128,133,208,96,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78f17b37170f269d261e6ddbb3a2a0b.jpg","73.6x37.4",[117],{"id":50381,"slug":50382,"title":50383,"dynasty":54,"author":3750,"museum":244,"description":50384,"tags":50385,"thumbUrl":50386,"material":173,"size":50387,"collection":68,"collections":50388,"showCount":392,"zanCount":1998,"manualWeight":48,"mainColor":72},219382,"hua-shi-pen-lan-tu-wang-jian-219382","花石盆兰图","玲珑石上置天蓝釉色盆器，下有同色盆托。蕙兰集生种于盆中，花萼直立，一茎数朵，浅黄绿色，香气浓郁。下用奇石为花台，月季花、万寿菊、剪秋罗等诸种秋卉杂生，呈现园林野逸生趣。春花为兰，秋花为蕙。明清时期兰艺栽培进入兴盛时期，品种不断增加，成为大众观赏之物。画上款署「甲戌（1634）夏日写，王鉴」，并钤「知如、王鉴之印」。与清初「正统派」画家王鉴同名，但画风不同，作者生卒年无可考。上为乾隆三十六年（1771）御制题画诗，内容贴切，表现出紧密的诗画关系。",[24,7,165,27,28,375,1314,547,61,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1714595b0e9a244bb7084d7d086642de.jpg","159.2x71.1",[68],{"id":50390,"slug":50391,"title":50392,"dynasty":18,"author":2067,"museum":244,"description":50393,"tags":50394,"thumbUrl":50395,"material":173,"size":50396,"collection":68,"collections":50397,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},219234,"gu-feng-an-le-tu-li-di-219234","谷丰安乐图","图绘稻穗低垂，榖粒累累，引来麻雀争相啄食。象征「秋收仓廪足，不怕瓦雀多」，故寓有丰收安祥之意。全幅用笔细劲，含蓄而有古拙之趣，接近北宋院体画的风味。旧传为李迪之作。李迪于高宗、孝宗、光宗朝（西元1127─1194年）供职画院，官至画院副使。",[23,164,24,7,28,27,61,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4eeb596160ea477cb56dcbf0d23bbed.jpg","24.2x24.2cm",[68],{"id":50399,"slug":50400,"title":50401,"dynasty":18,"author":8169,"museum":2488,"description":50402,"tags":50403,"thumbUrl":50404,"material":317,"size":50405,"collection":68,"collections":50406,"showCount":392,"zanCount":1998,"manualWeight":48,"mainColor":72},218930,"shan-yuan-ye-zhang-tu-yi-yuan-ji-218930","山猿野麞图","此图构图简洁而野趣盎然，卷末有二麞尤佳。树作点叶，石法略具北宋意趣。",[23,164,24,7,25,28,27,132,663,9402,8172,949,34,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F919a264d0f1a26f0fbb04a3eac5b8bd0.jpg","25x73cm",[68],{"id":50408,"slug":50409,"title":50410,"dynasty":18,"author":223,"museum":244,"description":50411,"tags":50412,"thumbUrl":50413,"material":173,"size":50414,"collection":136,"collections":50415,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},218735,"yun-pu-song-tao-tu-yi-ming-218735","云瀑松涛图","这幅画的题款是 宋人云瀑松涛，仔细一看，笔法剪裁得很好，岩石的结构似乎是学自郭熙，但总体上与宋人无关。",[23,24,7,29,27,132,372,950,495,131,34,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40ecd3a26247fdb733f50aa5412a65f3.jpg","22.6x27.5",[136],{"id":50417,"slug":50418,"title":50419,"dynasty":18,"author":7991,"museum":244,"description":50420,"tags":50421,"thumbUrl":50422,"material":173,"size":84,"collection":44,"collections":50423,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},218683,"lie-qi-dai-qin-tu-chen-ju-zhong-218683","猎骑带禽图","猎骑勒马伫立，衣袂间似沾着塞外草屑与风露。骏马身姿矫健，鬃毛如墨线飞扬，肌理勾勒劲挺细腻，连马蹄落地的沉稳都藏在笔锋里。鞍侧悬垂的禽鸟，羽翼纹理清晰可辨，仿佛刚从山林捕来，仍带着鲜活野趣。画面虽简，却将狩猎归来的从容与边塞生活的刚健揉合得恰到好处——无激烈追逐，只有静立瞬间，却让观者感受到驰骋山野后的安然。笔墨藏宋画写实功底，设色淡雅不失质感，每处细节都透着对生活的细致观察：似能触摸猎者衣袍的粗糙，听见马鼻轻喷，让这片刻宁静有了悠长余味。",[23,164,24,7,59,27,28,96,101,1400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbacf06293d878fc09ce07a493fbf19b4.jpg",[44],{"id":50425,"slug":50426,"title":50427,"dynasty":54,"author":523,"museum":450,"description":30130,"tags":50428,"thumbUrl":50429,"material":173,"size":30133,"collection":84,"collections":50430,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},218332,"shen-xian-gu-shi-tu-ce-6-leng-mei-218332","神仙故事图册-6",[23,24,7,59,28,27,96,101,1144,131,548,415,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d0b2fd99b40b1623bde441dacf1bef4.jpg",[],{"id":50432,"slug":50433,"title":50434,"dynasty":54,"author":3750,"museum":56,"description":44186,"tags":50435,"thumbUrl":50436,"material":278,"size":44189,"collection":84,"collections":50437,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},216987,"fang-song-yuan-shan-shui-ce-4-wang-jian-216987","仿宋元山水册-4",[164,24,7,29,330,132,128,1813,663,413,1144,497,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d8a6e4e3c8f721685a6e5d0aeeef07a.jpg",[],{"id":50439,"slug":50440,"title":50441,"dynasty":54,"author":223,"museum":300,"description":50442,"tags":50443,"thumbUrl":50444,"material":173,"size":84,"collection":84,"collections":50445,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},216720,"hong-lou-meng-fu-tu-ce-5-yi-ming-216720","红楼梦赋图册-5","墨笔竖书的赋文如流水淌过笺页，字里行间似藏着红楼儿女的喁喁私语。环绕的缠枝绿意轻舒，粉蕊点缀其间，像把大观园的春愁秋恨织进了文字的肌理。淡彩勾勒的纹样不事张扬，却与端雅的小字相映成趣，仿佛能闻见纸页间漫出的墨香与花香。每一处线条的婉转，每一笔色彩的晕染，都暗合着赋文里的悲欢：那些红楼旧梦，那些聚散浮萍，都在这清雅的构图里，化作一抹挥之不去的怅惘，引观者沉入古典文学的温柔秘境。",[23,24,7,59,27,64,572,548,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc66a6efec35222818c1cba6fa7d41d6.jpg",[],{"id":50447,"slug":50448,"title":22520,"dynasty":54,"author":19415,"museum":424,"description":50449,"tags":50450,"thumbUrl":50451,"material":66,"size":84,"collection":84,"collections":50452,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},216391,"za-hua-ce-3-bian-shou-min-216391","他的作品常常被收录在《边寿民杂画册》中。这本画册收录了边寿民的许多作品，包括花鸟画、人物画、山水画等。边寿民的画风浓郁，线条简洁，色彩明快，深受当时社会的喜爱。他的作品也被视为中国画的经典之作。",[23,24,7,59,128,369,61,6704,1824,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42bcd9bfc2d499dd748088c848c8464d.jpg",[],{"id":50454,"slug":50455,"title":50456,"dynasty":144,"author":1346,"museum":244,"description":2533,"tags":50457,"thumbUrl":50458,"material":278,"size":84,"collection":84,"collections":50459,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},216389,"mo-zhu-pu-ce-1-wu-zhen-216389","墨竹谱册-1",[164,24,7,59,128,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea1b4401766733639a76db7f5aa82302.jpg",[],{"id":50461,"slug":50462,"title":50463,"dynasty":54,"author":1242,"museum":77,"description":8179,"tags":50464,"thumbUrl":50465,"material":317,"size":37994,"collection":84,"collections":50466,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},216326,"jin-nong-ba-kai-hua-niao-tu-8-jin-nong-216326","金农八开花鸟图-8",[23,24,7,59,188,128,61,374,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7a63b75c2d41289d0079a86a9b8608a.jpg",[],{"id":50468,"slug":50469,"title":50470,"dynasty":54,"author":223,"museum":300,"description":50471,"tags":50472,"thumbUrl":50474,"material":66,"size":50475,"collection":44,"collections":50476,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},215804,"min-jian-yan-zou-tu-ce-1-yi-ming-215804","民间演奏图册-1","孩童身着翠绿短衫，紫裤束脚，墨履轻点地面。手中弦乐器弓梢微扬，似欲划破静谧；身旁朱红鼓身缀着暗纹，与素净背景相映成趣。画面线条简练却鲜活，色彩明快带着烟火气——没有繁复布景，只凭人物专注的神态与器物的细节，便勾勒出市井里巷的悠然韵律。仿佛能听见弦音将起，鼓点待和，旧时光里的乡野小调正从这帧静画中缓缓流淌，晕染出民间艺人日常里的温煦意趣。每一处色彩的搭配、每一个姿态的捕捉，都藏着对生活本真的描摹，让观者不自觉坠入那充满烟火气的往昔场景。",[24,7,59,27,96,438,50473],"民间","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a7102f84704d3d9b54324682b3445b4.jpg","27x 41",[44],{"id":50478,"slug":50479,"title":50480,"dynasty":54,"author":223,"museum":244,"description":50481,"tags":50482,"thumbUrl":50483,"material":173,"size":84,"collection":84,"collections":50484,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},215193,"sheng-ping-le-shi-tu-ce-11-yi-ming-215193","升平乐事图册-11","升平乐事图册是一部描绘升平乐事的图册，它是一部描述清朝时期升平乐事的图册。升平乐事是一种演出形式，通常在清朝皇帝登基或加冕时举行。这部图册记录了当时的升平乐事，包括演出的服装、舞蹈、音乐和道具等细节。",[24,7,59,28,27,96,167,29,98,211,3599],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b9185545ed6de6741f178d4aa2444ec.jpg",[],{"id":50486,"slug":50487,"title":50488,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":50489,"thumbUrl":50490,"material":278,"size":3888,"collection":84,"collections":50491,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},214972,"dao-zi-mo-bao-ren-wu-bai-miao-hua-18-yi-ming-214972","道子墨宝人物白描画-18",[23,164,24,7,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e272c15636a55c801c161ef9a0be785.jpg",[],{"id":50493,"slug":50494,"title":50495,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":50496,"thumbUrl":50497,"material":278,"size":3888,"collection":84,"collections":50498,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},214967,"dao-zi-mo-bao-ren-wu-bai-miao-hua-15-yi-ming-214967","道子墨宝人物白描画-15",[23,164,24,7,188,96,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfdcca8f0ae153b1882b55c9052c7328.jpg",[],{"id":50500,"slug":50501,"title":50502,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":50503,"thumbUrl":50504,"material":278,"size":3888,"collection":84,"collections":50505,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},214966,"dao-zi-mo-bao-ren-wu-bai-miao-hua-16-yi-ming-214966","道子墨宝人物白描画-16",[23,164,24,7,1326,188,96,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcea17c93073ccc64a097d6b5556785cd.jpg",[],{"id":50507,"slug":50508,"title":50509,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":50510,"thumbUrl":50511,"material":278,"size":3888,"collection":84,"collections":50512,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},214963,"dao-zi-mo-bao-ren-wu-bai-miao-hua-23-yi-ming-214963","道子墨宝人物白描画-23",[23,24,7,188,96,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa8d405f07f02670203164a6ac8e0eec.jpg",[],{"id":50514,"slug":50515,"title":50516,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":50517,"thumbUrl":50518,"material":278,"size":3888,"collection":84,"collections":50519,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},214956,"dao-zi-mo-bao-ren-wu-bai-miao-hua-25-yi-ming-214956","道子墨宝人物白描画-25",[23,164,24,7,188,96,187,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437163d2050d9e5d1fdab1f4b81ccc6f.jpg",[],{"id":50521,"slug":50522,"title":50523,"dynasty":54,"author":9529,"museum":77,"description":36297,"tags":50524,"thumbUrl":50525,"material":66,"size":84,"collection":84,"collections":50526,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":72},214593,"fang-gu-shan-shui-ce-11-wang-hui-214593","仿古山水册-11",[164,24,7,59,27,128,29,132,2271,130,98,99,96,413,2668],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8c1d131f029dfc768e60ded3c71e002.jpg",[],{"id":50528,"slug":50529,"title":50530,"dynasty":124,"author":125,"museum":56,"description":50531,"tags":50532,"thumbUrl":50533,"material":84,"size":84,"collection":136,"collections":50534,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":50535},203437,"lin-dai-wen-jin-xie-an-dong-shan-tu-zhou-shen-zhou-203437","临戴文进谢安东山图轴","这幅临作兼取戴文进的劲健笔意与沈周的苍润格调，淡赭设色的山峦层叠起伏，皴法勾勒出岩石肌理，山间楼阁隐于松荫，老树虬枝舒展。山麓处人物仪态悠然，衣袂翩然间与清旷山水相融，笔墨间既有原作风神，又含自身逸韵，尽显文人山水的雅致意境。",[23,24,7,165,330,27,29,96,97,1144,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F679ae857da7ab90b960c9d62ba01bc4e.jpg",[136],"574526",{"id":50537,"slug":50538,"title":50539,"dynasty":32945,"author":5367,"museum":56,"description":50540,"tags":50541,"thumbUrl":50542,"material":84,"size":84,"collection":136,"collections":50543,"showCount":392,"zanCount":1998,"manualWeight":48,"mainColor":50544},202890,"qiu-shan-lou-ge-tu-zhou-pu-ru-202890","秋山楼阁图轴","层岩叠翠间，苍松盘曲虬劲，红叶灼灼点染秋光。楼阁隐于深林古木之下，檐角微露，添得几分幽秘。小桥横架溪上，二人凭栏缓步，似在共赏秋山胜景。山石以皴法写就，笔墨细腻中见苍劲；树木姿态万千，设色淡雅却饶有韵致。整幅画意境清寂悠远，尽显文人画的闲适意趣，仿佛能嗅到山林间的清润气息，心境也随之沉静。",[24,7,165,27,29,97,98,96,132,331,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f81693268efd3179dbbf4230aa22a98.jpg",[136],"b8aea1",{"id":50546,"slug":50547,"title":50548,"dynasty":54,"author":50549,"museum":56,"description":50550,"tags":50551,"thumbUrl":50552,"material":84,"size":84,"collection":68,"collections":50553,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":50554},201804,"bi-tao-tu-zhou-chen-hong-shou-201804","碧桃图轴","陈鸿寿","疏枝横斜逸出，嫩蕊轻绽如霞。碧桃枝干以淡墨勾勒，枯笔皴擦显苍劲之态；花瓣晕染浅粉，柔色衬清雅之姿。新叶带浅绿，与墨韵相映，留白处似有春风拂过，悄然唤醒生机。题字笔势洒脱，与花木之态相融，尽得文人画的逸趣。不施浓艳，却于简约中见情致，仿佛能闻桃李轻香，窥见春日温婉。",[24,61,209,128,27,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dc6deea2855b90471b76eb2dc5e1a3b.jpg",[68],"e4d9df",{"id":50556,"slug":50557,"title":50558,"dynasty":144,"author":24089,"museum":300,"description":50559,"tags":50560,"thumbUrl":50561,"material":692,"size":1293,"collection":84,"collections":50562,"showCount":641,"zanCount":1998,"manualWeight":48,"mainColor":49},291031,"yu-shan-xuan-pu-zhou-zhu-de-run-291031","雨山喧瀑轴","这一幅描绘两名士人带着一名童子，在松林漫步悠游。远方是重叠的山峦，山谷中有楼阁隐约可见。一道山泉从山峰高处顺流而下，且穿通松林，使整幅画能上下一气相连急。用笔稳重沉着，山石，丛林的写形和用墨有圆浑厚重的惑觉。",[164,24,7,29,165,128,132,663,34,495,16819],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F383c7c073b810b6b165400aa7faf0336.jpg",[],{"id":50564,"slug":50565,"title":50566,"dynasty":124,"author":21505,"museum":300,"description":50567,"tags":50568,"thumbUrl":50569,"material":692,"size":1293,"collection":84,"collections":50570,"showCount":641,"zanCount":1998,"manualWeight":48,"mainColor":49},290880,"wu-lu-tu-zhou-wang-zhao-290880","五鹿图轴","画面中，五只鹿伫立在弥漫浓雾的山野之间，身体互相紧靠，有的回首张望，有的则是低头作嚼草状。一旁生长着松、竹的植物和色彩斑烂的花卉，周围则环绕岩石及河流。白鹿在古代被视为象征长寿的仙兽，当牠与长青的松、竹画在一起，通常有为人祝寿、贺吉祥的意涵。\n鹿身上的毛色，由浓淡、长短不一的墨线画成，加上细微的渲染，毛皮的质感看起来自然生动。对比之下，周围的树、石以及云霭，则是以粗放快速的笔法或是大片水墨渲染来表现，让画面充满了奇诡变化的气氛。这幅作品旧传为明代陈淳画，可是由这些笔墨的技巧来判断，应该出自浙派画家汪肇的手笔。他另外有一幅〈松鹿图〉（日本私人收藏）流传下来，与本幅的风格相当接近。汪肇擅长以淡墨烘染云海，制造自然瞬息万变的效果，这也是他自号为「海云」的由来。",[24,7,165,949,2302,28,27,1144,131,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ca000543247c0dd42e1e0e9e72342f.jpg",[],{"id":50572,"slug":50573,"title":50574,"dynasty":54,"author":50575,"museum":300,"description":50576,"tags":50577,"thumbUrl":50578,"material":692,"size":1293,"collection":84,"collections":50579,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},290513,"shen-liu-du-shu-tang-tu-wang-su-290513","深柳读书堂图","王愫","王愫 清 字存素，号林屋，一号朴庐，江苏太仓诸生，侨居苏州。原祁侄。山水乾墨重笔不加渲染，得元人简澹法。",[23,24,7,27,26,29,130,34,96,208,64,12634],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2682a6cf5351bd32976b04d9134f98d.jpg",[],{"id":50581,"slug":50582,"title":50583,"dynasty":18,"author":3596,"museum":244,"description":49297,"tags":50584,"thumbUrl":50585,"material":317,"size":49300,"collection":84,"collections":50586,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},290339,"lu-ting-su-yan-zhou-cui-bai-290339","芦汀宿雁轴",[164,24,7,165,61,211,34262,28350,128,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e266afab7142112a5651e76920c3ff3.jpg",[],{"id":50588,"slug":50589,"title":50590,"dynasty":18,"author":23450,"museum":244,"description":50591,"tags":50592,"thumbUrl":50593,"material":173,"size":50594,"collection":42,"collections":50595,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},290332,"si-le-tu-zhou-yan-ci-ping-290332","四乐图轴","《四乐图》是意欲写“渔、樵、耕、读”四乐。但图中唯不见有樵乐也，此图中有山岩嶙峋，必有溪水蓄成池塘，溪水盈盈，水中有鱼，渔夫作业，其一乐也。两山相间中望见平原村落，必有耕田在其间，耕者有田，这是农者乐也。在山前树后的池塘中，有一块土丘地，筑有屋宇水阁，临溪水阁，环境幽雅，空气清新，阁中有童子在朗朗读书，又为读者乐也。可在画面上见到渔夫摇橹张网捕鱼，农夫牵着耕牛在塘堤上行走去田间，也能见到水阁童子在堂中就渎，但却见不到樵者的行踪。一是樵夫要上山砍柴，由于岩石方硬齐整，无山路可走；二是大树参天，绿树成荫，不是樵夫乐业的对象。因此，渭图中唯樵者不见表现，在画面上是山绿水盈，树木成林，风调雨顺，谷物满仓，百业兴旺，自然景色的优美，想必樵者的一乐，也许就在其中了。",[164,24,7,165,29,132,97,34,99,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0d0a7fa1db99cdbb630adb392c8e5a8.jpg","192.6x97.2",[42],{"id":50597,"slug":50598,"title":6516,"dynasty":124,"author":223,"museum":300,"description":50599,"tags":50600,"thumbUrl":50602,"material":692,"size":1293,"collection":84,"collections":50603,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},290024,"fu-sheng-shou-jing-tu-yi-ming-290024","古松虬曲苍劲，松荫之下，踞案老者神定气凝，操琴讲授，对面士子跽坐侧耳，神态恭谨。丹鹤闲立一旁，更添幽寂，三名童子随侍，或奉待或静立。\n\n全作用淡墨白描写就，线条清劲秀逸，衣纹流转自然，将人物神态精准勾勒，老者矍铄、弟子虔敬之态尽显。画面意境古雅澹寂，将林下授经的静谧雅韵铺陈开来，尽显传统白描的雅致格调，把传道授业的悠远意趣渲染得淋漓尽致。",[164,24,7,188,128,96,853,1144,22899,208,50601,1424],"授经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1dc4bc16e8112c739882ab34e376ade.jpg",[],{"id":50605,"slug":50606,"title":50607,"dynasty":54,"author":3403,"museum":300,"description":8089,"tags":50608,"thumbUrl":50609,"material":692,"size":1293,"collection":84,"collections":50610,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},290004,"ban-qiao-shi-yi-tu-wu-chang-shuo-290004","板桥诗意图",[23,24,7,128,167,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0747dbe3ef850a10106938717ded8b00.jpg",[],{"id":50612,"slug":50613,"title":20347,"dynasty":54,"author":4083,"museum":300,"description":46503,"tags":50614,"thumbUrl":50615,"material":692,"size":1293,"collection":84,"collections":50616,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},289952,"shan-shui-tu-zhou-wang-shi-min-289952",[23,164,24,7,165,128,29,132,496,34,35,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeb2b1a39c23b566193185dba66f4bab.jpg",[],{"id":50618,"slug":50619,"title":50620,"dynasty":351,"author":13809,"museum":300,"description":42301,"tags":50621,"thumbUrl":50623,"material":692,"size":1293,"collection":84,"collections":50624,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},289779,"tiao-er-tu-wang-qi-han-289779","挑耳图",[24,25,7,96,27,50622,133,64,8565],"挑耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37f9346d130fe1c6cb415de0888edf5b.jpg",[],{"id":50626,"slug":50627,"title":50628,"dynasty":18,"author":1622,"museum":300,"description":12632,"tags":50629,"thumbUrl":50630,"material":692,"size":1293,"collection":84,"collections":50631,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},289109,"han-zhi-ce-ye-zhuang-biao-ma-yuan-289109","寒枝册页（装裱）",[164,24,7,59,128,33421,1337,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbae26ad85a54ed25a328adc48ff2ff6.jpg",[],{"id":50633,"slug":50634,"title":50635,"dynasty":18,"author":3308,"museum":300,"description":50636,"tags":50637,"thumbUrl":50638,"material":692,"size":1293,"collection":84,"collections":50639,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},288518,"qiu-jiang-ming-po-tu-zhao-gou-288518","秋江瞑泊图","秋天，黄昏，江岸楸树，水中孤舟，对岸迷茫的山林，林中隐现的庙宇，山下蜿蜒流淌的小溪，《秋江暝泊图》勾勒出了一幅典型的秋江景致。宋代院体山水画，对自然景物有丰富的表现力，从画风看应为南宋翰林院中高手所为。",[23,24,164,7,1131,128,29,99,129,331,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f38a38f40d9ef6cbc5a04e3d855599e.jpg",[],{"id":50641,"slug":50642,"title":50643,"dynasty":18,"author":1622,"museum":244,"description":50644,"tags":50645,"thumbUrl":50646,"material":692,"size":1293,"collection":84,"collections":50647,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},288424,"hua-deng-shi-yan-tu-er-ma-yuan-288424","华灯侍宴图二","《华灯侍宴图》描绘了杨次山父子在上元节侍宴的场面，记述了南宋宫廷的重大活动。该画以俯视的角度写华灯初上时分官员们随皇帝宴饮观舞的情景，并在全景山水的描写中，烘托出了室内的豪华与欢乐气氛。图中隐约可见几位官员属身随侍皇帝饮宴官殿之外，乐舞的宫女摇曳着身姿，大殿之外的树木，好似也随着音乐起舞，姿态横生。这些树林，由近面远，渐渐隐设于雾色之中，只见宫殿后盛立着几棵松树，和远处云雾中抹青山。中景的松树刻而很具特色，用笔瘦硬如屈铁，枝条长面斜向出。",[164,24,7,165,27,95,29,97,331,247,96,23215,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9842376e216c0f5d1e4424d7474811f.jpg",[],{"id":50649,"slug":50650,"title":36901,"dynasty":18,"author":2141,"museum":300,"description":50651,"tags":50652,"thumbUrl":50653,"material":692,"size":1293,"collection":84,"collections":50654,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},288385,"shan-guan-du-shu-tu-liu-song-nian-288385","描绘的是文人雅士所向往的闲适生活。长松掩映之下，长案临窗，清风徐来，窗外传来书童打扫落叶的声音，间或闻得几声鸟鸣，宁静悠闲，倚案展卷，何等惬意。",[23,164,24,7,27,95,96,97,1144,24576,227,133,64,208,16528,12634],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42ed6fe2292944c59304920fb2612397.jpg",[],{"id":50656,"slug":50657,"title":50658,"dynasty":18,"author":633,"museum":300,"description":50659,"tags":50660,"thumbUrl":50661,"material":692,"size":1293,"collection":84,"collections":50662,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},288335,"wu-zhu-xi-tang-tu-xia-gui-288335","梧竹溪堂图","此图画山间一茅舍，旁有梧桐、修竹环绕，远处则是青山隐隐。画面景物平常、简约，却蕴含着清旷、幽深、静谧的意趣。",[23,24,164,7,1131,128,29,167,2749,130,98,99,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70d7e4d8b8f02db5e2072c25ef69640f.jpg",[],{"id":50664,"slug":50665,"title":50666,"dynasty":124,"author":50667,"museum":300,"description":50668,"tags":50669,"thumbUrl":50670,"material":692,"size":1293,"collection":84,"collections":50671,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},287864,"shu-hua-tu-li-zhou-chen-dao-fu-287864","书画图立轴","陈道复","陈淳（1483年—1544年），字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲（今江苏苏州）人，明代绘画大师。",[23,24,7,165,133,128,27,61,371,374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f7d39ca26d641837ebf65ad0c93d700.jpg",[],{"id":50673,"slug":50674,"title":50675,"dynasty":144,"author":1346,"museum":300,"description":14804,"tags":50676,"thumbUrl":50677,"material":692,"size":1293,"collection":84,"collections":50678,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},287758,"gao-jie-ling-yun-tu-zhuang-biao-wu-zhen-287758","高节凌云图（装裱）",[164,24,7,165,128,167,171,1337,64,840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c6c5f018da369c34404e3ac4413aec.jpg",[],{"id":50680,"slug":50681,"title":50682,"dynasty":54,"author":6957,"museum":300,"description":20073,"tags":50683,"thumbUrl":50686,"material":692,"size":1293,"collection":84,"collections":50687,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},287748,"an-chun-ye-ren-xun-287748","鹌鹑页",[24,7,61,4437,8140,28,27,208,50684,50685],"草本","平安","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7253f7388174437d591cfe4456113f7a.jpg",[],{"id":50689,"slug":50690,"title":76,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":50691,"thumbUrl":50692,"material":692,"size":1293,"collection":84,"collections":50693,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},287728,"hua-hui-ce-shi-tao-287728",[24,7,59,27,61,263,62,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03ec98074d94e6ee8aa8cae0d8802d73.jpg",[],{"id":50695,"slug":50696,"title":50697,"dynasty":124,"author":1058,"museum":300,"description":4630,"tags":50698,"thumbUrl":50699,"material":692,"size":1293,"collection":84,"collections":50700,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},287518,"hua-shan-tu-zhou-tang-yin-287518","华山图轴",[23,24,7,165,29,128,27,132,22610,99,495,97,131,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F319ea38f2626b03e03ba78a2222a254b.jpg",[],{"id":50702,"slug":50703,"title":50704,"dynasty":124,"author":802,"museum":300,"description":5946,"tags":50705,"thumbUrl":50706,"material":692,"size":1293,"collection":84,"collections":50707,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},287349,"gao-xian-ren-wu-tu-chen-hong-shou-287349","高贤人物图",[23,24,164,7,165,27,96,1424,7056,9603,8162,6369,9604,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d59eaa13f4b03c1b47792d71384cb70.jpg",[],{"id":50709,"slug":50710,"title":50711,"dynasty":18,"author":2257,"museum":300,"description":41501,"tags":50712,"thumbUrl":50713,"material":692,"size":1293,"collection":84,"collections":50714,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},287318,"xian-shan-tai-xie-tu-juan-zhao-bo-ju-287318","仙山台榭图卷",[23,24,7,25,95,26,27,28,29,97,98,99,22338,22470,1743],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01f4b5acfb3873ec5468ae4addbdf22c.jpg",[],{"id":50716,"slug":50717,"title":50718,"dynasty":18,"author":30359,"museum":300,"description":50719,"tags":50720,"thumbUrl":50721,"material":692,"size":1293,"collection":84,"collections":50722,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},283631,"ling-mao-tu-zhu-ke-rou-283631","翎毛图","朱克柔 ，生卒年不详。幼习绘画与缂丝(也称刻丝)，积累配色和运线经验。她与定州的沈子藩等同为宋代缂丝名家。宋徽宗至高宗时期以织造缂丝著称于世，亦善画。",[164,24,7,165,27,61,3334,167,211,171,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F750f0f6937d978894ba7511138e12445.jpg",[],{"id":50724,"slug":50725,"title":50726,"dynasty":124,"author":50727,"museum":20,"description":50728,"tags":50729,"thumbUrl":50730,"material":611,"size":84,"collection":318,"collections":50731,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},240994,"zhi-fu-shu-juan-wang-shou-ren-240994","致父书卷","王守仁","王守仁（1472年10月31日－1529年1月9日），本名王云，字伯安，号阳明，浙江余姚人，汉族。明朝杰出的思想家、文学家、军事家、教育家，南京吏部尚书王华的儿子。\n弘治十二年（1499年），中进士，起家刑部主事，历任贵州龙场驿丞、庐陵知县、右佥都御史、南赣巡抚、两广总督、南京兵部尚书、左都御史等职，接连平定南赣、两广盗乱及朱宸濠之乱，获封新建伯，成为明代凭借军功封爵的三位文臣之一。嘉靖八年十一月（1529年1月9日），逝世，时年五十七。明穆宗继位，追赠新建侯，谥号“文成”。万历十二年（1584年），从祀于孔庙。\n明代心学发展的基本历程，可以归结为：陈献章开启，湛若水完善，王守仁集大成 。王守仁的阳明心学后传入了日本、朝鲜等国。其弟子极众，世称“姚江学派”。文章博大昌达，行墨间有俊爽之气。有《王文成公全书》传世。",[64,133,25,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e954c78860c35d7dca1d080111ae09.jpg",[318],{"id":50733,"slug":50734,"title":50735,"dynasty":54,"author":45224,"museum":300,"description":50736,"tags":50737,"thumbUrl":50738,"material":84,"size":84,"collection":318,"collections":50739,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},240402,"liu-zong-yuan-shi-zhou-li-shi-zhuo-240402","柳宗元诗轴","李世倬[清]（1687―1770）字天章，一字漢章、天濤，別號十石居士、太平拙吏、伊祁山人、清在號谷齋，又號菉園、星厓，居士，奉天（今遼寧瀋陽）人，一作三韓（今內蒙喀喇沁旗西南）人，隸籍漢軍正黃旗。如龍子，高其佩（1672—1734）外甥。官至副都御史。曾任太常，人稱李太常。\n善畫山水、人物、花鳥、果品，各臻其妙。少隨父宦遊江南，見王翬（1632—1717）得其講論，後與馬逸遊，故宗法純正而筆亦秀雋。其人物，自言得吳道子水陸道場圖而閲之，遂悟其法。其花鳥、果品各種寫意，蓋得諸舅氏之指墨而易以筆，故能各名一家。晚年喜用指墨作人物、花鳥小品，以焦墨細擦，頗得輕重淺深之致。年逾八旬猶能作畫，書小楷。",[24,7,165,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdd077ee39e7390f7a56bda17b054e41.jpg",[318],{"id":50741,"slug":50742,"title":50743,"dynasty":124,"author":50744,"museum":20,"description":50745,"tags":50746,"thumbUrl":50747,"material":611,"size":50748,"collection":318,"collections":50749,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},239988,"shi-zhou-ni-yuan-lu-239988","诗轴","倪元璐","诗轴用笔迅捷，酣畅洒脱，其结体多取斜姿，以求奇险之势，气息较为古朴。虽未署年款，但从书风、款印分析，当为倪氏中期向晚期过渡时的作品。",[24,7,165,208,133,840,64,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e8ea93099a42877a977dd039276642.jpg","纵133.7厘米，横41.9厘米。",[318],{"id":50751,"slug":50752,"title":29044,"dynasty":54,"author":3403,"museum":300,"description":50753,"tags":50754,"thumbUrl":50755,"material":84,"size":84,"collection":318,"collections":50756,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},239945,"qi-yan-lian-wu-chang-shuo-239945","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。",[24,7,165,128,208,10886,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d1c846cf7899990640b1874b2d333b4.jpg",[318],{"id":50758,"slug":50759,"title":50760,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":50761,"thumbUrl":50762,"material":84,"size":84,"collection":318,"collections":50763,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},239721,"zhang-zhou-wen-shi-chi-du-ce-zhi-tai-xue-shao-xi-wen-wen-tie-wen-zheng-ming-239721","长洲文氏尺牍册-致太学少溪闻问帖",[7,64,59,133,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8907891c275c343bda4bc9f20d352bce.jpg",[318],{"id":50765,"slug":50766,"title":50767,"dynasty":124,"author":49389,"museum":300,"description":50768,"tags":50769,"thumbUrl":50770,"material":84,"size":84,"collection":84,"collections":50771,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},239460,"ming-qing-zhu-jia-ji-jin-ce-song-shi-ce-ye-wen-cong-jian-239460","明清诸家集锦册-松石册页","此作用笔松秀简远，水墨淡逸空灵。古松躯干鳞皴苍劲，虬枝旁逸斜出，松针攒簇尽显老辣风骨，暗含岁寒之姿。右侧湖石以干笔皴擦，尽显嶙峋瘦透之态。平坡之上二儒策杖徐行，衣纹简括空灵，似正共话林泉幽意。\n\n题字清隽与画面气格相融，不着浓艳，只以淡墨写尽山林雅寂。萧散简淡的文人意趣漫溢素楮，悠悠林下之风，将隐逸之士的襟怀尽显无遗。",[24,7,59,128,132,1144,171,96,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb347d42eecba7a25384cf8bb3ae4e4a9.jpg",[],{"id":50773,"slug":50774,"title":31340,"dynasty":54,"author":223,"museum":300,"description":50775,"tags":50776,"thumbUrl":50777,"material":692,"size":1293,"collection":84,"collections":50778,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},239442,"yin-zhong-ba-xian-tu-juan-yi-ming-239442","长卷分段铺展酒中狂客的醉乡风流，将诗中八仙疏狂意气一一具象。画中人物情态鲜活各异，袒胸醉卧者憨态尽显，挥毫作书者纵逸潇洒，凭观长卷者沉醉忘形，侍童添酒、仆役备马点缀其间，衬出主角放浪不羁的林下襟怀，酒瓮、鞍马等细节勾勒出盛唐宴饮出行的雅境。\n\n画作线条细劲秀逸，设色清雅浅淡，工丽间带着写意松弛。诗画合璧，将酒酣耳热、傲岸自在的盛唐豪情铺展于卷上，尽抒诗酒趁年华的林下雅韵。",[23,24,7,25,28,27,96,439,101,7045,9025,1422,208,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc268da3eb9c080d6e474c994cc7b6347.jpg",[],{"id":50780,"slug":50781,"title":50782,"dynasty":54,"author":50783,"museum":300,"description":50784,"tags":50785,"thumbUrl":50786,"material":692,"size":1293,"collection":84,"collections":50787,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},239339,"lan-hua-shan-ye-ye-han-xian-239339","兰花扇页","叶翰仙","女。字墨君，杭州人。能诗词，兼善梅花，疏枝冷蕊，不染尘氛。合玉几（丁敬）、冬心（金农）为一手。",[24,7,1131,128,605,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ee9f056b972b39a355906d78f8eb0ae.jpg",[],{"id":50789,"slug":50790,"title":48187,"dynasty":124,"author":50791,"museum":300,"description":50792,"tags":50793,"thumbUrl":50794,"material":84,"size":84,"collection":84,"collections":50795,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},239170,"shan-shui-shan-mian-liu-lian-239170","柳廉","此作为水墨洒金扇面，近景古木虬枝苍劲，以浓淡墨色晕染出层叠木叶，尽显蓊郁生机。树下扁舟轻泊，渔翁安坐其中，意态萧散自在。远景以淡墨晕染平岗浅峦，虚化朦胧，和近景的茂林渔舟形成虚实对照，留白暗喻水色，咫尺尺幅间铺展出悠远空寂的山水意境。\n\n笔墨简括老辣，以浓淡变化拉开空间层次，洒金底纸更添古雅质感。整体画面简淡清逸，寥寥数笔便将隐逸江湖、寄情烟水的文人野趣铺陈开来，藏着传统文人心底林泉高致的悠悠向往。",[24,7,1131,29,128,132,34,758,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9bccc077bc5f42a0d7ebb80b3963542.jpg",[],{"id":50797,"slug":50798,"title":50799,"dynasty":124,"author":31299,"museum":300,"description":50800,"tags":50801,"thumbUrl":50802,"material":84,"size":84,"collection":44,"collections":50803,"showCount":641,"zanCount":1998,"manualWeight":48,"mainColor":49},239089,"san-xian-tu-zhou-wang-gang-239089","三仙图轴","这幅作品以写意之笔铺陈仙家意趣，构图紧凑却丝毫不显拥塞。\n画面中三仙情态各异，上方仙长神态悠然朗润，斜配长剑自带出尘潇洒；右侧侍者肩负满盛灵草的花篮，持扇垂目恭谨温顺；下方仙翁怀捧仙桃，与异兽亲昵偎依，憨态尽显。\n笔墨顿挫苍劲，以浓淡墨色区分衣物质感虚实，简淡设色古雅沉静，寥寥数笔便勾勒出仙家日常的松弛意韵，将超凡脱俗的仙道图景，绘得鲜活可亲，尽显以形写神的传统人物画妙谛。",[24,7,165,27,96,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21bc89d2a1c85ca7a867d63bfb16285b.jpg",[44],{"id":50805,"slug":50806,"title":50807,"dynasty":54,"author":15196,"museum":300,"description":15197,"tags":50808,"thumbUrl":50810,"material":692,"size":1293,"collection":84,"collections":50811,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},239066,"fo-shou-pen-hua-wan-shan-zhang-pan-239066","佛手盆花纨扇",[24,7,1131,27,28,15382,50809,549,208],"盆花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55ec703e48b5dbd4001204c20b0c5ac0.jpg",[],{"id":50813,"slug":50814,"title":50815,"dynasty":124,"author":10922,"museum":300,"description":42506,"tags":50816,"thumbUrl":50817,"material":692,"size":1293,"collection":84,"collections":50818,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},238969,"ling-shi-tu-zhou-wen-jia-238969","灵石图轴",[24,7,165,128,27,369,171,9070,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff75cfbc86ede7cd4df44c9f3d7add0d0.jpg",[],{"id":50820,"slug":50821,"title":50822,"dynasty":54,"author":646,"museum":300,"description":50823,"tags":50824,"thumbUrl":50825,"material":84,"size":84,"collection":136,"collections":50826,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},238768,"shan-shui-ren-wu-xiao-ce-dong-gao-238768","山水人物小册","此作取半边构图造境，左畔崖岸虬松错立，丹黄枝叶点染秋韵，苍林幽泉尽纳尺幅之间。右侧留白以细劲墨线勾出水波纡徐，浅赭轻描远渚，一叶扁舟悠然凌波，以简驭繁铺展出秋水长天的空茫逸趣。笔墨清隽秀雅，皴擦柔婉不失骨力，设色轻淡明净，以少胜多，将林泉幽寂与江湖远意相融，尽显留白造境的悠然意趣，淡远萧散的林下之风跃然纸上。",[24,59,27,132,29,96,129,34,131,99,128,7,28975],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F647239f68b0592221cd30bfb0b9043b3.jpg",[136,45],{"id":50828,"slug":50829,"title":50830,"dynasty":54,"author":50831,"museum":300,"description":50832,"tags":50833,"thumbUrl":50835,"material":692,"size":1293,"collection":84,"collections":50836,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},238662,"ping-wu-fu-tu-zhou-shen-quan-238662","平五福图轴","沈全","沈全，江苏人。清末宫廷画家。以写仕女、花鸟著称。主要作品《韬养斋笔记、湖社月刊》。",[24,7,165,28,27,96,18793,50834,131,2059,8629,230],"梅树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d7d691b311114c7246584b6556ef31a.jpg",[],{"id":50838,"slug":50839,"title":50840,"dynasty":54,"author":675,"museum":300,"description":11658,"tags":50841,"thumbUrl":50842,"material":692,"size":1293,"collection":136,"collections":50843,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},238536,"chun-jing-shan-shui-ce-qian-wei-cheng-238536","春景山水册",[24,7,59,128,133,29,1144,35,415,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6372a28c538b6e9ca7385ebf67324e3.jpg",[136],{"id":50845,"slug":50846,"title":4071,"dynasty":54,"author":2687,"museum":300,"description":3934,"tags":50847,"thumbUrl":50848,"material":692,"size":1293,"collection":84,"collections":50849,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},238483,"hua-hui-tu-ce-jiang-ting-xi-238483",[24,7,59,27,28,61,171,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d7c146fba81e1ea57b650c23d6b3165.jpg",[],{"id":50851,"slug":50852,"title":14998,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":50853,"thumbUrl":50854,"material":84,"size":84,"collection":84,"collections":50855,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},238367,"dong-gao-yan-chun-hui-cai-tu-ce-dong-gao-238367",[24,7,59,27,28,61,167,603],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24e38502041e9c981caa7c68c6e298eb.jpg",[],{"id":50857,"slug":50858,"title":18211,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":50859,"thumbUrl":50860,"material":692,"size":1293,"collection":84,"collections":50861,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},238343,"si-ji-hua-hui-ce-dong-gao-238343",[24,7,59,27,28,61,263,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe025be11ab0a49f96075075cbf5adb5e.jpg",[],{"id":50863,"slug":50864,"title":29482,"dynasty":124,"author":2268,"museum":20,"description":50865,"tags":50866,"thumbUrl":50867,"material":40,"size":29486,"collection":136,"collections":50868,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},238079,"yan-ling-cun-tu-dong-qi-chang-238079","延陵村因有“唐人张从申碑”而具有深厚的历史人文内涵。画家以此为题，意在创造出与石碑意趣相同的“古意”。此图以鸟瞰的角度取景，描绘延陵村的整体风貌。构图内容丰富，运用山势的转折、峰峦的呼应以及烟云的空间留白营造出广阔辽远的空间，表现出延陵村的地理风貌。然而，这又不同于写实再现，画家以抒情的笔调描绘出绮丽浑厚的山峰、蓊郁奇崛的松木、晨雾中若隐若现的村舍，这正是在真实山水的基础之上的艺术加工。在笔墨的运用上，图中山石的画法是将勾勒与董、巨的披麻皴相结合，笔法精微。设色追求晋唐风韵，古雅淡泊。在此，画家将元人的笔墨情趣与唐宋人的造型、意境相结合，进而营造出平淡典雅、天真朴拙的“古意”，画中的延陵村因而显得真实而又具有悠远的意味，宁静清幽而又古趣盎然，这是董其昌所创造出的“奇景”。此外，画面上端的楷书结体端庄秀雅，墨色清旷明润，有晋唐人风度，与画面本身共同传达出一种古朴典雅的艺术气息。\n撰稿人：杨丽丽",[24,7,165,29,132,128,496,34,1144,497,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc504525ce90c44b873edcd7f676754cd.jpg",[136],{"id":50870,"slug":50871,"title":50872,"dynasty":54,"author":6778,"museum":300,"description":29701,"tags":50873,"thumbUrl":50874,"material":692,"size":1293,"collection":84,"collections":50875,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},237871,"la-mei-tu-cheng-shan-zhao-zhi-qian-237871","腊梅图成扇",[24,7,1131,61,371,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66f3e961de35d0398c63440d16f12935.jpg",[],{"id":50877,"slug":50878,"title":38952,"dynasty":54,"author":38900,"museum":300,"description":38953,"tags":50879,"thumbUrl":50880,"material":692,"size":1293,"collection":136,"collections":50881,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},237716,"wu-sheng-shi-yi-tu-ce-huang-yi-237716",[24,7,59,188,128,29,1337,130,171,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8daad7599809d3ad232a5bec970b5b7b.jpg",[136],{"id":50883,"slug":50884,"title":50885,"dynasty":54,"author":50886,"museum":300,"description":50887,"tags":50888,"thumbUrl":50889,"material":692,"size":1293,"collection":68,"collections":50890,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},237706,"qiu-sui-hua-niao-ce-qiu-sui-237706","裘穟花鸟册","裘穟","清，钱塘(今杭州)人。焕子，艺术家，代表作《图绘宝鉴续纂》等。",[24,7,59,27,28,133,208,61,211,547,2690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84c711f99e8ebe27be62a1b260c9970c.jpg",[68,45],{"id":50892,"slug":50893,"title":7864,"dynasty":54,"author":872,"museum":300,"description":9695,"tags":50894,"thumbUrl":50895,"material":611,"size":84,"collection":84,"collections":50896,"showCount":641,"zanCount":1998,"manualWeight":48,"mainColor":72},237625,"za-hua-ce-zhu-da-237625",[164,24,7,59,128,61,369,1400,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad98ec6e6b8b7c0be7b6819a1a0fdf4c.jpg",[],{"id":50898,"slug":50899,"title":50900,"dynasty":124,"author":2268,"museum":300,"description":50901,"tags":50902,"thumbUrl":50903,"material":84,"size":84,"collection":318,"collections":50904,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},237492,"zhang-gan-she-li-ge-tu-zhou-dong-qi-chang-237492","长干舍利阁图轴","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖） 。 颇能诗文，著有《画禅室随笔》《容台文集》等。\n董其昌强调以古人为师，但反对单纯机械地模拟蹈袭。随着阅历的增加、思想的成熟，他在继承前人技法时不倚傍他人庑下“作重台”，而是有选择地取舍，融入自己的创意。他认为如果离开了自己的创意，古人的精神也难以表达，故应以自己独创的形式再现古人的“风神”。凭借自己对古人书画技法得失的深刻体会，他摄取众家之法，按己意运笔挥洒，融合变化，达到了自成家法的化境。\n董其昌的山水画大体有两种面貌，一种是水墨或兼用浅绛法，这种面貌的作品比较常见；另一种则是青绿设色，时有出以没骨，比较少见。他十分注重师法古人的传统技法，题材变化较少，但在笔和墨的运用上，有独特的造诣。他的绘画作品，经常是临仿宋元名家的画法，并在题识中加以标榜，虽然处处讲摹古，并不是泥古不化，而是能够脱窠臼，自成风格，其画法特点，在师承古代名家的基础上，以书法的笔墨修养，融会于绘画的皴、擦、点划之中，因而他所作山川树石、烟云流润，柔中有骨力，转折灵变，墨色层次分明，拙中带秀，清隽雅逸。\n他在天启二年，67岁时临摹北宋范宽的《溪山行旅图》采取青绿设色、水墨兼并浅绛的综合绘画技艺手法，充分表现出他的人物工笔精湛、山水风格独特画坛艺术自然传承的巨匠魅力。他的画风在当时声望显著，成为“华亭派”的首领。\n董其昌特别讲求用墨的技巧，水墨画兼擅泼墨、惜墨的手法，浓淡、干湿自然合拍，着墨不多，却意境深邃，韵味无穷；无须炫异矜奇，而真气横溢，充塞纸间。董其昌的设色山水，或用杨升没骨法，从彩笔代替墨笔，完成线条、轮廓、钩、勒、皴、擦，尽态极妍，不为刻画；或仿黄公望的浅绛法，参以赵大年、赵孟頫的青绿法，别树一格，层次分明，淡雅清新，生机盎然。\n董其昌作画强调写意，使绮丽多姿的山水显得有些捉襟见肘的色彩。但是他兼长书法、诗文，每每绘完山水，题以诗文，行楷簇簇如行蚕，闪闪如迅霆飞电，全图诗、书，画相映成趣，和谐一致，更富有抒情意境。董氏的创作，因而成为文人画追求意境的典范。\n如《遥峰泼翠图》，整个画面不过是干远景而已，笔墨也很简单，但神韵、骨力俱足。画面的前部作一隅坡脚，缀以数块荒石。坡脚上有三株老树，交错而立。中间一株是夹叶树，稍事勾勒，却枝叶备见；旁边两株的树叶，则充分发挥泼墨的作用，左以直抹示盘曲，右以横点示傲岸，浓淡相间，一派生机。画面上部以淡墨一抹而就，远山横贯，仅见轮廓隐人天际，山体却茫茫然，仿佛烟岚萦绕，雄浑无比。作者再用浓墨在一片淡远的景色中，染出几处高低错落的树叶，远近有致，层次丰富，烟云流动，充塞渚岸。左侧绘有小坡，坡上以横墨抹出数株直树。中间汪洋大水，不施笔墨，而万顷湖面浩瀚无涯之气势跃然纸上。此图长225厘米，宽75厘米，如此大幅立轴，只寥寥地布置些近树远山，就把握住整个画面峰遥、水阔、树翠的神情。这正是董其昌巧妙地运用“王洽泼墨，李成惜墨，两家合之，乃成画诀”的结果。\n全幅似疏似漏，但没有照应不到的地方，用笔爽利遒劲，又含蓄灵秀，纯以墨色气势的润泽、醒目而动人遐思。如不是熟练地掌握“空处有画”的本领，就不会有这样高明的布局。有人认为这是董其昌从“宽能走马、密不通风”的书体结构中触悟而得，这并不是没有道理的。整幅立轴不设色，但面貌清丽，有咫尺千里之势，给人以远深宁静的感觉。\n再如他暮年所作《关山雪霁图》，山峦林壑，绵延无际。右方重峦叠嶂，气势沉雄。中间幽壑重重，峭壁矗立，村落、丛林、流泉、山径，错落有致，杂而不乱；大江曲折跌宕其间，虽有干岩万壑，亦无窒碍不通的感觉。左方云烟弥漫，浸淫树石，路遥山重，隐人微茫，深远莫测，意味不尽。图中以渴笔钩勒峰峦山石，皴擦的运用极其准确、灵活，而线条流走轻快，疏密得宜。山冈陵石的凹凸明暗，则以横点巨苔，配上淡墨直皴的层层渲染来加以完成，技巧纯熟，无懈可击。意境朴厚深邃，很有“千山鸟飞绝，万径人踪灭”的诗意。\n全图用笔老辣生拙，骨力练达，墨气鲜润，绝去甜俗，以疏旷之笔，画出凝寒淡远的景致。卷尾数行行楷跋文，书体娟秀刚劲，更使此图富有书卷气，爽朗潇洒，自具风格。正如中国当代书画家南山乐山评论董其昌的艺术特点说：董香光（董其昌）满腹经纶，故能笔清墨润，山色如洗，宁静深邃，绝无尘垢。",[24,7,165,128,132,133,29,97,34,131,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e1cb89fb263ea27a05dc148575c163.jpg",[318],{"id":50906,"slug":50907,"title":28084,"dynasty":124,"author":10922,"museum":300,"description":50908,"tags":50909,"thumbUrl":50910,"material":84,"size":84,"collection":84,"collections":50911,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},237478,"guan-pu-tu-zhou-wen-jia-237478","此作用高远章法铺展景致，山峦以淡墨轻皴，留白晕出空濛云气，层叠峰峦间苍松虬劲挺秀。涧谷飞瀑蜿蜒穿林而下，松下幽人临流观瀑，野逸悠然。\n\n笔墨秀雅温润，以淡赭轻敷晕染山林，简淡笔触里尽显苍润质感，尽显清隽雅致的意趣。题诗与画境相融，将林泉高致的隐逸情怀藏于尺幅间，把文人寄情山水、静享丘壑的雅怀，化作可感的画面，是明代文人山水画中寓情于景的典型佳构。",[164,24,7,165,128,132,29,495,34,131,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f782bbeca3d1ae43c0ee0954efdb627.jpg",[],{"id":50913,"slug":50914,"title":50915,"dynasty":124,"author":47077,"museum":300,"description":50916,"tags":50917,"thumbUrl":50918,"material":692,"size":1293,"collection":84,"collections":50919,"showCount":641,"zanCount":1998,"manualWeight":48,"mainColor":199},237458,"fang-ju-ran-shan-shui-shan-ye-yun-xiang-237458","仿巨然山水扇页","恽向（1586--1655）明代画家。原名本初，字道生、曙臣，号香山，武进（今属江苏）人。崇祯末举贤良方正，授内阁中书舍人。擅诗文工山水，早年学董源，巨然，以悬肘中锋作画，骨力圆劲，浓墨润湿，纵横淋漓，自成一派，晚年敛笔于倪瓒、黄公望的风格，惜墨如金，挥洒自如，妙合自然。由于他常往来于齐鲁之间，并登临泰山，故笔下山水自然雄浑之气。他曾为周亮公画山水，自题云：“逸品之画，笔似近而远愈甚，似元而有愈甚；其嫩处如金，秀处如铁，所以可贵，未易为俗人道也。”",[24,7,1131,128,132,330,29,131,34,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe33bb82ef2826a18b206fb0142da7222.jpg",[],{"id":50921,"slug":50922,"title":50923,"dynasty":124,"author":50744,"museum":300,"description":50924,"tags":50925,"thumbUrl":50926,"material":692,"size":1293,"collection":84,"collections":50927,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},237455,"hua-zhu-shan-mian-ni-yuan-lu-237455","画竹扇面","倪元璐（1594年1月7日－1644年4月25日），字汝玉，一作玉汝，号鸿宝，浙江绍兴府上虞（今绍兴市上虞区）人。明末官员、书法家。\n天启二年（1622年），倪元璐中进士，以庶吉士授编修，后出主江西乡试。崇祯八年（1635年）任国子祭酒，因被控“妾冒妻封”而落职。南归后居绍兴城中。崇祯十五年（1642年）起用为兵部右侍郎兼侍讲学士，次年拜户部尚书兼翰林院学士，不久又兼摄吏部。崇祯十七年（1644年）初，大顺军逼近北京，倪元璐请修南京宫殿，以备不测，但未被采纳。三月，北京失陷，倪元璐自缢以殉节。南明弘光元年（1645年），追赠少保、吏部尚书，谥号“文正”。后清廷赐谥“文贞”。\n倪元璐书法灵秀神妙，行草尤极超逸，最得王右军、颜鲁公和苏东坡三人翰墨之助， 用笔锋棱四露中见苍浑，并时杂有渴笔与浓墨相映成趣，结字奇侧多变，书风奇伟，后人对他有“笔奇、字奇、格奇”之“三奇”，“势足、意足、韵足”之“三足”的称誉。他突破了明末柔媚的书风，创造了具有强烈个性的书法，与黄道周、王铎鼎足而立，并称“明末书坛三株树”，又与王铎、傅山、黄道周、张瑞图并称“晚明五大家”，成为明末书风的代表。代表作有《行草诗翰》轴。亦能诗文，著有《倪文贞集》。",[24,7,1131,128,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd517f81d0d7c20154e029aba7a5a37.jpg",[],{"id":50929,"slug":50930,"title":50931,"dynasty":54,"author":48257,"museum":300,"description":50932,"tags":50933,"thumbUrl":50934,"material":84,"size":84,"collection":84,"collections":50935,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},237445,"xue-jing-mei-zhu-shu-wu-shan-mian-wu-gu-xiang-237445","雪景梅竹书屋扇面","以淡墨晕染积雪，留白铺就天地清寒底色。虬曲梅枝破雪而出，细小红萼点点，暗透生机；修竹亭亭立雪，墨色浓淡层叠，苍劲枝叶凝着雪意，更显挺秀疏朗。覆雪湖石隐现棱骨，留白处尽是薄雪覆地，极简便烘托出冬日清寂。右侧题字清雅疏朗，书画相映成趣。\n\n整体笔意秀润温婉，无萧索苦寒，反倒带着幽淡文人气韵，将岁寒梅竹的清逸风骨收于扇面尺幅间，静谧雅致，尽显文人幽怀雅趣。",[24,7,1131,128,1813,371,167,5022,171,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf01914bbf0494ae177982be3e9f7bab.jpg",[],{"id":50937,"slug":50938,"title":76,"dynasty":124,"author":16032,"museum":510,"description":16033,"tags":50939,"thumbUrl":50940,"material":1190,"size":16036,"collection":84,"collections":50941,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},237439,"hua-hui-ce-xiang-sheng-mo-237439",[24,7,59,27,28,133,208,61,62,6556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf592fb900225f870b4311f0ff219a0.jpg",[],{"id":50943,"slug":50944,"title":40707,"dynasty":124,"author":3608,"museum":300,"description":9012,"tags":50945,"thumbUrl":50946,"material":692,"size":1293,"collection":84,"collections":50947,"showCount":641,"zanCount":1998,"manualWeight":48,"mainColor":72},237418,"shan-shui-shan-lu-zhi-237418",[24,7,1131,29,132,27,663,413,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4dc2286a29440d23512f2e1af77a0ce.jpg",[],{"id":50949,"slug":50950,"title":50951,"dynasty":124,"author":1058,"museum":300,"description":4630,"tags":50952,"thumbUrl":50953,"material":692,"size":1293,"collection":84,"collections":50954,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},237363,"she-yang-tu-zhou-tang-yin-237363","射杨图轴",[24,7,165,128,188,96,171,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F699dfa326d67bbf86297196d4ed32fab.jpg",[],{"id":50956,"slug":50957,"title":50958,"dynasty":54,"author":3043,"museum":300,"description":9390,"tags":50959,"thumbUrl":50960,"material":692,"size":1293,"collection":84,"collections":50961,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},237354,"mei-zhu-shan-ye-xu-gu-237354","梅竹扇页",[24,7,1131,27,61,371,167,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9142378bc6645716ae50ea0e5e864d.jpg",[],{"id":50963,"slug":50964,"title":409,"dynasty":54,"author":36816,"museum":20,"description":41606,"tags":50965,"thumbUrl":50966,"material":734,"size":84,"collection":84,"collections":50967,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},237198,"shan-shui-ce-sun-yi-237198",[24,7,59,27,29,98,99,131,34,97,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F954605f0ec578727ceb27cb1524adb3d.jpg",[],{"id":50969,"slug":50970,"title":15371,"dynasty":54,"author":15372,"museum":20,"description":15373,"tags":50971,"thumbUrl":50972,"material":734,"size":84,"collection":84,"collections":50973,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},237178,"hua-niao-kun-chong-ce-zhou-quan-237178",[24,7,59,27,28,61,806,373,1771,4279,481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd41aa9c65a510594189b75d82abf7fce.jpg",[],{"id":50975,"slug":50976,"title":50977,"dynasty":124,"author":223,"museum":300,"description":50978,"tags":50979,"thumbUrl":50980,"material":692,"size":1293,"collection":84,"collections":50981,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},236812,"wu-ling-hu-qiu-ye-yue-shan-mian-yi-ming-236812","吴令虎丘夜月扇面","此作用笔秀雅柔婉，金笺为底，以淡墨轻晕出月夜空蒙氛围。近岸坡石苍润，杂木扶疏，浅施淡赭点染秋意，林畔台榭中文士雅聚，凭栏观景，意态悠然。湖面空阔澄澈，扁舟浮于烟波间，对岸林峦隐约，山寺佛塔挺立于丘巅，古意盎然。\n构图虚实相映，以简淡笔墨铺陈出清寂悠远之境，将江南山水的秀润空灵与文人夜游的隽雅意趣相融，尽显温润静穆的文人幽怀。",[24,7,1131,27,132,29,97,34,131,99,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a3b1728139ee896dc3d11865e1eae57.jpg",[],{"id":50983,"slug":50984,"title":4229,"dynasty":54,"author":4823,"museum":300,"description":4824,"tags":50985,"thumbUrl":50987,"material":84,"size":20,"collection":84,"collections":50988,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},236613,"hua-niao-ce-ma-yuan-yu-236613",[24,7,59,128,27,369,61,50986,549,582,208],"板栗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F261498a4d6e42c115e8696a7c858dffe.jpg",[],{"id":50990,"slug":50991,"title":50992,"dynasty":54,"author":5879,"museum":300,"description":50993,"tags":50994,"thumbUrl":50995,"material":84,"size":84,"collection":136,"collections":50996,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},236422,"song-yin-bing-pei-zhou-hua-yan-236422","松荫并辔轴","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。",[24,7,165,27,29,372,130,101,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d2f02f42a1ce64c75b2663783c6c24e.jpg",[136,45],{"id":50998,"slug":50999,"title":19857,"dynasty":54,"author":51000,"museum":20,"description":51001,"tags":51002,"thumbUrl":51003,"material":84,"size":84,"collection":136,"collections":51004,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},236413,"shan-shui-zhou-mei-geng-236413","梅庚","清初著名画家、诗人梅庚（1640—1716），原名以庚，一字藕长、子长，号雪坪、雪坪子，又号听山翁。梅庚的曾祖父是大戏剧家、诗人、藏书家梅鼎祚。他的父亲梅朗中是复社名士，善于书画诗文，在当时被称为“三绝”，可惜36岁就英年早逝。\n梅庚（1640—1716），字子长，号雪坪，又号听山翁 清朝，安徽宣城人。梅清从孙。康熙二十年（一六八一）举人，官泰顺知县。善篆、隶，画山水、花卉，脱略凡格，不宗一家，偶尔落笔，韵致翩然。兼工白描人物。康熙三十六年（一六九七）尝作山水扇，今藏故宫博物院。工诗，著《吴市吟》《山阳笛漫兴集》《玉笥游草》，临卒作诗，署曰《推枕吟》。",[24,7,165,128,132,29,30,495,34,35,130,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8715f76cda3e05968cada9cadfa0b11.jpg",[136,117],{"id":51006,"slug":51007,"title":51008,"dynasty":124,"author":33809,"museum":300,"description":49544,"tags":51009,"thumbUrl":51010,"material":692,"size":1293,"collection":84,"collections":51011,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},236368,"lan-zhu-shan-xiang-yuan-bian-236368","兰竹扇",[164,24,7,1131,128,375,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F617b711c1e97eefe1c21c4248da33717.jpg",[],{"id":51013,"slug":51014,"title":51015,"dynasty":54,"author":223,"museum":20,"description":51016,"tags":51017,"thumbUrl":51018,"material":40,"size":51019,"collection":44,"collections":51020,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":199},236162,"xiao-hui-zhang-hou-chao-fu-xiang-zhou-yi-ming-236162","孝惠章后朝服像轴","粘黄绢，上书满汉墨 题：“孝惠仁宪端懿慈 淑恭安纯德顺天翼圣章 皇后，左。”\n孝惠章皇后御容一 轴，朝服冠，恭 悬， 西大柜尊藏。",[24,7,165,28,27,96,772,170,232,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6ce46a05b54cf676df042f28ea20ab9.jpg","纵254.7厘米， 横116.5厘米",[44,45],{"id":51022,"slug":51023,"title":8390,"dynasty":54,"author":1460,"museum":300,"description":51024,"tags":51025,"thumbUrl":51026,"material":84,"size":84,"collection":84,"collections":51027,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},235894,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235894","此作用笔干湿互济，左侧危崖以焦墨勾勒皴擦，线条朴拙厚重，苍劲雄浑。右侧水泽间芦荻随风轻曳，浅渚扁舟静泊，淡墨晕染出水气空濛的柔润质感，虚实相生晕开江南水畔清寂氛围。\n\n题诗落于左上角，以书入画诗画相融，铺展出江湖幽独的野逸之趣。画师以极简笔墨绘就林泉隐逸之景，淡简中自含苍茫悠远的意境，寄寓着寄情山水的隐逸襟怀，尽显萧散淡远的文人意趣。",[164,24,7,59,128,132,29,171,99,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e8cd68e458f9c8cd71f269d55f44adc.jpg",[],{"id":51029,"slug":51030,"title":51031,"dynasty":54,"author":4992,"museum":300,"description":51032,"tags":51033,"thumbUrl":51034,"material":84,"size":84,"collection":84,"collections":51035,"showCount":641,"zanCount":1998,"manualWeight":48,"mainColor":72},235781,"yu-shan-zhu-xian-he-bi-ce-fang-ju-ran-xiao-jing-ce-ye-yang-jin-235781","虞山诸贤合璧册-仿巨然小景册页","此作用淡墨晕染出空山新雨的清润意境，远山含黛隐于烟岚之间，层崖间飞瀑直下，暗合“树杪百重泉”的诗意。山坳溪流转折，苍松错落成林，溪侧茅舍孑立，野趣横生。\n画师以松秀苍雅的笔意追摹巨然，水墨皴染间元气淋漓，将山雨初歇后的空濛静穆铺陈开来，不见艳色，却把江南山野的湿润生机与文人幽居的逸趣融于尺幅。观之便如身临幽谷，似能听见泉鸣溪淙，呼吸到林间清润的空气，尽揽山居悠然诗意。",[24,7,59,128,132,330,29,495,31,34,130,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73ca409c904227b12e2f2e2c545a309b.jpg",[],{"id":51037,"slug":51038,"title":4229,"dynasty":124,"author":22448,"museum":300,"description":39003,"tags":51039,"thumbUrl":51040,"material":692,"size":1293,"collection":84,"collections":51041,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},235738,"hua-niao-ce-tan-zhi-yi-235738",[24,7,59,805,128,132,22257,1144,131,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F875b42ba3ba9ddc7d3633242f5cf586c.jpg",[],{"id":51043,"slug":51044,"title":4229,"dynasty":124,"author":22448,"museum":300,"description":39003,"tags":51045,"thumbUrl":51046,"material":692,"size":1293,"collection":84,"collections":51047,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},235735,"hua-niao-ce-tan-zhi-yi-235735",[164,24,7,59,27,28,61,2037,549,547,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad45b73f0049a14d3550d1815206b117.jpg",[],{"id":51049,"slug":51050,"title":15007,"dynasty":54,"author":12088,"museum":300,"description":15008,"tags":51051,"thumbUrl":51052,"material":692,"size":1293,"collection":84,"collections":51053,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},235666,"shan-shui-ping-yuan-jiang-235666",[24,7,164,165,95,27,29,97,98,99,34,131,37,758,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f04d355bfef7f860f03bc022aa5b472.jpg",[],{"id":51055,"slug":51056,"title":51057,"dynasty":54,"author":17240,"museum":300,"description":51058,"tags":51059,"thumbUrl":51060,"material":84,"size":84,"collection":84,"collections":51061,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},235649,"lin-ting-shan-se-zhou-cha-shi-biao-235649","林亭山色轴","《林亭山色图》是典型的学习元人的作品。\n查士标的山水以松秀生辣为自己的风格，是新安画派的大家。\n此为清查士标的《林亭山色图》。\n南京博物院藏。\n他的用笔吸取了倪云林和董其昌的风格，在生峭和如锥画沙中找到了一种平衡。\n看他的画你会发现他的心态是平和安详的，每一笔和一点都徐徐落下，有条不紊。\n他的画面总是带着灰色调，如同是有点雾气在其间往来。\n这好像是新安画派画家的共同特点，而他的作品中间反映得更加充分些。\n查士标（1615-1698年）字二瞻，号梅壑散人，安徽休宁人，明诸生，明亡之后则弃举业专事书画。\n家中多藏鼎彝及宋元人的作品，精于鉴别。\n书法学习米芾、董其昌，画学倪瓒。\n晚年的绘画技法高超，直入元人的堂奥。",[24,7,164,165,128,29,130,167,171,413,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff352ce355a4c9c2cf81b84fb1dc3c7c0.jpg",[],{"id":51063,"slug":51064,"title":51065,"dynasty":124,"author":223,"museum":300,"description":51066,"tags":51067,"thumbUrl":51068,"material":84,"size":84,"collection":84,"collections":51069,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},235608,"you-qiu-hong-fu-tu-zhou-yi-ming-235608","尤求红拂图轴","此作用白描淡墨绘就，线条细劲圆转如游丝萦回，尽显雅致风神。庭院古木虬曲、湖石玲珑，案几清供衬出厅堂雅静。榻上主人神态端凝自有威仪，仕女身姿柔婉，红拂悄然凝睇李靖，暗露倾慕之意，其余侍女恭谨侍立，奏乐乐师专注投入，下方侍女缓步持物，灵动自然。\n\n画作定格风尘三侠初遇瞬间，人物排布疏密得宜，素淡墨色铺展传奇开篇，笔意秀润含蓄，将古典侠情的缱绻意境描摹尽致，淡远雅致间古意悠悠。",[164,24,7,165,188,128,27,96,413,1314,875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc3a9f3843074eab8d3ca0495e164b6c.jpg",[],{"id":51071,"slug":51072,"title":15906,"dynasty":124,"author":20447,"museum":300,"description":51073,"tags":51074,"thumbUrl":51075,"material":84,"size":84,"collection":84,"collections":51076,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":199},235577,"mo-mei-tu-zhou-liu-shi-ru-235577","此作用笔老辣苍劲，枯墨皴擦梅干，尽显古木饱经霜雪的嶙峋质感。梅枝自左上蜿蜒垂落，如虬龙探水，枝桠俯仰藏露，错落有韵。繁花以圈花点蕊之法写就，淡墨晕染出花瓣清透柔润之感，无艳色却满枝似雪，冷香暗涌，将寒梅凌冬盛放的孤高之态尽显。右侧长题笔意清劲，与梅枝相映成趣，书画相融尽显文人借物抒怀的雅致意境，将梅花傲雪不屈的品格藏于水墨浓淡间，尽显幽淡清远的风骨。",[24,7,165,128,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F635f1cec46fa1e4bfa9ea4448dff745a.jpg",[],{"id":51078,"slug":51079,"title":51080,"dynasty":54,"author":223,"museum":300,"description":51081,"tags":51082,"thumbUrl":51083,"material":692,"size":1293,"collection":84,"collections":51084,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},235403,"xu-gu-yang-liu-ba-ge-zhou-yi-ming-235403","虚谷杨柳八哥轴","此作以淡墨写垂柳枝干，枯笔勾出袅袅柳条，绿赭晕染柳叶，笔致疏朗清逸，将春风拂柳的柔婉之态尽显。两只八哥栖于枝头，浓墨点染羽翼，淡墨铺衬胸腹，将羽毛蓬松质感细致呈现，二者依偎私语，神态亲昵生动。下方柳条间还隐有数只小雀，为画面添了灵动野趣。\n右侧题字笔墨苍劲朴拙，与画境融于一体。整幅以兼工带写之法绘就，水墨晕染间设色淡雅清新，将江南春日的柔媚生机藏于尺幅，尽显清寂简雅的文人意趣。",[24,7,165,128,27,61,12008,39717,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd36dcaa95f017a0f0fc9a6d5c75db4a.jpg",[],{"id":51086,"slug":51087,"title":51088,"dynasty":124,"author":41661,"museum":300,"description":41662,"tags":51089,"thumbUrl":51090,"material":692,"size":1293,"collection":84,"collections":51091,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},235312,"hai-tang-shan-ye-wang-gu-xiang-235312","海棠扇页",[24,7,1131,27,61,1132,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa47e65c0d8d8d7d19256b69d01f49eb4.jpg",[],{"id":51093,"slug":51094,"title":51095,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":51096,"thumbUrl":51097,"material":692,"size":1293,"collection":84,"collections":51098,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},235269,"wen-zheng-ming-zhu-shi-shan-ye-wen-zheng-ming-235269","文徵明竹石扇页",[24,7,1131,128,167,1314,375,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6186efbb9a6f3d103b50c388b1fb58e8.jpg",[],{"id":51100,"slug":51101,"title":14818,"dynasty":54,"author":223,"museum":300,"description":51102,"tags":51103,"thumbUrl":51104,"material":84,"size":84,"collection":84,"collections":51105,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},235158,"hong-ren-shan-shui-ce-yi-ming-235158","此作用笔清劲洗练，以淡墨勾勒山石轮廓，线条方硬爽利，尽显皖南丘壑冷峻之态。近岸孤树疏枝亭亭，树下茅舍幽隐，野意悠然。远景矶汀错落，浅渚留白铺展出空濛清寂的水色。\n\n搭配行书题诗，笔意疏朗洒脱，诗画相映，将荒寒山居的幽致和文人幽栖之志相融，整体简淡空灵，脱尽尘俗烟火气，把山水的清寂冷逸与林下雅怀合为一体，风骨萧散淡远，余韵悠长。",[24,7,59,128,132,29,39393,131,758,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa067945763735df25b05abe9da2fedc9.jpg",[],{"id":51107,"slug":51108,"title":10613,"dynasty":54,"author":1460,"museum":20,"description":11338,"tags":51109,"thumbUrl":51110,"material":999,"size":11341,"collection":84,"collections":51111,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},234997,"yuan-ji-shan-shui-tu-ce-shi-tao-234997",[24,7,59,128,132,29,129,99,131,34,211,35,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60998edd7aa06ac4ca0e9c4fd7984022.jpg",[],{"id":51113,"slug":51114,"title":18219,"dynasty":54,"author":9529,"museum":300,"description":19697,"tags":51115,"thumbUrl":51116,"material":692,"size":1293,"collection":84,"collections":51117,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},234958,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234958",[24,7,59,27,132,29,98,99,34,131,415,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8351d3095c2e469174b51b3d50246961.jpg",[],{"id":51119,"slug":51120,"title":51121,"dynasty":124,"author":10922,"museum":20,"description":28002,"tags":51122,"thumbUrl":51123,"material":734,"size":28005,"collection":84,"collections":51124,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},234816,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-wen-jia-lin-wu-dong-tu-ye-wen-jia-234816","吴门诸家寿袁方斋三绝册-文嘉林屋洞图页",[24,7,59,26,27,29,171,132,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F413dd335fc56898d26fe9c0f2cbedf25.jpg",[],{"id":51126,"slug":51127,"title":51128,"dynasty":54,"author":51129,"museum":300,"description":51130,"tags":51131,"thumbUrl":51132,"material":84,"size":84,"collection":136,"collections":51133,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},234684,"ba-jia-shan-shui-ce-duan-qiao-wo-liu-tu-ce-ye-jin-shu-ming-234684","八家山水册-断桥卧柳图册页","金庶明","图绘远山,小舟,一游人在江上垂钓",[24,7,59,27,26,132,29,98,99,129,4363,131,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5e7d8e39abe98d0e19856b22fc56f18.jpg",[136,45],{"id":51135,"slug":51136,"title":51137,"dynasty":54,"author":29018,"museum":300,"description":51138,"tags":51139,"thumbUrl":51140,"material":84,"size":84,"collection":84,"collections":51141,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},234594,"yao-yuan-zhi-hua-guo-wan-shan-yao-yuan-zhi-234594","姚元之花果纨扇","姚元之（1773—1852）清代官员、书画家。字伯昂，号荐青，又号竹叶亭生，晚号五不翁，安徽桐城人。嘉庆十年进士，官至左都御史、内阁学士。善画人物、果品、花卉，书法尤精隶书。姚元之与崔旭、梅成栋皆出自清代著名诗人张问陶（号船山）门下，合称“张门三才子”。",[24,7,1131,61,28,27,376,547,22995,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58b7f49ead7bc1e1fb50db9fb958b0b2.jpg",[],{"id":51143,"slug":51144,"title":51145,"dynasty":54,"author":51146,"museum":20,"description":51147,"tags":51148,"thumbUrl":51149,"material":84,"size":84,"collection":84,"collections":51150,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},234466,"shan-shui-mao-wu-tie-luo-shen-zhen-lin-234466","山水茅屋贴落","沈振麟","沈振[清]字凤池，一作凤墀，吴县（今江苏苏州）人。工写照，兼善写生，及山水、人物，各臻其妙。供奉内廷。\n慈禧太后赐御笔“传神妙手”区额。尝奉勅画马便面二叶，各有宣宗御题三字一曰“飞霞骢”，一曰“翔玉骢”，钤有道光御用方玺。又百鸽图每页书签各名，尽绘物之妙。《寒松阁谈艺琐录、瓯钵罗室书画过目考》",[24,7,29,711,27,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc054ee4fe31770c0d0a2de5f9c4a38d5.jpg",[],{"id":51152,"slug":51153,"title":51154,"dynasty":54,"author":223,"museum":300,"description":51155,"tags":51156,"thumbUrl":51157,"material":692,"size":1293,"collection":84,"collections":51158,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},234387,"hong-li-chao-fu-xiang-zhou-yi-ming-234387","弘历朝服像轴","此作为工笔御容肖像，笔触精细入微，设色华贵沉稳。画中帝王身着明黄朝服，周身龙纹盘绕生动，十二章纹排布严整，朝珠、补服礼制细节分毫毕现，尽显服饰规制的森严考究。\n\n人物神态清隽肃穆，端坐于錾刻繁复的鎏金宝座之上，身姿端凝沉稳，尽显九五之尊的雍容威仪。整作恪守御容肖像的严谨范式，以写实手法精准还原帝王仪范，将皇权的庄重尊崇融于细腻笔触间，尽显清代肖像画的精湛匠艺。",[24,7,165,28,27,96,304,170,772],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1485d5f01011117b7b00a8989ede1b9.jpg",[],{"id":51160,"slug":51161,"title":13087,"dynasty":54,"author":13088,"museum":300,"description":13089,"tags":51162,"thumbUrl":51163,"material":84,"size":84,"collection":84,"collections":51164,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},234373,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234373",[24,7,59,27,28,330,61,2123,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe5554c1b610aedeb858cd8dad4dee7e.jpg",[],{"id":51166,"slug":51167,"title":51168,"dynasty":124,"author":19056,"museum":300,"description":46844,"tags":51169,"thumbUrl":51170,"material":1027,"size":84,"collection":84,"collections":51171,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},234247,"mo-hua-jiu-zhong-juan-chen-gua-234247","墨花九种卷",[23,24,7,25,128,61,369,208,263,81,80,373,603,374,605,650,604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc52c46bc4e3b4ca5a9f77865bc6868ab.jpg",[],{"id":51173,"slug":51174,"title":51175,"dynasty":54,"author":9704,"museum":20,"description":51176,"tags":51177,"thumbUrl":51178,"material":734,"size":51179,"collection":84,"collections":51180,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},234178,"wo-you-tu-juan-kun-can-234178","卧游图卷","髡残字介邱，号石溪，又号白秃、电住道人、壤残道者，武陵人。工人物、花卉，尤精山水。此图笔墨苍润，结构繁简得宜，虚实相生，气脉连贯，粗放中苍润沉郁而物象毕现。",[23,164,24,7,25,128,132,133,840,64,208,29,663,228,413,130,35,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae89608ed6536f95368216b186364913.jpg","28.1×375厘米",[],{"id":51182,"slug":51183,"title":51184,"dynasty":54,"author":19884,"museum":20,"description":28035,"tags":51185,"thumbUrl":51186,"material":151,"size":84,"collection":84,"collections":51187,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},234111,"hua-hong-li-jiao-shi-ming-qin-shi-yi-juan-zhang-zong-cang-234111","画弘历蕉石鸣琴诗意卷",[24,7,25,27,29,130,34,229,35,1645,208,64,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b204362fe8e043dbf4856d2c360dfbc.jpg",[],{"id":51189,"slug":51190,"title":409,"dynasty":124,"author":2268,"museum":20,"description":40807,"tags":51191,"thumbUrl":51192,"material":3430,"size":5345,"collection":84,"collections":51193,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},234055,"shan-shui-ce-dong-qi-chang-234055",[164,24,7,59,128,132,29,34,131,35,415,37,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71c284092d9c32f1c2b5519282e29198.jpg",[],{"id":51195,"slug":51196,"title":51197,"dynasty":18,"author":223,"museum":20,"description":51198,"tags":51199,"thumbUrl":51200,"material":561,"size":51201,"collection":84,"collections":51202,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},234002,"ming-bi-ji-sheng-ce-song-ren-cai-hua-tu-ye-yi-ming-234002","名笔集胜册-宋人采花图页","此画描绘野色秋景：古木、巨石、竹丛、杂花、曲水，老人拄杖，边走边看旁边的孩子，另一个孩子抱着 一个花瓶，跟在后面。 老人和两个少年，一副活泼的姿态，热切地相互呼应。 整幅画淡漠，充满野趣。 作者用双勾填彩竹，用白粉点花，用浓墨去山石，用淡墨擦。\n此图描绘的是陶渊明和采菊的故事。",[24,7,164,59,28,27,96,547,413,171,131,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa3829cc71d2b5bb96c58a1efbea7b43.jpg","24.1x25.2厘米",[],{"id":51204,"slug":51205,"title":20347,"dynasty":54,"author":1019,"museum":20,"description":51206,"tags":51207,"thumbUrl":51208,"material":1722,"size":51209,"collection":84,"collections":51210,"showCount":641,"zanCount":1998,"manualWeight":48,"mainColor":72},233954,"shan-shui-tu-zhou-cheng-zheng-kui-233954","此图是程正揆晚年所作，绘前景清溪水榭，后景层峦石壁。前疏后密的景致构筑出淡雅浑朴的格调。此图是程正揆遭劾革职回南京后所作。他在隐居生活中受到前明遗老髡残、龚贤等人的审美观影响，绘画作品中带有较强的遗民意趣，常通过清幽的山水意境表达其隐逸的文人情思。",[24,7,165,128,132,27,29,34,495,131,35,499,497,130,208,23873],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe06aacd43996fdf247988d4f3198c814.jpg","纵104.8厘米，横40.6厘米",[],{"id":51212,"slug":51213,"title":7359,"dynasty":54,"author":1242,"museum":224,"description":7360,"tags":51214,"thumbUrl":51215,"material":1464,"size":7363,"collection":84,"collections":51216,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},233866,"mei-hua-ce-jin-nong-233866",[24,7,59,128,64,371,582,1039],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0da4a4c9fdf9047d3f8e3350b2ae6c59.jpg",[],{"id":51218,"slug":51219,"title":15933,"dynasty":124,"author":2268,"museum":20,"description":15934,"tags":51220,"thumbUrl":51221,"material":1722,"size":15937,"collection":84,"collections":51222,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},233713,"gao-yi-tu-zhou-dong-qi-chang-233713",[24,7,165,128,29,132,133,34,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f9d36af4fbafa00368ece3a1a18dc03.jpg",[],{"id":51224,"slug":51225,"title":51226,"dynasty":54,"author":1460,"museum":300,"description":14038,"tags":51227,"thumbUrl":51228,"material":1722,"size":14041,"collection":84,"collections":51229,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},233695,"yuan-ji-lan-zhu-ce-shao-yao-lan-hua-shi-tao-233695","原济兰竹册－芍药兰花",[24,7,59,128,133,208,829,605,167,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12f18ac7f2acb5a537d77e712c542ae8.jpg",[],{"id":51231,"slug":51232,"title":51233,"dynasty":144,"author":18589,"museum":20,"description":51234,"tags":51235,"thumbUrl":51236,"material":1027,"size":51237,"collection":84,"collections":51238,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},233220,"wu-yi-fang-zhao-tu-zhou-fang-cong-yi-233220","武夷放棹图轴","此图画武夷山景。武夷山在今福建省崇安县西南，绵亘百余里，有36峰、37岩，水流其间，分为九曲，为我国南方风景名胜之地。古代，道家将它称为第十六洞天，是道教活动较为集中的地区。此图是方从义为同道周敬堇而作。画面右侧一峰高耸，峰下水中一叶小舟徐徐划行，岸上怪石嶙峋，林木丛生其间。笔墨浓润，酣畅淋漓，山体用纵向长线条皴染，以增其峭砺高耸之感。布局奇特，笔法多变，融古法为己用，表现出独具特色的艺术格调。",[24,7,165,128,132,29,129,1022,34,415,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce68dbca86ab65c25a6f0e74749f9db.jpg","纵74.4厘米，横27.8厘米",[],{"id":51240,"slug":51241,"title":51242,"dynasty":18,"author":1174,"museum":20,"description":51243,"tags":51244,"thumbUrl":51245,"material":151,"size":17338,"collection":84,"collections":51246,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},233214,"liu-yin-mu-niu-tu-ye-li-tang-233214","柳荫牧牛图页","宋代所谓“花鸟画”的范围比较狭窄，仅限于花和鸟。畜兽、竹石、鱼虫皆另立科目(山水中，树石、木屋也是各自立科的)。在当代，我们把中国画分为山水、人物、花鸟三大科，则树石、村落、楼观等多半归于山水。兽畜、竹石、蝶虫之类多归于花鸟。花鸟画实则是动、植物画，以花代表植物，以鸟代表动物。\n李唐的花鸟画在当时尤为突出。吴其贞《书画记》中记有李唐《梅竹禽雀图》，并云“甚剥落”，然“精彩尚在”。《严氏书画记》中还记有李唐的《古木寒鸦图》，他自己也说：“早知不入时人眼，多买胭脂画牡丹。”这一类作品虽很精彩，可惜，今天已不可见，记载亦不详。据历来的叙说，李唐“尤工画牛”(《图绘宝鉴》)，“善作山水人物，最工画牛”(《画继补遗》)。他当时的花鸟画成就可能大于山水和人物。本来，北宋画院的花鸟画成就是高于山水画的。\n在记载中，李唐的画牛之作也确实多，如《桃林纵牧图》、《放牧图》、《春牧图》、《秋牧图》、《烟林春牧》、《风雨归牛图》、《三生图》等等。《清河书画舫》所记李唐的《桃林纵牧图》：“不知者谓为戴嵩。”戴嵩乃唐代画牛名家，当时及后代，皆称“韩马戴牛”，即韩干的马、戴嵩的牛。李唐的牛被人误认为是戴嵩所画，可见其精彩之至。还记“李唐尤工画牛，得戴嵩遗法”。\n《东图玄览》记：“李唐《春牧图》，牛欲前行，童子力挽之，势甚奇。”吴其贞《书画记》载：“李唐《风归牛图》……有一牛乘风而奔，气韵如真，为神晶。”又记：“李唐《牧牛图》绢画一幅，树下有水，牛欲右行，而牧童欲牵左转，两下努力相持，使观者亦自费力。”以上记载，亦可略见李唐画牛成就之一斑了。李唐画的牛今日已不多见了。《乳牛图》一直传为李唐之作，在传世的宋人画牛图中，似此图者不少，然如此图之精彩者却不多。现存画迹中，南宋的画牛图还不算太少，大抵皆受李唐的影响。\n李唐(约1066一约1150)字晞古，河南人，乃南宋画院“四大家”之一，宋徽宗时就已是画院待诏。后因战乱被俘，遂又潜逃南渡，历尽颠沛流离之苦，一度落泊于南宋都城临安，靠卖画度日。后被高宗赵构重用，仍任朝廷画院旧职。李唐的山水、人物、走兽皆精，而山水最佳，创大斧劈皴法，所作长图大幛，气势宏伟，独步南宋画坛。晚年代表作有《清溪渔隐图》等留世。其人物画富李公麟遗韵，却性格刻画突显，且多绘文人高士形象，如《七贤过关图》、《采薇图》等。史传他极擅画牛，但存世作品真伪难辨。",[24,7,59,128,27,132,2372,102,96,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9caed9a29913ebe1ad5d983892d9d17.jpg",[],{"id":51248,"slug":51249,"title":51250,"dynasty":54,"author":6778,"museum":56,"description":6779,"tags":51251,"thumbUrl":51252,"material":611,"size":84,"collection":84,"collections":51253,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},233192,"hua-hui-ce-mei-hua-zhu-ye-zhao-zhi-qian-233192","花卉册-梅花竹页",[24,7,59,128,27,61,371,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68a3f56778ab52cafa54736f7f44df9a.jpg",[],{"id":51255,"slug":51256,"title":41792,"dynasty":124,"author":3619,"museum":20,"description":41793,"tags":51257,"thumbUrl":51258,"material":611,"size":41796,"collection":84,"collections":51259,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},232959,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232959",[24,7,59,128,29,331,171,132,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb0d0f5d6235a84082f5f7e653cc6acb.jpg",[],{"id":51261,"slug":51262,"title":51263,"dynasty":144,"author":7095,"museum":244,"description":51264,"tags":51265,"thumbUrl":51266,"material":611,"size":51267,"collection":84,"collections":51268,"showCount":641,"zanCount":1998,"manualWeight":48,"mainColor":49},232832,"fang-ma-tu-zhao-yong-232832","放马图","《元赵雍骏马图》是元代画家赵雍的作品，该画出自家传，善山水，尤精人马及竹石。水滨疏林，骏马五匹散游其间，圉人倚松假寐，状极悠闲消遥。马匹肥壮，设色以青绿为之，树叶之表现近图案方式，饶古拙之趣，颇有唐人遗意。该画中山水份量极重，构景空濶而幽远。\n该幅《骏马图》，描写平畴牧马景致，画中山水的分量极重，布局空阔而幽远。水滨画杂树林立，骏马五匹散游其间，自得其乐；圉人（饲马的胡人）倚松假寐，神情极为逍遥；湖水如镜，远岫屏列，益觉一派静穆祥和。马匹结体壮硕，颇有唐代画马名家曹霸、韩干的遗意。配景设色则以青绿为之，夹叶填彩的表现法，已近乎图案形式，实滥觞于隋唐所盛行的青绿传统。唯远山掺用披麻皴纹，透露出董源、巨然山水风格的影响辙痕。\n早在秦汉时期，马匹造形即被广泛运用于殉葬的明器当中，魏晋的陵墓壁画，亦不乏骑马、射猎等生活写照。有唐一代，随着养马风尚高涨，画马的艺术也臻于极峰，举凡曹霸、陈闳、韩干、韦偃等人，均有作品传世。\n宋元以后，画马风气受到山水画勃兴的影响，逐渐趋向式微，除却李公麟的白描人马尚自具一格外，鲜少能超迈前贤的力作。而赵雍置身于复古思想炙热的元代，笔端吞吐着浓郁的唐人风范，诚属“汲古以创新”的心态所使然。事实上，赵雍画马已不似唐马那般丰肥，线条的感觉较为柔婉、秀丽，加上揉合青绿设色与董、巨披麻皴纹的山水配景，致使全画于装饰意味之外，犹未失却文人作画所特有的儒雅本色。显然，赵雍笔下的人马业已展现出元朝的时代风貌，不复为单纯的临摹与仿古了。\n该幅画平畴林野牧马的景致，画骏马五匹或磨肩，或依偎，或觅食于树荫下，不管在结构或造形上，皆显示画家对马匹曾做仔细的观察与了解，轻而易举地掌握复杂的造型。圉人倚松假寐，状至悠闲逍遥。人马以中锋钩画，人物表情生动，马匹结体雄壮。树叶以近似图案的工整格式画出，装饰性强，饶古拙之趣。画家更利用平镜无纹的湖水，及罗列的远山，加强空间的推衍及层次感，呈现阔远松秀的画面。其青绿设色及用笔虽颇有唐人遗意，但因结合设色与皴法，远较唐之青绿山水雅淡，充分地发挥笔墨情趣。\n这幅画是赵雍为色目人官员─孛颜忽都所画的。画风主要承袭自隋唐时代青绿山水，设色主要填染了石青、石绿，色彩浓丽；还有，如画树叶先勾出轮廓，再填入颜色，正是工笔画中夹叶填彩的画法。此外，马匹高大肥硕的体型，也是追法唐代画马的意趣。不过，赵雍的这幅画还揉合了五代画家董、巨一派的笔意，例如：表现远山质感、那种类似苎麻纤维的线纹，叫做披麻皴:。综而观之，《元赵雍骏马图轴》的人物、马匹及山水背景，虽具唐宋古意遗韵，但在构图上一水两岸的平远景致，依旧是典型的元人特色。赵雍在元代复古的风潮中，也开拓了新的时代风格。",[23,164,24,7,28,27,96,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6e084133cc7dc0b63f3c2d393ccdc9.jpg","186×106公分",[],{"id":51270,"slug":51271,"title":51272,"dynasty":18,"author":8169,"museum":224,"description":51273,"tags":51274,"thumbUrl":51275,"material":151,"size":51276,"collection":84,"collections":51277,"showCount":641,"zanCount":1998,"manualWeight":48,"mainColor":49},232770,"hua-hui-ling-mao-tu-juan-yi-yuan-ji-232770","花卉翎毛图卷","图绘鸟儿七只，有绿头鹦鹉，黑色八哥，红嘴小鸟，每只鸟儿神情生动，跃然纸上，羽毛细致多彩，惟妙惟肖，作为背景的花枝和花朵亦真实生动，整幅画重彩描绘，有着华丽富贵之美。",[23,164,24,7,25,28,27,61,62,211,371,624,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbe402d5f65c003ca020ad05276bb40.jpg","31.8cm×258.4cm",[],{"id":51279,"slug":51280,"title":51281,"dynasty":124,"author":18090,"museum":424,"description":51282,"tags":51283,"thumbUrl":51284,"material":40,"size":51285,"collection":84,"collections":51286,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},232642,"shan-shui-gu-mu-tu-lan-ying-232642","山水古木图","高峰，杂林连绵，古木，矶石屋宇杨柳平坡，湖光山色边，春意盎然。有人湖 语，有人舟中弄笛，相映成趣。全图用笔苍劲，设色清丽，点染别致，树木景物，充满生机，巧得江南野趣。",[24,128,132,165,7,29,4797,331,1144,131,415,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a75b6d590433c88559de0a0f19d3d2.jpg","纵72.5厘米，横89.5厘米",[],{"id":51288,"slug":51289,"title":20347,"dynasty":18,"author":2257,"museum":244,"description":51290,"tags":51291,"thumbUrl":51292,"material":1223,"size":51293,"collection":84,"collections":51294,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":956},232600,"shan-shui-tu-zhou-zhao-bo-ju-232600","此作无名款，以细笔描绘沿溪风光，空间绵延，物象丰富，甚得乾隆皇帝喜爱。根据乾隆二十二年的题跋，乾隆皇帝 “观其风神笔力”，故称为赵伯驹之作。本幅画山水晴云，游骑寻春，村家桃柳，水亭茶话。通幅以青绿为主调，生动地表现出春日触目皆绿的景致",[23,164,24,7,165,27,29,97,98,99,129,28,132,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e7c6c4658758839cef52e467585382b.jpg","纵89.5cm，横32.3cm",[],{"id":51296,"slug":51297,"title":51298,"dynasty":124,"author":37883,"museum":244,"description":51299,"tags":51300,"thumbUrl":51301,"material":66,"size":51302,"collection":84,"collections":51303,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},231953,"su-shi-liu-dai-tu-cui-zi-zhong-231953","苏轼留带图","宋神宗年间(1078年前后)苏东坡与佛印法师是知心好友，称为“忘形交”。一天苏东坡突然来访，直入方丈室。佛印正欲为僧众说法，故意开玩笑不让苏东坡坐，说：“此间无坐处”。苏东坡随即用禅宗之语答道：“暂借佛印四大为座”。佛印见他居然班门弄斧，便想难难他，提出如果答出问题就请他坐，答不出就把玉带输掉。苏轼自以为难不倒他欣然答应。佛印问：“既然四大皆空，五蕴非有，居士向哪里坐?”(四大：“地、水、火、风”大，佛教认为是构成物质的四大元素。五蕴：“色、受、想、行、识”蕴，是构成人身的五种因素)。你想，既然四大皆空，五蕴非有，便是空空如也，一无所有。哪里还会有什么座位呢?苏东坡果然被难住了。只得解下玉带相赠。佛印也当即取出一幅自己的衲裙回赠。真得感谢这位聪明的和尚，为我们留下了这件珍贵的文物。苏东坡还写了三首诗记这件事，题目叫《玉带施元长老，元以衲裙相报次韵》，其中有“此带阅人如传舍，流传到我亦悠然。锦袍销落应相称，乞与佯狂老万回”等句，流露出政治上失意上图专为存放苏东坡玉带供人观瞻的“留玉阁”\n这幅《留带图》，画的正是苏轼与僧人参廖子的故事。崔子忠师承董其昌，在人物画上与陈洪绶齐名，并称南陈北崔。所画人物面目清奇而有古意。惜乎所寻的这幅《留带图》太小，咱竟不能见识其笔力。也罢，苏胡子是多面手，不但词文冠绝天下，连书法绘画都是超一流名家。宋四家“苏黄米蔡”，苏胡子书法排名大宋第一。崔画不清晰，录一幅苏胡子的字以弥补。《黄州寒食帖》，号称天下行书第三。\n“有情风万里卷潮来，无情送潮归”，“对潇潇暮雨洒江天，一番洗清秋”，“无边落木萧萧下，不尽长江滚滚来”，就是这样的联想，就是这样的博大开阔的境界。\n婉约为正宗的词在苏轼那里有了极大的开拓，但是可惜其他人没有追随上来。天才常常比一般人走得快一点吗？秦观，仍是词人之词，他为何不学苏轼做诗人之词？但秦观依然有其特色之处，一般人常把抽象的感情比作具象的景物，但秦观却能够把具体的形象比作抽象的感情。",[805,24,7,28,27,128,96,34,131,758,7344,1367,64,208,1337,11830],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ad3b4fbcab6254827d3f2934fc1b38.jpg","81.4x50",[],{"id":51305,"slug":51306,"title":51307,"dynasty":222,"author":223,"museum":300,"description":51308,"tags":51309,"thumbUrl":51310,"material":692,"size":1293,"collection":84,"collections":51311,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},231709,"lian-cang-shi-dai-tian-gou-cao-zhi-hua-juan-dong-si-ti-hu-si-juan-yi-ming-231709","镰仓时代 天狗草纸画卷-东寺醍醐寺卷","这幅淡彩界画长卷以平远视角铺展古寺全景，工致勾勒出朱红深褐的殿宇院墙，与青绿浅赭的丘林水色相融，古雅清寂。苍松错落点缀寺畔林麓，桥宇台阁排布严整，尽显伽蓝规制的肃穆雅致。配题书法端稳沉静，与界画的工细营造呼应，将古寺的清幽禅意与山林水景织为一卷，还原出古寺隐于林泉的澹然风貌，晕染出沉静古朴的宗教绘卷质感。",[23,24,7,25,27,95,28,187,97,98,99,130,29,34,131,13344,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86233f6d563f2506979f6ec094ee2458.jpg",[],{"id":51313,"slug":51314,"title":26164,"dynasty":144,"author":223,"museum":244,"description":51315,"tags":51316,"thumbUrl":51317,"material":51318,"size":51319,"collection":84,"collections":51320,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},231399,"qiu-shan-tu-yi-ming-231399","在这幅画中，峰峦叠嶂，溪流嶙峋，飞瀑流泉在薄雾之中。 是文人墨客睡觉的理想场所。 构图十分多样，笔墨精美，色彩点缀恰到好处。",[24,7,29,132,128,27,663,413,99,131,6639,497,4438,499,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95db5f648889bd0b3227e7193ab2e761.jpg","绢本 水墨","46.3x57.1厘米",[],{"id":51322,"slug":51323,"title":9371,"dynasty":54,"author":4468,"museum":244,"description":51324,"tags":51325,"thumbUrl":51326,"material":561,"size":51327,"collection":84,"collections":51328,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},231370,"bai-ying-tu-lang-shi-ning-231370","《白鹰图》创作于乾隆十六年（1751年），是郎世宁中西画法完美结合的最杰出作品之一。\n画面主体中的白鹰以白粉精细描绘，传承欧洲绘画技法，注重物象的解剖结构、光影效果及立体感，把翘首殷望的白鹰刻画的形神逼真；而背景中的松石则全然采用中国写意笔墨，清涧石岩，傲松凌立。\n此图绘江南雨后的芭蕉竹石，笔墨粗简，构图也十分简括。画幅上方，留出大面积空白，显得更加深邃清旷。这种“知白守黑”的处理，使画意更加完整而富于张力，给观者以无限的想象空间，正所谓“于无画处，皆成妙境”。整幅作品充满着一种自省的内在精神，耐人寻味。\n《白鹰图》以独特的艺术构思、隽永的表现手法和浑然天成的情景交融给观者以极大的艺术享受，意境深远，令人思绪万千。\n这幅《白鹰图》虽然有着明显欧洲画法的因素，但是画中所含的内容却完全是传统中国的风格。图中白鹰、松树、巨石、流水等均是中国绘画中习见的物象，喻意中象征着强壮、长寿、平安、吉祥等等。根据画上的署款，此图是根据乾隆十六年五月初十日，大学士忠勇公傅恒所进献的白鹰所画，相传皇太后生日即在五月，乾隆大孝，号称“以天下养”，即用天下最美好的财富来侍奉母亲，因此，《白鹰图》也是一幅极为贵重的祝寿图。",[24,7,165,28,27,211,949,29,331,99,171,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F991122f93eaf082fff4079d1c96c94cd.jpg","122.25x64.79",[],{"id":51330,"slug":51331,"title":51332,"dynasty":54,"author":17240,"museum":300,"description":51333,"tags":51334,"thumbUrl":51335,"material":84,"size":84,"collection":84,"collections":51336,"showCount":641,"zanCount":1998,"manualWeight":48,"mainColor":72},231017,"qing-xi-fang-ting-tu-cha-shi-biao-231017","清溪放艇图","《馆藏精品选（天津艺术博物馆1共4张）\u002F东方画谱》是218年文物出版社出版的图书，作者是（清）查士标，弘仁，[清] 龚贤，王时敏，[元] 边鲁。\n本书突破传统意义的画谱、画册形式，以八开折叠的方式，原色、原迹、高清的面貌呈现，整体全面且完整，局部精彩而丰富。\n收录了以下作品：《清溪放艇图松溪石壁图》《山楼客话图》《起居平安图》《挂壁飞泉图》。\n《清溪放艇图松溪石壁图》收录了2幅代表作。\n《清溪放艇图》为大写意山水画，描绘的是秋日山水风景。\n查士标以简率的浓淡两色笔墨，夹以枯笔，画出一派静寂空寥的秋江意象。\n画中一叶扁舟，渔夫垂钓于上，江面微波仅以几根简单的线条勾勒，生动形象。\n放眼望去山脉连绵，远处天空盘旋着几只寒鸦，令人生出孤冷寂寥之感。\n《松溪石壁图》采用高远构图法，描绘了壮丽的山林景色。\n画中兀立的山体几乎充满画面，画上方的空白处更显得透气爽朗，也衬托了天地之大。\n峦头峰顶时用“鼠足小点”苔点法，使画面疏密节奏异常鲜明。\n近景古松茂密，仰对山峦，其间溪水盘迁，似有山风穿涧而过。\n远景高峰耸立，气象宏大，一道飞泉直泄，气势奔放。\n屋宇或小舍，掩于远处的山脚或坡岸，显示了人与自然的和谐之境。\n《山楼客话图》采用深远构图法，描绘了雄伟壮丽的山水风景。\n画面山峦层叠，溪流深壑，茂林密布，水阁散立其间。\n此画以赭墨为主，深厚而单纯，清脱而滋润。\n山石大量使用披麻皴，细劲有力，丝丝入扣。\n点苔用墨，浓淡相杂，疏落有致。\n该画作于康熙十四年（1675年），是王时敏晚年作品。\n《起居平安图》作品画一巨石上立一锦鸡，扬尾低头张喙呜叫。\n石旁有竹枝、枸杞、兰草之属。\n锦鸡刻画细微，石勾皴结合，其他形象刻画得也十分精细，双勾加淡墨染。\n有宋画精密不苟的韵致。\n画左上角自识：“魏郡边鲁制。\n”此图的寓意是采用民间艺术以谐音方法来表达，雉为“誓”的谐音，雉石画在一起暗指意志坚定，画枸杞取的是“苟”的谐音，暗指不苟且偷生，即“不屈不挠，宁誓死而不苟活”的坚定信念。\n《一道飞泉图挂壁飞泉图》收录龚贤2幅画作。\n《一道飞泉图》采用高远构图法，描绘了江南山水雄伟壮丽的景色。\n画面崇山峻岭，山上树木丛生，枝繁叶茂，几间茅屋掩映于丛林之中，寂静的山林更增添了幽邃之感。\n一道清泉顺山而下，明快优雅。\n整幅画面笔酣墨润，气韵十足，真实生动地表现出江南山水的浑厚和苍秀，给人以清新自然之感。\n《挂壁飞泉图》采用深远构图法，描绘了崇山峻岭，树木繁盛，一道飞瀑从山崖间顺势直泻，气势奔放。\n画面主峰成尖塔形，雄奇而安稳，披麻皴层层叠加，线条短促，略似范宽雨点皴法。\n龚贤墨法焦湿并用，层层积染，用笔雄浑厚重，风标独特。\n整幅作品构图严谨，画格寂静、空旷，禅意浓厚，是龚贤画作精品。\n《清溪放艇图松溪石壁图》 《山楼客话图》 《起居平安图》 《挂壁飞泉图》",[23,24,7,165,128,132,29,129,211,331,99,171,1351,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87bec418d6de53416cd6e98304cd5b6f.jpg",[],{"id":51338,"slug":51339,"title":47407,"dynasty":124,"author":51340,"museum":300,"description":51341,"tags":51342,"thumbUrl":51343,"material":692,"size":1293,"collection":84,"collections":51344,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},230927,"shan-shui-tu-shan-mian-wen-xi-230927","文喜","此作用笔枯淡清逸，以水墨写就林泉雅境。崖壁崔嵬，飞泉隐于山坳，皴笔简括写意，尽显山石苍朴质感。几株古松虬曲苍劲，枝桠舒展自带灵动之姿，衬出林间清寂。平岗之上二人伫立，身形简括却宛然可见凭眺幽赏之态，暗合文人寄情丘壑的雅怀。整幅扇面构图疏密得宜，留白暗含空远之境，淡墨轻皴间，萧散出尘的林下意趣扑面而来，尽显小品山水的雅致情致。",[1131,24,7,128,132,29,1144,131,96,499,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a09efb7730295a8cdc7f2ba237beb1e.jpg",[],{"id":51346,"slug":51347,"title":51348,"dynasty":144,"author":223,"museum":300,"description":51349,"tags":51350,"thumbUrl":51351,"material":84,"size":84,"collection":84,"collections":51352,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},230899,"zhang-yu-ti-ni-zan-xiang-yi-ming-230899","张雨题倪瓒像","画中主人斜坐榻上，眉眼疏朗沉静，素衣简饰尽显出尘之姿。侍童捧盏垂首静立，仆从持帚恭谨侍于侧旁，案头清供文玩雅致小巧，背景浅绘林峦远汀，暗合主人简淡的笔墨意趣。左侧题诗与遍身鉴藏朱印，为画作添上流传的厚重底色。\n\n全作设色清雅柔润，线条细劲秀逸，将元末文人耽于泉石诗书的狷介风骨尽数铺陈，人物情态鲜活自然，把肖像纪实与文人雅趣精妙相融，尽显元人肖像画的含蓄意韵。",[164,24,7,25,27,28,188,96,208,64,7344,251,7345],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67502f268a6b09045cf37786e306694e.jpg",[],{"id":51354,"slug":51355,"title":51356,"dynasty":54,"author":9864,"museum":300,"description":51357,"tags":51358,"thumbUrl":51360,"material":84,"size":84,"collection":84,"collections":51361,"showCount":641,"zanCount":1998,"manualWeight":48,"mainColor":49},230857,"jiang-xiang-qing-xiao-tu-yu-zhi-ding-230857","江乡清晓图","《江乡清晓图》是清代画家禹之鼎创作的一幅绢本设色画，现藏于旅顺博物馆。\n两棵老柳垂条，掩映溪桥田野，远处山麓桃花盛 开、一派江南水乡春色。\n柳畔屋前，妇携幼童，望老翁坐 在矶石上垂钓。\n笔 墨工秀，设色浓丽， 刻划精细，如屋内 纺车、老翁戴的无 顶草笠、带有线轮 的钓竿，均一丝不 苟。\n自题“戊子首春 仿赵大年江乡清晓 图”。\n戊子为康熙四 十七年(178)，乃晚 年手笔。\n禹之鼎（1647—1716年），字尚吉，号慎斋，江都(今江苏扬州)人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入畅春园。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对白描法、墨骨法、江南法都有研究，所绘人物形神兼备，独具一格，一时名公小像多出其手，其肖像画在清代中期有“当代第一”之誉。",[23,24,7,27,28,132,29,96,98,99,4363,209,711,16795,2218,51359,31630],"妇人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa80bad0a4e7b08769098da0f127b7e6.jpg",[],{"id":51363,"slug":51364,"title":15986,"dynasty":54,"author":38394,"museum":300,"description":38395,"tags":51365,"thumbUrl":51366,"material":692,"size":1293,"collection":84,"collections":51367,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},230355,"lan-ting-xiu-xi-tu-juan-fan-qi-230355",[23,24,7,25,27,28,29,130,96,99,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5707e8f94ee1c363234026c2a717d008.jpg",[],{"id":51369,"slug":51370,"title":4229,"dynasty":54,"author":872,"museum":300,"description":51371,"tags":51372,"thumbUrl":51373,"material":84,"size":84,"collection":84,"collections":51374,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},230281,"hua-niao-ce-zhu-da-230281","《题花鸟册》是清代诗人八大山人创作的一首五言绝句。\n诗人说：想想误我害我的乃是自己的书法，现在只能靠这书法来混饭吃了。\n这是诗人对自己的书法较之于所画的石头而言。\n诗人言外之意是在说自己的石头画得好，故用米南宫的石头作一比。\n这张《石头》，就算那些要买我书法的人，对我有三顾之请，我也是不愿意给他的。\n思之误是书（1），只今南郭处（2）。\n南宫石头硬（），三顾那得去（4）。\n（1）思：想。\n误：耽误，害。\n（2）只今：如今、现在。\n南郭：复姓。\n《 ·内储说上》有南郭处士，以吹竽事齐宣王。\n此南郭处，典出“滥竽充数”，诗人自指，比喻混饭吃。\n（）南宫：古称尚书省。\n米芾（151～117），字元章，北宋著名书画家。\n因其累官礼部员外郎，故世称南宫先生。\n米芾一生痴爱石头，千金难买。\n故有“石头硬”一说。\n（4）三顾：典出《 》刘备中“ ”访贤诸葛亮事。\n此诗有学者解释为：有人看见他的书法好，要请他去。\n但是要请他去的那个主人，招待的客人，都是 ，像南郭先生那样的骗子，所以他说他的脾气，有如米芾拜的石头那么硬，就是请他三次，他也不去。\n此一说不仅有些牵强，且与诗人晚年的性格、行为不相吻合。\n因为八大山人的晚年以出售书画为生，即使有些自己不喜欢的人或不懂书画的人，他也照样有应酬，只是应酬的方式有些不同罢了，比如要求画四幅，他却只给三副等。\n八大山人（1626－175），明末清初人，杰出画家。\n原名朱耷，又名朱道朗，字雪个，又字个山、道朗、个山驴、朗月、刃庵、传綮、破云樵者、人屋、驴屋和因是僧号良月，一生所用名号多达五十五个，八大山人是他晚年的文号。\n“八大山人”的来历有两种说法：一说“尝持《 》，因号八大”；另一说“八大者，四方四隅，皆我为大，而无大于我者也”。\n八大山人为清初“四大画僧（ 、 、 、 ）”之一，他以大笔水墨写意画著称，尤以花鸟画见长，以简略见胜。",[24,7,128,29,1337,171,331,369,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facd06328a99007e276effefc6b4d8683.jpg",[],{"id":51376,"slug":51377,"title":51378,"dynasty":54,"author":4468,"museum":300,"description":51379,"tags":51380,"thumbUrl":51381,"material":84,"size":84,"collection":84,"collections":51382,"showCount":641,"zanCount":1998,"manualWeight":48,"mainColor":72},230209,"hua-a-yu-xi-chi-mao-dang-kou-tu-juan-lang-shi-ning-230209","画阿玉锡持矛荡寇图卷","《玛瑺斫阵图》是意大利籍画家 创作的纸本设色国画，现藏于 。\n是中国清代清军平定西域战争中的立功者。\n他曾随副将军富德讨伐 叛乱，奋勇冲杀，三箭将敌酋射落马下，后来被敌军所围，战马负伤倒毙，玛瑺弃坐骑步战，负伤十余处，仍坚持作战，以战功升为护军统领。\n图中玛瑺纵马弯弓追杀，敌酋中箭，垂首弃矛坠马。\n郎世宁以他擅长的“写真”技艺，精细、真实地刻画了一位勇士的形象，作者将所有的背景舍去，突出了画中的人物。\n人及马匹的画法十分细致，采用的是欧洲的画风。\n同样题目、内容和构图的画有二幅，另一幅现藏于德国柏林东方美术馆。\n此图中画敌将负伤，耷拉着脑袋，乘黑马飞速逃窜。\n光着脑袋，上穿束袖黑衣，下穿米黄色袴裤，两手支撑在马的肩部，低头怒目斜视，惟恐有乘骑迫上，中二箭，黑马四蹄伸展作飞腾般的逃窜。\n后面画有清勇将玛瑺手持弓箭，上佩带红锦“撒袋”（即装了箭的袋），撒袋内装满了弓箭，御白马紧迫其后。\n画面中显示了一场惊心动魄厮杀决斗的场面，敌将受伤逃窜，形象十分狼狈。\n玛瑺乘骑追赶，抬头挺胸显得威风凛凛，双目凝神，专注盯住着前方的敌将。\n1759年（乾隆二十四年）清军勇士玛瑺跟随右副将军富德率军在呼尔满（今莎车东北）平定回部叛乱，玛瑺歼敌英姿焕发，奋勇冲杀，以三箭毙敌，後被敌所困，负伤仍坚持抵抗，因其战役的特殊表现，升为护军统领。\n在平定西域准部回部的战役中，乾隆皇帝特别称赏玛瑺与阿玉锡两位勇士的战功，除了油画脸像、功臣像小稿、功臣像立轴玛瑺与阿玉锡皆在列外，还让郎世宁绘了《玛瑺斫阵图》及《阿玉锡持矛荡寇图》并要求宫廷画家绘制《玛瑺得胜图》以及《阿玉锡得胜图》等贴落大画。\n画中的人物和马匹，造型准确，物象逼真，描绘深入细腻。\n人物和马匹比例结构十分准确，其姿态和动势俱合法度，足见作者的功力之深厚。\n光的使用是郎世宁绘则的另一个特色，这幅画卷中，人物、马匹均应用了光的原理，使物象极富立体感，马皮毛的质感也很好地表现出来。\n明显地采用了西洋画的投影法，但只要细细观察，仍含有中国绘画传统手法，即马匹上所采用的阴影，亦是以中国的传统渲染方法来完成的，但骨子里还是西洋古典画的成分较中国画的成分为浓，体现了高度的写实技巧。\n总体来说，此画设色轻淡，用笔精谨，线条清劲，是一幅难得的精品。\n主题与关键字：马、军士、兵器、蕃族、马鞍。\n石渠宝笈续编（宁寿宫），第六册，页49 故宫书画录（卷四），第二册，页284 故宫书画图录，第二十一册，页175-178 （1688—1766）是意大利人，生于米兰，1715年（清康熙五十四年）到中国，随即入宫，曾参加圆明园西洋楼的设计工作，历任康、雍、乾三朝，在中国从事绘画达5多年。\n由于郎世宁带来了西洋绘画技法，向皇帝和其他宫廷画家展示了欧洲明暗画法的魅力，他先后受到了康熙、雍正、乾隆的重用。\n他是一位艺术上的全面手，人物、肖像、走兽、花鸟、山水无所不涉、无所不精，成为雍正、乾隆时 的代表人物。\n他的代表作品有《 》《 》《 》《弘历及后妃像》《平定西城战图》等。",[24,7,25,27,28,96,101,5626,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30b05b41246e11eef45301f413a00ec.jpg",[],{"id":51384,"slug":51385,"title":28740,"dynasty":54,"author":9529,"museum":300,"description":51386,"tags":51387,"thumbUrl":51388,"material":84,"size":84,"collection":84,"collections":51389,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},229020,"song-qiao-tang-tu-juan-wang-hui-229020","此作为全景山水长卷，以平远章法铺展丘园山居。山峦以披麻皴晕染，墨色温雅清润，层叠峰峦间林木蓊郁，村居茅舍错落隐于松石溪畔，漾出江南山居的幽寂雅致。\n\n画作糅合元人笔墨逸趣与宋人丘壑之美，笔致秀逸温婉，将林泉高致的隐逸意趣藏于尺幅。卷后长题与绘境相映，文墨与画韵相得益彰，尽显清雅出尘的文人画格调，是兼具写景抒情的山水佳构。",[23,24,7,25,27,29,132,1144,131,35,415,34,130,99,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15c561e116abb11fa5628ec40e21a60a.jpg",[],{"id":51391,"slug":51392,"title":51393,"dynasty":54,"author":675,"museum":300,"description":51394,"tags":51395,"thumbUrl":51396,"material":84,"size":84,"collection":84,"collections":51397,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},228938,"qian-long-nan-xun-zhu-bi-tu-qian-wei-cheng-228938","乾隆南巡驻跸图","此作用鸟瞰全景式构图，将山林梵宫驻跸地铺展于绢面。界画工细严整，殿宇层叠排布对称规整，朱红标识清晰点明殿内陈设，精准勾勒出建筑形制，尽显驻跸行馆的严整规制。\n\n周遭林木苍秀错落，淡墨轻赭晕染丘壑，将人工营造融于山野清境之中。整体设色古雅沉静，笔触精细柔和，既详实记录了驻跸之所的全貌，又以山水画意晕染出江南林泉的幽谧雅韵，是纪实性与文人画意趣相融的精品，尽显山林行宫的清雅格局。",[23,24,7,95,27,28,97,29,34,758,247,131,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd542b499186cbae634efac97536fa24b.jpg",[],{"id":51399,"slug":51400,"title":51401,"dynasty":124,"author":23186,"museum":300,"description":51402,"tags":51403,"thumbUrl":51405,"material":84,"size":84,"collection":84,"collections":51406,"showCount":641,"zanCount":1998,"manualWeight":48,"mainColor":72},228888,"lan-ting-tu-bing-shu-xu-juan-xu-guang-zuo-228888","兰亭图并书序卷","《兰亭图并书序》为中国明代 创作的绫本书画作品，现藏于 。\n卷后有 书《兰亭序》，落款曰：“辛亥暮春摹于长水之玉瑛堂。\n关西许光祚。\n”下钤“灵长氏”朱文印。\n辛亥为1611年（明万历三十九年）。\n画心无款，有“永安沈氏藏书画印”朱文鉴藏印一方。\n许光祚，活跃于明代万历年间，字灵长，陕西人。\n与汤焕同郡，得其书法，时人号曰汤许。\n举于乡，知太平县，著有《许灵长集》。\n有书法作品传世，但文献没有记载他能绘画。\n此卷以山水为背景，表现兰亭修禊故事。\n卷首山脚下二文士携三童子而来，往前溪水边有一亭，亭中间置一桌，一文士在桌上挥毫，一文士坐于侧，另有一文士坐长凳上倚栏观鹅。\n溪流两岸边绘众文士及童子，文士们分组而坐，或凝思或交谈，或观摩或挥毫，其中有一人袒胸盘坐，双手上举似为养气，另有两文士在喝交杯酒，形态生动。\n溪流间有荷叶托着酒杯顺流而下。\n该图虽然大体继承了宋元以来兰亭雅集图亭中观鹅、岸边赋诗的构图方式，但从图中人物的服饰、动态及人数等来看，画家表现的更像是明代文人模仿王羲之等兰亭雅集时的情形，而不是真实地再现当时的原貌。\n人物线条简洁严谨，设色淡雅，山石轮廓以侧笔皴擦，工整柔和。",[23,24,7,25,27,28,96,29,98,99,130,1144,276,209,1421,51404,1425,133],"赋诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140767863d6e7de949761cc86cc06bd4.jpg",[],{"id":51408,"slug":51409,"title":51410,"dynasty":124,"author":1642,"museum":300,"description":51411,"tags":51412,"thumbUrl":51413,"material":692,"size":1293,"collection":84,"collections":51414,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},228846,"da-mo-zhi-hui-neng-liu-dai-zu-shi-tu-juan-dai-jin-228846","达摩至慧能六代祖师图卷","图中捕绘达摩端坐于深山洞中，面壁打坐，神态平和又虔诚。还有二祖神光（后更名慧可）、三祖僧璨、四祖信道、五祖弘忍、六祖慧能（唐高僧，佛教禅宗南宗的开创者），以及其他僧15个人。此画技法精熟，人物衣纹工整流畅，深得李唐、刘松年遗意。",[23,24,7,25,187,96,29,128,27,132,64,133,208,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75473e50ad591868084cb87012e07044.jpg",[],{"id":51416,"slug":51417,"title":51418,"dynasty":124,"author":125,"museum":300,"description":51419,"tags":51420,"thumbUrl":51421,"material":692,"size":1293,"collection":84,"collections":51422,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},228832,"zhi-xing-yu-you-tu-juan-shen-zhou-228832","支硎遇友图卷","沈周（1427～1509）字启南，号石田、白石翁等，长洲（今江苏苏州）人。生於明宣德二年，卒於明正德四年，享年八十三岁。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。",[23,24,7,25,29,27,128,132,133,208,663,413,711,129,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aeef33843a62e33d32642d607f6d0b8.jpg",[],{"id":51424,"slug":51425,"title":51426,"dynasty":124,"author":223,"museum":300,"description":51427,"tags":51428,"thumbUrl":51429,"material":84,"size":84,"collection":84,"collections":51430,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},228798,"song-yin-xue-hu-tu-yi-ming-228798","松荫雪虎图","萧寒雪色覆满林莽，古松虬曲苍劲，皴染厚重的枝干尽显老辣古拙，松针攒簇如铁，撑起一片幽寂荫凉。\n\n画中猛虎盘踞雪地，姿态松弛慵懒，却难掩百兽之王威仪。虎身斑纹勾勒劲挺写实，毛发晕染细腻柔和，将皮毛的蓬松质感尽显无遗。它目光沉沉锁着爪下猎物，獠牙微露，悍野之气暗藏于松弛神态中。\n\n淡墨晕出薄雪覆于枯槎衰草间，冷寂荒寒的雪境，更衬出猛虎孤高凛冽的气场。整作工写相融，细处描摹虎之肌理毛发，粗笔铺就林雪萧索氛围，于静谧间暗藏肃杀野性，尽显走兽画的精妙写实功底，将冬日林莽的荒寒与百兽王的雄健完美揉合。",[23,24,164,7,27,28,132,5490,949,372,1556,497,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62072f89e4fcb137c0ced81bb18267a8.jpg",[],{"id":51432,"slug":51433,"title":51434,"dynasty":124,"author":18045,"museum":300,"description":51435,"tags":51436,"thumbUrl":51437,"material":84,"size":84,"collection":84,"collections":51438,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},228464,"liu-pu-yu-le-tu-qian-gu-228464","柳浦渔乐图","此作用长卷铺展江南水居意趣，烟波江上渔舟星散，渔人或垂纶闲坐，或收网归棹，鲜活尽显水乡生计日常。两岸柔柳拂波，杂树错落，茅舍隐于林薮，鸥鸟翔集天水之际，淡墨轻晕出空濛烟岚，将野逸清寂的乡野意趣与寻常烟火相融。笔墨秀雅松灵，设色浅澹柔和，把文人心向往之的渔樵隐逸之乐，藏在一水一木、一渔一舟间，实景鲜活与雅逸诗意兼具，尽显温润雅致的笔墨情致。",[23,24,7,25,128,27,29,2372,99,129,211,1824,96,1351,34,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4627df9684f8bd39579529eacfef4b9a.jpg",[],{"id":51440,"slug":51441,"title":51442,"dynasty":124,"author":28443,"museum":300,"description":51443,"tags":51444,"thumbUrl":51445,"material":84,"size":84,"collection":84,"collections":51446,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},228356,"wan-zhu-tu-juan-song-ke-228356","万竹图卷","此作用淡墨白描绘就溪岸幽篁，坡石以简淡皴擦带出肌理，丛竹错落生于岩畔，疏密有致，满卷清寂萧散。以草书法度入画，笔致瘦硬爽利，竹叶萧洒灵动，将行草的跌宕意趣融于竹间，笔墨苍秀，兼具法度与文人雅韵。\n整卷画书合璧，晴川修竹间尽显江南林下清旷之致，暗合文人寄情林泉、澄怀观道的襟怀，是笔墨意趣与林下雅志完美相融的佳构。",[23,24,7,25,128,29,167,34,99,208,133,840,132,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fc7f485e2b2663e38e2c02ace4472a1.jpg",[],{"id":51448,"slug":51449,"title":51450,"dynasty":124,"author":51451,"museum":300,"description":51452,"tags":51453,"thumbUrl":51454,"material":692,"size":1293,"collection":84,"collections":51455,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},228344,"song-yin-shu-wu-tu-wang-shi-chang-228344","松荫书屋图","王世昌","王世昌（生卒年不详），明代画家，字时雍（又作畴雍），号历山，山东人，李开先在《中麓画品》（1541年成书）中即对他有评论记载。他工画山水人物，画法出于院体浙派，山水笔墨苍劲雄浑，人物用笔劲捷，骨力凝重，造型生动。传世作品有《高士访隐图》、《高士吟秋图》、《高士春山图》、《山水图》、《松荫书屋图》等。见《图绘宝鉴续纂》、《无声诗史》。",[23,164,24,7,165,1349,128,27,132,372,131,99,1515,96,34,415,37,5022],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05b8e35ce302f74142791093945b3c13.jpg",[],{"id":51457,"slug":51458,"title":51459,"dynasty":124,"author":802,"museum":300,"description":51460,"tags":51461,"thumbUrl":51463,"material":84,"size":84,"collection":84,"collections":51464,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},228304,"can-zhi-tu-chen-hong-shou-228304","餐芝图","此作用笔高古奇骇，构图疏朗雅致，奇石衬出幽寂林下氛围。主角宽袍峨冠，手托芝草悠然凝思，神情澹然超迈，尽显林下高士的出尘之态。下方侍者蹲身专注燃炉蒸芝，神态恭谨，一动一静之间衬出画面闲雅意趣。衣纹勾勒清劲凝练，设色淡雅沉静，古拙的线韵晕染出静穆脱俗的幽隐意境，将服食灵草、寄情丘山的出世雅趣藏于笔底，尽显高逸绝尘的文人风骨。",[23,24,7,165,28,188,27,96,171,251,40701,19173,51462],"帽子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F104d5293337b078854f928fd606d4d56.jpg",[],{"id":51466,"slug":51467,"title":9760,"dynasty":144,"author":51468,"museum":300,"description":51469,"tags":51470,"thumbUrl":51471,"material":84,"size":84,"collection":84,"collections":51472,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},228247,"dou-niu-tu-dun-min-228247","敦敏","郊野荒寒，枯木虬劲苍古，枝桠疏朗斜伸，带着冬日萧索静气。前景双牛犄角相抵，四蹄攒劲，肌肉紧绷贲张，将斗牛憨猛相争的张力尽显，朴拙写实，鲜活灵动。\n以静衬动，萧寂的野景衬出斗牛的生猛勃发，右上角题诗呼应画中趣味，笔墨苍简淡远，将山野朴趣与文人画的清冷意韵相融，于简约留白间晕染出悠然生机，尽显笔墨疏淡雅致的侘寂之美。",[23,4057,164,24,7,165,28,27,102,949,1337,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc37247abe557be32eff5ae6096d2856e.jpg",[],{"id":51474,"slug":51475,"title":51476,"dynasty":144,"author":26207,"museum":300,"description":51477,"tags":51478,"thumbUrl":51479,"material":692,"size":1293,"collection":84,"collections":51480,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},228026,"fan-qi-tu-chang-juan-zhao-lin-228026","番骑图（长卷）","作品绘边塞人马、骆驼行进行列，人物披裘戴高帽，以袖掩面，马匹步履蹒跚，展现出沙漠荒原风急天寒的气候环境。作品线条细劲流畅，具很高的艺术水平。明代都穆见其《番骑图》，赞日：“黄沙野蒿，鞭马疾驰，非余之目击，则也莫能知其妙也。”",[23,164,24,7,25,188,128,96,101,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246a845a72a843b74c51a17e490a6d72.jpg",[],{"id":51482,"slug":51483,"title":51484,"dynasty":18,"author":16153,"museum":300,"description":51485,"tags":51486,"thumbUrl":51487,"material":84,"size":84,"collection":84,"collections":51488,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},227976,"zhong-xing-rui-ying-tu-juan-xiao-zhao-227976","中兴瑞应图卷","《临萧照中兴瑞应图卷》是明代画家 创作的一幅绢本设色画。\n此幅为仇英的摹古之作。\n仇英中年以后，曾先后在大收藏家周凤来和项元汴家客居近2年，得以广泛观摩宋、元名迹，摹古技艺精深。\n《中兴瑞应图》卷为南宋萧照所作，取宋高宗赵构即位前的种种瑞应传说为内容，根据曹勋辑“瑞应诸事”所写赞文描绘而成，是一幅歌颂赵构重建王朝的作品。\n此卷现存四段：一、占卜。\n徽、钦二帝被俘后，显仁皇后在行殿用棋占卜，兆告康王继位，众皆庆贺。\n二、渡河。\n一骑陷落冰际，惟赵构得免。\n三、授衣。\n萝黄袍加身。\n四、射兔。\n高宗戎装骑驰，箭中白兔。\n原作共12段，曾藏于项元汴家，仇英因此得到观摩机会。\n卷末署有“吴郡仇英实父谨摹”款，钤“实父”、“十洲”二印。\n引首有董其昌书“仇英临宋萧照《高宗瑞应图》其昌”。\n后幅有董其昌、秦松龄、尹绳孙、许之渐、黄家舒、吴伟业六家题记。\n经项元汴、梁清标、耿信公等鉴藏。\n全画用笔粗重，设色妍丽，构图平远，既有宋画古拙雄劲的特色，又有文人画的韵致，不愧为仇英摹古精作。\n此卷临本共4段，用笔粗健，设色精细，图中建筑的比例、形象、风格以及细部都极其忠实于原作，再现了萧照绘画的神髓，可谓“下真迹一等”。\n也有古建筑研究专家认为仇英的楼阁画只是在临摹宋画时才有出色的表现，而其自己的创作则逊色一筹。\n仇英（1494-1561），江苏太仓人，居苏州，出身低微，初为漆丁，后改学画，初从师周臣，结交文征明、祝允明、唐寅等文人画家，对其提高文艺修养和画艺起了很大的作用。\n他还曾在收藏家项元汴家作画，遍观项氏所藏历代法书名画，并加以临摹，潜心钻研，终成一代名家。\n仇英擅人物、山水、走兽、界画，亦精于临摹，均技艺精湛。\n其山水师法赵伯驹、赵伯辅，作青绿山水，山石勾勒，皴染细密，色彩浓丽明雅，境界宏大繁复。",[23,24,7,25,27,28,95,96,97,34,247,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a11517bb5e9b3c0c974e033db1daa83.jpg",[],{"id":51490,"slug":51491,"title":8581,"dynasty":18,"author":2067,"museum":300,"description":51492,"tags":51493,"thumbUrl":51494,"material":84,"size":84,"collection":84,"collections":51495,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},227950,"mu-niu-tu-li-di-227950","淡墨晕开暮色山岗，枯木寒槎的枝桠如铁线劲挺，萧疏间漫着郊野冬日的荒寒意趣。坡岸间老牛缓步垂首，憨拙身形似正衔着衰草慢行，幼犊轻捷随行左右，一大一小的动静反差，晕开牧归时分的松弛温情。\n\n画作以淡赭晕染坡石，水墨铺陈烟霭，不着过多繁复刻画，以极简笔墨铺展出山野清寂氛围，于淡远荒寒中藏着质朴的田园意趣，寥寥数笔便融物态与意境为一体，尽现独有的雅致淡远诗意。",[23,164,24,7,1131,27,28,29,167,413,102,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f28a98374dd8c8b309719c6f9a66639.jpg",[],{"id":51497,"slug":51498,"title":37536,"dynasty":18,"author":1622,"museum":300,"description":51499,"tags":51500,"thumbUrl":51501,"material":84,"size":84,"collection":84,"collections":51502,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},227830,"yuan-yang-tu-ye-ma-yuan-227830","此作用边角取景，以对角构图拉开悠远意境。劲挺的墨笔写竹枝，竹叶攒聚有致，清健爽利尽显竹之风骨。溪岸山石以大斧劈皴挥扫，棱角方硬苍劲，带着冷峭的质感。\n婉转的细线勾出溪间波涡，将水流的迂回急缓藏于笔底，澄澈空明的水色晕染出幽寂氛围。石上鸳鸯恬然依偎，柔婉的情态和冷硬的景致刚柔相济，以小见大，在尺幅之间铺展出水乡清寂的诗意，将精工写实与空灵禅意相融，尽显幽隽雅致的山水情致。",[23,24,7,59,27,28,167,99,1857,171,61,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97ebd908d08df5f45d3c4cabb273658b.jpg",[],{"id":51504,"slug":51505,"title":51506,"dynasty":18,"author":27476,"museum":300,"description":51507,"tags":51508,"thumbUrl":51509,"material":84,"size":84,"collection":84,"collections":51510,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},227809,"liu-yan-tu-mao-yi-227809","柳燕图","这幅小品以虚实相生铺陈春景。右畔老柳虬曲苍劲，墨色浓深尽显枝干肌理，柔细柳绦随风漫卷，笔触轻丽流逸，如见春风穿拂。枝头宿鸟两两相依，勾勒简练却灵动传神，各有情态。左侧留白空灵幽远，一只春燕振翅斜穿，破虚而来，让静景生出灵动生气。\n\n全作以水墨晕染，淡赭绢底晕化出暮春烟霭，仅以墨色轻重分出物象层次，无繁复设色。将宋人对春日的细微体察藏于简淡笔墨间，留白处似有春意在流动，仿佛能耳闻燕语呢喃、柳丝簌簌，把郊野寻常春景，晕染出悠远清和的诗意，尽显宋代小品画的雅致意趣。",[24,7,1131,27,61,4363,7856,211,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd706605ac2a870d038a49e2b48362bc8.jpg",[],{"id":51512,"slug":51513,"title":51514,"dynasty":18,"author":51515,"museum":300,"description":51516,"tags":51517,"thumbUrl":51518,"material":84,"size":84,"collection":84,"collections":51519,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},227800,"yan-jiang-fan-ying-tu-xia-sen-227800","烟江帆影图","夏森","此作用淡墨晕染出空濛烟江，远山清瘦，隐在漫卷的雾霭中，只露出错落峰尖，虚实间揉碎了天地边界，将江南烟雨的柔婉朦胧铺展开来。近岸林木简笔勾勒，与烟岚相融，愈发衬出江天的空寂辽远。左下角孤舟凌波，渔人悠然棹行，寥寥数笔便点染出江上行旅的幽寂况味。\n\n全幅以留白衬出水天长阔，笔简意足，将静穆禅意藏在烟波里，把江上一瞬的清寂之美定格，淡远含蓄，尽显山水空濛悠远的诗意。",[23,24,7,164,1131,128,29,129,3649,413,37,28370,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaf554147c093468663cf70503980f95.jpg",[],{"id":51521,"slug":51522,"title":51523,"dynasty":18,"author":40225,"museum":300,"description":51524,"tags":51525,"thumbUrl":51526,"material":84,"size":84,"collection":84,"collections":51527,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},227761,"shu-han-wen-gao-quan-juan-zhu-xi-227761","书翰文稿(全卷)","行草《书翰文稿》卷，该卷由两件作品组成，前一件用笔以篆为主，圆钦于方，第二件作品则时见隶笔，以方见长，但两件作品都是字密集，行距宽松，强调书写之势的一泻而下。是南宋文学家、教育家朱熹的代表作之一。\n\n朱熹行草《书翰文稿》卷，此卷分为前后两段，前段纵33.5厘米、横45.3厘米，后段纵28.2厘米、横113.6厘米。此卷中部分内容为：“老拙衰病，幸未即死；但脾胃终是怯弱，饮食小失节，便觉不快。兼作脾泄挠人，目疾则尤害事，更看文字不得也。”又：“我者是亦似矣。然反身而诚，乃物格知至以后之事，言其穷理之至，无所不尽。故凡天下之理，反求诸身，皆有以见其如目视、耳听、手持、足行之事，毕具于此。”这里所说主要是修身养性及日常之事，心态平和，徐徐道来。\n\n该作品后有元、明两代共有十一位书画家的题识跋浯，内容包括朱熹画像。",[23,164,24,7,25,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165c1f3f4c3ffb316f2d335641b0d856.jpg",[],{"id":51529,"slug":51530,"title":51531,"dynasty":18,"author":16153,"museum":300,"description":51532,"tags":51533,"thumbUrl":51534,"material":84,"size":84,"collection":84,"collections":51535,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},227703,"shan-yao-lou-guan-tu-xiao-zhao-227703","山腰楼观图","《山腰楼观图》是宋代画家萧照创作的一幅绢本水墨画，现收藏于台北故宫博物院。\n\n此图右侧，仅画江水、浅滩、远渚、烟树，山间一条小路迂回盘旋，经前峰山腰渡口直抵后峰山巅，临近山巅处有一片楼台亭阁，一登山行人已走近。右下临水山岩上两人指看远方美景；左侧最高峰画得半壁实半壁虚，虚处乃为江上水气所迷，上升成岚，后面还添上几座淡淡峭峰，启人高远不可测的“仰止”之叹。山际径路盘曲，有两人策杖而上，而楼观却深深埋藏在山坳幽谷中。该图近山浓重，远山清淡，又形成虚实对比。",[23,164,24,7,1349,95,132,27,131,34,7409,129,495,1022,97,415,5801],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cbb108bac6d25aa9774d3238cd413a6.jpg",[],{"id":51537,"slug":51538,"title":51539,"dynasty":18,"author":51540,"museum":300,"description":51541,"tags":51542,"thumbUrl":51543,"material":84,"size":84,"collection":84,"collections":51544,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},227694,"qi-lv-jiao-you-tu-ma-gong-xian-227694","骑驴郊游图","马公显","马公显为南宋四家马远的伯父，马远家族世代以画佛家传，至马远马麟始以山水闻名。本图为马公显传世孤本，主要是描写唐代的药山禅师与朗州刺史李翱“云在青天水在瓶”的禅宗对话故事；李翱，字习之，唐河北赵郡人，韩愈门人，亦为愈之姪婿。不为师之思想所拘，以客观採取佛学之精华。为朗州刺史时，访药山禅师，禅师于松下阅经，不理睬。李曰：“见面不如闻名。”禅师曰：“何得贵耳贱目？”李问：“如何是道？”禅师向上一指，向下一指，曰：“云在青天水在瓶。”李闻之，茅塞顿开，呈偈曰：“练得身体似鹤形，千株松下两函经；吾来问道无馀说，云在青天水在瓶。”图上看到药山禅师石桌上放置经函与瓶梅，梅枝倒挂，颇有禅意。图右下角有“马公显”三字款。",[164,24,7,165,128,96,7067,29,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74f96df2cd6c3756724ede8d7c227a03.jpg",[],{"id":51546,"slug":51547,"title":51548,"dynasty":18,"author":7991,"museum":300,"description":51549,"tags":51550,"thumbUrl":51551,"material":84,"size":84,"collection":84,"collections":51552,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},227685,"hu-qi-qiu-lie-tu-chen-ju-zhong-227685","胡骑秋猎图","宋 陈居中(传) 胡骑春猎图 绢本设色 24.1x27.3cm 美国大都会艺术博物馆藏\n南宋画家陈居中的传世作品大多以北方少数民族风情故事为题材，形成了与其他南宋画家迥然不同的艺术风格，戈壁大漠的粗犷刚烈也使他在宋代院体画家中卓尔不群。《胡骑春猎图》与陈居中的这些特点颇为相符，表现出作者对当时横行漠北的“胡人”（北方少数民族）的生活有着很深的了解。",[23,24,164,7,1131,28,27,96,101,949,22807,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00c8ba97540b5f270c33c54937383a0f.jpg",[],{"id":51554,"slug":51555,"title":51556,"dynasty":18,"author":313,"museum":244,"description":51557,"tags":51558,"thumbUrl":51560,"material":84,"size":84,"collection":84,"collections":51561,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},227593,"zhi-jing-dao-shi-qi-shi-jun-chi-du-huang-ting-jian-227593","致景道十七使君尺牍","黄庭坚《致景道十七使君尺牍》宋人袁立儒、范成大题跋 台北故宫博物院藏\n\n释文：谿翁續得山谷題前定錄等八詩。小黠大癡螳捕蟬二篇居其中。遺趙景道者小字。送李伯牖者大字。予兼而有之。於好古博雅。不曰徒費光陰矣。寶祐甲寅（1254）中秋日書。\n\n光風轉蕙。汎崇蘭些。此山谷先生小楷氣象。石湖居士題。",[7,64,133,8116,208,1326,9910,51559],"信札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F465efcfbc458110c943d303f10caf8c3.jpg",[],{"id":51563,"slug":51564,"title":51565,"dynasty":18,"author":2349,"museum":300,"description":51566,"tags":51567,"thumbUrl":51568,"material":84,"size":84,"collection":84,"collections":51569,"showCount":641,"zanCount":1998,"manualWeight":48,"mainColor":49},227512,"tong-xi-tu-ye-su-han-chen-227512","童戏图页","“婴戏”是中国画的一个重要的题材，从唐宋到元明清时期，孩童们的可爱淘气、天真烂漫无不是画家笔端的灵感。“婴戏图”既体现了人们自古至今对孩童的无限关爱与期望，又表达了人们对美好幸福生活的无限憧憬和祝愿。\n\n儿童生性活泼好奇，在他们的眼里，每样事物都新奇有趣，都想要探索、尝试。而游戏、玩具不仅能启发心智，也能锻练强健的体魄，是他们用以探索世界的工具。",[23,24,7,59,28,27,96,171,1337,28618],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e088f168b45c22f7031b2d125dc9812.jpg",[],{"id":51571,"slug":51572,"title":51573,"dynasty":18,"author":223,"museum":300,"description":51574,"tags":51575,"thumbUrl":51576,"material":84,"size":84,"collection":84,"collections":51577,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},227344,"nan-tang-wen-hui-tu-yi-ming-227344","南唐文会图","宋代绘画是在中国宋代期间的绘画作品，中国宋朝延续300多年，其绘画在隋唐五代的基础上继续得到发展。民间绘画、宫廷绘画、士大夫绘画各自形成体系，彼此间又互相影响、吸收、渗透，构成宋代绘画丰富多彩的面貌。",[23,24,7,27,28,96,29,34,249,2145,133,64,169,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82a6e27647f006a060beabf4f36b4ffa.jpg",[],{"id":51579,"slug":51580,"title":9499,"dynasty":18,"author":491,"museum":244,"description":51581,"tags":51582,"thumbUrl":51583,"material":84,"size":84,"collection":84,"collections":51584,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},227292,"shu-se-ping-yuan-tu-guo-xi-227292","《树色平远图》，宋代，郭熙，绢本水墨，纵32.4厘米，横104.8厘米，美国纽约大都会博物馆藏\n\n《树色平远图》表现深秋郊外的优美景象。开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。此图无款，卷后有元明诸家诗文题跋。\n\n此图与郭熙的另一副传世名画《窠石平远图》画风和构图极为相似，描绘一河流两岸树色平远的景色。画中之景以河为界可分作前后两部分。前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。整个景物清寒枯硬，其境界清旷平淡。画面以平远布局，构景简洁，开阔而均衡。其树似鹿角蟹爪，山石笔法灵活多变，墨色浓淡变化丰富而微妙，所造之境具体真实，从中可以看出李成画风的影响，同时又体现出郭熙山水画的典型风格。",[23,24,7,25,1349,128,132,29,34,415,9502,331,1233,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18d05c0afd595c9457e8b1f3fe3e463b.jpg",[],{"id":51586,"slug":51587,"title":547,"dynasty":54,"author":5367,"museum":300,"description":51588,"tags":51589,"thumbUrl":51590,"material":84,"size":84,"collection":84,"collections":51591,"showCount":641,"zanCount":1116,"manualWeight":48,"mainColor":72},226644,"hua-pu-ru-226644","出身皇室的溥儒（溥心畲），除了自身的天赋才华，从小接受严格的正统教育，加上皇室有大量的书画收藏得以临摹，绘画创作得力诗词文的涵养，使他成为诗、书、画三绝的代表性画家，30年代中期与张大千（1899-1983）齐名，享有「南张北溥」的美誉，移居台湾后，与张大千、黄君璧三人同属台湾画坛中的最杰出的国画大师，被大众称为「渡海三家」，溥儒的山水画宗法宋元，风格淡雅，艺术家重视线条的?画，总呈现出和谐宁静的气氛。 〈山水〉是溥儒1945年的作品，风景自古是文人喜爱的绘画题材，艺术家从小浸淫汉学儒家思想，笔墨功力扎实，善于形塑令人向往的文人境界，〈山水〉流露出雅致的古典气息，画作属纸本立轴。题识： 「尺素生秋水，苍然浦漵分，尚含千峰雨，疑落万峰云。江上鸣瑶瑟，岩前忆隐君。青猿声断续，应是隔溪闻。」 行书行云流水，雅逸自然，配合画面挺拔的山壑与清澈湖水，诗书画三者结合，设色清新淡雅，使人玩味再三，前景的松树是溥儒喜爱的题材，它代表文人高尚的节操，高大的山石生长着茂密的植物，浓淡不一的墨色表现了丰富的层次，值得我们细细品味，而隐居在山林里的小房子甚是可爱，蕴含着隐居的心境。在用色方面，艺术家总以多层薄彩敷色，细腻的笔调，使景物生动自然，营造出柔和辽阔的意境，画面的左半面是空旷的湖面，刻意留白的处理与右半边的景物形成对比，两艘小船为全画增添生命力，整体而言，是幅意境深远的画作，流露出一股天真脱俗的气质。",[23,24,7,27,28,61,547,624,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed57ef2871355f1a1c8e705a5a4935bc.jpg",[],{"id":51593,"slug":51594,"title":11560,"dynasty":54,"author":45440,"museum":300,"description":51595,"tags":51596,"thumbUrl":51597,"material":84,"size":84,"collection":84,"collections":51598,"showCount":641,"zanCount":1998,"manualWeight":48,"mainColor":72},224533,"fang-dong-yuan-shan-shui-tu-qi-zhi-jia-224533","此作用笔追摹前贤意趣，主峰奇崛高耸，淡墨晕染石身，浓墨点苔醒出山岩苍古肌理，山间林木疏密错落，枯荣相映。近岸虬松老干遒劲，枝桠舒张如盖，临水茅庐静立，二人凭栏晤谈，衬出林下幽寂雅趣。\n整幅以高远法布局，虚实相生，留白处晕出山岚氤氲，将山野幽居的静谧萧散尽数铺展。笔墨简淡清逸，淡墨皴擦间尽显山水温润空濛，又自具峭爽格调，尽显文人寄情林泉的雅致意趣。",[23,24,7,165,128,132,29,1144,35,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7804fca5f15a8af04239b286d359bd.jpg",[],{"id":51600,"slug":51601,"title":51602,"dynasty":54,"author":1460,"museum":300,"description":51603,"tags":51604,"thumbUrl":51605,"material":84,"size":84,"collection":84,"collections":51606,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},224505,"shan-shui-ce-kai-shi-shi-tao-224505","山水冊开(十)","此作以淡墨晕染山水，江上扁舟轻漾，白衣士人立舟头，身伴仙鹤，与撑篙舟子共赴江天。远山以浅赭淡墨晕化，似笼着氤氲薄雾，虚实相生间尽显江空岑寂之美。近岸以枯涩焦笔勾勒嶙峋怪石，与淡远云山形成刚柔对照。右侧题笔纵逸苍劲，诗画相融，将乘舟遣兴的悠然襟怀诉诸笔端，以简淡之笔写尽江湖散人意趣，笔墨随心生发，尽显随性放达的文人风骨。",[23,24,7,128,29,129,96,663,208,64,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F329d8a848e21eec4000cbfe815172720.jpg",[],{"id":51608,"slug":51609,"title":51610,"dynasty":54,"author":1460,"museum":300,"description":51611,"tags":51612,"thumbUrl":51613,"material":84,"size":84,"collection":84,"collections":51614,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},224504,"shan-shui-ce-kai-liu-shi-tao-224504","山水冊开(六)","此作用淡赭轻晕山峦，焦墨点染林木，笔意纵肆苍秀。近观村舍错落溪畔，渔翁独棹扁舟泛于清波，丹崖翠岫间松柯虬劲，墨色苍润见层次。远景峰岫隐在烟岚留白中，晕出水气空濛的夏夕凉意。\n\n页首题诗与画境浑然相融，将山畔闲居、横塘晚风的清寂悠然铺展开来，以尺幅写尽江南水乡的淡远萧散，借山水寄寓胸中丘壑，尽显文人画幽淡旷达的意趣。",[24,7,59,128,27,132,29,129,34,35,496,99,3650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee7ed3d690ac35d0a82eb7f20090f30a.jpg",[],{"id":51616,"slug":51617,"title":51618,"dynasty":54,"author":9529,"museum":300,"description":51619,"tags":51620,"thumbUrl":51621,"material":84,"size":84,"collection":84,"collections":51622,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},224444,"fang-li-cheng-xue-ji-tu-wang-hui-224444","仿李成雪霁图","此作用淡墨晕染山石，以留白托出积雪的莹白蓬松，将雪裹山峦的厚重萧寒尽数铺展。枯木虬枝劲挺错落，枝梢缀着残雪，溪面凝冰仍暗藏水意潺潺，悬瀑似冻未绝，于冷寂间暗寓生机。\n\n整幅画作尽得冬日空山的清寂辽远，师法宋人笔意，苍浑之中兼具秀润雅致，把雪后山川的荒寒冷寂，晕化为淡逸悠远的诗意，令人恍若置身冰封雪覆的空山，浸溺在这份清绝尘嚣的静谧之中。",[23,24,7,165,330,128,132,29,1813,30,497,34,495,13436,1337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9125d4abb2b29d2399e2e24c79ab71e9.jpg",[],{"id":51624,"slug":51625,"title":20347,"dynasty":54,"author":4083,"museum":300,"description":51626,"tags":51627,"thumbUrl":51628,"material":84,"size":84,"collection":84,"collections":51629,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},224429,"shan-shui-tu-zhou-wang-shi-min-224429","此作用高远、平远兼济的构图铺展春日山乡景致。近处枯木虬枝舒展，与苍松错落相映，坡岸下春水澹澹，林麓间屋舍幽藏，安然静卧于烟岚轻笼之中。远景山峦以干笔淡墨勾勒皴擦，笔意松秀苍润，以浅淡墨色晕染出空濛氤氲的春日山气。\n\n全作用墨清隽温厚，脱胎元人山水意趣，以留白衬出春水空阔，将山野的清寂淡远融于笔底。未施浓丽敷色，仅以水墨干湿浓淡区分物象层次，尽显萧散简远的文人意韵，把春日林泉的幽闲之趣藏于每一重皴染之间，含蓄悠远，尽显古典山水的静雅之美。",[23,164,24,7,165,128,29,34,131,35,499,1144,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8df2b57e9a7f5704ab95a2ab50a4edb.jpg",[],{"id":51631,"slug":51632,"title":51633,"dynasty":54,"author":1676,"museum":300,"description":51634,"tags":51635,"thumbUrl":51636,"material":84,"size":84,"collection":84,"collections":51637,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},224319,"hua-niao-ce-shi-kai-9-li-shan-224319","花鸟册十开9","淡粉晕染月季花瓣，瓣尖轻施浓色，将盛放的娇柔饱满、花苞含露的娇憨情态描摹尽致。带刺的细枝斜逸舒展，枝叶晕染出阴阳向背，鲜活生动。旁侧行草题字笔势纵横跌宕，墨色浓淡错落，诗画相映。\n\n花木的缱绻生机，合着文人疏放的笔墨意趣，形神兼备。笔简意足，在秀雅鲜活的写生中，又带着独有的桀骜风骨，将花木情态与文人心绪融于尺幅之间，尽显写意风神。",[23,24,7,59,27,61,603,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c574adcbda1a40cb7c88b1fb4f19147.jpg",[],{"id":51639,"slug":51640,"title":51641,"dynasty":54,"author":1676,"museum":300,"description":51642,"tags":51643,"thumbUrl":51644,"material":84,"size":84,"collection":84,"collections":51645,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},224312,"hua-niao-ce-shi-kai-2-li-shan-224312","花鸟册十开2","这幅大写意花鸟以纵逸笔墨铺陈，水墨晕染枝叶，浓淡干湿错落间，将叶片舒展之态尽显，笔意随性疏朗，不囿于细枝末节，却晕开草木清灵生机。\n\n两只禽鸟栖于枝桠，一俯一仰灵动鲜活，淡墨轻点头颈绒毛，浓墨晕染翅尾肌理，简括数笔便将禽鸟神形尽数勾勒，意趣盎然。右侧题字率意朴拙，书画相映成趣，浑然相融。\n\n整幅画尽显纵恣不羁的写意风骨，脱略形似而独求意气，寥寥笔墨便将枝间闲趣跃然纸上，寄寓着悠然闲适的文人意趣。",[23,164,24,7,59,128,61,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c260e3230891761922e78c776eb0f72.jpg",[],{"id":51647,"slug":51648,"title":51649,"dynasty":54,"author":5879,"museum":300,"description":51650,"tags":51651,"thumbUrl":51652,"material":84,"size":84,"collection":84,"collections":51653,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},224193,"gao-zhi-hao-niao-tu-hua-yan-224193","高枝好鸟图","此作用笔秀逸空灵，枯柳斜曳而上，柔条垂落拂动，浅粉桃苞绽于老枝，点破浅春淡寂。丹羽禽鸟栖于细枝，俯身侧目，将恋花娇态摹写生动，蓬松的羽色以没骨晕染，鲜活明丽，尽现翎毛柔润光泽。\n\n墨色干湿互衬，枯笔点苔写柳骨，淡墨轻描柳叶清姿，留白铺就淡远空濛的底色。右侧题诗与画境相合，诗画交融，将春鸟娇啼、窥影共情的诗意融在尺幅之间，简淡中藏生机，尽显隽雅疏朗的文人意趣，把春日幽微意绪晕染在笔墨方寸里。",[23,24,7,61,369,27,355,2438,209,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa30dec5d8321ce381f3e219c75141f00.jpg",[],{"id":51655,"slug":51656,"title":51657,"dynasty":18,"author":223,"museum":300,"description":51658,"tags":51659,"thumbUrl":51660,"material":84,"size":84,"collection":84,"collections":51661,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},223611,"zhu-ting-yuan-yang-tu-yi-ming-223611","竹汀鸳鸯图","画面截取江南水隅一角，修竹偃仰扶苏，以劲健墨笔勾写枝叶，浓淡晕染间，尽显层叠错落的清生意趣。汀洲之上，一对鸳鸯恬然依偎，翎毛细笔丝染，绒羽蓬松柔润，将亲昵温婉的情态描摹入微。\n\n水面留白晕开薄雾空蒙，三两水鸟掠波振翅，于静景中添灵动生机。全作用浅褐绢底烘托苍雅墨色，工写相融，既以精微笔触写实花鸟形质，又晕染出暮色江汀的清寂空濛，将江南水畔的闲澹之景，揉入宋人内敛含蓄的雅致意趣，尽显古典院体花鸟画的妍丽与空灵。",[23,164,24,7,28,27,61,167,1857,211,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd38af8970d0e9b3d6c4052a52cdd7776.jpg",[],{"id":51663,"slug":51664,"title":51665,"dynasty":54,"author":223,"museum":300,"description":51666,"tags":51667,"thumbUrl":51669,"material":84,"size":84,"collection":84,"collections":51670,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},223526,"wu-yi-shan-shi-ba-jing-tu-1-yi-ming-223526","武夷山十八景图1","图题《武夷山十八景图》系依其内容拟定；武夷山在福建建宁府「崇安县南30 里，……周围凡120 里，东抵崇溪，北为黄龙溪，西至将村里，南至蓝原。四面皆壑，不与外山连」（乾隆辛未《武夷山志》，卷四，〈形势〉）；全境「溪九曲，大峰三十六」（《武夷山志》，卷二，〈总志（中）〉）。图中以山水画笔触将武夷山一带的形胜细腻描绘；其中包括山岩、岩壑、溪流、渡桥、村舍、书院、道观、茶园、渡头、客舟及建宁府城、府属崇安县及江西广信府的铅山县城等城池，均一一入画；图中各项动、静态的描绘，流畅生动，全幅宛如一幅山水行舟图。全图描述各处地貌事物均注记文字标示名称。全图笔触甚为工整，惟不落作画题署，难以确切断其绘制年代。但图中若干寺观、津渡的存废，或可推断绘图的相对时代。图中「一曲」的「问津亭：宋名趋真亭，明名入隹亭，……岁久倾圯，康熙戊戌（57年，1718）崇令陆廷灿（生卒不详，字扶照，又字幔亭）又重建，今废」（《武夷山志》，卷五，〈一曲上．溪北〉）；图中问津亭尚存全貌。另「五曲」的「武夷精舍又名文公祠，隐屏峰下。宋淳熙十年（1183）朱文公（1130-1200）卜筑于此。……顺治16 年（1659）邑令韩士望（生卒不详，顺治九年（1652）进士）又修饰之。次年春，大风拔木，祠尽圯，仅存二门。……康熙26 年（1687），御赐「学达性天」额，因复创修，未能宏敞。……康熙56 年（1717）闽浙总督满公保（1673-1725）捐俸倡修轮奂一新」（《武夷山志》卷十，〈五曲上．溪北〉）；图中文公书院院落至为完善。因此，大致可断全图绘制年代为康熙57 年至乾隆16年间。",[23,24,7,128,27,29,132,4437,131,34,31,33,35,496,37,38,499,149,51668,13602],"峰岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21063d6aea51b6cc6ec3c154448b4ff1.jpg",[],{"id":51672,"slug":51673,"title":51674,"dynasty":18,"author":223,"museum":20,"description":51675,"tags":51676,"thumbUrl":51677,"material":40,"size":51678,"collection":84,"collections":51679,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},223495,"chun-xi-shui-zu-tu-ye-yi-ming-223495","春溪水族图页","此图是现存宋画中游鱼类题材画的一幅佳作。春暖花开，群鱼戏藻。鲢鱼摆尾漫游，鲶鱼回身在后，鳜鱼则迎头向上，隐喻了“连年有贵”的吉祥含义。画家通过鱼儿欢快游动时自由弯转的体态和藻类植物在游鱼冲击下漂浮不定的形状，巧妙地暗示出流水的动势以及春水的清洌透明感。3尾大鱼均施以工笔重彩，用笔沉稳工致，片片鱼鳞描绘得一丝不苟；而衬景的小鱼、小虾和水藻则纯用没骨法渍染，将鱼虾的灵动和水藻的轻盈表现得恰到好处。\n对幅有清乾隆御题七言诗一首：“庄惠曾论知弗知，传为奇语却无奇。试如驳曰我非子，便是答云彼岂斯。春水初生具春意，文鳞群泳爱文漪。漫訾意浅色鲜耳，颇类濠梁博辩时。戊申仲秋御题。”“戊申”为乾隆五十三年（1788年）。钤“古稀天子之宝”、“犹日孜孜”印。",[23,24,164,7,59,28,27,208,2059,168,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F859ddf48b1c91ddef47588963053a15e.jpg","纵24.3cm，横25.5cm",[],{"id":51681,"slug":51682,"title":51683,"dynasty":54,"author":14080,"museum":20,"description":38534,"tags":51684,"thumbUrl":51685,"material":40,"size":38537,"collection":84,"collections":51686,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},223286,"shan-shui-si-tiao-ping-yang-zhou-si-jing-ping-gang-yan-xue-yuan-yao-223286","山水四条屏-扬州四景-平岗艳雪",[23,24,7,27,28,95,29,130,98,371,1556,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F909e836a0258d68f302808fe9b398499.jpg",[],{"id":51688,"slug":51689,"title":51690,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":51691,"thumbUrl":51694,"material":151,"size":7879,"collection":84,"collections":51695,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},223029,"hong-lou-meng-154-sun-wen-223029","红楼梦154",[23,24,7,25,28,27,96,97,247,131,34,35,51692,7875,51693,1428],"院墙","古建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6612e905a7c34b43c0c559e333aaba5e.jpg",[],{"id":51697,"slug":51698,"title":51699,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":51700,"thumbUrl":51701,"material":151,"size":7879,"collection":84,"collections":51702,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},223007,"hong-lou-meng-132-sun-wen-223007","红楼梦132",[23,24,7,28,27,96,1367,7344,8629,250,10886,8565],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32553c012ce6da2e7f869061a13b57c8.jpg",[],{"id":51704,"slug":51705,"title":51706,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":51707,"thumbUrl":51708,"material":151,"size":7879,"collection":84,"collections":51709,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},222936,"hong-lou-meng-61-sun-wen-222936","红楼梦61",[23,24,7,28,27,96,97,371,170,247,758,8091],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61f9f5d1f9d8abd6b252eb500cc97c3d.jpg",[],{"id":51711,"slug":51712,"title":30435,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":51713,"thumbUrl":51717,"material":151,"size":7879,"collection":84,"collections":51718,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},222934,"hong-lou-meng-59-sun-wen-222934",[23,24,7,28,27,25,96,97,247,34,14446,51714,1422,170,51715,51716],"红毡","囍字","建筑装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa40ea55077a83e675754b5870e9bb8.jpg",[],{"id":51720,"slug":51721,"title":51722,"dynasty":124,"author":33462,"museum":13868,"description":51723,"tags":51724,"thumbUrl":51725,"material":40,"size":51726,"collection":84,"collections":51727,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},222860,"song-he-you-wu-song-xu-222860","松壑幽屋","彩绘山峰、流水、小桥、绿树、桃花，一派春意盎然",[23,24,7,165,128,132,28,29,372,22404,98,99,131,34,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a048a58ed78444f5f47630c6a4faa40.jpg","141×63cm",[],{"id":51729,"slug":51730,"title":51731,"dynasty":54,"author":10307,"museum":244,"description":51732,"tags":51733,"thumbUrl":51734,"material":561,"size":51735,"collection":136,"collections":51736,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},222805,"qiu-shan-ping-yuan-zhou-he-yi-222805","秋山平原轴","赫奕，赫舍里氏，字澹士，号南谷，别号碧岩箫史，一作碧箫外史，满洲正黄旗人，开国名臣希福之孙，工部尚书帅颜保之子。清朝政治人物、清朝工部尚书。\n以侍卫入仕，任内务府总管。康熙五十二年十二月己卯，接替满笃，担任清朝工部尚书，后革。由孙渣济接任。雍正十三年再任总管内务府大臣。乾隆八年，尚书衔总管内务府大臣赫奕病故。\n性澹泊，琴书之外专事于画。初学黄鼎，继为王原祁弟子。山水宗法元人，而独开生面，迥异时流。时有南王北赫之称。",[23,24,7,165,27,29,132,133,208,8222,1825,34,129,130,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d919660f9b59c4912c5a9f1ee3b3bc8.jpg","99.4x48.3cm",[136,45],{"id":51738,"slug":51739,"title":51740,"dynasty":124,"author":18090,"museum":20,"description":51741,"tags":51742,"thumbUrl":51743,"material":1223,"size":51744,"collection":84,"collections":51745,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},222598,"cheng-guan-tu-ce-he-juan-lan-ying-222598","澄观图册合卷","“澄观”一语出自六朝山水画家、画论家宗炳《画山水叙》。宗炳认为山水画的功用在于“澄怀观道”，即通过欣赏山水画以滌除心胸之垢，进入平和无我的高尚境界，这也是蓝瑛69岁时精绘此册的初衷。\n蓝瑛一生游历甚广，明代韩昂在《图绘宝鉴续纂》中记载他到过福建、广东、湖北、陕西、河南等地，对长江南北的名山大川有着细致的观察和深切的感悟。因此，在这本图册中，他凭藉深厚的艺术功底准确地表现出江南水乡的秀美和北方山岳的壮丽。由于画家遵循“外师造化，中得心源”的创作原则，在创作过程中达到“澄观”的目的，所以在此图册中无法找到任何与自然界相对应的具体景观。蓝瑛在师法自然的基础上又对自然山水的某些形式结构及色彩等进行了分解和重新组合，使之化作自己的“胸中丘壑”再加以表现。这种典型的文人山水画创作方法与西方注重写实的风景画迥异其趣。",[23,24,7,59,27,128,132,64,29,131,34,211,99,129,130,37,98,387,4278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71e687a33ee9379b8def8f1d91a5d46e.jpg","纵42.5cm，横23.2cm",[],{"id":51747,"slug":51748,"title":21704,"dynasty":124,"author":21705,"museum":244,"description":21706,"tags":51749,"thumbUrl":51750,"material":27,"size":21709,"collection":84,"collections":51751,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},222453,"hua-lu-shen-yuan-feng-tang-hui-xian-shan-tu-juan-zhang-fu-222453",[24,7,25,805,27,29,132,1144,35,131,34,247,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bcab0898e7d65be553a4c97defc3988.jpg",[],{"id":51753,"slug":51754,"title":51755,"dynasty":124,"author":26321,"museum":20,"description":51756,"tags":51757,"thumbUrl":51758,"material":1722,"size":51759,"collection":84,"collections":51760,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},222427,"san-tuo-tu-li-shi-da-222427","三驼图","《三驼图》绘三个驼背的老者，一提篮侧顾，一向提篮者作揖，一拍手大笑，三人形象滑稽，笑态可掬。画家以驼者之间的相互戏谑，来讽喻“世上无直人”。衣纹用“浑描”，须发皆不见钩勒痕迹，笔墨圆润，柔若无骨，可见作者高度的笔墨造型功力。其上方有钱允治诗云：“张驼提盒去探亲，李驼遇见问缘因；赵驼拍手呵呵笑，世上原来无直人。”点明了此幅的讽世主题。李士达的此画如钱允治的题诗一样，将民间歌谣形之于画图，带有通俗而又诙谐的情调。",[23,24,7,165,128,188,96,208,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bc90e03e64b2e24f32eaba2b927d55.jpg","纵78.5厘米，横30.3厘米",[],{"id":51762,"slug":51763,"title":51764,"dynasty":124,"author":802,"museum":161,"description":11485,"tags":51765,"thumbUrl":51766,"material":59,"size":84,"collection":84,"collections":51767,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},221910,"hua-niao-jing-pin-ce-7-chen-hong-shou-221910","花鸟精品册7",[164,24,7,59,28,27,61,1082,355,547,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cddf38ba075919c3ebe33ab022f3cf6.jpg",[],{"id":51769,"slug":51770,"title":51771,"dynasty":124,"author":2268,"museum":6892,"description":51772,"tags":51773,"thumbUrl":51774,"material":59,"size":6896,"collection":84,"collections":51775,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":84},220752,"fang-ge-jia-shan-shui-4-dong-qi-chang-220752","仿各家山水-4","此作用笔松秀空灵，以干笔淡墨铺展秋山幽居之境。近坡枯木疏林姿态萧散，村居隐于林木间，坡岸错落尽显野逸之趣。中远景山峦层叠，主峰奇崛高耸，以淡墨皴擦轻勾山石肌理，留白晕出水色烟岚的空濛悠远。\n\n全画以书入画，线条温润秀雅，不执着实景摹写，重在以笔墨传递清旷简远之意，寥寥数笔便将深秋林泉的幽寂淡远铺陈开来。以简驭繁，虚实相生间尽显文人画尚意重韵的特质，观之如临静谧山林，涤荡尘心。",[23,24,7,128,330,132,59,29,331,171,99,131,34,415,3427,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523a359e05e61b220785e0e20211602f.jpg",[],{"id":51777,"slug":51778,"title":51779,"dynasty":124,"author":2268,"museum":6892,"description":51780,"tags":51781,"thumbUrl":51782,"material":59,"size":6896,"collection":84,"collections":51783,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":84},220751,"fang-ge-jia-shan-shui-5-dong-qi-chang-220751","仿各家山水-5","此作用笔松秀虚灵，以干笔淡墨勾勒皴擦，写尽山峦苍润肌理，简淡皴法藏尽丘壑深致。溪岸佳木繁荫，苍松挺劲蓊郁，与层叠远山相映成趣。画面留白清寂，水色空明，野桥横卧浅溪，弥散出萧散淡远的静穆雅韵。\n以书法意趣入画，笔墨简练脱略，不重实景描摹，尽显文人画超然出尘的林下之风。于简淡中藏雄浑，浅墨间见苍润，将山川静穆生机与文人幽怀相融，观之如坐林泉，悄然揽得山水清旷之趣。",[23,24,7,128,132,29,98,99,413,171,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb8bcdaa85562a81f6a4956e87ec107b.jpg",[],{"id":51785,"slug":51786,"title":51787,"dynasty":144,"author":51788,"museum":6892,"description":51789,"tags":51790,"thumbUrl":51791,"material":26871,"size":51792,"collection":84,"collections":51793,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":84},220660,"kai-shu-song-yi-shi-shen-bo-xin-xu-chen-you-220660","楷书送医师沈伯新序","沉右","沉右，字仲说，号寓斋，又有存存斋署，吴中（今江苏苏州）人，工诗文书法。此卷书迹是沉右书赠乡里名医沈伯新的序文，缘于至正十年（1350）夏，沉右祖母突发急恙，幸得沈伯新医治而愈，故特撰文述其事以致谢，并请一众文朋题跋赠予沈伯新留存。是卷题跋累累，荟诸贤之文华，经历各朝流传至今，弥足珍贵。\n\n沉右出自吴中世家巨族，以诗文书法与江浙名士过从甚密。此卷元代题跋者，如顾瑛、周伯温、陈基、郑元佑元代名士。入明清后，此卷又得吴宽、沈周、文征明、沈德潜、钱载、桂馥等诗文书画大家题跋，文墨价值益重。而在诸家墨迹之间，亦杂有一纸祝允明《吴郡沈氏良惠堂叙铭》和文征明跋文墨拓。由沈文叶、沈谦跋语可知「良惠」为宋高宗书赐沈家南渡始祖御字，沈家遂以之为堂号。沈氏后辈在明时曾请祝允明与文征明分做叙铭和题跋，勒石以志。不过至沈谦时，原迹和刻石皆已散失逾百年。将其拓本与沈右墨迹序文共裱一卷，合璧并传，应是为更增显沈氏自南宋经元明而清的荣赫家世。\n\n沉右序文以楷书书写，精心闲熟，法度严谨，风格婉丽雅致，得欧、褚之法颇多，亦带明的赵体韵味。卷后题跋林林总总，其中数家虽非名手，亦自精绝。诸多跋语也突显此卷在不同时代的递藏意义。元人因应沉右延请，故其跋文皆着眼于沈伯新医术并附及沈右孝行；明人吴宽、沈周、文征明等皆为吴人，就有感于吴中先贤墨翰风流；清人尤其是沈家后人，则是在对沈氏南渡家世不断地追述中，将其确立为门庭赫奕的一件凭信之物。这些鉴藏史内容，连同其两经易手而复为沈家所得的经历，亦可成为研究吴中社会、文化的一个切入点。",[7,64,572,25,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39b790731bfd0caf96f0349edfdb5727.jpg","本幅：28.5 × 87.2厘米",[],{"id":51795,"slug":51796,"title":41254,"dynasty":54,"author":1219,"museum":9668,"description":51797,"tags":51798,"thumbUrl":41257,"material":84,"size":84,"collection":84,"collections":51799,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},220468,"jin-gu-yuan-tu-zhou-ren-yi-220468","此作以金谷旧事为引，嶙峋湖石拔地而起，墨色皴擦间尽显苍古雄浑，旁侧翠竹苍劲、朱枝艳发，冷暖色调撞破幽寂。石畔文士抱膝沉坐，眉眼间漫着悼古的落寞，两位乐女持弦静待，身姿温婉静穆，将旧时金谷宴散的萧索怅惘晕开。\n\n笔墨兼具写意纵逸与工致细腻，湖石泼墨写意，笔力雄健，人物衣纹清劲凝练，神情刻画入微。布景错落疏密得宜，将盛衰之叹寄于咫尺尺幅，借景抒情暗合心境，尽显笔意高妙、意境悠远的特质。",[24,7,165,27,96,166,171,167,438],[],{"id":51801,"slug":51802,"title":51803,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":51804,"thumbUrl":51805,"material":611,"size":3722,"collection":84,"collections":51806,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},220309,"huang-shan-tu-ce-18-hong-ren-220309","黄山图册-18",[23,24,7,128,132,59,29,171,1144,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d4a3aa57cb2c2677517cc1e26f43bb.jpg",[],{"id":51808,"slug":51809,"title":51810,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":51811,"thumbUrl":51812,"material":611,"size":3722,"collection":84,"collections":51813,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},220306,"huang-shan-tu-ce-21-hong-ren-220306","黄山图册-21",[23,24,7,29,59,128,27,132,30,171,1144,97,37,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb293f3d4e7ddae656d41c4cbe335d40d.jpg",[],{"id":51815,"slug":51816,"title":51817,"dynasty":144,"author":18589,"museum":244,"description":51818,"tags":51819,"thumbUrl":51820,"material":151,"size":51821,"collection":136,"collections":51822,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},219959,"chong-gang-du-tiao-tu-fang-cong-yi-219959","崇冈独眺图","本幅绘两山环抱，岩穴洞开。下作平沙数抹，片苇萧萧，见其深邃。",[23,24,164,7,59,128,29,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1176b734560059bb4a52912b6c738302.jpg","23.3x23.5厘米",[136],{"id":51824,"slug":51825,"title":51826,"dynasty":18,"author":223,"museum":244,"description":51827,"tags":51828,"thumbUrl":51829,"material":173,"size":84,"collection":44,"collections":51830,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},219646,"yao-chi-xian-hui-tu-yi-ming-219646","瑶池仙会图","苍松虬枝如盖，撑起画面清逸骨架，瑶池云气漫过山麓，晕开缥缈仙境。仙侣或围坐清谈，或乘舟凌波而来，林泉间人物情态悠然恬和，将仙家雅集的自在意趣铺陈于尺幅团扇之中。淡墨轻色晕染烟岚林樾，笔致温婉秀雅，与左侧题诗呼应成趣，把世外幽居的绝尘之思藏在每一处细节里，以咫尺天地绘就仙家雅集的恬然图景，将宋人的清雅意趣融于笔墨烟波之间。",[24,7,27,28,59,96,1144,29,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b80a61da461404c31e4690c9ef6205.jpg",[44],{"id":51832,"slug":51833,"title":51834,"dynasty":54,"author":21575,"museum":20,"description":51835,"tags":51836,"thumbUrl":51837,"material":173,"size":84,"collection":68,"collections":51838,"showCount":641,"zanCount":1998,"manualWeight":48,"mainColor":72},219297,"ji-xian-liu-zhou-ai-qi-meng-219297","佶闲骝轴","画中骏马闲立，白棕毛色相间如流云晕染，鬃毛纤毫毕现，似有风过轻扬。肌肉线条流畅劲健，既见写实功底，又含灵动气韵。四蹄稳健踏地，眼神温驯却藏英气，恰合闲雅意趣。背景素净，辅以题跋印章，笔墨间融贯中西技法之妙——承传统鞍马画的雅致，取西洋写实的精准，让骏马形神兼备，宛如可触可近。整幅作品静中寓动，闲雅里透着勃勃生机，尽显画中生灵的意态风神，观之如见骏马缓踏，气息悠然。",[23,24,7,165,27,28,101,949,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99cb6bd9114b8ac957e044f6c0deca54.jpg",[68],{"id":51840,"slug":51841,"title":51842,"dynasty":18,"author":223,"museum":56,"description":51843,"tags":51844,"thumbUrl":51845,"material":173,"size":84,"collection":68,"collections":51846,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},219262,"xie-sheng-si-duan-tu-yi-ming-219262","写生四段图","四段景致各蕴生机。首段猫卧石边，茸毛细腻如绒，石肌理古拙苍然，静中藏韵；中段数兽嬉游郊野，或低啮青草，或昂首顾盼，姿态鲜活，野趣盎然；末段枯槎疏竹旁，禽鸟栖止，枝干虬曲见骨，笔墨简淡却传物之神；最末猫踞笼畔，犬趋前欲动，笼栅细劲入微，猫狗情态宛然，尽得生活意趣。全卷以写生之笔摹万物，线条精准，墨色层次有致，于细节处显匠心，足见写实功力之深。",[23,24,164,7,28,27,2166,102,101,1634,949,171,413,167,13344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901bd7646e4d18c3736a30353ef0db54.jpg",[68],{"id":51848,"slug":51849,"title":51850,"dynasty":18,"author":223,"museum":244,"description":51851,"tags":51852,"thumbUrl":51853,"material":173,"size":51854,"collection":136,"collections":51855,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},218817,"feng-xi-gui-zhao-tu-yi-ming-218817","风溪归棹图","树木随着风和天空的音乐起舞。石头下的竹子里藏着一个家，一个船夫正在水流中起航。这幅画中的水墨技法是马远传下来的，树叶都是双钩的，雕工精细，让人仿佛置身于风和浪之中。",[23,24,7,164,59,128,27,29,132,129,99,413,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26509b68407859d99b23ec8fc4e694ad.jpg","23.4x25.9",[136],{"id":51857,"slug":51858,"title":51859,"dynasty":124,"author":204,"museum":244,"description":11550,"tags":51860,"thumbUrl":51861,"material":173,"size":11555,"collection":84,"collections":51862,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},218179,"chun-xiao-tu-2-chou-ying-218179","纯孝图-2",[24,7,28,27,96,101,331,690,9255,35,133,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ffeae386b6ebd4cb012fe42050fa7b4.jpg",[],{"id":51864,"slug":51865,"title":51866,"dynasty":980,"author":1687,"museum":300,"description":8761,"tags":51867,"thumbUrl":51868,"material":278,"size":84,"collection":84,"collections":51869,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},218169,"da-qian-kuang-tu-ce-9-zhang-da-qian-218169","大千狂涂册-9",[24,7,59,128,133,132,29,34,33,96,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cc9e44d039f57472f130362d8701ab2.jpg",[],{"id":51871,"slug":51872,"title":51873,"dynasty":124,"author":802,"museum":224,"description":22521,"tags":51874,"thumbUrl":51875,"material":173,"size":84,"collection":84,"collections":51876,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},218023,"za-hua-ce-7-chen-hong-shou-218023","杂画册-7",[24,7,59,27,132,29,171,331,99,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff84370318cab5c806b1fc9fabdb42dd.jpg",[],{"id":51878,"slug":51879,"title":51880,"dynasty":54,"author":9529,"museum":450,"description":11246,"tags":51881,"thumbUrl":51882,"material":66,"size":11249,"collection":84,"collections":51883,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},217213,"fang-gu-shan-shui-shi-er-kai-wu-wang-hui-217213","仿古山水十二开(五)",[24,7,59,132,27,29,129,211,34,35,1824,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9aebe68762b55eb17a1ff7c3a0c1ed8.jpg",[],{"id":51885,"slug":51886,"title":51887,"dynasty":18,"author":25050,"museum":1941,"description":38765,"tags":51888,"thumbUrl":51889,"material":173,"size":38768,"collection":84,"collections":51890,"showCount":641,"zanCount":1998,"manualWeight":48,"mainColor":72},216915,"xiang-shan-jiu-lao-tu-7-ma-xing-zu-216915","香山九老图-7",[23,24,7,28,27,96,29,167,331,99,497,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F996c941b8274f0bb1a5f2f589e1f3156.jpg",[],{"id":51892,"slug":51893,"title":51894,"dynasty":54,"author":223,"museum":300,"description":51895,"tags":51896,"thumbUrl":51897,"material":173,"size":84,"collection":84,"collections":51898,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},216703,"hong-lou-meng-fu-tu-ce-24-yi-ming-216703","红楼梦赋图册-24","棕榈亭亭映庭院，假山叠石间草木葱茏。白衣女子凭栏而立，衣袂翩跹若携幽风；红衣少女执物凝睇，裙裾轻飏带几分灵动。远处屋舍隐于绿意，檐角与淡月相映，清辉洒落添了几分幽然。笔墨细腻勾勒人物温婉情态，设色清雅晕染景致雅致氛围，将红楼女儿的柔婉与大观园的诗意融于一纸，似能触碰到那段诗意盎然却暗蕴怅惘的时光，尽显古典画作的娴静之美与含蓄情致。",[23,24,7,59,27,28,96,97,171,2146,62,6640],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feccf0d59b22fc7b69f069573afdb614b.jpg",[],{"id":51900,"slug":51901,"title":51902,"dynasty":124,"author":223,"museum":300,"description":51903,"tags":51904,"thumbUrl":51910,"material":173,"size":84,"collection":136,"collections":51911,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},216403,"xuan-da-shan-xi-san-zhen-tu-yi-ming-216403","宣大山西三镇图","此图以图文并茂之态，铺展明代宣大山西三镇的边防图景。右侧青绿山峦层叠起伏，关隘如“雁门关”“千朔州关”以方框醒目标注，蜿蜒道路串联星罗棋布的烽燧营垒，布局清晰直观；左侧蝇头小楷详述地理沿革与军事部署，补地图未尽之细节。设色淡雅古朴，山峦勾勒兼具写意韵致与写实精度，既为研究明代北疆防御体系的珍贵文献，亦显舆图融实用功能与艺术审美于一体的独特风貌，静静承载着彼时戍边将士的烽火记忆与山河守望。",[23,164,24,7,26,27,208,29,51905,51906,51907,111,572,51908,51909],"关隘","烽燧","营垒","军事舆图","边防","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cedc7686f0c9ff5207bb36c9a08e865.jpg",[136],{"id":51913,"slug":51914,"title":51915,"dynasty":144,"author":1346,"museum":244,"description":2533,"tags":51916,"thumbUrl":51917,"material":278,"size":84,"collection":84,"collections":51918,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},216374,"mo-zhu-pu-ce-15-wu-zhen-216374","墨竹谱册-15",[24,7,59,128,167,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4db1dad1e02d4bd4f9e4002f3a1ba303.jpg",[],{"id":51920,"slug":51921,"title":51922,"dynasty":124,"author":204,"museum":300,"description":2216,"tags":51923,"thumbUrl":51924,"material":173,"size":84,"collection":84,"collections":51925,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":49},216280,"er-shi-si-xiao-tu-11-chou-ying-216280","二十四孝图-11",[24,164,7,28,27,96,167,131,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8202bf92c8e9aca6e34c1b55906c1d2.jpg",[],{"id":51927,"slug":51928,"title":51929,"dynasty":54,"author":3750,"museum":77,"description":51930,"tags":51931,"thumbUrl":51932,"material":66,"size":84,"collection":84,"collections":51933,"showCount":641,"zanCount":1998,"manualWeight":48,"mainColor":72},215029,"fang-gu-shan-shui-ce-2-wang-jian-215029","仿古山水册-2","王鉴（1669-1725）是清朝时期著名的画家，以其精湛的仿古山水画而闻名。王鉴出生于江苏省，自幼便对绘画有着浓厚的兴趣。他从小就开始学习绘画，后来在北京的私塾深造，并在考试中取得了优异的成绩。\n\n王鉴的仿古山水画以其精细的笔法和优美的构图而著称。他的画作经常使用细腻的线条和深浅不一的色彩来表现山水的美感。王鉴的作品常常充满了沉静、凝重的气氛，能够让人感受到中国古代山水画的韵味。\n\n王鉴的仿古山水画在当时广受欢迎，并且被广泛收藏和传承。他的画作经常被收录在仿古山水册中，并被视为中国古代山水画的经典之作。王鉴的画风对后代画家也产生了深远的影响，被认为是清朝时期仿古山水画的代表人物之一。",[24,7,128,59,132,29,98,99,34,131,35,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36fe7bd5b581ad26988b86ab76e700f4.jpg",[],{"id":51935,"slug":51936,"title":51937,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":51938,"thumbUrl":51939,"material":278,"size":3888,"collection":84,"collections":51940,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},214975,"dao-zi-mo-bao-ren-wu-bai-miao-hua-7-yi-ming-214975","道子墨宝人物白描画-7",[23,164,24,7,188,96,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F301ea66d7c934d8b329d851a207c108e.jpg",[],{"id":51942,"slug":51943,"title":51944,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":51945,"thumbUrl":51946,"material":278,"size":3888,"collection":84,"collections":51947,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},214970,"dao-zi-mo-bao-ren-wu-bai-miao-hua-17-yi-ming-214970","道子墨宝人物白描画-17",[23,164,1326,24,7,188,96,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F440c5e3a3b61540e22789c281fcc5d2c.jpg",[],{"id":51949,"slug":51950,"title":51951,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":51952,"thumbUrl":51953,"material":278,"size":3888,"collection":84,"collections":51954,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},214969,"dao-zi-mo-bao-ren-wu-bai-miao-hua-8-yi-ming-214969","道子墨宝人物白描画-8",[23,164,24,7,188,96,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdc1cd319e35607c88c98433a05b6ee6.jpg",[],{"id":51956,"slug":51957,"title":51958,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":51959,"thumbUrl":51960,"material":278,"size":3888,"collection":84,"collections":51961,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},214959,"dao-zi-mo-bao-ren-wu-bai-miao-hua-29-yi-ming-214959","道子墨宝人物白描画-29",[23,24,7,28,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F597e1b76507b1aedd7bfbf47d387b6e1.jpg",[],{"id":51963,"slug":51964,"title":51965,"dynasty":54,"author":10307,"museum":424,"description":10308,"tags":51966,"thumbUrl":51967,"material":66,"size":10311,"collection":84,"collections":51968,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},214484,"he-yi-shan-shui-tu-ce-3-he-yi-214484","赫奕山水图册-3",[23,24,7,59,128,27,29,98,99,34,35,131,37,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36421852b31841467b68e476b68398f2.jpg",[],{"id":51970,"slug":51971,"title":51972,"dynasty":54,"author":872,"museum":77,"description":51973,"tags":51974,"thumbUrl":51975,"material":278,"size":84,"collection":84,"collections":51976,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":72},214393,"shan-shui-tu-ce-5-zhu-da-214393","山水图册-5","淡墨皴出山崖嶙峋之态，清寒如雾浸纸。疏枝枯树似铁线横斜，牵起空寂的风。山隅茅舍隐然，无人迹却藏遗世况味。留白非虚空，是天地苍茫，是心尖清寂。笔墨极简见风骨，每一笔克制却道尽孤寂孤傲。如无声绝句，纸间淌着冷逸禅意，荒寒里触到遗民沉郁与超脱，让观者于简淡中品得深致的精神回响。",[23,24,7,59,128,132,29,1233,331,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3af34fe478e5f191bb4bc98911d7f299.jpg",[],{"id":51978,"slug":51979,"title":51980,"dynasty":54,"author":872,"museum":77,"description":51981,"tags":51982,"thumbUrl":51983,"material":278,"size":84,"collection":84,"collections":51984,"showCount":641,"zanCount":1998,"manualWeight":48,"mainColor":72},214385,"shan-shui-tu-ce-11-zhu-da-214385","山水图册-11","墨色在素纸上晕开，浓淡交织如轻烟漫过山峦。枯笔扫出的山石棱角隐于雾霭，似静默的孤影伫立天地间。留白处空濛辽远，仿佛能听见山风穿过林隙的轻响。简劲的线条里藏着沉郁，却又在虚虚实实的晕染中透出遗世的清寂。没有繁复景致，仅寥寥几笔便勾出山水魂魄——那是心之所向的超脱，也是笔墨深处的孤高。每道墨痕都似有温度，在寂静中诉说不与世俗同流的风骨，让观者于空远里寻得一份心灵栖居。",[23,24,7,164,59,128,132,29,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe83a6a9760e69d4ac061f4d7b98e6b5b.jpg",[],{"id":51986,"slug":51987,"title":51988,"dynasty":54,"author":1460,"museum":56,"description":51989,"tags":51990,"thumbUrl":51991,"material":84,"size":84,"collection":68,"collections":51992,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":51993},203138,"he-zuo-hua-guo-tu-ce-shi-tao-203138","合作花果图册","墨梅枝干虬劲，笔力顿挫间显古拙之姿，枝梢横斜逸出，疏花点点如凝霜。淡墨晕染与干笔勾勒相济，花朵或绽或含，清雅冷逸。笔墨间裹挟着文人的孤傲逸气，简淡中见精神，寥寥数笔便将梅的坚韧与清韵托出，观之如临寒枝，暗香隐隐浮动，意趣悠长。",[24,7,59,128,61,371,369,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe056893912a8e39a3b48b9a03e412da7.jpg",[68],"b59f90",{"id":51995,"slug":51996,"title":4991,"dynasty":54,"author":4992,"museum":56,"description":51997,"tags":51998,"thumbUrl":51999,"material":84,"size":84,"collection":68,"collections":52000,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":52001},203133,"shan-shui-hua-niao-ce-yang-jin-203133","画面中粉白牡丹盛放，花瓣以淡粉晕染，边缘渐浅如凝脂温润；金黄花蕊点染精致，尽显娇嫩之态。墨绿枝叶与浅绿新叶交错，叶脉勾勒清晰，笔触细腻见功。枝干苍劲却含柔韵，数枚嫩红花苞点缀其间，添鲜活生气。整体设色淡雅清新，无浓艳之态，尽显文人花鸟的雅致意趣，仿佛春风拂过，花香隐隐浮动。",[24,7,59,27,61,263,28,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e93b9570eccc75555434edfcd41682.jpg",[68],"e5d1af",{"id":52003,"slug":52004,"title":52005,"dynasty":32945,"author":3539,"museum":56,"description":52006,"tags":52007,"thumbUrl":52008,"material":84,"size":84,"collection":136,"collections":52009,"showCount":641,"zanCount":1998,"manualWeight":48,"mainColor":52010},203120,"cai-ju-tu-zhou-xu-bei-hong-203120","采菊图轴","文士着蓝袍立于苍松之下，宽袖飘举间身形清癯。手中轻拈菊枝，仰头望松间虬枝，神态悠然似入遐思。松干以浓墨皴擦，纹理如老鳞般苍劲；松针层叠，墨色深浅相济显层次。背景山水晕染轻淡，远山如黛，近坡疏草，留白处漾出空灵之韵。人物衣纹线条兼具流畅与写实，面部神情超逸，尽显文人风骨。侧畔菊丛红黄点缀，为清寂画面添一抹生机。整幅画融传统笔墨意趣与西画造型技法，将田园逸致与高洁情怀凝于尺幅间。",[24,27,96,29,376,372,10803,28172,165,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5abbd949ee7b76e65e535d7f5068b262.jpg",[136],"c1b6a3",{"id":52012,"slug":52013,"title":52014,"dynasty":32945,"author":40286,"museum":56,"description":52015,"tags":52016,"thumbUrl":52017,"material":84,"size":84,"collection":68,"collections":52018,"showCount":641,"zanCount":1998,"manualWeight":48,"mainColor":52019},202812,"shi-liu-hua-tu-zhou-chen-shi-ceng-202812","石榴花图轴","虬枝以焦墨挥写，苍劲中见灵动，石榴果实饱满沉实，设色淡雅却含蕴成熟的暖意，叶片寥寥数笔，意到即止。左侧行书题跋笔势流畅，与朱红印章相映成趣，诗书画印浑然一体。画面不刻意追摹细节，却以写意之笔捕捉石榴的鲜活神韵，仿佛能触到果皮的纹理，嗅到果实的清甜，尽显文人画的雅致与生机，于简淡中藏着醇厚的生活情味。",[24,7,165,27,61,2035,133,208,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7af6a211d0d84f32de5d2bb51e17055.jpg",[68],"dfdbd1",{"id":52021,"slug":52022,"title":24663,"dynasty":124,"author":1438,"museum":56,"description":52023,"tags":52024,"thumbUrl":52025,"material":84,"size":84,"collection":68,"collections":52026,"showCount":641,"zanCount":1998,"manualWeight":48,"mainColor":52027},201724,"hua-hui-juan-chen-chun-201724","水墨写就的长卷中，四时花卉次第铺展。兰草疏茎淡叶，姿态清雅；菊丛繁枝密蕊，野趣盎然；牡丹雍容绽放，墨色浓淡相宜；另有团簇花枝，叶片苍劲，花瓣柔润。笔墨简逸灵动，浓墨勾枝，淡墨晕瓣，干湿相生间尽显花木神韵。题跋与花卉错落相映，诗书一体，流露文人雅韵。不刻意求工，却神形兼备，气韵生动。",[24,25,128,61,375,376,263,208,7,28172,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9773f2151bb2cfa144b27ecf3c52764.jpg",[68],"c6bdb7",{"id":52029,"slug":52030,"title":409,"dynasty":144,"author":410,"museum":300,"description":21954,"tags":52031,"thumbUrl":52032,"material":692,"size":1293,"collection":84,"collections":52033,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},290790,"shan-shui-ce-wang-meng-290790",[24,7,59,64,133,208,29,11448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1192b244ee2c39720eb3b68f485d3e16.jpg",[],{"id":52035,"slug":52036,"title":52037,"dynasty":18,"author":223,"museum":300,"description":52038,"tags":52039,"thumbUrl":52040,"material":692,"size":1293,"collection":84,"collections":52041,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},290751,"ke-si-pan-tao-xian-shou-tu-zhou-yi-ming-290751","缂丝蟠桃献寿图轴","此幅缂丝作品以本色丝为地，用多彩色丝缂织一位仙翁持桃献寿的图案。全幅钤“乾隆御览之宝”、“乾隆鉴赏”、“三希堂精鉴玺”、“宜子孙”、“嘉庆御览之宝”、“嘉庆鉴赏”、“石渠宝笈”和“宝笈三编”，共八玺。附原题签“宋缂丝蟠桃献寿图”。\n画幅上天空中祥云缭绕，红日高照，一只仙鹤凌空飞翔。下方的蟠桃树枝干遒劲，果实累累，树下一位容光焕发，神采奕奕的仙翁手捧刚摘获的一枚硕大蟠桃，欣然回首，健步而行。地面上、寿石旁，灵芝、水仙和翠竹生机盎然。在古代，鹤被视为“鹤寿千岁，以极其游”的瑞禽，蟠桃则传为西王母的瑶池中所种植，系三千年一开花、三千年一生实，食一枚可增寿六百年的仙物。二者结合，再配以仙翁寿星合为图案，寓意吉祥长寿，常作寿辰庆贺之用。宋元以来，蟠桃献寿一直是人们非常喜爱的祝寿图案和题材。\n此幅蟠桃献寿图熟练运用平缂、勾缂、掼缂、结、长短戗和包心戗等多种技法，特别是合色线的使用，更增添了作品的表现力。采用藏青、浅蓝、粉红、月白、淡黄、瓦灰、驼色和墨绿等色丝缂织而成。",[24,7,165,1944,27,61,2123,12405,64,133,13720],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F278d236ad10d4f07d486306ae226a87b.jpg",[],{"id":52043,"slug":52044,"title":52045,"dynasty":18,"author":223,"museum":300,"description":52046,"tags":52047,"thumbUrl":52048,"material":692,"size":1293,"collection":84,"collections":52049,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},290688,"po-mo-xian-ren-zhou-yi-ming-290688","泼墨仙人轴","画上方题诗:“地行不识名和姓,大似高阳一酒徒,应是琼台仙宴罢,淋漓襟袖尚模糊。”",[24,7,165,128,2333,96,13034,439,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57807a2f56c5f2141b35711b2d730215.jpg",[],{"id":52051,"slug":52052,"title":52053,"dynasty":144,"author":1208,"museum":300,"description":34252,"tags":52054,"thumbUrl":52055,"material":692,"size":1293,"collection":84,"collections":52056,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},290449,"you-bo-tan-hua-tu-ti-ba-ke-luo-ban-ni-zan-290449","忧钵昙花图题跋（珂罗版）",[23,64,572,1429,187,18381,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd084cc30dc40dba95b67a8c32b92874.jpg",[],{"id":52058,"slug":52059,"title":52060,"dynasty":144,"author":410,"museum":300,"description":21954,"tags":52061,"thumbUrl":52062,"material":692,"size":1293,"collection":84,"collections":52063,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},290446,"song-shan-shu-wu-tu-ke-luo-ban-wang-meng-290446","松山书屋图（珂罗版）",[23,164,24,7,165,128,132,29,1144,5022],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70b5fc5f66a2ead3f8f44470180431a2.jpg",[],{"id":52065,"slug":52066,"title":52067,"dynasty":54,"author":3403,"museum":300,"description":8089,"tags":52068,"thumbUrl":52069,"material":692,"size":1293,"collection":84,"collections":52070,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},290424,"ke-ru-qing-tong-gen-ru-shi-tu-zhou-wu-chang-shuo-290424","柯如青桐根如石图轴",[23,24,7,165,128,27,171,689,1233,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe41d1300ae2de9120a26555f2abfb69.jpg",[],{"id":52072,"slug":52073,"title":52074,"dynasty":351,"author":13809,"museum":300,"description":42301,"tags":52075,"thumbUrl":52077,"material":692,"size":1293,"collection":84,"collections":52078,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},290140,"si-hao-tu-wang-qi-han-290140","四皓图",[23,164,24,7,25,27,96,29,52076,64,19122,13603],"隐士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f557cd778aa39fa81a39b6899bedb25.jpg",[],{"id":52080,"slug":52081,"title":8545,"dynasty":144,"author":223,"museum":300,"description":52082,"tags":52083,"thumbUrl":52085,"material":692,"size":1293,"collection":84,"collections":52086,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},290136,"bu-dai-he-shang-tu-yi-ming-290136","此画绘布袋和尚半身像，构图简明而有力，用笔简练粗放，尤其以布袋和尚的衣袍最为突出，寥寥数笔，神态活现，犹如画山石一样雄浑有力，又不失衣袍的柔和随意，笔意十足，重墨渲染。如除去布袋和尚的上半身不看，其构图仿佛是一座雄健的远山，稳健而广阔，而绘布袋和尚的圆颅硕躯时，转而用工细流畅的笔法，以工笔绘眉眼唇齿，笑容可掬，其淡泊而又嘻笑于世的神态表现得淋漓尽致，虽有一股玩世的态度，却又显示出其宽厚、仁慈、悲天悯人的另一面，这也正是梁楷处世态度的一种写照。",[24,7,128,96,187,52084,165],"布袋和尚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b922d452c80ac3fcb8dbaecc6dfb879.jpg",[],{"id":52088,"slug":52089,"title":52090,"dynasty":18,"author":52091,"museum":300,"description":52092,"tags":52093,"thumbUrl":52094,"material":692,"size":1293,"collection":84,"collections":52095,"showCount":268,"zanCount":1998,"manualWeight":48,"mainColor":72},289843,"cao-tang-ke-hua-tu-he-quan-289843","草堂客话图","何荃","此画用笔精细，画中景物从大到小一丝不乱，工整雅致，是典型的南宋绘画风格。",[23,24,164,7,1131,28,27,29,97,98,99,96,64,133,15999,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febceed3a2a19798d09537bf2b6dc631a.jpg",[],{"id":52097,"slug":52098,"title":52099,"dynasty":18,"author":223,"museum":300,"description":52100,"tags":52101,"thumbUrl":52102,"material":692,"size":1293,"collection":84,"collections":52103,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},289108,"ke-si-mu-dan-zhi-shan-yi-ming-289108","缂丝牡丹执扇","此作以缂丝之艺定格牡丹芳华，团扇形制温婉雅致。两簇牡丹主次有致，朱红瓣色由深渐浅，缂丝走线勾勒花瓣层叠肌理，将花之雍容饱满尽数铺展，艳而不俗。深浅蓝灰晕染衬叶，柔婉舒展于花侧，冷色调恰好调和花之浓艳，疏密间尽显构图巧思。\n\n四方印鉴错落布于扇面，晕染出古雅沉静的氛围。岁月晕黄了底料，却未减工艺精妙，缂丝的齐整走线依旧清晰可辨，藏着刻入丝缕中的审美意趣，将工巧雅致与花之华贵相融，静述旧时风雅。",[164,24,7,1131,61,27,263,1944,208,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d2b5dc1457291d8f16ccbb586352c0d.jpg",[],{"id":52105,"slug":52106,"title":25262,"dynasty":18,"author":20081,"museum":300,"description":52107,"tags":52108,"thumbUrl":52109,"material":692,"size":1293,"collection":84,"collections":52110,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},288962,"jun-gu-tu-gong-kai-288962","龚开（1222年～约1302），宋末元初画家，字圣予（一作圣与），号翠岩，晚号龟城叟、岩叟，人称龚高士。淮阴龟山（今属江苏省淮安市洪泽区老子山镇）人。",[164,24,7,128,188,101,949,208,64,12490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25d4572c7967b6ea59fd60add1018fb5.jpg",[],{"id":52112,"slug":52113,"title":52114,"dynasty":144,"author":569,"museum":300,"description":27930,"tags":52115,"thumbUrl":52116,"material":692,"size":1293,"collection":84,"collections":52117,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},288919,"san-ma-tu-zhao-meng-fu-288919","三马图",[164,24,7,101,949,27,28,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3abfb6ffc7928bdc000bc0337dcf800b.jpg",[],{"id":52119,"slug":52120,"title":2381,"dynasty":54,"author":223,"museum":300,"description":52121,"tags":52122,"thumbUrl":52123,"material":692,"size":1293,"collection":84,"collections":52124,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},288230,"hua-niao-tu-yi-ming-288230","整卷铺陈四时清景，以没骨晕染花卉，工细勾勒禽鸟神形。左首老梅虬枝缀雪，群雀顾盼生姿，竹影横斜衬出幽寂；继而牡丹柔瓣含露，艳而不俗，荆棘穿插添就野趣；再见异花绮丽，红白相映，顽石苔痕自生古意；末了春桃绽蕊，幽禽独立枝梢，静中含动。\n\n题跋书法与绘事相映，笔墨晕染春日清和雅韵，将花木禽鸟的生机雅致融于长卷，尽显写生传神的悠然意趣，是雅致清妍的花鸟佳作。",[23,24,7,25,28,27,61,1400,650,263,209,62,4399,10701,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe1fed4095a95d1cd12f57590df46b43.jpg",[],{"id":52126,"slug":52127,"title":52128,"dynasty":144,"author":287,"museum":300,"description":52129,"tags":52130,"thumbUrl":52133,"material":692,"size":1293,"collection":84,"collections":52134,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},288158,"qiu-jiang-dai-du-qian-xuan-288158","秋江待渡","画面中间部分是辽阔的江面，空阔邈远，远处乃是绵延不绝的群山。近处，红树一簇，树下有几人引颈眺望，而江面上隐隐约约有一叶小舟，那就是待渡者的希望。江面空阔，小舟缓缓，似渺然难见，它和人急迫的等待之间构成强大的情绪张力。正是眼前渺渺秋江阔，隔岸扁舟发棹迟。",[23,164,24,25,7,29,27,28,17613,129,35564,211,12744,2619,6639,52131,1557,133,208,52132,12634],"斜阳","待渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7ea90e2472344b5a66a2202ee6516b3.jpg",[],{"id":52136,"slug":52137,"title":52138,"dynasty":124,"author":223,"museum":300,"description":52139,"tags":52140,"thumbUrl":52141,"material":692,"size":1293,"collection":84,"collections":52142,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},288145,"shan-shui-tu-ti-xu-dao-ning-yi-ming-288145","山水图(题许道宁)","此作用全景式平远构图铺展江湖胜境，烟波浩渺间峰峦连绵起伏，巨岩峻峭处飞瀑垂落，丘壑藏幽。浅汀洲渚错落点缀苍松杂木，渔舟泛于平湖之上，山居隐于林麓之间，处处漫着静谧萧散的野趣。\n\n画师以淡墨皴擦山峦，勾勒与渲染相融，将山石的浑厚质感与云水的空濛柔润相互映衬，树木取法苍劲笔意，简括灵动。整体色调古雅沉静，把平远、深远山水意境汇于一卷，铺展出旷远清逸的江南景致，尽显幽淡天然的文人山水意趣，引人神游林泉，体悟高致。",[23,24,7,25,164,29,99,129,1144,7983,495,387,34,132,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21189e70bdbdbedc3253fe6e38816672.jpg",[],{"id":52144,"slug":52145,"title":52146,"dynasty":54,"author":7716,"museum":300,"description":44562,"tags":52147,"thumbUrl":52148,"material":692,"size":1293,"collection":84,"collections":52149,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},288139,"ting-zhong-yu-ba-jiao-tu-li-zhou-gai-qi-288139","庭中雨芭蕉图立轴",[23,24,165,128,7,164,96,875,171,247,16819,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F497f08e6a1c9e24cec2c2bca45e5ab65.jpg",[],{"id":52151,"slug":52152,"title":18799,"dynasty":18,"author":2099,"museum":300,"description":34962,"tags":52153,"thumbUrl":52154,"material":692,"size":1293,"collection":84,"collections":52155,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},287961,"bai-miao-shou-lie-tu-juan-li-gong-lin-287961",[23,164,24,7,25,188,96,29,22807],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe53a424ef0bb781caefcd3e9aa23bb5d.jpg",[],{"id":52157,"slug":52158,"title":25844,"dynasty":18,"author":2099,"museum":300,"description":34962,"tags":52159,"thumbUrl":52161,"material":692,"size":1293,"collection":84,"collections":52162,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},287657,"wan-fang-zhi-gong-tu-quan-juan-li-gong-lin-287657",[23,164,24,7,25,128,1349,64,133,572,208,52160],"历史题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc12fa9c4c1d20df1573091eadb23d1cc.jpg",[],{"id":52164,"slug":52165,"title":52166,"dynasty":124,"author":8983,"museum":300,"description":52167,"tags":52168,"thumbUrl":52170,"material":692,"size":1293,"collection":84,"collections":52171,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},287614,"qiu-tang-cao-ting-tu-zhao-zuo-287614","秋塘草亭图","赵左(1573-1644)左一作佐，字文度。活跃于明代后期。万历、崇祯时华亭(今上海松江)人。赵左，为诸生时，诗文即出众，曾赴北京，以一首秋草诗一鸣惊人，人呼为'赵秋草'。后得顾正谊赏识，让他与宋懋晋向好友宋旭学画，此后画名渐显。山水师法董源，兼学黄公望、倪瓒。画云山以己意出之，有似米(芾)非米之妙。善用干笔焦墨而又长于烘染，后受董其昌的画风影响，形成笔墨灵秀、设色雅致的风格。他与弟子沈士充、朱轩、叶有年、陈廉、李肇亨等构成的艺术群体，被人们称为'苏松派'。论画主张要得所画物象之势，应取势布景交错而不繁乱。因一生穷困，曾为董其昌代笔。以画山水最为擅长，主要师法'明四家'之一的沈周，风格雄劲古拙，为'松江派'之祖。赵左的山水画是以宋旭为基础，上溯源流，追摹董源、倪瓒笔意，兼采米氏云山与黄子久浅绛法，善用干笔焦墨，长于烘染，水墨湿润，极富神韵。他创作的山水画，亦力求体现这些思想。景物大多较为繁复，有时画烟岚云雾流动于层峦叠嶂、坡谷幽溪涧;并以斜径、溪桥、房屋、树木,掩映穿插。笔墨方面,或用浓、湿、浅、淡的墨色染出山峦向背，同时渍出浮动的白云;或作浅绛设色，与笔墨的运用相融。",[23,164,24,7,165,26,27,29,130,34,131,6639,52169,208],"草亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F962f475396b35bf70b0dbb4b90e5673e.jpg",[],{"id":52173,"slug":52174,"title":52175,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":52176,"thumbUrl":52177,"material":692,"size":1293,"collection":84,"collections":52178,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},287416,"zi-jia-shi-chang-juan-dong-qi-chang-287416","紫茄诗(长卷)",[64,840,25,7,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10ddebdaf086239acb4b697838cd0b99.jpg",[],{"id":52180,"slug":52181,"title":52182,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":52183,"thumbUrl":52185,"material":692,"size":1293,"collection":84,"collections":52186,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},287385,"luo-shen-fu-shu-hua-he-bi-juan-shou-juan-dong-qi-chang-287385","洛神赋书画合璧卷手卷",[23,25,17347,7,64,133,14963,2735,29107,208,166,52184],"抒情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77f190c9c6dafc6a2436407bd792cb11.jpg",[],{"id":52188,"slug":52189,"title":52190,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":52191,"thumbUrl":52192,"material":692,"size":1293,"collection":84,"collections":52193,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},287348,"chi-bi-huai-gu-dong-qi-chang-287348","赤壁怀古",[23,164,7,25,840,64,52190,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1f315a2ea29cd0712254039582b032d.jpg",[],{"id":52195,"slug":52196,"title":52197,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":52198,"thumbUrl":52202,"material":692,"size":1293,"collection":84,"collections":52203,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},283744,"lin-yan-zhen-qing-pei-jiang-jun-shi-juan-dong-qi-chang-283744","临颜真卿裴将军诗卷",[23,64,25,330,133,164,7,101,3599,2523,52199,52200,52201],"天山","征战","将军","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ccec36f7144f94b8f77de5415ac21c.jpg",[],{"id":52205,"slug":52206,"title":52207,"dynasty":222,"author":223,"museum":300,"description":52208,"tags":52209,"thumbUrl":52210,"material":692,"size":1293,"collection":84,"collections":52211,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},281571,"cai-hui-fo-xiang-zhou-yi-ming-281571","彩绘佛像轴","此作造像面相丰润柔和，神情慈悲恬然。左手执长杖，杖顶莲台托举化佛，右手轻施无畏印，仪态端方舒展。周身璎珞环佩层叠，衣纹用线柔劲流转，晕染细腻，将织物的垂坠光泽与质感尽皆呈现。\n酱褐底色沉敛雅致，更衬出造像的圣洁庄严，身后圆光勾描金线，愈显神性充盈。整体气韵静谧祥和，把菩萨的悲悯仁厚融于笔墨方寸，尽显佛造像绘画的肃穆内敛之美，仿佛携带着清净安宁的佛国意韵，引人沉静。",[24,165,7,187,27,96,7220,18381,23253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca299707062f05c97f017c9b6bfca2c2.jpg",[],{"id":52213,"slug":52214,"title":52215,"dynasty":54,"author":223,"museum":300,"description":52216,"tags":52217,"thumbUrl":52219,"material":692,"size":1293,"collection":84,"collections":52220,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},270235,"zhu-gu-zong-zhu-bian-hua-zhong-kui-tu-mian-zhe-shan-yi-ming-270235","竹股棕竹边画钟馗图面折扇","此作用朱砂绘就钟馗，朱色鲜亮浓烈，自带镇邪驱祟之意。钟馗怒目虬髯，仗剑疾行，袍角翻卷如风，将捉鬼神君的刚猛威仪尽显无余。右侧轻绘一只蝙蝠，身形灵动，暗合“引福归堂”之吉意，疏密相映的构图让扇面虚实相生，满而不挤、空而不空。简约的朱砂线条洗练传神，寥寥数笔便勾勒出人物的铮铮气势，把驱邪纳福的美好祈愿融于咫尺扇间，既是清雅的文房清玩，也藏着传统民俗里的温热期许。",[1131,24,7,27,96,29105,52218,9014],"蝙蝠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7eea69f87228e1d66e83f23d91b6572.jpg",[],{"id":52222,"slug":52223,"title":52224,"dynasty":144,"author":569,"museum":300,"description":52225,"tags":52226,"thumbUrl":52227,"material":611,"size":84,"collection":318,"collections":52228,"showCount":268,"zanCount":1998,"manualWeight":48,"mainColor":49},241459,"san-zha-juan-zhao-meng-fu-241459","三札卷","赵孟頫[fǔ]（1254年10月20日 [1] －1322年7月30日 ），字子昂，汉族，号松雪道人 ，又号水晶宫道人（一说水精宫道人 ）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪 。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远。",[164,24,7,25,128,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3242edbe22a43498a5e6b3ae99217475.jpg",[318],{"id":52230,"slug":52231,"title":52232,"dynasty":54,"author":37194,"museum":300,"description":52233,"tags":52234,"thumbUrl":52235,"material":692,"size":1293,"collection":318,"collections":52236,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},240290,"shu-zha-ce-lin-ze-xu-240290","书札册","林则徐（1785年8月30日－1850年11月22日），字元抚，又字少穆、石麟，晚号俟村老人、俟村退叟、七十二峰退叟、瓶泉居士、栎社散人等，福建侯官县人，中国清代后期政治家、文学家、思想家，民族英雄。\n林则徐是嘉庆十六年（1811年）进士，历官翰林编修、江苏按察使、东河总督、江苏巡抚、湖广总督等职。道光十九年（1839年），以钦差大臣赴广东禁烟时，派人明察暗访，强迫外国鸦片商人交出鸦片，并将没收鸦片于虎门销毁。该事件被认为是第一次鸦片战争的导火线。战争爆发不久，林则徐被构陷革职，发往新疆戍边。道光二十五年（1845年）重获起用，历任陕甘总督、陕西巡抚、云贵总督等职，加太子太保。道光三十年（1850年），林则徐在奉命镇压拜上帝会起事途中，病逝于潮州普宁。获赠太子太傅，谥号“文忠”。有《林文忠公政书》等作品传世。\n林则徐一生遍历地方，治绩卓著。虽在两广抗击西方入侵，但对于西方的文化、科技和贸易则持开放态度，主张学其优而用之。由他主持编译的《四洲志》及魏源编撰的《海国图志》，对晚清的洋务运动乃至日本的明治维新都具有启发作用。",[7,64,59,133,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9261725c6f352b4da59444ba8901ae6d.jpg",[318],{"id":52238,"slug":52239,"title":52240,"dynasty":124,"author":52241,"museum":300,"description":52242,"tags":52243,"thumbUrl":52244,"material":84,"size":84,"collection":318,"collections":52245,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},239979,"qi-lv-juan-zhang-bi-239979","七律卷","张弼","张弼（1425～1487）字汝弼，家近东海，故号东海，晚称东海翁。松江府华亭县（今上海奉贤青村）人 [1] 。明宪宗成化二年进士，久任兵部郎，议论无所顾忌，出为南安（今江西大余）知府，律己爱物，大得民和。长于诗文，草书甚佳，被评为“颠张复出”。尝自言吾书不如诗，诗不如文，著有《东海集》。",[23,64,7,840,25,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d1fbb26be088463c567973dc4d31e5.jpg",[318],{"id":52247,"slug":52248,"title":52249,"dynasty":54,"author":223,"museum":300,"description":52250,"tags":52251,"thumbUrl":52252,"material":692,"size":1293,"collection":84,"collections":52253,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},239869,"wu-kuan-fu-zi-zhou-yi-ming-239869","无款福字轴","这幅福字取菱形张贴的传统形制，朱砂红底衬以银线游龙纹，云气裹挟龙身辗转腾挪，纹饰精细灵动，暗合祥瑞之意。\n\n福字以浓墨书就，楷法端稳浑厚，结构宽博舒展，示部敦实饱满，礻部劲挺厚重，笔墨沉凝有力，尽显庄重雍容的庙堂气象。暖黄装裱底色沉稳柔和，与朱红福笺形成鲜明层次，烘托出吉庆安稳的年节氛围。整体布局虚实相宜，纹饰烘托文气，笔墨彰显力道，寄寓了纳福迎祥的美好祈愿。",[164,24,7,64,165,572,27,772,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F005097a314ef5834f59f741d33b515b8.jpg",[],{"id":52255,"slug":52256,"title":52257,"dynasty":144,"author":36038,"museum":20,"description":45308,"tags":52258,"thumbUrl":52259,"material":84,"size":84,"collection":318,"collections":52260,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},239574,"meng-mei-hua-chu-shi-bing-xu-juan-yang-wei-zhen-239574","梦梅花处诗并序卷",[23,164,24,7,25,133,840,64,208,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dba1c2281f0ebb989c9b515e65ee06d.jpg",[318],{"id":52262,"slug":52263,"title":52264,"dynasty":144,"author":569,"museum":20,"description":52265,"tags":52266,"thumbUrl":52267,"material":52268,"size":52269,"collection":318,"collections":52270,"showCount":268,"zanCount":1998,"manualWeight":48,"mainColor":49},239561,"shu-jue-jiao-shu-juan-zhao-meng-fu-239561","书绝交书卷","此帖为赵孟頫六十六岁时抄录的魏晋时期名士嵇康名篇。行笔秾纤多古意，楷、行、草、章草间杂，浑然一体，而转折略带方硬，颇显苍老古拙韵味，是赵氏晚年佳作。其与赵书常见的气度雍容有异，颇显纵放跌宕，或是《绝交书》内容本身的愤激不平感染了书者的情绪所致。",[23,64,7,25,133,128,9910,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a757e16d27ab70bbe8d419733997948.jpg","行草书，绢本","纵21.8厘米，横254.7厘米",[318],{"id":52272,"slug":52273,"title":27602,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":52274,"thumbUrl":52275,"material":84,"size":84,"collection":84,"collections":52276,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},238834,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238834",[24,7,59,128,28,167,130,1314,29,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49a28434c91ceeec5004c2ce64fc3df1.jpg",[],{"id":52278,"slug":52279,"title":409,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":52281,"thumbUrl":52282,"material":692,"size":1293,"collection":136,"collections":52283,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},238669,"shan-shui-ce-dong-bang-da-238669","董邦达（1696－1769），清代官员、书画家。字孚存、争存，号东山、非闻，浙江富阳人。雍正十一年进士，乾隆二年授编修，官终礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虞山派之间。与董源、董其昌并称“三董”。",[24,7,59,128,27,132,29,131,34,35,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc15d3c92b2ab8760893ac4ead1ee3663.jpg",[136],{"id":52285,"slug":52286,"title":14998,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":52287,"thumbUrl":52288,"material":84,"size":84,"collection":84,"collections":52289,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},238368,"dong-gao-yan-chun-hui-cai-tu-ce-dong-gao-238368",[24,7,59,27,28,61,547,230,376,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bc3e82873bcb91b1732d6a8cb1e97dd.jpg",[],{"id":52291,"slug":52292,"title":76,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":52293,"thumbUrl":52294,"material":84,"size":84,"collection":84,"collections":52295,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":199},238364,"hua-hui-ce-dong-gao-238364",[24,7,164,59,27,28,61,62,747,806],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F364668c3b7c19b3bc5c5ef912c4b096c.jpg",[],{"id":52297,"slug":52298,"title":52299,"dynasty":124,"author":223,"museum":300,"description":52300,"tags":52301,"thumbUrl":52302,"material":692,"size":1293,"collection":84,"collections":52303,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},238061,"zhang-hong-jiao-yin-wei-cha-shan-yi-ming-238061","张宏蕉荫味茶扇","此作以淡设色铺陈茶事雅集，右侧芭蕉阔叶扶苏，浓荫下摆开茶席，文士围坐清谈品茗，侍童捧器静立，将文人日常闲雅之态铺展眼前。细劲墨线勾勒人物衣纹，神态宛然灵动，芭蕉与坡石晕染秀润柔和，泥金扇底晕开古雅光泽。画面疏密相宜，左侧留白衬出清寂悠远的意境，将文人耽于茶趣、寄兴林泉的雅逸心境尽数藏于尺幅之间，笔墨隽秀平和，尽显小品画里茶事雅集的悠然意趣。",[1131,24,7,128,188,27,96,875,131,34,2144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f866725105e3160e49352cadb13d358.jpg",[],{"id":52305,"slug":52306,"title":52307,"dynasty":124,"author":33809,"museum":300,"description":52308,"tags":52309,"thumbUrl":52310,"material":84,"size":84,"collection":136,"collections":52311,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},237695,"yun-shan-fang-guang-zhou-xiang-yuan-bian-237695","云山放光轴","项墨林（1525—1590），原名项元汴，字子京，号墨林，别号墨林山人、墨林居士、香严居士、退密庵主人、退密斋主人、惠泉山樵、墨林嫩叟、鸳鸯湖长、漆园傲吏等，浙江嘉兴人。明国子生，为项忠后裔，为明代著名收藏家、鉴赏家。\n少即英敏，博雅好古，绝意仕进。当时风雅之士来嘉兴必访项元汴，名画家文彭、文嘉等与项元汴交往尤密。明万历年间神宗朱翊钧闻其名，特赐玺书征他出来做官，不赴。\n项元汴所藏书法、名画以及鼎彝玉石，甲于海内。项元汴精于鉴赏，辨别真赝，析及毫发，当时无人可比。与项同时代的人记载：“项氏所藏如顾恺之《女史箴图》等，不知其数，观者累月不能尽也。其他墨迹及古彝器尤多。 其家累世富厚，不惜重赀以购，故江南故家宝藏皆入其手。”他遴选能工巧匠制作的各种器具，凡几榻架柜奁盒等，镌以铭识，都极精巧，如同秦汉之物。清顺治二年（1645）闰六月，清兵攻破嘉兴府城，其藏品被千夫长汪六水所劫掠，散失殆尽，存世的藏品多归于皇宫，现仍藏于故宫博物院和其他博物馆。\n项元汴曾获一古琴，上刻“天籁”两字，故将其储藏之所取名“天籁阁”，并镌有天籁阁、项墨林等印，凡藏品都钤有印记，往往满纸满幅。项氏以天籁阁名传后世，阁早已毁，今城内建设街道天籁里即以天籁阁命名。\n项元汴工绘画兼擅书法。山水学元代黄公望、倪瓒，笔致疏秀，神合处辄臻胜境，书法出入唐智永、元赵孟頫。刊有《天籁阁帖》，著有《墨林山人诗集》等。",[24,7,165,128,132,663,950,1314,211,276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8320ab5ca362924ab59d1050aabcc8c.jpg",[136],{"id":52313,"slug":52314,"title":4229,"dynasty":124,"author":9459,"museum":300,"description":9460,"tags":52315,"thumbUrl":52316,"material":84,"size":84,"collection":84,"collections":52317,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},237671,"hua-niao-ce-ling-bi-zheng-237671",[24,7,164,59,28,27,61,547,549,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd95ddf6d954ccf840b0681030d43750d.jpg",[],{"id":52319,"slug":52320,"title":4229,"dynasty":124,"author":9459,"museum":300,"description":9460,"tags":52321,"thumbUrl":52322,"material":84,"size":84,"collection":84,"collections":52323,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},237669,"hua-niao-ce-ling-bi-zheng-237669",[24,164,7,59,28,27,61,1400,19480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2052ee0eea7df0cf97c9bb8d3fd15089.jpg",[],{"id":52325,"slug":52326,"title":14818,"dynasty":54,"author":3718,"museum":300,"description":10500,"tags":52327,"thumbUrl":52328,"material":692,"size":1293,"collection":84,"collections":52329,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},237617,"hong-ren-shan-shui-ce-hong-ren-237617",[24,7,59,128,132,64,133,208,29,331,35,496,5323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2039876f758a16a9c834ff7da2a5182d.jpg",[],{"id":52331,"slug":52332,"title":14818,"dynasty":54,"author":3718,"museum":300,"description":10500,"tags":52333,"thumbUrl":52334,"material":692,"size":1293,"collection":84,"collections":52335,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},237616,"hong-ren-shan-shui-ce-hong-ren-237616",[24,7,59,128,132,133,208,29,171,34,1022,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c67fe135fe740c9acc2ed77ec079c59.jpg",[],{"id":52337,"slug":52338,"title":52339,"dynasty":124,"author":52340,"museum":300,"description":52341,"tags":52342,"thumbUrl":52343,"material":692,"size":1293,"collection":84,"collections":52344,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},237530,"zhong-kui-zhou-zhang-feng-237530","钟馗轴","张凤","张凤（1396-1461年），字子仪，安平人。父益，宣德年间考中进士，步入仕途，正统年间被破格提拔成为侍郎，监管粮食，曾建议应该稍微加重点赋税，这样国家才有的用。\n官至兵部尚书，天顺五年（1461年）去世。",[24,7,165,188,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdd3a6c65f9781a9f81446786ee1143c.jpg",[],{"id":52346,"slug":52347,"title":40524,"dynasty":124,"author":802,"museum":244,"description":11909,"tags":52348,"thumbUrl":52349,"material":611,"size":52350,"collection":136,"collections":52351,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},237387,"ku-mu-zhu-shi-zhou-chen-hong-shou-237387",[24,7,165,128,188,132,454,167,1314,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e90407ec747da8abbe02b723eb29e68.jpg","107.9x51.1",[136],{"id":52353,"slug":52354,"title":76,"dynasty":54,"author":17956,"museum":300,"description":17957,"tags":52355,"thumbUrl":52356,"material":611,"size":84,"collection":84,"collections":52357,"showCount":268,"zanCount":1998,"manualWeight":48,"mainColor":72},237289,"hua-hui-ce-wu-kai-237289",[164,24,7,59,27,28,208,61,62,2037,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffabdc563a40b34d66740249db6c17b11.jpg",[],{"id":52359,"slug":52360,"title":16282,"dynasty":54,"author":9529,"museum":244,"description":16283,"tags":52361,"thumbUrl":52362,"material":611,"size":84,"collection":84,"collections":52363,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},237204,"shan-shui-zhu-shi-ce-wang-hui-237204",[24,7,59,128,132,29,131,34,129,99,167,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f86f65ebff438d9c1b444271fc5d317.jpg",[],{"id":52365,"slug":52366,"title":409,"dynasty":54,"author":36816,"museum":20,"description":41606,"tags":52367,"thumbUrl":52368,"material":734,"size":84,"collection":84,"collections":52369,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},237193,"shan-shui-ce-sun-yi-237193",[24,7,59,26,27,132,29,129,96,1144,131,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61beef2d3bca364fe13fe9aad3fb728c.jpg",[],{"id":52371,"slug":52372,"title":15371,"dynasty":54,"author":15372,"museum":20,"description":15373,"tags":52373,"thumbUrl":52374,"material":734,"size":84,"collection":84,"collections":52375,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},237183,"hua-niao-kun-chong-ce-zhou-quan-237183",[24,7,59,27,28,61,376,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cfcc85635fe77436808fdc85a313b5c.jpg",[],{"id":52377,"slug":52378,"title":15371,"dynasty":54,"author":15372,"museum":20,"description":15373,"tags":52379,"thumbUrl":52380,"material":734,"size":84,"collection":84,"collections":52381,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},237174,"hua-niao-kun-chong-ce-zhou-quan-237174",[24,7,59,27,28,61,355,2334,549,2037,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa66103ba3f1ced699d4d2200524e47c7.jpg",[],{"id":52383,"slug":52384,"title":19857,"dynasty":124,"author":16032,"museum":300,"description":52385,"tags":52386,"thumbUrl":52387,"material":84,"size":84,"collection":136,"collections":52388,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},237146,"shan-shui-zhou-xiang-sheng-mo-237146","项圣谟，生于明代万历二十五年（1597年），卒于清代顺治十五年（1658年），初字逸，后字孔彰，号易庵，别号甚多，已知者有子璋、子毗、胥山樵、胥樵、古胥山樵人、兔鸣叟、莲塘居士、松涛散仙、大酉山人、存存居士、烟波钓徒、狂吟客、鸳湖钓叟、逸叟、不夜楼中士、醉疯人、烟雨楼边钓鼇客等，浙江嘉兴人。祖父项元汴，为明末著名书画收藏家和画家。伯父项德新也善画。项圣谟自幼受家庭熏陶，精研古代书画名作，虽然曾由秀才举荐为国子监太学生，但不求仕进，而把兴趣投入到书画中，从而在绘画创作上，他很早就显现出了多方面的才能，山水、人物、花鸟无一不精，曾得到明末两位最为著名的鉴赏家，董其昌和李日华的高度评价。董其昌在他的画册上题跋，称“古人论画，以取物无疑为一合，非十三科全备，未能至此。范宽山水神品，犹借名手为人物，故知兼长之难。项孔彰此册，乃众美毕臻，树石屋宇，皆与宋人血战，就中山水，又兼元人气韵，虽其天骨自合，要亦工力至深，所谓士气、作家俱备。项子京有此文孙，不负好古鉴赏百年食报之胜事矣”，李日华称赞他的画风“英思神悟，超然独得”，是“崛起之豪”。",[164,24,7,165,128,29,132,413,130,1314,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6d5cf14ad2087901e0d4f16e53aa4cf.jpg",[136],{"id":52390,"slug":52391,"title":52392,"dynasty":54,"author":34467,"museum":20,"description":52393,"tags":52394,"thumbUrl":52395,"material":611,"size":84,"collection":136,"collections":52396,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},236986,"hua-wang-zi-you-xue-ye-fang-dai-zhou-fei-dan-xu-236986","画王子猷雪夜访戴轴","费丹旭（1802年1月29日—1850年12月4日），清代画家。字子苕，号晓楼，别号环溪生、环渚生、三碑乡人、长房后裔，晚号偶翁，乌程（今浙江省湖州市吴兴区）人。\n费丹旭以画仕女闻名，与改琦并称“改费”。他笔下的仕女形象秀美，用线松秀，设色轻淡，别有一种风貌。代表作为藏于故宫博物院的《十二金钗图》册，亦长于肖像画，画《红楼梦》十二金钗肖像。后期所作《果园感旧图》卷，藏于浙江省博物馆，技巧更趋成熟。也能山水，取法王翚和恽寿平。他的画风对近代仕女画和民间年画都产生了很大的影响。",[24,7,165,27,28,96,129,167,29,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F951170865af0aa8752ff873c504a89af.jpg",[136,45],{"id":52398,"slug":52399,"title":52400,"dynasty":54,"author":34467,"museum":20,"description":52393,"tags":52401,"thumbUrl":52402,"material":84,"size":84,"collection":44,"collections":52403,"showCount":268,"zanCount":1998,"manualWeight":48,"mainColor":72},236654,"wen-ji-gui-han-wan-shan-fei-dan-xu-236654","文姬归汉纨扇",[24,164,7,1131,27,96,949,1337,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F947b3912a7c51011632d767e96514f60.jpg",[44],{"id":52405,"slug":52406,"title":409,"dynasty":124,"author":52407,"museum":300,"description":52408,"tags":52409,"thumbUrl":52410,"material":84,"size":20,"collection":136,"collections":52411,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},236600,"shan-shui-ce-ye-xiang-rong-236600","叶向荣","此作取景于幅面右侧，以奇崛山石为主体，细劲勾勒山石轮廓，淡墨皴擦晕染，尽显岩壁嶙峋质感。古松虬曲苍劲，枝干舒张如铁，松针层叠错落，饱经风霜之态跃然纸面。\n\n山谷间隐现村居茅舍，远景以淡墨轻施，留白晕染出朦胧空茫，将山野的幽寂悠远铺陈开来。笔墨简淡清逸，摒却繁复堆砌，以简驭繁，尽显清雅意趣，于方寸册页间，将林泉隐逸的恬淡山居诗意徐徐铺展，藏着寄情山水的幽远心境。",[24,7,59,128,132,29,1144,131,98,99,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe8abcdf9bd8980b8e21497c06feca20.jpg",[136,117],{"id":52413,"slug":52414,"title":52415,"dynasty":124,"author":52416,"museum":300,"description":52417,"tags":52418,"thumbUrl":52419,"material":84,"size":84,"collection":318,"collections":52420,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},236554,"bu-dai-he-shang-xiang-zhou-zhu-yi-pai-236554","布袋和尚像轴","朱以派","朱以派（？－1642年），字衍宗，号干山，山东省兖州府滋阳县（今山东省济宁市）人，明朝第十代鲁王，肃王朱寿镛庶三子。崇祯十三年（1640年）袭封鲁王。他在位两年。崇祯十五年（1642年）清兵入塞攻破兖州府，朱以派自缢而亡，长子及弟朱以洐、朱以江一并殉难。两年后其弟朱以海嗣位。",[24,7,165,187,96,188,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F524ae22a55339dfd8fc3b99d1a2113b9.jpg",[318],{"id":52422,"slug":52423,"title":52424,"dynasty":54,"author":52425,"museum":300,"description":52426,"tags":52427,"thumbUrl":52429,"material":692,"size":1293,"collection":84,"collections":52430,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},236424,"zi-wei-hua-shan-ye-jiang-bu-ying-236424","紫薇花扇页","蒋步瀛","蒋步瀛. 字三岛. 蒋步瀛（生卒年不详）， 元和（今江苏苏州）诸生。 深通画理， 山水秀韵， 点染花卉，颇得生趣。俱有恽寿平遗意。五十后更细秀妍妙，人多悦之。",[24,7,1131,27,61,52428],"紫薇花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74e51fc533e94ee405a8feaad566f3a1.jpg",[],{"id":52432,"slug":52433,"title":19857,"dynasty":54,"author":9529,"museum":300,"description":39800,"tags":52434,"thumbUrl":52435,"material":84,"size":84,"collection":117,"collections":52436,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},236421,"shan-shui-zhou-wang-hui-236421",[24,7,165,128,132,64,29,34,131,1023,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41bf315cbaa420c5f5e1b33c83013106.jpg",[117,318],{"id":52438,"slug":52439,"title":52440,"dynasty":124,"author":52441,"museum":20,"description":52442,"tags":52443,"thumbUrl":52444,"material":1464,"size":52445,"collection":117,"collections":52446,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},236415,"shu-yi-lan-shi-zhou-shu-yi-236415","叔伊兰石轴","叔伊","周天球题跋：“待雪香非浅，临风意自多。周天球题。”作者钤印：“句吴人”朱文圆印、“参军大夫”朱文方印。 鉴藏印：“周氏公瑕”白文方印、“竹垞审定”白文方印、“□望楼”朱文方印、“虞琴秘笈”朱文方印、“孔彰珍玩”白文方印。款识：自题：“叔伊笔。”",[24,7,165,128,369,4074,229,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa171098b9edcd832689ba6c621bb8ba5.jpg","纵91cm，横42.3cm",[117],{"id":52448,"slug":52449,"title":19857,"dynasty":54,"author":52450,"museum":20,"description":52451,"tags":52452,"thumbUrl":52453,"material":1464,"size":52454,"collection":136,"collections":52455,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},236309,"shan-shui-zhou-weng-song-nian-236309","翁嵩年","翁嵩年（1648—1730年），字康饴，号萝轩,钱塘（今浙江杭州）人。清康熙年间进士，官户部主事，善画山水，气质古雅疏拙。著有《天香书屋稿》、《白云山房集》、《友石居集》。",[164,24,7,165,128,132,29,131,99,1337,34,497,1745],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b0b59a3b52a3e78c6027049e7430e8c.jpg","纵102.7cm，横47.5cm",[136,117,318],{"id":52457,"slug":52458,"title":14496,"dynasty":124,"author":223,"museum":300,"description":52459,"tags":52460,"thumbUrl":52461,"material":151,"size":84,"collection":84,"collections":52462,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},236284,"wang-zi-yuan-hua-niao-ce-yi-ming-236284","此作以没骨法绘就庭隅小景，蓝晕裹边的月季柔婉绽放，青枝错落舒展，嫩叶敷色清润鲜活。一只栖鸟敛羽静立于枝头，侧目垂颈，慵懒温驯的姿态跃然绢上，绒羽质感细腻柔和，生机暗藏。右上角浅绘坡石淡影，留白透气，衬出画面空寂松弛。整体设色雅致清淡，笔触简逸却意韵绵长，将初夏庭院的闲静意趣尽数铺展，观之便觉清宁闲适之感漫溢开来，尽显幽寂淡然的文人雅意。",[24,7,59,27,28,61,355,547,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e57c2d768af180842ce28fb730de1d0.jpg",[],{"id":52464,"slug":52465,"title":52466,"dynasty":54,"author":223,"museum":20,"description":52467,"tags":52468,"thumbUrl":52469,"material":40,"size":84,"collection":44,"collections":52470,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},236181,"hui-fei-chang-fu-xiang-zhou-yi-ming-236181","慧妃常服像轴","此作工笔设色，写实传神。画中女子端坐在明黄绣纹宝座，面容温婉娴静，眉目秀雅，神色端庄自持。石青色常服褂平整挺括，金珠纽扣点缀其间，素雅暗含华贵，绛色护指包裹双手，尽显旗人贵妇仪范。\n\n两侧几案陈设法琅供瓶、描金供器，案面缠枝纹样勾绘考究。脚下地毯翎毛瑞兽纹样繁丽饱满，配色浓艳和谐，烘托出庄重规整的宫廷氛围。画作笔法细腻写实，设色沉稳雅致，将女子温婉端凝的气度尽显于绢素之上。",[24,7,165,28,27,96,166,169,1367,8315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b5440d55dfc9723052992be1c527c5a.jpg",[44,45],{"id":52472,"slug":52473,"title":51154,"dynasty":54,"author":223,"museum":20,"description":52474,"tags":52475,"thumbUrl":52476,"material":514,"size":52477,"collection":44,"collections":52478,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},236175,"hong-li-chao-fu-xiang-zhou-yi-ming-236175","爱新觉罗·弘历（1711年9月25日—1799年2月7日），清朝第六位皇帝，定都北京之后的第四位皇帝。年号“乾隆”，寓意“天道昌隆”。在位六十年，禅位后又继续训政，实际行使最高权力长达六十三年零四个月，是中国历史上实际执掌国家最高权力时间最长的皇帝，也是最长寿的皇帝。\n乾隆帝是中国封建社会一位赫赫有名的皇帝。乾隆帝在位期间清朝达到了康乾盛世以来的最高峰，他在康熙、雍正两朝文治武功的基础上，进一步完成了多民族国家的统一，社会经济文化有了进一步发展。乾隆重视社会的稳定，关心百姓，五次普免天下钱粮，三免八省漕粮，减轻了农民的负担，起到了保护农业生产的作用，使得清朝国库日渐充实。乾隆时期武功繁盛，在平定边疆地区叛乱方面做出了巨大成绩，并且完善了对西藏的统治，再次将新疆纳入中国版图，清朝的版图由此达到最大化，近代中国的版图也由此正式奠定。乾隆帝在位期间，实行“因俗而治”的民族政策。汉学得到了很大的发展，开博学鸿词科，修《四库全书》； [1] 同时民间艺术有很大发展，如京剧就开始形成于乾隆年间。但是后期吏治有所败坏，多地爆发起义。 [2] 严格抵制英国、俄国的侵略性行为，但闭关锁国政策拉大了和西方的差距，中国正处于近代的前夜。\n乾隆六十年（1795年），乾隆帝禅位于第十五子颙琰。嘉庆四年正月初三（1799年2月7日）去世于养心殿，享年89岁。 [3] 庙号高宗，谥号法天隆运至诚先觉体元立极敷文奋武钦明孝慈神圣纯皇帝，葬于清东陵之裕陵。",[24,7,165,27,28,96,772,170,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d4f2b6e8a832241ce4b40e49f9a5ea3.jpg","257.3×151.0 厘米",[44,45],{"id":52480,"slug":52481,"title":52482,"dynasty":54,"author":41621,"museum":300,"description":41622,"tags":52483,"thumbUrl":52484,"material":84,"size":43500,"collection":136,"collections":52485,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},236128,"qiu-yan-jin-zhang-tu-zhou-lu-zun-shu-236128","秋岩锦嶂图轴",[164,24,7,165,27,132,29,131,34,1955,99,98,35,129,11998,1645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29a9573c7805174b3ec58547f426b5d.jpg",[136,117],{"id":52487,"slug":52488,"title":18219,"dynasty":54,"author":223,"museum":300,"description":52489,"tags":52490,"thumbUrl":52491,"material":84,"size":84,"collection":136,"collections":52492,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},236056,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236056","此作以水墨晕染铺就冬日丘林雪色，山峦皆素雪覆身，轮廓圆柔温润，尽数褪去嶙峋锐气，好似天地初敛锋芒的清寂时刻。枯木错落挺劲，枝桠疏朗，屋舍山居藏于林麓溪谷间，板桥跨溪，山道盘桓，将幽居烟火融于清寂雪景。\n\n浅皴轻擦勾勒山石肌理，以留白尽显雪意空濛，无繁复设色，只以水墨层次烘托萧寒清旷。冷寂的山野间藏着隐世悠然的栖居意趣，简淡笔墨里晕开悠长的文人山水情致，将冬日山林的幽宁静穆娓娓铺陈。",[24,7,59,27,132,330,29,663,413,98,99,35,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad0c42948774d9c91db514caf3db0343.jpg",[136],{"id":52494,"slug":52495,"title":4071,"dynasty":54,"author":5879,"museum":300,"description":52496,"tags":52497,"thumbUrl":52498,"material":84,"size":84,"collection":84,"collections":52499,"showCount":268,"zanCount":1998,"manualWeight":48,"mainColor":72},236010,"hua-hui-tu-ce-hua-yan-236010","此帧以折枝入画，两般花木相依生息。黄花柔妍，枝带棘刺添野趣，朱红小朵簇生，鲜亮动人。作者以没骨晕染枝叶，敷色清透雅致，墨笔轻勾叶脉，将草木舒展之态尽数拿捏。右侧题款错落排布，笔意潇洒，与画面淡逸的笔墨呼应成趣，暗合题句里江南闲意。整幅小品简淡灵秀，把花木生趣与文人情思相融，于尺幅之间尽显隽雅风神，寥寥笔墨便勾勒出清逸悠然的文人意韵。",[24,7,59,27,61,62,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F538dd64850bd72bc30c11cc378739c0b.jpg",[],{"id":52501,"slug":52502,"title":52503,"dynasty":124,"author":125,"museum":300,"description":52504,"tags":52505,"thumbUrl":52506,"material":84,"size":84,"collection":84,"collections":52507,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},236000,"jia-can-tu-zhou-shen-zhou-236000","加餐图轴","此作为诗书画合璧佳构，行书笔力苍润沉厚，结体舒展温雅，题诗寄寓江南蚕乡烟火温情，带着吴中日常的鲜活意趣。\n\n下方折枝花卉以水墨淡彩绘就，叶片晕染细腻，叶脉勾勒精微，笔墨清润秀雅，淡色点染间尽显生机。诗画相映，将劝加餐的寻常温情，化作清雅文人意趣，尽显吴门画派平淡天真的美学特质，融乡土日常与文人情思于一体，雅俗共赏，文气悠然。",[24,7,165,128,133,64,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cdc264d6c89af361d94c989052c6829.jpg",[],{"id":52509,"slug":52510,"title":7864,"dynasty":54,"author":52511,"museum":300,"description":52512,"tags":52513,"thumbUrl":52514,"material":84,"size":84,"collection":136,"collections":52515,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},235866,"za-hua-ce-zhang-sheng-235866","章声","此作为左书右画的合璧佳构。画中危崖壁立，飞瀑直泻千尺，谷中云雾翻涌，将山林晕染如幻梦仙境。崖边古松虬枝斜曳，苍劲灵动，松荫石台上逸士凭栏观瀑，点出林泉高致的雅趣，笔致秀逸清润，以淡墨晕开云烟，铺展出山水空濛幽深之态。左侧行书题诗笔力清劲潇洒，诗画呼应，将观瀑遐思与山林幽寂融为一体，尽显文人画诗画相生的悠远意境，整体简淡空灵，藏着传统文人寄情山水的雅怀。",[24,7,59,27,128,133,132,29,1144,131,495,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2324cce7eaa003ae31ade295c1345c57.jpg",[136],{"id":52517,"slug":52518,"title":4229,"dynasty":124,"author":22448,"museum":300,"description":39003,"tags":52519,"thumbUrl":52520,"material":692,"size":1293,"collection":84,"collections":52521,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},235721,"hua-niao-ce-tan-zhi-yi-235721",[24,7,59,28,128,208,61,547,481,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f04da4fed1cbef99f2f3a78cdf356fb.jpg",[],{"id":52523,"slug":52524,"title":36612,"dynasty":124,"author":52525,"museum":300,"description":52526,"tags":52527,"thumbUrl":52528,"material":84,"size":84,"collection":84,"collections":52529,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},235679,"shan-shui-juan-chen-xun-235679","陈询","淡墨晕开清寂底色，绘就郊野幽居之景。茅庐错落隐于林木间，屋中对坐似有清谈，篱扉板桥、寒林浅水环合铺展闲逸天地。用笔松秀简淡，枯笔勾勒林木枝桠，湿墨晕染坡岸水汽，淡赭轻敷晕出冬春之交的萧疏温软。取景平远，以留白衬出水意空濛，将林下幽居、诗友酬唱的雅寂日常融于山水，淡远清和，尽显文人画以景抒怀的意趣，晕开不沾尘俗的隐逸襟怀。",[23,164,24,7,25,128,132,29,130,98,99,34,711,96,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0931146f0a33287e31b9de1c97b00a55.jpg",[],{"id":52531,"slug":52532,"title":52533,"dynasty":54,"author":38236,"museum":300,"description":52534,"tags":52535,"thumbUrl":52536,"material":84,"size":84,"collection":84,"collections":52537,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},235677,"qing-shan-hong-shu-tu-zhou-chen-zi-235677","青山红树图轴","此作用笔苍劲工致，以重墨勾勒山石肌理，皴染结合尽显岩岳雄浑厚重，流云如练缠绕峰腰，将崇山衬得愈发灵秀高古。山间丹枫红树层层叠叠，艳色破开深褐山石的沉郁，撞出深秋浓烈鲜活的意趣。\n右侧江天豁然开朗，波光澹澹间渔翁撑舟徐行，远山含黛，汀洲茅亭隐逸一隅，添就萧散悠然的野趣。整体布局左实右虚，将秋山的浓艳高旷与江湖的清远闲和相融，兼具北派山水的雄强与南宗山水的温婉意境，笔底尽是秋日林泉的静美诗意。",[24,7,165,27,29,132,6844,2524,129,99,130,131,34,37,11014,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d14541ecf43948d98b6bf7cc947723c.jpg",[],{"id":52539,"slug":52540,"title":14818,"dynasty":54,"author":3718,"museum":300,"description":10500,"tags":52541,"thumbUrl":52542,"material":692,"size":1293,"collection":84,"collections":52543,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},235613,"hong-ren-shan-shui-ce-hong-ren-235613",[164,24,7,59,128,29,131,495,34,387,64,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1867ce4dc9b31ce435491971d24640c7.jpg",[],{"id":52545,"slug":52546,"title":76,"dynasty":54,"author":2582,"museum":300,"description":2583,"tags":52547,"thumbUrl":52548,"material":692,"size":1293,"collection":84,"collections":52549,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},235598,"hua-hui-ce-wang-wu-235598",[24,7,59,27,28,61,263,624,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba47645d19965e80b4f703b98502127.jpg",[],{"id":52551,"slug":52552,"title":20324,"dynasty":124,"author":223,"museum":300,"description":52553,"tags":52554,"thumbUrl":52555,"material":692,"size":1293,"collection":84,"collections":52556,"showCount":268,"zanCount":1998,"manualWeight":48,"mainColor":72},235592,"wen-chu-hua-hui-ce-yi-ming-235592","此作以没骨法绘秋枝红叶，取边角式构图，空灵疏朗。洒金笺底自带温润古意，艳红叶片层次细腻，叶缘晕染柔黄，既尽显秋林红叶的明艳鲜活，又克制匀净毫无艳俗之感。枯墨写枝，苍劲简淡，与妍丽叶片相映成趣。大片留白引动遐思，暗合文人画的萧散意趣，两枚朱文小印轻点一隅，为画面添就沉静文气，将秋日清寂的雅致诗意晕染开来。",[24,7,59,27,28,61,624,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F847384c69198f0211b769bf5e7288af0.jpg",[],{"id":52558,"slug":52559,"title":7864,"dynasty":54,"author":872,"museum":300,"description":6719,"tags":52560,"thumbUrl":52561,"material":692,"size":1293,"collection":84,"collections":52562,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},235501,"za-hua-ce-zhu-da-235501",[24,7,59,128,29,1337,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08ce19639d6f304ac73bd744555c4c98.jpg",[],{"id":52564,"slug":52565,"title":76,"dynasty":124,"author":36595,"museum":300,"description":52566,"tags":52567,"thumbUrl":52568,"material":692,"size":1293,"collection":84,"collections":52569,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},235470,"hua-hui-ce-qi-xun-235470","戚勋 (明)字世臣，号曲泉。山阴(今属绍兴)人。\n善画山水、花卉，得疏野之趣。",[24,7,59,27,61,133,208,373,62,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8945201ff343213f536ecf7426aece95.jpg",[],{"id":52571,"slug":52572,"title":52573,"dynasty":124,"author":52574,"museum":300,"description":52575,"tags":52576,"thumbUrl":52577,"material":692,"size":1293,"collection":84,"collections":52578,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},235368,"xue-mei-yuan-yang-tu-zhou-wang-li-235368","雪梅鴛鴦图軸","王醴","图绘雪景寒江，两只鸳鸯站岸边梳理羽毛。一株老梅，枝条繁茂，花开带雪，分外妖娆。雪竹挺立，小雀瑟栖于上。鸳鸯造型优美，色墨交融；梅树用笔老辣，用墨焦重，梅花清新淡雅，整个背景以淡墨渲染，留白以表雪意。",[24,7,165,27,61,28,1556,371,1857,355,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ea2b246537e2b6d8f057e80a51eba4.jpg",[],{"id":52580,"slug":52581,"title":409,"dynasty":54,"author":872,"museum":300,"description":52582,"tags":52583,"thumbUrl":52584,"material":84,"size":84,"collection":84,"collections":52585,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},235170,"shan-shui-ce-zhu-da-235170","此作以大片留白铺就虚灵空茫之境，寥寥笔墨勾勒丘林古松。古松虬曲苍劲，枝桠如铁，简淡的皴擦晕染出坡岸草木氤氲之态。左下角扁舟横卧水面，不见舟子，愈发衬出水天寥寂。\n\n笔墨洗尽铅华，以干湿浓淡生发层次，线条老辣凝练，删繁就简，将山川灵韵收束于极简意象之中，清冷孤高的意趣漫溢纸面，把澹泊疏旷的襟怀寄寓在萧疏山水间，尽显天地荒寒、物我两忘的禅寂之境。",[164,24,7,59,128,132,29,98,34,208,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ddba02f466fe2812a4547b37b28e53.jpg",[],{"id":52587,"slug":52588,"title":10613,"dynasty":54,"author":1460,"museum":20,"description":11338,"tags":52589,"thumbUrl":52590,"material":999,"size":11341,"collection":84,"collections":52591,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},235003,"yuan-ji-shan-shui-tu-ce-shi-tao-235003",[24,7,59,128,27,29,129,4363,415,414,96,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F098b21ce73fa0300f031aec7f760b977.jpg",[],{"id":52593,"slug":52594,"title":10613,"dynasty":54,"author":1460,"museum":20,"description":11338,"tags":52595,"thumbUrl":52596,"material":999,"size":11341,"collection":84,"collections":52597,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},234999,"yuan-ji-shan-shui-tu-ce-shi-tao-234999",[164,24,7,59,128,27,29,1337,131,415,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4125a44cb17a489613587b83a15c7d5a.jpg",[],{"id":52599,"slug":52600,"title":18282,"dynasty":124,"author":2268,"museum":20,"description":52601,"tags":52602,"thumbUrl":52603,"material":1722,"size":18286,"collection":84,"collections":52604,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},234996,"she-shan-you-jing-tu-zhou-dong-qi-chang-234996","这一年，董其昌辞官告归，乘船畅游江南，寄情于山水书画。据自题可知，四月之时，正值其舟行至龙华镇。此镇位于今上海西南，镇中有龙华寺，周围遍植桃花，每遇桃花盛开之际，便有大批游人至此赏花。此图为董其昌行至龙华时，回想起前一日所历之湖山佳境，兴之所至，诉诸笔墨，以资玩味。其所写佘山位于今江苏青浦县境内，有东西两峰，风景秀丽。相传古有佘姓者曾隐居于此，故而得名。自题中提到的“顽仙庐”为董其昌密友、书画名家陈继儒所筑，位于东佘山下。\n此图以行书笔法入画，笔势秀逸简淡，笔力纯正浑穆，画面形象地展现了佘山境内湖光山色的疏淡幽静之美，抒发并寄托了董氏厌恶党派纷争、向往幽居山野的心曲。",[24,7,165,128,132,29,34,131,499,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d1e894b806c8ed09aa5fb4e28d1029d.jpg",[],{"id":52606,"slug":52607,"title":11926,"dynasty":124,"author":2268,"museum":300,"description":43546,"tags":52608,"thumbUrl":52609,"material":84,"size":84,"collection":84,"collections":52610,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},234976,"dong-qi-chang-shan-shui-ce-dong-qi-chang-234976",[24,7,59,128,29,132,34,131,211,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb35669f9a6c064ad0c4e3ef80e9ba71b.jpg",[],{"id":52612,"slug":52613,"title":11926,"dynasty":124,"author":2268,"museum":300,"description":43546,"tags":52614,"thumbUrl":52615,"material":84,"size":84,"collection":84,"collections":52616,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},234975,"dong-qi-chang-shan-shui-ce-dong-qi-chang-234975",[24,7,59,128,29,132,131,34,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd628e7ea4f52b4b7d37a7caba0b03776.jpg",[],{"id":52618,"slug":52619,"title":52620,"dynasty":124,"author":223,"museum":300,"description":52621,"tags":52622,"thumbUrl":52623,"material":692,"size":1293,"collection":84,"collections":52624,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},234970,"qian-gu-hou-chi-bi-tu-shan-ye-yi-ming-234970","钱穀后赤壁图扇页","此作用泥金扇面为底，左畔危岩崚嶒，以硬朗线条勾勒山石轮廓，淡墨皴擦出嶙峋肌理，枯木虬枝错杂，苍劲尽显萧索秋意。右方留白作平湖，汀渚隐现，淡墨晕染远山，空濛悠远，暗合赤壁夜游的清旷之境。边角小字题款，书画相映，笔墨简澹却意韵悠长，将初冬泛舟的幽寂旷达，凝缩在咫尺扇面间，尽显文人山水的隐逸意趣，古雅沉静，余味悠然。",[1131,24,7,128,132,29,1337,497,31,3440,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc72bfe96b7ed4a3d63fff780dbb8b03a.jpg",[],{"id":52626,"slug":52627,"title":52628,"dynasty":124,"author":10922,"museum":20,"description":28002,"tags":52629,"thumbUrl":52630,"material":734,"size":28005,"collection":84,"collections":52631,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},234813,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-wen-jia-qi-bao-quan-tu-ye-wen-jia-234813","吴门诸家寿袁方斋三绝册-文嘉七宝泉图页",[24,7,59,27,29,132,663,228,34,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8510ca52467ad2e0007a4cae545cd54c.jpg",[],{"id":52633,"slug":52634,"title":36612,"dynasty":124,"author":23268,"museum":20,"description":52635,"tags":52636,"thumbUrl":52637,"material":1027,"size":84,"collection":84,"collections":52638,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},234242,"shan-shui-juan-sun-zhi-234242","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。\n传世作品有：嘉靖三十八年(1559)作《梅石水仙图》轴，款署“嘉靖己未冬月孙枝”、万历十五年(1587)作《五湖钓叟图》卷、十八年(1590)作《携琴访友图》轴，现藏故宫博物院；隆庆五年(1571)作《九龙山居图》卷、万历十六(1588)作《清溪放棹图》轴，藏北京市文物局；万历七年(1579)作《溪山秋意图》轴，款署“万历己卯秋日吴郡孙枝写”，藏上海博物馆；二十三年(1595)作《踏雪访友图》轴，款署“万历乙未九月吴郡孙枝写”，藏苏州市博物馆；三十五年(1607)作《山水图》扇页，著录于《中国书画家印鉴款识》。从艺活动约在嘉靖、万历间。款识:吴郡孙枝写。万历二十年（1601）尝作爱荆图卷。（《无声诗史》《明画录》《珊瑚网》《式古堂书画汇考》《榆园画志》）",[23,24,7,25,128,27,132,64,133,29,496,31,1743,34,35,1144,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2a59c59d2ceb14c0471fe780a22c80.jpg",[],{"id":52640,"slug":52641,"title":52642,"dynasty":124,"author":31987,"museum":20,"description":52643,"tags":52644,"thumbUrl":52645,"material":611,"size":84,"collection":84,"collections":52646,"showCount":268,"zanCount":1998,"manualWeight":48,"mainColor":72},234122,"lan-shi-tu-juan-ma-shou-zhen-234122","兰石图卷","中国古代女性画家的作品，虽然其艺术语言尚未超越男性画家，却始终是美术史中的一个重要组成部分。尤其明清两代女性绘画的空前发展，使她们在各自的才艺表述中，散发着独特魅力。其中明代马守真便是最为卓越而富有才情的女画家之一。\n马守真（1548-1604），小字玄儿、又字月娇，自号“湘兰”，因家中排行第四，人称“四娘”。幼年时沦落风尘的马湘兰，天资聪慧，多才多艺，且能诗善画，一生以兰花、竹、石、灵芝、水仙等为题创作了许多作品。在她以兰花为主题的传世作品中，有真亦有伪，且早期与晚期的画风也不尽相同，水平自然亦有高低。其间，马守真在1598年五十岁时所作的《兰石图》（图一）（现藏中国国家博物馆），堪称她绘画成熟期的经典之作。是图描绘了草坡之上的一丛野生兰，只见兰叶随意舒展、花儿含羞怒放、身后有修竹为伴，亦随风轻轻舞动。兰花伴以湖石、润笔勾出，与信手点染的苔草相映成趣。画家以没骨之法、细线勾勒出的兰叶，行笔劲挺流畅、张显了兰花恣意生长、野趣盎然。图中左上有画家款识：“戊戍仲冬日写”、“湘兰马守真”，钤印“湘兰”、“守真玄玄子”二方。图中右下有“曾藏锡芝兰堂”等收藏印二方。\n从湘兰所画兰花的笔法来看，她更多承袭了南宋赵孟坚（1199—1264） 的水墨兰花风格。曹寅评其画云：“兰法子固，竹法仲姬，俱能袭其韵。”赵孟坚，字子固、南宋宗室。他工诗善画，是兼具贵族、士夫与文人身份的画家。他首创的墨兰，“清而不凡、秀而雅淡”,深得后世文人推崇（图二）。万历三十二年（1604），湘兰在她五十七岁临终那一年画的《兰花图》卷（上海博物馆藏）（图三） 款题中写道：“甲辰夏日，在松院仿赵子固画兰赠彦可兄，湘兰马守真。”足见对赵孟坚画兰之风的追随。此画卷分为两段：前段双勾、后段水墨写意，浓淡变化，颇多意趣。画卷开首有杨法所题变体篆书云：“咀嚼兰蕙”。如果说赵孟坚笔下的兰花盛开，犹如翩翩起舞的彩蝶、春风得意，那么湘兰笔下的兰花则更像是娴静的少女，多了几分柔媚与清幽。\n湘兰一生画了很多兰花，水墨居多，而少颜色，如《兰花图》扇面（图四）、《兰石图》卷（故宫博物院藏）、《兰竹石图》轴等传世佳作。后人评：“其墨兰一派，潇洒恬雅，极有风韵”。图中兰花的左右，往往伴有湖石、墨竹、水仙、灵芝等清雅之物。湖石或润笔或皴擦、简淡天成，瘦竹则疏朗有致，与幽兰相应成趣。画风给人的感觉更像是一个文人士大夫的作品，而难想像乃出自金陵花街柳巷的一风尘女子之手。\n湘兰专注于兰，为此还特意在秦淮河畔边盖了一座小楼，栽满兰花，名为“幽兰馆”。她所喜好的兰花，也正是历代文人画家所热衷的“君子”题材。宋末元初的诗人画家郑思肖（1241-1318） 专绘“露根兰”，谓之“纯是君子，绝无小人”，以寄托亡国之恨。兰花由此被赋予了极强的人格意义，成为品德高洁的君子象征。明代苏州吴门大家文征明尤爱画兰，留有许多兰花竹石逸品，如《兰竹图》（台北故宫博物院藏）（图五）。陈元素周天球等江南文人亦以描绘清幽而芬芳的兰花为乐事（图六）。作为“秦淮八艳”之一的名妓，湘兰“性情轻侠”，为人豪爽，慕名求访者甚多，这其中自然不乏江浙地区的文人雅士、风流才子。而画兰之风在晚明江南一带的日渐昌盛，不能不说对马守真产生了重要影响。\n湘兰“姿首如常人”、相貌并不出众，但是她胜在才情，“神情开涤，濯濯如春柳早莺，吐辞流盼、巧伺人意”。她不仅善于绘事而且工于诗文，常常在兰绘图中自题诗句，留下“一叶幽兰一箭花，孤单谁惜在天涯”、“何处风来气似兰，帘前小立耐春寒”等诸多佳句。与文人士夫借物抒情，集文学、书法、绘画的艺术表达为一体的情趣相契合，湘兰画的兰花，也是“画中有诗”、“诗中有画”，充满了书卷气。\n文人画的产生与兴盛，在相当程度上是出于厌世的隐遁心理，寄情笔墨以寻求内心平衡。晚明时局动荡，又多了这样前途渺茫的文人画家。江南文人更以描写“梅兰竹菊”等水墨写意自娱，籍以淡薄名利甚至逃避险恶仕途。尽管湘兰的兰花与文人笔下的兰花有诸多相似之处，但是对于一个烟花女子来说，她画兰，显然与文人画兰潜藏着仕途失意与不满的政治诉求没有太多关系。除了自身的喜爱，更多的应该是对当时文人圈时尚的某种迎合以及自我人格的标榜。\n正如湘兰的诗句：“空谷幽兰独自香，任凭蝶妒与蜂狂”、“绝壁悬崖喷异香”，借兰花标榜自己的孤芳傲世而别于欢场中人。不仅如此，湘兰还独创有一叶兰，仅一抹斜叶，托着一朵兰花，以体现兰花清幽空灵，仿佛又带有一丝哀怨与孤寂，来倾诉自己的无依之情。清香的幽兰，暗自吐芳，也是画家一生的写照：湘兰在二十四岁时相识长洲（今苏州） 才子王穉登，并为他痴守一生、孤单终老。二人经常以兰花为题，诗文书画互动，出现在湘兰的作品中。王穉登曾以“一枝写出湘皋影，仿佛凌波解佩人”，将湘兰画中兰花比作她本人，赞其超凡脱俗与清高品质。就在抱病赶往姑苏为穉登置办七十寿筵返回金陵之后，湘兰一病不起，于是燃灯拜佛、沐浴更衣、端坐而逝。王穉登悲痛之余写下挽诗：“歌舞当年第一流，姓名赢得满青楼，多情未了身先死，化作芙蓉也并头。”可以说，湘兰如此执着于兰花的写照，与落魄文人王穉登的情感纠葛不无关系。值得一提的是，同时代的另一位女画家薛素素也是画兰高手，也曾与王穉登有过交集。\n湘兰的绘画，有着浓浓的文人情怀。比起文人画兰张显的自我意识与个性，她的兰花则多了几分女性的温婉与秀雅，也多了几分哀怨与孤寂。湘兰的传世作品数量极多，民间多于官方，虽然真伪混杂，却足见世人对她的喜爱。作为身份卑微的青楼女子，湘兰的兰花风格占据不了画坛主导，却也独具幽芳，惹人怜爱，同时成为一个特定时代与文化的折射，并对后世的墨兰创作带来了深远影响。",[24,7,25,128,188,375,1314,276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffab683345673a977ba6b3af4ea9c4edd.jpg",[],{"id":52648,"slug":52649,"title":29909,"dynasty":182,"author":223,"museum":20,"description":52650,"tags":52651,"thumbUrl":52653,"material":40,"size":29913,"collection":84,"collections":52654,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},234063,"fu-xi-nv-wa-xiang-ye-yi-ming-234063","此图上彩画人首蛇身男女二人，均着窄衫小袖绛红色胡装，二人腰相连，共着一条白裙。男居左，无须，头戴笼冠，张左手执矩，矩上有墨斗（已被腐蚀）。女居在右，束高髻，张右手执规。男女上身相拥，中间两臂相连，下尾盘曲相交四节成螺旋状。两人头上有圆轮，周画圆圈以象征日；尾下有下弯月牙一，周画圆圈以象征月。画面四周面遍布大小相等的圆圈，部分以线相连象征星辰。\n吐鲁番高昌国至唐西州国时期的墓葬出土了许多伏羲、女娲绢画,画面形式大致相似：人首蛇身，交尾相拥，伏羲持矩，女娲持规。绢画上方有日，下方有月，周围布满丝缕相连的星辰。整幅绢画上宽下窄，与棺形相似，常覆盖于棺上，也有盖于尸上或置于尸旁者，还有张挂或用木钉固定于墓顶的情况。\n故宫博物院所藏的伏羲女娲绢画系1963年4月出土于新疆吐鲁番阿斯塔那古墓，1963年12月由新疆博物馆拨交故宫博物院。据阿斯塔那古墓考古报告中所示，同期出土的此类绢画共有数十件。在墓室中一般都是画面朝下，用木钉钉在墓顶上。一般认为伏羲所执矩象征地，女娲所执规象征天，用以配合画面上的日月星辰，为墓室营造一个小宇宙。",[164,24,7,96,17539,27,188,17701,52652],"星象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad372045cc9529359b55b04dc763a6c3.jpg",[],{"id":52656,"slug":52657,"title":52658,"dynasty":124,"author":31131,"museum":20,"description":52659,"tags":52660,"thumbUrl":52661,"material":40,"size":52662,"collection":84,"collections":52663,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},233882,"pin-pang-tu-zhou-ni-duan-233882","聘庞图轴","画作取材于三国时期荆州刺史刘表聘请隐士庞德公的故事。庞德公是名士庞统的叔父，与徐庶、诸葛亮等贤达交谊笃厚。画中人物描摹精细，设色妍丽，山水气势雄伟浑厚，林木郁茂清朗。",[24,7,165,27,29,96,101,689,131,690,28,132,34,1645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F992ab76f04567d0262a4fd6a4882fe7a.jpg","纵163.8厘米，横92.4厘米",[],{"id":52665,"slug":52666,"title":7359,"dynasty":54,"author":1242,"museum":224,"description":7360,"tags":52667,"thumbUrl":52668,"material":1464,"size":7363,"collection":84,"collections":52669,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},233858,"mei-hua-ce-jin-nong-233858",[24,7,59,188,128,61,371,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F697b9b210a11113f3a2283868babba80.jpg",[],{"id":52671,"slug":52672,"title":25647,"dynasty":144,"author":25648,"museum":56,"description":25649,"tags":52673,"thumbUrl":52674,"material":52675,"size":52676,"collection":84,"collections":52677,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},233845,"ku-mu-zhu-shi-tu-zhou-li-shi-xing-233845",[164,24,7,165,128,454,167,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F298fb7986c06f60a77682264460b6e97.jpg","绢本。墨笔","170x52厘米",[],{"id":52679,"slug":52680,"title":52681,"dynasty":144,"author":18589,"museum":20,"description":52682,"tags":52683,"thumbUrl":52684,"material":1027,"size":52685,"collection":84,"collections":52686,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},233753,"xi-qiao-you-xing-tu-fang-cong-yi-233753","溪桥幽兴图","此图是元代道士画家方从义所作，山水画。图绘山水一区，高山云锁，溪水自山间流淌，草桥横架，一人策杖前行，远山隐现，茅舍隐于林木之中，意境清谧静逸。笔墨酣畅，多用染法，用笔多横向。树木点染之笔疏率，以墨之浓淡分远近。图中景物都集中于画面下部，上部则非常空旷，使画面显得深邃幽远。",[24,7,164,128,29,98,99,34,131,132,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2a07ffc8543e2c18834f837374b8bda.jpg","纵63.3厘米，横35厘米",[],{"id":52688,"slug":52689,"title":39900,"dynasty":54,"author":1460,"museum":20,"description":14827,"tags":52690,"thumbUrl":52691,"material":39903,"size":39904,"collection":84,"collections":52692,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},233421,"yuan-ji-shan-shui-ce-shi-tao-233421",[164,24,7,59,128,132,29,131,331,34,3387,27231,16370],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c55c1ae79c7d14fcee18a101340766.jpg",[],{"id":52694,"slug":52695,"title":52696,"dynasty":54,"author":6778,"museum":56,"description":6779,"tags":52697,"thumbUrl":52698,"material":611,"size":84,"collection":84,"collections":52699,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},233189,"hua-hui-ce-zi-teng-ye-zhao-zhi-qian-233189","花卉册-紫藤页",[24,7,59,27,61,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd97a6273586abb78c943a82b4b5aa617.jpg",[],{"id":52701,"slug":52702,"title":52703,"dynasty":54,"author":6778,"museum":56,"description":6779,"tags":52704,"thumbUrl":52705,"material":611,"size":84,"collection":84,"collections":52706,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},233187,"hua-hui-ce-qiu-hua-ye-zhao-zhi-qian-233187","花卉册-秋花页",[24,7,59,27,61,62,3916,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7481cd7f83edf53988bff1d31b456a53.jpg",[],{"id":52708,"slug":52709,"title":52710,"dynasty":54,"author":6778,"museum":56,"description":6779,"tags":52711,"thumbUrl":52712,"material":611,"size":84,"collection":84,"collections":52713,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},233183,"hua-hui-ce-mu-dan-ye-zhao-zhi-qian-233183","花卉册-牡丹页",[24,7,59,27,369,61,263,376,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbe6a2e27ec670de7c6c5f49941f2e3a.jpg",[],{"id":52715,"slug":52716,"title":36612,"dynasty":124,"author":52717,"museum":20,"description":52718,"tags":52719,"thumbUrl":52720,"material":18467,"size":52721,"collection":84,"collections":52722,"showCount":268,"zanCount":1998,"manualWeight":48,"mainColor":49},233145,"shan-shui-juan-wang-yan-qiang-233145","王彦强","绘江边山峦起伏，林木繁茂，隐约可见村合依山而建。山石用披麻皴，笔法秀劲细密，林木简笔勾干，以浓淡水墨点叶。\n此图景色清新，境界清寂淡泊，具有春日山乡写生的特点，为王立中罕见传世品。",[24,7,25,128,132,29,34,496,31,229,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95037f673dc059a04e041dad1bea72e2.jpg","纵25．2厘米横53．3厘米",[],{"id":52724,"slug":52725,"title":22704,"dynasty":18,"author":223,"museum":20,"description":52726,"tags":52727,"thumbUrl":52728,"material":151,"size":52729,"collection":84,"collections":52730,"showCount":268,"zanCount":1086,"manualWeight":48,"mainColor":49},233007,"wa-que-qi-zhi-tu-ye-yi-ming-233007","海棠一枝，果实散挂枝头，树叶已染秋霜。海棠枝头栖息着瓦雀，或缩颈养神，或整理羽毛，姿势各异，神态安适，中间一只发现头顶树叶上落有小蜂，昂首注目，张口欲啄，小蜂似发现险情，翘尾开牙，准备应对。此画面静中寓动，张弛有致，深合画理。\n麻雀常宿于檐瓦之间，故一名“瓦雀”。图中从左向右伸出海棠一枝，果实散挂枝头，树叶已染秋霜，间杂红、黄、绿色，斑斓可爱，惜叶、果有些已遭虫蚀。海棠枝头栖息着瓦雀5只，其中4只或缩颈养神，或整理羽毛，姿势各异，神态安适，唯中间一只发现头顶树叶上落有小蜂，故昂首注目，张口欲啄，小蜂似发现险情，翘尾开牙，准备应对。此画面静中寓动，张弛有致，深合画理。\n瓦雀翎毛刻画精细，高度写实。海棠取轻勾淡染之法，以表现秋叶缺乏水分的轻、薄质感。瓦雀和果、叶以枝条贯穿，若网在纲，有条不紊。细观墨笔枝条虽细，然尚以浓淡墨分出阴阳向背，富于立体感，显得刚健有力。\n此图原载《宋人集绘册》。图中画五只瓦雀，栖止于海棠枝上。花枝上果满页疏，五只瓦雀姿态各异，有的俯首下视，有的扭头回观，有的仰首注视着枝页上的小昆虫，形象生动活泼，逗人喜爱。海棠枝从画面左侧横插，参差顾盼，虬曲多姿。鸟的羽毛用细笔一笔一笔勾描，有毛茸茸的质感。此图用笔精工，设色艳丽。无款印，曾经清代收藏家宋荦珍藏，《石渠宝笈三编》著录。",[24,7,164,28,27,59,61,12508,2438,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b6b6fe31dde1b7c91550646cdde7825.jpg","纵28.厘米，横29.1厘米",[],{"id":52732,"slug":52733,"title":52734,"dynasty":54,"author":6778,"museum":77,"description":48494,"tags":52735,"thumbUrl":52736,"material":9220,"size":52737,"collection":84,"collections":52738,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},232896,"ju-shi-tu-zhao-zhi-qian-232896","菊石图",[24,7,1131,27,128,369,61,376,171,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbd190ad7341a8baac238ac32249ed8e.jpg","17×54厘米",[],{"id":52740,"slug":52741,"title":52742,"dynasty":144,"author":223,"museum":224,"description":52743,"tags":52744,"thumbUrl":52745,"material":151,"size":52746,"collection":84,"collections":52747,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},232803,"xiang-ma-tu-juan-shui-jing-gong-dao-ren-fang-han-gan-yi-ming-232803","相马图卷(水精宫道人仿韩干)","明人王世贞曾说：“文人画起自东坡，至松雪敞开大门。”这句话基本上客观地道出了赵孟頫在中国绘画史上的地位。无论是研究中国绘画史，还是研究中国文人画史，赵孟頫都是一个不可绕开的关键人物。如果说，唐宋绘画的意趣在于以文学化造境，而元以后的绘画意趣更多地体现在书法化的写意上，那么，赵孟頫在其间起到了桥梁作用。如果说，元以前的文人画运动主要表现为舆论上的准备，元以后的文人画运动以其成功的实践逐步取代正规画而演为画坛的主流，那末，引发这种变化的巨擘仍是赵孟頫。",[23,24,7,25,27,330,96,101,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b1e492db706ac5af78cddf44ad061db.jpg","30.5x102.9厘米",[],{"id":52749,"slug":52750,"title":52751,"dynasty":144,"author":6155,"museum":244,"description":52752,"tags":52753,"thumbUrl":52754,"material":317,"size":52755,"collection":84,"collections":52756,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},232266,"qun-feng-qiu-se-tu-gao-ke-gong-232266","群峰秋色图","画中峰峦多用淡墨浅色皴染，主峰用墨最重，山顶并缀以横笔“米点”，有水墨淋漓之趣。石绿、石青之渍染润厚秀雅，显得峰峦更为浑厚稳重。",[24,7,165,128,27,132,1349,30,496,37,34,42942,131,5323,130,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd24f2fae530aea5dd8da8ae53c3bd081.jpg","该幅159.9x104.8公分；全幅105.8公分",[],{"id":52758,"slug":52759,"title":52760,"dynasty":144,"author":223,"museum":244,"description":52761,"tags":52762,"thumbUrl":52763,"material":13440,"size":52764,"collection":136,"collections":52765,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},232263,"mu-meng-zhan-feng-tu-yi-ming-232263","牧梦占丰图","日已斜挂，远处重岭，烟岚迷濛，村居隐现。前景岸上有柳石环成一状似舞台之空间。一牧童正为牛系紖牛首偏倚，尾巴轻摆，温驯乖巧。另有三牛卧地休憩。一体大健硕，花白相杂；另二当为母子，双目相对，爱意无限。旁有一牧童以簑代席，枕膝而眠，面容祥悦，彷入好梦。身后却有同伴恶作剧而至。\n柳树干老槎枒，而枝嫩幼叶；远方桃林花开繁茂，点缀地通幅春意盎然。树石绘法与元意趣类明浙派风格，或为其先驱。",[24,7,165,27,132,29,34,102,96,1233,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6c1f7ae0a2d7bf6eae0fc73297bbaa5.jpg","147.1x98.1厘米",[136],{"id":52767,"slug":52768,"title":52769,"dynasty":124,"author":52770,"museum":77,"description":52771,"tags":52772,"thumbUrl":52773,"material":611,"size":52774,"collection":84,"collections":52775,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},231945,"gu-mu-you-ju-tu-sheng-mao-ye-231945","古木幽居图","盛茂烨","盛茂烨的画作题材除了少量的人物及花鸟外，以山水为主，“大幅山水，浑厚而有气势，多得范宽之法，小幅作品，清新活泼，自成一种情趣。”盛氏活跃于仿古之风弥漫的时代，其对古人虽有用心之处，然而却极少仿古之作。\n根据种种的文献记载，盛氏在当时颇负盛名，虽古意不足，然饶有趣味，在笔墨造型和布局方面均有所开拓，形成了自身独特的画风。这种风格的形成，不仅在于他对浙派和吴派兼收并蓄，更在于他对古人的画法进行了选择性的采纳和吸收。\n他的作品中，有对大自然的真实描写，也有一些夸张变形的因素，这些均是宋代山水画传统在晚明画坛中复兴的征象。",[23,164,24,7,165,1349,132,27,4797,131,496,37,4605,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb575d9feb5a80e4189ee444b2fb5180a.jpg","157.5×54cm",[],{"id":52777,"slug":52778,"title":52779,"dynasty":222,"author":223,"museum":300,"description":52780,"tags":52781,"thumbUrl":52787,"material":692,"size":1293,"collection":84,"collections":52788,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":956},231658,"shi-ting-shi-dai-sui-shi-fo-xiang-yi-ming-231658","室町时代 隋时佛像","此作以沉凝古雅的色调，绘就护法神祇的威严气魄。黝黑面庞怒目圆睁，宝冠束发更添悍勇，周身火焰背光翻卷烈烈，烘衬出慑人气场。神将身披纹饰繁细的重甲，璎珞革带错落有致，右手长剑拄握，左手结印，甲叶錾刻精巧，衣摆飘带虬曲灵动。\n\n画师以劲挺线条勾勒轮廓，矿物颜料的沉郁色泽带着岁月晕染的斑驳旧痕，将护法狞厉刚猛的威仪尽数铺展，糅合佛画肃穆与武将雄健张力，古拙笔触间尽显东方宗教造像的力量之美。",[23,24,7,165,187,27,96,52782,28,7220,52783,52784,52785,3490,52786],"室町时代风格","盔甲","火焰纹","宝相装饰","持物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe736348acdeaa504546c19869610b3fb.jpg",[],{"id":52790,"slug":52791,"title":8437,"dynasty":144,"author":6155,"museum":300,"description":52792,"tags":52793,"thumbUrl":52794,"material":611,"size":52795,"collection":84,"collections":52796,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},231593,"yun-shan-tu-gao-ke-gong-231593","在元六家中，高克恭虽不算家喻户晓，但许多人认为其作品无论是用墨还是笔法，都体现着元代绘画极高的艺术水准。虽带有异域血统，但他却凭借自己对汉文化的刻苦钻研，成为一代大师。\n高克恭是色目人，色目是当时对少数民族的统称，他与父辈在元朝时迁居至燕京。相传他生于哈萨克斯坦，异域血统让他连长相都有些与众不同。好友朱德润评价其为“高侯回纥长髯客，唾洒冰纨作秋色”。从后世流传的画像中，我们也能看到他卷发虬须、五官深邃，带有几分外国人的模样。\n作为古代少有的几位少数民族书画大师之一，高克恭在山水画方面造诣极高，包括董其昌、张大千在内的艺术家纷纷模仿其画作。其创作的《仿米氏山水手卷》以299万人民币的价格在2012年的北京春拍中成交，创下其个人作品最高成交纪录。\n“国朝名笔谁第一，尚书醉后妙无敌。”是人们评价高克恭的溢美之词。能被冠以如此高的评价不仅仅是因他对后世书画创作的影响，其在为人处世方面的成就让他在世人心中的形象进一步升华。\n高克恭从小就在父亲的引导下发奋学习，潜心研究各家经典。对他而言，书画创作从不是独取一家所长，而是在融会贯通中诞生出全新内涵。\n他初学米芾、米友仁的画风，后又吸收了董源、巨然作品中的用笔，将“点”的运用发挥到了极致。但在创作一段时间后，他发现这种画风只是一味地模仿前人，并不能真正地表达自己心目中的山水形象。\n在多次钻研且不断尝试后，高克恭发现画家李成笔下的山水是有“骨架”的。他选择引线入点，将三位大师的创作融合起来。这种表现手法既能凸显出江南云山烟树的朦胧缥缈，又能不失山川的挺峻硬朗之感。\n对当时的大多数书画家来说，米芾、董源、巨然等人是可望不可及的书画名家。人们争相学习，将其绘画手法奉为圭臬，又有几个人能提出反对意见？像高克恭这样，在发现问题后并加以改进的画家更是少之又少。有时，大师只比我们多了一份质疑。\n除了融合多家技法特点，高克恭的画作中还有几分西方画法的韵味。他的创作绝不仅仅是单凭印象，而是在仔细观察后动笔。在写实方面，西方画作凭借色彩变化、光影明暗表现画面，而中国山水画则靠用墨浓淡展现层次。\n高克恭便是山水画用墨的佼佼者。其开创“积点法”，以墨色渲染层次，表现山水意境。近代画家黄宾虹的积墨山水就是在此基础上发展而成。",[23,164,24,7,128,29,132,663,950,413,35,228,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20b1cdab788f221b5a3d716dbd9ef70e.jpg","32×63cm",[],{"id":52798,"slug":52799,"title":14757,"dynasty":54,"author":1311,"museum":300,"description":52800,"tags":52801,"thumbUrl":52802,"material":611,"size":52803,"collection":84,"collections":52804,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},231546,"xun-mei-tu-wang-shi-shen-231546","汪士慎（1686-约1762），清代书画家、篆刻家。字近人，号巢林、溪东外史、左盲生、天都寄客，安徽歙县人，一作安徽休宁人，流寓江苏扬州。精篆刻、隶书，擅画花卉，尤擅画梅，笔墨疏落清劲，气清而神腴，墨淡而趣足，具有秀润恬静之致，与李方膺“铁干铜皮”形成鲜明对比。与金农、华品山等友善，为扬州八怪之一。\n汪士慎极爱梅花，擅长画梅竹，工于篆刻与八分书。人们评论他的梅竹说：“宠梅念竹有真意，剪水断冰无俗痕。”汪士慎跟金农、高翔、罗聘，被时人称为四大画梅高手。\n这幅《梅花》清淡秀雅，瘦劲姿媚，让我们看到了他画梅花的独特风格。汪士慎留世的梅花作品，其枝、花并不太繁，而以疏朗清瘦见长，给人一种疏影潇洒、冷香四溢的感觉。",[23,24,7,165,128,64,133,208,371,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebaace359b8eb216fa28c0c02b7b725.jpg","63x160厘米",[],{"id":52806,"slug":52807,"title":52808,"dynasty":144,"author":287,"museum":300,"description":52809,"tags":52810,"thumbUrl":52811,"material":84,"size":84,"collection":84,"collections":52812,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},231481,"qie-zi-tu-ye-qian-xuan-231481","茄子图页","宋元间湖州吴兴人，字舜举，号玉潭，又号巽峰、霅川翁、清臞老人。幼有文名。宋景定间乡贡进士。入元不仕。工书，善画人物花木。尤善作折枝，其得意者，自赋诗题之。",[164,24,7,4437,27,28,11331,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c9d9d4102a916a0108a8d95ed82deeb.jpg",[],{"id":52814,"slug":52815,"title":52816,"dynasty":124,"author":2268,"museum":20,"description":52817,"tags":52818,"thumbUrl":52820,"material":278,"size":52821,"collection":84,"collections":52822,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},231373,"xia-mu-chui-yin-tu-dong-qi-chang-231373","夏木垂阴图","此图截取山坡一角，其上有柳树、松柏，共三株。树木主干苍劲高耸，枝叶繁茂蓊郁。构图简洁饱满，用笔老辣迅疾，墨色浓淡得宜，生动地表现出林木枝叶纷披的景象。又以长披麻皴皴染山石，皴与染相结合，加上浓重的苔点，使得长满青苔的山石因而具有湿润的质感。在墨色的运用上，整幅画面主要以浓墨与留白相对比，黑、白、灰关系明确，营造出清爽明丽之氛围，使观者似乎感受到夏日树荫之中的凉爽清幽。",[24,1349,128,165,7,132,34,131,99,37,130,1144,663,38,52819],"夏天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0a4e197fbf86433996158956bce8f26.jpg","纵91.3厘米，横44厘米",[],{"id":52824,"slug":52825,"title":52826,"dynasty":54,"author":38394,"museum":300,"description":52827,"tags":52828,"thumbUrl":52830,"material":84,"size":84,"collection":84,"collections":52831,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},231365,"xue-ji-tu-fan-qi-231365","雪霁图","樊圻（公元1616—1694尚在），字会公，更字洽公，江宁（今江苏南京人）。清代画家，\n江苏南京人，他与其兄樊沂均以画出名。与龚贤、高岑、吴宏、叶欣、胡慥、谢荪、邹喆等人并称为“金陵八家”。山水师赵令穰，刘松年、赵孟孚等而能自成风貌，王铎尝题其小景云：“洽公吾不知为谁，此幅全摹赵松雪、赵大年，穆然恬静，若厚德醇儒，敦庞湛凝，无忒无（兆） 。灯下睇观，觉小雷、大雷、紫溪、白岳一段，忽移于尺幅间矣。”又云：“是古人笔，不是时派。时派即钟谭诗也。”小印模糊，误视会公为洽公，圻后即以洽公行，咸知己也。 他的仕女画幽闲静逸，神韵俱佳，特别是[清]顺治八年，即公元1651年与吴宏合作的《寇湄像》，堪称佳作。",[23,164,24,7,27,28,1556,372,167,355,52829,131,61,208],"冰挂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4acd3e8fb8205ab2533358e709fef854.jpg",[],{"id":52833,"slug":52834,"title":52835,"dynasty":18,"author":223,"museum":244,"description":52836,"tags":52837,"thumbUrl":52838,"material":173,"size":84,"collection":84,"collections":52839,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},231053,"zhe-kan-tu-yi-ming-231053","折槛图","《却坐图》是宋代佚名画家创作的绢本设色画，现藏于 。\n该图描绘西汉文帝妃慎夫人恃宠与帝后平起平坐，日游上林苑，中郎将袁盎向文帝犯颜直谏：“妃子僭坐后位有违纲常。\n”文帝不悦但理在袁盎，只得纳谏，慎夫人也只好悻悻而起。\n该画侧重表现矛盾化解过程中人物微妙的心理变化。\n此幅描绘的是西汉文帝时袁盎谏止宠妃慎夫人与帝、后并坐的故事。\n图中人物处于画面的中心，汉文帝等七人在画面的右侧，金瓜卫十在左侧，袁盎在文帝与金瓜卫士之间，离观者最近。\n在右侧七人中，文帝居中坐在宝座上，表情严肃，右手按膝，左手扶椅，胸前佩方心曲领，着通天冠服，长须垂胸；在皇帝左首圆墩上坐着慎夫人低头沉默，微露不悦，显得很不自在；四位宫女立于文帝身后，一位矮小的侍女，靠近慎夫人，她们都静立聆听，目睹现场；皇宫卫士，满腮长须，横眉怒目，两脚分叉，手执金瓜兵器，威风显赫，等待下旨，执行公务，袁盎弓背弯腰，两手举笏，作面奏君王状，神情坚定执着，但面向外，躬身上奏，坚毅庄重，神色坦然，看来已陈述完毕，任凭皇上处置。\n此事发生在上林苑中，院墙高筑，墙外茫茫一片田野和水面，院墙内一株大树靠右边拔地挺直而上，和中间的两棵参天大树，枝叶互相穿插，叶茂枝繁，形成了天然凉棚。\n太阳隔着云层雾气光线忽明忽暗，树叶在雾色中时隐时现、人群背后一排直立的假山石、棕榈树、仙鹤点缀着，画面的右下角还有丛竹、野草及深色太湖石。\n《却坐图》是历史故事画。\n说的是汉文帝时慎夫人僭坐故事：宠妃慎夫人坐在皇帝身边。\n她的举动违反了封建社会的礼仪，坐到了应属皇后的位置上。\n袁盎站出来当面进谏，谓帝既有后，不当容许其妃僭坐后位。\n文帝和慎夫人对他的直言进谏当时颇为恼怒，但还是接受了，并且给了袁盎一些赏赐以鼓励忠直。\n选择该故事作为题材，用意在于宣传封建纲常，赞扬敢于直言上谏、冒死维护君王统治利益的忠臣义士，是典型的院画题材。\n图中文帝坐于有奇花茂树、秀石珍禽的皇家苑囿中，袁盎上前俯身面谏，神情坚毅，文帝微露愠色，皇后坐于其侧低头不语，慎夫人站起身来面带不悦，一武士持的威严，同时也衬托出袁盎置生死于不顾，犯颜直谏的忠臣形象。\n从图中可以看到作者对现场中各类人物的外形，表情，到内心世界的刻画是非常成功的，而且对主要人物文帝、袁盎、金瓜卫士的内在联系及相互呼应交代得很清楚，如文帝的宽容大度，卫土的暴戾心理和袁盎忠直不惧的义胆，其以卫士的凶猛形貌象征皇帝手中的至高权力，相比之下，虽然袁盎处于软弱无力的地位，却显示了在这种特定场合中最有力量，而且作者将盎放在显要的位置，对他的形象刻画更富魅力，对袁盎敢于冒犯“圣上”的勇气极尽赞喻，图中要遣责的对象是慎夫人，安排在很不重要的位置上，侧面描绘成敢怒而不敢言的愧羞样子，连同她的诗人也是比其他宫女要矮小。\n该图不仅在人物位置经营上成功，而且布景也有其用意，文帝身后有高树一排，自立的假山石，仙鹤等景，而袁盎身旁的是就地长出的丛竹、小草与深色玲珑的太湖石等等。\n表示了作者章法布局有韵致，遵循院画的审美标准，而造诣颇高。\n中国美术研究院研究员王鲁豫：《却坐图》整个画风都接近于《 》，表现了南宋院体人物故事画的高度水平。\n218年1月4日，“国宝再现—书画菁华特展”在台北故宫博物院北部院区第一展览区21室开幕，《却坐图》在其中展出。",[23,164,24,7,165,28,27,95,96,97,1144,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b0cdfb2193e1f81f95c31e32cf2c7d.jpg",[],{"id":52841,"slug":52842,"title":52843,"dynasty":18,"author":52844,"museum":300,"description":52845,"tags":52846,"thumbUrl":52847,"material":84,"size":84,"collection":84,"collections":52848,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},230891,"tu-mu-tie-li-jian-zhong-230891","土母帖","李建中","《宋李建中书谘册》是宋代时期李建中创作的书法作品。\n所示要土母。\n今得一小笼子。\n封全谘送。\n不知可用否。\n是新安门所出者。\n复未知何所用。\n望批示。\n春冬衣历头。\n贤郎未捡到。\n其宅地基尹家者。\n根本未分明。\n难商量耳。\n见别访寻稳便者。\n若有成见宅子又如何。\n细希示及。\n（押字）。\n谘。\n孙号西行少车。\n今有旧车。\n如到彼不用。\n可货却也。\n北宋初期的 ，承袭唐人的传统，以丰肥为美。\n李建中是北宋初期的书法名家，他的书法骨肉停匀，神气清秀，对宋代书家有很深的影响。\n除了黄庭坚曾以“肥而不剩肉”的世间美女赞誉他的字之外，《宋史》本传中，也称赞他“行笔尤工，多构新体，草、隶、篆、籀、八分亦妙”。\n这幅作品又名“ ”，是李建中存世墨迹的代表作。\n天下十大行书之一， 排第十。\n作品中，字的结体紧密而修长，用笔沉着而丰腴。\n虽写的是行书，但起笔、收笔处仍见严谨的楷法笔意，可看出不少唐人书法的特质。\n此外，由于尺牍内提及“新安门”，地近洛阳，所以推测这是李建中晚年居住在洛阳时所写。\n李建中（945—11年），字得中，自称岩夫民伯，京兆（陕西西安）人，北宋初年著名书家。\n进士，曾官曹、解、颖、葵四州刺史，进金部员外郎。\n因掌西京留司御台史，世称“李西台”。\n《宋史》本传称他：“善书札，行笔尤工，多构新体，草、隶、篆籀、八分亦妙。\n人多摹习，争取以为楷法。\n”",[164,24,7,64,1590,133,8116,611,9910,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29b80d16fd2eded94b4ea57e1d1a647b.jpg",[],{"id":52850,"slug":52851,"title":2012,"dynasty":54,"author":52852,"museum":300,"description":52853,"tags":52854,"thumbUrl":52855,"material":84,"size":84,"collection":84,"collections":52856,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},230853,"hua-hui-tu-zhang-yu-230853","张敔","此作截取荷塘一隅取景，虚实相生间尽显写意妙趣。浓墨挥写半幅枯老荷叶，焦墨劲挺勾勒叶脉，苍浑厚重带着岁月沉凝的质感；淡墨晕染新叶与待放菡萏，清润柔和，与浓墨形成鲜明对比，暗合新旧交替的生机。荷梗以枯涩带点的笔线写出，朴拙老辣，带着疏野萧散的意趣。朱红闲章轻点画面，以一抹亮色调和水墨的清冷，平衡视觉重心。整幅以简驭繁，不用浓丽设色，仅以水墨干湿浓淡的层次变化，将秋日荷塘残而未颓的清寂诗意晕染开来，于随性挥洒间尽显文人写意的疏淡格调。",[24,7,164,128,61,168,82,841,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1252ffd258c16f4357c28c9363dd76d8.jpg",[],{"id":52858,"slug":52859,"title":52860,"dynasty":351,"author":4456,"museum":300,"description":52861,"tags":52862,"thumbUrl":52863,"material":692,"size":1293,"collection":84,"collections":52864,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},230843,"xi-zi-huan-sha-tu-zhou-wen-ju-230843","西子浣纱图","周文矩（约907年－975年），五代十国时南唐的宫廷画家，句容（今江苏句容县）人。南唐李昪异元年间（937—943），已在宫中作画。后主李煜（961—975年）朝任翰林待诏，擅人物仕女，多以宫廷贵族或文士生活为题材，兼画山水、屋木、佛道。绘画风格接近唐代画家周昉而更纤丽，多用颤动的“颤笔”画衣纹，线条挺健又略带抖动和顿挫。宋人称其“用笔深远，于繁富则尤工”。",[24,7,28,27,96,166,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75e1f6d6ea361113225a7413f7732e14.jpg",[],{"id":52866,"slug":52867,"title":52868,"dynasty":222,"author":52869,"museum":300,"description":52870,"tags":52871,"thumbUrl":52872,"material":692,"size":1293,"collection":84,"collections":52873,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},230579,"ming-qing-fang-gu-fen-ben-ren-wu-hua-niao-juan-2-tu-zuo-bing-guang-lin-feng-230579","明清仿古粉本人物花鸟卷2","土佐并光琳风","此作以水墨写意绘就两帧人物，韵致截然不同。右侧观音以淡墨晕出圆光，衣袂线条清柔舒缓，持经垂眸，神态静穆慈悲，尽显禅意空灵。左侧文士以泼墨挥写袍服，笔力纵逸老辣，持笔展卷，面容诙谐灵动，文人气韵盎然。\n\n画师以浓淡墨色区分物象虚实，将静穆禅意与疏放文气并置，于极简笔墨中形神兼备，尽显东方水墨写意的精妙意趣，让两种气质在卷中相映成趣。",[23,24,7,25,128,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd0d007e14851b9c8995e4bc5444b5db.jpg",[],{"id":52875,"slug":52876,"title":52877,"dynasty":54,"author":38394,"museum":300,"description":38395,"tags":52878,"thumbUrl":52879,"material":692,"size":1293,"collection":84,"collections":52880,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},230356,"shan-shui-ce-ba-kai-fan-qi-230356","山水册八开",[24,7,164,59,27,132,208,29,171,331,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95306f468bab19553397d0d062d40e68.jpg",[],{"id":52882,"slug":52883,"title":52884,"dynasty":54,"author":223,"museum":300,"description":52885,"tags":52886,"thumbUrl":52887,"material":692,"size":1293,"collection":84,"collections":52888,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},230345,"xi-xiang-ji-yi-ming-230345","西厢记","画中截取缱绻一幕，青衣公子悠然倚坐，左侧仕女亲手递食，二人目光相接，暗传情愫。右侧侍女斜立，以袖掩唇，偷觑间流露少女的羞怯与好奇。\n\n室内陈设雅致考究，格架罗列清供雅玩，案头瓶花素静、茶点精致，将深闺私密的暧昧氛围晕染尽致。衣纹勾勒细腻妥帖，人物神态拿捏入微，把儿女间的缱绻情态描摹得鲜活动人，尽显传统工笔人物画的雅致意趣。",[23,24,7,27,28,96,166,169,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f6011a05083633edfbf7e4b35f5a88.jpg",[],{"id":52890,"slug":52891,"title":52892,"dynasty":124,"author":3619,"museum":300,"description":52893,"tags":52894,"thumbUrl":52895,"material":84,"size":84,"collection":84,"collections":52896,"showCount":268,"zanCount":1116,"manualWeight":48,"mainColor":72},228875,"chang-qing-jing-jing-lao-zi-lie-zhuan-wen-zheng-ming-228875","常清净经.老子列传","此作右幅白描老君，线条清劲简淡，勾勒出老者仙风道骨、超然出尘之态，形神兼备。左幅小楷精整秀雅，点画劲挺端稳，结体舒展端庄，笔墨间尽显平和冲淡之气，将道家澄心守静的意涵融于笔底。\n\n全卷朱钤错落，朱墨相映，书画印浑然一体，晕开古雅静穆的氛围，尽显文人清雅审美，把对道旨的敬慕化入毫端，是精工兼具文心的晚年佳作。",[23,24,7,25,188,128,572,133,64,7322,208,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19e5331a756d311cefa90dd585e691c7.jpg",[],{"id":52898,"slug":52899,"title":52900,"dynasty":124,"author":125,"museum":300,"description":52901,"tags":52902,"thumbUrl":52903,"material":84,"size":84,"collection":84,"collections":52904,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},228827,"jing-jiang-song-bie-tu-juan-quan-juan-shen-zhou-228827","京江送别图卷全卷","《京江送别图》是明代画家 创作的纸本设色画，现收藏于北京故宫博物院。\n图卷绘沈周与友人长汀送别的情景，大刀夺阔，远山起伏，汀岸有板桥、杨柳、桃花，崖上草色青青，十人拜揖道别，一人立于船上还礼，依依不舍。\n该画笔法苍劲，墨色浑厚，远山川用粗笔披麻皴画成。\n该画描绘的是沈周等人在京江送别叙州太守吴愈赴任的情景。\n画面以横卷形式展开由右向左，依次是近景的丛树、板桥，坡岸，一片杨柳依依桃花烂漫的江南春色。\n及至中部也是作品的中心。\n众人在岸边长揖作别，江面上一叶小舟，主人正乘乘舟远去，水色苍茫。\n远景是逶迤连绵的群山。\n画首有清王时敏跋书“名迹贻薇”四字，后幅为明文林书“送吴叙州之任序”、祝允明书“叙州太守吴公诗序”，及沈周等人跋。\n钤“启南”朱方一印。\n引首清，王时敏隶书“名迹贻征”四字。\n后纸有明，文林“送吴叙州之任序州府太守伍公诗序”，沈周、陈琦、吴瑄、张习、都穆、朱存理、刘嘉囗题诗，以及清代顾开增、顾济乾、吴云题记。\n鉴藏印记有【吴云平生珍藏】等七十五方。\n明弘治时期，南京刑部郎中吴惟谦小任叙州（今属四川省）太守，顷途过家，亲朋好友闻之，欢喜若狂，多作诗歌赞颂：其婿请沈周作画，复请祝允明作序相送。\n此图画成于弘治四年（1491）三月，沈周时年六十五岁。\n京江，当是镇江口的长江段，叙州相当今之四川宜宾。\n吴是苏州府太仓州人。\n如果从家中赴任，在苏州稍事逗留，即可乘舟沿古运河到镇江，由此向西直溯蜀地。\n这里对岸即是瓜洲古渡，正如长安的灞桥一样，常为古人惜别之地。\n这是沈周中晚年的代表作。\n从这幅画中可见沈周既有传统笔法。\n充分体现书卷气，又根据自然风貌，设置一定情节引人入胜，展现自己的面目。\n《京江送别图》构图简洁，水天一色。\n因受南宋画家构图的影响，此幅显得具有分外寥廓、无垠之意，对面的远山用披麻皴画出，多矾头和黑色苔点。\n显然是受董源、吴镇等画法影响，表现了关山重重和征途悠远：近处的树丛杨柳依依、槐桧掩映，用笔在郭熙和黄子久间，树下的泥石用笔豪放，这样就将它向观者拉近了距离。\n此图画面布景得宜，疏密有致，近处长林巨嶂，远处青山叠翠，遥相呼应。\n近景桃花，杏花点缀，春意盎然。\n图的内容虽然描绘的是真人真事，但却没有刻板的描绘送别的场面，而以背景衬托，船舱内着官服的人，当为吴惟谦，寥寥数笔，形象逼真，生动传神，表示一副十分谦恭的神态，岸边四人拜揖告别，神情真切，双方的情感真切虔诚，这正是文人画的特点。\n此图画法有宋、元诸家笔意而有所创造。\n该画曾经陆恭、孙煜峰、翁嵩年、顾开增、张珩等收藏 ，现藏于北京故宫博物院。\n212年11月—21年1月，《京江送别图》在苏州博物馆举办的“石田大穰——吴门画派之沈周特展”展览中展出。\n沈周（1427年—159年），明代画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城，故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。",[23,24,7,25,128,29,98,99,129,130,211,34,64,133,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3050617f0de18f29fed07db854e6eea5.jpg",[],{"id":52906,"slug":52907,"title":6672,"dynasty":124,"author":204,"museum":300,"description":52908,"tags":52909,"thumbUrl":52911,"material":84,"size":84,"collection":84,"collections":52912,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},228456,"zhi-gong-tu-juan-chou-ying-228456","此作以全景长卷铺展四夷来朝的盛景，苍林丘壑间，蕃邦使节携礼接踵而来，人物衣冠各异、神态鲜活，仪仗贡物排布有序，尽显朝贡仪典的庄重热烈。青绿设色妍雅古润，山石林木勾勒精细工致，兼具院体画的规整与文人写意的秀灵。书画合璧，题跋与绘事相映，生动还原了盛世宾服的恢宏气象，将外交肃穆与行旅意趣融为一体，是纪事价值与审美价值兼备的佳制。",[23,24,25,28,27,7,64,133,29,96,101,34,11074,98,111,52910],"队伍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c3d18b84ee43ea22b5b6710c8d8abe1.jpg",[],{"id":52914,"slug":52915,"title":52916,"dynasty":124,"author":223,"museum":300,"description":52917,"tags":52918,"thumbUrl":52919,"material":84,"size":84,"collection":84,"collections":52920,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},228382,"ming-gu-xiu-ba-xian-qing-shou-gua-ping-si-he-xian-gu-zhou-yi-ming-228382","明顾绣八仙庆寿挂屏（四）何仙姑轴","此件绣品取素绫为地，何仙姑卓立云涛间，眉目温婉娴静，身姿柔逸出尘。衣袂纹饰配色清雅柔和，针脚平齐细密，将衣物垂坠质感尽现。她手持的莲蓬花杖鲜亮灵动，枝头翎羽如生，鲜活别致。\n\n祥云以淡墨勾形，浅晕铺色，虚实晕染间漾出缥缈仙气。整作以绣代笔，融画理于针绣，施色雅致柔和，构图疏朗空灵，将何仙姑的仙家清婉风姿描摹尽致，尽显画绣相融的独特风韵，是仙佛题材绣作中的精巧佳构。",[24,7,165,30201,27,96,950,228,187,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23bc9ce7f215e9ddb5a38c65af6fcc75.jpg",[],{"id":52922,"slug":52923,"title":52924,"dynasty":124,"author":16332,"museum":300,"description":16817,"tags":52925,"thumbUrl":52926,"material":692,"size":1293,"collection":84,"collections":52927,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},228360,"xiao-xiang-guo-yu-tu-quan-juan-xia-chang-228360","潇湘过雨图全卷",[23,164,24,7,25,128,29,167,16819,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d64a4192e950156f996dee8003aabb4.jpg",[],{"id":52929,"slug":52930,"title":52931,"dynasty":124,"author":3608,"museum":1941,"description":52932,"tags":52933,"thumbUrl":52934,"material":84,"size":84,"collection":84,"collections":52935,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},228313,"xun-yang-qiu-se-tu-juan-lu-zhi-228313","浔阳秋色图卷","此作用淡赭与花青晕染江岸秋景，浅滩汀渚在烟水间连绵铺展，远山如黛，浮沉于空濛江面之上。近岸枯木点缀残红，坡岸清寂冷峭，留白极尽空疏淡远之致。\n画面暗合卷中《琵琶行》的落寞诗意，将江州清秋送客的孤凄萧瑟具象化，把贬谪失意的羁旅愁思藏在冷寂的秋山寒水之中。书画合璧，以景衬情，将迁客怅惘的心境融在烟霭迷离的江天秋色素景中，尽显文人寄情诗画、以景抒怀的雅致意趣。",[23,24,7,25,27,29,64,133,132,34,31,496,10582,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c302e25a8950fc199901eccbec3e1b8.jpg",[],{"id":52937,"slug":52938,"title":17031,"dynasty":144,"author":14724,"museum":300,"description":52939,"tags":52940,"thumbUrl":52941,"material":84,"size":84,"collection":84,"collections":52942,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},228253,"ku-shu-tu-ye-cao-zhi-bai-228253","画面以古木为核心，老干虬曲扭结，皴擦简劲尽显树皮斑驳嶙峋，枯瘦枝桠如铁铸般舒展，倒挂的垂丝晕开幽寂清冷的氛围。侧旁杂木参差，枯荣相衬，更衬出主树孤高之姿。\n\n下方坡石以淡墨勾勒晕染，棱角浑朴古拙，托举着古木更见苍劲。构图疏朗空灵，以极简笔墨铺展出荒寒淡远的意境，尽显元代文人尚简重意的风骨。笔意苍劲松秀，枯中藏腴，淡而弥厚，将冬景萧瑟化作沉静的精神图景，淡墨轻岚间，寄寓着幽淡清寂的隐逸心绪，尽显疏旷出尘的文人意趣。",[23,24,7,4437,128,29,1337,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aa7ec689131e19f51954940a33d2460.jpg",[],{"id":52944,"slug":52945,"title":52946,"dynasty":144,"author":569,"museum":300,"description":52947,"tags":52948,"thumbUrl":52949,"material":84,"size":84,"collection":84,"collections":52950,"showCount":268,"zanCount":1998,"manualWeight":48,"mainColor":49},228057,"fan-qi-tu-ye-zhao-meng-fu-228057","番骑图页","此画以淡赭素绢为底，将目光凝于草原行旅的片刻日常。两位骑手颇具游牧风情，红衣戴笠者控黑花马稳步前行，青衫跨坐者抬手牵住随行白马，神态松弛安然，衣褶线条清劲简练，寥寥数笔便勾勒出策马闲行的悠然情态。\n\n三匹马造型写实灵动，黑花马昂首健硕，白马温顺舒展，墨色晕染柔和雅致，以极简笔墨描摹出马匹肌理毛发，不见多余背景铺陈，却将塞外行旅的松弛鲜活定格绢素，尽显简淡萧散的鞍马画意趣，于朴拙雅致间藏着游牧日常的鲜活烟火。",[23,164,24,7,59,27,28,96,101,949,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5191d62260f7f79f9b22aeb48e388305.jpg",[],{"id":52952,"slug":52953,"title":52954,"dynasty":18,"author":223,"museum":300,"description":52955,"tags":52956,"thumbUrl":52957,"material":84,"size":84,"collection":84,"collections":52958,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},227924,"jiao-shi-ying-xi-tu-yi-ming-227924","蕉石婴戏图","这幅小品以庭院一隅铺展童趣，玲珑湖石矗立，芭蕉舒展浓荫，晕染出夏日庭院的清幽意韵。十余稚童散落各处，或两两私语、或结伴嬉闹，有的摹仿大人行礼作态，有的蹲坐把玩小物，一举一动皆憨态可掬，将孩童日常嬉游的模样鲜活呈现。设色淡雅柔和，衣纹线条细劲流畅，画师以精妙笔力将幼童的天真烂漫刻画得淋漓尽致，藏着平淡日常里的融融稚趣，尽显工致雅致的宋画意韵，把烟火日常里的童真定格成隽永的画面。",[23,164,24,7,1131,27,28,96,875,171,98,8832],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F880c152bb4ecce6798ef847bc94f14c1.jpg",[],{"id":52960,"slug":52961,"title":52962,"dynasty":18,"author":223,"museum":300,"description":52963,"tags":52964,"thumbUrl":52965,"material":84,"size":84,"collection":84,"collections":52966,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},227876,"liu-xi-chun-se-tu-yi-ming-227876","柳溪春色图","画面取景清隽雅致，以一角之景铺展春日闲情。苍松虬曲斜伸，松石旁廊下侍者俯身煎茶，对岸柳色氤氲，春水漾漾，远山含翠晕染如黛。衣袂轻扬的文人静坐在松下，凭览溪山春色，将幽居赏景的澹然意趣融于尺幅间。\n\n设色清润雅致，勾勒皴染细腻温婉，山水林人相映成趣，把林下雅兴、寄情林泉的幽怀铺陈开来，虽咫尺小帧，却晕染出舒展悠远的春日静境，尽显含蓄诗意与雅致情致。",[23,1131,24,7,27,132,29,96,4363,99,171,34,6640],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8afb44f2205239bed4a2bbdc94d9cd7c.jpg",[],{"id":52968,"slug":52969,"title":47190,"dynasty":18,"author":1174,"museum":300,"description":47191,"tags":52970,"thumbUrl":52971,"material":84,"size":84,"collection":84,"collections":52972,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},227771,"mo-fan-kuan-xi-shan-du-diao-tu-juan-li-tang-227771",[23,164,24,7,25,330,132,128,29,129,1350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F630f76f964392cf441413ed6978a2135.jpg",[],{"id":52974,"slug":52975,"title":52976,"dynasty":18,"author":52977,"museum":300,"description":52978,"tags":52979,"thumbUrl":52980,"material":84,"size":84,"collection":84,"collections":52981,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},227615,"liu-yin-xiu-qi-tu-ye-yang-ri-yan-227615","柳荫休憩图页","杨日严","杨日严，字垂训，宋朝河南人。进士及第，曾任安丘知县，通判亳、陈二州。杨日严任益州转运使时，颇为蜀人所信爱，却在任内因贪污被欧阳修弹劾，从此与欧阳修结怨，并且设法攻击。后为开封府代理知府，有囚犯自杀因被罢官。后判太常、司农寺，同知审官院，卒于官。",[23,164,24,7,59,27,28,96,4363,211,29,171,6323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24620bc6c89ce952d0373ed3f8835188.jpg",[],{"id":52983,"slug":52984,"title":52985,"dynasty":18,"author":21545,"museum":300,"description":52986,"tags":52987,"thumbUrl":52988,"material":84,"size":84,"collection":84,"collections":52989,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},227539,"fan-wang-li-fo-tu-zhao-guang-fu-227539","藩王礼佛图","《番王礼佛图》，宋代赵光辅作，卷绢本，设色，纵28.6厘米，横103.5厘米。现藏美国克里夫兰艺术博物馆。\n\n此图画中国周边少数民族酋长、番王朝拜佛祖的形象。佛祖高坐莲台，诸番王作礼拜、贡献之状，服饰皆异域装束。画面气势宏大，人物安排疏密有致，表情各异，生动自然，是宋代人物画的一幅杰作。",[23,164,24,7,25,187,27,28,96,208,64,170,572,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c003e5ab7391900ab1a6e34dd38cf6.jpg",[],{"id":52991,"slug":52992,"title":52993,"dynasty":18,"author":52994,"museum":300,"description":52995,"tags":52996,"thumbUrl":52997,"material":84,"size":84,"collection":84,"collections":52998,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},227438,"chu-shi-bei-jiang-tu-juan-yang-bang-ji-227438","出使北疆图卷","杨邦基","杨邦基，生卒年不详。金画家。字德懋，号息轩，陕西华阴人。幼孤，好学。擅画山水、人物、鞍马。人物画有李公麟格调；山水学李成。潇洒脱俗，令人渺然有江湖尘外之思。存世作品有《聘金图》。\n\n《金史》称：杨邦基，字德懋，华阴人。父綯，宋末为易州州佐。宗望伐宋，蔡靖以燕山降，易州即日来附，綯被杀，邦基年十余岁，匿僧舍中，得免。既长，好学。天眷二年，登进士第，调滦州军事判官，迁太原交城令。太原尹徒单恭贪污不法，托名铸金佛，命属县输金，邦基独不与。徒单恭怒，召至府，将以手持铁拄杖撞邦基面，邦基不动。秉德廉察官吏，尹与九县令皆免去，邦基以廉为河东第一，召为礼部事。以兵部员外郎摄吏部差除，坐铨注李庆之、大奉国臣，与高衎等皆贬官，邦基降坊州宜君簿。转高密令。大定初，尚书省拟邦基刑部郎中，世宗曰：“县官即除郎中，如何？”太师张浩对曰：“邦基前为兵部员外郎矣，且其人材可用。”上许之。改太府少监，知登闻检院，为秘书少监，迁翰林直学士，再迁秘书监兼左谏议大夫，修起居注。中都警巡使张子衍与邦基姻家，子衍道中遇皇太子卫仗，立马市门不去伞，卫士诃之，子衍以鞭鞭卫士诃己者。御史台劾奏子衍，邦基见台官为子衍求解，及入见显宗，求脱子衍罪。诏削子衍官两阶。邦基坐削官一阶，出为同知西京留守事，徙山东东路转运使，永定军节度使，致仕。大定二十一年，卒。邦基能属文，善画山水人物，尤以画名当世云。",[23,164,24,7,25,27,29,132,96,101,1144,496,37,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7813fa368ac32a990250cd1cd532baa8.jpg",[],{"id":53000,"slug":53001,"title":53002,"dynasty":351,"author":4456,"museum":300,"description":50090,"tags":53003,"thumbUrl":53004,"material":84,"size":84,"collection":84,"collections":53005,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},226705,"su-li-bie-yi-juan-2-zhou-wen-ju-226705","苏李别意卷-2",[24,7,25,27,28,96,17726,9165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa229b26e47f4093cc5aab6eddd554b77.jpg",[],{"id":53007,"slug":53008,"title":53009,"dynasty":54,"author":1460,"museum":300,"description":53010,"tags":53011,"thumbUrl":53012,"material":84,"size":84,"collection":84,"collections":53013,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},224501,"shan-shui-ce-kai-er-shi-tao-224501","山水冊开(二)","此作以水墨淡彩写就江南水乡之景，构图虚实相生，上部题诗留空疏朗开阔，下部绘景层次分明。近岸坡石上孤屋临水，旁植古松垂柳，枝条轻拂水面，野意悠然。中景水村错落，粉墙黛瓦隐于林木间，渔舟漾波，渔人往来作业，鲜活尽显水乡日常烟火。\n\n笔墨简率松灵，山石林木多以点染而成，不重精描细摹，以写意之趣托出萧散淡远的意境。题画诗与画面浑然相融，诗画映发，尽显文人画清雅逸致，将江南渔隐的闲淡安宁娓娓道来，暗含画者寄情丘壑的隐逸襟怀。",[23,24,7,59,128,27,132,29,129,99,35,34,1351,131,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3c8d79112bf34afe23e5983c9cb11e3.jpg",[],{"id":53015,"slug":53016,"title":53017,"dynasty":54,"author":9742,"museum":300,"description":53018,"tags":53019,"thumbUrl":53020,"material":84,"size":84,"collection":84,"collections":53021,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},224492,"ni-gu-tuo-gu-tu-zhou-wu-li-224492","拟古脱古图轴","《拟古脱古图》是清代吴历创作的纸本墨笔画。\n本幅右上吴历自题：“陶渊明‘采菊东篱下，悠然见南山’唐宋人和之者多，独韦应物‘采菊露未晞，举头见秋山’真为绝和。\n画之拟古亦如和陶，情景宛然更出新意，乃是脱胎能手。\n小重阳日墨井道人。\n”下钤“吴历之印”（白文）、“墨井”（朱文）。\n鉴藏印有“莱臣心赏”、“虚斋审定”2方。\n画家在自题中以唐宋人和（音hè）陶渊明“采菊东篱下”名句为例，说明了绘画创作中拟古与脱古即继承与发展关系，同时也为此幅画作的创作旨意作了诠释。\n此画仿元代王蒙山水，但在皴法上长条披麻皴的运用与王蒙的牛毛皴有所不同，构图也不似王蒙的绘画那么饱满，与王蒙的峰峦重叠相比，吴历的山水更接近真山实水，真实感较强。\n吴历将前人的绘画技法融会贯通，用笔严谨，厚朴沉着，笔意高淡，气韵深淳，体现出自己的风格特点，虽是仿古之作却有画家自己的面貌和新意。\n庞莱臣《虚斋名画录》著录。\n吴历（162—1718）清康熙间常熟人，字渔山，自号墨井道人，又号桃溪居士，学经于陈瑚，学诗于钱谦益，学画于王时敏、王鉴，学琴于陈岷，以山水画闻名于清初画坛。\n康熙十四年（1675）前后人天主教，教名西满沙勿略。\n二十一年（1682）在澳门入耶稣会，又取西姓雅古纳。\n二十七年（1688）任神父，其后在上海、嘉定等地传教。\n所撰《墨井诗抄》2卷《三巴集》1卷《画跋》1卷于卒后次年由弟子陆道淮刻印传世。",[23,24,7,165,128,132,29,98,99,34,35,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fe265c9fc33d18c0b8c97edc2c07bd.jpg",[],{"id":53023,"slug":53024,"title":53025,"dynasty":54,"author":3750,"museum":300,"description":53026,"tags":53027,"thumbUrl":53028,"material":84,"size":84,"collection":84,"collections":53029,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},224485,"fang-huang-gong-wang-yan-fu-yuan-xiu-tu-zhou-wang-jian-224485","倣黄公望烟浮远岫图轴","此展品为清代的书画，绢本设色。\n此图仿巨然山水，王鉴在此画中描绘夏秋山水景色，山多矾头而不作嶒崚奇峭之状。\n现收藏于 。\n绢本设色。\n此图仿巨然山水，王鉴在此画中描绘夏秋山水景色，山多矾头而不作嶒崚奇峭之状。\n画面中间有—溪流蜿蜒流过，山石上杂树丛生，山石多以长披麻皴写之，上有焦墨点苔。\n用墨浓润，骨重气轻，匠心独具，沉雄古逸。\n此图作于1674年，作者时年七十六岁，为其逝世前三年。\n款识：“甲寅九秋仿巨然烟浮远岫呈艾翁老祖台大词宗教正，王鉴” 钤印：“王鉴之印”白文方印，“湘碧”朱文方印。\n王鉴（1598-1677年），字元照，一字圆照，号湘碧，又号香庵主。\n江苏太仓人。\n擅长山水，远法董（源）、巨（然），近宗王蒙、黄公望。",[164,24,7,165,1349,27,132,330,663,415,10143,1144,4363,495,99,35,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85222cb3dd78674b95fe037a0f88417e.jpg",[],{"id":53031,"slug":53032,"title":53033,"dynasty":54,"author":9529,"museum":244,"description":53034,"tags":53035,"thumbUrl":53036,"material":637,"size":84,"collection":84,"collections":53037,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":199},224469,"xi-shan-hong-shu-wang-hui-224469","溪山红树","此图为王翚仿黄鹤山樵王蒙的一件极具特色的代表作，描绘的是遍生红树的一片秋日山林景色。画中以圆转重叠、突兀高耸的山峰为主体，山溪逶迤前行，涟漪阵起，秋波荡漾，两岸林木，红翠相间，整个画中意境深幽，秋气袭人。画家拟王蒙笔意与布局，构景繁密，山势云动，境界深奇。山石画法以墨笔牛毛皴和解索皴为主，干笔皴擦，浓墨点苔，既显浓密厚重，又鲜艳夺目，光彩熠熠。",[23,24,7,1349,27,132,208,64,133,29,34,1955,97,495,499,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613cf57d2a1886ceabf81e3e254b741a.jpg",[],{"id":53039,"slug":53040,"title":53041,"dynasty":54,"author":9529,"museum":300,"description":53042,"tags":53043,"thumbUrl":53044,"material":84,"size":84,"collection":84,"collections":53045,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},224440,"xian-shan-lou-guan-tu-wang-hui-224440","仙山楼观图","此作画境苍浑雅致，重岩峻岫拔地而起，皴笔磊落厚重，将山石嶙峋肌理尽皆铺展。古松虬劲横斜，间错排布，掩映起层叠楼阁，朱檐黛瓦隐于林壑间，似藏洞天秘境。\n\n山脚溪湾萦回，村居错落临水而建，渔舟泊于浅滩，烟火意趣晕开仙家清寂，将尘寰烟火与云山灵境相融。整幅画笔致兼具工细与苍茫，干湿墨色交织，既见峰峦雄奇之态，亦得林泉幽居之恬，恍若踏入可居可游的世外清境。",[23,24,7,165,29,97,1233,331,99,131,132,27,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb079ccf42f95315b2b3056257b58765c.jpg",[],{"id":53047,"slug":53048,"title":53049,"dynasty":54,"author":1676,"museum":300,"description":53050,"tags":53051,"thumbUrl":53053,"material":84,"size":84,"collection":84,"collections":53054,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},224293,"gu-bai-ling-xiao-tu-li-shan-224293","古柏凌霄图","画面中古柏躯干虬曲苍劲，枯笔皴擦尽显饱经风霜的古拙质感。凌霄柔蔓盘绕其上，丹色花朵娇妍明媚，刚柔相映，勾勒出盎然生机。下方湖石奇崛嶙峋，侧锋挥写出嶙峋肌理，石畔幽兰素花轻绽，添了几分清雅柔润。\n笔墨刚柔并济，古木的坚拙与花草的灵秀相融，再辅以题诗错落排布，诗画相映，将文人的清雅意趣寄寓其间，尽显写意花鸟的灵动神韵，生机古意交织成雅致盎然的庭间景致。",[23,24,7,165,27,369,132,133,208,61,331,171,53052],"凌霄花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F330a94e92eb6ad613697bf518f9e4fc9.jpg",[],{"id":53056,"slug":53057,"title":53058,"dynasty":54,"author":7208,"museum":300,"description":53059,"tags":53060,"thumbUrl":53062,"material":84,"size":84,"collection":84,"collections":53063,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},224125,"shi-lu-li-lu-ting-tu-zhou-qian-long-224125","诗鹭立芦汀图轴","清乾隆缂丝乾隆御制诗鹭立芦汀图轴是清乾隆时期的图轴。\n米色地上缂织芦花白鹭，右上方以黑线缂织高宗隶书御制诗一首： 采采亚汀洲，为花岂自由。\n群摇令夕雨，不异去年秋。\n藏鹭恋青叶，凌波颤白头。\n吟看惊隙影，荣落宜淹留。\n诗末织圆、方朱印“乾”、“隆”各一方。\n此图轴的特点在于先缂织出物象形状，其上再着笔渲染，如 即先以白丝线织其形态，而后用墨笔画羽毛，地上的小草则全以笔描画，这种织与画的结合，可以画笔来描绘细小而不易缂织之处，弥补了织的不足。\n此作品织与画搭配得当，缂工上乘，以平缂、构缂、环缂、子母经为主。\n画面上还钤有阳文朱印“乾隆御览之宝”、“宣统御览之宝”、“石渠宝笈”、“石渠定鉴”、“三希堂精鉴玺”、“无逸斋精鉴玺”、“乾清宫鉴藏宝”、“宣统鉴赏”和“乾隆鉴赏”、“宜子孙”、“宝笈重编”阴文印章。\n《石渠宝笈续编》著录。",[23,164,24,7,165,28,27,3836,1824,53061,171,208],"汀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdffc101a696745672e7f2512cd182300.jpg",[],{"id":53065,"slug":53066,"title":53067,"dynasty":124,"author":223,"museum":224,"description":53068,"tags":53069,"thumbUrl":53070,"material":151,"size":53071,"collection":84,"collections":53072,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},223576,"quan-xi-tu-yi-ming-223576","犬戏图","三只白底黑点的大狗趴在地上，仿佛看着它们的皮肤吐着皮毛，而其中的两只正在锻炼和玩耍，三只胖嘟嘟的傻傻的表情非常可爱。",[23,24,7,27,28,949,9119,1144,229,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F661ed9dda15d3f39a9490584687bc98a.jpg","36X35cm",[],{"id":53074,"slug":53075,"title":53076,"dynasty":54,"author":223,"museum":53077,"description":53078,"tags":53079,"thumbUrl":53089,"material":611,"size":53090,"collection":84,"collections":53091,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},223502,"hang-cheng-xi-hu-jiang-gan-hu-shu-tu-yi-ming-223502","杭城西湖江干湖墅图","英国大英图书馆","全图以传统绘画揉合地图绘制的技巧表现，将杭州城与西湖及城北附郭仁和县、城南附郭钱塘县一带山形水势尽收于图中。全图不附图例、比例及方位，但明显采西上、东下的分布。图中各处标示地名，杭州城内官署、坊巷、水道桥梁均详细注记；杭城外西湖及周围山岭、寺庙及景点也都非常细腻描绘，钱塘江水面在图右，以图面空白的方式表现，仅注记「闸口至北新关三十里」、「闸口至六和塔五里」等两处文字。",[23,24,164,7,27,29,53080,53081,53082,53083,53084,44777,17270,53085,53086,36,53087,53088,98,97],"城市图","古地图","杭州城","西湖","钱塘江","官署","坊巷","水道","景点","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ffc448fcbdc2f72bda091d949ae7205.jpg","125×67.5cm",[],{"id":53093,"slug":53094,"title":53095,"dynasty":18,"author":223,"museum":20,"description":53096,"tags":53097,"thumbUrl":53100,"material":514,"size":53101,"collection":84,"collections":53102,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},223480,"mo-liang-ling-zan-xing-xiu-tu-juan-yi-ming-223480","摹梁令瓒星宿图卷","全卷画五星和二十八宿神形（现存五星十二宿）。五星即五大行星：金、木、水、火、土，二十八宿是古人用作观测日月五星运行坐标的二十八组星座，环列在日月五星的四方，犹如诸星的栖宿场，故称二十八宿。",[24,7,25,330,28,27,187,96,53098,53099,102,101,14233,5626,1367],"神怪","星宿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82126ff917ff070f22cf00c6e8f9a55c.jpg","27.5x489.7厘米",[],{"id":53104,"slug":53105,"title":53106,"dynasty":18,"author":223,"museum":244,"description":53107,"tags":53108,"thumbUrl":53109,"material":637,"size":53110,"collection":84,"collections":53111,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},223452,"xiao-han-lin-tu-zhou-yi-ming-223452","小寒林图轴","该幅两树石意似未尽，应是残存长卷的一段。平野上林木凋零，天色惨淡欲雪，小径上两翁且行且谈，一童挑担尾随。树枝用笔圆劲，直如篆籀，垂藤生动，势若惊蛇。全幅用笔细谨，墨法精绝，为宋无名款画中之杰出者。 此画绘北方清旷萧森之景，这种寒林平野的主题是由北宋李成所创，但图中坡石皴染和树木枝桠的布置已有郭熙的影响，人物画法精练传神，是北宋风格。因此此图就算不出于郭熙，也是时代相去不远之作。右侧飞雁一行，笔调单薄，与全图气韵不合，可能是后人所补。",[23,24,7,165,128,132,29,331,1233,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29861984f9f280d64ed489a7687eeb8e.jpg","该幅42.2x49.2公分全幅66.5公分",[],{"id":53113,"slug":53114,"title":53115,"dynasty":54,"author":41583,"museum":300,"description":53116,"tags":53117,"thumbUrl":53119,"material":514,"size":53120,"collection":136,"collections":53121,"showCount":268,"zanCount":1998,"manualWeight":48,"mainColor":72},223254,"yan-shan-ba-jing-tu-qiong-dao-chun-yin-zhang-ruo-cheng-223254","燕山八景图-琼岛春荫","此册以北京城著名的“燕京八景”为题而画。燕京八景一说始自金《明昌遗事》，当时金章宗完颜璟将燕京的八处风光名胜选定为燕京八景，即“居庸叠翠”、“玉泉垂虹”、“太液秋风”、“琼岛春荫”、“蓟门飞雨”、“西山积雪”、“卢沟晓月”和“金台夕照”。“燕京八景”历金、元、明、清四代，又有称“燕台八景”、“燕山八景”、“京师八景”、“京畿八景”者，虽景点相同，八景的名称在不同时期则有所变化。乾隆十六年（1751年），乾隆曾御制《燕山八景诗》，将八景定名为“琼岛春荫”、“太液秋风”、“玉泉趵突”、“西山晴雪”、“蓟门烟树”、“卢沟晓月”、“金台夕照”、“居庸叠翠”，沿用至今。该画册中建筑的刻画不用界尺，但是对建筑的特征却描绘得生动准确，表现手法活泼而不失稳重，是画家对景写实的佳作。",[23,164,24,7,27,95,208,29,97,18542,98,99,34,131,10280,53118,111,249],"园林建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99e64bf8b756daf54e558d61066d3f36.jpg","34.7cm，横40.3cm",[136,45],{"id":53123,"slug":53124,"title":53125,"dynasty":54,"author":5181,"museum":300,"description":53126,"tags":53127,"thumbUrl":53128,"material":84,"size":84,"collection":136,"collections":53129,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},223248,"shan-shui-1-pu-hua-223248","山水1","蒲华（1832—1911）字作英，亦作竹英、竹云，浙江嘉兴人。号胥山野史、胥山外史、种竹道人，斋名九琴十砚斋、九琴十研楼、芙蓉庵，夫蓉盦、剑胆琴心室等。晚清著名书画家，与虚谷、吴昌硕、任伯年合称“海派四杰”。\n早年科举，仅得秀才，遂绝念仕途，潜心书画，携笔砚出游四方，后寓居上海，卖画为生。善花卉、山水，尤擅画竹，有“蒲竹”之誉。书法淳厚多姿；其画燥润兼施，苍劲妩媚，风韵清健。\n晚清民国时期著名画家，与任伯年、吴昌硕、虚谷合称“海派四杰”。\n与海上名家广有交往， 同吴昌硕尤为密切。蒲华长吴昌硕十二岁，昌硕幼时便闻蒲华画名，关系在师友之间，互取所长，风貌因之相近。\n善用湿笔，水墨淋漓，光彩照人。善花卉、山水，尤擅画竹，有“蒲竹”之誉。\n吴昌硕作十二友诗，记蒲华曰：“蒲作英善草书、画竹，自云学天台傅啸生，仓莽驰骤、脱尽畦畛。家贫，鬻画自给，时或升斗不继，陶然自得。余赠诗云：蒲老竹叶大于掌，画壁古寺苍涯琏。墨汁翻衣吟犹着，天涯作客才可怜。朔风鲁酒助野哭，拔剑斫地歌当筵。柴门日午叩不响，鸡犬一屋同高眠”。\n吴昌硕为蒲华所作《芙蓉庵燹馀草》作序言：“作英蒲君为余五十年前之老友也，晨夕过从，风趣可挹。尝于夏月间，衣粗葛，橐笔两三枝，诣缶庐，汗背如雨，喘息未定，即搦管写竹，墨沈淋漓。竹叶如掌，萧萧飒飒，如疾风振林，听之有声，思之成咏。其襟怀磊落，逾恒人也如斯。”\n谢稚柳论言：“蒲华的画竹与李复堂、李方膺是同声相应的，吴昌硕的墨竹，其体制正是从蒲华而来”。\n蒲华中年尤勤书学，寝馈旭、素，斗墨千纸，数日而尽。至于元明各家书帖，也常把玩临摹。以书入画，酣畅恣肆。\n蒲华晚年，笔老墨精。其书法，淳厚多姿；其绘画，燥润兼施，苍劲妩媚。尤喜画大幅巨幛，莽莽苍苍，蔚为大观。所作山水大轴或册页，虽多为山居、读书等传统题材，但布局新颖，风韵清隽。\n蒲吴两家粗豪奔放的画风，使因袭纤巧之时风大为逊色，一新画派崛起于沪上画坛。\n癖好古琴，遇即购藏，视为心爱之物，名其居屋为“九琴十砚楼”。",[23,24,7,165,128,27,132,29,663,413,1144,497,37,96,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c51f44fe7b66a6cb2fe829666045ef9.jpg",[136,117],{"id":53131,"slug":53132,"title":53133,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":53134,"thumbUrl":53135,"material":151,"size":7879,"collection":84,"collections":53136,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},223006,"hong-lou-meng-131-sun-wen-223006","红楼梦131",[23,24,7,28,27,95,96,97,247,34,131,62,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a66779d2b4c3b4247ab7fa10a43a0b2.jpg",[],{"id":53138,"slug":53139,"title":53140,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":53141,"thumbUrl":53142,"material":151,"size":7879,"collection":84,"collections":53143,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},222966,"hong-lou-meng-91-sun-wen-222966","红楼梦91",[23,24,7,25,27,28,95,96,12741,99,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb39e4fc09e1e3bc62862b5c2e0b2c8.jpg",[],{"id":53145,"slug":53146,"title":53147,"dynasty":54,"author":34780,"museum":244,"description":53148,"tags":53149,"thumbUrl":53150,"material":53151,"size":53152,"collection":84,"collections":53153,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},222861,"hua-shi-ba-xue-shi-tu-juan-sun-hu-222861","画十八学士图卷","孙祜（公元18世纪）江苏人，生卒年不详。工人物、山水，宗法王原祁。乾隆（1736-1795）时供奉内廷，为宫廷画家。乾隆元年（1736）曾与陈枚、金昆、戴洪、程志道绘《清明上河图》卷进呈，得邀乾隆帝审题，五年（1740）与陈枚、金昆、程志道、丁观鹏合作《庆丰图》册，六年（1741）又与周鲲、丁观鹏合作《汉宫春晓图》卷。\n周鲲字天池，江苏常熟人。黄霆子。画承家学，工山水、人物，梅花亦佳。乾隆（一七三六至一七九五）时供奉如意馆。尝以闾阎疾苦情形托诸艺事，蒙御题，有：“监门遗故事，咨尔溯其踪”句。所作多藏石渠宝笈。\n丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。",[24,7,25,27,28,133,208,331,34,1825,6640],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F070705f270ed15cd0e1471e60583dd9b.jpg","設色,青綠,描金","39×1138.2",[],{"id":53155,"slug":53156,"title":53157,"dynasty":124,"author":9650,"museum":56,"description":9651,"tags":53158,"thumbUrl":53159,"material":84,"size":84,"collection":84,"collections":53160,"showCount":268,"zanCount":1998,"manualWeight":48,"mainColor":72},222509,"shen-xian-tu-ce-15-zhang-lu-222509","神仙图册15",[23,164,24,7,59,128,96,171,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F005e7d8deaa7551ce8082e0538cb946d.jpg",[],{"id":53162,"slug":53163,"title":53164,"dynasty":124,"author":7961,"museum":20,"description":53165,"tags":53166,"thumbUrl":53167,"material":734,"size":53168,"collection":84,"collections":53169,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},222088,"qiu-zhi-yuan-tu-juan-qian-gu-222088","求志园图卷","在明代吴门画家的作品中，有许多以他人的室名别号为题，这类作品被张丑称之为“别号图”，如推而广之，还应包括以庄园、庭院为题材的作品。它们在描绘人造园林真实性的基础上，力图表现园林主人的生活理想，反映他们身居闹市，却追求“与深山野水为友”的操守与志向，这类作品成为吴门画派所表现的一种突出的艺术现象，而钱穀的《求志园图》正是其中颇具代表性的一件。\n此卷是钱穀应友人张凤翼之请，描绘其家园春夏之间的景色，卷首有文徵明题“文鱼馆”三字，卷后有王世贞行书《求志园记》。画家从右侧园门画起，以怡旷轩、风木堂、尚友斋为中心，前有庭，后有园，渐次展开，王世贞所撰《求志园记》中采芳径、文鱼馆、香雪廊皆按图可索，抚记展图，这座“旦而旭、夕而月、风于春、雪于冬”的甲第名园中当年文人云集、清谈雅会的盛景似乎随着手卷展开历历在目。虽写实景，却不是简单的再现，更注意了人造景观与湖渚山色的自然风光的谐调与结合，突出了中国古代“虽由人造，宛自天成”的造园理念，用修篁古木、冬梅花篱、白鹅紫鸳表现画主人对归隐生活的向往，是托物言志的再创造。事实上，由于画家与画主人在情感、思想、旨趣上的相通，图中寄寓的对天地灵秀、淡泊胸襟的意趣追求，同样是画家本人的内心写照。",[23,24,25,27,28,7,133,572,208,97,34,3440,98,99,35,247,276,372,2372,1428,758,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66742fa1af93fb6e7fea758c370c8f5a.jpg","纵29.8厘米，横190.2厘米",[],{"id":53171,"slug":53172,"title":52232,"dynasty":124,"author":3619,"museum":20,"description":23062,"tags":53173,"thumbUrl":53174,"material":611,"size":53175,"collection":318,"collections":53176,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},221950,"shu-zha-ce-wen-zheng-ming-221950",[23,7,64,59,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fcb98a0722d4406013accd71a7a1c5c.jpg","10×23.7cm",[318],{"id":53178,"slug":53179,"title":53180,"dynasty":124,"author":53181,"museum":244,"description":53182,"tags":53183,"thumbUrl":53184,"material":1027,"size":53185,"collection":84,"collections":53186,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},221917,"hua-tian-shi-tu-zhou-chen-huai-221917","画天师图轴","陈槐","图内圆光中张天师执剑，其下为风雷云雨诸神，五鼓伴诸神而现，鼓即雷鼓，五鼓表五雷。本幅当系描绘天师登坛行法，持宝剑敕请五雷神之情状。",[24,7,165,187,188,128,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1b6c3a49b427b41b9ea4c7c766a0554.jpg","29.7×97cm",[],{"id":53188,"slug":53189,"title":53190,"dynasty":18,"author":53191,"museum":20,"description":53192,"tags":53193,"thumbUrl":53194,"material":40,"size":53195,"collection":318,"collections":53196,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},221679,"shen-gui-tu-juan-quan-juan-zhang-gui-221679","神龟图卷全卷","张珪","图左上自题“隨駕張珪”，下钤“畫”字等二印。后纸有明人题记一则，年款为“成化二十一年乙巳秋九月望日，熏沐頓首謹跋”。又钱士叔题记。钤“奎章”、“天”、“曆”、“項子京家珍藏”等鉴赏印多方。\n龟在古代为祥瑞之兽，与麟、凤、龙并称“四灵”，外加白虎，又称“五瑞”。此图右下临水沙滩上绘乌龟一只，仰首，口中喷出一股云气，祥云中现出一轮红日，日中有“”字。衬景是广阔的水面和沙丘，使画面平添了神秘感。此图用笔工整细腻，龟之甲纹描画得一丝不苟。构图简洁，设色妍美，画风近院体，为张珪传世孤本。\n清内府《石渠宝笈·初编》著录。",[23,24,7,25,28,27,133,208,14233,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd296cbd2ee2bc4e71a513f75b25a7f07.jpg","纵26.5厘米，横53.3厘米",[318],{"id":53198,"slug":53199,"title":30286,"dynasty":18,"author":5533,"museum":20,"description":53200,"tags":53201,"thumbUrl":53206,"material":2239,"size":30290,"collection":84,"collections":53207,"showCount":268,"zanCount":1998,"manualWeight":48,"mainColor":72},221611,"qiu-liu-shuang-ya-tu-ye-liang-kai-221611","纨扇页，行书署款“梁楷”二字。\n此图前人定名《秋柳双鸦》，实则写唐代诗人王维五言绝句《鸟鸣涧》诗意。王维的诗“人闲桂花落，夜静春山空。月出惊山鸟，时鸣春涧中。”描绘鸟鸣涧春山月出的夜景，既幽静，又有生气。梁楷的画，以渴笔焦墨绘一节断裂的枯柳，三两根枝条昂扬向上又飘拂而下，突兀地将整幅扇页中分为二，构图大胆，以奇致胜。大片空白处淡墨晕染出的薄云满月，给空谷春山平添了几分神秘。初升的月亮惊起的两只山鸟奋飞呼鸣，打破了夜空的静寂，老柳虽然细弱，枝条却仍坚韧，使观者感受到自然生命的搏动。\n梁楷作画，以“减笔”闻名，此幅亦不例外，寥寥几笔就生动地勾画出所表现物象的主要特征，描绘出花鸟的内在神韵。大片的空白使画面显得空濛含蓄，给人以笔墨有尽而意无穷的想象空间，达到了“于无画处皆成妙境”的艺术效果。",[23,24,9717,53202,15092,4437,7,53203,53204,4363,2940,53205],"写意画","秋柳","双鸦","暮色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda57ad02295ec97fd893b3cb36990a90.jpg",[],{"id":53209,"slug":53210,"title":51523,"dynasty":18,"author":40225,"museum":510,"description":53211,"tags":53212,"thumbUrl":53214,"material":611,"size":53215,"collection":318,"collections":53216,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},221568,"shu-han-wen-gao-quan-juan-zhu-xi-221568","行草《书翰文稿》卷，该卷由两件作品组成，前一件用笔以篆为主，圆钦于方，第二件作品则时见隶笔，以方见长，但两件作品都是字密集，行距宽松，强调书写之势的一泻而下。是南宋文学家、教育家朱熹的代表作之一。\n朱熹书法追慕钟、王，注重法度。此卷看似信手而出，运笔迅疾，实则不事雕琢，无意求工，深具功力，独见自然之美。\n在笔法上，此《书翰文稿》卷善用中锋，运转沉着顺畅，入笔藏锋隐芒，绝无狂躁之迹，行气连贯，不刻意工整，风格洒脱自然，文与质、文与道互为表里。",[23,164,24,7,25,133,572,64,208,53213],"文稿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17845e2d30b7a63446a2e48fd4c53ce4.jpg","前段纵33.5厘米、横45.3厘米，后段纵28.2厘米、横113.6厘米",[318],{"id":53218,"slug":53219,"title":53220,"dynasty":18,"author":2141,"museum":244,"description":53221,"tags":53222,"thumbUrl":53223,"material":151,"size":53224,"collection":84,"collections":53225,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},221546,"hua-luo-han-zhou-liu-song-nian-221546","画罗汉轴","本院藏画中，有三幅刘松年画罗汉，每幅都款署「开禧丁卯（1207）刘松年画」，此轴即为其中之一。幅中罗汉浓眉高鼻，貌若印度高僧，身著右袒式袈裟，倚树沈思。身侧随侍的和尚以衣袂承接树上长臂猿所摘之石榴，身前尚有二鹿仰观，画面生动。此罗汉脸上满布皱纹，双眉蹙起，神情专注，栩栩如生。全作用笔变化多端，衣纹流畅罗汉头後的圆光，及三树枝柯掩映，层次分明。全画敷色妍丽，繁缛精美，皆臻绝纱。\n此画风格属于刘松年工整细润一路，是他晚年成熟的作品。画中人物用铁线描绘而成，线条流畅有力。服饰与面部均刻画得极其精细，用笔沉着稳健，神形兼备。画中罗汉与小和尚的僧袍色彩在多样变化中求得协调和统一，树木与山石注重写实。特别是树石的用笔，勾勒与皴擦，墨色浓淡相间，充分表现出了树干与山石的坚硬质感与体积感。枯树满身结疤和苍老坚硬的枝条与后面一棵枝叶浓密的树形成强烈对照，表现出了大自然所蕴涵的无限生机。浓密的枯枝与树叶衬托出疏朗的人物，形成疏密的对比，使人物形象在画中十分突出。此幅作品称得上是山水画和人物画完美结合的成功之作。\n这幅《罗汉图》虽然取自佛教题材，实际上已有着明显的世俗化的倾向。在意境表现上，画家通过对山石树木等自然景物的精心布置和渲染，营造出一个草木丰茂、秋清气爽、山果飘香的画境。罗汉与小和尚置身其境，神情悠然自得，营造了人与自然、人与动物之间互相依存的祥和气氛。\n另外，这幅《罗汉图》在艺术处理上吸取了佛教壁画在佛像头部画上佛光的方法，其表现手法是十分高超的。罗汉头像的佛光就如聚光灯一般，如雾如纱。朦胧中一组树枝隐约可见，使画面的虚实对比更加强烈",[23,164,24,7,165,187,28,27,96,95,875,37810,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0035ad35ba239ec50313d885cbecae1d.jpg","纵117厘米横55.8厘米",[],{"id":53227,"slug":53228,"title":53229,"dynasty":18,"author":53230,"museum":224,"description":53231,"tags":53232,"thumbUrl":53233,"material":40,"size":53234,"collection":84,"collections":53235,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":3379},221471,"xi-sai-yu-she-tu-juan-li-jie-221471","西塞渔舍图卷","李结","此图为画家李结归隐湖州苕霅西塞山居的理想生活之景。绘丘岭起伏，水碧山青，草木葱茸，沟壑清晰，坡脚石块高低起休，溪水围岸而流。庄园依山傍水，高士放怀得失。李结，字次山，善诗文绘画。",[23,24,7,25,29,1351,129,1350,99,98,27,132,130,211,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d95a85cebca99604ce1166ce014ea99.jpg","40.2*135.5CM",[],{"id":53237,"slug":53238,"title":53239,"dynasty":124,"author":2268,"museum":6892,"description":53240,"tags":53241,"thumbUrl":53242,"material":59,"size":6896,"collection":84,"collections":53243,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":84},220750,"fang-ge-jia-shan-shui-6-dong-qi-chang-220750","仿各家山水-6","此作用笔松秀虚和，以干笔淡墨勾勒皴擦。近岸老木虬曲偃蹇，枝叶苍郁间伴以修松清挺，林侧茅舍隐现，浅草萦回于水畔。中远景平坡澹荡，遥岫浮空，寥寥数笔便晕染出空濛淡远的平野之境。\n整体取平远章法，墨色清润淡雅，萧散简淡，将江南水畔清寂幽远的诗意尽数铺陈，尽显文人画空灵悠远的雅逸格调，寄寓着林泉高致的幽怀。",[23,24,7,128,29,330,132,59,34,131,35,1824,415,5323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d42de66c74884278b37e641dfc193bc.jpg",[],{"id":53245,"slug":53246,"title":53247,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":53248,"thumbUrl":53249,"material":611,"size":3722,"collection":84,"collections":53250,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},220317,"huang-shan-tu-ce-12-hong-ren-220317","黄山图册-12",[23,24,7,164,59,128,27,132,29,30,1144,37,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3b54d3c4af734c0a0632bca860be3cf.jpg",[],{"id":53252,"slug":53253,"title":53254,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":53255,"thumbUrl":53256,"material":611,"size":3722,"collection":84,"collections":53257,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},220316,"huang-shan-tu-ce-13-hong-ren-220316","黄山图册-13",[23,24,7,164,59,128,132,131,496,1022,34,1813],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc417d6e1a625c43032297da4992c2db5.jpg",[],{"id":53259,"slug":53260,"title":53261,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":53262,"thumbUrl":53263,"material":611,"size":3722,"collection":84,"collections":53264,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},220307,"huang-shan-tu-ce-20-hong-ren-220307","黄山图册-20",[23,24,7,59,128,132,29,171,99,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa431a49a8cdec6605db78b8ba51f6287.jpg",[],{"id":53266,"slug":53267,"title":53268,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":53269,"thumbUrl":53270,"material":611,"size":3722,"collection":84,"collections":53271,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},220302,"huang-shan-tu-ce-24-hong-ren-220302","黄山图册-24",[23,24,7,59,128,132,29,130,495,1144,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f0f1eea5eec9fa20d8d4c3de009e2b.jpg",[],{"id":53273,"slug":53274,"title":53275,"dynasty":124,"author":802,"museum":77,"description":803,"tags":53276,"thumbUrl":53277,"material":173,"size":808,"collection":84,"collections":53278,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},220228,"hua-niao-cao-chong-xie-sheng-ce-qiu-fang-yi-shi-chen-hong-shou-220228","花鸟草虫写生册-秋芳倚石",[23,24,7,164,59,28,27,547,22523,171,2918,480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd5070cbb8535d068831c1c644da9378.jpg",[],{"id":53280,"slug":53281,"title":53282,"dynasty":18,"author":12285,"museum":5543,"description":12286,"tags":53283,"thumbUrl":53285,"material":1733,"size":12289,"collection":84,"collections":53286,"showCount":268,"zanCount":1998,"manualWeight":48,"mainColor":49},220106,"shi-liu-luo-han-tu-di-shi-liu-zun-zhe-jin-da-shou-220106","十六罗汉图-第十六尊者",[23,24,7,164,165,187,96,2218,772,12564,53284,28,27],"盘子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafa7244c605f811ff0fb0fd51efcd27a.jpg",[],{"id":53288,"slug":53289,"title":53290,"dynasty":124,"author":53291,"museum":424,"description":53292,"tags":53293,"thumbUrl":53294,"material":278,"size":53295,"collection":44,"collections":53296,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},220093,"luo-han-tu-juan-wu-xin-dao-ren-220093","罗汉图卷","无心道人","无心道人（公元16一17世纪中）明僧人，陕西终南人，弃儒为僧，明末清初画家，法名无心，自号无心道人，\n生卒年不详。\n善山水、人物，尤擅佛像。\n人物形神刻画潇洒生动，线条遒劲酣畅，笔墨放纵苍泽。\n王锋谓其善山水、诸尊者像，有古法，有操物外权者，果尽书画伦也耶。\n传世作品有《罗汉图》卷，纸本，墨笔，纵279厘米，横1666厘米，卷首款署七十八增无心道人书于马宅花园寂住。",[23,24,7,25,187,96,29,128,188,64,133,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbcb99a70ef886fc35dc60ca9b27bbd5.jpg","纵279厘米，横1666厘米",[44],{"id":53298,"slug":53299,"title":1230,"dynasty":54,"author":37941,"museum":77,"description":53300,"tags":53301,"thumbUrl":53302,"material":317,"size":53303,"collection":136,"collections":53304,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},220066,"shan-shui-tu-zha-shi-biao-220066","查士标，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。后寓扬州。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。",[24,7,165,128,132,29,98,99,130,211,34,497,372,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d0361e879716fd117dcac527202ca88.jpg","193×47.5cm",[136],{"id":53306,"slug":53307,"title":53308,"dynasty":54,"author":47695,"museum":53309,"description":53310,"tags":53311,"thumbUrl":53312,"material":611,"size":53313,"collection":136,"collections":53314,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},219989,"han-lin-guan-pu-tu-zhang-feng-219989","寒林观瀑图","上海人民美术出版社","清代画家张风画以山水称妙，人物、花草亦恬静闲适，神韵悠然，没有一丝一毫的妩媚习气，是一位绘画史上有影响的画家。据画史载可知康熙元年他曾与周亮工会于高座寺，并为之作画。张庚称张风为笔墨中之散仙，可谓信然。而且他工刻印，秀远如其人。近代大师张大千极为崇拜张风画艺，张氏特将自己的画室命名为“大风堂”，可见对其之崇拜。",[23,164,24,7,128,165,29,1337,495,96,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fac23f513f76befb5d8664779f74162.jpg","57.5×37.5cm",[136],{"id":53316,"slug":53317,"title":53318,"dynasty":124,"author":204,"museum":56,"description":11541,"tags":53319,"thumbUrl":53320,"material":173,"size":11544,"collection":84,"collections":53321,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},219778,"lin-song-ren-hua-ce-2-chou-ying-219778","临宋人画册-2",[164,24,7,1131,28,27,330,96,166,5268,949,413,1771,249,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b3411bd2288e57ce8b2f954e1d79e30.jpg",[],{"id":53323,"slug":53324,"title":53325,"dynasty":124,"author":125,"museum":6413,"description":53326,"tags":53327,"thumbUrl":53328,"material":278,"size":53329,"collection":44,"collections":53330,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},219622,"gao-xian-jian-bie-tu-shen-zhou-219622","高贤饯别图","此作为书画合卷，前段行书长札笔力苍劲老辣，笔墨朴拙醇厚，信中铺陈故旧饯别往还，文辞质朴真挚，将江南文人的温厚交谊娓娓道来。\n后段山水以淡墨写意，浅设色晕染出江南暮春风物，林亭错落，烟波澹荡，将临别缱绻心绪融于咫尺尺幅。整卷书卷气沛然，叙事抒情与笔墨意趣相融无间，尽显吴门文人间酬唱寄情的风雅日常，笔墨间漫溢出平和温厚的文人品格，是文心与画境相映的绝佳范本。",[24,7,25,128,27,96,133,64,34,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5aa41795e30a32b8269de302bb1eed6.jpg","纵26.5横162.7厘米",[44],{"id":53332,"slug":53333,"title":53334,"dynasty":54,"author":5191,"museum":244,"description":53335,"tags":53336,"thumbUrl":53337,"material":66,"size":53338,"collection":84,"collections":53339,"showCount":268,"zanCount":1998,"manualWeight":48,"mainColor":72},219486,"qiu-ri-shan-ju-zhou-huang-ding-219486","秋日山居轴","此作用笔沉厚细腻，主峰雄峙云端，斧劈皴刻画出山石冷峻筋骨，两道飞瀑垂挂崖间，为沉静山林注入灵动生机。苍松虬枝舒展如盖，丹叶秋林点染暖意，晕开融融秋意。山坳间屋舍错落，板桥横卧浅溪，溪石隐现似漾着潺潺水音，将幽寂山林与闲淡山居揉合一处。远景峰峦叠嶂渐隐烟岚，留白晕染出空濛悠远的诗意。\n画作兼取先贤笔墨意趣，融苍郁繁复与秀润简淡于一体，设色雅致清和，铺展出秋日山居的安闲静谧，将文人寄情林泉、归卧丘山的隐逸之思藏入每一处勾勒晕染中。",[24,7,164,165,29,27,132,131,34,372,1955,98,99,495,4605,35,499,35462,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff442355ddacad4cede5834c399118b29.jpg","64.5x38",[],{"id":53341,"slug":53342,"title":39701,"dynasty":144,"author":287,"museum":244,"description":53343,"tags":53344,"thumbUrl":53347,"material":27,"size":84,"collection":44,"collections":53348,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":956},219443,"da-mo-xiang-qian-xuan-219443","画面中达摩披衣而立，络腮虬髯衬出沉静面容，光头显露出禅者清寂。衣袂以金线勾描，满布回纹与吉祥符饰，流转间似有梵音暗涌。背景以浓墨晕染云雾与浪涛，深幽色调衬得金身愈显庄严。脚下礁石隐现，衣袍下摆随波轻漾，仿佛正立于渡江之际，静对万顷沧溟。线条细劲却含张力，金墨与黑底相映成趣，既见工笔之精，亦藏写意之韵，将达摩的坚毅与禅意凝于方寸，尽显古雅深邃之美。",[24,7,165,187,96,27,53345,4505,53346,208],"描金","礁石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5239eb198863f33d5f3ab58ec0b3ec1.jpg",[44],{"id":53350,"slug":53351,"title":53352,"dynasty":124,"author":53353,"museum":244,"description":53354,"tags":53355,"thumbUrl":53356,"material":151,"size":53357,"collection":44,"collections":53358,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},219420,"da-mo-wei-du-zhou-xing-guo-xian-219420","达摩苇渡轴","邢国贤","此幅画菩提达摩（？1536）一苇渡江的故事。据传达摩本为南印度香至王第三子，南北朝时泛海至广州，梁武帝迎入建业，达摩因其法缘薄，遂脚踏芦苇渡长江至北魏。止於嵩山少林寺面壁十年，於梁大通二年圆寂。葬于熊耳山。唐代宗諡号圆觉大师，为中国禅宗始祖。",[24,7,165,187,96,128,188,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1233bb8ec873972a8667a1ee5dec3a38.jpg","114.9x35.9公分",[44],{"id":53360,"slug":53361,"title":53362,"dynasty":144,"author":223,"museum":224,"description":53363,"tags":53364,"thumbUrl":53365,"material":173,"size":84,"collection":68,"collections":53366,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},219299,"yan-shang-ji-ling-tu-yi-ming-219299","岩上鹡鸰图","疏枝如篆，瘦劲墨痕牵起清寂。岩块朴拙，淡墨晕染承着岁月沉影。鹡鸰栖石，羽翅敛微光，尾羽轻垂，神态悠然，似在静听风过枝桠的细响。右上角题字错落，笔墨与画境相融，文气暗生。画面简而不空，淡而有味，将元代文人画的空灵意趣凝于绢素——枯枝的疏朗、石的厚重、鸟的灵动，交织成一曲静谧的笔墨清歌，于简约中见生机，于静谧中藏深致。每一处线条皆含书法意韵，每片墨色都透着凉润，似能触到古人观物时的那份悠然心境。",[24,7,165,128,27,28,171,211,1337,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F538cf45217440ab8e483e722eede9383.jpg",[68],{"id":53368,"slug":53369,"title":53370,"dynasty":54,"author":14080,"museum":20,"description":53371,"tags":53372,"thumbUrl":53373,"material":173,"size":53374,"collection":84,"collections":53375,"showCount":268,"zanCount":1998,"manualWeight":48,"mainColor":49},219137,"yang-zhou-si-jing-tu-chun-tai-ming-yue-yuan-yao-219137","扬州四景图-春台明月","这组画屏是袁耀晚年的佳作，所绘为南京北郊的到处名胜景区，均为写生之作。 “春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色典雅。“平流涌瀑”画夏日高树掩映，茂茂森森，以独特的落墨点染，华滋苍润。“万松叠翠”写秋时寂寥之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的柳树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以特色界画的娴熟技法把扬州曾经“两堤花柳全依水，一路楼台直到山”的繁盛景象真切形象地展现在观者面前。",[23,164,24,7,95,27,28,29,97,231,1516,34,99,9364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc2083e3304ec61a774b10ba10ced57.jpg","纵57厘米，横66.1厘米",[],{"id":53377,"slug":53378,"title":53379,"dynasty":144,"author":8127,"museum":244,"description":53380,"tags":53381,"thumbUrl":53382,"material":173,"size":10420,"collection":84,"collections":53383,"showCount":268,"zanCount":1998,"manualWeight":48,"mainColor":49},219132,"hua-hui-ce-hu-er-cao-wang-yuan-219132","花卉册-虎耳草","叶片展如虎耳，脉络细若蚕丝，淡绿晕染出层次分明的肌理。细茎托着素白小花，轻盈似欲随风摇曳。枝间小虫匍匐，梢头轻羽掠过，静中藏动，仿佛能嗅到草叶的清冽气息。墨线勾勒简洁精准，设色温润内敛，赭色背景衬得草木愈发清新。以极简物象捕捉生机，无浓艳之姿，却有静谧雅致的韵致，尽显对自然细微之美的深情凝视与文人画的空灵意趣。每一处笔触都藏着对生命的珍视，将平凡草木绘成诗意的存在，于无声中传递出自然与心灵的共鸣。",[23,24,7,59,28,27,61,62,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33ab3628f34bb94d9d39c9594686daf2.jpg",[],{"id":53385,"slug":53386,"title":53387,"dynasty":18,"author":223,"museum":244,"description":53388,"tags":53389,"thumbUrl":53390,"material":173,"size":53391,"collection":136,"collections":53392,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},218976,"xue-tang-chui-diao-tu-yi-ming-218976","雪塘垂钓图","这是一幅柳宗元诗歌《江雪》的画作，画中的渔夫带着嘀嗒声在江雪的天空中独自捕鱼。心情是空虚和冷漠的，笔触是清晰和减少的。虽然不一定是宋代，但可以追溯到元代。",[23,24,7,59,128,27,28,132,1556,29,1337,129,1350,96,414,663,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea60d2b0f61e8804c3f763b7d1d90dc6.jpg","23.8x25.5",[136],{"id":53394,"slug":53395,"title":53396,"dynasty":18,"author":223,"museum":244,"description":53397,"tags":53398,"thumbUrl":53400,"material":173,"size":53401,"collection":68,"collections":53402,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},218730,"yun-long-shan-que-tu-yi-ming-218730","筠笼山雀图","这幅画描绘了两只小鸟在笼子里和笼子外玩耍的情景，笔触沉重，笼子的结构处理得很差，钱的形式是艺术家的印章 顺口溜。这幅画和这枚印章都是不真实的，应该被视为普通的复制品。",[23,24,7,164,28,27,61,4843,53399,133,59],"竹笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fc639dbae1130bcbdab21b8cb2ceef9.jpg","26.9x25.9",[68],{"id":53404,"slug":53405,"title":1230,"dynasty":18,"author":223,"museum":244,"description":53406,"tags":53407,"thumbUrl":53408,"material":173,"size":84,"collection":136,"collections":53409,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},218694,"shan-shui-tu-yi-ming-218694","纨扇小景纳海天气象于尺幅间。浪涛奔涌，层层叠叠如堆雪翻银，墨线勾斫见波涛之势；右侧松枝如铁，虬曲横斜，松针密匝似攒云，树下亭榭隐现，似有幽人凭栏观海。动静相济里，壮阔与清寂交织——浪的奔腾衬松的苍劲，亭的静立藏观海者的悠然。墨色浓淡相宜，有限空间展无限遐思，尽得宋画小景中天地情怀与文人意趣，于细微处见苍茫，于静谧中藏生机。",[23,24,7,128,27,132,59,29,951,34,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a47d5422bb0d9703f21a3cb78e8308.jpg",[136],{"id":53411,"slug":53412,"title":53413,"dynasty":18,"author":223,"museum":6413,"description":53414,"tags":53415,"thumbUrl":53416,"material":173,"size":53417,"collection":44,"collections":53418,"showCount":268,"zanCount":1998,"manualWeight":48,"mainColor":49},218484,"sui-yang-wu-lao-tu-zhu-guan-xiang-yi-ming-218484","睢阳五老图-朱贯像","这五位老人都是宋朝的重臣，辞官后住在南京的睢阳，他们经常聚在一起写诗。时称“睢阳五老会”。",[23,24,164,7,165,28,27,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50de006a9494fa16a40c48bf42f3ba28.jpg","40.3x32.2",[44],{"id":53420,"slug":53421,"title":53422,"dynasty":54,"author":9864,"museum":20,"description":53423,"tags":53424,"thumbUrl":53425,"material":173,"size":53426,"collection":44,"collections":53427,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},218403,"wang-shi-zhen-fang-bai-xian-tu-yu-zhi-ding-218403","王士禛放白鹇图","这幅画描绘了王士禛坐在花园前的沙发上，手里拿着卷轴沉思的样子，而他面前的一个孩子打开笼子的门，放出一只白野鸡。画面上，云雾缭绕，远处的山头，山下的房屋掩映在云雾之中，一派开阔宁静的景象，恰如其分地表达了一个身居高位的人思念故土、想要逃离牢笼的内心感受。场景和情境的交织，充分表达了王诗的内容，并通过绘画表达了其内在的韵律，具有诗意和极强的感染力。",[23,24,7,25,28,27,96,211,34,29,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F989f7c06a8f4982a8994af915a0e707f.jpg","26.1x110.7",[44],{"id":53429,"slug":53430,"title":53431,"dynasty":54,"author":53432,"museum":77,"description":53433,"tags":53434,"thumbUrl":53435,"material":66,"size":53436,"collection":136,"collections":53437,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},218311,"han-shan-si-tu-gu-zhong-quan-218311","寒山寺图","顾仲泉","月色轻笼层峦，远山如黛晕染朦胧。河面波光微漾，一叶扁舟张帆缓行，似载着晚归的思绪。岸边疏林掩映屋宇，禅意隐于其间。近景石砌水门轮廓苍劲，与远处静谧相映成趣。笔墨淡雅却含情致，江南水乡的清寂与古寺的悠远融于一卷。晚风仿佛拂过帆樯，隐约传来钟鸣，引人沉入悠然夜色，心绪随波轻漾，沉醉在画中禅意与诗意交织的静谧里。",[24,7,165,27,29,95,231,129,97,98,99,34,35,1743,105,415,7782],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc63cc8ddb867e90a5f40382b90fa4fb6.jpg","88.0x40.7cm",[136],{"id":53439,"slug":53440,"title":53441,"dynasty":124,"author":204,"museum":244,"description":11550,"tags":53442,"thumbUrl":53443,"material":173,"size":11555,"collection":84,"collections":53444,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},218178,"chun-xiao-tu-3-chou-ying-218178","纯孝图-3",[24,7,27,28,96,949,14225,211,29,413,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71bda439eb3eb85356e82377734aec1d.jpg",[],{"id":53446,"slug":53447,"title":53448,"dynasty":54,"author":9529,"museum":450,"description":11246,"tags":53449,"thumbUrl":53450,"material":66,"size":11249,"collection":84,"collections":53451,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},217208,"fang-gu-shan-shui-shi-er-kai-shi-wang-hui-217208","仿古山水十二开(十)",[24,7,59,128,132,2271,29,495,171,34,37,499,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac8621add47247ddd3b2459729362f6.jpg",[],{"id":53453,"slug":53454,"title":53455,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":53456,"thumbUrl":53457,"material":611,"size":84,"collection":84,"collections":53458,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":956},217108,"bai-miao-luo-han-8-leng-mei-217108","白描罗汉-8",[24,7,59,188,187,96,772,949,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee241b07d6ac200b816c2628412bce6.jpg",[],{"id":53460,"slug":53461,"title":53462,"dynasty":54,"author":3750,"museum":56,"description":44186,"tags":53463,"thumbUrl":53464,"material":66,"size":44189,"collection":84,"collections":53465,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},216970,"fang-song-yuan-shan-shui-ce-10-wang-jian-216970","仿宋元山水册-10",[23,164,24,7,59,330,132,128,27,29,34,131,495,96,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F138231a7ee6fa33fd5483a4fe320cb8e.jpg",[],{"id":53467,"slug":53468,"title":53469,"dynasty":124,"author":204,"museum":300,"description":2216,"tags":53470,"thumbUrl":53471,"material":173,"size":84,"collection":84,"collections":53472,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},216273,"er-shi-si-xiao-tu-19-chou-ying-216273","二十四孝图-19",[164,24,7,28,27,95,96,169,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F710acee1da100d8112e16ea27cbc3fe7.jpg",[],{"id":53474,"slug":53475,"title":53476,"dynasty":54,"author":223,"museum":244,"description":50481,"tags":53477,"thumbUrl":53478,"material":173,"size":84,"collection":84,"collections":53479,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},215202,"sheng-ping-le-shi-tu-ce-5-yi-ming-215202","升平乐事图册-5",[24,7,59,27,28,96,130,413,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80b66be545962c4fc4be968a79c1d91b.jpg",[],{"id":53481,"slug":53482,"title":53483,"dynasty":54,"author":223,"museum":244,"description":50481,"tags":53484,"thumbUrl":53485,"material":173,"size":84,"collection":84,"collections":53486,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},215195,"sheng-ping-le-shi-tu-ce-12-yi-ming-215195","升平乐事图册-12",[24,7,59,27,28,96,97,34,14446,2218,249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b1edb7d2f34ec33c6d52b393b3d95d6.jpg",[],{"id":53488,"slug":53489,"title":1230,"dynasty":54,"author":223,"museum":1941,"description":53490,"tags":53491,"thumbUrl":53492,"material":173,"size":53493,"collection":136,"collections":53494,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":49},215146,"shan-shui-tu-yi-ming-215146","佚名是一个指代不确定的人的称呼，所以无法提供具体的信息。但是，清朝时期的山水图是一种流行的艺术形式，在当时是非常受欢迎的。山水图通常是一种静态的描绘自然景观的图画，其中包含了山峰、河流、树木、云彩和其他自然元素。山水图通常以水墨画的形式呈现，但也有其他艺术形式，如铜版画、绢本画和纸本画。山水图的主要目的是表现自然的美丽，并通过艺术的手段来传达观赏者的情感和思想。",[24,7,29,128,27,129,331,496,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdef1bfc3588e96cd75bb8ec8dc977fe8.jpg","21.6x22.3cm",[136],{"id":53496,"slug":53497,"title":53498,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":53499,"thumbUrl":53500,"material":278,"size":3888,"collection":84,"collections":53501,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},214971,"dao-zi-mo-bao-ren-wu-bai-miao-hua-13-yi-ming-214971","道子墨宝人物白描画-13",[23,164,24,7,59,188,96,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34805397adabd18d0909f763cdaa6725.jpg",[],{"id":53503,"slug":53504,"title":53505,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":53506,"thumbUrl":53507,"material":278,"size":3888,"collection":84,"collections":53508,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},214964,"dao-zi-mo-bao-ren-wu-bai-miao-hua-24-yi-ming-214964","道子墨宝人物白描画-24",[23,24,7,188,96,187,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b67060661d5de465b7c151d21fb0c7b.jpg",[],{"id":53510,"slug":53511,"title":53512,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":53513,"thumbUrl":53514,"material":278,"size":3888,"collection":84,"collections":53515,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},214957,"dao-zi-mo-bao-ren-wu-bai-miao-hua-28-yi-ming-214957","道子墨宝人物白描画-28",[23,24,7,188,96,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27f8aaa68821348a5a57e340edf8dd93.jpg",[],{"id":53517,"slug":53518,"title":53519,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":53520,"thumbUrl":53521,"material":278,"size":3888,"collection":84,"collections":53522,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},214955,"dao-zi-mo-bao-ren-wu-bai-miao-hua-26-yi-ming-214955","道子墨宝人物白描画-26",[23,24,7,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c96b37581a5622de56b7f8cb42ba0ff.jpg",[],{"id":53524,"slug":53525,"title":53526,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":53527,"thumbUrl":53528,"material":278,"size":3888,"collection":84,"collections":53529,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},214950,"dao-zi-mo-bao-ren-wu-bai-miao-hua-34-yi-ming-214950","道子墨宝人物白描画-34",[23,164,24,7,188,96,101,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a1186f48c91bd09d5c6fb2aee74dd1a.jpg",[],{"id":53531,"slug":53532,"title":53533,"dynasty":54,"author":1460,"museum":1941,"description":5506,"tags":53534,"thumbUrl":53535,"material":66,"size":5509,"collection":84,"collections":53536,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},214527,"yi-jin-ling-ce-7-shi-tao-214527","忆金陵册-7",[24,7,59,27,29,97,130,34,131,96,64,133,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6d08d0d08e1dbd868f3111e7bbc625a.jpg",[],{"id":53538,"slug":53539,"title":53540,"dynasty":54,"author":872,"museum":77,"description":53541,"tags":53542,"thumbUrl":53543,"material":278,"size":84,"collection":84,"collections":53544,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":72},214388,"shan-shui-tu-ce-9-zhu-da-214388","山水图册-9","枯松如铁，虬枝斜探，墨线苍劲若篆籀，寥寥数笔便勾出山峦的峭拔与空濛。大片留白晕染云气流动，咫尺画幅生出千里烟霞之势。山石皴擦极简却见肌理，坡岸几株细树立得弱小倔强，似在空寂里守着生机。\n\n整幅画简淡到极致，藏着遗世的清冷与超脱——每处笔触都带疏离诗意，画家将心绪揉进墨里化在留白间，让观者于静默中触到天地浩渺与生命韧性。简而不空，淡而有味，八大山人以极简笔墨写尽深情，空寂里藏着乾坤，叫人在素净山水间读见一份倔强的诗意与旷达的心境。",[23,24,7,59,128,132,29,171,331,1144,1233],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F059f84d01ef03869f5a3310858fe5883.jpg",[],{"id":53546,"slug":53547,"title":409,"dynasty":54,"author":9529,"museum":56,"description":53548,"tags":53549,"thumbUrl":53550,"material":84,"size":84,"collection":136,"collections":53551,"showCount":268,"zanCount":1998,"manualWeight":48,"mainColor":53552},203388,"shan-shui-ce-wang-hui-203388","笔墨苍润秀逸，皴染相济间勾勒山川神韵。册页三帧各呈意趣：其一峰峦叠嶂，皴法细腻，林麓间茅舍隐现，流泉绕石添生机；其二江天浩渺，设色清润，孤舟泛波于烟水间，岸树葱茏点染旷远；其三柳岸亭榭，月色溶溶，闲者凭栏，疏柳与淡月相映成趣。画面融师古之笔墨与自然之灵趣，疏密有致，意境悠远，尽显文人山水的雅致情怀与笔墨功力。",[24,29,59,132,27,130,129,231,7,34,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72c40674aec5891ea10ad8acb4c40419.jpg",[136],"c5baa2",{"id":53554,"slug":53555,"title":53556,"dynasty":32945,"author":8159,"museum":56,"description":53557,"tags":53558,"thumbUrl":53559,"material":84,"size":84,"collection":136,"collections":53560,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":53561},202802,"ceng-luan-fei-pu-tu-zhou-huang-bin-hong-202802","层峦飞瀑图轴","层峦叠嶂间，飞瀑漱石溅玉，沿崖壁奔流而下，滋养谷底草木。山间屋舍错落隐于浓荫，小径蜿蜒向上，似引观者入幽境。笔墨苍劲老辣，皴擦点染结合，积墨与留白相映，山峦肌理浑厚，云雾缭绕处虚实相生。草木葱茏、山石嶙峋，既含自然野趣，又藏文人雅致，尽显山川灵秀与静谧生机，仿佛可闻泉声鸟语，可感林泉之乐。",[24,7,165,128,132,29,13602,387,1023,96,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3977ed45304cb2a20713c0d1536a341.jpg",[136],"969487",{"id":53563,"slug":53564,"title":53565,"dynasty":54,"author":53566,"museum":56,"description":53567,"tags":53568,"thumbUrl":53569,"material":84,"size":84,"collection":68,"collections":53570,"showCount":268,"zanCount":48,"manualWeight":48,"mainColor":53571},201829,"qiu-hua-hu-die-tu-zhou-tang-guang-qi-201829","秋花蝴蝶图轴","汤光启","画面以暖棕绢本铺陈，秋花簇生于山石侧畔。明黄花朵舒展瓣翼，绛红菊瓣层叠如丝，紫蓝小菊与细碎野卉点缀其间，枝叶脉络毕现。一只蝴蝶振翅悬停，姿态轻盈灵动，为静谧秋景添几分生机。山石以淡墨皴染，质感朴拙，与花卉的妍丽设色相映成趣。构图疏密有致，笔墨细腻工致，尽显秋日野趣与自然意韵，是清代花鸟画作中兼具雅致与生机的小品。",[24,28,27,61,481,3916,131,376,165,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbafa48b9b14fb9082841f66cc66e2d38.jpg",[68],"815723",{"id":53573,"slug":53574,"title":53575,"dynasty":54,"author":9864,"museum":20,"description":53423,"tags":53576,"thumbUrl":53425,"material":66,"size":53578,"collection":44,"collections":53579,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},302262,"wang-shi-zhen-fang-xian-tu-juan-yu-zhi-ding-302262","王士祯放鹇图卷",[23,24,25,7,27,28,96,8670,29,34,247,133,208,53577,12634],"文人逸事","纵26.1厘米，横110.7厘米",[44,318],{"id":53581,"slug":53582,"title":53583,"dynasty":144,"author":569,"museum":300,"description":53584,"tags":53585,"thumbUrl":53586,"material":692,"size":1293,"collection":84,"collections":53587,"showCount":505,"zanCount":1998,"manualWeight":48,"mainColor":72},290908,"wan-liu-tang-tu-zhou-zhao-meng-fu-290908","万柳堂图轴","丛柳茂盛的池塘边，有位文士骑马来访，庭院内三位文士已聚万柳堂中，即将兴起文会的高潮。全幅不论杨柳、人物、房舍都以极细腻的笔法描绘，精致清雅。",[24,165,7,27,96,97,4363,101,247,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb413a426fbb31519521b346e7c49dad.jpg",[],{"id":53589,"slug":53590,"title":53591,"dynasty":144,"author":569,"museum":300,"description":27930,"tags":53592,"thumbUrl":53594,"material":692,"size":1293,"collection":84,"collections":53595,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},290907,"lan-ting-xiu-xie-tu-zhou-zhao-meng-fu-290907","兰亭修褉图轴",[164,24,7,165,26,27,96,29,130,99,64,133,208,35601,53593,1421],"集会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4fd08bab9b64402e68774cafa577608.jpg",[],{"id":53597,"slug":53598,"title":28224,"dynasty":124,"author":2268,"museum":300,"description":10709,"tags":53599,"thumbUrl":53602,"material":692,"size":1293,"collection":84,"collections":53603,"showCount":505,"zanCount":1998,"manualWeight":48,"mainColor":72},290884,"shuang-lin-qiu-si-zhou-dong-qi-chang-290884",[164,24,7,165,27,29,331,130,99,208,64,6639,53600,131,53601,132],"秋思","霜林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d867ed6d4a7181f28525e49653dfba7.jpg",[],{"id":53605,"slug":53606,"title":53607,"dynasty":144,"author":1346,"museum":300,"description":14804,"tags":53608,"thumbUrl":53609,"material":692,"size":1293,"collection":84,"collections":53610,"showCount":505,"zanCount":1998,"manualWeight":48,"mainColor":72},290823,"ni-yu-ke-bi-yi-wu-zhen-290823","儗与可笔意",[164,24,7,59,128,167,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb02b7eb7945415cc1c307827b8ff6f8.jpg",[],{"id":53612,"slug":53613,"title":32189,"dynasty":144,"author":2697,"museum":244,"description":53614,"tags":53615,"thumbUrl":53616,"material":317,"size":32193,"collection":84,"collections":53617,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},290730,"si-ji-ping-an-tu-zhou-li-kan-290730","李衎(1244—1320年)，字仲宾，号息斋道人，元大都(今北京)人，仕至集贤殿学士。他平生擅长画竹，继承了金文同、王庭筠等画竹名家的成就，又曾深入江南竹乡深入观察，还出使过交趾(今越南)，到各处观察竹子的生长情况和特点，深得竹之“理”，是一位既有深厚传统绘画功力，又师法自然的画家。他的画风严谨，传世作品有双勾着色的《双勾竹图》、《沐雨图》等，并著有《息斋竹谱》7卷，对竹的结构品类、生长规律及画法详加剖析，既重写意又重法度。",[24,164,7,165,128,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe32617d34cb9bfa61b991229a690a9e0.jpg",[],{"id":53619,"slug":53620,"title":53621,"dynasty":144,"author":410,"museum":300,"description":21954,"tags":53622,"thumbUrl":53623,"material":692,"size":1293,"collection":84,"collections":53624,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},290445,"song-xi-cao-tang-tu-ke-luo-ban-wang-meng-290445","松溪草堂图（珂罗版）",[23,164,24,7,165,128,29,1144,15999,131,99,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfb63d1ed84535a0fde14be3711c5d4f.jpg",[],{"id":53626,"slug":53627,"title":39617,"dynasty":144,"author":410,"museum":244,"description":21954,"tags":53628,"thumbUrl":53629,"material":278,"size":6073,"collection":84,"collections":53630,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},290418,"hua-xi-yu-yin-zhou-wang-meng-290418",[164,24,7,165,128,29,99,129,15550,131,34,208,132,8710],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef55dc634c63946416c5b1d78e818ccc.jpg",[],{"id":53632,"slug":53633,"title":34077,"dynasty":18,"author":223,"museum":300,"description":53634,"tags":53635,"thumbUrl":53636,"material":692,"size":1293,"collection":84,"collections":53637,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},290228,"feng-yu-gui-zhou-tu-yi-ming-290228","该画描绘近处巨岗高树，中部为广漠的江河，并置沙渚、坡岸、板桥、行舟、人物等，远处山峦耸峙，景色具有江南水乡山崇水阔的特点。",[24,164,7,1349,128,132,11448,1022,34,99,129,1350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbbb9931dc8c8d644cebbb3637b2a6ce.jpg",[],{"id":53639,"slug":53640,"title":53641,"dynasty":144,"author":4034,"museum":300,"description":29709,"tags":53642,"thumbUrl":53643,"material":692,"size":1293,"collection":84,"collections":53644,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},289991,"qiu-xi-fang-ting-tu-ye-sheng-mao-289991","秋溪放艇图页",[23,1131,24,164,7,1349,27,34,499,129,96,35462,12634],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ad15787750c7b1ef60369cb89443c0c.jpg",[],{"id":53646,"slug":53647,"title":4991,"dynasty":54,"author":19884,"museum":300,"description":53648,"tags":53649,"thumbUrl":53650,"material":692,"size":1293,"collection":84,"collections":53651,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},289914,"shan-shui-hua-niao-ce-zhang-zong-cang-289914","张宗苍（1686-1756），字默存，江苏苏州人，画家。\n师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。",[24,7,59,128,167,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d83bd4bde16aa2ba2cea07f83121c7f.jpg",[],{"id":53653,"slug":53654,"title":53655,"dynasty":18,"author":7583,"museum":300,"description":7584,"tags":53656,"thumbUrl":53657,"material":692,"size":1293,"collection":84,"collections":53658,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},289868,"xian-yuan-xiang-yun-tu-guo-zhong-shu-289868","仙苑祥云图",[164,24,7,59,95,26,27,97,29,17701,572,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9200c9cabf7ce31d3011683c95b5f6.jpg",[],{"id":53660,"slug":53661,"title":53662,"dynasty":18,"author":7264,"museum":300,"description":53663,"tags":53664,"thumbUrl":53665,"material":692,"size":1293,"collection":84,"collections":53666,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},289591,"si-ma-huai-shan-shui-he-juan-mi-you-ren-289591","司马槐山水合卷","米友仁（1074-1153），一名尹仁，字元晖，小名寅哥、鳌儿，晚号懒拙老人，山西太原人，定居润州（今江苏镇江）。宋朝画家，系北宋画家米芾长子，世称“小米”。",[23,164,24,7,25,128,29,1337,415,99,1557,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32de782556d72120e65730b14284cc93.jpg",[],{"id":53668,"slug":53669,"title":53670,"dynasty":222,"author":223,"museum":300,"description":53671,"tags":53672,"thumbUrl":53673,"material":692,"size":1293,"collection":84,"collections":53674,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},289584,"xian-miao-guan-yin-pu-sa-xiang-2-yi-ming-289584","線描觀音菩薩像-2","此作用铁线描勾勒瑞兽，笔意古朴稚拙。鬃毛以繁复卷曲的线条铺陈，与躯干凝练简省的勾勒形成鲜明对比，将瑞兽凶悍威严的神态烘托尽致。瑞兽目眦怒张，阔鼻獠牙尽显雄悍，上扬舒展的长尾与稳健雄健的步态相得益彰，寥寥数笔便将其灵动气势与祥瑞神性尽显。简淡线条里蕴藏生动气韵，尽显早期白描的写意特质，拙朴之间带着古雅意趣，把瑞兽的雄姿勾勒得形神兼备。",[23,24,7,188,949,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fc17d38768c01bfc68e35f4a040b703.jpg",[],{"id":53676,"slug":53677,"title":53678,"dynasty":18,"author":4481,"museum":300,"description":27081,"tags":53679,"thumbUrl":53680,"material":692,"size":1293,"collection":84,"collections":53681,"showCount":505,"zanCount":1998,"manualWeight":48,"mainColor":49},288737,"xiao-xiang-ba-jing-tu-juan-san-wang-hong-288737","潇湘八景图卷三",[164,24,7,25,128,1349,1337,131,99,129,211,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec63f68e44ae6e7dd4c928b05b0d73f.jpg",[],{"id":53683,"slug":53684,"title":53685,"dynasty":18,"author":1449,"museum":300,"description":53686,"tags":53687,"thumbUrl":53688,"material":692,"size":1293,"collection":84,"collections":53689,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},288727,"mei-zhu-tu-ma-lin-288727","梅竹图","《梅竹图》就是一幅意境幽远的佳作。图为已故名画家、书画鉴藏家唐云所藏，画寒梅数枝，横斜劲挺，其间绿竹穿差，偃仰扶疏，顾盼生情。造型精准，设色明丽，笔法秀朗，虽然画面简单，但因为在疏密、错落、主宾诸方面经过十分经意的安排，故在在恰到好处，着墨不多而生机满幅。",[24,7,61,371,167,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d7bd86d486392084ee4bd0e99ebc9f6.jpg",[],{"id":53691,"slug":53692,"title":3618,"dynasty":18,"author":1091,"museum":300,"description":20278,"tags":53693,"thumbUrl":53694,"material":692,"size":1293,"collection":84,"collections":53695,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},288530,"mo-zhu-tu-su-shi-288530",[23,24,25,128,167,64,133,208,7,16820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56b07f275996a5650bad6188ccc4af4d.jpg",[],{"id":53697,"slug":53698,"title":53699,"dynasty":54,"author":16862,"museum":300,"description":31834,"tags":53700,"thumbUrl":53701,"material":692,"size":1293,"collection":84,"collections":53702,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},288528,"ju-shi-tu-li-zhou-li-fang-ying-288528","菊石图立轴",[23,164,24,7,165,27,61,376,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44d2d5279376d519af08c24c61f5df81.jpg",[],{"id":53704,"slug":53705,"title":5256,"dynasty":18,"author":1449,"museum":300,"description":53706,"tags":53707,"thumbUrl":53708,"material":692,"size":1293,"collection":84,"collections":53709,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},288419,"zhang-song-shan-shui-tu-ma-lin-288419","由山崖蜿蜒转入山寺的路上，一位流连与山水之间的高士，在一株爬满枯藤的古松之下徜徉，仿佛与起伏的远山融为一体，构成了一幅人与自然合而为一的完美景象。画面构图简洁而高旷，下半部分的实与上半部分的虚形成鲜明对比，进而产生高而深远的意境。\n二者之间以一棵长松相连，使画面自然而然成为一个整体。由实及虚的三段递进，将最写实的建筑、虚实相间的山崖坡石以及淡远的山峦，组成了位于高处的平远构图。山石采用小斧劈皴简略画出，画面的层次主要依赖点染进行刻画。画的中央，摇曳的藤蔓是全画的点睛之笔，山水之间，清风徐来，画面一下子动了起来，让人感受到一种清凉与惬意。",[164,24,7,29,31171,496,231,97,10539,208,128,132,6093,20575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff32fd310c2f4d050fec2e4b45931b71b.jpg",[],{"id":53711,"slug":53712,"title":53713,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":53714,"thumbUrl":53715,"material":692,"size":1293,"collection":84,"collections":53716,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},288112,"yin-kuo-qian-chi-bi-fu-dong-qi-chang-288112","櫽括前赤壁赋",[64,840,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd41e299651b54fa8862b342dd715a833.jpg",[],{"id":53718,"slug":53719,"title":49320,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":53720,"thumbUrl":53721,"material":692,"size":1293,"collection":84,"collections":53722,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},287816,"chi-bi-fu-wen-zheng-ming-287816",[64,133,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a14562a9ab63a7d4dfa3289cadbe6a2.jpg",[],{"id":53724,"slug":53725,"title":53726,"dynasty":124,"author":45240,"museum":300,"description":53727,"tags":53728,"thumbUrl":53729,"material":692,"size":1293,"collection":84,"collections":53730,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},287782,"shi-ba-ying-zhen-tu-ce-zheng-zhong-287782","十八应真图册","郑重，字千里，号无著，歙（今安徽歙县）人，流寓金陵（今南京）。好楼居，日事香茗。善写佛像，必斋沐而后举笔。丁云鹏推为赵伯驹后身。亦画山水小景。摹仿宋、元体均精妍。万历四十年（1612）临王蒙葛仙移居图，顺治五年（1648）作《十月岭梅图》。《无声诗史、歙县志、故宫书画集、风雨楼扇粹》。",[23,164,24,7,59,27,96,187,18381,18331,5490,949,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb7fcdd0b5d1f912efbbf72fe3df14b2.jpg",[],{"id":53732,"slug":53733,"title":53734,"dynasty":54,"author":223,"museum":300,"description":53735,"tags":53736,"thumbUrl":53737,"material":692,"size":1293,"collection":84,"collections":53738,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},287698,"fang-huang-gong-wang-fu-shan-chun-ju-tu-yi-ming-287698","仿黄公望富山春居图","此作用笔苍秀松灵，以披麻皴写山峦丘壑，复刻出原作浑厚华滋的山水意趣。远山淡晕如黛，近渚萦回清浅，林麓村居错落萧疏，尽显富春山野逸空濛之态。\n卷尾题跋笔墨雅致，与画境浑融一体，暗合元人山水“以画为寄”的隐逸风神，虽摹古却自见韵致，将江南富春山的空灵秀润尽藏尺幅间，是颇具功力的仿古佳制。",[23,24,25,128,1349,330,132,496,6004,4438,64,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4982c0319d064f8f446d442b55159a94.jpg",[],{"id":53740,"slug":53741,"title":53742,"dynasty":54,"author":53743,"museum":300,"description":53744,"tags":53745,"thumbUrl":53746,"material":692,"size":1293,"collection":84,"collections":53747,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},287420,"jiu-lu-tu-jin-kun-287420","九鹿图","金昆","金昆，清朝画家，善画。康熙（一六六二至一七二二）时供奉内廷，有庆丰图、虎邱待月图均邀御题。",[23,24,164,7,25,26,27,28,29,2302,1144,99,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04b723b70834eaea898fe493dbe1921f.jpg",[],{"id":53749,"slug":53750,"title":53751,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":53752,"thumbUrl":53753,"material":692,"size":1293,"collection":84,"collections":53754,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},283751,"qi-xia-si-shi-yi-tu-zhou-dong-qi-chang-283751","栖霞寺诗意图轴",[164,24,7,165,128,29,496,34,387,99,64,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76d4bb1db2fef7caa8986b31a95ba498.jpg",[],{"id":53756,"slug":53757,"title":53758,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":53759,"thumbUrl":53761,"material":692,"size":1293,"collection":84,"collections":53762,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},283735,"fang-ju-ran-shan-shui-tu-juan-yu-chen-ji-ru-shu-hua-he-juan-dong-qi-chang-283735","仿巨然山水图卷（与陈继儒书画合卷）",[64,133,7,25,29,1314,372,2059,231,53760],"夜色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c4537fa29e0be2b7d2ebc9141d08537.jpg",[],{"id":53764,"slug":53765,"title":53766,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":53767,"thumbUrl":53768,"material":692,"size":1293,"collection":84,"collections":53769,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},283730,"yin-fu-jing-fu-jun-bei-juan-dong-qi-chang-283730","阴符经府君碑卷",[64,572,25,7322,208,40142,1590,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5364d070484396cfc55300bda7378eb6.jpg",[],{"id":53771,"slug":53772,"title":53773,"dynasty":18,"author":223,"museum":300,"description":53774,"tags":53775,"thumbUrl":53776,"material":692,"size":1293,"collection":84,"collections":53777,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},269046,"shen-zi-fan-ke-si-mei-que-tu-zhou-yi-ming-269046","沈子蕃缂丝梅鹊图轴","此作用缂丝之法摹写冬景，老梅枝干虬曲苍劲，苔痕斑驳间尽显凌寒风骨，新枝缀满素白梅朵，绽苞次第交错，暗透冷香。\n两只禽鸟依偎枝头，翎毛纤毫毕现，蓝羽如凝深海幽光，白羽胜似初雪莹润，悠然恬适的神态晕开融融暖意。左下角幽篁数茎，翠色清润，与梅之素雅相映成趣。\n整幅疏密得宜，缂丝走线匀净细腻，以丝缕代笔墨，将冬日清景的生机温情定格，兼具院体花鸟的精工雅致，借梅鹊暗合喜上眉梢的吉意，尽显宋人审美意趣与工艺匠心。",[24,7,165,1944,61,28,27,371,10050,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fe0154bac108befb5ac78fe7852a95b.jpg",[],{"id":53779,"slug":53780,"title":53781,"dynasty":124,"author":223,"museum":300,"description":53782,"tags":53783,"thumbUrl":53786,"material":692,"size":1293,"collection":84,"collections":53787,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},263682,"yi-xian-xiu-wen-chang-chu-xing-tu-zhou-yi-ming-263682","衣线绣文昌出行图轴","此作用素绢为地，以衣线绣晕染出文人出行的雅逸场景。主角宽袍峨冠，神态安闲淡然，随侍童子捧卷躬身，尽显恭谨。下方侍童牵马静候，骏马垂首敛息，温驯悠然。水畔点缀初绽莲苞，添了几分清雅生机。\n\n绣线走线匀细流畅，将人物衣褶晕染得舒展自然，人物神态各有韵致，把文人出行的闲散意趣铺陈开来，针线藏着笔墨的写意情致，配色素雅沉静，尽显古雅清隽的格调，是兼具写实与意境的精巧刺绣之作。",[24,7,165,13534,27,96,101,53784,53785],"文昌帝君","出行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f4dd6ab19010bf5e3b289fe7f9a3a84.jpg",[],{"id":53789,"slug":53790,"title":53791,"dynasty":54,"author":7208,"museum":300,"description":45366,"tags":53792,"thumbUrl":53793,"material":692,"size":1293,"collection":84,"collections":53794,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},241670,"lin-su-shi-qian-zi-wen-juan-qian-long-241670","临苏轼千字文卷",[23,7,25,330,64,133,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f4f5b943233bb337a9fa87703d3b5d1.jpg",[],{"id":53796,"slug":53797,"title":50743,"dynasty":124,"author":53798,"museum":300,"description":53799,"tags":53800,"thumbUrl":53801,"material":611,"size":84,"collection":318,"collections":53802,"showCount":505,"zanCount":1998,"manualWeight":48,"mainColor":72},240329,"shi-zhou-tang-huan-240329","汤焕","汤焕，生卒年不详，字尧文，号邻初，斋号五桂轩等。仁和(今浙江杭州)人。擅书法，亦工篆刻，有诗名。与许光祚同郡，时人号曰“汤许”。",[164,24,7,165,840,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a280ab1f6e9d145161fe000d26e5da8.jpg",[318],{"id":53804,"slug":53805,"title":53806,"dynasty":124,"author":21412,"museum":2594,"description":53807,"tags":53808,"thumbUrl":53809,"material":611,"size":84,"collection":318,"collections":53810,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},240050,"shi-gao-ce-cheng-jia-sui-240050","诗稿册","程嘉燧（1565～1643）明代書畫家、詩人。字孟陽，號松圓、偈庵，又號松圓老人、松圓道人、偈庵居士、偈庵老人、偈庵道人。晚年皈依佛教，釋名海能。南直隸徽州府休寧縣（今安徽休寧）人，應試無所得，僑居嘉定，折節讀書，工詩善畫，通曉音律，與同裏婁堅、唐時升，並稱“練川三老”。謝三賓合三人及李流芳詩文，刻為《嘉定四先生集》，有《浪淘集》。",[7,59,133,208,371,722,663,1556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48c210a8ad98f709920c7948536772e2.jpg",[318],{"id":53812,"slug":53813,"title":53814,"dynasty":54,"author":53815,"museum":300,"description":53816,"tags":53817,"thumbUrl":53823,"material":692,"size":1293,"collection":84,"collections":53824,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},239758,"shu-hong-li-song-xia-jing-shan-shui-shi-er-yong-shi-ce-he-shen-239758","书弘历颂夏景山水十二咏诗册","和珅","和珅（1750年7月1日—1799年2月22日），钮祜禄氏，本名善保，字致斋，自号嘉乐堂、十笏园、绿野亭主人，奉天府开原县（今辽宁省清原县）人，满洲正红旗。清朝中期权臣、商人。\n和珅门荫入仕，精明强干。通过李侍尧案，巩固身份地位，深得乾隆帝宠信，并将十公主嫁给和珅长子丰绅殷德，促使和珅大权在握，成为皇亲国戚。先后担任和兼任众多关键职务，主要包括内阁首席大学士、领班军机大臣、吏部尚书、户部尚书、刑部尚书、理藩院尚书，兼任内务府总管、翰林院掌院学士、《四库全书》正总裁官、领侍卫内大臣、步军统领等数十个重要职务，拜文华殿大学士，封一等忠襄公。随着权力地位的成长，私欲日益膨胀。利用职务之便，结党营私，聚敛钱财，打击政敌。亲自经营工商业，开设当铺七十五间，设大小银号三百多间，建立同英国东印度公司、广东十三行的商业往来。\n嘉庆四年（1799年），清仁宗下旨将和珅革职下狱。乾隆帝死后十五天，清仁宗赐和珅自尽，时年四十九岁。",[572,64,7,4437,29,413,53818,53819,53820,4241,9402,53821,2372,3836,53822,32999],"涧","水田","村","野塘","波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c706ca362dd92ad9aff46683c23a07.jpg",[],{"id":53826,"slug":53827,"title":53828,"dynasty":124,"author":3619,"museum":300,"description":53829,"tags":53830,"thumbUrl":53832,"material":84,"size":84,"collection":84,"collections":53833,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},239518,"wen-zheng-ming-luo-mu-kong-jiang-zhou-wen-zheng-ming-239518","文徵明落木空江轴","此作淡墨轻岚，清寂出尘。枯木虬枝错落江渚，疏朗劲健，寥寥几笔便写尽秋林残意。远景山峦以淡墨晕染，隐于烟霭，不作繁复皴擦，只凭墨色深浅晕出山形悠远空濛，留白代江，愈发衬出天地寥廓的清寒萧索。\n\n题诗与绘景浑然相合，诗画映带间铺展出深秋空江的落寞意趣，带着独有的文雅书卷气。以极简笔墨写尽清秋况味，淡而不寡，清而愈幽，尽显文人画以意驭笔的雅致格调，将秋日江天的寂寥空阔藏于浅淡笔墨之中。",[24,7,165,128,29,1337,167,53831,131,208,132],"空江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e9d3f069edebe6cf45c6c0dd769af5d.jpg",[],{"id":53835,"slug":53836,"title":409,"dynasty":54,"author":17240,"museum":300,"description":53837,"tags":53838,"thumbUrl":53839,"material":84,"size":84,"collection":136,"collections":53840,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},239325,"shan-shui-ce-cha-shi-biao-239325","此作用淡墨晕染江天，留白铺就悠远空濛之境。岸畔垂柳依依轻拂水面，三两渔舟泛于烟波之上，尽显江南春日出尘之致。笔致松秀简淡，摒弃繁复皴擦，以极简笔墨勾勒出萧散清远的山水意趣。\n\n左侧行书题诗与画意呼应，笔墨温润舒展，诗书与绘事相得益彰，文气盎然。整幅作品将文人画简淡天真的审美意趣尽显无遗，把春日春江的静穆柔婉融于尺幅之间，淡而弥永，余韵悠长，尽显隐逸安然的林下之风。",[24,7,59,133,128,132,29,129,1350,34,414,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f9afb62b36cf20a64628c29321c4312.jpg",[136],{"id":53842,"slug":53843,"title":76,"dynasty":54,"author":4823,"museum":300,"description":19690,"tags":53844,"thumbUrl":53845,"material":692,"size":1293,"collection":84,"collections":53846,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},239095,"hua-hui-ce-ma-yuan-yu-239095",[24,164,7,59,27,61,211,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b30ddd64bda961704f25e2e005f1a5a.jpg",[],{"id":53848,"slug":53849,"title":53850,"dynasty":54,"author":53851,"museum":300,"description":53852,"tags":53853,"thumbUrl":53854,"material":692,"size":1293,"collection":84,"collections":53855,"showCount":505,"zanCount":1998,"manualWeight":48,"mainColor":49},239025,"hua-xie-zhou-lang-bao-chen-239025","画蟹轴","郎葆辰","郎葆辰(1763—1839)，初名福延，又名遂峯，字文台，号苏门，晚号桃花山人。浙江安吉人。1817年（嘉庆二十二年），授翰林院编修，掌印给事中，升贵州粮储道。",[24,7,165,128,369,12642,624,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dc269c151aed2324928eccad2f99e61.jpg",[],{"id":53857,"slug":53858,"title":76,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":53859,"thumbUrl":53861,"material":692,"size":1293,"collection":84,"collections":53862,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},238890,"hua-hui-ce-dong-gao-238890",[24,7,59,27,28,62,171,373,53860],"秋海棠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2cabbf4021f74ea7b313a841aca195b.jpg",[],{"id":53864,"slug":53865,"title":41142,"dynasty":18,"author":41143,"museum":300,"description":53866,"tags":53867,"thumbUrl":53868,"material":692,"size":1293,"collection":84,"collections":53869,"showCount":505,"zanCount":1998,"manualWeight":48,"mainColor":72},238561,"mu-dan-chun-man-tu-ye-li-cong-xun-238561","杭州人。宣和（一一一九―一一二五）待诏，绍兴（一一三一―一一六二）间复宫补承直郎，赐金带。工画道释、人物、花鸟，位置不凡，传彩精妙，高出流辈。",[164,24,7,1131,1846,28,27,133,208,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a16f8bd6480230e81b4a3f4a60ff8f6.jpg",[],{"id":53871,"slug":53872,"title":12731,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":53873,"thumbUrl":53874,"material":692,"size":1293,"collection":84,"collections":53875,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},238404,"xuan-jin-lu-fang-tu-ce-dong-gao-238404",[164,24,7,59,28,27,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84eea1bcbc36d4794de19156cc25663d.jpg",[],{"id":53877,"slug":53878,"title":12731,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":53879,"thumbUrl":53880,"material":692,"size":1293,"collection":84,"collections":53881,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},238400,"xuan-jin-lu-fang-tu-ce-dong-gao-238400",[24,7,59,27,28,61,547,747,2690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdce0598803525aa0c1b22ccb60a2a433.jpg",[],{"id":53883,"slug":53884,"title":76,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":53885,"thumbUrl":53887,"material":692,"size":1293,"collection":84,"collections":53888,"showCount":505,"zanCount":1998,"manualWeight":48,"mainColor":72},238347,"hua-hui-ce-dong-gao-238347",[24,7,59,27,28,61,263,63,53886,62],"荷包牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7314ada3764358bd13472889e55703f2.jpg",[],{"id":53890,"slug":53891,"title":53892,"dynasty":54,"author":6946,"museum":300,"description":35061,"tags":53893,"thumbUrl":53896,"material":692,"size":1293,"collection":84,"collections":53897,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},238131,"fang-wu-dao-xuan-bao-ji-bin-jia-luo-fo-xiang-zhou-ding-guan-peng-238131","仿吴道玄宝积宾迦罗佛像轴",[24,7,165,27,28,330,187,96,189,53894,7221,438,53895,1367,8315],"宝盖","神佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1b0b38317ebe9934d56c39c5fb0c067.jpg",[],{"id":53899,"slug":53900,"title":20363,"dynasty":18,"author":223,"museum":300,"description":53901,"tags":53902,"thumbUrl":53903,"material":84,"size":84,"collection":84,"collections":53904,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},238128,"luo-shen-tu-juan-yi-ming-238128","此作用苍古笔墨铺展川山林壑，晨日悬于崖巅，凌波洛神在水一方，衣袂翩跹回望，对岸侍从簇拥车驾，尽是怅然伫立的惘然。\n\n整卷将辞赋里的缱绻离思融于山水之间，人物意态传神，布景疏密相宜，山石皴擦朴拙苍劲，林木蓊郁幽深，把洛水之别欲留不得的哀婉，晕染在荒寂的川泽烟岚中，尽显古风雅韵，将文辞里的缥缈深情化为可视的丹青愁绪。",[24,7,25,27,28,132,208,133,96,29,34,497,31,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2387f98ad2c240c9075e91a659cd6878.jpg",[],{"id":53906,"slug":53907,"title":53908,"dynasty":54,"author":53909,"museum":300,"description":53910,"tags":53911,"thumbUrl":53912,"material":692,"size":1293,"collection":68,"collections":53913,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},238107,"yun-zi-hua-hui-ce-yun-zi-238107","恽资花卉册","恽资","此作以没骨法写折枝花卉，枝叶晕染清润柔和，粉瓣过渡自然，将盛放娇花与将谢残英并置，暗含荣枯之思。\n笔底花叶舒展灵动，设色明雅柔和，淡而有神，将草木柔媚之态与脉脉生韵相融。旁配行书题跋，笔意隽秀清雅，书画相映成趣，尽显文人意趣。\n画作脱却匠气，以写生为要，尽显细腻情思，于尺幅间晕染出雅致恬然的林下风致，尽显闺阁画柔婉雅致的独特风貌。",[24,7,59,28,27,61,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01ebf255ec050eb15310032b3d56a6ab.jpg",[68,45],{"id":53915,"slug":53916,"title":53917,"dynasty":144,"author":223,"museum":300,"description":53918,"tags":53919,"thumbUrl":53920,"material":84,"size":84,"collection":68,"collections":53921,"showCount":505,"zanCount":1998,"manualWeight":48,"mainColor":49},238064,"po-shu-kun-chong-ye-yi-ming-238064","坡蔬昆虫页","此作以小品之境写就郊野秋意，淡墨晕染坡岸，尽显荒疏松软的野地质感。野蔬茎干挺秀，菜叶以赭红晕染，舒展间带着晚风轻拂的柔态，旁侧兰叶修长劲挺，笔墨清简古雅。\n\n三只草虫各得其所，伏于菜叶的凝神静立，栖于长茎的振翅欲飞，勾勒精细入微，翅脉纤毫毕现，将秋虫灵动之态定格。整体设色浅淡含蓄，意境清寂淡远，把乡野一隅的幽微生机全然铺展，尽显简淡空灵的审美意韵，藏着秋日郊野的闲静野趣。",[164,24,7,28,27,16370,1036,806,230,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29a3dd3a5853542e3360f6f0e64b0218.jpg",[68],{"id":53923,"slug":53924,"title":53925,"dynasty":54,"author":16990,"museum":300,"description":53926,"tags":53927,"thumbUrl":53928,"material":84,"size":84,"collection":136,"collections":53929,"showCount":505,"zanCount":1998,"manualWeight":48,"mainColor":72},237959,"song-lin-shu-wu-tu-ye-hu-yu-kun-237959","松林书屋图页","山水有家法，用笔虚无缥缈，咫尺千里。兼长花卉、兰竹。为胡氏一门之杰，称逸品。康熙八年（一六六九）与会周亮工宴于南京，九年（一六七o）作碧梧依山图，十二年（一六七三）作金陵古迹册。有栗园集。《明画录、读画录、桐阴论画、墨香居画识、香祖笔记、赖古堂集、青溪遗稿、赖古堂书画跋、画传编韵、清画家诗史》",[24,7,59,128,132,29,5343,5022,130,34,131,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe76a5642eaaf7d30e38cdbe0fb2a7f07.jpg",[136,117],{"id":53931,"slug":53932,"title":18893,"dynasty":54,"author":4992,"museum":300,"description":18894,"tags":53933,"thumbUrl":53934,"material":84,"size":84,"collection":84,"collections":53935,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},237881,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237881",[24,7,59,330,27,29,130,1337,98,96,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a42c893bae003e77b5a840a78e92b5c.jpg",[],{"id":53937,"slug":53938,"title":33110,"dynasty":54,"author":3750,"museum":300,"description":17621,"tags":53939,"thumbUrl":53940,"material":84,"size":84,"collection":136,"collections":53941,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},237872,"yun-shan-tu-zhou-wang-jian-237872",[24,7,165,128,132,29,950,663,413,98,99,130,758,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d4f86feecf65a9d018a086dddca5822.jpg",[136,117],{"id":53943,"slug":53944,"title":53945,"dynasty":124,"author":16032,"museum":300,"description":20309,"tags":53946,"thumbUrl":53947,"material":692,"size":1293,"collection":84,"collections":53948,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},237841,"qiu-shan-bai-yun-shan-xiang-sheng-mo-237841","秋山白云扇",[24,7,1131,27,132,8222,10851,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bee6d9e09ff1d84a51ac6b847bf9177.jpg",[],{"id":53950,"slug":53951,"title":10613,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":53952,"thumbUrl":53953,"material":84,"size":84,"collection":84,"collections":53954,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},237764,"yuan-ji-shan-shui-tu-ce-shi-tao-237764",[24,7,59,128,132,29,98,99,35,34,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac1ee90f748a167e69acc2042541dba.jpg",[],{"id":53956,"slug":53957,"title":4229,"dynasty":124,"author":9459,"museum":300,"description":9460,"tags":53958,"thumbUrl":53959,"material":84,"size":84,"collection":84,"collections":53960,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},237667,"hua-niao-ce-ling-bi-zheng-237667",[24,7,59,27,28,132,171,61,624,1039],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89cd4814e6dd2b283fc58702efcad736.jpg",[],{"id":53962,"slug":53963,"title":53964,"dynasty":54,"author":9529,"museum":300,"description":18220,"tags":53965,"thumbUrl":53967,"material":84,"size":84,"collection":68,"collections":53968,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},237579,"gu-jian-shu-lin-tu-zhou-wang-hui-237579","古涧疏林图轴",[24,7,165,128,132,330,1233,331,5324,53966,29,171,99],"古涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8333f98813ce41aa4afc681f09ce7f2.jpg",[68],{"id":53970,"slug":53971,"title":53972,"dynasty":54,"author":9529,"museum":244,"description":53973,"tags":53974,"thumbUrl":53975,"material":611,"size":53976,"collection":136,"collections":53977,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},237348,"shan-tang-xiao-chou-zhou-wang-hui-237348","山塘校讐轴","王翚出身于绘画世家。祖上五代擅画，曾祖王伯臣善画花鸟，祖父王载仕擅长山水、人物、花卉；生父王云客善画山水。少时先拜同里张珂为师，专摹元代黄公望的山水画。21岁时以小景扇面见赏于王鉴，被收为弟子，后又师事王时敏，得以饱览其家传真迹，对传统古画的鉴赏、临摹，功力极深，宋以来许多失传的古画，借王翚的临摹得以传世。笔参古今，貌含南北，时人吴梅村称为“画圣”，画技之精熟为清代第一。清代张庚的《国朝画征录》 评其为“画有南北宗，至石谷而合焉”。康熙三十年（1691年）由宋骏业之荐，上京主持《康熙南巡图》的一系列制作。南巡图绘毕，曾获当时皇太子胤礽接见，赐座、赐食，并赐“山水清晖”四字。归里之后，求画者甚众。所作多为仿古，功力较深，但有时过于圆熟或伤于刻露，而丘壑尤少变化，晚年于简练中求苍浑，为论者所重；偶写花卉，秀隽有致。平生艺论，多在《清晖赠言》。\n王翚从学弟子甚多，是“虞山派”的创始人。王翚与王时敏、王鉴、王原祁合称“四王”，又与吴历，恽寿平合称“四王吴恽”或“清六家”。",[24,7,165,128,132,29,167,331,229,35,1645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690627240bef20eafb2805e2c71c81c4.jpg","128.4x55.4公分",[136],{"id":53979,"slug":53980,"title":53981,"dynasty":54,"author":9529,"museum":244,"description":53982,"tags":53983,"thumbUrl":53984,"material":611,"size":84,"collection":136,"collections":53985,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},237342,"fang-dong-shan-shui-ce-zhuang-zhou-wang-hui-237342","仿董山水册装轴","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王”，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n王翚 在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”\n王翚自幼嗜画，继承家学，又随学黄公望画法的同乡张珂学画，很早便表现出非凡的绘画才能。王翚师从王时敏、王鉴。但他所画山水不拘于一家，广采博揽，集唐宋以来诸家之大成，熔南北画派为一炉。王翚在王时敏、王鉴发展南宗画派的基础上，借鉴北宗的某些技法，比较全面地对山水画传统进行整理，形成具有综合概括性质的法则。王翚将黄公望、王蒙的书法性用笔与巨然、范宽的构图完美地结合起来，创造出一种华滋浑厚、气势勃发的山水画风格。因而他所画的江南小景往往生趣盎然，清幽灵动。王翚作画喜好干笔、湿笔并用，而且多以细笔皴擦，画面效果比较繁密。曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。他早期画风清丽工秀，晚期则倾向苍茫浑厚。章法富于变化，水墨与浅绛渲染得法。也有评者指出王翚用笔过于圆熟，某些画则显得刻露，墨法少有变化，构图略感壅塞。",[24,7,59,128,330,132,208,29,130,413,1337,415,7782,1023,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc7bbd6a2fa761e8a9d5c62b9b73fbe.jpg",[136],{"id":53987,"slug":53988,"title":76,"dynasty":54,"author":17956,"museum":300,"description":17957,"tags":53989,"thumbUrl":53990,"material":611,"size":84,"collection":84,"collections":53991,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},237287,"hua-hui-ce-wu-kai-237287",[24,7,164,59,27,28,62,373,549,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f178840eaee77e57ff2f1eb327e2707.jpg",[],{"id":53993,"slug":53994,"title":26288,"dynasty":54,"author":26289,"museum":300,"description":26290,"tags":53995,"thumbUrl":53996,"material":84,"size":84,"collection":84,"collections":53997,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},237093,"jiang-feng-shi-nv-ce-jiang-feng-237093",[164,24,7,59,27,96,166,171,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfcb49a6e78083fa76c65babef7f4d18.jpg",[],{"id":53999,"slug":54000,"title":54001,"dynasty":54,"author":54002,"museum":300,"description":54003,"tags":54004,"thumbUrl":54006,"material":692,"size":1293,"collection":84,"collections":54007,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},237045,"gao-ling-han-zhong-shan-mian-zhu-ang-zhi-237045","高岭寒钟扇面","朱昂之","朱昂之[清]（一七六四～一八四一年后），历代人物年表碑传综表作（一七五五～？），今从宋元明清书画家年表。字青立，又字津里，江苏武进人。侨居吴中（今江苏苏州）。",[24,7,1131,128,132,29,54005,496,34,37],"高岭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17ecdb02de8897eebe40965ddb2b4976.jpg",[],{"id":54009,"slug":54010,"title":54011,"dynasty":124,"author":33653,"museum":300,"description":38271,"tags":54012,"thumbUrl":54013,"material":692,"size":1293,"collection":117,"collections":54014,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},237017,"mo-mei-ce-shen-hao-237017","墨梅册",[24,7,59,128,133,208,371,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a0ca65ea98fd5f3298cad75afd81b2a.jpg",[117,68],{"id":54016,"slug":54017,"title":409,"dynasty":124,"author":54018,"museum":300,"description":54019,"tags":54020,"thumbUrl":54021,"material":84,"size":84,"collection":136,"collections":54022,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},236924,"shan-shui-ce-qin-mao-de-236924","秦懋德","此作以淡墨晕染出萧疏冬景，枯木虬枝临水旁逸，茅亭孤坐一人凭窗凝睇，远山隐在烟岚轻雾之中，留白铺就出空濛幽寂的氛围感。\n题诗与画境相得益彰，将重阳过后的闲淡幽怀寄于尺幅之间。笔法秀雅简淡，舍去繁复皴擦，以极简构图传递出静穆淡远的林下之风，尽显文人山水画以景抒情的意趣，将观览者带入清冷安闲的山居雅境，藏着文人寄情林泉的雅致襟怀。",[24,7,59,128,27,29,130,331,98,99,171,415,34,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3230239299d828a4dafbc2c705611e63.jpg",[136],{"id":54024,"slug":54025,"title":409,"dynasty":54,"author":5879,"museum":12686,"description":54026,"tags":54027,"thumbUrl":54028,"material":84,"size":84,"collection":136,"collections":54029,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},236729,"shan-shui-ce-hua-yan-236729","华嵒（1682～1756），福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。华嵒是清康雍乾年间的著名画家，他笔下的鸟堪称一绝，最负盛名。\n华喦就是我们所熟知的新罗山人，但我相信这一套山水画册，大部分人都不是熟悉，这山水画册页并没有藏在国内，而是藏在美国的弗利尔美术馆，其可称为华喦非常精致的一套山水册页。",[24,7,59,27,128,29,130,168,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F796e93be747b35bfd33272ec848edc2a.jpg",[136,45],{"id":54031,"slug":54032,"title":20295,"dynasty":54,"author":1311,"museum":20,"description":19660,"tags":54033,"thumbUrl":54034,"material":84,"size":84,"collection":84,"collections":54035,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},236587,"lan-mei-ce-wang-shi-shen-236587",[24,7,59,128,61,371,375,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff9be90f87a50342bb3940f357e6e12.jpg",[],{"id":54037,"slug":54038,"title":46703,"dynasty":124,"author":1438,"museum":300,"description":13247,"tags":54039,"thumbUrl":54040,"material":692,"size":1293,"collection":84,"collections":54041,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},236518,"mo-ju-shan-ye-chen-chun-236518",[24,7,1131,128,604,61,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fa8094773a549a15b7aa0ff8fdec3c7.jpg",[],{"id":54043,"slug":54044,"title":409,"dynasty":54,"author":54045,"museum":300,"description":54046,"tags":54047,"thumbUrl":54048,"material":151,"size":84,"collection":136,"collections":54049,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},236496,"shan-shui-ce-cheng-ming-236496","程鸣","程鸣（1676-1745），字友声，号松门，安徽歙县人，占籍江苏仪征。黄宾虹在《黄山画苑论略》中云其为雍正年间诸生。山水学於石涛（道济）参以程邃，每以秃毫渴墨，运以中锋，纯以书法成之，不加渲染，自然沈郁苍浑。诗出王士祯之门，尝为士祯作古夫于亭图，与陈撰、方士庶、厉鹗为诗画友。",[24,7,59,128,132,29,131,34,1337,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c36e79a5f9b30c0ba5a08df138da30a.jpg",[136,45],{"id":54051,"slug":54052,"title":16826,"dynasty":124,"author":40715,"museum":20,"description":54053,"tags":54054,"thumbUrl":54055,"material":611,"size":54056,"collection":84,"collections":54057,"showCount":505,"zanCount":1998,"manualWeight":48,"mainColor":72},236491,"shan-shui-ren-wu-ce-guo-fen-ya-236491","郭汾涯（约公元15世纪），明初时人，生卒年不详。能诗，善画山水、人物，宗唐、宋人画法，取马远、夏圭笔意。关于其生平，画史记载甚少，现只能从仅有的几幅传世作品，以及明初时的画风嬗变，来了解这位画家。\n此套《山水人物册》，每页自题七言诗一首，落款“汾涯”。册页中人物形神刻画生动，线条挺劲酣畅；山水以斧劈皴随意勾写，笔力遒劲；画树出枝峭拔、点叶爽辣，得南宋山水画遗风。\n明代初期画院复兴，提倡以古硬、雄厚、峻峭的风格来振作笔墨精神。在元朝被压制了多年的李、刘、马、夏画风，此时又开始活跃起来。宫廷内外，宗法者甚多。画风变南宋苍劲荒率为浑壮雄厚。画家们将贵族艺术引入民间，注重功力又不死守法度，变精严为放逸，顺应通俗艺术发展的时代潮流。这股势力影响范围广大，成为明代初期画坛实力最雄厚的画派——浙派。\n从这套册页中看，郭汾涯也是身处这股巨浪之中，但从画面中依然能体会到画家自觉与主动的一面，笔墨并非一味地追求粗放与草率，而是劲拔精简，笔下流露出画家掩饰不住的率真天性。画面还成功地将自然环境和人物活动富有情趣地结合在一起，给观者以强烈的艺术感染力。",[164,24,7,59,128,27,96,129,29,171,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3433dcfa615f2499e49190891608052.jpg","纵38.8厘米，横60.4厘米",[],{"id":54059,"slug":54060,"title":54061,"dynasty":54,"author":9529,"museum":300,"description":39800,"tags":54062,"thumbUrl":54063,"material":84,"size":84,"collection":136,"collections":54064,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},236445,"ni-qian-ren-shi-yi-ce-wang-hui-236445","拟前人诗意册",[24,7,59,128,132,29,34,37,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62006bed9cd38e5feced8176c057269c.jpg",[136,117],{"id":54066,"slug":54067,"title":54068,"dynasty":54,"author":54069,"museum":300,"description":54070,"tags":54071,"thumbUrl":54072,"material":84,"size":84,"collection":136,"collections":54073,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},236426,"hua-lu-jian-ceng-chu-sai-xiang-gao-feng-han-bu-jing-zhou-zhang-hang-236426","画卢见曾出塞像高风翰补景轴","张珩","高凤翰（1683年～1749年）胶州大行高氏二股十一世，扬州八怪之一。清代画家、书法家、篆刻家。又名翰，字西园，号南村，又号南阜、云阜，别号因地、因时、因病等40多个，晚因病风痹，用左手作书画，又号尚左生。\n汉族，山东胶州三里河村（今山东青岛市胶州市）人。雍正初，以诸生荐得官，为歙县县丞，署绩溪知县，罢归。性豪迈不羁，精艺术，画山水花鸟俱工，工诗，尤嗜砚，藏砚千，皆自为铭词手镌之。有《砚史》《南阜集》。",[24,7,165,27,96,101,8771,211,690,29,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdef365da266c40d5b375e28de2dc4011.jpg",[136,117,318],{"id":54075,"slug":54076,"title":16582,"dynasty":54,"author":16583,"museum":20,"description":54077,"tags":54078,"thumbUrl":54079,"material":84,"size":84,"collection":68,"collections":54080,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},236323,"zhi-tou-za-hua-ce-gao-qi-pei-236323","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。",[164,24,7,59,16586,128,61,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf283a9acbe5d6b8587b7f664cf35931.jpg",[68,117],{"id":54082,"slug":54083,"title":54084,"dynasty":54,"author":36329,"museum":20,"description":54085,"tags":54086,"thumbUrl":54087,"material":514,"size":54088,"collection":84,"collections":54089,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},236156,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236156","冷枚养正图书合册","此套册页共十开，画面内容皆为历代贤明君主的故事。绘画部分由宫廷画家冷枚绘制，对题由张若蔼书写对应故事情节的文字。两者配合，图文并茂，能够起到以史为鉴、以图育人的教育目的。皇子们观摩此册，意在学习为君之道。\n之后，康熙皇帝带领皇太子（胤礽）、皇长子（胤禔）、皇三子（胤祉）、皇四子（胤禛）、皇五子（胤祺）、皇七子（胤祐）、皇八子（胤禩）一同来到无逸斋，命尹泰、德格勒传谕：「朕宫中从无不读书之子，今诸皇子虽非大有学问之人，所教然已俱能读书。朕非好名之主，故向来太子及诸皇子读书之处未尝有意使人知之，所以外廷容有未晓然者。今特诏诸皇子至前讲诵，汝等试观之。」\n康熙皇帝随即取下十余本经书授予汤斌，让他「信手拈出，令诸皇子诵读」。汤斌随揭经书，皇三子、皇四子、皇七子、皇八子依次进前，各读数篇，纯熟舒徐，声音朗朗。\n康熙皇帝又命皇长子讲「格物致知」一节，皇三子讲《论语》「乡党」首章，皆逐字疏解又能融贯大义。而一向在宫中被皇太后亲自抚养、不谙汉文的皇五子也不逊色，他虽不曾读汉书，但对满文却是精通，康熙皇帝命他当场诵读满文，读的「段落清楚，句句明亮」。\n当时，皇长子十六岁，皇太子十一岁，皇三子十一岁，皇四子十岁，皇五子九岁，皇七子八岁，皇八子七岁，诸皇子的表现无疑是很出色的。但康熙皇帝绝不夸赞，也不允许别人称赞，「诸皇子在宫中从无人敢赞好者，若有人赞好，朕即非之」。",[164,24,7,59,28,27,96,758,34,247,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F513fb9dfe3d09f4355c4a00f227214a4.jpg","纵三二·二厘米 横四二·三厘米",[],{"id":54091,"slug":54092,"title":54093,"dynasty":54,"author":16583,"museum":300,"description":29102,"tags":54094,"thumbUrl":54095,"material":692,"size":1293,"collection":84,"collections":54096,"showCount":505,"zanCount":1998,"manualWeight":48,"mainColor":72},236016,"yu-yue-tu-zhou-gao-qi-pei-236016","鱼跃图轴",[24,7,165,128,29104,2059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f22b9db3541ad2100f409605157f1cd.jpg",[],{"id":54098,"slug":54099,"title":54100,"dynasty":54,"author":54101,"museum":300,"description":54102,"tags":54103,"thumbUrl":54105,"material":84,"size":84,"collection":84,"collections":54106,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},235997,"hua-guo-tu-ping-zhou-shu-xi-235997","花果图屏","周淑禧","《周淑禧周淑祜花果图屏》是清代周淑禧、周淑祜合绘的一幅画。\n周淑祜与周淑禧为书画家周荣起的长女和次女。\n此为两姐妹合绘的花果四条屏，每幅均钤“江上女子”与“祜禧合图”印。\n条屏分绘乳柑子、猕猴桃、枇杷和柿子，每幅上均裱有对此种花果的文字介绍，其中两幅下裱有收藏者补题的周淑禧、周淑祜的小传。\n此屏在选材方面自出机杼，巧妙地捕捉到花果的特性，具有女性绘画细腻的特色。\n设色浓重妍丽，继承了文徵明传派的画法，用笔精细工整，一丝不苟，将花果描绘得富有生趣，可爱诱人。\n周氏姊妹传世作品很少，此件作品双姝合璧，甚为难得。",[24,7,27,28,1037,54104,133,64,208],"猕猴桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa215492358992d0a7c64b8deb738e66.jpg",[],{"id":54108,"slug":54109,"title":54110,"dynasty":54,"author":223,"museum":300,"description":54111,"tags":54112,"thumbUrl":54113,"material":84,"size":84,"collection":84,"collections":54114,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},235911,"yuan-ji-mo-bai-cai-tu-ye-yi-ming-235911","原济墨白菜图页","此作用水墨写意落笔，以浓淡墨色铺陈菜叶层次，叶片舒张宛然如生，运笔放逸洒脱，墨晕间尽显菜叶鲜嫩蓬松的质感，留白勾勒叶脉肌理，将白菜蓬勃生机尽显无余。下方以淡墨点缀野菜杂草，简淡写意，与主体虚实相映，画面疏密得宜。全幅未施丹青，纯以水墨造势，将寻常菜蔬赋予清雅意趣，暗含清蔬寄怀的文人襟怀，于朴素物象间寄托超脱世俗的审美追求，尽显水墨小品极简雅致的意韵，是借日常风物抒怀的写意佳作。",[24,7,128,208,4251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6ea26e2ceab68f8b07f7638d0369fc1.jpg",[],{"id":54116,"slug":54117,"title":4724,"dynasty":54,"author":54118,"museum":300,"description":54119,"tags":54120,"thumbUrl":54121,"material":84,"size":84,"collection":136,"collections":54122,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},235895,"shan-shui-tu-ce-guan-quan-235895","官铨","此作以干笔积墨绘山居小景，近岸乱石错落，平田晕着淡墨天光，茂林掩映间茅舍隐现，林叶以点簇堆叠，苍苍莽莽，尽显深幽林下的清寂意趣。\n\n笔墨沉厚朴拙，以密皴铺陈山石林木，墨色干湿互济，淡晕田块与浓墨林梢相映，糅合出温润苍润的质感。左侧题书笔意纵逸，与山水静穆形成动静相生的妙趣，文画呼应，将丘壑藏于尺幅间，暗合幽居忘世的林下襟怀，尽显以笔写心的文人雅逸品格。",[24,7,59,128,132,133,29,413,131,99,98,3387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24e9011e0c250b9fb2f2e0483defd6da.jpg",[136],{"id":54124,"slug":54125,"title":8390,"dynasty":54,"author":1460,"museum":300,"description":54126,"tags":54127,"thumbUrl":54128,"material":84,"size":84,"collection":84,"collections":54129,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},235890,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235890","此作以淡墨晕染出空山清寂之境，湿笔披麻皴扫过坡石，带着氤氲水汽，将丘壑的温润苍古尽显。几株苍松虬枝简括，疏朗点苔，自带清瘦劲挺之姿。策杖幽人简笔勾勒，衣袂飘然，于山隅驻足，似在静听松风，又似寻幽访旧。\n左上题笔行书朴拙苍劲，诗画相融，将寻石听松的雅趣和山林空寂的意境合而为一。全幅笔墨简淡却意蕴悠长，淡墨轻岚间漾着悠然禅意，将山居清旷之景与幽人萧散心境完美契合，尽显山水寄情的文人意趣。",[24,7,59,128,29,96,171,413,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4be577e5e9240c95abe5fc1a640d2f39.jpg",[],{"id":54131,"slug":54132,"title":54133,"dynasty":54,"author":38394,"museum":300,"description":54134,"tags":54135,"thumbUrl":54136,"material":84,"size":84,"collection":84,"collections":54137,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},235857,"qiu-shan-tu-ye-fan-qi-235857","秋山图页","此作用笔简秀清雅，以淡墨晕染出空濛烟霭，远山隐没在寒雾之中，只留浅淡轮廓，尽显秋日山空的疏寂。近景枯木虬枝错落，苍劲古拙，板桥横跨浅溪，石畔秋意萧索，寥寥数笔便勾勒出深秋山林的清冷之态。\n\n对页题诗与画意呼应，书画合璧，将荒寒淡远的林泉逸趣烘托尽致。淡彩轻敷，留白写意，铺陈出澹泊宁和的山水诗意，仿佛将人带入清寂幽远的秋日丘壑，沉浸式感受这份沉静内敛的古韵幽情，尽显文人山水的清雅意致。",[24,7,59,128,29,1337,171,415,690,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa673113de5c7f14f0084268c94e28ccf.jpg",[],{"id":54139,"slug":54140,"title":4071,"dynasty":54,"author":1472,"museum":300,"description":19162,"tags":54141,"thumbUrl":54142,"material":692,"size":1293,"collection":84,"collections":54143,"showCount":505,"zanCount":1998,"manualWeight":48,"mainColor":72},235704,"hua-hui-tu-ce-zou-yi-gui-235704",[164,24,7,59,28,27,61,80,549,582,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F642a32b506aca4f5b3fdd8c65965b3b9.jpg",[],{"id":54145,"slug":54146,"title":54147,"dynasty":124,"author":223,"museum":300,"description":54148,"tags":54149,"thumbUrl":54150,"material":84,"size":84,"collection":84,"collections":54151,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},235680,"chen-lu-yu-tu-zheng-qing-tu-zhou-yi-ming-235680","陈录玉兔争清图轴","此作用淡墨晕染明月，清辉遍洒，老梅盘虬苍劲，主干皴擦见古拙质感，枝桠舒展斜逸，层层向上铺展。枝头繁花密缀，以浓淡墨色勾点花瓣，如星子攒聚，尽显寒梅莹洁灵动。\n\n梅枝挺秀清癯，凌然风骨暗藏其中，月色与梅影相映成趣，空寂清隽的冬夜幽境跃然绢上。笔意简淡苍润，将梅的孤高与月的空净相融，晕染出冬夜梅月争清的幽绝景致，尽显清雅出尘的文人意趣，寥寥笔墨写尽寒梅傲雪品格，意境清寂淡远。",[24,7,165,128,27,371,231,331,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F001113171e468916c1f3343f48898518.jpg",[],{"id":54153,"slug":54154,"title":14818,"dynasty":54,"author":3718,"museum":300,"description":10500,"tags":54155,"thumbUrl":54156,"material":692,"size":1293,"collection":84,"collections":54157,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},235618,"hong-ren-shan-shui-ce-hong-ren-235618",[24,7,128,132,29,663,34,497,415,499,59,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F021ea63838bc3efca94154ace5f3e90a.jpg",[],{"id":54159,"slug":54160,"title":10613,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":54161,"thumbUrl":54162,"material":692,"size":1293,"collection":84,"collections":54163,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},235516,"yuan-ji-shan-shui-tu-ce-shi-tao-235516",[164,24,7,59,128,132,29,99,229,413,22404,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71841c15cb618845d5db6ccb80c74caa.jpg",[],{"id":54165,"slug":54166,"title":409,"dynasty":54,"author":17240,"museum":300,"description":26583,"tags":54167,"thumbUrl":54168,"material":692,"size":1293,"collection":84,"collections":54169,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},235512,"shan-shui-ce-cha-shi-biao-235512",[24,7,59,128,132,29,413,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bf7e157e72d37c48a54a51b3ad40a28.jpg",[],{"id":54171,"slug":54172,"title":7864,"dynasty":54,"author":872,"museum":300,"description":6719,"tags":54173,"thumbUrl":54174,"material":692,"size":1293,"collection":84,"collections":54175,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},235502,"za-hua-ce-zhu-da-235502",[24,7,59,128,29,131,34,369,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3153bc1d1e2853b6ba102cc20013600f.jpg",[],{"id":54177,"slug":54178,"title":29732,"dynasty":54,"author":6357,"museum":300,"description":54179,"tags":54180,"thumbUrl":54181,"material":84,"size":84,"collection":84,"collections":54182,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},235468,"mo-ju-zhou-huang-shen-235468","以泼墨写意挥写丛菊，老干挺劲欹斜，花枝向上舒展，墨色浓淡铺陈，层次分明。花瓣以大块墨晕点染，间用枯笔勾出细劲筋脉，苍润交织，将寒菊傲霜绽放之态尽显笔端。\n\n右上角草书题款跌宕疏放，笔墨与野菊的朴拙刚健呼应相合，诗画相融，尽显疏放雅致的文人意趣。整幅以简驭繁，以水墨氤氲传递出菊花孤高清绝的品格，把画者疏狂随性的性情与凌霜佳卉的风骨融为一体，尽显大写意花鸟以形写神的妙处。",[24,7,165,128,369,64,133,208,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F306e636315367da95f923c6eec5c6800.jpg",[],{"id":54184,"slug":54185,"title":54186,"dynasty":54,"author":9937,"museum":300,"description":42380,"tags":54187,"thumbUrl":54188,"material":692,"size":1293,"collection":84,"collections":54189,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},235366,"song-yuan-tu-zhou-cheng-zhang-235366","松猿图轴",[24,7,165,27,128,28,132,8172,372,355,949,61,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43115bb694f41ed4c625527a75b066e4.jpg",[],{"id":54191,"slug":54192,"title":14818,"dynasty":54,"author":223,"museum":300,"description":54193,"tags":54194,"thumbUrl":54196,"material":84,"size":84,"collection":84,"collections":54197,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},235157,"hong-ren-shan-shui-ce-yi-ming-235157","此作为诗画合璧佳构，笔墨简淡疏朗，尽显清逸禅意。画面以淡墨晕染山峦，空灵悠远，山腹石拱如天工开辟，苍松沿溪亭亭如盖，平岸浅溪蜿蜒，村舍错落林间石畔，烟火气隐于清冷丘壑之间。\n\n题书清隽雅致，诗句与画境相契，松杉引径，夕照里野村人家渺远，古寺钟声融在暮霞里，将画中静穆清冷的意境铺展开来。淡笔轻皴里藏着幽远超脱的文人襟怀，观之如临江南寂寂山野，尘俗烦扰尽皆涤荡，尽显山水淡远出尘之美。",[24,7,59,128,29,132,64,133,208,663,228,34,1144,3344,690,130,171,99,54195],"曲路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5772aa239819d308c2c0d814fad933b.jpg",[],{"id":54199,"slug":54200,"title":14818,"dynasty":54,"author":223,"museum":300,"description":54201,"tags":54202,"thumbUrl":54204,"material":84,"size":84,"collection":84,"collections":54205,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},235156,"hong-ren-shan-shui-ce-yi-ming-235156","这帧册页诗画合璧，题字清隽舒展，笔墨雅致，诗境画境相融相生。\n\n下方小品以淡墨写就林石秋景，枯木疏朗错落，姿态古拙清逸，枝桠虬曲暗含生机。坡石简淡勾勒，略施皴擦便见嶙峋质感，留白悠远空灵，烘托出江南秋后的清寥意韵。整体画风萧散简远，冷寂出尘，以极简笔墨营造幽远超脱的意境，尽显静穆淡远的文人雅韵，观之如临秋水林泉，涤荡俗尘。",[24,7,59,128,132,188,29,1337,131,276,54203],"岩壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b760ce36c1d513723846efb9e15a72.jpg",[],{"id":54207,"slug":54208,"title":409,"dynasty":54,"author":6936,"museum":300,"description":54209,"tags":54210,"thumbUrl":54211,"material":84,"size":84,"collection":136,"collections":54212,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},235104,"shan-shui-ce-wang-yuan-qi-235104","此作用笔苍厚老辣，以干笔积墨反复皴擦，将山石的嶙峋质感晕染得浑厚苍润。远景峰峦以浅赭淡墨轻勾，烟岚留白晕出空濛山意，虚实间铺展悠远天际。近景茂林环拥山居，飞瀑穿林漱石，汇入平湖，鲜活灵动的水色消解了山林的沉郁。\n设色清淡雅致，浅施赭石敷色，一派江南山居的闲静气象。画中藏着文人胸中丘壑，将林泉高致凝于尺幅间，观之如临幽林，可听泉声、揽山云，沉浸式体味出世闲逸的林下雅趣。",[24,7,59,128,27,132,29,34,131,99,35,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1db070a5ca5283865350fec66c9915b.jpg",[136],{"id":54214,"slug":54215,"title":27517,"dynasty":124,"author":14758,"museum":20,"description":54216,"tags":54217,"thumbUrl":54220,"material":151,"size":54221,"collection":84,"collections":54222,"showCount":505,"zanCount":1998,"manualWeight":48,"mainColor":49},235011,"zhu-shi-zhou-zhu-duan-235011","画坡石荆棘，丛竹掩映。无他人题跋。\n朱端（生卒年不详），字克正，钦赐“一樵”印，遂自号一樵，有印章“辛酉征士”。正德年间值仁智殿，官锦衣卫指挥。画艺广博，山水、人物、花鸟兼能。",[24,7,165,805,128,167,1314,132,369,4285,4283,42076,54218,42762,54219],"竹石题材","竹子勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F222b4450a6f7e9156420c4b3f79c6377.jpg","纵167.4cm 横100.5cm",[],{"id":54224,"slug":54225,"title":54226,"dynasty":54,"author":1219,"museum":300,"description":42538,"tags":54227,"thumbUrl":54228,"material":40,"size":42543,"collection":84,"collections":54229,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},234985,"hua-hui-ling-mao-ping-3-ren-yi-234985","花卉翎毛屏3",[24,7,165,27,28,61,209,171,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87555a203978651137c3d5d142b277ac.jpg",[],{"id":54231,"slug":54232,"title":54233,"dynasty":124,"author":10922,"museum":20,"description":28002,"tags":54234,"thumbUrl":54235,"material":734,"size":28005,"collection":84,"collections":54236,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},234811,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-wan-hu-lin-tu-ye-wen-jia-234811","吴门诸家寿袁方斋三绝册-万笏林图页",[24,7,59,27,29,132,496,34,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f961a755627e59938040e5573b54fd9.jpg",[],{"id":54238,"slug":54239,"title":54240,"dynasty":124,"author":18090,"museum":300,"description":18911,"tags":54241,"thumbUrl":54242,"material":692,"size":1293,"collection":84,"collections":54243,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},234769,"xue-jing-shan-shui-shan-ye-lan-ying-234769","雪景山水扇页",[24,7,1131,128,29,1813,34,131,387,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73fc28e16c28d2d8c79e704fcf828365.jpg",[],{"id":54245,"slug":54246,"title":54247,"dynasty":54,"author":54248,"museum":300,"description":54249,"tags":54250,"thumbUrl":54251,"material":84,"size":84,"collection":84,"collections":54252,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},234694,"shi-nv-dan-ye-hu-xi-gui-234694","仕女单页","胡锡珪","胡锡珪（1839-1883）初名文，字三桥，号盘溪外史、红茵生、红茵馆主，室名盘溪小筑、红茵馆。江苏苏州人。布衣，长居吴下。幼习丹青，夙根早慧，涉笔便有韵致。及长，便学诸家之法，于 恽寿平 、华新罗、李复堂、改七芗用力更多。最善没骨人物，笔墨生动，时罕其匹。光绪年间，与吴江 陆廉夫 、安吉 吴昌硕 、同里 顾若波 、顾西津切磋吴门，诗画唱酬，堪称一时风雅。",[24,7,27,28,128,96,166,997,1144,331,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F332b332c4460e4b0b5a1cfad5585ece8.jpg",[],{"id":54254,"slug":54255,"title":54256,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":54257,"thumbUrl":54258,"material":84,"size":84,"collection":84,"collections":54259,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},234648,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234648","原济金陵十景图册",[24,7,59,128,133,208,29,171,64,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b94e4bc4ae513265cb49273e2b24099.jpg",[],{"id":54261,"slug":54262,"title":44643,"dynasty":54,"author":54263,"museum":300,"description":54264,"tags":54265,"thumbUrl":54266,"material":84,"size":84,"collection":84,"collections":54267,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},234596,"hua-hui-wan-shan-wu-bin-234596","吴镔","吴镔［清］字铁士，号石屋山人，晚号达安老人，浙江海盐诸生。花卉得恽寿平笔法。卒年七十外。号二梅。与黄燮清友善。工画。",[24,7,1131,27,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bba662ba77fd1f9adeaf6ec9bb0b1da.jpg",[],{"id":54269,"slug":54270,"title":54271,"dynasty":54,"author":40515,"museum":20,"description":54272,"tags":54273,"thumbUrl":54274,"material":84,"size":84,"collection":84,"collections":54275,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},234550,"ling-xiao-zhou-wu-xi-zai-234550","凌霄轴","吴熙载（1799-1870），原名廷扬，字熙载，后以字行，改字让之，亦作攘之，号让翁、晚学居士、方竹丈人等。江苏仪征人。清代篆刻家、书法家。包世臣的入室弟子。善书画，尤精篆刻。少时即追摹秦汉印作，后直接取法邓石如，得其神髓，又综合自己的学识，发展完善了“邓派”篆刻艺术，在明清流派篆刻史上具有举足轻重的地位。\n吴昌硕评曰：“让翁平生固服膺完白，而于秦汉印玺探讨极深，故刀法圆转，无纤曼之气，气象骏迈，质而不滞。余尝语人：学完白不若取径于让翁。”",[24,7,165,27,133,208,61,548,1039,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc47b108b91631f95554ee201b330b8ee.jpg",[],{"id":54277,"slug":54278,"title":54279,"dynasty":54,"author":223,"museum":300,"description":54280,"tags":54281,"thumbUrl":54282,"material":84,"size":84,"collection":84,"collections":54283,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},234418,"qing-ren-fang-su-han-chen-ying-xi-dan-ye-yi-ming-234418","清人仿苏汉臣婴戏单页","“婴戏”是中国画的一个重要的题材，从唐宋到元明清时期，孩童们的可爱淘气、天真烂漫无不是画家笔端的灵感。“婴戏图”既体现了人们自古至今对孩童的无限关爱与期望，又表达了人们对美好幸福生活的无限憧憬和祝愿。婴戏花、婴戏球、婴戏水、荡船、钓鱼、放爆竹、蹴鞠、放风筝、捉迷藏、对弈、习武、攀枝娃娃、莲生贵子、喜报多子、庭院婴戏、郊外婴戏、傀儡戏、婴孩读书、十六子、百子、五子登科等情境，被一代又一代的画家所描绘。",[24,7,59,330,28,27,96,8832,413,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b209cc1ff1f79f754a1dc846afdeb5.jpg",[],{"id":54285,"slug":54286,"title":42489,"dynasty":54,"author":523,"museum":20,"description":54287,"tags":54288,"thumbUrl":54289,"material":734,"size":84,"collection":84,"collections":54290,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},234306,"hua-luo-han-ce-leng-mei-234306","清代宫廷画家冷枚画罗汉册20开，每开右侧有张照题字，故宫博物院藏。\n冷枚（约1669-1742），字吉臣，号金门画史，山东胶州人，焦秉贞弟子。善画人物、界画，尤精仕女。所画人物工丽妍雅，笔墨洁净，色彩韶秀，其画法兼工带写，点缀屋宇器皿，笔极精细，亦生动有致。\n张照（1691-1745），字得天、长卿，号泾南、梧窗、天瓶居士，清松江府娄县人。康熙四十八年（1709）进士，官至刑部尚书。书法早年学董其昌，得母舅王鸿绪亲授；后又学米芾，并受赵孟頫较大影响。但不一意守师法，而是努力创新，特别是率真之作，更显得变化多端，精彩动人。",[164,24,7,59,28,27,188,187,96,18331,950,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ffa5f662044fc7647ba37921698a2ec.jpg",[],{"id":54292,"slug":54293,"title":54294,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":54295,"thumbUrl":54296,"material":84,"size":84,"collection":84,"collections":54297,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},234250,"yuan-ji-shi-hua-he-bi-tu-juan-shi-tao-234250","原济诗画合璧图卷",[23,24,7,25,128,133,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72859f2d1a40d9ef1ad376d60d03ee12.jpg",[],{"id":54299,"slug":54300,"title":54301,"dynasty":124,"author":26321,"museum":20,"description":26322,"tags":54302,"thumbUrl":54303,"material":1027,"size":84,"collection":84,"collections":54304,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},234239,"luo-han-juan-li-shi-da-234239","罗汉卷",[23,24,7,25,187,188,128,96,228,413,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb95e683ca4c609b9d25fb50ba7fdf047.jpg",[],{"id":54306,"slug":54307,"title":54308,"dynasty":124,"author":10922,"museum":20,"description":10923,"tags":54309,"thumbUrl":54310,"material":611,"size":84,"collection":84,"collections":54311,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},234179,"wen-jia-fang-mi-yun-shan-tu-juan-wen-jia-234179","文嘉仿米云山图卷",[23,24,7,25,330,128,132,29,663,950,228,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc34426a88d7b44a9134580564d722f8.jpg",[],{"id":54313,"slug":54314,"title":54315,"dynasty":124,"author":18919,"museum":300,"description":18920,"tags":54316,"thumbUrl":54317,"material":84,"size":84,"collection":84,"collections":54318,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},234173,"hong-mei-juan-lu-fu-234173","红梅卷",[23,24,7,25,27,128,61,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a5530a6366fac1d8b8eddabc5dc2e30.jpg",[],{"id":54320,"slug":54321,"title":54322,"dynasty":124,"author":54323,"museum":20,"description":54324,"tags":54325,"thumbUrl":54326,"material":611,"size":84,"collection":84,"collections":54327,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":199},234114,"huan-ji-tu-juan-zhang-han-234114","宦迹图卷","张瀚","描绘了明中后期官至吏部尚书的张瀚的官宦生活。本文通过对此作图像内容的考证,在比对图文关系的基础上,对此图的原貌、作者及有关问题进行了初步研究。",[24,7,25,188,28,96,101,97,130,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47acd463b3a10bf258b2c33970af22e2.jpg",[],{"id":54329,"slug":54330,"title":54331,"dynasty":54,"author":18008,"museum":300,"description":54332,"tags":54333,"thumbUrl":54334,"material":84,"size":84,"collection":84,"collections":54335,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},234104,"you-qin-tu-juan-gao-jian-234104","友琴图卷","高简（1634-1707年）字澹游，号旅云，自号一云山人，江苏苏州人。能诗，工山水，摹法元人，甚为简澹，而布置深稳，风味清巧可爱。平生小品最多，好画梅花书屋图，冷隽可珍。卒年七十四。传世作品有《春山积翠图》、《江乡初夏图》、《寒林诗思图》。",[24,7,25,27,28,96,438,34,229,29,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F051dd69d7eed026eefb3c1986d1adcae.jpg",[],{"id":54337,"slug":54338,"title":54339,"dynasty":124,"author":15464,"museum":20,"description":54340,"tags":54341,"thumbUrl":54342,"material":29194,"size":54343,"collection":84,"collections":54344,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},234049,"mu-yun-shi-yi-tu-shan-ye-xie-shi-chen-234049","暮云诗意图扇页","图绘暮色笼罩下的百花潭烟云缭绕的景致。此图为水墨写意画，运笔飞写自如，气贯笔锋，刚健洒脱。用墨富于变化，浓淡相衬。构图虚实相应，物象间层次清晰，又浑然一体。从右向左横贯画扇中部的云雾以其空灵、多变既增加了画面的高远感，又增加了深远感，同时盘活了整个画面的气韵，使之具有行云流水般的生气。",[24,7,1131,128,132,29,34,131,950,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F848c425ef828e37833c6cdd2189b899a.jpg","纵18.5厘米，横50.7厘米",[],{"id":54346,"slug":54347,"title":54348,"dynasty":124,"author":3619,"museum":20,"description":54349,"tags":54350,"thumbUrl":54351,"material":29194,"size":54352,"collection":84,"collections":54353,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},233795,"wen-zheng-ming-hong-xing-hu-shi-tu-shan-ye-wen-zheng-ming-233795","文徵明红杏湖石图扇页","扇页有自题：“三月融融晓雨干，十分春色在长安。香尘属路红云煖，总待仙郎马上看。小诗拙画奉赠补之翰学。丁酉腊月既望。徵明。”钤“徵明”白文印。\n“丁酉”是明嘉靖十六年（1537年），文徵明时年68岁。\n扇页有王守题七言诗一首。\n这是一幅文徵明送与做官友人的画作。图绘有着皱、漏、透、瘦之美的太湖石与体态婆娑的杏树相佐相依的小景。文徵明以工绘山水画著称，偶尔绘人物和兰竹，以杏树为主题的画作仅此一幅扇面画，非常难得。此图布局巧妙，石与树一左一右，呈揖对之势，石以其坚实的质感托出树木的柔媚，增添了画作的刚柔之美。全画于苍润纯熟的笔墨间流露出文人画娟雅之气。",[24,7,164,1131,27,133,208,4652,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2635dc9c42b57c75be7ddd36e42bb600.jpg","纵18.5厘米，横51.5厘米",[],{"id":54355,"slug":54356,"title":16041,"dynasty":54,"author":1460,"museum":20,"description":16042,"tags":54357,"thumbUrl":54358,"material":734,"size":16046,"collection":84,"collections":54359,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},233781,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233781",[24,7,164,4437,128,369,133,132,29,711,34,131,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F935a7b3b458e5a228f740951a8462ba8.jpg",[],{"id":54361,"slug":54362,"title":16826,"dynasty":54,"author":1242,"museum":20,"description":16827,"tags":54363,"thumbUrl":54364,"material":16830,"size":16831,"collection":84,"collections":54365,"showCount":505,"zanCount":1998,"manualWeight":48,"mainColor":72},233401,"shan-shui-ren-wu-ce-jin-nong-233401",[24,7,164,59,27,128,29,96,211,34,99,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c812a5aeb034b109fa0e234d163af6b.jpg",[],{"id":54367,"slug":54368,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":54372,"thumbUrl":54373,"material":84,"size":84,"collection":68,"collections":54374,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},233235,"shi-zhu-zhai-pu-ce-hu-ri-cong-233235","十竹斋谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[24,7,59,128,171,99,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29304ad26117c88366b592ace23b072.jpg",[68,45],{"id":54376,"slug":54377,"title":39900,"dynasty":54,"author":1460,"museum":20,"description":43590,"tags":54378,"thumbUrl":54379,"material":611,"size":11341,"collection":84,"collections":54380,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},233128,"yuan-ji-shan-shui-ce-shi-tao-233128",[24,7,59,128,27,132,29,98,99,35,1337,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4ac134c0a0d2cc60b898eb588378dc.jpg",[],{"id":54382,"slug":54383,"title":54384,"dynasty":18,"author":223,"museum":20,"description":54385,"tags":54386,"thumbUrl":54387,"material":40,"size":54388,"collection":84,"collections":54389,"showCount":505,"zanCount":1998,"manualWeight":48,"mainColor":49},233006,"shuang-xiao-han-chu-tu-ye-yi-ming-233006","霜篠寒雏图页","5只文鸟集于枯棘上，姿势各异，神态如生。枯棘下的竹枝色黄叶疏，点明了瑟瑟秋意。画家将聚集4只文鸟的重心着落于画面中心偏左的位置，而将另一文鸟绘于右侧高处的棘枝上以分散重心，但它回眸向下的眼神与另外4只相呼应，如此布局使画面既错落有致而重心突出。文鸟的描绘先勾出轮廓，再用细劲的笔锋绘出羽毛，并施以淡墨、赭石等色，渲染出毛绒的质感；竹叶使用双钩笔法，然后渲染；竹竿采用白描法；荆棘则一笔画出，显得苍劲老到。",[164,24,7,59,28,27,61,167,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f2c2bf72a185f58ce3b0cc514e0a6b6.jpg","纵28.1cm，横28.7cm",[],{"id":54391,"slug":54392,"title":4229,"dynasty":54,"author":4468,"museum":20,"description":11261,"tags":54393,"thumbUrl":54394,"material":40,"size":11264,"collection":84,"collections":54395,"showCount":505,"zanCount":1998,"manualWeight":48,"mainColor":72},232977,"hua-niao-ce-lang-shi-ning-232977",[164,24,7,28,27,10803,14386,61,13136,624,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f9ab946d5a201439dab3f6a1a5100fc.jpg",[],{"id":54397,"slug":54398,"title":4229,"dynasty":54,"author":4468,"museum":20,"description":11261,"tags":54399,"thumbUrl":54400,"material":40,"size":11264,"collection":84,"collections":54401,"showCount":505,"zanCount":1998,"manualWeight":48,"mainColor":72},232970,"hua-niao-ce-lang-shi-ning-232970",[164,24,7,59,28,27,61,263,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46ba3f49ef4299402ca4a0e9edac5c37.jpg",[],{"id":54403,"slug":54404,"title":41792,"dynasty":124,"author":3619,"museum":20,"description":41793,"tags":54405,"thumbUrl":54406,"material":611,"size":41796,"collection":84,"collections":54407,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},232958,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232958",[24,7,59,128,133,64,208,29,98,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5a14ee541d3763f5d0fed21da63f835.jpg",[],{"id":54409,"slug":54410,"title":41792,"dynasty":124,"author":3619,"museum":20,"description":41793,"tags":54411,"thumbUrl":54412,"material":611,"size":41796,"collection":84,"collections":54413,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},232957,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232957",[24,7,59,128,132,64,133,29,167,171,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1669656e724541295af682597e5a520.jpg",[],{"id":54415,"slug":54416,"title":54417,"dynasty":18,"author":3308,"museum":300,"description":54418,"tags":54419,"thumbUrl":54420,"material":611,"size":54421,"collection":84,"collections":54422,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},232882,"chun-xiao-bu-yu-tu-zhou-zhao-gou-232882","春晓捕鱼图轴","宋高宗赵构（1107年6月12日－1187年11月9日），字德基，宋朝第十位皇帝、南宋第一代皇帝，在位三十五年。北宋皇帝宋徽宗第九子，宋钦宗之弟；曾获封为“康王”。在位初期因为眼见金朝强势，为了保持江山，起用主战派李纲、岳飞等等。但恐惧将领权力过大，为了强化中央集权，采取求和政策，终于绍兴十一年（1141年）与金朝达成绍兴和议，重用主和派黄潜善、汪伯彦、王伦、秦桧等人，并处死岳飞，罢免李纲、张浚、韩世忠等主战派大臣，对金称臣。从此南宋与金朝形成南北对峙之格局。",[23,164,24,7,165,128,132,29,129,1351,34,415,414,43744,31,496,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe763ad8aae0080dc493a95d5237f9554.jpg","97x53 厘米",[],{"id":54424,"slug":54425,"title":54426,"dynasty":18,"author":2141,"museum":224,"description":54427,"tags":54428,"thumbUrl":54429,"material":611,"size":54430,"collection":84,"collections":54431,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},232773,"xue-shan-tu-juan-liu-song-nian-232773","雪山图卷","刘松年，约生于1155年，卒于1218年，钱塘（今浙江杭州）人，南宋著名画家，与南宋画家李唐、马远、夏圭合称为“南宋四大家”。\n刘松年有暗门刘的称号，暗门就是清波门，所以刘又号刘清波。他先为画院学生，光宗时期担任画院待诏。在画院工作期间，因成绩斐然，宁宗皇帝还曾给刘松年丰厚的物质奖励。他在画院体系地位也很尊崇，人们以绝品来对待刘松年及其绘画。\n刘松年绘画上，初学李唐、张敦礼，又继承了董源、巨然的部分艺术特征，严谨，典雅，清丽。他的题材多为江浙地区的风貌，西湖，茂林，修竹等。刘松年为人称道的地方，是发展了李唐大笔挥洒的斧劈皴，衍生出刮铁皴。这种皴法基本以小笔触为主，更加细腻。刘松年多园林小景，人称“小景山水”。\n刘松年除了山水之外，同时在人物画、界画、花鸟上，也水平甚高。据传，北京故宫博物院现藏《中兴四将图》，便是他的作品。这幅画人物生动，描绘精到，是宋代写实人物画的佳作。此外，他的《便桥会盟图》、《风雪运粮图》等人物故事画，也在中国绘画史上赫赫有名。此外，他的宗教画，罗汉等形象，则建立了中国佛画的一派典范。\n历史上流传下来的刘松年作品，大约有九十幅左右。这些作品真伪难辨。刘松年及其作品研究，是学术界以后仍然要力度加强的部分之一。",[23,164,24,7,25,128,29,132,2523,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae02117c5bf69987bd9f56214a0e41ac.jpg","21.6×142.6厘米",[],{"id":54433,"slug":54434,"title":685,"dynasty":124,"author":39940,"museum":300,"description":54435,"tags":54436,"thumbUrl":54437,"material":611,"size":54438,"collection":84,"collections":54439,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},232635,"xi-shan-xing-lv-tu-leng-qian-232635","冷谦，元末明初武陵人，字启敬，道号龙阳子，初为僧人，后习儒，入道隐杭州吴山，博学，精通易经。著有琴书《琴声十六法》、养生学著作《修龄要指》。明朝协律郎。据说与刘秉忠相交，担任协律郎时已经年过百岁。世传其化鹤入瓶，事甚诡异。",[23,24,7,128,96,7067,29,34,1350,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fcf4a51cb2d9205e685b3b317e840a0.jpg","45x33厘米",[],{"id":54441,"slug":54442,"title":1230,"dynasty":144,"author":569,"museum":244,"description":54443,"tags":54444,"thumbUrl":54445,"material":611,"size":54446,"collection":84,"collections":54447,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},232256,"shan-shui-tu-zhao-meng-fu-232256","溪涧、泉松水榭桥文房用具文玩（琴棋书画）香炉．火盆瀑布高士（士人、隐士）侍从（侍女、童仆） 家具（屏风）",[24,7,165,164,27,132,128,29,34,96,131,99,758,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e350d4065062d4a7428a6d1c958bfbc.jpg","本幅 57x30.9公分、全幅 56公分",[],{"id":54449,"slug":54450,"title":54451,"dynasty":222,"author":223,"museum":300,"description":54452,"tags":54453,"thumbUrl":54454,"material":84,"size":84,"collection":84,"collections":54455,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},231758,"ying-hua-pu-tu-juan-yi-ming-231758","樱花谱图卷","此作为折页长卷，每开撷取一枝樱花小景，将诸类樱株的风姿尽皆铺展。\n设色清妍多变，从绯色柔瓣、素白琼英到浅黄淡蕊，晕染细腻柔和，朱红叶芽与莹白花团相映成趣。枝桠穿插自然生动，或盛放、或初绽，尽显春日樱华的清灵柔婉。\n每幅配搭题识小字，笔致秀雅，与写生花枝相映，兼具博物记录的写实鲜活与文人雅绘的温婉意趣，将樱花的娇妍百态一一绘就，藏着春日独有的温柔雅致。",[23,24,7,25,27,28,61,22638,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4a94b73e4c92aaf3ddcb3fd8745038d.jpg",[],{"id":54457,"slug":54458,"title":54459,"dynasty":222,"author":223,"museum":300,"description":54460,"tags":54461,"thumbUrl":54462,"material":692,"size":1293,"collection":84,"collections":54463,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":956},231597,"lian-cang-shi-dai-kong-zi-xiang-li-zhou-yi-ming-231597","镰仓时代 孔子像立轴","画面以沉古绢底铺陈，主尊安坐榻上，垂髯宽袍，神态温蔼端方，尽显儒者雍容亲和的气度。两侧弟子恭侍身侧，或持卷凝思，或侧耳聆教，定格孔门问道的静谧瞬间。\n\n线条朴拙凝练，衣褶晕染自然，无繁复修饰，以简淡笔墨勾勒出千年前师授道传的肃穆学风。残旧题字晕开岁月痕迹，晕染出古雅沉穆的氛围，将圣人的温润风骨与孔门治学的笃厚气象融于笔底，尽显东方人文的厚重意韵。",[23,24,7,165,96,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec32456e70e2976707c878a961b9b2c7.jpg",[],{"id":54465,"slug":54466,"title":54467,"dynasty":124,"author":125,"museum":56,"description":54468,"tags":54469,"thumbUrl":54470,"material":611,"size":54471,"collection":84,"collections":54472,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},231594,"song-xing-tu-shen-zhou-231594","送行图","在明代以前，作为一种表现送别主题的“江岸送别”图式在南宋时期就已经产生。学者石守谦认为，十二世纪晚期佚名画家的《送海东上人归国图》）是现存最早的江岸“送别图”。此幅作品采用南宋时期常用的半边式构图，画中景物都集中在右半边，右侧岸边上有两棵松树，松树下有一个小亭，旁边共有五人，站在亭子外面看着左边正要离去的船。其中有两人抱拳鞠躬在向船上的人临江告别。而在画面中央波涛汹涌的江面上，有一艘大船被巨浪包围着，船上的水手们或鼓帆拉弦，或奋力划船，气氛十分紧张，与岸上的依依送别之情形成鲜明的对比。纵观整幅作品，从浩瀚江面上扬帆起航的行舟，到送者与被送者隔岸拜别，再到岸边的饯别小亭，其所描绘的“送别”景象基本上构成了江岸送别图式的基本要素，标志着江岸送别图式的形成。这种图式中，岸边友人拱手送别、水中舟船待发等场景是必不可少的。",[23,24,7,25,128,27,132,133,938,64,208,29,34,96,1516,31,131,1144,276,130,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e41518bb5ef131e0f1424e3a5b315e2.jpg","纵30.0厘米，横125.5厘米",[],{"id":54474,"slug":54475,"title":5981,"dynasty":124,"author":3608,"museum":300,"description":54476,"tags":54477,"thumbUrl":54478,"material":84,"size":84,"collection":84,"collections":54479,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},230939,"han-jiang-diao-ting-tu-lu-zhi-230939","萧寒荒寂间，虬曲枯木褪去繁枝，薄雪覆身，岸畔衰草凝着霜华。孤舟静泊，渔翁拥蓑戴笠，垂纶独钓，任飞雪漫过江天，自守一方安闲。\n\n笔致苍劲写枯木，尽透老辣荒寒，人物简笔勾勒，静穆自在的神态跃然绢上。浅淡设色晕染出清冽冬日，将江野冷寂揉成一片空明澄澈。题诗与画境相融，把寒江独钓的幽寂，化作世外高逸的精神栖所，寄寓着超脱尘俗、静守本心的雅趣，淡而愈厚，清韵悠长。",[24,7,165,124,27,28,129,1350,1337,5984,1813,208,29,48900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4301604eb72c0415bd85976d519f8a4f.jpg",[],{"id":54481,"slug":54482,"title":29900,"dynasty":124,"author":15700,"museum":300,"description":54483,"tags":54484,"thumbUrl":54485,"material":84,"size":84,"collection":84,"collections":54486,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},230890,"zi-mu-ji-tu-zhu-zhan-ji-230890","此作用淡墨勾勒，以留白晕染出禽鸟素洁的羽毛，笔触细腻写实，将绒羽的肌理纤毫毕现。亲鸡护持雏鸡啄食，雏鸟环绕依偎，亲昵互动间尽显舐犊温情，将田家寻常的天伦之趣凝于绢素。\n\n古雅棕调的绢底衬出群禽的素净雅致，写实功力与脉脉温情相融，把田园平凡生机化作细腻动人的诗意图景，尽显院体花鸟的雅致工巧，将日常烟火里的温情娓娓道来，让田家生趣跃然绢上。",[164,24,7,165,27,28,61,2510,11743,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc65a4cbda63247618482e600f8b523c.jpg",[],{"id":54488,"slug":54489,"title":54490,"dynasty":54,"author":11383,"museum":300,"description":54491,"tags":54492,"thumbUrl":54493,"material":84,"size":84,"collection":84,"collections":54494,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},230361,"shi-liu-ying-zhen-tu-ce-hua-ce-ren-xiong-230361","十六应真图册画册","青绿设色古雅沉静，山崖一隅苍松虬曲，苔点攒簇尽显苍劲古意。画中三人情态各异：袒胸束发的朗笑长者，布衣褶皱朴拙写意，满是山野散逸之气；身侧女子抬首远眺，眉目灵秀，衣袂轻盈柔和；幼童席地回望二人，憨态可掬。\n\n背景以淡赭晕染空蒙天色，石青铺陈崖壁，冷暖色调相映，拉开虚实层次。整幅用工笔兼写意，人物形神兼备，山水布景简而不空，将世外悠游的自在意趣融于尺幅间，把林下忘机的逍遥图景刻画得鲜活动人。",[24,7,59,28,27,96,34,131,187,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0090bfaa29ee878a050b82ecf118445.jpg",[],{"id":54496,"slug":54497,"title":2935,"dynasty":54,"author":4468,"museum":300,"description":8598,"tags":54498,"thumbUrl":54499,"material":692,"size":1293,"collection":84,"collections":54500,"showCount":505,"zanCount":1998,"manualWeight":48,"mainColor":72},230210,"hua-niao-ce-ye-lang-shi-ning-230210",[23,164,24,7,4437,28,27,14386,10803,61,413,5399,885,5762,2918,582,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd86884ab1f15d686ff36b410f28ce7da.jpg",[],{"id":54502,"slug":54503,"title":54504,"dynasty":54,"author":6936,"museum":300,"description":54505,"tags":54506,"thumbUrl":54507,"material":84,"size":84,"collection":84,"collections":54508,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},229028,"fang-huang-zi-jiu-qing-luan-ji-cui-juan-wang-yuan-qi-229028","仿黄子久晴峦霁翠卷","此卷以浅绛绘江南丘壑，山峦延绵层叠，林木蓊郁苍秀，村居错落点缀水畔崖间，平远、深远兼具，铺展出清旷温润的山水胜境。\n笔墨承娄东家法，以干笔积墨反复皴擦，笔力苍劲老辣，墨色由淡及浓层层晕染，浑朴厚重中不失秀逸灵透，既谨守黄子久平淡天真的元人神韵，又融入自身沉雄苍密的风格特质。\n全作用笔绵密松灵，元气淋漓，咫尺长卷藏千里丘壑，融文人山水的笔墨意趣与林泉襟怀于一体，是摹古出新的精心佳构，尽显晚年炉火纯青的画艺造诣。",[23,24,7,25,27,29,132,330,208,133,64,663,228,34,35,97,98,130,499,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f1892f4002ef7bf98ec0b17eaf74171.jpg",[],{"id":54510,"slug":54511,"title":54512,"dynasty":54,"author":12088,"museum":300,"description":54513,"tags":54514,"thumbUrl":54515,"material":84,"size":84,"collection":84,"collections":54516,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},228951,"bie-yuan-guan-lan-tu-juan-yuan-jiang-228951","别苑观览图卷","此作以全景铺展别苑胜境，水天浩渺晕开朦胧烟霭，远山如黛卧于淡墨氤氲间。园林依山水错落排布，亭台廊榭形制工细严整，山石皴擦苍劲古拙，林木扶疏间点缀三两行人，衬出苑中雅静又暗藏生趣。界画技法精绝，屋舍梁柱、城垣路径分毫毕现，又以写意笔墨晕染烟波，将规整气派的苑囿与清逸空濛的江南山水相融，精工之中不失雅致韵致，尽现院宇山水合璧的精妙意境。",[23,24,7,25,95,27,28,29,97,130,34,131,758,96,101,228,415,247,1645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe776ca4204dca827b152a3572e3d2c2a.jpg",[],{"id":54518,"slug":54519,"title":54520,"dynasty":18,"author":2141,"museum":300,"description":54521,"tags":54522,"thumbUrl":54523,"material":84,"size":84,"collection":84,"collections":54524,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},228851,"wan-xian-chao-zhen-tu-juan-liu-song-nian-228851","万仙朝真图卷","绢面虽蒙岁月褐晕，仍铺展浩荡仙仪长卷。群仙或乘云驭鹤，或执笏徐行，仪仗森然奔赴灵阙。山峦松枝勾勒清劲，宫观台宇隐现林岫，晕染出缥缈仙气。神祇形貌各殊，衣带翩跹舒展，尽显白描秀逸工致。后幅题跋笔意清隽，与前幅绘事呼应，文墨丹青共叙玄门盛会的庄雅恢弘，将天界朝贺的雍容气象凝于尺幅间，尽显中古仙佛绘事的极致匠心。",[23,24,7,25,1846,187,96,29,97,27,188,208,772],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4550bd33f196963e0c2517d9a36fde44.jpg",[],{"id":54526,"slug":54527,"title":1131,"dynasty":124,"author":125,"museum":300,"description":54528,"tags":54529,"thumbUrl":54530,"material":84,"size":84,"collection":84,"collections":54531,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},228830,"shan-mian-shen-zhou-228830","此作用水墨晕染枝间禽鸟，双雀依偎栖于繁花折枝之上，翎毛以浓淡墨色细勾慢染，灵动鲜活似正低语休憩。老干苍劲朴拙，花瓣以淡墨点染，晕出柔润舒展之态，干湿墨色交织，苍润相生。尺幅虽狭，却藏无尽生趣，以极简笔墨勾勒出春日枝桠间的闲逸幽情，将文人画的简淡天真融于方寸之间，尽显写意花鸟的隽永意致，观之如沐春枝清寂雅趣。",[23,24,7,1131,128,61,355,547,2438,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4404ed7004430e69ae3c02ca10aad4b.jpg",[],{"id":54533,"slug":54534,"title":54535,"dynasty":124,"author":18090,"museum":300,"description":54536,"tags":54537,"thumbUrl":54538,"material":84,"size":84,"collection":84,"collections":54539,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},228426,"zhi-xu-qing-yan-tu-lan-ying-228426","支许清言图","此作用笔刚柔相济，右崖奇崛厚重，以浓墨皴擦堆垒出山岩苍莽质感，左侧淡墨晕染平湖远峰，虚实相映间铺展出空濛悠远的湖山胜境。\n\n古松虬曲苍劲，针叶攒簇见笔力，尽显老松凌寒之姿。松下幽渚上二人对坐晤谈，衣袂简括，神态悠然，暗合魏晋林下雅集的高逸襟怀。\n\n笔墨干湿互融，既有刚劲风骨，又揉入写意萧散淡远的意趣，将林泉清谈的幽旷襟怀藏在松涛湖烟之中，尽现山居雅集的绝尘之味。",[23,164,24,7,165,128,132,29,96,372,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d387a521088c5ae100f06c610991a65.jpg",[],{"id":54541,"slug":54542,"title":54543,"dynasty":124,"author":33462,"museum":300,"description":54544,"tags":54545,"thumbUrl":54546,"material":84,"size":84,"collection":84,"collections":54547,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},228352,"hu-zhou-shi-ba-jing-xian-ding-song-xu-228352","湖州十八景－仙顶","此作用高远、深远法铺展丘壑，以干笔皴擦勾勒山峦筋骨，石体质朴苍拙，遍山松针攒簇，蓊郁深秀。蜿蜒山道盘绕幽谷，引视线拾级而上，崖顶朱红楼阁隐于翠色间，恍若世外梵宫。山坳茅舍幽藏，溪涧穿谷而过，山脚田亩横陈，将林泉野趣与山居烟火相融。笔墨苍劲老辣，设色淡雅清和，兼融浙派刚健与吴门文秀，既绘尽峰峦奇崛之态，又暗合仙境幽绝尘寰的逸韵，把出世高怀与俗世雅趣揉为一体，尽显明代文人心中的林泉雅志。",[23,24,7,59,27,132,29,97,34,131,99,690,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a8a320b1a8a8144d6247b75f4a65f5.jpg",[],{"id":54549,"slug":54550,"title":54551,"dynasty":124,"author":54552,"museum":300,"description":54553,"tags":54554,"thumbUrl":54555,"material":692,"size":1293,"collection":84,"collections":54556,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},228333,"si-ti-qian-zi-wen-lu-shi-ren-228333","四体千字文","陆士仁","此卷书法工整稳健，圆劲古雅。结字运笔因体取势，篆书温纯古拙，隶书沉着质朴，草、楷书起笔尖微精健，更似文徵明用笔之法。卷后陆士仁之子广明题识：“先君子幼习太史公书，片楮只字无不临摹，几于入室。",[23,7,64,25,133,21937,938,572,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32cb469298bd6b4e0726b7e7658be108.jpg",[],{"id":54558,"slug":54559,"title":54560,"dynasty":124,"author":802,"museum":77,"description":803,"tags":54561,"thumbUrl":54562,"material":84,"size":808,"collection":84,"collections":54563,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},228300,"hua-niao-cao-chong-xie-sheng-ce-zhu-cha-die-bao-chen-hong-shou-228300","花鸟草虫写生册-朱茶蝶抱",[164,24,7,59,27,28,61,649,481,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb0b666b51003f2c1d45f96d154a53f9.jpg",[],{"id":54565,"slug":54566,"title":54567,"dynasty":144,"author":18589,"museum":300,"description":54568,"tags":54569,"thumbUrl":54570,"material":84,"size":84,"collection":84,"collections":54571,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},228269,"shi-ren-ce-ye-fang-cong-yi-228269","十人册页","此作以淡墨晕染平湖烟霭，汀渚远山含晕隐现，尽是秋水长天的空濛寥廓。岸畔水榭依坡临流，霜树轻红点破满目清寂，三两渔舟泛于波上，掠水飞鸟更盘活了静穆湖面。\n\n作者以干淡笔墨轻勾缓皴，舍繁复皴法，以晕染代勾勒，将江南秋浦的闲淡疏旷收于尺幅。通篇不着浓彩，只以水墨氤氲出林泉幽致，把寄怀山水的文人意趣藏在浅淡岚烟里，静中含动，淡而愈远，尽显山水小景中尚意抒情的雅韵，恍若将观者带入秋日水畔，共赴一场林泉闲居之约。",[23,164,24,7,59,128,29,129,130,34,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1968189c7a593c26b6ed83fc24cfd804.jpg",[],{"id":54573,"slug":54574,"title":54575,"dynasty":144,"author":223,"museum":300,"description":26393,"tags":54576,"thumbUrl":54577,"material":692,"size":1293,"collection":84,"collections":54578,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":956},228234,"shi-jia-mu-ni-fu-yi-ming-228234","释迦牟尼佛",[23,24,7,165,187,27,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7165e041acdac0f305da7edefa17ee14.jpg",[],{"id":54580,"slug":54581,"title":54582,"dynasty":144,"author":223,"museum":300,"description":54583,"tags":54584,"thumbUrl":54585,"material":84,"size":84,"collection":84,"collections":54586,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},228195,"shi-liu-shen-jun-tu-yi-ming-228195","十六神骏图","画面群骏错落排布，姿态鲜活灵动，或引颈伫立、或俯首啜饮、或扬蹄疾行，亦有两马偎依嬉闹。骏马毛色各异，斑纹勾勒细腻写实，筋骨晕染柔和自然，将神骏膘肥体健的身姿刻画入微。\n\n红衣骑者神情悠然，控马徐行，与群马相映成趣。浅淡墨色晕染沙岸浅滩，古雅底色衬出悠长留白意境，尽显画工精妙，将良骏灵动神采尽数铺展，尽显古朴雅致的画中逸趣。",[23,164,24,7,25,27,28,96,101,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd6cb686b05759e704136a50854c09ba.jpg",[],{"id":54588,"slug":54589,"title":54590,"dynasty":144,"author":223,"museum":300,"description":54591,"tags":54592,"thumbUrl":54593,"material":84,"size":84,"collection":84,"collections":54594,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},228190,"jin-bi-shan-shui-ye-yi-ming-228190","金碧山水页","此作以青绿晕染崖壁，石面肌理苍然古朴，崖巅古木虬曲横斜，丹红叶色点破秋日山岑的清寂。左侧林木扶苏，深浅墨色糅合淡青，尽显层叠苍润之意。\n\n溪山之间，策蹇行者徐行山道，林畔立者似在问询，山野幽居的闲适意趣随画面铺展。构图疏密有致，空阔留白予人遐想余地，设色古雅沉静，将秋日山林的萧散淡远晕染尽致，以小景见丘壑深致，尽显寄情林泉的元人山水意韵。",[24,7,59,27,26,29,34,101,96,497,3269],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48cb32e3f645aa67e7806a281a54bc9d.jpg",[],{"id":54596,"slug":54597,"title":54598,"dynasty":144,"author":287,"museum":300,"description":54599,"tags":54600,"thumbUrl":54601,"material":84,"size":84,"collection":84,"collections":54602,"showCount":505,"zanCount":1998,"manualWeight":48,"mainColor":49},228023,"wen-dao-tu-ye-qian-xuan-228023","问道图页","此作用淡墨铁线描勾勒人物，衣褶圆劲简练，清隽古雅。两位老者相对躬身作揖，左侧老者微伛着身子，神色满含敬慕，右侧长者神态端凝安然，俯仰之间将问道求贤的诚敬与传道的雍容尽数铺展。\n设色简淡素雅，古旧绢底晕染出沉静古意，留白处晕开林下空寂悠然的氛围，暗合问道求真的幽远意境。画面题印错落排布，与笔意浑然相融。整幅小品简而不薄，淡而有味，将圣贤问道的澹泊襟怀藏于笔墨方寸间，尽显文人画简逸出尘的风骨，悠悠古意漫溢绢素。",[23,164,24,7,59,188,27,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7c59d1ad5138d4daa0cafd170924d42.jpg",[],{"id":54604,"slug":54605,"title":54606,"dynasty":144,"author":6155,"museum":300,"description":54607,"tags":54608,"thumbUrl":54609,"material":84,"size":84,"collection":84,"collections":54610,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},227988,"shan-shui-shi-hua-tu-ye-gao-ke-gong-227988","山水诗画图页","此作用水墨淡设色晕染江南烟景，以留白铺陈云气，山峦如青螺浮沉雾海，似隐似现，尽显雨后初霁的空濛柔润。下方汀洲萦回，村居隐于深林，板桥跨水连岸，扁舟系于浅滩，草木苍润秀雅，处处浸透着湿润清和的初夏意韵。\n\n画面配题诗，诗画交融，将山野村居的幽寂闲适娓娓道来。笔致简淡松灵，墨色层次柔和，淡赭轻敷晕染，褪去浓丽，只留清远悠然，尽显寄情丘壑的隐逸意趣，于简淡间铺展出悠远禅意，将自然清旷与林下闲情融为一体。",[23,24,7,59,128,27,29,98,99,129,34,35,37,415,64,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250879626c2381a1366ce09a71bf0f75.jpg",[],{"id":54612,"slug":54613,"title":7151,"dynasty":18,"author":1174,"museum":300,"description":54614,"tags":54615,"thumbUrl":54616,"material":84,"size":84,"collection":84,"collections":54617,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},227967,"jin-wen-gong-fu-guo-tu-li-tang-227967","本作以连环分段构图铺陈史诗往事，图文互映，每段配书跋补全情节脉络。以铁线描勾勒人物衣纹，劲挺古雅，国君、文武、夷狄、仆从神态各异，将流亡隐忍、终成霸业的跌宕过往细腻呈现。\n\n布景兼工带写，亭台界画工致严整，松石林木兼具山水意趣，古朴厚重的色调烘托出春秋乱世的沉郁风云，尽显传统叙事绘画的章法意韵与历史叙事的感染力。",[23,164,24,7,25,188,28,132,96,101,97,34,131,208,64,758,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa7d26cfaac9b3b65381345283d0c2bc.jpg",[],{"id":54619,"slug":54620,"title":54621,"dynasty":18,"author":223,"museum":300,"description":54622,"tags":54623,"thumbUrl":54625,"material":84,"size":84,"collection":84,"collections":54626,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},227930,"zhang-qiao-wo-bo-tu-yi-ming-227930","长桥卧波图","《宋扇面画长桥卧波图》是宋代佚名画家创作的一幅设色扇面画。\n此图原载《纨扇画册》。\n绘朱红长桥一座，横卧江面，两岸房舍成群，古塔高耸，树影婆娑。\n河面水波涟漪，舟船点点，以破长桥的呆板形体。\n远方云雾中露出银装素裹的山峰，分外妖娆。\n全图用笔精工，设色艳美，构图空阔浩渺，意境深远，是南宋早期画院高说所作。\n画中钤有「仪周珍藏」印一方，说明此图曾为清人 收藏，见《石渠宝笈三编》著录。\n本幅无款印。\n钤收藏印“仪周珍藏”一方。\n图中高架平湖的木桥刻画精微，与波澜不兴的水纹相映成趣。\n画面大片的空白使得作品兼具坚实与空灵之美，虚实相生的艺术效果给观者以“无画处皆成妙境”的想象空间。",[23,24,7,29,95,27,28,54624,414,1743,415,97,18542,130,34],"长桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6193c1927a01527760b310dc59e09697.jpg",[],{"id":54628,"slug":54629,"title":54630,"dynasty":18,"author":223,"museum":300,"description":54631,"tags":54632,"thumbUrl":54634,"material":84,"size":84,"collection":84,"collections":54635,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},227925,"jiao-yin-ji-qiu-tu-ye-yi-ming-227925","蕉荫击球图页","《蕉阴击球图》是宋代佚名画家创作的一幅绢本设色画，现藏于 。\n无作者款印。\n对幅清高宗弘历御题诗一首。\n本幅、对幅及裱边钤高宗弘历“古稀天子”、“八徵耄念之宝”、“ ”等鉴藏印，共6方。\n此外，湖石拉开了前景人物与背景芭蕉间的距离，增强了画面的纵向层次感。\n在笔法上，作者注重物象间的对比互衬关系。\n人物与芭蕉为中锋运笔，线条工整细匀，如行云流水；着色渲染浓淡相宜，清新明洁的色调有助于表达轻松活泼的主题。\n湖石则以粗笔重墨表现，线条劲练，转折顿挫中见洒脱。\n湖石所呈现出的坚硬质地成功地衬托出人物纤秀婉约的形象及芭蕉飘逸润泽的自然美。\n在宋代类似于《蕉阴击球图》的作品很多。\n以写实的笔法描绘民间生活、反映“市井细民”的审美趣味是宋代绘画的一大特色。\n当时涌现出众多绘风俗画的著名画家，如王居正、张择端、李嵩、苏汉臣等人，他们的作品以富有浓郁的生活气息而在中国绘画史上占有重要的地位。\n原题签作者为苏汉臣。\n此幅虽在题材、笔法上与苏汉臣的画风较为接近，但在艺术表现的造诣上却远不及苏汉臣，因此，此图当是与苏汉臣同时代的佚名画家之作。\n此图原载《宋人名流集藻册》。\n图绘一仕女童于桌旁观看一老一小两人作击球行了游戏。\n庭院中绿草如茵，湖石矗立，芭蕉成荫。\n仕女认真观球的神态和儿童击球的细小动作刻画得自然生动。\n全图用工笔重彩法，衣纹勾线简练细劲，设色艳而不火，工而不板，为南宋小幅人物画精作。\n此图蕉题签为苏汉臣作，但究其画风，与苏汉臣有别。\n在古代，见婴戏必题 作，见牛必题戴嵩，见马即题韩干之类，实属偏见，故今改为无名氏作。\n画中钤有「东莱」印一方，经《 》著录。",[23,24,7,4437,28,27,96,2218,54633,133,208,40818],"蕉树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ea29c347ebabee65faf94a2305bd7ce.jpg",[],{"id":54637,"slug":54638,"title":54639,"dynasty":18,"author":223,"museum":300,"description":54640,"tags":54641,"thumbUrl":54642,"material":84,"size":84,"collection":84,"collections":54643,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},227864,"chun-shan-yu-ting-ye-yi-ming-227864","春山渔艇页","这幅团扇以平远之法铺陈春景，淡晕的山峦柔缓舒展，烟霭轻笼水岸，晕开朦胧的春日清氛。陂陀石岸旁，林木枯荣交错，带着早春初醒的疏懒意态，青绿与赭石轻扫山石水岸，晕染出江南春山的温润水汽。\n\n一叶渔艇静浮水面，独钓的渔翁将幽寂闲散的隐逸意趣揉入空阔水色中。整作无繁复刻画，以简淡笔触晕开春日水滨的清寂淡然，将宋人娴静雅致的山水心境藏在尺幅之间，淡而弥远，静中生境，把江南早春的疏朗与幽隐心绪融成一缕绵长余韵。",[23,24,7,1131,27,29,129,331,99,1351,132,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcce57e3ac98b56a84f84c690afbf0f9b.jpg",[],{"id":54645,"slug":54646,"title":54647,"dynasty":18,"author":4899,"museum":300,"description":40051,"tags":54648,"thumbUrl":54649,"material":692,"size":1293,"collection":84,"collections":54650,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},227815,"bin-feng-qi-yue-tu-juan-wen-zheng-ming-ba-ma-he-zhi-227815","豳風七月图卷文徵明跋",[23,1326,24,7,25,938,64,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7afaf614079908a09b751e9389226f63.jpg",[],{"id":54652,"slug":54653,"title":54654,"dynasty":18,"author":20081,"museum":300,"description":54655,"tags":54656,"thumbUrl":54657,"material":84,"size":84,"collection":84,"collections":54658,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},227712,"hu-tian-ju-le-tu-juan-gong-kai-227712","壶天聚乐图卷","龚开（1222年～约1302），宋末元初画家，字圣予（一作圣与），号翠岩，晚号龟城叟、岩叟，人称龚高士。淮阴龟山（今属江苏省淮安市洪泽区老子山镇）人 。景定年间曾任两淮制置司监当官。他是一位诗文书画都擅长的文人画家，山水画师法米芾、米友仁，人物、鞍马则学曹霸，亦能画梅、菊等花卉。喜欢用水墨画鬼魅及钟馗，“怪怪奇奇，自成一家”，开明清写意画之先河。从现存作品看，其特点是用笔粗重、墨色淋漓，造形比较夸张，画上多题诗及跋语。抒情寓意，寄托遗老的怀抱。",[23,164,24,7,25,128,188,96,29,34,6126,949,9633],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4894a30ae63717fc0a21742c8b4efc20.jpg",[],{"id":54660,"slug":54661,"title":21544,"dynasty":18,"author":21545,"museum":300,"description":54662,"tags":54663,"thumbUrl":54664,"material":84,"size":84,"collection":84,"collections":54665,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},227577,"fan-wang-li-fo-tu-juan-zhao-guang-fu-227577","此图画中国周边少数民族酋长、番王朝拜佛祖的形象。佛祖高坐莲台，诸番王作礼拜、贡献之状，服饰皆异域装束。画面气势宏大，人物安排疏密有致，表情各异，生动自然，是宋代人物画的一幅杰作。\n\n赵光辅 (公元10世纪中-11世纪初)〔北宋〕耀州华原(今陕西耀县)人，五代南唐时布衣，北宋初爲图画院学生，故乡里呼爲“赵评事”，生卒年不详。画艺活动在宋太祖、太宗、真宗(960-1022)间。工画道释人物，兼精蕃马走兽，亦工竹木花卉，笔锋劲利，名“刀头燕尾”。所作线条流畅，人物形象清楚，骨骼厚重，刻画细致入微，设色典雅沉稳，有唐吴道子遗风。曾在许昌开元、龙兴两寺创作壁画，在开元寺所画之《五百罗汉图》，“姿质风度互有意思，坐立瞻听皆得其妙，貌若悲觉以动观者”。据北宋绍圣元年(1094)著名金石、书画家游师雄《题赵光辅画壁》碑云：“云阳(今陕西泾阳县)孟店镇西寺殿后画《自在观音》一壁，曲尽端严闲暇态度。其左有外国胡王与人从焚香状，貌极恭虔；其右有衣王者服，罄瞻礼之容，旁有衔花野兽，麋鹿虎豹各尽驯伏情状。至于竹木花卉，无不精至，南向画魔女恼佛，云雷震电，其势可怖；魔女变形，揽镜自照，遽作惊惭自失之状，尤爲奇绝。然后知光辅不独工于马也。……”碑今存泾阳县文化馆。",[23,24,7,25,27,28,187,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20b7f502dddb1a49e90b3c6d1c398b59.jpg",[],{"id":54667,"slug":54668,"title":29,"dynasty":54,"author":5367,"museum":300,"description":51588,"tags":54669,"thumbUrl":54670,"material":84,"size":84,"collection":84,"collections":54671,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},226637,"shan-shui-pu-ru-226637",[23,164,24,7,165,27,132,29,98,99,96,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dfafb3f4a22295b4ee5698a9d0333c4.jpg",[],{"id":54673,"slug":54674,"title":54675,"dynasty":54,"author":5367,"museum":300,"description":35923,"tags":54676,"thumbUrl":54677,"material":84,"size":84,"collection":84,"collections":54678,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},226635,"si-shi-shan-shui-08-pu-ru-226635","四时山水08",[23,24,7,59,128,132,29,129,130,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eea02cc99e83b92777a52ae8be0545e.jpg",[],{"id":54680,"slug":54681,"title":54682,"dynasty":54,"author":1460,"museum":300,"description":54683,"tags":54684,"thumbUrl":54685,"material":84,"size":84,"collection":84,"collections":54686,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},224514,"shan-shui-tu-ce-8-kai-3-zhang-da-qian-jiu-cang-shi-tao-224514","山水图册8开-3-张大千旧藏","淡墨晕开平湖烟波，水汽裹着远山晕成一片黛色，皴擦写意的峰峦带着朴拙苍劲的质感，晕染出清旷的天地底色。近岸林木错落，干湿浓墨交织出深浅层次，三两渔舟横斜泊岸，静卧于烟水间。江畔幽坐的旅人凝望远山，留白铺就的水面将万般归思揉进空濛雾色。题画小字清雅错落，朱红闲章点缀素净画面，盘活了满卷静气。整幅笔意纵恣随性，以极简笔墨勾勒出山川清旷之美，将羁旅幽怀融于烟水林峦，藏着静穆淡远的禅意，尽显写意山水的空濛悠远。",[23,24,128,132,59,7,208,29,129,34,496,96,711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F546454255510cf28a6ced2790a597e6c.jpg",[],{"id":54688,"slug":54689,"title":6935,"dynasty":54,"author":9529,"museum":300,"description":54690,"tags":54691,"thumbUrl":54692,"material":84,"size":84,"collection":84,"collections":54693,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},224446,"fang-huang-gong-wang-shan-shui-tu-wang-hui-224446","《仿黄公望山水图》是清朝文物，故宫博物院馆藏的绘画。\n《仿黄公望山水图》轴，清，王翚绘，纸本，设色，纵227.cm，横82.4cm。\n图绘群山巍峨、叠嶂攀升、峡谷溪涧曲转迂回之景，山腰处的古刹及林谷间隐现的屋舍均表明此山此景是士人希冀向往的隐居之所。\n全幅为高远式构图，重点描绘了中远之景。\n其景致充盈，繁而不乱，令人有望之所见、遐所不见之思。\n图中的物象被施以各种技法加以表现，山石以短线条皴擦，山脊以落茄点横向点染，苔草以焦墨擢点，醒目灵动。\n树叶以墨晕、双圈设色逸笔绘出。\n全图以青、绿、赭石兼墨色皴擦渲染，使山林呈现郁郁明净之气，既得黄公望画格的精髓，又有超逸之趣。\n本图是作者步入中年时仿黄公望浅绛山水笔意精心绘制之作，用以祝王时敏之子王揆5岁寿辰，并祝贺王揆之子王原祁29岁登进士第之禧。\n本幅款署：“岁己酉，芝翁先生春秋五十，翬寄迹金陵，阙跻堂称祝之礼。\n今年春，令嗣茂京先生南宫高捷，余方倦游归，闻报雀跃，亟图此幅为先生寿，并以致茂京得隽之贺云。\n庚戌闰月既望，虞山石谷子王翚。\n”钤“王翚之印”朱文印。\n“庚戌”即清康熙九年（167年），作者时年9岁。\n鉴藏印有“金黼廷瘦仙氏收藏”、“固始张氏收藏金石文字”等诸方。\n，明，一级文物。\n绢本墨色，纵167厘米、横81厘米。",[23,24,7,165,27,132,29,34,497,499,415,37,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8306b5ad774b6b0e1585dad6e50b98b.jpg",[],{"id":54695,"slug":54696,"title":54697,"dynasty":54,"author":17240,"museum":300,"description":54698,"tags":54699,"thumbUrl":54700,"material":611,"size":84,"collection":136,"collections":54701,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},224258,"zhuo-se-shan-shui-tu-cha-shi-biao-224258","着色山水图","查士标(1615--1698)，字二瞻，号梅壑散人，懒老。新安(今安徽歙县、休宁)人，流寓江苏扬州。明末生员，家富收藏，故精鉴别，擅画山水，为海阳四家之一。清初著名画家，书法家和诗人。与孙逸、汪之瑞、僧弘仁等书画家一起被称为'新安四家'。专事书画，家多鼎彝，及宋元人真迹，遂精鉴别。画初学倪高士，后春梅华道人、董文敏笔法。用笔不多，惜墨如金，风神飘散，气韵荒寒，逸品也。与同里孙逸、汪之瑞、僧弘仁合称四大家。晚年画益超迈，直窥元人之奥。朱漫堂不轻许可人，独以得其狮子林画册为快。说者谓其晓起最迟，凡应酬，临池挥洒，必于深夜，不以为苦，八十余，尚童颜。商丘宋漫堂牵为之立传，并序行其诗。书法襄阳，极似董文敏。艺舟双揖评其行书为佳品上。",[23,24,7,27,29,132,663,413,130,98,99,1645,131,499,1515,34,18311],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cfc9de1d2902bcb919c9edfaed550ab.jpg",[136],{"id":54703,"slug":54704,"title":54705,"dynasty":54,"author":5879,"museum":300,"description":54706,"tags":54707,"thumbUrl":54708,"material":84,"size":84,"collection":84,"collections":54709,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},224191,"she-se-qu-yu-shuang-qi-tu-hua-yan-224191","设色鸲鹆双栖图","此作以空灵留白铺陈底色，枯木虬曲舒展，淡蓝花萼点缀枝桠，晕染出清寂雅致的春日氛围。禽鸟或独立垂首，或依偎枝梢，墨色浓淡变化尽显鸟羽蓬松柔润质感，红爪尖喙鲜亮醒目，将鸲鹆的灵动机趣刻画入微。\n\n笔墨工写相融，写意枯石淡染花枝，工笔描摹禽鸟形神兼备，萧疏中暗藏生趣，尽显清逸隽秀的文人意趣，把闲静安栖的林下之景晕染开来，将江南画派的灵秀雅致藏于淡墨留白之间，是颇具韵致的花鸟佳构。",[23,24,7,165,27,61,369,39717,32565,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F139f403993c7353c724ca1f532a8d0a2.jpg",[],{"id":54711,"slug":54712,"title":685,"dynasty":18,"author":223,"museum":244,"description":54713,"tags":54714,"thumbUrl":54715,"material":114,"size":54716,"collection":84,"collections":54717,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},223569,"xi-shan-xing-lv-tu-yi-ming-223569","图上重山迭峰，雄深苍莽。山头茂林丛密，两峰相交处一白色飞瀑如银线飞流而下在严肃、静穆的气氛中增加了一分动意。近处怪石箕居，大石横卧于冈丘，其间杂树从生，亭台楼阁露于树颠，溪水奔腾着向远处流去，石径斜坡透迤于密林荫底。",[23,24,7,1131,128,132,64,133,208,29,171,34,98,99,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbce1a8b5a603f292840b46f377d5eb9e.jpg","28.6 x 44.1 cm",[],{"id":54719,"slug":54720,"title":54721,"dynasty":144,"author":223,"museum":20,"description":9199,"tags":54722,"thumbUrl":54723,"material":40,"size":9202,"collection":136,"collections":54724,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},223333,"dong-shan-si-zhu-tu-zhou-yi-ming-223333","东山丝竹图轴",[23,24,7,165,27,29,96,130,34,99,132,97,438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F499501fc11c9c867f20aa0e281e7c2ac.jpg",[136],{"id":54726,"slug":54727,"title":54728,"dynasty":54,"author":5181,"museum":300,"description":53126,"tags":54729,"thumbUrl":54730,"material":84,"size":84,"collection":136,"collections":54731,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},223249,"shan-shui-2-pu-hua-223249","山水2",[23,24,7,165,128,27,132,29,372,130,131,99,711,276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa36173f62b89aaa10373bf91171f17.jpg",[136,117],{"id":54733,"slug":54734,"title":54735,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":54736,"thumbUrl":54737,"material":151,"size":7879,"collection":84,"collections":54738,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},223032,"hong-lou-meng-157-sun-wen-223032","红楼梦157",[23,24,7,28,27,96,97,29,34,169,166,249,50170,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab4f88dae40deccf79a96a16e7cfacd3.jpg",[],{"id":54740,"slug":54741,"title":54742,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":54743,"thumbUrl":54745,"material":151,"size":7879,"collection":84,"collections":54746,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},222997,"hong-lou-meng-122-sun-wen-222997","红楼梦122",[23,24,7,28,27,26,96,97,98,99,131,34,247,722,249,54744,130,62],"门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa92f071f885b8f9db68fa56e69a963.jpg",[],{"id":54748,"slug":54749,"title":54750,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":54751,"thumbUrl":54753,"material":151,"size":7879,"collection":84,"collections":54754,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},222988,"hong-lou-meng-113-sun-wen-222988","红楼梦113",[23,28,27,96,12677,250,8091,54752,7344,209,7,1367],"瓷器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da254db7a1ca21f5583196371f0acfd.jpg",[],{"id":54756,"slug":54757,"title":54758,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":54759,"thumbUrl":54761,"material":151,"size":7879,"collection":84,"collections":54762,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},222929,"hong-lou-meng-54-sun-wen-222929","红楼梦54",[23,24,7,304,28,27,95,96,97,247,34,46042,8565,54760],"室外庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54c36497319a800572a5dac3ea91b0d5.jpg",[],{"id":54764,"slug":54765,"title":54766,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":54767,"thumbUrl":54768,"material":151,"size":7879,"collection":84,"collections":54769,"showCount":505,"zanCount":1998,"manualWeight":48,"mainColor":72},222915,"hong-lou-meng-40-sun-wen-222915","红楼梦40",[23,164,24,7,28,27,95,96,97,98,99,34,875,1743,247,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3f172211be0327e73b3aba472fcf1de.jpg",[],{"id":54771,"slug":54772,"title":54773,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":54774,"thumbUrl":54776,"material":151,"size":7879,"collection":84,"collections":54777,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},222900,"hong-lou-meng-25-sun-wen-222900","红楼梦25",[23,24,7,25,28,27,95,96,97,169,170,234,12803,7345,1422,54775],"窗帘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ffec7de2f09bbfc6e0ce7e91d901be2.jpg",[],{"id":54779,"slug":54780,"title":54781,"dynasty":54,"author":54782,"museum":2068,"description":54783,"tags":54784,"thumbUrl":54785,"material":40,"size":54786,"collection":84,"collections":54787,"showCount":505,"zanCount":1998,"manualWeight":48,"mainColor":49},222804,"yang-tu-zhao-fu-222804","羊图","赵福","此画绘制了五只羊在野外寻吃玩耍的情景，岸上、河边水草丰富。一棵树静立河边，虬枝绿叶，生机勃勃。远处河面广阔，一片苍茫。",[23,24,7,27,28,949,6300,413,131,6640],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34fcfa0a17edf603e84901a66ac413fa.jpg","24.8×25cm",[],{"id":54789,"slug":54790,"title":54791,"dynasty":54,"author":4468,"museum":20,"description":11261,"tags":54792,"thumbUrl":54794,"material":40,"size":11264,"collection":84,"collections":54795,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},222790,"hua-niao-ce-ye-10-lang-shi-ning-222790","花鸟册页10",[23,164,24,7,4437,28,27,14386,10803,61,41786,1039,549,229,230,49823,54793,8189],"透视","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26cf8023c1a700d7d63d7c95b0ee1172.jpg",[],{"id":54797,"slug":54798,"title":7094,"dynasty":54,"author":4468,"museum":244,"description":15246,"tags":54799,"thumbUrl":54800,"material":40,"size":15249,"collection":84,"collections":54801,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},222757,"ba-jun-tu-lang-shi-ning-222757",[23,24,7,28,27,10803,101,96,4363,131,6640],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18259a63d2ee470b9f3c7082a755b51.jpg",[],{"id":54803,"slug":54804,"title":54805,"dynasty":144,"author":7181,"museum":224,"description":26614,"tags":54806,"thumbUrl":54807,"material":253,"size":54808,"collection":84,"collections":54809,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},222608,"yang-zheng-shi-ze-tu-juan-wang-zhen-peng-222608","养正十则图卷",[23,95,28,27,25,7,96,97,247,34,249,1200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F368ce7bdda345e23fb4577b6cdef698d.jpg","42x735",[],{"id":54811,"slug":54812,"title":54813,"dynasty":124,"author":47448,"museum":244,"description":47449,"tags":54814,"thumbUrl":54815,"material":611,"size":54816,"collection":84,"collections":54817,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},222437,"hua-die-cao-chong-4-du-da-cheng-222437","花蝶草虫4",[23,164,24,7,59,28,128,61,547,9392,480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66ebf16e035fe6f21a4862947405a3fe.jpg","27x34cm",[],{"id":54819,"slug":54820,"title":54821,"dynasty":124,"author":16846,"museum":20,"description":54822,"tags":54823,"thumbUrl":54825,"material":1223,"size":54826,"collection":84,"collections":54827,"showCount":505,"zanCount":1998,"manualWeight":48,"mainColor":72},222222,"ping-qiao-yuan-shui-tu-juan-wen-bo-ren-222222","平桥远水图卷","此卷为文伯仁仿元赵孟頫《水村图卷》之作，亦称《平桥远水图卷》。作者用水墨之笔，轻渲淡染，以近景为主，远处则略加留白，以示水光苍茫。此图意境萧疏清旷，从容深秀，深得赵孟頫《水村图》之神韵。\n全卷层峦叠谳，岗岭蜿蜒，起伏不断。江面空旷，波光激荡，舟帆点点，远山朦胧。野色桥边，树石掩映，露出茅屋草亭，人物幽闲。青山高耸，俯临秋水，草木茂密，掩映楼阁。此图兼工带写，构图严密，既继承家法，又追宗王蒙， 山石多用蜷曲皴笔，有条不紊，理具其中而得质感。整卷布景奇兀，笔力清劲。署“嘉靖庚午秋仿赵文敏笔，五峰文伯仁。”钤“五峰山人”白文印和“文伯仁印”朱文印。",[23,164,24,7,25,128,132,29,54824,17670,1337,496,99,34,37,208],"平桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5ef409fd3029ecdb8f7bb06b1fc56fe.jpg","26.7x231cm",[],{"id":54829,"slug":54830,"title":54831,"dynasty":124,"author":26410,"museum":1376,"description":54832,"tags":54833,"thumbUrl":54834,"material":26442,"size":54835,"collection":318,"collections":54836,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},222059,"xing-shu-lun-shu-juan-zhang-rui-tu-222059","行书论书卷","在章法上紧压字距，疏空行间，使整幅书法的行气之间，呈现出一种有序的控制，不仅避免了散漫无章、眼花缭乱的现象，而且在横向展开的长卷上造就了满纸烟云、一泻千里的气势，给观者在视觉上带来了很大的冲击，令人有荡气回畅之叹。\n用笔上方峻刻峭，多使偏侧之锋，起笔以挫为主，落笔起止斩斫，翻折顿挫迅捷，提按起伏坚韧有力，横撑竖持跳跃使转，夸张多变—奇险莫测。笔画伸展倾斜度颇大，才以轻捷的露锋落墨，随即铺锋重重带过，至折转处又突然翻折笔锋，用尖刻的锋颖与锐利的方折及紧密至不透风的横画排列相结合，形成折带摇荡的鲜明节律。这种大翻大折、突出横向的动态，一变历代行草书以圆转取纵势的笔法，代之以方峻峭刻取胜。\n整卷作品非常和谐，其以方折之笔横斫，以连绵之势密布，以宽舒之阵排列，屈突又缓徐，硬辣又飘逸，局促又拓展，撑挫又连绵，用众多的反常又合度的笔法组成一幅壮美的图画，这种“壮美”，既是在艰难跳荡中臻至和谐的美，也是在凛厉捕杀中寻求平和的美，更是一种由悲怆激越转向平和放逸的美。此处其在挫与撑的变化和统一之主旋律中，还讲究墨韵的变化，笔墨丰满敦厚，气象淋漓酣畅加之笔画实重，少见轻飘之笔，故而形成了有别于前人和时人的鲜明个人特点。此卷乃中年行草，比之晚年草书更见平和散淡，不仅转折处多婉转而少侧锋偃笔，且结体虽奇崛，风格虽猛利，但并未失之狂诞。其书写的特征与当时的心态互为表里：在“禅味”的书法中化解胸中的痛苦和无奈。由此也证明了他是一位善于进取、勇于创造的大师。他的进取曾使自己从一介寒士跃而跻身朝廷重臣之列，他的创造又使自己从一个政治上的失败者锤炼成一个艺术的胜利者。",[23,164,24,7,25,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d99cd364f826c734d511374e5810c1b.jpg","纵25厘米横274厘米",[318],{"id":54838,"slug":54839,"title":54840,"dynasty":144,"author":7181,"museum":465,"description":54841,"tags":54842,"thumbUrl":54843,"material":40,"size":54844,"collection":318,"collections":54845,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},221854,"yi-mu-yu-fu-tu-juan-bai-miao-quan-juan-wang-zhen-peng-221854","姨母育佛图卷白描全卷","此幅中年幼的佛陀，即释达多王子，在其母摩耶皇后亡故之后由皇后之妹，即佛祖的姨母，摩诃波闻波提养育照顾。佛的同父异母兄弟提婆达多，即姨母亲子，正由侍女搀扶，从其母身边引领离开，提婆达多的小脚　　虽然踏向座榻的边缘，却依然不舍回望母亲。姨母对佛陀的照顾，却是心不二用，左手握寿桃一枚，右臂环护怀中的幼佛，佛之形象作中国婴孩状，见桃心喜，手舞足蹈，一意索取。　　王振鹏在画中并用界笔与铁线描，对图中繁杂的人与物加以精心勾勒，并以淡墨渲染衣纹幔褶、器物形状，及树石的肌理。画幅所显的屋舍之中悬挂珠宝璎珞，陈设异国珍玩，经营出一所想象中的印度皇宫内苑。\n细观察之下，在菩提树杆的下端，接近狮背之处有墨书小楷“振鹏”二字。王振鹏与与佛教的关系来自其信佛的家庭背景，兄王龙孙出家为僧，法名善集，其祖王挺亦以好佛为人所知。　　画卷前有明代杨承鲲（？-1589）所题《心经》。前隔水中有明代邢侗所题，曰：“此是龙眠画中台阁手，余家所藏楚骚《九歌》，是林薮笔，总之精诣已极，不妨并媺。弟从轻纹细墨处，自为磐薄高踪，是安可语神骏观也。八月初三日，济南邢侗敬题。”后有清人钱维乔、钱大昕、鲁爽良跋尾。另有近代完颜景贤鉴藏印，及“张氏清河”白文印记。",[23,24,7,25,188,187,96,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e49ea6b1b965fc93471f8f2e4723b9.jpg","整幅31.9*508cm，画芯31.9*94.9cm",[318],{"id":54847,"slug":54848,"title":54849,"dynasty":144,"author":54850,"museum":244,"description":54851,"tags":54852,"thumbUrl":54857,"material":637,"size":54858,"collection":84,"collections":54859,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},221808,"shu-wu-yan-gu-shi-ou-yang-xuan-221808","书五言古诗","欧阳玄","振衣逢野泉。渐见栖寒所。坎坎山下声。幽幽林中语。仙卿何代隐。卿复言亦楚。开冰洗药苗。扫雪候山侣。零叶聚疎篱。幽花积寒诸。冥冥孤鹤性。天外时轻举。欧阳玄书",[7,133,4057,128,208,54853,47607,663,9402,54854,1556,54855,54856,14015],"野泉","冰","孤馆","寒渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cbfdc78de585b386b066c2f39a1794b.jpg","纵25.1厘米，横35.3厘米",[],{"id":54861,"slug":54862,"title":54863,"dynasty":144,"author":287,"museum":224,"description":54864,"tags":54865,"thumbUrl":54867,"material":54868,"size":54869,"collection":84,"collections":54870,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},221704,"xi-xiang-tu-juan-qian-xuan-221704","洗象图卷","此画被很多人误以为是钱选的真迹，因画中也是这样书写的。《洗象图》的主题取自佛经典故;“洗象”意即“扫象”，但同时也有“扫相”之意。以洗象为主题的作品在明清时代十分流行。这幅作品的色彩十分的清新明快，雪白浑圆的大象及人物的服饰，都给观者一种赏心悦目的感觉，整幅作品充满着一种祥和平静，安逸自然的氛围，这是在许多有关佛教题材的绘画作品中都极力表现的主题与特色。",[23,24,7,25,27,28,96,54866,187,64,133,208],"象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F463e36ce3cf0a3245fdd4350494b1166.jpg","丝绢、墨","36.1x79",[],{"id":54872,"slug":54873,"title":54874,"dynasty":144,"author":54875,"museum":20,"description":54876,"tags":54877,"thumbUrl":54878,"material":151,"size":54879,"collection":136,"collections":54880,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},221701,"bi-wu-cang-shi-tu-zhou-lu-xing-zhi-221701","碧梧苍石图轴","陆行直","图绘椭圆巨石一块，表面露出花朵般的花纹，左侧二棵梧桐傍石而长，树杆修长，树叶苍翠。技法上，湖石以繁皴密染，树叶勾点兼用，用笔仓劲。陆行直，字季道，洪武时期授予\u0016翰林典籍，书、画皆精。",[23,24,7,165,128,171,413,17567,64,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5580b26937d367bc6093e7f1025fa9de.jpg","107x53.2cm",[136,117],{"id":54882,"slug":54883,"title":54884,"dynasty":18,"author":1091,"museum":244,"description":54885,"tags":54886,"thumbUrl":54887,"material":637,"size":54888,"collection":84,"collections":54889,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},221312,"zhi-ji-chang-chi-du-su-shi-221312","致季常尺牍","这幅作品质朴敦厚，用笔凝重，笔画丰腴多肉，且结字偏斜，前半段的情感平和，逐渐趋於起伏，所以全作字形大小、笔画粗细、字体型态等也随之改变，相当具有变化的趣味。\n苏轼一生宦海浮沉，谪居于黄州的期间，正是他艺术创作的顶峰时期，这幅作品即是他在这段时间所作的行书精品之一，充满了文人交往的日常生活气息，作品遒劲茂丽，神采动人。",[7,64,133,59,611,8116,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60783d4a02d7273a68e936dd5f9183c.jpg","30.3 X 48.6cm",[],{"id":54891,"slug":54892,"title":54893,"dynasty":18,"author":15080,"museum":510,"description":41230,"tags":54894,"thumbUrl":54895,"material":2739,"size":41233,"collection":84,"collections":54896,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},221197,"zi-zuo-shi-juan-quan-juan-di-er-ban-lu-you-221197","自作诗卷（全卷）第二版",[23,7,64,25,133,208,1590,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1790440d694ddc8fada529f73268140f.jpg",[],{"id":54898,"slug":54899,"title":54900,"dynasty":54,"author":33401,"museum":6892,"description":54901,"tags":54902,"thumbUrl":54903,"material":33405,"size":33406,"collection":84,"collections":54904,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":84},220733,"xun-qin-tu-2-huang-xiang-jian-220733","寻亲图2","此作用笔秀润清和，以平远之法铺展湖山景致。澄澈水湾上架起带亭木桥，松风绕岸、浅渚汀洲晕染着江南烟岚的温润淡霭。简笔勾勒的旅人策蹇徐行，虽形色简淡却藏着行路的劳顿与前路的期许。\n\n画面以淡赭花青晕染，远山轻描淡扫，近岸苍苔缀石，将羁旅的幽微心绪，融在清寂柔婉的山水底色里。没有重彩的铺陈，只以清隽淡远的笔墨，把寻亲途中的缱绻愁思，藏进静穆的湖山叙事中，在山水淡意里晕开深沉的人情温度。",[24,7,29,27,132,98,99,130,96,34,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61c3cb14dbdf9ffffa3193966a5956a4.jpg",[],{"id":54906,"slug":54907,"title":54908,"dynasty":54,"author":33401,"museum":6892,"description":54909,"tags":54910,"thumbUrl":54911,"material":33405,"size":33406,"collection":84,"collections":54912,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":84},220731,"xun-qin-tu-4-huang-xiang-jian-220731","寻亲图4","此作用浅绛糅合青绿晕染山水，远景山峦以淡墨轻扫，烟岚浮动间尽显清旷辽远。中近景山石以披麻皴出质，敷色柔和雅致，苍松茂林重笔点染，郁郁苍苍。\n\n长卷铺陈开江南水乡泽国之景，汀洲错落，帆影浮沉于烟波间，板桥村居隐在林木深处，人物往来其间，将山川静穆与人间烟火相融。笔墨兼具元人山水的萧散意趣与吴门画派的雅致温润，未刻意渲染行旅艰涩，只把绵长意绪藏在山光水色里，整体清和淡远，缓缓铺展出江南温润诗意，在咫尺长卷晕染出悠远沉静的山水况味。",[24,7,25,27,29,34,31,33,98,415,3427,130,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ef4d8c19a7a9454ed2cb6e14ceafe4.jpg",[],{"id":54914,"slug":54915,"title":54916,"dynasty":124,"author":802,"museum":77,"description":803,"tags":54917,"thumbUrl":54919,"material":173,"size":808,"collection":84,"collections":54920,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},220224,"hua-niao-cao-chong-xie-sheng-ce-gu-qiu-hua-hong-chen-hong-shou-220224","花鸟草虫写生册-古虬花红",[23,24,7,59,28,27,61,480,331,54918,1037,208],"虬枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb21091114f949d92850c06dcdca89214.jpg",[],{"id":54922,"slug":54923,"title":54924,"dynasty":144,"author":8127,"museum":244,"description":54925,"tags":54926,"thumbUrl":54927,"material":173,"size":10420,"collection":84,"collections":54928,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},219128,"hua-hui-ce-ju-zhu-shi-wang-yuan-219128","花卉册-菊竹石","竹影疏斜，菊瓣凝香，草虫轻跃于枝叶间。绢本之上，墨线勾勒精准，淡彩晕染温润，不取浓艳却得自然清趣。蟋蟀振翅欲鸣，小飞虫翩然若舞，动静相衬，生机暗藏。笔法工细而不刻板，兼融院体之精与文人之逸，笔墨间流露元人清逸之致。于细微处见匠心，静中藏动，尽显草木虫豸之灵秀。其将自然生灵摹写得栩栩如生，又以淡雅之韵传递文人雅趣，是元代花鸟精品中颇具代表性的一页，意境悠远，笔墨精湛，尽显传统花鸟之美。",[23,24,7,59,27,28,61,376,167,171,608,62,8366],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a6e0671fc4d12e1f018cb98a9a82661.jpg",[],{"id":54930,"slug":54931,"title":54932,"dynasty":18,"author":223,"museum":244,"description":54933,"tags":54934,"thumbUrl":54935,"material":173,"size":84,"collection":136,"collections":54936,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},218716,"song-yan-fan-yu-tu-yi-ming-218716","松岩梵宇图","松枝盘曲如老龙，皴石嶙峋见骨力，梵宇藏于岩岫间，云霭轻笼似纱。墨色浓淡相宜，远山含黛隐于雾，近树苍劲立崖边，虚实相生间禅意漫溢。左幅题字笔力沉雄，与山水清旷相映，文墨丘壑共生，尽显宋画雅致深邃。山间静谧似闻松风与梵呗相和，引人入悠远之境，品宋人的山水情怀与禅心。画面以简驭繁，留白处藏无限意蕴，山石勾勒见笔意，云雾晕染显空灵，将自然之幽与禅院之静融于尺幅，是宋画中以景寄情、以境传心的典型之作。",[23,164,24,7,128,132,95,27,29,1144,497,97,496,34,17270,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbba243fe3e1bbc45815b76974c6d5b3.jpg",[136],{"id":54938,"slug":54939,"title":54940,"dynasty":124,"author":223,"museum":450,"description":3365,"tags":54941,"thumbUrl":54942,"material":66,"size":84,"collection":84,"collections":54943,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},217946,"ming-ren-shan-shui-hua-ce-jiu-yi-ming-217946","明人山水画册(九)",[23,24,7,59,128,29,132,663,37,34,35,414,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa574ea7389a9c41271ae0e8aae560842.jpg",[],{"id":54945,"slug":54946,"title":54947,"dynasty":182,"author":223,"museum":2607,"description":54948,"tags":54949,"thumbUrl":54951,"material":27,"size":84,"collection":84,"collections":54952,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},217904,"guan-yin-jing-bian-tu-juan-3-yi-ming-217904","观音经变图卷-3","画面以分段式构图铺陈经义，观音端严居中，宝冠华服，衣纹流转若春风拂柳；两侧人物姿态各异，或合十听法，或躬身礼敬，世俗文人的儒雅与众生的恳切相映成趣。墨线勾勒精准简练，设色古雅温润，虽时光浸染，仍透露出唐代艺术的雍容气象。图文交织相生，经文随图像徐徐展开，将抽象教义化为具象场景，既便于信众理解，更藏着唐人对信仰的虔诚与对美的追求。这卷经变图，是宗教与艺术的完美融合，亦是岁月沉淀下的文化瑰宝，尽显“以图释经”的独特韵味。",[24,7,25,187,27,96,28,4642,1692,7322,54950],"经变","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd30d533b89ab49edf98ce3f096ed1921.jpg",[],{"id":54954,"slug":54955,"title":54956,"dynasty":54,"author":2653,"museum":300,"description":14125,"tags":54957,"thumbUrl":54958,"material":173,"size":84,"collection":84,"collections":54959,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":615},217258,"li-dai-di-wang-zhen-xiang-2-yao-wen-han-217258","历代帝王真像-2",[24,7,59,28,27,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22a05cb552cc9b250c0a9a4c09028f63.jpg",[],{"id":54961,"slug":54962,"title":54963,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":54964,"thumbUrl":54965,"material":611,"size":84,"collection":84,"collections":54966,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":956},217100,"bai-miao-luo-han-18-leng-mei-217100","白描罗汉-18",[24,7,59,188,187,96,97,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0dfa8270f2f92e766010043e3e2cf90.jpg",[],{"id":54968,"slug":54969,"title":54970,"dynasty":18,"author":25050,"museum":1941,"description":38765,"tags":54971,"thumbUrl":54972,"material":173,"size":38768,"collection":84,"collections":54973,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},216923,"xiang-shan-jiu-lao-tu-1-ma-xing-zu-216923","香山九老图-1",[23,24,7,164,25,28,27,96,29,130,97,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F678841ac59f4472f50abb16d347330a5.jpg",[],{"id":54975,"slug":54976,"title":54977,"dynasty":18,"author":25050,"museum":1941,"description":38765,"tags":54978,"thumbUrl":54979,"material":173,"size":38768,"collection":84,"collections":54980,"showCount":505,"zanCount":1998,"manualWeight":48,"mainColor":72},216917,"xiang-shan-jiu-lao-tu-4-ma-xing-zu-216917","香山九老图-4",[23,24,7,25,28,27,132,96,98,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30e02bcbe47a33ba1d078cd2f5d2205.jpg",[],{"id":54982,"slug":54983,"title":54984,"dynasty":54,"author":223,"museum":2607,"description":54985,"tags":54986,"thumbUrl":54987,"material":611,"size":84,"collection":84,"collections":54988,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":956},216856,"xi-xiang-ji-tu-ce-20-yi-ming-216856","西厢记图册-20","圆月清辉遍洒庭院，树影斑驳如碎银。藤蔓似绿绸缠绕花架，枝叶间缀着零星幽花。女子素衣长裙，身姿窈窕，轻倚花架旁，眉目间凝着淡淡幽思，仿佛正沉浸在西厢故事的缱绻心绪里。右侧圆拱门内，烛火摇曳，几案静立，朦胧光影勾画出深院的静谧。红栏绕岸，石砌铺阶，园林景致精巧雅致，每一处细节都晕染着古典温婉。画面色调柔和，笔触细腻，将人物情态与园林幽境相融，风过枝叶的轻响似在耳畔，那份藏在画中的细腻情思缓缓流淌，尽显传统绘卷的诗意与叙事之美。",[24,7,59,28,27,96,166,231,171,34,249,247,97,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56bfa9b8b76f98e2617ae763f5dda4d2.jpg",[],{"id":54990,"slug":54991,"title":54992,"dynasty":54,"author":223,"museum":300,"description":54993,"tags":54994,"thumbUrl":54995,"material":173,"size":84,"collection":84,"collections":54996,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},216699,"hong-lou-meng-fu-tu-ce-28-yi-ming-216699","红楼梦赋图册-28","画面铺展闺阁日常的温婉画卷。屏风半遮，床帐轻垂，红绿织锦衬得室内雅致生姿。几位女子衣饰清丽，或凭床低语，或侧耳凝听，眉宇间藏着细腻心绪；孩童携物而来，灵动身影为静谧添了几分活泼。案上器物精巧，架上典籍罗列，盆中绿植鲜翠，处处可见生活的精致与闲逸。笔墨细腻，设色柔和，将红楼世界里的闺阁情致、人物间的微妙互动，都融于这一方空间，似能让人窥见书中那些含蓄温婉的日常片段，满是古典雅致的韵味。",[23,24,7,59,27,28,96,166,24585,7344,251,170,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff652ee1132186d19f7e62e86ffda9d7d.jpg",[],{"id":54998,"slug":54999,"title":55000,"dynasty":124,"author":204,"museum":300,"description":2216,"tags":55001,"thumbUrl":55003,"material":173,"size":84,"collection":84,"collections":55004,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},216278,"er-shi-si-xiao-tu-14-chou-ying-216278","二十四孝图-14",[164,24,7,124,28,27,96,170,7876,55002],"传统故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F637cebbedf923ab431b3a4dc6fb9b5ce.jpg",[],{"id":55006,"slug":55007,"title":55008,"dynasty":124,"author":204,"museum":300,"description":2216,"tags":55009,"thumbUrl":55010,"material":173,"size":84,"collection":84,"collections":55011,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},216276,"er-shi-si-xiao-tu-17-chou-ying-216276","二十四孝图-17",[24,7,27,28,96,34,950,131,29,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaea33bb19ab71d706282bfcd999b463.jpg",[],{"id":55013,"slug":55014,"title":55015,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":55016,"thumbUrl":55017,"material":278,"size":3888,"collection":84,"collections":55018,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":72},214934,"dao-zi-mo-bao-ren-wu-bai-miao-hua-50-yi-ming-214934","道子墨宝人物白描画-50",[23,24,7,188,128,96,187,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bf23899979167f83e5e78857fe19f8.jpg",[],{"id":55020,"slug":55021,"title":55022,"dynasty":54,"author":9529,"museum":77,"description":36297,"tags":55023,"thumbUrl":55024,"material":66,"size":84,"collection":84,"collections":55025,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":49},214598,"fang-gu-shan-shui-ce-6-wang-hui-214598","仿古山水册-6",[24,7,59,128,27,29,1556,129,98,1337,331,131,13438,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F804475af6895468bf0eb564fb42b92ab.jpg",[],{"id":55027,"slug":55028,"title":4724,"dynasty":54,"author":4083,"museum":56,"description":55029,"tags":55030,"thumbUrl":55031,"material":84,"size":84,"collection":136,"collections":55032,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":55033},203105,"shan-shui-tu-ce-wang-shi-min-203105","这幅山水取元人笔意，山峦层叠以温润皴法写就，墨色清润间糅合淡彩，古雅之气扑面。近处林木葱茏，枝干遒劲，屋舍隐于浓荫下，透着幽居的闲适；远处峰峦起伏，云雾轻笼，虚实相生间拓出深远意境。笔力沉稳内敛，结构严谨有致，承续董巨与元四家的笔墨精髓，尽显清初文人山水的静谧淡远之韵，是正统画派师古出新的典型之作。",[29,59,132,128,27,24,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F405f73d8b4fac5d2e3c95237854c1735.jpg",[136],"aca494",{"id":55035,"slug":55036,"title":55037,"dynasty":54,"author":1460,"museum":56,"description":55038,"tags":55039,"thumbUrl":55040,"material":84,"size":84,"collection":136,"collections":55041,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":55042},202163,"shan-chuang-yan-du-tu-zhou-shi-tao-202163","山窗研读图轴","这幅立轴山水以水墨铺陈，上半段奇峰陡峭，岩石纹理用多变皴法勾勒，墨色浓淡交织，尽显山川雄浑之势；下半段林木错落，枝干苍劲，茅舍隐于树荫间，暗合“研读”之题，营造出文人静居的雅致氛围。石涛笔墨纵逸，皴擦点染间兼具自然野趣与人文情韵，将山水之灵与读书之静融为一体，尽显其“搜尽奇峰”的创作理念与文人画的精神内核。",[24,128,29,132,165,34,7,2132,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff91e2b04194fe3eca5cf94a86d7d0057.jpg",[136],"9d948a",{"id":55044,"slug":55045,"title":55046,"dynasty":54,"author":45224,"museum":56,"description":55047,"tags":55048,"thumbUrl":55049,"material":84,"size":84,"collection":136,"collections":55050,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":55051},202106,"yun-yue-song-tu-zhou-li-shi-zhuo-202106","云岳松图轴","山峦层叠间云雾轻绕，飞瀑自岩隙倾泻而下，溪流蜿蜒穿林而过。山间松杉错落，小径隐于草木，溪边茅屋数椽，偶见行人凭桥而立，尽显林泉幽致。笔墨清润，皴染相济，山石勾勒简劲见质感，树木点染疏密相宜，意境空灵悠远，既藏自然野趣，又含文人雅韵，仿佛泉声松涛隐隐可闻，引观者步入静谧山林之境。",[24,7,165,29,132,27,98,99,372,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a790e47b9da5174b054b56637edafb8.jpg",[136],"b7a590",{"id":55053,"slug":55054,"title":55055,"dynasty":54,"author":55056,"museum":56,"description":55057,"tags":55058,"thumbUrl":55059,"material":84,"size":84,"collection":117,"collections":55060,"showCount":505,"zanCount":1116,"manualWeight":48,"mainColor":55061},201854,"mo-zhu-tu-zhou-fang-yuan-lu-201854","墨竹图轴","方元鹿","墨竹身姿挺秀，枝干以淡墨挥写，挺拔中藏柔韧之致；竹叶用浓墨撇捺，错落间呈舞风之姿。墨色干湿浓淡互见，笔法潇洒灵动，“个”“人”字叶态生动，竿节留白透气，尽显竹之清劲气节。留白处空灵悠远，似闻竹籁轻吟，文人逸趣盎然纸上，观之顿生清雅静穆之感。",[24,7,165,128,167,164,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F582f50284584dcde9a8ae72a7c2aa5a1.jpg",[117],"bda993",{"id":55063,"slug":55064,"title":19935,"dynasty":54,"author":53851,"museum":56,"description":55065,"tags":55066,"thumbUrl":55068,"material":84,"size":84,"collection":84,"collections":55069,"showCount":505,"zanCount":48,"manualWeight":48,"mainColor":55070},201812,"yu-lan-tu-zhou-lang-bao-chen-201812","墨笔写玉兰一枝，枝干以枯劲之笔勾勒，墨色浓淡相间，尽显苍拙老辣之态；花朵或敛或舒，淡墨晕染花瓣，线条柔婉灵动，似含清露，雅韵天成。旁题行书诗句，笔墨流畅，与画面相映成趣，文气盎然。整幅作品以简洁之构，传玉兰冰清玉洁之质，尽显文人画的雅致意趣，于留白处见空灵，于笔墨间藏深情。",[24,7,165,128,61,356,133,55067],"写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef42a9191201be483109130f329c040b.jpg",[],"c7b6a0",{"id":55072,"slug":55073,"title":10964,"dynasty":144,"author":223,"museum":244,"description":55074,"tags":55075,"thumbUrl":55076,"material":173,"size":55077,"collection":84,"collections":55078,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},291017,"teng-wang-ge-tu-yi-ming-291017","该图用俯瞰法，视点高，同时显示多景的场面，已从纯粹描绘建筑物变成与自然环境结合的风景画面，应为明代宫廷画师所作。",[24,7,95,29,97,129,99,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3164da41333b757dd3619bd54a08b1a2.jpg","154x96",[],{"id":55080,"slug":55081,"title":55082,"dynasty":18,"author":15673,"museum":300,"description":46448,"tags":55083,"thumbUrl":55084,"material":692,"size":1293,"collection":84,"collections":55085,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},291013,"xi-hu-shi-jing-tu-ce-hua-gang-guan-yu-ye-xiao-yan-291013","西湖十景图册 花港观鱼",[164,24,7,59,29,2059,130,133,64,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2d335cbc92567d0df2a58e54659ebbc.jpg",[],{"id":55087,"slug":55088,"title":55089,"dynasty":18,"author":223,"museum":300,"description":55090,"tags":55091,"thumbUrl":55093,"material":692,"size":1293,"collection":84,"collections":55094,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},290779,"song-ke-si-cui-yu-qiu-he-yi-ming-290779","宋缂丝翠羽秋荷","缂丝是以简单的平纹木机所织成的一种丝织品，与一般丝织品通经通纬的织造方式不同，采通经断纬的方法来织造。先将经线固定，依图案设计的需要，以不同色线作纬线，来回穿梭于图形的经线之间。由于不同色线所织的图形间，彼此不相关联，图案形状周围会留下锯齿状的空隙，因此缂丝又称为刻丝。",[59,24,7,1944,61,28,27,55092,481,6185,208],"菜蔬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62e53d78bb78065a5e661dc454786d96.jpg",[],{"id":55096,"slug":55097,"title":29129,"dynasty":144,"author":31048,"museum":244,"description":55098,"tags":55099,"thumbUrl":55100,"material":278,"size":31052,"collection":84,"collections":55101,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},290725,"mo-mei-zhou-chen-li-shan-290725","陈立善，元中叶东门人。至正中期任庆元路照磨①。善画梅竹，与王冕齐名。",[24,165,128,371,64,208,61,7,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7362c176b622ba7d5f9dcac289dcaa93.jpg",[],{"id":55103,"slug":55104,"title":55105,"dynasty":124,"author":5798,"museum":300,"description":55106,"tags":55107,"thumbUrl":55108,"material":692,"size":1293,"collection":84,"collections":55109,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},290619,"sui-shan-tao-shi-zhou-zhang-hong-290619","绥山桃实轴","张宏（1577年－1652年后），字君度，号鹤涧，江苏苏州长洲县人，明代画家、篆刻家。善画山水、人物、翎毛。擅长山水，颇有意趣，亦能画兰，笔墨有元人古意，是明末吴门画坛的中坚人物。吴中学者尊崇之。另外近代学者指出他擅长“地图式绘画”，描绘旅游所见景色，是与其他吴派画家不同之处。",[24,7,164,165,26,27,29,97,1144,209,98,495,96,1515,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcff69830017c4619fdc8ecbb0cf78341.jpg",[],{"id":55111,"slug":55112,"title":409,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":55113,"thumbUrl":55114,"material":692,"size":1293,"collection":84,"collections":55115,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},290540,"shan-shui-ce-yun-shou-ping-290540",[24,7,59,64,133,208,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a4fcd21035746babe4fb8b9df514abe.jpg",[],{"id":55117,"slug":55118,"title":55119,"dynasty":54,"author":1219,"museum":300,"description":1220,"tags":55120,"thumbUrl":55121,"material":692,"size":1293,"collection":84,"collections":55122,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},290512,"fang-mei-dao-ren-bi-yi-shan-shui-tu-jing-xin-ren-yi-290512","仿梅道人笔意山水图镜心",[23,164,24,7,128,29,132,131,99,34,96,330,64,208,12488],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b242dc98ba13ddac83e86adb8a5c7d6.jpg",[],{"id":55124,"slug":55125,"title":55126,"dynasty":144,"author":1208,"museum":300,"description":34252,"tags":55127,"thumbUrl":55132,"material":692,"size":1293,"collection":84,"collections":55133,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},290267,"jia-shu-you-huang-tu-ke-luo-ban-ni-zan-290267","嘉树幽篁图（珂罗版）",[23,24,7,25,128,1349,55128,415,55129,387,55130,55131,5323,133,208,30060,31851],"珂罗版","平畴","嘉树","幽篁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13f53faf8501d2817c109bebc226cba2.jpg",[],{"id":55135,"slug":55136,"title":55137,"dynasty":54,"author":1219,"museum":300,"description":1220,"tags":55138,"thumbUrl":55139,"material":692,"size":1293,"collection":84,"collections":55140,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},290208,"fu-gui-tu-bai-mei-cheng-shan-ren-yi-290208","富贵图白梅成扇",[23,1131,24,7,27,371,61,64,133,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6be5a61d924c866ae44f4671bd945a59.jpg",[],{"id":55142,"slug":55143,"title":41459,"dynasty":144,"author":28466,"museum":300,"description":28467,"tags":55144,"thumbUrl":55145,"material":692,"size":1293,"collection":84,"collections":55146,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":199},290169,"xiu-huang-shu-wu-tu-tan-zhi-rui-290169",[24,7,128,29,167,5022,96,131,129,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee366b6c5842f7eb17aa6b5cc7c9e35.jpg",[],{"id":55148,"slug":55149,"title":55150,"dynasty":54,"author":3403,"museum":300,"description":8089,"tags":55151,"thumbUrl":55152,"material":692,"size":1293,"collection":84,"collections":55153,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},290007,"xiang-cao-yuan-shu-jing-xin-wu-chang-shuo-290007","香草园蔬镜心",[1131,24,7,27,4250,375,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946b8116a6db47c791b928fc7b1bedce.jpg",[],{"id":55155,"slug":55156,"title":55157,"dynasty":54,"author":55158,"museum":300,"description":55159,"tags":55160,"thumbUrl":55161,"material":692,"size":1293,"collection":84,"collections":55162,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},290001,"he-li-tu-li-zhou-li-xiao-290001","鹤立图立轴","李孝","李孝，字敦庸，号桐园，活动于康熙年间，系安徽无为人，父李亨（李仲仁）。善山水、花鸟、草虫，以“没骨画”著称，师法明代孙隆。",[24,7,165,128,61,168,1824,10011,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86823fba7dc574733c21eae050176d10.jpg",[],{"id":55164,"slug":55165,"title":55166,"dynasty":18,"author":1449,"museum":300,"description":55167,"tags":55168,"thumbUrl":55169,"material":692,"size":1293,"collection":84,"collections":55170,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},289791,"ceng-die-bing-xiao-tu-ma-lin-289791","层叠冰绡图","图中所画两枝梅花据称为绿萼梅，是梅花中的名贵品种。枝干细秀劲挺，花朵繁密俏媚，皆以双勾填色法绘之。画法精细，层次鲜明，枝干的转折，花朵的向背，处理得面面俱到。",[23,164,24,7,165,61,371,28,27,64,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bc97e6d88354e1796d165fe1fc8d32c.jpg",[],{"id":55172,"slug":55173,"title":1109,"dynasty":144,"author":55174,"museum":300,"description":55175,"tags":55176,"thumbUrl":55177,"material":692,"size":1293,"collection":84,"collections":55178,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},288355,"zhu-shi-tu-deng-yu-288355","邓宇","邓宇，字子方，号五云，是元末明初画家、道士，",[24,7,165,128,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d25db2e100974dd0888fb243ef43c43.jpg",[],{"id":55180,"slug":55181,"title":49907,"dynasty":54,"author":29297,"museum":300,"description":55182,"tags":55183,"thumbUrl":55184,"material":692,"size":1293,"collection":84,"collections":55185,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},288353,"lan-shi-tu-jiang-pu-288353","蒋溥（1708—1761年），大学士蒋廷锡长子，字质甫，号恒轩，江苏常熟人，清朝大臣，画家，善画花卉，深得家传。雍正八年二甲第一名进士，官至东阁大学士兼户部尚书。性情宽厚而警敏，任职后，精心奉职，勤于政事，是乾隆时期的重臣，亦是蒋派花鸟画艺术的重要代表。\n乾隆二十六年（1761）四月，病逝于任上。乾隆皇帝亲临祭奠，加赠太子太保，谥曰文恪，入祀贤良祠。",[24,7,165,27,28,61,263,375,171,480,608],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0350f5ed0f80f346627b44ec05cfd1de.jpg",[],{"id":55187,"slug":55188,"title":55189,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":55190,"thumbUrl":55191,"material":692,"size":1293,"collection":84,"collections":55192,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},288231,"ying-shu-tu-zhou-huang-shen-288231","鹰树图轴",[23,24,164,7,165,128,27,61,3141,331,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe64cb9aa88aeb2a63fd59b654ad6a0d0.jpg",[],{"id":55194,"slug":55195,"title":55196,"dynasty":54,"author":22607,"museum":300,"description":55197,"tags":55198,"thumbUrl":55199,"material":692,"size":1293,"collection":84,"collections":55200,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},288214,"ming-xian-quan-tu-mei-qing-288214","鸣弦泉图","梅清（1623---1697），字渊公，号瞿山，安徽宣城人。生于明熹宗天启三年（1623年），卒于清圣祖康熙三十六年（1697年）。",[23,164,24,7,165,128,29,1144,131,15550,64,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78782d685d7c355c35aa459672f57e31.jpg",[],{"id":55202,"slug":55203,"title":55204,"dynasty":124,"author":52770,"museum":300,"description":18203,"tags":55205,"thumbUrl":55207,"material":692,"size":1293,"collection":84,"collections":55208,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},287949,"ping-sha-luo-yan-tu-ye-sheng-mao-ye-287949","平沙落雁图页",[23,24,7,59,128,64,133,29,211,99,1337,55206,96,208],"平沙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4367d0d7660d7cc5c1cfaf29d53a369.jpg",[],{"id":55210,"slug":55211,"title":55212,"dynasty":124,"author":223,"museum":300,"description":55213,"tags":55214,"thumbUrl":55217,"material":692,"size":1293,"collection":84,"collections":55218,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},287830,"zhao-jun-chu-sai-tu-yi-ming-287830","昭君出塞图","此作用淡晕山水铺陈出塞地辽寂荒寒，平沙远晕染出空阔萧索的塞北底色。近景渡口车马簇聚、行人揖别，细腻勾勒出饯行人群的依依愁绪，将离别的缱绻尽数藏在攒动身影与待发车马之间。\n\n工写相融的笔触，将千古典故里的沉郁叹惋具象化。搭配遒劲题字书画合璧，既以细腻叙事场景还原汉塞之别，又借悠远山水烘托出出塞征程的苍茫苍凉，将离愁与荒寒意境相融，尽显旧典的悠长余味，寄寓着对这段往事的深沉叹惜。",[23,24,7,6318,27,166,101,98,690,29,55215,55216,208,64,133],"历史事件","昭君出塞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F154b051c5a32df91e9be9ff6b7fa7ebb.jpg",[],{"id":55220,"slug":55221,"title":55222,"dynasty":144,"author":1208,"museum":244,"description":55223,"tags":55224,"thumbUrl":55226,"material":278,"size":55227,"collection":136,"collections":55228,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},287761,"yu-hou-kong-lin-zhou-ni-zan-287761","雨后空林轴","画中山石多用披麻、折带皴，干笔淡墨，浓墨点苔，敷色清淡温和。整个画面布局充实饱满，平稳而有变，景象开阔，意境清淡萧疏，雨霁林空之景，宛然目前。而且，倪瓒的多数作品，写景极简，而这件作品则写高大山川，景物丰富。",[164,24,7,165,128,27,29,132,55225,98,99,331,130,64,133,208],"空林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb29f3553e93f9b3a86dddb9e78143330.jpg","63.5x37.6",[136],{"id":55230,"slug":55231,"title":55232,"dynasty":351,"author":35608,"museum":300,"description":55233,"tags":55234,"thumbUrl":55235,"material":692,"size":1293,"collection":84,"collections":55236,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},287705,"yan-ai-qiu-she-zhao-gan-287705","烟霭秋涉","山谷间流水潺潺，五名行旅提挽裤脚，相继涉水渡溪，背后的树木已呈枯黄，后岭复重重环抱，此境益为幽深绝尘。旧传此幅为赵干之作。",[23,24,7,1349,128,132,171,331,6639,10143,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc85a4e660923125f155ac2d2314f28a.jpg",[],{"id":55238,"slug":55239,"title":55240,"dynasty":124,"author":16846,"museum":300,"description":55241,"tags":55242,"thumbUrl":55243,"material":692,"size":1293,"collection":84,"collections":55244,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},287440,"deng-shan-yuan-tiao-tu-shan-mian-wen-bo-ren-287440","登山远眺图扇面","文伯仁（1502---1575）明代画家，字德承，号五峰、摄山长、葆生、摄山老农、五峰山人、五峰樵客，汉族，湖广衡山人，系籍长州（今江苏苏州）。文徵明侄子。\n性暴躁，好使气骂座，少年时曾与叔文徵明相讼，一度系狱。工画山水，效王蒙，学“三赵”（令穰、伯驹、孟頫），笔力清劲，岩峦郁茂，布景奇兀，时以巧思发之，名在文徵明之下。横披大幅颇负出蓝之誉，唯构图时有塞实之感。\n善画人物，亦能诗。其山水画有简、繁两种面貌。简者效文徵明细笔山水，景色疏朗，笔墨细秀，多抒情意趣；繁者出自王蒙，山林层叠，构图饱满，皴点繁密，境界郁茂。",[1131,24,7,29,132,27,496,34,211,38872,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb01d3784783f895ba5a3a01d0cc4b9b3.jpg",[],{"id":55246,"slug":55247,"title":55248,"dynasty":124,"author":2268,"museum":300,"description":55249,"tags":55250,"thumbUrl":55251,"material":692,"size":1293,"collection":84,"collections":55252,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},283770,"guan-shan-xue-ji-tu-juan-dong-qi-chang-283770","关山雪霁图卷","该画主要对平远山景进行详细描绘，笔墨仍作平远景，山峦起伏层叠，林壑幽深，布局严谨而气势雄健，墨色浑厚用笔苍劲老辣，兼有生拙秀润的韵致。",[23,164,24,25,7,128,29,1813,496,4438,132,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7b4e279e00538389e26971602b2698b.jpg",[],{"id":55254,"slug":55255,"title":55256,"dynasty":124,"author":223,"museum":300,"description":55257,"tags":55258,"thumbUrl":55260,"material":692,"size":1293,"collection":84,"collections":55261,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},283630,"qi-lin-tu-yi-ming-283630","麒麟图","此作以细腻写实之笔，将远道而来的异兽定格于绢素之上。画面右侧的异域使者深目高鼻，身着朱红劲装，神情恭谨牵绳引兽。长颈鹿身形修挺劲健，皮毛晕染柔和自然，斑纹清晰，肌理骨骼暗藏笔底，将其温驯却又不凡的姿态传神勾勒。\n左上题跋笔致端稳，详述贡兽始末，兼具纪实性与装饰美感。整作工致典雅，既承继了明代院体画的写实风骨，亦留存下明初远洋朝贡的鲜活印记，将外交盛典的庄重与异兽的新奇精妙相融，是兼蓄艺术审美与史料价值的珍贵之作。",[24,164,7,165,28,27,96,949,55259,572,208],"麒麟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdac7a74157a0e02cb351eb104fa6ffa.jpg",[],{"id":55263,"slug":55264,"title":55265,"dynasty":54,"author":223,"museum":300,"description":10087,"tags":55266,"thumbUrl":55268,"material":692,"size":1293,"collection":84,"collections":55269,"showCount":444,"zanCount":1998,"manualWeight":48,"mainColor":72},263650,"ke-si-jia-xiu-qian-long-yu-ti-san-xing-tu-zhou-yi-ming-263650","缂丝加绣乾隆御题三星图轴",[165,7,24,31881,27,28,96,55267,227,722,2302,29,1144,209,189,131,99,62,13720,64,208],"福禄寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41adb2dde5dde60b84a10ab4ad9f8997.jpg",[],{"id":55271,"slug":55272,"title":55273,"dynasty":54,"author":7208,"museum":300,"description":45366,"tags":55274,"thumbUrl":55275,"material":692,"size":1293,"collection":84,"collections":55276,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},241673,"lin-wang-xi-zhi-za-tie-ce-qian-long-241673","临王羲之杂帖册",[7,64,133,330,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd700a6f347cdc2f2f989d84f0bdabf41.jpg",[],{"id":55278,"slug":55279,"title":55280,"dynasty":54,"author":55281,"museum":300,"description":55282,"tags":55283,"thumbUrl":55284,"material":692,"size":1293,"collection":84,"collections":55285,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},240248,"lun-shu-fa-zhou-liu-yong-240248","论书法轴","刘墉","刘墉（1720~1804年 ），字崇如，号石庵，山东诸城 人，清代政治家、书法家，首席军机大臣刘统勋长子。\n乾隆十六年（1751年），考中进士，先后历任安徽学政、江苏学政、太原知府、冀宁道台、江宁知府、江西盐驿道、陕西按察使、内阁学士、湖南巡抚。乾隆四十七年（1782年）初调入京师后，历任都察院左都御史、工部尚书兼吏部尚书、吏部尚书兼兵部尚书、协办大学士兼吏部尚书。尚书房总师傅、管理国子监事务大臣等职。官至吏部尚书、体仁阁大学士、太子太保。刘墉以为官清廉著称，深得百姓信赖，早在任江宁知府时就获赞誉 “少时知江宁府，颇以清介持躬，名播海内，妇人女子无不服其品谊，至以包孝肃比之”，朝鲜使臣称赞。以奉公守法、清正廉洁闻名于世。",[24,7,165,133,64,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fcacd29676c5122aa83b48287634b51.jpg",[],{"id":55287,"slug":55288,"title":55289,"dynasty":124,"author":125,"museum":20,"description":55290,"tags":55291,"thumbUrl":55292,"material":84,"size":84,"collection":318,"collections":55293,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},240027,"you-zhang-gong-dong-ji-shen-zhou-240027","游张公洞记","沈周（1427～1509）明代杰出书画家。沈周的书法学黄庭坚，书风“遒劲奇崛”。",[23,164,7,64,25,133,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6454502c97f02fbc6bb94cacdb339fab.jpg",[318],{"id":55295,"slug":55296,"title":55297,"dynasty":144,"author":223,"museum":300,"description":55298,"tags":55299,"thumbUrl":55300,"material":692,"size":1293,"collection":84,"collections":55301,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},239723,"yuan-ming-ren-shu-ce-zhao-meng-fu-yu-hang-zhou-qi-jue-yi-ming-239723","元明人书册-赵孟頫寓杭州七绝","元初书法总的情况是崇尚复古。文宗天历初建奎章阁，专掌秘玩古物。元文宗常幸奎章阁欣赏法书名画，书法一度出现兴盛局面。赵孟頫，鲜于枢等名家，是这时期书法的代表。他们主张书画同法，注重结字的体态。但元代书坛纯是继承晋唐，没有自己风格，稍后于赵孟頫的康里巎巎还有些变化，奇崛独出于元代书坛。纵观元代书法，其成就大者还在真行草书方面。至于篆隶，虽有几位名家，但并不怎么出色。这种以真、行、草书为主流的书法，发展到了清代才得到改变。有元一代书风，仍沿宋习盛于帖学，宗唐宗晋，虽各有其妙，亦不能以一家之法立于书坛。",[64,133,59,7,5459,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff44dd4cf8948445a502c908ef7a3bbe1.jpg",[],{"id":55303,"slug":55304,"title":55305,"dynasty":124,"author":38030,"museum":300,"description":55306,"tags":55307,"thumbUrl":55308,"material":84,"size":84,"collection":318,"collections":55309,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":199},239700,"shu-si-wu-xie-zhou-zhu-you-jian-239700","书思无邪轴","朱由检（1611年2月6日－1644年4月25日 ），男，汉族，字德约 ，明朝第十六位皇帝（1627年10月2日-1644年4月25日在位） ，也是明朝作为全国统一政权的最后一位皇帝，明光宗朱常洛第五子，明熹宗朱由校异母弟，母为孝纯皇后刘氏。\n万历三十九年（1611年），生于慈庆宫 ，天启二年（1622年），被封为信王。天启七年（1627年）即皇帝位，年号崇祯。 即位之初，大力铲除阉党，勤于政事，厉行节俭，平反冤狱。在位期间，朝廷党争不休，民间灾害不断，导致明末农民起义爆发，关外后金政权趁势崛起，国家处于内忧外患的境地。\n崇祯十七年（1644年），李自成攻破北京时，朱由检自缢于煤山，终年三十四岁。清军入关后，以礼改葬于明十三陵中的思陵 ，庙号怀宗（后取消），谥号钦天守道敏毅敦俭弘文襄武体仁致孝庄烈愍皇帝。南明弘光帝追上谥号绍天绎道刚明恪俭揆文奋武敦仁懋孝烈皇帝，庙号思宗，后改为毅宗。 隆武帝改庙号为威宗。",[64,133,128,165,208,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F006507ca5262abed2fe9cfb7af640d36.jpg",[318],{"id":55311,"slug":55312,"title":55313,"dynasty":18,"author":313,"museum":300,"description":46495,"tags":55314,"thumbUrl":55315,"material":84,"size":84,"collection":318,"collections":55316,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},239644,"jun-yi-tie-ye-huang-ting-jian-239644","君宜帖页",[1326,64,133,208,7,9910,611,4437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c8ed1965e5015ecc210f24a653c622f.jpg",[318],{"id":55318,"slug":55319,"title":55320,"dynasty":124,"author":55321,"museum":20,"description":55322,"tags":55323,"thumbUrl":55324,"material":840,"size":55325,"collection":318,"collections":55326,"showCount":444,"zanCount":1116,"manualWeight":48,"mainColor":72},239628,"zi-shu-shi-juan-jie-jin-239628","自书诗卷","解缙","解缙《自书诗》卷释文\n本幅共录自作诗 7首，是解缙于1407――1410年在广西、交阯为官期间所作。除第六首《过藤县》外，其余 6首均见于解缙《文毅集》，其中个别诗句互有出入。\n作品创作于永乐八年（1410年），时解缙42岁，恰从遥远的边陲入京奏事。之后不久即被陷入狱，５年后惨死狱中。此卷书法纵横超逸，奔放洒脱，点划出规入矩，绝无草率牵强处。章法经营尤见匠心，全篇一气呵成，神气自备，显示出解缙驾御长卷游刃有余的不凡功力。从卷末自识中流露出解缙本人对此卷也是颇为得意的。他把这件得意之作送给祯期，祯期为解缙兄解纶之子，以书名，不失门风。\n幅后有明王穉登跋一则。钤诸家鉴藏印共25方。曾经清安岐、乾隆、嘉庆、宣统御府收藏。《平生壮观》、《墨缘汇观》、《石渠宝笈续编》、《石渠随笔》等书著录。",[23,805,64,7,25,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09d422b5d628f1482f54d5ee322fe7f7.jpg","纵34.3厘米，横472厘米",[318],{"id":55328,"slug":55329,"title":55330,"dynasty":54,"author":55331,"museum":300,"description":55332,"tags":55333,"thumbUrl":55334,"material":692,"size":1293,"collection":136,"collections":55335,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},239467,"qing-chu-shi-si-jia-shu-hua-ji-jin-ce-fang-jing-hao-shan-shui-ye-wu-chong-239467","清初十四家书画集锦册-仿荆浩山水页","吴宠","吴宏（1615 —1680），一作弘，字远度，号竹史、西江外史。江西金溪人，移居江宁（今南京）。",[24,7,59,128,27,29,413,1314,99,133,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca3a7791f4a8fba86767183d3f01eb35.jpg",[136],{"id":55337,"slug":55338,"title":409,"dynasty":54,"author":55339,"museum":300,"description":55340,"tags":55341,"thumbUrl":55342,"material":692,"size":1293,"collection":136,"collections":55343,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},239341,"shan-shui-ce-lin-fu-chang-239341","林福昌","林福昌，男，字海如，吴县（今江苏苏州）人，瑞恩子。善花卉、人物，尤工写照。尝为徐熊庆绘行乐图极精。光绪三年（一八七七）作吴中七老图卷。清未尝为木刻书籍人像。",[24,7,59,128,132,29,129,331,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e0be85109e2e631de104cbef1be524d.jpg",[136,45],{"id":55345,"slug":55346,"title":55347,"dynasty":54,"author":1219,"museum":300,"description":31963,"tags":55348,"thumbUrl":55349,"material":84,"size":84,"collection":44,"collections":55350,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},239218,"hua-yue-lou-xiang-zhou-ren-yi-239218","画月楼像轴",[24,7,164,165,27,28,96,170,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ee59244ae41195ef7e62dfb0e4906b7.jpg",[44,318],{"id":55352,"slug":55353,"title":55354,"dynasty":54,"author":23563,"museum":300,"description":55355,"tags":55356,"thumbUrl":55357,"material":84,"size":84,"collection":136,"collections":55358,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},239049,"fang-lu-tai-shan-shui-zhou-qin-bing-wen-239049","仿麓台山水轴","秦炳文（一八O三至一八七三），字砚云，号谊亭，江苏无锡人。道光二十年（1840）举人，官户部主事。三上春闱，留京八载，尝一返里，挈子俱北。寄情诗酒，广交游，精鉴赏，所藏皆精品。画擅山水，初师王鉴，后宗黄公望、吴镇，臻其胜境。",[24,7,165,128,27,29,132,413,229,99,758,1144,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa567e23e75cf5399eb1383b55b03c067.jpg",[136],{"id":55360,"slug":55361,"title":55362,"dynasty":54,"author":646,"museum":300,"description":55363,"tags":55364,"thumbUrl":55365,"material":84,"size":84,"collection":136,"collections":55366,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},238901,"fang-song-yuan-shan-shui-ce-dong-gao-238901","仿宋元山水册","近处水畔矶石错落，枯木疏柳掩映板桥茅舍，坡岸浅草覆绿，漫着幽居野逸的松弛意趣。山峦层叠延展，以淡墨晕染远山，空濛悠远。山石皴法兼具古意，苍秀温润，设色轻浅雅致，不施浓艳。\n全作以平远视角铺展，虚实相生，将山野间安闲静穆的山居图景缓缓铺陈。笔墨清隽秀雅，带着江南山水的温润灵秀，将文人理想中的林泉高致融于尺幅，观之如临其境，可感幽居独处的淡然意趣，尽显山水小景的意境之美。",[24,7,59,128,27,330,132,29,130,34,99,131,415,331,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44c1e1e7fe54974f8093e8919216aa07.jpg",[136,45],{"id":55368,"slug":55369,"title":28511,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":55370,"thumbUrl":55371,"material":692,"size":1293,"collection":84,"collections":55372,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},238334,"hua-hong-li-si-ji-lan-shi-yi-ce-dong-gao-238334",[24,7,59,27,28,61,375,62,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F736fc932fd3131df73497c0c9c02a3ce.jpg",[],{"id":55374,"slug":55375,"title":13856,"dynasty":54,"author":1409,"museum":20,"description":13857,"tags":55376,"thumbUrl":55377,"material":13860,"size":13861,"collection":84,"collections":55378,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},238288,"yu-lan-shi-nv-qing-yu-tu-ce-yu-lan-238288",[24,7,59,28,27,96,166,169,7344,438,62,1367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1bb278f626c47ec8be5c838769c02c3.jpg",[],{"id":55380,"slug":55381,"title":49505,"dynasty":54,"author":18144,"museum":300,"description":49506,"tags":55382,"thumbUrl":55383,"material":84,"size":84,"collection":84,"collections":55384,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},238241,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238241",[164,24,7,59,27,29,132,131,34,98,99,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e4b01e9057d3e56b02266fca872cf57.jpg",[],{"id":55386,"slug":55387,"title":55388,"dynasty":54,"author":223,"museum":300,"description":55389,"tags":55390,"thumbUrl":55391,"material":84,"size":84,"collection":84,"collections":55392,"showCount":444,"zanCount":1116,"manualWeight":48,"mainColor":72},238187,"wang-cheng-pei-ji-hui-ming-he-juan-yi-ming-238187","汪承霈集卉鸣和卷","此卷开篇绘幽竹亭亭，鸣虫静栖竹间，溪畔蓝花簇生，野趣盎然。清溪蜿蜒穿流过浅渚，渐入群芳盛放之景：粉菊、蓝花、红卉与素白琼英交织错落，枝叶柔曼舒展。蜻蜓振翅掠水，蛱蝶穿花翩跹，蜂虫流连芳丛，诸般小生灵衬得满卷生机浮动。全作用笔纤柔细腻，工笔淡彩晕染雅致明秀，将郊野春景的清灵意趣缓缓铺展，把花间小景的娴静生机描摹尽致，宛如将融融春日的一隅闲趣，凝于素绢之上。",[23,24,7,25,28,27,61,167,547,481,608,7633,99,131,1771,806,168,263,373,603],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946dcdc9d843fe6490645d4ecbbb0d23.jpg",[],{"id":55394,"slug":55395,"title":55396,"dynasty":124,"author":223,"museum":300,"description":55397,"tags":55398,"thumbUrl":55399,"material":692,"size":1293,"collection":84,"collections":55400,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},238062,"ming-ren-zhu-shi-liu-quan-tu-ye-yi-ming-238062","明人竹石流泉图页","近坡修竹错落劲挺，枝叶萧疏幽寂自生。曲折溪泉层层跌落，数重流瀑打破林间岑寂，暗出水石相击的泠泠意趣。远景以淡墨晕作空蒙烟霭，将山林深幽肆意延展。\n\n全作用水墨写意而出，以干湿浓淡的墨色铺陈空间层次，淡墨轻皴山石，晕染云烟。简淡笔触写尽林泉高致，将山野林下的静穆生机缓缓铺陈，仿佛能闻声泉响，轻嗅竹间清润，尽显萧散淡远的文人意趣，把幽居林泉的闲雅意境融于尺幅之间。",[24,7,59,128,29,167,1314,33122,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7146d77b47a30d94781b03f80b751327.jpg",[],{"id":55402,"slug":55403,"title":55404,"dynasty":54,"author":223,"museum":300,"description":55405,"tags":55406,"thumbUrl":55407,"material":1722,"size":36491,"collection":44,"collections":55408,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},238023,"di-wang-ming-chen-xiang-ce-zhi-wang-xi-zhi-yi-ming-238023","帝王名臣像册之王羲之","此作以淡墨白描写就书圣风神，宽冠博袍尽显晋人仪度，长髯垂胸衬出沉静儒雅的气质，眉眼舒展自带林下散淡之风，将王羲之脱略世俗的名士神韵精妙勾勒而出。左侧题识小字工稳端秀，详述其生平轶闻，图文相辅，既是人物写照，亦是书史掌故的载体。整作笔墨洗练清雅，无多余藻饰，却将人物风骨与文史意趣融于一纸，尽显写意传神的画中妙味，静静诉说着这位书法宗师的生平与风度。",[24,7,59,188,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbe9df240437289ba3efcb72c4247c47.jpg",[44],{"id":55410,"slug":55411,"title":409,"dynasty":54,"author":55412,"museum":300,"description":55413,"tags":55414,"thumbUrl":55415,"material":692,"size":1293,"collection":136,"collections":55416,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},237997,"shan-shui-ce-qin-zu-yong-237997","秦祖永","秦祖永，道光五年（1825年）生，光绪十年（1884 年）卒，江苏梁溪(今无锡)人。字逸芬，又字撷芬，号桐阴、桐阴生、逸道人、楞烟、邻烟、邻烟外史等。",[24,7,59,128,133,208,132,29,98,99,130,34,131,495,35,1023,13602,496,38,28172,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6be8cda5b92f8e3e57d5d8504a2c9485.jpg",[136,45],{"id":55418,"slug":55419,"title":46710,"dynasty":124,"author":36184,"museum":300,"description":45566,"tags":55420,"thumbUrl":55421,"material":692,"size":1293,"collection":84,"collections":55422,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":199},237870,"xue-jing-shan-shui-shan-mian-liu-yuan-qi-237870",[24,7,1131,128,132,29,1813,34,35,96,98,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c30cc20242b010b260c4ea9c2cc93e.jpg",[],{"id":55424,"slug":55425,"title":55426,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":55427,"thumbUrl":55428,"material":692,"size":1293,"collection":84,"collections":55429,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},237849,"fang-ni-shan-shui-shan-dong-qi-chang-237849","仿倪山水扇",[24,7,1131,128,132,330,208,29,415,3857,1337,35,9502,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55363912779a99f9f5b63f43afe6bd85.jpg",[],{"id":55431,"slug":55432,"title":55433,"dynasty":124,"author":1270,"museum":300,"description":43445,"tags":55434,"thumbUrl":55435,"material":692,"size":1293,"collection":84,"collections":55436,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},237812,"shui-xian-shan-sun-ke-hong-237812","水仙扇",[24,7,1131,128,188,61,374,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef6757ec98211ac3c88f71f64afeb8d.jpg",[],{"id":55438,"slug":55439,"title":55440,"dynasty":124,"author":19056,"museum":300,"description":41731,"tags":55441,"thumbUrl":55442,"material":84,"size":84,"collection":136,"collections":55443,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},237694,"mo-bi-zhu-shi-zhou-chen-gua-237694","墨笔竹石轴",[24,7,165,128,167,1314,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5e4485998ba7cfc245a08a6961acd7c.jpg",[136],{"id":55445,"slug":55446,"title":4229,"dynasty":124,"author":9459,"museum":300,"description":9460,"tags":55447,"thumbUrl":55448,"material":84,"size":84,"collection":84,"collections":55449,"showCount":444,"zanCount":1998,"manualWeight":48,"mainColor":72},237670,"hua-niao-ce-ling-bi-zheng-237670",[164,24,7,59,28,27,61,211,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faee85a791332cca7eeb3b33e91fc250a.jpg",[],{"id":55451,"slug":55452,"title":14818,"dynasty":54,"author":3718,"museum":300,"description":10500,"tags":55453,"thumbUrl":55454,"material":692,"size":1293,"collection":84,"collections":55455,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},237619,"hong-ren-shan-shui-ce-hong-ren-237619",[24,7,59,128,132,133,208,29,34,35,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e01d04b53630c87d96cfa6ca10ce605.jpg",[],{"id":55457,"slug":55458,"title":22597,"dynasty":124,"author":22598,"museum":300,"description":22599,"tags":55459,"thumbUrl":55460,"material":692,"size":1293,"collection":84,"collections":55461,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},237543,"mei-hua-dui-ti-tu-ce-chen-ji-ru-237543",[24,7,59,128,133,208,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1b54192e1b06741108f0662f5463aef.jpg",[],{"id":55463,"slug":55464,"title":76,"dynasty":124,"author":16032,"museum":510,"description":16033,"tags":55465,"thumbUrl":55466,"material":1190,"size":16036,"collection":84,"collections":55467,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},237441,"hua-hui-ce-xiang-sheng-mo-237441",[24,7,59,27,133,208,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07aad0227fa41cc8d0cb52ea09bb1747.jpg",[],{"id":55469,"slug":55470,"title":13231,"dynasty":54,"author":55471,"museum":300,"description":55472,"tags":55473,"thumbUrl":55474,"material":84,"size":84,"collection":84,"collections":55475,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},237362,"mu-dan-zhou-yun-yuan-jun-237362","恽源濬","此作用淡墨晕染牡丹花瓣，由浅及深铺陈舒展，将花头的雍容柔婉尽数勾勒。枝叶以浓淡干湿的墨色对比表现阴阳向背，枯笔写枝苍劲老辣，褪去牡丹惯常的艳俗富贵，尽显清逸雅致。\n左侧题跋与花木相映成趣，书画合璧，以墨色代脂粉，将文人意趣融于花间，把牡丹华贵风骨转为澹泊出尘的书卷气，寥寥笔墨间便将花木的盎然生意与画者的清雅襟怀一并铺陈，清淡疏朗的留白与晕染的花叶相映，尽显写意花鸟的东方雅致意韵。",[24,7,165,128,28,61,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc593686ccfa194691dabe99feda5991e.jpg",[],{"id":55477,"slug":55478,"title":76,"dynasty":54,"author":17956,"museum":300,"description":17957,"tags":55479,"thumbUrl":55480,"material":611,"size":84,"collection":84,"collections":55481,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},237285,"hua-hui-ce-wu-kai-237285",[24,7,59,27,28,61,62,549,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c0415afdaa4a8145d0cc5c3d1f428f.jpg",[],{"id":55483,"slug":55484,"title":76,"dynasty":54,"author":17956,"museum":300,"description":17957,"tags":55485,"thumbUrl":55486,"material":611,"size":84,"collection":84,"collections":55487,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},237284,"hua-hui-ce-wu-kai-237284",[24,7,59,27,28,61,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9f07ec12c1f5f25357457cbd96d1cc9.jpg",[],{"id":55489,"slug":55490,"title":16282,"dynasty":54,"author":9529,"museum":244,"description":16283,"tags":55491,"thumbUrl":55492,"material":611,"size":84,"collection":84,"collections":55493,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},237201,"shan-shui-zhu-shi-ce-wang-hui-237201",[24,7,59,128,132,29,167,1314,413,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4e18c4384ce7dc06637f45510a5985b.jpg",[],{"id":55495,"slug":55496,"title":55497,"dynasty":124,"author":223,"museum":300,"description":55498,"tags":55499,"thumbUrl":55501,"material":84,"size":84,"collection":68,"collections":55502,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},237123,"li-chen-xue-jing-hua-niao-zhou-yi-ming-237123","李辰雪景花鸟轴","落尽琼花天不惜，封他梅蕊玉无香。",[24,164,7,165,128,27,1813,61,355,30056,55500,208,28],"梅花枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d91d86fc3db71687041c45119956c42.jpg",[68],{"id":55504,"slug":55505,"title":4229,"dynasty":54,"author":4823,"museum":300,"description":4824,"tags":55506,"thumbUrl":55507,"material":84,"size":20,"collection":84,"collections":55508,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},236608,"hua-niao-ce-ma-yuan-yu-236608",[164,24,7,59,27,369,61,371,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19e13c8ac8a28feb2e3e131177244f51.jpg",[],{"id":55510,"slug":55511,"title":3168,"dynasty":54,"author":38236,"museum":300,"description":55512,"tags":55513,"thumbUrl":55514,"material":84,"size":84,"collection":44,"collections":55515,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},236523,"ren-wu-gu-shi-ce-chen-zi-236523","陈字(1634一约1713)即陈小莲，幼唤鹿头，初名懦桢，宇无名，明末清初诸暨枫桥陈家村人。陈洪绶第四子，太学生，考授州同。",[24,7,59,27,28,133,208,96,376,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F123d38a6be8ad29378699e0b13450ccd.jpg",[44],{"id":55517,"slug":55518,"title":55519,"dynasty":124,"author":223,"museum":300,"description":55520,"tags":55521,"thumbUrl":55522,"material":692,"size":1293,"collection":84,"collections":55523,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},236476,"wang-zi-yuan-pu-tao-song-shu-shan-yi-ming-236476","王子元葡萄松鼠扇","虬曲葡萄老枝顺着扇面弧度舒展，翠叶错落缀于藤蔓之间，紫葡垂坠，色晕柔润鲜活，尽显果蔬饱满娇态。\n\n画面中央的松鼠蜷身枝桠，茸毛纤毫毕现，圆目灵动专注，憨态尽显，似正觊觎垂挂的葡萄，将林间小兽的机敏活泼勾勒传神，野趣横生。\n\n此作用水墨淡彩晕染于笺上，古雅温润，笔墨兼具工致与写意。枝叶藤蔓写意洒脱，松鼠则描摹入微，二者相融成趣，将林泉幽趣凝于盈尺扇面，静中生韵，尽显小品画的灵动雅致。",[24,7,1131,61,27,28,2334,5882,548,962,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f4f53a381313d2cdd585b1132221923.jpg",[],{"id":55525,"slug":55526,"title":55527,"dynasty":54,"author":38900,"museum":300,"description":38953,"tags":55528,"thumbUrl":55529,"material":692,"size":1293,"collection":136,"collections":55530,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},236417,"shan-shui-he-ce-huang-yi-236417","山水合册",[164,24,7,29,59,132,128,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccdec5f166d12a3538f49c644f7c0d9a.jpg",[136],{"id":55532,"slug":55533,"title":4724,"dynasty":54,"author":55534,"museum":300,"description":55535,"tags":55536,"thumbUrl":55537,"material":84,"size":84,"collection":136,"collections":55538,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},236341,"shan-shui-tu-ce-xiao-yi-yun-236341","萧一芸","萧一芸，清初安徽芜湖人，名画家萧云从之侄。山水参唐寅、沈周，用笔清逸。云从极宠爱之，故能得其真传。云从晚年画多其代笔，观者莫辨。此册八开，或作松屋听泉，或作孤村泛艇；或写山庄密雪，或写危岩夏寒……构境或平淡，或崇高，或险绝，或幽深。皆以枯笔细皴，渴墨密擦，清苍秀润，了无俗韵，是其极精之作。且保存如新，堪赏堪藏。\n萧云从(1596～1673) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初芜湖著名画家，姑熟画派创始人。幼而好学，笃志绘画、寒暑不废。明崇祯十一年(1638)与弟云倩加入复社，次年为副贡生。入清不仕，闭门读书赋诗作画，或遨游名山大川。善画山水格疏秀，兼工人物，与孙逸齐名。",[24,7,59,27,29,97,129,34,131,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ddfa414b9c09b1f8ec44e4094725db.jpg",[136,45,318],{"id":55540,"slug":55541,"title":14496,"dynasty":124,"author":223,"museum":300,"description":55542,"tags":55543,"thumbUrl":55544,"material":151,"size":84,"collection":84,"collections":55545,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},236289,"wang-zi-yuan-hua-niao-ce-yi-ming-236289","寒梅虬枝斜出，苍劲古雅，淡墨轻晕的花瓣清润莹洁，将冬花的幽清淡雅尽显笔端。两只小雀依偎而立，翎羽细笔勾描，墨色晕染层次分明，软萌亲昵的神态宛然如生，把冬日禽鸟相依的温软意态描摹尽致。下方新篁清健斜出，与老梅相映，晕开几分冬末春萌的清隽生机。\n画面题字与绘景相融，整体设色淡雅清和，笔触兼具写生的细腻与文人写意的雅致，寥寥方寸间藏着精妙笔墨意趣，尽显传统花鸟写生的动人韵致。",[24,7,59,27,61,371,167,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc05f85f3c7964c81c27e058605e6144.jpg",[],{"id":55547,"slug":55548,"title":55549,"dynasty":54,"author":38979,"museum":300,"description":55550,"tags":55551,"thumbUrl":55553,"material":84,"size":84,"collection":84,"collections":55554,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},235990,"mo-ai-tu-zhou-zou-zhe-235990","墨艾图轴","《墨艾图》是清代画家邹喆创作的一幅纸本墨笔画，本幅所绘墨笔艾草运笔浓淡有致，并通过墨色的变化营造出了空间感。\n本幅右上角题款：“景泰四年癸酉夏正午日，相谿沈贞。\n”钤“沈氏贞吉”（朱方）、“南斋”（朱方）印。\n款印皆伪，系后添。\n左下角为邹喆本款：“萧艾有清芬，为性本芳洁。\n寄言熏德者，不扶芑自直。\n癸巳午月题于节霞阁， 邹喆。\n”钤“邹喆之印”（白方）、“方鲁”（朱方）印。\n收藏印五方 ：“震泽王氏鉴藏画印”、“公绶”、“公绶”、“子孙宝之”、“购甲辰进士弟”。\n本幅所绘墨笔艾草运笔浓淡有致，并通过墨色的变化营造出了空间感。\n艾草在中国民间有着驱邪的寓意。\n邹喆作为文人画家也在自己的绘画中表现具有风俗元素的题材，使得作品既具有文人绘画的雅致，又具有风俗绘画的活泼与贴近时令，显得颇有韵味。\n邹喆（生卒年不详），字方鲁，江苏吴县人，客居金陵（今江苏省南京市）。\n工书善画，擅长山水、花卉，得其父邹典的家传，名列“金陵八家”之一。",[164,24,7,165,128,230,55552],"艾草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a6babe724a535a74d429861156ecd38.jpg",[],{"id":55556,"slug":55557,"title":55558,"dynasty":54,"author":223,"museum":300,"description":55559,"tags":55560,"thumbUrl":55561,"material":84,"size":84,"collection":84,"collections":55562,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},235914,"yang-jin-qiu-shan-lou-ge-ye-yi-ming-235914","杨晋秋山楼阁页","此作以秋郊水乡为境，左侧危崖陡立，层叠山寺凌踞山巅，古木虬枝掩映山道，商旅车马缓行其间，野趣揉着人间烟火暖意。右侧平湖横陈，渔舟轻泛波心，远岸汀渚朦胧如烟，水榭村居错落相依。\n\n笔墨兼用工写，浅淡设色晕开清秋疏朗之气，咫尺画幅铺展出千里悠远，将山野清寂与水乡恬柔相融，既绘出秋山空濛的淡远意境，又捕捉了俗世闲居的鲜活日常，是兼具写景意趣与抒情韵致的小品佳构。",[24,7,59,27,29,97,31720],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b3c1e551391334dadbbd7069f546dc0.jpg",[],{"id":55564,"slug":55565,"title":8390,"dynasty":54,"author":1460,"museum":300,"description":55566,"tags":55567,"thumbUrl":55568,"material":84,"size":84,"collection":84,"collections":55569,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},235892,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235892","此作以奇崛危崖撑起画面骨架，焦墨勾勒崖壁嶙峋肌理，淡墨晕染出云气在峰谷间漫漶，明暗虚实铺就山谷的空寂幽深。谷内林麓掩映茅舍，三两旅人或策杖徐行，或围坐晤谈，将山水静穆与林下雅集的悠然意趣相融，动静相生。\n\n笔墨兼具苍润，湿笔晕染出山间空蒙水汽，枯笔皴擦刻画出岩石坚实质感，尽显黄山的清灵出尘。边角题诗与山水呼应，将探幽问道的雅趣藏于丘壑，尽显文人林泉栖隐之思。",[24,7,59,128,132,208,64,133,29,17260,96,101,131,34,4605],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff96f0d743602994e646e67e90a61dcf4.jpg",[],{"id":55571,"slug":55572,"title":55573,"dynasty":124,"author":802,"museum":300,"description":5946,"tags":55574,"thumbUrl":55576,"material":692,"size":1293,"collection":84,"collections":55577,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},235831,"guan-hua-zhou-chen-hong-shou-235831","观画轴",[24,7,165,27,28,96,170,55575],"画轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68c2706606c2446d720e19dd628285f4.jpg",[],{"id":55579,"slug":55580,"title":55581,"dynasty":124,"author":802,"museum":300,"description":5946,"tags":55582,"thumbUrl":55583,"material":692,"size":1293,"collection":84,"collections":55584,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},235793,"xian-shi-shan-chen-hong-shou-235793","仙石扇",[24,7,1131,128,188,171,374,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffcc6f16a8a420e43a90be5206a71fa3.jpg",[],{"id":55586,"slug":55587,"title":4229,"dynasty":124,"author":22448,"museum":300,"description":39003,"tags":55588,"thumbUrl":55589,"material":692,"size":1293,"collection":84,"collections":55590,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},235731,"hua-niao-ce-tan-zhi-yi-235731",[24,7,59,128,61,62,208,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F006b90d884e7157b5072739e1abe8a2d.jpg",[],{"id":55592,"slug":55593,"title":15007,"dynasty":54,"author":12088,"museum":300,"description":15008,"tags":55594,"thumbUrl":55595,"material":692,"size":1293,"collection":84,"collections":55596,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},235660,"shan-shui-ping-yuan-jiang-235660",[24,164,7,95,28,27,132,29,97,98,211,331,171,22690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F905a085c5f592f1e8d1d52a233bbe9f6.jpg",[],{"id":55598,"slug":55599,"title":55600,"dynasty":124,"author":3608,"museum":300,"description":9012,"tags":55601,"thumbUrl":55602,"material":692,"size":1293,"collection":84,"collections":55603,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},235531,"fang-ni-shan-shui-tu-shan-ye-lu-zhi-235531","仿倪山水图扇页",[805,24,7,1131,330,128,27,132,29,413,130,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff03a1d1c42a8e3d1c91f357d7c3bf9a8.jpg",[],{"id":55605,"slug":55606,"title":10613,"dynasty":54,"author":1460,"museum":300,"description":55607,"tags":55608,"thumbUrl":55609,"material":84,"size":84,"collection":84,"collections":55610,"showCount":444,"zanCount":1998,"manualWeight":48,"mainColor":49},235523,"yuan-ji-shan-shui-tu-ce-shi-tao-235523","此作用枯淡笔墨写就秋林逸景，坡岸错落在浅滩之侧，奇崛山石以披麻皴写就，苍劲松竹错落林间，茅庐隐于林麓深处。水畔留白见空茫，寥寥几笔便将秋水清寂铺陈开来。左侧题字笔意纵逸，与画境相生相融。\n全画简淡萧疏，枯润笔墨相映，留白处尽得山水悠远之致，将秋郊水畔冷寂澹然与幽居文人的散淡意趣相融，尽显文心画骨，把寄情林泉的幽怀藏在笔底。",[24,7,128,132,59,29,276,131,99,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c0f27c31545873ecbd11eb7ab97c011.jpg",[],{"id":55612,"slug":55613,"title":76,"dynasty":124,"author":36595,"museum":300,"description":52566,"tags":55614,"thumbUrl":55615,"material":692,"size":1293,"collection":84,"collections":55616,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},235477,"hua-hui-ce-qi-xun-235477",[24,7,59,133,128,188,61,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37bc4a6a7e5fd9cdac8bdc41c2dd64f4.jpg",[],{"id":55618,"slug":55619,"title":55620,"dynasty":54,"author":24167,"museum":300,"description":55621,"tags":55622,"thumbUrl":55623,"material":84,"size":84,"collection":68,"collections":55624,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},235411,"cai-jia-hua-hui-tu-ce-cai-jia-235411","蔡嘉花卉图册","此作以淡逸笔墨写庭间花草，月季柔瓣含粉，秋菊轻绽星蕊，枝茎舒展偃仰，尽显草木清灵之态。设色轻浅妍雅，以淡墨勾勒枝叶脉络，敷色晕染柔和雅致，将花草舒展娇柔之姿描摹动人。\n\n左侧题诗与画意相得益彰，诗画交融晕染出空庭静夜的清雅氛围，尽显文人写意花鸟的闲淡雅趣，笔致秀逸柔和，将秋日花草静谧舒展的意韵烘托恰到好处，寥寥数笔便让庭间草木生机尽显，雅致脱俗，暗含文人心底的幽清淡远之情。",[164,24,7,59,27,28,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c88d89c468382705c119dda9ddeb8e3.jpg",[68],{"id":55626,"slug":55627,"title":409,"dynasty":54,"author":51000,"museum":300,"description":55628,"tags":55629,"thumbUrl":55630,"material":84,"size":84,"collection":136,"collections":55631,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},235374,"shan-shui-ce-mei-geng-235374","此作为诗画合璧，上部行书题字笔墨清隽，文辞摹写山水幽境，与下方画作彼此呼应。画面以淡墨写就，虬劲枯松卓然挺立于崖岸，林下高士凭崖远眺飞瀑长川，远山以留白晕染出空濛幽深之意。整体笔墨简淡萧散，笔意松秀空灵，以极简的笔致勾勒出清远出尘的山水胜景，尽显文人画寄情林泉、澄怀观道的意趣，诗画相映间悠悠古意扑面而来，尽抒林下风流雅韵。",[24,7,59,128,29,132,96,131,495,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e6ec88fd071f9d84239a1723f17bcda.jpg",[136,318],{"id":55633,"slug":55634,"title":55635,"dynasty":124,"author":21412,"museum":300,"description":45357,"tags":55636,"thumbUrl":55637,"material":692,"size":1293,"collection":84,"collections":55638,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},235205,"lu-ting-di-chang-tu-shan-ye-cheng-jia-sui-235205","芦艇笛唱图扇页",[164,24,7,1131,128,27,29,96,129,34,1824],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e9dfd01fea6f4b5647438d2e21ef354.jpg",[],{"id":55640,"slug":55641,"title":55642,"dynasty":124,"author":802,"museum":300,"description":5946,"tags":55643,"thumbUrl":55644,"material":692,"size":1293,"collection":84,"collections":55645,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},235203,"ren-wu-tu-shan-ye-chen-hong-shou-235203","人物图扇页",[24,7,1131,27,96,28,131,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5df89576066f1a08a513a6edf9e83f6f.jpg",[],{"id":55647,"slug":55648,"title":409,"dynasty":54,"author":872,"museum":300,"description":55649,"tags":55650,"thumbUrl":55651,"material":84,"size":84,"collection":84,"collections":55652,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},235166,"shan-shui-ce-zhu-da-235166","此作以极简笔墨营构幽寂天地，左侧危崖突兀，枯松虬曲苍劲，崖石以淡墨勾勒皴擦，笔意老辣疏简。山坳间几椽茅舍错落隐现，淡写山乡野逸之态。\n画面大半留白，以虚代实，将江天寥廓空茫尽数铺展，留白处的题款与朱红印章冷暖相映，让素净画面多了一丝沉凝意蕴。\n笔底无多，却以疏淡荒寒之境藏尽孤高萧索的心境，把文人沉郁风骨融于山川丘壑，淡远空灵间，尽显水墨造境的悠长余韵。",[24,7,164,128,15092,132,4437,29,34,35,497,415,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6a3803585d8cad8fc59bea54486cdb2.jpg",[],{"id":55654,"slug":55655,"title":12220,"dynasty":54,"author":12221,"museum":300,"description":12222,"tags":55656,"thumbUrl":55657,"material":692,"size":1293,"collection":84,"collections":55658,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},235129,"hua-hua-yan-shi-nv-tu-ce-wang-su-235129",[24,7,164,59,27,28,96,166,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc308eabbaf93f8b173bb8a48b26589cd.jpg",[],{"id":55660,"slug":55661,"title":55662,"dynasty":124,"author":27440,"museum":300,"description":55663,"tags":55664,"thumbUrl":55665,"material":84,"size":84,"collection":84,"collections":55666,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},235118,"fang-dong-yuan-shan-shui-tu-zhou-wang-duo-235118","仿董源山水图轴","此作用笔师法江南山水意趣，又自出机杼。上部危崖崔嵬，以浓墨点苔晕出山峦肌理，一道飞泉蜿蜒垂落，破开山的沉浑静穆。中部茂林如盖，焦墨积染出层叠郁葱的林木，掩映幽微山径，尽显山野深邃。下部涧水湍流卷浪，拍击乱石，灵动水态与静穆山石形成鲜明动静对照。\n\n水墨干湿浓淡自然变幻，皴擦点染间既有古雅温润的苍厚质感，又带着纵逸雄放的笔意。题款书法与画面浑然相融，将幽江南山水的幽深灵秀与文人磊落襟怀相合，是师古能化的山水佳构。",[24,7,165,330,128,132,29,34,99,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cae3ee7788a99f246c152d52164de1f.jpg",[],{"id":55668,"slug":55669,"title":39824,"dynasty":54,"author":6936,"museum":300,"description":55670,"tags":55671,"thumbUrl":55672,"material":84,"size":84,"collection":84,"collections":55673,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},235087,"fang-huang-gong-wang-shan-shui-tu-zhou-wang-yuan-qi-235087","《王翚仿黄公望山水图轴》是清代 创作的一幅画。\n图绘群山巍峨、叠嶂攀升、峡谷溪涧曲转迂回之景，山腰处的古刹及林谷间隐现的屋舍均表明此山此景是士人希冀向往的隐居之所。\n全幅为高远式构图，重点描绘了中远之景。\n其景致充盈，繁而不乱，令人有望之所见、遐所不见之思。\n图中的物象被施以各种技法加以表现，山石以短线条皴擦，山脊以落茄点横向点染，苔草以焦墨擢点，醒目灵动。\n树叶以墨晕、双圈设色逸笔绘出。\n全图以青、绿、赭石兼墨色皴擦渲染，使山林呈现郁郁明净之气，既得黄公望画格的精髓，又有超逸之趣。\n本图是作者步入中年时仿黄公望浅绛山水笔意精心绘制之作，用以祝王时敏之子王揆5岁寿辰，并祝贺王揆之子王原祁29岁登进士第之禧。\n本幅款署：“岁己酉，芝翁先生春秋五十，翬寄迹金陵，阙跻堂称祝之礼。\n今年春，令嗣茂京先生南宫高捷，余方倦游归，闻报雀跃，亟图此幅为先生寿，并以致茂京得隽之贺云。\n庚戌闰月既望，虞山石谷子王翚。\n”钤“王翚之印”朱文印。\n“庚戌”即清康熙九年（167年），作者时年9岁。\n鉴藏印有“金黼廷瘦仙氏收藏”、“固始张氏收藏金石文字”等诸方。",[24,7,165,128,132,29,131,34,35,99,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5185714d6608092df8218c1174e80ce5.jpg",[],{"id":55675,"slug":55676,"title":55677,"dynasty":54,"author":38979,"museum":300,"description":55678,"tags":55679,"thumbUrl":55680,"material":692,"size":1293,"collection":84,"collections":55681,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},235008,"shan-shui-tu-shan-ye-zou-zhe-235008","山水图扇页","邹喆，生卒年不详，清代画家。字方鲁，江苏吴县人。自幼随父亲客游金陵。他的画宗其父，山水工稳而有古气，富简淡清逸的情趣。兼长水墨花卉，勾勒敷彩渲染有元人王渊的体格。“金陵八家”之一。",[24,7,1131,29,27,132,131,34,18542,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F912897ef9d1a3fe8291eca786da8f4b5.jpg",[],{"id":55683,"slug":55684,"title":48187,"dynasty":124,"author":55685,"museum":300,"description":55686,"tags":55687,"thumbUrl":55688,"material":692,"size":1293,"collection":84,"collections":55689,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},234839,"shan-shui-shan-mian-wei-zhi-huang-234839","魏之璜","魏之璜。字叔考，上元（今南京）人。出身孤贫，天性孝友，养老亲，抚诸弟，胥取给於十指，不以干人。能书善画，以卖画为生。书师法《黄庭经》，结构严密，神采流丽。山水宗宋人，不袭粉本，岩壑树石多变化，别具风貌。生平画幅，绝无雷同。晚年用浓墨秃笔，苍老厚实，颇见功底。亦擅花卉及佛像，花卉淡墨写生，画佛施诸寺院。",[24,7,1131,128,29,34,35,98,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff739d6ab5a66ed9fd5bc38b5f836358.jpg",[],{"id":55691,"slug":55692,"title":55693,"dynasty":124,"author":55694,"museum":300,"description":55695,"tags":55696,"thumbUrl":55697,"material":84,"size":84,"collection":84,"collections":55698,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},234784,"song-xia-lao-ren-tu-zhou-shi-wen-234784","松下老人图轴","史文","在古代社会，绘画都有着一定的社会功能性，比如《耄耋图》这样的题材就有着“成教化，助人伦”的作用。自古以来，耄为八十岁，耋为九十岁。故八、九十岁老人，称“耄耋之年”。画家往往借“猫”与“耄”、“蝶”与“耋”同音，是中国绘画当中常见的祝寿题材，喻富贵长寿的祥瑞之意。",[24,7,165,27,96,372,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29bd933c55534ddcd8484587faa3450.jpg",[],{"id":55700,"slug":55701,"title":55702,"dynasty":54,"author":55703,"museum":300,"description":55704,"tags":55705,"thumbUrl":55706,"material":84,"size":84,"collection":84,"collections":55707,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},234662,"hua-niao-tu-shan-ye-zhu-lian-234662","花鸟图扇页","朱琏","仁怀皇后朱琏 （1102年—1128年），宋钦宗赵桓的皇后，开封祥符人。\n宣和七年，钦宗即位，册封朱氏为皇后。后来金兵攻陷汴京城，俘虏徽、钦二帝，郑氏、朱氏二后，后宫宗室、大臣三千余人北归，当时正值农历四月，北方天气仍很寒冷，徽钦二帝和郑朱二后衣服都很单薄，晚上经常冻得睡不着觉。朱后当时二十六岁，艳丽多姿，经常受到金兵的调戏。据说他们到达会宁府时，金人举行了献俘仪式，命令二帝及其后妃、宗室等都到金太祖庙去行“牵羊礼”，又下令皇太后、皇后入金宫“赐浴”。朱皇后不堪污辱，当天投水自杀身亡。",[24,7,1131,27,28,61,80,355,62,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65b39af0ff0a9b58b99cb3a51736e249.jpg",[],{"id":55709,"slug":55710,"title":55711,"dynasty":54,"author":55712,"museum":300,"description":55713,"tags":55714,"thumbUrl":55715,"material":84,"size":84,"collection":84,"collections":55716,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},234661,"shu-guo-tu-shan-mian-ni-can-234661","蔬果图扇面","倪灿","倪灿，清初学者、史志目录学家。字闇公，号雁园，江苏省江宁府上元县人。\n其先居钱塘（今浙江杭州）。诸生。康熙六年（1667）中举，十八年（1679）召试博学鸿儒，倪灿中榜，为一等二名，官授翰林院检讨。受荐修《明史》，作《明史艺文志·序》，与姜宸英《刑法志·序》，并称杰作。他鉴于《明史艺文志·序》以专收明一代著述为限，未能补救宋、辽、金、元四朝艺文志所缺，数百年文化史，残缺不全，依据黄虞稷《千顷斋书目》，就补辑宋人所撰“四部”图书“六百七十八家、一万二千七百四十二卷”。与黄虞稷灿哥共同修撰《宋史艺文志补》1卷。鉴于辽金元三史原先都没有纂修艺文志，又编纂《补辽金元艺文志》1卷，由卢文弨校订。对考定宋辽金元各代的学术源流，有很大帮助。开启了清代学者补修史志的工作，于是从补辽、金、元三代入手而蔚为一时风气。自此之后，补成史志目录达20余种。工于诗文，书法则秀绝一时。",[24,7,1131,27,28,4250,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14fdbfb30efaafcffbc74d2df0fe17cd.jpg",[],{"id":55718,"slug":55719,"title":55720,"dynasty":54,"author":223,"museum":300,"description":55721,"tags":55722,"thumbUrl":55723,"material":84,"size":84,"collection":136,"collections":55724,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},234551,"yu-mu-shang-xin-ce-jiang-zhu-shan-shui-ce-ye-yi-ming-234551","娱目赏心册-江注山水册页","《娱目赏心册》收集了十三幅绘画作品，分别出自于十二位画家之手，尽管是不同画家的手笔，但整个册页非常统一，弥漫的是一股浓浓的文人气息",[24,7,59,128,133,208,875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd63b49a98dfed4752166cc9dfed195c5.jpg",[136,68],{"id":55726,"slug":55727,"title":55728,"dynasty":124,"author":55729,"museum":300,"description":55730,"tags":55731,"thumbUrl":55732,"material":84,"size":84,"collection":84,"collections":55733,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},234491,"juan-dong-ting-ye-yue-shan-zhu-yin-234491","隽洞庭夜月扇","朱胤","明清时期，每逢中秋佳节，文人墨客们总会创作许多关于中秋赏月的扇面小品，相互赠予，以表思念团聚之情。",[24,7,1131,128,132,29,231,34,131,414,415,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7189ad8459fc1b6f9a24ecaf33e0dcfd.jpg",[],{"id":55735,"slug":55736,"title":409,"dynasty":54,"author":55737,"museum":20,"description":55738,"tags":55739,"thumbUrl":55740,"material":1027,"size":84,"collection":136,"collections":55741,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},234320,"shan-shui-ce-wang-jiu-234320","王玖","王翚一派，学者每失之甜，玖善用枯笔，故无此病。又尝作修篁拳石小品，深得恽寿平疏峭之致。偶仿沈周古桧。笔力圆健可与竹岭（王三锡）之松称双绝。与王昱、王宸、王愫合称“小四王”。传世作品有乾隆三十二年(1767年)作《仿元人山水册》、四十九年(1784年)作《红树秋山图》扇页、四十二年(1777年)作《纫香环翠图》卷（现藏故宫博物院）；《苍石蒲草图》轴（现藏沈阳故宫博物院）。\n王玖，字次峰，号二痴，又号逸泉主人、海隅山樵，江苏常熟人，晚年移家吴门（今江苏苏州），画室名曰“逸泉山房”。翚曾孙。山水远承家学，意气傲岸，自负为画世家。少尝游黄鼎门，亲受秘法。已而遍临古迹，益深造。其仿小米墨戏，峰峦石骨，苔点层叠，略为变通，惟林木串插，陂陀位置，仍不脱乃祖规制。",[24,7,59,128,132,133,208,29,131,34,1023,1813],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36895b3e70d3dcf8d4166e70543c7c44.jpg",[136,45,318],{"id":55743,"slug":55744,"title":55745,"dynasty":124,"author":55746,"museum":20,"description":55747,"tags":55748,"thumbUrl":55749,"material":734,"size":84,"collection":84,"collections":55750,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},234238,"jiang-nan-sheng-gai-tu-juan-zhu-zong-ru-234238","江南胜概图卷","朱宗儒","朱宗儒如字忆云。秀水（今嘉兴）人。善画山水人物。为人放浪不羁，弃诸生而游江湖，同邑戴泾曾为之传。",[23,24,7,25,128,29,96,35,34,132,98,99,149,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95681a81d2439f3a780c79ee72315848.jpg",[],{"id":55752,"slug":55753,"title":55754,"dynasty":124,"author":55755,"museum":20,"description":55756,"tags":55757,"thumbUrl":55758,"material":734,"size":84,"collection":84,"collections":55759,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},234182,"song-mao-jin-xi-shan-chun-xin-tu-juan-song-mao-234182","宋懋晋溪山春信图卷","宋懋","宋懋晋（？—1620年后）明代画家。字明之，松江（今属上海市）人。\n幼见牧童躯牛，从壁上图之辄神似。既长，不乐为经生言，去而学画。穷日夜临摹古迹，从宋旭受业，参以宋、元遗法，富有丘壑，与赵左抗衡。其气韵间与刘珏相埒。仙山楼阁，位置得当，为时所称，深受董其昌、邹迪光等推重，为“松江派”名家之一。兼善写松，题跋尤奕奕有风韵。万历十三年（1585）作山水扇，泰昌元年（1620）作山水图。其《金陵廿四景》图册，现藏南京博物院。作于万历四十四年（1616）的《汉宫春晓图》扇面（藏上海博物馆）等。",[23,164,24,7,25,27,29,132,131,1144,97,98,99,35,109,21398,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba1a74833b25ec1416d17e54393026e.jpg",[],{"id":55761,"slug":55762,"title":51175,"dynasty":54,"author":1019,"museum":20,"description":55763,"tags":55764,"thumbUrl":55765,"material":734,"size":55766,"collection":84,"collections":55767,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},234139,"wo-you-tu-juan-cheng-zheng-kui-234139","“卧游”一语出自南朝刘宋时期（420—479年）的画家宗炳，他平生喜好出游，后因病而隐居，于是他将自己游历过的地方画成图画，悬于室内观赏，自谓“卧以游之”。1642年， 39岁的程正揆决意创作《江山卧游图》卷，至死，共画了500卷之多，集中了他一生所作山水画中的精华。此卷是其中第435卷，绘自然山川之胜景。画家截取了山体的中部进行描写，营造出一种独特的狭长视角，将人物置于山腰行走，俯瞰江水，仰眺长空，平视可见山涧自上而下的流泉。景随步迁，生动写实。笔法朴拙放逸，设色淡雅。在当时摹古风气笼罩下的画坛，程正揆堪称是一位具有新意的画家。",[23,24,7,25,128,29,132,64,133,208,663,228,34,130,98,99,129,497,35,1645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf86b6a2adc5b5fb26bc60b95856116.jpg","纵23.8厘米，横210厘米",[],{"id":55769,"slug":55770,"title":55771,"dynasty":124,"author":55772,"museum":300,"description":55773,"tags":55774,"thumbUrl":55775,"material":84,"size":84,"collection":84,"collections":55776,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},234131,"xue-ye-mu-gui-juan-huang-chang-yan-234131","雪夜暮归卷","黄昌言","黄景明，字可文，福建晋江县人，明末清初政治人物。同进士出身。\n崇祯七年，登甲戌进士，选长乐县知县，擢礼部仪制司郎，督学粤西。迁浙江三衢副使",[23,24,7,25,128,28,29,98,99,97,130,331,690,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d1eff41757c4a05ff903d7cf006d215.jpg",[],{"id":55778,"slug":55779,"title":55780,"dynasty":124,"author":3619,"museum":20,"description":55781,"tags":55782,"thumbUrl":55783,"material":1667,"size":55784,"collection":84,"collections":55785,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},234130,"wen-zheng-ming-za-hua-si-duan-juan-wen-zheng-ming-234130","文徵明杂画四段卷","一、兰花小鸟。款识：[征明]钤印：[文征明印]白方、[征仲]朱方\n二、花鸟 款识：[落叶萧萧苦竹深，茆檐斜日唤双禽。棘丛岂是棲身地，三月春风满上林。征明。]钤印：[文征明印]白鞍钢、[征仲]朱方\n三、观瀑 款识[征明]钤印：[文征明印]白方、[征仲]朱方\n四、柏石 自题：[古石棱竞玄玉，乔柯偃蹇苍虬。着个修篁带雨，分明铁网琳球。征明。]钤印：[文征明印]白方、[征仲]朱谠",[23,24,7,25,128,188,133,208,29,61,96,372,167,1314,1771,355,371,375,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf293294d9a450f075036e4b99807eab.jpg","每段 纵32.6厘米 横50.8厘米",[],{"id":55787,"slug":55788,"title":55789,"dynasty":124,"author":10922,"museum":20,"description":55790,"tags":55791,"thumbUrl":55792,"material":611,"size":84,"collection":84,"collections":55793,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},234123,"shao-xi-chun-se-tu-juan-wen-jia-234123","苕溪春色图卷","本作品体裁是五言律诗，作者是弘历。弘历即爱新觉罗·弘历，清朝的乾隆皇帝。\n吏隐薄青纶（嘉此卷在乌程官舍所作），消闲只合闲。晓岚迷野坞，春色满江关。玉磬参承处，洼尊点缀间。云烟生湿润，活脱米家山。\n爱新觉罗·弘历（1711—1799），清朝乾隆皇帝。乾隆帝是中国历史上实际执掌国家最高权力时间最长的皇帝，在位六十年，期间社会稳定，经济发展，文化繁荣，其文治武功颇为后世称誉。乾隆帝热衷诗词，据说一生作诗4万多首。",[24,7,25,128,29,132,64,208,133,34,98,99,130,211,711,415,5801,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e66541a7ebd7c5075034cb06a0ac1b.jpg",[],{"id":55795,"slug":55796,"title":55797,"dynasty":54,"author":19884,"museum":20,"description":28035,"tags":55798,"thumbUrl":55799,"material":151,"size":84,"collection":84,"collections":55800,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},234110,"hua-hong-li-ping-shan-tang-shi-yi-juan-zhang-zong-cang-234110","画弘历平山堂诗意卷",[24,7,25,27,29,97,130,34,208,64,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b7c98fe5c42d9369522f0ec973ba1a1.jpg",[],{"id":55802,"slug":55803,"title":55804,"dynasty":54,"author":19884,"museum":20,"description":28035,"tags":55805,"thumbUrl":55806,"material":151,"size":84,"collection":84,"collections":55807,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},234109,"hua-hong-li-wan-song-ling-shi-yi-juan-zhang-zong-cang-234109","画弘历万松岭诗意卷",[164,24,7,25,128,27,29,1144,97,98,99,129,130,208,34,35,1743,415,7782,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4e6f470f53c443f97923402c2688b6d.jpg",[],{"id":55809,"slug":55810,"title":55811,"dynasty":182,"author":223,"museum":20,"description":52650,"tags":55812,"thumbUrl":55813,"material":40,"size":29913,"collection":84,"collections":55814,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},234062,"tang-ren-fu-xi-nv-wa-xiang-dan-ye-yi-ming-234062","唐人伏羲女娲像单页",[24,7,4437,27,188,96,17539,231,17701],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F926562084f175f7bc144648f04df841e.jpg",[],{"id":55816,"slug":55817,"title":55818,"dynasty":124,"author":802,"museum":20,"description":55819,"tags":55820,"thumbUrl":55821,"material":28165,"size":55822,"collection":84,"collections":55823,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},234045,"qiu-xi-fan-ting-tu-shan-ye-chen-hong-shou-234045","秋溪泛艇图扇页","此图通过木叶丹黄的秋天景色和人物悠闲划艇的活动，展现出一种宁静清逸的意境，给人远离尘俗之感。清初期，陈洪绶面对明为清所灭、友人相继殉国的情境，深感亡国离乱之痛，产生了隐遁避世的情致。此图绘成后的第二年六月，他就在云门寺剃发为僧，改号“悔迟”、“悔僧”、“秃翁”，亦号“云门僧”、“迟和尚”等。图中山石、树木法自蓝瑛，多以中锋行笔，笔致粗犷，点染生动，于雄浑中见朴拙蕴藉，加强了画面的视觉效果。",[1131,24,7,128,132,29,129,1337,131,99,96,208,64,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcca0bc4fcdb1b635c63e0a0c2219a288.jpg","纵16.3厘米，横51.8厘米",[],{"id":55825,"slug":55826,"title":55827,"dynasty":18,"author":223,"museum":20,"description":55828,"tags":55829,"thumbUrl":55830,"material":151,"size":55831,"collection":84,"collections":55832,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},234003,"feng-yu-gui-zhou-ye-yi-ming-234003","风雨归舟页","此图描绘风雨中江边的景象。 风和水在河面上升起，泛起涟漪和波浪。 一叶孤舟在风浪中前行，船舱里的一位乘客抬起头看向河岸。 近岸的芦苇、树枝、藤蔓在狂风暴雨中剧烈摇曳，与逆风行进的小船相呼应。 破石匆匆用笔，掀起狂风暴雨。 远处，天与水同色，云与山遥遥相望。 全天的浓烈和浓重都恰到好处，水墨是典型的南宋风格。",[24,7,59,128,27,132,29,129,34,131,99,1350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F090650b9f7490bc6479d959f1e649073.jpg","25.6×25.3cm",[],{"id":55834,"slug":55835,"title":7359,"dynasty":54,"author":1242,"museum":224,"description":7360,"tags":55836,"thumbUrl":55837,"material":1464,"size":7363,"collection":84,"collections":55838,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},233865,"mei-hua-ce-jin-nong-233865",[24,7,59,188,128,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac8e1c5ce3671b037868fb408a6377ea.jpg",[],{"id":55840,"slug":55841,"title":7359,"dynasty":54,"author":1242,"museum":224,"description":7360,"tags":55842,"thumbUrl":55843,"material":1464,"size":7363,"collection":84,"collections":55844,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},233862,"mei-hua-ce-jin-nong-233862",[24,7,59,128,188,650,582,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60346c88438f5bbe9ef487e719159592.jpg",[],{"id":55846,"slug":55847,"title":7359,"dynasty":54,"author":1242,"museum":224,"description":7360,"tags":55848,"thumbUrl":55849,"material":1464,"size":7363,"collection":84,"collections":55850,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},233859,"mei-hua-ce-jin-nong-233859",[24,7,128,59,371,2668,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaae5adc1a49a24150b4f8edd78eb0ce.jpg",[],{"id":55852,"slug":55853,"title":16826,"dynasty":54,"author":1242,"museum":20,"description":16827,"tags":55854,"thumbUrl":55855,"material":16830,"size":16831,"collection":84,"collections":55856,"showCount":444,"zanCount":1998,"manualWeight":48,"mainColor":72},233397,"shan-shui-ren-wu-ce-jin-nong-233397",[24,7,59,27,128,188,132,29,96,171,413,1955,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9affef318a27a3eff09070d1263ab9ff.jpg",[],{"id":55858,"slug":55859,"title":55860,"dynasty":54,"author":6778,"museum":56,"description":6779,"tags":55861,"thumbUrl":55862,"material":611,"size":84,"collection":84,"collections":55863,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},233191,"hua-hui-ce-shui-xian-la-mei-shan-cha-ye-zhao-zhi-qian-233191","花卉册-水仙腊梅山茶页",[24,7,59,27,61,374,1081,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e75ccdf1d358573b0aa5f407c002699.jpg",[],{"id":55865,"slug":55866,"title":55867,"dynasty":54,"author":6778,"museum":56,"description":6779,"tags":55868,"thumbUrl":55870,"material":611,"size":84,"collection":84,"collections":55871,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},233185,"hua-hui-ce-jin-si-tao-ye-zhao-zhi-qian-233185","花卉册-金丝桃页",[24,7,61,59,27,28,62,55869,168,481],"金丝桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F167f99e8ad1f1ec22c3cff05765160c8.jpg",[],{"id":55873,"slug":55874,"title":39900,"dynasty":54,"author":1460,"museum":20,"description":43590,"tags":55875,"thumbUrl":55876,"material":611,"size":11341,"collection":84,"collections":55877,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},233127,"yuan-ji-shan-shui-ce-shi-tao-233127",[24,7,59,128,27,132,29,129,496,34,35,37,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20cb7a6d40f44117b887d4717d35798b.jpg",[],{"id":55879,"slug":55880,"title":55881,"dynasty":144,"author":223,"museum":300,"description":55882,"tags":55883,"thumbUrl":55884,"material":84,"size":84,"collection":84,"collections":55885,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},233028,"ren-zong-huang-di-hou-xiang-yi-ming-233028","仁宗皇帝后像","全册七开，设色画后妃、太子头像共十三人，每开有题签记名。",[24,7,4057,28,27,96,170,232],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fb391e6701e427c9be24a3b640f5e07.jpg",[],{"id":55887,"slug":55888,"title":55889,"dynasty":124,"author":1058,"museum":20,"description":55890,"tags":55891,"thumbUrl":55892,"material":18467,"size":55893,"collection":84,"collections":55894,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},232999,"pei-tai-shi-jing-tu-ye-tang-yin-232999","沛台实景图页","唐寅在题诗中讲述了绘制此图的原由。明正德元年丙寅（1506年），唐寅36岁时，陪同大学士王鏊游览沛台后绘此图，并赠茂化学士。沛台，又名歌风台，位于今江苏省沛县境内，相传，汉高祖刘邦曾于此饮酒放歌，后人于是筑此台以纪之。\n唐寅此图纯用水墨，完全是纪实写生之作。庭院屋舍结构清晰，颇具透视感。各种树木相间杂，多用空勾夹叶，繁而不乱。近景坡石用细笔长皴，微作晕染，工劲中兼有细秀圆润，是唐寅较富特色的山石画法。远景一角山林，雾气沉沉，墨色湿润，与近景相比较，虽有近大远小的区别，但在空间位置上却有很大的随意性，反映了中国古代画家对空间处理的独特理解。整幅作品融宋代院体技巧与元人笔墨韵味为一体，呈现出劲峭而又不失秀雅的品貌。",[24,7,59,128,27,29,34,97,497,247,98,64,133,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1acb6d5b3fad39148cdbb7680a8d2d8.jpg","纵26.2厘米，横23.9厘米",[],{"id":55896,"slug":55897,"title":55898,"dynasty":18,"author":18655,"museum":20,"description":55899,"tags":55900,"thumbUrl":55901,"material":1190,"size":55902,"collection":84,"collections":55903,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},232994,"qi-shi-lie-gui-tu-ye-zhao-bo-su-232994","骑士猎归图页","此图写番人狩猎归来，正在整理箭羽，神情愉悦轻松；身后驮着一只野羊的马匹却已尽显疲态，鬃尾下垂，低首张口，可以想象得到它刚经历了一场激烈的追逐。画中人、马及饰物刻画详细，用笔工整，表现出不同的质感。",[164,24,7,59,28,27,96,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c051a85d681e82e45ab80d08660bcce.jpg","41x66cm",[],{"id":55905,"slug":55906,"title":55907,"dynasty":144,"author":7095,"museum":12686,"description":55908,"tags":55909,"thumbUrl":55910,"material":1223,"size":55911,"collection":84,"collections":55912,"showCount":444,"zanCount":1998,"manualWeight":48,"mainColor":72},232900,"mo-li-gong-lin-ren-ma-tu-quan-juan-zhao-yong-232900","摹李公麟人马图全卷","赵雍（1289—约1360），元代书画家。字仲穆，湖州（今属浙江）人。赵孟頫次子。以父荫入仕，官至集贤待制、同知湖州路总管府事。书画继承家学，赵孟頫尝为幻住庵写金刚经未半，雍足成之，其联续处人莫能辨。擅山水，尤精人物鞍马，亦作界画。书善正、行、草，亦长篆书。精鉴赏。传世作品有《兰竹图》、《溪山渔隐》等。\n此卷为临仿北宋李公麟白描《五马图》中的第一组人马像，并敷以颜色。牵马者身穿朱衣，两臂袍于腹前，侧脸望着身后的贡马，漫步前行。画人马用线细劲连绵，人物胡须及马尾线描极为精彩。与原作相比，马体略显肥胖，而神骏英发之气似嫌不足。",[23,24,7,25,330,188,27,96,101,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c18bb2f97acaf2887d33f422c15e0a1.jpg","纵31.7厘米，横73.5厘米",[],{"id":55914,"slug":55915,"title":55916,"dynasty":18,"author":2141,"museum":300,"description":31395,"tags":55917,"thumbUrl":55918,"material":151,"size":55919,"collection":84,"collections":55920,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},232876,"ren-wu-gu-shi-tu-juan-liu-song-nian-232876","人物故事图卷",[23,164,24,7,25,28,27,95,64,133,208,96,97,247,34,131,21398,249,1200,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc83c436c11f7cca4cd37dca18f9de04f.jpg","26.1x446.5厘米",[],{"id":55922,"slug":55923,"title":55924,"dynasty":144,"author":1208,"museum":300,"description":55925,"tags":55926,"thumbUrl":55927,"material":611,"size":55928,"collection":84,"collections":55929,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},232777,"jiu-long-shan-ju-tu-ni-zan-232777","九龙山居图","图中高峰耸立，草木秀润，山下苍松挺立，远山连绵。\n水畔平坡，隐者正立于枯枝下，观赏山色。\n画法取于王蒙，并带有盛懋皴法的特点。\n线条多用中锋，并以水墨渲染，笔法转折灵活，墨色苍润，气韵浑厚。\n该图大体可分为远景、中景、近景三段式：远景为高山峻岭，悬崖峭壁，主峰巍峨，形势十分险峻；中景为山腰，和悬崖峭壁夹江对岸的平缓山坡，期间树木和杂草丛生；近景为山坡和平地，长有几棵树干粗大的苍松和杂树，有的盘根虬曲，枝叶茂密，树荫下的茅亭座落期间，弯树下有一位长者，站在水畔平坡上，作回首之状，观赏山色，后有一僮子携琴随后。\n画面的右侧为开阔湖面，湖水平如镜，平湖滩渚参差。",[23,24,7,25,128,132,133,64,164,29,171,34,98,99,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379cd8c73503fa9cc5d8274d05b2de7f.jpg","27.9×146.1cm",[],{"id":55931,"slug":55932,"title":55933,"dynasty":124,"author":3619,"museum":161,"description":55934,"tags":55935,"thumbUrl":55936,"material":611,"size":55937,"collection":84,"collections":55938,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},232643,"you-he-ming-qin-wen-zheng-ming-232643","幽壑鸣琴","此画题诗：“万千层峦叠翠，千丈飞瀑洗尘心。愿我红弦的和声，是对松风古老的卑微回答。歌曲。” 这幅画存在不同的版本。学者们认为，这里看到的岩体的实体效果图和体积山体的构造更像是文征明的学生陆治（1496-1576）的特征。\n文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字征明，四十二岁起，以字行，更字征仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。",[164,24,7,165,27,132,29,131,495,34,499,99,11936],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb01cc776866ad354558b4fa54af76059.jpg","132 x 50.5 厘米",[],{"id":55940,"slug":55941,"title":55942,"dynasty":54,"author":9529,"museum":77,"description":55943,"tags":55944,"thumbUrl":55945,"material":611,"size":55946,"collection":84,"collections":55947,"showCount":444,"zanCount":1998,"manualWeight":48,"mainColor":72},232267,"geng-yan-shan-shui-tu-ce-wang-hui-232267","耕烟山水图册","王翚在王时敏等人的指导下进行学习和创作的生涯达二十年。他广泛学习宋元以来的各种流浓和山水画名迹。为他最终达到“集大成”打下了深厚的基础。相对于其它三王来说。王翚的家境是较贫寒的。在青年时代就做到“仿临宋元人无微不肖”因此当时有人便“倩其作装璜作伪，以愚好古者，虽老于鉴别亦不知为近人笔”〔清·周亮工《读画全录》。今天我们偶尔还能见到王翚的“作伪”的一些假，宋元古画。〕后人广泛称道王翚的画为集古之“大成”，此语原为石谷自道：“以元人笔墨。运宋人丘壑，而泽以唐人气韵，乃为大成”〔《清晖画跋》〕。而他说的另一段话中道得更为透彻：“翚自龉时搦管，仡仡穷年，为俗流派拘牵，无繇自拔……临颖茫然，识微难洞，已从师得指法，复于东南收藏好事家纵览右丞，思训，荆，董，胜国诸贤，上下千余年，名迹数二万种，然后知事理之精微，画学之博大如此，而非区区一家一派之所能尽也，由是潜神苦志，静心救之，每下笔落墨，辄思故人用心处……于是涵泳于心，练之于手，自喜不复为流派所感，而稍稍可以自信矣”（《清晖画跋》）。可见，王翚早年曾经“为世俗流派拘毫，无繇自拔”一味地广泛临摹，学习古人各种不同的的画法之然“然后知画理之精……非区区一家一派之所能尽也”。夜间他从世俗流派的不同门户偏见的羁伴中解脱出来，当然包括所谓“南北宗”山水画的区分。清盛大士说得好“耕烟贡性超俊，学习深邃，能含南北宗为一手”（《溪山卧游录》卷一），清张庚也指出：“画有南北宗，至石谷而合焉”（《国朝画征全录》）。中国的傅统山水画，其中最主要的一种审美要素便是和式化的”皴法；而所谓“南北宗”之别亦在“披麻皴”和“斧劈皴”的不同。但二者长期的对立状态却被王翚加以解化了。正如恽寿平所说“古来之笔至龃龉不能相入者，石谷则罗而置之笔端，融洽以出，神哉技手”（《瓯香馆画跋》） 。",[24,7,59,128,132,29,331,171,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94bb574f4feb8802ab4baafc960bf456.jpg","29×29cm×10",[],{"id":55949,"slug":55950,"title":55951,"dynasty":222,"author":55952,"museum":300,"description":55953,"tags":55954,"thumbUrl":55955,"material":692,"size":1293,"collection":84,"collections":55956,"showCount":444,"zanCount":1998,"manualWeight":48,"mainColor":49},231738,"shi-ting-shi-dai-si-ji-shan-shui-tu-ping-feng-er-ping-yang-yue-231738","室町时代 四季山水图屏风-二屏","杨月","这幅山水以淡墨晕染空濛烟岚，远近山境层次尽显。近景烟波之上，渔翁撑舟而行，舱内隐者安坐，江湖野趣扑面而来。半山栈道上行人独行，山腰楼阁藏于松荫叠嶂之间，山居雅意自生。\n山石以简劲斧劈皴写就，林木点染苍秀，干湿墨色相互映衬，将幽寂山景晕染出朦胧空寂的禅意，把江湖隐逸之思与山居闲趣融为一体，萧散淡远间尽显东方山水留白余韵，悠悠勾勒出侘寂悠然的世外清境。",[23,24,7,128,27,29,97,129,99,131,34,98,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79061f8926eabe2c2bff2a6fa4b3debc.jpg",[],{"id":55958,"slug":55959,"title":55960,"dynasty":222,"author":35258,"museum":300,"description":49868,"tags":55961,"thumbUrl":55962,"material":692,"size":1293,"collection":84,"collections":55963,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},231616,"bai-miao-shi-er-tian-tu-xiang-yan-mo-tian-zhen-hai-231616","白描十二天图像 焰魔天",[23,24,7,165,187,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe37d6469911f2a02e3cb23080c1747f.jpg",[],{"id":55965,"slug":55966,"title":3141,"dynasty":18,"author":46535,"museum":12686,"description":55967,"tags":55968,"thumbUrl":55969,"material":611,"size":84,"collection":84,"collections":55970,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},231492,"ying-li-you-231492","善画頭，筿长于鹰鹘，精神态度，曲尽其妙。世所作多搏搦狐兔凫鹭之属，流血淋漓，颇乖好生之意。猷尽反之。学画二鹰坐于枯株之上，貌甚闲暇，略无鸷猛惨烈之状，而不失英姿劲气，可尚也。《画继》",[24,164,7,28,27,61,211,949,1337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc548a4d2d416a195470fd81f3d0e166.jpg",[],{"id":55972,"slug":55973,"title":55974,"dynasty":18,"author":223,"museum":244,"description":55975,"tags":55976,"thumbUrl":55978,"material":84,"size":55979,"collection":42,"collections":55980,"showCount":444,"zanCount":1998,"manualWeight":48,"mainColor":72},231083,"qing-xi-wan-mu-tu-yi-ming-231083","清溪晚牧图","画面铺陈出悠然的乡野暮色，清溪浅流舒缓漫过滩涂。一头水牛浸在水中，半隐于苇草间，抬首斜睨，慵懒消暑；另一头负着戴斗笠的牧童，踏水登上岸坡，牧童持杆闲坐，不见丝毫匆忙。侧畔老树盘根虬曲，坡岸蒹葭随风轻摆，两只水鸟振翅掠过天际，为静谧图景添上灵动生机。\n\n笔墨清润秀雅，以淡墨晕染出水色空濛的氛围感，将晚牧时分的松弛乡趣娓娓道来，把日常放牧的寻常景致，晕染成了意韵悠长的诗意画卷，尽显乡野间的自在野趣。",[164,24,7,1326,27,28,128,102,23453,211,99,34,1824,131,210,55977,29,1400],"牧歌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc81e794353e50d88ea22a19584279e31.jpg","75.6x44.3",[42],{"id":55982,"slug":55983,"title":55984,"dynasty":18,"author":223,"museum":300,"description":55985,"tags":55986,"thumbUrl":55987,"material":84,"size":84,"collection":84,"collections":55988,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},231055,"song-quan-pan-shi-tu-yi-ming-231055","松泉磐石图","画面以古松为骨，老干蟠曲遒劲，松针攒簇如凝墨团块，旁侧枯木枝桠如铁戟横斜，与长松相生，野意盎然。飞瀑自层岩间破壁而出，垂落撞碎成银浪，卷入涧中，湍流拍击磐石，似能耳闻泉声淙淙。层岩以浓淡墨色勾勒皴擦，块垒沉凝尽显山野荒寒。\n\n全作用水墨晕染皴擦，干湿浓淡交替，将幽寂清冷的林泉之境铺陈于绢素，静穆萧散的林下雅趣跃然眼前，尽显寄情林泉的隐逸襟怀。",[23,24,7,164,165,128,27,132,1144,99,495,11135,131,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76784386c4b2ee1e768841b7f9de1bc8.jpg",[],{"id":55990,"slug":55991,"title":55992,"dynasty":54,"author":9742,"museum":300,"description":55993,"tags":55994,"thumbUrl":55996,"material":84,"size":84,"collection":84,"collections":55997,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},230948,"qing-yun-dong-he-tu-wu-li-230948","晴云洞壑图","此作以高远、平远交织的构图铺陈画面，层叠山石逐层递深，拉开幽邃山水空间。以苍劲厚重的皴法勾勒岩壑，尽显山石嶙峋质感，林木疏密错落，枝梢意态宛然，细节处见细腻功力。右下角独行旅人衬出山峦雄浑辽廓，以人之渺小衬出天地空阔，更显山居清寂。右上角题字与画面融为一体，晕染雅致文气，整体气韵沉静萧疏，将林壑间幽远静谧的山居意境尽显无遗，尽显古典山水的文人意趣。",[23,24,7,128,27,132,29,55995,950,34,131,1023],"洞壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd15f0936b3087b09b345f32de9721dc1.jpg",[],{"id":55999,"slug":56000,"title":56001,"dynasty":54,"author":56002,"museum":300,"description":56003,"tags":56004,"thumbUrl":56005,"material":84,"size":84,"collection":84,"collections":56006,"showCount":444,"zanCount":1998,"manualWeight":48,"mainColor":49},230919,"shu-feng-zhan-dao-tu-ye-liu-long-230919","蜀峰栈道图","叶六隆","整作以水墨铺陈层叠山川，奇崛危崖间栈道盘绕，飞瀑穿林而下，古松虬曲扎根绝壁，尽绘山川雄荒之态。\n行旅之人或驱驴缓行于险道，或驻足观瀑稍作休憩，寸尺人物却神态宛然，将蜀道行路的艰涩与山川壮景相融，把奇险之境具象于笔底，又暗蕴羁旅行人的幽远意趣。笔墨苍劲古朴，皴擦勾勒间尽显山石肌理，山水之雄与行旅之幽浑然一体，尽显传统山水叙事的悠远意境。",[23,24,7,165,128,132,29,6290,96,101,663,1314,413,495,690,97,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5adb14969e212e22fafe642e5a5551c7.jpg",[],{"id":56008,"slug":56009,"title":35561,"dynasty":144,"author":223,"museum":300,"description":56010,"tags":56011,"thumbUrl":56012,"material":692,"size":1293,"collection":84,"collections":56013,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":956},230892,"fang-cui-bai-dan-feng-niao-que-tu-yi-ming-230892","这件作品画的是秋天枫叶之中的三只山雀，从画风看，确实沿袭了宋代花鸟画的画法且工细有过之而无不及。如果此画确系元代以后的作品，而崔白是否画过《丹枫鸟鹊图》则不得而知，那么就无法知道此作是临摹崔白的《丹枫鸟鹊图》还是仿崔白的画法而作。将此画定为宋代画家崔白的作品，是清末民初的张荫椿，图为此画题签：“宋崔白《丹枫鸟鹊图》”。张荫椿（1869-1922），字砚孙，杭州人。清光绪癸卯进士，韱分度支部福建司主事。近代著名民主革命家、古文经学家、思想家章太炎的妹夫，画家张大壮之父，精鉴别、富收藏，工书法，与罗振玉、王国维友善。张荫椿父名张景云，字倬五，号寅伯，光绪壬午（1882）科举人。《清代硃卷集成·张景云乡试硃卷》履历部分记：“浙江杭州府钱塘县廪贡生，民籍。……住丰乐桥皮市巷口。”《清代硃卷集成·张荫椿会试硃卷》履历部分记：“浙江杭州府钱塘县学附生，民籍。……住省垣丰乐桥上皮市巷口。”",[24,7,28,27,61,11375,211,10050],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66445e775736d669ef403893f6caa10a.jpg",[],{"id":56015,"slug":56016,"title":56017,"dynasty":222,"author":223,"museum":300,"description":56018,"tags":56019,"thumbUrl":56021,"material":84,"size":84,"collection":84,"collections":56022,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},230531,"tang-hua-fen-ben-shan-shui-hua-hui-tu-juan-yi-ming-230531","唐画粉本-山水花卉图卷","此作四段分绘雅景与人世行旅：首段烟波浩渺，渔翁垂竿扁舟，三两棹影浮沉沧溟，尽显江湖散逸之趣。次段江干松下，执戟侍者侍立，士人临水话别，林风簌簌似作离歌。三段云海拥卫都门，朱衣仪仗簇拥策官走马，金阙飞甍隐于云涛，尽显仪制煊赫。末段秋山丹枫灼灼，飞瀑漱石，幽居枕流，空山寥寂见林泉高致。通卷以淡彩写形，笔墨清隽，以诗画相映的分段小景，铺陈出江湖林泉到都邑行旅的万象闲情。",[23,24,7,25,27,28,95,29,96,97,129,1350,101,413,950,56020,99,1351,98,130],"红日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1baa70be8acd15b6541e2270d885e01e.jpg",[],{"id":56024,"slug":56025,"title":56026,"dynasty":54,"author":223,"museum":300,"description":56027,"tags":56028,"thumbUrl":56029,"material":84,"size":84,"collection":84,"collections":56030,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},230329,"hai-guai-tu-ji-ce-hua-ce-yi-ming-230329","海怪图记册－画册","这两幅异鱼异兽，以左右对开铺陈深海奇想。左畔奇鱼朱红鳞身鎏着金辉，纤长触须飘然曳动，圆瞳清透，带着幽溟生灵的疏离仙气。右侧怪鱼扁躯银灰，钴蓝唇尾撞色醒目，獠牙外露神态桀骜，棘刺张弛间尽显悍野之态。\n\n画师以细腻工笔晕染设色，浓丽雅致又兼具写实质感，将臆想中的沧溟异客勾勒得鲜活灵动，带着东方志怪独有的瑰奇浪漫，在素净纸间铺展出深海秘境的荒诞绮梦，让观者恍如窥见了烟波之下不为人知的诡谲天地。",[24,7,59,28,27,2059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F697c0daf4f00a0f4769048e3acba6a2b.jpg",[],{"id":56032,"slug":56033,"title":56034,"dynasty":54,"author":3403,"museum":300,"description":56035,"tags":56036,"thumbUrl":56037,"material":84,"size":84,"collection":84,"collections":56038,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},230222,"shu-fa-12-wu-chang-shuo-230222","书法12","此作以石鼓文为笔底根基，线条圆厚苍劲，裹毫藏锋，力透纸背，尽显沉雄老辣的金石意趣。联文结体欹正相生，错落朴拙，自带古籀文字原生的朴茂气质。\n字间行气疏朗贯通，左侧小字落款搭配朱红印章点缀，墨色浓淡呼应，章法从容雅致。将篆刻刀意融于笔端，苍浑大气中暗含灵动姿态，把碑学书法的雄浑意韵尽数诠释，朴拙厚重间尽显文人风骨，是极具代表性的苍古雄健的篆书典范。",[23,7,64,938,208,10886],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcf459ef02caa3bf692764c1467f11c0.jpg",[],{"id":56040,"slug":56041,"title":33103,"dynasty":54,"author":4083,"museum":300,"description":56042,"tags":56043,"thumbUrl":56044,"material":84,"size":84,"collection":84,"collections":56045,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},230178,"fang-gu-shan-shui-ce-wang-shi-min-230178","水雾轻笼远岫，淡墨晕开江乡初夏的朦胧底色。柳丝垂曳拂过浅溪，田埂蜿蜒牵起篱舍人家，浓荫将村居温柔包裹。水渚间汀草错落，小巧板桥横卧溪上，连起幽僻乡路。\n\n浅绛设色调清润柔和，笔触松秀温婉，远山以虚笔淡墨晕染，留白铺就空濛水汽，将溽热化作悠悠闲意。近林点染疏密相宜，把江南村居的日常烟火，晕成了悠然冲淡的诗意，藏着文人归田园居的清梦，尽显江乡夏日的静穆安闲。",[24,7,2271,27,29,132,35,34,99,131,4363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b30a7edaa0aac1a21f11cf6e484343d.jpg",[],{"id":56047,"slug":56048,"title":56049,"dynasty":54,"author":6936,"museum":244,"description":35113,"tags":56050,"thumbUrl":56051,"material":637,"size":56052,"collection":84,"collections":56053,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},229029,"lu-hong-cao-tang-shi-zhi-tu-ce-wang-yuan-qi-229029","卢鸿草堂十志图册",[24,7,59,27,29,132,496,34,99,495,131,37,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b855412011780d4faf10c5428332274.jpg","约纵：29cm，横：29.5cm",[],{"id":56055,"slug":56056,"title":33103,"dynasty":54,"author":9529,"museum":300,"description":56057,"tags":56058,"thumbUrl":56059,"material":84,"size":84,"collection":84,"collections":56060,"showCount":444,"zanCount":1998,"manualWeight":48,"mainColor":72},229015,"fang-gu-shan-shui-ce-wang-hui-229015","此作用浅绛糅合青绿设色，层层铺展山水意趣。近汀杂木错落，渔舟泛于清波，野意悠然；中景山峦叠翠，飞瀑自岩间垂落，山巅古寺隐于葱郁间，藏露得宜；远景江天浩渺，淡墨晕染远山，虚实相生。\n\n笔墨师法元人，皴擦细腻勾勒出山峦肌理，设色雅致柔和，既带着宋画山川的浑厚静穆，又晕染出江南水乡的温润灵秀，师古而不泥古，将仿古意趣与自然生机相融，尽显清丽雅逸的山水意境。",[24,7,59,29,27,132,663,228,130,129,34,497,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0e0cce94c65cffbabf3b95f530cab5.jpg",[],{"id":56062,"slug":56063,"title":56064,"dynasty":124,"author":3619,"museum":300,"description":56065,"tags":56066,"thumbUrl":56067,"material":84,"size":84,"collection":84,"collections":56068,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},228886,"cun-ju-tu-wen-zheng-ming-228886","存菊图","淡墨轻皴汀洲远山，清润秀雅，茅庐隐于林间，窗内人影凭眺，秋水横波，江天旷远，晕染出江南秋日萧疏淡远的意趣。\n书画合璧，行书题诗笔致温秀，以存菊寄寓林下高逸襟怀，将文人澹泊心境融于水墨湖山。笔底无浓艳重彩，却自见悠悠古意，淡而不薄，秀而不媚，尽显诗书画一体的雅致风神，把秋日怀想与文人雅趣藏进卷中，清和隽永。",[23,24,7,25,27,29,28,132,64,133,208,663,228,413,1144,1337,711,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9a4a897929f713d7c2804fe86703e6.jpg",[],{"id":56070,"slug":56071,"title":56072,"dynasty":124,"author":16846,"museum":300,"description":55241,"tags":56073,"thumbUrl":56074,"material":692,"size":1293,"collection":84,"collections":56075,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},228854,"xun-yang-song-ke-tu-juan-wen-bo-ren-228854","浔阳送客图卷",[23,24,7,25,128,27,29,129,211,34,131,132,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5504d48b2948047af35986cb9bd270c8.jpg",[],{"id":56077,"slug":56078,"title":56079,"dynasty":124,"author":223,"museum":300,"description":56080,"tags":56081,"thumbUrl":56082,"material":84,"size":84,"collection":84,"collections":56083,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},228781,"fang-li-tang-bai-niu-tu-juan-yi-ming-228781","仿李唐百牛图卷","此作取景平远雅致，水岸林皋间意趣悠然。左侧群牛或立或卧，于浅滩闲散憩息，肌理厚重朴拙，憨态尽显。右侧童子策杖徐行，与近旁食草的牛只相映成趣，野逸生机扑面而来。\n\n林木皴染兼具苍劲与秀润，枯木虬枝疏密错落，新发柔条轻拂水岸，尽显春日郊野的清润之气。设色淡雅沉稳，赭石与墨色晕染出古绢沉静质感，追摹院体笔意又融入牧歌式恬淡，铺陈出物我相忘的山野闲趣，尽显旧朝牧放题材的风雅余韵。",[23,24,7,25,27,96,102,949,34,29,330,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e62a1ad2b0378e674fd4cb6fc02c2d3.jpg",[],{"id":56085,"slug":56086,"title":56087,"dynasty":124,"author":204,"museum":300,"description":56088,"tags":56089,"thumbUrl":56090,"material":692,"size":1293,"collection":84,"collections":56091,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},228446,"mo-li-tang-zhong-jiang-die-zhang-tu-chou-ying-228446","摹李唐重江叠嶂图","绘大江高岭，长松红枫，游人往来于山中茅舍，一派江村深秋美景，览之忘世外之情。设色雅静，用笔精诣，是仇英传世摹古浅绛山水精品。",[23,24,7,25,28,27,330,29,6004,30,34,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5a57fdde2240683083bccd12c1185c9.jpg",[],{"id":56093,"slug":56094,"title":56095,"dynasty":124,"author":18090,"museum":300,"description":56096,"tags":56097,"thumbUrl":56098,"material":84,"size":84,"collection":84,"collections":56099,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},228429,"fa-zhao-ling-rang-hu-zhuang-yan-liu-bi-yi-lan-ying-228429","法赵令穰湖庄烟柳笔意","此作用淡墨晕染出空濛湖烟，枯柳虬枝错落披拂，将水乡早春的氤氲柔霭铺陈开来。水岸茅庐幽敞，隐者凭窗闲坐，滩头策杖人彳亍独行，湖面轻舟随波缓漾，处处浸着江南水村的清寂闲雅。\n画师以简淡清润的笔意，褪去繁饰，将幽居澹泊的文人心境融于烟水寒林之中，萧散诗意漫溢画面，尽显文人寄情丘壑的悠远意趣，是一帧极具抒情性的山水小品佳构。",[23,24,7,165,128,27,29,1233,331,129,99,130,330,132,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca318bcb9c27742b74afc59762c66ca.jpg",[],{"id":56101,"slug":56102,"title":14777,"dynasty":124,"author":14778,"museum":300,"description":56103,"tags":56104,"thumbUrl":56105,"material":692,"size":1293,"collection":84,"collections":56106,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},228315,"xi-xiang-ji-cha-ye-min-qi-ji-228315","自幼读书勤奋，好作诗文，以刻书为事。明万历四十四年(1616)主持采用朱、墨两色套印《春秋左传》，获得成功。后又改为五色套印，先后刻印经、史、子、集等一批古书及诸多戏曲、小说。因印刷技艺日臻完美，名声大振，与著名刻书著作家凌蒙初齐名。著有《六书通》。",[24,7,59,188,27,96,166,208,64,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fe13a4e9fe642c86c413e86118e4e78.jpg",[],{"id":56108,"slug":56109,"title":56110,"dynasty":124,"author":16032,"museum":300,"description":56111,"tags":56112,"thumbUrl":56113,"material":84,"size":84,"collection":84,"collections":56114,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},228307,"jiang-shan-xue-ji-tu-shou-juan-xiang-sheng-mo-228307","江山雪霁图手卷","此作用淡墨晕染，留白拟积雪，绘就雪后江天。近岸寒林枯槎错落，崖巅孤亭孑立，可眺江色；山石以干笔皴擦，凝住冬日元气。远景江波澹澹，远山如墨痕晕散，孤鸟掠空衬出天地寥廓，满卷萧寒清旷之意。\n师法宋元笔墨，以极简之笔写尽雪霁荒寒，将文人幽居远眺的寄怀藏于山水间。后附题跋小楷娟秀，书画相映，在素淡笔墨里晕开空寂禅意，尽显古雅清逸的文人画风骨。",[23,24,7,25,128,132,29,1813,131,34,130,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb55f709ab0f0994569af64b386bef267.jpg",[],{"id":56116,"slug":56117,"title":56118,"dynasty":144,"author":223,"museum":300,"description":56119,"tags":56120,"thumbUrl":56122,"material":84,"size":84,"collection":84,"collections":56123,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},228227,"xu-kong-zang-pu-sa-xiang-li-zhou-yi-ming-228227","虚空蔵菩萨像立轴","此作所绘菩萨面容慈悲恬和，端坐莲云宝台之上，周身璎珞环佩错落华贵，衣纹卷草繁复精美。身后圆光放射清辉，将法相衬得愈发澄澈庄严。设色沉雅古艳，晕染柔和细腻，带着浑穆静雅的气质。下方青绿山水澹然悠远，将神圣法界与俗世林泉相融，传递出安宁清寂的禅意。笔致工谨入微，既恪守宗教造像的肃穆仪轨，又暗合传统绘事的雅致意韵，尽显神性之美与笔墨意趣，是兼备信仰内涵与艺术价值的上乘之作。",[23,24,7,4057,165,187,96,28,27,1364,29,56121],"背光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4519e845bfd0c73213cf3ff0697c5d5.jpg",[],{"id":56125,"slug":56126,"title":16928,"dynasty":144,"author":223,"museum":300,"description":56127,"tags":56128,"thumbUrl":56129,"material":692,"size":1293,"collection":84,"collections":56130,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},228194,"liu-hai-xi-chan-tu-yi-ming-228194","这幅作品构图饱满，除人物外，海涛几乎充满了整个画面。画风工谨，设色淡雅；衣纹用笔，线条劲练，下笔稍粗重，但刚柔相济，恰到好处；海涛以颤笔勾描，精细异常，具有很强的装饰性。",[23,24,7,164,165,188,96,16933,413,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa23f8645a988834ef3eb6503b9fb393d.jpg",[],{"id":56132,"slug":56133,"title":56134,"dynasty":144,"author":569,"museum":300,"description":56135,"tags":56136,"thumbUrl":56137,"material":84,"size":84,"collection":84,"collections":56138,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},228056,"xi-ma-tu-ye-zhao-meng-fu-228056","洗马图页","枯林之下，奚官执扇为白马拂除尘秽、驱走飞蝇，马上圉人俯身假寐，神态松弛慵懒。画面写实中带着文人写意的闲淡，白马丰腴神骏，毛发晕染柔和细腻，将良驹的质感尽显，人物衣纹简劲利落，服饰细节朴拙写实。枯木勾勒苍劲古雅，褪去了院体鞍马画的精工秾丽，以古旧绢色衬出林下幽寂氛围，将日常洗马的闲散瞬间凝住，把鞍马题材从仪仗的肃穆转向幽居的闲逸，尽显悠远沉静的隐逸雅趣，意韵绵长。",[23,164,24,7,59,28,27,96,101,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F254f9dafbb6196819987369a5b0bd4cd.jpg",[],{"id":56140,"slug":56141,"title":2616,"dynasty":144,"author":7181,"museum":300,"description":56142,"tags":56143,"thumbUrl":56144,"material":84,"size":84,"collection":84,"collections":56145,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},228055,"qiu-shan-xing-lv-tu-wang-zhen-peng-228055","此作用色沉郁苍润，虽经年色泽淡褪，青绿晕染的层叠山峦依旧幽邃厚重，尽显秋山沉静萧疏之态。边角处板桥茅舍隐现，策杖旅人徐行于郊野，将行旅清寂融于林山空寂之间。咫尺扇面以山林为骨，把山居行旅的闲逸藏于一隅，以简淡笔墨铺展山野深幽，暗合文人林泉高致的寄怀，晕染出空灵淡远的山水意韵。",[23,24,7,1131,27,29,96,34,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa5a9693bc3afcdabe1cdbda25bf66e.jpg",[],{"id":56147,"slug":56148,"title":40058,"dynasty":144,"author":4034,"museum":300,"description":56149,"tags":56150,"thumbUrl":56151,"material":84,"size":84,"collection":84,"collections":56152,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},228040,"shan-shui-ye-sheng-mao-228040","此作以咫尺扇面铺展山水清境，近景崖石盘结，苍木层生，干笔皴擦写出岩体苍厚肌理，点染间见林木错落生机。远景以淡墨晕染远山，江天留白处轻舟横渡，晕开烟波浩渺的空寂诗意。\n\n笔墨兼工带写，既承精工之态，又融萧散简淡的意趣，浓淡墨色铺陈出深远空间层次，将林泉幽致藏于方寸之中，尽显文人寄情山水的悠远襟怀，清雅古淡之间，留存山水小品独有的静谧余韵。",[164,24,7,59,128,27,132,29,413,129,415,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77d8beb27fb73713a6098a1128fdf4ce.jpg",[],{"id":56154,"slug":56155,"title":56156,"dynasty":144,"author":13522,"museum":300,"description":56157,"tags":56158,"thumbUrl":56159,"material":84,"size":84,"collection":84,"collections":56160,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},227990,"chun-jiang-tu-ma-wan-227990","春江图","此作用笔苍润秀雅，以淡墨晕染远岫平林，江波如练，渔舟轻漾，铺就江天寥廓之境。近岸危崖层叠，嘉木葱茏，间有丹叶点破春山碧色，山麓小径间策蹇徐行的旅人，为空寂江乡添上几分烟火意趣。\n全画以披麻皴写山石肌理，干湿互济，墨色苍润交融，诗题于画端，将春日江村的静穆野趣与文人逸怀相融，尽显悠远冲淡的林下幽情，晕染出江天春景的空濛诗意。",[24,164,7,165,128,27,132,64,208,29,6004,129,34,131,96,496,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42e6fe60e76037c1ff051d0063db8088.jpg",[],{"id":56162,"slug":56163,"title":56164,"dynasty":18,"author":223,"museum":300,"description":56165,"tags":56166,"thumbUrl":56167,"material":84,"size":84,"collection":84,"collections":56168,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},227926,"xi-hu-chun-xiao-tu-ye-yi-ming-227926","西湖春晓图页","这幅小品以淡墨晕染出江南春晓的空濛诗意。柳丝垂岸，水乡村居错落掩映在烟树之间，黛瓦茅舍伴着新绿，尽是闲雅野逸的栖居意趣。湖面波色澹澹，渔翁摇橹泛于水上，寥寥数笔便将春日清晨的慵懒闲淡勾勒尽致。远景山峦隐在薄雾轻岚之中，佛塔尖顶刺破烟霭，晕染出悠远空寂的氛围感。整幅画作以简淡笔墨铺陈开西湖春晓的湿润清宁，不见繁复着色，全凭水墨层次晕开江南烟雨的朦胧诗意，将春日湖山的幽微之美藏于尺幅之间，尽显雅致禅意。",[23,24,7,4437,128,27,29,129,34,758,99,415,1350,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efff2dd90e43563a3a2ba33dc58941d.jpg",[],{"id":56170,"slug":56171,"title":56172,"dynasty":18,"author":223,"museum":300,"description":56173,"tags":56174,"thumbUrl":56175,"material":84,"size":84,"collection":84,"collections":56176,"showCount":444,"zanCount":1998,"manualWeight":48,"mainColor":49},227918,"geng-huo-tu-ye-yi-ming-227918","耕获图页","它将江南农耕的收种全序铺展在团扇尺幅间，陂塘田垄错落交织，揉成鲜活的郊野劳作长卷。水畔有人俯身插秧，田埂上乡人肩挑饱满稻穗，场院间众人打谷堆粮，连跨水板桥、茅舍林木都晕染出江南乡野的温润烟火。\n\n构图疏密相宜，把忙而不紊的农忙日常拆解入微，小人物身形虽小却鲜活灵动，或挥汗劳作，或歇憩闲谈，尽显田家夏耘秋收的质朴暖意。以淡墨轻晕远山近树，褪去繁复设色，将纪实的乡居劳作绘成充满生机的风物小诗，藏着对烟火日常的细致体察，把辛劳又鲜活的田家日常定格为隽永的乡野图景。",[23,24,7,1131,28,27,96,102,13640,98,99,34,29,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f946904c60ad2b0f73b01e183f9e3ae.jpg",[],{"id":56178,"slug":56179,"title":56180,"dynasty":18,"author":223,"museum":300,"description":56181,"tags":56182,"thumbUrl":56183,"material":84,"size":84,"collection":84,"collections":56184,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},227906,"qiu-shu-qu-yu-tu-yi-ming-227906","秋树鸜鹆图","此作以团扇形制铺陈秋意，浓墨绘就禽鸟，羽翼晕染层次分明，玄色翎毛光泽宛然，顶间细羽轻耸，目光锐而不厉，爪紧扣枯枝，静立间暗含灵动生机。旁侧秋树枯淡萧疏，枝叶以浅赭晕染，枯涩苍劲的枝干与浓黑禽鸟形成鲜明的色形对比。\n\n整幅笔意工细写实，将秋日林间的清寂氛围烘托尽致，于尺幅之间藏着雅致悠远的意境，尽显对自然生趣的细致体察，把禽鸟的慵懒幽闲与秋意的萧索柔和相融，是小品中的精妙之制。",[23,24,7,1131,27,28,61,331,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34fcea6e0955e2524931f7f5c1713d17.jpg",[],{"id":56186,"slug":56187,"title":56188,"dynasty":18,"author":223,"museum":300,"description":56189,"tags":56190,"thumbUrl":56191,"material":84,"size":84,"collection":84,"collections":56192,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},227905,"qiu-ting-ying-xi-tu-ye-yi-ming-227905","秋庭婴戏图页","《秋庭婴戏》是24年7月1日 出版的图书 出版社: 上海书画出版社; 第1版 (24年7月1日) 丛书名: 国宝在线 平装: 4页 开本: 8开 ISBN: 78672664 条形码: 978786726648 尺寸: 29.8 22.4 .6 cm 重量: 281 g 这套丛书按绘画题材、风格技法等要素重新进行分类，将中国画史上的国宝级名作聚于一堂，放大至原寸，为学画者提供了下真迹一等的范本。\n本书对书中收入的每一幅名画进行了详尽的介绍与分析，部分局部放大，叙述这些流传千年的国宝背后的故事，并插入与之相关的其他名画的照片与材料，为广大喜爱中国艺术的读者提供了丰富的欣赏素材和参考资料。\n欣赏和学习中国画，离不开对画史上经典名作的了解。\n中国画的历史源远流长，由于种种原因，古代流传至今的绘画名作非但数量十分稀少，而且散佚于世界各地。\n缘于此，我们编辑了这套《国宝在线》丛书，按绘画题材、风格技法等要素重新进行分类，将中国画史上的国宝级名作聚于一堂，精心印制，并尽量放大至原寸，为学画者提供了下真迹一等的范本。\n此外，我们还对书中收入的每一幅名画进行了详尽的介绍与分析，叙述这些流传千年的国宝背后的故事，并插入与之相关的其他名画的照片与材料，为广大喜爱中国艺术的读者提供了丰富的欣赏素材和参考资料。\n书评 婴戏题材在唐代便已出现，时间当与仕女画相差无几，但数量不多，技法也远未发展成熟。\n据《宣和画谱》记载，唐代著名人物画家张萱善旦画人物……又能写婴儿，此尤为难。\n盖婴儿形貌、态度自是一家，要于大小岁数间，定其面目髫稚。\n世之画者，不失之于身小而貌壮，则失之于似妇人。\n又贵贱气调与骨法，尤须各别。\n事实上，婴孩的画法脱胎于成人，因此，早期一些不成功的婴戏画中往往会具有一小大人的特征，铅华未洗，尚不能表现出儿童稚气天真的特质。\n正如唐代人物画的兴盛与其成教化，助人伦的辅政功能不可分割一样，宋代婴戏题材画之所以流行也同样有其社会背景。\n宋代重文治，虽然对外一直积弱不振，但内部局势却相对较为稳定。\n农业生产不断增长，城市经济日渐繁荣，工商业发达，人口集中。\n市民阶层迅速壮大并逐渐形成一支可以影响画坛趣味的力量。\n绘画从主要服务于宗教及贵族阶层的利益，转而开始考虑普通群众的需求。\n人物画的题材中，道释及帝王肖像一统天下的局面被打破，表现市井平民生活的风俗画开始兴盛，这其中便包括以孩童嬉戏为主要表现内容的婴戏题材画。\n当时的观念认为，儿童可以消灾解难，会带来吉祥幸福。\n例如，北宋熙宁年间京师久旱，皇帝便让京师的儿童祈雨；南宋时期，除夕时在皇宫里，呈王女童驱傩，装六丁、六甲、六神之类一等等。\n因此，宋代社会对儿童事业颇为重视，当时的京城中设有官办的慈心幼局类似于今天的幼儿园或孤儿院，还出现了私人的儿科大夫和儿童药房等。\n显然，这种社会时尚在当时的文艺创作中不能不有所反映，就绘画而言，可以说婴戏画正是在这样的背景下发展起来的。\n著名的瓷器孩儿枕也出现于这一时期。\n一 在宋代，擅作婴戏题材的画家已有相当的人数，如勾龙爽、刘宗道、杜孩儿、苏汉臣、徐世荣等。\n其中以苏汉臣最为著名，流传下来的作品也最多，以 收藏的《秋庭婴戏图》最引人观注。\n他的成就，从后世作婴戏图者多托名于之便可见一斑。\n杜孩儿，顾名思义，因擅画婴儿而得名，《画继》说他在政和间，其笔盛行，而不遭遇，流落辇下。\n画院众工，必转求之，以应宫禁之须。\n《画继》还记载：刘宗道，京师人。\n作《照盆孩儿》，以水指影，影亦相指，形影自分。\n每作一扇，必画数百本，然后出货，即日流布，实恐他人传模之先也。\n由此可见婴戏画在当时流行风靡的程度。\n又据《图绘宝鉴》所云：勾龙爽，蜀人。\n好丹青，喜为古衣冠，多作质野不媚之状。\n尤善婴孩，得其态度。\n国初为翰林待诏。\n徐世荣，画界画，兼工婴儿。\n然而，遗憾的是这些画家的作品均已失传，我们只能通过前人的寥寥数语来想像他们的风貌了。\n宋代的画坛还有一些精通人物、山水、花鸟的全能画家，如李嵩、刘松年等，他们也画过一些婴戏题材作品，而且都极为精妙。\n我们知道，宋人作画重视写生，宋代画家在再现客观世界的能力方面较之前代画家取得了长足的进步。\n因此，尽管总体而言人物画的地位远逊于晋唐，但画家的技能不仅不逊于前辈，通常还有过之而无不及。\n婴戏画便是很能说明问题的例子。\n宋代画家很好地解决了前代在画孩童时常出现的问题，他们已能够驾轻就熟地表现儿童那种特有的体貌和神态了。\n这种技术上的进步与宋代婴戏题材的流行可以说是一种互为因果的关系。\n婴戏题材除了在两宋较为兴盛外，明、清以及民国时期也十分常见，这也和其时代的经济、文化繁荣息息相关。\n然而，像宋代那样有大批一流画家参与婴戏题材创作的情况却不复再现，作品也殊难和宋画相媲美。\n纵观历朝历代的人物画，婴戏题材并不占有十分重要的地位，但却不可或缺。\n由于婴戏画反映的是生活中美好、祥和的一面，为广大群众所喜闻乐见，因此常成为表现节日里吉庆欢愉的吉祥画，而在近代，这一题材则逐渐转化成祈求安康、丰乐的年画而进入寻常百姓家了。\n宋 苏汉臣 秋庭婴戏图 轴 绢本 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 婴戏图 页 绢本 宋 苏汉臣 婴戏图 页 绢本 宋 佚名 冬日婴戏图 轴 绢本 宋 佚名 冬日婴戏图 轴 局部 宋 佚名 冬日婴戏图 轴 局部 宋 李嵩 货郎 图 卷 绢本 宋 李嵩 货郎图 卷 局部 宋 李嵩 货郎图 卷 局部 宋 李嵩 市担婴戏图 宋 李嵩 骷髅幻戏图 页 绢本 宋 李嵩 骷髅幻戏图 页 局部 宋 佚名 狸奴婴戏图 页 绢本 宋 佚名 荷亭婴戏图 页 绢本 宋 佚名 荷亭婴戏图 页 局部 宋 佚名 秋庭婴戏图 页 绢本 宋 佚名 秋庭婴戏图 页 绢本 宋 佚名 秋庭婴戏图 页 局部 宋 佚名 蕉阴击球图 页 绢本 宋 佚名 蕉阴击球图 页 局部 宋 佚名 百子嬉春图 页 绢本 宋 佚名 端阳婴戏图 页 绢本 元 佚名 杂技戏孩图 元 佚名 货郎图 轴 绢本",[23,164,24,7,59,28,27,96,8832,229,34,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bfe0afb989a2894074a38cc534a2c6c.jpg",[],{"id":56194,"slug":56195,"title":56196,"dynasty":18,"author":223,"museum":300,"description":56197,"tags":56198,"thumbUrl":56199,"material":84,"size":84,"collection":84,"collections":56200,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},227889,"cang-hai-yong-ri-tu-ye-yi-ming-227889","沧海涌日图页","此作用浓淡变幻的墨色勾勒翻涌沧波，层叠浪涛卷着白沫奔涌不息，一轮朝日自海雾中缓缓浮现，晕染开朦胧天光。水纹肌理刻画入微，浪涛的雄浑动感与朝日的静穆柔和相映，将拂晓山海间辽远磅礴又带着初醒静谧的意境尽数铺展。\n\n左侧题诗与画境呼应，诗画合璧，以尺幅团扇承载浩瀚山海气象，尽显以小见大的精妙意趣，笔力苍劲细腻，墨色层次丰富，把沧海涌日的磅礴瞬间凝于绢素之上，藏天地灵韵于方寸之间。",[23,1846,24,7,59,28,27,29,39943,4505,19189,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29729fff9eb5bf2c5f979e5438cdbc4f.jpg",[],{"id":56202,"slug":56203,"title":28585,"dynasty":18,"author":223,"museum":300,"description":56204,"tags":56205,"thumbUrl":56206,"material":84,"size":84,"collection":84,"collections":56207,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},227865,"chun-jiang-fan-bao-tu-ye-yi-ming-227865","近岸怪石崚嶒，古松盘虬错节，笔墨苍劲朴拙，尽显山野清旷之气。江面波平水远，风帆饱胀满张，逐浪悠游，远山晕染在烟霭之中，虚实相生铺展出平远无尽的江天胜景。\n\n诗画合璧，将春水放舟的闲逸融入尺幅之间，以小景承载阔远意境，简淡空灵里暗合寄情林泉的幽远意趣，尽显含蓄隽永的古典山水审美意韵。",[23,24,7,4437,128,27,132,29,6004,1516,34,131,415,47608,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f17c75276403ef9deb01b11f04db765.jpg",[],{"id":56209,"slug":56210,"title":56211,"dynasty":18,"author":223,"museum":300,"description":56212,"tags":56213,"thumbUrl":56215,"material":84,"size":84,"collection":84,"collections":56216,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},227852,"shan-dian-feng-lian-tu-ye-yi-ming-227852","山店风帘图页","此帧水墨小品以边角取景，于尺幅间铺展幽寂冬日山居。嶙峋崖石以斧劈皴利落勾勒，苍劲笔墨写出硬质肌理，枯木虬枝弯折古拙，尽显萧寒之态。山坳间的野店隐于林泉，淡墨晕染的远峰裹挟烟岚，朦胧悠远。画师以简淡洗练的笔法拉开远近层次，留白空灵清旷，将山野间荒寒冷寂的氛围渲染尽致，暗含着文人士大夫心向往之的静穆淡远林下幽思，尽显以小见大、以景寄情的隽永意趣。",[23,24,7,59,128,27,29,132,133,208,663,497,34,758,56214],"风帘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09d24dc4618a7f329647a52ced4edb35.jpg",[],{"id":56218,"slug":56219,"title":56220,"dynasty":18,"author":223,"museum":300,"description":56221,"tags":56222,"thumbUrl":56223,"material":84,"size":84,"collection":84,"collections":56224,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},227567,"chun-hua-ge-tie-di-jiu-juan-yi-ming-227567","淳化阁帖第九卷","《淳化阁帖》，又名《淳化秘阁法帖》，简称《阁帖》，共10卷。是中国最早的一部汇集各家书法墨迹的法帖。",[64,5380,133,7,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ebc0ef4755657c5d4d44f7d512d4092.jpg",[],{"id":56226,"slug":56227,"title":56228,"dynasty":18,"author":1091,"museum":300,"description":56229,"tags":56230,"thumbUrl":56231,"material":84,"size":84,"collection":84,"collections":56232,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},227506,"ci-bian-cai-yun-shi-su-shi-227506","次辩才韵诗","《次辩才韵诗帖》这件作品写于苏轼被放杭州一年之后。这一年，苏轼在西湖上修筑了南北长堤，便是后人称颂至今的“苏堤”。辩才是苏轼的一位僧人诗友，他的这幅作品就是盛赞辩才老师超然物外、仙风道骨，自己与辩才能二老同游，当是人生幸事。大千世界，一切有法，且如是观之。作品落笔沉着、从容，已没有十年前书写《黄州寒食诗帖》时的激宕，墨色浓重却透着清雅之气，丰腴浑厚仍有秀逸之质。",[23,1326,64,133,24,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde73bd160d54e4ef7de788179945ba55.jpg",[],{"id":56234,"slug":56235,"title":37125,"dynasty":18,"author":223,"museum":300,"description":56236,"tags":56237,"thumbUrl":56238,"material":84,"size":84,"collection":84,"collections":56239,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},227393,"gao-shi-guan-pu-tu-yi-ming-227393","此画为宋离、唐所画，无据可查，但整体画面陡峭优美。 在这幅画中，由远及近的山峦和竹林，都以恰如其分的虚实笔触描绘。 图中的瀑布悬垂至谷底，水雾缭绕。 溪流的一角，两位高手俯视着飞泉，神采飞扬，神情陶醉。",[23,164,24,7,27,132,29,96,167,495,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa9400dc5e0fc602c5191a698fc5fa38.jpg",[],{"id":56241,"slug":56242,"title":56243,"dynasty":18,"author":223,"museum":300,"description":56244,"tags":56245,"thumbUrl":56246,"material":84,"size":84,"collection":84,"collections":56247,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},227388,"guan-pu-tu-ye-yi-ming-227388","观瀑图页","史载王羲之曾在团扇上画小人物；其子王献之的《为桓温书并画乌牸驳牛扇》。《历代名画记》中载：梁·肖贲“曾于扇上画山水，咫尺内万里可知”。到了宋代，随着绘画艺术的蓬勃发展，特别是山水画、花鸟画在唐末、五代基础上得到空前的提高。文人与绘画的关系越来越密切，形成了文人画创作高潮。加上皇帝对扇面艺术的重视，书画扇面相应得到飞速发展，臻于顶峰。《书继》中载：“政和间，徽宗每有画扇，则六宫诸邸竞皆临仿一样，或至数百本。”两宋盛极一时的画扇，创作了大批不朽之作，流传至今为人们饱览了两宋绘画的高尚艺术。小至花鸟画中的野草闲花，昆虫禽鱼，都运以精心，出以妙笔。",[23,164,24,7,4437,27,29,132,96,495,34,497,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b16031931e91f7aed2413780f1bd06.jpg",[],{"id":56249,"slug":56250,"title":56251,"dynasty":18,"author":223,"museum":300,"description":56252,"tags":56253,"thumbUrl":56254,"material":84,"size":84,"collection":84,"collections":56255,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},227361,"lou-guan-sha-ting-chui-diao-tu-yi-ming-227361","楼观沙汀垂钓图","在文人画里，一切都在情不自禁地轻轻飘动着。宋画是广阔的，岂止在视觉感受上，从题材、内容到形式都在自由组合中与审美达成了会心一笑似的默契和经典。宋画是现实的，就像刚刚从老庄的思想里走出，又误入了风景或花鸟的旋律。",[23,24,7,165,27,29,96,28,132,129,1350,211,131,25900,99,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437e8c42c3072d6bf3d4366c3df1f44c.jpg",[],{"id":56257,"slug":56258,"title":41092,"dynasty":182,"author":223,"museum":300,"description":56259,"tags":56260,"thumbUrl":56261,"material":84,"size":84,"collection":84,"collections":56262,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},227129,"gong-yuan-tu-juan-yi-ming-227129","《宫苑图》绘青山碧水之间，殿宇壮丽巍峨、行人络绎不绝的繁华盛景。画面以潺潺流水串联起星罗棋布的亭台楼阁，营造出一座精致华美的山水之城。该图“青绿为质，金碧为文”的笔法特色，以及在处理景物关系时的娴熟技巧，都是了解中国古代宫苑画如何走向成熟的重要参考。",[23,24,7,25,27,95,28,29,97,98,99,96,1515],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb131de98f8b7428d587a3235aa38356b.jpg",[],{"id":56264,"slug":56265,"title":56266,"dynasty":54,"author":1460,"museum":300,"description":56267,"tags":56268,"thumbUrl":56269,"material":84,"size":84,"collection":84,"collections":56270,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},224503,"shan-shui-ce-kai-ba-shi-tao-224503","山水冊开(八)","此作用笔清润秀雅，以淡墨晕染远山，将春山笼在烟岚薄雾之中。江岸村落隐于林莽间，江渚渔舟系泊静卧，近岸茅舍错落，柔柳轻拂堤岸，浅赭淡绿敷色晕染，晕开春日融融暖意。\n\n右上题诗与画面相生，将江畔春景揉进诗意之中，简淡空灵间尽显田园意趣。笔墨简而意足，淡而弥厚，把江南春日的缱绻春深藏在浅淡晕染里，将乡野间恬然闲静的春日氛围铺陈开来，让观者仿若踏入这烟柳春江，沉醉在这份闲寂又充满生机的乡野春光中。",[23,24,7,59,128,27,132,64,208,29,129,99,35,34,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e7cb140b5bf9176162a92b4b69e5d7.jpg",[],{"id":56272,"slug":56273,"title":56274,"dynasty":54,"author":9529,"museum":300,"description":56275,"tags":56276,"thumbUrl":56277,"material":84,"size":84,"collection":84,"collections":56278,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},224465,"fang-li-ying-qiu-jiang-gan-qi-shu-tu-zhou-wang-hui-224465","倣李营丘江干七树图轴","此作用笔苍秀兼具，以枯淡之墨绘就寒林古木，虬枝如蟹爪舒张，苍松挺拔卓立，近景瀑流涓涓，旅人策蹇徐行，野意悠然。远景江水浩渺，远山以淡墨晕染，轻岚笼山，平远之境清旷空灵。\n画作师法前贤，糅合北派山水的雄浑与南宗温润雅致，将冬日江干的荒寒萧疏铺陈开来，萧寒之气与空阔江天相融，摹古却自出机杼，尽显平远山水的幽渺意境。",[23,24,7,29,165,330,132,128,131,331,1144,99,129,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb2b6e269a01d7966da987a19da3ed77.jpg",[],{"id":56280,"slug":56281,"title":56282,"dynasty":54,"author":27610,"museum":300,"description":56283,"tags":56284,"thumbUrl":56285,"material":84,"size":84,"collection":84,"collections":56286,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},224240,"tan-xue-tu-juan-li-zong-wan-224240","探雪图卷","此作用平远视角铺展林泉雅境，以披麻皴绘层峦，石骨温润，淡赭晕染出浅淡暖意，衬出山峦清和质感。长溪蜿蜒穿谷，汀渚错落板桥连缀村居，黛瓦茅庐或临水依崖，或藏于花林松荫。\n\n山径、板桥之上，雅士策杖寻幽、携琴晤谈，暗合林泉高致。桃林初绽、松枝苍劲，红白点缀浅绛山水之间，冷润雅致。全卷以精工细笔写尽山居闲旷，将文人心中的世外烟霞融于尺幅，尽显静谧悠然的林下意趣，淡远清和的气息漫卷整幅画卷。",[23,24,7,25,28,132,27,29,1813,98,99,96,97,34,131,711,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff435c1018f07729175bd8cc1346e76e1.jpg",[],{"id":56288,"slug":56289,"title":56290,"dynasty":54,"author":26483,"museum":300,"description":56291,"tags":56292,"thumbUrl":56293,"material":84,"size":84,"collection":84,"collections":56294,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},224196,"yan-zi-ji-mo-chou-hu-er-jing-tu-quan-juan-wu-hong-224196","燕子矶莫愁湖二景图全卷","此作以全景长卷铺展金陵山水，分绘两处胜景：一侧是燕子矶危崖耸峙，江涛浩渺，帆樯往来，山坞村居错落于林木间，笔墨苍劲，尽显丘壑雄奇；一侧是莫愁湖烟水空濛，汀洲软碧，人家隐于柳岸，笔意清润尽揽湖山温婉。\n\n浅绛设色调和雅致，皴擦勾勒松秀苍逸，远近层次井然，将实景山水晕染出文人意趣。长题诗跋与书画相映，把凭吊幽怀寄于烟岚水色，书卷气漫溢全卷，尽显实景入画又抒情写意的绝妙风韵。",[23,24,7,25,128,29,132,663,228,32,131,34,1743,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F367d279b39c6d14e9d989d272bc2f3b3.jpg",[],{"id":56296,"slug":56297,"title":56298,"dynasty":54,"author":5879,"museum":300,"description":56299,"tags":56300,"thumbUrl":56301,"material":84,"size":84,"collection":84,"collections":56302,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},224179,"shu-shu-gui-qin-tu-hua-yan-224179","疏树归禽图","此作以灵动笔墨绘就暮秋小景，枯干疏枝间，两只禽鸟相偎理羽，亲昵悠然，下方赤羽朱雀振翅穿掠，生机暗涌。竹叶清劲舒展，丹红叶蕊点染秋色，水墨晕染的苔石衬出清冷秋韵。\n\n笔意兼工带写，禽鸟羽色晕染细腻柔润，枝叶则以写意之笔率性挥洒，设色妍雅柔和，冷暖色调相映成趣。留白疏朗悠然，将暮色归禽的安闲意趣缓缓铺展，兼具文人画的秀逸格调与写生鲜活之态，晕染出深秋暮色里的淡然诗意。",[23,24,7,27,61,413,355,167,1955,131,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6562933f06d277d64e828ddb05214ca5.jpg",[],{"id":56304,"slug":56305,"title":56306,"dynasty":144,"author":223,"museum":300,"description":56307,"tags":56308,"thumbUrl":56309,"material":84,"size":84,"collection":84,"collections":56310,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},223676,"qing-shan-bai-yun-juan-yi-ming-223676","青山白云卷","此作用淡墨轻岚绘就江南平远之景，山峦以披麻皴写就，淡赭晕染出温润秀雅的体态，层层铺展间尽显苍润空濛。近渚汀洲错落，林木萧疏简净，村舍隐于林下，渔翁孤棹泛波，寥寥数笔便将山居闲寂之意铺陈开来。\n\n朱红鉴藏印错落排布，与绢本水墨的淡逸形成鲜明冷暖对照，暗合古画递藏的悠悠往昔。全作用笔松秀空灵，以简驭繁摒去雕琢，尽显文人山水的清逸意趣，将春日烟岚轻笼的世外丘壑定格，可卧游其中，于疏淡静穆里细品江南山水的淡远生机。",[24,7,25,27,29,132,663,34,5323,96,229,3387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6951f9724f236be0a1928cf7f43983d.jpg",[],{"id":56312,"slug":56313,"title":56314,"dynasty":18,"author":223,"museum":20,"description":56315,"tags":56316,"thumbUrl":56317,"material":40,"size":56318,"collection":84,"collections":56319,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},223522,"wu-tong-ting-yuan-tu-ye-yi-ming-223522","梧桐庭院图页","图中绘有歇山式、四角攒尖式顶的建筑，描写具体而精致。画家以直线、横线、斜线、弧线等多种线条准确地勾勒，并将它们有机地组合在一起，通过轮廓的轻重、线条的疏密，清楚地交代出殿阁远近纵深的层次和“向背分明”的体积感，比例准确合度。虽然从构图和技法上分析，此幅应出自南宋画家之手，而不是李佐贤所定的“恕老”作，但仍可谓是传郭忠恕之衣钵。",[23,164,24,7,4437,28,128,27,95,2749,247,758,34,131,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F235ac18ea34cfa2c76f12f7aedadc6e1.jpg","纵24cm，横19.3cm",[],{"id":56321,"slug":56322,"title":56323,"dynasty":18,"author":223,"museum":244,"description":56324,"tags":56325,"thumbUrl":56327,"material":56328,"size":56329,"collection":84,"collections":56330,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},223439,"song-ke-si-wen-zhi-zhou-yi-ming-223439","宋缂丝文雉轴","整作雅致清隽，以缂丝之技复刻院体花鸟意趣。文雉傲然独立于奇石之上，翎羽以细缂勾勒，素洁莹润，顶间绒羽灵动，目光悠然似望林泉。幽竹斜探出石畔，兰叶舒展柔婉，灵芝倚石而生，晕染出林下清寂绝尘的闲趣。\n\n石身以深浅蓝褐织就层叠肌理，禽鸟草木设色柔雅沉静，将丝织的温婉与工笔的精细相融。静穆之中暗生机趣，尽显宋人雅致含蓄的审美意趣，把林泉幽致的东方意境凝于尺幅绢面之上。",[23,164,24,7,165,27,61,1944,56326,276,171,4074,1326],"雉鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F712ba41c929197839da6fa18ad2039c4.jpg","緙絲","71.8厘米",[],{"id":56332,"slug":56333,"title":56334,"dynasty":18,"author":223,"museum":20,"description":56335,"tags":56336,"thumbUrl":56339,"material":514,"size":56340,"collection":84,"collections":56341,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},223402,"chui-yang-fei-xu-tu-yi-ming-223402","垂杨飞絮图","图绘新绿垂柳四枝，袅袅生姿，柳絮似雪飞舞，透露无限春意。画中柳枝用中锋一笔画出；柳叶用细笔勾勒，并填以汁绿；柳絮用白粉信笔点之。全图用笔工整，赋色淡雅。构图疏密得体。上方垂下的柳枝与右侧伸出的柳枝将画面分割成形状不等的四部分，小中见大，引人遐思。图的左上方有宋宁宗皇后杨氏的题诗：“线捻依依绿，金垂袅袅黄”，并钤八卦中的“坤卦”形印。",[23,24,7,28,27,133,208,56337,56338,895],"垂杨","飞絮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1985b24190a5d26949764d7e323e9b9f.jpg","25.8*24.6厘米",[],{"id":56343,"slug":56344,"title":56345,"dynasty":54,"author":11383,"museum":20,"description":23655,"tags":56346,"thumbUrl":56347,"material":23658,"size":23659,"collection":84,"collections":56348,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},223139,"shi-wan-tu-ce-3-ren-xiong-223139","十万图册3",[23,164,24,7,59,26,27,29,37,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aeb50154d506f2c841a50d34007f7fa.jpg",[],{"id":56350,"slug":56351,"title":56352,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":56353,"thumbUrl":56354,"material":151,"size":7879,"collection":84,"collections":56355,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},222913,"hong-lou-meng-38-sun-wen-222913","红楼梦38",[23,24,7,28,27,95,96,97,247,34,249,7875,131,1367,18970,4278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe17d679e1f1bb0d6400b5266757571c9.jpg",[],{"id":56357,"slug":56358,"title":56359,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":56360,"thumbUrl":56363,"material":151,"size":7879,"collection":84,"collections":56364,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},222896,"hong-lou-meng-21-sun-wen-222896","红楼梦21",[23,164,24,7,25,28,27,151,40819,25484,56361,98,99,96,166,34,875,4363,131,249,247,56362,16127,758,230],"亭台楼阁","园林景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff0777d2de3e5717a1c6f1d360c602d.jpg",[],{"id":56366,"slug":56367,"title":56368,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":56369,"thumbUrl":56370,"material":151,"size":7879,"collection":84,"collections":56371,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},222883,"hong-lou-meng-8-sun-wen-222883","红楼梦8",[23,24,7,28,27,96,97,34,131,247,7875,1200,1367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3103960dfe7469fe11c5b4d20df55750.jpg",[],{"id":56373,"slug":56374,"title":56375,"dynasty":54,"author":523,"museum":20,"description":43920,"tags":56376,"thumbUrl":56377,"material":40,"size":43923,"collection":84,"collections":56378,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},222867,"shi-gong-ci-tu-ce-06-leng-mei-222867","十宫词图册06",[23,164,24,7,59,28,27,96,97,247,106,527,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168968a1c5eb89201c2550c1aad92216.jpg",[],{"id":56380,"slug":56381,"title":56382,"dynasty":54,"author":523,"museum":20,"description":43920,"tags":56383,"thumbUrl":56387,"material":40,"size":43923,"collection":84,"collections":56388,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},222864,"shi-gong-ci-tu-ce-03-leng-mei-222864","十宫词图册03",[23,24,7,59,27,28,133,208,96,97,247,11632,56384,9425,1645,34,8347,41970,56362,3490,37624,56385,56386,51716,32210],"圆门","书法题跋","印鉴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bbdacdc2555c58cb249651b9849937a.jpg",[],{"id":56390,"slug":56391,"title":56392,"dynasty":124,"author":56393,"museum":224,"description":56394,"tags":56395,"thumbUrl":56396,"material":151,"size":56397,"collection":136,"collections":56398,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},222575,"ting-zhou-fang-mei-tu-zhao-zi-jun-222575","停舟访梅图","赵子俊","绘远山近水，河岸山石之上，松柏修长翠绿，梅花朵朵盛放，一人坐于梅下，抬头观望赏梅，梅下岸边河边船只停泊。另一边数座房屋呈现，房前屋后翠竹茂盛，梅花灼灼。画面疏密有致，意境辽阔清雅。",[23,24,7,1131,27,29,371,129,1144,711,415,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b03376e9df78efc27198473fd5577ce.jpg","40x50",[136],{"id":56400,"slug":56401,"title":56402,"dynasty":124,"author":27440,"museum":300,"description":56403,"tags":56404,"thumbUrl":56405,"material":84,"size":56406,"collection":318,"collections":56407,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},222530,"lin-zhe-mo-lan-ting-wang-duo-222530","临禇摹兰亭","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人 。明末清初大臣、书画家，王本仁的儿子。正如李志敏所评价：“王铎的草书纵逸，放而不流，纵横郁勃，骨气深厚”。\n天启二年（1622年），考中进士，入选庶吉士，历任太子左谕德、太子右庶子、太子詹事、南京礼部尚书。弘光政权建立，出任东阁大学士。顺治元年（1644年），跟随钱谦益投降清朝，授礼部尚书、弘文院学士、太子少保。顺治九年（1652年），病逝，享年六十一岁，安葬于河南巩义县洛河边，谥号文安。\n善于书法，与董其昌齐名，有“南董北王”之称。书法作品有《拟山园帖》和《琅华馆帖》等。绘画作品有《雪景竹石图》等。\n王铎工正、行、草书，得力于钟繇、王献之、颜真卿、米芾，笔力雄健，长于布局。 [6-7] 有北宋大家之风。当时书坛流行董其昌书风，王铎与黄道周、倪元璐、傅山等人提倡取法高古，于时风中另树一帜。\n在书法上王铎是一位各体皆能、风格多样的书法全才。无论是伟岸遒劲的大楷、高古朴厚的小楷书，还是他那飞腾跳踯的行草书，在晚明书坛上都应说是一流的。正书在王铎作品中不多见，源于唐人而能自出胸襟。\n王铎降清后八、九年时间，书风更趋成熟老辣，其狂草技法已臻化境。书法成了其“贰臣”的心理矛盾和落寞情怀的排遣，故作品已失去崇祯朝的扛鼎之力和奋发之气，而转为理性和孤冷。\n《洛州香山诗轴》，在结字上把米芾的倚侧发挥到了极致，再以涨墨法略去点画改变字形，确实有“破鬼胆”之怪；再以中锋强力掠扛，轻重对比强烈，真正有神龙飞腾的不测之力。\n《明资政大夫正治上卿兵部尚书节寰袁公偕配诰封夫人宋氏合葬墓志铭》是王铎于明崇祯十年（1637年）十二月二十七日为其恩师袁可立书丹，铭文近五千字，是不能多见的王铎长篇小楷。\n《壬午临柳公权帖轴》，行草，王铎用三行布白法，写出五行书来：起首在一行空白中挤出密密的两行小字，结尾以贴零的方法在边沿空隙中挤出一行小字。完全打破了传统的章法平衡美原则。\n《王维五言诗卷》，书于崇桢十六年（1643年），绫本，楷书、草书。此诗卷后半部分的行草在王铎作品中则不乏见，章法变化丰富，行笔能纵能敛，整体感强，结体欹正莫测，点画错综复杂，线条枯实互应，故其成就被人给予很高评价。\n《临王筠帖轴》为四行书，主题三行书如空中的柳条左右摇曵飞舞，没有一处是垂直平衡和安静的，最后一行书乃落款小字，更是从左上向右下摇荡，末了还在边空贴零挤上“王铎”二字穷款。邱振中曾用“轴线连缀”的方法分析王铎每行书的左右摇摆度，以感知这种章法的平面几何关系。这种翰札书、藁草书中很常见的章法布白，一下子在大幅立轴作品中产生了前所未有的惊险效果。这正是王铎平面视觉空间构筑上贯彻其所谓“幽险狰狞”的“魔鬼美学”原则，让人在视觉上如此强烈地感受到“劈山超海，飞沙走石，天旋地转，鞭雷电而骑雄龙”的意象。王铎在书法作品平面空间构成上的美学创造，已历四百年而无人居其右\n《赠张抱一行书诗卷》和《赠张抱一草书诗卷》是王铎五十岁在怀州所书作品，这二卷分别是王铎行书和草书的精品。王铎诗宗杜甫，此二卷十数首感事伤时的诗中发出了“百感中原事，魂魂向夜生”的悲鸣，乃是离乱战火中奔波有感于生灵涂炭的“诗史”品格，因此前卷行书尤显沉雄深厚，后卷草书乃感幽怨缠绵。黄道周评价王铎书法曾有“五十自化”之说 ，这是强调生活与人格历练对书法风格成熟的审美卓见。徐悲鸿曾有一诗，用“蟠、蛟、螭”这种极尽其变的“神龙”来比拟王铎草书所塑造的形象，并赞之曰：“有明书法推第一，屈指匹敌空坤维。”他甚至还发问说：“文安诗作猛虎吼，谁执王字相雌雄？”\n《奉龚孝升书卷》为酒后佳作，行笔刚毅，元气充盈，既是晚年颓废生活偶发牢骚的写照，也是悲剧情怀的痛苦表露，堪称行书代表作之一。\n王铎画山水宗荆浩、关仝，继承了五代荆浩和关仝的风格，王铎的作品丘壑峻伟，皴擦不多，以晕染作气，傅以淡色，沉沉丰蕴，意趣自别。。同时他也吸收董源和王维的画法，主要以水墨晕染为主，皴擦不多，略施淡色，山川显得厚实雄伟，生机勃勃。他的山水画景色比较写实，山石的造型方峻，勾皴相间。他的山水画是以元人的笔墨技法画出了宋人味道。王铎的人物画极少见，而且画法比较简略、写意。间作兰、竹、梅、石，洒然有物外趣。\n王铎能画，但作品流传不多。 他的山水画仿荆浩、关仝却无大山大水的气势，《山水册》中的平冈高松，林峦深壑，空薄烟雨，曲径茅屋倒有苍秀清新之气，引人人胜。王铎善以书法之笔描写花卉枯荣盛衰的姿态，从上海博物馆藏《花卉卷》里可窥一斑。此卷作竹、兰、菊、竹叶、菊瓣及兰叶皆以中锋出之，信手写来，洒脱中含有拙味，与他纵而能敛的书法特点相统一。着意神采，不求形似，洒然有象外之意，最能流露出他文人画的情致逸趣。清顺治三年（1646年）作《渔舟萧闲图》，收入《历代名贤画粹》；清顺治七年（1650年）作《雪景山水图》，收入日本《支那名画宝鉴》；清顺治八年（1651年）罢官归里，作《兰石图》卷、《山水卷》，分别收入《新版世界美术全集》《支那名画宝鉴》。王铎善于画山水和梅兰竹石，山东省济南市博物馆收藏的《雪景竹石图》是王铎为睢阳袁枢精心创作的一幅雪竹作品。",[23,7,64,330,133,208,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6b795d3b808e6c26621b5a3f414c8d4.jpg","44X144",[318],{"id":56409,"slug":56410,"title":17347,"dynasty":124,"author":7003,"museum":300,"description":56411,"tags":56412,"thumbUrl":56413,"material":84,"size":84,"collection":318,"collections":56414,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},222473,"shou-juan-zhu-yun-ming-222473","祝允明（1461年1月17日-1527年1月28日）生于天顺四年十二月六日，卒于嘉靖五年十二月二十七日，字希哲，长洲（今江苏吴县）人，因长像奇特，而自嘲丑陋，又因右手有枝生手指，故自号枝山，世人称为“祝京兆”，明代著名书法家。\n祝允明的科举仕途颇为坎坷，十九岁中秀才，五次参加乡试，才于明弘治五年（1492）中举，后七次参加会试不第。甚至其子祝续也在前一科中进士，于是祝允明绝了科举念头，以举人选官，在正德九年（1514），授为广东兴宁县知县，嘉靖元年（1522），转任为应天（今南京）府通判，不久称病还乡。\n祝允明擅诗文，尤工书法，名动海内。他与唐寅、文徵明、徐祯卿并称“吴中四才子”。又与文徵明、王宠同为明中期书家之代表。楷书早年精谨，师法赵孟頫、褚遂良，并从欧、虞而直追“二王”。草书师法李邕、黄庭坚、米芾，功力深厚，晚年尤重变化，风骨烂熳。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。其代表作有《太湖诗卷》《箜篌引》《赤壁赋》等。所书“六体书诗赋卷”“草书杜甫诗卷”“古诗十九首”“草书唐人诗卷”及“草书诗翰卷”等皆为传世墨宝。\n祝允明出生在文化气氛很浓的苏州，他的书学生涯是在前辈的言传身教下开始的。其中对他影响最大的是外祖父徐有贞和岳父李应祯两人。 徐有贞擅长行草书。他的行草主要师法唐朝的怀素和宋朝的米芾。用笔直率而华美，结构潇洒多姿，很得古雅之气。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。在祝允明二岁时，徐有贞奉诏回苏州闲居，祝允明时常寄宿在外公家里，因此徐有贞的书法风格对他影响是很深远的。\n李应祯也是一个有名的书法家。祝允明也一直得到李应祯的指导。在跟从岳父学书的十几年中，李应祯对于祝允明在书法的发展上起了很大的作用。\n据文徵明的记载，李应祯在晚年告诉他，说自己学习书法四十年才开始有所得，并向文徵明论述了书法上的很多道理。他留下的尺牍，秀丽而又有气度，行笔自然大方，横向取势的撇、捺、横都很生动有致。字的大小，粗细变化自然。他这种富于抒情性的行草书对祝允明也有很深的影响。 祝允明自己谈幼年时学习书法，说前辈不让他学习近代人的字，看到的都是晋唐人的字帖。所指的应该是楷书的学习。应该说祝允明幼年在两位前辈的指导下，打下了很好的底子，为日后的发展作了铺垫。同时两人的书风的优点也传给了祝允明。\n祝允明书法主张是“性”与“功”并重超然出神采，祝允明的书艺思想以“神采”为最终归宿。而要达到这个目标，他认为必须“性”、“功”并重。“性”是指人的精神，“功”是指书法创作的能力和功夫。他认为只有功力而无精神境界，神采就没有，而有了高尚的精神境界，如果没有表达的功夫，那么神采就不能实在地显露。两者不可缺一，必须兼备，在他的代表作《闲居秋日》《致元和手札》《燕喜亭记》《乐志论》《饭苓赋》《云江记》等就秉承了他所倡导的“性”、“功”并重的原则。 对于“功”，祝允明认为只有在向前人学习的基础上才能得到。因此他对时人不愿好好学习传统而把这称为“奴书”的说法很愤慨。特地写下了《奴书订》予以反驳。在这一点上，他晚年在《书述》中还批评了他的岳父李应祯。他强调必须“沿晋游唐”，这是源于他对书法史的深入认识。\n他认为书理极于张芝、王羲之、钟繇、索靖，后人只是在遵循他们的法则，而在根本上已不能改变。他认为唐人能循前人之理，按照当时人的法则来写；宋初还不很差，宋中期仍有可取之处，而后便大变传统，古法遭到败坏，大多流为恶怪。到元代方有赵孟頫扭转时风，复归晋唐，但终因个性不强未免有“奴书”的遗憾。所以要知书法的本来必须向晋唐学习。在学习和熟悉了传统后，其技法必须有独到之处，这是祝允明对“功”的进一步要求。他在《评书》中说自己不屑于步钟、索、羲、献的后尘，而要学习项羽和史弘肇的勇猛以开创自己。他跋 《山谷书李诗》云: “双井之学（黄庭坚之学）大抵以韵胜，文章诗书画皆然，姑论其书积功固深，所得固别。要之得晋人之韵，故形貌若悬而神爽冥会欤!此卷驰骤藏真，殆有夺胎之妙，非有若据孔子比也，其故乃是与素同得晋韵然耳。”(《祝枝山全集》卷二十五)可见他主张学古贵在求其气韵神情，而不必规规于点画形似。 ] 因此他既反对时人对传统的忽视，又强调不能真的成为“奴书”。\n祝允明对于“性”没有很多的论述。他提倡“起雅去俗”，显然是指以学识和修养来陶冶性情、净化心灵，从而达到较高的精神境界。 有了以上两点，就可以在“入神”的状态下创作具有神采的优秀作品了。他对于“入神之境”的解释是“一时超然格度之外”，在超越各种约束的情况下，才能“闲窗散笔”，自然地表达自己。 祝允明在书法理论上的要求，既符合艺术创作本身的规律，又合乎文人书画的审美要求，从而使他的书法创作成果达到了很高的水平。\n祝允明书法主要成就在于狂草和楷书。狂草来自怀素、张旭，更多的是接近黄山谷，提按和使转的笔法交互使用，行与行之间的距离很紧，形成一种汪洋恣肆的视觉效果。受黄庭坚影响很大，所以书法有铁画银钩之称。更难得的是楷书又写得相当严谨，有晋唐人的古雅气息。这种反差很大的综合素养与唐代的张旭十分相似，如《草书自诗卷》《致元和手札》《草书千字文卷》《王文恪公卷》等。 祝允明高明之处，将黄庭坚斤书笔法的特点融于自己小行楷书作中。因此，祝允明对黄庭坚的取法无疑是一种新的创造。",[23,164,24,7,25,840,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F123665fbab9a322e70bef1c799c376a3.jpg",[318],{"id":56416,"slug":56417,"title":56418,"dynasty":124,"author":47448,"museum":244,"description":47449,"tags":56419,"thumbUrl":56420,"material":611,"size":54816,"collection":84,"collections":56421,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},222436,"hua-die-cao-chong-3-du-da-cheng-222436","花蝶草虫3",[23,24,7,128,28,188,61,480,481,547,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1a347739aaed6c58c2cf28ca8269f81.jpg",[],{"id":56423,"slug":56424,"title":19546,"dynasty":124,"author":4333,"museum":510,"description":56425,"tags":56426,"thumbUrl":56427,"material":1027,"size":56428,"collection":84,"collections":56429,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},222063,"shui-xian-tu-zhou-tian-qiu-222063","此图细笔微染出花朵和浓淡墨钩出的花叶，突出阴阳向背，表现动的变化。双钩竹和飞白石兼具元人简逸之韵致，承宋之余绪而又不失字家格调。历代画家多用水仙象征高洁，寓意作者的孤傲品格和入泥不染的意志。",[23,24,7,164,25,188,128,374,171,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F385efbfd3ac4bd968584f474eb574eee.jpg","33.5x858.1cm",[],{"id":56431,"slug":56432,"title":56433,"dynasty":124,"author":15700,"museum":244,"description":56434,"tags":56435,"thumbUrl":56437,"material":84,"size":37678,"collection":84,"collections":56438,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},222019,"ming-xuan-zong-yu-bi-xi-zuo-ci-wu-shou-zhu-zhan-ji-222019","明宣宗御笔戏作词五首","明宣宗朱瞻基生于北平燕王府 。幼年聪颖，深得祖父朱棣喜爱。永乐九年（1411年），册立为皇太孙，多次跟随明成祖朱棣征讨蒙古。 洪熙元年（1425年）即位。宣德元年（1426年），平定汉王朱高煦叛乱。在政治上，重视整顿吏治和财政，提升内阁地位，任用“三杨”、蹇义、夏原吉等；教导宦官读书参政。经济上，实行休养生息，缓和社会矛盾的措施。对外关系上，进行第七次郑和下西洋；停止用兵交趾；于宣德三年（1428年）出塞，并修建永宁、隆庆诸城。明宣宗的一系列措施使得社会经济空前的发展，与其父明仁宗统治时期合称“仁宣之治”。同时明宣宗在书画方面极有造诣，翰墨图书，极为精致。“点墨写生，遂与宣和（宋徽宗）争胜”， 书法能于圆熟之外见遒劲。工于绘事，山水、人物、走兽、花鸟、草虫均佳，曾钤“广运之宝“、”武英殿宝”及“雍熙世人”等印章。\n宣德十年（1435年），明宣宗去世，终年三十八岁，庙号宣宗，谥号宪天崇道英明神圣钦文昭武宽仁纯孝章皇帝，葬于景陵。 著《明宣宗御制乐府》一卷，至今已佚，存词二首。传位长子朱祁镇。",[164,24,7,59,133,64,128,231,9404,56436],"夜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F963871be30a56a6c36f7c0e449908c14.jpg",[],{"id":56440,"slug":56441,"title":56442,"dynasty":124,"author":56443,"museum":224,"description":56444,"tags":56445,"thumbUrl":56446,"material":51318,"size":56447,"collection":84,"collections":56448,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},221920,"xi-ma-tu-ce-ye-lu-qing-221920","洗马图册页","陆青","陆青 〔宋〕绍熙时画院待诏。师李唐作山水，得其笔法。用墨清秀。简易不凡，喜用浓墨，木叶不分，唯风雨图最佳。《图绘宝鉴》。",[23,24,7,59,188,28,27,96,101,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbf8b692af8b95b865a24b95b748c7f3.jpg","30× 40.6厘米",[],{"id":56450,"slug":56451,"title":56452,"dynasty":124,"author":802,"museum":161,"description":11485,"tags":56453,"thumbUrl":56454,"material":59,"size":84,"collection":84,"collections":56455,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},221900,"hua-niao-jing-pin-ce-11-chen-hong-shou-221900","花鸟精品册11",[24,7,59,27,28,61,371,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dc4bafdc0537e2d279551e5f8a01346.jpg",[],{"id":56457,"slug":56458,"title":56459,"dynasty":144,"author":56460,"museum":20,"description":56461,"tags":56462,"thumbUrl":56463,"material":3544,"size":56464,"collection":84,"collections":56465,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},221806,"xian-zhi-zhai-tu-juan-wu-zhi-zhong-221806","闲止斋图卷","吴致中","此图是吴致中为他的族人吴彦能所绘山间别墅“闲止斋”的景致。\n画家自题：“野外罕人事，即事多所欣。坐止高荫下，遥遥望白云。东园吴致中为宗人彦能写闲止斋并集陶句。”下钤“延陵世家”、“吴致中”2印。\n吴彦能，字子乃，元末延陵（今江苏常州）人。出身于官宦世家，自幼受到良好的教育，曾拜在经学大师胡仲彝门下，在春秋学研究方面有很深的造诣，后隐居于至亲郑居贞的家乡歙南溪（今安徽东南部、新安江上游）。吴彦能最敬慕东晋名士陶渊明弃官归隐之高操，故将自己的隐居之所取名为“闲止斋”。\n此图在艺术手法上采用平远式构图，将近景、中景、远景有机地结合起来。画面近处高树耸立于湖畔，作为主体的“闲止斋”掩映于林木间。对江平沙曲岸，远岫遥岺，生动地点画出元代文人理想中的山林野趣。\n全画笔墨简练而不放纵，从勾皴点染之间营造出清幽雅静的氛围。山石的画法用卷云皴，可明显地看出北宋郭熙绘画技法的影响。吴致中存世作品极少，《闲止斋图》是了解其画风的重要实物资料。",[23,24,7,25,128,27,29,97,98,99,171,130,211,331,133,938,208,132,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00874a1dadd20cefff589827a0c57942.jpg","21.8厘米，横1.9厘米。",[],{"id":56467,"slug":56468,"title":56469,"dynasty":18,"author":5533,"museum":20,"description":56470,"tags":56471,"thumbUrl":56472,"material":40,"size":56473,"collection":84,"collections":56474,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},221600,"san-gao-you-shang-tu-ye-liang-kai-221600","三高游赏图页","此图原载《宋人名流集藻册》。画上题云：御前图画梁楷笔。这幅画可以代表他的人物画的风格。人物面部表情很细致，而衣履则以寥寥数笔成之，更显得迅捷有力。后来的许多画家都从他这里得到了启发。",[23,1326,24,7,2132,9717,188,10170,4437,96,29,34,497,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33bc58b4c1c2fc63890cffa78db35ae7.jpg","纵25.3厘米，横26厘米",[],{"id":56476,"slug":56477,"title":56478,"dynasty":18,"author":56479,"museum":20,"description":56480,"tags":56481,"thumbUrl":56482,"material":514,"size":56483,"collection":84,"collections":56484,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},221588,"tian-jun-zui-gui-tu-liu-lv-zhong-221588","田畯醉归图","刘履中","这幅画描绘了一位老人和他的同乡田和他的亲戚们的场景。天镇乡在古代是管理区的所有者。这幅画共有三个场景。一是村民和亲戚的热情接待，天真周围都是敬酒。中间的场景是，老人喝醉了，骑在牛背上回来了。",[23,24,7,25,28,188,27,96,102,34,131,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa43ae57688cf51ca4d0b87f4bc13f8c3.jpg","纵21.7cm、横75.8cm",[],{"id":56486,"slug":56487,"title":56488,"dynasty":18,"author":2099,"museum":300,"description":15916,"tags":56489,"thumbUrl":56490,"material":611,"size":15919,"collection":84,"collections":56491,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},221401,"fa-hai-ling-shan-tu-3-li-gong-lin-221401","法海灵山图3",[23,164,24,7,1326,188,96,949,208,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F628dab8802c2613ee52979a59c9847da.jpg",[],{"id":56493,"slug":56494,"title":56495,"dynasty":18,"author":40909,"museum":244,"description":56496,"tags":56497,"thumbUrl":56498,"material":9155,"size":56499,"collection":84,"collections":56500,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},221368,"chi-du-juan-cai-xiang-221368","尺牍卷","书风比起蔡襄他书，贵于端重者又增一份工致。书风渊源，用笔、结体、气息，大致融合虞世南、颜真卿二家。\n该幅署款“癸卯”（1063年，嘉祐八年），时年五十二岁，居汴京任翰林院职，属晚期作品。该幅运笔如行，而结体似楷，写来从容不迫，正是“端严而不刻，温厚而不犯。太平之气郁然见于楮毫间。书风比起蔡襄他书，贵于端重者又增一份工致。与次年所书（1063年、甲辰）以故宫所藏《彦犹帖》比较，紧谨严中自有一份雍容，结体、字距行间，宽紧合适，正是端重的代表。即使相对与其它楷书，如“自书谢表并诗”（作于皇祐四、五年间）等，当以此为压卷。\n蔡襄书以浑厚居其上。历来评论蔡襄的书风渊源，受虞世南、颜真卿影响，该幅用笔、结体、气息，大致融合此二家。又蔡襄自谓：“古之善书者，必先楷法，渐而至于行草，亦不离乎楷正。张芝与旭变怪不常，出于笔墨蹊径之外，神逸有余，而与羲献异矣。襄近年粗知其意，而力不及，乌足道哉。”此条未署年，但语义上非年少时，或亦可为晚年该幅尚端重再作一解。\n该帖内文，即求制作纸中名品澄心堂纸，此纸源于五代南唐烈祖李升，命宣城加工制作，澄心堂为李升任金陵节度使住处名称，据称其纸，肤如卵膜，坚洁如玉，细薄光润。宋代士大夫讲究生活品味，于文房用具，尤其考究。“笔墨纸砚精良，人生一乐。”北宋人对文房用品的追求，每每见于诗文杂记题跋中，其中对南唐的墨及纸备加赞扬。蔡襄本人即谓：“纸李王澄心堂为第一。对于文房用具，如《陶生帖》誉“散”笔。对砚的嗜好，《洮河石砚铭》记此砚之“能下墨，隔宿洗之亦不亦不留墨痕。其肌理细润莹洁，不在端溪中洞石下。”《致彦猷尺牍》谢所送“大砚盈尺，风韵异常，斋中之华繇是而生。”蔡绦《铁围山丛谈》“记昭陵（仁宗）赐宴”，一大臣得李超墨，襄得李廷珪墨，襄以之相易。分道时，襄长揖为谢。盖李廷珪墨虽足宝，而李超为李廷珪之父，更足珍。",[7,25,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ce7e63e07b5f16b74d9374ebb1826ea.jpg","24x53",[],{"id":56502,"slug":56503,"title":56504,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":56505,"thumbUrl":56506,"material":611,"size":3722,"collection":84,"collections":56507,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},220305,"huang-shan-tu-ce-22-hong-ren-220305","黄山图册-22",[23,24,7,128,132,59,29,131,1144,96,496,1022],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d4f2c0db79efbfbcf1ca03a0c9769e3.jpg",[],{"id":56509,"slug":56510,"title":56511,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":56512,"thumbUrl":56513,"material":611,"size":3722,"collection":84,"collections":56514,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},220303,"huang-shan-tu-ce-23-hong-ren-220303","黄山图册-23",[23,24,7,59,128,132,29,131,1144,950,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c8376654d6bab4cdd78b4855e83c3dc.jpg",[],{"id":56516,"slug":56517,"title":56518,"dynasty":124,"author":802,"museum":77,"description":803,"tags":56519,"thumbUrl":56520,"material":173,"size":808,"collection":84,"collections":56521,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},220226,"hua-niao-cao-chong-xie-sheng-ce-dan-jie-wu-chen-chen-hong-shou-220226","花鸟草虫写生册-丹洁无尘",[23,164,24,7,59,28,27,61,481,373,549,1039,480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3014485fbd602bc596fe511ee39155e.jpg",[],{"id":56523,"slug":56524,"title":56525,"dynasty":144,"author":56526,"museum":161,"description":56527,"tags":56528,"thumbUrl":56529,"material":151,"size":84,"collection":68,"collections":56530,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},219966,"mu-niu-tu-dui-zhou-guo-min-219966","牧牛图对轴","郭敏","此作对轴分绘野趣牧景，左幅枯木蟠屈，寒坡寂寂，两头水牛抵角相嬉，憨态尽显；右幅苍松虬曲，枝桠带翠，群牛徐行顾望，自在闲散。\n\n笔墨苍劲简淡，枯木以硬毫勾皴，尽显老干嶙峋之态，坡岸以淡墨晕染，晕出空寂平远的荒寒意境。以寻常牧牛小景，寄寓林泉隐逸之思，静中藏动，笔简而意足，将萧散简远的林下襟怀，融在淡墨寒林里，野逸悠然，意韵绵长。",[23,24,7,165,128,27,28,102,331,1337,10059,23454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7d87c1aa56901ce2a99456425c3e82.jpg",[68],{"id":56532,"slug":56533,"title":56534,"dynasty":18,"author":223,"museum":244,"description":56535,"tags":56536,"thumbUrl":56537,"material":151,"size":84,"collection":136,"collections":56538,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},219640,"yi-ting-kan-hong-tu-yi-ming-219640","倚艇看鸿图","此作以边角取景，斜出的古松虬曲苍劲，藤蔓盘绕松身，野趣横生。坡岸石矶错落，幽草杂木点缀其间，白衣幽人倚艇静坐，遥望远空。淡墨晕染的远山与湖面融于空濛烟霭，水天一色愈显清旷悠远。\n\n全作用笔简淡秀雅，以水墨皴擦点染，不见繁复刻画，却将江南水滨的萧散清寂晕染尽致。幽人观鸿的闲寂之态，暗合宋人林泉高致的雅趣，咫尺团扇之间，藏着江湖林下的阔远襟怀，尽显宋代山水小品以小见大、以简胜繁的意境之美。",[23,24,7,1131,128,132,29,331,171,211,129,414,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6dabe5d6d95427c3f91f0cba98543ed.jpg",[136],{"id":56540,"slug":56541,"title":56542,"dynasty":124,"author":1058,"museum":20,"description":34825,"tags":56543,"thumbUrl":34827,"material":317,"size":56544,"collection":44,"collections":56545,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},219626,"wang-gong-chu-shan-tu-tang-yin-219626","王公出山图",[23,164,24,7,25,128,28,132,133,64,208,29,96,131,34,130],"纵20厘米，横73.5厘米",[44],{"id":56547,"slug":56548,"title":56549,"dynasty":144,"author":223,"museum":244,"description":56550,"tags":56551,"thumbUrl":56552,"material":173,"size":56553,"collection":44,"collections":56554,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},219604,"shi-ma-tu-yi-ming-219604","试马图","画面以三骑游踱铺开，两匹神骏提蹄缓行，鬃毛细软晕染入微，尽显矫健体态。三位骑手神态松弛悠然，衣袂线条简劲凝练，将闲游行乐的松弛氛围铺陈开来。古绢底色晕染出沉郁旧韵，边角钤印为画面添就古雅厚重的岁月质感。\n\n整体笔意清简沉稳，淡设色晕染出雅致静穆的氛围，静中藏动，将郊野试马的闲逸意趣娓娓道来，尽显鞍马题材画作的精妙意致，暗合内敛从容的文人审美意趣。",[23,24,7,27,96,101,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8f5eac786068af423b573c2a8fdeadf.jpg","纵36.9横46.9厘米",[44],{"id":56556,"slug":56557,"title":25763,"dynasty":144,"author":223,"museum":56558,"description":56559,"tags":56560,"thumbUrl":56561,"material":173,"size":56562,"collection":68,"collections":56563,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},219256,"si-ma-tu-yi-ming-219256","中国美术馆","古绢底色晕染着时光的温厚，苍树虬枝如墨笔泼洒，浓淡间藏着元人笔意的疏朗。几匹骏马或低头啃青，或侧首相顾，肌理晕染细腻得似能触到鬃毛软韧。红衣饲马人持杖而立，身影在淡赭天地间格外鲜明，却无喧嚣，只与马群、古木共守一份悠然。画面无繁复布景，以极简构图勾勒牧歌式静谧，笔墨留白与写实相映，仿佛听见风过叶响、马鼻喷息，将寻常饲马时光，定格成跨越千年的悠然图景。",[24,7,27,28,96,101,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff95530499ef881114a1a98211c129db5.jpg","纵158横109.8厘米",[68],{"id":56565,"slug":56566,"title":56567,"dynasty":124,"author":16846,"museum":20,"description":56568,"tags":56569,"thumbUrl":56570,"material":173,"size":56571,"collection":136,"collections":56572,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},219218,"yun-yan-jia-sheng-tu-wen-bo-ren-219218","云岩佳胜图","该图描绘虎丘山云岩寺实景，从二山门、千人石、双吊桶、剑池、石桥直到山顶的佛阁和虎丘塔都一一收入画面。作品以写生为基础，捕捉住虎丘山的特征，表现出吴门画风。",[23,24,7,25,29,27,128,132,133,64,208,97,131,34,130,99,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5658b5730929f9dfde87aa2dd8229ce8.jpg","纵31.1cm，横63.6cm",[136],{"id":56574,"slug":56575,"title":56576,"dynasty":144,"author":8127,"museum":244,"description":56577,"tags":56578,"thumbUrl":56579,"material":173,"size":10420,"collection":84,"collections":56580,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},219117,"hua-hui-ce-hua-die-qing-ting-wang-yuan-219117","花卉册-花蝶蜻蜓","浅赭底色如晕开的旧墨笺，铺展一方清宁小景。蜻蜓振翅悬停，薄翼以细劲线条勾勒，似笼着晨雾的纱，复眼点染灵动；两只粉蝶栖于花侧，翅脉轻描，姿态悠然。下方花卉枝叶交错，花瓣淡彩晕染，紫蕊黄瓣相映成趣，叶片墨色浓淡有致，藏着自然生趣。整幅画工写相济，不刻意炫技，却于细微处见匠心，将草木虫豸的闲雅之态凝于尺幅。似能闻花间轻响，触风里软意，是元人笔下独有的清逸温婉，把寻常小景酿成了耐品的诗意。",[23,164,24,7,59,27,28,61,62,481,608],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3377cf4cbdf594fdf0f04f0c249d8ce.jpg",[],{"id":56582,"slug":56583,"title":56584,"dynasty":54,"author":56585,"museum":77,"description":56586,"tags":56587,"thumbUrl":56588,"material":173,"size":56589,"collection":68,"collections":56590,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},218977,"qun-yan-tu-chen-bi-218977","群雁图","陈璧","秋水澹澹，苇丛轻曳于汀洲岸际。群雁数只振翅掠空，姿态翩跹；或有三两栖落浅滩，或卧或立，野趣盎然。淡墨晕染远山，层峦隐现于薄雾间，添几分悠远；细笔勾勒苇叶，疏朗有致，与沙洲相映成趣。水面波光粼粼，似泛清浅凉意。整幅画面清寂中透着灵动，仿佛能闻雁鸣划破长空，观秋水悠悠流淌，尽显自然之恬淡生机，笔墨间藏着对野逸之境的脉脉向往。",[23,24,7,165,128,28,29,211,167,1824,31,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2514624d49b9f3a956ef4f223e883ba.jpg","71.7x33cm",[68],{"id":56592,"slug":56593,"title":56594,"dynasty":18,"author":223,"museum":244,"description":56595,"tags":56596,"thumbUrl":56597,"material":173,"size":56598,"collection":136,"collections":56599,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},218890,"shu-lin-ye-zhang-tu-yi-ming-218890","疏林曳杖图","这是对郭熙山水的模仿，只是笔法略显草率，可能是元代的作品。",[23,24,7,164,128,27,29,132,5324,131,96,415,1023,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0484004fdf547cfb6952e361a78c340d.jpg","24.7x23.5",[136],{"id":56601,"slug":56602,"title":56603,"dynasty":18,"author":223,"museum":244,"description":56604,"tags":56605,"thumbUrl":56607,"material":173,"size":56608,"collection":136,"collections":56609,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},218816,"xi-qiao-gu-si-tu-yi-ming-218816","溪桥古寺图","这幅画描绘了一座隐藏在深山中的古寺，有一座连接山涧的危桥。原作没有标记，但仔细看画风就会发现它属于李唐和萧照的画派。",[23,24,7,1131,27,29,132,31088,56606,131,34,415,99],"溪桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9365706aca0f6b75e3edd136c54eef45.jpg","24.6x24.3",[136],{"id":56611,"slug":56612,"title":56613,"dynasty":18,"author":223,"museum":244,"description":56614,"tags":56615,"thumbUrl":56616,"material":173,"size":56617,"collection":44,"collections":56618,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},218803,"li-tie-guai-mo-jian-tu-yi-ming-218803","李铁拐磨剑图","画中的人物头发凌乱，满脸胡须，衣服破烂，赤脚，肌肉发达，在海滩上的一块凸起的石头上磨剑。滚动的海浪，加上松树和滚动的云朵，是画面的焦点。这幅画的原题是 周帝打醮，但从人物旁边的手杖来看，这幅画描绘的是道教传说中的八仙之一的李铁拐。传说他是一个魁梧的人，在成为不朽的人之后，被赋予了一个饥饿的人的身体，因此他的外表很丑陋。明朝的一位宫廷画师也制作了类似的图像，用来驱除邪灵。",[23,164,24,7,59,28,188,27,96,1144,131,4505,38221],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e1584d50aced77bd7bb3f19029177fc.jpg","23.9x21",[44],{"id":56620,"slug":56621,"title":56622,"dynasty":18,"author":223,"museum":244,"description":56623,"tags":56624,"thumbUrl":56625,"material":173,"size":56626,"collection":136,"collections":56627,"showCount":444,"zanCount":1998,"manualWeight":48,"mainColor":72},218704,"he-ting-shui-ge-tu-yi-ming-218704","荷汀水阁图","一个有学问的人在水榭里看荷花，一个渔夫在沙滩上扭动渔网。远处的山和湖各占一半，使画面平静而清晰。笔法是夏圭的遗产，所以这可能是一位大师的作品。",[23,24,164,7,59,128,132,29,97,25200,81,228,34,415,5801,6091],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa60861a88d925828376c2dde8d09dbee.jpg","22.9x23.6",[136],{"id":56629,"slug":56630,"title":56631,"dynasty":124,"author":16846,"museum":244,"description":56632,"tags":56633,"thumbUrl":56634,"material":173,"size":56635,"collection":44,"collections":56636,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},218263,"yang-ji-jing-xiao-xiang-juan-wen-bo-ren-218263","杨季静小像卷","这幅画作于文伯仁24岁时（1526年，嘉靖五年），可能是他现存最早的纪年画，也是他唯一的一幅人物画。画中的主人公杨季静（1504-1530年之前）是苏州有名的琴师，与文征明等人关系友好，所以文博仁有机会为他画了一幅小肖像。",[23,24,7,25,128,27,96,438,64,208,133,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F158b55ad0eb5f9db452582a9d910d80a.jpg","29.1x23.9",[44],{"id":56638,"slug":56639,"title":56640,"dynasty":980,"author":1687,"museum":300,"description":8761,"tags":56641,"thumbUrl":56642,"material":278,"size":84,"collection":84,"collections":56643,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},218171,"da-qian-kuang-tu-ce-7-zhang-da-qian-218171","大千狂涂册-7",[24,7,128,132,29,97,129,98,34,131,37,64,4437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c38b0ac6496c4186a00a1231e8058da.jpg",[],{"id":56645,"slug":56646,"title":56647,"dynasty":144,"author":8127,"museum":244,"description":56648,"tags":56649,"thumbUrl":56650,"material":173,"size":10420,"collection":84,"collections":56651,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},216754,"hua-hui-ce-shui-xian-wang-yuan-216754","花卉册-水仙","水仙攒簇，瓣白蕊黄，纤叶劲挺如剑，兼具水墨苍劲与工笔细腻。一只粉蝶翩跹于侧，翅翼轻颤似欲落，为静穆画面添几分生动意趣。背景淡赭铺陈，衬以深青墨块，虚实相生间更显花姿孤洁。笔墨兼工带写，花叶勾勒精准却不失灵动，古雅设色与简淡构图暗合文人清逸之思。整幅画于细微处见匠心，清雅空灵如沐春风，尽显花木自然神韵与画者笔墨情致，寥寥数笔便将水仙的孤高与生机凝于尺幅之间。",[23,24,7,59,27,61,374,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa61e07edb91f812267058fdf2d606136.jpg",[],{"id":56653,"slug":56654,"title":56655,"dynasty":144,"author":1346,"museum":244,"description":2533,"tags":56656,"thumbUrl":56657,"material":278,"size":84,"collection":84,"collections":56658,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},216386,"mo-zhu-pu-ce-4-wu-zhen-216386","墨竹谱册-4",[24,7,59,128,167,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F062dc704c2fddc8981083d9fa8aea4a9.jpg",[],{"id":56660,"slug":56661,"title":56662,"dynasty":124,"author":14778,"museum":300,"description":56663,"tags":56664,"thumbUrl":56665,"material":66,"size":84,"collection":84,"collections":56666,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},216336,"xi-xiang-ji-cha-ye-16-min-qi-ji-216336","西厢记插页-16","画面以虚实相生的构图铺展西厢意韵。圆月窗棂内，案前剪影静对烛火，似凝着未诉的思绪；栏边女子衣袂轻染淡蓝，纤手抚栏，眸光越过云霭，牵系着窗内的影。右侧云气如缕，裹挟着另一女子的身姿，步履间藏着婉转心事。线条细腻如丝，勾出衣纹的柔、窗棂的雅；色彩淡雅晕染，蓝的云、橙的栏、灰的窗，衬出庭院幽寂。整幅画将西厢中含蓄情愫凝于方寸，以版画精致传递古典浪漫，每处细节都低语着跨越礼教的相思，尽显晚明版画的文人雅致与叙事张力。",[24,7,28209,27,96,166,97,249,950,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F505f8b736e035077b82deb41761ff571.jpg",[],{"id":56668,"slug":56669,"title":56670,"dynasty":54,"author":223,"museum":300,"description":56671,"tags":56672,"thumbUrl":56673,"material":66,"size":84,"collection":84,"collections":56674,"showCount":444,"zanCount":1998,"manualWeight":48,"mainColor":72},215863,"qing-dai-gong-ting-ren-wu-hua-ce-7-yi-ming-215863","清代宫廷人物画册-7","冠上羽翎轻缀，饰件精巧别致。深蓝袍服挺括有型，胸前补子绣瑞禽，羽翼舒展如生；袖口与下摆以彩线织就缠枝花卉，粉紫花瓣衬青绿叶片，雅致灵动。人物面容沉稳，眉眼间透着端庄气度，须髯修整得体，尽显清代宫廷人物的威仪与从容。画面纸色泛黄，带着时光沉淀的斑驳痕迹，线条细腻流畅，设色浓郁却不失雅致，将人物身份地位与服饰华美细节刻画得淋漓尽致，尽显清代宫廷绘画的严谨格调与精致韵味。",[24,7,59,27,28,96,170,263,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013c48dd1d28c4ff283b04ce074e3e68.jpg",[],{"id":56676,"slug":56677,"title":56678,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":56679,"thumbUrl":56680,"material":66,"size":84,"collection":84,"collections":56681,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},215106,"tui-bei-tu-ce-2-jiao-bing-zhen-215106","推背图册-2",[23,24,7,59,938,23848,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F808131567d33e7a24f8462752a3b7f40.jpg",[],{"id":56683,"slug":56684,"title":1079,"dynasty":54,"author":9576,"museum":56,"description":9577,"tags":56685,"thumbUrl":56686,"material":278,"size":84,"collection":84,"collections":56687,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},214690,"hua-hui-ce-3-luo-pin-214690",[24,7,59,128,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4766a474453bebf184ae2844817619e3.jpg",[],{"id":56689,"slug":56690,"title":56691,"dynasty":54,"author":9529,"museum":77,"description":36297,"tags":56692,"thumbUrl":56693,"material":66,"size":84,"collection":84,"collections":56694,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},214600,"fang-gu-shan-shui-ce-5-wang-hui-214600","仿古山水册-5",[24,7,59,128,2271,132,29,97,98,99,331,131,96,1645,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d0f71d53f38e75d651baa858c567130.jpg",[],{"id":56696,"slug":56697,"title":56698,"dynasty":54,"author":9529,"museum":77,"description":36297,"tags":56699,"thumbUrl":56700,"material":66,"size":84,"collection":84,"collections":56701,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},214594,"fang-gu-shan-shui-ce-10-wang-hui-214594","仿古山水册-10",[24,7,59,128,29,132,211,99,34,131,415,950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54d808e3472159700515c35f5d599a9b.jpg",[],{"id":56703,"slug":56704,"title":56705,"dynasty":54,"author":1460,"museum":1941,"description":5506,"tags":56706,"thumbUrl":56707,"material":66,"size":5509,"collection":84,"collections":56708,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":72},214529,"yi-jin-ling-ce-5-shi-tao-214529","忆金陵册-5",[24,7,59,128,132,29,99,101,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd11b0327f171c26bf52b3c73b65611a6.jpg",[],{"id":56710,"slug":56711,"title":56712,"dynasty":54,"author":223,"museum":35520,"description":35521,"tags":56713,"thumbUrl":56715,"material":173,"size":35524,"collection":84,"collections":56716,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":49},214335,"da-bei-shen-zhou-fo-xiang-3-yi-ming-214335","大悲神咒佛像-3",[23,24,7,27,28,187,96,59,7220,56714,1367,190,1364],"神咒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F675029d17e74ae020b3464aadad3b83c.jpg",[],{"id":56718,"slug":56719,"title":56720,"dynasty":54,"author":3448,"museum":56,"description":56721,"tags":56722,"thumbUrl":56723,"material":84,"size":84,"collection":84,"collections":56724,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":56725},203468,"hua-hui-ce-shi-kai-yun-bing-203468","花卉册十开","此帧花卉以没骨法绘就，朱红牡丹嫣然绽放，花瓣层叠间色阶过渡细腻，如凝晨露之润。翠叶以墨绿晕染，叶脉婉转隐现，枝干用笔简洁却见风骨，秀逸中含遒劲。设色明丽而不失清雅，承恽派写生之韵，将牡丹的雍容华贵与枝叶的清劲挺秀相衬，鲜活展现春日花事的生机盎然。画面留白疏朗，于方寸册页间藏自然意趣，尽显作者对花鸟情态的精准捕捉与文人审美之融合，读来如沐春风，悦目怡心。",[24,7,59,27,60,61,263,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96659e821af8e162b03e31f0b2dd5524.jpg",[],"c3a885",{"id":56727,"slug":56728,"title":56729,"dynasty":124,"author":2268,"museum":56,"description":56730,"tags":56731,"thumbUrl":56732,"material":84,"size":84,"collection":136,"collections":56733,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":56734},203466,"xiao-jing-ba-fu-ce-dong-qi-chang-203466","小景八幅册","董其昌此册页小景，笔墨兼具南北宗之妙。左幅水墨疏朗，山石以披麻皴写就，线条清劲秀逸，平远构图中村落隐现，意境空灵悠远；右幅设色淡雅，红绿点染秋叶，树木姿态古拙，山石结构简括，自然生机与文人简淡相融。画面以书入画，笔墨韵律天成，小景中见大格局，尽显晚明文人画的空灵雅韵，是其“以画为乐”理念的生动体现。",[23,24,7,59,128,27,132,2132,29,131,34,35,415,3427,99,3700,1144,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14fe7ab7651450e8bb454fd86615685e.jpg",[136],"c1bcb3",{"id":56736,"slug":56737,"title":29027,"dynasty":54,"author":56738,"museum":56,"description":56739,"tags":56740,"thumbUrl":56741,"material":84,"size":84,"collection":136,"collections":56742,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":56743},203431,"shan-jing-ri-zhang-tu-zhou-huang-ying-zhan-203431","黄应湛","层岩叠壑间，松荫覆屋，文人围坐清谈，一派悠然。远处峰峦隐现，楼阁错落林麓，山泉潺潺，飞鸟掠空，尽显山林静穆。笔墨苍润，皴法细腻，山石轮廓以墨线勾勒，复加皴擦点染，树木枝叶繁密，层次分明。设色古朴淡雅，褐赭基调衬出山林幽寂，意境清旷，恰合“山静日长”之闲适，映现文人向往的林泉之趣。",[23,24,7,165,27,132,29,663,228,34,1144,130,97,497,499,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49cf864f477c34f0805802e5ff38bd2e.jpg",[136],"84765e",{"id":56745,"slug":56746,"title":56747,"dynasty":32945,"author":3539,"museum":56,"description":56748,"tags":56749,"thumbUrl":56750,"material":84,"size":84,"collection":68,"collections":56751,"showCount":444,"zanCount":48,"manualWeight":48,"mainColor":56752},203077,"mao-shi-pi-pa-tu-zhou-xu-bei-hong-203077","猫石枇杷图轴","憨态可掬的猫蜷卧于嶙峋石上，黑白毛色以墨色浓淡晕染，层次分明，双目灵动有神；旁侧枇杷枝桠舒展，墨叶苍劲，橙黄果实鲜亮饱满，设色明快。石头以大写意笔触挥写，线条粗犷洒脱，与猫的细腻刻画形成对比，兼具中西画之所长——猫的造型写实生动，石与枇杷则尽显写意神韵。笔墨简练却形神兼备，画面生机盎然，意趣横生，尽显对生活细节的捕捉与艺术表现力。",[24,7,165,1634,918,1314,128,27,369,10803,949,61,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d6695b3eee8f7d17e4dfd3db012c9c4.jpg",[68],"c5b5a1",{"id":56754,"slug":56755,"title":56756,"dynasty":18,"author":223,"museum":300,"description":8311,"tags":56757,"thumbUrl":56758,"material":692,"size":1293,"collection":84,"collections":56759,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},291014,"song-ning-zong-hou-zuo-xiang-yi-ming-291014","宋宁宗后坐像",[23,24,7,27,28,96,166,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d5189158f56e7ee9e701cb4149d92ff.jpg",[],{"id":56761,"slug":56762,"title":56763,"dynasty":18,"author":7553,"museum":244,"description":56764,"tags":56765,"thumbUrl":56767,"material":151,"size":56768,"collection":84,"collections":56769,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},290988,"han-pu-yu-zeng-zhou-yan-wen-gui-290988","寒浦鱼罾轴","燕肃(961年—1040年)，字穆之，字仲穆，一署上谷，祖籍青州益都，定居曹州（今山东曹县）。北宋著名科学家、画家、诗人。\n燕肃少孤贫，巧思过人，宋真宗大中祥符年间进士，官至龙图阁直学士，人称“燕龙图”。学识渊博，精通天文物理，有指南车、记里鼓、莲花漏等仪器的创造发明，著有《海潮论》，绘制《海潮图》以说明潮汐原理。工诗善画，以诗入画，意境高超，为文人画的先驱者。",[164,24,7,165,128,27,29,211,56766,1351,34,12744],"寒浦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4c120e2383661e5ef1fc212341dcb0.jpg","143.1x75.4",[],{"id":56771,"slug":56772,"title":56773,"dynasty":54,"author":56774,"museum":300,"description":56775,"tags":56776,"thumbUrl":56777,"material":692,"size":1293,"collection":84,"collections":56778,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},290983,"tao-hua-yang-liu-zhou-guan-huai-290983","桃花杨柳轴","关槐","字晋卿，一字晋轩，号雪岩，一号署笙，又号柱生，晚号青城山人，仁和（今杭州）人。乾隆四十五年（1780）传胪，官礼部侍郎。词章翰墨，脱颖不群。画山水入宋、元之室，品诣在奚冈、屠倬之间。虽得董诰指授，其画境之苍润恬静，实有过之。供奉内廷，宠眷特懋。有《群仙胪祝轴》、《溪山秋爽轴》等。",[164,24,7,165,27,28,61,209,12008],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a9d97307ad488a2bfdd5e50336ef712.jpg",[],{"id":56780,"slug":56781,"title":21904,"dynasty":124,"author":1642,"museum":300,"description":37445,"tags":56782,"thumbUrl":56783,"material":692,"size":29579,"collection":84,"collections":56784,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},290974,"luo-han-zhou-dai-jin-290974",[164,24,7,165,187,128,96,18331,5490,689,167,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8803ccea802c306ac1ab099a6a43826.jpg",[],{"id":56786,"slug":56787,"title":56788,"dynasty":144,"author":27388,"museum":244,"description":56789,"tags":56790,"thumbUrl":56791,"material":278,"size":56792,"collection":84,"collections":56793,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},290936,"hua-shu-shi-tu-zhang-shun-zi-290936","画树石图","张舜咨（生卒年未详），元代画家。字师夔，号栎山，又号辄醉翁，浙江杭州人。曾任宁国路儒学教授，天顺二年(1329)调江浙行省承宣使，后调休宁县主簿。元末，又任漳州路龙溪、兴化路莆田县尹。善画山水、竹石，用笔沉着，颇有气势，兼工书法，亦精诗文，精心研习诸家画技，吸取各家之长，自成一家。作画讲究布局，大幅小景，布置各有其法。所作山水画，使人有身临其境之感。画古柏苍老擎天，别具风气。兼长诗、书，人称“三绝”。绘画作品有《楚云湘水图》、《关山行旅图》、《古柏》、《斗泉图》、《云山桧石》、《枯木图》、《秋野图》、《画楼酌别图》、《小景图》、《诗意图》、《谢家池塘》、《春江听雨》、《树石图》、《归思图》、《鹰桧图》等等。",[164,24,7,165,128,331,171,64,208,454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa23b2c70790d8e5aaee246590773cd4f.jpg","112.5x35",[],{"id":56795,"slug":56796,"title":56797,"dynasty":18,"author":223,"museum":300,"description":56798,"tags":56799,"thumbUrl":56800,"material":692,"size":1293,"collection":84,"collections":56801,"showCount":628,"zanCount":1998,"manualWeight":48,"mainColor":49},290716,"shan-hua-mo-tu-zhou-yi-ming-290716","山花墨兔轴","本幅绘野菊粟穗，一只墨兔伸著脖子，昂首嗅探，仿佛可以感觉到鼻息微动，栩栩如生。墨兔以墨色染成，并以浓淡不同的墨笔在深浅处丝出葺葺细毛，形态极为生动。 本幅无作者款印，旧签称其出自宋人之手，然野菊、粟竿的用笔均与宋人不类，当为晚期画家根据宋代画稿所绘之作。",[24,7,165,28,949,3599,376,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F043da57a89f7fedb4b409cb584404fa2.jpg",[],{"id":56803,"slug":56804,"title":56805,"dynasty":144,"author":18493,"museum":300,"description":56806,"tags":56807,"thumbUrl":56809,"material":692,"size":1293,"collection":84,"collections":56810,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},290616,"shi-liu-bi-da-shi-xiang-zhou-zhang-wo-290616","十六臂大士像轴","这是一幅白描画，一只似犬又似麒麟的动物（图2）乘云而来，法相庄严的十六臂观音端坐在莲台上。全作画得极为精细，人物轮廓和衣纹都用流畅的细线钩描，头发的发丝和莲瓣的纹理也描写入微，衣上和锦垫上的图案又绘制得一丝不苟。画幅右下角有张渥的款题，不过和张渥的真迹《九歌图》比较，发现这轴大士像的衣纹线条缺乏潇洒飘逸的韵致，应该不是张渥的亲笔。",[24,7,165,187,188,128,96,949,208,18381,56808],"大士像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedfea0193712440e58a078090c6e290e.jpg",[],{"id":56812,"slug":56813,"title":56814,"dynasty":18,"author":223,"museum":300,"description":56815,"tags":56816,"thumbUrl":56818,"material":692,"size":1293,"collection":84,"collections":56819,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},290508,"fang-zhou-fang-yan-le-tu-yi-ming-290508","仿周昉演乐图","松荫庭院间，雅集宴饮正酣。宾主围桌对坐，乐师拨弦和鸣，仕女环侍左右，有人奉茶添香，有人侍立听乐。\n\n此作用色古雅沉郁，线条温婉柔丽，承唐风仕女的丰腴秀致，又蕴宋人的娴静雅致。苍松古拙虬劲，衬出庭院的悠然静谧，案上陈设、发间花钿等细节处处见巧思，将文人宴饮听乐的闲逸雅致，融在晕染的古绢底色里，尽显升平雅致的宴乐图景，含蓄传递出中古雅集的从容意韵。",[24,164,7,165,27,28,96,997,1424,438,56817,1144,247,330],"演乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6e12c04897d94532b31ecc2db6af350.jpg",[],{"id":56821,"slug":56822,"title":56823,"dynasty":18,"author":56824,"museum":300,"description":56825,"tags":56826,"thumbUrl":56827,"material":692,"size":1293,"collection":84,"collections":56828,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},290327,"bao-xiang-guan-yin-zhou-gao-wen-jin-290327","宝相观音轴","高文进","高文进，五代宋初画家。成都(今属四川)人。从遇子。工画佛道,师法曹(不兴)吴(道子),笔力快健,施色鲜润。干德三年(965)蜀平归宋。太宗赵光义留神绘事，文进与黄居寀常左右，人图画院为祗候。",[164,24,165,27,28,96,187,18381,1363,23542,64,572,7322,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf549eaf374c89fdb2b60e52a374227c.jpg",[],{"id":56830,"slug":56831,"title":56832,"dynasty":144,"author":1346,"museum":300,"description":14804,"tags":56833,"thumbUrl":56834,"material":692,"size":1293,"collection":84,"collections":56835,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},290264,"shan-shui-tu-ke-luo-ban-wu-zhen-290264","山水图（珂罗版）",[23,164,24,7,165,128,29,132,98,99,34,131,4605],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567aa9a65c7f4ddf17f2f831344484e3.jpg",[],{"id":56837,"slug":56838,"title":6571,"dynasty":18,"author":6572,"museum":300,"description":56839,"tags":56840,"thumbUrl":56841,"material":692,"size":1293,"collection":84,"collections":56842,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},289880,"luo-han-tu-li-yu-289880","李遹 (约公元一二o八年前后在世)字平甫,栾城人。生卒年均不详,约金章宗泰和末前后在世,年六十七岁。高才博学,工画山水龙虎。为人滑稽多智。明昌二年(公元一一九一年)进士。",[23,24,7,165,187,128,188,96,772,208,64,18331,18381],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff936cb0bdc390fb3bddab4f433c9cb9c.jpg",[],{"id":56844,"slug":56845,"title":8437,"dynasty":351,"author":56846,"museum":300,"description":56847,"tags":56848,"thumbUrl":56849,"material":692,"size":1293,"collection":84,"collections":56850,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},289870,"yun-shan-tu-zhong-yin-289870","钟隐","钟隐，五代南唐人物，字晦叔，天台（今浙江天台）人，盖处士也。好画花竹禽鸟。",[24,164,7,165,128,132,29,23820,331,98,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c35661a4dcd7d3b6c2f8566ab7067fe.jpg",[],{"id":56852,"slug":56853,"title":21147,"dynasty":18,"author":223,"museum":300,"description":56854,"tags":56855,"thumbUrl":56856,"material":692,"size":1293,"collection":84,"collections":56857,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},289116,"tao-zhi-qi-que-tu-ye-yi-ming-289116","此作为宋画小品中的清丽佳构，以疏简折枝托举幽淡春景。蜿蜒桃枝错落舒展，留白铺就空灵韵致，尽显宋人的雅致意趣。桃花以淡墨勾边，轻敷白粉晕染，瓣尖微透莹润质感，如凝着晨露的初绽花苞，柔婉素雅。枝上栖雀造型写实入微，羽色晕染层次分明，暖棕腹羽与苍灰背羽相映，侧目凝神间姿态悠然，似静聆春风拂花轻响，于静谧中暗蕴鲜活生机。整体笔致秀润精细，设色温婉柔和，将格物观照的审美追求藏于尺幅，定格下春日枝间闲逸恬然的诗意瞬间。",[24,7,61,28,27,209,211,4437,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0865527a000659e4a83fb3a70a7fc7b5.jpg",[],{"id":56859,"slug":56860,"title":21202,"dynasty":144,"author":1346,"museum":300,"description":56861,"tags":56862,"thumbUrl":56864,"material":692,"size":1293,"collection":84,"collections":56865,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},289012,"jia-he-ba-jing-tu-wu-zhen-289012","嘉禾八景图卷：纸本墨笔，现藏台北故宫博物院，65岁时作。嘉禾八景图是吴镇一幅非常有名的作品，它既是中国画横幅的范作，又是真实地点的写照，画了从嘉兴到魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛、武水幽澜，其中一些景点尚存。此幅原为美国私人收藏，后捐献台北故宫博物院。",[23,164,24,25,7,128,29,415,97,98,99,130,211,35,34,64,208,133,840,56863],"水乡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31fc8353ae0102fb4a9641a461d079bf.jpg",[],{"id":56867,"slug":56868,"title":56869,"dynasty":18,"author":2067,"museum":300,"description":56870,"tags":56871,"thumbUrl":56873,"material":692,"size":1293,"collection":84,"collections":56874,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},288334,"wu-hua-guo-tu-li-di-288334","无花果图","本幅无款识。钤印半方，印文模糊不辨。裱边钤乾隆皇帝“八征耄念之宝”、“太上皇帝之宝”、“古稀天子”等玺印3方。\n对幅有清乾隆皇帝御题五言诗一首：“果结必资花，却有无花者。别名木馒头，或因形弗雅。缀子于叶间，累累复若若。七利名徒传，几团见实寡。钱塘特写斯，应寓别意也。庶子与家丞，个中两弗假。”钤印“用笔在心”。",[23,164,24,7,1131,28,27,61,64,208,56872],"无花果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf319d89ed0de23eb39be64d2c4116e8.jpg",[],{"id":56876,"slug":56877,"title":29377,"dynasty":54,"author":3043,"museum":300,"description":9390,"tags":56878,"thumbUrl":56879,"material":692,"size":1293,"collection":84,"collections":56880,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},288213,"shan-yin-cao-tang-tu-xu-gu-288213",[23,24,7,25,128,29,15999,34,37,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16f7f94852af7e7a30ef59206740d623.jpg",[],{"id":56882,"slug":56883,"title":56884,"dynasty":54,"author":42437,"museum":300,"description":42438,"tags":56885,"thumbUrl":56886,"material":692,"size":1293,"collection":84,"collections":56887,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},288030,"tian-ping-shan-jing-tu-wang-bing-288030","天平山景图",[24,164,7,165,128,29,98,99,97,331,131,208,64,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feab36ff244ad3ea89c6dfff1f443d59e.jpg",[],{"id":56889,"slug":56890,"title":1006,"dynasty":54,"author":5276,"museum":300,"description":37104,"tags":56891,"thumbUrl":56892,"material":692,"size":1293,"collection":84,"collections":56893,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},288028,"mu-dan-tu-gao-feng-han-288028",[23,24,164,7,165,128,27,61,263,171,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e3480b82813f3e74b11e99c7467ce72.jpg",[],{"id":56895,"slug":56896,"title":56897,"dynasty":18,"author":2099,"museum":300,"description":34962,"tags":56898,"thumbUrl":56899,"material":692,"size":1293,"collection":84,"collections":56900,"showCount":628,"zanCount":1998,"manualWeight":48,"mainColor":49},287967,"xun-shou-tu-ye-li-gong-lin-287967","训兽图页",[24,164,7,96,949,128,188,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa7beec104c5977bf4ad00ef0106ff5e.jpg",[],{"id":56902,"slug":56903,"title":32671,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":56904,"thumbUrl":56905,"material":692,"size":1293,"collection":84,"collections":56906,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":4001},287564,"teng-wang-ge-xu-wen-zheng-ming-287564",[7,64,133,1590,32671],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F055cfe6b7db0b1ba9e7774244b5f00db.jpg",[],{"id":56908,"slug":56909,"title":56910,"dynasty":144,"author":56911,"museum":244,"description":56912,"tags":56913,"thumbUrl":56915,"material":278,"size":56916,"collection":84,"collections":56917,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},287534,"qiu-lin-xiao-yin-zhou-tao-fu-chu-287534","秋林小隐轴","陶复初","陶复初，字明本，号介轩，元中叶石曲人。",[24,164,7,165,128,132,29,2875,131,34,52169,99,56914,208],"隐居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F048eda2176d397062069842db746f8cb.jpg","70x28.7",[],{"id":56919,"slug":56920,"title":56921,"dynasty":18,"author":223,"museum":300,"description":56922,"tags":56923,"thumbUrl":56924,"material":692,"size":1293,"collection":84,"collections":56925,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},287316,"shang-shan-si-hao-hui-chang-jiu-lao-tu-juan-se-qian-yi-ming-287316","商山四皓会昌九老图卷（色浅）","此作用淡墨白描写就园林雅集之景，亭台水榭错落于茂林修竹间，层岩清波衬出幽旷意境。卷中文人或围坐清谈、展卷观画，或凭栏听琴、临水闲步，笔致细劲秀雅，将士林林下风流尽数铺陈。\n\n画面简澹空灵，以极简笔墨晕染出古雅沉静的氛围，尽显以琴棋书画为伴的雅致日常。拖尾题跋虽有墨损，却更添岁月摩挲的沧桑古意，整卷文气四溢，将宋人的清逸意趣凝于尺幅，自带沉静拙朴的书卷余韵。",[23,164,24,7,25,128,188,96,97,372,167,1428,1515,64,208,7056,17480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3d3921be16f9a6d9a093994019d1f5.jpg",[],{"id":56927,"slug":56928,"title":56929,"dynasty":182,"author":5456,"museum":244,"description":56930,"tags":56931,"thumbUrl":56933,"material":151,"size":56934,"collection":84,"collections":56935,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":199},287313,"chu-he-nan-lin-lan-ting-chu-sui-liang-287313","褚河南临兰亭","在历代难以数计的临摹和刻拓《兰亭》谱系中，有所谓的“领字从山本”一系，即《兰亭序》中“此地有崇山峻领，茂林修竹”的“领”字写作“岭”。在传世的冯承素、虞世南、褚遂良三大摹本（均藏北京故宫博物院），以及著名刻拓本《定武兰亭真拓本》（今藏台北故宫博物院）、《吴炳本兰亭》、《独孤本兰亭》（均藏日本东京国立博物院）等中，均为“崇山峻领”，即“领字不从山”。",[23,164,7,25,133,64,1590,330,208,7056,1421,56932],"抒怀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f45885b45a5fa8924e85338a844a167.jpg","纵24.3cm，横70.2cm",[],{"id":56937,"slug":56938,"title":56939,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":56940,"thumbUrl":56941,"material":692,"size":1293,"collection":84,"collections":56942,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},283707,"zeng-xin-yu-shan-shui-tu-shan-ye-dong-qi-chang-283707","赠新宇山水图扇页",[164,24,7,1131,128,29,131,34,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee5d0753015bd0727248f3ec76ad1bae.jpg",[],{"id":56944,"slug":56945,"title":56946,"dynasty":54,"author":223,"museum":300,"description":56947,"tags":56948,"thumbUrl":56950,"material":692,"size":1293,"collection":84,"collections":56951,"showCount":628,"zanCount":1116,"manualWeight":48,"mainColor":72},267340,"xiu-xian-shi-jia-mu-ni-fo-xiang-zhou-yi-ming-267340","绣线释迦牟尼佛像轴","此作以绣线摹绘佛陀，释迦牟尼结跏趺坐于莲台之上，面容圆润慈悲，垂目敛神，沉静安和。朱红佛衣织金缠枝宝相花，华贵庄严，内搭素衣衬出层次。头顶宝盖饰以璎珞垂幡，宝焰灵动，更添神圣之感。\n\n引首御题诗文，书法端稳雅致，与造像呼应相融。整幅绣工精妙匀整，配色明丽和谐，将佛陀的肃穆禅意与宫廷造像的规整华美完美结合，尽显清代宗教绣品的上乘工艺水准。",[165,7,187,18381,56949,96,27,28,1364,208,234,13534],"释迦牟尼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d0891eaef34d959afd43f536fceb833.jpg",[],{"id":56953,"slug":56954,"title":56955,"dynasty":54,"author":223,"museum":300,"description":10087,"tags":56956,"thumbUrl":56957,"material":692,"size":1293,"collection":84,"collections":56958,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},263681,"ke-si-qiu-tao-shou-dai-tu-zhou-yi-ming-263681","缂丝秋桃绶带图轴",[24,7,165,1944,61,27,28,211,2123,376,171,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b6711d2ba142659702743237925acf7.jpg",[],{"id":56960,"slug":56961,"title":56962,"dynasty":124,"author":38030,"museum":300,"description":56963,"tags":56964,"thumbUrl":56965,"material":611,"size":84,"collection":318,"collections":56966,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},241648,"song-feng-shui-yue-heng-zhu-you-jian-241648","松风水月横","朱由检（1611年2月6日－1644年4月25日 ），男，汉族，字德约 ，明朝第十六位皇帝（1627年10月2日-1644年4月25日在位），也是明朝作为全国统一政权的最后一位皇帝，明光宗朱常洛第五子，明熹宗朱由校异母弟，母为孝纯皇后刘氏。\n万历三十九年（1611年），生于慈庆宫 ，天启二年（1622年），被封为信王。天启七年（1627年）即皇帝位，年号崇祯。即位之初，大力铲除阉党，勤于政事，厉行节俭，平反冤狱。在位期间，朝廷党争不休，民间灾害不断，导致明末农民起义爆发，关外后金政权趁势崛起，国家处于内忧外患的境地。\n崇祯十七年（1644年），李自成攻破北京时，朱由检自缢于煤山，终年三十四岁。清军入关后，以礼改葬于明十三陵中的思陵，庙号怀宗（后取消），谥号钦天守道敏毅敦俭弘文襄武体仁致孝庄烈愍皇帝。南明弘光帝追上谥号绍天绎道刚明恪俭揆文奋武敦仁懋孝烈皇帝，庙号思宗，后改为毅宗。 隆武帝改庙号为威宗。",[164,24,7,25,64,133,208,372,9404,228,19006],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d175e537c5d64ec94a73379cf795ca0.jpg",[318],{"id":56968,"slug":56969,"title":56970,"dynasty":124,"author":27440,"museum":20,"description":56971,"tags":56972,"thumbUrl":56973,"material":56974,"size":56975,"collection":318,"collections":56976,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},241029,"wang-duo-lin-tie-zhou-wang-duo-241029","王铎临帖轴","释文：\n廙言五日穷思永远甘雪应时严寒奉被手诏伏\u002F承圣体御膳胜常以慰下情匆匆慈恩垂愍\u002F每见慰问感戴不胜衔遇谨表陈闻。庚寅正月廿日午时。王铎。\n这是王铎59岁时创作的行书精品。作品节录东晋王廙书《祥除帖》（见《淳化阁帖》卷二）。\n王铎学书立足于临摹古人，尤其推崇二王，认为“书不宗晋，终入野道。”他勤于临摹，精熟之功可至“不爽毫发”的境地，但步趋古人绝非其终极目标，而是他艺术创造的基础。王铎曾云：“书法之始难以入帖，继则难以出帖。”“入帖”仅仅是追摹古人，“出帖”方为脱古创新。对于古法帖，他往往不专意于内容，而是以古帖文本为依托，意在对古人传统精神的把握和追求，因此常将古帖摘而书之，或数帖杂糅并书。帖文之外，书体笔法亦不刻意模仿，而是运自家笔法，创个性书风。如王廙此帖原为楷书，王铎却行书带草，挥洒而就，展示出他晚年所取得的艺术成就，也为自己“入帖”与“出帖”作了最好的诠释。",[7,64,840,330,165,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11035686ab901cae1a59409b3f1e394.jpg","绫本，行书","纵235厘米，横52.7厘米",[318],{"id":56978,"slug":56979,"title":56980,"dynasty":124,"author":223,"museum":300,"description":56981,"tags":56982,"thumbUrl":56983,"material":692,"size":1293,"collection":318,"collections":56984,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},240946,"san-wu-mo-miao-ce-chen-chun-shi-yi-ming-240946","三吴墨妙册-陈淳诗","此作用笔率意纵逸，牵丝映带灵动自如，墨色干湿浓淡富于层次变化，尽显萧散疏朗的文人书风。文字排布错落随性，字势欹正相生，通篇气息连贯畅达。\n\n诗书合璧之下，将诗文的清雅意趣与书法的写意格调融为一体，笔墨间浸透着江南文人的闲散意趣，尽显吴门书家特有的洒脱放旷的笔墨情致，即便未署真名，也能窥见晚明书法重性情、尚意趣的审美风尚，于尺幅之间尽显明代文人书法独有的抒情特质与艺术张力。",[164,24,7,59,133,128,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f768f25b85058211aad53d8a7000572.jpg",[318],{"id":56986,"slug":56987,"title":56988,"dynasty":54,"author":15720,"museum":300,"description":15721,"tags":56989,"thumbUrl":56991,"material":692,"size":1293,"collection":318,"collections":56992,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},240819,"xing-shi-wen-si-tiao-ping-ai-xin-jue-luo-yong-xing-240819","行诗文四条屏",[304,133,64,7,165,128,208,56990],"诗文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34154baf2582364400dda7885830d3ef.jpg",[318],{"id":56994,"slug":56995,"title":56996,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":56997,"thumbUrl":56998,"material":692,"size":1293,"collection":84,"collections":56999,"showCount":628,"zanCount":1998,"manualWeight":48,"mainColor":72},240258,"li-sao-lan-ting-juan-dong-qi-chang-240258","离骚兰亭卷",[23,124,7,64,25,133,128,330,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd9a0e30a0a7135aed7c58e6d367beb1.jpg",[],{"id":57001,"slug":57002,"title":57003,"dynasty":54,"author":57004,"museum":300,"description":57005,"tags":57006,"thumbUrl":57007,"material":611,"size":57008,"collection":318,"collections":57009,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},240058,"zhuan-shu-wu-yan-shi-zhou-yang-fa-240058","篆书五言诗轴","杨法","释文：三寿作朋句，尊前递咏歌。先人锡名字，其意美如何。幸得康疆体，而能甲子过。相期保真性，霜雪去岩阿。同京老学长兄先生正之，上元杨法。",[54,7,64,938,165,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffed047f8f8560782869c70394fcf33ef.jpg","100.5×43.5cm",[318],{"id":57011,"slug":57012,"title":57013,"dynasty":54,"author":1460,"museum":20,"description":57014,"tags":57015,"thumbUrl":57020,"material":84,"size":84,"collection":318,"collections":57021,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},240034,"yuan-ji-guan-lian-hua-feng-shi-shi-tao-240034","原济观莲花峰诗","原济(1642一1707)，俗姓朱。名若极，字石涛，号大涤子，广西全州人。明藩靖江王朱守谦后裔，父亲在明末被追杀，时若极五岁，削发为僧得以存活。法名原济，一作元济，自称苦瓜和尚。与弘仁、髡残、朱耷合称“四僧”。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。对后来扬州画派和近代画风，影响极大。",[7,64,133,128,208,48069,950,57016,6844,57017,57018,57019,231,99],"楼","洲","树影","落日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc75ac02d4b3bcace5ae32d3549fb30ff.jpg",[318],{"id":57023,"slug":57024,"title":57025,"dynasty":54,"author":1460,"museum":20,"description":57014,"tags":57026,"thumbUrl":57027,"material":84,"size":84,"collection":318,"collections":57028,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},240032,"yuan-ji-shu-ti-xue-jiang-juan-zi-shi-ye-shi-tao-240032","原济书题雪江卷子诗页",[64,133,128,208,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a26c844631d7bbf1965025ddc3e5ad.jpg",[318],{"id":57030,"slug":57031,"title":57032,"dynasty":54,"author":57033,"museum":20,"description":57034,"tags":57035,"thumbUrl":57036,"material":11094,"size":57034,"collection":318,"collections":57037,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":199},239703,"lin-ping-shu-tie-zhou-liang-guo-zhi-239703","临评书帖轴","梁国治","纵73.2厘米，横67.4厘米",[7,64,165,133,330,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F894ef876c8e0eb306d6a3d95aa3c625c.jpg",[318],{"id":57039,"slug":57040,"title":57041,"dynasty":144,"author":569,"museum":20,"description":57042,"tags":57043,"thumbUrl":57044,"material":611,"size":57045,"collection":318,"collections":57046,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},239664,"er-zan-er-tu-shi-juan-zhao-meng-fu-239664","二赞二图诗卷","元代初年，书法的风貌出现很大的变化。自“宋四家”以来所开拓的文人尚意书风逐渐无以为继，要突破这个困境，唯有追本溯源，上追二王，而赵孟頫便是这一复古潮流的提倡者。在这个背景之下，他的书法倾向于蕴籍沉稳、平正秀丽的风格。赵孟頫的《二赞二图诗卷》所流露的风格却与其追慕的风貌不甚相同而较为少见。此卷款署“湖州观堂与受益外郎饮酒，一杯之余，便觉醉意横生。戏书此卷，为他日一笑之资。孟頫。”从署款可知，此卷是赵孟頫和友人于湖州观堂相众时乘着酒兴而书的。此卷纸质光滑，又为酒后兴酣之作，故写来信笔飞动，流畅圆转。卷后明代鉴藏家董其昌题跋云： “此赵文敏(孟頫)学颜鲁公(真卿)《送蔡明远叙》兼米海岳(芾)用笔，迥异平日之作”，说明此卷兼有唐代颜真卿及宋代米芾笔意，不同于赵氏的其它墨迹。",[23,164,24,7,25,133,64,208,128,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c170d3ec939624a8380812c02f2b52.jpg","27厘米x456.3厘米",[318],{"id":57048,"slug":57049,"title":57050,"dynasty":54,"author":33019,"museum":300,"description":38128,"tags":57051,"thumbUrl":57052,"material":84,"size":84,"collection":45,"collections":57053,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":199},239381,"hong-wu-kuo-er-ka-jin-xiang-ma-tu-juan-hong-wu-239381","弘旿廓尔喀进象马图卷",[23,24,7,25,27,29,28,96,101,54866,34,131,37,35,499,208,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22b4396c56ffa5c6d5916409e929ea31.jpg",[45],{"id":57055,"slug":57056,"title":48127,"dynasty":124,"author":44741,"museum":300,"description":57057,"tags":57058,"thumbUrl":57059,"material":84,"size":84,"collection":136,"collections":57060,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},239225,"ju-jie-shan-shui-zhou-ju-jie-239225","居节(约1524-1585后)〔明〕字士贞，一作贞士，号商谷、西昌逸士，吴县(今江苏苏州)人。少时从文嘉学画，文徵明见其运笔，惊喜之余，遂授以法，为文徵明高足弟子。所作山水意象简远，有来人韵致，字与诗亦自师门来。尚气节，虽贫困只以丹青自娱，不屑仰事侯门。晚年因触犯织造太监孙隆，家破，在苏州虎丘南村僦屋数间，仍萧然自适。或绝粮，则旦起写《疏松远岫》一轴，令童子易米以炊，后竟以穷死。后人珍视其画，认为可与朱朗、侯懋功相颉颃。传世作品有隆庆二年(1568)作《品泉诗意图》，图录于《中国名画》；万历二年(1574)作《松荫观瀑图》轴、十一年(1583)作《云岚松色图》卷现藏故宫博物院；《万松小筑图》轴藏上海博物馆；嘉靖四十年(1561)作《潮满春江图》轴藏镇江市博物馆；万历九年(1581)作《松壑高闲图》轴藏香港虚白斋。能诗，著有《牧豕集》。《明画录》卷四谓其：“年六十，竞以穷死。”",[164,24,7,165,128,132,29,131,34,1337,35,1023,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f9bf572940e82f9e72b15c28a474de.jpg",[136],{"id":57062,"slug":57063,"title":57064,"dynasty":54,"author":33617,"museum":300,"description":57065,"tags":57066,"thumbUrl":57067,"material":84,"size":84,"collection":136,"collections":57068,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},239194,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239194","三大名山十二图册","此帧以渴笔焦墨写就山林丘壑，奇崛峰峦以短皴勾勒，尽显山石嶙峋质感，溪岸林木错落生姿，幽谷间屋舍隐现，铺陈出荒寒清寂的山居雅境。左侧行书题跋笔意萧散灵动，书画合璧，以文释意。笔墨间寄寓着画家疏离尘俗、安贫守节的隐逸襟怀，将遗民文人静守林泉的淡泊心境融于尺幅之间，是文人山水画中以意驭笔、以画明志的佳作，尽显乱世之中文人的精神归处。",[24,7,59,128,29,34,131,1144,758,132,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4d3c923c0a1173967369105dfabce1a.jpg",[136,45],{"id":57070,"slug":57071,"title":57072,"dynasty":54,"author":15196,"museum":300,"description":15197,"tags":57073,"thumbUrl":57074,"material":692,"size":1293,"collection":84,"collections":57075,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},239063,"lan-shi-wan-shan-zhang-pan-239063","兰石纨扇",[24,7,1131,28,27,375,171,7596,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47ddf6b69090b1f2e7a17e0250ffe73b.jpg",[],{"id":57077,"slug":57078,"title":15546,"dynasty":54,"author":39482,"museum":300,"description":57079,"tags":57080,"thumbUrl":57081,"material":692,"size":1293,"collection":84,"collections":57082,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},239021,"ren-wu-zhou-min-zhen-239021","闵贞（1730--1788年）字正斋，湖北武穴人，扬州八怪之一。其画学明代吴伟，善画山水、人物、花鸟，多作写意，笔墨奇纵，偶有工笔之作。人物画最具特色，线条简练自然，形神逼肖。传世作品有《蕉石图》《花卉图》等。",[24,7,165,128,369,96,208,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7070fada6f17c134b4df3e552349d0ee.jpg",[],{"id":57084,"slug":57085,"title":409,"dynasty":54,"author":57086,"museum":300,"description":57087,"tags":57088,"thumbUrl":57089,"material":84,"size":84,"collection":136,"collections":57090,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},239005,"shan-shui-ce-li-dong-239005","李栋","康熙四十一年（一七o二）中顺天乡榜，授内阁中书。工诗文，善篆隶，兼画山水，尤工小李将军法，名震江、淮间。著自怡堂稿、楚游杂记。《图绘宝鉴续纂》、《高邮州志》、《兴化县志》。",[24,7,59,27,128,132,29,98,99,130,34,131,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56aa001791b78be3d3dbb1d84c29775c.jpg",[136,45],{"id":57092,"slug":57093,"title":57094,"dynasty":54,"author":57095,"museum":300,"description":57096,"tags":57097,"thumbUrl":57098,"material":692,"size":1293,"collection":84,"collections":57099,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},238949,"tiao-geng-tu-ce-ye-zhou-yi-238949","调羹图册页","周怡","此作笔触秀润温婉，仕女低眉垂目，娴静俯身案前。素色襦裙以蓝朱镶边晕染雅致，衣褶线条柔婉贴合身形，发丝纤毫毕现，尽展闺阁女子柔静气质。\n\n案上茶盏釉色莹润，缠枝团花饰于桌沿，繁丽雅致。将调羹侍茶的日常小事绘得诗意悠然，设色清雅柔和，淡墨勾勒晕染相宜，留白衬出静谧闲情，把闺中日常晕开了清和雅致的古典意趣，尽显柔秀隽雅的画中情致。",[24,7,59,27,28,96,166,169,170,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a8b200d7bf06ae903d03c483e06ae9.jpg",[],{"id":57101,"slug":57102,"title":40058,"dynasty":54,"author":9529,"museum":300,"description":57103,"tags":57104,"thumbUrl":57105,"material":84,"size":84,"collection":136,"collections":57106,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},238947,"shan-shui-ye-wang-hui-238947","图绘万壑千岩、草木葱茏、瀑布高悬直泻的江南风光。王翚约16岁师从同邑张珂学画时，就以元黄公望（号井西道人）的笔墨为宗，刻苦摹学始终不怠。此图是他早年学黄氏画法的代表作。图中山石以赭色和绿色交替晕染，学黄氏用纵线的披麻皴皴擦石面，笔势潇洒而秀润。其石边缘上的苔点要比黄氏的更为繁密，排列整齐的苔点，给高崖峻壑增添了青绿之美，同时，它与以卧笔横点表现的树叶，形成点与点的呼应，全图在“点”的统一下，具有湿润华滋的艺术效果。",[24,7,128,27,132,59,29,34,98,99,211,131,23362],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f8241595b412879fd3462585f1b6fb1.jpg",[136,45],{"id":57108,"slug":57109,"title":10742,"dynasty":54,"author":223,"museum":300,"description":57110,"tags":57111,"thumbUrl":57112,"material":692,"size":1293,"collection":84,"collections":57113,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},238931,"qing-ren-mu-dan-pu-ce-yi-ming-238931","此作虚实相映，以盛放的大红牡丹为主体，旁侧含苞的花萼与之呼应，构图疏朗清雅。花瓣以晕染之法绘就，从瓣尖的深绯渐过渡至基部柔粉，层次细腻分明，明黄花蕊鲜亮点睛，将牡丹的丰腴鲜活展露无遗。叶片以青绿晕染，叶脉勾勒细致，深浅色调交织间衬出花叶的舒展柔姿。\n画作工细中带着写意的松弛，褪去匠气，将牡丹的秾华与雅致相融，既有富贵花的雍容端庄，又不失清婉灵动的生机，尽显牡丹独有的神韵风华。",[24,7,59,28,27,61,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5ebf2e5c0973f151a5a34a9182ff024.jpg",[],{"id":57115,"slug":57116,"title":27602,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":57117,"thumbUrl":57118,"material":84,"size":84,"collection":84,"collections":57119,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},238828,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238828",[24,164,7,27,132,59,29,99,209,34,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ffddea088478d06d513f1a02eba3dd2.jpg",[],{"id":57121,"slug":57122,"title":4071,"dynasty":54,"author":2687,"museum":300,"description":3934,"tags":57123,"thumbUrl":57124,"material":692,"size":1293,"collection":84,"collections":57125,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},238481,"hua-hui-tu-ce-jiang-ting-xi-238481",[24,7,59,27,28,133,208,61,62,608,171,962,1009,806,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd7c9fca31ee664bedfe2e8bead96273.jpg",[],{"id":57127,"slug":57128,"title":4071,"dynasty":54,"author":2687,"museum":300,"description":3934,"tags":57129,"thumbUrl":57130,"material":692,"size":1293,"collection":84,"collections":57131,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},238479,"hua-hui-tu-ce-jiang-ting-xi-238479",[24,7,59,27,28,133,208,61,62,481,171,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedd3fdf4c9fd65cc5b501bf17420963f.jpg",[],{"id":57133,"slug":57134,"title":4071,"dynasty":54,"author":2687,"museum":300,"description":3934,"tags":57135,"thumbUrl":57136,"material":692,"size":1293,"collection":84,"collections":57137,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},238476,"hua-hui-tu-ce-jiang-ting-xi-238476",[24,7,59,27,28,62,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e1efc813ff48884917e56f474bfe8b3.jpg",[],{"id":57139,"slug":57140,"title":12731,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":57141,"thumbUrl":57142,"material":692,"size":1293,"collection":84,"collections":57143,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},238405,"xuan-jin-lu-fang-tu-ce-dong-gao-238405",[24,7,59,28,27,61,62,230,549,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fdd040efee4721af882715093651378.jpg",[],{"id":57145,"slug":57146,"title":12731,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":57147,"thumbUrl":57148,"material":692,"size":1293,"collection":84,"collections":57149,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},238403,"xuan-jin-lu-fang-tu-ce-dong-gao-238403",[24,7,59,28,27,61,828,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49226f025b9c8fe5dd96be3c4ad09bed.jpg",[],{"id":57151,"slug":57152,"title":12731,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":57153,"thumbUrl":57154,"material":692,"size":1293,"collection":84,"collections":57155,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},238402,"xuan-jin-lu-fang-tu-ce-dong-gao-238402",[164,24,7,59,28,27,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2c07be354b1d23cee29932f6971446f.jpg",[],{"id":57157,"slug":57158,"title":76,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":57159,"thumbUrl":57160,"material":84,"size":84,"collection":84,"collections":57161,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},238363,"hua-hui-ce-dong-gao-238363",[24,7,59,28,27,61,62,603],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3e8a237751c0f1cd342705659286bb4.jpg",[],{"id":57163,"slug":57164,"title":18211,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":57165,"thumbUrl":57166,"material":692,"size":1293,"collection":84,"collections":57167,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},238344,"si-ji-hua-hui-ce-dong-gao-238344",[24,7,59,27,28,61,376,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93f70fb6393a4419c51e420c9dcd5cec.jpg",[],{"id":57169,"slug":57170,"title":28511,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":57171,"thumbUrl":57172,"material":692,"size":1293,"collection":84,"collections":57173,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},238333,"hua-hong-li-si-ji-lan-shi-yi-ce-dong-gao-238333",[164,24,7,59,27,28,61,375,376,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F511211c378684cb609b6a50a9367c72d.jpg",[],{"id":57175,"slug":57176,"title":76,"dynasty":124,"author":16032,"museum":300,"description":20309,"tags":57177,"thumbUrl":57178,"material":692,"size":1293,"collection":84,"collections":57179,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},238118,"hua-hui-ce-xiang-sheng-mo-238118",[24,7,59,133,128,81,208,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc779104d688860184936ee207b3185.jpg",[],{"id":57181,"slug":57182,"title":57183,"dynasty":144,"author":223,"museum":300,"description":35562,"tags":57184,"thumbUrl":57185,"material":692,"size":1293,"collection":84,"collections":57186,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},238063,"shuang-ya-xi-shui-dan-ye-yi-ming-238063","双鸭戏水单页",[24,7,59,28,27,61,6509,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90934f437798f9e47df4e4c133056d21.jpg",[],{"id":57188,"slug":57189,"title":38945,"dynasty":54,"author":16583,"museum":300,"description":57190,"tags":57191,"thumbUrl":57192,"material":84,"size":84,"collection":84,"collections":57193,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},238057,"zhi-hua-luo-shen-fu-tu-ce-gao-qi-pei-238057","画面以淡墨写意出洛神仙姿，衣袂翩跹舒展，简练灵动的墨线勾勒身形，寥寥数笔便将她缓步踏水、御风徐行的轻盈姿态尽显。柔婉线条裹着缥缈仙气，将洛神脉脉含情的温婉神态暗藏于舒展衣褶间，虽无浓丽敷色，却自带出尘飘逸的气质。\n\n一旁题诗与画作相映成趣，文墨交融尽显雅致文人意趣，以指代笔落墨简括却神完气足，将洛神的缱绻幽怨暗含在柔缓步履之中，淡墨余韵悠长，尽显写意之妙。",[24,7,59,188,128,96,166,29104,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71eef0676ce22d3abe12546c8bcd778f.jpg",[],{"id":57195,"slug":57196,"title":57197,"dynasty":124,"author":223,"museum":300,"description":57198,"tags":57199,"thumbUrl":57200,"material":692,"size":1293,"collection":84,"collections":57201,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},237926,"yuan-shang-tong-sui-chao-tu-zhou-yi-ming-237926","袁尚统岁朝图轴","烟霭笼着远山如浅黛晕开，古松虬劲拔起，撑开一片冬日清寂。枯木错落在庭院之间，屋舍内宾主围坐叙谈暖意融融，院外孩童嬉闹穿梭，将年节的鲜活烟火揉进冬景里。石桥横卧水畔，把远岫寒水和热闹院舍牵作一处。\n\n笔墨轻淡晕染山水空濛，枯枝干皴细致苍劲，人物衣色清雅鲜亮，将冬日萧寒与岁朝团圆的温情相融。静穆淡远的山水意趣，揉进俗世年关的鲜活意态，冷色调的冬景晕开融融年味，雅致文气与人间烟火相映成趣。",[24,7,165,27,28,132,29,96,97,34,247,415,37,35,7462,9425,1337,1144,1515],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7a32233198d70983e2cb245da3bb5ba.jpg",[],{"id":57203,"slug":57204,"title":27139,"dynasty":124,"author":27140,"museum":300,"description":27141,"tags":57205,"thumbUrl":57206,"material":84,"size":84,"collection":84,"collections":57207,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},237890,"ba-xian-tu-zhou-zheng-wen-lin-237890",[24,7,165,188,128,27,96,949,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef0a8e170982fb918e1e9f25239c19f8.jpg",[],{"id":57209,"slug":57210,"title":39841,"dynasty":124,"author":16032,"museum":300,"description":20309,"tags":57211,"thumbUrl":57212,"material":692,"size":1293,"collection":84,"collections":57213,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},237838,"zhu-ju-shan-xiang-sheng-mo-237838",[24,7,1131,128,61,167,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b0c762c8dcedce1ced61e1b9206d4e5.jpg",[],{"id":57215,"slug":57216,"title":57217,"dynasty":124,"author":5798,"museum":300,"description":55106,"tags":57218,"thumbUrl":57219,"material":692,"size":1293,"collection":84,"collections":57220,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},237819,"hu-shan-wan-yue-shan-zhang-hong-237819","虎山玩月扇",[24,7,1131,128,29,98,97,413,231,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa46bf4220d1645be60da2305a7e7aca.jpg",[],{"id":57222,"slug":57223,"title":57224,"dynasty":54,"author":45440,"museum":300,"description":57225,"tags":57226,"thumbUrl":57227,"material":692,"size":1293,"collection":84,"collections":57228,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},237803,"lan-hua-zhu-shi-shan-ye-qi-zhi-jia-237803","兰花竹石扇页","字止祥，号雪瓢，山阴（今浙江绍兴）人。彪佳（1602至1645）弟。天启七年（1627年）举人，仕吏部司务。明亡后，当局礼聘，却之，与董瑒、王雨谦、陈洪绶、罗坤等结“云门十子”社，日与老衲蒲团相对，谈世外烟霞。甲申（1644）后，隐梅市卖画代耕。字学董其昌，而乏其秀韵。山水仿沈周，气势淋漓，笔力挺拔，自有一种不可羁勒之概。间作花卉，亦多逸致，诗文词皆有致，至於歌、弈、图章，百戏俱善。康熙八年（1669）作山水图。",[24,7,1131,128,375,167,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc762726d089f8f622ddf88813fc4776c.jpg",[],{"id":57230,"slug":57231,"title":10613,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":57232,"thumbUrl":57233,"material":84,"size":84,"collection":84,"collections":57234,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},237768,"yuan-ji-shan-shui-tu-ce-shi-tao-237768",[164,24,7,59,128,27,132,29,171,35,34,415,7509,414,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fdf237b23a0eee60675e6fe8c367619.jpg",[],{"id":57236,"slug":57237,"title":19857,"dynasty":54,"author":36816,"museum":300,"description":57238,"tags":57239,"thumbUrl":57240,"material":514,"size":84,"collection":136,"collections":57241,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},237688,"shan-shui-zhou-sun-yi-237688","孙逸(1604—约1658) ，字无逸，号疎林，亦号石禅，明朝末清朝初海阳（今安徽休宁）人，与萧云从齐名，合称孙萧，与弘仁、汪之瑞、查士标为新安派四大家；字仲举。\n山水得黄公望法，人以为文徵明后身。淡而神旺，简而意足。尝画歙山二十四图。亦工花卉。传世作品有崇祯十二年（1639）与李永昌、汪度、弘仁、刘上延为李生白联作《冈陵图》合卷，每人画一段依次相接，孙逸所画第四段，墨色变化层次分明，质朴洁静，萧疏清逸，现藏上海博物馆；十六年（1643）作《茅屋长松图》轴藏故宫博物院；《仿云林山水图》扇页，自题：“云林不是人间笔，胸次无尘腕下仙，摹得东冈草堂法，两三株树小亭边。旋吉词兄属涂并题，正。孙逸。”藏安徽省博物馆；顺治十一年（1654）作《秋山图》轴、十四年作《仿黄公望山水图》扇页、康熙十九年（1680）作《山水》册页著录于《中国书画家印鉴款识》。从艺活动约于康熙前期。",[24,7,165,128,132,29,413,167,372,35,131,98,99,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08dd0626551da2c6ee84d50acbd958e6.jpg",[136],{"id":57243,"slug":57244,"title":76,"dynasty":124,"author":1270,"museum":300,"description":43445,"tags":57245,"thumbUrl":57246,"material":692,"size":1293,"collection":84,"collections":57247,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},237687,"hua-hui-ce-sun-ke-hong-237687",[24,7,59,128,133,62,582,549,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80173eb72f033a5c308ecbc5cce28297.jpg",[],{"id":57249,"slug":57250,"title":14818,"dynasty":54,"author":3718,"museum":300,"description":10500,"tags":57251,"thumbUrl":57252,"material":692,"size":1293,"collection":84,"collections":57253,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},237615,"hong-ren-shan-shui-ce-hong-ren-237615",[164,24,7,59,128,132,29,129,496,34,31,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ad22d0932b85effa43f3ae60f6e208d.jpg",[],{"id":57255,"slug":57256,"title":12915,"dynasty":124,"author":10106,"museum":20,"description":57257,"tags":57258,"thumbUrl":57259,"material":40,"size":57260,"collection":136,"collections":57261,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},237463,"luo-han-tu-zhou-wu-bin-237463","图中画三位佛教人物，其中身披红色袈裟者手持一钵正在降伏半空中的飞龙。佛教修行中的最高果位是佛，其次为菩萨，然后是罗汉。宋代以前流传十六罗汉，之后又衍生出两尊，即降龙和伏虎，于是成为十八罗汉。降龙罗汉位列十八罗汉的第十七位，根据古印度的传说，降龙罗汉最初的原形是庆友尊者。相传古印度那竭国有恶魔煽动国人杀害出家的佛弟子，尽毁佛殿佛塔，劫掠经书。当时海龙王发动洪水，淹没了那竭国，并将佛经收藏于龙宫之内，等待有法力的僧人取回，最终庆友尊者完成大任，因此他被称为降龙罗汉。本图中的人物形象古朴，线条细劲绵长，设色浓丽。《图绘宝鉴续纂》记载吴彬：“善人物，奇行怪状，迥异旧人，自立门户。”",[24,7,165,187,27,96,772,1144,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ae99e6225085f994b39be7e25626092.jpg","纵145.9厘米，横76.1厘米",[136],{"id":57263,"slug":57264,"title":76,"dynasty":124,"author":16032,"museum":510,"description":16033,"tags":57265,"thumbUrl":57266,"material":1190,"size":16036,"collection":84,"collections":57267,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},237440,"hua-hui-ce-xiang-sheng-mo-237440",[24,7,59,27,61,376,133,208,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F055700a31cac6a5d48ae1e0a0424c8e1.jpg",[],{"id":57269,"slug":57270,"title":57271,"dynasty":54,"author":43074,"museum":300,"description":57272,"tags":57273,"thumbUrl":57275,"material":84,"size":84,"collection":136,"collections":57276,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},237140,"tao-li-yuan-tu-zhou-wu-chao-237140","桃李园图轴","吴焯（1676年--1733年），男，字尺凫，号绣谷，晚号绣谷老人，清钱塘（今杭州）人（一说安徽歙县人）。以家有古藤，花开时垂如璎珞，遂构亭名“绣谷”。\n仿晁公武、陈振孙书目体例，所辑《薰习录》（一作《绣谷亭薰习录》），是其专记所藏秘册、叙述原委、购书、读书记，与《读书敏求记》颇为相似，但篇幅较小，仅经部1卷，集部2卷。又有《瓶花斋书目》今已不传。精校勘，手自丹黄，每购一书，必兼数本，相互参比，如有考证心得，辄书诸卷首。小山堂赵昱回忆与吴焯的交往时曾说“绣谷藏书颇矜惜，不轻借人，独许予抄，予所藏多绣谷亭本。予偶得善册，先生见之亦必取以勘定。”乾隆三十八年（1773），诏开四库馆，采访天下遗书，次子吴玉墀以古书百余种进呈朝廷，与鲍廷博“知不足斋”、汪宪“振绮堂”、孙宗濂“寿松斋”、汪启淑“飞鸿堂”，各整比所藏，踊跃呈献，获赐《佩文韵府》1部及书数种。藏书印有“绣谷手典”、“疏雨薰习”、“流传勿污损”、“性命以之”等多枚。刻书甚富，达50余种，数千卷。与厉鹗、赵昱等往来极密，每得一秘本，彼此互相抄录，抄书用纸印墨格或绿格，版心刻有“绣谷亭”三字，有的左栏外刻有“西泠吴氏绣谷亭抄书”或“绣谷亭抄书”等字样。所藏书身后大多归于汪宪“振绮堂”、许宗彦“鉴止水斋”及马氏兄弟等家。藏书印有“绣谷所藏”、“绣谷薰习”、“尺凫”、“愿流传勿损污”等。著有《绣谷杂抄》、《药园诗稿》、《陆渚飞鸿集》、《玲珑帘词》、《经山游草》等。与厉鹗、赵昱合撰《南宋杂事诗》。",[24,7,165,27,28,132,29,96,97,98,130,2123,57274,34,99],"李","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F632fa63692d7afa3a89ed69ddf696e28.jpg",[136,318],{"id":57278,"slug":57279,"title":16826,"dynasty":54,"author":48763,"museum":300,"description":57280,"tags":57281,"thumbUrl":57282,"material":84,"size":84,"collection":136,"collections":57283,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},237129,"shan-shui-ren-wu-ce-shang-guan-zhou-237129","上官周（1665－1749后），福建长汀南山官坊人，原名世显，后改名周，字文佐，号竹庄，清代著名画家，终生布衣。1665年生于长汀南山官坊的一户农民家庭。山水和人物画造诣很高，门生有“扬州八怪”之一的黄慎。所著《晚笑堂画传》最为著名，成为后人临习人物画的范本，而其山水画谱长期流落民间，未见刊行。上官周自幼聪颖，治艺勤奋，学识渊博，擅长诗文、书法、篆刻，尤精于画。",[24,7,59,188,128,27,96,29,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d4cfaf6570d41d377a6f14d68bd8e89.jpg",[136,44],{"id":57285,"slug":57286,"title":57287,"dynasty":124,"author":57288,"museum":20,"description":57289,"tags":57290,"thumbUrl":57291,"material":611,"size":84,"collection":136,"collections":57292,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},237013,"xi-zhu-ce-zhu-ying-237013","西筑册","朱瑛","朱瑛《西筑》册（北京故宫博物院藏，蒙加斯列莫夫兄见告），号为十咏，止见其八，题曰“引泉”、“种竹”、 “负薪”、 “有客”、“坐石”、“步月”、“枕流”、“径行”（高景逸有《和西筑咏》八首，七题与同，无“径行”，而别有“卧雪”一题），迥然森秀，眼为一洗。\n《引泉》，高诗曰：“次第竹根来，相将得到家。鸟啼春雨后，流出满山华。”\n《负薪》，高诗曰：“采薪松岩下，日暮负盈肩。还思天际鹤，或恐避荼烟。”\n《径行》，高诗无之，另《卧雪》曰：“山上雪连屋，山僧拥褐眠。下方来往绝，身在几禅天。”\n《步月》，高诗曰：“独坐松堂下，参差静影来。西湖歌吹歇，推却小窗开。”\n《种竹》，高诗曰：“自将山竹种，岂望便成林。一竿明月里，聊尔步清阴。”\n《有客》，高诗曰：“偶随白云出，不掩白云扉。有客坐来久，山僧归未归。”\n《坐石》，高诗曰：“裴回涧边石，小憩一悠然。不知山月吐，已满竹窗前。”\n《枕流》，高诗曰：“春涧鸣幽鸟，春华欲满山。不知人世事，一枕石泉闲。”\n瑛姓名见汪玉水《珊瑚网》，玉水开檇李崇祯画社，戊辰（1628）广征诸家作《摩诘句图》，得百余帧，存录者廿七人，其三“清夜何悠悠，扣舷明月中。”署款“啸海朱瑛”，啸海其号也（《西筑》册钤印“山公”，当亦别号）。",[24,7,59,128,27,132,34,758,131,1645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe81f0cd86aef5b2cadbeb5c25aee7d72.jpg",[136,45],{"id":57294,"slug":57295,"title":40707,"dynasty":124,"author":17733,"museum":300,"description":37300,"tags":57296,"thumbUrl":57297,"material":692,"size":1293,"collection":84,"collections":57298,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},236696,"shan-shui-shan-zhou-chen-236696",[24,164,7,1131,128,132,29,1144,131,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bc88505f15354988ebf6373d58a9cb9.jpg",[],{"id":57300,"slug":57301,"title":57302,"dynasty":124,"author":3608,"museum":300,"description":9012,"tags":57303,"thumbUrl":57304,"material":692,"size":1293,"collection":84,"collections":57305,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},236678,"hua-shan-lu-zhi-236678","花扇",[805,24,7,164,1131,128,369,61,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31fa27e2f570fe53a0fb0d730603d5f4.jpg",[],{"id":57307,"slug":57308,"title":16582,"dynasty":54,"author":16583,"museum":20,"description":54077,"tags":57309,"thumbUrl":57310,"material":84,"size":84,"collection":68,"collections":57311,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},236324,"zhi-tou-za-hua-ce-gao-qi-pei-236324",[24,164,7,59,16586,128,949,2302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4644590c273401b8475d62ee7d26da69.jpg",[68,117],{"id":57313,"slug":57314,"title":14496,"dynasty":124,"author":223,"museum":300,"description":57315,"tags":57316,"thumbUrl":57317,"material":151,"size":84,"collection":84,"collections":57318,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},236287,"wang-zi-yuan-hua-niao-ce-yi-ming-236287","此帧取景幽致，坡岸之上鹌鹑昂首引吭，翎毛晕染细致入微，将绒羽蓬松柔润的质感尽显笔底。蓝菊柔枝舒展，清妍淡雅，崖畔缀满丹红小果，黑甲虫静伏枝梢，野趣横生。\n\n画作工写相融，设色古雅清淡，以极简虚淡背景托举实景，将秋日郊隅的闲逸生机凝于尺幅。禽鸟憨态可掬，花草柔婉幽妍，相映成趣。既有院体花鸟的精工写实，又暗含文人笔墨的雅致意趣，将郊野刹那鲜活意态定格为隽永画面，尽显写生花鸟的精妙意韵。",[24,7,59,28,27,61,355,376,2037,229,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb62891f8c807f28ec48f13e72eca241.jpg",[],{"id":57320,"slug":57321,"title":57322,"dynasty":54,"author":2687,"museum":20,"description":57323,"tags":57324,"thumbUrl":57325,"material":84,"size":29169,"collection":136,"collections":57326,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},236195,"hui-mei-zhu-tu-kang-xi-di-lin-mi-fei-shu-zhe-shan-jiang-ting-xi-236195","绘梅竹图康熙帝临米芾书折扇","此扇一面为蒋廷锡绘梅竹图，蒋氏的作品大多呈两种面貌，一为墨笔、淡设色的小写意花鸟，一为工笔浓彩的细谨风格。此图即为后者，笔致精细，敷色冶艳，极富皇家华贵典雅的气韵。另一面为康熙帝临米芾书，所书内容出自李衢《都堂试贡士日庆春雪》，释文为：“锡瑞来丰岁，旌贤入贡辰。摇轻梅共笑，飞弱柳和春。绕砌封琼屑，依阶喷玉尘。蜉蝣吟更切，科斗映还新。鹤毳迷难辨，冰壶鉴易真。因歌大君德，率舞咏陶钧。临米芾元章。”",[24,7,1131,128,330,133,371,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4db7d8989ef35548b0c37927bc3b15ab.jpg",[136,45],{"id":57328,"slug":57329,"title":57330,"dynasty":54,"author":6946,"museum":300,"description":35061,"tags":57331,"thumbUrl":57335,"material":692,"size":1293,"collection":84,"collections":57336,"showCount":628,"zanCount":1998,"manualWeight":48,"mainColor":956},236040,"wu-liang-shou-fu-tu-zhou-ding-guan-peng-236040","无量寿佛图轴",[24,7,165,28,187,27,96,189,57332,57333,57334],"金彩","宝台","云纹装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d88ab9ac02852e0604343e74e450a77.jpg",[],{"id":57338,"slug":57339,"title":19857,"dynasty":124,"author":57340,"museum":300,"description":57341,"tags":57342,"thumbUrl":57343,"material":692,"size":1293,"collection":84,"collections":57344,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},236017,"shan-shui-zhou-fang-yi-zhi-236017","方以智","方以智（1611年－1671年11月9日），字密之，号曼公，又号鹿起，别号龙眠愚者，出家后改名大智，字无可，别号弘智，人称药地和尚。南直隶安庆府桐城（今安徽桐城）人。",[24,7,165,128,132,29,131,1144,98,99,130,415,3427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef511a540cd7c362a9bfeac870dc8c0a.jpg",[],{"id":57346,"slug":57347,"title":57348,"dynasty":54,"author":223,"museum":300,"description":57349,"tags":57350,"thumbUrl":57351,"material":84,"size":84,"collection":84,"collections":57352,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},235865,"nv-dao-zi-fang-zhu-shan-shui-ye-yi-ming-235865","女道子仿朱山水页","此作用水墨写意铺展山林幽境，以淡墨晕染远山，烟岚裹挟群峰，主峰奇峭挺秀，留白晕化出空濛雾霭，将山野清寂之态尽数铺陈。近岸林木苍郁错落，掩映一隅山居茅舍，笔致简淡却意态饱满，寥寥数笔便勾勒出林泉栖居的静穆意趣。\n\n左侧行书题文以文人典故衬出品鉴雅意，书画相映成趣。整作墨色干湿相济，淡墨取韵、浓墨提神，于简淡苍润间尽显清逸萧散的林下之风，寄寓着文人寄情林泉、静守丘壑的幽怀。",[24,7,59,128,132,133,29,130,413,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d82adf3f8cec5ebf66ff3fb046aab3a.jpg",[],{"id":57354,"slug":57355,"title":4071,"dynasty":54,"author":1472,"museum":300,"description":19162,"tags":57356,"thumbUrl":57357,"material":692,"size":1293,"collection":84,"collections":57358,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},235703,"hua-hui-tu-ce-zou-yi-gui-235703",[24,7,59,28,27,171,62,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67aa068da9b20483316a45af3038db10.jpg",[],{"id":57360,"slug":57361,"title":15007,"dynasty":54,"author":12088,"museum":300,"description":15008,"tags":57362,"thumbUrl":57363,"material":692,"size":1293,"collection":84,"collections":57364,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},235663,"shan-shui-ping-yuan-jiang-235663",[24,7,95,28,27,26,29,97,1144,209,495,37,131,1645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa367e713deec5c0cba384b8928f36c57.jpg",[],{"id":57366,"slug":57367,"title":57368,"dynasty":124,"author":57369,"museum":300,"description":57370,"tags":57371,"thumbUrl":57372,"material":692,"size":1293,"collection":84,"collections":57373,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},235657,"mu-mian-tu-zhou-sun-ai-235657","木棉图轴","孙艾","此图绘折枝木棉花一枝，枝叶茂密，木棉花怒放。用花青没骨法画叶，以浓色为面，淡色为背，叶之正背转折、花之娇态刻画细致，画风清新雅逸。无款印。沈周在其题诗之后云：“世节生纸写生，前人亦少为之。甚得舜举天机流动之妙。观其蚕桑、木棉二纸，尤可骇瞩，且非泛泛草木所比，盖寓意用世。世节读书负用，于是乎亦可见矣。弘治新元中秋日，沈周志。”",[164,24,7,165,27,61,230,1039,549,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0ca4bf5bbf819d2aec5e1c45abceae0.jpg",[],{"id":57375,"slug":57376,"title":39824,"dynasty":54,"author":9529,"museum":300,"description":57377,"tags":57378,"thumbUrl":57379,"material":84,"size":84,"collection":84,"collections":57380,"showCount":628,"zanCount":1998,"manualWeight":48,"mainColor":72},235606,"fang-huang-gong-wang-shan-shui-tu-zhou-wang-hui-235606","此作以高远兼深远之法写就，层峦叠嶂自右上逶迤铺展，山势雄秀兼具，留白晕染仿出初雪覆山的清润寒意。干笔皴擦间点缀湿墨晕染，勾勒出岩体质朴苍劲的纹理。\n\n林木疏密错落，枯荣交织，挺劲枝干带着摇曳之姿，涧水潺潺穿林绕石，掩映处的山居茅舍，衬出林泉幽寂的林下之致。右上角题诗补白，笔墨与文心相融，既得元人萧散简远的林下意境，又不失清丽秀润的自家风骨，师法前人却不泥古，将山川林壑的静穆生机晕染开来，尽显山水笔墨的隽永意趣。",[24,7,165,128,27,132,29,34,131,99,37,1515,497,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12ebab63a5fd626204d87b2f599add4a.jpg",[],{"id":57382,"slug":57383,"title":76,"dynasty":54,"author":2582,"museum":300,"description":2583,"tags":57384,"thumbUrl":57385,"material":692,"size":1293,"collection":84,"collections":57386,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},235602,"hua-hui-ce-wang-wu-235602",[24,7,59,128,61,62,373,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F385939373832557ba2ee4c861648fbcc.jpg",[],{"id":57388,"slug":57389,"title":76,"dynasty":54,"author":2582,"museum":300,"description":2583,"tags":57390,"thumbUrl":57391,"material":692,"size":1293,"collection":84,"collections":57392,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},235601,"hua-hui-ce-wang-wu-235601",[24,7,59,27,61,376,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89cbcf91e7679e7a61eb83af6c2a0d3a.jpg",[],{"id":57394,"slug":57395,"title":57396,"dynasty":124,"author":10922,"museum":300,"description":57397,"tags":57398,"thumbUrl":57399,"material":84,"size":84,"collection":84,"collections":57400,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},235593,"hua-wang-bai-gu-ban-ji-an-tu-zhou-wen-jia-235593","画王百穀半偈庵图轴","《王百谷半偈庵图》是明代画家 创作的纸本设色画，现藏于 。\n该图绘明代王百谷所居地半偈庵景色，院落中有湖石、青竹、松木等，石旁立有小石碑，晥门外有2人相立而谈。\n此图笔秀润简淡，构图巧妙别致。\n此画的构图和景物比较简洁，画有工日谷寓所——半偈庵，庭院中立有一湖，造型奇特，玲珑剔透。\n又有数棵树木，枝叶疏散，后有屋舍二间，陈设简陋，前后排列，前房供佛，后房中一榻一几，有一位上人独坐于床榻上，双日凝视，若有所思，屋子左侧有一束修竹，枝叶茂盛，近景有一道围墙，山间有一门楼，围墙两侧的右侧一树，左侧为一棕树。\n墙外有二人对话，一位作拱手状，一位持有策杖，姿态悠闲自在。\n此情此景，足以反映当时文人墨客优雅的生活环境及他们的志趣，王百谷半偈庵就是文人士大夫们所追求的优雅生活的写照。\n全图其画景物和作者自题识及王穉登等诗几乎各占一半，上诗、下图，相配十分得体。\n此画是文嘉7岁的作品，描绘当时文人王穉登所居半偈庵景色。\n王穉登（155—1612），字伯谷，也作百谷，长洲人，少时即以善作诗文著称，长而骏发，名满吴会，善书法，诸体兼备，文徵明没后，风雅归之穉登。\n全图用笔相当简练，湖石和竹树基本上继承了家学的传统，画法近学文徵明，远受元朝画家的影响，疏淡中蕴含秀润，树木用干笔勾皴后，用细墨点叶。\n用笔颇为老峭，加上构图过分简洁，使画面的意境稍嫌疏落之感。\n但由于画幅上面有文嘉的长段题识，起到了弥补此画构图的疏落之嫌…上诗塘又有王穉登录顾孟先、沈少卿宿半偈庵诗、这些自题识和王穉登题诗，为此画增色颇多，成为此画重要的组成部分。\n文嘉（151—158），明代画家，字休承，号义水，长洲（今江苏苏州）人，文徵明次子。\n官和州学正，继承家学，工小楷，擅画山水，笔法清脱，颇近倪瓒，着色山水，具幽澹之致，间仿卫蒙皴染，亦颇秀润，兼作花卉。\n精于鉴别古书画。\n传世作品有《赤壁夜游图》、《秋塘红藕图》、《沧山渔笛图》、《临董源溪山行旅图》轴，并著有《钤山堂书画记》。",[24,7,165,128,133,64,97,167,413,171,247,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44b4680056f3221272054815ba8098c4.jpg",[],{"id":57402,"slug":57403,"title":20324,"dynasty":124,"author":223,"museum":300,"description":57404,"tags":57405,"thumbUrl":57406,"material":692,"size":1293,"collection":84,"collections":57407,"showCount":628,"zanCount":1998,"manualWeight":48,"mainColor":72},235591,"wen-chu-hua-hui-ce-yi-ming-235591","此作用没骨技法绘萱草一花半叶，橙黄赭红晕染花瓣，轻描出舒展柔婉的花形，细笔点出纤长花蕊，将萱花盛放时的娇妍之态尽显。浅绿晕染叶片，笔致清隽含蓄，与柔花相映成趣。洒金素笺为底，柔雅的设色在细闪的底色间愈显清丽脱俗。全画构图疏简空灵，无多余赘饰，只撷取一隅小景，便将初夏萱草的绰约风姿定格，尽显娴静雅致的闺阁意趣，淡而不薄，秀润雅致，藏着含蓄温婉的中式诗意。",[24,164,7,59,28,27,61,62,7857,549,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01c33e0d6ab38e75010a93bb7f5e9b64.jpg",[],{"id":57409,"slug":57410,"title":409,"dynasty":54,"author":17240,"museum":300,"description":26583,"tags":57411,"thumbUrl":57412,"material":692,"size":1293,"collection":84,"collections":57413,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},235514,"shan-shui-ce-cha-shi-biao-235514",[24,7,59,128,132,29,131,413,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec8508d46704e30fe1ea407061c10d75.jpg",[],{"id":57415,"slug":57416,"title":76,"dynasty":124,"author":36595,"museum":300,"description":52566,"tags":57417,"thumbUrl":57418,"material":692,"size":1293,"collection":84,"collections":57419,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},235475,"hua-hui-ce-qi-xun-235475",[24,7,59,27,61,133,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bb36e3eb09986261d44138604ec048b.jpg",[],{"id":57421,"slug":57422,"title":409,"dynasty":54,"author":872,"museum":300,"description":57423,"tags":57424,"thumbUrl":57425,"material":84,"size":84,"collection":84,"collections":57426,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},235172,"shan-shui-ce-zhu-da-235172","此作以极简淡墨绘就山水丘壑，大片留白铺陈出空濛辽远的天地气韵。中锋淡墨轻皴山峦，朴拙苍润，山隅林木仅以数笔攒点，便见葱郁幽寂。浅滩汀岸简笔勾描，村舍隐于坡岸，远岫淡影浮沉在虚白间，似有无相融。\n\n画面疏朗至极，将萧澹冷逸的意趣藏于笔底，寥寥笔墨便勾勒出幽绝空寂的山水天地。题款与朱印错落点缀，虚实相衬，恰是以少胜多的极致手笔，澹泊天真中晕染出孤高清冷的襟怀，尽得山水写意的空灵真味。",[24,7,59,128,29,413,415,665,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa395e40423e5f0fab2d9ec2b55841c14.jpg",[],{"id":57428,"slug":57429,"title":57430,"dynasty":124,"author":223,"museum":300,"description":57431,"tags":57432,"thumbUrl":57433,"material":84,"size":84,"collection":84,"collections":57434,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},235054,"shen-shi-lan-ting-xiu-xie-tu-juan-yi-ming-235054","沈时兰亭修褉图卷","此作用青绿设色铺陈林泉雅集，苍松茂柳环合掩映，青绿山石古雅沉静，将林下幽境晕染得清旷悠然。左侧文士或围坐清谈，或凭石闲憩，神态萧散清和，衣袂舒展自带林下风流，暗合流觞曲水之雅意。林间隐着简雅亭台，衬出集会的雅致氛围。右侧水扁舟轻泛，对岸轩阁凭栏，将林泉之景延展得悠远空灵。\n\n画作工写兼具，古旧绢色晕染出温润古意，将文会吟咏唱和的悠然光景复刻于卷上，漫溢出文人集会的从容风雅，尽显林泉雅集的清逸意趣。",[24,7,25,27,28,96,130,99,129,413,131,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F455cd376df096daa4f2307bb08f68e66.jpg",[],{"id":57436,"slug":57437,"title":409,"dynasty":54,"author":9742,"museum":20,"description":35708,"tags":57438,"thumbUrl":57439,"material":1722,"size":35711,"collection":84,"collections":57440,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},235026,"shan-shui-ce-wu-li-235026",[24,7,59,128,29,129,331,99,171,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bc84bebdcb3c8a0368bf20a1a97b797.jpg",[],{"id":57442,"slug":57443,"title":11926,"dynasty":124,"author":2268,"museum":300,"description":43546,"tags":57444,"thumbUrl":57445,"material":84,"size":84,"collection":84,"collections":57446,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},234979,"dong-qi-chang-shan-shui-ce-dong-qi-chang-234979",[24,7,164,59,128,132,29,331,131,387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72c5ad6a1d141bb7c41b6afae7119da4.jpg",[],{"id":57448,"slug":57449,"title":18219,"dynasty":54,"author":9529,"museum":300,"description":19697,"tags":57450,"thumbUrl":57451,"material":692,"size":1293,"collection":84,"collections":57452,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},234959,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234959",[24,7,59,27,132,330,29,131,34,415,37,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dab0f664c3f528b81070dd8fb5cd087.jpg",[],{"id":57454,"slug":57455,"title":18219,"dynasty":54,"author":9529,"museum":300,"description":19697,"tags":57456,"thumbUrl":57457,"material":692,"size":1293,"collection":84,"collections":57458,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},234957,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234957",[24,7,59,128,29,132,330,131,331,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff61f73b655bbfc97bf1e7e8187d098a3.jpg",[],{"id":57460,"slug":57461,"title":57462,"dynasty":124,"author":18919,"museum":20,"description":18920,"tags":57463,"thumbUrl":57464,"material":84,"size":84,"collection":84,"collections":57465,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},234874,"la-mei-tu-zhou-lu-fu-234874","腊梅图轴",[164,24,7,165,128,371,331,61,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97b50b9d5180a9af10e35af8f4df2c6a.jpg",[],{"id":57467,"slug":57468,"title":76,"dynasty":54,"author":57469,"museum":300,"description":57470,"tags":57471,"thumbUrl":57472,"material":84,"size":84,"collection":84,"collections":57473,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},234786,"hua-hui-ce-jin-li-ying-234786","金礼嬴","金礼嬴（1772—1807）一作礼瀛，字云门，号五云，东桥、云门女史、会稽内史、自号昭明阁女史，一称昭明阁内史，山阴（今浙江绍兴）人，晚居钱塘（今浙江杭州）。嘉兴王昙（仲瞿）继室。幼娴翰墨，志趣高远。夫妇以诗文、书、画像商榷，志趣高远。王昙曾自撰门联云：家中有碧水丹山，妻太聪明夫太怪，门外省青磷白骨，人何寥落鬼何多。\n礼嬴性喜佳山水，吴越幽胜之区，探索殆尽。故其画得游览之助为多。佣笔自给，求者踵至而画益工。凡人物、仕女、界画楼室、山水、花卉，悉能匠心独运，妙夺古人，尤精画佛，庄严妙丽。得者宝之。画梅亦妙。书法晋、唐，兼工汉隶，诗多清灵凄婉之致，著有《秋红丈室遗诗》。卒年三十六。",[24,7,59,27,61,371,374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f6eeec4c50dafab0e172796a7184642.jpg",[],{"id":57475,"slug":57476,"title":57477,"dynasty":124,"author":18090,"museum":300,"description":18911,"tags":57478,"thumbUrl":57479,"material":692,"size":1293,"collection":84,"collections":57480,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},234707,"fang-huang-gong-wang-shan-shui-shan-ye-lan-ying-234707","仿黄公望山水扇页",[24,7,1131,29,128,132,129,131,34,415,3857,33,1424],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff1c6b2ad4920afc675476c281ad0a6d.jpg",[],{"id":57482,"slug":57483,"title":57484,"dynasty":54,"author":57485,"museum":300,"description":9208,"tags":57486,"thumbUrl":57487,"material":84,"size":84,"collection":84,"collections":57488,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},234663,"liu-he-guan-yan-shan-mian-xie-dan-234663","柳荷观雁扇面","谢丹",[24,7,1131,27,128,2372,168,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7b4adaea0cdaeb6bf2b8ad4ce1f96cc.jpg",[],{"id":57490,"slug":57491,"title":57492,"dynasty":124,"author":57493,"museum":300,"description":9208,"tags":57494,"thumbUrl":57495,"material":84,"size":84,"collection":84,"collections":57496,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},234563,"shi-han-shan-shui-shan-shi-han-234563","史汉山水扇","史汉",[1131,24,7,128,29,34,31,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F435a865ef78526e2d875416755554819.jpg",[],{"id":57498,"slug":57499,"title":13087,"dynasty":54,"author":13088,"museum":300,"description":13089,"tags":57500,"thumbUrl":57501,"material":84,"size":84,"collection":84,"collections":57502,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},234371,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234371",[24,7,59,27,28,61,209,582,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84c35963c6e683461725a955fceeb37b.jpg",[],{"id":57504,"slug":57505,"title":13087,"dynasty":54,"author":13088,"museum":300,"description":13089,"tags":57506,"thumbUrl":57507,"material":84,"size":84,"collection":84,"collections":57508,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},234367,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234367",[24,7,59,27,28,330,61,62,2037,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea0728567f0f0573e343468c07c62a75.jpg",[],{"id":57510,"slug":57511,"title":57512,"dynasty":124,"author":48293,"museum":300,"description":57513,"tags":57514,"thumbUrl":57515,"material":84,"size":84,"collection":84,"collections":57516,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},234214,"zhang-yan-mo-hua-juan-zhang-yan-234214","张彦墨花卷","张彦（？－？），字伯美，号无诤道人，嘉定（今属上海市）人，一作江苏苏州人，明朝画家。\n万历四十一年（1631年）作《山水图》，著录于《退庵题跋》\n崇祯二年（1629年）作《寒林钟馗图》，著录于《爱日吟庐书画录》\n传世作品有《山径携琴图》轴，现藏南京博物院\n崇祯十年作《松溪放舟图》轴图录于《中国名画宝鉴》\n崇祯十二年（1639）作《设色山水图》卷著录于《中国书画家印鉴款识》；同年作《雪景梅花图》轴，纸本，设色，现藏苏州市博物馆",[23,24,7,25,128,188,61,371,375,167,376,168,263,373,603,374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff41ab333b99a0d13328d654b652e75f6.jpg",[],{"id":57518,"slug":57519,"title":57520,"dynasty":124,"author":5029,"museum":300,"description":57521,"tags":57522,"thumbUrl":57523,"material":84,"size":84,"collection":84,"collections":57524,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},234209,"shu-hua-he-bi-juan-liu-jue-234209","书画合璧卷","刘珏（1410—1472）字廷美，号完庵，南直隶苏州府长洲（今江苏苏州）人。宣德中，苏州知府况钟举为吏，不就，得补生员，正统三年（1438）中举人，授刑部主事，迁山西按察司佥事，年五十弃官归。卒年六十三。\n老而嗜学不衰，为诗清丽可咏，景泰、天顺间，为吴中诗人之最，京师号为刘八句。书正、行出赵孟頫，山水出王蒙，行草学李邕，各极其妙。写山水林谷泉深，石乱木秀，云生绵密，幽媚风流，蔼然高者，攀鳞巨老，庶乎升堂，特未入室耳。天顺（1457—1464）间与杜琼、徐有贞、马愈、沈贞吉、恒吉并能，写山水，近世莫及。",[23,164,24,7,25,64,133,128,132,29,130,34,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2727e34c1088f093d9673232a8eced1b.jpg",[],{"id":57526,"slug":57527,"title":57528,"dynasty":124,"author":3619,"museum":300,"description":57529,"tags":57530,"thumbUrl":57531,"material":84,"size":84,"collection":84,"collections":57532,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},234207,"wen-zheng-ming-quan-nong-tu-juan-wen-zheng-ming-234207","文徵明劝农图卷","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。 [1]\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,24,7,25,128,133,64,208,29,96,98,99,130,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b09253d9d58e272bdeb6f3bee99f795.jpg",[],{"id":57534,"slug":57535,"title":54301,"dynasty":124,"author":20142,"museum":20,"description":57536,"tags":57537,"thumbUrl":57538,"material":611,"size":84,"collection":84,"collections":57539,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},234161,"luo-han-juan-li-lin-234161","李麟（1558—？），字次公，四阴（今浙江宁波）人，明朝画家。\n李麟善白描，作佛像下笔如莼条，用焦墨而不觉其枯，眉目粗而不觉其重。尤长写貌，亦以焦墨粗钩为之。师丁南羽（云鹏）有出蓝之誉。自署龙眠后身，崇祯八年（1635）尝写文殊维摩图，时年七十八。又有参寥子像卷，现藏故宫博物院。（《无声诗史》、《画髓元铨》、《图绘宝鉴续纂》、《宁波志》、《中国名画集》）",[23,164,24,7,25,27,28,187,96,18331,5490,413,5856,18381],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2afad23ebaf7357b70a3be598dccc1.jpg",[],{"id":57541,"slug":57542,"title":57543,"dynasty":124,"author":125,"museum":20,"description":57544,"tags":57545,"thumbUrl":57546,"material":1223,"size":57547,"collection":84,"collections":57548,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},234132,"zhi-tian-tu-juan-shen-zhou-234132","芝田图卷","沈周擅长山水、花鸟、人物各体，然以山水画最精，也最能鲜明地反映出他的艺术特色。归纳起来，可从内容和形式两方面论析。\n内容：即包括题材、立意、构思、思想、情感诸因素。\n沈周的山水画题材，主要可分为写实、抒情、仿古三大类。写实山水最富特色和意义，按内容又可分为访胜纪游、幽居庄园、雅集文会、寻访送别等几种类型。\n幽居庄园图，或表现苏州文人隐居的茅屋斗室，或描写精致幽雅的山庄园林，无论简陋还是宏阔，都强调清宁的环境和闲适的情致，寄托文人的理想和爱好，有时还寓以一定的象征意义，或缘物传情，或比喻人品。《东庄图》册（南京博物院藏），是描绘其师吴宽的庄园，二十一景均绚丽多姿，真实再现了老师居游皆宜的优美环境；《南山祝语图》卷（北京故宫博物院藏），刻划良医韩世光所居的“云堂”，环境既点出了主人公的身份和居处，又烘托出韩氏一心行医济世的高尚品德；《芝田图》卷（北京故宫博物院藏）则进一步采取人格化的表现手法，藉芝田遍地来表达主人公董君施德于人，天赐灵芝的主题。这些象征手法为后世吴门画家广泛采用。",[23,164,24,7,25,128,27,133,132,29,13640,34,35,496,1023,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3da0cce0291188d5f0a529cd4293de06.jpg","画323×33cm；跋64×33cm",[],{"id":57550,"slug":57551,"title":20540,"dynasty":54,"author":12088,"museum":300,"description":57552,"tags":57553,"thumbUrl":57555,"material":84,"size":84,"collection":84,"collections":57556,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},234117,"hua-guo-juan-yuan-jiang-234117","清代康熙至乾隆时期，我国东南的扬州地区，由于商品经济的发展，涌现出了一批追求个性解放，锐意创新的画家群体，这就是画史上称之“扬州画派”，或曰“扬州八怪”。在这个画派中，除了拥有人数众多名震画坛的山水、花鸟和人物画家之外，还出现了一批界画作家，如李寅，颇峰、袁江、袁帽，颇岳等，而袁江、袁耀则是这批楼阁界画的佼佼者，他们成就最大，名望最高，把我国传统的界画技法发展到了一个新的高度，并对后世产生了深远的影响。\n关于袁江的生卒，由于画史无记载，我们只能在袁氏的作品中寻找。据笔者所知，袁江现存最早有纪年的作品是画于康熙三十二年(公元1693年)，最晚的作品画于乾隆八年(公元1743年)，学者以此推测他大约生于康熙十年(公元1671年)前后，卒于乾隆八年，或稍后一、二年之内。他早年生活在“千家养女先教曲，十里栽花算种田”，“夜桥灯火连星汉，水郭帆樯近斗牛”的繁华城市扬州，以后他又到过江宁(今江苏南京)、会稽(今浙江绍兴)。又根据袁江《花鸟图》二幅(藏故宫博物院)的署款“癸卯二月古榕袁江画”，他可能还到过福州，因为“榕”是福州市的别称。又据袁江传世真迹《瞻园图》判断，袁江可能还在南京生活过一段时间，\n因为瞻园是明太祖朱元璋的大将徐达的府第，(位于南京市)。雍正二年(公元1724年)，他北上抵京师(北京)作画，郭味蕖记载他在画中的自题：“在燕台作此图”就是佐证。大至到了晚年，袁江又回到家乡扬州，从他署有年款的“邗上袁江”的大量作品看就能证明这一点，因“邗”即今名的扬州市，(见《左传·哀》九年：“秋，吴城邗，沟通江淮”)。谈到袁江山水楼阁画的师承，文献记载极少，李斗《扬州画舫录》说他“初学仇十洲”，面仇英之画，近师周臣，远“摹唐来人之画，皆能夺真”，由此推之，袁江的画上溯可至唐代的李思训、李昭道父子以及赵伯驹和赵伯骑兄弟。袁江工整细致，设色浓丽的楼阁界画风格，确有仇英的遗韵。又据《画人补遗》记载：“中年得无名氏所临古人画稿”，这“无名氏”又是谁?学术界说法不一，而据有的学者推测，它应该是来人名迹，因为从袁江的山水画中，可以看出有北宋范宽，郭熙，李成、阎次平以及南宋的马远、夏圭等人的画法和遗风。在经营位置上，他又吸收了元明以来山水画的长处，予以融合变化，形成自己的特色。他学“院体”，但又脱去院画中纤弱之笔和艳俗之弊，变为凝炼厚重、工致妍美、艳而不俗的风格。袁江的楼阁界画，更是继承了唐李思训父子，宋赵伯驹兄弟和郭熙以来界画的传统以及元代王振鹏等楼阁画用笔严谨．精雕细刻的画风，并加以发扬光大。",[24,7,164,25,27,128,28,61,6603,57554,81,263,603,373,374,828,371,375,167,376,2037,62,624,208],"西瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18aa0380b6630459be1fef1dc09c8650.jpg",[],{"id":57558,"slug":57559,"title":409,"dynasty":124,"author":2268,"museum":20,"description":40807,"tags":57560,"thumbUrl":57561,"material":3430,"size":5345,"collection":84,"collections":57562,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},234061,"shan-shui-ce-dong-qi-chang-234061",[24,7,59,128,132,29,99,171,34,23873,130,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa091a7ca4982bd9068ee0a650b07f502.jpg",[],{"id":57564,"slug":57565,"title":409,"dynasty":124,"author":2268,"museum":20,"description":40807,"tags":57566,"thumbUrl":57567,"material":3430,"size":5345,"collection":84,"collections":57568,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},234060,"shan-shui-ce-dong-qi-chang-234060",[24,7,59,128,132,29,1144,131,99,415,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f30ce9ddfaf2159f725103c9460f248.jpg",[],{"id":57570,"slug":57571,"title":57572,"dynasty":18,"author":223,"museum":20,"description":57573,"tags":57574,"thumbUrl":57575,"material":514,"size":57576,"collection":84,"collections":57577,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},234006,"shui-xian-tu-ye-yi-ming-234006","水仙图页","水仙（Narcissus tazettaL. var. chinensis Roem. ）又名中国水仙，是多花水仙的一个变种。是石蒜科多年生草本植物。水仙的叶由鳞茎顶端绿白色筒状鞘中抽出花茎（俗称箭）再由叶片中抽出。一般每个鳞茎可抽花茎1-2枝，多者可达8-11枝，伞状花序。花瓣多为6片，花瓣末处呈鹅黄色。花蕊外面有一个如碗一般的保护罩。鳞茎卵状至广卵状球形，外被棕褐色皮膜。叶狭长带状，蒴果室背开裂。水仙性喜温暖、湿润，花期在春季。\n作为中国传统观赏花卉的水仙，原种为唐代从意大利引进，是法国多花水仙的变种，在中国已有一千多年栽培历史，经上千年的选育而成为世界水仙花中独树一帜的佳品，为中国十大传统名花之一。因为鳞茎生得颇象洋葱、大蒜、故六朝时称“雅蒜”、宋代称“天葱”。之后，人们还给她取了不少巧妙、美丽的名字，如金盏、银台、俪兰、雅客、女星等等。水仙花早在宋代就已受人注意和喜爱。\n南宋佚名《水仙图》只画了一株水仙，一花五叶。画面的中心水仙花盛开，清新可人，叶片四展而不零乱，飘逸潇洒，并将画面分割成五部分，花蕊正好位于最能够吸引目光的黄金分割位置，凸显全画的核心。花瓣以尖细之笔勾勒轮廓，再染白粉，花蕊以橘黄点染，设色淡雅清逸。《水仙图》可谓是着笔简洁而韵味无穷，是南宋院体花鸟画的精品。\n南宋佚名《水仙图》无款印。裱边旧题签：“赵子固写生水仙”。赵子固即赵孟坚，中国南宋画家。生于庆元五年（1199），卒于景定五年（1264），一说卒于咸淳三年（1267）。字子固，号彝斋；宋宗室，为宋太祖十一世孙，汉族，海盐广陈（今嘉兴平湖广陈）人。曾任湖州掾、转运司幕、诸暨知县、提辖左帑。工诗善文，家富收藏，擅梅、兰、竹、石，尤精白描水仙；其画多用水墨，用笔劲利流畅，淡墨微染，风格秀雅，深得文人推崇。有书法墨迹《自书诗卷》，绘画《墨兰图》、《墨水仙图》、《岁寒三友图》等传世，著《彝斋文编》4卷。",[24,164,7,61,28,27,374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba119f21392b89dbae54545959e6887a.jpg","24.6x26cm",[],{"id":57579,"slug":57580,"title":409,"dynasty":124,"author":18090,"museum":20,"description":57581,"tags":57582,"thumbUrl":57583,"material":1223,"size":57584,"collection":84,"collections":57585,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},233968,"shan-shui-ce-lan-ying-233968","蓝瑛（1585—约1666年），字田叔，号蜨叟、石头陀、西湖山民等，钱塘（今浙江杭州）人。擅画山水，早年以摹古为主，宗法唐宋元诸家，尤以习元黄公望、明沈周最有心得，笔致工整细润，墨色清淡妍静。中年于传统的绘画基础上形成自己的绘画面貌，笔墨苍劲雄浑，于疏简粗旷的线条组合中表现高峻突兀的江南葱郁之景。钱塘又称武林，后人将蓝瑛和从其学画的刘度、蓝孟、蓝深等合称“武林画派”。",[24,7,59,128,132,29,130,99,131,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7defdc594b8dc33e1658736fecc8c865.jpg","57×39 公分",[],{"id":57587,"slug":57588,"title":7359,"dynasty":54,"author":1242,"museum":224,"description":7360,"tags":57589,"thumbUrl":57590,"material":1464,"size":7363,"collection":84,"collections":57591,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},233863,"mei-hua-ce-jin-nong-233863",[164,24,7,59,188,128,61,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe90b2f39543d56400d5072e3c24150e.jpg",[],{"id":57593,"slug":57594,"title":29129,"dynasty":124,"author":20447,"museum":20,"description":57595,"tags":57596,"thumbUrl":57597,"material":611,"size":57598,"collection":84,"collections":57599,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},233818,"mo-mei-zhou-liu-shi-ru-233818","刘世儒，生卒不详，主要活动于明代正德、嘉靖(1506—1566)间。字继相，号雪湖，山阴(今浙江绍兴)人。善画梅，宗法王冕，学之不倦，终成名手。柔密疏简，俱臻其妙。尤工雪梅，冰肌玉骨，清劲俊拔，令人绝倒。图中描绘一株梅树，老干劲峭，断缺处以意笔为之犹如龙爪腾空。一带薄雾淡如轻纱，横亘于画幅中部，烟笼玉树，暗香浮动。",[24,7,165,128,61,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43760b8de4af0b7812965f732d25d9ee.jpg","纵180.5厘米横100.4厘米",[],{"id":57601,"slug":57602,"title":57603,"dynasty":18,"author":223,"museum":20,"description":57604,"tags":57605,"thumbUrl":57606,"material":9291,"size":57607,"collection":84,"collections":57608,"showCount":628,"zanCount":1998,"manualWeight":48,"mainColor":49},233811,"han-ting-luo-yan-tu-zhou-yi-ming-233811","寒汀落雁图轴","此图画古木栖鸦，寒汀落雁。树下芦早疏疏，十数大雁、野鸭分两组栖于岸边，其态悠闲。",[24,164,7,165,128,27,29,1337,18111,45179,211,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59211b1b7d5c6f3104b8131f33873b5f.jpg","125.9＊92.6cm",[],{"id":57610,"slug":57611,"title":16041,"dynasty":54,"author":1460,"museum":20,"description":16042,"tags":57612,"thumbUrl":57613,"material":734,"size":16046,"collection":84,"collections":57614,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},233773,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233773",[24,7,59,128,27,29,34,3387,99,131,96,133,208,132,130,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facfe15b15dd27ffce25b8a5334ea64a4.jpg",[],{"id":57616,"slug":57617,"title":57618,"dynasty":54,"author":11383,"museum":20,"description":57619,"tags":57620,"thumbUrl":57621,"material":57622,"size":57623,"collection":84,"collections":57624,"showCount":628,"zanCount":1998,"manualWeight":48,"mainColor":72},233720,"hua-wang-yu-yan-xie-lan-tu-xiang-pan-gong-shou-bu-tu-zhou-ren-xiong-233720","画王玉燕写兰图像潘恭寿补图轴","任熊（1823年7月19日—1857年11月23日），字渭长，一字湘浦，号不舍，浙江萧山人，清代晚期著名画家，“海派”艺术的代表人物之一。\n幼时家贫，跟塾师学画人像，后寓居苏州、上海以卖画为生。曾流浪到宁波。曾居于挚友周闲之范湖草堂三年，并得遇著名文人姚燮，在其家“大梅山馆”学画，深得宋人笔法。任熊是绘画全才，人物、花卉、山水、翎毛、虫鱼、走兽，无一不精。画法宗陈洪绶，与弟任薰，儿子任预、侄任颐合称“海上四任”，又与朱熊、张熊合称“沪上三熊”。概述图为任熊自画之像。\n代表作有为著名词人与画家周闲所绘之《范湖草堂图》、以及由周闲等题跋之《十万图册》等。",[24,7,165,27,28,96,375,413,171,376,9603,8162,6369,9604,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb520acac6950d49e8cce35de80872eb2.jpg","纸本,设墨","111.5cm×41.6cm",[],{"id":57626,"slug":57627,"title":24791,"dynasty":54,"author":5879,"museum":20,"description":57628,"tags":57629,"thumbUrl":57630,"material":734,"size":57631,"collection":84,"collections":57632,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},233718,"tian-shan-ji-xue-tu-hua-yan-233718","华嵒的人物画造型极具特色，以表现人物鲜明的个性和内在的神韵取胜。《天山积雪图》是其晚年的代表作品。\n边塞行旅是华嵒经常表现的题材之一。本图画唐人远行边塞诗意。图中，天山脚下，一个身披大红斗篷、藏掖宝剑的单身旅客，牵一匹双峰老驼，艰难地缓行于冰雪之中。天色灰暗，四野空旷，道路漫漫，白雪皑皑。一只孤雁横掠空中，旅者和老驼举首仰望，此情此景似引起了游子的万千思绪。画中情景交融，意境含蓄。画面构图狭长，造成天高地迥的视觉效果，以衬托人物孤寂的内心世界。设色雅致，色彩之间的搭配，冷暖色调的对比，都十分考究。人物、老驼的形象塑造在写实的基础上恰当地运用夸张手法，人物前倾的动势，老驼富于人情味的表情，都使得主题更为突出。作品展现了画家独特的艺术构思和出众的绘画才能。",[24,7,165,27,96,8771,2523,13436,211,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c8b21a5c0ed7a5463b2bc0eedb1ac28.jpg","纵159.1厘米，横52.8厘米",[],{"id":57634,"slug":57635,"title":57636,"dynasty":54,"author":1460,"museum":300,"description":14038,"tags":57637,"thumbUrl":57638,"material":1722,"size":14041,"collection":84,"collections":57639,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},233693,"yuan-ji-lan-zhu-ce-mei-zhu-shi-shi-tao-233693","原济兰竹册－梅竹石",[24,7,128,59,371,167,171,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe61a39c4a7e08e81fbed3a68467d98df.jpg",[],{"id":57641,"slug":57642,"title":57643,"dynasty":54,"author":1460,"museum":300,"description":14038,"tags":57644,"thumbUrl":57645,"material":1722,"size":14041,"collection":84,"collections":57646,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},233687,"yuan-ji-lan-zhu-ce-lan-shi-shi-tao-233687","原济兰竹册－兰石",[24,7,59,128,375,1314,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b386c4c2ab9e8e8da4c2020c0e60748.jpg",[],{"id":57648,"slug":57649,"title":16826,"dynasty":54,"author":1242,"museum":20,"description":16827,"tags":57650,"thumbUrl":57651,"material":16830,"size":16831,"collection":84,"collections":57652,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},233400,"shan-shui-ren-wu-ce-jin-nong-233400",[24,7,59,128,27,188,29,96,129,99,8538,331,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F719bb0fb0ca34e2f5d64acbe64f13589.jpg",[],{"id":57654,"slug":57655,"title":48464,"dynasty":54,"author":1460,"museum":300,"description":48465,"tags":57656,"thumbUrl":57657,"material":611,"size":48468,"collection":84,"collections":57658,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},233383,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233383",[24,7,128,132,59,29,98,99,131,96,758,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6a2cb0bf3c261545bb9cb2f6d60a55a.jpg",[],{"id":57660,"slug":57661,"title":57662,"dynasty":54,"author":9529,"museum":20,"description":57663,"tags":57664,"thumbUrl":57665,"material":1223,"size":57666,"collection":84,"collections":57667,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},233232,"qing-shan-bai-yun-shan-mian-wang-hui-233232","青山白云扇面","王翚自称「于青绿法，静悟三十年，始尽其妙」（王翚《清晖画跋》），可见其青绿山水不仅是他对色墨融合技法的探索，亦融入了其个人的人生体验。王翚画山水不为「南宗」所囿，有集「南北宗」画家之大成，《读画辑略》称「画分南北二宗至石谷合而为一」，恽寿平亦称「古今来笔墨之至龃龉不能相入者，石谷则罗而致之笔端，融洽而出，神哉技乎」。\n（张庚《国朝画徵录》卷中）集多家笔法之大成的特点在其青绿山水中有突出体现，如王翚三十八岁（一六六九年）所作《青山白云图》扇题识中说：「尝见高尚书《夏麓晴云》、赵承旨《潇湘水云》、方羽士《奇峰出云》，此写《青山白云图》，参用三家笔意，而设色兼施僧繇没骨法，不知得以古人神韵否？」此外，王翚在设色上强调「轻」、「清」，他在《清晖画跋》中言：「凡设青绿，体要严重，气要轻清，得力全在渲晕……皴擦不可多，厚在神气，不在多也，气愈清则愈厚。」强调着色本身要实，气韵要虚。",[24,7,1131,27,128,29,6844,10851,34,131,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d74d1c3b7e9d91f8a42a81093d1e944.jpg","纵：22.9，横：23.9厘米",[],{"id":57669,"slug":57670,"title":57671,"dynasty":18,"author":1449,"museum":20,"description":57672,"tags":57673,"thumbUrl":57674,"material":40,"size":57675,"collection":84,"collections":57676,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},233198,"ju-lv-tu-ye-ma-lin-233198","橘绿图页","图中橘子由绿转黄，满压枝头。画家以粗细匀整的用笔流畅地勾画出橘叶的外形轮廓，并以黄绿色填涂叶面，叶片虽然不多，但其充满生命力的色彩为画面增添了几许活力，而侧、转、反、正的种种姿态又为全图带来灵动的节律。橘子的画法一改平涂晕染，直接以笔着色粉戳染成形，从而生动地表现出橘皮粗糙不平的质感。虽然画作历经磨损，许多白色粉点已经剥落，并露出了黄色的绢底，但仍然可见马麟的非凡技艺。\n橘子又称香圆，寓团圆之意。台北故宫博物院藏南宋画院画家林椿创作的一幅《橙黄橘绿图》与本幅在构图及橘、叶的表现技法上均相同，可见此类题材及画法在南宋画院较为普遍。",[164,24,7,28,27,61,4570,549,2438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c205a8ffc34c15b750b08bc5bfa96be.jpg","纵23厘米，横23.5厘米",[],{"id":57678,"slug":57679,"title":57680,"dynasty":54,"author":5879,"museum":20,"description":57681,"tags":57682,"thumbUrl":57685,"material":734,"size":57686,"collection":84,"collections":57687,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},233196,"qiu-shu-dou-qin-tu-zhou-hua-yan-233196","秋树斗禽图轴","此图绘古树一株，枝上藤萝缠绕，黄叶飘零，一派深秋之景。一只黑色的鸜鵒（音瞿欲，俗称八哥）倒挂枝头，注视着正在空中相斗的另外两只，它们争斗激烈，情节颇为有趣，增强了画作的生活气息和生动感。\n全幅用笔灵活清新，枯枝、藤萝用率笔写意，翎毛用兼工带写之法，虚实结合，为华氏大写意画之代表作。",[24,7,165,27,128,369,61,1233,331,211,1400,582,57683,5856,16892,57684],"秋叶","斗禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52808a81b496ddbe9081578a515878f7.jpg","纵117厘米，横54.3厘米",[],{"id":57689,"slug":57690,"title":57691,"dynasty":54,"author":5879,"museum":20,"description":57692,"tags":57693,"thumbUrl":57695,"material":734,"size":57696,"collection":84,"collections":57697,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},233143,"han-tuo-can-xue-tu-zhou-hua-yan-233143","寒驼残雪图轴","图绘天寒地冻、晓月高悬的雪夜，一旅者与驼露宿山路的景象。画面以对角线分割，右下为该画主体即人与驼。在雪山脚下寒林枯树旁，一枯瘦的双峰驼正低头啮雪，帐篷中一人向外观望。作者用寥寥数笔简练地绘出帐篷的圆形；人物高鼻、卷发、胡须浓密，似西域人；骆驼以线勾出后稍加晕染，驼骨微露，双目圆睁，神情专著，充分显示出华嵒减笔画的深厚功力。左上以淡墨染底表示雪夜的阴霾，以浓墨勾出一弯残月与孤雁，这与下部留白所表示的残雪形成对照，视觉反差强烈，由此可以看出华嵒驾驭画面的高超能力和文人的审美情趣。\n该画的画意与华嵒的《天山积雪图》有相似之处，二图的人物面象也略似，两件作品均形象生动，是华嵒的代表作。",[24,7,165,27,128,8771,96,57694,39393,231,211,208,1813,6093],"残雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81cfed74214149a504d200af26a333aa.jpg","纵139.7厘米，横58.4厘米",[],{"id":57699,"slug":57700,"title":39900,"dynasty":54,"author":1460,"museum":20,"description":43590,"tags":57701,"thumbUrl":57702,"material":611,"size":11341,"collection":84,"collections":57703,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},233126,"yuan-ji-shan-shui-ce-shi-tao-233126",[164,24,7,59,128,132,29,171,331,130,96,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3a307905955c7d593b96754ac05d484.jpg",[],{"id":57705,"slug":57706,"title":57707,"dynasty":124,"author":3619,"museum":20,"description":57708,"tags":57709,"thumbUrl":57710,"material":1722,"size":57711,"collection":84,"collections":57712,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},233118,"lin-xi-you-shang-tu-zhou-wen-zheng-ming-233118","临溪幽赏图轴","图中山坡上松柏、杂树高耸茂密，绿荫下溪水蜿蜒，溪上横卧小桥，桥上一老者临溪赏景，其后有童子侍立。用笔细谨，着墨精巧，意境清幽。",[24,7,165,128,132,29,34,1233,331,99,96,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf0989418a5c49480611f009704cb440.jpg","纵127.3厘米 横50厘米",[],{"id":57714,"slug":57715,"title":4071,"dynasty":54,"author":14273,"museum":20,"description":14274,"tags":57716,"thumbUrl":57717,"material":514,"size":84,"collection":84,"collections":57718,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},232943,"hua-hui-tu-ce-fan-ting-zhen-232943",[24,7,164,61,263,27,60,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd6bba090af366abeabd6fe7f40c3a9d.jpg",[],{"id":57720,"slug":57721,"title":57722,"dynasty":18,"author":7991,"museum":300,"description":57723,"tags":57724,"thumbUrl":57725,"material":151,"size":57726,"collection":84,"collections":57727,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},232883,"ren-wu-shou-juan-chen-ju-zhong-232883","人物手卷","陈居中，南宋画家。嘉泰年间（1201-1204）画院待诏，生卒年不详。专工人物及马，杂画亦佳。擅画反映贵族游乐、出猎生活和表现少数民族放牧风情等题材，注重写实，观察入微，构图简洁，风格清新，富于生趣。明人题其《八骏图》称“精彩逼真似唐画，系临史道硕、韩幹之辈，为两宋人物第一神品也”（吴其贞《书画记》）。元代夏文彦《图绘宝鉴》谓其“布置着色，可亚黄宗道”。",[23,24,7,25,28,27,96,101,949,29,34,11074],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6a8d26c75f65f46eee8b4627c5dcacc.jpg","29.8x229cm",[],{"id":57729,"slug":57730,"title":57731,"dynasty":124,"author":57732,"museum":244,"description":57733,"tags":57734,"thumbUrl":57735,"material":66,"size":57736,"collection":136,"collections":57737,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},232693,"qiu-du-shu-le-tu-ju-mao-shi-232693","秋读书乐图","居懋时","居懋时［明］吴县（今江苏苏州）人。\n节子。亦善画。《苏州志》",[23,24,7,165,128,29,132,131,495,34,35,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc44755deef3b0cac993c0c25db5625a1.jpg","147.7x37.2厘米",[136],{"id":57739,"slug":57740,"title":57741,"dynasty":124,"author":802,"museum":161,"description":57742,"tags":57743,"thumbUrl":57744,"material":151,"size":57745,"collection":84,"collections":57746,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},232647,"wu-xie-shan-tu-chen-hong-shou-232647","五泄山图","五泄山在浙江诸暨，浙江金华、杭州和绍兴之间，因有五潭之水，泛溢悬流，宛转五级，故日五泄。是陈洪绶的故乡。此图构图缜密，画面丰满，仅留右上角为天空。树林繁茂，山势高峭，清晰的山体轮廓线，干净利落的岩石断层，树木岩石以不同皴法表现，山石方硬以淡墨染之，富有层次，给人一种非常相似的远古的感觉，体现了陈洪绶一贯高古的格调。\n陈洪绶少年即喜画，10岁时就去杭州追随武林派的代表——山水画家蓝瑛习画。陈洪绶早年和壮年的山水画作品以及晚年部分人物画背景都可看出多了蓝瑛的影响。但陈画比蓝画更为清雅秀润，简洁古淡。翁万戈藏《陈洪绶早年画册》（1619年，时22岁）中《奇石小鸟》和《双松图》两副册页所画树石显然是师法元人。他早年的山水虽不成熟，但可看出他广师宋元诸家，集众所善，而尚显个性。美国克利夫兰艺术博物馆藏《五泄山图轴》很可能是他20至30岁期间之作。陈洪绶自幼至交周亮工提及，曾于1624至1625年间数度与陈洪绶同游五泄山。此画密不透风的构图，迂回盘旋的山势，强而有力的光影对比，体现画家在自然山水中的真实感受——阳光和阴影、压迫感十足的乱石、潺潺的流水、浓郁的树林。这是他早期山水画的杰出之作，之后作品再无此类手法的运用。\n陈洪绶是时代的代表，他的艺术同样根植于他所处的时代。尽管陈洪绶不属于高寿画家，但是他的艺术越趋晚年，越突出地彰显了中国传统艺术的精髓和民族风格。\n陈洪绶 (1598-1652），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名、晚号老迟、悔迟，又号悔僧、云门僧。浙江诸暨枫桥人。明末富有革新精神和独创风格的画家。祖上为官宦世家，至其父家道中落。陈洪绶幼年早慧，诗文书法俱佳，曾随蓝瑛学画花鸟。成年后到绍兴蕺山师从著名学者刘宗周，深受其人品学识影响。崇祯三年（1630）应会试未中。崇祯十二年（1639）到北京宦游，与周亮工过从甚密。后以捐赀入国子监，召为舍人，奉命临摹历代帝王像，因而得观内府所藏古今名画，技艺益精，名扬京华，与崔子忠齐名，世称“南陈北崔”。明朝覆没后，清兵人浙东，陈洪绶避难绍兴云门寺，削发为僧，一年后还俗。晚年学佛参禅，在绍兴、杭州等地鬻画为业。陈洪绶生性怪僻，愤世妒俗，身历忧患之时，所交师友多为正义之士。陈洪绶是一位擅长人物、精工花鸟、兼能山水的绘画大师。当代国际学者推为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。著有《宝纶堂集》、《避乱草》等作品集。",[164,24,7,165,128,132,29,34,1337,131,495,499,1022,9483],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe63046bcfa80469e93c5b952548b3d1.jpg","118.3×53.2cm",[],{"id":57748,"slug":57749,"title":57750,"dynasty":124,"author":57751,"museum":161,"description":57752,"tags":57753,"thumbUrl":57756,"material":611,"size":57757,"collection":84,"collections":57758,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},231936,"fang-gao-ke-gong-shan-shui-tu-tao-hong-231936","仿高克恭山水图","陶泓","图绘云山峻岭，大气磅礴，山林滃郁，流泉潺湲。一高士过桥而回首观水，喻”智者乐水“之意。全幅用高尚书笔意而润密过之。 陶泓，字士泉，号砚山，生平无考。",[23,24,7,164,165,128,29,23820,57754,13603,99,98,96,330,132,57755],"峻岭","智者乐水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cbbee98cf491d6f7fe862b5d64e4bf5.jpg","53x89cm",[],{"id":57760,"slug":57761,"title":57762,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":57763,"thumbUrl":57764,"material":84,"size":84,"collection":84,"collections":57765,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},231836,"xi-shan-ting-pu-tu-wen-zheng-ming-231836","溪山听瀑图",[23,24,7,25,128,132,133,208,29,495,34,131,130,129,99,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc9db7b6cabe2afe187e7acca740168f.jpg",[],{"id":57767,"slug":57768,"title":57769,"dynasty":222,"author":57770,"museum":300,"description":57771,"tags":57772,"thumbUrl":57774,"material":692,"size":1293,"collection":84,"collections":57775,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},231786,"ming-qing-ri-ben-gu-hua-fen-ben-niao-shou-xi-hua-juan-he-guo-xiao-zhai-231786","明清日本古画粉本-鸟兽戏画卷","河锅晓斋","河鍋曉齋是日本幕末至明治時期的浮世絵師。評論家認為他是「一個獨立的帶有個人主義的，可能是傳統日本畫的最後大師」。",[23,24,7,25,188,128,28,9633,3599,57773,32358,1634,355,413,131,1771,230,949,96,61],"蛙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1999d93bfc618f73b31dacf8332bcf76.jpg",[],{"id":57777,"slug":57778,"title":57779,"dynasty":222,"author":35258,"museum":300,"description":49868,"tags":57780,"thumbUrl":57781,"material":692,"size":1293,"collection":84,"collections":57782,"showCount":628,"zanCount":1998,"manualWeight":48,"mainColor":72},231618,"bai-miao-shi-er-tian-tu-xiang-pi-sha-men-tian-zhen-hai-231618","白描十二天图像 毗沙门天",[23,24,7,188,187,96,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa29ded800c890a4c20cd90b8232e25c8.jpg",[],{"id":57784,"slug":57785,"title":41951,"dynasty":222,"author":57786,"museum":300,"description":16652,"tags":57787,"thumbUrl":57788,"material":692,"size":1293,"collection":84,"collections":57789,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},231582,"qi-shi-wen-shu-tu-ling-cai-231582","灵彩",[23,24,7,165,187,188,128,96,949,1975,3588,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb97b7cf0e134855a8876822301aa10b4.jpg",[],{"id":57791,"slug":57792,"title":57793,"dynasty":54,"author":2894,"museum":300,"description":57794,"tags":57795,"thumbUrl":57796,"material":84,"size":84,"collection":84,"collections":57797,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},230966,"zhong-kui-tan-mei-tu-jin-ting-biao-230966","钟馗探梅图","寒雪覆地，万木凝霜，虬曲老树裹着厚雪，萧索中透着清寂。画面主角敛去往日凶煞，化身乡野翁叟，斗笠覆顶，肩负梅枝，踏过小桥时眉眼松弛，似为寻得暗香忘却本职，只剩踏雪寻芳的悠然。身后小童缩着脖颈，挑着伞盖匆匆随行，憨态可掬。\n整作以淡墨晕开茫茫雪色，线条朴拙简练，将神威仙灵世俗化，把凌冬雅趣与俗世温情相融，打破固有狞厉印象，以寻常行旅的温情图景，消解题材自带的肃杀，尽显隆冬寻梅的闲逸诗意。",[24,7,27,28,96,371,27907,13436,1337,229,1813,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ef8da1600122e28775a7e31276ba9e.jpg",[],{"id":57799,"slug":57800,"title":57801,"dynasty":18,"author":2141,"museum":244,"description":57802,"tags":57803,"thumbUrl":57804,"material":253,"size":57805,"collection":84,"collections":57806,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},230965,"yao-chi-xian-shou-tu-liu-song-nian-230965","瑶池献寿图","人物的用笔细劲畅利，神态生动。画山石以刚硬的线条勾写形体，加斧劈皴，用淡墨横抹，显得浓厚的线条突出。图中的松树也较为突出，松针先以墨笔疏疏画出，再以草绿色间点、复勾。全画构图饱满而丰富，人物与树石穿插自然，充满着幽静雅趣。而且此图在艺术处理上有一个特点：动与静的对比。瑶池仙女们飘逸潇洒的舞姿与幽美的山林的静谧形成一种对比和互补。",[23,164,24,7,28,27,29,96,97,1144,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfcf0da55e5064051ab60329ab404823.jpg","纵198.7厘米，横109.1厘米",[],{"id":57808,"slug":57809,"title":57810,"dynasty":182,"author":223,"museum":300,"description":57811,"tags":57812,"thumbUrl":57813,"material":692,"size":1293,"collection":84,"collections":57814,"showCount":628,"zanCount":1998,"manualWeight":48,"mainColor":49},230934,"si-fu-ju-hui-tu-yi-ming-230934","四佛聚会图","画面饱满庄严，四方诸佛环坐为主体，朱红佛衣衬得宝相慈悲端凝，圆光覆顶，结印安坐，自带静穆神圣之感。诸天、护法层层簇拥排布，云气晕染铺陈出缥缈佛国意境。\n\n设色沉敛古雅，朱砂石色经岁月浸润依旧鲜亮厚重，细密劲挺的铁线描，勾勒出衣袂褶皱的飘逸流畅，亦将宝冠璎珞的精致细节尽显无遗。对称构图烘托出佛会的肃穆安然，诸佛神态平和悠远，护法身形雄健威仪，动静间尽显极乐盛会的恢宏庄重，尽显唐代宗教绘画的典型特质，将佛国世界的神圣静穆具象展现，古韵佛风厚重绵长。",[24,7,187,28,27,96,8189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F971efa0fae36413b85480bdac863dadc.jpg",[],{"id":57816,"slug":57817,"title":57818,"dynasty":222,"author":39128,"museum":300,"description":39129,"tags":57819,"thumbUrl":57820,"material":692,"size":1293,"collection":84,"collections":57821,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},230588,"jiang-hu-shi-dai-xi-hu-chun-jing-tu-ping-feng-chi-da-ya-230588","江户时代 西湖春景图屏风",[24,7,165,128,132,29,130,34,131,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3125c5c3370cc69ab3b9f3786836eea.jpg",[],{"id":57823,"slug":57824,"title":57825,"dynasty":222,"author":223,"museum":300,"description":57826,"tags":57827,"thumbUrl":57828,"material":692,"size":1293,"collection":84,"collections":57829,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},230530,"gu-hua-mo-ben-xia-gui-deng-tu-juan-yi-ming-230530","古画模本（夏圭等图卷）","此卷分两处景致，左端冷月悬于寒空，孤梅瘦枝横斜水岸，江石清寂，恍见幽人凭立，萧寒淡远，尽得隐逸清疏之致。右端以没骨法绘白花柔枝，晕染轻透，花瓣莹润如凝霜雪，浅蓝枝叶衬出雅致隽秀。旁题行书小诗，诗画相融，笔意简淡却藏雅人幽情，将爱花赏梅的闲逸心境织入笔墨，清寂空濛与柔婉清雅相映，尽显古典雅致的文人情致。",[23,24,7,25,27,28,61,29,96,413,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ea6b17bd705e743fcc1bac8c1e8fa4d.jpg",[],{"id":57831,"slug":57832,"title":57833,"dynasty":222,"author":223,"museum":300,"description":57834,"tags":57835,"thumbUrl":57838,"material":692,"size":1293,"collection":84,"collections":57839,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},230513,"e-gui-cao-zhi-yi-ming-230513","饿鬼草纸","这幅绘卷文图共生，以淡墨设色晕染出饿鬼道众生的悲苦世相。饿鬼身形枯槁、神色凄厉，或焦渴探水、或争抢残食，将饥渴煎逼的绝望尽数展露。\n\n古雅日文抄录经文典故，与画面呼应铺陈阿难见饿鬼受报、佛陀开示施食的故事。斑驳古拙的线条带着岁月痕迹，沉哑色调烘托出幽冥晦暗的氛围，后半段佛陀现身，莲光轻笼，为暗澹图景注入暖意，在强烈对比里传递出对苦难的悲悯与救赎的力量，尽显肃穆古朴的宗教绘卷质感。",[23,9521,7,25,187,27,188,96,949,49860,34,57836,7322,2983,57837],"文字","场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b758e1b747a02b42db24c9f540afd54.jpg",[],{"id":57841,"slug":57842,"title":57843,"dynasty":222,"author":46309,"museum":300,"description":57844,"tags":57845,"thumbUrl":57846,"material":692,"size":1293,"collection":84,"collections":57847,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},230490,"an-tu-tao-shan-shan-shui-tu-ping-feng-di-er-ping-yun-gu-deng-yan-230490","安土桃山 山水图屏风-第二屏","云谷等颜（1547～1618）画家。初学狩野派，后学雪舟水墨画。",[23,24,7,128,29,129,132,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2406d05eb8ab3e40711e141a4a8b0f6.jpg",[],{"id":57849,"slug":57850,"title":57851,"dynasty":54,"author":1242,"museum":300,"description":57852,"tags":57853,"thumbUrl":57854,"material":84,"size":84,"collection":84,"collections":57855,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},230233,"ce-ye-ba-kai-jin-nong-230233","册页八开","本幅以极简构图层叠春景意境，垂柳叶丝以淡墨晕染，袅袅拂动，柔媚尽现春日缱绻；下方桃枝枯淡勾勒，浅墨晕开花瓣，初绽芳华娇柔含露。\n\n书画相映成趣，题诗借春景抒怀，将暮春春愁融于淡墨景致。笔意简淡疏朗，脱却繁饰，留白空灵雅致，于浅淡笔墨晕染出江南春深的幽寂怅惘，尽显文人画诗韵墨香的隽永格调，以极简构图传递悠长闲愁，尽得雅致冲淡之美。",[24,7,59,128,61,2372,2123,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76b0d11efcdac5bfcb9c16040224db3.jpg",[],{"id":57857,"slug":57858,"title":57859,"dynasty":54,"author":3750,"museum":300,"description":17621,"tags":57860,"thumbUrl":57861,"material":692,"size":1293,"collection":84,"collections":57862,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},230196,"shan-shui-qing-yin-tu-ce-wang-jian-230196","山水清音图册",[24,7,59,29,132,128,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb2f0ceb447a93b509790441983584e.jpg",[],{"id":57864,"slug":57865,"title":57866,"dynasty":54,"author":3750,"museum":300,"description":57867,"tags":57868,"thumbUrl":57869,"material":84,"size":84,"collection":84,"collections":57870,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},230195,"fang-gu-shan-shui-ce-yi-wang-jian-230195","仿古山水册一","此作用色清雅柔润，以披麻皴绘出山峦起伏肌理，敷色温润秀雅，淡染出层叠山势的虚实层次。\n\n近岸屋舍隐于苍林之下，古木森秀，枝叶苍润；中景板桥横跨水渚，渔人泛于清波，谷壑间雾气轻漫，晕开远近景深，远景峰岫含翠，淡远空灵。\n\n整体恬静安谧，将文人幽居理想融于尺幅，笔致沉稳工细，明丽设色却无艳俗之感，尽显仿古山水的雅致格调，观之如临幽林静渚，尘虑尽消。",[24,7,59,27,29,132,330,208,98,99,34,496,35,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F371b62bc0f3bc1935cd4ac5a11e90071.jpg",[],{"id":57872,"slug":57873,"title":57874,"dynasty":54,"author":9529,"museum":300,"description":57875,"tags":57876,"thumbUrl":57877,"material":84,"size":84,"collection":84,"collections":57878,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},229021,"mei-xi-gao-yin-tu-zhou-wang-hui-229021","梅溪高隐图轴","此作分上下两境，上段以高远之法绘危崖层叠，飞瀑穿谷而出，淡墨晕开岚气，写尽空山岑寂萧寒之态。下段平溪绕舍，古松虬曲、疏柳映水，茅庐临水而建，尽显林泉幽居的恬然意趣。\n画作以诗入画，呼应高隐主题，笔墨糅合南北画派之所长，干笔皴擦勾勒山石苍劲肌理，湿墨晕染铺就空蒙烟霭，简淡秀雅的笔触间，将文人寄迹林泉、避世高隐的悠然襟怀尽藏其中，尽显清逸出尘的山水画意境。",[23,24,7,165,128,132,29,495,1144,35,34,131,499,496,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca3a61d052a38131a79f29061e44005.jpg",[],{"id":57880,"slug":57881,"title":57882,"dynasty":124,"author":223,"museum":300,"description":57883,"tags":57884,"thumbUrl":57885,"material":84,"size":84,"collection":84,"collections":57886,"showCount":628,"zanCount":1998,"manualWeight":48,"mainColor":49},228791,"xi-die-ye-yi-ming-228791","戏蝶页","仕女身姿翩然，抬臂挥扇戏蝶，袖袂随轻曳的姿态舒展，鬓边簪花衬得眉眼愈发娇柔。细劲的游丝描勾勒衣褶纹理，清雅古淡的设色晕染出温婉质感。\n\n画面定格了闺中嬉游的悠然一瞬，将女子娇憨灵动的情态藏入笔墨间。翩跹蝶影呼应着仕女的活泼，把闲逸的闺中情趣铺陈开来。古绢虽经岁月侵蚀，边角斑驳残损，却晕开了独有的旧时光晕，为这场往昔嬉游晕染开朦胧诗意，雅致的古典意趣穿越岁月，依旧动人。",[164,24,7,59,27,188,28,96,166,481,1367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34f036ec22bfa0bf30ed48cbdf7c2948.jpg",[],{"id":57888,"slug":57889,"title":57890,"dynasty":124,"author":223,"museum":300,"description":57891,"tags":57892,"thumbUrl":57893,"material":84,"size":84,"collection":84,"collections":57894,"showCount":628,"zanCount":1998,"manualWeight":48,"mainColor":3379},228790,"yan-he-qing-hui-ce-yi-ming-228790","岩壑清晖册","此作用笔秀润淡逸，以柔缓皴染晕出山峦烟岚，将远山融在朦胧霭气之中，虚实相生，铺展出幽远空寂的天地。近景苍树虬劲蓊郁，旁侧修竹亭亭，与山居茅檐相映成趣。\n\n廊下士人斜卧凭栏，似在静听竹风，阶侧童子敛声侍立，寥寥数笔便勾勒出林下幽居的松弛意态。淡赭绢底晕出古雅暖意，整幅画将林泉高致的文人心境藏在笔墨之间，以清简构图传递出萧散闲雅的山居意趣，尽显幽栖丘壑、寄情烟霞的林下风流。",[24,164,7,59,27,28,132,29,130,167,413,97,96,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d18bef70057de2123fbe18762c9072.jpg",[],{"id":57896,"slug":57897,"title":57898,"dynasty":124,"author":3559,"museum":300,"description":57899,"tags":57900,"thumbUrl":57901,"material":84,"size":84,"collection":84,"collections":57902,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},228491,"you-he-tu-du-jin-228491","友鹤图","此作绘水畔幽居，茅舍内隐士凭榻静思，竹松奇石环伺左右，远汀烟水空濛澹荡，晕染出清寂出尘的江乡暮色。笔墨秀润简淡，以轻岚淡墨铺就旷远意境，咫尺之间尽显林泉幽致。\n后接长篇题咏，诗书合璧，以鹤喻同心知己，寄寓了文人幽栖林下、澹泊自适，以鹤为友、物我两忘的隐逸襟怀，尽显明代文人画尚意抒情的特质，将林下高致的清雅意趣藏于尺幅之间，是兼具笔墨意趣与文人精神的上乘佳构。",[23,24,7,25,128,133,208,64,29,96,372,167,171,130,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5fd2a2f16484e93696f6852f61d4223.jpg",[],{"id":57904,"slug":57905,"title":1230,"dynasty":124,"author":5029,"museum":300,"description":57906,"tags":57907,"thumbUrl":57908,"material":84,"size":84,"collection":84,"collections":57909,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},228383,"shan-shui-tu-liu-jue-228383","此作用披麻皴晕染江南丘壑，山峦平缓温润，苍松杂木错落于坡石之间，笔墨苍厚松灵，带着吴门画派特有的萧散意趣。淡墨轻烘出烟雨空蒙的氛围，溪谷蜿蜒隐现于林木山石间，尽显吴中山水的温润雅致。\n画作带着文人画的清幽品格，将林泉高致的隐逸心境藏于笔墨间，师法前贤又自出清澹之格，把江南山野的沉静雅致铺陈开来，是兼具笔墨意趣与人文情志的佳构。",[23,24,7,25,128,132,64,133,208,29,34,131,496,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea50e787329b0ad288fa2056b6b465b.jpg",[],{"id":57911,"slug":57912,"title":57913,"dynasty":124,"author":33462,"museum":300,"description":57914,"tags":57915,"thumbUrl":57916,"material":84,"size":84,"collection":84,"collections":57917,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},228351,"shi-ba-jing-tu-ce-22-zhen-song-xu-228351","十八景图册22帧","此作以半边崖岸半边水泽铺展画面，左侧危崖层叠，苍松山居错落，曲径蜿蜒伴行旅人，山石皴笔朴拙苍劲，带着沉厚古意。右侧水网交织，田畴铺陈，远岸村舍隐现，江帆点点悠游烟波间，浅淡设色晕染出江南水泽的温润空濛。笔墨简淡清逸，将林泉野趣与水乡旷远融于一帧，淡远空寂里晕开江南村居的闲静诗意，尽显寄情丘壑的文人意趣，勾勒出独属于晚明的清雅山居图景。",[23,24,7,59,27,132,29,34,31,33,1515,211,3651,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F774acef0daf4b9d1744d2d7de32dfd1f.jpg",[],{"id":57919,"slug":57920,"title":57921,"dynasty":124,"author":16032,"museum":300,"description":57922,"tags":57923,"thumbUrl":57924,"material":84,"size":84,"collection":84,"collections":57925,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},228310,"min-you-tu-xiang-sheng-mo-228310","闽游图","此作以平远长卷铺展江天胜景，江波婉转，矶岩错落百态，或嶙峋如剑，或浑朴似卧牛，尽现山水奇崛灵动之姿。山间村舍错落，江上扁舟泛波，旅人、渔者隐于林泉，烟火意趣暗藏苍莽丘壑之中。用笔清劲秀逸，淡墨晕染出空濛悠远的氤氲气韵，将漫游所见的山水奇景与乡野闲趣融为一体，以文人视角定格千里江川的悠然意致，尽显清雅苍润的山水格调。",[23,24,7,25,128,27,132,29,131,34,97,98,99,129,130,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc56cb2f0f807be7ba59799de60f9c362.jpg",[],{"id":57927,"slug":57928,"title":57929,"dynasty":124,"author":802,"museum":300,"description":5946,"tags":57930,"thumbUrl":57931,"material":692,"size":1293,"collection":84,"collections":57932,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},228303,"niang-tao-tu-chen-hong-shou-228303","酿桃图",[23,24,7,165,27,28,96,371,169,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e93ba703003e6686ca8b3a91ec3f81d.jpg",[],{"id":57934,"slug":57935,"title":57936,"dynasty":124,"author":802,"museum":300,"description":5946,"tags":57937,"thumbUrl":57938,"material":692,"size":1293,"collection":84,"collections":57939,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},228289,"lin-ting-qing-hua-tu-shan-chen-hong-shou-228289","林亭清话图扇",[24,7,1131,128,61,171,371,376,374,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5729e6e2e3e83f03d795a0edb6b54a82.jpg",[],{"id":57941,"slug":57942,"title":64,"dynasty":124,"author":802,"museum":300,"description":5946,"tags":57943,"thumbUrl":57944,"material":692,"size":1293,"collection":84,"collections":57945,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},228279,"shu-fa-chen-hong-shou-228279",[7,64,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3221a6efaf4342fec5dd9784bbb847fa.jpg",[],{"id":57947,"slug":57948,"title":37469,"dynasty":144,"author":223,"museum":300,"description":57949,"tags":57950,"thumbUrl":57951,"material":84,"size":84,"collection":84,"collections":57952,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},228218,"shou-lie-tu-ye-yi-ming-228218","此作以沉郁古褐晕染山野荒林，上下两组骑猎者纵马驰骋，将塞北游猎的粗粝快意尽数铺展。上方猎手引弦待发，臂上架鹰、身侧随细犬，林间悬垂的猎物，把猎获的酣畅瞬间定格。下方骑士俯身控马，衣袂随疾风翻卷，人马同频的奔跃张力扑面而来。\n\n线条劲爽利落，精准勾勒出骑手的雄健彪悍，人马犬鹰的情态鲜活灵动。没有繁复修饰，却将游牧民族射猎日常的野性生机淋漓展现，带着浓郁的北国风土气息，尽显游猎生活的本真快意，是描摹塞外狩猎盛景的精妙小品。",[23,24,7,59,27,28,96,101,949,22807],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01e6b428e69bd8563be25278d371b2ab.jpg",[],{"id":57954,"slug":57955,"title":16080,"dynasty":144,"author":223,"museum":300,"description":57956,"tags":57957,"thumbUrl":57958,"material":84,"size":84,"collection":84,"collections":57959,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},228198,"ting-qin-tu-ye-yi-ming-228198","这帧团扇小品以淡墨轻色晕染出水汀秋意，两位素衣仕女驻足岸侧，一人携琴，二人垂目望向幽寂寒潭。对岸林叶覆着轻烟，崖石静峙，水面空濛无波，将天地浸在清寂萧疏的氛围中。\n\n笔致秀雅空灵，略去繁饰，只以简淡线条勾勒衣袂柔姿，以晕染晕开林下水气，将等待听琴的娴静幽思融在水光天色里，把林下闲情化作幽远诗意，尽显雅致淡远的文人意趣，仿佛隔着绢本，都能听见风掠林梢的轻响，静候琴音破寂而来。",[23,24,7,5295,27,28,96,166,413,131,438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac32a0479a74d50cdf19281ce14bff0e.jpg",[],{"id":57961,"slug":57962,"title":57963,"dynasty":144,"author":8127,"museum":300,"description":57964,"tags":57965,"thumbUrl":57966,"material":84,"size":84,"collection":84,"collections":57967,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},228049,"liang-chang-cao-tang-he-juan-wang-yuan-228049","良常草堂合卷","此卷以清润淡墨绘就平远林泉，林木苍蔚，草堂幽隐烟峦水畔，尽显萧散简远的林下雅意，笔墨温润松秀，尽显元人山水尚意之风。\n卷后诸家题跋琳琅排布，行草篆隶各得其妙，笔意跌宕文辞清雅，与画作相映成辉。书画合璧间，藏尽彼时文人雅聚的清兴逸致，纸墨古雅韵致悠长，尽显元代诗书画一体的文人审美意趣。",[23,24,7,25,128,133,938,64,132,208,29,129,130,34,131,37,99,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d7562e2b8bda6a783c5cd69409c12ec.jpg",[],{"id":57969,"slug":57970,"title":57971,"dynasty":18,"author":5533,"museum":300,"description":57972,"tags":57973,"thumbUrl":57974,"material":84,"size":84,"collection":84,"collections":57975,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},227979,"xing-lv-tu-ye-liang-kai-227979","行旅图页","此作取景极简，半边巨峰巍峨矗立，山石以斧劈皴利落勾勒棱线，淡墨晕染出积雪覆山的清寒意态。崖下枯木虬曲遒劲，枝桠交错间尽显冬日荒寒。山脚处旅人策蹇徐行，渺小身影衬得山岳愈发沉浑大气，留白铺就出辽远空寂的江天。\n整幅笔简意繁，以苍劲简逸的笔墨，将羁旅天涯的孤寂况味藏于尺幅之间，把冬日山行的荒寂清冷烘托尽致，意境幽远耐品，尽显水墨写意的精妙。",[23,24,7,164,29,59,132,131,1337,34,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27fc4d514243e15127ce1f8cc64c78d1.jpg",[],{"id":57977,"slug":57978,"title":57979,"dynasty":18,"author":44015,"museum":300,"description":57980,"tags":57981,"thumbUrl":57982,"material":692,"size":1293,"collection":84,"collections":57983,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},227942,"fu-yi-jiao-jing-zhang-ji-zhi-227942","佛遗教经","张即之（1186—1263年），宋代书法家，字温夫，号樗寮，历阳（今安徽和县）人。生于名门显宦家庭，为参知政事张孝伯之子，爱国词人张孝祥之侄，系中唐著名诗人张籍的八世孙。历官监平江府粮科院、将作监薄、司农寺丞。特授太子太傅、直秘阁致仕。",[23,164,7,25,187,572,64,7322,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4401b87f9199f68b5ef698da2758556d.jpg",[],{"id":57985,"slug":57986,"title":57987,"dynasty":18,"author":223,"museum":300,"description":57988,"tags":57989,"thumbUrl":57990,"material":84,"size":84,"collection":84,"collections":57991,"showCount":628,"zanCount":1998,"manualWeight":48,"mainColor":72},227938,"an-chun-tu-tuan-shan-ye-yi-ming-227938","鹌鹑图团扇页","此作以精微工笔写就，细笔丝毛将鹌鹑的羽色层次尽现，蓬松绒羽间兼具挺括质感，鹌鹑侧目远眺，身姿沉稳灵动，将野禽机警的天性传神勾勒。背景淡晕草叶，虚淡朦胧，以衬实主，将秋日郊野的清寂野趣悄然铺陈。\n\n古绢色泽沉郁，却难掩笔墨精妙，以小景见天地，尽显对自然物性的细致体察。整幅画面简净含蓄，萧疏静谧的意境呼之欲出，淡墨轻色间，藏着雅致内敛的古典意趣。",[23,164,24,7,1131,61,28,27,8140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafc2445a1615daab5107d7a131a57600.jpg",[],{"id":57993,"slug":57994,"title":57995,"dynasty":18,"author":223,"museum":300,"description":57996,"tags":57997,"thumbUrl":57998,"material":84,"size":84,"collection":84,"collections":57999,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},227908,"kong-lin-zuo-gou-tu-yi-ming-227908","空林坐狗图","垂柳如烟垂覆林隅，细槎疏枝错落舒展，晕染出萧寂清旷的郊野秋意。劲瘦细犬静坐坡石之侧，颈间红绦轻垂，是古雅底色里一抹鲜亮暖意。它抬首侧目，似在谛听风穿叶隙、野雀轻啼，将空林的幽寂悄然打破，又融于这份静谧之中。\n\n此作晕染温润古雅，淡墨写尽林野荒疏意趣，工笔细绘灵犬神态，以尺幅团扇框住林下闲景，将雅致审美藏于野趣日常，幽韵自生，尽显小品画以小见大的精妙意境。",[23,1326,24,7,1131,28,27,949,527,34,171,7446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d50f44903c7a03e510070aaade1260.jpg",[],{"id":58001,"slug":58002,"title":50030,"dynasty":18,"author":23450,"museum":300,"description":50031,"tags":58003,"thumbUrl":58004,"material":84,"size":84,"collection":84,"collections":58005,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},227756,"jiang-di-fang-mu-tu-yan-ci-ping-227756",[23,24,164,7,1131,27,29,102,34,50033,171,99,415,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e32dad27f36b039d1b36db0db02d9fd.jpg",[],{"id":58007,"slug":58008,"title":58009,"dynasty":18,"author":1323,"museum":300,"description":58010,"tags":58011,"thumbUrl":58012,"material":84,"size":84,"collection":84,"collections":58013,"showCount":628,"zanCount":1998,"manualWeight":48,"mainColor":72},227737,"mu-yang-tu-ye-li-song-227737","牧羊图页","本幅设色画园形，左侧款“李嵩”，对幅王玄真书黄公望句，钤“信公珍赏”、“黄氏子久”等印21方。\n\n李嵩（1166-1243年），南宋画家，钱塘人。少为木工，后为画院待诏李从训养子，随其习画。历任光宗、宁宗、理宗三朝画院待诏。擅长人物、佛像，尤长界画。",[23,1846,24,7,27,28,96,6300,949,331,4363,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7449e6fb1adde8548b9b68812e0a5f09.jpg",[],{"id":58015,"slug":58016,"title":51556,"dynasty":18,"author":313,"museum":300,"description":58017,"tags":58018,"thumbUrl":58019,"material":84,"size":84,"collection":84,"collections":58020,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},227588,"zhi-jing-dao-shi-qi-shi-jun-chi-du-huang-ting-jian-227588","此帖亦称“与景道使君书”。纸本，纵27.8、横47.4厘米。被《戏鸿堂法书》、《玉烟堂帖》、《海宁陈氏藏真帖》等丛帖收录。\n\n黄庭坚是北宋诗人、书法家，字鲁直，号涪翁，又号山谷道人。江西修水人。黄庭坚书法擅行草书，初师法周越，后上溯颜真卿、怀素，尤其得力于《瘗鹤铭》，用笔以侧险取势，纵横拗崛，自成一家。黄庭坚行书不及其草书艺术水准高，而行书小字似胜大字，当然这是见仁见智的看法。他的大字行书虽长枪大戟，气势很盛，但总觉含蓄不足，不及小字耐人寻味，比如这件尺牍，温文尔雅，收放自如，并不因字小而损气度。\n\n这件尺牍还是一件重要的书论短文：信中写“翰林苏子瞻书法娟秀，虽用墨太丰，而韵有余，于今为天下第一。余书不足学，学者辄笔（懦）无劲气。今乃舍子瞻而学余，未能择术也。”黄书与苏东坡书法比起来，确实是苏字更有韵致，当然这仅是指行书，而苏书用墨太丰，亦是小疵，黄曾戏言苏字“石压蛤蟆”，而苏反唇相讥黄字“死蛇挂树”，双方都提到了对方特点，同时也点到不足，而他们之间的调侃都是善意的，正因为这一点而成了千古佳话。",[7,64,133,10762,611,208,9909,1326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dad10d747084894378b48a94630475a.jpg",[],{"id":58022,"slug":58023,"title":58024,"dynasty":18,"author":1091,"museum":300,"description":58025,"tags":58026,"thumbUrl":58027,"material":84,"size":84,"collection":84,"collections":58028,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},227501,"wen-zhu-tu-shou-juan-su-shi-227501","文竹图手卷","这是一首关于笋焖猪肉的打油诗，据说，苏轼在一个派对上品尝这道食物时，就作了这首诗。\n\n你可能还听过他的另一首诗，“宁可食无肉，不可居无竹。无肉令人瘦，无竹令人俗。人瘦尚可肥，士俗不可医。旁人笑此言，似高还似痴。”\n\n由此可见，苏轼对竹子的爱甚至已经超过了肉，宁可食无肉，也要“居有竹”。可能有人会想，瘦一瘦更健康，拿它跟“居无竹”相比，是不是太夸张了？",[23,24,7,25,128,167,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92d5e41d22c6c061286d0a76a7284bc9.jpg",[],{"id":58030,"slug":58031,"title":58032,"dynasty":18,"author":58033,"museum":300,"description":58034,"tags":58035,"thumbUrl":58036,"material":84,"size":84,"collection":84,"collections":58037,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},227437,"han-lin-ju-qin-tu-zhou-gao-dao-227437","寒林聚禽图轴","高焘","美国克利夫兰艺术博物馆藏《寒林聚禽图轴》，因存名款而传为南宋画家高焘传世仅见的一幅绢本设色花鸟画轴。高居翰认为高焘有可能出仕金源，因此该画现被归为金代绘画作品。而笔者主张的观点是：从无史料证实高焘曾叛降金源，且高焘该画本事，更可能蕴涵有抗金时代征候并具有一定积极政治倾向。",[23,24,7,164,165,28,132,29,1557,211,1233,331,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc37bba1188351b629f22203bd50fb89f.jpg",[],{"id":58039,"slug":58040,"title":46534,"dynasty":18,"author":46535,"museum":300,"description":58041,"tags":58042,"thumbUrl":58043,"material":84,"size":84,"collection":84,"collections":58044,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},227409,"ying-gu-tu-ye-li-you-227409","宋代画家李游，长于雄鹰，有灵性的态度和优秀的音乐。 学画那两只坐在枯树上的老鹰，看上去十分悠闲，略带了猛禽凶猛的模样，却依然英姿飒爽。",[23,164,24,7,28,27,211,61,1337,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b691bdf35dcf11c904d1e69d7cdd8a8.jpg",[],{"id":58046,"slug":58047,"title":58048,"dynasty":18,"author":223,"museum":300,"description":58049,"tags":58050,"thumbUrl":58051,"material":84,"size":84,"collection":84,"collections":58052,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},227378,"qiu-ting-ru-quan-tu-yi-ming-227378","秋庭乳犬图","宋人小品画有很多题材，其中表现宠物犬的画作就有不少，尤其是宫廷贵妇在闲情逸致之时所驯养的小型观赏犬。毛益的《萱草戏狗图》与李迪的《秋葵山石图》，以及南宋无款的《秋庭乳犬图》、《秋葵犬蝶图》、《鸡冠乳犬图》、《萱花乳犬图》等就是典型代表。既反映了南宋院体花鸟画技艺的高超，又显现出画作中宠物犬的生动传神。千年之隔，犹如昨日。",[24,7,164,18,28,27,1131,949,9119,171,230,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9de381462da7dc521dfb837af9d57c0.jpg",[],{"id":58054,"slug":58055,"title":58056,"dynasty":351,"author":223,"museum":300,"description":58057,"tags":58058,"thumbUrl":58059,"material":84,"size":84,"collection":84,"collections":58060,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},227268,"xing-hu-tu-li-zhou-yi-ming-227268","醒虎图立轴","这幅水墨虎作，以淡墨晕染勾勒尽显写意妙趣。作者以灵动劲挺的墨线写出虎身毛发丝缕，浓淡墨色铺陈区分肌肉起伏，褪去猛虎惯常的凶戾张扬，将其初醒时慵懒松弛之态刻画入微，沉静姿态下暗蕴百兽之王的沉凝威严。\n画面边角缀以枯折枝桠与寒草，晕染出荒萧寒寂的氛围，与卧虎的静穆融为一体。整作不施重彩，凭藉古绢底色与水墨层次营造出古雅沉静的意境，简淡笔墨间暗藏雄浑气韵。",[23,24,7,165,128,5490,949,7596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfd03bfdd9f3579aa0c7a5c1ea73e975.jpg",[],{"id":58062,"slug":58063,"title":27116,"dynasty":54,"author":5367,"museum":300,"description":35923,"tags":58064,"thumbUrl":58065,"material":84,"size":84,"collection":84,"collections":58066,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},226636,"shou-zi-pu-ru-226636",[23,24,7,64,128,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd5ea3013245d575b459bc38ebbef6d1.jpg",[],{"id":58068,"slug":58069,"title":2271,"dynasty":54,"author":5770,"museum":300,"description":58070,"tags":58071,"thumbUrl":58072,"material":84,"size":84,"collection":84,"collections":58073,"showCount":628,"zanCount":1998,"manualWeight":48,"mainColor":72},224532,"fang-gu-wei-gen-lao-ren-224532","此作为写意墨竹，数竿修竹错落斜出，构图疏密得宜，虚实相生。以浓淡墨色区分层次，浓墨挥写竹叶，笔势迅疾如劲风穿林，聚散合度，尽显劲挺错落之态；淡墨勾勒皴染竹干，笔力圆劲沉稳，竹节顿挫有力，将竹的清拔苍劲展露无遗。\n\n画面留白疏朗，以素净底色衬出修竹逸韵，尽显文人画尚简重意的意趣。落笔简练却神完气足，把竹之清高隽秀的品性描摹尽致，藏着画者寄情于竹的文心风骨。",[23,24,7,165,128,330,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea2fdbaeba4523a2230d84515b05d154.jpg",[],{"id":58075,"slug":58076,"title":58077,"dynasty":54,"author":9529,"museum":300,"description":58078,"tags":58079,"thumbUrl":58080,"material":84,"size":84,"collection":84,"collections":58081,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},224459,"hua-hui-shan-shui-he-ce-1-7-wang-hui-224459","花卉山水合册1-7","此作用水墨写就冬日林泉之景，枯木虬曲苍劲，扎根嶙峋岩岸，间有翠松点染，于萧寒里暗蕴生机。山岩以干笔皴擦勾勒，朴拙厚重的棱角间，溪涧萦回、细瀑垂落，静景暗藏动势。远景以淡墨晕染烟霭，水天相融朦胧悠远，归雁掠过长空，更衬荒寒清寂。\n\n左侧题款朱印点缀，文气与画意浑然相融。全作用枯淡笔触铺陈萧疏之境，于极简中晕染出澹泊诗意，将冬日林泉的幽寂清远刻画尽致，笔意苍秀兼具，尽显文人山水雅逸格调，是以简驭繁的水墨佳作。",[23,24,164,7,59,128,132,29,1337,497,211,1813],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0081d806b4ce52c4d8230dfefa4b761b.jpg",[],{"id":58083,"slug":58084,"title":58085,"dynasty":54,"author":58086,"museum":300,"description":58087,"tags":58088,"thumbUrl":58091,"material":692,"size":1293,"collection":84,"collections":58092,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},224333,"yan-ti-ku-shu-fu-li-zhou-tan-yan-kai-224333","颜体枯树赋立轴","谭延闿","谭延闿（1880年1月25日—1930年9月22日），字组庵，号无畏、切斋，湖南茶陵人。与陈三立、谭嗣同并称“湖湘三公子”；生于浙江杭州，民国时期著名政治家、书法家、组庵湘菜创始人。\n谭延闿曾经任两广督军，三次出任湖南督军、省长兼湘军总司令，授上将军衔，陆军大元帅。曾任南京国民政府主席、行政院院长。1930年9月22日，病逝于南京。去世后，民国政府为其举行国葬。谭延闿有“近代颜书大家”之称，著述有《组庵诗集》等，其精于美食，为组庵湘菜创始人 。蒋介石和宋美龄结婚，谭延闿为介绍人。",[23,165,572,64,58089,7,58090],"颜体","枯树赋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3591a006309f3f3e6ccaf82aff2be38.jpg",[],{"id":58094,"slug":58095,"title":58096,"dynasty":54,"author":29876,"museum":300,"description":58097,"tags":58098,"thumbUrl":58099,"material":84,"size":84,"collection":84,"collections":58100,"showCount":628,"zanCount":1998,"manualWeight":48,"mainColor":72},224283,"shan-shui-hua-hui-ce-shi-si-fu-shan-224283","山水花卉冊(十四)","此作用色浅淡温润，以淡赭晕染崖壁，弱化山石棱角锋芒，尽显朴拙沉静的质感。前景枯林疏枝以简笔勾勒，不着浓墨修饰，空留出大片水泽，衬出山野空寂。远山仅以淡墨轻扫，虚实相生间拉开悠远层次。\n\n全画笔墨极简，不尚繁复描摹，以写意之法直抒胸臆，将萧散淡远的林下襟怀藏于淡远景致之中，静穆古雅的气质漫溢纸面。方寸间尽是冬日空山的清寂氛围，淡而不寡，简而不空，把胸中丘壑化作纸上清景，尽显文人画以意驭形的悠长余韵。",[23,24,7,59,128,132,29,1337,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F347803b95215729f574e8f7396313f9c.jpg",[],{"id":58102,"slug":58103,"title":58104,"dynasty":54,"author":56774,"museum":300,"description":58105,"tags":58106,"thumbUrl":58107,"material":84,"size":84,"collection":84,"collections":58108,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},224246,"die-chi-cong-guan-huai-224246","蝶翅丛","此作用笔秀润工致，淡设晕染出白菊冰姿玉骨。数簇柔菊或盛放舒展，或含苞轻绽，枝叶偃仰有态，将秋日花卉的清灵生机尽数铺陈。配上行楷题诗，诗画呼应，把幽菊孤高自持的风骨藏于绢素间。整体雅致内敛，无浓艳修饰，以细腻写实的笔触勾勒花叶纹理，晕染出花瓣柔润的质感，尽显文人写意的沉静意趣，晕染开传统花艺的古典美学，是写生花木的清雅佳作。",[23,164,24,7,27,28,376,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d639b415278a601d0bbf67b6e1f7f63.jpg",[],{"id":58110,"slug":58111,"title":24393,"dynasty":18,"author":223,"museum":300,"description":58112,"tags":58113,"thumbUrl":58114,"material":84,"size":84,"collection":84,"collections":58115,"showCount":628,"zanCount":1998,"manualWeight":48,"mainColor":49},223689,"an-chun-tu-yi-ming-223689","此作工细写实，将郊野一隅的生趣凝于尺幅之间。画面中的鹌鹑刻画入微，羽毛以淡墨晕染结合丝毛技法，斑纹丝丝毕现，其侧首凝神，警觉灵动，仿佛正静听周遭草间动静，野意盎然。穿插的兰草以柔韧舒展的墨线勾勒，疏密有致，将荒坡的幽野氛围烘托尽致，淡墨晕染的坡石质感朴拙温润，与草叶、禽鸟相映相融。\n整幅笔墨古雅柔和，以小见大，捕捉自然里的刹那生机，尽显细腻体察万物的宋人审美，笔简意长，静雅悠然，暗含着平和安宁的野趣意韵。",[23,24,164,7,28,27,61,8140,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b918dccddff8032d7ec9a55582dda52.jpg",[],{"id":58117,"slug":58118,"title":58119,"dynasty":18,"author":223,"museum":300,"description":58120,"tags":58121,"thumbUrl":58123,"material":84,"size":84,"collection":84,"collections":58124,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},223640,"xiao-yi-zhuan-lan-ting-tu-yi-ming-223640","萧翼赚兰亭图（ＨＤ）","此作以浅淡设色铺陈场景，衣纹勾勒清圆细劲，简练间尽显人物风神。垂首侍立的侍者静立旁侧，竹椅上老僧神态淡然，正与躬身士人相对晤谈。画面摒弃繁复衬景，将张力收束在四人之间，暗合典故里机锋暗藏的对峙氛围。绢面晕开的古旧质感晕染出岁月沉淀，把这场暗藏谋划的会面，凝为沉静古雅的无声戏剧，尽显精妙的叙事功底，于极简布景中铺陈出耐人寻味的故事性。",[23,24,1846,25,40819,27,96,31729,1424,58122,7344,18700,7,164,10993,41971,16099,251],"僧人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034f604ceb2aa0061992d1d0c2365d4a.jpg",[],{"id":58126,"slug":58127,"title":58128,"dynasty":54,"author":223,"museum":300,"description":51666,"tags":58129,"thumbUrl":58130,"material":84,"size":84,"collection":84,"collections":58131,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},223527,"wu-yi-shan-shi-ba-jing-tu-2-yi-ming-223527","武夷山十八景图2",[23,24,7,128,29,132,129,131,34,31,59,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a0a6154bc08a6564afd5a91ee205e4b.jpg",[],{"id":58133,"slug":58134,"title":58135,"dynasty":18,"author":223,"museum":20,"description":58136,"tags":58137,"thumbUrl":58138,"material":514,"size":58139,"collection":84,"collections":58140,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},223504,"song-jian-shan-qin-tu-yi-ming-223504","松涧山禽图","此图绘参天的古松下，山溪蜿蜒奔流，水花飞溅，四对山鹊姿态各异，或飞呜，或回旋，或啄食与山涧和树石之上，形象生动。图中用浓墨画松斡和松鳞，松针用墨线勾描后用石青渲染。竹叶用严谨的双钩填色法。山石则用墨线勾勒轮廓，进而用淡青色破染，使画面富有立体感。此图用笔苍劲，静中有劲，为南宋小幅花乌画中精秀之作。",[23,24,7,28,27,128,132,208,29,61,331,99,211,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F358748c7ccf2b7905f2e1c8e5ca0f3c9.jpg","25.3x25.3厘米",[],{"id":58142,"slug":58143,"title":58144,"dynasty":326,"author":223,"museum":510,"description":58145,"tags":58146,"thumbUrl":58147,"material":58148,"size":58149,"collection":84,"collections":58150,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},223497,"cao-e-ci-quan-juan-yi-ming-223497","曹娥辞全卷","《曹娥诔辞》是自东晋流传迄今的楷书墨迹，因卷后署有“升平二年”年款，又名《升平帖》。通篇以小楷书写就，捺笔厚重、结体扁方，尚存隶书笔意，从中可以窥见早期楷书的笔法、结体特征。此卷历来有王羲之墨迹一说，至宋高宗赵构时明确为晋时佚名之作。",[23,25,7,64,133,572,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d15bd71cc6a624b2f334bb609e141f7.jpg","绢本楷书","32.3x54.3厘米",[],{"id":58152,"slug":58153,"title":58154,"dynasty":124,"author":223,"museum":300,"description":58155,"tags":58156,"thumbUrl":58158,"material":1223,"size":58159,"collection":84,"collections":58160,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},223421,"xue-tong-nao-tang-yi-ming-223421","学童闹堂","绘制了学堂内学童玩笑的情形。画中先生正伏案休息，己经睡着了，众学童大肆喧闹，有的拿掉先生的帽子，有的钻到先生桌下，有的大笑，有的游戏，桌椅狼藉，一片混乱。画家抓住儿童的性格特点来绘制，绘声绘色，惟妙惟肖。",[23,24,7,1131,27,28,96,2218,58157,1422],"堂屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d2e4a17551afa5703fada033b40620c.jpg","55×55cm",[],{"id":58162,"slug":58163,"title":58164,"dynasty":144,"author":223,"museum":2068,"description":58165,"tags":58166,"thumbUrl":58167,"material":1027,"size":58168,"collection":84,"collections":58169,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},223401,"si-shui-tu-yi-ming-223401","四睡图","图绘丰干、寒山、拾得三位僧人与一虎酣睡之景。二人坐姿入睡，一人半躺酣睡，一虎卧于三人之中，安详寂静；远处祥云朵朵，松青柏翠，所绘树杆皆以祥云形状，显示出浓浓的禅意。",[23,24,7,165,128,28,132,64,208,96,14916,949,34,131,331,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed90f15e151f2dd9dc88df95bfd31a45.jpg","77.8×34.3cm",[],{"id":58171,"slug":58172,"title":38218,"dynasty":54,"author":1219,"museum":20,"description":58173,"tags":58174,"thumbUrl":58175,"material":1722,"size":38223,"collection":84,"collections":58176,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},223225,"gong-sun-da-niang-wu-jian-tu-zhou-ren-yi-223225","本幅无作者款印。幅上有徐邦达先生题云：“公孙大娘舞剑器图，伯年先生粉本真迹。己卯心远生徐邦达识。” 钤印“徐邦达印”。鉴藏印钤“钱镜塘鉴定任伯年真迹之印”、“刘”。\n图绘著名教坊舞伎公孙大娘舞剑之情景。公孙大娘主要活动于唐代开元年间（713—741年），以擅长舞剑享有盛名。相传怀素、张旭观其舞剑曾启发了他们的草书创作，形成了狂草之笔风。\n是图线条劲健流畅，墨笔枯润浓淡自如，有明末陈洪绶笔法，但又具自家面貌，为任氏用意之作。",[23,24,7,165,304,188,128,96,38221,413,249,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd762fde4047513733181d1229a03479d.jpg",[],{"id":58178,"slug":58179,"title":58180,"dynasty":54,"author":11383,"museum":20,"description":23655,"tags":58181,"thumbUrl":58183,"material":23658,"size":23659,"collection":84,"collections":58184,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":615},223144,"shi-wan-tu-ce-8-ren-xiong-223144","十万图册8",[23,24,164,7,59,27,28,132,29,34,131,99,1955,372,58182,3428,23454],"枫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc40f212f1e649c2a2efad0ff50bb4879.jpg",[],{"id":58186,"slug":58187,"title":6956,"dynasty":54,"author":6957,"museum":300,"description":6958,"tags":58188,"thumbUrl":58189,"material":84,"size":84,"collection":84,"collections":58190,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},223082,"shui-hu-ren-wu-ren-xun-223082",[23,164,24,7,27,96,28,188,208,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F539b08ba97b1058c07035b54833ac96a.jpg",[],{"id":58192,"slug":58193,"title":58194,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":58195,"thumbUrl":58197,"material":151,"size":7879,"collection":84,"collections":58198,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},223020,"hong-lou-meng-145-sun-wen-223020","红楼梦145",[23,24,7,28,27,96,97,247,34,7875,166,95,1367,58196,1200],"墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb157f8db64cc314d6be2fbaf7a813e32.jpg",[],{"id":58200,"slug":58201,"title":58202,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":58203,"thumbUrl":58205,"material":151,"size":7879,"collection":84,"collections":58206,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},222950,"hong-lou-meng-75-sun-wen-222950","红楼梦75",[23,164,24,7,28,27,95,41805,96,97,167,413,247,58196,98,251,15819,58204,758,45023],"庭院景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12ae5891d7111947785f13e20a7aff27.jpg",[],{"id":58208,"slug":58209,"title":58210,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":58211,"thumbUrl":58212,"material":151,"size":7879,"collection":84,"collections":58213,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},222922,"hong-lou-meng-47-sun-wen-222922","红楼梦47",[23,164,24,7,28,27,26,132,29,96,1144,99,497,6640,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81fe50334dece69d0f491084550a4d5b.jpg",[],{"id":58215,"slug":58216,"title":58217,"dynasty":54,"author":523,"museum":20,"description":43920,"tags":58218,"thumbUrl":58220,"material":40,"size":43923,"collection":84,"collections":58221,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},222868,"shi-gong-ci-tu-ce-07-leng-mei-222868","十宫词图册07",[23,24,7,59,28,27,95,96,997,97,29,247,9425,8347,41805,58219,4283],"清代绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63c56859c3524c0625a8927ab32b68f3.jpg",[],{"id":58223,"slug":58224,"title":58225,"dynasty":54,"author":523,"museum":20,"description":43920,"tags":58226,"thumbUrl":58230,"material":40,"size":43923,"collection":84,"collections":58231,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},222865,"shi-gong-ci-tu-ce-04-leng-mei-222865","十宫词图册04",[23,24,164,7,4437,6318,95,27,58227,58228,58229,64,133],"海西画法","宫廷建筑","舞蹈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c9d448e834bf9f00769c5fbf6f5431d.jpg",[],{"id":58233,"slug":58234,"title":14115,"dynasty":54,"author":9576,"museum":1185,"description":58235,"tags":58236,"thumbUrl":58237,"material":1190,"size":58238,"collection":44,"collections":58239,"showCount":628,"zanCount":1998,"manualWeight":48,"mainColor":72},222831,"han-shan-shi-de-tu-luo-pin-222831","用笔大胆粗犷，线条流畅爽利。图中寒山右手指地，谈笔风生；拾得袒胸露腹，欢愉静听。两人披头散发，憨态可掬。借鉴了宋代画家梁楷的简笔画法，把唐代两位不愿拜见官吏的诗僧“笑傲而去”的形象勾勒得活灵活现。",[24,7,128,188,96,29,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4ed0751f7720e2eb15fbb3005ef49c4.jpg","78.3×51.4cm",[44],{"id":58241,"slug":58242,"title":58243,"dynasty":54,"author":6357,"museum":56,"description":32137,"tags":58244,"thumbUrl":58245,"material":734,"size":84,"collection":84,"collections":58246,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},222667,"shang-bo-hua-ji-xuan-huang-shen-222667","上博画集选",[23,24,7,165,27,128,96,949,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd81018d64cf71fed1ad05ceec3b3e046.jpg",[],{"id":58248,"slug":58249,"title":58250,"dynasty":124,"author":9650,"museum":56,"description":9651,"tags":58251,"thumbUrl":58252,"material":84,"size":84,"collection":84,"collections":58253,"showCount":628,"zanCount":1998,"manualWeight":48,"mainColor":72},222511,"shen-xian-tu-ce-17-zhang-lu-222511","神仙图册17",[23,24,7,164,59,128,132,29,663,413,3344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4155c124771e5c6b11017748e7f7dd8e.jpg",[],{"id":58255,"slug":58256,"title":58257,"dynasty":124,"author":9650,"museum":56,"description":9651,"tags":58258,"thumbUrl":58259,"material":84,"size":84,"collection":84,"collections":58260,"showCount":628,"zanCount":1998,"manualWeight":48,"mainColor":72},222508,"shen-xian-tu-ce-14-zhang-lu-222508","神仙图册14",[23,24,7,59,188,128,27,96,187,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f1c7b7adf1429e575120aa25afb01a1.jpg",[],{"id":58262,"slug":58263,"title":58264,"dynasty":124,"author":7003,"museum":300,"description":58265,"tags":58266,"thumbUrl":58267,"material":2739,"size":58268,"collection":318,"collections":58269,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},222481,"qi-lv-shi-bu-jiang-zhu-yun-ming-222481","七律诗不将","全卷落笔迅速，字势跌宕，行间时而穿插，时而放笔纵横，有密不通风，疏可走马的强烈视觉效果。书写时，今草与狂草交替使用，笔势连绵不绝，气势纵横，为其狂草书之杰作。",[23,7,64,840,165,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b9994f9011995d60f93f3c7748d6e8c.jpg","49.5x129.5cm",[318],{"id":58271,"slug":58272,"title":58273,"dynasty":124,"author":7003,"museum":244,"description":56411,"tags":58274,"thumbUrl":58275,"material":611,"size":58276,"collection":318,"collections":58277,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},222464,"shu-shan-ye-zhu-yun-ming-222464","书扇页",[23,1131,64,133,840,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa44214ec1fb685b490e03762ffc07075.jpg","31.1x37",[318],{"id":58279,"slug":58280,"title":272,"dynasty":124,"author":28466,"museum":2068,"description":58281,"tags":58282,"thumbUrl":58283,"material":1027,"size":58284,"collection":84,"collections":58285,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},222454,"zhu-tu-tan-zhi-rui-222454","图绘斜坡上绿竹一丛，竹杆修长，竹叶茂密，但画面皴裂，中部一丛竹枝被抹去，很是惋惜。技法上，粗笔勾勒竹杆，浓墨绘主体竹叶，两侧及后方以淡墨绘数枝竹子，使画面更加丰满。檀芝瑞，明代画家，善梅兰墨竹。",[23,24,7,128,369,167,171,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55dcb5b2882ad12a2fc242681f729b11.jpg","25.8×21.8",[],{"id":58287,"slug":58288,"title":58289,"dynasty":124,"author":3373,"museum":300,"description":15043,"tags":58290,"thumbUrl":58291,"material":28,"size":15046,"collection":84,"collections":58292,"showCount":628,"zanCount":1998,"manualWeight":48,"mainColor":3379},222046,"de-qu-zai-ren-ce-13-kai-6-wang-zhong-222046","得趣在人册13开6",[23,805,24,7,59,27,28,61,355,36646,547,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91d669a8b938105e367f73e7f247b2a3.jpg",[],{"id":58294,"slug":58295,"title":58296,"dynasty":18,"author":2257,"museum":510,"description":58297,"tags":58298,"thumbUrl":58299,"material":40,"size":58300,"collection":84,"collections":58301,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},221672,"lian-zhou-xin-yue-tu-quan-juan-zhao-bo-ju-221672","莲舟新月图全卷","此卷整体画面以色彩渲染，着色清丽,内容描写的北宋著名理学家周敦颐爱莲的故事。画面人物精神清润，能别状貌。柳树旁的两棵对称式的野花，以及坡石上的点苔都极富装饰趣味。",[23,164,24,7,25,26,27,28,133,64,208,29,81,129,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b08ce584a2b3aee32d00009daf8bd9.jpg","24.2x591.8cm",[],{"id":58303,"slug":58304,"title":58305,"dynasty":18,"author":16153,"museum":244,"description":58306,"tags":58307,"thumbUrl":58308,"material":514,"size":58309,"collection":84,"collections":58310,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},221663,"guan-shan-xing-lv-xiao-zhao-221663","关山行旅","此图右侧，仅画江水、浅滩、远渚、烟树。山间一条小路迂回盘旋，经前峰山腰渡口直抵后峰山巅，临近山巅处有一片楼台亭阁，一登山行人已走近。右下临水山岩上两人指看远方美景。左侧最高峰画得半壁实半壁虚，虚处乃为江上为气所迷，上升成岚，后面还添上几座淡淡峭峰，启人高远不可测的“仰止”之叹。山际径路盘曲，有两人策杖而上，而楼观却深深埋藏在山坳幽谷中。近山浓重，远山清淡，又形成虚实对比。名款“萧照”二字楷书于幅中央之树石间，则与《西湖志余》所载相同。",[23,164,24,7,27,132,29,131,34,37,690,2620,496,1022,10143,1645,9403,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2fe06d072d80ba657a4399c5a76700d.jpg","24.2 x 26.2 cm",[],{"id":58312,"slug":58313,"title":58314,"dynasty":18,"author":2099,"museum":12686,"description":58315,"tags":58316,"thumbUrl":58317,"material":1027,"size":58318,"collection":84,"collections":58319,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},221405,"zui-seng-tu-juan-quan-juan-li-gong-lin-221405","醉僧图卷全卷","此画应为南宋人作。卷末有苏轼草书题跋，另有署名“东村”的长跋，“东村”不知为何人，但书法精妙，当为大家手笔。画作的真伪、年代姑且不论，亦不论卷末题跋者是否苏轼，单就书法水平而言却是着实精彩的。",[23,24,7,25,188,128,64,133,840,96,413,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59a82f9d0989e0effd94ca4473f6f65d.jpg","画芯32.5x60.8cm",[],{"id":58321,"slug":58322,"title":58323,"dynasty":18,"author":2099,"museum":300,"description":58324,"tags":58325,"thumbUrl":58326,"material":611,"size":15919,"collection":84,"collections":58327,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},221403,"fa-hai-ling-shan-tu-li-gong-lin-221403","法海灵山图","李公麟(1049-1106)，北宋著名画家。字伯时，号龙眠居士。汉族，舒州(今安徽舒城县人) 。李龙眠既李公麟，字伯时，祖籍安徽舒城， 因安庆桐城郊外有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。神宗熙宁三年进士，历泗州录事参军，以陆佃荐，为中书门下后省删定官、御史检法。\n好古博学，长于诗，精鉴别古器物。尤以画著名，凡人物、释道、鞍马、山水、花鸟，无所不精，时推为宋画中第一人。李公麟因风痹致仕，归居龙眠山庄，自作《山庄图》，为世所宝。传世作品有《五马图》《维摩诘图》等。",[23,164,24,7,188,187,96,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd0e4ae53972ab8c5be07470292ac407.jpg",[],{"id":58329,"slug":58330,"title":58331,"dynasty":18,"author":4861,"museum":510,"description":58332,"tags":58333,"thumbUrl":58334,"material":840,"size":84,"collection":84,"collections":58335,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},221379,"ba-sun-guo-ting-qian-zi-wen-di-wu-ben-wang-shen-221379","跋孙过庭千字文第五本","王詵[shēn]（公元約1048年—公元約1104年），字晉卿，太原（今山西太原）人，後遷汴京（今河南開封） ，北宋畫家。\n北宋熙寧二年（1069年）娶英宗女蜀國大長公主，拜左衞將軍、駙馬都尉。元豐二年，因受蘇軾牽連貶官均州。元祐元年（1086年）復登州刺史、駙馬都尉。擅畫山水，學王維、李成，喜作煙江雲山、寒林幽谷，水墨清潤明潔，青綠設色高古絕俗。亦能書，善屬文。其詞語言清麗，情致纏綿，音調諧美。存世作品有《漁村小雪圖》《煙江疊嶂圖》《溪山秋霽圖》等。",[23,64,133,7,25,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b7f141a38f4bd44373094a8349e4aac.jpg",[],{"id":58337,"slug":58338,"title":58339,"dynasty":18,"author":58340,"museum":20,"description":58341,"tags":58342,"thumbUrl":58343,"material":46621,"size":58344,"collection":84,"collections":58345,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},221256,"da-nian-tie-xue-shao-peng-221256","大年帖","薛绍彭","释文：\n绍彭启：多日廷中不得少款为慊。晴和，想起居佳安。二画久假，上还，希检收。许借承晏、张遇墨，希示一观，千万，千万！承晏若得真完，虽《异热帖》亦可易。更俟续布，不具。绍彭再拜，大年太尉执事。廿八日。\n此帖名也作《晴和帖》。\n这是一封与藏友谈论藏品观摩与交流事宜的书信。信中首先提到归还两幅久借的绘画，然后表示希望借观对方所藏制墨名家李承晏、张遇所制名墨。并云李承晏墨如是完整的真品，愿以自藏王羲之《异热帖》与之交换。信的上款“大年太尉”，据考证应是北宋宗室、名画家赵令穰。\n此帖行笔圆健，结字安详，从容不迫，深得“二王”遗韵，是薛氏的代表作品。上钤“贞元”、“绍兴”等半印，裱工钤“许子仙鉴定印”“许烈之印”“孔氏季修”“受青”等印。\n《寓意编》、《铁网珊瑚》、《式古堂书画汇考》、《平生壮观》等书著录。",[23,64,7,133,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F724c47a3271783b03c92462eed77c9b2.jpg","纵25.1厘米，横34.8厘米",[],{"id":58347,"slug":58348,"title":58349,"dynasty":124,"author":16846,"museum":6892,"description":58350,"tags":58351,"thumbUrl":58352,"material":652,"size":58353,"collection":84,"collections":58354,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":84},220735,"yan-jiang-die-zhang-tu-ba-wen-bo-ren-220735","烟江叠嶂图跋","此小楷题跋笔致清劲秀雅，结体匀整端稳。书者追念原作笔墨逸趣，慨叹辗转得见真迹的幸然，盛赞原作笔意苍茫浑朴，以精妙水墨晕染出烟江层峦的空濛之致，将山川灵秀收于尺幅之间。\n\n字里行间藏着得见真迹的珍视，把寻获佳作的欣喜与对原作风神的倾慕娓娓道来。笔墨文辞相融，既为画作添上一段流传佳话，又以隽雅书迹衬合原作山水意境，尽显文人清雅意趣与鉴藏情怀，书画相映，让这份古雅意韵更添悠长。",[24,7,133,128,27,29,3649,496,37,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3032ad22be1f88d0afc7499004d1d852.jpg","22 × 31.7厘米",[],{"id":58356,"slug":58357,"title":58358,"dynasty":54,"author":9864,"museum":20,"description":53423,"tags":58359,"thumbUrl":53425,"material":66,"size":53578,"collection":44,"collections":58360,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},220409,"wang-shi-zhen-fang-xian-tu-yu-zhi-ding-220409","王士禛放鹇图",[23,24,7,25,27,28,96,211,413,131,130,64,208],[44,45],{"id":58362,"slug":58363,"title":58364,"dynasty":351,"author":58365,"museum":244,"description":58366,"tags":58367,"thumbUrl":58368,"material":173,"size":58369,"collection":84,"collections":58370,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},220383,"fang-shi-cang-gan-tu-teng-chang-you-220383","芳实藏甘图","滕昌祐","设色古雅沉静，绘就佳果攒簇枝桠。果实饱满莹润，丹朱色晕染出成熟肌理，鲜活仿若将溢出水光。叶片舒展，墨色分出浓淡层次，苍劲叶脉暗藏生趣。\n\n写实工致的笔力将甘美凝于绢素，静赏间似能嗅见晓露浸润的清甜，暗合题咏中的清芬意韵。笔底兼具写生的生动与文人情致，把佳实的丰盈鲜活封存在古淡绢色之中，于尺幅间藏尽甜香，尽显写生花鸟的细腻意趣。",[24,7,59,28,27,61,2037,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e0e02ff5f906ce47343f51b0043d8ff.jpg","24.9x24.8",[],{"id":58372,"slug":58373,"title":58374,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":58375,"thumbUrl":58376,"material":611,"size":3722,"collection":84,"collections":58377,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},220261,"huang-shan-tu-ce-60-hong-ren-220261","黄山图册-60",[23,24,7,59,128,26,27,29,132,17260,1144,950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa33606b2afecd4253017a2e96c299d3a.jpg",[],{"id":58379,"slug":58380,"title":58381,"dynasty":124,"author":802,"museum":77,"description":803,"tags":58382,"thumbUrl":58383,"material":173,"size":808,"collection":84,"collections":58384,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},220223,"hua-niao-cao-chong-xie-sheng-ce-dan-zi-gu-fang-chen-hong-shou-220223","花鸟草虫写生册-淡紫孤芳",[23,164,24,7,59,28,27,376,481,1955,61,480,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53bb070134421d626cfa855b4c4e709c.jpg",[],{"id":58386,"slug":58387,"title":58388,"dynasty":124,"author":204,"museum":56,"description":11541,"tags":58389,"thumbUrl":58390,"material":1733,"size":11544,"collection":84,"collections":58391,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},219770,"lin-song-ren-hua-ce-9-chou-ying-219770","临宋人画册-9",[164,24,7,59,28,27,96,169,330,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90fa2a836e1069b72065df41bcb3ab93.jpg",[],{"id":58393,"slug":58394,"title":58395,"dynasty":124,"author":204,"museum":56,"description":11541,"tags":58396,"thumbUrl":58397,"material":173,"size":11544,"collection":84,"collections":58398,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},219769,"lin-song-ren-hua-ce-10-chou-ying-219769","临宋人画册-10",[24,7,59,330,27,28,96,166,34,169,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77a67788a36726a1b166c7a8202a0049.jpg",[],{"id":58400,"slug":58401,"title":58402,"dynasty":124,"author":204,"museum":56,"description":11541,"tags":58403,"thumbUrl":58404,"material":173,"size":11544,"collection":84,"collections":58405,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},219763,"lin-song-ren-hua-ce-15-chou-ying-219763","临宋人画册-15",[24,164,7,59,330,27,28,29,371,167,211,171,99,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e20650077b94b9f08a947fc72a72d71.jpg",[],{"id":58407,"slug":58408,"title":56698,"dynasty":124,"author":47077,"museum":1941,"description":50916,"tags":58409,"thumbUrl":58410,"material":66,"size":58411,"collection":84,"collections":58412,"showCount":628,"zanCount":1998,"manualWeight":48,"mainColor":72},219668,"fang-gu-shan-shui-ce-10-yun-xiang-219668",[24,7,59,27,29,663,228,129,130,211,99,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc65869df66acee4b37c2efa671cbf9.jpg","26x15.2",[],{"id":58414,"slug":58415,"title":58416,"dynasty":144,"author":8127,"museum":244,"description":58417,"tags":58418,"thumbUrl":58419,"material":173,"size":10420,"collection":84,"collections":58420,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},219108,"hua-hui-ce-qian-niu-wang-yuan-219108","花卉册-牵牛","蓝紫牵牛花瓣晕染如含晨露，清雅温润中藏着细腻肌理。藤蔓蜿蜒舒展，叶片脉络分明，墨线与淡彩交织出自然生机。两只粉蝶翩跹于花间，翅翼斑纹精致，似欲停落又忽振翅，添了灵动意趣。暖棕底色衬得花叶愈发脱俗，工笔之细与写意之淡相融，将寻常草木的韵致凝于尺幅。静赏间，仿佛能触到花瓣柔润，嗅到那缕若有若无的清芬，尽显元人笔下自然之美与文人雅趣，把日常小景绘成了耐人寻味的诗意画面。",[23,24,7,59,27,28,61,21158,481,62,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F813d25a51e8dac5ee3c3d0e110d1e9a1.jpg",[],{"id":58422,"slug":58423,"title":58424,"dynasty":18,"author":2099,"museum":1941,"description":58425,"tags":58426,"thumbUrl":58427,"material":151,"size":58428,"collection":44,"collections":58429,"showCount":628,"zanCount":1998,"manualWeight":48,"mainColor":72},219082,"shi-er-luo-han-tu-li-gong-lin-219082","十二罗汉图","李公麟（1049-1106），字伯，号龙眠居士，北宋舒州（今舒城）人。出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。居京师十年不游权贵之门，以访名园荫林为乐。元符三年（1100）病痹告老，居龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,164,24,7,25,187,188,96,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04758232c2aca60d77835f12865d95a3.jpg","23.1x866.4厘米",[44],{"id":58431,"slug":58432,"title":58433,"dynasty":18,"author":58434,"museum":244,"description":58435,"tags":58436,"thumbUrl":58437,"material":173,"size":58438,"collection":136,"collections":58439,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},218966,"qiu-shan-yan-ai-tu-lian-fu-218966","秋山烟霭图","廉孚","连福在宋朝时出生于山阴（今浙江绍兴）或山阳（今江苏淮安）。他的父亲连布是一位武术医生，住在绍兴，擅长绘画。莲的画风与他父亲的一样。这幅有框画描绘了山区的秋色，有树木和岩石，还有烟雨蒙蒙的景色。一名男子在一条山路上平静地走着，他的同伴背着一个登山背包跟在后面。这幅画具有马沙尔风格的简单构图，笔触的诗意韵律传达了一个物是人非、天人合一的世界。",[23,24,164,7,132,128,29,8222,10143,331,131,34,415,12016,4438,3428,37,1023,47063],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45a043a6d31731e9d74857f9921bcf1c.jpg","21.4x24.7",[136],{"id":58441,"slug":58442,"title":58443,"dynasty":18,"author":223,"museum":244,"description":58444,"tags":58445,"thumbUrl":58446,"material":173,"size":58447,"collection":136,"collections":58448,"showCount":628,"zanCount":1998,"manualWeight":48,"mainColor":72},218846,"qing-xi-wan-du-tu-yi-ming-218846","清溪晚渡图","这幅画描绘了一个船夫在日落时分回家休息的情景，风景开阔，意境清远。在这幅画中，笔触更加平直，少了些许杂质，这是效仿夏圭的做法。",[23,24,7,59,128,132,27,29,99,129,1350,34,3344,1351,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba687b7e6c7bcc95dbb8bab0b4918ba.jpg","22.8x23.8",[136],{"id":58450,"slug":58451,"title":58452,"dynasty":18,"author":4602,"museum":244,"description":58453,"tags":58454,"thumbUrl":58455,"material":173,"size":24498,"collection":136,"collections":58456,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},218697,"han-pu-yu-zeng-tu-yan-su-218697","寒浦渔罾图","寒江凝碧，枯柳疏枝斜倚滩头，雪屑轻覆芦荻，晕开一层冷寂。渔罾静悬水面，似在寒雾中守着时光的缓流。旁侧题诗与画面相契，“五枝辛苦生涯”的低语，衬出渔者于风雪里的安然。笔墨简淡却含深意：枯笔勾出柳枝的苍劲，淡墨晕染江天的空濛，雪的留白与芦荻的点染相映，将冬日江浦的清寒与生机揉合。没有繁复铺陈，只以极简意象写尽寒浦孤寂与韧性，读来如临江畔，冷风拂面时，却见渔火隐约的暖意，于清冷中藏着生活的本真。",[23,164,24,7,59,27,29,1351,1337,331,414,32844,49077],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5ef4407f2b72d6c52f3f00a910f9574.jpg",[136],{"id":58458,"slug":58459,"title":1230,"dynasty":18,"author":223,"museum":244,"description":58460,"tags":58461,"thumbUrl":58462,"material":173,"size":84,"collection":136,"collections":58463,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},218695,"shan-shui-tu-yi-ming-218695","笔墨简劲，枯树虬枝倚寒坡，墨色晕染如暮烟漫漶。构图虚实相生，留白处似衔无尽远山。线条勾勒率意却见骨力，皴擦间藏野趣。不追磅礴气势，独取幽寂之境——仿佛能触山涧清寒，闻叶落风鸣。小小尺幅纳天地远意，尽得宋画“以小见大”的韵致，藏着古人对自然的细腻观照，与诗意栖居的深情。每一笔皆见匠心，于简淡中显丘壑，于幽微处动人心，是宋画小品中意境清远的佳作。",[23,24,7,59,128,27,29,331,171,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcff421981c00ba6927ad9ba004ef8775.jpg",[136],{"id":58465,"slug":58466,"title":58467,"dynasty":18,"author":223,"museum":244,"description":58468,"tags":58469,"thumbUrl":58470,"material":173,"size":84,"collection":136,"collections":58471,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},218690,"yun-shan-lan-sheng-tu-yi-ming-218690","云山揽胜图","层峦叠嶂间，云雾如缕如带，缠绕峰腰，将山川晕染出远近错落的层次。山石勾勒皴擦见苍劲质感，林木点缀其间添自然生机，而云气的轻烟淡墨柔化了峰岭的硬朗，晕开几分空濛之趣。笔墨工致中藏灵动，写实里含写意，尽显宋人山水分韵之妙。观者仿佛凭高揽胜，目之所及皆是层峰竞秀，云气吞吐，心随景阔，顿生天地悠悠、物我两忘的清幽意境。",[23,24,7,128,27,29,132,23820,496,37,131,34,25,1009,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26092f110f0e3d6da8b2ff949a808d53.jpg",[136],{"id":58473,"slug":58474,"title":58475,"dynasty":124,"author":21505,"museum":11561,"description":58476,"tags":58477,"thumbUrl":58478,"material":173,"size":58479,"collection":44,"collections":58480,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},218442,"san-lao-tu-wang-zhao-218442","三老图","这是一幅祝福画，描绘了幸福、繁荣和长寿的三颗星聚集在一起，长寿星拿着一个大桃子，其他两颗星欢快地交谈着，三颗星面容亲切，白胡子飘飘，向所有生物送去祝福、功德和裙带，祝愿长寿。",[23,24,7,165,128,27,96,21100,1144,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca277342395fd50b09f428bd4fc6bb6.jpg","158.7x95.2",[44],{"id":58482,"slug":58483,"title":58484,"dynasty":18,"author":2099,"museum":77,"description":6227,"tags":58485,"thumbUrl":58486,"material":151,"size":84,"collection":84,"collections":58487,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},218082,"luo-han-tu-ce-5-li-gong-lin-218082","罗汉图册-5",[23,24,7,59,188,128,187,96,331,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b5838d523d7f97989c96f802106f024.jpg",[],{"id":58489,"slug":58490,"title":58491,"dynasty":18,"author":2099,"museum":77,"description":6227,"tags":58492,"thumbUrl":58493,"material":151,"size":84,"collection":84,"collections":58494,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},218081,"luo-han-tu-ce-6-li-gong-lin-218081","罗汉图册-6",[23,24,7,59,188,187,96,331,171,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc77228dbf70a9baec8c191d1c09956de.jpg",[],{"id":58496,"slug":58497,"title":58498,"dynasty":54,"author":2653,"museum":244,"description":58499,"tags":58500,"thumbUrl":58501,"material":66,"size":84,"collection":84,"collections":58502,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},218035,"tian-wang-xiang-6-yao-wen-han-218035","天王像-6","苍松虬枝盘绕，荫蔽下僧人趺坐，衣袂间蓝黄交织的纹理如流水般舒展，眉宇间透着安然禅意。脚边幼虎温顺伏卧，似与稚童的嬉闹相映成趣，稚童伸手逗弄的模样鲜活灵动，一旁小僧憨态可掬。远处祥云缭绕，案上盆栽清逸雅致，山石间草木葱茏。整幅画设色淡雅却细节入微，衣袍的褶皱、虎毛的肌理、松针的疏密皆刻画精细，将宗教的肃穆与生活的温情融于一体，在宁静的氛围里晕染出盎然生机，尽显古典绘画的雅致韵味与人文意趣。",[24,7,28,27,187,96,5490,1144,131,189,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc09d44706094275ebea929f9234f35d.jpg",[],{"id":58504,"slug":58505,"title":58506,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":58507,"thumbUrl":58508,"material":611,"size":84,"collection":84,"collections":58509,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":956},217107,"bai-miao-luo-han-6-leng-mei-217107","白描罗汉-6",[24,7,188,187,96,59,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfddabd71201e82473364b9abc08c470.jpg",[],{"id":58511,"slug":58512,"title":58513,"dynasty":54,"author":3750,"museum":56,"description":44186,"tags":58514,"thumbUrl":58515,"material":66,"size":44189,"collection":84,"collections":58516,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},216967,"fang-song-yuan-shan-shui-ce-11-wang-jian-216967","仿宋元山水册-11",[23,24,7,128,330,132,2271,29,34,131,37,758,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12cc379bfe0f6d2c425b876799af556f.jpg",[],{"id":58518,"slug":58519,"title":58520,"dynasty":54,"author":223,"museum":2607,"description":58521,"tags":58522,"thumbUrl":58523,"material":611,"size":84,"collection":84,"collections":58524,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":956},216871,"xi-xiang-ji-tu-ce-12-yi-ming-216871","西厢记图册-12","亭榭凌波而筑，竹影透过圆窗轻晃。几案旁，一人凝眸静听，一人素衣端坐，指尖微抬似欲言。老树根盘错于坡岸，粉花与碧草相映，更衬得亭中氛围温婉。笔墨细腻处，人物神态含情，景物晕染雅致，水波轻漾如藏心事。整幅画似将西厢记里的幽微情愫凝于纸上，风过枝叶的沙沙声，与两人间未宣的情意交织，在静谧的景致里缓缓流淌。亭外桥栏朱红，与淡墨山水相映，更添几分古典雅致，仿佛能窥见那段才子佳人的婉转故事，于笔墨间悄然舒展。",[24,7,28,27,59,96,130,99,34,131,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd81bd4b1655bb30eb550728f54c2ab8a.jpg",[],{"id":58526,"slug":58527,"title":58528,"dynasty":144,"author":8127,"museum":244,"description":58529,"tags":58530,"thumbUrl":58531,"material":173,"size":10420,"collection":84,"collections":58532,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},216753,"hua-hui-ce-tao-hua-wang-yuan-216753","花卉册-桃花","枝干以墨笔写就，线条遒劲中含秀逸，似有篆隶笔意；桃花瓣晕染细腻，粉白相间，嫩蕊轻吐，如沐晨露。两只粉蝶振翅欲飞，翅脉纹理纤毫毕现，姿态灵动鲜活。赭色绢底古朴温润，与花叶的清雅相映，满幅春意悄然浮动。笔墨兼工带写，既承院体画的精细不苟，又融文人画的逸趣雅致，于方寸间藏生机无限，于简淡中蕴情致悠长，尽显元代花鸟的独特韵致与艺术匠心。",[23,24,7,59,27,28,61,209,481,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3420efef59b9e35343b975ec402fc02c.jpg",[],{"id":58534,"slug":58535,"title":58536,"dynasty":54,"author":223,"museum":300,"description":58537,"tags":58538,"thumbUrl":58539,"material":173,"size":84,"collection":84,"collections":58540,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},216723,"hong-lou-meng-fu-tu-ce-1-yi-ming-216723","红楼梦赋图册-1","笔墨晕染红楼旧梦，绢素织就诗赋余温。仕女衣袂轻扬若流云拂过，案头瓶花凝露似含情未语；亭台隐于烟霭间，草木映着月痕浅。线条牵系文心，色彩沉淀雅致，将小说幽微心绪与赋体骈俪风华融于尺幅。窗棂雕花的纹路、帘幕垂落的弧度、人物眉梢的轻蹙，皆藏韵致，似在诉说书中故事。时光仿佛停驻，观者于方寸间触摸古典温度，聆听旧岁低吟，见得红楼风月与笔墨雅趣的缠绵交织。",[23,24,7,59,27,96,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91b05f75f5ac5ca2f5108190e37c6ae5.jpg",[],{"id":58542,"slug":58543,"title":58544,"dynasty":54,"author":223,"museum":300,"description":58545,"tags":58546,"thumbUrl":58548,"material":173,"size":84,"collection":84,"collections":58549,"showCount":628,"zanCount":1998,"manualWeight":48,"mainColor":49},216696,"hong-lou-meng-fu-tu-ce-26-yi-ming-216696","红楼梦赋图册-26","冰裂纹窗棂半敞，漏进满院清光。倚坐的仕女衣袂叠着红绿，似将春日揉进罗裳；伫立的身影拢着蓝衫，凝望着阶前花事。阶下小婢轻抬的手，若要接住风里絮语，石畔粉花与苍苔，又把庭院衬得愈发动人。窗棂纹路、案上陈设、树影婆娑，皆浸着红楼闺阁的雅致含蓄。人物间无声互动藏着未言心事，让静谧场景漫出淡淡怅惘。笔墨凝住小说里的温柔幽微，如旧梦一缕，在庭院光影里缓缓流淌，道尽红楼赋中未说尽的温柔与怅惘。",[23,164,24,7,59,27,28,96,166,247,8347,58547,1200,48400,1367,758],"假山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F403425bb470fe631e98a1bd1da06e90b.jpg",[],{"id":58551,"slug":58552,"title":56584,"dynasty":54,"author":56585,"museum":77,"description":58553,"tags":58554,"thumbUrl":58555,"material":173,"size":56589,"collection":68,"collections":58556,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":49},216677,"qun-yan-tu-chen-bi-216677","陈璧是清朝时期的一位著名画家，他的作品“群雁图”是一幅非常有名的水墨画，其中描绘了一群雁鸟在天空中飞翔的场景。这幅画被认为是陈璧的杰作之一，其中展现了他对自然和动物的精准描绘能力。群雁图被认为是清朝时期水墨画的代表作之一，因其精美的线条和逼真的描绘而备受赞誉。",[24,7,165,128,28,211,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe128ea304571dfed7b6e1e74fd8595a7.jpg",[68],{"id":58558,"slug":58559,"title":56691,"dynasty":54,"author":3750,"museum":77,"description":51930,"tags":58560,"thumbUrl":58561,"material":66,"size":84,"collection":84,"collections":58562,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},215026,"fang-gu-shan-shui-ce-5-wang-jian-215026",[24,7,128,132,59,2271,29,131,34,499,496,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fa703daa34e1d4c2eecb58a6ce02119.jpg",[],{"id":58564,"slug":58565,"title":58566,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":58567,"thumbUrl":58568,"material":278,"size":3888,"collection":84,"collections":58569,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},214948,"dao-zi-mo-bao-ren-wu-bai-miao-hua-36-yi-ming-214948","道子墨宝人物白描画-36",[23,164,24,7,59,188,187,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facb4cf8d3d959ed6336a851b90f943d5.jpg",[],{"id":58571,"slug":58572,"title":58573,"dynasty":54,"author":9529,"museum":77,"description":36297,"tags":58574,"thumbUrl":58575,"material":66,"size":84,"collection":84,"collections":58576,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},214592,"fang-gu-shan-shui-ce-12-wang-hui-214592","仿古山水册-12",[24,7,59,128,27,132,29,98,99,331,35,18265,495,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16d618c998af2a6aa46e4bd9d82f6307.jpg",[],{"id":58578,"slug":58579,"title":58580,"dynasty":54,"author":1460,"museum":77,"description":4620,"tags":58581,"thumbUrl":58582,"material":66,"size":4624,"collection":68,"collections":58583,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},214559,"mo-zui-za-hua-tu-ce-8-shi-tao-214559","墨醉杂画图册-8",[23,24,7,59,128,369,61,167,374,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20c1fe0779c8c79e2684164129c8d6d4.jpg",[68],{"id":58585,"slug":58586,"title":58587,"dynasty":54,"author":1460,"museum":1941,"description":5506,"tags":58588,"thumbUrl":58589,"material":66,"size":5509,"collection":84,"collections":58590,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":72},214522,"yi-jin-ling-ce-12-shi-tao-214522","忆金陵册-12",[24,7,59,128,27,29,96,34,415,387,208,64,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe936edd910ced608e05568f8a4a03582.jpg",[],{"id":58592,"slug":58593,"title":58594,"dynasty":32945,"author":5076,"museum":56,"description":58595,"tags":58596,"thumbUrl":58597,"material":84,"size":84,"collection":68,"collections":58598,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":58599},203353,"qi-guan-bao-ming-tu-zhou-qi-bai-shi-203353","七冠报鸣图轴","七只公鸡神态各异，或引吭高歌，或低首徘徊，墨色浓淡交织勾勒出羽翼的层次感，朱砂点染的鸡冠艳红夺目，与黝黑的羽毛形成鲜明对比。笔触简练却形神毕肖，尽显大写意的豪放韵味，将家禽的雄健生机与生活意趣融于尺幅之间，质朴中见灵动，平凡里藏匠心，是花鸟题材中的生动之作。",[24,7,165,128,27,61,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd70873f2a0beecec2f3efb239fe06791.jpg",[68],"b0a496",{"id":58601,"slug":58602,"title":33103,"dynasty":54,"author":4083,"museum":56,"description":58603,"tags":58604,"thumbUrl":58605,"material":84,"size":84,"collection":136,"collections":58606,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":58607},203342,"fang-gu-shan-shui-ce-wang-shi-min-203342","层峦叠嶂间林木苍郁，墨色晕染出宋元山水的古雅风骨。披麻皴法勾勒山石肌理，线条含蓄温润，虚实相生中藏着幽深林泉之趣。山间亭榭隐现，溪流绕石，一派静谧悠远的文人丘壑，尽显淡泊雅致的笔墨情韵。",[24,7,59,128,29,132,496,4438,10089,499,2271,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b9cc291f63cc7b45b4fd61e771e90fe.jpg",[136],"d1c8b3",{"id":58609,"slug":58610,"title":58611,"dynasty":124,"author":18090,"museum":56,"description":58612,"tags":58613,"thumbUrl":58614,"material":84,"size":84,"collection":136,"collections":58615,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":58616},203304,"fang-gu-shan-shui-tu-ce-lan-ying-203304","仿古山水图册","这幅山水以苍劲笔墨勾勒山石轮廓，斧劈皴与枯笔皴擦交错，山石嶙峋肌理厚重，尽显嶙峋质感。山间枯树虬枝盘曲，枝桠疏朗伸展，携冬日清寂之态。远处瀑布飞泻潺潺，为静谧景致注入灵动生气。崖边红衣人物凭栏而立，似观瀑沉思，人与苍茫山水相映，更衬天地悠远、心境淡然。画面墨色层次丰富，淡设色晕染雅致，仿古意趣中蕴含个人笔墨风骨，于萧瑟里见深致，简淡中藏古雅气韵，是仿古山水的精妙之作。",[24,7,59,132,29,1233,331,171,128,27,96,495,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde014523e97d93ed8342b1099aececbd.jpg",[136],"a7a093",{"id":58618,"slug":58619,"title":58620,"dynasty":32945,"author":3539,"museum":56,"description":58621,"tags":58622,"thumbUrl":58623,"material":84,"size":84,"collection":117,"collections":58624,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":58625},202874,"ma-tu-zhou-xu-bei-hong-202874","马图轴","画中骏马昂首伫立，鬃尾如墨浪翻飞，四蹄踏地却暗含腾跃之姿。水墨挥洒间，浓墨劲扫筋骨轮廓，淡墨晕染肌肉肌理，额颈留白似月华轻覆，既塑雄健体魄，又显灵动气韵。背景以简笔扫出沙地，更衬主体苍劲。整作笔墨洒脱精准，将马的骜放精神与生命张力凝于尺幅，尽显写意之妙与对生灵的深刻体悟。",[24,128,101,165,7,949,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b30160329f93d176f65d5ed48f2d6e1.jpg",[117],"ccbead",{"id":58627,"slug":58628,"title":58629,"dynasty":124,"author":58630,"museum":56,"description":58631,"tags":58632,"thumbUrl":58633,"material":84,"size":84,"collection":136,"collections":58634,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":58635},202217,"xi-shan-ce-qi-tu-zhou-qian-gu-202217","溪山策骑图轴","钱穀","溪山之间，一人策骑过板桥，衣袂轻展，似向幽林寻幽。近岸林木葱郁，枝叶以淡墨点染，疏密有致；中景水面空濛，远山以皴法淡绘，峦顶苔点错落，尽显清旷。笔墨简淡却意韵绵长，文人的闲适心境与自然山水相融，传递出悠然出尘的诗意。",[24,29,101,98,132,27,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3aaa8e5163dc11f6adde372de5eb848.jpg",[136],"bdab9a",{"id":58637,"slug":58638,"title":58639,"dynasty":124,"author":31987,"museum":56,"description":58640,"tags":58641,"thumbUrl":58643,"material":84,"size":84,"collection":68,"collections":58644,"showCount":628,"zanCount":48,"manualWeight":48,"mainColor":58645},202157,"hua-hui-cao-chong-juan-ma-shou-zhen-202157","花卉草虫卷","此卷以细腻笔触勾勒草木虫豸，尽显生机雅趣。枸杞枝蔓间红果点缀，蚱蜢伏枝欲跃；兰草舒展柔劲，叶片似有风过轻颤；野花或紫或白，姿态天然。设色清雅，不施浓艳，却于细微处见工致——花瓣晕染层次分明，虫翅纹理刻画入微。草木的自然姿态与虫豸的鲜活神情相映成趣，传递出文人画特有的清幽意韵，仿佛能闻花草清香，听虫鸣轻响，于淡墨轻彩中见匠心。",[24,7,25,61,28,27,375,33795,58642,23],"枸杞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a137bf4a77245011c72a264e02bb60e.jpg",[68],"dbd1bb",{"id":58647,"slug":58648,"title":58649,"dynasty":124,"author":16032,"museum":56,"description":58650,"tags":58651,"thumbUrl":58652,"material":84,"size":84,"collection":45,"collections":58653,"showCount":628,"zanCount":1116,"manualWeight":48,"mainColor":58654},201527,"wu-song-tu-zhou-xiang-sheng-mo-201527","五松图轴","虬松五株盘结，枝干如苍龙探海，鳞皴斑驳显古意。松针以细劲墨线攒簇，疏密有致见风神。盆石间幽篁数竿、蕨草几丛，生意盎然。笔墨兼工带写，线条刚柔相济，皴擦得法，墨色浓淡晕染自然。留白空灵悠远，与苍松沉雄相映，方寸盆盎藏丘壑，尽显文人案头清供之雅韵，韵致悠长。",[24,165,128,28,132,167,171,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fec70564938af3f83b89b4ca6f292cb.jpg",[45],"aba69d",{"id":58656,"slug":58657,"title":58658,"dynasty":144,"author":223,"museum":300,"description":58659,"tags":58660,"thumbUrl":58661,"material":692,"size":1293,"collection":84,"collections":58662,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},290899,"hu-zhou-yi-ming-290899","虎轴","此画通幅描绘如真，渍染极得润厚的韵致。画无名款，旧签定为元人。惟据画风判断，与明代宫廷画风，颇多相近处，是以推断，该幅或出自明代良工之手。松林石涧间，一巨虎黄皮黑纹，毛色鲜丽，体态威武雄壮。虎之双眼，俱以金粉涂饰，并略染汁绿，显得格外神气逼人。其背隆起，宛如张弓欲发，隐然有即将出击之势。虎口微启，低吟而未啸。树梢，二山鹧见状，相与惊跃鸣叫，更为此猛虎出山的场景，平添紧张、不安的气息。",[24,7,165,128,27,5490,949,29,131,666,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcfa32d80abd84bff6536c89b106cb3b.jpg",[],{"id":58664,"slug":58665,"title":58666,"dynasty":124,"author":1058,"museum":300,"description":4630,"tags":58667,"thumbUrl":58668,"material":692,"size":1293,"collection":84,"collections":58669,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},290848,"ji-zhen-ji-zhou-tang-yin-290848","鸡真迹轴",[164,24,7,165,3291,27,2510,604,167,481,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedb864d815658b9038e4cbbc6da8f12b.jpg",[],{"id":58671,"slug":58672,"title":58673,"dynasty":144,"author":223,"museum":244,"description":58674,"tags":58675,"thumbUrl":58678,"material":66,"size":58679,"collection":68,"collections":58680,"showCount":811,"zanCount":1998,"manualWeight":48,"mainColor":49},290741,"jiu-que-xian-chun-tu-zhou-yi-ming-290741","鸠雀先春图轴","水傍石上，水鸟两只，一微露背，一见全体，足趾间有蹼相系，当系野鸭之属。其上重叠作茶花、竹、石、梅、雀、花卉俱用双钩，虽粗细不同，而笔力一皆挺秀，用色傅粉，亦极沉着。",[164,24,7,165,28,27,61,371,649,167,10701,211,58676,4117,58677],"鸠","春意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbea2b2e763b0ca5b7e1db8a44f60e5d.jpg","150.9x31.3",[68],{"id":58682,"slug":58683,"title":58684,"dynasty":18,"author":223,"museum":300,"description":58685,"tags":58686,"thumbUrl":58687,"material":692,"size":1293,"collection":84,"collections":58688,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},290685,"ke-si-chen-ju-zhong-tian-xian-gong-shou-tu-zhou-yi-ming-290685","缂丝陈居中天仙拱寿图轴","将南天竹果和水仙、蜡梅花共衬,配一对绶带鸟,隐含吉祥寿瑞之意",[164,24,7,165,61,27,1944,371,374,211,208,12406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d66807053d65d71c73e71a6d2fb4d15.jpg",[],{"id":58690,"slug":58691,"title":58692,"dynasty":222,"author":223,"museum":300,"description":58693,"tags":58694,"thumbUrl":58695,"material":692,"size":1293,"collection":84,"collections":58696,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},290625,"fu-shuo-di-shi-bo-re-bo-luo-mi-duo-xin-jing-shou-gao-yi-ming-290625","佛说帝释般若波罗蜜多心经手稿","此件写经以匀净小楷书就，笔致恭谨端严，排布齐整匀停，墨色沉凝安稳，字里行间漫溢着肃穆沉静的宗教虔诚。\n中段帝释造像线条凝练圆融，法相慈悲庄严，衣袂舒展合度，宝相具足，将神性的悲悯沉静尽显无遗。泛黄古纸晕染着岁月痕迹，墨色与纸色交织出旧卷独有的沧桑厚重感，是写经与佛教造像相融的雅致遗存，尽显写经艺术里的虔敬本心与审美意趣。",[64,7322,572,187,18381,96,36004,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83768207011a0c9a47cb4064775c132f.jpg",[],{"id":58698,"slug":58699,"title":1197,"dynasty":18,"author":223,"museum":300,"description":58700,"tags":58701,"thumbUrl":58702,"material":692,"size":1293,"collection":84,"collections":58703,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},290510,"han-gong-chun-xiao-tu-yi-ming-290510","此作以圆扇为幅，绘就苑囿春晓盛景。层叠宫宇隐于烟岚佳木之间，朱阶玉栏之上宫人簇立，或整肃侍立，或执礼待驾，细节暗藏宫廷朝会的端严秩序。界画工细，将殿宇飞檐勾勒得精巧古雅，设色调和沉静，晕染出未央清晨的暖煦韶光。画作与题诗呼应，把宫娥盛饰争妍、御苑春和景明的皇家气派尽数收揽于尺幅之内，尽显宋代院画写实精妙的特质，铺展出汉宫春日早朝的雍容雅致。",[24,7,28,27,95,96,166,97,906,64,572,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe23e3eb117990c39592b138524fed620.jpg",[],{"id":58705,"slug":58706,"title":58707,"dynasty":54,"author":9864,"museum":300,"description":18673,"tags":58708,"thumbUrl":58714,"material":692,"size":1293,"collection":84,"collections":58715,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},290466,"chun-quan-xi-yao-tu-juan-yu-zhi-ding-290466","春泉洗药图卷",[23,25,64,133,7,58709,58710,231,58711,1515,1428,13436,58712,58713],"春泉","药圃","翠竹","闲情逸致","题咏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8a952dc62001c0ff71c2b0f568dae5f.jpg",[],{"id":58717,"slug":58718,"title":58719,"dynasty":144,"author":223,"museum":300,"description":35562,"tags":58720,"thumbUrl":58721,"material":692,"size":1293,"collection":84,"collections":58722,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},290402,"qiong-lou-xian-ju-tu-yi-ming-290402","琼楼仙居图",[24,164,7,95,26,27,29,97,98,96,759],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc36addf53ace8021929aefb755ec324.jpg",[],{"id":58724,"slug":58725,"title":20347,"dynasty":54,"author":4083,"museum":300,"description":46503,"tags":58726,"thumbUrl":58727,"material":692,"size":1293,"collection":84,"collections":58728,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},289951,"shan-shui-tu-zhou-wang-shi-min-289951",[23,24,164,7,165,128,29,496,34,32406,98,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c72e791cad1835cbe635ef2d222b47.jpg",[],{"id":58730,"slug":58731,"title":58732,"dynasty":182,"author":58733,"museum":300,"description":58734,"tags":58735,"thumbUrl":58736,"material":692,"size":1293,"collection":84,"collections":58737,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},288997,"shi-shi-tu-tao-yin-288997","十狮图","陶訚","画中五狮神采各异，昂首咆哮者尽显悍勇，扑跃嬉闹者流露灵动，劲挺的鬃毛笔触蓬松，将瑞狮健硕肌理勾勒得栩栩如生。古雅沉郁的棕褐底色烘托墨色狮身，工细晕染与写意笔意相融，尽显雄浑气魄。\n\n瑞狮作为镇护瑞兽，承载着祈福安宅的意涵，整幅画作刚柔并济，线条兼具苍劲与灵动，画师以精妙笔力将盛世意气凝于绢素。题跋文辞相映，让逸闻与画中神采交织，古韵悠悠，是兼具审美价值与民俗意趣的传世佳作。",[24,7,165,27,949,32358,64,572,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7fa098b20a352ed7e42b9280a7eca81.jpg",[],{"id":58739,"slug":58740,"title":58741,"dynasty":144,"author":287,"museum":300,"description":24204,"tags":58742,"thumbUrl":58743,"material":692,"size":1293,"collection":84,"collections":58744,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},288917,"lin-qin-que-tu-qian-xuan-288917","林檎雀图",[164,24,7,61,27,28,12508,624,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaa35cd54472546fb0cf2a81360b5a0f.jpg",[],{"id":58746,"slug":58747,"title":56334,"dynasty":18,"author":43331,"museum":300,"description":56335,"tags":58748,"thumbUrl":58749,"material":692,"size":1293,"collection":84,"collections":58750,"showCount":811,"zanCount":1998,"manualWeight":48,"mainColor":72},288494,"chui-yang-fei-xu-tu-yang-huang-hou-288494",[23,59,24,7,28,27,3291,2372,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0403430a8d43e9748ddfd58d5f9c5770.jpg",[],{"id":58752,"slug":58753,"title":58754,"dynasty":54,"author":223,"museum":300,"description":58755,"tags":58756,"thumbUrl":58757,"material":692,"size":1293,"collection":84,"collections":58758,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},288433,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-yi-qin-wang-yin-xiang-yi-ming-288433","历代帝王贵妃大臣朝服像(怡亲王胤祥)","爱新觉罗·胤祥（1686年11月16日-1730年6月18日），清圣祖康熙帝第十三子，生母敬敏皇贵妃章佳氏。\n康熙六十一年（1722年），皇四子胤禛继位，胤祥被封为和硕怡亲王，又出任议政大臣，处理重要政务。雍正元年（1723年），命总理户部。自此即全力辅佐胤禛治理国家，胤禛亦对其十分信任。雍正三年（1725年），总理京畿水利营田事务。雍正七年（1729年）因准噶尔部窜扰边陲，命其办理西北两路军机，叙协赞功待诏增仪仗一倍。\n因胤祥对雍正朝的治绩助力甚大，遂得世袭罔替的许可，为铁帽子王。清朝有史以来第九位铁帽子王。雍正八年（1730年）五月初四日（阳历6月18日）去世，时年44岁，配享太庙，上谥号为“贤”，另赐有匾额“忠敬诚直勤慎廉明”冠于谥前。将其名“允祥”的“允”字改回“胤”字，这成为有清一代臣子中不避皇帝讳的唯一事例。",[23,24,7,28,27,96,14416,165,11584],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53005ace73bb6d46275c0ae556ddd7df.jpg",[],{"id":58760,"slug":58761,"title":58762,"dynasty":18,"author":1622,"museum":300,"description":12632,"tags":58763,"thumbUrl":58765,"material":692,"size":1293,"collection":84,"collections":58766,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},288417,"yue-xia-hua-qian-tu-ma-yuan-288417","月下花前图",[23,24,164,4437,7,27,133,64,96,167,231,29,439,58764,208],"宴赏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0e0e5c000968db8ef0dc27931ee8a28.jpg",[],{"id":58768,"slug":58769,"title":58770,"dynasty":54,"author":223,"museum":300,"description":58771,"tags":58772,"thumbUrl":58773,"material":692,"size":1293,"collection":84,"collections":58774,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":956},288295,"shi-ba-luo-han-tu-juan-shou-juan-yi-ming-288295","十八罗汉图卷手卷","此作用黑底泥金勾勒，墨色沉敛如夜，金彩熠熠若星。十八尊罗汉各呈异态：或持锡杖昂然卓立，或托灵珠笑态可掬，或踞坐冥思禅定，或驭瑞兽凝神远眺。线条细劲圆转，衣褶勾勒得虚实灵动，将罗汉们清癯肃穆或是憨态朴拙的神情风骨尽数铺展。朱红闲章错落点缀，为沉郁底色晕开古雅意趣，整体静穆庄严，兼具佛造像的神性威仪与人物画的鲜活意韵，尽显线描佛绘的精妙笔力。",[23,24,7,25,17347,187,96,53345,188,18331,5490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc70c4ea2d3e99a4f0d4b242be88b27f0.jpg",[],{"id":58776,"slug":58777,"title":58778,"dynasty":124,"author":802,"museum":300,"description":5946,"tags":58779,"thumbUrl":58780,"material":692,"size":1293,"collection":84,"collections":58781,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},288239,"shan-shui-shi-yi-tu-chen-hong-shou-288239","山水诗意图",[23,24,7,188,128,6318,96,9613,331,169,36315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc232101689df0dea0bedb27a18b48ad3.jpg",[],{"id":58783,"slug":58784,"title":58785,"dynasty":54,"author":1019,"museum":300,"description":58786,"tags":58787,"thumbUrl":58788,"material":692,"size":1293,"collection":84,"collections":58789,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},288232,"jiang-shan-wo-you-tu-juan-di-jiu-shi-yi-juan-cheng-zheng-kui-288232","江山卧游图卷(第九十一卷)","程正揆（1604年－1676年），初名正葵，字端伯，号鞠陵，别号清谿道人、青谿老人、青谿旧史，湖廣孝感（今湖北省）人，明末清初画家、书法家，政治人物。",[23,24,25,128,7,29,496,34,149,98,131,64,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f6f45c6a6df6179257f192e7daa24b.jpg",[],{"id":58791,"slug":58792,"title":58793,"dynasty":124,"author":223,"museum":300,"description":58794,"tags":58795,"thumbUrl":58797,"material":692,"size":1293,"collection":84,"collections":58798,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},288161,"hu-bao-huan-le-tu-yi-ming-288161","虎豹欢乐图","这幅作品以视觉错构的巧思见长，将古松山石的轮廓与虎豹身形虚实相融。水墨晕染下，苍劲松枝与嶙峋岩峦，恰好勾勒出憨态可掬的虎豹形象，打破了走兽画的写实桎梏。\n\n画家以兼工带写的笔法，把兽类的灵动憨稚藏于山林肌理间，不见森然凶戾，反显天真谐趣。留白铺就林涧幽寂底色，苍润墨色晕出山野苍莽质感，观者需在虚实掩映间辨形寻味，让山林野趣与巧思创意浑然一体，尽显小品画作的别致意趣。",[23,24,128,5490,4164,1144,949,58796,7],"欢乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F753705f41366ef970406282d0414ec02.jpg",[],{"id":58800,"slug":58801,"title":58802,"dynasty":124,"author":223,"museum":300,"description":58803,"tags":58804,"thumbUrl":58805,"material":692,"size":1293,"collection":84,"collections":58806,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},288057,"zhu-zhi-tu-tuan-shan-yi-ming-288057","竹枝图团扇","此作以团扇圆境框取景致，疏密排布极具巧思。淡赭写竹竿，清绿点染竹叶，笔致秀挺灵动，叶片错落偃仰，似有疏风拂过，摇曳生姿。\n当中湖石以枯墨皴擦晕染，苍涩古拙，和秀逸青竹形成刚柔相映的意趣。整幅设色清雅素净，无冗余修饰，以极简笔墨托出竹的清介高洁，暗藏文人爱竹慕贤的风骨。寥寥数笔间，便将林下淡然雅致的文人情韵铺陈开来，意境悠长隽永。",[23,24,7,1131,27,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07cbe8b1c7be47dc1008f4dae359086f.jpg",[],{"id":58808,"slug":58809,"title":58810,"dynasty":124,"author":1438,"museum":300,"description":13247,"tags":58811,"thumbUrl":58812,"material":692,"size":1293,"collection":84,"collections":58813,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},288046,"shi-san-shou-juan-chen-chun-288046","诗三首卷",[23,64,840,25,128,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01c0971226f2a434ad7f84370401f89e.jpg",[],{"id":58815,"slug":58816,"title":58817,"dynasty":144,"author":1208,"museum":244,"description":58818,"tags":58819,"thumbUrl":58820,"material":278,"size":58821,"collection":84,"collections":58822,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},287669,"chun-yu-xin-huang-zhou-ni-zan-287669","春雨新篁轴","画中一竿新篁，在迷蒙春雨的滋润下倔曲茁长。",[164,24,7,165,128,167,64,208,10791],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F419f7da372cf86460b8e8e3fd00c1dd1.jpg","70.7x38.6",[],{"id":58824,"slug":58825,"title":58826,"dynasty":18,"author":223,"museum":300,"description":58827,"tags":58828,"thumbUrl":58830,"material":692,"size":1293,"collection":84,"collections":58831,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},287555,"hua-shou-xing-yi-ming-287555","画寿星","苍松虬曲、老梅凝芳，铺就幽谧山野底色。寿星颅顶丰硕，面容褶皱如镌刻半生风霜，长髯垂胸，神情温蔼内敛。宽袖道袍织就团山宝纹，晕染柔和层次尽显古朴华贵，纹路刻画精细入微，衬出人物清矍高古的仙姿。身侧灵鹿温驯伴立，岩畔幽花仙草点缀其间，暗合福寿绵长的祥瑞意涵。\n\n笔墨凝练苍劲，设色沉雅古拙，将道家隐逸福寿之思融于山野幽境，工笔精细不苟又兼具文人清雅意趣，静穆间流淌出绵长吉祥的古韵。",[164,24,7,165,27,96,28,58829,2302,372,371,17701],"寿星","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F023e74b57d36aa32bf8fbe9aecabe683.jpg",[],{"id":58833,"slug":58834,"title":58835,"dynasty":144,"author":13495,"museum":244,"description":58836,"tags":58837,"thumbUrl":58838,"material":317,"size":58839,"collection":84,"collections":58840,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},287535,"ping-an-pan-shi-zhou-gu-an-287535","平安磐石轴","此图墨笔画湖石，湖石向右侧倾斜，顶部似蘑菇状，上面生长着疏密有致的小草，在微风中摇曳。湖石用浓淡墨写出，连勾带染，略施皴擦，染以淡墨，富有立体感，富有装饰美。在湖石右侧的岸坡上有二株翠竹，左边一株新篁高大粗壮，竹竿挺拔，竹叶茂密，几乎布满了上半个画面，竹叶在风的吹动下向左边摇曳；右边一株新篁斜逸旁出，枝梢稚嫩，依倚在左边高节劲挺的竹旁。竹叶的浓淡疏密，前后左右，绰约多姿。竹下有几束幽草，坡草如茵，沿着堤岸而长，葳蕤有生意，用笔滋润淡雅；其间若有轻风细吹，所有的竹叶和草木皆作仰势，枝叶摇动，似乎发出瑟瑟之声。左侧有自题识：“至正庚寅囗秋顾定之作。”后钤有“顾定之印”白文印。\n此画构图稳定，意境深邃，虚处空旷无际，实处繁茂郁盛。整个画面使人感受到有一种恬淡、清雅的诗意，是顾氏墨竹画的代表作。",[24,7,165,128,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F402119f720a698fd1faf97b7b2a3c2ab.jpg","186.8x103.8",[],{"id":58842,"slug":58843,"title":58844,"dynasty":54,"author":1472,"museum":300,"description":4416,"tags":58845,"thumbUrl":58846,"material":692,"size":1293,"collection":84,"collections":58847,"showCount":811,"zanCount":1998,"manualWeight":48,"mainColor":72},287448,"tai-gu-yun-lan-tu-zou-yi-gui-287448","太古云岚图",[24,164,7,165,29,128,27,496,37,689,35,98,99,208,64,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffef4e4eaf1fc1e2699370d3d8e8973ac.jpg",[],{"id":58849,"slug":58850,"title":58851,"dynasty":54,"author":6946,"museum":300,"description":35061,"tags":58852,"thumbUrl":58853,"material":692,"size":1293,"collection":84,"collections":58854,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},287423,"shi-liu-luo-han-xiang-di-liu-ding-guan-peng-287423","十六罗汉像(第六)",[24,7,164,165,187,27,96,28,208,18331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f8ee087940f6ecb3f30d2f5ff8997cf.jpg",[],{"id":58856,"slug":58857,"title":58858,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":58859,"thumbUrl":58860,"material":692,"size":1293,"collection":84,"collections":58861,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},283724,"hua-chan-shi-xiao-jing-tu-ce-dong-qi-chang-283724","画禅室小景图册",[24,7,59,128,1349,133,208,132,13603,387,34,496,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a2d3a31157a8e2a8f3646e3e282b8d8.jpg",[],{"id":58863,"slug":58864,"title":58865,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":58866,"thumbUrl":58868,"material":692,"size":1293,"collection":84,"collections":58869,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},283701,"zi-shu-xie-xu-shi-jun-ke-xi-hong-tang-shi-juan-dong-qi-chang-283701","自书谢许使君刻戏鸿堂诗卷",[23,64,133,7,208,58867],"诗卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30eb6d59fd19877070b3a05f645254b1.jpg",[],{"id":58871,"slug":58872,"title":58873,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":58874,"thumbUrl":58875,"material":692,"size":1293,"collection":84,"collections":58876,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},283641,"shan-shui-tu-chu-tian-qing-xiao-dong-qi-chang-283641","山水图(楚天清晓)",[23,164,24,7,165,128,29,98,99,1337,131,387,132,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25e6c5f60900682bcca2421464d12b76.jpg",[],{"id":58878,"slug":58879,"title":58880,"dynasty":54,"author":6778,"museum":300,"description":29701,"tags":58881,"thumbUrl":58882,"material":692,"size":1293,"collection":84,"collections":58883,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},241358,"jie-lu-du-fu-dong-xi-liang-chuan-shuo-ping-zhao-zhi-qian-241358","节録杜甫东西两川说屏",[64,572,208,7,8116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba86a0cc8745dcba35170f7e29fc5ae9.jpg",[],{"id":58885,"slug":58886,"title":58887,"dynasty":124,"author":7003,"museum":300,"description":49321,"tags":58888,"thumbUrl":58889,"material":692,"size":1293,"collection":84,"collections":58890,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},241348,"li-bai-gu-shi-juan-zhu-yun-ming-241348","李白古诗卷",[23,164,24,7,25,840,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb1520b7383b91beba04b2b2c7089b36.jpg",[],{"id":58892,"slug":58893,"title":58894,"dynasty":54,"author":58895,"museum":300,"description":58896,"tags":58897,"thumbUrl":58898,"material":692,"size":1293,"collection":84,"collections":58899,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},241290,"qi-lv-er-shou-wu-zheng-song-241290","七律二首","邬正淞","嘉庆二十五年澳门同知",[7,64,572,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c436e7fa98e638c44e771b6fba04a77.jpg",[],{"id":58901,"slug":58902,"title":58903,"dynasty":144,"author":36038,"museum":300,"description":45308,"tags":58904,"thumbUrl":58905,"material":611,"size":84,"collection":318,"collections":58906,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},241191,"san-yun-suo-zhi-juan-yang-wei-zhen-241191","三云所志卷",[23,7,64,25,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d7bfb98e6404201a97bdef319aaf1e7.jpg",[318],{"id":58908,"slug":58909,"title":58910,"dynasty":54,"author":25699,"museum":2594,"description":58911,"tags":58912,"thumbUrl":58913,"material":611,"size":58914,"collection":318,"collections":58915,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},241080,"xi-gang-shi-zhou-xi-gang-241080","奚冈诗轴","奚冈(1746—1803) 清代篆刻家、书画家。原名钢，字铁生、纯章，号萝龛、蝶野子，别号鹤渚生、蒙泉外史、蒙道士、奚道士、散木居士、冬花庵主，原籍歙县（今属安徽），一作黟县（今属安徽），寓浙江杭州西湖。不应科举，寄情诗画，山水花石，逸韵超隽。曾游日本，名噪海外。乾隆时，征孝廉方正，辞不就。刻印宗秦、汉，与丁敬、黄易、蒋仁齐名，号西泠四大家。并与陈豫钟、陈鸿寿、赵之琛、钱松合称西泠八家。",[24,7,165,133,840,128,64,208,611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75ee8e92d6aec15c20b73f2839311b1e.jpg","143.5×34cm",[318],{"id":58917,"slug":58918,"title":58919,"dynasty":54,"author":29876,"museum":20,"description":58920,"tags":58921,"thumbUrl":58922,"material":58923,"size":58924,"collection":318,"collections":58925,"showCount":811,"zanCount":1998,"manualWeight":48,"mainColor":72},240911,"qi-jue-zhou-fu-shan-240911","七绝轴","释文：\n黄师塔前江水东，春光懒困倚微风。桃华一簇开无主，可爱深红爱浅红。傅山。\n作品书杜甫《江畔独步寻花七绝句》（之五）。无上款，或为闲时偶书。通篇气韵通达，笔墨纵逸酣畅，章法疏密相间，是傅山连绵草书条幅中的佳构。",[24,7,165,128,840,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0622685c106cd2f7ee624c3e7397f27.jpg","绢本，草书","纵178.5厘米，横45.5厘米",[318],{"id":58927,"slug":58928,"title":58929,"dynasty":54,"author":58930,"museum":300,"description":58931,"tags":58932,"thumbUrl":58933,"material":84,"size":84,"collection":318,"collections":58934,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},239922,"zhi-lian-shang-ye-wan-cheng-ji-239922","致莲裳页","万承纪","字廉山，一作廉三，号畴五。江西南昌人。早年由宛平到淮上谋生，乾隆五十七年（1792）举人，嘉庆初以军功任知县，官至海防同知，署淮扬道。善于治水。\n少与罗两峰（聘）义，深悟书法。书法以篆体为长，颇似李阳冰，绘画则得北宋诸家之长。又酷好金石，曾缩临所藏汉魏碑，刊于端砚背面，有百种之多，称为百汉碑砚。兼藏古瓷、紫沙名壶、古木雕、古钱、玉翠、奇石等，收藏颇丰。亦富藏书，累积家藏达数千卷，名家集部图书较多。藏书印有“廉山”、“万承纪”、“勿造因”、“紫云山房鉴藏书画印”等。",[7,133,59,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b25430436aa82b4c3f0e977820520b6.jpg",[318],{"id":58936,"slug":58937,"title":58938,"dynasty":18,"author":223,"museum":20,"description":7753,"tags":58939,"thumbUrl":58940,"material":2739,"size":7756,"collection":318,"collections":58941,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},239563,"su-shi-zhi-ping-tie-juan-yi-ming-239563","苏轼治平帖卷",[23,164,24,7,25,188,133,208,96,64,57836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56a7c8a05232a95dd5232ef0a623b858.jpg",[318],{"id":58943,"slug":58944,"title":58945,"dynasty":54,"author":6946,"museum":300,"description":35061,"tags":58946,"thumbUrl":58948,"material":692,"size":1293,"collection":84,"collections":58949,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},239358,"lin-luo-han-tu-juan-ding-guan-peng-239358","临罗汉图卷",[23,24,7,25,27,28,330,208,96,187,772,5490,949,101,54866,2302,34,131,189,7070,58947,3588,5472],"车辇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89a77006da2a741773d5c2053a0a1462.jpg",[],{"id":58951,"slug":58952,"title":58953,"dynasty":124,"author":27311,"museum":300,"description":58954,"tags":58955,"thumbUrl":58956,"material":692,"size":1293,"collection":84,"collections":58957,"showCount":811,"zanCount":1998,"manualWeight":48,"mainColor":72},239354,"chun-fan-yu-yi-tu-shan-mian-li-liu-fang-239354","春帆雨意图扇面","李流芳（1575～1629年），字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人，南直隶徽州歙县（今安徽歙县）人，侨居嘉定（今上海嘉定），明代诗人、书画家。\n三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一，亦工书法。崇祯二年，卒于檀园，享年五十五岁。",[24,7,1131,128,132,29,129,34,496,3386,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccc08c5d090e825295762234e3114e0f.jpg",[],{"id":58959,"slug":58960,"title":58961,"dynasty":54,"author":58962,"museum":300,"description":58963,"tags":58964,"thumbUrl":58966,"material":84,"size":84,"collection":318,"collections":58967,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},239228,"hui-shi-ce-hu-zhen-kai-239228","绘石册","胡贞开","[清]字循蜚，号瑟庵，又号皋鹤，别号耳空居士，仁和（今杭州）人。",[24,7,59,27,58965,64,304,128],"彩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11f77c57ed9d3d91b05fec166fdc06af.jpg",[318],{"id":58969,"slug":58970,"title":58971,"dynasty":54,"author":38236,"museum":300,"description":38237,"tags":58972,"thumbUrl":58973,"material":692,"size":1293,"collection":68,"collections":58974,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},239174,"hua-hui-ren-wu-ce-chen-zi-239174","花卉人物册",[24,7,59,133,27,372,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb82e326337b97264a726f19238d7447b.jpg",[68,45],{"id":58976,"slug":58977,"title":58978,"dynasty":54,"author":58979,"museum":300,"description":58980,"tags":58981,"thumbUrl":58982,"material":84,"size":84,"collection":117,"collections":58983,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},238945,"lin-yue-se-tu-ce-ye-xu-fang-ping-238945","林月色图册页","徐方平","此作用淡墨晕开空蒙月色，枯木疏枝错落伸展，勾勒出秋夜林野的清寂轮廓。山溪蜿蜒穿林，板桥横卧浅流，策杖行人驻足于侧，冷寂夜色里添了些许动静对比。笔触清润秀雅，取法北宗淡远意趣，铺展出幽旷林泉之境，将月夜林间的萧寒静谧尽数晕开。把羁旅闲步的清寂意趣与林泉幽怀相融，尽显文人画简淡出尘的诗意，仿佛让人踏入这片溶溶月色下的平林，浸身于澄澈安宁的夜色中。",[24,7,59,128,27,29,1337,231,98,99,96,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa1474cbd2b9cb76aef5844274a64e1.jpg",[117],{"id":58985,"slug":58986,"title":4071,"dynasty":54,"author":2687,"museum":300,"description":3934,"tags":58987,"thumbUrl":58988,"material":692,"size":1293,"collection":84,"collections":58989,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},238474,"hua-hui-tu-ce-jiang-ting-xi-238474",[24,7,59,27,28,61,62,171,608,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f28d4d66d523afeb3ce0c120355ff82.jpg",[],{"id":58991,"slug":58992,"title":58993,"dynasty":54,"author":1740,"museum":300,"description":58994,"tags":58995,"thumbUrl":58996,"material":84,"size":84,"collection":84,"collections":58997,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},238208,"duan-yang-gu-shi-ce-xu-yang-238208","端阳故事册","《端阳故事图之赐枭羹》是清代徐扬创作的绢本设色画册，共八开。\n此为第二开，名《赐枭羹》，题：“汉令郡国贡枭为羹赐官以恶鸟，故食之。\n”",[164,24,7,59,28,27,96,4363,247,4278,758,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F207aece91c855086232fb366672d1ea1.jpg",[],{"id":58999,"slug":59000,"title":59001,"dynasty":54,"author":29876,"museum":300,"description":59002,"tags":59003,"thumbUrl":59004,"material":84,"size":84,"collection":117,"collections":59005,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},237925,"gu-bai-han-ya-zhou-fu-shan-237925","古柏寒鸦轴","傅山，初名鼎臣，字青竹，改字青主，又有浊翁、观化等别名，汉族， 山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[24,7,165,128,132,331,211,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa98462ef39975b740790320e8961aa39.jpg",[117],{"id":59007,"slug":59008,"title":40707,"dynasty":124,"author":8983,"museum":300,"description":52167,"tags":59009,"thumbUrl":59010,"material":692,"size":1293,"collection":84,"collections":59011,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},237852,"shan-shui-shan-zhao-zuo-237852",[24,7,1131,128,132,29,131,34,35,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ce62d998c4a1bca199934a0ec5116e.jpg",[],{"id":59013,"slug":59014,"title":48339,"dynasty":124,"author":1438,"museum":300,"description":13247,"tags":59015,"thumbUrl":59016,"material":692,"size":1293,"collection":84,"collections":59017,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},237832,"shan-shui-shan-ye-chen-chun-237832",[24,7,1131,128,132,29,129,34,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88c06f0cea0357587c50fd51772cb626.jpg",[],{"id":59019,"slug":59020,"title":48339,"dynasty":124,"author":16846,"museum":300,"description":55241,"tags":59021,"thumbUrl":59022,"material":692,"size":1293,"collection":84,"collections":59023,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},237789,"shan-shui-shan-ye-wen-bo-ren-237789",[24,7,1131,128,132,29,496,34,131,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd89607da89f83b489d1f2d1dadfd1514.jpg",[],{"id":59025,"slug":59026,"title":59027,"dynasty":54,"author":4992,"museum":20,"description":59028,"tags":59029,"thumbUrl":59030,"material":84,"size":59031,"collection":318,"collections":59032,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},237772,"yang-jin-shi-gu-qi-niu-tu-zhou-yang-jin-237772","杨晋石谷骑牛图轴","此图款题为“画白石翁诗意”，所提“白石翁”是明代吴门画派的创始人沈周，晚号白石翁，人称白石先生。所画者为王翠，字石谷，号耕烟散人，为清初“虞山派”创立者，而作者即是早期虞山派的佼佼者，经常与师同绘画作。此图中王翠头戴斗笠，身垫蓑衣，骑于牛背之上，缓缓而行，像是雨过天晴之后，徜徉于乡野小径。墨色轻润，渲染有致，勾画简洁，却神韵俱足，充满诗情画意。",[24,7,165,27,28,96,102,1350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84915670167119b90b18a3de51665151.jpg","81.6×33.5",[318],{"id":59034,"slug":59035,"title":10613,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":59036,"thumbUrl":59037,"material":84,"size":84,"collection":84,"collections":59038,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},237769,"yuan-ji-shan-shui-tu-ce-shi-tao-237769",[24,7,59,27,132,29,497,34,35,31,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F975178692752951cb0cf686cd98c9afa.jpg",[],{"id":59040,"slug":59041,"title":76,"dynasty":124,"author":1270,"museum":300,"description":43445,"tags":59042,"thumbUrl":59043,"material":692,"size":1293,"collection":84,"collections":59044,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},237686,"hua-hui-ce-sun-ke-hong-237686",[24,7,59,128,133,61,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88818b5938dd1a8187c4b8091e26fe0b.jpg",[],{"id":59046,"slug":59047,"title":4229,"dynasty":124,"author":9459,"museum":300,"description":9460,"tags":59048,"thumbUrl":59049,"material":84,"size":84,"collection":84,"collections":59050,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},237668,"hua-niao-ce-ling-bi-zheng-237668",[24,7,59,164,27,61,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb68c60feed082d7eaab4971b15b8c293.jpg",[],{"id":59052,"slug":59053,"title":76,"dynasty":124,"author":16032,"museum":510,"description":16033,"tags":59054,"thumbUrl":59055,"material":1190,"size":16036,"collection":84,"collections":59056,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},237443,"hua-hui-ce-xiang-sheng-mo-237443",[24,7,59,133,128,371,208,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d8eed9bc0b52509a6e8cb158cf8aee5.jpg",[],{"id":59058,"slug":59059,"title":59060,"dynasty":54,"author":59061,"museum":300,"description":59062,"tags":59063,"thumbUrl":59064,"material":692,"size":1293,"collection":84,"collections":59065,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},237353,"zui-zhong-kui-shan-ye-qian-du-237353","醉钟馗扇页","钱杜","钱杜（1764—1845），程序伯文集作（1763—1844）。初名榆，字叔枚，更名杜，字叔美，号松壶小隐，亦号松壶，亦称壶公，号居士，钱塘（今浙江杭州）人，钱树弟。",[24,7,1131,187,188,128,27,96,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97718f7c2a87672a517b7bdbb78e2e09.jpg",[],{"id":59067,"slug":59068,"title":15371,"dynasty":54,"author":15372,"museum":20,"description":15373,"tags":59069,"thumbUrl":59070,"material":734,"size":84,"collection":84,"collections":59071,"showCount":811,"zanCount":1998,"manualWeight":48,"mainColor":72},237177,"hua-niao-kun-chong-ce-zhou-quan-237177",[24,7,59,28,27,61,355,649,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e8edec439da2f56467832c622cad6d6.jpg",[],{"id":59073,"slug":59074,"title":19857,"dynasty":54,"author":59075,"museum":300,"description":59076,"tags":59077,"thumbUrl":59078,"material":84,"size":84,"collection":136,"collections":59079,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},237145,"shan-shui-zhou-wu-ding-237145","吴定","吴定[清]，字立人，一字维时，号稜翁，云南晋宁人，出生于1744年。\n康熙五十二年（一七一三）举人，雍正五年（一七二七）大挑一等，出宰广东博罗、清远二县。工书，行、草最妙。著稜翁诗钞。《云南通志稿》、《晋宁州志》、《李氏诗存》但犹专力经学，深求义理。定论文严于法，姚鼐有所作，必以示商。著有《黑石泉山房文集》十二卷，《诗集》六卷，及《周易集注》十卷，均《清史列传》并行于世。",[24,7,165,128,132,29,663,228,413,495,130,98,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89fa5b431c0a88e245a20daa5e84af6d.jpg",[136],{"id":59081,"slug":59082,"title":59083,"dynasty":54,"author":59084,"museum":300,"description":59085,"tags":59086,"thumbUrl":59087,"material":692,"size":1293,"collection":68,"collections":59088,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},236853,"zhu-shi-ce-wang-e-236853","竹石册","王崿","字山眉，一作小眉，亦作山麋，山陰（今浙江紹興）人。諸生。工書，善山水、蘭、竹，人物師陳洪綬。",[24,7,59,128,133,167,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb33a1fb1c79291813e157dca628d7b03.jpg",[68],{"id":59090,"slug":59091,"title":409,"dynasty":54,"author":5879,"museum":12686,"description":54026,"tags":59092,"thumbUrl":59093,"material":84,"size":84,"collection":136,"collections":59094,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},236736,"shan-shui-ce-hua-yan-236736",[24,7,59,128,133,208,171,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1492cbea826fde7cdd1dbfc776b89a1f.jpg",[136],{"id":59096,"slug":59097,"title":409,"dynasty":54,"author":5879,"museum":12686,"description":54026,"tags":59098,"thumbUrl":59099,"material":84,"size":84,"collection":136,"collections":59100,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},236732,"shan-shui-ce-hua-yan-236732",[24,7,59,128,132,64,208,29,171,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d8a277272e0bd38422b7b0429d89611.jpg",[136],{"id":59102,"slug":59103,"title":4229,"dynasty":54,"author":5879,"museum":12686,"description":49590,"tags":59104,"thumbUrl":59105,"material":84,"size":16301,"collection":84,"collections":59106,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},236624,"hua-niao-ce-hua-yan-236624",[164,24,7,59,128,27,61,355,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4108df10a8f4545691f45a5a4911e4f3.jpg",[],{"id":59108,"slug":59109,"title":4229,"dynasty":54,"author":4823,"museum":300,"description":4824,"tags":59110,"thumbUrl":59111,"material":84,"size":20,"collection":84,"collections":59112,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},236607,"hua-niao-ce-ma-yuan-yu-236607",[24,7,59,27,128,61,2510,547,1771,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe81c93989c7905807254cc4c513d0a43.jpg",[],{"id":59114,"slug":59115,"title":40707,"dynasty":54,"author":59116,"museum":300,"description":59117,"tags":59118,"thumbUrl":59119,"material":692,"size":1293,"collection":84,"collections":59120,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},236471,"shan-shui-shan-ni-tian-236471","倪田","初名宝田，字墨畊，别署墨畊父，号墨道人、墨翁，又号璧月盦主，江苏江都人，侨上海。画人物仕女及佛像皆取景高远，线条流畅，尤善画马及走兽，能随手挥洒，不用巧笔起稿。光绪中行商到沪，爱任颐画，即参用任法。水墨巨石，设色花卉，腴润遒劲，意境清新而富野趣。1910年任上海书画研究会庶务协董，其画在海上擅胜一时。兼工山水，但不多见，卖画沪上三十年，卒年六十五。传世作品有《写吴昌硕六十六岁肖像》轴，现藏上海博物馆。",[24,7,1131,26,27,132,29,98,96,171,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946e1b0efb5e70a174e44ce59c560e49.jpg",[],{"id":59122,"slug":59123,"title":54084,"dynasty":54,"author":36329,"museum":20,"description":54085,"tags":59124,"thumbUrl":59126,"material":514,"size":54088,"collection":84,"collections":59127,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},236155,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236155",[24,7,59,27,28,572,64,96,99,34,131,758,59125,3847,16670],"草垛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F596a76848924f127315379a1b60f6cb6.jpg",[],{"id":59129,"slug":59130,"title":59131,"dynasty":54,"author":3750,"museum":300,"description":59132,"tags":59133,"thumbUrl":59134,"material":84,"size":84,"collection":84,"collections":59135,"showCount":811,"zanCount":1998,"manualWeight":48,"mainColor":49},236071,"fang-ju-ran-shan-shui-zhou-wang-jian-236071","仿巨然山水轴","以长披麻皴绘就层叠山峦，浑厚苍润，山头矾头间遍落点苔，尽显葱郁生机。飞泉垂落林壑，山居隐于松荫溪畔，通幅水墨晕染出空濛烟岚，既追摹原作平淡天真的江南山水意趣，又以温润雅致的笔墨，将董巨一脉的秀润山水情致藏于尺幅，铺展出林泉幽居的悠然静谧，尽显山水林麓间的澹泊林下之美。",[24,7,165,330,132,128,29,495,34,131,130,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1d6bfefd43878d6d4c88623a238dd58.jpg",[],{"id":59137,"slug":59138,"title":59139,"dynasty":124,"author":10922,"museum":300,"description":59140,"tags":59141,"thumbUrl":59142,"material":84,"size":84,"collection":84,"collections":59143,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},236015,"yi-lao-zhai-tu-zhou-wen-jia-236015","遗老斋图轴","此作为诗画合璧的文人雅构，以淡设色绘就林泉幽居之景。远景山峦以浅墨晕染，朦胧淡远，水畔茅舍萧然隐现，汀洲浅滩漾出清寂野趣。近景古木虬曲苍劲，新叶扶苏点染生机，林间策杖缓行的人物，衬出林下雅游的闲淡意致。\n\n整幅画笔致松秀温润，设色浅淡清和，将隐逸澹泊的心境寄寓山水之中。搭配的长款题书笔意秀逸，与画面相映成趣，尽显吴门画派以画载情的特质，把园居清隐的文人气韵勾勒得恰到好处，尽显晚明文人追慕林泉高致的幽远意趣。",[24,7,165,128,27,29,96,34,130,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87ff7e3a3695748142f6a3bd25083afe.jpg",[],{"id":59145,"slug":59146,"title":48568,"dynasty":54,"author":9529,"museum":300,"description":19697,"tags":59147,"thumbUrl":59148,"material":692,"size":1293,"collection":84,"collections":59149,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},236013,"sui-han-san-you-tu-zhou-wang-hui-236013",[24,7,304,165,128,369,132,372,167,371,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffac38c6f80e4e9a7a350830e3894455.jpg",[],{"id":59151,"slug":59152,"title":409,"dynasty":124,"author":21412,"museum":300,"description":59153,"tags":59154,"thumbUrl":59155,"material":84,"size":84,"collection":84,"collections":59156,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},235975,"shan-shui-ce-cheng-jia-sui-235975","此作用笔极简淡，秋林水岸之间，几株枯松清癯卓立，虬枝舒展，尽现岁寒之姿。远山以轻笔晕染，留白写就浩渺烟水，空寂萧疏的秋意漫溢纸面。笔墨松灵脱略，深得元人淡远逸韵，洗尽铅华尽显文人画清虚简淡之致。\n\n左侧小楷清隽雅致，题诗与画意相映成趣，将倦游思归的幽怀，融在这空阔秋景中，诗画合璧，把厌离尘劳、寄心林泉的林下襟怀，藏在尺幅的淡墨轻岚之中，清冷疏旷里尽是禅意闲情。",[164,24,7,59,128,188,133,29,34,496,18970],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa709db4ba8ddcc287d87a77556ea3af8.jpg",[],{"id":59158,"slug":59159,"title":59160,"dynasty":124,"author":14442,"museum":300,"description":59161,"tags":59162,"thumbUrl":59163,"material":692,"size":1293,"collection":84,"collections":59164,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},235955,"wen-li-tu-zhou-you-qiu-235955","问礼图轴","明]字子求，号凤丘（一作凤山），长洲（今江苏苏州）人，移居太仓。",[24,7,165,188,96,251,8565],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F673798774d06c9a3bbef4aec0a5cf911.jpg",[],{"id":59166,"slug":59167,"title":59168,"dynasty":54,"author":17240,"museum":300,"description":59169,"tags":59170,"thumbUrl":59171,"material":84,"size":84,"collection":84,"collections":59172,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},235860,"fang-da-chi-shan-shui-ye-cha-shi-biao-235860","仿大痴山水页","此作用笔枯淡松秀，以极简的勾勒皴擦写就峰峦林泉，萧疏淡远间尽显幽寂空濛之致。\n远景山峦不作繁饰，只以干笔淡墨扫出轮廓，近侧林木清瘦错落，留白铺陈出山野空阔之意境，尽显简逸冷峭的典型风神。\n左侧题诗与画作相映成趣，诗画一体，将文人林泉高致、寄情山水的隐逸襟怀娓娓道来，笔墨间浸透着清寂淡远的林下之风，是文人画诗书画合璧的精妙之作，尽显寄心丘壑、静悟山水的幽情雅趣。",[24,7,59,128,29,34,496,132,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5971e7c52b40b7f652a424a73c24981.jpg",[],{"id":59174,"slug":59175,"title":59176,"dynasty":124,"author":10922,"museum":300,"description":59177,"tags":59178,"thumbUrl":59179,"material":84,"size":84,"collection":84,"collections":59180,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},235836,"tai-hu-tu-ye-wen-jia-235836","太湖图页","此作淡设色绘就湖山胜景，烟波浩渺间群岛错落如星子散落湖面，近岸山峦清润秀雅，林木轻覆崖畔，湖面舟楫缓行，漾开闲澹悠然的江南意趣。左侧题书隽秀雅致，以文述太湖掌故，书画合璧，晕染出独有的温婉文气。\n画面用笔简淡写意，以清浅设色晕染水汽空濛，将太湖包纳万境的浩渺，化作文人笔下的澹泊空灵，把悠游湖山的隐逸意趣藏在湖光波色之间，尽显山水小品融景抒情的绝佳意韵。",[24,7,59,128,29,129,211,10280,34,415,414,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4688beca4b60516f1eb021c0a349bb4.jpg",[],{"id":59182,"slug":59183,"title":48339,"dynasty":124,"author":3608,"museum":300,"description":9012,"tags":59184,"thumbUrl":59185,"material":692,"size":1293,"collection":84,"collections":59186,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},235805,"shan-shui-shan-ye-lu-zhi-235805",[24,7,1131,27,132,29,131,34,1515,129,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb120f4e2e41677a5329a1afe289cefb.jpg",[],{"id":59188,"slug":59189,"title":59190,"dynasty":124,"author":3608,"museum":300,"description":9012,"tags":59191,"thumbUrl":59192,"material":692,"size":1293,"collection":84,"collections":59193,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},235771,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-wen-chao-guan-ye-lu-zhi-235771","吴门诸家寿袁方斋三绝册-问潮馆页",[24,7,59,27,29,1144,131,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e5e335faa2aedfa230c9184a6d2514d.jpg",[],{"id":59195,"slug":59196,"title":59197,"dynasty":54,"author":9529,"museum":300,"description":19697,"tags":59198,"thumbUrl":59200,"material":692,"size":1293,"collection":84,"collections":59201,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},235750,"shi-di-ba-ren-he-zuo-jiu-qiu-tu-zhou-wang-hui-235750","师弟八人合作九秋图轴",[24,7,165,27,28,61,3916,376,373,603,548,624,208,128,304,62,59199],"合作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e1454da1fc321a9cf26daccf2083cf8.jpg",[],{"id":59203,"slug":59204,"title":4229,"dynasty":124,"author":22448,"museum":300,"description":39003,"tags":59205,"thumbUrl":59206,"material":692,"size":1293,"collection":84,"collections":59207,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},235730,"hua-niao-ce-tan-zhi-yi-235730",[24,7,128,188,375,171,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc7a9c48fb193a4759de5f3786195065.jpg",[],{"id":59209,"slug":59210,"title":76,"dynasty":54,"author":36579,"museum":300,"description":36580,"tags":59211,"thumbUrl":59212,"material":692,"size":1293,"collection":84,"collections":59213,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},235714,"hua-hui-ce-zou-xian-ji-235714",[24,7,59,27,28,61,167,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ec7bb907e4f2fccef7a81db0e8113d0.jpg",[],{"id":59215,"slug":59216,"title":4071,"dynasty":54,"author":1472,"museum":300,"description":19162,"tags":59217,"thumbUrl":59218,"material":692,"size":1293,"collection":84,"collections":59219,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},235698,"hua-hui-tu-ce-zou-yi-gui-235698",[24,7,59,28,27,61,603,1039,624,7857],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91f5bc631b1f157fd2800176f3a1860a.jpg",[],{"id":59221,"slug":59222,"title":59223,"dynasty":124,"author":802,"museum":300,"description":59224,"tags":59225,"thumbUrl":59226,"material":84,"size":84,"collection":84,"collections":59227,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},235678,"ren-wu-shan-shui-zhou-chen-hong-shou-235678","人物山水轴","此作以上下开合铺展景致，上部危崖嵯峨，古柏虬枝盘曲如铁，与枯木疏枝相映，萧寂中带着苍古意趣。林间茅亭内，宾主围坐清谈，意态安闲自在。\n\n下部清溪石隐，板桥横斜，柴门将山居幽庭藏于林石之间，把山野独处的静穆悠远缓缓铺陈而出。\n\n笔墨朴拙高古，勾勒挺劲沉稳，设色浅淡素雅，将江南山居的隐逸之致，文人雅聚的澹泊襟怀揉入尺幅，静穆古雅，尽显幽寂出尘的林下之风。",[24,7,165,28,132,27,29,96,130,1337,131,98,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcbf07ee97fe5196225b70c1ee21c4d0.jpg",[],{"id":59229,"slug":59230,"title":59231,"dynasty":54,"author":59232,"museum":300,"description":59233,"tags":59234,"thumbUrl":59235,"material":692,"size":1293,"collection":84,"collections":59236,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},235676,"xi-guan-fang-ma-tu-zhou-zhang-mu-235676","奚官放马图轴","张穆","张穆（1805年11月29日 ——1849年12月22日 ），山西平定人，近代的爱国思想家、地理学家、诗人和书法家。生于嘉庆十年（1805）。鸦片战争中，他曾抱着爱国热情，上书言事，奔走呼号，联络在京友人，通过纪念顾炎武的活动，振奋人心。此后，他本着张扬国威，抵御沙俄侵略的目的，致力于西北边疆地理和蒙古史的研究。1849年12月22日（道光二十九年十一月九日，己酉年丙子月壬寅日）卒于京师，享年四十五岁 。1850年归葬故乡 。",[24,7,165,27,96,101,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8bc760660ccaab1de00c8df1d1e4ccc.jpg",[],{"id":59238,"slug":59239,"title":14818,"dynasty":54,"author":3718,"museum":300,"description":10500,"tags":59240,"thumbUrl":59242,"material":692,"size":1293,"collection":84,"collections":59243,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},235616,"hong-ren-shan-shui-ce-hong-ren-235616",[164,24,7,128,132,4437,29,129,130,415,5323,33,35,59241],"天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd21bf3c93c3dcba2e1955d6f4a94d4dd.jpg",[],{"id":59245,"slug":59246,"title":59247,"dynasty":124,"author":223,"museum":300,"description":59248,"tags":59249,"thumbUrl":59250,"material":84,"size":84,"collection":84,"collections":59251,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},235557,"lu-zhi-hao-shang-song-bie-zhou-yi-ming-235557","陆治濠上送别轴","此作用淡墨轻染铺展早春濠上水色，以远近三层景致铺陈离情。远山空灵浅秀，淡赭晕染出清寂春山轮廓，衬出天地辽远。中景城郭屋舍临水错落，水榭间暗藏饯别之意，烟火气揉入依依别情。近岸柳林疏瘦、嘉木立渚，枝条轻曳间满含缱绻。\n\n整体笔墨秀雅简淡，以吴门画派典型的写意淡设色出之，浅青淡赭晕染出江南早春的柔润清和。题诗与画作相映，将送别时的含蓄心绪寄寓在空蒙湖山烟霭中，文辞清隽晕开画中离思，诗画相融之间，把文人饯别时的幽微深情藏在澹澹濠波里，雅静淡远，尽显抒情山水的悠然意韵。",[24,7,165,128,27,132,29,97,34,129,99,208,758,31,1337,415,5801,1743,1747],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fcb37015866d001a2c187f682336b00.jpg",[],{"id":59253,"slug":59254,"title":76,"dynasty":124,"author":36595,"museum":300,"description":52566,"tags":59255,"thumbUrl":59256,"material":692,"size":1293,"collection":84,"collections":59257,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},235476,"hua-hui-ce-qi-xun-235476",[24,7,59,27,61,62,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc85aee482046e4ebb9752e5c7e49deac.jpg",[],{"id":59259,"slug":59260,"title":4724,"dynasty":124,"author":59261,"museum":300,"description":59262,"tags":59263,"thumbUrl":59264,"material":692,"size":1293,"collection":136,"collections":59265,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},235455,"shan-shui-tu-ce-pan-zheng-235455","潘徵","潘徵 彦宗,又字子述",[24,7,59,128,29,130,4363,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c0cacaeb23cdf518d56ce5c74bd9e36.jpg",[136],{"id":59267,"slug":59268,"title":59269,"dynasty":54,"author":3403,"museum":300,"description":59270,"tags":59271,"thumbUrl":59272,"material":84,"size":84,"collection":84,"collections":59273,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},235407,"shou-xing-bai-shi-zhou-wu-chang-shuo-235407","寿星拜诗轴","此作用笔极简，左侧淡墨写意勾勒出持杖寿星，宽袍博袖下老者矍铄淡然的神态毕现，留白写意间尽是禅意空寂之美。右侧狂草题书笔力苍劲老辣，金石气扑面而来，以篆籀笔法贯穿书画，线质雄健朴拙，笔墨风貌浑然一体。\n\n书画相映成趣，诗意与画意呼应共生，传递出冲和超逸的世外意趣，尽显诗书画印相融的文人画精髓，将写意美学的冲淡之韵抒发到极致。",[24,7,165,133,128,96,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21c552ee82435f1654619ac4dbb914e6.jpg",[],{"id":59275,"slug":59276,"title":21106,"dynasty":54,"author":5879,"museum":300,"description":59277,"tags":59278,"thumbUrl":59279,"material":692,"size":1293,"collection":84,"collections":59280,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},235389,"hua-niao-tu-ce-hua-yan-235389","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年（1703）华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上“高山云鹤”、“水国浮牛”、“青松悬崖”和“倚马题诗”四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，“得交当路巨公，名闻于上”，但并不得意，据戴熙《习苦斋画絮》载：“华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。”他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鱓、郑板桥及盐商巨子马曰琯、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。",[24,7,59,27,61,355,547,7596,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4724964af8175a5c1b0cbce108d96bbb.jpg",[],{"id":59282,"slug":59283,"title":59284,"dynasty":54,"author":12088,"museum":300,"description":15008,"tags":59285,"thumbUrl":59286,"material":692,"size":1293,"collection":84,"collections":59287,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},235294,"huang-li-ming-liu-zhou-yuan-jiang-235294","黄鹂鸣柳轴",[164,24,7,165,27,61,211,2372,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfee4bca22c5f86a39d248aa74512a2e.jpg",[],{"id":59289,"slug":59290,"title":76,"dynasty":54,"author":24996,"museum":300,"description":24997,"tags":59291,"thumbUrl":59292,"material":692,"size":1293,"collection":84,"collections":59293,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},235219,"hua-hui-ce-zhang-wei-235219",[24,7,59,27,28,61,818,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56b790e5f0e87a83fd74fc4393e25d6d.jpg",[],{"id":59295,"slug":59296,"title":76,"dynasty":54,"author":3403,"museum":300,"description":8089,"tags":59297,"thumbUrl":59298,"material":692,"size":1293,"collection":84,"collections":59299,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},235201,"hua-hui-ce-wu-chang-shuo-235201",[24,7,59,128,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6fcbcd912a3c5ca2458e0ccf36abd25.jpg",[],{"id":59301,"slug":59302,"title":59303,"dynasty":54,"author":223,"museum":300,"description":59304,"tags":59305,"thumbUrl":59306,"material":84,"size":84,"collection":68,"collections":59307,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},235039,"yuan-ji-za-hua-tu-ce-yi-ming-235039","原济杂画图册","此作为山水小品，以淡彩晕染出空濛春山，远峰如烟似雾，淡宕朦胧。垂柳柔丝轻曳，笔致细秀，尽写垂拂之姿。苔石旁高士凭岩静坐，敛神凝睇，似将身心融于林泉烟景之中。\n\n设色清润柔和，山石以淡赭、花青轻扫而成，不作繁复勾勒。左侧题诗与画面相映，诗画交融更添文气。全幅笔法松秀空灵，以简淡笔墨写尽山水清寂淡远之致，将文人寄情林泉、静赏春色的幽怀融于尺幅之间，简淡中见隽永风神，尽显文人画的雅致意境。",[164,24,7,59,128,27,29,96,4363,171,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff086b9647f1af5e2513b93a9ed806f3b.jpg",[68,45],{"id":59309,"slug":59310,"title":59311,"dynasty":124,"author":16032,"museum":20,"description":45580,"tags":59312,"thumbUrl":59313,"material":84,"size":84,"collection":84,"collections":59314,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},235013,"wang-shi-shan-hu-gang-mo-ji-ju-tu-ce-shan-shui-ye-xiang-sheng-mo-235013","汪氏珊瑚纲摩诘句图册-山水页",[24,7,59,128,132,208,29,331,99,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F797c660dd7397b8fec87aa05a287cfa4.jpg",[],{"id":59316,"slug":59317,"title":10613,"dynasty":54,"author":1460,"museum":20,"description":11338,"tags":59318,"thumbUrl":59319,"material":999,"size":11341,"collection":84,"collections":59320,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},235004,"yuan-ji-shan-shui-tu-ce-shi-tao-235004",[164,24,7,128,27,132,59,64,208,29,96,1337,37,18332],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe1d5969137e19a3568085176acf242b.jpg",[],{"id":59322,"slug":59323,"title":59324,"dynasty":54,"author":9704,"museum":20,"description":59325,"tags":59326,"thumbUrl":59327,"material":10347,"size":59328,"collection":84,"collections":59329,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},234968,"wu-wai-tian-yuan-tu-ce-kun-can-234968","物外田园图册","引首二开清汪洪度行书“物外田园”四大字。画六开，各附长篇对题。末开款识：“余半年来弄此，樵者归：留此册，强余涂之。卧起点缀如此，云中鸡犬，僬者亦能亦点头否。石道人。”后钤“石谷”(白文)。余五开无款识，有钤印。\n据列题可知此册作于壬寅，即康熙元年(1662)，髡残时年五十一岁。其时他正隐居于南京牛首山。",[24,7,164,59,128,132,133,64,29,131,34,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb83a200d601cbbccabe8731da975f46.jpg","纵21.5cm，横16.9cm",[],{"id":59331,"slug":59332,"title":59333,"dynasty":124,"author":10922,"museum":20,"description":28002,"tags":59334,"thumbUrl":59335,"material":734,"size":28005,"collection":84,"collections":59336,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},234812,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-wen-jia-xiu-zhu-wu-tu-ye-wen-jia-234812","吴门诸家寿袁方斋三绝册-文嘉修竹坞图页",[24,7,59,27,29,132,167,131,34,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6272ba27d4700665a7cf4f2657f469af.jpg",[],{"id":59338,"slug":59339,"title":59340,"dynasty":124,"author":10922,"museum":20,"description":28002,"tags":59341,"thumbUrl":59342,"material":734,"size":28005,"collection":84,"collections":59343,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},234807,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-yang-he-jian-tu-ye-wen-jia-234807","吴门诸家寿袁方斋三绝册-养鹤涧图页",[24,7,59,27,29,413,130,99,722,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb209611b069597ed97b0b3f1804b6054.jpg",[],{"id":59345,"slug":59346,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":59347,"thumbUrl":59348,"material":734,"size":84,"collection":84,"collections":59349,"showCount":811,"zanCount":1116,"manualWeight":48,"mainColor":72},234767,"huang-shan-tu-ce-jiang-zhu-234767",[24,7,59,27,29,131,97,98,99,130,34,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c19b8f917096bf3b23a305e7fcab4ed.jpg",[],{"id":59351,"slug":59352,"title":48187,"dynasty":54,"author":59353,"museum":300,"description":59354,"tags":59355,"thumbUrl":59356,"material":84,"size":84,"collection":84,"collections":59357,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},234671,"shan-shui-shan-mian-hou-fang-yu-234671","侯方域","侯方域（1618年4月—1655年1月），字朝宗，明朝归德府（今河南商丘）人，明末清初散文家，散文三大家之一、明末“四公子”之一、复社领袖。\n侯方域是明户部尚书侯恂之子，祖父及父辈都是东林党人，均因反对宦官专权而被黜。明朝灭亡后，侯方域流落江南，明亡后参加科举，为时人所讥：“两朝应举侯公子，忍对桃花说李香。”晚年失悔此举。 网上引用清史稿只言片语，说侯方域为做清朝官而献计于清军直隶山东河南三省总督张存仁，镇压榆园军起义。但并非如此，侯方域在清顺治七年春，因张存仁访其父，不得已上泛泛而谈的《上三省督府剿抚议》，且张存仁在顺治八年才水淹榆园军。在35岁时，回想起自己遭遇坎坷，除诗文一无所成，悔恨不已，又因违心参与顺治八年乡试，认为自己失节于明，便将其书房更名为“壮悔堂”，表示其壮年后悔之意。在这里，完成了他的两部文集《壮悔堂文集》10卷、《四忆堂诗集》6卷明志。\n清朝顺治十一年十二月十三日（1655年1月30日），37岁的侯方域因国破家亡，复明无望，壮志难酬，郁闷在怀和思念香君，染病身亡。\n侯方域与冒襄、陈贞慧、方以智，合称明末“四公子”，有代表作《李姬传》。清初作家孔尚任撰《桃花扇》剧本，描写的就是侯方域与秦淮名姬李香君的爱情故事，侧面反映了明亡清兴的历史背景。",[24,7,1131,29,128,132,1337,131,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb2c3bb17af8e5f52cc5fb44cd14d8c9.jpg",[],{"id":59359,"slug":59360,"title":50958,"dynasty":54,"author":59361,"museum":300,"description":59362,"tags":59363,"thumbUrl":59364,"material":84,"size":84,"collection":84,"collections":59365,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},234668,"mei-zhu-shan-ye-xu-qi-234668","徐琪","徐琪（1849～1918），字玉可、花农，号俞楼，室名玉可盦、九芝仙馆、香海盦、青琅玕馆等，浙江杭州人。光绪六年进士，授编修，历官山西乡试副考官，广东学政、官至兵部侍郎。俞樾弟子。工诗词、书画，善花卉，神似恽南田，著述甚丰。",[24,7,1131,27,28,371,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1be9d9bfb423e714147a62ce9fa58179.jpg",[],{"id":59367,"slug":59368,"title":59369,"dynasty":54,"author":17240,"museum":300,"description":59370,"tags":59371,"thumbUrl":59372,"material":84,"size":84,"collection":84,"collections":59373,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},234547,"fang-ni-yuan-zhen-shi-yi-tu-zhou-cha-shi-biao-234547","仿倪元镇诗意图轴","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。\n查士标专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏。\n他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变，直窥元人之奥。\n有《云山图》、《空山结屋图》、《秋林远岫图》、《云山烟树图》等传世。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。 著有《种书堂遗稿》等。",[24,7,165,128,132,29,413,276,131,5323,415,3857,1337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a9a3da242b3c3d9e8b2c2e4295b165.jpg",[],{"id":59375,"slug":59376,"title":409,"dynasty":54,"author":17240,"museum":300,"description":59370,"tags":59377,"thumbUrl":59378,"material":84,"size":84,"collection":84,"collections":59379,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},234275,"shan-shui-ce-cha-shi-biao-234275",[24,7,59,128,29,413,663,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3081eba6012e76f1db4406bd622364d3.jpg",[],{"id":59381,"slug":59382,"title":59383,"dynasty":124,"author":59384,"museum":20,"description":59385,"tags":59386,"thumbUrl":59387,"material":40,"size":59388,"collection":84,"collections":59389,"showCount":811,"zanCount":1998,"manualWeight":48,"mainColor":72},234251,"gui-fen-tu-deng-fu-234251","归汾图","邓韨","图绘山西汾河流域风景。垂柳成行，百姓生活点缀其间。景色疏旷清远，线条细劲简练，笔法在刻意中见疏放，可见赵孟頫、文徵明画法的影响。",[23,24,7,25,27,132,64,29,98,99,130,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4f326f594cb4f73d23597696bfe00b.jpg","纵26.9厘米，横124厘米",[],{"id":59391,"slug":59392,"title":59393,"dynasty":54,"author":9529,"museum":20,"description":39800,"tags":59394,"thumbUrl":59395,"material":40,"size":59396,"collection":84,"collections":59397,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},234193,"bai-di-ye-yue-tu-juan-wang-hui-234193","白堤夜月图卷",[23,24,7,164,25,27,29,132,231,98,99,1516,34,97,130,1144,4363,35,9808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24027dcacd6db83d61b7db7fb396350b.jpg","纵39厘米，横219.5厘米",[],{"id":59399,"slug":59400,"title":59401,"dynasty":54,"author":59402,"museum":300,"description":59403,"tags":59404,"thumbUrl":59407,"material":734,"size":84,"collection":84,"collections":59408,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},234184,"lin-yong-tu-xiang-di-er-juan-yin-zhen-234184","临雍图像第二卷","胤禛","清世宗爱新觉罗·胤禛（1678年12月13日 —1735年10月8日），清朝第五位君主（1722年—1735年在位），定都北京后第三位皇帝。年号雍正。康熙帝第四子，母为孝恭仁皇后（即德妃乌雅氏），生于北京紫禁城永和宫。\n康熙三十七年（1698年）封贝勒；康熙四十八年（1709年）胤禛被封为和硕雍亲王。在二废太子胤礽之后，胤禛积极经营争夺储位，康熙六十一年（1722年）十一月十三日，康熙帝在北郊畅春园病逝，他继承皇位，次年改年号雍正。雍正帝在位期做了一系列改革。为加强对西南少数民族的统治，实行改土归流。废除贱籍制度，实行摊丁入亩， [2] 减轻了无地、少地农民的经济负担，促进了人口增长。并且大力整顿财政，实行耗羡归公，建立养廉银制度，实行官绅一体当差一体纳粮。雍正元年（1723年）出兵青海，次年平定罗卜藏丹津叛乱。 [88-89] 在政治上，整顿吏治，创立密折制度监视臣民，设立军机处以专一事权。 [90] 而且改善秘密立储制度，使得皇位继承办法制度化，也在一定程度上避免康熙帝晚年诸皇子互相倾轧的局面。雍正帝在位期间，勤于政事，自诩“以勤先天下” 、“朝乾夕惕”。\n雍正帝的一系列社会改革对于康乾盛世的连续具有关键性作用。雍正十三年（1735年）农历八月二十三日驾崩，终年58岁。庙号世宗，谥号敬天昌运建中表正文武英明宽仁信毅睿圣大孝至诚宪皇帝，葬清西陵之泰陵，传位于第四子弘历。",[23,24,7,25,27,28,96,97,34,247,59405,1577,59406,304],"古代建筑","仪式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76703745414aaf3c5171983bea62096c.jpg",[],{"id":59410,"slug":59411,"title":29491,"dynasty":54,"author":26658,"museum":300,"description":59412,"tags":59413,"thumbUrl":59414,"material":84,"size":84,"collection":84,"collections":59415,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},234150,"shan-shui-he-juan-liu-ru-shi-234150","此卷以淡墨轻皴写江岸丘壑，林木萧疏、汀洲隐现，水墨晕染出江南烟水空蒙之态，简淡天真，尽得文人画简远逸趣。\n\n通篇题跋行书秀逸灵动，笔致清劲温婉，墨色浓淡参差，与画作的淡远意境相融，诗、书、画三者浑融无间。笔墨里交织江南山水的静雅与文人情致，长卷铺展出悠悠林下之风，将澹澹愁思与清雅襟怀藏入点染挥毫间，尽显灵秀才思与林下襟期。",[23,24,7,25,128,188,132,133,208,29,98,99,130,34,131,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca11af530f678f1b3f4c15b1e5ac59a6.jpg",[],{"id":59417,"slug":59418,"title":59419,"dynasty":124,"author":3619,"museum":20,"description":59420,"tags":59421,"thumbUrl":59422,"material":514,"size":59423,"collection":84,"collections":59424,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},234134,"wen-zheng-ming-cang-xi-tu-juan-wen-zheng-ming-234134","文徵明沧溪图卷","文徵明《沧溪图卷\u002F沧谿图卷》，75岁为宜兴吴俦作（嘉靖二十三年），绢本设色，尺寸31.7厘米×139.8厘米，故宫博物院藏。王文治书法题跋：文衡山沧谿图并记。\n《沧谿记》；嘉靖二十三年（1544年），岁在甲辰二月既望前，翰林待诏将仕佐郎兼修国史，长洲文徵明书。",[23,24,7,25,27,28,132,133,64,29,130,98,99,131,34,35,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0dda54a1515fc400167e23cfd822052.jpg","31.7×139.8厘米",[],{"id":59426,"slug":59427,"title":59428,"dynasty":124,"author":9650,"museum":20,"description":59429,"tags":59430,"thumbUrl":59431,"material":29194,"size":59432,"collection":84,"collections":59433,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},234044,"guan-pu-tu-shan-ye-zhang-lu-234044","观瀑图扇页","图绘二人登山观瀑的情景。画中的山石杂木以饱含水分的润墨表现，用笔奔放豪爽，线条方折顿挫，富于缓疾、浓淡的变化，显然受到宋元时期粗笔水墨一派及吴伟等人水墨写意画风的影响。此作是张路在山水题材作品中不可多得的小而精之作。",[24,7,1131,128,29,495,34,131,496,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdebad2d46b651dc12e1b3bbc2e6ded3.jpg","纵18厘米，横50.4厘米",[],{"id":59435,"slug":59436,"title":4229,"dynasty":54,"author":5879,"museum":12686,"description":16298,"tags":59437,"thumbUrl":59438,"material":66,"size":16301,"collection":84,"collections":59439,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},233949,"hua-niao-ce-hua-yan-233949",[24,7,59,27,61,211,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94fd54133a0f6a38efa9e9bbcff52f16.jpg",[],{"id":59441,"slug":59442,"title":59443,"dynasty":18,"author":59444,"museum":20,"description":59445,"tags":59446,"thumbUrl":59447,"material":151,"size":59448,"collection":84,"collections":59449,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},233851,"he-quan-cao-tang-ke-hua-tu-ye-he-quan-233851","何荃草堂客话图页","何筌","《草堂客话图》为南宋画家何荃所作。画左方松树干上署“辛卯何筌制”五字款。裱边题签“何荃草堂客话图”。对幅李佐贤跋云：“此幅旧题‘何筌《草堂客话》’，系梁蕉林相国笔迹。按筌名画谱无徵，不知此题何所据，然画笔细入毫芒，无微不到而一丝不乱，工雅兼长，洵属宋人真实本领，元以后无此画境矣。”\n图绘乡间草堂两间，绿柳、青松、翠竹环绕其间。左侧屋内两人对坐，一童子侍立院中。右侧亭内一人侧躺，神态悠闲。乡间小路上孩童三三两两，嬉戏游玩。\n何荃，南宋画家，生卒年不详。",[24,7,59,128,27,29,97,98,99,96,34,130,132,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4373cb59dd54263cc79e2110d7f29cec.jpg","24x23cm",[],{"id":59451,"slug":59452,"title":59453,"dynasty":144,"author":59454,"museum":20,"description":59455,"tags":59456,"thumbUrl":59458,"material":611,"size":59459,"collection":84,"collections":59460,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},233785,"gou-lei-zhu-juan-zhang-xun-233785","钩勒竹卷","张逊","张逊 (约13世纪末～14世纪中)字仲敏,号溪云，吴(今江苏苏州)人。此图纸本，水墨，纵 43.4 厘米，横 686厘米。画坡陀间双钩竹数丛，枝干劲挺，竹叶扶疏，间作老松披佛偃仰。石用中锋圆笔钩皴，有董源、巨然遗意。本幅后楷书自题记上款“伯时”，下署“至正九年四月卅日，吴郡张逊题于吴氏舍馆”。钤“张逊私印”。作于1349年，是张逊晚年用心之作。\n后纸有察伋、倪瓒、张绅、梁用行、王汝玉、张间、钱溥、刘钮、陈鉴、严树、陆广、谢希曾、徐渭仁、黄芳、宝熙等人题以及谢希曾等鉴藏印 150余方。《朱氏铁网珊瑚》、《佩文斋书画谱》、《式古堂书画汇考》等书著录。现藏故宫博物院。",[164,24,7,25,188,59457,167,96,101,413,208],"钩勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2630f34cd123917126bd47636aae1dec.jpg","纵 43.4 厘米，横 686厘米",[],{"id":59462,"slug":59463,"title":16041,"dynasty":54,"author":1460,"museum":20,"description":16042,"tags":59464,"thumbUrl":59465,"material":734,"size":16046,"collection":84,"collections":59466,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},233780,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233780",[24,7,59,133,64,128,27,369,132,96,413,372,2372,131,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08b5ac46bfdfbb00f6719c0a94a89517.jpg",[],{"id":59468,"slug":59469,"title":59470,"dynasty":124,"author":204,"museum":20,"description":1523,"tags":59471,"thumbUrl":59472,"material":40,"size":22630,"collection":84,"collections":59473,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},233763,"ren-wu-gu-shi-ce-10-chou-ying-233763","人物故事册10",[164,24,7,4437,28,27,29,96,34,131,31,130,41805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc532d574111f7457513fb93f908a5be.jpg",[],{"id":59475,"slug":59476,"title":59477,"dynasty":54,"author":1460,"museum":300,"description":14038,"tags":59478,"thumbUrl":59479,"material":1722,"size":14041,"collection":84,"collections":59480,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},233688,"yuan-ji-lan-zhu-ce-xue-zhong-mei-zhu-shi-tao-233688","原济兰竹册－雪中梅竹",[24,7,59,128,369,1556,650,276,4074],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13d98440534b36c7c573bc21674f6b05.jpg",[],{"id":59482,"slug":59483,"title":59484,"dynasty":54,"author":1460,"museum":300,"description":14038,"tags":59485,"thumbUrl":59486,"material":1722,"size":14041,"collection":84,"collections":59487,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},233685,"yuan-ji-lan-zhu-ce-zhu-lan-shi-tao-233685","原济兰竹册－竹兰",[164,24,7,59,128,375,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682ad7be838217a702824a55aa1508fe.jpg",[],{"id":59489,"slug":59490,"title":16826,"dynasty":54,"author":1242,"museum":20,"description":16827,"tags":59491,"thumbUrl":59493,"material":16830,"size":16831,"collection":84,"collections":59494,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},233399,"shan-shui-ren-wu-ce-jin-nong-233399",[24,7,59,27,128,188,96,34,59492,208,35,167],"书案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68bc67c8dd3b874a3a1dc6ad26e5dff2.jpg",[],{"id":59496,"slug":59497,"title":48464,"dynasty":54,"author":1460,"museum":300,"description":48465,"tags":59498,"thumbUrl":59499,"material":611,"size":48468,"collection":84,"collections":59500,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},233388,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233388",[24,7,164,59,128,132,29,130,34,131,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfadec0df955c224faf8b25ed405b4d4.jpg",[],{"id":59502,"slug":59503,"title":48464,"dynasty":54,"author":1460,"museum":300,"description":48465,"tags":59504,"thumbUrl":59505,"material":611,"size":48468,"collection":84,"collections":59506,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},233387,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233387",[24,7,128,59,29,34,131,35,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F518aa7dd00c502fe66ea06d0603877ca.jpg",[],{"id":59508,"slug":59509,"title":59510,"dynasty":18,"author":223,"museum":20,"description":59511,"tags":59512,"thumbUrl":59515,"material":734,"size":59516,"collection":84,"collections":59517,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},233197,"xiao-ting-xi-ying-tu-ye-yi-ming-233197","小庭戏婴图页","童年，是每个人必然的经历。儿时玩乐点滴，更是许多人依旧难忘的回忆。“婴戏图”是以儿时玩乐情景为题材的中国绘画类型，为一项自宋代开始流行的重要画题。孩童形象早见于秦汉以前的工艺艺术，以绘画呈现的例子也可追溯到六朝，唐代逐渐出现在单一画面中以孩童玩耍情景为主的表现，发展至宋元以后，成果斐然。",[164,24,7,59,28,27,96,59513,413,1314,59514,169],"婴童","庭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F060276d9cf4de298334a3beda4f2d371.jpg","69x73cm",[],{"id":59519,"slug":59520,"title":59521,"dynasty":54,"author":6778,"museum":56,"description":6779,"tags":59522,"thumbUrl":59523,"material":611,"size":84,"collection":84,"collections":59524,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},233186,"hua-hui-ce-hua-hui-ye-zhao-zhi-qian-233186","花卉册-花卉页",[24,7,59,27,61,62,603,549,582,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d8a60034e0f2aa9cbe6407d84c18d44.jpg",[],{"id":59526,"slug":59527,"title":409,"dynasty":144,"author":14724,"museum":20,"description":32011,"tags":59528,"thumbUrl":59529,"material":734,"size":32014,"collection":84,"collections":59530,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},233177,"shan-shui-ce-cao-zhi-bai-233177",[24,7,59,128,132,29,663,413,758,415,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7c56a42fde601ecf5f7dd11e23e93b3.jpg",[],{"id":59532,"slug":59533,"title":59534,"dynasty":124,"author":3619,"museum":20,"description":37362,"tags":59535,"thumbUrl":59536,"material":999,"size":37365,"collection":84,"collections":59537,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},233140,"ming-ren-xi-shan-sheng-jing-he-bi-ce-wen-zheng-ming-heng-tang-tu-ye-wen-zheng-ming-233140","明人西山胜景合壁册-文徵明横塘图页",[24,7,59,128,27,133,29,98,99,34,496,35,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f4f684ec7589408ab32df01c94c253.jpg",[],{"id":59539,"slug":59540,"title":59541,"dynasty":18,"author":223,"museum":20,"description":59542,"tags":59543,"thumbUrl":59544,"material":151,"size":59545,"collection":84,"collections":59546,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},233020,"wan-shan-hua-ce-zhang-mao-shuang-yuan-yang-ye-yi-ming-233020","纨扇画册-张茂双鸳鸯页","画面构图简洁疏朗，浸透出丝丝寒意。气氛祥和宁静，寓意寒不异心。画家仅在鸳鸯游曳处画出几笔水波纹，既表现出鸳鸯的动感，又反映出水面的荡漾。在以鸳鸯为主题创造出安谧幸福的情境之余，又添绘相呼相随的小鸟二只，它们的顾盼关系使得上半部画面更加充实生动。\n芦苇用墨双勾，笔触挺拔劲健。禽鸟体形虽小，但一笔不苟，清晰工致，功力非凡。\n此图选取水景局部：一丛芦苇蓼草探入画面，枝叶稀疏，叶留残雪。一对鸳鸯破水而行，游向苇丛。一只鹡鸰轻栖于苇杆，与俯冲而下的另一只遥相呼应。画面中、上部大片空白，使人联想到广阔水域的浩渺烟波，在构图上颇得小景见大之妙。",[164,24,7,1131,59,28,27,61,1857,1824,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5c1f19dd445227b06136999af12f821.jpg","纵24.4cm，横18.3cm",[],{"id":59548,"slug":59549,"title":59550,"dynasty":18,"author":223,"museum":20,"description":59551,"tags":59552,"thumbUrl":59553,"material":40,"size":59554,"collection":84,"collections":59555,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},233005,"ji-ling-he-ye-tu-ye-yi-ming-233005","鹡鸰荷叶图页","图中荷塘里枯枝断茎，一片残败的荷叶向上斜出，翻卷的叶面，满布虫蚀的痕迹，一只鹡鸰停驻其上，双爪紧握荷茎，扭颈俯视，神情专注，为萧瑟的深秋平添了几许生气。鸟羽刻画细腻，先用色渲染，然后以极细之笔勾出，笔法生动秀逸。构图疏密有致，动静结合。",[24,7,61,59,28,128,27,211,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02c23f1fd4e2835e55c1e6774b7eac60.jpg","纵26厘米，横26.5厘米。",[],{"id":59557,"slug":59558,"title":59559,"dynasty":18,"author":223,"museum":20,"description":59560,"tags":59561,"thumbUrl":59562,"material":151,"size":59563,"collection":84,"collections":59564,"showCount":811,"zanCount":1998,"manualWeight":48,"mainColor":49},233003,"xiu-yu-ming-chun-tu-ye-yi-ming-233003","绣羽鸣春图页","图中画一只美丽的山鸟，单足立于太湖石上，神情凄楚，啼鸣不止，右爪不安地刨动。细观乃知其被一细绳系于石上，失去自由。作者用心至为深婉。宋欧阳修有句云：“始知锁向金笼听，不及林间自在啼”，亦即此意。\n太湖石的皴染较为粗疏，与小鸟翎毛之精细形成对比，主次分明。周围不设衬景，更显鸟之孤独。禽类本无表情，画家借鉴人类眼睛的画法表现其心理，堪称妙笔。",[164,24,7,4437,28,128,27,61,211,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1d0c9f127df677be284b99a0e58c917.jpg","纵25.7cm，横24.1cm",[],{"id":59566,"slug":59567,"title":41792,"dynasty":124,"author":3619,"museum":20,"description":41793,"tags":59568,"thumbUrl":59569,"material":611,"size":41796,"collection":84,"collections":59570,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},232966,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232966",[24,7,59,128,188,133,132,29,34,415,131,130,208,64,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b54e3625b7677c5c8658c24f38a7ee0.jpg",[],{"id":59572,"slug":59573,"title":41792,"dynasty":124,"author":3619,"museum":20,"description":41793,"tags":59574,"thumbUrl":59575,"material":611,"size":41796,"collection":84,"collections":59576,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},232965,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232965",[24,7,59,128,27,29,167,99,129,64,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35734c7c6d672b6f5eefefc86eaa12a5.jpg",[],{"id":59578,"slug":59579,"title":41792,"dynasty":124,"author":3619,"museum":20,"description":41793,"tags":59580,"thumbUrl":59581,"material":611,"size":41796,"collection":84,"collections":59582,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},232963,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232963",[24,7,59,128,133,132,208,64,29,34,496,690,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c940fc330cc0160f794275869038cac.jpg",[],{"id":59584,"slug":59585,"title":41792,"dynasty":124,"author":3619,"museum":20,"description":41793,"tags":59586,"thumbUrl":59587,"material":611,"size":41796,"collection":84,"collections":59588,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},232962,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232962",[24,7,59,128,27,132,133,64,208,29,413,131,97,98,99,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb74cf6574391d8f609ec56377466c02c.jpg",[],{"id":59590,"slug":59591,"title":22739,"dynasty":18,"author":223,"museum":300,"description":59592,"tags":59593,"thumbUrl":59594,"material":84,"size":84,"collection":84,"collections":59595,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},232914,"han-lin-tu-yi-ming-232914","以瘦硬劲挺的笔触勾勒虬曲枯枝，蟹爪般的枝桠交错伸展，将冬林脱尽繁叶的苍古姿态尽显。古木错落倚着坡石生长，笔墨老辣洗练，褪去春华艳色，只留沉郁骨相。\n\n画面氤氲着清寂荒寒的氛围，将冬日郊野的冷冽萧索铺陈开来，于极简意象里藏着对枯淡幽远的美学追寻。不见翠色繁花，唯有枯木寒石，却在萧索间生出沉古雅逸的风骨，仿佛朔风穿林的空寂声响已在耳畔，将荒寒郊林的幽远意境揉进每一道笔痕中。",[164,24,7,165,128,132,1233,331,171,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c644df4ab44972659ce2cb160a6c132.jpg",[],{"id":59597,"slug":59598,"title":59599,"dynasty":144,"author":20772,"museum":300,"description":59600,"tags":59601,"thumbUrl":59602,"material":151,"size":59603,"collection":84,"collections":59604,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},232885,"you-mu-kuang-huan-tu-juan-zhang-yu-232885","游牧狂欢图卷","张雨（1283～1350），元代诗文家、词曲家、书画家、茅山派道士。旧名张泽之，又名张嗣真；字伯雨，号贞居之，又号句曲外史。钱塘（浙江杭州）人。\n博学多闻，善谈名理。诗文、书法、绘画，清新流丽，有晋、唐遗意。曾从虞集受学，诗才清丽。年二十弃家为道士，居茅山，道名嗣真，道号贞真子，又自号句曲外史。师事茅山宗师许道杞弟子周大静，后师事玄教高道王寿衍，居杭州开元宫，与当时文士如杨维桢、张小山、马昂夫、仇山村、班彦功等均有唱和往来。\n传世书迹有《台仙阁记》卷（现藏于上海博物馆）《题画二诗》卷（现藏于故宫博物院）；著有诗集《贞居集》（又名《句曲外史集》）五卷。",[23,164,24,7,25,27,96,772,1975,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdf3dd2a8a2ad4ac8b4c773e7f7cd412.jpg","30.4×89 厘米",[],{"id":59606,"slug":59607,"title":59608,"dynasty":54,"author":31277,"museum":300,"description":59609,"tags":59610,"thumbUrl":59611,"material":84,"size":59612,"collection":84,"collections":59613,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},232692,"shan-shui-shan-xia-ben-quan-tu-ye-fang-cong-232692","山水山峡奔泉图页","方琮，字黄山，字友璜，号石颠，山水宗黄公望。浙江人。善山水画，从学于张宗苍（1686-1755）深得其传，供奉内廷。\n曾仿画王希孟《江山千里图卷》",[23,164,24,7,4437,27,132,29,5359,495,131,34,35,31,37,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc835b79f8135b64f62bb539dc0e09c96.jpg","46x32 厘米",[],{"id":59615,"slug":59616,"title":58611,"dynasty":54,"author":59617,"museum":300,"description":59618,"tags":59619,"thumbUrl":59620,"material":84,"size":59621,"collection":84,"collections":59622,"showCount":811,"zanCount":1998,"manualWeight":48,"mainColor":72},232608,"fang-gu-shan-shui-tu-ce-jiao-xun-232608","焦循","近处坡岸垂柳疏朗，柔细枝条苍劲兼具，淡墨勾勒出清寂之态。一江春水横陈，扁舟载着披蓑隐士随波泛游，独览两岸烟光。远山以淡墨晕染平缓延绵，留白铺就江面云气，空濛悠远。\n\n左上角题诗点缀，诗书与画境相融，悠悠禅意漫开。全作用白描淡墨写就，舍弃浓艳敷色，尽显文人画简澹萧散之趣，将春日江野的清旷与幽居散人的隐逸襟怀合而为一，笔底尽是静穆淡远的林下之风，观之如临江凭眺，涤尽尘嚣。",[24,7,59,128,188,330,29,129,1337,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7d849c4bec9c9da923566ecd5c0af13.jpg","23.2 x 30cm",[],{"id":59624,"slug":59625,"title":59626,"dynasty":222,"author":223,"museum":300,"description":59627,"tags":59628,"thumbUrl":59630,"material":84,"size":84,"collection":84,"collections":59631,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},231697,"you-yuan-si-tiao-ping-yi-ming-231697","游园四条屏","此作以古松虬枝框景，留白衬出林下清寂悠远。仕女分作数组，情态各别：执伞侍者垂首侍立，闺中眷侣私语相和，携幼仕女缓行顾盼，执巾侍女恭谨相随。\n\n线条细劲秀逸，敷色淡雅明净，朱红白衫与黛色衣袂相映，晕染柔和自然，将仕女温婉丰腴的体态神韵尽显。整幅画作把游园的松弛闲静，融在松风云影之间，将贵族春日游园的悠然意趣铺陈开来，尽显古典仕女画的雅致情致。",[23,24,7,27,28,96,166,331,3490,59629,12612,34],"游园场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F127e8cff6c8c717373302cc855931e79.jpg",[],{"id":59633,"slug":59634,"title":59635,"dynasty":222,"author":35258,"museum":300,"description":49868,"tags":59636,"thumbUrl":59637,"material":692,"size":1293,"collection":84,"collections":59638,"showCount":811,"zanCount":1998,"manualWeight":48,"mainColor":72},231619,"bai-miao-shi-er-tian-tu-xiang-yue-tian-zhen-hai-231619","白描十二天图像 月天",[23,24,7,165,187,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b652dad80f69379800acd9b03119a31.jpg",[],{"id":59640,"slug":59641,"title":59642,"dynasty":124,"author":33462,"museum":300,"description":59643,"tags":59644,"thumbUrl":59645,"material":611,"size":59646,"collection":84,"collections":59647,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},231599,"da-mo-mian-bi-tu-song-xu-231599","达摩面壁图","此图所绘达摩形象古朴而虔诚，四周是野草蒙茸的岩洞，达摩身着红衣， 端坐于蒲团之上，正在修行。画心题“问法金銮不顺情，折盖潜向少林行。 若无断臂来承受，辜负如来十万程。”署款“庚子新春写于云间超果精舍。”押 “宋旭之印”、“石门山人”二印。",[23,24,7,165,27,132,187,96,171,99,230,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1fe66a812dbe56cfccf70204e699ab7.jpg","纵121.3横32.2厘米",[],{"id":59649,"slug":59650,"title":59651,"dynasty":124,"author":3619,"museum":300,"description":59652,"tags":59653,"thumbUrl":59654,"material":84,"size":84,"collection":84,"collections":59655,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},231565,"fei-quan-gu-shu-tu-wen-zheng-ming-231565","飞泉古树图","文征明（1470--1559），初名壁(或璧)，字徵明，一字征仲，号衡山。江苏长洲（苏州）人。明代中期著名的画家、书法家。他与沈周、唐寅、仇英并列，合称明四家(吴门四家或“吴门四杰”）。与唐伯虎、祝枝山、徐祯卿并称“江南四大才子”。书法上与祝允明、王宠并誉为“吴中三家”。晚年与老师沈周并驾齐驱，继沈周之后成为吴门派领袖。\n文征明的书画造诣极为全面，其诗、文、书、画无一不精，人称四绝全才。诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。\n文征明的绘画兼善山水、花鸟、人物，尤精山水。早年师事沈周，后致力于赵孟頫、王蒙、吴镇三家，自成一格。画风呈粗、细两种面貌。粗笔源自沈周、吴镇，兼取赵孟頫古木竹石法，笔墨苍劲淋漓，又带干笔皴擦和书法飞白，于粗简中见层次和韵味；细笔取法赵孟頫、王蒙，布景繁密，较少空间纵深，造型规整，时见棱角和变形，用笔细密，稍带生涩，于精熟中见稚拙。设色多青绿重彩，间施浅绛，于鲜丽中见清雅。细笔山水画属本色画，具装饰性、抒情味、稚拙感的特征，也奠定了“吴派”的基本特色。文徵明是继沈周之后的吴门画派的领袖，门人、弟子众多，形成当时吴门地区最大的绘画流派。\n文征明传世画作有《千岩竞秀》、《万壑争流》、《石湖草堂》、《石湖诗画》、《横塘诗意》、《虎丘图》、《天平纪游图》、《灵岩山图》、《洞庭西山图》、《拙政园图》等。",[23,24,7,29,27,132,689,32461,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1449fe9e3fac0372a5e26f2d03ddcc88.jpg",[],{"id":59657,"slug":59658,"title":59659,"dynasty":124,"author":39940,"museum":244,"description":59660,"tags":59661,"thumbUrl":59662,"material":611,"size":59663,"collection":136,"collections":59664,"showCount":811,"zanCount":1998,"manualWeight":48,"mainColor":72},231414,"bai-yue-tu-leng-qian-231414","白岳图","此图近处是溪流、坡石、茅亭、古松；中间有丛树、竹林、板桥、人家；上部峰峦起伏，云霞映带。此图笔墨秀润，清丽萧疏，山石作披麻皴，皴擦并用，刚柔相济，不见奇峭之笔。画中景物的高低晕淡深浅，都很自然，树枝树叶，勾点结合，石上苔点恰到好处.\n此画可分为远景、中景、近景三段式。远景画面上层峦叠嶂，悬岩峭壁，古木衰草，幽深险绝；中景为崇山脚下，一片阔广平坦之地，左侧为林木丛生，密密麻麻的一片；右侧为翠竹林立，竹竿瘦劲挺拔，竹叶茂密，相互交错，互相映辉，在林木和翠竹荫下，坐落着几间屋宇茅舍，翠竹旁溪水潺潺流动，有一座高架的板桥接岸，近景为坡石堤岸，乱石横卧，山石奇特，山石间有几棵杂树，有的树干挺拔，有的盘根露土，有的枝干虬曲向左右弯斜。\n从此画题识看，该图是强余模写之作，作者对所熟悉的环境加以提炼、概括。 由自题可知，该图作元至正三年（1343年）。\n该图中，山头、山脊与怪石交织互抱，盘亘而上，变为一大平原，而从山腰到山顶，却有折搭、转换、穿插种种奇趣。凡此均非庸手所能。纯用于笔，浓墨淡墨兼施，轮廓与皴擦融为一体，尤其是善用空白，把山顶、山背、岩际、石尖，甚至山径，都表现出来。不加渲淡，不作苔点，更见笔墨凝重和骨力之美。在线条的组织与结构上，似乎十分紧密，然而石罅飞泉，山间停云，质实中还见虚灵。另一方面，作为全图的主峰却不嫌孤单，它的背后远岫罗列，它的腰际和云层里露出几个小山头，彼此之间如相揖让。这样的艺术想象、艺术构思与艺术手法，反映了大自然的节奏与生命，以及画家活泼泼的审美感情，而且和道家修养分不开。至于行笔坚硬朴实，则从传统中来。山石不以苔点修饰，乃唐人画法。明王铎题关仝《秋山晚翠》：“结撰深峭，骨苍力厚，婉转生发，又细又老，磅礴之气行于笔墨外，大家体度固如此。”冷谦此图庶几近之。而荆浩自许笔墨俱胜，米芾指出其山水特征在于“云中山顶，四面峻厚”，此图似乎兼而有之。",[24,7,165,128,29,132,131,34,98,99,758,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99888b1ef6398d1704122c6248807861.jpg","纵84.4厘米，横41.4厘米",[136],{"id":59666,"slug":59667,"title":59668,"dynasty":18,"author":2141,"museum":244,"description":59669,"tags":59670,"thumbUrl":59671,"material":611,"size":59672,"collection":84,"collections":59673,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},231411,"ren-wu-tu-shuang-ye-liu-song-nian-231411","人物图双页","刘松年，南宋画家，钱塘（今浙江省杭州）人，居清波门，俗称“暗门”，因有“暗门刘”之称。淳熙年间为画院学生，其师张敦礼是李唐的学生，故画风与李唐一脉相承，而笔法俊秀，墨色亦显清淡，绍熙年间升至画院待诏，历经南宋孝宗、光宗、宁宗三朝，其画作有“院人中绝品”之名。工人物、山水、界画，是“南宋四家”中画风最为精致细微的一家。",[24,7,164,59,28,27,133,96,413,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde61b5e1de6fecb202d7da5f1239102b.jpg","纵117公分 横55.8公分",[],{"id":59675,"slug":59676,"title":59677,"dynasty":54,"author":1472,"museum":524,"description":59678,"tags":59679,"thumbUrl":59680,"material":1223,"size":59681,"collection":84,"collections":59682,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},231391,"liu-ye-shan-shui-shi-hua-tu-ce-zou-yi-gui-231391","六页山水诗画图册","此册页花卉或重粉点瓣、敷色浓丽；或没骨轻染、淡雅隽逸。此花卉用功颇深，为深入了解绘画对象，邹一桂亲自培植百余种花卉，仔细观察形态特征，获得真切感性认识，使其花卉在他笔下形神兼备、超凡脱俗。",[24,7,59,128,132,29,97,130,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa16e4b6ea57f63d4747420caa89bdae6.jpg","29×23cm×8",[],{"id":59684,"slug":59685,"title":59686,"dynasty":124,"author":223,"museum":244,"description":59687,"tags":59688,"thumbUrl":59689,"material":59690,"size":59691,"collection":84,"collections":59692,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},231358,"yuan-ren-hua-lie-qi-tu-zhou-yi-ming-231358","元人画猎骑图轴","一队人马行进於秋林之中，人物之衣冠，马匹之鞍具，与李唐、陈居中文姬归汉图之胡骑甚相似。但此幅用笔较为纤秀，旧传为元人之作。",[24,7,165,27,28,96,101,663,413,208,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ad70a4cebe3d61e2604c96263c616d7.jpg","轴","39.4x60.1公分",[],{"id":59694,"slug":59695,"title":59696,"dynasty":54,"author":59697,"museum":300,"description":59698,"tags":59699,"thumbUrl":59700,"material":84,"size":84,"collection":84,"collections":59701,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},230920,"yin-tang-xiao-yue-tu-lan-tao-230920","银塘晓月图","蓝涛","此作用笔清隽工细，设色雅致柔和。暮春晓月晕开朦胧柔光，池畔梨花如云叠缀，柔枝轻曳舒展，将春夜清寂揉入花枝。绣眼静栖枝头，羽色苍褐温润，身形灵动传神，似在聆听春夜余声。画面留白疏朗空灵，师法宋元院体意趣，将幽淡宁和的春夜诗意凝于尺幅，尽显古典花鸟的雅致韵致，把塘边春宵的温柔静谧永远定格于绢素之中。",[23,24,7,164,165,28,27,61,231,355,547,2438,2372,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcafc6fa2c004fa104f0237b2fc2238e0.jpg",[],{"id":59703,"slug":59704,"title":22371,"dynasty":54,"author":49830,"museum":300,"description":59705,"tags":59706,"thumbUrl":59707,"material":692,"size":1293,"collection":84,"collections":59708,"showCount":811,"zanCount":1998,"manualWeight":48,"mainColor":72},230353,"fang-gu-shan-shui-zhou-kun-230353","字天池，江苏常熟人。黄霆子。画承家学，工山水、人物，梅花亦佳。乾隆（一七三六至一七九五）时供奉如意馆。尝以闾阎疾苦情形托诸艺事，蒙御题，有：“监门遗故事，咨尔溯其踪”句。所作多藏石渠宝笈。《国[清]朝画徵续录、虞山画志、石渠宝笈、清画家诗史》",[24,7,164,29,2271,27,131,37,415,130,413,59,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb26cb02769aeda20dba4113895ea76f.jpg",[],{"id":59710,"slug":59711,"title":59712,"dynasty":54,"author":223,"museum":300,"description":59713,"tags":59714,"thumbUrl":59715,"material":84,"size":84,"collection":68,"collections":59716,"showCount":811,"zanCount":1998,"manualWeight":48,"mainColor":72},230331,"qing-shi-quan-tu-ce-shi-kai-yi-ming-230331","清十犬图册-十开","《十犬图册》是清代画家佚名创作的一幅绢本设色画。\n此图册为乾隆时期的宫廷画家所绘，表现猎犬“守则有威，出则有获”，“骨相多奇，仪表可嘉”的主题。\n画法工整，具有一定的程式。\n对开有内廷侍臣陈邦彦、王图炳、励廷仪、张廷玉、蒋廷锡、张照、薄海等书写的《山海经》及晋傅休奕的《走狗赋》、唐杜甫的《天狗赋》等诗赋。",[24,7,59,28,27,949,9119,331,171,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51e2d3c8edc551956dced1e277f84ec6.jpg",[68],{"id":59718,"slug":59719,"title":59720,"dynasty":54,"author":1242,"museum":300,"description":36392,"tags":59721,"thumbUrl":59723,"material":692,"size":1293,"collection":84,"collections":59724,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},230239,"qi-shu-sheng-zhong-jiao-shi-ji-ye-jin-nong-230239","漆书盛仲交事迹页",[23,64,7,59722,21937,59,304,57836],"漆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc594439da4b050225b4bde7e8d8f82cf.jpg",[],{"id":59726,"slug":59727,"title":45148,"dynasty":54,"author":9576,"museum":300,"description":59728,"tags":59729,"thumbUrl":59730,"material":84,"size":84,"collection":84,"collections":59731,"showCount":811,"zanCount":1998,"manualWeight":48,"mainColor":49},230143,"he-he-er-xian-tu-luo-pin-230143","画面里二人憨态尽显，袒胸露腹，衣衫松垂，相偎对视，笑意漫溢眉眼间，亲昵松弛的模样满是人间烟火的融融暖意。作者以写意淡墨晕染人物神态，简括的衣纹线条随性洒脱，寥寥数笔便勾勒出二仙随性自在的模样。\n\n题诗与画作相映成趣，以质朴诗文点出合和圆满的意涵，笔墨古雅朴拙，诗画相融无间。整作摒弃繁复设色，以水墨清简之韵消弭仙俗边界，将和合二仙承载的圆满喜乐，以最生动质朴的方式铺陈开来，尽显写意功力，也传递出对人间温情圆满的脉脉期许。",[23,24,7,128,369,188,96,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8112e91dbc56cac7f9b59025a7b714ff.jpg",[],{"id":59733,"slug":59734,"title":59735,"dynasty":54,"author":2687,"museum":300,"description":59736,"tags":59737,"thumbUrl":59739,"material":84,"size":84,"collection":84,"collections":59740,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},228957,"fang-song-ren-gou-ran-tu-ce-jiang-ting-xi-228957","仿宋人勾染图册","此作用淡墨勾勒花瓣轮廓，由外至内层层晕染，将盛放牡丹的丰腴柔润尽数铺展，花心以浓墨点簇，层次分明，把牡丹盛放时的娇妍饱满尽显无遗。枝叶笔墨干湿浓淡有别，叶片皴擦细致、叶脉清晰，挺秀枝干搭配舒展翠叶，清雅间带着端庄意韵。\n\n全幅未施丹青，纯以水墨晕染花卉神采，兼得宋画工致写实的格调和文人写意的澹泊雅致。错落排布的鉴藏印，更添古雅厚重的书卷意蕴，将工笔细腻与水墨清逸相融，把牡丹的华贵风骨敛在素净墨色中，静雅脱俗，余韵悠长。",[23,24,164,7,59,28,59738,128,61,263,208,330],"勾染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6c010e2f237ef06f01aef610df459e6.jpg",[],{"id":59742,"slug":59743,"title":59744,"dynasty":54,"author":59745,"museum":300,"description":55182,"tags":59746,"thumbUrl":59747,"material":692,"size":1293,"collection":84,"collections":59748,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},228955,"qing-jiang-pu-shu-wu-yan-shi-zhao-feng-hua-hua-hui-cheng-shan-jiang-pu-zhao-feng-228955","清蒋溥书五言诗兆丰画花卉成扇","蒋溥 兆丰",[1131,7,27,61,62,133,43899],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ce5ac31ee994c40c541683934d6fe8d.jpg",[],{"id":59750,"slug":59751,"title":59752,"dynasty":124,"author":19170,"museum":300,"description":59753,"tags":59754,"thumbUrl":59755,"material":692,"size":1293,"collection":84,"collections":59756,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},228911,"da-shi-xiang-shi-er-ding-yun-peng-228911","大士像（十二）","天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[24,7,188,187,96,211,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12f8b57923f0d9d9baf6d5b6213e862c.jpg",[],{"id":59758,"slug":59759,"title":59760,"dynasty":124,"author":223,"museum":300,"description":59761,"tags":59762,"thumbUrl":59763,"material":84,"size":84,"collection":84,"collections":59764,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},228800,"jiang-shang-du-diao-tu-yi-ming-228800","江上独钓图","烟波江上，渔翁卧于苇席，持杯把盏，斜置钓竿，将垂钓沽酒的闲逸写尽。手边酒坛缀着青芽，野趣横生。汀洲苇草轻摇，仙鹤掠空，水纹层层晕染，晕开一江清寂。\n\n题画诗点出幽居江湖、寄意烟波的襟怀，不求鱼获，只守自在本心。设色古雅温润，线条简淡松弛，将文人遁世忘机的隐逸意趣铺陈开来，无半点尘俗喧嚣，只剩江风裹着酒意漫开，把东方文人的闲旷之思融在尺幅间，淡而有味，静里生情，尽显出世忘机的林下之风。",[23,24,7,27,96,29,99,211,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c530002aa4f2cfc6f7ca3789b17bf70.jpg",[],{"id":59766,"slug":59767,"title":59768,"dynasty":124,"author":223,"museum":300,"description":59769,"tags":59770,"thumbUrl":59771,"material":84,"size":84,"collection":84,"collections":59772,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},228780,"fang-li-tang-bai-niu-tu-yi-ming-228780","仿李唐百牛图","此作以长卷铺展郊野牧歌，百头水牛形神各异，或缓步山径、或卧息林麓、或就水嬉游，尽显野性生机。村童三两，或骑牛徐行、或滩间闲坐，稚态可掬。平远山水间，枯木疏林、浅坡村居晕染出淡远乡野意趣。笔墨朴雅清润，勾勒皴擦简淡灵秀，于苍旧绢色里晕开田园闲逸，将牧放日常的悠然意致尽数铺陈，写生状物精妙，尽显古雅的山野生机之美。",[23,24,7,25,27,330,102,29,34,96,98,99,171,132,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84587f45aecfd3e120826fe52fe1e9fc.jpg",[],{"id":59774,"slug":59775,"title":59776,"dynasty":124,"author":1058,"museum":300,"description":59777,"tags":59778,"thumbUrl":59779,"material":692,"size":1293,"collection":84,"collections":59780,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},228479,"cao-wu-pu-tuan-tang-yin-228479","草屋蒲团","《草屋蒲团图》又名《虚亭听竹图》，是唐伯虎  中晚期创作最为丰富和成熟时期的作品，图绘江南初秋士人蒲团之上晨读之情景。画面环境幽雅清静，给人以深厚、凝重之感，呈现出大自然的生动景象。属于唐氏作品中少见的浑厚、凝重的作品。",[23,24,7,165,128,132,133,64,96,29,167,19470],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3366fd1cdf4d4aac38338b2afddae630.jpg",[],{"id":59782,"slug":59783,"title":59784,"dynasty":124,"author":52770,"museum":300,"description":59785,"tags":59786,"thumbUrl":59787,"material":84,"size":84,"collection":84,"collections":59788,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},228461,"fang-huang-zi-jiu-shan-shui-tu-sheng-mao-ye-228461","仿黄子久山水图","此作用笔追摹黄公望苍厚朴茂的披麻皴，山峦层叠盘桓，以高远之势铺陈丘壑，兼具深远之致。林麓间山居屋舍错落，溪泉萦回，苍松挺立点缀幽壑，暗含元人山水萧散淡远的意趣。\n\n画家师法前贤却不囿于摹写，以温润秀雅的笔调，将富春山居的平淡天真复刻传神，把晚明文人寄情林泉的雅趣融在笔墨间，既恪守元画的空灵气韵，又自含清隽的个人意韵，尽显林泉高致的悠远意境。",[23,24,7,165,29,128,132,131,34,499,35,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6db1427bc5215e0f3e4bb071162d0a8.jpg",[],{"id":59790,"slug":59791,"title":59792,"dynasty":124,"author":55685,"museum":300,"description":59793,"tags":59794,"thumbUrl":59795,"material":84,"size":84,"collection":84,"collections":59796,"showCount":811,"zanCount":1998,"manualWeight":48,"mainColor":956},228436,"chun-shan-ben-quan-tu-wei-zhi-huang-228436","春山奔泉图","此作以高远取景，主峰奇崛通透，洞天别具一格。山石勾勒皴擦，尽显雄浑苍厚质感，奔泉辗转穿流于丘壑之间，暗涌的水势让纸面生机暗藏。\n\n松翠掩映间楼阁隐现，晕染出林泉幽居的雅意。左下角临流高士凭栏观涛，以人衬景，将山林隐逸之趣铺展开来。笔墨苍润朴拙，淡墨晕染出春日山岚的氤氲氛围，把自然丘壑的野趣与文人寄情山水的襟怀相融，尽显雅致沉静的山水意境。",[23,24,7,165,128,29,132,131,34,99,1515,96,1144,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c21c776318bf0149469bc3d6a7a4db2.jpg",[],{"id":59798,"slug":59799,"title":31735,"dynasty":124,"author":34069,"museum":300,"description":59800,"tags":59801,"thumbUrl":59802,"material":84,"size":84,"collection":84,"collections":59803,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},228366,"shi-liu-luo-han-tu-chen-xian-228366","此作用笔极简却意韵悠长，淡墨勾勒罗汉衣袍，线条舒缓苍劲，将僧袍垂坠柔软的质感尽显无遗。罗汉面容刻画细腻入微，唇角含笑，神态恬然静定，安然的坐姿透着出尘的禅意。身旁盆栽兰草，寥寥数笔绘就舒展花叶，清雅脱俗，与罗汉气质相映成趣，烘托出静谧空寂的禅房氛围。\n\n画面以水墨写意见长，浓淡干湿自然过渡，不用浓艳敷色，以形传神，将高僧闲适安然的心境展露无余。右侧题字笔力苍劲古朴，与水墨画面气韵相融相合，尽显文人画以意驭笔的意趣，空灵悠远的禅境跃然纸上，是一件精妙的禅意小品。",[23,24,7,187,96,128,188,208,375,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb042f67db1eec218836dfc97590a62a.jpg",[],{"id":59805,"slug":59806,"title":59807,"dynasty":124,"author":33462,"museum":300,"description":59808,"tags":59809,"thumbUrl":59810,"material":84,"size":84,"collection":84,"collections":59811,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},228353,"hu-zhou-shi-ba-jing-yu-tai-feng-song-xu-228353","湖州十八景－玉台峰","危崖之上古松虬劲，松针层叠如翠盖，崖间曲径蜿蜒，三两行人策杖徐行，野趣悠然。浩渺烟波铺陈于眼前，水天相接处帆影轻漾，远山黛色晕染朦胧，尽展江南山水温润灵秀之态。\n\n笔墨苍劲老辣，干笔皴擦勾勒崖石肌理，写松则笔致灵动，尽显古松凌云傲骨。设色浅淡雅致，将水墨清寂与设色明润相融，藏登临纵目的快意于丘林烟水之间，带着萧散意趣，把凭高远眺的胜景晕染得悠远澹泊，尽显清旷悠然的山水意境。",[23,164,24,7,27,132,208,29,30,331,1144,96,1023,5323,415,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58a89a51f78f356e57a9d3dcd1e9812e.jpg",[],{"id":59813,"slug":59814,"title":59815,"dynasty":124,"author":45240,"museum":300,"description":59816,"tags":59817,"thumbUrl":59818,"material":692,"size":1293,"collection":84,"collections":59819,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},228317,"shi-ba-ying-zhen-tu-ce-2-zheng-zhong-228317","十八应真图册-2","郑重，生卒年不详，明末清初人，字千里，号无着，安徽歙县人。流寓金陵（今南京），好楼居，日事香茗。擅写佛像，必斋沐而后提笔。亦为山水小景，摹仿宋元体均精研。",[23,24,164,7,59,27,28,187,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fe379f618c60e75d2a4ae9324288d9f.jpg",[],{"id":59821,"slug":59822,"title":59823,"dynasty":124,"author":3608,"museum":300,"description":9012,"tags":59824,"thumbUrl":59825,"material":692,"size":1293,"collection":84,"collections":59826,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},228311,"tian-chi-wan-tiao-tu-lu-zhi-228311","天池晚眺图",[23,24,7,25,29,27,132,496,34,758,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ed16a02709d4880a243cf9b576eb41.jpg",[],{"id":59828,"slug":59829,"title":59830,"dynasty":124,"author":16032,"museum":300,"description":52385,"tags":59831,"thumbUrl":59832,"material":692,"size":1293,"collection":84,"collections":59833,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},228273,"za-xi-tu-zan-ding-xiang-sheng-mo-228273","杂戏图（暂定）",[23,24,7,27,28,96,101,5626,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5129841c1c2dc76fe275120220bb6f0.jpg",[],{"id":59835,"slug":59836,"title":59837,"dynasty":144,"author":223,"museum":300,"description":59838,"tags":59839,"thumbUrl":59840,"material":84,"size":84,"collection":84,"collections":59841,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},228249,"lao-shu-wu-ya-tu-yi-ming-228249","老树乌鸦图","这幅山水以淡墨晕染出空阔秋水，汀渚横陈，水汽如薄纱漫过江天。滩头老树枯槎盘虬，枝桠无叶，孑然伫立在寒渚之上，将深秋江野的荒寂尽数铺展。\n\n画师以简驭繁，不用繁复皴擦，以水墨晕染造境，留白衬出江天寥廓，将元代文人萧索幽微的心境寄寓其间，淡墨里藏着清寂，枯枝中凝着怅惘，把寒江晚景的萧寒逸趣写尽，淡而愈远，枯而弥长。",[23,24,7,25,128,132,29,331,2940,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F302366aef14e011720d4f3e96ae9223f.jpg",[],{"id":59843,"slug":59844,"title":1230,"dynasty":144,"author":59845,"museum":300,"description":59846,"tags":59847,"thumbUrl":59848,"material":84,"size":84,"collection":84,"collections":59849,"showCount":811,"zanCount":1998,"manualWeight":48,"mainColor":49},228170,"shan-shui-tu-cao-xing-228170","曹兴","这幅山水小品以留白云雾切割山峦，将平远、高远之景相融，铺展出空濛幽深的山水意境。山石以短皴点苔，笔墨苍劲朴拙，林木简括灵动，尽显简淡萧疏的气质。山脚板桥连起村居野渡，行旅缓步其上，将山林清寂与烟火日常相融，消解了丘壑荒寒，晕染出悠然安闲的意趣。淡墨晕染烟岚，浅设色晕衬古雅基调，以留白凸显虚空之境，把文人寄情林泉的隐逸诗意与田园安和揉为一体，笔简意足，尽显小品山水的隽永意韵。",[23,24,7,1131,128,27,29,132,98,99,34,131,37,758,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F742d2d75db062a93d851a095a2564c3b.jpg",[],{"id":59851,"slug":59852,"title":59853,"dynasty":144,"author":13485,"museum":300,"description":59854,"tags":59855,"thumbUrl":59856,"material":84,"size":84,"collection":84,"collections":59857,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":956},228076,"li-xian-xiang-zhou-yan-hui-228076","李仙像轴","以宣传道教教义与神仙 为主要内容的造型艺术。\n包括日常供奉和用于斋醮等祈禳祭祀活动的神仙画像或雕塑的神像、故事画、水陆画以及宫观的藻饰与法器上的花纹图案、浮雕等。\n制作神像，形式多样。\n《太上洞玄灵宝国王行道经》称造像“随其所有,金银珠玉，绣画织成,刻本范泥,凿龛琢石,雕牙镂骨,印纸图画”等均可,只要“一念发心，大小随力,庄严朴素,各尽当时”。\n但具体制作，皆有定式。\n据道书《洞玄灵宝三洞奉道科戒营私》规定,造像必须“依经具其仪相”，“衣冠华座，并须如法”。\n天尊“帔以九色离罗或五色云霞、山水杂锦”等，“不得用纯紫、丹青、碧绿等”。\n真人“不得散发、长耳、独角，并须戴芙蓉、飞云、元始等冠”。\n左右二真“或持经执简，把诸香华，悉须恭肃，不得放诞手足，衣服偏斜”等。\n早期道教的塑像或画像曾经受到佛教艺术一定的影响。\n唐释法琳《辨正论》引王淳《三教论》云：“近世道士，取活无方，欲人归信，乃学佛家制作形像。\n假号天尊，及左右二真人。\n”唐太宗为王远知建太平观以及王轨重建茅山华阳观，其内殿塑造元始天尊像一躯，都取左右二真人夹侍的形式。\n其后，号然又取法佛教在诸天神头部加添圆光，但是，其形象是中国化的人物面貌，其创作思想深受道家哲学和道教教义的影响，其技法又是中国古铜器、汉画像砖以及古代人物画技法的直接继承，具有明显的道教美术自身的风格。\n有 北郊清源山老君像巨型石刻，晋祠彩塑以及元代的龙山石窟等。\n其中泉州石刻老君像，背松倚望，意态谦恭，两眼平视，慈祥和蔼，美须大耳，左手依膝，右手靠几，全身线条遒劲有力，洗炼概括。\n石像高5.1米,以整块天然巨石雕成，宏伟壮观，是道教造像艺术中的珍品。\n太原晋祠圣母殿创建于北宋天圣(12～12)年间，有圣母、宦官、女官及侍女像共4尊彩塑,以皇后、群臣、宫女的生活形象为范本,脸型、体态和感情流露都近于世俗生活的原型（见彩图）。\n龙山石窟，在太原西南约2公里处。\n始建于元元贞六年(1295)以前，窟内雕有三清、虚皇、张天师、三皇、玄真子、披云子和北七真的石像。\n主要修建者为随邱处机西游的十八行者之一的宋披云。\n他还增修龙山石窟五个洞，使其“殿阁峥嵘，金碧丹艧，如鳌头突出”。\n既运用中国传统的绘画手法，又力图体现道教的教义思想。\n以“画以立意”为宗旨，采用“以形写神”和“以神写形”的方法。\n在创作中不仅调动“出水”、“当风”等多种艺术手段，而且体现了道教对绘制神像的种种要求。\n唐开元二十九年 (741)，画玄元皇帝(太上老君)像，并以高祖、太宗、高宗、中宗、睿宗等五像陪祀。\n画家吴道子有五帝、五官、星宿像等，其中画于河南鹿邑太清宫的太上玄元皇帝像，史载系绢本，即绘于单幅绢上，不施裱褙，供奉时悬挂于壁间架上，后刻石于苏州玄妙观，才得以传世。\n秦汉间神仙思想盛行，在藻饰宫殿、陵墓的美术作品以及帛画中，常有关于神仙、祥异等内容。\n辽宁金县营城子汉墓壁画，其左上端云气缭绕，中有一人，身披羽毛；右上端有一龙，昂头相向。\n画中央有戴三山冠的佩剑人和白发之老翁，作神仙与墓主言谈状。\n壁画黑仙人佩剑、羽衣、须发、云气等形象朴茂高古，线条古朴随意，为道教壁画的先声。\n现存的泰山岱庙天贶殿的巨幅壁画《 》，以皇家宫廷生活为模式，描绘泰山神东岳大帝出巡和回銮的情景，场面浩大，人物众多，生动逼真，山水人物相互衬托，艺术的世俗化倾向浓厚，虽经明、清画工重加彩绘，工匠制作痕迹较重，但尚能体现宋代道画的特色。\n元代宫廷设有“诸色人匠总管府”，专门管理修建宫廷庙宇的各种工匠,彩塑家刘元统领“梵像提举司”,各地著名画工还加“待诏”衔。\n元代初期道教全真道曾盛极一时，山西永乐宫道教壁画就是集唐宋道画传统的中国美术史上的杰作。\n永乐宫壁画画面长9.68米，高4.26米,实绘大小神像共 286尊。\n三清殿壁画沿用《朝元仙仗图》的样式，以“三清”为中心，组成层次井然的仪仗，表达出“三清譬如北辰，居其所而群神拱之”的意思。\n全画分成多组，有雷公雨师、南斗六阙、北斗七星、八卦神君、十二生肖神君、 、三十二天帝君等群像。\n每位帝君和圣母左右均有十余名玉女侍奉。\n云气缭绕，壮丽浩荡，金碧辉煌，显示出元代道画画工们巨大的构图能力。\n线条圆润流畅，色彩浓淡相谐，宁静清逸，庄严肃穆。\n纯阳殿另有《纯阳帝君神游显化之图》壁画共52幅，七真殿有叙述全真教创始人王重阳诞生、得道、成仙和历次度化马丹阳、孙不二、邱处机等北七真事迹的故事画共42幅。\n这些壁画把山水、花鸟、鞍马、界画和人物糅合在一起，以表现人物情节为主。\n永乐宫壁画是由元代民间画工集体绘制而成的，他们堪称14世纪中国绘画史上最具有创造性的民间艺术家。\n元代以降，各地道观虽亦有以壁画传世，但大都陈陈相因,因袭模仿,无甚佳作。\n以道教故事、神仙思想为题材的道画，历久不衰，画家辈出。\n晋代画家顾恺之崇尚老庄，多以龙为题材作道画，附会老子犹龙之说法，其后云龙遂成为道画的特色之一。\n据《贞观公私画录》，顾恺之还画过《刘仙像》、《三天女像》等，并且著有《画云台山记》，叙述他的道祖故事画的内容和构思。\n画面上有丹崖险峻高大，颜色红紫，显示其为神仙之境。\n张天师脸形瘦削，飘然若仙，于丹崖七试弟子。\n其弟子王长穆然坐答，赵升神爽气怡。\n另二弟子则魄散神飞、汗流失色。\n唐代吴道子道释画兼擅。\n画家张素卿本人就是道士，乾符（874～879）中居四川青城山常道观，史载曾画有《老子过流沙图》、《五岳朝真图》、《九皇图》、《五星图》、《老人星图》、《二十四化真人像》、《太无先生像》等。\n前蜀主王建修青城山丈人观，请其于真君殿上画五岳、四渎、十二溪女、山林、溪沼、树木诸神及岳渎曹吏。\n蜀主诞辰时，张素卿画十二仙真，备受赞赏。\n凡有醮斋，开悬供奉。\n据《图画见闻志》称，五代时有名画家25余人，其中以道释画为主者达11人。\n丰富了道画的表现力。\n画家武宗元曾在宋真宗营造玉清昭应宫时,居名应召画殿画匠之首，史载，他17岁就画北邙山老子庙壁，颇称精绝。\n其传世道画《朝元仙仗图》原是壁画粉本，长 6米，高.48米。\n描绘南极天帝和东华天帝君率领仙官、侍从和仪仗朝谒玄元皇帝的场面，共有神仙人物87名，其中男仙11名，神将8名,余皆为手捧供品、仙果、乐器的仙女。\n画幅以手持宝剑的护法神开道，以甲卒、神将殿后，其中二天帝君都略高大于其他神仙，其处理手法与唐阎立本《历代帝王图》相类。\n各神仙的头上或身旁都有一个长形墨线描画的题名牌框，并标上该神仙的尊号，如“东华天帝君”、“扶桑大帝”等。\n全图主次分明，层次井然，线描人物各具神态，不相雷同，线条流畅，具有线描艺术的韵律感。\n宋元文人作画崇尚卷轴、册页、扇面，或有以道教题材结合山水、花鸟的内容，追求“清静无为”的境界，形成了超逸、淡泊、高雅的艺术风格。\n元代有些画家,如黄公望、张彦辅、马臻、方从义等本人就是道士。\n张渥所作《九歌图》和《太乙真人像》等，以白描手法描绘太乙真人手执如意,乘舟荷叶,舒展飘逸的“仙风”。\n元代画家颜辉有传世之作《李仙像》轴，画八仙之一的铁拐李，侧坐石上，神情肃穆，笔法精劲，人物与山水融和，表现了画家洒脱、超逸的情趣。\n明代画家吴伟所作《北海真人》，写骑龟仙者悠然泛海，昂首天外，无拘无碍。\n清代扬州画派金农所作的张天师像，更以古拙的笔墨趣味，表现画家超凡逸群的情思。\n当代画家张大千早年曾久居四川青城山，所绘王母、麻姑、陈抟、纯阳和张陵等道画，刻石于山，至今犹存。\n宋元以后，道教失去朝廷的支持，文人道画也逐渐衰微而同民间美术相结合。\n此后各地民间画工广泛从事于壁画、版画、年画以及用于道教斋醮活动中的水陆画。\n道教斋醮仪式中则广泛使用民间木雕、刺绣以及纸扎工艺美术品作为法器或陈设。\n各道观建筑中也普遍采用民间广泛流传的八仙、麒麟、万年青等吉祥辟邪的装饰图案。\n木版印制的门神、灶君、关帝、财神等神像，在民间流传尤盛。",[23,24,7,165,187,96,29,128,27,495,171,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff919d05c6f3b085bd2715d0b212f39ef.jpg",[],{"id":59859,"slug":59860,"title":59861,"dynasty":144,"author":36756,"museum":300,"description":59862,"tags":59863,"thumbUrl":59864,"material":84,"size":84,"collection":84,"collections":59865,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},228036,"mo-lou-shu-geng-zuo-tu-cheng-qi-228036","摹楼璹耕作图","它以长卷娓娓铺展江南农耕全景，从育秧插田到收谷晾晒，田埂间农人往来忙碌，挑担、插秧、打谷各尽其事，农舍林木点缀其间，晕开融融烟火气。\n笔墨以淡彩衬白描，人物形神鲜活灵动，田畴草木朴拙写实，完整复刻出古早农事的全过程。卷身遍留历代题跋钤印，让这幅纪实之作，又成为递藏传承的书画珍迹，既是乡土民生的鲜活注脚，也承载着后世对旧时田家意趣的追慕。",[23,164,24,7,25,330,27,28,133,938,208,96,102,13640,34836,15899,413,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6a0dc446b4b1e22194f3aab6e230f72.jpg",[],{"id":59867,"slug":59868,"title":59869,"dynasty":144,"author":26207,"museum":300,"description":51477,"tags":59870,"thumbUrl":59871,"material":692,"size":1293,"collection":84,"collections":59872,"showCount":811,"zanCount":1998,"manualWeight":48,"mainColor":72},228025,"fan-qi-tu-juan-zhao-lin-228025","番骑图卷",[23,24,7,25,188,27,96,101,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a422fb91c6b267bc128150d1d205bb.jpg",[],{"id":59874,"slug":59875,"title":40194,"dynasty":144,"author":287,"museum":300,"description":59876,"tags":59877,"thumbUrl":59878,"material":84,"size":84,"collection":84,"collections":59879,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},228022,"xiao-yi-zhi-zhuan-lan-ting-xu-tu-juan-qian-xuan-228022","此卷以淡设色铺展传奇掌故，堂内二人对坐，萧翼神色暗藏机锋，辩才老僧浑然不察，朴拙屋舍与枯淡山石衬出沉静古雅氛围，笔意清润简淡，将智赚兰亭的幽微张力隐于画面。后接行书题跋，笔墨秀逸流丽，诗画相映，复现这段秘事的跌宕意趣。全卷诗画合璧，叙事含蓄雅致，尽显元人书画相融的清雅韵致，将暗涌的心机藏于淡然古雅的卷气之中。",[23,24,7,25,27,28,96,64,208,251,2145],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8de278903b52c332e06be2ce71661d22.jpg",[],{"id":59881,"slug":59882,"title":59883,"dynasty":18,"author":59884,"museum":300,"description":59885,"tags":59886,"thumbUrl":59887,"material":84,"size":84,"collection":84,"collections":59888,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},227962,"xue-jiang-mai-yu-ye-li-dong-227962","雪江卖鱼页","李东","《南宋李东雪江买鱼图》是南宋画家李东的作品。\n该作用笔劲挺，构图玲珑别织，现藏于 。\n《南宋李东雪江买鱼图》绘白雪皑皑的严冬，一渔翁身着蓑衣，一手持桨，一手提鱼出售，真实在反映了渔民生活的艰难气分。\n此作用笔劲挺，构图玲珑别织，不愧是李东的传世佳作。\n《南宋李东雪江买鱼图》为绢本，设色，纵2.6厘米，横25.2厘米。\n该画曾经清内府收藏，《虚齐名画录》著录。\n《雪桥买鱼图》很可能是一幅晚于南宋的作品，但其基本的图像配置依然延续了李东《雪江卖鱼图》的特点。\n时间是在大雪纷飞的寒冬，地点是在远离城市的山野江村。\n人物分主角和配角，主角是买卖鲜鱼的文士和渔夫，配角是一位出现在画面边缘，肩挑两个大罐状物品的人。\n这个人和画中的渔人打扮有些相似，同样都身披蓑衣、头戴斗笠。\n他的身份不太容易确定，他可能是另一位渔人，挑着鱼篓上岸寻找买家，也可能是挑着酒瓮卖酒的人，还可能是挑着东西冒雪归家的村民。\n他的出现让雪江卖鱼的场景显得更有真实感，同时也更加强调了大雪严寒的郊外的静谧与冷清。\n李东，宋理宗赵昀（1225-1264）时期民间风俗画家，生卒年不详。\n《图绘宝鉴》卷四谓“理宗时常于御街鬻其所画《村田乐》《常酣图》之类，仅可娱俗眼耳”。\n所作受院体画影响，师法马远、夏圭，用笔简练遒劲，构图别致，富有浓厚生活气息。",[23,24,7,59,128,29,1556,3649,1337,3387,129,1351,132,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8071c334500422163e21d52afeb7830e.jpg",[],{"id":59890,"slug":59891,"title":58323,"dynasty":18,"author":2099,"museum":300,"description":59892,"tags":59893,"thumbUrl":59894,"material":84,"size":84,"collection":84,"collections":59895,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},227608,"fa-hai-ling-shan-tu-li-gong-lin-227608","李公麟（1049年－1106年），北宋畫家。字伯時，號龍眠居士，舒州（今安徽桐城）人。\n\n進士出身，曆南康、長垣尉、泗州錄事參軍，官至朝奉郎。擅畫人物、佛道像，吸取曆代流派之長，自創一格，多用線描，筆法如行雲流水，而不設色，生動地表現了人物的神情意態，人稱“白描”；尤精擅畫鞍馬，常觀察群馬生活，求其變化，下筆形神兼備。注重寫生，畫技博取前人之長，承繼顧恺之、吳道子等人筆法，在新畫中表達新義。\n\n《十八羅漢渡江圖》畫中人物按未渡者、方渡者、已渡者三組依序進場，人物神態，栩栩如生。李公麟畫作時人評價甚高，宋徽宗曾贊他爲當朝最重要畫家。元符三年（1100年）病痹告老，隱居龍眠山，號龍眠居士。\n\n存世作品有《五馬圖》、《臨韋偃牧放圖》等。\n\n另外李公麟也擅長于考古，對于夏、商以來的銅器和印玺頗有研究，“聞一妙品，雖捐千金不惜。”。",[24,7,188,96,37,208,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfdc61f3d01a0a9aa272d333e658adcc.jpg",[],{"id":59897,"slug":59898,"title":32546,"dynasty":18,"author":223,"museum":300,"description":59899,"tags":59900,"thumbUrl":59901,"material":692,"size":1293,"collection":84,"collections":59902,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},227426,"xi-shan-wu-jin-tu-quan-juan-yi-ming-227426","以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。此卷画风当属南宋马远。构图布景与《溪山秋爽图》有异曲同工之妙。此卷绘于宋笺纸上，山石为马远典型的斧劈皴，乔松远树，皆用拖枝法，柳林含风，千笔万笔，笔笔不乱。画幅中间，数株红树，点缀溪山丛莽间，有画龙点睛之妙。而纸寿千年，其完好程度与绢本不可同日而语。此卷创作年代当稍晚于绢本，水法两卷亦有不同，此卷水的画法更接近马远《水图》。",[23,164,24,7,25,128,27,29,131,34,98,99,132,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2183e53c5ef5d0f52c06cae5adadc2d.jpg",[],{"id":59904,"slug":59905,"title":59906,"dynasty":182,"author":59907,"museum":300,"description":59908,"tags":59909,"thumbUrl":59910,"material":692,"size":1293,"collection":84,"collections":59911,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},227242,"ba-gong-tu-juan-song-mo-ben-chen-hong-227242","八公图卷（宋摹本）","陈闳","此作画家颇与所绘人物颇有争议，现已不完整，只留存了后面六个画像，且卷首的第一个画像，除人物头、官帽、胸部和手是原迹外，其余皆为后人临摹和修补。",[23,164,24,7,25,28,27,96,330,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F496e6aebfd254f8dadffa24ed830c6d7.jpg",[],{"id":59913,"slug":59914,"title":59915,"dynasty":54,"author":33849,"museum":300,"description":59916,"tags":59917,"thumbUrl":59918,"material":84,"size":84,"collection":84,"collections":59919,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},224574,"mo-zhu-cheng-shan-qing-ren-224574","墨竹成扇","《百年启功:书画逸兴》包括：北京师范大学校训、启功先生小学时期作品、山水四条屏、曲水群贤等。\n其实，先生的作品不在巨大认真，而在趣味逸兴，一片纸、或数笔，“千里面目”，谴兴而已，有些甚至是无意流传的。\n集中注意选集先生一些不经意、随手间的手泽，没有大义，只是把玩。\n我们这么选辑，希望读者更能了解启功先生，希望读者更加喜爱中国笔墨文化。\n《百年启功:书画逸兴》选择启功先生书画手泽若干件，是简单印刷、平实装帧的书画作品集。\n校训 北京师范大学校训（简体） 启功先生小学时期作品 山水四条屏 曲水群贤 补桐养疴图 甲申年花笺手稿 石榴图 绿竹图 江山雪霁图 荷花图 菊扇 花笺手稿沁园春 临新妇帖 一九四六年作山水 四联扇面 烟江晓泊 秋松 山雨欲来风满楼 四连屏 赠伯简先生 少文款手迹 墨竹 兰竹成扇 付文物局收条之一 付文物局收条之二 书鲁迅诗扇面 积石干寻长松万仞 手抄本题签之一 手抄本题签之二 手抄本题签之三 手抄本题签之四 论书旧作花笺 平复帖临释 临兰亭 启功遗墨册页 痛心篇一 痛心篇二 痛心篇三 南乡子手稿 书赠毛泽东词 画菊成扇 年论书绝句手稿 双蛙图及题跋（局部） 书赠重晤老友 喜竹 竹石 诗画一开 南乡子题汉吉语方砖（附拓片） 东洲草堂句 兰飘竹撇写离骚 何可一日无此君 《共勉》 李白诗书赠 赠友人竹石 购书与慎言 芳草西池路 书太白句赠友人 墨竹成扇 书自作诗 赠向彤同志竹石 教师节书颂 双松堂堂 夏老爱猫 鹅群 静观 清华 和风细雨 瘦影参差水墨松 书文心雕龙原道 八尺对联 高山流水听琴音 甲子岁朝 乐天者寿 自题小照 静心 书为第一届教师节之一 书为第一届教师节之二 墨竹 红竹 看竹者多画竹者少 晴窗漫书 玛瑙寺前过 献给教师节 美意延年迈劲松 业广维勤 百福骈臻 失眠口占 化雨春风 正大光明 佳句四屏 细 秋分菊本自锄山 硬笔和毛笔 同学存念 霜叶红于二月花 书遂堂老人诗 龙 飞腾 寥斋 联姻 卓锥有地自逍遥 红竹 南无阿弥陀佛 松风水月 亲手树人真事业 少陵惊人佳句 信封上画菊 信封上画兰 尺椟书疏千里面目 快雪时晴佳想安善 我醉欲眠枕其股 传芭 腊笺书杜律 行百里者半九十里 澄泥砚赞 竹深留客处 承露 画筵赠静翁先生 枯笔书 过岭外忆前贤别都门之作而书之 枯藤缀紫霞 奇峰高节 协力 东望望长安 少陵佳句 龙年写龙 云合山留一发青 吉祥如意 竹淡兰馨 大哉孔子 索句深霄 竹报平安 写竹寿庆 春水船如天上坐 铁网珊瑚 题诗最高处 朱竹 比寿同清 小品之一 小品之二 小品之三 小品之四 师颂 福寿康宁 福禄寿喜 金玉满堂 河清人寿 风调雨顺 职为人师 淡墨兰石 仁者寿 赠毕业同学 静观 光阴可贵 乐观 莫名其妙从前事 学记之训 学高人之师 赠董桥联 寒山寺对联 好为人师之为患",[24,7,1131,128,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dba8e8fb302a09fcbb42818ccfb7ed3.jpg",[],{"id":59921,"slug":59922,"title":59923,"dynasty":54,"author":49968,"museum":300,"description":59924,"tags":59925,"thumbUrl":59926,"material":692,"size":1293,"collection":84,"collections":59927,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},224541,"qing-ji-yun-qin-ding-si-ku-quan-shu-jian-ming-mu-lu-ji-bu-juan-ji-yun-224541","清纪昀钦定四库全书简明目录（集部）卷","卷轴以仿宋式盘绦纹织锦包首，镶嵌青玉轴头，淡绿、浅黄双色绫天头，洒金笺引首，浅黄色绫隔水，海水江牙杂宝纹缥带，上端系青白玉别扦。各卷首末均钤“乾隆御览之宝”，各卷末下方署“臣纪昀恭书”并钤“纪”“昀”朱文联珠小印。\n乾隆帝认为《四库全书总目》卷帙浩繁，不易翻阅，于乾隆三十九年（1774年）命四库馆臣纪昀等另编《四库全书简明目录》。总纂官纪昀等人略去《四库全书》各类总序、小序和存目类各书提要，并将其他各书提要也大加压缩，“只载某书若干卷，注某朝某人撰”，于乾隆四十七年（1782年）汇成《四库全书简明目录》二十卷，进呈御览，由内府收藏。\n纪昀从《四库全书简明目录》中又选出最精要的内容亲笔撰写，只写书名、著者及卷数，略去存目类各书，缮成此精选本。此书无序跋，以经、史、子、集四部分类，类下列细目，每目之下各书分上下两栏书写，以小楷抄成四轴，每轴一卷，从左至右卷为一束，合装于红木书盒内，进呈皇上，以方便乾隆帝出行携带。\n此书装帧技艺精湛，仿宋锦古朴典雅，质地紧密厚实，反映了清内府书籍装潢的艺术风格。",[64,572,23848,208,5459,7,25,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e922250739de2d8cace106951324f5c.jpg",[],{"id":59929,"slug":59930,"title":59931,"dynasty":54,"author":9742,"museum":300,"description":59932,"tags":59933,"thumbUrl":59934,"material":84,"size":84,"collection":84,"collections":59935,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},224490,"xing-fu-an-gan-jiu-tu-juan-wu-li-224490","兴福庵感旧图卷","《吴历兴福庵感旧图卷》是清代吴历创作的一幅画。\n本幅自题：“吾友笔墨中，惟默公交最深。\n予常作客，不为话别，恐伤折柳。\n庚戌清和，游于燕蓟，往往南传方外书信，意甚殷殷。\n辛亥秋冬，将欲赋归，意谓同此岁寒冰雪，而未及渡淮，闻默公已挂履峰头，痛可言哉。\n自惭浪迹，有负同心，招魂作诔，未足抒写生平，形于绢素，訾笔陨涕而已。\n却到昙摩地，泪盈难解空。\n雪庭松影在，草诏墨痕融。\n几树春残碧，一灯门掩红。\n平生诗画癖，多被误吟风。\n鱼雁几曾隔，赋归迟悔深。\n自怜南北客，未尽死生心。\n痴蝶还疑梦，饥鸟独守林。\n云看无限意，何事即浮沉。\n甲寅年登高前二日雨霁并书。\n桃溪居士吴子历。\n”钤“吴历”印一方。\n卷尾有许之渐、纪萌、张景蔚三家题记。\n甲寅为清康熙十三年（1674年），吴历时年4岁。\n此图是作者为怀念故友默容而作，一段长题简述了二人的交往，情深意切。\n画中描绘兴福庵的景物，寺外杂树丛竹，墙内孤松白鹤，本是一处清幽之所，然人去室空，满目凄清，透露出作者以笔墨寄托哀思的心境。\n树木勾点结合，层次分明，穿插自然，蜿蜒曲折的围墙加强了画面的纵深感，山石有皴有染，大面积的青绿敷色表现了真实自然的景致，是画家兼取宋、元画法而别具一格的代表作。",[23,24,7,25,27,29,133,208,34,35,99,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f571ff10a4082ce3d8b946f44feff0.jpg",[],{"id":59937,"slug":59938,"title":59939,"dynasty":54,"author":35003,"museum":300,"description":59940,"tags":59941,"thumbUrl":59942,"material":84,"size":84,"collection":84,"collections":59943,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},224405,"bao-bi-zhuang-shi-er-feng-wang-xue-hao-224405","宝碧庄十二峰","此作用笔苍润秀雅，以水墨兼淡色绘就十二枚湖石，各峰形神迥异，将赏石“瘦、透、漏、皱”之美尽致展现，或如干霄孤直，或若玲珑宛转，顽石似被赋予君子清介风骨。\n\n每石配行草题咏，笔意洒脱与奇石雅姿相互衬映，书画合璧，把文人寄情于石的雅怀尽显无余，将赏石意趣与文人情思相融，尽显传统文人画以物托志的风雅意韵，淡墨轻色间，勾勒出藏于奇石中的林下高致。",[23,24,7,25,128,27,132,133,208,171,1009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F601424168e70bd55e579842423ea8b45.jpg",[],{"id":59945,"slug":59946,"title":59947,"dynasty":54,"author":6936,"museum":300,"description":59948,"tags":59949,"thumbUrl":59950,"material":84,"size":84,"collection":84,"collections":59951,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},224392,"tao-yuan-chun-zhou-tu-wang-yuan-qi-224392","桃源春昼图","此作用元人笔法绘就世外幽境，干笔积墨皴擦山峦，层层叠叠尽显苍浑厚重。近岸林木疏朗，粉桃绽枝，村居隐于水畔林间，溪桥连通幽处，晕染出春日清和柔缓的氛围。\n\n诗画相映，鉴藏朱印错落点缀，将武陵桃源的隐逸意趣融于尺幅之中。整体章法疏密有致，笔意内敛沉静，以苍润笔墨铺展出出世忘尘的澹然意境，尽显文人山水的清雅格调，藏着山居春日的闲逸悠然。",[23,24,7,29,27,132,209,663,228,34,711,98,99,208,133,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4861bc4696e9917281ec8d93b88f9dcf.jpg",[],{"id":59953,"slug":59954,"title":59955,"dynasty":54,"author":7208,"museum":300,"description":59956,"tags":59957,"thumbUrl":59958,"material":692,"size":1293,"collection":84,"collections":59959,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},224113,"lin-lan-ting-qian-long-224113","临兰亭","据款署，此册于戊寅年（1758年）上巳日临于三希堂。",[23,7,64,25,330,133,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9ff6111fae3342a4f814c8ae36a7071.jpg",[],{"id":59961,"slug":59962,"title":59963,"dynasty":18,"author":223,"museum":300,"description":59964,"tags":59965,"thumbUrl":59966,"material":84,"size":84,"collection":84,"collections":59967,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},223634,"lian-zhou-xian-du-tu-yi-ming-223634","莲舟仙渡图","烟波浩渺间，仙人卧于莲舟，悠然展卷观览，似将云水清光尽数揽入卷中。右下角巉岩隐现，灵蛇蜿蜒而出，衬得水面愈发幽寂空灵。\n\n整幅以淡墨轻敷，留白晕染出氤氲水雾，将虚无仙境融于简淡笔意，摒弃浓艳设色，全凭清润色调烘托世外幽居的静穆氛围。仙人姿态萧散自在，不见凡尘烟火气，莲舟如扁槎一叶，载着出尘之思浮游烟涛，把道家归返自然、寄迹云山的隐逸意趣藏在水色晕染里，淡而弥远，清而有味，尽显小品画的雅致空灵。",[23,164,24,7,27,28,132,96,129,29,168,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F885e41a3f8ad783f659bb4ddce07b10f.jpg",[],{"id":59969,"slug":59970,"title":59971,"dynasty":18,"author":223,"museum":300,"description":59972,"tags":59973,"thumbUrl":59974,"material":84,"size":84,"collection":84,"collections":59975,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},223607,"qiu-kui-shuang-ji-yi-ming-223607","秋葵双鸡","此作为刺绣小品，以针代笔，晕丝为色。秋葵枝桠舒展挺秀，明黄柔花缀于其上，旁侧异卉擎起橙红花序，灵石静立作衬。石畔双鸡正啄食戏玩，白羽清润蓬松，棕羽苍劲富有层次，翻翘尾羽灵动鲜活。\n\n绣作细腻入微，禽鸟绒羽纤毫毕现，花叶脉络宛然如生，浅纹水畔细草轻摇，将庭院闲居的日常小景晕染得充满雅致生机。整体清丽淡然，不见繁复雕饰，藏着宋人独有的雅致意趣，把寻常幽居的鲜活小景，定格为一幅隽永悠然的雅致画卷。",[23,24,7,27,28,61,746,2510,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01762311c76cc6c7be1e41cb2bad8ffb.jpg",[],{"id":59977,"slug":59978,"title":59979,"dynasty":18,"author":223,"museum":20,"description":59980,"tags":59981,"thumbUrl":59983,"material":151,"size":59984,"collection":84,"collections":59985,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},223564,"xi-shan-chun-xiao-tu-dai-wei-ba-yi-ming-223564","溪山春晓图（带尾跋）","全幅虽绘秋林草屋，流泉飞瀑等景象繁多，但穿插有致、有条不紊。留白处的虚与浓墨点染处的实互为映衬，画面饱满而又不失空灵。山石用“积墨法”，以笔含墨，层层积点石面，将山石向背虚实块面体积以及雨后的湿润之感都真实地表现出来。此卷生动地表现了江南溪山浑润丰华的景象，同时也较全面地体现了龚贤在山水画上“笔法健、墨气活、丘壑奇、气韵雄“的美学追求",[23,164,24,7,25,128,27,29,132,28,133,840,572,64,208,59982,99,34,1515,98,211,171],"溪山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67182705fdd916fd2124e4fc25062135.jpg","24.5x185.5",[],{"id":59987,"slug":59988,"title":59989,"dynasty":54,"author":6946,"museum":244,"description":59990,"tags":59991,"thumbUrl":59992,"material":1223,"size":59993,"collection":44,"collections":59994,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},223327,"di-shi-liu-a-bi-da-zun-zhe-zhou-ding-guan-peng-223327","第十六阿必达尊者轴","乾隆皇帝第二次南巡时诣访杭州圣因寺，曾将寺中所藏唐贯休（823-912）十六罗汉像的序位及名号详加考订后送还，并命丁观鹏摹绘一组。此次展出其中两轴。该组罗汉除屡屡被重绘外，亦依其形象制作玉雕，是南巡衍生出的图像新好尚。",[23,24,7,165,187,28,27,96,171,251,208,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92204ef8ac0f1ceed31060bb9280cade.jpg","127.5x57.5厘米",[44,45],{"id":59996,"slug":59997,"title":59998,"dynasty":54,"author":6946,"museum":18494,"description":59999,"tags":60000,"thumbUrl":60001,"material":734,"size":60002,"collection":84,"collections":60003,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},223322,"fa-jie-yuan-liu-tu-jing-pian-5-ding-guan-peng-223322","法界源流图镜片-5","此卷是丁观鹏奉乾隆之命于乾隆三十二年创作，是以宋代张胜温所画的《梵像图》摹成两卷，第一卷名为《蛮王礼佛图》，第二卷为《法界源流图卷》。图卷以释迦牟尼为中心，以对称的方式绘佛祖达几百人，人物神态丰富，栩栩如生。",[23,24,7,25,28,27,96,187,18381,330,56949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6947c2572988eff22ebc6a73e43d3ae5.jpg","全卷长33＊1635cm",[],{"id":60005,"slug":60006,"title":60007,"dynasty":54,"author":1219,"museum":20,"description":60008,"tags":60009,"thumbUrl":60011,"material":734,"size":29931,"collection":84,"collections":60012,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},223228,"yue-ye-shan-ji-tu-ren-yi-223228","月夜山鸡图","本幅款识：“墨君仁兄有道之属伯年写于鸿城庽斋。”钤“颐印”白方印。收藏印钤“虞山张青莲博士鉴藏”。\n任颐的花鸟画多有兼工带写、明丽活泼的特点。画中巨石用淡墨勾写，以赭色随意勾描石上的丛草，竹子采用工写结合的方法，山鸡则以短粗的线条细细地绘出其皮毛的质感，又以浓淡设彩的变化呈现其体积感，使山鸡神情毕肖。全图用笔奔放灵活，设色淡雅清新，构图平中求奇，静中寓动。\n1998年，由北京大学张青莲教授转让，故宫博物院购藏。",[23,24,7,165,27,61,60010,276,171,231],"山鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f8caca1ede984a66f9290ea96cb503.jpg",[],{"id":60014,"slug":60015,"title":15896,"dynasty":54,"author":10177,"museum":20,"description":60016,"tags":60017,"thumbUrl":60019,"material":84,"size":15901,"collection":84,"collections":60020,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},223221,"geng-zhi-tu-ce-jiao-bing-zhen-223221","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[24,7,28,27,96,102,60018,53819,34,35,34836,64],"耕地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b54d2943eeabde80bb1bd85f146d6f1.jpg",[],{"id":60022,"slug":60023,"title":60024,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":60025,"thumbUrl":60026,"material":151,"size":7879,"collection":84,"collections":60027,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},222899,"hong-lou-meng-24-sun-wen-222899","红楼梦24",[23,24,27,28,7,96,29,98,99,34,209,758,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26aecca502b1ecebd2dad0237257b786.jpg",[],{"id":60029,"slug":60030,"title":60031,"dynasty":54,"author":4468,"museum":20,"description":11261,"tags":60032,"thumbUrl":60033,"material":40,"size":11264,"collection":84,"collections":60034,"showCount":811,"zanCount":1998,"manualWeight":48,"mainColor":72},222784,"hua-niao-ce-ye-04-lang-shi-ning-222784","花鸟册页04",[23,24,164,7,59,28,27,14386,133,64,61,481,62,8366,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0af1fe78069d3bb1e3fc5bb35e1c1436.jpg",[],{"id":60036,"slug":60037,"title":60038,"dynasty":124,"author":47448,"museum":244,"description":47449,"tags":60039,"thumbUrl":60040,"material":611,"size":54816,"collection":84,"collections":60041,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},222434,"hua-die-cao-chong-10-du-da-cheng-222434","花蝶草虫10",[23,24,7,128,28,61,480,59,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9e4b4356761fc0aa6b43e23ce6d6298.jpg",[],{"id":60043,"slug":60044,"title":60045,"dynasty":124,"author":60046,"museum":244,"description":60047,"tags":60048,"thumbUrl":60049,"material":611,"size":60050,"collection":84,"collections":60051,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":4001},222403,"hua-song-shan-tu-dong-qi-chang-shu-qi-yan-jue-ju-cheng-shan-wu-ling-222403","画松山图董其昌书七言绝句成扇","吴令","泥金扇面衬得墨色愈见苍润清雅。近岸林木攒簇，山石以干笔淡墨勾勒皴擦，朴拙苍厚，带着沉静古雅的质感。远景坡岸孤树茅舍疏淡简远，留白空灵透气，将松山幽居的静穆清远收拢在方寸之间。\n笔墨简淡松秀，以少胜多，尽显萧散幽寂的林下意趣，与另一面的书法相映成趣，悠悠漾着旧时文人幽居林泉的雅致风流。",[23,1131,24,7,128,132,29,372,663,130,413,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d7fa4de35468ed5eb700e3883fbf8cc.jpg","17.8x46.8厘米",[],{"id":60053,"slug":60054,"title":60055,"dynasty":124,"author":16846,"museum":22232,"description":47475,"tags":60056,"thumbUrl":60057,"material":1464,"size":47478,"collection":84,"collections":60058,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},222224,"si-wan-shan-shui-tu-wan-qing-qing-bo-wen-bo-ren-222224","四万山水图-万顷晴波",[23,24,7,165,128,132,29,129,211,34,497,455,1824],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4c610a6dfca13ab7aee91938ded7bf.jpg",[],{"id":60060,"slug":60061,"title":60062,"dynasty":124,"author":13050,"museum":2068,"description":60063,"tags":60064,"thumbUrl":60065,"material":18467,"size":60066,"collection":84,"collections":60067,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":199},222026,"tao-tu-nao-an-222026","萄图","绘一枝葡萄滕自右上斜入画面，滕上一串葡萄垂下，大小不一，形状圆；葡萄叶正反绘出，正面深色，反面淡色，叶脉清晰；主枝前几枝细滕卷曲前伸，自在洒脱。",[23,24,7,128,61,2334,548,962,2037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cd51ccc4999abaa20e8613f506e3ae8.jpg","27.5×29",[],{"id":60069,"slug":60070,"title":60071,"dynasty":144,"author":60072,"museum":510,"description":60073,"tags":60074,"thumbUrl":60075,"material":35753,"size":60076,"collection":84,"collections":60077,"showCount":811,"zanCount":1998,"manualWeight":48,"mainColor":72},221828,"zhu-lin-da-shi-chu-shan-tu-chen-jian-ru-221828","竹林大士出山图","陈鉴如","陈鉴如，元代画家，擅写照，被誉为肖像画第一家。据《安国志略》载,元代安南国王陈昑40岁时悟佛,舍位出家,入武林洞修行,号竹林大士。该图描绘的是竹林大士修成后,从武林洞出游邻国占城,国王得知后出来迎接的情景。",[23,164,24,7,25,187,188,96,1025,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e3f2a27be135dae27a59546b267a193.jpg","28x954.5厘米",[],{"id":60079,"slug":60080,"title":60081,"dynasty":144,"author":223,"museum":244,"description":60082,"tags":60083,"thumbUrl":60085,"material":27,"size":60086,"collection":44,"collections":60087,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},221777,"ying-zhen-xiang-liu-zhou-yi-ming-221777","应真像（六）轴","全幅线条运笔相当流畅，有简洁净雅的韵味，人物五官手足以细瘦而轻淡的描线，衣服褶纹则笔致较为粗重而浓厚，全身并施以薄薄的晕染，袈裟水田纹有华丽的图案。\n尊者的容颜是肖像画的手法完成的，或浓眉大眼，或胡须横腮，或皱纹满面，眼窝四周并涂上厚厚蛤粉。此种造形给人以一股沉郁之感。",[23,24,7,165,187,27,28,96,331,171,29,497,170,60084,37810,208],"念珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e946c6fb32967bbf5ea25f7204f80cc.jpg","该幅104.1x50.3公分；全幅 74.2公分",[44,45],{"id":60089,"slug":60090,"title":41217,"dynasty":144,"author":60091,"museum":244,"description":60092,"tags":60093,"thumbUrl":60094,"material":2739,"size":60095,"collection":318,"collections":60096,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},221739,"shu-qi-yan-lv-shi-zhang-kui-221739","张奎","本幅为《元人法书》第十四幅，用笔起伏多变化，在王献之的行书风格中，又融入怀素的笔意。全作挥洒自如，气脉酣畅，间杂章草笔法，益增古朴趣味。",[23,64,7,24,133,128,98,99,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf32b20f8ec35220b4a6bb90ac51c54.jpg","24.5×49.1cm",[318],{"id":60098,"slug":60099,"title":44868,"dynasty":18,"author":1622,"museum":20,"description":60100,"tags":60101,"thumbUrl":60102,"material":514,"size":60103,"collection":84,"collections":60104,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},221532,"xi-qiao-ce-zhang-tu-ma-yuan-221532","此图原载《四朝选藻册》。图绘苍松老树，平溪房舍，二人坐室内客话。房右小桥流水，一长者在携琴侍者陪同下策杖寻幽，点出主题。图中山石用小斧劈皴，画树勾点结合，房舍等界画用笔严谨，但工而不板，艳而不俗。",[23,164,24,7,128,27,132,29,96,98,413,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd03267ed9459486b307127df5fb46464.jpg","24.8×26cm",[],{"id":60106,"slug":60107,"title":60108,"dynasty":18,"author":2099,"museum":300,"description":15916,"tags":60109,"thumbUrl":60110,"material":611,"size":15919,"collection":84,"collections":60111,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},221399,"fa-hai-ling-shan-tu-10-li-gong-lin-221399","法海灵山图10",[23,24,7,59,188,128,96,5490,949,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F725f11f1ed26c5803d3d59bbefa94a81.jpg",[],{"id":60113,"slug":60114,"title":43018,"dynasty":980,"author":37787,"museum":43019,"description":60115,"tags":60116,"thumbUrl":43022,"material":13337,"size":84,"collection":84,"collections":60117,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},220512,"jing-guan-pu-xin-she-220512","这幅山水以高远之法布景，峭拔崖壁斜出画面，留白铺就空濛意境。淡青绿轻染山石，细笔皴擦出嶙峋肌理，兼以枯笔点苔，苍润兼具。坡岸虬松古木，枝桠舒展，细笔写叶，尽显葱茏生机，林下藏幽壑，隐见深林意趣。\n题诗与画境呼应，将空山泉响的松风禅意融于笔墨间。以书入画，笔致隽秀萧散，淡墨轻岚里铺陈出林泉高致的隐逸心境，简淡中见苍厚，清和中藏浑朴，尽显传统文人山水的文心雅韵，将中式山水的静穆诗意藏于尺素之间。",[23,24,7,165,128,27,132,29,497,34,11998],[],{"id":60119,"slug":60120,"title":60121,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":60122,"thumbUrl":60123,"material":611,"size":3722,"collection":84,"collections":60124,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},220310,"huang-shan-tu-ce-17-hong-ren-220310","黄山图册-17",[23,164,24,7,59,128,132,29,17260,1144,1337,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27ff649b35ce22bc63f5fdd792060a6e.jpg",[],{"id":60126,"slug":60127,"title":60128,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":60129,"thumbUrl":60130,"material":611,"size":3722,"collection":84,"collections":60131,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},220296,"huang-shan-tu-ce-30-hong-ren-220296","黄山图册-30",[23,24,7,164,59,128,27,132,29,372,30,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c09aaaaede0cee18cd178663a3a981b.jpg",[],{"id":60133,"slug":60134,"title":60135,"dynasty":54,"author":6357,"museum":1300,"description":60136,"tags":60137,"thumbUrl":60138,"material":611,"size":60139,"collection":44,"collections":60140,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},220151,"he-jing-shang-mei-tu-huang-shen-220151","和靖赏梅图","黄慎先生对自己的绘画，常作分类自评，凡最得意者题上诗，次者则识以岁月，再次者只署“瘿瓢”二字，《和靖赏梅图》。为其得意之作。图中画一叟一童正在赏梅，衣褶勾染并施、兼方带圆，面部须眉信笔写出，细笔复线，体现了画家不拘成法，灵活多变的绘画风格。",[23,24,7,128,27,369,96,21100,227,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4658446ea8e14ae530736988ae721fe2.jpg","纵122厘米，横67厘米",[44],{"id":60142,"slug":60143,"title":60144,"dynasty":18,"author":12285,"museum":5543,"description":12286,"tags":60145,"thumbUrl":60146,"material":173,"size":12289,"collection":84,"collections":60147,"showCount":811,"zanCount":1998,"manualWeight":48,"mainColor":49},220117,"shi-liu-luo-han-tu-di-liu-zun-zhe-jin-da-shou-220117","十六罗汉图-第六尊者",[23,24,7,28,27,187,96,949,413,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c1868aa60b9e727ed886750beeeefb.jpg",[],{"id":60149,"slug":60150,"title":60151,"dynasty":18,"author":12285,"museum":5543,"description":12286,"tags":60152,"thumbUrl":60153,"material":173,"size":12289,"collection":84,"collections":60154,"showCount":811,"zanCount":1998,"manualWeight":48,"mainColor":49},220114,"shi-liu-luo-han-tu-di-jiu-zun-zhe-jin-da-shou-220114","十六罗汉图-第九尊者",[23,24,7,165,187,27,28,96,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c3d1ef950c8e95f90779471aca94c0b.jpg",[],{"id":60156,"slug":60157,"title":60158,"dynasty":124,"author":60159,"museum":6620,"description":60160,"tags":60161,"thumbUrl":60162,"material":278,"size":60163,"collection":136,"collections":60164,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},219937,"xia-shan-qing-liu-tu-gao-yan-219937","夏山清流图","高俨","高俨（1616年-1687年），清代画家，字望公，广东新会人，博学多艺，工诗书画，被称为三绝，有名于岭南。 与当时岭南文坛画苑的陈子壮、王邦畿、陈恭尹、张穆等交朋友。明朝亡，不愿“ 颜事贼”，是一个具有民族气节的文人。",[164,24,7,165,128,29,495,99,34,1337,130,96,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc764d0b30f2bda069eac4e527320714b.jpg","175x38",[136],{"id":60166,"slug":60167,"title":60168,"dynasty":144,"author":36220,"museum":5543,"description":60169,"tags":60170,"thumbUrl":36223,"material":278,"size":84,"collection":44,"collections":60171,"showCount":811,"zanCount":1998,"manualWeight":48,"mainColor":72},219690,"xian-zi-he-shang-ke-weng-219690","蚬子和尚","这幅画以极简水墨写就，淡墨铺陈出空寂浅滩，右上角老干垂藤以枯笔皴擦，大片留白衬出清寂禅意。作者以写意笔法勾勒人物，寥寥数笔便将和尚的自在情态尽显无遗：赤脚立在滩涂，手抬拭目似正临水观照，肩挎渔捞，身形简括却神完气足。\n\n笔墨枯湿浓淡相生，舍去繁缛细节，以空灵淡远的意境传递出禅者物我相融的自在心境，简淡之中藏着超脱世俗的禅机雅趣，尽显禅画以形写神、简而意丰的美学意趣。",[24,7,128,165,96,413,229,187,369],[44],{"id":60173,"slug":60174,"title":60175,"dynasty":54,"author":60176,"museum":20,"description":60177,"tags":60178,"thumbUrl":60179,"material":66,"size":60180,"collection":44,"collections":60181,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},219689,"bao-shi-chen-xiao-xiang-wan-lan-219689","包世臣小像","万岚","清代学者、书法家、书学理论家，嘉庆十三年举人，官江西新喻知县，因劾去官，工书法，详论古人书法得失，雅重北碑，自成一家之言，著有《小倦游阁文稿》、《安吴四种》。包世臣像取自《清代学者像传》第二集，叶公绰辑，杨鹏秋摹绘。包世臣画像取自安徽省立图书馆民国间编印《安徽先贤像》。",[23,24,7,165,96,27,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdf75a381a6b39b8d464187552fea7f2.jpg","157.8x61.5厘米",[44],{"id":60183,"slug":60184,"title":60185,"dynasty":124,"author":223,"museum":1941,"description":60186,"tags":60187,"thumbUrl":60188,"material":173,"size":84,"collection":68,"collections":60189,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":956},219535,"zhu-lin-ba-ge-tu-yi-ming-219535","竹林八哥图","暗沉古雅的绢面晕染出幽寂林境，数只八哥各呈姿态，或振翅抬爪欲冲入林梢，或引颈长鸣呼应同伴，又有三两纠缠、翅爪相搏，将林间野趣尽数铺展。\n\n画师笔致精微，禽鸟绒羽纤毫毕现，枯竹萧疏苍劲，写意中带着朴拙生趣，动静之间把郊泽林泉间的鲜活生机凝于绢素。幽淡沉郁的底色托衬出灵动生灵，让沉寂古画晕开自然生息，尽显传统花鸟的雅致意趣。",[24,7,165,28,27,61,167,211,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1830ee54c82e5d7fc63950769ab6164a.jpg",[68],{"id":60191,"slug":60192,"title":60193,"dynasty":18,"author":223,"museum":244,"description":60194,"tags":60195,"thumbUrl":60196,"material":173,"size":60197,"collection":68,"collections":60198,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},219316,"song-teng-yuan-xi-tu-yi-ming-219316","松藤猿戏图","松枝盘曲如铁，老藤垂绕似丝，猿猴或攀藤戏叶，或蹲枝远眺，于方寸团扇间灵动穿梭。毛发纤毫毕现，眼神憨态可掬，爪尖紧扣藤枝的力度藏于墨色浓淡，松针疏密有致的层次显于笔触轻重。宋人的写实功夫与诗意心境在此交融：苍劲的松藤衬出猿的活泼，留白处似有余韵，引人遐想山林深处的清幽野趣。无款却见匠心，每一笔皆为自然传神，尽显宋代院体画精致细腻的风骨与生机盎然的意趣，仿佛能听见枝叶轻摇、猿声轻啼，将观者带入一片静谧而鲜活的自然之境。",[23,164,24,7,1131,128,28,372,40837,9633,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05efa16aa825a6b0a07bdd664e3c73bf.jpg","22x21.8cm",[68],{"id":60200,"slug":60201,"title":60202,"dynasty":18,"author":223,"museum":244,"description":60203,"tags":60204,"thumbUrl":60205,"material":173,"size":84,"collection":136,"collections":60206,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},218711,"wu-kuan-ce-jian-tu-yi-ming-218711","无款策蹇图","纨扇小景里，寒林疏枝以墨线轻勒，淡赭暮色晕染古绢，似浸着时光的沉香。驴背文人衣袂微拂，随林间风意缓行，身后僮仆持杖相随，步履从容。笔触细腻处，枝桠虬曲、草叶疏斜皆见匠心，却无雕琢之痕。小径蜿蜒向林深处，隐现的屋舍若有若无，藏着宋时文人的隐逸意趣。不追喧嚣，只向林泉寻一份悠然——驴蹄轻踏的是岁月缓调，目光所及是心之所向的清宁。古绢斑驳如记忆纹理，将千年前的从容心境凝在这方圆镜里，引观者沉湎于淡远诗意，仿佛听见林间风过枝叶的轻响，触到宋代特有的雅寂与温厚。",[23,24,7,128,27,132,29,413,96,7067,690,211,1337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac997e7b74e20f2dc71b1bc5a8a80c3a.jpg",[136],{"id":60208,"slug":60209,"title":60210,"dynasty":18,"author":15673,"museum":244,"description":60211,"tags":60212,"thumbUrl":60213,"material":173,"size":84,"collection":84,"collections":60214,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},218676,"xi-hu-shi-jing-tu-liu-lang-wen-ying-ye-xiao-yan-218676","西湖十景图-柳浪闻莺","烟峦淡远，柳丝拂岸，亭台楼阁隐于葱茏间。墨色温润如宋时烟雨，将柳浪的柔曼与闻莺的清越融于一纸。远山含黛，近树扶疏，建筑错落有致，似有流莺啼鸣穿林而过，惹得柳丝轻摇。题字笔意洒脱，与画作相映成趣，尽显文人雅趣。整幅画以淡墨晕染出西湖春日的清幽，不著艳色却意境悠远。观者仿佛立于湖畔，听柳浪翻涌，闻莺声婉转，沉醉在那抹宋时湖光的温柔里。",[23,24,7,59,27,128,29,2372,211,130,97,34,231,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2de438d4c2cddd2b29b345f3825a0337.jpg",[],{"id":60216,"slug":60217,"title":60218,"dynasty":18,"author":15673,"museum":244,"description":60219,"tags":60220,"thumbUrl":60221,"material":151,"size":84,"collection":84,"collections":60222,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},218672,"xi-hu-shi-jing-tu-nan-ping-wan-zhong-ye-xiao-yan-218672","西湖十景图-南屏晚钟","画面山峦层叠，淡墨晕染出朦胧烟霭，似将暮色轻笼南屏。近处松枝苍劲，针叶细劲如丝，间或矮松错落，添几分野趣。山腰楼阁隐现，飞檐翘角藏于林麓，若古寺禅院静候晚钟。左侧题字笔墨流畅，行楷雅致，诗韵与墨色山水相映，更添文人意趣。\n\n作品以简淡之笔勾勒景致，虚实间传递悠远禅意——仿佛能闻钟声穿林渡水，涤荡尘嚣。西湖暮色里的宁静与空灵，凝于尺幅，让观者于笔墨间触摸到那份跨越时空的悠然与澄澈。",[23,24,7,29,128,27,132,496,34,97,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f5b702e55d3128a1523bbd2c2120fdc.jpg",[],{"id":60224,"slug":60225,"title":60226,"dynasty":18,"author":15673,"museum":244,"description":60227,"tags":60228,"thumbUrl":60229,"material":151,"size":84,"collection":84,"collections":60230,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},218671,"xi-hu-shi-jing-tu-liang-feng-cha-yun-ye-xiao-yan-218671","西湖十景图-两峰插云","画面以淡墨晕染湖山底色，双峰对峙如黛，破云而出，尽显“插云”之姿。云雾以留白与淡墨交织，虚虚实实间，峰峦似隐似现，缥缈若仙境。近处亭台依水而立，屋宇线条简练精巧，与远山朦胧影相映成趣。左侧书法笔意流畅，墨色浓淡相宜，诗画相融，更添文人雅致。整幅作品以简驭繁，用清逸之笔勾勒西湖山水的空灵悠远，将两峰插云的朦胧意境凝于尺幅。观之如临西子湖畔，见双峰在云间若隐若现，心随景远，顿生悠然之思，尽显宋画清雅秀逸之态。",[23,24,7,59,128,27,29,30,37,97,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F621724a098a46f28b1031499dc6f3bd9.jpg",[],{"id":60232,"slug":60233,"title":60234,"dynasty":18,"author":15673,"museum":244,"description":60235,"tags":60236,"thumbUrl":60237,"material":173,"size":60238,"collection":84,"collections":60239,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},218669,"xi-hu-shi-jing-tu-san-tan-yin-yue-ye-xiao-yan-218669","西湖十景图-三潭印月","烟水空濛间，远山如黛，轻烟似纱，将峰峦轮廓晕染得朦胧温柔。湖面敛着淡月清辉，几处汀洲疏树错落，墨色浓淡间淌着江南温润气息。三潭倩影隐在水云深处，似与月影低语，惹得笔墨也浸了几分禅意。旁侧题跋笔墨流转，与山水淡远相映，字里行间皆是对湖山胜景的眷恋。整幅画如一首婉约小令，把西湖月夜的静谧空灵凝于尺幅，每一笔都带着水墨氤氲，每一处都藏着江南诗意，叫人一眼便坠入这清宁的湖山梦境里。",[23,24,7,59,27,29,132,231,496,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0268e1d23cc4cbce336dac9b0a7abd11.jpg","23.9x20.2",[],{"id":60241,"slug":60242,"title":60243,"dynasty":54,"author":6946,"museum":244,"description":60244,"tags":60245,"thumbUrl":60246,"material":66,"size":17435,"collection":84,"collections":60247,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},218452,"shi-liu-luo-han-xiang-di-er-a-zi-da-zun-zhe-ding-guan-peng-218452","十六罗汉像-第二阿资答尊者","画面中阿资答尊者盘腿端坐磐石之上，面容褶皱如岁月镌刻的禅痕，双目微阖间似含悲悯与澄明。披衫以细密点染显质感，内层素衣线条流畅如行云，双手交握的姿态沉静而有力。磐石皴法古朴，与人物衣袂的柔劲形成呼应。笔墨细腻处见工致，设色淡雅中透庄重，将罗汉历经劫波后的澄静心境刻画得入木三分。整体气韵古朴悠远，仿佛能窥见修行者内心的万籁俱寂，尽显佛画题材中“以形写神”的妙境，引人沉潜于禅意的悠远时空里。",[24,7,187,96,28,27,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc74c4056f9417377094733d742b5e9e3.jpg",[],{"id":60249,"slug":60250,"title":60251,"dynasty":124,"author":223,"museum":450,"description":60252,"tags":60253,"thumbUrl":60254,"material":173,"size":60255,"collection":136,"collections":60256,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},218376,"shui-xie-xian-ju-tu-yi-ming-218376","水榭闲居图","古绢的暖褐底色里，山水林泉静静铺展。左侧老树枝干虬曲，翠叶间漏下天光，掩映着临水而建的水榭——榭中虽无人物，却似残留着茶烟淡影，待归人闲坐。右侧山峦层叠，墨色由深及浅晕开云雾，溪涧在石间隐现，岸边细草疏疏，带着几分野趣。\n\n线条细劲却不刻板，山石皴法、树木枝桠皆透着文人雅致。没有喧嚣，只有林泉清寂与水榭悠然，仿佛把“闲居”二字揉进笔墨里。观者似能听见山风掠叶、流水拍岸，跟着慢下来，坠入那片林泉栖居的诗意中。\n\n笔墨间藏着的，是文人心中对尘外之境的向往——不必车马喧，只需与林泉为伴，看山听水，便得浮生清欢。",[23,24,7,1131,128,29,97,34,99,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F278fcf01356ba5c87193942a159c15eb.jpg","23.7x23.7cm",[136],{"id":60258,"slug":60259,"title":60260,"dynasty":980,"author":1687,"museum":300,"description":8761,"tags":60261,"thumbUrl":60262,"material":278,"size":84,"collection":84,"collections":60263,"showCount":811,"zanCount":1998,"manualWeight":48,"mainColor":72},218176,"da-qian-kuang-tu-ce-2-zhang-da-qian-218176","大千狂涂册-2",[24,7,59,128,133,840,96,166,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbec1a29f6db7046fda3f7e1627277b6c.jpg",[],{"id":60265,"slug":60266,"title":60267,"dynasty":18,"author":2099,"museum":77,"description":6227,"tags":60268,"thumbUrl":60269,"material":151,"size":84,"collection":84,"collections":60270,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},218080,"luo-han-tu-ce-7-li-gong-lin-218080","罗汉图册-7",[23,24,7,59,188,128,187,96,29,1337,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9c9716a8827b71f4348abdef37c88e.jpg",[],{"id":60272,"slug":60273,"title":60274,"dynasty":54,"author":2653,"museum":244,"description":60275,"tags":60276,"thumbUrl":60277,"material":66,"size":84,"collection":84,"collections":60278,"showCount":811,"zanCount":1998,"manualWeight":48,"mainColor":72},218040,"tian-wang-xiang-4-yao-wen-han-218040","天王像-4","衣袂间金纹流转，蓝绿袍角轻覆膝头，光头映着朦胧光晕，似坐于万千叠起的粉白牡丹与素色祥云之上。脚下浪涛翻涌，青灰龟甲隐现波心，旁侧红珊瑚枝如焰斜出，添几分鲜活气。远处林木葱茏，云雾绕山巅，右上角端坐莲台的小像衣袂飘举，似与天地祥瑞呼应。色彩浓淡相宜，线条细腻却不失灵动，神圣与自然意趣融于一纸，仿佛窥见画中人沉静超然的心境，尽显绘事里的雅致禅意，每一处笔墨都藏着对超然境界的温柔描摹。",[24,7,28,27,187,96,950,228,14233,547,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d697ed1ccce3febf1664b28226f413.jpg",[],{"id":60280,"slug":60281,"title":60282,"dynasty":54,"author":2653,"museum":300,"description":14125,"tags":60283,"thumbUrl":60284,"material":173,"size":84,"collection":84,"collections":60285,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":615},217255,"li-dai-di-wang-zhen-xiang-4-yao-wen-han-217255","历代帝王真像-4",[24,7,28,27,96,170,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F824221ac60e2f50c7a535740cd5f15c1.jpg",[],{"id":60287,"slug":60288,"title":60289,"dynasty":54,"author":9529,"museum":450,"description":11246,"tags":60290,"thumbUrl":60291,"material":66,"size":11249,"collection":84,"collections":60292,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},217215,"fang-gu-shan-shui-shi-er-kai-san-wang-hui-217215","仿古山水十二开(三)",[24,7,29,59,132,128,2271,663,950,34,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa04522294cd60b6e3d11f297483de6e7.jpg",[],{"id":60294,"slug":60295,"title":60296,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":60297,"thumbUrl":60298,"material":611,"size":84,"collection":84,"collections":60299,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":956},217105,"bai-miao-luo-han-12-leng-mei-217105","白描罗汉-12",[24,7,59,188,187,96,413,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95393cfe5fe55a3db717ccab367ef9e3.jpg",[],{"id":60301,"slug":60302,"title":60303,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":60304,"thumbUrl":60305,"material":611,"size":84,"collection":84,"collections":60306,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":956},217104,"bai-miao-luo-han-16-leng-mei-217104","白描罗汉-16",[24,7,59,188,187,96,9603,8162,6369,9604,169,263,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ebf8955d667d28d96f617c81f929a87.jpg",[],{"id":60308,"slug":60309,"title":60310,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":60311,"thumbUrl":60312,"material":611,"size":84,"collection":84,"collections":60313,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":956},217098,"bai-miao-luo-han-20-leng-mei-217098","白描罗汉-20",[24,7,59,188,187,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ee95bf4541d6e512978b7bbbfbf9e3c.jpg",[],{"id":60315,"slug":60316,"title":60317,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":60318,"thumbUrl":60319,"material":611,"size":84,"collection":84,"collections":60320,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":956},217095,"bai-miao-luo-han-21-leng-mei-217095","白描罗汉-21",[24,7,59,188,187,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5609e9c8874d2d76a6a1eb9b2ab67f10.jpg",[],{"id":60322,"slug":60323,"title":60324,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":60325,"thumbUrl":60326,"material":611,"size":84,"collection":84,"collections":60327,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":956},217090,"bai-miao-luo-han-27-leng-mei-217090","白描罗汉-27",[54,24,7,59,188,187,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ff3a75084bbd3003c7fba4151239a8c.jpg",[],{"id":60329,"slug":60330,"title":60331,"dynasty":54,"author":60332,"museum":77,"description":60333,"tags":60334,"thumbUrl":60335,"material":278,"size":60336,"collection":136,"collections":60337,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},217014,"ruan-yuan-yi-shi-shi-jing-tu-ce-wang-yun-217014","阮元遗事十景图册","汪鋆","阮元遗事十景图册是清朝时期汪鋆的一部作品。汪鋆（1735-1815年）是一位著名的清代画家，他的作品主要描绘人物、山水、花鸟等题材。阮元遗事十景图册是一部十幅图册，每幅图画都是汪鋆根据阮元的遗事描绘的人物和景象。阮元是一位著名的文学家，他的作品富有感染力，深受读者喜爱。汪鋆的这部作品通过艺术手法，将阮元的遗事生动地呈现在读者面前。",[24,7,59,128,27,132,64,208,29,758,1337,131,1645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd42d8d58ef2babc1245f84f09d811166.jpg","27.9x33cm",[136],{"id":60339,"slug":60340,"title":60341,"dynasty":54,"author":223,"museum":300,"description":60342,"tags":60343,"thumbUrl":60344,"material":173,"size":84,"collection":84,"collections":60345,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},216718,"hong-lou-meng-fu-tu-ce-7-yi-ming-216718","红楼梦赋图册-7","墨字如缕，竖排铺陈红楼雅赋；藤蔓牵萦，环伺绽放四时芳华。工笔勾勒的花叶间，粉紫蔷薇含露，明黄秋菊吐蕊，朱红山茶凝香，似将大观园的草木情韵藏于边框。文字的端庄与花卉的柔媚相映成趣，纸间仿佛漫溢着墨香与花香，把赋中铺陈的风月情浓，化作可见的藤蔓缠绕、花叶扶苏。笔触细腻温婉，每一缕藤蔓都似牵系着红楼儿女的情愫，每一朵花皆如映射着书中的青春光影，让观者在图文交融里，轻触那段古典岁月的温柔与怅惘。",[23,24,7,59,27,64,62,548,572,57836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5b36fd312405c5809ae903ea52d05ae.jpg",[],{"id":60347,"slug":60348,"title":60349,"dynasty":54,"author":223,"museum":300,"description":60350,"tags":60351,"thumbUrl":60352,"material":173,"size":84,"collection":84,"collections":60353,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":49},216715,"hong-lou-meng-fu-tu-ce-9-yi-ming-216715","红楼梦赋图册-9","画面以竖排墨书为骨，字迹娟秀如诉红楼闺阁的细腻心绪。四周粉紫花卉与翠叶藤蔓柔枝轻绕，花瓣含露晕染清雅韵致，似将文字里的春愁、落花叹息凝于方寸。墨色沉静与花色明妍相映，既显文辞深沉，又添画面生机。布局疏密有致，花叶自然舒展包裹规整文字，如红楼繁华与落寞交织，静谧中流淌淡淡怅惘，引人沉浸于古典诗意与怅然之间。",[23,24,7,59,27,572,64,62,548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4e88ce204479f49300f83d98dcf1159.jpg",[],{"id":60355,"slug":60356,"title":60357,"dynasty":124,"author":1642,"museum":244,"description":60358,"tags":60359,"thumbUrl":60360,"material":66,"size":60361,"collection":84,"collections":60362,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},216093,"tai-ping-le-shi-tu-ce-3-dai-jin-216093","太平乐事图册-3","此册共十开，分别绘「婴戏」、「骑牛」、「娱乐」、「戏耍」、「捕鱼」、「试射」、「耕罢」、「观戏」、「木马」、「牧归」等题材。其中数开以宋元名画为本：如第二开妇人哺乳之形象，可见于南宋李嵩〈市担婴戏〉（国立故宫博物院）；第九开「木马」则取自元任仁发〈果老见明皇〉（北京故宫博物院）；第十开则摹自宋人〈春社醉归〉。其余几开，皆透过人物之「观看」，将观者目光聚焦于画中场景，而营造某种叙事情节。绘人物之线条采「钉头鼠尾」（起笔钝重、收笔细）之笔法，与画史对戴进人物风格之描述吻合。然整体笔墨略显软弱、平直，或为晚期浙派画家根据戴进真迹加以临仿之作。",[24,7,59,27,28,96,413,758,2824,208,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d16d700e8be3994d5e6ac81c9fcce9.jpg","22.8x22cm",[],{"id":60364,"slug":60365,"title":60366,"dynasty":54,"author":223,"museum":244,"description":50481,"tags":60367,"thumbUrl":60368,"material":173,"size":84,"collection":84,"collections":60369,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},215201,"sheng-ping-le-shi-tu-ce-2-yi-ming-215201","升平乐事图册-2",[164,24,7,59,27,28,96,2218,1144,131,1367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e957d6eec88487a5cb2b116e4cd30a.jpg",[],{"id":60371,"slug":60372,"title":60373,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":60374,"thumbUrl":60375,"material":278,"size":3888,"collection":84,"collections":60376,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},214940,"dao-zi-mo-bao-ren-wu-bai-miao-hua-46-yi-ming-214940","道子墨宝人物白描画-46",[23,164,24,7,188,96,187,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8277020b91bda746daa22d70c76a8cfc.jpg",[],{"id":60378,"slug":60379,"title":60380,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":60381,"thumbUrl":60382,"material":278,"size":3888,"collection":84,"collections":60383,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},214935,"dao-zi-mo-bao-ren-wu-bai-miao-hua-49-yi-ming-214935","道子墨宝人物白描画-49",[23,24,7,188,96,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa528e41454abdca2bb3818d25b3458ef.jpg",[],{"id":60385,"slug":60386,"title":60387,"dynasty":54,"author":1460,"museum":77,"description":4620,"tags":60388,"thumbUrl":60389,"material":66,"size":4624,"collection":68,"collections":60390,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},214561,"mo-zui-za-hua-tu-ce-6-shi-tao-214561","墨醉杂画图册-6",[23,164,24,7,59,128,61,376,608,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F576f4adf720f042e76cb0d887900cf4b.jpg",[68],{"id":60392,"slug":60393,"title":60394,"dynasty":54,"author":1460,"museum":1941,"description":5506,"tags":60395,"thumbUrl":60396,"material":66,"size":5509,"collection":84,"collections":60397,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},214528,"yi-jin-ling-ce-6-shi-tao-214528","忆金陵册-6",[24,7,59,128,27,132,29,331,171,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2b452f3101ec1685c039d9bb4dfd5c6.jpg",[],{"id":60399,"slug":60400,"title":60401,"dynasty":54,"author":1460,"museum":1941,"description":5506,"tags":60402,"thumbUrl":60403,"material":66,"size":5509,"collection":84,"collections":60404,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":72},214525,"yi-jin-ling-ce-9-shi-tao-214525","忆金陵册-9",[24,7,59,128,132,29,34,35,1023,131,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99d0768fdd95790b013468eae8620264.jpg",[],{"id":60406,"slug":60407,"title":60408,"dynasty":54,"author":1460,"museum":56,"description":60409,"tags":60410,"thumbUrl":60411,"material":84,"size":84,"collection":84,"collections":60412,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":60413},203464,"shan-shui-ren-wu-hua-hui-ce-shi-tao-203464","山水人物花卉册","画面以水墨写意绘花卉，苍劲枝干携生拙之趣，叶片浓淡墨晕染，线条勾出清晰脉络，虚实相生；聚簇果实墨色层次丰富，饱满鲜活。留白透气空灵，与墨色景物相映成趣，尽显自然生机。笔墨洒脱不拘，豪放中藏细腻，凝花卉情态意韵于笔端，尽展文人画雅致生机，读之忘俗。",[24,7,59,128,61,549,2037,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1da8417de5da33012f6d2e5a88e612a4.jpg",[],"ab9a8d",{"id":60415,"slug":60416,"title":46430,"dynasty":54,"author":872,"museum":56,"description":60417,"tags":60418,"thumbUrl":60419,"material":84,"size":84,"collection":84,"collections":60420,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":60421},203459,"shu-hua-ce-zhu-da-203459","墨色晕染间，荷叶舒展如禅心，枝干曲劲似傲骨。两只禽鸟相顾，白眼斜睨，神态冷逸，寥寥数笔便勾勒出孤高遗世之态。留白处意蕴悠长，墨韵浓淡相生，尽显水墨写意之妙。简中藏深，淡里见奇，于极简中见生命的倔强与超脱，是八大笔墨里的灵魂独语。",[24,7,59,128,61,168,355,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b34b6b0f1f7ca203af5779e2254354e.jpg",[],"d7d2ce",{"id":60423,"slug":60424,"title":4229,"dynasty":54,"author":872,"museum":56,"description":60425,"tags":60426,"thumbUrl":60427,"material":84,"size":84,"collection":68,"collections":60428,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":60429},203295,"hua-niao-ce-zhu-da-203295","画面以极简水墨绘就，虬曲的老树扎根孤石旁，枝干如铁线盘结，苍劲中藏倔强。疏落梅花点缀枝头，淡墨晕染花瓣，轻勾花蕊，清雅里透着冷寂。两方朱红印章错落，与素净水墨形成鲜明对比，添几分古雅。构图空灵，笔墨凝练，于极简中见深远，尽显孤傲超逸心境，似将天地清寒孤寂凝缩在这方册页间。",[24,7,59,128,61,371,208,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cc2a696e4c16e09b895ce46839e6655.jpg",[68],"dccab2",{"id":60431,"slug":60432,"title":60433,"dynasty":54,"author":44979,"museum":56,"description":60434,"tags":60435,"thumbUrl":60436,"material":84,"size":84,"collection":136,"collections":60437,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":60438},203099,"gui-mao-shan-shui-tu-ce-ye-xin-203099","癸卯山水图册","画面以淡墨轻彩晕染，左侧嶙峋山石用简洁皴法勾勒，肌理毕现；中部建筑屋顶覆淡红，灰白墙体衬出雅致，内中陈设隐约可辨；旁侧枯树枝桠疏朗，添几分清寂。远景山峦朦胧，水汽氤氲，层次悠远。笔墨清润雅致，构图虚实相生，简淡中藏深远意境，尽显文人山水的清幽之趣。",[24,29,59,27,132,131,758,1337,9481,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b27a33f38cb838cb2c4c77e8e51efb0.jpg",[136],"d0bb97",{"id":60440,"slug":60441,"title":60442,"dynasty":54,"author":60443,"museum":56,"description":60444,"tags":60445,"thumbUrl":60446,"material":84,"size":84,"collection":136,"collections":60447,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":60448},202100,"wu-shan-wan-gui-tu-zhou-ma-zhong-li-202100","吴山晚归图轴","马中立","层岩错落，林木参差，溪流穿石蜿蜒，小桥横卧其上，一人策杖缓行，似赴晚归之途。山石以皴笔写就，纹理苍劲，兼施淡彩晕染，笔墨温润雅致。远处山峦隐于云雾，近景树木枯荣相衬，姿态各异。构图疏密得宜，虚实相生，将山野的清幽与晚归的静谧悄然融合，尽显传统山水的悠然意趣。",[24,7,165,29,128,27,132,98,99,331,171,96,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee5b274cb3ab4c05a947697030d527f2.jpg",[136],"a4917d",{"id":60450,"slug":60451,"title":20347,"dynasty":54,"author":60452,"museum":56,"description":60453,"tags":60454,"thumbUrl":60455,"material":84,"size":84,"collection":136,"collections":60456,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":60457},202011,"shan-shui-tu-zhou-cao-yi-202011","曹沂","这幅山水图中，山石嶙峋，溪流蜿蜒而下，数株松柏姿态各异——或虬曲盘绕于崖边，枝干苍劲；或挺拔倚于峭壁，枝叶葱郁。山石以皴法勾勒，纹理细腻，尽显厚重质感；溪流线条灵动，似有潺潺水声溢出画面。背景山峦简淡，留白处更显清幽深远。笔墨间细腻与洒脱兼具，营造出静谧雅致的山水意境，尽显传统书画之韵味。",[29,132,1144,499,131,128,165,24,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff28967822aef52bfeeb0d1e2497d8baf.jpg",[136],"ac957d",{"id":60459,"slug":60460,"title":60461,"dynasty":54,"author":5181,"museum":56,"description":60462,"tags":60463,"thumbUrl":60464,"material":84,"size":84,"collection":84,"collections":60465,"showCount":811,"zanCount":48,"manualWeight":48,"mainColor":60466},201865,"hong-liao-he-hua-tu-zhou-pu-hua-201865","红蓼荷花图轴","画面以荷花为核心，粉瓣娇嫩含露，白荷清逸出尘，荷叶泼墨层叠间晕染淡绿，墨色浓淡相依显生机。红蓼点缀岸畔，竹枝斜逸添意趣，笔墨奔放洒脱，兼具水墨苍劲与设色清雅。线条率性自然，花叶姿态灵动，尽显文人画的逸气与野趣，仿佛荷风轻拂，露坠叶间，于简淡中藏精巧，奔放中见细腻，是蒲华花鸟写意的典型风貌。",[24,7,61,81,27,128,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd997d9cb6083b68ce351b4c25f3d6840.jpg",[],"b5ada2",{"id":60468,"slug":60469,"title":60470,"dynasty":144,"author":13522,"museum":244,"description":60471,"tags":60472,"thumbUrl":60473,"material":278,"size":60474,"collection":84,"collections":60475,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},290939,"qiu-lin-diao-ting-tu-ma-wan-290939","秋林钓艇图","该幅画秋林钓艇，马琬以章草题款，笔法工整。幅上另有陶宗仪隶书题识，正方结字与方笔折刀法，显见魏晋隶书影响。马氏章草与陶氏隶书均以规矩均整见长，充分反映元代之复古书风，与明初云间书家之于古法中求变，颇异其趣。 释文：柔兆涒滩八月望。余侍原实孙先生过杨翁。留饮竟日。焚香啜茗。雅论清事。酒余。翁出扶风马文壁氏所画树石一幅。上有臧祥卿沤鸟。求孙先生题咏。翌日诗成。命予作篆。乃书于上。姑此以识岁月云。南村陶九成",[164,24,7,165,128,29,2875,129,99,23362,27083,6639,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034c21b2cf2060d651f01a28ac02e451.jpg","92x38",[],{"id":60477,"slug":60478,"title":60479,"dynasty":144,"author":1208,"museum":244,"description":34252,"tags":60480,"thumbUrl":60481,"material":278,"size":60482,"collection":84,"collections":60483,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},290832,"xiu-zhu-tu-zhou-ni-zan-290832","修竹图轴",[24,7,165,128,167,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F822aa93986d1b9a95aca39bfa639557a.jpg","51x34.5",[],{"id":60485,"slug":60486,"title":60487,"dynasty":54,"author":1740,"museum":300,"description":43285,"tags":60488,"thumbUrl":60489,"material":692,"size":1293,"collection":84,"collections":60490,"showCount":419,"zanCount":1998,"manualWeight":48,"mainColor":72},290559,"yu-jing-zhou-xu-yang-290559","雨景轴",[24,7,164,165,128,27,29,96,98,99,97,34,131,16819,208,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f5a2b57a8a61a33a6e3b8f169374c0f.jpg",[],{"id":60492,"slug":60493,"title":60494,"dynasty":54,"author":5276,"museum":300,"description":37104,"tags":60495,"thumbUrl":60496,"material":692,"size":1293,"collection":84,"collections":60497,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},290463,"feng-xue-shi-hua-tu-ce-gao-feng-han-290463","风雪诗画图册",[24,7,59,128,27,168,32398,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f78f50f33fd0518e35fac4c088348b5.jpg",[],{"id":60499,"slug":60500,"title":60501,"dynasty":18,"author":7583,"museum":300,"description":7584,"tags":60502,"thumbUrl":60503,"material":692,"size":1293,"collection":84,"collections":60504,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},290009,"gong-zhong-hang-le-tu-guo-zhong-shu-290009","宫中行乐图",[164,24,7,95,1131,27,97,906,64,208,48008],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe45931e226c5cd5dd7d12c12b91275f1.jpg",[],{"id":60506,"slug":60507,"title":60508,"dynasty":18,"author":60509,"museum":300,"description":60510,"tags":60511,"thumbUrl":60512,"material":692,"size":1293,"collection":84,"collections":60513,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},289946,"jiang-ting-lan-sheng-tu-zhang-xun-li-289946","江亭揽胜图","张训礼","松下一亭子，\n凭栏观江景。\n江上渔舟荡，\n远方山魅影。",[1131,24,164,7,29,128,27,130,129,6004,415,1144,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0181bf5435b11285dd064c91fa37c7f4.jpg",[],{"id":60515,"slug":60516,"title":60517,"dynasty":54,"author":60518,"museum":300,"description":60519,"tags":60520,"thumbUrl":60521,"material":692,"size":1293,"collection":84,"collections":60522,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},289912,"hua-niao-tu-ce-6-zhen-hu-jiu-si-289912","花鸟图册6帧","胡九思","字默轩，吴县（江苏苏州）人。桂子。",[24,7,59,188,128,61,371,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b94fe3269aa6e1edbb0a3352ea775cc.jpg",[],{"id":60524,"slug":60525,"title":60526,"dynasty":18,"author":1622,"museum":300,"description":12632,"tags":60527,"thumbUrl":60528,"material":692,"size":1293,"collection":84,"collections":60529,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},289844,"song-quan-shuang-niao-tu-ma-yuan-289844","松泉双鸟图",[164,24,7,59,128,27,29,96,372,99,211,171,13414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F907448da9b810fec8225fe3e1a09aff8.jpg",[],{"id":60531,"slug":60532,"title":60533,"dynasty":18,"author":2099,"museum":300,"description":23370,"tags":60534,"thumbUrl":60536,"material":692,"size":1293,"collection":84,"collections":60537,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},289800,"tao-yuan-ming-yin-gui-tu-li-gong-lin-289800","陶渊明隐归图",[23,25,24,164,7,128,27,96,29,34,2619,210,13414,133,64,60535,12634],"归隐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05298e088d2ce0b4073db83257a7a7d7.jpg",[],{"id":60539,"slug":60540,"title":60541,"dynasty":144,"author":36038,"museum":300,"description":60542,"tags":60543,"thumbUrl":60544,"material":692,"size":1293,"collection":84,"collections":60545,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},289795,"xing-zhu-zi-wo-ming-yang-wei-zhen-289795","行煮字窝铭","此作是一件长篇条幅，这种书法形式在元末并不多见，在杨维桢的传世作品中也属少数，因此章法布局自有其独特之处。通篇既呈绵密之势又见通达之气。结字或劲健厚阔，或轻盈妍丽，灵动圆活，融合汉隶、章草和二王格局，古澹朴拙之中显示出秀劲挺拔的独特魅力，颇具观赏价值。",[23,64,133,7,165,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F622f2320bec4b370b042af3f6a1eaaad.jpg",[],{"id":60547,"slug":60548,"title":60549,"dynasty":18,"author":4899,"museum":300,"description":46519,"tags":60550,"thumbUrl":60551,"material":692,"size":1293,"collection":84,"collections":60552,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},289564,"xiao-jing-tu-kai-zong-ming-yi-zhang-di-yi-ma-he-zhi-289564","孝经图-开宗明义章第一",[24,164,7,59,27,96,64,572,208,5459,23767],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb49759540763d1ee76c2102c5c8a4c97.jpg",[],{"id":60554,"slug":60555,"title":33978,"dynasty":18,"author":3596,"museum":300,"description":49297,"tags":60556,"thumbUrl":60558,"material":692,"size":1293,"collection":84,"collections":60559,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},289375,"sha-zhu-fu-chu-tu-cui-bai-289375",[164,24,7,3291,27,28,60557,1614,666],"凫雏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec80acdcc9292f6a5512eab894119fa6.jpg",[],{"id":60561,"slug":60562,"title":60563,"dynasty":222,"author":223,"museum":300,"description":60564,"tags":60565,"thumbUrl":60567,"material":692,"size":1293,"collection":84,"collections":60568,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},289233,"kong-zi-xiang-yi-ming-289233","孔子像","此作古雅沉厚，旧绢底色晕开悠悠岁月的沉静气韵。居中宗师端坐榻上，面容温蔼方正，长髯垂胸，宽袍广袖线条朴拙凝练，静穆间带着亲和，尽显儒者温润端方的气度。两侧弟子神态恭谨，或持卷聆教，或垂首凝神，暗合杏坛论道的静谧氛围。\n\n顶部题字斑驳苍古，与泛黄底色相融，晕开时光沉淀的厚重质感。画面构图主次分明，用笔简括洗练，未作过多精雕细琢，却以拙朴笔意传递出儒家礼乐的庄重内核，将千年前师徒论学的温煦场景，凝于绢上。",[23,24,7,165,27,96,60566,17480],"孔子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90c4fc76af3f72e5c959dbe83dfc77a0.jpg",[],{"id":60570,"slug":60571,"title":60572,"dynasty":351,"author":16190,"museum":300,"description":60573,"tags":60574,"thumbUrl":60575,"material":692,"size":1293,"collection":84,"collections":60576,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},288986,"ma-tu-zhen-ji-zhao-nie-288986","马图真迹","赵喦（五代史作赵岩），五代·后梁画家，名霖，后改本名，字秋巘，陈州（今河南淮阳）人，生卒年不详。太祖朱晃朝（907-912）驸马都尉。末帝朱瑱朝（913-923）为户部尚书租庸使，与张汉杰、汉伦等居中用事。善绘事，精鉴赏，富收藏。",[164,24,7,96,101,28,27,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F842b63ffb068612fae2d2f30f28acb95.jpg",[],{"id":60578,"slug":60579,"title":60580,"dynasty":18,"author":1622,"museum":300,"description":12632,"tags":60581,"thumbUrl":60582,"material":692,"size":1293,"collection":84,"collections":60583,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},288964,"han-zhi-ce-ye-ma-yuan-288964","寒枝册页",[24,7,59,128,454,33421,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d1e51f28a046b558e968fb14279f540.jpg",[],{"id":60585,"slug":60586,"title":60587,"dynasty":18,"author":223,"museum":300,"description":60588,"tags":60589,"thumbUrl":60592,"material":692,"size":1293,"collection":84,"collections":60593,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},288959,"mo-wang-qi-han-huai-yin-xiao-xia-tu-yi-ming-288959","摹王齐翰槐荫消夏图","此作图绘槐荫下消夏闲景，高士袒胸斜卧榻上，双目轻阖，将溽暑中松弛酣然的情态刻画入微。榻边小案陈置香炉书卷，衬出主人林下雅致，槐荫如盖，清荫笼住一方清凉，隔绝夏意燥热。\n笔线秀润细劲，设色浅淡明净，衣纹柔婉流转，与家具方硬挺括形成鲜明对照，晕染细腻，将肌肤肌理与织物薄软质感尽皆铺陈。画面清寂悠然，把宋人尚雅的闲居意趣融于尺幅，尽显幽居纳凉的松弛雅韵，藏着旧时文人最熨帖的夏日闲情。",[23,164,24,7,59,27,96,28,330,60590,60591,12634,208,64,251],"槐树","消夏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7001083d3da7618380d5002c193cc8c.jpg",[],{"id":60595,"slug":60596,"title":60597,"dynasty":18,"author":223,"museum":300,"description":60598,"tags":60599,"thumbUrl":60600,"material":692,"size":1293,"collection":84,"collections":60601,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},288728,"hong-mei-kong-que-tu-yi-ming-288728","红梅孔雀图","水岸一隅，苍松虬曲古雅，红梅初绽带霜，竹影清疏横斜。两只孔雀动静相宜，一栖于松干缓理彩羽，翎毛细纹纤毫毕现；一信步汀洲，姿态闲雅悠然。\n\n全作用色沉稳清雅，花木禽鸟皆以精工写就，晕染细腻写实，又兼具文人写意的幽远意境。画面疏密得当，枯润有致，将院体工笔的精致与林下野趣相融。静穆景致藏着盎然生机，于尺幅之间铺展出雅致隽永的审美意趣，尽显花鸟写生的精妙造诣。",[23,24,164,7,61,28,27,371,372,167,248,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a71b37b702414802eb33400b6285b76.jpg",[],{"id":60603,"slug":60604,"title":60605,"dynasty":54,"author":60606,"museum":300,"description":60607,"tags":60608,"thumbUrl":60609,"material":692,"size":1293,"collection":84,"collections":60610,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},288522,"shan-shui-ren-wu-tu-li-zhou-ai-xin-jue-luo-pu-quan-288522","山水人物图立轴","爱新觉罗·溥佺","此作用高远章法绘就，危崖壁立千仞，斧劈皴利落勾勒出山岩嶙峋骨相，崖巅古松欹斜傲立。两道飞泉垂落，一隐于崖谷、一淌于浅濑，水墨晕染出空濛岚气，裹挟着幽谷清寂。\n\n下方虬松苍劲盘曲，枝桠舒展如盖，松下幽人凭坐观瀑，简笔勾勒便见悠然意态。整作将山川雄奇与林下闲逸相融，笔力劲爽不失温润，淡墨轻岚晕开悠远意境，尽显天人合一的林下雅趣。",[23,24,7,165,128,29,96,1144,495,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16d688d7b88097c9cb0158504fbaa37c.jpg",[],{"id":60612,"slug":60613,"title":60614,"dynasty":18,"author":9468,"museum":300,"description":60615,"tags":60616,"thumbUrl":60617,"material":692,"size":1293,"collection":84,"collections":60618,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},288456,"xue-mei-tu-yang-wu-jiu-288456","雪梅图","此图以简练的笔法，画一枝偃仰姿纵的“野梅”和翠竹。作者用笔疾速，枝干着墨比较粗放，有些地方留有“飞白”，即不经意地在绢上造成的空白效果，非常巧妙地表现出树皮斑驳的质感；花朵用笔圆润细巧，花蕊娇嫩；竹叶下垂，只在叶子的下部用浓墨勾出一半轮廓。为了更好地衬托积雪的效果，画家用淡淡的墨色将绢地满涂，仅仅只留出积雪的部位，阴霾逼人的寒气便得到了很充分的渲染。",[23,24,164,25,7,128,61,371,1556,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d7380b5642da48bacdff84a57a04aa1.jpg",[],{"id":60620,"slug":60621,"title":6935,"dynasty":54,"author":6936,"museum":300,"description":36556,"tags":60622,"thumbUrl":60623,"material":692,"size":1293,"collection":84,"collections":60624,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},288392,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-288392",[23,164,24,7,165,29,330,27,26,132,98,99,97,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6347cfccc589f6a028cefbc8cc2ea79f.jpg",[],{"id":60626,"slug":60627,"title":45865,"dynasty":18,"author":9837,"museum":300,"description":38072,"tags":60628,"thumbUrl":60629,"material":692,"size":1293,"collection":84,"collections":60630,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},288228,"yin-yan-fei-pu-tu-jiang-can-288228",[23,164,24,7,165,128,29,99,171,1337,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F181a7d40b09d85f02f77d6c7241e2f97.jpg",[],{"id":60632,"slug":60633,"title":60634,"dynasty":54,"author":38900,"museum":300,"description":38953,"tags":60635,"thumbUrl":60636,"material":692,"size":1293,"collection":84,"collections":60637,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},288216,"fang-song-ren-shan-shui-shan-mian-huang-yi-288216","仿宋人山水扇面",[1131,24,7,128,29,330,208,64,131,4438,2619],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77f7d52323cf8c88c5daffeb8ccd391e.jpg",[],{"id":60639,"slug":60640,"title":60641,"dynasty":54,"author":19884,"museum":300,"description":53648,"tags":60642,"thumbUrl":60643,"material":692,"size":1293,"collection":84,"collections":60644,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},288029,"shan-shui-tu-lin-quan-gao-shi-zhang-zong-cang-288029","山水图(临泉高士)",[24,7,1349,165,128,132,96,131,34,99,4605,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdba40184baacbf9a11bf003631812cec.jpg",[],{"id":60646,"slug":60647,"title":60648,"dynasty":124,"author":20692,"museum":300,"description":60649,"tags":60650,"thumbUrl":60651,"material":692,"size":1293,"collection":84,"collections":60652,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},287815,"gu-shu-qi-niao-tu-li-zhou-yuan-shang-tong-287815","古树栖鸟图立轴","袁尚统（1570—1661年后）明代画家。字叔明，江苏苏州人。善画。善画山水、人物、花鸟。山水浑厚，人物野放，多画民间风俗，，作品有浓厚生活气息。",[23,24,7,164,165,128,61,331,211,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0ebaf1cadc87a2f1a0a5df6e056ae8.jpg",[],{"id":60654,"slug":60655,"title":60656,"dynasty":124,"author":60657,"museum":300,"description":60658,"tags":60659,"thumbUrl":60660,"material":692,"size":1293,"collection":84,"collections":60661,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},287781,"guan-yan-tu-li-zhou-chen-ji-he-287781","观雁图立轴","陈济和","明朝史学家。字伯载，武进（今属常州）人，陈洽兄。他博学强记，读书过目能诵。口诵手钞，经史百家无不贯通，时称两脚书橱。永乐元年（1403年），明成祖诏修《文献大成》（后改称《永乐大典》），朝廷以布衣召他担任编纂总裁，他却推荐姚广孝及胡严为总裁，自任副手。藩秘库书达数百万卷，浩无端倪。陈济与姚广孝等确定了编写体例，组织了文人学士2000余人参与编写。编写过程中，执笔者凡遇到疑难问题就请教陈济，他应口为之条辩缕析。永乐六年（1408）书成，总辑成22877卷，凡例、目录60卷。陈济被授于左春坊右赞善。陈济任职谨慎无过。帝甚礼重之，凡稽古纂集之事，皆交陈济处置。他在职15年，永乐二十二年（1424年）病逝，享年62岁。陈济学问渊博；平时却十分谦虚，终身危坐手不释卷，他常说：知识和布帛粮食一样贵重，有益于社会。平生著述有：《书传补》、《元史举要》、《通鉴纲目集览正误》《思斋集》等。",[23,164,24,7,165,27,96,97,98,211,1337,1144,131,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1761c3e21f8d87eeaba59b3a93f7aba6.jpg",[],{"id":60663,"slug":60664,"title":60665,"dynasty":18,"author":2099,"museum":300,"description":34962,"tags":60666,"thumbUrl":60667,"material":692,"size":1293,"collection":84,"collections":60668,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},287713,"bai-miao-ren-wu-bu-shou-tu-juan-li-gong-lin-287713","白描人物(捕手)图卷",[23,164,24,25,7,188,96,101,64,840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cd2957e9f7dfdd41b376728038cf0b7.jpg",[],{"id":60670,"slug":60671,"title":60672,"dynasty":144,"author":7032,"museum":300,"description":60673,"tags":60674,"thumbUrl":60675,"material":692,"size":1293,"collection":84,"collections":60676,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},287552,"qing-chuan-song-ke-tu-zhao-yuan-287552","晴川送客图","赵原，中国元末明初画家。生卒年不详。本名元，入明后因避朱元璋讳而改作原，字善长，号丹林。",[164,24,7,165,128,132,29,99,129,96,34,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecb486fbd110d78380ab0e715e10494e.jpg",[],{"id":60678,"slug":60679,"title":60680,"dynasty":54,"author":3750,"museum":244,"description":17621,"tags":60681,"thumbUrl":60682,"material":66,"size":60683,"collection":84,"collections":60684,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},287447,"fang-huang-gong-wang-yan-fu-yuan-xiu-tu-wang-jian-287447","仿黄公望烟浮远岫图",[164,24,7,29,27,132,330,496,99,495,35,1144,4363,98,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bce4de3236da388c40dfce3e6cfb914.jpg","134.9x78.9",[],{"id":60686,"slug":60687,"title":15481,"dynasty":124,"author":273,"museum":300,"description":24195,"tags":60688,"thumbUrl":60689,"material":692,"size":1293,"collection":84,"collections":60690,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},283643,"mo-bi-shan-shui-tu-wang-fu-283643",[164,24,7,165,128,29,129,99,171,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61e1464e21e776c0b4325fbe0aacdb67.jpg",[],{"id":60692,"slug":60693,"title":60694,"dynasty":144,"author":3158,"museum":300,"description":60695,"tags":60696,"thumbUrl":60697,"material":692,"size":1293,"collection":84,"collections":60698,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},283632,"hua-han-yan-ji-xue-zhang-yu-283632","画寒岩积雪","张羽（1333－1385）元末明初文人。字来仪，更字附凤，号静居，浔阳（今江西九江）人，后移居吴兴（今浙江湖州），与高启、杨基、徐贲称为“吴中四杰”，又与高启、王行、徐贲等十人，人称“北郭十才子”，亦为明初十才子之一。官至太常丞，山水宗法米氏父子，诗作笔力雄放俊逸，著有《静居集》。",[24,7,29,165,128,1337,131,13436,387,415,5323,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0864a3421ac5a684a16b934dfe59e80.jpg",[],{"id":60700,"slug":60701,"title":60702,"dynasty":54,"author":60703,"museum":300,"description":60704,"tags":60705,"thumbUrl":60707,"material":611,"size":84,"collection":318,"collections":60708,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},240889,"wu-lv-zhou-gao-shi-qi-240889","五律轴","高士奇","高士奇（1645～1704年），字澹人，號瓶廬，又號江村。浙江紹興府餘姚縣樟樹鄉高家村（今慈溪匡堰鎮高家村）人，後入籍錢塘（今浙江杭州）。 清代官員、史學家。\n早年家貧。康熙十年（1671年）入國子監，試後留翰林院辦事，供奉內廷。康熙十四年（1675年），授職詹事府錄事，不久升內閣中書，領六品俸薪，住在賞賜給他的西安門內。 高士奇每日為康熙帝講書釋疑，評析書畫，極得信任。康熙十八年（1679年）後，歷任翰林院侍講、侍讀、侍讀學士、《大清一統志》副總裁官、詹事府少詹事。康熙二十八年（1689年）隨帝南巡。冬解職歸裏，居平湖。康熙三十三年（1694年）奉召入京，充《明史》纂修官。康熙三十五年（1696年），三次隨康熙帝西征，深得信賴。翌年，以養母求歸，特授詹事府詹事。康熙四十一年（1702年），升禮部侍郎兼翰林院學士，加正一品，以母老未赴。康熙四十二年（1703年），卒於家，追諡文恪，葬於縣城南郊。\u2028 高士奇是清朝康熙皇帝的近臣，一生效忠於康熙帝，同時也是一位在文史哲諸方面都有貢獻的學者。他平生學識淵博，能詩文，擅書法，精考證，善鑑賞，所藏書畫甚富。著有《左傳紀事本末》《春秋地名考略》《清吟堂全集》《江村銷夏錄》《扈從西巡日錄》《經進文稿》《天祿識餘》《隨輦集》《北墅抱甕錄》《左傳國語輯注》等。",[24,7,165,133,64,208,1314,60706],"桐叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50a15ff9d4f33fe442ad70f5eda243c9.jpg",[318],{"id":60710,"slug":60711,"title":60712,"dynasty":54,"author":1460,"museum":20,"description":60713,"tags":60714,"thumbUrl":60715,"material":60716,"size":60717,"collection":318,"collections":60718,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},240405,"zeng-gao-xiang-ke-yin-qi-gu-shi-zhou-shi-tao-240405","赠高翔刻印七古诗轴","释文：\n书画图章本一体，精雄老丑贵传神。秦汉相形新出古，今人作意古从新。灵幻只教逼造化 ，急就草创留天真。非云事迹代不精，收藏鉴赏谁其人。只有黄金不变色，磊盘珠玉生埃尘。凤冈凤冈向来铁笔许何程，安得闽石千百换与君 ，凿开混沌仍人嗔。\n署款：“凤冈高世兄以印章见赠，书谢博笑。清湘遗人大涤子草。”款下钤：“伴个溪”、“大涤子”、“大本堂若极”、“清湘遗人”印。引首印为“痴绝”。\n此书是石涛写给凤冈的一首七言古诗，以感谢赠印一事。凤冈即高翔，工书画，兼擅治印，为扬州八怪之一。\n此书以隶书为框架，并参以行楷的笔法，变化丰富。结字并非刻意安排，却能不求工而自工。行笔的笔画虽非完全顺畅，但笔画之粗细，字之大小，形态各异，因此避免了平板单调之感。整幅书法奇宕劲逸，姿态横生，显示出石涛书法艺术的个性和新意。",[7,165,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc726ac025a860cc95815b28d7aa6044.jpg","绫本，隶书","纵443厘米，横27.6厘米",[318],{"id":60720,"slug":60721,"title":60722,"dynasty":124,"author":3619,"museum":244,"description":60723,"tags":60724,"thumbUrl":60725,"material":611,"size":60726,"collection":318,"collections":60727,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},240283,"wen-zheng-ming-wu-lv-shi-zhou-wen-zheng-ming-240283","文徵明五律诗轴","按此诗作于甲戌（一五一四）年冬，见甫田集卷五。题为‘张明远索画，久而未成，岁暮阴寒，雪霰将集，斋居无聊，为写溪山欲雪图，并赋短句’。征明诗课甚勤，不当远录旧作，故书成与诗成之日当甚接近，然亦不必同时。书效黄庭坚，全依山谷法度。是年乙未，征明四十六。\n文征明的书法以功力卓绝见长，成就主要体现在精绝的小楷与潇洒的行书上。其小楷宗二王、欧阳询、智永，法度森严，如《归去来兮辞》（北京故宫）。行、唐、宋名家于一体，端庄而不失风流，逍劲而舒徐有余，刚柔相兼，自成一家。陶宗仪赞其：“如风舞琼花，泉鸣竹润。”如北京故宫藏《西苑诗》。晚年大字习黄庭坚，放纵摆右，骨韵兼得，如苏州博物馆藏《三绝书画》手卷。一生不喜作草书，非不能作，《四体千字文》就写的很精彩，但更偏爱工整一路的书体，这与他自身的性情有关。",[7,165,133,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadecb45b67a906fc24291dab7a678dd9.jpg","纵191cm，横72.2cm",[318],{"id":60729,"slug":60730,"title":60731,"dynasty":124,"author":223,"museum":300,"description":60732,"tags":60733,"thumbUrl":60734,"material":692,"size":1293,"collection":84,"collections":60735,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},240251,"shen-zhou-shi-juan-yi-ming-240251","沈周诗卷","此卷行书笔意舒展灵动，结体随性朴拙，笔墨枯湿浓淡自然过渡，整卷行气贯通，尽显书写时的松弛自在。诗作为自作，将日常闲居、旧友交游的感怀一一入笔，书文相合，把江南文人隐逸散淡的雅趣融于毫端。笔画间带着吴门书派特有的清雅率真，无刻意雕琢的匠气，尽显文人士大夫的随性襟怀，是书意与文心交融的佳构，藏着明代文人日常的雅致意趣。",[23,124,7,25,133,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F223c74a515530f9fd4b06cd9a88854ed.jpg",[],{"id":60737,"slug":60738,"title":60739,"dynasty":54,"author":58930,"museum":300,"description":60740,"tags":60741,"thumbUrl":60742,"material":692,"size":1293,"collection":84,"collections":60743,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},239923,"shi-cheng-lian-shang-ye-wan-cheng-ji-239923","诗呈莲裳页","万承纪（1766～1826）清篆刻家、书法家、藏书家。字廉山，一作廉三，号畴五。江西南昌人。早年由宛平到淮上谋生，乾隆五十七年（1792）举人，嘉庆初以军功任知",[64,133,208,59,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F806d87b102f82c10a37d7e660e6c0063.jpg",[],{"id":60745,"slug":60746,"title":60747,"dynasty":124,"author":7003,"museum":300,"description":49321,"tags":60748,"thumbUrl":60749,"material":84,"size":84,"collection":318,"collections":60750,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},239876,"qiu-xing-ba-shou-juan-zhu-yun-ming-239876","秋兴八首卷",[23,7,64,840,25,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28ace7cf998ea76b631e4be7d1ea62b0.jpg",[318],{"id":60752,"slug":60753,"title":60754,"dynasty":124,"author":7003,"museum":300,"description":49321,"tags":60755,"thumbUrl":60756,"material":84,"size":84,"collection":318,"collections":60757,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},239799,"qiu-xing-shi-juan-zhu-yun-ming-239799","秋兴诗卷",[23,164,24,7,25,64,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86d73729556600172b0b9a6469a39c49.jpg",[318],{"id":60759,"slug":60760,"title":29044,"dynasty":54,"author":31213,"museum":300,"description":60761,"tags":60762,"thumbUrl":60763,"material":84,"size":84,"collection":318,"collections":60764,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},239693,"qi-yan-lian-zuo-zong-tang-239693","左宗棠（1812年~1885年），字季高、朴存，号上农人，湖南湘阳人。道光十二年举人，后三试礼部不第，在家深究经世之学十余年，后官浙江巡抚，咸、同间以四品京堂统军，镇压了太平军及西北回民军等，屡建战功。累官总督、拜东阁大学士，封恪靖候。",[64,10886,133,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a84a5f0a409461c55369f8c0c1f5fd.jpg",[318],{"id":60766,"slug":60767,"title":60768,"dynasty":144,"author":569,"museum":300,"description":60769,"tags":60770,"thumbUrl":60771,"material":84,"size":84,"collection":84,"collections":60772,"showCount":419,"zanCount":1998,"manualWeight":48,"mainColor":72},239677,"yu-ji-ni-zan-shi-han-juan-zhao-meng-fu-239677","虞集 倪瓒诗翰卷","最右榜书沉雄浑厚，力透纸背，四字朴茂开张，尽显浑朴庙堂气象。中段行书圆活遒媚，笔墨温润秀雅，牵丝映带间晋唐风度盎然，诗与书意相融，尽显书画同源的通透造诣。左侧题字，虞集书风端稳清劲，倪瓒笔墨萧散简淡，各彰风骨。\n\n整卷诸家翰墨齐聚，既有赵氏雍容华滋的韵致，又兼具元人题跋的清疏雅致，是元代文人交游的鲜活见证，笔墨流转间尽显元代文人的风雅意趣，堪称元人书法合璧的上乘精品。",[23,164,24,7,25,133,572,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb447ceff09b77a371857f630f5b2365.jpg",[],{"id":60774,"slug":60775,"title":60776,"dynasty":124,"author":3619,"museum":20,"description":60777,"tags":60778,"thumbUrl":60779,"material":611,"size":60780,"collection":318,"collections":60781,"showCount":419,"zanCount":1998,"manualWeight":48,"mainColor":72},239658,"xi-yuan-shi-juan-wen-zheng-ming-239658","西苑诗卷","文征明晚年佳作行草书法欣赏《西苑诗十首》是文征明五十六岁在京任翰林院待诏时所作，均为七律，共十首。描述宫城西以太液池为中心的御苑（即今中南海、北海）景色。此卷书写于甲寅（公元一五五四年）六月十日——距成诗时隔三十年，是年已八十五岁。",[23,164,24,7,25,133,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a8a85d233a102714d554cec20be51a8.jpg","纵28.4厘米 横447.4厘米",[318],{"id":60783,"slug":60784,"title":60785,"dynasty":124,"author":60786,"museum":300,"description":60787,"tags":60788,"thumbUrl":60789,"material":84,"size":84,"collection":318,"collections":60790,"showCount":419,"zanCount":1116,"manualWeight":48,"mainColor":72},239595,"yun-hai-tie-ce-ye-yao-guang-xiao-239595","云海帖册页","姚广孝","姚广孝（1335年－1418年），幼名天僖，法名道衍，字斯道，又字独闇，号独庵老人、逃虚子。长洲（今江苏苏州）人。明朝政治家、佛学家，文学家，靖难之役的主要策划者，中国历史上最著名的黑衣宰相。\n姚广孝年轻时在苏州妙智庵出家为僧，精通三教， 与明初儒释道各家学术领袖都有不错的关系。 洪武十五年，被明太祖挑选，以“臣奉白帽著王”结识燕王朱棣，主持庆寿寺，成为朱棣的主要谋士。朱棣靖难第三年，姚广孝留守北平，建议朱棣轻骑挺进，径取南京，使得朱棣顺利夺取南京，登基称帝。以区区燕地一方土地敌全国兵马，且最终获胜，历史上绝无仅有。\n成祖继位后，姚广孝担任僧录司左善世，又加太子少师，被称为“黑衣宰相”。负责迁都事宜，一手规划今日北京城布局。而后在解缙编书失败后又担任了《永乐大典》和《明太祖实录》的最高编撰官，尤其是《永乐大典》，这是他在中国文化历史上的最大贡献。少师晚年，在明初期佛教渐成颓势之际，又担起护教（佛教）之责，整理了反排佛的《道余录》，为佛教史上一件大事。\n永乐十六年（1418年），病逝庆寿寺，追赠荣国公，谥号恭靖。皇帝亲自撰写神道碑铭，并以文臣身份入明祖庙，是明代第一人，也是唯一一人。",[805,64,133,4437,128,208,7,25917,28172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ed2e054e7405a08c614e84465cc31f3.jpg",[318],{"id":60792,"slug":60793,"title":60794,"dynasty":124,"author":223,"museum":300,"description":60795,"tags":60796,"thumbUrl":60797,"material":84,"size":84,"collection":84,"collections":60798,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},239529,"wen-jia-shan-shui-tu-juan-yi-ming-239529","文嘉山水图卷","此作用浅绛淡色晕染江南丘壑，以披麻皴写山石肌理，笔致清隽秀雅。长卷铺展平远山水，峰峦缓叠，林麓葱郁，溪谷间云气漫漶，将山居村舍、林塔梵宇轻轻托在烟岚之间。咫尺卷内藏万千丘壑，时而见飞泉漱石，时而见幽居临流，处处皆是文雅意趣。\n\n引首篆书古雅端凝，尾跋笔意萧散，书画相映，尽显文人卧游林泉的隐逸襟怀。整体气息淡和清远，将江南山水的温润灵秀，与文人寄情丘园的闲逸，揉作一卷可游可居的幽境，观之如入桃源尘外。",[23,24,7,25,27,29,132,28,64,938,133,208,34,131,37,758,1515,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F719d03c4d265eba22cd51a1d7c1095f8.jpg",[],{"id":60800,"slug":60801,"title":60802,"dynasty":54,"author":55412,"museum":300,"description":60803,"tags":60804,"thumbUrl":60805,"material":84,"size":84,"collection":84,"collections":60806,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},239417,"feng-a-shan-fang-tu-zhou-qin-zu-yong-239417","凤阿山房图轴","此作用干笔淡墨铺陈丘壑，危崖巨嶂以皴擦点苔写就，苍莽厚重的山石占据画幅上半，尽显沉浑气象。山坳间林木错落，墨色浓淡层叠，掩映出三两村居草堂，堂内二人对坐晤谈，似在叙旧清谈，溪石隐于浅流，萦回环绕，衬出山居幽寂。\n画面上方题跋洋洋洒洒，诗书画融为一体，尽显文人雅致。画作以元人枯淡笔法写胸中丘壑，温婉秀雅，将江南山居的闲逸沉静诉诸笔端，淡墨轻岚间勾勒出世外林泉的栖居之境，尽显传统文人画的林下风流。",[24,7,165,128,132,29,131,34,35,99,1144,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1474facd73ef704a532461aa1352ab92.jpg",[],{"id":60808,"slug":60809,"title":60810,"dynasty":124,"author":23268,"museum":300,"description":49436,"tags":60811,"thumbUrl":60812,"material":692,"size":1293,"collection":84,"collections":60813,"showCount":419,"zanCount":1998,"manualWeight":48,"mainColor":72},239412,"qiu-lin-li-zhang-tu-zhou-sun-zhi-239412","秋林藜杖图轴",[24,7,165,128,29,132,2875,131,96,98,415,34,7596,1023,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f73c7d36a9cd4d75b5cc1f1c0fb19b9.jpg",[],{"id":60815,"slug":60816,"title":4724,"dynasty":124,"author":5798,"museum":300,"description":60817,"tags":60818,"thumbUrl":60819,"material":84,"size":84,"collection":136,"collections":60820,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},239314,"shan-shui-tu-ce-zhang-hong-239314","此作用水墨晕染绘就烟林清景，以浓墨点簇成苍郁茂林，淡墨晕铺化作烟岚云水，虚实相映间，江南水畔空濛之境尽显眼前。林麓间茅舍隐现，愈发衬出丘山幽寂清宁。构图疏朗留白，以极简笔墨勾勒山野意趣，让观者沉浸于静穆淡远的林泉雅韵之中。墨色层次丰富多变，简淡中饱含苍润质感，寥寥数笔便将山水间空濛幽静的氛围感尽数铺展，尽显文人寄情山水的隐逸情怀，把写意山水以简驭繁的精妙发挥到极致。",[24,7,59,128,29,34,37,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff569ed788259f34a3e9cd2987a162d4d.jpg",[136,117],{"id":60822,"slug":60823,"title":60824,"dynasty":54,"author":19884,"museum":300,"description":60825,"tags":60826,"thumbUrl":60827,"material":84,"size":84,"collection":68,"collections":60828,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},239133,"shan-shui-he-hui-ce-zhang-zong-cang-239133","山水合绘册","近景枯干托举丹红秋叶，醒目前方，墨色林木层叠错落，将视线引向开阔江面。水面留白晕染出烟波空濛，扁舟随波轻漾，淡笔点出汀渚浅草，柔化水岸边界。远景木桥横陈，三两隐于暮色的人物，极简勾勒便添烟火生趣。\n\n干湿墨色交织，苍劲苔点写出林木郁茂，留白水面和淡墨远山形成虚实对照，带着清寂悠缓的秋日江居意趣，笔底藏着温润的山野闲情，将江南秋江的淡远萧疏尽数铺陈，简淡笔触里意蕴悠长，静立仿佛便能走入这幅秋水栖迟的幽境之中。",[24,7,59,128,27,29,413,1955,129,98,99,415,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18439d1381c9000bc273effce1c63224.jpg",[68,45],{"id":60830,"slug":60831,"title":76,"dynasty":54,"author":4823,"museum":300,"description":19690,"tags":60832,"thumbUrl":60833,"material":692,"size":1293,"collection":84,"collections":60834,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},239099,"hua-hui-ce-ma-yuan-yu-239099",[24,7,59,27,61,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4faf693cf384539730b1571fd328bef.jpg",[],{"id":60836,"slug":60837,"title":60838,"dynasty":54,"author":60839,"museum":300,"description":60840,"tags":60841,"thumbUrl":60842,"material":692,"size":1293,"collection":84,"collections":60843,"showCount":419,"zanCount":1998,"manualWeight":48,"mainColor":72},239071,"mu-dan-wan-shan-wang-cheng-feng-239071","牡丹纨扇","王承枫","王承枫，字陛臣，号丹麓。咸丰、同治时官河南内黄知县。善分隶，工山水。同治元年（一八六二）有临各家设色山水册。 《清画家诗史》、《清朝书画家笔录》、《瓯钵罗室书画过目考》、《墨林今话》",[24,7,1131,61,27,263,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F053ba9b9e3fa308ac4dfd1796cd84e09.jpg",[],{"id":60845,"slug":60846,"title":60847,"dynasty":54,"author":48145,"museum":20,"description":60848,"tags":60849,"thumbUrl":60850,"material":611,"size":60851,"collection":45,"collections":60852,"showCount":419,"zanCount":1998,"manualWeight":48,"mainColor":72},238976,"shan-shui-ce-ming-xie-ci-ce-wang-chen-238976","山水册－命写此册","在册的画幅都比较小，从作者题语也可知道，很大程度上不是为明确目标而作，只是闲暇时自己借之寓意寄兴，因此画面气氛淡雅怡然。",[24,7,59,128,29,1337,276,171,133,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac40e1e9fa3bbd3ca158697b4f33e39a.jpg","纵21厘米，横28.2厘米",[45],{"id":60854,"slug":60855,"title":60856,"dynasty":124,"author":223,"museum":300,"description":60857,"tags":60858,"thumbUrl":60859,"material":692,"size":1293,"collection":84,"collections":60860,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},238576,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238576","明人升平翊赞图并书赞册","此作为工笔重彩道释画，场面恢宏整饬。祥云舒卷间，诸天众神分列排布，主尊安坐祥云，神色肃穆端庄，扈从神兵甲胄鲜明、威仪赫赫，仙官礼拜恭谨，尽显仪典庄重。\n\n设色浓妍明丽，石青、石朱晕染出层叠云气与幡幢仪仗，色彩层次饱满和谐。衣纹线条劲挺流畅，勾勒出神祇身姿的庄严与灵动，甲胄飘带的细节刻画入微，分毫毕现。整体铺陈出雍容神圣的仙界仪制氛围，尽显道释工笔画精湛的表现力，兼具装饰美感与叙事性，将仙班仪仗的威严气象烘托尽致。",[24,7,59,27,28,96,772,29,34,101,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2522c56cdcfef6871ca555f42793908f.jpg",[],{"id":60862,"slug":60863,"title":4071,"dynasty":54,"author":29297,"museum":300,"description":55182,"tags":60864,"thumbUrl":60865,"material":692,"size":1293,"collection":84,"collections":60866,"showCount":419,"zanCount":1998,"manualWeight":48,"mainColor":72},238486,"hua-hui-tu-ce-jiang-pu-238486",[24,7,59,28,27,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b2e7601a5af594d2eb0210bf836a6e5.jpg",[],{"id":60868,"slug":60869,"title":4071,"dynasty":54,"author":2687,"museum":300,"description":3934,"tags":60870,"thumbUrl":60871,"material":692,"size":1293,"collection":84,"collections":60872,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},238480,"hua-hui-tu-ce-jiang-ting-xi-238480",[24,7,59,28,27,208,61,547,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98c8ff5cbb7ad38a712731e8f529cc15.jpg",[],{"id":60874,"slug":60875,"title":4071,"dynasty":54,"author":2687,"museum":300,"description":3934,"tags":60876,"thumbUrl":60877,"material":692,"size":1293,"collection":84,"collections":60878,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},238475,"hua-hui-tu-ce-jiang-ting-xi-238475",[24,7,59,27,28,375,61,208,481,62,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f196078632a4bc4585ee6ddf8532651.jpg",[],{"id":60880,"slug":60881,"title":4071,"dynasty":54,"author":2687,"museum":300,"description":3934,"tags":60882,"thumbUrl":60883,"material":692,"size":1293,"collection":84,"collections":60884,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},238473,"hua-hui-tu-ce-jiang-ting-xi-238473",[24,7,59,27,28,61,167,209,62,355,481,64,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38836dc76ab513b9c10859da15da0005.jpg",[],{"id":60886,"slug":60887,"title":29144,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":60888,"thumbUrl":60889,"material":692,"size":1293,"collection":84,"collections":60890,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},238355,"hua-hui-xiao-ce-dong-gao-238355",[24,7,59,27,28,61,62,547,747,582,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e347ed0d63a8fbe5f3317408121a67c.jpg",[],{"id":60892,"slug":60893,"title":76,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":60894,"thumbUrl":60895,"material":692,"size":1293,"collection":84,"collections":60896,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},238350,"hua-hui-ce-dong-gao-238350",[164,24,7,59,27,28,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec1c5eff8134c1fb58aea2e183b152b5.jpg",[],{"id":60898,"slug":60899,"title":13856,"dynasty":54,"author":1409,"museum":20,"description":13857,"tags":60900,"thumbUrl":60901,"material":13860,"size":13861,"collection":84,"collections":60902,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},238292,"yu-lan-shi-nv-qing-yu-tu-ce-yu-lan-238292",[164,24,7,59,28,27,96,166,997,1367,438,2709,62,2059,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb39c6b93343df97dee8c1f459ef89645.jpg",[],{"id":60904,"slug":60905,"title":60906,"dynasty":54,"author":47606,"museum":300,"description":60907,"tags":60908,"thumbUrl":60909,"material":84,"size":84,"collection":84,"collections":60910,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},238277,"hua-qia-xuan-yuan-tu-ce-huang-yue-238277","化洽翾蜎图册","黄钺（1750年9月5日-—1841年8月16日），字左田，又名左君，号壹斋、左庶子，安徽芜湖人，清朝大臣，历仕乾隆、嘉庆、道光三朝。是著名的教育家、画家、艺术评论家。\n黄钺师法韩愈、苏轼、黄庭坚三人。 [5] 著有《壹斋集》40卷，其中《奏御集》2卷，杂篇6卷，《萧、汤二老遗诗合编》1卷，《画品》1卷。工诗文、书画，所绘山水，有萧云从余韵，“久邀睿赏，与富阳首相。国称董（浩）黄（钺）二家”，宫内名画，多为其鉴定真伪。诗词有苏东坡风韵，年九十一岁失明，自号“盲左”仍吟诗作画，故乡风情，吟咏殆尽，所作《于湖竹枝词》66首，亦诗亦史，富有深厚乡情。宋子才有“太白脱靴”，“山谷返棹”两图，石刻在太平府尊经阁内。《志》谓“子才七世孙，元太平路经历景阳刻”。嘉庆十七年（1812），黄钺在作此图时也注为元景阳刻。后觉有误，自责捉笔：“承讹袭谬，未暇深考。顷友人拓赠二纸，始知其谬，愧赧无已，爰记以诗，以志吾荒陋焉”。虚怀若谷，难能可贵。\n道光五年（1825），黄钺76岁，请求归休。宣宗“温旨慰留”。次年，又申前请，获准荣归。道光二十一年六月三十日申时（即1841年8月16日15时至17时）在芜湖家中逝世，享年九十二岁。宣宗悼惜，追封为太子太保衔，入祀贤良祠，按尚书条例抚恤，谥号“勤敏”。命史馆立传，赐祭葬，树石碑，葬于当涂南褐山下。同年，奉旨入芜湖乡贤祠。 [3]\n清代乾隆、嘉庆、道光年间，当涂出了一位赫赫有名的内阁尚书、军机大臣。黄钺，字左田，号左君，又号壹斋、左盲，生于乾隆十五年（1750年），卒于道光二十一年（1841年）。因其一生敏而好学，著述甚多，又“执掌皖南北书院十载”，对当地文化、教育做出了重要贡献。\n乾隆三十八年（1773年）十月，年仅23岁的黄钺在太平府学政使院参加岁试。安徽提督学政朱筠阅其卷，以为“奇才异能”，称道不止。朱筠在离开当涂回京都时，特地将这位年轻人带入京城应试，虽未中试，但得以在《四库全书》馆做誉录工作，因之学识大进。乾隆五十三年（1788年），黄钺考中举人，五十五年中进士，授户部主事。当时权臣和坤主管户部，因二人意见相左，借故请假回家，协助安徽巡抚李世杰在芜湖赭山谪翠轩创建中江书院，招员授业。嘉庆四年（1799年），仁宗亲政，黄钺奉命进京加封为“懋勤殿行走”。嘉庆九年（1804年），提升为“赞善，入直南书房”。嘉庆十年，出任山西学政，又特旨任湖北、山东、顺天等地的乡试主考官，后又兼任山西、山东学政，准予密折奏事。嘉庆十五年（1810年），迁侍讲学士，十八年擢升内阁学士，十九年升任户部侍郎，不久，又调任礼部侍郎。嘉庆二十四年（1819年），升任礼部尚书，并“赐紫禁城骑马肩舆入直，加封太子少保衔”。次年，升会试主考官。道光元年（1821年），宣宗亲政，封其为军机大臣，不久，又调任户部尚书，参与大典事宜，从事“京察议叙”。道光三年，宣宗“赐宴玉澜堂”，并给功臣绘像，黄钺是当时朝廷15名老臣之一。道光五年，黄钺已75岁，请求归休，宣宗又“温旨慰留”。次年，又申前请，始获准归乡。黄钺在朝廷历时27年。\n黄钺一生为封建统治阶级“矢勤矢慎”，但他笔耕不辍，在学术上也很有造诣。著有《壹斋集》四十卷、《壹斋诗集》三十六卷、《韩诗增注正讹》十一卷、《萧汤二老遗诗合编》二卷、《奏御集》二卷，另有《画友录》、《泛浆录》、《游黄山记》、《两朝恩赉记》、《二十四画品》等著作。他善画山水花鸟，尤长画梅，初学王 ，晚学王原祁，与“四王”末流董邦达并称山水画家。他的画，笔墨苍厚，他的字，既有书卷气，也有台阁气。他的诗，别具一格，很有气势。曾作的《花卉图》、《端阳佳景图》、《高冈长松图》等，无论青绿山水和水墨山水都很有特色。\n黄钺在绘画艺术上经过多年的实践和探索，将自己积累的经验进行理论概括，撰成画学专著《二十四画品》一书。《二十四画品》是仿照唐司空图撰写的中国古代文集约名著《二十四诗品》的体例而写成的。书中运用四言韵语，把各种绘画艺术风格概括为：一气韵，二神妙，三高古，四苍润，五沉雄，六冲和，七淡远，八补拙，九超脱，十奇辟，十一纵横，十二淋漓，十三荒寒，十四清旷，十五性灵，十六圆浑，十七幽邃，十八明净，十九健拔，二十简洁，二十一精谨，二十二隽爽，二十三空灵，二十四韶秀。整部著作文词典雅，清丽可诵，表现了栩栩如生的艺术形象。\n黄钺对谢朓、李白、黄庭坚十分崇拜，曾多次游览青山和采石矶。他颂扬谢朓“谢公爱青山，结宇恣啸咏”；在《咏李翰林》诗中讴歌李白：“仙骨埋青山，草木发灵异。”到采石矶“高怀吊古”，“掩英雄之泪，吟供奉之诗”。在他作的《采石矶赋》一文中，除了历数在这里发生的许多惊天动地的事件和英雄人物外，还特地为李白而感叹，说：“白也不群，宗之潇洒，着宫锦而扬帆，共兰舟而持 。旁若无人，歌清四野，当此之时，何其壮也！”黄钺又诗云：“平轩遥瞰一湖开，闻说涪翁守郡来。当日到官才九日，未应便起读书台。”该诗也附注曰：“赭山有滴翠轩，相传为涪翁读书处。李之仪跋山谷二词：‘鲁直请无为、当涂，而得当涂，犹蹭蹬一年方到官，既到九日而罢，又数日乃去。’“\n道光十一年（1831年），长江发生水患，回到家乡的黄钺 积极倡兴赈济，带头捐献俸银千两。道光十三年，濒临江淮的州县又遭水灾，黄钺又“捐百金助赈”，以救乡民。次年，当涂、芜湖一带饥荒，米珠薪桂，人民生计困难，黄钺又与王泽、许耕余等发动有田富户及绅士14家，按田交谷600担，兴办“丰备义仓”12座，当义仓上梁即将落成时，黄钺以诗记其事道：“成城缘众志，图匮在年丰。”并在“丰备义仓”的旁边建立私塾，招收蒙童，普及地方教育事业。\n道光十六年，88岁已不能认字，但仍吟诗咏物，所作《于湖竹枝词》66首，亦诗亦史，深入浅出，富有深厚的爱乡之情。",[24,7,59,27,28,61,4279,50986,549,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ec5d2125b3f66079c8dc44268369a57.jpg",[],{"id":60912,"slug":60913,"title":60914,"dynasty":54,"author":36329,"museum":300,"description":60915,"tags":60916,"thumbUrl":60917,"material":84,"size":84,"collection":84,"collections":60918,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},238255,"zhu-an-tu-juan-zhang-ruo-ai-238255","竹鹌图卷","此作为水墨淡绘手卷，以坡岸幽竹铺陈清寂林皋之景。数只鹌鹑错落其间，或伫立坡头侧目远眺，或俯身啄饮，或于竹下理羽小憩，姿态灵动各异，野趣横生。\n作者以细劲清润的线条勾勒竹枝，竿挺叶疏，笔墨秀雅，淡墨晕染坡石草卉，层次柔和自然，将林泉间安闲静谧的氛围烘托尽致。整卷写实不失空灵，以极简的水墨语言勾勒出林下小景的幽谧生机，尽显文人画雅致平和的意趣，将郊野一隅的闲静氛围娓娓铺展开来。",[23,24,7,25,128,28,61,167,8140,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf659e2e91b3e9ae74f2197bf60b2bc0.jpg",[],{"id":60920,"slug":60921,"title":60922,"dynasty":54,"author":1740,"museum":300,"description":60923,"tags":60924,"thumbUrl":60928,"material":84,"size":84,"collection":84,"collections":60929,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},238215,"duan-yang-gu-shi-ce-zhi-xi-cai-si-xu-yang-238215","端阳故事册之系彩丝","青树环拥的雅致小院里，圆月窗恰似一方天然画框，框住了端阳时分的脉脉温情。长者正凝神为孩童臂间系上彩丝，衣袂褶皱轻缓舒展，案头粽果陈置妥帖，笔触细腻熨帖，将日常亲昵揉入节俗意趣。\n\n浅淡的设色晕染出初夏江南的温润，没有喧嚷，只余下静谧的亲昵，把驱邪纳福的古俗，化作寻常烟火里的温柔定格。整幅画以恬淡笔调铺陈，将旧时光里的端午暖意晕开，清雅柔润的笔触复刻出古人节俗里的细腻温情，淡而不寡，静中含暖，藏着中式传统里独有的含蓄浪漫。",[24,7,59,27,28,96,758,34,6640,247,60925,2824,60926,60927],"圆形门","彩丝","传统节日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe199907d720d98cd1598507dc1929ae9.jpg",[],{"id":60931,"slug":60932,"title":60933,"dynasty":54,"author":9529,"museum":300,"description":18220,"tags":60934,"thumbUrl":60935,"material":84,"size":84,"collection":136,"collections":60936,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},237883,"hua-yang-meng-zai-shi-yi-zhou-wang-hui-237883","画杨孟载诗意轴",[164,24,7,165,128,132,29,171,1337,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd198bc536ace8ae72b28621379a6632.jpg",[136],{"id":60938,"slug":60939,"title":18893,"dynasty":54,"author":4992,"museum":300,"description":18894,"tags":60940,"thumbUrl":60941,"material":84,"size":84,"collection":84,"collections":60942,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},237874,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237874",[24,7,128,132,2271,59,208,29,34,131,499,415,3427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fb48a113fab782bf8d9c30d4411519b.jpg",[],{"id":60944,"slug":60945,"title":13246,"dynasty":54,"author":2582,"museum":300,"description":2583,"tags":60946,"thumbUrl":60947,"material":692,"size":1293,"collection":84,"collections":60948,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},237792,"mu-dan-shan-wang-wu-237792",[24,7,1131,128,61,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99539fc6e121084a7b61b7d67133e98d.jpg",[],{"id":60950,"slug":60951,"title":60952,"dynasty":54,"author":6946,"museum":300,"description":34349,"tags":60953,"thumbUrl":60954,"material":84,"size":84,"collection":44,"collections":60955,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},237785,"zhu-jia-za-hua-ce-ding-guan-peng-237785","诸家杂画册",[24,7,59,27,128,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19080ac56cf57964b3491306ee5dcca1.jpg",[44],{"id":60957,"slug":60958,"title":60959,"dynasty":124,"author":16032,"museum":300,"description":35095,"tags":60960,"thumbUrl":60961,"material":84,"size":84,"collection":84,"collections":60962,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},237701,"shan-shui-hua-guo-ce-xiang-sheng-mo-237701","山水花果册",[24,7,164,59,27,61,2035,624,208,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a94074dcbcc49dab41206daeb716c85.jpg",[],{"id":60964,"slug":60965,"title":14818,"dynasty":54,"author":3718,"museum":300,"description":10500,"tags":60966,"thumbUrl":60967,"material":692,"size":1293,"collection":84,"collections":60968,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},237618,"hong-ren-shan-shui-ce-hong-ren-237618",[24,7,59,128,132,133,64,208,29,98,171,331,130,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cd3963f9cc3e8bb7f5738ddd57592de.jpg",[],{"id":60970,"slug":60971,"title":60972,"dynasty":54,"author":9529,"museum":300,"description":18220,"tags":60973,"thumbUrl":60974,"material":84,"size":84,"collection":68,"collections":60975,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},237578,"shu-lin-yuan-xiu-tu-zhou-wang-hui-237578","疏林远岫图轴",[24,7,165,128,132,29,5324,415,131,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf382cd81be335613edb73fdca9e2f4.jpg",[68],{"id":60977,"slug":60978,"title":60979,"dynasty":54,"author":55737,"museum":300,"description":60980,"tags":60981,"thumbUrl":60982,"material":84,"size":84,"collection":136,"collections":60983,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},237563,"jun-zi-ting-tu-zhou-wang-jiu-237563","君子亭图轴","王翚一派，学者每失之甜，玖善用枯笔，故无此病。又尝作修篁拳石小品，深得恽寿平疏峭之致。偶仿沈周古桧。笔力圆健可与竹岭（王三锡）之松称双绝。与王昱、王宸、王愫合称“小四王”。传世作品有乾隆三十二年(1767年)作《仿元人山水册》、四十九年(1784年)作《红树秋山图》扇页、四十二年(1777年)作《纫香环翠图》卷（现藏故宫博物院）；《苍石蒲草图》轴（现藏沈阳故宫博物院）。",[24,7,165,128,132,29,167,130,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f805e8367c8aed07d52484440dace8a.jpg",[136,318],{"id":60985,"slug":60986,"title":60987,"dynasty":54,"author":223,"museum":300,"description":60988,"tags":60989,"thumbUrl":60990,"material":692,"size":1293,"collection":44,"collections":60991,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},237251,"ming-chen-gu-shi-deng-xu-ti-song-ce-yi-ming-237251","名臣故事邓旭题颂册","右侧绘仪卫出行，人马错落排布，旗幡猎猎翻卷。武将着彩袍安坐鞍上，随行军士簇拥，仪仗鲜明严整，设色调和古雅，生动铺陈出戎阵煊赫声势，写实中带着装饰意趣。左侧行书题颂笔力苍劲俊逸，笔势辗转跌宕，诗文与绘作呼应，咏叹将帅戍边拓疆的功勋。\n整幅以书画合璧，绘事工写兼具，笔墨题咏相映，既以细腻笔触还原武臣仪仗的肃穆威严，又借题文寄寓褒扬之意，将纪事纪实与文人抒怀融于一处，尽显此类小品书画的雅致意蕴。",[24,7,59,27,28,96,101,11074,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49a3555d2ff0172d17e1a4b781e26e22.jpg",[44,45],{"id":60993,"slug":60994,"title":409,"dynasty":54,"author":36816,"museum":20,"description":41606,"tags":60995,"thumbUrl":60996,"material":734,"size":84,"collection":84,"collections":60997,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},237192,"shan-shui-ce-sun-yi-237192",[24,7,59,27,132,29,34,131,3387,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd982c07f251c1c753b85053dfc6e0561.jpg",[],{"id":60999,"slug":61000,"title":61001,"dynasty":124,"author":45556,"museum":300,"description":61002,"tags":61003,"thumbUrl":61004,"material":692,"size":1293,"collection":84,"collections":61005,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},237147,"jiao-shi-luo-han-xiang-zhou-fang-wei-yi-237147","蕉石罗汉像轴","方维仪（1585—1668），字仲贤，安徽桐城人（今桐城市区凤仪里人）。明末著名女诗人、画家，所作有《清芬阁集》， 又辑历代妇女作品为《宫闺诗史》。其绘画师法宋代李公麟，尤擅长绘释道人物。特别是白描《观音大士图》形神兼备，许多人争相收藏。",[24,7,165,188,128,187,96,875,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd44d435139ab21d8ba948030582f85a3.jpg",[],{"id":61007,"slug":61008,"title":409,"dynasty":54,"author":5879,"museum":12686,"description":54026,"tags":61009,"thumbUrl":61010,"material":84,"size":84,"collection":136,"collections":61011,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},236734,"shan-shui-ce-hua-yan-236734",[24,7,59,128,64,133,331,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c1719b75934f6039e6de57868773959.jpg",[136],{"id":61013,"slug":61014,"title":40707,"dynasty":124,"author":33462,"museum":300,"description":34341,"tags":61015,"thumbUrl":61016,"material":692,"size":1293,"collection":84,"collections":61017,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},236675,"shan-shui-shan-song-xu-236675",[1131,24,7,164,128,132,29,130,413,131,99,129,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba22b3a71b4c6c07ffcf56d6d73b8ea7.jpg",[],{"id":61019,"slug":61020,"title":4229,"dynasty":54,"author":5879,"museum":12686,"description":49590,"tags":61021,"thumbUrl":61022,"material":84,"size":16301,"collection":84,"collections":61023,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},236623,"hua-niao-ce-hua-yan-236623",[24,7,59,128,27,369,61,355,624,2037,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F396df2187b2f4f5d57892b6178d4f4c2.jpg",[],{"id":61025,"slug":61026,"title":4229,"dynasty":54,"author":5879,"museum":12686,"description":49590,"tags":61027,"thumbUrl":61028,"material":84,"size":16301,"collection":84,"collections":61029,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},236622,"hua-niao-ce-hua-yan-236622",[24,7,59,27,61,208,355,547,2690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4abb83ed74cb87d6d66133359b6f7e6e.jpg",[],{"id":61031,"slug":61032,"title":4229,"dynasty":54,"author":4823,"museum":300,"description":4824,"tags":61033,"thumbUrl":61034,"material":84,"size":20,"collection":84,"collections":61035,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},236610,"hua-niao-ce-ma-yuan-yu-236610",[24,7,59,128,61,547,747,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc63ceef61be75d044d6fd66cee9e6cd.jpg",[],{"id":61037,"slug":61038,"title":61039,"dynasty":54,"author":6957,"museum":300,"description":20073,"tags":61040,"thumbUrl":61041,"material":692,"size":1293,"collection":84,"collections":61042,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},236472,"mei-zhu-you-qin-shan-ren-xun-236472","梅竹幽禽扇",[24,7,1131,27,61,371,167,355,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F096af5dea5bdf2d74d283294105510ea.jpg",[],{"id":61044,"slug":61045,"title":38253,"dynasty":54,"author":10177,"museum":20,"description":10178,"tags":61046,"thumbUrl":61047,"material":40,"size":10181,"collection":84,"collections":61048,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},236131,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236131",[164,24,7,28,27,95,96,97,171,4363,1200,249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2478e28c3fee0f24f940a85decdfb756.jpg",[],{"id":61050,"slug":61051,"title":4071,"dynasty":54,"author":5879,"museum":300,"description":59277,"tags":61052,"thumbUrl":61053,"material":692,"size":1293,"collection":84,"collections":61054,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},236012,"hua-hui-tu-ce-hua-yan-236012",[24,7,59,27,61,62,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf3570e5f307148b97be39a59fefcdd0.jpg",[],{"id":61056,"slug":61057,"title":4071,"dynasty":54,"author":5879,"museum":300,"description":61058,"tags":61059,"thumbUrl":61060,"material":84,"size":84,"collection":84,"collections":61061,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},236009,"hua-hui-tu-ce-hua-yan-236009","此作绘水滨水仙与墨竹，花瓣以淡白晕染，勾勒出清润娇柔之态，修长青叶以中锋写出，挺秀舒展，间伴数枝墨竹，枝叶萧疏清劲。水墨点染坡岸苔石，淡赭晕出水滩，虚实相生，衬出水畔清寂幽洁之境。右侧题字配朱印，融诗书画印为一体。\n\n笔法秀逸灵动，设色淡雅明净，尽显水仙与竹的君子姿容，简淡中透着生机，将双清相伴的幽逸意境淋漓展现，尽显文人画独有的清雅风骨，是写意花鸟的雅致佳作。",[24,7,59,27,128,61,374,167,171,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff181efb7f1cd28fdf14b74d85a75f345.jpg",[],{"id":61063,"slug":61064,"title":61065,"dynasty":124,"author":41661,"museum":300,"description":61066,"tags":61067,"thumbUrl":61068,"material":84,"size":84,"collection":84,"collections":61069,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},235995,"shui-xian-zhu-shi-tu-zhou-wang-gu-xiang-235995","水仙竹石图轴","此作用笔清隽秀雅，淡墨晕染湖石，嶙峋苍古自带枯寂沉静之态。白描勾勒水仙，叶片舒展清劲，花姿娟秀恍若月下凌波，自带出尘之姿。萧疏细竹点缀石畔，更添幽清淡雅之意。\n\n右上角题诗托物寄兴，将水仙拟作不染俗尘的江上月中佳人，书画合璧尽显文人画的抒情写意之趣。全幅墨色柔润层次分明，无浓丽之色，以极简笔墨营造出幽绝尘寰的林下清境，尽显文人士大夫追慕清雅的精神风骨。",[24,7,165,128,27,374,167,1314,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffad6b9f1288957748a2246dcc63d1667.jpg",[],{"id":61071,"slug":61072,"title":76,"dynasty":54,"author":36579,"museum":300,"description":36580,"tags":61073,"thumbUrl":61074,"material":692,"size":1293,"collection":84,"collections":61075,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},235718,"hua-hui-ce-zou-xian-ji-235718",[24,7,59,27,28,61,62,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8860aefc642c3de6c8968d41796a20e7.jpg",[],{"id":61077,"slug":61078,"title":4071,"dynasty":54,"author":1472,"museum":300,"description":19162,"tags":61079,"thumbUrl":61080,"material":692,"size":1293,"collection":84,"collections":61081,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},235699,"hua-hui-tu-ce-zou-yi-gui-235699",[24,7,59,27,28,167,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c38da395f27004b545fccb25128d3be.jpg",[],{"id":61083,"slug":61084,"title":61085,"dynasty":124,"author":61086,"museum":300,"description":61087,"tags":61088,"thumbUrl":61089,"material":84,"size":84,"collection":84,"collections":61090,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},235695,"qiu-shu-shuang-ying-tu-zhou-yang-da-lin-235695","秋树双鹰图轴","杨大临","画面中虬曲苍劲的枯梅老干盘绕，枝头缀着细碎寒花，双鹰静卧崖木之上，翎毛刻画精微细腻，神态冷峻孤傲，尽显猛禽沉凝雄姿。下方崖壁间幽竹舒展、细草依附，飞瀑隐于山石间，一只小雀振翅穿掠，于静谧中添灵动生机。\n\n整体以水墨为骨，淡色轻染晕出萧索秋意，树石皴擦老辣苍劲，禽鸟写实兼具写意，将雄鹰的孤傲威猛与荒寒秋景相融，烘托出沉穆清旷的幽远意境，尽显花鸟画工写结合的别致意趣。",[24,7,165,128,27,28,3141,331,167,131,211,61,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89756251ff5da4b2dd8e9ec09061b2f2.jpg",[],{"id":61092,"slug":61093,"title":61094,"dynasty":54,"author":41362,"museum":300,"description":61095,"tags":61096,"thumbUrl":61097,"material":84,"size":84,"collection":84,"collections":61098,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},235682,"fang-yuan-ren-xiao-jing-zhou-da-chong-guang-235682","仿元人小景轴","此展品为清代的书画，描绘奇峰飞泉，寒林亭舍，一高士立于桥上悠然观瀑。\n整幅以渴笔淡墨皴擦，布局高远，雅致有元人笔意。\n现收藏于 。\n此图为167年王翚为笪重光所作。\n描绘奇峰飞泉，寒林亭舍，一高士立于桥上悠然观瀑。\n整幅以渴笔淡墨皴擦，布局高远，雅致有元人笔意。\n题跋：“石谷为予作此图，自云深得元人笔意，未可与不知者道。\n时心契其旨而藏之七载于兹矣。\n彦标爱画同余，慕王生有年。\n以□持赠，一如在□子阁中，非明珠之漫投也。\n庚申夏四月毘陵舟中题。\n种菽翁笪在辛” 钤印：朱文“重光”、“江上外史”印。\n王翚（162-1717年）字石谷，号耕烟散人、剑门樵客、乌目山人等。\n江苏常熟人。\n工山水，为清初四王之一。\n有清初画圣之称。\n其宗学者形成“虞山派”。",[24,7,165,128,133,208,29,413,98,35,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5b500ccd1e7724fc2219bd60bdb65f9.jpg",[],{"id":61100,"slug":61101,"title":61102,"dynasty":54,"author":14080,"museum":300,"description":61103,"tags":61104,"thumbUrl":61105,"material":84,"size":84,"collection":84,"collections":61106,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},235668,"shan-shui-ping-ping-wei-yan-xue-yuan-yao-235668","山水屏-平囗艳雪","此作画境清灵雅致，雪意未消的春山间，胭红梅花生于嶙峋崖石之上，冷艳交融。画面以高远构局，层崖叠嶂间坐落两座亭台，临渊而立，将山居雅趣藏于空濛云雾中。下方板桥横跨浅溪，三两行人缓行，为幽寂山景添入烟火暖意。\n设色轻和柔润，山石以淡青晕染出积雪清寒，红梅胭红点染，冷暖相映愈显雅致。亭台勾勒工整流丽，山石皴擦兼具苍劲质感，留白的云雾拓展出山水空阔意境，将残雪初融、春信悄临的清隽诗意尽显，仿若可闻山风轻拂梅枝，静享林泉幽居的恬淡意趣。",[164,24,7,27,95,29,130,98,96,371,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85bb8508f0aa0b2c49b34293c6b24f3e.jpg",[],{"id":61108,"slug":61109,"title":61110,"dynasty":54,"author":16583,"museum":300,"description":61111,"tags":61112,"thumbUrl":61113,"material":84,"size":84,"collection":84,"collections":61114,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},235650,"dao-sui-tang-lang-zhou-gao-qi-pei-235650","稻穗螳螂轴","《稻穗螳螂图》是清代画家 创作的纸本水墨指画，现藏于 。\n此图是描绘仲秋稻谷成熟时期的一角情景。\n画绘左侧下端有一棵截取的稻秆，向画面右上方伸展，稻叶疏密有致，相互交错，在秋风吹拂下摆动，而沉甸的稻穗将稻朴压弯，呈低沉状态。\n唯独有一只螳螂于稻叶之上，举目侧望，昂首挺胸，似欲作捕捉状，悠然自得，为整个画面增添了生气。\n此画布局方面，所画的景物都集中在画面中下端，上端却空旷一片，仅在左上角有款题。\n此画构图十分简洁，浓淡干湿墨色随意点染，飞动不露笔痕的粗细线条，将一螳螂的神形，表现得十分出色。\n故此幅画为他小品指画中的代表作之一。\n高其佩（166或1672—174年），字韦之，号且园，辽宁铁岭人，隶汉军镶黄旗，官至刑部侍郎。\n他擅长指画，即用手掌、手指和指甲勾划线条，并佐以毛笔。\n所绘人物、山水、花卉栩栩如生，丰富了中国画的表现技法，在清代画坛以指画独树一帜。\n清雍正年间曾宫中作画。",[24,7,165,27,61,36646,2644,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F372b120f258fb1d4c1366bb580f66867.jpg",[],{"id":61116,"slug":61117,"title":14818,"dynasty":54,"author":3718,"museum":300,"description":10500,"tags":61118,"thumbUrl":61120,"material":692,"size":1293,"collection":84,"collections":61121,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},235615,"hong-ren-shan-shui-ce-hong-ren-235615",[164,24,7,4437,14727,9481,132,29,129,4363,130,6810,96,455,415,5801,61119,8538],"小舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c3182d660d161fc9f0b2b958a356bc8.jpg",[],{"id":61123,"slug":61124,"title":14818,"dynasty":54,"author":3718,"museum":300,"description":10500,"tags":61125,"thumbUrl":61126,"material":692,"size":1293,"collection":84,"collections":61127,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},235612,"hong-ren-shan-shui-ce-hong-ren-235612",[24,7,128,132,29,133,64,30,34,35,149,131,9717],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48b314950d8ff3a520a30e7311eeaa3f.jpg",[],{"id":61129,"slug":61130,"title":5172,"dynasty":124,"author":25869,"museum":300,"description":61131,"tags":61132,"thumbUrl":61133,"material":84,"size":84,"collection":84,"collections":61134,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},235604,"mei-hua-zhou-wang-qi-235604","此作以枯淡笔墨绘老梅，主干嶙峋斑驳，皴擦出饱经风霜的古拙质感，枝桠虬曲伸展，错落点缀素梅，清疏淡雅，将寒梅孤高凌冽的风骨尽显。\n\n画面留白肆意，配多幅题诗，书画合璧，以文心衬花魂，把文人寄寓梅中的淡泊狷介缓缓铺陈开来。淡墨写意间不见艳色，却尽是岁寒君子的清雅意韵，简笔藏深情，清冷雅致的梅之精神跃然纸上。",[24,7,165,128,371,331,547,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9267d35915a6580275edec3babb3d516.jpg",[],{"id":61136,"slug":61137,"title":76,"dynasty":54,"author":2582,"museum":300,"description":2583,"tags":61138,"thumbUrl":61139,"material":692,"size":1293,"collection":84,"collections":61140,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},235600,"hua-hui-ce-wang-wu-235600",[24,7,59,27,61,133,208,171,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ecafdea033fb2dd3906ac6c25436dac.jpg",[],{"id":61142,"slug":61143,"title":20324,"dynasty":124,"author":223,"museum":300,"description":61144,"tags":61145,"thumbUrl":61146,"material":692,"size":1293,"collection":84,"collections":61147,"showCount":419,"zanCount":1998,"manualWeight":48,"mainColor":72},235586,"wen-chu-hua-hui-ce-yi-ming-235586","此作用泥金笺为底，淡彩绘就幽兰。兰叶以浅墨绿写形，舒展挺秀，带着清逸疏朗之态；粉茎托着青白色兰花，花瓣晕染柔润，瓣心轻敷白晕，将盛放之姿的娇妍与花苞的含露待放绘得灵动自然。\n\n画面留白疏阔，以极简笔墨勾勒出兰的清隽风骨，尽显君子雅韵，无需繁饰便将幽兰的高洁藏于淡色晕染间。右下角朱印落得妥帖，添了一抹明艳点缀，衬得整幅画作幽淡空灵，气韵悠然，观之如临空谷，暗嗅兰芷清芬。",[24,7,59,27,28,61,375,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf759215efc4b4451abec55014b8d822.jpg",[],{"id":61149,"slug":61150,"title":39506,"dynasty":124,"author":23728,"museum":300,"description":61151,"tags":61152,"thumbUrl":61153,"material":84,"size":84,"collection":84,"collections":61154,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},235563,"shou-xing-zhou-guo-xu-235563","这幅作品以淡墨晕染出悠然古雅的氛围。寿星宽袍博带，慈眉善目，笑意隐在松缓的面纹里，尽显长者温厚。仙鹿俯首亲昵依偎，憨态可掬，肩头捧桃童子悄然探身，暗合添寿吉意。\n\n衣纹以铁线描勾勒，笔力劲挺却不失柔婉，简练洒脱地勾勒出织物垂坠质感，虚实留白疏密相宜，淡墨铺陈衬出素雅古拙。题跋行书疏朗，笔意清逸，书画相映相融，不见祝寿俗套，将长生寄寓在日常悠然图景里，兼具笔墨意趣与吉祥寓意，是明代人物画中冲淡平和的文人意趣佳作。",[124,24,7,165,188,128,96,949,2302,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe21837e52af718d4a19316650be5928.jpg",[],{"id":61156,"slug":61157,"title":10613,"dynasty":54,"author":1460,"museum":300,"description":61158,"tags":61159,"thumbUrl":61160,"material":84,"size":84,"collection":84,"collections":61161,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},235520,"yuan-ji-shan-shui-tu-ce-shi-tao-235520","淡墨皴擦出层叠山峦，带着苍莽野逸之气，蜿蜒山道串起深谷山居，晕开雨后初霁的湿润空濛。前景林木错落，虬曲枝干间点叶疏密有致，将江南山野的幽寂鲜活铺展。\n\n右上角题诗与画面呼应，诗画交融，暗合山乡行路的澹然况味。笔意纵恣却不失秀润，干湿墨色互用，让山石肌理灵动自然，全无刻硬之感，尽显山水清灵雅致。将天地间静穆生机凝于尺幅，随性旷达的文人意趣藏在每一处笔墨里，是意韵悠长的山水佳构。",[24,7,128,132,59,369,29,663,413,690,131,23873,496,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d5c6622bc1fcd2c25c587e7049d8fce.jpg",[],{"id":61163,"slug":61164,"title":10613,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":61165,"thumbUrl":61166,"material":692,"size":1293,"collection":84,"collections":61167,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},235517,"yuan-ji-shan-shui-tu-ce-shi-tao-235517",[24,7,59,128,132,29,131,34,98,99,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F539be3c07015b163b46cd40a7d09dfe6.jpg",[],{"id":61169,"slug":61170,"title":409,"dynasty":54,"author":23132,"museum":300,"description":61171,"tags":61172,"thumbUrl":61173,"material":692,"size":1293,"collection":136,"collections":61174,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},235493,"shan-shui-ce-liu-yu-235493","柳堉. 工诗、画，书法李邕，山水遒逸苍茫，最得董、巨遗法。惟水口流泉，不能自然，有霸悍之态。康熙二十八年（一六八九）曾为宋牧仲（荦）写唐诗山水十二页。",[24,7,59,128,133,132,29,131,34,415,3857,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa05b75d5f6faa72eac52e45f77c8da0a.jpg",[136],{"id":61176,"slug":61177,"title":4071,"dynasty":54,"author":14273,"museum":300,"description":45611,"tags":61178,"thumbUrl":61179,"material":692,"size":1293,"collection":84,"collections":61180,"showCount":419,"zanCount":1998,"manualWeight":48,"mainColor":72},235465,"hua-hui-tu-ce-fan-ting-zhen-235465",[23,24,7,59,28,27,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd10c3379fd88ffd87e24315cd2729ea4.jpg",[],{"id":61182,"slug":61183,"title":61184,"dynasty":124,"author":223,"museum":300,"description":61185,"tags":61186,"thumbUrl":61191,"material":84,"size":84,"collection":84,"collections":61192,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},235298,"sun-ai-can-sang-tu-zhou-yi-ming-235298","孙艾蚕桑图轴","以没骨法晕染桑枝，叶片水色清浅柔润，晕透出自然通透的质感，枝桠苍朴舒展，带着山野原生的意趣。桑蚕伏于叶间，身形稚拙灵动，纤毫毕现，将春蚕食叶的日常情态刻画入微。\n画面留白疏朗，搭配清雅题诗，诗画相融，把江南蚕桑的寻常乡景，晕染出文人小品的澹然意趣。笔致简淡无华，却于浅墨轻色之间，将乡野恬然生机尽数铺陈，尽显写生佳作的冲淡幽远之美。",[24,7,165,27,28,61187,61188,61189,61190,64,208],"桑枝","桑叶","桑葚","蚕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F983d4718bb25737f461472c2e21417fd.jpg",[],{"id":61194,"slug":61195,"title":61196,"dynasty":124,"author":223,"museum":300,"description":61197,"tags":61198,"thumbUrl":61199,"material":692,"size":1293,"collection":84,"collections":61200,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},235206,"wang-gu-xiang-zhu-lan-tu-shan-ye-yi-ming-235206","王穀祥竹兰图扇页","泥金笺底古雅沉静，以铁线白描写幽兰与棘枝。幽兰叶条舒展清劲，花瓣柔婉含露，寥寥笔意尽显空谷芝兰的疏澹气韵。棘枝瘦硬嶙峋，枯涩的线条与兰花柔润形成刚柔对照，暗合君子风霜里自持清雅的意趣。\n\n题款小字清雅隽秀，朱印点染泥金底色，古意愈浓。整幅笔致简净，不施丹青，纯以线条出神韵，将文人托物言志的意涵藏于极简笔墨间，淡而有味，简而意足，尽显文人小品画的清雅格调。",[164,24,7,1131,188,128,375,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba4d419803bceabe6b26f2daceee8814.jpg",[],{"id":61202,"slug":61203,"title":59324,"dynasty":54,"author":9704,"museum":20,"description":59325,"tags":61204,"thumbUrl":61205,"material":10347,"size":59328,"collection":84,"collections":61206,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},234965,"wu-wai-tian-yuan-tu-ce-kun-can-234965",[24,7,164,59,128,132,64,208,29,171,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feab7e989e6b953554dabccfa86cb3c35.jpg",[],{"id":61208,"slug":61209,"title":11926,"dynasty":124,"author":223,"museum":300,"description":61210,"tags":61211,"thumbUrl":61212,"material":692,"size":1293,"collection":84,"collections":61213,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},234927,"dong-qi-chang-shan-shui-ce-yi-ming-234927","此作用笔清润松灵，近景古木虬曲苍劲，枝桠舒展自带古拙意趣，坡岸留白晕开浅淡水汽，衬得林下村居愈发幽寂安闲。中远景山峦层叠，以淡墨轻勾慢皴，山石轮廓秀逸温润，将江南丘壑的清润质感藏于简淡笔墨之中。画面留白与钤印错落相映，晕开雅致沉静的书卷气，以尺幅之地铺陈出萧散淡远的林下闲居之境，尽显平淡天真的文人意趣，观之如临幽寂山林，静享山居清宁。",[164,24,7,59,128,132,29,663,413,35,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F409ff81a6d88494802fde213820a8874.jpg",[],{"id":61215,"slug":61216,"title":57477,"dynasty":124,"author":18090,"museum":300,"description":18911,"tags":61217,"thumbUrl":61218,"material":692,"size":1293,"collection":84,"collections":61219,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},234831,"fang-huang-gong-wang-shan-shui-shan-ye-lan-ying-234831",[24,7,1131,29,330,132,128,131,34,35,98,1645,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8a581639319e81fff2d3745b315c142.jpg",[],{"id":61221,"slug":61222,"title":61223,"dynasty":124,"author":18045,"museum":300,"description":61224,"tags":61225,"thumbUrl":61226,"material":84,"size":84,"collection":84,"collections":61227,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},234804,"qian-gu-shan-shui-dan-ye-qian-gu-234804","钱穀山水单页","钱穀（1508—1578），字叔宝，号罄室、句吴逸民，自号罄室子，长洲（今江苏苏州）人，吴越国王族钱氏的后人。少孤贫，迨壮始知读书，游文太史徵明门下，研习画法。画名甚著，且书、诗、文俱精妙。\n现藏于苏州博物馆的钱穀《摹吴镇、倪云林山水》卷为纸本水墨，纵31.5厘米、横148.5厘米，题款“钱穀”，钤“叔宝”白文方印。此作为我们观察、研究钱穀的仿古绘画面貌提供了资料。\n钱穀所处时代的吴中，形成了一个以文徵明为核心的精英文化圈。而成为文徵明的弟子，即意味着他进入了这个核心圈，共享圈内的资源。与诸多文徵明的弟子一样，他长期为老师代笔。这表明，钱穀的画风在很长时间内与文徵明的画风相当接近。除了替师捉刀之外，他也十分注重自己的个人创作。清代徐沁在《明画录》中评价钱穀“作山水不名其师学，而自腾踔于梅花、一峰、石田间，爽朗可爱”。从中可以看出，钱穀已意识到创作不应拘泥于文氏风格。他后期的绘画转师沈周及“元四家”，即是一种应变的策略。《摹吴镇、倪云林山水》卷便是他求变的产物。\n摹写前人的作品，注重从前人的画法中吸取营养，是画家自我提升的一个重要法门。吴门绘画特别推崇元人的笔墨。因此，钱穀追摹吴镇、倪瓒作品的举动也是不难理解的事情。在吴中的文化圈中，“元四家”的作品备受青睐、流传颇多，钱穀想要观赏这些作品自然也不是难事。因此在临仿元人绘画时，可供他选择的画作应是比较丰富的。在《摹吴镇、倪云林山水》卷中，他采用的并不是常见的不与原作相似、带有强烈个人印记的“神会”模仿，而是较为忠实地学习元代画家的风格特征，隐去了自己的笔法痕迹。不过，他的摹写并不是对某一画作的如实临摹，而是将不同画作的绘画元素转摹组合到同一个画面之中。",[24,7,128,132,59,29,130,34,131,35,499,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a8fd14004e15d9a8836dc084f6eacaa.jpg",[],{"id":61229,"slug":61230,"title":33103,"dynasty":54,"author":9529,"museum":300,"description":39863,"tags":61231,"thumbUrl":61232,"material":1027,"size":39866,"collection":84,"collections":61233,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},234717,"fang-gu-shan-shui-ce-wang-hui-234717",[24,7,59,128,132,330,29,331,130,167,415,7596,131,414,1009,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91ed578ee3d10a4c1ccad6c5f78d6b63.jpg",[],{"id":61235,"slug":61236,"title":40707,"dynasty":124,"author":55685,"museum":300,"description":61237,"tags":61238,"thumbUrl":61239,"material":84,"size":84,"collection":84,"collections":61240,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},234486,"shan-shui-shan-wei-zhi-huang-234486","魏之璜（1568～1647），明代画家。字叔考，上元（今南京）人。能书善画，以卖画为生。书师法《黄庭经》，结构严密，神采流丽。山水宗宋人，不袭粉本，岩壑树石多变化，别具风格。亦擅花卉及佛像。",[1131,24,7,128,27,132,29,34,131,97,35,1023,16370,497,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F689fbbc66d94f153ceabb94254d50706.jpg",[],{"id":61242,"slug":61243,"title":61244,"dynasty":54,"author":51146,"museum":20,"description":51147,"tags":61245,"thumbUrl":61248,"material":84,"size":84,"collection":84,"collections":61249,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},234465,"cui-zhu-gu-ting-tie-luo-shen-zhen-lin-234465","翠竹孤亭贴落",[24,7,61246,128,27,58711,61247,208,64,171,369,28],"贴落","孤亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4daea092fc768f069f69a9adf8b4ae48.jpg",[],{"id":61251,"slug":61252,"title":61253,"dynasty":54,"author":223,"museum":300,"description":61254,"tags":61255,"thumbUrl":61256,"material":84,"size":84,"collection":84,"collections":61257,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},234378,"nu-er-ha-chi-chao-fu-xiang-zhou-yi-ming-234378","努尔哈赤朝服像轴","爱新觉罗·努尔哈赤（1559年—1626年9月30日），女真族，建州女真首领、后金第一位大汗、清朝实际奠基者。生于建州左卫（今辽宁新宾县西南），父塔克世，母喜塔喇氏，努尔哈赤为长子。\n明万历十一年（1583年），被明廷任命为建州左卫都指挥使。同年，以祖、父遗甲十三副起兵，对建州女真各部展开了兼并战争，统一了建州各部。明万历十七年（1589年），受封为都督佥事、龙虎将军。其后，经过二十余年征伐，统一了松花江流域和长白山以北的诸部女真。为适应当时政治、经济需要，建立八旗制度。设议政王大臣，与八旗旗主共议朝政。创制满文。随着军事力量的日益强大，万历四十四年（1616年），于赫图阿拉建立“大金”（后金），自立为汗，建元天命。天命三年（1618年）起兵反明。在萨尔浒之战中，采取集中兵力、各个击破的作战原则，大败明军，势力进入辽河流域。在相继攻克沈阳、辽阳和辽河以东七十余城后，于天命六年（1621年）迁都辽阳。天命十年（1625年）迁都沈阳，占领了辽东大部地区。\n天命十一年（1626年），挥军进攻宁远（今辽宁兴城）。袁崇焕誓守孤城。努尔哈赤劝降不果，命奋力攻城。激战中，努尔哈赤被明军炮火击伤。在撤围败退沈阳途中，患痛疽病死于叆鸡堡，年68岁。卒后初谥承天广运圣德神功肇纪立极仁孝武皇帝，后累次加谥为承天广运圣德神功肇纪立极仁孝睿武端毅钦安弘文定业高皇帝。庙号太祖。葬沈阳福陵。",[24,7,165,28,27,96,170,12564],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdfc6dbe0298db1e9b8154acab15cb88.jpg",[],{"id":61259,"slug":61260,"title":409,"dynasty":54,"author":2894,"museum":300,"description":61261,"tags":61262,"thumbUrl":61263,"material":84,"size":84,"collection":136,"collections":61264,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},234334,"shan-shui-ce-jin-ting-biao-234334","金廷标，清代，字士揆，乌程(今浙江湖州)人，一作桐乡人，为当地望族。画家金鸿(字耕山)子，生卒年不详。继承父艺，工画人物、山水、写真、花卉，界画亦精致。尤擅白描，设色淡逸明洁，用线刚劲，转折处锋芒毕露，无不劲健。衣纹提按长描连绵不断，眉目传神。乾隆二十五年(1760)弘历南巡，其进呈白描罗汉》册称旨，得入内廷供奉。所画不以工致取胜，而以机趣为尚。入值数载，卒于京寓。其卒后，所作皆得高宗题咏，并命装裱收藏，此举可见这位内廷供奉画家受乾隆之器重程度。\n金廷标（ -1767）字士撰。乌程（今浙江吴兴）人，其父金鸿亦为小有名声的画家，廷标能绍父艺，擅画白描人物，亦善写真（肖像），兼能花卉、山水、乾隆二十二年（1757），乾隆帝第二次南巡时，金廷标进献《白描罗汉图》，得乾隆“称旨”，遂得以入宫供职，成为当时的一名宫廷画家。\n金廷标所作画，极得乾隆欣赏，御题诗句甚多，赞美之意溢于言表，如题其《放鹤图》云：“是谓善写照，传神在阿堵。”题其《江村图》云：”七情写毕皆得神，顾陆以后今几人。”又在他《临唐寅琵琶行图》后如此题道：“内府藏弆唐寅画琵琶行于江边扁舟直写一女抱琵琶，廷标此图不画琵琶女，而画居易等属耳之情，便觉高出其上。此与宋人画‘踏花归去马蹄香’以数蝶随骑意同。向未题句，兹偶见之，因拈其妙，然画院中能作如此解者实少也。”对金廷标能高出当时的宫廷画家，给予肯定。\n金廷标死后，乾隆在翻阅他的画作时又一再叹息，有诗这样写道：“去年命写寻常事，今日谁知珍惜加。”“足称世画无双画，可惜斯人作古人。”对金廷标的去世，表示无限的惋惜。一个自命“古稀天子”的帝王，能对一名宫廷画师如此的眷顾，极为难能，于此亦可见金廷标画艺的超群。\n清代未见有“书院”之称，（文献记载仅见“书院处”一词），更不像宋代书画院中设有具体的“待诏”、“艺学”等明确的官职。清代宫廷中供职的画家，一般情况均需有人举荐，有的还需要经过考核。文献记述金廷标只是自己进献作品以自荐，即得乾隆帝的“称旨”，可见他的画艺不凡。从本文介绍的这件作品来看，他也可以称得是当时画院中具有代表性的人物画家。\n传世作品有《拜石图》，图录于《故宫书画集》；《碧桃图》《孟母移居图》《枫林晚坐图》《萱花寿石图》册页图录于《中国历代名画集》；《高贤遇隐图》轴图录于《中国绘画史图录》下册；《春元瑞兆图》轴藏日本大阪市立美术馆；乾隆二十六年(1761)作《观音大士像》轴现藏沈阳故宫博物院；《婕妤挡熊图》轴、《瞎子说唱图》轴、《罗汉图》轴、《莲塘纳凉图》轴等藏故宫博物院。",[304,24,7,59,128,27,29,129,96,101,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93d5cfaaa35db34dd3fc8041a6cf3523.jpg",[136,45],{"id":61266,"slug":61267,"title":36612,"dynasty":54,"author":61268,"museum":300,"description":61269,"tags":61270,"thumbUrl":61271,"material":734,"size":84,"collection":84,"collections":61272,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},234256,"shan-shui-juan-li-shao-ji-234256","李绍箕","李绍箕（1550～1631后）明代画家、诗人。字懋承。华亭（今上海松江）人。其祖父李日章，官按察副使。绍箕少承家学，长于诗文，以太学生官南京鸿胪寺序班，后官江西都昌主簿。擅画山水，师岳父顾正谊，能师承其画风，并因任职南昌，多涉历山川胜景，画艺益进，晚年运笔苍劲，年八十有余尚挥洒不倦。",[23,24,7,25,128,132,64,133,29,496,34,1144,35,12424,31,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a1d2d7087f5607236ef25610e823c52.jpg",[],{"id":61274,"slug":61275,"title":61276,"dynasty":124,"author":38263,"museum":20,"description":61277,"tags":61278,"thumbUrl":61279,"material":1027,"size":84,"collection":84,"collections":61280,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},234230,"san-cai-li-qu-tu-juan-zhang-fu-yang-234230","三才理趣图卷","张复阳(1403-1490)，名复，以字行，号南山，浙江平湖人。道士，居浙江洞霄宫一枝堂。自幼学书专法古人，能运帚作大字。径寸字极有风骨，小行楷秀整不凡。工画，山水仿吴镇，苍郁淋漓，几欲乱真；草树人物，各臻其妙。",[23,24,7,25,128,29,96,1144,171,37,133,64,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d0330ddca90d3c56a5f65f60f97e1f.jpg",[],{"id":61282,"slug":61283,"title":61284,"dynasty":124,"author":223,"museum":20,"description":61285,"tags":61286,"thumbUrl":61287,"material":84,"size":84,"collection":84,"collections":61288,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},234211,"yue-dai-xi-shan-xiao-si-tu-juan-yi-ming-234211","岳岱溪山萧寺图卷","此作以长卷铺展山野溪居之境，开篇题墨淋漓，笔意苍劲朴拙。继而峰峦层叠，以干笔皴擦写尽山石肌理，苔点错落，尽显丘壑深邃。溪岸蜿蜒，洲渚间林木蓊郁，村居萧寺错落隐现于林泉之间，野意悠然。\n全作用墨清润淡雅，勾勒皴擦间尽显文人水墨的简淡意趣，将江南山野的清寂萧散缓缓铺陈，带着温润散逸的吴门意韵，在长卷间绘就林泉高致，尽显幽居林下的雅致情怀。",[23,164,24,7,25,128,27,132,29,97,98,99,130,211,1233,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e026addd26e1c769617a191992a01c8.jpg",[],{"id":61290,"slug":61291,"title":15401,"dynasty":124,"author":27440,"museum":300,"description":61292,"tags":61293,"thumbUrl":61294,"material":84,"size":84,"collection":84,"collections":61295,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},234201,"mo-hua-juan-wang-duo-234201","《墨花卷》是中国清代的一幅古画，现藏于北京故宫博物院。",[23,164,24,7,25,128,61,369,371,375,263,168,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf4d60f90bf1952b87ee06c51aba9e76.jpg",[],{"id":61297,"slug":61298,"title":36612,"dynasty":124,"author":61299,"museum":300,"description":61300,"tags":61301,"thumbUrl":61303,"material":734,"size":84,"collection":84,"collections":61304,"showCount":419,"zanCount":1998,"manualWeight":48,"mainColor":72},234183,"shan-shui-juan-chen-lian-234183","陈廉","陈廉（？－？），字威如，直隶大名府元城县人，民籍，明朝政治人物\n顺天府乡试第八十二名，万历十一年（1583年）癸未科会试第二百八名，登二甲第四十四名进士\n曾祖陈绶，曾任知府；祖父陈鸿雷，曾任镇抚；父陈秉忠，曾任王府审理正。母刘氏",[23,24,7,25,128,29,132,663,228,34,37,30,497,12424,9483,499,30617,1023,16370,38,61302,10143,1337,55129,149,1515],"层峦叠嶂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a358cb8317b17bc86b3b68fad90017.jpg",[],{"id":61306,"slug":61307,"title":61308,"dynasty":124,"author":223,"museum":20,"description":61309,"tags":61310,"thumbUrl":61311,"material":734,"size":84,"collection":84,"collections":61312,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},234148,"qian-gu-xiao-yao-you-tu-juan-yi-ming-234148","钱榖逍遥游图卷","钱榖（1508—1579）字叔宝，自号罄室，吴县（今江苏苏州）人，明代画家。\n少孤贫，失学，迨壮始知读书。家无典籍，游文徵明门下，日取架上书读之，以其余功点染水墨，便觉心通。山水爽朗可爱，兰竹兼妙，翩翩不名其师学，而自腾踔于艺苑名公间。手录古文金石书几万卷。善书，行法苏，篆法二李，小楷法虞、欧，每得其妙於法外，识者以为真有渴骥奔猊、漏痕折钗之势。然为画掩，世罕知者。按明史附文徵明传作壬申（一五七二）六十五卒。考故宫博物院藏有万历六年（一五七八）客金陵王氏修竹馆作兰竹卷，时年七十一。",[23,24,7,25,128,29,96,133,840,64,208,34,99,129,130,211,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F599973daa6e861823a66c4c21576ad86.jpg",[],{"id":61314,"slug":61315,"title":61316,"dynasty":18,"author":223,"museum":20,"description":61317,"tags":61318,"thumbUrl":61319,"material":151,"size":61320,"collection":84,"collections":61321,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},234027,"qiu-ting-xi-ying-tu-ye-yi-ming-234027","秋庭戏婴图页","此轴画风活泼清丽，表现庭院中，两孩在湖石花丛下嬉戏，用笔极为细致，精到而刚劲。设色艳丽，与画面气氛浑然一体，信息传达恰到好处。画的左上方有几行题跋，但非原画所有，旧传此画是汉臣之作，但仅就画面来说，其布局匀称得体，用笔熟练老到，确为功力颇深之人的作品。特别是两孩瞳如点漆，炯炯有神，堪称“点睛”妙笔。\n苏汉臣还擅画货郎担和婴儿嬉戏之景，情态生动，能成功地表现出儿童的形象及其游戏时天真活泼的情趣，且笔法简洁劲利，色彩明丽典雅。宋人画儿童题材，起于宋初。以儿童生活为题材的画家有刘宗道、杜孩儿等，但他们都极少有流传下来的作品。这幅苏汉臣的《秋庭戏婴图》就是此类作品的代表。\n赏析：《秋庭戏婴图》无款印，描绘的是两个儿童在花下嬉戏的情景。左上方有清高宗手书的七言绝句一首：“庭院秋声落枣红，拾来旋转戏儿童；丹青讵止传神诩，寓意原存相让风。”在庭院静谧、幽美的一角，满脸稚气的姐弟二人正围着小圆凳，聚精会神地玩推枣磨的游戏。头顶一绺黑发的男童全神贯注，沉浸其中，动作笨拙却逗人喜爱。旁边头梳发卷的姐姐，正用手指轻轻指点，张口露齿，仿佛欲叮嘱些什么。不远处的圆凳上、草地上，还散置着转盘、小佛塔、铙钹等精致的玩具。与姐弟玩兴正浓的推枣游戏对比，更能突显出孩童们喜新厌旧的天性，揭示出孩子们稚气未脱、天真烂漫的童心世界。\n背景部分，笋状的太湖石高高耸立，造型坚实挺拔，周围则簇拥着盛开的芙蓉花与雏菊，这样的布局，不仅冲淡了湖石的阳刚之气，也充分点出秋天的节令。画中姐弟俩所玩的枣子是中国北方的作物，在当时的江南并不生产。加上全画的描写，极端细腻、写实，符合北宋末期的宫廷院画特质。而且，徽宗素来喜欢搜集太湖石，所以即使此图无款印，也能据此推测出此画应该是北宋徽宗宣和画院时期的作品。图中两个儿童只占画面左下角的一小块位置，作为背景点缀的花石却很高大，成为全图最为醒目的标志。\n花石的高大反衬出了儿童的幼小，而四周丢弃的玩具则显示出儿童的天真本性。这种突出的对比在这幅画中到处可见。作者运用线条的功力深厚，使线条富于轻重、长短、转折、顿挫的变化。弟弟的上衣，运用了硬而碎的线条，表现出了布料的质感；姐姐的纱裙，行笔流畅圆润，虽用重色，却给人以薄到透明的感觉，使纱衣有了流动感。画湖石皴染结合，石质显得坚厚湿润而有立体感。花卉皆勾勒精劲，设色艳丽，展示了作者在这方面的高深造诣。仔细观察画中人物的发式、衣着，都是锦装玉琢，一看即知是官宦人家的子弟。\n顾炳在《历代名公画谱》中曾说：“汉臣制作极工，其写婴儿，着色鲜润，体度如生，熟玩之不啻相与言笑者，可谓神矣。”由此可见，苏汉臣的绘画具有造型精准、典雅妍丽的宫廷绘画本质。",[164,24,7,4437,1131,28,27,96,2218,34,229,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d40fc2e963083256e5593789d80158d.jpg","47x86cm",[],{"id":61323,"slug":61324,"title":3717,"dynasty":54,"author":22607,"museum":20,"description":61325,"tags":61326,"thumbUrl":61327,"material":734,"size":61328,"collection":84,"collections":61329,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},233890,"huang-shan-tu-ce-mei-qing-233890","黄山位于安徽省南部，歙县西北，山脉绵延三百余里，拥有72峰，以奇松、怪石、云海、温泉“四绝”名闻于世。清初安徽地区的著名画家弘仁、梅清、石涛等多以黄山奇景入画，形成了“黄山画派”。其中，梅清笔下的黄山以气势取胜，不同凡响。\n这套《黄山图》册是梅清晚年的精心之作。全册共八开，分别绘天都峰、莲花峰等黄山８景，或孤峰千仞，或云海茫茫，或苍松蔽日，或雄关峻岭，景色各异，气象万千。梅清画黄山之法有三，一以线条勾勒为主，二以墨色渲染为重，三是融勾勒与渲染为一炉。此图册便是采用第三种方法绘制而成。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。他的创作最重师法自然，他曾在燕、吴、齐、楚之地游历名山大川，终日面对青山描摹写生。黄山和家乡宣城是梅清绘画中最着力表现的题材。在《赠慕潭黄山十六景》册上，他自题“余游黄山，凡有笔墨，大半皆黄山矣。”可见他对黄山景色用功之勤。梅清图写黄山自写生入手，又加入自己的主观感受，再以豪放、泼辣的用笔，突出黄山奇、峻、险、秀的意境，独树一帜，别开生面。",[24,7,29,59,128,27,132,663,372,3387,96,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cc4dbbd059f61494cfc3a76e398e246.jpg","纵26厘米，横33厘米",[],{"id":61331,"slug":61332,"title":61333,"dynasty":124,"author":1058,"museum":20,"description":61334,"tags":61335,"thumbUrl":61336,"material":29194,"size":61337,"collection":84,"collections":61338,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},233797,"yu-zhu-shan-mian-tang-yin-233797","雨竹扇面","此幅《雨竹》细笔画属其本色，又蕴含文人画笔意，景色简约清朗，用笔纤细有力，墨色淋漓多变，风格奇峭而又秀润，形成远近朦胧之感。可谓“雨中赏竹”之代表作。",[164,24,7,1131,128,133,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ee7c5af2a7419c593175bb50706be58.jpg","纵18CM，横54.2CM",[],{"id":61340,"slug":61341,"title":61342,"dynasty":144,"author":17775,"museum":300,"description":61343,"tags":61344,"thumbUrl":61345,"material":2997,"size":61346,"collection":84,"collections":61347,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},233700,"shan-ju-shuo-ting-tu-ye-tang-di-233700","山居说听图页","《山居说听图页》绘山水之景，远处山峦起伏，近处山石陡峭，树木苍翠；山脚下凉亭数间，亭内两人对坐饮茶，一童子执长扇一边伺侯；亭前溪水流淌，泛起层层水纹。唐棣（1296-1364年)，字子华，号遁斋,祖籍今浙江杭州，因先世在吴兴做官，迁徙今浙江湖州。唐棣父唐清，元初赠承务郎，任归安县令。唐棣幼聪颖好学，文思敏慧，能诗善画，有“奇童”之称，为赵孟頫、马煦赏识，弱冠时便拜赵孟頫为师，常出入赵府，交往益深，不久马煦升为刑部尚书，遂携唐棣至京，延佑初进荐仁宗，以绘画侍奉宫廷，在嘉熙殿画屏风“挥洒立就，天子称赏”，待诏集贤院，因而有机会遍览历代书法名画。此时赵孟頫也奉召至京，任翰林侍读学士。唐棣在朝廷中与文臣交往，诗文、书画得到虞集、偈傒斯、赵孟頫指授，技艺更趋成熟。元文宗天历二年应诏在南京龙翔寺绘制画壁，至顺四年第二次北上大都，奉诏在宫廷作画。在郴州、处州、江阴、嘉兴、休宁、兰溪州、吴江等地均做过官，有政绩。工山水，近学赵孟頫，远师李成、郭熙，亦工诗文，晚年返乡埋头读书作画，生活较凄苦。",[24,7,4437,27,29,413,131,35,99,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F967792a94d3373becb0b178e35ab2182.jpg","纵24厘米，横24.8厘米",[],{"id":61349,"slug":61350,"title":61351,"dynasty":54,"author":1460,"museum":300,"description":14038,"tags":61352,"thumbUrl":61353,"material":1722,"size":14041,"collection":84,"collections":61354,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},233690,"yuan-ji-lan-zhu-ce-lan-cao-shi-tao-233690","原济兰竹册－兰草",[24,7,59,128,133,208,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57d41cd98cbd4b7710323d21f2b19cd9.jpg",[],{"id":61356,"slug":61357,"title":61358,"dynasty":54,"author":1460,"museum":300,"description":14038,"tags":61359,"thumbUrl":61360,"material":1722,"size":14041,"collection":84,"collections":61361,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},233689,"yuan-ji-lan-zhu-ce-quan-shi-lan-zhi-shi-tao-233689","原济兰竹册－泉石兰芝",[24,7,59,128,375,167,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff06ea8d1a5f19d483fa4e2721b2b3214.jpg",[],{"id":61363,"slug":61364,"title":42595,"dynasty":54,"author":1460,"museum":300,"description":14038,"tags":61365,"thumbUrl":61366,"material":1722,"size":14041,"collection":84,"collections":61367,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},233684,"yuan-ji-lan-zhu-ce-lan-hua-shi-tao-233684",[24,7,59,128,133,208,375,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2180aa17525b58af0bb2e537112baac.jpg",[],{"id":61369,"slug":61370,"title":61371,"dynasty":54,"author":1460,"museum":300,"description":14038,"tags":61372,"thumbUrl":61373,"material":1722,"size":14041,"collection":84,"collections":61374,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},233680,"yuan-ji-lan-zhu-ce-gu-mu-lan-cao-shi-tao-233680","原济兰竹册－古木兰草",[24,7,59,128,133,375,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F797de6a6914b98ce9c32818051c84e45.jpg",[],{"id":61376,"slug":61377,"title":61378,"dynasty":18,"author":223,"museum":20,"description":61379,"tags":61380,"thumbUrl":61381,"material":40,"size":61382,"collection":84,"collections":61383,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},233456,"xie-sheng-cao-chong-tu-ye-yi-ming-233456","写生草虫图页","画面右侧绘野生花草，狗尾、紫菀莛叶穿插。菜粉蝶落在花上吸取花蜜，蜻蜓徐徐低飞，蚱蜢跃跃欲跳，整幅画面充满动感。3只昆虫在画面上的等边三角形构图平衡了丛生的野草所造成的重心偏倚，使画面结构稳定。野草和花叶用花青加汁绿勾填，花用没骨法出之，昆虫兼工带写，形态逼真。",[24,164,7,59,28,27,61,480,230,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cddca671bbcf7d7f148320861277a43.jpg","纵25.9厘米，横26.9厘米",[],{"id":61385,"slug":61386,"title":61387,"dynasty":54,"author":9576,"museum":20,"description":61388,"tags":61389,"thumbUrl":61390,"material":734,"size":61391,"collection":84,"collections":61392,"showCount":419,"zanCount":1998,"manualWeight":48,"mainColor":72},233449,"ren-wu-shan-shui-ce-luo-pin-233449","人物山水册","中国清代画家罗聘传世代表作。罗聘(1733～1799)，字遯夫，号两峰，又号花之寺僧，安徽歙县人。善画人物、佛像、花卉、山水。此图纸本，设色，纵24.2厘米，横30.7厘米。计12开：\n春柳行舟。一人站立船头。自书七言诗，并题:“冬心先生句并摹其用笔”。钤“两”“峰”印。\n春景山水。桃花盛开，一人站立桥头。自书七言诗，钤“罗聘私印”印。\n夜景山水。一人曳杖于池上行走。自书七言诗。钤“两”“峰”印。\n绿柳红桥。一人策杖立于树下。自书七言诗，钤“两”“峰”印。\n月波吹笛。自书冬心先生自度曲意。钤“遯夫”印。\n芦萍画舫。自题七言诗。印“罗两峰”印。土台流泉。二人松窗弈棋。自书七言诗。钤“遯夫”印。\n婡洎竹頭樤林僧人领鹤。自书七言诗。钤“遯夫”印。\n荷塘柳亭。自书冬心先生自度曲。钤“罗聘私印”。\n秋风落叶。一人独立空亭。自书七言诗。钤“罗聘私印”。\n晚风归舟。墨笔画。自书七言诗，钤“罗聘私印”。\n闭门赏梅。自书七言诗。款“广陵罗聘”,钤“两”“峰”印。\n无年款，似罗聘中年用心之作。\n后幅勒方锜题记。现藏故宫博物院。",[24,7,164,59,128,188,96,129,231,99,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e8b8187910c9fca863f3381a4450720.jpg","纵24.2厘米，横30.7厘米",[],{"id":61394,"slug":61395,"title":61396,"dynasty":144,"author":13495,"museum":20,"description":61397,"tags":61398,"thumbUrl":61399,"material":2239,"size":61400,"collection":84,"collections":61401,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},233415,"you-huang-xiu-shi-tu-zhou-gu-an-233415","幽篁秀石图轴","此图绘数竿青竹在清风晨露中绰约多姿的体态。顾安在创作上力求表现竹子“清且真”的物态风神。“清”是指竹子不卑不亢、清高脱俗的内在品性，它是元代文人画家所追求向往的君子品德；“真”是指竹子清瘦隽逸、披霜戴雪的外在形貌，强调竹画艺术的写实精神。图中所绘之竹以淡墨写竿，浓墨画叶，深浅墨色虚实互衬，加强了画面层次感，扩展了空间。竹叶的画法遵循赵孟頫所倡导的“写竹还须八法通”的原则，熟练地以书法的“捺”法起笔收笔，叶根及叶尖皆见笔锋，写出其错落参差、披离偃仰之态。图中的湖石以墨、色点染，具有玲珑剔透之美，也映衬出竹之秀润娴静。全图以简洁的笔墨营造出“无穷出清新”的清逸意境。\n此卷原藏清宫内府，宣统年流入民间，为徐石雪所收藏，解放后捐献给国家文物局。文物局于1957年4月27日将它拨交故宫博物院。",[24,7,165,128,167,171,2132,16820,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd945535c0c5cd391b4e454b8d95a6c6.jpg","纵184厘米，横102厘米",[],{"id":61403,"slug":61404,"title":16826,"dynasty":54,"author":1242,"museum":20,"description":16827,"tags":61405,"thumbUrl":61406,"material":16830,"size":16831,"collection":84,"collections":61407,"showCount":419,"zanCount":1998,"manualWeight":48,"mainColor":72},233391,"shan-shui-ren-wu-ce-jin-nong-233391",[24,7,59,27,81,97,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17ee01c8657aec74e994e0a3b9597cea.jpg",[],{"id":61409,"slug":61410,"title":61411,"dynasty":18,"author":223,"museum":20,"description":61412,"tags":61413,"thumbUrl":61414,"material":151,"size":61415,"collection":84,"collections":61416,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},233206,"chi-shi-cheng-yang-tu-ye-yi-ming-233206","叱石成羊图页","叱石为羊，事本晋葛洪《神仙传·黄初平》：“黄初平者，丹溪人也。年十五，家使牧羊。有道士见其有良谨，便将至金华山石室中，四十余年，不复念家。其兄初起，行山寻索初平，历年不得。后见市中有一道士初起召问之曰：‘吾有弟名初平，因令牧羊，失之四十余年，莫知生死所在，愿道君为占之。’道士曰：‘金华山中，有一牧羊儿姓黄，字初平，是卿弟非疑。’初起闻之。即随道士去求弟，遂得相见，悲喜语毕，问初平羊何在，曰：‘近在山东耳。’初起往视之不见，但见白石而还。谓初平曰：‘山东无羊也。’初平曰：‘羊在耳，兄但自不见之。’初平与初起俱往看之。初平乃叱曰：‘羊起!’于是白石皆变为羊数万头。”",[24,7,59,28,27,96,6300,413,131,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f511db52d3d4cb1ab54c232c6ad6ab1.jpg","77.81x68.14cm",[],{"id":61418,"slug":61419,"title":47507,"dynasty":144,"author":47508,"museum":20,"description":47509,"tags":61420,"thumbUrl":61421,"material":151,"size":61422,"collection":84,"collections":61423,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},233204,"qiu-lin-chui-diao-tu-ye-zhu-ze-min-233204",[164,24,7,128,132,29,9402,413,129,1350,16795,2875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7b4212db7815938d8172fc55510bf7a.jpg","28.1X26.6cm厘米",[],{"id":61425,"slug":61426,"title":61427,"dynasty":144,"author":7095,"museum":20,"description":61428,"tags":61429,"thumbUrl":61430,"material":151,"size":61431,"collection":84,"collections":61432,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},233201,"qiu-lin-yuan-xiu-tu-ye-zhao-yong-233201","秋林远岫图页","赵武灵王（约公元前340年—前295年），中国战国中后期赵国君主，嬴姓，赵氏，名雍。（先秦时期男子称氏不称姓，故当称为赵雍，不叫嬴雍。）赵武灵王在位时，推行的“胡服骑射”政策，赵国因而得以强盛，灭中山国，败林胡、楼烦二族，辟云中、雁门、代三郡，并修筑了“赵长城”。武灵王本人在前296年的沙丘之乱中被幽禁饿死，谥号为武灵王（“灵”为贬义谥号，表示“乱而不损”，赵国君主称王，自武灵王谥号始）。",[24,7,164,4437,1131,128,27,132,29,1233,331,415,171,211,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b7e5b742b617c523f43b90f6a163971.jpg","68X77cm",[],{"id":61434,"slug":61435,"title":61436,"dynasty":54,"author":6778,"museum":56,"description":6779,"tags":61437,"thumbUrl":61438,"material":611,"size":84,"collection":84,"collections":61439,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},233190,"hua-hui-ce-shui-xian-ling-shi-ye-zhao-zhi-qian-233190","花卉册-水仙灵石页",[24,7,59,27,61,374,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed7825bfffeca2cb0f0b8420821bb54d.jpg",[],{"id":61441,"slug":61442,"title":61443,"dynasty":144,"author":1208,"museum":244,"description":61444,"tags":61445,"thumbUrl":61446,"material":611,"size":61447,"collection":84,"collections":61448,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},232886,"shan-shui-shu-hua-he-bi-quan-juan-ni-zan-232886","山水书画合壁全卷","此画倪瓒六十三岁（西元一三六三年）作。山上长皴，未成折带；远树横点，神似大痴。盖云林本学董源，而又幼于黄公望三十三岁，故不能无影响也。此画本为赠行而作，受画者由水路往会稽，故所画系舟中望两岸之景，受画者为谁，已不可知。上款惟允二字，系画商妄改，借增此画身价。",[23,24,164,25,7,128,132,64,133,29,1337,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf0bf161896ef34eaf69a1f8b40af91c.jpg","27.82*263.06厘米",[],{"id":61450,"slug":61451,"title":61452,"dynasty":54,"author":18944,"museum":300,"description":61453,"tags":61454,"thumbUrl":61455,"material":611,"size":84,"collection":84,"collections":61456,"showCount":419,"zanCount":1998,"manualWeight":48,"mainColor":72},232683,"shu-fa-shan-mian-hong-yi-fa-shi-232683","书法扇面","李叔同（1880—1942），又名李息霜、李岸、李良，谱名文涛，幼名成蹊，学名广侯，字息霜，别号漱筒。是著名音乐家、美术教育家、书法家、戏剧活动家，是中国话剧的开拓者之一。他从日本留学归国后，担任过教师、编辑之职，后剃度为僧，法名演音，号弘一，晚号晚晴老人，后被人尊称为弘一法师。",[23,7,1131,64,938,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe109b7d7975d98bad917f068d5f73a5b.jpg",[],{"id":61458,"slug":61459,"title":61460,"dynasty":54,"author":6936,"museum":161,"description":61461,"tags":61462,"thumbUrl":61463,"material":611,"size":61464,"collection":84,"collections":61465,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},232675,"shan-shui-tu-qing-shan-gu-dao-wang-yuan-qi-232675","山水图(青山古道)","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻求开创个人独特艺术特点的创作方向。该册是研究工原祁早期绘画的宝贵材料。\n王原祁为王派山水的小字辈，后来居上。他得益于乃祖王时敏的亲授从而间接吸收营养于董其昌的艺术和思想，无疑具有功力派和灵性派两类画人的资质。在此图册的第4开上，王原祁钤盖“西庐后人”白文印，以表明自己的身份。\n王原祁在吸收南宗诸大师的画艺，特别是黄公望的长处上更见功力。其画以笔墨论，处处见笔、处处有形、处处得意、处处显情，而又浑然一片，气脉贯连。他在淡墨积笔上有独到的把握，淡墨入画虽易见活气但极难苍厚，层层覆笔又易失之于浊，王原祁以淡墨作山石，或勾线以立形，或横笔以辅面，干笔皴擦，湿笔堆点，层层见笔，层层浑合，苍古厚润兼之以“毛”、“涩”，相交生发而神采愈显。此图册的第10开王原祁钤盖“苍润”朱文葫芦印，显示了自己的审美趣味。实际上，王原祁的这枚“苍润”闲章，刻了多方，不同的型制，于30余岁就已使用，沿用一生，充分体现出王原祁的绘画美学趣味，而其绘画本色也与“苍润”之实质十分符合。",[24,7,165,27,29,131,34,690,133,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faec42a1201b6359b7b747022555c207d.jpg","80.4x43.5cm",[],{"id":61467,"slug":61468,"title":61469,"dynasty":18,"author":7991,"museum":12686,"description":61470,"tags":61471,"thumbUrl":61472,"material":1223,"size":61473,"collection":84,"collections":61474,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},232595,"da-da-shou-lie-tu-juan-chen-ju-zhong-232595","鞑靼狩猎图卷","图绘早期少数民族狩猎的场景。陈居中，生卒年不详，南宋画家，宁宗嘉泰间（公元1201－1204年）任画院待诏。笔墨精致，色彩艳丽，形象准确，神情生动逼真。擅人物、蕃马、走兽等，作品多描绘西北少数民族生活情态及鞍马，多表现社会混乱、民族矛盾给人们带来的离别痛楚。其山羊走兽等亦富有情趣。有《文姬归汉图》、《四羊图》等传世作品。",[23,24,7,25,28,27,96,101,949,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6f998cad5ff4a67c13137dc8f8c858a.jpg","30.4cm×549.6cm",[],{"id":61476,"slug":61477,"title":61478,"dynasty":124,"author":61479,"museum":300,"description":61480,"tags":61481,"thumbUrl":61482,"material":611,"size":61483,"collection":84,"collections":61484,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},231832,"gao-feng-ke-yi-tu-wan-shou-qi-231832","高风可挹图","万寿祺","万寿祺（1603-1652），明末清初文学家、书画家。字年少，又字介若、内景，入清衣僧服，改名慧寿，又名明志道人、寿道人、寿若、若若，世称年少先生，祖籍河北沧州，出生地江苏徐州人，与陈子龙乡试同年，与沛县阎尔梅是同乡。曾参加抗清活动，兵败後隐居江淮一带。代表作有《秋江别思图》、《松石图》、《山水图》等等。万寿祺为人风流倜傥，工书画，精於六书，癖嗜印章，辑有《沙门慧寿印谱》一册。其後裔第十六代後人万中华，在当今书画中也享有很大的盛誉。",[23,24,7,25,128,188,132,208,64,133,29,171,34,1337,35,33,415,497,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40910babbfaf965a65c971e5bbc73be1.jpg","21×76 厘米",[],{"id":61486,"slug":61487,"title":61488,"dynasty":222,"author":61489,"museum":300,"description":61490,"tags":61491,"thumbUrl":61493,"material":692,"size":1293,"collection":84,"collections":61494,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},231753,"mu-ma-tu-ping-feng-di-yi-ping-zhang-gu-chuan-deng-bo-231753","牧马图屏风第一屏","长谷川等伯","长谷川东白（长谷川等伯，1539年－1610年3月19日）是日本 画家，长谷川画派的创始人。\n他被认为是安土桃山时代（1573-1603 年）的伟大画家之一，最著名的是他的屏风",[23,24,7,250,27,28,101,96,413,663,6640,228,61492],"牧马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29ae7c460b8c7fa4288de97a20837dfb.jpg",[],{"id":61496,"slug":61497,"title":61498,"dynasty":222,"author":61499,"museum":300,"description":61500,"tags":61501,"thumbUrl":61502,"material":692,"size":1293,"collection":84,"collections":61503,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},231742,"an-tu-tao-shan-shi-dai-hua-xia-you-le-tu-ping-feng-di-er-ping-shou-ye-zhang-xin-231742","安土桃山时代 花下游乐图屏风-第二屏","狩野长信","狩野長信（KanōNaganobu）是狩野派的日本畫家。狩野長信是狩野派狩野狩野的最小的兄弟。長信為京都的朝廷（包括御所）完成了許多委託，並創辦了自己的狩野派。在德川幕府統一控制該國並在那裡建立政府時，他是首位從京都移居江戶的主要畫師。",[23,164,24,7,165,27,28,132,61,131,167,547,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31dcbd30fdf392e7be2c5ed69db9ae9a.jpg",[],{"id":61505,"slug":61506,"title":61507,"dynasty":222,"author":223,"museum":300,"description":61508,"tags":61509,"thumbUrl":61510,"material":692,"size":1293,"collection":84,"collections":61511,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},231708,"lian-cang-shi-dai-yin-fan-tang-yao-shi-yuan-qi-hua-juan-yi-ming-231708","镰仓时代 因幡堂药师缘起画卷","此卷以长卷铺陈起承转合，开篇池畔官邸廊桥萦回，士人往来水榭，尽显中古贵族日常的闲雅意趣。中段笔锋一转，山石林莽间骑队驰驱，人马错落间带出杀伐行旅的肃杀张力。末段复归静谧山门与深宅，还原仪礼日常。\n\n淡墨勾勒间晕染红褐屋瓦，线描柔劲兼具，古雅底色斑驳厚重。随行文书与画面相映成趣，将信仰缘起与世俗叙事揉为一体，尽展中古绘卷叙事与审美融合的独特韵味。",[23,24,7,25,27,28,95,96,97,101,29,34,35,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8500d26c5220b3230efe9d4238175c7f.jpg",[],{"id":61513,"slug":61514,"title":61515,"dynasty":222,"author":223,"museum":300,"description":61516,"tags":61517,"thumbUrl":61518,"material":84,"size":84,"collection":84,"collections":61519,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},231650,"mu-gui-tu-li-zhou-yi-ming-231650","牧归图立轴","这幅《归牧图》刻画细致生动，人、牛形神毕具",[23,24,7,164,165,27,28,132,102,96,4363,29,171,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc63ecd8f1f45323c17e46719497b70e4.jpg",[],{"id":61521,"slug":61522,"title":61523,"dynasty":222,"author":32321,"museum":300,"description":61524,"tags":61525,"thumbUrl":61526,"material":692,"size":1293,"collection":84,"collections":61527,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},231607,"ju-zhen-hua-pu-shang-zhong-xia-ce-zhong-shou-ye-tan-you-231607","聚珍画谱.上中下册（中）","狩野探幽（1602～1674），京都人，原名守信，狩野永德之孙，孝信长子，狩野派代表画家。",[24,7,61,27,59,62,608,481,480,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73e3f10043cd6901a649d6153921c292.jpg",[],{"id":61529,"slug":61530,"title":61531,"dynasty":18,"author":2141,"museum":244,"description":61532,"tags":61533,"thumbUrl":61535,"material":61536,"size":47578,"collection":84,"collections":61537,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},231410,"luo-han-tu-er-liu-song-nian-231410","罗汉图（二）","台北故宫藏画中，有三幅刘松年画罗汉，每幅都款署开禧丁卯（1207）刘松年画，此轴即为其中之一。幅中罗汉浓眉高鼻，貌若印度高僧，身著右袒式袈裟，倚树沈思。身侧随侍的和尚以衣袂承接树上长臂猿所摘之石榴，身前尚有二鹿仰观，画面生动。此罗汉脸上满布皱纹，双眉蹙起，神情专注，栩栩如生。全作用笔变化多端，衣纹流畅罗汉头後的圆光，及三树枝柯掩映，层次分明。全画敷色妍丽，繁缛精美，皆臻绝纱。\n隋唐以来，不少画家画过《罗汉图》，宋代更为盛行。画《罗汉图》不是用以供奉礼拜，而是为了赏玩，是把宗教题材世俗化，可以说，这是中国绘画史上的一大变迁。\n罗汉像多是耳戴金环，丰颐悬额，隆鼻深目，长眉密髯，服装与配饰具有异域色彩。五代之后，中国画家吸取我国传统人物画风格来画罗汉像，使具有宗教色彩的罗汉中国化。唐代禅宗兴起，主张顿悟，见性成佛，认为世间万物本身自有佛性。禅宗认为，自然界的山川河流、草木花鸟、风雨雷电和人世间百般实相都可以参禅，成为顿悟佛性的机缘。刘松年的这幅《罗汉图》(见图)又名《猿猴献果图》，绢本设色，纵117.2厘米，横56厘米，现存台北“故宫博物院”。他创作此幅《罗汉图》正是受禅宗思想的影响，把佛教壁画中守护在菩萨身边的罗汉，变成游山玩水的世俗僧人。图中前面是一棵历尽沧桑的枯树，树干由下而上呈“s”型，枯树叶已脱尽，只剩下遍体的嶙峋与凌乱的树权。后面是一株枝叶茂盛的阔叶大树，两树中间夹着结满果实的小树。画中的罗汉双手相交，趴伏在一横斜树枝上，深情地注视着面前两只温顺的小鹿，表情亲切、温和，流露出世俗的欢乐。罗汉的头部造型准确，虽与全身相比略显大些，但五官刻画细致，具有神韵。树上的两只猿猴居高临下，形态生动、活泼，正在摘熟透的果子。树下一清秀文雅的小和尚双袖合抱去接其中一只猿猴扔下的果子，一只小鹿仰头观望。这种极富生活情趣的描写，不仅表现了人与自然相依相存的亲密关系，也淡化了作品的宗教气氛。\n此画风格属于刘松年工整细润一路，是他晚年成熟的作品。画中人物用铁线描绘而成，线条流畅有力。服饰与面部均刻画得极其精细，用笔沉着稳健，神形兼备。画中罗汉与小和尚的僧袍色彩在多样变化中求得协调和统一，树木与山石注重写实。特别是树石的用笔，勾勒与皴擦，墨色浓淡相间，充分表现出了树干与山石的坚硬质感与体积感。枯树满身结疤和苍老坚硬的枝条与后面一棵枝叶浓密的树形成强烈对照，表现出了大自然所蕴涵的无限生机。浓密的枯枝与树叶衬托出疏朗的人物，形成疏密的对比，使人物形象在画中十分突出。此幅作品称得上是山水画和人物画完美结合的成功之作。\n这幅《罗汉图》虽然取自佛教题材，实际上已有着明显的世俗化的倾向。在意境表现上，画家通过对山石树木等自然景物的精心布置和渲染，营造出一个草木丰茂、秋清气爽、山果飘香的画境。罗汉与小和尚置身其境，神情悠然自得，营造了人与自然、人与动物之间互相依存的祥和气氛。\n另外，这幅《罗汉图》在艺术处理上吸取了佛教壁画在佛像头部画上佛光的方法，其表现手法是十分高超的。罗汉头像的佛光就如聚光灯一般，如雾如纱。朦胧中一组树枝隐约可见，使画面的虚实对比更加强烈。",[24,7,165,1326,28,27,187,96,250,230,37810,61534,1367,251],"扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33bad5af550efbba55abfcfb88b17f3e.jpg","绢本设色画",[],{"id":61539,"slug":61540,"title":61541,"dynasty":18,"author":8169,"museum":300,"description":61542,"tags":61543,"thumbUrl":61544,"material":692,"size":1293,"collection":84,"collections":61545,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},231042,"pi-pa-yuan-xi-tu-yi-yuan-ji-231042","枇杷猿戏图","该画描述了一株枇杷树，干身扭曲，从石後横斜出了画面，又一枝干自上方角落窜进画中，这样的干身，笔墨虽不相连，意却相牵，但觉画外有画，这是作者在构思这幅画作时，别出心裁之处。",[24,164,7,1846,28,27,165,17911,9633,34,131,918],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b53e0257dfb4e9133f98235b397650b.jpg",[],{"id":61547,"slug":61548,"title":36368,"dynasty":54,"author":23303,"museum":300,"description":61549,"tags":61550,"thumbUrl":61551,"material":84,"size":84,"collection":84,"collections":61552,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},230961,"xia-shan-yu-yu-tu-dong-bang-da-230961","《董邦达夏山欲雨图》是淸 云痴不舍峰，雨到先鸣树。\n涧口归渔人，林端起群鹜。\n浑脱房山法，妙蕴丹阳句。\n伫待吟溟濛，遥天镇微露。\n即爱新觉罗·弘历。\n清朝皇帝。\n世宗第四子。\n雍正十一年封和硕宝亲王。\n十三年八月嗣位，次年改元乾隆。\n即位后驱逐在内廷行走之僧道；释放被幽禁之允(胤)禵等，恢复允(胤)禵等宗室身份；又将宗室诸王所属旗人，均改为“公中佐领”，即归皇帝掌握。\n对汉族知识分子，采用笼络与惩罚并行手段，既于乾隆元年开博学鸿词科，三十八年开《四库全书》馆；又大兴文字狱，前后大案不下数十起，并借修书之便，销毁或窜改大量书籍。\n对西北方面，平定准噶尔部，消灭大小和卓木势力，解决康、雍以来遗留问题。\n在位时六次南巡，多次进行镇压土司叛乱、农民起事战争，耗费大量钱财。\n晚年任用和珅，吏治腐败；陶醉于“十全武功”，自称十全老人，对敢于指斥时弊之官吏，常严加斥责。\n同时，对各省亏空严重、督抚多不洁身自爱之状，知之甚详。\n五十八年，接见英国特使马嘎尔尼，拒绝英国所提出之侵略性要求，然并未引起任何警惕之心。\n六十年，宣布明年禅位皇十五子颙琰。\n次年正月，举行授受大典，自称太上皇帝，仍掌实权。\n在位六十年。",[23,24,7,25,128,29,663,950,413,495,211,499,415,3427,131,37,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62cdb96f4e97e9b848732bd4506f3fe0.jpg",[],{"id":61554,"slug":61555,"title":61556,"dynasty":54,"author":18008,"museum":300,"description":61557,"tags":61558,"thumbUrl":61559,"material":84,"size":84,"collection":84,"collections":61560,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},230921,"wei-ying-nian-zuo-shan-shui-tu-gao-jian-230921","为迎年作山水图","层岩峻壑以枯笔皴擦勾勒，尽显山石嶙峋古拙之态，苍劲老辣的笔墨晕染出北派山水的雄浑厚重。近岸枯木虬曲疏朗，枝桠间透着清寂萧寒，侧畔草堂幽居隐于林麓，涧水蜿蜒浅流，野意悠然。远景峰峦以淡墨晕染，虚实相生晕化开朦胧秀逸的南派意趣。右上角题字墨韵雅致，与山水相得益彰。整幅画作苍润笔墨相生相融，将林泉高致的文人雅趣藏于清寂出尘的山居意境里，尽显冲淡幽远的林下之风。",[23,24,7,165,128,132,29,131,1337,99,35,415,1023,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f7b769732c9efdb2ed772605377ecb.jpg",[],{"id":61562,"slug":61563,"title":61564,"dynasty":144,"author":569,"museum":300,"description":61565,"tags":61566,"thumbUrl":61567,"material":84,"size":84,"collection":84,"collections":61568,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},230906,"gun-ma-tu-ye-zhao-meng-fu-230906","滚马图页","画面左侧黑马就地翻滚，鬃尾张扬，筋骨肌肉的张力尽显，将骏马撒欢的野趣刻画得鲜活生动。牵马圉人神情略带无奈又习以为常，衣褶简练利落。右侧花斑马徐行，骑手神态悠然，马匹步态舒缓，一动一静相映成趣。\n此作用笔以书入画，线条圆劲雅致，兼顾院体精细与文人简逸格调，寥寥数笔便勾勒出人马神态性情，以极简笔墨传递出浓郁的草原牧歌意趣，尽显鞍马画以形写神的精妙。",[164,24,7,59,188,128,96,101,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58fd377ca46972a5ae73979c85678145.jpg",[],{"id":61570,"slug":61571,"title":61572,"dynasty":54,"author":61573,"museum":300,"description":61574,"tags":61575,"thumbUrl":61576,"material":84,"size":84,"collection":84,"collections":61577,"showCount":419,"zanCount":1998,"manualWeight":48,"mainColor":49},230895,"qiu-lin-yi-ju-tu-lan-meng-230895","秋林逸居图","蓝孟","《秋林逸居图》是中国清代画家 的国画作品。\n该画为立轴绢本，纵217.米，横68.厘米现藏于旅顺博物馆。\n蓝孟，生卒年不详，清代画家。\n字次公、亦舆，又字鸾，钱塘(今浙江杭州)人。\n著名画家蓝瑛之子。\n善画山水，师法宋元诸家。\n笔法疏秀，能传家法。\n约活动于顺治至康熙年间。\n《秋林逸居图》以鸟瞰手法写山水，具有立体感和空间感。\n山石多作矶头，磊落灵秀，树法朴拙，高拔劲挺，与山势相协调，村舍有曲径板桥可通，益增纵深感，溪边碎石大小相间，颇多奇趣，可谓匠心独运。\n全图笔墨苍润，一气呵成，是一幅丰富多彩的小青绿山水佳作。",[23,24,7,165,128,27,28,132,29,2875,35,34,131,98,99,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7bd02babbd73a0bb4302e9b8ccc3806.jpg",[],{"id":61579,"slug":61580,"title":61581,"dynasty":351,"author":38612,"museum":300,"description":61582,"tags":61583,"thumbUrl":61584,"material":692,"size":1293,"collection":84,"collections":61585,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},230844,"huo-lu-tu-juan-li-zan-hua-230844","获鹿图卷","耶律倍（899年—937年1月11日），又名耶律突欲，赐名李赞华，是辽太祖耶律阿保机的长子，辽太宗耶律德光的长兄，辽世宗耶律阮的父亲。\n自幼聪颖好学，深得耶律阿保机的喜爱和器重，916年被立为皇太子。926年，封为东丹国王、称“人皇王”。926年太祖病逝后，耶律德光继位为帝。天显三年（928年）东丹国南迁，升东平为南京。同时耶律德光对耶律倍施以控制和监视。930年耶律倍弃国投奔后唐。936年后唐发生政变，耶律倍遇害，葬显陵。\n947年，耶律德光去世。耶律倍长子耶律阮最终夺回了皇位，追谥耶律倍为让国皇帝，庙号义宗。",[23,164,24,7,25,27,28,96,101,949,133,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74c78c4635306e17df9bb76f00a59baf.jpg",[],{"id":61587,"slug":61588,"title":27698,"dynasty":54,"author":27149,"museum":300,"description":61589,"tags":61590,"thumbUrl":61591,"material":692,"size":1293,"collection":84,"collections":61592,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},230362,"shan-shui-ce-ye-wang-zhi-rui-230362","汪之瑞（？—约1660年），字无瑞，号乘槎，清朝安徽休宁人，清初画家。生卒年不可具考，约和查士标同时，为明末新安画家李永昌高足。“新安四家”之一。",[24,7,59,128,132,29,171,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f78b8ecd3718efd6c5667138c15a033.jpg",[],{"id":61594,"slug":61595,"title":61596,"dynasty":54,"author":61597,"museum":300,"description":61598,"tags":61599,"thumbUrl":61600,"material":692,"size":1293,"collection":84,"collections":61601,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},230360,"zhang-guo-lao-huan-lv-tu-ce-ye-yin-qi-230360","张果老幻驴图册页","殷奇","字云生，江西石城人。善人物、山水，笔气文秀，烘染设色，俱法北宗笔法。",[24,7,59,188,128,27,96,7067],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F618fd5d61f2989656f94e86fc34ea545.jpg",[],{"id":61603,"slug":61604,"title":37037,"dynasty":54,"author":223,"museum":300,"description":61605,"tags":61606,"thumbUrl":61607,"material":84,"size":84,"collection":84,"collections":61608,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},230344,"cai-wen-ji-gui-han-tu-juan-yi-ming-230344","此作用简练白描绘就长卷行旅图景，笔线细劲苍古，随形勾勒，尽显古朴气韵。队伍排布疏密有致，前导擎旄扬旗、骑士策辔缓行，后卫整肃相随，间杂负囊驼队，暗合万里归途的厚重羁旅之感。\n\n人物神态各有不同，或肃穆凝然，或侧首顾盼，胡汉服饰细节暗藏身份之别，将归乡心绪的沉郁与队伍的威仪相融。人马姿态生动自然，动静相映，把漫漫归程的苍茫氛围徐徐铺展，古旧绢色晕染出岁月沉淀的厚重，让历史故事的沉郁质感满溢卷间。",[23,24,7,25,188,96,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F633d534a82155b87bc779a8d224b9e64.jpg",[],{"id":61610,"slug":61611,"title":1241,"dynasty":54,"author":1242,"museum":300,"description":61612,"tags":61613,"thumbUrl":61614,"material":84,"size":84,"collection":84,"collections":61615,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},230235,"han-mei-yi-zhi-hua-jin-nong-230235","笔意清疏古拙，带着金石沉凝之气的题字，将访梅逸兴与旧游心绪相融。以袖里藏春暗合梅枝不随岁华凋残的品格，折梅入袖的雅事，呼应画中寒梅冷艳清嘉的风姿。淡墨绘就孤梅，极简构图衬出孤高疏淡风韵，诗画相生，借梅自喻，尽显清癯耿介的文人风骨。字句间漫着冷香幽韵，将赏梅、忆旧、寄怀揉作一处，淡而弥远，清而愈醇，尽显以文入画、画文同趣的扬州画派意趣。",[23,24,7,133,208,371,61,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7275f1b71fa722e04d1ac278389fe7b6.jpg",[],{"id":61617,"slug":61618,"title":61619,"dynasty":54,"author":14022,"museum":300,"description":40657,"tags":61620,"thumbUrl":61621,"material":692,"size":1293,"collection":84,"collections":61622,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},230214,"hua-hai-xi-ji-hui-ce-yu-sheng-230214","画海西集卉册",[24,7,59,27,28,61,171,885,2918,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89bd37e09a286a4c51cbf60bdd3607ac.jpg",[],{"id":61624,"slug":61625,"title":61626,"dynasty":54,"author":1460,"museum":300,"description":37429,"tags":61627,"thumbUrl":61628,"material":84,"size":84,"collection":84,"collections":61629,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},229002,"tao-yuan-ming-shi-yi-tu-shi-tao-229002","陶渊明诗意图",[24,7,59,27,29,133,64,208,132,18332,711,34,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd852bf65fd37c1462cfb4617891b0385.jpg",[],{"id":61631,"slug":61632,"title":61633,"dynasty":54,"author":22730,"museum":300,"description":61634,"tags":61635,"thumbUrl":61636,"material":84,"size":84,"collection":84,"collections":61637,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},228925,"gu-dai-jing-guan-ce-ye-shan-shui-ce-ye-gao-cen-228925","古代景观册页（山水册页）","此作用淡墨晕染烟岚，远山沉郁隐现于云气间，似浸着朝暮的湿润清寒。近岸苍松劲挺，修林攒簇，浓淡墨色梳开林木高低层次。坡上屋舍静立，柴门虚掩，似在等候晚归之人。板桥横卧浅溪，仿佛能听见流水带着清响缓缓淌过，将山野的幽寂轻轻漾开。\n\n画作兼取高远与平远构图，笔力苍秀相融，以朦胧墨色铺展江南山水的空濛灵秀。不着繁复皴擦，却将林泉隐逸的静穆之气藏在烟树水色里，观之如踏入无人山境，暂忘尘嚣纷扰。",[23,24,7,59,128,132,29,34,98,35,37,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcdad96f547d3a59a538c7965794404c.jpg",[],{"id":61639,"slug":61640,"title":61641,"dynasty":124,"author":223,"museum":300,"description":61642,"tags":61643,"thumbUrl":61644,"material":692,"size":1293,"collection":84,"collections":61645,"showCount":419,"zanCount":1998,"manualWeight":48,"mainColor":49},228805,"luo-han-xiang-long-tu-yi-ming-228805","罗汉降龙图","画面高远错落，祥云缭绕出清寂禅意。红袍虬髯的罗汉怒目圆睁，正施法定住惊涛中翻腾的蛟龙，鳞爪张舞的蛟龙满是桀骜，与罗汉的沉凝威势碰撞出强烈张力。上方禅坐的尊者宝相安然，将下方的奔波动势收束于静谧禅机之内。\n\n周遭僧众神态各异，或垂目静思，或注目凝神，层层烘托出伏魔场面的庄严肃穆。石青朱砂的古雅敷色，晕染出佛绘特有的厚重威仪，细腻笔触将人物神态、蛟龙肌理刻画入微，把禅门降伏神通的玄妙意境铺陈开来，尽显工笔佛画的精湛造诣。",[23,24,7,805,187,28,27,96,772,131,99,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7b08be8a42e4de886d90750e888424.jpg",[],{"id":61647,"slug":61648,"title":61649,"dynasty":124,"author":223,"museum":300,"description":61650,"tags":61651,"thumbUrl":61654,"material":84,"size":84,"collection":84,"collections":61655,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},228778,"xian-ren-guo-hai-tu-yi-ming-228778","仙人过海图","画面绘两位仙人踏浪而行，左侧仙人虬髯光头，身披蓑草，双手捧持仙盏神态恭谨，身形桀骜野逸。右侧老者鹤发童颜，宽袍广袖，抬手作指点状，道骨仙风悠然自若。\n作者以刚柔相济的铁线勾勒衣纹，笔墨苍劲古拙，绢本底色晕染出沉雅古旧的质感。云水以曲线层叠铺陈，晕染出朦胧烟波，烘托出踏波而行的缥缈仙意。二人一动一静，神态相映，将仙家渡海的悠然清旷尽显笔端，尽显古雅飘逸的仙道逸趣。",[23,24,7,165,28,27,96,951,13034,187,24769,805,15552,6318,61652,61653],"道教题材","海浪纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F435e9e93246d4faa17ab0f80984af411.jpg",[],{"id":61657,"slug":61658,"title":61659,"dynasty":124,"author":39940,"museum":300,"description":61660,"tags":61661,"thumbUrl":61662,"material":84,"size":84,"collection":84,"collections":61663,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},228387,"peng-lai-xian-yi-tu-juan-1-leng-qian-228387","蓬莱仙奕图卷-1","《蓬莱仙弈图》一图由明代 所绘 手卷，著录于《石渠宝笈三编》，有文征明题跋与文彭题引首，为仇英青绿山水的典型画风。\n1. 题跋。\n2. 题引首。\n. 梁清标、梁清寯、清内府递藏。\n图1中描绘池塘边敞轩水榭，绿柳掩映，塘中莲花片片，碧水微波。\n水榭中二高士对坐 ，全神贯注，另有一人侧卧床榻，一手支颐；又有三仕女，一执扇，一伏案，一取水，整幅意境悠闲雅淡。\n作品结构严整，层次清晰，布局有序，人物虽小但刻画精细，位置突出，反映出画家在驾驭复杂场景、安排主从次序方面精深的造诣。\n此图用大青绿设色，细劲的线条勾勒轮廓，浓艳的石青石绿渲染山石，追求色调的和谐，在宗法南宋青绿山水大家赵伯驹的基础上有所变化，是仇英青绿山水的典型画风。\n此件《蓬莱仙弈图》著录于《石渠宝笈三编》，有文徵明题跋与文彭题引首。\n将这幅画与北京故宫藏的一幅南宋团扇《荷亭对弈图》相比较可以发现，此图在图式、母题上与团扇有着惊人的相似之处，最大的区别只是把团扇改成了长卷，另外增加了其他画面中的母题和构图。\n而它与美国华盛顿弗利尔美术馆所藏的冷谦的《蓬莱仙弈》在构图、母题上也毫无二致。\n明代王鏊（145—1524）在《震泽长语》中首次收录了《蓬莱仙弈图》及 的仙化故事。\n“蓬莱”与“仙弈”是道教意象明显的神仙题材，在明代皇帝崇尚道教最鼎盛的嘉靖年间，凡人可成仙的观念已经凭借《蓬莱仙弈图》与多个摹本的传播而深入人心。\n作为民间职业画家的仇英绘制此一题材长卷，也深受当时社会思想风潮的影响。\n“高柳迎风，小亭临水，二人对弈，一人卧观，仕女三，一捧桃，一持扇，一盥于池，童子二，一捧瓶花，一扫地，款十洲仇英模，钤印一十洲。\n后幅题跋十洲仇子于诸画家无所不学，亦无所不似。\n此仙弈图效赵千里笔法，尤为逼真，乃未及三十时为吴文定公所作，正其卧王蒙于纸上，坐徐偃于笔端时也。\n观者可想见其临池之勤矣。\n长洲文徵明，题时丙辰七月五日。\n钤印二徵明。\n……”",[24,7,25,27,26,29,34,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f83116d1482be85f63c5b6bf0eda143.jpg",[],{"id":61665,"slug":61666,"title":6571,"dynasty":124,"author":33462,"museum":300,"description":61667,"tags":61668,"thumbUrl":61669,"material":84,"size":84,"collection":84,"collections":61670,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},228355,"luo-han-tu-song-xu-228355","此作用笔清隽沉稳，设色古雅柔和。主尊罗汉安坐岩穴，面含静穆，紫衣禅袍衣褶层叠凝练，抬手垂臂间自有出尘悠然气度。身前小沙弥身披朱红衲衣，俯身低首，以恭谨姿态衬得主尊静定庄严。背景枯木虬枝盘绕，苔点错落晕染出林麓荒寂，浅赭绢色晕染出幽谧山野氛围。画面以简淡笔触晕开禅意，将佛门清寂安然的林下修行之景，铺陈得静谧悠长，尽显平和冲淡的禅画意趣。",[23,24,7,805,187,96,27,171,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8bb748de064a314fbc717671321fa39.jpg",[],{"id":61672,"slug":61673,"title":61674,"dynasty":124,"author":18045,"museum":300,"description":61675,"tags":61676,"thumbUrl":61677,"material":84,"size":84,"collection":84,"collections":61678,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},228330,"jing-shan-xiao-zhong-tu-ye-qian-gu-228330","荆山晓钟图页","远景山峦以青绿轻晕，烟岚浮动于峰岫之间，晕染出空濛迷蒙的晓色。中景古寺隐于霜林之中，振翅惊飞的鸦群，将无形的晓钟化为可见的灵动画面，暗合钟声穿林、山乡初醒的意境。近野板桥逶迤，行旅徐行，林木枯荣相间，皴笔细劲，淡彩轻敷。\n整幅画作以虚写实，将听觉意象融于视觉画面，清逸雅致的色调晕开拂晓的清冷静谧，把乡山清晨的幽寂灵动尽数铺展，尽显诗意淡远的文人山水意趣。",[23,24,7,59,27,128,29,132,496,37,99,98,97,34,211,130,131,1023,96,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7d8940f47b0cc7d935c99acc7d337dc.jpg",[],{"id":61680,"slug":61681,"title":61682,"dynasty":124,"author":16032,"museum":300,"description":61683,"tags":61684,"thumbUrl":61685,"material":84,"size":84,"collection":84,"collections":61686,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},228306,"yan-qi-si-fang-tu-yong-shou-juan-xiang-sheng-mo-228306","岩栖思访图咏手卷","此卷以水墨铺展江林丘壑，兼具平远寥廓与高岩奇崛。开篇江天浩渺，远山如黛，汀渚间隐见梵刹，渐而危崖层叠，皴笔苍劲朴厚，石骨棱棱间林木枯荣相济，野趣盎然。\n\n左侧篱舍幽居伴山而筑，高士独行江渚，似在访寻幽栖旧友。淡墨晕染烟岚水色，空濛温润间裹挟清寂萧散之意。整卷笔墨清隽秀雅，将江南山水的静穆幽深，与林下思访的文人雅怀相融，把遁世幽栖的林下襟怀寄寓在一山一水间，尽显幽澹出尘的文人山水意趣。",[23,24,7,25,128,29,132,208,64,133,131,34,31,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cd5524c43a60e2a5714bd22dfe3beb1.jpg",[],{"id":61688,"slug":61689,"title":11484,"dynasty":124,"author":802,"museum":300,"description":5946,"tags":61690,"thumbUrl":61691,"material":692,"size":1293,"collection":84,"collections":61692,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},228301,"hua-niao-jing-pin-ce-chen-hong-shou-228301",[24,7,59,27,28,61,263,168,373,209,374,211,81,1634,3599,2059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ab22e59eca769a09ba77829421839ef.jpg",[],{"id":61694,"slug":61695,"title":61696,"dynasty":144,"author":223,"museum":300,"description":61697,"tags":61698,"thumbUrl":61699,"material":84,"size":84,"collection":84,"collections":61700,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},228200,"si-ji-feng-zhu-tu-zhou-yi-ming-228200","四季风竹图轴","此作用水墨写就丛竹，老干挺拔苍劲，新篁清润秀雅，高低错落排布，枝叶俯仰有姿，似裹挟穿林风韵。运笔遒劲爽利，竹叶下笔如削，虚实相生间，以浓淡墨色铺陈出前后层次，将竹之清刚气节尽显。画面洗练空灵，无多余皴染，以极简笔墨写尽竹之潇洒风神，藏动于静，仿若可聆风穿叶隙之声，暗合君子凌霜傲雪的品格风骨，尽显文人以物咏志的意涵，是墨竹写意中颇具意趣的上乘之作。",[23,164,24,7,165,128,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3960b7cca53261a5c677339f49302fe7.jpg",[],{"id":61702,"slug":61703,"title":61704,"dynasty":144,"author":223,"museum":300,"description":61705,"tags":61706,"thumbUrl":61708,"material":84,"size":84,"collection":84,"collections":61709,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},228188,"fang-li-gong-lin-huo-lang-tu-yi-ming-228188","仿李公麟货郎图","以清隽白描勾勒市肆一隅，货郎担上层层叠叠，诸般玩物吃食错落排布，将巷陌烟火气静静铺展。线条凝练温婉暗合法度，把货郎的劳碌、路人的注目藏在毫锋起落间，将旧时街头鲜活日常凝于绢素之上。清淡笔墨晕开市肆的生动模样，细碎货品暗藏民生的鲜活图景，古雅韵致里满溢着人间烟火的温热，把市井巷陌的鲜活日常定格在绢素中。",[24,7,330,188,27,96,61707,208],"日常用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37f63d9c2b19bc616137c0b88c450cc8.jpg",[],{"id":61711,"slug":61712,"title":61713,"dynasty":144,"author":61714,"museum":300,"description":61715,"tags":61716,"thumbUrl":61717,"material":84,"size":84,"collection":84,"collections":61718,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},228176,"xuan-men-shi-zi-tu-hua-zu-li-228176","玄门十子图","华祖立","《玄门十子图卷》是元代画家华祖立、吴炳共同所绘的画作，现收藏于上海博物馆。\n该图根据元赵孟頫《十子图》石刻本和木刻本摹写而成。\n十子为春秋战国时期著名道家人物，再加上老子共十一人。\n这十位分别为尹喜、辛钘（音jian）、庚桑楚、南荣趎（音chu）、尹文、士成绮、崔瞿、柏矩、列御寇（列子）和庄周（庄子）。\n该图所绘十一位人物神情严肃、造型各异、不设背景，其侧书以与之相应的传记。\n技法上，笔法刚劲，描绘人物线条园转秀逸，婉转流畅，设色淡雅，反映了这十一人的仙风道骨。\n华祖立（元代活动于十四世纪），字唐卿，籍贯不详，擅画人物。\n吴炳（元代活动于十四世纪），字彦辉，河南开封人，擅书法。",[23,24,7,25,188,27,96,171,208,57836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc04f788d9b54ae5367fa0e9826ee7a.jpg",[],{"id":61720,"slug":61721,"title":9161,"dynasty":144,"author":14724,"museum":300,"description":61722,"tags":61723,"thumbUrl":61724,"material":84,"size":84,"collection":84,"collections":61725,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},228082,"shui-cun-tu-juan-cao-zhi-bai-228082","此作用平远之境铺陈水乡暮色，湖面浩渺空阔，洲渚星罗点缀浅滩，水色澹澹间漾出清寂之意。岸边林木萧疏，枯枝干桠错落伸展，茅舍隐于林间水岸，暗藏三两村意，尽揽江南水村闲淡野趣。\n笔墨以干笔皴擦衬以淡墨晕染，山石苍秀简劲，脱去繁缛刻画，尽显清逸松灵的韵致，以极简笔触勾勒出幽远空寂的林下隐逸之境，暗合文人疏离尘嚣、寄情林泉的雅趣风骨。",[23,164,24,7,25,128,132,29,31,34,3440,35,98,415,5801,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db4bab9056df9fa5cfdb5f848bd2a54.jpg",[],{"id":61727,"slug":61728,"title":61729,"dynasty":18,"author":5533,"museum":300,"description":61730,"tags":61731,"thumbUrl":61732,"material":692,"size":1293,"collection":84,"collections":61733,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},227978,"you-jun-shu-shan-tu-juan-ba-wen-liang-kai-227978","右军书扇图卷(跋文)","图绘王羲之为老妪书扇故事。本幅右边有梁楷题款，系后人添加，卷尾有元人赵由儁、张渊、钱良右、张世昌、石岩等人题跋，简笔人物的风格系仿自梁楷。",[23,64,133,25,208,128,7,23848],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5eaef1cd544138440d4dec3fac1cad1.jpg",[],{"id":61735,"slug":61736,"title":61737,"dynasty":18,"author":12759,"museum":300,"description":61738,"tags":61739,"thumbUrl":61740,"material":84,"size":84,"collection":84,"collections":61741,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},227975,"yan-cun-qiu-ai-tu-li-an-zhong-227975","烟村秋霭图","这幅画以淡墨轻晕铺就烟霭秋郊，虚实相生间尽显幽远意境。左侧茂林攒聚，细密点染出秋叶苍润的质感，林梢掩映隐约村舍，藏着乡野的静谧烟火。右侧枯木斜倚水岸，孤清萧疏，与左侧的苍林形成疏密对照。\n\n画师以留白晕染烟水空濛，墨色浓淡自然过渡，将暮秋薄霭浮动的氛围感烘托得恰到好处，把秋日郊野的冷寂清旷尽数铺展。带着独有的平和疏淡意趣，将乡野秋日的萧散之美藏在朦胧烟色中，尽显淡远幽微的山水诗意。",[23,164,24,7,29,128,27,132,34,9164,6433,99,1337,6639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2756c4f10a3cf56a3d7eba886bd268cd.jpg",[],{"id":61743,"slug":61744,"title":60508,"dynasty":18,"author":61745,"museum":300,"description":61746,"tags":61747,"thumbUrl":61748,"material":84,"size":84,"collection":84,"collections":61749,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},227960,"jiang-ting-lan-sheng-tu-zhu-wei-de-227960","朱惟德","《晋唐宋元书画国宝特集》是22年 出版的图书，作者是上海博物馆编、故宫博物院、 。\n22年，为庆祝上海博物馆成立5周年，由上海博物馆、故宫博物院、 联合举办的《晋唐宋元书画国宝展》在上海博物馆来开帷幕。\n本书集三大博物馆珍藏的国宝级 名迹72件，艺术、文化和史料价值极高。\n晋唐宋元是中国书画艺术史上最辉煌最重要的时期，作为展览的图录， 感录这些赫赫巨迹。\n其中被庋藏于清宫“三希堂”的晋王珣的《行草书伯远帖卷》，有隋展子虔的《游春图卷》，有五代南 唐时期顾闳中的千古杰作《韩熙载夜宴图卷》，还有北宋张择端脍炙人口的《清明上河图》、而王羲之的《行书上虞帖卷》、王献之的《行书鸭头丸帖卷》、欧阳询的《行书仲尼梦奠帖卷》、周昉的《簪花仕女图卷》等等精品，凡72件，引人探赜索隐。\n综观同类出版物，该书有三大特色：首先是入录书画均以原迹摄片电分，采用调频网先进技术印制。\n精密度高，真貌毕现。\n其次是卷册轴页形制齐全，所有作品前题后跋，作首次全面展示。\n三是历代鉴藏印记大都原收录，部分并以X光片摄片图版显示，以供研究。\n晋唐 1、东晋佚名曹娥诔辞卷 2、东晋王珣伯远帖 、东晋 4、东晋王献之鸭头丸帖 5、 6、唐欧阳询仲尼梦奠帖 7、唐虞世南摹兰亭序帖 8、唐孙过庭千字文 9、唐阎立本步图 1、唐韩滉五牛图 11、唐周肪簪花仕女图 12、唐颜真卿湖州帖 1、唐孙位高逸图 14、唐怀表苦荀帖 15、唐杜牧张好好诗 16、唐高闲千字文 17、 五代 两宋 18、五代杨凝式夏热帖 19、 2、五代董源夏景山待渡图 21、 22、五代顾闳中（传）韩熙载夜宴图 2、五代徐熙雪竹图轴 24、 轴 25、北宋李成茂林远岫图 26、北宋欧阳修自书诗文稿 27、北宋司马光宁州帖 28、北宋王安石楞俨经旨要 29、北宋郭熙幽谷图轴 、北宋王诜渔村小雪图 1、北宋王诜烟江叠嶂图 2、北宋蔡襄持书帖 、北宋苏轼答谢民师论文帖 4、北宋黄庭坚小子相帖 5、北宋 6、北宋李公麟韦偃牧放图 7、北宋崔白寒雀图 8、 9、 卷 4、北宋张择端清明上河图 41、金杨微二骏图 42、南宋李唐采薇图 4、南宋赵构养生论卷 44、南宋赵构书马和之画唐风图卷 45、南宋李迪雪树寒食图 46、南宋徐禹功雪中梅竹图等合卷 47、南宋陆游自书诗卷 48、南宋梁楷八高僧图 49、南宋文天祥草书木奚诗序 5、南宋朱惟德江亭揽胜图 51、南宋赵大亨薇亭小憩图 52、南宋李嵩骷髅幻戏图页 5、南宋马麟郊原曳杖图页 54、 元代 55、元代钱选浮玉山居图 56、元代赵孟俯秋兴赋卷 57、元代赵孟俯小村图卷 58、元代鲜于枢韩愈送李愿归盘谷序 59、元代吴镇渔父图 6、元代高克恭春山欲雨图 61、元代赵孟俯洞庭东山图 62、元代黄公望天池石壁图 6、元代任仁发 秋水凫鷖图轴 64、元代李士行竹石图轴 65、元代王冕墨梅图轴 66、元代杨维桢草书七绝诗 67、元代唐棣松荫聚饮图 68、元代王渊竹石集禽图 69、元代倪瓒渔庄秋霁图 7、元代王蒙青卞隐居图 71、元代 72、元代佚名民物熙乐图轴",[23,24,7,1131,27,29,133,6004,415,1144,3440,33,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72f92e1824fd7136d2cdd1d263bc3b0b.jpg",[],{"id":61751,"slug":61752,"title":61753,"dynasty":18,"author":61754,"museum":300,"description":61755,"tags":61756,"thumbUrl":61757,"material":692,"size":1293,"collection":84,"collections":61758,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},227947,"gao-shen-juan-si-ma-ji-227947","诰身卷","司马伋","司马伋，字季思，夏县 （今属山西）人。高宗绍兴八年（一一三八），受诏以司马光族曾孙为右承务郎，嗣光后（《建炎以来系年要录》卷一二一）。",[23,64,25,133,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff464cca5cd099bcd067dfce8a06a7aa1.jpg",[],{"id":61760,"slug":61761,"title":8168,"dynasty":18,"author":223,"museum":300,"description":61762,"tags":61763,"thumbUrl":61764,"material":84,"size":84,"collection":84,"collections":61765,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},227899,"yuan-lu-tu-yi-ming-227899","此作上下分景，将灵趣与恬然相融。枝头灵猿身姿轻捷，毛发晕染细腻蓬松，长臂挂于虬枝，正侧目窥望下方，机警灵动之态跃然绢上。地面母鹿抬首回望，幼鹿依偎身侧，躯体线条温婉柔和，满是温驯安然。\n\n淡墨轻色晕染枝叶，舒展自然，岩石皴擦朴拙写实，衬出山林的清寂野趣。工细笔触兼顾写意格调，将猿的机敏与鹿的恬和彼此呼应，把空山一隅的悠然生机静静铺展，尽显对自然生灵的细腻体察与雅致审美。",[164,24,7,27,28,949,9633,2302,413,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e67f98101322a96090bdd8e26302696.jpg",[],{"id":61767,"slug":61768,"title":61769,"dynasty":18,"author":223,"museum":300,"description":61770,"tags":61771,"thumbUrl":61772,"material":84,"size":84,"collection":84,"collections":61773,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},227863,"chun-shan-xun-mu-tu-yi-ming-227863","春山曛暮图","此作以边角构图造境，右侧苍松虬曲老硬，松针攒簇尽显苍古之姿，将山野幽意凝于枝桠间。远山以淡墨晕染，朦胧迤逦，晕开曛暮时分的空濛柔润。林麓茅亭隐现，枯木初萌新绿，幽人策杖徐行，将山居闲逸藏于尺幅。\n\n全作用笔精微写实，以虚衬实，淡墨轻烟里晕开春日薄暮的柔和暖意，把山野暮色的清旷悠然融于方寸之间，尽显简淡空灵的山水意趣，将文人心中萧散闲雅的山居图景晕染尽致，于小品之中见天地悠然，淡远静谧的氛围感扑面而来。",[164,24,7,27,29,130,1144,415,3344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bea0e87d5e65d183601f2308bcf0312.jpg",[],{"id":61775,"slug":61776,"title":61777,"dynasty":18,"author":223,"museum":300,"description":61778,"tags":61779,"thumbUrl":61780,"material":84,"size":84,"collection":84,"collections":61781,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},227848,"gong-yuan-tu-ye-yi-ming-227848","宫苑图页","此作以青绿晕染山林，界画精工勾勒宫阙楼宇，将苑囿隐于蓊郁林泉之间。山石皴染苍润古朴，旧色晕开厚重雅致的古韵，林木错落掩映殿台飞檐，层层递进的构图铺展出幽深秘境。楼宇斗拱分毫毕现，尽显匠造规整，却融于空山翠色，消解了楼宇冷硬，凭添林泉雅意。它兼具山水画的悠远意境与界画的精工细致，静静铺展着千年前林泉宫阙的静谧古雅，将人工意趣悄然融于天然山水，尽显清和雅致的林苑意韵。",[23,164,24,7,95,28,27,29,97,34,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cd24c709139ea37f1960e2d62944f11.jpg",[],{"id":61783,"slug":61784,"title":61785,"dynasty":18,"author":223,"museum":300,"description":61786,"tags":61787,"thumbUrl":61788,"material":84,"size":84,"collection":84,"collections":61789,"showCount":419,"zanCount":1998,"manualWeight":48,"mainColor":49},227358,"chun-you-wan-gui-tu-ye-yi-ming-227358","春游晚归图页","中国水墨发展伊始, 人们毕其功于将现实景象“转移”到二维画面上来。为了实现这种“转移”, 画家势必力求取景的完满与全面, 于是, 全景式构图诞生了。在这些大幅壁画、长卷或立轴的绘画作品中, 人物画多背景完整、气象宏大;山水画则恢宏壮阔、境界舒朗;至于以牛马等动物禽畜为题材的绘画, 则或量多、或体大, 每每也是通过大幅形制来展现。\n\n然而, 两宋时期, 中国山水画开始由北宋的磅礴雄壮向南宋的“一角半边”过渡。由墙壁转为纸绢的轴、卷、册、扇, 逐渐促成绘画由公共艺术转向私人艺术。区别于北宋山水画提倡的“外师造化”, 南宋文人画转而“内师诸心”, 为绘画开启了类似寄情寓性的功能。",[23,164,24,7,1131,27,28,95,96,101,34,97,690,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb1af322108bf37992fc92f50569bfe5.jpg",[],{"id":61791,"slug":61792,"title":61793,"dynasty":54,"author":61794,"museum":300,"description":61795,"tags":61796,"thumbUrl":61800,"material":692,"size":1293,"collection":84,"collections":61801,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":956},226776,"ge-bei-song-shi-gu-wen-ben-ruan-yuan-226776","阁北宋石鼓文本","阮元","清代的阮元曾藏三名碑于阮氏祠堂，其中三碑刻为秦代《泰山碑》、东汉《华山碑》、三国吴《天发神谶碑》。此三碑被阮元列入“金石十件”之中。又有人称为“阮氏三宝”。据资料记载，阮元还曾摹刻过先秦时期的《石鼓文》，书法界称此为籀文的代表。\n篆书（甲骨文和象形文字）也是汉字的肇始。至今发现的先秦刻石文字遗存，最早的要属《石鼓文》，在书法史上属于大篆，也称“籀文”。该刻石于唐初被发现。原石作鼓形，共十石，分别刻有四言诗一首，径约三尺余。内容记述秦国君田猎之事，故又称“猎碣”。曾被弃于陈仓云野，故又称“陈仓十碣”。原石在天兴(今陕西宝鸡)三畤原，历经辗转，今石藏北京故宫博物院。后以拓本行世。阮元曾就《石鼓文》拓本摹刻，置于扬州。",[23,7,64,5380,61797,938,304,61798,61799],"碑帖","拓印技法","篆书笔法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c691a01af40ca52290d9ff2049f6876.jpg",[],{"id":61803,"slug":61804,"title":61805,"dynasty":222,"author":35258,"museum":300,"description":35259,"tags":61806,"thumbUrl":61807,"material":692,"size":1293,"collection":84,"collections":61808,"showCount":419,"zanCount":1998,"manualWeight":48,"mainColor":49},225296,"mo-tian-ben-dong-jing-zhen-hai-225296","魔天(本-东京)",[23,24,7,165,187,96,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0ecd6bec9b4d5c029e5994c3a74d582.jpg",[],{"id":61810,"slug":61811,"title":19315,"dynasty":54,"author":8819,"museum":300,"description":61812,"tags":61813,"thumbUrl":61814,"material":84,"size":84,"collection":84,"collections":61815,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},224584,"shuang-ma-tu-yu-yuan-224584","此作用笔精细入微，两骏依偎伫立，霜色骏马在前，栗色良驹稍后，神态温驯雍容。鬃尾晕染丝缕分明，躯体肌理饱满写实，将骏马神骏却沉静的姿态刻画得淋漓尽致。画面右上题诗呼应画意，墨色雅致朴拙，与工稳的鞍马刻画相融，承继唐宋鞍马写实遗风，又融入文人意趣。敷色妍丽沉稳，古旧绢色更衬出画作静穆古雅的气质，整体简净清隽，状物精妙的同时兼具文墨情致，尽显良骏俊逸闲和之态。",[23,164,24,7,28,27,101,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf93d6b4b29bf71246809df96ec075a0.jpg",[],{"id":61817,"slug":61818,"title":61819,"dynasty":54,"author":3750,"museum":300,"description":61820,"tags":61821,"thumbUrl":61822,"material":692,"size":1293,"collection":84,"collections":61823,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},224475,"jiu-feng-du-shu-tu-zhou-wang-jian-224475","九峰读书图轴","图绘崇山峻岭，苍松平溪，一高士在茅舍内读书。其展卷吟诵的细微举止点明了惬意“读书”的创作主题，寄托着画家的隐逸思想。本幅构图为高远法取势，山脚松木以工整的线条精心刻画，显现出作者以线造型的能力。山顶处以浓墨戳点，有浑点、破竹点、胡椒点、破墨点等，灵活多变的各种点法增强了江南山峦湿润华滋、沉郁深秀的气象。山石的脉络是以元人王叔明（即王蒙）典型的解索皴表现，其拖墨而下，屈曲密集的线条与山石的陡峭走向相一致，增强了山体的雄伟之势。此图堪称王鉴仿王叔明的佳作，全面地展示了其对王蒙画法得心应手的娴熟的运用程度。",[23,164,24,7,165,128,29,132,1144,30,131,3387,99,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4c33a56f8a8f213d47350c092aa3c8.jpg",[],{"id":61825,"slug":61826,"title":61827,"dynasty":54,"author":4083,"museum":300,"description":61828,"tags":61829,"thumbUrl":61830,"material":84,"size":84,"collection":84,"collections":61831,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},224426,"fang-huang-zi-jiu-bi-yi-wang-shi-min-224426","仿黄子久笔意","此作用笔苍润松秀，以干笔皴擦勾勒山峦肌理，墨色层染清和淡雅，复刻出元人山水的萧散意趣。画面取高远平远结合之景，主峰巍峨矗立，山间留白以烟岚晕染，将重山包裹得灵动悠然。溪渚蜿蜒穿林而过，村居错落藏于茂林幽谷，坡岸林木扶疏，点染出江南山水温润清和之态。整体气息淡逸空灵，既追摹原作的简远苍浑，又融入自身温厚娴静的笔致，将文人寄情林泉、追慕古意的襟怀，尽藏在这尺幅江山之中。",[23,24,7,165,29,330,132,1613,34,99,35,663,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1003f8fca3fdf7c2b59be1131c6e8ea9.jpg",[],{"id":61833,"slug":61834,"title":61835,"dynasty":54,"author":1676,"museum":300,"description":61836,"tags":61837,"thumbUrl":61838,"material":84,"size":84,"collection":84,"collections":61839,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},224295,"bai-shi-da-ji-tu-li-shan-224295","百事大吉图","此作用笔纵恣老辣，古松盘曲虬劲，皴擦勾勒间尽显苍古拙朴之意，团簇的松针以浓墨点染，蓬勃生机扑面而来。独立松枝的雄鸡兼工带写，浓墨点染头颈尾羽，淡墨晕染躯干，寥寥数笔便将雄鸡引吭长鸣的英武之态勾勒传神。\n画面借松、鸡谐音承载吉祥意趣，将文人写意的疏放与世俗吉庆寓意相融，笔墨挥洒间脱略陈规，尽显疏狂意气，是寄情于物、雅俗共赏的写意佳作。",[23,24,7,165,128,369,61,1144,2510,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1114f2ba3c8a3d2ff5cb13dc84067253.jpg",[],{"id":61841,"slug":61842,"title":61843,"dynasty":54,"author":56774,"museum":300,"description":61844,"tags":61845,"thumbUrl":61846,"material":84,"size":84,"collection":84,"collections":61847,"showCount":419,"zanCount":1998,"manualWeight":48,"mainColor":72},224245,"shang-sai-jin-lin-tu-guan-huai-224245","上塞锦林图","《上塞锦林图》是中国清代画家 的国画作品。\n该画为立轴，纸本设色，纵142.6厘米，横64.6厘米，现藏于 。\n关槐，生卒年不详，清代画家。\n字晋卿，一宇晋轩，号云岩，一号曙笙，仁和(今杭州)人，官至礼部侍郎。\n善画山水，供奉内廷。\n画风学习宋元诸家，笔法苍润恬静。\n活动于乾隆时期。\n《上塞锦林图》描绘我国长城以北塞外的锦绣风光。\n绿色的灌木丛，红彤彤的柞枫树，错落于曲流之间，真实生动，俨然另逞独特面貌。\n用笔工细，设色鲜丽而又和谐。\n上方有高宗弘历御笔题七绝四首，借此图简述其先祖及弘历本人在北塞骑猎、武功的思念，以“祖德勤承告后人”。",[23,24,7,165,27,29,132,663,413,31,6640,1955,38,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cefaa23d51965608581f81fade69f67.jpg",[],{"id":61849,"slug":61850,"title":61851,"dynasty":54,"author":26483,"museum":300,"description":61852,"tags":61853,"thumbUrl":61854,"material":84,"size":84,"collection":84,"collections":61855,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},224195,"zhe-xi-cao-tang-tu-wu-hong-224195","柘溪草堂图","《柘溪草堂图》是清代画家 创作的绢本设色画，现藏于南京博物馆。\n该画绘村前一座小桥，湖水绕村，树木绕斋，树林里楼台面水，宾主登楼安坐对谈，超然世外。\n笔墨挺健，景致平远，具有浓厚的写实风格。\n此画远处为较为平缓的山峦，山头仅露出水面。\n隐隐约约，烟雾蒙蒙，茫茫一片，山坡间新篁密密麻麻，白马湖东岸，在丛树掩映下的临水小村，一条清溪绕庄而行，竹树绕斋，楼台面小，并不华丽的庄园建筑，在苍松翠竹红枫的簇拥下显得古朴典雅；宾主登楼端坐其间，正在语笑风生，突然间一人回首远眺，似在观赏周围一片金秋美色，村边座落着一小板桥。\n一扁舟自远方来，泊于桥头，舟中一人捧物躬身而出，作献物状，岸上溪边另一人缓步走来作迎接状，神态自若。\n此图款署“壬子秋九月，拟李咸熙笔意，呈石翁先生教之，金溪吴宏、”钤印“吴宏私印”“远度”。\n画的裱边及玉池中有查士标，梁清标两人题诗，朱彝尊、程邃等七人题词。\n查士标题诗： 我爱白田好，来向白田去。\n白田城南有拓溪，闻是白田最佳处。\n溪边草堂称清幽，古木千章竹万头。\n奇石名花看不足，湖光更上东南楼。\n向年获识石林子，为言别业正在此。\n太公九十瑞人间，早岁弃官遂知止。\n闲来倚石手一编，倦即抛书石上眠。\n华发萧萧眸炯炯，无人知是地行仙。\n石林先生行最少，能读父书得其要。\n芥拾荣名自等闲，翰墨声诗兼众妙。\n命余为作草堂图，佳句传来幻有无。\n伸纸踌躇笔不下，俨如咫尺貌蓬壶。\n名园胜地世多有，辋川吟咏视平泉，主者何人斯不朽。\n千载流传复谁久。\n柘溪之水清且涟，湖波万顷绕平田。\n太平乐事长如此，还为高人结大年。\n梁清标题诗： 侍御结庐溪水浔，万株桑柘昼阴阴。\n迤逦晴沙眠野鹭，高低灌木鸣春禽。\n编篱插槿蔽风雨，琴书北窗何萧森。\n门无车马惊铃索，中有幽人事苦吟。\n幽人为谁侍御是，直节当年山岳峙。\n正笏曾陈痛哭书，拂衣早办登山履。\n经纶袖手赋归来，白头高卧草堂里。\n海水扬尘岁月移，草堂无恙日舒迟。\n蒹葭秋色霜飞后，鸡犬村扉昼闭时。\n巾车野服临湖岸，载酒轻船泛射陂。\n屏居白眼向寥廓，闻说先生犹健在。\n令子忻看傍凤池，闲身不羡图麟阁。\n倚杖频耕万亩云，延年岂假千金药。\n遥望伊人水一方，客来独拜德公床。\n疑是李愿住盘谷，不然种柳如柴桑。\n我欲从之问丹诀，放歌散发濯沧浪。\n《柘溪草堂图》作于康熙十一年（1672），此图为应宝应乔莱之请，画其父可聘居处柘溪草堂秋景。\n此画采用以实写虚的方法，借湖水、古木、草堂，以写云烟变幻，求得“有限中出无限，无画处成妙境”的艺术境地。\n此图中的物象并无高山峻岭，而只是湖天淼茫，属于通常所说的“平远”之景。\n但在吴氏的笔下却显示出“高远”的意境。\n画法不拘泥于前人，落笔大胆而收拾严整。\n笔墨苍秀，厚重劲健。\n板桥和山石等的勾勒，也皆是顿挫雄壮的阳刚之风。\n山石以乱柴皴间杂斧劈皴画之，水墨晕染，树木画法工细，繁而不乱，人物、房舍、扁舟表现自然，敷色清雅明亮。\n此画面有较大的空白，不仅体现了艺术家想象的本领，而且可以引起读者丰富的审美想象。\n教授张长虹：尽管带有应酬性质，吴宏此画仍属成功之作，这可能与其豪迈性格有关。\n吴宏，生卒年未详、清代画家。\n宏，一作弘，字远度，号竹史，江西金溪人，寓江苏汀宁（今南京）。\n诗书均精。\n幼好绘事，自辟蹊径。\n顺治十年（165）曾渡黄河，游雪苑，归而笔墨一变，纵横放逸，得诸家之长而能出己意。\n偶作竹石，亦有水墨淋漓之致。\n与樊圻、邹喆、叶欣、胡慥、谢荪、高岑、龚贤为“金陵八家”。",[23,164,24,7,165,27,132,29,35,34,98,99,129,331,1233],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F860319e9f372ae1d7066ef3c43aeaa92.jpg",[],{"id":61857,"slug":61858,"title":61859,"dynasty":54,"author":5879,"museum":300,"description":61860,"tags":61861,"thumbUrl":61862,"material":84,"size":84,"collection":84,"collections":61863,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},224192,"ge-shui-yin-chuang-tu-zhou-hua-yan-224192","隔水吟窗图轴","《馆藏精品选（上海博物馆4共张）\u002F东方画谱》是218年文物出版社出版的图书，作者是（元）张中，[清] 高岑，华喦。\n本书共收录了部画作，包括：《隔水吟窗图轴》《芙蓉鸳鸯图》《江山无尽图》。\n《隔水吟窗图轴》采用平远构图法，画法运用没骨法，描绘了秀美的江南山水景色。\n远山用云海烘托，宽广的江面用留白法来衬托。\n近景树木高挺，枝繁叶茂。\n江岸上有茅屋几间，隐逸者于舍内休憩，观赏院中的丹顶鹤，此情此景，给人心旷神怡如入仙境之美感。\n《芙蓉鸳鸯图》描绘了鸳鸯戏水的情景。\n画中溪水缓缓而流，一对鸳鸯在清波中嬉游。\n雄鸟低头弄波，雌鸟仰头鸣叫。\n岸边野花丛生，与水草交错其间，石旁长着一棵枝繁叶茂、花开争艳的芙蓉树，整幅画面显得唯美秀雅。\n张中用笔细致圆柔，以淡墨勾出芙蓉花瓣，再稍作晕染，用笔简括，显得活灵活现，生动清艳。\n再用浓墨描绘芙蓉叶之向背，有没骨之韵，叶脉清晰可见。\n山石略以苔点修饰，具有唐代画风。\n《江山无尽图》兼用多种构图法绘制而成，有马远“一角式”构图法和郭熙的“三远法”构图法。\n描绘了江南山清水秀、风和日丽的美景。\n画面群山连绵，树木繁茂，百草复苏，一派春意盎然之景象。\n高山流水、水村人家、茅屋楼阁、渔舟泛江，所有景致，无不生动。\n设色淡雅，用笔圆润，无尽之江山景色，尽收眼底。\n《隔水吟窗图轴》 《芙蓉鸳鸯图》 《江山无尽图》 华喦（1682—1756），一作华岩，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、白沙道人、离垢居士等。",[23,24,7,165,27,28,29,34,35,98,99,129,37,30,1144,276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F249d982ffce7384142d527b785ca8c69.jpg",[],{"id":61865,"slug":61866,"title":61867,"dynasty":54,"author":5879,"museum":300,"description":61868,"tags":61869,"thumbUrl":61870,"material":84,"size":84,"collection":84,"collections":61871,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},224173,"xun-chun-tu-hua-yan-224173","寻春图","此作用高远章法铺展丘壑，石色苍浑松色沉郁，青绿设色带着古雅厚重的质感。近景老松虬曲盘绕，松下雅士晤言，溪石旁幽人闲坐，野趣盎然。中景村居错落隐于林麓，板桥之上一人策杖徐行，将山野居处的悠然缓缓铺陈。远景危崖如屏，林岚轻笼，山溪蜿蜒藏起春山秀色。右上角题诗呼应雅意，笔墨秀逸灵润，以山水清嘉承载文人雅怀，把春日山乡的清寂生机与林下逸致相融，尽显静穆悠远的山居春兴。",[23,24,7,165,27,28,132,29,96,98,99,130,35,1144,131,12424,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c8a1e8dc6a5f030b51069951c9769f.jpg",[],{"id":61873,"slug":61874,"title":61875,"dynasty":54,"author":223,"museum":300,"description":61876,"tags":61877,"thumbUrl":61879,"material":84,"size":84,"collection":84,"collections":61880,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},223688,"li-tu-ye-yi-ming-223688","鲤图页","此作以工笔写鲤，细笔晕染鳞片刻画出硬挺莹润的质感，鱼鳍舒展灵动，双目圆睁有神，长须轻颤，将鲤鱼刚健灵动的身姿定格在破波欲跃的瞬间。淡墨轻勾水纹，线条柔婉清浅，不着浓色，仅以素雅晕染烘托池水静谧，一动一静相映成趣，把鲤穿波的鲜活生机尽显纸面。\n\n整幅画面清雅空灵，无冗余修饰，将对生灵的细致体察藏在笔触里，于留白间传递出含蓄的吉祥意趣，简淡中见精巧笔触，平淡中藏盎然生机，尽显传统花鸟小品的雅致意韵。",[23,164,24,7,59,28,27,2059,61878],"鲤鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb693a3d05e3da75e3221a47a142fdca4.jpg",[],{"id":61882,"slug":61883,"title":61884,"dynasty":144,"author":223,"museum":300,"description":61885,"tags":61886,"thumbUrl":61887,"material":84,"size":84,"collection":84,"collections":61888,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},223626,"he-ting-dui-yi-tu-ye-yi-ming-223626","荷亭对弈图页","《荷亭对弈图页》是元代画家佚名创作的一幅绢本设色画，现收藏在故宫博物院。\n本幅无作者款识。\n收藏印钤“庞莱臣珍藏宋元真迹”、“项墨林父秘笈之印”二方。\n图中描绘 边敞轩水榭，绿柳掩映，塘中莲花片片，碧水微波。\n水榭中二高士对坐 ，全神贯注，另有一人侧卧床榻，一手支颐，不知是弈后的疲惫小憩还是战前的养精蓄神；又有三 ，一执扇，一伏案，一取水，整幅意境悠闲雅淡 此画将青绿山水与界笔楼阁有机结合，是南宋院画楼阁小品的沿展，只是风格更加清新活泼。\n此页旧题签“赵伯骕荷亭对弈”，实为元人所作。",[23,164,24,7,59,27,95,28,96,97,130,168,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ea73aea37bb0f5cf60b79d0bc39c0e2.jpg",[],{"id":61890,"slug":61891,"title":61892,"dynasty":18,"author":223,"museum":12686,"description":61893,"tags":61894,"thumbUrl":61895,"material":84,"size":84,"collection":84,"collections":61896,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},223571,"xi-pan-gui-mu-tu-yi-ming-223571","溪畔归牧图","柳溪边，一牧童骑牛渡水，一牛隔岸嘶鸣，作欲渡而又畏渡之态，具有浓郁的乡村生活气息。\n牧童用简笔描绘，柳、牛则用细笔勾描，笔法精工。",[23,24,7,27,28,132,29,99,102,96,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5951ff9e84033a61bc0d4c305cb17153.jpg",[],{"id":61898,"slug":61899,"title":61900,"dynasty":144,"author":223,"museum":244,"description":61901,"tags":61902,"thumbUrl":61903,"material":13440,"size":61904,"collection":84,"collections":61905,"showCount":419,"zanCount":1998,"manualWeight":48,"mainColor":49},223508,"lin-ting-qiu-se-tu-yi-ming-223508","林亭秋色图","沿江冈陵起伏，霜气已深，岁将暮矣。满山寒林卓立，寒松翠柏而外，偶有红叶点缀。山道中，行人负戴，河岸上，旅人步骑趱行。远方水上，渔艇鼓枻收网，朝起江村，各有所事。\n本幅树木造形，干细长，分枝如蟹爪，为典型元朝承续宋代李成、郭熙一派寒林画法。画上烟水空阔，气象萧疏，使人凛然而有寒意。无款印。",[23,24,164,7,128,132,29,130,1233,331,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e60592ae246de35dc4631b352b3bbc3.jpg","27.5x50.7厘米",[],{"id":61907,"slug":61908,"title":61909,"dynasty":18,"author":223,"museum":20,"description":61910,"tags":61911,"thumbUrl":61912,"material":40,"size":61913,"collection":84,"collections":61914,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},223506,"song-yin-tan-dao-tu-ye-yi-ming-223506","松荫谈道图页","此图亦作《三教论道图》，图绘远处山峰连绵，近处一棵高大松树松杆遒劲，绿荫如盖；松荫下儒、释、道三位教徒或着长袍，或着叶装，端坐于松根、石块上谈经论道。此处环境清幽，阴凉静雅，似世外桃园般安逸。",[23,24,164,7,1131,28,27,96,1144,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F833d44227db51604372db96ab56fde5d.jpg","25.3＊25.6cm",[],{"id":61916,"slug":61917,"title":61918,"dynasty":54,"author":11383,"museum":20,"description":23655,"tags":61919,"thumbUrl":61920,"material":23658,"size":23659,"collection":84,"collections":61921,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":615},223143,"shi-wan-tu-ce-7-ren-xiong-223143","十万图册7",[23,24,164,7,59,28,27,29,97,413,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7a1b10828519dc13f4704bee941031.jpg",[],{"id":61923,"slug":61924,"title":61925,"dynasty":54,"author":6957,"museum":300,"description":61926,"tags":61927,"thumbUrl":61928,"material":27,"size":84,"collection":84,"collections":61929,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},223131,"qun-xian-tu-ren-xun-223131","群仙图","任薰（1835年—1893年），字舜琴，又字阜长，其父任椿，兄任熊都是画家。少丧父，从兄学画，青年时在宁波卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、任预均从其习画。人物与其兄同师陈洪绶，常用高古游丝、铁线、行云流水、兰叶几种描法。任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与顾文彬子顾承相友善，曾为设计怡园。1888年54岁时双目失明，后病卒于苏州。与任熊、任颐时称“三任”，合任预为“四任”，并为海上画派代表画家之一。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽（马、羊等）无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。\n他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 寻常容貌，带有性格的神态，别出心匠。\n任薰作品在香港拍卖较多，1986年即有作品参加拍卖，1986年5月一件《双钩花鸟册》（共十二张）卖到45000港元。1989年5月又拍卖过两幅作品，一幅扇面《钟馗》以24200港元成交，另一幅《秋景山水》轴也是24000港元。1990年11月拍卖的一件《花卉草虫画集》册页价格偏低，只有17600港元，第二年9月是一件册页则达到12万港元，这是一件八开山水人物册页，山水人物比他的花卉草虫要珍贵得多。\n任薰作品也在纽约拍卖，1989年拍卖的《人物》四屏立轴卖到18700美元，1990年11月拍卖的一幅《仕女》扇面是1540美元。1992年6月纽约苏富比公司又推出两幅任薰作品，一为山水轴（128.6*60.3），作于1876年，估价不高，为1200－1500美元，以1700美元成交。另一幅人物轴（92.7*41.3公分）由于起价太高而未拍出。",[23,24,7,27,28,96,29,97,34,949,950,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a6b02a2a93b694310e08a39e6c70fa4.jpg",[],{"id":61931,"slug":61932,"title":6956,"dynasty":54,"author":6957,"museum":300,"description":6958,"tags":61933,"thumbUrl":61934,"material":84,"size":84,"collection":84,"collections":61935,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},223089,"shui-hu-ren-wu-ren-xun-223089",[23,24,7,165,27,28,96,5626,170,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a8bcbc88ceb89b051d93d71a7863e2b.jpg",[],{"id":61937,"slug":61938,"title":6956,"dynasty":54,"author":6957,"museum":300,"description":6958,"tags":61939,"thumbUrl":61940,"material":84,"size":84,"collection":84,"collections":61941,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},223084,"shui-hu-ren-wu-ren-xun-223084",[23,24,7,96,28,27,188,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19c69b7831b89491435ab19058724da7.jpg",[],{"id":61943,"slug":61944,"title":61945,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":61946,"thumbUrl":61947,"material":151,"size":7879,"collection":84,"collections":61948,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},222967,"hong-lou-meng-92-sun-wen-222967","红楼梦92",[23,24,7,25,28,27,130,97,96,4363,875,131,209,1428,249,6874],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe37ac43c8394a731fbdbcf24bc56c51.jpg",[],{"id":61950,"slug":61951,"title":61952,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":61953,"thumbUrl":61955,"material":151,"size":7879,"collection":84,"collections":61956,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},222960,"hong-lou-meng-85-sun-wen-222960","红楼梦85",[23,24,28,27,7,96,997,97,2352,34,62,247,1428,30437,61954],"古典题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5931b04bf779205467c8bc8bd7f07551.jpg",[],{"id":61958,"slug":61959,"title":61960,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":61961,"thumbUrl":61963,"material":151,"size":7879,"collection":84,"collections":61964,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},222948,"hong-lou-meng-73-sun-wen-222948","红楼梦73",[23,164,24,7,28,27,96,48827,23215,7345,30438,30437,166,61962],"博古器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6359730aa5e71398982eff2318bb16a0.jpg",[],{"id":61966,"slug":61967,"title":61968,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":61969,"thumbUrl":61970,"material":151,"size":7879,"collection":84,"collections":61971,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":199},222916,"hong-lou-meng-41-sun-wen-222916","红楼梦41",[23,164,24,7,25,28,27,96,97,247,34,131,249,7875,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71143b0e3881c22a1570161c623f281c.jpg",[],{"id":61973,"slug":61974,"title":61975,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":61976,"thumbUrl":61978,"material":151,"size":7879,"collection":84,"collections":61979,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},222907,"hong-lou-meng-32-sun-wen-222907","红楼梦32",[23,24,7,28,27,95,96,97,247,167,413,131,45023,166,35,8347,8565,61977],"室外场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365e9f1d82d6ef78a2bca3d92337f7fb.jpg",[],{"id":61981,"slug":61982,"title":61983,"dynasty":124,"author":9650,"museum":56,"description":9651,"tags":61984,"thumbUrl":61985,"material":84,"size":84,"collection":84,"collections":61986,"showCount":419,"zanCount":1998,"manualWeight":48,"mainColor":72},222515,"shen-xian-tu-ce-4-zhang-lu-222515","神仙图册4",[23,24,7,59,128,188,96,4306],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80fe3d9b9a0db3001e28c267796d754e.jpg",[],{"id":61988,"slug":61989,"title":61990,"dynasty":124,"author":61991,"museum":244,"description":61992,"tags":61993,"thumbUrl":61994,"material":84,"size":84,"collection":84,"collections":61995,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},222451,"hua-wu-ming-ji-wang-zhong-li-222451","花坞鸣鸡","王中立","王中立（公元16-17世纪初），明代画家，字振之、彦强，号子正、子和、玄洲、玄洲生，吴县（今江苏苏州）人，生卒年不详。善画花鸟，笔力苍老，钩写兼用，设色绚丽，造型生动，颇有生意。师法陈淳，画风似鲁治、王穀祥，为吴派画家之一。\n传世作品有万历三十六年（1608）作《(松树喜鹊图》轴，现藏故宫博物院；四十三年（1615）作《花鸟图》卷，款署：“万历乙卯十月既望，为秋空禅兄写，王中立。”钤“王中立印”、“玄洲”两白文方印，现藏广州美术馆；万历三十四年作《腊梅双雀图》扇页、三十五年作《梅鹊图》轴、四十四年作《菊花图》轴、天启元年（1621）作《双猫菊石图》轴，均著录于《中国书画家印鉴款识》。",[24,7,1131,27,28,2510,1144,547,1314,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff98788b9f459f6714a03947aa5bb776.jpg",[],{"id":61997,"slug":61998,"title":61999,"dynasty":124,"author":1058,"museum":510,"description":62000,"tags":62001,"thumbUrl":62002,"material":1027,"size":62003,"collection":84,"collections":62004,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},222340,"wu-yang-zi-yang-xing-tu-quan-juan-tang-yin-222340","悟阳子养性图全卷","图绘溪水流淌、绿树成荫的幽静之处，有草厅一间，一老者坐于蒲团之上，双手握于膝上，仰望的姿势似观赏远处的大好山水，身旁一桌上置诗书几本，表达出修身养性的意境；卷后有文徵明题《悟阳子诗叙》，二大才子书画合璧，精彩绝伦！",[23,24,7,25,128,133,64,29,96,711,34,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7458bac5765bb1775c9eeabee74ee5f5.jpg","29.5x103.5cm",[],{"id":62006,"slug":62007,"title":62008,"dynasty":124,"author":204,"museum":244,"description":62009,"tags":62010,"thumbUrl":62011,"material":637,"size":62012,"collection":84,"collections":62013,"showCount":419,"zanCount":1998,"manualWeight":48,"mainColor":72},222203,"fan-ma-tu-zhou-chou-ying-222203","番马图轴","绘一人一马，人物以番帮打扮，尖帽畜须，骏马强壮，眼神清亮。画上题：“天下房星原不动，人间画马亦难逢。当时笔下千金，此是窗前八尺龙。”嘉靖戊午春日书，徵明",[23,24,7,165,28,27,96,101,64,208,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c04117dd0d485325b0f4634fce12365.jpg","64x35厘米",[],{"id":62015,"slug":62016,"title":62017,"dynasty":124,"author":3608,"museum":524,"description":23710,"tags":62018,"thumbUrl":62019,"material":611,"size":62020,"collection":84,"collections":62021,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},222181,"xue-hou-fang-mei-tu-zhou-lu-zhi-222181","雪后访梅图轴",[23,24,7,164,165,128,132,29,1556,371,97,129,131,99,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aaf80233eb812f5038cd4b1c54a09f2.jpg","76x40cm",[],{"id":62023,"slug":62024,"title":62025,"dynasty":124,"author":125,"museum":56,"description":18035,"tags":62026,"thumbUrl":62027,"material":514,"size":18039,"collection":84,"collections":62028,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},222096,"liang-jiang-ming-sheng-tu-ce-8-shen-zhou-222096","两江名胜图册8",[23,24,7,59,27,29,64,129,1144,97,415,414,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d2195e006435fbb0a25480c8b44d74.jpg",[],{"id":62030,"slug":62031,"title":62032,"dynasty":124,"author":125,"museum":56,"description":18035,"tags":62033,"thumbUrl":62034,"material":514,"size":18039,"collection":84,"collections":62035,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},222093,"liang-jiang-ming-sheng-tu-ce-5-shen-zhou-222093","两江名胜图册5",[23,24,7,59,27,29,132,97,34,131,1645,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F529ed3b156ab6352fef75398d40a0743.jpg",[],{"id":62037,"slug":62038,"title":62039,"dynasty":124,"author":10106,"museum":244,"description":62040,"tags":62041,"thumbUrl":62042,"material":1223,"size":32166,"collection":44,"collections":62043,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},222071,"ba-tuo-luo-wu-bin-222071","跋陀罗","十六罗汉，主要依据唐玄奘翻译的《大阿罗汉难提密多罗所说法住记》，他们是：一宾度啰跋罗惰阇、二迦诺迦伐蹉、三迦诺迦跋厘堕阇、四苏频陀、五诺距罗、六跋陀罗、七迦理迦、八伐阇罗弗多罗、九戍博迦、十半托迦、十一啰怙罗、十二那伽犀那、十三因揭陀、十四伐那婆斯、十五阿氏多、十六注荼半托迦。十六罗汉是释迦牟尼佛的弟子。据经典说，他们受了佛的嘱咐，不入涅盘，常住世间，受世人的供养而为众生作福田。此外，另有十八罗汉之说。此系于十六罗汉加上二位尊者。关于所加的二尊有多种说法。",[23,24,7,27,28,96,187,99,497,34,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F755968993a8a52ca5f45fdf52ffeb308.jpg",[44,45],{"id":62045,"slug":62046,"title":62047,"dynasty":124,"author":802,"museum":161,"description":11485,"tags":62048,"thumbUrl":62049,"material":59,"size":84,"collection":84,"collections":62050,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},221906,"hua-niao-jing-pin-ce-3-chen-hong-shou-221906","花鸟精品册3",[24,7,59,27,28,61,376,481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5216492fc58e2e584bd49c2caa9bda6.jpg",[],{"id":62052,"slug":62053,"title":61427,"dynasty":144,"author":7095,"museum":300,"description":62054,"tags":62055,"thumbUrl":62056,"material":61534,"size":62057,"collection":84,"collections":62058,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},221867,"qiu-lin-yuan-xiu-tu-ye-zhao-yong-221867","赵雍 （公元1289—？年），字仲穆，吴兴（今浙江湖州）人，赵孟頫次子。赵雍承家学诗文书画皆精，善鉴赏，人物、山水、界画、花鸟、鞍马无所不能。幼即勤奋，得母指教，稍懈母即严责之。稍长，“所画浓淡浅深皆至理”。山水宗父法，参学董、巨、李、郭、萧散清远，笔力劲健，有个人面貌。兰竹师其母，腴润洒脱，颇有风致，尤精人物鞍马，法唐人，有古意，行走滚卧，驰骤奔跳，浴水啮草，各式姿容神态皆生动，深得文人学士甚至皇帝好评。书善正、行、草，亦长篆书，体势清劲。",[23,164,24,7,59,128,132,29,2875,12424,34,131,414,1337,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc71628b63edcc8a6d2dd2ebba0b6fdf9.jpg","68X77",[],{"id":62060,"slug":62061,"title":62062,"dynasty":144,"author":223,"museum":300,"description":62063,"tags":62064,"thumbUrl":62065,"material":84,"size":84,"collection":44,"collections":62066,"showCount":419,"zanCount":1998,"manualWeight":48,"mainColor":72},221782,"yuan-tai-zong-yi-ming-221782","元太宗","此作以写实笔触勾勒帝王形貌，头戴镶纹暖帽，眉骨棱起，眼神沉凝锐利，虬髯劲挺，窄袖褐袍简约厚重，将草原君主的雄武气场尽显无遗。左侧题字笔致端整，与画像相映成趣。\n\n整幅画像朴拙凝练，无繁丽装饰，以精准的线条捕捉人物威严肃穆的神态，将马背帝王的沉雄威仪定格于绢素之上，既保留了纪实特质，又以传神刻画让观者窥见一代君主的杀伐气度，兼具史证价值与审美价值。",[23,24,7,27,96,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F791ac7688f23b9fdd6a35891aae37f30.jpg",[44,45],{"id":62068,"slug":62069,"title":6571,"dynasty":144,"author":2487,"museum":20,"description":62070,"tags":62071,"thumbUrl":62072,"material":151,"size":62073,"collection":84,"collections":62074,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},221774,"luo-han-tu-ren-ren-fa-221774","任仁发（1254—1327），字子明，一字子垚，号月山，青浦（今属上海市）人。元代画家、水利家，书学李北海，画学李公麟。擅长人物画，所画人物笔墨苍润，生动传神。\n2016年12月4日，任仁发画作《五王醉归图》卷亮相拍场，最终以3.036亿元成交。保利拍卖执行董事赵旭在接受采访时表示，该作品“成交价创今年中国艺术品在全球的最高成交纪录”。",[23,164,24,7,188,27,96,187,949,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fba18eee5c0b749925dc80a6231c025.jpg","41.5x210.7cm",[],{"id":62076,"slug":62077,"title":62078,"dynasty":18,"author":2099,"museum":300,"description":15916,"tags":62079,"thumbUrl":62080,"material":611,"size":15919,"collection":84,"collections":62081,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},221400,"fa-hai-ling-shan-tu-2-li-gong-lin-221400","法海灵山图2",[23,164,24,7,188,128,187,96,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9af87f3e8854855ed0e419c0fca193f3.jpg",[],{"id":62083,"slug":62084,"title":62085,"dynasty":124,"author":2268,"museum":1300,"description":62086,"tags":62087,"thumbUrl":62088,"material":133,"size":62089,"collection":84,"collections":62090,"showCount":419,"zanCount":1998,"manualWeight":48,"mainColor":72},220947,"xing-shu-zhou-dong-qi-chang-220947","行书轴","画心纵长175.9厘米，横46厘米\n\n立轴、绫本。这轴行书取法晋唐，用笔十分精到，内涵丰富，在笔的运动中完成点画的各种形态，\n\n气贯韵满，虚实结合，由此生动变化而曲尽其妙。书法结体上讲究精微、紧密而有势；在章法上则讲究\n\n疏密相间，以字距大、行距大形成疏朗的调子，将结体的美与行间的空白产生有与无的对比，因而造成",[7,165,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65dd1225c7182139c2bf49e99a424309.jpg","179.5×46cm",[],{"id":62092,"slug":62093,"title":62094,"dynasty":54,"author":40286,"museum":8958,"description":62095,"tags":62096,"thumbUrl":62098,"material":17163,"size":84,"collection":84,"collections":62099,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},220461,"bei-jing-feng-su-qiang-you-er-chen-shi-ceng-220461","北京风俗•墙有耳","画面以淡墨写意勾勒两位私语老者，二人交头接耳神态隐秘，一旁素简栅栏暗合隔墙有耳的讽喻。线条洗练传神，寥寥数笔便将人物的警惕描摹尽致，浅淡设色晕染出老北京街陌的烟火气，又藏着沉郁的时代心绪。\n\n题跋详述旧京世情，记录清末民初城中的言说禁忌，将市井纪实与讽喻融为一体。画作跳脱传统文人画的雅趣窠臼，以质朴笔墨定格巷陌日常，把当时社会噤若寒蝉的世相揉入简约画面，既是鲜活的风俗剪影，也暗藏对时代氛围的细腻体察，是兼具人文温度与现实关照的小品佳作。",[24,7,128,27,96,58196,62097,133,208],"风俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64bdfe2a44ae985682ac241e3be3a4df.jpg",[],{"id":62101,"slug":62102,"title":62103,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":62104,"thumbUrl":62105,"material":611,"size":3722,"collection":84,"collections":62106,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},220308,"huang-shan-tu-ce-19-hong-ren-220308","黄山图册-19",[23,164,24,7,59,128,132,29,171,497,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a6dfe45f93f0cf56b0381c1faf8a8fe.jpg",[],{"id":62108,"slug":62109,"title":62110,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":62111,"thumbUrl":62112,"material":611,"size":3722,"collection":84,"collections":62113,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},220290,"huang-shan-tu-ce-36-hong-ren-220290","黄山图册-36",[23,24,164,7,59,132,128,27,29,130,372,17423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6829f0cca6aa95fd925c0332e8917236.jpg",[],{"id":62115,"slug":62116,"title":62117,"dynasty":18,"author":12285,"museum":5543,"description":12286,"tags":62118,"thumbUrl":62119,"material":173,"size":12289,"collection":84,"collections":62120,"showCount":419,"zanCount":1998,"manualWeight":48,"mainColor":49},220109,"shi-liu-luo-han-tu-di-shi-san-zun-zhe-jin-da-shou-220109","十六罗汉图-第十三尊者",[23,24,7,165,187,27,28,96,413,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa93d557f47177bc97fadbfffda394a.jpg",[],{"id":62122,"slug":62123,"title":62124,"dynasty":54,"author":62125,"museum":56,"description":62126,"tags":62127,"thumbUrl":62128,"material":27,"size":62129,"collection":84,"collections":62130,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},219808,"hua-niao-cao-chong-tu-2-sun-long-219808","花鸟草虫图-2","孙龙","此册绢本设色，共十二图，描绘荷塘鹡鴒、蓼花螳螂、水藻玄蝉、秋塘青蛙、秋草蝗虫、蜀葵、黄叶麻雀、海棠白头等内容。",[164,24,7,27,61,355,480,208,59,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F351215e9fdcf2a7bb48a6fadabd20502.jpg","纵22.9 厘米 横21.5 厘米",[],{"id":62132,"slug":62133,"title":62134,"dynasty":124,"author":204,"museum":56,"description":11541,"tags":62135,"thumbUrl":62136,"material":173,"size":11544,"collection":84,"collections":62137,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},219777,"lin-song-ren-hua-ce-3-chou-ying-219777","临宋人画册-3",[24,7,59,330,28,27,96,387,34,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282710dc33ec5660385edb66147e8f3e.jpg",[],{"id":62139,"slug":62140,"title":62141,"dynasty":124,"author":204,"museum":56,"description":11541,"tags":62142,"thumbUrl":62144,"material":173,"size":11544,"collection":84,"collections":62145,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},219776,"lin-song-ren-hua-ce-4-chou-ying-219776","临宋人画册-4",[24,7,59,330,28,27,96,102,413,247,758,2218,62143,4797,2147],"廊下","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febd8183940ebe2dfca2cacdae3b16abf.jpg",[],{"id":62147,"slug":62148,"title":62149,"dynasty":18,"author":223,"museum":244,"description":62150,"tags":62151,"thumbUrl":62152,"material":173,"size":62153,"collection":44,"collections":62154,"showCount":419,"zanCount":1998,"manualWeight":48,"mainColor":72},219601,"liu-tang-hu-du-tu-yi-ming-219601","柳塘呼犊图","画上是清澈的小溪旁，杨柳垂荫、青草茂密。一阵风来，将柳絮吹得犹如满天纷飞的绿雪。树下一名驼了背脊、衣衫褴履的老牧人，正眯着眼、掩面伫着木杖打盹。牛喝足了水，迎着风，使尽全力，「哞－哞－」地叫着：像是要提醒老牧人，也像在呼唤顽皮、跑远的小牛：该回家罗！\n如诗般的江南风光、如歌般的田园生活，不只令现今的都会人心生向往，也是许多的在朝为官 的宋代士大夫们，对于「故乡」最美好的记忆。当他们告老还乡时，最大的心愿之一，莫过于徜佯在这片青草地上，伴随着自在悠闲的牛儿，作一名安闲平凡的牧人。正如一位北宋诗人所说的：「人生愿望无数，能达成的又有多少呢？我想，若能拥有百亩良田以及一只牛的陪伴，也就心满意足了吧！」",[23,24,164,7,59,27,28,2372,102,96,413,32855,228,6640],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f94cf9b5d56f49c5f99cdb42a8ad360.jpg","纵24.9厘米 横26.6厘米",[44],{"id":62156,"slug":62157,"title":62158,"dynasty":18,"author":62159,"museum":244,"description":62160,"tags":62161,"thumbUrl":62162,"material":173,"size":62163,"collection":136,"collections":62164,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},218873,"shan-shui-tu-su-di-chun-xiao-ma-yuan-zhong-218873","山水图-苏堤春晓","马元忠","画面中，西湖边的苏澳路景象逼真，断桥和三座鱼舱清晰可见，湖壁上的游客画面虽小，却很生动。马元忠的画史没有记载，他对苏堤在南宋时期的面貌进行了宝贵的描绘。",[23,24,7,59,95,128,27,29,97,98,129,34,415,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f9048532902657b0f71f4a712b0075.jpg","23.6x25.8",[136],{"id":62166,"slug":62167,"title":62168,"dynasty":54,"author":223,"museum":56,"description":62169,"tags":62170,"thumbUrl":62171,"material":66,"size":62172,"collection":44,"collections":62173,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},218480,"mao-xiang-xiao-xiang-tu-yi-ming-218480","冒襄肖像图","头戴围巾的男子坐在圆椅上，神情轻松，凝视着远方，他的围巾和衣服都是明代风格，线条流畅，形象生动；座位旁边的桌子是托盘和酒桌，砚台的形状是起伏的山峰，瀑布穿插着溪流和山谷，动态非凡。石头的底座是按照形状来塑造的，线条简单，还有一些当地的如意矮脚。",[23,24,7,28,27,133,96,171,7344,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7cd6fb035d8a671704cf1a5626532c7.jpg","82x44",[44],{"id":62175,"slug":62176,"title":62177,"dynasty":124,"author":802,"museum":224,"description":22521,"tags":62178,"thumbUrl":62179,"material":173,"size":84,"collection":84,"collections":62180,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},218026,"za-hua-ce-5-chen-hong-shou-218026","杂画册-5",[24,7,59,28,188,27,128,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eadc7073d76fa201aeac2d5f0a759dd.jpg",[],{"id":62182,"slug":62183,"title":62184,"dynasty":54,"author":2653,"museum":300,"description":14125,"tags":62185,"thumbUrl":62186,"material":173,"size":84,"collection":84,"collections":62187,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":615},217248,"li-dai-di-wang-zhen-xiang-18-yao-wen-han-217248","历代帝王真像-18",[24,7,27,96,28,170,59,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6689114c373ed3324585480cb627df9b.jpg",[],{"id":62189,"slug":62190,"title":62191,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":62192,"thumbUrl":62193,"material":611,"size":84,"collection":84,"collections":62194,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":956},217102,"bai-miao-luo-han-14-leng-mei-217102","白描罗汉-14",[24,7,188,187,96,59,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd8e2584bedd65469b7ae43ec2706550.jpg",[],{"id":62196,"slug":62197,"title":62198,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":62199,"thumbUrl":62200,"material":611,"size":84,"collection":84,"collections":62201,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":956},217097,"bai-miao-luo-han-23-leng-mei-217097","白描罗汉-23",[24,7,59,188,187,96,949,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88326be31883c012da479ea6fe37389.jpg",[],{"id":62203,"slug":62204,"title":62205,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":62206,"thumbUrl":62207,"material":611,"size":84,"collection":84,"collections":62208,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":956},217092,"bai-miao-luo-han-25-leng-mei-217092","白描罗汉-25",[24,7,59,188,187,96,949,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae87cb08c6691b4d5a1a90f8ca399a93.jpg",[],{"id":62210,"slug":62211,"title":62212,"dynasty":18,"author":25050,"museum":1941,"description":38765,"tags":62213,"thumbUrl":62214,"material":173,"size":38768,"collection":84,"collections":62215,"showCount":419,"zanCount":1998,"manualWeight":48,"mainColor":72},216918,"xiang-shan-jiu-lao-tu-2-ma-xing-zu-216918","香山九老图-2",[23,24,7,28,27,132,29,96,331,131,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecbf725ee005af6d80db4532a1bf9d2b.jpg",[],{"id":62217,"slug":62218,"title":62219,"dynasty":54,"author":223,"museum":2607,"description":62220,"tags":62221,"thumbUrl":62222,"material":611,"size":84,"collection":84,"collections":62223,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":956},216866,"xi-xiang-ji-tu-ce-18-yi-ming-216866","西厢记图册-18","亭榭隐于繁枝间，青瓦层叠如鳞，木栏绕阶映水，几分清幽漫溢画间。二人立于亭前，一俯身似低语，一垂眸含温婉，衣袂轻扬处，西厢旧梦的缱绻悄然流转。石畔蓝花点缀，树影婆娑覆檐，笔墨勾勒细腻，瓦当、枝叶皆见工致；设色淡雅温润，青绿与素白相映，恰如古典情愫的含蓄。画面以景托情，将才子佳人的脉脉温情融于园林小景，每一处细节都藏着故事的余韵，让观者于尺幅间触摸到那段西厢佳话的雅致与缠绵。笔墨工致处见匠心，淡彩晕染中显韵致，将古典爱情的含蓄与园林景致的清幽凝于方寸，尽显中式美学的温婉与深情。",[24,7,59,28,27,95,96,130,34,131,249,166,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0544b5586ecc1a77e8fc5d4a7640a633.jpg",[],{"id":62225,"slug":62226,"title":62227,"dynasty":54,"author":223,"museum":2607,"description":62228,"tags":62229,"thumbUrl":62230,"material":611,"size":84,"collection":84,"collections":62231,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":956},216860,"xi-xiang-ji-tu-ce-14-yi-ming-216860","西厢记图册-14","画面铺展一方雅致庭院，朱红栏杆蜿蜒勾连亭台，古树荫蔽下，山石错落生姿，几丛花草点缀其间，愈显清幽。人物衣袂轻扬，一立一跪间藏着西厢故事的婉转心事——站立者身姿温婉，似在俯身相询；跪拜者手持物件，神情恳切。工笔设色细腻，衣纹线条流畅，青绿草木与朱红栏杆相映成趣，将古典园林的静谧与人物互动的张力巧妙融合，仿佛能窥见西厢记中那段缠绵故事的一隅，笔墨间尽是对古典情韵的细腻描摹。",[24,7,59,27,95,96,97,99,171,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F720652a38329f92eef957d18fe25b055.jpg",[],{"id":62233,"slug":62234,"title":62235,"dynasty":124,"author":802,"museum":300,"description":62236,"tags":62237,"thumbUrl":62238,"material":278,"size":84,"collection":84,"collections":62239,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":49},216295,"xi-xiang-ji-zhen-ben-tu-ce-29-chen-hong-shou-216295","西厢记真本图册-29","画面分幅铺展，左幅禽鸟相嬉，翎羽以细劲线条勾勒，纹理毕现却不失古拙之态，姿态亲昵灵动；右幅苇叶疏朗横斜，墨点错落如萍汀水禽，野趣天成。笔墨凝练中藏着灵动韵致，墨色浅淡却层次分明，禽鸟的温情与苇间的清寂相映成趣，似把自然闲逸与生命意趣凝于纸间。古雅气息漫溢尺幅，笔情墨韵与意境交融，尽显传统笔墨的独特魅力，读之如临幽境，心生悠然。",[24,7,59,128,188,61,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbbfcc7f833afa8903f5e35c9f1df537.jpg",[],{"id":62241,"slug":62242,"title":62243,"dynasty":124,"author":1642,"museum":244,"description":60358,"tags":62244,"thumbUrl":62247,"material":66,"size":60361,"collection":84,"collections":62248,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},216092,"tai-ping-le-shi-tu-ce-4-dai-jin-216092","太平乐事图册-4",[24,7,59,27,96,23215,62245,62246],"钉头鼠尾描","临仿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd0dcfde225d5da5255f8a04cc3c93fd.jpg",[],{"id":62250,"slug":62251,"title":62252,"dynasty":124,"author":1642,"museum":244,"description":60358,"tags":62253,"thumbUrl":62255,"material":66,"size":60361,"collection":84,"collections":62256,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},216087,"tai-ping-le-shi-tu-ce-9-dai-jin-216087","太平乐事图册-9",[24,7,59,27,28,95,96,97,24585,1422,62254,2218,1421,32210],"戏台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fe1bc9fd2502d1a2a1fdb91451ca3f9.jpg",[],{"id":62258,"slug":62259,"title":62260,"dynasty":124,"author":1642,"museum":244,"description":60358,"tags":62261,"thumbUrl":62262,"material":66,"size":60361,"collection":84,"collections":62263,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},216086,"tai-ping-le-shi-tu-ce-10-dai-jin-216086","太平乐事图册-10",[24,7,59,27,28,96,1337,131,167,5626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a707f20eadea72e86c7b5f51436569f.jpg",[],{"id":62265,"slug":62266,"title":62267,"dynasty":54,"author":3750,"museum":77,"description":51930,"tags":62268,"thumbUrl":62269,"material":66,"size":84,"collection":84,"collections":62270,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},215028,"fang-gu-shan-shui-ce-3-wang-jian-215028","仿古山水册-3",[24,7,9717,2271,132,4437,29,131,34,98,99,35,19769],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf51937c7fa8c49c5ec3f6019215bc8d.jpg",[],{"id":62272,"slug":62273,"title":62274,"dynasty":144,"author":8127,"museum":244,"description":62275,"tags":62276,"thumbUrl":62277,"material":173,"size":10420,"collection":84,"collections":62278,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},214996,"xie-sheng-hua-hui-ce-12-wang-yuan-214996","写生花卉册-12","此画册有王渊绘画手法，但元代气息不足，可视为明清之际的王渊款花卉画。此套图册花鸟极其工细，勾勒精致，色彩鲜艳、古拙",[164,24,7,59,27,28,61,62,209,481,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b9e650742ee1f9caa1f3765c0561755.jpg",[],{"id":62280,"slug":62281,"title":62282,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":62283,"thumbUrl":62284,"material":278,"size":3888,"collection":84,"collections":62285,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},214941,"dao-zi-mo-bao-ren-wu-bai-miao-hua-43-yi-ming-214941","道子墨宝人物白描画-43",[23,164,24,7,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3af38fb6801cbd821653c734c0c5e5b4.jpg",[],{"id":62287,"slug":62288,"title":62289,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":62290,"thumbUrl":62291,"material":278,"size":3888,"collection":84,"collections":62292,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},214938,"dao-zi-mo-bao-ren-wu-bai-miao-hua-44-yi-ming-214938","道子墨宝人物白描画-44",[23,164,24,7,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11d9b19973fd501505c101831b7caed.jpg",[],{"id":62294,"slug":62295,"title":62296,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":62297,"thumbUrl":62298,"material":278,"size":3888,"collection":84,"collections":62299,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},214937,"dao-zi-mo-bao-ren-wu-bai-miao-hua-47-yi-ming-214937","道子墨宝人物白描画-47",[23,164,24,7,188,96,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30072ec893fd40909cb4f56f202138ba.jpg",[],{"id":62301,"slug":62302,"title":62303,"dynasty":54,"author":5276,"museum":4840,"description":9078,"tags":62304,"thumbUrl":62305,"material":66,"size":84,"collection":84,"collections":62306,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},214819,"shan-shui-hua-hui-tu-ce-2-gao-feng-han-214819","山水花卉图册-2",[24,7,59,128,27,29,98,211,34,35,33,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16a60e84bf06c1ef5e8e26698a7abd53.jpg",[],{"id":62308,"slug":62309,"title":62310,"dynasty":54,"author":1460,"museum":77,"description":4620,"tags":62311,"thumbUrl":62312,"material":66,"size":4624,"collection":68,"collections":62313,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},214560,"mo-zui-za-hua-tu-ce-7-shi-tao-214560","墨醉杂画图册-7",[23,24,7,59,128,369,61,548,13257,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaa2f55a704ff2548d16f954b2f29491.jpg",[68],{"id":62315,"slug":62316,"title":62317,"dynasty":54,"author":62318,"museum":424,"description":62319,"tags":62320,"thumbUrl":62321,"material":278,"size":84,"collection":84,"collections":62322,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":72},214487,"cheng-fang-fang-gu-shan-shui-tu-4-cheng-fang-214487","程淓仿古山水图-4","程淓","清代程淓的仿古山水图是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了程淓对自然的热爱和对传统文化的尊重。他运用了仿古山水画的特点，使得整件作品显得舒缓而优美。\n\n程淓是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在仿古山水图中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，程淓的仿古山水图是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了程淓对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到程淓的画风魅力，还能了解中国传统的山水风情。",[23,24,7,29,128,330,98,99,331,131,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932f5ddf5bed89cac6a31c1dce2407f7.jpg",[],{"id":62324,"slug":62325,"title":19857,"dynasty":124,"author":16846,"museum":56,"description":62326,"tags":62327,"thumbUrl":62328,"material":84,"size":84,"collection":136,"collections":62329,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":62330},203446,"shan-shui-zhou-wen-bo-ren-203446","这幅山水立轴笔墨清润雅致，承文人画清幽意趣。层峦叠嶂间，皴法细密灵动，晕染出山峦的厚重肌理与层次；虬曲枯树以淡墨写就，枝桠交错间透着萧疏之韵。山涧流泉隐现，山脚人家错落点缀，添了几分生活气息。构图疏密相宜，远近景层次分明，将自然山水的静谧与人文闲逸相融，尽显吴门画派的雅致风骨。",[23,24,7,165,128,132,29,131,34,495,99,96,98,758,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f4456d2433a0452450622966c102bcd.jpg",[136],"b6a696",{"id":62332,"slug":62333,"title":62334,"dynasty":124,"author":16846,"museum":56,"description":62335,"tags":62336,"thumbUrl":62338,"material":84,"size":84,"collection":136,"collections":62339,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":62340},203430,"qiu-pu-song-bie-tu-juan-wen-bo-ren-203430","秋浦送别图卷","画面铺展秋浦江天，烟波浩渺间岛屿错落，林木葱茏处隐现亭台。近岸孤舟待发，船帆轻扬，岸边人物揖别，意韵缱绻。远景山峦层叠，云雾氤氲，水色天光交融成一派清旷。笔墨细腻处见工致，山石皴法显肌理，树木点染得法，设色淡雅温润。卷后行书题跋流畅，与画风相得益彰，尽显雅致风神。整卷以景衬情，将送别之怅惘藏于山水幽远，读来如临其境，怅然若失。",[23,24,7,25,27,28,132,64,133,29,129,97,34,99,96,130,62337,414,1743,758,1009],"岸边景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c20e12301268a7c13276cf69343153.jpg",[136],"c0b095",{"id":62342,"slug":62343,"title":62344,"dynasty":32945,"author":3539,"museum":56,"description":62345,"tags":62346,"thumbUrl":62347,"material":84,"size":84,"collection":117,"collections":62348,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":62349},203389,"ben-ma-tu-heng-pi-xu-bei-hong-203389","奔马图横披","奔马昂首奋蹄，四蹄腾空，鬃毛与长尾如墨浪翻卷，动感十足。画家以水墨浓淡变化晕染马身，线条刚劲洒脱，既精准勾勒出肌肉的健硕轮廓，又以写意笔触赋予画面灵动气韵。马匹姿态矫健，似欲破壁而出，传递出蓬勃生命力与昂扬精神。整幅作品墨韵生动，形神兼备，将马的奔腾之姿与内在神韵完美融合，尽显精湛笔墨功底与对生命力量的赞颂。",[24,128,101,7,369,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F894b88fab17e1723ea886b7574773dc2.jpg",[117],"c8bca8",{"id":62351,"slug":62352,"title":409,"dynasty":124,"author":27311,"museum":56,"description":62353,"tags":62354,"thumbUrl":62355,"material":84,"size":84,"collection":136,"collections":62356,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":62357},203305,"shan-shui-ce-li-liu-fang-203305","淡墨晕染的远山如轻烟笼黛，近渚的树木与村落以简劲笔触勾勒，墨色浓淡相间，尽显江南水乡的清寂之趣。左侧行书笔意流畅灵动，与山水意境相融相生，诗书画印浑然一体，传递出文人画特有的雅致与疏放。画面不着浓彩，以水墨的晕染与皴擦营造空濛之境，笔触简练却意韵悠长，如吟一首清寂的田园小诗，引人沉浸于那份悠然淡远的笔墨世界里。",[29,128,133,132,59,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd980e3105070110f1cd532c855e017f6.jpg",[136],"a69183",{"id":62359,"slug":62360,"title":62361,"dynasty":32945,"author":62362,"museum":56,"description":62363,"tags":62364,"thumbUrl":62365,"material":84,"size":84,"collection":68,"collections":62366,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":62367},202880,"shu-hua-cheng-shan-wu-dai-qiu-202880","书画成扇","吴待秋","扇面之上，梅枝虬曲伸展，墨笔皴擦出苍劲老干，古拙中见生机；花朵以粉、黄、白诸色点染，妍丽鲜活，与墨枝相映成趣。旁侧书法笔力遒劲，墨韵流转，与梅花图相得益彰，书画合璧，尽显文人雅趣。整幅作品笔墨灵动，设色清雅，方寸之间疏密有致，意境悠长。",[1131,61,371,27,64,133,24,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb84cc62fca83f03839354a306dbaeebc.jpg",[68],"49524d",{"id":62369,"slug":62370,"title":62371,"dynasty":32945,"author":8159,"museum":56,"description":62372,"tags":62373,"thumbUrl":62374,"material":84,"size":84,"collection":136,"collections":62375,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":62376},202871,"shan-ting-tu-zhou-huang-bin-hong-202871","山亭图轴","画面中山石巍峨，以苍劲皴法写就，墨色浓淡交错，尽显浑厚质感。虬枝枯树斜倚岩边，枝桠如铁线般伸展，古意盎然。溪畔岩下隐有小亭，孑然独立，似待幽人。流泉潺潺，隐于山石间，添几分清寂。笔墨沉郁老辣，意境悠远静谧，将山水之幽邃与文人之逸趣融于一纸，尽显传统山水的深邃韵味。",[24,128,29,132,130,1337,131,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81c63b561a2cc848041851f31514ab1b.jpg",[136],"aea68e",{"id":62378,"slug":62379,"title":62380,"dynasty":32945,"author":5076,"museum":56,"description":62381,"tags":62382,"thumbUrl":62383,"material":84,"size":84,"collection":68,"collections":62384,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":62385},202860,"feng-ye-tu-zhou-qi-bai-shi-202860","枫叶图轴","枫叶以浓墨勾脉，绛红晕染，似燃着秋阳的暖意；叶片间藏一只小虫，细笔描摹其须足，灵动如生。粗放的叶与精微的虫相映成趣，工写相融间，透出独有的生趣——不写秋之萧瑟，反以小生灵点活满幅秋光。笔墨简劲却意韵饱满，色彩浓烈而不失雅致，将日常所见的秋景化为充满生命力的画境，尽显“妙在似与不似之间”的艺术哲思。",[24,7,61,128,27,28,208,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44039ed44a70c15fb44a4d34f0587d1f.jpg",[68],"e3ded7",{"id":62387,"slug":62388,"title":62389,"dynasty":54,"author":38280,"museum":56,"description":62390,"tags":62391,"thumbUrl":62392,"material":84,"size":84,"collection":136,"collections":62393,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":62394},202226,"fang-ni-huang-shan-shui-heng-pi-qian-wei-qiao-202226","仿倪黄山水横披","笔墨兼取倪瓒之疏秀与黄公望之苍浑，铺展清旷淡远的山水景致。近坡枯树虬枝，线条简劲如篆，与散置的嶙峋怪石相衬；中景山体以披麻皴缓皴密染，肌理见厚拙，苔点错落似缀玉；远景平畴延绵，隐现村舍一二，溪流曲绕其间，漾开虚灵之韵。画面留白疏朗，虚实相映，既存倪瓒“简中寓繁”的逸致，又含黄公望“峰峦浑厚”的沉雄，将元人山水的萧散与清人笔墨的雅逸糅合，尽显文人画的抒情旨趣。",[24,128,29,132,1337,131,99,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1e4109c8ed3d443605a4e0d901d1a76.jpg",[136],"c1b1a0",{"id":62396,"slug":62397,"title":62398,"dynasty":54,"author":27238,"museum":56,"description":62399,"tags":62400,"thumbUrl":62401,"material":84,"size":84,"collection":136,"collections":62402,"showCount":419,"zanCount":48,"manualWeight":48,"mainColor":62403},202039,"jian-jia-nong-di-tu-zhou-li-jian-202039","兼葭弄笛图轴","层峦叠嶂间云雾轻笼，飞瀑隐现于林麓；山麓下溪流蜿蜒，小桥横跨水面，连接起幽僻小径。近岸亭榭临流而筑，一人凭栏弄笛，笛声似随水波漾开。树木葱茏，枝叶以浓淡墨色点染，皴擦结合，尽显苍劲之态。整幅画以水墨为主，设色淡雅，笔墨清润，将文人雅士寄情山水的闲逸心境融入其间，意境悠远，韵致天成。",[24,7,29,132,128,130,98,99,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92681c15299ff79bf6a717f9f28328c3.jpg",[136],"624a28",{"id":62405,"slug":62406,"title":62407,"dynasty":144,"author":223,"museum":300,"description":62408,"tags":62409,"thumbUrl":62410,"material":692,"size":1293,"collection":84,"collections":62411,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},290910,"cong-ju-tu-zhou-yi-ming-290910","丛菊图轴","此作用赭色绢底铺陈底色，嶙峋湖石立作骨架，将丛菊错落排布。白菊似雪团攒簇枝头，间杂紫蕊柔枝，晕染出深浅层次，尽现盛放之姿。或昂然舒展、或垂首含娇，将秋菊清灵雅致的情态描摹尽致。\n\n蝶虫悄然隐于花间叶隙，为幽寂花景暗添鲜活意趣。设色古雅沉静，勾勒兼具工致与写意：既细致刻画菊瓣柔润的舒展层次，又以淡墨晕出花叶的苍润蓬松，融工笔之细腻与水墨之清逸为一体。\n\n整幅画作藏着文人爱菊的幽怀，将秋菊凌霜之态与隐逸之美凝于绢素，静而不寂，淡而有味，晕开秋日篱畔的清隽意境。",[164,24,7,165,27,61,376,171,481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18affc64ae70d5c5c9aac3439bc2a8af.jpg",[],{"id":62413,"slug":62414,"title":62415,"dynasty":124,"author":204,"museum":300,"description":19353,"tags":62416,"thumbUrl":62417,"material":692,"size":1293,"collection":84,"collections":62418,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},290874,"shuang-jun-tu-zhou-chou-ying-290874","双骏图轴",[24,164,7,165,96,101,64,208,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2a77ce6946038020ba8298cb1d45bf.jpg",[],{"id":62420,"slug":62421,"title":409,"dynasty":144,"author":14724,"museum":300,"description":40546,"tags":62422,"thumbUrl":62423,"material":692,"size":1293,"collection":84,"collections":62424,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},290791,"shan-shui-ce-cao-zhi-bai-290791",[24,164,7,59,128,132,29,496,130,35,37,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb8d4db09053f098e95e9302d75be369.jpg",[],{"id":62426,"slug":62427,"title":62428,"dynasty":144,"author":223,"museum":244,"description":62429,"tags":62430,"thumbUrl":62432,"material":173,"size":62433,"collection":68,"collections":62434,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},290787,"jia-gu-ming-qin-tu-zhou-yi-ming-290787","嘉谷鸣禽图轴","坡陀间一石突起，细草经霜，色皆枯槁，石后有稷米一丛，上栖蜡嘴三只，啄食稷穗。地面满布杂花，另有鹌鹑六只。三只聚于石上，一只自远处飞至，两只在左角，一仰一俯，啄食米粒。通幅细笔双钩，笔力甚为劲挺，其画风接近于明代仿宋代院体画派者之风格。",[164,24,7,165,61,28,27,211,8140,62431,604,131],"嘉谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69620d586c0096877e051015b8acb8a7.jpg","170.5x93.8",[68],{"id":62436,"slug":62437,"title":62438,"dynasty":18,"author":223,"museum":300,"description":10087,"tags":62439,"thumbUrl":62441,"material":692,"size":1293,"collection":84,"collections":62442,"showCount":430,"zanCount":1998,"manualWeight":48,"mainColor":72},290291,"ke-si-fu-gui-chang-chun-zhou-yi-ming-290291","缂丝富贵长春轴",[164,24,7,165,1944,61,27,263,62,62440],"富贵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b2a220e623a81c412cb92c6406e98c.jpg",[],{"id":62444,"slug":62445,"title":62446,"dynasty":18,"author":223,"museum":300,"description":10087,"tags":62447,"thumbUrl":62448,"material":692,"size":1293,"collection":84,"collections":62449,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},290285,"song-ke-si-fu-rong-shuang-yan-zhou-yi-ming-290285","宋缂丝芙蓉双雁轴",[164,24,7,165,1944,28,61,27,373,18111,189,62,131,12744],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a025cf588be896839360d31e85cb74.jpg",[],{"id":62451,"slug":62452,"title":62453,"dynasty":144,"author":1208,"museum":300,"description":34252,"tags":62454,"thumbUrl":62455,"material":692,"size":1293,"collection":84,"collections":62456,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},290155,"yan-ju-tu-ni-zan-290155","岩居图",[164,24,7,165,128,29,167,1337,35,98,99,208,64,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c1f4d3c7d03162b0c8ff0c8d1fbbe59.jpg",[],{"id":62458,"slug":62459,"title":40899,"dynasty":54,"author":3403,"museum":300,"description":8089,"tags":62460,"thumbUrl":62462,"material":692,"size":1293,"collection":84,"collections":62463,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},290075,"da-mo-tu-wu-chang-shuo-290075",[24,7,6318,187,18381,36394,62461,128,27],"面壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56dc7db29614efa358c88642793f57a9.jpg",[],{"id":62465,"slug":62466,"title":62467,"dynasty":144,"author":410,"museum":300,"description":21954,"tags":62468,"thumbUrl":62469,"material":692,"size":1293,"collection":84,"collections":62470,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},290061,"yun-lin-xiao-yin-tu-ke-luo-ban-wang-meng-290061","云林小隐图（珂罗版）",[23,164,24,7,25,128,64,133,1349,29,4438,131,4605,13414,2132,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3caeca2af59eae88432c0aeed7ad6dfe.jpg",[],{"id":62472,"slug":62473,"title":50073,"dynasty":18,"author":223,"museum":300,"description":62474,"tags":62475,"thumbUrl":62476,"material":692,"size":1293,"collection":84,"collections":62477,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},289942,"fang-guo-zhong-shu-xue-ji-jiang-xing-tu-yi-ming-289942",",画雪江上大船两只,船之结构及船夫劳作之状被刻画得精妙入微,此图已经裁割.画面已不完整,",[23,24,25,95,7,20794,1516,49067,1813,64,97,330,11166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdce44be3bb9a4fc815fe20943e725c8.jpg",[],{"id":62479,"slug":62480,"title":62481,"dynasty":18,"author":62482,"museum":300,"description":62483,"tags":62484,"thumbUrl":62485,"material":692,"size":1293,"collection":84,"collections":62486,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},288546,"dong-jing-shan-shui-tu-li-gong-nian-288546","冬景山水图","李公年","李公年，男，画家，[宋]尝为提点江浙刑狱公事。善画山水，运笔立意，风格不下前辈。写四时之图，甚有水云余思，至于写朝暮景趣，作长江日出，疎林晚照，真若物像出没于空旷有无之间。作有《宣和画谱》.",[23,164,24,7,165,128,29,17849,1337,1557,415,39665,13848,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd73e7ea30fdbb06234008179e1525049.jpg",[],{"id":62488,"slug":62489,"title":62490,"dynasty":54,"author":1676,"museum":300,"description":62491,"tags":62492,"thumbUrl":62493,"material":692,"size":1293,"collection":84,"collections":62494,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},288527,"wei-zi-yao-huang-tu-li-zhou-li-shan-288527","魏紫姚黄图立轴","李鱓[shàn]（1686年—1756年），字宗扬，号复堂，别号懊道人、墨磨人，清康熙二十五年（1686）生，乾隆二十一年（1756）卒，江苏扬州府兴化人，明代状元宰相李春芳第六世孙。清代著名画家，“扬州八怪”之一。康熙五十年中举， 康熙五十三年召为内廷供奉，其宫廷工笔画造诣颇深，因不愿受“正统派”画风束缚而遭忌离职。乾隆三年出任山东滕县知县，颇得民心，因得罪上司而罢官。后居扬州，卖画为生。\n李鱓工诗文书画。曾随蒋廷锡、高其佩学画。后受石涛影响，擅花卉、竹石、松柏，早年画风工细严谨，颇有法度。中年画风始变，转入粗笔写意，挥洒泼辣，气势充沛，对晚清花鸟画有较大影响。\n传世画迹有南京博物院藏《土墙蝶花图》轴、故宫博物院藏《松藤图》轴等。北京工艺美术出版社2005年出版“中国书画名家全集”，内收《李鱓画集》（上下卷）。",[23,164,24,7,165,128,61,263,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8fdff25619c14a805e8b449db935228.jpg",[],{"id":62496,"slug":62497,"title":7151,"dynasty":18,"author":1174,"museum":300,"description":62498,"tags":62499,"thumbUrl":62501,"material":692,"size":1293,"collection":84,"collections":62502,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},288369,"jin-wen-gong-fu-guo-tu-li-tang-288369","此《晋文公复国图》卷为宋代画家李唐绘。全图分为六段，描绘了晋文公（重耳）被他父亲放逐在外十九年，最后回国即位的故事，每段左题据传为宋高宗赵构手书的《左传》中相关章节，卷末有乔篑成、石岩、吴宽等人的跋。此卷现藏于大都会艺术博物馆。",[23,164,24,7,25,6318,19122,188,27,6675,758,4438,62500],"晋文公复国事件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd91db8876f688881b3c4cf82766bb82.jpg",[],{"id":62504,"slug":62505,"title":62506,"dynasty":54,"author":9529,"museum":300,"description":19697,"tags":62507,"thumbUrl":62508,"material":692,"size":1293,"collection":84,"collections":62509,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},288275,"shi-hua-ce-ye-10-zhen-wang-hui-288275","诗画册页10帧",[23,24,128,7,59,29,129,1144,131,64,208,132,19727],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7369b0cd92479004403e2a8f52e7ae8.jpg",[],{"id":62511,"slug":62512,"title":23709,"dynasty":54,"author":62513,"museum":300,"description":62514,"tags":62515,"thumbUrl":62516,"material":692,"size":1293,"collection":84,"collections":62517,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},288215,"hua-hui-shan-mian-jiang-jie-288215","江介","汪介，原名鉴，字石如，浙江杭州人。专绘花卉，工于篆刻，著有《墨林今话》、《畊砚田斋笔记》、《广印人传》。",[1131,24,7,27,62,263,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32be83c5e3f73fc46bc98a3387235d3a.jpg",[],{"id":62519,"slug":62520,"title":62521,"dynasty":54,"author":6936,"museum":300,"description":36556,"tags":62522,"thumbUrl":62523,"material":692,"size":1293,"collection":84,"collections":62524,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},288134,"shan-cun-yu-jing-tu-wang-yuan-qi-288134","山村雨景图",[24,7,165,128,29,132,24594,16819,98,99,496,34,35,1350,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F294c5e833fb6388c6d67ccaaee06df6d.jpg",[],{"id":62526,"slug":62527,"title":62528,"dynasty":124,"author":23268,"museum":300,"description":49436,"tags":62529,"thumbUrl":62530,"material":692,"size":1293,"collection":84,"collections":62531,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},288020,"hu-qiu-shan-tu-jing-xin-sun-zhi-288020","虎丘山图镜心",[23,24,7,1349,95,128,27,97,98,99,1516,1747,34,9165,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4f35e696980bb7bf3cd169dfe3be2dd.jpg",[],{"id":62533,"slug":62534,"title":13455,"dynasty":222,"author":223,"museum":300,"description":62535,"tags":62536,"thumbUrl":62537,"material":692,"size":1293,"collection":84,"collections":62538,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},287925,"bo-yuan-tie-yi-ming-287925","枯木虬曲瘦劲，枝桠舒展如篆籀古笔，笔法苍厚朴拙，自带萧散古意。窠石以阔笔皴擦晕染，棱线隐现，浑朴苍润，寥寥杂草轻勾，暗生机趣，简淡中见幽远意境。\n\n右侧题跋行书流丽秀雅，笔势连贯圆融，墨色干湿浓淡相映，笔意舒展自在。书画合璧，尺幅之间融绘事与文心，将文人林下清逸的审美意趣尽显无余，淡而有味，清隽耐看，尽显沉静萧散的文人风骨。",[24,7,64,133,128,331,171,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d81274083973040679a9699e2071f8.jpg",[],{"id":62540,"slug":62541,"title":62542,"dynasty":144,"author":223,"museum":244,"description":35562,"tags":62543,"thumbUrl":62544,"material":317,"size":62545,"collection":44,"collections":62546,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},287775,"ying-zhen-can-miao-tu-yi-ming-287775","应真参妙图",[24,7,27,28,96,187,18331,167,1495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff60fd12965aef3312ac1c05bf0eb9ca4.jpg","135.2x74.6",[44],{"id":62548,"slug":62549,"title":62550,"dynasty":144,"author":223,"museum":300,"description":62551,"tags":62552,"thumbUrl":62554,"material":692,"size":1293,"collection":84,"collections":62555,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},287378,"fo-xiang-gua-zhou-yi-ming-287378","佛像挂轴","这对挂轴以云气串联起佛国诸相，上部佛陀安坐云端，法相沉静端严，衣褶古拙厚重。中层诸天护法神态各异，怒目金刚威赫凛然，胁侍菩萨慈悲雍容，线条劲挺凝练，朱砂石青晕染出浓郁古艳的宗教氛围感。\n\n下部清供瓶花珍玩，将佛国庄严融于人间烟火意趣，边饰缠枝纹样古雅端庄。画面虽经岁月侵蚀略有残损，却更添沧桑厚重，把元代佛画的肃穆古朴的信仰美学，与工笔设色的精致气韵融为一体。",[23,24,7,165,187,27,96,7220,4204,31935,62553,62],"供具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04bb1738f7677ac605682d0434f35611.jpg",[],{"id":62557,"slug":62558,"title":62559,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":62560,"thumbUrl":62562,"material":692,"size":1293,"collection":84,"collections":62563,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},283773,"shu-shu-yao-cen-tu-zhou-dong-qi-chang-283773","疏树遥岑图轴",[164,24,7,165,128,29,62561,415,35,98,132,208,64],"疏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc04ef9a52bc3588b9795eae91f67593.jpg",[],{"id":62565,"slug":62566,"title":62567,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":62568,"thumbUrl":62569,"material":692,"size":1293,"collection":84,"collections":62570,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},283719,"jia-shu-chui-yin-tu-zhou-dong-qi-chang-283719","嘉树垂荫图轴",[24,7,165,128,29,130,131,331,64,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb66b384a91d0ebbfffebf386380377a3.jpg",[],{"id":62572,"slug":62573,"title":62574,"dynasty":54,"author":223,"museum":300,"description":62575,"tags":62576,"thumbUrl":62577,"material":692,"size":1293,"collection":84,"collections":62578,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},272981,"mu-bian-hua-ling-zhi-bian-fu-tu-gua-ping-yi-ming-272981","木边画灵芝蝙蝠图挂屏","此作工写相融，动静相宜。淡墨晕染出空濛天色，两只蝙蝠振翅穿空，暗合纳福的美好祈愿。下方拳石苍润通灵，细瀑垂落似有声响，灵芝挺秀、幽花绽艳，伴以细草舒展，生机流溢。\n设色清雅柔润，花卉的明丽与山石墨色的苍淡形成鲜明虚实对照，既有工笔描摹的细腻鲜活，又兼具写意的空疏灵韵，将世俗祈福的意趣藏入清逸山景间，雅俗共赏，尽显传统小品画的温婉雅致。",[24,7,40641,27,28,52218,9070,131,99,4278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10219ac8d906dcfb28e21cdb7f67ee3.jpg",[],{"id":62580,"slug":62581,"title":62582,"dynasty":54,"author":223,"museum":300,"description":62583,"tags":62584,"thumbUrl":62586,"material":692,"size":1293,"collection":84,"collections":62587,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},272965,"zi-tan-mu-bian-cai-xiu-zhu-lan-tu-gua-ping-yi-ming-272965","紫檀木边彩绣竹兰图挂屏","此作以针代笔，将山林幽境凝于尺幅。挺秀修竹倚崖而立，青碧篁影错落婆娑，晕染出清寂雅致的意趣。下方层岩叠瀑，素色水纹如练垂落，靛蓝撞色点染崖壁，与暖棕底色相映，明暗层次分明。左侧岩畔幽兰盛放，素白花蕊柔婉清雅，和劲节修竹呼应，暗合君子风骨。\n\n绣工细腻，设色古雅沉静，将水墨晕染的写意质感用丝线铺陈，既有工致细节，又带着文人画的澹泊空灵，尽显融画入绣的精妙意匠，把山林隐逸的幽谧之韵缓缓铺展。",[40641,7,62585,27,167,375,495,131],"彩绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff85b8369193682000bf6e9fded744d5a.jpg",[],{"id":62589,"slug":62590,"title":62591,"dynasty":54,"author":223,"museum":300,"description":62592,"tags":62593,"thumbUrl":62594,"material":692,"size":1293,"collection":84,"collections":62595,"showCount":430,"zanCount":1998,"manualWeight":48,"mainColor":72},267353,"xiu-xian-ying-xun-fan-shi-huan-hai-yin-feng-tu-zhou-yi-ming-267353","绣线迎薰繁实环海殷丰图轴","此作为清代闺阁绣画佳制，以绒线摹绘花鸟景致，针脚平齐细腻，以色丝晕染物象明暗层次。虬曲老枝次第缀满榴花柔瓣，艳红素白交织，生机勃发。两只绣眼灵动鲜活，一栖于枝头侧目远眺，一振翅穿飞上空，翎毛纤毫毕现，神态鲜活传神。蓝调湖石玲珑奇秀，衬以幽草兰蕙，野趣天成。整体设色雅致清新，将工笔花鸟的悠然意蕴以绣线还原，石榴暗合多子繁茂的吉祥意趣，画面静谧清丽，尽显太平雅致的融融生机。",[24,7,164,165,28,27,61,211,19684,605,11633,13534],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a85f6bcb511ada6a39d14319c058076.jpg",[],{"id":62597,"slug":62598,"title":62599,"dynasty":124,"author":223,"museum":300,"description":62600,"tags":62601,"thumbUrl":62602,"material":84,"size":84,"collection":2210,"collections":62603,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},242186,"tong-zhou-sheng-jiao-xu-yi-ming-242186","同州圣教序","此作为小楷题跋，以行意融楷法，笔致清灵秀雅，笔画瘦劲温润，筋骨暗藏不显锋芒。通篇笔墨排布疏朗匀停，气息静穆恬和。\n\n题文细论碑本旧拓异同，考辨细节源流，字里行间尽显鉴藏的审慎，带着旧时文人鉴碑赏帖的雅致情致。既具明代小楷秀整娟净的典型风貌，又因金石考据的内核晕开朴厚文心，将辨伪校勘的治学用心藏入一笔一划中，是兼具书法审美意趣与金石文献价值的文人小品。",[7,64,133,5380,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b4180e343454cf3bb5f46eafd43081f.jpg",[2210],{"id":62605,"slug":62606,"title":62607,"dynasty":54,"author":30399,"museum":300,"description":62608,"tags":62609,"thumbUrl":62610,"material":692,"size":1293,"collection":84,"collections":62611,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},241455,"zhi-huang-yi-shu-zha-juan-weng-fang-gang-241455","致黄易书札卷","翁方纲（1733年～1818年），字正三，一字忠叙，号覃溪，晚号苏斋，顺天大兴（今北京大兴区）人。清代书法家、文学家、金石学家。乾隆十七年进士，授编修。",[23,164,24,7,25,133,128,29,35,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2046f6985be116f7a0839c7580a05488.jpg",[],{"id":62613,"slug":62614,"title":62615,"dynasty":124,"author":52241,"museum":300,"description":62616,"tags":62617,"thumbUrl":62618,"material":692,"size":1293,"collection":84,"collections":62619,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},241446,"huai-su-ge-heng-zhang-bi-241446","怀素歌横","张弼（1425～1487）字汝弼，家近东海，故号东海，晚称东海翁。松江府华亭县（今上海奉贤青村）人 。明宪宗成化二年进士，久任兵部郎，议论无所顾忌，出为南安（今江西大余）知府，律己爱物，大得民和。长于诗文，草书甚佳，被评为“颠张复出”。尝自言吾书不如诗，诗不如文，著有《东海集》。",[164,24,7,25,64,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe27ea78ae6322412c4479dac140b101.jpg",[],{"id":62621,"slug":62622,"title":62623,"dynasty":54,"author":62624,"museum":300,"description":62625,"tags":62626,"thumbUrl":62627,"material":692,"size":1293,"collection":84,"collections":62628,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},241411,"tao-shi-zhou-zhu-wen-zhen-241411","陶诗轴","朱文震","陶渊明诗轴",[24,7,165,128,21937,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0643380a03a28e1de425677033cb807e.jpg",[],{"id":62630,"slug":62631,"title":62632,"dynasty":124,"author":50727,"museum":300,"description":62633,"tags":62634,"thumbUrl":62635,"material":611,"size":84,"collection":318,"collections":62636,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},241005,"zhi-ri-ren-zha-juan-wang-shou-ren-241005","致日仁札卷","王守仁（1472—1529），字伯安，别号阳明，浙江余姚人。弘治十二年（1499年）进士，官至南京兵部尚书、都察院左都御史。谥文成，后人称王文成公。明代著名的思想家、文学家、哲学家和军事家。",[23,7,64,25,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe737e04e12f5c183b7f73e90c68a017c.jpg",[318],{"id":62638,"slug":62639,"title":50743,"dynasty":124,"author":50744,"museum":300,"description":50924,"tags":62640,"thumbUrl":62641,"material":692,"size":1293,"collection":84,"collections":62642,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},240891,"shi-zhou-ni-yuan-lu-240891",[24,7,64,165,128,208,133,840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c4ed2616910e10b8c60f65114e90721.jpg",[],{"id":62644,"slug":62645,"title":62646,"dynasty":124,"author":62647,"museum":300,"description":62648,"tags":62649,"thumbUrl":62653,"material":692,"size":1293,"collection":84,"collections":62654,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":615},240867,"wu-kuan-yu-dou-gang-suo-nan-jian-can-chi-heng-zhu-qi-zhen-240867","无款谕都纲锁南坚参勅横","朱祁镇","明英宗朱祁镇（1427年11月29日—1464年2月23日），男，汉族，明朝第六位（1435—1449年）和第八任（1457—1464年）皇帝，明宣宗朱瞻基长子，母为孝恭章皇后孙氏。",[7,64,572,62650,208,23848,187,62651,27,805,62652],"藏文","文书","横幅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6e12586cc45061661fb6d7b395eb9a.jpg",[],{"id":62656,"slug":62657,"title":62658,"dynasty":124,"author":26410,"museum":300,"description":62659,"tags":62660,"thumbUrl":62661,"material":692,"size":1293,"collection":84,"collections":62662,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},240672,"xi-yuan-ya-ji-zhou-zhang-rui-tu-240672","西园雅集轴","张瑞图（1570年-1644年），字长公、无画，号二水、果亭山人、芥子、白毫庵主、白毫庵主道人、平等居士等；汉族，明代画家，晋江二十七都下行乡（福建省晋江市青阳下行乡）人。\n万历三十五年进士第三名，探花，授翰林院编修，后以礼部尚书入阁，晋建极殿大学士，加少师。崇祯三年，因魏忠贤生祠碑文多其手书，被定为阉党获罪罢归。\n以擅书名世，书法奇逸，峻峭劲利，笔势生动，奇姿横生。钟繇、王羲之之外另辟蹊径，明代四大书法家之一，与董其昌、邢侗、米万钟齐名，有“南张北董”之号。北京大学教授、引碑入草开创者的李志敏评价：“张瑞图之草书，用笔爽利，造型别致，但不耐寻味。”\n擅山水画，效法元代黄公望，苍劲有力，作品传世极希。",[24,7,165,64,133,208,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4917b2b3a2e09b1355131e2b1b0fd327.jpg",[],{"id":62664,"slug":62665,"title":62666,"dynasty":124,"author":5029,"museum":20,"description":62667,"tags":62668,"thumbUrl":62669,"material":2739,"size":62670,"collection":318,"collections":62671,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},240391,"qi-lv-shi-zhou-liu-jue-240391","七律诗轴","释文：\n孝行廉名是处闻，公门无迹口无文。\n陈情两度能终制，泣血三年不茹荤。\n天上星辰丹凤阙，江南烟雨白鸥群。\n楼船一路行休缓，史馆诸儒待子云。\n方庵翰林，终制起复。珏赋诗为别，情见乎词，观者幸恕其不工，而取其不浮也。时成化二年岁次丙戌孟夏上澣，山西按察佥事奉勅提督屯种、致仕、邑人刘珏廷美书于居第之撚髭亭。\n款署：“时成化二年岁次丙戌孟夏上澣，山西按察佥事奉勅提督屯种、致仕、邑人刘珏廷美书于居第之撚髭亭。”钤“廷美”朱文印、“镏氏廷美”朱文印。引首钤“彭城生”朱文印。\n鉴藏印钤“朱之赤鉴赏”朱文印、“庐子枢”白文印、“留耕堂“白文印等5方。\n本幅为自书七律诗一首，是给临行的友人（方庵翰林）的赠别诗。此书奔放酣畅，结体正欹大小不拘，行笔疾驰徐缓随意，布局疏密曲直不同，顾盼有序，天真自然，是刘珏晚年之作。\n成化二年为1466年，作者时年57岁。",[24,7,165,128,840,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5522da798fcd987e49e6b5afd171117c.jpg","纵121.2厘米，横42.2厘米",[318],{"id":62673,"slug":62674,"title":29044,"dynasty":54,"author":62675,"museum":300,"description":62676,"tags":62677,"thumbUrl":62678,"material":611,"size":84,"collection":318,"collections":62679,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},240281,"qi-yan-lian-weng-tong-he-240281","翁同龢","翁同龢（1830-1904），字叔平，號松禪， 別署均齋、瓶笙、瓶廬居士、並眉居士等，別號天放閒人，晚號瓶庵居士，江蘇常熟人，中國近代史上著名政治家、書法藝術家。體仁閣大學士翁心存第三子，咸豐六年（1856年）狀元，歷任户部、工部尚書、軍機大臣兼總理各國事務衙門大臣。先後擔任清同治、光緒兩代帝師。卒後追諡文恭。\n翁同龢工詩，間作畫，尤以書法名世，幼學歐、褚，初學董其昌、米芾，中年後由錢灃上追顏真卿，又不受顏字束縛，結體寬博開張，筆畫剛勁有力，風格蒼渾遒勁，朴茂雍容，著有《翁文恭公日記》《瓶廬詩文稿》等。",[7,64,133,10886,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf2397a6c891f444b01b985452b67db6.jpg",[318],{"id":62681,"slug":62682,"title":62683,"dynasty":54,"author":1460,"museum":20,"description":57014,"tags":62684,"thumbUrl":62685,"material":84,"size":84,"collection":318,"collections":62686,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},240033,"yuan-ji-zeng-weng-shan-shi-ye-shi-tao-240033","原济赠翁山诗页",[24,7,64,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b71aa2c0e79bb949456e320b138809b.jpg",[318],{"id":62688,"slug":62689,"title":62690,"dynasty":144,"author":7095,"museum":20,"description":62691,"tags":62692,"thumbUrl":62693,"material":611,"size":62694,"collection":318,"collections":62695,"showCount":430,"zanCount":1998,"manualWeight":48,"mainColor":72},239670,"zhang-nan-ba-yong-shi-juan-zhao-yong-239670","鄣南八咏诗卷","释文：\n鄣南八咏。\n天目晴雪\n雨池银水在云中，岩壑生花瑞气隆。盐虎作寒连地合，玉鳌扶冻与天通。照人错落山应瘦，向日消残树半空。独有小梅清见骨，只将真色笑春风。\n渚溪夕照\n渚溪行过少邻家，操面黄蜂趁晚衙。一片素秋清暎水，半汀红日澹迎霞。渔竿影没人争渡，牧笛声沉雁落沙。危石路头清浅处，只消新月照梅花。\n北庄梅花\n颠倒溪流险在兹，山中忽复见横枝。天生一白世无匹，花压万红春有私。疏影卧波宜入夜，暗香蒙雪幸同时。江南地暖开容易，马上逢人寄所思。\n樊坞梨园\n旧日樊川雪作团，尚余清艳后人看。一枝香湿雨初霁，千树恨多春企寒。留月只应空院落，闭门谁复倚阑干。何当载酒来花下，洗却凡妆跨素鸾。\n梅溪春涨\n玉磬峰头积雪消，紫梅花下水平桥。喷开石窦山倾倒，怒拍溪门浪动摇。连岸白沙鸥鸟下，满川红雨鳜鱼跳。黄流引入星河去，一任乘槎上碧霄。\n独松冬秀\n撞破关门山势开，树头云起唤龙来。擎天老盖高千丈，傲雪贞标压众材。岁久节根坚作玉，风生岩壑响成雷。苍颜不改只依旧，万古相期竹与梅。\n浮玉晚娇\n白玉山前叠绮纨，故将娇艳弄轻寒。天香喷散龙涎饼，国色铺交玛瑙盘。贵重万花春作主，醉逢三月日凭阑。自从李白题诗后，不许寻常子弟看。\n石埭夜航\n顺风吹送下山前，石鼓沿溪不碍船。帆影扑开沙上月，橹声摇动水中天。沧浪一曲寻秋去，玄鹤孤鸣恼夜眠。乘涉已为天下共，载云归越在何年。\n凌孟傅诗，赵仲穆书。\n钤“仲穆”印。卷前为执柔道人篆书“鄣南八咏”，卷后有刘麟、顾应祥题诗。本幅鉴藏印有“陈子受家珍藏”、“子受秘玩”等3方。\n赵雍书法结体用笔及笔画特点都恪守家法，《书史会要》记载赵孟頫：“尝为幻住庵写金刚经未半，雍足成之，其联续处，人莫能辨。”此书结体稳健，功力深厚，形体秀美，温润闲雅，具有赵书遗意。",[23,25,7,64,133,128,208,371,1556,663,228,231,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a6d4dc89bf03fd0211961bd3fdcc68b.jpg","纵30.8厘米, 横227.9厘米",[318],{"id":62697,"slug":62698,"title":62699,"dynasty":18,"author":62700,"museum":300,"description":62701,"tags":62702,"thumbUrl":62703,"material":84,"size":84,"collection":84,"collections":62704,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},239651,"wang-da-ling-bao-mu-zhuan-ti-ba-juan-jiang-kui-239651","王大令保母砖题跋卷","姜夔","此卷笔墨清劲秀雅，笔致灵动舒展，暗合晋人萧散风神。题字疏密错落，墨色枯润相生，朱印点缀素纸，丹砂与墨色相映成趣，雅致尽显。\n\n题跋兼具金石考据的谨严与文人挥毫的随性，将考证之思寄于笔墨挥洒之中，书卷气扑面而来，是宋人尚意书风里的清雅典范。清冷隽秀的笔意一如作者词韵，尽显宋代文人淡远空灵的审美意趣，耐人反复品味。",[23,164,24,7,25,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fb0fb92962b6cd0165bd6474876165a.jpg",[],{"id":62706,"slug":62707,"title":62708,"dynasty":124,"author":28443,"museum":20,"description":62709,"tags":62710,"thumbUrl":62712,"material":84,"size":84,"collection":318,"collections":62713,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":199},239581,"zhang-jin-xue-jie-juan-song-ke-239581","章进学解卷","宋克（1327―1387）字仲温，一字克温，自号南宫生，长洲（今江苏苏州）人。是明代初期闻名于书坛的书法家“三宋二沈”之一。与高启等称十友，诗称十才子。\n洪武初为凤翔同知。素工草隶深得钟、王之法，笔精墨妙，风度翩翩。并工写竹，虽寸冈尺堑，而千篁万玉，雨叠烟生，萧然无尘俗之气。尝作鸡栖石业条一幅，题语有“艺成不觉自敛手”之句，谓不可复得也。书学急就章，故写竹能妙。尝于试院牍尾用朱笔扫竹，张伯雨有“偶见一枝红石竹”之句，人遂以为朱竹自宋克始。卒年六十一。宋克的书法，在明代颇享盛名，与当时擅长书法的宋璲、宋广合称三宋。\n宋克处元末明初，少年英俊，磊落清爽，常以李太白、苏东坡自比，任侠使气，闻鸡起舞。其聪慧过人，博涉经史，长于丹青，尤善画竹，今尚有《万竹图》传世。诗文亦名于时,与吴门文士高启、张羽、徐贲、陈则等为友，时称“十才子”。曾从元康里之入室弟子饶介学书，所传皆二王草法，故仲温特别钟情于草书。草书流走畅贯，挥运自如，似飞剑狂舞，潇洒纵横，十分契合于宋克任侠使气的性格。宋克学书取法甚高，楷宗钟繇，行书慕二王，章草学皇象之《急就章》，笔力清峭劲拔，笔意圆融洒脱，尤其是他的小草和章草，冠绝一代，吴宽评其书谓：“一克书出魏晋，深得钟王之法，故笔精墨妙，而风度翩翮可爱……仲温书索靖草书势，盖得其妙而无愧于靖者也。”其书出于魏晋，深得钟、王之法。擅长楷书、草书，尤精工章草，为当时第一。他的章草，延续赵孟頫、邓文原的风格又有所发展，融入了今草和行书的写法，更加流利、矫健。",[23,164,24,7,25,64,840,62711,10762,208,1590],"章草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f41c8ec7ce88088c36ba2bd84e9fbde.jpg",[318],{"id":62715,"slug":62716,"title":62717,"dynasty":124,"author":273,"museum":20,"description":62718,"tags":62719,"thumbUrl":62720,"material":572,"size":62721,"collection":318,"collections":62722,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},239572,"zhong-guo-qing-shou-si-deng-shi-tie-wang-fu-239572","重过庆寿寺等诗帖","此作小楷书七言诗四首，乃王绂游览京城诸胜景时所成诗篇，并于永乐九年（1411年）为沈度书写。这一年王绂50岁，沈度55岁，二人为朝中同僚。作品以锺、王小楷为法，风格端劲清雅，与当时宫廷中盛行的“台阁体”相比，别具古澹意蕴。",[7,64,1590,133,611,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4269fa91207891eeb7ac969b91f2a58.jpg","纵26.8厘米，横41.2厘米",[318],{"id":62724,"slug":62725,"title":62726,"dynasty":54,"author":62727,"museum":300,"description":62728,"tags":62729,"thumbUrl":62730,"material":84,"size":84,"collection":84,"collections":62731,"showCount":430,"zanCount":1116,"manualWeight":48,"mainColor":72},239550,"fang-bei-yuan-shan-shui-tu-zhou-zhang-xue-ceng-239550","仿北苑山水图轴","张学曾","张学曾仿北苑山水图轴是清顺治十二年的图轴。\n《仿北苑山水图》轴，张学曾绘，纸本，墨笔。\n此画远景为巨大的山石，以披麻皴绘出，山体及近处丛树、苔草施以墨点，一小桥延伸而去。\n构图简远，韵味无穷。\n“北苑”指五代时南唐著名山水画家董源，由于他曾任北苑使之职，故名。\n画幅中笔势苍茫，吐纳北苑；笔墨干湿浓淡、画风平淡天真处又受董其昌影响。\n款署：“乙未仲冬画仿北苑似子木词坛张学曾。\n”钤“张学曾印”白文印、“张尔唯氏”朱文印。\n“乙未”为清顺治十二年（1655年）。\n鉴藏印有孙煜烽、庞莱臣诸印：“孙煜烽珍藏印”朱文印、“希逸”白文印、“虚斋审定”白文印、“庞莱臣珍藏印”朱文印。",[24,7,165,128,29,98,131,34,96,208,330,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3154627689548e75d9c6124eddbd477e.jpg",[],{"id":62733,"slug":62734,"title":409,"dynasty":124,"author":33653,"museum":300,"description":62735,"tags":62736,"thumbUrl":62737,"material":84,"size":84,"collection":84,"collections":62738,"showCount":430,"zanCount":1998,"manualWeight":48,"mainColor":72},239546,"shan-shui-ce-shen-hao-239546","此作以淡墨轻皴绘就雪后清晓之景，浅赭晕染远山，留白处隐见残雪覆于峦岫，起伏连绵间尽显空蒙萧寒。枯林错落萧疏，淡写枝干无叶之态，暗合冬日荒寂。山径间旅人策蹇缓行，为冷寂山水晕开一缕烟火暖意。\n\n画面与题诗清雅相融，以极简笔墨铺陈悠远画境，将冬日郊野的静谧诗意缓缓晕开，尽显文人画空灵淡远之致，于简淡疏朗间藏着清旷余韵，淡而不薄，枯而不涩，尽显幽远的林下诗意。",[24,7,59,128,132,29,663,413,1023,96,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5f5f8405bde5b52b15b6edd3558efa.jpg",[],{"id":62740,"slug":62741,"title":62742,"dynasty":54,"author":62743,"museum":300,"description":62744,"tags":62745,"thumbUrl":62746,"material":692,"size":1293,"collection":84,"collections":62747,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},239422,"fang-nan-tian-shan-shui-zhou-bi-han-239422","仿南田山水轴","毕涵","毕涵，[清]（1732—1807）字有涵，号焦麓，又号止庵道人，晚称篆竹居士，阳湖（今江苏常州）人。",[24,7,165,128,132,330,29,131,34,35,31,415,3427,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a2b1631bfd1fe0fb06f0c5ed8d3eddc.jpg",[],{"id":62749,"slug":62750,"title":33683,"dynasty":54,"author":3437,"museum":300,"description":62751,"tags":62752,"thumbUrl":62753,"material":84,"size":84,"collection":84,"collections":62754,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},239337,"xue-jing-shan-shui-zhou-tang-dai-239337","整幅画作以淡墨晕染铺就天地寒寂，细劲线条勾勒出山石苍硬肌理。积雪覆裹峰峦，以留白晕染出雪色蓬松清冽，将隆冬山野的素净空濛尽显。枯木虬曲错落，萧瑟枝桠衬出山境荒寒，山坳隐见山居，为冷寂添了一缕烟火暖意。\n\n作画兼具苍劲与秀润，勾勒皴擦间刻画出山石的嶙峋质感，以空白代雪，虚实相生间烘托出冬日山林的静谧萧寒，借景抒怀，尽显文人山水的澹远雅逸意境。",[24,7,165,128,27,132,29,663,228,1556,1337,35,497,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57adb7a240be0b5f75cfe5857e8c0fde.jpg",[],{"id":62756,"slug":62757,"title":62758,"dynasty":54,"author":62759,"museum":300,"description":62760,"tags":62761,"thumbUrl":62762,"material":84,"size":84,"collection":68,"collections":62763,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},239277,"hou-qi-zhi-hua-hua-niao-ce-hou-qi-239277","后祺指画花鸟册","后祺","此作以指为笔，尽显写意风流。枯笔焦墨勾勒老干，苍劲朴拙自带风霜之态。泼墨晕染葡萄藤叶，浓淡铺陈虚实层次，墨色酣畅淋漓，不见毛笔尖秀精巧，反生朴野天然的肌理意趣。垂挂的葡萄果实以淡墨点染，稚拙可爱，暗合秋实之味。\n\n右侧题诗与画境相融，将秋夜风摇叶落的清寂悄然铺展。整幅简淡空灵，不刻意描摹形貌，却把秋夜的幽静谧穆藏在笔墨间，文人画的雅致禅意尽显，以指画的生涩拙朴，勾勒出清秋独有的疏朗意境，韵味悠长。",[24,7,59,29104,128,133,208,61,2438,549,2037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2655be70d1638baa59bcfacabcc51dd.jpg",[68],{"id":62765,"slug":62766,"title":62767,"dynasty":124,"author":62768,"museum":300,"description":62769,"tags":62770,"thumbUrl":62771,"material":84,"size":84,"collection":84,"collections":62772,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},239221,"song-xi-gao-shi-shan-mian-zhao-yi-239221","松溪高士扇面","赵伊","此作以细笔轻皴写山石肌理，敷色清润雅致。古松虬曲苍劲，荫蔽松溪之畔，两位高士凭栏对语，衣袂飘然，尽得林下晤谈的悠然意趣。峡谷环溪，栈道萦回，咫尺扇面铺展出山林丘壑的深幽，构图疏密相宜，将江南山水的温润灵秀与文人隐逸襟怀相融。笔墨兼具元人山水的简淡萧散，暗合文人画崇尚的林泉雅韵，于尺幅之间，写尽林泉高致的悠悠况味。",[24,7,1131,128,27,29,96,372,99,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb73d6c753cea02e3db1f54368f02b0d.jpg",[],{"id":62774,"slug":62775,"title":409,"dynasty":54,"author":57086,"museum":300,"description":57087,"tags":62776,"thumbUrl":62777,"material":84,"size":84,"collection":84,"collections":62778,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},239011,"shan-shui-ce-li-dong-239011",[24,7,59,95,27,29,97,34,171,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7deb277063c436f61bd78e3b9d51ccb4.jpg",[],{"id":62780,"slug":62781,"title":62782,"dynasty":54,"author":62783,"museum":300,"description":62784,"tags":62785,"thumbUrl":62786,"material":84,"size":84,"collection":68,"collections":62787,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},238995,"jiao-yang-shu-wu-zhou-xiang-kui-238995","蕉阳书屋轴","项奎","项奎（1623-1702）明末清初画家，〔清〕字天武、子聚，号东井、墙东子、墙东居士、水墨处士，秀水(今浙江嘉兴)人，元汴曾孙，德达孙，徽谟子，生卒年不详。幼承家学，善山水，兼长兰竹。山水喜用秃笔，秀雅枯淡，颇得元人枯淡之趣；所画兰竹亦逸秀可爱，年七十属友人撰生圹志，寿至八十",[24,7,165,128,188,132,133,29,711,875,34,131,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3286bfda2e0e761bb51ae22ce879f272.jpg",[68,117],{"id":62789,"slug":62790,"title":62791,"dynasty":54,"author":48145,"museum":20,"description":60848,"tags":62792,"thumbUrl":62793,"material":611,"size":60851,"collection":136,"collections":62794,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},238983,"shan-shui-ce-zhong-lin-gao-xia-wang-chen-238983","山水册－重林高下",[24,7,59,128,27,132,29,34,131,97,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6b50a0c85ac70858bbdf6267b4a59f.jpg",[136],{"id":62796,"slug":62797,"title":62798,"dynasty":54,"author":62799,"museum":300,"description":62800,"tags":62801,"thumbUrl":62802,"material":692,"size":1293,"collection":44,"collections":62803,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},238941,"qing-xiang-si-shi-le-tu-xiang-ce-hu-jun-sheng-238941","庆祥四时乐图像册","胡骏声","字芑香，江苏常熟人。为缓溪翁族孙。翁擅添毫之技，晚岁目力稍衰，思得弟子相佐。骏声方弱冠，从毕琛学画臻众美。翁于是挈之共游凡数载，艺益进，遂为吴中之冠。陈芝楣抚苏时延至幕中，后丧妻，奉母居郡城，颜其斋曰“望禺”，饶幽居之趣。道光十年（1830）曾作仕女图。",[24,7,59,27,28,96,101,1144,131,690,29,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6535153c09255e7dff49f2e5ec0692ad.jpg",[44,45],{"id":62805,"slug":62806,"title":62807,"dynasty":54,"author":62808,"museum":300,"description":62809,"tags":62810,"thumbUrl":62811,"material":692,"size":1293,"collection":45,"collections":62812,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":199},238855,"hui-yi-xiang-zheng-feng-tu-ce-qian-ru-cheng-238855","绘益象征丰图册","钱汝诚","钱汝诚（1722-1779），字立之，号东麓，浙江嘉兴人。清官员，官至刑部左侍郎。",[24,7,59,27,28,169,12803,304,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F321ca84cb16d8fa7051b6c272bab913e.jpg",[45],{"id":62814,"slug":62815,"title":27131,"dynasty":54,"author":6376,"museum":300,"description":27132,"tags":62816,"thumbUrl":62818,"material":692,"size":1293,"collection":84,"collections":62819,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":199},238854,"mian-yi-hua-hui-xiao-ce-mian-yi-238854",[24,7,59,27,61,371,62,582,549,28,62817,2885],"水墨线条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F368e50a27bb90081f6d4e4370ea94c70.jpg",[],{"id":62821,"slug":62822,"title":27602,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":62823,"thumbUrl":62824,"material":84,"size":84,"collection":84,"collections":62825,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},238830,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238830",[24,7,59,27,29,34,99,3387,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5706309f6fd33bb74c27c1cde65221ba.jpg",[],{"id":62827,"slug":62828,"title":27602,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":62829,"thumbUrl":62830,"material":84,"size":84,"collection":84,"collections":62831,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},238829,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238829",[24,7,59,27,28,64,208,130,97,34,131,875,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd02502eb809bcd8237cc41a3879222c5.jpg",[],{"id":62833,"slug":62834,"title":27602,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":62835,"thumbUrl":62836,"material":84,"size":84,"collection":84,"collections":62837,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},238825,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238825",[24,7,59,27,26,128,29,131,34,1337,130,99,208,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe20f4b4295b749a2cf96304df748a5cf.jpg",[],{"id":62839,"slug":62840,"title":29144,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":62841,"thumbUrl":62842,"material":692,"size":1293,"collection":84,"collections":62843,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},238797,"hua-hui-xiao-ce-dong-gao-238797",[24,7,59,27,28,61,547,747,582,1102,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9984731b85ee0896951fbbd0b5358cde.jpg",[],{"id":62845,"slug":62846,"title":60856,"dynasty":124,"author":223,"museum":300,"description":62847,"tags":62848,"thumbUrl":62849,"material":692,"size":1293,"collection":84,"collections":62850,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},238577,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238577","这幅作品以山海分野铺陈画面，左畔怒涛卷雪，水怪与神兵于浪尖缠斗翻涌，波谲云诡间尽显征伐张力；右列仪卫整肃，旌旗猎猎，神将冠服严整端凝，满是安邦肃穆之气。\n\n设色华贵明丽，赤金与青绿撞色浓烈却谐和，线条铁画银钩，既绘出惊涛奔涌的动感，又将仪卫威仪刻画入微。以神魔靖海的图景暗喻绥疆平乱，把征伐的惊险与受降的庄穆并置，将庙堂祈愿的升平藏于奇幻工致的院体笔墨中，笔底皆是护国安澜的恢弘叙事。",[24,7,59,28,27,96,951,131,34,772,950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F902b103254387191a4e0bc0f152e6f24.jpg",[],{"id":62852,"slug":62853,"title":4071,"dynasty":54,"author":2687,"museum":300,"description":3934,"tags":62854,"thumbUrl":62855,"material":692,"size":1293,"collection":84,"collections":62856,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},238482,"hua-hui-tu-ce-jiang-ting-xi-238482",[24,7,59,27,28,61,62,230,208,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf3c885708c60ef0a4db10475b9f1c78.jpg",[],{"id":62858,"slug":62859,"title":4071,"dynasty":54,"author":2687,"museum":300,"description":3934,"tags":62860,"thumbUrl":62861,"material":692,"size":1293,"collection":84,"collections":62862,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},238478,"hua-hui-tu-ce-jiang-ting-xi-238478",[24,7,59,27,28,61,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9c6eff4fad9fec55cad2f985ee8681.jpg",[],{"id":62864,"slug":62865,"title":4071,"dynasty":54,"author":2687,"museum":300,"description":3934,"tags":62866,"thumbUrl":62867,"material":692,"size":1293,"collection":84,"collections":62868,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},238477,"hua-hui-tu-ce-jiang-ting-xi-238477",[24,7,59,28,27,61,355,547,481,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaf72f563137cfc036687dab4d24ce7d.jpg",[],{"id":62870,"slug":62871,"title":62872,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":62873,"thumbUrl":62874,"material":84,"size":84,"collection":84,"collections":62875,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},238415,"dong-gao-peng-hu-hui-sheng-tu-ce-dong-gao-238415","董诰蓬壶荟胜图册",[24,7,59,27,132,29,34,99,495,96,497,548,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb58ceac15855ab05632228fe81ee6374.jpg",[],{"id":62877,"slug":62878,"title":14998,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":62879,"thumbUrl":62880,"material":84,"size":84,"collection":84,"collections":62881,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},238370,"dong-gao-yan-chun-hui-cai-tu-ce-dong-gao-238370",[24,7,59,28,27,61,376,375,62,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a936ab0fef5ef9d223e2fcc446a4568.jpg",[],{"id":62883,"slug":62884,"title":76,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":62885,"thumbUrl":62886,"material":692,"size":1293,"collection":84,"collections":62887,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},238362,"hua-hui-ce-dong-gao-238362",[24,7,59,27,28,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f4e65d8735a329028c93d48146a82cb.jpg",[],{"id":62889,"slug":62890,"title":76,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":62891,"thumbUrl":62892,"material":692,"size":1293,"collection":84,"collections":62893,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},238361,"hua-hui-ce-dong-gao-238361",[24,7,59,27,28,62,547,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37454c01a48a4ee3935186f6c630bd99.jpg",[],{"id":62895,"slug":62896,"title":49505,"dynasty":54,"author":18144,"museum":300,"description":49506,"tags":62897,"thumbUrl":62898,"material":84,"size":84,"collection":84,"collections":62899,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},238232,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238232",[164,24,7,59,27,132,29,663,228,23362,34,167,82,37,6290,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18dd9df66367d82542672b8b337dc484.jpg",[],{"id":62901,"slug":62902,"title":14647,"dynasty":54,"author":1311,"museum":56,"description":25940,"tags":62903,"thumbUrl":62904,"material":1464,"size":25943,"collection":84,"collections":62905,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},238067,"mei-hua-tu-ce-wang-shi-shen-238067",[24,7,59,27,61,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0376da78c761439f584444d7a38c4ba3.jpg",[],{"id":62907,"slug":62908,"title":19857,"dynasty":54,"author":27238,"museum":300,"description":62909,"tags":62910,"thumbUrl":62911,"material":7380,"size":84,"collection":136,"collections":62912,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},237970,"shan-shui-zhou-li-jian-237970","黎简（1747年6月30日～1799年12月3日），字简民，一字未裁。号二樵，又号石鼎道人、百花村夫子，广东顺德县弼教村人，清代乾嘉年间岭南著名诗人、书画家。乾隆五十四年拔贡。诗画书称三绝，诗学李贺、黄庭坚，刻求新颖，书得晋人意。性喜山水，与张如芝、谢兰生、罗天池并称为粤东四大家。有《五百四峰草堂诗文钞》《药烟阁词钞》等\n黎简号称诗、书、画、印四绝，对岭南诗歌的发展起过积极的作用，且影响至中原。他一生虽然足迹未出岭南，但中年时诗画名气已远播中原。其诗以境新、句奇、意深、情真而独树一帜。但是，这位出色的诗人在中国文学史上长期没有位置，直到改革开放后才引起权威文学研究者的注意，收入《中国文学史》中。 著有《五百四峰堂诗钞》《五百四峰堂续集》《药烟阁词钞》，戏曲《芙蓉亭》等。\n诗从学李贺、黄庭坚入手，刻意求新，极“峻拔清峭”（王昶《湖海诗传》）之致，能自树一格。张维屏《国朝诗人征略》称：“其诗由山谷（黄庭坚）入杜，而取炼于大谢（灵运），取劲于昌黎（韩愈），取幽于长吉（李贺），取艳于玉溪（李商隐），取瘦于东野（孟郊），取僻于阆仙（贾岛）。锤焉凿焉，雕焉琢焉，于是成为其二樵之诗”。他的记游、题赠之作较多。不少诗描绘了两广山水风光、名胜古迹，如《藤县》《白马角》《龙门滩》《邕州》《白鹤观登五龙潭上玉女峰》《冲虚观至朱明洞》《浴日亭》《江南岸蕉园歌》等。也有少数篇章，反映民间疾苦，如《田中歌》，反映少数民族的风习，如《歌节》《大排三十八韵》等。\n其书法，意志追晋人，中年兼学李北海，晚年写苏黄两家为多，隶书真追《礼器》《熹平石经》，传世书法作品甚丰，显示了他在书法上的不断追求。肇庆七星岩石室岩洞内有他的《南服陨石》刻石，隶书体，秀劲舒放，纵横跌宕，属黎书上品。\n黎简工山水，早年粗犷、率意的用笔，侧重写生的表现，则多属效法明末清初的广东先哲。中年临摹倪云林、石涛作品，几可达到与真迹无异的境地。由近及远地求索，融古汇今地创新，师自前人，不囿于前人，始终是黎简所遵循的山水画创作主线。在这种意识指导下，创作出来的作品，自然会有一种清新、活泼的感觉。而且，由于他是以绝无“甜赖”气的元人、“搜尽奇峰打草稿”的石涛的技法，作为其创法的基调，又兼具乾隆盛世艺术所惯有的平稳、温润，对曾被扬州八怪个性化花鸟画震撼过的人们来说，黎简这种挑战主流派的山水画，又是一次新的震撼。\n黎简的篆刻，虽然属他诗书画的“余事”，但他有深厚的传统文化基础，才思敏捷。他的篆刻，得汉人神髓，参以己意，作品淳厚苍雄，意格甚高，自成面目。自刻图章曰“小子狂简”，刀法峻傥。又能治铜印。1962年，麦华三等辑成《二樵山人篆刻佚存》1册。",[24,7,165,128,27,132,29,34,1144,131,37,711,96,1023,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682aee1e09b037e88fe4860d9478e6a0.jpg",[136,45],{"id":62914,"slug":62915,"title":4724,"dynasty":54,"author":23132,"museum":300,"description":62916,"tags":62917,"thumbUrl":62918,"material":84,"size":84,"collection":136,"collections":62919,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},237946,"shan-shui-tu-ce-liu-yu-237946","此作用笔苍秀松灵，水墨晕染细腻柔和。近岸古木扶苏，枝桠虬曲，掩映草庐幽居，野意盎然。水面开阔澹澹，远山以淡墨轻勾慢染，云气留白氤氲萦绕，将山水融于空濛烟岚之中，尽显林泉高致。\n左侧题字笔意萧散俊朗，文辞雅致，书画相映，尽显文人画以境抒怀的意趣，藏着寄情丘壑、静享林泉的隐逸之思，整幅清和淡远，悠悠古韵漫溢其间。",[24,7,59,128,132,64,208,29,34,131,99,37,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce52f527ef696f31244a5464d7952c1f.jpg",[136,68],{"id":62921,"slug":62922,"title":27139,"dynasty":124,"author":27140,"museum":300,"description":27141,"tags":62923,"thumbUrl":62924,"material":84,"size":84,"collection":84,"collections":62925,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},237891,"ba-xian-tu-zhou-zheng-wen-lin-237891",[24,7,165,96,187,27,28,950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F992b234331038a7f652c8fbf536d1a1d.jpg",[],{"id":62927,"slug":62928,"title":62929,"dynasty":124,"author":52770,"museum":300,"description":18203,"tags":62930,"thumbUrl":62931,"material":692,"size":1293,"collection":84,"collections":62932,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},237845,"shi-hu-yan-yu-shan-sheng-mao-ye-237845","石湖烟雨扇",[24,7,1131,128,27,29,17243,34,132,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb34da1d8c00124d4b0cf45f9a7503e11.jpg",[],{"id":62934,"slug":62935,"title":62936,"dynasty":124,"author":62937,"museum":300,"description":62938,"tags":62939,"thumbUrl":62940,"material":84,"size":84,"collection":136,"collections":62941,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},237784,"zhu-jia-shan-shui-ce-shan-shui-ce-ye-wang-yun-jing-237784","诸家山水册-山水册页","王允京","字谦文，号秋岩，江宁（今南京）人。为和阳教谕。工写竹枝。《金陵琐事》",[24,7,59,128,132,29,98,96,171,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd16133cce0fa9f391194a7d8bb3d8e77.jpg",[136,45],{"id":62943,"slug":62944,"title":4724,"dynasty":54,"author":44979,"museum":300,"description":62945,"tags":62946,"thumbUrl":62947,"material":84,"size":84,"collection":136,"collections":62948,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},237773,"shan-shui-tu-ce-ye-xin-237773","此作以青绿晕染湖山，近岸花树沿陂陀错落，山坳幽居藏于林木间，空阔湖面一叶扁舟随波缓行，远岫含晕，漾起空濛淡荡之致。设色秀雅温润，笔致简净松灵，不事繁饰，将林泉幽居的闲散意绪尽数铺展。左侧题诗与画境相映成趣，诗画合璧，把文人耽恋泉石、寄迹烟水的雅怀融于尺幅间。观之如临江南水畔，可感湖风轻拂，坐忘于萧疏清寂的闲淡之中，尽显小品山水的隽雅意韵。",[24,7,59,27,29,129,130,34,131,99,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad576d6b1c3c42c220f6545a8771fde7.jpg",[136],{"id":62950,"slug":62951,"title":10613,"dynasty":54,"author":1460,"museum":300,"description":62952,"tags":62953,"thumbUrl":62954,"material":84,"size":84,"collection":84,"collections":62955,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},237763,"yuan-ji-shan-shui-tu-ce-shi-tao-237763","此帧以淡墨挥写坡岸幽篁，参差修竹挺拔清健，枝叶以中锋撇捺，笔意疏朗灵动，墨色晕染深浅自然，尽显竹之潇爽风神。浅淡皴擦的坡石简括朴拙，衬出竹林的秀逸清奇。\n\n右上角题书与画境相映，诗画合璧，将林下幽居的澹寂意趣诉诸尺幅，不见繁复刻画，却以极简笔墨勾勒出空寂悠远的林下天地，尽显以意驭笔、寄情于物的文人雅韵，寥寥数笔，便将尘嚣之外的幽栖之境铺陈眼前，余韵悠长。",[24,7,59,128,167,171,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac55975a4208e42209158f4bcbbd273.jpg",[],{"id":62957,"slug":62958,"title":60959,"dynasty":124,"author":16032,"museum":300,"description":35095,"tags":62959,"thumbUrl":62960,"material":84,"size":84,"collection":84,"collections":62961,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},237699,"shan-shui-hua-guo-ce-xiang-sheng-mo-237699",[24,7,59,27,547,22995,624,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6b2598b5dfceaa9fca8709cd1d0c074.jpg",[],{"id":62963,"slug":62964,"title":76,"dynasty":124,"author":1270,"museum":300,"description":43445,"tags":62965,"thumbUrl":62966,"material":692,"size":1293,"collection":84,"collections":62967,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},237685,"hua-hui-ce-sun-ke-hong-237685",[24,7,59,133,128,375,1771,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F046574996353020d0a57e9782c2db571.jpg",[],{"id":62969,"slug":62970,"title":22597,"dynasty":124,"author":22598,"museum":300,"description":22599,"tags":62971,"thumbUrl":62972,"material":692,"size":1293,"collection":84,"collections":62973,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},237542,"mei-hua-dui-ti-tu-ce-chen-ji-ru-237542",[24,7,59,128,133,371,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fd0cf7bf9c41a14fce38f1946f60dad.jpg",[],{"id":62975,"slug":62976,"title":62977,"dynasty":124,"author":18228,"museum":300,"description":62978,"tags":62979,"thumbUrl":62980,"material":692,"size":1293,"collection":84,"collections":62981,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},237415,"hua-hui-shan-ye-li-yin-237415","花卉扇页","李因（1610－1685），字是庵，号龛山逸史，晚号今生。明末清初女诗人、画家。会稽（今浙江绍兴）人，一作钱塘（今杭州）人。早年为江浙名妓，后嫁光禄卿葛征奇为妾，在绘画上崇尚隽雅，在山水画上学习米芾、米友仁，画山水、花鸟，疏爽隽逸，毫无女子纤弱之气。亦工诗，著有《竹笑轩吟草》等，诗笔清奇，有中唐遗韵。",[24,7,1131,128,62,61,805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e3a7640bf124177da13cbe9db45ff49.jpg",[],{"id":62983,"slug":62984,"title":76,"dynasty":54,"author":17956,"museum":300,"description":17957,"tags":62985,"thumbUrl":62986,"material":611,"size":84,"collection":84,"collections":62987,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},237286,"hua-hui-ce-wu-kai-237286",[24,7,59,27,28,61,62,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1562a4682ae49f5d261aafd103f1059b.jpg",[],{"id":62989,"slug":62990,"title":409,"dynasty":54,"author":36816,"museum":20,"description":41606,"tags":62991,"thumbUrl":62992,"material":734,"size":84,"collection":84,"collections":62993,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},237197,"shan-shui-ce-sun-yi-237197",[164,24,7,59,27,128,132,29,97,34,131,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c9ae6b32d3066b4d617082b16f677c.jpg",[],{"id":62995,"slug":62996,"title":409,"dynasty":54,"author":36816,"museum":20,"description":41606,"tags":62997,"thumbUrl":62998,"material":734,"size":84,"collection":84,"collections":62999,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},237194,"shan-shui-ce-sun-yi-237194",[164,24,7,128,132,59,29,34,131,35,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc0fa1be76a14ec377d2bcc7648a0aaa.jpg",[],{"id":63001,"slug":63002,"title":26288,"dynasty":54,"author":26289,"museum":300,"description":26290,"tags":63003,"thumbUrl":63004,"material":84,"size":84,"collection":84,"collections":63005,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},237092,"jiang-feng-shi-nv-ce-jiang-feng-237092",[24,7,59,27,28,96,166,171,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa30cfe8403360aa70096addf15e3e7d8.jpg",[],{"id":63007,"slug":63008,"title":409,"dynasty":54,"author":63009,"museum":300,"description":63010,"tags":63011,"thumbUrl":63012,"material":692,"size":1293,"collection":136,"collections":63013,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},236989,"shan-shui-ce-zhang-xi-236989","张晞","画风豪放、磊落，所画山水景色构图大胆新颖，笔墨多变。",[24,7,59,27,128,132,64,133,208,29,98,99,129,211,34,131,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a52e9365afa6a8bd693900aeb0cf10b.jpg",[136],{"id":63015,"slug":63016,"title":38978,"dynasty":54,"author":6936,"museum":20,"description":63017,"tags":63018,"thumbUrl":63019,"material":1223,"size":63020,"collection":136,"collections":63021,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},236745,"shan-shui-ce-zhuang-zhou-wang-yuan-qi-236745","王原祁（1642—1715年），字茂京，号麓台、石狮道人，江苏太仓人，王时敏之孙。清康熙九年（1670年）进士。因画艺，被召供奉内廷，深受皇室青睐，地位显赫，任书画总裁和《万寿盛典》总裁，官至户部侍郎，故称“王司农”。他擅画山水，其绘画艺术承绪家学，自幼得到祖父王时敏的刻意指导，一生倾注于笔墨施运的营求中，自称笔端有“金刚杵”, 画风中年秀润，晚年苍浑。与王时敏、王鉴、王翬合称“清初四王”。\n做为“四王”中最年轻的一位画家，秉承家学，追摹古法，在不懈创作的同时，以同样方法再授弟子，对山水画的发展及“娄东派”的形成起到重要作用。其对绘画的影响一直延续到清中、后期“小四王”（王昱、王愫、王宸、王玫）、“后四王”（王三锡、王廷之、王廷国、王鸣韶）。“四王”的绘画创作继承明末董其昌的绘画理论和实践，力图集古人之大成，被确立为正统画派。追随的画家众多，形成“娄东派”，几乎独占了当时的画坛。著有《雨窗漫笔》、《扫花庵题跋》等。",[24,7,59,128,27,132,29,34,31,415,3427,149,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4d98e5c615a051dce4e256c2ba540a7.jpg","纵29cm，横42.3cm",[136,117,318],{"id":63023,"slug":63024,"title":37266,"dynasty":54,"author":37267,"museum":300,"description":63025,"tags":63026,"thumbUrl":63027,"material":84,"size":84,"collection":68,"collections":63028,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},236712,"hua-niao-guo-ce-li-qi-236712","此作以水墨写就花木之姿，左侧花卉以淡墨晕染瓣色，浓墨勾描花筋，将花瓣柔润舒展之态尽显，旁侧细枝缀着丹色小果，为素净水墨晕开一抹鲜活。右侧阔叶以大写意笔法挥毫，狂放的浓墨线条勾出翻卷轮廓，墨色浓淡错落，似携清风翻涌摇曳。题书与画作相映成趣，书画浑然一体，尽显文人写意的随性洒脱。\n全作用笔简逸灵动，以极简笔墨捕捉花木神韵，不着繁复修饰却将生机藏于毫端，把水墨晕染的通透雅致与自然意趣融为一体，尽显写意花鸟画的笔墨情致。",[24,7,59,128,27,61,263,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac68ac02b5d7cfaf39a4affbdb7eadcb.jpg",[68],{"id":63030,"slug":63031,"title":40707,"dynasty":124,"author":3608,"museum":300,"description":9012,"tags":63032,"thumbUrl":63033,"material":692,"size":1293,"collection":84,"collections":63034,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},236672,"shan-shui-shan-lu-zhi-236672",[805,24,7,1131,128,132,29,34,35,131,415,3427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F196bbb134e80b6f36e725053aa201834.jpg",[],{"id":63036,"slug":63037,"title":4229,"dynasty":54,"author":5879,"museum":12686,"description":49590,"tags":63038,"thumbUrl":63039,"material":84,"size":16301,"collection":84,"collections":63040,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},236620,"hua-niao-ce-hua-yan-236620",[24,164,7,59,27,128,61,211,168,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95c25f19e6d61005ce3839759286e55c.jpg",[],{"id":63042,"slug":63043,"title":409,"dynasty":124,"author":52407,"museum":300,"description":63044,"tags":63045,"thumbUrl":63046,"material":84,"size":20,"collection":136,"collections":63047,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},236603,"shan-shui-ce-ye-xiang-rong-236603","此作用一角取景，主峰高拔奇崛，干笔皴擦勾勒山石肌理，苍朴厚重的质感尽显。山间苍木错落遒劲，茅舍隐于林麓之间，暗合幽居寄怀的雅趣。近岸汀渚星罗，浅波澹澹，留白铺就清远空寂的余韵。\n笔墨简淡松秀，以水墨晕染出山峦氤氲之态，将文人林泉高致寄于尺幅间，尽显平淡天真的意趣，晕开静谧清旷的隐逸氛围，藏着独属于传统山水的悠然禅意。",[805,24,7,128,132,59,29,663,413,1314,664],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee02916708781e551032b579ae9e6eae.jpg",[136,117],{"id":63049,"slug":63050,"title":20295,"dynasty":54,"author":1311,"museum":20,"description":19660,"tags":63051,"thumbUrl":63052,"material":84,"size":84,"collection":84,"collections":63053,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},236580,"lan-mei-ce-wang-shi-shen-236580",[24,7,59,128,188,61,375,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc75afab0c0c8808e41e6f709b7058276.jpg",[],{"id":63055,"slug":63056,"title":63057,"dynasty":124,"author":223,"museum":300,"description":63058,"tags":63059,"thumbUrl":63060,"material":84,"size":84,"collection":136,"collections":63061,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},236428,"shu-zhi-shan-shui-ce-yi-ming-236428","殳执山水册","此作以淡墨晕染萧寒冬日，留白铺陈天地素雪，远山如裹素衾，棱线隐在氤氲灰雾中，愈显清寂辽远。近岸双松孑然挺立，虬枝错落，虽针叶落尽，仍带着苍劲意气。溪石隐于薄雪之下，寒水曲折蜿蜒，牵起林麓间山居茅舍。屋舍隐在枯木之后，淡笔勾出檐角，似有幽居之人避世于此。左侧题字朱印点缀，添就文人情致。\n\n整幅用墨清润简淡，以虚带实，将冬日山野的空静萧疏尽数铺展，素白清冷间藏着淡远悠长的隐逸之趣，尽显传统山水的空灵意境。",[164,24,7,59,128,132,29,413,35,131,1813,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe695c61998a56f0f49ab8e14dab8f8f.jpg",[136,117],{"id":63063,"slug":63064,"title":63065,"dynasty":54,"author":11383,"museum":300,"description":20810,"tags":63066,"thumbUrl":63067,"material":692,"size":1293,"collection":84,"collections":63068,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},236380,"bai-shi-tu-shan-ren-xiong-236380","拜石图扇",[24,7,1131,27,96,171,28,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff573f29fb2a71e8e5e791e49c84f5928.jpg",[],{"id":63070,"slug":63071,"title":409,"dynasty":124,"author":33462,"museum":20,"description":38210,"tags":63072,"thumbUrl":63073,"material":999,"size":38213,"collection":84,"collections":63074,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},236329,"shan-shui-ce-song-xu-236329",[24,7,59,128,132,29,96,1144,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7458b97cfab004179e74cd6e255c8ac4.jpg",[],{"id":63076,"slug":63077,"title":63078,"dynasty":124,"author":45240,"museum":300,"description":53727,"tags":63079,"thumbUrl":63080,"material":692,"size":1293,"collection":84,"collections":63081,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},236292,"fang-dong-ju-shan-shui-shan-zheng-zhong-236292","仿董巨山水扇",[24,7,1131,128,132,29,130,34,131,415,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ed8d49fe244e8fef28c5ebf7ff8baf7.jpg",[],{"id":63083,"slug":63084,"title":14496,"dynasty":124,"author":223,"museum":300,"description":63085,"tags":63086,"thumbUrl":63087,"material":151,"size":84,"collection":84,"collections":63088,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},236288,"wang-zi-yuan-hua-niao-ce-yi-ming-236288","此作绘深秋江渚之景，三只鸿雁动静相生，意趣盎然。空中一雁振翅斜掠，翅羽纤毫毕现，破空之势尽显野逸灵动。滩涂之上，一雁引颈远眺似在呼朋，另一雁垂首理羽，姿态闲柔温婉。淡赭晕染寒波，朦胧空濛间尽显水天荒寒，枯墨写就的芦荻萧疏苍劲，笔致老辣苍拙。\n整幅以精细写实勾勒禽鸟情态，又以写意晕染烘托秋渚清寂氛围，将鸿雁的生机动静与江滩的幽寂融为一体，在方寸间晕染出深秋荒寒的幽远诗意，尽显写生花鸟的雅致意趣。",[24,7,59,27,28,128,211,167,61,171,6640],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b64e9e0eda11266daa257b7e6202a3.jpg",[],{"id":63090,"slug":63091,"title":4071,"dynasty":54,"author":5879,"museum":300,"description":59277,"tags":63092,"thumbUrl":63093,"material":692,"size":1293,"collection":84,"collections":63094,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},236011,"hua-hui-tu-ce-hua-yan-236011",[24,7,59,27,61,375,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf90081ef68bf8da97223c9b29314223.jpg",[],{"id":63096,"slug":63097,"title":63098,"dynasty":54,"author":16583,"museum":300,"description":29102,"tags":63099,"thumbUrl":63100,"material":692,"size":1293,"collection":68,"collections":63101,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},235947,"zhi-hua-za-hua-ce-gao-qi-pei-235947","指画杂画册",[24,7,59,29104,128,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb827e19df38030a059a4095e5043dc.jpg",[68],{"id":63103,"slug":63104,"title":63105,"dynasty":54,"author":223,"museum":300,"description":63106,"tags":63107,"thumbUrl":63110,"material":84,"size":84,"collection":84,"collections":63111,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},235910,"yuan-ji-pi-pa-tu-ye-yi-ming-235910","原济枇杷图页","此作为水墨写意小品，以简驭繁尽显雅致意趣。画师以浓淡墨色铺陈枇杷叶片，焦墨挺拔勾勒叶筋，将叶片革质的硬朗舒展表现得淋漓尽致，叶片错落排布，以墨色晕染区分阴阳向背，层次分明。枇杷果实以没骨法晕染，墨色柔和圆融，由深及浅晕出饱满莹润的质感，聚散间如枝头天然生发，带着鲜活野趣。\n整幅画作舍去背景缀饰，以留白衬出物象清逸姿态，笔墨简淡却意韵悠长，平淡天真间尽显文人画寄情草木的悠然禅意，寥寥数笔便将枇杷一枝的鲜活意态勾勒尽致，尽显水墨写意以少胜多的精妙之处。",[24,7,4437,128,61,63108,63109,208],"枇杷叶","枇杷果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32a154fe3402a8bc86ce0de4d2acd201.jpg",[],{"id":63113,"slug":63114,"title":63115,"dynasty":54,"author":3750,"museum":300,"description":63116,"tags":63117,"thumbUrl":63118,"material":84,"size":84,"collection":84,"collections":63119,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},235862,"fang-zi-jiu-shan-shui-ye-wang-jian-235862","仿子久山水页","此作构图疏清远逸，近坡古木虬曲苍劲，扎根嶙峋石畔，枯枝干瘦却自有傲然姿态，苔点错落点缀，愈见清隽。远景山峦以干笔淡墨皴擦晕染，轮廓温和平柔，林麓间村舍隐现，似笼轻烟薄雾，满溢幽寂安闲的冬日山野意趣。\n笔墨追慕元人简淡萧散的风神，以淡墨晕出空寂冷峭的氛围，笔意醇厚内敛，无丝毫刻露之痕。对页题诗与画面呼应合璧，尽显古雅静穆的文人画韵致，将山水荒寒淡远之美诉诸笔端，是极具文人意趣的精妙小品。",[164,24,7,59,128,330,132,133,208,29,171,331,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb55d50189bc2d501928537cc54c9ef61.jpg",[],{"id":63121,"slug":63122,"title":63123,"dynasty":124,"author":43716,"museum":300,"description":63124,"tags":63125,"thumbUrl":63126,"material":84,"size":84,"collection":84,"collections":63127,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},235839,"yu-nv-tan-tu-ye-zhu-lang-235839","玉女潭图页","此作用笔温润雅致，右侧幽谷深潭静卧山坳，苍岩皴笔朴拙苍劲，潭水以淡墨晕染出澄澈空濛之态。临潭水榭半隐于松荫翠色中，隐约有人凭栏观览，将林泉雅意收于咫尺画幅。\n\n左侧题咏行书笔致清逸舒展，诗画相映，衬出潭水的仙灵意境。整幅工写兼施，将江南山水的温婉秀润与文人幽居雅兴相融，以细腻笔墨勾勒出涤净尘俗的林泉胜境，尽显寄情山水的抒情意趣。",[24,7,27,29,133,132,208,130,34,99,131,758,37,1023,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa612ad865fbda0ae6c6443e63e8c7ad5.jpg",[],{"id":63129,"slug":63130,"title":4071,"dynasty":54,"author":1472,"museum":300,"description":19162,"tags":63131,"thumbUrl":63132,"material":692,"size":1293,"collection":84,"collections":63133,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},235706,"hua-hui-tu-ce-zou-yi-gui-235706",[24,7,59,27,28,61,209,62,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb97c2c9a02faece22380521831a67a1d.jpg",[],{"id":63135,"slug":63136,"title":4071,"dynasty":54,"author":1472,"museum":300,"description":19162,"tags":63137,"thumbUrl":63138,"material":692,"size":1293,"collection":84,"collections":63139,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},235705,"hua-hui-tu-ce-zou-yi-gui-235705",[24,164,7,59,27,28,61,371,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa75a4aee94e0042402dc53c1e3b38ba1.jpg",[],{"id":63141,"slug":63142,"title":63143,"dynasty":54,"author":223,"museum":300,"description":63144,"tags":63145,"thumbUrl":63146,"material":84,"size":84,"collection":84,"collections":63147,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},235669,"yuan-yao-shan-shui-ping-wan-song-die-cui-yi-ming-235669","袁耀山水屏-万松叠翠","此作以平远之法铺展意境，烟波浩渺的水中央渔舟错落，漾出鲜活的烟火意趣。近岸孤亭翼然矗立，凭栏可尽览春水汤汤。层叠山峦渐次抬升，古松苍劲蟠虬遍布崖间，粉花点缀在青绿间晕开春日暖意，山坳间云烟漫溢，柔化了山石嶙峋棱角。\n\n笔墨清润雅致，皴染兼具，既勾勒出山峦肌理脉络，又以淡色晕染出江南山水的氤氲温润。静穆丘壑与渔家日常相映相融，将春日江南的安闲悠然藏入尺幅，融写景之真与写意之柔，尽显清润平和的山水意韵。",[24,7,27,28,132,29,372,97,2048,131,34,37,130,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F647fdf8eda29f8f9c0689b73a349e40c.jpg",[],{"id":63149,"slug":63150,"title":14818,"dynasty":54,"author":3718,"museum":300,"description":10500,"tags":63151,"thumbUrl":63152,"material":692,"size":1293,"collection":84,"collections":63153,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},235617,"hong-ren-shan-shui-ce-hong-ren-235617",[164,24,7,59,128,132,29,34,97,131,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f1b5516758b3d884ab3b86e03394ea7.jpg",[],{"id":63155,"slug":63156,"title":14818,"dynasty":54,"author":3718,"museum":300,"description":10500,"tags":63157,"thumbUrl":63161,"material":692,"size":1293,"collection":84,"collections":63162,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},235614,"hong-ren-shan-shui-ce-hong-ren-235614",[164,24,7,4437,128,63158,9481,132,63159,63160,29,663,1314,413,35,1023,3428,149],"枯笔","简约","清冷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F786ec573adabfb43ca01bf811898821a.jpg",[],{"id":63164,"slug":63165,"title":76,"dynasty":54,"author":2582,"museum":300,"description":2583,"tags":63166,"thumbUrl":63167,"material":692,"size":1293,"collection":84,"collections":63168,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},235597,"hua-hui-ce-wang-wu-235597",[24,7,59,27,61,62,208,133,168,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc07fb5061d99f73a800df185034991a.jpg",[],{"id":63170,"slug":63171,"title":76,"dynasty":54,"author":2582,"museum":300,"description":2583,"tags":63172,"thumbUrl":63173,"material":692,"size":1293,"collection":84,"collections":63174,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},235596,"hua-hui-ce-wang-wu-235596",[24,164,7,59,27,28,61,263,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57694f0413551c98c0dacca9f69d8b02.jpg",[],{"id":63176,"slug":63177,"title":63178,"dynasty":124,"author":57340,"museum":300,"description":63179,"tags":63180,"thumbUrl":63181,"material":84,"size":84,"collection":84,"collections":63182,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},235594,"ce-jian-tu-zhou-fang-yi-zhi-235594","策蹇图轴","枯淡水墨晕开萧散秋郊，近畔苍松虬劲卓立，浓墨点簇苔叶成荫，留白衬出躯干清癯古雅。平远山水层层铺展，浅笔勾勒出汀洲丘峦，淡墨晕染空濛悠远，将郊野疏旷之境晕染极致。\n\n策蹇老者宽袍斗笠，缓行于溪山之间，寥寥数笔便绘就悠然意态。画面上方题笔纵逸跌宕，诗画交融，以禅意笔墨写就林泉高致，尽显晚明文人尚简尚意的风骨淡韵，淡墨轻岚之间，藏着旧朝士子寄情丘壑、避世寻幽的林下襟怀。",[24,7,165,128,29,96,101,1144,131,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9e95a0a27c294450f03b11df67a85b7.jpg",[],{"id":63184,"slug":63185,"title":20324,"dynasty":124,"author":223,"museum":300,"description":63186,"tags":63187,"thumbUrl":63188,"material":692,"size":1293,"collection":84,"collections":63189,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},235590,"wen-chu-hua-hui-ce-yi-ming-235590","此作用笔简逸古雅，以水墨皴擦写湖石，嶙峋苍劲，暗合文人赏石之趣。粉花柔枝亭亭而立，没骨晕染出花瓣柔润的娇态，淡绿枝叶舒展灵动，与湖石的朴拙刚硬形成柔刚对照。石畔细草偃仰生姿，枯梢添清寂野趣。\n\n浅淡设色配暗纹笺底，更衬出古雅隽永，朱红印章点缀画面，平衡构图之余，晕开沉静文气。整幅小品清疏淡远，寥寥数笔便将幽庭小景的闲雅意趣尽显，藏着江南庭院的温婉灵秀，静中生韵，淡里含情。",[24,7,59,27,128,28,171,62,1771,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F647cd67c4f69c7e2309690c50aabea39.jpg",[],{"id":63191,"slug":63192,"title":10613,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":63193,"thumbUrl":63194,"material":692,"size":1293,"collection":84,"collections":63195,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},235519,"yuan-ji-shan-shui-tu-ce-shi-tao-235519",[24,7,59,128,27,29,1337,131,97,231,167,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa2a78c5b32a9df0169ae4148b73f13e.jpg",[],{"id":63197,"slug":63198,"title":22264,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":63199,"thumbUrl":63200,"material":692,"size":1293,"collection":84,"collections":63201,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},235492,"huang-shen-shu-guo-tu-ce-huang-shen-235492",[24,7,59,128,4250,208,133,840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6a5349a4dd4a5275e082a367a3ed68a.jpg",[],{"id":63203,"slug":63204,"title":21106,"dynasty":54,"author":5879,"museum":300,"description":59277,"tags":63205,"thumbUrl":63206,"material":692,"size":1293,"collection":84,"collections":63207,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},235391,"hua-niao-tu-ce-hua-yan-235391",[164,24,7,59,128,27,61,167,355,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1603d4c51d08283b14184d44dc30f58b.jpg",[],{"id":63209,"slug":63210,"title":409,"dynasty":124,"author":38263,"museum":300,"description":38264,"tags":63211,"thumbUrl":63212,"material":692,"size":1293,"collection":84,"collections":63213,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},235354,"shan-shui-ce-zhang-fu-yang-235354",[24,7,59,128,29,840,208,132,130,167,131,711,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F881b45a415a6b7ceebf1003120b8678b.jpg",[],{"id":63215,"slug":63216,"title":31332,"dynasty":54,"author":3750,"museum":300,"description":17621,"tags":63217,"thumbUrl":63218,"material":692,"size":1293,"collection":84,"collections":63219,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},235340,"fang-gu-shu-hua-ce-wang-jian-235340",[24,7,59,27,330,29,34,31,23873,35,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92d189d3f83f12b33c2e3a1215d87e93.jpg",[],{"id":63221,"slug":63222,"title":31332,"dynasty":54,"author":3750,"museum":300,"description":17621,"tags":63223,"thumbUrl":63224,"material":692,"size":1293,"collection":84,"collections":63225,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},235339,"fang-gu-shu-hua-ce-wang-jian-235339",[24,7,59,2271,27,29,133,208,98,99,34,415,35,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9d51a7dc9bebbb0aff7ced8be3699e6.jpg",[],{"id":63227,"slug":63228,"title":63229,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":63230,"thumbUrl":63231,"material":692,"size":1293,"collection":84,"collections":63232,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},235271,"wen-zheng-ming-lan-shi-shan-ye-wen-zheng-ming-235271","文徵明兰石扇页",[164,24,7,1131,128,133,208,375,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facb70d446d4d9f46a87ce5ceae154c78.jpg",[],{"id":63234,"slug":63235,"title":48187,"dynasty":124,"author":26920,"museum":300,"description":63236,"tags":63237,"thumbUrl":63238,"material":692,"size":1293,"collection":84,"collections":63239,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},235207,"shan-shui-shan-mian-wang-wen-235207","王问（1497-1576），字子裕，号仲山，江苏无锡人。嘉靖十七年（1538年）戊戌科（二甲第十八名）进士，历官车驾郎中，擢广东按察佥事，未赴任，弃官归家。\n书法类米芾、黄庭坚，点染山水、花鸟皆精；诗作萧闲疏放，冲然自得，有《仲山诗选》《崇文馆稿》。",[24,7,1131,128,132,29,34,97,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa12b044bd0ad6c549fa71b32dc61138e.jpg",[],{"id":63241,"slug":63242,"title":409,"dynasty":54,"author":872,"museum":300,"description":63243,"tags":63244,"thumbUrl":63245,"material":84,"size":84,"collection":84,"collections":63246,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},235168,"shan-shui-ce-zhu-da-235168","淡墨轻勾慢染，主峰隐在晕开的烟岚之中，留白似流岚将山形托得愈发幽寂高旷。下方丘峦错落，林木萧疏，数笔点染便勾勒出山野荒寒之态，全无繁复皴擦，却把天地空茫尽数铺陈。\n\n以极简笔墨写就山河寥廓，留白如江上寒烟，将冷寂淡远的意趣藏在笔墨间隙，不见半分烟火气，只剩山水与心神默然对谈。朱红印色落在素纸之上，冷暖相映，更衬出画面空灵淡远，仿佛将孤寂心绪随着淡墨晕开在纸间，余韵悠长。",[24,7,59,128,29,369,3699,34,130,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6749c4cf97a18419b7e316209411ff4f.jpg",[],{"id":63248,"slug":63249,"title":409,"dynasty":54,"author":9742,"museum":20,"description":35708,"tags":63250,"thumbUrl":63251,"material":1722,"size":35711,"collection":84,"collections":63252,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},235024,"shan-shui-ce-wu-li-235024",[24,7,59,128,132,29,34,131,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec48f3525fd186a4d11bebd26ce56d54.jpg",[],{"id":63254,"slug":63255,"title":10613,"dynasty":54,"author":1460,"museum":20,"description":11338,"tags":63256,"thumbUrl":63258,"material":999,"size":11341,"collection":84,"collections":63259,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},235006,"yuan-ji-shan-shui-tu-ce-shi-tao-235006",[24,7,128,29,132,133,59,30,131,63257],"书法题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ec9d3f7466864419bc306fe52d74c45.jpg",[],{"id":63261,"slug":63262,"title":59324,"dynasty":54,"author":9704,"museum":20,"description":59325,"tags":63263,"thumbUrl":63264,"material":10347,"size":59328,"collection":84,"collections":63265,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},234966,"wu-wai-tian-yuan-tu-ce-kun-can-234966",[24,7,59,128,29,372,1314,130,23873,11998,34,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8bb02271028ddcb05ec95b99f2e0965.jpg",[],{"id":63267,"slug":63268,"title":59324,"dynasty":54,"author":9704,"museum":20,"description":59325,"tags":63269,"thumbUrl":63270,"material":10347,"size":59328,"collection":84,"collections":63271,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},234964,"wu-wai-tian-yuan-tu-ce-kun-can-234964",[164,24,7,59,128,132,29,35,34,131,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e4e6b9ba91bd3e9308d797823b473d9.jpg",[],{"id":63273,"slug":63274,"title":11926,"dynasty":124,"author":223,"museum":300,"description":63275,"tags":63276,"thumbUrl":63277,"material":692,"size":1293,"collection":84,"collections":63278,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},234928,"dong-qi-chang-shan-shui-ce-yi-ming-234928","此作用淡墨晕染铺就烟岚空濛之境，主峰以浓墨积染，浑朴厚重，与周遭浅墨晕开的云气虚实相映。近中景林木以焦墨点簇，错落苍润，坡岸留白代水，尽显江南山水氤氲迷离之态。\n\n题字与印章错落排布，书画印相映成趣，笔墨简淡却意韵悠长。以极简的水墨层次，勾勒出山川幽寂淡远之致，尽显文人画尚意重韵的特质，将山水的空灵沉静融于尺幅之间，观之如身临烟林丘壑，静享林泉雅趣。",[24,7,59,128,29,663,413,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8b1ebdfd39c580d7febf30a48d510a.jpg",[],{"id":63280,"slug":63281,"title":409,"dynasty":54,"author":36659,"museum":300,"description":63282,"tags":63283,"thumbUrl":63284,"material":692,"size":1293,"collection":84,"collections":63285,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},234862,"shan-shui-ce-wang-gai-234862","王概，又作王槩。初名匄，一作改，亦名丐，字东郭，又字安节，后改今名，秀水（今浙江嘉兴）人，久居江苏金陵（今南京）。兄王蓍，初名尸，字宓草。以花鸟擅名，兼善诗文、治印。",[24,7,59,27,29,331,211,96,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc29ca62d80ea29432bdab04656a163b.jpg",[],{"id":63287,"slug":63288,"title":63289,"dynasty":54,"author":223,"museum":300,"description":63290,"tags":63291,"thumbUrl":63292,"material":692,"size":1293,"collection":84,"collections":63293,"showCount":430,"zanCount":1998,"manualWeight":48,"mainColor":72},234854,"he-su-fu-ren-ying-xiang-zhou-yi-ming-234854","和素夫人影像轴","此作工笔精绝，将诰命夫人的雍容气度尽付笔端。画师于面容描摹细致入微，眉眼含静，神态端方沉稳，尽显世家尊眷的矜贵仪态。宝蓝吉服华美绝伦，金龙辗转腾挪于袍身，祥云、江崖海水次第铺陈，笔墨还原出针绣肌理的精妙，纹样层次分明，将森严的品级礼制融于雅致工巧之中。画面留白简约，边角题跋衬映，文气与画意相融。整作形神兼备，写实功力深厚，将官眷威仪与富贵风华定格于绢素之上，尽显清代肖像画精细传神的创作特色。",[24,7,165,28,27,96,772,20721,44662,1367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d2a120e8a09f29ad429c901df1d611.jpg",[],{"id":63295,"slug":63296,"title":63297,"dynasty":124,"author":10922,"museum":20,"description":28002,"tags":63298,"thumbUrl":63299,"material":734,"size":28005,"collection":84,"collections":63300,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},234814,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-xing-chun-qiao-tu-ye-wen-jia-234814","吴门诸家寿袁方斋三绝册-行春桥图页",[24,164,7,59,128,27,29,413,98,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feea626d77f19824c78c24784154a0e1b.jpg",[],{"id":63302,"slug":63303,"title":76,"dynasty":54,"author":63304,"museum":300,"description":63305,"tags":63306,"thumbUrl":63307,"material":692,"size":1293,"collection":84,"collections":63308,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},234775,"hua-hui-ce-wang-lu-234775","王露","王昙（1760～1817）诗人清代。又名良士，字仲瞿。秀水（今浙江嘉兴）人。当地有瓶山，因以瓶山自号。乾隆五十九年举人。会试不第，白衣终身，著有《烟霞万古楼文集》等。时人将他与常州诗人黄仲则诗合刻，题曰“乾隆二仲”。王昙与孙原湘、舒位并称“后三家”或“江左三君”。",[24,7,59,128,167,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4db02d91249313f8a3cea4d912a5d7d.jpg",[],{"id":63310,"slug":63311,"title":54256,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":63312,"thumbUrl":63313,"material":84,"size":84,"collection":84,"collections":63314,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},234655,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234655",[24,7,59,128,133,64,29,132,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F071016330c634259e44baae9b2e5dae8.jpg",[],{"id":63316,"slug":63317,"title":54256,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":63318,"thumbUrl":63319,"material":84,"size":84,"collection":84,"collections":63320,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},234654,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234654",[24,7,59,128,133,208,29,496,34,35,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57b5033947f4b0a441807f1b0facb7a0.jpg",[],{"id":63322,"slug":63323,"title":63324,"dynasty":124,"author":18090,"museum":300,"description":46807,"tags":63325,"thumbUrl":63326,"material":84,"size":84,"collection":84,"collections":63327,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},234637,"fang-ni-yun-lin-shan-shui-shan-ye-lan-ying-234637","仿倪云林山水扇页",[24,7,1131,128,330,132,29,413,131,415,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1600bed19ce55d40b46ed0b1d4f262d8.jpg",[],{"id":63329,"slug":63330,"title":63331,"dynasty":54,"author":63332,"museum":20,"description":63333,"tags":63334,"thumbUrl":63335,"material":84,"size":84,"collection":84,"collections":63336,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},234615,"shan-shui-wan-shan-lin-shu-234615","山水纨扇","林纾","林纾（1852年11月8日—1924年10月9日），中国近代文学家，字琴南，号畏庐，别署冷红生，福建闽县（今福州市）人。晚称蠡叟、践卓翁、六桥补柳翁、春觉斋主人。室名春觉斋、烟云楼等。\n早年曾从同县薛锡极读欧阳修文及杜甫诗。后读同县李宗言家所藏书，不下三四万卷，博学强记，能诗，能文，能画，有狂生的称号。光绪八年（1882年）举人，官教论，考进士不中。二十六年（1900年），在北京任五城中学国文教员。所作古文，为桐城派大师吴汝纶所推重，名益著，于是任北京大学讲席。\n辛亥革命后，入北洋军人徐树铮所办正志学校教学，推重桐城派古文。\n后在北京，专以译书售稿与卖文卖画为生。曾创办“苍霞精舍”——今福建工程学院前身。工诗古文辞，以意译外国名家小说见称于时。复肆力于画。山水初灵秀似文徵明，继而浓厚近戴熙。偶涉石涛，故其浑厚之中颇有淋漓之趣。其题画诗云：“平生不入三王派，家法微微出苦瓜，我意独饶山水味，何须攻苦学名家？”。花鸟得其师陈文台之传，淡墨薄色，神致生动。\n晚年居北京，求者多以山水，而花鸟则不复作矣。著畏庐文集、诗集、春觉斋题画跋及小说笔记等。",[24,7,1131,27,29,97,171,34,132,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3cc5f175b7f04bff2dba309b92c9616.jpg",[],{"id":63338,"slug":63339,"title":63340,"dynasty":54,"author":63341,"museum":300,"description":63342,"tags":63343,"thumbUrl":63344,"material":84,"size":84,"collection":84,"collections":63345,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},234614,"lan-cui-du-shu-wan-shan-yuan-xu-234614","览翠读书纨扇","袁煦","袁煦（约为1764年前后生人），乾隆五十九年（1794年）举人，清代济南府长山县人，礼部尚书、协办大学士纪昀女婿。清朝中期画家，工山水，官至内阁中书、军机章京。注：出生时间参照其中举时间（1794年）与纪昀三子纪汝似（1766年生人）的出生时间。",[24,7,1131,27,29,131,99,34,35,415,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98a43fe28f1dab8cfc0a33bfb1cc98a4.jpg",[],{"id":63347,"slug":63348,"title":63331,"dynasty":54,"author":63349,"museum":300,"description":63350,"tags":63351,"thumbUrl":63352,"material":84,"size":84,"collection":84,"collections":63353,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},234612,"shan-shui-wan-shan-zhang-zhi-wan-234612","张之万","张之万，字子青，直隶南皮人（今河北省南皮县人）。道光二十七年（１８４７）以一甲一名中进士，授翰林院修撰，咸丰二年（１８５２）出督河南学政，累迁内阁学士，擢礼部侍郎，兼署工部。尝与太常寺卿许彭寿等总结历代帝王及垂帘事迹，汇辑成《治平宝鉴》，以备帝王借鉴自省。同治元年（１８６２），署理河南巡抚，时捻军起义，张之万在河南汝洲、开封等地多次围剿捻军，捷报频传，赏头品顶戴、赐花翎。之后调任江苏巡抚、迁浙闽总督。光绪八年（１８８２）起兵部尚书，调刑部。光绪十年（１８８４）入军机，兼署吏部，光绪十五年（１８８９），授体仁阁大学士，转东阁，赐双眼花翎，并赐用紫缰（清代对于皇室近支和有功勋的官员，特许骑马用紫缰）。光绪丁酉年（１８９７）卒，年８７，赠太傅，谥文达。\n张之万生平襟怀旷远，不见欣戚之色；其在师中，临危制变，不动声色；善于择将，拔张曜、宋庆等于稠人之中，这些将领均以战功显明于世；居政府１３年，让功推能，人尤称其相度。\n世人或知张之万政绩卓著，战功显赫，然其生性儒雅，工书善画能诗也许少为人知。石家庄市博物馆收藏有张之万书画作品数幅，现择取有代表性的两幅与诸君共赏。",[164,24,7,1131,128,132,663,495,130,413,131,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d8481e7d89e0da642dc11c5e031fd6b.jpg",[],{"id":63355,"slug":63356,"title":63357,"dynasty":54,"author":63358,"museum":300,"description":9208,"tags":63359,"thumbUrl":63360,"material":84,"size":84,"collection":84,"collections":63361,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},234588,"shi-wan-shan-li-yu-lan-234588","石纨扇","李育兰",[24,7,1131,128,375,1314,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6059cd8caec6e0d78faafc2b169a37c8.jpg",[],{"id":63363,"slug":63364,"title":63365,"dynasty":54,"author":223,"museum":300,"description":63366,"tags":63367,"thumbUrl":63368,"material":84,"size":84,"collection":84,"collections":63369,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},234484,"jin-ling-ming-bi-ji-sheng-hu-zao-hua-cao-chong-ce-ye-yi-ming-234484","金陵名笔集胜-胡慥画草虫册页","明末清初，金陵特殊的政治、经济、文化地位，使其集聚了一大批画家，用龚贤的话来说：“今日画家以江南最盛，江南十郡以首郡为盛，郡中著名者且数十辈，但能吮笔者岂止千人？”① 江南的首郡就是金陵。在这些画家中，却单单有八位画家因一个概念而被画史铭记，这就是“金陵八家”。但是，关于“金陵八家”的构成一直为画史争论不休。先后出现了多个版本，这些不同的“金陵八家”组合其实可以分为三类：①为张庚《国朝画征录》中提出的以龚贤为首的“金陵八家”。②为标明是周亮工品题的不包括龚贤，并以陈卓领衔的“金陵八家”，《上元县志》、《新修江宁府志》、《上江两县志》和《金陵通传》这4部南京地方志采用该说。前三书完全相同，而《金陵通传》略有不同，将武丹换成了武弁（很可能是传抄的错误）。《眼福编》的组合虽与张庚之说相似，但将龚贤换成了邹喆的父亲邹典，故将之归到这一类。③为《昆山景物志》，此说也以龚贤为首，大概因为龚贤是昆山人。新入3人：施霖、盛丹、王概。这三类“金陵八家”构成以第一种受到的附合最多。为什么会出现如此多的“金陵八家”说不同版本，“金陵八家”最初由谁品题，为什么会发生变化，其动因又是什么呢？",[24,7,59,27,28,61,376,480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd69d52209f5bf66a1de1c23e1b5d4804.jpg",[],{"id":63371,"slug":63372,"title":63373,"dynasty":54,"author":223,"museum":300,"description":63374,"tags":63375,"thumbUrl":63376,"material":692,"size":1293,"collection":84,"collections":63377,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},234385,"xiao-sheng-xian-huang-hou-chao-fu-xiang-zhou-yi-ming-234385","孝圣宪皇后朝服像轴","此作写实精微，将女主人慈和端凝的神态刻画入微，鬓发丝缕、面部肌理皆细腻逼真，尽显沉静雍容的气度。\n朝服纹饰严整考究，盘龙绣纹张弛有度，缂丝刺绣的华美感跃然绢上，朝珠串珠层次分明，宝石的温润光泽与华贵质感尽显无遗。髹金雕龙座椅繁复富丽，地毯纹样规整华美，衬出皇家仪范的肃穆厚重。\n整体设色明丽沉稳，兼顾纪实性与艺术性，将帝后威仪与端庄气度相融，是清代宫廷肖像画的上乘之作。",[24,7,165,27,28,96,14416,31432,1365,44662,38740],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa222c1e4c1c25705b7fed860532e5504.jpg",[],{"id":63379,"slug":63380,"title":63381,"dynasty":54,"author":223,"museum":300,"description":63382,"tags":63383,"thumbUrl":63384,"material":692,"size":1293,"collection":84,"collections":63385,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},234380,"xuan-ye-chao-fu-xiang-zhou-yi-ming-234380","玄烨朝服像轴","这是工笔重彩帝王肖像，画中帝王面容沉稳威严，沟壑纹路镌刻着半生理政的厚重阅历，神色持重内敛，尽显久居九五的肃穆气度。\n明黄朝服尽显至尊礼制，龙纹腾跃于衣身，辅以祥云、江崖海水，纹饰勾染精细妍丽，石青、朱红点缀其间，撞色沉稳华贵，织绣细节纤毫毕现，将清代冠服的森严等级尽数铺陈。髹金浮雕龙座与纹样规整的铺地织锦层层烘托，写实笔触精准恪守宫廷肖像的制式法度，定格下盛世帝王的仪范风骨，是清代肖像画工致典雅的典范。",[24,7,165,27,96,772,170,28,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d104575a2e03427d0d767f27dedb9b7.jpg",[],{"id":63387,"slug":63388,"title":13087,"dynasty":54,"author":13088,"museum":300,"description":13089,"tags":63389,"thumbUrl":63390,"material":84,"size":84,"collection":84,"collections":63391,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},234376,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234376",[24,7,59,330,28,128,61,2036,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdba41c21bb48650a1864db47783c6311.jpg",[],{"id":63393,"slug":63394,"title":18219,"dynasty":54,"author":9529,"museum":20,"description":63395,"tags":63396,"thumbUrl":63397,"material":1027,"size":84,"collection":84,"collections":63398,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},234305,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234305","王翚（1632－1717），字石谷，号象文，一号臞樵、乌目山人、耕烟散人、耕烟外史、清晖主人、清晖老人、剑门樵客、耕烟野老、耕烟老人、天放闲人、雪笠道人、海虞山樵等。江苏常熟人。一代山水大家，开创“虞山画派”，有“画圣”之誉。与王时敏、王鉴、王原祁并称“四王”；合吴历、恽寿平，世称“清六家”。其画在清代极负盛名，康熙三十年奉诏绘制《康熙南巡图》，3年完成，得到皇帝的褒奖，被视为画之正宗，追随者甚众，为“虞山派”之首。",[24,7,59,27,132,2271,29,663,228,34,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246786c908a5af84ff097e5edaba0cbb.jpg",[],{"id":63400,"slug":63401,"title":63402,"dynasty":54,"author":55,"museum":20,"description":63403,"tags":63404,"thumbUrl":63405,"material":1027,"size":84,"collection":84,"collections":63406,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},234248,"yi-zhu-zhai-juan-yun-shou-ping-234248","一竹斋卷","《一竹斋图》卷上的落款是“甲子春正月”，即为康熙二十三年二月（1684年），是恽寿平51岁时，于他人生中最后的一个十午岁月初始时，为他的好友一竹斋主人唐若营所画的命题创作。此图是一幅短小而精悍的横幅山水画作，画面中有作者的一段自题以及杨（雪臣）、蔡元宸和济永三家的题诗。画迹本身的尺寸并不长，不过画前引首处裱有一条和画幅几乎等大的暗黄色绢面的题额，",[23,24,7,25,128,188,133,572,208,167,29,413,130,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb79c676d0d4d8a8903713389711c9e2d.jpg",[],{"id":63408,"slug":63409,"title":63410,"dynasty":124,"author":17733,"museum":20,"description":63411,"tags":63412,"thumbUrl":63413,"material":1027,"size":84,"collection":84,"collections":63414,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},234240,"ting-qiu-tu-juan-zhou-chen-234240","听秋图卷","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。\n中国明代中期的著名职业画家。他生活在成化至嘉靖年间。字舜卿，号东村，吴（今江苏苏州）人，生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。他有两个学生特别著名，一个唐寅，另一个仇英。唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。画山石坚凝，章法严谨，用笔纯熟。曾与戴进并驱，则互有所长。人物画也非常出色，古貌奇姿，绵密萧散，各极意态。南京博物院收藏的周臣代表作《柴门送别图》 ，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。周臣被人们称为非院派的“院派”画家。\n周臣是个丰产画家，流传下来的作品也不少，仅上海博物馆收藏《春山游踪图》 等大幅作品7幅，小扇页14幅，故宫博物院收藏《春山游骑图》《春泉山隐图》等 ，济南博物馆收有《访友图》 ，及台湾、国外大博物馆内也收藏一些作品。周臣这些流存至今的作品件件结构精整，幅幅见功力，下笔不苟。",[23,24,7,25,128,133,840,96,413,276,211,29,414,1429],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc39bceafc9a156609910412949d149.jpg",[],{"id":63416,"slug":63417,"title":59883,"dynasty":18,"author":59884,"museum":20,"description":63418,"tags":63419,"thumbUrl":63420,"material":9291,"size":63421,"collection":84,"collections":63422,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},234010,"xue-jiang-mai-yu-ye-li-dong-234010","李东，南宋画家。生卒年和籍贯均不详。南宋理宗时（公园1225-1264年）经常京师御街上出售他所画村田乐、常酣圆绘作品，为民间风俗画家。",[24,7,4437,128,27,132,29,99,129,1351,331,1233,1556,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba081b5d70387e01e514cd9655afe981.jpg","纵23.6厘米,横25.2厘米",[],{"id":63424,"slug":63425,"title":27717,"dynasty":124,"author":125,"museum":20,"description":63426,"tags":63427,"thumbUrl":63428,"material":1722,"size":27721,"collection":84,"collections":63429,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},233833,"chu-ji-tu-ye-shen-zhou-233833","从自题诗看，画家对这只已然半大的雏鸡表现了担忧之情，总是啾啾寻母，长大后如何承担起催日报晓的责任呢？不难看出画家借雏鸡图寄予了期望后代早日成才的心愿。\n此画构图简练，为一只墨笔写意的雏鸡。其背部羽毛以湿润的墨色渲染，体形轮廓则以简约的墨线勾勒，虽为写意，仍能照顾到物象的立体感。雏鸡两翅以淡墨细笔写出，角度与比例配合得当。整幅画虽题材简单，但笔韵内敛传神，雏鸡稚嫩的体态通过水墨尽得显现。此作品为沈周所作有关鸡之题材绘画的代表作，此时的沈周已经完全摆脱了元人一味摹宋的工致画风，而是真正将自己的心神融入到笔锋之中，达到了写形传神的境界。",[24,7,128,61,11743,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee3886c457920ae97c8f13eb891504ce.jpg",[],{"id":63431,"slug":63432,"title":26752,"dynasty":144,"author":2487,"museum":20,"description":26753,"tags":63433,"thumbUrl":63434,"material":40,"size":26756,"collection":84,"collections":63435,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},233828,"er-ma-tu-juan-ren-ren-fa-233828",[24,7,25,28,27,101,949,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1058010d2a8e2e377aa7c701fb014f9b.jpg",[],{"id":63437,"slug":63438,"title":409,"dynasty":124,"author":2268,"museum":20,"description":11927,"tags":63439,"thumbUrl":63440,"material":734,"size":5345,"collection":84,"collections":63441,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},233804,"shan-shui-ce-dong-qi-chang-233804",[24,7,59,128,132,29,1144,131,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe94f3d6287aa626435c6611767a6320.jpg",[],{"id":63443,"slug":63444,"title":63445,"dynasty":182,"author":223,"museum":20,"description":63446,"tags":63447,"thumbUrl":63448,"material":611,"size":63449,"collection":84,"collections":63450,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},233783,"yao-shi-ru-lai-xiang-ye-yi-ming-233783","药师如来像页","本幅所绘为药师佛，结跏趺坐于莲花宝座上，内着绿地红色团花僧祇支，外披红色田相袈裟。左手持药钵，右手执两股六环杖头锡杖。背后有身光、头光。背景图案中的团花用淡红、紫红、黑色、绿色等色彩层层晕染勾勒。",[24,7,59,27,188,187,96,1364,4642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d769ae7b7b551c0025fdbbf404fa68d.jpg","34×30cm",[],{"id":63452,"slug":63453,"title":16041,"dynasty":54,"author":1460,"museum":20,"description":16042,"tags":63454,"thumbUrl":63455,"material":734,"size":16046,"collection":84,"collections":63456,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},233777,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233777",[24,7,59,128,27,133,132,29,96,35,34,415,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa129f1fd9aee99203d27679dcaa08816.jpg",[],{"id":63458,"slug":63459,"title":16041,"dynasty":54,"author":1460,"museum":20,"description":16042,"tags":63460,"thumbUrl":63461,"material":734,"size":16046,"collection":84,"collections":63462,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},233774,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233774",[24,7,59,128,27,29,4363,3440,604,96,3344,950,4278,133,369,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ca4420878f973ed6cbf1457c2815973.jpg",[],{"id":63464,"slug":63465,"title":16041,"dynasty":54,"author":1460,"museum":20,"description":16042,"tags":63466,"thumbUrl":63467,"material":734,"size":16046,"collection":84,"collections":63468,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},233772,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233772",[24,7,59,128,27,133,132,29,1144,711,96,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b13f182bff57b8fc3868382c434e29.jpg",[],{"id":63470,"slug":63471,"title":63472,"dynasty":18,"author":223,"museum":300,"description":63473,"tags":63474,"thumbUrl":63475,"material":84,"size":84,"collection":84,"collections":63476,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},233699,"yu-le-tu-ye-yi-ming-233699","渔乐图页","绘三只渔船捕鱼归来,泊于古松幽篁掩映下的岸边.舟上人物或正在用餐,或忙于其他事情,充满生活的气息",[24,164,7,1131,27,128,132,29,96,129,34,99,1351,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F389669d69d09b3873a5a16e2df01015f.jpg",[],{"id":63478,"slug":63479,"title":63480,"dynasty":54,"author":1460,"museum":300,"description":14038,"tags":63481,"thumbUrl":63482,"material":1722,"size":14041,"collection":84,"collections":63483,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},233692,"yuan-ji-lan-zhu-ce-zhu-lan-shi-po-shi-tao-233692","原济兰竹册－竹兰石坡",[24,7,59,128,375,167,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c88861d0864e685181fe2408ea90707.jpg",[],{"id":63485,"slug":63486,"title":57643,"dynasty":54,"author":1460,"museum":300,"description":14038,"tags":63487,"thumbUrl":63488,"material":1722,"size":14041,"collection":84,"collections":63489,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},233681,"yuan-ji-lan-zhu-ce-lan-shi-shi-tao-233681",[164,24,7,59,128,132,171,4074,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d93a65f4c725c210abdf4ee1e5accca.jpg",[],{"id":63491,"slug":63492,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":63494,"thumbUrl":63495,"material":84,"size":84,"collection":136,"collections":63496,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},233479,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233479","十竹斋五色笺谱册",[24,7,59,188,128,29,34,131,98,99,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e3ee77b6e06a944cb23362a403e4847.jpg",[136],{"id":63498,"slug":63499,"title":63500,"dynasty":124,"author":204,"museum":20,"description":59385,"tags":63501,"thumbUrl":63502,"material":40,"size":59388,"collection":84,"collections":63503,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},233234,"gui-fen-tu-juan-chou-ying-233234","归汾图卷",[24,7,25,27,28,132,133,64,208,29,96,97,98,99,130,211,34,711,415,7782,149,1645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef5d14ba947ca8d4ea3f712b7d9b9be8.jpg",[],{"id":63505,"slug":63506,"title":409,"dynasty":144,"author":14724,"museum":20,"description":32011,"tags":63507,"thumbUrl":63508,"material":734,"size":32014,"collection":84,"collections":63509,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},233176,"shan-shui-ce-cao-zhi-bai-233176",[24,7,128,133,132,59,29,34,31,415,37,98,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec17ecbbd4b4d239fdd07a6646c24e93.jpg",[],{"id":63511,"slug":63512,"title":63513,"dynasty":54,"author":7716,"museum":20,"description":63514,"tags":63515,"thumbUrl":63516,"material":1223,"size":63517,"collection":84,"collections":63518,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},233148,"hua-qian-dong-xiang-zhou-gai-qi-233148","画钱东像轴","钱东是乾隆嘉庆年间的画家，字东皋，号袖海，又号玉鱼生，在当时享有盛名，这是改琦为其所作的遗像。此图将钱东画成禅定遗照，从格式到构思，含意都很独特。这幅作品一反一般先人遗像的陈局旧格，写钱东穿一身白色僧服，作佛弟子居士打扮，端坐蒲团之上。蒲团安置在枯藤虬蟠的古树枝杈间，绿叶垂萝成荫。树旁石案上置放着贝叶、经卷和灵芝、石磬等物。主人公俨然是位潜心参禅、面壁成佛的修行者，而不同于通常的遗像。画家如此描绘，并非钱东生前就是一位居士或虔笃的信徒，而是为了强调他超尘脱俗的品行和清净无为的志向，并以此来称颂他一生，寄托后人的思念。画面背景以工笔重彩细加描绘，人物面部的刻画是全画精华所在，细加晕染，有栩栩如生之感。图上有诸家题诗。改琦所作肖像，重视环境、背景的衬托和渲染。这幅《钱东像》在选择环境方面更具典型性，有力烘托了人物的精神世界。精细秀逸的用笔，清雅色彩，也使作品呈现出鲜明的个人特色，产生优美悦目的艺术效果，从而成为一幅传世杰作。\n改琦是清后期仕女画中成绩突出的画家，也是一位天姿英敏、诗词书画并臻的艺术家。\n改琦字伯蕴，号香白，又号七芗，别号玉壶外史。生于1774年，卒于1829年，他的祖先是新疆人，后世居北京，因祖父以武职官住松江，所以他生于松江（今上海市）。改琦幼时特别聪明，自小就喜绘画、诗文,成人后善画山水、花草、兰竹，其仕女画成绩尤为出色。秦祖永在《桐阴论化画》中，把改琦的仕女画评为“妙品”，并说他“落墨洁净，设色妍雅 ”，是一位能脱去脂粉习气的高手。",[24,7,165,27,96,331,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18b43ba26f5832a75b9acdab6de29e7b.jpg","纵35．9厘米横50厘米",[],{"id":63520,"slug":63521,"title":63522,"dynasty":124,"author":1058,"museum":20,"description":37362,"tags":63523,"thumbUrl":63524,"material":999,"size":37365,"collection":84,"collections":63525,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},233139,"ming-ren-xi-shan-sheng-jing-he-bi-ce-xing-chun-qiao-tu-ye-tang-yin-233139","明人西山胜景合壁册-行春桥图页",[24,7,59,128,133,132,29,98,99,171,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff9513286f80bd3fb6fa61c9ad4e095.jpg",[],{"id":63527,"slug":63528,"title":63529,"dynasty":54,"author":223,"museum":20,"description":63530,"tags":63531,"thumbUrl":63533,"material":734,"size":63534,"collection":84,"collections":63535,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},233043,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-233043","平定台湾战图册","乾隆五十一年（1786），台湾天地会北路首领林爽文起事，并得到南路首领庄大田的响应，旋即占领全岛，林爽文自称盟主大元帅，建元顺天；庄大田自称洪号，辅国大元帅。《战图》所绘即清大学士福康安和侍卫大臣海兰等于乾隆五十三年率军剿灭林爽文起事的战况。图十二幅，图目为：福康安奏报诸罗解围图、福康安奏报攻克斗六门图、福康安奏报攻克大里杙图、福康安奏报进攻小半天图、集集埔之战图、大埔林之战、大武垄之战图、枋寮之战图、生擒林爽文图、生擒庄大田图、福康安奏报抵厦门图、赐宴凯旋诸将图。\n据清内务府造办处乾隆五十三年档案记载：先是福康安进呈《台湾战图》御览，乾隆帝看过后并不满意，下旨：“图内人物绘画尚未合式，将原图十六幅寄京交如意馆，着伊兰泰将从前画过战图尺寸查清再画一份。五十三年九月二十日：姚文瀚将起得渡海凯旋图稿呈览，奉旨准画，着杨大章、贾全、谢遂、庄豫德、黎明分画。”十月初五太监鄂勒里传旨：“姚文瀚等现画台湾战图着以册十二幅，如画得一两幅，陆续交如意馆照西域战图画法一样画十二幅，俟画得时交造办处刻铜板。”[《活计档》。第3554册，中国第一历史档案馆藏。]即这是第一部完全由中国人绘稿和雕刻铜版的《战图》。但这套战图刻印完成后，也许乾隆帝并不十分满意，或者是对《平定准部回部战图》的西洋画法更感兴趣，又于乾隆五十四八月十七太监鄂鲁里传旨：“台湾战图册页画稿俟刻铜板完成时，将原稿掣回，着西洋人贺清泰、潘廷璋照铜板画法一样成画一份。”据《清内府造办处舆房目录》记载：《平定台湾战图》六份，其中绘本一份，内有原签注：“贾全起稿，黎明画稿”等字样。据故宫博物院藏清宫档案记载：“台湾战图铜板一份计十二块，压过二百份，各处陈设一百十九份，赏用八十一份。”",[164,24,7,59,27,28,96,29,37378,11074,5626,758,34,497,24350,33760,63532],"战场","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0be05ec6ab04eff3cb82e85ab4fc6c0.jpg","长55.6厘米，宽91.1厘米",[],{"id":63537,"slug":63538,"title":47344,"dynasty":18,"author":223,"museum":20,"description":47345,"tags":63539,"thumbUrl":63540,"material":40,"size":63541,"collection":84,"collections":63542,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},233022,"da-nuo-tu-zhou-yi-ming-233022",[24,7,165,27,28,96,438,170,59406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F811f5eb801a8357cdf3c7a7af199fa5a.jpg","纵67.4厘米，横59.2厘米",[],{"id":63544,"slug":63545,"title":63546,"dynasty":182,"author":63547,"museum":20,"description":63548,"tags":63549,"thumbUrl":63550,"material":999,"size":63551,"collection":84,"collections":63552,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},232981,"hua-liu-zun-zhe-xiang-ce-di-ba-ga-na-ga-ha-zhui-jin-zun-zhe-lu-leng-jia-232981","画六尊者像册-第八嘎纳嘎哈缀襟尊者","卢楞迦","本幅设色画罗汉像。该册画六开,每页均游丝描。款：“卢楞伽进”四字。每页有弘历对题，引首及跋纸第一页，均弘历题写。每页有朱笔梵文书尊者名，宋印及骑缝印均伪项元汴。印记总共176方，引首及对幅上共印22方。该册另有题签一开,字二开。《故一59》",[24,7,59,27,28,187,96,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07be9da045569add4298a9c0f650d8cb.jpg","纵30cm，横58cm",[],{"id":63554,"slug":63555,"title":41792,"dynasty":124,"author":3619,"museum":20,"description":41793,"tags":63556,"thumbUrl":63557,"material":611,"size":41796,"collection":84,"collections":63558,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},232964,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232964",[24,7,59,128,132,64,208,29,167,413,131,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe151099e591c78c5ae8b3d97b15ade62.jpg",[],{"id":63560,"slug":63561,"title":63562,"dynasty":54,"author":16862,"museum":1300,"description":46938,"tags":63563,"thumbUrl":63564,"material":1722,"size":46942,"collection":84,"collections":63565,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":4001},232901,"feng-zhu-tu-li-zhou-li-fang-ying-232901","风竹图立轴",[23,24,7,128,165,369,167,1314,1771,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9395c78f0d21c4a0ec265201cad2b525.jpg",[],{"id":63567,"slug":63568,"title":63569,"dynasty":124,"author":2268,"museum":1376,"description":63570,"tags":63571,"thumbUrl":63572,"material":151,"size":63573,"collection":84,"collections":63574,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},232690,"shi-tian-shi-yi-shan-shui-tu-dong-qi-chang-232690","石田诗意山水图","董其昌（1555-1636），字玄宰，号思白，别号香光居士，松江华亭（今上海市）人。明朝后期大臣，书画家。\n万历十七年，中进士，授翰林院编修，官至南京礼部尚书。崇祯九年，卒，赐谥“文敏”。\n董其昌擅画山水，师法董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。其画及画论对明末清初画坛影响甚大。书法出入晋唐，自成一格，能诗文。",[23,24,7,165,128,132,29,131,34,96,1144,415,3857,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1971e72db7bbc51672311ae5b77b0b6.jpg","56.7x131cm",[],{"id":63576,"slug":63577,"title":63578,"dynasty":18,"author":223,"museum":77,"description":63579,"tags":63580,"thumbUrl":63581,"material":151,"size":63582,"collection":84,"collections":63583,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},232601,"shi-jia-san-zun-xiang-li-zhou-yi-ming-232601","释迦三尊像立轴","画面中心释迦牟尼佛跏趺端坐于仰覆莲座上，头饰螺发，身着袈裟和僧裙，神态庄严慈祥；右手于胸前结说法印，左手结禅定印，为芸芸众生开示宇宙人生的真谛。身后有头光、身光，寓示佛陀智慧无边、法力无边。佛陀上方有两菩萨，下方有两罗汉，从其身色和肩帜来看，上方为普贤和文殊，下方为阿难和迦叶。释迦牟尼的莲座下承高大华美的金刚座。束腰处绘双子戏球，前方有诸珍宝供养，背景顶上饰宝伞华盖，空中飘浮五彩祥云。画面构图精当，布局传统，疏密有度，人物和景物勾勒精细，线条洗练简洁，造型质朴生动，设色古朴，和谐雅致，以暖色调为主，将画面烘托的圣洁与庄重，表现了极高的绘画水平。难能可贵的是品相完好，原装原裱，为不可多得的收藏与供奉佳品。",[23,24,7,1326,165,187,28,27,96,1364,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F663a9a713f6fc8d5fa5c6021a681e6d3.jpg","198×111.5cm",[],{"id":63585,"slug":63586,"title":63587,"dynasty":144,"author":223,"museum":244,"description":63588,"tags":63589,"thumbUrl":63590,"material":173,"size":63591,"collection":68,"collections":63592,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},232262,"xing-e-tu-yi-ming-232262","杏鹅图","描绘水滨双鹅，旁有两棵柳、杏，飞燕穿梭柳叶之间，柳阴下斜出几枝杏花。从绘画内容及布局看来，它像是明院体大幅花鸟画的构图，画柳干之皴纹，有仿吕纪之笔意，画鹅则似林良写禽之趣，应是结合林良、吕纪影响之作。",[24,7,164,165,27,128,28,132,7546,32769,34,229,11830],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55c57300cc263debb9b3f1259bef7939.jpg","142.8x81.4厘米",[68],{"id":63594,"slug":63595,"title":63596,"dynasty":144,"author":223,"museum":300,"description":63597,"tags":63598,"thumbUrl":63599,"material":84,"size":84,"collection":84,"collections":63600,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},231911,"luo-han-tu-di-shi-zun-zhe-ming-ban-tuo-jia-yi-ming-231911","罗汉图（第十尊者名半托迦）","注荼半托迦尊者者生性愚钝，常因背不下经而遭嘲笑， 但他却坚定不移地修持佛法，终成阿罗汉果。释迦牟尼将他说成是改变他人观念的比丘中最杰出的一位。注荼半托迦尊者双手作禅定印，结跏趺坐于山石卜，神情专注。座前是怀抱小狮戏耍雄狮的侍者。树间化现金刚手菩萨和阿底峡大师。",[24,7,165,187,27,96,950,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d69a3c64c7094b1bbe1a0ccbe1a8826.jpg",[],{"id":63602,"slug":63603,"title":63604,"dynasty":222,"author":223,"museum":300,"description":63605,"tags":63606,"thumbUrl":63607,"material":692,"size":1293,"collection":84,"collections":63608,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},231688,"ping-an-shi-dai-di-yu-cao-zhi-yi-ming-231688","平安时代 地狱草纸","绘卷以图文交错铺陈，将地狱酷刑具象铺展。赤裸罪人身受火雨灼烧、沸血沉溺之苦，肢体扭曲仓皇，粗粝线条勾勒出受罚者的惊惧绝望。浓烈朱红晕染的火焰与枯旧纸色撞色对冲，将炼狱的灼热暴戾铺散开来，古朴稚拙的笔触裹带着厚重威慑力。一旁的墨书与画作彼此呼应，将罪与罚的因果悄然诉尽，带着中古时代的肃穆警示，把幽冥苦楚直抵观者眼前，让这份对业报的刻画沉郁又撼人。",[23,187,25,27,128,96,49860,7,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F774e7a20f89a325f446a0e9a13a010a7.jpg",[],{"id":63610,"slug":63611,"title":63612,"dynasty":222,"author":63613,"museum":300,"description":63614,"tags":63615,"thumbUrl":63616,"material":692,"size":1293,"collection":84,"collections":63617,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":199},231664,"shi-ting-shi-dai-qin-gao-qun-xian-tu-xue-cun-zhou-ji-231664","室町时代 琴高群仙图","雪村周继","雪村周继（日语：雪村 周継，1504年－1589年），日本室町时代后期的禅僧画家与艺术家，出生于今日本本州岛中部的茨城县。他充分学习中国绘画技巧，为16世纪前后日本著名的水墨画画家之一。",[23,24,7,165,188,128,27,96,167,171,1421,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F841033e7db0128542364452f7261ea9f.jpg",[],{"id":63619,"slug":63620,"title":63621,"dynasty":54,"author":63622,"museum":424,"description":63623,"tags":63624,"thumbUrl":63625,"material":1464,"size":63626,"collection":84,"collections":63627,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},231529,"xuan-shi-tu-li-fu-tang-231529","萱石图","李复堂","李鱓是扬州八怪中最早成名者，也是扬州八怪中唯一曾供职于康熙身边的画家，并应康熙命从蒋廷锡学艺，故画笔严谨而有书卷气。后返扬州，始纵笔大写，变得粗犷奔放，不拘一格。李鱓在戏剧性的一生中，接触到了当时包括墨骨、小写意、大写意各个派别的顶尖高手，并将粗笔与工细画两者进行了个性化的融合。李鱓是一个善于学习的人，他研究各家，并不是平均用力，而是有选择的学习自己需要的东西并加以消化融合，逐渐形成自家风貌。在他的笔下，既有明代浙派花鸟画的传统根底，又受到清代宫廷工笔花鸟和民间豪放花鸟画风的影响，因此他的作品既讲求造形构图，又讲求色墨的有机融合，这种绘画风格被后来的海派画家赵之谦、任伯年、吴昌硕等人继承，可以说，李觯堪称中国绘画史上起着承先启后作用的画家。\n《萱石图》以萱草为题材，描绘卧石与萱草相生相伴的情景。萱草是画家惯常表现的吉祥植物，古人认为萱草可以忘忧，因此又称其为“忘忧草”；又认为孕妇佩带萱草可以生男孩，因此又称萱草为“宜男”。图中作者自题诗点明了画意：“墨沉淋漓映袖寒，滥图赤棘傍阑干。凭君悬向闲庭馆，解却眉尖仔细看”。",[23,24,7,128,369,817,171,208,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce067b869dab8e3a386223f3e59b334.jpg","74X60cm",[],{"id":63629,"slug":63630,"title":63631,"dynasty":144,"author":223,"museum":300,"description":63632,"tags":63633,"thumbUrl":63634,"material":84,"size":84,"collection":84,"collections":63635,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":956},231497,"han-gao-zu-liu-bang-yi-ming-231497","汉高祖刘邦","汉高祖刘邦，字季，号沛公，谥号高皇帝，庙号高祖。沛郡丰邑中阳里（现属江苏省徐州市丰县）人氏，妣吕雉。邦公国号西汉高祖，生于周赧王五十九年即公元前二五六年二月初八日。他在兄弟四人中排行第三。性情豁达大度，知人善任。公元前二一六年，时年三十一岁，为泗水亭长。公元前209年壬辰岁九月，参加由陈胜，吴广带领的起义，后加入楚国的阵营，趁另一位将军项羽，和秦的大军打拉锯战，没有秦国主力和他的军队对阵之余，第一个攻进秦国的首都咸阳，灭了秦朝，被楚霸王项羽封为汉王。并以蜀地为基地，和项羽展开了长达四年的楚汉之争。刘邦在文有张良，武有韩信，后方有萧何的辅助下，终于把项羽的军队包围在垓下设下十面埋伏，项羽突围不果，自杀于乌江边。刘邦消灭了项羽后，统一了中国。公元前206年乙未岁称帝于洛阳，建立汉王朝，自此中华帝国在地理上再次统一，为以后的强大建立了基础.后迁都于长安（今西安市）在位十二年，卒于公元前一九五年丙午岁四月二十五日（甲辰日）。享年六十一岁，葬于葬于陕西省西安咸阳县东，称长陵。妣吕雉，卒于公元前一七九年壬戌岁，葬于长安咸阳县东陵。生八子：长庶齐悼惠王肥，曹氏生。次子恵帝盈，吕雉生。三子和意，戚后生，封赵王，后被吕雉所杀。四子恢，梁王，后自杀。五子文帝恒，先封代王，后为文帝，薄姬生，薄姬卒于公元前一五五年丙戌岁，葬于霸陵。六子友，先为淮阳王，后为赵幽王，后自杀，生二子：遂（赵王）、卬（胶西王）。七子建，燕王，后被吕雉所杀。八子长，淮南王，后被文帝废王。为了和后来刘秀建都洛阳的“汉”区别，历史上称为“西汉”",[24,7,164,4057,165,96,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f26eab8a5aa6207dddae9b2d01cb95c.jpg",[],{"id":63637,"slug":63638,"title":63639,"dynasty":54,"author":3750,"museum":77,"description":63640,"tags":63641,"thumbUrl":63642,"material":611,"size":63643,"collection":84,"collections":63644,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},231489,"fang-huang-zi-jiu-qiu-shan-tu-wang-jian-231489","仿黄子久秋山图","王时敏和王鉴都直接受教于董其昌，属于“南宗”。董其昌是华亭（上海松江县）人。万历间进士，官至礼部尚书，是江南有名的大豪绅。史书上说他“性和易，通禅理，萧闲吐纳，终日无俗语，人拟之米芾、赵孟俯云”。在绘画方面，他主张以古人为师、以下天为师，以求达到“形、手相凑而相忘”的目的。他苦临苦摹，废寝忘食，以“血战宋元”的精神，教育子弟，启发后人。王时敏与王鉴在普遍学习董其昌“南宗”的基础上，各有侧重，王时敏主要着力于黄公望，他自己曾说：“元季四家，当推子久，得其神者，惟董宗伯，得其形者，余不敢让。”而王鉴主要是学习董源与巨然，风格面貌较王时敏多，笔墨变化也比王时敏丰富。所以当时的人们评论说他：“能运笔中锋，其合作处，堪与董华亭对垒”，甚至有的说：“吾谓画中龙，国朝（指清朝）四大家中惟廉州实能当之”。\n王鉴是明朝时刑部尚书、文坛复古运动倡导者王世贞的孙子。生于明万历二十六年戊戌（公元一五九八年），卒于清康熙十六年丁巳（公元一六七七年），享年七十九岁。明崇祯六年（公元一六三三年）中举，两年后，官廉州太守。明朝亡覆前夕罢官归里。因为家富收藏，又自小受名书家熏陶，养成了对书画的特殊爱好，更因为在明清易代、战乱频繁的时期，他虽然未能投身反抗清军的行列，但也不愿甘当清廷的贰臣，于是便“布衣懒自入侯门”，“向人欲仿赵王孙”，去做一名在野的文画家了。",[23,24,7,165,29,27,132,330,663,413,31,497,1645,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3743a1569f5a7068db31e49355667a3.jpg","98×52cm",[],{"id":63646,"slug":63647,"title":63648,"dynasty":124,"author":26957,"museum":244,"description":63649,"tags":63650,"thumbUrl":63651,"material":3785,"size":63652,"collection":84,"collections":63653,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},231407,"xiao-xiang-ba-jing-ba-kai-zhang-fu-231407","潇湘八景八开","张復（1546—约1631），字元春，号苓石，江苏太仓人。少年时从钱榖学画，山水摹荆浩、关仝、马远、夏珪、黄公望、沈周，博采众长，晚年自成一家，为吴门画派名家。",[23,24,7,59,128,132,95,29,97,34,131,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d47fbd7178128b198163f92967b60e.jpg","40x36cm",[],{"id":63655,"slug":63656,"title":63657,"dynasty":144,"author":63658,"museum":244,"description":63659,"tags":63660,"thumbUrl":63661,"material":151,"size":63662,"collection":84,"collections":63663,"showCount":430,"zanCount":1998,"manualWeight":48,"mainColor":49},231402,"han-yuan-tu-li-rong-jin-231402","汉苑图","李容瑾","此图分为殿阁区和水面区两部分，景色各异，作者采用鸟瞰式的构图，将殿阁和水面貌一一展现。刻画得非常具体细致，画面的右侧为殿阁区，以直线、横线、斜线绘成了一组优美的宏伟的建筑群：用笔严谨，刻画精到细密，一丝不苟。\n画面上，宫苑殿阁依山傍水而建，描绘了三重天井。由左下角十字歇山顶的桥亭，沿山径进入画面第一重天井，左侧围以曲折的长廊，廊外水面上构筑一重檐歇山顶的凉亭。再向上进入画面第二重天井，左右两侧均以悬崖削壁为天然屏幛。第三重天井中建一高峻的台基，台面上矗立着一座巍峨的双层楼阁，上层为重檐十字歇山顶，下层檐的左、右、前方各出一歇山抱厦。\n汉代宫苑早于汉高祖、萧相国时，即有营建。当时之未央宫，因龙首山制前殿，建东阙、北阙、武库、太仓等，周围二十八里，台殿池苑无数，宫成后常为朝见之所。王莽末年毁于兵火。如班固的《西都赋》、张衡的《西京赋》中，有关于汉代宫苑盛况的详尽描述，此轴则以绘画的形式展现了汉苑的宏丽气象。\n全画取近乎长方形的构图，殿阁占去画面的三分之二，整个汉苑图，宫阙巍峨，连甍矗栋，雕栏回廊，殿阁缛丽重深，周围树木耸峙，掩映成趣。在这一建筑群的高处，遥望远处，为烟波浩渺的水面，碧波万顷，气象万千；直到很远的地方与起伏的小山相接。凉亭临水，江水泊岸，楼台掩映，楼台亭阁生辉；近处植有松柏，林木翁翳，花竹摇艳，移步换影，处处秀丽迷人的景色；遥望远处，山山水水，美不胜收。其殿阁楼台等建筑物，其严谨笔直的线条与苍松崖石的穿插姿态相映，更显出楼阁的气势非凡。精湛的笔墨则再现了汉苑特有的风釆。\n图中的建筑从群体的布局组合到单体的结构装饰，都不是道地的汉时规范，而是宋以后的形制，例如鸱尾和脊兽的处理就是明证。但画家将历史和现实、景和情、势和意，通过惨淡的经营、创造的意匠，实现了统一。\n此图界画工整，折算精确，游规矩准绳之内而不为所窘。此图景物恢弘，气魄博大。树石画法承北宋郭熙，多作双勾夹叶，用笔粗壮放达，与郭熙《窠石平远图》相一致。但与郭熙不同，《汉苑图》纯用夹叶树，满山遍冈，葳蕤郁茂，增添了画面豪华郁丽的氛围。近境坡石从卷云皴化出，圆润流畅，清空跌宕；遥山旷荡，杂树暝漾，神韵独绝。\n中国美术学院艺术人文学院教授毛建波：汉代国家统一，国力殷实，都城、宫殿、苑囿、礼制建筑和陵墓等，十分兴盛。汉代苑囿规模惊人，作为游乐之所，苑囿里的宫殿常于中轴对称之外有更多自由灵活的处理，这种情形在《汉苑图》中有很好的体现。\n北宋内府《宣和画谱·宫室叙论》：“画者取此（指宫室）而备之形容，岂徒为是台榭、户牖之壮观者哉？虽一点一笔，必求诸绳矩，比他画为难工。”",[24,7,165,95,28,27,97,906,29,34,758,131,247,51693],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef6d6d9c9afdd18b07e1bff7f30e833.jpg","纵156.6厘米，横108.7厘米",[],{"id":63665,"slug":63666,"title":63667,"dynasty":18,"author":223,"museum":244,"description":63668,"tags":63669,"thumbUrl":63670,"material":611,"size":63671,"collection":84,"collections":63672,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},231342,"qian-shou-qian-yan-guan-shi-wu-pu-sa-yi-ming-231342","千手千眼观世吾菩萨","千手千眼观世音菩萨，又称千手观音，汉传佛教中常被供奉的观世音菩萨之一，是观世音菩萨的其中一个化现。为六观音之一，六观音即：慈航观音（救拔饿鬼道）、千手观音（救拔地狱道）、马头观音（救拔畜生道）、十一面观音（救拔修罗道）、准提观音（救拔人道）、如意轮观音（救拔天道）。有一千只手，每手心上各有一眼，故称。一般塑像或者绘画上，大都以四十手、三十六手、二十四手、十八手为代表。\n有说法称千手观音与青颈观音、不空羂索观音、消众毒观音等观音化身，同为正观音一时化现，有极密切的关系，相当于同体异名\n菩萨千手千眼形象之来源，于《大悲心陀罗尼经》中记载：“世尊！我念过去无量亿劫，有佛出世，名曰‘千光王静住如来’。彼佛世尊怜念我故，及为一切诸众生故，说此‘广大圆满无碍大悲心陀罗尼’。以金色手摩我顶上作如是言：‘善男子！汝当持此心咒，普为未来恶世一切众生，作大利乐。’我于是时，始住初地，一闻此咒故，超第八地。我时心欢喜故，即发誓言：‘若我当来，堪能利益、安乐一切众生者，令我即时，身生千手、千眼具足。’发是愿已，应时身上，千手千眼，悉皆具足。”[1]此经文可知，菩萨千手千眼之形象，系因菩萨发愿利乐有情之后而具足千手千眼。\n千手千眼观世音菩萨头上有二十八法相，代表二十八天护法，流通于禅宗与净土宗。\n除了《大悲心陀罗尼经》以外，亦有《千手千眼观世音菩萨姥陀罗尼身经》有千手千眼观世音菩萨的记载。",[24,7,165,187,28,27,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a3ef79ac213a6d1e3fd09057b0064f2.jpg","302x103.6",[],{"id":63674,"slug":63675,"title":45005,"dynasty":54,"author":44552,"museum":300,"description":63676,"tags":63677,"thumbUrl":63678,"material":692,"size":1293,"collection":84,"collections":63679,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},231049,"shen-zhu-you-ju-tu-cheng-sui-231049","程邃（1607年—1692年），字穆倩、朽民，号垢区、青溪，明末清初篆刻家、书画家。 歙县（今属安徽）人，生于松江华亭（今上海松江）。",[24,128,132,7,165,29,98,99,129,35,34,496,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36ac9ac3c05eaead2a85ddd28c5c67b9.jpg",[],{"id":63681,"slug":63682,"title":63683,"dynasty":144,"author":569,"museum":300,"description":63684,"tags":63685,"thumbUrl":63686,"material":84,"size":84,"collection":84,"collections":63687,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},231036,"xiang-ma-tu-ye-zhao-meng-fu-231036","相马图页","此作以人马为景，牵马老者袍服勾勒清劲挺括，敛眉垂目专注整饬缰绳，神态沉静内敛，尽显驯马时的安然肃穆。\n\n骏马躯干壮硕饱满，四肢劲挺修长，转首回望间灵动有神，鬃尾隐约带风，将神骏筋骨肌理晕染细腻逼真，笔墨兼工带写，设色古雅清淡，既追唐人鞍马的写实风骨，又融文人笔墨的雅致意趣。画面疏朗简约，以形写神，将人马间温婉呼应的微妙氛围尽显，古朴沉静间满溢古意，尽显鞍马题材画作的精妙意韵。",[23,164,24,7,59,27,28,96,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be06c53803a7a23406d3c79fb26d98b.jpg",[],{"id":63689,"slug":63690,"title":63691,"dynasty":18,"author":313,"museum":300,"description":46495,"tags":63692,"thumbUrl":63693,"material":692,"size":1293,"collection":84,"collections":63694,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},230868,"zhi-ming-shu-tong-nian-chi-du-huang-ting-jian-230868","致明叔同年尺牍",[64,133,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff09f053c7e96032c4163fa62c45b028b.jpg",[],{"id":63696,"slug":63697,"title":63698,"dynasty":222,"author":223,"museum":300,"description":63699,"tags":63700,"thumbUrl":63701,"material":692,"size":1293,"collection":84,"collections":63702,"showCount":430,"zanCount":1998,"manualWeight":48,"mainColor":72},230521,"fang-gu-shan-shui-ren-wu-fen-ben-shou-ye-jia-cang-tu-juan-yi-ming-230521","仿古山水人物粉本(狩野家藏图卷)","此作用笔清灵秀润，远景山峦以淡墨晕染烟岚，虚实相映，漾着空濛出尘的诗意。近岸急流翻涌，山石皴擦朴拙苍劲，野舟闲泊浅滩，衬出林野的幽寂清旷。\n\n崖畔山居窗内，二人对坐晤谈，为清冷山水晕开一抹人间暖意。作者以淡彩轻点秋树，将隐逸栖居的雅趣融于尺幅间。整卷动静相生，水墨为骨，淡彩辅之，把文人寄情林泉的理想缓缓铺展，笔简意长，尽显萧疏淡远的古典山水意韵。",[23,24,7,25,27,2271,208,29,96,99,34,37,131,130,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7a50f0e0e083ec39fc14796d667cb7.jpg",[],{"id":63704,"slug":63705,"title":63706,"dynasty":222,"author":16070,"museum":300,"description":16071,"tags":63707,"thumbUrl":63708,"material":692,"size":1293,"collection":84,"collections":63709,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},230501,"shi-ting-shi-dai-si-ji-shan-shui-tu-xia-xue-zhou-230501","室町时代 四季山水图（夏）",[23,24,7,165,128,132,29,131,1144,130,99,102,12741,331,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e5c2ade0bff3d25429ac2e9dbccb1f0.jpg",[],{"id":63711,"slug":63712,"title":63713,"dynasty":124,"author":19056,"museum":300,"description":63714,"tags":63715,"thumbUrl":63716,"material":84,"size":84,"collection":84,"collections":63717,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},228891,"san-you-tu-juan-1-chen-gua-228891","三友图卷-1","此作用笔老辣苍劲，枯木虬枝以铁线勾勒，皴擦间尽显嶙峋古拙，淡墨晕染与留白相衬，晕出清寂萧疏的幽远意境。\n以极简水墨托物言志，寥寥数笔写尽岁寒君子的坚贞品格，将物象风骨与文人逸趣融为一体。鉴藏古玺朱红点缀，为画面添上古雅厚重的传世质感，是以意驭笔的写意典范，于简淡间藏雄浑气度，枯涩中暗蕴生机，尽显水墨写意的淋漓意趣。",[24,7,25,128,29,372,167,371,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2d64f497889ad0f9607453a6af8ab34.jpg",[],{"id":63719,"slug":63720,"title":63721,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":63722,"thumbUrl":63723,"material":692,"size":1293,"collection":84,"collections":63724,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},228870,"shu-hua-he-bi-gui-qu-lai-ci-wen-zheng-ming-228870","书画合壁归去来辞",[23,24,7,25,133,128,1144,604,276,131,666,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F951ce94121c71e1716a09cb31ca991f2.jpg",[],{"id":63726,"slug":63727,"title":63728,"dynasty":124,"author":1642,"museum":300,"description":63729,"tags":63730,"thumbUrl":63731,"material":84,"size":84,"collection":84,"collections":63732,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},228848,"tai-ping-le-shi-ce-ye-dai-jin-228848","太平乐事册页","这幅小品以淡设色晕开市井闲趣，将夏末庭院的松弛烟火揉进笔墨之中。\n老树枝叶扶苏，筛下细碎光影暖了砖地庭院。案上杯盏果点错落，宴饮二人神态各异，把酒嗅香者意趣盎然，醉眼惺忪者颓然可爱。稚童偎依酣睡，廊下妇人牵着幼童探看，满是家常温情。\n笔意简淡灵动，设色清雅柔和，无需繁复刻画，便将太平年月里松弛鲜活的烟火日常藏在每处细节里，恬淡治愈，尽显俗世安乐。",[24,7,59,27,28,96,34,9603,9604,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3def9883fb33303890ae95371969100e.jpg",[],{"id":63734,"slug":63735,"title":63736,"dynasty":124,"author":223,"museum":300,"description":63737,"tags":63738,"thumbUrl":63739,"material":84,"size":84,"collection":84,"collections":63740,"showCount":430,"zanCount":1998,"manualWeight":48,"mainColor":49},228783,"ru-bi-tu-yi-ming-228783","入跸图","这卷长卷铺陈开帝王出巡的浩大阵仗，从郊野山林延伸至朱宫红墙。仪仗扈从前呼后拥、严整有序，各色人等衣冠鲜明、各司其职，禁军甲胄明辉，百官朝服鲜妍，沿途乡野屋舍皴染细致入微。\n\n画面叙事连贯，将宏大行进场面拆解为无数鲜活细节，疏密有致地铺展于绢本之上，尽显皇家仪典的肃穆庄重。工致细腻的笔力，精准拿捏了皇家銮驾的威仪气度，将皇权巡行的恢宏气象定格于绢素间，是描摹古代皇家礼制的经典之作。",[23,24,7,164,25,28,27,96,97,98,99,130,101,29,34,131,100,11074],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec87f2e8b6cac5ea3f2c8d328bc10eda.jpg",[],{"id":63742,"slug":63743,"title":54598,"dynasty":124,"author":1058,"museum":300,"description":63744,"tags":63745,"thumbUrl":63746,"material":84,"size":84,"collection":84,"collections":63747,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},228483,"wen-dao-tu-ye-tang-yin-228483","此作为绢本设色团扇小品，取边角式构图，右侧古木虬曲苍劲，疏枝带叶，晕染出清寂秋意。江岸石径之上，策鹿老翁宽袍缓行，神态悠然自得，侍童负杖紧随其后，主仆二人身影闲逸萧散。远景江波澹澹，远山隐现于烟霭间，留白烘托出悠远空寂的林下氛围。\n\n笔墨清简写意，人物线条简练传神，老者的安闲与灵鹿的轻跃相互映衬，将文人幽游林泉的隐逸雅趣，融于咫尺团扇之中，尽显萧散淡远的林下高致。",[23,24,7,59,27,96,29,413,2302,949,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ec7fe90818314ddf0126d45643bc90.jpg",[],{"id":63749,"slug":63750,"title":63751,"dynasty":124,"author":18090,"museum":300,"description":63752,"tags":63753,"thumbUrl":63754,"material":84,"size":84,"collection":84,"collections":63755,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},228428,"chu-shan-qiu-ji-tu-zhou-lan-ying-228428","楚山秋霁图轴","危峰穿破流云，干湿浓淡的墨色皴擦出岩体质感，云雾轻笼半山，将丘壑裁作数重，虚实相生间铺展出山林深邃意境。山腰隐现山居屋舍，斜松探入烟霭，丹黄枝叶点染浓浓秋意。\n\n山麓飞瀑漱石汇成浅溪，策杖行人于危桥上徐行，野趣悠然自生。整画兼得元人写意简淡与宋人丘壑之实，晕染清润，烘托出秋霁初晴的空濛澄澈。简淡笔墨里藏着朴茂苍劲，将楚山秋日的高旷明洁尽藏尺幅间，尽显浙派晚期山水苍劲秀润的独特风貌。",[23,24,7,165,27,128,132,29,413,1144,98,96,97,229,37,6639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee7d130be7372a1498bcb77806080ed.jpg",[],{"id":63757,"slug":63758,"title":63759,"dynasty":124,"author":7095,"museum":300,"description":63760,"tags":63761,"thumbUrl":63763,"material":84,"size":84,"collection":84,"collections":63764,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},228401,"yu-dong-qun-xian-tu-zhao-yong-228401","玉洞群仙图","青绿晕染出层叠仙山，苍松虬枝斜曳，桃林漫山绽花，幽谷间烟云轻漾。群仙散游林泉：或围坐松下清谈，或策杖寻幽揽胜，或凭崖临流遐观，情态自在萧散，尽得世外雅逸之趣。\n\n全卷气息清灵古雅，山水与人物相融无间，青绿妍丽厚重，人物笔致简逸传神，烘托出洞天幽寂出尘的氛围。卷后题咏呼应画境，诗画合璧，将文人梦寐中的栖隐仙乡藏于尺幅之间，尽显世外仙乡的出尘之致。",[23,24,7,25,805,27,28,29,96,63762,34,131,133],"群仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85733ce0975ae279b032bedb227bdbd2.jpg",[],{"id":63766,"slug":63767,"title":63768,"dynasty":124,"author":63769,"museum":300,"description":63770,"tags":63771,"thumbUrl":63772,"material":84,"size":84,"collection":84,"collections":63773,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},228372,"dong-ting-qiu-yue-tu-ye-chen-huan-228372","洞庭秋月图页","陈焕","此作用淡墨轻晕出洞庭秋夜，远景汀洲隐在烟霭中似有若无，湖面细碎波纹漾开，仿佛浸着满轮秋月的清辉。近岸茂林环着临水小榭，不见明月，却以空濛水光晕染出月色铺陈的幽寂氛围，以虚写实，将秋夜湖面上的清寒辽远尽数铺开。\n\n左侧题诗行书隽秀舒展，桂香月色融在诗句与淡岚间，诗画呼应，把洞庭秋夜的澄澈空灵晕成一片静谧逸境，寥寥笔墨间尽显文人雅致的幽远诗意，勾勒出江南月夜独有的清寂意趣。",[23,24,7,59,27,128,29,231,130,34,414,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9446575332c01a3b587a8e0d7377ac.jpg",[],{"id":63775,"slug":63776,"title":63777,"dynasty":124,"author":223,"museum":300,"description":63778,"tags":63779,"thumbUrl":63780,"material":84,"size":84,"collection":84,"collections":63781,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},228350,"chun-jiang-xing-zhou-tu-ye-yi-ming-228350","春江行舟图页","近景峭峰被苍林簇拥，山石皴染细腻，草木氤氲温润生机。江面烟波澹澹，远岸晕作朦胧黛色，留白晕出濛濛水汽，晕染出暮春江天的辽远空寂。几叶扁舟缓行江上，帆影悠悠，将水居行旅的松弛闲散揉入开阔江境。\n\n此作用色雅致淡逸，以小青绿晕染山峦，无浓艳堆砌，尽显清隽澹泊。尺幅之间藏千里之势，静山与动舟相映，把春江暮景的悠然意境铺展尽致，揽入江南水天的温柔清寂，观之如沐江上春风，得小品山水的澹远意趣。",[23,24,7,5295,27,29,11166,34,496,6004,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40ea2a72ac10508a352aa6f165a194fc.jpg",[],{"id":63783,"slug":63784,"title":63785,"dynasty":124,"author":16243,"museum":300,"description":63786,"tags":63787,"thumbUrl":63788,"material":692,"size":1293,"collection":84,"collections":63789,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},228340,"song-chen-zi-ling-hui-shi-shi-ye-wang-chong-228340","送陈子龄会试诗页","王宠诗文书画皆精。书法初学蔡羽，后规范晋唐，楷书师虞世南、智永；行书学王献之，融会贯通。小楷尤清，简远空灵。其名与祝允明、文征明并称。何良俊《四友斋书论》评其书：“衡山之后，书法当以王雅宜为第一。盖其书本于大令，兼人品高旷，改神韵超逸，迥出诸人上。”著有《雅宜山人集》。传世书迹较多，有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。《千字文》，纸本墨迹，行草书。此千字文，凡104行，每行字数不一，共1015字。纵28厘米，横463.6厘米。台北故宫博物院藏。《宝蕴楼书画记》著录。此篇《千字文》结体平稳，俯仰欹侧变化不大，可以窥见其师承王献之、虞世南的轨迹。此帖既有魏晋时期王氏父子风华俊丽、遒逸疏爽之姿，又具初唐时期虞世南的气秀色润、外柔内刚之气。从用笔方面来看，其行草气息平和，干净利落，一丝不苟，笔势凝重、洗练，笔画之间很少有连笔牵丝，字字独立，互不相连。综观此书作，典雅平淡，落落大方，草法严谨。",[23,64,133,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe52e5ea085681326edf964a9c7510da5.jpg",[],{"id":63791,"slug":63792,"title":63793,"dynasty":124,"author":7053,"museum":300,"description":63794,"tags":63795,"thumbUrl":63796,"material":84,"size":84,"collection":84,"collections":63797,"showCount":430,"zanCount":1998,"manualWeight":48,"mainColor":72},228329,"lan-ting-shi-xu-tu-juan-qian-gong-228329","兰亭诗序图卷","此作以长卷铺展，左幅行书长题呼应雅集意韵，卷中山水苍润清雅，茂林修竹环绕曲溪，将雅集盛景尽藏其间。画中雅士或临流待觞，或围坐清谈，或凭栏观山，人物意态从容散逸，尽显林下风流。\n\n笔墨以淡墨皴染山峦林泉，勾勒松筠奇石尽显苍秀灵润，把诗文意境融入山水人物，以静雅水墨晕染出雅集的清旷高致，让千年前的文会雅韵宛在眼前，尽显追慕古贤的文人意趣。",[23,24,7,25,128,28,133,29,96,130,98,99,34,497,1025],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fce7c7c1d0fbf13a0cc677d54615b4.jpg",[],{"id":63799,"slug":63800,"title":63801,"dynasty":124,"author":22598,"museum":300,"description":63802,"tags":63803,"thumbUrl":63804,"material":692,"size":1293,"collection":84,"collections":63805,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},228277,"da-mo-yi-wei-du-jiang-tu-chen-ji-ru-228277","达摩一苇渡江图","一苇渡江是达摩祖师的宗教故事。达摩传说渡过长江时，并不是坐船，而是在江岸折了一根芦苇，立在苇上过江的。",[23,24,7,165,187,27,96,133,208,99,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c0240dfce7c73589d32eb17587517aa.jpg",[],{"id":63807,"slug":63808,"title":63809,"dynasty":144,"author":14724,"museum":300,"description":63810,"tags":63811,"thumbUrl":63812,"material":84,"size":84,"collection":84,"collections":63813,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},228254,"jiang-shu-qiu-sheng-tu-ye-cao-zhi-bai-228254","江树秋声图页","平远取景铺展江天浩渺，远山以淡墨轻笼，晕染出空濛悠远的秋意。近岸枯木萧疏遒劲，枝桠清瘦如篆，茅庐隐于林下，悄然静立在清寒暮色里。\n\n笔墨简淡秀润，以干笔皴擦写山峦肌理，线条松灵虚和，墨色层层晕染，淡而不薄。题画小诗与山水相映，将江乡秋夜的孤清乡思揉进尺幅之中。整幅画以简驭繁，褪去浓丽，尽显尚意之趣，把深秋江渚的寂寥、幽居林泉的隐逸澹然融为一体，淡墨里藏着清寂的心境，寥寥数笔便绘就了江乡秋声里的悠远闲情。",[164,24,7,59,128,132,29,1337,131,414,6639,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00bbf747142db1b200e064b2ce56cf2e.jpg",[],{"id":63815,"slug":63816,"title":63817,"dynasty":144,"author":22335,"museum":300,"description":63818,"tags":63819,"thumbUrl":63820,"material":84,"size":84,"collection":84,"collections":63821,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},228246,"luo-fu-shan-qiao-tu-zhou-chen-ru-yan-228246","罗浮山樵图轴","一幅中国古画，作者 ，现为 收藏。\n此图画是应当地望族王氏后人的请求而画。\n近景以平房为主体，全用直线，随意交错；远山近树及宽阔溪流的描绘，笔法工致细微。\n于古画中亦为奇格。\n【名称】荆溪图 【规格】轴，绢本，浅设色，纵129厘米 横52.7厘米 【馆藏】台北故宫博物院 石渠宝笈续编重华宫著录， 画荆溪胜景，无名款。\n本画作题跋较多，有倪瓒、周砥、遂昌郑元佑、成都虞堪、王蒙、张经、王光大、陈植、张田、荆南樵人、陆大本、张监等题诗、钤印，鉴藏宝玺八玺全、嘉庆御览之宝、宣统御览之宝，收传印记□□画□、□□□印、一半印不可辨 。\n陈汝言，生卒不详，画家、诗人，字惟允，号秋水，临江（今江西清江）人，随父移居吴中（今江苏苏州）。\n元末明初时期的画家，擅山水兼工人物。\n其山水画法宗赵孟頫、董源、巨然，颇有元人遗意山水画风清润、古雅。\n传世之作《荆溪图》、《百丈泉图》（均藏台北故宫博物院），均图录于《故宫书画集》，《仙山图》、《罗浮山樵图》（均藏美国克利夫兰艺术馆 ）著有《秋水轩稿》。",[23,24,7,165,128,132,29,131,495,34,499,415,3857,38,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59cd7beb58ec0a49ebb374be04846481.jpg",[],{"id":63823,"slug":63824,"title":45865,"dynasty":18,"author":9837,"museum":300,"description":63825,"tags":63826,"thumbUrl":63827,"material":84,"size":84,"collection":84,"collections":63828,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},227985,"yin-yan-fei-pu-tu-jiang-can-227985","此作用笔苍劲老辣，以峭壁飞瀑为骨，劲健短皴刻画出岩崖嶙峋肌理，枯松斜生崖侧，野意横生。飞瀑层叠奔泻，似能耳闻激浪轰雷之声，下方乱石承接流泉，晕开湿润山野意趣。\n\n墨色沉郁古雅，以浓淡晕染远近虚实，留白极简却将山涧清幽之气铺溢满幅，尽显荒寒空寂的林下意境，把山野深僻的冷冽幽寂凝于绢素，观之便如临崖畔，水雾山风似拂面而来，尽显宋人山水中尚意尚理的清雅品格。",[23,24,7,164,165,29,132,18332,13602,34,131,128,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1dacd0160a8842c4476672188c8c9bf.jpg",[],{"id":63830,"slug":63831,"title":63832,"dynasty":18,"author":223,"museum":300,"description":63833,"tags":63834,"thumbUrl":63836,"material":84,"size":84,"collection":84,"collections":63837,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},227887,"jiang-shang-qing-feng-tu-yi-ming-227887","江上青峰图","采用边角式取景，右下隅青峰峭立，青绿敷色晕染石身，深墨点簇林木，尽显山石挺秀之姿。空阔江面铺陈开淡远烟波，几叶扁舟悠然泛于粼粼水波之上，将江南水色的清旷柔婉与峰石苍劲相融。\n\n咫尺扇面间以小见大，铺展出江天寥廓的无尽余韵，把烟波江上的空寂悠然藏于方寸，尽显对山水诗意的精微捕捉，带着宋代院体山水雅致清隽的意趣。",[23,164,24,7,1131,27,26,29,132,129,63835,6004],"青峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F444ce79053f855d19971de523413bbc8.jpg",[],{"id":63839,"slug":63840,"title":63841,"dynasty":18,"author":223,"museum":300,"description":63842,"tags":63843,"thumbUrl":63844,"material":84,"size":84,"collection":84,"collections":63845,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},227885,"shui-cun-lou-ge-tu-ye-yi-ming-227885","水村楼阁图页","此作以平远之法铺陈水村之景，水墨晕染间漫开烟霭濛濛的空寂氛围。近岸浅滩林木错落，村阁隐于繁荫之中，扁舟系于汀渚，渔人偶见，野趣自生。远景山峦在淡墨晕染里渐隐于烟岚，虚实相生，尽显江南水乡湿润清润的暮色闲情。笔墨简淡松灵，不刻意雕琢细节，以氤氲水墨烘托出悠远超脱的隐逸意趣，将水村的静谧安闲融在烟水空濛之中，尽显山水小品尚简尚意的审美意趣，观之如身临水乡，忘却尘俗喧嚣。",[23,24,7,128,27,29,95,59,132,97,34,99,149,415,37,5974],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed4a8c6f80550372908613f813f541d8.jpg",[],{"id":63847,"slug":63848,"title":63849,"dynasty":18,"author":223,"museum":300,"description":63850,"tags":63851,"thumbUrl":63852,"material":84,"size":84,"collection":84,"collections":63853,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},227861,"dou-que-tu-ye-yi-ming-227861","斗雀图页","《斗雀图页》宋代画家佚名创作的一幅绢本设色画。\n本幅无款识。\n鉴藏印钤“真赏”、“庞莱臣珍藏宋元真迹”、“珍秘”、“宜尔子孙”、“丹诚”、“都尉耿信公书画之章”、“信公珍赏”、“公”、“会侯珍藏”、“绍勋”。\n裱边钤“信公监定珍藏”印。\n对幅有耿昭忠题记：“黄居寀能世其家学，点染具简澹野逸之致。\n画史以黄家富贵评之，未必无议。\n千山耿信公。\n”虽题为黄居寀作，无据。\n存《名笔集胜》册中。\n《虚斋名画录》著录。\n善于抓住瞬间的精彩场面来表现自然界的勃勃生机，是宋人小品的特色之一。\n本幅绘两只小雀在平坡之上嬉戏争斗，滚作一团。\n画家采用虚实结合、突出重点的画法，于雀的翅、尾翎毛只是粗写动态，头、腹毛羽更是淡染轻描。\n着力加以刻画的是雀之爪、喙和二雀相互逼视的双目。\n图中占上风之雀，左爪紧抓住对方的喙，右爪紧握对方的爪，正待欲啄，其喙却也被对方死死地抓住，形成谁也啄不得的僵持局面，颇有情趣。\n两只小雀皆羽翼大张，动感和力度在此充分体现。\n此情此景万难想象而成，当是细致观察所得。",[23,24,7,164,4437,28,128,211,4117,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb75d11a386f36142cfbf9e834d6e91cc.jpg",[],{"id":63855,"slug":63856,"title":20701,"dynasty":18,"author":223,"museum":300,"description":63857,"tags":63858,"thumbUrl":63859,"material":84,"size":84,"collection":84,"collections":63860,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},227837,"ren-wu-tu-yi-ming-227837","此作以沉凝古雅的色调铺出院苑闲景，虬曲古松与繁密木叶相互掩映，半露的亭台衬出院囿雅致静谧的氛围。画面人物情态细腻分明，主客凭坐悠然，侍女环伺左右，或低眉静立，或趋前奉侍，仆从躬身待命，将深宅世家松弛闲适的日常缓缓铺陈。衣纹线条清劲简练，虽年深迹暗，仍能窥见宋人对人物仪态的精准拿捏，内敛沉静的笔意晕染出宋代世俗画特有的写实意趣，将旧时世家的日常闲韵定格在斑驳绢素之上，尽显古典人物画雅致沉静的审美意涵。",[23,24,7,164,28,27,96,331,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F887c9aacff0d1120952107c66b982a30.jpg",[],{"id":63862,"slug":63863,"title":63864,"dynasty":18,"author":2099,"museum":300,"description":63865,"tags":63866,"thumbUrl":63867,"material":84,"size":84,"collection":84,"collections":63868,"showCount":430,"zanCount":1998,"manualWeight":48,"mainColor":49},227604,"wu-zhong-san-xian-tu-juan-li-gong-lin-227604","吴中三贤图卷","李公麟（1049～1106），舒州(今安徽桐城)人，宋代杰出画家。字伯时，号龙眠居士，享年五十七岁。熙宁三年（公元1070年）进士。李龙眠即李公麟，字伯时，安徽桐城人，因桐城县北有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。\n\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,164,24,7,25,188,27,96,64,133,208,5459,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75a8d47955d7901c90829f8ca4228c24.jpg",[],{"id":63870,"slug":63871,"title":63872,"dynasty":18,"author":313,"museum":300,"description":63873,"tags":63874,"thumbUrl":63875,"material":84,"size":84,"collection":84,"collections":63876,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},227589,"zhi-tian-min-zhi-ming-da-zhu-bao-shu-huang-ting-jian-227589","致天民知命大主薄书","《致天民知命大主薄书》亦称《与天民知命书》，作于1095年。《致天民知命大主薄书》是一则信礼，是黄庭坚的著名行书作品之一。黄庭坚的书法作品都比较奇特，他的很多书法作品都有别名，如《御刻三希堂石渠宝笈法帖释文》称《家书》，《大观录》称《家书帖》，《墨缘汇观》称《天民知命帖》，《珊瑚网》称《手简一通》等。他的书法特点是字体结构严谨，中宫稳重。",[7,64,133,51559,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bfddde26e8363b2f92566accb871ab7.jpg",[],{"id":63878,"slug":63879,"title":14794,"dynasty":18,"author":2099,"museum":300,"description":63880,"tags":63881,"thumbUrl":63882,"material":84,"size":84,"collection":84,"collections":63883,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},227582,"xiao-jing-tu-juan-li-gong-lin-227582","李公麟，北宋著名画家，字伯时，号龙眠居士，北宋舒州(今桐城)人。其白描绘画为当时第一，《宣和画谱》第七卷评价他的作品曰：“(龙眠)尤工人物，能分别状貌，使人望而知其为廊庙、馆阁、山林、草野、闾阎、臧荻、占舆、皂隶。至于动作态度、颦伸俯仰、大小善恶、与夫东西南北之人才分点画、尊卑贵贱、咸有区别，非若世俗画工混为一律。贵贱研丑止以肥红瘦黑分之。大抵公麟以立意为先，布置缘饰为次，其成染精致，俗工或可学焉，至率略简易处，则终不近也。”\n\n《孝经》大约成书于公元前350-公元前200年，在北宋时被列入“十三经”，成为儒家经典之一。李公麟的话中加入了他对孝道的理解，作品将道德承载功用与书法功底结合，以及宋人以书法来翻译古人模拟自然的画法。",[23,164,24,7,25,188,128,96,97,130,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3750ead0dcaa7216f7a4c885b5bc5545.jpg",[],{"id":63885,"slug":63886,"title":63887,"dynasty":18,"author":223,"museum":300,"description":63888,"tags":63889,"thumbUrl":63890,"material":84,"size":84,"collection":84,"collections":63891,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},227385,"qun-yan-tu-ye-yi-ming-227385","群雁图页","在中国绘画艺术的发展长河中，占据一隅的佚名绘画对艺术发展的推动力不容忽视。宋代良好的文化环境对于绘画的推动，一方面体现在精英画家辈出，院体画风曲高和寡；另一方面民间绘事日渐活跃，绘画成为了市井百姓喜闻乐见的一种表现形式，绘画佚名在当时也成为一种普遍现象。",[23,164,24,7,59,28,27,211,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb62f4007ee81d835d13b3baa63b93e17.jpg",[],{"id":63893,"slug":63894,"title":63895,"dynasty":18,"author":223,"museum":300,"description":63896,"tags":63897,"thumbUrl":63898,"material":84,"size":84,"collection":84,"collections":63899,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},227351,"bin-du-luo-ba-luo-duo-du-zun-zhe-yi-ming-227351","宾度罗跋啰堕闍尊者","《宾度罗跋啰堕闍尊者》 宋 佚名 绢本 设色 86×44 厘米 此图绘第一宾度罗跋啰堕闍尊者，是十六罗汉中的第一位，,与自眷属一千阿罗汉多分住在西瞿陀尼洲。左侧题名还可看清：第一宾度罗跋啰堕闍尊，右侧常住寺名已漫漶不清，只留“...东山三...寺常住“几字，当是在中国的宋代时就已流传至日本。此图用笔尤是宋人法度，设色高妙而极其虔诚，一丝不苟。眼作碧色，很是少见。允为传世宋人罗汉精品，惜宋画全集未录。",[23,24,7,27,28,187,96,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d8cb9355b5d38e4adf614ee79fabc37.jpg",[],{"id":63901,"slug":63902,"title":63903,"dynasty":182,"author":223,"museum":300,"description":63904,"tags":63905,"thumbUrl":63906,"material":84,"size":84,"collection":84,"collections":63907,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},227226,"jiang-mo-bian-yi-ming-227226","降魔变","【 唐 佚名 《降魔变文》 】卷，纸本设色，27.5×571.5cm，法国国家图书馆藏。此卷敦煌遗物在1908年被法国的希伯和所盗取。画面从笔墨和造型上看应当是真正的唐代人物宗教故事画，虽非名手所作，但也是珍贵的文物，为研究唐代人文宗教历史提供了第一手材料。\n画卷中的国王、外道和佛弟子的形象特征鲜明。描绘了外道如何向国王口出狂言，扬言自己本领高强，要取代佛弟子的地位。他们制造显现出离奇的景象、恐怖的物事、吓人的声音、惊惧的场面，企图威慑佛弟子；佛弟子则神态平静，在淡然默语之中，展现神通，一一予以粉碎、消除、化解、冲刷得干干净净。国王看到这一切，当然心悦诚服，欣喜异常。外道则黔驴技穷，一筹莫展，最终不得不遵从国王的旨意，归顺了佛弟子。",[23,24,7,25,187,27,28,188,96,949,772,211,34,131,12314,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23dd62430861a3914d1d4d7d6ab142ba.jpg",[],{"id":63909,"slug":63910,"title":63911,"dynasty":54,"author":4083,"museum":300,"description":63912,"tags":63913,"thumbUrl":63914,"material":692,"size":1293,"collection":84,"collections":63915,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},224425,"yun-feng-shu-se-tu-zhou-zhuang-biao-wang-shi-min-224425","云峰树色图轴（装裱）","王时敏（1592年－1680年），初名赞虞，字逊之，号烟客，晚号西庐老人，直隶太仓州（今江苏太仓市）人，明末清初重要画家。万历首辅王锡爵孙，翰林王衡独子。崇祯初年荫官为太常寺少卿，入清后不仕。\n王时敏擅画山水，少时学董其昌，并临摹家藏宋元名作，以黄公望为宗，笔墨含蓄，浑厚清逸，唯构图略少变化。王时敏开创了山水画的“娄东派”，对清代画坛影响很大。他与王鉴、王翚、王原祁并称“四王”，加上恽寿平和吴历，合称“清六家”。王翚、吴历皆出其门下，孙王原祁亦得其指授。",[23,24,7,165,27,26,132,29,330,663,950,413,372,1314,99,758,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb013ea1a092bbe1e7b0683866b99698e.jpg",[],{"id":63917,"slug":63918,"title":63919,"dynasty":54,"author":4083,"museum":300,"description":63920,"tags":63921,"thumbUrl":63922,"material":84,"size":84,"collection":84,"collections":63923,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},224417,"shu-hua-shi-liu-kai-3-wang-shi-min-224417","书画十六开-3","此作以青绿设色晕染山峦，层峰叠嶂间烟云流荡，虚实相生将山林晕染得空灵缥缈，仿若世外幽境。苍松虬枝盘错、蓊郁葱茏，山隅水榭临波而建，一叶扁舟载着幽人泛于湖上，晕开山居雅趣。\n画作追仿赵千里笔意，师法北宋青绿山水的精工古雅，设色妍丽厚重却不俗艳，又糅合文人画的萧散淡远气韵，仿古而不泥古，在青绿华彩间铺陈出静穆悠远的山林意致，将江南丘壑的清润雅致与古典青绿的美学意蕴相融，尽显笔墨才情。",[23,24,7,59,26,27,132,29,34,3440,131,37,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6be366e0ee1a3e750582496bd677f229.jpg",[],{"id":63925,"slug":63926,"title":63927,"dynasty":54,"author":1676,"museum":300,"description":63928,"tags":63929,"thumbUrl":63930,"material":84,"size":84,"collection":84,"collections":63931,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},224315,"hua-niao-ce-shi-kai-5-li-shan-224315","花鸟册十开5","紫英垂悬如瀑，花瓣以淡墨晕染，浓淡间分出初绽苞蕾与盛放娇花，枝叶以枯笔淡绿点染，随性舒展，野趣天成。翎羽以赭黄铺陈，丹喙亮眼，禽鸟振翅欲动，垂首窥花，灵动神态跃然纸上。\n\n行书题字纵逸跌宕，笔意与画意相融，诗画合璧更添清雅文韵。兼工带写间，把花鸟生机藏于笔墨，随性又不失精致，尽显文人写意的疏朗意趣，将江乡春日花鸟的鲜活景致，凝于尺幅之间。",[23,24,7,59,27,369,133,208,61,211,80,582,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e68e1bbf2be065a2dd861feabc0ade8.jpg",[],{"id":63933,"slug":63934,"title":63935,"dynasty":54,"author":1676,"museum":300,"description":63936,"tags":63937,"thumbUrl":63938,"material":84,"size":84,"collection":84,"collections":63939,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},224313,"hua-niao-ce-shi-kai-3-li-shan-224313","花鸟册十开3","这幅写意花鸟以淡墨晕染禽鸟，借浓淡变化铺陈羽毛肌理，将小雀憨然俏立的姿态勾勒得灵动鲜活。虬曲花枝以枯笔挥就，老辣苍劲的笔力尽显藤蔓野逸之态，极简笔墨却生机饱满。\n右侧题诗与画面相映成趣，诗画交融尽显文人意趣。挣脱院体工整桎梏，以随性纵逸的笔墨抒发襟怀，将寻常小景晕染出清隽雅致的格调，诗书印浑然一体，尽显肆意洒脱的文人风骨，笔简意足，尽显水墨写意的疏朗之美。",[23,24,7,59,128,61,211,208,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ab6bcbfe1b99fd380c38ac8586d9a07.jpg",[],{"id":63941,"slug":63942,"title":63943,"dynasty":54,"author":5879,"museum":300,"description":63944,"tags":63945,"thumbUrl":63946,"material":84,"size":84,"collection":84,"collections":63947,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},224180,"qiu-lin-guan-quan-tu-juan-hua-yan-224180","秋林观泉图卷","古木虬枝盘绕，繁叶如幄将溪岸轻笼，清寂秋意漫开。右侧石台之上，逸士围坐晤言，襟怀散朗，似伴淙淙泉声叙尽雅怀。\n\n浅墨勾出水波萦回，溪石错落排布，撞出幽远潺潺之意。山石以斧劈兼披麻皴写就，朴拙老辣，林木细笔点染、疏密相生，清雅古淡的设色晕开沉静古雅的氛围，将林泉清旷与文人情致相融，把秋日观泉的萧散林下之趣，藏进尺幅间的静穆诗意里。",[23,24,7,25,27,132,29,2875,499,497,96,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3fbf31cff307ebed96fcbb978417b13.jpg",[],{"id":63949,"slug":63950,"title":63951,"dynasty":18,"author":223,"museum":300,"description":63952,"tags":63953,"thumbUrl":63954,"material":84,"size":84,"collection":84,"collections":63955,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},223670,"xue-yu-tu-juan-yi-ming-223670","雪渔图卷","《历代名家绘画:雪渔图》由中国五代中国画作品集。\n由曹彦伟编著。\n中国画是精神绘画，外师造化，中得心源是最高境界。\n一笔一墨，一点构思，都会反映出画者的学问和修养，因此提高画家自身的素质和文化修养便是第一位的事情。\n此外，作品质量的高下，还在于它所承载的文化内涵，这其中就包括了历尽千年传承至今的传统笔墨技巧。\n现今，笔墨早已成为中国画艺术的文化符号。\n有人想舍弃它，另起炉灶，显然是不智的。\n因此，要不断学习、不断锤炼自已的基本功，包括造型、构图、构思，甚至营造中国式的意境也是可以反复练习的。\n《历代名家绘画:雪渔图》由 出版。\n作者:(宋)佚名 编者:曹彦伟",[23,24,7,25,164,27,28,132,1556,1351,29,129,1350,98,99,331,96,211,171,3651,12423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe774b2042f18b3d6124d857164b9550b.jpg",[],{"id":63957,"slug":63958,"title":47222,"dynasty":124,"author":223,"museum":300,"description":63959,"tags":63960,"thumbUrl":63961,"material":84,"size":84,"collection":84,"collections":63962,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},223669,"xue-jing-shan-shui-tu-ye-yi-ming-223669","此作铺展寒山素裹之境，层峦覆雪，山石棱线硬朗留白缀霜，似凝住凛冬清寒。虬曲枯木错落林间，枝桠积雪斑驳，萧疏间尽显苍劲古拙。山坳里山居隐现，木构廊轩错落排布，窗畔似含淡淡暖意，于冰寒天地晕开一隅烟火温情，静穆底色里暗蕴生机。\n\n画师以干笔皴擦勾勒山石肌理，淡墨晕染铺就雪地留白，虚实相生间尽显冬山空蒙清寂。将荒寒丘壑与幽居雅趣相融，绘就冬日山居的静惬之美，仿若可踏雪穿林，坐看林峦雪色，于冷寂山景中体味悠然避世的澹泊意韵。",[23,24,7,1131,128,27,132,29,1813,97,1337,131,495,13436],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed0d320b8b831560b39f3f2cf7b4c401.jpg",[],{"id":63964,"slug":63965,"title":63966,"dynasty":18,"author":223,"museum":300,"description":63967,"tags":63968,"thumbUrl":63969,"material":84,"size":84,"collection":84,"collections":63970,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},223642,"peng-ying-xian-guan-tu-yi-ming-223642","蓬瀛仙馆图","此作以界画笔法层叠绘出仙山楼阁，殿宇廊庑排布严整精巧，错落掩映于深林茂树之间，汀岸临水铺展，烟波轻笼，晕染出缥缈出尘的世外氛围。\n\n整幅设色古雅沉静，线条工致秀挺，将想象中的仙乡胜境具象呈现，带着宋画特有的含蓄清远。搭配题诗呼应画境，把环山临水的清隽意趣与可望不可即的幽邃雅致相融，观之恍若踏入蓬阆，暂别俗世喧嚣，神游这片清幽仙境。",[23,24,7,1131,95,27,97,130,29,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc9ee517b14027e7e9f1d81a16ef3f7f.jpg",[],{"id":63972,"slug":63973,"title":63974,"dynasty":18,"author":223,"museum":300,"description":63975,"tags":63976,"thumbUrl":63977,"material":84,"size":84,"collection":84,"collections":63978,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},223597,"sui-yang-wu-lao-tu-feng-ping-xiang-yi-ming-223597","睢阳五老图 冯平像","此作以赭色绢本为底，以克制笔墨绘就老者立像。劲细墨线勾勒玄色宽袍轮廓，衣纹简练沉稳，衬出冯平身形端方持重。他头戴高顶乌帽，面容清癯，银须垂胸，双手敛于袖中垂在身前，眉目低垂间自带致仕归乡后的沉静雍容。\n右上角瘦硬题字与画面清雅格调相融，既补全人物背景，又平衡构图。画家以形写神，舍去繁缛修饰，将宋人士大夫简淡含蓄的风骨凝于笔底，在素净方寸间晕开平和古雅的旧朝意韵，尽显宋代肖像画写实传神的精妙。",[23,164,24,7,165,28,27,96,170,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83312a144a70eebd7be88c64eb651b02.jpg",[],{"id":63980,"slug":63981,"title":63982,"dynasty":144,"author":223,"museum":244,"description":63983,"tags":63984,"thumbUrl":63986,"material":84,"size":63987,"collection":84,"collections":63988,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},223587,"hua-si-xiao-tu-juan-yi-ming-223587","画四孝图卷","「四孝图」描绘故事四则，以图文相间的方式表达。第一则述王武子之妻割股作羹汤，治癒婆母寒疾；第二则述三国陆绩因其母好食橘，乃於进謁袁术席间，怀橘以奉母；第三则述晋王祥為母病中思食鲤鱼於冬月，而至江上卧冰求鲤；第四则述后汉曹娥之父溺毙江中不得尸灵，至娥投江，三日后方抱父尸出。是皆孝心感人之事蹟，卷末并附李居敬四孝图序，论孝之精义。通幅人物，以匀称之线条為主，细挺而有力。",[23,24,7,25,27,28,96,247,34,276,251,250,2218,63985,1367,8091],"成人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49ea7682e123d88c66ded0f834267302.jpg","38.9x502.7",[],{"id":63990,"slug":63991,"title":63992,"dynasty":54,"author":223,"museum":300,"description":51666,"tags":63993,"thumbUrl":63994,"material":84,"size":84,"collection":84,"collections":63995,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},223530,"wu-yi-shan-shi-ba-jing-tu-5-yi-ming-223530","武夷山十八景图5",[23,24,7,128,27,29,129,99,131,34,130,1351,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff1c84bfbc9bf9a7a54e09f8f17c57e1.jpg",[],{"id":63997,"slug":63998,"title":1131,"dynasty":54,"author":223,"museum":300,"description":63999,"tags":64000,"thumbUrl":64001,"material":64002,"size":64003,"collection":84,"collections":64004,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},223472,"shan-mian-yi-ming-223472","图绘一女子与郊外采茶",[23,24,7,1131,27,28,188,96,166,169,4278,131,548,5883],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F155243ffb1d2bc268317032cb916a089.jpg","絹本设色","纵24.2 厘米横25.3 厘米",[],{"id":64006,"slug":64007,"title":64008,"dynasty":18,"author":223,"museum":20,"description":64009,"tags":64010,"thumbUrl":64011,"material":40,"size":64012,"collection":42,"collections":64013,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},223453,"ceng-lou-chun-tiao-tu-ye-yi-ming-223453","层楼春眺图页","此图崇楼纯以细笔勾勒，玲珑空透，远山春意烂漫，却在明丽中带有淡淡的清寂。层楼上一妇人携侍女凭栏远眺碧波中的归帆，虽然描绘的主体是没有生命的建筑物，但整幅画面却分明透露出一丝“春怨”的气息，表现出南宋楼阁画家在借物言情方面的高超技艺。",[23,24,7,1131,95,27,29,97,34,758,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf1d7841e69e6edab7521ad57407fbd3.jpg","纵23.7cm，横26.4",[42],{"id":64015,"slug":64016,"title":64017,"dynasty":18,"author":223,"museum":244,"description":64018,"tags":64019,"thumbUrl":64020,"material":561,"size":64021,"collection":84,"collections":64022,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},223432,"song-gao-zong-yi-ming-223432","宋高宗","宋高宗赵构（1107年6月12日－1187年11月9日），字德基，东京汴梁（今河南省开封市）人。宋朝第十位皇帝（1127年6月12日-1162年7月24日在位），南宋开国皇帝，宋徽宗赵佶第九子、宋钦宗赵桓之弟。\n大观元年五月（1107年6月），生于宫中，天性聪明，博闻强记，拜检校太尉、定武军节度使。靖康之变后，金兵俘虏其父宋徽宗和其兄宋钦宗，灭亡北宋。康王赵构即位于南京应天府（今河南省商丘市），建立南宋。在位期间，迫于形势民心，任用岳飞、韩世忠等主战派将领抗击金军，重用主和派的黄潜善、汪伯彦、王伦、秦桧等人，一味求和，处死岳飞，罢免李纲、张浚、韩世忠等主战派大臣。 [1] 绍兴三十二年（1162年），禅位于皇太子赵昚，尊号“光尧寿圣宪天体道性仁诚德经武纬文绍业兴统明谟盛烈太上皇帝”。淳熙十四年（1187年），崩于德寿宫，时年八十一岁，成为中国历史上少有的长寿帝王之一，谥号“圣神武文宪孝皇帝”，庙号高宗。宋光宗绍熙二年（1191年），累谥“受命中兴全功至德圣神武文昭仁宪孝皇帝”。\n赵构精于书法，善真、行、草书，笔法洒脱婉丽，自然流畅，颇得晋人神韵。著有《翰墨志》，传世墨迹有《洛神赋》（草书）等。",[24,7,28,27,96,170,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36a3e88564eb6d2348c93fede2bcb453.jpg","74x116.4厘米",[],{"id":64024,"slug":64025,"title":15896,"dynasty":54,"author":10177,"museum":20,"description":60016,"tags":64026,"thumbUrl":64029,"material":84,"size":15901,"collection":84,"collections":64030,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},223216,"geng-zhi-tu-ce-jiao-bing-zhen-223216",[24,7,4437,28,27,95,96,64027,35,229,64028,16670],"织机","纺织","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bac5db85afd5f566ac05862b663b2ad.jpg",[],{"id":64032,"slug":64033,"title":6956,"dynasty":54,"author":6957,"museum":300,"description":6958,"tags":64034,"thumbUrl":64035,"material":84,"size":84,"collection":84,"collections":64036,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},223087,"shui-hu-ren-wu-ren-xun-223087",[23,24,7,27,28,96,170,5626,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5a251da331b0fbfb09df99ce8b63067.jpg",[],{"id":64038,"slug":64039,"title":64040,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":64041,"thumbUrl":64042,"material":151,"size":7879,"collection":84,"collections":64043,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},222905,"hong-lou-meng-30-sun-wen-222905","红楼梦30",[23,24,7,28,27,26,96,166,97,247,34,27907,7875,249,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd95c5c1bbc36edb809e72260b302206.jpg",[],{"id":64045,"slug":64046,"title":64047,"dynasty":54,"author":64048,"museum":20,"description":64049,"tags":64050,"thumbUrl":64051,"material":734,"size":53578,"collection":84,"collections":64052,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},222842,"fang-niao-tu-juan-wang-shi-zhen-222842","放鸟图卷","王士祯","该画卷肖像刻画的逼真生动，画法融墨骨法与江南法为一体，表现出禹之鼎绘画艺术成熟期的典型风格，代表了禹氏中晚年肖像画的艺术水平。张伯龙，清太医院御医，善书画。",[23,164,24,7,25,28,27,64,208,96,211,231,34,29,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f94dd9300cfae4fe43a6c4fdbf70e5.jpg",[],{"id":64054,"slug":64055,"title":64056,"dynasty":54,"author":3820,"museum":56,"description":33334,"tags":64057,"thumbUrl":64058,"material":6369,"size":64059,"collection":84,"collections":64060,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},222618,"shan-shui-ba-jing-8-gong-xian-222618","山水八景-8",[23,24,7,59,128,132,29,663,413,331,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F767dc9c30cf5c0bb08d7677bfa84cf4e.jpg","纵24.4 厘米 横49.7 厘米",[],{"id":64062,"slug":64063,"title":64064,"dynasty":124,"author":27440,"museum":300,"description":56403,"tags":64065,"thumbUrl":64066,"material":26442,"size":64067,"collection":318,"collections":64068,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},222537,"lin-gu-tie-juan-wang-duo-222537","临古帖卷",[23,164,24,7,25,330,208,133,64,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8943bd847e7a3569198f6d6315b04432.jpg","271*91.5cm",[318],{"id":64070,"slug":64071,"title":64072,"dynasty":124,"author":9650,"museum":56,"description":9651,"tags":64073,"thumbUrl":64074,"material":84,"size":84,"collection":84,"collections":64075,"showCount":430,"zanCount":1998,"manualWeight":48,"mainColor":72},222506,"shen-xian-tu-ce-12-zhang-lu-222506","神仙图册12",[23,24,7,59,128,96,13695,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fead3d0475cfde468914dce5f134d3524.jpg",[],{"id":64077,"slug":64078,"title":64079,"dynasty":124,"author":7003,"museum":300,"description":64080,"tags":64081,"thumbUrl":64082,"material":840,"size":64083,"collection":84,"collections":64084,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},222467,"ji-kang-jiu-hui-shi-juan-zhu-yun-ming-222467","嵇康酒会诗卷","《嵇康酒会诗》释文：乐哉苑中游，周览无穷已。百卉吐芳华，崇台邈高峙。林木纷交错，玄池戏鲂鲤。轻丸毙翔禽，纤纶出鳞鲔。坐中发美赞，异气同音轨。临川献清酤，微歌发皓齿。素琴挥雅操，清声随风起。斯会岂不乐，恨无东野子。酒中念幽人，守故弥终始。但当体七弦，寄心在知己。\n祝允明的书法师承极为广博，因此他不仅能兼备数体，且皆能臻于精妙。传说祝允明63岁时，去沈则山亲家山庄，沈置酒席相待，饮至太阳落山，尚未觉酣，沈则山命家人设纸笔索书字或不同者六种，祝允明再三推辞不允，便乘酒兴书写了《六体诗赋卷》。\n祝允明此书仿钟繇、张旭、前人章草、苏轼、黄庭坚、赵孟頫六家书，写得维妙维肖出神入化，令主人非常高兴。可见其书法的师承极其广博，书艺范围与书法风格的功力之深，变化之多。\n根据祝允明的作品与文献著录，祝允明的书法在小楷、楷书、行楷、行书、行草、章草、今草、狂草诸书体上用功极深，都达到了很高的成就。由于他的书艺范围涉猎极其广泛，他所擅长的每一种书体中又都包含着多样的风格，故很难详尽而准确的进行分类。",[23,7,64,840,25,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7835d70f0b0182840118cae085e8f6e0.jpg","纵38cm，横122cm",[],{"id":64086,"slug":64087,"title":64088,"dynasty":124,"author":25728,"museum":244,"description":64089,"tags":64090,"thumbUrl":64091,"material":84,"size":64092,"collection":84,"collections":64093,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},222419,"zhu-xia-bao-qin-shan-mian-jiang-song-222419","竹下抱琴扇面","蒋嵩 ，字三松，号徂来山人、三松居士，江宁（今江苏南京）人。生卒年不详，从艺活动约在成化、嘉靖间。\n传世作品有《芦洲泛艇图》轴，现藏天津市艺术博物馆；《秋溪曳杖图》轴、《无尽溪山图》轴藏上海博物馆；《携琴看山图》轴、《渔舟读书图》轴藏故宫博物院；《秋林读书图》轴藏山东省博物馆；《松下著履图》轴藏南京博物院。\n善画山水人物，画法宗吴伟，为浙派名家之一。喜用焦墨枯笔，亦善用淡墨，浓淡相间，浑然一体，如《渔舟读书图》，山石多用大片湿墨，颇见功力，虽尺幅山水，小巧流水却云蒸雾变，烟霞触目。亦工人物，与郑文林、钟礼、张路等都是浙派晚期名手。又因他们纵笔豪放，多越矩度，曾被吴派讥为“狂态邪学”。",[23,24,7,1131,128,132,96,167,4947,29,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e0f6a5a8ea215f87b0f758dfe800581.jpg","纵18.5厘米横53厘米",[],{"id":64095,"slug":64096,"title":64097,"dynasty":124,"author":125,"museum":56,"description":18035,"tags":64098,"thumbUrl":64099,"material":514,"size":18039,"collection":84,"collections":64100,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},222095,"liang-jiang-ming-sheng-tu-ce-7-shen-zhou-222095","两江名胜图册7",[23,24,7,59,27,132,64,29,97,130,34,131,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92c5733a504a3bb180575dd9ea581efd.jpg",[],{"id":64102,"slug":64103,"title":64104,"dynasty":124,"author":3373,"museum":300,"description":15043,"tags":64105,"thumbUrl":64106,"material":28,"size":15046,"collection":84,"collections":64107,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":199},222043,"de-qu-zai-ren-ce-13-kai-3-wang-zhong-222043","得趣在人册13开3",[23,24,7,164,59,27,28,61,169,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b333972495e7ef7c5be2107619d7ee3.jpg",[],{"id":64109,"slug":64110,"title":64111,"dynasty":124,"author":802,"museum":20,"description":18483,"tags":64112,"thumbUrl":64113,"material":18486,"size":64114,"collection":84,"collections":64115,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},221891,"za-hua-tu-ce-xi-shi-tu-ye-chen-hong-shou-221891","杂画图册-溪石图页",[23,24,7,164,59,27,132,29,98,99,131,96,34,495,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1898512a53945eaeb81e5c56068af5f9.jpg","纵30.2＊横25.1ＣＭ",[],{"id":64117,"slug":64118,"title":64119,"dynasty":144,"author":15528,"museum":20,"description":64120,"tags":64121,"thumbUrl":64122,"material":2239,"size":64123,"collection":84,"collections":64124,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},221821,"ying-shui-lou-tai-tu-ye-xia-yong-221821","映水楼台图页","因元代另一位界画大师王振鹏曾绘过大明宫，在乾隆的题诗中又有“下临无地上凌空，磅礴精神想象中。此日未详平乐馆，早年曾写大明宫”的语句，所以此幅曾被误定为王振鹏所绘。事实上，夏永的画法虽出自王振鹏，但以小幅见长。此图在艺术性上稍逊于王振鹏，但线描的精整工细似尤过之。正如熊之缙《花间笑语》评价他的画作“细若蚊睫，侔于鬼工”。\n《石渠宝笈续编·乾清宫》著录。",[23,24,7,164,59,95,188,128,97,99,98,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c9ebc71fe2e34aada53e92454ae807c.jpg","纵23.9厘米，横25.3厘米",[],{"id":64126,"slug":64127,"title":1230,"dynasty":144,"author":64128,"museum":2068,"description":64129,"tags":64130,"thumbUrl":64131,"material":40,"size":64132,"collection":84,"collections":64133,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},221798,"shan-shui-tu-ren-kang-min-221798","任康民","［宋］汴（今河南开封）人。工界画。宣和（一一一九至一一二五）时入画院，每与贺真合作山水图轴。一日安先作横披，当中界楼阁，分布亭榭满中以困真，真止作坡岸于下，上则层峦叠嶂出于屋妙，更觉壮观，遂成名作。《画继》",[24,7,128,132,29,413,1314,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb12f6cee56717d7d6e8377aa930422af.jpg","23.8X21",[],{"id":64135,"slug":64136,"title":64137,"dynasty":18,"author":64138,"museum":510,"description":64139,"tags":64140,"thumbUrl":64141,"material":734,"size":64142,"collection":318,"collections":64143,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},221684,"er-jun-tu-juan-yang-wei-221684","二骏图卷","杨微","描绘女真族人驯马手套马之惊心动魄场面。画中一奚官裘皮秋装乘骑奔驰，两匹正在奔腾的淡赭墨色马肥壮野逸，造型准确，神态生动，大有追风抹电之势，令人惊奋。\n该画用笔严谨工整，沉着豪放，线条遒劲，勾勒灵活，运笔流畅，人物和马之神态表情刻画细腻，栩栩如生，真实地反映了北方少数民族狩猎生活之特点和勇悍、粗犷之个性。明代黄旸题诗赞曰：“雄姿腾踏双飞黄，走如抹电风沙扬。权奈自是渥洼种，奔逐恍若神龙骧。\n前驹野性未易制，胡儿直把长缨系。且驱且挽力无穷，落日平沙浩无际。乃知调习良可驯，伯乐一顾价无伦。毛品虽为天厩亚，神骏能空冀北群。人间此马难重致，杨微妙笔传真意。……”图左自署款：“大定甲辰高唐杨微画”。从署款推定，此图作于金世宗大定二十四年（1184）。拖尾有明初人应光雯、黄寿、黄旸三人七言诗题跋，一九八三年詹宏羲先生将其捐赠给辽宁省博物馆收藏。",[23,24,7,25,28,27,96,101,133,208,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63999d1776682b106f06be528567b609.jpg","纵29.8厘米，横62.3厘米",[318],{"id":64145,"slug":64146,"title":64147,"dynasty":18,"author":40225,"museum":244,"description":40226,"tags":64148,"thumbUrl":64149,"material":611,"size":64150,"collection":318,"collections":64151,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},221564,"zhi-yan-xiu-shao-fu-chi-du-zhu-xi-221564","致彦修少府尺牍",[23,1326,64,133,128,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0774a9b1fdd2ca37c536b5c21b232501.jpg","纵27.3厘米，横55.1厘米",[318],{"id":64153,"slug":64154,"title":64155,"dynasty":18,"author":44015,"museum":20,"description":64156,"tags":64157,"thumbUrl":64158,"material":13960,"size":64159,"collection":84,"collections":64160,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},221474,"shuang-song-tu-ge-juan-zhang-ji-zhi-221474","双松图歌卷","《双松图歌》为杜甫诗《戏为双松图歌韦偃画》，释文：\n天下幾人畫古松，畢宏已老韋偃少。絕筆長風起纖末，滿堂動色嗟神妙。兩株慘裂苔蘚皮，屈鐵交錯迴高枝。白摧朽骨龍虎死，黑入太陰雷雨垂。松根胡僧憩寂寞，龐眉皓首無住著。偏袒右肩露雙腳，葉裏松子僧前落。韋侯韋侯數相見，我有一匹好東絹，重之不減錦繡段。已令拂拭光淩亂，請公放筆爲直幹。張即之七十二歲寫，時積雨連霉，槐龍舞翠，與客小飲，醉中戲書。\n款署：“张即之七十二岁写。时积雨连霉，槐龙舞翠，与客小饮醉中戏书。”钤“张”、“张氏”、“即之”印。自识“七十二岁”，应为南宋理宗宝祐五年（1257年）书。卷前有苏东坡作古柏图，非真迹。尾纸有明洪武时陈新、夏彦良二跋。\n此卷是张即之晚年之笔。后人皆称他“以能书闻天下”，“大字古雅遒劲，细书尤俊健不凡”。此卷擘窠大字，神完气足，劲健雄肆，又时见险怪之态。张即之作为南宋著名书法家，书宗唐人，结体严谨，笔法险劲，对当时书坛影响很大，北方金人亦多效其体。\n清缪日藻《寓意录》、清内府《石渠宝笈·初编》等书著录。",[23,164,24,7,25,133,64,128,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0742ab750432300eb32e874e9ddc04d.jpg","纵.8cm，横1196cm",[],{"id":64162,"slug":64163,"title":64164,"dynasty":351,"author":13946,"museum":20,"description":13947,"tags":64165,"thumbUrl":64166,"material":13950,"size":13951,"collection":84,"collections":64167,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},221161,"shi-liu-luo-han-xiang-fa-na-po-si-zun-zhe-tang-ka-bu-ben-guan-xiu-221161","十六罗汉像-伐那婆斯尊者（唐卡布本）",[23,24,7,187,96,28,27,234,772,949,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F569a3a85f7f82a7de7a82f30e44853d2.jpg",[],{"id":64169,"slug":64170,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":64171,"thumbUrl":64176,"material":11690,"size":11691,"collection":84,"collections":64177,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":84},220708,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220708",[23,24,7,164,59,29,496,64172,64173,387,98,99,64174,128,64175],"高树","竹丛","策杖行人","苍润","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbf36ccfeba247023e50d74a3a3b0b2d.jpg",[],{"id":64179,"slug":64180,"title":64181,"dynasty":124,"author":802,"museum":77,"description":803,"tags":64182,"thumbUrl":64183,"material":173,"size":808,"collection":84,"collections":64184,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},220222,"hua-niao-cao-chong-xie-sheng-ce-you-qin-du-shao-chen-hong-shou-220222","花鸟草虫写生册-幽禽独梢",[23,164,24,7,59,28,27,61,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F076fc7fd7d0fb1d59b537232e080a332.jpg",[],{"id":64186,"slug":64187,"title":64188,"dynasty":54,"author":62125,"museum":56,"description":62126,"tags":64189,"thumbUrl":64191,"material":27,"size":62129,"collection":84,"collections":64192,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},219802,"hua-niao-cao-chong-tu-8-sun-long-219802","花鸟草虫图-8",[24,7,59,128,27,61,841,64190,369,60],"孤鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0a5fdcecbf0137e7b17922047721539.jpg",[],{"id":64194,"slug":64195,"title":64196,"dynasty":54,"author":62125,"museum":56,"description":62126,"tags":64197,"thumbUrl":64198,"material":27,"size":62129,"collection":84,"collections":64199,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},219800,"hua-niao-cao-chong-tu-10-sun-long-219800","花鸟草虫图-10",[24,7,27,61,480,211,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F916a85c048376a55f5f9524aa1ef342f.jpg",[],{"id":64201,"slug":64202,"title":64203,"dynasty":54,"author":223,"museum":77,"description":64204,"tags":64205,"thumbUrl":64206,"material":173,"size":84,"collection":84,"collections":64207,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},219271,"qun-hou-xi-shui-shuang-ping-er-yi-ming-219271","群猴戏水双屏(二)","松枝虬曲如铁，斜逸于空濛山影间，瀑布自崖巅倾泻而下，溅起碎玉似的水花。山石之上，群猴情态鲜活：或相偎亲昵，或探臂戏波，或追逐跃动，灵动身姿与潺潺流水相映成趣。墨色浓淡交错，细致勾勒出猴毛的蓬松纹理与山石的苍劲质感，流水则以婉转线条摹写奔腾之势。古雅绢本的暖棕底色，衬得画面静谧而富有生机，仿佛能闻猴啼与水声相和，尽显自然野趣与生命的鲜活意趣，将山林间的灵动瞬间凝于笔端。",[24,7,165,128,28,132,29,9633,99,495,497,1144,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd01f16953ecc4f7107f745ae261e1887.jpg",[],{"id":64209,"slug":64210,"title":64211,"dynasty":124,"author":223,"museum":6413,"description":64212,"tags":64213,"thumbUrl":64214,"material":173,"size":84,"collection":68,"collections":64215,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":956},219269,"xue-shu-shuang-jiu-tu-yi-ming-219269","雪树双鸠图","绢本的古雅色泽里，冬日的清寂缓缓铺展。虬枝盘曲如铁铸，枝桠间薄雪若碎玉，清冷中透着岁月的苍劲。双鸠相偎于枝头，羽色与雪、树相融，姿态安闲，似在低语，为寂静雪林添了脉脉温情。雪坡简洁，几茎细草隐于雪下，更显天地空阔。画中无喧嚣，唯有雪的静穆、树的古拙、鸟的柔暖，将冬日的冷寂与生命的暖意悄然交织，让观者于冷冽中触到一丝安宁与慰藉，仿佛时光在此凝驻，只剩自然的恬淡与生机。",[23,24,7,27,28,61,413,1556,355,582,16370],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F809e2794ea016ae3eaf5316c3ed2a9cf.jpg",[68],{"id":64217,"slug":64218,"title":64219,"dynasty":18,"author":223,"museum":244,"description":64220,"tags":64221,"thumbUrl":64223,"material":173,"size":84,"collection":136,"collections":64224,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},218993,"jiang-ji-fan-ying-tu-yi-ming-218993","江矶帆影图","这个构图可能取自李唐《江山小景图》的开篇，其中山和树的笔触比较粗糙，水面没有画出波纹。",[23,24,7,164,128,27,132,29,64222,28370,129,34],"江矶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d811081870c628ebc7c26ba55f12af7.jpg",[136],{"id":64226,"slug":64227,"title":12038,"dynasty":18,"author":223,"museum":244,"description":64228,"tags":64229,"thumbUrl":64230,"material":173,"size":64231,"collection":136,"collections":64232,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},218721,"xue-shan-xing-lv-tu-yi-ming-218721","这幅画描绘了雪山上的一条小溪，两辆满载货物的牛车涉水而过，车夫以各种方式进行伪装，黄牛的形象也被真实地描绘出来。朱瑞在宋代喜欢画这类题材，这幅山水画比较轻快，类似于太古遗书《江山行旅图》的笔法，可能是金代的作品。",[23,24,7,1131,29,96,2620,2523,131,1645,34,35,128,132,12016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96bc5c1e8786c6f2560217f0c8669471.jpg","24.4x25.7",[136],{"id":64234,"slug":64235,"title":64236,"dynasty":18,"author":15673,"museum":244,"description":64237,"tags":64238,"thumbUrl":64239,"material":173,"size":84,"collection":84,"collections":64240,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},218675,"xi-hu-shi-jing-tu-qu-yuan-feng-he-ye-xiao-yan-218675","西湖十景图-曲院风荷","淡墨晕染的远山如黛，近岸树影婆娑，隐约可见荷叶田田的清姿，风过处似有暗香浮动。左侧行书笔意流转，与画中墨韵相映成趣，笔墨间尽是西湖夏日的清幽雅致。整幅作品以书画合璧之姿，将曲院风荷的静谧之美悄然铺展，尽显文人笔下的山水意趣与诗意情怀，让人仿佛置身于那片荷风送爽的西湖景致之中。",[23,24,7,59,128,27,133,29,168,34,415,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f780af223b0e71a7e4d290d27c674c.jpg",[],{"id":64242,"slug":64243,"title":64244,"dynasty":18,"author":15673,"museum":244,"description":64245,"tags":64246,"thumbUrl":64247,"material":151,"size":84,"collection":84,"collections":64248,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},218673,"xi-hu-shi-jing-tu-ping-hu-qiu-yue-ye-xiao-yan-218673","西湖十景图-平湖秋月","秋夜湖光如镜，远山淡笼烟霞，墨色轻染出清寂的秋意。水面无波，似映着朦胧月色，岸边林木疏朗，隐见小舟泊于汀渚。左侧行书笔意婉转，与山水景致相映成趣，诗画交融间，藏着南宋文人的闲淡心境。笔墨简淡却意境悠远，仿佛能触到湖面的微凉，闻见夜露的清芬，将平湖秋月的空灵静谧凝于尺幅。江南水乡的雅致，秋夜湖景的静谧，皆在这一方画卷中缓缓流淌，尽显宋人的审美意趣。",[23,24,7,59,128,27,29,231,171,34,33,4703,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bfb40a0e7d764088ae5815d0d9ce724.jpg",[],{"id":64250,"slug":64251,"title":64252,"dynasty":54,"author":6946,"museum":244,"description":64253,"tags":64254,"thumbUrl":64255,"material":66,"size":17435,"collection":84,"collections":64256,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},218458,"shi-liu-luo-han-xiang-di-shi-wu-guo-ba-ga-zun-zhe-ding-guan-peng-218458","十六罗汉像-第十五锅巴嘎尊者","尊者面容清癯，皱纹如岁月镌刻的诗行，眼神凝注间漾着静定的禅光。褐色僧袍织纹细密，似裹着晨钟暮鼓的温煦；蓝紫格纹围裳错落，晕染出古雅的色块。他盘腿坐于嶙峋岩上，石纹皴擦朴拙，若承过千年风雨。手持拂尘，毛羽蓬松如轻云拢聚，柄上纹饰精巧，红金点缀似禅意跳动。衣袂线条柔中带刚，将僧袍垂坠感与尊者沉静姿态相融。工笔细腻却不滞涩，设色雅致而富层次，人物神态传神，仿佛能听见拂尘扫过衣角的轻响，禅意随笔墨漫溢，直抵人心。",[24,7,28,27,187,96,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517cc4c44b289ff7e521eeda619ee61b.jpg",[],{"id":64258,"slug":64259,"title":64260,"dynasty":54,"author":6946,"museum":244,"description":64261,"tags":64262,"thumbUrl":64265,"material":66,"size":17435,"collection":84,"collections":64266,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},218457,"shi-liu-luo-han-xiang-di-shi-san-ba-na-ta-ga-zun-zhe-ding-guan-peng-218457","十六罗汉像-第十三巴纳塔嘎尊者","眉眼弯作新月，嘴角噙着三分俏皮七分慈悲，圆融面庞上的纹路似时光揉过的经卷，每一道都藏着禅意的褶皱。蓝褐袈裟经纬细腻，松风涧水般的质感漫过布帛，衬裙团花簇簇，如古锦中绽出的清梦。他双手轻捧卷轴，指节温润，仿佛正与千年佛法私语，卷轴边缘的褶皱里，梵音似要悄然溢出。脚下素布鞋沾着人间烟火，让云端智慧多了尘世温度。画面庄重中见灵动，华丽里藏平实，将罗汉的通达与亲和，凝作一纸可触的温暖。",[24,7,28,27,96,187,208,43066,64263,304,40819,64264],"鞋子","设色人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F714ae035f18a63c4f5ed5dc9dd610ae2.jpg",[],{"id":64268,"slug":64269,"title":64270,"dynasty":980,"author":1687,"museum":300,"description":8761,"tags":64271,"thumbUrl":64272,"material":278,"size":84,"collection":84,"collections":64273,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},218173,"da-qian-kuang-tu-ce-5-zhang-da-qian-218173","大千狂涂册-5",[164,24,7,128,188,96,166,64,133,208,980],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb7978eaa1d385542137901288fc6bde.jpg",[],{"id":64275,"slug":64276,"title":64277,"dynasty":124,"author":7003,"museum":300,"description":64278,"tags":64279,"thumbUrl":64280,"material":611,"size":84,"collection":84,"collections":64281,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},218057,"bai-miao-jiu-ge-tu-ce-7-zhu-yun-ming-218057","白描九歌图册-7","这幅白描作品以极简笔墨勾勒灵动场景。线条如流云拂水，既缠绕枝叶的疏朗间，又舒展衣袂的翩跹之姿，似有生命般游走素纸。人物神态藏于线条转折：女子温婉静立，衣纹流转如微风轻拂；孩童姿态稚拙，专注神情透过简练笔触显露。无多余色彩渲染，素净中见风神洒落——枝叶轻摇、衣袂飘举，悄然糅合神话的缥缈与人间温情。笔墨洗练却含韵致，每一笔藏着匠心，让观者于极简处感知幽微情感流动，似闻清风掠叶轻响，触到穿越时光的雅致灵动。",[24,7,59,188,96,166,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f251032ae53d21f4c06cf234cd80ac1.jpg",[],{"id":64283,"slug":64284,"title":64285,"dynasty":54,"author":6946,"museum":244,"description":15817,"tags":64286,"thumbUrl":64287,"material":278,"size":84,"collection":84,"collections":64288,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},217915,"tang-ming-huang-ji-ju-tu-7-ding-guan-peng-217915","唐明皇击鞠图-7",[24,7,28,188,96,101,1367,208,18700],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac15e6c64ed8c5ea12af2dc566228db0.jpg",[],{"id":64290,"slug":64291,"title":64292,"dynasty":182,"author":223,"museum":2607,"description":64293,"tags":64294,"thumbUrl":64295,"material":27,"size":84,"collection":84,"collections":64296,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},217897,"guan-yin-jing-bian-tu-juan-9-yi-ming-217897","观音经变图卷-9","画面铺展观音应化的生动场景，人物群像错落有致：或躬身合十，或凝神谛听，衣袂飘举间晕染着唐时的华彩。线条如行云流水，勾勒出信徒虔诚的神态与灵动姿态；明快的红紫青绿交织成服饰色块，既守宗教画的庄严肃穆，又融世俗生活的鲜活气息。每处细节都在诉说经文要义，让抽象信仰化为可感的视觉语言，仿佛能听见彼时信徒的祈愿与观音的慈悲回响，尽显唐代经变画的艺术神韵与精神内核。",[24,7,25,187,27,96,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F225917c13eb141e09e2c779171012dd7.jpg",[],{"id":64298,"slug":64299,"title":64300,"dynasty":182,"author":223,"museum":2607,"description":64301,"tags":64302,"thumbUrl":64303,"material":27,"size":84,"collection":84,"collections":64304,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},217895,"guan-yin-jing-bian-tu-juan-11-yi-ming-217895","观音经变图卷-11","画面与墨书经文交织，铺展开一卷唐代佛国的鲜活图景。观音法相端严慈悲，胁侍、飞天姿态各异——或合十恭立，或俯身倾聆，衣袂飘举如流云，线条灵动得盛唐风神。赭红与石绿的古雅色调，经岁月沉淀更显温润，晕染间可见设色的细腻考究。文图互释的布局，是经变图的典型范式，每一笔线条都藏着画师对佛法的体悟，每一处神情都透着盛唐的审美意趣。它不仅是宗教艺术的载体，更似一扇窗，让我们窥见千年前的信仰温度与艺术匠心。",[24,7,25,187,27,96,28,7322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03096953775d0b1a11eb6726adff5b2a.jpg",[],{"id":64306,"slug":64307,"title":64308,"dynasty":54,"author":223,"museum":2607,"description":64309,"tags":64310,"thumbUrl":64311,"material":611,"size":84,"collection":84,"collections":64312,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":956},216859,"xi-xiang-ji-tu-ce-24-yi-ming-216859","西厢记图册-24","绿树垂荫覆着半开的竹帘，庭院里湖石嶙峋，花草点缀其间。人物情态宛然：凭栏端坐者衣袂素雅，眸光似含笑意；立者二人相对低语，身形凑近，似有密语相诉；周遭草木扶疏，笔墨细腻勾描枝叶纹理与衣纹流转，淡彩晕染出清润雅致的氛围。画面将西厢故事里才子佳人的幽微情愫藏于细节，每一处景物皆默默诉说着那段古典爱情中的温柔试探与悄然心动，让观者在这一方小天地里，触摸到含蓄深沉的古典浪漫。",[164,24,7,59,27,28,96,166,413,1314,376,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9211cf2606321e2aefdebf9c10e0291.jpg",[],{"id":64314,"slug":64315,"title":64316,"dynasty":54,"author":223,"museum":300,"description":64317,"tags":64318,"thumbUrl":64319,"material":173,"size":84,"collection":84,"collections":64320,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},216678,"hong-lou-meng-fu-tu-ce-44-yi-ming-216678","红楼梦赋图册-44","藤蔓蜿蜒攀附，粉艳花朵与翠绿枝叶相映成趣，工笔勾勒的细节细腻入微。墨色文字工整排布，与周边花叶交织成趣，似将红楼诗词的幽婉韵味凝于纸面。线条柔婉细腻，色彩雅致清新，花叶的舒展与文字的端庄相得益彰，仿佛能窥见书中人物的悲欢离合。在笔墨与丹青的交融里，晕染出古典文学与传统绘画碰撞的独特意境，让人沉浸在红楼梦境的雅致氛围中，感受那份跨越时空的文学与艺术之美。",[23,24,7,59,27,28,133,64,62,624,1039,57836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1ac368539416e25dfa5d4a2c72cc337.jpg",[],{"id":64322,"slug":64323,"title":64324,"dynasty":54,"author":223,"museum":244,"description":50481,"tags":64325,"thumbUrl":64326,"material":173,"size":84,"collection":84,"collections":64327,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},215200,"sheng-ping-le-shi-tu-ce-3-yi-ming-215200","升平乐事图册-3",[24,164,7,59,28,27,96,371,413,722,1314,5268,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75a2e97ae38e3111fac1d11afec733c4.jpg",[],{"id":64329,"slug":64330,"title":64331,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":64332,"thumbUrl":64333,"material":66,"size":84,"collection":84,"collections":64334,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},215104,"tui-bei-tu-ce-4-jiao-bing-zhen-215104","推背图册-4",[23,164,24,7,59,27,28,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8393a904a422a289521e461aba65b0a5.jpg",[],{"id":64336,"slug":64337,"title":64338,"dynasty":54,"author":3750,"museum":77,"description":51930,"tags":64339,"thumbUrl":64340,"material":66,"size":84,"collection":84,"collections":64341,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},215015,"fang-gu-shan-shui-ce-14-wang-jian-215015","仿古山水册-14",[23,24,7,164,59,128,132,29,34,131,98,99,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b2efea2262a97f2f0a8dacae0339853.jpg",[],{"id":64343,"slug":64344,"title":64345,"dynasty":54,"author":3750,"museum":77,"description":51930,"tags":64346,"thumbUrl":64347,"material":66,"size":84,"collection":84,"collections":64348,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},215010,"fang-gu-shan-shui-ce-19-wang-jian-215010","仿古山水册-19",[23,24,7,59,128,132,29,34,171,414,496,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ef3432372e2458db74ec31875d2652.jpg",[],{"id":64350,"slug":64351,"title":64352,"dynasty":144,"author":8127,"museum":244,"description":62275,"tags":64353,"thumbUrl":64354,"material":173,"size":10420,"collection":84,"collections":64355,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":49},215004,"xie-sheng-hua-hui-ce-4-wang-yuan-215004","写生花卉册-4",[24,164,7,59,28,27,61,62,1771,806],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e11082a9e7e137aac1116db04e4692b.jpg",[],{"id":64357,"slug":64358,"title":64359,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":64360,"thumbUrl":64361,"material":278,"size":3888,"collection":84,"collections":64362,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},214947,"dao-zi-mo-bao-ren-wu-bai-miao-hua-37-yi-ming-214947","道子墨宝人物白描画-37",[23,164,24,7,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2529773012270b4a52a03e680b7adada.jpg",[],{"id":64364,"slug":64365,"title":64366,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":64367,"thumbUrl":64368,"material":278,"size":3888,"collection":84,"collections":64369,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},214945,"dao-zi-mo-bao-ren-wu-bai-miao-hua-38-yi-ming-214945","道子墨宝人物白描画-38",[23,164,24,7,188,96,5490,949,187,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e7a7ac24e5dd5839f7e788e1096e808.jpg",[],{"id":64371,"slug":64372,"title":64373,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":64374,"thumbUrl":64375,"material":278,"size":3888,"collection":84,"collections":64376,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},214943,"dao-zi-mo-bao-ren-wu-bai-miao-hua-41-yi-ming-214943","道子墨宝人物白描画-41",[23,164,24,7,188,96,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcb5f2b00ecbef18b5738f1ab88b1176.jpg",[],{"id":64378,"slug":64379,"title":64380,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":64381,"thumbUrl":64382,"material":278,"size":3888,"collection":84,"collections":64383,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},214939,"dao-zi-mo-bao-ren-wu-bai-miao-hua-45-yi-ming-214939","道子墨宝人物白描画-45",[23,24,7,188,96,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe27d1347f9a0d33d23806dd890e3da07.jpg",[],{"id":64385,"slug":64386,"title":64387,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":64388,"thumbUrl":64389,"material":278,"size":3888,"collection":84,"collections":64390,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},214936,"dao-zi-mo-bao-ren-wu-bai-miao-hua-48-yi-ming-214936","道子墨宝人物白描画-48",[23,24,7,188,96,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc7cbecca29b38cc6e06ab0351824605.jpg",[],{"id":64392,"slug":64393,"title":64394,"dynasty":124,"author":1141,"museum":20,"description":64395,"tags":64396,"thumbUrl":64397,"material":278,"size":64398,"collection":84,"collections":64399,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},214878,"shan-shui-ce-3-wen-zheng-ming-214878","山水册-3","文徵明（1313年－1370年）是明朝开国皇帝朱元璋的兄弟，在位时间为1341年-1368年。他是中国历史上著名的文人，被称为“文王”。他创作了许多著名的诗词、书法作品，其中包括《山水册》。\n\n《山水册》是文徵明的著名书法作品之一，共包含了十一幅图画。每幅图画都描绘了不同的山水风光，并配以文徵明的诗词。文徵明的书法风格具有流畅、柔和的特点，《山水册》的笔墨非常优美，被视为中国书法史上的经典之作。",[23,24,7,59,128,132,133,208,29,413,131,98,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe62e5d5f8d6dff9bf8878cfd068d890e.jpg","28.5x15.7cm",[],{"id":64401,"slug":64402,"title":4408,"dynasty":54,"author":20259,"museum":56,"description":20260,"tags":64403,"thumbUrl":64404,"material":66,"size":20263,"collection":84,"collections":64405,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},214699,"shan-shui-ce-9-gao-xiang-214699",[24,7,59,128,29,131,34,276,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7f9b0f937bbabc1b507a243f8e7ec20.jpg",[],{"id":64407,"slug":64408,"title":64409,"dynasty":54,"author":1460,"museum":1941,"description":5506,"tags":64410,"thumbUrl":64411,"material":66,"size":5509,"collection":84,"collections":64412,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":72},214526,"yi-jin-ling-ce-8-shi-tao-214526","忆金陵册-8",[24,7,59,128,132,29,130,99,171,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75951298d9f9cb463c2e3032e8fb2dd0.jpg",[],{"id":64414,"slug":64415,"title":21106,"dynasty":54,"author":2582,"museum":56,"description":64416,"tags":64417,"thumbUrl":64418,"material":84,"size":84,"collection":68,"collections":64419,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":64420},203018,"hua-niao-tu-ce-wang-wu-203018","画面枝桠间粉嫩花朵绽放，翠竹相映，一只禽鸟栖息枝头，姿态鲜活。笔触细腻工致，设色清雅柔和，花鸟形态写实灵动，尽显春日生机。构图疏密得宜，笔墨兼具工巧与写意之韵，传递出晴和雅致的自然意趣。",[24,7,59,28,27,61,209,167,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23eb085026c12203b45f8aa3007f276c.jpg",[68],"e3d3c2",{"id":64422,"slug":64423,"title":64424,"dynasty":124,"author":3619,"museum":56,"description":64425,"tags":64426,"thumbUrl":64427,"material":84,"size":84,"collection":136,"collections":64428,"showCount":430,"zanCount":1998,"manualWeight":48,"mainColor":64429},202206,"xian-jing-bai-yun-tu-zhou-wen-zheng-ming-202206","仙境白云图轴","峰峦层叠间，青绿设色晕染出云气缥缈，山石以细腻皴法勾勒肌理，松枝虬劲如盖，溪流蜿蜒穿谷。林间隐士对坐清谈，松下鹿群闲适相伴，人与景相融相生，仙气氤氲满纸。文徵明以雅致笔触，将文人心中的理想仙境凝于尺幅，既有自然丘壑之趣，又含隐逸林泉之思，尽显其“细笔青绿”的典型风貌，是其晚年仙境题材的佳作。",[24,7,165,26,27,29,96,372,2302,132,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F415686dd1199c3f4b9be09962b57e3c4.jpg",[136],"8b7860",{"id":64431,"slug":64432,"title":64433,"dynasty":54,"author":20985,"museum":56,"description":64434,"tags":64435,"thumbUrl":64436,"material":84,"size":84,"collection":44,"collections":64437,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":64438},202015,"lv-chun-yang-xiang-zhou-xiao-chen-202015","吕纯阳像轴","画面中吕纯阳宽袍广袖，衣纹以浓淡墨色交错晕染，笔致灵动，褶皱间尽显飘逸之态。他赤足立于素纸之上，手中轻悬鞋履，神态悠然超脱，似携几分仙风道骨。笔墨简练却形神毕肖，人物气韵自生，将仙人放达不羁的性情勾勒得入木三分，尽显传统人物画的传神妙韵。",[24,7,165,96,128,28,164,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1236c3b815fe5845d144da799f34dd5.jpg",[44],"b1a28c",{"id":64440,"slug":64441,"title":64442,"dynasty":54,"author":9529,"museum":56,"description":64443,"tags":64444,"thumbUrl":64445,"material":84,"size":84,"collection":136,"collections":64446,"showCount":430,"zanCount":1998,"manualWeight":48,"mainColor":64447},201650,"fang-zhao-meng-fu-chun-shan-fei-pu-tu-zhou-wang-hui-201650","仿赵孟頫春山飞瀑图轴","山峦层叠间，青绿设色晕染出春山的温润，飞瀑隐于岩岫，似携潺潺清音流淌。苍松倚石盘曲，虬枝着墨苍劲，与秀逸的山石皴法相映成趣——既有赵孟頫的雅致风骨，又融自身笔墨意韵。淡墨烘染的云雾虚虚实实，衬得峰峦错落有致，溪水蜿蜒勾连生机。整体意境清幽，仿古中见新意，笔墨细腻处显文人山水的诗意从容，尽显“以古为师”的精妙造诣。",[24,7,26,27,132,330,29,131,13602,44073,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12fad6897e8f921a68139502da5f6630.jpg",[136],"bdaf9f",{"id":64449,"slug":64450,"title":64451,"dynasty":54,"author":64452,"museum":56,"description":64453,"tags":64454,"thumbUrl":64455,"material":84,"size":84,"collection":68,"collections":64456,"showCount":430,"zanCount":48,"manualWeight":48,"mainColor":64457},201561,"qiu-shui-bai-lian-tu-zhou-sun-zhi-gao-201561","秋水白莲图轴","孙志皋","这幅画作以水墨绘秋水白莲，墨色浓淡干湿交织，荷叶用奔放笔触写就，浓墨处见厚重，淡墨处显空灵，枯笔勾勒边缘更添苍劲。白莲淡雅勾描，瓣尖轻染，花蕊细点，姿态楚楚。水面留白与淡墨晕染相映，秋意清寂。简逸笔触间，莲荷或绽或苞，枯枝点缀，传递出幽远意境，尽显文人雅致，墨韵流转中似闻秋水声，观白莲静立，得自然之趣。",[24,128,61,168,81,165,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3c144c0800d286484b7446dfd710735.jpg",[68],"a29581",{"id":64459,"slug":64460,"title":64461,"dynasty":144,"author":1208,"museum":300,"description":64462,"tags":64463,"thumbUrl":64466,"material":692,"size":1293,"collection":84,"collections":64467,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},290982,"liu-tiao-zi-ye-ni-zan-290982","柳条梓叶","二树势若戈戟,大者为将,小者为佐,将佐得宜,行伍整齐,画理自得矣。若专讲士气,非初学入门之道也。",[24,7,59,128,64464,64465,454,133,208,64],"柳条","梓叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d7590ee34fd506f092553c82094f7fd.jpg",[],{"id":64469,"slug":64470,"title":21904,"dynasty":124,"author":33462,"museum":300,"description":34341,"tags":64471,"thumbUrl":64472,"material":692,"size":1293,"collection":84,"collections":64473,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},290975,"luo-han-zhou-song-xu-290975",[24,164,7,165,187,27,96,18331,1144,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb81f3d3da546844264f59dc1fa169adc.jpg",[],{"id":64475,"slug":64476,"title":21904,"dynasty":18,"author":6572,"museum":300,"description":56839,"tags":64477,"thumbUrl":64478,"material":692,"size":1293,"collection":84,"collections":64479,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},290970,"luo-han-zhou-li-yu-290970",[24,7,165,187,188,128,96,772,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5d16feef4469398d4fd2cfd0c36b68b.jpg",[],{"id":64481,"slug":64482,"title":45307,"dynasty":144,"author":36038,"museum":300,"description":45308,"tags":64483,"thumbUrl":64484,"material":692,"size":1293,"collection":84,"collections":64485,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},290961,"chun-shan-tu-yang-wei-zhen-290961",[164,24,7,165,128,132,29,331,1233,98,97,131,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd696a9a640e58d489c6025ffdf5ab093.jpg",[],{"id":64487,"slug":64488,"title":64489,"dynasty":144,"author":223,"museum":300,"description":64490,"tags":64491,"thumbUrl":64492,"material":692,"size":1293,"collection":84,"collections":64493,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},290748,"fo-xiang-zhou-yi-ming-290748","佛像轴","此作工笔重彩，尽显佛造像华贵庄严。主尊面容圆融慈悲，沉静超脱，宝冠璎珞环身，朱红僧衣配石青内搭，衣纹晕染细腻层叠，将衣物柔垂质感尽显。背光遍饰缠枝宝相花，线条如錾刻般繁复华丽，层层烘托主尊端严气象。须弥座纹样精细规整，华盖垂幡飘曳灵动，满幅祥云氤氲漫卷，两侧宝树点缀衬景。整体构图饱满均衡，设色古雅富丽，金线勾勒晕染尽显工艺精髓，将宗教神圣感与工笔装饰性完美相融，尽显中古佛画典雅华美的肃穆气韵。",[24,165,7,164,187,18381,7220,96,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fbb55d789711fae840657544e6d2196.jpg",[],{"id":64495,"slug":64496,"title":64497,"dynasty":124,"author":64498,"museum":300,"description":64499,"tags":64500,"thumbUrl":64502,"material":692,"size":1293,"collection":84,"collections":64503,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},290505,"duan-yang-jing-zhou-liu-guang-290505","端阳景轴","刘广","字元博，长洲（今江苏苏州）人。山水秀润。参看刘溥。作有《画史会要、明画录》.",[24,164,7,165,27,28,61,4018,19684,64501,208],"端阳景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F696d4cf2daa2892c33509b5d15af2925.jpg",[],{"id":64505,"slug":64506,"title":64507,"dynasty":54,"author":3403,"museum":300,"description":8089,"tags":64508,"thumbUrl":64509,"material":692,"size":1293,"collection":84,"collections":64510,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},290488,"zhuan-shu-wu-yan-lian-jing-xin-wu-chang-shuo-290488","篆书五言联镜心",[24,7,64,10886,938,12488,772],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde2737cc12be3d723f4ecca0204fbdb2.jpg",[],{"id":64512,"slug":64513,"title":64514,"dynasty":144,"author":223,"museum":300,"description":35562,"tags":64515,"thumbUrl":64517,"material":692,"size":1293,"collection":84,"collections":64518,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},290408,"hua-yan-fa-hui-tu-yi-ming-290408","华严法会图",[24,7,165,187,18381,27,96,29,97,99,64516],"华严法会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34b370ac44fa5282f8f52d0cecfc3029.jpg",[],{"id":64520,"slug":64521,"title":64522,"dynasty":144,"author":2968,"museum":300,"description":64523,"tags":64524,"thumbUrl":64526,"material":692,"size":1293,"collection":84,"collections":64527,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},290343,"shu-zhi-shuang-que-zhou-chen-lin-290343","疏枝双雀轴","陈琳，（生卒年不详），字仲美，钱塘（今浙江杭州）人。南宋画院待诏珏子，琳世其叶。善画花鸟、山水、人物，得赵孟頫指授，多所资益，故其画不俗，尤善临摹古迹。作品特色鲜明，工笔略带写意，粗细兼用，笔墨潇洒流畅，浓淡墨色富于变化，形象生动，风格古朴，具有文人水墨写意画的韵致。陈琳有《溪凫图》、《秋山行旅图》、《苍崖古树图》等传世。",[164,24,7,165,61,27,128,211,64525,4622,208,64,133],"疏枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78d165990c681aac8f1b1bc62e33e9d0.jpg",[],{"id":64529,"slug":64530,"title":64531,"dynasty":18,"author":223,"museum":300,"description":64532,"tags":64533,"thumbUrl":64535,"material":692,"size":1293,"collection":84,"collections":64536,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},290244,"shan-dian-feng-lian-tu-yi-ming-290244","山店风帘图","北宋时期，山水画大兴。这其中，李成和范宽是北宋初期山水画家的代表，他们上承荆浩以水墨为主的传统，以表现北方雄浑壮阔的自然山水为主，与五代的关仝一起，被认为是“三家鼎峙，百代标程”的大师，他们的创作具有划时代的意义。其后继者有王士元、王端、燕文贵、许道宁、高克明、郭熙、李宗成、丘纳、王诜等。除北方山水系统的山水画外，也有长于界画的郭忠恕，善于表现湖山小景的惠崇、赵令穰，继承唐代以来的青绿山水画法的王希孟、南派山水画的代表巨然，以及开创“米氏云山”的米芾等，都在中国山水画的发展过程中，有着各自的独特贡献。\n北宋山水画倾于自然，侧重“真”和“实”，提倡山水画的写实风格。多使用绢，不仅勾勒细致、刻画严谨，而且用墨对画面进行层层渲染，展现出一份凝重恬静之美。它展现的是前所未有的细腻、丰富、写实的画风。",[23,1131,24,7,29,128,133,208,131,1337,64534],"山店","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12ec9c6fb646b917db1784518e6beb02.jpg",[],{"id":64538,"slug":64539,"title":64540,"dynasty":54,"author":64541,"museum":300,"description":64542,"tags":64543,"thumbUrl":64544,"material":692,"size":1293,"collection":84,"collections":64545,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},290223,"si-yu-tu-ye-niu-shi-hui-290223","四鱼图页","牛石慧","牛石慧（约1628—1707），南昌人，系明太祖第十七子朱权后裔，八大山人朱耷之弟。明末清初画家。",[23,24,1131,128,2059,208,164,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F077454d1efeba87c34df80105aea0ef0.jpg",[],{"id":64547,"slug":64548,"title":47407,"dynasty":124,"author":10922,"museum":300,"description":42506,"tags":64549,"thumbUrl":64550,"material":692,"size":1293,"collection":84,"collections":64551,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},290220,"shan-shui-tu-shan-mian-wen-jia-290220",[23,164,24,7,1131,128,29,1144,131,99,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ceb225c498438ec649c4ad43173dcb.jpg",[],{"id":64553,"slug":64554,"title":64555,"dynasty":54,"author":223,"museum":300,"description":64556,"tags":64557,"thumbUrl":64559,"material":692,"size":1293,"collection":84,"collections":64560,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},290187,"min-jian-sheng-huo-tu-ce-yi-ming-290187","民间生活图册","此作以淡绢为底，工笔设色晕染出鲜活的市井日常。安坐矮凳的蓝衣老者俯身侧目，指尖轻抬，似正与蹲在摊前的白衣小贩议价。小贩正专注理弄案上文砚，地上错落陈放着数方造型朴拙的厚重大砚。\n\n衣纹走线细腻温婉，二人神态灵动传神，老者的从容、小贩的沉静皆跃然绢上。全画无繁杂布景，以极简构图烘托出松弛的烟火气，将文房小市的平和交易凝于尺幅间，静中藏着市井生活的细碎暖意，尽显世俗日常的温润意趣，是一幅颇有生活情味的风俗小品。",[23,24,7,59,27,28,96,64558,9604,17992],"文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19653748edc16172ce5b3b37a88f18ab.jpg",[],{"id":64562,"slug":64563,"title":64564,"dynasty":18,"author":44015,"museum":300,"description":64565,"tags":64566,"thumbUrl":64567,"material":692,"size":1293,"collection":84,"collections":64568,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},289967,"shuang-song-tu-ge-zhang-ji-zhi-289967","双松图歌","此卷又称《杜甫戏为双松图歌》，是张即之晚年酒后之作，行楷书法苍劲有力。后人皆称他“以能书闻天下”，“大字古雅遒劲，细书尤俊健不凡”。此卷擘窠大字，神完气足，劲健雄肆，又时见险怪之态。",[23,164,24,7,25,64,572,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe839dfd191b2cc29270efb69c48a0193.jpg",[],{"id":64570,"slug":64571,"title":64572,"dynasty":54,"author":39640,"museum":300,"description":39641,"tags":64573,"thumbUrl":64574,"material":692,"size":1293,"collection":84,"collections":64575,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},289906,"qiu-jiang-yuan-tiao-yu-fei-an-289906","秋江远眺",[1131,24,7,29,27,331,211,96,17613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57937b6428626eed1d07e0b02ef08e55.jpg",[],{"id":64577,"slug":64578,"title":64579,"dynasty":54,"author":14255,"museum":300,"description":14256,"tags":64580,"thumbUrl":64581,"material":692,"size":1293,"collection":84,"collections":64582,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},289904,"hai-wo-tian-chou-tu-qu-zhao-lin-289904","海渥添筹图",[23,164,24,7,165,27,1349,132,29,1144,951,853,97,37,211,12406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e819a6563ee6cde90a0621a4593fb59.jpg",[],{"id":64584,"slug":64585,"title":22352,"dynasty":18,"author":223,"museum":300,"description":64586,"tags":64587,"thumbUrl":64588,"material":692,"size":1293,"collection":84,"collections":64589,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},288947,"mei-zhu-ju-qin-tu-yi-ming-288947","此作为院体花鸟上乘之笔，以屈曲虬结的老梅为骨，皴擦勾勒间尽显凌寒老木的苍古拙朴。嫩条轻垂，缀着初绽的梅英，清浅柔润，暗递初春微熹生机。翠竹斜斜穿插，叶片劲挺舒展，疏密交织，晕染出疏朗清寒的氛围。\n\n五只禽鸟错落栖于枝桠之上，或敛羽静立，或转首理毛，或凝眸远眺，翎毛细笔勾勒柔和入微，神态宛然如生，将林间野禽的安闲慵懒尽数铺陈。\n\n整作设色简淡清逸，墨色层次柔婉，把冬春之交的林塘幽寂勾勒得诗意盎然，精微捕捉住自然生机里的澹泊野趣，尽显雅致内敛的审美意趣。",[24,164,7,165,28,27,61,371,167,211,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78076cb40c187dc09bd1719a0659b93b.jpg",[],{"id":64591,"slug":64592,"title":64593,"dynasty":54,"author":223,"museum":300,"description":64594,"tags":64595,"thumbUrl":64596,"material":692,"size":1293,"collection":84,"collections":64597,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},288835,"fang-li-gong-lin-can-fu-tu-yi-ming-288835","仿李公麟参佛图","此作为白描长卷，左侧题跋与右侧绘卷相得益彰。绘卷以缥缈水云为底色，铺陈佛国盛会：居中佛陀安坐说法，周遭罗汉、菩萨侍立聆听，一众神众或乘云凌波，或盘坐山巅，人物情态迥异，动静相生。线条清劲秀雅，尽得李公麟白描笔意，淡墨晕染出山峦云涛，氤氲出空灵悠远的禅境。题跋笔墨端稳雅致，诗文禅意隽永，呼应画面里大道浑融的佛国气象，诗画合璧，尽显出世清寂的超然意趣。",[23,24,25,7,188,330,187,18381,6318,44074,18331,772,189,29,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44ed90e5c73553d41fb4ada5610d0261.jpg",[],{"id":64599,"slug":64600,"title":64601,"dynasty":54,"author":29876,"museum":300,"description":29877,"tags":64602,"thumbUrl":64603,"material":692,"size":1293,"collection":84,"collections":64604,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},288351,"shuang-shou-shi-fu-shan-288351","双寿诗",[23,64,840,165,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f38173c05563abfa6bed42f51dd9256.jpg",[],{"id":64606,"slug":64607,"title":64608,"dynasty":54,"author":42437,"museum":300,"description":42438,"tags":64609,"thumbUrl":64610,"material":692,"size":1293,"collection":84,"collections":64611,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},288338,"cheng-bo-yue-fan-tu-wang-bing-288338","澄波月泛图",[24,164,7,165,29,128,27,99,35,34,131,129,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45f7fb923b860824a47d9607f66eb8af.jpg",[],{"id":64613,"slug":64614,"title":11560,"dynasty":124,"author":223,"museum":300,"description":64615,"tags":64616,"thumbUrl":64617,"material":692,"size":1293,"collection":84,"collections":64618,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},288164,"fang-dong-yuan-shan-shui-tu-yi-ming-288164","此作用平远铺展全景江南山水，烟波澹澹的江面与连绵柔缓的浅丘相映，苍郁林木间散落村舍人家，尽显水乡温润氤氲的灵秀气质。\n画师以披麻皴写山石，淡墨晕染出苍润层次，笔触简淡柔婉，追摹出平淡天真的山水意趣，带着宋初山水的浑厚静穆。整卷气息悠长静谧，将江南丘林的秀雅与村居的悠然融为一体，仿若带人走入了古意绵长的隐逸山居，尽显古典山水的悠远韵致。",[23,24,25,7,29,27,132,496,34,387,211,5323,330,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff74ea0075c3b07b6830bfb8c1b90d62a.jpg",[],{"id":64620,"slug":64621,"title":64622,"dynasty":124,"author":223,"museum":300,"description":64623,"tags":64624,"thumbUrl":64625,"material":692,"size":1293,"collection":84,"collections":64626,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},288098,"bu-dai-he-shang-tu-zhou-yi-ming-288098","布袋和尚图轴","此作用淡墨写意，寥寥数笔就将布袋和尚刻画得活灵活现。袒胸凸肚的他弯眼含笑，神情憨态可掬，一手搭着布囊，指尖捻动念珠，自在松弛的禅者气度扑面而来。\n\n衣纹以枯涩焦墨扫过，苍劲朴拙，随性的笔墨将僧袍的褶皱晕染得浑然天成，舍去繁缛细节，只以写意笔法勾勒神形。上方题诗与画作相映成趣，诗画一体暗合布袋和尚随缘自适的本心，将乐天豁达的禅意藏于笔墨之间，整体简淡苍古，不求工细，只重传神，尽显写意禅画通透悠远的意韵。",[23,164,24,7,165,128,96,187,64,208,52084],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93c8d9dc5e41658b41e1f204ed1784be.jpg",[],{"id":64628,"slug":64629,"title":64630,"dynasty":124,"author":23268,"museum":300,"description":49436,"tags":64631,"thumbUrl":64632,"material":692,"size":1293,"collection":84,"collections":64633,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},288051,"xi-qiao-lin-wu-tu-shan-mian-sun-zhi-288051","溪桥林屋图扇面",[164,24,7,1131,128,29,98,99,35,34,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9db017cd0df8cb7f7d323beb4d55c81a.jpg",[],{"id":64635,"slug":64636,"title":64637,"dynasty":124,"author":10922,"museum":300,"description":42506,"tags":64638,"thumbUrl":64639,"material":692,"size":1293,"collection":84,"collections":64640,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},288018,"chun-an-gui-qi-tu-shan-mian-wen-jia-288018","春岸归骑图扇面",[24,164,1131,7,27,26,29,4363,98,99,130,96,101,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55092f3886da9994ea7f78ac826ade03.jpg",[],{"id":64642,"slug":64643,"title":25464,"dynasty":18,"author":2099,"museum":300,"description":34962,"tags":64644,"thumbUrl":64645,"material":692,"size":1293,"collection":84,"collections":64646,"showCount":553,"zanCount":1998,"manualWeight":48,"mainColor":49},287966,"ren-wu-tu-ye-li-gong-lin-287966",[24,7,27,96,949,34702,17701,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3dd95c1ba31aafac05813fc60320fea.jpg",[],{"id":64648,"slug":64649,"title":64650,"dynasty":124,"author":223,"museum":300,"description":64651,"tags":64652,"thumbUrl":64654,"material":692,"size":1293,"collection":84,"collections":64655,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},287954,"ni-zan-lin-xi-qing-yin-tu-yi-ming-287954","倪瓒林溪清隐图","此作以水墨写幽篁坡岸，竹株清瘦劲挺，枝叶萧疏错落，淡墨晕染出空寂清旷的林下幽境，尽显简淡空灵之致。拖尾长卷题跋琳琅，行书古雅端秀，诗文书画相映成趣。\n全卷弥漫着文人耽爱林泉、避世幽栖的雅趣，以极简笔墨寄寓林下君子寄心山水、不与俗伍的隐逸襟怀，将诗酒相伴的林下清居之志融于卷中，尽显宋元以来文人画尚简尚淡、以画明志的意趣，文心画境交融无间。",[23,24,7,25,128,167,29,99,133,64,208,64653],"清隐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5d7fe10a932b3c7222922dc32863564.jpg",[],{"id":64657,"slug":64658,"title":37853,"dynasty":144,"author":14724,"museum":244,"description":64659,"tags":64660,"thumbUrl":64661,"material":278,"size":64662,"collection":84,"collections":64663,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},287667,"qun-feng-xue-ji-zhou-cao-zhi-bai-287667","在技法上已经达到了融会贯通的境界。画面的左下方，几株松树巍然矗立，在这银装素裹的冰雪世界里更显现出一派凛然不屈的丈夫气概；从构图上看，又与右侧庭榭周围的另外几株树遥相呼应。在这幅作品中，画家通过对树木长短远近、虚实疏密的变化处理，使画面产生出强烈的纵深效果，进而使景象开阔，意境深幽。此作虽然是描绘雪景，却没有给人萧瑟荒凉的感受，相反，在这冰天雪地的景色之中，似乎还隐约能够感受到一丝融融的春意。一道在山崖间飞泻直下的流泉，虽然只是一处看似寻常的点缀之笔，却为画面增添了动感，使作品有声有色，更富有观赏情趣。",[24,164,7,165,128,29,1813,1337,97,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdb36f8d09020fa4bdeace6158c6cc98.jpg","129.7x56.4",[],{"id":64665,"slug":64666,"title":64667,"dynasty":18,"author":64668,"museum":244,"description":64669,"tags":64670,"thumbUrl":64671,"material":317,"size":64672,"collection":84,"collections":64673,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},287643,"ren-shou-tu-cai-zhao-287643","仁寿图","蔡肇","这一幅画描绘两座玲珑多变的奇石，伫立在草地上。金与石本来象征着永恒，因此在画幅中，「石」与「寿」往往发生着联想。",[164,24,7,165,128,171,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ad85880fefb74de60a55d0abac3d260.jpg","95.5x41.1",[],{"id":64675,"slug":64676,"title":64677,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":64678,"thumbUrl":64679,"material":692,"size":1293,"collection":84,"collections":64680,"showCount":553,"zanCount":1998,"manualWeight":48,"mainColor":49},283723,"wu-jing-yi-lun-ce-dong-qi-chang-283723","五经一论册",[64,572,59,7,2059,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce40c4274da2832cdc13b63d0b4a4cb4.jpg",[],{"id":64682,"slug":64683,"title":55677,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":64684,"thumbUrl":64685,"material":692,"size":1293,"collection":84,"collections":64686,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},283710,"shan-shui-tu-shan-ye-dong-qi-chang-283710",[1131,24,164,7,128,29,496,34,387,64,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3145563fc20ba22dd7f74f84c37588a1.jpg",[],{"id":64688,"slug":64689,"title":64690,"dynasty":54,"author":22607,"museum":300,"description":55197,"tags":64691,"thumbUrl":64693,"material":692,"size":1293,"collection":84,"collections":64694,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},283626,"huang-shan-san-shi-liu-feng-tu-juan-mei-qing-283626","黄山三十六峰图卷",[23,24,7,25,164,1349,128,27,132,133,840,64,208,64692,30,131,4438],"黄山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8bad92c70028501261096bc6d435b4.jpg",[],{"id":64696,"slug":64697,"title":64698,"dynasty":54,"author":223,"museum":300,"description":64699,"tags":64700,"thumbUrl":64701,"material":692,"size":1293,"collection":84,"collections":64702,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},270192,"qian-ci-xi-yu-xi-juan-hua-hua-hui-tu-mian-zi-qi-bian-bing-tuan-shan-yi-ming-270192","钤慈禧御玺绢画花卉图面紫漆边柄团扇","扇面一侧绘苍松虬曲，松针攒簇如盖，笔墨苍劲尽显古木嶙峋之态。旁侧崖畔幽兰绽蕊，白花素净柔条曼舒，与松石刚柔相济。另一侧题“瑶林瑞凤”，笔致娟秀挺劲，朱印错落点缀，添就古雅意趣。\n\n整幅画面清润温婉，咫尺纨扇间铺展出林下清逸之景，将文人笔下的隐逸意趣融于宫廷器物的规整雅致之中，静穆悠然的古典雅韵扑面而来，尽显精致雅致的晚清御制器物品格。",[1131,24,7,27,28,372,211,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F579ababfba4e5133b3ac083ef5911741.jpg",[],{"id":64704,"slug":64705,"title":64706,"dynasty":54,"author":223,"museum":300,"description":10087,"tags":64707,"thumbUrl":64708,"material":692,"size":1293,"collection":84,"collections":64709,"showCount":553,"zanCount":1998,"manualWeight":48,"mainColor":72},267334,"ke-si-jia-xiu-san-xing-tu-zhou-yi-ming-267334","缂丝加绣三星图轴",[165,7,1944,13534,28,27,96,17701,55267,29,1144,209,853,2302,99,189,64,208,13720],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1f972bd7e0b8748b08724aa9e2911dd.jpg",[],{"id":64711,"slug":64712,"title":64713,"dynasty":54,"author":64714,"museum":300,"description":64715,"tags":64716,"thumbUrl":64717,"material":611,"size":84,"collection":318,"collections":64718,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},241393,"qi-lv-er-shou-zhou-bao-gao-241393","七律二首轴","鲍皋","鲍皋（1708—1765） ，清朝江苏镇江丹徒人，字步江，号海门。是一个诗赋家。\n他自幼聪明，家贫，向人借书阅读，熟记胸中，13岁在\n清康熙年间，余京 康熙末年鲍皋与 鲍皋年轻时曾在扬州，得到盐运使尹会一之助。雍正 王豫评三诗人，认为 镇江\n鲍皋一生沉溺于诗，不事科举。其妻陈蕊珠(1714-1778)、子之钟(1740-1802)、三个女儿之兰(1751-1812)、之蕙(1757-1810)、之芬(1761-1808)都能诗，可称一门风雅。",[304,165,133,64,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c871edb19255706560ce3e465beafd.jpg",[318],{"id":64720,"slug":64721,"title":64722,"dynasty":54,"author":64723,"museum":300,"description":64724,"tags":64725,"thumbUrl":64726,"material":692,"size":1293,"collection":84,"collections":64727,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},241343,"xian-chen-song-zhou-zhang-ting-ji-241343","贤臣颂轴","张廷济","张廷济(1768—1848)，清代金石学家、书法家。原名汝林，字顺安，号叔未，一字说舟，又字作田，又号海岳庵门下弟子，晚号眉寿老人，浙江嘉兴新篁人。嘉庆三年（一七九八）解元，以后几次会试未中，遂家居从事学术研究和艺术创作。工诗词，风格朴质，善用典故，精金石考据之学，尤擅长文物鉴赏，一碑一器都能辨其真伪，别其源流。喜收藏各类古器文物，收藏鼎彝、碑版及书、画甚多。",[24,7,165,21937,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F716570aaa993bde615ded2ea4bbba5cc.jpg",[],{"id":64729,"slug":64730,"title":64731,"dynasty":54,"author":64732,"museum":300,"description":64733,"tags":64734,"thumbUrl":64736,"material":692,"size":1293,"collection":84,"collections":64737,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},241336,"xing-kai-qian-wen-juan-fan-zhen-241336","行楷千文卷","樊镇","樊镇，（清）道士。俗名嗣曾，字主实，号竹师，一号煮石山人，清代北通州（今北京市通州）人。住白马庙。",[23,24,7,25,64,64735,572,133,1590,208],"行楷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F516758955027818f87868c19a4cbbbe6.jpg",[],{"id":64739,"slug":64740,"title":64741,"dynasty":54,"author":64742,"museum":300,"description":64743,"tags":64744,"thumbUrl":64745,"material":692,"size":1293,"collection":84,"collections":64746,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},241061,"yi-men-ge-ti-shu-ji-shan-hua-he-juan-liu-wei-tan-241061","一门各体书及扇画合卷","刘位坦","清著名藏书家、书画家。字宽夫，号后园。顺天大兴（今属北京）人。道光五年（1825）拔贡生，咸丰元年（1851）以御史出守湖南辰州府，咸丰八年乞归。家收藏的碑帖拓本极富，典籍、金石、书画，无不收罗。后迁居孙承泽遗址，在城中广济寺建书室，因得到汉代河间献王刘德君子馆砖，遂名其居室为“君子馆砖馆”，又名“砖祖斋”又因所居孙退谷旧园后，作一联“君子馆砖馆，孙公园后园”。",[23,25,1131,7,572,133,840,938,21937,28,27,208,61,29,263,81,374,209,603,375,167,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0646519a86aa98f1749e23a2fe9d187d.jpg",[],{"id":64748,"slug":64749,"title":64750,"dynasty":124,"author":223,"museum":300,"description":64751,"tags":64752,"thumbUrl":64753,"material":692,"size":1293,"collection":84,"collections":64754,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},240951,"jiang-nan-chun-yi-ming-240951","江南春","此作为行书册页，用笔爽利劲挺，牵丝映带间尽显灵动意趣，结体欹正相生，章法错落自然。通篇笔墨干湿浓淡富于变化，开篇疏朗，渐次茂密，行气连贯如一。将春日江南的缱绻诗意融于笔墨，笔意随文辞起伏，把春景的柔婉与书写的洒脱相融。字里行间既有文人的清雅书卷气，又不失行书的舒展飘逸，笔墨晕染出江南春日的朦胧柔媚，书文相合，尽显尚态抒情的典型特质，是一件兼具文学意趣与书法美感的佳作。",[7,64,133,128,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a4b0ad292172f0d9b6204b4720c6dd4.jpg",[],{"id":64756,"slug":64757,"title":64758,"dynasty":124,"author":50744,"museum":300,"description":50924,"tags":64759,"thumbUrl":64760,"material":692,"size":1293,"collection":84,"collections":64761,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},240895,"shi-ju-zhou-ni-yuan-lu-240895","诗句轴",[24,7,64,165,133,840,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe11b62d5770e8b24a955eeae11cc1c7f.jpg",[],{"id":64763,"slug":64764,"title":64765,"dynasty":54,"author":2582,"museum":300,"description":2583,"tags":64766,"thumbUrl":64767,"material":692,"size":1293,"collection":84,"collections":64768,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},240860,"lv-mu-dan-qi-lv-er-shou-zhou-wang-wu-240860","绿牡丹七律二首轴",[7,165,133,128,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbafdb6ae2c2b36daabed37d24fd3d29.jpg",[],{"id":64770,"slug":64771,"title":64772,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":64773,"thumbUrl":64774,"material":692,"size":1293,"collection":84,"collections":64775,"showCount":553,"zanCount":1998,"manualWeight":48,"mainColor":49},240250,"wen-zheng-ming-xing-song-lu-nan-gong-zu-xian-sheng-shu-zhi-ci-zhou-wen-zheng-ming-240250","文徵明行送潞南公祖先生述职词轴",[7,64,133,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1eecb4e010e72e8f5225839e50ac746.jpg",[],{"id":64777,"slug":64778,"title":64779,"dynasty":54,"author":1460,"museum":20,"description":57014,"tags":64780,"thumbUrl":64781,"material":84,"size":84,"collection":318,"collections":64782,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},240038,"yuan-ji-dui-xue-shi-ye-shi-tao-240038","原济对雪诗页",[164,24,7,64,133,208,304,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eb5b79f4c7f387675ed4c8066ff45ec.jpg",[318],{"id":64784,"slug":64785,"title":15296,"dynasty":144,"author":569,"museum":20,"description":64786,"tags":64787,"thumbUrl":64788,"material":611,"size":64789,"collection":318,"collections":64790,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},239667,"wan-shou-qu-juan-zhao-meng-fu-239667","赵孟頫晚年主要在集贤、翰林二院任职，撰写过不少应诏、应制的诗文。此卷是其抄录在皇庆年间官集贤侍读学士时“应制”而作的乐府颂词，也是现存赵孟頫唯一署“臣”字款的作品。卷中书写一丝不苟，结构端严精谨，字势挺拔刚健，笔法精美且富于变化，属于赵书从中晚年风格向极晚年风格过渡的一件佳作。",[23,164,24,7,25,133,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc20c96ff0adeb32d5b02a2720d9315e5.jpg","纵27.5厘米，横144厘米",[318],{"id":64792,"slug":64793,"title":16242,"dynasty":144,"author":64794,"museum":300,"description":64795,"tags":64796,"thumbUrl":64797,"material":84,"size":84,"collection":84,"collections":64798,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},239642,"shi-tie-gu-lu-239642","顾禄","此作隶法醇正古雅，用笔敦实厚重，蚕头燕尾的汉隶范式鲜明，又暗糅楷法的端稳方正，消解了汉隶的开张恣肆，平添温静秀雅的意趣。结体匀整工稳，重心沉凝，笔画波磔舒展有度，粗细变化含蓄内敛。\n\n章法排布行列齐整，字距疏朗、行距紧凑，通篇气息浑融平和，墨色沉郁饱满，尽显静穆端方的庙堂气质。既恪守复古求正的书风意趣，又在法度之内流露文人隽秀的审美品格，笔墨间古意盎然，是复古思潮下颇具代表性的隶书名迹。",[64,572,208,1590,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84ef7f412b982583f28298b4a21e4f2a.jpg",[],{"id":64800,"slug":64801,"title":64802,"dynasty":144,"author":64803,"museum":20,"description":64804,"tags":64805,"thumbUrl":64806,"material":611,"size":64807,"collection":318,"collections":64808,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},239583,"yu-he-zi-shu-shi-juan-yu-he-239583","俞和自书诗卷","俞和","《自书诗》卷为俞和自作、自书七言诗8首，描写他拜僧访友、游历山水的情景。 此书中的第一首诗《次陆秀才春日幽坐韵》，俞氏曾不止一次地书写，其所书《杂诗帖》卷中的第一首也是此诗，盖其得意之作，故常为人书之。俞和之书法结体稳妥，功力深厚，学赵孟頫晚年书。陈敬宗在题跋中赞云：“俞紫芝书笔意清婉，姿态风润，盖兼得赵松雪之神魄，至不能辨其真赝，可爱也。” 此诗卷曾经明项元汴、清陈子受等收藏，清乾隆年间入内府。清卞永誉《式古堂书画汇考》、安岐《墨缘汇观》著录。",[23,164,24,7,25,133,64,208,1590,5459,6369,8162,9603,9604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c08d9bd33cc189cb73b6b68d58ab20.jpg","纵28.8cm，横216.7cm",[318],{"id":64810,"slug":64811,"title":64812,"dynasty":144,"author":410,"museum":20,"description":64813,"tags":64814,"thumbUrl":64815,"material":32248,"size":64816,"collection":318,"collections":64817,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},239564,"ai-hou-tie-ye-wang-meng-239564","爱厚帖页","释文：\n蒙顿首再拜\n德常判府相公尊契兄，恃在爱厚，輙为禀白：友人林静子山，吴兴人，亦赵氏之甥也。读书博学，多艺能，而未有成名。欲权于彼学中养赡，得三石米足矣。用是求书专注，望介注为祷。斯人年幼而多学，亦公家所当养者。王府君处意不殊此，未由晤会，万冀调攝，以膺峻擢，不具。二月廿四日，王蒙顿首再拜，余控。\n帖后钤“也园珍赏”、“世受堂”两方鉴藏印。\n无题跋。\n《爱厚帖》是王蒙存世的唯一一通尺牍，弥足珍贵。此信写给做官的朋友“德常判府”，内容是举荐他的朋友林静（赵孟頫的外孙），请求给其安排一份工作，并介绍了此人“读书博学，多艺能”等特点。德常，名张经，字德常，金坛（今镇江）人。其父张监、弟张枢与王蒙、倪瓒交往密切。元至正二十二年（1362年）张经曾任松江府判官，书中称“判府相公”，可知此信应书于至正二十二年以后，是王蒙中年的作品。\n此书学赵孟頫，不仅点画转折具赵书规模，结体也仿学极似，且笔墨圆润流畅，风格清劲飘逸。明吴宽《匏翁家藏集》云：“黄鹤山人书，当不在赵魏公下。”\n《元诸名家尺牍册》、《石渠宝笈初编》著录。",[144,133,64,7,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febd610f72ada49e0203ea8b31f3a88d5.jpg","纵33.3厘米，横58.7厘米",[318],{"id":64819,"slug":64820,"title":64821,"dynasty":54,"author":3403,"museum":300,"description":8089,"tags":64822,"thumbUrl":64823,"material":692,"size":1293,"collection":84,"collections":64824,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},239397,"shou-zhe-xiang-tu-zhou-wu-chang-shuo-239397","寿者像图轴",[24,7,165,128,64,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcec5e02accfa1320bb7cef69f6c82525.jpg",[],{"id":64826,"slug":64827,"title":40684,"dynasty":124,"author":223,"museum":300,"description":64828,"tags":64829,"thumbUrl":64830,"material":84,"size":84,"collection":84,"collections":64831,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},239322,"wen-jia-shan-shui-zhou-yi-ming-239322","此作用淡墨晕染出深秋山居的幽寂之境。层峦以披麻皴轻写，山石留白衬出霜后清寒，林麓间枯木槎桠错落，茅庐依水而建，板桥尽头幽人策杖徐行，似正听松涧风声。\n笔墨简淡松秀，不事浓艳雕琢，将萧疏秋意藏于山峦林泉之间。题诗与画境相映，把霜林空寂、山光清旷的氛围感铺陈开来，尽显文人画以意驭笔的雅致，寄寓着栖心丘壑、静赏林泉的隐逸襟怀。",[24,7,165,128,132,29,98,99,130,34,131,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61a6e3bf93739dbb94f972ffc8847362.jpg",[],{"id":64833,"slug":64834,"title":64835,"dynasty":124,"author":33462,"museum":300,"description":34341,"tags":64836,"thumbUrl":64837,"material":84,"size":84,"collection":84,"collections":64838,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},239189,"shan-chuan-ming-sheng-ce-song-xu-239189","山川名胜册",[24,7,59,26,27,29,132,131,99,34,6290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ebb0a35c8137a060715b7d8f72f7d97.jpg",[],{"id":64840,"slug":64841,"title":15906,"dynasty":54,"author":64842,"museum":300,"description":64843,"tags":64844,"thumbUrl":64845,"material":692,"size":1293,"collection":84,"collections":64846,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},239023,"mo-mei-tu-zhou-yao-xie-239023","姚燮","姚燮（1805年—1864年），字梅伯，号复庄，又号大梅山民、上湖生、某伯、大某山民、复翁、复道人、野桥、东海生等，浙江宁波府镇海县崇邱乡姚家斗（今属宁波市北仑区下邵乡）人，祖籍浙江诸暨。晚清文学家、画家。\n道光举人，以著作教授终身。治学广涉经史、地理、释道、戏曲、小说、红学、诗歌、书画等多个领域。五岁赋诗，一生作诗万首。又擅画人物花鸟，尤精墨梅，人称“大梅先生”。\n著有《复庄诗问》《复庄骈俪文榷》《疏影楼词》《今乐考证》《红楼梦纲领》《退红衫》《梅心雪》《苦海航》等，编有《今乐府选》《皇朝骈文类苑》等，所著编为《大梅山馆集》传世。",[24,7,165,128,61,371,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa90a32b36989d503119f8b789a313eb6.jpg",[],{"id":64848,"slug":64849,"title":64850,"dynasty":54,"author":48145,"museum":20,"description":60848,"tags":64851,"thumbUrl":64853,"material":611,"size":60851,"collection":136,"collections":64854,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},238982,"shan-shui-ce-huang-ye-shu-lin-wang-chen-238982","山水册－黄叶疏林",[24,7,59,128,132,29,34,35,131,64852,5324],"黄叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0aec73df248ea44cc1cf255cfafe4c4e.jpg",[136],{"id":64856,"slug":64857,"title":27698,"dynasty":54,"author":64858,"museum":300,"description":64859,"tags":64860,"thumbUrl":64861,"material":84,"size":84,"collection":84,"collections":64862,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},238950,"shan-shui-ce-ye-zhou-kai-238950","周恺","此作以淡墨轻岚绘就江汀闲景，近岸古木虬曲苍劲，盘根错节间苔痕缀枝，暗蕴残冬余韵。扁舟系于树侧，舟中高士安坐，静对悠悠江流。江面波痕轻漾，远渚浅草隐现，群鸥掠空划破空寂，烟霭晕染处天水相融。题诗呼应画中意境，笔致秀雅简淡，以留白铺就清旷寂寥的氛围，将文人寄情丘壑、安然自适的林下襟怀藏于淡景之中，萧散简远，余韵悠长，尽现山水小品的诗意禅心。",[164,24,7,59,27,28,132,29,129,211,331,99,96,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d661281e157a77345991571e1d6467e.jpg",[],{"id":64864,"slug":64865,"title":27602,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":64866,"thumbUrl":64867,"material":84,"size":84,"collection":84,"collections":64868,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},238833,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238833",[24,7,59,27,29,132,64,208,98,99,34,130,663,228,711,499,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6eba943f2863483400997f8cce665d.jpg",[],{"id":64870,"slug":64871,"title":46640,"dynasty":54,"author":675,"museum":300,"description":64872,"tags":64873,"thumbUrl":64874,"material":84,"size":84,"collection":136,"collections":64875,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},238535,"shan-shui-xiao-ce-qian-wei-cheng-238535","以干淡笔墨皴擦山峦丘壑，浓淡墨色晕出层叠景深。林麓间村居错落依水而建，杂木苍秀萧疏，尽显山野幽居的闲逸散淡。淡紫轻晕云气，沿册页边角漫开，为咫尺画幅晕出空濛缥缈的意趣，将秋日山居的清寂安闲凝于尺幅间。\n\n笔墨清隽简雅，不着浓丽敷色，全以墨色层次区分山川肌理，简淡中暗含章法。萧散的文人意趣藏于每一处皴擦点染之间，观之如临林泉，静享田园闲静之致。",[24,7,59,128,132,29,663,228,413,950,35,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd10b34553d9b8d1d07a3932b261aec8c.jpg",[136,117],{"id":64877,"slug":64878,"title":76,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":64879,"thumbUrl":64880,"material":692,"size":1293,"collection":84,"collections":64881,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},238360,"hua-hui-ce-dong-gao-238360",[24,7,59,27,28,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4290bf36da832e59e7053f8b98423389.jpg",[],{"id":64883,"slug":64884,"title":76,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":64885,"thumbUrl":64886,"material":692,"size":1293,"collection":84,"collections":64887,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},238359,"hua-hui-ce-dong-gao-238359",[24,7,59,27,28,62,61,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54e16ea6f8fe0d1e90810581c017b9dd.jpg",[],{"id":64889,"slug":64890,"title":58993,"dynasty":54,"author":1740,"museum":300,"description":64891,"tags":64892,"thumbUrl":64893,"material":84,"size":84,"collection":84,"collections":64894,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},238213,"duan-yang-gu-shi-ce-xu-yang-238213","垂柳依依拂岸，数位仕民驻足河沿，引颈望向水面竞渡的龙舟。衣袂飘然的人物各有情态，或抬指点评，或牵孩眺望，将观赛时的热切尽兴尽数藏于眉目间。水面晕开浅淡波纹，龙舟破浪而行的勃发气势呼之欲出。\n\n整作设色清润雅致，笔触工细温婉，将端阳观渡的民俗盛景晕染得鲜活生动，把清代市井端午的融融节庆意趣，收纳于绢本方寸之间，恬淡里满溢着烟火暖意，尽显民俗写生的细腻情致。",[24,7,59,27,28,96,4363,414,12743,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b9d5e5b7a0c75f0bd9ae99801bcd317.jpg",[],{"id":64896,"slug":64897,"title":14647,"dynasty":54,"author":1311,"museum":56,"description":25940,"tags":64898,"thumbUrl":64899,"material":1464,"size":25943,"collection":84,"collections":64900,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},238073,"mei-hua-tu-ce-wang-shi-shen-238073",[24,7,59,27,61,371,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8077560f467083166b093ee2047739b.jpg",[],{"id":64902,"slug":64903,"title":409,"dynasty":54,"author":54045,"museum":300,"description":64904,"tags":64905,"thumbUrl":64906,"material":692,"size":1293,"collection":136,"collections":64907,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},237910,"shan-shui-ce-cheng-ming-237910","清代中早期画家、文人、收藏家,安徽歙县人,字友声,号松门,乾隆诸生。",[24,7,59,128,132,29,211,129,35,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e13b89d02fa3b9a8a59930c7c3adddf.jpg",[136],{"id":64909,"slug":64910,"title":64911,"dynasty":124,"author":16032,"museum":300,"description":20309,"tags":64912,"thumbUrl":64913,"material":692,"size":1293,"collection":84,"collections":64914,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},237840,"fu-rong-xiu-shi-shan-xiang-sheng-mo-237840","芙蓉秀石扇",[24,7,1131,27,373,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e0862e3664ed6beb1527079a38b72f0.jpg",[],{"id":64916,"slug":64917,"title":64918,"dynasty":124,"author":10106,"museum":300,"description":10107,"tags":64919,"thumbUrl":64921,"material":692,"size":1293,"collection":84,"collections":64922,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},237802,"lin-luan-qiu-se-shan-wu-bin-237802","林峦秋色扇",[24,7,1131,128,29,64920,413,132,208,42942,131,666],"林峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf94e8b75aea5a578d064fef0d922e45.jpg",[],{"id":64924,"slug":64925,"title":64926,"dynasty":124,"author":27311,"museum":300,"description":58954,"tags":64927,"thumbUrl":64928,"material":692,"size":1293,"collection":84,"collections":64929,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},237800,"zhu-shi-shui-xian-shan-li-liu-fang-237800","竹石水仙扇",[24,7,1131,128,132,369,61,167,1314,374,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc55b75644e4e8e0ffee8a1cbbf2ff415.jpg",[],{"id":64931,"slug":64932,"title":4724,"dynasty":54,"author":1019,"museum":300,"description":58786,"tags":64933,"thumbUrl":64934,"material":692,"size":1293,"collection":136,"collections":64935,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},237745,"shan-shui-tu-ce-cheng-zheng-kui-237745",[24,7,59,128,27,133,132,29,663,228,129,97,34,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4a67fa5c35f2204db75537c9a6afe59.jpg",[136],{"id":64937,"slug":64938,"title":76,"dynasty":124,"author":1270,"museum":300,"description":43445,"tags":64939,"thumbUrl":64940,"material":692,"size":1293,"collection":84,"collections":64941,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},237684,"hua-hui-ce-sun-ke-hong-237684",[24,7,59,128,133,376,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aba2a0ed65c0675aa3b34144c66a0a5.jpg",[],{"id":64943,"slug":64944,"title":76,"dynasty":124,"author":1270,"museum":300,"description":43445,"tags":64945,"thumbUrl":64946,"material":692,"size":1293,"collection":84,"collections":64947,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},237681,"hua-hui-ce-sun-ke-hong-237681",[24,7,59,128,133,62,263,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a12cb7643290d35895c388087f757c2.jpg",[],{"id":64949,"slug":64950,"title":22597,"dynasty":124,"author":22598,"museum":300,"description":22599,"tags":64951,"thumbUrl":64952,"material":692,"size":1293,"collection":84,"collections":64953,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},237539,"mei-hua-dui-ti-tu-ce-chen-ji-ru-237539",[24,7,59,128,133,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddf939112e8fd6d6506e2acfa483ea73.jpg",[],{"id":64955,"slug":64956,"title":409,"dynasty":54,"author":64957,"museum":300,"description":64958,"tags":64959,"thumbUrl":64960,"material":692,"size":1293,"collection":136,"collections":64961,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},237420,"shan-shui-ce-chen-jia-le-237420","陈嘉乐","陈嘉乐（生卒年不详），又名陈嘉荣，字子显，号东原。清代济南历城人。善诗，工书画，尤长于山水。画学王原祁风格，乾隆年间闻名于画坛。后被道光皇帝第九子、孚敬郡王奕譓请到京邸，跟其学画。",[24,7,59,27,29,331,130,129,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fecf0d43a5c950b721622c5a13b9833.jpg",[136],{"id":64963,"slug":64964,"title":76,"dynasty":54,"author":17956,"museum":300,"description":17957,"tags":64965,"thumbUrl":64966,"material":611,"size":84,"collection":84,"collections":64967,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},237288,"hua-hui-ce-wu-kai-237288",[24,7,59,27,28,61,372,371,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4dc41ccb6c24d8ce8a08361981114ab.jpg",[],{"id":64969,"slug":64970,"title":409,"dynasty":54,"author":36816,"museum":20,"description":41606,"tags":64971,"thumbUrl":64972,"material":734,"size":84,"collection":84,"collections":64973,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},237186,"shan-shui-ce-sun-yi-237186",[24,7,59,128,188,132,29,1144,131,276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89052916a5a90b6716adab48eace64cd.jpg",[],{"id":64975,"slug":64976,"title":409,"dynasty":54,"author":36816,"museum":20,"description":41606,"tags":64977,"thumbUrl":64978,"material":734,"size":84,"collection":84,"collections":64979,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},237185,"shan-shui-ce-sun-yi-237185",[164,24,7,59,27,132,29,663,228,413,1337,1144,229,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F964fa9306cfae7607af1e90144e6216e.jpg",[],{"id":64981,"slug":64982,"title":48339,"dynasty":124,"author":48136,"museum":300,"description":48137,"tags":64983,"thumbUrl":64984,"material":692,"size":1293,"collection":84,"collections":64985,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},237079,"shan-shui-shan-ye-zhang-chong-237079",[805,24,7,1131,128,132,29,34,497,7446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e935d7997268e9c28e22ec5686dd6fa.jpg",[],{"id":64987,"slug":64988,"title":64989,"dynasty":54,"author":223,"museum":300,"description":64990,"tags":64991,"thumbUrl":64992,"material":84,"size":84,"collection":84,"collections":64993,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},236951,"lu-hui-qiu-shan-ke-qi-shan-yi-ming-236951","陆恢秋山客骑扇","此作为浅绛山水小品，取团扇形制铺陈秋山行旅之景。左上方林木枯荣错落，垂藤悬曳，尽显深秋萧疏之态。石拱桥畔，策蹇旅人徐行，侍童随后相伴，点出幽寂行旅的意趣。远山以淡墨晕染，江天濛濛，留白铺就清远空阔的秋天气韵。右上角题款与画面相映，书画相融尽显文人雅致。笔墨干湿相济，山石淡赭衬墨，皴擦简练柔和，将秋山的静穆与行旅的闲澹融为一体，笔致清隽，意韵幽远，把秋日山行的清冷况味描摹尽致。",[24,7,1131,27,29,132,98,101,96,331,131,8222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9138b46f13a6419a158fea416cc9293.jpg",[],{"id":64995,"slug":64996,"title":64997,"dynasty":124,"author":223,"museum":300,"description":64998,"tags":64999,"thumbUrl":65000,"material":692,"size":1293,"collection":84,"collections":65001,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},236800,"zheng-zhong-shan-shui-shan-mian-yi-ming-236800","郑重山水扇面","此作为金笺水墨山水小品，取层岩叠壑之景。危崖拔地而起，古柏虬曲扎根崖壁，枝叶郁然苍苍。山道逶迤盘桓，隐出行人一二，似在寻幽访胜。\n\n画家以短皴勾勒山石，笔力苍劲细密，摹尽崖石嶙峋质感，苔点错落醒出苍润生机。远山以淡墨晕染，留白虚实相生，铺展出悠远纵深的空间感。整体糅合硬朗笔意与元人山水的秀润，咫尺扇面间铺展丘林深幽，晕染出萧疏清寂的林下隐逸意趣，尽显山水小品的雅致韵味。",[24,7,1131,128,132,29,131,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b619e86cc9c97dba80b4dd2471f519b.jpg",[],{"id":65003,"slug":65004,"title":409,"dynasty":54,"author":5879,"museum":12686,"description":54026,"tags":65005,"thumbUrl":65006,"material":84,"size":84,"collection":136,"collections":65007,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},236735,"shan-shui-ce-hua-yan-236735",[164,24,7,59,128,132,171,1771,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90ebacb664f2aae0f93f68c6c06d1a97.jpg",[136],{"id":65009,"slug":65010,"title":409,"dynasty":54,"author":5879,"museum":12686,"description":54026,"tags":65011,"thumbUrl":65012,"material":84,"size":84,"collection":136,"collections":65013,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},236733,"shan-shui-ce-hua-yan-236733",[24,7,59,128,27,29,171,1144,131,34,6875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F127244c0a5a4503d512f2db8bb189821.jpg",[136],{"id":65015,"slug":65016,"title":65017,"dynasty":124,"author":65018,"museum":300,"description":65019,"tags":65020,"thumbUrl":65021,"material":692,"size":1293,"collection":84,"collections":65022,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},236688,"zhu-shi-shan-jiang-si-zhou-236688","竹石扇","姜思周","姜思周，[清]字周臣，号花酒头陀，钱塘（今杭州）人。",[24,7,1131,128,132,167,1314,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3410eefabd3a7b06d54db194c816812f.jpg",[],{"id":65024,"slug":65025,"title":65026,"dynasty":124,"author":15464,"museum":300,"description":39694,"tags":65027,"thumbUrl":65028,"material":692,"size":1293,"collection":84,"collections":65029,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},236201,"hua-xi-ting-ya-ji-yong-yan-shu-shi-cheng-shan-xie-shi-chen-236201","画溪亭雅集颙琰书诗成扇",[24,7,1131,128,29,130,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ff56120562ba0870114cd6255f5a262.jpg",[],{"id":65031,"slug":65032,"title":54084,"dynasty":54,"author":36329,"museum":20,"description":54085,"tags":65033,"thumbUrl":65036,"material":514,"size":54088,"collection":84,"collections":65037,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},236154,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236154",[24,7,59,27,28,96,1428,34,35,11074,16099,65034,133,247,6640,65035],"对话场景","互动人群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fcf8e863cb31ba23c03e50a91e6ff93.jpg",[],{"id":65039,"slug":65040,"title":54084,"dynasty":54,"author":36329,"museum":20,"description":54085,"tags":65041,"thumbUrl":65042,"material":514,"size":54088,"collection":84,"collections":65043,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},236149,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236149",[24,7,59,28,27,96,97,247,34,9425,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ab3305e5c980a0af9c5afd1c35364f4.jpg",[],{"id":65045,"slug":65046,"title":18219,"dynasty":54,"author":223,"museum":300,"description":65047,"tags":65048,"thumbUrl":65049,"material":84,"size":84,"collection":84,"collections":65050,"showCount":553,"zanCount":1998,"manualWeight":48,"mainColor":72},236067,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236067","此作用浅淡水墨绘就萧疏秋林之景，枯木虬曲错落，枝桠尽露嶙峋之态，策杖幽人行于林麓间，更衬林泉清寂。林畔茅舍隐于林木间，淡墨扫就陂陀山石，温润松秀。远景汀渚远山以轻墨晕染，虚实相生，将荒寒淡远的秋冬平野铺展而出。\n\n用笔松灵雅致，干笔皴擦带出山野质感，留白空灵写意，尽显南宗山水萧散简远的意趣。寥寥笔墨勾勒出林下幽居的清寂况味，以简驭繁、以淡胜浓，将文人寄情林泉的闲远心境融于尺幅之中，是深得仿古山水意韵的雅致小品。",[24,7,59,128,330,132,29,1337,415,131,130,99,129,34,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ba88997e1c5b5c27221bff52124674f.jpg",[],{"id":65052,"slug":65053,"title":65054,"dynasty":124,"author":35676,"museum":300,"description":65055,"tags":65056,"thumbUrl":65057,"material":84,"size":84,"collection":84,"collections":65058,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},236023,"ren-wu-tu-ce-ri-mu-qing-yin-wen-nan-shou-mao-weng-236023","人物图册－日暮清音","林下棕柯亭亭，二人席地闲坐，一人信手拨弦，一人凝神静听，嶙峋湖石点染幽寂氛围。设色清浅简淡，人物意态萧散悠然，尽显雅聚之趣。\n\n左侧行书题诗与画境呼应，笔致隽秀舒展，诗画相映，将春日访隐、醉心丝竹，伴山涧鸟语的林下闲情铺展开来，尽显文人耽于林泉、寄情雅事的审美意趣，笔墨极简却余韵悠长，勾勒出世外幽居的恬淡雅致。",[24,7,59,27,128,96,413,229,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a14f29adc119af4109370028b561400.jpg",[],{"id":65060,"slug":65061,"title":4071,"dynasty":54,"author":5879,"museum":300,"description":59277,"tags":65062,"thumbUrl":65063,"material":692,"size":1293,"collection":84,"collections":65064,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},236007,"hua-hui-tu-ce-hua-yan-236007",[24,164,7,59,27,128,61,62,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b4dd9663bfb3636889292d375983c06.jpg",[],{"id":65066,"slug":65067,"title":65068,"dynasty":54,"author":9529,"museum":300,"description":19697,"tags":65069,"thumbUrl":65070,"material":692,"size":1293,"collection":84,"collections":65071,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},235912,"lu-hua-diao-chuan-ye-wang-hui-235912","芦花钓船页",[24,7,59,128,15636,129,1351,29,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77779a097697f97d9978945754d71b8d.jpg",[],{"id":65073,"slug":65074,"title":65075,"dynasty":124,"author":10922,"museum":300,"description":65076,"tags":65077,"thumbUrl":65078,"material":84,"size":84,"collection":84,"collections":65079,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},235847,"san-mao-tu-ye-wen-jia-235847","三泖图页","此作用浅青淡赭晕染远景山峦，烟岚空濛间漾出江南春日的柔润秀雅。湖心洲渚之上，佛塔层檐叠峙，垂柳轻拂屋舍，静立水波中央。水面舟楫错落，张帆者趁风徐行，摇橹者信步闲渡，将水乡的恬然生机铺陈开来。\n\n左侧题文详述此地胜状，书画合璧尽显文人雅趣。全画笔致秀婉松灵，设色清浅柔润，以简淡之笔勾勒出水泽空阔的诗意，将实景清丽与隐逸之思相融，尽展温雅悠然的文人意韵。",[24,7,27,29,97,100,133,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b6a59c4dc57b3f7828ee9560939649b.jpg",[],{"id":65081,"slug":65082,"title":65083,"dynasty":124,"author":43716,"museum":300,"description":65084,"tags":65085,"thumbUrl":65086,"material":84,"size":84,"collection":84,"collections":65087,"showCount":553,"zanCount":1998,"manualWeight":48,"mainColor":72},235843,"bei-gu-shan-tu-ye-zhu-lang-235843","北固山图页","此作以秀雅笔触晕染山川形胜，危崖拔地而起，古寺层叠依岩错落，逶迤山道缠绕崖壁，山脚林木蓊然繁茂。远景江天淡远清旷，将京口名山大江之状收揽尺幅。\n\n淡色清润柔和，勾勒皴擦兼具苍浑与秀逸，题诗与山水相映，把“天下第一江山”的壮怀诗意融于画中，既写实摹画出雄踞江岸的山川气势，又带着文人画的淡逸格调，尽展名关古刹的沉郁古意，将山水形胜与家国壮怀悄然合璧。",[24,7,29,27,59,132,97,131,34,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc4f3307e6d2d133782d3d2478c169b1.jpg",[],{"id":65089,"slug":65090,"title":65091,"dynasty":124,"author":3619,"museum":300,"description":65092,"tags":65093,"thumbUrl":65094,"material":84,"size":84,"collection":84,"collections":65095,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},235813,"wen-zheng-ming-ku-mu-shu-huang-tu-zhou-wen-zheng-ming-235813","文徵明枯木疏篁图轴","此画以枯木疏篁入景，古木虬枝盘曲如铁，枯涩老辣的笔墨勾勒皴擦，尽显苍劲古拙的岁月质感，斜逸枝桠下留白尽是空寂清寥。\n\n旁侧竹篁挺然，浓墨点染竹叶，笔力劲爽清健，与枯木淡墨皴擦相映成趣，一枯一荣、一拙一秀，暗合幽寂林泉之境。右上角题诗衬映，笔墨间藏着萧散的文人雅趣，以极简构图铺陈出林下幽居的淡远意境，将寄情丘壑的林下襟怀融在尺幅之中，尽显文人画简淡高古的风神。",[24,7,165,128,454,167,171,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ab42284bb386fc83349ff294d06b2c7.jpg",[],{"id":65097,"slug":65098,"title":65099,"dynasty":124,"author":802,"museum":300,"description":5946,"tags":65100,"thumbUrl":65101,"material":692,"size":1293,"collection":84,"collections":65102,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},235792,"gu-mu-shuang-qin-tu-shan-chen-hong-shou-235792","古木双禽图扇",[1131,24,7,128,27,1233,331,61,211,131,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf6700ebd2e30728259bed45f2fc5916.jpg",[],{"id":65104,"slug":65105,"title":65106,"dynasty":54,"author":9529,"museum":300,"description":65107,"tags":65108,"thumbUrl":65109,"material":84,"size":84,"collection":84,"collections":65110,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},235779,"ming-xian-ji-jin-ce-liu-xi-yan-yu-ye-wang-hui-235779","名贤集锦册-柳溪烟雨页","此作以水墨晕染出江南烟柳水村之境。远山在空濛烟雨间晕化成淡墨虚影，与云天相融，尽显虚灵空寂之态。近岸垂柳成林，浓墨点染枝叶，摇曳生姿，浅墨绘就长堤水渚，疏密有致。水面之上，渔翁独撑小舟悠然泛行，柳荫下木桥横卧，衬出乡野幽寂之趣。画面虚实相生，淡墨写远、浓墨绘近，将烟雨笼罩下的朦胧诗意尽显无遗，笔墨简淡却意韵悠长，藏着寄情林泉、归向野逸的文人雅趣，尽显山水小品的空灵雅致。",[24,7,59,128,29,4363,499,17243,37,129,11014,415,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a06f5961504c5c8bb6c4c16bd19efaa.jpg",[],{"id":65112,"slug":65113,"title":76,"dynasty":54,"author":36579,"museum":300,"description":36580,"tags":65114,"thumbUrl":65115,"material":692,"size":1293,"collection":84,"collections":65116,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},235712,"hua-hui-ce-zou-xian-ji-235712",[24,7,59,27,28,61,6603,624,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb70ff5078b9e099abb3fbeb03dbdc09e.jpg",[],{"id":65118,"slug":65119,"title":4071,"dynasty":54,"author":1472,"museum":300,"description":19162,"tags":65120,"thumbUrl":65121,"material":692,"size":1293,"collection":84,"collections":65122,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},235707,"hua-hui-tu-ce-zou-yi-gui-235707",[24,7,59,128,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2c85ed706230e9336b8c471a5dc4182.jpg",[],{"id":65124,"slug":65125,"title":65126,"dynasty":54,"author":223,"museum":300,"description":65127,"tags":65128,"thumbUrl":65129,"material":692,"size":1293,"collection":84,"collections":65130,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},235655,"gao-jian-jiang-xiang-chu-xia-tu-zhou-yi-ming-235655","高简江乡初夏图轴","此作用青绿晕染山峦，淡赭铺陈水岸云天，冷暖色调交织晕化，铺展出初夏江乡温润朦胧的氛围。近景林木错落疏密，溪涧蜿蜒穿绕石畔，野趣横生。丘峦由近及远逐层淡去，水汽氤氲间与云天相融，留白拓开渺远空阔的江天意境。左上角题诗与画境相映，将江乡初夏的清润闲适尽数铺展，以雅致设色与悠远构图，尽显江南水乡初夏的空濛雅致，是颇具抒情意趣的青绿山水佳作。",[24,7,165,26,27,29,34,31,496,37,23873],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F108657341743e2d321215d43e24b26e3.jpg",[],{"id":65132,"slug":65133,"title":4724,"dynasty":54,"author":9742,"museum":300,"description":65134,"tags":65135,"thumbUrl":65136,"material":84,"size":84,"collection":84,"collections":65137,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},235647,"shan-shui-tu-ce-wu-li-235647","近岸枯木虬枝遒劲，疏朗错落，坡石茅舍隐于一隅，野趣盎然。淡墨晕染远山，浑茫温润，点点飞鸟掠过长天，衬出江天寥廓空寂。右上角题诗寄怀，笔意萧散，与画面意境相融无间。\n\n整幅笔墨秀雅苍润，干笔皴擦尽显山石质感，淡墨铺陈晕染出深秋清寒气韵。以极简布景勾勒荒寒山居之境，将萧瑟秋意与静穆禅意揉合尺幅，尽显文人写意风神，淡远悠长，余韵袅袅。",[24,7,59,128,29,130,211,331,171,3819,2983],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dbd83ad502c2b79feb48c37b8ae49fc.jpg",[],{"id":65139,"slug":65140,"title":65141,"dynasty":124,"author":223,"museum":300,"description":65142,"tags":65143,"thumbUrl":65144,"material":84,"size":84,"collection":84,"collections":65145,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},235621,"zhu-zhan-ji-wu-hou-gao-wo-tu-juan-yi-ming-235621","朱瞻基武侯高卧图卷","此卷以淡墨写幽篁林泉，武侯侧身卧于林间，竹枝苍秀清润，笔墨简逸秀雅，将林下幽寂旷远的意韵尽数铺展，寥寥几笔便勾勒出武侯高蹈淡泊的襟怀。\n\n后拖尾题跋连绵，合体篆书点缀其间，将跨越千古的君臣知遇之意娓娓道来，字里行间皆是对武侯鞠躬尽瘁的追慕，亦暗含对识贤明君的叹赏。书画合璧，淡墨绘尽贤相风骨，长题书就千古知己佳话，整卷清雅沉静，将武侯隐逸风姿与君臣相得的美谈融于一处，是书画共情的绝佳典范。",[23,24,7,25,128,133,208,167,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674be4be137862148724ce7ef701a8a9.jpg",[],{"id":65147,"slug":65148,"title":10613,"dynasty":54,"author":1460,"museum":300,"description":65149,"tags":65150,"thumbUrl":65151,"material":84,"size":84,"collection":84,"collections":65152,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},235524,"yuan-ji-shan-shui-tu-ce-shi-tao-235524","枯笔轻勾远景山居，林木萧疏散淡，坡崖以苔点皴擦出苍润质感，留白作溪田野径，将郊野清寂秋意铺展纸上。\n\n整幅画作简净空灵，以少胜多，不着浓墨重彩，却藏丘壑于心间。笔意松秀随性，毫无雕琢痕迹，题款轻附边角，与画面浑然一体，尽显文人山水的静穆禅意。仿佛能听见山风穿林而过，溪田静默无言，将郊野的清幽闲淡与文人情思相融，淡而有味，简而意足，把山水的天然意趣藏于简淡笔墨之中。",[24,7,59,128,132,29,34,130,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73a44354a3e42f4bc287386a2df18f00.jpg",[],{"id":65154,"slug":65155,"title":76,"dynasty":124,"author":36595,"museum":300,"description":52566,"tags":65156,"thumbUrl":65157,"material":692,"size":1293,"collection":84,"collections":65158,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},235472,"hua-hui-ce-qi-xun-235472",[24,7,59,133,27,28,61,603,624,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F490a6d8cd0412f0d7d29c27368562d38.jpg",[],{"id":65160,"slug":65161,"title":65162,"dynasty":124,"author":223,"museum":300,"description":65163,"tags":65164,"thumbUrl":65165,"material":84,"size":84,"collection":84,"collections":65166,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},235321,"shen-shi-chong-han-tang-yu-ting-tu-zhou-yi-ming-235321","沈士充寒塘渔艇图轴","此作用笔清隽雅致，以干湿互济的笔墨勾勒冬江寒林之景。危崖层叠，以短皴复点苔墨，晕出山石厚重肌理，淡墨烘染出空蒙山雾，将远山隐于烟霭之中，平添幽寂荒寒之意。近岸枯木虬曲，木叶尽脱，枝桠苍劲舒展，与滩头乱石相映，尽展冬日元气萧索之态。\n\n溪间扁舟静泊，渔翁拥衣独坐舱头，孤舟暖篷与周遭清寒形成温冷对照，把渔人江渚独守的安闲隐逸，融在冬日水滨的淡远清旷之中，以景寄情，将幽逸况味刻画尽致。",[24,7,165,128,29,129,1337,1351,171,99,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F891e488a81d900cd51693f501d860966.jpg",[],{"id":65168,"slug":65169,"title":409,"dynasty":54,"author":47695,"museum":300,"description":65170,"tags":65171,"thumbUrl":65172,"material":692,"size":1293,"collection":136,"collections":65173,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},235302,"shan-shui-ce-zhang-feng-235302","张风，一作鹳，字大风，号升州道士，又号上元老人，或署“真香佛空”、“真香佛空四海”，明代画家、诗人。江苏南京人。思宗崇祯时生员，明亡后不为官，家里贫穷。他擅画山水、人物、花卉，也精于画肖像。早年风格较为恬静闲适，神韵悠然。晚年他曾佩剑北游，所以笔墨风格瘦挺豪纵。他还精通画理。",[24,7,59,132,128,29,171,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f15bdaffee209fef5f771dbfcf84975.jpg",[136],{"id":65175,"slug":65176,"title":76,"dynasty":54,"author":24996,"museum":300,"description":24997,"tags":65177,"thumbUrl":65178,"material":692,"size":1293,"collection":84,"collections":65179,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},235218,"hua-hui-ce-zhang-wei-235218",[24,7,59,27,28,61,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3345c90e37dc2b4cbe8ddbfed2632f47.jpg",[],{"id":65181,"slug":65182,"title":76,"dynasty":54,"author":24996,"museum":300,"description":24997,"tags":65183,"thumbUrl":65184,"material":692,"size":1293,"collection":84,"collections":65185,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},235214,"hua-hui-ce-zhang-wei-235214",[24,7,59,27,28,61,62,624,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b94e3b8854db5f02c03ea2367d2ac9.jpg",[],{"id":65187,"slug":65188,"title":76,"dynasty":54,"author":3403,"museum":300,"description":8089,"tags":65189,"thumbUrl":65190,"material":692,"size":1293,"collection":84,"collections":65191,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},235196,"hua-hui-ce-wu-chang-shuo-235196",[24,7,59,27,61,263,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2778d7f9f010b51d694f59bd32d0542.jpg",[],{"id":65193,"slug":65194,"title":409,"dynasty":54,"author":872,"museum":300,"description":65195,"tags":65196,"thumbUrl":65197,"material":84,"size":84,"collection":84,"collections":65198,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},235169,"shan-shui-ce-zhu-da-235169","此作用笔枯淡极简，以寥寥勾勒写尽荒江之景。虬曲老树疏立崖头，枝桠奇崛如铁，不见繁叶，只剩萧索寒意。水岸坡陀以淡墨轻扫，虚实相生，将江天寥廓尽数铺展。屋舍低伏于洲渚，隐于林木之间，不见人烟，愈衬出天地空寂。\n\n全画以留白代水色，淡墨晕染出烟雨空濛，笔意简净而韵致悠长。清冷孤高的画面里，尽是疏离淡远的况味，沉郁心绪藏在淡墨山水之中，于简淡里见苍茫，枯寂中藏深情，尽显空灵冷逸的禅意。",[24,7,59,128,29,34,35,208,132,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0db70a569f8b7b2ce062c1b51db4390.jpg",[],{"id":65200,"slug":65201,"title":12220,"dynasty":54,"author":12221,"museum":300,"description":12222,"tags":65202,"thumbUrl":65203,"material":692,"size":1293,"collection":84,"collections":65204,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},235124,"hua-hua-yan-shi-nv-tu-ce-wang-su-235124",[24,7,59,28,27,96,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c46f1b6723550ecb6cb31d539a60f2a.jpg",[],{"id":65206,"slug":65207,"title":12220,"dynasty":54,"author":12221,"museum":300,"description":12222,"tags":65208,"thumbUrl":65209,"material":692,"size":1293,"collection":84,"collections":65210,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},235123,"hua-hua-yan-shi-nv-tu-ce-wang-su-235123",[24,7,59,28,27,166,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97e666978fc72f5db21e5fb2908847ca.jpg",[],{"id":65212,"slug":65213,"title":65214,"dynasty":54,"author":65215,"museum":300,"description":65216,"tags":65217,"thumbUrl":65218,"material":84,"size":84,"collection":84,"collections":65219,"showCount":553,"zanCount":1998,"manualWeight":48,"mainColor":72},235090,"meng-lou-fu-qin-tu-zhou-wang-zhao-ji-235090","梦楼抚琴图轴","王肇基","《梦楼抚琴图轴》纵54cm，横26.4cm。\n清代文物。\n名称： 梦楼抚琴图轴 年代：清 作者：王肇基 特征：绢本，设色 尺寸：纵54cm，横26.4cm。\n本幅王肇基题：“爱镜者美人，爱剑者侠客，名士则爱砚，嗜好各成癖。\n先生放达人，耽此琴三尺，世俗竞淫哇，太古音谁识？庚辰孟夏月，梦楼宗台抚琴图。\n王肇基绘并题。\n”下钤“王肇基印”白文印、“镜香”朱文印。\n“庚辰”为清乾隆二十五年（176年），这一年，王肇基6岁，王文治（号梦楼）1岁。\n“孟夏月”则正值会考结束，殿试、御赐之前。\n王文治在这年的五月初十日得中进士第三人。\n图绘王文治在室内的画像。\n他手持折扇神情淡定地端坐在木椅上，身旁条案上摆有古琴和香炉，身后的花架上则置有盛开的兰花一盆。\n虽然点景物象不多，但是它们高低错落的陈设，丰富了画面的纵深空间，同时，也映衬出像主王文治幽兰般的君子心志和以琴瑟为伴的文化素养。",[24,7,165,27,96,438,4947,8091,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2463e961b794a748f0e3b21f09314859.jpg",[],{"id":65221,"slug":65222,"title":39034,"dynasty":54,"author":20985,"museum":300,"description":65223,"tags":65224,"thumbUrl":65225,"material":734,"size":84,"collection":84,"collections":65226,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},235037,"hua-ji-chan-yin-tu-ce-xiao-chen-235037","萧晨（生卒年不详），字灵曦，号中素，江苏扬州人。清初画家，李寅弟子，善画山水、人物，画雪景最为有名。虽以卖画为生，但时以诗人自居。",[304,24,7,59,27,128,96,331,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21b9ea68fd581d7e4f943cc27d68e501.jpg",[],{"id":65228,"slug":65229,"title":65230,"dynasty":54,"author":36816,"museum":20,"description":65231,"tags":65232,"thumbUrl":65233,"material":734,"size":65234,"collection":84,"collections":65235,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},235028,"bai-ying-lou-tu-ce-ye-sun-yi-235028","拜影楼图册页","《拜影楼图》共十二开，是清初多位画家以扬州拜影楼为主题创作的作品合册。册中或远山耸峙，或水波澹荡，或江烟寥廓，是文人雅士借画怀古、以画咏志之作。拜影楼位于明代扬州名园影园之中，是园主之子郑掌和清初于几近荒废的影园中所建。时过境迁，昔日名园与名楼今皆已不存，观赏此作，可一睹其当日风采。",[24,7,59,27,29,132,130,98,99,129,413,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F056592b81dfa53b5a1a4c3aeedbef075.jpg","纵19.5厘米 横16.0厘米",[],{"id":65237,"slug":65238,"title":65239,"dynasty":124,"author":223,"museum":300,"description":65240,"tags":65241,"thumbUrl":65242,"material":692,"size":1293,"collection":84,"collections":65243,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":3379},234935,"zhao-shu-ban-shen-xiang-zhou-yi-ming-234935","赵曙半身像轴","此作以工整写实的笔触描摹帝王容仪，展脚幞头挺括规整，朱红朝服沉穆厚重，尽显九五之尊的威仪。画师精细晕染面部肌理，方正眉眼自带端凝神色，须髯丝丝分明，将帝王内敛持重的气度刻画入微。设色调和古雅，素净背景更衬出人物主体，笔笔恪守院体肖像的严谨法度，于细微处见功底，把帝王肃穆沉静的神态铺陈绢上，是古代帝王肖像中兼具写实性与传神度的工整佳构。",[164,24,7,165,27,96,28,805,170,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1b5e2459d74a974d5c7ae7b0dfee9a4.jpg",[],{"id":65245,"slug":65246,"title":48339,"dynasty":124,"author":18090,"museum":300,"description":18911,"tags":65247,"thumbUrl":65248,"material":692,"size":1293,"collection":84,"collections":65249,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},234830,"shan-shui-shan-ye-lan-ying-234830",[1131,24,7,164,128,29,1337,129,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7ffc56d629f48afc48a85f98b53415e.jpg",[],{"id":65251,"slug":65252,"title":65253,"dynasty":124,"author":10922,"museum":20,"description":28002,"tags":65254,"thumbUrl":65255,"material":734,"size":28005,"collection":84,"collections":65256,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},234808,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-zhang-zhou-yuan-tu-ye-wen-jia-234808","吴门诸家寿袁方斋三绝册-长洲苑图页",[24,7,59,27,29,34,31,415,5974,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89a520d1397b390fe6e861f5cfb2c669.jpg",[],{"id":65258,"slug":65259,"title":76,"dynasty":54,"author":57469,"museum":300,"description":57470,"tags":65260,"thumbUrl":65261,"material":84,"size":84,"collection":84,"collections":65262,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},234789,"hua-hui-ce-jin-li-ying-234789",[24,7,59,27,28,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac08f42306bb34287db8306bd84daff7.jpg",[],{"id":65264,"slug":65265,"title":65266,"dynasty":54,"author":65267,"museum":300,"description":65268,"tags":65269,"thumbUrl":65270,"material":84,"size":84,"collection":84,"collections":65271,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},234783,"mo-xie-bin-hua-fu-shan-xiang-zhou-wang-yin-zhai-234783","摹谢彬画傅山像轴","王荫斋","傅山（1607—1684年），字青竹，后改青主，一字仁仲，别署公之它（一作他），号朱衣道人等，阳曲（今山西太原）人。明亡后隐居不仕，以行医为生。清康熙十七年（1678年）举博学鸿词科，强征至京，以死拒，放归。能绘画，精医学。书法篆、隶、真、行、草无所不精，以草书最富特色，笔力雄奇恣肆，追求生拙真率的艺术境界，是清初书坛大家。有《霜红龛集》行世。《清史稿》列传二百八十八有传。",[24,7,165,27,96,413,131,711,8709,8537,330,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a7897ca39a968a036ec4605782e1aa5.jpg",[],{"id":65273,"slug":65274,"title":65275,"dynasty":124,"author":65276,"museum":300,"description":65277,"tags":65278,"thumbUrl":65279,"material":84,"size":84,"collection":84,"collections":65280,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},234678,"dou-jia-tang-lang-ce-ye-zhong-qin-li-234678","豆荚螳螂册页","钟钦礼","钟礼，字钦礼，号南越山人，尤擅画云山、草虫。此图采用没骨画法，描绘一只螳螂立在豆荚枝上，饱含生趣。",[24,7,59,27,61,13257,2644,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bf9c79368b74a231edc491d8e98dc18.jpg",[],{"id":65282,"slug":65283,"title":63331,"dynasty":54,"author":63349,"museum":300,"description":63350,"tags":65284,"thumbUrl":65285,"material":84,"size":84,"collection":84,"collections":65286,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},234607,"shan-shui-wan-shan-zhang-zhi-wan-234607",[24,7,1131,128,132,29,131,34,35,496,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae5a3cdcc988cabf533cc71a232dc36d.jpg",[],{"id":65288,"slug":65289,"title":65290,"dynasty":54,"author":3437,"museum":20,"description":65291,"tags":65292,"thumbUrl":65293,"material":84,"size":84,"collection":84,"collections":65294,"showCount":553,"zanCount":1998,"manualWeight":48,"mainColor":72},234574,"fang-li-ying-qiu-shan-shui-shan-tang-dai-234574","仿李营丘山水扇","清代画家唐岱, 字毓东，号静岩，又号知生、爱庐、默庄。承祖爵，任骁骑参领，官内务府总管，以画祗候内廷。唐岱山水画初从焦秉贞",[164,24,7,1131,128,27,29,131,34,35,415,330,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca811aeb6574f8f643210f11bbff932.jpg",[],{"id":65296,"slug":65297,"title":40707,"dynasty":124,"author":55685,"museum":300,"description":65298,"tags":65299,"thumbUrl":65300,"material":84,"size":84,"collection":84,"collections":65301,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},234564,"shan-shui-shan-wei-zhi-huang-234564","魏之璜（1568－1647）明代画家。字叔考，上元（今南京）人\n魏之璜。字叔考，上元（今南京）人。出身孤贫，天性孝友，养老亲，抚诸弟，胥取给於十指，不以干人。能书善画，以卖画为生。书师法《黄庭经》，结构严密，神采流丽。山水宗宋人，不袭粉本，岩壑树石多变化，别具风貌。生平画幅，绝无雷同。晚年用浓墨秃笔，苍老厚实，颇见功底。亦擅花卉及佛像，花卉淡墨写生，画佛施诸寺院。",[24,7,1131,128,27,29,131,34,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b5c9eb54dfc09b3d2f3f6285bea6d59.jpg",[],{"id":65303,"slug":65304,"title":48339,"dynasty":124,"author":65305,"museum":300,"description":55730,"tags":65306,"thumbUrl":65307,"material":84,"size":84,"collection":84,"collections":65308,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},234490,"shan-shui-shan-ye-yin-shi-234490","殷諟",[1131,24,7,128,132,29,131,34,495,99,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84869b58427aca239d1b651bb8eab1ba.jpg",[],{"id":65310,"slug":65311,"title":38295,"dynasty":54,"author":223,"museum":300,"description":16652,"tags":65312,"thumbUrl":65313,"material":692,"size":1293,"collection":84,"collections":65314,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},234430,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234430",[24,7,165,187,28,27,96,949,97,29,189,62,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34e4a966fa146ebf05ff32cf4051f1de.jpg",[],{"id":65316,"slug":65317,"title":30270,"dynasty":54,"author":1069,"museum":300,"description":30271,"tags":65318,"thumbUrl":65319,"material":734,"size":84,"collection":84,"collections":65320,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},234282,"hua-guo-ce-wang-yun-234282",[24,7,59,27,28,61,547,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312d93e1c96a34a8af1e9144398b63ad.jpg",[],{"id":65322,"slug":65323,"title":409,"dynasty":124,"author":65324,"museum":300,"description":65325,"tags":65326,"thumbUrl":65327,"material":84,"size":84,"collection":136,"collections":65328,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},234269,"shan-shui-ce-sun-ri-shao-234269","孙日绍","此册页诗画合璧，右幅以淡墨晕染山水：近岸木桥横卧浅波，汀渚寂然，层叠远山如黛，烟岚轻笼间隐见楼阁，笔墨简淡空灵，晕染出烟雨江天的空濛悠远。左侧书法笔意纵逸跌宕，题诗意境呼应画中丘壑。二者相映成趣，将幽居林泉的闲雅疏旷铺陈开来，以极简笔墨勾勒出悠远山水，寄寓着文人澄怀观道的隐逸襟怀，诗书画相融相生，晕开恬淡雅致的古典意趣，尽显萧散出尘的文人山水情怀。",[23,24,7,59,128,132,133,29,663,228,98,130,34,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fde4ab358a106b7645441ca1c163a4b.jpg",[136],{"id":65330,"slug":65331,"title":65332,"dynasty":54,"author":6357,"museum":300,"description":33714,"tags":65333,"thumbUrl":65334,"material":84,"size":84,"collection":68,"collections":65335,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},234266,"bie-you-feng-wei-ce-huang-shen-234266","别有风味册",[23,24,7,59,188,128,840,208,1036],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef705fcbf5ff2df82c1954a51e8bbcbd.jpg",[68],{"id":65337,"slug":65338,"title":43751,"dynasty":124,"author":10922,"museum":20,"description":65339,"tags":65340,"thumbUrl":65341,"material":611,"size":65342,"collection":84,"collections":65343,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},234155,"yun-shan-tu-juan-wen-jia-234155","此图描绘水村渔舟、寺庙山居、岩穴幽渺。图中画法略有元代吴镇、黄公望遗意，而参以黄氏的浅绛法设色。图中山石、树木行笔松秀稳健，施墨设色富于深浅浓淡的变化，区分出物象的层次；水纹细密，用笔流畅而不板滞；山间弥漫的云气以墨和滕黄两次勾线，近线条处以淡墨晕染，表现出云层的厚度，颇富装饰趣味。画面徐徐展开，步移景易，引观者悠游于吴中的山林胜境之中，反映了当时吴中文人隐居、游乐的生活情趣。",[23,24,7,25,128,132,133,64,29,23820,37,496,34,9164,35,98,99,129,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69e924840c6c6d0485a1f02db6bdb54f.jpg","纵21.3cm，横387.8cm",[],{"id":65345,"slug":65346,"title":7706,"dynasty":124,"author":3619,"museum":20,"description":65347,"tags":65348,"thumbUrl":65349,"material":20601,"size":15990,"collection":84,"collections":65350,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},234098,"lan-ting-xiu-xie-tu-wen-zheng-ming-234098","此图表现的是广为流传的文坛佳话“兰亭修褉”。文徵明的这幅画反映了东晋王羲之《兰亭序》中的景象。图绘崇山峻岭，溪流蜿蜒，溪畔众多文士或坐或卧，观赏着山光水色间淙淙溪水送来的酒觞，潜心构思。水榭上相对而坐的王羲之等3人正在评点已写毕的诗文。林木荫翳，丛竹泛翠，春色浓得醉人。\n《兰亭修褉图》为文徵明73岁时用青绿山水技法所绘。画面中山石树木先勾后染，工致严谨，笔笔精到。人物之衣纹、眉目简略，数根线条便勾勒出文人雅士潇洒的身形。全图设色明丽丰富，画面以青绿为主，淡施赭色渲染山脚坡石，浓而不失典雅，艳而别具秀润。",[24,7,25,27,28,133,29,130,96,99,98,34,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F046d4095b1dc977863b6313fbbd424f8.jpg",[],{"id":65352,"slug":65353,"title":65354,"dynasty":18,"author":223,"museum":20,"description":65355,"tags":65356,"thumbUrl":65357,"material":514,"size":65358,"collection":84,"collections":65359,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},234000,"shan-po-lun-dao-tu-ye-yi-ming-234000","山坡论道图页","这幅画描绘了山中一块平坦的地方，有几根竹枝。 左侧形似桃花，隐隐现出屋脊； 一个僧人和一个人坐在石头上，坐着说话，画的右边，一个男孩站着，拿着棍子听着，身后岩石上的树枝细细弯曲。 这幅画的风格与夏圭相似。",[24,7,59,128,27,96,29,167,331,208,132,48505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f4197b57f0834d525f742c53aa0b38e.jpg","20X20cm",[],{"id":65361,"slug":65362,"title":35085,"dynasty":18,"author":4899,"museum":20,"description":35086,"tags":65363,"thumbUrl":65364,"material":514,"size":35089,"collection":84,"collections":65365,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},233998,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233998",[164,24,7,59,188,27,96,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe7dfb1d4d8ceee81c76bc7a9cf5dfeb.jpg",[],{"id":65367,"slug":65368,"title":65369,"dynasty":54,"author":39482,"museum":20,"description":65370,"tags":65371,"thumbUrl":65372,"material":734,"size":65373,"collection":84,"collections":65374,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},233951,"ba-wei-zu-xiang-zhou-min-zhen-233951","巴慰祖像轴","本幅有元焕枢题名“雋堂居士像”，金榜、达生、嗣生三家题记，吴云蒸观款，裱边有韩廷秀、程振甲等七家题记。\n画面上，巴慰祖约50岁年纪，身着青杉，外披红袍，端坐在蓝底黄花的蒲垫上，神态安详，面部瘦削，目光矍铄，但似有倦容，使人联想到顾恺之笔下维摩诘“轻羸示病之容，隐几忘言之状”的情形，可知此图作于巴氏生病之时。画家用写实画法，精细逼真，人物面部吸取“波臣派”画法，细笔勾勒，淡色晕染，深色画阴影，凹凸感显而易见。画家以色彩的运用表现人物的个性特征，两颧、双颊、眼窝交待清晰，衣纹用笔细劲，转折略有顿挫，敷色讲究，画面古朴典雅，注重形式与内容统一的整体感，将笔下的肖像表现得形神兼备，此图堪称闵贞之精品。",[24,7,165,96,27,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2675914ee742ce720b495cfcb33ee35.jpg","纵103.5厘米，横31.6厘米",[],{"id":65376,"slug":65377,"title":4229,"dynasty":54,"author":5879,"museum":12686,"description":16298,"tags":65378,"thumbUrl":65379,"material":66,"size":16301,"collection":84,"collections":65380,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},233945,"hua-niao-ce-hua-yan-233945",[24,7,59,27,128,61,171,355,624,2037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F404f5926f037f2a7a183670d202de71c.jpg",[],{"id":65382,"slug":65383,"title":3717,"dynasty":54,"author":22607,"museum":20,"description":61325,"tags":65384,"thumbUrl":65385,"material":734,"size":61328,"collection":84,"collections":65386,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},233891,"huang-shan-tu-ce-mei-qing-233891",[24,7,59,128,27,29,132,64,208,30,413,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F291696afa7319434a5c86ab9e6c655f8.jpg",[],{"id":65388,"slug":65389,"title":65390,"dynasty":144,"author":1208,"museum":20,"description":65391,"tags":65392,"thumbUrl":65393,"material":1722,"size":65394,"collection":84,"collections":65395,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},233885,"wu-zhu-xiu-shi-tu-zhou-ni-zan-233885","梧竹秀石图轴","图中绘湖石挺立，高梧疏竹映带左右。树干和秀石行笔匆匆急就，以阔笔湿墨描绘梧叶，虽是“逸笔草草，不求形似”之作，却颇得苍润淋漓之墨趣，别开生面。",[24,7,165,128,167,2749,171,208,133,64,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe669021468b32b5f44f9d6226b16a7dc.jpg","纵96厘米，横36.5厘米",[],{"id":65397,"slug":65398,"title":65399,"dynasty":124,"author":33653,"museum":20,"description":65400,"tags":65401,"thumbUrl":65402,"material":1223,"size":65403,"collection":84,"collections":65404,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},233843,"bi-hu-zhu-shu-tu-zhou-shen-hao-233843","闭户著书图轴","画面苍松下篱门紧闭。窠石小溪，书屋内一人凭几挥笔著书。用笔工细严谨。自识“闭户著书多岁月，种松皆作老龙麟。安素先生，抱道高棲，日著书万言。穆如之风，真追支、许。其次公原定，逸才清骨，与予有缟紵之谊。近闻遷乔，写此代贺。癸酉中秋，朗道人颢”。钤“朗倩”白文方印等。另钤“乾隆御览之宝”等鉴藏印多方。按癸酉为崇祯六年，公元一六三三年，作者时年四十八岁。此图曾经清内府收藏。《石渠宝笈》著录。",[24,7,165,128,27,132,133,64,208,331,1144,35,96,171,24585],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f512c1583ae2897dc676a32f26a2c32.jpg","纵96.2厘米，横40.7厘米",[],{"id":65406,"slug":65407,"title":6663,"dynasty":144,"author":65408,"museum":20,"description":65409,"tags":65410,"thumbUrl":65411,"material":16372,"size":65412,"collection":84,"collections":65413,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},233806,"zhu-shi-tu-zhou-xie-ting-zhi-233806","谢庭芝","图中绘坡草湖石，石后挺立疏竹数竿，枝叶下垂，似洒雨露。坡上小竹兰草丛生，三株新笋，两株高窜，一株破土而出，春意盎然。湖石连勾带皴，并以淡墨渲染，玲珑剔透，形态奇异。竹叶以率笔挥洒，浓淡相参，水墨淋漓，清新秀雅。此图为谢庭芝墨竹传世孤本。\n画面以淡墨勾勒画湖石，以砍剁皴和钉头皴相结合画出明暗再以淡墨渲染，使湖石具有质感，达到皱、漏、透、瘦之效果，玲珑剔透，造型奇特。\n湖石后疏竹玉立，竹叶下垂，浓淡相间，参差错落，疏密有致，颇显情趣，画左款暑：至元五年冬十月，仲和。",[24,7,165,128,27,167,1314,1771,369,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7694fa9087718da61fb9135feb879d.jpg","173.2cmx105.1cm",[],{"id":65415,"slug":65416,"title":16041,"dynasty":54,"author":1460,"museum":20,"description":16042,"tags":65417,"thumbUrl":65418,"material":734,"size":16046,"collection":84,"collections":65419,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},233776,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233776",[24,7,59,27,29,96,35,34,131,950,64,133,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4915b7fd405c9234966f025821e03ed9.jpg",[],{"id":65421,"slug":65422,"title":65423,"dynasty":54,"author":5879,"museum":20,"description":65424,"tags":65425,"thumbUrl":65426,"material":40,"size":65427,"collection":84,"collections":65428,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},233714,"ba-bai-xia-ling-tu-zhou-hua-yan-233714","八百遐龄图轴","图中柏树高大，盘曲伸展，树上八哥飞鸣对唱，热闹非凡，树下萱花盛开，生机盎然，整幅画面寓意遐（音侠）龄长寿，具有春意喧闹的祥瑞之气。作者依据不同的物象施以不同的笔法，八哥的造型生动写实，以工写结合的笔墨刻画；柏叶细碎交叠，直接以青绿、浓墨戳点；山石方硬坚实，以浓墨大写意晕染；萱花俏丽多姿，则以没骨法表现。全图于精致处愈见其工而不失笔情墨趣；写意处用笔洒脱而不失含蓄蕴藉，显示了华喦在花鸟画方面的非凡造诣以及对各种笔墨技法娴熟的运用能力。",[24,7,165,27,28,128,61,331,211,131,62,817],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe532a914d1fd6f5c2d0cd56208aaa81a.jpg","纵211厘米，横133厘米",[],{"id":65430,"slug":65431,"title":57643,"dynasty":54,"author":1460,"museum":300,"description":14038,"tags":65432,"thumbUrl":65433,"material":1722,"size":14041,"collection":84,"collections":65434,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},233686,"yuan-ji-lan-zhu-ce-lan-shi-shi-tao-233686",[24,7,59,128,375,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcface694a307906f45bdc6019882cf45.jpg",[],{"id":65436,"slug":65437,"title":16826,"dynasty":54,"author":1242,"museum":20,"description":16827,"tags":65438,"thumbUrl":65439,"material":16830,"size":16831,"collection":84,"collections":65440,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},233396,"shan-shui-ren-wu-ce-jin-nong-233396",[24,7,59,27,29,96,98,331,209,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54429029827b441643489512e15b13be.jpg",[],{"id":65442,"slug":65443,"title":16826,"dynasty":54,"author":1242,"museum":20,"description":16827,"tags":65444,"thumbUrl":65445,"material":16830,"size":16831,"collection":84,"collections":65446,"showCount":553,"zanCount":1998,"manualWeight":48,"mainColor":72},233395,"shan-shui-ren-wu-ce-jin-nong-233395",[24,7,59,27,188,128,29,96,331,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb161be310fe9e34df6500fcd1d828736.jpg",[],{"id":65448,"slug":65449,"title":16826,"dynasty":54,"author":1242,"museum":20,"description":16827,"tags":65450,"thumbUrl":65451,"material":16830,"size":16831,"collection":84,"collections":65452,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},233393,"shan-shui-ren-wu-ce-jin-nong-233393",[24,7,59,128,27,29,37,34,133,208,171,99,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b508b39647df860015e33b12d744377.jpg",[],{"id":65454,"slug":65455,"title":48464,"dynasty":54,"author":1460,"museum":300,"description":48465,"tags":65456,"thumbUrl":65457,"material":611,"size":48468,"collection":84,"collections":65458,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},233381,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233381",[24,7,59,128,132,133,208,29,1144,131,11830],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc555274dea7bbe31768bc088686b31c1.jpg",[],{"id":65460,"slug":65461,"title":38899,"dynasty":54,"author":38900,"museum":20,"description":65462,"tags":65463,"thumbUrl":65464,"material":611,"size":65465,"collection":84,"collections":65466,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},233181,"fang-gu-ji-you-tu-ce-huang-yi-233181","黄易（1744—1802年），书画家、篆刻家，字大易，号小松，又号秋庵主，浙江仁和（今杭州）人。监生，官山东兖州府、济宁运河同知。他的绘画笔墨流畅，潇洒隽永，以山水和花卉为题材的作品有着很高的艺术水平。书法则以隶书擅长。作为著名篆刻家丁敬的学生，他经过努力学习与刻苦钻研，并广泛借鉴书法、碑刻中的表现手法，形成了自己工稳生动的篆刻风格，有青出于蓝而胜于蓝之美誉。黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并加以较为全面系统的整理与著录，对我国传统金石学的发展有着积极的意义。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整的记录下来，绘制成许多作品，当时的艺术家们广为称颂。终年59岁。著有《丁黄印谱》、《小蓬莱阁金石文字》等。",[24,7,59,128,132,208,64,133,29,171,130,34,497,1645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde56bbb5dd5f5082bb9e8e48065c69cc.jpg","纵17.8cm，横50.8cm",[],{"id":65468,"slug":65469,"title":28813,"dynasty":144,"author":569,"museum":20,"description":65470,"tags":65471,"thumbUrl":65472,"material":920,"size":28817,"collection":84,"collections":65473,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},233142,"zi-hua-xiang-tu-ye-zhao-meng-fu-233142","赵孟頫（音fǔ）（1254—1322年），元代画家、书法家，字子昂，号松雪、水精宫道人，吴兴（今浙江省湖州市）人。宋宗室，14岁时以父荫补真州司户参军，入元出仕，曾任翰林侍读学士、荣禄大夫等职，卒赠魏国公，谥文敏。他对诗文音律无所不通，书画造诣极为精深，乃元代的画坛领袖。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。他倡导复古，强调“书画同源”，主张师法自然。书法钟繇、二王、李邕、宋高宗赵构以及历代诸家，篆、隶、真、草各臻神妙。其绘画、书风和书学主张对当代及后世影响巨大而深远。",[24,7,59,27,96,167,171,99,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd69b3b32deea9e4c5f3a8c69a1af184d.jpg",[],{"id":65475,"slug":65476,"title":33757,"dynasty":54,"author":223,"museum":20,"description":65477,"tags":65478,"thumbUrl":65479,"material":611,"size":33763,"collection":84,"collections":65480,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},233096,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233096","《平定苗疆得胜图》亦称《湖南战役图》，十六幅图依次为：兴师图、剿捕秀山苗匪、攻克木山、攻解松桃之围、大剿土空寨苗匪解永绥城围、攻克兰草坪滚牛坡、攻克黄瓜寨剿贼、攻克苏麻寨、攻得茶它柳夯等处贼巢、攻克高多寨生擒逆首吴半生、攻克廖家冲生擒首逆石三保、收复乾州、攻克强虎哨、攻克平陇贼巢、捷来图、攻克石隆苗寨。\n清乾隆五十九年（1794年），湖南、贵州的苗民在石三堡、石柳邓、吴半生等人的率领下起义。清政府先后派云贵总督福康安、四川总督和琳等出兵镇压。《平定苗疆得胜图》是以这一历史事件中的几次重大战役为题材创作而成。\n作者采用了中国传统绘画中的皴法刻画山石麻皮状的纹理和峭立的山势，并以细腻的刻画手法及娴熟的线条运用较好地勾勒出物象的质感。战争场面气势恢宏，人物造型受中国传统木版画的影响，呈头大身小的特点，古朴稚拙。",[164,24,7,59,27,28,132,96,101,29,97,34,11074,5626,131,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b021a92da1c0a0009270e048b28a75.jpg",[],{"id":65482,"slug":65483,"title":65484,"dynasty":18,"author":223,"museum":20,"description":65485,"tags":65486,"thumbUrl":65487,"material":40,"size":65488,"collection":84,"collections":65489,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":199},233010,"qiu-shu-qu-yu-tu-ye-yi-ming-233010","秋树鸜鹆图页","图绘秋日里一只鸜鹆栖于桐树之上，利爪紧握枝干，扭颈侧目似在谛听。鸜鹆目光锐利，体态丰满，尾翼整洁，羽毛黑亮，而树叶则满布虫蚀，拘挛蜷曲，颜色枯黄。构图奇崛突兀，迥异常品。鸟为纯黑一色，故全身皆用墨染，然不同部位之毛羽的质感、层次均表现无遗，何止“墨分五色”而已！古人墨法之妙于此见之。蚀朽的树叶在画家高超的技法下“化腐朽为神奇”，勾描晕染，层次丰富。中国工笔画常写病叶，原因在此。而此图之叶堪称极致。",[24,164,7,28,27,61,331,355,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe7bbc63767c997697bb2b3ecdf5479d.jpg","纵25厘米，横26.5厘米",[],{"id":65491,"slug":65492,"title":65493,"dynasty":18,"author":223,"museum":20,"description":65494,"tags":65495,"thumbUrl":65496,"material":40,"size":59563,"collection":84,"collections":65497,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},233009,"xun-qin-fu-zhuo-tu-ye-yi-ming-233009","驯禽俯啄图页","图中一只麻雀立于浅蓝色敞口瓷罐上，低头欲啄罐沿。麻雀身系红绳，绳端拴一圆环，表示已被擒获豢养。麻雀属难以驯化之鸟，画面中的瓷罐内虽有白米，雀却不食，表达了向往自由生活的心愿。画家先以尖细之笔绘出麻雀的轮廓、羽绒，再用浓墨、淡赭点画出翅膀、尾羽和眼目。",[164,24,7,4437,28,27,61,355,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a9c3ad61b7c9c60c59b90519bbbb167.jpg",[],{"id":65499,"slug":65500,"title":41792,"dynasty":124,"author":3619,"museum":20,"description":41793,"tags":65501,"thumbUrl":65502,"material":611,"size":41796,"collection":84,"collections":65503,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},232960,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232960",[24,7,59,133,208,188,128,29,331,276,131,99,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee28d2c156fc7135d314b5111aca8d44.jpg",[],{"id":65505,"slug":65506,"title":65507,"dynasty":144,"author":569,"museum":244,"description":65508,"tags":65509,"thumbUrl":65510,"material":637,"size":65511,"collection":84,"collections":65512,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},232798,"ji-jin-juan-quan-juan-zhao-meng-fu-232798","集锦卷全卷","至梁清标时复得管道升《烟雨丛竹》。全卷8幅均有梁清标收藏印，则知此卷“集锦合璧”成于梁清标之手，后再转安仪周。又管道升一幅，有：“张镠”“达卿”两印。据吴其真《书画记》记：“赵松雪《写生水草鸳鸯图》，此图观于扬州张黄美（镠）裱室。黄美善于裱褙，幼为王公通判装潢，目力日隆。近日游艺都门，得遇大司农梁公（清标）见爱，便为佳士。时戊申季冬六日。”也不禁让人想起，这位梁清标聘请的扬州名裱画师，又精于鉴定宋画的古董商，将此《元人集锦卷》（至少是《烟雨丛竹》）售与梁清标，且理所当然地将赵孟頫夫妇作品连接，并将书画合成一卷的操刀者。从装裱史而言，此卷之装潢，理应出于“张镠”之手。",[23,24,7,25,128,132,133,64,208,29,129,98,99,130,211,331,171,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab287c56b7a933856bb134a7928bbf1a.jpg","30x650厘米",[],{"id":65514,"slug":65515,"title":65516,"dynasty":18,"author":2099,"museum":224,"description":65517,"tags":65518,"thumbUrl":65519,"material":65520,"size":65521,"collection":84,"collections":65522,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},232631,"xiao-jing-tu-juan-bai-miao-tu-li-gong-lin-232631","孝经图卷(白描图)","《孝经图》水墨绢画，被一致公认为是李公麟1085年绘真迹。此卷后有南宋汗漫翁题跋，明董其昌四次题跋，清代毕沅六次题跋。其他明清人题跋十五人，还有晚清重臣李鸿章一跋。作者是依据《孝经》经义，所绘十五段的图说式画卷，以行楷书方式书写《孝经》内容，在以线描笔法绘写配图，书画合璧。\n李公麟（公元1049~1106年）北宋画家。字伯时，号龙眠居士，舒州（今安徽潜山）人。好古博学，喜藏钟鼎古器及书画。宋神宗熙宁年间中进士，官至朝奉郎。居京师十年，不游权贵之门，以访名园荫林为乐。其天赋极高，又博学勤业，书法飘逸具晋人风韵，擅画人物、山水，尤精画鞍马，更以白描画法独步当世，被评者推为宋画第一。《孝经图》是北宋著名画家李公麟在约1085年创作的绢本水墨画。该画以《孝经》为内容配以插图，充分展现了李公麟绘画和书法的雄厚功底。",[23,164,24,7,25,188,96,29,758,97,130,208,64,572,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c1137c51b1df595b6c25246f4b4866b.jpg","水墨绢画","21.9 x 475.6 cm",[],{"id":65524,"slug":65525,"title":65526,"dynasty":222,"author":223,"museum":300,"description":65527,"tags":65528,"thumbUrl":65529,"material":692,"size":1293,"collection":84,"collections":65530,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},231655,"shi-ting-shi-qi-ren-wu-tu-zhou-yi-ming-231655","室町时期 人物图轴","此作笔下仕女娇憨温婉，发髻挽起垂发贴颊，柔韵尽显。朱红外袍暗纹隐现，墨绿下裳饰回旋几何纹样，素白裙脚衬出雅致格调，配色沉雅和谐。她持绘花团扇，垂目凝视扇面，身姿微倾，将娴静内敛的神态描摹入微，东方闺秀的柔婉气质呼之欲出。\n泥金底色带着岁月晕染的斑驳苍润，与人物的明丽设色相映，古雅沉静。线条匀净流畅，造型写实传神，揉合和风与唐韵的审美意趣，尽显古典雅致的东方气韵。",[23,24,7,165,27,28,96,166,1367,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F650f5f86df882ec6d6e4afe228442ca1.jpg",[],{"id":65532,"slug":65533,"title":65534,"dynasty":222,"author":65535,"museum":300,"description":65536,"tags":65537,"thumbUrl":65538,"material":84,"size":84,"collection":84,"collections":65539,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},231595,"xiang-jiang-ba-jing-tu-ce-gu-wen-chao-231595","湘江八景图册","谷文晁","潇湘八景，相传为满湘一带的湘江流域八处住胜。为宋沈括《梦溪笔谈·书画》中所描述。历代皆有才子追和。\n潇湘夜雨——永州城东\n湘水在永州境内与潇水汇合以后，称为潇湘。雨落潇湘的夜景，是旧时文人藉以寄情的著名景观。“涔涔湘江树，荒荒楚天路。稳系渡头船，莫教流下去。”（元揭奚斯）凄凉而无助的心境，就像夜雨本自一样哀婉缠绵，千百年来，人们所钟情的不知是山河的夜雨还是心灵的夜雨？\n平沙落雁——衡阳市回雁峰\n潇湘自永州下泻数百公里，到达南岳七十二峰之首的回雁峰。 　“山到衡阳尽，峰回雁影稀。应怜归路远，不忍更南飞。由干古人地理思维的局限性，误以为雁到衡阳不再南飞。当北方天气转冷，雁阵南行，南方则秋风送爽艳阳高照。旷野平沙，芦苇丛丛，常常引采雁阵栖宿。好一幅秋雁戏沙图。\n烟寺晚钟——衡山县城北清凉寺\n湘江又北行北公里，经过佛教胜地南岳衡山。晚来风急，万物入眠，唯寺内报时的古钟，不时敲出悠扬宏亮的声音。江舟中的旅者在这种钟声中系舟或者远行。\n山市晴岚——湘潭与长沙接壤处的昭山\n湘江由衡山北行150余公里到达昭山。紫气缭绕，岚烟袭人，云蒸霞蔚。一峰独立江边，秀美如刚出浴的仙子。\n江天暮雪——橘子洲\n橘子自古为长沙名胜，东望长沙，西瞻岳麓。当大雪纷飞，白雪江天浑然一色，世间万物寂寂无声，江中商船落帆泊岸，雪光上的暮色烟雾一样漂浮不定，人的心情也就格外地清冷，思想随着雪花飘舞，那种清凉的悠闲也许是最接近冬雪本质的悠闲。\n远浦归帆——湘阴县城江边\n从橘子沿江北去，约远70公里，便到湘阴。每当黄昏，远山含黛，岸柳似烟，归帆点点，渔歌阵阵，等待归船的渔妇和企盼宿客的青楼女子站在晚风斜阳中，衬托出一片温馨怅望的繁忙景象。\n洞庭秋月——洞庭湖\n由湘阴北去，便是一望无际的洞庭湖。秋天的夜晚，月色如银，天空不杂任何痕迹，八百里湖面，碧水如镜，风息浪静。天空和湖面相互映照，月光和湖光相互交融，泛舟湖上，则别有一番情趣，登上君山或者岳阳楼，想必又是另一种情怀。\n渔村夕照——西洞庭桃源武陵溪\n陶渊明在《桃花源记》中说“武陵人捕鱼为业”。武陵人因为捕鱼，而发现了桃花源，世人所居住的渔村也就成了文人墨客所憧憬的地方。白天，渔人撒网洞庭；傍晚，收拾渔网，提着肥美的鲜鱼，在夕阳的晚唱中踏着渔歌回家。",[23,24,7,59,128,27,132,29,96,97,129,99,131,34,415,5801,1743],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5636fb7e82aaf37ee5a6e14482d51e7.jpg",[],{"id":65541,"slug":65542,"title":65543,"dynasty":124,"author":34069,"museum":12686,"description":65544,"tags":65545,"thumbUrl":65546,"material":42051,"size":65547,"collection":84,"collections":65548,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},231590,"shi-xiang-tu-chen-xian-231590","释像图","自跋：焚香合掌祭拜作于仙迹精舍，崇祯癸未菊月（1643年）。卷末再题：清紫陈贤谨识。长卷共绘有二十四位佛教人物。此卷人物线质极具特色，已是禅师们作画常用的“棒喝”性线条。\n陈贤［明］号希三，又号瞻葵，又号半秃僧，华山道人。喜画佛像人物，书法似文徵明。",[23,24,7,25,188,128,96,15512,1144,131,5490,102,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faec35347fab7a37b924029e930db1d82.jpg","49.5×731.3厘米",[],{"id":65550,"slug":65551,"title":65552,"dynasty":144,"author":223,"museum":12686,"description":65553,"tags":65554,"thumbUrl":65555,"material":611,"size":84,"collection":84,"collections":65556,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},231495,"bai-miao-luo-han-tu-yi-ming-231495","白描罗汉图","此作用淡墨白描写就，古松虬曲苍劲，松针层叠如盖，晕染出幽寂出尘的林下禅境。右侧长眉罗汉安坐松下，神态恬然沉静，身旁侍者恭谨侍立，持器静候。左侧匍匐之人姿态虔诚，似在礼敬罗汉，案上供花素雅清冷，烘托出庄严平和的禅意氛围。\n\n线条清劲凝练，流转婉转，既勾勒出松皮斑驳褶皱、衣袂翩然动感，又细腻刻画出人物神情气度，将禅门安然清寂的意趣尽显。笔墨简淡却意蕴悠长，以素色绘出深邃禅林雅韵，尽显雅致清和的元人白描格调。",[24,7,187,188,128,96,331,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5b9e528a641cef044779c88475e161b.jpg",[],{"id":65558,"slug":65559,"title":65560,"dynasty":54,"author":65561,"museum":424,"description":65562,"tags":65563,"thumbUrl":65564,"material":1667,"size":65565,"collection":84,"collections":65566,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},231353,"xi-sai-shan-zhuang-di-er-tu-shen-zong-qian-231353","西塞山庄第二图","沈宗骞","此卷绘西塞山庄之胜景，虽不是张志和诗中之西塞，然长松阔水，溪山静好，亦是人间佳境。此幅全法南宗山水之圭臬，又有黄子久富春山居图笔墨之法，而加“四王”之平实笔意。是沈熙远精心之作。\n沈宗骞（1736—1820）。字熙远，号芥舟，又号研湾老圃，浙江乌程（今湖州）庠生。生平杰作《汉宫春晓》、《万竿烟雨》二图，为赏鉴家所宝，有神品之目。晚年则纯用焦墨。《墨林今话、墨香居画识》。",[23,24,7,25,128,132,29,34,131,31,37,415,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a52250e5d999c337a4036662e188ac5.jpg","27cmx285cm",[],{"id":65568,"slug":65569,"title":65570,"dynasty":124,"author":7053,"museum":300,"description":65571,"tags":65572,"thumbUrl":65573,"material":84,"size":84,"collection":84,"collections":65574,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},230937,"tai-ping-chun-se-tu-qian-gong-230937","太平春色图","整作以全景铺展春日闲趣，内室围炉宴坐，亲友言笑晏晏，暖炉烘出一室融融温情。墙外稚童嬉闹，野趣横生，下方溪桥之上，白衣文士凭栏观水，童子侍立，尽得林泉悠然。\n\n画家以淡墨写出寒枝虬曲，暗透春芽将萌的生机，设色浅雅柔润，将家宅的俗世温情与郊野的清逸春景相融，笔意秀润温婉，把太平年岁里的日常烟火晕染成诗意图景，将春日里松弛安宁的人间盛景娓娓铺陈，尽显安宁祥和的春日意趣。",[24,7,165,28,27,96,97,98,331,131,2218,247,58196,169,29,276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F728d5ea1461c81e8a8a5e563662d2e9a.jpg",[],{"id":65576,"slug":65577,"title":17802,"dynasty":54,"author":48763,"museum":300,"description":65578,"tags":65579,"thumbUrl":65580,"material":84,"size":84,"collection":84,"collections":65581,"showCount":553,"zanCount":1998,"manualWeight":48,"mainColor":49},230918,"bi-hu-zhu-shu-tu-shang-guan-zhou-230918","此作用高远之法铺展画面，主峰奇崛危耸，皴笔苍劲老辣，勾勒出山岩瘦硬嶙峋的风骨，烟云轻笼山间，衬出幽谷空寂。下方山居隐于松竹之间，堂内文人凭窗凝思，沉心著述，周遭流泉、奇石环合，将幽居雅静之境铺陈开来。\n\n右上角题诗呼应幽隐主题，笔意苍秀兼具，把山林雄浑气象与闭门潜修的文人意趣相融，尽显出世忘俗的林下风流，是文人寄情林泉、醉心笔墨的心境写照。",[23,24,7,165,27,132,29,1144,131,495,99,97,387,96,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F687ba4930841677cb3b5816f725bdc2f.jpg",[],{"id":65583,"slug":65584,"title":65585,"dynasty":222,"author":65586,"museum":300,"description":65587,"tags":65588,"thumbUrl":65589,"material":151,"size":1293,"collection":84,"collections":65590,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},230563,"jia-nuo-jia-ba-li-duo-du-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230563","迦诺迦跋厘堕阇尊者","平安时代 十六罗汉像","罗汉乃阿罗汉一词之略称，是指断除一切烦恼、证得修行最高果位，堪受世间大众供养的佛弟子或证见正理之圣者。释迦的十六位高徒，亦即罗汉，据说在释迦决意入涅盘之际，承佛命永住世间、普渡众生，并于各地护持弘扬佛法",[23,24,7,165,187,27,96,97,169,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce254a0478f0c929033488e812f8ba0a.jpg",[],{"id":65592,"slug":65593,"title":65594,"dynasty":222,"author":65595,"museum":300,"description":65596,"tags":65597,"thumbUrl":65598,"material":84,"size":84,"collection":84,"collections":65599,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},230487,"tai-gong-wang-wen-wang-tu-shou-ye-yuan-xin-230487","太公望文王图","狩野元信","此作用大片留白铺展空茫水色，寥寥柳丝牵起河畔清寂早春意趣。枯木旁细竹点景，极简笔触勾勒老叟踞石垂纶，身形松弛淡然，将静候的怅惘化入澹泊闲情。\n\n水墨晕染浅淡写意，舍去繁丽描摹，只以劲简线条刻绘人物风神，把隐逸襟怀与入世期许藏在空茫留白间，以东方水墨独有的留白哲思，将悠长等待的时光，铺陈在这无言空阔的画幅之中，尽显淡远幽寂的禅味。",[23,24,7,165,27,132,96,171,167,331,1351,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2576cf375d2475dcb407cb2fc50632af.jpg",[],{"id":65601,"slug":65602,"title":27698,"dynasty":54,"author":65603,"museum":300,"description":65604,"tags":65605,"thumbUrl":65606,"material":84,"size":84,"collection":84,"collections":65607,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},230296,"shan-shui-ce-ye-du-xiang-230296","杜湘","此作以幽寂山居为意趣，虚实掩映间铺陈出尘之境。苍松虬干以赭石晕染，石绿点簇松针，苍劲中带着清润生机；山石以淡墨勾勒皴擦，浓墨醒苔，厚重又不失空灵意韵。蜿蜒石径隐于谷底，将视线引向林间茅舍，屋中幽人凭窗静憩，愈发衬出林谷阒寂清冷。整幅画笔致秀雅沉静，疏密错落间尽显山林幽居的超然闲逸，把文人寄情林泉的隐逸襟怀藏在简淡笔墨之中，尽显传统山水画的写意风骨。",[24,7,59,27,29,131,1144,130,3269,208,132,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1c24bd19e45d360dbc671486ec53196.jpg",[],{"id":65609,"slug":65610,"title":65611,"dynasty":54,"author":9529,"museum":300,"description":65612,"tags":65613,"thumbUrl":65614,"material":84,"size":84,"collection":84,"collections":65615,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},229013,"lin-dong-bei-yuan-xia-jing-shan-kou-dai-du-tu-wang-hui-229013","临董北苑夏景山口待渡图","此作用平远之法铺陈江南水泽盛景，平缓山峦层层延展，以淡墨披麻皴晕染，满缀苔点，尽显苍润温厚之态。河港萦回，洲渚错落，汀岸间茂林修竹扶苏成林，茅舍隐于林麓，野趣自生。渔舟泛于空蒙烟波，水鸟掠波而过，处处皆是夏日江南的安闲日常。\n\n整幅画作追摹南宗山水的平淡天真，以柔婉的笔调晕开湿润氤氲的夏山氛围，没有奇崛造势，只将江南水乡的沉静清和与田园诗意，融在烟水林峦之间，尽显秀雅浑融的古淡意境。",[23,24,7,25,330,29,34,129,211,1351,132,27,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b35e298b8584b4bb63527842380557.jpg",[],{"id":65617,"slug":65618,"title":65619,"dynasty":54,"author":1460,"museum":300,"description":65620,"tags":65621,"thumbUrl":65622,"material":84,"size":84,"collection":84,"collections":65623,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},228993,"bai-kai-luo-han-tu-81-shi-tao-228993","百开罗汉图81","此作以水墨绘就两位罗汉立身奔涌浪涛之中，背景是冷峻苍劲的崖壁。作者以淋漓墨色晕染翻涌水浪，细密线条勾勒罗汉衣袍纹饰，一动一静对比强烈。浪涛汹涌激荡，罗汉却神态静穆安然，于激流中泰然自处，尽显禅心澄澈。干湿浓淡的墨色皴擦出岩壁的厚重质感，工细的衣纹与写意山水形成鲜明反差，烘托出罗汉静定超脱的出世之态，将禅宗于喧嚣中守持本心的意涵融于笔底，笔情墨趣间尽显空灵悠远的禅境。",[24,7,59,128,187,96,131,228,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f980403a2ac64c265f5de8dbb005cb3.jpg",[],{"id":65625,"slug":65626,"title":65627,"dynasty":54,"author":21575,"museum":300,"description":65628,"tags":65629,"thumbUrl":65630,"material":84,"size":84,"collection":84,"collections":65631,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},228969,"shi-jun-quan-tu-ce-shi-kai-ai-qi-meng-228969","十骏犬图册十开","《十骏犬图》是清代画家 创作的纸本设色画册，共1开，现藏于 。\n册页左边为以诗经体和辞赋体所作的题赞，其中六则出自梁诗正，四则出自汪由敦；右边一律先画犬，再加配河景山水。\n每开背景中虽皆可见遒劲的林木（松木、墨竹、柳树、梅花和灌木等）、怪石、溪涧或幽静的水岸，但形态皆不相同。\n所绘之犬姿态迥然，或低头饮水、或伫立沉思、或回首遥望。\n该册共十对开，顺序依次为：第一睒星狼、第二霜花鹞、第三墨玉螭、第四蓦空鹊、第五苍水虬、第六斑锦彪、第七雪爪卢、第八金翅猃、第九漆点狻、第十茹黄豹。\n款署：“臣艾启蒙恭绘。\n”钤“臣艾启蒙”白文印、“恭画”朱文印。\n每图对开页有嵇璜书写的乾隆朝大学士汪由敦和梁诗正撰写的题赞。\n图上钤有“乾隆鉴赏”、“三希堂精鉴玺”、“石渠宝笈”等印。\n据文献记载，当初朝廷为了供皇帝行猎围场之需要，宫廷特设“鹰狗处”。\n《啸亭续录》云：“鹰狗处，向在东华门内长街，设总统二人，以侍卫兼之，蒙饲御前鹰狗以备搜弥之用，其牧人皆以世家子弟充之，许其蟒袍纬帽，为执事人中之品最高者。\n壬戌今上以其非急务，命迁于东安广内长房。\n”从这段记载中可知，艾启蒙笔下所画的猎犬，多是“鹰狗处”豢养的猎犬，可谓是皇帝的宠物。\n艾启蒙仅仅是画有猎犬，而这些猎犬所处的环境，这些背景并非出自艾启蒙之手，而是为中国宫廷画家所作。\n这套画册虽只署艾启蒙一人，实际上是有中国画家的参与其事的。\n作者以西方的素描技法，运用解剖学，以短细的笔触一丝不苟地刻画出猎犬健美的体态和皮毛的质感，具有很强的写实性。\n如犬的身体，用多次烘染，分出受光和背光面：尤其注重皮毛质感的表现，注意猎犬的解剖结构，更突出了犬的真实感。\n这些都显示了欧洲绘画的特点，但从每幅画面上看，背景中所绘树石、坡陀等，从造型到技法，仍是典型的中国画。\n画家经多年来的观察和周密的研究，根据每一名犬的不同特性，将十条名犬分别安排于不同季节的自然环境中，十名犬的神情不一，曲尽其态、有正面、有侧面、有站立的、有卧伏的、有散步的、有蹲着的、有抬脚搔首的，也有跃跃欲扑的等。\n在毛皮色彩和斑纹上也各不相同，有红色的、白色的、黑色的、黄色的、棕色的，还有杂色的。\n正是这些不同的姿态和诸多的色彩，给绘画带来了活跃的气氛，引人注目。\n但总体来说所有的猎犬其共同之处都是腿长身细，腹部收缩，劲瘦有力，劲健灵动，擅长奔跑，肌肉肋骨，描绘逼真。\n每幅图的对开上均标明犬名，对宫廷御用犬的研究具有很高的史料价值。\n此图旧藏紫禁城内的乐寿堂。\n《石渠宝笈》著录。\n现藏于北京故宫博物院。\n艾启蒙（178—178年），字醒庵，原名Igntius Sickltart，波西米亚（今属捷克）人，天主教耶酥会传教士。\n乾隆十年（1745年）来华供奉内廷。\n他在清宫师从郎世宁，专擅绘人物、走兽和翎毛，力图在技法上达到中西合璧，在宫中产生了一定的影响。",[24,7,59,28,27,949,29,331,167,497,64,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f257f9a3674de63db64c41e1f3e40f.jpg",[],{"id":65633,"slug":65634,"title":65635,"dynasty":54,"author":65636,"museum":300,"description":65637,"tags":65638,"thumbUrl":65640,"material":84,"size":84,"collection":84,"collections":65641,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},228936,"jin-jian-shan-shui-si-ping-lu-yuan-228936","金笺山水四屏","陆远","平远构图层层铺陈，淡墨晕染的远山衔着隐约山居，渐次拉近，中景茅舍里士人对坐晤谈，小童负物行于林畔，野居意趣悠然尽显。近岸怪石嶙峋，古木虬曲苍劲，红叶枝桠点染出清秋意韵，秋水蜿蜒迂回，澄澈空明。\n笔墨利落，山石以小斧劈皴写就，苍劲硬朗；林木点染兼工带写，意态生动。金笺底色衬得画面古雅温润，整体意境萧疏淡远，将文人寄情林泉、安享幽居的雅怀尽数铺展。",[23,24,7,29775,65639,29,27,132,131,34,35,99],"四屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee574fd14a42eb307f4d37ff819902cb.jpg",[],{"id":65643,"slug":65644,"title":47407,"dynasty":124,"author":7961,"museum":300,"description":24204,"tags":65645,"thumbUrl":65646,"material":692,"size":1293,"collection":84,"collections":65647,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},228899,"shan-shui-tu-shan-mian-qian-gu-228899",[164,24,7,1131,128,27,132,29,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8fe0f246adff8469cb479bfc8b1f0cf.jpg",[],{"id":65649,"slug":65650,"title":65651,"dynasty":124,"author":223,"museum":300,"description":65652,"tags":65653,"thumbUrl":65654,"material":84,"size":84,"collection":84,"collections":65655,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},228797,"song-xia-fu-qin-tu-ye-yi-ming-228797","松下抚琴图页","松荫之下，皓首老翁席地而坐，凝神抚琴，垂眉静气间似将襟怀尽寄弦上。侧旁童子煨炉候立，青烟袅袅晕开夜色，与林间半露残月相映成趣。清辉漫过苔色坡岸，将山野的空阔静穆晕染得愈发幽寂。\n\n全幅设色清雅古淡，线条简逸空灵，以极简笔墨铺陈出林下雅集的幽旷意趣，将文人寄情山水、以琴明心的林下襟怀尽显无余，暗合尚简尚淡、追慕古意的审美意趣，悠悠古韵漫溢纸面，引人沉醉。",[23,24,164,7,59,27,28,96,331,231,438,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fc3b17d6c207455e34cbf09781ad9e.jpg",[],{"id":65657,"slug":65658,"title":65659,"dynasty":124,"author":223,"museum":300,"description":65660,"tags":65661,"thumbUrl":65662,"material":692,"size":1293,"collection":84,"collections":65663,"showCount":553,"zanCount":1998,"manualWeight":48,"mainColor":72},228794,"ming-xiao-kang-zhang-huang-hou-lu-zhi-die-yi-ming-228794","明孝康张皇后箓职牒","此《张皇后箓牒图卷》（孝康张皇后授箓图），全卷大致分为三个部分：第一部分为「三洞赤文總真仙簡」（云篆）、第二部分是五十二张神仙画像、第三部分是整张《箓牒》的正文，即文字部分，内容记录明孝康张皇后参加授箓，成为道教上仙玄君",[23,24,7,25,27,28,64,187,96,1975,170,938,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f967df2d9b493d13ce84a7a8fbe491e.jpg",[],{"id":65665,"slug":65666,"title":65667,"dynasty":124,"author":223,"museum":300,"description":65668,"tags":65669,"thumbUrl":65670,"material":84,"size":84,"collection":84,"collections":65671,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},228782,"fang-dong-yuan-xia-shan-tu-yi-ming-228782","仿董源夏山图","此作以长卷铺展全景江南夏山，烟波平湖与层叠丘壑相映，尽显董源山水平淡天真之致。山峦以披麻皴缓笔写就，层层晕染，尽显丘壑深秀。洲渚间林木扶苏，村舍错落于山麓水滨，渔舟静泊浅滩，处处流露江南水乡的悠然野趣。\n\n用墨温润苍厚，设色古雅沉静，复刻出原作浑厚华滋的质感，将盛夏山林的蓊郁葱茏、水色天光的澹澹交融尽皆铺陈，整体意境清和悠远，带着宋初山水的平和生机，虽为摹古之作，却得江南山水的闲逸真味，尽显文人山水的雅淡风神。",[23,24,7,25,29,330,27,132,496,34,31,1825,98,99,1515,211,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17443e12643edb2c4b0c7baa318363d.jpg",[],{"id":65673,"slug":65674,"title":65675,"dynasty":124,"author":204,"museum":300,"description":65676,"tags":65677,"thumbUrl":65678,"material":692,"size":1293,"collection":84,"collections":65679,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},228442,"mu-lv-tu-chou-ying-228442","募驴图","《募驴图》是一幅书画合卷,先有徐祯卿撰写《为朱君募买驴疏》,并附十位苏州文人的署名及出资金额,后由画家仇英补图,合成一卷.这幅合卷以艺术的方式纪念了为朱存理募资买驴这样一个现实事件,它将主人翁朱存理置于苏州文人的关系网络之中,他们的交往与活动映射出明代文人生活的雅趣.仇英的补图作为一幅为数不多的人物小品,理想化地呈现了先辈文人的风流遗韵,而这种补图也在某种程度上反映了他的精神归属和对于吴中文人集团的文化认同.",[24,7,25,188,96,102,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2182a1352bb51ed21369761f8cd2a8ad.jpg",[],{"id":65681,"slug":65682,"title":65683,"dynasty":124,"author":3089,"museum":300,"description":65684,"tags":65685,"thumbUrl":65686,"material":84,"size":84,"collection":84,"collections":65687,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},228386,"mei-hua-you-niao-bian-wen-jin-228386","梅花幽鸟","《画里珍禽》是1978-1 出版的图书，作者是台北故宫博物院。\n宋 惠崇 秋浦双鸳 马麟 暮雪寒禽 李安忠 竹鸠 林椿 杏花春鸟 宋人 乳鸭 桑枝黄鸟 画子母鸡图 画秋塘双雁 竹石鸠子图 梅竹聚禽图 元 王渊 鹰逐画眉 边文进 梅花幽鸟 明 陆治 双奚图 林良 秋鹰 吕纪 雪景翎毛 吕纪 杏花孔雀 孙龙 柔桑戴胜 清 朗世宁 樱桃桑 清人 画蓝靛颏 黑白图版 明 沈周 画鸭 沈周 画鸽 明 沈周 鸠 吕纪 寒雪山奚图 参考图版 图版说明 附英文总说明与目录",[24,7,59,28,27,61,650,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c355535bc70bc33372e8610ce16f087.jpg",[],{"id":65689,"slug":65690,"title":65691,"dynasty":124,"author":223,"museum":300,"description":65692,"tags":65693,"thumbUrl":65696,"material":84,"size":84,"collection":84,"collections":65697,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},228381,"ming-xuan-zong-ma-shang-xiang-zhou-yi-ming-228381","明宣宗马上像轴","画面中帝王骑乘骏马缓行，明黄官袍衣袂微曳，神态从容悠然，尽显松弛闲适的帝王气度。骏马昂首扬蹄，身姿矫健灵动，将驰行动感完美呈现。\n\n背景浅沙平滩之上，芦荻随风轻摆，水鸟掠沙振翅，烘托出郊野清旷疏朗的意趣。整作设色柔和古朴，工细雅致，人物鞍马刻画写实精准，兼具肖像纪实性与山水画的淡远意境，将宫廷驰游的闲逸图景晕染恰到好处，是明代鞍马人物画的精妙之作。",[164,24,7,165,27,28,96,101,211,65694,7997,36315,10803,65695],"芦荻","鞍马人物画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F845b19d053221e30bd84e4eca72a4d5f.jpg",[],{"id":65699,"slug":65700,"title":46326,"dynasty":124,"author":1270,"museum":300,"description":65701,"tags":65702,"thumbUrl":65703,"material":84,"size":84,"collection":84,"collections":65704,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},228361,"da-mo-du-jiang-tu-sun-ke-hong-228361","少林七十二绝技之一，又名一线穿、一苇渡江、又名水上飞行术，俗名踩软绳，即说部中所谓蹬萍渡水、踏雪无痕之功夫也。\n乃轻身功夫之一种，为 内壮 。\n为 的一种,能凭借柔软之物在水上等场所前进。\n相传达摩在南方传道已毕，返回时路遇一江无船可渡，折江边芦苇，抛入江中，踏苇过江。\n故后以此命名此功。\n少林七十二绝技之一,又名一线穿,一苇渡江、又名水上 ，俗名踩软绳，即说部中 所谓蹬萍渡水、踏雪无痕之功夫也。\n乃轻身功夫之一种，为软功内壮 。\n为轻功的一种,能凭借柔软之物在水上等场所前进。\n之一，又名 、 、又名水上飞行术，俗名踩软绳，即说部中所谓蹬萍渡水、 之功夫也。\n乃轻身功夫之一种，为软功内壮 。\n为轻功的一种,能凭借柔软之物在水上等场所前进。\n相传 在南方 已毕，返回时 一江无船可渡，折江边芦苇，抛入江中，踏苇过江。\n故后以此命名此功。\n凭借此功可借竹苇等在水面横行自如，属上乘轻功，非十年苦功不可得。\n其练法殊 非易易，然苟能坚心意志练习，不难成功。\n其法分数步， 入手之初，与飞行功、轻身术相同。\n即先带铅砂，在平地上练习飞驰 ，然后在山路上练习跳跃，更放石块于簸箩中，在其边上行走，逐渐 取去石块，至能在空簸箩边上行走后，即走沙道。\n以上各法，已详见 飞行功、轻身术练法中。\n惟两腿所束之铅砂，亦须按前法以猪血浸炼 ，使成死铅，始可应用。\n带铅以每腿四两起，至五斤为度，平时宜以 药水洗腿，以防损害。\n沙道走过之后，则走棉纸，用厚约三四寸之棉 纸，铺于沙道之中，人行其上，至足印不下陷时，此第一步功夫成。\n然后更以细长之木，系其两端，悬空际，约高二三尺，人即于木上往 来飞行。\n初时木心因承重之故，宕动不已，直要练得人行其上，丝毫 不动为上，至此更易木为巨绳，其法竖竹架，以巨绳横扣于架之两端 ，人于绳上行走，即如现在江湖卖解场中，即俗所谓跑马戏者，所常 见之走绳索是也。\n绳质较软，一着足必向下陷，尤易左右摇摆，不如 木之来往荡动，故练此步功夫亦较为难，直练至人行绳上，绳能不荡 不摇，则第二步功夫成。\n从此将逐渐减细，至粗不盈指之绳，亦能任 意往来于绳上，亦不荡不摇，则第三步功夫成。\n然后以最细之连绳行 之，亦能行走自如者；再将其绳两端系于河之两岸，将绳横拦于河之 水面上，仍按前法行之，能行走自如，则全功成矣。\n功成之后，可在 水面飞行，所谓水面飞行者，亦须略有假借，须用一质地轻浮之物， 如竹片木杆芦苇等物，掷于水面，人即可身立其上，推之前进也。\n余 如浮萍薄草密集之处，菱角荷叶丛生之所，亦可在上行走。\n昔日达摩老祖，传道已毕，只身西去，即以一苇渡江，即系此种功夫。\n然习此种功夫，非十余年苦功，则无以成，且须静心虚气以习之。\n洗腿药水，即以地骨皮、食盐各等量入，煎水乘汤热洗之，则血气融和，皮肤舒畅，上下交感体气究实矣。\n达摩－中国禅宗初祖。\n南天竺婆罗门人，原名菩提多罗，是南天竺香玉王的第三子，禅宗二十七至祖般若多罗到该国传法，菩提多罗从他学法，很得般若多罗的赏识，就给他改名为达摩，意译为道法，是达摩已通达到法的意思。\n梁武帝普通年到达广州，梁武帝闻其名，迎入金陵，但观念不相契合，达摩悄然北上。\n途经北江，没有渡江的工具，遂将一束苇草置于江面，踏蹑而渡。\n「达摩一苇渡江，栾巴噀酒灭火。\n」后至北魏，所到之处，以禅法教人。\n达摩的事迹，随着禅宗的发展，渐趋神异，并成为中国画家、瓷艺家所爱的题材。\n“一苇渡江”明清德化窑达摩瓷塑上常常以此为题材。\n此图为明 的“达摩渡江图”，现藏宁波“天一阁”。\n这件“达摩渡江图”正是道释人物，画的很细腻，宗梁楷“细笔”一类画风。\n人物回首顾盼，两目突出，神采毕现。\n衣纹线条虽简，但非常概括，转折有力。\n此画虽是细写，却有意笔效果。\n孙克弘（15－1611）一作克宏，字允执，号雪居， 人。\n父为进士承恩。\n孙克弘以父荫入仕，官至汉阳太守。\n孙克弘生性巧慧，声音洪亮，状貌疏野，在居处四壁上画苍松老柏。\n善书法，画上常题隶书。\n绘画擅花鸟、人物，有资料说写道释人物则学梁楷。",[23,24,7,165,187,28,27,96,208,170,4505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc49e44cbbf6c2d7b966e9e401cadc7c7.jpg",[],{"id":65706,"slug":65707,"title":65708,"dynasty":144,"author":223,"museum":300,"description":65709,"tags":65710,"thumbUrl":65711,"material":84,"size":84,"collection":84,"collections":65712,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},228238,"fei-yan-tu-wan-shan-yi-ming-228238","飞燕图纨扇","此幅纨扇小品笔墨简淡却意趣盎然。虬曲的老柳占据一隅，浓墨写出苍劲老干，尽显风霜质感，柔细柳条轻曳飘拂，笔致清逸，将春柳的柔媚姿态晕染开来。枝头禽鸟各具情态，或静栖缩羽，或侧目顾盼，寥寥数笔便点染出灵动生机。空中飞燕振翅穿掠，墨色浓淡变化间，将疾飞之姿精妙定格。\n\n画面留白开阔，淡墨轻勾远坡，衬出天地空寂，把暮春时分清寂又暗含生机的氛围铺陈开来。全作用笔极简却意韵悠长，以水墨写意之法，将春日禽柳共生的雅致生机藏于尺幅之间，尽显空灵简淡的文人意趣。",[23,24,7,1131,128,211,331,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15ce88bcd629a6b17d680a5dd4e32460.jpg",[],{"id":65714,"slug":65715,"title":54840,"dynasty":144,"author":7181,"museum":300,"description":65716,"tags":65717,"thumbUrl":65718,"material":84,"size":84,"collection":84,"collections":65719,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},228052,"yi-mu-yu-fu-tu-juan-bai-miao-quan-juan-wang-zhen-peng-228052","此作为白描神品，线条劲挺匀细如春蚕吐丝，流畅自然。将育佛场景铺陈得细腻入微，人物衣袂褶皱流转灵动，发丝、璎珞等细节毫厘毕现，尽显对线条的极致把控能力。\n\n画面叙事悠然，姨母的温婉慈爱，幼佛的沉静安然，侍从的恭谨神态跃然纸上，场景层次分明，静谧祥和的宗教氛围扑面而来。全卷未施丹青，仅以浓淡变化的墨色便勾勒出织物的柔软、金属的冷硬，将宗教题材的庄严与俗世温情完美融合，尽显白描的高深造诣，是古典线描宗教人物画的上乘之作。",[23,164,24,7,25,187,188,96,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a9d0065345992856348ca48994de99e.jpg",[],{"id":65721,"slug":65722,"title":65723,"dynasty":18,"author":65724,"museum":300,"description":65725,"tags":65726,"thumbUrl":65727,"material":84,"size":84,"collection":84,"collections":65728,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},227957,"tian-tai-shi-qiao-luo-han-tu-zhou-chang-ji-lin-ting-gui-227957","天台石桥－罗汉图","周常季、林庭珪","此作画境清寂出尘，飞瀑垂泻于危崖之间，古木横生为桥，连通绝险山径。下方三罗汉神态各殊，或抬首凝神远望云端仙侣，或侧身静听，衣纹以铁线描勾勒，敷色调和古雅，将僧者的肃穆憨态刻画入微。\n\n远景云气翻涌，琼楼半隐烟岚，虚实相映衬出凡尘寻仙的幽远意境。画作将禅意融于山水丘壑，人物点缀林泉之间，罗汉的沉静好奇与云山缥缈相融，尽显清逸禅韵，把世外寻仙的悠远意趣藏于笔墨之中，雅致空灵，余味悠长。",[23,24,164,7,27,28,187,96,29,131,495,4797,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd599052eea77d54ae9e6e164b8670b7.jpg",[],{"id":65730,"slug":65731,"title":65732,"dynasty":18,"author":43331,"museum":300,"description":65733,"tags":65734,"thumbUrl":65735,"material":84,"size":84,"collection":84,"collections":65736,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},227945,"yue-xue-ning-su-qi-jue-tuan-shan-yang-huang-hou-227945","瀹雪凝酥七绝团扇","此作笔致清婉端丽，点画匀停秀雅，自带雍容静和之气。诗作咏叹秋日桂与蔷薇，墨色沉静古雅，与泛黄绢本相融，晕开宋人风雅意趣。\n字里行间带着娴静的宫廷意韵，起收笔温婉雅致，结体舒展匀停，既有唐楷的端整法度，又暗合行书的灵动意趣，将宋诗的清隽意境，融于笔墨之中。朱红古印错落排布，与墨色、古绢相得益彰，尽显雅致的文人赏玩之态，把秋日幽居赏景的闲淡心境，藏进娟秀笔墨里，是宋韵书法小品里精巧动人的佳作。",[23,164,24,7,1131,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc166f2bbfc37bdd49a9365eb4b90133.jpg",[],{"id":65738,"slug":65739,"title":65740,"dynasty":18,"author":223,"museum":300,"description":65741,"tags":65742,"thumbUrl":65743,"material":84,"size":84,"collection":84,"collections":65744,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},227894,"hu-ting-you-lan-tu-yi-ming-227894","湖亭游览图","这幅小品以圆框取景，铺展出一片幽寂湖山。澄澈湖面托着水畔亭台，飞檐翘角掩映在葱郁林木间，隐约可见亭边悠游的人影，将游园的闲散意趣藏在细节里。\n\n远山以淡墨晕染，轻笼在如烟暮色中，与近景亭台的精工刻画形成虚实对照，层层晕开江南湖山的清旷含蓄。整体色调古雅沉静，笔意简淡秀润，没有繁复皴擦，却将水色空濛、林影幽深的氛围感烘托尽致，仿佛能窥见千年前的临水凭栏，偷得浮生半日闲的悠然意境，尽显以小见大的雅致情致。",[23,164,24,7,1131,95,28,27,29,130,34,96,97,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dde8b70cacf16880e6a0c9d4be81a8c.jpg",[],{"id":65746,"slug":65747,"title":65748,"dynasty":18,"author":223,"museum":300,"description":65749,"tags":65750,"thumbUrl":65752,"material":84,"size":84,"collection":84,"collections":65753,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},227892,"qing-xi-feng-fan-tu-ye-yi-ming-227892","清溪风帆图页","此作用平远之法铺陈烟水湖山，近岸苍松劲拔，带着清森之气破开画角。淡墨晕染出层叠远岫，像被晨雾揉碎的黛色剪影，晕在空濛天际间。洲渚上林木成簇，在水面投下浅淡的墨色倒影。\n\n扬帆的扁舟缓行于清溪之上，船舷破开如镜的水面，为这片岑寂的山水漾开灵动涟漪。全作以水墨轻施淡染，设色清浅雅致，笔法简净秀润，将江南水乡暮霭初升时的清旷萧远尽数铺展。静穆山色与行舟动势相映，于简淡留白中晕开含蓄悠远的意韵，把烟水空蒙的湖山诗意凝在尺幅之间，引人坠入这片安谧清和的烟岚水色中。",[23,24,7,4437,128,27,29,129,65751,34,499,415,208],"风帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6a87e6aea99e632e951e926931693c8.jpg",[],{"id":65755,"slug":65756,"title":65757,"dynasty":18,"author":223,"museum":300,"description":65758,"tags":65759,"thumbUrl":65761,"material":84,"size":84,"collection":84,"collections":65762,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},227862,"zao-qiu-ye-po-tu-yi-ming-227862","早秋夜泊图","此作用细腻铁线描勾勒两艘泊船，舱室回廊、高耸桅杆皆刻画入微，淡赭轻敷点缀舱间细节，古拙雅致。远景水榭楼台隐在朦胧夜色间，烟水空濛晕染开早秋清寒。\n画面以小景写幽情，将旅人行舟暂歇的安然揉进静谧江色里，写实中带着诗意澹远，尽显宋人体察日常的雅致笔力，把初秋江上夜泊的清寂况味铺陈开来，淡而不寡，静中藏着羁旅安然的意趣。",[23,24,7,95,27,28,100,97,228,29,65760],"早秋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9709ec5d8d3f68db6c128de0f7e73a9.jpg",[],{"id":65764,"slug":65765,"title":65766,"dynasty":18,"author":223,"museum":300,"description":65767,"tags":65768,"thumbUrl":65769,"material":84,"size":84,"collection":84,"collections":65770,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},227851,"shan-ju-dui-yi-tu-yi-ming-227851","山居对奕图","此作以边角取景，尽显空灵淡远的韵致。右侧山居隐于苍松荫翳之下，屋舍素朴雅致，藏着林泉高隐的闲趣。古松虬曲苍劲，墨色苍润勾勒出老干新枝的清劲姿态，左侧松枝斜出，与右侧景致遥相呼应。\n\n大片留白晕染出烟岚空濛的远山，虚渺朦胧如幻似真。设色淡雅清润，水墨晕染出江南山霭的柔婉，尺幅之间铺陈出世外幽居的恬然意境，将林泉高致藏于简淡取景之中，于方寸间见天地悠远，尽显山水小品以小见大的隽永之美。",[23,164,24,7,1131,27,132,29,413,130,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe44c22249e2b9611ed2dc25841e8fab.jpg",[],{"id":65772,"slug":65773,"title":65774,"dynasty":18,"author":1323,"museum":300,"description":65775,"tags":65776,"thumbUrl":65777,"material":84,"size":84,"collection":84,"collections":65778,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},227738,"shen-pin-tu-li-song-227738","神品图","李嵩（1166—1243），中国南宋画家，钱塘（今浙江杭州）人。少年时曾为木工，后成为画院画家李从训的养子，绘画上得其亲授，擅长人物、道释，尤精于界画，为光宗、宁宗、理宗（1190一1264）时期画院待诏。\n\n李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传至今日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》《水殿招凉图》《观潮图》《西湖图》《仙山瑶涛图》《骷髅幻戏图》《观灯图》《柳塘聚禽图》《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[23,24,164,7,1131,95,27,28,29,97,96,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf4d68682181dca7241b159da51e2ccc.jpg",[],{"id":65780,"slug":65781,"title":23369,"dynasty":18,"author":2099,"museum":300,"description":47198,"tags":65782,"thumbUrl":65783,"material":84,"size":84,"collection":84,"collections":65784,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},227612,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-227612",[23,24,7,25,188,128,96,29,129,130,211,99,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fada9312dd485017bc4fab757eba67b6c.jpg",[],{"id":65786,"slug":65787,"title":65788,"dynasty":18,"author":2099,"museum":300,"description":63865,"tags":65789,"thumbUrl":65790,"material":84,"size":84,"collection":84,"collections":65791,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},227603,"wo-long-shan-tu-san-li-gong-lin-227603","卧龙山图三",[23,164,24,7,188,27,132,29,495,96,497,34,499,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86cf7dfa3ac26e73c0d8e4ff415bef90.jpg",[],{"id":65793,"slug":65794,"title":65795,"dynasty":18,"author":2099,"museum":300,"description":63865,"tags":65796,"thumbUrl":65797,"material":84,"size":84,"collection":84,"collections":65798,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},227602,"xian-xian-shi-shi-tu-juan-li-gong-lin-227602","先贤事实图卷",[23,24,7,25,188,96,101,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcddbbbc9cefdf5bedca92f7ccdb5a151.jpg",[],{"id":65800,"slug":65801,"title":45746,"dynasty":18,"author":2099,"museum":300,"description":65802,"tags":65803,"thumbUrl":65804,"material":84,"size":84,"collection":84,"collections":65805,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},227583,"qun-xian-gao-hui-tu-juan-li-gong-lin-227583","李公麟（1049年－1106年），北宋画家。字伯时，号龙眠居士，舒州（今安徽桐城）人。\n\n进士出身，历南康、长垣尉、泗州录事参军，官至朝奉郎。擅画人物、佛道像，吸取历代流派之长，自创一格，多用线描，笔法如行云流水，而不设色，生动地表现了人物的神情意态，人称“白描”；尤精擅画鞍马，常观察群马生活，求其变化，下笔形神兼备。注重写生，画技博取前人之长，承继顾恺之、吴道子等人笔法，在新画中表达新义。 《十八罗汉渡江图》画中人物按未渡者、方渡者、已渡者三组依序进场，人物神态，栩栩如生。李公麟画作时人评价甚高，宋徽宗曾赞他为当朝最重要画家。元符三年（1100年）病痹告老，隐居龙眠山，号龙眠居士。\n\n存世作品有《五马图》、《临韦偃牧放图》等。",[23,24,7,25,188,29,96,97,211,171,130,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173ecc080401c62a94a56f59342ed64d.jpg",[],{"id":65807,"slug":65808,"title":65809,"dynasty":18,"author":7553,"museum":300,"description":65810,"tags":65811,"thumbUrl":65812,"material":84,"size":84,"collection":84,"collections":65813,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},227523,"jiang-cun-tu-yan-wen-gui-227523","江邨图","淡墨晕开浩渺寒江，远山隐在烟霭之中，只剩浅淡轮廓，留白铺就冬江的空寂清寒。近岸枯木虬曲苍劲，枝桠带着萧寒肆意舒展，坡岸茅舍半掩，水畔小舟静泊，似候归人。\n\n整幅画色调清润冷寂，以留白晕染出空濛辽远意境，将江村冬日的荒寒淡远勾勒尽致。取景极简却意蕴悠长，淡墨皴擦与留白相映，把江天冬景的静穆萧寒藏于笔底，寥寥数笔烘托出幽寂澹泊的隐逸氛围，尽显山水以简驭繁，于淡远间见深致的隽永意趣。",[23,24,7,1131,128,132,29,129,130,331,171,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b7d2658158078a79f9c64679dd76f46.jpg",[],{"id":65815,"slug":65816,"title":65817,"dynasty":18,"author":223,"museum":300,"description":65818,"tags":65819,"thumbUrl":65820,"material":84,"size":84,"collection":84,"collections":65821,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},227380,"qiu-zhu-wen-qin-tu-yi-ming-227380","秋渚文禽图","深秋时节，荷叶枯萎，数枝折断，叶面已破成网。 几只野灵飘散散落，河岸上的两只野鸭在秋荷塘畔，悠闲地享受着秋日的阳光。",[24,7,1131,28,27,61,6509,168,228,1314,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d2ab1fd7d2ce25074ac44af4540be96.jpg",[],{"id":65823,"slug":65824,"title":65825,"dynasty":18,"author":223,"museum":300,"description":65826,"tags":65827,"thumbUrl":65828,"material":692,"size":1293,"collection":84,"collections":65829,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},227340,"fo-jing-yi-ming-227340","佛经","佛教经典：统称；藏经，俗称；佛经，也叫《大藏经》，一般由经、律、论三部分组成。“ 经”是指释迦牟尼佛亲口所说，由其弟子所集成的法本，“律”是指佛陀为其弟子所制定的戒条，“论”是佛陀的弟子们在学习佛经后所得的心得。",[24,7,165,187,96,188,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09e1c215fe28243622481e4fd5587d6c.jpg",[],{"id":65831,"slug":65832,"title":65833,"dynasty":54,"author":33849,"museum":300,"description":65834,"tags":65835,"thumbUrl":65836,"material":692,"size":1293,"collection":84,"collections":65837,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},224576,"song-he-bo-tao-cheng-shan-qing-ren-224576","松鹤波涛成扇","苍松虬枝蟠曲，墨色沉凝勾勒出古木苍劲，针毫细密如攒聚霜雪。两只仙鹤姿态隽秀，一鹤引颈唳空，似欲振翅穿云，一鹤垂首理羽，悠然栖于松畔。侧边细笔晕出水波层叠，柔浪轻漾将松间清旷揉入烟波浩渺之中。\n\n旧纸泛黄晕开岁月痕迹，木骨凝住旧时光阴，整幅小品将祥瑞意趣藏在简净笔墨里，把林泉野趣收于盈尺扇面。落笔克制却意韵悠长，雅致笔墨与吉庆意涵相融，是耐人品味的小品佳构。",[24,7,1131,27,128,28,372,722,61,29,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5bc17a44121d5340a0e044499da1455.jpg",[],{"id":65839,"slug":65840,"title":65841,"dynasty":54,"author":4083,"museum":300,"description":65842,"tags":65843,"thumbUrl":65844,"material":84,"size":84,"collection":84,"collections":65845,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},224418,"shu-hua-shi-liu-kai-4-wang-shi-min-224418","书画十六开-4","此作用笔苍浑秀润，追摹元人萧散意趣。层岩叠岫间古松虬曲，苔点皴染遍覆崖身，青绿敷色沉静古雅，恍若旧时光晕晕染纸面。飞泉漱石，流云出岫，将山巅晕出空濛仙气。澄江如练，渔翁独棹扁舟欸乃行于江心，静澜载闲，把江湖幽寂融于笔底。林麓间隐见山居茅亭，石径通幽暗合林下隐逸之思。整幅画将山林深秀与江湖闲逸织为一体，于青绿妍秀中藏文人淡远襟怀，尽显寄情林泉的雅逸意趣。",[23,24,7,27,26,132,29,129,99,98,34,131,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc562462de56224602031cb4887c257ca.jpg",[],{"id":65847,"slug":65848,"title":65849,"dynasty":54,"author":1676,"museum":300,"description":65850,"tags":65851,"thumbUrl":65852,"material":84,"size":84,"collection":84,"collections":65853,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},224311,"hua-niao-ce-shi-kai-10-li-shan-224311","花鸟册十开10","此作兼工带写，将秋菊清灵之态尽显纸上。蓝紫、粉白花瓣晕染柔润通透，明黄花心点醒生机，枝叶勾勒挺劲简练，水墨与淡彩相融，既留存秋菊鲜活质感，又带着写意疏放意趣。\n\n右侧题诗行书纵逸跌宕，笔意洒脱，诗画相映，将文人爱菊幽思寄寓花枝之间。整体色调清雅妍丽，于浅淡间尽显秋花隽逸风姿，将写生鲜活与文人写意随性相合，寥寥笔墨间生机盎然，诗画合璧更添雅韵，尽显文人花鸟画的悠然意趣。",[23,24,7,59,27,369,61,376,1039,549,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff642fb405bfa754a4ff7754cc7ac83e5.jpg",[],{"id":65855,"slug":65856,"title":65857,"dynasty":54,"author":46694,"museum":300,"description":65858,"tags":65859,"thumbUrl":65860,"material":84,"size":84,"collection":84,"collections":65861,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},224268,"fang-fan-zhong-li-fei-quan-zhan-dao-tu-zhao-cheng-224268","仿范中立飞泉栈道图","画作以雄奇主峰撑起画面骨架，山石皴刻硬朗厚重，遍覆蓊郁林木，尽显苍浑朴拙之气。山谷间云气氤氲，将上下景致晕出空濛层次，飞泉隐于林间，栈道盘绕崖壁，楼阁依险而建，既衬出山势的崔嵬险峻，也勾勒出山居的幽邃雅趣。笔墨追摹北派山水的雄浑风骨，沉雅的设色晕染开古厚氛围，把山野间的浩荡大气与林泉间的静谧隐逸相融，让观者仿佛踏入烟岚深处，尽览崖间飞泉与盘道山居的世外之景。",[23,24,7,27,132,95,29,32461,6290,131,34,37,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff52a3ff265b1f216bdf8767877e88f38.jpg",[],{"id":65863,"slug":65864,"title":65865,"dynasty":54,"author":19884,"museum":300,"description":65866,"tags":65867,"thumbUrl":65868,"material":84,"size":84,"collection":84,"collections":65869,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},224264,"hua-wan-hu-chao-tian-zhou-zhang-zong-cang-224264","画万笏朝天轴","群峰如笏攒立，拔地参天，以干笔皴擦勾勒山石肌理，苍浑厚重，尽显雄奇壮阔之势。山坳溪畔，林舍错落，浅滩回溪萦绕村居，杂木疏密有致，枯荣相映，晕染出江南山野的温润清宁。\n\n整幅笔墨兼具精整法度与文人雅致，皴擦点染层次分明，将峰岳的沉雄高旷与乡居的悠然意趣相融，左上题诗呼应画境，把自然山川的形神与林泉雅怀合为一体，勾勒点染间尽显山水清旷高华之态。",[24,7,165,128,132,29,131,34,1515,99,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66bff8c39fbab376a96a62831c8d9ff4.jpg",[],{"id":65871,"slug":65872,"title":11060,"dynasty":18,"author":223,"museum":300,"description":65873,"tags":65874,"thumbUrl":65875,"material":84,"size":84,"collection":84,"collections":65876,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},223595,"pan-che-tu-yi-ming-223595","“盘车图”题材常见于传统绘画作品，通常描写人力、畜力车辆行进出盘曲的山路间，或运粮、运货，或载人涉渡。\n此图描绘盘曲艰险的山间栈道上，脚夫们赶着黄牛驾车奋力上坡。\n向屋后眺望，林木尽头是无数的山峦烟岫。\n图中以苍浑粗括的笔墨勾勒山峰树石，风格沉郁，山石的画法受郭熙的影响，是宋人无款画中的杰作。\n【名称】盘车图 【作者】佚名 盘车图—— 轴，绢本设色，纵19厘米，横49.5厘米",[23,164,24,7,165,28,132,128,27,29,97,131,34,96,49636,690,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd204e4e2690ab8ea1c2e1bad1290acde.jpg",[],{"id":65878,"slug":65879,"title":65880,"dynasty":18,"author":223,"museum":20,"description":51477,"tags":65881,"thumbUrl":65882,"material":253,"size":65883,"collection":84,"collections":65884,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},223590,"fan-qi-tu-yi-ming-223590","番骑图",[23,164,24,7,25,28,27,96,101,31182],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F792f8737e0cca0585a895623b1b869be.jpg","27.4x127",[],{"id":65886,"slug":65887,"title":65888,"dynasty":144,"author":223,"museum":300,"description":65889,"tags":65890,"thumbUrl":65891,"material":692,"size":1293,"collection":84,"collections":65892,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},223554,"shen-shan-ta-yuan-tu-ye-yi-ming-223554","深山塔院图页","原为团扇,试变其章法,略师其笔意。未知能得董巨幽淡天真之境否。",[23,24,164,7,59,27,132,29,97,18542,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89109ce6e6723a87ee1887eb4a597da7.jpg",[],{"id":65894,"slug":65895,"title":65896,"dynasty":18,"author":223,"museum":224,"description":65897,"tags":65898,"thumbUrl":65899,"material":514,"size":65900,"collection":84,"collections":65901,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},223535,"jiang-cun-tu-yi-ming-223535","江村图","图绘江水平缓，江上一叶扁舟，舟子撑杆而行。两岸绿树成林，屋舍隐隐。",[23,164,24,7,29,27,132,99,129,331,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fb83e60ab9c09c2a0483f69fb55353f.jpg","24.1x25.4",[],{"id":65903,"slug":65904,"title":65905,"dynasty":18,"author":223,"museum":465,"description":65906,"tags":65907,"thumbUrl":65908,"material":40,"size":65909,"collection":84,"collections":65910,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},223469,"gui-qu-lai-ci-shu-hua-juan-yi-ming-223469","归去来辞书画卷","此图出自东晋末陶渊明不愿为五斗米折腰，离开宦场而作的抒情小赋《归去来兮辞》。卷首是陶渊明像，后一图一文依次描绘了他辞官后，其归隐的生活情趣和内心轻松愉悦的感受。",[23,24,7,25,27,28,29,96,97,98,99,129,34,130,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d4c6140c5f57b11d67f190f51d137d6.jpg","30x438.6cm",[],{"id":65912,"slug":65913,"title":61342,"dynasty":18,"author":223,"museum":20,"description":65914,"tags":65915,"thumbUrl":65916,"material":561,"size":65917,"collection":84,"collections":65918,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},223455,"shan-ju-shuo-ting-tu-ye-yi-ming-223455","亭前溪流湍急，屋内繁茂。 枕上云雾缭绕，山峰若隐若现，附近巨石被茅草覆盖。 颜色素雅朴素，寓意淡雅淡泊。 此页为南宋绘画风格。 山石为“铁包”，周围的李塘被刮削，丛生枝叶坚硬坚硬，与唐帝传世作品无异。",[23,24,7,59,27,29,34,35,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d5997a3e43645f9898edc9443b41145.jpg","纵25cm; 横25.4cm.",[],{"id":65920,"slug":65921,"title":65922,"dynasty":18,"author":223,"museum":161,"description":65923,"tags":65924,"thumbUrl":65925,"material":3785,"size":65926,"collection":84,"collections":65927,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},223390,"gu-bai-gui-qin-tu-yi-ming-223390","古柏归禽图","该图左侧塘岸土坡，白梅一枝斜出，枝上梅花怒放，枝下茶花、水仙盛开。两只野鸭嬉戏于水中，顾盼生姿，逗人喜爱。对岸土坡败苇稀疏，两只蓝色的小鸟前后相随飞向远方，从而把观赏者的视线引向画外，达到画有尽而意无穷的艺术效果。",[23,24,7,1131,61,28,27,24515,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41fd9a9d79ded1b45f0708614eb8c2a9.jpg","23.5X24.7cm",[],{"id":65929,"slug":65930,"title":65931,"dynasty":144,"author":223,"museum":244,"description":65932,"tags":65933,"thumbUrl":65935,"material":66,"size":65936,"collection":84,"collections":65937,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},223363,"jia-he-tu-zhou-yi-ming-223363","嘉禾图轴","古时以农业为主，稻生双穗，或稻产丰收，是一种祥瑞，也称之为嘉禾。 画中这一丛稻长得比一般的稻子高大，茎叶茂盛，稻穗饱满沉重，显现出丰收的预兆。在用笔上，除稻穗外，都用花青和赭石以没骨法染画而成。嘉禾顶立在画幅中央，构图非常单纯，主题强烈，有著简朴而新顷之感。",[24,7,164,4057,165,27,28,65934,36646],"禾苗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d87598008164e5b421594bb0b941400.jpg","190.2x67.9公分",[],{"id":65939,"slug":65940,"title":65941,"dynasty":18,"author":223,"museum":20,"description":65942,"tags":65943,"thumbUrl":65944,"material":514,"size":65945,"collection":84,"collections":65946,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},223337,"wu-jiu-wen-qin-tu-yi-ming-223337","乌桕文禽图","图为雪侯河所写，天色阴沉，老梅初出。 树栖带状鸟有明亮而腐烂的羽毛。 自制的图画和家禽文字，大多是在明媚的春光下。 这独特的画面与冬天的杀戮场景形成了鲜明的对比，极为巧妙。 树下溪流湍急，水花四溅，岸边的岩石上都被雪覆盖着。 画家以水墨染天空，以白粉表现雪，以白力描绘流水，气势磅礴。 河岸的独特表现是强大的。 岩石和水的侵蚀形成的蜂窝形状是另一种前所未有的创新方法。",[23,164,24,7,61,28,27,1337,1400,99,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd2250b3999f22bfd04a74cdeb074f66.jpg","27.5x26.9厘米",[],{"id":65948,"slug":65949,"title":65950,"dynasty":54,"author":6946,"museum":18494,"description":59999,"tags":65951,"thumbUrl":65952,"material":734,"size":60002,"collection":84,"collections":65953,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},223320,"fa-jie-yuan-liu-tu-jing-pian-3-ding-guan-peng-223320","法界源流图镜片-3",[23,24,7,27,28,187,96,34,189,99,211,131,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8036ab112b4fe78ab2d095a7d737962d.jpg",[],{"id":65955,"slug":65956,"title":15896,"dynasty":54,"author":10177,"museum":20,"description":60016,"tags":65957,"thumbUrl":65958,"material":84,"size":15901,"collection":84,"collections":65959,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},223218,"geng-zhi-tu-ce-jiao-bing-zhen-223218",[164,24,7,59,28,27,95,96,97,247,34,249,35,7345,15551],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a7d23a4022a2082587574e5d05a51e.jpg",[],{"id":65961,"slug":65962,"title":65963,"dynasty":54,"author":3437,"museum":244,"description":38649,"tags":65964,"thumbUrl":65965,"material":27,"size":65966,"collection":84,"collections":65967,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},223100,"fang-fan-kuan-hua-fu-zhou-tang-dai-223100","仿范宽画幅轴",[23,24,7,165,1349,27,132,330,663,1314,413,37,3387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e0f7f8016183e9f28c29a883a1292e5.jpg","123.5x69.3",[],{"id":65969,"slug":65970,"title":6956,"dynasty":54,"author":6957,"museum":300,"description":6958,"tags":65971,"thumbUrl":65972,"material":84,"size":84,"collection":84,"collections":65973,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},223086,"shui-hu-ren-wu-ren-xun-223086",[23,24,7,27,28,96,15819,170,5626,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F307d09549e6fc3cbab22c6f44fb6ca5f.jpg",[],{"id":65975,"slug":65976,"title":65977,"dynasty":54,"author":7872,"museum":424,"description":7873,"tags":65978,"thumbUrl":65981,"material":151,"size":7879,"collection":84,"collections":65982,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},222991,"hong-lou-meng-116-sun-wen-222991","红楼梦116",[23,24,7,28,27,96,97,247,34,170,304,65979,65980,48400],"古典","宅院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c8217e8f18e9ef826f5001f879ba044.jpg",[],{"id":65984,"slug":65985,"title":65986,"dynasty":54,"author":16583,"museum":1185,"description":32663,"tags":65987,"thumbUrl":65988,"material":6091,"size":32666,"collection":84,"collections":65989,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},222655,"zhi-hua-xi-lie-zhi-hua-huang-kui-gao-qi-pei-222655","指画系列-指画·黄葵",[23,24,7,29104,27,61,547,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b0ce3f18048b91891f1a7b57b539978.jpg",[],{"id":65991,"slug":65992,"title":65993,"dynasty":54,"author":3820,"museum":56,"description":33334,"tags":65994,"thumbUrl":65995,"material":6369,"size":64059,"collection":84,"collections":65996,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},222615,"shan-shui-ba-jing-5-gong-xian-222615","山水八景-5",[23,24,7,59,128,132,29,331,130,131,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fa329c651f4d05a616990e35cfffa22.jpg",[],{"id":65998,"slug":65999,"title":66000,"dynasty":124,"author":66001,"museum":244,"description":66002,"tags":66003,"thumbUrl":66005,"material":611,"size":66006,"collection":84,"collections":66007,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},222576,"hua-lu-ci-cheng-shan-fan-xian-222576","画鹭鹚成扇","范暹","[明]字启东，一作起东，号苇斋，东吴（今江苏苏州一带）人， 一作昆山（今昆山）人，或作镇洋（今太仓）人。\n永乐（一四o三一至一四二四）中徵入画院，供奉三十余一年，花竹翎毛，笔致隽逸。设帐授徒，多所一造就，兼工书法，老于京师。《水东日记》、《画史会要》、《无声诗史》、《明画录》、《嘉定县志》",[23,24,7,1131,27,28,61,66004,1771,208],"鹭鹚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefebf39a0fd61bdbd0627f200f2c8853.jpg","33x50.1",[],{"id":66009,"slug":66010,"title":66011,"dynasty":124,"author":27440,"museum":244,"description":56403,"tags":66012,"thumbUrl":66013,"material":611,"size":66014,"collection":84,"collections":66015,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},222541,"zeng-zheng-gong-du-shi-juan-wang-duo-222541","赠郑公度诗卷",[23,64,7,25,840,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43d453ef98af224b61aec3187798b045.jpg","每开纵28.3公分,横36公分",[],{"id":66017,"slug":66018,"title":45315,"dynasty":124,"author":66019,"museum":244,"description":66020,"tags":66021,"thumbUrl":66022,"material":514,"size":66023,"collection":84,"collections":66024,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},222443,"chun-shan-tu-zhou-lin-guang-222443","林广","溪山深邃处。临水筑榭。青松卓然高立。山坳处。春花怒放。士人于此静坐。享受着无限的春光。此图用笔方劲。以刚硬之气。画妩媚春景。亦别具一格。\n林广（明末清初），广陵人，是久居金陵的职业画家。山水、人物初学宫廷画家李在（？-1431）与蓝瑛，居金陵后，融入了金陵画派地域画风的时潮，发展出典型的金陵面目。作为职业画家，林广的绘画能力很强，金陵各种风格都有涉猎，既有类似吴宏、高岑一路的山水风格，亦有接近武丹的面目（《上元县志》版“金陵八家”即有武丹）。",[164,24,7,165,128,132,29,4364,131,34,495,35,1023,96,805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F117261838ffba9ce00a6cadb6ef82d48.jpg","182.8x103.8厘米",[],{"id":66026,"slug":66027,"title":1230,"dynasty":124,"author":66028,"museum":244,"description":66029,"tags":66030,"thumbUrl":66031,"material":84,"size":84,"collection":84,"collections":66032,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},222442,"shan-shui-tu-yang-wen-cong-222442","杨文聪","杨文聪（1596—1646）明末画家、抗清官员。字山子、龙友，号陈龙、鹤巢、雪盦，原籍贵州贵阳，流寓金陵（今江苏南京）。万历四十七年举人，官至兵部郎中，清兵入闽，被执不屈而死。博学好古，善画山水，为”画中九友”之一。\n其父杨师孔，曾任浙江参政（约相当于副省级长官）。杨文聪于万历二十四年（1596），诞生于贵阳城南郊的石林精舍少怀壮志，学兼文武，善书画，有文采，万历末期举于乡。此后屡试不第，年已30，仍功名不就，因之落魄江湖，纵情山水。他爱南京栖霞山风物，曾读书山中，暇时常登峰顶，眺望长江。数年后，回忆这段生活，曾绘《江中望栖霞》，并题咏其上，以抒怀念之情。\n崇祯十六年（1643）已近中年时，他才谋得江宁知县一职，但不久又被劾罢官。失意之余，遂盘桓于秦淮风月场中。原来秦淮内河自明太祖定都南京就异常繁华，从东水关到西水关长达十里，彻夜灯船，尽笙歌。杨文聪为人豪侠，性爱交游，不仅与素淮名妓往来甚密，而且与复社名流侯方域等结为至友。以扇血点染桃花的韵事，很有可能就发生在这时。此事本传不载，然据近人考证，在孔尚任《桃花扇》成书之前，姜实节为杨文聪题画时就有“记否桃花留扇底，一回首处一消魂”之句。由此可知，杨文聪以扇血点染桃花，并非虚构，而是实有其事。\n崇祯十七年（1644）三月十九日，李自成攻下北京，明思宗朱由检自杀。吴三桂引清兵入关，合力扑灭了李自成农民起义军的烈火。明南京兵部尚书史可法、凤阳总督马土英等拥立福王朱由崧即位南京。杨文聪和马士英是同乡，又系姻亲，同时他在武备方面也有一定才能，因此被起用，监军京口（今镇江）。其时的镇江金山尚在长江水中，他认为金山控制南北，地形利于防守，奏请筑城以资守御，很快得到允准。\n清顺治二年（1645）初，杨文聪升任兵备副使，分巡镇、常两府。到清兵逼近长江时，文聪正驻军金山，控制江防。同年五月，他被提任为右佥都御史（中央监察机关长官）兼督沿江诸军。文聪遂还驻京口，和大将郑鸿适等军合兵长江南岸，与清兵隔江相持。九日夜，清兵乘大雾偷渡，直到接近南岸才被甘露寺守军发现，遂仓皇迎敌，但被清兵冲散。杨文聪败退至苏州。十三日，清兵攻陷南京，南明文武大臣、勋戚除逃亡外，大部迎降。清将曾派人往苏州劝降文聪，说客却被杨文聪所杀，并退军处州（今属浙江）。此时唐王自立于福州，文聪遣使奉表称贺，被拜为兵部右侍郎兼右金都御史，提督军务，图谋收复南京。文聪受命于国破之际，孤军奋战，虽曾扼守仙霞岭，屡挫清军，终因众寡悬殊，于1645年7月兵败被俘，不屈而死，全家36口人同时遇难。",[23,24,7,1131,29,128,27,132,663,413,98,387,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff191db746df3d8994d076a97913dd8b.jpg",[],{"id":66034,"slug":66035,"title":66036,"dynasty":124,"author":19170,"museum":524,"description":31562,"tags":66037,"thumbUrl":66039,"material":611,"size":66040,"collection":136,"collections":66041,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},222382,"yi-shou-zun-zhe-xiang-ding-yun-peng-222382","益寿尊者像",[23,24,7,164,165,188,28,128,96,187,1144,276,229,230,227,66038,60084,19173],"尊者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae92872a9b1d7917f96a1cd18188de0.jpg","52.8x117.8",[136,117],{"id":66043,"slug":66044,"title":66045,"dynasty":124,"author":66046,"museum":244,"description":66047,"tags":66048,"thumbUrl":66049,"material":27,"size":66050,"collection":84,"collections":66051,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},222320,"qian-li-jiang-cheng-tu-juan-1-zhou-long-222320","千里江程图卷-1","周龙","周龍（明熹宗天啟一年（1621））",[164,24,7,25,128,132,29,34,495,131,37,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a5e82d606bd4790ed080e73a7e5d886.jpg","该幅32.2x825.7厘米，隔水一11厘米，隔水二10.4厘米",[],{"id":66053,"slug":66054,"title":66055,"dynasty":124,"author":125,"museum":56,"description":18035,"tags":66056,"thumbUrl":66057,"material":514,"size":18039,"collection":84,"collections":66058,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},222097,"liang-jiang-ming-sheng-tu-ce-9-shen-zhou-222097","两江名胜图册9",[23,24,7,59,128,27,95,29,97,98,99,130,1743,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf5c117a53f6aab2a924fb2e8282cc44.jpg",[],{"id":66060,"slug":66061,"title":66062,"dynasty":124,"author":125,"museum":56,"description":18035,"tags":66063,"thumbUrl":66064,"material":514,"size":18039,"collection":84,"collections":66065,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},222094,"liang-jiang-ming-sheng-tu-ce-6-shen-zhou-222094","两江名胜图册6",[23,24,7,59,27,29,97,12741,100,415,34,231,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F419cd7d3e9a099cd6e89767a3becac30.jpg",[],{"id":66067,"slug":66068,"title":66069,"dynasty":124,"author":26410,"museum":510,"description":66070,"tags":66071,"thumbUrl":66072,"material":611,"size":66073,"collection":318,"collections":66074,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},222058,"guo-pu-you-xian-shi-zhang-rui-tu-222058","郭璞游仙诗","此为张瑞图草书节录晋代郭璞的《游仙诗》之三首及梁简文帝萧纲《仙客诗》，文字与原诗略有出入。",[23,164,24,7,25,64,133,840,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F684b2fc238586d292dcccf947ab9fbf9.jpg","纵28厘米，横540厘米",[318],{"id":66076,"slug":66077,"title":7864,"dynasty":124,"author":23728,"museum":56,"description":23729,"tags":66078,"thumbUrl":66079,"material":611,"size":23732,"collection":84,"collections":66080,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},221928,"za-hua-ce-guo-xu-221928",[23,164,24,7,128,188,369,96,1337,7446,251,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceb1b76eeeb2eeb356c8d3f1ed37d35a.jpg",[],{"id":66082,"slug":66083,"title":66084,"dynasty":124,"author":802,"museum":20,"description":18483,"tags":66085,"thumbUrl":66086,"material":18486,"size":64114,"collection":84,"collections":66087,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},221892,"za-hua-tu-ce-yuan-pu-gui-fan-fang-zhao-da-nian-bi-yi-chen-hong-shou-221892","杂画图册-远浦归帆仿赵大年笔意",[23,24,7,59,27,330,29,3386,99,34,415,1824,1743,20104,5323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89652c7df9e003b24a0b39605e1aac93.jpg",[],{"id":66089,"slug":66090,"title":66091,"dynasty":18,"author":4602,"museum":244,"description":20608,"tags":66092,"thumbUrl":66093,"material":61534,"size":66094,"collection":84,"collections":66095,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},221427,"sui-gu-xian-chou-yan-su-221427","邃谷仙俦",[23,24,7,59,128,27,29,131,34,499,132,4797,39619,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a40a76ca3da825b71a02dad0c2b328c.jpg","40.2x66.3",[],{"id":66097,"slug":66098,"title":66099,"dynasty":18,"author":4861,"museum":20,"description":66100,"tags":66101,"thumbUrl":66102,"material":611,"size":66103,"collection":84,"collections":66104,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},221377,"ying-chang-hu-shang-shi-ci-juan-wang-shen-221377","颍昌湖上诗词卷","王诜作为画家的名声似乎要远远高出作为书法家的名声。其实，在书法方面，王诜的字清劲紧实而别具面目。《自书诗帖卷》共分四段，第一段二十三行一百五十四字，以散文叙说“前年恩移清颍（按即颍州）”，道阻于许昌，与韩维（持国）、范镇（景仁）诗酒留连于颍昌府（按即许昌）之西湖的情况。，第二段十七行九十六字，记颍昌湖上三人所作唱和诗句。第三段八行六十四字，为《蝶恋花》词一首，观其描述，亦当为湖上景色。第四段二行十七字，自言近年能饮酒，多醉书。字句之间虽然有感伤惜别的味道，但落笔痛快淋漓，锋芒毕露，可谓独具风貌。 （资料转自上海博物馆网站）\u2028 余前年恩移清颍，道出许昌，前途小阻，留西湖之别馆者几一月。常与韩持国、范景仁泛舟啸咏，使人顿忘去国流离之恨也。韩公德性温厚，风度高雅，固已可爱。范公虽老而精神不衰，议论纯正，白须红面，动辄醺酣。时余有所赋咏，公即取红莲叶命笔疾书，初不经思，佳辞丽句，顷刻而成，坐客莫不惊叹也。比闻朝庭就除端明殿学士以宠之，因思方今进任老成，如公者再起之，亦足以厚风俗耳。\u2028 颍昌湖上。余有赠诸公诗，其略曰：“清影十分月，暗香千柄莲。不知从此别，高会复何年？”韩公诗曰：“浩歌轻白雪，密意得青莲。诗就西桥月，留为好事传。”西蜀公云：“惯乘霄汉雀，翻说淤泥莲。可惜玉台处，等闲闲几年。”盖公不喜释氏，故有是句，亦可一笑也。\u2028 小雨初晴回晚照，金翠楼台倒影芙蓉沼。杨柳垂垂风袅袅，嫩荷无数青钿小，似此园林无限好，流落归来到了心情少。坐到黄昏人悄悄，更应添得朱颜老。右蝶恋花。余旧不饮酒，近年辄能饮，故多醉中所书耳。\n本卷分三段，首段记述了作者在去清颍途中受阻，与韩维（持国）、范镇（景仁）泛舟于西湖啸咏之事；中段与末段分别为三公在颍昌湖上诗作及王诜和蝶恋花词一阙。《宋史》记载，韩维在宋哲宗刚登基时上表推荐范镇，因为范在宋神宗时于建储有功，于是拜范为端明殿学士兼侍读，即文中所称“比闻朝廷就除端明殿学士以宠之”。由此可知，该帖应书于1086年。“余前年恩移清颍”中的“前年”是指1084年。其时韩、范二人亦居于许昌，颍昌湖即文中所称西湖，位于许昌的西北，所以，三人可以相遇于西湖游宴赋诗。该卷虽系以诗词和友有伤感流连之意，但下笔痛快淋漓，结体紧实，笔多横放，锋芒毕露，独具风貌。《吴氏书画记》卷六将此卷误称为黄庭坚书，至曹溶跋方为纠正。之后，《式古堂书画汇考》卷一二、《墨缘汇观》续录、《石渠宝笈续编淳化轩》、《壮陶阁书画录》、《三虞堂书画目》等均改为王诜书。",[23,7,25,133,64,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21ae0a2cd0effd3a16a39257bcac83f5.jpg","31.3×271.9 cm",[],{"id":66106,"slug":66107,"title":66108,"dynasty":124,"author":2268,"museum":244,"description":66109,"tags":66110,"thumbUrl":66111,"material":611,"size":66112,"collection":136,"collections":66113,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},220943,"wu-yan-lv-shi-cheng-shan-dong-qi-chang-220943","五言律诗成扇","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。",[1131,24,7,128,132,64,208,29,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccc028be8c316980beb3080dd770e1f5.jpg","33.2x47.1",[136,117],{"id":66115,"slug":66116,"title":66117,"dynasty":124,"author":2268,"museum":224,"description":13628,"tags":66118,"thumbUrl":66119,"material":611,"size":10401,"collection":84,"collections":66120,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},220343,"fang-mi-fei-shan-shui-tu-juan-tu-juan-bu-fen-2-dong-qi-chang-220343","仿米芾山水图卷-图卷部分2",[164,24,7,25,2132,128,10216,29,34,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b72929136a45b72eea08f9e1578616d.jpg",[],{"id":66122,"slug":66123,"title":66124,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":66125,"thumbUrl":66126,"material":611,"size":3722,"collection":84,"collections":66127,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},220299,"huang-shan-tu-ce-27-hong-ren-220299","黄山图册-27",[23,24,7,59,128,132,29,11802,1144,3344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc0591dac27e4656fed4c0da07eb4188.jpg",[],{"id":66129,"slug":66130,"title":66131,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":66132,"thumbUrl":66133,"material":611,"size":3722,"collection":84,"collections":66134,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},220294,"huang-shan-tu-ce-32-hong-ren-220294","黄山图册-32",[23,24,7,59,27,128,29,131,1144,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa43cfa8a6347fb89f5ac68df77fc50a2.jpg",[],{"id":66136,"slug":66137,"title":66138,"dynasty":54,"author":62125,"museum":56,"description":62126,"tags":66139,"thumbUrl":66141,"material":27,"size":62129,"collection":84,"collections":66142,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},219806,"hua-niao-cao-chong-tu-4-sun-long-219806","花鸟草虫图-4",[24,7,164,59,27,369,61,373,208,480,15552,62,230,66140],"虫鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16b52c7ce8c0823943b1da2bc3f62bbb.jpg",[],{"id":66144,"slug":66145,"title":66146,"dynasty":124,"author":204,"museum":56,"description":11541,"tags":66147,"thumbUrl":66148,"material":173,"size":11544,"collection":84,"collections":66149,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},219771,"lin-song-ren-hua-ce-8-chou-ying-219771","临宋人画册-8",[24,7,59,27,28,330,29,96,101,97,34,11074],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c01e223047281d3ec075c0fd6e28c4.jpg",[],{"id":66151,"slug":66152,"title":66153,"dynasty":18,"author":20179,"museum":300,"description":66154,"tags":66155,"thumbUrl":66156,"material":151,"size":84,"collection":84,"collections":66157,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":956},219197,"liu-yin-gui-mu-tu-zhu-yi-219197","柳荫归牧图","虬枝盘结的老柳垂丝如缕，暮色氤氲里似笼着暖软的纱。水牛踱着慵懒的步子归程，蹄印浅浅印在软泥上，牧人半倚牛背，竹笛斜挎，眉眼间是卸了劳作的松弛。远山含黛隐在烟霭，天际孤鸿掠影，翅尖捎走最后一缕残阳。近岸枯槎浅草点缀汀洲，野趣朴拙。整幅画将田园清宁揉进绢丝，晚风似从画里漫出，牛铃轻晃，草香暗浮，让人沉醉于那份远离尘嚣的闲适与安然，仿佛踏入柳荫下，忘了俗事纷扰。",[24,7,165,27,28,4363,102,96,211,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51c029b05507ccffd19255064af9a7e1.jpg",[],{"id":66159,"slug":66160,"title":66161,"dynasty":54,"author":14080,"museum":20,"description":53371,"tags":66162,"thumbUrl":66163,"material":173,"size":53374,"collection":84,"collections":66164,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},219139,"yang-zhou-si-jing-tu-ping-liu-yong-pu-yuan-yao-219139","扬州四景图-平流涌瀑",[23,24,164,7,95,27,29,97,99,495,130,34,1743,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc653a6bdb7a5f3f5ea8cd089f68aff1.jpg",[],{"id":66166,"slug":66167,"title":1230,"dynasty":18,"author":223,"museum":244,"description":66168,"tags":66169,"thumbUrl":66170,"material":173,"size":84,"collection":136,"collections":66171,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},218709,"shan-shui-tu-yi-ming-218709","淡墨晕染层叠山峦，近石以简练皴法勾勒，肌理隐现；远山沉于氤氲雾霭，虚实间藏尽江湖意趣。沉郁的色调里，每一笔都浸着时光的温厚——不炫技，却以意境叩心。留白处如有无声的风掠过水面，引人遥想烟水林泉的静谧。宋人山水的含蓄之美在此尽显：将天地的雄浑与雅致凝于方寸，让观者于朦胧间触到千年山水的魂魄，仿佛听见松风过涧，看见云气漫过山腰，沉浸在那份独属于宋的沉静悠远里。",[23,164,24,7,59,132,128,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bbd68312d6f2328e471d775b686cb60.jpg",[136],{"id":66173,"slug":66174,"title":66175,"dynasty":980,"author":1687,"museum":300,"description":8761,"tags":66176,"thumbUrl":66177,"material":278,"size":84,"collection":84,"collections":66178,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},218175,"da-qian-kuang-tu-ce-3-zhang-da-qian-218175","大千狂涂册-3",[24,7,59,128,133,840,208,96,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27e51ba594586d298c5010c05bcacc27.jpg",[],{"id":66180,"slug":66181,"title":66182,"dynasty":980,"author":1687,"museum":300,"description":8761,"tags":66183,"thumbUrl":66184,"material":278,"size":84,"collection":84,"collections":66185,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},218170,"da-qian-kuang-tu-ce-8-zhang-da-qian-218170","大千狂涂册-8",[24,7,128,29,64,133,208,59,3819,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F871c9938f294c0e27f62667aba8cd9a1.jpg",[],{"id":66187,"slug":66188,"title":66189,"dynasty":18,"author":2099,"museum":300,"description":18329,"tags":66190,"thumbUrl":66191,"material":611,"size":84,"collection":84,"collections":66192,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},218075,"bai-miao-luo-han-tu-ce-2-li-gong-lin-218075","白描罗汉图册-2",[23,24,7,164,59,188,128,187,96,5490,949,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F056df98bf4dfde0d8545d5a3d1022dd8.jpg",[],{"id":66194,"slug":66195,"title":66196,"dynasty":18,"author":2099,"museum":300,"description":18329,"tags":66197,"thumbUrl":66198,"material":278,"size":84,"collection":84,"collections":66199,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},218073,"bai-miao-luo-han-tu-ce-3-li-gong-lin-218073","白描罗汉图册-3",[23,164,24,7,59,188,187,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c189255fad694d53706badb718b3cd7.jpg",[],{"id":66201,"slug":66202,"title":66203,"dynasty":18,"author":2099,"museum":300,"description":18329,"tags":66204,"thumbUrl":66205,"material":278,"size":84,"collection":84,"collections":66206,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},218071,"bai-miao-luo-han-tu-ce-5-li-gong-lin-218071","白描罗汉图册-5",[23,164,24,7,59,188,187,96,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F262b2b0f0629608c10091962dc2af4a5.jpg",[],{"id":66208,"slug":66209,"title":66210,"dynasty":54,"author":6946,"museum":244,"description":15817,"tags":66211,"thumbUrl":66212,"material":278,"size":84,"collection":84,"collections":66213,"showCount":553,"zanCount":1998,"manualWeight":48,"mainColor":72},217922,"tang-ming-huang-ji-ju-tu-2-ding-guan-peng-217922","唐明皇击鞠图-2",[24,7,25,28,27,96,101,24100,32211,38740],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1815fe7a2947f048ba177784e2b386b1.jpg",[],{"id":66215,"slug":66216,"title":66217,"dynasty":54,"author":6946,"museum":244,"description":15817,"tags":66218,"thumbUrl":66219,"material":278,"size":84,"collection":84,"collections":66220,"showCount":553,"zanCount":1998,"manualWeight":48,"mainColor":72},217917,"tang-ming-huang-ji-ju-tu-5-ding-guan-peng-217917","唐明皇击鞠图-5",[24,7,28,27,96,101,24100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F872f0f04e752d6650c4f055d048f43e8.jpg",[],{"id":66222,"slug":66223,"title":66224,"dynasty":182,"author":223,"museum":2607,"description":66225,"tags":66226,"thumbUrl":66227,"material":2611,"size":84,"collection":84,"collections":66228,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},217279,"jiang-mo-bian-dun-huang-tu-juan-9-yi-ming-217279","降魔变·敦煌图卷-9","泛黄的纸本晕染着时光的痕迹，墨迹古朴如唐风吹过。这里是降魔变的叙事现场：文字与线条交织，将舍利弗与六师斗法的紧张瞬间凝于卷上。质朴的笔触勾勒出鲜活神态——舍利弗沉静智慧，六师诡谲张扬，仿佛能听见当年变文讲唱的喧腾声息。\n\n作为敦煌变相图的缩影，它既是宗教故事的生动载体，也藏着唐代民间艺术的鲜活密码：世俗审美与宗教信仰在此交融，纸页间流淌着古人对善恶对决的朴素认知，更见证着敦煌艺术超越石窟的广阔表达。岁月沉淀下的不仅是墨迹，更是一段鲜活的文化记忆。",[164,24,7,25,187,188,27,96,1692],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b3cebf0ddb56113254c3a2e7b517cfc.jpg",[],{"id":66230,"slug":66231,"title":66232,"dynasty":54,"author":2653,"museum":300,"description":14125,"tags":66233,"thumbUrl":66234,"material":173,"size":84,"collection":84,"collections":66235,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":615},217261,"li-dai-di-wang-zhen-xiang-1-yao-wen-han-217261","历代帝王真像-1",[24,7,164,96,27,28,572,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda99b04fa906f91ef485cf38993f84dd.jpg",[],{"id":66237,"slug":66238,"title":66239,"dynasty":54,"author":2653,"museum":300,"description":14125,"tags":66240,"thumbUrl":66241,"material":173,"size":84,"collection":84,"collections":66242,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":615},217257,"li-dai-di-wang-zhen-xiang-5-yao-wen-han-217257","历代帝王真像-5",[24,7,28,27,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c43740c40ea689b0e83ba496e83e718.jpg",[],{"id":66244,"slug":66245,"title":66246,"dynasty":54,"author":2653,"museum":300,"description":14125,"tags":66247,"thumbUrl":66248,"material":173,"size":84,"collection":84,"collections":66249,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":615},217232,"li-dai-di-wang-zhen-xiang-33-yao-wen-han-217232","历代帝王真像-33",[24,7,28,27,96,14415,170,772],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b469e379b95e0e29a7b85c74adef3c5.jpg",[],{"id":66251,"slug":66252,"title":66253,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":66254,"thumbUrl":66255,"material":611,"size":84,"collection":84,"collections":66256,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":956},217091,"bai-miao-luo-han-29-leng-mei-217091","白描罗汉-29",[24,7,59,188,187,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10064c31ec259d2e552000ad3d19646e.jpg",[],{"id":66258,"slug":66259,"title":66260,"dynasty":124,"author":19170,"museum":300,"description":30766,"tags":66261,"thumbUrl":66262,"material":317,"size":84,"collection":84,"collections":66263,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},217045,"bai-miao-ying-zhen-tu-14-ding-yun-peng-217045","白描应真图-14",[24,7,25,187,95,188,96,772,950,805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa28c29db30895a5c6ff31b7affc79fcf.jpg",[],{"id":66265,"slug":66266,"title":66267,"dynasty":124,"author":65595,"museum":5543,"description":66268,"tags":66269,"thumbUrl":66270,"material":611,"size":66271,"collection":84,"collections":66272,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},216743,"ri-ben-zu-shi-tu-2-shou-ye-yuan-xin-216743","日本· 祖师图-2","室町后期画家，称大炊助。受父亲正信水墨画风的影响，加入浓彩的技巧，从而集狩野派新风格之大成。后世称其为古法眼。",[23,164,24,7,165,187,27,28,132,96,29,34,37,497,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F035108d652e982407e2fc25ccbd7c36f.jpg","176.0x91.8",[],{"id":66274,"slug":66275,"title":66276,"dynasty":124,"author":14778,"museum":300,"description":66277,"tags":66278,"thumbUrl":66279,"material":66,"size":84,"collection":84,"collections":66280,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},216339,"xi-xiang-ji-cha-ye-13-min-qi-ji-216339","西厢记插页-13","八角灯架玲珑而立，镂空棂格间禽鸟振翅欲飞，灯内人物顾盼含情，似藏《西厢》里的朦胧情愫。纤细线条勾勒缠枝纹饰的婉转，也刻画出人物姿态的生动，明代版画的精工韵致藏于每一处细节。灯顶瑞兽昂首，底座流苏轻垂，器物之美与文学意境交织。光影流转间，仿佛能触到灯影里的温柔私语，让静态画面漾开故事的涟漪，尽显传统艺术“以物传情”的巧思，是版画与古典叙事相融的雅致之作。",[24,7,188,28,96,211,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b8dacaf4d5553bc244dacc7d84e9242.jpg",[],{"id":66282,"slug":66283,"title":66284,"dynasty":124,"author":802,"museum":300,"description":66285,"tags":66286,"thumbUrl":66287,"material":278,"size":84,"collection":84,"collections":66288,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},216318,"xi-xiang-ji-zhen-ben-tu-ce-5-chen-hong-shou-216318","西厢记真本图册-5","墨线如铁线盘桓，勾出虬枝的苍劲与兰草的疏朗。枝叶俯仰间藏着西厢故事的幽微情愫，风致漫过纸面。题字与物象相映，留白处漾着旧时光的清浅余韵。笔力沉雄却含柔婉，每道线条凝着古典韵致，将戏曲里的婉转心事，化作纸上静穆与灵动。画面简淡却见深致，似能听见古院私语，触到旧年温润气息。虬曲枝干、舒展兰叶，皆成故事注脚，在墨色里流转着永恒的古典浪漫。那些隐于线条间的细腻心绪，让静止的画面泛起涟漪，引观者坠入西厢的婉转情境中。",[24,7,59,188,128,375,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c90d054f46ef51244aa9561650f25d7.jpg",[],{"id":66290,"slug":66291,"title":66292,"dynasty":124,"author":802,"museum":300,"description":66293,"tags":66294,"thumbUrl":66295,"material":278,"size":84,"collection":84,"collections":66296,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},216317,"xi-xiang-ji-zhen-ben-tu-ce-4-chen-hong-shou-216317","西厢记真本图册-4","画面分作两帧，左帧云雾如絮漫卷，山石嶙峋似卧，墨线勾勒的云气与简笔丘壑相映，晕开空濛之韵；右帧闺阁深深，女子凭窗凝睇，衣袂轻垂间线条如铁线缠枝，刚柔相济。她鬓发高挽，神情温婉却藏着一丝怅惘，窗前栏杆与室内陈设皆简笔勾勒，却见匠心。整幅画古雅奇崛，山水的疏淡与人物的工致相映，将西厢故事里的幽微心绪，凝在这一纸墨痕中。每一笔都透着古拙的意趣，人物情态与自然景致交融，似能窥见那段缠绵故事里的片刻静思。",[24,7,59,188,95,96,166,171,950,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1026ffdb44986e871987f8d0db8b221.jpg",[],{"id":66298,"slug":66299,"title":66300,"dynasty":124,"author":802,"museum":300,"description":66301,"tags":66302,"thumbUrl":66303,"material":278,"size":84,"collection":84,"collections":66304,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},216315,"xi-xiang-ji-zhen-ben-tu-ce-10-chen-hong-shou-216315","西厢记真本图册-10","墨线如铁，勾出棕榈曳影，人物凭坐凝思，衣纹简劲却藏温婉之态。右侧水际云生，题字暗合西厢情节，山水与人物相映，静中藏幽情。笔力古拙奇崛，造型独运匠心，每根线条皆见筋骨，将故事里的细腻心绪凝于尺幅。画面分栏却气韵相连，古雅氛围漫溢，细节处藏叙事之妙，尽显传统绘画的韵致与张力，引人沉湎于古典情境之中。",[24,7,59,188,96,166,413,1314,228,29,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0893984422c01e4c9df8e342609ccfab.jpg",[],{"id":66306,"slug":66307,"title":66308,"dynasty":124,"author":802,"museum":300,"description":66309,"tags":66310,"thumbUrl":66311,"material":278,"size":84,"collection":84,"collections":66312,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":49},216311,"xi-xiang-ji-zhen-ben-tu-ce-16-chen-hong-shou-216311","西厢记真本图册-16","笔线如铁铸银勾，刚劲中藏柔韧，勾勒出花草枝蔓的古逸姿态。墨色浓淡相济，叶片的厚重与花瓣的轻盈相映成趣，枝桠虬曲似含幽情。右侧小景与题字呼应，书法古拙与画风浑然一体，添了几分文人雅韵。画面虽简，却于细节处见匠心，每一笔都透着沉静力道，将西厢故事里的雅致含蓄悄然晕开，仿佛能闻见庭院清芬，触到笔墨间藏着的温柔情思。",[24,7,59,188,128,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefa157a0dd3b446ddaa0bcbd069fa3a8.jpg",[],{"id":66314,"slug":66315,"title":66316,"dynasty":54,"author":223,"museum":300,"description":66317,"tags":66318,"thumbUrl":66319,"material":66,"size":84,"collection":84,"collections":66320,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},215870,"qing-dai-gong-ting-ren-wu-hua-ce-6-yi-ming-215870","清代宫廷人物画册-6","纸页泛黄如陈年素笺，时光的斑驳吻痕里，立着一位清代宫廷女子。紫袍暗纹流转，似把流云织进衣袂；袖口素白轻垂，衬得身姿端雅。鬓边翠饰与珠花相映，眉目间凝着娴静温婉。手中朱红器物若携墨香，或为书卷，或为折扇，添了几分文雅。裙裾绣纹繁复，蓝紫繁花与绛红条纹交织，如将满园春色裁作裙摆。笔触细腻处，衣料的柔滑、发饰的精巧皆藏于旧色中，仿佛能窥见当年宫苑里，她轻移莲步时的温婉模样，岁月虽老，那份古典雅致仍在纸间流转。",[304,24,7,28,27,96,166,170,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F891d10f2462e76ec572060c4f94d1747.jpg",[],{"id":66322,"slug":66323,"title":66324,"dynasty":54,"author":223,"museum":300,"description":66325,"tags":66326,"thumbUrl":66327,"material":611,"size":84,"collection":84,"collections":66328,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},215555,"bai-miao-jie-tou-mai-mai-hua-ce-6-yi-ming-215555","白描街头买卖画册-6","线条简练却力道藏于笔端，勾勒出市井一隅的鲜活瞬间。站者持烟袋，烟丝轻腾的细雾似牵起与围坐三人的互动——桌前几人或俯身打量器物、或抬首应答，衣褶的垂坠弧度与桌上物件的轮廓，皆以淡墨晕染出质感，不着浓彩却见生活真味。白描之妙正在于此：无华彩堆砌，仅以疏密有致的线条，便将街头买卖的烟火气、人与人的鲜活对话凝于纸上。每一笔都藏着对日常细碎的温柔观察，让百年前的市井场景仿佛冲破纸面，触手可及。",[23,24,7,59,188,96,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51b614f0b6cb9612a16dfa788ead3a2d.jpg",[],{"id":66330,"slug":66331,"title":66332,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":66333,"thumbUrl":66334,"material":66,"size":84,"collection":84,"collections":66335,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},215102,"tui-bei-tu-ce-6-jiao-bing-zhen-215102","推背图册-6",[23,304,24,7,59,28,27,96,166,5268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafe247c84c667ac2e94623345cc52836.jpg",[],{"id":66337,"slug":66338,"title":66339,"dynasty":144,"author":8127,"museum":244,"description":62275,"tags":66340,"thumbUrl":66341,"material":173,"size":10420,"collection":84,"collections":66342,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},215007,"xie-sheng-hua-hui-ce-1-wang-yuan-215007","写生花卉册-1",[24,164,7,59,27,61,608,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0b6637fc53606fe8c6ca7ae521a5dfc.jpg",[],{"id":66344,"slug":66345,"title":66346,"dynasty":144,"author":8127,"museum":244,"description":62275,"tags":66347,"thumbUrl":66348,"material":173,"size":10420,"collection":84,"collections":66349,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},215003,"xie-sheng-hua-hui-ce-5-wang-yuan-215003","写生花卉册-5",[164,24,7,59,28,27,167,376,481,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ada0178d3b5df1abed7c6038444da86.jpg",[],{"id":66351,"slug":66352,"title":66353,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":66354,"thumbUrl":66355,"material":278,"size":3888,"collection":84,"collections":66356,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},214953,"dao-zi-mo-bao-ren-wu-bai-miao-hua-32-yi-ming-214953","道子墨宝人物白描画-32",[23,164,24,7,188,96,97,95,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ef56699fa0eff838bed304cd82b05ae.jpg",[],{"id":66358,"slug":66359,"title":66360,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":66361,"thumbUrl":66362,"material":278,"size":3888,"collection":84,"collections":66363,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},214946,"dao-zi-mo-bao-ren-wu-bai-miao-hua-40-yi-ming-214946","道子墨宝人物白描画-40",[23,164,24,7,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a08d221843c98ad648c60fa5e73db4.jpg",[],{"id":66365,"slug":66366,"title":66367,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":66368,"thumbUrl":66369,"material":278,"size":3888,"collection":84,"collections":66370,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},214944,"dao-zi-mo-bao-ren-wu-bai-miao-hua-39-yi-ming-214944","道子墨宝人物白描画-39",[23,24,7,188,96,5490,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2d5ae645959807508e754bb14ce1522.jpg",[],{"id":66372,"slug":66373,"title":66374,"dynasty":124,"author":1141,"museum":20,"description":64395,"tags":66375,"thumbUrl":66376,"material":278,"size":64398,"collection":84,"collections":66377,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},214865,"shan-shui-ce-14-wen-zheng-ming-214865","山水册-14",[23,24,7,59,128,27,29,131,34,35,99,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2984bfa718d497db1938983e3d3621ba.jpg",[],{"id":66379,"slug":66380,"title":66381,"dynasty":54,"author":5276,"museum":4840,"description":66382,"tags":66383,"thumbUrl":66384,"material":66,"size":84,"collection":84,"collections":66385,"showCount":553,"zanCount":1998,"manualWeight":48,"mainColor":72},214816,"shan-shui-hua-hui-tu-ce-4-gao-feng-han-214816","山水花卉图册-4","高凤翰（1762-1843）是一位著名的清代画家，他的主要作品是山水花卉图册。高凤翰生于江苏省的吴县，他曾在杭州学习画画，后来进入了江南画派。他的画风独特，被称为“高氏画法”，以其精细、细腻的线条和浓郁的色彩闻名。\n\n高凤翰的山水花卉图册是他的代表作之一，包括了许多精美的山水画作品。这些作品描绘了自然风光，包括山峦、河流、湖泊、树木、花草等。高凤翰的山水画作品经常带有浓厚的写意气息，表现出自然之美。他的画作还常常加入人物、建筑、动物等元素，使得作品更加丰富多彩。\n\n高凤翰的山水花卉图册在当时颇受欢迎，并且被视为江南画派的杰出代表作。他的作品被认为是清代山水画发展的重要贡献，对后世的山水画家也产生了很大的影响。",[24,7,59,128,27,61,62,875,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70d50ee97bcc7b6fea6f361adc52f1f3.jpg",[],{"id":66387,"slug":66388,"title":4717,"dynasty":54,"author":20259,"museum":56,"description":20260,"tags":66389,"thumbUrl":66390,"material":278,"size":20263,"collection":84,"collections":66391,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":72},214710,"shan-shui-ce-7-gao-xiang-214710",[24,7,59,188,128,132,29,131,34,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3461c84da8bf0a2b5f920bf5a2722b7.jpg",[],{"id":66393,"slug":66394,"title":66395,"dynasty":54,"author":39482,"museum":56,"description":66396,"tags":66397,"thumbUrl":66398,"material":84,"size":84,"collection":44,"collections":66399,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":66400},203447,"zan-hua-tu-zhou-min-zhen-203447","簪花图轴","此图绘仕女群聚簪花之景，中心人物正簪花为乐，众女环立，或凝眸注视，或浅笑轻语，姿态各异，神情鲜活。衣纹以简练流畅的线条勾勒，兼施淡彩，素雅清丽。人物动态自然，互动间流露闺阁闲情，尽显女性温婉雅致之态。画家以精湛笔墨捕捉瞬间情态，虽无繁复布景，却于简约中见生动，将仕女簪花时的愉悦氛围渲染得恰到好处，足见其人物画之深厚功力。",[23,24,7,165,27,96,188,208,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F888d03223d25ff318fcb43fd730ea0d4.jpg",[44],"b7ab9c",{"id":66402,"slug":66403,"title":66404,"dynasty":32945,"author":5076,"museum":56,"description":66405,"tags":66406,"thumbUrl":66407,"material":84,"size":84,"collection":68,"collections":66408,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":66409},203045,"tao-shi-tu-zhou-qi-bai-shi-203045","桃实图轴","画面两段式布局，上段桃枝轻垂，嫩叶掩映间藏一桃；下段数桃相拥，艳红饱满，似含朝露欲坠。桃实用浓艳洋红泼染，笔触厚重温润，晕染自然，尽显鲜嫩多汁之态；枝叶以水墨挥写，线条老辣简练，墨色浓淡相生，与艳桃形成鲜明对比。题款书法古朴流畅，印章朱红点缀，与画面浑然一体。整作笔墨朴拙却灵动，色彩明快而醇厚，兼具写意之放达与生活之情趣，尽显艺术的独特韵味。",[24,7,61,27,128,208,165,209,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F812788e2df85f73b6530d6fc812f9f68.jpg",[68],"d6cfbd",{"id":66411,"slug":66412,"title":66413,"dynasty":32945,"author":7853,"museum":56,"description":66414,"tags":66415,"thumbUrl":66416,"material":84,"size":84,"collection":68,"collections":66417,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":66418},202991,"pi-pa-tu-zhou-wang-zhen-202991","枇杷图轴","此图以写意笔法绘枇杷，墨笔勾勒枝干苍劲有力，叶片泼墨晕染，浓淡相宜。橙黄果实饱满圆润，设色鲜活雅致，尽显秋日蔬果之生机。旁伴行书题跋，笔墨洒脱自然，与画面蔬果意趣相融，书画合璧，尽显文人画的简淡真味与雅致情怀。",[24,7,165,369,27,133,61,918,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F680e79b63f1594d162efb9f925da0edd.jpg",[68],"c6bcab",{"id":66420,"slug":66421,"title":5172,"dynasty":32945,"author":66422,"museum":56,"description":66423,"tags":66424,"thumbUrl":66425,"material":84,"size":84,"collection":68,"collections":66426,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":66427},202952,"mei-hua-zhou-ceng-xi-202952","曾熙","老干以淡墨挥写，线条苍劲虬曲如铁铸，新枝穿插灵动舒展。梅花以朱砂点染，浓淡相宜，或含苞或绽蕊，疏密间尽显清雅孤傲。笔墨兼具洒脱与细腻，设色妍丽却不失雅致，文人画逸趣风骨尽显。简淡空灵的画面里，气韵生动，梅的坚韧品格与画者情怀交融。",[24,7,165,27,61,371,128,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F478b127097caf444077f1b3d162a96b1.jpg",[68],"dec5a0",{"id":66429,"slug":66430,"title":58620,"dynasty":32945,"author":3539,"museum":56,"description":66431,"tags":66432,"thumbUrl":66433,"material":84,"size":84,"collection":117,"collections":66434,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":58625},202940,"ma-tu-zhou-xu-bei-hong-202940","这幅画里，骏马昂首伫立，鬃毛与长尾如飞瀑般扬起，尽显昂扬矫健之姿。画家以洒脱的水墨笔触勾勒马身轮廓，浓淡干湿的墨色层次细腻晕染肌肉起伏，线条刚劲中藏灵动，将马的雄健体魄与不羁精神刻画得入木三分。背景简淡空灵，更衬出主体的鲜活生命力，是写意动物画中的典范，传递出蓬勃向上的气韵。",[24,128,101,369,165,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b6a4641182099d7e3005aea08606474.jpg",[117],{"id":66436,"slug":66437,"title":66438,"dynasty":32945,"author":3539,"museum":56,"description":66439,"tags":66440,"thumbUrl":66441,"material":84,"size":84,"collection":117,"collections":66442,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":66443},202925,"gu-bai-tu-zhou-xu-bei-hong-202925","古柏图轴","这幅古柏图以奔放洒脱的笔墨绘就苍劲古柏。主干粗壮扭曲，墨色浓淡干湿交织，纹理斑驳如岁月刻痕；枝桠虬曲伸展，墨叶浓聚淡散，层次丰富。地面野草以简练线条勾勒，与古柏的厚重形成虚实对比，更显其挺拔坚韧。整作兼具写实的精准与写意的豪情，笔墨老辣，气韵生动，将古柏不屈的生命力与精神风骨展现得淋漓尽致。",[24,128,331,165,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb08339ddd98153ad4d5b5ab8fe1dcc8.jpg",[117],"c1b9a7",{"id":66445,"slug":66446,"title":66447,"dynasty":144,"author":1346,"museum":56,"description":66448,"tags":66449,"thumbUrl":66450,"material":84,"size":84,"collection":84,"collections":66451,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":66452},202543,"zhu-pu-tu-juan-wu-zhen-202543","竹谱图卷","墨竹劲挺，尽显文人风骨。此卷以中锋运笔写竹，竹叶如行书撇捺，“个”“人”字形错落，墨色浓淡相间，竹竿挺拔含节，苍劲中见洒脱。山石以淡墨皴擦，与劲竹相映，疏密有致，藏自然生机。卷中题跋满纸，书法与绘事浑然相融，行书流畅、草书洒脱，衬得墨竹更添文气。笔墨间承“书画同源”之旨，清逸高古，寄托画家的文人品格，观之如沐清风，尽得竹之神韵与画者情怀。",[24,7,25,128,167,133,840,132,9602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d6b2b8ed0903a30d6f654b33b2a13fd.jpg",[],"bdb2a0",{"id":66454,"slug":66455,"title":66456,"dynasty":54,"author":66457,"museum":56,"description":66458,"tags":66459,"thumbUrl":66460,"material":84,"size":84,"collection":136,"collections":66461,"showCount":553,"zanCount":48,"manualWeight":48,"mainColor":66462},201931,"chong-han-xing-lv-tu-zhou-xu-fang-201931","冲寒行旅图轴","徐方","画面以淡墨晕染冬日寒林的清寂，积雪覆山，枯树枝桠交错，溪流半凝。古道上三骑驴者缓行，衣衫单薄却神情笃定，似在风雪中奔赴前路。岩间隐现的小屋，为萧瑟雪景添了几分暖意。笔法兼工带写，雪景留白显层次，枯树勾勒精准，人物动态鲜活，尽显冬日行旅的坚韧与诗意。",[24,7,29,96,101,331,99,128,27,132,690,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f1febd68e5b214e12b671e5be25e2a0.jpg",[136],"9d8563",{"id":66464,"slug":66465,"title":66466,"dynasty":124,"author":223,"museum":300,"description":66467,"tags":66468,"thumbUrl":66469,"material":692,"size":1293,"collection":84,"collections":66470,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},290803,"hua-xia-shuang-yuan-tu-zhou-yi-ming-290803","花下双鸳图轴","画中牡丹迎风摇曳,一对鸳鸯依偎栖息于花丛底下.花,乌均采用没骨法直接点染,无线条勾勒,生意俱足,设色明亮缤纷,充满富贵气象",[24,164,7,165,61,28,27,263,1857],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58105294af84e08b2c484d4eb38990a8.jpg",[],{"id":66472,"slug":66473,"title":66474,"dynasty":18,"author":223,"museum":300,"description":66475,"tags":66476,"thumbUrl":66477,"material":692,"size":1293,"collection":84,"collections":66478,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},290772,"xiu-lao-zi-xiang-zhou-yi-ming-290772","绣老子像轴","青牛独控去何乡，广额方唇双耳长。魁士名人有弗屑，搥仁提义正奚妨。\n散关令遇元经著，脩内司成宝像装。千古画图皆省识，谁云良贾善深藏。",[165,24,7,27,96,102,40142,208,64,572,13534],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee518b44387a7385c7684da0e8a6a1ca.jpg",[],{"id":66480,"slug":66481,"title":66482,"dynasty":124,"author":31140,"museum":244,"description":66483,"tags":66484,"thumbUrl":66485,"material":692,"size":1293,"collection":84,"collections":66486,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},290550,"chu-ri-pan-tao-zhou-xu-lin-290550","初日蟠桃轴","徐霖（1462年-1538年），字子仁，号九峰、髯仙，又称徐山人。先世长洲（今江苏苏州）人，出生于华亭（今上海松江），后移居金陵。明代戏曲作家。\n徐霖性格倜傥、豪爽，工于书法，又兼善绘画。填曲富有才情，且颇精于格律，他与散曲作家陈铎在当时并有“曲坛祭酒”的称号，并与谢承举一起被称为“江东三才子”。",[24,7,165,61,27,28,2123,38836,64,133,17701,12405],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F390dc1bbd462d2844c04bc14af67d766.jpg",[],{"id":66488,"slug":66489,"title":66490,"dynasty":54,"author":7208,"museum":300,"description":45366,"tags":66491,"thumbUrl":66493,"material":692,"size":1293,"collection":84,"collections":66494,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":199},290469,"ben-se-na-sha-jia-xiu-chun-niu-tu-juan-qian-long-290469","本色纳纱加绣春牛图卷",[23,25,7,24,66492,27,96,102,98,99,211,97,29,15899,4363,130],"纳纱加绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b4afda088d9622deba18199db8ba3c8.jpg",[],{"id":66496,"slug":66497,"title":66498,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":66499,"thumbUrl":66500,"material":692,"size":1293,"collection":84,"collections":66501,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},290431,"jing-wei-shu-ji-shi-shi-wen-juan-dong-gao-290431","泾渭蜀纪实诗文卷",[23,25,24,7,27,26,29,31,496,387,64,133,56990],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef2f3667c968e7989f9a935ff5bf5351.jpg",[],{"id":66503,"slug":66504,"title":66505,"dynasty":144,"author":223,"museum":300,"description":35562,"tags":66506,"thumbUrl":66508,"material":692,"size":1293,"collection":84,"collections":66509,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},290405,"pi-lu-zhe-na-fu-tu-yi-ming-290405","毗盧遮那佛图",[24,7,187,96,27,28,165,18381,66507,7220,189],"毗卢遮那佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc86a1452532fb804ca706e57fe1beeb5.jpg",[],{"id":66511,"slug":66512,"title":66513,"dynasty":144,"author":18589,"museum":300,"description":66514,"tags":66515,"thumbUrl":66517,"material":692,"size":1293,"collection":84,"collections":66518,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},290397,"fang-mi-jia-shan-shui-tu-ke-luo-ban-fang-cong-yi-290397","仿米家山水图（珂罗版）","方从义（约1302—1393），元末著名道士画家，江西贵溪人。字无隅，号方壶、又号上清羽士、不芒道人、金门羽客、鬼谷山人。早年入道，师从永嘉人金月岩修道家之学，为龙虎山上清宫正一派道士，金月岩去世后，他离开龙虎山游历全国各地，往来于大江南北，至正三年（1343）曾至大都（今北京），结交了不少文人、画家和达官贵人，名臣危素称他为“方外之交”，画家张彦辅曾为之绘《圣井山图》相赠，在当时很有名气，由于不喜谈论时事，独好画，不久即思南归，但这次北游使他大开眼界，对他的画有很大促进。",[23,164,24,7,29,128,330,64,208,496,34,66516],"细雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc0ea8f998ae61227e0cbabed49e7d28.jpg",[],{"id":66520,"slug":66521,"title":66522,"dynasty":18,"author":223,"museum":300,"description":64532,"tags":66523,"thumbUrl":66524,"material":692,"size":1293,"collection":84,"collections":66525,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},290271,"han-gong-qiu-tu-yi-ming-290271","汉宫秋图",[164,24,7,25,95,27,96,97,98,99,247,34,131,208,64,6639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F045d0a536847ac969e6804bdb1446c39.jpg",[],{"id":66527,"slug":66528,"title":56832,"dynasty":144,"author":18589,"museum":300,"description":66514,"tags":66529,"thumbUrl":66530,"material":692,"size":1293,"collection":84,"collections":66531,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},290262,"shan-shui-tu-ke-luo-ban-fang-cong-yi-290262",[23,24,7,128,29,129,99,34,387,37,211,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ebd6c74865923ae26353a3a93def9d.jpg",[],{"id":66533,"slug":66534,"title":66535,"dynasty":182,"author":223,"museum":244,"description":66536,"tags":66537,"thumbUrl":66539,"material":692,"size":1293,"collection":84,"collections":66540,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},290023,"tang-ren-da-yu-zhi-shui-tu-yi-ming-290023","唐人大禹治水图","尧舜之世，时有洪水横流，历经围堵，未见其效。后举禹治之，禹疏九河，使排注於江海，而天下平。 历代画家以此入图者，古书所载，最早有顾恺之，其後则有隋展子虔、五代朱简章、宋赵伯驹等。此幅无作者名款，附有旧签，题曰：“唐人大禹治水图”。",[164,24,7,165,27,96,29,19122,66538],"大禹治水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb28861897fce01cedffc2693951f379.jpg",[],{"id":66542,"slug":66543,"title":31888,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":66544,"thumbUrl":66546,"material":692,"size":1293,"collection":84,"collections":66547,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},289949,"shan-shui-ren-wu-juan-shi-tao-289949",[23,24,164,25,128,7,64,133,29,96,129,1337,496,99,10701,66545,52076,58122,27083,13414,12634,208,132],"幽林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9823a172113e0e371319b858615943f8.jpg",[],{"id":66549,"slug":66550,"title":66551,"dynasty":18,"author":223,"museum":300,"description":66552,"tags":66553,"thumbUrl":66554,"material":692,"size":1293,"collection":84,"collections":66555,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},289939,"hua-shi-cao-chong-tu-yi-ming-289939","花石草虫图","宋代绘画是在中国宋代期间的绘画作品，中国宋朝延续300多年，其绘画在隋唐五代的基础上继续得到发展。民间绘画、宫廷绘画、士大夫绘画各自形成体系，彼此间又互相影响、吸收、渗透，构成宋代绘画丰富多彩的面貌。\n北宋统一消除了封建割据造成的分裂和隔阂，在一段时期内社会保持着相对安定局面，商业手工业迅速发展，城市布局打破坊和市的严格界限，出现空前未有的繁荣。南宋虽然偏安江南，由于物产丰盛的江、浙、湖、广地区都在其境内，大量南迁的北方人和南方人一起共同开发江南，经济、文化都得到继续发展并超过北方。北宋的汴梁（今河南省开封市）、南宋的临安（今浙江省杭州市）等城市商业繁盛，除贵族聚集外，还住有大量的商人、手工业者和市民阶层，城市文化生活空前活跃，绘画的需求量明显增长，绘画的服务对象也有所扩大，为绘画发展和繁荣提供了物质条件和群众基础。\n宋代绘画进入手工业商业行列，与更多的群众建立较为密切的联系。一批技艺精湛的职业画家，将作品作为商品在市场上出售，汴京及临安都有纸画行业。汴京大相国寺每月开放5次庙会，百货云集，其中就有售卖书籍和图画的摊店；南宋临安夜市也有细画扇面、梅竹扇面出售；汴京、临安等地的酒楼也以悬挂字画美化店堂，作为吸引顾客的手段。市民遇有喜庆宴会，所需要的屏风、画帐、书画陈设等都可以租赁。适应年节的需要，岁末时又有门神、钟馗等节令画售卖，为市甚盛。北宋时，汴京善画“照盆孩儿”的画家刘宗道，每创新稿必画出几百幅在市场一次售出，以防别人仿制；专画楼阁建筑的赵楼台；画婴儿的杜孩儿，也在汴京享有盛名。吴兴籍军人燕文贵常到汴京州桥一带卖画。山西绛州杨威，善画村田乐，每有汴京贩画商人买画，他即嘱其如到画院门前去卖，可得高价。社会对绘画的需求和民间职业画家创作的活跃，是推动宋代绘画发展的重要因素。宋代由于手工业的发达，促成了雕版印刷的发展与普及，出现了汴京、临安、平阳、成都、建阳等雕版中心，不少书籍及佛经都附有版画插图，现存宋金雕印的弥勒像、陀罗尼经咒、《佛国禅师文殊指南图赞》、《赵城藏》等，可见其绘刻之精美程度。",[24,164,7,28,27,61,62,171,480,17539,4279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93e736ec07c5274b496d790b42b1ee02.jpg",[],{"id":66557,"slug":66558,"title":66559,"dynasty":54,"author":223,"museum":300,"description":66560,"tags":66561,"thumbUrl":66562,"material":692,"size":1293,"collection":84,"collections":66563,"showCount":751,"zanCount":1998,"manualWeight":48,"mainColor":49},289918,"an-chun-hua-hui-tu-ye-yi-ming-289918","鹌鹑花卉图页","此作工致秀雅，两只鹌鹑动静相映，一只垂首似啄食小憩，一只昂首远眺，绒羽以细笔丝描晕染，蓬松柔润的质感尽显。\n\n周遭花木错落生姿，鸢尾挺秀、紫菊柔婉，垂枝缀着猩红浆果，枝叶舒展间带着野趣生机，敷色妍丽古雅，勾勒细劲流畅，将草木舒展之态描摹入微。\n\n右上角题字清雅，书画相映，为画面更添文韵。整幅构图疏密相宜，一隅小景藏着悠然生机，既见写生的细腻用心，又暗合安居顺遂的吉祥意趣，尽显小品花鸟的雅致意趣。",[24,7,61,59,27,28,8140,375,376,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa6116da5772b353e3913c7125a9981.jpg",[],{"id":66565,"slug":66566,"title":26501,"dynasty":124,"author":15700,"museum":300,"description":66567,"tags":66568,"thumbUrl":66569,"material":692,"size":1293,"collection":84,"collections":66570,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},289793,"shou-xing-tu-zhu-zhan-ji-289793","明宣宗朱瞻基（1399年3月16日－1435年1月31日），号长春真人，明成祖朱棣之孙，明仁宗朱高炽长子，明朝第五位皇帝（1425年5月29日-1435年1月31日在位）、书画家，年号“宣德”。\n明宣宗朱瞻基生于北平燕王府。幼年聪颖，深得祖父朱棣喜爱。永乐九年（1411年），册立为皇太孙，多次跟随明成祖朱棣征讨蒙古。洪熙元年（1425年）即位。宣德元年（1426年），平定汉王朱高煦叛乱。在政治上，重视整顿吏治和财政，提升内阁地位，任用“三杨”、蹇义、夏原吉等；教导宦官读书参政。经济上，实行休养生息，缓和社会矛盾的措施。对外关系上，进行第七次郑和下西洋；停止用兵交趾；于宣德三年（1428年）出塞，并修建永宁、隆庆诸城。明宣宗的一系列措施使得社会经济空前的发展，与其父明仁宗统治时期合称“仁宣之治”。同时明宣宗在书画方面极有造诣，翰墨图书，极为精致。“点墨写生，遂与宣和（宋徽宗）争胜”，书法能于圆熟之外见遒劲。工于绘事，山水、人物、走兽、花鸟、草虫均佳，曾钤“广运之宝“、”武英殿宝”及“雍熙世人”等印章。\n宣德十年（1435年），明宣宗去世，终年三十六岁，庙号宣宗，谥号宪天崇道英明神圣钦文昭武宽仁纯孝章皇帝，葬于景陵。著《明宣宗御制乐府》一卷，至今已佚，存词二首。传位长子朱祁镇。",[164,24,7,27,96,208,64,58829,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F977906fe10ef6429d7fed6b5e3ae1091.jpg",[],{"id":66572,"slug":66573,"title":66574,"dynasty":18,"author":223,"museum":300,"description":66575,"tags":66576,"thumbUrl":66578,"material":692,"size":1293,"collection":84,"collections":66579,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},289783,"you-qi-tu-yi-ming-289783","游骑图","画面以平列式构图铺陈出行游队伍，人马排布错落疏朗。鞍马造型劲挺矫健，或扬蹄疾行或缓步徐行，鬃毛飘逸、肌理饱满，将良驹的神骏姿态刻画入微。骑手宽袍博带，姿态悠然松弛，衣纹线条圆转流畅，晕染精细，尽显闲适从容的气度。右侧随行侍从躬身紧随，衬出游行的雅致氛围。\n\n古绢底色苍浑沉静，朱红古印点缀其间晕开厚重古韵。全作用色简淡秀雅，线条细劲精准，将郊野闲游的松弛意趣娓娓道来，尽显写实雅致的审美意韵，是鞍马人物画中的精妙之作。",[23,164,24,25,7,96,101,27,66577,64,208],"鞍马出行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d25ac9f932d81595cf72e8134951b7.jpg",[],{"id":66581,"slug":66582,"title":66583,"dynasty":18,"author":2067,"museum":300,"description":16802,"tags":66584,"thumbUrl":66585,"material":692,"size":1293,"collection":84,"collections":66586,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},289363,"hong-bai-fu-rong-tu-ye-li-di-289363","红白芙蓉图页",[164,24,7,61,28,27,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf9cc51d447cb9cec7e9fc243d1ccae7.jpg",[],{"id":66588,"slug":66589,"title":27759,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":66590,"thumbUrl":66591,"material":692,"size":1293,"collection":84,"collections":66592,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},289357,"jing-xi-zhao-yin-tu-juan-dong-qi-chang-289357",[23,7,24,64,25,133,208,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5686be68149a7f7a2e87b169a244b4c.jpg",[],{"id":66594,"slug":66595,"title":66596,"dynasty":18,"author":4481,"museum":300,"description":27081,"tags":66597,"thumbUrl":66599,"material":692,"size":1293,"collection":84,"collections":66600,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},288942,"xiao-xiang-ba-jing-yuan-pu-gui-fan-wang-hong-288942","潇湘八景-远浦归帆",[164,24,7,25,128,132,29,99,130,331,171,66598],"远浦归帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe935a5ee75c65dca8ba2666e8e7fdb26.jpg",[],{"id":66602,"slug":66603,"title":9242,"dynasty":144,"author":223,"museum":300,"description":35562,"tags":66604,"thumbUrl":66605,"material":692,"size":1293,"collection":84,"collections":66606,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},288920,"qiu-gua-tu-yi-ming-288920",[164,24,7,61,27,28,9245,548,962,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b86617a97a20512828f8d9b641fdd44.jpg",[],{"id":66608,"slug":66609,"title":10140,"dynasty":351,"author":35608,"museum":300,"description":55233,"tags":66610,"thumbUrl":66611,"material":692,"size":1293,"collection":84,"collections":66612,"showCount":751,"zanCount":1998,"manualWeight":48,"mainColor":49},288268,"yan-ai-qiu-she-tu-zhao-gan-288268",[23,24,7,1349,128,132,171,1337,6639,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ee6c8d1442c8b87e43d233c47bb6fcf.jpg",[],{"id":66614,"slug":66615,"title":66616,"dynasty":54,"author":66617,"museum":300,"description":66618,"tags":66619,"thumbUrl":66621,"material":692,"size":1293,"collection":84,"collections":66622,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},288242,"yu-zhi-geng-zhi-tu-ai-xin-jue-luo-xuan-ye-288242","御制耕织图","爱新觉罗.玄烨","清圣祖爱新觉罗·玄烨（1654年5月4日—1722年12月20日），清朝第四位皇帝，清定都北京后第二位皇帝（1661年-1722年在位），年号“康熙”。蒙古人称为恩赫阿木古朗汗；西藏方面尊称为“文殊皇帝”。顺治帝第三子，生母为孝康章皇后佟佳氏。",[23,24,7,59,188,572,64,208,96,98,99,13640,66620,34],"耕织","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5eaf54165aae398c3cd08f548717c06.jpg",[],{"id":66624,"slug":66625,"title":66626,"dynasty":54,"author":7208,"museum":300,"description":45366,"tags":66627,"thumbUrl":66630,"material":692,"size":1293,"collection":84,"collections":66631,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},288181,"yu-bi-qi-yan-shi-li-zhou-qian-long-288181","御笔七言诗立轴",[23,7,64,165,133,66628,208,66629],"七言诗","洒金笺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F730f07c3a4b5242987ddf11fc0d2ece3.jpg",[],{"id":66633,"slug":66634,"title":66635,"dynasty":54,"author":1504,"museum":300,"description":10442,"tags":66636,"thumbUrl":66637,"material":692,"size":1293,"collection":84,"collections":66638,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},288025,"jing-ji-cong-lan-tu-juan-zheng-ban-qiao-288025","荆棘从兰图卷",[23,24,7,25,64,938,375,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b83e9d9aeeb935548a44e4fd0d114c1.jpg",[],{"id":66640,"slug":66641,"title":66642,"dynasty":54,"author":675,"museum":300,"description":11658,"tags":66643,"thumbUrl":66644,"material":692,"size":1293,"collection":84,"collections":66645,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},287997,"qian-long-nan-xun-zhu-bi-tu-ye-23-zhen-qian-wei-cheng-287997","乾隆南巡驻跸图页23帧",[23,24,7,164,59,95,27,97,130,17270,29,34,98,19122,64,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02b7085194310691b6fae5dae96603ea.jpg",[],{"id":66647,"slug":66648,"title":66649,"dynasty":124,"author":52770,"museum":300,"description":18203,"tags":66650,"thumbUrl":66651,"material":692,"size":1293,"collection":84,"collections":66652,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},287948,"yan-si-wan-zhong-tu-ye-sheng-mao-ye-287948","烟寺晚钟图页",[23,164,24,7,59,27,29,133,64,208,98,99,496,1144,17270,37,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ee2ff072691336c7ccc9a6449892a59.jpg",[],{"id":66654,"slug":66655,"title":66656,"dynasty":124,"author":16032,"museum":300,"description":20309,"tags":66657,"thumbUrl":66658,"material":692,"size":1293,"collection":84,"collections":66659,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},287783,"xue-ying-yu-ren-tu-xiang-sheng-mo-287783","雪影渔人图",[23,164,24,7,165,128,29,331,129,171,99,208,1351,1813],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2180dbe5f9cb3d7d66cc8995b1afa3ba.jpg",[],{"id":66661,"slug":66662,"title":66663,"dynasty":54,"author":66664,"museum":300,"description":66665,"tags":66666,"thumbUrl":66667,"material":692,"size":1293,"collection":84,"collections":66668,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},287745,"fang-shi-xi-shan-shui-xiao-jun-xian-287745","仿石溪山水","萧俊贤","萧俊贤( 1865 -1949)字厔泉，号铁夫，别署天和逸人，斋名净念楼。湖南衡阳人。 早年从苍崖法师、沈咏荪学画 。应李瑞清聘，曾任教于两江优级师范学堂图画手工科 。民国初年居北京，曾任教于国立北平艺术专科学校 。晚年寓沪卖画为生 。长于山水，兼作花卉 。与萧逊并称为北京二萧 。作品有《碧海青天图》《溪山无尽图》《山居图》等 。",[24,7,165,128,29,330,496,13602,99,97,34,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62a7fe3e02728d888882ee1773d23ff.jpg",[],{"id":66670,"slug":66671,"title":66672,"dynasty":54,"author":44543,"museum":300,"description":66673,"tags":66674,"thumbUrl":66675,"material":692,"size":1293,"collection":84,"collections":66676,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},287727,"shan-shui-fang-gu-ce-fang-shi-shu-287727","山水仿古册","方士庶（1692—1751）字循远，一作洵远，号环山，又号小狮道人，一作小师道人，新安（今安徽歙县）籍，家维扬（今江苏扬州）。清代画家。",[24,7,59,128,29,98,99,130,131,34,208,64,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8502a46d703fc1ee83d18e35b85691cd.jpg",[],{"id":66678,"slug":66679,"title":66680,"dynasty":18,"author":223,"museum":244,"description":66681,"tags":66682,"thumbUrl":66683,"material":692,"size":66684,"collection":84,"collections":66685,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},287645,"zhu-lin-qing-hua-yi-ming-287645","竹林清话","此作用繁茂修竹铺陈画面主体，双钩墨笔写就竿叶劲挺秀拔，层层叠叠掩映出幽谧林下天地。两位高士对坐晤谈，衣纹简练舒展，神色悠然自在，小童垂手侍立一旁，神态恭谨安闲，将文人雅集的萧散之态尽显无余。画面虚实相生，沉郁古雅的绢色衬出林间清寂，设色淡逸简净，晕染出宋代文人简淡冲和的林下之风，把超脱尘俗的雅集闲情融在婆娑竹影之中，尽显古典雅致的文人意趣。",[164,24,7,165,27,128,96,167,171,7056],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad085f071face0d2df057319392f5ecd.jpg","106.5x42.7",[],{"id":66687,"slug":66688,"title":66689,"dynasty":124,"author":223,"museum":300,"description":66690,"tags":66691,"thumbUrl":66692,"material":692,"size":1293,"collection":84,"collections":66693,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},287339,"fang-dai-song-mu-niu-tu-yi-ming-287339","仿戴嵩牧牛图","此作为平远长卷，水岸逶迤铺展，枯木寒林错落点缀其间。群牛或卧憩坡岸、或垂首饮水、或结伴闲行，姿态灵动各异，尽得山野牧群的悠然天真，复刻出戴嵩画牛的朴拙野趣。\n设色温润古雅，以淡赭晕染汀洲秋岸，墨色点簇林木、皴擦牛身，浅淡青绿缀出残叶新枝，晕开秋日郊野的清寂萧散。拖尾题跋与画意呼应，书画合璧，尽显追摹唐风画牧的古雅意趣，将田家放牧的日常景致，晕作一卷闲散清和的秋日郊居牧歌。",[23,24,25,27,7,102,29,4438,330,49048],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b948a588da2c82dd8401abd9e571ff6.jpg",[],{"id":66695,"slug":66696,"title":66697,"dynasty":144,"author":1208,"museum":300,"description":34252,"tags":66698,"thumbUrl":66699,"material":692,"size":1293,"collection":84,"collections":66700,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":199},287306,"lin-xi-qing-yin-tu-juan-ni-zan-287306","林溪清隐图卷",[23,24,164,25,7,128,133,64,167,29,208,13414,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c9a683588fa53ede3255dbac057270.jpg",[],{"id":66702,"slug":66703,"title":66704,"dynasty":54,"author":223,"museum":300,"description":66705,"tags":66706,"thumbUrl":66707,"material":692,"size":1293,"collection":84,"collections":66708,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},272890,"nan-mu-bian-hua-pen-ju-tu-gua-ping-yi-ming-272890","楠木边画盆菊图挂屏","以没骨晕染绘就盆菊清供，素釉花盆温润匀净，配雕花铜座愈显古雅端方。白菊瓣层叠舒展，似凝着秋霜清露，柔润留白衬出花姿翩然写意。墨色叶片苍润错落，笔意秀逸清隽，淡彩晕染出叶片向背深浅，灵动自然。\n\n整幅画面留白疏朗，将案头清供的闲雅意趣晕透纸面，暗合秋日赏菊的隐逸雅致，把花木隽秀与文人清怀相融，淡静悠然的古意漫溢其间，尽显中式文房清赏的淡然韵致。",[24,7,27,28,61,376,169,40641],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82dcc0723f56142ed55790e0baab867b.jpg",[],{"id":66710,"slug":66711,"title":66712,"dynasty":18,"author":66713,"museum":300,"description":66714,"tags":66715,"thumbUrl":66716,"material":611,"size":84,"collection":318,"collections":66717,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},241661,"ming-qing-zhu-jia-ba-ci-zhan-kui-shi-tuo-juan-zhao-shen-241661","明清诸家跋赐詹骙诗拓卷","赵眘","宋孝宗趙昚（1127年11月27日－1194年6月28日），初名趙伯琮，後改名趙瑗，賜名趙瑋，字元永，籍貫秀州（今浙江嘉興），宋太祖趙匡胤七世孫、宋高宗趙構養子。宋朝第十一位皇帝、南宋第二位皇帝（1162年7月20日－1189年2月18日在位）。\n紹興二年（1132年），被高宗選中育於宮中。紹興三十年（1160年），被立為皇子，受封開府儀同三司、寧國軍節度使，封建王。紹興三十二年（1162年），被立為皇太子。同年高宗讓位於趙昚，使宋朝的皇位再次回到宋太祖一系。淳熙十六年（1189年），趙昚禪位於三子趙惇，自稱壽皇聖帝。紹熙五年（1194年），趙昚崩逝，在位二十七年，年六十八。累諡號紹統同道冠德昭功哲文神武明聖成孝皇帝，廟號孝宗，葬於永阜陵。《全宋詞》錄有其詞一首。\n後世普遍認為趙昚是南宋最有作為的皇帝。他在位期間，平反岳飛冤案，起用主戰派人士，鋭意收復中原；內政上，加強集權，積極整頓吏治，裁汰冗官，懲治貪污，重視農業生產，百姓生活安康，史稱“乾淳之治”。後世稱其為“卓然為南渡諸帝之稱首”。",[23,7,25,5380,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F039a2b079120574c0a96be072dc2c54b.jpg",[318],{"id":66719,"slug":66720,"title":66721,"dynasty":54,"author":66722,"museum":300,"description":66723,"tags":66724,"thumbUrl":66725,"material":692,"size":1293,"collection":84,"collections":66726,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},241595,"ping-tie-yu-ye-zhang-chang-241595","评帖语页","张昌","此作用笔沉厚凝练，取法汉隶，字形方正朴拙，笔画饱满遒劲，波磔舒展沉稳，尽显雄浑古雅的金石意趣。通篇排布匀整，行气贯通雅致，正文隶书端严厚重，左侧落款小字灵动秀逸，二者动静相宜，形成鲜明对比，让整幅作品在沉穆之外更添灵动层次。笔墨间尽显汉隶的朴茂风骨，又融入书家的审美意趣，尽显书写者扎实的临摹功底与不俗的书法造诣。",[7,59,572,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc865f4523a781cae11c18a2a21286322.jpg",[],{"id":66728,"slug":66729,"title":66730,"dynasty":54,"author":66731,"museum":300,"description":66732,"tags":66733,"thumbUrl":66734,"material":692,"size":1293,"collection":84,"collections":66735,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},241320,"jie-lu-mi-fei-wen-zhou-sun-rang-241320","节录米芾文轴","孙勷","孙勷，字子未，一字予未，号莪山，又号诚斋，德州人。康熙乙丑进士，官至大理寺少卿，终於通政司参议。",[304,64,133,165,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F425544c5c8037132f0b4c3174b0d2d00.jpg",[],{"id":66737,"slug":66738,"title":66739,"dynasty":124,"author":66740,"museum":300,"description":66741,"tags":66742,"thumbUrl":66743,"material":611,"size":84,"collection":318,"collections":66744,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},241215,"shan-ju-wu-lv-shi-zhou-jiang-feng-yuan-241215","山居五律诗轴","姜逢元","浙江 万历四十一年癸丑进士，累迁国子司业，曾任太子保，充日讲官，官至礼部尚书。时魏忠贤擅政，纂三朝要典，假阉竖之权，役 崇祯初，累官礼部尚书，与枚十者九，寻乞归。逢元善于书法，博采众长自出已意，尤擅于行、草，世人多宝重。着有《禹贡详节》和《宗伯公集选》。",[24,7,64,165,133,840,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5901359265b98980c30a07749e322840.jpg",[318],{"id":66746,"slug":66747,"title":66748,"dynasty":54,"author":6778,"museum":300,"description":66749,"tags":66750,"thumbUrl":66751,"material":611,"size":84,"collection":318,"collections":66752,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},241054,"zhi-zi-ji-zha-heng-zhao-zhi-qian-241054","致子继札横","赵之谦（1829年8月8日 －1884年11月18日 ），汉族，浙江会稽（今绍兴）人。 初字益甫，号冷君；后改字撝（huī）叔，号悲庵、梅庵、无闷等。清代著名书画家、篆刻家，与吴昌硕、厉良玉并称“新浙派”的三位代表人物，与任伯年、吴昌硕并称“清末三大画家”。李志敏评价：“赵之谦学北碑自成一体。”\n赵之谦从青年时代起，就刻苦致力于经学、文字训诂和金石考据之学，取得了相当的成就。尤精书画、篆刻。赵之谦善于向前人和同时代各派名家学习，又不囿前人，勇于创新。 在绘画上，他是“海上画派”的先驱人物，其以书、印入画所开创的“金石画风”，对近代写意花卉的发展产生了巨大影响；在书法上，他是清代碑学理论的最有力实践者，其魏碑体书风的形成，使得碑派技法体系进一步趋向完善，从而成为有清一代第一位在正、行、篆、隶诸体上真正全面学碑的典范；在篆刻上，他在前人的基础上广为取法，融会贯通，以“印外求印”的手段创造性地继承了邓石如以来“印从书出”的创作模式，开辟了一个前所未有的新境界。\n赵之谦的篆刻成就巨大，对后世影响深远。近代的吴昌硕、齐白石等画家都从他处受惠良多。著有《六朝别字记》《悲庵居士文存》等，又有篆刻《二金蝶堂印存》。",[7,64,133,25,51559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F780d500e113fe99af594781fc50f9f4a.jpg",[318],{"id":66754,"slug":66755,"title":66756,"dynasty":124,"author":50727,"museum":300,"description":50728,"tags":66757,"thumbUrl":66758,"material":692,"size":1293,"collection":84,"collections":66759,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},241004,"zhi-luo-feng-zha-juan-wang-shou-ren-241004","致罗峰札卷",[23,164,24,7,25,128,133,938,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88979f0060eb58657f91f1b367c1d40f.jpg",[],{"id":66761,"slug":66762,"title":66763,"dynasty":54,"author":45440,"museum":300,"description":45441,"tags":66764,"thumbUrl":66765,"material":611,"size":84,"collection":136,"collections":66766,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},240886,"lu-tang-yao-he-shi-ju-ye-qi-zhi-jia-240886","录唐姚合诗句页",[24,7,59,128,29,663,413,3387,132,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd420e1227963466a348e450bf9d57d90.jpg",[136],{"id":66768,"slug":66769,"title":66770,"dynasty":54,"author":15720,"museum":300,"description":66771,"tags":66772,"thumbUrl":66773,"material":611,"size":84,"collection":318,"collections":66774,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},240555,"shi-san-xing-ye-ai-xin-jue-luo-yong-xing-240555","十三行页","爱新觉罗·永瑆（1752年3月22日—1823年5月10日），少字镜泉，从号少厂，又号镜泉、即斋，别号诒晋斋主人，清朝宗室亲王，乾隆帝爱新觉罗·弘历的第十一子，嘉庆帝的异母兄，永瑆的生母是淑嘉皇贵妃金佳氏。\n乾隆十七年壬申（1752年）二月初七辰时出生于圆明园五福堂。乾隆五十四年（1789年）十一月封和硕成亲王。嘉庆四年（1799年），在军机处行走。道光三年（1823年）三月三十日午时薨，年七十二，谥曰哲。\n作为清朝著名书法家，与翁方纲、刘墉、铁保并列“乾隆四家”。著有《听雨屋集》《诒晋斋集》《仓龙集》。\n对其书法的评价，有杨翰《息柯杂著》谓：“王得窥内府所藏，而自藏又甚富，故书法大备如是，大抵皆从\n帖中问津，未深究古碑耳。”（清）礼亲王昭梿《啸亭杂录》谓：“永瑆幼时握笔，即波磔成文，少年工赵文敏，又尝见康熙时内监。言其师少时犹及见董文敏用笔。惟以前三指握管，悬腕书之，故王广推其语，作拨灯法。”又说：“永瑆名重一时，士大夫得片纸只字，重若珍宝。论者谓国朝自王若霖（澍）下，一人而已。”《息柯杂著》又谓：“诒晋斋书，素未究心，但知其从赵承旨上溯欧阳率更，虽偶涉诸家，终不离两家宗旨。集卷随手杂临，竟有脱尽町畦，不似本家笔意者。篆、隶亦有法度，盖书非一时，临非一家，不甚经意，而精神所寄，一一浑足，此无意胜于有意也。”\n善收藏。著有《听雨书屋诗集》《诒晋斋诗文集》及《续集》《随笔》《仓龙集》等。《清史稿》卷二百二十一有传。",[7,64,133,611,10762,208,304,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a7bc313925afdf882a3abc62d6938ef.jpg",[318],{"id":66776,"slug":66777,"title":66778,"dynasty":54,"author":58930,"museum":300,"description":60740,"tags":66779,"thumbUrl":66780,"material":692,"size":1293,"collection":84,"collections":66781,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},240482,"zhuan-shu-lu-wen-zhou-wan-cheng-ji-240482","篆书录文轴",[7,64,165,938,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a5eec069ada0a4fc03581152966b6e9.jpg",[],{"id":66783,"slug":66784,"title":50743,"dynasty":124,"author":50744,"museum":300,"description":50924,"tags":66785,"thumbUrl":66786,"material":692,"size":1293,"collection":84,"collections":66787,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},240447,"shi-zhou-ni-yuan-lu-240447",[7,64,165,133,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb93a2a796b137abd324ce4bc50a9afb.jpg",[],{"id":66789,"slug":66790,"title":66791,"dynasty":54,"author":55,"museum":300,"description":1290,"tags":66792,"thumbUrl":66793,"material":692,"size":1293,"collection":84,"collections":66794,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},240415,"ti-hua-gao-ce-yun-shou-ping-240415","题画稿册",[24,7,59,133,208,60,61,128,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9415120a293fd2616460e625cdcc022.jpg",[],{"id":66796,"slug":66797,"title":66798,"dynasty":124,"author":223,"museum":300,"description":66799,"tags":66800,"thumbUrl":66801,"material":84,"size":84,"collection":318,"collections":66802,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},240176,"wu-kuan-li-yu-ji-qi-yao-shi-jia-jing-er-shi-si-nian-gao-ming-juan-yi-ming-240176","无款李愈及妻姚氏嘉靖二十四年诰命卷","此卷制式规整典重，首端织金云龙环绕题额，朱红九叠篆玺印方正雄浑，尽显庙堂威仪。敕命以馆阁小楷书就，笔致端雅匀净，法度森严；旁侧题跋行书舒展灵动，文气隽秀。一文一跋，庙堂规整与文人意趣相映成趣。缣素古旧，朱痕晕染岁月沉韵，既承载着封建荣典的礼制重量，亦兼具织造、书法的双重审美价值，尽显明代官方文书的庄重气度与彼时工艺、书法的不俗风貌。",[23,7,25,27,772,208,938,133,572,64,234,5459,28,23848],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F973f77157b943e606600b994ab8ce8cb.jpg",[318],{"id":66804,"slug":66805,"title":66806,"dynasty":54,"author":1460,"museum":20,"description":57014,"tags":66807,"thumbUrl":66809,"material":84,"size":84,"collection":318,"collections":66810,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},240037,"yuan-ji-jin-shan-liu-yun-ting-chang-he-yun-shi-ye-shi-tao-240037","原济金山留云亭唱和韵诗页",[7,64,304,133,840,128,611,208,57836,42097,28172,66808,24769],"毛笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ea08cb353e3a80880d6cb515cd68110.jpg",[318],{"id":66812,"slug":66813,"title":66814,"dynasty":124,"author":22598,"museum":300,"description":66815,"tags":66816,"thumbUrl":66817,"material":84,"size":84,"collection":318,"collections":66818,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},239946,"qi-jue-shi-zhou-chen-ji-ru-239946","七绝诗轴","陈继儒（1558年12月14日-1639年10月16日），字仲醇，号眉公、麋公，松江府华亭（今上海市松江区）人。明朝文学家、画家。\n诸生出身，二十九岁开始，隐居在小昆山，后居东佘山，关门著述，工诗善文，书法学习苏轼和米芾，兼能绘事，屡次皇诏征用，皆以疾辞。 擅长墨梅、山水，画梅多册页小幅，自然随意，意态萧疏。论画倡导文人画，持南北宗论，重视画家修养，赞同书画同源，有《梅花册》《云山卷》等传世。著有《陈眉公全集》《小窗幽记》《吴葛将军墓碑》《妮古录》。\n陈继儒书法学苏轼、米芾，对苏、米墨迹，最为喜爱，虽残碑断简，也必搜采，手自摹刻，成《晚香堂帖》及《来仪堂帖》。\n所画山水，空远清逸，松江博物馆藏有《潇湘烟雨图》1幅。所画梅竹，点染精妙，名重当时。用水墨画梅，乃其第一次，曾编《陈眉公梅花诗画册》，为后世所法。传世作品有《梅花》《梅竹双清图》等，（现藏故宫博物院）。\n另有《梅花图》8页（藏于日本东京国立博物馆）。书法传世作品有《行书半研斋诗》《行书李白诗》等（现藏故宫博物院）。曾评批《西厢记》《琵琶记》《绣襦记》等。并善鼓琴，订正琴谱，名重一时。\n其书画印有：“陈继儒印”（阴文印2方）、“陈眉公书画记”（阳文印2方）、“眉公”（阳文印）、“雪堂”（阴文印） ；“眉公”（阴文印）、“麋公”（阴文、阳文印）、“晚香堂”（阴文印）",[24,7,165,133,840,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd16067cc84ccd926b198314f3717c73.jpg",[318],{"id":66820,"slug":66821,"title":66822,"dynasty":18,"author":223,"museum":300,"description":66823,"tags":66824,"thumbUrl":66825,"material":84,"size":84,"collection":318,"collections":66826,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},239679,"wu-kuan-xing-pan-gu-xu-juan-yi-ming-239679","无款行盘谷序卷","通篇以行草挥就，笔势欹正相生，牵丝映带灵动自然，尽显宋人尚意书风的疏放意趣。笔墨燥润相济，提转顿挫间将文辞意涵与书家性情相融，通篇气息浑融连贯，把《盘谷序》的文气挥洒得淋漓尽致。\n\n卷身遍钤朱红鉴藏印玺，与墨色书迹交相辉映，历代题跋环列其间，织就厚重递藏脉络。疏密排布得宜，既有肆意挥洒的疏朗，亦不失点画精到的谨严，尽显宋代行书抒情达意的文人风骨，是兼具书法艺术价值与流传考据价值的佳作。",[23,24,7,25,133,64,128,29,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cef04be1b92ec6142891fe4070e31d1.jpg",[318],{"id":66828,"slug":66829,"title":66830,"dynasty":144,"author":66831,"museum":20,"description":66832,"tags":66833,"thumbUrl":66834,"material":611,"size":66835,"collection":318,"collections":66836,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},239676,"ji-chen-tie-ye-yu-ji-239676","即辰帖页","虞集","释文（略）\n\n据《元史·虞集传》：“文宗崩，集在告，欲谋南还，弗果。幼君（宁宗）崩，大臣将立妥欢帖陆尔太子（惠宗），用至大故事，召诸老臣赴上都议政，集在召列。（马）祖常使人告之曰：‘御史有言，乃谢病归临川。’”此帖中提到姑苏、惠泉（惠泉在无锡），可知此时虞集已经谢病南归。帖中又说：“方今龙飞御天”，应指惠宗即位事，与文献所述时间亦合。由此推断，此帖当书于惠宗即位之后，是虞集的晚年作品。\n陶宗仪在《书史会要》中对虞集的书法有很高的评价，认为：“集真、行、草、篆皆有法度，古隶为当代第一。”《即辰帖》为楷体，兼有行书笔意。书法精道、淳古、苍劲，波澜老成，有碑版之状。\n《铁网珊瑚·卷五》、《平生壮观·卷四》等书著录。",[23,64,7,133,1590,611,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39f7ae574ec2261810c44d0220845d3f.jpg","纵32.3厘米，横93.2厘米",[318],{"id":66838,"slug":66839,"title":66840,"dynasty":144,"author":569,"museum":300,"description":66841,"tags":66842,"thumbUrl":66843,"material":84,"size":84,"collection":318,"collections":66844,"showCount":751,"zanCount":1998,"manualWeight":48,"mainColor":72},239669,"za-shu-si-tie-juan-zhao-meng-fu-239669","杂书四帖卷","赵孟頫，1254年10月20日生人，字子昂，汉族，号松雪道人，又号水晶宫道人、鸥波，中年曾署孟俯。浙江吴兴（今浙江湖州）人。南宋末至元初著名书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。赵孟頫博学多才，能诗善文，懂经济，工书法，精绘艺，擅金石，通律吕，解鉴赏。特别是书法和绘画成就最高，开创元代新画风，被称为“元人冠冕”。他亦善篆、隶、真、行、草书，尤以楷、行书著称于世。其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。",[23,164,24,7,25,133,128,27,29,413,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F105971cba05216f4482cfe7d6dfe6465.jpg",[318],{"id":66846,"slug":66847,"title":66848,"dynasty":124,"author":41525,"museum":300,"description":66849,"tags":66850,"thumbUrl":66853,"material":84,"size":84,"collection":2210,"collections":66854,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},239631,"huang-dao-zhou-xiao-jing-ce-huang-dao-zhou-239631","黄道周孝经册","黄道周（1585年3月9日—1646年4月20日 ），汉族，字幼玄， 一作幼平或幼元，又字螭若、螭平，号石斋，世人尊称石斋先生。为明末学者、书画家、文学家、民族英雄。 福建漳州府漳浦县（今福建省东山县铜陵镇）人， 祖籍福建莆田，其曾祖从莆田迁徙至漳州。\n天启二年（1622年）进士，改庶吉士，深得考官袁可立赏识。历官翰林院修撰、詹事府少詹事。南明隆武（1645年-1646年）时，任吏部尚书兼兵部尚书、武英殿大学士（首辅）。因抗清失败被俘。隆武二年（1646年）壮烈殉国，享年62岁 。隆武帝赐谥“忠烈”，追赠文明伯。清乾隆四十一年（1776年）追谥“忠端”。与刘宗周并称“二周”。\n黄道周通天文、理数诸书。工书善画，诗文、隶草皆自成一家，先后讲学于浙江大涤、漳浦明诚堂、漳州紫阳、龙溪邺业等书院，培养了大批有学问有气节的人。",[23,64,7322,572,59,128,611,7,57836,46521,124,8116,4437,66851,66852],"工整","经典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ea3f5205a326ac20e377674fcb541e.jpg",[2210],{"id":66856,"slug":66857,"title":66858,"dynasty":144,"author":66859,"museum":20,"description":66860,"tags":66861,"thumbUrl":66862,"material":20395,"size":66863,"collection":318,"collections":66864,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},239615,"shen-you-zhong-jiu-za-shi-bing-jian-tie-shen-you-239615","沈右中酒杂诗并简帖","沈右","此帖是沈右写给陈植的书信并诗5首。帖中提到了敬初（陈基）、明德（郑元佑）、伯行（钱逵）3人，他们都是擅名当时的文人和书法家。有元一代，吴越地区是文人荟萃之地，这些文人在政治倾向、个人经历、艺术创作等方面往往有相同或相似之处，因此彼此诗酒唱和，往来十分密切。这种现象在元代后期尤为明显。沈右此帖便涉及了当时文人日常生活和彼此交往的某些方面。 沈右小楷以精致、遒媚、古澹见称，自成一家面目。此帖体势端紧，笔笔妥贴，通篇自然协调，极具艺术品味。 《铁网珊瑚》、《式古堂书画汇考》、《平生壮观》、《墨缘汇观》、《三虞堂书画目》等书著录。",[7,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a129ca34510503c781b9b0c8d392a32.jpg","纵27cm，横40.5cm",[318],{"id":66866,"slug":66867,"title":66868,"dynasty":124,"author":5029,"museum":20,"description":66869,"tags":66870,"thumbUrl":66871,"material":611,"size":84,"collection":318,"collections":66872,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},239586,"lun-hua-tie-ce-ye-liu-jue-239586","论画帖册页","刘珏(1410-1472)，字廷美，号完庵，南直隶苏州府长洲(今江苏苏州)人。宣德中，苏州知府况钟举为吏，不就，得补生员，正统三年(1438)中举人，授刑部主事，迁山西按察司佥事，年五十弃官归。卒年六十三。",[24,7,59,133,208,1590,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd148d31786a2242d48c77a2c46a482a8.jpg",[318],{"id":66874,"slug":66875,"title":66876,"dynasty":54,"author":6946,"museum":300,"description":35061,"tags":66877,"thumbUrl":66879,"material":692,"size":1293,"collection":84,"collections":66880,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},239359,"lu-bu-tu-juan-ding-guan-peng-239359","卤簿图卷",[23,164,24,7,25,28,27,96,191,11074,5626,66878,6675,758],"礼器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c98560f45893d959e7176c71fab282a.jpg",[],{"id":66882,"slug":66883,"title":66884,"dynasty":54,"author":25699,"museum":300,"description":66885,"tags":66886,"thumbUrl":66887,"material":84,"size":84,"collection":84,"collections":66888,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},239324,"xi-hu-jian-chun-juan-xi-gang-239324","西湖饯春卷","此卷行书诗稿笔墨萧散疏朗，起首灵动松秀，随卷舒展，字迹错落排布。岁月留下的墨污缺损，晕染出斑驳古意，反而更衬出笔底的文人风骨。提按转合间带着江南春暮的缱绻惆怅，将饯春的依依心绪融在撇捺之中。朱红钤印点缀素纸，黑白朱三色相映，古雅沉静。全篇带着清逸的书卷气，把西湖春归的不舍藏在每一处笔墨细节里，是兼具性情与笔力的清代文人书法佳制，尽显清雅淡远的文人心境。",[23,24,7,25,128,64,133,938,29,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd03d74dc700ccd093d22caea5fa3d874.jpg",[],{"id":66890,"slug":66891,"title":66892,"dynasty":124,"author":223,"museum":300,"description":66893,"tags":66894,"thumbUrl":66895,"material":84,"size":84,"collection":84,"collections":66896,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},239311,"yong-xian-mo-lan-shan-mian-yi-ming-239311","永仙墨兰扇面","金笺为底，墨色写兰，寥寥几笔便尽得幽姿。兰叶如屈铁游丝，纵横舒展，笔力清劲带着疏朗之态，顿挫间尽显筋骨；淡墨点染兰花，俯仰顾盼，柔润含香，将空谷幽兰的娇妍藏在写意笔法之中。\n\n大片金笺留白衬出兰草孤高脱俗的韵致，墨色有浓淡干湿的层次变化，以意代形，尽显文人写意的简淡意趣，将兰草君子般清雅自持的风骨融在笔墨间，方寸扇面藏着悠远的空寂禅意，把幽花独茂的林下之风定格其中，简约耐品，尽显水墨写意的雅致格调。",[24,7,1131,128,375,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0bcf3d98c53c7ac03b2ae18ffd5ec91.jpg",[],{"id":66898,"slug":66899,"title":66900,"dynasty":54,"author":33617,"museum":300,"description":66901,"tags":66902,"thumbUrl":66903,"material":84,"size":84,"collection":84,"collections":66904,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},239216,"cheng-bo-wan-qing-tu-zhou-xu-fang-239216","澄波万顷图轴","以淡墨晕染江天浩渺，远山轻笼烟霭，如黛痕隐在云水之间，江帆凌波点点，衬得万顷澄波愈见空阔辽远。近景危崖层叠皴擦，枯木疏朗错落，崖畔茅亭山居幽藏林间，山巅楼宇凭崖俯瞰大江，尽得林泉高致。\n\n笔墨简淡清和，以留白衬出水天无际，带着遗世幽居的冷寂萧疏。题诗与笔墨相映，将寄怀林泉、耽恋丘壑的隐逸襟怀融在山光水色之中，淡远里藏着沉郁静气，尽显文人画诗画合一的雅逸格调。",[24,7,165,128,132,29,11998,34,35,32,415,1743],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a04716dd53d779f11804342d6a38b4a.jpg",[],{"id":66906,"slug":66907,"title":64835,"dynasty":124,"author":33462,"museum":300,"description":34341,"tags":66908,"thumbUrl":66909,"material":84,"size":84,"collection":84,"collections":66910,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},239192,"shan-chuan-ming-sheng-ce-song-xu-239192",[24,7,164,59,29,27,132,97,130,1144,131,34,98,3269,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eff76f8e5ebb34a1b556907cd01691b.jpg",[],{"id":66912,"slug":66913,"title":66914,"dynasty":54,"author":66915,"museum":300,"description":66916,"tags":66917,"thumbUrl":66919,"material":84,"size":84,"collection":44,"collections":66920,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},239165,"ti-mo-tuo-dong-po-xiang-yuan-shan-duan-fang-239165","题墨拓东坡像圆扇","端方","以墨拓技法复刻东坡肖像，圆扇形制雅致内敛。乌帽峨然覆顶，长髯垂胸如瀑，衣纹用刀洗练简约，勾勒出苏轼沉凝肃穆的神态，将文豪儒雅端方的风骨尽显无遗，朴厚的墨色晕染出沉静的氛围感。旁侧题识笔墨瘦劲清逸，朱印点缀提亮，与拓像相映成趣，让金石朴拙与文人情思融于尺幅之间，将东坡居士的文人雅韵定格在这一方圆面之中，尽显传拓小品的隽永意趣。",[24,7,1131,66918,96,208,64],"墨拓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde3db22c3f3aa70bd86d4d9d32272d42.jpg",[44],{"id":66922,"slug":66923,"title":66924,"dynasty":54,"author":59232,"museum":20,"description":66925,"tags":66926,"thumbUrl":66927,"material":84,"size":84,"collection":84,"collections":66928,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},239151,"ku-mu-shuang-ma-zhou-zhang-mu-239151","枯木双马轴","此作用笔苍劲老辣，古木虬曲皲裂，枯桠斜出，尽现岁月摧折的荒寒之态。下方双马相映成趣，卧马抬首亲昵蹭触，立马垂首呼应，神态温驯灵动。以水墨晕染出骏马皮毛蓬松的质感，将其膘肥体健描摹入微，写实功力尽显。\n\n画面搭配残墙疏竹与坡石点缀，烘托出萧寂清冷的幽澹意境，将鞍马写生的传神意趣与枯木山水的荒疏雅致相融，尽显静谧空寂的氛围感，是兼具笔墨意趣与写生功力的精妙之作。",[164,24,7,165,128,132,454,101,949,276,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49598c324ef7b67fd933a8197f8fbf65.jpg",[],{"id":66930,"slug":66931,"title":66932,"dynasty":54,"author":14022,"museum":300,"description":40657,"tags":66933,"thumbUrl":66934,"material":692,"size":1293,"collection":84,"collections":66935,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},239111,"hua-hui-ce-8-yu-sheng-239111","花卉册8",[24,7,59,128,369,208,61,62,547,747,2690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F736eaaa09be53901a8b5639aefa928a1.jpg",[],{"id":66937,"slug":66938,"title":76,"dynasty":54,"author":4823,"museum":300,"description":19690,"tags":66939,"thumbUrl":66940,"material":692,"size":1293,"collection":84,"collections":66941,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},239098,"hua-hui-ce-ma-yuan-yu-239098",[164,24,7,59,27,28,208,61,62,549,2037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf54696dac344481b0d9d2b7725ae0cf.jpg",[],{"id":66943,"slug":66944,"title":76,"dynasty":54,"author":4823,"museum":300,"description":19690,"tags":66945,"thumbUrl":66946,"material":692,"size":1293,"collection":84,"collections":66947,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},239096,"hua-hui-ce-ma-yuan-yu-239096",[24,7,59,27,61,211,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e3733fdc38c8b1b4c7b6f7f33fe78b4.jpg",[],{"id":66949,"slug":66950,"title":66951,"dynasty":54,"author":66952,"museum":300,"description":66953,"tags":66954,"thumbUrl":66955,"material":692,"size":1293,"collection":84,"collections":66956,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},239062,"huang-ju-shi-nv-wan-shan-huang-ju-239062","黄鞠仕女纨扇","黄鞠","黄鞠 [清]，（一七九六？至一八六O）字秋士，号菊痴，松江（今属上海市）人。侨寓吴门（今江苏苏州）",[164,24,7,1131,27,28,96,166,34,131,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d3c047ac2f91f09d4db03d82bd65cfb.jpg",[],{"id":66958,"slug":66959,"title":66960,"dynasty":54,"author":4034,"museum":300,"description":29709,"tags":66961,"thumbUrl":66962,"material":692,"size":1293,"collection":84,"collections":66963,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},238956,"sheng-mao-san-xia-qu-tang-tu-ye-sheng-mao-238956","盛懋三峡瞿塘图页",[24,7,1131,27,29,1022,6004,129,34,415,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feef4ede6cc5bdcd57328bb710edec5db.jpg",[],{"id":66965,"slug":66966,"title":66967,"dynasty":54,"author":64858,"museum":300,"description":66968,"tags":66969,"thumbUrl":66970,"material":692,"size":1293,"collection":84,"collections":66971,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},238948,"bu-gun-tu-ye-zhou-kai-238948","补衮图页","画面描绘一位女子端坐于方凳上，正神态专注地精心绣制龙纹衣装。女子头戴闪亮的簪钗，着交领淡蓝色上衣和白地方格纹长裙，一袭蓝色霞帔飘曳垂地。其面容娥眉杏眼，樱口桃腮，秀丽姣美。身边的几、案、插瓶、绣墩刻画细微，极具富丽之气。",[24,7,164,4437,28,27,96,166,169,13284,2824,8629,42643,12803,234,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5499dd6049deb8aeb01c44d11afc3645.jpg",[],{"id":66973,"slug":66974,"title":10742,"dynasty":54,"author":223,"museum":300,"description":66975,"tags":66976,"thumbUrl":66977,"material":692,"size":1293,"collection":84,"collections":66978,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},238930,"qing-ren-mu-dan-pu-ce-yi-ming-238930","这幅小品以没骨法写白牡丹，以淡墨轻勾花瓣轮廓，再以净水晕染出莹白柔润的瓣色，花瓣层叠舒展，花心点染浅赭，将牡丹娇柔春意藏于素洁之中。\n\n嫩枝带新芽错落斜出，叶片绿中晕赭，既有草木舒展的鲜活，又带几分清苍古意。画面留白疏朗，没有繁复堆砌，只以简约笔致勾勒牡丹脱尽铅华的风骨，设色柔和雅致，将花之静美悄然晕开，尽显清逸出尘的雅致格调，把文人意趣里的花木情致尽藏于这一方画页之中。",[24,7,59,28,27,61,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da974c33781896e4e5ac53768746d4b.jpg",[],{"id":66980,"slug":66981,"title":10742,"dynasty":54,"author":223,"museum":300,"description":66982,"tags":66983,"thumbUrl":66984,"material":692,"size":1293,"collection":84,"collections":66985,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},238923,"qing-ren-mu-dan-pu-ce-yi-ming-238923","此作设色柔雅清和，粉牡丹为画面重心，花瓣自根至尖由深粉晕作淡白，如凝着朝露舒展柔姿，金黄花蕊细劲鲜活，将牡丹的华贵妍丽藏在温婉晕染间。旁生的枯褐枝桠缀着待放花苞，与盛放的花形成虚实对照，暗生意趣。叶片以青绿铺底，淡赭晕出明暗层次，叶脉勾勒细劲，尽显舒展之态。\n\n画面留白宽绰雅致，装裱古雅厚重，整体笔致细腻柔和，未以浓艳堆砌富贵，只以淡彩晕染花之灵韵，将牡丹的雍容融于清雅意境中，静立似能窥见庭前春日，暗香浮动。",[24,7,59,27,28,61,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F629feacaee594a04b019c13db553b733.jpg",[],{"id":66987,"slug":66988,"title":42420,"dynasty":54,"author":223,"museum":300,"description":66989,"tags":66990,"thumbUrl":66991,"material":692,"size":1293,"collection":84,"collections":66992,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},238920,"qing-ren-ju-pu-ce-yi-ming-238920","此作以淡彩工笔绘秋菊，章法疏朗雅致。下方主花肆意舒展，丝缕般的瓣条柔而有骨，披垂摇曳尽显盛放之态，瓣尖晕染浅黄，花蕊凝金，鲜活饱满。右上方花枝斜出，半开的花头含娇带怯，搭配初绽蓓蕾，生机错落。\n\n叶片以水色晕染，深浅绿意层叠，叶脉勾勒细劲，将草木清润质感尽显。留白铺陈开阔，衬出菊之孤高清逸，尽显秋日幽淡萧疏的隐逸意趣，笔致秀雅温婉，淡而不薄，将文人寄寓于菊的恬然风骨晕染纸上。",[24,7,59,27,28,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d2738cacd4d2d0ed95d0ff5231a84a.jpg",[],{"id":66994,"slug":66995,"title":27602,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":66996,"thumbUrl":66997,"material":84,"size":84,"collection":84,"collections":66998,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},238831,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238831",[24,7,59,128,27,29,132,131,34,231,130,414,3651,7446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d7fef818eeb28da85b6da5b97024a5.jpg",[],{"id":67000,"slug":67001,"title":27602,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":67002,"thumbUrl":67003,"material":84,"size":84,"collection":84,"collections":67004,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},238824,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238824",[164,24,7,59,27,132,29,130,99,4363,131,34,415,37,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e4d66f1f31efc1cdd5c2818f8047037.jpg",[],{"id":67006,"slug":67007,"title":29144,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":67008,"thumbUrl":67009,"material":692,"size":1293,"collection":84,"collections":67010,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},238801,"hua-hui-xiao-ce-dong-gao-238801",[24,7,59,27,28,371,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbda9f67a5d177a1341b3b1684e9a25a.jpg",[],{"id":67012,"slug":67013,"title":29144,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":67014,"thumbUrl":67015,"material":692,"size":1293,"collection":84,"collections":67016,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},238798,"hua-hui-xiao-ce-dong-gao-238798",[24,7,59,27,28,62,80,624,548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a8f5f27717acb75eabb9f986a46f878.jpg",[],{"id":67018,"slug":67019,"title":29144,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":67020,"thumbUrl":67021,"material":692,"size":1293,"collection":84,"collections":67022,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},238788,"hua-hui-xiao-ce-dong-gao-238788",[24,7,59,27,28,61,371,62,5399,1039],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fa98bc9fef8c58187d59a109deb5c61.jpg",[],{"id":67024,"slug":67025,"title":28511,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":67026,"thumbUrl":67027,"material":692,"size":1293,"collection":84,"collections":67028,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},238332,"hua-hong-li-si-ji-lan-shi-yi-ce-dong-gao-238332",[24,7,59,27,28,61,375,263,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef068af1c40a8ba70709d905dd9be57f.jpg",[],{"id":67030,"slug":67031,"title":31943,"dynasty":54,"author":31944,"museum":20,"description":31945,"tags":67032,"thumbUrl":67033,"material":1223,"size":31948,"collection":84,"collections":67034,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},238304,"shi-liu-luo-han-ce-jia-quan-238304",[24,7,27,128,28,59,187,96,131,34,582,548,37810,9671],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea59d68857ff452e20637f318e5edea.jpg",[],{"id":67036,"slug":67037,"title":13856,"dynasty":54,"author":1409,"museum":20,"description":13857,"tags":67038,"thumbUrl":67040,"material":13860,"size":13861,"collection":84,"collections":67041,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},238289,"yu-lan-shi-nv-qing-yu-tu-ce-yu-lan-238289",[164,24,7,59,28,27,96,166,169,2144,67039,170,232],"炉具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb8658dfa2152f618cc954d065414138.jpg",[],{"id":67043,"slug":67044,"title":67045,"dynasty":54,"author":41583,"museum":300,"description":67046,"tags":67047,"thumbUrl":67048,"material":84,"size":84,"collection":84,"collections":67049,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},238242,"sai-wai-hua-hui-nian-si-zhong-tu-ce-zhang-ruo-cheng-238242","塞外花卉廿四种图册","此作用笔秀劲工致，以淡墨白描写尽花卉情态。左侧桔梗柔瓣舒展，旁侧细花攒簇，枝叶穿插错落，将草木舒展之姿勾勒入微，线条清隽含润，不施丹青却尽得花木灵秀风神。\n\n画面留白疏朗透气，与淡绘草木相映，古雅朱印点缀其间，朱墨相映，添就沉静文雅的书卷意。作者将塞外野花的清婉风骨细细铺陈，不借浓丽设色，于极简笔墨里藏着对自然野趣的细致体察，笔底含情，尽显文人绘事的清雅意趣。",[24,7,59,28,188,128,61,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c5132888932b0884ef4e740b3ed88f8.jpg",[],{"id":67051,"slug":67052,"title":49505,"dynasty":54,"author":18144,"museum":300,"description":67053,"tags":67054,"thumbUrl":67055,"material":84,"size":84,"collection":84,"collections":67056,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},238238,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238238","此作以青绿晕染峰岫，苍润厚重的远山托着空濛烟岚，留白将远近山水晕开淡远诗意。林麓间幽舍隐于繁枝，溪桥架于浅渚，山道逶迤，衬出山居阒寂。\n\n右下角旅人策驴缓行，僮仆挑担相随，鲜活的行旅意趣融在静穆山光里，动静相生。设色雅妍温润，皴法细腻，将幽居山野的清旷日常铺陈开来，把“山静日长”的悠然意境藏于笔底，尽显东方山水的澹泊美学。",[24,7,59,27,132,28,29,130,98,99,96,101,690,34,131,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20442350978cac3850c22182aaee49c0.jpg",[],{"id":67058,"slug":67059,"title":49505,"dynasty":54,"author":18144,"museum":300,"description":49506,"tags":67060,"thumbUrl":67061,"material":84,"size":84,"collection":84,"collections":67062,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},238237,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238237",[24,7,59,27,29,34,35,31,415,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff53bf867099796592a9cf26206539fb1.jpg",[],{"id":67064,"slug":67065,"title":49505,"dynasty":54,"author":18144,"museum":300,"description":49506,"tags":67066,"thumbUrl":67067,"material":84,"size":84,"collection":84,"collections":67068,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":199},238233,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238233",[164,24,7,59,27,29,132,97,98,99,34,131,495,130,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dee0f1c9c19b2e448314352461182f0.jpg",[],{"id":67070,"slug":67071,"title":25438,"dynasty":54,"author":25439,"museum":300,"description":67072,"tags":67073,"thumbUrl":67074,"material":84,"size":84,"collection":84,"collections":67075,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},238229,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238229","此作用笔苍秀老辣，以披麻皴晕染山峦肌理，石骨硬朗不失温润质感。近溪错落排布屋舍林木，寥寥数笔点染出山居清寂之趣，远山晕以浅黛，虚实相映，晕染出空濛淡远的秋山氛围。\n\n整幅追摹古贤笔意，将林下幽居的静穆诗意融于尺幅之间，题跋诗文与绘景相得益彰，尽显文人画诗画交融的雅致意趣。笔墨间浸透着内敛沉静的古雅格调，铺陈出秋日山居萧散淡远的悠悠意境，观之如临其境，仿若可闻溪声林籁，沉潜于幽寂山居的澹泊况味中。",[24,7,29,59,128,132,131,34,31,37,415,14906,1515,64,6091,6967],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a306cc9ec5feefb9c0dd7065e0a00b.jpg",[],{"id":67077,"slug":67078,"title":67079,"dynasty":54,"author":1740,"museum":300,"description":67080,"tags":67081,"thumbUrl":67082,"material":84,"size":84,"collection":84,"collections":67083,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},238214,"duan-yang-gu-shi-ce-zhi-guo-jiao-shu-xu-yang-238214","端阳故事册之裹角黍","此作工致清雅，将端午日常晕染在庭院一隅。翠木荫蔽着素朴屋舍，案边女子巧手翻飞，捋叶填米缠缚成粽；阶旁妇孺相顾指点，柔婉情态漫着天伦暖意。石畔两人正将艾草浸在水盆中，清浅水汽晕开端午的宁和意趣。\n\n全画笔致细腻敷色温润，未作浓艳铺陈，只以浅淡色调勾勒出江南宅院里的端阳烟火，将岁时节庆的融融意趣，藏在仕女孩童的娴静情态中，把寻常家宅里的端午闲常，定格成隽永清雅的诗意图景。",[164,24,7,59,27,28,96,247,35,34,276,2824,9671],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8e7642d113ba861090065d47eafea3a.jpg",[],{"id":67085,"slug":67086,"title":76,"dynasty":124,"author":16032,"museum":300,"description":20309,"tags":67087,"thumbUrl":67088,"material":692,"size":1293,"collection":84,"collections":67089,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},238117,"hua-hui-ce-xiang-sheng-mo-238117",[24,7,59,133,128,27,61,373,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b84248c76ae88020ff3c723d9c64b81.jpg",[],{"id":67091,"slug":67092,"title":33033,"dynasty":54,"author":33034,"museum":300,"description":33035,"tags":67093,"thumbUrl":67094,"material":84,"size":84,"collection":84,"collections":67095,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},238036,"bai-ding-lan-shi-ce-bai-ding-238036",[24,7,59,128,61,375,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98e7b001f6df299a5257e48062b1dbcc.jpg",[],{"id":67097,"slug":67098,"title":4724,"dynasty":54,"author":67099,"museum":300,"description":67100,"tags":67101,"thumbUrl":67102,"material":84,"size":84,"collection":84,"collections":67103,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},237868,"shan-shui-tu-ce-jin-xue-jian-237868","金学坚","字成峰，秀水（今浙江嘉兴）人。王翚弟子，山水初宗元人，从参宋法，笔意古健，布局极为绵密。贫而能守，不为豪势所屈。《国[清]朝画征录》",[164,24,7,59,27,26,132,29,99,495,130,97,34,131,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64517cd7ee2952962838567eedf10546.jpg",[],{"id":67105,"slug":67106,"title":67107,"dynasty":124,"author":223,"museum":300,"description":67108,"tags":67109,"thumbUrl":67110,"material":692,"size":1293,"collection":84,"collections":67111,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},237791,"wang-shi-song-yin-guan-quan-shan-yi-ming-237791","王式松荫观泉扇","此作以松泉雅集摹写林泉逸致，古松虬枝舒展，浓荫覆下，将山涧谷林的清幽之气铺陈开来。四位高士情态悠然，或踞坐观泉，静听涧水淙淙；或执手晤谈，私语平生快意，侧旁侍童携物徐趋，更衬出雅集闲淡松弛之态。\n笔墨清隽秀雅，淡墨皴擦山石，晕染出岩崖苍润质感，松针细劲工致，尽显古松苍劲之姿。人物衣纹简练灵动，寥寥数笔便将高士风神勾勒尽致，浅淡设色晕染，整体格调简雅清逸，将追慕林下风流、寄情林泉的出世襟怀，融于这一方尺幅扇面之中，小景见幽远，尽显雅逸之趣。",[805,24,7,1131,128,132,1144,11134,131,34,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63e49af57c79edc4c8df2c22d30433df.jpg",[],{"id":67113,"slug":67114,"title":76,"dynasty":124,"author":1270,"museum":300,"description":43445,"tags":67115,"thumbUrl":67116,"material":692,"size":1293,"collection":84,"collections":67117,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},237683,"hua-hui-ce-sun-ke-hong-237683",[24,7,59,128,133,61,649,747,64,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc77d32263ac7b7601e0cfdfb88d99eb.jpg",[],{"id":67119,"slug":67120,"title":76,"dynasty":124,"author":1270,"museum":300,"description":43445,"tags":67121,"thumbUrl":67122,"material":692,"size":1293,"collection":84,"collections":67123,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},237678,"hua-hui-ce-sun-ke-hong-237678",[24,7,59,128,61,168,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d385c8faf6efe6aff712ff7b5f1828c.jpg",[],{"id":67125,"slug":67126,"title":67127,"dynasty":54,"author":17240,"museum":300,"description":26583,"tags":67128,"thumbUrl":67129,"material":692,"size":1293,"collection":68,"collections":67130,"showCount":751,"zanCount":1998,"manualWeight":48,"mainColor":72},237651,"ku-mu-zhu-shi-ce-cha-shi-biao-237651","枯木竹石册",[24,7,59,128,454,167,1314,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc50ab9dbf9106f927ff8c2fe9707414.jpg",[68],{"id":67132,"slug":67133,"title":22597,"dynasty":124,"author":22598,"museum":300,"description":22599,"tags":67134,"thumbUrl":67135,"material":692,"size":1293,"collection":84,"collections":67136,"showCount":751,"zanCount":1998,"manualWeight":48,"mainColor":72},237540,"mei-hua-dui-ti-tu-ce-chen-ji-ru-237540",[24,7,59,128,133,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b14e36026da2474d58c67cda6fdc01c.jpg",[],{"id":67138,"slug":67139,"title":22597,"dynasty":124,"author":22598,"museum":300,"description":22599,"tags":67140,"thumbUrl":67141,"material":692,"size":1293,"collection":84,"collections":67142,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},237538,"mei-hua-dui-ti-tu-ce-chen-ji-ru-237538",[24,7,59,133,128,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dddc85924093eed6185627e9ca3e8ce.jpg",[],{"id":67144,"slug":67145,"title":67146,"dynasty":124,"author":223,"museum":300,"description":67147,"tags":67148,"thumbUrl":67149,"material":692,"size":1293,"collection":84,"collections":67150,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},237496,"zhu-lu-mo-zhu-shan-mian-yi-ming-237496","朱鹭墨竹扇面","此作用金笺为底，以浓淡墨色铺陈绘竹。左侧重墨挥写，下笔爽利遒劲，竹叶向背错落，枝杆暗含劲节，将竹的挺拔孤傲尽显笔端。右侧以淡墨轻染，竹叶朦胧如烟似雾，虚实相映，将竹在烟霭间的清逸灵动晕散开来。\n题款小字轻栖右侧淡竹之间，与画面浑然相融。朱红印信错落点缀，沉郁墨色与鲜亮朱色相映，为古雅的扇面添了一抹灵动。整幅构图疏密得宜，以简驭繁，尽显文人画尚韵重意的意趣，寥寥数笔便勾勒出君子风骨，是小品见真章的佳制。",[164,24,7,1131,128,167,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e16f58f23e7a5177115c790a5cf5d81.jpg",[],{"id":67152,"slug":67153,"title":67154,"dynasty":54,"author":67155,"museum":300,"description":67156,"tags":67157,"thumbUrl":67158,"material":692,"size":1293,"collection":84,"collections":67159,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},237456,"hua-tu-shan-ye-zhang-shu-qiu-237456","花图扇页","张舒秋","图绘秋花烂漫的景致。作者在仿恽寿平笔意的基础上，注重将写意与写形、传神与达情、没骨与勾勒、工谨与遒媚相结合。同时，在刻画主体菊花上还特别注重虚实对比，花瓣用线造型笔笔为实；叶片设色渲染，水融色虚，虚实相生中表现出菊花淡雅冷艳之美。作者不仅画风学恽氏，书风也与恽氏相近，显现出对恽氏书画的学习已经达到较高的艺术水准。",[24,7,1131,27,61,376,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7e596e72d25c0af0f4ceb4c6ab8867.jpg",[],{"id":67161,"slug":67162,"title":409,"dynasty":54,"author":64957,"museum":300,"description":67163,"tags":67164,"thumbUrl":67165,"material":611,"size":84,"collection":136,"collections":67166,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},237424,"shan-shui-ce-chen-jia-le-237424","「画中十哲」即董邦达、高翔、高凤翰、李世倬、允禧、张鹏翀、李师中、王延格、陈嘉乐、张士英。\n十哲为娄东派，他们崇古保守的画风，与「虞山画派」相依托，即这10位娄东派的画家，亦兼写虞山画派，如李世倬。他们又受「四王」的影响甚大，其主要以临摹复古为主，但其中也有自出机杼、别故致新的画家，如高凤翰、高翔等。\n陈嘉乐，字子显，号东原，历城（今山东济南）人。善山水，学王原祁，奕譓招之京邸，从学画。为朱文震画中十哲歌「十哲」之一。性孤介，殁后家贫如洗。《历代画史汇传补编》、《墨林今话》、《画传编韵》、《八旗画录》、《画家知希录》、《山东通志》、《家言随记》、《清画家诗史》。",[24,7,59,128,132,29,131,34,129,130,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34b630cae0500429bd2495df05340f22.jpg",[136],{"id":67168,"slug":67169,"title":409,"dynasty":54,"author":36816,"museum":20,"description":41606,"tags":67170,"thumbUrl":67171,"material":734,"size":84,"collection":84,"collections":67172,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},237195,"shan-shui-ce-sun-yi-237195",[164,24,7,59,128,132,29,131,37,34,35,414,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb7f7c1bcfc75673c455c5ff7155dff4.jpg",[],{"id":67174,"slug":67175,"title":409,"dynasty":54,"author":36816,"museum":20,"description":41606,"tags":67176,"thumbUrl":67179,"material":734,"size":84,"collection":84,"collections":67180,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},237190,"shan-shui-ce-sun-yi-237190",[164,24,7,59,27,128,95,132,413,35,131,67177,67178],"平地","远景树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe73df9448147ad12b99cf55e34322cd4.jpg",[],{"id":67182,"slug":67183,"title":409,"dynasty":54,"author":36816,"museum":20,"description":41606,"tags":67184,"thumbUrl":67185,"material":734,"size":84,"collection":84,"collections":67186,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},237188,"shan-shui-ce-sun-yi-237188",[24,7,59,128,27,132,29,1813,131,1337,35,34845,499,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6324878be9cb5df7ff8c9067c7b79125.jpg",[],{"id":67188,"slug":67189,"title":15371,"dynasty":54,"author":15372,"museum":20,"description":15373,"tags":67190,"thumbUrl":67191,"material":734,"size":84,"collection":84,"collections":67192,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},237175,"hua-niao-kun-chong-ce-zhou-quan-237175",[24,7,164,59,27,28,61,371,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e94d03c6970fba8516cc02df008b44.jpg",[],{"id":67194,"slug":67195,"title":4724,"dynasty":54,"author":48234,"museum":20,"description":67196,"tags":67197,"thumbUrl":67198,"material":84,"size":84,"collection":136,"collections":67199,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},237127,"shan-shui-tu-ce-yao-song-237127","姚宋（1648—1721），字雨金，一作雨京，号野梅。安徽新安（今安徽歙县）人。清代画家。",[24,7,59,188,29,130,167,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c1ac569b12d1c32641d41a12f73d233.jpg",[136,45],{"id":67201,"slug":67202,"title":26288,"dynasty":54,"author":26289,"museum":300,"description":26290,"tags":67203,"thumbUrl":67204,"material":84,"size":84,"collection":84,"collections":67205,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},237089,"jiang-feng-shi-nv-ce-jiang-feng-237089",[24,7,59,27,96,166,28,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae459c5de0d9fe3976698b466e9bbda5.jpg",[],{"id":67207,"slug":67208,"title":26288,"dynasty":54,"author":26289,"museum":300,"description":26290,"tags":67209,"thumbUrl":67210,"material":84,"size":84,"collection":84,"collections":67211,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},237084,"jiang-feng-shi-nv-ce-jiang-feng-237084",[24,7,59,28,27,96,166,208,64,133,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb6dc4e41575ed3e42470a2459f78c8.jpg",[],{"id":67213,"slug":67214,"title":67215,"dynasty":54,"author":223,"museum":300,"description":67216,"tags":67217,"thumbUrl":67218,"material":692,"size":1293,"collection":84,"collections":67219,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},237078,"ba-jia-shan-shui-ce-lu-hong-qing-shan-hong-shu-ce-ye-yi-ming-237078","八家山水册-陆鸿青山红树册页","此作设色清隽雅致，以青绿晕染山峦，石骨挺拔皴擦苍劲，淡墨轻烘出流逸云雾，将山林晕染似清虚仙境。山间古木虬曲，丹叶缀枝点醒秋意，蜿蜒山道隐见行人，暗添行旅幽趣。\n\n搭配左侧行书题跋，书画合璧相映成趣。此作取法前人笔意，以写意笔法勾勒山水灵秀，既保有青绿设色的妍丽，又兼具文人山水的简淡幽远，将丘壑林泉间的超然逸趣尽显纸上，观之如临洞天福地，暗合题诗寻仙问道的出世之思，是颇具匠心的仿古佳制。",[24,7,59,27,29,6844,2524,131,34,37,64,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ddc572ceb43430fb17769d86c0bd0fc.jpg",[],{"id":67221,"slug":67222,"title":409,"dynasty":54,"author":6936,"museum":300,"description":67223,"tags":67224,"thumbUrl":67225,"material":84,"size":84,"collection":84,"collections":67226,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},236871,"shan-shui-ce-wang-yuan-qi-236871","此作用笔以干笔积墨反复皴擦，山峦层叠浑厚，林木苍郁华滋，将娄东画派的醇正笔墨意趣尽显无遗。画面布局紧凑却层次分明，近涧流泉、中麓丘田与远山茂林依次铺陈，把江南秋山的幽寂之态凝于尺幅。细碎苔点与枯润交织的线条，让山石兼具硬朗质感与温润气韵。边角题字与绘景相映成趣，整体气息苍润高古，将宋元山水的丘林意境融于方寸间，平淡中藏奇崛，枯笔里含秀润，尽显文人山水的沉静雅致，观之如临林泉深处，幽远意绪漫溢而出。",[164,24,7,59,128,132,29,131,34,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ce3c9a58d7fa5f1ee501b025c93b95f.jpg",[],{"id":67228,"slug":67229,"title":67230,"dynasty":124,"author":223,"museum":300,"description":67231,"tags":67232,"thumbUrl":67233,"material":84,"size":84,"collection":84,"collections":67234,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},236764,"zhou-tian-qiu-mo-lan-tu-ce-yi-ming-236764","周天球墨兰图册","周天球，字公瑕，号幼海，一作幻海，又号六止生，群玉山人，群玉山樵。江苏苏州人。博学多识，以诗文、书画名世。少年时于文征明门下学习书法。善大小篆、古隶、行楷，晚年自辟蹊径，一时丰碑大碣无不出其手，善写兰，间作水墨花卉。《明画录》云：“墨兰松雪后失传，惟天球独得其妙。”",[24,7,59,128,375,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba9fa89cf49da8e70e38df50a3bf8795.jpg",[],{"id":67236,"slug":67237,"title":37266,"dynasty":54,"author":37267,"museum":300,"description":67238,"tags":67239,"thumbUrl":67240,"material":84,"size":84,"collection":68,"collections":67241,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},236715,"hua-niao-guo-ce-li-qi-236715","此作用水墨写就枝间野趣，禽鸟栖于细枝之上，喙衔小虫，姿态灵动自若。以浓淡墨色晕染禽鸟羽毛，层次宛然，将绒羽蓬松质感尽数展现，鲜活如生。右侧枯枝苍劲，松针皴擦老辣枯涩，与禽鸟的细腻刻画形成鲜明反差，虚实相映。左侧题字笔力苍拙，书画相融，更添文人雅韵。整幅简淡疏朗，于写意间暗含写生之真趣，寥寥笔墨便将林间小景的野逸之态尽显，清雅生动，意韵悠长。",[24,7,59,128,61,355,2438,1400,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84c311ed68016fef5ab151c351fbaca3.jpg",[68,117],{"id":67243,"slug":67244,"title":67245,"dynasty":124,"author":67246,"museum":300,"description":67247,"tags":67248,"thumbUrl":67249,"material":692,"size":1293,"collection":84,"collections":67250,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},236680,"mo-zhu-shan-bao-zhuang-xing-236680","墨竹扇","包壮行","包壮行，字穉修，扬州（今江苏扬州）人。崇祯十六年癸未杨廷鉴榜二甲24名进士，官工部主事。\n工书、画，钩勒梅花，水墨竹石，尝作松柏祝寿图，今藏南京博物院。尤喜累石为山。工制灯，能裁纨绮作奇石列树，及车马、宫室、人物其上，以象唐宋画家。纳火于中，夜视之、宛若黄鹤（王蒙）、辋川（王维）之遗墨也。至今传为“包灯”云。",[24,7,1131,128,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180d5a7d5a6c84d4645b5cf6cbd89a13.jpg",[],{"id":67252,"slug":67253,"title":409,"dynasty":124,"author":52407,"museum":300,"description":67254,"tags":67255,"thumbUrl":67256,"material":84,"size":20,"collection":136,"collections":67257,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},236599,"shan-shui-ce-ye-xiang-rong-236599","近岸处，戴笠旅人策杖徐行，似在溪山寻幽。浅溪如镜，白石小桥横卧水面，桥畔古木虬枝舒展，浓荫覆水。\n\n远山轻晕淡染，随溪湾缓缓隐入烟岚，错落水洲间，村舍隐在林麓深处。全作用色清雅柔和，淡赭晕开坡岸山石，以墨点簇染林木，笔法松秀简淡，未作繁复皴擦，便将山野清寂悠然铺陈开来。\n\n行旅野趣与山居安闲相融，将江南溪山的温润恬淡，凝为可游可居的幽境，尽显萧散简远的文人意趣，观之便如沐山涧清风，恍能踏入林泉，静听溪声与林风私语。",[24,7,59,128,27,132,29,98,99,34,131,415,96,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8531cc2a2e32f49f432b51829dc5a9cb.jpg",[136,117],{"id":67259,"slug":67260,"title":20295,"dynasty":54,"author":1311,"museum":20,"description":19660,"tags":67261,"thumbUrl":67262,"material":84,"size":84,"collection":84,"collections":67263,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},236586,"lan-mei-ce-wang-shi-shen-236586",[164,24,7,59,188,128,375,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c3c10919d4ade83b1d3ec4403cf619.jpg",[],{"id":67265,"slug":67266,"title":31307,"dynasty":54,"author":17240,"museum":300,"description":31308,"tags":67267,"thumbUrl":67268,"material":84,"size":84,"collection":84,"collections":67269,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},236578,"zha-mei-he-shan-shui-shi-zhen-cha-shi-biao-236578",[24,7,59,128,29,663,228,34,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6cd3f26706df799876961b0f36ef221.jpg",[],{"id":67271,"slug":67272,"title":67273,"dynasty":54,"author":3043,"museum":300,"description":9390,"tags":67274,"thumbUrl":67275,"material":692,"size":1293,"collection":84,"collections":67276,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},236551,"xu-gu-qiu-lin-du-tiao-shan-ye-xu-gu-236551","虚谷秋林独眺扇页",[24,7,1131,128,27,29,2875,34,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc42f5a51347d9182c4cf3497e332fb.jpg",[],{"id":67278,"slug":67279,"title":16826,"dynasty":124,"author":40715,"museum":20,"description":54053,"tags":67280,"thumbUrl":67281,"material":611,"size":54056,"collection":84,"collections":67282,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},236481,"shan-shui-ren-wu-ce-guo-fen-ya-236481",[24,7,59,128,132,96,29,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7889f62e66395d3fd435d616098bca8f.jpg",[],{"id":67284,"slug":67285,"title":67286,"dynasty":54,"author":67287,"museum":300,"description":67288,"tags":67289,"thumbUrl":67290,"material":692,"size":1293,"collection":84,"collections":67291,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},236425,"feng-hua-shan-cheng-dong-236425","蜂花扇","程东","程东，男，清朝，字 桐生（宋元明清画家年表作柏生），号 萍芗，江苏吴江人。画史、广印人传均作陈东一。",[24,7,1131,27,61,623,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F189f26bfb62d84a266f4ddb12a018102.jpg",[],{"id":67293,"slug":67294,"title":26956,"dynasty":124,"author":10922,"museum":300,"description":67295,"tags":67296,"thumbUrl":67297,"material":84,"size":84,"collection":84,"collections":67298,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},236405,"xiao-xiang-ba-jing-ce-wen-jia-236405","其潇湘八景初未尝命名，后人乃以平沙落雁、远浦帆归、山市晴岚、江天暮雪、洞庭秋月、潇湘夜雨、烟寺晚钟、鱼邨落照等目之。对古代山水画家而言，潇湘八景除了作为风景画本身的审美价值外，还另有两重价值，一是隐，二是谏。隐乃穷则独善其身，有忿怨之情；谏乃达则兼善天下，含劝喻之功。北宋范仲淹因庆历新政被贬，作《岳阳楼记》述怀，泄露了潇湘八景的玄机：貌似写景抒情，实为牢骚议政，有如屈原作《离骚》。范仲淹的览物之情、去国怀乡之思，无论居庙堂之高，还是处江湖之远，都涉及“吾谁与归”的人生终极问题。当然，后来的画家，不管文人也好，禅僧也罢，虽难达“先天下之忧而忧，后天下之乐而乐”的境界，但也能各出机枢，纳洞庭潇湘之八百里山水于胸臆，并诉诸尺素笔墨。\n文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[24,7,59,128,132,29,171,331,211,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c3dfffd2ca4075882ee15afe72d4bc6.jpg",[],{"id":67300,"slug":67301,"title":67302,"dynasty":124,"author":67303,"museum":300,"description":67304,"tags":67305,"thumbUrl":67306,"material":692,"size":1293,"collection":84,"collections":67307,"showCount":751,"zanCount":1998,"manualWeight":48,"mainColor":72},236394,"mao-shan-shang-gong-tu-shan-ye-tang-zhi-qi-236394","茅山上宫图扇页","唐志契","唐志契(xiè)，1579——1651，字敷五，又字玄生、元生，海陵（今江苏泰州）人。精于绘事，著有《绘事微言》。 《书.舜典》：“帝曰：‘契(Xiè)，百姓不亲，五品不逊，汝作司徒，敬敷五教，在宽。’” 《诗.商颂.玄鸟》：“天命玄鸟，降而生商。”《史记.殷本纪》：“殷契(Xiè)，母曰简狄，有娀氏之女，为帝喾次妃。三人行浴，见玄鸟堕其卵，简狄取吞之，因孕生契(Xiè)。”",[1131,24,164,7,128,29,496,387,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1db2960a2de25a616e7f1a70b076637a.jpg",[],{"id":67309,"slug":67310,"title":67311,"dynasty":222,"author":67312,"museum":300,"description":67313,"tags":67314,"thumbUrl":67315,"material":84,"size":84,"collection":136,"collections":67316,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},236333,"ma-shi-ying-shan-shui-chi-du-he-zhuang-zhou-ruan-da-cheng-236333","马士英山水尺牍合装轴","阮大铖","马士英（约1591～1646），字瑶草，贵州贵阳人，明末大臣，官至内阁首辅，相传本姓李，过继马氏，祖籍广西梧州。明万历己未（1619年）成进士，授南京户部主事，后历官严州、河南、大同知府、庐凤总督等职。甲申变后，马士英与南京兵部尚书史可法、南京户部尚书高弘图等拥立福王朱由崧为帝，是为弘光帝。因“拥兵迎福王于江上”有功，升任东阁大学士兼兵部尚书，都察院右副都御史，成为南明明弘光政权首辅，人称“马阁老”。后国事不济，拥立福王朱由崧登基，抵抗清兵入侵，最终殉国而死，但世人对其死因存疑，在清代，被后人所责骂。\n夏允彝、夏完淳父子《幸存录》对其持论公允。有《永城纪略》（含《永牍》）及部分诗文、书画作品传世。",[24,7,165,128,132,29,331,171,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89cfd45a1fae363e79f9e55bf504aa31.jpg",[136,117,318],{"id":67318,"slug":67319,"title":54084,"dynasty":54,"author":36329,"museum":20,"description":54085,"tags":67320,"thumbUrl":67321,"material":514,"size":54088,"collection":84,"collections":67322,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},236150,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236150",[24,7,59,27,28,96,98,99,34,131,249,247,64,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ba5b95d75f318eee31421580362b513.jpg",[],{"id":67324,"slug":67325,"title":67326,"dynasty":54,"author":50831,"museum":300,"description":50832,"tags":67327,"thumbUrl":67328,"material":692,"size":1293,"collection":84,"collections":67329,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},236075,"hai-tian-chu-ri-tu-zhou-shen-quan-236075","海天初日图轴",[164,24,7,165,27,26,29,38836,3386,496,37,97,43278,1747,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F394c68e5371d1d18bade07de8bda33fd.jpg",[],{"id":67331,"slug":67332,"title":409,"dynasty":54,"author":6936,"museum":300,"description":67333,"tags":67334,"thumbUrl":67335,"material":84,"size":84,"collection":84,"collections":67336,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},236052,"shan-shui-ce-wang-yuan-qi-236052","此作用笔苍浑老辣，以干笔积墨皴出山峦肌理，青绿敷色调和雅致，糅合浅绛晕染，尽显温润沉静的气韵。画面取高远构图，主峰巍然雄峙，留白烘出流荡云气，虚实相生，将山林切割出灵动层次。涧水淙淙穿谷而下，苍松虬枝交错，掩映着几处山居茅舍，隐现于林木云岚之间，尽显幽寂林泉之致。画作融萧散简远之趣，于整饬章法中藏生拙意趣，把文人书卷气寄寓丘壑之中，勾勒出尘绝俗的山居清境。",[24,7,59,132,27,29,99,130,413,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f4b50550b77b15e35e2bf8463851331.jpg",[],{"id":67338,"slug":67339,"title":409,"dynasty":54,"author":6936,"museum":300,"description":67340,"tags":67341,"thumbUrl":67342,"material":84,"size":84,"collection":84,"collections":67343,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},236048,"shan-shui-ce-wang-yuan-qi-236048","此作用高远、平远之法铺展全景，危崖壁立，山峦层叠，兼具雄奇与秀润。以干笔积墨皴擦山石，笔力苍劲浑厚，披麻皴带着古拙意趣，草木点染清润雅致，笔墨兼具苍浑与秀灵。溪谷水泽蜿蜒环合，村居错落隐于林木扶苏间，林泉幽寂之趣尽显，将山川的沉厚生机与文人隐逸的林泉高致相融，既有宋元山水的古雅气韵，又自出机杼，把山林丘壑的静穆清远和文人画的淡逸情致揉为一体，尽显正统山水的精雅格调。",[164,24,7,59,27,132,29,663,228,98,34,35,131,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F398f307ac5b06d1d91c7c226dd735337.jpg",[],{"id":67345,"slug":67346,"title":67347,"dynasty":124,"author":223,"museum":300,"description":67348,"tags":67349,"thumbUrl":67350,"material":84,"size":84,"collection":84,"collections":67351,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},236025,"dong-qi-chang-lin-he-jing-shi-yi-tu-zhou-yi-ming-236025","董其昌林和靖诗意图轴","此作以两段平远式铺展山水，清寂淡远。以干笔淡墨绘就，笔法松秀温润，山峦以披麻皴轻施皴擦，林木萧疏错落，茅舍板桥散缀烟林之间，将幽居孤高的隐逸意趣融在淡远丘壑之中。\n画面留白得当，虚实相生，淡墨轻岚晕染出空濛的林下清光，呼应题中诗意。诗书画印合为一体，尽显文人画的雅逸风神，以简淡之形写清旷之境，寄寓着慕恋林泉的林下襟怀。",[24,7,165,128,132,29,413,98,35,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faeafd6d200536b0595a755c13a51b14c.jpg",[],{"id":67353,"slug":67354,"title":4071,"dynasty":54,"author":5879,"museum":300,"description":59277,"tags":67355,"thumbUrl":67356,"material":692,"size":1293,"collection":84,"collections":67357,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},236006,"hua-hui-tu-ce-hua-yan-236006",[24,7,59,27,128,61,171,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79dd8d7c95f679d4f0f7cad234d7109e.jpg",[],{"id":67359,"slug":67360,"title":4071,"dynasty":54,"author":5879,"museum":300,"description":59277,"tags":67361,"thumbUrl":67362,"material":692,"size":1293,"collection":84,"collections":67363,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},236004,"hua-hui-tu-ce-hua-yan-236004",[24,7,59,27,61,62,373,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa68e28a3dec96f41088c05387c6e4f.jpg",[],{"id":67365,"slug":67366,"title":67367,"dynasty":54,"author":223,"museum":300,"description":67368,"tags":67369,"thumbUrl":67370,"material":84,"size":84,"collection":84,"collections":67371,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},235988,"ban-shan-shan-shui-ren-wu-ce-yi-ming-235988","半山山水人物册","此作用取景偏于一隅，以留白衬出山居空寂清远之境。淡墨晕染崖坡，线条简括勾勒出山棱起伏，浓墨点染林木，苍枝虬曲苍劲，古意盎然。屋舍依山就势隐于林麓之间，藏露相宜，暗合山林幽居的隐逸意趣。\n\n水墨层次清浅柔润，以简驭繁，寥寥数笔便将山野间静穆淡远的栖居之美铺展开来，笔简而意足，尽显文人画简淡悠远的禅意，将林泉高致的雅趣藏于尺幅之间。",[24,7,128,59,29,97,34,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F074292d24ab8ac03e1959ef1a4e3328a.jpg",[],{"id":67373,"slug":67374,"title":409,"dynasty":124,"author":21412,"museum":300,"description":67375,"tags":67376,"thumbUrl":67377,"material":84,"size":84,"collection":84,"collections":67378,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},235970,"shan-shui-ce-cheng-jia-sui-235970","此作以淡墨晕染江天冬色，近岸枯木槎桠、疏枝无叶，萧寒之气扑面而来。江心一舟独泛，远山轻描如黛，融于空濛烟水间，留白尽揽江天一色的空寂清冷。\n\n左侧行书秀雅清劲，诗句与画境浑然相融，将寄情山湖的幽怀藏于字间。笔触简淡松灵，不事雕琢，以极简之形写极深之境，把江野荒寒澄澈，与文人萧散闲愁融为一体，尽显幽淡冷逸的林下之风。",[24,7,59,128,133,208,29,129,331,1337,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7df33560b51c033851173362bcb8ea5.jpg",[],{"id":67380,"slug":67381,"title":19857,"dynasty":54,"author":6936,"museum":300,"description":67382,"tags":67383,"thumbUrl":67384,"material":84,"size":84,"collection":84,"collections":67385,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},235877,"shan-shui-zhou-wang-yuan-qi-235877","此作用笔苍劲老辣，以干笔反复皴擦堆叠，追踵元人笔意，山峦层叠错落，龙脉绵连，兼具高远、深远之致。丘壑间林木苍郁，溪湾萦回，山居亭台掩映其间，氤氲出萧散淡远的幽居意趣。\n\n墨色干湿浓淡相间，于浑厚华滋中见松秀清润，尽显沉雄苍莽的山水气象。右上角题诗与绘境呼应，诗画相融，更添文人雅韵，将山林静穆之美与笔墨意趣合而为一，尽显静雅高逸的文人画格。",[24,7,165,128,132,29,34,131,35,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadc04a3c59c5ca62697b560597d2092e.jpg",[],{"id":67387,"slug":67388,"title":67389,"dynasty":124,"author":16032,"museum":300,"description":67390,"tags":67391,"thumbUrl":67392,"material":84,"size":84,"collection":84,"collections":67393,"showCount":751,"zanCount":1998,"manualWeight":48,"mainColor":49},235851,"ting-song-tu-zhou-xiang-sheng-mo-235851","听松图轴","此作用笔苍秀老辣，古松虬枝盘曲如游龙，松针攒簇苍劲，尽显古木历经风霜的拙朴雄健。松下隐士席地闲坐，仰聆松涛，神情悠然澹泊，将文人醉心林泉、静听天籁的幽怀尽数彰显。\n\n远景山峦以淡墨晕染，烟岚轻笼，江流宛转折绕，铺展出山野空濛悠远的意境。全作水墨层次丰富，干湿浓淡交织，远近景过渡自然，将林泉高致的隐逸之美娓娓道来，以松为骨，以意为魂，把笔墨意趣与林下幽怀相融，尽显文人画寄情丘壑的清雅意趣。",[24,165,128,29,1144,96,131,132,9521,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8801d1568fbe822abd26326bd71fa216.jpg",[],{"id":67395,"slug":67396,"title":76,"dynasty":54,"author":36579,"museum":300,"description":36580,"tags":67397,"thumbUrl":67398,"material":692,"size":1293,"collection":84,"collections":67399,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},235717,"hua-hui-ce-zou-xian-ji-235717",[24,7,59,28,27,61,62,481,1771,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F152b1276379ddbe79d1767ae4797ff38.jpg",[],{"id":67401,"slug":67402,"title":4071,"dynasty":54,"author":1472,"museum":300,"description":19162,"tags":67403,"thumbUrl":67404,"material":692,"size":1293,"collection":84,"collections":67405,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},235701,"hua-hui-tu-ce-zou-yi-gui-235701",[24,7,59,28,27,61,62,547,747,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b99d30b0fc8e2443dff1e5ef5b139fb.jpg",[],{"id":67407,"slug":67408,"title":4071,"dynasty":54,"author":1472,"museum":300,"description":19162,"tags":67409,"thumbUrl":67410,"material":692,"size":1293,"collection":84,"collections":67411,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},235700,"hua-hui-tu-ce-zou-yi-gui-235700",[24,7,59,28,27,62,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47957e23cf07145f3ebef106773c722e.jpg",[],{"id":67413,"slug":67414,"title":67415,"dynasty":54,"author":223,"museum":300,"description":67416,"tags":67417,"thumbUrl":67418,"material":84,"size":84,"collection":84,"collections":67419,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},235675,"mei-qing-bai-long-tan-tu-zhou-yi-ming-235675","梅清白龙潭图轴","此作以危崖飞瀑为骨，苍松虬枝为魂。高远构图铺展层叠山势，老松古干敷色褐金，松针攒簇如墨团，奇崛苍劲，扎根崖壁间尽显傲岸生机。白龙潭飞瀑破壁而出，从层岩间奔涌倾泻，水雾蒸腾漫上山谷，晕染出氤氲空濛的清幽意境。\n\n右下角崖顶立红衣高士，凭栏观瀑，渺小身影衬出山峦空阔辽远，暗合观照山水、澄怀味道的文人心境。笔墨苍润兼具，以水墨晕染流云雾气，勾勒皴擦写尽山石肌理，题诗佐景，将出世之思融于丘壑之间，尽显山水间的超尘禅趣。",[24,7,165,128,27,29,495,1144,96,37,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3f8912653273167c09890b0c1d1fcc.jpg",[],{"id":67421,"slug":67422,"title":76,"dynasty":54,"author":14273,"museum":300,"description":67423,"tags":67424,"thumbUrl":67425,"material":84,"size":84,"collection":68,"collections":67426,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},235566,"hua-hui-ce-fan-ting-zhen-235566","此作以枯淡水墨绘就梅石，左侧顽石晕染出厚重质感，苔痕暗藏生机，细草柔蔓斜出，中和石之嶙峋冷硬；右侧老梅枝干虬曲苍劲，花苞圆浑饱满，墨色枯润相济，尽显古梅傲雪之姿。\n\n书画相融无间，题诗借旧语寄慨，以梅石抒怀，将幽独清高的文人襟怀寄寓在朴拙笔墨中。整体简淡萧疏，刚柔相衬，以画言情，风骨凛然，尽显诗画相生的雅致意趣，朴拙之中见清逸，余韵悠长。",[24,7,59,128,171,62,582,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F408c8a09ac4f62a1af0ad8c556f2968f.jpg",[68],{"id":67428,"slug":67429,"title":67430,"dynasty":124,"author":36139,"museum":300,"description":67431,"tags":67432,"thumbUrl":67433,"material":84,"size":84,"collection":84,"collections":67434,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},235556,"xian-ren-cun-wu-tu-zhou-yang-wen-cong-235556","仙人村坞图轴","《杨文骢仙人村坞图轴》是明代的图轴。\n图绘深山幽居之景，危峰断崖，坡岸嘉木，江边亭轩，水泊空旷，远渚几处，高士面江而坐，若有所思。\n此作主要用干笔淡墨，山石轮廓以清劲之笔勾轮廓，树石主体以干笔多次皴擦，奠定了全幅清逸幽远的基调。\n右上的题诗与本幅的“L”形构图呼应，秀逸的书法与画作巧妙地融为一体。\n此作意境超尘绝俗，笔墨隽秀高雅，无怪乎董其昌评其山水曰：“有宋人之骨力去其结，有元人之风雅去其佻。\n” 作者自识：“仙人村坞锦为屏，鸡犬云中户自扃。\n烟火红尘俱不恙，长斋绣佛礼黄庭。\n壬午春仲画于瓯江之轻顺阁中。\n杨文骢。\n”钤“杨文骢印”朱文印、“龙友”朱文印。\n另有“希逸”白文等鉴藏印4方。",[24,7,165,128,132,29,34,497,12108,3387,415,7782,276,1645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cdf7dbe1e608a56e3d63f8d477849a.jpg",[],{"id":67436,"slug":67437,"title":21106,"dynasty":54,"author":5879,"museum":300,"description":59277,"tags":67438,"thumbUrl":67439,"material":692,"size":1293,"collection":84,"collections":67440,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},235385,"hua-niao-tu-ce-hua-yan-235385",[24,7,59,128,27,61,355,171,2438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c84564d40ad840b5f82a96329943938.jpg",[],{"id":67442,"slug":67443,"title":409,"dynasty":124,"author":38263,"museum":300,"description":38264,"tags":67444,"thumbUrl":67445,"material":692,"size":1293,"collection":84,"collections":67446,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},235352,"shan-shui-ce-zhang-fu-yang-235352",[24,7,59,128,188,133,64,208,29,96,1144,131,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce44968cf045b96d8ac072ab3b27b0b7.jpg",[],{"id":67448,"slug":67449,"title":409,"dynasty":124,"author":38263,"museum":300,"description":38264,"tags":67450,"thumbUrl":67451,"material":692,"size":1293,"collection":84,"collections":67452,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},235351,"shan-shui-ce-zhang-fu-yang-235351",[24,7,59,128,132,133,64,208,29,413,96,9633],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c5698b1319643a835571b882c6b69db.jpg",[],{"id":67454,"slug":67455,"title":76,"dynasty":54,"author":24996,"museum":300,"description":24997,"tags":67456,"thumbUrl":67457,"material":692,"size":1293,"collection":84,"collections":67458,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},235216,"hua-hui-ce-zhang-wei-235216",[24,7,59,27,28,61,62,549,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7319fc181966aa1c663f4b479aec0cb.jpg",[],{"id":67460,"slug":67461,"title":7864,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":67462,"thumbUrl":67463,"material":692,"size":1293,"collection":84,"collections":67464,"showCount":751,"zanCount":1998,"manualWeight":48,"mainColor":72},235193,"za-hua-ce-huang-shen-235193",[24,7,59,128,133,376,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F059473f548f02cb346b8c757f64e88a2.jpg",[],{"id":67466,"slug":67467,"title":12220,"dynasty":54,"author":12221,"museum":300,"description":12222,"tags":67468,"thumbUrl":67469,"material":692,"size":1293,"collection":84,"collections":67470,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},235128,"hua-hua-yan-shi-nv-tu-ce-wang-su-235128",[24,7,59,27,28,96,166,169,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F803640d40fe0de4cb384adedf2f7f9cd.jpg",[],{"id":67472,"slug":67473,"title":12220,"dynasty":54,"author":12221,"museum":300,"description":12222,"tags":67474,"thumbUrl":67475,"material":692,"size":1293,"collection":84,"collections":67476,"showCount":751,"zanCount":1998,"manualWeight":48,"mainColor":72},235126,"hua-hua-yan-shi-nv-tu-ce-wang-su-235126",[24,7,59,28,27,96,166,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a67587456b5058d8aa401832dad524.jpg",[],{"id":67478,"slug":67479,"title":12220,"dynasty":54,"author":12221,"museum":300,"description":12222,"tags":67480,"thumbUrl":67481,"material":692,"size":1293,"collection":84,"collections":67482,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},235122,"hua-hua-yan-shi-nv-tu-ce-wang-su-235122",[24,7,59,28,27,96,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2389008ce2e2f90073a9ca736523bddb.jpg",[],{"id":67484,"slug":67485,"title":12220,"dynasty":54,"author":12221,"museum":300,"description":12222,"tags":67486,"thumbUrl":67487,"material":692,"size":1293,"collection":84,"collections":67488,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},235121,"hua-hua-yan-shi-nv-tu-ce-wang-su-235121",[24,7,59,28,27,96,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4dae1700723308c6e28ad9282b1bd0d.jpg",[],{"id":67490,"slug":67491,"title":48187,"dynasty":54,"author":67492,"museum":300,"description":67493,"tags":67494,"thumbUrl":67495,"material":692,"size":1293,"collection":84,"collections":67496,"showCount":751,"zanCount":1998,"manualWeight":48,"mainColor":72},235117,"shan-shui-shan-mian-huang-yuan-jie-235117","黄媛介","黄媛介，字皆令，浙江嘉兴人，出身儒士之家，生活于明清鼎革之际，在世俗、女德与生计的多重挤压下，或鬻书画，或师闺塾，在风云幻化的江南大地上为养家糊口而羁旅转徙，与名卿士大夫、与名媛闺秀交往酬唱，用诗、词、赋的文学样式及山水花卉的绘形写神，淋漓尽致地释放着心灵的感悟，入木三分地抒写着人生感慨。有着金闺兔苑才的黄媛介，其创作独特的社会价值与艺术魅力将咏絮才女谢道韫开创的林下风推向高峰，既彰显着承前启后的因素，也催发着女性意识的觉醒，影响绵远。",[164,24,7,1131,29775,128,132,29,413,758,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91474d58e35571bd28c6edbbbb7ef528.jpg",[],{"id":67498,"slug":67499,"title":67500,"dynasty":54,"author":19415,"museum":300,"description":67501,"tags":67502,"thumbUrl":67503,"material":692,"size":1293,"collection":84,"collections":67504,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},235066,"lu-yan-tu-zhou-bian-shou-min-235066","芦雁图轴","边寿民（1684年—1752年），初名维祺，字颐公，又字渐僧、墨仙，号苇间居士，江苏山阳人（今淮安区），晚号苇间老民、绰翁、绰绰老人，清代著名画家。曾考中秀才，善画花鸟、蔬果和山水，尤以画芦雁驰名江淮，有“边芦雁”之称。其泼墨芦雁，苍浑生动，朴古奇逸，极尽飞鸣、食宿、游泳之态。泼墨中微带淡赭，大笔挥洒，浑厚中饶有风骨。又善以淡墨干皴擦小品，更为佳妙。因他画芦雁，称其所居名“苇间书屋”。他又工诗词、精中国书法。和郑板桥、金农等人齐名。",[24,7,165,128,61,23978,18111,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c49d9ad59e4ece1a8ad3eaeb3acecc7.jpg",[],{"id":67506,"slug":67507,"title":39034,"dynasty":54,"author":20985,"museum":300,"description":65223,"tags":67508,"thumbUrl":67509,"material":734,"size":84,"collection":84,"collections":67510,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},235038,"hua-ji-chan-yin-tu-ce-xiao-chen-235038",[24,7,59,27,96,29,1350,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92bc5b6aca3c2e2368efdab2a47ba8b5.jpg",[],{"id":67512,"slug":67513,"title":409,"dynasty":54,"author":9742,"museum":20,"description":35708,"tags":67514,"thumbUrl":67515,"material":1722,"size":35711,"collection":84,"collections":67516,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},235025,"shan-shui-ce-wu-li-235025",[164,24,7,59,128,27,29,30,34,129,37,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4512c003399075cc8ca9078c54db47a0.jpg",[],{"id":67518,"slug":67519,"title":409,"dynasty":54,"author":9742,"museum":20,"description":35708,"tags":67520,"thumbUrl":67521,"material":1722,"size":35711,"collection":84,"collections":67522,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},235018,"shan-shui-ce-wu-li-235018",[24,7,59,128,132,29,98,99,34,131,495,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9497d85d651bdc314e42e380565f3109.jpg",[],{"id":67524,"slug":67525,"title":18219,"dynasty":54,"author":9529,"museum":300,"description":19697,"tags":67526,"thumbUrl":67527,"material":692,"size":1293,"collection":84,"collections":67528,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},234962,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234962",[24,7,59,128,2271,29,331,131,99,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3534e367be0773324be3fa6b4fef258.jpg",[],{"id":67530,"slug":67531,"title":39043,"dynasty":54,"author":34780,"museum":20,"description":67532,"tags":67533,"thumbUrl":67534,"material":561,"size":67535,"collection":84,"collections":67536,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},234921,"xue-jing-gu-shi-ce-sun-hu-234921","孙祜的作品流传下来的大部分收藏于故宫博物院内，《雪景故实图》册即其中之一，该图册为绢本设色画，每页纵32.2厘米、横26厘米，分别画有与冬日雪景相关的历史故事，分别为“东郭履雪”、“苏卿啮雪”、“袁安卧雪”、“赤脚嚼雪”、“谢庭咏雪”、“王恭涉雪”、“谢庄点雪”、“孙康映雪”、“陶榖烹雪”和“程门立雪”等十个故事。\n这特套册页最后一页上有作者的署款：“孙祜恭画”，署款的姓名前没有加上“臣”字，说明此图册不是为皇帝所画的。图册每页上均有对题，由梁诗正书写尚为“宝亲王”弘历的诗，图册作于“雍正乙卯”，即雍正十三年（1735年）。说明在雍正时期，画家孙祜是在“宝亲王”王府内当过差，后来作为王府的人员转入皇宫继续供职的。\n这套册页中山水、人物、楼阁、树木具备，很显示画家的功力。画中的山石颇具唐岱的风貌，孙祜与唐岱在宫中共过事，而且唐岱年纪显然要大于孙祜，山水画的风格受其影响，也是意料中的事情；图册里楼阁界画又甚为工致，应当来自于与陈枚的交流，同样孙祜与陈枚也有过合作的经历。所以这套册页画充分展现了画家孙祜多方面的技艺。\n孙祜（公元18世纪）江苏人，生卒年不详。工人物、山水，宗法王原祁。乾隆（1736-1795）时供奉内廷，为宫廷画家。乾隆元年（1736）曾与陈枚、金昆、戴洪、程志道绘《清明上河图》卷进呈，得邀乾隆帝审题，五年（1740）与陈枚、金昆、程志道、丁观鹏合作《庆丰图》册，六年（1741）又与周鲲、丁观鹏合作《汉宫春晓图》卷。传世作品有《雪景故事》册共计十开，绢本，设色，现藏故宫博物院。",[24,7,59,27,28,1813,29,97,35,131,34,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2ba6b5b5d446cd11a4073a42a45b840.jpg","纵31．5厘米 横25．6厘米",[],{"id":67538,"slug":67539,"title":48382,"dynasty":54,"author":223,"museum":20,"description":48383,"tags":67540,"thumbUrl":67541,"material":514,"size":19713,"collection":84,"collections":67542,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},234902,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234902",[24,7,59,27,26,28,133,208,29,97,98,99,131,34,96,1515],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffad5383086c2addf23d56ecae8eba42a.jpg",[],{"id":67544,"slug":67545,"title":22958,"dynasty":54,"author":6936,"museum":300,"description":22959,"tags":67546,"thumbUrl":67547,"material":611,"size":22962,"collection":84,"collections":67548,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},234895,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234895",[24,7,59,27,132,330,133,208,29,98,99,34,97,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd041938481266e5261f5879a6dd0ddf8.jpg",[],{"id":67550,"slug":67551,"title":40058,"dynasty":54,"author":6936,"museum":300,"description":36556,"tags":67552,"thumbUrl":67553,"material":692,"size":1293,"collection":84,"collections":67554,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},234712,"shan-shui-ye-wang-yuan-qi-234712",[24,128,132,7,59,29,413,35,131,5323,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4568b2d6872a4bb289ea167f4b7a84c.jpg",[],{"id":67556,"slug":67557,"title":67558,"dynasty":124,"author":223,"museum":300,"description":9208,"tags":67559,"thumbUrl":67560,"material":84,"size":84,"collection":84,"collections":67561,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},234658,"ming-ren-lou-ge-yan-le-ce-yi-ming-234658","明人楼阁演乐册",[24,7,59,95,27,28,29,97,96,34,131,438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c26e59a95d5e383cde75a767dfd9c6f.jpg",[],{"id":67563,"slug":67564,"title":54256,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":67565,"thumbUrl":67566,"material":84,"size":84,"collection":84,"collections":67567,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},234649,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234649",[24,7,59,128,64,208,29,97,34,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d314cb0315176e04a49841016a5e44e.jpg",[],{"id":67569,"slug":67570,"title":409,"dynasty":54,"author":17240,"museum":300,"description":45656,"tags":67571,"thumbUrl":67572,"material":84,"size":84,"collection":84,"collections":67573,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},234645,"shan-shui-ce-cha-shi-biao-234645",[24,7,59,128,133,132,29,130,413,415,7782,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c45098315924d5068c0fa9dad5a669e.jpg",[],{"id":67575,"slug":67576,"title":48339,"dynasty":124,"author":18090,"museum":300,"description":46807,"tags":67577,"thumbUrl":67578,"material":84,"size":84,"collection":84,"collections":67579,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},234636,"shan-shui-shan-ye-lan-ying-234636",[24,7,1131,128,132,29,663,413,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51a448f7356b9dea489ff04bc13fe9bc.jpg",[],{"id":67581,"slug":67582,"title":57477,"dynasty":124,"author":18090,"museum":300,"description":46807,"tags":67583,"thumbUrl":67584,"material":84,"size":84,"collection":84,"collections":67585,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},234630,"fang-huang-gong-wang-shan-shui-shan-ye-lan-ying-234630",[24,7,1131,29,128,132,330,663,413,35,415,3857],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F581d8b3fe9cac690ab9750926dfbb899.jpg",[],{"id":67587,"slug":67588,"title":67589,"dynasty":54,"author":67590,"museum":300,"description":67591,"tags":67592,"thumbUrl":67593,"material":84,"size":84,"collection":84,"collections":67594,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},234517,"san-jun-zi-tu-ce-ye-kong-yu-qi-234517","三君子图册页","孔毓圻","孔毓圻（1657―1723）：字钟在，又字翊宸，号兰堂。山东曲阜人。孔子的第67代嫡长孙。\n康熙六年（1667），袭封衍圣公。九年（1670），授光禄大夫，十五年（1676），晋阶太子少师。\n好诗文，工擘窠大字，善画墨兰，得元人赵孟頫之旨。卒谥恭悫。有《兰堂集》、《幸鲁盛典》。妻方氏，江苏昆山人，山东按察副使方恒女，工诗，善画。\n《清史稿》列传二百七十儒林四：毓圻，字钟在。方幼，年十一，朝京师。圣祖召见瀛台，礼度如成人，奏对称旨。越二年，上幸学，召毓圻陪祀，太皇太后召入见，赐坐，问家世，具以对，赐茶及克食。辞出，命内臣送至宫门外，传谕从官善辅翼之。上御殿，毓圻从诸大臣朝参，及退，命自御道行，逡巡辞，上敦谕之，乃趋出。加太子少师。二十三年，上东巡，释奠孔子庙，留曲柄黄盖。谒林，周览遗迹，每事问，毓圻谨以对。因请扩林地，置守卫，除租赋，设百户，官秩视卫守备，皆许之。毓圻辑《幸鲁盛典》以进，复奏请重修孔子庙，白巡抚及河道总督，免县人河工应役。雍正元年，世宗命追封先圣五代王爵。十月，毓圻诣阙谢，疾作，上命医诊视，赐参饵。十一月，卒於京师，上遣内大臣奠茶酒。丧归，命皇三子及庄亲王允禄临奠，行人护行，赐葬，谥恭悫。毓圻工书，爱兰，自号曰兰堂。子传铎袭。在孔林东北处，有一座立有御碑亭的墓即为孔毓圻的墓葬。墓前有石碑1通，篆书“光禄大夫太子少师六十七世袭封衍圣公恭悫（què）先生墓”，由光禄大夫兼工部尚书、云间王顼（xū）龄篆。",[24,7,59,128,171,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce159a03d011e46275886933ef2f5682.jpg",[],{"id":67596,"slug":67597,"title":67598,"dynasty":124,"author":67599,"museum":300,"description":67600,"tags":67601,"thumbUrl":67602,"material":84,"size":84,"collection":84,"collections":67603,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},234492,"hua-niao-shan-ye-wei-xue-lian-234492","花鸟扇页","魏学濂","魏学濂（1608年—1644年），明代官员。字子一，号内斋，一作容斋，浙江嘉善人，魏大中次子，崇祯十六年（1643年）进士，擢庶吉士，明亡后先降李自成，不久又羞愧自缢。平生擅画山水，兼工花鸟。",[805,1131,24,7,27,28,61,355,276,624,2037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c6bd18f9544bbe768327b77926cd6db.jpg",[],{"id":67605,"slug":67606,"title":27698,"dynasty":54,"author":67607,"museum":300,"description":67608,"tags":67609,"thumbUrl":67610,"material":84,"size":84,"collection":84,"collections":67611,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},234483,"shan-shui-ce-ye-wu-ji-shan-234483","吴继善","吴继善，字志衍,明朝官员。南直隶太仓人，中崇祯十年（1637年）进士，崇祯十六年（1643年）任成都知县。",[24,7,59,128,132,29,413,35,415,3857,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1a40848c5916e5cd036669177fab251.jpg",[],{"id":67613,"slug":67614,"title":67615,"dynasty":54,"author":51146,"museum":20,"description":51147,"tags":67616,"thumbUrl":67617,"material":84,"size":84,"collection":84,"collections":67618,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},234467,"kong-gu-liu-quan-tie-luo-shen-zhen-lin-234467","空谷流泉贴落",[24,7,128,188,133,208,331,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15494e53daf9f50f24ac3f3cfd5dfc57.jpg",[],{"id":67620,"slug":67621,"title":67622,"dynasty":54,"author":53743,"museum":300,"description":67623,"tags":67624,"thumbUrl":67625,"material":84,"size":84,"collection":136,"collections":67626,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},234351,"you-niao-shi-tu-ce-jin-kun-234351","有鸟诗图册","金昆，清朝画家，善画。康熙（1662至1722）时供奉内廷，有庆丰图、虎邱待月图均邀御题。\n乾隆五年（1740）尝与陈枚、孙祜、程志道、丁观鹏合作庆丰图册。《国[清]朝院画录》、《熙朝名画录》、《国[清]朝画徵录》",[24,7,59,27,133,29,34,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e38f87e663c10e7db2d2540db6fbfc0.jpg",[136,45],{"id":67628,"slug":67629,"title":54011,"dynasty":124,"author":33653,"museum":20,"description":67630,"tags":67631,"thumbUrl":67632,"material":734,"size":84,"collection":84,"collections":67633,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},234326,"mo-mei-ce-shen-hao-234326","沈颢（公元1586年~1661年后），字朗倩，号石天。江苏苏州人。补博士弟子员，性格豪放好奇。工诗文，书法真、草、隶、篆无所不能。山水近似沈周，晚年笔墨挺秀，点色清妍，深于画理。着〈画麈〉。作品有〈设色山水图轴〉。",[24,7,59,188,128,371,169,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d46d028439544fc05fc462214bcc172.jpg",[],{"id":67635,"slug":67636,"title":30270,"dynasty":54,"author":1069,"museum":300,"description":30271,"tags":67637,"thumbUrl":67638,"material":734,"size":84,"collection":84,"collections":67639,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},234285,"hua-guo-ce-wang-yun-234285",[24,7,59,27,61,1037,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae4160eda03cf356dbede39622686fc.jpg",[],{"id":67641,"slug":67642,"title":67643,"dynasty":124,"author":10922,"museum":300,"description":10923,"tags":67644,"thumbUrl":67645,"material":734,"size":84,"collection":84,"collections":67646,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},234259,"xuan-cheng-song-bie-juan-wen-jia-234259","宣城送别卷",[23,24,7,25,133,208,27,128,29,34,167,35,98,99,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3da9f12e4c80cb38116a7672a637566.jpg",[],{"id":67648,"slug":67649,"title":67650,"dynasty":124,"author":67651,"museum":20,"description":67652,"tags":67653,"thumbUrl":67654,"material":84,"size":84,"collection":84,"collections":67655,"showCount":751,"zanCount":1998,"manualWeight":48,"mainColor":72},234200,"xue-ting-tu-juan-zhao-han-234200","雪亭图卷","赵汉","此作以淡墨晕染出群峰雪意，素净浑茫间，山坳雪亭幽然独立，枯木覆雪点染出清寂萧寒的冬日意境。整卷书画合璧，数段题书风格各异，行书秀逸苍劲，草书纵逸跌宕，擘窠大字雄健厚重。题诗文笔清隽，尽数铺展出林泉高致，将冬日幽居的清冷旷达与归隐忘俗的雅趣相融，笔墨间呼应画中逸韵，尽显诗画同源、以书入画的文人审美意趣。",[23,24,7,25,128,29,133,132,130,663,413,1556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc873cb1136ddbd79b8abebe8260093.jpg",[],{"id":67657,"slug":67658,"title":67659,"dynasty":54,"author":53743,"museum":20,"description":67660,"tags":67661,"thumbUrl":67663,"material":40,"size":67664,"collection":84,"collections":67665,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},234112,"bing-xi-tu-juan-jin-kun-234112","冰嬉图卷","冰嬉是一种带有节令特色的体育活动。清代宫内有冬季冰嬉的习俗，并将其视为“国俗”，乾隆皇帝说“冰嬉为国制所重”。每年从八旗官兵中挑选“善走冰”的能手入宫训练，冬至到“三九”时在西苑冰上举行冰嬉。皇帝率王公大臣等前往观看，赛后皇帝分等次，恩赏银两。\n此图中描绘的冰嬉地点应该是金鳌玉蝀桥（即今北海桥）之南的水面，表演的是转龙射球项目。画面上右侧众人簇拥的就是皇帝华丽的冰床。冰场上，旗手和射手们间隔排列，盘旋曲折滑行于冰上，远望之，蜿蜒如龙形。在将近御座处，设一旌门，上悬一球，称天球。转龙队伍滑至此处时，分别射矢，中者有赏。另外在滑行队伍中还有各项杂技表演，如舞刀、叠罗汉及花样滑等。表演者的各种姿态让凛冽的寒冬充满生机。\n乾隆皇帝多次命画家将冰嬉场面绘成画卷收藏起来。这种画卷应该是一种写实作品，再现当时的场景。\n图中尽收西苑内的远近亭台楼阁，雾霭掩隐的房屋和挂霜的树枝表明北方正当严冬。\n画面上有嵇璜书写的乾隆皇帝《御制冰嬉赋有序》。",[54,24,7,25,28,27,96,97,34,1337,11074,67662],"冰面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecd27be23d302daec6c9572471dd8685.jpg","纵35厘米，横578.8厘米",[],{"id":67667,"slug":67668,"title":67669,"dynasty":18,"author":223,"museum":20,"description":67670,"tags":67671,"thumbUrl":67672,"material":151,"size":67673,"collection":84,"collections":67674,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},234078,"zhu-jian-yuan-yang-tu-ye-yi-ming-234078","竹涧鸳鸯图页","图绘坡石斜立于画面的右侧，坡上翠竹摇曳，枝页纷披。坡下竹笋破土而出，小草丛生，小溪潺缓，一派生机蓬勃景象。两只鸳鸯仰头眺望天空中飞来的一只鸟，把观赏者的目光引向画外。图中竹页、竹竿勾勒精细，山石淡染轻勾，色彩柔和自然。构图疏朗，静中有动，为南宋晚期花鸟画佳作。",[24,7,59,27,28,61,167,1857,413,131,99,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e9fa1363f0a7140aaa21f8cc99e5309.jpg","24.8*24.8厘米",[],{"id":67676,"slug":67677,"title":32098,"dynasty":18,"author":223,"museum":20,"description":67678,"tags":67679,"thumbUrl":67680,"material":514,"size":67681,"collection":84,"collections":67682,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},234020,"hong-liao-shui-qin-tu-ye-yi-ming-234020","《红蓼水禽图》是中国美术史上的花鸟画名作，以前人们认为是五代名家徐崇矩所作，或传为宋徽宗赵佶所作。其所绘意境正如诗中所咏：“西风红蓼香，水禽破苍茫。小虾清滩里，涟漪泛斜阳。”此画是典型的宋院体画，手法细腻，形象生动。 水边一枝红蓼，小花盛开。水鸟发现波中青虾，悄然飞落红蓼枝头，引喙而啄。红蓼被水鸟的体重与蹬力压弯，梢头、叶尖浸入水中。而青虾在水中灵活地悠游，对面临的危险浑然不觉。自然界中这惊险的一霎被巧妙地摄入绢素，极为生动传神。水禽和红蓼设色鲜丽，工笔细写。小鸟纤细的毛羽清晰可数，连蓼花粟米大的花冠也用紫红、粉白晕染得一丝不苟，层次分明。而水中的青虾和荇藻则采用模糊的手法表现，唯以淡墨绿一色染成，类似写意画法。因而虽不画水，却水旱两界分明。",[164,24,7,59,28,27,61,355,27479,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bd0e66811feaeb67ea3c69d5e352504.jpg","25.2x26.8cm",[],{"id":67684,"slug":67685,"title":409,"dynasty":54,"author":3820,"museum":20,"description":67686,"tags":67687,"thumbUrl":67688,"material":1722,"size":67689,"collection":84,"collections":67690,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},233972,"shan-shui-ce-gong-xian-233972","此册作于乙卯年（清熙十四年，1675年）。现藏故宫博物院。本图册中第一四、八、十一、十三、十四开属于“白龚”，图中的山石、树木均以古、健、老、活的中锋勾勒轮廓线，物象具有方而不板，结而不滑的特点。本图册中第二、五、七、九、十二、十七、十九开属于“黑龚”。作者以灰墨勾出大体轮廓和经络，然后层层皴染和点染。其皴染取自宋人范觅的雨点皴而稍有变化，为头实尾虚的短笔皴。",[24,7,128,29,131,96,132,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F225a34d065500f13affc8a609f0e83c3.jpg","纵22.2厘米，横33.2厘米",[],{"id":67692,"slug":67693,"title":67694,"dynasty":144,"author":223,"museum":300,"description":67695,"tags":67696,"thumbUrl":67697,"material":151,"size":67698,"collection":84,"collections":67699,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},233953,"xi-shan-ting-xie-tu-ye-yi-ming-233953","溪山亭榭图页","本幅园形设色画，无款印，有收藏印二方不辩。",[24,7,1131,29,27,132,208,130,34,131,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F572cdae27ebe7b757d316c7e73b40b0e.jpg","纵27.5cm横26.2cm",[],{"id":67701,"slug":67702,"title":67703,"dynasty":124,"author":67704,"museum":20,"description":67705,"tags":67706,"thumbUrl":67707,"material":1722,"size":67708,"collection":84,"collections":67709,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},233821,"shuang-gou-zhu-zhou-wang-chen-233821","双钩竹轴","王臣","款署：“欲把交盟订岁寒，晓窗貌出玉琅玕。依稀记得湘江上，粉节霜筠月下看。直仁智殿文思院副使五云王臣写题。”钤印不辨。\n此图用白描双钩法画竹一枝，姿态潇洒。用笔圆劲精细，竹干的挺拔、节的梗脆、叶的阴阳向背都表现得十分真切，结构层次和空间处理的十分恰当，繁而不乱，疏密有致，笔笔清晰，无一笔虚设。",[24,7,165,12335,188,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b9c7833424f3dde0d4b2523756d67a6.jpg","纵106.7厘米，横46厘米",[],{"id":67711,"slug":67712,"title":16041,"dynasty":54,"author":1460,"museum":20,"description":16042,"tags":67713,"thumbUrl":67714,"material":734,"size":16046,"collection":84,"collections":67715,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},233778,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233778",[164,24,7,59,128,27,29,96,98,99,34,131,37,35,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27c18c2805cdb7dbe845a2784a765741.jpg",[],{"id":67717,"slug":67718,"title":67719,"dynasty":54,"author":1460,"museum":300,"description":14038,"tags":67720,"thumbUrl":67721,"material":1722,"size":14041,"collection":84,"collections":67722,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},233682,"yuan-ji-lan-zhu-ce-po-shi-lan-cao-shi-tao-233682","原济兰竹册－坡石兰草",[24,7,59,128,375,171,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F542666f0feb5f13e36b289e2702f417f.jpg",[],{"id":67724,"slug":67725,"title":3717,"dynasty":54,"author":22607,"museum":20,"description":61325,"tags":67726,"thumbUrl":67727,"material":734,"size":61328,"collection":84,"collections":67728,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},233440,"huang-shan-tu-ce-mei-qing-233440",[24,7,59,128,27,29,495,1144,96,131,132,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc236d28b17519fc86d6c9864560c9254.jpg",[],{"id":67730,"slug":67731,"title":16826,"dynasty":54,"author":1242,"museum":20,"description":16827,"tags":67732,"thumbUrl":67733,"material":16830,"size":16831,"collection":84,"collections":67734,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},233392,"shan-shui-ren-wu-ce-jin-nong-233392",[24,7,59,128,64,96,29,34,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf9c6a7e08354546dbfeeefbbba4c07.jpg",[],{"id":67736,"slug":67737,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":67738,"thumbUrl":67739,"material":84,"size":84,"collection":84,"collections":67740,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},233367,"shi-zhu-zhai-pu-ce-hu-ri-cong-233367",[24,7,59,128,27,61,167,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39a41d4cbf78fa88028ba568d41be64c.jpg",[],{"id":67742,"slug":67743,"title":409,"dynasty":144,"author":14724,"museum":20,"description":32011,"tags":67744,"thumbUrl":67745,"material":734,"size":32014,"collection":84,"collections":67746,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},233171,"shan-shui-ce-cao-zhi-bai-233171",[24,7,59,128,132,29,413,131,31,331,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b6408584eed70bd48c077607537a093.jpg",[],{"id":67748,"slug":67749,"title":67750,"dynasty":124,"author":125,"museum":20,"description":37362,"tags":67751,"thumbUrl":67752,"material":999,"size":37365,"collection":84,"collections":67753,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},233136,"ming-ren-xi-shan-sheng-jing-he-bi-ce-cha-mo-yu-tu-ye-shen-zhou-233136","明人西山胜景合壁册-茶磨屿图页",[24,7,59,128,27,29,132,34,131,32,3847,1144,276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed5e89c71c28c71d0d4496c16cab2c35.jpg",[],{"id":67755,"slug":67756,"title":67757,"dynasty":144,"author":223,"museum":300,"description":55882,"tags":67758,"thumbUrl":67759,"material":84,"size":84,"collection":84,"collections":67760,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":199},233031,"wu-zong-huang-di-hou-xiang-yi-ming-233031","武宗皇帝后像",[24,7,28,27,96,232],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3877d0590e706000546909cc3af31fd.jpg",[],{"id":67762,"slug":67763,"title":41792,"dynasty":124,"author":3619,"museum":20,"description":41793,"tags":67764,"thumbUrl":67765,"material":611,"size":41796,"collection":84,"collections":67766,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},232961,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232961",[24,7,59,128,132,133,208,29,30,34,99,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3286f6a78c1eeff4fe8f6820da3f1413.jpg",[],{"id":67768,"slug":67769,"title":67770,"dynasty":54,"author":31277,"museum":300,"description":67771,"tags":67772,"thumbUrl":67773,"material":84,"size":84,"collection":84,"collections":67774,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},232697,"shan-shui-xi-shu-dong-cun-tu-ye-fang-cong-232697","山水西墅东村图页","方琮，字黄山，字友璜，号石颠，山水宗黄公望。浙江人。善山水画，从学于张宗苍（1686-1755）深得其传，供奉内廷。\n曾仿画王希孟《江山千里图卷》。",[23,24,7,164,4437,27,132,208,29,98,99,34,35,131,415,499,3427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff67d5a6da73eb27662a8d531c4296f62.jpg",[],{"id":67776,"slug":67777,"title":67778,"dynasty":222,"author":223,"museum":300,"description":67779,"tags":67780,"thumbUrl":67782,"material":84,"size":84,"collection":84,"collections":67783,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},231823,"ming-qing-ri-ben-gu-hua-fen-ben-ren-wu-li-zhou-wo-lu-zang-yi-ming-231823","明清日本古画粉本人物立轴 蜗卢蔵","此作以淡墨晕染水月观音，观音安坐岩巅，衣袂舒展空灵，面容娴静慈悲，璎珞细节柔和细腻，尽显神性清寂温婉。下方云水翻涌，神龙隐现于烟波之间，墨色层次丰富，将水之灵动与云之空濛相融，烘托出幽渺出尘的禅境。\n左上题字清雅隽秀，与画面禅意呼应，笔墨简淡却神采具足，尽显汲取汉地佛画养分后的独特意趣，以极简笔触勾勒出观音的沉静与海天的悠远，将禅家空寂之味蕴藏在淡墨清晕之中，是佛画与文人意趣相融的雅致佳作。",[23,9521,24,7,165,67781,128,27,96,187,131,37,99],"粉本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc09fe3fc01c2b8210207ee58fd3db282.jpg",[],{"id":67785,"slug":67786,"title":67787,"dynasty":222,"author":223,"museum":300,"description":67788,"tags":67789,"thumbUrl":67791,"material":692,"size":1293,"collection":84,"collections":67792,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},231792,"ming-qing-ri-ben-gu-hua-hua-niao-shan-shui-ren-wu-fen-ben-hua-hui-juan-yi-ming-231792","明清日本古画花鸟山水人物粉本-花卉卷","此卷以三段铺展草木清趣：左幅淡墨晕染勾勒，花卉枝叶似笼轻烟，朦胧雅致，尽显晕染之妙；中段设色清妍，蓝花团簇搭配朱红穗草，墨色深浅铺陈绿叶，鲜活自然，将杂卉相生的野趣娓娓道来；右枝蓝花挺秀舒展，线条隽秀利落，把花枝舒展的姿态勾勒尽致。\n\n整体气息静谧清和，笔致简淡却饱含生机，画师以细腻体察捕捉花木的雅致姿态，将写生意趣融于其中，古雅温婉，尽显东方草木美学的隽永意境。",[23,9521,24,7,25,27,188,62,230,1771,67790,962,208],"蓝色小花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F556544f3ce8c1f43d39f21b466f94812.jpg",[],{"id":67794,"slug":67795,"title":67796,"dynasty":222,"author":67797,"museum":300,"description":67798,"tags":67799,"thumbUrl":67800,"material":692,"size":1293,"collection":84,"collections":67801,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},231787,"wen-yong-he-mao-ji-tu-juan-shuang-zhi-1-zhi-shou-jing-231787","文永贺茂祭图卷 双纸-1","直寿敬","本作为日式风俗绘卷，以平涂设色刻画贺茂祭出行队列。画面排布井然有序，自左向右文武扈从依次行进，骑乘主官位列核心。绘者以质朴柔和的线条勾勒人物，服饰配色沉静典雅，白、朱红、靛蓝层次分明，忠实还原祭典仪制衣冠规制。\n\n人物抬足行进的动态简练鲜活，仪仗器物细节清晰，将祭典的庄严肃穆与行进的生动感相融，笔触稚拙却精准传递出古祭出行的威仪氛围，兼具民俗史料价值与古拙的绘画美感。",[23,24,7,25,27,96,101,170,5626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2c95d941cfb0fd5e3729f76c4dbcd38.jpg",[],{"id":67803,"slug":67804,"title":67805,"dynasty":222,"author":67806,"museum":300,"description":67807,"tags":67808,"thumbUrl":67809,"material":692,"size":1293,"collection":84,"collections":67810,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},231730,"da-zheng-nian-chao-zhi-juan-jin-cun-zi-hong-231730","大正年 朝之卷","今村紫红","今村四光（Shiko Imamura，1880年（明治13年）12月16日－1916年12月16日（大正5年）2月28日）是横滨神奈川县人，出生于日本画家。他的真名是十三郎。他虽然享年35岁（按年算37岁），但他大胆而原创的作品给画家带来了新鲜的刺激，对后辈画家也产生了很大的影响。主要作品如“近江八景”系列（1912年，东京国立博物馆，重要文化财产），“笃之卷”（1914年，东京国立博物馆，重要文化财产）。",[23,24,7,25,27,28,29,39943,4505,10280,20377,9165,129,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90e5f661c7377d7282ed7dd3a7183f6c.jpg",[],{"id":67812,"slug":67813,"title":67814,"dynasty":222,"author":67815,"museum":300,"description":67816,"tags":67817,"thumbUrl":67818,"material":692,"size":1293,"collection":84,"collections":67819,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},231629,"shi-ting-shi-dai-qing-shui-si-yuan-qi-hua-juan-xia-tu-zuo-guang-xin-231629","室町时代 清水寺缘起画卷(下)","土佐光信","室町时代（1338~1573）的著名大和绘（注1）画师土佐光信（1434~1525）向来被尊为妖怪画的开山宗师。室町时代，虽然中国宋元时期的宫廷水墨画（区别于“唐绘”，被称之为“汉画”）受到幕府的推崇，但以土佐光信为代表的正统大和绘画师也借鉴中国画的技巧，为势渐衰退的大和绘注入了新的活力。室町时代的大和绘取材已具有明显的世俗化特征，也更加注重装饰效果（这在一定程度上成为其后“浮世绘”诞生的先导），土佐光信的《百鬼夜行绘卷》正是充分体现了这两个特点的作品。",[24,7,25,27,28,95,187,64,572,133,96,97,98,99,101,949,29,130,211,34,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58f10bbfc70d13b3adf7dcbe26b3fe0f.jpg",[],{"id":67821,"slug":67822,"title":67823,"dynasty":144,"author":223,"museum":300,"description":67824,"tags":67825,"thumbUrl":67826,"material":84,"size":84,"collection":84,"collections":67827,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},231494,"you-xing-shi-nv-tu-you-ti-ba-yi-ming-231494","游行仕女图（有题跋）","笔致苍朴古雅，行书线条凝练舒展，藏锋裹毫间带着元人尚意的闲散意趣。题文追慕唐人仕女风神，暗合画中仕女迤逦游行之态：佳丽施徐缓步，罗衣轻扬，鬓畔簪花掩映姣容，团扇半遮更添幽婉。\n\n题跋与画作相映成趣，旧绢泛黄晕开浅淡包浆，朱印斑驳带着岁月摩挲的质感，字里行间铺展出闺阁柔婉情致，糅合元人审美意趣，静静诉说古画藏住的缱绻旧事。",[23,24,7,96,166,28,27,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fede83ee94cce6d1a2e984a3f42c8bc6b.jpg",[],{"id":67829,"slug":67830,"title":67831,"dynasty":54,"author":5181,"museum":424,"description":67832,"tags":67833,"thumbUrl":67834,"material":1190,"size":67835,"collection":84,"collections":67836,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},231348,"fang-wu-zhong-gui-shan-shui-tu-pu-hua-231348","仿吴仲圭山水图","峡江峻岭，山林葱茂，渔人垂钓，一派水国风光。用笔粗犷，气势豪放。自识“霜落蒹葭水国寒，浪花云影上渔竿。画成未拟将人去，茶熟香温且自看。写仲圭诗意，蒲华”。",[23,24,7,128,27,132,330,29,129,167,413,131,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28b812ad538091df8d2f313f8cd5e494.jpg","167cmx92cm",[],{"id":67838,"slug":67839,"title":67840,"dynasty":18,"author":223,"museum":244,"description":53107,"tags":67841,"thumbUrl":67842,"material":59690,"size":67843,"collection":84,"collections":67844,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},231345,"xiao-han-lin-tu-yi-ming-231345","小寒林图",[24,7,128,132,29,1233,331,171,7596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe50b96fc4e45788828c7ba9d17162640.jpg","该幅42.2x49.2公分；全幅66.5公分",[],{"id":67846,"slug":67847,"title":11560,"dynasty":54,"author":45440,"museum":300,"description":67848,"tags":67849,"thumbUrl":67850,"material":84,"size":84,"collection":84,"collections":67851,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},231044,"fang-dong-yuan-shan-shui-tu-qi-zhi-jia-231044","此作用笔疏朗秀逸，以高耸奇崛的主峰撑起画面骨架，淡墨勾勒皴擦山石，浓墨苔点醒置其间，尽显苍古浑厚。近岸虬松杂木盘曲苍劲，枝叶俯仰生姿。水畔茅庐之内，二人对坐清谈，衬出幽居林下的雅逸闲情。\n\n画作取法董源平淡天真之韵，又自出机杼，淡墨晕染出空濛烟岚，将江南山水温润静穆之致与文人萧散襟怀相融，简淡之中见苍茫气象，尽显晚明文人画简远疏旷的审美意趣。",[23,24,7,164,165,128,132,330,29,1144,131,35,34,96,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35687a3671f968ebd0831c6a02b9d7bd.jpg",[],{"id":67853,"slug":67854,"title":67855,"dynasty":54,"author":9529,"museum":300,"description":67856,"tags":67857,"thumbUrl":67858,"material":84,"size":84,"collection":84,"collections":67859,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":199},231000,"fang-dong-bei-yuan-shan-shui-tu-wang-hui-231000","仿董北苑山水图","此作以披麻皴写山峦层叠，淡墨晕染出烟雨空濛的江南氤氲之态，高远与平远景致相融，铺陈出山水的幽深阔远。苍松杂木错落点缀于岩岫间，山脚村居田舍隐现，将烟火气融于林泉丘壑，让幽寂山水多了几分温润生机。\n笔墨苍秀温润，皴擦尽显山石浑厚质感，淡墨轻染晕化出云气浮动的朦胧意境，既保有师法对象的平淡天真，又糅合自身清丽工致的笔意，将江南山水的静穆悠远诠释尽致，氤氲出文人山水独有的雅致闲澹之韵。",[23,24,7,29,128,132,330,30,34,131,37,38,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe42c82dcbca07f113bc6bb5f1e5aee9.jpg",[],{"id":67861,"slug":67862,"title":67863,"dynasty":222,"author":67864,"museum":300,"description":67865,"tags":67866,"thumbUrl":67867,"material":692,"size":1293,"collection":84,"collections":67868,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},230583,"si-ji-shan-shui-tu-ping-feng-di-yi-ping-zhou-wen-230583","四季山水图屏风第一屏","周文","圣国寺的僧人，后来成为室町幕府的画家。生卒年不详。雪舟和小栗在建立诗歌和日本水墨风格及其弟子方面发挥了重要作用。",[23,24,7,250,128,132,29,129,1350,130,1144,495,415,3857,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90625f9167db424f96348cc9de928d36.jpg",[],{"id":67870,"slug":67871,"title":67872,"dynasty":222,"author":65586,"museum":300,"description":65587,"tags":67873,"thumbUrl":67876,"material":151,"size":1293,"collection":84,"collections":67877,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},230562,"shi-liu-luo-han-xiang-02-jia-nuo-jia-fa-cuo-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230562","十六罗汉像02迦诺迦伐磋尊者",[23,24,7,165,187,27,28,96,168,3837,13344,131,67874,45828,18331,67875,3490],"供桌","信徒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff739efe7b9fa05345c1d6d721ac69f85.jpg",[],{"id":67879,"slug":67880,"title":67881,"dynasty":222,"author":67882,"museum":300,"description":67883,"tags":67884,"thumbUrl":67885,"material":692,"size":1293,"collection":84,"collections":67886,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},230492,"jiang-hu-shi-dai-shan-ye-xing-le-tu-ping-feng-er-ping-yu-xie-wu-cun-230492","江户时代 山野行乐图屏风-二屏","与谢芜村","与谢芜村(1716～1783),本姓谷口，别号夜半亭（二世），画名谢长庚、春星等。生于摄津国毛马村。少年时代即爱好艺术。20岁前后丧失家产，漂泊至江户，拜师学习俳谐，寄寓于芭蕉传人早野巴人的夜半亭，为江户俳坛所瞩目。以后10年间游历各地，致力学画。后名声大震。1757年成家，恢复俳谐创作。1766年与其他俳句作者成立“三果社”，提倡俳句的新风格。1767年继承夜半亭俳号，发展成为一代宗匠。",[23,24,7,128,369,165,231,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fdacae6a1fe94bcd049f5d60a59a990.jpg",[],{"id":67888,"slug":67889,"title":67890,"dynasty":54,"author":223,"museum":300,"description":67891,"tags":67892,"thumbUrl":67897,"material":84,"size":84,"collection":84,"collections":67898,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},230328,"wu-yi-shan-shi-ba-jing-tu-yi-ming-230328","武夷山十八景图","此作用淡墨浅绛绘就，清润雅致。山石以披麻皴写就，勾勒皴擦间尽显武夷丹霞奇秀之姿。\n左上巉岩叠嶂，山居隐于林麓水湄；右上平畴村舍错落，江帆远渡，晕开烟火野趣。左下危峰兀立，碧水蜿蜒，渔舟泛波，尽显山水灵动；右下云岚轻笼丘壑，村居散缀林间，愈见幽寂淡远。\n四段连幅铺展武夷胜景，将山川雄奇与村居闲逸融为一体，笔致松秀空灵，意境萧散简远，把武夷兼具的灵秀清旷与烟火意趣娓娓铺陈，尽显淡和天真的山水逸致。",[23,24,7,1349,128,27,1613,131,99,129,2619,28369,3650,67893,30617,67894,67895,67896],"云岚","灵秀","幽寂","萧散简远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F185ab886df08516e1561df96b6282fe9.jpg",[],{"id":67900,"slug":67901,"title":44795,"dynasty":54,"author":31277,"museum":300,"description":67902,"tags":67903,"thumbUrl":67904,"material":84,"size":84,"collection":84,"collections":67905,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},230266,"shan-shui-shi-kai-fang-cong-230266","此作用笔苍秀浑朴，以平远章法铺展春日村居意趣。板桥驮着晚归牧歌，柳丝轻笼烟岚，粉桃点破溪山春色，村庐隐在林麓间，尽得幽闲野致。平湖如镜，映出两岸茂林远岫，峰峦以干笔皴擦、墨色晕染出苍润质感，氤氲空濛春气。题诗衬合画中逸趣，将田家闲乐融在烟峦水木间，既有元人山水的萧散简远，又不失院体画的精整秀雅，笔底尽是静穆安闲的山居诗意。",[23,24,7,59,128,27,29,98,99,34,35,131,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6404cfc1abce5ce15f489d74346d7ea2.jpg",[],{"id":67907,"slug":67908,"title":67909,"dynasty":54,"author":646,"museum":300,"description":67910,"tags":67911,"thumbUrl":67912,"material":84,"size":84,"collection":84,"collections":67913,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},230249,"jiu-ru-xian-shou-dong-gao-230249","九如献寿","此作用笔秀雅温润，以淡赭晕染丘坂，浓墨攒簇松针，苍松虬劲盘曲，荫蔽山溪幽径。策杖二人徐行林下，溪石隐现、浅谷逶迤，尽现清秋林壑疏旷之致。\n诗画合璧，借古松岁寒长青喻福寿绵长，将林下雅游闲情与祝寿深意相融。画面无繁饰堆砌，以简淡笔墨铺陈出静穆恬和的意境，在清润的林泉景致里，藏着清和雅致的颂祝之心，是兼具文人情致与吉祥意涵的山水小品。",[24,7,59,27,29,34,96,98,99,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe96977665cdd169873e9aa287d401457.jpg",[],{"id":67915,"slug":67916,"title":27698,"dynasty":54,"author":48145,"museum":300,"description":67917,"tags":67918,"thumbUrl":67919,"material":692,"size":1293,"collection":84,"collections":67920,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},230193,"shan-shui-ce-ye-wang-chen-230193","王宸（1720—1797）字子凝，一字紫凝，一作子冰，号蓬心，一作蓬薪，又号蓬樵，晚署老蓬仙、蓬樵老、潇湘翁、柳东居士、莲柳居士，自称蒙叟、玉虎山樵、退官衲子，江苏太仓人。",[24,7,59,128,132,29,98,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9b259c956580327d9785be7c1e0b5be.jpg",[],{"id":67922,"slug":67923,"title":67924,"dynasty":54,"author":55281,"museum":300,"description":67925,"tags":67926,"thumbUrl":67927,"material":84,"size":84,"collection":84,"collections":67928,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},230153,"mei-hua-shi-liu-yong-230153","梅花诗","此作用笔敦实内敛，绝无锋芒外露，墨色浓郁匀净，尽显标志性的沉厚风格。字体筋骨内蕴，拙朴温润，布局整饬却暗藏灵动，字距行距匀停妥帖，通篇气息温雅端庄。\n\n以笔为梅枝，以墨凝梅香，将咏梅诗句的清癯高格，融于端稳笔墨之中，褪去妍媚浮华，尽显醇和静穆的文人意趣。诗书意境与沉浑书气相融共生，尽显老成持重的笔底风华，藏着文人骨子里的清雅底色，是清代帖学极具代表性的佳作。",[23,7,64,133,165,128,371,208,6369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c7e6f8883f1504e88ef38becdaf8ee.jpg",[],{"id":67930,"slug":67931,"title":67932,"dynasty":54,"author":67933,"museum":300,"description":67934,"tags":67935,"thumbUrl":67936,"material":84,"size":84,"collection":84,"collections":67937,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},230149,"jiu-ri-xing-an-wen-yan-tu-ye-fang-lin-230149","九日行庵文宴图","叶芳林","这幅雅集图里，茂林修竹、丹木青柯错落铺展，园林雅致悠然。文士或围坐展卷品评，或挥毫泼墨，松下石边二三知己清谈对坐，侍童随侧研墨奉茶，众人情态各别、意态从容。\n\n设色清润秀雅，淡晕花青赭石晕染花木，衣纹线条简净流畅，将文人士大夫秋日宴聚、诗酒流连的闲逸高情细腻铺陈，把文宴间的闲散风雅尽数描摹，尽显旧时文人雅集的悠然意趣。",[23,24,7,164,25,27,28,96,34,276,1314,19786,20731,2144,1424],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0249e53ec64a91f819c2127887290d53.jpg",[],{"id":67939,"slug":67940,"title":67941,"dynasty":54,"author":6936,"museum":300,"description":67942,"tags":67943,"thumbUrl":67944,"material":84,"size":84,"collection":84,"collections":67945,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},229027,"fang-yun-lin-she-se-shan-shui-tu-wang-yuan-qi-229027","仿云林设色山水图","此作用两段平远取景，铺陈出清寂萧疏的幽淡之境。近岸枯木清劲错落，疏朗有致，茅庐隐于林麓之间，野意悠然。远山以干笔淡墨反复皴擦，将倪云林的冷逸淡远，糅合进苍厚绵密的自家笔意，浅赭轻敷，晕染出古雅柔和的色调。画面留白开阔，引观者目光悠然游弋，尽显空寂淡远的文人意趣。题跋与画面相得益彰，文气雅致，师法元人又自出机杼，是兼具摹古与新意的山水佳构。",[23,164,24,7,165,27,132,29,34,131,35,5323,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb43d7ec43e94f35dfae7914f109d2a6.jpg",[],{"id":67947,"slug":67948,"title":67949,"dynasty":54,"author":1460,"museum":300,"description":67950,"tags":67951,"thumbUrl":67952,"material":84,"size":84,"collection":84,"collections":67953,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},228992,"bai-kai-luo-han-tu-61-shi-tao-228992","百开罗汉图61","淡墨晕染出翻涌不息的江海惊涛，四位罗汉乘浮叶凌波而行。众人神情各别，或垂眉敛目沉于禅思，或抬眼远眺浪涛，将行旅从容与烟波动荡形成鲜明对照。\n\n衣纹线条简劲灵动，皴染结合晕出僧衣厚重质感，更衬出罗汉静定无扰的禅心。作者以浓淡墨色铺陈水势虚实，留白间尽显江海浩渺空濛，以极简笔墨写尽世外僧人的自在超脱，借渡海意象诠释禅家无往不适的境界，于动静相生间晕染出悠远禅意，尽显笔底禅心与山水意趣的交融。",[24,7,59,188,128,187,96,208,951],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07723a0fddcca8b958cabbdd724ab54f.jpg",[],{"id":67955,"slug":67956,"title":67957,"dynasty":124,"author":223,"museum":300,"description":67958,"tags":67959,"thumbUrl":67960,"material":692,"size":1293,"collection":84,"collections":67961,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},228808,"lu-ya-tu-zhou-yi-ming-228808","芦鸭图轴","淡赭晕开汀洲暮色，细劲墨线勾勒芦苇，叶梢随晚风欹斜错落，疏密间漫开清寂秋意。\n\n两只芦鸭静栖岩矶，抬首者绒羽蓬松，翎羽层次分明，墨色浓淡过渡柔和，似在聆听水泽秋声；蜷卧者敛息安闲，将野禽的恬然之态晕染入微。画面设色清雅柔和，无繁复铺陈，以极简笔意勾勒出郊野水畔的悠然生机，将荒寒秋意与栖禽的闲澹相融，尽显江南泽国的静谧闲雅，把秋日水泽的幽寂和生灵的野逸平衡得恰到好处，淡远空濛之余，余韵悠长。",[23,164,24,7,165,27,28,61,1824,6509,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8344bd58fa2be0ddc84d2f4c79e5c0ff.jpg",[],{"id":67963,"slug":67964,"title":67965,"dynasty":124,"author":67966,"museum":300,"description":67967,"tags":67968,"thumbUrl":67971,"material":692,"size":1293,"collection":84,"collections":67972,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},228348,"you-xian-tu-shen-xi-yuan-228348","游仙图","沈希远","山水宗马远，亦善传神。洪武（一三六八-二二九八）中写御容称旨，授中书舍人。",[23,24,7,25,27,28,132,29,96,34,131,98,99,130,1023,67969,67970],"树木茂密","山石险峻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68de92a5cd889b76de35179cab49741b.jpg",[],{"id":67974,"slug":67975,"title":67976,"dynasty":124,"author":16032,"museum":300,"description":52385,"tags":67977,"thumbUrl":67979,"material":692,"size":1293,"collection":84,"collections":67980,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},228308,"hong-feng-bai-he-tu-ye-xiang-sheng-mo-228308","红枫白鹤图页",[23,24,7,164,1131,27,29,67978,453,132],"红枫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4c9862a17ee2057107c11e83ef78ddf.jpg",[],{"id":67982,"slug":67983,"title":67984,"dynasty":144,"author":223,"museum":300,"description":67985,"tags":67986,"thumbUrl":67987,"material":692,"size":1293,"collection":84,"collections":67988,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},228204,"huan-ji-tu-yi-ming-228204","宦迹图","此作用笔匀稳秀雅，墨色沉润妍丽，行书结体舒展俊逸，牵丝映带自然流畅，兼具帖学流美与端凝气度。整幅以长题辨伪析真，文思随笔墨流转，考据的严谨与书法的灵动相融无间。古朴装裱间朱印错落点缀，金石气晕染笔墨意趣，旧迹古雅质感尽显。将学术考辨的理性与翰墨创作的审美风韵合为一体，既是鉴藏考据的珍贵文献，亦是颇具审美价值的书法佳迹，尽显古卷雅致意蕴。",[23,24,7,25,133,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a18b15997a9a31f9d9c80679db188d4.jpg",[],{"id":67990,"slug":67991,"title":67992,"dynasty":144,"author":223,"museum":300,"description":67993,"tags":67994,"thumbUrl":67995,"material":84,"size":84,"collection":84,"collections":67996,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},228202,"xia-chi-shuang-e-tu-ye-yi-ming-228202","夏池双鹅图页","此作用色清简枯淡，以水墨晕染出夏池幽寂之境。画面双鹅为意趣核心，一鹅昂首振翅，白羽晕染层次细腻，绒羽蓬松宛然在目，翅根淡墨晕开融于池水，似将破水而起，满是灵动野逸。另一鹅垂颈敛翼，姿态闲静安适，一动一静，相映成趣。\n\n背景以淡墨点汀渚小藻，枝梢偃仰朦胧，暗合夏日溽热将散的慵懒松弛。全画不做繁复勾勒，以晕染写就形神，将幽塘里的片刻生趣轻然定格，带着萧散空寂的元画意韵，淡而有味，余韵悠长。",[23,24,164,7,59,27,28,61,7546,1400,32999,22072,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a479a5c9e58f04cbb797b9a5f3f521c.jpg",[],{"id":67998,"slug":67999,"title":43751,"dynasty":144,"author":223,"museum":300,"description":68000,"tags":68001,"thumbUrl":68002,"material":84,"size":84,"collection":84,"collections":68003,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},228184,"yun-shan-tu-juan-yi-ming-228184","以水墨晕染铺就江南烟岚，山峦在氤氲雾气中远近层叠，淡墨轻扫出山形轮廓，虚实相生，将天地边界揉作一团朦胧。汀渚林木以浓墨点染，和淡远云山相映成趣，江面一叶江帆轻泛，寥寥数笔便牵起江南秋日的柔婉空濛。\n\n整卷诗画交融，墨色晕开如将秋夜湖山揽入卷中，山岚裹挟水汽漫过纸面，和题跋里的梦中游湖意境呼应，萧散简远的文人意趣尽藏其间。仿佛踏入一场水墨织就的清寂旧梦，伸手便可以触到湿润的山雾，将江南烟水的淡远之美，晕染成挥之不去的朦胧诗意。",[23,164,24,7,25,128,29,37,129,34,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F189cb0b82f453db9f4924ab23b668e3a.jpg",[],{"id":68005,"slug":68006,"title":68007,"dynasty":144,"author":223,"museum":300,"description":68008,"tags":68009,"thumbUrl":68010,"material":692,"size":1293,"collection":84,"collections":68011,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},228182,"xia-yuan-shang-guan-yi-ming-228182","下元上官","此作为铁线篆精品，笔画匀净圆劲如百炼钢绕指，起收藏锋无迹，线条粗细厘毫不差，尽显篆书婉通雅正之韵。\n\n三字排布疏朗匀停，左右舒展有度，字形对称工稳，揉合缪篆的端严与玉箸篆的圆融，舒张处暗含内敛，盘曲时筋骨暗藏，尽显古雅端凝的庙堂气象。浓黑墨色与泛黄绢地相互衬映，古意扑面而来，可见复古追正的审美风尚，尽显先秦篆法的肃穆典雅，藏着追慕古制的幽心，是一件颇具金石意趣的篆书佳构。",[64,938,208,7,4057],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90f39942cae52476e320e82cf2858fa6.jpg",[],{"id":68013,"slug":68014,"title":26752,"dynasty":144,"author":2487,"museum":300,"description":68015,"tags":68016,"thumbUrl":68017,"material":84,"size":84,"collection":84,"collections":68018,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},228172,"er-ma-tu-juan-ren-ren-fa-228172","此作以两马对照，道尽世相。肥马油光水滑，络首垂缰，姿态轩昂，全然是养尊处优之态；瘦马骨瘦嶙峋，绳索缠身，垂首缓步，尽显潦倒疲顿。\n\n作者以马喻世，将朝堂贪腐官吏与廉能寒官的境遇暗藏其中，辛辣讽刺吏治不公。后附题跋笔墨苍劲，点明画作托物言志的深意，工笔写实兼带写意讽喻，设色雅致克制，将状物抒情融为一体，是借物针砭时弊的经典笔墨。",[23,164,24,7,25,28,27,101,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf8000c097545c3f6282e70f9b5caa8d.jpg",[],{"id":68020,"slug":68021,"title":68022,"dynasty":144,"author":68023,"museum":300,"description":68024,"tags":68025,"thumbUrl":68026,"material":84,"size":84,"collection":84,"collections":68027,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},228074,"lin-ji-jiu-zhang-deng-wen-yuan-228074","临急就章","邓文原","《章草急就章等》，是 28年出版的图书，作者是 。\n本书是历代法书真迹萃编系列之一。\n《章草急就章等(元·邓文原法书选)》是历代法书真迹萃编系列之一。\n出版社: 黄山书社; 第1版 (28年12月1日) 丛书名: 历代法书真迹萃编 平装: 2页 正文语种: 简体中文 开本: 8 ISBN: 978754611781, 754611786 条形码: 978754611781 尺寸: .2 2.4 .8 cm 重量: 181 g 邓文原（1258-128年），元代书法家。\n字善之，一字匪石，人称素履先生。\n绵州（今四川绵阳）人。\n年十五，通《春秋》。\n至元二十七年（129），辟为杭州路儒学正。\n至治二年（122），召为集贤直学士，兼 。\n泰定二年（125），召拜翰林侍讲学士。\n谱文肃。\n翰墨擅名一代，尤工于笔札，与赵孟俯齐名。\n其正、行、草书早期法二王，后法李北海（邕），章草亦颇具特色，与皇象、索靖的质朴相比，他更流利矫健，神采飞动。\n传世书迹有：《杖锡见过帖》、《与本斋札》、章草代表作《临急就章》等。\n着有《巴西文集》、《内制集》、《素履斋藁》等。\n邓文原《章草急就章》为纸本，纵2.厘米，横98.7厘米；《行书伯夷颂帖》为纸本，纵2.7厘米，横4.9厘米；《行书家书帖》为纸本，纵24.2厘米，横29.1厘米；《行书家书帖》为纸本，纵1.2厘米，横4.5厘米。\n以上作品均藏于北京故宫博物馆。\n书法，指有较高艺术水平的书法作品。\n古代将书写于缣楮纸帛而有法度的书法作品均称“法书”，或称“书”。\n《书法三味》：“作字之要，下笔须沉着，虽一点一画之间，皆须三过其笔，方为法书。\n”北宋王安石有“好事所传玩，空残法书帖”诗句。\n今通称所作之书法作品为法书，还含有尊重作者之意。",[23,64,330,25,840,208,23848,1590,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa768e24b1772d5da23b0f42ad8116b23.jpg",[],{"id":68029,"slug":68030,"title":68031,"dynasty":18,"author":223,"museum":300,"description":68032,"tags":68033,"thumbUrl":68034,"material":84,"size":84,"collection":84,"collections":68035,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},227937,"gao-shi-mi-lu-tu-yi-ming-227937","高士麋鹿图","此作用边角式构图铺展幽境，苍松斜曳出枝，笔墨老辣苍劲，松针细密尽显写生功底。暮色如墨晕染，空濛氤氲间，林下高士凭石闲坐，身侧童子垂手侍立，石上炉烟轻扬，似正煮茶清谈。浅水之畔麋鹿垂首徐行，动静相映。整幅以水墨晕出夜色沉凝，将幽居林泉、物我两忘的雅意融于尺幅。简淡空灵间禅意暗生，尽显宋代文人寄情丘壑、追慕清远的林下风流，是南宋小品山水以景抒怀的精妙之作。",[23,24,7,28,27,96,949,372,1314,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06cd72897f04ff40824e6b0698e83573.jpg",[],{"id":68037,"slug":68038,"title":59642,"dynasty":18,"author":223,"museum":300,"description":68039,"tags":68040,"thumbUrl":68041,"material":84,"size":84,"collection":84,"collections":68042,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},227928,"da-mo-mian-bi-tu-yi-ming-227928","此作用笔极简空灵，以淡墨晕染出空濛悠远的禅意天地。枯笔勾勒的崖边瘦松枝桠疏朗，伴着淡墨晕开的空寂山水，烘托出幽阒沉静的氛围。达摩身披宽袍静坐石上，身形简括却尽显静定肃穆，侍立的沙弥神态恭谨，愈发衬得画面寂廖安宁。整幅画以少胜多，舍去繁缛细节，用萧散澹远的笔墨传递出禅家清寂玄远的意趣，将面壁的枯坐修行化为极具氛围感的视觉图景，尽显水墨禅画以形写神的精妙。",[23,164,24,7,165,128,188,187,96,171,1337,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e177f7ca701ef04d64427f39085162b.jpg",[],{"id":68044,"slug":68045,"title":68046,"dynasty":18,"author":223,"museum":300,"description":68047,"tags":68048,"thumbUrl":68049,"material":84,"size":84,"collection":84,"collections":68050,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},227868,"li-gong-lin-kuan-zui-seng-tu-juan-yi-ming-227868","李公麟款醉僧图卷","此作用笔清劲秀逸，白描绘松阴下醉僧安坐，童子躬身侍弄，二仆携酒趋前，将怀素酣醉欲书的放旷神态暗蕴于简淡画面中，人物情态鲜活宛然。\n卷中题跋络绎，行书大字苍劲疏朗，长卷书法纵逸洒脱，与画作意趣呼应相合，全卷鉴印琳琅，书画合璧，尽显宋人的尚意风雅，笔墨间流转着颠僧醉后挥毫的疏狂意气，把禅意与文人情致融为一体，尽显古雅悠然的旧时艺坛意趣。",[23,164,24,7,25,188,128,96,34,229,1421,1424,58122,64,133,938,208,1429],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F683a9ddc056efb94f95ef1ed88605b69.jpg",[],{"id":68052,"slug":68053,"title":68054,"dynasty":18,"author":1622,"museum":300,"description":68055,"tags":68056,"thumbUrl":68059,"material":84,"size":84,"collection":84,"collections":68060,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},227828,"shi-jing-bin-feng-tu-juan-ma-yuan-227828","诗经豳风图卷","此卷以清雅小楷书就诗篇，笔力清劲秀逸，结体舒展端雅，墨色匀净温润，尽显宋人书法的雅致意趣。原作诗画合璧，将《豳风》里的时序农桑、岁时日常铺陈于卷上，把周人春耕秋收、寒来暑往的稼穑生涯融于笔底。\n诗与画交相辉映，笔墨间既有文人书卷的清雅气韵，又带着乡野农耕的朴拙意致，将古老诗篇中的田园图景鲜活呈现，让千载之前的风土日常跃然绢素，尽显宋代文人的审美意涵，是诗书画合一的经典佳构。",[23,24,7,25,133,208,64,128,27,96,210,666,34836,2656,188,29,68057,3490,68058,8116,151,28,369],"农事场景","古文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932ea9b37676bb120402ac80c3f96d65.jpg",[],{"id":68062,"slug":68063,"title":68064,"dynasty":18,"author":4899,"museum":300,"description":68065,"tags":68066,"thumbUrl":68067,"material":84,"size":84,"collection":84,"collections":68068,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},227812,"tang-feng-ce-tu-ma-he-zhi-227812","唐风册图","此作用笔轻秀灵动，线条舒展如行云流水，淡敷浅彩，尽显清雅格调。画面四人情态各异：对谈二人神色恳切，似倾心论道，尽显古贤交游的从容雍雅；左侧侍者持器恭立，身形敛缩恭谨，暗含主仆分寸；右侧之人徐行远去，背影萧散。留白铺陈开阔，将沉静澹泊的氛围感拉满，以极简场景烘托出林下雅集余韵，淡墨轻痕间，含蓄铺展古风士人澹泊悠远的文人情致，于简淡里藏着悠长的古典意趣。",[23,164,24,7,59,188,96,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ad8f913c7b7840dd8c7d44438b641bd.jpg",[],{"id":68070,"slug":68071,"title":68072,"dynasty":18,"author":313,"museum":244,"description":68073,"tags":68074,"thumbUrl":68075,"material":84,"size":84,"collection":84,"collections":68076,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},227592,"jing-zhou-tie-huang-ting-jian-227592","荊州帖","《荆州帖》，纸本，行书，亦称《动静帖》、《致公蕴知县宣德执事尺牍》，30.4×43.5cm，现藏台北故宫博物院。\n\n公元1095年（绍圣二年）三月，黄庭坚在荆州登船离行前，以小行楷书与公蕴知县道珍重。该幅字势欹侧，结体开张，具其书风特色，所书笔法沉稳，惟笔画中之顿挫起伏较少，与大行书略有差别。此牍曾入宋元秘府，后并入《三希堂法帖》。",[64,7,133,208,1590,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5615ef47c334626dd2da3323d409de86.jpg",[],{"id":68078,"slug":68079,"title":68080,"dynasty":18,"author":223,"museum":300,"description":44931,"tags":68081,"thumbUrl":68082,"material":84,"size":84,"collection":84,"collections":68083,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},227383,"ke-si-shan-niao-tu-yi-ming-227383","缂丝山鸟图",[23,164,24,7,1846,1944,61,28710,263,624,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62f06e57ad93bff8812144cad58fa7e.jpg",[],{"id":68085,"slug":68086,"title":68087,"dynasty":18,"author":223,"museum":300,"description":68088,"tags":68089,"thumbUrl":68090,"material":84,"size":84,"collection":84,"collections":68091,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},227341,"dong-ri-cao-wu-tu-yi-ming-227341","冬日草屋图","相对于百花齐放的春天，五彩缤纷的夏天，硕果累累的秋天，寒风萧瑟的冬天亦有其独特的韵味。\n\n每年的冬天，最盼望的就是一觉醒来，窗外银装素裹，仿佛置身于童话故事之中，整个世界都安静了。虽然冷，但雪景依旧是冬日里人们最期盼的画面。\n\n自古以来，皑皑雪景，在中国古画当中就占有一席之地。\n\n在不同的画境之下，雪，拥有了无尽的生命力，万物孤寂的冬天，被作者表现的淋漓尽致。",[24,7,1131,27,29,1337,19470,1813,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e5b975f61e54f4018d0c87e8c33dd40.jpg",[],{"id":68093,"slug":68094,"title":68095,"dynasty":222,"author":223,"museum":1692,"description":8187,"tags":68096,"thumbUrl":68097,"material":692,"size":1293,"collection":84,"collections":68098,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},226515,"xian-miao-liu-bi-pu-sa-xiang-bei-mian-yi-ming-226515","线描六臂菩萨像背面",[187,96,188,7,7322,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e888347b1e6a0a1668d49db630d5b69.jpg",[],{"id":68100,"slug":68101,"title":68102,"dynasty":222,"author":223,"museum":300,"description":68103,"tags":68104,"thumbUrl":68106,"material":84,"size":84,"collection":84,"collections":68107,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},225355,"fu-shi-hui-111-yi-ming-225355","浮世绘111","这幅花绘以罂粟为主题，错落舒展的花枝打破平寂画面，苍劲墨线勾勒叶片筋脉，带着粗粝朴拙的质感。暖调淡色晕染花瓣，边缘以浓墨复勾，柔媚花姿添上几分桀骜古意。古旧底色晕开岁月沉韵，将娇妍花态与浮世绘版画特质相融。\n没有繁复布景，却将草木舒展的原生张力尽显。笔触简净凝练，以色墨浓淡层次，晕开盛放、初绽、含苞的不同情态，将春日罂粟盛放的瞬间定格为雅致风物，带着沉静的江户余韵，于简素之中见精妙意趣。",[68105,28209,27,61,547,549,7,208],"浮世绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e41bc6c0e7f405c1ffe508554212812.jpg",[],{"id":68109,"slug":68110,"title":68111,"dynasty":222,"author":35258,"museum":300,"description":35259,"tags":68112,"thumbUrl":68113,"material":692,"size":1293,"collection":84,"collections":68114,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},225297,"feng-tian-ben-dong-jing-zhen-hai-225297","风天(本-东京)",[23,24,7,165,187,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7f6d9b2e3fc423f8375b1380dcac095.jpg",[],{"id":68116,"slug":68117,"title":68118,"dynasty":54,"author":45440,"museum":300,"description":68119,"tags":68120,"thumbUrl":68121,"material":84,"size":84,"collection":117,"collections":68122,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},224534,"fang-dong-yuan-bi-yi-tu-zhou-qi-zhi-jia-224534","仿董源笔意图轴","此作用笔苍简老辣，以淡墨皴擦写高远山峦，浓墨苔点提点山形，尽显山石苍古厚重。近坡古松虬曲、杂木错落，笔致写意随性。水畔茅舍中二人对坐，将山居雅晤的幽寂之趣藏于林泉间。\n\n画作师法前人却自出机杼，以简淡笔墨晕染出空濛悠远的意境，将文人寄情山水、追慕林泉高致的隐逸襟怀融在尺幅间，萧散清逸的格调尽显文人画的意趣风神，于简淡之中见出深秀雅致。",[23,24,7,165,128,330,132,29,131,34,35,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83fc4cb4ed98632dc4ebd5a427f409fd.jpg",[117],{"id":68124,"slug":68125,"title":68126,"dynasty":54,"author":9529,"museum":300,"description":68127,"tags":68128,"thumbUrl":68129,"material":84,"size":84,"collection":84,"collections":68130,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},224473,"qing-wang-yun-wang-hui-he-bi-zhou-wang-hui-224473","清王云王翚合璧轴","此作用笔兼工带写，老桃枯干苍劲古拙，枝头桃花轻红柔丽，灼灼盛放，与叶芽新绿相映，晕染出春日融融生机。下方水畔鸳鸯伫立，翎毛晕染细腻，羽色明丽温润，情态安闲静雅。\n书画合璧，题字清隽秀雅，诗画呼应，将春日的恬和野趣晕透纸面，设色妍而不艳，既有院体花鸟的精工雅致，又饱含文人画的澹泊意趣，静穆中藏着蓬勃春机，尽显清和雅致的林下春光。",[23,24,7,165,27,28,61,209,276,1857,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c4efb57d002aeb7ed5287d3e5fa93fa.jpg",[],{"id":68132,"slug":68133,"title":68134,"dynasty":54,"author":9529,"museum":300,"description":68135,"tags":68136,"thumbUrl":68137,"material":84,"size":84,"collection":84,"collections":68138,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},224451,"xia-shan-yan-yu-tu-wang-hui-224451","夏山烟雨图","清王翚款夏山烟雨图轴是重庆中国三峡博物馆收藏的绘画。\n质地:纸 藏品编号;:724 文物类型:书法、绘画 实际数量:1 质量范围:.1-1 kg 文物级别:一般 文物来源:接受捐赠 完残程度:基本完整 入藏时间:1977-2 具体尺寸(cm):46×29.9",[23,24,7,165,128,27,132,29,663,34,99,130,37,17243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43674fdebc1c117057ada1897856da4b.jpg",[],{"id":68140,"slug":68141,"title":68142,"dynasty":54,"author":9529,"museum":300,"description":68143,"tags":68144,"thumbUrl":68145,"material":84,"size":84,"collection":84,"collections":68146,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},224450,"xia-wu-yin-mei-wang-hui-224450","夏五吟梅","《王翚夏五吟梅图轴》是清代王翚创作的一幅画。\n此图画成时王翚已是8岁高龄，然而画面丝毫看不出有衰老的迹象，线条细若游丝，劲如屈铁，笔力老练纯熟，画风细润明快，融合了众家笔法之长。\n构图布景显示出画家胸有成竹，景物的配置自然写实，气度不凡。",[23,24,164,7,165,27,29,132,98,99,130,211,413,131,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F794bca20f35e023f5002c7199254ad74.jpg",[],{"id":68148,"slug":68149,"title":68150,"dynasty":54,"author":6936,"museum":300,"description":68151,"tags":68152,"thumbUrl":68159,"material":84,"size":84,"collection":84,"collections":68160,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},224395,"cong-lin-lan-re-wang-yuan-qi-224395","丛林兰若","此作用笔苍润老辣，以干笔积墨皴擦山峦，层岩叠嶂浑厚苍劲。溪涧蜿蜒穿流于蓊郁林木间，山径隐现幽林深处，铺展出清寂悠然的林下胜境。画面氤氲静谧古雅的禅意，将山野林泉的幽旷之美尽数铺陈。\n\n左侧题诗与画作相映成趣，诗画合璧，把山居雅逸的意趣烘托得淋漓尽致，仿若将观者引入这世外林泉，于山光水色里涤荡尘俗之心，尽显文人山水的悠然意境与沉静风骨。",[23,24,7,29,27,132,64,208,34,131,99,496,130,9483,499,68153,28558,68154,68155,68156,68157,68158,1429],"山峦叠嶂","浅绛设色","山石勾勒","树木丛植","溪流蜿蜒","建筑掩映","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f5a2de7daf042bb44ee28e52239a0d9.jpg",[],{"id":68162,"slug":68163,"title":24485,"dynasty":54,"author":6936,"museum":300,"description":68164,"tags":68165,"thumbUrl":68169,"material":84,"size":84,"collection":84,"collections":68170,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},224385,"fang-da-chi-shan-shui-tu-wang-yuan-qi-224385","此作取法大痴意趣，层峦从侧峰铺陈而下，逶迤溪水穿谷绕石，将山居屋舍、飞泉板桥藏于林壑之间，把江南山林的幽寂野趣铺展纸上。\n以干笔积墨反复皴擦，披麻皴写就山石肌理，墨色干湿浓淡交叠，苍厚生拙间带着萧散淡远的韵致。左上题跋朱印错落排布，文气晕染山水，让笔墨意境与文人意趣相融，整体清旷雅致，尽显山居林泉的静美逸致，师古而不泥古，于笔墨间氤氲出幽远的文人山水情致。",[23,24,164,7,1349,128,27,131,99,98,387,32461,34,68166,132,1613,68167,2132,67895,68168,208,1429],"林壑","干笔积墨","清旷雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbf015ee390ff81a46e533be58fbb6c.jpg",[],{"id":68172,"slug":68173,"title":68174,"dynasty":54,"author":1676,"museum":300,"description":68175,"tags":68176,"thumbUrl":68177,"material":84,"size":84,"collection":84,"collections":68178,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},224321,"hua-niao-shi-er-kai-10-li-shan-224321","花鸟十二开10","画面书画合璧，意韵悠长。以没骨法写就江南佳果，青蜜桃圆润饱满，淡青敷色晕出带紫的熟韵，叶片舒卷含露，鲜活如生；枇杷圆实浅赭，尽显甜熟质感；杨梅黑紫莹润，衬以青灰长叶，野趣盎然。\n\n题跋行书清雅隽秀，叙南北果品风味，笔墨与风物相融，淡墨轻彩间，将文人闲赏风物的恬然心境藏于尺幅之中，设色柔和雅致，晕染细腻自然，把佳果鲜嫩鲜活的情态刻画入微，尽显小品写意的清雅意致。",[23,24,7,59,27,369,64,208,61,6603,918,2036,549,2037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febb1d64a5729b47a3279498396e83838.jpg",[],{"id":68180,"slug":68181,"title":68182,"dynasty":54,"author":1676,"museum":300,"description":68183,"tags":68184,"thumbUrl":68185,"material":84,"size":84,"collection":84,"collections":68186,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},224314,"hua-niao-ce-shi-kai-4-li-shan-224314","花鸟册十开4","画面以写意之笔绘石竹与湖石，粉红花瓣晕染柔润自然，间缀淡紫俏花提亮层次，挺劲绿叶以浓淡墨色写出，尽显花草鲜活姿态。一旁湖石枯笔皴擦，朴拙古雅，与娇柔花枝形成刚柔对照。\n\n左侧题诗笔墨纵逸洒脱，诗书画印相得益彰，将文人闲居消夏的悠然心境寄寓花间。整幅画随性疏朗，鲜活灵动，笔情墨趣间尽显放达雅致的文人意韵，尽显画者率真疏放的创作风骨。",[23,24,7,59,27,61,171,62,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0550b3f94de6a3de549f2089b7718f7e.jpg",[],{"id":68188,"slug":68189,"title":16535,"dynasty":54,"author":29876,"museum":300,"description":29877,"tags":68190,"thumbUrl":68191,"material":692,"size":1293,"collection":84,"collections":68192,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},224288,"qian-zi-wen-fu-shan-224288",[23,64,840,25,7,8162,208,5459,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa914d3fbe1a9706062a7d66ca91061e6.jpg",[],{"id":68194,"slug":68195,"title":68196,"dynasty":54,"author":49830,"museum":300,"description":59705,"tags":68197,"thumbUrl":68198,"material":692,"size":1293,"collection":84,"collections":68199,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},224252,"yu-zhuang-wan-ji-zhou-kun-224252","渔庄晚霁",[23,24,7,59,27,29,1351,99,129,211,3344,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafd1a0468a1001ba98444776ec3e12d7.jpg",[],{"id":68201,"slug":68202,"title":68203,"dynasty":54,"author":7208,"museum":300,"description":68204,"tags":68205,"thumbUrl":68206,"material":84,"size":84,"collection":84,"collections":68207,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},224126,"ke-si-xian-shan-lou-ge-tu-qian-long-224126","缂丝仙山楼阁图","《缂丝仙山楼阁图》是清乾隆时期的一幅画。\n此图在本色地上缂织仙山楼阁。\n殿宇亭台之间树木葱郁，小桥流水，彼岸远方有群山及山中楼阁。\n画面布局繁密，境界幽静旷远。\n此作品将缂丝与绘画有机地融合为一体，先缂织后添色。\n缂工主要用平缂织物象的轮廓，间用搭缂、长短戗手法，其上再用各种颜色绘出形象。\n画中的楼阁建筑以界尺画出，山石皴法使用了墨、石绿、赭石色，极似仇英的楼阁界画之风格。\n此缂丝画中楼阁工细，山青树茂，敷色古雅。",[23,24,7,1944,27,95,29,97,98,34,18542,131,130,99,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53b8e0b7007bdd3d7e820ad8283e1056.jpg",[],{"id":68209,"slug":68210,"title":68211,"dynasty":18,"author":223,"museum":300,"description":68212,"tags":68213,"thumbUrl":68214,"material":84,"size":84,"collection":84,"collections":68215,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},223687,"gao-ge-ling-kong-tu-yi-ming-223687","高阁凌空图","这幅小品以截取之笔，将凌空高阁悄然铺展。只取楼阁西南一隅，陡斜飞梯衔接重楼飞檐，勾勒出层叠舒展的宋式营造之美，斗拱瓦当皆细致入微，暗合宋人营造的极致工巧。\n\n楼中隐见几缕人影凭栏伫立，为冷峻的木构楼宇晕开一抹暖融融的烟火气，让凌霄高阁脱离孤冷，多了人间意趣。左下角苍松虬枝斜探，古拙松针掩映楼角，为画面添了山野清寂。大片虚淡的暗褐色背景，将建筑与古松托举而出，烘托出楼阁凌云的空寂高旷，尽显宋画小品以小见大、静中生境的雅致意趣。",[23,24,7,95,28,27,97,96,413,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4344c1c96fa89fc78daa9c322978feb4.jpg",[],{"id":68217,"slug":68218,"title":68219,"dynasty":18,"author":223,"museum":300,"description":68220,"tags":68221,"thumbUrl":68222,"material":84,"size":84,"collection":84,"collections":68223,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":199},223633,"lian-she-tu-shou-juan-quan-juan-yi-ming-223633","莲社图手卷全卷","此作以淡墨白描铺展雅集盛景，开篇台阁之上，高士凭栏凝睇林泉，随后次第铺陈林下雅聚：沙门与文人或围坐清谈，或横琴拨弦，或展卷品题，动静相生。茂林修竹、幽泉奇石错落点缀，线条圆劲秀逸，设色浅淡古雅，尽显宋画谨严清雅的笔意风神。\n\n留白疏密得宜，将林下高致晕染开来，长卷题跋与画作相映成趣，诗画合璧，把魏晋文人的超迈风雅具象呈现，古意盎然，尽显对前代名流雅事的精妙追摹。",[23,24,7,25,188,128,132,187,96,29,276,1144,497,495,1515,98,99,101,211,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eca59a9af4ab78ae9bd2f9989a1e28c.jpg",[],{"id":68225,"slug":68226,"title":68227,"dynasty":144,"author":223,"museum":300,"description":68228,"tags":68229,"thumbUrl":68230,"material":84,"size":84,"collection":84,"collections":68231,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},223610,"zhu-ta-qi-shui-tu-ce-ye-yi-ming-223610","竹榻憩睡图册页","此作笔墨简净雅致，将文人闲憩小景写尽意趣。老者宽袍素衣，斜卧竹榻，兽皮为垫，袒须露额，神态松弛恬然，正酣眠小憩，尽显松弛自在。屋墙以细笔勾绘水波纹理，衬出室内幽寂安闲。榻下双履静静摆放，写实入微，暗合主人暂歇未远之态。\n画作工写相融，设色清淡，以极简的构图传递出文人幽居林下、安闲自适的隐逸情怀，于日常小景间，藏着古人安放身心的雅逸意趣。",[23,24,7,59,128,27,28,96,167,169,19788],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd7627f2437ba2105a35af0ea077527f.jpg",[],{"id":68233,"slug":68234,"title":68235,"dynasty":18,"author":223,"museum":510,"description":68236,"tags":68237,"thumbUrl":68238,"material":151,"size":68239,"collection":84,"collections":68240,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},223573,"ran-deng-fu-shou-ji-shi-jia-wen-tu-juan-yi-ming-223573","燃灯佛授记释迦文图卷","燃灯佛授记释迦文图描绘的是燃灯佛授记释迦文的故事。燃灯佛身披红色袈裟居画幅中央，目视前面一着红裤、祼上身、长发拖地虔诚的跃然拜者。众菩萨、金刚、罗汉、送子观音及供养人计二十八人簇拥其周围，神情贯注。此图人物依主次设计大小，造型准确生动。线描婉转自如，极富节奏感，并施石绿朱砂等重彩，格调肃穆古朴",[23,24,7,25,187,96,28,27,208,64,7322,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe96bfee1f0b0b6bf616743eeab01ae44.jpg","26.2x38.2",[],{"id":68242,"slug":68243,"title":68244,"dynasty":54,"author":223,"museum":300,"description":51666,"tags":68245,"thumbUrl":68246,"material":84,"size":84,"collection":84,"collections":68247,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},223529,"wu-yi-shan-shi-ba-jing-tu-4-yi-ming-223529","武夷山十八景图4",[23,24,7,128,27,132,59,29,131,34,129,31,758,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79a72c1f010c0336116e7055b3e0ee3f.jpg",[],{"id":68249,"slug":68250,"title":68251,"dynasty":54,"author":223,"museum":300,"description":51666,"tags":68252,"thumbUrl":68253,"material":84,"size":84,"collection":84,"collections":68254,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},223528,"wu-yi-shan-shi-ba-jing-tu-3-yi-ming-223528","武夷山十八景图3",[23,24,7,59,128,27,132,29,17423,499,129,34,34314,415,3857,35,99,98,3427,664,40140,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d03a27efeadb367d3380d727ec41cc7.jpg",[],{"id":68256,"slug":68257,"title":66153,"dynasty":144,"author":223,"museum":465,"description":68258,"tags":68259,"thumbUrl":68260,"material":734,"size":68261,"collection":84,"collections":68262,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},223511,"liu-yin-gui-mu-tu-yi-ming-223511","绘牧童放牛晚归的情景。临溪草坡上，一牧童牵牛前行，一牧童伏于牛背上小憩，天真自在，一小牛紧跟中间牛一侧。四周杨柳依依，境界静谧雅逸。此画旧传为南宋张符所绘。",[23,24,7,128,27,96,102,2372,413,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1db759fec0e5d7199a96bca38222f29.jpg","42.5x37.3cm",[],{"id":68264,"slug":68265,"title":68266,"dynasty":18,"author":223,"museum":244,"description":68267,"tags":68268,"thumbUrl":68269,"material":514,"size":68270,"collection":84,"collections":68271,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},223498,"mu-mo-gu-ting-tu-yi-ming-223498","木末孤亭图","以半边构图铺展秋江暮色，危崖拔地而起，亭台凌于木末，枝叶染秋红暗递清寂。崖下二人曳杖徐行，抬眼望向烟水浩渺的平湖，远汀渔舟隐现，萧散悠然。\n\n笔墨清润简淡，斧劈皴勾勒山石棱骨，晕染轻敷出秋岚空蒙。咫尺纨扇载起林丘烟水，将登高骋怀的幽逸散淡融在留白间，以小见大铺展出无尽江湖意趣，萧瑟秋意里漫溢出林泉高致的悠然闲情。",[23,24,7,1131,29,128,132,130,18332,34,96,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1bc261b54c40fc795c794e91aa014b9.jpg","23.3厘米横24.6厘米",[],{"id":68273,"slug":68274,"title":22748,"dynasty":144,"author":223,"museum":12686,"description":68275,"tags":68276,"thumbUrl":68277,"material":68278,"size":68279,"collection":84,"collections":68280,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},223348,"ren-ma-tu-yi-ming-223348","此为《赵氏三世人马图卷》之一。图绘一西域长髯奚官双手牵一白马。画面剪裁看似平淡，像是信手拈来之作，却显示出画家驾驭画面的非凡本领。",[23,164,24,7,27,28,96,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41ad8c0e75fe897d00a456a489bc819d.jpg","立轴，纸本","44.7×24.8cm",[],{"id":68282,"slug":68283,"title":68284,"dynasty":54,"author":23303,"museum":244,"description":68285,"tags":68286,"thumbUrl":68287,"material":637,"size":68288,"collection":84,"collections":68289,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},223104,"duan-qiao-can-xue-tu-dong-bang-da-223104","断桥残雪图","《断桥残雪图》画的是杭州西湖十景之一“断桥残雪”景。白堤第一桥曰断桥，界于前后两湖之间。春雪未消，悉琼林瑶树，晶莹朗澈。\n断桥残雪是西湖上著名的景色，以冬雪时远观桥面若隐若现于湖面而称著。属于西湖十景之一。每当瑞雪初霁，站在宝石山上向南眺望，西湖银装素裹，白堤横亘雪柳霜桃。断桥的石桥拱面无遮无拦，在阳光下冰雪消融，露出了斑驳的桥栏，而桥的两端还在皑皑白雪的覆盖下。依稀可辩的石桥身似隐似现，而涵洞中的白雪奕奕生光，桥面灰褐形成反差，远望去似断非断，故称断桥。明代画家李流芳《西湖卧游图题跋——断桥春望》称：“往时至湖上，从断桥一望，魂销欲死。还谓所知，湖之潋滟熹微，大约如晨光之着树，明月之入庐。盖山水映发，他处即有澄波巨浸，不及也。”",[23,24,7,29,27,132,208,98,130,1233,331,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e8dfcaeca894047302a2b5b6fcbb4d6.jpg","133x66cm",[],{"id":68291,"slug":68292,"title":6956,"dynasty":54,"author":6957,"museum":300,"description":6958,"tags":68293,"thumbUrl":68294,"material":84,"size":84,"collection":84,"collections":68295,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},223085,"shui-hu-ren-wu-ren-xun-223085",[23,24,7,27,28,96,5626,170,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf4e4809e8597998a1142035af89b68.jpg",[],{"id":68297,"slug":68298,"title":68299,"dynasty":54,"author":646,"museum":244,"description":37632,"tags":68300,"thumbUrl":68302,"material":84,"size":84,"collection":84,"collections":68303,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},222858,"xin-she-geng-ye-dong-gao-222858","新畬耕馌",[23,24,7,59,27,28,29,96,98,99,34,8709,711,34836,102,68301],"农事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ba419991325a08174927ef62141683.jpg",[],{"id":68305,"slug":68306,"title":68307,"dynasty":54,"author":646,"museum":244,"description":37632,"tags":68308,"thumbUrl":68309,"material":84,"size":84,"collection":84,"collections":68310,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},222857,"song-shou-yan-chun-dong-gao-222857","松寿延春",[23,24,7,59,27,132,29,1144,131,99,34,9255,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4fd3de4aee7878f6101fefa3c4df787.jpg",[],{"id":68312,"slug":68313,"title":68314,"dynasty":54,"author":4468,"museum":20,"description":11261,"tags":68315,"thumbUrl":68316,"material":40,"size":11264,"collection":84,"collections":68317,"showCount":751,"zanCount":1998,"manualWeight":48,"mainColor":72},222788,"hua-niao-ce-ye-08-lang-shi-ning-222788","花鸟册页08",[23,164,24,7,59,28,27,61,263,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea78c2f6a76af352be7b2cab39b850c5.jpg",[],{"id":68319,"slug":68320,"title":68321,"dynasty":54,"author":4468,"museum":20,"description":11261,"tags":68322,"thumbUrl":68323,"material":40,"size":11264,"collection":84,"collections":68324,"showCount":751,"zanCount":1998,"manualWeight":48,"mainColor":72},222787,"hua-niao-ce-ye-07-lang-shi-ning-222787","花鸟册页07",[23,24,164,7,4437,28,27,14386,61,604,355,624,548,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94fb8508d2a99083a74c38b6844e1704.jpg",[],{"id":68326,"slug":68327,"title":68328,"dynasty":54,"author":4468,"museum":20,"description":11261,"tags":68329,"thumbUrl":68330,"material":40,"size":11264,"collection":84,"collections":68331,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},222786,"hua-niao-ce-ye-06-lang-shi-ning-222786","花鸟册页06",[23,24,7,61,4437,28,27,10803,14386,605,5399,131,62,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cfbd368ce8a13d8f1c449151eb2224a.jpg",[],{"id":68333,"slug":68334,"title":68335,"dynasty":54,"author":4468,"museum":20,"description":11261,"tags":68336,"thumbUrl":68337,"material":40,"size":11264,"collection":84,"collections":68338,"showCount":751,"zanCount":1116,"manualWeight":48,"mainColor":72},222783,"hua-niao-ce-ye-03-lang-shi-ning-222783","花鸟册页03",[23,164,24,7,4437,61,28,27,14386,81,481,82,62,3334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a19f1bd022351d63f2aba574d80b75b.jpg",[],{"id":68340,"slug":68341,"title":68342,"dynasty":54,"author":4468,"museum":20,"description":11261,"tags":68343,"thumbUrl":68345,"material":40,"size":11264,"collection":84,"collections":68346,"showCount":751,"zanCount":1998,"manualWeight":48,"mainColor":72},222782,"hua-niao-ce-ye-02-lang-shi-ning-222782","花鸟册页02",[23,164,24,7,4437,28,27,14386,10803,68344,61,26072,1039,7857,2918],"光影表现","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ccfecb63f6077c37a83305fe3001965.jpg",[],{"id":68348,"slug":68349,"title":6571,"dynasty":54,"author":2894,"museum":20,"description":68350,"tags":68351,"thumbUrl":68352,"material":734,"size":68353,"collection":84,"collections":68354,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},222703,"luo-han-tu-jin-ting-biao-222703","图中罗汉眉目清秀，披发，戴耳环，臂腕佩钏、镯，着袒右式袈裟，自在坐，手捧如意，系模仿了菩萨的形象。罗汉、童子衣纹分别运用了蚯蚓纹、钉头鼠尾描，造型工整，设色清雅。《秘殿珠林三编》著录。",[23,24,7,27,28,187,96,131,99,208,12108,3588,227,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9a122d614244b360fb3f53afe93099a.jpg","纵99.5厘米，横53.2厘米",[],{"id":68356,"slug":68357,"title":68358,"dynasty":54,"author":16583,"museum":1185,"description":32663,"tags":68359,"thumbUrl":68360,"material":6091,"size":32666,"collection":84,"collections":68361,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},222657,"zhi-hua-xi-lie-zhi-hua-long-gao-qi-pei-222657","指画系列-指画·龙",[23,24,7,29104,128,772,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa74f09564f4f78c231a3fcd9bafe52a6.jpg",[],{"id":68363,"slug":68364,"title":68365,"dynasty":54,"author":16583,"museum":1185,"description":32663,"tags":68366,"thumbUrl":68367,"material":6091,"size":32666,"collection":84,"collections":68368,"showCount":751,"zanCount":1998,"manualWeight":48,"mainColor":72},222647,"zhi-hua-xi-lie-zhi-hua-song-gao-qi-pei-222647","指画系列-指画·松",[23,24,29104,128,369,372,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77526332e73fd9516eaffc0a86d936dc.jpg",[],{"id":68370,"slug":68371,"title":68372,"dynasty":124,"author":9650,"museum":56,"description":9651,"tags":68373,"thumbUrl":68374,"material":84,"size":84,"collection":84,"collections":68375,"showCount":751,"zanCount":1998,"manualWeight":48,"mainColor":72},222507,"shen-xian-tu-ce-13-zhang-lu-222507","神仙图册13",[23,164,24,7,59,128,369,96,949,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f876b97518b2443c903f922debc51d2.jpg",[],{"id":68377,"slug":68378,"title":68379,"dynasty":124,"author":17733,"museum":244,"description":17766,"tags":68380,"thumbUrl":68382,"material":27,"size":68383,"collection":84,"collections":68384,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},222373,"hua-luo-mu-han-shan-cheng-shan-zhou-chen-222373","画落木寒山成扇",[24,7,1131,128,29,1337,68381,132],"寒山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd4a8d6c02d01551c29bf4cf15e57f3c.jpg","34x54.2厘米",[],{"id":68386,"slug":68387,"title":68388,"dynasty":124,"author":16243,"museum":524,"description":68389,"tags":68390,"thumbUrl":68391,"material":68392,"size":68393,"collection":84,"collections":68394,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},222316,"zi-shu-you-bao-shan-shi-shou-juan-wang-chong-222316","自书游包山诗手卷","卷前钤有“且喜斋书画印”朱文长方印一枚。此书作于嘉靖三年甲申（1524年），时年王宠整三十岁。此时，他的书法尚处于兼采众长、变化融通的阶段，用笔尖锐果猛，线条圆润遒劲，字体大多欹侧且较后期书作为长。",[23,64,133,25,7,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ca7c4ddd9ab15661853407e5710232b.jpg","砑花笺","横382厘米，纵29厘米",[],{"id":68396,"slug":68397,"title":68398,"dynasty":124,"author":43716,"museum":244,"description":68399,"tags":68400,"thumbUrl":68401,"material":84,"size":68402,"collection":84,"collections":68403,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},222219,"dou-ji-zhu-lang-222219","斗鸡","朱朗[明]字子朗，号青（一作清）溪，苏州（今江苏苏州）人。\n师文征明称入室。今文笔毕肖，凡有所作多托征明名，故世知之者少。有客遣童子将币于朗求征明赝本，童子误送文宅，致主人意。征明笑而受之，曰：“我画真征仲卿当假子朗可乎？”一时传以为笑。朗多作青绿山水，峰岫皴法不清，树无摇动之势，板刻之病恐不免耳。《画史会要》、《苏州府志》、《吴县志》、《无声诗史》、《明画录》、《珊瑚网》",[23,24,7,1131,128,61,2510,276,229,208,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bbb2831a3ef1bdfad4dd42c78422ec8.jpg","33x56.7厘米",[],{"id":68405,"slug":68406,"title":68407,"dynasty":124,"author":10106,"museum":244,"description":10107,"tags":68408,"thumbUrl":68409,"material":1223,"size":32166,"collection":44,"collections":68410,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},222068,"liu-li-guang-fa-wang-zi-wu-bin-222068","琉璃光法王子",[23,24,7,187,96,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7bfc43c75c3db28042a52ae11299474.jpg",[44,45],{"id":68412,"slug":68413,"title":68414,"dynasty":124,"author":3373,"museum":300,"description":15043,"tags":68415,"thumbUrl":68416,"material":28,"size":15046,"collection":84,"collections":68417,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":3379},222045,"de-qu-zai-ren-ce-13-kai-5-wang-zhong-222045","得趣在人册13开5",[23,164,24,7,59,27,28,61,171,376,1771,481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41fa59af75adeaa4a2a98037e8adbf2f.jpg",[],{"id":68419,"slug":68420,"title":68421,"dynasty":144,"author":36038,"museum":510,"description":68422,"tags":68423,"thumbUrl":68424,"material":68425,"size":68426,"collection":84,"collections":68427,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},221845,"zhu-xi-cao-tang-ji-ti-juan-yang-wei-zhen-221845","竹西草堂记题卷","主要内容是以二三子争辩引出“竹西”之号的来历，抒发其对隐逸之士的推崇。书法清虚灵动，隽逸潇洒，与其晚年豪迈不羁的风格大相异趣。",[23,164,24,7,25,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F068fc65dfbf8bd77079c5f4423984e87.jpg","纸本，墨迹","27.5×169.1cm",[],{"id":68429,"slug":68430,"title":68431,"dynasty":144,"author":68432,"museum":20,"description":68433,"tags":68434,"thumbUrl":68435,"material":611,"size":68436,"collection":318,"collections":68437,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},221725,"qi-qi-tie-wang-li-shi-221725","骑气帖","王礼寔","《骑气帖》释文\n此帖是王礼寔写给陈植的一通信札。王、陈二人当时都在平江路（今苏州），所以礼寔有幸“追陪左右宴游”。帖中称陈植“年当强仕”，时陈植40岁，信应书于其时。书法整秀，承袭赵孟頫、鲜于枢风范。\n此帖明代时由项元汴收藏，钤鉴藏印多方。清代入乾隆内府。《石渠宝笈》初编卷十《元名家尺牍册》著录。",[23,7,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F304207807a87468592d5b6ee5f2c8697.jpg","纵31.1厘米，横58.9厘米",[318],{"id":68439,"slug":68440,"title":68441,"dynasty":144,"author":13485,"museum":300,"description":68442,"tags":68443,"thumbUrl":68444,"material":561,"size":68445,"collection":84,"collections":68446,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},221718,"shi-liu-luo-han-tu-juan-yan-hui-221718","十六罗汉图卷","在画法上，能作细致的工笔描绘，但大多喜作水墨粗笔，用笔劲健豪放。笔法粗犷，有梁楷遗法，以水墨画居多。颜辉的作品流传日本较多，对日本室町时代的绘画有较大影响。亦工山水，得北宋李成、郭熙法。所作人物，造型奇特，性格突出。笔法粗厚，钩勒粗细咸宜，起伏有致，渲染精到，以水墨烘晕，使画面衬托出阴暗凹凸，富立体感，有“笔法奇绝，八面生意”之称，这是一种前无古人之创新画法，柳贯赞之为“收揽奇怪一笔摸”，与梁楷、法常一脉相承。所画铁拐李目光咄咄逼人，形貌粗陋却一身正气，反映出仇视当权者之强烈情绪。亦善画猿，曾作《百猿图》，时人戴良释解其画意为褒扬“猿之仁也”。",[23,164,24,7,25,187,27,96,167,413,169,5490,949,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddac756f2f89593d787704e92b86bde9.jpg","25x256",[],{"id":68448,"slug":68449,"title":68450,"dynasty":18,"author":68451,"museum":20,"description":68452,"tags":68453,"thumbUrl":68454,"material":40,"size":68455,"collection":84,"collections":68456,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},221683,"kong-dong-wen-dao-tu-quan-juan-yang-shi-chang-221683","崆峒问道图全卷","杨世昌","绘轩辕黄帝访仙人广成子于陕西崆峒山，询问治身成仙术之传奇故事。画中一石榻铺兽皮，一长髯仙人斜坐榻上睨目倾听，右下跪一朱衣王者，执笏陈辞，诚恳严肃。杨世昌，金代道士，善画人物、山水。",[23,24,7,25,128,133,572,64,129,1350,208,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a0cfaddf2cb41c45042705e95729b8a.jpg","纵28.2厘米，横49.5厘米",[],{"id":68458,"slug":68459,"title":68460,"dynasty":351,"author":13946,"museum":20,"description":13947,"tags":68461,"thumbUrl":68462,"material":13950,"size":13951,"collection":84,"collections":68463,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},221168,"shi-liu-luo-han-xiang-bin-du-luo-ba-luo-duo-du-zun-zhe-tang-ka-bu-ben-guan-xiu-221168","十六罗汉像-賓度羅跋囉惰闍尊者（唐卡布本）",[23,24,7,165,27,187,96,234,169,31935,7070],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbae949d0953f6ad40d361d918db42d06.jpg",[],{"id":68465,"slug":68466,"title":68467,"dynasty":54,"author":33401,"museum":6892,"description":68468,"tags":68469,"thumbUrl":68470,"material":33405,"size":68471,"collection":84,"collections":68472,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":84},220729,"xun-qin-tu-6-huang-xiang-jian-220729","寻亲图6","这卷行书题跋笔致清劲秀雅，结体舒展灵动，墨色匀净温润，自带隽逸书卷气。\n\n诸家题诗唱和感佩，将西南关山万重中寻亲的孤绝赤诚凝于笔端。山海阻绝，乱世行路难的艰危，与孝子不改其志的笃诚，都被文人们诉诸笔墨，把敬慕叹惋熔铸在尺素之间。笔墨与文辞相合，让书法的审美意趣与孝德的人文内核相映生辉，成为寄寓深情的纸上碑铭。",[24,7,25,133,208,27,96,29,690,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01816beb46ac3981337d2150a276a7e5.jpg","31.5 × 66.1厘米",[],{"id":68474,"slug":68475,"title":68476,"dynasty":980,"author":68477,"museum":9668,"description":68478,"tags":68479,"thumbUrl":68480,"material":84,"size":84,"collection":84,"collections":68481,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},220457,"kun-ming-jie-jing-guan-liang-220457","昆明街景","关良","关良，字良公，广东番禺人。长于中国画、油画。1917年入日本川端画学校学习油画，1918-1923年于太平洋美术学校学习油画。1923年回国，任上海美术专科学校教授。参加过北伐战争，任政治部艺术股长。三十至四十年代辗转于广州、上海、重庆等地的艺术院校任教，并于名山大川旅行写生。曾任浙江美术学院教授、上海中国画院画师。著有《关良艺事随谈》、《关良回忆录》。出版《关良京戏人物水墨画》、《关良油画集》等。",[164,24,7,128,27,369,96,49636,34,11073,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46653a26d8fca591187cb0ccb297f684.jpg",[],{"id":68483,"slug":68484,"title":68485,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":68486,"thumbUrl":68487,"material":611,"size":3722,"collection":84,"collections":68488,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},220288,"huang-shan-tu-ce-37-hong-ren-220288","黄山图册-37",[23,164,24,7,59,132,27,29,98,99,131,1337,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb70e277b94dfe9c6eeb04e5a7b98c942.jpg",[],{"id":68490,"slug":68491,"title":68492,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":68493,"thumbUrl":68494,"material":611,"size":3722,"collection":84,"collections":68495,"showCount":751,"zanCount":1998,"manualWeight":48,"mainColor":72},220279,"huang-shan-tu-ce-45-hong-ren-220279","黄山图册-45",[23,24,7,29,59,128,132,30,1144,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa132847aaeea9e72131397153387266a.jpg",[],{"id":68497,"slug":68498,"title":68499,"dynasty":124,"author":204,"museum":56,"description":11541,"tags":68500,"thumbUrl":68502,"material":173,"size":11544,"collection":84,"collections":68503,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},219773,"lin-song-ren-hua-ce-7-chou-ying-219773","临宋人画册-7",[24,7,59,330,28,27,96,1144,68501,2145,251,170],"棋局","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa573999927a9dd69824f4523556bd442.jpg",[],{"id":68505,"slug":68506,"title":68507,"dynasty":144,"author":8127,"museum":244,"description":68508,"tags":68509,"thumbUrl":68510,"material":173,"size":10420,"collection":84,"collections":68511,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},219107,"hua-hui-ce-wu-tong-wang-yuan-219107","花卉册-梧桐","枝干盘曲如篆，墨线勾勒间见苍劲之态；叶片层叠舒展，脉络细劲如丝，淡赭晕染出温润秋意。含苞的花萼敛着几分怯意，似欲在绢素上悄然绽露芳华。无浓艳敷彩，却以简净笔触捕捉梧桐清疏之姿，墨色与绢本底色交融，晕开文人画的雅致气韵。每片叶的翻转、每道枝的曲直，皆藏着对自然的细致观照——静谧中透着生机，淡远里含着深情，尽显宋元画坛的笔墨风神与诗意栖居之境。",[23,24,7,59,27,28,61,62,2749],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F426973fa54cb529fab213c243d2816bb.jpg",[],{"id":68513,"slug":68514,"title":68515,"dynasty":124,"author":26957,"museum":524,"description":26958,"tags":68516,"thumbUrl":68517,"material":66,"size":26961,"collection":84,"collections":68518,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},219061,"xiao-xiang-ba-jing-ce-8-zhang-fu-219061","潇湘八景册-8",[23,24,7,59,128,29,97,34,131,37,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1af29f49da804b9cb6fd382b5fbf29.jpg",[],{"id":68520,"slug":68521,"title":68522,"dynasty":18,"author":223,"museum":244,"description":68523,"tags":68524,"thumbUrl":68525,"material":173,"size":68526,"collection":44,"collections":68527,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},218739,"xiang-lin-hui-han-tu-yi-ming-218739","香林挥翰图","该图描绘了一个在月桂树下拿着墨水的有学问的人，后面跟着一个拿着杖的男孩。这个人物在月桂树下的位置表明，他已经赢得了月桂冠，并在科举考试中取得了很高的成绩。这是马远的笔触略显薄弱的版本。",[23,24,7,27,133,28,96,34,169,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0fc8a111116c4420bdd44ecc23b33ed.jpg","19.1x19.2",[44],{"id":68529,"slug":68530,"title":68531,"dynasty":18,"author":15673,"museum":244,"description":68532,"tags":68533,"thumbUrl":68534,"material":151,"size":84,"collection":84,"collections":68535,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},218674,"xi-hu-shi-jing-tu-duan-qiao-can-xue-ye-xiao-yan-218674","西湖十景图-断桥残雪","雪落断桥，淡墨晕开湖山的朦胧。枯枝疏朗，似凝住冬日清寒；远山如黛，薄雪轮廓在烟霭中隐现。水墨笔触轻缓，将雪的柔、山的静、桥的孤融于一纸。断桥卧于雪色间，像守着时光的老者，静看湖山更迭；岸边松竹墨线简练，道尽寒冬里的坚韧疏朗。淡墨远山与近景残雪相映，铺展“断桥残雪”的清冷诗意，仿佛能嗅到雪中梅香清冽，触到湖面微风微凉。静谧中藏着江南冬日婉约，残雪未消处，似有游人踏雪屐痕轻浅，引人欲赴一场雪中湖山之约。",[23,24,7,59,27,29,132,663,413,98,1556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2cae48ac35dd4101f07a41be498b1dd.jpg",[],{"id":68537,"slug":68538,"title":68539,"dynasty":18,"author":2099,"museum":300,"description":18329,"tags":68540,"thumbUrl":68541,"material":611,"size":84,"collection":84,"collections":68542,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},218069,"bai-miao-luo-han-tu-ce-7-li-gong-lin-218069","白描罗汉图册-7",[23,164,24,7,59,188,187,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bd3b5be0e219791e4d58eb14c11b7de.jpg",[],{"id":68544,"slug":68545,"title":68546,"dynasty":18,"author":2099,"museum":300,"description":18329,"tags":68547,"thumbUrl":68548,"material":278,"size":84,"collection":84,"collections":68549,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},218068,"bai-miao-luo-han-tu-ce-8-li-gong-lin-218068","白描罗汉图册-8",[23,164,24,7,59,188,187,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc7fa19d9dc83bb11a12505548830776.jpg",[],{"id":68551,"slug":68552,"title":68553,"dynasty":18,"author":2099,"museum":300,"description":18329,"tags":68554,"thumbUrl":68555,"material":611,"size":84,"collection":84,"collections":68556,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},218067,"bai-miao-luo-han-tu-ce-9-li-gong-lin-218067","白描罗汉图册-9",[23,24,7,59,188,187,96,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8459a2dcd3c4e1d370d822e91a7f6504.jpg",[],{"id":68558,"slug":68559,"title":68560,"dynasty":54,"author":6946,"museum":244,"description":15817,"tags":68561,"thumbUrl":68563,"material":278,"size":84,"collection":84,"collections":68564,"showCount":751,"zanCount":1998,"manualWeight":48,"mainColor":72},217916,"tang-ming-huang-ji-ju-tu-6-ding-guan-peng-217916","唐明皇击鞠图-6",[24,7,188,28,96,101,208,68562,170,169],"球门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fffcdbe9e50775101b9314d9d2440fd.jpg",[],{"id":68566,"slug":68567,"title":68568,"dynasty":182,"author":223,"museum":2607,"description":68569,"tags":68570,"thumbUrl":68571,"material":27,"size":84,"collection":84,"collections":68572,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},217899,"guan-yin-jing-bian-tu-juan-7-yi-ming-217899","观音经变图卷-7","绢本之上，线条如行云流水，勾勒人物衣袂飘举与神情宛然。画面铺陈观音应化诸般场景：僧众合十礼敬，世俗男女侧耳聆听，老者侃侃而谈，动静间流转信仰温度。设色古朴淡雅，虽岁月晕染绢肌理，仍见唐代绘画雍容气度。人物排布疏密有致，横向叙事既循佛经逻辑，又藏视觉韵律——眉眼微蹙、手势起落，皆将抽象经文化作可感生活图景。这是宗教故事的视觉转译，更是唐代艺术与信仰交融的缩影，千年光阴沉淀绢丝间，观者可于笔墨中触摸时代精神脉动。",[164,24,7,25,187,27,96,1692,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c9222ca90ce69733f08dfd326524fa3.jpg",[],{"id":68574,"slug":68575,"title":68576,"dynasty":182,"author":223,"museum":2607,"description":68577,"tags":68578,"thumbUrl":68579,"material":27,"size":84,"collection":84,"collections":68580,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},217896,"guan-yin-jing-bian-tu-juan-10-yi-ming-217896","观音经变图卷-10","衣袂飘举如流云曳空，色彩晕染似朝霞浸纸。人物造型丰腴端雅，眉眼低垂间流露慈悲，胁侍捧物恭谨而立，飘带缠绕中见动感流转。线条如兰叶舒展，兼具柔韧与力度，勾勒出唐代服饰的层叠质感；设色虽经岁月沉淀，仍可见矿物颜料的厚重光泽，红与绿相映成趣，暖调中透着庄严。图文交织处，墨笔书法古朴苍劲，与人物画境相融，将经文奥义化作可视的慈悲图景。整体构图疏密有致，主体突出，尽显唐代经变画的大气韵致——既保留宗教的肃穆，又暗含世俗生活的鲜活气息，是盛唐艺术兼容并蓄的缩影，每一笔都藏着千年之前的信仰温度与审美意趣。",[24,7,25,187,96,27,28,4642,7322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffee9d7fb178d9a9facab6ff10ae28ec.jpg",[],{"id":68582,"slug":68583,"title":68584,"dynasty":54,"author":2653,"museum":300,"description":14125,"tags":68585,"thumbUrl":68586,"material":173,"size":84,"collection":84,"collections":68587,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":615},217250,"li-dai-di-wang-zhen-xiang-13-yao-wen-han-217250","历代帝王真像-13",[24,7,27,96,28,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F646f29af3d428d390d8cfe408bc5d217.jpg",[],{"id":68589,"slug":68590,"title":68591,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":68592,"thumbUrl":68593,"material":611,"size":84,"collection":84,"collections":68594,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":956},217117,"bai-miao-luo-han-2-leng-mei-217117","白描罗汉-2",[24,7,188,187,96,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febd51d6eaf300289fa56ce6ed887fe3b.jpg",[],{"id":68596,"slug":68597,"title":68598,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":68599,"thumbUrl":68600,"material":611,"size":84,"collection":84,"collections":68601,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":956},217084,"bai-miao-luo-han-35-leng-mei-217084","白描罗汉-35",[54,24,7,59,188,187,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F039fe7bc667933108c0ba4fb4ca3bacf.jpg",[],{"id":68603,"slug":68604,"title":68605,"dynasty":54,"author":3750,"museum":56,"description":44186,"tags":68606,"thumbUrl":68607,"material":66,"size":44189,"collection":84,"collections":68608,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},216975,"fang-song-yuan-shan-shui-ce-9-wang-jian-216975","仿宋元山水册-9",[23,164,24,7,128,132,330,59,29,131,499,34,415,14906,1337,497,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03cbbd859c8b90e8e3f47472da8cbc74.jpg",[],{"id":68610,"slug":68611,"title":68612,"dynasty":124,"author":42173,"museum":77,"description":68613,"tags":68614,"thumbUrl":68620,"material":66,"size":84,"collection":84,"collections":68621,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},216323,"han-xi-meng-xiu-song-yuan-ming-ji-ce-mi-hua-shan-shui-tu-han-xi-meng-216323","韩希孟绣宋元名迹册·米画山水图","绣线作墨，晕染出米家云山的空濛气韵。远山以淡丝叠缀，烟岚似在丝缕间浮动；近树用细针勾枝，苍劲中藏着秀逸之态。孤舟泊于浩渺水面，针脚疏密交织，水的清寂与山的悠远悄然相融。以绣代笔，将宋元山水的笔墨意趣化为丝缕的韵律，每一针都凝着对古画的深悟——既有绘画的空灵气韵，又有丝线特有的温润质感，尽显明代闺阁绣艺的精妙与雅致，让山水的悠远意境在丝帛上静静流淌。",[13534,7,24,4437,128,2271,330,10216,132,68615,68616,29,129,34,415,5801,414,37,496,68617,68618,68619,208,64],"宋元风格","刺绣技法","小岛","孤帆","岸边树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d87539d4a7a2aa7cc22219189d23a0e.jpg",[],{"id":68623,"slug":68624,"title":68625,"dynasty":124,"author":802,"museum":300,"description":68626,"tags":68627,"thumbUrl":68628,"material":278,"size":84,"collection":84,"collections":68629,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},216296,"xi-xiang-ji-zhen-ben-tu-ce-28-chen-hong-shou-216296","西厢记真本图册-28","仕女立于树畔，衣袂轻扬间藏着西厢故事的幽微心绪。陈洪绶以古拙奇崛的笔墨，将人物造型略作夸张却神韵毕肖——眉眼间的柔婉，身姿的含蓄，皆在凝练如铁线的线条中尽显。庭院花木疏朗，枝桠伸展如写意，与人物的细腻形成呼应，既保留了戏曲场景的氛围感，又融入文人画的清雅意趣。笔墨不多却意境悠远，仿佛能窥见剧中人隐秘的情愫，尽显其“高古奇骇”的艺术格调，让古典故事在纸上流转出永恒的韵致。",[24,7,59,188,96,166,413,249,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3561343f935dbdb25c67479a62daea6.jpg",[],{"id":68631,"slug":68632,"title":68633,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":68634,"thumbUrl":68635,"material":66,"size":84,"collection":84,"collections":68636,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},215105,"tui-bei-tu-ce-1-jiao-bing-zhen-215105","推背图册-1",[23,938,23848,64,208,54,59,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4416531cb03b64b3f75030dcf86ffe7b.jpg",[],{"id":68638,"slug":68639,"title":56698,"dynasty":54,"author":3750,"museum":77,"description":51930,"tags":68640,"thumbUrl":68641,"material":66,"size":84,"collection":84,"collections":68642,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},215020,"fang-gu-shan-shui-ce-10-wang-jian-215020",[164,24,7,128,2271,132,59,29,131,34,1337,499,35,415,497,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11919f562afd6a3c89ea0895593cfc50.jpg",[],{"id":68644,"slug":68645,"title":68646,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":68647,"thumbUrl":68648,"material":278,"size":3888,"collection":84,"collections":68649,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},214952,"dao-zi-mo-bao-ren-wu-bai-miao-hua-31-yi-ming-214952","道子墨宝人物白描画-31",[23,18,24,7,188,96,97,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdae419ee2964059b3d1041265bd59af4.jpg",[],{"id":68651,"slug":68652,"title":68653,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":68654,"thumbUrl":68655,"material":278,"size":3888,"collection":84,"collections":68656,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},214951,"dao-zi-mo-bao-ren-wu-bai-miao-hua-33-yi-ming-214951","道子墨宝人物白描画-33",[23,24,7,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcad12f8352dddef3b588b124ba69fe6c.jpg",[],{"id":68658,"slug":68659,"title":68660,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":68661,"thumbUrl":68662,"material":278,"size":3888,"collection":84,"collections":68663,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},214949,"dao-zi-mo-bao-ren-wu-bai-miao-hua-35-yi-ming-214949","道子墨宝人物白描画-35",[23,164,24,7,188,95,96,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff705fc7c02834cfd23d32a58dd70a3ad.jpg",[],{"id":68665,"slug":68666,"title":68667,"dynasty":18,"author":223,"museum":161,"description":3885,"tags":68668,"thumbUrl":68669,"material":278,"size":3888,"collection":84,"collections":68670,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},214942,"dao-zi-mo-bao-ren-wu-bai-miao-hua-42-yi-ming-214942","道子墨宝人物白描画-42",[23,164,24,7,188,96,101,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F712adc7e56fcf162ca1e3180fbb0153e.jpg",[],{"id":68672,"slug":68673,"title":5826,"dynasty":124,"author":1141,"museum":20,"description":64395,"tags":68674,"thumbUrl":68675,"material":278,"size":64398,"collection":84,"collections":68676,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},214876,"shan-shui-ce-5-wen-zheng-ming-214876",[23,24,7,59,128,27,29,99,34,96,497,64,133,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5384ecf516bd20d8446e1f53633fed62.jpg",[],{"id":68678,"slug":68679,"title":4064,"dynasty":124,"author":1141,"museum":20,"description":64395,"tags":68680,"thumbUrl":68681,"material":278,"size":64398,"collection":84,"collections":68682,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},214870,"shan-shui-ce-10-wen-zheng-ming-214870",[23,24,7,59,128,27,29,413,131,99,130,132,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facd277b11b6610c2bd7c039c5093ab69.jpg",[],{"id":68684,"slug":68685,"title":68686,"dynasty":54,"author":36019,"museum":77,"description":68687,"tags":68688,"thumbUrl":68689,"material":278,"size":84,"collection":84,"collections":68690,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},214513,"shui-mo-tu-ce-5-zheng-min-214513","水墨图册-5","郑旼是清代著名的画家，他的水墨图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了郑旼对自然的热爱和对传统文化的尊重。他运用了水墨画的特点，使得整件作品显得舒缓而优美。\n\n郑旼是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在水墨图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，郑旼的水墨图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了郑旼对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到郑旼的画风魅力，还能了解中国传统的山水风情。",[24,7,59,128,133,132,29,663,413,3387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bc0141316cc60b4a71f2c1adb54b234.jpg",[],{"id":68692,"slug":68693,"title":68694,"dynasty":54,"author":36019,"museum":77,"description":68687,"tags":68695,"thumbUrl":68696,"material":278,"size":84,"collection":84,"collections":68697,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":72},214495,"shui-mo-tu-ce-8-zheng-min-214495","水墨图册-8",[23,24,7,59,128,133,132,29,663,34,149,758,31,415,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd7b6c70420fc5555a1206f12d623238.jpg",[],{"id":68699,"slug":68700,"title":68701,"dynasty":54,"author":223,"museum":35520,"description":35521,"tags":68702,"thumbUrl":68703,"material":173,"size":35524,"collection":84,"collections":68704,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},214325,"da-bei-shen-zhou-fo-xiang-18-yi-ming-214325","大悲神咒佛像-18",[23,24,7,187,27,28,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98fbc7c14d2dbbbb016bc7ab95b9d659.jpg",[],{"id":68706,"slug":68707,"title":409,"dynasty":54,"author":9704,"museum":56,"description":68708,"tags":68709,"thumbUrl":68710,"material":84,"size":84,"collection":84,"collections":68711,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":68712},203462,"shan-shui-ce-kun-can-203462","笔墨苍莽间，山峦叠嶂隐现，枯木枝干虬曲，屋舍错落于林麓间，似藏幽居之趣。干笔皴擦与湿墨晕染相济，线条朴拙富张力，墨色层次丰富，尽显山川浑厚之气。留白处意蕴悠远，仿佛山间云气流动，静谧深邃中，藏着画家对自然心性的体悟。画面虽简，却于简淡中见沉雄，于疏野中含真意，尽显文人山水的笔墨情韵。",[164,24,7,59,128,132,29,131,34,1233,331,711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f2e7a9ed10d1569394c4cf2e7b5455f.jpg",[],"9594a1",{"id":68714,"slug":68715,"title":68716,"dynasty":32945,"author":2936,"museum":56,"description":68717,"tags":68718,"thumbUrl":68719,"material":84,"size":84,"collection":117,"collections":68720,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":68721},203326,"zhi-hua-shi-ying-tu-zhou-pan-tian-shou-203326","指画石鹰图轴","指掌代笔，墨韵天成。鹰身以浓墨泼染，羽翼层叠间墨色浓淡相生，尽显猛禽雄健之姿；鹰眼如炬，喙爪劲挺，孤傲威猛的神态跃然纸上。下方孤石以简劲皴法勾勒，苍劲朴拙，与鹰的厚重墨色形成虚实对照。指画特有的肌理质感，赋予笔墨别样张力，于简约构图中见磅礴气势，静态里藏蓄势待发之动感，尽显大写意的雄浑风骨。",[24,7,128,165,171,211,949,208,132,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4efe91f24a8e619eb4f0cbaaf511357b.jpg",[117],"cec3b5",{"id":68723,"slug":68724,"title":68725,"dynasty":32945,"author":5367,"museum":56,"description":68726,"tags":68727,"thumbUrl":68728,"material":84,"size":84,"collection":136,"collections":68729,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":68730},203284,"qiu-shan-ting-quan-tu-zhou-pu-ru-203284","秋山听泉图轴","画面中，清泉漱石穿谷而过，秋林丹翠相间，亭台隐于岩麓，幽人凭栏凝听泉声潺潺。笔墨细腻清逸，山石以皴法写就，纹理毕现；设色淡雅，红叶点染秋意，与苍松青岩相映成趣。意境静谧悠远，融自然生机与文人雅趣，尽显山林隐逸之悠然。",[24,165,29,27,132,130,99,131,7,1955,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd34d6b265ed2936549cc990d04e98591.jpg",[136],"ddd5c5",{"id":68732,"slug":68733,"title":58611,"dynasty":54,"author":17240,"museum":56,"description":68734,"tags":68735,"thumbUrl":68736,"material":84,"size":84,"collection":136,"collections":68737,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":68738},203262,"fang-gu-shan-shui-tu-ce-cha-shi-biao-203262","画面构图虚实相映，近景老树虬枝旁逸，掩映亭台一角；山间小径行人依稀，添些许生活意趣。中景楼阁依山构势，飞檐翘角以界画技法精绘，梁柱门窗勾勒细致入微。远景山峦层叠，云雾轻笼，笔墨疏朗清逸，皴染互用，既袭古贤山水之幽远意境，又融自身疏简之韵致，将建筑精巧与自然旷远相契，尽显文人画雅致格调。",[24,7,59,95,29,97,132,27,96,130,331,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa93a1a1394a38d7a6cce904c6617b824.jpg",[136],"7f644e",{"id":68740,"slug":68741,"title":68742,"dynasty":32945,"author":68743,"museum":56,"description":68744,"tags":68745,"thumbUrl":68746,"material":84,"size":84,"collection":44,"collections":68747,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":68748},202957,"bei-qiu-tu-zhou-gao-jian-fu-202957","悲秋图轴","高剑父","素衣士人盘腿静坐，发髻轻挽，眉宇间凝着淡淡的怅惘。飘零的红叶如蝶般散落周身，随风缱绻，与人物沉郁的神情交织，暗蕴秋意萧瑟之慨。笔墨简括传神，线条勾勒人物风骨，淡彩晕染衣纹肌理，红叶以点染之法显飘零之态，意境清幽中透着文人伤秋的缱绻情愫，悄然触动人心。",[24,7,165,27,96,128,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c3dc0ac5b675f689ed089a2433ca47e.jpg",[44],"bead8f",{"id":68750,"slug":68751,"title":68752,"dynasty":32945,"author":68753,"museum":56,"description":68754,"tags":68755,"thumbUrl":68756,"material":84,"size":84,"collection":45,"collections":68757,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":68758},202947,"hou-tu-zhou-gao-qi-feng-202947","猴图轴","高奇峰","灵猴踞石而坐，双目圆睁，神态机敏中藏憨趣。毛发以墨色晕染兼施淡彩，浓淡交错间尽显蓬松质感；爪尖勾勒细致，灵动鲜活。旁侧虬枝垂挂，叶片泼墨点染，笔墨洒脱不羁；山石以大块墨色挥写，皴擦结合，苍劲朴拙。整幅作品形神兼备，写意笔墨与细腻刻画相融，既得灵猴之韵，又彰笔墨之妙，野趣盎然，气韵生动。",[24,7,165,128,27,9633,949,132,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb48079eaff6e4c0332c19d4c4024e6c9.jpg",[45],"ac946f",{"id":68760,"slug":68761,"title":5945,"dynasty":32945,"author":7853,"museum":56,"description":68762,"tags":68763,"thumbUrl":68764,"material":84,"size":84,"collection":68,"collections":68765,"showCount":751,"zanCount":1998,"manualWeight":48,"mainColor":68766},202828,"sui-chao-tu-zhou-wang-zhen-202828","虬枝盘曲的梅树绽着粉艳花苞，水仙亭亭玉立、黄蕊吐香，红果灌木缀满玛瑙似的果实，柑橘与灵芝错落案头，朴拙的瓷瓶与盆器承托生机。笔墨兼工带写，花卉蔬果设色鲜活明快，枝干用墨苍劲老辣，器物线条简约传神。整幅画以岁朝清供为题，将新春吉庆气息与文人雅趣融于一纸，鲜活景物与朴雅笔墨交织，尽显传统节庆题材的温馨与雅致，是兼具生活意趣与艺术韵味的写意佳作。",[24,7,61,27,371,374,169,369,28172,62,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F271b07d1ac9ede43c23e810912c95820.jpg",[68],"b4ab9b",{"id":68768,"slug":68769,"title":68770,"dynasty":54,"author":4083,"museum":56,"description":68771,"tags":68772,"thumbUrl":68773,"material":84,"size":84,"collection":136,"collections":68774,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":68775},202221,"fang-yi-feng-shan-shui-zhou-wang-shi-min-202221","仿一峰山水轴","画面层峦叠嶂，山势雄浑中透着秀逸，笔墨间深见对黄公望的追摹——以披麻皴写山体肌理，线条温润绵长，墨色层次丰富，干湿浓淡交错相宜。近景林木葱茏，枝干虬劲，或挺拔或欹侧，姿态万千；中景溪流蜿蜒，穿梭于丘壑之间，与错落山石相映成趣；远景峰峦起伏，云雾轻笼，拓展出深远的空间感。整体意境清幽淡远，尽显文人山水的雅致韵味，既承元人笔意，又融自身对自然的体悟，堪称摹古而不泥古的典范之作。",[24,7,165,128,132,29,34,499,131,37,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b206d8a975e46957c8666c3cab08279.jpg",[136],"a78e65",{"id":68777,"slug":68778,"title":68779,"dynasty":54,"author":68780,"museum":56,"description":68781,"tags":68782,"thumbUrl":68783,"material":84,"size":84,"collection":136,"collections":68784,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":68785},202168,"xi-shan-tu-zhou-cha-ji-zuo-202168","溪山图轴","查继佐","这幅山水以水墨为底，山峦用皴法勾勒石质肌理，笔触苍劲老辣；草木以点染出之，疏密有致间见生机。山间云雾轻绕，虚实相生，营造出清旷悠远的意境。上方行书题跋笔墨洒脱，与下方山水相得益彰，印信点缀其间，诗书画印浑然一体。画风简淡空灵，不事雕琢，却于简括中藏深意，尽显文人画的逸趣与哲思，仿佛将观者带入一片静谧绝尘的山林之境。",[128,132,133,208,29,171,666,37,24,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04c46a4d930d2a7e0b087c757ffda9d5.jpg",[136],"b7a28a",{"id":68787,"slug":68788,"title":68789,"dynasty":54,"author":68790,"museum":56,"description":68791,"tags":68792,"thumbUrl":68793,"material":84,"size":84,"collection":136,"collections":68794,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":68795},201979,"song-yin-hua-jiu-tu-zhou-shang-rui-201979","松阴话旧图轴","上叡","画面山峦含烟，云雾轻绕如练，近处松枝虬劲，杂树葱茏。溪流自岩隙奔涌而下，溅起细碎水花。坡地之上，二雅士身着素衣，于松荫下对语，神态闲适。笔触细腻，设色淡雅，山石皴染结合显质感，树木勾勒生动见生机。构图层次分明，虚实相衬，将文人雅士的林下清谈之趣融于山水间，松涛与溪声仿佛入耳，尽显悠然恬淡之境。",[24,7,165,27,96,29,372,132,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd36b4a0e8c94b1a8526efd38c5f73f5f.jpg",[136],"d7caa8",{"id":68797,"slug":68798,"title":68799,"dynasty":54,"author":68800,"museum":56,"description":68801,"tags":68802,"thumbUrl":68803,"material":84,"size":84,"collection":68,"collections":68804,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":68805},201901,"du-juan-hua-tu-zhou-qian-yuan-chang-201901","杜鹃花图轴","钱元昌","虬劲山石以写意皴擦出苍朴纹理，几丛杜鹃花或垂悬或簇拥，粉瓣叠簇如霞，翠叶点缀其间，工笔点染尽显娇妍。浅淡溪流蜿蜒而下，与山石花木相映，漾出清逸野趣。笔墨兼具灵动与工致，设色清雅却明艳动人，既捕捉杜鹃盛放之态，又借山石皴法衬出自然浑朴。画面生机盎然，融文人雅致与自然生机于一体，尽显清代花鸟画作的细腻气韵与意境营造之妙。",[24,61,27,171,28,132,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8e58fd17f5bd440603250255bd40790.jpg",[68],"cab193",{"id":68807,"slug":68808,"title":68809,"dynasty":124,"author":47695,"museum":56,"description":68810,"tags":68811,"thumbUrl":68812,"material":84,"size":84,"collection":44,"collections":68813,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":68814},201806,"ta-xue-xun-mei-tu-zhou-zhang-feng-201806","踏雪寻梅图轴","寒雪初霁，梅香若有若无地漫开，一翁策驴徐行，似赴一场与梅的清雅之约。笔墨极简却传神，寥寥数笔勾勒出人物衣袂的宽博与驴蹄踏雪的动态，墨色浓淡相间，尽显水墨写意的空灵。人物头戴斗笠，身形蜷曲却藏不住寻梅的殷切，驴的姿态生动，仿佛能听见蹄声轻叩雪地。上方题字笔意洒脱，诗画相生，更添文人雅趣。整幅画不重布景繁复，以意境取胜，将文人踏雪寻梅的幽兴浓缩于尺幅间，尽显书画相融的隽永之美。",[24,128,7,165,96,101,371,64,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F905b45955fb286d7b09bda07548f01e3.jpg",[44],"a4a4a1",{"id":68816,"slug":68817,"title":24663,"dynasty":124,"author":366,"museum":56,"description":68818,"tags":68819,"thumbUrl":68820,"material":84,"size":84,"collection":68,"collections":68821,"showCount":751,"zanCount":1998,"manualWeight":48,"mainColor":68822},201547,"hua-hui-juan-xu-wei-201547","这幅花卉卷以泼墨大写意笔法挥就，笔墨狂放如草书，墨色浓淡干湿交织，荷叶阔绰、菊花疏朗、竹枝劲挺、兰草幽逸，藤蔓缠绕间野趣横生。花叶形态不拘工细描摹，却于苍劲淋漓中尽显神韵，每笔皆倾注画家孤傲之气，打破传统花鸟拘囿，以写意之境传递生命野逸与不屈。诗书印相映成趣，尽显文人画气韵风骨，堪称明代花鸟大写意典范。",[24,7,25,128,61,168,376,167,375,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92340cebbbeae779e6cc5cfcf1f1f0d4.jpg",[68],"9c8f81",{"id":68824,"slug":68825,"title":68826,"dynasty":124,"author":16846,"museum":56,"description":68827,"tags":68828,"thumbUrl":68829,"material":84,"size":84,"collection":136,"collections":68830,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":68831},201469,"li-shan-diao-gu-tu-zhou-wen-bo-ren-201469","骊山弔古图轴","层岩叠嶂间云雾轻笼，殿宇楼阁错落于苍松翠柏之中，栈道蜿蜒勾连起山间胜景。山麓车马徐行，似载古今幽思，将骊山的历史厚重与自然灵秀融于一纸。细劲笔触勾勒山石林木，淡墨晕染出空濛气韵，设色雅致而不失沉郁，尽显文人吊古的深婉心境。吴门画派的细腻与历史的沧桑交织，让观者于山水楼阁间，触摸到时光的脉动与人文的温度。",[24,29,97,132,27,28,96,101,165,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b8e195250268bdea0237cb7068543ca.jpg",[136],"afa594",{"id":68833,"slug":68834,"title":68835,"dynasty":18,"author":223,"museum":300,"description":68836,"tags":68837,"thumbUrl":68838,"material":692,"size":1293,"collection":84,"collections":68839,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},290752,"ke-si-hua-hui-ling-mao-zhou-yi-ming-290752","缂丝花卉翎毛轴","此作用色温婉清和，米黄地子衬出深浅蓝调与素白、浅褐晕染的物象。山茶花、牡丹、莲荷次第铺陈，枝桠虬曲舒展，禽鸟各得佳趣，白鹭卓立于汀洲，雀鸟栖停枝头，灵动鲜活。云水、浅岸晕染出幽寂的湖山景致，缂丝走线平齐细密，将花叶的柔润舒展、翎羽的蓬松绒感一一还原，写实入微又带着独有的清雅意韵，把江南水畔初夏的清宁生机，定格在尺幅之间，尽显雅致隽永的造物匠心。",[164,24,7,165,1944,27,61,62,3334,81,263,211,853,99,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc807624a52470c46d64f6f596c381cd4.jpg",[],{"id":68841,"slug":68842,"title":36850,"dynasty":124,"author":5798,"museum":300,"description":68843,"tags":68844,"thumbUrl":68845,"material":692,"size":1293,"collection":84,"collections":68846,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},290621,"qi-xia-shan-tu-zhou-zhang-hong-290621","此图绘南京“栖霞山”之景。山峰挺拔雄伟，松柏苍翠遒劲，寺庙掩于山中。画上自题：“甲戌初冬，明止挈游栖霞，冒雨登眺，情况颇饶，归而图此。”张宏字君度，号鹤涧，明代画家，所绘山水有宋人之意。",[164,24,7,165,29,27,128,132,130,97,18542,1233,331,372,131,17270,3269],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93a87d7db47bf09af8cf9f0dfd34da7d.jpg",[],{"id":68848,"slug":68849,"title":68850,"dynasty":54,"author":30880,"museum":300,"description":68851,"tags":68852,"thumbUrl":68853,"material":692,"size":1293,"collection":84,"collections":68854,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},290520,"qing-xi-fang-ting-yun-xi-290520","清溪放艇","爱新觉罗·胤禧（1711年2月27日—1758年6月26日），避雍正帝讳改名为允禧，字谦斋，号紫噊，别号紫琼崖道人、春浮居士。清朝宗室大臣，康熙帝第二十一子，书画家、诗人，母为熙嫔陈氏。\n九岁从幸塞外，雍正八年（1730年）二月，封固山贝子，晋封贝勒。雍正十一年（1733年），授镶黄旗满洲都统。雍正十三年（1735年），授宗人府左宗正、正黄旗汉军都统。乾隆帝即位后，封慎郡王。乾隆三年（1738年），擢为议政大臣。乾隆五年（1740年），授正白旗满洲都统。乾隆七年（1742年），充玉牒馆总裁。乾隆二十三年（1758年）五月，去世，享年四十八岁，谥号为靖。\n能诗善赋，书画兼长，著有《花间堂诗抄》8卷、《紫琼岩诗抄》3卷，诗词气韵高古，王室罕可匹俦。恭亲王府“天香庭院”匾额，为其手笔。",[24,7,29,59,129,99,131,34,132,208,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fba59fb50a5430b4c24d6daba636880.jpg",[],{"id":68856,"slug":68857,"title":68858,"dynasty":54,"author":36130,"museum":300,"description":68859,"tags":68860,"thumbUrl":68861,"material":692,"size":1293,"collection":84,"collections":68862,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},290515,"mo-mei-tu-ce-chen-zhuan-290515","墨梅图册","陈撰，1678年 - 1758年，清朝乾隆年间著名学者、画家、诗人、文学家、收藏家。字楞山，号玉几、玉几山人等。",[23,24,7,59,128,371,64,133,208,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F332d1322d55703d984116195e7f69f7e.jpg",[],{"id":68864,"slug":68865,"title":64497,"dynasty":124,"author":23498,"museum":300,"description":68866,"tags":68867,"thumbUrl":68868,"material":692,"size":1293,"collection":84,"collections":68869,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},290506,"duan-yang-jing-zhou-chen-jia-yan-290506","陈嘉言（1538～？）字孔彰，浙江嘉兴人。善写花卉翎毛。",[24,7,165,27,61,171,828,5654,376,208,20134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda7058ae7dbad931a1e56864cfa4bdd3.jpg",[],{"id":68871,"slug":68872,"title":68873,"dynasty":54,"author":68874,"museum":300,"description":68875,"tags":68876,"thumbUrl":68878,"material":692,"size":1293,"collection":84,"collections":68879,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},290467,"fo-zu-he-shi-cong-tu-juan-zhong-zhao-290467","佛祖和侍从图卷","仲昭","此作用笔细劲如铁线，勾勒精准工致。右侧菩萨安坐伏卧云间的青狮之上，神色静穆恬和，衣纹舒展柔和，淡赭敷色雅致清润，青狮鬃毛皴刻细密，威而不厉。左侧青狮昂首徐行，背驮宝炉香烟袅袅，四位侍从形貌各异，神情恭谨随行，衣褶劲挺流畅，写实生动。\n画面以淡墨晕染云气，铺展出渺渺天界氛围，将梵行的肃穆清和烘托尽致。动静相生，行进的仪仗与静思的菩萨相映成趣，尽显工稳清雅的佛画意韵，静穆禅意融于缥缈云间，颇具古典佛画的庄重灵秀之美。",[23,24,7,25,27,28,96,949,187,18381,68877,7070,25390],"佛祖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc05b4f0b745663abc00185cccd9145e0.jpg",[],{"id":68881,"slug":68882,"title":68883,"dynasty":54,"author":68884,"museum":300,"description":68885,"tags":68886,"thumbUrl":68887,"material":692,"size":1293,"collection":84,"collections":68888,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},290451,"shu-fa-tuan-shan-ni-can-290451","书法团扇","倪璨","倪璨，清朝画家（1764—1841年）字研田，自号砚石锄夫，江苏甘泉（今扬州）人。",[23,1131,64,133,208,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60e76532c03f245acd2d09a155622c4c.jpg",[],{"id":68890,"slug":68891,"title":68892,"dynasty":144,"author":223,"museum":300,"description":35562,"tags":68893,"thumbUrl":68894,"material":692,"size":1293,"collection":84,"collections":68895,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},290450,"shan-ting-xiao-xia-tu-ke-luo-ban-yi-ming-290450","山亭消夏图（珂罗版）",[164,24,7,128,29,130,167,96,131,34,132,60591],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02083f9a17f338bb7c7b25512dbe1281.jpg",[],{"id":68897,"slug":68898,"title":68899,"dynasty":18,"author":223,"museum":300,"description":10087,"tags":68900,"thumbUrl":68901,"material":692,"size":1293,"collection":84,"collections":68902,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},290290,"song-ke-si-xin-shao-ying-xi-zhou-yi-ming-290290","宋缂丝新韶婴戏轴",[24,7,165,1944,27,96,8832,2218,263,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee24372208c65c6058865f78d03cad33.jpg",[],{"id":68904,"slug":68905,"title":68906,"dynasty":18,"author":223,"museum":300,"description":64532,"tags":68907,"thumbUrl":68908,"material":692,"size":1293,"collection":84,"collections":68909,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},290110,"wu-tong-ting-yuan-tu-yi-ming-290110","梧桐庭院图",[164,24,7,95,59,28,27,97,247,34,98,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbfc008d8276fa6952b4ae41102c97fe.jpg",[],{"id":68911,"slug":68912,"title":68913,"dynasty":54,"author":9529,"museum":300,"description":19697,"tags":68914,"thumbUrl":68915,"material":692,"size":1293,"collection":84,"collections":68916,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},289933,"xia-wu-yin-mei-tu-zhou-wang-hui-289933","夏五吟梅图轴",[164,24,7,165,128,27,132,29,372,167,371,98,99,130,211,131,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbb351758d9dedc7377576f498d8c508.jpg",[],{"id":68918,"slug":68919,"title":68920,"dynasty":18,"author":2099,"museum":300,"description":34962,"tags":68921,"thumbUrl":68923,"material":692,"size":1293,"collection":84,"collections":68924,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},289784,"xiao-jing-tu-li-gong-lin-289784","孝经图",[23,164,24,7,25,188,96,51693,64,572,68922],"孝文化","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f549d9f70ee31764ebac731237e59ab.jpg",[],{"id":68926,"slug":68927,"title":21880,"dynasty":182,"author":63547,"museum":300,"description":68928,"tags":68929,"thumbUrl":68930,"material":692,"size":1293,"collection":84,"collections":68931,"showCount":586,"zanCount":1998,"manualWeight":48,"mainColor":49},289760,"liu-zun-zhe-xiang-tu-ce-lu-leng-jia-289760","卢楞伽，一作棱伽，长安（今陕西西安）人，生卒年不详，约8世纪人。自汴入蜀，为吴道子弟子。画风细致，咫尺间山水寥廓，形象精备。",[23,187,64,133,208,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6102513a1790afc85fbd6d1841be71bb.jpg",[],{"id":68933,"slug":68934,"title":68935,"dynasty":18,"author":223,"museum":300,"description":68936,"tags":68937,"thumbUrl":68939,"material":692,"size":1293,"collection":84,"collections":68940,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},289442,"nie-pan-tu-yi-ming-289442","涅槃图","画作以佛陀涅槃宝床为中心，诸天圣众环伺奔丧，或捶胸呼号、或伏地恸哭，将寂灭之时的悲恸铺陈到极致。灵动墨线勾勒神众百态，衣袂翻卷间，哀戚神态呼之欲出。岁月晕黄了绢面底色，却难掩古雅设色的厚重质感，祥云缭绕、异兽俯伏，为悲怆氛围添上庄严肃穆的底色。\n繁复构图铺展开盛大哀荣，将佛界同悲的场景刻画得淋漓尽致，尽显精妙笔力与精神内核，让观者仿佛能触碰到跨越时空的哀恸与崇敬。",[164,24,7,187,27,96,949,68938,18381],"涅槃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0b5c3497383f81c5f7ede76a93131fa.jpg",[],{"id":68942,"slug":68943,"title":68944,"dynasty":54,"author":1504,"museum":300,"description":10442,"tags":68945,"thumbUrl":68947,"material":692,"size":1293,"collection":84,"collections":68948,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},288832,"shu-gu-yue-fu-shi-li-zhou-zheng-ban-qiao-288832","书古乐府诗立轴",[23,7,165,64,133,208,128,68946],"古乐府诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F564da5621c5b9862dd32a367ae8925f9.jpg",[],{"id":68950,"slug":68951,"title":68952,"dynasty":222,"author":223,"museum":300,"description":68953,"tags":68954,"thumbUrl":68955,"material":692,"size":1293,"collection":84,"collections":68956,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},288482,"xian-miao-ren-wu-shou-gao-yi-ming-288482","线描人物手稿","整作以四方网格排布三十二尊坐佛，是木刻捺印的佛画稿本。每尊佛陀皆结跏趺坐于莲台，头绕圆光，手结禅印，衣袂垂叠舒展，铁线描匀细挺括，将佛陀沉静端严的气度尽数勾勒。\n\n重复造像间隐见细微参差，并无刻板复制的匠气，在统一范式里藏着手作的鲜活温度。古纸晕染岁月旧痕，朴拙质感晕开沉静禅意，尽显传统佛造像线描的凝练法度，带着悠悠古意，静静传递出宗教美术特有的肃穆平和。",[23,188,18700,187,18381,7220,96,7,36004],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b7ca595dde62a4f0029ca60fa6c1e5.jpg",[],{"id":68958,"slug":68959,"title":41943,"dynasty":18,"author":223,"museum":300,"description":59551,"tags":68960,"thumbUrl":68961,"material":692,"size":1293,"collection":84,"collections":68962,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},288372,"ji-ling-he-ye-tu-yi-ming-288372",[23,24,164,7,61,28,27,168,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01487a23cf4e804bf9ec67c6041047d7.jpg",[],{"id":68964,"slug":68965,"title":68966,"dynasty":54,"author":223,"museum":300,"description":68967,"tags":68968,"thumbUrl":68969,"material":692,"size":1293,"collection":84,"collections":68970,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},288314,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-xiao-mu-cheng-huang-hou-yi-ming-288314","历代帝王贵妃大臣朝服像(孝穆成皇后)","此作为工笔重彩肖像，笔下皇后仪态端凝沉静，面容秀雅温婉，眉目含敛，尽显国母端庄气度。朝服绘制极尽工细，明黄龙纹矫健灵动，盘旋于宝蓝缎面，配色浓丽华贵，晕染细腻考究，将刺绣肌理、珠宝璎珞的莹润质感刻画入微，层次饱满分明。画面整体肃穆规整，既恪守宫廷肖像的礼制规范，又以写实笔触烘托出皇家的尊崇威仪，静穆之中尽显清宫典仪的华贵庄重。",[23,24,7,165,28,27,96,772,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9caf4f38f91a6e386f943b2aca5d34c7.jpg",[],{"id":68972,"slug":68973,"title":60776,"dynasty":124,"author":16243,"museum":300,"description":68974,"tags":68975,"thumbUrl":68976,"material":692,"size":1293,"collection":84,"collections":68977,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},288086,"xi-yuan-shi-juan-wang-chong-288086","王宠（1494-1533），明代书法家，字履仁、履吉，号雅宜山人，吴县（江苏苏州）人。\n邑诸生，贡入太学。博学多才，工篆刻，善山水、花鸟。诗文声誉很高，尤以书名噪一时，书善小楷，行草尤为精妙。\n著有《雅宜山人集》，传世书迹有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。",[64,840,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0131ddf7ce1c94c87716076e2a2fd047.jpg",[],{"id":68979,"slug":68980,"title":1131,"dynasty":124,"author":37883,"museum":300,"description":68981,"tags":68982,"thumbUrl":68983,"material":692,"size":1293,"collection":84,"collections":68984,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},288082,"shan-mian-cui-zi-zhong-288082","崔子忠，1644年逝世，明画家，初名丹，字开予：改名子忠，字道母，号北海，青蚓（一作青引），生员，曾游董其昌之门，李自成克北京后，绝食死。",[1131,24,164,7,27,96,331,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F806b21063373374f7c893e05e7a8a147.jpg",[],{"id":68986,"slug":68987,"title":68988,"dynasty":124,"author":223,"museum":300,"description":68989,"tags":68990,"thumbUrl":68991,"material":692,"size":1293,"collection":84,"collections":68992,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},287860,"luo-han-tu-li-zhou-yi-ming-287860","罗汉图立轴","画面以多层排布铺陈意境，自左上云端高台、中层朱栏台阁再到下方莲云，层次分明。一众罗汉神态各殊，或围坐清谈，或凭栏观览，或乘云徐行，将出尘散逸的性情刻画入微。衣纹以遒劲铁线描勾勒，褶皱流转自然，配色沉凝古雅，深褐底色晕染出古旧质感，朱红、石青的衣饰点缀其间，鲜亮却不艳俗，烘托出静谧禅意。整体兼具宗教绘画的肃穆感与文人意趣，笔致工细又带着写意的灵动，仿佛将清寂林泉间的禅语清谈定格于绢素之上，尽显超凡出尘的悠然气韵。",[23,24,165,7,187,27,96,18331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2470745f9df335a219b39eae46620eb8.jpg",[],{"id":68994,"slug":68995,"title":68996,"dynasty":144,"author":569,"museum":300,"description":27930,"tags":68997,"thumbUrl":68998,"material":692,"size":1293,"collection":84,"collections":68999,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},287666,"hua-ma-zhao-meng-fu-287666","画马",[24,7,165,101,949,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46a1db87a9fd9fa10d9a5ba021cfd3b0.jpg",[],{"id":69001,"slug":69002,"title":69003,"dynasty":144,"author":223,"museum":244,"description":55298,"tags":69004,"thumbUrl":69006,"material":278,"size":69007,"collection":84,"collections":69008,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},287581,"qing-shan-zhu-ge-zhou-yi-ming-287581","青山竹阁轴",[24,164,7,165,128,1349,6844,1025,69005,98,1747,64,132],"竹阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5c3adc48962b9a348f961633ca44b36.jpg","71.9x28.4",[],{"id":69010,"slug":69011,"title":69012,"dynasty":54,"author":9529,"museum":244,"description":19697,"tags":69013,"thumbUrl":69014,"material":66,"size":69015,"collection":84,"collections":69016,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},287446,"fang-li-ying-qiu-jiang-gan-qi-shu-tu-wang-hui-287446","仿李营丘江干七树图",[164,24,7,128,29,330,208,64,331,1233,99,129,496,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff309a0ed55d56fb2162e84b4c23405c5.jpg","96.4x54.6",[],{"id":69018,"slug":69019,"title":69020,"dynasty":54,"author":3750,"museum":300,"description":17621,"tags":69021,"thumbUrl":69022,"material":692,"size":1293,"collection":84,"collections":69023,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},287438,"fang-zi-jiu-shan-shui-wang-jian-287438","仿子久山水",[23,1131,24,7,29,128,330,132,496,34,35,129,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06055f87cd31c4518322ae50a39d4b51.jpg",[],{"id":69025,"slug":69026,"title":69027,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":69028,"thumbUrl":69029,"material":692,"size":1293,"collection":84,"collections":69030,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},283745,"shu-hua-he-bi-juan-dong-qi-chang-283745","书画合壁卷",[23,164,24,7,25,128,64,133,29,496,4438,6437,37,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb9730d590d7dfec6d881d41f1b0e097.jpg",[],{"id":69032,"slug":69033,"title":69034,"dynasty":144,"author":223,"museum":300,"description":69035,"tags":69036,"thumbUrl":69038,"material":692,"size":1293,"collection":84,"collections":69039,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},283616,"bai-yan-tu-juan-yi-ming-283616","百雁图卷","逢风时迥度,逐侣乍争飞。犹忆方塘水,今秋已复归",[24,7,164,25,61,128,27,18111,211,1824,69037],"水泽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6bbe5921241b9f0faef21bcab18368d.jpg",[],{"id":69041,"slug":69042,"title":64706,"dynasty":54,"author":223,"museum":300,"description":10087,"tags":69043,"thumbUrl":69044,"material":692,"size":1293,"collection":84,"collections":69045,"showCount":586,"zanCount":1998,"manualWeight":48,"mainColor":72},269054,"ke-si-jia-xiu-san-xing-tu-zhou-yi-ming-269054",[24,7,165,1944,13534,27,28,96,722,2302,40602,131,62,55267,13720],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ae044ed588a93dada988de6aa6be313.jpg",[],{"id":69047,"slug":69048,"title":69049,"dynasty":54,"author":223,"museum":300,"description":10087,"tags":69050,"thumbUrl":69051,"material":692,"size":1293,"collection":84,"collections":69052,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},263552,"ke-si-liu-hua-shuang-que-tu-zhou-yi-ming-263552","缂丝榴花双雀图轴",[24,7,165,1944,61,27,28,45401,2035,6985,481,11633,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae3973686cd23f4d0c45a30a0c5c993a.jpg",[],{"id":69054,"slug":69055,"title":69056,"dynasty":18,"author":223,"museum":300,"description":69057,"tags":69058,"thumbUrl":69059,"material":84,"size":84,"collection":2210,"collections":69060,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},242225,"nan-yan-zhen-qing-zheng-zuo-wei-tie-yi-ming-242225","南颜真卿争座位帖","此作笔力雄肆开张，以行书拟稿，将忠义愤懑寄寓笔墨，顿挫郁勃，尽显苍劲气概。墨色沉凝斑驳，残泐痕迹藏着经年传拓的古意，牵丝映带间朴拙刚劲尽显，一改二王行书秀逸格调，以庙堂大气撑起章法骨架。\n\n结体奇崛欹正相生，字里行间恍见当庭抗辩的激昂意气。岁月磨蚀虽掩去几分锋棱，却更添古厚沉静之韵，每一处残痕都是时光镌刻的印记，让这份忠义之魂随拓本辗转流传，古雅厚重的质感直抵人心。",[64,5380,133,59,1590,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb345bd62eaa8dc325966e6733cdfb9c.jpg",[2210],{"id":69062,"slug":69063,"title":69064,"dynasty":54,"author":69065,"museum":300,"description":69066,"tags":69067,"thumbUrl":69069,"material":692,"size":1293,"collection":84,"collections":69070,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":3379},241677,"gui-hai-yuan-dan-shi-bi-shi-heng-pi-yong-yan-241677","癸亥元旦试笔诗横披","颙琰","清仁宗爱新觉罗·颙琰（1760年11月13日—1820年9月2日），原名永琰，清朝第七位皇帝，定都北京后的第五位皇帝，乾隆帝的第十五子，生母孝仪纯皇后魏佳氏。 在位二十五年（1796-1820年在位），年号“嘉庆”。",[64,7,572,69068,208,27,9910],"横披","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b4e4444b15dc1f0671c9d7c85d4a800.jpg",[],{"id":69072,"slug":69073,"title":69074,"dynasty":54,"author":69075,"museum":300,"description":69076,"tags":69077,"thumbUrl":69080,"material":692,"size":1293,"collection":84,"collections":69081,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},241565,"xing-kai-qi-jue-ping-zhou-yuan-li-zhun-241565","行楷七绝屏轴","袁励凖","字珏生，别署恐高寒斋主，江苏武进人，光绪进士，翰林编修，会试同考官。民国清史馆编纂，辅仁大学教授。工书画。行楷宗米元章，篆习李阳冰，文静典雅，画学马远，藏墨名于世。",[24,7,64,165,133,572,64735,69078,663,69079,228,57019,885,209],"白雪","碧嶂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc067fb6ea8549d5c048fba931fc299a.jpg",[],{"id":69083,"slug":69084,"title":69085,"dynasty":54,"author":69086,"museum":300,"description":69087,"tags":69088,"thumbUrl":69089,"material":611,"size":84,"collection":318,"collections":69090,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},241398,"lun-shu-zhou-xie-lan-sheng-241398","论书轴","谢兰生","谢兰生，字佩士，号澧浦，又号里甫，别署里道人、履道人、理圃居士。南海人。生于乾隆廿五年（1760）庚辰十一月十八日寅时，卒于道光十一年（1831）辛卯三月十九日辰时，寿七十二岁，妻冯氏，南海举人耒庐公长女，有六子七女，六子分别为：念典、念功、念绍、念庶、念因、念中。",[7,64,165,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c860c743e99207f8af44c0bfc18b8df.jpg",[318],{"id":69092,"slug":69093,"title":69094,"dynasty":54,"author":69095,"museum":300,"description":69096,"tags":69097,"thumbUrl":69103,"material":692,"size":1293,"collection":84,"collections":69104,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},241390,"xing-kai-shi-er-shou-zhou-chen-yuan-long-241390","行楷诗二首轴","陈元龙","陈元龙（1652—1736）字广陵，号乾斋，浙江海宁人，清朝大臣。康熙二十四年一甲二名进士，授编修，直南书房。五十七年，擢工部尚书。六十年，调礼部。乙丑科会试开始施行殿试十本进呈之制。此前，进士无十本进呈之例，这一科会试总裁官是刑部尚书张士甄，开始以前十本恭呈皇帝钦定。康熙帝拔陆肯堂进士第一人，进士第二人就是陈元龙。",[7,64,64735,208,69098,69099,1428,34,2048,69100,663,31720,604,228,950,69101,69102],"海门","津门","田舍","城","丹丘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1bcce9a43123efbbaf561503896286f.jpg",[],{"id":69106,"slug":69107,"title":59690,"dynasty":124,"author":50744,"museum":300,"description":50924,"tags":69108,"thumbUrl":69109,"material":692,"size":1293,"collection":84,"collections":69110,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},241367,"zhou-ni-yuan-lu-241367",[7,64,133,840,165,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aeda136172becd0096afcf5c01aea24.jpg",[],{"id":69112,"slug":69113,"title":60702,"dynasty":54,"author":69114,"museum":300,"description":69115,"tags":69116,"thumbUrl":69118,"material":692,"size":1293,"collection":84,"collections":69119,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},241315,"wu-lv-zhou-dai-ming-shuo-241315","戴明说","戴明说（音yue，通“悦”）(1609——1686)，河北沧州人，字道默，号岩荦，道号定园，晚年自号铁帚，行一。有子戴王纶。 ... 天启丁卯(1627)科举人，崇祯甲戌(1634)科进士。",[7,64,165,133,208,950,1556,355,722,231,69117],"五岳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb59a841e4fcb1d3b6d4a28a2f9e2fb23.jpg",[],{"id":69121,"slug":69122,"title":69123,"dynasty":124,"author":69124,"museum":300,"description":69125,"tags":69126,"thumbUrl":69127,"material":611,"size":84,"collection":318,"collections":69128,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},241025,"wu-jue-zhou-zhong-xing-241025","五绝轴","钟惺","钟惺(1574—1625)，明代文学家。字伯敬，号退谷，湖广竟陵（今湖北天门市）人。万历三十八年（1610）进士。曾任工部主事，万历四十四年（1616）与林古度登泰山。后官至福建提学佥事。不久辞官归乡，闭户读书，晚年入寺院。其为人严冷，不喜接俗客，由此得谢人事，研读史书。他与同里谭元春婡共选冄《頭條唐诗归》和《古诗归》(见《诗归》)，名扬一时，形成“竟陵派”，世称“钟谭”。钟惺通过撰著《楞严经如说》参与佛学论争,表达了他复兴义学、重整戒律、推尊净土、宣扬华严的四大佛学主张。钟惺凭借文官身份和文坛巨擘的影响力兴办佛教事业,助力晚明佛教复兴运动。\n其一：反对拟古文风。他对明中叶以后盛行文坛的拟古主张加以批驳，指出“作诗者之意兴，虑无不代求其高。高者，取异于途径耳。夫途径者，不能不异者也”（钟惺《诗归序》）。他认为“七子”模拟古人词句，只不过是“取古人之极肤、极狭、极熟便于口手者，以为古人在是”(同前)。因而力求改变这种文风，提出“势有穷而必变”的变革主张（《问山亭诗序》）。\n婡冄頭其條二：主张诗人应抒写“性灵”(或“灵心”)。这种“性灵”或“灵心”是“引古人之精神，以接后人之心目，使其心目有所止焉”，是“求古人真诗所在。真诗者，精神所为也”（《诗归序》）。即要在古人诗词的精神中去寻求性灵。但是，他认为这种古人的真诗精神是“察其幽情单绪，孤行静寄于喧杂之中”，于是他自己的作品极力追求孤僻情怀“别趣理奇”即所谓孤怀、孤诣，且夸耀说：“我辈文字到极无烟火处。”（《答同年尹孔昭书》）\n其三：倡导幽深孤峭的风格。《明史·文苑传》载：“自宏道矫王、李诗之弊，倡以清真，惺复矫其弊，变而为幽深孤峭。”钟惺认为公安派末端文风俚俗、浅率，企图以幽深孤峭的风格加以匡救。但他却走入了另一形式主义极端，往往只顾及字句，忘却篇章，追求奇字险韵，造成一种艰涩隐晦的风格，以致有些诗句语意不畅，令人费解，如“树无黄一叶，云有白孤村”（《昼泊》）等。钟、谭以这种主张为标准评选《诗归》。他们所选唐诗，专取清瘦淡远一格，众所推重的李白《古风》、杜甫《秋兴》等名篇都不选入，试图以幽冷来洗“七子”的绚烂，足可见其主张的长、短，利、弊。钟惺的诗，由于追求幽情孤行，所以大多情思狭窄，题材局促，缺乏深厚广阔的社会内容。不过他苦心吟事，雕字酌句，不遗余力，有些五古游览诗作写得还相当好。如《经观音岩》、《舟晚》等，虽有雕镂之嫌，然寄情绘景，时有名理。其《上巳雨中登雨花台》、《巴东道中示弟栓》，手眼别出，可见清思。另外，有些诗作对社会现实也有所反映，如《江行俳体》12首，写及了“官钱曾未漏渔蛮”的赋税严重情况。\n钟惺记叙、议论、散文亦有一些新奇隽永之作。写景寄情小品《浣花溪记》，以生动细腻笔触描绘了唐代大诗人杜甫成都寓地浣花溪一带逶迤、清幽的景色，抒写对杜甫的敬仰之情，并寄寓自己的情怀。清溪碧潭，移步换景，体现了竟陵派“孤行静寄”的情怀和个性，以及求新求奇的幽深孤峭的风格。此外《游五夷山记》也是此类作品。他的叙议小品《夏梅说》，巧妙地从时令变化，引出赏梅、咏梅人的冷热，进而揭示人情世态的寒暖；对“趋梅于冬春冰雪者”的趋炎附势风气给予嘲讽和批判，构思立意较为新奇。文艺短论《题鲁文恪诗选后》（之二）主张诗文创作宜少而精，提出“不能尽善，而止存一篇数篇、一句数句之长，此外皆能勿作”，反对“多多益善”粗制滥造。并将文章分为三等：“选而作者，上也；作而自选者，次也；作而待人选者，又次也。”\n总之，钟惺诗文主张反拟古，主性灵，有积极一面，他的求新求奇文风，对传统散文有所突破，与公安派一样，对晚明小品文的大量产生有一定的促进作用。而其狭窄的题材及情怀，艰涩幽冷的语言及文风，无疑也束缚了他在创作上取得更大的成就。清代曾将“公安”、“竟陵”之作列为禁书，诋毁排击甚烈。",[24,7,165,840,128,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9097df1292d5fa86aefd0908953d41ef.jpg",[318],{"id":69130,"slug":69131,"title":69132,"dynasty":144,"author":569,"museum":300,"description":27930,"tags":69133,"thumbUrl":69134,"material":692,"size":1293,"collection":84,"collections":69135,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},240933,"zhao-meng-pan-miao-fa-lian-hua-jing-ce-juan-er-zhao-meng-fu-240933","赵孟頖妙法莲花经册卷二",[7,64,7322,59,133,187,128,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F438a51782c2e18404b96924a66130662.jpg",[],{"id":69137,"slug":69138,"title":69139,"dynasty":54,"author":223,"museum":244,"description":69140,"tags":69141,"thumbUrl":69142,"material":611,"size":45112,"collection":318,"collections":69143,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},240494,"zhang-zhao-lang-guan-bi-ji-zhou-yi-ming-240494","张照郎官壁记轴","張照（1691～1745），字得天，號涇南，亦號天瓶居士，江南婁縣人。康熙四十八年進士。清藏書家、書法家、戲曲家、書畫目錄整理者。\n張照，初名默，字得天、長卿，號涇南、梧窗、天瓶居士。清松江府婁縣人，家住秀野橋西。天資聰敏，通釋氏之教，其作詩豪放好驅使禪語。能詩，善畫，通音律，精鑑賞，尤工書法。19歲成進士，官至刑部尚書，參與修纂《大清會典》及《一統志》。雍正十三年（1735年），為總理苗疆事務經略大臣，赴雲南，以“無功”被劾，革職擬斬後得寬免，命在武英殿修書處行走。乾隆七年（1742年）又升為刑部尚書，精曉法律，曾修訂過一些比較合理的刑事條例。乾隆六年（1741年），奉命與莊親王查明《律呂正義》源委，續修《律呂正義》後編。嗣後主持為平署編纂宮廷大戲，作有雜劇《月令應承》《九九大慶》等；並作傳奇《勸善金科》《昇平寶筏》，規模宏大，各有240出，供宮廷搬演，開“連台本戲”之先河。戲曲研究家星煜評價張照的戲劇創作説：“他是中國連續劇的創始者，無可爭議”。“事實上《勸善金科》和《昇平寶筏》對崑劇、京劇以及各種地方戲的影響遠比人們所想象的大得多”，“如果當年張照沒有編寫這兩部240出的連續劇，我們所看到的楊小樓、鄭長泰、蓋叫天、張翼鵬的悟空戲（猴戲）就不會有那麼豐富多彩”。乾隆九年（1744年），奉命與梁詩正等鑑別宮廷所藏曆代書畫，分類編成《石渠寶笈》（44卷），並主持編纂《秘殿珠林》（24卷）。",[64,24,7,165,133,330,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb221427162600041caae8c71e692323b.jpg",[318],{"id":69145,"slug":69146,"title":69147,"dynasty":54,"author":6778,"museum":300,"description":29701,"tags":69148,"thumbUrl":69149,"material":692,"size":1293,"collection":84,"collections":69150,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},240407,"lin-liu-meng-yang-bei-wen-wan-shan-zhao-zhi-qian-240407","临刘孟阳碑文纨扇",[54,7,1131,64,330,21937],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6c500433b2d0849583d367f56483574.jpg",[],{"id":69152,"slug":69153,"title":69154,"dynasty":124,"author":69155,"museum":20,"description":69156,"tags":69157,"thumbUrl":69158,"material":611,"size":69159,"collection":318,"collections":69160,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},240390,"lin-da-ling-tie-zhou-xing-dong-240390","临大令帖轴","邢侗","邢侗（1551-1612），字子願，號知吾，自號啖面生、方山道民，晚號來禽濟源山主、世尊稱來禽夫子。\n臨邑（山東德州）人，明代書法家、畫家。\n明萬曆二年進士，官至陝西太僕寺少卿。善畫，能詩文，工書，書法為海內外所珍視。與董其昌、米萬鍾、張瑞圖並稱“晚明四大家”並位列其首，與董其昌並稱“北邢南董”。\n邢侗詩則出入李、杜、王、岑，“高古典雅，每每工而拙用之”。五七言律宗唐，古風追漢魏，如《平倭歌》等，頗有“建安風骨”。於鱗之後，子願代興，堪為一代詞宗。晉江友人黃克纘説：“餘時與（子願）唱和，每詩筒至，輙私念：‘此中有佳句’，如尹媫妤望見邢夫人，自痛其不如也”。子願有詩五百餘首，亦收入全集。\n其於繪事，“偶作意寫卷石、莎草、長松、修竹，遊戲點綴，羅羅見其清淑，大抵仿叔明、元章筆意。”不以丹青為長，不過略以自適，卻也落落大方。不過他對繪事的欣賞和理解，還是表明了他的修養品位的，在他對一些名畫的題跋中不難看出。如《題趙子昂墨竹》、《題沈石田畫》等。而其《題沈周花果》説：“畫以三筆五筆得其神者佳。雖筆筆工整、敷彩濃麗，即得其妙，神亦難至。”寫意花鳥畫到了明代，即為水墨寫意大發展時期，崇尚秀雅，強調“士氣”、“書卷氣”，屬文人畫體系。“三筆五筆得其神”，是否可以説在理論上開了“八大山人”的先河呢？邢侗一生之於詩文書畫，畫是着力少了些，但可以説少而不低。\n邢侗博採眾長，遍臨魏、唐、宋諸大家，其臨池之美，以鍾、索、二王為主，尤好右軍書，而得右軍神髓。他自己説：“與右軍書坐卧幾三十年，始克入化。”明周之士《遊鶴堂墨藪》説：“近代邢子願書，精研二王，筆法恆彷彿《十七貼》筆意；即其卷素所書，跡多述王帖，可謂極意臨摹者矣。宋、齊而下，書法衰颯，魏晉風軌掃地者，已非旦夕之故，乃公（侗）獨裒然闢除陋習，追跡逸少，無論其精旨謂何，即其矢志，則已超人一等矣。”\n邢侗行草、篆隸，各臻其妙，而以行草見長；晚年尤精章草。當時與董其昌並稱“南董北邢”，又與米萬鍾，張瑞圖並稱“邢張米董”。但藝術創造力遠不足與董其昌、張瑞圖、黃道周相比。邢侗的長處，即在於他臨古極肖，他的名作多是臨作。他工於諸體，尤其工草書，由於泥古未化古，缺少個性的顯彰。他對晚明末流書法的狂怪無法度十分反感，他的法古是對這些末流書法的警示，其書法史價值也在於此。傳世書跡有《臨王羲之帖》、《論書冊》、《古詩卷》、《臨晉人帖》等。除故宮博物院外，今倫敦博物館，日本、東南亞諸國皆存其書跡。",[24,7,165,128,330,208,840,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F233a266b423f33da1daefa6f4209a229.jpg","175.5×25.4厘米",[318],{"id":69162,"slug":69163,"title":69164,"dynasty":54,"author":69165,"museum":300,"description":69166,"tags":69167,"thumbUrl":69168,"material":692,"size":1293,"collection":84,"collections":69169,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},240320,"bei-cha-xing-ye-shen-ji-240320","焙茶行页","沈楫","沈楫［清］字蓉洲，号东山，嘉定（今属上海市）人。画法赵孟頫。",[7,59,133,64,208,23848,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec3021a03c586aa24a14da470a55984e.jpg",[],{"id":69171,"slug":69172,"title":69173,"dynasty":54,"author":1676,"museum":300,"description":62491,"tags":69174,"thumbUrl":69175,"material":692,"size":1293,"collection":84,"collections":69176,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},240289,"li-shan-shi-zhou-li-shan-240289","李鱓诗轴",[24,7,165,133,64,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F308b3c2debc85a55603b171bd6907627.jpg",[],{"id":69178,"slug":69179,"title":69180,"dynasty":54,"author":5276,"museum":300,"description":69181,"tags":69182,"thumbUrl":69183,"material":611,"size":84,"collection":318,"collections":69184,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},240116,"shi-ye-gao-feng-han-240116","诗页","高凤翰（1683年～1749年）胶州大行高氏二股十一世，扬州八怪之一。清代画家、书法家、篆刻家。又名翰，字西园，号南村，又号南阜、云阜，别号因地、因时、因病等40多个，晚因病风痹，用左手作书画，又号尚左生。\n汉族，山东胶州三里河村（今山东青岛市胶州市）人。雍正初，以诸生荐得官，为歙县县丞，署绩溪知县，罢归。性豪迈不羁，精艺术，画山水花鸟俱工，工诗，尤嗜砚，藏砚千，皆自为铭词手镌之。有《砚史》《南阜集》\n高凤翰的右手书法严谨流畅，左手书法上溯魏晋风格，继承元明笔法，气韵流动，古趣横生，被人誉为明清两朝数百年间以左手擅长书法的，尚无人与之媲美并列。当时能得到其只字片幅不是易事。\n“不抱云山骨，哪成金石心。自然奇节士，落墨见高襟。”是不是很熟悉？对，这就是高凤翰的书法作品《章草书》全诗，寓意书法作品的功底，要亲近云和山那样的风骨，才能求得金石之心。何谓云山风骨，就是像云一样潇洒飘逸变化无穷，圆转自如，像山一样坚毅挺峻，拥抱云和山的精髓，才能够体味到金石之心的真谛。后寓意为励志，意指不经历风雨，怎么见彩虹。\n高凤翰主工花卉山水，宋人雄浑之神和元人静逸之气在其作品中同时流露，艺术造诣十分精湛。高凤翰的画不拘成法，因而被人归于“扬州八怪”，也有将他列为“画中十哲”的。高凤翰的传世作品有《牡丹竹石图》轴等，并著有《南阜山人诗集》、《砚史》等书。\n高凤翰在一黑陶罐上的诗刻和画有三足陶器的《博古图》花轴引起山东大学考古工作者的注意，后人们按图上提供的信息往胶州三里河求索，终于发掘出一处重要的古文化遗址。 青岛百花苑置有他的雕像。",[7,64,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfa57422b9cc1367b164e0f1c594bb8f.jpg",[318],{"id":69186,"slug":69187,"title":69188,"dynasty":124,"author":69189,"museum":20,"description":69190,"tags":69191,"thumbUrl":69192,"material":2739,"size":69193,"collection":318,"collections":69194,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},240030,"dong-zhuang-za-yong-shi-juan-shao-bao-240030","东庄杂咏诗卷","邵宝","《东庄杂咏诗》卷释文\n署款：“友生邵宝顿首稿上复斋先生吟伯请教。三月廿八日。”\n款下钤“国贤”、“常郡锡邑世家”印。引首印“二泉”。\n无题跋及鉴藏印。\n此为邵宝为赞美吴宽的“东庄别墅”之景色所作的20首五言绝句。\n此书用笔稳健，顿挫有致，笔墨浓郁温厚，气势沉实宽博。其笔画钩如屈铁，点如坠石，巧拙互用，时出怪异之笔，有李东阳之韵意，且自家风格极突出。",[23,164,24,7,25,133,64,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe826e86530cece2a1585e86a8e64466d.jpg","纵25.8厘米，横231.5厘米",[318],{"id":69196,"slug":69197,"title":69198,"dynasty":54,"author":69199,"museum":300,"description":69200,"tags":69201,"thumbUrl":69202,"material":84,"size":84,"collection":318,"collections":69203,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},239996,"gan-guo-ji-shi-zhou-gan-guo-bi-239996","甘国基诗轴","甘国璧","甘国璧（？—1747），字东屏，汉军正蓝旗人，云贵总督甘文焜之子，清朝官吏。",[7,64,165,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35312559c36214acbff3ca430912430d.jpg",[318],{"id":69205,"slug":69206,"title":69207,"dynasty":54,"author":69208,"museum":300,"description":69209,"tags":69210,"thumbUrl":69211,"material":84,"size":84,"collection":318,"collections":69212,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},239978,"zhuan-shu-mo-zhou-zi-zhong-zhou-wu-ting-kang-239978","篆书摹周子钟轴","吴廷康","此作用笔沉实厚重，顿挫之间筋骨尽显，结体方正宽博，将汉隶的舒展开张与北碑的雄健浑融一体，尽显古拙朴茂的金石意趣。红格界栏使得行列齐整肃穆，左侧题款灵动跳脱，与正文形成虚实相映的视觉层次。墨色匀净饱满，气息沉静醇雅，既恪守原碑的法度神韵，又融入自身笔底意趣，尽显对汉代金石气象的追慕与再创造，整体浑穆静雅，兼具庙堂端方与文人意韵。",[938,330,165,64,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4ab9c912e706c8feb729839d9431403.jpg",[318],{"id":69214,"slug":69215,"title":69216,"dynasty":54,"author":58930,"museum":300,"description":58931,"tags":69217,"thumbUrl":69218,"material":84,"size":84,"collection":318,"collections":69219,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},239921,"shi-song-lian-shang-ye-wan-cheng-ji-239921","诗送莲裳页",[304,7,64,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9ac2a5bd587d4df7383b138741ceda5.jpg",[318],{"id":69221,"slug":69222,"title":69223,"dynasty":124,"author":69224,"museum":300,"description":69225,"tags":69226,"thumbUrl":69227,"material":84,"size":84,"collection":318,"collections":69228,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},239802,"lin-lan-ting-xu-ye-yuan-yu-ling-239802","临兰亭序页","袁于令","袁于令（1592-1672年），本名原晋，字昭令，小字韫玉，号吉衣主人，苏州吴县（今江苏省苏州市）人。明末清初戏曲家、小说家。\n明末，进入国子监读书。清兵入关后，任工部虞衡司主事、营缮司员外郎等职。顺治五年，升任荆州知府。顺治十年（1653），罢官，侨寓江宁、会稽。\n康熙十一年，去世，时年八十一岁。著作有《剑啸阁传奇》《双莺传》《隋史遗文》等。",[805,64,7,133,330,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe19491f91c785a89387d5a989a58924e.jpg",[318],{"id":69230,"slug":69231,"title":69232,"dynasty":54,"author":7208,"museum":300,"description":45366,"tags":69233,"thumbUrl":69235,"material":692,"size":1293,"collection":84,"collections":69236,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},239781,"qian-sou-yan-gong-yi-huang-zu-yuan-yun-qi-lv-zi-tiao-qian-long-239781","千叟宴恭依皇祖元韵七律字条",[64,7,133,208,69234],"字条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3140f11bf0e3ea78228eb1c3e908fd63.jpg",[],{"id":69238,"slug":69239,"title":69240,"dynasty":54,"author":69241,"museum":300,"description":69242,"tags":69243,"thumbUrl":69245,"material":692,"size":1293,"collection":84,"collections":69246,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},239764,"shu-su-shi-shu-tie-dan-ye-zhou-xing-dai-239764","书苏轼书帖单页","周兴岱","周兴岱（1744—1809）字长五，一字冠三，号东屏，四川涪州（今重庆市涪陵区）人，清朝官吏，周煌次子，清代大诗人张船山岳父。乾隆三十六年进士，改庶吉士，散馆授编修。累迁侍讲学士。超授内阁学士。擢侍郎，历礼、吏、户诸部。命在南书房行走。",[304,133,64,1590,27,7,69244,208],"单页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49379d813f4dd89dac336b572613da69.jpg",[],{"id":69248,"slug":69249,"title":69250,"dynasty":54,"author":15720,"museum":300,"description":15721,"tags":69251,"thumbUrl":69252,"material":84,"size":84,"collection":318,"collections":69253,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},239701,"shu-hong-li-hua-min-cheng-su-lun-zhou-ai-xin-jue-luo-yong-xing-239701","书弘历化民成俗论轴",[165,572,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F184a29e80a92638317b154ebe7358697.jpg",[318],{"id":69255,"slug":69256,"title":69257,"dynasty":182,"author":223,"museum":300,"description":69258,"tags":69259,"thumbUrl":69260,"material":84,"size":84,"collection":318,"collections":69261,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},239678,"wu-kuan-lin-huang-ting-jing-juan-yi-ming-239678","无款临黄庭经卷","《黄庭经》又名《老子黄庭经》，是道教养生修仙专著；内容包括《黄庭外景玉经》和《黄庭内景玉经》；两晋年间，新增《中景经》。作者为天师道魏华存。",[23,164,24,7,25,330,64,7322,572,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F022c0ac9cc33476cc3f99a6ea7b37644.jpg",[318],{"id":69263,"slug":69264,"title":69265,"dynasty":144,"author":1208,"museum":300,"description":69266,"tags":69267,"thumbUrl":69268,"material":84,"size":84,"collection":84,"collections":69269,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},239656,"jing-ji-xuan-shi-wen-zhou-ni-zan-239656","静寄轩诗文轴","此作书法萧散简淡，和倪氏山水意境一脉相承。正文兼融行楷意趣，笔画清瘦秀逸，排布疏朗空灵，恰似画中太湖汀渚的空寂留白，自带清冷出尘的气韵。\n\n笔墨简净却意韵悠长，将元末文人幽居避世的澹泊襟怀，藏于笔锋起落之间。题跋与正文相映成趣，朱红印信点缀素纸，为通篇的素朴增添雅致意趣，书文相合，将静寄轩的幽谧禅意落于纸面，尽显古淡天真的文人风骨。",[7,165,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff0f7bebe3d776f9d508db07a5ed5d0.jpg",[],{"id":69271,"slug":69272,"title":21106,"dynasty":54,"author":4823,"museum":300,"description":19690,"tags":69273,"thumbUrl":69274,"material":692,"size":1293,"collection":84,"collections":69275,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},239409,"hua-niao-tu-ce-ma-yuan-yu-239409",[24,7,59,128,650,133,208,61,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7737a0442173f20e8d5f70e3b968efb7.jpg",[],{"id":69277,"slug":69278,"title":21106,"dynasty":54,"author":4823,"museum":300,"description":19690,"tags":69279,"thumbUrl":69280,"material":692,"size":1293,"collection":84,"collections":69281,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},239400,"hua-niao-tu-ce-ma-yuan-yu-239400",[24,7,59,128,27,133,208,61,371,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68cd13a04a415d57e7f54657a76843ec.jpg",[],{"id":69283,"slug":69284,"title":7864,"dynasty":54,"author":69285,"museum":300,"description":69286,"tags":69287,"thumbUrl":69288,"material":692,"size":1293,"collection":68,"collections":69289,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},239379,"za-hua-ce-zhu-xiao-chun-239379","朱孝纯","朱孝纯（1729～1784）益州书画录附录误作朱纯孝。字子颍，号思堂，一号海愚，人呼戟髯。隶奉天汉军正红旗，东海（今山东郯城西）人。",[24,7,59,128,132,29,171,211,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14355672e64ee17d3f14759cd3824528.jpg",[68,117],{"id":69291,"slug":69292,"title":409,"dynasty":54,"author":40799,"museum":300,"description":69293,"tags":69294,"thumbUrl":69295,"material":692,"size":1293,"collection":84,"collections":69296,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},239368,"shan-shui-ce-wang-san-xi-239368","王三锡(1716—？) 太仓人。字怀邦，自号竹岭，清代画家。王昱从子，承家学，善山水，得其祖笔法，丘壑位置，不作寻常蹊径，运笔别致雅逸。",[24,7,59,128,27,29,171,211,331,167,231,208,64,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa865d6cefc0c198737a49c1a24313f98.jpg",[],{"id":69298,"slug":69299,"title":69300,"dynasty":124,"author":223,"museum":300,"description":69301,"tags":69302,"thumbUrl":69303,"material":692,"size":1293,"collection":84,"collections":69304,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},239357,"ming-ren-fang-huang-gong-wang-jiu-feng-xue-ji-tu-juan-yi-ming-239357","明人仿黄公望九峰雪霁图卷","此作以水墨晕开雪后丘壑，留白铺陈皑皑雪意，山峦素裹、枯木错落，村居隐于岩畔，萧寒清寂尽现冬日山林的荒寒淡远。长卷书画合璧，题跋行笔苍劲雅致，文辞与山水意趣相融，托寄文人静穆观照的审美本心。\n\n仿作追摹原作的极简萧寒，以淡墨晕染山石肌理，以空为雪，尽显元人山水萧散简远之致，借古抒怀，以笔墨写胸中丘壑，将群峰雪后岑寂空灵的意境复刻淋漓，尽显文人山水的雅逸风神，是一件颇具意韵的仿古佳制。",[23,24,7,25,128,132,330,64,133,208,29,30,1556,34,497,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d1ba8894fb65bed006c1b198de90cf2.jpg",[],{"id":69306,"slug":69307,"title":69308,"dynasty":54,"author":63332,"museum":300,"description":69309,"tags":69310,"thumbUrl":69311,"material":84,"size":84,"collection":84,"collections":69312,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},239344,"xi-xi-hua-juan-lin-shu-239344","西溪画卷","此作用水墨晕染勾勒全景，层峦叠嶂间林木蓊郁，汀洲水湾蜿蜒萦回，村居茅舍隐于烟霭林麓之间，尽显江南水畔的幽寂野趣。皴擦点染兼具，以苍朴笔墨写尽溪山清旷之致。\n\n卷后长篇行书题跋，笔致沉厚古拙，词句自况寄怀，书画相映成趣，将闲游幽思与林泉归隐的意趣融为一体，尽显文人画诗书画合一的雅致风骨，藏着作者寄情山水的缱绻襟怀。",[23,24,7,25,128,132,28,64,133,208,29,31,34,35,98,1743,131,8709,1515],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4075e15f1cdd0703ca33f467c5e4924e.jpg",[],{"id":69314,"slug":69315,"title":76,"dynasty":54,"author":4823,"museum":300,"description":19690,"tags":69316,"thumbUrl":69317,"material":692,"size":1293,"collection":84,"collections":69318,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},239091,"hua-hui-ce-ma-yuan-yu-239091",[24,7,59,27,28,61,1771,547,2644,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9457b8e43099b500bd10beb99e0bbaa1.jpg",[],{"id":69320,"slug":69321,"title":409,"dynasty":54,"author":4992,"museum":300,"description":18894,"tags":69322,"thumbUrl":69323,"material":84,"size":84,"collection":84,"collections":69324,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},238994,"shan-shui-ce-yang-jin-238994",[24,7,59,128,27,132,29,129,211,34,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecfcfa5914604e653f3fba01cde814e1.jpg",[],{"id":69326,"slug":69327,"title":63887,"dynasty":124,"author":223,"museum":300,"description":69328,"tags":69329,"thumbUrl":69330,"material":692,"size":1293,"collection":84,"collections":69331,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},238960,"qun-yan-tu-ye-yi-ming-238960","此作用笔工细写实，取景郊野坡岸，杂卉幽枝交错排布，虚实相映，将秋日荒陂的清寂氛围感拉满。两只禽鸟情态各异，一鸟栖于细枝侧目远眺，姿态警觉灵动；一鸟垂首理羽，翎毛晕染细腻蓬松，质感逼真鲜活。设色调和古雅，以花青、赭石晕染草木枯荣，衬以古绢沉郁底色，更添沉静古韵。承继院体花鸟写生精髓，写实精妙又不失野逸之趣，将郊野一隅的幽微生机定格笔端，尽显传统花鸟的雅致意趣。",[24,7,1131,27,28,61,211,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2afa8fcfeb8b687184de858a46c6275.jpg",[],{"id":69333,"slug":69334,"title":10742,"dynasty":54,"author":223,"museum":300,"description":69335,"tags":69336,"thumbUrl":69337,"material":692,"size":1293,"collection":84,"collections":69338,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},238927,"qing-ren-mu-dan-pu-ce-yi-ming-238927","此作以没骨法写牡丹，粉瓣由外向内逐层晕染，边缘柔粉渐过渡至花心莹白，鹅黄细点花蕊，将盛放的娇态勾勒得鲜活灵动。叶片以青绿分染，浓淡晕开阴阳向背，枯墨细勾叶脉，苍润兼具，衬得牡丹柔而不弱。\n\n画面取折枝一角疏落构图，大片留白尽显中式留白的雅致意趣，将牡丹华贵却清丽的姿态烘托尽致。设色明柔清润，笔致秀婉，带着清隽的小品意趣，褪去牡丹惯常的浓艳厚重，将春深花盛的柔谧诗意藏于尺幅之中。",[24,7,59,27,28,61,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0ccf2519df2a09473a1a69f3347ceac.jpg",[],{"id":69340,"slug":69341,"title":10742,"dynasty":54,"author":223,"museum":300,"description":69342,"tags":69343,"thumbUrl":69344,"material":692,"size":1293,"collection":84,"collections":69345,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},238922,"qing-ren-mu-dan-pu-ce-yi-ming-238922","此作撷取牡丹一隅，设色清妍雅致。朱红牡丹含苞待放，饱满凝实，明黄牡丹肆意舒展，柔瓣层叠，金蕊灼灼。叶片晕染得宜，深浅绿意晕开自然生机，枝桠苍劲带着拙朴意趣。画面留白疏朗，将牡丹的雍容与清雅融于一处，笔底带着悠然古韵，以细腻笔触勾勒花姿叶态，尽显牡丹的华贵风骨，又不失娴静雅致的意趣。",[24,7,59,27,28,61,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb56faa496d124e2d01443d8fd569be2.jpg",[],{"id":69347,"slug":69348,"title":27131,"dynasty":54,"author":6376,"museum":300,"description":27132,"tags":69349,"thumbUrl":69350,"material":692,"size":1293,"collection":84,"collections":69351,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},238848,"mian-yi-hua-hui-xiao-ce-mian-yi-238848",[24,7,59,27,28,61,603,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9dd75d1159690236f13d64d690571f3.jpg",[],{"id":69353,"slug":69354,"title":29144,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":69355,"thumbUrl":69356,"material":692,"size":1293,"collection":84,"collections":69357,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},238806,"hua-hui-xiao-ce-dong-gao-238806",[164,24,7,59,28,27,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf6b2107ba178857afa7dd594a6c117a.jpg",[],{"id":69359,"slug":69360,"title":35019,"dynasty":54,"author":23303,"museum":300,"description":69361,"tags":69362,"thumbUrl":69363,"material":84,"size":84,"collection":84,"collections":69364,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},238738,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238738","淡墨晕开山居幽境，古木虬枝环抱书斋，凭窗士子凝眸静思，似正沉湎诗中逸怀。庭院山石错落苍润，远景丘林烟岚轻笼，将咫尺画幅晕染出悠远空濛的林下雅意。\n\n右上角题诗与画境相映成趣，笔致清隽温润，舍去浓艳设色，仅以水墨干湿浓淡铺陈萧散简淡的文人意趣。将诗文里的知己之思、林居之寂融在咫尺山水庭院中，淡远空灵，把文人心底的幽怀与林下栖居的雅静合二为一，尽显中式水墨留白的澹澹禅意。",[24,7,59,128,188,28,132,64,208,96,130,331,131,247,29,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4dc78376cec2516a555084645f9b74d.jpg",[],{"id":69366,"slug":69367,"title":35019,"dynasty":54,"author":23303,"museum":300,"description":69368,"tags":69369,"thumbUrl":69370,"material":84,"size":84,"collection":84,"collections":69371,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},238732,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238732","以淡墨写就清润雅致的幽居之景，堂内文士凭窗静思，案头琴樽宛然，暗合诗中闲寂文心。坡岸怪石嶙峋，修竹婆娑弄影，古木交柯成荫，淡墨晕染出草木苍润之态，留白铺陈出空阔悠然的意境。\n题画诗与景致呼应交融，以极简笔墨勾勒出林泉雅舍的沉静氛围，将文人幽居悟怀的林下风致藏于笔底。笔意简淡松灵，诗画合一，尽显古典文人心底的静雅意趣，余韵悠长。",[24,7,59,128,28,132,96,130,413,1314,167,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd301652b0efeb1460046b050b55b468a.jpg",[],{"id":69373,"slug":69374,"title":69375,"dynasty":54,"author":41583,"museum":300,"description":69376,"tags":69377,"thumbUrl":69378,"material":84,"size":84,"collection":84,"collections":69379,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},238664,"shu-hua-hong-li-ni-gu-shi-yi-ce-zhang-ruo-cheng-238664","书画弘历拟古诗意册","这帧书画合册，书与画相映成趣。小楷清劲端雅，笔致匀净秀润，将赠别诗的缱绻心绪藏于点画之间，尽显文人笔墨的端凝雅致。下方山水取景清幽，以干墨皴擦写山石肌理，苍松虬劲挺秀，茅亭依崖临渊，留白铺陈出空寂辽远的氛围感，淡墨轻染晕开烟岚清韵，把诗中别绪化入山水空濛之中。书画一体，笔墨间晕开从容静穆的古典意趣，尽显传统文人诗书画合一的雅致情怀。",[24,7,59,572,28,132,128,29,1144,130,495,131,34,711,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f978df06cc91cb834cd540d2964549.jpg",[],{"id":69381,"slug":69382,"title":39754,"dynasty":54,"author":33019,"museum":300,"description":69383,"tags":69384,"thumbUrl":69387,"material":692,"size":1293,"collection":84,"collections":69388,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},238658,"hong-wu-ning-shou-gong-ming-bing-sui-chao-tu-ce-hong-wu-238658","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。封固山贝子，两次缘事革退，复赏封奉恩将军。能诗，工书、画，以三绝称。弘旿工画，师董邦达，自署瑶华道人，名与紫琼道人胤禧并。论者称其“山水得董、黄之妙谛。”永珠既夺爵 ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。",[7,59,64,572,938,27,28,12803,69385,69386,208,371,167,169],"玉石","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4beb343cccdd58284e92fce8fc7cbc9d.jpg",[],{"id":69390,"slug":69391,"title":37370,"dynasty":54,"author":223,"museum":300,"description":69392,"tags":69393,"thumbUrl":69394,"material":84,"size":84,"collection":44,"collections":69395,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},238632,"ping-ding-an-nan-zhan-tu-ce-yi-ming-238632","以铜版刀笔摹绘战地山川，全景铺陈层峦叠嶂，以传统山水皴法刻绘山石肌理，又融西洋写实技法还原行军实景。山林之间兵卒穿行、营寨错落掩映，将平叛征程的肃杀，糅合进山野苍莽的意境中。\n画面上方题诗点明平叛功绩，刀痕细腻克制，既如实记录战地风貌，又以沉凝的笔调烘托出征伐的沉雄庄重，在纪实叙事与山水意境间寻得平衡，让战事纪实兼具了艺术感染力。",[24,7,59,188,28,29,96,101,131,34,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb79733f10eaf95e6af1a930687ca0f7c.jpg",[44],{"id":69397,"slug":69398,"title":69399,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":69400,"thumbUrl":69401,"material":692,"size":1293,"collection":84,"collections":69402,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},238430,"dong-gao-li-gu-ying-chun-tu-xiao-ce-dong-gao-238430","董诰郦谷迎春图小册",[24,7,59,27,28,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F117c5360a7f01b9e6e0af52c4ab97bcc.jpg",[],{"id":69404,"slug":69405,"title":69399,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":69406,"thumbUrl":69407,"material":692,"size":1293,"collection":84,"collections":69408,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},238422,"dong-gao-li-gu-ying-chun-tu-xiao-ce-dong-gao-238422",[164,24,7,59,27,28,61,376,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba1799932c5e3c63162fac4fdf67eaba.jpg",[],{"id":69410,"slug":69411,"title":12731,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":69412,"thumbUrl":69413,"material":692,"size":1293,"collection":84,"collections":69414,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},238401,"xuan-jin-lu-fang-tu-ce-dong-gao-238401",[24,7,59,27,28,61,603,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45ab25e575fd697a4c0ba88f74c872c7.jpg",[],{"id":69416,"slug":69417,"title":28503,"dynasty":54,"author":646,"museum":300,"description":28504,"tags":69418,"thumbUrl":69419,"material":692,"size":1293,"collection":84,"collections":69420,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},238395,"dong-gao-tao-li-yi-shou-tu-xiao-ce-dong-gao-238395",[24,7,59,28,27,376,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c48bf9ac5239df93325d63e5a26e4f7.jpg",[],{"id":69422,"slug":69423,"title":31943,"dynasty":54,"author":31944,"museum":20,"description":31945,"tags":69424,"thumbUrl":69425,"material":1223,"size":31948,"collection":84,"collections":69426,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},238300,"shi-liu-luo-han-ce-jia-quan-238300",[24,7,59,27,28,187,96,131,230,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a4d9ec55366d1fac6f4ecaf960d781a.jpg",[],{"id":69428,"slug":69429,"title":60906,"dynasty":54,"author":47606,"museum":300,"description":60907,"tags":69430,"thumbUrl":69433,"material":84,"size":84,"collection":84,"collections":69434,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},238284,"hua-qia-xuan-yuan-tu-ce-huang-yue-238284",[24,7,59,27,28,61,608,1771,604,69431,69432,2918],"蓝色花朵","黄色花蕊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f3ea6255fc4b15055ab1031953ae3b6.jpg",[],{"id":69436,"slug":69437,"title":15546,"dynasty":54,"author":69438,"museum":300,"description":69439,"tags":69440,"thumbUrl":69441,"material":84,"size":84,"collection":84,"collections":69442,"showCount":586,"zanCount":1998,"manualWeight":48,"mainColor":72},238272,"ren-wu-zhou-zhuang-yu-de-238272","庄豫德","此作绘三星雅聚庭院，设色清雅古雅，笔墨细腻温婉。长者神态各殊，展卷者悠然、持芝者端方、捧花者和悦，尽显仙风道骨。身旁稚童灵动俏皮，为画面添上鲜活生机，衬出满堂祥和吉庆的氛围。庭中古梅虬枝初绽，案头文房清供点缀雅意，园林布景雅致悠然，将世俗祈盼的福寿祥瑞，融于文人雅集的闲淡场景中。衣纹勾勒流畅婉转，人物形神兼备，把传统吉庆主题与文人意趣相融，尽显工笔人物画的雅致意韵。",[24,7,165,27,28,96,371,413,1314,19786,18793,21100,249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00a8e723639013a07c230b867f95ce5e.jpg",[],{"id":69444,"slug":69445,"title":409,"dynasty":54,"author":30880,"museum":300,"description":30881,"tags":69446,"thumbUrl":69447,"material":84,"size":84,"collection":84,"collections":69448,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},238141,"shan-shui-ce-yun-xi-238141",[164,24,7,59,27,132,29,131,34,495,37,1023,1955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8d6c892ae66900383ba78fcac103714.jpg",[],{"id":69450,"slug":69451,"title":76,"dynasty":124,"author":16032,"museum":300,"description":20309,"tags":69452,"thumbUrl":69453,"material":692,"size":1293,"collection":84,"collections":69454,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},238115,"hua-hui-ce-xiang-sheng-mo-238115",[24,7,59,128,133,208,61,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6132b815f3f25b64d6ec0cf425b572b0.jpg",[],{"id":69456,"slug":69457,"title":14647,"dynasty":54,"author":1311,"museum":56,"description":25940,"tags":69458,"thumbUrl":69459,"material":1464,"size":25943,"collection":84,"collections":69460,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},238070,"mei-hua-tu-ce-wang-shi-shen-238070",[24,7,59,128,371,61,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd562319f64882d24acab54053de71f4.jpg",[],{"id":69462,"slug":69463,"title":14647,"dynasty":54,"author":1311,"museum":56,"description":25940,"tags":69464,"thumbUrl":69465,"material":1464,"size":25943,"collection":84,"collections":69466,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},238066,"mei-hua-tu-ce-wang-shi-shen-238066",[24,7,59,128,188,61,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f92acc9f462ef18753bfe6f1945411f.jpg",[],{"id":69468,"slug":69469,"title":48339,"dynasty":124,"author":23268,"museum":300,"description":49436,"tags":69470,"thumbUrl":69471,"material":692,"size":1293,"collection":84,"collections":69472,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},237967,"shan-shui-shan-ye-sun-zhi-237967",[24,7,1131,29,128,132,663,228,413,1337,98,129,229,99,758,415,14906],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547b5fb35dd83eb1ff533e6308387920.jpg",[],{"id":69474,"slug":69475,"title":69476,"dynasty":124,"author":36184,"museum":300,"description":45566,"tags":69477,"thumbUrl":69478,"material":692,"size":1293,"collection":84,"collections":69479,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},237966,"he-tang-fan-zhou-tu-shan-liu-yuan-qi-237966","荷塘泛舟图扇",[24,7,1131,128,27,132,29,168,81,129,97,99,34,2372,1351,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0ea0ffcf3763bc718d1234df8dbfb2e.jpg",[],{"id":69481,"slug":69482,"title":18893,"dynasty":54,"author":4992,"museum":300,"description":18894,"tags":69483,"thumbUrl":69484,"material":84,"size":84,"collection":84,"collections":69485,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},237880,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237880",[24,7,59,128,27,29,167,413,171,133,208,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61175dbfe080a1ad3dc87a345d7c1ae4.jpg",[],{"id":69487,"slug":69488,"title":18893,"dynasty":54,"author":4992,"museum":300,"description":18894,"tags":69489,"thumbUrl":69490,"material":84,"size":84,"collection":84,"collections":69491,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},237878,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237878",[24,7,59,128,132,330,29,98,99,331,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9624ef0bbef52c8f0aaf71b18b601c96.jpg",[],{"id":69493,"slug":69494,"title":69495,"dynasty":124,"author":69496,"museum":300,"description":69497,"tags":69498,"thumbUrl":69499,"material":692,"size":1293,"collection":84,"collections":69500,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},237844,"fang-huang-gong-wang-shan-shui-shan-sheng-dan-237844","仿黄公望山水扇","盛丹","盛丹，明代画家。字伯含，金陵（今南京）人。工画山水、花卉、兰竹等。山水得黄公望笔墨之法，萧疏风致。传世作品有《拟唐棣山水册页》等。",[24,7,1131,128,132,330,29,130,413,1314,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1be4664a340f3b42f11f52ed49c37e5.jpg",[],{"id":69502,"slug":69503,"title":69504,"dynasty":54,"author":36329,"museum":300,"description":36330,"tags":69505,"thumbUrl":69506,"material":692,"size":1293,"collection":84,"collections":69507,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},237826,"hua-hui-tu-shan-ye-zhang-ruo-ai-237826","花卉图扇页",[24,7,1131,128,28,61,62,373,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32eaf4d2732d6a1b1bf983ace2b1584d.jpg",[],{"id":69509,"slug":69510,"title":10613,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":69511,"thumbUrl":69512,"material":84,"size":84,"collection":84,"collections":69513,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},237766,"yuan-ji-shan-shui-tu-ce-shi-tao-237766",[24,128,59,132,7,29,331,99,129,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F662445e86dd448d2670228648e14a762.jpg",[],{"id":69515,"slug":69516,"title":60959,"dynasty":124,"author":16032,"museum":300,"description":35095,"tags":69517,"thumbUrl":69518,"material":84,"size":84,"collection":84,"collections":69519,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},237705,"shan-shui-hua-guo-ce-xiang-sheng-mo-237705",[24,7,59,128,132,29,129,331,131,414,415,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceba27ea2e170a558cca7e82b35d7d02.jpg",[],{"id":69521,"slug":69522,"title":76,"dynasty":124,"author":1270,"museum":300,"description":43445,"tags":69523,"thumbUrl":69524,"material":692,"size":1293,"collection":84,"collections":69525,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},237680,"hua-hui-ce-sun-ke-hong-237680",[24,7,59,188,128,133,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5673ffbc6986d0243ec075669ec75059.jpg",[],{"id":69527,"slug":69528,"title":76,"dynasty":124,"author":1270,"museum":300,"description":43445,"tags":69529,"thumbUrl":69530,"material":692,"size":1293,"collection":84,"collections":69531,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},237679,"hua-hui-ce-sun-ke-hong-237679",[24,7,59,128,133,62,818,549,582,1039],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f4d37d83c8aaf04938e8a539bd09f79.jpg",[],{"id":69533,"slug":69534,"title":69535,"dynasty":54,"author":22529,"museum":300,"description":44406,"tags":69536,"thumbUrl":69537,"material":692,"size":1293,"collection":136,"collections":69538,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},237640,"li-yin-fang-gu-shan-shui-ce-li-yin-237640","李寅仿古山水册",[24,7,59,128,133,330,29,129,97,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d15916e4360359e76199e98391e0ee.jpg",[136,68],{"id":69540,"slug":69541,"title":18219,"dynasty":54,"author":9529,"museum":300,"description":18220,"tags":69542,"thumbUrl":69543,"material":84,"size":84,"collection":84,"collections":69544,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},237603,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237603",[24,7,59,128,2271,132,64,133,208,29,231,331,131,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbd29576a70d9eb2b4dfb84f569157a5.jpg",[],{"id":69546,"slug":69547,"title":4724,"dynasty":54,"author":48234,"museum":300,"description":48235,"tags":69548,"thumbUrl":69549,"material":692,"size":1293,"collection":84,"collections":69550,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},237490,"shan-shui-tu-ce-yao-song-237490",[24,7,59,27,133,132,663,1314,413,97,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19a227ab991caac1a9cf1943ec96dae.jpg",[],{"id":69552,"slug":69553,"title":69554,"dynasty":54,"author":48257,"museum":300,"description":48258,"tags":69555,"thumbUrl":69556,"material":692,"size":1293,"collection":84,"collections":69557,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},237447,"wu-gu-xiang-ye-yue-qiu-du-shan-mian-wu-gu-xiang-237447","吴穀祥夜月秋渡扇面",[1131,24,7,27,128,132,29,231,129,413,211,414,1824,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8712b0fc72e34be9d880bfd2082aeef6.jpg",[],{"id":69559,"slug":69560,"title":48339,"dynasty":124,"author":19170,"museum":300,"description":59753,"tags":69561,"thumbUrl":69562,"material":692,"size":1293,"collection":84,"collections":69563,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},237403,"shan-shui-shan-ye-ding-yun-peng-237403",[24,7,1131,128,29,1337,663,3387,132,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8e166761ecc75bb66a219308be29751.jpg",[],{"id":69565,"slug":69566,"title":69567,"dynasty":54,"author":69568,"museum":300,"description":69569,"tags":69570,"thumbUrl":69571,"material":692,"size":1293,"collection":84,"collections":69572,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},237357,"za-hua-ce-shi-nv-hu-yuan-237357","杂画册-仕女","胡远","字公寿，号瘦鹤，画用字行，又号横云山民，华亭（今上海松江）人，侨上海。能诗，善书画，书法颜真卿，藏有戏鸿堂祖本争位座稿书，矜为至宝。画笔秀雅绝伦，以湿笔取胜。山水花木无所不能，尤喜画梅。咸丰十一年（一八六一）至上海初寓毛树徴家，后买宅颜曰寄鹤轩。与李壬叔（善兰）、胡鼻山（震）诸名流友善，卖画自给。卒年六十四。有寄鹤轩诗草。",[24,7,59,27,128,96,166,8070],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc20780a68eb92873124178e414df720c.jpg",[],{"id":69574,"slug":69575,"title":44533,"dynasty":124,"author":44534,"museum":300,"description":44535,"tags":69576,"thumbUrl":69577,"material":692,"size":1293,"collection":84,"collections":69578,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},237275,"zhi-hua-ce-chen-dao-237275",[24,7,59,128,132,29,129,331,131,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf176e0d948fefdb04cfb21157d455c9.jpg",[],{"id":69580,"slug":69581,"title":55677,"dynasty":124,"author":26410,"museum":300,"description":62659,"tags":69582,"thumbUrl":69583,"material":692,"size":1293,"collection":84,"collections":69584,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},237218,"shan-shui-tu-shan-ye-zhang-rui-tu-237218",[24,7,1131,128,132,29,34,131,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65e35c039a90965b828f8b628798f1a4.jpg",[],{"id":69586,"slug":69587,"title":26288,"dynasty":54,"author":26289,"museum":300,"description":26290,"tags":69588,"thumbUrl":69589,"material":84,"size":84,"collection":84,"collections":69590,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},237090,"jiang-feng-shi-nv-ce-jiang-feng-237090",[24,7,59,28,27,96,166,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64325d03208a05b98c8799a9b013979b.jpg",[],{"id":69592,"slug":69593,"title":26288,"dynasty":54,"author":26289,"museum":300,"description":26290,"tags":69594,"thumbUrl":69595,"material":84,"size":84,"collection":84,"collections":69596,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},237087,"jiang-feng-shi-nv-ce-jiang-feng-237087",[24,7,59,27,96,166,171,211,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49c388e059ac7be16ab2c8569663a09e.jpg",[],{"id":69598,"slug":69599,"title":409,"dynasty":54,"author":64957,"museum":300,"description":64958,"tags":69600,"thumbUrl":69601,"material":692,"size":1293,"collection":136,"collections":69602,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},236968,"shan-shui-ce-chen-jia-le-236968",[24,7,59,128,1337,1233,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa84b52ecab9067cdea1c447f9d70892e.jpg",[136,45],{"id":69604,"slug":69605,"title":69606,"dynasty":54,"author":36659,"museum":300,"description":63282,"tags":69607,"thumbUrl":69608,"material":692,"size":1293,"collection":84,"collections":69609,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},236950,"jiu-ru-zhi-ji-ce-wang-gai-236950","九如治迹册",[24,7,59,27,96,97,29,28,133,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42a2d2d9da2686115d82c0adb31f4bb9.jpg",[],{"id":69611,"slug":69612,"title":69613,"dynasty":124,"author":69614,"museum":300,"description":69615,"tags":69616,"thumbUrl":69617,"material":84,"size":84,"collection":44,"collections":69618,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},236918,"sao-hua-xian-zhou-zhou-yong-236918","扫花仙轴","周用","”扫花”一词作为一种雅致的境意出现，最早见之于唐代诗人、山水画家王唯的诗歌《桃源行》，即“平明闾巷扫花开，薄暮渔樵乘水入”。稍晚于王唯的杜甫《客至》一诗，也有“花径不曾缘客扫，蓬门今始为君开”的诗句。在中国经典名著《红楼梦》中，更是出现了大量与“扫花”有关的内容，如宝玉的小厮中，就有一个名叫“扫花”；黛玉扫花、葬花的故事，乃成千古绝唱（“君为海角百年身，我是天涯隔世尘。花事今春应已了，明年谁是扫花人”）；探春结海棠诗社所写的信笺中，亦有“若蒙棹雪而来，娣则扫花以待”之句。",[24,7,165,128,188,96,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F519c5a2687584f8db68e0a93b491e7d4.jpg",[44,318],{"id":69620,"slug":69621,"title":409,"dynasty":54,"author":6936,"museum":300,"description":69622,"tags":69623,"thumbUrl":69624,"material":84,"size":84,"collection":84,"collections":69625,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},236869,"shan-shui-ce-wang-yuan-qi-236869","此作取法黄鹤山樵春山笔意，层峦叠嶂自右上铺展而下，林木蓊郁错杂于崖谷之间，构图繁密却丝毫不显拥塞。以干笔渴墨反复皴擦积染山石，笔墨厚重苍浑，皴法细密交织，从淡墨晕染到浓墨醒提，层层递进间尽显苍茫秀润。\n\n画作将王蒙的茂密幽深融于生拙厚重的自家风貌之中，咫尺尺幅藏深山幽林的深邃意境，静穆古雅的气息漫溢纸面，尽显师法元人又自出机杼的笔墨功力，是极具文人意趣的正统山水佳制。",[24,7,59,128,132,29,131,34,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb666efba9e02d76e4bb57b4d58d65a7.jpg",[],{"id":69627,"slug":69628,"title":409,"dynasty":54,"author":6936,"museum":300,"description":69629,"tags":69630,"thumbUrl":69631,"material":84,"size":84,"collection":84,"collections":69632,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},236866,"shan-shui-ce-wang-yuan-qi-236866","此帧以淡墨起笔，层层积染皴擦。近渚佳木疏朗挺秀，坡石间细流萦回；中峦云气轻笼，林麓错落藏幽；远峰浑厚朴拙，隐现烟岚之中。以干笔积墨追摹巨然笔意，苔点错落缀于峰峦林梢，墨色由浅及深，反复皴擦间尽显苍润沉雄。既复刻出江南山水的平淡天真，又以自家沉郁的笔墨个性，晕染出静穆悠深的文人逸韵，将古雅的南宗山水意趣，藏进层叠丘壑之间，尽显师法古人而自出机杼的笔墨功力。",[24,7,59,128,29,131,34,167,132,330,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed35309f91b562ef90167795d98467a8.jpg",[],{"id":69634,"slug":69635,"title":409,"dynasty":54,"author":6936,"museum":300,"description":69636,"tags":69637,"thumbUrl":69638,"material":84,"size":84,"collection":84,"collections":69639,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},236865,"shan-shui-ce-wang-yuan-qi-236865","此作以干笔皴擦，淡墨晕染，铺展江南幽寂丘壑。近滩苇草丛生，茅庐傍树而栖，溪谷穿林而过，将山林层次次第铺陈，远山以淡墨轻笼，浑朴苍润。\n笔墨追踵元人，笔力苍劲内敛，墨色干湿浓淡相济，层层积染间尽显山川浑厚华滋。右上角题识与画面相映，文气盎然，将静穆淡远的山水意趣融于方寸册页，尽显正统山水画的雅逸格调，于细微尺幅间写尽胸中丘壑，藏纳文人画的沉静襟怀。",[24,7,59,128,132,29,34,131,99,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48af61fb62a3016e581cf57022cb0fda.jpg",[],{"id":69641,"slug":69642,"title":409,"dynasty":54,"author":6936,"museum":300,"description":36556,"tags":69643,"thumbUrl":69644,"material":692,"size":1293,"collection":84,"collections":69645,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},236861,"shan-shui-ce-wang-yuan-qi-236861",[24,7,59,128,27,29,132,34,131,499,98,1515,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9941d5d26c596ea3953f0b0f34a6302f.jpg",[],{"id":69647,"slug":69648,"title":69649,"dynasty":54,"author":223,"museum":300,"description":69650,"tags":69651,"thumbUrl":69652,"material":84,"size":84,"collection":84,"collections":69653,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},236706,"huang-ge-song-shi-shan-yi-ming-236706","黄阁松石扇","此作用淡墨挥写松石，古松主干虬曲扭转，疤结嶙峋尽显风霜姿态，松针攒簇如聚，笔力苍劲老辣，将古松傲骨全然彰显。淡墨晕染山石，与苍松相映，留白恰到好处，空灵悠远。\n\n左侧题诗以书入画，笔墨与诗文相融，尽显文人雅致。整幅扇面以极简水墨托物言志，借苍松石畔的清寂之景，寄寓了文人隐逸高旷的襟怀，古意盎然，寥寥数笔便将松柏坚韧超拔的品格勾勒尽致，意境清寂高古。",[24,7,1131,128,133,208,171,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ebeebb9f699c9ab69fa016e3fe22e00.jpg",[],{"id":69655,"slug":69656,"title":40707,"dynasty":124,"author":69657,"museum":300,"description":69658,"tags":69659,"thumbUrl":69660,"material":692,"size":1293,"collection":84,"collections":69661,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},236690,"shan-shui-shan-zheng-yuan-xun-236690","郑元勋","郑元勋（1598-1645年），字超宗，号惠东，扬州广陵(今扬州市广陵区)人。明末画家，江左名流。\n崇祯十六年(1643年)，考中进士，官至清吏司主事。工诗善画，善山水，宗于吴镇，尤工山水小景，措笔洒落，士气得韵。\n顺治二年，“因悍镇分地临扬，欲纾难而出语小误，为众击惨死，时论惜之，卒年四十七”。（参见徐沁《明画录》卷五记载）",[24,7,1131,128,132,29,413,131,415,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F922e65e34deded605e999c2d99c2a359.jpg",[],{"id":69663,"slug":69664,"title":27148,"dynasty":54,"author":27149,"museum":20,"description":27150,"tags":69665,"thumbUrl":69666,"material":84,"size":84,"collection":84,"collections":69667,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},236652,"cha-shi-biao-shu-fa-ti-wang-zhi-rui-shan-shui-ce-wang-zhi-rui-236652",[24,7,59,128,133,29,131,34,208,132,64,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eecc2f67a5185582e004eb2e8907616.jpg",[],{"id":69669,"slug":69670,"title":409,"dynasty":124,"author":52407,"museum":300,"description":69671,"tags":69672,"thumbUrl":69673,"material":84,"size":20,"collection":136,"collections":69674,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},236605,"shan-shui-ce-ye-xiang-rong-236605","此作以半边构图铺陈冬日山居，山石以枯淡笔墨勾勒皴擦，留白晕染出覆雪寒山的清冽质感。几株老松虬枝斜出，残叶萧疏，衬出山野冬意沉寂。山谷间屋舍俨然，隐于林泉褶皱里，烟火气融于萧寒山色，静穆闲雅。左侧留白空灵疏阔，与右侧实景虚实相生，将冬日山野的幽冷清寂与山居的安和静逸相融，笔墨简淡秀润，淡墨轻岚里晕染出文人寄情林泉的澹远襟怀，尽显冬日山林萧疏淡远的意境。",[164,24,7,59,27,132,29,496,131,35,34,1337,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec8b92f9e4c64968e485897bfde74259.jpg",[136,117],{"id":69676,"slug":69677,"title":20295,"dynasty":54,"author":1311,"museum":20,"description":19660,"tags":69678,"thumbUrl":69679,"material":84,"size":84,"collection":84,"collections":69680,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},236585,"lan-mei-ce-wang-shi-shen-236585",[24,7,59,188,128,375,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a76fa9be9e56523ac0fc97e401588f4.jpg",[],{"id":69682,"slug":69683,"title":20295,"dynasty":54,"author":1311,"museum":20,"description":19660,"tags":69684,"thumbUrl":69685,"material":84,"size":84,"collection":84,"collections":69686,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},236584,"lan-mei-ce-wang-shi-shen-236584",[164,24,7,59,188,375,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff652098a2538e491a2e6680049b33205.jpg",[],{"id":69688,"slug":69689,"title":20295,"dynasty":54,"author":1311,"museum":20,"description":19660,"tags":69690,"thumbUrl":69691,"material":84,"size":84,"collection":84,"collections":69692,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},236581,"lan-mei-ce-wang-shi-shen-236581",[24,7,59,128,188,371,375,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ddf80ca4d2e53cd16cbdccfbc710c3.jpg",[],{"id":69694,"slug":69695,"title":69696,"dynasty":54,"author":223,"museum":300,"description":69697,"tags":69698,"thumbUrl":69699,"material":84,"size":84,"collection":136,"collections":69700,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},236553,"fu-rang-shan-shui-tu-shan-yi-ming-236553","傅让山水图扇","此作用笔简淡萧疏，近景寒林枯槎错落，枝桠虬曲苍劲，茅庐隐于林间，暗合幽居野逸之趣。平湖横陈如镜，将远近山岚轻揽入怀，中景山峦以渴笔慢皴，矾头苍润，带着清远的文人意趣。\n\n全幅墨色干湿互济，以枯淡墨色绘尽荒寒之境，右上角题字清隽，与山水意境相融相生。整体章法疏朗简净，暗承元人山水遗风，不见浓墨重彩，只以淡墨轻岚晕染出幽寂的林下之思，静穆之间仿若可听林风穿林、平湖漾波，将文人寄情丘山的闲逸尽藏于尺幅之中。",[24,7,1131,128,132,29,130,1337,171,415,3427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ac7ecfd72b7c604eda646d2f6a7b138.jpg",[136],{"id":69702,"slug":69703,"title":69704,"dynasty":54,"author":69705,"museum":300,"description":69706,"tags":69707,"thumbUrl":69708,"material":84,"size":84,"collection":136,"collections":69709,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},236507,"sun-shan-shui-ce-wang-ji-236507","孙山水册","王诘","王诘（1813-1889），号兰峰，上虞人，清代画家。工写意人物。中年游楚地，适遇湖广总督官文方微服出访，受特邀襄理营务，允参赞事务却不受官职。诘生性恬适，淡泊名利，以画自给，终生未娶。尝建“仙枣亭”于武昌，着僧衣隐居，自称“衲衣翁”；受命监修黄鹤楼，又于洛阳渡口立“雾云亭”；往游南岳衡山，建“会仙亭”于山麓；游洞庭湖，立“留仙亭”。光绪十四年（1888），上虞大水，募集二千余金救济灾民。翌年，在汉口去世，后归葬上虞梁湖。",[164,24,7,59,128,27,29,663,228,34,35,171,415,37,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60c33fe3c63a07639da94923c962c0cc.jpg",[136,45],{"id":69711,"slug":69712,"title":16826,"dynasty":124,"author":40715,"museum":20,"description":54053,"tags":69713,"thumbUrl":69714,"material":611,"size":54056,"collection":84,"collections":69715,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},236495,"shan-shui-ren-wu-ce-guo-fen-ya-236495",[24,7,59,128,27,188,96,1144,171,29,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41f10ef13b1e2178bbe658583b35a03a.jpg",[],{"id":69717,"slug":69718,"title":69719,"dynasty":54,"author":63332,"museum":300,"description":63333,"tags":69720,"thumbUrl":69721,"material":692,"size":1293,"collection":84,"collections":69722,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},236470,"zhao-zi-gu-qin-shan-lin-shu-236470","昭子鼓琴扇",[24,7,1131,27,128,96,29,438,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bd4c713813222f55ba669fbd60bb522.jpg",[],{"id":69724,"slug":69725,"title":58649,"dynasty":54,"author":16583,"museum":300,"description":54077,"tags":69726,"thumbUrl":69727,"material":84,"size":84,"collection":136,"collections":69728,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},236423,"wu-song-tu-zhou-gao-qi-pei-236423",[24,7,165,29104,128,133,372,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce50543a85b6e588c780a89341c20be.jpg",[136,45],{"id":69730,"slug":69731,"title":26956,"dynasty":124,"author":10922,"museum":300,"description":67295,"tags":69732,"thumbUrl":69733,"material":84,"size":84,"collection":84,"collections":69734,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},236409,"xiao-xiang-ba-jing-ce-wen-jia-236409",[24,7,59,128,27,29,129,99,331,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccacf44e1f4a322f23acbfb295a70237.jpg",[],{"id":69736,"slug":69737,"title":69738,"dynasty":124,"author":69739,"museum":300,"description":69740,"tags":69741,"thumbUrl":69742,"material":692,"size":1293,"collection":84,"collections":69743,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},236297,"hua-shi-shan-ye-zhang-cheng-long-236297","花石扇页","张成龙","张成龙[明]，字白云，大梁（今河南开封）人。善山水，临摹名画，久而弥化。",[24,7,1131,128,547,1314,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56aa4632af193b0bebc4f9489c73871c.jpg",[],{"id":69745,"slug":69746,"title":69747,"dynasty":54,"author":675,"museum":300,"description":27158,"tags":69748,"thumbUrl":69749,"material":84,"size":84,"collection":68,"collections":69750,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},236199,"hua-shan-shui-wang-ji-hua-shu-xiao-qing-fan-zhou-xi-hu-zuo-shi-cheng-shan-qian-wei-cheng-236199","画山水王际华书晓晴泛舟西湖作诗成扇",[24,7,1131,128,27,29,34,4363,1144,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17a3980daf0eaba67e8fbfe59aae5fbb.jpg",[68,117],{"id":69752,"slug":69753,"title":54084,"dynasty":54,"author":36329,"museum":20,"description":54085,"tags":69754,"thumbUrl":69755,"material":514,"size":54088,"collection":84,"collections":69756,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},236151,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236151",[24,7,59,27,28,96,29,101,572,64,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb696297d6381471b6197b93f6a2b52.jpg",[],{"id":69758,"slug":69759,"title":42489,"dynasty":54,"author":523,"museum":300,"description":69760,"tags":69761,"thumbUrl":69762,"material":84,"size":84,"collection":84,"collections":69763,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},236102,"hua-luo-han-ce-leng-mei-236102","左文右图，书画合璧。右侧工笔人物刻画精微，安坐者神态澄和淡然，须发勾勒丝丝入微，衣纹晕染雅致华贵，尽显静穆端方的气韵。环绕的仕女身姿柔婉恭谨，器物装饰细节精工繁复，衬得场面愈发庄重清远。\n\n左侧小楷秀雅隽美，笔致匀停舒展，墨色清和，与画意禅韵相得益彰。整幅作品工细雅致，将工笔的精妙与禅意的清远融于一处，兼具笔墨文趣与静谧庄严的庙堂之气，意蕴悠长。",[24,7,164,28,27,188,187,96,4437,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe302ba81d92cf1ef2749dffee1845166.jpg",[],{"id":69765,"slug":69766,"title":409,"dynasty":54,"author":69767,"museum":300,"description":69768,"tags":69769,"thumbUrl":69770,"material":84,"size":84,"collection":84,"collections":69771,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},236082,"shan-shui-ce-shen-zong-jing-236082","沈宗敬","这幅册页以水墨铺就林泉幽境。近岸坡石以披麻皴写就，苍润厚重，成列长松拔地而起，干挺叶繁，带着萧森清旷之气。中景溪桥横卧，浅滩萦回，留白晕出空濛水色，将尺幅拉伸出悠远纵深感。远山含黛，淡墨轻扫，晕染出烟岚浮动的空寂。\n\n整幅笔力苍秀兼具，墨色干湿浓淡相宜，既有元人山水的淡远萧疏，又带着沉稳规整的笔墨法度，将山林幽寂、水村闲淡的意趣缓缓铺陈，观之如临深谷，似可听松涛漱石，静享林泉丘壑间的幽居雅韵。",[164,24,7,128,59,132,208,29,167,98,99,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc69b3afb5f266263aa27eedc10309db.jpg",[],{"id":69773,"slug":69774,"title":18219,"dynasty":54,"author":223,"museum":300,"description":69775,"tags":69776,"thumbUrl":69777,"material":84,"size":84,"collection":84,"collections":69778,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},236068,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236068","以淡墨晕开烟岚，将山峦笼在轻霭之中，主峰巍峨苍润，苔点皴擦勾勒出山石古拙肌理，尽显厚重质感。山腰松林攒簇，枝桠灵动似携山风簌簌有声。幽谷间村舍隐于林木，流泉绕石潺湲，将山居野逸之趣藏于尺幅之间。\n\n此作用笔兼取干湿，干笔皴擦见山石苍劲，湿墨晕染铺就空濛底色，浅淡设色含蓄温润，暗合宋元山水的林下余韵，将江南山水的温润空濛凝缩于册页。不见雕琢匠气，只留幽寂淡远的文人意趣，观之便如身临空山，听松涛泉响，涤尽俗尘。",[24,7,59,128,132,330,29,131,34,37,99,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fdcf654195c2227b0a54329bda003c3.jpg",[],{"id":69780,"slug":69781,"title":69782,"dynasty":124,"author":35676,"museum":300,"description":69783,"tags":69784,"thumbUrl":69785,"material":84,"size":84,"collection":84,"collections":69786,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},236024,"ren-wu-tu-ce-mo-shi-he-zhou-fa-wen-nan-shou-mao-weng-236024","人物图册－摹失和州法","此作以淡墨轻色铺陈园林幽境，陂岸蜿蜒，修竹掩映水榭，塘间清寂空阔。持杖老者缓行于岸侧，衣袂飘然，似乘闲寻幽，将林泉漫步的安闲意趣晕染开来。\n\n画面留白疏朗，笔致松秀简淡，以极简笔墨勾勒出清旷雅致的隐逸氛围。搭配左侧行书题诗，诗书合璧，尽显文雅。整体淡远冲和，将文人寄情山水、耽于丘园的雅怀融于尺幅间，意韵悠长，尽显文人画抒情寄兴的悠然风貌。",[24,7,59,27,128,330,133,96,167,758,1023,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa74c819dd7ff3bc5f315bc7c0fcf5cac.jpg",[],{"id":69788,"slug":69789,"title":4071,"dynasty":54,"author":5879,"museum":300,"description":59277,"tags":69790,"thumbUrl":69791,"material":692,"size":1293,"collection":84,"collections":69792,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},236005,"hua-hui-tu-ce-hua-yan-236005",[24,7,164,59,27,28,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04073fe8ae1ea3053f0bb63aeea839e8.jpg",[],{"id":69794,"slug":69795,"title":4071,"dynasty":54,"author":5879,"museum":300,"description":59277,"tags":69796,"thumbUrl":69797,"material":692,"size":1293,"collection":84,"collections":69798,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},236003,"hua-hui-tu-ce-hua-yan-236003",[24,7,59,27,61,62,582,549,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2427aa512035cbb993a01c78f18877b.jpg",[],{"id":69800,"slug":69801,"title":54100,"dynasty":54,"author":54101,"museum":300,"description":69802,"tags":69803,"thumbUrl":69804,"material":84,"size":84,"collection":84,"collections":69805,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},235998,"hua-guo-tu-ping-zhou-shu-xi-235998","此帧枇杷写生清丽写实，枝桠朴拙苍润，叶片以青绿晕染，将阴阳向背的层次晕染分明，枇杷颗颗饱满娇黄，似能触到鲜果的莹润质感，将初夏佳实的鲜活生机尽显笔底。\n\n搭配的题跋楷行相间，笔致端秀雅致，将枇杷物性考据与绘事相融，书画相映，尽显娴静文心。融写实绘艺、清雅翰墨与博物学识为一体，尽显闺阁画师的细腻情思，是兼具审美与考据价值的雅致小品。",[24,7,27,28,61,918,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa0c3653bbe05b19115fe65e38baa287.jpg",[],{"id":69807,"slug":69808,"title":409,"dynasty":124,"author":21412,"museum":300,"description":69809,"tags":69810,"thumbUrl":69811,"material":84,"size":84,"collection":84,"collections":69812,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},235976,"shan-shui-ce-cheng-jia-sui-235976","此作用笔枯淡疏简，以大片留白晕染出寒江空濛的冬日萧瑟。虬曲枯松临水而立，枝桠间尽显萧寒之态。江岸之上，策蹇童子伴同醉意老翁缓缓徐行，晕开风雪初歇的倦归意趣。\n\n左侧题诗行书清隽疏朗，诗画相映成趣。以文衬景，将寄梅相思的幽怀融于萧索山水间，尽显晚明文人画以意境为先的雅逸风骨，淡墨间藏尽清冷疏旷的林下幽情，把失意文人避世闲怀悄然晕染在尺幅之间。",[24,7,128,133,132,59,29,1144,96,497,211,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c56e66760a4cc0442a11737c23173bb.jpg",[],{"id":69814,"slug":69815,"title":409,"dynasty":124,"author":21412,"museum":300,"description":69816,"tags":69817,"thumbUrl":69818,"material":84,"size":84,"collection":84,"collections":69819,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},235974,"shan-shui-ce-cheng-jia-sui-235974","此作以水墨淡写江景，浅墨晕染岸边苇丛，扁舟扬帆泛于空阔江面，舱中人物隐约可见，大片留白衬出江天寥廓清寂。\n搭配左侧行书题诗，笔致隽秀舒展，诗画相映，将江上渔歌忽断、鹭鸟星散的幽寂意境铺陈开来。\n全作用笔简淡空灵，不施浓彩，尽显萧散淡远之致，把羁旅怅惘与江天沉静相融，淡墨轻岚间藏着幽怀远思，是诗画合一的文人小品，笔墨极简却意蕴悠长。",[24,7,59,128,133,29,129,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F512e96132a9f826764e43acc79525bd7.jpg",[],{"id":69821,"slug":69822,"title":69823,"dynasty":54,"author":223,"museum":300,"description":69824,"tags":69825,"thumbUrl":69826,"material":84,"size":84,"collection":68,"collections":69827,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},235884,"yuan-ji-hua-hui-tu-ce-yi-ming-235884","原济花卉图册","此作用水墨写意绘梅，运笔老辣纵恣。虬曲枝桠以焦墨枯笔写就，顿挫间尽显苍古拙劲，宛若经霜老干。花朵以淡墨晕染花形，浓墨点簇花蕊，虚实相映，将寒梅的清雅疏朗尽数铺展。留白空灵透气，愈发衬出梅之孤高清逸。\n题款与朱印错落点缀，添衬文雅意趣。整幅以少胜多，墨色干湿浓淡间尽显写意精神，将花木神韵与文人逸气相融，寥寥数笔便让梅的傲骨泠然浮现，暗香仿佛随笔墨浮动，尽显中式水墨的写意精妙。",[24,7,59,128,61,650,582,1039,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68f9050df817c203e38108fb9c6e9289.jpg",[68],{"id":69829,"slug":69830,"title":69831,"dynasty":54,"author":44552,"museum":300,"description":69832,"tags":69833,"thumbUrl":69834,"material":84,"size":84,"collection":84,"collections":69835,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},235875,"cheng-cha-zhou-cheng-sui-235875","乘槎轴","此作用笔枯涩苍劲，以一隅之景写尽江天寥廓。近岸怪石槎桠、荒木萧疏，大片留白铺陈寒江，一扁舟随波独行，远景平峦以淡墨轻扫，恍如蜃气浮空。\n\n画幅左上题满诗文，金石质感的书法与简逸山水相映，诗画合璧，将幽人避世的襟怀融于尺幅。枯笔焦墨褪去妍丽，只留清寂淡然，似将尘嚣尽数隔绝于江外，独乘浮槎，与天地沧浪对晤，尽显冷逸超迈的出世之思。",[7,24,128,29,64,208,133,132,129,1233,331,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7604bb2aef552bc42153652a7bbcb7c5.jpg",[],{"id":69837,"slug":69838,"title":69839,"dynasty":124,"author":69840,"museum":300,"description":69841,"tags":69842,"thumbUrl":69843,"material":84,"size":84,"collection":84,"collections":69844,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},235844,"jin-shan-tu-ye-wang-gu-xiang-235844","金山图页","王谷祥","此作用笔极简，右侧设色清浅柔润，以青绿轻染江心孤丘，苍松错落覆于山巅，寥寥数笔点出江中片帆、汀渚小石，大幅留白铺陈出扬子江的空阔辽远，将金山浮于江心的缥缈灵秀尽数展现。\n\n左侧行书题跋笔意隽秀挺劲，文辞详述金山形胜，书画合璧，以文衬景，把江南名刹的烟水诗意娓娓道来，淡墨轻岚间藏着悠远清宁的山水逸情，尽显淡雅疏朗的文人审美意趣。",[24,7,4437,128,27,133,64,29,663,34,130,228,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6c3a799516fa8158ff1c5f6ac466aec.jpg",[],{"id":69846,"slug":69847,"title":69848,"dynasty":124,"author":69849,"museum":300,"description":69850,"tags":69851,"thumbUrl":69852,"material":692,"size":1293,"collection":84,"collections":69853,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},235804,"dai-yue-qin-gong-tu-shan-ye-chen-guan-235804","岱岳秦宫图扇页","陈祼","陈祼（公元1563~约1639年），初名瓒，字叔祼，后去掉“叔”字，号道樗、白室，江苏吴县（今江苏苏州）人。善画山水，远宗赵伯驹、赵孟俯﹝赵孟頫﹞诸家，近师文征明。",[24,7,1131,128,96,1144,331,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F615973fe61084cc687dbfa7a60947cfa.jpg",[],{"id":69855,"slug":69856,"title":40707,"dynasty":124,"author":10922,"museum":300,"description":42506,"tags":69857,"thumbUrl":69858,"material":692,"size":1293,"collection":84,"collections":69859,"showCount":586,"zanCount":1998,"manualWeight":48,"mainColor":72},235786,"shan-shui-shan-wen-jia-235786",[24,7,1131,128,132,29,98,99,372,167,34,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ea2a9b91cd5486fbf9e952241e2334b.jpg",[],{"id":69861,"slug":69862,"title":1289,"dynasty":124,"author":16032,"museum":300,"description":20309,"tags":69863,"thumbUrl":69864,"material":692,"size":1293,"collection":84,"collections":69865,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},235690,"shan-shui-hua-hui-ce-xiang-sheng-mo-235690",[24,7,59,27,28,133,208,61,62,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60f114f1c1d66accec9468b22e9b3b9.jpg",[],{"id":69867,"slug":69868,"title":69869,"dynasty":54,"author":16583,"museum":300,"description":29102,"tags":69870,"thumbUrl":69871,"material":692,"size":1293,"collection":84,"collections":69872,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},235652,"zhu-qin-tu-zhou-gao-qi-pei-235652","竹禽图轴",[24,7,165,128,61,167,1400,208,29104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F522ed81173ccb5d46bb52e9450a4a88b.jpg",[],{"id":69874,"slug":69875,"title":4724,"dynasty":54,"author":9742,"museum":300,"description":69876,"tags":69877,"thumbUrl":69878,"material":84,"size":84,"collection":84,"collections":69879,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},235641,"shan-shui-tu-ce-wu-li-235641","这幅山水以淡墨晕染出空濛烟雨之境，层叠远山隐在烟霭间，虚实相生，将江南雨后的山岚雾气尽数铺展。近景村居错落依偎松林修竹，屋舍俨然，带着悠然野逸的田园意趣。笔墨松秀苍润，以留白衬出烟林清润的朦胧质感，既有元人山水的萧散简淡，又晕染出温润的烟火暖意。边角题诗与笔墨意境呼应，诗画交融，将文人幽居林泉的理想铺陈开来，整体清和淡远，藏着静穆安宁的山居诗意，尽显江南山林雨后的静谧清润之美。",[24,7,59,128,29,663,413,35,130,37,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9887841a41a50cb5eb71badbb3c5ccfe.jpg",[],{"id":69881,"slug":69882,"title":4724,"dynasty":54,"author":9742,"museum":300,"description":69883,"tags":69884,"thumbUrl":69885,"material":84,"size":84,"collection":84,"collections":69886,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},235640,"shan-shui-tu-ce-wu-li-235640","此作以淡墨铺陈萧寂冬景，近间篱舍环围，寒木枯槎掩映山居，小径蜿蜒通幽，自有阒寂安闲之趣。平湖如镜横亘画幅，对岸危崖壁立，飞瀑垂落，以干笔皴擦写出山石苍劲肌理，淡墨晕染出秋水空蒙。\n\n左上角题诗与印信呼应画面意境，构图疏密得当，笔意朴厚温雅，不着艳色，以水墨尽绘林泉幽致，将文人寄情山水、静享林下的意趣融于尺幅之间，意境淡宕悠远。",[164,24,7,59,128,132,208,29,1337,1023,2668,131,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5600b17ebd9e80b097225499fdc4e8c4.jpg",[],{"id":69888,"slug":69889,"title":20347,"dynasty":54,"author":44543,"museum":300,"description":69890,"tags":69891,"thumbUrl":69892,"material":84,"size":84,"collection":84,"collections":69893,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},235555,"shan-shui-tu-zhou-fang-shi-shu-235555","此作用笔苍秀，以干笔皴擦铺陈山峦肌理，淡墨晕染出山岚清润，层层峰岭自远及近次第铺展，留白处云烟萦绕，将高远、平远之境相融，尽显山川浑厚华滋之态。\n\n近取景致生动，溪桥村舍错落林间，田埂蜿蜒、林木扶苏，带着江南乡野的温润烟火，隐见山居幽闲之趣。右上角题诗入画，诗境呼应山色，文气糅合笔情墨韵，将文人耽恋林泉的隐逸襟怀藏入苍林烟霭，清寂淡远，尽显山水间的静穆诗意。",[24,7,165,128,27,29,663,228,34,35,98,1645,664,3857,1144,9164,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3983639ac95ee53718e2c68a08aeaa3f.jpg",[],{"id":69895,"slug":69896,"title":69897,"dynasty":124,"author":223,"museum":300,"description":69898,"tags":69899,"thumbUrl":69900,"material":692,"size":1293,"collection":84,"collections":69901,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},235529,"lu-zhi-ju-qu-chun-xiao-ye-yi-ming-235529","陆治具区春晓页","此作为金笺扇面淡设色山水，以虚实相生之法铺陈意境。左侧层岩叠嶂，皴笔清刚爽利，山间柳丝拂垂，山居隐于林麓间，晕染出春日融融暖意。右侧则留白写意湖天浩渺，汀渚远岫轻描淡写，漾出水乡春晓空阔清灵的韵致。题识与朱印错落排布，书画印相映成趣，尽得文人山水的简雅逸趣，将江南春晓的温婉诗意凝于尺幅之间，淡冶雅致，尽显悠远超脱的林下之风。",[164,24,7,1131,27,132,29,34,131,130,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbfe6d46d5f07787ea6aef707f51c64d.jpg",[],{"id":69903,"slug":69904,"title":10613,"dynasty":54,"author":1460,"museum":300,"description":69905,"tags":69906,"thumbUrl":69907,"material":84,"size":84,"collection":84,"collections":69908,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},235521,"yuan-ji-shan-shui-tu-ce-shi-tao-235521","此作以水墨晕染江南烟岚之景，右侧林木以湿墨点簇，层叠枝叶浑茫蓊郁，林麓深处隐现屋舍，藏山居野逸之趣。远山以淡墨轻笼，化作烟霭中朦胧黛影，与留白水色融成空濛辽远之境。\n\n左侧题诗与画境呼应，笔墨文心相融，虚实相生间铺展出温润朦胧的山水意致。绘者不拘成法，泼染兼施，以萧散简淡的笔致，将天地清逸灵秀与林下幽居的自在襟怀融为一体，尽显文人山水的雅致逸韵。",[24,7,164,59,128,132,1009,208,29,34,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc13a2871174db5294ca190206f1e548.jpg",[],{"id":69910,"slug":69911,"title":10613,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":69912,"thumbUrl":69913,"material":692,"size":1293,"collection":84,"collections":69914,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},235518,"yuan-ji-shan-shui-tu-ce-shi-tao-235518",[24,7,128,59,132,29,276,211,130,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f0cd6d5b1ed5c33a810caed58cc099c.jpg",[],{"id":69916,"slug":69917,"title":409,"dynasty":54,"author":17240,"museum":300,"description":26583,"tags":69918,"thumbUrl":69919,"material":692,"size":1293,"collection":84,"collections":69920,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},235510,"shan-shui-ce-cha-shi-biao-235510",[24,7,59,128,132,29,331,171,211,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b312110167ea19a7bcb1408e6f3b2b7.jpg",[],{"id":69922,"slug":69923,"title":22264,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":69924,"thumbUrl":69925,"material":692,"size":1293,"collection":84,"collections":69926,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},235485,"huang-shen-shu-guo-tu-ce-huang-shen-235485",[24,7,59,128,27,840,208,4250,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F488974dab97e661db746f88c4de6b5e5.jpg",[],{"id":69928,"slug":69929,"title":409,"dynasty":124,"author":38263,"museum":300,"description":38264,"tags":69930,"thumbUrl":69931,"material":692,"size":1293,"collection":84,"collections":69932,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},235348,"shan-shui-ce-zhang-fu-yang-235348",[24,7,59,128,29,96,133,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa890c4220ad7d79135a1f7b85307cfde.jpg",[],{"id":69934,"slug":69935,"title":31332,"dynasty":54,"author":3750,"museum":300,"description":17621,"tags":69936,"thumbUrl":69937,"material":692,"size":1293,"collection":84,"collections":69938,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},235344,"fang-gu-shu-hua-ce-wang-jian-235344",[24,7,59,27,128,29,98,99,130,34,131,35,64,208,132,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F802836747d6adab8d34e77331c97266c.jpg",[],{"id":69940,"slug":69941,"title":31332,"dynasty":54,"author":3750,"museum":300,"description":17621,"tags":69942,"thumbUrl":69943,"material":692,"size":1293,"collection":84,"collections":69944,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},235343,"fang-gu-shu-hua-ce-wang-jian-235343",[24,7,59,128,27,29,34,131,35,132,64,57836,1023,1337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42f6dadcd38fa9e4180ffab56f73e84d.jpg",[],{"id":69946,"slug":69947,"title":31332,"dynasty":54,"author":3750,"museum":300,"description":17621,"tags":69948,"thumbUrl":69949,"material":692,"size":1293,"collection":84,"collections":69950,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},235341,"fang-gu-shu-hua-ce-wang-jian-235341",[164,24,7,59,128,29,34,131,132,208,64,1023,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b6a5ad5c33b451d9f6cc18c8e380981.jpg",[],{"id":69952,"slug":69953,"title":31332,"dynasty":54,"author":3750,"museum":300,"description":17621,"tags":69954,"thumbUrl":69955,"material":692,"size":1293,"collection":84,"collections":69956,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},235338,"fang-gu-shu-hua-ce-wang-jian-235338",[24,164,7,59,27,128,132,133,64,29,98,99,331,496,34,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc233811ed793ba119337b4d341e256.jpg",[],{"id":69958,"slug":69959,"title":69960,"dynasty":54,"author":223,"museum":300,"description":69961,"tags":69962,"thumbUrl":69963,"material":84,"size":84,"collection":84,"collections":69964,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},235301,"gao-feng-han-xue-jing-shan-shui-tu-zhou-yi-ming-235301","高凤翰雪景山水图轴","此作用浅绛设色铺就雪冬胜景，以平远视角层层铺陈。近岸枯松虬劲、茅舍隐于坡坳，寒溪曲折穿绕山涧，将视线引向遥岑。山峦皆以淡墨晕染，留白托出覆雪，赭石轻敷坡麓，晕开雪后初霁的温润暖意。枯笔勾勒寒木，萧疏间尽显冬意萧寒。\n\n画面题诗与绘境相融，文气浸润山水，把冬日山野的辽远空寂，幽居的静穆淡远尽数铺展。简淡笔法写尽冷逸雅致，将文人幽栖林下的安然意趣，藏进这片素裹山河之中，尽显清旷出尘的冬日诗意。",[24,7,165,27,29,1813,663,228,1144,4363,35,96,31,17726,1337,497,54854,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc86f7786a0e780b5ff66b2cd24fe16.jpg",[],{"id":69966,"slug":69967,"title":76,"dynasty":124,"author":41661,"museum":300,"description":41662,"tags":69968,"thumbUrl":69969,"material":692,"size":1293,"collection":84,"collections":69970,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},235263,"hua-hui-ce-wang-gu-xiang-235263",[24,7,59,128,27,61,81,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bff80a7c14fceac9cd2eecc6ad5600f.jpg",[],{"id":69972,"slug":69973,"title":76,"dynasty":54,"author":3403,"museum":300,"description":8089,"tags":69974,"thumbUrl":69975,"material":692,"size":1293,"collection":84,"collections":69976,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},235198,"hua-hui-ce-wu-chang-shuo-235198",[24,7,164,59,27,128,369,61,2334,3114,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbea3324904d93a5b3219a683d54eb0fc.jpg",[],{"id":69978,"slug":69979,"title":4724,"dynasty":54,"author":5879,"museum":300,"description":69980,"tags":69981,"thumbUrl":69982,"material":84,"size":84,"collection":84,"collections":69983,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},235071,"shan-shui-tu-ce-hua-yan-235071","此作用淡墨晕染出江南水乡之景，近岸芦苇轻曳，矮树傍临村居屋舍，江波留白隐现水色空濛，远山层叠以淡墨晕开，氤氲间尽显清寂淡逸。画作线条秀雅灵动，摒弃繁复皴擦，以简淡笔墨勾勒出幽远澹泊的林下栖居之境，将山水野居相融，寄寓林泉高致。左侧题诗与画面相生相合，诗境衬映画中澹然意趣，诗画合璧尽显文人雅致审美，整体意境清和疏旷，尽显传统文人山水画的悠然意韵。",[24,7,59,128,132,29,413,167,35,415,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8c2278aaa9259d175772ba1ab608e8c.jpg",[],{"id":69985,"slug":69986,"title":39034,"dynasty":54,"author":20985,"museum":300,"description":65223,"tags":69987,"thumbUrl":69988,"material":734,"size":84,"collection":84,"collections":69989,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},235036,"hua-ji-chan-yin-tu-ce-xiao-chen-235036",[7,24,59,27,28,96,875,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51c3d06103a3ae3d6cc1121a87800f86.jpg",[],{"id":69991,"slug":69992,"title":69993,"dynasty":124,"author":26410,"museum":20,"description":69994,"tags":69995,"thumbUrl":69996,"material":84,"size":84,"collection":84,"collections":69997,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},235014,"le-zhi-lun-gui-qu-lai-ci-shu-hua-ce-zhang-rui-tu-235014","乐志论归去来辞书画册","该书画册为纸本，共11页，书及款7。页，墨笔画4页。\n题签：张二水书画合璧精品，渔隐题签。印文：骏叔。\n绘画部分题识：（一）白毫庵，瑞图作。印文：无画氏。（二）白毫庵，图。印文：张瑞图印。（三）白毫庵，图。印文：瑞图。（四）白毫庵，图。印文：瑞图。每页均有题句，其中两页录《归去来辞》句，其书分别为行书《乐志论》及“果亭山人瑞图”款；行书“归去来辞”。\n该作主要是以元代大画家黄公望的画法画出的，骨格苍劲，点染清逸，用笔颇有灵气，画面上山石、树木、楼阁、村舍皆刻划严谨，画境富于古意。其画皆山水，用笔秀逸，各有意境，颇得生机。\n第一幅绘雾松图，用的都是黄公望画法，第二幅溪桥雾霁图，画树法与王铎相仿，第三幅溪岸图，中锋行笔，超凡脱俗，落墨沉重，凛然生气，第四幅雪山寒松图，以偏锋笔力，劲健横撑，耸肩方折，风骨摇醉，恰似 他的那首诗句的境界：冻泉依细石，晴雪落长松。\n张瑞图（1570-1644），明代官员、书画家。字长公、无画，号二水、果亭山人、芥子、白毫庵主、白毫庵主道人等。汉族，晋江二十七都霞行乡人（今青阳镇莲屿下行）人。万历三十五年进士第三（探花），授翰林院编修，后以礼部尚书入阁，晋建极殿大学士，加少师。崇祯三年，因魏忠贤生祠碑文多其手书，被定为阉党获罪罢归。他以擅书名世，书法奇逸，峻峭劲利，笔势生动，奇姿横生，钟繇、王羲之之外另辟蹊径，为明代四大书法家之一，与董其昌、邢侗、米万钟齐名，有“南张北董”之号；又擅山水画，效法元代黄公望，苍劲有劲，作品传世极希。擅长行草书，书法奇逸，学钟、王。山水画学黄公望，苍劲有骨。与董其昌、邢侗、米万钟齐名，时称晚明四大家 。",[24,7,59,128,29,130,34,99,132,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9175b330d087781e104258966dc8b85d.jpg",[],{"id":69999,"slug":70000,"title":18219,"dynasty":54,"author":9529,"museum":300,"description":19697,"tags":70001,"thumbUrl":70002,"material":692,"size":1293,"collection":84,"collections":70003,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},234963,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234963",[24,7,59,128,132,330,29,413,98,99,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2c2256c7c79abd27570bee507128938.jpg",[],{"id":70005,"slug":70006,"title":18219,"dynasty":54,"author":9529,"museum":300,"description":19697,"tags":70007,"thumbUrl":70008,"material":692,"size":1293,"collection":84,"collections":70009,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},234961,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234961",[24,7,128,132,2271,59,29,34,131,98,99,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc97e93ee3df5c5120d255db227d823f.jpg",[],{"id":70011,"slug":70012,"title":48382,"dynasty":54,"author":223,"museum":20,"description":48383,"tags":70013,"thumbUrl":70014,"material":514,"size":19713,"collection":84,"collections":70015,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},234909,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234909",[24,7,59,27,26,132,29,131,34,37,30,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43b62b1e5bd3d7a5f2f180e1ad3242ac.jpg",[],{"id":70017,"slug":70018,"title":409,"dynasty":124,"author":40782,"museum":300,"description":70019,"tags":70020,"thumbUrl":70021,"material":84,"size":84,"collection":84,"collections":70022,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},234872,"shan-shui-ce-zhao-pu-234872","此作以水墨写意绘就空山春景，远山以淡墨披麻皴轻施晕染，似笼着薄雾轻烟，将山野空濛之态悄然铺展。近岸古木盘曲、修篁挺立，苔点错落点缀坡石，寥寥数笔便勾勒出林泉幽寂之致。\n\n左侧题字笔意疏朗秀逸，墨色浓淡层次分明，诗画相映成趣。整幅没有浓丽设色，纯以水墨写尽春日丘壑的澹远空灵，将文人寄情山水的林下风流藏于尺幅之间，淡而愈浓，简而弥长，尽显文人画以情入画、诗画相融的雅致意韵。",[24,7,59,133,128,29,171,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa07946324d8ab4adf4a14156f7fcd3b5.jpg",[],{"id":70024,"slug":70025,"title":70026,"dynasty":54,"author":9742,"museum":20,"description":70027,"tags":70028,"thumbUrl":70029,"material":84,"size":84,"collection":84,"collections":70030,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},234821,"qing-chu-liu-da-jia-ji-ce-shan-shui-ce-ye-wu-li-234821","清初六大家集册-山水册页","吴历（1632年—1718年），清代著名画家。本名启历，号渔山、桃溪居士。因所居有言子墨井，又号墨井道人。江苏常熟人。为“清初六家”之一。幼学画，稍长学琴。早年多与西人牧师、神父往来。1681年，吴历决意随柏应理神父赴罗马觐见教皇，原欲经澳门乘荷兰船赴欧洲，已至澳门，却未能成行，遂留居澳门约5个多月。1682年在澳门加入耶稣会，受洗名为西满·沙勿略，并遵习俗取葡式名雅古纳。常居圣保禄教堂，吟诗作画，有《渔山袖珍册》《白传湓江图卷》《秋山红叶图》等作品面世。此时他的绘画，明显有吸收西方绘画艺术之处。同时还著有《三巴集》，“三巴”即以其居地澳门圣保禄教堂之译音为名，其《澳门杂咏》30首，均与澳门有关，实为早期澳门重要的文学史料。1682年离澳，在江浙一带传教。卒于上海。",[24,7,59,128,29,129,99,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13d8c7036a760a53b283794514f30a12.jpg",[],{"id":70032,"slug":70033,"title":70034,"dynasty":124,"author":10922,"museum":20,"description":28002,"tags":70035,"thumbUrl":70036,"material":734,"size":28005,"collection":84,"collections":70037,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},234815,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-wen-jia-xi-yan-chi-tu-ye-wen-jia-234815","吴门诸家寿袁方斋三绝册-文嘉洗砚池图页",[24,7,59,27,64,29,96,4363,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F100d88eefd23d232afb913d921b8e093.jpg",[],{"id":70039,"slug":70040,"title":76,"dynasty":54,"author":63304,"museum":300,"description":63305,"tags":70041,"thumbUrl":70042,"material":692,"size":1293,"collection":84,"collections":70043,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},234778,"hua-hui-ce-wang-lu-234778",[24,7,59,128,61,376,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c1cc923a47fe9c54ae5ae40b582ba50.jpg",[],{"id":70045,"slug":70046,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":70047,"thumbUrl":70048,"material":734,"size":84,"collection":84,"collections":70049,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},234766,"huang-shan-tu-ce-jiang-zhu-234766",[24,7,59,128,132,64,133,208,29,171,99,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5dea837a9d05ce0a8212a104026573d.jpg",[],{"id":70051,"slug":70052,"title":54256,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":70053,"thumbUrl":70054,"material":84,"size":84,"collection":84,"collections":70055,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},234650,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234650",[24,7,59,188,128,29,97,1337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e6ae281bab731ccb23526b7cc5efbf0.jpg",[],{"id":70057,"slug":70058,"title":409,"dynasty":54,"author":17240,"museum":300,"description":45656,"tags":70059,"thumbUrl":70060,"material":84,"size":84,"collection":84,"collections":70061,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},234644,"shan-shui-ce-cha-shi-biao-234644",[24,7,59,128,133,29,413,130,98,99,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7e9d06e411b9b13d70f95bc92270295.jpg",[],{"id":70063,"slug":70064,"title":409,"dynasty":54,"author":17240,"museum":300,"description":45656,"tags":70065,"thumbUrl":70066,"material":84,"size":84,"collection":84,"collections":70067,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},234642,"shan-shui-ce-cha-shi-biao-234642",[24,7,59,128,133,64,29,413,131,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bd571a94f7c6223027c110d269704e0.jpg",[],{"id":70069,"slug":70070,"title":63331,"dynasty":54,"author":63349,"museum":300,"description":63350,"tags":70071,"thumbUrl":70072,"material":84,"size":84,"collection":84,"collections":70073,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},234613,"shan-shui-wan-shan-zhang-zhi-wan-234613",[24,7,164,1131,128,132,29,98,99,495,34,497,167,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4a8ec8604d5c6b10775e960b4391e4e.jpg",[],{"id":70075,"slug":70076,"title":70077,"dynasty":54,"author":70078,"museum":300,"description":70079,"tags":70080,"thumbUrl":70081,"material":84,"size":84,"collection":84,"collections":70082,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},234609,"chun-gou-ting-tu-wan-shan-yang-liu-gu-234609","春钩艇图纨扇","杨柳谷","杨柳谷清江苏常熟人。柳桥弟，画如其兄。\n按《韬养斋笔记》有杨念伯字柳谷，以字行。善画柳，设色参以西法，尤觉生动。山水清超绝俗，尤擅摹古。当为一人。嘉庆十八年（1813年）作山水图，现存北京故宫博物院。其一子，杨裕晖，字少古，善画，能续家法，稍逊乃翁。",[164,24,7,1131,27,132,29,4363,209,129,99,33,4364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d8acf6efc66be6f463452bc717e516a.jpg",[],{"id":70084,"slug":70085,"title":70086,"dynasty":54,"author":70087,"museum":300,"description":70088,"tags":70089,"thumbUrl":70090,"material":84,"size":84,"collection":84,"collections":70091,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},234592,"yu-tang-xian-pin-wan-shan-wu-guan-dai-234592","玉堂仙品纨扇","吴观岱","吴观岱近现代（1862―1929）名宗泰，又字念康，40岁改字观岱；号觚庐、洁翁，晚号江南布衣。生于清同治元年(1862年)，无锡人。\n吴观岱，初名宗泰，字念康，号洁翁，别号有小 梅花庵主、鱼陆散人、溪山画隐、觚饮道人等，江苏无锡人。工书善画，山水人物兼妙，尤擅画梅。为“江南四吴”之一。",[24,7,1131,128,371,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fdec221d18c1cd0e462b77dfba71b24.jpg",[],{"id":70093,"slug":70094,"title":70095,"dynasty":124,"author":18045,"museum":300,"description":9208,"tags":70096,"thumbUrl":70097,"material":84,"size":84,"collection":84,"collections":70098,"showCount":586,"zanCount":1998,"manualWeight":48,"mainColor":49},234566,"qian-gu-shan-shui-shan-qian-gu-234566","钱榖山水扇",[24,7,1131,128,132,29,98,34,131,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029b8b5681dd97bfa0a51a03620ac928.jpg",[],{"id":70100,"slug":70101,"title":70102,"dynasty":54,"author":70103,"museum":20,"description":70104,"tags":70105,"thumbUrl":70106,"material":84,"size":84,"collection":84,"collections":70107,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},234548,"mao-die-tu-zhou-chen-chong-guang-234548","耄耋图轴","陈崇光","陈崇光（1838—1896）原名召，字崇光，后改字若木、栎生，号纯道人，江苏扬州人。初为雕花工，后为虞蟾弟子。\n二十岁前曾参加太平天国革命，随虞蟾同在天京（今南京）绘制壁画。太平天国失败后回扬州，从洪福祥至各地画土地庙。曾客寓皖中蒯氏家，多见宋元名家真迹，力追古人，画艺锐进。工花鸟、人物、草虫、山水，尤长双钩花卉，为当时扬州大家。光绪十三年（1887）黄宾虹曾在扬州从其学花鸟画，受其影响至深，推崇其“极合古法，沉雄浑厚”。吴昌硕赞其“笔古法严，妙意从草篆中流出”。工诗，有一沤山馆选集。卒年五十八。\n传世作品有同治九年（1870）作《松鼠图》轴，著录于《中国书画家印鉴款识》；《麦间野雉图》等现藏扬州市博物馆；《花卉翎毛四条屏》图录于《中国书画报》。工诗，著有《一沤山馆选集》。",[24,7,165,128,27,369,1634,481,547,949,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F515aa50ab8e4688023a4fbb689ba2916.jpg",[],{"id":70109,"slug":70110,"title":70111,"dynasty":54,"author":9529,"museum":20,"description":70112,"tags":70113,"thumbUrl":70114,"material":10347,"size":70115,"collection":84,"collections":70116,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},234497,"xiu-zhu-you-ting-zhou-wang-hui-234497","修竹幽亭轴","王翚（1632—1717），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江苏常熟人。清代著名画家，著有《清晖画跋》。其画法精能、风格多样，在清代极负盛名。尝于康熙三十年（1691）奉诏入京主持《康熙南巡图》的绘制，功成后受到皇太子胤礽召见。胤礽绘扇书以“山水清 晖”四字作为褒奖。时人目为画之正宗，尊称“画圣”。他与王时敏、王鉴、王原祁合称“四王”，又与吴历、恽寿平并称“清初六家”或“四王吴恽”。王翚追随者甚众，因常熟有虞山，故后人将他及其弟子一派称为“虞山画派”。\n王翚自幼嗜画，继承家学，很早便表现出非凡的绘画才能，师从王时敏、王鉴后，境界大进。一生画腊极长，精力旺盛，创作巨富。他笔墨功底深厚，长于摹古，几可乱真，又能不囿成法、师法自然。王翚虽然是职业画家，但与文人政要广泛交往，深受“文人画”精神影响，其山水力作往往构图多变、皴擦得法、格调明快，富有写生意趣及抒情性。王翚创作广采博览，集唐宋以来诸家之大成，于临仿中不断取舍，终能熔“南宗”“北宗”画法于一炉。在全面整理山水画传统技法的基础上，形成了具有个人风格的笔墨特点和概括性的构图法则，并提出“以元人笔墨，运宋人丘壑，而泽以唐人气韵”的论画主张，影响深远。但其晚年的程式化风格也颇为后人诟病，并为“虞山画派”后来的发展埋下了隐患。",[24,7,164,165,128,132,29,167,130,129,131,99,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc40584b392379435fae2f0f0f1741e.jpg","纵129.5cm，横43.3cm",[],{"id":70118,"slug":70119,"title":70120,"dynasty":54,"author":51146,"museum":20,"description":51147,"tags":70121,"thumbUrl":70122,"material":84,"size":84,"collection":84,"collections":70123,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},234464,"zhu-shi-qiu-mu-tie-luo-shen-zhen-lin-234464","竹石秋木贴落",[24,7,128,188,132,167,1314,331,171,29,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a82ab16ca030e25d29957577dca4f05.jpg",[],{"id":70125,"slug":70126,"title":70127,"dynasty":54,"author":223,"museum":300,"description":70128,"tags":70129,"thumbUrl":70130,"material":692,"size":1293,"collection":84,"collections":70131,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},234449,"qing-ren-wei-luo-wa-jin-gang-xiang-zhou-yi-ming-234449","清人威罗瓦金刚像轴","主尊通体钴蓝，正中牛首忿怒威严，九头层叠舒展，十六臂分持诸般法器，环抱明妃，足踏莲台，身缠烈烈背光火焰，将降伏邪魔的怖畏气势拉满。上方诸天护法身姿各异、神态端严，下方铺陈护法眷属与祥瑞地景。\n\n整幅设色浓丽饱满，石青、朱赤与赤金交晕，线条细密流畅，衣饰纹样繁而不乱，尽显精湛工笔造诣。构图层次井然，以炽热色彩烘托出密宗护法的慑人气场，将宗教神性与审美价值融于一体，是藏传佛教造像唐卡的上乘之作。",[164,24,7,165,187,27,28,96,49860,189,8189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ce941e1e260cdb1a2a914e885c88de.jpg",[],{"id":70133,"slug":70134,"title":13087,"dynasty":54,"author":13088,"museum":300,"description":13089,"tags":70135,"thumbUrl":70136,"material":84,"size":84,"collection":84,"collections":70137,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},234375,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234375",[164,24,7,59,27,61,376,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed3d14cfc337364087a6973bd38032ad.jpg",[],{"id":70139,"slug":70140,"title":4229,"dynasty":54,"author":5879,"museum":12686,"description":49590,"tags":70141,"thumbUrl":70142,"material":1027,"size":16301,"collection":84,"collections":70143,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},234315,"hua-niao-ce-hua-yan-234315",[164,24,7,59,128,27,61,171,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102a71eb4272a0601ceda8e081d8be8f.jpg",[],{"id":70145,"slug":70146,"title":70147,"dynasty":124,"author":70148,"museum":20,"description":70149,"tags":70150,"thumbUrl":70151,"material":1027,"size":70152,"collection":84,"collections":70153,"showCount":586,"zanCount":1998,"manualWeight":48,"mainColor":72},234255,"lian-hua-lao-tu-juan-zhou-guan-234255","莲花落图卷","周官","周官，今江苏苏州人，生卒年不想，大约生活在明中期，善画人物，精于白描。画中后面的那个人个子较高，目盲，背着琵琶，由前面一人用一根细杆牵引；前面那个人正回顾后者，他身上搭着布包，屈腰前行。\n莲花落是一种流传于民间的说唱曲艺艺术。表演者位一人或多人，自说自唱，用以伴奏的乐器称为“七件子”，即右手执两片大竹板，左手执五片小竹板。莲花落，一作莲花乐，源于唐、五代时的“散花月”，最早位僧侣募化时所唱的宣传佛教教义的警世歌曲，宋代开始流行于民间，盛行于明清，大多为盲人表演。",[23,24,7,25,188,128,96,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c1d952ce2747d5d22f310a8a0a1e7a.jpg","纵22厘米 横42.7厘米",[],{"id":70155,"slug":70156,"title":70157,"dynasty":124,"author":70158,"museum":20,"description":70159,"tags":70160,"thumbUrl":70161,"material":734,"size":84,"collection":84,"collections":70162,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},234237,"mei-hua-tu-juan-shu-jun-su-234237","梅花图卷","殳君素","殳君素，晚明画家。字质夫，江苏苏州人；师文嘉、钱谷，为入室弟子，有出蓝之美。古人涉山观水，常倚靠一根简便竹杖。因此，“携杖”几乎是中国文人山水画中高士、隐者的动作“标配”。",[23,24,7,25,128,133,840,208,371,331,582,1039,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c9fb05d15f30782dc4a115340379934.jpg",[],{"id":70164,"slug":70165,"title":70166,"dynasty":54,"author":9576,"museum":300,"description":70167,"tags":70168,"thumbUrl":70169,"material":734,"size":84,"collection":84,"collections":70170,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},234191,"xiang-mu-zhi-bu-jing-xiong-di-zhu-lin-xiang-juan-luo-pin-234191","项穆之补景兄弟竹林像卷","罗聘(1733—1799年)，字遯夫，号两峰，又号花之寺僧等。原籍安徽歙县，其先辈已迁居扬州。博闻好学，20余岁随金农学画，常为之代笔。曾三赴京师，因画《鬼趣图》轰动当时文坛，其才华横溢。人物、花鸟、山水兼善，画法受金农、石涛、华岩等人的影响，笔力雄厚，以清奇、拙奥、生冷见长。他所画人物造型准确，尤精于画鬼，借以揭露世态。花鸟尤以梅花突出，其妻方婉仪及子均工画梅，被称为罗家梅派。",[23,24,7,25,128,188,96,167,413,208,133,840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47abff1d1b94387afac381e7af98b587.jpg",[],{"id":70172,"slug":70173,"title":12323,"dynasty":124,"author":1058,"museum":300,"description":4630,"tags":70174,"thumbUrl":70175,"material":84,"size":84,"collection":84,"collections":70176,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},234116,"shan-shui-tu-juan-tang-yin-234116",[24,7,25,27,132,133,64,208,29,129,99,130,211,331,171,98,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17c60faca73548e694ea110cd96edf3b.jpg",[],{"id":70178,"slug":70179,"title":4491,"dynasty":182,"author":223,"museum":20,"description":70180,"tags":70181,"thumbUrl":70182,"material":514,"size":70183,"collection":84,"collections":70184,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},234037,"gong-yuan-tu-yi-ming-234037","此卷描绘古代宫苑中夏日景致，宫殿楼观、屋宇舟车纤若毫发，山石均以细笔勾出，略有皴斫，重青绿敷色，同时大量使用金线勾勒建筑物轮廓和网巾水纹，辉煌明丽，富有装饰性。此卷为吴瀛先生于1947年“倾囊得之”，1955年捐献故宫博物院，卷后有其长题，考定此卷为张丑《清河书画舫》中著录的“唐大李将军御苑采莲图”。后经有关学者考证，此卷为南宋人作，虽非出自李思训父子之手，但仍反映出早期青绿楼阁绘画的一些特点。",[24,7,4642,27,95,28,97,906,29,34,247,1515,758,4494],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F656bb14724eeca487c029c4fb834fec9.jpg","纵23.9厘米，横77.2厘米",[],{"id":70186,"slug":70187,"title":4229,"dynasty":54,"author":5879,"museum":12686,"description":16298,"tags":70188,"thumbUrl":70189,"material":66,"size":16301,"collection":84,"collections":70190,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},233948,"hua-niao-ce-hua-yan-233948",[24,7,59,128,27,369,355,2438,372,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37441e2049f3063c56504e99c7cf62ed.jpg",[],{"id":70192,"slug":70193,"title":4229,"dynasty":54,"author":5879,"museum":12686,"description":16298,"tags":70194,"thumbUrl":70195,"material":66,"size":16301,"collection":84,"collections":70196,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},233946,"hua-niao-ce-hua-yan-233946",[24,7,59,27,128,61,211,30800],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9254ec17c305bdf84959f036194b82f.jpg",[],{"id":70198,"slug":70199,"title":70200,"dynasty":124,"author":69614,"museum":20,"description":70201,"tags":70202,"thumbUrl":70203,"material":611,"size":84,"collection":84,"collections":70204,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},233855,"shi-hua-he-bi-ce-zhou-yong-233855","诗画合璧册","周用（1476—1547，一作1476-1548），字行之，号伯川，南直隶苏州府吴江县（今江苏省苏州市吴江区）人。弘治十五年（1502）进士，授行人。正德初，迁南京兵科给事中，进言谏迎佛事及镇守江西中官不法事，迁广东布政司参议。嘉靖中，历官南京工部、刑部尚书。九庙灾，自陈致仕。后以工部尚书总督河道，官至吏部尚书。\n周用，字行之，吴江人。弘治十五年进士。授行人。正德初，擢南京兵科给事中。父忧服阕，留补礼科。已，乞南。改南京兵科。谏迎佛乌斯藏及以中旨迁黜尚书、都给事中等官，且请治镇守江西中官黎安罪。出为广东参议，预平番禺盗，有功。历浙江、山东副使。擢福建按察使，改河南右布政使。代监司鞫南阳滞狱，狱为之空。嘉靖八年擢右副都御史，巡抚南、赣。召协理院事。历吏部左、右侍郎。以起废不当，尚书汪鋐委罪僚属，乃调用南京刑部。就迁右都御史，工、刑二部尚书。九庙灾，自陈致仕。用端亮有节概。既罢，中外皆惜之，频有推荐。久之，以工部尚书起督河道，数月，改漕运。未上，召拜左都御史。二品九年满，加太子少保。二十五年代唐龙为吏部尚书。明年卒官。赠太子太保，谥恭肃。曾孙宗建，自有传。\n用掌宪时，慎自持而已，无所献替。其后宋景、屠侨继之，大略皆廉洁，与用相似。景未久卒，而侨居职八年。属严嵩柄政，风纪不振。议丁汝夔狱，受杖不能去。",[24,7,59,128,132,96,331,131,171,45359],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1d378c5bb5d2e9457cf57b5aeda34e9.jpg",[],{"id":70206,"slug":70207,"title":70200,"dynasty":124,"author":69614,"museum":20,"description":70201,"tags":70208,"thumbUrl":70209,"material":611,"size":84,"collection":84,"collections":70210,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},233854,"shi-hua-he-bi-ce-zhou-yong-233854",[24,7,59,128,132,188,27,29,96,171,331,1022,1023,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33b239f8f751456574441785c55cb076.jpg",[],{"id":70212,"slug":70213,"title":409,"dynasty":124,"author":2268,"museum":20,"description":11927,"tags":70214,"thumbUrl":70215,"material":734,"size":5345,"collection":84,"collections":70216,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},233802,"shan-shui-ce-dong-qi-chang-233802",[24,7,59,128,29,413,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F554c42ef112494200aba5efc6ef761fb.jpg",[],{"id":70218,"slug":70219,"title":70220,"dynasty":124,"author":1058,"museum":20,"description":70221,"tags":70222,"thumbUrl":70223,"material":29194,"size":70224,"collection":84,"collections":70225,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},233798,"qiu-kui-tu-shan-ye-tang-yin-233798","秋葵图扇页","唐寅在扇页上重点刻画了三株茁壮的秋葵，并且通过诗文赞美了秋葵在寒霜气候及与杂草丛生、荆棘相伴的恶劣环境下，仍然“此中不改向阳心”的品质。从其咏物感怀的文辞中，可见他对人生的感悟和惆怅之情。全图笔墨技法娴熟，于灵动的勾描、晕染间自得疏散通脱的逸趣。\n扇页左右两边有唐寅友人孙益和与张衮的依韵和诗。整件作品图诗并茂，画作充满浓郁的文人书卷气。",[1131,24,7,128,133,208,746,171,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0a4cf7bc6b161625b30e13b2232420e.jpg","纵18.1厘米 ，横51.3厘米",[],{"id":70227,"slug":70228,"title":16041,"dynasty":54,"author":1460,"museum":20,"description":16042,"tags":70229,"thumbUrl":70230,"material":734,"size":16046,"collection":84,"collections":70231,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},233775,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233775",[24,7,164,4437,128,133,369,96,131,34,11998,57836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe59fcd12bb8e349f58148bff1682a02f.jpg",[],{"id":70233,"slug":70234,"title":70235,"dynasty":124,"author":204,"museum":20,"description":1523,"tags":70236,"thumbUrl":70237,"material":40,"size":22630,"collection":84,"collections":70238,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":199},233762,"ren-wu-gu-shi-ce-9-chou-ying-233762","人物故事册9",[164,24,7,59,28,27,29,96,1516,101,34,758,208,8189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff150a0f18d24abd56a8a4f1dc7a0f2.jpg",[],{"id":70240,"slug":70241,"title":70242,"dynasty":54,"author":1460,"museum":300,"description":14038,"tags":70243,"thumbUrl":70244,"material":1722,"size":14041,"collection":84,"collections":70245,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},233683,"yuan-ji-lan-zhu-ce-lan-zhu-shi-shi-tao-233683","原济兰竹册－兰竹石",[24,7,59,128,133,208,132,375,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F635dcd1c255c153d2eb6030b17e88b3e.jpg",[],{"id":70247,"slug":70248,"title":70249,"dynasty":54,"author":3043,"museum":20,"description":70250,"tags":70251,"thumbUrl":70252,"material":734,"size":70253,"collection":84,"collections":70254,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},233377,"hua-shen-lin-yuan-feng-shan-diao-tu-zhou-xu-gu-233377","画沈麟元篈山钓徒轴","图绘梅鹤双清之景。茁壮的梅树，其交错穿插的细枝和星星点点的花朵打破了画面的整体空间。作者着意在梅树干上绘两只仙鹤，它们淡然闲适的神态为画面增添了祥和的生趣，其平整的造型则统一了原本过于细碎的画面，由此可见作者巧于构思和化零为整的能力。",[24,7,165,128,27,96,29,171,99,1350,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec751d2727b05081fc4bed5c706e39f4.jpg","纵248.7厘米，横121.1厘米",[],{"id":70256,"slug":70257,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":70258,"thumbUrl":70259,"material":84,"size":84,"collection":84,"collections":70260,"showCount":586,"zanCount":1998,"manualWeight":48,"mainColor":72},233251,"shi-zhu-zhai-pu-ce-hu-ri-cong-233251",[24,7,59,188,128,61,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5231aa42ae5e14010d10a4f2bdf01a2c.jpg",[],{"id":70262,"slug":70263,"title":30553,"dynasty":54,"author":26483,"museum":20,"description":70264,"tags":70265,"thumbUrl":70266,"material":84,"size":84,"collection":84,"collections":70267,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},233229,"bao-shan-shi-jing-ce-wu-hong-233229","张宏(1577-1668年后)，字君度，号鹤涧。吴郡（今江苏苏州）人。工画山水，善用短促笔法和湿润墨色画山石树木，风格独特，构图常具新意。\n山周回绕，重冈复岭，茂林平野，钟梵相闻，谓为别境。苏州文人蔡羽曾隐于此，号林屋山人；王宠亦曾师事蔡羽，读书于包山精舍。\n为富含自然风光与人文意涵之胜境。 「林屋洞」、「消夏湾」、「柳毅井」三开。",[24,7,59,128,171,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62af1756d9dc8632822fc96b005a2036.jpg",[],{"id":70269,"slug":70270,"title":409,"dynasty":144,"author":14724,"museum":20,"description":32011,"tags":70271,"thumbUrl":70272,"material":734,"size":32014,"collection":84,"collections":70273,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},233173,"shan-shui-ce-cao-zhi-bai-233173",[24,7,59,128,132,29,1144,131,666,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b101776022611c4f83a7a7affa75b39.jpg",[],{"id":70275,"slug":70276,"title":70277,"dynasty":124,"author":125,"museum":20,"description":37362,"tags":70278,"thumbUrl":70279,"material":999,"size":37365,"collection":84,"collections":70280,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},233137,"ming-ren-xi-shan-sheng-jing-he-bi-ce-xin-guo-tu-ye-shen-zhou-233137","明人西山胜景合壁册-新郭图页",[24,7,59,128,29,98,99,35,34,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55f3bdabed4bfe76d9c471868a7a47b2.jpg",[],{"id":70282,"slug":70283,"title":70284,"dynasty":124,"author":1438,"museum":20,"description":37362,"tags":70285,"thumbUrl":70286,"material":999,"size":37365,"collection":84,"collections":70287,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},233135,"ming-ren-xi-shan-sheng-jing-he-bi-ce-zi-wei-cun-ye-chen-chun-233135","明人西山胜景合壁册-紫薇村页",[24,7,59,128,133,29,97,34,229,1645,6810,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29457c5afef79185ae2c06064d9f37a5.jpg",[],{"id":70289,"slug":70290,"title":70291,"dynasty":18,"author":223,"museum":20,"description":70292,"tags":70293,"thumbUrl":70294,"material":40,"size":70295,"collection":84,"collections":70296,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},232989,"chui-liu-fei-xu-tu-ye-yi-ming-232989","垂柳飞絮图页","图绘新绿垂柳四枝，袅袅生姿，柳絮似雪飞舞，透露无限春意。画中柳枝用中锋一笔画出；柳叶用细笔勾勒，并填以汁绿；柳絮用白粉信笔点之。全图用笔工整，赋色淡雅。构图疏密得体。上方垂下的柳枝与右侧伸出的柳枝将画面分割成形状不等的四部分，小中见大，引人遐思。图的左上方有宋宁宗皇后杨氏的题诗：“线捻依依绿，金垂袅袅黄”，并钤八卦中的“坤卦”形印。\n对幅有清乾隆皇帝御题诗一首：“庆元有杨后，可是出关西。画自女中佼，书将帝与齐。风枝如向日，雪絮不沾泥。设较谢家句，一筹当让亏。”钤“太上皇帝之宝”、“八徵耄念之宝”、“自强不息”等印。",[164,24,7,59,27,133,208,8538,548,56338],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50648bb942303a83842983bab83af9b7.jpg","纵25.8厘米，横26.4厘米",[],{"id":70298,"slug":70299,"title":70300,"dynasty":182,"author":63547,"museum":20,"description":63548,"tags":70301,"thumbUrl":70302,"material":999,"size":63551,"collection":84,"collections":70303,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},232982,"hua-liu-zun-zhe-xiang-ce-di-shi-yi-zu-cha-ba-na-ta-ga-zun-lu-leng-jia-232982","画六尊者像册-第十一租查巴纳塔嘎尊",[24,7,59,27,96,187,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefb83bb90caf43affb95f664f5386dde.jpg",[],{"id":70305,"slug":70306,"title":70307,"dynasty":54,"author":18944,"museum":300,"description":61453,"tags":70308,"thumbUrl":70309,"material":611,"size":84,"collection":84,"collections":70310,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},232682,"shu-fa-jing-xin-zi-pian-hong-yi-fa-shi-232682","书法镜心字片",[23,64,133,208,12488,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5154017fbfcfd27fad10c3f3d930f62f.jpg",[],{"id":70312,"slug":70313,"title":52114,"dynasty":144,"author":223,"museum":300,"description":70314,"tags":70315,"thumbUrl":70316,"material":514,"size":84,"collection":84,"collections":70317,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},231909,"san-ma-tu-yi-ming-231909","画面笼罩在沉朴古雅的暖褐烟霭之中，天地边界晕化成一片朦胧浑茫，将郊野的清寂荒旷铺陈开来。三匹骏马垂首啮草，姿态安闲松弛，身形以简练线条勾勒，筋骨宛然可见，墨色晕染区分出皮毛深浅，将马匹温顺静穆的神态尽数铺展。\n\n全幅无过多布景，以大片留白状似烟岚，以简驭繁，把秋日郊原的闲散一刻凝于绢素。带着散淡萧疏的意趣，不追工细却神韵自足，将悠远沉静的闲逸氛围晕染得淋漓尽致，淡远悠长的余韵弥于尺幅之间。",[24,7,27,101,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9478b80b54d33f60247b5d2dbce96d01.jpg",[],{"id":70319,"slug":70320,"title":70321,"dynasty":222,"author":70322,"museum":300,"description":70323,"tags":70324,"thumbUrl":70326,"material":84,"size":84,"collection":84,"collections":70327,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},231759,"huang-jing-tu-shou-gao-li-zhou-yi-teng-gui-jie-231759","黄精图手稿立轴","伊藤圭介","此作用色清浅柔润，淡绿晕染黄精修长茎干与舒展叶片，将草木舒展的天然意态细腻铺陈，叶片虽未细勾脉络却生机自显。右侧以淡墨轻描黄精素花，雅致恬淡。\n\n画面配搭题跋书法，笔意清隽，书画相映，兼具本草写生的严谨与文人雅趣，笔墨克制简净，带着温婉静穆的格调，将寻常本草绘出雅致意韵，文画相衬间尽显冲淡平和的写生之美。",[23,24,7,165,27,28,188,70325,208,64],"黄精","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd54c43f2fd846dd0981ff954e5ce586.jpg",[],{"id":70329,"slug":70330,"title":70331,"dynasty":222,"author":65595,"museum":300,"description":70332,"tags":70333,"thumbUrl":70335,"material":692,"size":1293,"collection":84,"collections":70336,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},231625,"shi-ting-shi-dai-shan-yue-song-lin-tu-shou-ye-yuan-xin-231625","室町时代 山岳松林图","狩野元信（1477～1559）同父亲正信一样，是足利幕府的御用画师，也为细川高国、大内义隆等幕府权贵所用，经常出入宫廷、幕府官邸画障屏画。他承袭了足利家所喜好的中国水墨画风格，但同时他又是提倡“大和画”的土佐派始祖土佐光信的义子。",[23,24,7,128,27,132,29,663,1144,70334,5343],"山岳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6cae223afb7683f359816c689e347ba.jpg",[],{"id":70338,"slug":70339,"title":70340,"dynasty":124,"author":18090,"museum":300,"description":70341,"tags":70342,"thumbUrl":70343,"material":9220,"size":70344,"collection":84,"collections":70345,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},231592,"qing-lan-cui-nuan-tu-lan-ying-231592","晴岚翠暖图","蓝瑛（1585-1664），字田叔，号蜨叟，又号东郭老农，晚号石头陀、山公、万篆阿主者、西湖研民，钱塘（今浙江杭州）人，所居榜额曰：“城曲茅堂”。工书擅画，长于山水、花鸟、梅竹，尤以山水著名。其山水初从黄公望入门，遍摹元代诸家笔法，后上窥晋、唐、两宋，俱得古人精蕴。中年自立门庭，涉猎既多，眼界宏远，故落笔纵横奇古。晚年渐趋苍劲疏宕，气象崚嶒，虽力追古法，但能融会贯通，自成风范。其绘画对明末清初绘画影响甚远，被后人称为“武林派”，画史亦称之为“后浙派”。\n此图为蓝瑛先生摹黄公望《晴岚暖翠》所作，上绘峰峦迭翠，银链飞瀑，峭石嵯峨，云雾弥漫。中绘水榭楼台，依山傍水，苍浑郁茂，清泉蜿流，临窗对语，悠然其间。下绘湖水空明，临渚茅亭，古木苍郁，清趣秀逸。纵观此幅，构图奇伟，落笔纵横，顿挫有致。其境高雅飘逸，其意苍劲疏秀。宋元文人之风，悠然可见其中。亦见其运笔得大痴神韵，勾勒浅绛，又参自法，清简秀润，乃为田叔之佳构也。\n一峰老人即元代画家黄公望。黄公望（1269-1354），元代画家。本姓陆，名坚，江浙行省常熟县人。后过继永嘉府（今浙江温州市）平阳县（今划归苍南县）黄氏为子，居虞山（今宜山）小山，因改姓黄，名公望，字子久，号一峰、大痴道人。中年当过中台察院椽吏，后皈依全真教，在江浙一带卖卜。擅画山水，师法董源、巨然，兼修李成法，得赵孟頫指授。所作水墨画笔力老到，简淡深厚。又于水墨之上略施淡赭，世称“浅绛山水”。晚年以草籀笔意入画，气韵雄秀苍茫，与吴镇、倪瓒、王蒙合称“元四家”。擅书能诗，撰有《写山水诀》，为山水画创作经验之谈。存世作品有《富春山居图》、《九峰雪霁图》、《丹崖玉树图》《天池石壁图》等。",[23,24,7,25,29,27,132,28,30,131,34,37,12424,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51301e878118487eeaa8028a0ad77ec5.jpg","161×42.9cm",[],{"id":70347,"slug":70348,"title":70349,"dynasty":18,"author":7553,"museum":244,"description":70350,"tags":70351,"thumbUrl":70352,"material":151,"size":70353,"collection":84,"collections":70354,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":956},231415,"san-xian-shou-jian-tu-yan-wen-gui-231415","三仙授简图","此图原藏清内府钟粹宫，原图无款印，签题“燕文贵二仙授简图”：图描绘世外洞府一处，洞前为一片宽阔的田野，临近洞处为坡岸，碎石横卧，草木和幽篁相间杂牛-在洞前的左侧有几棵古松，树干粗大，向左倾斜生长，枝干曲直向上，树千长有疤节，茂密的枝叶形成浓荫，将其洞府笼罩，洞府前二仙相对而坐，均为道家装束，正面一位年长者以披叶衣，赤足支膝，绾双丫髻，双日凝神，目光视着前方；正面左侧一位头披长发于背部，赤胸支着右腿，右手放置膝部，正在专心聆听对面一位仙者论经说道；正面右侧一位右腿盘坐、左腿支撑，身披道衣绾双髻，手持简册，上体前倾，右手指划，似在论经说道，神情专注，十分投入。\n燕义贵的绘画题材较为广泛，山水最为突出：他画山水不专师法，自成一家，景致多坐，使人有身临其境的感觉，他是一个来自民间的画家，他熟悉并喜爱乡间生活，即使在布局宏大的11．真水画上，也安排各种富于生活情趣的细节：刘道醇《圣朝名画评》说他“初师河东郝惠”，之后“不师于古人，自成一家，而景物万变……，燕家景致无能及者”：燕文贵除擅长山水外，还精于人物画和界画：此《三仙授简图》是他人物画的代表作。\n此图以幽深静寂的洞府为布景，画家用抑朴的线条显示道衣厚实的质感和盘旋褶皱的衣纹，线描笔法劲练，古松数株，也画得坚劲有力：图中人物面部表情，有声有色，特别是前面左边赤胸者，被对面一位手持简册仙人的话语所吸引，聚精会神地凝听着：画家驾驭人物性格，再现特定情境的功力在这一作品中得到充分的表现，树石皆湿笔，松身之鳞，略圈数笔，即以墨水晕染浅深，上缠古藤，其条下垂，用笔极细，若断若续，总之，全图着色淡雅，勾线坚凝而多折，二位仙人姿态各不相同，并在变化错落中达到和谐统一。",[164,24,7,27,28,132,96,29,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdde1e2940ee2ffd9f620cc4bb8d71b99.jpg","46.3×41.3公分",[],{"id":70356,"slug":70357,"title":70358,"dynasty":54,"author":9529,"museum":244,"description":70359,"tags":70360,"thumbUrl":70361,"material":637,"size":70362,"collection":84,"collections":70363,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},231371,"lin-fan-kuan-xue-shan-tu-wang-hui-231371","临范宽雪山图","从构图上看，中景占大部分画面，主峰和侧峰是由许多山体组成，且几乎没有平远。是清初「四王」的风格。\n山体线条勾勒笔墨纤细秀丽。皴法虽用点皴， 但点子纤细呈短条状。树木出现直且呈排列状的姿态。是王翚的笔墨特点。\n王翚的笔墨特点：构图学习宋人， 运笔学习元人。由于师承古人学习各类画家笔墨技巧多样化，用笔极灵活。\n早年时期工整俊秀，尖笔，细笔较多。因为学习黄公望，构图上较沉闷。中年以后，在王时敏处遍临古画，技艺集各家技法突飞猛进。将李成，吴镇等的树法，王蒙，黄公望等的皴法交替使用，变化多且运用恰当。繁密精致，峭拔挺秀，渲染皴笔配合恰当。也可以说他是集大成。\n同为「四王」中的王原祁曾评论王翚技巧过熟。因为笔法变化太多，画面缺少统一感。构图繁复，墨色也会缺少变化。",[164,24,7,330,132,128,27,29,2523,131,34,758,1813,1337,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa36251e62e43c9c5c89e57fc3abcc825.jpg","187.7x115.5厘米",[],{"id":70365,"slug":70366,"title":13664,"dynasty":18,"author":223,"museum":244,"description":70367,"tags":70368,"thumbUrl":70369,"material":317,"size":70370,"collection":84,"collections":70371,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},231082,"hua-ying-tu-yi-ming-231082","此作以苍鹰为魂，猛禽踞于古松蟠枝之上，身姿挺拔傲岸，目光锐利如炬，铁爪紧扣虬结老干，将猛禽的悍戾威严尽显无遗。翎毛晕染精细，蓬松质感逼真入微，分毫毕现猛禽风神。\n\n淡墨晕染出空寂背景，衬出古松的苍劲荒疏，整幅画面工致写实，兼具文人意趣，将猛禽英武与古木苍浑相融，尽显精妙造诣，题跋环衬，书画相映，更添古雅厚重的沉静气韵。",[24,7,28,27,3141,1337,2438,211,9521,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e583ed5386de66a99ee8f7592775a71.jpg","131.8x65.3",[],{"id":70373,"slug":70374,"title":70375,"dynasty":54,"author":23303,"museum":300,"description":70376,"tags":70377,"thumbUrl":70378,"material":84,"size":84,"collection":84,"collections":70379,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},230962,"jie-jiao-tu-dong-bang-da-230962","解角图","此作以长卷铺展平远寒林之境，左处危崖飞泉，枯木虬曲苍劲，麋鹿或俯饮或闲游，野意悠然。中段洲渚错落，寒林与苍松交错排布，留白晕染烟波浩渺，空濛清寂。\n\n全作用色浅淡秀润，山石皴法简净雅致，林木勾勒细致入微，既得元人山水萧散简远之致，又暗含庙堂文雅气韵。将冬日郊野的清旷萧寒，与鹿群自在恬和之态相融，静穆淡远的林下雅趣跃然绢素，是兼具院体工稳与文人意韵的佳构。",[23,24,7,25,27,132,28,29,1337,1144,2302,131,31,17726,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d17b32f4f9101d80e94726c757afe45.jpg",[],{"id":70381,"slug":70382,"title":47407,"dynasty":124,"author":26920,"museum":300,"description":70383,"tags":70384,"thumbUrl":70385,"material":692,"size":1293,"collection":84,"collections":70386,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},230929,"shan-shui-tu-shan-mian-wang-wen-230929","王闿（kǎi）运（1833—1916），晚清经学家、文学家。字壬秋，又字壬父，号湘绮，世称湘绮先生。咸丰二年（1852）举人，曾任肃顺家庭教师，后入曾国藩幕府。1880年入川，主持成都尊经书院。后主讲于长沙思贤讲舍、衡州船山书院、南昌高等学堂。授翰林院检讨，加侍读衔。辛亥革命后任清史馆馆长。著有《湘绮楼诗集、文集、日记》等。",[24,7,1131,128,132,29,331,130,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0c458d558107f65a6614c148f4e979.jpg",[],{"id":70388,"slug":70389,"title":2012,"dynasty":54,"author":6357,"museum":300,"description":70390,"tags":70391,"thumbUrl":70392,"material":84,"size":84,"collection":84,"collections":70393,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},230888,"hua-hui-tu-huang-shen-230888","此作以书入画，笔墨淋漓放旷。起首牡丹以淡墨晕瓣、浓墨点苔，脱尽艳俗，尽显清妍雍容。转而绘荷与水仙，老辣纵逸的笔法勾花叶枯荣俯仰，以枯湿浓淡尽显花木生姿，删繁就简，形神兼得。\n\n通卷穿插狂草题诗，书法与绘事相融无间，笔势奇崛跌宕，笔墨风神互通，将诗书画印合一的文人意趣尽致挥洒，一扫拘谨匠气。纵横挥洒间，花木清雅与狂放文心浑然一体，处处皆是超逸不羁的意气，尽显疏野纵宕的大写意气度，把文人画的洒脱风骨寄寓于一花一叶之中。",[23,24,7,25,128,133,840,64,208,61,168,263,374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff735c9e73f19409ab108e9dd0254b44d.jpg",[],{"id":70395,"slug":70396,"title":70397,"dynasty":144,"author":70398,"museum":300,"description":70399,"tags":70400,"thumbUrl":70401,"material":84,"size":84,"collection":84,"collections":70402,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},230876,"mo-lan-ting-xu-tie-lu-ji-shan-230876","摹兰亭叙帖","陆继善","此作用笔温润秀劲，结体端雅和融，将兰亭萧散简远的魏晋风神复刻传神。字字牵丝映带，气息悠然连贯，既恪守原作笔法骨架，又自蕴元人尚韵的温润气质。\n\n后附题跋笔意苍秀沉稳，评此摹本足胜世传唐摹，足见作者临池功力精湛。整卷以行书成篇，虽为临摹之作，却自具清雅隽永的书卷意蕴，尽显追慕晋唐、崇尚古法的风尚，笔底藏晋人疏朗散淡的林下之风，墨间晕染元人温润雅致的书卷气息，雅致动人。",[64,133,330,208,1590,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe28cad6443a91a4dd24e603cf0928363.jpg",[],{"id":70404,"slug":70405,"title":70406,"dynasty":54,"author":70407,"museum":300,"description":70408,"tags":70409,"thumbUrl":70410,"material":84,"size":84,"collection":84,"collections":70411,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},230861,"lin-yan-zhen-qing-zheng-zuo-wei-tie-zhang-zhao-230861","临颜真卿争座位帖","张照","此作用笔沉实厚重，尽得原作宽博开张的风神，墨色浓枯相映，章法错落自然。将原作的凛然正气，融以自身妍丽灵动的笔意，既有原作风骨里的雄浑豪迈，又带着端稳雅致的意趣。字里行间刚劲洒脱，把原作沉郁的气度化入笔底，临古却不泥古，循守古法之外自出机杼，尽显帖学临古的精妙意趣，笔墨间满是刚劲洒脱的风神。",[7,64,330,133,208,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58ef0f3ca30d0cf598235f4bd246e0c6.jpg",[],{"id":70413,"slug":70414,"title":70415,"dynasty":222,"author":16070,"museum":300,"description":16071,"tags":70416,"thumbUrl":70417,"material":692,"size":1293,"collection":84,"collections":70418,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},230502,"shi-ting-shi-dai-si-ji-shan-shui-tu-chun-xue-zhou-230502","室町时代 四季山水图（春）",[23,24,7,164,165,132,128,27,29,663,413,497,758,415,7509,1023,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d2e56b5d98f493acc8eca2d65f97ffa.jpg",[],{"id":70420,"slug":70421,"title":70422,"dynasty":222,"author":65595,"museum":300,"description":70423,"tags":70424,"thumbUrl":70425,"material":84,"size":84,"collection":84,"collections":70426,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},230486,"zu-shi-tu-shou-ye-yuan-xin-230486","祖师图","画面以飞瀑奇峰开篇，峭壁间白练倾泻而下，撞破山岩的沉凝厚重。古松虬枝横斜，苍劲盘曲，将山野荒古之气铺展开来。雾霭轻笼林谷，柔化了山石棱角，让刚硬的笔墨晕出幽柔的空濛。\n\n拄杖祖师衣袂飘然，独立山巅凝神静望，身影与林泉相融，禅意随云气漫溢。山石以利落斧劈皴勾勒，苍劲老辣，云雾则以淡墨晕染，柔润朦胧。刚柔相生间，将隐者遁入林泉的静穆空灵尽数铺陈，幽寂清远的禅意扑面而来，恍若能听松涛瀑鸣，沉陷这山野禅境之中。",[23,24,7,27,132,29,96,495,34,131,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdad9555eacda81006abbe5bbe1fcec16.jpg",[],{"id":70428,"slug":70429,"title":70430,"dynasty":54,"author":18944,"museum":300,"description":70431,"tags":70432,"thumbUrl":70433,"material":692,"size":1293,"collection":84,"collections":70434,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":199},230262,"xing-shu-ping-hong-yi-fa-shi-230262","行书屏","李叔同（1880年10月23日－1942年10月13日），又名李息霜、李岸、李良，谱名文涛，幼名成蹊，学名广侯，字息霜，别号漱筒。\n李叔同是著名音乐家、美术教育家、书法家、戏剧活动家，是中国话剧的开拓者之一。他从日本留学归国后，担任过教师、编辑之职，后剃度为僧，法名演音，号弘一，晚号晚晴老人，后被人尊称为弘一法师。\n1913年受聘为浙江两级师范学校（后改为浙江省立第一师范学校）音乐、图画教师。1915年起兼任南京高等师范学校音乐、图画教师，并谱曲南京大学历史上第一首校歌。1942年10月13日，弘一法师圆寂于泉州不二祠温陵养老院晚晴室。",[23,7,64,133,165,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b95c1c2c8e73c2f6380e9891c18569.jpg",[],{"id":70436,"slug":70437,"title":70438,"dynasty":54,"author":1242,"museum":300,"description":70439,"tags":70440,"thumbUrl":70441,"material":84,"size":84,"collection":84,"collections":70442,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},230244,"ba-kai-jin-nong-230244","八开","《兰石八开（之一）》是罗聘创作的一幅纸本水墨设色画。\n兰石八开，构思布局、笔墨意趣各有特色。\n一幅“春兰如美人，不采羞自献”，画根植于崖壁上三丛兰花，用墨浓淡相宜，长叶以撇法出之，轻盈摇曳，偃仰有姿。\n一幅“寄君青兰花，惠好庶不绝”，画带根兰花两枝，淡墨点花，薄而润，所谓授人兰花，手有余香。\n一幅“山无一春草，谷有千年兰”，画幽谷兰花，长叶循势纷披，格调清雅秀逸。\n另一幅白描兰花与墨石，“用瞿睿夫勾勒法”所画，别有韵味。\n本册为邓拓捐赠给中国美术馆作品，各图均钤有邓拓收藏印。\n罗聘（17—1799），字遯夫，号两峰，又号花之寺僧、衣云道人等，祖籍安徽歙县，寓居扬州，为金农入室弟子，曾游历越、楚、齐、豫、燕、赵，并三次到北京。\n受金农赞赏，多为其代笔。\n好学无倦，才艺出众，所画题材广泛，兼擅人物、鬼神、佛像、山水、花叶、梅竹，既继承师法，又不拘泥师法，笔调奇特，构思新颖。\n曾因能画鬼而轰动当时，吸引了袁枚、姚鼐、钱大昕、翁方纲等人为之题咏。\n秦祖永推崇其作品为“神品”，评价说：“笔情古逸，思致渊雅，深得冬心神髓。\n墨梅兰竹，均极高妙，古趣盎然；人物佛像，尤奇而不诡于正，真高流逸墨，非寻常画史所能窥其涯者也。\n”他和妻子方婉贞、儿子允绍、允瓒都善画梅，时人称为“罗家梅派”，画法影响了近代的吴昌硕、齐白石。\n著有《香叶草堂集》。",[24,7,59,128,2372,2123,547,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F636c7e7ebbabcadea44ca8496db485fe.jpg",[],{"id":70444,"slug":70445,"title":70446,"dynasty":54,"author":70447,"museum":300,"description":70448,"tags":70449,"thumbUrl":70450,"material":84,"size":84,"collection":84,"collections":70451,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},230173,"xi-shan-cun-zhuang-tu-cheng-si-li-230173","溪山村庄图","程嗣立","此作用焦墨干笔绘就山居之景。层峦错落铺展，长松下隐现数椽村居，清溪萦回，板桥轻跨，杂木萧疏生趣盎然。以枯淡劲挺的线条勾勒山石轮廓，皴擦简括老辣，全凭墨色浓淡分出丘壑层次，不施粉彩，尽显山野萧疏清寂之态。画面两侧题跋与山水相映，文气融于笔墨间，将幽居林下的澹泊襟怀寄寓其中，以清简之笔写尽林泉高致，尽显文人山水画简淡冲和的美学意趣。",[23,24,7,165,128,132,29,9164,98,99,34,131,35,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6c3fe4a576ada7779c6aaae7dbfd9bb.jpg",[],{"id":70453,"slug":70454,"title":1653,"dynasty":54,"author":9529,"museum":300,"description":70455,"tags":70456,"thumbUrl":70457,"material":84,"size":84,"collection":84,"collections":70458,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},229019,"hua-hui-shan-shui-he-ce-wang-hui-229019","此作绘三株牡丹，朱砂色热烈似燃，莹白如凝脂映光，紫花晕染柔婉绰约。叶片勾勒舒展，脉纹细致，衬得花姿愈发秾艳华贵，笔底尽显牡丹摇曳生姿的娇态。左侧题诗行书隽秀，笔墨与花色相映成趣，晕染间揉合精工与写意，既有野逸生动之态，又具没骨设色的妍丽雅致，将天香国色的雍容尽数铺展，藏着雅致文心与鲜活意趣，尽显花间富贵风雅。",[24,7,28,27,62,263,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb13d9c12b5cebfe97f710421564a29a6.jpg",[],{"id":70460,"slug":70461,"title":70462,"dynasty":54,"author":1460,"museum":300,"description":70463,"tags":70464,"thumbUrl":70465,"material":84,"size":84,"collection":84,"collections":70466,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},228990,"bai-kai-luo-han-tu-21-shi-tao-228990","百开罗汉图21","《石涛大士百页罗汉画册》是 于21年出版的图书。\n石涛（164—177），原名朱若极，又名原济，一作元济。\n别号大涤子、清湘老人、苦瓜和尚、瞎尊者、石道人、痴纯、若极等，朱元璋侄子朱文正子靖江王朱守谦十世孙。\n生于明崇祯十三年（164）。\n①顺治二年（1645）夏，清军攻入南京，福王朱由菘等为清军所擒。\n黄道周、郑芝龙等拥立唐王朱聿键在福州称帝，石涛的父亲朱亨嘉也在桂林自称监国。\n广西巡抚瞿式耜因为朱亨嘉非皇室嫡系，没有资格称帝，暗中遣人报唐王朱聿键，朱聿键遣军攻之，朱亨嘉为其所俘，执至福州，囚禁而死。\n石涛当时年仅5岁，由内宫太监携带逃亡，遁入佛门，太监法号喝涛，朱若极法号石涛，二人以师兄弟相称。\n朱若极遂以石涛知名于世。\n石涛幼年聪颖，喜读书。\n既通晓佛典，复好诗文，并喜爱书画，十余岁时即描摹兰草花卉，小有所成。\n未成人，随师兄喝涛北上，游历荆楚岳阳、武昌一带。\n丁酉年春，复由荆楚云游江浙。\n这一时期，是石涛初学书画的时期。\n于前人书法独喜颜真卿，而没有随着当时风气学习董其昌。\n康熙丁未（1667），石涛至宣城。\n在之后的十多年中，石涛以宣城为中心，往返于宣城、太平和黄山之间，并多次游历黄山。\n得黄山烟云变幻之助，画境日进。\n当时所与游者，有著名画家梅清，曹冠五、半山和尚、黄燕思、梅庚、施闰章、江注、吴震伯等。\n诸人既以诗文相酬唱，复以画艺相切磋。\n而梅清对石涛的影响尤其巨大。\n三游黄山，更对石涛的山水绘画产生了巨大影响。\n石涛这一时期留下的绘画作品如藏于日本泉屋博古馆的《黄山八胜图》、北京故宫博物院所藏的《黄山图》21帧等，就带有明显的新安画派风格，清秀淡雅，多用淡墨枯笔，许多画面可以与黄山风景相对应。\n因此石涛曾题画云：“黄山是我师，我是黄山友。\n心期万类中，黄峰无不有。\n” 除了山水画成就外，石涛同样精于人物绘画，其传世作品经常穿插人物形象。\n石涛勤于摹古，主要师法对象有宋代画家李公麟和米芾等，并留下一些带有浓厚古风的作品。\n《石涛大士百页罗汉图册》就是这一时期的代表作。",[24,7,59,128,188,187,96,331,97,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3d6691bef27d77f387063553b249a7f.jpg",[],{"id":70468,"slug":70469,"title":70470,"dynasty":124,"author":3373,"museum":300,"description":70471,"tags":70472,"thumbUrl":70473,"material":692,"size":1293,"collection":84,"collections":70474,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},228907,"de-qu-zai-ren-ce-wang-zhong-228907","得趣在人册","汪中（1744—1794年），字容甫，江都（今属江苏扬州）人，祖籍安徽歙县。清朝时期著名的哲学家、文学家、史学家，与阮元、焦循同为“扬州学派” 的杰出代表。",[805,64,7,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc345e2f2c7cfec8f947c3d06c4c8a3e5.jpg",[],{"id":70476,"slug":70477,"title":70478,"dynasty":124,"author":70479,"museum":300,"description":70480,"tags":70481,"thumbUrl":70483,"material":692,"size":1293,"collection":84,"collections":70484,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},228904,"zhong-li-quan-du-hai-tu-zhao-qi-228904","钟离权渡海图","赵淇","此图绘八仙之一的汉钟离渡海故事。钟离权复姓钟离，汉代大将军，后得道成仙。故称“汉钟离”。此作人物的设色用笔与海水水纹的描绘俱与藏于中国美术馆的明代刘俊绘刘海渡海图相近。但克利夫兰美术馆馆方定其是赵淇所画，或有所据。",[23,24,7,165,27,28,96,187,1367,6855,1975,24171,70482],"赤足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dead76f2e44619e34dd4602aa949ed4.jpg",[],{"id":70486,"slug":70487,"title":70488,"dynasty":124,"author":223,"museum":300,"description":70489,"tags":70490,"thumbUrl":70491,"material":692,"size":1293,"collection":84,"collections":70492,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},228804,"luo-han-zhu-shou-tu-yi-ming-228804","罗汉祝寿图","画面上下错落铺陈，上方罗汉群像各呈神采，或清癯蔼然，或虬髯肃穆，侍童恭谨随侍，衣纹华彩层叠，晕染细腻，尽显出尘庄严。下方水府神祇率众赴贺，灵怪蛟龙环伺，云涛与浪涛交织翻涌，天际红日悬垂，铺就祥瑞恢宏的祝寿氛围。\n\n整作设色沉厚古雅，矿物颜料晕开浓郁古韵，线条刚柔相济，既绘就罗汉的超然神态，亦勾勒出水族神祇的灵动狞厉，佛道交融的贺寿主题融于尺幅之间，将仙界嘉会的雍容祥瑞尽数铺展，尽显明代宗教人物画的精工意趣。",[23,24,7,805,28,27,187,96,18331,34702,189,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08a9dea4989bd43ec9d2423529c0f803.jpg",[],{"id":70494,"slug":70495,"title":70496,"dynasty":124,"author":223,"museum":300,"description":70497,"tags":70498,"thumbUrl":70499,"material":84,"size":84,"collection":84,"collections":70500,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},228777,"yun-shan-lou-ge-tu-yi-ming-228777","云山楼阁图","淡墨晕开烟霭，留白晕出覆雪层峦，远山如冰棱浮于昏褐天际，将冬日萧寒缓缓铺展。近岸楼台层叠飞檐，斗拱栏楯勾勒精工，丹红暖调破开冷寂，与素裹林木相映成趣。水面空蒙如镜，将天地昏茫融于一色，远近虚实相生，把江楼清旷藏进朦胧烟岚。笔触简淡却意韵悠长，工写兼济，将冷峭冬意与楼阁的沉稳雅致相融，尽显萧寒之中的静谧古雅，恍若让人踏入了一阕清寂悠远的冬日江楼旧梦。",[23,24,7,1131,27,95,29,97,23820,131,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb59895a5da6a6f6e2388d9f2e68579a.jpg",[],{"id":70502,"slug":70503,"title":70504,"dynasty":124,"author":70505,"museum":300,"description":70506,"tags":70507,"thumbUrl":70509,"material":84,"size":84,"collection":84,"collections":70510,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},228737,"jiang-tian-mu-xue-tu-ye-fan-yun-lin-228737","江天暮雪图页","范允临","淡墨晕染层叠远山，雪色晕开清寒暮色，留白与浅灰晕织出山峦的空濛萧寒。近岸村居错落依偎，老树槎桠间点缀残红，破开些许冷意。一叶扁舟独行寒江，将天地岑寂揉入漾漾水波。\n\n左侧书法笔意疏朗俊逸，诗画相映，把冬日江村的幽隐野趣尽数铺展。简淡笔触写尽江天暮雪的冷旷萧散，将文人林下幽居的寄怀藏进每一处留白，尽显山水间的诗意雅致。",[23,24,7,4437,27,128,133,208,64,29,663,1556,413,35,70508,132,414],"扁舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc905d1d8dceb3f5033dad9b40e17dc4.jpg",[],{"id":70512,"slug":70513,"title":33103,"dynasty":124,"author":47077,"museum":300,"description":70514,"tags":70515,"thumbUrl":70516,"material":84,"size":84,"collection":84,"collections":70517,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},228489,"fang-gu-shan-shui-ce-yun-xiang-228489","此作用笔松秀简净，以浅淡青绿晕染远山，烟岚轻笼山峦，将春山晕化为朦胧柔美的黛色剪影，悠远空寂。近岸老树虬枝舒展，枯荣相衬，坡岸错落间水面静敛，渔舟横陈，村舍掩映在淡雾中，江南平畴的清寂春景宛在眼前。\n\n画作师法宋元古意，以淡墨浅彩营造出空灵简淡的意境，不着意雕琢刻画，将山水的静穆生机融于氤氲烟霭里，尽显文人画冲和淡远的审美意趣，悠悠古意随淡彩墨韵漫开，藏着文人寄情林泉的悠然意绪。",[24,7,59,27,26,29,330,132,129,331,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d9cd7eb052e45097c71bd2f625593c.jpg",[],{"id":70519,"slug":70520,"title":70521,"dynasty":124,"author":1058,"museum":300,"description":70522,"tags":70523,"thumbUrl":70524,"material":84,"size":84,"collection":84,"collections":70525,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":956},228482,"wen-dao-tu-jing-xin-tang-yin-228482","问道图镜心","此作用苍古暮色铺就底色，虬曲古木错立林间，枝叶以淡墨晕染，晕开幽寂沉敛的林下氛围。画面里旅人卸担驻足，与隐者对坐晤谈，人物情态宛然鲜活，衣纹线条清劲顿挫，兼取院体工致与文人写意之妙。\n\n整体色调沉郁古雅，古旧绢面更添静穆萧散的林下意趣，将寻问道义的幽寂心绪，与明代文人的林下襟怀融于尺幅之间，笔墨简淡却藏悠远禅意，尽显吴门画派雅致淡远的笔墨风神。",[23,24,7,27,28,96,101,413,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a33040bcc2b7fb57b1d476668426699.jpg",[],{"id":70527,"slug":70528,"title":70529,"dynasty":124,"author":63769,"museum":300,"description":70530,"tags":70531,"thumbUrl":70532,"material":84,"size":84,"collection":84,"collections":70533,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},228373,"yu-cun-xi-zhao-tu-ye-chen-huan-228373","渔村夕照图页","平远铺展水岸村居，淡墨轻岚晕染暮色朦胧，杨柳垂绦拂过漾漾水波，错落村舍隐在林烟之间，远山浅黛衔着晚日余晖，将江南渔村的恬然暮色晕染开来，处处漫着水乡暮归的松弛暖意。\n\n左侧题诗笔致隽秀飘逸，诗画相映，把渔樵待归的悠然意境烘托得愈发悠长，尽显文人画诗书画合一的雅致格调，将寻常村居的烟火诗意凝于尺幅间，淡朴温润，余韵悠悠。",[23,24,7,59,27,128,133,29,4363,98,99,96,35,34,3344,9551],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff75cb1ac73c38c3615b0b45103e7c3ca.jpg",[],{"id":70535,"slug":70536,"title":70537,"dynasty":144,"author":223,"museum":300,"description":70538,"tags":70539,"thumbUrl":70541,"material":84,"size":84,"collection":84,"collections":70542,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},228214,"du-hai-tu-ye-yi-ming-228214","渡海图页","此作以极简构局营造出清寂空灵的禅意。画面左侧，仙人安卧枯槎之上，随波缓行，神情悠然自适，将乘槎渡海的古雅意趣融于尺幅。淡墨轻勾细波，晕染出辽远空茫的海面，大片留白代以海天辽旷，不着一字而尽得风流，暗合元代尚简尚意的文人审美。笔致清简含蓄，枯槎的苍古与仙人的闲逸相映，将寄迹天地、物我两忘的隐逸之思藏于淡远意境中，静穆悠远的出世之趣扑面而来。",[23,24,7,4437,128,27,96,70540,951,129],"海水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87321fda6d77770c6e633cb609e50cc8.jpg",[],{"id":70544,"slug":70545,"title":70546,"dynasty":144,"author":223,"museum":244,"description":70547,"tags":70548,"thumbUrl":70549,"material":637,"size":84,"collection":84,"collections":70550,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},228199,"si-xiao-tu-juan-yi-ming-228199","四孝图卷","《四孝圖》描繪故事四則，以圖文相間的方式表達。第一則述王武子之妻割股作羹湯，治癒婆母寒疾；第二則述三國陸績因其母好食橘，乃於進謁袁術席間，懷橘以奉母；第三則述晉王祥為母病中思食鯉魚於冬月，而至江上卧冰求鯉；第四則述後漢曹娥之父溺斃江中不得屍靈，至娥投江，三日後方抱父屍出。是皆孝心感人之事蹟，卷末並附李居敬四孝圖序，論孝之精義。通幅人物，以勻稱之線條為主，細挺而有力。",[23,24,7,25,28,27,64,208,96,34,131,228,758,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff43a9f92db263f1582800ca70cba44fa.jpg",[],{"id":70552,"slug":70553,"title":70554,"dynasty":144,"author":223,"museum":300,"description":70555,"tags":70556,"thumbUrl":70557,"material":84,"size":84,"collection":84,"collections":70558,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},228197,"shuang-ji-ling-er-yi-ming-228197","双鹡鸰儿","此作以极简构图，将双禽落于绢素一隅。淡赭晕染底色，晕出秋意清冷。禽鸟造型写实入微，顶羽敷粉莹润蓬松，羽翼以浓淡墨色分理羽片层次，毫纤毕现。双鸟依偎静立，头颈微侧似聆风听雨，身姿安闲亲昵，尽显野趣温情。\n\n笔法工细却不板滞，禽爪劲挺勾勒，立于浅淡坡岸苔痕之上。画面留白开阔悠远，以虚衬实，将郊野清寂氛围晕染开来，尽显元代花鸟画尚简尚意的韵致，于方寸间藏着自然生灵的脉脉温情，淡远平和，余韵悠长。",[24,164,7,61,28,27,211,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeb8fd125436b3f31e05dbfff4eb5db0.jpg",[],{"id":70560,"slug":70561,"title":70562,"dynasty":144,"author":223,"museum":300,"description":70563,"tags":70564,"thumbUrl":70565,"material":84,"size":84,"collection":84,"collections":70566,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},228192,"dong-jing-shan-shui-tu-tuan-shan-yi-ming-228192","冬景山水图团扇","此作以全景铺陈冬日丘壑，构图繁密却层次井然。山峦以苍劲的墨笔勾皴，浓淡晕染出山岩的嶙峋骨相，峰顶隐于淡墨烟霭之中，晕出隆冬空蒙萧寒的氛围。虬曲的枯木虬枝如铁，交错于山石林间，尽显冬日荒寒萧索。\n\n山坳间的幽居屋舍，为清寂山林晕开一丝暖意，将山野的静穆与山居的幽隐相融。全作用墨沉郁古雅，以浓淡变化区分山石阴阳向背，枯涩的笔意尽写冬日山林的清寥，暗合林泉高致的隐逸之思，把冬日山野的荒寒淡远与幽居意趣揉合，意境静雅清和。",[23,24,7,1131,29,132,27,1233,331,496,98,99,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F074e681fea99720c55e7ea2cf24efa41.jpg",[],{"id":70568,"slug":70569,"title":36094,"dynasty":18,"author":12079,"museum":300,"description":70570,"tags":70571,"thumbUrl":70572,"material":84,"size":84,"collection":84,"collections":70573,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},228169,"xi-cheng-tu-juan-qiao-zhong-chang-228169","这擘窠大字笔力雄强苍劲，中锋行笔尽显厚重质感，墨色枯润互见，焦墨的沉凝与飞白的疏朗交织，尽显老辣朴拙的笔意。“西”字端稳周正，收束内敛，“成”字欹侧跌宕，肆意开张，一动一静间暗合尚意的书法风神。\n\n将秋收的沉实喜悦寄于笔墨，寥寥两字气象浑穆，把丰年的安稳厚重藏于笔锋起落之间，尽显功底与文人笔下的质朴意趣。",[164,24,7,25,133,64,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19c7089484860a26da93e367d54fd451.jpg",[],{"id":70575,"slug":70576,"title":70577,"dynasty":18,"author":223,"museum":300,"description":70578,"tags":70579,"thumbUrl":70580,"material":84,"size":84,"collection":84,"collections":70581,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},227919,"dan-ping-qiu-hui-tu-ye-yi-ming-227919","胆瓶秋卉图页","《宋扇面画胆瓶秋卉图》是宋代佚名画家创作的一幅设色扇面画，现藏于 。\n本幅无款。\n鉴藏印钤“交翠轩印”、“神品”、“子京父印”、“项元汴印”、“项墨林鉴赏章”、“张则之”6方。\n画页左侧题诗：“秋风融日满东篱，万叠轻红簇翠枝。\n若使芳姿同众色，无人知是小春时。\n”此为即景诗，描写瓶中之花轻红淡雅，叠簇于翠枝。\n对幅有清乾隆御题诗一首：“花似菊而红，叶则迥然异。\n自题属冬篱，殊难解用意。\n徒以设色工，选藻许其厕。\n辛亥清和御题。\n”钤 “ ”、“自强不息”、“ ”。\n图中瓶架上置一蓝釉长颈瓶，内插 。\n花朵施以勾勒填色法，花叶用没骨法出之，刻画自然细腻，渲染柔和润泽。\n秋菊艳丽而不失于秀雅，此图为南宋写生画中的优秀作品。",[23,164,24,7,59,28,27,61,376,169,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e46b6b7ac1daeee9117bf4d5b176246.jpg",[],{"id":70583,"slug":70584,"title":70585,"dynasty":18,"author":223,"museum":244,"description":70586,"tags":70587,"thumbUrl":70588,"material":637,"size":84,"collection":84,"collections":70589,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},227915,"jing-bian-tu-yi-ming-227915","经变图","经变画是用画像来解释某部佛经的思想内容。经变画，即经变，亦称变或变相，佛画种类之一，广言之，凡依据佛经绘制之画，皆可称为“变”。敦煌经变画则通常指将某一部甚至某几部有关佛经之主要内容组织成首尾完整、主次分明的大画。敦煌经变内容丰富，形式多样，除了佛经内容外，大量的社会生活内容在经变画中得到生动的体现。许多经变画技巧高超，堪称艺术珍品。\n经变在南朝时即已出现，据唐张彦远《历代名画记》，南朝宋袁倩画有“维摩诘变”，梁时儒童画有“宝积经变”。莫高窟有经变三十三种，持续时间长的有西方净土变、东方药师变、弥勒经变、法华经变、维摩诘经变，数量最多的是东方药师变",[23,24,7,25,187,95,27,96,97,98,211,772,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7eabb8213f047d2339b24ab44d915d50.jpg",[],{"id":70591,"slug":70592,"title":70593,"dynasty":18,"author":223,"museum":300,"description":70594,"tags":70595,"thumbUrl":70596,"material":84,"size":84,"collection":84,"collections":70597,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},227914,"na-liang-guan-pu-tu-yi-ming-227914","纳凉观瀑图","《宋扇面画纳凉观瀑图》是宋代佚名画家创作的扇面画。\n作品描绘的是清溪一湾，水阁内一人身着白衣袒胸斜坐，乘凉观瀑的场景。\n《宋扇面画纳凉观瀑图》的画面无款印，对幅清朝乾隆皇帝题 一首。\n钤乾隆内府诸收藏印。\n画面钤有石渠宝笈、宝笈重编等印四方，对开钤有 等印玺。\n全画用笔粗豪，画风近李唐一派而有创新。\n曾经清内府收藏。\n此图原载《宋人名流集藻册》，两边石山挟泉水奔腾，重击大石，水花飞溅。\n阁后老树、丛竹葱郁。\n瀑布高悬直下，平中寓险。\n意境恬静清幽。\n对开有清高宗弘历题诗。\n裱边旧题签为燕文贵纳凉观瀑七字，观其画风，与燕氏无涉，显系后人误题。\n此页绘清溪一湾，溪畔水阁掩映在蓊郁的翠树秀竹之中，背景峭壁坚崚，飞瀑如练，溪流急湍击石，清波拂岸，充满着夏日大自然的勃勃生机。\n水阁之中一高士白衣袒胸踞席而坐，凝视潺湲，若有所思。\n整幅不用界尺，粗笔徒手绘水榭，人物、树石、建筑颇有生拙之趣，极具文人画气息，是“意笔楼阁”的早期作品。",[23,164,24,7,28,27,132,29,131,97,495,34,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64712f5a7f4711445c135f242ae95dd1.jpg",[],{"id":70599,"slug":70600,"title":70601,"dynasty":18,"author":223,"museum":300,"description":70602,"tags":70603,"thumbUrl":70604,"material":84,"size":84,"collection":84,"collections":70605,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},227877,"liu-yin-zui-gui-tu-ye-yi-ming-227877","柳荫醉归图页","淡墨晕染出朦胧暮色，岸旁垂柳虬曲柔条拂垂，晕染出郊野空寂慵懒的氛围。画面里二人踉跄前行，袒胸老者脚步虚浮、眉眼惺忪，同伴侧身相挽，将酒后酣醉的神态描摹得鲜活传神。衣纹以简练折线勾勒，灵动写意，袒露的胸腹更添随性不羁之感。细笔点染的苔石杂草，衬出初夏郊野的闲散意趣。\n\n整幅小品以小见大，将市井酒徒的闲散意趣刻画入微，于淡墨轻岚间尽显宋人雅致的日常烟火，把酒后踉跄相依的鲜活模样定格，是极具生活意趣的风俗佳作。",[23,164,24,7,1131,128,27,188,96,2372,413,99,10582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb07731deb8fe6e8511dbfea680bcab0c.jpg",[],{"id":70607,"slug":70608,"title":70609,"dynasty":18,"author":223,"museum":300,"description":70610,"tags":70611,"thumbUrl":70612,"material":84,"size":84,"collection":84,"collections":70613,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},227871,"song-gu-wen-dao-tu-yi-ming-227871","松谷问道图","这幅山水小品以淡墨晕染出烟岚轻笼的山谷，留白营造出朦胧空寂的悠远意境。右下古松虬曲苍劲，疏枝错落尽显山野清趣，山石以简淡皴擦勾勒，带着朴拙古雅的质感。\n\n林下二人，一人趺坐松下安闲垂目，一人躬身持礼似在问道，寥寥数笔便将山林雅聚的隐逸意趣刻画尽致。边角古印晕染着岁月沉淀的静穆，整幅画作以简驭繁，将幽闲林下意趣融于尺幅之间，笔墨清简却意韵悠长，尽显雅致的文人山水格调。",[23,24,7,27,132,208,29,1144,96,131,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febd1b020784fb705e4d7c880712aa2ad.jpg",[],{"id":70615,"slug":70616,"title":70617,"dynasty":18,"author":223,"museum":300,"description":70618,"tags":70619,"thumbUrl":70620,"material":84,"size":84,"collection":84,"collections":70621,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},227870,"song-xi-fang-ting-tu-yi-ming-227870","松溪放艇图","近岸危石之上老松虬曲蟠郁，旁生枯木寒枝，晕染出深秋荒寂之态。远山以斧劈皴简括勾勒，隐现于淡墨烟霭之中，将江面衬得愈发空阔辽远。水面之上扁舟随波缓行，渔翁垂竿静坐，天地间只剩水波漾开的清寂。\n\n全幅以水墨晕染江南水滨的空濛氤氲，落笔苍劲老辣，皴擦利落，以小景写尽江湖林泉的幽远萧散。将隐士寄情烟波、与世无争的隐逸襟怀融于尺幅间，淡远空灵，尽显宋人山水小品以小见大的精妙，余韵悠长。",[23,24,7,1846,1131,128,27,29,132,1144,499,129,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94dd824de3650215297d3eba319e3578.jpg",[],{"id":70623,"slug":70624,"title":70625,"dynasty":18,"author":13542,"museum":300,"description":70626,"tags":70627,"thumbUrl":70628,"material":84,"size":84,"collection":84,"collections":70629,"showCount":586,"zanCount":1998,"manualWeight":48,"mainColor":72},227709,"xie-shen-lao-jun-bie-hao-shi-shi-tu-juan-wang-li-yong-227709","写神老君别号事实图卷","《寫神老君別號事實圖》相傳爲南宋王利用所作，現藏於美國納爾遜美術館。絹本，設色。 南宋進士王利用，字賓王，今四川綿陽人，善於畫山水人物，其書法也是一絕，宋高宗尤其喜歡其書法，愛屋及烏自然也對其畫作頗爲讚賞，但就後人評述，其畫作藝術價值略遜於書法。\n\n王利用入仕之後，成爲了一名宮廷畫師，其畫作多爲宋代院體畫，其中最具代表的就是這幅《寫神老君別號事實圖》。\n\n作爲中國傳統宗教，道教的文化頗爲深入人心，尤其是在宋代這樣一個文化大發展的時代，道教的發展也到達了巔峯。關於道教創始人老子的傳說也非常繁多，本作就講述了老子的前世今生。以三皇時代開始，上三皇時爲玄中法師，下三皇時爲金闕帝君……直到周文王時文邑先生爲止，共10個別稱。",[23,24,7,25,28,27,96,187,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a5de22a118e47aaca2e25a2be1379de.jpg",[],{"id":70631,"slug":70632,"title":70633,"dynasty":18,"author":223,"museum":300,"description":70634,"tags":70635,"thumbUrl":70636,"material":84,"size":84,"collection":84,"collections":70637,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},227345,"que-zuo-tu-yi-ming-227345","却座图","此幅绘西汉文帝妃慎夫人恃宠与帝后平起平坐，日游上林苑，中郎将袁盎向文帝犯颜直谏：“妃子僭坐后位有违纲常。”文帝不悦但理在袁盎，只得纳谏，慎妃也只好悻悻而起。该画侧重表现矛盾化解过程中人物微妙的心理变化。本幅人物描绘生动，开脸俊美，衣纹用笔精诣，傅色雅美。配景树石花草，白鹤雾霭一一描写逼真，代表了宋代院画之极高水准。",[23,164,24,7,27,28,96,34,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0d6d8a8b9805c31d51599d5becaab8a.jpg",[],{"id":70639,"slug":70640,"title":70641,"dynasty":18,"author":70642,"museum":300,"description":70643,"tags":70644,"thumbUrl":70645,"material":692,"size":1293,"collection":84,"collections":70646,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},225292,"jin-gang-bo-re-jing-kai-ti-can-juan-hong-fa-da-shi-kong-hai-225292","金刚般若経开题残巻","弘法大师空海","弘法大师空海（公元774—835）是日本真言宗的开山祖师，为汉传密宗八祖，作为日本弘扬佛法的先驱者享有崇高的声誉。大师在奈良时代末，于宝龟五年（公元774）诞生于风景秀丽的“玉藻所归之岛，櫲樟蔽日之浦”赞岐国（现香川县）屏风浦。其父为佐伯田公，母为阿刀氏。",[23,7,25,64,7322,133,1326,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92f5c9eb7296272356e65989911badcc.jpg",[],{"id":70648,"slug":70649,"title":70650,"dynasty":54,"author":70651,"museum":244,"description":70652,"tags":70653,"thumbUrl":70654,"material":151,"size":70655,"collection":84,"collections":70656,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},224599,"bai-hai-qing-he-qing-tai-224599","白海青","贺清泰","乾隆四十八年(西元1783)。达拉罕亲王。汪扎尔多尔济进白海青一架。架上白鹰，铁喙钩爪，羽毛洁白，神情威猛，深得写生之妙，此幅当是与郎士宁同时同地写生而成。两位画家从不同角度观察白鹰，并以逼真手法写生下来。\n中西结合的宫廷绘画 清代没有画院的设置，只在内务府造办处中有画画处和如意馆，负责组织画家为宫廷服务。画家地位低下，或称“南匠”，因画家多系南方人之故，或称“画画人”。画家来源或为原在宫中服务的画家子弟，或大臣推荐，或画家毛遂自荐，均经考核再录用。其中也有大臣如王原祁、蒋廷锡等，虽也创作绘画为宫廷所用，则不在此中。 顺治初见于记载的宫廷画家只有黄应谌一人。康熙时有唐岱、焦秉贞、冷枚等。唐岱山水得王原祁指授，画风亦相近。焦秉贞善山水人物，用透视法，受西方的影响，冷枚为焦秉贞的学生，以人物仕女见长。其后至乾隆时期，画家有丁观鹏、姚文瀚、金廷标、余省、张宗苍、徐扬、陈枚等。他们的作品艺术成就远不及宋代和明代。最具有清代宫廷绘画特色并创造出了艺术成就的是宫廷中的一批来自西方的传教士画家，他们中有意大利人郎世宁、安德义、潘廷章，法国人贺清泰、王致诚，波希米亚人艾启蒙等。他们根据官廷的需要与爱好，用中国的作画工具，综中、西不同的观察和表现方法，如人物用西法，背景则为中法，或背景用中国画家来画；面部塑造采用正面光，减轻明暗对比度，以适合中国传统欣赏习惯等等，因而创造出一种新的风格。",[23,24,7,165,28,27,61,3141,263,250,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81de27f18ee00b00b65c920a57e2c0fb.jpg","110x60cm",[],{"id":70658,"slug":70659,"title":70660,"dynasty":54,"author":20985,"museum":300,"description":70661,"tags":70662,"thumbUrl":70663,"material":84,"size":84,"collection":84,"collections":70664,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},224568,"yang-liu-mu-gui-tu-xiao-chen-224568","杨柳暮归图","淡墨晕染开朦胧远山，烟霭裹挟着晚春暖意漫过江岸。近岸老柳虬枝舒展，嫩叶青翠点染其间，苍柔兼具，生机暗蕴。板桥之上，耕牛驮着暮色缓步而归，村舍隐在烟树间，晕出恬然的乡野烟火气。\n画师以秀雅笔触勾勒物态，淡彩轻敷晕出水墨交融的空濛氛围，将暮归的悠然诗意藏在烟霭晕染里，题跋与画作相映，更添文人意趣。整幅画定格江南春暮的松弛恬静，铺展出中式文人眷恋的田园闲澹之美，将晚归的温柔烟火揉进湿润暮色里，叫人沉醉在这份乡野安宁中。",[23,24,7,25,27,29,331,98,102,64,208,28,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbda02a8cf79f03f01ab82707564b4930.jpg",[],{"id":70666,"slug":70667,"title":33103,"dynasty":54,"author":9742,"museum":300,"description":70668,"tags":70669,"thumbUrl":70670,"material":84,"size":84,"collection":84,"collections":70671,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},224489,"fang-gu-shan-shui-ce-wu-li-224489","此作用墨苍润清逸，远景山峦以浓淡墨色层叠晕染，峰岫间留白作云气，晕出山影空濛悠远的层次感。近渚汀岸以干笔淡墨勾勒，间以浓墨点苔写林木，简笔轻描村居茅舍，错落隐于烟树之间。\n\n整幅构图疏密相宜，以留白衬出水乡的空阔静穆，干湿互用的笔墨带着松秀苍劲的质感，将江南水畔林泉栖居的闲淡意趣铺展开来，萧散静谧的古韵漫溢其间，仿若引人身临这山水幽居，共赴隐逸悠然的林下之境。",[164,24,7,59,128,132,29,98,99,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F753cd9e04c73c33b73d3d06de173f862.jpg",[],{"id":70673,"slug":70674,"title":29,"dynasty":54,"author":36956,"museum":300,"description":70675,"tags":70676,"thumbUrl":70677,"material":84,"size":84,"collection":84,"collections":70678,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},224435,"shan-shui-wang-yu-224435","此作用高远、平远章法铺展秋山胜景，左畔危崖陡立，以苍劲皴法写山石肌理，丹枫村居隐于崖麓，添几分暖意生机。近岸古松盘虬，坡石隐现于浅草间，流泉脉脉。江波浩渺，远山含黛晕染出空濛暮色。\n\n画面笔墨承袭娄东一脉，干笔淡墨皴擦，浅设色晕染清雅柔和。题诗与画境相映，糅合元人萧散意趣，铺就出幽寂闲淡的江秋林下之境，将文人山水的隐逸悠然藏于尺幅之间。",[23,24,7,29,165,27,128,132,131,34,35,415,7782,1144,149,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3a78721187e680a816bc2f19330f5a.jpg",[],{"id":70680,"slug":70681,"title":54504,"dynasty":54,"author":6936,"museum":300,"description":70682,"tags":70683,"thumbUrl":70684,"material":84,"size":84,"collection":84,"collections":70685,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},224386,"fang-huang-zi-jiu-qing-luan-ji-cui-juan-wang-yuan-qi-224386","此作为娄东派仿古山水精品，师法黄子久笔意，以长卷铺展丘壑，山峦层叠萦回，林舍洲渚错落排布，兼具深远、平远之致，尽显江南山水的萧散淡远。\n用笔以干笔枯墨反复皴擦，间以淡墨晕染，笔墨苍浑厚润，元气内蕴，既恪守子久浅绛山水的简淡天真，又融入自身沉郁苍秀的笔法。画家经年经营此卷，于简淡中藏深秀，朴拙内含妍密，草木华滋，气象浑穆，尽显清初正统山水画追摹元人、讲求笔墨理气的创作旨趣，将黄公望平淡萧散的山水意韵，化为自身苍厚浑沦的笔墨境界。",[23,24,7,25,128,132,29,496,34,35,130,499,98,497,38,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ff59f30a03d2837ac808debeb392d61.jpg",[],{"id":70687,"slug":70688,"title":70689,"dynasty":54,"author":15720,"museum":300,"description":70690,"tags":70691,"thumbUrl":70692,"material":692,"size":1293,"collection":84,"collections":70693,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":199},224360,"qing-yong-xing-fu-shuo-ba-ji-xiang-jing-ce-ai-xin-jue-luo-yong-xing-224360","清永瑆佛说八吉祥经册","《佛说八吉祥经》乃佛教经典，内容述说东方八佛之名号（即“八吉祥”），以及持诵此诸佛名号和此经之功德利益。",[23,7,187,59,64,7322,572,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F700314aef392bbe1b78d5ae30d511efc.jpg",[],{"id":70695,"slug":70696,"title":70697,"dynasty":54,"author":30880,"museum":300,"description":68851,"tags":70698,"thumbUrl":70699,"material":692,"size":1293,"collection":84,"collections":70700,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},224346,"yan-liu-fu-qing-yun-xi-224346","烟柳浮青",[23,24,7,27,29,2372,35,98,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e304ac9be4b8cdba4fd199f703a2578.jpg",[],{"id":70702,"slug":70703,"title":70704,"dynasty":54,"author":1676,"museum":300,"description":70705,"tags":70706,"thumbUrl":70707,"material":84,"size":84,"collection":84,"collections":70708,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},224330,"hua-niao-shi-er-kai-8-li-shan-224330","花鸟十二开8","以留白作冷月，淡墨晕开清寒夜雾，似将月色融在水波之中。三尾游鱼姿态灵动，逆水穿波，浓淡墨色晕出鳞光肌理，简笔勾勒却生机尽显。题诗与画境相映，把秋江月夜的清寂氛围铺陈开来。笔意纵逸随性，极简构图勾勒空濛冷寂的秋夜氛围，淡墨轻岚间尽显写意之妙，将秋江月夜的清宁与游鱼野趣相融，寥寥数笔便将文人画的幽隽禅意藏在水墨之间，尽显闲适自在的画中真意。",[23,24,7,59,128,2059,231,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80fc7263cffe35761818ab68354a95e.jpg",[],{"id":70710,"slug":70711,"title":70712,"dynasty":54,"author":1676,"museum":300,"description":70713,"tags":70714,"thumbUrl":70715,"material":84,"size":84,"collection":84,"collections":70716,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},224328,"hua-niao-shi-er-kai-6-li-shan-224328","花鸟十二开6","此作用笔兼工带写，左侧草茎以淡赭晕染，细劲清瘦，停驻一只螽斯。虫身刻画入微，翅脉纹理纤毫毕现，似将振翅齐鸣，鲜活灵动感跃然纸面。\n右侧题诗行书纵逸苍劲，笔墨朴拙老辣，与草虫的工致细密形成强烈反差，却又和谐相融。整幅留白疏朗，寥寥数笔便将秋野清寂意趣勾勒尽致，文人雅思托于草虫小景，淡逸间暗藏生趣，把秋日郊野幽谧鲜活的一隅定格，尽显清逸雅致的文人情致。",[23,24,164,7,59,27,133,208,64,61,806,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba01201d5abd9179244671a03940dd41.jpg",[],{"id":70718,"slug":70719,"title":70720,"dynasty":54,"author":1676,"museum":300,"description":70721,"tags":70722,"thumbUrl":70723,"material":84,"size":84,"collection":84,"collections":70724,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},224326,"hua-niao-shi-er-kai-4-li-shan-224326","花鸟十二开4","此作以紫藤栖禽入画，错落布置藤蔓花枝，枯藤蜿蜒承托禽鸟，疏密相生。禽鸟以淡赭晕染翎羽，笔触松灵，将茸毛蓬松质感尽显，朱喙圆目，神采机敏生动。紫藤花色清雅柔淡，紫花白蕊垂悬，墨色枝蔓苍劲写意，尽显花木舒展之姿。画面右侧题诗相伴，诗画相融，尽显文人写意的萧散野趣。笔意简逸却神完气足，将花鸟天然野逸之态生动勾勒，淡冶疏朗间尽显写意花鸟的韵致悠长。",[23,24,7,59,369,27,128,61,211,80,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98fe5b0a0d5e0edbe0f54985d9a40440.jpg",[],{"id":70726,"slug":70727,"title":70728,"dynasty":54,"author":1676,"museum":300,"description":70729,"tags":70730,"thumbUrl":70731,"material":84,"size":84,"collection":84,"collections":70732,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},224316,"hua-niao-ce-shi-kai-6-li-shan-224316","花鸟册十开6","此作以水墨淡彩写就，右侧顽石以大写意挥就，焦墨点苔，苍劲朴拙，似藏山野沉浑之气。左侧花枝鲜活灵动，叶片以青绿分染，深浅层叠尽显舒展之姿，粉花柔婉点缀枝梢，轻丽动人。\n\n画面左上题以行书，笔意潇洒跌宕，书画相映成趣。笔致兼具放逸与秀雅，不拘成法，将花木清隽生机与顽石沉静古拙相互映衬，诗书画印浑然一体，把寻常小景绘出悠然林下之致，淡彩晕染衬出雅致格调，墨色干湿浓淡尽显写意意趣，尽显疏朗脱俗的文人审美意韵。",[23,24,7,59,369,27,133,208,171,61,6193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0972e453f468c17ec7ec34647dfa52a.jpg",[],{"id":70734,"slug":70735,"title":70736,"dynasty":54,"author":29876,"museum":300,"description":70737,"tags":70738,"thumbUrl":70739,"material":84,"size":84,"collection":84,"collections":70740,"showCount":586,"zanCount":1998,"manualWeight":48,"mainColor":72},224271,"shan-shui-hua-hui-ce-qi-fu-shan-224271","山水花卉冊(七)","此作用浅赭素绢为底，淡墨晕染山峦，留白如晴雪覆峰，清寂淡远。近景虬松盘曲遒劲，丹红点染秋林，暖意破开空山萧寒。山坳飞檐小楼隐于林岫之间，尽显幽居雅意。\n笔墨简淡松灵，不事雕饰，以简驭繁，将山林秋意里的静穆萧散融于尺幅中，把出世幽居的雅怀寄寓在淡墨轻彩内，平淡天真余韵悠长，尽显文人画简远清逸的意趣。",[23,24,7,59,27,29,97,331,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ac89da8453aafa9c7af4b69dd3c241b.jpg",[],{"id":70742,"slug":70743,"title":1230,"dynasty":54,"author":19884,"museum":300,"description":70744,"tags":70745,"thumbUrl":70746,"material":84,"size":84,"collection":84,"collections":70747,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},224263,"shan-shui-tu-zhang-zong-cang-224263","此作用笔苍劲老辣，山石以干笔皴擦，缀以浓墨点苔，尽显崖壁厚重雄浑。右侧危峰拔地而起，隐见飞瀑垂落，左侧林麓苍郁，杂木间晕染赭红花青，暗合秋意。\n\n溪泉蜿蜒穿谷，山居藏于幽林，水面扁舟轻泛，远景水天一色，构图兼取高远、平远，层次悠长。搭配题诗与朱印，诗书画印浑然一体，将秋山的清疏旷远与林下幽居的雅趣相融，兼具雄奇气象与秀润诗意，意境澹宕空灵。",[23,24,7,165,27,128,29,99,129,34,131,208,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab82f87f0726486e943e9a0edd8c887.jpg",[],{"id":70749,"slug":70750,"title":84,"dynasty":54,"author":3403,"museum":300,"description":70751,"tags":70752,"thumbUrl":70753,"material":84,"size":84,"collection":84,"collections":70754,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},224213,"wu-chang-shuo-224213","此联以石鼓文为宗，线条雄强苍劲，裹纳金石沉厚质感，字形欹正相生，不刻意求匀齐，自带着烂漫古拙的野趣。起收藏露互见，转折圆劲老辣，将金文的沉雄与草书的跌宕意趣相融，笔墨间苍茫朴野，浑穆高古。\n\n上下联排布疏朗错落，左侧小字题款与主体篆字形成虚实对比，右侧长款呼应平衡全局，整体章法灵动又不失庄重，尽显浑朴高华的宗师气象，把篆籀古意与文人意趣完美糅合，笔底自带斑驳岁月淬炼出的金石韵味。",[23,24,7,64,938,10886,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc0d298aa4ede4233ec14b2303c93d6.jpg",[],{"id":70756,"slug":70757,"title":12038,"dynasty":18,"author":223,"museum":70758,"description":70759,"tags":70760,"thumbUrl":70761,"material":173,"size":70762,"collection":84,"collections":70763,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},223665,"xue-shan-xing-lv-tu-yi-ming-223665","\u0010台北故宫博物院","以高远笔法铺陈层叠雪山，硬峭苍劲的线条勾勒山石骨骼，留白晕染尽显积雪厚重萧寒。谷间云气翻涌，将山体切割出虚实层次，令画面深邃辽远。山脚寒林枯槎萧索，冰河之上板桥隐现，山坳茅舍藏于雪峦间，行旅之人踏雪赶路，为荒寂冬景晕开一缕人间烟火气。\n\n画家以浓淡墨色区分雪色与岩体，皴笔硬朗尽显山石嶙峋质感，将隆冬山野的空寂清寒尽数铺展，于冷寂萧寒的天地间，藏着羁旅暖意，尽显山水写实造境的精妙风骨。",[23,24,7,29,165,132,2523,131,1337,98,2620,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08e4f11b5e11ba642e4054f5428918dd.jpg","170.7x99.7",[],{"id":70765,"slug":70766,"title":70767,"dynasty":124,"author":223,"museum":300,"description":70768,"tags":70769,"thumbUrl":70771,"material":84,"size":84,"collection":84,"collections":70772,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},223609,"zhu-lin-bu-chu-tu-ce-yi-ming-223609","竹林哺雏图册","此作用笔细腻工致，苍劲竹枝缀着翠色，竹叶舒展尽显清灵生机。雀巢静栖竹间，数只幼雏探首啾啾，振翅归旋的亲鸟神情急切，将归哺的温情凝于绢面之间。\n\n设色古雅沉静，晕染柔和自然，写实笔意带着院体花鸟的温婉余韵，将林间育雏的日常小景勾勒得脉脉动人。古旧绢色晕开岁月质感，把幽竹清寂与生命温情相融，尽现小品花鸟的雅致意趣，平淡间藏着触动人心的自然诗意。",[23,24,7,59,27,28,61,167,211,36078,70770],"鸟巢","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc731490b38e5c321d0a8e1945ea3b64b.jpg",[],{"id":70774,"slug":70775,"title":70776,"dynasty":18,"author":223,"museum":300,"description":70777,"tags":70778,"thumbUrl":70779,"material":84,"size":84,"collection":84,"collections":70780,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},223598,"sui-yang-wu-lao-tu-wang-huan-xiang-yi-ming-223598","睢阳五老图 王涣像","老者头戴乌纱，一袭宽袖深青素袍以朱红束腰提点，色调清雅克制。他双手敛于袖中，身形微佝，面上沟壑纵横，尽显九十高龄的苍迈迟暮。\n此作线条凝练精准，淡墨晕染出松弛的皮肤纹理，写实勾勒出耄耋老人的神态气韵，将致仕老臣内敛端肃的沉静气度尽显无遗。古旧绢底衬出肖像的静穆质感，带着宋画特有的平和雅致，以极简笔墨写尽老者为官半生后的安然沉稳，尽显宋代肖像画的写实功力。",[23,164,24,7,165,27,28,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2a20c3a9cd593416177c1bd5c5372b.jpg",[],{"id":70782,"slug":70783,"title":56869,"dynasty":18,"author":223,"museum":20,"description":70784,"tags":70785,"thumbUrl":70786,"material":40,"size":70787,"collection":84,"collections":70788,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},223487,"wu-hua-guo-tu-yi-ming-223487","图中无花果已然成熟，撑开绿萼露出了果实。此图以中锋行笔，淡墨勾勒，线条细劲流畅，显现出画家以线塑形的娴熟功底。叶片色彩的渲染则是先在叶尾部着以墨绿，再用清水将绿色向叶尖晕开，不仅呈现出浓淡有致的色泽变化，且枝叶的鲜活姿态也得以表现。含苞者敷以石绿色，绽开者用白粉染出，清浅的绿色构成画面的主调，体现出宋人花鸟画淡雅清逸的美学品格。\n对幅有清乾隆皇帝御题五言诗一首：“果结必资花，却有无花者。别名木馒头，或因形弗雅。缀子于叶间，累累复若若。七利名徒传，几团见实寡。钱塘特写斯，应寓别意也。庶子与家丞，个中两弗假。”钤印“用笔在心”。",[23,164,24,7,1131,28,27,64,208,56872,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcecf14fa0588646d6b234f3cb52b18fc.jpg","纵24.8厘米，横25.3厘米",[],{"id":70790,"slug":70791,"title":70792,"dynasty":144,"author":223,"museum":244,"description":70793,"tags":70794,"thumbUrl":70795,"material":173,"size":70796,"collection":44,"collections":70797,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},223440,"xuan-fan-yu-hua-tu-zhou-yi-ming-223440","宣梵雨花图轴","此幅画一位蓄须僧人端坐在石上，正在诵读梵文经卷。他的皮肤黝黑，高鼻深目，耳有穿环，从轮廓特征看来应该不是汉人。佛教本是由外地传入的宗教，传世因而也有诸多近于中亚人种造型的胡僧形象，他所阅读的也正是未经中文化的梵文。\n僧人的衣饰精致华美，但表情却虔敬素穆。看他专注的眼神与微张的双唇，似乎对经义心领神会，已有所悟。这时天空中飘下满天花雨，陪侍的白猴也忍不住伸手接取。这样的神迹配合僧人头后的圆光，使得画中更添神异的色彩。\n画中并无绘者的题款。画家描绘人物衣纹的线条圆转，但劲健有力，对僧服上的装饰、飘扬的花朵、以及白猴身上的密毛，不同质感的刻划却十分细腻。山水烟云的背景纯以水墨画成，和衣饰与花雨的鲜艳色彩形成对比。线条粗细兼具、配色明暗协调，在画家的妙笔下，呈现出端凝又神秘的宗教气氛。",[23,24,7,165,187,27,28,96,547,5459,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd0f95eadeb3e05a9a8b4a1c9c7942a8.jpg","该幅 175.3x98.2公分；全幅 100.4公分",[44],{"id":70799,"slug":70800,"title":70801,"dynasty":18,"author":223,"museum":300,"description":70802,"tags":70803,"thumbUrl":70804,"material":611,"size":84,"collection":318,"collections":70805,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},223371,"lan-ting-ba-zhu-di-er-mi-ti-shi-ben-yi-ming-223371","兰亭八柱第二米题诗本","《米芾诗题本》旧传为唐代褚遂良所摹，因卷前项元汴标题“褚摹王羲之兰亭帖”而被简称为“褚摹兰亭”，但这种说法未必正确。有人认为该卷是北宋摹本。清代卞永誉在题跋中肯定此卷是临本而非摹本，但仍认为出自褚遂良手笔。",[23,7,25,133,208,64,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fd40294b9307954a81a1c3c7c6091cf.jpg",[318],{"id":70807,"slug":70808,"title":70809,"dynasty":144,"author":223,"museum":244,"description":70810,"tags":70811,"thumbUrl":70812,"material":317,"size":70813,"collection":84,"collections":70814,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},223364,"han-lin-tu-zhou-yi-ming-223364","寒林图轴","在郊野，有几株老树疏落地依傍水泽而生。树叶已全凋零落尽，露出了枯乾的枝枒，有老藤缠绕垂挂著。树木坡土都以墨色渲染，更觉得阴冷萧瑟。阵阵寒风吹皱了水面，波纹似长披麻交织如鳞状，一层一层地叠列，渐淡渐远空阔无边。",[164,24,7,165,128,188,132,1233,331,1557,29,171,3600,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ca2ef5a32f1edf374364dcd8a9dd9a.jpg","162.4x102.3",[],{"id":70816,"slug":70817,"title":70818,"dynasty":54,"author":6946,"museum":244,"description":70819,"tags":70820,"thumbUrl":70821,"material":27,"size":70822,"collection":84,"collections":70823,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},223324,"zhang-xing-shen-ding-guan-peng-223324","张星神","丁观鹏(？-1771后)清代画家，艺术活动于康熙末期至乾隆中期，北京人。胡敬《国朝院画录》谓：“观鹏克传家学。”工道释、人物、山水，亦能作肖像，尤擅仙佛、神像，以宋人为法，不尚奇诡，画风工整细致，受到欧洲绘画的影响， [1] 学明代的丁云鹏笔法，有出蓝之誉。雍正四年(1726)进入宫廷为画院处行走，是雍正、乾隆朝画院高手，与唐岱、郎世宁、张宗苍、金廷标齐名。造诣深湛，得乾隆帝赏识，曾为《圣制诗》初集、二集、三集之多幅画卷题诗。在宫廷画院五十年左右，作品近二百件。传世作品有完成于乾隆三十二年(1767)《法界源流图》卷，纵33厘米，横1635厘米，该卷场面宏大，人物众多，描金设色，精细绚丽，为中国佛教艺术瑰宝、世界佛教艺术明珠，现藏吉林省博物馆；乾隆十三年(1748)作《乞巧图》卷藏上海博物馆；二十六年(1761)作《无量寿佛图》轴、《宝相观音图》轴藏故宫博物院；三十五年(1770)八月作《说法图》轴藏西柏林民俗博物馆。弟丁观鹤，亦供奉内廷，工人物。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[23,24,7,25,28,27,187,96,949,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33462f506791dea193935fc09761881f.jpg","26.5x70.9",[],{"id":70825,"slug":70826,"title":15896,"dynasty":54,"author":10177,"museum":20,"description":60016,"tags":70827,"thumbUrl":70828,"material":84,"size":15901,"collection":84,"collections":70829,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},223211,"geng-zhi-tu-ce-jiao-bing-zhen-223211",[164,24,7,59,304,28,27,95,10803,96,97,34,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F684498733431a8860e2686600a0025ac.jpg",[],{"id":70831,"slug":70832,"title":70833,"dynasty":54,"author":11383,"museum":20,"description":23655,"tags":70834,"thumbUrl":70835,"material":23658,"size":23659,"collection":84,"collections":70836,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},223140,"shi-wan-tu-ce-4-ren-xiong-223140","十万图册4",[23,24,7,59,27,28,132,29,99,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdafbb1382f759faa9a0bd0fff6c51b3b.jpg",[],{"id":70838,"slug":70839,"title":6956,"dynasty":54,"author":6957,"museum":300,"description":6958,"tags":70840,"thumbUrl":70841,"material":84,"size":84,"collection":84,"collections":70842,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},223083,"shui-hu-ren-wu-ren-xun-223083",[23,24,7,304,27,28,188,96,170,439,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffedfad1d6c0414a7a5c9db13e717bc39.jpg",[],{"id":70844,"slug":70845,"title":70846,"dynasty":54,"author":70847,"museum":300,"description":70848,"tags":70849,"thumbUrl":70850,"material":84,"size":84,"collection":84,"collections":70851,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},222827,"san-xing-tu-xu-gang-222827","三星图","徐冈","徐冈，生卒年不详，字九成，号缾山（瓶山），浙江杭州人。家贫以鬻画养母，至老不娶。山水、花鸟、人物，无所不工。一以华岩为师，而尤擅花鸟。",[23,164,24,7,165,27,28,96,372,167,1337,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53588f1a09245fd285ade392b1603262.jpg",[],{"id":70853,"slug":70854,"title":1230,"dynasty":124,"author":70855,"museum":20,"description":70856,"tags":70857,"thumbUrl":70858,"material":611,"size":70859,"collection":84,"collections":70860,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},222573,"shan-shui-tu-wu-chang-222573","吴昌","明（无声诗史作昌之，图绘宝鉴续纂作字振之，误）。振子。善山水，能世父业。康熙十六年（一六七七）尝作山水扇，见故宫周刊。传世作品有崇祯十四年（1641）作《山水图》扇页，著录于《中国书画家印鉴款识》；康熙十六年（1677）作《山水图》扇页，款署：“丁巳秋仲写，吴昌。”现藏故宫博物院。生平事迹未见详细记载，《无声诗史》《明画录》《图绘宝鉴续篡》等均将其名附于吴振后云：“子昌，字昌伯，能世其业。”从艺活动约于明崇祯至清康熙年间。",[23,24,7,164,1131,27,132,29,131,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d6a79dc397d65dfbd2e7d49cf122b2.jpg","35x65",[],{"id":70862,"slug":70863,"title":4071,"dynasty":124,"author":1438,"museum":205,"description":4072,"tags":70864,"thumbUrl":70865,"material":1223,"size":4076,"collection":84,"collections":70866,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},222562,"hua-hui-tu-ce-chen-chun-222562",[23,24,7,59,128,369,62,3291,27,2132,6279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d121de0c7b60ae8254169e2a821ad98.jpg",[],{"id":70868,"slug":70869,"title":4071,"dynasty":124,"author":1438,"museum":205,"description":4072,"tags":70870,"thumbUrl":70871,"material":1223,"size":4076,"collection":84,"collections":70872,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},222561,"hua-hui-tu-ce-chen-chun-222561",[23,24,7,4437,2132,369,128,27,61,62,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a412704b978a282ce6585b92561f445.jpg",[],{"id":70874,"slug":70875,"title":70876,"dynasty":124,"author":9650,"museum":56,"description":9651,"tags":70877,"thumbUrl":70878,"material":611,"size":70879,"collection":84,"collections":70880,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},222497,"shang-bo-hua-ji-xuan-36-5-zhang-lu-222497","上博画集选36-5",[23,24,7,59,128,369,188,96,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72fdffae96a1f085b3cb7ee84b7dd0ea.jpg","55.88厘米 27.94厘米",[],{"id":70882,"slug":70883,"title":70884,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":70885,"thumbUrl":70886,"material":637,"size":70887,"collection":84,"collections":70888,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":3379},222248,"nan-hua-zhen-jing-1-wang-chong-222248","南华真经1",[23,7,64,7322,133,208,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F131a05b83f3562bf28b40439e58b8b4f.jpg","每开尺寸长19.1、宽12.5厘米",[],{"id":70890,"slug":70891,"title":70892,"dynasty":124,"author":25354,"museum":244,"description":70893,"tags":70894,"thumbUrl":70895,"material":70896,"size":70897,"collection":84,"collections":70898,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},222157,"yi-shang-shou-shu-li-zai-222157","圯上授书","《明李在圯上授书图》描绘秦末张良得黄石公传授兵法的故事。张良曾闲步桥上，遇一老人故意将鞋丢到桥下，要求张良为他拾回并穿上。\n创作背景:良敬其老，勉强为之，老人微笑，去而复返，要求张良于五日后破晓时再会于该地。良依约前往，老人已先在，并怒斥他迟到为无礼。如是者三，良不断提前到，终于比老人早，老人喜，送他一册《太公兵法》，要他好好研读。谦抑敬老的张良得此秘笈，终能辅佐刘邦成其灭秦兴汉的开国霸业。",[23,24,7,59,128,28,132,96,29,171,34,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe160dab41e57c4aaf24743efdd630a9a.jpg","册页、册之第十六开、绢本、水墨","纵24.8cm、横26.5cm",[],{"id":70900,"slug":70901,"title":7864,"dynasty":124,"author":23728,"museum":56,"description":23729,"tags":70902,"thumbUrl":70903,"material":611,"size":23732,"collection":84,"collections":70904,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},221931,"za-hua-ce-guo-xu-221931",[23,164,24,7,128,369,188,96,949,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F895fab28e99ec04a00e8f71ae1d48a7d.jpg",[],{"id":70906,"slug":70907,"title":7864,"dynasty":124,"author":23728,"museum":56,"description":23729,"tags":70908,"thumbUrl":70910,"material":611,"size":23732,"collection":84,"collections":70911,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},221929,"za-hua-ce-guo-xu-221929",[23,164,24,7,59,128,188,369,96,276,171,36766,9671,9603,70909,170,1424,208],"砚台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7423d7c114d37fd72b377fa1ddb06057.jpg",[],{"id":70913,"slug":70914,"title":7864,"dynasty":124,"author":23728,"museum":56,"description":23729,"tags":70915,"thumbUrl":70916,"material":611,"size":23732,"collection":84,"collections":70917,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},221925,"za-hua-ce-guo-xu-221925",[23,805,24,7,164,128,188,369,96,29,171,99,4622,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6615cbc99ad94c1f93fcbe8e64ec18c4.jpg",[],{"id":70919,"slug":70920,"title":70921,"dynasty":124,"author":802,"museum":20,"description":18483,"tags":70922,"thumbUrl":70923,"material":18486,"size":64114,"collection":84,"collections":70924,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},221890,"za-hua-tu-ce-wu-fa-ke-shuo-chen-hong-shou-221890","杂画图册-无法可说",[23,24,7,59,27,96,171,208,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76004253cea302ae8e7a3a78577e9718.jpg",[],{"id":70926,"slug":70927,"title":70928,"dynasty":144,"author":7095,"museum":510,"description":70929,"tags":70930,"thumbUrl":70931,"material":40,"size":70932,"collection":84,"collections":70933,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},221866,"cheng-jiang-han-yue-tu-zhao-yong-221866","澄江寒月图","此图为《唐宋元集绘册》中的第十四幅。作者用大片的空白和淡墨淡彩渲染出一种空旷寒峭的境界。\n画面中一轮圆月当空，江水苍茫，隐约可见远山起伏。近岸巨石枯树，有一孤舟停泊，仓内一人独坐。",[23,1131,24,7,133,27,29,129,231,1337,171,6004],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa397f5a6352c3ac829dc31fde3ebbda3.jpg","纵：25.5厘米，横：24.8厘米",[],{"id":70935,"slug":70936,"title":70937,"dynasty":144,"author":70938,"museum":244,"description":70939,"tags":70940,"thumbUrl":70941,"material":637,"size":47611,"collection":318,"collections":70942,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},221809,"shu-mo-fa-si-shou-wu-zhi-chun-221809","书墨法四首","吴志淳","释文：墨法四首录上。南谷师一笑。吴志淳。久知墨诀在丹丘。子独来从逐客求。雾冷歙山春隐豹。月沉易水夜藏虬。鳞胶万杵应难制。松骨千年不易收。太史名家有遗谱。更须归向阿戎谋。谪居认病已无闻。袖出绫编喜见君。天上图书应奎璧。人间珠玉在诗文。墨铭拟问唐司户。书法还求晋右军。若就龙香千百片。临池能换白鹅群。乌玦流传出李家。后人涂抹已尘沙。括囊手剔千金直。秘阁神方百世夸。玉法试论无杜甫。玄经酷好有侯芭。工成进上蓬莱殿。五色寒光动晓霞。千里担簦走朔风。免冠接语恨匆匆。却闻作客依刘表。共说从师须马融。山路逢梅寒载酒。晴江待月夜归篷。将诗为问黄司马。茆屋还过访巳公。",[23,4057,64,7,133,9910,611,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ab68cf5dccb4a5178eede475dbe99ca.jpg",[318],{"id":70944,"slug":70945,"title":70946,"dynasty":144,"author":223,"museum":244,"description":70947,"tags":70948,"thumbUrl":70950,"material":1223,"size":70951,"collection":84,"collections":70952,"showCount":586,"zanCount":1998,"manualWeight":48,"mainColor":49},221776,"han-shan-shi-de-xiang-zhou-yi-ming-221776","寒山拾得像轴","这帧古画以淡墨粗笔勾勒出寒山与拾得的野逸风神。二人相携而立，眉眼弯弯堆着憨态笑意，亲昵无间，将禅门隐者的乐天自在尽数铺陈。\n\n右侧仙人捻着素白佛珠，衣袍褶皱朴拙自然，暗合禅意的沉静；左侧仙人执帚斜倚，蓬松卷发带着山野疏狂之气。整作设色暗沉古雅，晕着岁月浸漫的旧意，线条不求工细却形神兼备，把两位高士随性放旷的林下之姿描摹入微。无繁复布景，仅以人物本身传递禅宗“无拘无碍”的真趣，笔底藏着冲淡平和的禅味，见之便觉尘心渐息。",[23,24,7,165,27,96,188,187,232,170,70949],"工具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08381b149091acc74af3823f6b027058.jpg","104.6x54.1",[],{"id":70954,"slug":70955,"title":30553,"dynasty":144,"author":32219,"museum":20,"description":70956,"tags":70957,"thumbUrl":70958,"material":84,"size":84,"collection":84,"collections":70959,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},221686,"bao-shan-shi-jing-ce-xian-yu-shu-221686","此作用笔以中锋为主，力透纸背，兼具晋人草书的萧散与北地书家的雄豪气象。行笔间牵丝映带自然圆活，字势欹正相生，开合之间颇具章法韵律。墨色枯湿浓淡交替变幻，时而饱满沉厚，时而飞白劲健，让整幅作品跌宕起伏，尽显抒情写意之姿。将诗文意境融于笔墨之中，笔力纵肆却不失法度，字字呼应、行气贯通，把胸中意气与笔底风华相融，尽显行草书法的纵横捭阖之美，尽显尚意抒怀的草书佳构之姿。",[7,64,59,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d6edaed60fb6edb7770e81d0eae80b1.jpg",[],{"id":70961,"slug":70962,"title":70963,"dynasty":18,"author":27476,"museum":20,"description":70964,"tags":70965,"thumbUrl":70966,"material":1464,"size":70967,"collection":44,"collections":70968,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},221497,"mu-niu-tu-juan-mao-yi-221497","牧牛图卷","牧牛图卷描绘烟柳平丘、牧童牧牛之生动情景，造型准确，用笔简率，款署“毛益画”三字，似为后添款。",[23,1846,24,7,25,128,28,64,102,96,29,34,23453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc508d5f86d0d8ce62bf271bbf921ecf.jpg","纵26.2厘米 横73厘米",[44],{"id":70970,"slug":70971,"title":70972,"dynasty":18,"author":4899,"museum":510,"description":70973,"tags":70974,"thumbUrl":70975,"material":40,"size":70976,"collection":84,"collections":70977,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},221454,"lu-song-san-pian-ma-he-zhi-221454","鲁颂三篇","《鲁颂三篇》分别为《閟宫》、《駉》和《有駜》，缺少《鲁颂》中的第四篇《泮水》，《駉》中呈现出在青山绿水中众多马匹；《有駜》描绘的是鲁公和群臣宴会饮酒的场景；《閟宫》描绘鲁公建成宏伟庙宇的壮观景像。旧传赵构书，马和之画。",[23,164,24,7,25,188,95,96,97,101,949,29,34,130,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c93d532e107749e9c2ec1d277d48845.jpg","25.5X297.3cm",[],{"id":70979,"slug":70980,"title":70981,"dynasty":18,"author":70982,"museum":20,"description":70983,"tags":70984,"thumbUrl":70985,"material":2739,"size":70986,"collection":84,"collections":70987,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},221407,"bian-di-tie-li-zhi-yi-221407","汴堤帖","李之仪","之仪再拜启。自汴堤瞻近，遽复累年。一曾投书海上，不辱报，勿勿不敢嗣音，而旧德相求。庶几未在弃黜，故役投满，谓得还□遂见□右。又尔维絷，其味可知，美绩在人固久。显部回翔，讵得为终岁计。归历严近，勤向尤属，晚春更觊善卫，前对光宠。之仪再启。\n《汴堤帖》是李之仪对友人应酬问候的信札。此帖笔画劲媚，结构紧凑，重心于上，展示了李之仪的书法特点。\n著录于《书画鉴影》卷一一《名贤手简册》之一。",[23,64,133,208,1590,7,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bc1efa900493c67ec194e01da376843.jpg","纵28.cm，横5.8cm",[],{"id":70989,"slug":70990,"title":70991,"dynasty":18,"author":70992,"museum":20,"description":70993,"tags":70994,"thumbUrl":70995,"material":611,"size":70996,"collection":84,"collections":70997,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":199},221255,"yan-ling-tie-zhang-shi-221255","严陵帖","张拭","《严陵帖》又称《游从帖》。释文：\n拭自来严陵，与令婿伯恭游从。每闻起居状，及论议详，用以自尉。兹承御祥琴，皇家急贤，除日亟下，甚尉士望。拭孤拙者，遂有联事之便，日承警诲。庶其寡悔，欣幸预深。即日春首尚寒，伏惟趣装有相，台侯动止万福。拭备数亡补，日夜悚惧，自此皆倾耳车音之日也。颛介走前，敬此承侯。敢祈冲涉珍护，以对休嘉。百怀并须面致。右谨具呈右司台坐。正月日。右承务郎、试尚书左司员外郎、兼侍讲张拭札子。\n该幅有草押一字。\n该帖为《宋代法书册》之一，内容为贺除官等事。《严陵帖》是张拭致韩元吉（无咎）的书信。文中说：“拭自来严陵，与令婿伯恭游从”，“伯恭”即吕祖谦，吕氏的丈人正是韩元吉。《宋史》载，张拭于乾道七年官尚书吏部员外郎，后兼侍读、左司员外郎，与此帖官衔正合。张拭在朝不满一年，次年出知袁州，故该帖应为1172年（南宋乾道八年）正月所书，张拭时年40岁。\n《严陵帖》书法笔工劲利，行体挺拔，字法紧俏，清高闲雅。该帖属名人简文，故不以书胜而以文拔群。",[23,64,133,1590,7,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95b548ad3cfa80e2eecb79d19dcc09a4.jpg","纵33.3cm，横60cm",[],{"id":70999,"slug":71000,"title":71001,"dynasty":18,"author":71002,"museum":244,"description":71003,"tags":71004,"thumbUrl":71005,"material":611,"size":71006,"collection":84,"collections":71007,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},221246,"cheng-ti-ju-lang-zhong-qi-zhang-zha-zi-lou-yao-221246","呈提举郎中契丈劄子","楼钥","楼钥（1137-1213），字大防，自号攻愧主人，出身宋代著名四明楼氏，性喜藏书，博通经史百家，精研训诂，文辞淡雅却寓意深刻。著有《攻愧集》。书法上善作大字，曾奉宋高宗令书太学之匾。",[24,7,64,133,9910],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40efb81754296f15cec8a38cb2dc6544.jpg","34.1×40.7cm",[],{"id":71009,"slug":71010,"title":71011,"dynasty":351,"author":13946,"museum":20,"description":13947,"tags":71012,"thumbUrl":71013,"material":13950,"size":13951,"collection":84,"collections":71014,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},221169,"shi-liu-luo-han-xiang-bo-tuo-luo-zun-zhe-tang-ka-bu-ben-guan-xiu-221169","十六罗汉像-跛陀罗尊者（唐卡布本）",[23,24,7,187,96,27,234,5490,949,81,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e87a35090383287dc1fb271d13fa681.jpg",[],{"id":71016,"slug":71017,"title":71018,"dynasty":351,"author":13946,"museum":20,"description":13947,"tags":71019,"thumbUrl":71020,"material":13950,"size":13951,"collection":84,"collections":71021,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},221163,"shi-liu-luo-han-xiang-ban-tuo-jia-zun-zhe-tang-ka-bu-ben-guan-xiu-221163","十六罗汉像-半託迦尊者（唐卡布本）",[23,164,24,7,187,28,27,96,170,169,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91fa7c1031de0d9b5db72753bccf110b.jpg",[],{"id":71023,"slug":71024,"title":71025,"dynasty":144,"author":1208,"museum":244,"description":71026,"tags":71027,"thumbUrl":71028,"material":611,"size":71029,"collection":1670,"collections":71030,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},220791,"zi-shu-shi-gao-ce-ni-zan-220791","自书诗稿册","受初期科举制等影响，明代后期逐步形成一字万同的台阁体盛行。而身处元末明初的倪瓒，基本可以认为是宋元书法舒意复古的结束。\n倪瓒擅画山水、墨竹，师法董源，受赵孟頫影响。作为在野的高人韵士，倪瓒书法，参禅学道，浪迹天涯 ，以一注冰雪之韵，写出了他简远萧疏，枯淡清逸的特有风格。",[164,24,7,59,133,64,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F580a21f2475ced61f129c3785046374e.jpg","纵24.4厘米，横20.1",[1670],{"id":71032,"slug":71033,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":71034,"thumbUrl":71035,"material":11690,"size":11691,"collection":84,"collections":71036,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":84},220703,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220703",[23,24,7,164,29,128,27,59,34,131,35,37,132,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5814fa3e46d38ecce71bf3ffe0d290d3.jpg",[],{"id":71038,"slug":71039,"title":71040,"dynasty":144,"author":71041,"museum":6892,"description":71042,"tags":71043,"thumbUrl":71044,"material":26871,"size":71045,"collection":84,"collections":71046,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":84},220659,"wu-lin-sheng-ji-bai-ting-220659","武林胜集","白珽","《武林胜集》诗卷为元人白珽、张楧、邓文原、有在、仇远、张坰、鲜于枢、俞伯奇等于至元二十四年（1287）十二月二日杭州雅聚时之作，兼有诗歌与书法之妙。据卷前白珽序文所记，是日适逢大雪，众人借此而聚，拆北宋盛次仲「飞入园林总是春」句为韵，各赋五言诗。除张坰外，共得七首而录，遂有此卷。其引首有明人篆书「武林胜集」四字，「武林」旧指杭州。是篇序文及诸人诗作，于清人鲍廷博、鲍士恭父子所刊刻的白珽《湛渊遗稿》中有辑录，却将「武林胜集」误作「武陵胜集」。\n\n白珽，字廷玉，号湛渊；仇远，字仁近，号山村。二人由宋入元后长隐不仕，又因同籍钱塘（今浙江杭州），并以诗文闻名，人称「仇白」。 《书史会要》称白珽「德望清重，书学米元章」、仇远「好古博雅，楷书学欧」。此诗卷上，二人书迹正契此评。除「仇白」外，是次雅集中的邓文原与鲜于枢更是元代与赵孟俯齐名的书法大家。鲜于枢，字伯机，号困学民、虎林隐吏等，渔阳（今天津蓟县）人，官至太常寺典簿，工诗擅画精鉴，楷、草书尤为称绝，中岁居西溪而与杭州艺文圈中人物交酬频多。邓文原，字善之，人谓素履先生，绵州（今四川绵阳）人，父徙钱塘，自少即负学名，诗文、书画兼擅，章草成就最受赞誉，曾官国子监祭酒、翰林侍讲学士。张楧，字仲实，号菊存，为南宋「中兴四将」之一张俊五世孙、醇儒牟巘婿。因张俊五世祖由凤翔（今陕西凤翔）迁秦州成纪（今甘肃天水），故张楧有一方印为「西秦张楧」。巧合的是，卷中代仇远录诗的张坰亦是西秦人士，不知二人是否为同宗兄弟。至于有在和俞伯奇二人则殊乏史载，难以稽考。\n\n《武林胜集》诗卷汇集元代多位大家名手的诗文书法，其中如白珽、张瑛、有在等人的书迹传世罕见，弥足珍贵。此卷也校实了历来《四库全书》《元诗纪事》等对于此雅集记载的「武陵」之误。武陵位于湖南，于浙江的武林实有天壤之别。宋元易代，世局丕变，杭州作为两朝艺文活动中心仍是文人荟萃、艺事纷频。此诗卷也从另一角度，展现了其时杭州及寓杭文人、书家、遗民、官员风雅酬唱的一面。",[164,24,7,25,133,64,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09ea8f609e0ce0a0cde73e21e1aa456.jpg","画心：22.2 × 170.05 厘米（8 3\u002F4 × 66 15\u002F16 英寸） 画心：22.2 × 279.3 厘米（8 3\u002F4 × 109 15\u002F16 英寸）",[],{"id":71048,"slug":71049,"title":71050,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":71051,"thumbUrl":71052,"material":611,"size":3722,"collection":84,"collections":71053,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},220284,"huang-shan-tu-ce-41-hong-ren-220284","黄山图册-41",[23,164,24,7,59,128,132,29,131,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcdf6043d1be756bd89898d976e8aee5.jpg",[],{"id":71055,"slug":71056,"title":71057,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":71058,"thumbUrl":71059,"material":611,"size":3722,"collection":84,"collections":71060,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},220273,"huang-shan-tu-ce-50-hong-ren-220273","黄山图册-50",[23,24,7,164,59,128,132,29,131,1144,12108,37,415,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77eb0a71d6aaf60a7e550f6ed7e96459.jpg",[],{"id":71062,"slug":71063,"title":71064,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":71065,"thumbUrl":71066,"material":611,"size":3722,"collection":84,"collections":71067,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},220269,"huang-shan-tu-ce-54-hong-ren-220269","黄山图册-54",[23,24,7,59,128,132,29,131,34,495,99,98,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F401bec41f44a4edc09937bc3c7c92336.jpg",[],{"id":71069,"slug":71070,"title":71071,"dynasty":18,"author":71072,"museum":77,"description":71073,"tags":71074,"thumbUrl":71075,"material":173,"size":71076,"collection":136,"collections":71077,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},220085,"feng-nian-kao-mu-tu-ma-kui-220085","丰年考牧图","马逵","平野铺陈，林木错落间，百畜悠然信步，牧童嬉游往来，村舍田畴点缀远近，将乡野的恬然生机缓缓铺展。\n笔墨工致细腻，设色古雅柔和，群畜姿态神韵各异，或卧或驰、或饮或嬉，尽写真淳野趣，村人日常悠然自洽，宛若一卷鲜活的乡居牧歌长卷。\n它以全景构图承载古朴田家意趣，尽显雅致格调，带着千年前的烟火暖意，将丰年里的太平牧歌，永远定格在绢素之上。",[23,164,24,7,25,27,28,96,102,101,949,34,8709,99,211,35,23453,15899],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79e2dd3e38e9ba50937357bec0d35a38.jpg","24×160",[136],{"id":71079,"slug":71080,"title":71081,"dynasty":54,"author":299,"museum":56,"description":19521,"tags":71082,"thumbUrl":71083,"material":173,"size":19524,"collection":84,"collections":71084,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},219839,"shan-shui-tu-ce-8-xie-sun-219839","山水图册-8",[164,24,7,59,27,128,29,331,35,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea8e5adeb26c6d2ff1eaa3be50f1696.jpg",[],{"id":71086,"slug":71087,"title":71088,"dynasty":54,"author":11383,"museum":56,"description":71089,"tags":71090,"thumbUrl":71091,"material":611,"size":71092,"collection":84,"collections":71093,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},219834,"ren-wu-ce-ye-1-ren-xiong-219834","人物册页-1","任熊善山水、人物、花卉、翎毛、虫鱼、走兽，笔力雄厚，气味静穆，深得宋人神髓。尤擅长人物，绘画师法陈洪绶，人物形象多高古、奇倔、夸张、得陈洪绶神韵而能别出心裁，其自画像神态刻画细致入微，十分写实。任熊对衣纹的勾画向来十分精彩，铁画银钩，很见功力。所题款字也是十分有力，与画法同出一辙。\n此开册页共十二页，内容丰富，题材广博，有人物、仕女、神仙、花鸟、鞍马、博古、山水等等。工笔写意，错杂出之，光怪陆离，不可方物。",[24,7,59,28,27,96,170,5626,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F845e69a6b71e5bbcc4e79d60badb4152.jpg","27.2x34.3厘米",[],{"id":71095,"slug":71096,"title":71097,"dynasty":124,"author":23728,"museum":56,"description":71098,"tags":71099,"thumbUrl":71100,"material":278,"size":71101,"collection":84,"collections":71102,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},219788,"za-hua-ce-2-guo-xu-219788","杂画册-2","郭诩（1456—1532），字仁弘，号清狂道人，江西泰和人。工书画，善山水，尝遍历名山，曰“岂必谱也，画在是矣。”同时江夏吴伟、北海杜堇、姑苏沈周俱以画名，莫不延颈原交，天下竟传清狂画，风之百金。有贵人欲多得诩画，诩瞠目数屋梁不对。固索，辄跮跖狂趋，叫奡跳号去。弘治（一四八八至一五零五）中徵天中善画者，应诏京师。宸濠召与语，辄辞谢之。往依王守仁献画题诗所见志。又善杂画，信手作人物，辄有奇趣。七十三岁尚作磨镜图。他的作品传世不多，八开《杂画册》现藏上海博物馆，《琵琶行》图轴藏北京故宫博物院。",[24,7,4437,27,128,369,61,7699,481,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31a9678b7cd4af80b4e4f68a303b7cde.jpg","纵28.5 厘米 横46.5 厘米",[],{"id":71104,"slug":71105,"title":71106,"dynasty":124,"author":204,"museum":56,"description":11541,"tags":71107,"thumbUrl":71108,"material":173,"size":11544,"collection":84,"collections":71109,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},219775,"lin-song-ren-hua-ce-5-chou-ying-219775","临宋人画册-5",[164,24,7,59,330,28,27,96,413,9603,208,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f32ec388d89fd1d93e5c56ca3a2303a.jpg",[],{"id":71111,"slug":71112,"title":71113,"dynasty":124,"author":204,"museum":56,"description":11541,"tags":71114,"thumbUrl":71115,"material":173,"size":11544,"collection":84,"collections":71116,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},219768,"lin-song-ren-hua-ce-11-chou-ying-219768","临宋人画册-11",[24,7,1131,330,27,28,96,130,34,276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc468dfb839584e25cdb34a8e1326213a.jpg",[],{"id":71118,"slug":71119,"title":71120,"dynasty":124,"author":204,"museum":56,"description":11541,"tags":71121,"thumbUrl":71122,"material":173,"size":11544,"collection":84,"collections":71123,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},219764,"lin-song-ren-hua-ce-14-chou-ying-219764","临宋人画册-14",[24,7,59,95,28,27,330,97,129,29,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F022ce06c0e081f771f4d673e5d15bed6.jpg",[],{"id":71125,"slug":71126,"title":22849,"dynasty":18,"author":223,"museum":244,"description":71127,"tags":71128,"thumbUrl":71129,"material":128,"size":84,"collection":136,"collections":71130,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},219029,"song-feng-lou-guan-tu-yi-ming-219029","苍松盘崖而立，虬枝如铁，松针层叠间似有山风穿林，涛声隐隐。山麓楼阁隐于青霭，飞檐轻挑云影，凭栏处烟水横陈，远山如黛，天地间尽是清旷之息。题跋笔墨苍劲，与画面的松风意境相融，仿佛引观者步入林泉深处：听松涛漱石，看云气萦楼，暂别尘事烦扰。构图疏密得宜，近景松石沉厚与远景烟波淡远形成虚实相生，墨色层次细腻，尽显山水楼阁的雅致幽远，让人于尺幅间领略自然与人文交织的静谧之美。",[23,24,7,59,27,95,29,1144,97,130,34,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e60bfe4a7cf9653d7fcbd81b140377d.jpg",[136],{"id":71132,"slug":71133,"title":71134,"dynasty":124,"author":204,"museum":244,"description":71135,"tags":71136,"thumbUrl":71137,"material":173,"size":71138,"collection":84,"collections":71139,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},218226,"di-wang-dao-tong-wan-nian-tu-ce-zhou-wang-chou-ying-218226","帝王道统万年图册-周王","此《帝王道统万年图》册由明代仇英绘制。本册共二十幅，分别描绘伏羲至宋仁宗等名贤、帝王的事迹，对幅并有顾可学题记。应是仇英应顾氏请托而绘，用以进献朝廷，求得仕进。全册均落笔纯熟流利，色调以青绿重彩为主，间或掺用泥金钩边。此册现藏于台北故宫博物院。",[24,7,59,28,27,95,96,97,1200,249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f0294270bdcb70a58b2c5d391822f9.jpg","32.5x32.6",[],{"id":71141,"slug":71142,"title":71143,"dynasty":182,"author":21881,"museum":20,"description":21882,"tags":71144,"thumbUrl":71145,"material":173,"size":21885,"collection":84,"collections":71146,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},218140,"liu-zun-zhe-xiang-tu-ce-4-lu-leng-qie-218140","六尊者像图册-4",[23,164,24,7,59,96,187,27,64,208,18381],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3385b96f5ebf4527346e42d7c192c8c3.jpg",[],{"id":71148,"slug":71149,"title":71150,"dynasty":18,"author":2099,"museum":300,"description":18329,"tags":71151,"thumbUrl":71152,"material":611,"size":84,"collection":84,"collections":71153,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},218072,"bai-miao-luo-han-tu-ce-4-li-gong-lin-218072","白描罗汉图册-4",[23,164,24,7,59,188,187,96,29,497,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe77e54d38431a1007eecbb246f743a91.jpg",[],{"id":71155,"slug":71156,"title":71157,"dynasty":182,"author":223,"museum":2607,"description":71158,"tags":71159,"thumbUrl":71160,"material":27,"size":84,"collection":84,"collections":71161,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},217902,"guan-yin-jing-bian-tu-juan-5-yi-ming-217902","观音经变图卷-5","画面以分栏形式铺展观音应化场景，莲台承托的法相姿态各异，或持物说法，或垂目含慈，旁侧侍者躬身侍立，神情恭谨。线条勾勒细腻灵动，衣纹流转如行云，既显衣物厚重质感，又藏盛唐绘画的飘逸气韵。矿物颜料晕染的色彩虽经岁月沉淀，朱红热烈与石绿沉静仍交织出庄严氛围。每幅小图皆为经义的视觉转译，将观音闻声救苦的慈悲精神凝于笔端，既承载宗教信仰的虔诚，也展现唐代艺术对神佛形象的精妙塑造，是信仰与美学交融的生动遗存。",[24,7,25,27,28,188,187,96,1692],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F332be14cde60f3f6fc5a2d24b60246e6.jpg",[],{"id":71163,"slug":71164,"title":71165,"dynasty":182,"author":223,"museum":2607,"description":71166,"tags":71167,"thumbUrl":71168,"material":27,"size":84,"collection":84,"collections":71169,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},217894,"guan-yin-jing-bian-tu-juan-12-yi-ming-217894","观音经变图卷-12","画面以观音法相为中心铺展，环伺的人物或躬身祈愿，或凝神静听，将经文里的救度场景娓娓道来。色彩虽经岁月沉淀，仍可见浓淡晕染的层次，衣袂线条婉转如流云，勾勒出盛唐的雍容气韵。右侧的亭台小筑与左侧的世俗身影相映，仿佛架起神圣与凡俗的桥梁。图文交织处，每一笔都凝注着对慈悲的诠释，每一处细节都藏着时代的匠心——既保留了宗教艺术的庄严，又融入了生活的温度，恰似一卷盛唐宗教情感与艺术审美交融的鲜活切片，让千年前的慈悲意涵在绢素上依旧流转生辉。",[24,7,25,187,27,95,96,97,7221],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F128ee9a63697e5ab0fb2cfb5cf640fde.jpg",[],{"id":71171,"slug":71172,"title":71173,"dynasty":182,"author":223,"museum":2607,"description":71174,"tags":71175,"thumbUrl":71176,"material":27,"size":84,"collection":84,"collections":71177,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},217889,"guan-yin-jing-bian-tu-juan-16-yi-ming-217889","观音经变图卷-16","墨线勾勒的轮廓里藏着盛唐的鲜活气息：莲座旁菩萨衣纹流转如流云，武士铠甲凝着冷硬的光，凡间人物动态生动如昨。从庄严法相到烟火百态，画面以自然过渡串联经义与生活，残褪的色彩仍窥见当年浓艳。线条刚柔相济，既守宗教肃穆，又赋人物鲜活神情，将佛经救度场景化为可视图景。每一处细节都在诉说经变画的叙事张力，融神圣与人间烟火于一体，尽显唐代艺术的雄浑与灵动韵味。",[24,7,25,187,27,28,96,101,7322,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cedfd4683dc2f1a959174ec81db40cc.jpg",[],{"id":71179,"slug":71180,"title":71181,"dynasty":182,"author":223,"museum":2607,"description":71182,"tags":71183,"thumbUrl":71184,"material":2611,"size":84,"collection":84,"collections":71185,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},217265,"jiang-mo-bian-dun-huang-tu-juan-21-yi-ming-217265","降魔变·敦煌图卷-21","绢素斑驳间，神魔对决的张力扑面而来。魔众的狂躁与佛陀的澄静形成强烈对照，线条如流云舒卷，勾勒出人物鲜活神态——魔兵狰狞、魔女妖冶，皆在佛陀慈悲目光下敛去锋芒。残存色彩虽淡却不减华韵，敷色层次隐现唐代壁画的绚丽底色。构图疏密有致，叙事性与艺术性交融，每一笔都承载降魔故事的庄严神圣。画面凝萃敦煌艺术的灵动意趣与唐代绘画的雄浑风骨，将宗教哲思化为可视盛宴，尽显中古艺术的精湛造诣与精神深度，是敦煌遗珍中一抹璀璨亮色。",[24,7,25,1692,187,27,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26496f80a3f4432fc100bf1fac24fe5c.jpg",[],{"id":71187,"slug":71188,"title":71189,"dynasty":54,"author":2653,"museum":300,"description":14125,"tags":71190,"thumbUrl":71191,"material":173,"size":84,"collection":84,"collections":71192,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":615},217241,"li-dai-di-wang-zhen-xiang-24-yao-wen-han-217241","历代帝王真像-24",[24,7,27,28,96,14415,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d2656b63d1cbca4c692a1bc4e4e7175.jpg",[],{"id":71194,"slug":71195,"title":71196,"dynasty":54,"author":2653,"museum":300,"description":14125,"tags":71197,"thumbUrl":71198,"material":173,"size":84,"collection":84,"collections":71199,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":615},217234,"li-dai-di-wang-zhen-xiang-34-yao-wen-han-217234","历代帝王真像-34",[24,7,164,28,27,96,772,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03099030d09dbfee5bc50fe29dc19a0c.jpg",[],{"id":71201,"slug":71202,"title":71203,"dynasty":124,"author":14778,"museum":300,"description":71204,"tags":71205,"thumbUrl":71206,"material":66,"size":84,"collection":84,"collections":71207,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},216341,"xi-xiang-ji-cha-ye-10-min-qi-ji-216341","西厢记插页-10","纤细墨线勾勒出古典意韵，圆面内仕女衣袂翩跹，或低语浅笑，或凝眸沉思，身旁小犬轻踱添灵动。背景纹饰繁复精致，缠枝纹与建筑轮廓交织，尽显明代工艺细腻。左侧橙红构件线条婉转，与墨线清雅形成对比，似器物一角延伸，虚实相生拓层次。画风承明代版画工致韵味，以简淡之笔绘《西厢记》情境，人物情态含蓄，场景静谧雅致，将文学里的温婉风月凝于尺幅，观之如沐古风，仿佛听见书页间软语轻笑，梦回缱绻动人的古典时光。",[24,7,59,188,27,96,166,97,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc50d5f6c0404801450a7fa85175ee7b9.jpg",[],{"id":71209,"slug":71210,"title":71211,"dynasty":124,"author":14778,"museum":300,"description":71212,"tags":71213,"thumbUrl":71214,"material":66,"size":84,"collection":84,"collections":71215,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},216337,"xi-xiang-ji-cha-ye-15-min-qi-ji-216337","西厢记插页-15","画面分左右两幕，左间二人围案而坐，一人执物似语，一人垂眸静听，衣袂轻展如流云；右处双影近倚，一人微倾身递物，一人抬臂相候，案侧屏风半掩，脚下花毯织纹精巧。线条细劲婉转，勾勒出人物柔婉身姿与衣纹层叠之美；设色淡雅温润，青蓝与明黄交织，似晨露沾花般清新。眉眼间藏着细碎情意，动作里含着含蓄温柔，仿佛能嗅到案上熏香微甜，触到衣料软滑。整幅画如一首浅吟的小令，将古典娴静与细腻情愫凝在每处细节，让人心生向往，沉醉于那份悠远雅致。",[24,7,59,27,28,96,2824,36766,44662,263,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21234659646c450c8f290c4b343e726f.jpg",[],{"id":71217,"slug":71218,"title":71219,"dynasty":124,"author":802,"museum":300,"description":71220,"tags":71221,"thumbUrl":71222,"material":278,"size":84,"collection":84,"collections":71223,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},216306,"xi-xiang-ji-zhen-ben-tu-ce-15-chen-hong-shou-216306","西厢记真本图册-15","左幅闺阁内，仕女凭栏静思，衣纹线条凝练如铁线，鬓边簪花与案上陈设隐现雅致；窗外柳枝垂拂，廊檐瓦当勾勒古拙，柔意与苍劲相融。右幅水岸间，柳堤蜿蜒，山石错落，一人独立岸畔似在遥望，水面微波轻漾，远处云气氤氲，笔墨疏朗见清旷。题字墨色沉厚，与画面气韵交织。整幅以虚实相衬，闺中幽思与水岸怅望呼应，暗合西厢情愫流转。笔意古雅奇崛，人物景物皆具韵味，细节精致处见匠心，空濛处显悠远，将古典爱情的含蓄怅惘凝于尺幅，耐人寻味。",[24,7,59,188,95,96,166,97,99,211,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb592cd575b7ecc55af68a56d1ec8414.jpg",[],{"id":71225,"slug":71226,"title":71227,"dynasty":124,"author":802,"museum":300,"description":71228,"tags":71229,"thumbUrl":71230,"material":278,"size":84,"collection":84,"collections":71231,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},216305,"xi-xiang-ji-zhen-ben-tu-ce-18-chen-hong-shou-216305","西厢记真本图册-18","分幅构图却气韵牵萦，左枝垂穗带叶，似有风过轻颤；右柯布叶绽花，如藏幽庭私语。线条兼工带写，既存春蚕吐丝的柔韵，又藏铁线勾勒的筋骨，墨色淡染纸痕，古雅中透着生趣。不事繁缛堆砌，却以极简笔触勾连西厢故事的园林意绪——枝叶间仿佛凝着长亭外的软风，花瓣上似沾着西厢月下的清露，将戏曲里含蓄的情愫融于草木情态，观者于简笔淡墨中，自能触到那份藏在景深处的柔婉与怅惘。",[24,7,59,188,128,61,582,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2346394581a30092e3ab12b180dea69.jpg",[],{"id":71233,"slug":71234,"title":71235,"dynasty":124,"author":1642,"museum":244,"description":60358,"tags":71236,"thumbUrl":71238,"material":66,"size":60361,"collection":84,"collections":71239,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},216088,"tai-ping-le-shi-tu-ce-8-dai-jin-216088","太平乐事图册-8",[24,7,59,27,28,96,102,34,5323,1350,23454,71237,34836,3847,624],"斗笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F038c2970b7ee8eae6f36c8f6102b3f0b.jpg",[],{"id":71241,"slug":71242,"title":71243,"dynasty":54,"author":3750,"museum":77,"description":51930,"tags":71244,"thumbUrl":71245,"material":66,"size":84,"collection":84,"collections":71246,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},215021,"fang-gu-shan-shui-ce-9-wang-jian-215021","仿古山水册-9",[24,7,59,27,29,132,99,129,34,35,98,1824,229,6810],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01a24b1956f09fca82af136b3260eb23.jpg",[],{"id":71248,"slug":71249,"title":71250,"dynasty":124,"author":204,"museum":244,"description":71251,"tags":71252,"thumbUrl":71253,"material":173,"size":71254,"collection":84,"collections":71255,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},214894,"di-wang-dao-tong-wan-nian-tu-ce-16-chou-ying-214894","帝王道统万年图册-16","绘伏羲、神农、黄帝、少昊、舜、后稷、大禹、夏启、商汤、商高宗武丁、周文王、周武王、周成王、汉高祖、汉文帝、汉武帝、汉明帝、宋孝宗、宋太祖、宋仁宗等",[23,24,7,59,27,26,28,96,29,1144,231,949,131,950,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f2210df041ffad4bd91c680c314e4b1.jpg","32.5*32.6",[],{"id":71257,"slug":71258,"title":4408,"dynasty":124,"author":1141,"museum":20,"description":64395,"tags":71259,"thumbUrl":71260,"material":278,"size":64398,"collection":84,"collections":71261,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},214871,"shan-shui-ce-9-wen-zheng-ming-214871",[23,24,7,59,128,132,29,34,496,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa15097161056ff49135e6be054a1d293.jpg",[],{"id":71263,"slug":71264,"title":71265,"dynasty":124,"author":1141,"museum":20,"description":64395,"tags":71266,"thumbUrl":71267,"material":278,"size":64398,"collection":84,"collections":71268,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},214866,"shan-shui-ce-13-wen-zheng-ming-214866","山水册-13",[23,24,7,59,128,188,133,64,208,29,171,331,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c88cd26e4cf71c33534ce545991e59e.jpg",[],{"id":71270,"slug":71271,"title":71272,"dynasty":54,"author":5276,"museum":4840,"description":66382,"tags":71273,"thumbUrl":71274,"material":66,"size":84,"collection":84,"collections":71275,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},214814,"shan-shui-hua-hui-tu-ce-5-gao-feng-han-214814","山水花卉图册-5",[23,164,24,7,59,128,27,61,29,604,167,1314,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42135630300e081d337a6c8d935607bf.jpg",[],{"id":71277,"slug":71278,"title":71279,"dynasty":124,"author":802,"museum":77,"description":71280,"tags":71281,"thumbUrl":71282,"material":278,"size":71283,"collection":84,"collections":71284,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},214536,"mo-gu-ce-ye-13-chen-hong-shou-214536","摹古册页-13","枯笔疏枝，墨痕淡染，古意自泛黄纸页间漫溢。线条如铁线般刚劲，却藏秀逸之姿，枝桠转折处似含篆隶笔意，笔笔见骨。空寂背景里，枯树立于浅坡，旁侧小景以淡墨点染，简约却含生机。虽为摹古却不泥古：疏朗构图中留白写意，枯树孤高无萧瑟，反透沉静文人风骨。寥寥数笔尽得简远之趣，墨色浓淡相宜，将古雅气韵与个人情致融于方寸册页，观之如对古贤，心生悠然。",[24,7,59,128,188,29,1337,171,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3781e162f368d0027eca7a9341d03d1.jpg","17.8x17.8cm",[],{"id":71286,"slug":71287,"title":71288,"dynasty":124,"author":802,"museum":77,"description":71289,"tags":71290,"thumbUrl":71291,"material":278,"size":71283,"collection":84,"collections":71292,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},214535,"mo-gu-ce-ye-14-chen-hong-shou-214535","摹古册页-14","细劲墨线勾勒花叶轮廓，如铁线银钩般挺括却不失婉转，每一笔都沉淀着沉静力道。花叶造型略带古拙变形，非写实摹写，却于简约间藏天真意趣——花瓣舒展似有微风轻拂，叶片脉络清晰可辨，小虫匍匐其上，灵动得仿佛能听见细微窸窣。垂落的丝带弧度柔和，与硬朗线条形成对比，添了几分雅致。整幅画墨色淡雅，构图疏朗，虽为摹古却融入独特审美，古意与个人情韵交织，静静铺展成一方清雅文人小景，观之令人心宁神静，沉醉于那份穿越时光的静谧与雅致。",[24,7,59,188,330,208,547,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0accc7ee1c8e580687fbcff8e47c6cc2.jpg",[],{"id":71294,"slug":71295,"title":71296,"dynasty":54,"author":36019,"museum":77,"description":68687,"tags":71297,"thumbUrl":71298,"material":278,"size":84,"collection":84,"collections":71299,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},214493,"shui-mo-tu-ce-10-zheng-min-214493","水墨图册-10",[23,24,7,128,59,133,132,29,130,413,415,3857],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e451a5ca2a21daecedb3a464b69e68.jpg",[],{"id":71301,"slug":71302,"title":71303,"dynasty":54,"author":872,"museum":77,"description":24557,"tags":71304,"thumbUrl":71305,"material":66,"size":84,"collection":84,"collections":71306,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},214372,"tian-guang-yun-jing-tu-ce-6-zhu-da-214372","天光云景图册-6",[23,24,7,128,132,59,29,171,211,331,98,99,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd00a79b361cedf9c13ed380609c577bc.jpg",[],{"id":71308,"slug":71309,"title":71310,"dynasty":54,"author":872,"museum":77,"description":24557,"tags":71311,"thumbUrl":71312,"material":66,"size":84,"collection":84,"collections":71313,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":72},214367,"tian-guang-yun-jing-tu-ce-10-zhu-da-214367","天光云景图册-10",[23,24,7,59,128,132,29,331,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa85b6c7cd437cee2bf077c652fcd0eb0.jpg",[],{"id":71315,"slug":71316,"title":71317,"dynasty":54,"author":223,"museum":35520,"description":35521,"tags":71318,"thumbUrl":71319,"material":173,"size":35524,"collection":84,"collections":71320,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},214327,"da-bei-shen-zhou-fo-xiang-13-yi-ming-214327","大悲神咒佛像-13",[23,24,7,59,28,27,187,96,1364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f415b5cf11a83a2aeb8dd2a8ca47b4d.jpg",[],{"id":71322,"slug":71323,"title":71324,"dynasty":54,"author":223,"museum":35520,"description":35521,"tags":71325,"thumbUrl":71326,"material":173,"size":35524,"collection":84,"collections":71327,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":49},214320,"da-bei-shen-zhou-fo-xiang-20-yi-ming-214320","大悲神咒佛像-20",[23,24,7,27,28,187,96,81,4437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7eac98cc1aa313a7edf0f18dfe7ec474.jpg",[],{"id":71329,"slug":71330,"title":33103,"dynasty":54,"author":3750,"museum":56,"description":71331,"tags":71332,"thumbUrl":71333,"material":84,"size":84,"collection":136,"collections":71334,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":71335},203461,"fang-gu-shan-shui-ce-wang-jian-203461","画面以淡逸笔墨铺展山水清景，左侧峭壁嶙峋，苔点错落间缀以丛树，显古雅苍劲；中景水域空明，坡石旁水草疏疏，漾出悠然之韵；远景山峦层叠，淡墨晕染中云气萦绕，虚实相映成趣。笔墨承宋元传统，皴擦温润细腻，设色雅致清淡，于仿古中融个人情致，尽显文人山水的静谧悠远之境。",[23,24,7,59,27,29,132,330,208,171,99,666,415,3428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdde7f038a2d454f13f4247739e752050.jpg",[136],"cabca2",{"id":71337,"slug":71338,"title":24709,"dynasty":54,"author":19894,"museum":56,"description":71339,"tags":71340,"thumbUrl":71341,"material":84,"size":84,"collection":117,"collections":71342,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":71343},203300,"lan-zhu-tu-ce-zheng-xie-203300","这幅画作以水墨写兰，笔墨简劲洒脱。兰叶以焦墨挥写，线条如屈铁盘丝，又含行书撇捺之韵，转折处见骨力；兰花用淡墨点染，姿态清雅，顾盼有情。右侧题款与朱印相映，诗书画印浑然一体，尽显文人画意趣。墨色浓淡相宜，虚实相生，将兰草幽姿逸韵表现得淋漓尽致，传递出清逸高洁的文人品格，于简淡中见精神，疏朗中藏情致。",[128,7,375,133,208,369,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c27abfc3ebb49823e795780d6ca39f2.jpg",[117],"ddcdbd",{"id":71345,"slug":71346,"title":7864,"dynasty":54,"author":1219,"museum":56,"description":71347,"tags":71348,"thumbUrl":71349,"material":84,"size":84,"collection":44,"collections":71350,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":71351},203220,"za-hua-ce-ren-yi-203220","画面中，虬髯男子赤脚斜倚虎旁，衣衫随意，眉宇间尽是放达不羁；素衣女子端坐其后，神情温婉娴静。猛虎慵懒趴伏，斑纹以淡墨晕染，姿态温顺如寻常伴兽，消解了猛兽的凶戾感。笔墨兼工带写，人物衣纹简练流畅，面部刻画细腻传神，墨色浓淡相宜，设色清雅脱俗。整体氛围静谧超然，似隐者与虎为友，尽显尘外之趣，于方寸册页间藏着生动意趣。",[24,128,27,96,5490,949,59,7,2885,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c64243e47b065840dce87417245d922.jpg",[44],"e1d2cc",{"id":71353,"slug":71354,"title":71355,"dynasty":54,"author":1460,"museum":56,"description":71356,"tags":71357,"thumbUrl":71358,"material":84,"size":84,"collection":84,"collections":71359,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":71360},203185,"hua-hui-shan-shui-tu-ce-shi-tao-203185","花卉山水图册","这两幅花卉册页，以水墨写意入笔，尽显笔墨灵动之趣。兰草疏叶淡花，墨色层次清雅，题款行书流畅，与兰之飘逸相契，文画交融见文人雅趣；菊花淡墨勾瓣，浓叶衬花，枝干苍劲，花蕊点染细腻，姿态傲岸，传递凌霜之气。画面构图简括却意蕴悠长，笔势纵逸中见法度，将花卉神韵与书法意趣浑然一体，展现出“我自用我法”的艺术个性，于简约中藏万千气象。",[24,7,59,128,61,133,369,375,376,1424],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F636091cf10df30d7002b14e0adfa5f27.jpg",[],"cfc6b7",{"id":71362,"slug":71363,"title":71364,"dynasty":32945,"author":3539,"museum":56,"description":71365,"tags":71366,"thumbUrl":71367,"material":84,"size":84,"collection":117,"collections":71368,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":71369},203159,"ben-ma-tu-zhou-xu-bei-hong-203159","奔马图轴","画面中奔马昂首扬尾，鬃毛如墨丝翻飞，四蹄腾空似欲破壁而出。浓淡干湿的水墨交织，勾勒出马的矫健轮廓：肌肉块面以重墨晕染，线条刚劲如铁线，鬃尾笔触流畅带飞白，尽显动态张力。背景淡墨晕染的草地若隐若现，更衬出马的奔放不羁。整幅画以写意之笔捕捉瞬间奔腾之势，墨气淋漓间满溢生命力，仿佛能听见马蹄踏地的轰鸣，传递出昂扬向上的精神气脉。",[24,128,101,165,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57cf6c8cfa51159bd548c09a842e57ae.jpg",[117],"ada58f",{"id":71371,"slug":71372,"title":71373,"dynasty":32945,"author":2936,"museum":56,"description":71374,"tags":71375,"thumbUrl":71377,"material":84,"size":84,"collection":68,"collections":71378,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":71379},203149,"pen-lan-tu-zhou-pan-tian-shou-203149","盆兰图轴","盆兰劲叶以雄健墨线挥就，浓淡交错间挺括如剑；淡粉兰花疏疏点缀，清雅藏于墨韵。下方黑鸟朴拙蹲踞，浓墨块面塑身形，喙爪寥寥数笔却神态毕肖。构图奇崛，留白开阔，动静相映间尽显生机。笔墨苍劲中含雅致，将文人意趣与现代构图相融，简洁处见雄浑张力，是自然灵趣与艺术风骨的凝练表达。",[24,7,61,128,27,375,355,28172,71376,23],"构图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F106d01bfdba2829188ac06ff7ca16b58.jpg",[68],"c9c4bb",{"id":71381,"slug":71382,"title":71383,"dynasty":32945,"author":7853,"museum":56,"description":71384,"tags":71385,"thumbUrl":71386,"material":84,"size":84,"collection":44,"collections":71387,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":71388},203114,"song-shi-gao-shi-tu-zhou-wang-zhen-203114","松石高士图轴","虬松盘曲，枝干以浓墨勾勒如铁，松针攒簇间点染淡彩，苍劲中见灵秀；旁卧孤石，皴擦浑厚，墨气沉雄。高士宽袍博带，巾冠轻覆，倚石闲坐，眉眼间尽是悠然超脱之态，衣纹简劲流畅，寥寥数笔便传神韵。背景山峦以淡墨晕染，留白处似有云气浮动，右侧题款笔墨洒脱，与画面气韵浑然一体。整作笔墨兼融写意与工致，景物简练却意境悠远，尽显文人画的雅致风骨，观之如沐清风，顿生尘外之想。",[24,7,27,96,171,128,132,372,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F191dd89635d1b758a8b2bed757439f46.jpg",[44],"81776e",{"id":71390,"slug":71391,"title":71392,"dynasty":32945,"author":68743,"museum":56,"description":71393,"tags":71394,"thumbUrl":71395,"material":84,"size":84,"collection":68,"collections":71396,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":71397},202958,"niao-ti-hua-luo-huang-hun-tu-zhou-gao-jian-fu-202958","鸟啼花落黄昏图轴","画面以灵动笔触勾勒虬曲枝干，墨色浓淡交织尽显苍劲质感。紫藤花团以淡紫晕染，轻盈雅致，与枝干沉郁形成虚实对比。两只雀鸟相依枝上，羽色细腻写实，神态亲昵自然，似在黄昏静谧中聆听花落声。整体构图疏朗清幽，既有传统笔墨的写意韵致，又融入西洋画光影与写实技巧，流露岭南画派革新精神，将黄昏的诗意静谧缓缓铺陈。",[24,7,165,128,27,61,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc18af03261875441bee7c97041c4cd2.jpg",[68],"d2bc9d",{"id":71399,"slug":71400,"title":71401,"dynasty":32945,"author":5076,"museum":56,"description":71402,"tags":71403,"thumbUrl":71405,"material":84,"size":84,"collection":68,"collections":71406,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":71407},202927,"feng-xian-cao-chong-tu-zhou-qi-bai-shi-202927","凤仙草虫图轴","凤仙花枝蔓舒展，叶片以写意笔墨挥就，浓淡相宜间尽显生机；红果点缀其间，艳而不俗。藤蔓上蝉翼脉络分明，神态栩栩如生；下方蟋蟀灵动欲跃，细节毕现。工笔草虫与写意花卉相映成趣，质朴中见精巧，平凡草木虫豸化为诗意盎然的图景，尽显对生活细微处的热爱，笔墨间流淌自然生趣与烂漫意韵。",[24,7,61,28,27,7633,6856,71404,23],"凤仙花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67dd6cc3720dac1e465bb0bc47074000.jpg",[68],"dfd6c9",{"id":71409,"slug":71410,"title":71411,"dynasty":32945,"author":2936,"museum":56,"description":71412,"tags":71413,"thumbUrl":71414,"material":84,"size":84,"collection":117,"collections":71415,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":71416},202912,"zhi-hua-tu-jiu-tu-zhou-pan-tian-shou-202912","指画秃鹫图轴","此作以指代笔，墨韵淋漓间尽显秃鹫雄姿。焦墨泼洒写羽毛，浓淡干湿交错，蓬松中透苍劲；喙眼勾勒锐利，神形毕肖。秃鹫踞于孤石之巅，石体以粗放笔触皴擦，墨点错落，与猛禽气势相契。背景留白空灵，更衬主体沉雄霸悍。整体风格简劲老辣，尽显大写意精髓，于方寸间藏万钧之力。",[24,7,165,29104,128,171,211,949,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4517b0f8027d532fbdc79e1308ce6d99.jpg",[117],"bbb4ac",{"id":71418,"slug":71419,"title":71420,"dynasty":351,"author":223,"museum":56,"description":71421,"tags":71422,"thumbUrl":71423,"material":84,"size":84,"collection":84,"collections":71424,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":71425},202727,"xing-xiang-shi-nv-tu-juan-yi-ming-202727","星相仕女图卷","画面以仕女与星象元素交织，仕女发髻高挽，衣袂华丽，手持器物仪态雍容；右侧圆环环绕禽鸟，似为星官象征，奇幻而神秘。线条婉转流畅，设色古雅厚重，服饰纹饰细腻精巧，尽显五代绘画的精致韵致。佚名作者以细腻笔触，将仕女的温婉与星象的玄幻相融，传递出独特的时代审美与精神意涵，虽无署名却技艺精湛，堪称五代绘画的珍贵遗存。",[24,7,25,96,166,27,211,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f1a8ed750846c4ccdad7288fc102472.jpg",[],"98714a",{"id":71427,"slug":71428,"title":71429,"dynasty":54,"author":17240,"museum":56,"description":71430,"tags":71431,"thumbUrl":71432,"material":84,"size":84,"collection":136,"collections":71433,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":71434},202211,"qing-xi-bing-zhao-tu-zhou-cha-shi-biao-202211","清溪并棹图轴","画面以水墨晕染出清旷之境，淡墨铺陈的水面占据主体，留白处尽显空灵意蕴。右下角垂柳枝蔓疏朗，墨色轻淡却见笔意流转；水面两艘小船并棹而行，人影简淡，似随波悠游于天地间。远处山峦以淡墨点染，晕化自然，与天光水色相融，传递出文人画特有的雅致与悠远。笔墨简练却意境悠长，尽显画者对山水之趣的深切体悟。",[24,128,29,129,165,7,20038,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdeb1cf8cf11d8ee812621f72c822ff48.jpg",[136],"c9baac",{"id":71436,"slug":71437,"title":71438,"dynasty":54,"author":44543,"museum":56,"description":71439,"tags":71440,"thumbUrl":71441,"material":84,"size":84,"collection":136,"collections":71442,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":71443},202181,"tan-xuan-tu-zhou-fang-shi-shu-202181","谭玄图轴","此画以清润水墨皴染山林之境，林木疏密交错，茅舍隐于其间，屋前人物闲适对谈，似在论道谈玄。近处溪涧潺潺，小桥横跨其上，岸畔老树虬枝盘绕，枝叶用墨或浓或淡，笔墨细腻却不失疏朗之致。整体风格雅致空灵，文人气息浓郁，将林泉的静谧与人物的悠然情态相融，传递出超然尘外的哲思韵味，尽显清代山水的清逸之趣。",[24,7,165,128,132,29,98,99,331,22404,96,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d422157f79eb842001448214ac15844.jpg",[136],"bfb2a4",{"id":71445,"slug":71446,"title":20347,"dynasty":54,"author":71447,"museum":56,"description":71448,"tags":71449,"thumbUrl":71450,"material":84,"size":84,"collection":136,"collections":71451,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":71452},201984,"shan-shui-tu-zhou-xu-jian-201984","徐坚","画面中山峦层叠起伏，皴擦点染间勾勒出山石纹理，树木姿态各异，苍劲者立崖畔，秀逸者依溪旁。山间溪流潺潺，小桥横跨其上，屋舍隐于林麓，静谧中透着自然生机。笔墨细腻处见工致，粗放处显意趣，设色淡雅清新，营造出清旷悠远的山水意境，尽显传统书画的雅致韵味。",[24,29,132,27,98,99,331,7,164,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F713badfffaae225259d8c08b429b344d.jpg",[136],"9c8667",{"id":71454,"slug":71455,"title":71456,"dynasty":124,"author":71457,"museum":56,"description":71458,"tags":71459,"thumbUrl":71460,"material":84,"size":84,"collection":136,"collections":71461,"showCount":586,"zanCount":48,"manualWeight":48,"mainColor":71462},201735,"xi-shan-ru-meng-tu-juan-li-ri-hua-201735","溪山入梦图卷","李日华","水墨淡逸，山水清旷。远山层叠晕染如黛，近树疏枝点染生姿，溪流蜿蜒穿岩过谷，屋舍隐于林麓间，似有幽人栖居。整卷以水墨写意，皴擦简括，意境空灵悠远，如入烟霞梦境，尽显文人画的萧散淡远之趣，藏着画家对自然与心境交融的诗意追寻。",[24,29,25,128,132,133,208,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5a3daae7e3c301ae5e16b1d67805746.jpg",[136],"c1b7a7",{"id":71464,"slug":71465,"title":53220,"dynasty":124,"author":223,"museum":300,"description":71466,"tags":71467,"thumbUrl":71468,"material":692,"size":1293,"collection":84,"collections":71469,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},290973,"hua-luo-han-zhou-yi-ming-290973","此作绘罗汉持珠踏浪，虬髯深目面相奇古，沉静安然立于浪涛之上，足不沾水仿若乘虚而行，尽显高僧渡海的自在禅意。衣袂随浪纹轻展，淡墨皴染波涛，清劲线条勾勒僧衣，画风简淡古雅。\n\n右上角御题禅诗，以诗点出罗汉非渡非住的超然真性，诗画相映成趣。画面留白疏朗，尽显文人禅画的空灵意趣，全幅遍钤鉴藏印，流转间沉淀着悠悠古意，禅理与画韵相融，尽显简远清寂的美学特质。",[24,165,7,187,96,18331,27,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa34461324ce9623563e7ee7ad976b3b7.jpg",[],{"id":71471,"slug":71472,"title":19857,"dynasty":18,"author":223,"museum":300,"description":71473,"tags":71474,"thumbUrl":71475,"material":692,"size":1293,"collection":84,"collections":71476,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},290757,"shan-shui-zhou-yi-ming-290757","此作用苍古沉厚的笔墨晕染出秋江烟景，崖岸逶迤柳丝拂波，三两渔舟漾于空阔水面，洲渚间村居隐于林木，尽显江湖栖居的安闲意趣。\n\n远山以斧劈皴写就，巉岩浑厚黛色融于暮霭，山寺藏在烟岚深处愈显幽谧。整幅将江湖空阔与林泉秀雅相融，墨色层次氤氲，把五湖秋意与林下恬然合为一处，淡墨轻岚间，漫溢着宋画独有的静穆萧散，尽显天人合一的淡远襟怀。",[164,24,7,165,29,128,99,129,97,34,415,37799,1351,64,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ecdb2d643274d8a3cc741a292b8bdd.jpg",[],{"id":71478,"slug":71479,"title":71480,"dynasty":18,"author":223,"museum":300,"description":71481,"tags":71482,"thumbUrl":71483,"material":692,"size":1293,"collection":84,"collections":71484,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},290481,"han-ke-shan-zhe-tu-yi-ming-290481","寒柯山鹧图","此作以萧寒冬日为底色，虬曲老柯覆着残雪，笔触苍劲老辣，将枯木饱经霜寒的嶙峋姿态尽显，枝桠错落延展，铺展出冷寂荒疏的冬日意韵。\n\n枝头两只山鹧相依静立，羽色晕染细腻柔和，目光安然恬淡，在萧索寒意里晕开一抹温润生机，一动一静间，将荒寒与温情相融。全画留白悠远空灵，以小见大，把冬日山林的幽寂与生命的鲜活谐和一处，尽显雅致隽永的宋人意趣，是小品花鸟画中借景抒情的精妙之作。",[23,24,1131,7,28,61,1337,33421,211,1813,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd749dedbb1d36d9304acd197d56c744f.jpg",[],{"id":71486,"slug":71487,"title":71488,"dynasty":54,"author":14255,"museum":300,"description":14256,"tags":71489,"thumbUrl":71491,"material":692,"size":1293,"collection":84,"collections":71492,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},290436,"song-shou-tu-li-zhou-qu-zhao-lin-290436","松寿图立轴",[23,164,24,7,165,128,27,29,1144,211,231,99,208,71490],"松寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d00d4206b7d8b8808226d4242742e9.jpg",[],{"id":71494,"slug":71495,"title":71496,"dynasty":54,"author":37787,"museum":300,"description":71497,"tags":71498,"thumbUrl":71499,"material":692,"size":1293,"collection":84,"collections":71500,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":4001},290214,"shu-hua-he-bi-cheng-shan-pu-xin-she-290214","书画合璧成扇","溥心 畬 （ yú ） （1896年9月2日－1963年11月18日），爱新觉罗氏，滿洲鑲藍旗人，恭親王奕訢次孫，溥字輩，光緒帝賜名儒，字心畬，齋號寒玉堂。生於大清北京。",[23,1131,64,133,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed55f3ada5a1986e602ac202c7b4ba57.jpg",[],{"id":71502,"slug":71503,"title":71504,"dynasty":222,"author":223,"museum":300,"description":71505,"tags":71506,"thumbUrl":71508,"material":692,"size":1293,"collection":84,"collections":71509,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},290030,"jiu-tu-ping-feng-yi-ming-290030","厩图屏风","这对六曲屏风以金地铺陈，定格厩舍日常。上层马厩中，良驹神态各异，或昂首振蹄、或垂首静立，牵马仆役悠然随侍，将骏马蹄下的灵动与驯养的平和日常细腻铺展。\n\n下层庭院间，贵族席地宴游交谈，侍从往来待命，灵犬、小雀点缀其间，晕开松弛闲逸的氛围。整体构图舒展平铺，设色调和古雅，带着唐风浸染的和风雅致，将贵族养马赏玩的闲情娓娓道来，在写实的场景里晕开古朴意趣，尽显中古贵族日常的雅致况味。",[23,24,164,7,250,27,101,96,71507],"厩舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8735aaa206ea3cb27e650b73ac9b18f9.jpg",[],{"id":71511,"slug":71512,"title":71513,"dynasty":18,"author":223,"museum":300,"description":71514,"tags":71515,"thumbUrl":71516,"material":692,"size":1293,"collection":84,"collections":71517,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":199},289972,"gu-mu-han-qin-tu-yi-ming-289972","古木寒禽图","此作用淡墨晕染寒林雪滩，枯木虬曲苍劲，疏枝横斜于荒寂寒林之中。山石积雪以留白衬出，淡墨轻勾棱线，尽显冰雪凝覆之态，古木皴擦老辣，满是风霜浸蚀的苍拙质感。\n整幅画面空阔萧索，不见禽鸟却遍溢孤寒冷寂之意，以极简笔致烘托出冬日林野的清空淡远，将格物精微的写生意趣与幽寂荒寒的意境相融，寥寥数笔勾勒出冬林孤冷的林下雅趣，尽显山水小品的隽永雅致。",[23,164,24,7,1131,128,29,454,211,171,1813,49077,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c8d1663817686fd51de4dc7abe3ef7.jpg",[],{"id":71519,"slug":71520,"title":71521,"dynasty":54,"author":223,"museum":300,"description":71522,"tags":71523,"thumbUrl":71524,"material":692,"size":1293,"collection":84,"collections":71525,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},289649,"gong-yuan-tu-li-zhou-yi-ming-289649","宫苑图立轴","烟岚晕染开空濛天色，陡立巉岩隐现雾霭之间，如披薄纱，恍若阆苑仙境。中景临水殿宇凌于清波，飞檐叠脊，回廊迤逦，台基层叠尽显规整大气，将皇家宫苑的恢弘雅致藏在云山烟水之中。前景屋舍错落，枯木疏朗间人影往来，市井烟火气晕开鲜活暖意，将仙家清寂与人世暄和相融。\n\n此作画笔兼工带写，山石勾勒劲挺简练，皴擦间见苍劲风骨，界画严整精细晕染古雅，把山水幽旷与宫苑富丽揉为一体，淡远古意里藏着盛世太平的悠悠余韵。",[23,24,7,165,95,27,29,97,4494,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad50645d9c9f20c2ae91324226da223b.jpg",[],{"id":71527,"slug":71528,"title":71529,"dynasty":222,"author":223,"museum":300,"description":71530,"tags":71531,"thumbUrl":71532,"material":692,"size":1293,"collection":84,"collections":71533,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},289570,"qiu-zhou-seng-ga-jing-xiang-yi-ming-289570","泅洲僧伽經像","这是一幅朴拙古雅的民俗宗教经像，构图饱满严整，主次分明。帐下主尊神态端凝，朱砂暖调衣袍沉稳厚重，自有肃穆神性。两侧侍从恭谨侍立，形神质朴鲜活，带着民间画工的天真意趣。下方席地乐工拨弦奏乐，隅角牧牛悠然啃食，侍者垂袖待命，将清寂的宗教场域揉进俗世烟火。线条稚拙古劲，旧色晕染出斑驳岁月感，把乡土信众的精神祈愿与日常意趣融于一纸，是民间宗教美术里兼具信仰温度与生活质感的鲜活范本。",[23,24,7,165,187,18381,27,96,102,7322,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fb8e0c2f970caf60dc29334f27c39de.jpg",[],{"id":71535,"slug":71536,"title":7330,"dynasty":54,"author":59232,"museum":300,"description":59233,"tags":71537,"thumbUrl":71538,"material":692,"size":1293,"collection":84,"collections":71539,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},289360,"hua-niao-tu-zhou-zhang-mu-289360",[24,7,165,128,61,211,331,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a46f354ef038cd09fdc1ea8d21cc34e.jpg",[],{"id":71541,"slug":71542,"title":71543,"dynasty":18,"author":223,"museum":300,"description":71544,"tags":71545,"thumbUrl":71547,"material":692,"size":1293,"collection":84,"collections":71548,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},289228,"zheng-ren-xiao-fa-tu-yi-ming-289228","征人晓发图","松荫浓翳，环抱着两间茅舍，晓色清寂里，即将远行的征人正与屋中友人对晤作别。案头堆叠起打点好的行装，篱边的白马垂首静立，等候着启程的时刻。\n\n整幅小品取景紧凑，以繁密的林木圈住方寸茅庐，将离别的缱绻私语藏在深幽静谧的氛围之中。淡墨轻施晕染出晨晓的朦胧，笔致工细朴拙，未刻意渲染离愁，却把羁旅远行的怅惘与友人相赠的温厚情意，融在这寻常晓发图景里，尽显宋代小品的雅致韵致，于细微处见悠远绵长的诗意。",[23,1131,24,7,28,96,101,71546,1144,2620,27],"草舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165145a4bc26c006a7e754dbdfadc7cb.jpg",[],{"id":71550,"slug":71551,"title":71552,"dynasty":222,"author":71553,"museum":300,"description":71554,"tags":71555,"thumbUrl":71556,"material":692,"size":1293,"collection":84,"collections":71557,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},288999,"bai-shi-shi-juan-teng-yuan-xing-cheng-288999","白氏诗卷","藤原行成","藤原行成（天禄3年（972年） - 万寿4年12月4日（1028年1月3日））是平安时代中期的朝臣。一条帝时代四纳言之一。右少将藤原义孝的儿子，藤原伊尹之孙。官居正二位・权大纳言。",[23,64,25,133,840,1590,7,56990],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85dc84d6d4ca382e5d03097722f6b8b9.jpg",[],{"id":71559,"slug":71560,"title":29900,"dynasty":18,"author":223,"museum":300,"description":71561,"tags":71562,"thumbUrl":71563,"material":692,"size":1293,"collection":84,"collections":71564,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},288848,"zi-mu-ji-tu-yi-ming-288848","以浓黑素地衬出白羽群鸡，明暗对比醒目的同时，更将亲子温情烘托到极致。母鸡翎毛晕染细致蓬松，俯首护雏，将舐犊深情藏在舒展的翅羽与低垂的颈项之中。三只雏鸡或张望、或依偎，稚嫩憨态跃然纸上，鲜活灵动。\n\n画面上方题诗与朱红印章错落排布，书画印相融，将母鸡护育稚子的脉脉温情与禽鸟物性完美结合，工笔写实间饱含温润的人文意趣，把乡野寻常的亲子图景，绘就成满溢烟火暖意的雅致小品，尽显内敛动人的东方温情。",[23,164,24,7,3291,28,27,2510,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9ebfe0361f5d0ba56a027bf0fb41a42.jpg",[],{"id":71566,"slug":71567,"title":71568,"dynasty":54,"author":223,"museum":300,"description":71569,"tags":71570,"thumbUrl":71573,"material":692,"size":1293,"collection":84,"collections":71574,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},288444,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-ming-chen-li-yin-zu-yi-ming-288444","历代帝王贵妃大臣朝服像(名臣李荫祖-)","此作工笔写实，尽显官员端方威仪。画师以细腻笔触，将人物沉凝威严的神态尽数铺陈。石青色朝服沉稳厚重，胸前一品仙鹤补子绣工精妙，仙鹤身姿舒展灵动，辅以江崖海水纹样，礼制细节分毫毕现。暖红顶戴、盘绕朝珠点缀其间，色彩搭配沉稳雅致。人物安坐雕花官椅，衣褶晕染自然写实，衣料质感如生。素净背景收拢视线，将观者注意力全然引向人物，形神兼备，既恪守清代肖像画的纪实传统，又以精妙笔触刻画出官员的肃穆气度。",[23,24,7,165,27,28,96,170,71571,853,71572],"朝珠","名臣肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d9709c1d0d6c046e6e8e51009440f2c.jpg",[],{"id":71576,"slug":71577,"title":71578,"dynasty":54,"author":223,"museum":300,"description":71579,"tags":71580,"thumbUrl":71582,"material":692,"size":1293,"collection":84,"collections":71583,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},288443,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-he-shuo-de-yu-qin-wang-duo-duo-yi-ming-288443","历代帝王贵妃大臣朝服像(和硕德豫亲王多铎)","画面之上，亲王端然安坐，身形沉凝内敛。石青朝服色泽沉穆，胸间补子纹样工细繁复，瑞兽翎羽丝丝毕现，彰显着宗室尊荣的礼制章法。朱红暖调的顶戴与素净袍身相映，打破暗沉色调的同时点明身份品级。\n\n画师以写实笔法描摹，精准复刻清初亲贵威仪，朝珠垂挂错落得体，衣褶晕染贴合身形，静穆庄重的仪态呼之欲出。古旧绢面晕开岁月黄褐痕迹，为肖像更添历史沉韵，将勋贵重臣肃穆端方的气度定格于绢素之上，尽显清代纪实肖像画的严谨与厚重质感。",[23,24,7,165,27,28,96,71581,71571],"官服","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd279d03346d2df24e8040d1fba33fa0e.jpg",[],{"id":71585,"slug":71586,"title":71587,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":71588,"thumbUrl":71589,"material":692,"size":1293,"collection":84,"collections":71590,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},288393,"lai-fu-tu-huang-shen-288393","来蝠图",[23,24,7,165,128,27,369,96,1424,997,1421,52218,4074,2709,64,208,3521],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93114a60f6453d3dfac5ef2fcdc2ba14.jpg",[],{"id":71592,"slug":71593,"title":71594,"dynasty":54,"author":7872,"museum":300,"description":34277,"tags":71595,"thumbUrl":71599,"material":692,"size":1293,"collection":84,"collections":71600,"showCount":1014,"zanCount":1998,"manualWeight":48,"mainColor":49},288377,"jia-fu-jia-mu-ba-xun-da-qing-sun-wen-288377","贾府贾母八旬大庆",[23,24,7,28,27,96,71596,23215,71597,71598,97,251],"厅堂","喜庆","寿庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e6661e0f6b5c796726dc410fb51b051.jpg",[],{"id":71602,"slug":71603,"title":45307,"dynasty":54,"author":6936,"museum":300,"description":36556,"tags":71604,"thumbUrl":71605,"material":692,"size":1293,"collection":84,"collections":71606,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},288340,"chun-shan-tu-wang-yuan-qi-288340",[164,24,7,165,29,27,132,131,99,98,34,3387,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F465d4b65d14996a05e26a163aa4a81e2.jpg",[],{"id":71608,"slug":71609,"title":17667,"dynasty":18,"author":223,"museum":300,"description":71610,"tags":71611,"thumbUrl":71612,"material":692,"size":1293,"collection":84,"collections":71613,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},288278,"yuan-shui-yang-fan-tu-yi-ming-288278","近岸怪石嶙峋，古木虬枝舒展，浓荫掩映间茅舍半露，策杖行人携稚仆缓步坡头，野逸生趣扑面而来。\n浩渺烟波里，扬帆舟楫破水而行，远山以淡墨轻晕，融在氤氲水雾中。近景繁细皴擦，尽显林木蓊郁苍劲；远景简淡留白，晕出水天寥廓空濛。\n整幅以平远之境铺展江南水色，将行旅闲情与扬帆远渡的悠然揉入尺幅，笔简意足，尽显淡远清旷的诗意，藏着寄情山水的雅致襟怀。",[24,164,7,29,128,27,129,99,130,34,96,497,208,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3145eb6c428482d1adc39047f5990c26.jpg",[],{"id":71615,"slug":71616,"title":37691,"dynasty":124,"author":16243,"museum":300,"description":68974,"tags":71617,"thumbUrl":71618,"material":692,"size":1293,"collection":84,"collections":71619,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},288147,"za-shi-wang-chong-288147",[7,64,840,208,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09cac1a244ef583f42d715441342a509.jpg",[],{"id":71621,"slug":71622,"title":71623,"dynasty":18,"author":2099,"museum":300,"description":34962,"tags":71624,"thumbUrl":71625,"material":692,"size":1293,"collection":84,"collections":71626,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},287962,"bai-miao-luo-han-tu-quan-juan-luo-han-guan-yin-tu-juan-li-gong-lin-287962","白描罗汉图全卷(罗汉观音图卷)",[23,164,24,7,25,188,96,187,18331,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0311b6ad4c155f2428e98f975c6ec043.jpg",[],{"id":71628,"slug":71629,"title":71630,"dynasty":124,"author":223,"museum":300,"description":8311,"tags":71631,"thumbUrl":71632,"material":692,"size":1293,"collection":84,"collections":71633,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},287793,"fo-zu-zuo-xiang-yi-ming-287793","佛祖坐像",[23,164,24,7,187,27,96,68877,4204,18331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2745dfde8da022c5388603d2e1f4287c.jpg",[],{"id":71635,"slug":71636,"title":71637,"dynasty":124,"author":71638,"museum":300,"description":71639,"tags":71640,"thumbUrl":71642,"material":692,"size":1293,"collection":84,"collections":71643,"showCount":1014,"zanCount":1998,"manualWeight":48,"mainColor":49},287792,"bao-gong-xiang-song-lian-287792","包公像","宋濂","宋濂（1310年11月4日 －1381年6月20日 ），初名寿，字景濂，号潜溪，别号龙门子、玄真遁叟等，汉族。祖籍金华潜溪（今浙江义乌），后迁居金华浦江（今浙江浦江）。元末明初著名政治家、文学家、史学家、思想家，与高启、刘基并称为“明初诗文三大家”，又与章溢、刘基、叶琛并称为“浙东四先生”。被明太祖朱元璋誉为“开国文臣之首”，学者称其为太史公、宋龙门。\n宋濂自幼多病，且家境贫寒，但他聪敏好学，号称“神童”。曾受业于闻人梦吉、吴莱、柳贯、黄溍等人。元末辞朝廷征命，修道著书。明初时受朱元璋礼聘，被尊为“五经”师，为太子朱标讲经。洪武二年（1369年），奉命主修《元史》。累官至翰林学士承旨、知制诰，时朝廷礼仪多为其制定。洪武十年（1377年）以年老辞官还乡，后因长孙宋慎牵连胡惟庸案而被流放茂州，途中于夔州病逝，年七十二。明武宗时追谥“文宪”，故称“宋文宪”。\n宋濂与刘基均以散文创作闻名，并称为“一代之宗”。其散文质朴简洁，或雍容典雅，各有特色。他推崇台阁文学，文风淳厚飘逸 ，为其后“台阁体”作家的文学创作提供范本。其作品大部分被合刻为《宋学士全集》七十五卷。",[23,24,7,165,27,96,28,71641,7069,170],"包公","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7631d7703efa22caf61d7406ed79573c.jpg",[],{"id":71645,"slug":71646,"title":71647,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":71648,"thumbUrl":71649,"material":692,"size":1293,"collection":84,"collections":71650,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},287433,"wen-shi-qiao-mu-tu-shan-mian-wen-zheng-ming-287433","文石乔木图扇面",[164,24,7,1131,128,19768,171,331,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F513cc666d4642f29b5417520032a27d3.jpg",[],{"id":71652,"slug":71653,"title":71654,"dynasty":124,"author":50744,"museum":300,"description":50924,"tags":71655,"thumbUrl":71657,"material":692,"size":1293,"collection":84,"collections":71658,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},287411,"mo-hua-tu-ni-yuan-lu-287411","墨花图",[23,24,164,7,25,128,61,64,840,4759,71656,167,62],"墨荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb9ce8c4fe4b6b1c1070f6ba3fdab7c.jpg",[],{"id":71660,"slug":71661,"title":71662,"dynasty":124,"author":204,"museum":300,"description":19353,"tags":71663,"thumbUrl":71664,"material":692,"size":1293,"collection":84,"collections":71665,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},287402,"bei-hu-tu-shou-juan-chou-ying-287402","北湖图手卷",[23,24,25,7,29,27,28,64,840,133,208,98,99,129,211,97,130,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F668d4ab35bf9efef317abd774bd6b621.jpg",[],{"id":71667,"slug":71668,"title":71669,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":71670,"thumbUrl":71671,"material":692,"size":1293,"collection":84,"collections":71672,"showCount":1014,"zanCount":1998,"manualWeight":48,"mainColor":72},287401,"gui-qu-lai-ci-shu-hua-he-juan-wen-zheng-ming-287401","归去来辞书画合卷",[23,164,24,7,25,128,133,372,167,376,131,60535,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F607716fccbee74224664ef217aa869c2.jpg",[],{"id":71674,"slug":71675,"title":71676,"dynasty":54,"author":223,"museum":300,"description":10087,"tags":71677,"thumbUrl":71678,"material":692,"size":1293,"collection":84,"collections":71679,"showCount":1014,"zanCount":1998,"manualWeight":48,"mainColor":49},272869,"ke-si-yu-ti-wang-gu-xiang-bu-chu-tu-gua-ping-yi-ming-272869","缂丝御题王谷祥哺雏图挂屏",[24,7,1944,40641,61,27,211,167,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31f38d608d995b36666a343415128f48.jpg",[],{"id":71681,"slug":71682,"title":71683,"dynasty":54,"author":223,"museum":300,"description":71684,"tags":71685,"thumbUrl":71686,"material":692,"size":1293,"collection":84,"collections":71687,"showCount":1014,"zanCount":1998,"manualWeight":48,"mainColor":72},270205,"zhu-gu-diao-hua-bian-dao-guang-di-shu-hua-hua-hui-tu-mian-zhe-shan-yi-ming-270205","竹股雕花边道光帝书画花卉图面折扇","此扇以青灰冷笺为底，泥金绘就花枝果簇。柔枝舒展，花叶用金晕染，明丽金辉撞入沉雅底色，华贵而不张扬，清隽中尽显雍容。苍松果鳞层叠朴拙，与柔婉花枝相映成趣，将清秋静美凝于盈尺之间。柔曼花叶带着舒展生机，古松果实沉淀出沉静秋意，一动一静晕开雅致韵致。扇骨雕饰细巧，与画面工致笔意呼应，将文房雅趣融于掌中一器，尽显旧时光里的温婉富丽。",[1131,24,7,61,62,69386,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb66ea8c0ee79eab0ac669065d23bac2.jpg",[],{"id":71689,"slug":71690,"title":71691,"dynasty":54,"author":71692,"museum":300,"description":71693,"tags":71694,"thumbUrl":71696,"material":692,"size":1293,"collection":84,"collections":71697,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},241512,"wu-shi-ci-jing-zuo-wu-zi-heng-xu-lian-241512","无事此静坐五字横","许梿","许梿(1787-1862)清朝学者、藏书家、书法家、刻书家。初名映涟，字叔夏，号珊林、乐恬散人，室名红竹草堂、古韵阁、行吾素斋。浙江海宁长安人。",[24,7,71695,64,21937,27,29,208],"横卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4542f4f987e313196561f1a0a2017fcd.jpg",[],{"id":71699,"slug":71700,"title":71701,"dynasty":54,"author":71702,"museum":300,"description":71703,"tags":71704,"thumbUrl":71705,"material":611,"size":84,"collection":318,"collections":71706,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},241317,"shan-gu-shi-zhou-dong-ne-241317","山谷诗轴","董讷","董訥（1639—1701）字茲重，號默庵，山東平原人，清朝官吏。\n康熙六年一甲三名進士，授編修。累擢至江南總督。為政持大體，有惠於民。左遷去，江南民為立生祠。二十八年，上南巡，民執香跪訥生祠前，求復官訥江南。上還蹕，笑謂訥曰：“汝官江南惠及民，民為汝建小廟。”旋以侍讀學士復出為漕運總督。累擢至兩江總督。為政持大體，有惠於民。因故降官。後以侍讀學士再出位漕運總督。死後賜祭葬，追加為正一品。康熙御賜“眷念舊勞”四字。",[7,64,133,165,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F099fdb19f5434ce77bec77585f310570.jpg",[318],{"id":71708,"slug":71709,"title":71710,"dynasty":54,"author":71711,"museum":300,"description":71712,"tags":71713,"thumbUrl":71714,"material":692,"size":1293,"collection":84,"collections":71715,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},241302,"lin-huai-su-zi-xu-tie-juan-li-yu-wu-241302","临怀素自序帖卷","李禦侮","此作用笔纵逸奔放，追摹怀素狂草风神。线条瘦劲圆转，提按顿挫间尽显使转灵动，将狂草抒情性挥洒至极。布局上字势奇崛错落，大小、欹正、疏密随文势铺展，毫无滞涩之感。墨色枯湿浓淡交叠，枯笔飞白苍劲老辣，重墨处酣畅饱满。\n\n通篇气韵贯通如江河奔涌，既有怀素的颠逸之态，又暗含自家笔底筋骨，把草书肆意洒脱的意境诠释得淋漓尽致，尽显书写时的激越心绪，是极具表现力的临古佳制。",[7,64,25,330,840,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb07915226750c7616c8643d7517b5b9a.jpg",[],{"id":71717,"slug":71718,"title":71719,"dynasty":124,"author":71720,"museum":300,"description":71721,"tags":71722,"thumbUrl":71723,"material":611,"size":84,"collection":318,"collections":71724,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},241217,"wu-lv-shou-shi-zhou-zhang-tai-241217","五律寿诗轴","张泰","张泰(1435—1508年)，字叔亨，广东广州府顺德县陈村人。张泰1458年(景泰四年)中举，1466年(成仁二年)成进士，历任知县、御史、巡按、少卿、副都御史、右侍郎、南京户部尚书，是顺德建县后第一位尚书。\n最初担任福建沙县知县时，“铲平王”邓茂七起义刚遭镇压，全县田园凋零，商贸颓残，人们逃命他方，举目一片萧索。张泰事不避难，明察暗访，制定一系列安民措施，捐税免租，宽政养民，吸引着外出谋生的民众闻风返家，搭棚建社，朝耕夕息，鸡犬渐闻，春苗泛青，秋实在望，深得百姓赞颂。\n担任监察御史后，张泰面对积弊日深的朝政与盘根错节的官场，并不刻意回避矛盾，而是直面奸佞，令人敬佩。他巡察通州时，发现官仓弊端众多，所涉广众，且大多背景神秘，深不可测，但他秉公办理，按图索骥，终于干净利落，清除宿弊，令人鼓掌称快。太监钱能、覃勤勾结万贵妃逆行倒施，指鹿为马，惹祸引兵，搜刮民脂，人们敢怒缄口，道路以目。张泰寻知，暗里侦查，后与御史一起联合弹劾，力请贬斥万贵妃，严惩钱能、覃勤，但因万贵妃为皇帝宠爱，张泰龙颜捋须，惹得皇帝勃然大怒，被廷杖重创，后外放为京畿学政。不久，母亲去世，张泰趁此机会远离京城，守孝乡村，居家十年。\n1492年，57岁的张泰重起乡间，担任云南巡按。耿直如昔的他刚一上任，就惩贪斥污，弹劾失职，调解纷争，修堤筑坝，促进了民族融合，保障了居民安宁，受到民众欢迎。\n后来，甘肃骚乱，地方官员互相推诿，张泰奉命西去调查，他力排阻力，深入调查，发现祸起镇守太监傅德。他勾结总兵，侵占屯田，克扣军饷，兵亡瞒实，马失不报。张泰秉公办理，严惩不法。张泰还促成收回被宦官和边将霸占的牧场。但他因“惹是生非”，触怒权贵，被弹劾中伤，引得皇帝也对他侧目相看，还罚他半年俸禄。\n此后，张泰改任大理寺少卿，奉命调查苏州官占民田为牧场的实情。张泰深知此中暗流奔涌，稍不小心，后果不堪设想。于是，他暗中查证，将当年的田亩簿册一一勘对，证实应还民间田亩为九百三十多顷，后又对失地数字一一查清。但复命后，数遭驳难，众说纷纭，致使这一调查结果悬而不决。直到新皇帝即位，在尚书韩文促成下，朝廷才根据张泰查勘结果作出正确处理。\n1507年(正德三年)，张泰改官南京右都御史。时值宦官刘瑾弄权，大小官员都争相贿结。张泰不屑逢迎，仅在入京奏事时，带上两匹葛布作礼节性探望。刘瑾怀恨在心，扣张泰数百石俸禄以作泄恨。但张泰因多年勤勉尽忠，经吏部考绩，得获优良，升南京户部尚书，但刘瑾大进谗言，令张泰最终失官。张泰有见及此，心中无奈，于是辞呈归乡，次年逝世。",[24,7,165,840,64,208,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95904724a1d81f4728fe14462abd0332.jpg",[318],{"id":71726,"slug":71727,"title":71728,"dynasty":124,"author":11977,"museum":244,"description":71729,"tags":71730,"thumbUrl":71731,"material":71732,"size":71733,"collection":318,"collections":71734,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},241053,"shi-he-juan-wang-feng-yuan-241053","诗合卷","[明]字子新，號吉山。欽佩子。擅海內書名，楷法鍾繇，草法王羲之父子。",[23,7,64,133,25,208,128,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79741274da4dca2dce551b419ee6efa6.jpg","紙本","29.7×30.8cm",[318],{"id":71736,"slug":71737,"title":71738,"dynasty":54,"author":38900,"museum":300,"description":38953,"tags":71739,"thumbUrl":71740,"material":692,"size":1293,"collection":84,"collections":71741,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},240966,"nan-chi-shi-san-shou-shan-mian-huang-yi-240966","南池诗三首扇面",[24,7,1131,64,21937,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61c8dba4823406f5a411d98313eb7f78.jpg",[],{"id":71743,"slug":71744,"title":71745,"dynasty":144,"author":569,"museum":300,"description":27930,"tags":71746,"thumbUrl":71747,"material":692,"size":1293,"collection":84,"collections":71748,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},240936,"zhao-meng-pan-miao-fa-lian-hua-jing-ce-juan-si-zhao-meng-fu-240936","赵孟頖妙法莲花经册卷四",[64,7322,59,572,187,7,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc7358c8cc0a19acbc38f1dffa23b970.jpg",[],{"id":71750,"slug":71751,"title":58867,"dynasty":124,"author":71752,"museum":20,"description":71753,"tags":71754,"thumbUrl":71755,"material":13960,"size":71756,"collection":318,"collections":71757,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},240858,"shi-juan-wang-shi-zhen-240858","王世贞","释文：\n王山人自称十岳，先有二诗见寄，极国士之许，千里命驾，曾未淹日，欲游（留）金陵，长篇志别，拂衣北首，聊此抒赠：凤鸟摩青天，片羽飞东海。却坠七尺篱，鷃目荧然改。得子頷下珠，夜必吐光彩。孙醑骄欲鸣，青灯耿相待。不谓双垂杨，果系出剡舟。野夫虽称病，为汝强梳头。沉沉薜色夏，忽起商（双）飚秋。特达壮士縒，未许黄金酬。谓予九州水，当复有九州。禺儿志五岳，逝将十岳游。酒间叩沂边，泰岱曾入手。马迹重云颠，鸡声浴日后。狂扣玉女盆，中原敬培塿。自揽烟霞色，语语不离口。五岳天中外，子尚余其九。寒暑炼玉容，去日各非有。昔予读损益，亦复思名山。晚师维摩诘，旦夕棲衡关。纵横千界表，乃在弹指间。笑攀青莲花，归插玉女鬟。奚必策玄踝，役役劳神颜。我语虽大佳，听之了无答。杯酒散城烟，孤帆凌超忽。唯余留别句，掷地金石发。后夜倘见怀，长江弄秋月。余以（亦）止观法门，留仲房不得，仲房翻笑予恋恋庭户，不则谓予坐驰也。翼日倘更为仲房牵引，蹑一屐山水间，不又为仲房大笑也。天弢居士王世贞病中书。\n钤“王元美氏”、“天弢居士”印2方。\n此卷书法闲雅秀丽，古朴清新，运笔凝练，骨力内涵，方圆并济，豪放中见沉着，遒劲中见婉秀。明朱谋垔《书史会要续编》言：“世贞书学虽非当家，而议论翩翩，笔法古雅。”其结字、布局似出自赵孟頫书法，显示了较深厚的传统功力。",[23,7,64,25,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a5250d5f49da55e3a27a14828f97fab.jpg","纵25.8厘米，横135厘米",[318],{"id":71759,"slug":71760,"title":56970,"dynasty":54,"author":27440,"museum":300,"description":71761,"tags":71762,"thumbUrl":71763,"material":692,"size":1293,"collection":84,"collections":71764,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},240828,"wang-duo-lin-tie-zhou-wang-duo-240828","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人。明末清初大臣、书画家，王本仁的儿子。",[7,64,165,330,133,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17c4d7e776a8e86d9dd6eb0a7a09d694.jpg",[],{"id":71766,"slug":71767,"title":71768,"dynasty":54,"author":16583,"museum":300,"description":54077,"tags":71769,"thumbUrl":71770,"material":611,"size":84,"collection":318,"collections":71771,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},240797,"jie-tan-shi-zhou-gao-qi-pei-240797","戒坛诗轴",[24,7,165,133,64,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F518958c7d3997b76c3270ea88a7501b3.jpg",[318],{"id":71773,"slug":71774,"title":71775,"dynasty":54,"author":37194,"museum":300,"description":71776,"tags":71777,"thumbUrl":71778,"material":611,"size":84,"collection":318,"collections":71779,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},240712,"shi-zha-ce-lin-ze-xu-240712","诗札册","林则徐（1785年8月30日 －1850年11月22日），字元抚，又字少穆、石麟，晚号俟村老人、俟村退叟、七十二峰退叟、瓶泉居士、栎社散人等 ，福建侯官县人，中国清代后期政治家、文学家、思想家，民族英雄。\n林则徐是嘉庆十六年（1811年）进士，历官翰林编修、江苏按察使、东河总督、江苏巡抚、湖广总督等职。道光十九年（1839年），以钦差大臣赴广东禁烟时，派人明察暗访，强迫外国鸦片商人交出鸦片，并将没收鸦片于虎门销毁。该事件被认为是第一次鸦片战争的导火线。战争爆发不久，林则徐被构陷革职，发往新疆戍边。道光二十五年（1845年）重获起用，历任陕甘总督、陕西巡抚、云贵总督等职，加太子太保。道光三十年（1850年），林则徐在奉命镇压拜上帝会起事途中，病逝于潮州普宁。获赠太子太傅，谥号“文忠”。有《林文忠公政书》等作品传世。\n林则徐一生遍历地方，治绩卓著。虽在两广抗击西方入侵，但对于西方的文化、科技和贸易则持开放态度，主张学其优而用之。由他主持编译的《四洲志》及魏源编撰的《海国图志》，对晚清的洋务运动乃至日本的明治维新都具有启发作用。",[7,64,133,59,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba5830a7f383b30854898ed12ea4d2c6.jpg",[318],{"id":71781,"slug":71782,"title":71783,"dynasty":124,"author":71784,"museum":300,"description":71785,"tags":71786,"thumbUrl":71787,"material":611,"size":84,"collection":318,"collections":71788,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},240508,"qi-jia-xing-shi-han-juan-xie-duo-240508","七家行诗翰卷","谢铎","謝鐸（1435年～1510年），字鳴治，號方山，又號方石，浙江温嶺桃溪（今温嶺市大溪鎮兆岙）人。明朝官員、文學家。\n天順八年（1464年）進士，入翰林院為庶吉士，次年授編修。成化三年（1467年），參修《英宗實錄》，成化九年（1473年）校勘《通鑑綱目》，後升侍講。時值邊警，上疏《論西北備邊事宜狀》，指陳邊防弊端，主張整飭邊務。成化十四年（1478年），父喪告假回鄉。弘治初，參修《憲宗實錄》。弘治三年（1490年），升南京國子祭酒。次年辭官回鄉，家居十年，先後有數十人舉薦。明孝宗命吏部遣人員至其家，起用為南京禮部右侍郎兼國子祭酒。七十二歲告老還鄉。謝鐸博通經史，文學造詣極深。卒贈禮部尚書，諡文肅。\n謝鐸博通經史，尤精理學，文學造詣極深。時詩壇盛行台閣體，堆砌辭藻，粉飾太平。謝鐸與李東陽等主張詩歌革新，詩宗杜甫，成為茶陵派代表詩人之一，寫有不少揭露現實、關心民生疾苦詩作。應台州知府陳相之邀，纂修《赤城新志》。著有《伊洛淵源續錄》、《尊鄉錄》、《赤城論諫錄》（與黃孔昭合編）、《桃溪淨稿》等。",[23,805,133,25,64,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf75cf53868c880203f9cca320053528.jpg",[318],{"id":71790,"slug":71791,"title":71792,"dynasty":54,"author":44552,"museum":300,"description":63676,"tags":71793,"thumbUrl":71794,"material":692,"size":1293,"collection":84,"collections":71795,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},240464,"shi-ce-fang-zhou-cheng-sui-240464","诗册方轴",[54,24,7,59,128,133,208,29,331,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2677ddb3b16b2e9d41e3393f65c7e12a.jpg",[],{"id":71797,"slug":71798,"title":71799,"dynasty":54,"author":71800,"museum":300,"description":71801,"tags":71802,"thumbUrl":71803,"material":692,"size":1293,"collection":84,"collections":71804,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},240384,"yi-bing-shou-lin-tie-zhou-yi-bing-shou-240384","伊秉绶临帖轴","伊秉绶","伊秉绶（1754-1815），字组似，号墨卿，晚号默庵，清代书法家，福建汀州府宁化县人，故人又称“伊汀州”。乾隆四十四年举人，乾隆五十四年进士，师戴联奎，历任刑部主事，后擢员外郎。\n嘉庆四年任惠州知府，因与其直属长官、两广总督吉庆发生争执，被谪戍军台，昭雪后又升为扬州知府，1802年（嘉庆七年），伊秉绶54岁时，因父病死，去官奉棺回乡，扬州数万市民洒泪送别。62岁病逝后，扬州人为仰慕其遗德，在当地“三贤祠”（祀欧阳修、苏轼、王士祯三人之祠）中并祀伊秉绶，改称“四贤祠”。在任期间，以“廉吏善政”著称。\n伊秉绶喜绘画、治印，亦有诗集传世。工书，尤精篆隶，精秀古媚。其书超绝古格，使清季书法，放一异彩。隶书尤放纵飘逸，自成高古博大气象，与邓石如并称大家。",[24,7,64,165,330,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07fa081fb0d265df654fa8153743b97c.jpg",[],{"id":71806,"slug":71807,"title":71808,"dynasty":54,"author":19894,"museum":300,"description":10442,"tags":71809,"thumbUrl":71810,"material":692,"size":1293,"collection":84,"collections":71811,"showCount":1014,"zanCount":1998,"manualWeight":48,"mainColor":72},240299,"zheng-xie-lun-shu-zhou-zheng-xie-240299","郑燮论书轴",[7,64,165,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35d27791b75036095e4161526a1f4dad.jpg",[],{"id":71813,"slug":71814,"title":71815,"dynasty":124,"author":802,"museum":300,"description":71816,"tags":71817,"thumbUrl":71819,"material":611,"size":71820,"collection":136,"collections":71821,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},240245,"wu-lv-shi-zhou-chen-hong-shou-240245","五律诗轴","释文：\n“剪落入城市，拙岁隐者伦。亲朋虽传舌，景物最伤神。老病锦官府，还山愧野人。往来轻似叶，幸不厌清员。洪绶似玄濬道盟兄正之，二十余年不见，重为作书乐甚。”\n款钤“陈洪绶印”、“章侯氏”印2方。\n本轴书五言律诗一首，从落款处称僧人玄濬为“道盟兄”，可知此诗是陈洪绶晚年为僧时所作。\n陈洪绶的书法与绘画均显现共同而鲜明的特色，即奇异、怪诞。此轴书法结构修长，字形呈欹峭之势，用笔紧密而细腻，简洁而质朴，姿态夸张，富于变化，线条潇洒俊健，颇有风姿，表现了作者独特的书风。",[7,165,64,133,128,208,663,71818],"市","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd24d443d8c38b222178f604a0751cdec.jpg","纵141厘米，横57.5厘米",[136],{"id":71823,"slug":71824,"title":71825,"dynasty":124,"author":223,"museum":300,"description":71826,"tags":71827,"thumbUrl":71829,"material":84,"size":84,"collection":318,"collections":71830,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},240174,"wu-kuan-li-yu-mu-dong-shi-jia-jing-shi-wu-nian-gao-ming-juan-yi-ming-240174","无款李愈母董氏嘉靖十五年诰命卷","此作为典型明代御制诰命，以标准馆阁体书就，笔致匀整方正，端秀雅正，尽显皇家文书的庄重威仪。文辞典丽雍容，叙写朝廷覃恩褒奖臣工母氏的荣宠，尽显封建恩荣规制。两侧钤盖的朱印浑朴方正，朱泥历久鲜亮，与墨色书法、古雅绢底相互映衬，整体气息肃穆端严，既为明代官方书法的范本，亦是探究彼时诰命制度、士林恩荣的珍贵实物遗存。",[805,572,208,7,25,64,71828,8116],"诰命","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94da1059059a572addd614a7a9ea1a05.jpg",[318],{"id":71832,"slug":71833,"title":71834,"dynasty":54,"author":9704,"museum":20,"description":23571,"tags":71835,"thumbUrl":71836,"material":84,"size":84,"collection":318,"collections":71837,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},240040,"shi-can-ye-kun-can-240040","诗残页",[7,64,133,840,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06e39f5ac315cea2303be48a247bf23f.jpg",[318],{"id":71839,"slug":71840,"title":71841,"dynasty":54,"author":71842,"museum":300,"description":71843,"tags":71844,"thumbUrl":71845,"material":84,"size":84,"collection":318,"collections":71846,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},239953,"shu-ye-shi-zhou-zhang-wen-tao-239953","暑夜诗轴","张问陶","张问陶（1764年—1814年） ，字仲冶，一字柳门，其故乡四川遂宁城西有船山，因以为号。因善画猿，亦自号“蜀山老猿”。清四川潼川州遂宁县黑柏沟（今属遂宁市蓬溪县）人 。清代诗人、诗论家、书画家。\n张问陶于乾隆五十五年（1790年）进士及第，曾任翰林院检讨、江南道监察御史、吏部郎中。后出任山东莱州知府，后辞官寓居苏州虎邱山塘。晚年遨游大江南北，嘉庆十九年（1814）三月初四日，病卒于苏州寓所，享年五十一岁。\n张问陶撰有《船山诗草》，存诗3500余首。其诗天才横溢，与袁枚、赵翼合称清代“性灵派三大家”，与彭端淑、李调元合称“清代蜀中三才子”， 被誉为“青莲再世”、“少陵复出”、清代“蜀中诗人之冠”。",[7,64,165,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484968d3445b0ccbbfc46e2523cafa2f.jpg",[318],{"id":71848,"slug":71849,"title":50743,"dynasty":124,"author":71850,"museum":300,"description":71851,"tags":71852,"thumbUrl":71853,"material":84,"size":84,"collection":318,"collections":71854,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},239912,"shi-zhou-gu-qi-yuan-239912","顾起元","顾起元（1565年～1628年），应天府江宁（今南京）人，明代官员、金石家、书法家。字太初，一作璘初、瞒初，号遁园居士。万历二十六年进士，官至吏部左侍郎，兼翰林院侍读学。乞退后，筑遁园，闭门潜心著述。朝廷曾七次诏命为相，均婉辞之，卒谥文庄。著有《金陵古金石考》《客座赘语》《说略》等。",[7,64,165,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9477840cc14d7a0d0a1a3f1f4e4791e.jpg",[318],{"id":71856,"slug":71857,"title":71858,"dynasty":124,"author":7003,"museum":300,"description":49321,"tags":71859,"thumbUrl":71860,"material":84,"size":84,"collection":318,"collections":71861,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},239906,"mu-dan-fu-juan-zhu-yun-ming-239906","牡丹赋卷",[23,7,64,25,840,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef3614c1bd736af934ea47c0ff771b03.jpg",[318],{"id":71863,"slug":71864,"title":71865,"dynasty":54,"author":30399,"museum":300,"description":62608,"tags":71866,"thumbUrl":71867,"material":692,"size":1293,"collection":84,"collections":71868,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},239882,"shu-li-er-tong-zhou-weng-fang-gang-239882","书礼二通轴",[304,7,165,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefeb4e5e4c4f2cbf4f43009833c5f1a5.jpg",[],{"id":71870,"slug":71871,"title":50743,"dynasty":124,"author":71872,"museum":300,"description":71873,"tags":71874,"thumbUrl":71875,"material":84,"size":84,"collection":318,"collections":71876,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},239796,"shi-zhou-yi-wang-239796","益王","此作用笔纵逸灵动，牵丝映带圆融自然，尽显草书畅达疏朗的意趣。起收提按间顿挫分明，字势欹正相生，干湿浓淡的墨色交织，既有疾风骤雨般的爽利落拓，又暗蕴沉静雅致的书卷气。\n通篇布局疏密得宜，行气如长河奔涌贯通始终，将酬唱诗句的豪迈襟怀寄于笔墨流转之间，落笔处皆是心绪与笔意的交融，把文人酬赠的情志挥洒得淋漓尽致，笔墨间裹挟着诗意豪情，雅致洒脱的气韵扑面而来。",[24,7,165,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a16d9eb30d0d7b7e04757c99739adf.jpg",[318],{"id":71878,"slug":71879,"title":71880,"dynasty":54,"author":49968,"museum":300,"description":71881,"tags":71882,"thumbUrl":71883,"material":692,"size":1293,"collection":84,"collections":71884,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":199},239763,"hong-li-xi-lv-gui-cheng-shi-ce-ji-yun-239763","弘历西旅归诚诗册","纪昀（1724年8月3日-1805年3月14日），字晓岚，别字春帆，号石云，道号观弈道人、孤石老人，直隶河间府献县人，清代文学家、官员。\n清乾隆十九年（1754年），考中进士，官至礼部尚书、协办大学士、太子少保。曾任《四库全书》总纂官。\n嘉庆十年（1805年），病逝，时年八十二岁，因其“敏而好学可为文，授之以政无不达”（嘉庆帝御赐碑文），谥号“文达”。",[64,572,59,27,208,7,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d6fb4c418d44254de0282c2953e3d1.jpg",[],{"id":71886,"slug":71887,"title":71888,"dynasty":124,"author":71889,"museum":20,"description":71890,"tags":71891,"thumbUrl":71892,"material":611,"size":71893,"collection":318,"collections":71894,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},239745,"shuang-he-rui-wu-fu-juan-wang-fu-zhi-239745","双鹤瑞舞赋卷","王夫之","王夫之（1619年10月7日－1692年2月18日），字而农，号姜斋，人称“船山先生，湖广衡阳县（今湖南省衡阳市）人。明遗民。明末清初思想家，与顾炎武、黄宗羲、唐甄并称“明末清初四大启蒙思想家” ，学者王朝聘的儿子。\n崇祯五年（1632年），考中秀才，组织“行社”、“匡社”。崇祯十五年，考中乡试。顺治初年，投靠永历帝朱由榔，参加反清斗争。康熙十七年（1678年）三月，拒绝为吴三桂撰写劝进表。\n康熙三十一年，病逝于湘西草堂，安葬衡阳县金兰乡高节里大罗山（现衡阳县曲兰镇船山村老屋组大罗山脉的虎形山上）。 著有《周易外传》《黄书》《尚书引义》《永历实录》《春秋世论》《噩梦》《读通鉴论》《宋论》等书。",[23,164,24,7,25,64,133,840,611,8162,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88ae9484dcac62cbb54f3fcc4496a85.jpg","23.6×297.5厘米",[318],{"id":71896,"slug":71897,"title":55320,"dynasty":18,"author":17093,"museum":300,"description":71898,"tags":71899,"thumbUrl":71900,"material":84,"size":84,"collection":84,"collections":71901,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},239662,"zi-shu-shi-juan-lin-bu-239662","这件行书诗卷清劲瘦硬，萧散淡远，恰如其主梅妻鹤子的隐士襟怀。用笔瘦挺而具弹性，提按顿挫间尽显灵动，牵丝映带自然圆融，字势错落顾盼生情。宽绰行距铺展出从容疏朗的章法，褪去尘俗烟火气，满卷皆是林下清风。\n\n诗文与笔墨互为表里，将湖山行吟、赏梅观鹤的幽隐心境藏在每一处笔锋辗转间，把孤高疏淡的隐士意趣融于笔底，是宋尚意书法的绝佳注脚，书文俱佳，尽显宋代文人清雅脱俗的精神底色。",[23,164,24,7,64,25,133,128,208,371,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26372b075a6a47c8f0af2b3403e1bb9e.jpg",[],{"id":71903,"slug":71904,"title":71905,"dynasty":144,"author":71906,"museum":20,"description":71907,"tags":71908,"thumbUrl":71909,"material":2739,"size":71910,"collection":318,"collections":71911,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},239620,"yuan-jue-ya-tan-tie-ye-yuan-jue-239620","袁桷雅谭帖页","袁桷","释文：\n桷比者终日获接雅谭，继即探伺，且有假书之请。迺闻风帆趁潮，将促运米舟以还，繇是不果。兹审珮音琅然，方持螯高詠，视吾徒如逐臭。妙墨相遇，惜不能与玉柱惠文相聚耳。二碑岂立谈可了，明当聚首。不具。桷再拜。\n本幅有鉴藏印“安仪周家珍藏”、“莲樵鉴赏”、“景贤”、“谭氏区斋书画之章”、“赵叔彦”等12方，半印2方。\n此帖为应酬信札，故信笔书写，无拘无束，章法自然得体，用笔结字颇有法度，提按转折，刻意精致，具有米芾沉着痛快，欹侧奇险之笔势。\n《墨缘汇观·法书卷》、《三虞堂书画目》两书著录。",[64,133,1590,208,7,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45bb2338bc357d31534407d9d4f71206.jpg","纵28.3厘米, 横38.9厘米",[318],{"id":71913,"slug":71914,"title":71915,"dynasty":54,"author":48763,"museum":300,"description":71916,"tags":71917,"thumbUrl":71918,"material":692,"size":1293,"collection":136,"collections":71919,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},239488,"shan-shui-ce-1-shang-guan-zhou-239488","山水册1","上官周（1665年—1752年），原名世显，后改名周，字文佐，号竹庄，福建长汀南山官坊人，清代著名画家，终生布衣。1665年生于长汀南山官坊的一户农民家庭。\n山水和人物画造诣很高，门生有“扬州八怪”之一的黄慎。《晚笑堂画传》最为著名，成为后人临习人物画的范本，而其山水画谱长期流落民间，未见刊行。",[24,7,59,128,29,96,101,34,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38fd742575828ecb404e7927cc21373c.jpg",[136],{"id":71921,"slug":71922,"title":71923,"dynasty":54,"author":16583,"museum":300,"description":29102,"tags":71924,"thumbUrl":71925,"material":692,"size":1293,"collection":84,"collections":71926,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},239485,"zhi-hua-shi-yan-tu-zhou-gao-qi-pei-239485","指画石雁图轴",[24,7,165,29104,128,171,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48489029acb5ca54042a87c4c967fb21.jpg",[],{"id":71928,"slug":71929,"title":21106,"dynasty":54,"author":4823,"museum":300,"description":19690,"tags":71930,"thumbUrl":71931,"material":692,"size":1293,"collection":84,"collections":71932,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},239410,"hua-niao-tu-ce-ma-yuan-yu-239410",[24,7,59,128,61,371,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78334d92577a33de59e529905eb5da91.jpg",[],{"id":71934,"slug":71935,"title":21106,"dynasty":54,"author":4823,"museum":300,"description":19690,"tags":71936,"thumbUrl":71937,"material":692,"size":1293,"collection":84,"collections":71938,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},239404,"hua-niao-tu-ce-ma-yuan-yu-239404",[24,7,59,128,27,61,371,375,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aacd6ce100967b831ec506e25dd7ece.jpg",[],{"id":71940,"slug":71941,"title":21106,"dynasty":54,"author":4823,"museum":300,"description":19690,"tags":71942,"thumbUrl":71943,"material":692,"size":1293,"collection":84,"collections":71944,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},239402,"hua-niao-tu-ce-ma-yuan-yu-239402",[24,7,59,128,61,371,167,372,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7b02a54918736e1e583cb26519dd690.jpg",[],{"id":71946,"slug":71947,"title":71948,"dynasty":54,"author":9864,"museum":300,"description":18673,"tags":71949,"thumbUrl":71950,"material":692,"size":1293,"collection":84,"collections":71951,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},239343,"ci-shu-yan-tu-juan-yu-zhi-ding-239343","赐书砚图卷",[23,24,7,25,27,28,64,133,9604,5459,12803,234,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06466295cda541530e4420d01e3a3796.jpg",[],{"id":71953,"slug":71954,"title":71955,"dynasty":54,"author":71956,"museum":300,"description":71957,"tags":71958,"thumbUrl":71959,"material":84,"size":84,"collection":84,"collections":71960,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},239313,"mo-mei-juan-zhu-zhe-239313","墨梅卷","祝喆","此作以书意入画，枯梅老干如狂草走笔，锋棱毕现，焦墨勾勒枝桠苍劲如铁，淡墨晕染花萼，繁蕊密枝错落纵横，将寒梅凌霜不屈的姿容尽皆铺展。长卷之中题跋与绘事相融，笔墨文心共生，以毫端倾泻胸中丘壑，将文人狷介疏狂的襟怀与冬梅孤高清雅的品格合二为一。不见娇柔妍态，唯有清癯风骨，观之如临冬林雪径，暗香随卷浮动，尽显文人画以画寄情、书画合一的逸趣，满纸皆是林下幽人淡泊孤傲的气度。",[23,24,7,25,128,371,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff59a446b3ad367d29ecbb2ffc79e0d64.jpg",[],{"id":71962,"slug":71963,"title":49450,"dynasty":124,"author":49451,"museum":300,"description":71964,"tags":71965,"thumbUrl":71966,"material":692,"size":1293,"collection":84,"collections":71967,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},239271,"shu-hua-tu-ce-cheng-min-239271","此作以水墨写意绘竹枝，运笔爽利劲挺，竹叶错落排布、顾盼有情，尽显清瘦挺拔之姿。墨色带着自然的浓淡过渡，寥寥数笔却将竹的疏朗气节尽数铺展。\n笔意简淡却风骨暗藏，以画寄寓君子凌风自傲的品格，是文人写心寄兴的小品佳制。将竹之物性与文人襟怀相融，淡远萧疏间，满是清雅脱俗的文人气韵，观之如见植于阶前的修竹，暗合了以物明志的文人画旨趣。",[164,24,7,59,128,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c1fc64218232482cbcb7e3d69f47f1b.jpg",[],{"id":71969,"slug":71970,"title":64835,"dynasty":124,"author":33462,"museum":300,"description":34341,"tags":71971,"thumbUrl":71972,"material":84,"size":84,"collection":84,"collections":71973,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},239188,"shan-chuan-ming-sheng-ce-song-xu-239188",[24,7,59,27,29,129,211,130,34,497,99,3344,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4beed5e7c4bbda589082a4279bbfbf2b.jpg",[],{"id":71975,"slug":71976,"title":71977,"dynasty":54,"author":14022,"museum":300,"description":40657,"tags":71978,"thumbUrl":71979,"material":692,"size":1293,"collection":84,"collections":71980,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},239101,"hua-hui-ce-10-yu-sheng-239101","花卉册10",[24,7,59,27,28,62,376,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f646c6f1b788fd9050ff9d28d52cb8.jpg",[],{"id":71982,"slug":71983,"title":71984,"dynasty":54,"author":14022,"museum":300,"description":40657,"tags":71985,"thumbUrl":71986,"material":692,"size":1293,"collection":84,"collections":71987,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},239100,"hua-hui-ce-9-yu-sheng-239100","花卉册9",[24,7,59,28,27,208,61,167,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17d26e2e48831a50449c020fa312c0c4.jpg",[],{"id":71989,"slug":71990,"title":71991,"dynasty":54,"author":15196,"museum":300,"description":15197,"tags":71992,"thumbUrl":71993,"material":692,"size":1293,"collection":84,"collections":71994,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},239067,"jun-zi-lin-wan-shan-zhang-pan-239067","君子林纨扇",[24,7,1131,27,28,61,375,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8438d22f7deef66ddf701b842910964.jpg",[],{"id":71996,"slug":71997,"title":71998,"dynasty":54,"author":23563,"museum":300,"description":55355,"tags":71999,"thumbUrl":72000,"material":692,"size":1293,"collection":84,"collections":72001,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},239032,"fang-cha-shi-biao-shan-shui-zhou-qin-bing-wen-239032","仿查士标山水轴",[24,7,165,330,128,132,29,171,34,497,496,276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc349e0153148851c98716702002c3df.jpg",[],{"id":72003,"slug":72004,"title":10742,"dynasty":54,"author":223,"museum":300,"description":72005,"tags":72006,"thumbUrl":72007,"material":692,"size":1293,"collection":84,"collections":72008,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},238928,"qing-ren-mu-dan-pu-ce-yi-ming-238928","此作以冷暖撞色尽显巧思，靛蓝牡丹为画面重心，花瓣以没骨晕染铺陈，层层叠叠间晕开深浅浓淡，金蕊轻缀，将华贵揉进幽邃雅致之中，毫无艳俗之感。一旁朱红小花斜生，鲜活明媚，恰好衬出蓝牡丹的沉静雍容。\n枯干以枯笔勾勒，苍拙朴厚，新芽点缀其上暗露春机；枝叶勾勒细腻，脉络分明，柔润叶片与苍劲枝干形成质感反差，让画面静而不滞。整体笔触温润雅致，将牡丹贵气藏于清雅笔触间，内敛沉静，尽显东方绘卷独有韵致。",[164,24,7,59,27,28,61,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd12d517c77311ea3a256f0cebfd71a05.jpg",[],{"id":72010,"slug":72011,"title":72012,"dynasty":54,"author":223,"museum":300,"description":72013,"tags":72014,"thumbUrl":72015,"material":84,"size":84,"collection":136,"collections":72016,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":199},238893,"dong-gao-chun-hua-ji-qing-ce-yi-ming-238893","董诰春华集庆册","这是诗画合璧的雅致册页，上下两开各揽一境。上开绘庭院春景，亭台依着花木错落，嫩色初绽的枝桠探入闲庭，将春日闲居的恬然藏在方寸之间。下开写汀渚泛舟，柳丝蘸着春水漾开涟漪，扁舟悠游，尽揽江野春柔。\n\n设色清妍秀润，勾勒温婉细腻，工致中带着写意松弛。配书小楷隽秀端丽，诗书画意相融，将文人情思寄寓春日景致里。浅淡笔墨晕开江南春日元气，静赏间便能触摸清和雅致的春日意趣，余韵悠长。",[24,7,59,27,28,29,130,98,99,61,371,209,97,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbc3ea22d6afddc092a8d36cd92c6dd4.jpg",[136,117],{"id":72018,"slug":72019,"title":27131,"dynasty":54,"author":6376,"museum":300,"description":27132,"tags":72020,"thumbUrl":72021,"material":692,"size":1293,"collection":84,"collections":72022,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},238853,"mian-yi-hua-hui-xiao-ce-mian-yi-238853",[24,7,59,128,27,61,371,5399,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c9d2add75aa8c6b7388eec0232f4f0.jpg",[],{"id":72024,"slug":72025,"title":27131,"dynasty":54,"author":6376,"museum":300,"description":27132,"tags":72026,"thumbUrl":72027,"material":692,"size":1293,"collection":84,"collections":72028,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},238852,"mian-yi-hua-hui-xiao-ce-mian-yi-238852",[164,24,7,59,27,28,62,171,6193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ab1a50fb3825ff61cd894b7baeff77d.jpg",[],{"id":72030,"slug":72031,"title":27131,"dynasty":54,"author":6376,"museum":300,"description":27132,"tags":72032,"thumbUrl":72033,"material":692,"size":1293,"collection":84,"collections":72034,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},238850,"mian-yi-hua-hui-xiao-ce-mian-yi-238850",[164,24,7,54,59,28,27,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8c73f2b1066c0d02ff69ac61b852e22.jpg",[],{"id":72036,"slug":72037,"title":27131,"dynasty":54,"author":6376,"museum":300,"description":27132,"tags":72038,"thumbUrl":72039,"material":692,"size":1293,"collection":84,"collections":72040,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},238849,"mian-yi-hua-hui-xiao-ce-mian-yi-238849",[24,7,59,27,28,61,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3c43e279fd5aeda44487cabd897c8f0.jpg",[],{"id":72042,"slug":72043,"title":29136,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":72044,"thumbUrl":72045,"material":84,"size":84,"collection":84,"collections":72046,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},238818,"dong-gao-lv-xuan-shao-jing-ce-dong-gao-238818",[24,7,59,27,29,28,132,98,99,96,35,131,209,1144,34,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d45dcffa582ad09361b4fe6129d7e2.jpg",[],{"id":72048,"slug":72049,"title":29144,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":72050,"thumbUrl":72051,"material":692,"size":1293,"collection":84,"collections":72052,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},238808,"hua-hui-xiao-ce-dong-gao-238808",[24,7,59,28,27,61,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9859786975454065ec8fba2b2fc1b66e.jpg",[],{"id":72054,"slug":72055,"title":29144,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":72056,"thumbUrl":72057,"material":692,"size":1293,"collection":84,"collections":72058,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},238807,"hua-hui-xiao-ce-dong-gao-238807",[24,7,59,28,27,61,356,62,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c080ffc320ad73cae9d74ae2b06e7db.jpg",[],{"id":72060,"slug":72061,"title":29144,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":72062,"thumbUrl":72063,"material":692,"size":1293,"collection":84,"collections":72064,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},238802,"hua-hui-xiao-ce-dong-gao-238802",[164,24,7,59,27,28,61,62,3776,549,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0312e03dcc4f5c546cbc631edc36971a.jpg",[],{"id":72066,"slug":72067,"title":29144,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":72068,"thumbUrl":72069,"material":692,"size":1293,"collection":84,"collections":72070,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},238795,"hua-hui-xiao-ce-dong-gao-238795",[164,24,7,59,27,28,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3625d1ce25c347ec421b3d473dd98410.jpg",[],{"id":72072,"slug":72073,"title":29144,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":72074,"thumbUrl":72075,"material":692,"size":1293,"collection":84,"collections":72076,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},238791,"hua-hui-xiao-ce-dong-gao-238791",[24,7,59,27,61,28,371,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0558316759101a85e14edda2b4eed229.jpg",[],{"id":72078,"slug":72079,"title":29144,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":72080,"thumbUrl":72081,"material":692,"size":1293,"collection":84,"collections":72082,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},238789,"hua-hui-xiao-ce-dong-gao-238789",[24,7,59,27,28,61,374,371,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F424f4fa09ec3757820ade6e2dd72066d.jpg",[],{"id":72084,"slug":72085,"title":46632,"dynasty":54,"author":23303,"museum":300,"description":72086,"tags":72087,"thumbUrl":72088,"material":84,"size":84,"collection":84,"collections":72089,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},238760,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238760","此作用淡墨白描写就，笔墨清润秀简。近岸板桥垂柳，数位文士围炉雅聚，或执盏晤谈、或侧耳聆语，情态生动宛然。右侧林木蓊郁，崖石苍劲朴拙，铺展出幽寂雅致的林下天地。左侧题诗与画面呼应，诗画浑然相融，将文人幽居雅集的闲逸风流尽数铺陈。构图开合有度，以山水衬合人物雅兴，不着浓艳色彩，却把冲淡平和的雅聚氛围烘托尽致，尽显文人画诗韵与画境交融的古典意趣，将林下酬唱、寄情山水的悠然心境娓娓道来，淡而有味，清隽动人。",[24,7,59,128,133,208,29,96,98,34,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98d3b7c561e92a05412a4406eb393a42.jpg",[],{"id":72091,"slug":72092,"title":35019,"dynasty":54,"author":23303,"museum":300,"description":72093,"tags":72094,"thumbUrl":72095,"material":84,"size":84,"collection":84,"collections":72096,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},238739,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238739","淡墨晕染长空烟霭，岸堤垂柳依依拂水，晕开缱绻别意。画面之中主客执手对晤，眉宇间尽是临别喟叹，侍童垂立默立一侧，将别离的怅惘悄然铺展。右侧车马仆役整装待发，赶路的仓促与岸边的不舍形成细腻反差。\n整体笔致清逸温婉，以极简水墨勾勒人物景致，留白悠远空灵。题诗与画境呼应交融，将文人间临歧送别的深挚情谊藏在淡远的景致中，把黯然销魂的离别诗意，化作可视的水墨离愁，尽显雅致静穆的古典韵致。",[24,7,59,128,188,96,101,4363,7045,208,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67273436627451c00ef39357b7eb425f.jpg",[],{"id":72098,"slug":72099,"title":60856,"dynasty":124,"author":223,"museum":300,"description":72100,"tags":72101,"thumbUrl":72102,"material":692,"size":1293,"collection":84,"collections":72103,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},238567,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238567","此画以静动两极铺陈画面意蕴，右侧高台之上，高士对坐论事，侍从垂手恭立，氛围安娴端凝；左侧仙官神将乘骑穿破云霭，直趋下方官署，旌旗翻卷、甲胄耀目，满是迅疾昂扬之势。\n\n画作以绢本设色晕染，山峦淡墨轻勾，留白铺就云雾烘托仙缈意境，界画严整工细，屋舍楼阁规制清晰考究。线条遒劲明快，设色古雅沉静，将神异仙凡之景与朝堂共济的题旨相融，兼具宗教奇幻色彩与叙事工笔的雅致意趣。",[24,7,59,27,28,95,96,97,29,772],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74237559afeb2767b1ffd27802a9e321.jpg",[],{"id":72105,"slug":72106,"title":60856,"dynasty":124,"author":223,"museum":300,"description":72107,"tags":72108,"thumbUrl":72109,"material":692,"size":1293,"collection":84,"collections":72110,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},238564,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238564","这幅工笔道释画以浓云划分天地，上方诸天护法与邪魔鏖战，仙神宝相端严、衣袂明丽，邪祟狞恶怪异，焰光翻卷，将斗法的炽烈烘托得淋漓尽致。下方城池烟气弥漫，水波之畔圣者垂怜施救，官民虔诚瞻拜，一侧将士挥旗整阵，尽显惶惶灾厄与护持之态。\n全作设色浓妍古雅，线条精细劲挺，以云气与焰光强化画面张力，将神幻战阵与人间世相并置，把护佑升平的祈愿寄于鲜活绘卷，叙事性与装饰性兼具，尽显传统道释工笔的精妙意趣。",[24,7,59,27,28,96,772,101,950,97,11074,187,29,49860,758,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68b38055df6753500fb166a111542903.jpg",[],{"id":72112,"slug":72113,"title":4071,"dynasty":54,"author":29297,"museum":300,"description":55182,"tags":72114,"thumbUrl":72115,"material":692,"size":1293,"collection":84,"collections":72116,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},238498,"hua-hui-tu-ce-jiang-pu-238498",[24,7,59,27,61,167,547,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49df98823dc69dc2e0f54aebda44c6ab.jpg",[],{"id":72118,"slug":72119,"title":4071,"dynasty":54,"author":29297,"museum":300,"description":55182,"tags":72120,"thumbUrl":72121,"material":692,"size":1293,"collection":84,"collections":72122,"showCount":1014,"zanCount":1998,"manualWeight":48,"mainColor":49},238494,"hua-hui-tu-ce-jiang-pu-238494",[164,24,7,59,27,28,61,62,624,2037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cd68be8bb3611582ded44817fe360a3.jpg",[],{"id":72124,"slug":72125,"title":72126,"dynasty":54,"author":6376,"museum":300,"description":27132,"tags":72127,"thumbUrl":72128,"material":692,"size":1293,"collection":44,"collections":72129,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},238469,"lie-qi-tu-ce-mian-yi-238469","猎骑图册",[24,7,59,27,96,211,663,1337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde758dfed88a204ea027eb9005083c4a.jpg",[44,45],{"id":72131,"slug":72132,"title":28503,"dynasty":54,"author":646,"museum":300,"description":28504,"tags":72133,"thumbUrl":72134,"material":692,"size":1293,"collection":84,"collections":72135,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},238394,"dong-gao-tao-li-yi-shou-tu-xiao-ce-dong-gao-238394",[24,7,59,27,28,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec54707dbcec316920ae459ec4524550.jpg",[],{"id":72137,"slug":72138,"title":28503,"dynasty":54,"author":646,"museum":300,"description":28504,"tags":72139,"thumbUrl":72140,"material":692,"size":1293,"collection":84,"collections":72141,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},238388,"dong-gao-tao-li-yi-shou-tu-xiao-ce-dong-gao-238388",[24,7,59,27,28,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F060045bf361b7f8302b844970be28747.jpg",[],{"id":72143,"slug":72144,"title":60906,"dynasty":54,"author":47606,"museum":300,"description":60907,"tags":72145,"thumbUrl":72146,"material":84,"size":84,"collection":84,"collections":72147,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},238278,"hua-qia-xuan-yuan-tu-ce-huang-yue-238278",[24,7,59,27,28,61,547,624,29317,806],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4d45c47b40701175fd4b732a0849277.jpg",[],{"id":72149,"slug":72150,"title":40677,"dynasty":54,"author":36329,"museum":300,"description":36330,"tags":72151,"thumbUrl":72152,"material":692,"size":1293,"collection":84,"collections":72153,"showCount":1014,"zanCount":1998,"manualWeight":48,"mainColor":72},238254,"shu-hua-you-niao-er-shi-zhang-ce-zhang-ruo-ai-238254",[54,59,572,208,355,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96e8def0f73b2dd6ee302e5afa4726ae.jpg",[],{"id":72155,"slug":72156,"title":67045,"dynasty":54,"author":41583,"museum":300,"description":72157,"tags":72158,"thumbUrl":72159,"material":84,"size":84,"collection":84,"collections":72160,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},238249,"sai-wai-hua-hui-nian-si-zhong-tu-ce-zhang-ruo-cheng-238249","以淡墨白描绘就花枝，花瓣柔婉舒展，枝叶穿插错落，将花草清妍之态细腻勾勒，写实中带着悠然意趣。留白处散落墨点如星子垂落，将塞外野卉的清灵和空寂辽远的意境相融。朱红印章错落排布，暖艳色泽中和素墨的清冷，让画面虚实相生，静雅里晕开古拙文气，将自然野趣与文人雅韵凝于尺幅，尽显雅致幽远的笔墨情致。",[24,7,59,188,28,62,230,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc928e2daf20b4c28e5f8c5850e16a137.jpg",[],{"id":72162,"slug":72163,"title":25438,"dynasty":54,"author":25439,"museum":300,"description":72164,"tags":72165,"thumbUrl":72166,"material":84,"size":84,"collection":84,"collections":72167,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},238230,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238230","此作用淡墨晕染远山，留白摹绘烟水浩渺，山峦以干笔皴擦出苍朴质感，汀渚错落隐于烟波间，寥寥数笔便勾勒出江乡秋日的空濛悠远。\n画面与左侧题诗相映成趣，诗画交融，将澹泊清旷的山居野趣铺陈开来。笔致秀雅沉静，脱尽尘俗，以极简笔墨营造出悠远空灵的意境，尽显寄情丘壑的文人雅韵，把传统山水的诗意氛围感烘托到极致。",[164,24,7,59,128,132,133,330,29,496,34,31,211,171,98,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27b5de921774d38902a6ec18c2be0775.jpg",[],{"id":72169,"slug":72170,"title":72171,"dynasty":54,"author":1740,"museum":300,"description":43285,"tags":72172,"thumbUrl":72173,"material":692,"size":1293,"collection":84,"collections":72174,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},238211,"duan-yang-gu-shi-ce-zhi-ci-xiao-geng-xu-yang-238211","端阳故事册之赐枭羹",[24,7,59,28,27,96,97,1200,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba51c3f5d358f6dc2b8eff16d49894c9.jpg",[],{"id":72176,"slug":72177,"title":409,"dynasty":54,"author":30880,"museum":300,"description":30881,"tags":72178,"thumbUrl":72179,"material":84,"size":84,"collection":84,"collections":72180,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},238163,"shan-shui-ce-yun-xi-238163",[24,7,59,27,133,208,132,29,663,228,34,98,495,497,711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40745d9a471ce441393f4b4751514414.jpg",[],{"id":72182,"slug":72183,"title":72184,"dynasty":18,"author":223,"museum":300,"description":72185,"tags":72186,"thumbUrl":72187,"material":692,"size":1293,"collection":84,"collections":72188,"showCount":1014,"zanCount":1998,"manualWeight":48,"mainColor":49},238122,"hua-hui-si-duan-tu-juan-yi-ming-238122","花卉四段图卷","四段花木各显风姿：首段梅枝老干虬曲，冷白小花疏落绽于枝梢，清寒疏朗，尽现孤洁傲骨。芙蓉一段柔枝舒展，粉艳花团轻缀其间，碧叶晕染出鲜活肌理，秾丽又带着温柔生机。素花柔枝一则，莹白花朵配温润绿叶，明媚恬淡如春日浅光。末段小花攒聚枝上，粉瓣娇俏灵动，带着融融春意。\n\n全卷以没骨法绘就，纯以色泽晕染成型，清隽柔和的色彩间，将四时花木的各自风骨与舒展柔婉尽数绘出，藏着雅致审美，淡色轻晕里晕开静谧生趣。",[23,164,24,7,25,28,27,61,371,373,1132,209,582,549,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0728e825826d5c3185aac75a84ab3440.jpg",[],{"id":72190,"slug":72191,"title":76,"dynasty":124,"author":16032,"museum":300,"description":20309,"tags":72192,"thumbUrl":72193,"material":692,"size":1293,"collection":84,"collections":72194,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},238116,"hua-hui-ce-xiang-sheng-mo-238116",[164,24,7,59,188,128,133,208,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b33ecc6a3524f42489449efed32f249.jpg",[],{"id":72196,"slug":72197,"title":30898,"dynasty":54,"author":72198,"museum":300,"description":72199,"tags":72200,"thumbUrl":72201,"material":692,"size":1293,"collection":84,"collections":72202,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},238095,"hua-niao-shan-wang-jie-238095","王杰","王杰（1725年－1805年2月9日 ），字伟人，号惺国，陕西韩城人。清朝状元、名臣，有清一代陕西第一名臣。初在南书房当值，后经多次升迁，官至内阁学士。乾隆三十九年（1774）任刑部侍郎后又转调吏部，擢升右都御史，乾隆五十一年（1786）出任军机大臣，上书房总师傅，第二年又出任东阁大学士，总理礼部。嘉庆帝即位，仍为首辅。\n王杰在朝四十余年，忠清劲直，老成端谨，不结党营私，不趋炎附势。嘉庆十年（1805年），王杰去世，享年八十一岁，追赠为太子太师，谥号文端，祀于北京贤良祠。",[304,24,7,1131,28,27,61,650,167,355,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4d42141a5b528539861dcd38dc4c9d3.jpg",[],{"id":72204,"slug":72205,"title":14647,"dynasty":54,"author":1311,"museum":56,"description":25940,"tags":72206,"thumbUrl":72207,"material":1464,"size":25943,"collection":84,"collections":72208,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},238072,"mei-hua-tu-ce-wang-shi-shen-238072",[164,24,7,59,128,27,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e2d33c96d89834efbc8bc6bee4aa29d.jpg",[],{"id":72210,"slug":72211,"title":72212,"dynasty":54,"author":28161,"museum":300,"description":72213,"tags":72214,"thumbUrl":72215,"material":692,"size":1293,"collection":84,"collections":72216,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},238039,"tong-yin-ren-wu-shan-ye-fei-yi-geng-238039","桐荫人物扇页","费以耕（ ？—1870 ）清代画家。字馀伯，乌程（今浙江吴兴）人。费丹旭长子。画承家学，仕女幽静，兼工花鸟。同治九年（1870）为张鸣珂画锺进士像，侧耳作听琴状，傍坐一女郎，膝置一琴，拔铉抚弄，秀媚天成。与张熊交往甚密",[24,7,1131,28,27,96,11997],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff387618c61f8edf2ffbee13f840c466c.jpg",[],{"id":72218,"slug":72219,"title":72220,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":72221,"thumbUrl":72222,"material":692,"size":1293,"collection":84,"collections":72223,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},237851,"dong-gao-chun-shan-qing-cui-tu-shan-dong-gao-237851","董诰春山晴翠图扇",[164,24,7,1131,27,26,132,29,413,131,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd10d3255fc8e605f6f0016b789033f8c.jpg",[],{"id":72225,"slug":72226,"title":50885,"dynasty":54,"author":50886,"museum":300,"description":50887,"tags":72227,"thumbUrl":72228,"material":692,"size":1293,"collection":84,"collections":72229,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},237715,"qiu-sui-hua-niao-ce-qiu-sui-237715",[24,7,59,27,28,61,371,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54b8c63f0ffe368df20bd421834352df.jpg",[],{"id":72231,"slug":72232,"title":409,"dynasty":54,"author":43518,"museum":20,"description":48227,"tags":72233,"thumbUrl":72234,"material":84,"size":84,"collection":84,"collections":72235,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},237560,"shan-shui-ce-wen-dian-237560",[164,24,7,59,128,132,29,663,228,413,130,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F199e373a36592cff98d9b99deebcf353.jpg",[],{"id":72237,"slug":72238,"title":409,"dynasty":54,"author":64957,"museum":300,"description":67163,"tags":72239,"thumbUrl":72240,"material":611,"size":84,"collection":136,"collections":72241,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},237427,"shan-shui-ce-chen-jia-le-237427",[24,7,59,128,29,413,211,97,950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f0f6521ad43900a3d004ae0764515a3.jpg",[136],{"id":72243,"slug":72244,"title":72245,"dynasty":54,"author":72246,"museum":300,"description":72247,"tags":72248,"thumbUrl":72249,"material":692,"size":1293,"collection":84,"collections":72250,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},237402,"fang-li-cheng-yun-hai-shan-xu-ang-237402","仿李成云海扇","徐昂","此作以边角取景，右侧崖畔孤松蟠曲苍劲，松下幽人静坐远眺，淡墨短皴勾勒石体质感，松枝带霜，尽是萧寒清寂之态。左侧以留白晕作浩渺云海，几簇墨林浮沉云间，虚实相生，将平远清旷的山水意韵铺陈开来。\n\n全幅以水墨晕染，凭藉墨色浓淡分出层次，不作艳色修饰，空濛雾气晕化出幽远意境，暗合文人澄怀观道的林下襟怀，把林泉隐逸的静穆冷逸尽数藏在简淡笔墨中，淡而愈真，简而弥远。",[24,7,1131,330,128,132,29,13912,331,96,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5233ab20a95e74ecb0720e6632edcdd.jpg",[],{"id":72252,"slug":72253,"title":72254,"dynasty":54,"author":9529,"museum":244,"description":38195,"tags":72255,"thumbUrl":72256,"material":611,"size":84,"collection":84,"collections":72257,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":199},237385,"jiu-jia-shan-shui-ce-shen-cang-ping-lin-tu-ye-wang-hui-237385","九家山水册-沈苍平林图页",[24,7,59,27,128,132,29,34,3440,131,31,1023,711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0f98556e4a5d46c511b0791eec412b2.jpg",[],{"id":72259,"slug":72260,"title":72261,"dynasty":124,"author":54323,"museum":300,"description":72262,"tags":72263,"thumbUrl":72264,"material":692,"size":1293,"collection":84,"collections":72265,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},237378,"mo-chou-hu-shan-zhang-han-237378","莫愁湖扇","张瀚（1510—1593），字子文，号元洲 ，谥恭懿。明朝仁和（今浙江杭州）人。嘉靖十四年（1535）进士，授南京工部主事，历任庐州、大名知府、陕西左布政使、右副都御史、大理寺卿、刑部右侍郎、兵部侍郎、南京右都御史、工部尚书、吏部尚书。\n因与张居正朝议多不合，辞归故里，把平生所见所闻著录成《松窗梦语》，记载了明代经济、社会、文化、民情风俗等方面资料，对研究明代社会经济、商业贸易有重要参考价值。",[24,7,1131,27,128,132,98,99,35,34,4363,4703,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc84246136b7c834be2cf97455cb8398f.jpg",[],{"id":72267,"slug":72268,"title":7864,"dynasty":54,"author":38236,"museum":300,"description":41599,"tags":72269,"thumbUrl":72270,"material":611,"size":84,"collection":44,"collections":72271,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},237277,"za-hua-ce-chen-zi-237277",[24,7,59,27,96,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc7b6149fcaef8e559a90570cdce2358.jpg",[44],{"id":72273,"slug":72274,"title":37257,"dynasty":54,"author":37258,"museum":300,"description":37259,"tags":72275,"thumbUrl":72276,"material":84,"size":84,"collection":84,"collections":72277,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},237171,"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237171",[24,7,59,27,132,29,96,211,413,81,99,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F739b27baa7d852c5ae0f2b5a8fe4270d.jpg",[],{"id":72279,"slug":72280,"title":26288,"dynasty":54,"author":26289,"museum":300,"description":26290,"tags":72281,"thumbUrl":72282,"material":84,"size":84,"collection":84,"collections":72283,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},237088,"jiang-feng-shi-nv-ce-jiang-feng-237088",[24,7,59,27,28,96,166,413,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1031ea9ed5ff2c9dcba9ecf9ba839d7b.jpg",[],{"id":72285,"slug":72286,"title":26288,"dynasty":54,"author":26289,"museum":300,"description":26290,"tags":72287,"thumbUrl":72288,"material":84,"size":84,"collection":84,"collections":72289,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},237086,"jiang-feng-shi-nv-ce-jiang-feng-237086",[24,7,59,27,96,166,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee2abbba31797ba803d1d2fa94979742.jpg",[],{"id":72291,"slug":72292,"title":26288,"dynasty":54,"author":26289,"museum":300,"description":26290,"tags":72293,"thumbUrl":72294,"material":84,"size":84,"collection":84,"collections":72295,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},237085,"jiang-feng-shi-nv-ce-jiang-feng-237085",[24,7,59,27,96,166,171,231,28,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22de377271e24ad5411d88be3c4f6c16.jpg",[],{"id":72297,"slug":72298,"title":72299,"dynasty":124,"author":72300,"museum":300,"description":72301,"tags":72302,"thumbUrl":72303,"material":692,"size":1293,"collection":84,"collections":72304,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},237074,"mo-bi-zhu-lan-shan-xiang-de-xin-237074","墨笔竹兰扇","项德新","项德新（约1563—？）明代画家。字复初、又新，浙江嘉兴人，项元汴的三儿子，工山水，得荆关法，尤其擅长写生。 作品流传极少，有人得其片纸，珍如拱璧。",[24,7,1131,128,167,375,64,208,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20f6b181f99b7774ac392a39807b244b.jpg",[],{"id":72306,"slug":72307,"title":72308,"dynasty":54,"author":72309,"museum":300,"description":72310,"tags":72311,"thumbUrl":72312,"material":692,"size":1293,"collection":84,"collections":72313,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},237070,"mo-mei-shan-huang-zhang-237070","墨梅扇","黄章","老干虬曲苍劲，枯涩笔墨刻尽风霜，枝桠舒展错落，花苞疏密点缀相宜。以浓淡墨色区分枝干与花萼，淡墨晕染花瓣，清隽雅致尽显寒梅疏朗清癯之态，自带孤高清气。\n\n右侧题款小字娟秀，朱印点睛，书画相映成趣。将文人雅致融于咫尺扇面，把梅花凌霜傲雪的品格寄于笔端，极简笔墨勾勒出盎然生机，寥寥数笔便将冬梅清逸出尘的风骨尽显无遗，方寸之间，尽揽暗香浮动的清冷诗意，尽显文人寄情花木的写意意趣。",[24,7,1131,128,371,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F014c4dd3b878b9f666b3714efe0597ef.jpg",[],{"id":72315,"slug":72316,"title":34368,"dynasty":54,"author":34369,"museum":300,"description":72317,"tags":72318,"thumbUrl":72319,"material":611,"size":84,"collection":84,"collections":72320,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},237069,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237069","此作用笔简淡松灵，以浅绛轻敷山水。层峦温润苍秀，林木枯荣交错，村居隐于林麓，板桥横溪渡水，疏密相宜间铺展出清寂淡远的山居胜境。干笔皴擦摹写山石肌理，枯木枝桠苍劲老辣，尽显山野清旷之态。\n\n左侧行书题识与山水合璧，笔墨萧散简逸，将寄情林泉的隐逸诗意融于尺幅之中，尽显幽居林下、观物寄兴的文人雅怀，是文人画诗书画意相融的典型之作。",[24,7,59,128,132,29,98,130,34,131,97,64,208,99,758,1429],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3408920150f75610ff68e341a6566a69.jpg",[],{"id":72322,"slug":72323,"title":34368,"dynasty":54,"author":34369,"museum":300,"description":72324,"tags":72325,"thumbUrl":72326,"material":611,"size":84,"collection":84,"collections":72327,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},237067,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237067","此作是诗画合璧的文人小品。右侧绘就山居秋景，浅赭轻青晕出山峦，云气空濛漫于峰头，苍松挺拔、杂木错落，清溪隐石，茅庐藏于林泉深处，笔墨简淡秀雅，晕染出幽寂清远的林下意趣。\n左侧行书题诗，笔致清脱俊逸，诗境呼应画中林泉高致，将文人心底幽怀与眼前山景相融。整体淡远萧疏，恬和安宁，尽显旧时文人士大夫寄情山水、醉心丘壑的清雅襟怀。",[24,7,59,128,27,133,132,29,372,131,34,415,950,1023,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ac8eb1b21b8fbbe8a918bde273bfbc2.jpg",[],{"id":72329,"slug":72330,"title":409,"dynasty":124,"author":54018,"museum":300,"description":72331,"tags":72332,"thumbUrl":72333,"material":84,"size":84,"collection":84,"collections":72334,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},236929,"shan-shui-ce-qin-mao-de-236929","此作以淡墨写就平远之境，近坡古松虬曲错落，茅庐幽栖于林木间，野意自生。山峦以干笔轻皴，施淡墨晕染肌理，衬出山石朴拙质感。远景以留白衬出烟波浩渺，远山只作淡墨虚写，留白尽得水意空濛。\n\n书画合璧相映成趣，笔墨简淡秀润，摒弃繁复刻画，以极简意趣勾勒林泉幽致，将文人幽栖林下、寄情山水的襟怀融于尺幅之间，尽显静穆淡远的出世雅韵，藏着画者寄情林泉的隐逸心绪。",[24,7,59,128,132,133,29,663,413,35,415,3857],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6798e239385714ccb8825c45b27d4d05.jpg",[],{"id":72336,"slug":72337,"title":409,"dynasty":124,"author":33462,"museum":20,"description":38210,"tags":72338,"thumbUrl":72339,"material":999,"size":38213,"collection":84,"collections":72340,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},236908,"shan-shui-ce-song-xu-236908",[24,7,59,128,27,132,29,495,98,99,34,131,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2f50c72816fffe8cbf23304031d9beb.jpg",[],{"id":72342,"slug":72343,"title":409,"dynasty":54,"author":6936,"museum":300,"description":72344,"tags":72345,"thumbUrl":72346,"material":84,"size":84,"collection":84,"collections":72347,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},236870,"shan-shui-ce-wang-yuan-qi-236870","此帧取平远章法，近岸陂陀之上杂木扶苏，茅舍隐于树荫间，漾出幽寂村居之致。水面开阔空明，留白尽现湖光清旷。远山以干笔淡墨皴擦，山峦平缓舒展，苔点疏简萧散。\n\n画作师法元人萧散意趣，以渴笔淡墨层层积染，笔墨苍润松秀，在清空格调中融入浑朴醇厚的质感。题字朱印点缀提亮画面，整幅气息静穆淡远，于简淡中见苍劲，枯涩中含温润，观之如临林泉，尘俗尽涤，尽显文人画以意驭笔的雅致格调。",[24,7,59,128,132,29,167,413,3387,415,7782],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f3c9c6dc81a288f4e46e612797932fe.jpg",[],{"id":72349,"slug":72350,"title":409,"dynasty":54,"author":6936,"museum":300,"description":36556,"tags":72351,"thumbUrl":72352,"material":692,"size":1293,"collection":84,"collections":72353,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},236860,"shan-shui-ce-wang-yuan-qi-236860",[24,7,59,128,27,132,29,413,1314,130,666,415,7782],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F633eb9f8b4163d37394a1a0247798738.jpg",[],{"id":72355,"slug":72356,"title":409,"dynasty":54,"author":5879,"museum":300,"description":59277,"tags":72357,"thumbUrl":72359,"material":692,"size":1293,"collection":84,"collections":72360,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},236727,"shan-shui-ce-hua-yan-236727",[164,24,7,59,369,128,27,29,34,131,499,4438,500,72358],"涧水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ae85168545d98380ed02d659de03898.jpg",[],{"id":72362,"slug":72363,"title":27148,"dynasty":54,"author":27149,"museum":20,"description":27150,"tags":72364,"thumbUrl":72365,"material":84,"size":84,"collection":84,"collections":72366,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},236647,"cha-shi-biao-shu-fa-ti-wang-zhi-rui-shan-shui-ce-wang-zhi-rui-236647",[24,7,59,128,29,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0093e408abd0f99359f13f2fada7d83.jpg",[],{"id":72368,"slug":72369,"title":20295,"dynasty":54,"author":1311,"museum":20,"description":19660,"tags":72370,"thumbUrl":72371,"material":84,"size":84,"collection":84,"collections":72372,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},236582,"lan-mei-ce-wang-shi-shen-236582",[24,7,59,128,133,208,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e944ef294673755678cc20d44a7b5b.jpg",[],{"id":72374,"slug":72375,"title":31307,"dynasty":54,"author":17240,"museum":300,"description":31308,"tags":72376,"thumbUrl":72377,"material":84,"size":84,"collection":84,"collections":72378,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},236577,"zha-mei-he-shan-shui-shi-zhen-cha-shi-biao-236577",[24,7,59,128,133,208,29,331,130,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbee557396aff50c5074a6a47c1a85ad5.jpg",[],{"id":72380,"slug":72381,"title":31307,"dynasty":54,"author":17240,"museum":300,"description":31308,"tags":72382,"thumbUrl":72383,"material":84,"size":84,"collection":84,"collections":72384,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},236575,"zha-mei-he-shan-shui-shi-zhen-cha-shi-biao-236575",[24,7,59,128,133,208,132,29,413,129,96,130,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa500eae7a23d41f6746de1ac5b6f218e.jpg",[],{"id":72386,"slug":72387,"title":72388,"dynasty":54,"author":72389,"museum":300,"description":72390,"tags":72391,"thumbUrl":72392,"material":692,"size":1293,"collection":84,"collections":72393,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},236552,"song-mei-shan-ye-li-bing-shou-236552","松梅扇页","李秉绶","李秉绶（1783-1842）字佩之、芸甫，号竹坪、信天翁、环碧主人。祖籍临川县温圳杨溪村（今属江西省进贤县温圳），寄籍广西桂林。清代著名画家兼诗人。曾居官工部都水司郎中，人亦称“李水部”。后辞官回桂林，专心画事。",[24,7,1131,128,371,372,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38fb68fbb6b886709bb49970ba99fb69.jpg",[],{"id":72395,"slug":72396,"title":4229,"dynasty":124,"author":25456,"museum":300,"description":25457,"tags":72397,"thumbUrl":72398,"material":84,"size":84,"collection":84,"collections":72399,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},236542,"hua-niao-ce-tang-zhi-yin-236542",[24,7,59,27,28,61,248,547,1314,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9079963fa5d444017c3cc9fb0683e78.jpg",[],{"id":72401,"slug":72402,"title":16826,"dynasty":124,"author":40715,"museum":20,"description":54053,"tags":72403,"thumbUrl":72404,"material":611,"size":54056,"collection":84,"collections":72405,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},236494,"shan-shui-ren-wu-ce-guo-fen-ya-236494",[24,7,59,128,27,29,96,1813,1337,131,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f9203896a1b64f9b9ef4aa06722fd9.jpg",[],{"id":72407,"slug":72408,"title":72409,"dynasty":124,"author":27311,"museum":300,"description":58954,"tags":72410,"thumbUrl":72411,"material":692,"size":1293,"collection":84,"collections":72412,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},236468,"shu-lin-yuan-xiu-tu-shan-li-liu-fang-236468","疏林远岫图扇",[24,7,1131,128,132,29,5324,415,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fc791df25ce09c2286320730928d3f4.jpg",[],{"id":72414,"slug":72415,"title":72416,"dynasty":54,"author":72417,"museum":300,"description":72418,"tags":72419,"thumbUrl":72420,"material":84,"size":84,"collection":68,"collections":72421,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},236462,"qian-shan-shui-hua-hui-ce-wang-wen-236462","潜山水花卉册","王文","此帧以淡墨写意绘就秋江之景，枯柳虬枝以极简渴笔写出，线条疏朗劲瘦，尽染萧寒秋意。持竿渔翁佝身立在岸侧，形简神足，静穆间满是江湖幽独的萧索况味。\n\n画面留白肆意空灵，将水天寥廓尽数铺陈，淡墨晕染的浅岸与细笔勾勒的衰草相映，愈发衬出荒寒清寂。题识与绘境相融，诗画共生，笔意淡宕简远，以少胜多，将隐逸幽淡的林下襟怀寄寓在寥寥笔致之中，尽显文人写意重韵不重形的逸趣。",[24,7,59,128,29,62,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8913b2d8b63ad1e3793a9b069678ca9.jpg",[68],{"id":72423,"slug":72424,"title":40707,"dynasty":54,"author":21964,"museum":300,"description":72425,"tags":72426,"thumbUrl":72427,"material":692,"size":1293,"collection":84,"collections":72428,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},236438,"shan-shui-shan-pan-gong-shou-236438","潘恭寿（1741－1794），字慎夫，号握篔，又号莲巢，丹徒（今江苏镇江）人。中年归依佛门后，法号达莲。",[24,7,1131,27,29,132,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82cd4d48783a34288e4967ab54d91a17.jpg",[],{"id":72430,"slug":72431,"title":26956,"dynasty":124,"author":10922,"museum":300,"description":67295,"tags":72432,"thumbUrl":72433,"material":84,"size":84,"collection":84,"collections":72434,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},236408,"xiao-xiang-ba-jing-ce-wen-jia-236408",[24,7,59,128,132,29,97,130,34,131,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ed7536b187e8a91088501410f554325.jpg",[],{"id":72436,"slug":72437,"title":26956,"dynasty":124,"author":10922,"museum":300,"description":67295,"tags":72438,"thumbUrl":72439,"material":84,"size":84,"collection":84,"collections":72440,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},236407,"xiao-xiang-ba-jing-ce-wen-jia-236407",[24,7,59,128,132,29,129,99,34,415,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17840496ebd71800766d5e7df5ecb21f.jpg",[],{"id":72442,"slug":72443,"title":19857,"dynasty":124,"author":19170,"museum":300,"description":72444,"tags":72445,"thumbUrl":72446,"material":84,"size":84,"collection":136,"collections":72447,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},236390,"shan-shui-zhou-ding-yun-peng-236390","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[24,7,165,128,27,29,34,131,98,99,96,208,132,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ec58e07d94572dafafeadfb20222cb.jpg",[136,117],{"id":72449,"slug":72450,"title":48339,"dynasty":54,"author":72451,"museum":300,"description":72452,"tags":72453,"thumbUrl":72454,"material":692,"size":1293,"collection":84,"collections":72455,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},236376,"shan-shui-shan-ye-wang-ze-236376","王泽","王泽（？－？），浙江临安人，明朝政治人物。进士出身。\n王泽曾于万历年间接替赖嘉谟任邵武府知府一职，万历年间由岳钟英接任。",[24,7,1131,128,29,132,663,413,228,415,3857],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef36f243b6f7752b786cafb501caa1ec.jpg",[],{"id":72457,"slug":72458,"title":72459,"dynasty":54,"author":72460,"museum":300,"description":72461,"tags":72462,"thumbUrl":72463,"material":692,"size":1293,"collection":84,"collections":72464,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},236371,"mei-hua-shu-wu-tu-shan-ye-zhu-ben-236371","梅花书屋图扇页","朱本","[清]（1761—1819）字素人，号溉夫，自署竹西，江苏扬州人。",[24,7,1131,128,29,1144,276,650,5022,758,34,131,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ef5ba0670559ca3dc050096d8dcb3e.jpg",[],{"id":72466,"slug":72467,"title":33103,"dynasty":54,"author":72468,"museum":300,"description":72469,"tags":72470,"thumbUrl":72471,"material":84,"size":84,"collection":136,"collections":72472,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},236356,"fang-gu-shan-shui-ce-hu-jie-236356","胡节","胡节，字竹君，号井农，娄东（江苏太仓）人。山水师王翚，笔墨超逸，骨格秀整，虽严守师规，一种超尘拔俗之趣，耕烟（王翚）不能不放其出一头地。兼长杂卉。",[24,7,59,128,132,330,29,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f5e6c24fba7d0ae7b5b43ca45dbdb68.jpg",[136,45],{"id":72474,"slug":72475,"title":76,"dynasty":54,"author":1311,"museum":20,"description":37291,"tags":72476,"thumbUrl":72477,"material":734,"size":37294,"collection":84,"collections":72478,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},236314,"hua-hui-ce-wang-shi-shen-236314",[24,7,59,128,371,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F270d7050c40df99455d3a285ab924491.jpg",[],{"id":72480,"slug":72481,"title":72482,"dynasty":124,"author":802,"museum":300,"description":5946,"tags":72483,"thumbUrl":72484,"material":692,"size":1293,"collection":84,"collections":72485,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},236190,"hua-zhu-mei-hong-li-shu-shi-cheng-shan-chen-hong-shou-236190","画竹梅弘历书诗成扇",[24,7,1131,167,371,64,128,27,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21843d8b6020ed0e211a8a2725c828be.jpg",[],{"id":72487,"slug":72488,"title":72489,"dynasty":54,"author":2915,"museum":20,"description":72490,"tags":72491,"thumbUrl":72492,"material":40,"size":72493,"collection":84,"collections":72494,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},236123,"shan-shui-lou-ge-ce-chen-mei-236123","山水楼阁册","陈枚在绘画上受到郎世宁的影响，运用了一些西洋的透视画法，表现出物象的立体感。他曾“以海西法于寸纸尺缣图群山万壑，峰峦林木，屋宇桥梁。”此册以中西合璧的绘画技法展现出圆明园中西融会的建筑与宫殿园林的完美结合，使人对这座“万园之园”产生无尽的遐想。咸丰十年（1860年），英法联军焚毁圆明园，因而该册的艺术价值弥足珍贵。",[24,7,59,27,29,97,131,34,99,95,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02cd7b8431d0b02358a7a258104d3b57.jpg","纵31厘米，横25.3厘米",[],{"id":72496,"slug":72497,"title":409,"dynasty":54,"author":69767,"museum":300,"description":72498,"tags":72499,"thumbUrl":72500,"material":84,"size":84,"collection":84,"collections":72501,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},236081,"shan-shui-ce-shen-zong-jing-236081","此作以虚实相生之法铺陈景致，右侧危崖壁立，苍劲皴笔尽显山石肌理，崖下林木错落，浅红点染枝头晕开萧疏秋意，临水茅舍静立，暗合山居幽趣。左侧留白尽写湖光浩渺，远山澹澹浮沉于烟波间，汀渚佳木错落点缀。\n\n笔致松秀简淡，墨色清润层次分明，以淡赭轻敷秋意，将江畔山居的安寂静穆铺展眼前，尽显文人山水空远幽寂的意趣，藏着寄情林泉、超然物外的隐逸襟怀。",[24,7,164,59,27,128,132,29,131,34,35,415,7782],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09a1ec9339eb075e97e0895732289911.jpg",[],{"id":72503,"slug":72504,"title":409,"dynasty":54,"author":69767,"museum":300,"description":72505,"tags":72506,"thumbUrl":72507,"material":84,"size":84,"collection":84,"collections":72508,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},236079,"shan-shui-ce-shen-zong-jing-236079","此作用笔苍秀温润，近景虬松挺峙，松针层叠如翠盖，坡岸缀苔点石，野意横生。山溪潺湲，板桥轻架，勾连起幽谧的山居意趣。中密林掩映茅庐数间，隐于深翠，暗合幽栖避世之雅。远景危峰峭拔，以干笔皴擦、淡墨晕染山石，将山峦浑朴苍厚的质感晕染开来。\n\n整体设色清和，淡赭铺底衬出山林温润气色。构图疏密相宜，近景幽致与远景浑融相映，铺展出林泉间静穆清寂的氛围，尽显寄情丘壑的文人雅趣，将林下幽居的闲淡意致娓娓道来。",[24,7,164,59,128,27,132,29,663,413,98,99,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6ae9af8aa5ff3b0f6caa53597504d00.jpg",[],{"id":72510,"slug":72511,"title":72512,"dynasty":124,"author":223,"museum":300,"description":72513,"tags":72514,"thumbUrl":72515,"material":84,"size":84,"collection":84,"collections":72516,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":199},236073,"zhu-jian-shen-yi-tuan-he-qi-tu-zhou-yi-ming-236073","朱见深一团和气图轴","乍看是笑颜可掬的布袋僧人安坐，细观才觉藏着精妙机趣——儒释道三人环抱成圆融一团。左侧文人儒巾飘逸，右侧僧侣袈裟清雅，后方道者冠带隐现，三人面容相互勾连，难分你我。\n\n衣纹圆转柔和，似随呼吸舒展流动，以极简笔墨勾勒出三家神韵，暗合三教合一的文化思潮。把同气相求、共生共荣的东方哲思，藏进这诙谐的视觉巧思里，将世间融洽无间的美好祈愿，凝在这一方圆相之中，浅淡笔墨下满是悠长意蕴。",[24,7,165,27,96,188,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe84e87759243c2e7a6cef849167a26e0.jpg",[],{"id":72518,"slug":72519,"title":18219,"dynasty":54,"author":223,"museum":300,"description":72520,"tags":72521,"thumbUrl":72522,"material":84,"size":84,"collection":84,"collections":72523,"showCount":1014,"zanCount":1998,"manualWeight":48,"mainColor":72},236065,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236065","此作以淡墨晕染出清寂空濛的山居意趣。远景山峦以披麻皴写就，墨色由浓及淡铺展出层叠高远之势，天际留白隐现远汀归帆，将山野寥廓铺陈开来。中近景茂林环伺村居，石径随溪涧蜿蜒，林木枯荣交错，苍润兼具，藏着幽居山野的安然闲逸。\n\n右上角题跋朱印与画面相映，诗画相融。笔法秀逸温婉，墨色层次淡雅清和，未以泼墨造势，全以轻墨晕染烘托出江南冬末的萧寒清润，将文人山水疏淡静雅的意趣藏在留白与笔墨间，悠悠古意漫溢，尽显沉静淡远的山居诗意。",[24,7,59,128,132,29,99,413,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2bfd48f1008a0136a610b1e86f01286.jpg",[],{"id":72525,"slug":72526,"title":72527,"dynasty":54,"author":6946,"museum":300,"description":35061,"tags":72528,"thumbUrl":72529,"material":692,"size":1293,"collection":84,"collections":72530,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},236039,"di-ba-ga-na-wei-ha-wei-la-zhui-za-zun-zhe-ding-guan-peng-236039","第八嘎纳囗哈囗喇缀杂尊者",[24,7,187,27,28,96,208,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5a76c950e19d613c9c9b1e76e6b51a5.jpg",[],{"id":72532,"slug":72533,"title":72534,"dynasty":124,"author":35676,"museum":300,"description":72535,"tags":72536,"thumbUrl":72537,"material":84,"size":84,"collection":84,"collections":72538,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},236022,"ren-wu-tu-ce-fang-long-mian-ju-shi-chui-diao-tu-wen-nan-shou-mao-weng-236022","人物图册－仿龙眠居士垂钓图","此作诗画合璧，境致萧散出尘。绘卷以淡墨晕染云烟，崖岸之上，老翁垂竿独钓，简笔勾勒便将其安坐忘机的悠然情态尽显。对面飞瀑流云隐现于烟岚之间，空濛悠远，衬出江湖林下的清寂之境。\n\n题诗呼应画意，将临渊高坐比作神仙襟怀，把垂钓不为渔获、只为寄怀林泉的隐逸心境铺陈开来。笔简而意足，水墨轻岚间尽显静穆淡远的文人雅韵，把心向丘山、超然物外的林下风致淋漓展现，诗画衬发，尽显雅逸出俗的文人寄兴。",[24,7,59,128,330,64,208,96,29,1351,32461,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf37a34ac43c682c605d9c4a280b2d79.jpg",[],{"id":72540,"slug":72541,"title":409,"dynasty":124,"author":21412,"museum":300,"description":72542,"tags":72543,"thumbUrl":72544,"material":84,"size":84,"collection":84,"collections":72545,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},235973,"shan-shui-ce-cheng-jia-sui-235973","此作用淡墨轻皴勾勒山居景致，枯树虬枝斜出，茅舍错落于浅岸，远山晕染如黛，数点飞鸟划破空寂，笔墨极简却意韵悠长，画面清空淡雅，褪去所有繁饰，独留萧寒幽寂的林下氛围。\n\n右侧行书题诗笔意清隽疏朗，诗中夜雨孤庭、松风茶经之句，与画中景致相映成趣。以画寄兴，诗画交融，尽显幽淡孤洁的文人襟怀，将山水作为安放心神的归处，于简淡萧散之中，藏着沉静出尘的文人情思。",[24,7,59,128,133,208,29,331,130,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecdbc7c2eae54d56198a7d05c3c79ada.jpg",[],{"id":72547,"slug":72548,"title":409,"dynasty":124,"author":21412,"museum":300,"description":72549,"tags":72550,"thumbUrl":72551,"material":84,"size":84,"collection":84,"collections":72552,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},235971,"shan-shui-ce-cheng-jia-sui-235971","此作用淡墨写意枯木寒林，虬枝疏朗无叶，遍染萧寒之意。林下路侧，两位戴笠旅人骑驴缓行，简笔轻勾，便将羁旅风尘之态尽显。留白铺陈出空寂辽远的天地，愈发衬出冬日荒寒。\n\n左侧行书清隽秀雅，诗句寄寓旧游怅惘，将暮春孤山的缱绻愁思与客途寂寥相融。诗画相生相合，以极简笔墨铺就清冷萧散的氛围，尽显简淡疏旷的文人意趣，将羁旅怀思的幽绪藏在淡墨素纸之间，淡而有味，雅韵悠长。",[24,7,59,128,29,133,208,96,101,690,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd722b1711789083249d79cb01d992b0e.jpg",[],{"id":72554,"slug":72555,"title":409,"dynasty":54,"author":45440,"museum":300,"description":72556,"tags":72557,"thumbUrl":72558,"material":84,"size":84,"collection":136,"collections":72559,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},235936,"shan-shui-ce-qi-zhi-jia-235936","此作截取一隅丘壑绘就，危崖层叠错落，枯木虬曲盘桓，扎根顽石之上，枝叶疏朗有生趣。淡墨晕染的远山清润空蒙，留白代水，晕出幽寂萧疏的林下意境，笔法简淡却意趣悠长。\n\n左侧行书题跋笔墨舒展隽秀，书画相映，以文释画，尽显诗书画合一的文人雅趣。整幅以枯淡之笔写山水林泉，不做繁复皴染，于简淡苍劲间尽显古拙意韵，将林泉高致寄于尺幅，藏着画者寄情山水、脱略尘俗的襟怀。",[24,7,59,128,29,132,64,133,131,34,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5886999bb81b85f4ae8a784f64d3fa2e.jpg",[136],{"id":72561,"slug":72562,"title":72563,"dynasty":54,"author":21964,"museum":300,"description":72564,"tags":72565,"thumbUrl":72566,"material":84,"size":84,"collection":84,"collections":72567,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},235934,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235934","湖山梵刹图册","此作以淡笔轻染山峦，留白铺就烟岚空濛，兼具高远、平远之致。古松虬枝拔起，鳞皴苍劲，点叶灵动间尽显古拙生机。红墙梵寺错落嵌入林麓峰坳，远处浮屠隐现，衬得山林愈发清寂出尘。\n\n笔墨浅绛设色温润柔和，山石皴染清逸雅致，与劲健的松枝形成刚柔对比。边角题诗与画面浑然相合，禅意暗生，将江南佛刹的幽谧灵秀揉入山水间，尽显文人山水的淡远意趣，勾勒出一方出世宁和的栖心之所。",[24,7,59,27,29,132,372,97,17270,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05f670e62b372c9129a5a418597bef50.jpg",[],{"id":72569,"slug":72570,"title":72563,"dynasty":54,"author":21964,"museum":300,"description":72571,"tags":72572,"thumbUrl":72573,"material":84,"size":84,"collection":84,"collections":72574,"showCount":1014,"zanCount":1998,"manualWeight":48,"mainColor":72},235933,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235933","此作用浅赭花青晕染远峰，清润朦胧似笼轻烟，淡墨勾描林岸，留白铺陈湖面，极尽淡远空寂之致。近岸古寺隐于青林，浮屠卓立，湖面轻舟破烟而行，水雾漫过山峦林梢，将梵刹晕染得空灵出尘。\n\n右上角题诗以行书挥就，笔致清隽，书画相映成趣。整体笔墨简淡秀雅，以虚代实，把江南佛刹的幽寂禅意融于湖山烟霭之中，尽显文人情致，观之如临江南幽境，尘虑尽消。",[24,7,59,128,27,132,29,97,130,211,34,17270,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5781fae1c86903fb34e4c1100f474ab.jpg",[],{"id":72576,"slug":72577,"title":72578,"dynasty":124,"author":18090,"museum":300,"description":72579,"tags":72580,"thumbUrl":72581,"material":84,"size":84,"collection":84,"collections":72582,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},235855,"qiu-se-wu-tong-zhou-lan-ying-235855","秋色梧桐轴","枯槎携丹色桐叶横斜，桐子垂挂枝梢，清冷秋意扑面而来。以写意笔法绘就梧桐，浓淡墨色晕染出叶片的阴阳向背，丹粉轻染叶边，将秋深叶渐霜红的景致晕染恰到好处。\n\n独立枝头的山禽刻画工细，翎毛晕染层次分明，神完气足，将林间幽居野禽的娴静之态尽显。画面搭配题跋，诗书画相映，融工致与写意于一体，萧疏清隽的秋林意趣跃然纸上，把秋日林间的静穆生机凝于尺幅，尽显雅致的文人意趣。",[24,7,165,27,128,61,2749,355,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37e3e520f01b79f754877fe32b75f2c3.jpg",[],{"id":72584,"slug":72585,"title":409,"dynasty":124,"author":27311,"museum":300,"description":72586,"tags":72587,"thumbUrl":72588,"material":84,"size":84,"collection":84,"collections":72589,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},235830,"shan-shui-ce-li-liu-fang-235830","此帧以淡逸水墨写桐阴幽居意趣，双桐并立，阔笔点染团叶，墨色干湿浓淡相生，苍润清灵，枝干简劲纵逸，暗含拙朴古意。留白处绘平远水色，淡墨晕染岸渚遥岑，虚实相映间漾出幽寂淡远的林下清趣。\n\n画师取元人山水简淡萧散之韵，不事雕琢，以简驭繁，将文人幽淡襟怀寄寓笔墨间。笔底自带冷隽疏朗的林下风致，尽脱尘俗，寥寥数笔便写就幽居恬然意境，淡而弥远，简而味长，尽显尚韵重意的文人画特质。",[24,7,4437,128,369,132,29,34,31,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b25ed91142c57fd8dde09e56ee58ede.jpg",[],{"id":72591,"slug":72592,"title":409,"dynasty":124,"author":27311,"museum":300,"description":72593,"tags":72594,"thumbUrl":72595,"material":84,"size":84,"collection":84,"collections":72596,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},235829,"shan-shui-ce-li-liu-fang-235829","此帧以淡墨写幽居秋山，古松拔地而起，枝桠舒展如盖，笔致苍劲老辣，自带虬劲古拙之态。山峦以干笔皴擦，墨色清润且层次分明，留白处漾出空寂萧散之意。林麓间村居隐现，暗合山居幽寂之趣。\n\n题语评其近董巨遗风，墨淡而神完气厚，不假浓艳而丘壑自存，将江南秋山的清寂淡远尽藏毫端，笔底见出文人画的简雅风神，于水墨疏淡中见出沉厚的笔墨功底，尽显静穆淡远的山水逸韵。",[164,24,7,59,128,132,29,1144,131,35,34,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50162dc314f052934b135c96165978d2.jpg",[],{"id":72598,"slug":72599,"title":409,"dynasty":124,"author":27311,"museum":300,"description":72600,"tags":72601,"thumbUrl":72602,"material":84,"size":84,"collection":84,"collections":72603,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},235828,"shan-shui-ce-li-liu-fang-235828","此作用笔简率松灵，以淡墨晕染江南烟峦。近岸林木错落萧疏，墨色清润柔和层次分明，远山取米家云山意韵，云气与山峦相融无间，朦胧间掩映山居野舍，尽显空濛淡远之致。配题书法古雅朴拙，字句静逸悠然，恰合画面气质，将文人林下幽居的闲雅意趣藏在水墨之间，笔情墨趣间尽显萧散出尘的隐逸之思，淡远清寂的山水意境呼之欲出。",[24,7,59,128,132,29,413,663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d89f880a568cf1565161800a792d497.jpg",[],{"id":72605,"slug":72606,"title":409,"dynasty":124,"author":27311,"museum":300,"description":72607,"tags":72608,"thumbUrl":72609,"material":84,"size":84,"collection":84,"collections":72610,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},235824,"shan-shui-ce-li-liu-fang-235824","此作用笔取法米氏云山，以淡墨晕染铺就烟霭空濛之境。远山如黛隐现于云气间，似有若无，尽显朦胧悠远之致。近岸浅滩错落，林木萧疏朴拙，村居隐于林下，野意悠然自生。\n笔墨干湿互济，以浓淡墨色晕染烘托出江南水乡的氤氲诗意，不见繁复勾勒，却将烟岚流荡之态尽现纸面。题画文辞呼应画意，尽显作者对米家山水意趣的追慕，以简淡笔墨写就林泉幽居之雅，不重具象描摹，而重写意传神，将文人寄情丘壑的幽怀融于尺幅之间，整幅淡远空灵，余韵悠长，尽显文人山水的写意风神。",[24,7,59,128,29,663,228,413,35,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea8c27eb6646485221b61effc069f39a.jpg",[],{"id":72612,"slug":72613,"title":76,"dynasty":54,"author":36579,"museum":300,"description":36580,"tags":72614,"thumbUrl":72615,"material":692,"size":1293,"collection":84,"collections":72616,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},235715,"hua-hui-ce-zou-xian-ji-235715",[24,7,59,27,375,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa845dd65bd69c0d7e8bd8a0630e52882.jpg",[],{"id":72618,"slug":72619,"title":4724,"dynasty":54,"author":9742,"museum":300,"description":72620,"tags":72621,"thumbUrl":72622,"material":84,"size":84,"collection":84,"collections":72623,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},235643,"shan-shui-tu-ce-wu-li-235643","此帧山水以清寂秋江为境，右侧垂柳婆娑，干笔皴擦写出老柳苍古之态，柔条细劲宛转，似带清秋寒意。左侧远山以淡墨晕染，汀渚横斜，留白作水，寥寥数笔便绘就江天寥廓的空濛之感。坡岸茅舍隐于疏林浅草间，似有幽人居于此间。\n\n画左题诗与景致相映，诗书合璧，尽显文人雅趣。整体笔墨枯润相宜，虚实相生，以极简的造境烘托出深秋江渚的萧疏闲寂，淡远幽微的意境中，寄寓着画者对清秋静境的幽怀，尽显文人山水小品简淡高逸之美。",[24,7,59,128,29,331,1233,415,414,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F957b3e9072675d969bf9235b59f97fd2.jpg",[],{"id":72625,"slug":72626,"title":4724,"dynasty":54,"author":9742,"museum":300,"description":72627,"tags":72628,"thumbUrl":72629,"material":84,"size":84,"collection":84,"collections":72630,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},235639,"shan-shui-tu-ce-wu-li-235639","此作以平远、高远铺陈开卷，近景山峦层叠，古木攒簇葱郁，山涧水榭人家错落，飞桥横溪，晕开几分烟火暖意。远景平湖波柔，村舍隐在轻烟黛色间，林泉幽寂里揉进日常闲趣。\n笔墨苍润兼具，以干笔皴擦写山石朴拙肌理，湿墨晕染出山岚空濛，树木枝桠以浓淡墨色区分层次，古秀苍劲。题画小诗与画面相映成趣，将江南水乡的温润雅致与林泉高致相融，恬淡悠然，尽显幽居林泉的安闲意趣，引人沉醉于这份寄情山水的自在恬和之中。",[24,7,59,128,132,29,98,99,34,131,758,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33872b235202ac0bcfa5d4b755601ed.jpg",[],{"id":72632,"slug":72633,"title":72634,"dynasty":54,"author":9529,"museum":300,"description":72635,"tags":72636,"thumbUrl":72637,"material":84,"size":84,"collection":84,"collections":72638,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},235607,"yu-feng-kan-yue-tu-zhou-wang-hui-235607","玉峰看月图轴","干淡墨色晕染出萧疏冬景，修竹劲挺伴寒林，浅溪潺湲漫过板桥，林间隐着茅舍，远山轻笼在朦胧烟霭里，似与天相接。\n笔墨松秀简淡，以留白衬出月夜空寂清旷，将文人看月雅集的诗意融在山水间。画中人物凭桥而立，似在静候月色浸漫林野，处处尽显闲淡幽远的林下意趣，把江南冬日的清寂和文人心底的旷达雅致揉作一处，尽显水墨山水的含蓄余韵。",[24,7,165,128,132,29,167,331,98,99,130,231,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fe8fb01f05805753af11d11ec086684.jpg",[],{"id":72640,"slug":72641,"title":20324,"dynasty":124,"author":223,"museum":300,"description":72642,"tags":72643,"thumbUrl":72644,"material":692,"size":1293,"collection":84,"collections":72645,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},235585,"wen-chu-hua-hui-ce-yi-ming-235585","此作用色清和柔婉，以没骨晕染写芝草情态。赭红逐层晕开灵芝菌盖，浓淡过渡自然，将芝盖的柔润肌理尽显，边缘淡红晕染出通透灵秀之感。墨色绘芝木，苍朴沉凝，与灵秀芝盖相映成趣。衬以浅青细草，寥寥数笔便添清隽生机。\n\n画面施于洒金笺之上，古雅底色更衬物象出尘之态，静穆淡雅中带着祥瑞清和的意趣，尽显文人画尚简崇雅的意韵，笔致简淡却意蕴悠长，将仙草的清灵之气晕染开来，幽林逸趣暗藏其间，清和雅致扑面而来。",[24,7,27,59,28,9070,1771,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51afcb09bfbf5d80de08ce6cea39ad7e.jpg",[],{"id":72647,"slug":72648,"title":72649,"dynasty":54,"author":72650,"museum":300,"description":72651,"tags":72652,"thumbUrl":72653,"material":692,"size":1293,"collection":84,"collections":72654,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},235544,"xi-xiang-tu-ce-ye-bu-235544","西廂图册","叶逋","《西厢记》故事，最早起源于唐代元稹的传奇小说《莺莺传》，叙述书生张珙与同时寓居在普救寺的已故相国之女崔莺莺相爱，在婢女红娘的帮助下，两人在西厢约会，莺莺终于以身相许。后来张珙赴京应试，得了高官，却抛弃了莺莺，酿成爱情悲剧。亦相传为元稹假借张生的自传体小说或故事。这个故事到宋金时代流传更广，一些文人、民间艺人纷纷改编成说唱和戏剧，王实甫编写的多本杂剧《西厢记》就是在这样丰富的艺术积累上进行加工创作而成的。",[24,7,59,27,28,96,133,208,9603,8162,6369,9604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5dc2e370d6908deec52c91be4f952cd.jpg",[],{"id":72656,"slug":72657,"title":409,"dynasty":54,"author":17240,"museum":300,"description":26583,"tags":72658,"thumbUrl":72659,"material":692,"size":1293,"collection":84,"collections":72660,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},235511,"shan-shui-ce-cha-shi-biao-235511",[24,7,59,128,29,130,413,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F177f7e64bed84d50149916f9ac5a233a.jpg",[],{"id":72662,"slug":72663,"title":76,"dynasty":124,"author":36595,"museum":300,"description":52566,"tags":72664,"thumbUrl":72665,"material":692,"size":1293,"collection":84,"collections":72666,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},235474,"hua-hui-ce-qi-xun-235474",[164,24,7,59,128,27,375,1771,171,133,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92b7d1827a7515af9e5c627642f7ec36.jpg",[],{"id":72668,"slug":72669,"title":4724,"dynasty":124,"author":59261,"museum":300,"description":59262,"tags":72670,"thumbUrl":72671,"material":692,"size":1293,"collection":84,"collections":72672,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},235459,"shan-shui-tu-ce-pan-zheng-235459",[24,7,59,128,29,131,34,130,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1b50898e9bd4edc7235bf9f4e29afb0.jpg",[],{"id":72674,"slug":72675,"title":21106,"dynasty":54,"author":5879,"museum":300,"description":59277,"tags":72676,"thumbUrl":72677,"material":692,"size":1293,"collection":84,"collections":72678,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},235390,"hua-niao-tu-ce-hua-yan-235390",[24,164,7,27,59,128,61,167,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a124d5e80a9d03b2c9ee5f238bfd706.jpg",[],{"id":72680,"slug":72681,"title":21106,"dynasty":54,"author":5879,"museum":300,"description":72682,"tags":72683,"thumbUrl":72684,"material":84,"size":84,"collection":84,"collections":72685,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},235387,"hua-niao-tu-ce-hua-yan-235387","淡墨挥写出芦苇疏斜，汀洲晕染浅赭，晕开清寂秋意。几只水禽或理羽梳毛，或引颈窥察，还有一只振翅穿空奔赴而来，灵动鲜活尽显野趣。\n\n灵动笔墨勾勒出水禽绒羽蓬松的质感，造型写实却不失写意松弛，将秋日水泽的荒寒晕透在纸间。左上题诗与画境相映，诗画交融，把郊野汀渚的幽闲生机揉进雅致文心，平淡间藏着隽永的野逸之味，将小生灵的鲜活与清秋的寥落相融，尽显悠然雅致的文人意趣。",[24,7,59,27,128,28,61,211,3835,1824,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F882cd4e7d0ebd776f434cc106f4bea93.jpg",[],{"id":72687,"slug":72688,"title":21106,"dynasty":54,"author":5879,"museum":300,"description":59277,"tags":72689,"thumbUrl":72690,"material":692,"size":1293,"collection":84,"collections":72691,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},235386,"hua-niao-tu-ce-hua-yan-235386",[24,7,59,128,27,369,61,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fca14ec9ef1e0bfe440e91b71ebc963.jpg",[],{"id":72693,"slug":72694,"title":21106,"dynasty":54,"author":5879,"museum":300,"description":59277,"tags":72695,"thumbUrl":72696,"material":692,"size":1293,"collection":84,"collections":72697,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},235383,"hua-niao-tu-ce-hua-yan-235383",[24,164,7,59,128,27,61,211,371,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea2b49feda1cc4719fd7b8f2f8be4418.jpg",[],{"id":72699,"slug":72700,"title":409,"dynasty":124,"author":38263,"museum":300,"description":38264,"tags":72701,"thumbUrl":72702,"material":692,"size":1293,"collection":84,"collections":72703,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},235353,"shan-shui-ce-zhang-fu-yang-235353",[24,7,59,128,29,64,133,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32f78ff1eb1b8fb50d17bf27a3ad505c.jpg",[],{"id":72705,"slug":72706,"title":409,"dynasty":124,"author":38263,"museum":300,"description":38264,"tags":72707,"thumbUrl":72708,"material":692,"size":1293,"collection":84,"collections":72709,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},235350,"shan-shui-ce-zhang-fu-yang-235350",[24,7,59,128,29,129,96,331,99,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf6bccd8a382a7956cf80a248d5b9b31.jpg",[],{"id":72711,"slug":72712,"title":409,"dynasty":124,"author":38263,"museum":300,"description":38264,"tags":72713,"thumbUrl":72714,"material":692,"size":1293,"collection":84,"collections":72715,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},235349,"shan-shui-ce-zhang-fu-yang-235349",[124,24,7,59,128,29,101,372,131,34,208,64,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13af9b1f001365425e8bcea15c6d31a4.jpg",[],{"id":72717,"slug":72718,"title":72719,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":72720,"thumbUrl":72721,"material":692,"size":1293,"collection":84,"collections":72722,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},235270,"wen-zheng-ming-shan-shui-shan-ye-wen-zheng-ming-235270","文徵明山水扇页",[24,7,1131,132,29,131,1144,34,711,1023,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf4462c3924a5c32075348b714c80d1a.jpg",[],{"id":72724,"slug":72725,"title":76,"dynasty":54,"author":24996,"museum":300,"description":24997,"tags":72726,"thumbUrl":72727,"material":692,"size":1293,"collection":84,"collections":72728,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},235213,"hua-hui-ce-zhang-wei-235213",[24,7,59,27,28,61,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78cf53473fef10a19f4b5d3bcc49985a.jpg",[],{"id":72730,"slug":72731,"title":76,"dynasty":54,"author":3403,"museum":300,"description":8089,"tags":72732,"thumbUrl":72733,"material":692,"size":1293,"collection":84,"collections":72734,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},235200,"hua-hui-ce-wu-chang-shuo-235200",[24,7,59,27,128,61,62,2035,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b1660ce00039ff58ab90d96c39807e5.jpg",[],{"id":72736,"slug":72737,"title":76,"dynasty":54,"author":3403,"museum":300,"description":8089,"tags":72738,"thumbUrl":72739,"material":692,"size":1293,"collection":84,"collections":72740,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},235199,"hua-hui-ce-wu-chang-shuo-235199",[24,7,59,27,61,263,624,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bfbcb3a239e834a8bdafab60052cfe4.jpg",[],{"id":72742,"slug":72743,"title":72744,"dynasty":124,"author":223,"museum":300,"description":72745,"tags":72746,"thumbUrl":72747,"material":84,"size":84,"collection":136,"collections":72748,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},235138,"chen-dan-zhong-shan-shui-ce-yi-ming-235138","陈丹衷山水册","此作为边角小景，淡墨简笔勾勒嶙峋崖石，枯槎附石而生，枝桠疏朗野趣横生。崖畔悬垂酒壶，暗合题诗中寂廖愁怀，尽显幽寂清狂之态。\n\n左侧行书题诗笔意清隽温雅，诗画互衬，将落寞怅惘的心绪融于萧疏景致之中，尽显文人以意驭笔的创作特质。整体空灵雅致，以极简笔墨勾勒出清冷孤高的林下襟怀，文气盎然，把失意寄情山水的心境藏于尺幅之间，淡远清幽的意境扑面而来。",[24,7,59,128,29,171,132,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4d28227930da10022c0c57342c21e77.jpg",[136],{"id":72750,"slug":72751,"title":12220,"dynasty":54,"author":12221,"museum":300,"description":12222,"tags":72752,"thumbUrl":72753,"material":692,"size":1293,"collection":84,"collections":72754,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},235125,"hua-hua-yan-shi-nv-tu-ce-wang-su-235125",[24,7,59,27,188,96,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b66a86dacf93f51f2083475ec47aedb.jpg",[],{"id":72756,"slug":72757,"title":7864,"dynasty":54,"author":5879,"museum":300,"description":59277,"tags":72758,"thumbUrl":72759,"material":692,"size":1293,"collection":84,"collections":72760,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},235063,"za-hua-ce-hua-yan-235063",[24,7,59,27,29,129,34,131,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67881f22ca4c2cf54784e1d830233d13.jpg",[],{"id":72762,"slug":72763,"title":27517,"dynasty":124,"author":14639,"museum":20,"description":72764,"tags":72765,"thumbUrl":72766,"material":611,"size":72767,"collection":84,"collections":72768,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},234951,"zhu-shi-zhou-chen-qin-234951","竹子所做器物深受大众喜爱，即可落地入百姓家，亦能登高庙堂，被他人仰望。“竹子茂而不骄，瘁而不辱，投荒濒危亦自适其适，其情其性，风概如此。”故知名学者范景中在著作《中华竹韵》中如此评竹，此语虽简，却道破国人爱竹之端倪。\n竹，其性不同众木，群居不倚，独立不惧，劲不输青松，曲可比细柳，独然物外，暗合文人志趣，而竹林，携裹宗教、伦理寓意和美学代言，亦成为人们摆脱日常俗物、沉思哲理之地。\n提及竹，必关联文同，此人堪称我国竹林家园的早期建立者，其表弟苏东坡与他性情相契，开文人写意墨竹之先河。后世画家，凡写墨竹者都无不受其影响：王庭筠、李衎、高克恭、赵孟頫、吴镇、顾安、柯九思、倪瓒、王蒙、王绂、夏昶、陈芹、姚绶、文征明、陈淳、徐渭、朱耷、石涛、金农、郑燮等无不希望“高呼与可”，在注入新鲜血液的同时更将传承与创新同步。传承是艺术得以延续的根本，但是它更感人的一面乃是其绝世而独立的精神，是其郁郁勃发、生生不息的生命状态。",[24,7,165,128,167,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe241b8b142d4b7eb38e487e861e0ecc0.jpg","55.92*134.81厘米",[],{"id":72770,"slug":72771,"title":39043,"dynasty":54,"author":34780,"museum":20,"description":67532,"tags":72772,"thumbUrl":72773,"material":561,"size":67535,"collection":84,"collections":72774,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},234913,"xue-jing-gu-shi-ce-sun-hu-234913",[24,7,59,27,95,29,96,97,247,1337,131,1813,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67c4f3c3632f5bc300112775b84978ed.jpg",[],{"id":72776,"slug":72777,"title":48382,"dynasty":54,"author":223,"museum":20,"description":48383,"tags":72778,"thumbUrl":72779,"material":514,"size":19713,"collection":84,"collections":72780,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},234910,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234910",[24,7,59,27,133,29,97,99,34,131,96,130,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44b8e1bad87b05d46979f6aefb01cfad.jpg",[],{"id":72782,"slug":72783,"title":409,"dynasty":124,"author":40782,"museum":300,"description":72784,"tags":72785,"thumbUrl":72786,"material":84,"size":84,"collection":84,"collections":72787,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},234871,"shan-shui-ce-zhao-pu-234871","此作用笔枯淡简远，近岸老木虬枝槎枒错落，间杂丛树幽石，对岸危崖层叠，以干笔勾勒皴擦山石，尽显嶙峋硬朗之态，林麓烟霭隐现，意境空疏冷寂。\n左侧题咏与画境相契，以顽石自喻尽显文人孤高淡远的林下襟怀。整体以极简笔墨营造出萧散简逸的文人意趣，淡墨轻岚间藏着静穆澹泊的精神世界，诗画合璧，尽显传统文人画诗境与画境交融的雅致韵致。",[24,7,59,128,29,131,34,495,415,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed6f22d9caf6819b527380e04973e855.jpg",[],{"id":72789,"slug":72790,"title":72791,"dynasty":124,"author":10922,"museum":20,"description":28002,"tags":72792,"thumbUrl":72793,"material":734,"size":28005,"collection":84,"collections":72794,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},234810,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-chen-chun-yan-dang-cun-tu-ye-wen-jia-234810","吴门诸家寿袁方斋三绝册-陈淳雁荡村图页",[24,7,59,27,29,211,171,132,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ec40a5cc6d9e80da78bcc30d423a643.jpg",[],{"id":72796,"slug":72797,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":72798,"thumbUrl":72799,"material":734,"size":84,"collection":84,"collections":72800,"showCount":1014,"zanCount":1998,"manualWeight":48,"mainColor":72},234764,"huang-shan-tu-ce-jiang-zhu-234764",[24,7,59,188,128,29,131,34,11134,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff34d4c6cd51f6b34db21d2b508f7f395.jpg",[],{"id":72802,"slug":72803,"title":48339,"dynasty":124,"author":18090,"museum":300,"description":46807,"tags":72804,"thumbUrl":72805,"material":84,"size":84,"collection":84,"collections":72806,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},234673,"shan-shui-shan-ye-lan-ying-234673",[24,7,1131,128,132,29,1144,129,131,96,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3900dc596aa5e27092d92131c0b7be8f.jpg",[],{"id":72808,"slug":72809,"title":54256,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":72810,"thumbUrl":72811,"material":84,"size":84,"collection":84,"collections":72812,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},234653,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234653",[164,24,7,59,128,29,129,211,149,7409,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9c273784c28f30a319aebee28df4fd0.jpg",[],{"id":72814,"slug":72815,"title":54256,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":72816,"thumbUrl":72817,"material":84,"size":84,"collection":84,"collections":72818,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},234652,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234652",[24,7,59,128,188,29,99,129,96,97,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fd166cb66c4d93605eac1451ef52090.jpg",[],{"id":72820,"slug":72821,"title":409,"dynasty":54,"author":17240,"museum":300,"description":45656,"tags":72822,"thumbUrl":72823,"material":84,"size":84,"collection":84,"collections":72824,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},234646,"shan-shui-ce-cha-shi-biao-234646",[24,7,59,133,27,128,132,29,130,34,98,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d074d877d902b1927f623c2683b05e.jpg",[],{"id":72826,"slug":72827,"title":72828,"dynasty":54,"author":72829,"museum":300,"description":9208,"tags":72830,"thumbUrl":72831,"material":84,"size":84,"collection":84,"collections":72832,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},234610,"xi-hou-qiu-shuang-wan-shan-dai-zhao-chun-234610","溪后秋爽纨扇","戴兆春",[24,7,1131,27,29,34,35,99,129,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcdb187bcaee672d3d96a7cbb899d68a.jpg",[],{"id":72834,"slug":72835,"title":72836,"dynasty":124,"author":72837,"museum":300,"description":9208,"tags":72838,"thumbUrl":72839,"material":84,"size":84,"collection":84,"collections":72840,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},234543,"shan-shui-ren-wu-shan-xue-heng-234543","山水人物扇","薛恒",[164,24,7,1131,27,132,29,96,1144,131,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F023ac82acfab9e807163bedf66f87e34.jpg",[],{"id":72842,"slug":72843,"title":72844,"dynasty":124,"author":9917,"museum":300,"description":72845,"tags":72846,"thumbUrl":72847,"material":84,"size":84,"collection":84,"collections":72848,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},234510,"gu-mu-you-huang-shan-wei-zhi-ke-234510","古木幽篁扇","此图以枯木竹石为题材。画面近处枯树两三株高低偃仰，其旁幽篁散生，溪流宛转，远山隐隐起伏。树法用笔严谨，立干苍迈，出枝繁密，有李、郭遗意，丛竹以墨色分出远近。近处坡石多以方笔线皴，远山参用斧劈皴。画面墨色清逸，气息幽深，颇得萧疏苍茫之趣。",[24,7,1131,128,1233,331,167,171,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd633618a97d955bc1ac3a76a3633e224.jpg",[],{"id":72850,"slug":72851,"title":72852,"dynasty":54,"author":72853,"museum":300,"description":72854,"tags":72855,"thumbUrl":72856,"material":84,"size":84,"collection":84,"collections":72857,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},234498,"zhi-wan-shan-shui-ce-ye-fan-zhi-wan-234498","志完山水册页","范志完","范志完（？—1643），字叔恺，号成六，本县利民人，宋范仲淹后裔。自幼聪颖，为文高古，母作《八行图》以教之。明朝崇祯四年（1631年）中进士。任宣府、宁国推官、真定知府、关内道副使。崇祯十四年（1641）冬，升右佥都御史、山西巡抚。后任兵部右侍郎兼右佥都御史，总督蓟州、永平、山海、通州、天津诸镇军务。",[24,7,59,27,133,29,331,98,211,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F401e4555668bde7cde39e5bc5e7e4548.jpg",[],{"id":72859,"slug":72860,"title":72861,"dynasty":124,"author":67599,"museum":300,"description":67600,"tags":72862,"thumbUrl":72863,"material":84,"size":84,"collection":84,"collections":72864,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},234494,"qiu-lin-gui-ya-shan-ye-wei-xue-lian-234494","秋林归鸦扇页",[24,7,1131,128,27,369,132,413,211,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a3374a14186c590941f96f205a19e21.jpg",[],{"id":72866,"slug":72867,"title":38295,"dynasty":54,"author":223,"museum":300,"description":16652,"tags":72868,"thumbUrl":72870,"material":692,"size":1293,"collection":84,"collections":72871,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":3379},234428,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234428",[164,24,7,165,187,27,28,96,97,34,62,189,758,131,72869],"彩墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F212e4bb9df045f93e18c15cd56566f61.jpg",[],{"id":72873,"slug":72874,"title":38295,"dynasty":54,"author":223,"museum":300,"description":16652,"tags":72875,"thumbUrl":72876,"material":692,"size":1293,"collection":84,"collections":72877,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},234426,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234426",[24,7,165,187,27,28,96,97,189,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F561c6f0ed1cd0564dd42c42d53fe8461.jpg",[],{"id":72879,"slug":72880,"title":72881,"dynasty":54,"author":223,"museum":300,"description":72882,"tags":72883,"thumbUrl":72884,"material":692,"size":1293,"collection":84,"collections":72885,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},234406,"yi-zhu-chao-fu-xiang-zhou-yi-ming-234406","奕詝朝服像轴","画面里帝王端坐龙椅，面容清隽沉稳，少年帝王的端凝威仪尽显。明黄朝服遍饰五彩龙纹与十二章纹样，平金织绣细腻华贵，东珠朝珠垂挂胸前，恪守皇家礼制。背景以素雅绢底衬托朝服繁丽工细，宝座雕饰与地毯纹样呼应宫廷规制。整作以工笔重彩绘就，设色富丽庄重，精准还原清代帝王朝服仪制，将皇权礼制的威严与传统肖像画的写实功力相融，是兼具纪实性与工艺美感的清代御容肖像佳作。",[24,7,165,28,27,96,772,170,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4153a9a64ae3f98bd55a8d47636456a1.jpg",[],{"id":72887,"slug":72888,"title":13087,"dynasty":54,"author":13088,"museum":300,"description":13089,"tags":72889,"thumbUrl":72890,"material":84,"size":84,"collection":84,"collections":72891,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},234374,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234374",[24,7,59,188,330,454,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9479227ffbc72ede71b0affa4c5a4c9.jpg",[],{"id":72893,"slug":72894,"title":13087,"dynasty":54,"author":13088,"museum":300,"description":13089,"tags":72895,"thumbUrl":72896,"material":84,"size":84,"collection":84,"collections":72897,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},234368,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234368",[24,7,59,330,28,128,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b7684bb3f531cbe1e38cab47ea70b77.jpg",[],{"id":72899,"slug":72900,"title":409,"dynasty":54,"author":6936,"museum":20,"description":72901,"tags":72902,"thumbUrl":72903,"material":39903,"size":72904,"collection":84,"collections":72905,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},234304,"shan-shui-ce-wang-yuan-qi-234304","本幅共十二开，二、五、六、九、十、十二为墨笔，余均为设色。末开自识，款“康熙乙酉垂阳日王原祁题于彀治堂”。引首王撰书：“六法金针”，有董揆、董寿平等印多方。实系画12开，字12开，应以画为主，字作附件。\n王原祁（1642—1715年），字茂京，号麓台、石狮道人，江苏太仓人，王时敏之孙。清康熙九年（1670年）进士。因画艺，被召供奉内廷，深受皇室青睐，地位显赫，任书画总裁和《万寿盛典》总裁，官至户部侍郎，故称“王司农”。他擅画山水，其绘画艺术承绪家学，自幼得到祖父王时敏的刻意指导，一生倾注于笔墨施运的营求中，自称笔端有“金刚杵”, 画风中年秀润，晚年苍浑。与王时敏、王鉴、王翬合称“清初四王”。王原祁做为“四王”中最年轻的一位画家，秉承家学，追摹古法，在不懈创作的同时，以同样方法再授弟子，对山水画的发展及“娄东派”的形成起到重要作用。其对绘画的影响一直延续到清中、后期“小四王”（王昱、王愫、王宸、王玫）、“后四王”（王三锡、王廷之、王廷国、王鸣韶）。“四王”的绘画创作继承明末董其昌的绘画理论和实践，力图集古人之大成，被确立为正统画派。追随王原祁的画家众多，形成“娄东派”，几乎独占了当时的画坛。著有《雨窗漫笔》、《扫花庵题跋》等。",[24,7,59,128,132,29,131,34,208,130,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d0762a3eec0a65f59d303bfcfc56d44.jpg","纵48.1cm，横32.4cm",[],{"id":72907,"slug":72908,"title":4724,"dynasty":54,"author":5879,"museum":12686,"description":72909,"tags":72910,"thumbUrl":72911,"material":1223,"size":72912,"collection":84,"collections":72913,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},234299,"shan-shui-tu-ce-hua-yan-234299","华嵒的山水画转益多师，石涛的沉浑恣肆、恽寿平的松秀隽逸、北宗的峭利缜密、元人的深邃郁茂，都被他吸收融合。他没有泥古不化，在游览山河的过程中，不断的“师造化”，形成了晚年疏放、简率、冷峭、蕴藉的主流风格。华喦的山水画设色，多用浅绛或小青绿设色，承诸黄公望、王蒙和董其昌的传统，于统一中求对比，色调明洁淡雅。新罗山人在山水画设色上的创新是发展了青绿没骨山水。这种没骨山水是综合唐宋人、董玄宰和恽格没骨山水并参用清初四王笔法而形成的一种格制。华嵒的山水画从总体来看善于用色彩表达个人的情绪，用笔墨描绘悠远的意境，创造了独特的笔墨语言和表现技法，充分表达了其“刷尘”，“离垢”的理想。",[24,7,59,128,132,29,171,34,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8d4d6b1b1d3c0b3e8b1f9bfb2fbe25.jpg","31.2x44.7cm",[],{"id":72915,"slug":72916,"title":30270,"dynasty":54,"author":1069,"museum":300,"description":30271,"tags":72917,"thumbUrl":72918,"material":734,"size":84,"collection":84,"collections":72919,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},234284,"hua-guo-ce-wang-yun-234284",[24,7,59,27,28,547,549,229,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3165df89097c747392b9de862f31771.jpg",[],{"id":72921,"slug":72922,"title":72923,"dynasty":124,"author":3619,"museum":20,"description":72924,"tags":72925,"thumbUrl":72926,"material":40,"size":72927,"collection":84,"collections":72928,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":199},234234,"chui-hong-song-bie-tu-wen-zheng-ming-234234","垂虹送别图","此图卷首有王谷祥篆书引首：“垂虹送别。”画右起为吴江东门城垣、门楼，门下即垂虹桥，经文氏艺术剪裁，桥身只画三孔，桥上有一人，桥左坡底有二人，作话别状。坡左有楼宇一座，望之水天一色，客船扬帆，画左右上皆平林漠漠，远山如黛。左下款：“徵明”。卷后有文氏自题诗一首：“三载松陵重抚绥，忽随征诣向彤墀。一时目际明良会，百里方怀父母慈。岁歉具忧民乏食，政成还免众流簃。垂虹桥下棠千树，画属君侯去后思。”诗中谈到“三载松陵重抚绥”，可见，松陵垂虹桥向为送别之地。画中垂虹桥虽非对景实写，而送别之情，溢于笔墨之中。",[23,24,7,25,128,27,133,64,29,34,98,99,129,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8463e897713ca46c5ae853a46c5af9ca.jpg","纵29厘米，横109厘米",[],{"id":72930,"slug":72931,"title":72932,"dynasty":54,"author":34467,"museum":300,"description":52393,"tags":72933,"thumbUrl":72934,"material":84,"size":84,"collection":84,"collections":72935,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},234218,"gu-shan-tan-mei-juan-fei-dan-xu-234218","孤山探梅卷",[23,24,7,25,128,27,28,133,572,64,29,371,130,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17a3be1175cb06f441b1110bd428095b.jpg",[],{"id":72937,"slug":72938,"title":72939,"dynasty":124,"author":3619,"museum":20,"description":72940,"tags":72941,"thumbUrl":72942,"material":734,"size":72943,"collection":84,"collections":72944,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},234156,"san-you-tu-wen-zheng-ming-234156","三友图","此手卷画兰、菊、竹三段，各有文氏亲笔题咏。用笔写意，简率之中见生动秀逸之致，墨色清润淡雅，显示了诗、书、画结合的笔墨境界。中国传统文化以拟人化的手法，通过褒扬兰、菊、竹的自然属性而歌颂或表彰文人的道德品质，体现了中国花卉画的特殊功能。\n壬寅为明嘉靖二十一年（1542年），文徵明时年73岁。",[23,24,7,25,128,133,64,2132,369,167,375,376,229,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe51a77fcfc66d27d311c294bfae0f646.jpg","纵26.1厘米，横475.5厘米",[],{"id":72946,"slug":72947,"title":72948,"dynasty":124,"author":5219,"museum":20,"description":72949,"tags":72950,"thumbUrl":72951,"material":611,"size":84,"collection":84,"collections":72952,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},234125,"gu-mu-ming-jiu-tu-juan-yao-shou-234125","古木鸣鸠图卷","姚绶（1422—1495），字公绶，号谷庵、仙痴、云东逸史，人称丹丘先生，浙江嘉兴府嘉善县大云寺人。明代官员、书画家。\n少有才名，专攻古文辞，诗赋茂畅。明天顺年间进士，官监察御史，奉命巡盐两淮，铲除积弊。因得罪权贵，谪永宁知府。以母老辞归，居大云，筑室名丹丘。又作沧江虹月舟，泛游吴越间。\n姚绶工行草书，初学宋克，后法魏晋，风格近张雨。擅画山水，宗吴镇，也取法赵孟頫、王蒙，好作沙坳水曲景色，墨色苍润；间写竹石，潇洒可爱，笔墨酷似吴镇。传世名作有《秋江渔隐图》轴（北京故宫博物院藏）、《山水图》册页（上海博物馆藏）、《竹石图》轴（辽宁省博物馆藏）。著有《谷庵集》《云东集》《天人合旨》《姚御史诗文》。",[23,24,7,25,128,133,64,208,61,4797,211,276,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93404907185c0eca0bfabab4c0d12d59.jpg",[],{"id":72954,"slug":72955,"title":51674,"dynasty":18,"author":223,"museum":20,"description":72956,"tags":72957,"thumbUrl":72958,"material":40,"size":51678,"collection":84,"collections":72959,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},234028,"chun-xi-shui-zu-tu-ye-yi-ming-234028","此图是现存宋画中游鱼类题材画的一幅佳作。春暖花开，群鱼戏藻。鲢鱼摆尾漫游，鲶鱼回身在后，鳜鱼则迎头向上，隐喻了“连年有贵”的吉祥含义。画家通过鱼儿欢快游动时自由弯转的体态和藻类植物在游鱼冲击下漂浮不定的形状，巧妙地暗示出流水的动势以及春水的清洌透明感。3尾大鱼均施以工笔重彩，用笔沉稳工致，片片鱼鳞描绘得一丝不苟；而衬景的小鱼、小虾和水藻则纯用没骨法渍染，将鱼虾的灵动和水藻的轻盈表现得恰到好处。\n对幅有清乾隆御题七言诗一首：“庄惠曾论知弗知，传为奇语却无奇。试如驳曰我非子，便是答云彼岂斯。春水初生具春意，文鳞群泳爱文漪。漫訾意浅色鲜耳，颇类濠梁博辩时。戊申仲秋御题。”“戊申”为乾隆五十三年（1788年）。",[24,7,164,28,27,4437,208,2059,303,168,8233],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a0629fcd5523d535d10cc5f475a26b.jpg",[],{"id":72961,"slug":72962,"title":54639,"dynasty":18,"author":223,"museum":20,"description":72963,"tags":72964,"thumbUrl":72965,"material":514,"size":72966,"collection":84,"collections":72967,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},234005,"chun-shan-yu-ting-ye-yi-ming-234005","旧题张训礼《春山渔艇图》，著色青绿山水，洋溢着春天江山的迷人景色。小中见大，咫尺千里。",[24,164,7,59,27,132,29,129,1351,331,99,131,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58925613d9d45dd69436ad5f30d253bc.jpg","纵29厘米横29.8厘米",[],{"id":72969,"slug":72970,"title":35085,"dynasty":18,"author":4899,"museum":20,"description":35086,"tags":72971,"thumbUrl":72972,"material":514,"size":35089,"collection":84,"collections":72973,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},233996,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233996",[24,164,7,59,188,27,96,7045,101,102,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a75c5a92be8096b6eefb899962094d0.jpg",[],{"id":72975,"slug":72976,"title":409,"dynasty":54,"author":3820,"museum":20,"description":67686,"tags":72977,"thumbUrl":72978,"material":1722,"size":67689,"collection":84,"collections":72979,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},233979,"shan-shui-ce-gong-xian-233979",[24,7,164,59,128,132,29,34,131,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12c506e1dd94b12399f4ff8f6e1f1702.jpg",[],{"id":72981,"slug":72982,"title":409,"dynasty":54,"author":3820,"museum":20,"description":67686,"tags":72983,"thumbUrl":72984,"material":1722,"size":67689,"collection":84,"collections":72985,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},233974,"shan-shui-ce-gong-xian-233974",[24,7,128,59,29,132,413,1314,3387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa64310292f88a83a0135ec9a111518a6.jpg",[],{"id":72987,"slug":72988,"title":409,"dynasty":54,"author":29876,"museum":20,"description":72989,"tags":72990,"thumbUrl":72991,"material":514,"size":72992,"collection":68,"collections":72993,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},233812,"shan-shui-ce-fu-shan-233812","此册共计六开，每开有对题，分别为“文笔双峰”、“瓮泉难老”、“？（左“山”右“屋”）？（左“山”右“韦”）红叶”、“天门积雪”、“土堂怪柏”、“古郭夕照”。此画笔致超越，颇有古拙之风趣，正如清代张庚《国朝画征录》评价傅山“善画山水，皴擦不多，丘壑磊珂，以骨胜”，实应属傅山的精品之一。以“土堂怪柏”而言，远处为高山峭壁，近景是雄气敦厚之悬岩山石，有古柏相衬托，别具幽致。傅山笔下的树石造型十分引人注目，其中的柏树形象和一般文人画家所描绘的形象不同，这是因为柏树的形象比较适合傅山的用笔、用墨习惯。柏树的叶、干，既可用大笔粗写，表现厚重的感觉，又可用细笔碎点，使墨的干、湿、浓、淡得以充分展现。在粗写和细点之间，有很大的创作空间，这对于不守古法的傅山来说，柏树形象无疑是他传递内心情感的极好媒介。\n就体现时代精神而言，傅山的绘画虽然不及八大、石涛等人的作品醒目和逼真，表现技巧也显得有些业余，但蕴含于绘画中的笔墨和精神与其书法应是相通的。分析其绘画作品，无疑能加深对其书风转变的理解。从这一点说，傅山绘画自有其存在的艺术价值。",[24,7,59,133,64,128,29,18542,413,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7207aa4714a6c40bb3a6c5365c536f07.jpg","纵36.5厘米，横37厘米",[68,136],{"id":72995,"slug":72996,"title":409,"dynasty":124,"author":2268,"museum":20,"description":11927,"tags":72997,"thumbUrl":72998,"material":734,"size":5345,"collection":84,"collections":72999,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},233801,"shan-shui-ce-dong-qi-chang-233801",[24,7,59,128,132,663,413,1337,372,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50182159ae20d4f8f94ae49233c0d9d2.jpg",[],{"id":73001,"slug":73002,"title":73003,"dynasty":124,"author":204,"museum":20,"description":1523,"tags":73004,"thumbUrl":73005,"material":40,"size":22630,"collection":84,"collections":73006,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},233760,"ren-wu-gu-shi-ce-7-chou-ying-233760","人物故事册7",[24,7,59,28,27,96,29,97,1144,331,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F380d0e84f9cd583dda27a702d507c950.jpg",[],{"id":73008,"slug":73009,"title":73010,"dynasty":124,"author":204,"museum":20,"description":1523,"tags":73011,"thumbUrl":73012,"material":40,"size":22630,"collection":84,"collections":73013,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},233758,"ren-wu-gu-shi-ce-5-chou-ying-233758","人物故事册5",[24,7,59,28,27,29,96,130,34,496,711,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f5085027baa8e94e1b14d676b966a38.jpg",[],{"id":73015,"slug":73016,"title":24663,"dynasty":124,"author":27440,"museum":56,"description":73017,"tags":73018,"thumbUrl":73020,"material":1464,"size":73021,"collection":84,"collections":73022,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},233678,"hua-hui-juan-wang-duo-233678","本幅墨笔，前隔水伊念曾题答，本幅有张囗、戴明说观款，后纸叶恭绰题记。钤“曾藏嵩山草堂”，“墨卿”，“慎得”等藏印。\n王铎（1592—1652年），字觉斯，号嵩樵、烟潭渔叟、痴仙道人等，孟津（今洛阳孟津县）人。明天启二年（1622年）进士，累官礼部尚书、东阁大学士。工诗文，能绘画。书法师钟繇、二王、颜真卿、米芾，尤得力于《淳化阁帖》，既浸淫于古法又有所创新。其书诸体悉备，最擅行、草书，笔法纵逸流畅，风格雄健险峻，是清初书法大家。刻有《拟山园帖》、《琅华馆帖》。《清史稿》有传。",[24,7,25,128,188,28,64,61,62,263,81,2037,131,2438,548,73019,171],"叶草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cbd58569f7990ba918a2a7dda226ed8.jpg","纵24.9厘米，横116厘米",[],{"id":73024,"slug":73025,"title":61387,"dynasty":54,"author":9576,"museum":20,"description":61388,"tags":73026,"thumbUrl":73027,"material":734,"size":61391,"collection":84,"collections":73028,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},233453,"ren-wu-shan-shui-ce-luo-pin-233453",[24,7,59,128,27,96,331,168,29,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabdc0cb6cc09557977d6c19bb8f10aac.jpg",[],{"id":73030,"slug":73031,"title":61387,"dynasty":54,"author":9576,"museum":20,"description":61388,"tags":73032,"thumbUrl":73033,"material":734,"size":61391,"collection":84,"collections":73034,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},233451,"ren-wu-shan-shui-ce-luo-pin-233451",[24,7,164,59,27,128,132,96,29,1144,131,375,711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddca79a58723a9626249c82ba1ad7f5f.jpg",[],{"id":73036,"slug":73037,"title":61387,"dynasty":54,"author":9576,"museum":20,"description":61388,"tags":73038,"thumbUrl":73039,"material":734,"size":61391,"collection":84,"collections":73040,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},233450,"ren-wu-shan-shui-ce-luo-pin-233450",[24,7,59,128,27,29,96,98,99,129,1824],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68d5594d240a86aa1bf6d518f9658760.jpg",[],{"id":73042,"slug":73043,"title":16826,"dynasty":54,"author":1242,"museum":20,"description":16827,"tags":73044,"thumbUrl":73045,"material":16830,"size":16831,"collection":84,"collections":73046,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":199},233398,"shan-shui-ren-wu-ce-jin-nong-233398",[24,7,59,128,64,133,188,96,331,758,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1660b2f6bf892603d6fcab8ae26a966d.jpg",[],{"id":73048,"slug":73049,"title":48464,"dynasty":54,"author":1460,"museum":300,"description":48465,"tags":73050,"thumbUrl":73051,"material":611,"size":48468,"collection":84,"collections":73052,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},233379,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233379",[24,7,59,128,132,29,495,1337,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f4f3e06583f50b3e11703cde8bfd4e.jpg",[],{"id":73054,"slug":73055,"title":73056,"dynasty":18,"author":223,"museum":20,"description":73057,"tags":73058,"thumbUrl":73059,"material":611,"size":73060,"collection":84,"collections":73061,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},233210,"song-jian-shan-qin-tu-ye-yi-ming-233210","松涧山禽图页","此图绘参天的古松下，山溪蜿蜒奔流，水花飞溅，四对山鹊姿态各异，或飞呜，或回旋，或啄食与山涧和树石之上，形象生动。图中用浓墨画松斡和松鳞，松针用墨线勾描后用石青渲染。竹叶用严谨的双钩填色法。山石则用墨线勾勒轮廓，进而用淡青色破染，使画面富有立体感。此图用笔苍劲，静中有劲，为南宋小幅花乌画中精秀之作。这幅作品曾经明黔宁王沐琳和项元汴收藏。",[24,164,7,59,28,27,61,29,1144,99,211,11045,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff97df25750b2d414d498c6d636769ceb.jpg","25.3*25.3厘米",[],{"id":73063,"slug":73064,"title":409,"dynasty":144,"author":14724,"museum":20,"description":32011,"tags":73065,"thumbUrl":73066,"material":734,"size":32014,"collection":84,"collections":73067,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},233172,"shan-shui-ce-cao-zhi-bai-233172",[24,7,59,128,132,29,663,413,98,99,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F358988cca645453495c37e3807d5abeb.jpg",[],{"id":73069,"slug":73070,"title":35112,"dynasty":54,"author":6936,"museum":20,"description":35113,"tags":73071,"thumbUrl":73072,"material":16830,"size":35116,"collection":84,"collections":73073,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},233167,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233167",[24,164,7,59,27,132,29,131,34,99,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff993efacc5c1ae5affddb96fb99508ff.jpg",[],{"id":73075,"slug":73076,"title":73077,"dynasty":124,"author":1058,"museum":20,"description":37362,"tags":73078,"thumbUrl":73079,"material":999,"size":37365,"collection":84,"collections":73080,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},233138,"ming-ren-xi-shan-sheng-jing-he-bi-ce-yue-lai-xi-tu-ye-tang-yin-233138","明人西山胜景合壁册-越来溪图页",[24,7,59,128,29,1337,131,23873,499,415,37,34,3428,132,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f3926a6ab069ef73d913001355611c3.jpg",[],{"id":73082,"slug":73083,"title":73084,"dynasty":124,"author":1438,"museum":20,"description":37362,"tags":73085,"thumbUrl":73086,"material":999,"size":37365,"collection":84,"collections":73087,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},233134,"ming-ren-xi-shan-sheng-jing-he-bi-ce-tao-hua-wu-ye-chen-chun-233134","明人西山胜景合壁册-桃花坞页",[24,7,59,133,128,29,34,229,209,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1625054511cd74fa7d87587b64b1b6f.jpg",[],{"id":73089,"slug":73090,"title":63529,"dynasty":54,"author":223,"museum":20,"description":63530,"tags":73091,"thumbUrl":73093,"material":734,"size":63534,"collection":84,"collections":73094,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},233046,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-233046",[24,7,59,27,28,29,96,132,73092],"骑马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32ce673029ffda53c9fc143cf47071a6.jpg",[],{"id":73096,"slug":73097,"title":54721,"dynasty":144,"author":223,"museum":20,"description":9199,"tags":73098,"thumbUrl":73099,"material":40,"size":9202,"collection":84,"collections":73100,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},232978,"dong-shan-si-zhu-tu-zhou-yi-ming-232978",[24,164,7,165,27,132,29,96,97,34,99,101,438,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98e152ed9ac1c0e02b156c7be7bf14ca.jpg",[],{"id":73102,"slug":73103,"title":73104,"dynasty":54,"author":18944,"museum":300,"description":61453,"tags":73105,"thumbUrl":73106,"material":611,"size":84,"collection":84,"collections":73107,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},232679,"yuan-mei-hong-yi-fa-shi-232679","袁枚",[23,54,7,64,133,8116,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b416ea713fbd6f58899364bfd1dd18b.jpg",[],{"id":73109,"slug":73110,"title":73111,"dynasty":54,"author":73112,"museum":424,"description":73113,"tags":73114,"thumbUrl":73115,"material":1223,"size":73116,"collection":84,"collections":73117,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},232672,"song-xia-zhu-geng-tu-tuan-shi-gen-232672","松下煮羹图","团时根","团时根［清］江苏泰州人。工写意人物，曾随某将军赴西藏，尝画一册，纯有干笔写旁塞光景山城夜角，羽檄飞骑，各肖其态。",[23,24,7,128,27,96,331,1144,169,369,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2d3511a98ddf0bee86499ffdd938cb5.jpg","174cmx104cm",[],{"id":73119,"slug":73120,"title":24556,"dynasty":54,"author":872,"museum":300,"description":73121,"tags":73122,"thumbUrl":73123,"material":84,"size":84,"collection":84,"collections":73124,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},232609,"tian-guang-yun-jing-tu-ce-zhu-da-232609","朱耷（1626—约1705年），明末清初画家，中国画一代宗师。本名朱统托，字雪个，号八大山人、个山 、人屋、道朗等，汉族，江西南昌人。\n他是明太祖朱元璋第十七子朱权的九世孙，本是皇家世孙。明亡后削发为僧，成了亡命之徒，后改信道教，住南昌青云谱道院。擅书画，花鸟以水墨写意为主，形象夸张奇特，笔墨凝炼沉毅，风格雄奇隽永；山水师法董其昌，笔致简洁，有静穆之趣，得疏旷之韵。擅书法，能诗文，用墨极少，还提了一首诗‘’墨点无多，泪点多‘’来抒发自己对满清王朝的憎恨。\n八大山人是我国明末清初书画双绝的艺术大师。在他的一生中，创作了大量“怪伟豪雄、淋漓奇古、苍劲圆”的作品，使之成为中国画史上的一颗璀璨的巨星，其独特的艺术风格，也熠熠在世界艺坛。八大山人的花鸟画、山水画、书法艺术所取得的成就，近三百年来，影响着一代又一代的杰出艺术家",[24,7,59,128,132,29,331,663,1314,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff808906f8c483b68e4a5e764e6a7cedd.jpg",[],{"id":73126,"slug":73127,"title":73128,"dynasty":144,"author":223,"museum":244,"description":73129,"tags":73130,"thumbUrl":73131,"material":611,"size":84,"collection":84,"collections":73132,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},232264,"ni-zan-xiang-hua-xin-yi-ming-232264","倪瓒像画芯","关于倪瓒出身富贵之家的记载很多，此不赘述。\n如此富家子弟，并没有过着纨绔的生活。倪瓒博闻好古，虽然不事产业，但也并非离经叛道之人，行走于上流知识圈子中。\n正是因此，倪瓒在太湖边为自己修建了一处规模宏伟的庄园“清閟阁”，此外，倪瓒名下还有云林堂、逍闲仙亭、朱阳宾馆、雪鹤洞和海岳翁书画轩等园林庄园。\n何良俊在《四友斋丛说》中继续说，“家饶于财，所居有清閟阁，备潇洒幽深之致，惟不喜见俗人，遇便舍去，盖去尘离垢之士也。”\n如今，“中国台北故宫博物院”藏有一幅元末佚名画家所作《张雨题倪瓒像》，大抵上可以看成描绘倪瓒生活于清閟阁时期的画像。",[24,7,28,27,96,29,250,7344,251,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd179c2e3db6a4c926d417d4833f205ae.jpg",[],{"id":73134,"slug":73135,"title":73136,"dynasty":124,"author":43961,"museum":20,"description":73137,"tags":73138,"thumbUrl":73139,"material":611,"size":73140,"collection":84,"collections":73141,"showCount":1014,"zanCount":1998,"manualWeight":48,"mainColor":72},231952,"chun-qi-tu-gu-yi-de-231952","春绮图","画面浅色描绘树木山峰、白云青嶂，虽仿古人，但其表现爽朗脱俗。\n上款自题：庚申冬日，写春绮图，欲寄老僧採碧，竟为余家小孙所夺，识者亦赏其不俗云。顾懿德。",[24,7,165,27,132,29,131,34,5323,387,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2438f182e7fbb4eea9d22b7f80703fe.jpg","纵五一点七公分，横三二点四公分",[],{"id":73143,"slug":73144,"title":73145,"dynasty":54,"author":5879,"museum":300,"description":50993,"tags":73146,"thumbUrl":73147,"material":611,"size":73148,"collection":84,"collections":73149,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},231937,"xie-jin-ren-shi-yi-hua-ce-14-zhen-hua-yan-231937","写晋人诗意画册14帧",[23,24,7,59,27,128,96,171,167,413,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30afb35e63e0280c3daa8a0cb5eff010.jpg","43x52cm",[],{"id":73151,"slug":73152,"title":73153,"dynasty":222,"author":46309,"museum":300,"description":57844,"tags":73154,"thumbUrl":73155,"material":692,"size":1293,"collection":84,"collections":73156,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":3379},231696,"mei-ya-tu-ce-yun-gu-deng-yan-231696","梅鸦图册",[24,7,59,128,61,371,21438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2a1098047058a72e5549af7fed7a8ac.jpg",[],{"id":73158,"slug":73159,"title":73160,"dynasty":222,"author":73161,"museum":300,"description":73162,"tags":73163,"thumbUrl":73164,"material":692,"size":1293,"collection":84,"collections":73165,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},231674,"hu-shan-xiao-jing-tu-tian-you-song-xi-231674","湖山小景图","天游松溪","此作用上下分段的别致构图，上部行书题文与下部山水呼应成趣。近景危崖兀立，古松虬枝横斜，崖畔隐见古刹飞檐；右下汀洲之上楼阁错落，板桥连岸，渔舟系于浅渚，尽是江南水乡的悠然意态。远景烟水浩渺，峰峦浮沉在暖赭晕染的暮色间，水天相融晕出黄昏的柔暖朦胧。\n\n笔墨秀雅空灵，淡赭水墨晕染天色，山峦以简括斧劈皴带出硬朗骨相，苍松劲挺见风神，烟波轻笼见淡远。书画合璧，题文叙湖山雅事，画中藏林泉高致，将日暮湖游的清旷襟怀晕在纸间，尽显江南暮色的温软诗意，抒写出文人心中的山水闲逸之趣。",[23,24,7,165,128,27,29,97,98,99,129,130,171,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F965469d075c6f7df24eb35b019b91297.jpg",[],{"id":73167,"slug":73168,"title":73169,"dynasty":222,"author":223,"museum":300,"description":73170,"tags":73171,"thumbUrl":73172,"material":692,"size":1293,"collection":84,"collections":73173,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},231632,"lian-cang-shi-dai-ma-yi-cao-zhi-hua-juan-yi-ming-231632","镰仓时代 马医草纸画卷","此绘卷图文共生，一半是工笔晕染的本草写生，叶脉舒展、敷色清润，将药草形貌细腻还原；另一半以古雅铁线描勾勒和风古俗场景，人物衣袂翩跹，殿宇车马拙朴雅致，尽得古意。\n\n题跋与绘境交织，将本草物语与民俗轶事相融，既有博物图鉴的写实谨严，又带着古绘卷独有的雅致松弛。泛黄纸页晕开岁月的温度，清雅朴拙之间，尽显东洋中古绘卷的悠然意韵。",[7,25,27,96,101,230,758,64,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682563a8668f46d15365053274079789.jpg",[],{"id":73175,"slug":73176,"title":73177,"dynasty":222,"author":73178,"museum":300,"description":73179,"tags":73180,"thumbUrl":73181,"material":692,"size":1293,"collection":84,"collections":73182,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},231626,"he-tu-xia-hui-he-ge-juan-ben-a-mi-guang-yue-231626","鹤图下绘和歌卷","本阿弥光悦","此作以长卷铺陈，群鹤错落满卷，水墨淡笔晕染出仙鹤清癯灵动的身姿，或振翅唳空，或梳羽伫立，百态悠然。浅褐旧痕晕开在素纸之上，晕染出经年沉淀的温润质感。\n\n书法与绘鹤交织共生，笔意清简疏朗，将和歌风雅与绘鹤的幽玄禅意相融，舒展悠长的尺幅里，藏着侘寂闲雅的古典意趣，淡墨轻色勾勒出清寂出尘的东方意境，尽显雅致悠远的和风之美。",[23,164,24,7,25,128,133,211,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F271140e49cbac0d36129fe323eb65f23.jpg",[],{"id":73184,"slug":73185,"title":73186,"dynasty":222,"author":65595,"museum":300,"description":70332,"tags":73187,"thumbUrl":73188,"material":692,"size":1293,"collection":84,"collections":73189,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},231621,"shi-ting-shi-dai-zu-shi-xiang-yan-ji-zhu-tu-zhou-shou-ye-yuan-xin-231621","室町时代 祖师香严击竹图轴",[23,24,7,165,128,29,131,950,34,130,132,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76c3265a6890f36d3cdda0376c234bd0.jpg",[],{"id":73191,"slug":73192,"title":73193,"dynasty":222,"author":16070,"museum":300,"description":16071,"tags":73194,"thumbUrl":73196,"material":692,"size":1293,"collection":84,"collections":73197,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},231584,"shi-ting-shi-dai-po-mo-shan-shui-tu-xue-zhou-231584","室町时代 破墨山水图",[23,24,164,165,73195,128,132,7,133,64,208,29,129,413,663,228,130],"破墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F290b31d7c168a2b0926e1abccc4c3c9b.jpg",[],{"id":73199,"slug":73200,"title":73201,"dynasty":124,"author":223,"museum":300,"description":73202,"tags":73203,"thumbUrl":73204,"material":84,"size":84,"collection":84,"collections":73205,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},231360,"hu-die-cao-chong-tu-yi-ming-231360","蝴蝶草虫图","蝴蝶是一种漂亮的小动物，它千姿百态，绚丽缤纷，穿梭于繁花丛中，常被人赋予“虫国佳丽”、“会飞的花朵”、“百花仙子”等美名，更引得历代不少文人墨客为之咏怀。长期以来，历代画家更是把蝴蝶作为重要的创作题材之一，点景于花鸟画中。",[23,24,7,1131,28,27,61,481,480,230,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb044f767b5955063e9771401885f8b.jpg",[],{"id":73207,"slug":73208,"title":73209,"dynasty":18,"author":223,"museum":244,"description":73210,"tags":73211,"thumbUrl":73212,"material":317,"size":46018,"collection":84,"collections":73213,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},231043,"ping-chou-hu-du-tu-yi-ming-231043","平畴呼犊图","《四季牧放》是24年上海书画出版社出版的图书。\n属于《国宝在线》的一册，是中国画中有关四季放牧图的。\n出版社: 上海书画出版社; 第1版 (24年5月1日) 丛书名: 国宝在线 平装: 44页 开本: 8开 ISBN: 7867285 条形码: 97878672855 尺寸: 29.6 22.4 .6 cm 重量: 299 g 欣赏和学习中国画，离不开对画史上经典名作的了解。\n中国画的历史源远流长，由于种种原因，古代流传至今的绘画名作非但数量十分稀少，而且散佚于世界各地。\n缘于此，上海书画出版社编辑了这套《国宝在线》丛书，按绘画题材、风格技法等要素重新进行分类，将中国画史上的国宝级名作聚于一堂，精心印制，并尽量放大至原寸，为学画者提供了下真迹一等的范本。\n此外，我们还对书中收入的每一幅名画进行了详尽的介绍与分析，叙述这些流传千年的国宝背后的故事，并插入与之相关的其他名画的照片与材料，为广大喜爱中国艺术的读者提供了丰富的欣赏素材和参考资料。\n书评 大慨因传说中佛祖和比丘僧为恶牛说法，使之死后转世到仞利天宫，得须陀还果，从此牛以其温厚忠良的形象出现在人们面前。\n除了任劳任怨、辛勤耕作之外，牛似乎还具有着一种人格的隐喻和象征。\n连圣人之师老子也选择骑青牛西去函谷关，在关内太初宫留下了五千言的《道德经》；南朝陶弘景也曾以画牛自喻婉拒梁武帝诏其出山，留下了『山中宰相』的美名。\n古往今来，牛的形象被喜爱它的人们再三图绘表现，不论是嘉峪关的砖画还是敦煌壁画，我们都可以看到许多无名氏的画牛作品。\n即以大家比较熟悉的卷轴画来说，至迟在晚唐五代时期，画家就对这个题材投入了相当的热情和精力，唐代的名家如韩湿和戴嵩，都擅长画牛。\n这些作品，既体现了唐人的努力生产，也反映出唐代那种以现实题材入画的风尚和社会生活的情调。\n当时戴嵩画水牛尤为著名，《唐朝名画录》谓其得『野性筋骨之妙』。\n不过，起初戴嵩画牛还闹过笑话。\n据说，他有次画了一幅斗牛图，观者大加称赞，可是偏偏有位牧童看了之后却拊掌大笑。\n戴嵩觉得奇怪，问其原因。\n牧童解释说：两牛角斗时，尾巴是夹在两股之间的，你怎么把它画成摇着尾巴呢?牧童的善意批评，对戴嵩启发很大，自那以后，他就深入乡间，与牧童交友，以造化为师，画艺自然精进不已，由此可见唐人作画对写生的重视。\n而韩混的《五牛图》，除了准确自然地表现了牛的生活形态外，更是充满了人格化的魅力，甚至可以从中看出每头牛的个性与年龄来，难怪有些研究者认为其中可能含有某种寓意。\n到了北宋，以描绘畜兽包括牛为内容的绘画被归于特殊的门类，如郭若虚撰写《图画见闻志》，就把畜兽、鱼龙、屋木等题材的作品皆归为『杂画』，与山水、人物、花鸟并列，在一定程度上反映了画牛队伍的逐渐壮大。\n从目前存世的作品看，宋代是牧放题材创作的鼎盛时期。\n不论是作品数量还是艺术水准，都是其他时代准以比似的。\n之昕以如此，笔者以为有几方面原因。\n首先，宋代皇家画院在招贤选才方面，可谓后世之楷模。\n由于采取考试制度，使得一大批有才华的民间画家得以进入社会上层，从而有机会更好地施展他们的艺术特长。\n这些原本长期生活在民间的画家把他们熟悉的富于乡土气息的绘画题材带入禁中，以身边熟悉的人和物为描绘对象，表现其自然朴素的情趣。\n因此，在两宋时期，画院里出现不少牧放题材的作品，直观地反映了宋代的农村生活。\n其次，宋代城市工商业的繁荣乃是以农村经济为基础的，画院画家通过描绘农村劳动生活的甘苦，来贯彻统治者劝喻农桑的意图。\n同时，城市工商经济的繁荣又反过来带动了农村经济的发展，从而使得丰年乐业的广大农民，对于自己的生活取得了新的认识，提出了新的要求。\n作为这种新认识、新要求的形象描绘，牧放题材与其说是农村田园生活的真实再现，毋宁说是对通过劳动生活而使人与自然达到本真契合的淳朴情性进行歌颂，与此同时，这其中又在很大程度上掺入了文人士大夫返璞归真的理想，从而使作品获得了更深刻的寓意。\n从画家个体来说，之所以创作出这么多高水准的艺术作品还在于他们能够正确处理观察生活和运用艺术表现语言之间的关系。\n在对生活的体验和观察方面，后世极少有像宋代画家那样精谨细致、具体人微的。\n所以，这类作品不管是高轴长卷，还是案头小品，它们所具有的生活情趣，无论是丰富性还是真实性，都令后人殊难超越。\n从宋人的画牛作品看，画家的用笔，是从对象出发，以对象的形态为旨归，将朴素的情感蕴藏在精妙的笔法中，这与后来文人画家所追求的『单纯化』表现，所谓『逸笔草草，不求形似』相比照，其问的差异是不喻自明的。\n中国传统绘画讲究诗情画意，这些牧题材的作品同样有着诗意盎然、妙趣横生的意境，这是此一题材自身所具有的魅力。\n在喧嚣的尘世中，面对这些笔佳墨妙的作品，想见烟云清雨，牛羊在野，湖岸风来，轻裾致爽，应该也算偷得浮生半日闲了吧。\n唐韩滉五牛图 唐韩滉五牛图之一 唐韩滉五牛图之二 唐韩滉五牛图之三 唐韩滉五牛图（局部） 唐韩滉五牛图（局部） 宋李唐乳牛图 宋李唐彩薇图 宋阎次平四季牧牛图 宋阎次平四季牧牛图之一 宋阎次平四季牧牛图之二 宋阎次平四季牧牛图之三 宋阎次平四季牧牛图之四 宋阎次平四季牧牛图之四（局部） 宋李迪风雨归物图 宋李迪风雨归物图（局部） 宋李迪风雨归物图（局部） 宋佚名平畴呼犊图 宋佚名平畴呼犊图（局部） 宋佚名牧牛图 ……",[24,7,27,28,102,949,413,1771,1314,8709],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c3a60a9cd87946a5051cb9b8246487f.jpg",[],{"id":73215,"slug":73216,"title":7761,"dynasty":124,"author":17733,"museum":300,"description":37300,"tags":73217,"thumbUrl":73218,"material":692,"size":1293,"collection":84,"collections":73219,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},230991,"yu-le-tu-zhou-chen-230991",[24,7,29,1351,28,132,128,27,129,1350,99,98,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46d5492e12e7ca9101bce747991b1ada.jpg",[],{"id":73221,"slug":73222,"title":1109,"dynasty":124,"author":73223,"museum":300,"description":73224,"tags":73225,"thumbUrl":73226,"material":692,"size":1293,"collection":84,"collections":73227,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},230926,"zhu-shi-tu-feng-ke-shi-230926","冯可实","此作用泥金扇面为底，以写意法绘湖石，皴擦之间尽显朴拙苍劲。石畔新篁疏朗错落，竹叶俯仰欹侧，墨色浓淡层叠，尽显清翠舒展之姿。数只春燕掠飞于竹石之间，为幽寂小景添上灵动生气。左侧题以行书，笔致率意洒脱，与画面浑然相融，书画合璧尽显文人雅趣。整幅笔墨简逸随性，以寥寥笔意勾勒出林泉闲居的幽澹意境，将尘外闲思寄于尺幅扇面之中，尽显写意小品的雅致情致。",[24,7,1131,128,167,1314,64,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a1485b46c8b893c3699de9f0da56a44.jpg",[],{"id":73229,"slug":73230,"title":73231,"dynasty":54,"author":70407,"museum":300,"description":73232,"tags":73233,"thumbUrl":73234,"material":84,"size":84,"collection":84,"collections":73235,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},230860,"lin-wang-xi-zhi-shu-dou-tie-zhang-zhao-230860","临王羲之蜀都帖","此作用笔雄健酣畅，提按转合间尽显流转灵动，既恪守原帖使转精熟的草法要义，又融入自身劲爽刚健的笔性特质。牵丝映带之间行气贯通，通篇字势欹正相生，错落有致。\n\n墨色枯润互见，浓墨处厚重沉稳，枯笔处筋骨毕现，将原尺牍的萧散雅韵，化作更具张力的笔墨节奏。临帖却不拘泥于形，师古又能自出机杼，将尺牍的随性自然，以饱满笔力演绎出舒展磅礴的庙堂气象，让古帖意蕴焕然新生，尽显草书奔放而不失法度的意趣。",[24,7,165,330,133,64,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ec530e4987f559489814dbbe4501b02.jpg",[],{"id":73237,"slug":73238,"title":73239,"dynasty":222,"author":223,"museum":300,"description":73240,"tags":73241,"thumbUrl":73244,"material":692,"size":1293,"collection":84,"collections":73245,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},230553,"ming-qing-fen-ben-guai-qi-niao-shou-tu-juan-yi-ming-230553","明清粉本 怪奇鸟兽图卷","此卷以淡墨轻彩绘就一众神异灵禽怪兽，将飞禽躯体与奇诡异象相融，或人面鸟身，或虎躯多头。翎羽晕染细腻写实，异兽造型怪诞幽奇，把志怪传说中的精怪具象呈现。\n每只异兽旁题书小字，图文呼应，似在低声诉说古朴妖异的怪谈物语。泛黄的纸本晕开岁月旧痕，设色调和古拙，带着幽玄氛围感，写实绘法与奇幻构想交织，勾勒出浪漫诡谲的异世百图景，尽显古雅怪诞的独特意趣。",[23,24,7,25,27,28,949,355,5490,171,73242,73243],"飞禽","走兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fecc5cc915716ebd972e929bfeddb0d.jpg",[],{"id":73247,"slug":73248,"title":73249,"dynasty":54,"author":646,"museum":300,"description":73250,"tags":73251,"thumbUrl":73252,"material":84,"size":84,"collection":84,"collections":73253,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},230250,"hua-jian-la-ying-xiang-ce-dong-gao-230250","画饯腊迎祥册","此作画意清和淡远，枯木虬枝舒展，寒林间啼禽栖止，竹影清疏衬着玲珑湖石，村舍院落隐于林后，小童行人缓步其间，晕开松弛乡野意趣。笔墨秀润清逸，枯木苍劲而不萧瑟，竹林隽秀空灵，淡墨轻晕出远山朦胧的冬日余韵。\n\n右侧题诗配雅致小楷，将晓禽报春、岁末祈康的心意融于画中，诗画相映。把乡翁扶杖待春的朴拙喜乐藏在细节里，以寻常村野小景，织就岁末迎春纳祥的温柔温情，尽显文人雅致闲淡意趣与世俗祈愿的交融之美。",[24,7,59,28,27,96,1337,167,171,211,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4020cb0580c7fcf23b624e65dd138147.jpg",[],{"id":73255,"slug":73256,"title":73257,"dynasty":54,"author":3403,"museum":300,"description":8089,"tags":73258,"thumbUrl":73259,"material":692,"size":1293,"collection":84,"collections":73260,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},230223,"zhuan-shu-hai-shan-xian-guan-wu-chang-shuo-230223","篆书海山仙馆",[23,64,938,208,7,611,8116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee3fe639f942a0433a92ff7dbb380fa8.jpg",[],{"id":73262,"slug":73263,"title":73264,"dynasty":54,"author":43074,"museum":300,"description":73265,"tags":73266,"thumbUrl":73267,"material":84,"size":84,"collection":84,"collections":73268,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},230221,"shan-shui-shi-yi-ce-6-kai-wu-chao-230221","山水诗意册6开","此作截取山隅一隅写幽林泉石之景。危崖层叠嶙峋，飞泉穿漱乱石，清越泉声隐然纸上。古松盘根错节扎根崖壁，干枝虬曲苍劲，湿墨点染的松针葱郁灵动，尽显老柏岁寒之姿。\n笔墨简淡清逸，干皴擦写出山石肌理，淡墨晕染留白摹出空濛云气，右上角远林轻描淡绘，衬出山景空寂悠远。左侧题诗落款，书画相融，文气雅致。\n整幅小品以小景见丘壑，萧散静穆，将林泉幽寂与诗意禅思相融，尽显文人山水的写意旨趣，藏着林下幽居的澹然意绪。",[24,7,59,128,27,29,171,331,99,497,1144,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee3ba4841e3c3f6f755400e7e0f5c4bf.jpg",[],{"id":73270,"slug":73271,"title":44795,"dynasty":54,"author":4083,"museum":300,"description":46503,"tags":73272,"thumbUrl":73273,"material":692,"size":1293,"collection":84,"collections":73274,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},230179,"shan-shui-shi-kai-wang-shi-min-230179",[24,7,59,29,132,128,208,64,133,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c9913ea809a69d5f1c043447649bdf2.jpg",[],{"id":73276,"slug":73277,"title":41117,"dynasty":54,"author":1504,"museum":300,"description":73278,"tags":73279,"thumbUrl":73280,"material":84,"size":84,"collection":84,"collections":73281,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},230142,"huang-shan-ba-jing-tu-ce-zheng-ban-qiao-230142","这幅小楷题跋清劲秀雅，结体端稳间带着疏朗意趣，笔画瘦硬匀净，既有晋唐小楷的古雅法度，又融入独有的散逸风骨。\n\n笔墨随着文思缓缓铺展，忆述画坛旧事时文墨相生相融，将文人雅怀藏进每一处笔墨细节。全无狂怪恣肆，反倒尽显静定冲淡的书卷气，是其书法中少见的敛藏之作。文思与笔情精妙融合，字里行间晕开平和悠然的文人本色，成为画册点睛的文墨双璧。",[24,7,59,128,132,29,171,331,130,98,99,211,3344,690,167,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a215794450c842f2731c67ae4bfaf1.jpg",[],{"id":73283,"slug":73284,"title":73285,"dynasty":54,"author":59402,"museum":300,"description":73286,"tags":73287,"thumbUrl":73288,"material":692,"size":1293,"collection":84,"collections":73289,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},228970,"bai-liang-ti-shi-xu-juan-yin-zhen-228970","柏梁体诗序卷","清世宗爱新觉罗·胤禛（1678年12月13日—1735年10月8日），清朝第五位君主（1722年—1735年在位），定都北京后第三位皇帝。年号雍正。康熙帝第四子，母为孝恭仁皇后（即德妃乌雅氏），生于北京紫禁城永和宫。",[23,7,64,133,25,208,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6821a141beec3eef192ac7697a955e9.jpg",[],{"id":73291,"slug":73292,"title":73293,"dynasty":18,"author":2099,"museum":300,"description":73294,"tags":73295,"thumbUrl":73296,"material":692,"size":1293,"collection":84,"collections":73297,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":956},228897,"bai-miao-fo-xiang-di-shi-san-zun-zhe-li-gong-lin-228897","白描佛像第十三尊者","“十八罗汉”的说法最早出现于北宋，图中器物造型风格接近宋代，每页有“卢椤枷进”款，从墨色辨认为后添款。因此本册非出自唐人之手，应是宋人所为。",[23,24,7,188,187,96,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd880a90f8361c742feb6ef65c59a1fdc.jpg",[],{"id":73299,"slug":73300,"title":73301,"dynasty":18,"author":2099,"museum":300,"description":73294,"tags":73302,"thumbUrl":73303,"material":692,"size":1293,"collection":84,"collections":73304,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":956},228896,"bai-miao-fo-xiang-di-liu-zun-zhe-li-gong-lin-228896","白描佛像第六尊者",[23,164,24,7,1326,165,188,187,96,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb788f00296ac5d48da8978cb51801823.jpg",[],{"id":73306,"slug":73307,"title":73308,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":73309,"thumbUrl":73310,"material":692,"size":1293,"collection":84,"collections":73311,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},228877,"shan-shui-shi-hua-ye-wen-zheng-ming-228877","山水诗画页",[23,1131,24,7,132,27,29,34,131,415,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0da512d12092ad5a4bca1271cc317131.jpg",[],{"id":73313,"slug":73314,"title":73315,"dynasty":124,"author":223,"museum":300,"description":73316,"tags":73317,"thumbUrl":73318,"material":84,"size":84,"collection":84,"collections":73319,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},228806,"hu-jia-shi-ba-pai-tu-yi-ming-228806","胡笳十八拍图","长卷以文绘合璧铺陈离愁，清雅古拙的笔致勾勒出乱世行旅的沧桑。一侧行书墨色沉凝，诉尽别乡归汉的哀戚心事；一侧铺展城郭乡野、车马仪仗，人物衣袂舒展间带着羁旅的凄惶，队列的肃穆衬出归程的沉重。每一段场景都晕开沉郁旧韵，将半生流离的家国之悲具象化，把泣血诗意揉进绢本烟尘，织就一曲带着泪痕的乱世离歌。",[23,24,7,25,27,28,96,101,106,35,12314,11074,29,34,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc832ea82b5e9aaa888f3517bdfe2c08d.jpg",[],{"id":73321,"slug":73322,"title":73323,"dynasty":124,"author":223,"museum":300,"description":73324,"tags":73325,"thumbUrl":73326,"material":84,"size":84,"collection":84,"collections":73327,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},228803,"luo-han-sao-bei-bu-yi-tu-yi-ming-228803","罗汉搔背补衣图","苍松虬枝舒展，疏竹点缀幽庭，红日轻悬天际晕开暖意。画中人物神态各俱意趣，安坐罗汉垂目敛神，沉静安然；侍立身侧的童子合十颔首，恭谨温顺。下方罗汉袒露上身，持杖搔背，眉眼舒展间满是松弛惬意。\n\n衣纹线条顿挫苍劲，贴合身形尽显布料肌理，设色古雅柔和，绢本晕染过渡自然，将禅林清修的日常琐事，晕染出悠然禅意。以烟火日常描摹世外清宁，让观者仿若踏入古刹深庭，窥见佛子起居的松弛意趣，尽显佛画写实与写意相融的精妙笔法，藏着内敛悠长的禅境余韵。",[23,24,7,165,187,27,96,167,2146,1314,19189,169,170,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea36d71b8fdf61a2db9f17a080d4d829.jpg",[],{"id":73329,"slug":73330,"title":73331,"dynasty":124,"author":15700,"museum":300,"description":73332,"tags":73333,"thumbUrl":73334,"material":692,"size":1293,"collection":84,"collections":73335,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},228700,"ming-xuan-de-bao-hui-ce-zhu-zhan-ji-228700","明宣德宝绘册","此作以圆幅绘就寒梅林栖之景，老干虬曲苍劲，枝头梅花莹润娇妍，暗香浮动间，两只禽鸟各踞一枝。一者攀附枝干，侧目凝神，一者静栖梢头，回望呼应，动静相映间，将林禽闲适之态尽显。\n\n笔墨工细雅致，设色柔润清和，禽鸟翎毛晕染细腻毫纤毕现，梅枝苍古中带着春日萌动生机，兼具院体画的精工写实，又暗合文人画的幽隽意趣，把冬日小景的悠然生机藏于尺幅之间，尽显雅致隽永的写生妙趣。",[24,7,59,27,28,61,371,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac8ad1aa352fbc15f2f7e8c9544c672d.jpg",[],{"id":73337,"slug":73338,"title":73339,"dynasty":124,"author":16243,"museum":300,"description":63786,"tags":73340,"thumbUrl":73341,"material":692,"size":1293,"collection":84,"collections":73342,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},228341,"ya-yi-shan-ren-shi-han-wang-chong-228341","雅宜山人诗翰",[23,7,64,133,25,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f7785461ab08e2c5afbbba31ed4f636.jpg",[],{"id":73344,"slug":73345,"title":73346,"dynasty":124,"author":20692,"museum":300,"description":73347,"tags":73348,"thumbUrl":73349,"material":84,"size":84,"collection":84,"collections":73350,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},228327,"wei-yang-gu-du-tu-yuan-shang-tong-228327","维扬古渡图","《水墨城韵·中国历史文化名城画典:扬州卷》主要收录了穿越千年的心灵对话——鉴真和尚与东山魁夷的《扬州薰风》、至情至简——东山魁夷画《 》、扬州旧梦何处觅——陆俨少的《 》、记忆的符号展现——陆俨少画《扬州个园》等。\n《水墨城韵·中国历史文化名城画典:扬州卷》由 出版。\n贺万里，美术理论家、批评家、山水画家。\n1962年出生，安徽淮北人，祖籍河北。\n美术学博士。\n曾任教于 (现 )，现为 副院长、教授、研究生导师。\n会员， 会员，江苏省壁画学会常务理事，扬州市清代扬州画派研究会会长，石河子大学新疆大山水画研究所副所长。\n梦里他乡是瓜洲——明人袁尚统的《维扬古渡图》 置境平和《广陵茱萸湾图》 诗境与画境——从李白的《送孟浩然之广陵》到石涛、陆俨少的《李白诗意图》 明净疏朗维扬秋——石涛的《维扬洁秋图》 附录：石涛画扬州 附录：石涛《维扬洁秋图》的长款题跋 雅集盛会戾行合一——叶芳林、方士庶的《九目行庵文燕图》 樊川水榭苇上舟——高翔的《扬州即景册》 记忆深处的禅意——高翔的《弹指阁图》 附录：高翔的《弹指阁图》赏析 将军画本金碧色——李昭道、袁江 文人其乐融一园——袁江《东园胜概图》卷 亭台楼阁亦关情——解读袁耀之《扬州四景图》 深意画图余情休园——赏读王云《休园图》 念繁华前度，何时歌吹重闻？——解读汪望的《平山堂图》 邗江夜雨芦荻瑟——任堇与《邗沟夜泊图》 张大干画《瘦西湖》 附录：收藏扬州 附录：由张大千《瘦西湖》所见 穿越千年的心灵对话——鉴真和尚与东山魁夷的《扬州薰风》 至情至简——东山魁夷画《冶春园》 扬州旧梦何处觅——陆俨少的《扬州即景图》 记忆的符号展现——陆俨少画《扬州个园》 写运河，写扬州，写国之佳画——读宋文治《今日的运河》 钱松苗与《鉴真大和尚纪念堂》 秀媚大雅瘦美人——钱松曲两画“瘦西湖” 秀雅空灵性情自我——魏紫熙的《瘦西湖》 静谧空寂张力内蕴——亚明的《二十四桥明月夜》 水墨写实传真情——张安治的《扬州春郊》 散发着浓郁时代气息——《瘦西湖上》 周京新画扬州园林 附录：今月曾经照古人——扬州画苑《千年回眸》 石涛之后有石庄 东方的“巴洛克”——金农书画 江都别派 沉雄浑厚陈若木 虞蟾：天国画家第一人 写真丁门甘泉流韵 溥派真传姚兆明",[23,24,7,165,128,132,29,96,101,97,129,1337,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F347df80291e7dcba76749b7ed4b13a83.jpg",[],{"id":73352,"slug":73353,"title":73354,"dynasty":144,"author":17775,"museum":300,"description":73355,"tags":73356,"thumbUrl":73357,"material":692,"size":1293,"collection":84,"collections":73358,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},228268,"teng-wang-ge-tu-wei-ba-tang-di-228268","滕王阁图-尾跋","唐棣（1296-1364），字子华，号遁斋,祖籍钱塘（今浙江杭州），因先世在吴兴做官，迁徙归安（今浙江湖州）。父唐清，元初赠承务郎，任归安县令。唐棣幼聪颖好学，文思敏慧，能诗善画，有“奇童”之称，为赵孟頫、马煦赏识，弱冠时便拜赵孟頫为师，常出入赵府，交往益深，不久马煦升为刑部尚书，遂携唐棣至京，延佑初进荐仁宗，以绘画侍奉宫廷，在嘉熙殿画屏风“挥洒立就，天子称赏”，待诏集贤院，因而有机会遍览历代书法名画。此时赵孟頫也奉召至京，任翰林侍读学士。唐棣在朝廷中与文臣交往，诗文、书画得到虞集、偈傒斯、赵孟頫指授，技艺更趋成熟。元文宗天历二年（1329）应诏在南京龙翔寺绘制画壁，至顺四年（1333）第二次北上大都，奉诏在宫廷作画，晚年返乡埋头读书作画，生活较凄苦。",[24,7,64,133,95,128,27,29,97,99,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7f5f43a1f68f280907f5479996eaa37.jpg",[],{"id":73360,"slug":73361,"title":73362,"dynasty":144,"author":20772,"museum":300,"description":73363,"tags":73364,"thumbUrl":73365,"material":84,"size":84,"collection":84,"collections":73366,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},228259,"ti-ni-zan-xiang-juan-zhang-yu-228259","题倪瓒像卷","画面右侧，倪瓒安坐榻上，面容清癯沉静，尽显林下风致。侍从侍立左右，案头清供文玩错落，屏风山水淡远空疏，晕染出幽寂脱俗的隐士居停氛围。\n\n卷后多段题跋，诸家书法风格各异，诗句咏叹倪瓒生平品格，书画合璧，将其孤高清介的文人风骨具象呈现。整卷清雅萧散，尽显元代文人崇尚的隐逸雅趣，以肖像配题咏的形式，定格了倪瓒的精神气韵，是元人诗画交融的佳作。",[23,24,7,25,188,128,27,96,29,34,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6266ca5922eabd9fc66a7133b8ca469.jpg",[],{"id":73368,"slug":73369,"title":73370,"dynasty":144,"author":223,"museum":300,"description":73371,"tags":73372,"thumbUrl":73373,"material":84,"size":84,"collection":84,"collections":73374,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},228226,"mao-wu-yun-shan-tu-yi-ming-228226","茅屋云山图","此作用水墨晕染出空濛云山之境，远景山峦以淡墨轻皴间杂晕染，云雾如缕缠绕峰腰，将雄奇山势揉入烟霭，虚实相生间，拓开幽渺深远的天地。\n\n中景以留白代雾，让山与林隐没在烟岚之中，消融了实景的边界，恍如天地融于一片淡墨氤氲。近岸枯木虬劲，枝桠疏朗，坡脚茅舍三两，笔简意足，暗合山居清寂之趣。\n\n整幅画作尽显元画尚意之风，以简淡笔墨写尽萧散静穆的林下幽居之境，将文人隐逸的闲雅藏入烟峦疏木，观之便觉尘嚣尽褪，沉醉在这淡墨晕开的云山深寂里。",[23,24,128,132,165,7,164,29,711,413,98,99,950,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe77b80704d6df259ffd4d9ffeefb4eae.jpg",[],{"id":73376,"slug":73377,"title":73378,"dynasty":144,"author":223,"museum":300,"description":73379,"tags":73380,"thumbUrl":73381,"material":84,"size":84,"collection":84,"collections":73382,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},228186,"ren-wu-tu-juan-yi-ming-228186","人物图卷","此作用色古雅沉朴，线条圆劲清隽，以日常梳洗闲憩入画，将文人闲居意趣尽显。画面左侧侍者躬身展巾，主家赤足踞坐，正倾水盥手，神态松弛自适，把松弛慵懒的日常情态刻画入微。右侧两位侍从或持巾侍立、或捧具待命，人物排布错落有致，动静相宜。\n\n整作不着过多布景，以素净留白衬托前景人物，衣褶晕染贴合躯体动态，尽显以形写神的笔墨妙处。没有繁复刻画，却凭借细腻的生活化描摹，传递出古雅悠然的闲居氛围，是一幅兼具烟火意趣与古典气韵的人物画佳作。",[23,164,24,7,25,28,27,96,170,169,6369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5381a994fb57f53b3c691b27916e64eb.jpg",[],{"id":73384,"slug":73385,"title":73386,"dynasty":18,"author":223,"museum":300,"description":73387,"tags":73388,"thumbUrl":73391,"material":84,"size":84,"collection":84,"collections":73392,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},227909,"zhu-lin-bo-ruan-tu-ye-yi-ming-227909","竹林拨阮图页","《古代佚名画鉴赏大系·人物篇》是2年西苑出版社出版的图书，作者是杨宪金。\n佚名画与署名的作品，从绘画艺术上讲，是没有两样的。\n但在传世过程中，却有着不同的遭遇，历代收藏家与画史主要关注有名的作品，尤其是大家的作品，而对佚名画往往不屑一顾。\n因此，在这种境遇下，大量的古代佚名画在流传过程中消失了。\n这种情况一直延续到了明代，才逐渐引起收藏家们的注意，大收藏家项子京就对佚名画的著录、流传做了很大的贡献…… 春庭行乐图 眼药酸图 人物故事图 寒林策蹇图 竹林拨阮图 蚕织图 蚕织图 蚕织图 蚕织图 女孝经图 女孝经图 女孝经图 女孝经图 千秋绝艳图 千秋绝艳图 牧马图 望贤迎驾图 蕉石戏婴图 蕉荫击球图 槐荫击球图 杂剧图 雍正妃行乐图之二 雍正妃行乐图之六 溪堂客话图",[23,164,24,7,1131,28,27,96,1025,438,34,73389,15552,15551,10997,73390],"宋代风格","古典技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c0aeb9c6b9df7aa3c1f6768dc7d653.jpg",[],{"id":73394,"slug":73395,"title":73396,"dynasty":18,"author":223,"museum":300,"description":73397,"tags":73398,"thumbUrl":73399,"material":84,"size":84,"collection":84,"collections":73400,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},227890,"fan-zhou-liu-tang-tu-yi-ming-227890","泛舟柳塘图","此作用淡墨轻岚织就江南暮色小景，边角取景尽显留白意趣。右下角垂柳清润柔婉，枝叶婆娑，将视线牵向烟水间。汀洲水藻以细笔轻点数染，鲜活铺展出泽国清寂。扁舟横波，舟中二人情态悠然，寥寥数笔便勾勒出萧散野趣，似将水乡闲逸尽数揉入清波。\n全画色调苍雅古淡，借绢底晕染出薄暮烟霭，远山仅以一抹淡墨虚绘天际，不着笔皴，晕开江天寥廓的空茫意境。全作以简驭繁，无过多刻画，将江南日暮的静谧安闲，与文人幽隐林下之思相融，尽显宋人坐赏泉壑的清雅意趣。",[164,24,7,1131,27,28,2372,2048,414,34,29,129,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa7e5d872f2a4b41216ba1cf8d91129f.jpg",[],{"id":73402,"slug":73403,"title":14349,"dynasty":18,"author":223,"museum":300,"description":73404,"tags":73405,"thumbUrl":73406,"material":84,"size":84,"collection":84,"collections":73407,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},227853,"shan-shui-ren-wu-tu-yi-ming-227853","此作为典型的宋人山水小品，以圆框取景，将江南烟岚山居收于尺幅间。远景山峦以淡墨轻晕，隐没在濛濛雾气之中，虚实相生间晕染出空濛悠远的暮色秋意。近景林木苍郁，墨色干湿互用，枝叶攒簇尽显山野生机，几椽村舍错落藏于树荫之下，石阶板桥隐约勾连，似有山民往来其中，暗合着幽居林泉的隐逸意趣。\n\n整幅画作以简淡笔墨写尽江南乡野的静谧闲雅，无繁复刻画，却将烟雨空蒙的氛围感烘托至极，带着宋画独有的平淡天真，引人踏入这方避世山乡，静享林泉间松弛的意韵。",[23,24,7,1131,27,29,96,34,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc05371d2fa860c6b3af216ce13990958.jpg",[],{"id":73409,"slug":73410,"title":52090,"dynasty":18,"author":52091,"museum":300,"description":73411,"tags":73412,"thumbUrl":73413,"material":84,"size":84,"collection":84,"collections":73414,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},227808,"cao-tang-ke-hua-tu-he-quan-227808","此作以淡墨晕染山石林木，晕开江南山野湿润清寂的氛围。临水草堂轩窗通透，堂内陈设隐约可见，屋外二人缓步闲话，将幽居雅会的闲淡意趣铺展开来。笔墨苍秀简逸，屋舍界画工致灵动，林木点染生机自现，以尺幅之境铺陈林泉高致的隐逸情怀，尽显宋人小品山水以小见大的妙处，将士人幽栖林下、寄情丘壑的心境藏于皴染点画之中，淡而有味，雅意悠长。",[23,24,7,1131,27,29,97,98,99,96,130,34,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9398f267cba5d2aa93e5525aecdb351.jpg",[],{"id":73416,"slug":73417,"title":73418,"dynasty":18,"author":73419,"museum":300,"description":73420,"tags":73421,"thumbUrl":73422,"material":84,"size":84,"collection":84,"collections":73423,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},227745,"zi-zan-xiang-li-zhou-da-hui-zong-gao-227745","自赞像立轴","大慧宗杲","大慧宗杲为北宋末年、南宋初期杨岐派禅师，杨岐派在他的手上被推至最高峰，宋孝宗御赐他为“大慧禅师”。他的禅法，对后世禅宗形成深远的影响，南宋理学也深受影响。此幅《大慧宗杲自赞像》作为现存最早的有像主自赞的画禅僧肖像画，非常珍贵，有其不可替代的历史价值、文物价值，再加上其简洁的描写手法，充分地体现了北宋末、南宋初期中国肖像画的高度的绘画水准，更增加了它的艺术价值。",[23,24,7,165,28,27,96,187,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff36822032e4aee0c344f543503e164d0.jpg",[],{"id":73425,"slug":73426,"title":73427,"dynasty":18,"author":223,"museum":300,"description":73428,"tags":73429,"thumbUrl":73430,"material":84,"size":84,"collection":42,"collections":73431,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},227570,"yu-lou-chun-si-tu-yi-ming-227570","玉楼春思图","此图画水殿楼阁、渔舟、古松和江亭，本幅无名款，清代梁清标题签为王诜之作，然而将此作与王氏传世作品对照，并无多少相同之处。\n\n惟据图上小楷书“鱼游春水”一阕，词意与画意吻合，从书法风格考察，可能为宋高宗赵构以后宫廷常见的书体，故推测此画系同时代所绘，是宋代画院的佳作。画上钤有“宣统御览之宝”等收藏印章。\n\n是图为团扇，构图为左右相对形式。中为辽阔的江面，左部近景作水殿楼阁回廊萦绕，堤上柳荫浓郁，一仕女面江扶栏遐思。隔江云山起伏，意境深远。\n画上题《鱼游春水》词，词意与画意相吻合。\n\n此作曾为清初梁清标收入《唐宋元集绘册》中，梁氏鉴定为王诜作品。就画作的构图与画法来看与王氏画风是有距离的，南宋风格明显。\n\n另外《鱼游春水》一词原是刻于绍兴古碑碑阴之上的佚名词作，北宋政和时为宫人抄入宫中填曲传唱，政和中期以后才流入到民间。死于元祐四年（公元1089年）的王诜不可能以此题作画。故而梁清标的鉴定有误，书与画应属南宋画院的书画佳作。清《石渠宝笈重编》著录。",[23,164,24,7,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9dcbc748bfb2945570382841dfc1ac9.jpg",[42],{"id":73433,"slug":73434,"title":73435,"dynasty":18,"author":223,"museum":300,"description":73436,"tags":73437,"thumbUrl":73438,"material":84,"size":84,"collection":84,"collections":73439,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},227538,"wu-gong-ma-tu-juan-yi-ming-227538","五贡马图卷","北宋，佚名（李公麟款)。画内为宋元佑初年天驷监中的五匹西域名马，五匹名马依次为“风头骢”、“锦膊骢”、“好头赤”、“照夜白”、“满川花”。",[23,164,24,7,25,188,27,101,96,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0da9fadedef4d3ff60e1157eaee1c333.jpg",[],{"id":73441,"slug":73442,"title":17908,"dynasty":18,"author":223,"museum":300,"description":73443,"tags":73444,"thumbUrl":73445,"material":84,"size":84,"collection":84,"collections":73446,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},227376,"yuan-hou-zhai-guo-tu-yi-ming-227376","《宋人画猿猴摘果图》是宋代佚名创作的一幅扇面画。\n此图绘深山野林中，三只 攀援栖止于树枝上。\n其中两猿正品果嬉戏，另一猿右臂抓树，左臂摘取红果，形象生动可爱。\n作者运用极为工细的笔法，描绘猿猴茸茸的细毛、灵巧的动态以及老树的虬枝和枯叶，显示出深厚功力。\n图中坡石用小斧劈皴，枝叶用双钩填色，笔法精工巧丽。\n深秋季节只猿猴攀援于树枝上嬉戏摘果的情景。\n猿猴和景物都集中在画的右半边，为典型的南宋画构图方式。\n猿猴神情毕肖，尤其是茸毛的绘制极为细致严谨。\n树叶用勾勒填色法，色彩并未完全填满，显得自然随意。\n黑白色对比使画面更具动感，红色的小果实在整幅画面中十分醒目。\n深山野林中，黑白二色的三只猿猴攀援栖止于树枝上。\n其中两猿相互逗趣，另一猿右臂抓着树枝，左臂摘取红果，其贪婪、欣喜之态刻画得形神兼僃。\n点景中枯黄的树页、红色的果实，以及丛生的小草和细竹，不仅打破了山石的呆板，而且渲染了秋天萧瑟的气氛，从而增添画面的自然之趣。\n画面钤有「黔宁王子子孙孙永保之」、「都尉耿信公书画之章」、「信公珍藏」、「安国珍玩」等印多方。\n对幅有清代著名收藏家耿昭忠题记，此图曾经沐璘、耿昭忠、安岐收藏。\n《石渠宝笈》著录。",[164,24,7,1131,27,949,17911,413,624,2037,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a544e331d094ac541c1cff0a7db7c25.jpg",[],{"id":73448,"slug":73449,"title":73450,"dynasty":18,"author":223,"museum":300,"description":73451,"tags":73452,"thumbUrl":73453,"material":84,"size":84,"collection":84,"collections":73454,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},227357,"chun-guang-xian-dao-tu-yi-ming-227357","春光先到图","中国种植水仙始于唐末五代，\n\n《北户录》中记有花间派词人孙光宪\n\n寄居江陵（湖北荆州）期间，\n\n曾有波斯人送他数本水仙。\n\n孙光宪大概就是中国种植水仙第一人。\n\n此后，\n\n江南一带广泛种植，文人骚客甚爱之。",[164,24,7,1131,28,27,61,374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c0a447bc7811861b5899d7267215dd3.jpg",[],{"id":73456,"slug":73457,"title":73458,"dynasty":182,"author":223,"museum":300,"description":73459,"tags":73460,"thumbUrl":73461,"material":84,"size":84,"collection":84,"collections":73462,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":199},227215,"shu-xia-ren-wu-tu-juan-yi-ming-227215","树下人物图卷","《树下人物图》是唐代佚名创作的纸本设色画，新疆吐鲁番阿斯塔那古墓出土。现藏日本东京国立博物馆。\n\n此幅人物画保存完整，绘制在一块长方形的绢上。画面的背景是郊外的草地，有一棵枝繁叶茂的树，树叶是绿色，树干是土黄色。树下可见两身妇女立姿形象。左侧之人，面向右方，左手衣袖被身旁之人握持，其右手曲臂上举正揪住罩在头上的黑色头衣。此人身穿土红色长袍，腰系带，脚穿黑靴。画面右侧之人，面向右方，两手握住左侧之人的左袖。她身着蓝色长袍，腰系带，脚穿黑靴。从画面看，此二人似为主仆关系。",[23,164,24,7,25,28,27,96,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F160f39ddeaeb222d5d6049efe9969bd0.jpg",[],{"id":73464,"slug":73465,"title":73466,"dynasty":54,"author":4083,"museum":300,"description":28118,"tags":73467,"thumbUrl":73468,"material":28121,"size":28122,"collection":84,"collections":73469,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},224409,"shu-hua-shi-liu-kai-10-wang-shi-min-224409","书画十六开-10",[23,24,7,59,27,132,29,98,99,34,131,35,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b1fffac4109daa74541bf9f3ca25d9.jpg",[],{"id":73471,"slug":73472,"title":29,"dynasty":54,"author":35003,"museum":300,"description":73473,"tags":73474,"thumbUrl":73475,"material":84,"size":84,"collection":84,"collections":73476,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},224406,"shan-shui-wang-xue-hao-224406","此作用笔萧散松秀，以淡墨晕染山峦，留白衬出春日山林的氤氲空濛。近景苍木挺拔，焦墨点簇枝叶，朴拙苍润。水岸茅舍错落隐于林麓，溪岸逶迤，浅滩汀渚以简笔勾勒，野趣盎然。\n\n师法董思翁平淡天真之趣，以干淡之笔写山川形胜，墨色清润层次分明，将江南春日的温润静穆尽显笔下。画面空灵疏朗，无繁复刻画，却尽显山水间幽寂闲适，文人画的清雅逸趣跃然纸上，简淡中藏深醇意蕴。",[23,24,7,128,132,133,165,29,131,34,276,211,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7358dbdc29f9f727bbef4ce953c11b1.jpg",[],{"id":73478,"slug":73479,"title":73480,"dynasty":54,"author":1676,"museum":300,"description":73481,"tags":73482,"thumbUrl":73483,"material":84,"size":84,"collection":84,"collections":73484,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},224331,"hua-niao-shi-er-kai-9-li-shan-224331","花鸟十二开9","淡墨晕染出松鼠身形，蓬松皮毛的质感呼之欲出，尖吻微张，长尾轻扬，攀附松枝之上，警觉灵动的神态跃然纸面。苍松以焦墨挥写，浓墨点簇松针，老辣笔力勾勒出虬曲枝干，尽显苍古拙朴的风骨。左侧行书题字与画面相得益彰，笔墨枯润相生，尽显写意随性野趣。整幅作品以简驭繁，笔情纵逸，将文人写意的酣畅与林间生机相融，寥寥数笔便定格住松间嬉游的悠然意趣，尽显写意花鸟的动人神韵。",[23,24,7,59,128,369,949,5882,1144,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523b8f0015029b872e9adff78fa964b0.jpg",[],{"id":73486,"slug":73487,"title":73488,"dynasty":54,"author":1676,"museum":300,"description":73489,"tags":73490,"thumbUrl":73491,"material":84,"size":84,"collection":84,"collections":73492,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},224329,"hua-niao-shi-er-kai-7-li-shan-224329","花鸟十二开7","此作以水墨写意绘就仲夏小景，右侧柳根苍润，柔条轻垂，两只夏蝉攀附枝梢，焦墨提点蝉翼纹理，薄透如生，似将振翅长鸣，淡墨晕染柳丝清柔，浓淡间尽显灵动意趣。\n左侧题书笔意纵放跌宕，诗画相融，将暑日柳荫鸣蝉的慵懒闲逸铺陈开来。以简驭繁，不拘成法，寥寥数笔便捕捉住夏日常景的清寂意韵，笔墨带着疏放不羁的文人风骨，把寻常小景升华为清雅脱俗的逸趣之境，尽显写意花鸟的随性雅趣。",[23,24,7,59,128,369,64,208,61,7633,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdecf83e6c448966e31e45e4eb25c111f.jpg",[],{"id":73494,"slug":73495,"title":73496,"dynasty":54,"author":17240,"museum":300,"description":73497,"tags":73498,"thumbUrl":73499,"material":84,"size":84,"collection":84,"collections":73500,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},224256,"xian-lou-gao-zhi-cha-shi-biao-224256","仙楼高峙","此作用淡渴墨勾勒崖壁轮廓，皴擦简率松秀，寥寥数笔便绘出山石清峭之态。坡岸与丛木以写意点染，虚实相生间，晕染出幽寂空濛的山境。左侧行书笔致萧散飘逸，笔墨舒展随性，与画中简淡意境相融，文气悠悠。\n\n整体脱去尘俗，以极简的笔墨铺陈出清旷出尘的林下仙境，尽显新安画派笔简意赅、气韵荒寒的特质，观之如临幽林高阁，心神也随之沉静，沉醉于这份水墨疏淡里的幽远禅意。",[23,24,7,59,128,132,133,208,29,97,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7674da97971c55f319361c3f120ebd48.jpg",[],{"id":73502,"slug":73503,"title":73504,"dynasty":54,"author":5879,"museum":300,"description":19992,"tags":73505,"thumbUrl":73506,"material":692,"size":1293,"collection":84,"collections":73507,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},224174,"gan-li-tu-quan-juan-hua-yan-224174","敢荔图全卷",[23,24,7,25,27,96,29,413,64,133,938,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e347c76a16901f1b2b37187d2892d85.jpg",[],{"id":73509,"slug":73510,"title":73511,"dynasty":222,"author":223,"museum":300,"description":73512,"tags":73513,"thumbUrl":73514,"material":84,"size":84,"collection":84,"collections":73515,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},223898,"mo-hua-zhu-zi-xiang-yi-ming-223898","墨画朱子像","此作以淡墨白描写就，细劲墨线勾勒衣袍，线条简练却贴合身形，将宽袍的古朴垂坠质感尽显。对人物面容描摹入微，眼角纹路、鬓边褶皱皆细致刻画，传神烘托出主人公温和沉静的儒雅风骨，尽显大儒的沉稳气度。旁侧题字清雅端方，与画像相得益彰。整幅画面底色古雅泛黄，晕染出厚重的岁月质感，无过多修饰，以极简笔墨承载内敛意蕴，尽显传统肖像画写实传神的特质，将东方古典美学的含蓄沉静融入其中。",[164,24,7,59,188,128,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff358068395cf5685346f594ef45313bd.jpg",[],{"id":73517,"slug":73518,"title":73519,"dynasty":18,"author":223,"museum":300,"description":73520,"tags":73521,"thumbUrl":73522,"material":84,"size":84,"collection":84,"collections":73523,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},223674,"shuang-ke-zhu-jian-tu-ye-yi-ming-223674","霜柯竹涧图页","《霜柯竹涧图页》是南宋画家佚名创作的一幅绢本设色画。\n本幅无款。\n钤“义斋精玩”、“宋荦审定”收藏印2方。\n图绘山间冬季景色，天阴欲雪，霜柯临水，柯下溪涧奔流，水花飞溅，远处竹林葱茏。\n两只山鸟栖于枝头，眺望远方，将观赏者的目光引向画外，从而收到画尽而意无穷的艺术效果。\n图中老柯、丛竹用笔刚劲，水花、鸟羽笔触轻柔，流水奔腾不息，山石巍峨不动，使画面形成刚柔相济、动静对比的艺术效果。\n清《石渠宝笈三编》著录。",[23,164,24,7,59,28,27,1337,167,99,211,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9c242fbd03b8dd4577b564ab01d95ef.jpg",[],{"id":73525,"slug":73526,"title":73527,"dynasty":18,"author":223,"museum":20,"description":73528,"tags":73529,"thumbUrl":73530,"material":40,"size":9301,"collection":84,"collections":73531,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},223419,"kong-men-di-zi-xiang-juan-yi-ming-223419","孔门弟子像卷","此画是唐代杰出画家阎立本最大最长最佳的一幅巨作，是画家传世的六件作品之一，后在近代被日本军火商买走，并被列为国宝。最后在中贸圣佳拍卖公司购得，迎回国内，曾经引起过轰动。此画最终被首都博物馆以超低价提前收购。\n《孔子弟子像》全图采取平列式构图，无背景，绘孔子弟子立像五十九人，无名款。墨笔勾勒，着色，人物形象各异，须眉生动。\n包首题签“阎立本画孔子弟子像”，引首乾隆御题“杏坛遗范”，卷上有“顺治三年(1646)七月初二钦赐大学士臣宋权恭记”长方印、清宫收藏鉴赏印玺和清高宗弘历御笔题字。后幅有乾隆二十二年(1757年)户部尚书蒋溥题跋、乾隆丁未(1787年)大臣王杰、曹文埴、彭元瑞、董诰共同审定，董诰书写的题跋。鉴藏宝玺有乾隆八玺等，收藏印有“顺治三年七月初二日钦赐大学士臣宋权恭记”、“商丘金石书画印”、“宋权私印”、“经公”等。卷后拖尾有蒋溥题跋、董诰书写的其与王杰、曹文埴、彭元瑞的合跋，文字内容、钤盖印章与《石渠宝笈续编》著录文字完全相同。\n考证画后跋语，可以大致勾勒出《孔子弟子像》在清代的流传过程。清初顺治皇帝将此件画作钦赐给大学士宋权，一百余年后乾隆时期，宋氏后人将此作转鬻他所，蒋溥购得后，将其进献给了乾隆皇帝，复归内府收藏，并于《石渠宝笈续编》中加以著录。 至于这件作品是如何从清内府流传出去，溥仪在《我的前半生》中回忆，宣统八年十一月十四日，将名为《阎立本画孔子弟子像一卷》赏给了自己的师傅梁鼎芬。",[23,164,24,7,25,27,28,96,170,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa34aaeae7bdfbdd0d6197e46cf919b0e.jpg",[],{"id":73533,"slug":73534,"title":8685,"dynasty":54,"author":223,"museum":300,"description":73535,"tags":73536,"thumbUrl":73537,"material":128,"size":73538,"collection":84,"collections":73539,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},223417,"ying-xi-tu-yi-ming-223417","婴戏图即描绘儿童游戏时的画作，又称“戏婴图”，是中国人物画的一种。因为以小孩为主要绘画对象，以表现童真为主要目的，所以画面丰富，形态有趣。",[23,24,7,128,96,8832,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3a1bf3e927f98f47d7ccc65ef6a0cb2.jpg","11×21cm",[],{"id":73541,"slug":73542,"title":73543,"dynasty":124,"author":223,"museum":300,"description":73544,"tags":73545,"thumbUrl":73546,"material":611,"size":73547,"collection":84,"collections":73548,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},223403,"chui-hong-qiu-se-tu-yi-ming-223403","垂虹秋色图","此作用淡墨晕染出浩渺平湖，轻舟逐波缓行，汀渚之上嘉木葱茏，板桥村舍隐于烟树间，远山如黛逶迤连绵，将江南清秋的萧疏淡远尽数铺展，笔墨清润秀雅，尽显平淡天真的文人山水意趣。\n卷中题笔相生，擘窠大字雄劲苍古，行楷题跋秀逸雅致，将垂虹秋景的诗意与文人赏景的雅怀相融，实景山水与题咏情思交织，把江天寥廓的清秋意韵凝于尺幅，尽显书画合璧的文人雅韵。",[23,24,7,25,128,133,29,98,99,129,130,34,12424,6810,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa448dc5f9cb1836eab9d07f9b11fabf7.jpg","24.4x122.6",[],{"id":73550,"slug":73551,"title":73552,"dynasty":18,"author":223,"museum":20,"description":73553,"tags":73554,"thumbUrl":73555,"material":514,"size":73556,"collection":84,"collections":73557,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},223370,"ba-xiang-tu-yi-ming-223370","八相图","这幅《八相图》并未出现于古代书画文献著录中，在其他文集中也不曾记载。民国时期故宫博物院珂罗版《故宫书画集》中亦无收录。二十世纪六十年代，文化部文物局成立中国古代书画鉴定组对全国各大博物馆藏画进行鉴定、编录，其成果《中国古代书画图目》中影印了此幅《八相图》，并在卷末附有基本信息。二十一世纪初编纂的《故宫博物院藏文物珍品大系》中有余辉主编的《晋唐两宋绘画·人物风俗》，其中再次收录了此卷，并附有相关介绍信息，释读出题跋，在此基础上辨别出八位名相，并对画作的特点作了简单概括。近年浙江大学、浙江文物局承担编纂的《宋画全集》再次收录了该幅作品的高清图版，并附有图版说明，但基本为《晋唐两宋绘画·人物风俗》中的内容。\n该幅作品所描绘的“八相”，《晋唐两宋绘画·人物风俗》中识读为周公旦、张良、魏徵、狄仁杰、郭子仪、韩琦、司马光和周必大。学界对此并未提出疑义，笔者先前也基本认定该作所画为此八相。许浩然《一幅南宋绍兴年间的秦桧画像—故宫博物院藏〈八相图卷〉考辨》一文，首次提出了第八位名相为秦桧的观点，并作了相关考辨。\n对这样一幅名款残损、图章全无、又乏古代文献著录的作品，目前仅有基本识读和一篇研究性论文。而该作还有许多疑问尚未解决，如画作名称、画作的作者、创作年代等。本文不揣冒昧，对这几个问题以初步考证。\n虽然《晋唐两宋绘画·人物风俗》已经有对画作题跋的释读，但个别识读有错误，对八相的识别也并未给以推导过程。故本文重新抄录，加以句读，再作分析。现将画作中文字内容从右至左分为十个部分，依次标注为一至十。\n第一部分文字不可辨识。画作自右向左打开，画心部分起首四字由上而下书写。前两字残损超过三分之二，后两字虽存右半部分，但与左边之间有重新装补的痕迹，虽然裂痕形状勉强和左边吻合，但不可辨识，汉字中并无此二字。与周边对照，右半部分绢片明显为他处所有。推测或是画商牟利，将他处残片置于此处;亦或为当时重新装裱的失误。\n第二部分文字内容为：“文王之子，武王之弟;下视成王，叔父之贵;师表万民，吐握待士;思兼三王，经制毕备;群叔汹汹，流言纷至;天威彰显，闻望无愧;盛德元勋，下蟠上际;式图丹青，昭□(示?)□(后)□(世);若揭日月，诏彼稚昧。”\n文字描述的主人公是 “文王之子、武王之弟、成王之叔”，为西周时期的周公旦，记录他握发吐哺求贤若渴、创立典章制度、摄政并平定叛乱、威德远布四方人的事迹。绘此画作的目的是向四方昭示他的德行并起到示范作用。该部分内容第四行的最后三字处有残缺。经查找，其残损部分仍保留在画作上，只是被错误地装补到了第一部分文字处。\n第三部分文字内容为：“巨飚扇海洪波翻，指鹿为马无腆颜;泗上亭长起应天，子房杖策来自韩;圯上老人书一编，佐汉兴王无后艰;客有为□(我)□(橈)楚权，请借前箸输忠谈;南宫偶语事寝阑，即日劝驾西都关;羽翼已成储嗣安，愿与赤松求神仙;高名万世长铿鍧，再拜清风何所言;望之俨然即之温，奇伟魁梧焉足论。”\n根据史书记载，可知本部分文字描述称赞的主人公是汉留候张良。写秦朝末年张良来自韩国，借助圯上老人黄石公所赠《太公兵法》，辅佐刘邦起事。这里选取了他的几个事迹：反驳郦食其的策略、建议奖赏有功之臣、劝服刘邦移驾长安、帮助吕后和太子孝惠巩固地位、功成名就后隐退等。赞扬他的万世高名，虽为妇人之貌，却远胜奇伟魁梧的大丈夫。本部分文字第三行倒数二、三字有残损，但是根据史书记载可补足，模糊二字分别是“我”“橈(桡)”。\n第四部分文字内容为：“自期稷卨，致君尧舜;愿为良臣，展尽底蕴;正观之治，几于成康;外户不闭，行不赍粮;想其堂堂鹗立，犯颜进谏;虽逢帝怒，神色不变;信乎百世之下，论世尚友;雄姿凛凛，传于不朽。”\n这部分文字称颂的是贞观时期的名臣魏徵。谈及魏徵如稷卨这样的名臣，“贞观之治”堪比“成康之治”，记录在魏徵治理之下有夜不闭户而远行时又不必携带粮食的淳朴世风，以及他堂堂正正犯颜进谏的诤臣风范，这些皆传于不朽。\n第五部分文字内容为：“宇宙雰雺兮孰与清，日月薄蚀兮孰与明，清而明之兮，命世之英;大厦将欹兮，其谁支;神器将坠兮，又谁举之;支而举之兮，命世之奇英;与奇兮惟梁公，为子孝兮为臣忠;北斗以南兮，人谁与同;取日虞渊兮，洗光咸池;授五龙兮，夹以飞蒙;耻济谋兮，功盖一时;貌图丹绘兮，如玉如金;风度温然兮，贻后人;十袭之藏兮，爰丕显于斯辰。”\n翻检史书，我们会发现这里面描述的国之栋梁、忠臣孝子、忍辱负重规劝武则天将庐陵王李显立为太子使政权又回到唐代宗室手中的一代英豪是“梁公”狄仁杰，描绘梁国公之画像，目的是将他的风采传递后人，这样的图载值得珍藏。\n第六部分文字内容为：“唐德中否，群兇肆起;尚父鹰扬，于彼朔方;克复两京，三河肃清;整我六师，大振威灵;单骑见虏，压以至诚;忠贯日月，德通神明;二十四考，中书政成;式图貌像，仰止仪形;英姿粹蕴，凛凛如冰;维昔方虎，中兴周室;诗人歌之，二雅纪德;再造唐祚，汾阳允武;用垂颂声，以绍厥绪。”\n被封为朔方节度使收复长安、洛阳两京，平定河东、河西、河南叛军，单骑免胄见回纥，为中书令期间主持官吏的考绩二十四次而被尊为“尚父”的是唐朝的郭子仪。绘画者希望能够像当年纪念中兴周朝的方叔、召虎一样，给郭子仪“式图貌相”，让后人赞颂他，并完成他未竟的事业。\n这一部分的文字残缺甚多，根据内容判断所描绘的主人公颇有难度。而判断这段文字所描述的主人公，主要是依照第十部分的文字内容。通过排除法，可得知这段文字所颂赞的是韩琦。史书记载，韩琦任官期间敢于诤言谠议;严肃的外貌却给人温和的感觉，如玉如水;家中藏书颇丰，所写文章品格不凡。\n第八部分文字内容为：“于皇上帝，降祚炎宋;爰锡真儒，郁为时楝;真儒伊河，时维司马;如柱如石，克建大厦;退居西洛，十有五年;著书立言，成名自天;既相君实，欢声洋溢;农安于田，妇安于室;复我良法，式循祖宗;进良退奸，坐致融融;四方仰止，图像克肖;饮食必祝，家至户到;食采温国，著名凌烟;元勋巨德，英图莫传。”\n这一赞文描述的是北宋司马光。北宋时期的良才为伊河之地的司马光，进为栋梁之才，退则著书立说，再次拜相时又一次辅佐君王造就了繁荣安定的景象。因此，理应为司马光传图写照，受到后人尊重。\n第九部分文字内容为：“太师公相画像赞。天之苍苍，其命灼然;将兴太平，必生真贤。堂堂益公，起江之东;受天间气，出建大功;节义凛然，归秉国均;建万世策，交欢宝邻;长乐正位，清朝偃共;四时协和，万邦咸宁;道大不器，德全难名;高勋巍巍，日月并明;皇帝神圣，师臣赞襄;多历年所，相得益章;图形凌烟，褒赞有光;其永相予，雍容庙堂;风采德威，外传四方;真汉相矣，岂惟王啇;南山之高，岩岩其石;民怀姬公，师保之德;千载具瞻，与山无极。”\n根据文字内容，这描述的是太师公相画像，他被封为益国公，其功勋可比日月，且与皇帝交往融洽，品德风采足可与山川一样长久影响后人。先前识读者根据文字内容的第一行“太师公相画像赞”及第三行“堂堂益公”确定此主人公是同为益国公、太师的周必大。在许浩然的文章中，他提出此主人公是秦桧而非周必大的四点理由：第一，“起江之东”与周必大原出河南郑州管城的籍贯不符;第二，周必大卒后赠太师，而非“太师公相”;第三，在宋代身任宰相、官太师、封益国公，同时又为江东之人者仅有秦桧;第四，“节义凛然，归秉国均;建万世策，交欢宝邻”是言其被俘金国，后回南宋担任宰相并主张议和等经历。\n基本来说，许浩然之文考辨的是有道理的，只是第一点中提到的“起江之东”，也与周必大有关系，周必大出生于江东长洲(今苏州)。学者们之所以会混淆周必大与秦桧，是因二者信息比较接近，在相貌上又无确切描绘。故宫博物院南熏殿旧藏周必大像与该画作中的秦桧像或可作一对比，周必大面相仁厚，秦桧似显城府。",[23,164,24,7,25,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae42577c6a1c131396fab8d2cb999a6c.jpg","纵36.5厘米，横246.2厘米",[],{"id":73559,"slug":73560,"title":73561,"dynasty":54,"author":6946,"museum":18494,"description":59999,"tags":73562,"thumbUrl":73563,"material":734,"size":60002,"collection":84,"collections":73564,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},223319,"fa-jie-yuan-liu-tu-jing-pian-2-ding-guan-peng-223319","法界源流图镜片-2",[23,24,164,7,25,27,28,187,18381,96,56949,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5310045c3d9528f01b0ec6d6d1291e6.jpg",[],{"id":73566,"slug":73567,"title":73568,"dynasty":54,"author":6946,"museum":18494,"description":73569,"tags":73570,"thumbUrl":73572,"material":734,"size":73573,"collection":84,"collections":73574,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},223308,"fa-jie-yuan-liu-tu-juan-2-ding-guan-peng-223308","法界源流图卷-2","该作品的艺术价值堪与北宋名画《清明上河图》媲美，被誉为世界“佛文化、绘画”艺术颠峰之作，世界无价之宝。\n丁观鹏摹张胜温法界源流图卷，是中国艺术史上的一件瑰宝，规模宏伟，人物众多，用笔十分精细认真，如此长卷在世界的佛教绘画中是罕见的。面对这一人物众多，内容复杂，描绘精良的宏篇巨制，不能不令人信服地赞叹中国传统绘画刚健的生命力。由此引起世界上学术界和观赏者的深切关注，也就是非常自然的事情了。\n该卷中所描绘的形象非常繁多，既有佛界诸宗派的人物形象，也有各种动植物和各种佛具法器，均描绘精细，不仅比例准确，而且神态生动。这些形象的汇集与成功的描绘，不由地使人对该画的作者产生由衷敬佩。虽然他的生平事迹不见任何记载，他这件辉煌作品就足以使他在美术史乃至佛教史上永远放射着巨大的光芒。\n该作品用笔细致非凡，设色浓丽，端庄典雅，是清代画家丁观鹏精心创作杰作之一。",[23,24,7,25,28,27,187,96,772,189,3588,7791,53895,31935,73571,11074,5626,20953],"宝幡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6dd816747b646199e5026a31a8f45bc.jpg","纵33厘米、横1635厘米",[],{"id":73576,"slug":73577,"title":73578,"dynasty":54,"author":4468,"museum":20,"description":11261,"tags":73579,"thumbUrl":73581,"material":40,"size":11264,"collection":84,"collections":73582,"showCount":1014,"zanCount":1998,"manualWeight":48,"mainColor":72},222789,"hua-niao-ce-ye-09-lang-shi-ning-222789","花鸟册页09",[23,164,24,7,4437,28,27,14386,10803,73580,61,62,229,624,885,13136],"细腻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73c3e2ee11b27dd75906effcdda8e37d.jpg",[],{"id":73584,"slug":73585,"title":73586,"dynasty":54,"author":37873,"museum":244,"description":73587,"tags":73588,"thumbUrl":73589,"material":84,"size":73590,"collection":84,"collections":73591,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},222690,"xie-yu-tian-ci-yi-zhou-qian-zai-222690","写玉田词意轴","钱载（1708—1793），字坤一，号萚石，又号匏尊，晚号万松居士、百幅老人，秀水（今浙江嘉兴）人，清朝官吏、诗人、书画家。乾隆十七年进士，改庶吉士，散馆授编修，后授内阁学士兼礼部侍郎，上书房行走，《四库全书》总纂，山东学政。官至二品，而家道清贫，晚年卖画为生。\n工诗文精画，善水墨，尤工兰竹，著有《石斋诗文集》。诗宗北宋大文豪黄庭坚，为乾嘉年间“秀水派”的代表诗人。\n雍正十年，副榜贡生，举博学鸿词、举经学，就试皆未入选。乾隆十七年，成进士，改庶吉士，授编修。七迁内阁学士，直上书房。四十一年，督山东学政。四十五年，命祭告陕西、四川岳渎及帝王陵寝。寻擢礼部侍郎，充江南乡试考官，举顾问为第一，四书文纯用排偶，上以乖文体，命议处。吕氏春秋尧葬谷林，史记不书其地。乾隆元年，以山东巡抚岳濬奏，自东平改祀濮州。\n四十一年，大理寺卿尹嘉铨疏言当在平阳，下部议驳。载督学山东，谒濮州尧陵，自四川还道平阳，得尧陵州东北；及江南典试归，又至东平求旧时所祭尧陵，参互考订，以为在平阳者是。史记汤、武皆未著葬地，盖都於是葬於是则不书，尧亦其例。因疏请釐定。下大学士、九卿议驳，载奏辨；复议，仍寝不行。上谕曰：“经生论古，反覆辨证，原所不禁。但既陈之奏牍，并经廷臣集议，即不当再执成见。载斥吕不韦门下客浮说，不韦即不足取，亦尚不可以人废言。况其门下客所著书，所谓‘悬之国门，不易一字’，岂能谓不足为据？其时去古未远，或尚有所承述。乃欲在数千年后虚揣翻驳，有是理乎？载本晚达，且其事只是考古，是以不加深问。若遇朝廷政治，亦似此哓哓不已，朕必重治其罪。”命传旨申饬。载疏累数千言，语有未明，复为自注，时谓非章奏体，上亦未深诘也。四十八年，休致。五十八年，卒，年八十有五。\n金德瑛论诗宗黄庭坚，谓当辞必己出，不主故常。载初与订交，晚登第，乃为门下门生；诗亦宗庭坚，险入横出，崭然成一家。同县王又曾、万光泰辈相与唱酬，号秀水派。载又为陈群族孙，从陈群母陈受画法，苍秀高劲，亦如其诗。",[23,24,7,165,128,171,375,1771,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8f89cdd4b6dd65bf8c960069e65899b.jpg","137.7x68.4",[],{"id":73593,"slug":73594,"title":73595,"dynasty":54,"author":16583,"museum":1185,"description":32663,"tags":73596,"thumbUrl":73597,"material":6091,"size":32666,"collection":84,"collections":73598,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},222653,"zhi-hua-xi-lie-zhi-hua-wu-he-gao-qi-pei-222653","指画系列-指画·舞鹤",[23,24,7,29104,128,27,722,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffce2b5a5b5757c376b2688da33acde95.jpg",[],{"id":73600,"slug":73601,"title":73602,"dynasty":124,"author":27440,"museum":5202,"description":73603,"tags":73604,"thumbUrl":73605,"material":611,"size":73606,"collection":84,"collections":73607,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},222532,"ku-lan-fu-hua-tu-ba-juan-wang-duo-222532","枯兰复花图跋卷","释文：\n已丑五月夜。同观画。梁眉居。黄于石。张坦公。张天调。薛行坞。傅梦祯。刘瀛洲。宋牧仲。宋赤城。主人玄平号雨恭。时同饮三槐下。王铎。\n已丑夏五月廿二日。闻雨恭先生阁下盎中建兰于既萎后倏发一茎三花。予骇焉。萎而花。此中有道。其发兰之为其所以发皇者。果兰之为耶。兰。花卉中抱德者也。孤秀幽藏。异乎炫。无人清湛。异乎佝。不斗艳于鼠姑将离。异乎争。映景乘旺。萼蕤跗联。乃于萎荄勃然生灵光奇馞。於戏。兰亦受命者。气垕理苞。即司百物者。不能閟。况天况墬况人况兰。凡后日千叶万萼。雨先生为国家发无穷光华。流馨千禩。为王者笃材。不与凡卉伍。吾于斯。率尔席上即写兰卷。又纪其三花之像。钟万哗盛与古咎箄。鸠方絜馥臻茂。开一代之昌运。必得一代异人。兰何能为政哉。噫。公之所以楙昭前路迓所以发皇者。佗他日吾以此卷券之矣。西洛王铎跋并画。吋及燃炬在蔬圃中。",[23,164,24,7,25,133,840,64,208,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7702460746d4760892dcf81172f816a5.jpg","32.6X1035.5cm",[],{"id":73609,"slug":73610,"title":73611,"dynasty":124,"author":1058,"museum":244,"description":12767,"tags":73612,"thumbUrl":73613,"material":637,"size":73614,"collection":84,"collections":73615,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":4001},222342,"hua-kan-shan-tu-bing-zi-shu-qi-yan-jue-ju-cheng-shan-tang-yin-222342","画看山图并自书七言绝句成扇",[24,7,1131,128,132,27,29,663,413,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08762db3758031108dc836b87e1b6d4d.jpg","31.7x49.5",[],{"id":73617,"slug":73618,"title":58273,"dynasty":124,"author":3619,"museum":20,"description":73619,"tags":73620,"thumbUrl":73621,"material":611,"size":73622,"collection":84,"collections":73623,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},221949,"shu-shan-ye-wen-zheng-ming-221949","释文：\n久客念当归，何待秋风生。黄花有佳色，青山无俗情。是间有真乐，悠悠空令名。\n履道心神融，驰劳情意凿。是非两悠悠，大梦谁当觉。陶翁终已久，畴须问今昨。\n款署：“旧作二首，闲录一过，戊戌八月晦日，徵明”。印“文徵明印”白方、“徵仲”朱方。\n此书录文徵明自作诗《归来堂》和《今是亭》两首，载《文氏五家集》卷一，时年六十九岁。文徵明这段时间的草书作品较多，而到了晚年几乎就见不到了。此扇面笔势曲屈环绕，线条清瘦明朗，跌宕起伏富有节奏，虽为狂草，然有规有矩，绝无草率之笔，有张旭、怀素草书的意味。",[23,1131,64,133,805,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ed66673af90293bf58665b319efca62.jpg","纵18.1厘米，横53厘米",[],{"id":73625,"slug":73626,"title":59955,"dynasty":124,"author":3619,"museum":244,"description":23062,"tags":73627,"thumbUrl":73628,"material":637,"size":73629,"collection":84,"collections":73630,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},221948,"lin-lan-ting-wen-zheng-ming-221948",[23,7,64,330,133,208,25,6369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95dc6d941074d8f2933f2a66c39791c5.jpg","纵29.2厘米，横120.5厘米",[],{"id":73632,"slug":73633,"title":7864,"dynasty":124,"author":23728,"museum":56,"description":23729,"tags":73634,"thumbUrl":73636,"material":611,"size":23732,"collection":84,"collections":73637,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},221930,"za-hua-ce-guo-xu-221930",[23,24,7,59,188,128,96,5626,73635,170],"器皿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b83ed8dc0c4e0e40df2ac76f5ce7a48.jpg",[],{"id":73639,"slug":73640,"title":7864,"dynasty":124,"author":23728,"museum":56,"description":23729,"tags":73641,"thumbUrl":73642,"material":611,"size":23732,"collection":84,"collections":73643,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},221927,"za-hua-ce-guo-xu-221927",[23,24,7,59,128,369,188,96,949,64,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95b9c8d51985fa1f5c88c9c1b2cef819.jpg",[],{"id":73645,"slug":73646,"title":73647,"dynasty":144,"author":7649,"museum":244,"description":73648,"tags":73649,"thumbUrl":73650,"material":1722,"size":84,"collection":84,"collections":73651,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},221833,"shu-ti-hua-ba-ke-jiu-si-221833","书题画跋","柯九思（1290—1343），字敬仲，号丹丘、丹丘生、五云阁吏，台州仙居（今浙江仙居县）人。其父柯谦，曾任翰林国史检阅、江浙儒学提举，是元朝仙居较为显扬的一个官宦。大德元年（1297），随父迁居钱塘（今杭州）。\n柯九思博学能诗文；善书，四体八法俱能起雅去俗。素有诗、书、画三绝之称。他的绘画以“神似”著称，擅画竹，并受赵孟頫影响，主张以书入画，曾自云：“写干用篆法，枝用草书法，写叶用八分，或用鲁公撇笔法，木石用折钗股、屋漏痕之遗意。”柯九思多藏魏晋人书法，如晋人书《曹娥诗》，也有部分宋人的精品，如苏轼《天际乌云帖》、黄庭坚《动静帖》等，经他鉴定的书画名迹流传至今者颇多。\n他的书法于欧阳询笔法之外融入魏晋人之韵，结体严整，字体恬和雅逸，雄厚重中见挺拔之秀气，深受赵孟頫推崇尚晋人书法观的影响。正如清人王文治所说：“丹邱书体仿效率更父子，力求劲拔，乃—望而知为元人书，时代为也。”行楷是其所长，他的存世书迹有《老人星赋》《读诛蚊赋诗》《重题兰亭独孤本》等。",[23,64,133,128,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3c6d75d29f29f1ff646aa013709351f.jpg",[],{"id":73653,"slug":73654,"title":28955,"dynasty":144,"author":223,"museum":244,"description":73655,"tags":73656,"thumbUrl":73657,"material":253,"size":73658,"collection":84,"collections":73659,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},221775,"ying-zhen-xiang-zhou-yi-ming-221775","画中的十八尊罗汉手中分持经卷、麈扇、念珠、莲花、香炉等，形貌各异，或老或少；又或作天竺罗汉，深目大鼻，肤色深褐，或为汉族比丘，修眉细目，肤色白皙。除此之外，画家更传神地描写了这些人物的精神状态，例如，右幅上方的降龙罗汉，抬头蹙眉，瞪望空中的腾龙，眼露凶忿。左幅下方手持贝叶经的罗汉，眉开眼笑，满脸欢愉。全作的衣纹线条以凝炼的中锋完成，时而均匀萦回，流利畅达；又时而顿挫转折，挺劲有力，不但变化多端，而且准确地掌握人物衣下的身躯结构。人物的五官和髭须都以细笔钩画，而衣上的图案也描绘得一丝不苟。全作绘制精谨，设色妍丽而不明艳，清雅出尘，诚为元代（1279－1368）宗教画的代表作。",[23,24,7,165,187,27,28,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dd6fed6d728c57d9af83dbbbc69ff72.jpg","全幅82.1公分",[],{"id":73661,"slug":73662,"title":73663,"dynasty":18,"author":4899,"museum":20,"description":73664,"tags":73665,"thumbUrl":73666,"material":40,"size":73667,"collection":84,"collections":73668,"showCount":1014,"zanCount":1998,"manualWeight":48,"mainColor":49},221622,"zhou-song-min-yu-xiao-zi-zhi-shen-tu-juan-quan-juan-ma-he-zhi-221622","周颂·闵予小子之什图卷全卷","《周颂·闵予小子之什》是诗经“风”“雅”“颂”中的颂篇之一，有11篇，为先秦时代的汉族诗歌。《诗经》是汉族文学史上第一部诗歌总集。对后代诗歌发展有深远的影响，成为中国古典文学现实主义传统的源头。",[23,164,24,7,25,27,188,28,96,97,130,34,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31474a2d2a121ee01e02e1291be9e63a.jpg","27.7x713cm",[],{"id":73670,"slug":73671,"title":73672,"dynasty":18,"author":2099,"museum":300,"description":15916,"tags":73673,"thumbUrl":73674,"material":611,"size":15919,"collection":84,"collections":73675,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},221402,"fa-hai-ling-shan-tu-4-li-gong-lin-221402","法海灵山图4",[23,1846,24,7,188,128,187,96,101,949,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16dc8ae31066e200f62d122a2dd929a5.jpg",[],{"id":73677,"slug":73678,"title":73679,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":73680,"thumbUrl":73681,"material":611,"size":3722,"collection":84,"collections":73682,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},220293,"huang-shan-tu-ce-33-hong-ren-220293","黄山图册-33",[23,24,7,164,128,59,132,29,171,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a10959aaacaefc0287430af9e22999e.jpg",[],{"id":73684,"slug":73685,"title":73686,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":73687,"thumbUrl":73688,"material":611,"size":3722,"collection":84,"collections":73689,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},220286,"huang-shan-tu-ce-39-hong-ren-220286","黄山图册-39",[23,164,24,7,59,128,132,29,171,11998,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24c7d8f2fb5813ef5402c7d8210582ec.jpg",[],{"id":73691,"slug":73692,"title":73693,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":73694,"thumbUrl":73695,"material":611,"size":3722,"collection":84,"collections":73696,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},220271,"huang-shan-tu-ce-52-hong-ren-220271","黄山图册-52",[23,24,7,59,128,132,29,171,1144,496,11998,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75bd465030a0cf75c99a75a5a20ef9db.jpg",[],{"id":73698,"slug":73699,"title":73700,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":73701,"thumbUrl":73702,"material":611,"size":3722,"collection":84,"collections":73703,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},220265,"huang-shan-tu-ce-57-hong-ren-220265","黄山图册-57",[23,24,7,59,128,29,132,1144,11802,10701],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cea407de83160040dcae42aa0719f88.jpg",[],{"id":73705,"slug":73706,"title":51972,"dynasty":54,"author":299,"museum":56,"description":19521,"tags":73707,"thumbUrl":73708,"material":173,"size":19524,"collection":84,"collections":73709,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},219842,"shan-shui-tu-ce-5-xie-sun-219842",[24,7,59,27,132,29,99,229,34,22403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F661de97df87d7f5aa241a7fc9bbf810e.jpg",[],{"id":73711,"slug":73712,"title":73713,"dynasty":54,"author":11383,"museum":56,"description":71089,"tags":73714,"thumbUrl":73715,"material":611,"size":71092,"collection":84,"collections":73716,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},219833,"ren-wu-ce-ye-2-ren-xiong-219833","人物册页-2",[24,7,59,27,96,101,131,4278,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ccf5311db022a9e95cdf7062721bb3f.jpg",[],{"id":73718,"slug":73719,"title":73720,"dynasty":124,"author":223,"museum":2542,"description":73721,"tags":73722,"thumbUrl":73724,"material":173,"size":73725,"collection":68,"collections":73726,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},219103,"lu-cong-gui-qin-tu-yi-ming-219103","芦丛归禽图","疏芦斜曳，翎羽翩然。归禽或栖于汀石，或振翅掠空，笔墨简淡却意态鲜活。淡远的背景晕染出雨后空濛，恰与题跋中“宿雨涨”的诗意相契。诗画交融间，文人寄情林泉的雅趣悄然流露——无需浓妆艳抹，仅以清雅之韵勾勒自然闲静，仿佛芦叶簌簌声里，禽鸟轻啼，引观者心随归禽，一同栖入这方悠然天地。",[23,24,7,128,27,28,133,73723,211,231,171,1400,7446],"芦丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87fb7b2785dc6077427ac6d731e773b1.jpg","纵22横17厘米",[68],{"id":73728,"slug":73729,"title":73730,"dynasty":980,"author":1687,"museum":300,"description":8761,"tags":73731,"thumbUrl":73732,"material":278,"size":84,"collection":84,"collections":73733,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},218172,"da-qian-kuang-tu-ce-6-zhang-da-qian-218172","大千狂涂册-6",[24,7,59,128,29,1144,96,208,64,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbb705c6440166df3e25696ae8c83b54.jpg",[],{"id":73735,"slug":73736,"title":73737,"dynasty":18,"author":1174,"museum":244,"description":12312,"tags":73738,"thumbUrl":73739,"material":173,"size":12318,"collection":84,"collections":73740,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},218158,"wen-ji-gui-han-tu-ce-5-li-tang-218158","文姬归汉图册-5",[24,7,59,27,96,101,11074,496,34,12314,28,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b01800332ea34d715a40b85c68b77af.jpg",[],{"id":73742,"slug":73743,"title":58498,"dynasty":54,"author":2653,"museum":244,"description":73744,"tags":73745,"thumbUrl":73746,"material":66,"size":84,"collection":84,"collections":73747,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},218037,"tian-wang-xiang-6-yao-wen-han-218037","蓝面金冠的护法天王立于画面中央，火焰纹如炽烈云霞环绕身侧，宝饰琳琅间透出赫赫威严。他手持长剑，姿态雄健挺拔，衣袂飘带似流云翻卷，动感十足。下方护法身形灵动，与主尊沉稳形成呼应。背景中山石苍劲，林木葱郁，祥云缭绕间隐现的人物更添层次。整幅画工笔细腻，线条精准如铁线，设色浓艳却不失雅致，金蓝红交织出富丽氛围。既展现护法神祇震慑邪魔的神圣力量，又以精致细节与生动气韵，彰显清代佛画融合宫廷精致与宗教庄严的独特风貌，每处笔触藏匠心，每抹色彩传庄严，尽显艺术与信仰交织的精湛造诣。",[164,24,7,27,28,187,96,413,131,1975,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e31efb6ce02249bc44488c1c14ad1eb.jpg",[],{"id":73749,"slug":73750,"title":73751,"dynasty":182,"author":223,"museum":2607,"description":73752,"tags":73753,"thumbUrl":73754,"material":27,"size":84,"collection":84,"collections":73755,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},217900,"guan-yin-jing-bian-tu-juan-6-yi-ming-217900","观音经变图卷-6","画面铺陈观音经变场景，人物排布错落有致。文官宽袍博带，神态雍容；武将甲胄鲜明，身姿凛凛；侍从恭谨侍侧，眉眼灵动。线条勾勒简练传神，衣纹流转间尽显唐代绘画的舒展气度。设色古朴雅致，朱红与墨黑交织，既衬出宗教场景的庄严肃穆，又融人间百态的鲜活意趣。旁附墨书经文，笔意古拙，图文相契，将经文意涵化入视觉叙事。整幅作品以细腻笔触织就信仰与生活的交融，尽显唐代经变画的艺术神韵与人文温度，是宗教艺术与世俗审美相济的典范。",[24,7,25,187,27,96,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ccd76432e5f22f1e6e6931429ae355b.jpg",[],{"id":73757,"slug":73758,"title":73759,"dynasty":182,"author":223,"museum":2607,"description":73760,"tags":73761,"thumbUrl":73762,"material":27,"size":84,"collection":84,"collections":73763,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},217893,"guan-yin-jing-bian-tu-juan-13-yi-ming-217893","观音经变图卷-13","这卷经变图以图文交织的方式铺陈观音救难故事，分段场景中人物情态鲜活：持械相搏者动作刚劲，躬身祈愿者神情虔诚，显化处的光影似含慈悲之力。线条流畅如行云，既勾勒衣袂飘举之姿，又刻画出兵器锐利质感；残存的矿物颜料虽已斑驳，朱红与石绿的底色仍透出唐人设色的浓丽。每段图文相契，将经文中的救苦义理转化为鲜活的人间图景，既是宗教艺术的生动载体，也藏着唐人信仰与生活的细腻印记，尽显唐代绘画叙事与造型的精妙功底。",[24,7,25,187,96,28,27,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F509b9ed6b35c84bfb67a63a1483acaa6.jpg",[],{"id":73765,"slug":73766,"title":73767,"dynasty":182,"author":223,"museum":2607,"description":73768,"tags":73769,"thumbUrl":73770,"material":27,"size":84,"collection":84,"collections":73771,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},217892,"guan-yin-jing-bian-tu-juan-14-yi-ming-217892","观音经变图卷-14","画面以叙事性构图铺展经义，左侧翼兽与红衣者对语，鬃毛飞扬间似藏灵韵；中部龙形神兽盘踞，跪拜人物姿态虔诚，衣袂褶皱随动作舒展，尽显唐时服饰的线条之美；右侧人物或持器作法、或捧板而立，案上香炉青烟隐现，器物细节古朴传神。下方竖排墨书与图像呼应，图文交织间，将抽象经义化为可感的视觉场景。整体画风古雅，色彩虽历经岁月仍见醇厚，人物与神兽的互动鲜活灵动，尽显唐代经变画“以图释经”的智慧与艺术张力。",[24,7,25,27,187,1692,96,772,949,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff007bd83acd38a919f18fc444c94befa.jpg",[],{"id":73773,"slug":73774,"title":73775,"dynasty":124,"author":16990,"museum":450,"description":73776,"tags":73777,"thumbUrl":73778,"material":66,"size":30760,"collection":84,"collections":73779,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},217877,"zhou-li-yuan-shang-kuan-shen-ce-er-hu-yu-kun-217877","周栎园上款什册(二)","右侧山水以淡墨勾勒皴染，嶙峋山石间几株枯树枝桠虬劲，疏朗有致；岩畔茅舍隐于树后，远山淡远朦胧，留白处尽显空灵。左侧题跋行楷相间，墨色沉厚清逸，文字与画境相生相契。整幅作品简淡中见真味：枯树无华却藏风骨，茅舍简陋更显幽寂，远山淡远引人流连。诗画合一的韵致，于笔墨间传递出文人寄情丘壑的清寂孤远，在古典雅致中尽显简素之美，是文人画里以意取胜的佳例。",[164,24,7,128,29,1337,711,131,34,496,582,64,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9b55b0b2efd8517fd33b2057e3feed9.jpg",[],{"id":73781,"slug":73782,"title":73783,"dynasty":124,"author":16990,"museum":450,"description":73784,"tags":73785,"thumbUrl":73786,"material":66,"size":30760,"collection":84,"collections":73787,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},217870,"zhou-li-yuan-shang-kuan-shen-ce-ba-hu-yu-kun-217870","周栎园上款什册(八)","水墨晕染间，层崖峻壑如劈，皴笔勾勒出山石嶙峋肌理。虬松盘结岩隙，枝干苍劲似与山风低语。山间小径蜿蜒隐现，偶见屋舍点缀，添几分幽居之趣。左侧题跋笔墨流畅，诗韵与画境交融，字里行间流露对山水清净的向往。诗画相契，尽显文人雅士寄情林泉、心向归隐的淡泊襟怀。笔墨雅致与意境悠远交织，似能窥见雅士们于林泉间品茗赏景、诗画唱和的闲逸时光，令人沉醉于这份自然与心灵的双重归栖。",[24,7,59,128,132,64,29,131,34,1144,11998,1023,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d3834a21679e7817ec440f3937cf26.jpg",[],{"id":73789,"slug":73790,"title":73791,"dynasty":54,"author":2653,"museum":300,"description":14125,"tags":73792,"thumbUrl":73793,"material":173,"size":84,"collection":84,"collections":73794,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":615},217244,"li-dai-di-wang-zhen-xiang-17-yao-wen-han-217244","历代帝王真像-17",[164,24,7,27,28,96,170,14415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee40c72fc046bb8ac8d5af0270dbd590.jpg",[],{"id":73796,"slug":73797,"title":73798,"dynasty":54,"author":73799,"museum":300,"description":73800,"tags":73801,"thumbUrl":73802,"material":66,"size":84,"collection":84,"collections":73803,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},217204,"fa-jie-yuan-liu-tu-juan-4-li-ming-217204","法界源流图卷-4","黎明","法界源流图卷是清朝时期的一部著名的佛教经典，由清朝时期的著名佛教学者黎明编写。这部经典记录了佛教从其诞生以来，到清朝时期的发展史。\n\n法界源流图卷描述了佛教从其诞生的印度，到传播到中国、日本、朝鲜等国家的过程。它还记录了佛教在不同国家和地区发展的特点，以及佛教对当地文化和宗教的影响。\n\n此外，法界源流图卷还对佛教历史上的著名佛教徒、佛教寺庙和佛教经典进行了介绍，为读者提\n供了全面的佛教史信息。\n\n黎明是清朝时期的著名佛教学者，他编写的法界源流图卷被认为是清朝时期佛教史的权威著作，对于了解佛教历史和文化具有重要的参考价值。",[23,164,24,7,25,28,27,187,96,772,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d18bfa5210907d20618ab47192c2a32.jpg",[],{"id":73805,"slug":73806,"title":73807,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":73808,"thumbUrl":73809,"material":611,"size":84,"collection":84,"collections":73810,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":956},217086,"bai-miao-luo-han-31-leng-mei-217086","白描罗汉-31",[24,7,59,188,187,96,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6215d7577f07c619859204b0f6f08c2.jpg",[],{"id":73812,"slug":73813,"title":73814,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":73815,"thumbUrl":73816,"material":611,"size":84,"collection":84,"collections":73817,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":956},217080,"bai-miao-luo-han-33-leng-mei-217080","白描罗汉-33",[24,7,59,188,187,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d4dc15580f0f9d55e3913e3e5d88bbd.jpg",[],{"id":73819,"slug":73820,"title":73821,"dynasty":54,"author":223,"museum":300,"description":73822,"tags":73823,"thumbUrl":73825,"material":173,"size":84,"collection":84,"collections":73826,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},216713,"hong-lou-meng-fu-tu-ce-11-yi-ming-216713","红楼梦赋图册-11","墨笔楷书竖排铺展，辞句间似凝着红楼的点滴情长。四周缠枝藤蔓环绕成框，翠叶纷披，红蕊黄瓣点缀其间，柔婉的线条缠缠绕绕，晕开古典雅致的气息。文字的沉静与花叶的鲜活相映成趣，仿佛把纸上的红楼风月，织进这一方锦绣画境里。笔锋的端雅、花叶的灵动，交织出文与画的交融之美，让观者在这帧间，悄然触碰到那份属于红楼的细腻与隽永。",[23,304,24,7,59,572,64,27,62,548,57836,73824],"装饰边框","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbc6434253602edac34a8b5bd2265f33.jpg",[],{"id":73828,"slug":73829,"title":73830,"dynasty":54,"author":223,"museum":300,"description":73831,"tags":73832,"thumbUrl":73833,"material":173,"size":84,"collection":84,"collections":73834,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},216694,"hong-lou-meng-fu-tu-ce-25-yi-ming-216694","红楼梦赋图册-25","素笺铺展，蝇头小楷如细密银线勾勒出红楼旧赋的婉转情肠，墨色匀净间藏着大观园的风月流转。缠枝藤蔓沿页边轻绕，嫩蕊新叶间缀着明黄浅红的花簇，似把潇湘馆的竹影、蘅芜苑的香草凝入方寸。文字与花叶相映成趣，笔墨的清雅与草木的生机交融，仿佛能嗅到书页间漫出的古墨清香，也能触到那些红楼儿女的悲欢余韵。整幅画作如一卷尘封的诗，将赋文里的痴缠与画面的雅致织就一处，静静诉说着那段镌刻在时光里的红楼旧事。",[23,24,7,59,27,64,62,548,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F032db1628c0e0118c15fb58450567a30.jpg",[],{"id":73836,"slug":73837,"title":73838,"dynasty":54,"author":223,"museum":300,"description":73839,"tags":73840,"thumbUrl":73842,"material":173,"size":84,"collection":84,"collections":73843,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},216685,"hong-lou-meng-fu-tu-ce-40-yi-ming-216685","红楼梦赋图册-40","暖黄底色如织锦轻覆，缠枝纹样婉转流转，似将红楼旧梦悄然裹藏。流云般的纹路间，隐约可见花影扶疏、吉纹暗伏，与书中诗意韵致暗合。画面质感温润，如摩挲旧卷般触感分明，暖色调晕开岁月的温软，每一缕线条都似在低诉红楼的雅致与怅惘。无需直白铺陈故事，仅以含蓄纹样便勾连起读者对书中情韵的遐思，尽显古典赋图的含蓄之美，让观者于方寸间触碰到那份跨越时空的雅致与怅然。",[23,24,7,59,27,28,96,166,73841,1367],"古典场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ee73575f75e2a99fb2b5842289b5f5.jpg",[],{"id":73845,"slug":73846,"title":73847,"dynasty":54,"author":223,"museum":300,"description":73848,"tags":73849,"thumbUrl":73850,"material":173,"size":84,"collection":84,"collections":73851,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},216681,"hong-lou-meng-fu-tu-ce-42-yi-ming-216681","红楼梦赋图册-42","墨色文字竖排铺展，如缕如丝牵起红楼旧梦；缠枝绿叶与朱红花朵自纸页边缘悄然蔓延，似要将书中风月气息晕染开来。淡雅底色衬得笔墨温润，花叶鲜活灵动。图文交织处，字里藏着儿女颦笑悲欢，花叶裹着婉转愁思，文学的幽微与绘画的雅致融于一方尺幅，尽展古典雅韵之美，让人一眼便坠入那诗意缱绻的红楼世界。",[23,24,7,59,27,28,64,572,548,1039,61,230,57836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b85e279566beb9a383f6e191658fa3d.jpg",[],{"id":73853,"slug":73854,"title":73855,"dynasty":124,"author":14778,"museum":300,"description":73856,"tags":73857,"thumbUrl":73859,"material":66,"size":84,"collection":84,"collections":73860,"showCount":1014,"zanCount":1998,"manualWeight":48,"mainColor":72},216345,"xi-xiang-ji-cha-ye-5-min-qi-ji-216345","西厢记插页-5","画面以雅致闺阁为景，半掩的纱帐轻笼床榻，帐内衾枕隐约，似藏未语心事。床侧女子衣袂素淡，身姿轻立，眉目间凝着幽思，恰如西厢故事里的婉转情愫。旁侧朱红桌案置瓶花，高烛台燃暖光，光影摇曳添静谧。屏风蓝底缀白梅，另一侧云气绕山水，纹样雅致与陈设相映。画作线条细腻流畅，淡彩晕染出明式版画的清雅韵致，以含蓄场景铺陈，将故事缱绻意绪融入细节，让观者于古典情境里感知西厢的温婉深情。",[24,7,59,27,95,96,166,73858,2824,42643,371,9014],"床","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcba74f34e3c87bab1813e783c7c15265.jpg",[],{"id":73862,"slug":73863,"title":73864,"dynasty":124,"author":802,"museum":300,"description":73865,"tags":73866,"thumbUrl":73867,"material":278,"size":84,"collection":84,"collections":73868,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},216313,"xi-xiang-ji-zhen-ben-tu-ce-11-chen-hong-shou-216313","西厢记真本图册-11","桃花枝桠轻探过墙头，瓣瓣花蕊垂落如星子。一只鸟振翅掠过，羽翼带起细碎的风，将花瓣吹向墙外——那是张生曾伫立的方向。“墙外掷果”四字隐现，暗合《西厢》里的心动瞬间：墙内是莺莺的娇羞颔首，墙外是张生的痴望凝眸，连花鸟都成了这段情意的信使。线条古雅凝练，墨色淡远清幽，把古典爱情里的朦胧牵挂，藏在枝桠的舒展、飞禽的姿态与一堵墙的留白中。每一笔都似在低语，诉说着那段隔墙传情的温柔心事，让观者仿佛能触到千年前的春风与心跳。",[24,7,59,188,28209,211,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc801405e05fdb9b11a8818f20bf40437.jpg",[],{"id":73870,"slug":73871,"title":73872,"dynasty":124,"author":802,"museum":300,"description":73873,"tags":73874,"thumbUrl":73875,"material":278,"size":84,"collection":84,"collections":73876,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},216310,"xi-xiang-ji-zhen-ben-tu-ce-7-chen-hong-shou-216310","西厢记真本图册-7","墨线如铁线盘桓，勾出荷花清雅风骨。荷瓣轻展若含情，莲蓬点点藏生机，荷叶脉络纵横似含烟水之气，与花相映成趣。画面简而不空，线条转折间见笔力千钧，古雅韵致扑面而来。仿佛池畔荷香漫溢，静谧中漾开诗意。笔端带着岁月沉淀的温度，将古典情境融入一池荷景。每一笔皆有筋骨，刚劲中藏柔媚，尽显文人画逸趣。观者于水墨间触摸跨越时空的雅致，似能窥见画中人心境，在荷影摇曳里，感受古典艺术的永恒魅力。",[24,7,59,188,28,81,82,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19262cf55a02620e9692685ab003c5e3.jpg",[],{"id":73878,"slug":73879,"title":73880,"dynasty":124,"author":802,"museum":300,"description":73881,"tags":73882,"thumbUrl":73883,"material":278,"size":84,"collection":84,"collections":73884,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},216303,"xi-xiang-ji-zhen-ben-tu-ce-19-chen-hong-shou-216303","西厢记真本图册-19","左帧疏梅斜出，枝桠如铁，几点花蕊疏疏落于枝头，墨痕淡扫间，梅的清傲与幽寂跃然纸上；右帧案几简素，盆中花叶轻展，旁侧悬物线条凝练，似藏着未言的心事。整幅以线塑形，笔力古拙苍劲，构图疏朗却意韵绵密。将西厢记里含蓄的情愫，悄悄织进花木与器物的缝隙中——没有浓墨重彩，只凭极简的勾勒，便让文人画的雅致与戏剧的幽婉相融。静赏时，古意漫溢，仿佛能触摸到那份古典的温柔，听见时光里轻浅的喟叹。",[24,7,59,188,128,371,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd818b77a09d8fda55ddc19424753c250.jpg",[],{"id":73886,"slug":73887,"title":73888,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":73889,"thumbUrl":73892,"material":66,"size":84,"collection":84,"collections":73893,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},215091,"tui-bei-tu-ce-13-jiao-bing-zhen-215091","推背图册-13",[23,24,7,59,28,27,96,304,7876,73890,35063,73891,3490,40819,64264],"红衣","宝珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddf76ad21b8347727f9d775df4e4a1f3.jpg",[],{"id":73895,"slug":73896,"title":73897,"dynasty":54,"author":3750,"museum":77,"description":51930,"tags":73898,"thumbUrl":73899,"material":66,"size":84,"collection":84,"collections":73900,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},215027,"fang-gu-shan-shui-ce-4-wang-jian-215027","仿古山水册-4",[24,7,59,27,128,26,29,11998,131,5323,19769,37,132,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0393365bda3bc690fcdbd70ef24cce4c.jpg",[],{"id":73902,"slug":73903,"title":73904,"dynasty":54,"author":3750,"museum":77,"description":51930,"tags":73905,"thumbUrl":73906,"material":66,"size":84,"collection":84,"collections":73907,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},215013,"fang-gu-shan-shui-ce-16-wang-jian-215013","仿古山水册-16",[23,24,7,59,128,2271,132,29,34,131,99,35,415,3427,497,499,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff3127628e515577f3ff665edc54ac18.jpg",[],{"id":73909,"slug":73910,"title":73911,"dynasty":144,"author":8127,"museum":244,"description":62275,"tags":73912,"thumbUrl":73913,"material":173,"size":10420,"collection":84,"collections":73914,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},214999,"xie-sheng-hua-hui-ce-9-wang-yuan-214999","写生花卉册-9",[164,24,7,59,27,28,61,62,481,167,2166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d712f24af0cc8ac6c9a16e19feedfb2.jpg",[],{"id":73916,"slug":73917,"title":73918,"dynasty":144,"author":8127,"museum":244,"description":62275,"tags":73919,"thumbUrl":73920,"material":173,"size":10420,"collection":84,"collections":73921,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},214997,"xie-sheng-hua-hui-ce-11-wang-yuan-214997","写生花卉册-11",[24,7,59,28,27,61,62,549,7857],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f0570c47e90f7b2e6f3443653747503.jpg",[],{"id":73923,"slug":73924,"title":73925,"dynasty":124,"author":204,"museum":244,"description":71251,"tags":73926,"thumbUrl":73930,"material":173,"size":71254,"collection":84,"collections":73931,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},214909,"di-wang-dao-tong-wan-nian-tu-ce-6-chou-ying-214909","帝王道统万年图册-6",[23,24,7,59,28,27,96,29,7876,34,26,8189,15819,25487,40819,25484,25485,25486,41971,73927,73928,73929],"山水背景","工笔技法","设色风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d8c8c0c27fdcc62e2833896b2a44e5a.jpg",[],{"id":73933,"slug":73934,"title":4577,"dynasty":124,"author":1141,"museum":20,"description":64395,"tags":73935,"thumbUrl":73936,"material":278,"size":64398,"collection":84,"collections":73937,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},214874,"shan-shui-ce-6-wen-zheng-ming-214874",[23,24,7,59,128,27,132,133,208,29,413,131,3387,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7df6172fccb4c60a4fb3395ec04a2632.jpg",[],{"id":73939,"slug":73940,"title":73941,"dynasty":124,"author":1141,"museum":20,"description":64395,"tags":73942,"thumbUrl":73943,"material":278,"size":64398,"collection":84,"collections":73944,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},214868,"shan-shui-ce-11-wen-zheng-ming-214868","山水册-11",[23,24,7,59,128,132,133,64,208,29,34,496,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8463e9a89c4cea4605c5b0166171c0d.jpg",[],{"id":73946,"slug":73947,"title":73948,"dynasty":124,"author":1141,"museum":20,"description":64395,"tags":73949,"thumbUrl":73950,"material":278,"size":64398,"collection":84,"collections":73951,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},214867,"shan-shui-ce-12-wen-zheng-ming-214867","山水册-12",[23,24,7,59,188,128,29,34,130,1023,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cde7cb74967e06438fb090c75fc3a03.jpg",[],{"id":73953,"slug":73954,"title":73955,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":73956,"thumbUrl":73957,"material":66,"size":10301,"collection":84,"collections":73958,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},214806,"zhi-sheng-xian-xian-ban-shen-xiang-3-yi-ming-214806","至圣先贤半身像-3",[23,24,7,96,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba5af7c8381cc1884c9fac3c244acc98.jpg",[],{"id":73960,"slug":73961,"title":73962,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":73963,"thumbUrl":73965,"material":66,"size":10301,"collection":84,"collections":73966,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},214805,"zhi-sheng-xian-xian-ban-shen-xiang-4-yi-ming-214805","至圣先贤半身像-4",[23,24,7,164,59,27,28,96,73964,170],"先贤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a1c3e28deb77103db446e7b641e00a.jpg",[],{"id":73968,"slug":73969,"title":73970,"dynasty":54,"author":73971,"museum":244,"description":73972,"tags":73973,"thumbUrl":73974,"material":66,"size":84,"collection":84,"collections":73975,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},214722,"shan-shui-ce-ye-3-hu-gui-214722","山水册页-3","胡桂","小册页，前后以木质装帧，木质封面刻「胡桂画山水」五隶字。卷内所绘淡青绿山水，大抵以水岸河景为主，随着视点的拉近或放远，绘写远山、楼阁、帆船点点与渔子靠岸歇息等，卷末则以群山覆雪之景作结。本卷与其他两件玉器同储于长方木盒中。",[24,7,59,128,27,29,97,98,99,130,34,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda310b9e1c25c83ca4d29bc9be511e24.jpg",[],{"id":73977,"slug":73978,"title":73979,"dynasty":54,"author":1460,"museum":1941,"description":5506,"tags":73980,"thumbUrl":73981,"material":611,"size":5509,"collection":84,"collections":73982,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},214530,"yi-jin-ling-ce-4-shi-tao-214530","忆金陵册-4",[24,7,59,128,133,208,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80a7803618806a6e64a816a81e6df1b0.jpg",[],{"id":73984,"slug":73985,"title":73986,"dynasty":54,"author":36019,"museum":77,"description":68687,"tags":73987,"thumbUrl":73988,"material":278,"size":84,"collection":84,"collections":73989,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},214494,"shui-mo-tu-ce-9-zheng-min-214494","水墨图册-9",[23,24,7,59,128,29,276,34,415,5974,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95a3682411b8116be39a6cc0139523ee.jpg",[],{"id":73991,"slug":73992,"title":73993,"dynasty":54,"author":872,"museum":77,"description":24557,"tags":73994,"thumbUrl":73995,"material":66,"size":84,"collection":84,"collections":73996,"showCount":1014,"zanCount":1998,"manualWeight":48,"mainColor":72},214376,"tian-guang-yun-jing-tu-ce-2-zhu-da-214376","天光云景图册-2",[23,24,7,59,128,132,29,1337,35,98,228,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c8a3a81d0177f65a761a58e690d7eba.jpg",[],{"id":73998,"slug":73999,"title":74000,"dynasty":54,"author":872,"museum":77,"description":24557,"tags":74001,"thumbUrl":74002,"material":66,"size":84,"collection":84,"collections":74003,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},214373,"tian-guang-yun-jing-tu-ce-5-zhu-da-214373","天光云景图册-5",[23,24,7,59,128,132,29,1337,950,35,131,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fe39f03268dcbb68500b2cd4b21803b.jpg",[],{"id":74005,"slug":74006,"title":74007,"dynasty":54,"author":872,"museum":77,"description":24557,"tags":74008,"thumbUrl":74009,"material":66,"size":84,"collection":84,"collections":74010,"showCount":1014,"zanCount":1998,"manualWeight":48,"mainColor":72},214370,"tian-guang-yun-jing-tu-ce-8-zhu-da-214370","天光云景图册-8",[23,24,7,59,128,132,29,131,34,98,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fe73416e74fecf0bf9b2ed23d4652d.jpg",[],{"id":74012,"slug":74013,"title":74007,"dynasty":54,"author":872,"museum":77,"description":24557,"tags":74014,"thumbUrl":74015,"material":66,"size":84,"collection":84,"collections":74016,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":72},214369,"tian-guang-yun-jing-tu-ce-8-zhu-da-214369",[23,24,7,59,128,132,29,663,950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ee8ef4bd34254ba4c55f65f8a0df80f.jpg",[],{"id":74018,"slug":74019,"title":74020,"dynasty":54,"author":223,"museum":35520,"description":35521,"tags":74021,"thumbUrl":74022,"material":173,"size":35524,"collection":84,"collections":74023,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},214336,"da-bei-shen-zhou-fo-xiang-6-yi-ming-214336","大悲神咒佛像-6",[23,24,7,187,96,28,27,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14e179cbea6f0f4c499bc74a5d5bbc25.jpg",[],{"id":74025,"slug":74026,"title":74027,"dynasty":54,"author":223,"museum":35520,"description":35521,"tags":74028,"thumbUrl":74029,"material":173,"size":35524,"collection":84,"collections":74030,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":49},214334,"da-bei-shen-zhou-fo-xiang-11-yi-ming-214334","大悲神咒佛像-11",[23,24,7,187,28,27,96,772,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5c6d3bebec9697beeac07e4fe655f2a.jpg",[],{"id":74032,"slug":74033,"title":33103,"dynasty":124,"author":47077,"museum":56,"description":74034,"tags":74035,"thumbUrl":74036,"material":84,"size":84,"collection":136,"collections":74037,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":74038},203465,"fang-gu-shan-shui-ce-yun-xiang-203465","这幅山水以水墨为基调，干笔皴擦与淡墨晕染交织，山峦层叠间见苍劲质感，皴法细密勾勒出山石纹理；林木疏密有致，墨色浓淡相间尽显葱茏意态，几间茅舍隐于林下，添清幽之趣却无喧嚣。仿古意趣浓厚，追摹宋元笔意却融入自身韵致，山石勾勒简练，墨色温润沉厚，整体画面静谧悠远，似能让人感受到山林间的清寂之风，尽显文人画的雅致与古拙。",[23,24,7,128,132,59,64,208,29,34,1144,131,499,35,415,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F262c233ceace0d052277ef7c6007ee54.jpg",[136],"817666",{"id":74040,"slug":74041,"title":409,"dynasty":54,"author":3820,"museum":56,"description":74042,"tags":74043,"thumbUrl":74044,"material":84,"size":84,"collection":136,"collections":74045,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":74046},203454,"shan-shui-ce-gong-xian-203454","画面以水墨晕染出冬日山乡之境，枯树虬枝以干笔皴擦，线条苍劲老辣；覆雪的田埂与小径交错，牵引视线向深处村落延伸，茅舍错落，隐于寒林丘壑间。山峦以淡墨层层积染，浓淡虚实相映，既见层次又显空濛。笔墨间藏着清寂的禅意，静谧中透着生趣，仿佛能听见雪落的轻响与林间风声。整体意境悠远，技法上融合干笔皴擦与积墨晕染，尽显山水的深邃静谧之美。",[23,24,7,59,128,132,29,1337,131,690,331,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab26bdcf6677892533aa7f08dbb8707e.jpg",[136],"cac3bd",{"id":74048,"slug":74049,"title":74050,"dynasty":54,"author":1460,"museum":56,"description":74051,"tags":74052,"thumbUrl":74053,"material":84,"size":84,"collection":84,"collections":74054,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":74055},203452,"shu-guo-ce-shi-tao-203452","蔬果册","这幅画以水墨写意藤蔓豆荚，墨色浓淡相济，叶片阔笔挥洒，苍劲中见润泽；豆荚勾勒简练却形神兼备，藤蔓线条婉转灵动，似含生机。旁侧题字笔意洒脱，与蔬果之趣相映，朱红印章点缀，雅韵自生。画面简而不空，水墨淋漓间藏自然野趣，将日常蔬果点染出诗意，尽显文人画的随性与意趣，于小景中见大境界。",[24,7,128,59,133,208,64,4250,13257,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6c0251832ef828bd4f8fade4152af5f.jpg",[],"c7b998",{"id":74057,"slug":74058,"title":74059,"dynasty":54,"author":1460,"museum":56,"description":74060,"tags":74061,"thumbUrl":74062,"material":84,"size":84,"collection":136,"collections":74063,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":74064},203292,"shu-hua-ji-ce-shi-tao-203292","书画集册","笔墨相生，书画相映成趣。书法以灵动线条挥写，墨色浓淡间见韵致，笔势流转如行云流水，尽显文人笔意；绘画则以水墨晕染出山水清境，老树虬枝盘曲，枝干苍劲有力，人物立于山间小径，衣袂轻扬似与自然相融，远山淡抹，意境幽远静谧。整幅作品将书与画的意趣交织，既有书法的笔墨神采，又含山水人物的恬淡之境，尽显清代文人书画的雅致格调，于方寸册页间藏纳万千气象。",[24,7,59,128,29,96,331,133,208,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb93a90a5d00144191bb6b2c2f37bd142.jpg",[136],"cebfad",{"id":74066,"slug":74067,"title":7864,"dynasty":124,"author":802,"museum":56,"description":74068,"tags":74069,"thumbUrl":74070,"material":84,"size":84,"collection":68,"collections":74071,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":74072},203225,"za-hua-ce-chen-hong-shou-203225","上帧嶙峋孤石错落，数人凭石而立，衣纹线条如铁线般凝练，神态闲雅见古趣；下帧梅枝虬曲伸展，花朵疏淡点缀，淡墨与轻色交织出清雅之韵。笔墨简括却传神，造型奇崛高古，于册页方寸间藏文人逸致。线条刚劲又含柔婉，白描骨力与水墨灵秀兼具，景物虽简而意境悠远，尽显独特艺术风貌与笔底深功。",[24,7,59,188,128,27,96,171,371,61,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd37a74377b2761477c0b6d7e237aab7.jpg",[68],"dfd5c8",{"id":74074,"slug":74075,"title":74076,"dynasty":32945,"author":3539,"museum":56,"description":74077,"tags":74078,"thumbUrl":74079,"material":84,"size":84,"collection":68,"collections":74080,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":74081},203118,"hong-mei-tu-zhou-xu-bei-hong-203118","红梅图轴","画面中老干盘曲，墨色浓淡干湿交错，笔触如篆隶般古拙苍劲，枝桠纵横伸展，似有凌云之势。点点红梅以朱砂设色，或含苞待放，或吐蕊绽放，错落点缀于枝间，色泽明艳却不艳俗，花瓣晕染见层次，鲜活灵动。整幅作品融书法笔意与写生观察于一体，刚劲的枝干与柔美的梅花相映成趣，既透出凌寒傲雪的坚韧气节，又饱含生机盎然的新春意韵，尽显文人画的雅趣与现代艺术的活力。",[24,7,165,27,61,371,128,132,208,64,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd9ee5da982c9d9338396dba0309b4da.jpg",[68],"cdc5b7",{"id":74083,"slug":74084,"title":74085,"dynasty":32945,"author":74086,"museum":56,"description":74087,"tags":74088,"thumbUrl":74089,"material":84,"size":84,"collection":45,"collections":74090,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":74091},203005,"hu-tu-zhou-rong-da-kuai-203005","虎图轴","容大块","虎踞岩巅，目射精光，张口露齿似欲啸林。毛发以细腻笔触勾勒斑纹，橙褐设色温润而富有层次，鬃毛蓬松处兼施写意笔法，尽显猛兽威仪。岩石以淡墨皴擦，背景留白衬出主体，简洁中见雄浑气势。整幅画作工写结合，形神兼备，将老虎的刚猛与灵动融于一纸，尽显画家笔力。",[24,27,5490,949,28,132,165,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0c1b0affa7c8214e713fac577294ab1.jpg",[45],"b7a68a",{"id":74093,"slug":74094,"title":74095,"dynasty":32945,"author":7853,"museum":56,"description":74096,"tags":74097,"thumbUrl":74098,"material":84,"size":84,"collection":44,"collections":74099,"showCount":1014,"zanCount":1998,"manualWeight":48,"mainColor":74100},203003,"mu-tong-fang-zheng-tu-heng-pi-wang-zhen-203003","牧童放筝图横披","画面中牧童斜坐牛背，一手引筝线，一手轻扶牛身，老牛缓步前行，蹄下草色疏淡。笔墨简括传神，牛的憨态以浓墨粗线勾勒，牧童衣纹寥寥数笔却显灵动。背景枯树虬枝用枯笔扫出，点染的墨点似郊野零星草芽，留白处见空濛之趣。整幅画以水墨写意出田园闲趣，童真与乡野生机相融，虽极简却意境悠远，尽显文人画的雅致意韵。",[24,128,96,102,7,331,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e331653455dd58d86a21318dec5c0f.jpg",[44],"c7bbaa",{"id":74102,"slug":74103,"title":74104,"dynasty":32945,"author":68743,"museum":56,"description":74105,"tags":74106,"thumbUrl":74107,"material":84,"size":84,"collection":68,"collections":74108,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":74109},202891,"chi-shang-shuang-ya-tu-zhou-gao-jian-fu-202891","池上双鸭图轴","双鸭栖于池畔，一昂首似闻声回望，一敛羽若小憩沉眠，情态憨然毕肖。芦苇以水墨写意挥洒，笔致疏放苍劲，墨韵层次丰富；鸭子造型写实入微，羽毛的蓬松质感与明暗过渡兼用工笔之精与西法之真，尽显岭南画派折中中西的独特风貌。背景淡墨晕染出朦胧水雾，与前景生灵相映，营造出静谧悠远的自然氛围，传递出鲜活生机与艺术匠心。",[24,7,165,27,61,28,128,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bf90e0c1eaedcd9e0ef6c7c4dd7c947.jpg",[68],"d1bfa7",{"id":74111,"slug":74112,"title":33110,"dynasty":144,"author":18589,"museum":56,"description":74113,"tags":74114,"thumbUrl":74115,"material":84,"size":84,"collection":84,"collections":74116,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":74117},202434,"yun-shan-tu-zhou-fang-cong-yi-202434","画面以水墨为媒，晕染出云雾缭绕的山峦景致。淡墨轻笼成云，浓墨皴擦作石，笔墨间虚实相生，将山体的苍劲质感与云雾的空灵缥缈交织。近处松枝苍劲，掩映茅舍一角；远处峰峦隐现于烟霭中，水面孤舟一叶，似载着天地间的清寂。整体意境清幽旷远，笔墨洒脱不羁，尽显文人画的逸趣与超脱，于简淡中蕴含深邃哲思。",[128,29,129,1144,132,24,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffabe9280b0ff3d3ce8c55b84eae91bb9.jpg",[],"765d41",{"id":74119,"slug":74120,"title":74121,"dynasty":54,"author":74122,"museum":56,"description":74123,"tags":74124,"thumbUrl":74125,"material":84,"size":84,"collection":44,"collections":74126,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":74127},202145,"shu-ding-gao-zhen-tu-zhou-wang-wen-202145","树丁高枕图轴","汪文","苍松虬劲，枝干如铁，松针疏密有致，墨色清润中见古拙。树下幽石旁，文人袒衣倚石，酣然高卧，眉眼舒展，似与松风同梦，忘却尘俗烦忧。背景淡染远山，留白悠远，笔墨简淡却意蕴深长，尽显文人寄情林泉、超脱物外的雅趣。整幅画作气息闲适，传递出一种高枕忘忧、与自然相融的悠然心境。",[24,7,165,128,27,96,171,331,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f045f8107d32fe42d7484c8e8ffa62a.jpg",[44],"8a6d46",{"id":74129,"slug":74130,"title":30245,"dynasty":54,"author":1311,"museum":56,"description":74131,"tags":74132,"thumbUrl":74133,"material":84,"size":84,"collection":68,"collections":74134,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":74135},202129,"mei-hua-tu-zhou-wang-shi-shen-202129","梅枝虬曲如铁，笔力老辣却不失灵秀，墨色层次分明，花朵点染间透着清逸。墨石以块面晕开，与疏花瘦枝形成虚实对照，愈发衬出梅花凌寒的孤傲。题款行书笔势流转，与画面意境相融，诗书画印交织成韵，尽显文人画的雅致风骨。那疏朗的花枝仿佛携着冷香，穿越时光，传递出一份超然物外的情致。",[24,128,165,371,133,208,61,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa64b3af9633eb5c0154e408789249b56.jpg",[68],"c1a781",{"id":74137,"slug":74138,"title":74139,"dynasty":54,"author":73112,"museum":56,"description":74140,"tags":74141,"thumbUrl":74142,"material":84,"size":84,"collection":136,"collections":74143,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":74144},202058,"fan-zhou-tu-zhou-tuan-shi-gen-202058","泛舟图轴","画面以淡墨铺陈水汽氤氲之境，远山隐现于烟霭，近树以简笔点染，枝叶疏朗。一叶孤舟轻泛水面，舟中数人或低语或凭栏，神态闲适。山石用简练皴法勾勒轮廓，与淡墨晕染的水色交融，尽显清雅淡远之韵。笔墨简约却意趣盎然，传递出文人泛舟江湖的悠然心境，仿佛能嗅到水汽中草木的清芬，听舟楫轻摇的水声，静谧中透着超脱尘俗的惬意。",[24,128,27,29,96,129,132,1351,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2d81410ef9920f55117327b2fec8ca9.jpg",[136],"b6a89a",{"id":74146,"slug":74147,"title":34321,"dynasty":124,"author":2268,"museum":56,"description":74148,"tags":74149,"thumbUrl":74150,"material":84,"size":84,"collection":136,"collections":74151,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":74152},201787,"zeng-ke-xue-shan-shui-tu-juan-dong-qi-chang-201787","画面山峦叠嶂，云雾氤氲，林木错落有致，水畔人家隐现于烟霞之中。笔墨清逸秀润，以书入画的线条兼具骨力与韵致，皴擦点染间尽显文人山水的空灵淡远。构图开合有度，虚实相生，咫尺之间营造出深远空间感，传递“平淡天真”的艺术旨趣，尽显董氏山水典型风貌，蕴含对自然与生命的哲思。",[24,7,25,128,29,132,133,208,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc86347314b4e2b37d871072c3a457f6b.jpg",[136],"beb099",{"id":74154,"slug":74155,"title":74156,"dynasty":54,"author":74157,"museum":56,"description":74158,"tags":74159,"thumbUrl":74160,"material":84,"size":84,"collection":44,"collections":74161,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":74162},201767,"mei-xia-shang-yue-tu-zhou-yu-ji-201767","梅下赏月图轴","余集","淡墨晕染出朦胧月色，清辉洒落夜空。老梅枝干虬曲疏朗，疏影横斜间尽显苍劲风骨。树下文人宽袍博带，负手伫立，凝眸望月的姿态闲逸中藏着幽寂。笔墨简练传神，设色清雅脱俗，留白营造空濛意境，将月夜静谧与文人孤怀雅致交融，尽显文人画空灵韵致。",[24,7,165,27,96,371,231,171,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d3df64b4475f1bc42489848d0d2db25.jpg",[44],"c0b09b",{"id":74164,"slug":74165,"title":19396,"dynasty":124,"author":36139,"museum":56,"description":74166,"tags":74167,"thumbUrl":74168,"material":84,"size":84,"collection":117,"collections":74169,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":74170},201684,"lan-zhu-tu-juan-yang-wen-cong-201684","画面以水墨写意绘兰、竹、孤石，兰叶翩跹如带，墨线流畅中藏韵致；竹枝劲挺，竹叶错落，笔力刚健却含灵动之姿；山石泼墨晕染，辅以皴擦点染，苍朴厚重。三者疏密相生，相映成趣，于疏朗布局里透出文人清逸风骨与自然生机。笔墨洒脱随性，兼具写意之趣与笔墨之精，尽显作者对兰竹精神的体悟与艺术才情。",[24,25,128,375,167,171,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f55956cff9695a0c808f9a69a70da2c.jpg",[117],"b0a793",{"id":74172,"slug":74173,"title":74174,"dynasty":54,"author":74175,"museum":56,"description":74176,"tags":74177,"thumbUrl":74178,"material":84,"size":84,"collection":68,"collections":74179,"showCount":1014,"zanCount":48,"manualWeight":48,"mainColor":74180},201580,"pu-tang-qing-qu-tu-zhou-wang-kun-201580","蒲塘清趣图轴","王琨","画面以荷花为主体，粉白花瓣层层晕染，姿态清雅；墨绿荷叶舒展自然，浓淡间显生机。上方行书笔墨流畅，与下方莲荷相映成趣，尽显文人画的雅致意趣。设色清新柔和，工笔技法细腻传神，将蒲塘间的悠然景致娓娓道来，传递出静谧闲适的清趣之美。",[24,61,28,27,133,7,81,82,168,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c8448a8b238f58c6fcb863cd4684c4e.jpg",[68],"ab9d7c",{"id":74182,"slug":74183,"title":20347,"dynasty":18,"author":7583,"museum":300,"description":7584,"tags":74184,"thumbUrl":74185,"material":692,"size":1293,"collection":84,"collections":74186,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},291001,"shan-shui-tu-zhou-guo-zhong-shu-291001",[164,24,7,29,27,132,129,211,387,1337,496,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08b7155754987b42b5e622d176737084.jpg",[],{"id":74188,"slug":74189,"title":74190,"dynasty":18,"author":223,"museum":300,"description":74191,"tags":74192,"thumbUrl":74193,"material":692,"size":1293,"collection":84,"collections":74194,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},290993,"xue-shan-xing-lv-zhou-yi-ming-290993","雪山行旅轴","寒山雪积，村肆沿溪而设，长桥跨岸，旅人、牛、马络绎於途，木筏顺流结集，一派赶集景致。远景幽壑，楼台掩映，寒鸦成阵，匝绕盤旋，通幅於热闹中不失雪天阴寒之气息。屋宇、舟车、拱桥，俱以界笔出之，线条略呈钉头鼠尾，有别於传统界画。近景人物，五官、表情历历可辨，愈远则愈简，屋宇、林木亦然，深合近大远小之理。",[164,24,7,165,29,128,132,2523,98,99,96,97,1747,34,690,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a1a1c8ecfaace4914cb159de8cc047a.jpg",[],{"id":74196,"slug":74197,"title":74198,"dynasty":124,"author":1058,"museum":300,"description":4630,"tags":74199,"thumbUrl":74201,"material":692,"size":1293,"collection":84,"collections":74202,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},290845,"fu-qu-zhou-tang-yin-290845","芙蕖轴",[164,24,7,165,128,61,168,81,74200,133,64,208],"芙蕖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f4e789b4b7d47761760dcd23838e8c.jpg",[],{"id":74204,"slug":74205,"title":74206,"dynasty":124,"author":223,"museum":300,"description":74207,"tags":74208,"thumbUrl":74210,"material":692,"size":1293,"collection":84,"collections":74211,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},290806,"ming-gu-xiu-ba-xian-qing-shou-gua-ping-yi-ming-290806","明顾绣八仙庆寿挂屏","此作为绣绘结合的佳作，画面里仙姑踏云徐行，身姿温婉娴静。手中莲茎亭亭，莲蓬娇润、花苞含露，细节生动传神。衣袂纹饰以彩绣细致铺陈，晕色柔和自然，配色清雅和谐，将仙裙翩跹之态尽显。背景云纹以淡墨晕染辅以绣线勾勒，层层舒展，空灵悠然，烘托出缥缈出尘的仙家意境。整体构图疏朗清逸，以画入绣的技法尽显精妙气韵，将仙姑温婉仙气与云天悠然氛围融为一体，尽显匠造巧思。",[13534,40641,7,27,96,81,189,19603,13695,74209],"庆寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c3d819818e59fa2d7bdf32341d0aeae.jpg",[],{"id":74213,"slug":74214,"title":74215,"dynasty":18,"author":223,"museum":300,"description":74216,"tags":74217,"thumbUrl":74218,"material":692,"size":1293,"collection":84,"collections":74219,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},290776,"han-gong-chun-xiao-yi-ming-290776","汉宫春晓","松荫蓊郁如云盖，轻烟柔笼丘峦。林间文士雅聚，或围坐清谈，或信步寻幽，江岸汀洲扁舟静泊，似待归人。整画笔致温婉细腻，设色古雅沉静，将雅逸出尘的林下之趣晕染开来，把烟霞林泉间的出世闲情，凝缩在尺幅团扇中，尽显宋人追慕林泉高致、不沾尘俗的隐逸襟怀。",[24,7,1131,27,29,96,1144,7056,64,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6572d163c768fb5c26f4919bfb08caa0.jpg",[],{"id":74221,"slug":74222,"title":74223,"dynasty":54,"author":36329,"museum":300,"description":36330,"tags":74224,"thumbUrl":74225,"material":692,"size":1293,"collection":84,"collections":74226,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},290588,"yan-bo-zhi-shuang-zhang-ruo-ai-290588","烟波致爽",[24,7,59,27,26,29,97,34,32,64,572,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03eb3e4d0eb54927e945edacc84e6b56.jpg",[],{"id":74228,"slug":74229,"title":74230,"dynasty":54,"author":5276,"museum":300,"description":37104,"tags":74231,"thumbUrl":74232,"material":692,"size":1293,"collection":84,"collections":74233,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},290421,"ren-wu-shan-shui-jing-pin-ce-gao-feng-han-290421","人物山水精品册",[59,24,29,96,64,133,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febe36c89697d88e831dd6c42abe9f0ff.jpg",[],{"id":74235,"slug":74236,"title":74237,"dynasty":144,"author":569,"museum":300,"description":27930,"tags":74238,"thumbUrl":74239,"material":692,"size":1293,"collection":84,"collections":74240,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},290414,"lin-huang-ting-jing-fu-hui-wang-xi-zhi-xiang-juan-wei-zhao-meng-fu-290414","临黄庭经附绘王羲之像卷（伪）",[23,25,7,64,572,330,1590,96,24611,208,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe617929bc8a67971bbaddc937e73fd1c.jpg",[],{"id":74242,"slug":74243,"title":74244,"dynasty":54,"author":223,"museum":300,"description":74245,"tags":74246,"thumbUrl":74247,"material":692,"size":1293,"collection":84,"collections":74248,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},290380,"xiang-jiang-ba-jing-shan-shui-shou-juan-zhi-yi-yi-ming-290380","湘江八景山水手卷之一","潇湘八景，相传为潇湘一带的湖南八处佳胜。为宋沈括《梦溪笔谈·书画》中所描述。历代皆有才子追和。“新潇湘八景”评选活动，由湖南省旅游学会于2005年4月份启动。一年多时间中，专家评审委员会评出了山水文化、人文景观、生态休闲三大类“新潇湘八景”。",[23,24,164,7,25,128,29,129,211,20794],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55b13280fded5922f7e76ea0739b214f.jpg",[],{"id":74250,"slug":74251,"title":74252,"dynasty":144,"author":569,"museum":300,"description":27930,"tags":74253,"thumbUrl":74254,"material":692,"size":1293,"collection":84,"collections":74255,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},290275,"dao-chang-he-shan-shi-tie-ce-ye-zhao-meng-fu-290275","道场何山诗帖册页",[23,164,7,64,133,1590,4437,208,29,231,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa12d8b44fc4e81b70fd73285cb8353ca.jpg",[],{"id":74257,"slug":74258,"title":74259,"dynasty":54,"author":38144,"museum":300,"description":74260,"tags":74261,"thumbUrl":74262,"material":692,"size":1293,"collection":84,"collections":74263,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},288449,"xi-shan-wu-jin-tu-juan-zhou-hao-288449","溪山无尽图卷","周颢，同名人物有两位。分别是清代书画家、竹刻家。字晋瞻，号芷嵒（一作巖、岩）、芷道人、芷叟、雪樵，因蓄美须长髯，自号髯痴，人呼周髯",[23,164,24,7,25,128,29,132,496,5323,129,133,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1f875b7e8ae770f0560d5622fc8430f.jpg",[],{"id":74265,"slug":74266,"title":74267,"dynasty":54,"author":223,"museum":300,"description":74268,"tags":74269,"thumbUrl":74271,"material":692,"size":1293,"collection":84,"collections":74272,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},288437,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-ting-chen-yi-ming-288437","历代帝王贵妃大臣朝服像(廷臣)-","此作为工笔重彩肖像，写实传神，将清代高阶朝臣的威仪尽显无余。\n画家以细腻笔触晕染官员面容，皮肉质感饱满柔和，神态端凝肃穆，自带不怒自威的沉静气场。石青色朝服沉穆厚重，补子、织金暗纹细节一丝不苟，朝珠珠串光泽莹润，腰间绶带绣饰精巧，处处彰显服饰规制的华贵精巧。\n兽足座椅与祥云座褥勾勒细致，烘托出人物尊崇地位。整作色调古雅沉稳，既有纪实画像的严谨规制，又暗含写意传神的精妙，将清代官僚的肃穆仪容刻画入微，是清代肖像画中极具代表性的写实佳品。",[23,24,7,165,27,28,96,74270,14416,11584,170],"廷臣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0ed5d6eb26cac6684824e01e1a06a5f.jpg",[],{"id":74274,"slug":74275,"title":31057,"dynasty":18,"author":2067,"museum":300,"description":74276,"tags":74277,"thumbUrl":74278,"material":692,"size":1293,"collection":84,"collections":74279,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},288333,"lie-quan-tu-li-di-288333","画面右上方署有[庆元丁巳岁李迪画]年名款。此图为李迪晚年小幅画精作。本幅钤有[都省书画之印]及清代收藏家耿昭忠鉴藏印多方，对幅有耿昭忠题记一则。《虚斋名画录》著录。\n犬的形态生动，造型准确，刻画细致入微，毛茸茸的细毛和脚爪清晰可见。",[23,164,24,7,59,28,27,40960,949,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89f5913fed74e7adadfe31e9b1ef4d9a.jpg",[],{"id":74281,"slug":74282,"title":74283,"dynasty":18,"author":223,"museum":300,"description":74284,"tags":74285,"thumbUrl":74287,"material":692,"size":1293,"collection":84,"collections":74288,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},288329,"qiu-lin-han-yan-tu-yi-ming-288329","秋林寒雁图","此作以平远之法铺陈秋江荒景，几株枯木虬曲苍劲，疏枝错落，枝梢停驻的寒禽为冷寂林梢添了细碎生机。滩涂沙洲以淡墨晕染留白，寒水浅濑间群雁或敛羽休憩，或浮水徐行，柔缓动态消融了江天的寥廓清寒。\n\n笔法简淡清劲，枯木勾勒皴擦兼用，尽显老干苍硬之态，沙洲与寒水以浅墨轻扫，空疏萧散的氛围跃然绢上。将深秋江野的寂寥与灵动相融，在极简景致里晕开幽远秋思，尽显宋代山水小品独有的诗意空寂。",[24,7,128,331,74286,2875,211,454,25200,47698,1349,3291,28],"寒雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f521b186b0fa74b7d70366084df0954.jpg",[],{"id":74290,"slug":74291,"title":37125,"dynasty":18,"author":223,"museum":300,"description":74292,"tags":74293,"thumbUrl":74294,"material":692,"size":1293,"collection":84,"collections":74295,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},288225,"gao-shi-guan-pu-tu-yi-ming-288225","此作咫尺含千里之趣，左侧坡岸幽竹扶苏，两位高士凭岩闲坐，静看飞瀑破崖奔落，坠入烟霭空蒙的寒潭。远山以淡墨晕染，虚实相生，将深山林壑的空寂清远铺展开来。\n画师以极简笔触勾勒物象，墨色清润淡雅，留白处尽显空灵悠远，将寄情林泉、寻幽遁世的雅趣藏于画中。观之如临其境，仿佛能聆听见松风与瀑鸣，沉浸式触摸这份山林间的幽寂淡然。",[23,1131,24,7,1349,167,495,131,96,99,128,132,12634],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70c0c4e0cda867db4d92d66a9d575fad.jpg",[],{"id":74297,"slug":74298,"title":1131,"dynasty":54,"author":63332,"museum":300,"description":63333,"tags":74299,"thumbUrl":74300,"material":692,"size":1293,"collection":84,"collections":74301,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},288218,"shan-mian-lin-shu-288218",[24,7,1131,128,29,98,99,1025,97,131,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb206b56e2c23bb09c5d445bd1e7e8365.jpg",[],{"id":74303,"slug":74304,"title":74305,"dynasty":124,"author":223,"museum":300,"description":74306,"tags":74307,"thumbUrl":74308,"material":692,"size":1293,"collection":84,"collections":74309,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},288058,"niu-bei-heng-di-tu-ye-yi-ming-288058","牛背横笛图页","此作以简淡笔墨绘就乡野闲趣，浓墨晕染出水牛壮硕憨实的躯体，肌理厚重鲜活，老牛徐行于林间，步态悠然随性。牛背之上牧童赤足盘坐，眉眼灵动鲜活，横笛唇边，仿佛清越笛声正随林风漫溢开来。\n\n旁侧古木苍劲虬曲，枝叶层叠错落，淡墨晕染坡岸杂草，衬出郊野春日的静谧生机。整幅画作将孩童烂漫无忧与乡郊恬适野趣相融，笔意朴拙雅致，无繁复修饰，却将山乡日常的悠然诗意铺展于方寸之间，尽显田园小品的清雅意韵，藏着浓浓的烟火闲情。",[23,24,7,96,102,438,128,28,34,17990],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F391ab5e5d7fac75152b7c9bfa89be9a0.jpg",[],{"id":74311,"slug":74312,"title":74313,"dynasty":124,"author":23950,"museum":300,"description":23951,"tags":74314,"thumbUrl":74315,"material":692,"size":1293,"collection":84,"collections":74316,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},288053,"xing-kai-ye-chen-yuan-su-288053","行楷页",[64,64735,572,133,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03f3a373fd4b5031e3050014e309197e.jpg",[],{"id":74318,"slug":74319,"title":74320,"dynasty":124,"author":26321,"museum":300,"description":74321,"tags":74322,"thumbUrl":74323,"material":692,"size":1293,"collection":84,"collections":74324,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},287951,"shan-shi-qing-lan-tu-ye-li-shi-da-287951","山市晴岚图页","李士达的生活年代大约是十六世纪中叶到十七世纪初。在万历二年（公元1574年）考中进士，泰昌元年（公元1620年）还画过一幅《关山风雨图》，活了八十多岁。",[23,164,24,7,59,128,27,29,6844,34,35,149,690,133,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d0c6f4dea0a508712866a8b7f90be74.jpg",[],{"id":74326,"slug":74327,"title":74328,"dynasty":124,"author":26321,"museum":300,"description":74321,"tags":74329,"thumbUrl":74330,"material":692,"size":1293,"collection":84,"collections":74331,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},287950,"yuan-pu-gui-fan-tu-ye-li-shi-da-287950","远浦归帆图页",[23,164,24,7,59,27,128,29,331,35,129,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7f026455b9d53abbdd4913cbba54aea.jpg",[],{"id":74333,"slug":74334,"title":74335,"dynasty":144,"author":223,"museum":300,"description":35562,"tags":74336,"thumbUrl":74337,"material":692,"size":1293,"collection":84,"collections":74338,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},287772,"di-er-a-zi-da-zun-zhe-yi-ming-287772","第二阿资达尊者",[24,7,165,187,128,96,18331,18381,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ea327f67ec8c5c8bbd64df1c99aa3c3.jpg",[],{"id":74340,"slug":74341,"title":74342,"dynasty":222,"author":223,"museum":300,"description":74343,"tags":74344,"thumbUrl":74346,"material":692,"size":1293,"collection":84,"collections":74347,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},287706,"yan-si-mu-zhong-tu-er-yi-ming-287706","烟寺暮钟图（二）","此作用淡墨晕染铺就暮霭昏茫，以虚实相生之法写尽空山晚钟的幽寂禅意。主峰奇崛，以浓墨提点山石肌理，苍劲老辣，林麓间山寺半隐，藏而不露。下半段以淡墨晕开水色天色，烟岚漫过山腰，将天地晕作浑茫一片，远近层次尽在墨色浓淡间悄然区分。\n全画不着一笔明绘钟声，却以空濛暮色烘托出晚钟穿破烟岚、漾过水天的悠远意境，将黄昏山寺的静谧禅韵渲染到极致，尽显水墨写意以意胜形的绝妙意趣。",[24,7,164,165,128,132,29,496,9550,31088,74345],"暮景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05e937ea44eed6947e72ce10b20c4e2e.jpg",[],{"id":74349,"slug":74350,"title":74351,"dynasty":18,"author":223,"museum":300,"description":74352,"tags":74353,"thumbUrl":74355,"material":692,"size":1293,"collection":84,"collections":74356,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},287587,"song-di-yao-li-xiang-yi-ming-287587","宋帝尧立像","此作以凝练铁线描勾勒衣纹，宽袍博带垂坠舒展，尽显古雅沉静。帝尧面容清矍，目光沉凝有神，双手姿态内敛端重，将上古圣君仁厚威严的气度具象呈现。题诗呼应其垂裳而治的文德盛名，书画相得益彰，整体气韵肃穆庄重，带着两宋人物画的写实风骨，精准刻画出贤君的神性与人文意涵，是兼具历史价值与审美意趣的古典人物画精品。",[164,24,7,165,27,96,14415,74354],"帝尧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9d6d42c90cfcb8042cc303d15fb146a.jpg",[],{"id":74358,"slug":74359,"title":74360,"dynasty":144,"author":569,"museum":300,"description":27930,"tags":74361,"thumbUrl":74362,"material":692,"size":1293,"collection":84,"collections":74363,"showCount":738,"zanCount":1998,"manualWeight":48,"mainColor":49},287540,"ji-shi-jue-ju-zhao-meng-fu-287540","即事绝句",[164,24,7,165,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93bcb4da623173e899b38ab32ce72792.jpg",[],{"id":74365,"slug":74366,"title":74367,"dynasty":124,"author":10922,"museum":300,"description":42506,"tags":74368,"thumbUrl":74369,"material":692,"size":1293,"collection":84,"collections":74370,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},287439,"zhu-ming-feng-tian-tu-shan-mian-wen-jia-287439","竹明风恬图扇面",[164,24,7,1131,128,167,171,1337,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb53dd14890df9a037c0b39b8f0d9b91.jpg",[],{"id":74372,"slug":74373,"title":74374,"dynasty":54,"author":6946,"museum":300,"description":35061,"tags":74375,"thumbUrl":74376,"material":692,"size":1293,"collection":84,"collections":74377,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},287424,"shi-liu-ying-zhen-xiang-di-shi-er-ding-guan-peng-287424","十六应真像(第十二)",[24,7,165,187,18381,27,28,96,18331,29,99,81,263,208,438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe66941476659f3a33338acdaefcd8a57.jpg",[],{"id":74379,"slug":74380,"title":74381,"dynasty":54,"author":1242,"museum":300,"description":36392,"tags":74382,"thumbUrl":74384,"material":692,"size":1293,"collection":84,"collections":74385,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},287353,"wei-ma-yue-guan-zuo-hua-shi-jin-nong-287353","为马曰琯作画诗",[64,572,208,209,2167,59,74383,7],"寂寞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d2ac11910dd1f682da6ca313e6c0edd.jpg",[],{"id":74387,"slug":74388,"title":74389,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":74390,"thumbUrl":74391,"material":692,"size":1293,"collection":84,"collections":74392,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},283772,"ge-ti-gu-shi-shi-jiu-shou-juan-dong-qi-chang-283772","各体古诗十九首卷",[23,164,7,25,64,840,133,572,21937,938,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfbedbbbd514c6acbd12911211a88cf4.jpg",[],{"id":74394,"slug":74395,"title":74396,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":74397,"thumbUrl":74398,"material":692,"size":1293,"collection":84,"collections":74399,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},283764,"lin-ge-jia-shu-juan-dong-qi-chang-283764","临各家书卷",[23,25,64,7,330,133,840,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b5fd3ef629fa2133fe9f09c08a21270.jpg",[],{"id":74401,"slug":74402,"title":74403,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":74404,"thumbUrl":74405,"material":692,"size":1293,"collection":84,"collections":74406,"showCount":738,"zanCount":1998,"manualWeight":48,"mainColor":72},283722,"lin-song-si-jia-shu-juan-dong-qi-chang-283722","临宋四家书卷",[23,25,64,7,330,133,1590,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc456037d31b2f70c134a2c3717659281.jpg",[],{"id":74408,"slug":74409,"title":74410,"dynasty":54,"author":223,"museum":300,"description":10087,"tags":74411,"thumbUrl":74412,"material":692,"size":1293,"collection":84,"collections":74413,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},272871,"zi-tan-mu-bian-ke-si-san-xing-song-gua-ping-yi-ming-272871","紫檀木边缂丝三星颂挂屏",[24,7,40641,1944,96,42241,27,1144,276,13720],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F925df77c0f293d6616856a4781bfa2ca.jpg",[],{"id":74415,"slug":74416,"title":74417,"dynasty":54,"author":223,"museum":300,"description":10087,"tags":74418,"thumbUrl":74421,"material":692,"size":1293,"collection":84,"collections":74422,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},267333,"ke-si-ji-le-shi-jie-tu-zhou-yi-ming-267333","缂丝极乐世界图轴",[164,24,7,165,187,95,27,96,97,18381,74419,1944,74420],"阿弥陀佛","极乐世界","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3df9552f254b8e1836c543e971bcd9e3.jpg",[],{"id":74424,"slug":74425,"title":74426,"dynasty":54,"author":223,"museum":300,"description":74427,"tags":74428,"thumbUrl":74429,"material":84,"size":84,"collection":2210,"collections":74430,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":956},242170,"lan-ting-ba-zhu-tie-yu-shi-nan-lin-lan-ting-xu-yi-ming-242170","《兰亭八柱帖》虞世南临兰亭序","此作黑底白字，墨色匀净莹润，刀下毫芒毕现，恍若墨迹初成。笔下温润秀雅，将原作萧散冲和的意韵尽数留存，行笔舒展圆融，点画间带着平和雍容的气度，牵丝映带自然灵动，把修禊雅集里俯仰骋怀的悠然藏在锋棱之中。\n\n章法错落有致，通篇气息连贯畅达，仿佛将曲水流觞的清和风雅凝于尺幅之内，摹刻之际不失原作神韵，让晋人风流与唐楷端雅法度相融，尽显兰亭雅集里天朗气清的悠然意趣。",[64,1590,5380,330,133,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5fde375b363527dc97068be7d55f52c.jpg",[2210],{"id":74432,"slug":74433,"title":74434,"dynasty":18,"author":66713,"museum":300,"description":66714,"tags":74435,"thumbUrl":74436,"material":611,"size":84,"collection":318,"collections":74437,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},241659,"xing-ci-zhan-kui-shi-tuo-juan-zhao-shen-241659","行赐詹骙诗拓卷",[23,7,25,5380,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8d626d0e0dab15bb200c273c6b447da.jpg",[318],{"id":74439,"slug":74440,"title":74441,"dynasty":144,"author":74442,"museum":20,"description":74443,"tags":74444,"thumbUrl":74445,"material":611,"size":84,"collection":318,"collections":74446,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},241651,"xing-nan-cheng-yong-gu-shi-tie-nai-xian-241651","行南城詠古诗帖","迺贤","乃贤(1309-1368)， 字易之，号河朔外史，合鲁（葛逻禄）部人。合鲁部人东迁，散居各地，迺贤家族先居南阳（今属河南）。后其兄塔海仲良入仕江浙，他随之迁居四明（治今浙江宁波）。乃贤先世可能是黄金家族姻亲。其兄师事本乡儒者，中进士后任职宣慰，名重一时。乃贤则淡泊名利，退居四明山水之间，与名士诗文唱酬。",[7,64,1590,25,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dea42f24285abad374f5ea0459b3fdd.jpg",[318],{"id":74448,"slug":74449,"title":74450,"dynasty":124,"author":74451,"museum":300,"description":74452,"tags":74453,"thumbUrl":74454,"material":611,"size":84,"collection":318,"collections":74455,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},241531,"wu-jue-er-shou-ce-ye-zhao-jun-241531","五绝二首册页","赵均","赵均（1591-1640），字灵均，苏州人，赵宧光之子。从其父传六书学，后又从燕山僧，学习梵文，博学多才。父子俩不断探究，于是“遂法其精”，赵均之妻文淑，是文征明的玄孙女，天性明慧，书画得家风传授和熏陶，成为苏州女画家中的佼佼者。书法密码微店",[7,59,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c108e7f346c422ef67386753d6c7535.jpg",[318],{"id":74457,"slug":74458,"title":74459,"dynasty":1780,"author":223,"museum":300,"description":74460,"tags":74461,"thumbUrl":74462,"material":692,"size":1293,"collection":84,"collections":74463,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},241447,"wu-kuan-hua-yan-jing-di-nian-ba-juan-yi-ming-241447","无款华严経第廿八卷","这件写经卷以工整小楷为主体，点画清劲端凝，结体方正匀停，通篇排布齐整肃穆，尽显写经的庄严恭谨。卷首卷尾配署狂草，笔墨纵逸雄放，笔势开张跌宕，枯湿浓淡自然变幻，与静雅小楷形成强烈视觉反差。\n\n泛黄纸页间墨色沉凝依旧，沉静的写经法度与奔逸的抒情笔意相融相合，尽显隋代书法承前启后的特质，肃穆经卷笔墨里藏着不羁笔意，古雅厚重间流露灵动风神，是兼具实用功能与审美价值的书法珍品。",[7,25,187,572,7322,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F536b7e8f8c573f02bdb2b874176a1974.jpg",[],{"id":74465,"slug":74466,"title":62666,"dynasty":124,"author":16243,"museum":300,"description":68974,"tags":74467,"thumbUrl":74468,"material":692,"size":1293,"collection":84,"collections":74469,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},241368,"qi-lv-shi-zhou-wang-chong-241368",[7,64,165,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a466a34a0ee5f31974a68a6e6832c42.jpg",[],{"id":74471,"slug":74472,"title":74473,"dynasty":54,"author":74474,"museum":300,"description":74475,"tags":74476,"thumbUrl":74477,"material":692,"size":1293,"collection":84,"collections":74478,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},241322,"zhuan-shu-ci-zhou-hong-liang-ji-241322","篆书词轴","洪亮吉","洪亮吉（1746年－1809年），字君直，一字稚存，號北江，晚號更生，江蘇陽湖（今常州市）人，祖籍安徽歙县。乾隆五十五年（1790年）庚戌恩科榜眼。",[24,7,165,938,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eca9696063f628604db6db2fcdc2479.jpg",[],{"id":74480,"slug":74481,"title":71815,"dynasty":124,"author":57340,"museum":300,"description":57341,"tags":74482,"thumbUrl":74483,"material":692,"size":1293,"collection":84,"collections":74484,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},241148,"wu-lv-shi-zhou-fang-yi-zhi-241148",[805,64,24,7,165,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47e0384aede683fc36a175b3449a11cb.jpg",[],{"id":74486,"slug":74487,"title":74488,"dynasty":144,"author":74489,"museum":300,"description":74490,"tags":74491,"thumbUrl":74492,"material":611,"size":84,"collection":318,"collections":74493,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},241107,"xing-ti-qian-feng-shi-juan-liu-bing-241107","行题嵌峰诗卷","刘昺","刘昺（1199—1277年），祖籍宁州安定（今甘肃省宁县南义）。生当金元交替时代，后成为元朝疆臣。元睿宗（成吉思汗四子拖雷）攻灭金国时，与金朝河南从事龚忠归降，因受赏识而招赘东宫蒲察二公主，命佩索鞑，成为皇帝的信臣",[164,24,7,25,133,64,208,128,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb463bb13665fc5877deda78f05816b95.jpg",[318],{"id":74495,"slug":74496,"title":74497,"dynasty":54,"author":71447,"museum":300,"description":74498,"tags":74499,"thumbUrl":74500,"material":692,"size":1293,"collection":84,"collections":74501,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},241077,"qi-lv-zhou-xu-jian-241077","七律轴","徐坚，清代篆刻家，吴县光福人。凡诗文、书画、摹印，皆能追踪古人。尝临摹诸卷，有《友竹诗钞》、《西京职官印录》等行于世。",[24,7,165,572,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc756402257cc7590a0f23fcc2f3a5d8c.jpg",[],{"id":74503,"slug":74504,"title":74505,"dynasty":54,"author":1504,"museum":300,"description":10442,"tags":74506,"thumbUrl":74507,"material":692,"size":1293,"collection":84,"collections":74508,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},240920,"qi-yan-lv-er-shou-zhou-zheng-ban-qiao-240920","七言律二首轴",[24,7,165,133,64,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe27256bf6a5d018ae2b691e002646b7.jpg",[],{"id":74510,"slug":74511,"title":74512,"dynasty":54,"author":74513,"museum":300,"description":74514,"tags":74515,"thumbUrl":74516,"material":692,"size":1293,"collection":84,"collections":74517,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},240907,"lin-sheng-jiao-xu-zhou-wen-yi-240907","临圣教序轴","温仪","温仪，清，陕西三原人。官至霸昌道。少嗜画，每恨西陲无宗法。康熙五十二年（1713）进士，乃谒王原祁以画学请。原祁进几席俾观用笔起止，浓淡先后，又授以古图缩本，於是遂大进",[24,7,165,330,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F218f11157827f585aad24333a1fcfad4.jpg",[],{"id":74519,"slug":74520,"title":60702,"dynasty":54,"author":22607,"museum":300,"description":55197,"tags":74521,"thumbUrl":74522,"material":692,"size":1293,"collection":84,"collections":74523,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},240897,"wu-lv-zhou-mei-qing-240897",[24,7,165,133,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68b41c0620914c7f44c963ee65f99242.jpg",[],{"id":74525,"slug":74526,"title":21115,"dynasty":124,"author":74527,"museum":300,"description":74528,"tags":74529,"thumbUrl":74530,"material":692,"size":1293,"collection":84,"collections":74531,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},240843,"shi-shan-mian-zhao-bing-zhong-240843","赵秉忠","赵秉忠（1573—1626）字季卿，1573年出生于青州府益都县（今山东省青州市），出身官宦之家，父亲赵僖官至礼部右侍郎。\n赵秉忠十五岁补府学生。万历二十六年（1598年）殿试一甲第一名进士（状元）。授翰林院修撰。历任侍读学士、礼部侍郎，官至礼部尚书。熹宗天启二年（1622年）被黄尊素弹劾去职。天启六年（1626年）去世。思宗崇祯三年（1630年）追复原官，赠太子太保，赐祭葬。",[1131,7,64,133,805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e80c8d264cb658ee7f296f38172643d.jpg",[],{"id":74533,"slug":74534,"title":74535,"dynasty":54,"author":6778,"museum":300,"description":29701,"tags":74536,"thumbUrl":74537,"material":692,"size":1293,"collection":84,"collections":74538,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},240842,"zhuan-shu-er-xing-shi-zhou-zhao-zhi-qian-240842","篆书二行诗轴",[164,24,7,165,938,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b770975af2ec8eb16ce18c8de826f1b.jpg",[],{"id":74540,"slug":74541,"title":74542,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":74543,"thumbUrl":74544,"material":692,"size":1293,"collection":84,"collections":74545,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":199},240826,"yuan-ji-shu-lin-jin-tang-shu-tie-juan-shi-tao-240826","原济书临晋唐书帖卷",[23,164,24,7,25,133,330,1590,128,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F694240edd7e464f72a2832d04f43f0cc.jpg",[],{"id":74547,"slug":74548,"title":74549,"dynasty":54,"author":74550,"museum":300,"description":74551,"tags":74552,"thumbUrl":74553,"material":692,"size":1293,"collection":84,"collections":74554,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},240671,"ba-yan-lian-wang-wen-zhi-240671","八言联","王文治","王文治（1730—1802），字禹卿，号梦楼，江苏丹徒人。工书法，以风韵胜。有《梦楼诗集》《快雨堂题跋》，清代书法家、诗人。\n曾随翰林侍读全魁至琉球。乾隆二十五年进士，授编修，擢侍读，官至云南临安知府。罢归，自此无意仕进。不到五十岁，即究心佛学。有《梦楼诗集》《快雨堂题跋》。",[24,7,165,133,64,772,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b8b51e69d29cba80c418b7039714108.jpg",[],{"id":74556,"slug":74557,"title":74558,"dynasty":54,"author":1311,"museum":300,"description":19660,"tags":74559,"thumbUrl":74560,"material":692,"size":1293,"collection":84,"collections":74561,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":199},240640,"cai-ju-shi-zhou-wang-shi-shen-240640","采菊诗轴",[24,7,165,21937,64,208,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d7013aaead7417accf1aca2a935dbf5.jpg",[],{"id":74563,"slug":74564,"title":66814,"dynasty":124,"author":74565,"museum":20,"description":74566,"tags":74567,"thumbUrl":74568,"material":46621,"size":74569,"collection":318,"collections":74570,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},240596,"qi-jue-shi-zhou-jin-cong-240596","金琮","释文：\n手把秧铁插福田，低头便见水中天。六根清净方成道，退步元来是向前。\n署款:“元玉”。款下钤印“金氏元玉”、“金芝丹室”。\n此书轴为金琮书录布袋和尚七言禅诗一首。\n此轴书法得赵孟頫笔意，用笔圆润流畅，潇洒飘逸，线条清秀典雅，毫无工板局促姿态，是金琮书法的代表作。清钱谦益《列朝诗集小传》云：“金琮善书，初法赵子昂，晚年学张伯雨，精工可爱。”",[24,7,165,133,840,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bd5c1ed31986b42d13e14fa1e2f0ce4.jpg","纵148.1厘米，横29.6厘米",[318],{"id":74572,"slug":74573,"title":74574,"dynasty":54,"author":25914,"museum":300,"description":74575,"tags":74576,"thumbUrl":74577,"material":692,"size":1293,"collection":84,"collections":74578,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},240427,"deng-shi-ru-shi-zhou-deng-shi-ru-240427","邓石如诗轴","邓石如 1743-1805。安徽怀宁人。单名邓琰，字石如，因避讳以字行，又字顽伯、号完白山人、完白山民、古浣、古浣子、游笈道人，又有凤水渔长、龙山樵长、顽道人。斋堂为铁砚山房。布衣。少好篆刻，为寿州寿春书院诸生，後客梅鏐府，因得纵观历代吉金石刻，徠用洎功頭樤八年，遂工四体书。篆法以二李为宗，而纵横阖辟之妙则得之史籀，稍参隶意，杀锋以取劲折，分书则遒丽淳质，变化不可方物，结体极严整而浑融天迹。篆刻初宗二汉，後以小篆入印，刀法圆转苍。",[165,7,64,133,128,231,17613,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d8dc70ee3ff9183b7286fe35285b624.jpg",[],{"id":74580,"slug":74581,"title":74582,"dynasty":54,"author":74583,"museum":300,"description":74584,"tags":74585,"thumbUrl":74586,"material":611,"size":84,"collection":318,"collections":74587,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},240388,"ming-zhu-lin-dong-shi-zhou-ming-zhu-240388","明珠临董诗轴","明珠","纳兰明珠（1635年11月19日~1708年6月3日），叶赫那拉氏，字端范，建州叶赫（今吉林省四平市铁东区叶赫镇），隶属满洲正黄旗人。清代康熙朝重臣，词人纳兰性德父亲。\n迎娶英亲王阿济格之女，起家蓝翎侍卫、治仪正，迁为内务府郎中，历任内务府总管、六部尚书、都察院左都御史、武英殿大学士、太子太傅等要职，支持康熙帝议撤三藩、统一台湾、治理黄河、平定噶尔丹、抗御外敌等重大事件中起到积极作用。康熙二十七年（1688年），因朋党之罪被罢黜，恢复议政内大臣、光禄大夫，不再受到重用。\n康熙四十七年（1708年），病故，葬于北京市海淀区上庄镇皂甲屯西。",[7,64,165,133,330,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e4c084eb25b9246a404a4c851c6ea3a.jpg",[318],{"id":74589,"slug":74590,"title":74591,"dynasty":144,"author":410,"museum":300,"description":74592,"tags":74593,"thumbUrl":74594,"material":84,"size":84,"collection":318,"collections":74595,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},240309,"du-gong-bu-shi-tie-ye-wang-meng-240309","杜工部诗帖页","王蒙书杜工部诗帖，墨迹本。元王蒙书，无书写年月。纸本。行书。书杜甫《流落锦官城》七言古诗1首。共19行，字大六七分，行笔苍劲，书近赵孟俯，署款黄鹤山樵",[64,133,1590,7,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb12c1290ddfcadc948c02386b1705217.jpg",[318],{"id":74597,"slug":74598,"title":74599,"dynasty":54,"author":3403,"museum":300,"description":8089,"tags":74600,"thumbUrl":74601,"material":692,"size":1293,"collection":84,"collections":74602,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},240284,"wu-chang-shuo-shi-zhou-wu-chang-shuo-240284","吴昌硕诗轴",[24,7,165,133,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb94af7575bc8399ca2d7a7fbd626475d.jpg",[],{"id":74604,"slug":74605,"title":74606,"dynasty":54,"author":6778,"museum":300,"description":29701,"tags":74607,"thumbUrl":74608,"material":692,"size":1293,"collection":84,"collections":74609,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},240171,"jie-lu-ye-meng-de-shi-lin-yan-yu-wan-shan-zhao-zhi-qian-240171","节录叶梦得石林燕语纨扇",[1131,64,133,128,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F542f1c659dc5ad5e75f5d8dd9060daba.jpg",[],{"id":74611,"slug":74612,"title":74613,"dynasty":54,"author":37194,"museum":300,"description":52233,"tags":74614,"thumbUrl":74615,"material":692,"size":1293,"collection":84,"collections":74616,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},240166,"shu-zha-2-tong-lin-ze-xu-240166","书札2通",[133,64,47620,188,168,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29a320a45ec097623aeb1eef4458c530.jpg",[],{"id":74618,"slug":74619,"title":74620,"dynasty":124,"author":74621,"museum":300,"description":74622,"tags":74623,"thumbUrl":74624,"material":611,"size":84,"collection":318,"collections":74625,"showCount":738,"zanCount":1998,"manualWeight":48,"mainColor":72},240120,"ku-yu-cun-tai-shi-shi-ye-an-zhi-yuan-240120","哭渔村太史诗页","安致远","安致远（1628～1701）字静子，一名如磐，字拙石，寿光人。贡生，自顺治二年至康熙二十三年（公元一六四六年至一六八四年）间，应举十五次，卒不售，偃蹇以没。周亮工任青州海防道时，与安丘张贞、乐安李焕章同受周之褒扬。致远著有静子集十三卷，凡为文集九卷，曰玉皑集四卷，纪城文稿四卷，蛮音一卷，诗集四卷，曰柳村杂咏二卷，岳江草、倦游草各一卷，总名之曰纪城诗草，词集一卷，曰吴江旅啸，《四库总目》传于世。\n安致远（1628～1701），字静子，别号拙石老人，清代文人，山东省寿光市纪台乡安家庄人。自幼聪慧，勤奋好学，博通经史，乡里间颇负才名。1646年中秀才，1655年选拔贡。后因屡试未酬，遂放弃科举，在家乡辟“自鉏园”，建“晚读堂”，与子安箕读书著作其中，以研讨文词自娱。他的朋友安丘张杞园说他：“书未尝须臾离手，倦而就卧，亦必挟册，睡去便坠枕旁，醒后复纵观”，又说他“暮年学日富，名誉日起，世皆趣(趋)而悦之。长歌短吟，若顺风以呼，碑版卷轴，不胫而驰四方；自山以东，无不知有静子先生者”。自称“文宗庐陵，诗喜摩\n诘”。他的诗文也确有欧、王两大家的遗风流韵。如“真意亭”诗句：“白云出岫崚嶒起，红叶衔枝宛转啼”；又如咏牛山诗：“当年涕泪处，今只此牛山；千载君臣事，一时儿女颜；石梁流水急，春色霸图间；日晚牛羊下，依依樵唱还。”意境疏淡悠远，自然谐和，毫无刻意雕琢之痕。",[7,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9768fa1ad8ac9b1a7a45ceefa468e999.jpg",[318],{"id":74627,"slug":74628,"title":71815,"dynasty":54,"author":74629,"museum":300,"description":74630,"tags":74631,"thumbUrl":74632,"material":611,"size":84,"collection":318,"collections":74633,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},240026,"wu-lv-shi-zhou-pan-tang-240026","潘棠","潘棠（？－？），字希召，直隶宁国府太平县人，湖广辰州卫军籍，明朝政治人物。\n湖广乡试第五十一名举人。弘治十八年（1505年）中式乙丑科三甲第一百四十名进士\n曾祖潘九成；祖父潘镛；父潘汰，正七品散官。母傅氏",[164,24,7,165,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aecde9661120d4d4020dd7a9340f1aa.jpg",[318],{"id":74635,"slug":74636,"title":74637,"dynasty":54,"author":74638,"museum":300,"description":74639,"tags":74640,"thumbUrl":74641,"material":84,"size":84,"collection":318,"collections":74642,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},239942,"ying-he-qi-yan-lian-ying-he-239942","英和七言联","英和","英和（1777～1840），初名石桐，字定甫、树琴，号煦斋、梦禅居士，满州正白旗人。德保子。乾隆五十八年进士，授编修，道光二年由户部尚书授协办大学士、步军统领、军机大臣。道光七年革职，赏二品，授热河都统。藏书甚富。工书法，与成亲王、刘墉齐名当时。",[7,64,10886,165,133,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b2f74d0b89543bddfc753305f2ad9ff.jpg",[318],{"id":74644,"slug":74645,"title":74646,"dynasty":54,"author":74647,"museum":300,"description":74648,"tags":74649,"thumbUrl":74650,"material":84,"size":84,"collection":318,"collections":74651,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},239813,"fei-lu-pan-gu-qi-quan-ge-feng-chun-quan-ye-xu-xiong-239813","飞录盘古七泉歌奉春泉页","徐熊","此作为行书尺牍，行笔灵动婉转，牵丝映带间尽显随性舒展之态。章法纵有列而横无矩，行气贯通悠然，墨色枯湿浓淡富于层次，晕染出朴拙古雅的质感。笔墨随着诗文韵律跌宕起伏，将酬赠的温厚情谊藏于线条流转之中，既有文人书卷的清雅风神，又暗含沉静内敛的笔墨张力。整作简淡疏朗，尽显旧时文士日常尺牍的随性雅致，文与墨相融相合，在方寸间晕开从容温雅的文人意趣。",[7,133,208,64,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa38fcb557ca0771c25effbf9e506520d.jpg",[318],{"id":74653,"slug":74654,"title":74655,"dynasty":54,"author":223,"museum":300,"description":74656,"tags":74657,"thumbUrl":74659,"material":692,"size":1293,"collection":84,"collections":74660,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},239782,"qing-ren-fu-zi-dou-fang-yi-ming-239782","清人福字斗方","此作以榜书挥毫，笔墨酣畅淋漓。落笔重若惊雷，收笔带飞白余韵，线条雄健苍劲，圆转处浑厚朴拙，方折间筋骨尽显。墨色枯湿浓淡相生，焦墨沉凝如鳞爪遒劲，飞白轻盈似龙髯舒展，将神龙的昂扬威仪藏于笔墨形骸之中。整字大气磅礴，既有庙堂榜书的端严厚重，又不失写意书法的灵动不羁，把神兽的雄浑气势与书法的力量感融为一体，尽显豪迈苍劲的气度，视觉冲击力极强，是一件形神兼备的大字佳作。",[64,7,74658,840,128],"斗方","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd12bbe38b3b22db18bb41214c4485bf6.jpg",[],{"id":74662,"slug":74663,"title":74664,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":74665,"thumbUrl":74666,"material":84,"size":84,"collection":84,"collections":74667,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},239727,"zhang-zhou-wen-shi-chi-du-ce-shi-zhi-tie-wen-zheng-ming-239727","长洲文氏尺牍册-使至帖",[64,133,59,208,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4da403c3213fd2371c586db959c7d0a9.jpg",[],{"id":74669,"slug":74670,"title":74671,"dynasty":144,"author":569,"museum":20,"description":74672,"tags":74673,"thumbUrl":74674,"material":2739,"size":74675,"collection":318,"collections":74676,"showCount":738,"zanCount":1998,"manualWeight":48,"mainColor":72},239668,"san-duan-juan-zhao-meng-fu-239668","三段卷","释文：\n首段：昔者圣人之作《易》也，幽赞于神明而生蓍，参天两地而倚数，观变于阴阳而立卦，发挥于刚柔而生爻，和顺于道德而理于义，穷理尽性以至于命。大德九年十月十一日谒介真馆，为南谷尊师书此章。弟子赵孟頫鉴藏印。\n首段节录《周易·系辞》，署款：“大德九年十月十一日谒介真馆，为南谷尊师书此章。弟子赵孟頫。”钤“赵氏子昂”印。书于元大德九年（1305年），作者时年52岁。\n二段：玄都坛歌。故人昔隐东蒙峰，已佩含景苍精龙。故人今居子午谷，独在阴崖结茅屋。屋前太古玄都坛，青石漠漠常风寒。子规夜啼山竹裂，王母昼下云旗翻。知君此计成长往，芝草琅玕日应长。铁锁高垂不可攀，致身福地何萧爽。大德十年正月十八日，南谷尊师过我车桥之馆。要写古诗，乃书此篇。弟子吴兴松雪道人赵孟頫书。\n二段录杜甫《玄都坛歌》，署款：“大德十年正月十八日，南谷尊师过我车桥之馆。要写古诗，乃书此篇。弟子吴兴松雪道人赵孟頫书。”钤印同上。书于元大德十年（1306年），作者时年53岁。\n末段：白云从何来，乃在计筹山。山中老仙伯，翱翔白云间。结屋松竹里，开窗泉石边。焚香诵《道德》，清斋降神仙。俯仰皆自得，洗心游太玄。我欲往从之，规买山下田。艺药扫白发，栽桃映红颜。庶几林下意，期了区中缘。丹成从师去，笑拍洪崖肩。 琼山发天秀，珠泉表地灵。柔荑吐丹葩，乔林标绛英。酌醴吸冲和，汲涧漱甘清。石门开洞门，木龙走岩扃。清飚一时至，四座浮幽馨。阆风何必远，世尘空自冥。从游当有期，淹留讵无成。左手撷紫芝，右手采黄精。振衣陟崇冈，遐观散神情。长啸烟雾里，满空鸾鹤声。吾昔年为先师杜真人赋此二诗，今其弟子袁安道来索书，因写与使藏之。延祐六年十二月廿九日松雪斋书。子昂。前诗似更有二句，然老昏忘之矣。\n末段录自作诗《寄题杜尊师白云庵琼秀亭》二首，署款：“吾昔年为先师杜真人赋此二诗，今其弟子袁安道来索书，因写与使藏之。延祐六年十二月廿九日松雪斋书。子昂。”钤印亦同前。书于元延祐六年（1319年），作者时年66岁。\n赵孟頫喜与释道人物游，执弟子礼师事者，则为僧人中峰明本与道士南谷真人。南谷名杜道坚，曾住持杭州宗阳宫等道观。本卷前二段即为南谷而书；末段则系南谷殁后为其弟子袁安道而书，亦寓纪念南谷之意，是研究赵氏生平交谊的重要资料。以书法论，三段皆精心用意之作。首段奔放跌宕，二段妍润隽逸，末段遒健苍古，堪称赵氏中、晚年行书的代表作品。卷前有元人乔宇篆书引首；尾纸有元陈旅、张雨、杜本、揭傒斯、张翥等12人及明项元汴所作题识。卷中钤有明项元汴，清李肇亨、梁清标及乾隆、嘉庆、宣统内府章。",[23,164,24,7,25,64,133,128,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89b0144482e38292a3052899d495ae76.jpg","首段纵31.1厘米，横101.5厘米，二段纵31.1厘米，横100.2厘米。三段纵29.9厘米，横103厘米",[318],{"id":74678,"slug":74679,"title":74680,"dynasty":144,"author":26207,"museum":20,"description":74681,"tags":74682,"thumbUrl":74683,"material":611,"size":74684,"collection":318,"collections":74685,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},239619,"heng-tang-tie-ye-zhao-lin-239619","衡唐帖页","释文：\n今早拟欲专造，缘执事昨晚云，大尹兄到弊舍，所以不果，而专俟舟从之来临耳。不然安敢坐待，以速罪也。伏希情恕不具。赵麟拜启。衡唐征君先生。衡唐先生。赵麟完。\n本幅鉴藏印有“安岐仪周书画之章”、“无恙”、“樵李氏鹤梦轩珍藏记”、“景贤”等16方。\n赵孟頫翰墨之妙名贯一代。其孙赵麟虽无盛名，但书翰皆出规入矩，笔意流动，洒落超逸，亦不失家法。正如明陶宗仪《书史会要》所言：“麟书更益以工，便可造其父之域。”",[23,7,64,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab0aab4d637be25f30f819f1430d4e09.jpg","纵28.2厘米，横25.2厘米",[318],{"id":74687,"slug":74688,"title":74689,"dynasty":144,"author":20475,"museum":20,"description":74690,"tags":74691,"thumbUrl":74692,"material":20395,"size":74693,"collection":318,"collections":74694,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},239616,"shi-jian-tie-lu-guang-239616","诗简帖","《诗简帖》释文（略）\n帖上钤有项元汴、孙承泽、安岐、完颜景贤、何厚琦、赵叔彦、张爰、谭敬诸家印记。\n这两首诗并信笺是写给“克用先生”即虞堪的。虞堪是南宋名相雍国公虞允文的八世孙。虞雍公曾有古剑一柄，为人叹赏，陆广第一首诗就是咏这把剑的，同时追忆虞雍公对社稷朝廷的忠勤业绩。元代文人杨维桢、倪瓒、秦文仲等人亦有咏此剑的诗篇。第二首诗陆广记述与虞堪愉快而难忘的相会。此篇书法师《曹娥碑》，风格瘦硬清劲。\n《墨缘汇观》、《三虞堂书画目》著录。",[23,64,133,208,1590,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6947843ad4bda8ffbb8096f4970ca09a.jpg","纵29.7厘米，横32.4厘米",[318],{"id":74696,"slug":74697,"title":74698,"dynasty":124,"author":74699,"museum":20,"description":74700,"tags":74701,"thumbUrl":74702,"material":46621,"size":74703,"collection":318,"collections":74704,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},239612,"qian-zi-bi-yin-zha-juan-zhang-jun-239612","遣子毕姻札卷","张骏","释文：\n北京遣第三子云鹤还松江毕姻，与唐亲家书。维时野梅呈腊，宫柳回春，共谂晋国郡尊太亲家，阖闳宝聚前。天锡鸿庥，日臻燕祉。乐丘园而遯迹，藉诗酒以陶情。一别星标，五更岁籥，遥切一门婘爱，不胜千里之驰思。丹凤楼头，载笔叨依于日下，黄龙浦口，飞帆未得向江南。暑递往而寒递来，霎然过眼，男将婚而女将嫁，寔尔劳心。且小儿缪习夷书，滥赝冠带。而令爱素闲红女绣，宜施衿鞶言。念唐子方以来，世系绵绵乎瓜瓞；张公瑾而下，家声秩秩乎冠缨。幸谐二姓之天缘，获缔百年之星眷。珠冠结凤，少陪奠鹰之仪，尺素衔鱼，将遂乘龙之愿。计高明之雅度，礼虽薄而无嫌， 惟远大之后图，来期速而无缓，或符至愿，敢负深恩，岂草木之无知，当琼瑶之有报。麾留是望，鉴念不宣。又礼书一通，物状刑楮，陈之荪不赘，清河郡眷生张骏拜手。昼绣堂书。\n款下印“绿屋人仙”、“金紫清华”，引首印“世经科第”。鉴藏印钤“嘉兴唐翰题子冰书画记”、“德大审定”、“罗振玉印”等诸方。\n卷后有唐翰题、罗振玉题跋两则。\n此书是张骏致唐姓“亲家”的一封礼书，內容是让其子回松江（今上海）完婚，并送去了彩礼。\n张骏的书法时以狂草体著称，以他狂怪奔放的草书风格而论，此书则显得拘谨刻板得多。其书笔法精润，笔画起落轻重分明，使转灵便，呈现出圆润妍美、劲健潇洒的风韵。",[23,7,64,25,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe36a4b5d65ccdac03ac2dfafd831cf29.jpg","纵24厘米，横230厘米",[318],{"id":74706,"slug":74707,"title":74708,"dynasty":144,"author":569,"museum":20,"description":74709,"tags":74710,"thumbUrl":74711,"material":611,"size":84,"collection":318,"collections":74712,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},239593,"zhi-ji-zong-yuan-er-zha-juan-zhao-meng-fu-239593","致季宗源二札卷","赵孟頫，中国元代天才文学艺术家。他是宋朝王孙，自幼英机敏识，勤奋好学，青中年时代便在经史、文学、书画、金石、音乐诸方面取得极高成就，是著名的“吴兴八俊”之首。入元后，他被荐入朝，备受荣宠，仕至翰林学士承旨，荣禄大夫，富贵显赫，但对书法、绘画的研究与实践则从未暇怠，终于开生面，登高峰，力纠南宋晚期书坛画苑的积习，开启了一代新风，其影响之深广，同代诸大家无一可与比肩。\n赵孟頫的书法与他的绘画一样，不仅诸体兼擅，真、草、隶、篆都取得极高成就。特别是他的楷、行，更是力追晋唐，妙集众长，融通贯化，自成其潇洒隽美，朗润清华，既有古意又具今貌的“赵书”风韵。鲜于枢称“子昂篆、隶、真、行、颠草为当代第一”，应该是言出由衷的。\n赵氏书法流传不少，一是因为求索甚众书写勤快，一是历来受到珍视，得到妥善的保存。不过，他的书迹如今已大多归之于世界各大博物馆了，民间绝少留存。今春现身中国嘉德的赵书《致宗元总管札》便是近二十年来拍卖市场难得一见的赵孟頫手墨。",[23,64,7,25,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F640a960cf1ed87720690f810e9c26c25.jpg",[318],{"id":74714,"slug":74715,"title":38899,"dynasty":54,"author":38900,"museum":300,"description":74716,"tags":74717,"thumbUrl":74718,"material":84,"size":84,"collection":84,"collections":74719,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},239540,"fang-gu-ji-you-tu-ce-huang-yi-239540","此作用干笔淡墨绘就山野幽境，危崖怪石错落层叠，古木虬曲扎根崖隙，枝叶苍郁带着古拙生机。山径之上，一人策杖缓行，似在寻访林泉旧迹，萧淡荒寒的野趣扑面而来。\n左侧长款行书题字笔力朴厚苍劲，书画相映成趣，将访古寻幽的文人情思融入山水笔墨之间，带着金石考据家特有的静穆古雅意韵，淡墨皴擦尽显山野清寂，把纪游的幽怀和林泉雅兴合二为一，尽显清寂淡远的文人山水意境。",[24,7,59,128,132,29,131,34,130,208,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f5c7cb01475be10b72a530339abaa12.jpg",[],{"id":74721,"slug":74722,"title":74723,"dynasty":54,"author":74724,"museum":300,"description":74725,"tags":74726,"thumbUrl":74727,"material":692,"size":1293,"collection":136,"collections":74728,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},239499,"lv-bi-shan-shui-ce-lv-bi-239499","吕璧山水册","吕璧","此作为书画对开，右侧绘平远水色：浅滩岸柳扶风，枝叶含烟，湖面扁舟轻泛，渔人悠然。远山以淡墨晕染，虚实掩映，尽显江南水泽清旷空濛之致，笔墨秀润简约，意境幽寂淡远。左侧行书题诗，笔意疏朗俊逸，墨色浓淡相宜，诗境与画境呼应相合，将文人画诗画交融的意趣挥洒尽致，尽显清雅简淡的文人心境与审美意涵。",[24,7,59,128,29,132,663,228,331,129,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2e148bed07c3295c76c3c1c3fd874cf.jpg",[136,45],{"id":74730,"slug":74731,"title":74732,"dynasty":124,"author":39871,"museum":300,"description":74733,"tags":74734,"thumbUrl":74735,"material":692,"size":1293,"collection":84,"collections":74736,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},239476,"qu-jiang-xian-fang-shan-zhang-fu-239476","曲江仙舫扇","张复（1546年－？年），字元春，号苓石，江苏太仓人（一说中条山人）。明末著名山水画家。善于兼收并蓄，兼得五代北方山水画派荆浩、关仝，南宋画派马远、夏珪，元代黄公望以及明代沈周趣味，成为吴门画派的健将之一。",[1131,24,7,128,132,29,97,130,129,34,99,131,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40ab7bb7e7633b3bb346844f892a0546.jpg",[],{"id":74738,"slug":74739,"title":74740,"dynasty":54,"author":6936,"museum":300,"description":74741,"tags":74742,"thumbUrl":74743,"material":84,"size":84,"collection":84,"collections":74744,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},239463,"qing-chu-liu-da-jia-ji-ce-xia-shan-tu-ce-ye-wang-yuan-qi-239463","清初六大家集册-夏山图册页","此作用笔苍浑老辣，以干笔积墨反复皴擦，山峦层叠间云气横生，将高远、深远之境相融，衬出山林空阔幽深。坡岸林木错落，或虬劲或葱郁，溪桥村居隐于林泉间，暗合题句里长夏山居的悠然意趣。\n\n画面笔墨沉厚苍秀，于繁密皴法中透出灵透，既得宋元山水的苍茫元气，又自具朴拙静穆的文人雅韵，将夏日山林的清寂悠长晕染开来，尽显静谧澹远的山居之美。",[24,7,59,27,132,29,663,99,98,413,497,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56b08c3e176452e8260dd64640da9e37.jpg",[],{"id":74746,"slug":74747,"title":21106,"dynasty":54,"author":4823,"museum":300,"description":19690,"tags":74748,"thumbUrl":74749,"material":692,"size":1293,"collection":84,"collections":74750,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},239408,"hua-niao-tu-ce-ma-yuan-yu-239408",[24,7,59,27,61,371,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd633f57f9b7dbf9915c927634e25b6e4.jpg",[],{"id":74752,"slug":74753,"title":21106,"dynasty":54,"author":4823,"museum":300,"description":19690,"tags":74754,"thumbUrl":74755,"material":692,"size":1293,"collection":84,"collections":74756,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},239407,"hua-niao-tu-ce-ma-yuan-yu-239407",[24,7,59,128,133,208,371,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd98384a56d762a78a7780fc0a630b24.jpg",[],{"id":74758,"slug":74759,"title":21106,"dynasty":54,"author":4823,"museum":300,"description":19690,"tags":74760,"thumbUrl":74761,"material":692,"size":1293,"collection":84,"collections":74762,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},239403,"hua-niao-tu-ce-ma-yuan-yu-239403",[24,7,59,27,61,371,649,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bd402d26ec90012a2ea8aeb8989d3d3.jpg",[],{"id":74764,"slug":74765,"title":64835,"dynasty":124,"author":33462,"museum":300,"description":34341,"tags":74766,"thumbUrl":74767,"material":84,"size":84,"collection":84,"collections":74768,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},239187,"shan-chuan-ming-sheng-ce-song-xu-239187",[24,7,29,59,128,27,663,950,34,1144,97,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F686af50486fe6bd899e83bbac8282dea.jpg",[],{"id":74770,"slug":74771,"title":64835,"dynasty":124,"author":33462,"museum":300,"description":34341,"tags":74772,"thumbUrl":74773,"material":692,"size":1293,"collection":84,"collections":74774,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},239186,"shan-chuan-ming-sheng-ce-song-xu-239186",[24,7,164,59,27,128,29,413,97,414,129,3344,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d58d3fc454b87ee29b083f3fbe22d6c.jpg",[],{"id":74776,"slug":74777,"title":74778,"dynasty":54,"author":14022,"museum":300,"description":40657,"tags":74779,"thumbUrl":74780,"material":692,"size":1293,"collection":84,"collections":74781,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},239110,"hua-hui-ce-7-yu-sheng-239110","花卉册7",[24,7,59,28,27,128,61,62,806,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2324b414e06f9eacdd2fc556d9e073b.jpg",[],{"id":74783,"slug":74784,"title":76,"dynasty":54,"author":4823,"museum":300,"description":19690,"tags":74785,"thumbUrl":74786,"material":692,"size":1293,"collection":84,"collections":74787,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},239097,"hua-hui-ce-ma-yuan-yu-239097",[24,7,59,27,61,895,62,7633,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59c7344e4ea6fd8f4f1a2873df53e1a1.jpg",[],{"id":74789,"slug":74790,"title":74791,"dynasty":54,"author":223,"museum":300,"description":74792,"tags":74793,"thumbUrl":74794,"material":84,"size":84,"collection":84,"collections":74795,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},238996,"meng-guan-yi-qiu-hua-cao-chong-tu-zhou-yi-ming-238996","孟观乙秋花草虫图轴","此作用没骨淡彩写秋郊野趣，逸笔点染间，蜀葵与杂花错落生于坡石旁。淡青晕染枝叶，清妍柔和，以没骨晕染出花瓣柔润的肌理，枯淡墨色扫出坡石荒率之态，带着疏朗的野逸之气。\n草虫隐于花叶浅草之间，形神宛然，于静穆秋意里暗涌灵动生机。整体笔意松灵空疏，淡彩敷色雅致温软，将文人写意的闲淡意趣融在一花一虫之中，尽显秋日郊野的幽寂清旷，藏着江南清秋的澹远诗意，尽显文人画简淡疏朗之美。",[24,7,165,27,61,25181,547,609],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc05845c588912827278ec4da42f39ac4.jpg",[],{"id":74797,"slug":74798,"title":27698,"dynasty":54,"author":74799,"museum":300,"description":74800,"tags":74801,"thumbUrl":74802,"material":84,"size":84,"collection":84,"collections":74803,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},238951,"shan-shui-ce-ye-xu-ji-238951","徐稷","此作用笔秀润温婉，取景错落有致。远景山峦以淡墨铺底，敷染浅青淡赭，晕染出空蒙氤氲的烟岚之态，一道飞瀑垂落山坳，破了山林沉静，添入灵动生机。近景苍松虬劲挺拔，坡岸林木错落，茅庐隐于松荫竹篱间，浅滩静水如镜，将草木坡岸揽入其中。\n\n整体画风恬静淡远，以文人意趣写山居幽境，笔墨间带着松弛的闲雅之感，落款题字与朱印排布和谐，文气盎然，仿若将观者带入林泉高致的世外山居，尽显悠然淡逸的林下之风。",[24,7,59,27,29,1144,495,131,34,35,499,496,132,24769,65979],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad4c1aa378028f3d4780004c5b4b9bfc.jpg",[],{"id":74805,"slug":74806,"title":27602,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":74807,"thumbUrl":74808,"material":84,"size":84,"collection":84,"collections":74809,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},238827,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238827",[24,7,59,128,27,29,1813,1337,1557,131,13436,3387,499,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78d752b98269b50249bb4911e5586c67.jpg",[],{"id":74811,"slug":74812,"title":29136,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":74813,"thumbUrl":74814,"material":84,"size":84,"collection":84,"collections":74815,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},238820,"dong-gao-lv-xuan-shao-jing-ce-dong-gao-238820",[24,7,59,27,128,132,29,130,34,131,99,415,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3447afc150ba6c05ef584fdb9121a08b.jpg",[],{"id":74817,"slug":74818,"title":29144,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":74819,"thumbUrl":74820,"material":692,"size":1293,"collection":84,"collections":74821,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},238810,"hua-hui-xiao-ce-dong-gao-238810",[24,7,59,27,28,62,5399,549,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c5172d8c64b037f0cff9619f760f867.jpg",[],{"id":74823,"slug":74824,"title":29144,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":74825,"thumbUrl":74826,"material":692,"size":1293,"collection":84,"collections":74827,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},238796,"hua-hui-xiao-ce-dong-gao-238796",[24,7,59,28,27,62,603],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c30d36c23ed9108b6fa0e611b3133e3.jpg",[],{"id":74829,"slug":74830,"title":29144,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":74831,"thumbUrl":74832,"material":692,"size":1293,"collection":84,"collections":74833,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},238790,"hua-hui-xiao-ce-dong-gao-238790",[24,7,59,27,28,61,371,167,2037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53659b48dd89a490df44449e7aefc725.jpg",[],{"id":74835,"slug":74836,"title":29144,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":74837,"thumbUrl":74838,"material":692,"size":1293,"collection":84,"collections":74839,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},238787,"hua-hui-xiao-ce-dong-gao-238787",[24,164,7,59,27,28,61,263,6193,582,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8035a2d18661a2164f9536837a18a9b7.jpg",[],{"id":74841,"slug":74842,"title":50822,"dynasty":54,"author":646,"museum":300,"description":74843,"tags":74844,"thumbUrl":74845,"material":84,"size":84,"collection":84,"collections":74846,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},238781,"shan-shui-ren-wu-xiao-ce-dong-gao-238781","此作以淡逸之笔铺展春日村居景致。近陂垂柳依依，山居屋舍隐于林麓间，水面轻描波痕，汀渚错落见生趣。中景湖石玲珑，杂木苍润，衬出园林意致。远景山峦以花青浅赭晕染，留白作烟岚，愈显悠远空濛。\n全幅设色清和温润，笔法秀雅松脱，构图疏密相宜，将江南村居的恬澹闲适融于尺幅间，文人情致尽显，于细微处铺陈出悠然空寂的春日山居诗意。",[24,7,59,27,29,96,97,1337,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04640ad9ed45dabc5642934d2e4d1111.jpg",[],{"id":74848,"slug":74849,"title":46632,"dynasty":54,"author":23303,"museum":300,"description":74850,"tags":74851,"thumbUrl":74852,"material":84,"size":84,"collection":84,"collections":74853,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},238753,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238753","此作为水墨小品，界笔绘就殿宇层叠排布，飞檐翘角舒展，斗拱细节清晰明丽，尽显宫苑规制的严整庄重，苍茂林木点缀楼宇之间，柔冷硬建筑的冷硬质感。廊下雅士晤谈，衣袂宛然，情态悠然松弛。\n\n右侧题诗与画意呼应，诗画交融。整体笔墨秀润淡逸，勾勒晕染兼具法度，写实雅致的建筑与生动传神的人物相融，将皇家苑囿的庄重与文会雅聚的闲澹融于一处，淡墨轻岚晕染出悠然沉静的古雅意趣。",[24,7,59,27,95,28,96,97,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1391fe0593d74384cace7290f2e4a9b3.jpg",[],{"id":74855,"slug":74856,"title":35019,"dynasty":54,"author":23303,"museum":300,"description":74857,"tags":74858,"thumbUrl":74859,"material":84,"size":84,"collection":84,"collections":74860,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},238734,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238734","此作以水墨绘就秋日园居之景，左侧文士曳杖徐行，抬首遥看天际归鸿，似在寄怀远思。园中嘉木扶疏，茅舍隐于枝叶间，右侧湖石嶙峋逶迤，白墙黛瓦随景延展，将庭院的清寂幽远铺展开来。\n\n笔墨秀雅温润，枯笔皴擦写尽木石苍古之态，淡墨晕染天色，晕开朦胧秋意。题诗与画面相融，把怀人缱绻心绪揉入萧疏秋光，以简淡之景写沉郁幽思，尽显文人情致，空灵简净之间，将秋日行吟的怅惘含蓄铺陈在尺幅之中。",[24,7,59,128,132,96,130,211,34,131,758,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10af83fcbd6800eec618ca45fbc0601.jpg",[],{"id":74862,"slug":74863,"title":35019,"dynasty":54,"author":23303,"museum":300,"description":74864,"tags":74865,"thumbUrl":74866,"material":84,"size":84,"collection":84,"collections":74867,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},238717,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238717","此作用笔清润秀雅，以虚实相生之法铺陈意境。右侧崖石苍劲，古木盘虬，大船泊于崖下，白帆半张，舱中文人凭舷观浪，似将趁长风远游。左侧水面以大片留白衬出烟波浩渺，远山以淡墨晕染，淡远朦胧。\n\n山石仅以简淡皴擦勾勒肌理，水波线条灵动婉转，将浪涛轻涌之态尽显。题诗与画境呼应，把乘舟访胜的隐逸快意融于水墨间，淡逸萧散的气韵里藏着寻仙向远的浪漫意趣，尽显文人山水小品悠然空灵之美。",[24,7,59,188,128,29,96,129,99,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f36b9fc2fb48b1caf1402cc12ddc2f.jpg",[],{"id":74869,"slug":74870,"title":60856,"dynasty":124,"author":223,"museum":300,"description":74871,"tags":74872,"thumbUrl":74873,"material":692,"size":1293,"collection":84,"collections":74874,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},238566,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238566","此作以工笔重彩铺陈神霄盛会，青蓝穹庐托举赤霞朝日，仙山石崖凌云而起。诸天神将乘云拥簇，旌旗飘曳宝光流转，衣袂灵动飞扬，尽显仪卫雍容肃穆。下方仙官稽首仰望，祥云缠裹山峦，疏密布局层次分明。\n\n设色浓丽沉厚，冷暖撞色晕染出仙灵玄虚之气，人物刻画精微生动，将升平赞贺的祥瑞意蕴凝于尺幅，尽显道释绘画的工致精妙，把神境恢宏气象铺展于绢素之上，带着庄重华美的古雅气韵。",[24,7,59,27,28,96,29,772,19189,950,413,131,97,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42cc9ce683acc8f68f43092e035d2500.jpg",[],{"id":74876,"slug":74877,"title":45483,"dynasty":54,"author":13716,"museum":300,"description":13717,"tags":74878,"thumbUrl":74879,"material":692,"size":1293,"collection":84,"collections":74880,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},238559,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238559",[24,7,59,27,28,95,96,97,64,572,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8aceba2993ff5bcc79c197dea4e00d70.jpg",[],{"id":74882,"slug":74883,"title":45483,"dynasty":54,"author":13716,"museum":300,"description":13717,"tags":74884,"thumbUrl":74885,"material":692,"size":1293,"collection":84,"collections":74886,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},238558,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238558",[24,7,59,27,96,29,34,208,64,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F474fe4110aa6d73c7c8e2a6aad2013cc.jpg",[],{"id":74888,"slug":74889,"title":50840,"dynasty":54,"author":675,"museum":300,"description":11658,"tags":74890,"thumbUrl":74891,"material":692,"size":1293,"collection":84,"collections":74892,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},238538,"chun-jing-shan-shui-ce-qian-wei-cheng-238538",[24,7,59,128,132,133,208,29,97,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb9b0a90f163198a2947b57ee1c2818d.jpg",[],{"id":74894,"slug":74895,"title":74896,"dynasty":54,"author":29297,"museum":300,"description":55182,"tags":74897,"thumbUrl":74898,"material":692,"size":1293,"collection":136,"collections":74899,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},238499,"xun-xing-ji-cheng-shi-hua-ce-jiang-pu-238499","巡行纪程诗画册",[24,7,59,27,29,97,34,496,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa03781573918eafdde86cc365afe50.jpg",[136,45],{"id":74901,"slug":74902,"title":69399,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":74903,"thumbUrl":74904,"material":692,"size":1293,"collection":84,"collections":74905,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},238423,"dong-gao-li-gu-ying-chun-tu-xiao-ce-dong-gao-238423",[164,24,7,59,27,28,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d5b45529f73d8be74d89310c05a5571.jpg",[],{"id":74907,"slug":74908,"title":28503,"dynasty":54,"author":646,"museum":300,"description":28504,"tags":74909,"thumbUrl":74910,"material":692,"size":1293,"collection":84,"collections":74911,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},238387,"dong-gao-tao-li-yi-shou-tu-xiao-ce-dong-gao-238387",[24,7,164,59,28,27,61,376,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f4c322f2bf3082455e9f8802ce428d.jpg",[],{"id":74913,"slug":74914,"title":41575,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":74915,"thumbUrl":74916,"material":692,"size":1293,"collection":84,"collections":74917,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},238385,"jin-ying-ning-lu-tu-xiao-ce-dong-gao-238385",[24,7,59,27,28,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4f1d0ba3a17b0827c2a44e0e897a6f7.jpg",[],{"id":74919,"slug":74920,"title":41575,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":74921,"thumbUrl":74922,"material":692,"size":1293,"collection":84,"collections":74923,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},238384,"jin-ying-ning-lu-tu-xiao-ce-dong-gao-238384",[24,7,59,27,28,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b5c5ab5adcd56f8ee8c01dada00001.jpg",[],{"id":74925,"slug":74926,"title":41575,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":74927,"thumbUrl":74928,"material":692,"size":1293,"collection":84,"collections":74929,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},238383,"jin-ying-ning-lu-tu-xiao-ce-dong-gao-238383",[24,7,59,27,28,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb70706bdf466d9cad28436d289a6d308.jpg",[],{"id":74931,"slug":74932,"title":29144,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":74933,"thumbUrl":74934,"material":692,"size":1293,"collection":84,"collections":74935,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},238357,"hua-hui-xiao-ce-dong-gao-238357",[24,7,59,27,28,61,62,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F071d0c4e72285efceb0a4ad5951161bf.jpg",[],{"id":74937,"slug":74938,"title":29144,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":74939,"thumbUrl":74940,"material":692,"size":1293,"collection":84,"collections":74941,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},238356,"hua-hui-xiao-ce-dong-gao-238356",[24,7,59,28,27,62,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86ff6507720b950f6de17397ea4f9d5a.jpg",[],{"id":74943,"slug":74944,"title":48174,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":74945,"thumbUrl":74946,"material":84,"size":84,"collection":84,"collections":74947,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},238341,"si-jing-shan-shui-xiao-ce-dong-gao-238341",[24,7,59,27,29,132,98,99,331,711,496,1813,131,34,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aafa6cb457ee62a69390a61343fb58d.jpg",[],{"id":74949,"slug":74950,"title":41582,"dynasty":54,"author":41583,"museum":300,"description":74951,"tags":74952,"thumbUrl":74953,"material":84,"size":84,"collection":84,"collections":74954,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},238252,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238252","此作浅设晕染，工致秀雅，绘就环山抱水的玉泉胜境。山麓水畔屋舍错落，苍松翠木疏密点染晕出清润生机，远山含黛淡描天际，构图疏密得宜，将京郊林泉的静谧安和铺展眼前。\n\n右侧行书题诗笔意舒展隽秀，诗画合璧，以景衬诗，以诗点题，将玉泉趵突的灵秀景致与文人情思相融相合，带着内敛雅致的宫廷审美意趣，既是写实的郊野纪游图，亦是抒情的文人雅构，尽显清中期山水画兼具纪实与抒情的创作意韵。",[24,7,59,27,29,97,130,34,131,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ccda7b47983506e92a306f3b5ddd3b1.jpg",[],{"id":74956,"slug":74957,"title":74958,"dynasty":54,"author":1740,"museum":300,"description":74959,"tags":74960,"thumbUrl":74961,"material":84,"size":84,"collection":84,"collections":74962,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},238210,"duan-yang-gu-shi-ce-zhi-cai-yao-cao-xu-yang-238210","端阳故事册之采药草","青绿山坳间，飞瀑流泉衬出林野幽寂。四人各循其处，将端午采药的日常铺展在丘壑间。松下负锄者提篮缓行，山道上背药疾走，溪滩幼童俯身撷取草木。\n\n笔墨工秀兼具，浅绛晕染山石肌理，苍松虬曲古拙，衣褶简练灵动，人物神态专注鲜活。将节令风俗融于林泉丘壑，以雅致设色晕染出清润山居图景，既有院体的精致工细，又饱含文人山水的悠远意境，细腻还原古人端午采药避秽的传统风貌，将俗常节令化作诗意悠然的田园意趣。",[164,24,7,59,27,28,96,29,99,34,131,1350,25818],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf8531b01438040ab03a629f24d6f8f.jpg",[],{"id":74964,"slug":74965,"title":14647,"dynasty":54,"author":1311,"museum":56,"description":25940,"tags":74966,"thumbUrl":74967,"material":1464,"size":25943,"collection":84,"collections":74968,"showCount":738,"zanCount":1998,"manualWeight":48,"mainColor":72},238068,"mei-hua-tu-ce-wang-shi-shen-238068",[24,7,59,128,371,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30510c3c70c0efc620a7741447f7c006.jpg",[],{"id":74970,"slug":74971,"title":74972,"dynasty":124,"author":5798,"museum":300,"description":55106,"tags":74973,"thumbUrl":74974,"material":692,"size":1293,"collection":84,"collections":74975,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},238059,"qiu-lin-ce-jian-shan-zhang-hong-238059","秋林策蹇扇",[24,7,1131,128,27,132,29,1337,96,7067,98,711,131,1645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ec8f396387ded7a43d80ffc1c810961.jpg",[],{"id":74977,"slug":74978,"title":74979,"dynasty":54,"author":74980,"museum":300,"description":74981,"tags":74982,"thumbUrl":74983,"material":692,"size":1293,"collection":84,"collections":74984,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},237956,"ding-zhou-guan-yan-tu-ye-zhou-dao-237956","仃舟观雁图页","周道","江岸巉岩缀着苍润草木，扁舟轻系，舟中白衣士人静静凝望远空归雁。江天寥廓，淡墨晕染的远山混融在暮霭里，水色天光漫成一片柔润朦胧。\n\n题诗与画境相生，将暮春送别后的清寂揉进笔墨，桃花春水、空山飞燕，把缱绻怅惘尽藏在淡远笔致中。笔致淡简秀雅，设色素净空灵，将江南暮春的柔婉与林下幽人的闲远襟怀熔于一炉，淡远疏朗间漾着沉静诗意，尽显文人画寄兴遣怀的雅致，把隐逸闲情藏进江天暮色。",[24,7,59,128,27,133,208,29,129,211,171,99,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F272439c9531a1f9322cf97f3540fb749.jpg",[],{"id":74986,"slug":74987,"title":18893,"dynasty":54,"author":4992,"museum":300,"description":18894,"tags":74988,"thumbUrl":74989,"material":84,"size":84,"collection":84,"collections":74990,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},237877,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237877",[24,7,59,128,132,2271,29,663,413,129,758,31,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02e91f0bc7b811b87878217c1b5bff2b.jpg",[],{"id":74992,"slug":74993,"title":74994,"dynasty":124,"author":223,"museum":300,"description":74995,"tags":74996,"thumbUrl":74997,"material":692,"size":1293,"collection":84,"collections":74998,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},237804,"shao-mi-guan-pu-tu-shan-yi-ming-237804","邵弥观瀑图扇","此作用边角取景，以淡墨晕染嶙峋峭壁，留白虚写飞瀑，隐现泉流的灵动。虬曲苍劲的古树枝桠斜出枝头，几朵新花点破清寂。凭崖而立的文士衣袂简括，静望飞泉，似在听赏訇然水声。\n\n整幅笔墨简淡清疏，以空灵留白衬出山景的幽寂，将林泉高致融于尺幅扇面，尽显文人寄情山水、静悟自然的闲雅意趣。泛黄的扇底晕开浅淡赭色，为画面更添古雅沉静的旧时光晕，极简的画面铺陈出清远深邃的山水意境。",[24,7,1131,128,132,29,96,413,131,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1af9bea2148ad7c70c4cc2589e8de2f3.jpg",[],{"id":75000,"slug":75001,"title":40707,"dynasty":124,"author":27311,"museum":300,"description":58954,"tags":75002,"thumbUrl":75003,"material":692,"size":1293,"collection":84,"collections":75004,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},237799,"shan-shui-shan-li-liu-fang-237799",[24,7,1131,128,132,29,131,34,414,415,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce5f9a3a4461d9d831acdfc3a428e4d5.jpg",[],{"id":75006,"slug":75007,"title":18219,"dynasty":54,"author":9529,"museum":300,"description":19697,"tags":75008,"thumbUrl":75009,"material":692,"size":1293,"collection":84,"collections":75010,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},237609,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237609",[164,24,7,59,330,128,27,132,29,131,34,331,1233,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50ee8f4934b2427c1665fbe968f52eac.jpg",[],{"id":75012,"slug":75013,"title":18219,"dynasty":54,"author":9529,"museum":300,"description":18220,"tags":75014,"thumbUrl":75015,"material":84,"size":84,"collection":84,"collections":75016,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},237604,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237604",[24,7,59,128,29,132,330,133,208,34,131,37,130,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefff6300f71cce1079795e22a037fdea.jpg",[],{"id":75018,"slug":75019,"title":75020,"dynasty":54,"author":75021,"museum":300,"description":75022,"tags":75023,"thumbUrl":75024,"material":84,"size":84,"collection":136,"collections":75025,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},237562,"bian-gong-guai-shi-tu-zhou-fang-heng-xian-237562","汴宫怪石图轴","方亨咸","[清]小字姐哥，字吉偶，号邵村，号龙瞑、心童道士，安徽桐城人。拱乾子。顺治四年（一六四七）进士，官御史。能文，善书，精于小楷。山水仿黄公望，博大沈雄，力追古雅，与程正揆、顾大申时称鼎足。花鸟意态如生，曾绘百尺梧桐卷，雀雏入神品。\n平生足迹几遍天下，故其所见无非粉本，不规规于古人，所以更胜于古人。顺治十五年（一六五八）为刘年伯作山水轴。其康熙十七年（一六七八）作深林垂绘图，现在日本。《国[清]朝画识、图绘宝鉴续纂、古夫于亭录、百尺梧桐阁集、昭代尺牍小传、清朝书画家笔录、瓯钵罗室书画过目考、古代书画过目汇考附目》。传世作品有顺治十五年(1658)为刘年伯作山水轴。康熙十七年(1678)作《深林垂纶图》，现收藏于日本；康熙五年(1666)作《山水花鸟》册页、《江右纪游图册》共10帧，现藏故宫博物院；八年作《梅花双雀图》轴图录于《神州大观》；十三年作《松石图》图录于《中国名画集》；康熙十五年(1676)作《五苗图》轴藏上海博物馆。著有《邵村诗集》《塞外乐府》《楚粤使稿》等。方亨咸《似兰斯馨，如松之盛》书画象牙牌子现藏于西河自然博物馆。",[164,24,7,165,128,188,171,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa001a2d9beefdd270ce2fe8ca67ac2ad.jpg",[136,318],{"id":75027,"slug":75028,"title":409,"dynasty":54,"author":43518,"museum":20,"description":48227,"tags":75029,"thumbUrl":75030,"material":84,"size":84,"collection":84,"collections":75031,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},237561,"shan-shui-ce-wen-dian-237561",[24,7,128,59,132,29,34,96,211,497,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba9f3dfb9b046f194ca1b09897aaa723.jpg",[],{"id":75033,"slug":75034,"title":409,"dynasty":54,"author":38236,"museum":300,"description":38237,"tags":75035,"thumbUrl":75036,"material":692,"size":1293,"collection":84,"collections":75037,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},237529,"shan-shui-ce-chen-zi-237529",[24,7,59,27,29,413,35,5323,415,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcdb98446a00a04a75bd167bb91460d1.jpg",[],{"id":75039,"slug":75040,"title":4724,"dynasty":54,"author":48234,"museum":300,"description":48235,"tags":75041,"thumbUrl":75042,"material":692,"size":1293,"collection":84,"collections":75043,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},237488,"shan-shui-tu-ce-yao-song-237488",[24,7,59,128,133,132,29,130,167,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25197dd6820f445565e313861aa9b164.jpg",[],{"id":75045,"slug":75046,"title":4724,"dynasty":54,"author":48234,"museum":300,"description":48235,"tags":75047,"thumbUrl":75048,"material":692,"size":1293,"collection":84,"collections":75049,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},237481,"shan-shui-tu-ce-yao-song-237481",[24,7,59,133,128,29,35,34,3440,33,96,99,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb67170ba59ffaae6f0e74b8fbcae0fc5.jpg",[],{"id":75051,"slug":75052,"title":45548,"dynasty":54,"author":17240,"museum":20,"description":45549,"tags":75053,"thumbUrl":75054,"material":611,"size":84,"collection":84,"collections":75055,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},237215,"shu-hua-he-bi-ce-cha-shi-biao-237215",[7,59,128,29,133,1337,171,102,331,229,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28036d56a8fc62b1f1ccc963059652c0.jpg",[],{"id":75057,"slug":75058,"title":37257,"dynasty":54,"author":37258,"museum":300,"description":37259,"tags":75059,"thumbUrl":75060,"material":84,"size":84,"collection":84,"collections":75061,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},237164,"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237164",[24,7,59,27,29,98,99,96,34,171,130,209,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc2949467f327c877a6d026d990de28f.jpg",[],{"id":75063,"slug":75064,"title":4724,"dynasty":54,"author":48234,"museum":20,"description":67196,"tags":75065,"thumbUrl":75066,"material":84,"size":84,"collection":44,"collections":75067,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},237128,"shan-shui-tu-ce-yao-song-237128",[24,7,59,128,27,29,96,1350,211,1351,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf3105743d973fa8551c40b96dd6089.jpg",[44],{"id":75069,"slug":75070,"title":65017,"dynasty":124,"author":75071,"museum":300,"description":75072,"tags":75073,"thumbUrl":75074,"material":692,"size":1293,"collection":84,"collections":75075,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},237073,"zhu-shi-shan-chen-zun-237073","陈遵","明代画家。生卒年不详，字汝循，浙江嘉兴人。少年时即寄情翰墨，壮岁寓居吴县（今江苏苏州）。善画花鸟、蔬果、草虫，所作形态逼真，栩栩如生，笔力苍老，构图新颖。海内鉴赏家重金购求，然非其人辄弗应。通音律，暇时喜操琴自娱。",[164,24,7,1131,128,167,1314,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a78d4c77ea19da8d5c04b0880efe93d.jpg",[],{"id":75077,"slug":75078,"title":34368,"dynasty":54,"author":34369,"museum":300,"description":75079,"tags":75080,"thumbUrl":75081,"material":611,"size":84,"collection":84,"collections":75082,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},237066,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237066","此帧以淡墨轻岚绘就山水小景，数株古松挺立于坡岸，虬枝舒展、松针苍润，尽展古拙挺拔之姿。浅赭晕染坡石，间缀淡墨点苔，板桥横绝溪上，幽蹊间一人策杖徐行，林岫清寂，意境萧散淡远。\n\n左侧行书清隽秀雅，笔墨温润灵动，诗画相映成趣，将林下幽居的闲淡襟怀寄寓尺幅，淡而有味，简中见韵，尽显传统文人画重意境、尚风雅的悠然意趣。",[24,7,59,128,133,132,27,1144,131,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff144008ee15b9ec107b71f1f29adeb4f.jpg",[],{"id":75084,"slug":75085,"title":34368,"dynasty":54,"author":34369,"museum":300,"description":75086,"tags":75087,"thumbUrl":75088,"material":611,"size":84,"collection":84,"collections":75089,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},237064,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237064","此作以淡墨写就山居清景，古松虬曲苍劲，石质嶙峋朴拙，茅庐隐于林泉之间，白衣策杖徐行，似正寻幽访鹤。简淡笔墨勾勒出幽寂出尘的林下意趣，皴擦点染皆见文人写意之妙。左侧题诗行书笔意舒展，诗画相映成趣，将林泉高致寄于尺幅之间，悠悠古意漫溢纸面，尽显文人心底的丘壑与幽居雅兴。",[24,7,59,128,29,34,131,3387,96,64,372,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7575b193c25fbf3cb6a0f186c0a3224d.jpg",[],{"id":75091,"slug":75092,"title":409,"dynasty":124,"author":54018,"museum":300,"description":75093,"tags":75094,"thumbUrl":75095,"material":84,"size":84,"collection":84,"collections":75096,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},236926,"shan-shui-ce-qin-mao-de-236926","此作以浅绛绘就林泉幽居，山峦以淡墨晕染出层叠清姿，屋舍隐于林木间，枯木与茂树错落生姿，溪岸苔石隐现，淡冶烟岚弥散，意境清寂超逸。\n\n左侧题诗笔致疏放，与画境相映成趣，诗中古亭烟冷、竹畔琴鸣之境，恰合画面幽居遁世之致。书画相融，以简淡笔墨写尽林丘雅意，暗含隐逸襟怀，淡而有神，简中见深，尽显文人山水以意驭形的隽雅之美。",[24,7,59,27,128,132,29,131,34,35,1023,415,3427,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b547f9f1efcce269ec8f5494f6a61fe.jpg",[],{"id":75098,"slug":75099,"title":409,"dynasty":124,"author":33462,"museum":20,"description":38210,"tags":75100,"thumbUrl":75101,"material":999,"size":38213,"collection":84,"collections":75102,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},236905,"shan-shui-ce-song-xu-236905",[24,7,59,27,132,128,29,97,98,34,131,415,37,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fded5fbf2b6d1ece41ac6fb9c0c577096.jpg",[],{"id":75104,"slug":75105,"title":409,"dynasty":54,"author":6936,"museum":300,"description":75106,"tags":75107,"thumbUrl":75108,"material":84,"size":84,"collection":84,"collections":75109,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},236872,"shan-shui-ce-wang-yuan-qi-236872","此作用笔苍劲老辣，以干笔积墨反复皴擦，层叠山峦浑朴苍郁，墨色浓淡铺陈出丘壑明暗层次，尽显浑厚华滋之韵。山间林木蓊郁错落，飞瀑自崖间垂落，打破山岑沉静，山道蜿蜒连通林麓山居，将幽寂林泉的野趣悄然铺展。\n\n画作追摹宋元山水意趣，于细密繁复的笔墨间藏纳平淡天真的文人意致，在程式之中自出机杼，把山林幽深之景与静穆古雅的文心相融，是极具代表性的文人山水佳构。",[24,7,59,128,132,29,34,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62836fb291b7ab5291a244832463650e.jpg",[],{"id":75111,"slug":75112,"title":409,"dynasty":54,"author":6936,"museum":300,"description":75113,"tags":75114,"thumbUrl":75115,"material":84,"size":84,"collection":84,"collections":75116,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},236868,"shan-shui-ce-wang-yuan-qi-236868","此帧以干淡渴墨写溪山林樾，坡陀间泉流宛转，幽篁杂木交映成趣，满幅苍浑深秀。以黄公望浅绛为骨，层层皴擦积墨，淡墨晕染出林岚轻霭，静穆清寂的山居野趣扑面而来。\n\n笔力苍劲松秀，于细碎勾皴中见整体丘壑，元气内敛，将萧散淡远的林下风致融于致密笔墨排布间。题识小字清雅，与画境相映，虽尺幅小巧，却包纳山林深幽之致，尽显追摹宋元山水意境的旨趣，尽显正统山水画静穆沉凝的典型韵致。",[24,7,59,128,132,29,167,34,131,99,1023,37,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bb7e6e909fa498033e1899995cbe4ef.jpg",[],{"id":75118,"slug":75119,"title":409,"dynasty":54,"author":6936,"museum":300,"description":75120,"tags":75121,"thumbUrl":75122,"material":84,"size":84,"collection":84,"collections":75123,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},236867,"shan-shui-ce-wang-yuan-qi-236867","此作取法云林设色小景，近岸柳木疏朗、杂木扶苏，坡石错落，浅波萦回，远山矾石隐现林麓间，飞瀑垂落打破山岑岑寂。笔墨干淡苍润，淡赭轻敷晕染出温雅色调，留白尽得文人山水空疏意趣。整幅将江南丘壑的静穆淡远凝缩尺幅，摹古却自抒胸臆，于简淡笔墨间流露冲和内敛的文人画韵致，写尽烟水林泉的清寂悠然。",[164,24,7,59,128,132,29,413,167,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b667a4e5ee62d992be56f99dba814b6.jpg",[],{"id":75125,"slug":75126,"title":409,"dynasty":54,"author":6936,"museum":300,"description":72901,"tags":75127,"thumbUrl":75128,"material":39903,"size":72904,"collection":84,"collections":75129,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},236864,"shan-shui-ce-wang-yuan-qi-236864",[24,7,59,128,27,29,132,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d083c0403d80c1d839958d6e81bb7c1.jpg",[],{"id":75131,"slug":75132,"title":409,"dynasty":54,"author":6936,"museum":300,"description":72901,"tags":75133,"thumbUrl":75134,"material":39903,"size":72904,"collection":84,"collections":75135,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},236863,"shan-shui-ce-wang-yuan-qi-236863",[24,7,59,27,132,64,208,29,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F847218658ea88b37f64bd682ae978f1f.jpg",[],{"id":75137,"slug":75138,"title":75139,"dynasty":124,"author":223,"museum":300,"description":75140,"tags":75141,"thumbUrl":75142,"material":692,"size":1293,"collection":84,"collections":75143,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},236816,"song-xu-fen-yuan-shu-wu-shan-ye-yi-ming-236816","宋旭汾源书屋扇页","此帧水墨山水以平远糅合深远之法布局，近岸松石苍劲，古木虬枝错列，浓墨点苔晕染苍润生机，板桥柴扉隐于林麓，野意自生。中渚水光澹澹，田畴、村居错落山脚，恍见幽居闲逸之态。远景山峦以干笔皴擦，墨色由浓渐淡，层层递远，晕开山野空寂氛围。\n\n笔墨兼具元人简淡意趣与明画沉静格调，借扇面弧形章法排布丘壑，于局促尺幅间铺展阔远山水意境，写尽林泉高致，暗合文人寄情烟霞、幽居忘世的隐逸襟怀。",[24,7,1131,128,132,29,34,98,99,131,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F058a0ef23ae07da656da6988eb92e19f.jpg",[],{"id":75145,"slug":75146,"title":75147,"dynasty":54,"author":75148,"museum":300,"description":75149,"tags":75150,"thumbUrl":75151,"material":84,"size":84,"collection":84,"collections":75152,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},236748,"hua-huang-yi-xiang-shan-wu-jun-236748","画黄易像扇","吴俊","此作为淡彩肖像小品，人物仪态端方沉静，身着素色长衫，手持金石拓本，尽显金石学者温厚儒雅的风骨。衣纹勾勒简练清劲，设色浅淡明净，将人物沉静内敛的神态描摹入微。旁侧题字朴拙舒展，笔意苍雅，与画像相得益彰，既点明人物生平细节，更添书卷意韵。整体笔墨清润秀雅，以扇面为载体，将肖像纪实与文人雅趣融于一体，尽显雅致格调，是兼具纪念性与艺术性的小品佳作。",[24,7,1131,96,188,27,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee3153e793bf0d5bea236a63796550b.jpg",[],{"id":75154,"slug":75155,"title":409,"dynasty":54,"author":5879,"museum":12686,"description":54026,"tags":75156,"thumbUrl":75157,"material":84,"size":84,"collection":136,"collections":75158,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},236738,"shan-shui-ce-hua-yan-236738",[24,7,59,128,132,29,171,34,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3471dccb41f6380abecbae7b7403b8e.jpg",[136,117],{"id":75160,"slug":75161,"title":37266,"dynasty":54,"author":37267,"museum":300,"description":75162,"tags":75163,"thumbUrl":75164,"material":84,"size":84,"collection":68,"collections":75165,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},236718,"hua-niao-guo-ce-li-qi-236718","此作为水墨写意小品，以淡墨晕染、焦墨勾勒绘就秋蔬野趣。萝卜憨态饱满，表皮晕染出自然的肌理起伏，菜叶以焦墨肆意挥写，笔力苍劲朴拙，尽显霜后老叶的舒展之姿。旁侧秋菊柔润舒展，花瓣层叠雅致，几朵香菇寥寥数笔便鲜活灵动。\n画面左侧题诗相伴，朱红印章点睛，诗画相映，文气雅致。整体笔墨简括却意趣盎然，将田园野蔬的恬淡之美尽数铺陈，尽显文人画的闲逸意韵，清淡疏朗间，把乡野小景的悠然生机表现得淋漓尽致，笔简意足，满是闲雅的文人情致。",[24,7,59,128,61,4250,4252,4844,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4cf417e08efacd74e2fe1bdf45affa9.jpg",[68,117],{"id":75167,"slug":75168,"title":409,"dynasty":124,"author":52407,"museum":300,"description":75169,"tags":75170,"thumbUrl":75171,"material":84,"size":20,"collection":136,"collections":75172,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},236602,"shan-shui-ce-ye-xiang-rong-236602","此作用笔清简秀逸，设色浅淡柔和。苍枯老木与青葱秀树错落生于坡岸，枯木骨力劲挺，皴擦间尽显风霜雕琢的苍古意态，秀木晕染温润，枝叶疏密有秩，将寒林萧寂又暗含生机的意趣娓娓道来。\n\n左侧大片留白以虚代实，暗喻空茫江天，以无胜有，烘托出林皋幽远清寂的氛围。整幅小品以简驭繁，淡而不寡，寥寥笔墨间晕染出文人淡逸闲静的襟怀，尽显小品山水的空灵悠长之美。",[164,24,7,27,29,413,131,3428,59,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03857f788d437618c0aa726193c3935c.jpg",[136,117],{"id":75174,"slug":75175,"title":31307,"dynasty":54,"author":17240,"museum":300,"description":31308,"tags":75176,"thumbUrl":75177,"material":84,"size":84,"collection":84,"collections":75178,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},236576,"zha-mei-he-shan-shui-shi-zhen-cha-shi-biao-236576",[24,7,59,128,133,208,132,29,413,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f27f6fa6776f5cabe158c238b465582.jpg",[],{"id":75180,"slug":75181,"title":31307,"dynasty":54,"author":17240,"museum":300,"description":31308,"tags":75182,"thumbUrl":75183,"material":84,"size":84,"collection":84,"collections":75184,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},236574,"zha-mei-he-shan-shui-shi-zhen-cha-shi-biao-236574",[24,7,59,128,132,29,331,211,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda8adb53b09c5473cface5002936a484.jpg",[],{"id":75186,"slug":75187,"title":4229,"dynasty":124,"author":25456,"museum":300,"description":25457,"tags":75188,"thumbUrl":75189,"material":84,"size":84,"collection":84,"collections":75190,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},236548,"hua-niao-ce-tang-zhi-yin-236548",[24,7,59,27,28,61,211,2438,547,356],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90210ee54de8ae8f5320ee5cffc6ddca.jpg",[],{"id":75192,"slug":75193,"title":4229,"dynasty":124,"author":25456,"museum":300,"description":25457,"tags":75194,"thumbUrl":75195,"material":84,"size":84,"collection":84,"collections":75196,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},236546,"hua-niao-ce-tang-zhi-yin-236546",[24,164,7,59,28,27,61,355,624,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff013f63213cb6758b8675f488f6a4b07.jpg",[],{"id":75198,"slug":75199,"title":4229,"dynasty":124,"author":25456,"museum":300,"description":25457,"tags":75200,"thumbUrl":75201,"material":84,"size":84,"collection":84,"collections":75202,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},236541,"hua-niao-ce-tang-zhi-yin-236541",[24,7,59,28,27,61,355,36646],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ade0924831100b435764081ac000d14.jpg",[],{"id":75204,"slug":75205,"title":4229,"dynasty":124,"author":25456,"museum":300,"description":25457,"tags":75206,"thumbUrl":75207,"material":84,"size":84,"collection":84,"collections":75208,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},236540,"hua-niao-ce-tang-zhi-yin-236540",[164,24,7,59,27,28,61,371,355,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0cd4d57f0fd30796bc70b95b4118b9c.jpg",[],{"id":75210,"slug":75211,"title":75212,"dynasty":54,"author":24258,"museum":300,"description":36452,"tags":75213,"thumbUrl":75214,"material":692,"size":1293,"collection":84,"collections":75215,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},236352,"hua-hui-shan-chen-heng-ke-236352","花卉扇",[24,7,1131,27,61,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb68aab12c3643edef35b28fbc2cf52e.jpg",[],{"id":75217,"slug":75218,"title":75219,"dynasty":54,"author":24258,"museum":300,"description":36452,"tags":75220,"thumbUrl":75221,"material":692,"size":1293,"collection":84,"collections":75222,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},236347,"hua-shi-shan-chen-heng-ke-236347","花石扇",[24,7,1131,128,27,61,263,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F047729d5c3c7c01d47c56fd834e8846a.jpg",[],{"id":75224,"slug":75225,"title":76,"dynasty":54,"author":1311,"museum":20,"description":37291,"tags":75226,"thumbUrl":75227,"material":734,"size":37294,"collection":84,"collections":75228,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},236322,"hua-hui-ce-wang-shi-shen-236322",[24,7,59,27,61,263,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa556a672cd1ef8b4a5852075f896dea2.jpg",[],{"id":75230,"slug":75231,"title":76,"dynasty":54,"author":1311,"museum":20,"description":37291,"tags":75232,"thumbUrl":75233,"material":734,"size":37294,"collection":84,"collections":75234,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},236321,"hua-hui-ce-wang-shi-shen-236321",[24,7,59,128,61,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3064223530660142037e2cc6eadf1b.jpg",[],{"id":75236,"slug":75237,"title":75238,"dynasty":54,"author":675,"museum":300,"description":27158,"tags":75239,"thumbUrl":75240,"material":84,"size":84,"collection":68,"collections":75241,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},236200,"hua-shan-shui-jin-de-ying-shu-he-dong-po-you-xi-hu-shi-cheng-shan-qian-wei-cheng-236200","画山水金德瑛书和东坡游西湖诗成扇",[24,7,1131,29,27,132,496,34,499,37,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55cc7d22ebee3ba8b86de8420b0949c8.jpg",[68],{"id":75243,"slug":75244,"title":75245,"dynasty":124,"author":27311,"museum":20,"description":58954,"tags":75246,"thumbUrl":75247,"material":84,"size":84,"collection":318,"collections":75248,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},236188,"hua-han-lin-ting-zi-tu-hong-li-shu-fu-cheng-shan-li-liu-fang-236188","画寒林亭子图弘历书赋成扇",[24,7,1131,29,130,1557,1233,331,64,208,128,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde03b093be30492eba6c6608605c275b.jpg",[318],{"id":75250,"slug":75251,"title":72489,"dynasty":54,"author":2915,"museum":20,"description":72490,"tags":75252,"thumbUrl":75253,"material":40,"size":72493,"collection":84,"collections":75254,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},236115,"shan-shui-lou-ge-ce-chen-mei-236115",[24,7,59,95,27,29,97,130,413,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cbfe808da717a098e41cdf59ea94bd1.jpg",[],{"id":75256,"slug":75257,"title":72489,"dynasty":54,"author":2915,"museum":20,"description":72490,"tags":75258,"thumbUrl":75259,"material":40,"size":72493,"collection":84,"collections":75260,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},236114,"shan-shui-lou-ge-ce-chen-mei-236114",[24,7,59,27,29,97,95,131,34,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe007cade1f70abd48f0eb70d32775ff4.jpg",[],{"id":75262,"slug":75263,"title":18219,"dynasty":54,"author":223,"museum":300,"description":75264,"tags":75265,"thumbUrl":75266,"material":84,"size":84,"collection":84,"collections":75267,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},236070,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236070","此作以淡墨浅绛绘就山居秋景，高远层峦以披麻皴写就，烟岚轻笼远山，虚实相生间拓开幽渺意境。近岸林木枯荣交错，苍松与落叶杂树错落生姿，林麓间茅舍隐现，清溪蜿蜒环合，衬出山野幽寂安闲。右上角题识朱印相映，诗画交融，暗合文人寄兴山水的雅趣。笔墨秀润松灵，勾勒皴擦兼具法度，淡墨晕染出空濛氤氲的清秋氛围，将山居闲逸之态融于山水间。简淡中见苍润，清和悠远，尽显传统山水的抒情意致，藏着林下幽居的恬然诗意。",[24,7,59,128,132,2271,29,663,228,413,130,497,415,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b2801cbb27b7da50b448aa8767dbe9c.jpg",[],{"id":75269,"slug":75270,"title":18219,"dynasty":54,"author":223,"museum":300,"description":75271,"tags":75272,"thumbUrl":75273,"material":84,"size":84,"collection":84,"collections":75274,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},236061,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236061","此作用笔苍秀兼济，以干笔皴擦勾勒山石肌理，淡墨晕染晕出山峦明暗，层层铺展出远近景致。近岸水榭依溪而建，杂木扶疏间村舍隐现；中流渔舟静泊，对岸长松茂林覆裹崖岫；远景峰峦叠翠，烟岚轻笼，留白水面漾出空濛清寂。\n\n整体取法元人山水萧散简远之致，又暗合宋人丘壑的深幽格局，笔墨清润沉和，题识小字与画面浑然相融，尽显山居幽隐的闲澹意趣，是仿古山水中颇具韵致的佳构。",[24,7,59,2271,132,128,208,29,496,34,35,5323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0550a3bfc27e975b77c4e736c51f2550.jpg",[],{"id":75276,"slug":75277,"title":75278,"dynasty":54,"author":9529,"museum":300,"description":75279,"tags":75280,"thumbUrl":75281,"material":84,"size":84,"collection":84,"collections":75282,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},236055,"teng-bi-qiao-song-zhou-wang-hui-236055","藤薜乔松轴","此作用笔苍劲秀润，近景巉岩峻岭间，古松虬曲、藤薜缠绕，山隅茅舍隐现，野意悠然。远景平湖如镜，远山含黛以淡墨轻晕，虚实相生，将尺幅天地拓开悠远意境。\n\n山石以短披麻皴勾勒皴擦，兼具雄浑质感与灵秀意趣，水墨浓淡晕染区分阴阳向背，融北派山水厚重与南宗温润于一体，设色简淡雅致，以实景山水的朴拙承载文人画的清寂淡远，尽显林下幽居的静穆意韵，是极具文人意趣的山水佳构。",[24,7,165,29,128,132,1144,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76a93270ec01d0fdde63f688e699537.jpg",[],{"id":75284,"slug":75285,"title":75286,"dynasty":124,"author":35676,"museum":300,"description":75287,"tags":75288,"thumbUrl":75289,"material":84,"size":84,"collection":84,"collections":75290,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},236019,"ren-wu-tu-ce-jiao-yang-dui-yi-wen-nan-shou-mao-weng-236019","人物图册－蕉阳对奕","此作以清简笔墨铺就林下雅景，右侧蕉叶舒展如盖，缀花柔枝垂曳，二翁对坐手谈，棋盘方桌间，尽得忘机闲趣，石畔浅草轻缀，愈发衬出周遭清寂安和。\n\n左侧题诗笔意秀逸，诗画相生，将静聆蕉声、不问俗事的隐逸心境缓缓铺陈。设色浅淡温润，笔墨不事繁复刻画，却把寄情弈棋、远隔尘嚣的出世之态尽数彰显，尽显文人画尚简崇雅的意趣，将林下清欢定格卷中。",[24,7,59,27,96,875,4278,131,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb979a5baef5c6922c0ce2fcc6370c286.jpg",[],{"id":75292,"slug":75293,"title":67367,"dynasty":54,"author":223,"museum":300,"description":75294,"tags":75295,"thumbUrl":75296,"material":84,"size":84,"collection":84,"collections":75297,"showCount":738,"zanCount":1998,"manualWeight":48,"mainColor":72},235983,"ban-shan-shan-shui-ren-wu-ce-yi-ming-235983","这幅小品以水墨绘就江渚冬意，大片留白铺陈出江天寥廓的空寂。远景以淡墨轻晕远山浅汀，晕染朦胧，将天地虚渺的荒寒缓缓铺开。近取枯槎虬曲，寒鸦错落在枝头，浓黑的墨色和淡远的背景形成强烈虚实对照。\n\n全画笔意极简，凭水墨浓淡营造层次，不着一笔多余修饰，却将冬日江渚的清萧寒逸烘托尽致。留白为观者预留遐想余地，尽显以少胜多的文人意趣，把江天冬日的冷疏淡远藏在淡墨枯槎之间，意境悠长。",[24,7,128,59,29,211,1233,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff554e5b4c05c5e76094cd32960fbf54c.jpg",[],{"id":75299,"slug":75300,"title":409,"dynasty":124,"author":21412,"museum":300,"description":75301,"tags":75302,"thumbUrl":75303,"material":84,"size":84,"collection":84,"collections":75304,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235972,"shan-shui-ce-cheng-jia-sui-235972","此作用笔极简淡空灵，右侧江岸柳丝垂曳，扁舟横卧，舟中一人静默独坐，远山以淡墨轻扫晕染，留白铺就出悠悠江天，萧散清寂之意扑面而来。左侧小楷题诗与画境呼应，将幽栖江上、洗耳忘世的隐逸心境缓缓铺陈。整体笔墨松秀简远，以少胜多，将山水之境与文人避世孤高的情怀相融，尽显尚淡尚简的文人意趣，诗画共生，勾勒出静穆孤高的出世之境，淡远悠长的余韵萦于纸间。",[24,7,59,188,128,133,208,29,129,1350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40651cb5e6ba690152fdc31a26835ca1.jpg",[],{"id":75306,"slug":75307,"title":75308,"dynasty":124,"author":223,"museum":300,"description":75309,"tags":75310,"thumbUrl":75311,"material":84,"size":84,"collection":84,"collections":75312,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235840,"lu-zhi-tian-chi-shan-tu-ye-yi-ming-235840","陆治天池山图页","此作用笔简淡疏朗，以枯淡墨色勾勒嶙峋崖壁，皴擦间尽显山石苍硬奇崛，虬曲枯木盘绕岩间，疏枝带残叶点缀幽境，留白处恍有空蒙云气流转，将绝岭孤山的清寂萧疏铺陈开来。\n\n搭配左侧清劲秀雅的行书题跋，文辞叙写山之险峻，与画中丘壑相映成趣，把天池山的幽旷高古尽数烘托。整体以意驭笔，摒弃繁复晕染，将山林奇险与文人隐逸的清冷情怀融于尺幅，书与画浑然一体，尽显尚简求雅的文人意趣，意境淡远耐人寻味。",[24,7,4437,128,27,132,133,64,208,29,131,34,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7436a180e650f019c1780696f3fdafcc.jpg",[],{"id":75314,"slug":75315,"title":409,"dynasty":124,"author":27311,"museum":300,"description":75316,"tags":75317,"thumbUrl":75318,"material":84,"size":84,"collection":84,"collections":75319,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235827,"shan-shui-ce-li-liu-fang-235827","此帧画面松枝虬劲苍郁，针叶攒簇如盖，笔法清逸松秀。淡赭晕染坡石村落，浅青轻笼远山层峦，空寂山居隐于松下，尽显悠远萧散的林下意趣。\n题跋自言取法前贤却自出机杼，笔墨脱略常格，将画理与文思相融，暗合晚明文人的审美意趣。整体以淡墨轻岚营造幽淡沉静的氛围，既有元人山水的简远疏朗，又藏着创作者幽隽沉静的文心，淡远空濛间，山居雅趣扑面而来。",[24,7,59,27,128,29,372,4605,149,415,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24c929e9232e406ffa2b55e017c3ed19.jpg",[],{"id":75321,"slug":75322,"title":75323,"dynasty":124,"author":223,"museum":300,"description":75324,"tags":75325,"thumbUrl":75326,"material":692,"size":1293,"collection":84,"collections":75327,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235812,"qian-gu-bai-shi-tu-shan-ye-yi-ming-235812","钱穀柏石图扇页","此作用笔苍老朴拙，虬曲古柏盘桓于顽石之侧，皴擦间尽显柏皮嶙峋、主干遒劲的古茂之态，旁生幽竹萧疏挺秀，枝叶攒簇暗含生意。水墨晕染清润雅致，金笺底调更添沉静古雅氛围。左侧题诗与绘境相映，诗画谐和，暗合文人托物言志的意趣，以松柏之坚贞、修竹之清逸，寄寓林下幽居的澹泊襟怀，笔简意足，尽显逸笔草草、以意胜形的审美意韵，于尺幅间铺展出清寂淡远的林下雅风。",[24,7,1131,128,132,1144,276,171,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e935ca8d567bed18f9d280b9b661f4b.jpg",[],{"id":75329,"slug":75330,"title":75331,"dynasty":124,"author":1438,"museum":300,"description":13247,"tags":75332,"thumbUrl":75333,"material":692,"size":1293,"collection":84,"collections":75334,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235802,"yun-shan-tu-shan-chen-chun-235802","云山图扇",[164,24,7,1131,128,132,29,950,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fc21276703be95efd328890befa659e.jpg",[],{"id":75336,"slug":75337,"title":75338,"dynasty":54,"author":9529,"museum":300,"description":75339,"tags":75340,"thumbUrl":75341,"material":84,"size":84,"collection":84,"collections":75342,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235776,"qing-chu-liu-da-jia-ji-ce-xia-ri-shan-ju-ye-wang-hui-235776","清初六大家集册-夏日山居页","此作以苍松为前景，虬干层枝劲秀郁茂，松下溪畔草庐隐于繁林之间，左见飞泉落涧，对岸烟水柔波漾着垂杨。以干笔皴擦、湿墨晕染交织出山林层次，苍润相生。繁密笔致却毫无拥塞之感，疏密错落间铺展出夏日山居的清和意趣。将林泉高致的隐逸襟怀寄寓尺幅，实景丘壑与文人幽怀相融，萧散悠然的林下之风漫溢纸面，尽显淡远恬和的山水雅韵。",[24,7,164,59,128,132,208,29,372,130,99,171,4605],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90fc4bdee8bb93e59055c54cda66ee5d.jpg",[],{"id":75344,"slug":75345,"title":4229,"dynasty":124,"author":22448,"museum":300,"description":75346,"tags":75347,"thumbUrl":75348,"material":84,"size":84,"collection":84,"collections":75349,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235732,"hua-niao-ce-tan-zhi-yi-235732","这幅题跋以小楷书就，点画精劲秀雅，结体端稳匀整，通篇气息清和疏朗。笔墨兼具晋唐小楷的隽逸灵秀，又带着明代书法的规整法度却毫无板滞之意，笔势顾盼有情，章法排布齐整舒朗。\n\n题诗以清隽词句咏赞册中花鸟，将笔下生灵的幽姿逸态与画师的笔底才情相融，文辞雅致，笔墨隽秀，文与书相映成趣，尽显晚明文人雅致疏淡的审美意趣，是书画合璧里颇为点睛的题识佳作。",[24,7,59,61,28,27,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cad3f0e587b07051e7414a22cb5e948.jpg",[],{"id":75351,"slug":75352,"title":76,"dynasty":54,"author":36579,"museum":300,"description":36580,"tags":75353,"thumbUrl":75354,"material":692,"size":1293,"collection":84,"collections":75355,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235713,"hua-hui-ce-zou-xian-ji-235713",[24,7,59,27,28,61,376,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F185c3ffcf5065be74489fb3137db8d3f.jpg",[],{"id":75357,"slug":75358,"title":76,"dynasty":54,"author":36579,"museum":300,"description":36580,"tags":75359,"thumbUrl":75360,"material":692,"size":1293,"collection":84,"collections":75361,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235711,"hua-hui-ce-zou-xian-ji-235711",[24,7,59,27,61,62,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce4122229678ca5a64937b00ddf2c50b.jpg",[],{"id":75363,"slug":75364,"title":4071,"dynasty":54,"author":1472,"museum":300,"description":19162,"tags":75365,"thumbUrl":75366,"material":692,"size":1293,"collection":84,"collections":75367,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235702,"hua-hui-tu-ce-zou-yi-gui-235702",[164,24,7,59,128,28,61,263,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60b09f4d4ac908102e1d17d3d1a68e85.jpg",[],{"id":75369,"slug":75370,"title":1289,"dynasty":124,"author":16032,"museum":300,"description":20309,"tags":75371,"thumbUrl":75372,"material":692,"size":1293,"collection":84,"collections":75373,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235688,"shan-shui-hua-hui-ce-xiang-sheng-mo-235688",[24,7,59,27,128,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd938393fe7e09a02188743924a97f25d.jpg",[],{"id":75375,"slug":75376,"title":1289,"dynasty":124,"author":16032,"museum":300,"description":20309,"tags":75377,"thumbUrl":75378,"material":692,"size":1293,"collection":84,"collections":75379,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235687,"shan-shui-hua-hui-ce-xiang-sheng-mo-235687",[24,7,59,128,27,61,371,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa94f032bccefdf78e3fe4a4eb98c285f.jpg",[],{"id":75381,"slug":75382,"title":75383,"dynasty":54,"author":16583,"museum":300,"description":29102,"tags":75384,"thumbUrl":75386,"material":692,"size":1293,"collection":84,"collections":75387,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235654,"xi-yi-tu-zhou-gao-qi-pei-235654","蜥蜴图轴",[24,7,165,29104,128,27,75385,171,230,304],"蜥蜴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F085c06c4b3005f9957fed7c11a6221a0.jpg",[],{"id":75389,"slug":75390,"title":20324,"dynasty":124,"author":223,"museum":300,"description":75391,"tags":75392,"thumbUrl":75393,"material":692,"size":1293,"collection":84,"collections":75394,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235589,"wen-chu-hua-hui-ce-yi-ming-235589","此作以写意之笔绘湖石，墨色干湿浓淡交织，皴擦勾勒间尽显嶙峋苍朴的古拙质感。石畔以青蓝晕染小花，柔茎嫩叶娉婷舒展，秀灵雅致的花木和浑朴顽石形成刚柔相映的绝佳意趣。\n\n洒金笺底自带温润古雅的氛围感，边角朱红印章点缀，更添幽古气韵。整幅小品以简驭繁，笔致清浅却意韵饱满，将闲逸雅致的文人意趣融于尺幅之间，尽显隽逸风神，悠悠古意扑面而来。",[24,7,59,128,27,61,171,208,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96247d1d727cbe12030bb5469f2f1d34.jpg",[],{"id":75396,"slug":75397,"title":20324,"dynasty":124,"author":223,"museum":300,"description":75398,"tags":75399,"thumbUrl":75400,"material":692,"size":1293,"collection":84,"collections":75401,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235588,"wen-chu-hua-hui-ce-yi-ming-235588","此作用笔兼工带写，水墨晕染的湖石嶙峋朴拙，浓墨点苔衬出苍古意趣。淡粉晕染鸢尾，柔线勾出花娇叶秀，清雅柔婉。坡间杂草、石畔细枝皆以简笔写出，野意自生。将花草娇柔与湖石沉凝相映，以小幅尺幅营造出幽谧静雅的小景，淡墨轻色间漫溢出悠然的文人闲趣，不见繁复铺陈，却于一花一石间尽显雅致恬淡的小品意致，清丽动人。",[24,7,59,128,27,28,132,61,171,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F972e4a78d3efd7d3a7b7efe7336a0b4d.jpg",[],{"id":75403,"slug":75404,"title":409,"dynasty":54,"author":24447,"museum":300,"description":75405,"tags":75406,"thumbUrl":75407,"material":84,"size":84,"collection":84,"collections":75408,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235553,"shan-shui-ce-zhu-chang-235553","此作以平远法铺展湖山胜景，淡墨晕染空濛湖面，两岸丘峦以松灵笔触皴擦出浅淡肌理，草木蓊郁尽显清幽野趣。湖心树荫下，扁舟横陈，幽人独坐静享林泉闲意，右侧矶岩上朱红小亭鲜亮醒目，为清冷水墨晕开一抹暖意。\n\n题诗与画境相衬，将幽居避世的雅趣融于笔墨间，整体墨色清润淡雅，留白烘托出水天色空寂萧散的意境，尽显简逸冷寂的审美意趣，以极简笔墨勾勒出世外幽居的静穆之美，藏着文人寄情山水、栖心林泉的隐逸襟怀。",[24,7,59,128,27,29,129,34,131,31,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8586f4f043500662afafcd90601f7241.jpg",[],{"id":75410,"slug":75411,"title":22264,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":75412,"thumbUrl":75413,"material":692,"size":1293,"collection":84,"collections":75414,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235490,"huang-shen-shu-guo-tu-ce-huang-shen-235490",[24,7,59,27,128,208,133,4250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffab635e082b01edb77c6291dd28a2dd4.jpg",[],{"id":75416,"slug":75417,"title":22264,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":75418,"thumbUrl":75419,"material":692,"size":1293,"collection":84,"collections":75420,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235487,"huang-shen-shu-guo-tu-ce-huang-shen-235487",[24,7,59,128,27,4250,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0075bcc6c2d68db31b454660011c789b.jpg",[],{"id":75422,"slug":75423,"title":75424,"dynasty":54,"author":70087,"museum":300,"description":75425,"tags":75426,"thumbUrl":75427,"material":692,"size":1293,"collection":84,"collections":75428,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235345,"cai-sang-tu-shan-ye-wu-guan-dai-235345","采桑图扇页","吴观岱近现代（1862―1929）名宗泰，又字念康，40岁改字观岱；号觚庐、洁翁，晚号江南布衣。生于清同治元年(1862年)，无锡人。",[1131,24,7,27,128,96,166,413,211,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37c4b7386884e8e5a7dc2341928bd01e.jpg",[],{"id":75430,"slug":75431,"title":31332,"dynasty":54,"author":3750,"museum":300,"description":17621,"tags":75432,"thumbUrl":75433,"material":692,"size":1293,"collection":84,"collections":75434,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235342,"fang-gu-shu-hua-ce-wang-jian-235342",[24,7,59,27,29,132,131,34,499,35,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8342c055e93dd7a721d4cb1cb560485.jpg",[],{"id":75436,"slug":75437,"title":31332,"dynasty":54,"author":3750,"museum":300,"description":17621,"tags":75438,"thumbUrl":75439,"material":692,"size":1293,"collection":84,"collections":75440,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235337,"fang-gu-shu-hua-ce-wang-jian-235337",[24,7,59,128,132,133,64,29,34,131,97,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb740e979378f69fd2e9cea4a3637d04.jpg",[],{"id":75442,"slug":75443,"title":409,"dynasty":54,"author":43518,"museum":300,"description":75444,"tags":75445,"thumbUrl":75446,"material":84,"size":84,"collection":84,"collections":75447,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235334,"shan-shui-ce-wen-dian-235334","此作用笔松秀简淡，以水墨写就林泉幽居之景。左侧怪石嶙峋、茂林匝地，围合出静谧茅舍，屋内有人凭窗闲坐，静享林间清趣。竹篱轻隔院落，稚童缓步空庭，更添悠然生机。远景苍松下，负手行者缓步林间，衬得山野愈加深幽。\n\n全幅无浓艳敷色，仅以淡墨勾勒皴擦，萧疏淡远的氛围里，铺陈出文人幽居日常的恬然隐逸，藏着寄情山水、安闲自适的林下雅意，尽显中式文人画独有的清寂淡远之美。",[24,7,59,128,29,413,229,35,96,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F439e6fe608aad922cdc6827d484baa80.jpg",[],{"id":75449,"slug":75450,"title":75451,"dynasty":54,"author":75452,"museum":300,"description":75453,"tags":75454,"thumbUrl":75456,"material":84,"size":84,"collection":84,"collections":75457,"showCount":738,"zanCount":1998,"manualWeight":48,"mainColor":49},235319,"duan-ji-jiao-zi-tu-zhou-kang-tao-235319","断机教子图轴","康涛","工笔设色绘就贤母训子场景，左侧织机悬着未竟素帛，孟母持剪而立，神色沉凝肃穆，将断杼明志的训诫藏于举手投足间。幼孟轲垂首立在身侧，孺慕间带着愧悔之色。\n衣纹以铁线描勾勒，温婉秀雅，蓝饰头鬓晕染细腻，赭褐衣装衬出沉静古雅的色调。右上角题字笔意端秀，呼应画中劝学成才的典故。\n画作未刻意渲染情绪，却将言传身教的意蕴藏在人物姿态中，绢本底色晕开东方家教的沉厚底色，把千年贤母训子的佳话定格为可感的画面，工致笔触尽显雅致风骨。",[24,7,165,27,28,96,75455,16099,304],"织布机","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7b81833b420652ba2ce9221df03ea46.jpg",[],{"id":75459,"slug":75460,"title":75461,"dynasty":54,"author":223,"museum":300,"description":75462,"tags":75463,"thumbUrl":75464,"material":84,"size":84,"collection":84,"collections":75465,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235297,"chen-fu-mo-zhu-zhou-yi-ming-235297","陈馥墨竹轴","以狂放迅疾的笔墨绘就风竹，竹叶如被飓风席卷，倾侧飞舞，灵动不羁。墨色浓淡枯湿富于层次，浓墨点簇老叶厚重苍劲，淡晕新篁清润秀雅，虚实相生间尽显疾风穿林之势。\n右侧题诗与画境呼应，将竹枝乱而不散、逆势挺立的姿态刻画尽致，笔力雄健老辣，尽显狂放疏朗的文人意气。借竹言志，把疾风里劲竹的萧索傲骨，化作君子不屈的襟怀，将水墨写意的淋漓意趣与文人情志完美相融。",[24,7,165,128,167,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bff2365e40a277b86ec8b1973cef30a.jpg",[],{"id":75467,"slug":75468,"title":76,"dynasty":124,"author":41661,"museum":300,"description":41662,"tags":75469,"thumbUrl":75470,"material":692,"size":1293,"collection":84,"collections":75471,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235262,"hua-hui-ce-wang-gu-xiang-235262",[24,7,59,128,61,62,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6381f68cac2093853785b3456063f7c.jpg",[],{"id":75473,"slug":75474,"title":76,"dynasty":54,"author":24996,"museum":300,"description":24997,"tags":75475,"thumbUrl":75476,"material":692,"size":1293,"collection":84,"collections":75477,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235215,"hua-hui-ce-zhang-wei-235215",[24,7,59,27,28,61,263,624,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37127007c647e22e7a99242f5977fb53.jpg",[],{"id":75479,"slug":75480,"title":76,"dynasty":54,"author":3403,"museum":300,"description":8089,"tags":75481,"thumbUrl":75482,"material":692,"size":1293,"collection":84,"collections":75483,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235197,"hua-hui-ce-wu-chang-shuo-235197",[24,7,59,128,133,208,61,607,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe55a7a815fac4e3df952ba468947d1e1.jpg",[],{"id":75485,"slug":75486,"title":7864,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":75487,"thumbUrl":75488,"material":692,"size":1293,"collection":84,"collections":75489,"showCount":738,"zanCount":1998,"manualWeight":48,"mainColor":72},235189,"za-hua-ce-huang-shen-235189",[24,7,59,27,61,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3656ed4e1f3b164616ee707dd4f3253.jpg",[],{"id":75491,"slug":75492,"title":7864,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":75493,"thumbUrl":75494,"material":692,"size":1293,"collection":84,"collections":75495,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235188,"za-hua-ce-huang-shen-235188",[24,7,59,27,61,62,64,840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29560c3d0a47ae743fc3e3cbe87ce709.jpg",[],{"id":75497,"slug":75498,"title":409,"dynasty":54,"author":44979,"museum":300,"description":75499,"tags":75500,"thumbUrl":75501,"material":692,"size":1293,"collection":84,"collections":75502,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":199},235183,"shan-shui-ce-ye-xin-235183","叶欣（生卒年未详，公元17—18世纪)，字荣木，华亭(今上海市松江)人，流寓江苏金陵(今南京)，书画家。善山水，学宋赵令穰法，复师明姚允在之意，能独抒性灵。山水画素以“工细幽淡”著称。",[24,7,59,128,132,29,34,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5354ec86fc86ac3b58ddcf49dd0916c.jpg",[],{"id":75504,"slug":75505,"title":4724,"dynasty":54,"author":5879,"museum":300,"description":75506,"tags":75507,"thumbUrl":75508,"material":84,"size":84,"collection":84,"collections":75509,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235073,"shan-shui-tu-ce-hua-yan-235073","此作用笔松秀简淡，以干笔皴擦晕染出远山腴润清苍，近岸杂木萧散错落，陂陀茅舍隐于林下，漾出空寂萧疏的秋日况味。\n右上题诗与画作相映成趣，诗画交融，将幽居独钓、寄兴烟霞的隐逸意趣藏于尺幅间。淡墨轻岚里尽显静穆萧散的文人逸致，简淡中见雅润，勾勒出江渚秋浦的清旷之境，把闲居寄怀的林下襟怀铺陈开来，淡而弥永，余韵悠长。",[24,7,59,128,133,132,29,34,131,415,3427,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d83fce49b1c433c9f16b11175baf768.jpg",[],{"id":75511,"slug":75512,"title":7864,"dynasty":54,"author":5879,"museum":300,"description":59277,"tags":75513,"thumbUrl":75514,"material":692,"size":1293,"collection":84,"collections":75515,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235062,"za-hua-ce-hua-yan-235062",[24,7,59,27,128,133,208,61,2059,2438,2037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6f1eca30f712d9a8063b78d86d450d6.jpg",[],{"id":75517,"slug":75518,"title":7864,"dynasty":54,"author":5879,"museum":300,"description":59277,"tags":75519,"thumbUrl":75520,"material":692,"size":1293,"collection":84,"collections":75521,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235059,"za-hua-ce-hua-yan-235059",[24,7,59,128,61,355,375,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d93adda89a07e576ad752b8deb0d09c.jpg",[],{"id":75523,"slug":75524,"title":39034,"dynasty":54,"author":20985,"museum":300,"description":65223,"tags":75525,"thumbUrl":75526,"material":734,"size":84,"collection":84,"collections":75527,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235035,"hua-ji-chan-yin-tu-ce-xiao-chen-235035",[24,7,59,27,96,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F803f7fe27a3a74e28aaabe5244a9ac12.jpg",[],{"id":75529,"slug":75530,"title":39034,"dynasty":54,"author":20985,"museum":300,"description":65223,"tags":75531,"thumbUrl":75532,"material":734,"size":84,"collection":84,"collections":75533,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235034,"hua-ji-chan-yin-tu-ce-xiao-chen-235034",[24,7,164,59,27,28,96,166,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70f38eab8506e403543602662e62282a.jpg",[],{"id":75535,"slug":75536,"title":39034,"dynasty":54,"author":20985,"museum":300,"description":65223,"tags":75537,"thumbUrl":75538,"material":734,"size":84,"collection":84,"collections":75539,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235032,"hua-ji-chan-yin-tu-ce-xiao-chen-235032",[24,7,59,188,128,96,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ccb97b7c0901d8f1dd5906182a61106.jpg",[],{"id":75541,"slug":75542,"title":39034,"dynasty":54,"author":20985,"museum":300,"description":65223,"tags":75543,"thumbUrl":75544,"material":734,"size":65234,"collection":84,"collections":75545,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235030,"hua-ji-chan-yin-tu-ce-xiao-chen-235030",[164,24,7,59,28,27,96,166,331,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97fca117f76b05c077c35b3197a95866.jpg",[],{"id":75547,"slug":75548,"title":409,"dynasty":54,"author":9742,"museum":20,"description":35708,"tags":75549,"thumbUrl":75550,"material":1722,"size":35711,"collection":84,"collections":75551,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},235021,"shan-shui-ce-wu-li-235021",[24,7,59,128,29,413,167,131,414,211,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab1dee56f3a544603f9d6636ee69a7ce.jpg",[],{"id":75553,"slug":75554,"title":11926,"dynasty":124,"author":223,"museum":300,"description":75555,"tags":75556,"thumbUrl":75557,"material":692,"size":1293,"collection":84,"collections":75558,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234926,"dong-qi-chang-shan-shui-ce-yi-ming-234926","此作以三段式章法铺展山水意趣，远景山峦以淡墨晕染，隐于云霭之中，虚渺悠远如笼薄纱；中景云气横隔，茂林苍润，墨色沉郁间带着氤氲水汽，晕出空濛层次。近景村居依古松而立，老干虬枝苍劲有神，岸边苇草轻曳，野趣悠然。\n\n整幅以水墨干湿浓淡营造出幽远空寂的文人意境，留白巧作云与水，将江南林泉的灵秀尽显，笔意简淡萧散，尽显山水间的闲雅之致，仿佛带人踏入烟霞深处的幽居佳境，意蕴绵长清逸。",[24,7,59,128,132,29,413,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb26fab96591c5bf76f2e63c4d1a34fc1.jpg",[],{"id":75560,"slug":75561,"title":39043,"dynasty":54,"author":34780,"museum":20,"description":67532,"tags":75562,"thumbUrl":75564,"material":561,"size":67535,"collection":84,"collections":75565,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234919,"xue-jing-gu-shi-ce-sun-hu-234919",[164,24,7,59,27,95,133,208,1813,97,75563,247,96,758,1556,906],"宫墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe71cf8c9099429fce141eb9764cf468e.jpg",[],{"id":75567,"slug":75568,"title":48382,"dynasty":54,"author":223,"museum":20,"description":48383,"tags":75569,"thumbUrl":75570,"material":514,"size":19713,"collection":84,"collections":75571,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},234911,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234911",[24,7,164,59,27,29,97,34,81,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc57bded8df6435a6fffe65bbdf0e611d.jpg",[],{"id":75573,"slug":75574,"title":48382,"dynasty":54,"author":223,"museum":20,"description":48383,"tags":75575,"thumbUrl":75576,"material":514,"size":19713,"collection":84,"collections":75577,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},234908,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234908",[24,7,59,27,29,98,99,129,211,4363,131,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e84d54867c8902d4ddec54cc53650e0.jpg",[],{"id":75579,"slug":75580,"title":48382,"dynasty":54,"author":223,"museum":20,"description":48383,"tags":75581,"thumbUrl":75582,"material":514,"size":19713,"collection":84,"collections":75583,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},234906,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234906",[24,7,59,27,29,167,1314,499,34,64,133,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7b8a8499067624af6ef4001e403dd02.jpg",[],{"id":75585,"slug":75586,"title":48382,"dynasty":54,"author":223,"museum":20,"description":48383,"tags":75587,"thumbUrl":75588,"material":514,"size":19713,"collection":84,"collections":75589,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},234901,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234901",[24,7,59,27,28,64,133,29,96,97,99,497,34,129,3344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe66df762858172153ef83034707592d9.jpg",[],{"id":75591,"slug":75592,"title":48382,"dynasty":54,"author":223,"museum":20,"description":48383,"tags":75593,"thumbUrl":75594,"material":514,"size":19713,"collection":84,"collections":75595,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},234900,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234900",[24,7,59,27,29,133,208,131,34,96,35,13344,1645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b1a7a2b025cd86472bf7005b6c04389.jpg",[],{"id":75597,"slug":75598,"title":22958,"dynasty":54,"author":6936,"museum":300,"description":22959,"tags":75599,"thumbUrl":75600,"material":611,"size":22962,"collection":84,"collections":75601,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234894,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234894",[24,7,59,128,29,34,131,64,133,208,132,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9b97dd843aeedf3c76ae6eeda90512a.jpg",[],{"id":75603,"slug":75604,"title":22958,"dynasty":54,"author":6936,"museum":300,"description":22959,"tags":75605,"thumbUrl":75606,"material":611,"size":22962,"collection":84,"collections":75607,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234893,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234893",[24,7,59,128,27,29,131,34,99,208,133,132,2271],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f28dc6827ac074b9bd72123af19caff.jpg",[],{"id":75609,"slug":75610,"title":22958,"dynasty":54,"author":6936,"museum":300,"description":22959,"tags":75611,"thumbUrl":75612,"material":611,"size":22962,"collection":84,"collections":75613,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234884,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234884",[24,7,59,27,132,133,208,29,131,34,130,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F278684601db67ff294f02c8e9134663a.jpg",[],{"id":75615,"slug":75616,"title":22958,"dynasty":54,"author":6936,"museum":300,"description":22959,"tags":75617,"thumbUrl":75618,"material":611,"size":22962,"collection":84,"collections":75619,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234877,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234877",[24,7,59,128,27,132,29,131,34,495,98,99,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4feb2c689622a16e6b2665e84435ded2.jpg",[],{"id":75621,"slug":75622,"title":75623,"dynasty":54,"author":223,"museum":300,"description":75624,"tags":75625,"thumbUrl":75626,"material":514,"size":75627,"collection":84,"collections":75628,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234852,"he-su-xiang-zhou-yi-ming-234852","和素像轴","本幅无作者款识。上诗堂有张英、励杜讷、孙宝宪及和素本人题记。和素题曰：“四十有五，年尚未老。缅想从前，遏多功少。尔形方健，尽可自好。无忝所生，敬奉斯道。康熙三十四年仲冬吉日。和素自题。”\n图绘和素45岁时的坐像，身穿朝服，项挂朝珠。其面容具有典型的满族特征，面色微赤，高颧，留须，神态蔼然，目光沉静，举止端庄。画面生动地再现了这位满洲大臣儒雅谨严的性格和精神风貌。\n和素，字存斋，清康熙年间满洲人。累官至内阁侍读学士。博览群书，通晓满、汉两种文字，精于翻译。有琴谱合璧十八卷。将明人杨抡《太古遗音》译成满文。",[24,7,165,27,28,96,170,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d43e6fae1a4ca3580a7bc54b4a924a6.jpg","纵159 2厘米，横115厘米",[],{"id":75630,"slug":75631,"title":40707,"dynasty":124,"author":55685,"museum":300,"description":55686,"tags":75632,"thumbUrl":75633,"material":692,"size":1293,"collection":84,"collections":75634,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},234837,"shan-shui-shan-wei-zhi-huang-234837",[24,7,1131,132,128,29,663,228,34,35,497,1023,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae7cc7f21928c26b8bcab83a21cec25e.jpg",[],{"id":75636,"slug":75637,"title":75638,"dynasty":124,"author":70158,"museum":300,"description":75639,"tags":75640,"thumbUrl":75641,"material":84,"size":84,"collection":84,"collections":75642,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234818,"zhu-jia-shan-shui-ce-shu-jun-su-234818","诸家山水册","殳君素 [明]字质夫，吴（今江苏苏州）人。师文嘉（一五0一―一五八三）钱谷\n为入室弟子，有出蓝之美。候懋功、朱朗之流亚。按画体元诠有金陵殳质，字质甫，工山水。是否一人，待考。《无声诗史、弇州续稿》",[24,7,59,128,132,29,331,171,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ef0813ead55ecab512339201cb44a55.jpg",[],{"id":75644,"slug":75645,"title":75646,"dynasty":124,"author":10922,"museum":20,"description":28002,"tags":75647,"thumbUrl":75648,"material":734,"size":28005,"collection":84,"collections":75649,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234809,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-du-shu-tai-tu-ye-wen-jia-234809","吴门诸家寿袁方斋三绝册-读书台图页",[24,7,59,128,29,129,133,208,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ee95c8beaf1ed4ad81a72e865f6789.jpg",[],{"id":75651,"slug":75652,"title":75653,"dynasty":124,"author":223,"museum":20,"description":75654,"tags":75655,"thumbUrl":75657,"material":49795,"size":75658,"collection":84,"collections":75659,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},234772,"ming-ren-mu-niu-dan-ye-yi-ming-234772","明人牧牛单页","绘初春时节，一边无叶的树枝上红花灼灼，空中一只燕子拍翅而来；树下一头体格强壮肥牛爆了脾气，似不愿听从牧童引导，故而孩童骑在牛角上，似与壮牛一比高低，童趣十足。",[24,7,128,59,102,949,96,167,29,171,413,75656],"牧乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F853a9009361ea4d001207b2469b897ea.jpg","纵23cm，横24cm",[],{"id":75661,"slug":75662,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":75663,"thumbUrl":75664,"material":734,"size":84,"collection":84,"collections":75665,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234765,"huang-shan-tu-ce-jiang-zhu-234765",[24,7,59,128,29,495,131,34,499,132,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf74a250f35a7dfb40b3453148928cfa.jpg",[],{"id":75667,"slug":75668,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":75669,"thumbUrl":75670,"material":734,"size":84,"collection":84,"collections":75671,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234760,"huang-shan-tu-ce-jiang-zhu-234760",[24,7,59,27,132,133,64,29,663,950,495,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F749c737f1fac0b665dc4b3279ccccbf8.jpg",[],{"id":75673,"slug":75674,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":75675,"thumbUrl":75676,"material":734,"size":84,"collection":84,"collections":75677,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234758,"huang-shan-tu-ce-jiang-zhu-234758",[24,7,59,27,132,133,208,64,29,495,34,4605,496,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04cda67855ddf0a39839ff874f68ca07.jpg",[],{"id":75679,"slug":75680,"title":33103,"dynasty":54,"author":9529,"museum":300,"description":39863,"tags":75681,"thumbUrl":75682,"material":1027,"size":39866,"collection":84,"collections":75683,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234716,"fang-gu-shan-shui-ce-wang-hui-234716",[24,7,59,128,29,372,167,131,99,130,413,132,208,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c4ad8c583772a1f582c6129c6abb9f6.jpg",[],{"id":75685,"slug":75686,"title":75687,"dynasty":54,"author":49713,"museum":300,"description":75688,"tags":75689,"thumbUrl":75690,"material":84,"size":84,"collection":84,"collections":75691,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234674,"gu-yun-xing-hua-you-qi-shan-mian-gu-yun-234674","顾沄杏花游骑扇面","顾沄（1835—1896年）字若波，号云壶、壶隐、壶翁、云壶外史、濬川、颂墨、病鹤，室名自在室、小游仙馆。吴县（今属江苏苏州）人。布衣。工画山水，清丽疏古，得“四王”、吴、恽诸家之长。",[24,7,1131,27,29,96,101,2167,34,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0231631c11e918ba33be85cb1e7065d.jpg",[],{"id":75693,"slug":75694,"title":54256,"dynasty":54,"author":1460,"museum":300,"description":6481,"tags":75695,"thumbUrl":75696,"material":84,"size":84,"collection":84,"collections":75697,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234651,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234651",[24,7,59,128,133,29,34,97,98,99,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc3c47ff1ca092b02ce909b3e40643c4.jpg",[],{"id":75699,"slug":75700,"title":409,"dynasty":54,"author":17240,"museum":300,"description":45656,"tags":75701,"thumbUrl":75702,"material":84,"size":84,"collection":84,"collections":75703,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234641,"shan-shui-ce-cha-shi-biao-234641",[164,24,7,59,128,133,132,29,413,1314,3387,3428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21d9e861acc45aa892e05b5dca2b8d72.jpg",[],{"id":75705,"slug":75706,"title":75707,"dynasty":54,"author":75708,"museum":300,"description":75709,"tags":75710,"thumbUrl":75711,"material":84,"size":84,"collection":84,"collections":75712,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234602,"shuang-gou-zhu-wan-shan-li-yu-234602","双钩竹纨扇","李育","李育 [清]（1843―？）字梅生，甘泉（今江苏扬州）人。尝师事朱本，与李绂尘称“南北李”。\n尝师事朱本，与李绂尘称“南北李”。工人物、花鸟、杂品，其写意花卉木石，能综各家所长，脱略高浑，下笔甚捷，有心手相和色墨并施之妙。惟山水过于求脱，又不耐皴染，是以不逮古人。而小帧扇头间一为之，又复巧于布置。尝为黄小园作花鸟虫介画册二百页，换羽移宫，层出不尽，诚杰作也。未几患臂，尚闭门临管希贤画册不止。光绪三十年（1904）尝作修竹远山图，时年六十二。亦工行、草，善八分。",[24,7,1131,12335,128,167,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F344f8fe491415a39707dc4487a1ef2e8.jpg",[],{"id":75714,"slug":75715,"title":40707,"dynasty":124,"author":55685,"museum":300,"description":65298,"tags":75716,"thumbUrl":75717,"material":84,"size":84,"collection":84,"collections":75718,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":199},234542,"shan-shui-shan-wei-zhi-huang-234542",[24,7,1131,128,132,29,129,34,131,33,96,497,4438,415,14906],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14c8d9009f51d706882f0458f6f08902.jpg",[],{"id":75720,"slug":75721,"title":48339,"dynasty":124,"author":18090,"museum":300,"description":46807,"tags":75722,"thumbUrl":75723,"material":84,"size":84,"collection":84,"collections":75724,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234541,"shan-shui-shan-ye-lan-ying-234541",[24,7,1131,29,132,97,34,131,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5f11f71b29815e7de3ff6bce6add4fa.jpg",[],{"id":75726,"slug":75727,"title":38295,"dynasty":54,"author":223,"museum":300,"description":16652,"tags":75728,"thumbUrl":75729,"material":692,"size":1293,"collection":84,"collections":75730,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234424,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234424",[24,7,165,187,27,28,96,1364,34,455,189,7220],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf3ef15a3973c54e721c70ff65587426.jpg",[],{"id":75732,"slug":75733,"title":75734,"dynasty":54,"author":223,"museum":300,"description":75735,"tags":75736,"thumbUrl":75737,"material":692,"size":1293,"collection":84,"collections":75738,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234396,"min-ning-chao-fu-xiang-zhou-yi-ming-234396","旻宁朝服像轴","此作工笔设色，尽显帝王威仪。画中君主神色沉静端肃，端坐于描金龙椅之上，身姿挺拔沉稳。明黄朝服满绣龙纹，正龙盘踞、行龙环绕，十二章纹点缀其间，织绣精细入微，色泽富丽厚重，尽显礼制尊崇。头戴东珠顶饰夏朝冠，朝珠垂坠严合规制。\n\n画师线条工稳细腻，设色醇厚雅致，写实入微地还原了帝王朝服仪制，精准勾勒出帝王的肃穆仪态，尽显清代宫廷肖像画精妙写实的造诣，是清代肖像画中颇具代表性的佳作。",[24,7,165,28,27,96,772,170,234,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e5e1567975a96b2b14f2c2e722e7576.jpg",[],{"id":75740,"slug":75741,"title":409,"dynasty":54,"author":27149,"museum":20,"description":75742,"tags":75743,"thumbUrl":75744,"material":1027,"size":84,"collection":84,"collections":75745,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234330,"shan-shui-ce-wang-zhi-rui-234330","汪之瑞，字无瑞，号乘槎，清朝安徽休宁人，清初画家。为明末新安画家李永昌高足。“新安四家”之一。",[24,7,59,128,29,131,34,133,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7791e4391f8e2a97f2345ce777519111.jpg",[],{"id":75747,"slug":75748,"title":7864,"dynasty":54,"author":38236,"museum":20,"description":75749,"tags":75750,"thumbUrl":75751,"material":734,"size":84,"collection":84,"collections":75752,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234309,"za-hua-ce-chen-zi-234309","陈字(1634一约1713)即陈小莲，幼唤鹿头，初名懦桢，宇无名，明末清初诸暨枫桥陈家村人。陈洪绶第四子，太学生，考授州同。\n资质颖悟，自幼得父钟爱，善书工画，笔墨洒脱酣畅，有大家气，所绘人物、花草别树一帜。其诗亦工，然为画名所掩。时人得陈字画，宝惜如老莲之作，故有“小莲”之号。达官贵人持重金求画，虽家贫如洗，亦不供片纸只字。为人表里如一，遇有不快，即面折人。人谓乃翁遗风，老莲再世。\n陈字痛惜其父著述散佚，设法于谱牒中钩沉，至亲朋中搜集，然老莲议论时政之策，终未一见，只得将所获诗文付梓行世。其时，陈氏一族日见衰落，族人不得已出卖祖先茔地。陈字游学归里，亟言不可，然亦无力赎回。此后，渡大江，历淮扬，吊汴梁古迹，揽京师胜景。在汝南邂逅毛奇龄，相顾太息，纵酒浇愁。毛奇龄赠诗曰：“相逢衣褐在准西，走马关前日欲低。此去一寻辽海雁，何年更听推南鸡。寒风落日醉当垆，燕市还寻旧酒徒，君到安州若相忆，为予重写庆卿图。”未几，贫病而卒。著有《小莲客游诗》，其画作亦有传世。",[164,24,7,59,27,28,171,169,547,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feea103ead8b643bc8fe1c701c3daed1a.jpg",[],{"id":75754,"slug":75755,"title":75756,"dynasty":54,"author":22730,"museum":20,"description":75757,"tags":75758,"thumbUrl":75759,"material":1027,"size":84,"collection":84,"collections":75760,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234301,"yu-mu-shang-xin-ce-shan-shui-ce-gao-cen-234301","娱目赏心册-山水册","盛唐诗人高适和岑参的合称，为盛唐边塞诗歌代表诗人的专称。但“高岑”并称，则始于他们的好友杜甫《寄彭州高三十五使君适、虢州岑二十七长史参三十韵》：“高岑殊缓步，沈鲍得同行。”说他们两人成名较晚，而才学堪比沈约、鲍照，原非专称\n高适、岑参的诗以“悲壮为宗”(胡应麟《诗薮》)。他们都积极进取，但长期功名失意。一再出塞谋求报国立功，对仕途坎坷和边塞生活有着深刻体验。所作主要以边塞战争、塞上风光和仕途艰难为题材，善于运用七言古诗等体裁，表现报国安边、治国安民的壮志和奋发进取的精神，或抒发怀才不遇、功业无成的悲愤。其诗意气豪迈，情辞慷慨，奇偶相生，手法多样。这是他们共同的地方。\n由于生活经历、个性、文学思想和渊源等差异，高适、岑参的诗又有重要区别。“高悲壮而厚，岑奇逸而峭”（王士禛《师友师传续录》）。高适善于反映战士和农民的疾苦，暴露现实，笔调严谨，直抒胸臆，以常语感人；岑参擅长讴歌胜利，描绘奇境，抒发豪情，寓情于景，以奇语动人。\n高、岑边塞诗成就最高。近人以“高岑”并称往往是因其边塞诗。同时，唐代边塞诗派也被称为“高岑诗派”，诗风相近的王之涣、王翰、王昌龄、崔颢、李颀等人均被列入此派。\n高适（700—765) ，汉族。唐代边塞诗人。字达夫、仲武，沧州(今河北省景县)人,居住在宋中(今河南商丘一带)。少孤贫，爱交游，有游侠之风，并以建功立业自期。天宝八载(749)，经睢阳太守张九皋推荐,应举中第,授封丘尉。十一载,因不忍“鞭挞黎庶”和不甘“拜迎官长”而辞官，又一次到长安。次年入陇右、河西节度使哥舒翰幕，为掌书记。安史乱后，曾任淮南节度使、彭州刺史、蜀州刺史、剑南节度使等职，官至,封渤海县侯。世称“高常侍”。 有《高常侍集》等传世。永泰元年（765年）卒，终年64岁，赠礼部尚书，谥号忠。高适为唐代著名的边塞诗人，与岑参并称“高岑”。笔力雄健，气势奔放，洋溢着盛唐时期所特有的奋发进取、蓬勃向上的时代精神。早年曾游历长安，后到过蓟门、卢龙一带，寻求进身之路，都没有成功。在此前后，曾在宋中居住，与李白、杜甫结交。其诗直抒胸臆，不尚雕饰，以七言歌行最富特色，大多写边塞生活。\n岑参 (约715年—770年)唐代诗人，原籍南阳（今属河南新野），迁居江陵（今属湖北）。汉族，荆州江陵（湖北江陵）人，去世之时56岁，是唐代著名的边塞诗人。其诗歌富有浪漫主义的特色，气势雄伟，想象丰富，色彩瑰丽，热情奔放，尤其擅长七言歌行。",[24,7,59,128,132,133,208,29,171,130,30,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbb9dbfb8440fa8e56bd1b0b7a1a5c52.jpg",[],{"id":75762,"slug":75763,"title":30270,"dynasty":54,"author":1069,"museum":300,"description":30271,"tags":75764,"thumbUrl":75765,"material":734,"size":84,"collection":84,"collections":75766,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234283,"hua-guo-ce-wang-yun-234283",[24,7,59,27,61,376,2035,547,22995,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27289f78858cda63cc27555f601c08d3.jpg",[],{"id":75768,"slug":75769,"title":30270,"dynasty":54,"author":1069,"museum":300,"description":30271,"tags":75770,"thumbUrl":75771,"material":734,"size":84,"collection":84,"collections":75772,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234281,"hua-guo-ce-wang-yun-234281",[24,7,59,27,61,2037,549,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8e0921266e057b0f7ace56d24ca9405.jpg",[],{"id":75774,"slug":75775,"title":30270,"dynasty":54,"author":1069,"museum":300,"description":30271,"tags":75776,"thumbUrl":75777,"material":734,"size":84,"collection":84,"collections":75778,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234280,"hua-guo-ce-wang-yun-234280",[24,7,59,27,61,22995,747,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba2442719933c64768eb46ee98186974.jpg",[],{"id":75780,"slug":75781,"title":30270,"dynasty":54,"author":1069,"museum":300,"description":30271,"tags":75782,"thumbUrl":75783,"material":734,"size":84,"collection":84,"collections":75784,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234279,"hua-guo-ce-wang-yun-234279",[24,7,59,27,28,61,1037,263,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0830683b75ff643ff80fe51876d000a4.jpg",[],{"id":75786,"slug":75787,"title":76,"dynasty":124,"author":36595,"museum":300,"description":36596,"tags":75788,"thumbUrl":75789,"material":84,"size":84,"collection":84,"collections":75790,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234268,"hua-hui-ce-qi-xun-234268",[23,24,7,59,128,133,208,62,375,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0033685bba334666ca8ac9ae54eca497.jpg",[],{"id":75792,"slug":75793,"title":36612,"dynasty":124,"author":23268,"museum":300,"description":52635,"tags":75794,"thumbUrl":75795,"material":84,"size":84,"collection":84,"collections":75796,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234222,"shan-shui-juan-sun-zhi-234222",[23,24,7,25,29,128,27,132,496,34,31,1743,35,1515,10280,1144,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d0ec691c5cc82f67c319d0c2ea7205c.jpg",[],{"id":75798,"slug":75799,"title":36612,"dynasty":54,"author":52450,"museum":300,"description":75800,"tags":75801,"thumbUrl":75802,"material":84,"size":84,"collection":84,"collections":75803,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234217,"shan-shui-juan-weng-song-nian-234217","翁嵩年（1647至1728），字康饴，号萝轩，钱塘（今杭州）人。康熙二十七年（一六八八）进士，仕为广东提学。以枯笔作林峦峯岫，气质古雅疏拙，画家习气，毫发不能犯其笔端。曾得青玉版十三行，旋进之内府。",[23,24,7,25,128,132,29,34,131,35,31,415,1023,16370,2621,3651],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F899e42ea5c559a1dba39efffa7bc3a5d.jpg",[],{"id":75805,"slug":75806,"title":75807,"dynasty":54,"author":9529,"museum":20,"description":75808,"tags":75809,"thumbUrl":75810,"material":734,"size":75811,"collection":84,"collections":75812,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234180,"dong-ting-she-yue-juan-wang-hui-234180","洞庭赊月卷","对于唐寅，虽然王翚多有临仿，但效果并不尽如人意。唐寅创造的极富线条感的皴法，是以长披麻皴兼以长斧劈皴为主，逐渐摆脱斧劈皴的侧锋用笔，并延长它们，加上线条性，挺劲中含柔和，且皴法简练，中锋与侧锋兼施，我们且称之为“长条斧劈皴”。反观王翚笔下的唐寅，用笔迅疾，冗笔过多；用墨水分较大，使得线条重叠涣漫，有时会形成线条堆叠出的墨块。线条跳跃、挑剔，出锋尖锐、刻露，线条做出尖锐的转折，而唐寅的转角是和缓舒缓的，呈现优雅从容的圆弧状。这些特征使得王翚临仿唐寅风格的画作在一定程度上显得粗野与鲁莽，失去了文雅与含蓄。如创作于康熙十一年壬子（1672）的《云溪高逸图》卷（故宫博物院藏）、创作于康熙十七年戊午（1678）的《仿唐寅洞庭赊月图》卷（故宫博物院藏）、创作于康熙二十二年癸亥（1683）的《写唐解元诗意山水图》轴（南京博物院藏）等，画面中皴法草率，处处冗笔，纵然是结构复杂，但对于笔墨使用度的掌控不如唐寅，细节的处理、点景的勾绘，均显欠缺。这样造成的结果就是画面气息显得粗野不羁，含蓄不足、刻露有余。",[23,24,7,25,128,27,29,132,133,64,129,211,99,34,7566],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ad59a6d18ac6f35d204cade1a297a76.jpg","纵23.2厘米，横83.3厘米",[],{"id":75814,"slug":75815,"title":75816,"dynasty":124,"author":69840,"museum":20,"description":75817,"tags":75818,"thumbUrl":75819,"material":734,"size":84,"collection":84,"collections":75820,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234147,"xie-sheng-shu-hua-juan-wang-gu-xiang-234147","写生书画卷","王榖祥 （1501-1568），字禄之，号酉室，长洲（今江苏苏州）人。嘉靖八年（一五二九）进士，官吏部员外郎。善写生，渲染有法度，意致独到，即一枝一叶，亦有生色。为士林所重。中年绝不肯落笔，凡人间所传者，皆赝本也。书仿晋人，不坠羲之献之之风，篆籀八体及摹印，并臻妙品。卒年六十八。",[23,24,7,25,128,2166,133,208,371,168,263,209,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcea5c2be707b2e0f8af30540e90fe00f.jpg",[],{"id":75822,"slug":75823,"title":75824,"dynasty":124,"author":75825,"museum":20,"description":75826,"tags":75827,"thumbUrl":75828,"material":611,"size":84,"collection":84,"collections":75829,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234127,"feng-shan-tang-ji-yong-juan-chen-yi-234127","封山堂集咏卷","陈沂","陈沂（一四六九-一五三八）[明]，字号：宗鲁、鲁南、石亭、小坡 浙江鄞县(今浙江宁波)人，擅长书法及山水，以医籍居南京。初学宗鲁﹝应系初字宗鲁之讹﹞，后改鲁南，号石亭。少年时慕苏轼学行，因号小坡。正德十二年进士，官编修，嘉靖中以行太仆卿致仕。工诗文书画，与顾璘、王韦称“金陵三俊”。相传他在六七岁时就能模仿前人画迹。年长，好画山水，在翰林院时与名画家文徵明为同僚友好，经常切磋研讨，对于技法有进一步的提高。他在做官的历程中，对于所经历的名山大川，都留心观察，临写成为画卷。",[23,24,7,25,133,27,28,128,29,97,98,99,130,167,413,35,64,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d473dace969ff798d1dc4cd5242fb1.jpg",[],{"id":75831,"slug":75832,"title":75833,"dynasty":18,"author":223,"museum":20,"description":75834,"tags":75835,"thumbUrl":75836,"material":40,"size":75837,"collection":84,"collections":75838,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},234077,"liao-gui-tu-ye-yi-ming-234077","蓼龟图页","图绘溪水岸边，泥坡碎石，红蓼吐艳，野菊轻绽。一只老龟缓缓爬上坡岸，未及出水，便被蓼花上的小蜂所吸引，驻足昂首仰望，后足仍浸于池中，其悠闲自在、与世无争的神态表露无遗。用笔兼工带写，红蓼、乌龟以中锋细笔勾描，小草、花蕊用小写意法，工写结合，笔法灵活多样，设色淡雅清秀。",[24,164,7,59,28,27,61,949,14233,30696,4278,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc24c6c29ada4fc7aa2fcd944487a6571.jpg","纵28.4厘米，横28厘米",[],{"id":75840,"slug":75841,"title":75842,"dynasty":18,"author":223,"museum":20,"description":75843,"tags":75844,"thumbUrl":75846,"material":40,"size":75847,"collection":84,"collections":75848,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},234075,"shuang-jiu-shan-niao-tu-ye-yi-ming-234075","霜桕山鸟图页","图绘乌桕一枝，叶片稀疏，经霜之后叶尖微微泛红。满挂枝头，表明时值深秋。只文鸟姿态各异，栖于枝头。树枝用浓墨一笔画出，以赭色勾描叶脉与细枝。树叶、小果采用没骨画法。叶之辗转向背、枝之曲折横斜，描绘得都很细致。文鸟以中锋细笔丝出羽毛，其身体的不同部位分别用白粉、赭石、浓淡墨轻染，细腻写实。构图疏朗，动静结合，设色艳而不俗。此为南宋小品画中精心之作。",[164,24,7,59,28,27,61,211,75845,624,2037],"桕树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18d4f4e56ed82d3c597ac94451ebf7df.jpg","纵24.2cm，横25.4cm",[],{"id":75850,"slug":75851,"title":75852,"dynasty":124,"author":18090,"museum":20,"description":75853,"tags":75854,"thumbUrl":75855,"material":24676,"size":75856,"collection":84,"collections":75857,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234051,"jia-shu-qing-yun-tu-shan-lan-ying-234051","嘉树晴云图扇","蓝瑛的扇面《嘉树晴云图》，画的是山石丘壑间，古松盘桓，白云缭绕，二隐士临溪席地而憩，坐而论道。整个扇面幽静清远，洒脱自然。我国古代文人讲究“达则兼济天下，穷则独善其身”，归隐山林则成为了官场失意的士大夫避世的理想与归宿。\n《嘉树晴云图》画中的隐士坐而论道的“避世”情境，适应了我国古代文人涉、忘、出而皆备的心理需求，因此深得人们喜爱。",[24,7,1131,128,27,29,96,34,950,131,132,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ddd331fc0e7be4e9b5165c7795b3bd.jpg","纵17.6cm，横50.7cm",[],{"id":75859,"slug":75860,"title":39383,"dynasty":18,"author":2067,"museum":20,"description":75861,"tags":75862,"thumbUrl":75864,"material":40,"size":39387,"collection":84,"collections":75865,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234029,"ji-chu-dai-si-tu-ye-li-di-234029","图绘两只雏鸡一卧一立，面朝同一方向，屏气凝神，仿佛听见母亲觅食的召唤，正欲奔去。画面描绘传神，将雏鸡嗷嗷待哺的情态表现得淋漓尽致，充分反映了温馨的农家情调。画家用黑、白、黄等细线密实地描绘出雏鸡毛绒的质感，生动地绘出鸡雏幼小可人的生动神态，体现了深厚的绘画功力。此图为李迪晚年所画，构图极其简洁，无任何背景相衬，却捕捉住了鸡雏回眸的刹那间神情，动人心弦。\n此幅与画家在前一年创作的《枫鹰锦鸡图》相比，在审美意趣上全然不同，前者展示的是和风细雨的婉约情调，后者则是张扬自然界生命相残的严酷氛围，由此可见李迪表现各种题材的能力。\n此图自民间入藏清内府后，雅好书画的乾隆皇帝除赏识其艺术造诣外，还从帝王角度联想到勤政爱民的治国之策。他于乾隆五十三年（1788年）临摹此件作品，并且喻令摹刻多份，颁赐给各省督抚，希望这些地方父母官将所辖地区的百姓视为图中的鸡雏，在处理政务时要“实心经理，勿忘小民嗷嗷待哺之情”。\n对幅有清乾隆御题五言诗一首：“双雏如仰望，其母竟何之。未解率场啄，谁怜空腹饥。展图一絜矩，触目切深思。灾壤民待哺，慎哉群有司。”钤“含英咀华”、“即事多所欣”2印。",[24,7,59,28,27,61,75863,208,64],"鸡雏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c00f533606d7efe25a2bbeed22ee599.jpg",[],{"id":75867,"slug":75868,"title":75869,"dynasty":18,"author":223,"museum":20,"description":75870,"tags":75871,"thumbUrl":75872,"material":514,"size":75873,"collection":84,"collections":75874,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234017,"liu-xi-diao-ting-tu-ye-yi-ming-234017","柳溪钓艇图页","此图原载《历代名笔集胜册》第一册。图画溪江岸柳，土坡茅舍，溪中一渔翁戴草笠穿蓑衣垂钓。远处山影一抹，景物疏朗，意趣无穷。作者用花青、石绿画丛树和柳页，白粉点柳花，赭脱减笔画茅舍。设色清丽丰富，层次分明。构图采用局部取景法。用笔简练秀逸，几脱画院习气。此图旧题签马远画，但究其画风与马远无相似之处，故改为无名氏作。画中钤有“真赏”、“宜尔子孙”、“信公珍赏”、“会侯珍藏”、“都尉耿信公书画之章”等藏印多方。曾经清人耿昭忠收藏，《虚斋名画录》著录。",[24,7,4437,128,27,29,4363,499,129,415,3427,37097,28,1351,3847,10993,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9b0db537c474e6e93fd4294004a01a7.jpg","纵23、横24.5厘米",[],{"id":75876,"slug":75877,"title":75878,"dynasty":18,"author":223,"museum":20,"description":75879,"tags":75880,"thumbUrl":75881,"material":561,"size":75882,"collection":84,"collections":75883,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234015,"liu-tang-mu-ma-tu-ye-yi-ming-234015","柳塘牧马图页","此图原为《历代名笔集胜册》之一幅，画我国北方游牧民族牧马情景。画中青山绿水，岸柳成荫，五十余匹骏马，在二十余人监视下放牧。马的姿态各异，有在岸上飞奔着，有在水中游泳者，也有嘶鸣嬉戏者，给人一种怡然自得之感。为南宋扇画之杰作。 画中无款印，清耿昭忠题为陈居中作，实误。曾经耿昭忠、庞莱臣等收藏。 经启功、徐邦达、刘九庵等鉴定，为南宋绘画精品。",[24,7,1131,28,128,12016,4363,3837,101,96,29,34,6640,499,23453,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F889481f88712cc838b8760e3fbc15223.jpg","23.5×25.6cm",[],{"id":75885,"slug":75886,"title":75887,"dynasty":18,"author":2067,"museum":20,"description":31058,"tags":75888,"thumbUrl":75889,"material":40,"size":31061,"collection":84,"collections":75890,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},234014,"lie-quan-tu-ye-li-di-234014","猎犬图页",[164,24,7,59,28,27,949,527],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53b16ac10534603b2880a001691d480b.jpg",[],{"id":75892,"slug":75893,"title":75894,"dynasty":18,"author":223,"museum":20,"description":75895,"tags":75896,"thumbUrl":75897,"material":514,"size":75898,"collection":84,"collections":75899,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},233999,"shan-ju-dui-yi-tu-ye-yi-ming-233999","山居对奕图页","此图写二士人于草屋对弈，屋外树木横生，远处山峦隐约，一派世外桃园之景。作者描绘树枝用方折笔写枝干伸展之势，远山淡墨轻描，景观处理浓淡适宜，表现出作者心境之素雅。",[24,7,1131,27,132,29,96,413,131,496,387,22902,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96e8bb8ea37344ac15c722d5c33af964.jpg","24x24.8厘米",[],{"id":75901,"slug":75902,"title":409,"dynasty":54,"author":3820,"museum":20,"description":67686,"tags":75903,"thumbUrl":75904,"material":1722,"size":67689,"collection":84,"collections":75905,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},233985,"shan-shui-ce-gong-xian-233985",[24,7,59,128,132,29,331,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2995c0eb3905a2fdf9ba282f37e9e2cc.jpg",[],{"id":75907,"slug":75908,"title":409,"dynasty":54,"author":3820,"museum":20,"description":67686,"tags":75909,"thumbUrl":75910,"material":1722,"size":67689,"collection":84,"collections":75911,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},233984,"shan-shui-ce-gong-xian-233984",[24,164,7,59,128,132,29,413,130,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42f29f18b9b87227933839758e1c857f.jpg",[],{"id":75913,"slug":75914,"title":75915,"dynasty":124,"author":204,"museum":20,"description":1523,"tags":75916,"thumbUrl":75917,"material":40,"size":22630,"collection":84,"collections":75918,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},233757,"ren-wu-gu-shi-ce-4-chou-ying-233757","人物故事册4",[24,7,59,28,27,96,97,29,211,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10ae1dd795bfab5e5b033fd14bde2fd.jpg",[],{"id":75920,"slug":75921,"title":75922,"dynasty":124,"author":204,"museum":20,"description":1523,"tags":75923,"thumbUrl":75924,"material":40,"size":22630,"collection":84,"collections":75925,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},233755,"ren-wu-gu-shi-ce-2-chou-ying-233755","人物故事册2",[24,7,28,27,26,29,96,98,99,34,497,4437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff01dd36c10a57f67835c6283078bfdad.jpg",[],{"id":75927,"slug":75928,"title":75929,"dynasty":124,"author":1058,"museum":20,"description":75930,"tags":75931,"thumbUrl":75932,"material":1190,"size":75933,"collection":84,"collections":75934,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},233708,"yi-an-tu-juan-tang-yin-233708","毅庵图卷","此以别号图为题材。图中描绘了松竹清幽、蕉石雅洁的庭院，茅屋中，一高士欹坐执麈，作遐观之状。笔墨苍润挺秀，设色清雅明丽。此高士乃文徵明三十年前砚友朱秉忠，别号毅庵，秉志高洁，为人清简，是一位优游林泉、笃爱诗书的隐士。",[24,7,25,128,27,133,64,132,29,96,34,276,35,229,1424],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7603e5376692e6fa453279e5f734de65.jpg","纵30.7厘米 横112.8厘米",[],{"id":75936,"slug":75937,"title":61387,"dynasty":54,"author":9576,"museum":20,"description":61388,"tags":75938,"thumbUrl":75939,"material":734,"size":61391,"collection":84,"collections":75940,"showCount":738,"zanCount":1998,"manualWeight":48,"mainColor":72},233448,"ren-wu-shan-shui-ce-luo-pin-233448",[24,7,59,27,128,188,96,98,99,4363,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffde166fa11eaf6af6dfc6a2b2a353f75.jpg",[],{"id":75942,"slug":75943,"title":75944,"dynasty":54,"author":3043,"museum":20,"description":75945,"tags":75946,"thumbUrl":75947,"material":999,"size":75948,"collection":84,"collections":75949,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},233412,"hua-qin-zan-yao-xiang-zhou-xu-gu-233412","画秦赞尧像轴","虚谷（1824—1896年），姓朱，名怀仁，出家为僧后名虚谷，号紫阳山民、倦鹤等，祖籍安徽新安（今歙县），曾寓居扬州、苏州、上海等地，以卖画为生。他能诗擅画，工于书法，尤以善绘瓜果鱼蔬、人物、山水等为人称道。喜用枯笔焦墨，具有拙于外秀于内的笔墨特征。他与任颐、胡公寿等人交往密切，是晚清著名的海上名家。",[164,24,7,165,188,128,27,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44d5685589758b77711520dcf9051d99.jpg","纵142.9cm，横48.6cm",[],{"id":75951,"slug":75952,"title":16826,"dynasty":54,"author":1242,"museum":20,"description":16827,"tags":75953,"thumbUrl":75954,"material":16830,"size":16831,"collection":84,"collections":75955,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},233394,"shan-shui-ren-wu-ce-jin-nong-233394",[24,7,59,188,96,331,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe7c7dc02a72501f87cd3b4f416fab9c.jpg",[],{"id":75957,"slug":75958,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":75959,"thumbUrl":75960,"material":84,"size":84,"collection":84,"collections":75961,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},233374,"shi-zhu-zhai-pu-ce-hu-ri-cong-233374",[24,7,59,128,27,331,376,171,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9130d676cfa08a2d37c8d1716a8eb941.jpg",[],{"id":75963,"slug":75964,"title":75965,"dynasty":54,"author":26483,"museum":20,"description":36660,"tags":75966,"thumbUrl":75967,"material":84,"size":84,"collection":84,"collections":75968,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},233228,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-fang-li-cheng-shan-shui-ye-wu-hong-233228","金陵诸家山水花卉册-仿李成山水页",[24,164,7,59,128,132,29,1337,331,98,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faff024a8ec9b6e0df9a39e8246585e9f.jpg",[],{"id":75970,"slug":75971,"title":75972,"dynasty":54,"author":223,"museum":20,"description":36660,"tags":75973,"thumbUrl":75974,"material":84,"size":84,"collection":84,"collections":75975,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},233227,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-gao-yu-shan-shui-ye-yi-ming-233227","金陵诸家山水花卉册-高遇山水页",[24,7,59,128,132,29,131,34,495,99,35,1023,1337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb18007eb39db55e0516ed75e2fdad6c5.jpg",[],{"id":75977,"slug":75978,"title":35112,"dynasty":54,"author":6936,"museum":20,"description":35113,"tags":75979,"thumbUrl":75980,"material":16830,"size":35116,"collection":84,"collections":75981,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},233161,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233161",[24,7,59,128,132,208,29,131,34,98,99,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c2b802df4257c3c27bb3d8b5cad9e6b.jpg",[],{"id":75983,"slug":75984,"title":75985,"dynasty":144,"author":223,"museum":244,"description":74191,"tags":75986,"thumbUrl":75987,"material":9291,"size":75988,"collection":84,"collections":75989,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},233131,"xue-shan-xing-lv-tu-zhou-yi-ming-233131","雪山行旅图轴",[24,7,165,128,132,29,2523,1337,130,99,2620,1813,495,1557,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec435ee8ae34d835aa5872355d8cde09.jpg","纵106厘米，横51.5厘米",[],{"id":75991,"slug":75992,"title":75993,"dynasty":144,"author":223,"museum":300,"description":55882,"tags":75994,"thumbUrl":75995,"material":84,"size":84,"collection":84,"collections":75996,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},233035,"hou-fei-xiang-yi-ming-233035","后妃像",[24,7,27,28,96,1367,232,4057,11584],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7daf0e62456819fb339dc385c2b15640.jpg",[],{"id":75998,"slug":75999,"title":76000,"dynasty":144,"author":223,"museum":300,"description":55882,"tags":76001,"thumbUrl":76002,"material":84,"size":84,"collection":84,"collections":76003,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},233025,"ping-wang-nuo-mu-gan-xiang-shi-zu-huang-di-di-si-zi-yi-ming-233025","平王诺木干像(世祖皇帝第四子)",[164,24,7,28,27,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8887375448162298994be5a6ec81dd1.jpg",[],{"id":76005,"slug":76006,"title":76007,"dynasty":54,"author":76008,"museum":300,"description":76009,"tags":76010,"thumbUrl":76011,"material":84,"size":84,"collection":84,"collections":76012,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},232820,"xi-jin-chun-feng-shu-fa-wang-shi-hong-232820","西禁春风 书法","汪士鋐","汪士鋐（1658年－1723年），字文升，号退谷，又号秋泉，长洲（今江苏苏州）人。康熙三十六年（1697年）会元，授翰林院修撰，修纂《佩文韵府》、《全唐诗》、《渊鉴类函》等书。官至中允。书法与姜宸英并称“姜汪”。与笪重光、姜宸英、何焯并称康熙四大家。有《秋泉居士集》。",[23,7,64,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F142c4b7f8bc573944d7f80ab0aba0dbf.jpg",[],{"id":76014,"slug":76015,"title":76016,"dynasty":124,"author":5798,"museum":224,"description":76017,"tags":76018,"thumbUrl":76019,"material":611,"size":76020,"collection":84,"collections":76021,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},232775,"han-guan-zi-qi-tu-juan-zhang-hong-232775","函关紫气图卷","这是一幅牧童放牛图，小牧童们或坐于牛背上，或用劲拽缰绳，或与牛打闹，童趣十足。画面上牛的形态各不相同，或抵角打闹，或卧于一起，或母子情深。",[23,24,7,25,128,102,96,211,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea1e79cb5d7e9232f9f8d67a1a85b087.jpg","27.3x441.3厘米",[],{"id":76023,"slug":76024,"title":76025,"dynasty":54,"author":18944,"museum":300,"description":61453,"tags":76026,"thumbUrl":76027,"material":611,"size":84,"collection":84,"collections":76028,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},232681,"si-yan-shi-shan-mian-hong-yi-fa-shi-232681","四言诗扇面",[1131,7,64,133,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2096a8250d6b8c5c2abd663a75bd0a7e.jpg",[],{"id":76030,"slug":76031,"title":27698,"dynasty":54,"author":76032,"museum":300,"description":76033,"tags":76034,"thumbUrl":76035,"material":611,"size":76036,"collection":84,"collections":76037,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},232611,"shan-shui-ce-ye-dai-si-wang-232611","戴思望","［清］字怀古，安徽休宁人。善鼓琴，能诗词，工书法。画山水宗法元人，峰峦林壑，精疏淡宕。每扁舟往来两浙、三吴间，遇佳山水辄留峦不忍去。善谐笔，有时旬日不语，人以为痴。构风疾而殁。《国［清］朝画徵录、桐阴论画、倚玉堂诗话、画传编韵、昭代尺牍小传》",[24,128,29,59,129,96,171,133,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F675dbe42f36407113547d54da0288d21.jpg","25 x 32.8cm",[],{"id":76039,"slug":76040,"title":76041,"dynasty":144,"author":569,"museum":224,"description":76042,"tags":76043,"thumbUrl":76044,"material":611,"size":76045,"collection":84,"collections":76046,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},232592,"you-jun-si-shi-ba-zhao-meng-fu-232592","《右军四事》跋","赵孟頫的书法，成就最高的是楷书和行书。传世的楷书名作有《胆巴碑》、《湖州妙严寺记》、《仇锷碑》等；小楷有《汲黯传》等；行书作品不少，如《洛神赋卷》、《赤壁二赋帖》、《定武兰亭十三跋》等。\n他作品最主要的特点，无论楷书还是行书，都很工整，四平八稳。温和、典雅是他书法的主要特色。虽然他对晋人书法下过很深的工夫，但晋人书法中精妙的用笔，在他的作品中几乎没有体现；或者说，他将晋人笔法的精微之处大大加以简化了。尽管如此，他的作品总是洋溢着一种高贵、典雅的气息。这完全是他深厚的学问、修养所致。\n此帖为赵孟頫行书《右军四事》卷，纸本，24.4×117cm，美国大都会博物馆藏。他主张遵从古法，认为书法应用笔为上，所以勤摹古人，探究笔法。赵孟頫的书法深受东晋书法家王羲之的影响，《右军四事》卷可以看出赵孟頫对王羲之的虔诚。",[164,24,7,25,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe692d3c2e529a9ae742f8b2f7109e4b0.jpg","24.4×117cm",[],{"id":76048,"slug":76049,"title":19315,"dynasty":54,"author":8819,"museum":161,"description":76050,"tags":76051,"thumbUrl":76052,"material":151,"size":76053,"collection":84,"collections":76054,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},231947,"shuang-ma-tu-yu-yuan-231947","虞沅（生卒年不详），字畹之，海虞画苑略作浣之，或作翰之， 江都（今江苏扬州）人，居常熟。善画，亲炙王翚，颇得趋向。山水著笔落墨不多，其浑沦劲挺之致，亦是专家。花卉翎毛钩染妍雅，赋色荷花得古人逸法。",[23,24,7,165,28,27,101,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4260e08880a972bb39bc262f6513a95a.jpg","172.6x 68.6",[],{"id":76056,"slug":76057,"title":76058,"dynasty":222,"author":223,"museum":300,"description":76059,"tags":76060,"thumbUrl":76061,"material":692,"size":1293,"collection":84,"collections":76062,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},231806,"jie-tou-sheng-huo-tu-juan-yi-ming-231806","街头生活图卷","以淡彩白描铺展巷陌日常，左首杂耍游街攒动着喧嚷人群，戏班造势的热闹冲破纸面；巷中邻里凭窗探看、闲人围坐笑谈，稚童穿梭打闹，揉碎了松弛烟火；右侧挑水赶路、呼喝结伴，把生计日常绘得鲜活温热。\n线条轻简灵动，不着浓墨重彩，却将町市浮生的鲜活尽数藏在笔底，仿佛能听见沿街的吆喝嬉闹，将平凡市井里的喧嚷温情一一铺陈开来。",[23,24,7,25,188,27,96,97,34,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb776da5756a918b54e1b1d020923c8a3.jpg",[],{"id":76064,"slug":76065,"title":76066,"dynasty":222,"author":61489,"museum":300,"description":61490,"tags":76067,"thumbUrl":76068,"material":692,"size":1293,"collection":84,"collections":76069,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},231752,"mu-ma-tu-ping-feng-di-er-ping-zhang-gu-chuan-deng-bo-231752","牧马图屏风第二屏",[23,24,7,250,27,28,96,101,949,34,6640,228,2123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4eaf33f4fb0d88855c935dc14bf6b14.jpg",[],{"id":76071,"slug":76072,"title":76073,"dynasty":222,"author":39128,"museum":300,"description":39129,"tags":76074,"thumbUrl":76075,"material":692,"size":1293,"collection":84,"collections":76076,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},231739,"jiang-hu-shi-dai-qian-tang-guan-chao-tu-ping-feng-chi-da-ya-231739","江户时代 钱塘观潮图屏风",[23,24,7,128,132,250,29,131,34,37,11998,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd8db9acb303c8ef84afdfe3579cf19e.jpg",[],{"id":76078,"slug":76079,"title":76080,"dynasty":222,"author":55952,"museum":300,"description":76081,"tags":76082,"thumbUrl":76083,"material":692,"size":1293,"collection":84,"collections":76084,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},231737,"shi-ting-shi-dai-si-ji-shan-shui-tu-ping-feng-yi-ping-yang-yue-231737","室町时代 四季山水图屏风-一屏","此作以淡墨晕染留白绘出覆雪山峦，寒雾将远山晕成虚渺剪影，虬曲枯松倚立危崖，苍劲的松枝带着残绿，破开满山素白的萧寒。山坳间屋舍错落雅致，篱扉前侍者静立，为清寂的山野添上人间暖意。笔意简淡空灵，以无胜有写尽冬雪空蒙，将隆冬山居的安闲清旷揉入尺幅，动静相映，清冷中藏着烟火意韵，尽显东方山水留白写意的悠远意境。",[23,24,7,165,128,27,29,97,1144,131,96,1813,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e459481ce37d89e8c4717c187229972.jpg",[],{"id":76086,"slug":76087,"title":76088,"dynasty":222,"author":223,"museum":300,"description":76089,"tags":76090,"thumbUrl":76091,"material":692,"size":1293,"collection":84,"collections":76092,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},231684,"tao-shan-shi-dai-qian-niu-hua-tu-yi-ming-231684","桃山时代 牵牛花图","以满幅构图铺陈牵牛花野趣，藤蔓肆意缠绕交错，将攀附篱架的夏花盛景凝于绢上。虽经岁月晕染，底色蒙尘黯淡，花叶敷色仍存雅致余韵。叶片与花苞错落排布，带着蓬勃的山野生机，古旧色调晕开沉静侘寂的氛围，将盛放时鲜活肆意的姿态藏在朦胧斑驳里，仿若能窥见旧时院中风过藤摇的夏日元气，把转瞬即逝的花事定格成永恒，在残旧质感里晕开独属于旧时光的风雅意趣。",[23,164,24,7,27,28,61,62,606],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff242ada4ac76821dcf54b15945a7661a.jpg",[],{"id":76094,"slug":76095,"title":76096,"dynasty":222,"author":223,"museum":300,"description":76097,"tags":76098,"thumbUrl":76099,"material":84,"size":84,"collection":84,"collections":76100,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},231652,"yi-cai-xiao-xiang-hua-yi-ming-231652","易彩肖像画","肖像画因其侧重人物面貌的描写，古人又称之为“写真画”，或者是“传神”“写照”“传写”，它是中国画门类中最为古老的一个科目。中国肖像画的历史悠久，相比山水和花鸟而言，它的起源是最早的。在历经唐宋元的延续和嬗变之后，明清时期的肖像画更是达到了一个新的高度，形成了鲜明的特色和完整的体系，在中国绘画史上占据着非常重要的位置，生命力极其强大。\n明清肖像画在其时代的人物画发展的基础上，不仅对西方传于中国的写实性绘画技法予以了吸收借鉴，同时也充分融合了本民族绘画语言，包括正统的文人绘画和民间的写真术等，取得的巨大艺术成就，虽然不是绘画主流方向，但对其后人物画转向现实提供了尝试和可能，也为现代艺术家的创新提供了有益的基础,而其艺术特点和美学价值均是值得我们目前仍需深入展开和探究的内容。",[23,24,7,165,28,27,44663,64,6318,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae4ff80e723721427982e6421699c69c.jpg",[],{"id":76102,"slug":76103,"title":76104,"dynasty":54,"author":76105,"museum":12686,"description":76106,"tags":76107,"thumbUrl":76108,"material":611,"size":76109,"collection":84,"collections":76110,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},231589,"yang-niao-you-ju-tu-chen-zhen-yue-231589","阳鸟攸居图","陈震岳","此卷用水墨画各姿态鸿雁近百只，笔墨娴熟，造型生动，媲美边颐公。阳鸟即“随阳之鸟,即鸿雁之属”。\n陈震岳，字峻生，又字静斋，福建晋江人。善诗文、书画，所画芦雁尤佳。常于江天暮景，观雁之飞鸣起伏，而得其神妙。",[23,24,7,25,128,28,211,167,1824,16074,6139,34,414,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1686057e9b26e44ff14f72b02d489fbf.jpg","26x498厘米",[],{"id":76112,"slug":76113,"title":76114,"dynasty":222,"author":76115,"museum":300,"description":76116,"tags":76117,"thumbUrl":76118,"material":692,"size":1293,"collection":84,"collections":76119,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},231585,"shi-ting-shi-dai-gao-shi-tan-mei-shan-shui-tu-shou-ye-zheng-xin-231585","室町时代 高士探梅山水图","狩野正信","狩野正信（1434～1530）是足利幕府御用画家，狩野派的始祖。这一派的“大和化”中国画风曾统治日本画坛三百余年。他曾受画僧天章、周文（日本水墨画画风的代表）的影响，但其水墨山水不是以笔墨表现禅意，而是轮廓清晰，这正是发挥了日本艺术固有的纤细风格。",[23,24,7,27,28,132,29,96,10539,371,1144,131,37,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ba5e9cd2a0636c0c03c1aa4dd653c9b.jpg",[],{"id":76121,"slug":76122,"title":76123,"dynasty":54,"author":16583,"museum":424,"description":76124,"tags":76125,"thumbUrl":76126,"material":611,"size":76127,"collection":84,"collections":76128,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},231531,"zhi-hua-niu-bei-song-jing-tu-gao-qi-pei-231531","指画牛背诵经图","高其佩（1660或1672—1734年），字韦之，号且园，辽宁铁岭人，隶汉军镶黄旗，官至刑部侍郎。他擅长指画，即用手掌、手指和指甲勾划线条，并佐以毛笔。所绘人物、山水、花卉栩栩如生，丰富了中国画的表现技法，在清代画坛以指画独树一帜。清雍正年间曾宫中作画。\n所谓指画，即以手指蘸墨代替毛笔作画，用指尖、指甲、指背、掌沿等不同部位着纸，画出不同质感的线条，既保持了毛笔画的传统韵致，又有自己简约、刚健的特殊风味，从而能以得心应手地表现物象。",[23,24,7,29104,128,96,102,171,7322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013ac262ebe35f216eebf751a05856bc.jpg","70.9×38.3cm",[],{"id":76130,"slug":76131,"title":76132,"dynasty":144,"author":76133,"museum":20,"description":76134,"tags":76135,"thumbUrl":76136,"material":611,"size":76137,"collection":84,"collections":76138,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},231394,"shu-feng-ji-tie-ye-kang-li-nao-nao-231394","书奉记帖页","康里巎巎","释文：\n巎再拜奉记\n彦中州判贤友执事者，范涣卿所寄来绒大二帖，已领。前所托者望付便人来，甚幸。更望二香卓，其一小者（旁注“高尺余”3小字），欲几榻间放；其一大者，高博尺四尺可也。得坚实素木为之，妙！复望惠及诸样海味，有便寄下。辄恃知爱，故尔叨喋，仍恕干烦也。巎再拜。\n鉴藏印钤明项元汴“墨林祕玩”、李肇亨“槜李李氏鹤梦轩珍藏记”等。\n《奉记帖》是康里巎巎写给朋友叶彦中的一封信札，内容为托寄香桌、海味等物件之事。\n帖左下角有朱笔楷书小字3行，记录的是康里巎传略：“子山，康里氏，父不忽木，祖燕贞，世有功业。巎亦学士承旨。卒谥曰文忠。”\n此帖笔法颇类怀素，运笔疾速飞动，结体圆转婉畅，笔画清劲妍丽，字字自相牵绕而又不相互连带，展示出书家自己的个性和风格。",[23,7,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82986a2819a3a47a8d0e209f24c1e431.jpg","纵29.8厘米，横55.7厘米",[],{"id":76140,"slug":76141,"title":76142,"dynasty":18,"author":223,"museum":244,"description":76143,"tags":76144,"thumbUrl":76145,"material":3544,"size":76146,"collection":84,"collections":76147,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},231346,"qian-yan-wan-he-tu-yi-ming-231346","千岩万壑图","图绘千岩万壑，层林飞泉，楼阁幻隐，景致幽僻，雄奇险峻，超情入神，骇目洞心。构图繁缛而不迫塞，笔法严整清峭，山石皆以缜密细笔勾皴并以淡墨晕染，突出了山体的阴阳向背和突兀嶙峋。画面的云气弥散在前后重叠的奇峰之间，并以墨色的浓淡分出山间树木枝叶的前后层次，从而使整幅具有丰厚的立体感。",[1326,24,7,164,165,128,132,29,497,34,499,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34a367f486734e2739a21f3d46375c6e.jpg","126.3x49.7厘米",[],{"id":76149,"slug":76150,"title":76151,"dynasty":54,"author":10177,"museum":300,"description":76152,"tags":76153,"thumbUrl":76155,"material":692,"size":1293,"collection":84,"collections":76156,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},231058,"sai-shang-ye-qu-tu-jiao-bing-zhen-231058","塞上野趣图","焦秉贞（生卒年不详），字尔正，山东济宁人，康熙时官钦天监五官正，供奉内廷。清代宫廷画家。擅画人物，吸收西洋画法，重明暗，楼台界画，刻划精工，绘有《仕女图》，《耕织图》等。",[23,24,7,1131,27,28,29,4622,211,76154,26190],"边塞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F708c9c2f236532c6f6469d779a3c6473.jpg",[],{"id":76158,"slug":76159,"title":76160,"dynasty":54,"author":76161,"museum":300,"description":76162,"tags":76163,"thumbUrl":76164,"material":692,"size":1293,"collection":84,"collections":76165,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},230878,"zhong-jin-shi-song-mei-tu-shan-mian-sun-ji-rui-230878","钟进士送妹图扇面","孙基瑞","此作以浅淡设色铺陈场景，钟馗虬髯横剑，威严沉稳，妹妹安坐驴背，温婉静和，仆役肩挑酒食随行。淡墨晕染出郊野平坡枯木，清寂氛围感十足。线条简练挺劲，将人物神态刻画入微，刚柔反差鲜明，钟馗的凛然与小妹的柔媚相互映衬，细节生动鲜活。设色淡雅秀润，笔墨兼具写意与工致，将民间送妹传说，绘就出灵动古雅的意趣，是极具韵味的仕人小品，尽显传统人物画的雅致情致。",[1131,24,7,27,188,96,1337,304,6318],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eaa85281443b028d59b1239b5802ee2.jpg",[],{"id":76167,"slug":76168,"title":76169,"dynasty":54,"author":76170,"museum":300,"description":76171,"tags":76172,"thumbUrl":76173,"material":84,"size":84,"collection":84,"collections":76174,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},230871,"zhi-hua-chun-shan-dai-du-tu-zhu-lun-han-230871","指画春山待读图","朱伦瀚","《指头生活三百年:高其佩与指头画派(套装共2册)》内容简介：指头画，即以手代笔，蘸墨作画。\n中国传统绘画中的一种特殊的画法。\n即以画家的手指代替传统工具中的毛笔蘸墨作画，别有一种特殊趣味和技巧。\n历史上清代高其佩、近代潘天寿、洪世清所作指画作品其影响较大。\n辽宁与指头画有着深厚的渊源，指头画开派人物清代的高其佩祖籍是辽宁的铁岭。\n其弟子传派众多，至清末已达百余人，遂有“指头画派”之称，在清代绘画史中占有一席之地。\n国内著名的指墨家杨一墨就是辽宁开原人，现为铁岭中国手指画研究院院长。\n目前辽宁地区活跃着一批热爱和研究指画艺术、颇具影响力的画家。\n《指头生活三百年:高其佩与指头画派(套装共2册)》由辽宁美术出版社出版。\n《指头生活三百年·上卷》目录： 涂洛陆日为合绘高其佩洗聪明图 指头生活——高其佩作品 杂画册 策杖观涛图 江岸笛声图 蜘蛛图 苍鹰待擒图 梅竹图 鱼虾图 风帆出峡图 三牛图 猿戏图 狮子听泉图 策杖行旅图 松鹤图 人物杂画册 荷花翠鸟图 北上京师纪游册 游骑图 蜀葵图 天宁寺图 捕鱼图 拈针图 臼沟河图 龙图 虎图 樱桃小鸟图 冰图 石首鱼图 青菜图 竹石花卉图册（笔画） 三石图 牡丹图 山茶图 玉兰图 兰花圈 牡丹图 桂花圈 芙蓉图 萱草海棠图 松树图 梅树图 竹枝图 花鸟图 古木幽亭图 雪景山水图 柳塘鸳鸯图 钟馗降魔图 鱼虾水戏图 溪桥古木图 杜陵诗意图 怒容钟馗图 杂画图册 雁归图 沧海孤舟图 松驴图 松下授经图 鱼戏图 枝头小鸟图 风竹图 牡丹图 兰花图 凤凰梧桐图 狮子观瀑图 秋菊图 花卉图册 黄菊图 葡萄图 兰花图 出水芙蓉图 萱花图 虞美人图 绣球花图 桃花图 牡丹图 梅花图 杂画图册 骏马图 蜷猫图 鲜果图 枝图 佛手图 荚蓉图 寄生草图 竹笋图 杂画图册 桂兔图 月季图 双燕图 秋葵图 柳鸶图 萱草图 桃花游鱼图 柳荫扁舟图 杂画册 洛神图 孤帆远景图 钟旭图 云龙图 猛虎图 牧童图 松鼠图 寒泉图 雁陈图 静观图 人物杂画图册 老翁携仆图 风竹图 枝头孤鸟图 疏木流泉图 顽石花卉图 捕蝶仕女图 菊兰图 雉鸡图 依松听泉图 山中高士图 观瀑图 俯视一切图 游骑图 观潮图 春游图 深谷水泻图 采芝图 云中钟馗图 钟馗图 文昌像 麒麟送子图 牛背诵经图 鸿雁图 秋柳水鸟图 雄鸡水仙图 石崖雄鸡图 梧桐喜鹊图 草兰花图 牡丹图 松鹰图 松鹰图 松鹰图 雄鹰窥雀图 鹰木图 云龙图 山君饮涧图 踞虎图 饱虎图 虎啸图 喜报封侯图 松鹿图 题画诗十二首 高其佩款印 高其佩年表 指画生息——指画传派作品 朱伦瀚山虎咆哮图 朱伦瀚云龙图 朱伦瀚龙虎风云图 朱伦瀚春山待读图 朱伦瀚逆流撑篙图 朱伦瀚松下观泉图 朱伦瀚仙山春晓图 朱伦瀚松溪论道图 朱伦瀚山水杂画册 朱伦瀚杂画图册 高凤翰花卉图册 李世倬钟馗策蹇图 李世倬雄鸡菊石图 薛渔柏鹿双寿图 高秉杂画册 朱孝纯山水图册 苏廷煜梅兰竹菊册 苏廷煜杂画册 苏廷煜墨竹图 罗聘团扇徘徊图 罗聘西瓜图 严钰仿高其佩溪山竹居图 张敌钟馗图 甘士调芙蓉水禽图 甘士调松鹰图 甘士调春燕图 甘士调藕蟹图 甘士调荷花游禽图 傅雯钟馗图 傅雯观音变相图 傅雯山亭赏雪图 傅雯罗汉图 傅雯目送归鸿图 傅霞杂画册 傅雯观音变相图 傅雯山水图 杜鳌山水册 萧景云兰花图 崇善罗汉降龙伏虎图 黄骍花卉禽鸟册 瑛宝杂画册 瑛宝杂画册 瑛宝观瀑图 萨克达氏花鸟图 萨克达氏山平水远图 刘锡玲墨莲图 刘锡玲花鸟册 刘锡玲桃花源图 蒋璋白鹅图 李春林柳燕图 指墨生辉——近现代指画作品 潘天寿新安江景图 潘天寿墨蛙图 袁贤麟牧牛图 宁斧成大好山河图 梁崎老子骑牛图 宋世传山水图 吴在炎山水瀑布图 吴在炎君子之交图 吴在炎韵满荷塘图 万一鹏古木云萝图 筱原光美达摩图 藤沢正子山花浪漫 张立辰梅花图 王曼如松树图 吴俊达松鼠图 林奇英前程似锦图 张林极乐世界图 吴景原猛虎图 王洪泰梅颂图 四明一风牡丹猫图 花艳寻觅图 路建群墨梅图 虞小风几度夕阳红图 龚继先竹藕图 宋雨桂枯树图 许勇亲情图 亓官良关东情 杨宝峰金秋图 赵宝平人远江天图 张晖春江水暖图 荆成义红颜图 冯朝辉孤影浮云图 杨一墨果实累累 杨一墨指点绿谷 杨一墨弃杖画中行 宋希祥指蘸清溪写山河 顾鹤冲高寒图 韩富华达摩面壁图 尹向东秋风秋雨也宜人 李永平花鸟图 曹伟秋院晓露图 王嘉宁山居图 赵伟山里人家图 王晓峰关山行 吴润龄千里雪茫茫 张桂生清溪幽谷出 王作千关山指画写生 王岩吴昌硕像 刘永春踏花归来马蹄香 朱兆东野趣图 张晓风万岁和平 高辉荒塬 杜晓波山里人家 张凤权春到家山 杨春福安图 千晓东西藏人物之三 邓云凉送给建设者的果实 赵明明十里秋色图 辛杰吉祥三宝 左群好年头 干晓畅秋实 黄辞培花鸟 刘懿娜丰硕 宋立欣金州写生 任刚荷塘秋色 都立春清晨入古寺 董德敏生命的期待 王均亮月下香雪 张丽敏山居 刘丹人物 高敏群鸡图 陈铁生彝乡风情 子墨风烟秋色 干一丁山水 张儒一雨清心 后记 …… 《指头生活三百年·下卷》",[23,24,7,165,27,29104,96,29,331,131,132,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F707cad4fc65c61dfbf21de15bf26ca76.jpg",[],{"id":76176,"slug":76177,"title":76178,"dynasty":222,"author":223,"museum":300,"description":76179,"tags":76180,"thumbUrl":76181,"material":692,"size":1293,"collection":84,"collections":76182,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":4001},230810,"liu-shi-can-juan-yi-ming-230810","刘氏残卷","此卷小行书简净松灵，结体萧散天然，暗合晋唐书风的清隽散淡。纸页斑驳泅渍，残损之间更添古旧沧桑，却无损笔墨间的林下清韵。\n书者落笔毫无雕琢匠气，顺着笔势自然游走，将玄学语录写得简远疏放。字里行间浸着旧世文人的隐逸襟怀，仿佛可见执笔人展卷挥毫时，神游物外的澹泊情态，随性之中藏着沉静的风雅意趣。",[7,25,64,133,208,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84d4e32fb79a9047442fc592223fd7c8.jpg",[],{"id":76184,"slug":76185,"title":76186,"dynasty":222,"author":223,"museum":300,"description":76187,"tags":76188,"thumbUrl":76189,"material":692,"size":1293,"collection":84,"collections":76190,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},230556,"ba-jiao-ye-yu-tu-ri-ben-shi-ting-shi-dai-yi-ming-230556","芭蕉夜雨图-日本室町时代","轻烟晕染远山淡影，茅庐偎依芭蕉古松，板桥隐没于空蒙水雾间，将秋夜听雨的清寂铺展于卷上。湿冷的潮气仿佛浸透纸面，夜雨敲打着芭蕉叶，声声都揉着羁旅幽愁。\n\n整幅以画载情，上部题满唱和诗书，笔墨错落间，将寒宵孤坐的怅惘与同侪酬和的共情融为一体，书画相映，把蕉下听雨的清冷意绪，晕染得愈发绵长醇厚。",[23,24,7,128,132,133,64,208,29,875,413,48069,663,228,1314,950,31720,22404,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff965d35070656840bce03fd2737af2ec.jpg",[],{"id":76192,"slug":76193,"title":76194,"dynasty":222,"author":223,"museum":300,"description":76195,"tags":76196,"thumbUrl":76198,"material":84,"size":84,"collection":84,"collections":76199,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},230532,"di-yu-hui-juan-tang-zhou-an-zheng-2-nian-yuan-hua-yi-ming-230532","地狱绘卷.棠洲安政2年原画","此卷仅存残幅，以精巧挂饰为视觉重心。细劲的墨线勾勒出构件棱角与垂绦柔态，淡彩晕染收敛克制，将金属的冷锐与织物的轻垂质感对照得恰到好处。朱红小印落于素净底色之上，留白处似隐去了幽冥叙事，只留这一件器物，静穆之中暗合独有的幽玄冷意，让观者自能揣度彼岸世界的森然氛围，极简画面承载着对幽冥意象的隐晦描摹，清冷雅致间暗藏着传统绘卷的肃穆底色。",[25,7,187,188,27,96,76197],"地狱场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c8cdc42dba50db62002dbda806f404.jpg",[],{"id":76201,"slug":76202,"title":76203,"dynasty":222,"author":46309,"museum":300,"description":57844,"tags":76204,"thumbUrl":76205,"material":692,"size":1293,"collection":84,"collections":76206,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},230489,"an-tu-tao-shan-shan-shui-tu-ping-feng-di-yi-ping-yun-gu-deng-yan-230489","安土桃山 山水图屏风-第一屏",[23,24,7,128,132,29,413,1144,758,171,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F959bfd52b542f4f8e07d6bd3acfd9022.jpg",[],{"id":76208,"slug":76209,"title":76210,"dynasty":222,"author":61499,"museum":300,"description":76211,"tags":76212,"thumbUrl":76213,"material":84,"size":84,"collection":84,"collections":76214,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},230482,"an-tu-tao-shan-shi-dai-hua-xia-you-le-tu-ping-feng-di-yi-ping-shou-ye-zhang-xin-230482","安土桃山时代 花下游乐图屏风-第一屏","画面留白疏朗，淡赭底色晕开空寂天地，将视线牢牢牵向倚杖的武士。衣装刻画细致入微，暗纹袍服配朱红镶边，腰间太刀沉敛，悄然点明武者身份，而松弛的姿态却消解了武家肃杀之气。\n\n足畔野草丛生，艳色小花点缀土坡，朴拙的山野景致柔化了硬朗的人物气质，刚健与春日元气相融。寥寥数笔便托出幽寂闲雅的氛围，将春日郊野漫步的松弛闲情晕染开来，带着侘寂的和风雅韵，把山野独游的悠然意趣藏进绢素之中。",[23,24,7,27,96,166,547,6640,250,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fb29a0cdaa97e0c37df926aa818b14f.jpg",[],{"id":76216,"slug":76217,"title":76218,"dynasty":54,"author":76219,"museum":300,"description":76220,"tags":76221,"thumbUrl":76222,"material":84,"size":84,"collection":84,"collections":76223,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},230291,"lin-lu-bao-shan-hua-ce-li-shan-230291","临陆包山画册","李善","这幅小品设色清雅柔润，淡赭晕染豆荚，将饱满绵密的肌理尽显，淡蓝铺陈叶片，墨线细勾叶脉，枯笔写就的枝蔓苍劲灵动。蝈蝈工细写实，翅脉纤毫毕现，触须轻颤欲动，将秋虫的鲜活之态凝于纸面，写意的花果与工致的草虫相映成趣。\n\n题诗与画面呼应，诗书印相融晕染出文人雅趣。画师将秋日篱边小景的生机尽数铺展，既有写生的真切生动，又不失写意的淡朴雅致，寥寥笔墨间揽尽清秋闲情，尽显传统花鸟小品的隽永意韵。",[24,7,330,27,128,61,13257,549,806,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3038fe2fed241b071c06cc83341136e1.jpg",[],{"id":76225,"slug":76226,"title":1230,"dynasty":54,"author":5879,"museum":300,"description":76227,"tags":76228,"thumbUrl":76229,"material":84,"size":84,"collection":84,"collections":76230,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},230183,"shan-shui-tu-hua-yan-230183","此作笔致秀逸清灵，以淡赭晕染层叠崖壁，勾勒垂落飞泉，孤松虬枝斜倚崖侧，疏朗带风。画中高士凭岩端坐，临流观瀑，尽显林泉高致。远景山峦淡晕朦胧，留白铺就空寂辽远的天地，将山野幽居的萧散之趣尽数铺陈。四周题跋密布，书画交融，更添文雅古意，把文人耽爱林泉、静悟山水的隐逸心境藏入尺幅之间，淡远空灵，尽显幽寂出尘的林下之风，将山水清旷与书卷雅韵相融，尽显高古清幽的隐逸之美。",[23,24,7,27,132,133,64,29,96,413,495,497,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bb52b9cce7c0aec2faa81b9a65f6fa2.jpg",[],{"id":76232,"slug":76233,"title":1131,"dynasty":54,"author":76234,"museum":300,"description":76235,"tags":76236,"thumbUrl":76237,"material":84,"size":84,"collection":84,"collections":76238,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},230165,"shan-mian-lin-xing-230165","林行","此作用淡赭晕染山峦，以短披麻皴勾勒山石肌理，厚重朴拙间见温润质感。留白作溪云环萦，虚实相映，让山水生出空濛灵秀之态。\n左侧板桥之上，三两策杖行人徐行，为幽寂山水添上鲜活烟火气；右侧竹篁深秀间茅舍隐现，暗合山居幽栖之趣。\n笔墨舒缓柔和，不见剑拔弩张的锋芒，将江南林麓的清寂安闲铺展开来，动静相融间，把文人心中林下幽居的悠然诗意，藏在淡墨轻岚之中。",[24,7,1131,128,132,29,663,1314,413,167,98,99,387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e978dfc087b2b735d0da2f091cf4fad.jpg",[],{"id":76240,"slug":76241,"title":76242,"dynasty":54,"author":76243,"museum":300,"description":76244,"tags":76245,"thumbUrl":76246,"material":692,"size":1293,"collection":84,"collections":76247,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},230101,"zheng-xi-tu-hua-xin-guo-chao-zuo-230101","征西图（画芯）","郭朝祚","郭朝祚，号硕斋，生卒年月待考。",[23,24,7,25,27,28,29,96,101,11074,496,31,33760,5626,7995,497,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb20e6b15f1e24c8782fd41f118467348.jpg",[],{"id":76249,"slug":76250,"title":76251,"dynasty":54,"author":23303,"museum":300,"description":76252,"tags":76253,"thumbUrl":76254,"material":84,"size":84,"collection":84,"collections":76255,"showCount":738,"zanCount":1998,"manualWeight":48,"mainColor":72},228964,"mo-miao-zhu-lin-si-ce-dong-bang-da-228964","墨妙珠林（巳）册","此作左诗右画，书画合璧。白描山水以淡墨写尽仙仓岩幽境，层峦叠嶂皴法清隽，林麓萧疏错落，清溪萦回于谷中，山坳茅舍隐现，简淡笔墨晕染出静穆空寂的山居意趣。\n\n左侧行书题诗笔致温润秀逸，结体舒展雅致，诗句咏叹山中丰饶自在，与画境相互生发。整幅以素淡之韵，将林泉高致融于方寸间，尽显文人山水清和散澹的雅怀，藏静穆淡远的山水诗意于笔墨之中，是文人书画小品的佳制。",[24,7,59,128,29,663,228,130,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18b8290b9dc65f14bc553c5723165ae6.jpg",[],{"id":76257,"slug":76258,"title":76259,"dynasty":124,"author":39940,"museum":300,"description":61660,"tags":76260,"thumbUrl":76261,"material":84,"size":84,"collection":84,"collections":76262,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},228919,"peng-lai-xian-yi-tu-leng-qian-228919","蓬莱仙弈图",[23,24,7,25,27,28,938,133,29,97,96,34,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8255e9747b858ce33ea55f9a372f599.jpg",[],{"id":76264,"slug":76265,"title":76266,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":76267,"thumbUrl":76268,"material":692,"size":1293,"collection":84,"collections":76269,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},228863,"wu-kuan-ti-ti-yuan-yu-zi-zhi-shu-xiang-yuan-bian-ti-tao-wu-liu-shi-wen-zheng-ming-228863","无款题；题元俞紫芝书；项元汴题陶五柳诗",[24,7,59,208,23848,133,572,938,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5e96d881414ac4716f41f771645b5a8.jpg",[],{"id":76271,"slug":76272,"title":76273,"dynasty":124,"author":7003,"museum":300,"description":76274,"tags":76275,"thumbUrl":76276,"material":84,"size":84,"collection":84,"collections":76277,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},228399,"chi-bi-sheng-you-tu-juan-zhu-yun-ming-228399","赤壁胜游图卷","开卷是平远江景，淡墨晕染汀渚林峦，茅庐隐于烟霭疏树之间，清寂萧散，暗合夜游的幽旷意韵。后段行书铺陈全篇，开篇浓墨榜书造势，笔力沉厚雄奇，随后行笔渐趋舒展灵动，提按藏枯涩润秀之变，行气绵密贯通，将泛舟叩舷、酾酒临江的旷达心境，藏于笔锋流转之中。\n\n书画合璧，文辞、笔墨与画意融为一体，把夜游赤壁的浩渺襟怀，化作纸上烟岚与笔底波澜，尽显萧散狂逸的文人意趣，是书画互衬的精妙之作。",[23,24,7,25,128,133,64,29,129,34,208,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c3b52125cd618b3e7941437626cd79b.jpg",[],{"id":76279,"slug":76280,"title":76281,"dynasty":124,"author":76282,"museum":300,"description":76283,"tags":76284,"thumbUrl":76285,"material":84,"size":84,"collection":84,"collections":76286,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},228396,"hua-niu-tu-juan-zhang-jun-du-228396","画牛图卷","张君度","此卷以水墨晕染群牛，情态鲜活灵动。或抵角相搏、野性尽显，或信步缓行、憨态可掬，或卧地慵憩、悠然自得，搭配随性牵引的牧童，将乡野牧歌的闲逸日常铺陈开来。\n\n笔墨极简却形神兼备，淡墨晕出蓬松皮毛，浓墨勾勒犄角蹄足，寥寥数笔便将水牛的厚重朴拙尽显。题跋书法与绘事相映，诗画合璧，文心与画趣交融。构图疏密张弛有度，从群聚到散走过渡自然，将田园间的悠然意韵缓缓铺展，尽显文人写意的抒情特质，是兼具写生传神与寄兴抒怀的佳作。",[23,24,7,25,128,28,102,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F456e6af9b7a3092979091028a8aeb964.jpg",[],{"id":76288,"slug":76289,"title":76290,"dynasty":124,"author":27440,"museum":244,"description":76291,"tags":76292,"thumbUrl":76293,"material":637,"size":66014,"collection":84,"collections":76294,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},228339,"zeng-zheng-gong-du-shi-wang-duo-228339","赠郑公度诗","金山顶鸿飞阁。秋山晚更青，垂老探玄冥。 漠漠朝多雨，苍苍夜降灵。 菊醑无客醉，萧韵与猿听。 辗转怀萧爽，银河展幔亭。 告大次寒阳山趣 懒人山是与，长夏触心光。 已见碧桃实，空思紫草芳。 辑书蛇性善，抚轸鹤音凉。 劝汝勤鞅掌，白头养石房。 上烟欲行 何道能留汝，生涯正未穷。 围城榆鼓稻，花风叶雨戎。 漕自江淮转，人才邹鲁通。 片帆安可问，海气远天空。 阳山郊 浞浞寻香岫，傍傍过水门。 江帆（安何）所事，村柳自无喧。 客况空高埠，莺音似故园。 不闻何处去，悦悟在岩根。 石惠召自浒墅入大石山。登象鼻诸峰。 牢落江湖客，偏将梵服寻。 苟非同采药，不易有幽心。 蔚荟消诸霭，琴书閟一岑。 足音无亦好，蚓食保芳林。 崇祯皇帝十六载，寓孟庄山志园灯下，书狂作数首，公度郑词丈正之。 孟津王铎年五十二岁笔",[23,64,840,133,25,128,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e866cd7553ecb789aa57fe9c56edd66.jpg",[],{"id":76296,"slug":76297,"title":76298,"dynasty":124,"author":7003,"museum":300,"description":76299,"tags":76300,"thumbUrl":76301,"material":692,"size":1293,"collection":84,"collections":76302,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},228332,"bei-guo-fang-you-shi-zhu-yun-ming-228332","北郭访友诗","祝允明（1460—1526年），字希哲，号枝山，因手生六指，故自号枝指生，长洲（今江苏苏州）人。公元1492年（明弘治五年）举人，1514年（正德九年）授广东惠州府兴宁县知县，后转任南京应天府通判，故后世又称之为“祝京兆”。《明史》有传。工诗文书法，才华横溢，与唐寅、文徵明、徐祯卿并称“吴中四才子”。",[7,64,840,165,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd3baa5efbf07025f768025a035a16ae.jpg",[],{"id":76304,"slug":76305,"title":76306,"dynasty":144,"author":223,"museum":300,"description":76307,"tags":76308,"thumbUrl":76309,"material":84,"size":84,"collection":84,"collections":76310,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},228211,"fang-mu-tu-yi-ming-228211","放牧图","以浓墨点染左侧垂柳，苍润枝叶随性舒展，余下大片淡墨留白铺就水泽，晕染出空濛悠然的郊野暮色。\n\n两头水牛一静一动，一者卧于水间，牧童伏背酣眠，恬然自适；一者垂首浅滩饮水，姿态松弛憨拙。全作以水墨写意，舍去繁缛刻画，以留白烘托萧散悠远的意境，将乡野放牧的日常闲趣，融于简淡笔墨之中，尽显平淡天真的隐逸意趣，把田园野趣与尚简重情的审美完美契合，尽显小品画的灵动生机与悠远情致。",[23,164,24,7,128,28,102,413,228,6640,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fa8ce8aadda59dc845081b49d325826.jpg",[],{"id":76312,"slug":76313,"title":76314,"dynasty":144,"author":223,"museum":300,"description":76315,"tags":76316,"thumbUrl":76317,"material":692,"size":1293,"collection":84,"collections":76318,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},228187,"ren-ma-tu-zhuang-biao-hou-yi-ming-228187","人马图（装裱后）","此作以简练笔墨铺陈胡人马饲意态，虬髯奚官身披宽袍，神色沉静内敛，尽显异域牧者的沉凝气质。画面主体白马筋骨丰腴矫健，抬首长嘶，鬃尾勾勒细致，将良驹桀骜灵动之态尽显。\n淡墨晕染的朦胧背景将视觉全然聚焦于人马之上，设色清雅柔和，白棕对比鲜明，既承袭唐宋鞍马画写实精微的余韵，又带有元画简淡空灵的审美意趣。画师以精湛写生功底，将人驯于马、马依于人的悠然情态娓娓道来，尽显游牧文化与中原笔墨融合的独特意韵。",[24,7,165,27,28,96,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c34399071ce5db339513f8461cfbbf7.jpg",[],{"id":76320,"slug":76321,"title":76322,"dynasty":144,"author":7095,"museum":300,"description":76323,"tags":76324,"thumbUrl":76325,"material":84,"size":84,"collection":84,"collections":76326,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},228028,"lin-li-gong-lin-ren-ma-tu-hua-xin-zhao-yong-228028","临李公麟人马图（画芯）","画面里番官虬须深目，朱衣乌帽，双手笼袖牵马伫立，神情沉凝肃穆，尽显异域贵族的端凝气度。那匹花斑神骏肌理饱满丰腴，昂首垂尾静立，淡墨晕染出满身斑驳毛色，细劲圆润的铁线描勾勒出筋肉骨骼，将骏马矫健神骏的姿态尽显，得李公麟白描神髓又暗含自家笔意。\n\n设色调和古雅，朱红官衣与墨色骏马相互映衬，明快沉静。题诗与鉴藏印错落排布，晕开古朴厚重的书卷气，整幅画作简澹高古，把人马的雍容气度铺陈得淋漓尽致，是鞍马题材中的精妙之作。",[164,24,7,188,27,28,96,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfa69533e4c540c81639542b1cc1539c.jpg",[],{"id":76328,"slug":76329,"title":25464,"dynasty":144,"author":223,"museum":300,"description":76330,"tags":76331,"thumbUrl":76332,"material":692,"size":1293,"collection":84,"collections":76333,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},228009,"ren-wu-tu-ye-yi-ming-228009","画面古绢虽蒙尘斑驳，却难掩笔墨意韵。简劲线条勾勒出二人情态：立者头戴展脚幞头，宽袍博带，身姿端凝肃穆，俨然朝堂士人；跪者低眉躬身，奉盘以侍，神态恭谨入微，礼制尊卑尽显无疑。\n\n设色清淡古雅，构图疏朗留白，以简驭繁，不带过多雕琢，尽显写意风神，将古时朝谒的肃穆氛围悄然烘托。旁侧题字更添文气，残旧肌理晕染出古拙沉静的岁月质感，让观者恍然窥见往昔礼制中的肃穆片刻。",[23,24,7,59,27,188,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3786f1cd663d8679a41d7c12d326c928.jpg",[],{"id":76335,"slug":76336,"title":30595,"dynasty":18,"author":223,"museum":300,"description":76337,"tags":76338,"thumbUrl":76339,"material":84,"size":84,"collection":84,"collections":76340,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},227929,"shi-jia-chu-shan-tu-yi-ming-227929","此作用淡墨枯笔写就，人物清癯削瘦，眉宇沉静淡然，带着苦修出山后的疏朗出尘气质。衣纹以淡墨晕染结合简括线条，轻写布料垂坠质感，不着浓艳，尽得简淡高古之趣。\n画面搭配题诗，将雪山苦修的清寒禅味融于笔墨间，笔意萧散简远，以极简笔墨勾勒出超脱物外的禅宗意境，淡墨氤氲里禅意流淌，尽显空灵静谧的出世之美。",[23,24,7,165,187,188,96,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a6b6f10f22e8ca496408d6bf4bff597.jpg",[],{"id":76342,"slug":76343,"title":76344,"dynasty":18,"author":223,"museum":300,"description":76345,"tags":76346,"thumbUrl":76348,"material":84,"size":84,"collection":84,"collections":76349,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},227900,"tian-long-mu-niu-tu-yi-ming-227900","田垄牧牛图","这幅小品以俯瞰视角铺展江南野趣，淡赭晕染出水天底色，澄澈河道切分绿野，田埂如柔织的细带，圈出片片新嫩秧田。右岸垂柳荫浓，水墨晕染出翠条拂水的柔态，树底茅舍隐现，晕淡朦胧，藏起村居日常的烟火气。田埂之上，牧者徐行，牛犊垂首啮草，意态安闲。\n\n全画笔致秀润清和，无繁缛刻画，只以极简构图晕染出初夏江南的恬谧，将耕牧闲散的乡居意趣藏于尺幅之间，把宋人浸在日常里的诗意悉数铺展，淡而有味，尽显小品画的雅致隽永。",[164,24,7,1131,27,132,29,76347,102,34],"田垄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e51707131104a62630a3a9f39e1b758.jpg",[],{"id":76351,"slug":76352,"title":76353,"dynasty":18,"author":223,"museum":300,"description":76354,"tags":76355,"thumbUrl":76356,"material":84,"size":84,"collection":84,"collections":76357,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},227874,"liu-tang-xun-ju-tu-yi-ming-227874","柳塘寻句图","画面以淡墨晕开江南水滨的烟霭，近处柳林浓荫偃伏，柔条垂覆浅汀，水面浮着点点菱荇，漾着清寂的闲意。远山以轻毫扫出轮廓，融在空蒙水雾之中，恍若化入淡远烟岚。汀渚一隅隐着渔舟，似有幽人独伫，将寻句的幽谧心境沉在湖光柳色里。\n\n全幅以留白造境，笔墨简淡却意蕴悠长，将林泉雅意收在尺幅之间，尽显小品以小见大的雅致，把文人耽于山水、寄情烟霞的襟怀藏在水墨晕染中，淡而愈真，简而弥远。",[23,24,7,164,27,128,28,29,4363,3837,168,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F744cd083c4a70642706010bdf7ba17b3.jpg",[],{"id":76359,"slug":76360,"title":76361,"dynasty":18,"author":223,"museum":300,"description":76362,"tags":76363,"thumbUrl":76364,"material":84,"size":84,"collection":84,"collections":76365,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},227866,"wan-he-guo-suo-tu-yi-ming-227866","晚荷郭索图","《宋扇面画晚荷郭索图》是宋代画家佚名创作一幅绢本设色画。\n此画现藏于北京 。\n此图原载《烟云集绘册》（《石渠宝笈续编》著录）。\n无款，签题黄居寀作。\n居寀为筌子。\n《圣朝名画评》云：黄居寀亦善画花竹毛羽，多与筌共为之，其气骨意思，深有父风。\n孟昶时，画四时花雀图数本，当世称绝。\n评曰：居寀之画鹤，多得筌骨。\n其有佳处，亦不能决其高下。\n至于花竹禽雀，皆不失筌法。\n对开有清乾隆皇帝御题诗一首：“从来螯蛫善横行，稻熟秋风意气生。\n甲介向称无所畏，如何每入膳人烹。\n”钤“古稀天子”、“八徵耄念之宝”、“ ”等玺印多方。\n本幅无款。\n钤鉴藏印“金陵□□□□”。\n曾经清内府收藏，《石渠宝笈续编》著录。\n图中一只硕大的 张牙舞爪踞于残荷之上，肥重的身躯竟将荷梗压断。\n衬以苍老的莲蓬、枯黄的 、稀疏的 ，更增添了萧瑟冷寂的气氛。\n荷叶和莲蓬用粗笔勾描，蟹用细笔写之，笔法粗犷写实，设色鲜艳浓重。\n无名氏。\n旧签题 “黄居寀”作，究其画风，与 相距甚远，故改为无名氏画。",[23,24,7,1326,59,1131,128,27,81,82,841,3794,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba4b3faac025682ff468de9c8c866068.jpg",[],{"id":76367,"slug":76368,"title":76369,"dynasty":18,"author":223,"museum":300,"description":76370,"tags":76371,"thumbUrl":76372,"material":84,"size":84,"collection":84,"collections":76373,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":199},227855,"shan-yao-lou-guan-tu-ye-yi-ming-227855","山腰楼观图页","此作以水墨绘危峰陡立，云雾如纱空蒙，将山体半隐，仅留山腰楼宇静踞林麓。以斧劈皴利落勾勒山石筋骨，墨色由浓转淡晕染烟岚，虚实相生衬出幽谷空寂幽深。\n\n咫尺扇面以少胜多，尽显简淡空灵意趣，将林泉高致藏在淡墨轻岚间。题诗与画境呼应，把寻仙慕隐的出世之思融于山水，淡远清逸，观之如临其境，似可凭栏观山、静听穿林风声，幽远超脱的山居雅境跃然绢上。",[23,24,7,1131,29,97,131,34,95,132,27,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F274facbfdb6c3c7e5bdce52d2bca3976.jpg",[],{"id":76375,"slug":76376,"title":76377,"dynasty":18,"author":223,"museum":300,"description":76378,"tags":76379,"thumbUrl":76380,"material":84,"size":84,"collection":84,"collections":76381,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},227836,"wu-yun-lou-ge-tu-ye-yi-ming-227836","五云楼阁图页","此作以淡墨晕染铺就空濛底色，危峰如削，拔地耸峙，尽显山石嶙峋硬朗。山脚苍松错落，林麓间野路蜿蜒隐现，以边角取景营造出幽远无际的山野氛围，水墨皴擦勾勒出峭拔山势，将烟霞缥缈的世外秘境晕染得清冷出尘。\n对页题诗与画境相融，笔墨间浸透文人幽居林泉的雅趣，简淡构图里藏着辽远的天地气象，尽显宋人对山水意境的极致追寻，静穆间带着出世的空灵韵味。",[23,164,24,7,4437,1131,27,133,132,95,29,97,30,34,37,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea704ebcc05fe27f9924065ef24fb0e.jpg",[],{"id":76383,"slug":76384,"title":76385,"dynasty":18,"author":40225,"museum":300,"description":76386,"tags":76387,"thumbUrl":76389,"material":84,"size":84,"collection":84,"collections":76390,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},227760,"shou-zha-yi-tong-wu-ting-jiu-cang-zhu-xi-227760","手札一通(吴廷旧藏)","从“收藏”角度而言，“书札”固然是“尺牍”之义，却是指广义的，内中是包括了一些笔记、题辞、手稿、札记、公牍、讣告、收条、请帖、名刺、板报等等种种纷繁的“杂多”形式。换言之，“书札”是纷繁的搜藏项目的一种概括。",[23,64,133,208,76388,18,7],"手札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdca39154fd519ae1621c215f93bcd271.jpg",[],{"id":76392,"slug":76393,"title":76394,"dynasty":18,"author":223,"museum":300,"description":61786,"tags":76395,"thumbUrl":76396,"material":84,"size":84,"collection":84,"collections":76397,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},227360,"zhan-dao-heng-lv-tu-ye-yi-ming-227360","栈道行旅图页",[23,24,164,7,4437,27,29,690,96,101,1337,131,2620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75b65495671b6e37fe5a1bbe7ea1b7d6.jpg",[],{"id":76399,"slug":76400,"title":76401,"dynasty":18,"author":223,"museum":300,"description":76402,"tags":76403,"thumbUrl":76404,"material":84,"size":84,"collection":84,"collections":76405,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":956},227349,"xuan-he-dian-shuang-an-tu-yi-ming-227349","宣和殿双安图","北宋皇宫建筑之一，前后经历始建重建，后称保和殿，用以藏书藏画，北宋皇室三大藏书处所之一。著名的《宣和书谱》、《宣和画谱》都与此殿关系密切。",[23,164,24,7,27,28,61,8140,604,276,1326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0812227ecaac5bde35609c91e6acc901.jpg",[],{"id":76407,"slug":76408,"title":76409,"dynasty":18,"author":223,"museum":300,"description":76410,"tags":76411,"thumbUrl":76412,"material":84,"size":84,"collection":84,"collections":76413,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},227346,"ming-liu-ji-zao-ce-shi-er-zhen-yi-ming-227346","名流集藻册十二帧","此《宋名流集藻册》为“蝴蝶装”形制，共十二帧。每帧有清乾隆皇帝的御笔题诗，与画意相对应，抒其感悟和评论，画页裱边的上端附有题签。依照《石渠宝笈续编》著录的顺序是，一开“燕文贵，纳凉观瀑”；二开“赵伯骕，碧山绀宇”；三开“萧照，丹林诗思”；四开“李迪，鸡雏待饲”；五开“苏汉臣，蕉阴击球”；六开“李迪，无花果图”；七开“刘松年，山馆读书”；八开“梁楷，三高游赏”；九开“梁楷，秋柳双鸦”，十开“陈宗训，秋庭戏婴”；十一开“鲁宗贵，玲峰鹁鸽”；十二开“陈可久，春溪水族”。\n\n“蝴蝶装”书籍装帧形式之一。始于唐末,盛行于北宋。其装订方法是将每页从中缝把有文字的两个半页对折,背面空白处在外,然后把这样对折的一叠散页用一张纸从前包到后面,并将各页折口处牢牢地粘连在这张纸上,以免脱落,这样就形成了蝴蝶装的书。其所以得名,是因为书册打开后左右对称,犹如蝴蝶展开双翅,因而称为“蝴蝶装”,或“蝶装”。",[23,24,7,59,1131,128,27,28,29,130,229,34,96,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca49fdb98c3f08c2121cc90ba0a38f2.jpg",[],{"id":76415,"slug":76416,"title":76417,"dynasty":18,"author":76418,"museum":300,"description":76419,"tags":76420,"thumbUrl":76421,"material":84,"size":84,"collection":84,"collections":76422,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":199},227297,"shu-guang-zong-ti-yang-bu-zhi-hong-mei-tu-shi-li-zong-227297","书光宗题杨补之红梅图诗","理宗","宋理宗赵昀（1205年1月26日－1264年11月16日），初名赵与莒，后改名赵贵诚，绍兴府山阴县（今浙江绍兴）人，宋朝第十四位皇帝（1224年9月17日—1264年11月16日在位），南宋第五位皇帝。宋太祖赵匡胤十世孙，赵德昭九世孙。 [1-2]\n嘉定十五年（1222年），被立为宋宁宗弟沂王嗣子，赐名贵诚。嘉定十七年（1224年），立为宁宗皇子，赐名昀。 [3] 宋宁宗死后，赵昀被权臣史弥远拥立为帝。赵昀继位的前十年都是在权相史弥远挟制之下，自己对政务完全不过问，自己则尊崇理学，纵情声色，直到绍定六年（1233年），史弥远死后，赵昀才开始亲政。他亲政之初立志中兴，采取罢黜史党、亲擢台谏、澄清吏治、整顿财政等改革措施，史称“端平更化”。端平元年（1234年），派兵联蒙灭金。同年出兵收复三京，但以失败告终，次年（1235年）蒙古大汗窝阔台以宋朝背约为由，全面侵宋，持续四十多年的宋蒙战争爆发。晚年赵昀又沉湎于醉生梦死的荒淫生活中，朝政相继落入丁大全、贾似道等奸相之手，国势急衰。\n景定五年（1264年），赵昀在临安去世，在位四十一年，仅次于仁宗，享年六十岁。谥号建道备德大功复兴烈文仁武圣明安孝皇帝，庙号理宗。葬于永穆陵",[23,24,7,1131,133,208,371,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69ab459a45ebc90b3709cbd648351953.jpg",[],{"id":76424,"slug":76425,"title":76426,"dynasty":182,"author":223,"museum":300,"description":76427,"tags":76428,"thumbUrl":76430,"material":692,"size":1293,"collection":84,"collections":76431,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},227228,"fo-jing-wan-nai-liang-shi-qi-shi-bian-yi-ming-227228","佛经 晚奈良时期饰边","日本写经史的最辉煌时期，应是在奈良时代（公元710-794）。此时中国为盛唐时期，日本因积极学习唐文化，从而建立了相对完备的政治集权，经济、文化也盛象空前。\n公元717年，日本留学僧玄昉随第八次遣唐使入唐（吉备真备为此次遣唐使团的正使），734年留学近18载归国。此时的日本王室将佛教视作“镇护国家之要法”，有意大兴佛事；而留学僧玄昉从中国携带大量佛像及五千多卷大藏经回国传播，由此二者为因，促进了日本国内书写大藏经的流行。因此奈良时代到平安中期也被公认为日本重要的写本时代。这期间的写经数量较大、书风高古。",[23,187,7322,572,7,76429],"饰边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F364009bf62e3678c0dbaab313a0468f7.jpg",[],{"id":76433,"slug":76434,"title":76435,"dynasty":124,"author":26033,"museum":300,"description":76436,"tags":76437,"thumbUrl":76438,"material":84,"size":84,"collection":84,"collections":76439,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},224562,"shu-hua-ce-ye-27-xiao-yun-cong-wang-shi-zhen-224562","《书画册页》-27","近景苍松虬曲古拙，苔痕覆于顽石，执杖行人徐行溪桥，柴扉轻掩，僮仆静候于竹篱茅舍侧，修篁环绕更添幽寂。飞瀑穿谷蜿蜒而下，层叠山峦以朴拙皴法写就，山石棱角间点染丹色，暗合秋意。\n整幅画作以元人笔意写林泉幽居，笔墨简淡松秀，淡赭轻施衬出山野清秋之致。题字清雅隽秀，与山水笔墨相映成趣，将文人寄情丘壑的雅逸襟怀融于尺幅之中，把山野幽居的静穆恬然尽数铺陈，尽显淡远清寂的林下之风。",[24,7,59,27,128,132,29,96,97,99,131,372,2372,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe17b3a9e13051ba3c52fdb0d84755f1c.jpg",[],{"id":76441,"slug":76442,"title":76443,"dynasty":54,"author":9529,"museum":300,"description":76444,"tags":76445,"thumbUrl":76446,"material":84,"size":84,"collection":84,"collections":76447,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},224460,"wan-wu-qiu-ying-tu-zhou-wang-hui-224460","晚梧秋影图轴","218年9月11日，“故宫博物院藏清初‘四王’绘画特展”在故宫文华殿书画馆开幕。\n该展览展出文物多达11件套，分为“‘师古’为宗”、“融古出新”以及“沾溉后学”三个单元。\n在展品的遴选上，不仅优选了艺术造诣高的绘画精品，同时又选择了能够体现“四王”画学思想的作品，如王鉴的《四家灵气图》、王原祁的《神完气足图》等。\n又如王时敏《秋山白云图》轴和王翚《晚梧秋影图》轴等，也是他们经典的代表作。\n该展览为绘画实践者提供了优秀的临摹范例，给广大观众带来深刻、丰富的艺术享受。",[23,24,7,165,128,132,372,2372,130,98,99,171,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f1cefd7828df8cbbeb1a228c219193e.jpg",[],{"id":76449,"slug":76450,"title":76451,"dynasty":54,"author":4083,"museum":300,"description":76452,"tags":76453,"thumbUrl":76454,"material":84,"size":84,"collection":84,"collections":76455,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},224419,"shu-hua-shi-liu-kai-5-wang-shi-min-224419","书画十六开-5","此作以赭色绢本铺底，工写相融。白牡丹为画面眼目，淡墨勾瓣，轻施水色晕染，瓣层舒展如叠雪堆云，清腴柔妍，贵而不艳。枝上栖禽翎羽丝描细腻，赭黄、灰褐晕出绒泽，侧目望向花头，似正细嗅天香，灵动鲜活。枝叶以中锋写出，墨色分浓淡显向背，苍润秀雅。题字清雅疏朗，与画面气韵相合。整体娴静古雅，将工致与淡逸揉为一体，晕开春日清和里的幽淡意趣。",[23,24,7,59,28,27,61,263,355,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed52104fc84ec7accdec9de13fdf28db.jpg",[],{"id":76457,"slug":76458,"title":76459,"dynasty":54,"author":6936,"museum":300,"description":76460,"tags":76461,"thumbUrl":76462,"material":84,"size":84,"collection":84,"collections":76463,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},224400,"ceng-yan-die-cui-wang-yuan-qi-224400","层岩叠翠","这幅山水以干笔积墨写就，山峦层叠开合，取深远章法铺陈丘壑。以干笔皴擦反复叠加墨色，从淡到浓层层积染，山石质感浑厚苍润，尽显沉雄静穆之气。\n山道蜿蜒藏露，溪涧顺势穿林而过，林木错落穿插其间，山居人家隐于深谷，暗合幽寂野趣。笔墨承元人遗韵又自出机杼，于细碎皴染间，将山川郁茂生机与沉静浑融的意蕴合为一体，尺幅之中带着大山大水的苍郁气象，尽显正统山水画的笔墨风骨。",[23,24,7,9717,132,14727,23324,59,131,34,99,495,3269,387,211,9483,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7750b4b0b146fdc1e4a74f70bc9e63.jpg",[],{"id":76465,"slug":76466,"title":76467,"dynasty":54,"author":6936,"museum":300,"description":76468,"tags":76469,"thumbUrl":76470,"material":84,"size":84,"collection":84,"collections":76471,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},224399,"hua-zhong-you-shi-tu-zhou-wang-yuan-qi-224399","画中有诗图轴","此作用干笔积墨绘层叠丘壑，皴擦厚重苍浑，山峦取高远之势层层铺展，尽显雄浑朴拙的肌理质感。林间错落参差，村居隐于溪畔，淡赭轻敷晕染出古雅色调，朴茂华滋里藏着悠然意趣。\n\n笔墨带着元人山水的悠远散淡，干笔反复皴叠，浓墨醒苔提点生气，将诗意晕染在山岚林泉之间。丘壑深秀，静穆安然，仿佛能听见山风穿林、溪声隐隐，把文人心中的林下幽思，尽数融在咫尺画卷里，尽显沉郁苍润的山水情致。",[24,7,165,128,132,208,64,133,29,663,34,35,31,497,1144,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb33d1963aa786cfaa42d38e735c34aed.jpg",[],{"id":76473,"slug":76474,"title":76475,"dynasty":54,"author":6936,"museum":300,"description":76476,"tags":76477,"thumbUrl":76478,"material":84,"size":84,"collection":84,"collections":76479,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},224391,"chun-yan-cui-ai-wang-yuan-qi-224391","春崦翠蔼","此作以全景铺展山林胜境，山峦层叠逶迤取高远之势，干笔积墨反复皴擦，笔力苍厚沉雄，墨色层次氤氲，尽显山峦的浑莽质感。谷间村居错落隐于松竹之下，清溪蜿蜒环带，浮漾着春日的温润清光。浅绛淡赭轻敷山石，晕染出春山翠霭融融的氛围，草木点染灵动，暗合春日生机。整体气脉贯通，将江南春山的幽谧雅致与文人笔墨的书卷意趣相融，于苍秀兼济的笔法中，铺陈出春日山林静穆又盎然的隽永意境。",[23,24,7,29,165,27,132,663,228,34,1144,497,98,499,37,1515],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcac120cc799130ed9f4172658a7c4a3.jpg",[],{"id":76481,"slug":76482,"title":76483,"dynasty":54,"author":6936,"museum":300,"description":76484,"tags":76485,"thumbUrl":76486,"material":84,"size":84,"collection":84,"collections":76487,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},224384,"fang-da-chi-shan-shui-wang-yuan-qi-224384","仿大痴山水","《设色仿大痴山水图》是清代王原祁创作的设色山水画，现收藏于沈阳故宫。\n重要展览 219年9月2日，该作品在“锦绣江山——沈阳故宫藏山水画特展”中展出。",[23,164,24,7,165,27,29,131,34,1515,99,37,132,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc489ecfc1c06d7bcf6b15139b503e79.jpg",[],{"id":76489,"slug":76490,"title":76491,"dynasty":54,"author":15720,"museum":300,"description":76492,"tags":76493,"thumbUrl":76494,"material":84,"size":84,"collection":84,"collections":76495,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},224362,"cheng-qin-wang-qing-yong-xing-shu-gao-zong-yu-zhi-si-shi-yan-qing-shi-zhou-ai-xin-jue-luo-yong-xing-224362","成亲王 清永瑆书高宗御制四时衍庆诗轴","此作用笔秀挺雅致，起收顿挫皆具法度，点画间顾盼有情，将馆阁体的端谨妍美诠释尽致。瘦硬清逸的笔调融合赵书娟秀与馆阁规整，字字排布齐整，章法严整又不失灵动。书写之时笔墨自带恭谨庄重，尽显深厚帖学功底，规整之中暗藏内敛文人意趣，是清代馆阁体书法中的上乘佳构，尽显盛世书法的端雅风貌。",[23,24,7,165,133,8162,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d302552966b86feec697ace2f3a52b5.jpg",[],{"id":76497,"slug":76498,"title":76499,"dynasty":54,"author":4992,"museum":300,"description":76500,"tags":76501,"thumbUrl":76502,"material":84,"size":84,"collection":84,"collections":76503,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},224335,"shi-gu-qi-niu-tu-zhou-yang-jin-224335","石谷骑牛图轴","浅设色绘就水滨春野，水牛信步徐行，背脊上的宽袍老者斜倚安坐，斗笠覆顶，垂目敛神，一派萧散恬然。\n\n水牛造型朴拙写实，晕染细腻还原皮毛质感，人物衣纹简练秀雅，淡赭敷色清润柔和。通幅布景极简，只以柔线勾勒浅草坡岸，留白尽显空濛野趣。搭配多段题诗，书画合璧，将文人逸隐林泉、不慕荣利的襟怀融于笔墨间，简淡天真，尽显出世幽怀，是以画寄意的文人画佳构。",[23,24,7,165,128,96,102,64,133,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86733bb6975257e03883c9a818dc1e29.jpg",[],{"id":76505,"slug":76506,"title":76507,"dynasty":54,"author":1676,"museum":300,"description":76508,"tags":76509,"thumbUrl":76510,"material":84,"size":84,"collection":84,"collections":76511,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},224325,"hua-niao-shi-er-kai-3-li-shan-224325","花鸟十二开3","此作以淡墨晕染雀鸟翎羽，绒毛细密质感尽显，小雀侧首凝神，灵动野趣跃然纸上。竹枝以浓淡墨色挥写，叶片俯仰错落，笔致纵逸萧散，尽显清劲风骨。诗书与绘事相融，题字欹斜错落，文气萦绕画面。整作笔简意赅，将花鸟生趣与文人幽思揉合，以意写形不拘成法，墨色干湿互衬，寥寥数笔便勾勒出江乡小景的幽寂意韵，尽显随性疏朗的文人画风骨。",[23,24,7,59,128,27,61,167,355,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F476aad52c5f6bd95cc590c2a2bb64743.jpg",[],{"id":76513,"slug":76514,"title":76515,"dynasty":54,"author":1676,"museum":300,"description":76516,"tags":76517,"thumbUrl":76518,"material":84,"size":84,"collection":84,"collections":76519,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},224302,"hua-hui-shi-er-kai-3-li-shan-224302","花卉十二开3","此作以淡赭挥写竹杆，枯涩灵动间尽显苍劲挺拔之态，墨色浓淡晕染牵牛花瓣，蓝紫清妍鲜活，翠色叶片交叠错落，将朝颜娇柔生机尽数铺陈。\n\n行书题字欹侧跌宕，笔意率性不羁，与画作写意野趣相得益彰，诗书合璧尽显文人随性酣畅。整幅以简驭繁，脱略形似而神完气足，将篱间牵牛绕竹的夏日清趣揽于尺幅之间。笔底带着鲜活生机，尽显不拘成法、师法自然的写意精神，寥寥数笔便勾勒出花草疏野雅致，淡冶中见风骨，寻常小景溢出悠然林下之致。",[23,24,7,59,27,128,61,62,548,549,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b41f8a92c4e3e7a9a030332fa62736.jpg",[],{"id":76521,"slug":76522,"title":76523,"dynasty":54,"author":29876,"museum":300,"description":76524,"tags":76525,"thumbUrl":76526,"material":84,"size":84,"collection":84,"collections":76527,"showCount":738,"zanCount":1998,"manualWeight":48,"mainColor":72},224277,"shan-shui-hua-hui-ce-shi-fu-shan-224277","山水花卉冊(十)","此作用淡墨晕染出春日烟雨郊野，线条温润舒缓，山峦以写意勾勒辅以浅皴，不见凌厉锋芒。平泽两岸烟柳成林，屋舍隐于软枝茂叶间，远山含黛隐没在氤氲雾气里，留白烘托出水墨交融的空濛氛围。\n整体构图开合自然，萧散松弛的文人意趣藏于笔墨间，澹泊清远中带着杨柳柔媚的春日意态，以极简的题字呼应画面的简淡，将林泉隐逸的闲静心境寄于其中，淡而不寡，简中含情，尽显文人画以画抒怀的雅致格调。",[23,24,7,128,132,59,29,34,131,35,415,14906],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4917e8b136dce45a1cbd12bb86d9a6e2.jpg",[],{"id":76529,"slug":76530,"title":76531,"dynasty":54,"author":223,"museum":300,"description":76532,"tags":76533,"thumbUrl":76534,"material":84,"size":84,"collection":84,"collections":76535,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},224241,"fu-gui-shuang-quan-tu-yi-ming-224241","富贵双全图","此作以工笔重彩绘就，石上瑞禽翎羽妍丽华贵，尾屏铺陈如曳地织锦，眼斑历历分明，身姿舒展振翅，雄健灵动恍似将引吭长啼。石下名花雍容绽放，紫艳朱红缀于翠叶间，与苍奇湖石相映成趣。花叶勾勒细腻入微，敷色明润雅致，晕染过渡自然柔和。\n\n整幅疏密相宜，重工轻写兼具，既有院体画的精工富丽，又暗含文人雅韵，以瑞禽名花寄寓吉庆意涵，笔致间尽显雍和雅致的太平气象。",[23,24,7,165,28,27,61,248,263,131,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F357232fb0e7e36d29e9bf562a2612aa2.jpg",[],{"id":76537,"slug":76538,"title":76539,"dynasty":54,"author":38507,"museum":300,"description":38508,"tags":76540,"thumbUrl":76541,"material":692,"size":1293,"collection":84,"collections":76542,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},224165,"lin-su-shi-du-zi-mei-shi-zhou-wang-you-dun-224165","临苏轼杜子美诗轴",[23,24,7,165,330,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0fb18ffc17420be425cadef9d8ced6a.jpg",[],{"id":76544,"slug":76545,"title":76546,"dynasty":54,"author":70407,"museum":300,"description":76547,"tags":76548,"thumbUrl":76549,"material":84,"size":84,"collection":84,"collections":76550,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},224155,"hua-shan-mei-hua-ce-zhang-zhao-224155","画扇梅花册","上幅行书圆劲秀逸，笔墨温润舒展，词句咏梅寄怀，文思与笔意相得益彰，自带清雅书卷气。下幅墨梅以淡墨写枝，浓墨点花，清瘦枝桠错落舒展，寒梅数朵绰约含香，不着艳色却尽得冰清之姿。留白空寂悠远，尽显文人画以意取胜的韵致。\n\n双扇合璧，书画相映，将爱梅赏梅的雅趣融于尺幅之间，以简约笔墨勾勒花木品格，暗合文人心性，尽显冲淡闲和的林下之风，是意趣隽永的文人抒情小品。",[23,24,7,1131,59,371,64,133,208,128,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdda413448615adeaf8857bb9601f5a07.jpg",[],{"id":76552,"slug":76553,"title":76554,"dynasty":124,"author":223,"museum":300,"description":76555,"tags":76556,"thumbUrl":76557,"material":84,"size":84,"collection":84,"collections":76558,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},223682,"feng-yu-po-zhou-tu-yi-ming-223682","风雨泊舟图","此作以淡墨晕染出空濛雨意，水雾裹挟秋意漫过江天。近岸怪石虬松相错，丹红枝叶点破深褐苍翠，晕开晚秋暖色。远山隐在烟霭中，只露嶙峋半截，将天地晕成一片苍茫。\n\n江面上薄雾横生，泊岸的舟楫静立，远水处孤帆在烟浪里浮沉，尽写羁旅之人待雨歇的怅惘。画师以虚实相生之法，将风雨欲来的沉郁秋江铺展开，淡墨轻皴晕出湿冷空寂的氛围感，把秋日羁泊的萧索意趣藏在烟水林峦之中。",[23,24,7,29,27,132,129,331,171,99,34,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04289f046947f163b3eebe5ac5d89837.jpg",[],{"id":76560,"slug":76561,"title":17667,"dynasty":18,"author":223,"museum":300,"description":76562,"tags":76563,"thumbUrl":76564,"material":84,"size":84,"collection":84,"collections":76565,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},223654,"yuan-shui-yang-fan-tu-yi-ming-223654","《宋人画远水扬帆》是南宋佚名画家创作的一幅表现江南水乡之美的中国古画。\n青山数抹，远浮天际。\n烟波浩渺的江面上，一阵劲风，将江边突岩上树叶茂密的大树吹弯了身子，也将江上三艘客船直往江心推去。\n江畔一位白衣隐士，带着琴童，正打算漫步到岩边林荫下的茅亭里。\n明朗的景境，流露着几分闲适、畅快的朝气。\n南宋偏安江南，江南水乡的杏花春雨，便逐渐取代华北的千岩万壑，成为画家描绘的主要对象。\n反映在作品里，除了云烟弥漫外，最大的特色，便是「水」的增加。\n在这幅「远水扬帆」里，我们可以看出吸引隐士策杖前来的，除了远山帆影外，也正是这一片映照山、天之影的江水。\n「远水扬帆」图上没留下名款，画中紧密的画叶画水的方法，和画石头的小斧劈皴法，都与南北宋之交 的名作「江山小景」相似。\n而左实右虚的半边构图，也是南宋常见的布局方式。\n隐士主仆俩身上寥寥廓廓的几根线条，也属南宋点景人物惯见的作风。\n这幅作品是一幅南宋表现江南水乡之美的典型佳作。",[23,164,24,7,1349,151,27,2885,132,34,4363,711,131,414,3386,96,415,1824,7409,7462,30581,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72cbaf521890fbde5497afffb62995ae.jpg",[],{"id":76567,"slug":76568,"title":76569,"dynasty":18,"author":223,"museum":20,"description":76570,"tags":76571,"thumbUrl":76573,"material":151,"size":76574,"collection":84,"collections":76575,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},223507,"song-yin-xian-qi-tu-yi-ming-223507","松荫闲憩图","绘一老者倾躺在斜坡上小憩，高戴高帽，满脸皱纹，长须及胸，右臂枕于头下，双腿蜷缩，安详的享受自然之景；四周杂草蓬勃生长，上方松木遮阳，松针细长繁多，藤条自松枝上垂下。",[23,24,7,9521,1326,128,27,28,96,372,76572],"闲憩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5060744d24e47c5354270e434f38253.jpg","22x54",[],{"id":76577,"slug":76578,"title":76579,"dynasty":54,"author":223,"museum":224,"description":76580,"tags":76581,"thumbUrl":76582,"material":76583,"size":76584,"collection":84,"collections":76585,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},223486,"wu-kuan-lian-she-yi-ming-223486","无款莲社","画白莲群聚的白莲，白莲群庐山俗地净莲，是佛教末年山东林寺僧人慧远修士所建。 以慧远为首的“十八圣”，有两个界面，专职人员，有同伙，学佛修行。",[24,7,25,188,187,96,29,98,99,34,131,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdbbe4bdab61cf202a84f218f71d1300.jpg","絹本、設色","35x849cm",[],{"id":76587,"slug":76588,"title":76589,"dynasty":124,"author":223,"museum":244,"description":76590,"tags":76591,"thumbUrl":76592,"material":514,"size":76593,"collection":84,"collections":76594,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},223392,"ping-hu-xue-ji-yi-ming-223392","平湖雪霁","此水墨小品以暗绢托出雪意清寒。近岸枯木寒枝错落斜欹，茅舍隐于林渚间，三两渔舟泊在冰封浅滩，天地间凝着凛凛寒意。远景以淡墨轻晕远峦寒雾，留白作漫天寒雪，虚实相生间晕开空濛冷寂。\n\n未用浓墨重彩，仅以极简笔墨铺陈湖山冬日疏旷萧寒。霜风仿佛正掠过镜面平湖，冷意顺着绢面漫开，将江天雪后的岑寂澹远藏进方寸画幅，把追慕幽寂山水的雅趣融在素淡墨色里，叫人坠入这万籁俱静的清寒意境中。",[24,1131,128,29,1813,4703,413,6810,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35e5b81a7081e638b4129936f8fc4768.jpg","38.9x81",[],{"id":76596,"slug":76597,"title":76598,"dynasty":18,"author":223,"museum":20,"description":76599,"tags":76600,"thumbUrl":76601,"material":514,"size":76602,"collection":84,"collections":76603,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},223334,"si-lun-tu-yi-ming-223334","丝纶图","此图描绘了在苍苍茫茫的山林中,几位女子正在纶丝,两个天真的幼童则在嬉戏游玩,生活气息十分浓厚。掩映在山林中的茅屋围以栅栏,近处的山石陡峭高耸,附岩壁而长的苍松枝干虬劲蟠曲,显示了劲松雄强的本色。画上有一首题诗: “素丝头绪长,羡居好安排。青鞋不动尘,缓步交去来。脉脉意欲乱,春春首重回。王言正如丝,只付经纶才。”对此画的画意作了很好的诠释。",[23,24,7,165,128,27,132,29,331,3387,96,34,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b414ad5d3ac5d537b5cf0676affa9d4.jpg","纵83.2厘米横37.5厘米",[],{"id":76605,"slug":76606,"title":76607,"dynasty":54,"author":6946,"museum":18494,"description":73569,"tags":76608,"thumbUrl":76610,"material":734,"size":73573,"collection":84,"collections":76611,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},223314,"fa-jie-yuan-liu-tu-juan-8-ding-guan-peng-223314","法界源流图卷-8",[23,24,7,25,187,28,27,96,1144,276,131,34,189,76609,251],"兽类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79abe8c8eb4e0f02acfd507fe752e49e.jpg",[],{"id":76613,"slug":76614,"title":76615,"dynasty":54,"author":6946,"museum":18494,"description":73569,"tags":76616,"thumbUrl":76617,"material":734,"size":73573,"collection":84,"collections":76618,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},223312,"fa-jie-yuan-liu-tu-juan-6-ding-guan-peng-223312","法界源流图卷-6",[23,24,7,25,28,27,187,96,130,1144,25390,1364,7221,53894,189,18331,4204,27809,20953,7070],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0a35438080080731a3c195243346db2.jpg",[],{"id":76620,"slug":76621,"title":76622,"dynasty":54,"author":33315,"museum":300,"description":33316,"tags":76623,"thumbUrl":76625,"material":611,"size":33319,"collection":84,"collections":76626,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},223127,"shu-hua-ce-ye-sheng-gui-zhuang-223127","《书画册页》-胜",[23,64,59,128,133,208,76624,7],"洒金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8abe8c8c332531c7135d828bfdb4ef0.jpg",[],{"id":76628,"slug":76629,"title":76630,"dynasty":54,"author":23303,"museum":244,"description":41960,"tags":76631,"thumbUrl":76632,"material":637,"size":76633,"collection":84,"collections":76634,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},223120,"hui-yu-bi-fan-cheng-da-fen-sui-ci-zhou-dong-bang-da-223120","绘御笔范成大分岁词轴",[23,24,7,165,28,132,27,64,208,133,29,96,35,34,131,1337,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3d91960ab7f8a64757d76c1aac586d.jpg","112.9cmX28.7cm",[],{"id":76636,"slug":76637,"title":76638,"dynasty":54,"author":3437,"museum":20,"description":76639,"tags":76640,"thumbUrl":76641,"material":151,"size":76642,"collection":84,"collections":76643,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},223099,"fang-fan-kuan-shan-shui-zhou-tang-dai-223099","仿范宽山水轴","此画作者采用全景似的构图，使近、中，远景层次分明，中心突出。\n远景山峦重叠，主峰矗立，气势雄伟，山巅间烟云缭绕，云气弥漫，似浮起润泽的雾气；中景峰峦对峙，林木丛生，烟锁山腰，山坳中树木茂密，层次分明，满而不塞，两座秀丽的楼阁屋宇隐显于烟光浮动之中，寂静的山林更增添了幽邃之感。近处为坡石丛林，两坡石间高架有一座木桥，两山峡谷间溪水直流而下，汇聚于溪水之中，左侧溪水边，座落着几间房舍，掩映在浓密的丛树荫底",[23,24,7,165,29,330,132,128,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe688d58fa90bd041577c62dc09e8dbba.jpg","155.3x74.4",[],{"id":76645,"slug":76646,"title":76647,"dynasty":54,"author":16583,"museum":1185,"description":32663,"tags":76648,"thumbUrl":76649,"material":6091,"size":32666,"collection":84,"collections":76650,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},222656,"zhi-hua-xi-lie-zhi-hua-qi-feng-gao-qi-pei-222656","指画系列-指画·齐峰",[23,24,7,29104,128,17260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffb349cd1f36f10023c8e91641daed33.jpg",[],{"id":76652,"slug":76653,"title":76654,"dynasty":54,"author":16583,"museum":1185,"description":32663,"tags":76655,"thumbUrl":76656,"material":6091,"size":32666,"collection":84,"collections":76657,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},222650,"zhi-hua-xi-lie-zhi-hua-bai-lu-gao-qi-pei-222650","指画系列-指画·白鹭",[23,24,7,29104,128,985,211,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d9ac7296b9da2dfb2f4c6c22e8d5602.jpg",[],{"id":76659,"slug":76660,"title":76661,"dynasty":54,"author":16583,"museum":1185,"description":32663,"tags":76662,"thumbUrl":76663,"material":6091,"size":32666,"collection":84,"collections":76664,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},222648,"zhi-hua-xi-lie-zhi-hua-ju-gao-qi-pei-222648","指画系列-指画·橘",[23,24,7,29104,128,59,4570],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fee651e58835cf503e11cca698a871d.jpg",[],{"id":76666,"slug":76667,"title":76668,"dynasty":124,"author":9650,"museum":56,"description":9651,"tags":76669,"thumbUrl":76670,"material":611,"size":70879,"collection":84,"collections":76671,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},222501,"shang-bo-hua-ji-xuan-36-9-zhang-lu-222501","上博画集选36-9",[23,24,7,96,128,27,188,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8bdd19ebf787e0172e83cd5b587679d.jpg",[],{"id":76673,"slug":76674,"title":76675,"dynasty":124,"author":9650,"museum":56,"description":9651,"tags":76676,"thumbUrl":76677,"material":611,"size":70879,"collection":84,"collections":76678,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},222496,"shang-bo-hua-ji-xuan-36-4-zhang-lu-222496","上博画集选36-4",[23,24,7,96,128,27,37,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86b3ddf3801c9f41e459db4b14eb5bd3.jpg",[],{"id":76680,"slug":76681,"title":76682,"dynasty":124,"author":9650,"museum":56,"description":9651,"tags":76683,"thumbUrl":76684,"material":611,"size":70879,"collection":84,"collections":76685,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},222490,"shang-bo-hua-ji-xuan-36-15-zhang-lu-222490","上博画集选36-15",[23,24,7,96,188,128,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff620b07258232240976480f60ec2d678.jpg",[],{"id":76687,"slug":76688,"title":76689,"dynasty":124,"author":7003,"museum":244,"description":76690,"tags":76691,"thumbUrl":76692,"material":611,"size":76693,"collection":84,"collections":76694,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},222468,"he-tao-yin-jiu-shi-ce-zhu-yun-ming-222468","和陶饮酒诗册","诗作于四十岁，为祝允明得意之作，故多次抄写，此册写于六十六岁。小楷结构宽扁，点画圆润，行笔短促，渊源于钟繇楷体，反映出他对钟繇小楷的理解与诠释。钟繇名迹《荐季直表》曾在苏州地区流传，直接影响该地区的钟体流行，祝允明约三十岁时跋此墨跡。\n祝允明(1460-1526)，字希哲，因右手有枝生手指，故自号枝山。世称祝京兆，长洲(今江苏吴县)人，自幼聪慧过人。弘治五年(1429)中举，后久试不第。正德九年(1514)，授为广东兴宁县知县，嘉靖元年(1522)，转任为应天(今南京)府通判，不久称病还乡。\n祝允明擅诗文，尤工书法，名动海内，与唐寅意气相投，遭际与共。与唐寅、文徵明、徐祯卿并称吴中四才子。与文徵明、王宠同为明中期书家之代表。楷书早年精谨，师法赵孟頫，褚遂良，并从欧，虞而直追二王。草书师法李邕，黄庭坚，米芾，功力深厚，晚年尤重变化，风骨烂熳。\n《名山藏》云:允明书出入晋魏，晚益奇纵，为国朝第一。\n清代朱和羹《临池心解》云:祝京兆大草深得右军神理，而时露伧气;小草则顿宕纯和，行间茂密，亦复丰致萧远，庶几媲美褚(遂良)公。\n代表作有《太湖诗卷》、《箜篌引》、《赤壁赋》等。所书六体书诗赋卷、草书杜甫诗卷、古诗十九首、草书唐人诗卷及草书诗翰卷等皆为传世墨宝。\n诗作于四十岁，为祝允明得意之作，故多次抄写，此册写于六十六岁。小楷结构宽扁，点画圆润，行笔短促，渊源于钟繇楷体，反映出他对钟繇小楷的理解与诠释。钟繇名迹《荐季直表》曾在苏州地区流传，直接影响该地区的钟体流行，祝允明约三十岁时跋此墨跡。册中一段章草，祝允明以流畅行书笔意融合楷书与章草，克服明初章草的生硬突兀感。用笔则是沉稳俐落，结体疏密有致，字形变化错落，行气摇曳，为明代章草之佳作，惜未有全彩清晰图。",[23,64,7,59,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14a4f5a38575721f4d66c46de5f7072f.jpg","17.3×10.3厘米",[],{"id":76696,"slug":76697,"title":58273,"dynasty":124,"author":16243,"museum":300,"description":33923,"tags":76698,"thumbUrl":76699,"material":84,"size":76700,"collection":84,"collections":76701,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},222246,"shu-shan-ye-wang-chong-222246",[23,1131,133,64,124,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F041c00af70a1617f37fc92d5b937f0c4.jpg","19×54cm",[],{"id":76703,"slug":76704,"title":76705,"dynasty":124,"author":10106,"museum":244,"description":62040,"tags":76706,"thumbUrl":76707,"material":1223,"size":32166,"collection":84,"collections":76708,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},222072,"di-yi-a-ying-a-ji-da-zun-zhe-hua-zhou-wu-bin-222072","第一阿迎阿机达尊者画轴",[23,24,7,165,187,188,96,208,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6009dadca1f140131092eb0e9b93483.jpg",[],{"id":76710,"slug":76711,"title":1363,"dynasty":124,"author":10106,"museum":244,"description":10107,"tags":76712,"thumbUrl":76713,"material":1223,"size":32166,"collection":84,"collections":76714,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},222070,"guan-yin-wu-bin-222070",[23,24,7,124,187,27,96,167,171,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F113196b48661d21fd07d43fc338d39c0.jpg",[],{"id":76716,"slug":76717,"title":76718,"dynasty":124,"author":3619,"museum":300,"description":76719,"tags":76720,"thumbUrl":76721,"material":84,"size":76722,"collection":84,"collections":76723,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},222024,"wan-shan-ji-yu-wen-zheng-ming-222024","万山积玉","文征明是明代吴门四家之一，沈周而后，在吴中艺坛执牛耳数十年。他生于1470年，与唐寅同年，卒于1559年，享年90，是艺术家中有数的寿星之一。其祖父为举人，父亲为进士，母亲祁氏亦工诗善画。文征明幼年不慧，至11岁“始能言语”，但父亲不离不弃，请当时吴中状元吴宽教授古文，号称“国朝第一”的中书舍人李应祯（祝允明的岳父）教授书法，又请吴中文人领袖沈周教授绘画。一时风云际会，文征明很快就与唐寅、祝允明、徐祯卿并名为“吴中四才子”。\n文征明是明代吴门四家之一，沈周而后，在吴中艺坛执牛耳数十年。他生于1470年，与唐寅同年，卒于1559年，享年90，是艺术家中有数的寿星之一。其祖父为举人，父亲为进士，母亲祁氏亦工诗善画。文征明幼年不慧，至11岁“始能言语”，但父亲不离不弃，请当时吴中状元吴宽教授古文，号称“国朝第一”的中书舍人李应祯（祝允明的岳父）教授书法，又请吴中文人领袖沈周教授绘画。一时风云际会，文征明很快就与唐寅、祝允明、徐祯卿并名为“吴中四才子”。",[24,7,59,128,27,29,30,132,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01c6206d5ccf2ea4aa660b1242fc9714.jpg","32x39.2",[],{"id":76725,"slug":76726,"title":76727,"dynasty":124,"author":76728,"museum":244,"description":76729,"tags":76730,"thumbUrl":76732,"material":611,"size":76733,"collection":84,"collections":76734,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},221943,"ci-han-ce-wang-xi-jue-221943","词翰册","王锡爵","王锡爵(1534-1611)，字元驭，号荆石，南直隶苏州府太仓州(今江苏太仓)人。嘉靖四十一年会试名列第一（会元），廷试名列第二（榜眼）。万历二十一年（1593年）为内阁首辅。谥号文肃，著有《王文肃公全集》55卷。在任期间发生日本侵朝事件，力主出兵。子王衡万历二十九年（1601年）进士及第第二名，被时人誉为“父子榜眼”。孙王时敏、玄孙王原祁皆为清初画坛宗师，太仓王氏家族为明清两代著名的簪缨世家。\n王锡爵笔法秀颖，依稀有翡翠兰苕状，著名的书法家董其昌称他深于书。书尤深于唐碑。晚年犹悬碑刻满四壁，特不欲以书名耳。小楷清整秀劲，大可径寸者尤骨重脉和。",[24,7,59,133,128,2372,76731,1857,168,231,228,32999],"池","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b219e55a1dfdd43dcd80315f7a707a0.jpg","本幅26.1x14.4公分",[],{"id":76736,"slug":76737,"title":7864,"dynasty":124,"author":23728,"museum":56,"description":23729,"tags":76738,"thumbUrl":76739,"material":611,"size":23732,"collection":84,"collections":76740,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},221932,"za-hua-ce-guo-xu-221932",[23,24,7,164,59,128,369,102,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9205455fc7afbb5d7e63de117b17c09.jpg",[],{"id":76742,"slug":76743,"title":76744,"dynasty":124,"author":802,"museum":20,"description":18483,"tags":76745,"thumbUrl":76746,"material":18486,"size":64114,"collection":84,"collections":76747,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},221887,"za-hua-tu-ce-fang-zhao-qian-li-bi-fa-chen-hong-shou-221887","杂画图册-仿赵千里笔法",[23,24,7,59,330,26,27,29,331,171,6640,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5478b57693b040ba618e4030c80496.jpg",[],{"id":76749,"slug":76750,"title":76751,"dynasty":144,"author":223,"museum":244,"description":76752,"tags":76753,"thumbUrl":76754,"material":514,"size":76755,"collection":84,"collections":76756,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},221780,"shuo-jing-tu-zhou-yi-ming-221780","说经图轴","元人少做道释画，但这幅“说经图”却画得十分精彩。此图共有三个部分，左右两幅各画四尊菩萨立像，中央一幅画佛祖释迦牟尼跌坐莲台，罗汉侍立左右。本幅是右边的一幅，构图位置与左边的一幅完全对称。菩萨衣饰华贵，容貌祥和，足下各踏莲花，凌空而立。其姿态各自不同，眼神都注视左前方，像是用心聆听佛法。画中用笔圆劲流畅，设色富丽古艳，颇有上追六朝人笔法之意。\n菩萨顶上放射光芒成一圆轮状，称之为“圆光”。颈上挂着的成串珠玉装饰，称之为“璎珞”。佩戴“璎珞”本是印度贵族男女，皆缀珠玉以为颈饰，梵文称为“枳由罗”，传到中国后则译为“璎珞”。看这四尊菩萨的面貌已经变为中土人士的容貌，而非胡貌梵像，便知这幅是宋以后的作品。",[23,164,24,7,165,187,96,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6b0f34610241466257060249ffc3d82.jpg","95.4×52.9cm",[],{"id":76758,"slug":76759,"title":76760,"dynasty":144,"author":32219,"museum":244,"description":76761,"tags":76762,"thumbUrl":76764,"material":611,"size":76765,"collection":84,"collections":76766,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},221688,"ma-zheng-jun-tou-guang-gu-jing-ge-xian-yu-shu-221688","麻徵君透光古镜歌","此贴结构近方形，字距和行距由于是裁别而成，以无法窥见原貌，从痕迹看，原来可能是四字一行。字体按字之笔画多少与固有形态，略有大小，总体上大小均匀，笔画粗细变化不大，字体结构从晋唐楷书来。\n似乎不经意于每一笔画的精美，而着力于每个字的整体气势与形象的创造。苏轼曾说过:“大字难于结密而无间，小字难于宽绰而有余。”此幅大字称得上“结密无间”，而且越往后写的越好，运笔着墨均达到完美的程度。总体看，此幅大字体势规整，气势恢弘，是鲜于氏大楷书的典型之作。",[64,133,7,611,9910,76763],"古籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2685950f3aec55ae9c75343e45718960.jpg","30.5 x 19.8cm",[],{"id":76768,"slug":76769,"title":76770,"dynasty":18,"author":76771,"museum":244,"description":76772,"tags":76773,"thumbUrl":76774,"material":637,"size":76775,"collection":84,"collections":76776,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},221248,"shang-wen-qing-men-xing-ju-chi-du-wu-shuo-221248","上问庆门星聚尺牍","吴说","说上问庆门星聚，伏惟均协，当诣今嗣将仕侍下休裕，匆匆不及别状，说近奉诏旨，访求晋唐真迹，此间绝难得，止有唐人临兰亨一本，答以千缗，省略更高古，许命以官，且告老兄出一只手，广为搜索，亦足张吾军也",[164,7,64,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37baf8f676462838670c123c469bef7b.jpg","42.3x61.2cm",[],{"id":76778,"slug":76779,"title":76780,"dynasty":351,"author":13946,"museum":20,"description":13947,"tags":76781,"thumbUrl":76782,"material":13950,"size":13951,"collection":84,"collections":76783,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},221165,"shi-liu-luo-han-xiang-zhu-tu-ban-zha-jia-zun-zhe-tang-ka-bu-ben-guan-xiu-221165","十六罗汉像-注荼半吒迦尊者（唐卡布本）",[23,24,7,187,96,27,18331,34930,1367,251,249,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9058795b231399d7338d0d6b7bec21bf.jpg",[],{"id":76785,"slug":76786,"title":76787,"dynasty":124,"author":2268,"museum":20,"description":31601,"tags":76788,"thumbUrl":76789,"material":3430,"size":5345,"collection":84,"collections":76790,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},220917,"shan-shui-ce-11-dong-qi-chang-220917","山水册11",[23,24,7,59,133,128,29,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f7e360c2e666043ede851a0559fc83e.jpg",[],{"id":76792,"slug":76793,"title":76794,"dynasty":124,"author":26410,"museum":6892,"description":76795,"tags":76796,"thumbUrl":76797,"material":50323,"size":76798,"collection":84,"collections":76799,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":84},220738,"cao-shu-han-jing-pian-zhang-rui-tu-220738","草书汉京篇","通篇行气贯注，笔墨雄健恣肆。字形多作方折之势，跳荡拗折，打破寻常草书的圆转柔媚，以硬峭笔锋斩截挥运，线条棱角分明，筋骨尽显。\n字间疏密错落，欹侧相生，通篇布满奇崛张力，字势牵引却断而不断，视觉冲击力极强。墨色枯润浓淡交替，重墨沉厚处力透纸背，枯笔飞白处萧散劲挺，将心绪寄于笔墨起伏，狂放奇逸脱尽尘俗，独开生面，尽显磅礴奇崛的书法风神。",[164,24,7,25,64,840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9fc2cdd03420daa53ffe3aeedabd89.jpg","32.5 × 623.5厘米",[],{"id":76801,"slug":76802,"title":76803,"dynasty":144,"author":76804,"museum":6892,"description":76805,"tags":76806,"thumbUrl":76807,"material":76808,"size":76809,"collection":84,"collections":76810,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":84},220719,"xing-shu-shi-wen-he-juan-6-zhang-yu-yang-wei-zhen-wen-xin-220719","行書詩文合卷6","張雨, 楊維楨, 文信","此卷书法为张雨、杨维桢、文信三件书迹合卷，均曾经清代海山仙馆主人潘仕成收藏，并收刻于海山仙馆丛帖，此卷后附装的三张墨拓即从此出。其中张雨、杨维桢墨拓分别出自《海山仙馆藏真》卷七和卷九，文信墨拓则出自《海山仙馆藏真三刻》卷二。三幅书法合为一卷，盖自海山仙馆散出以后事。",[64,133,25,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a3fe57a3eae7496e2d6dc9d222e01ec.jpg","水墨,紙本,手卷","30.5 × 77.5 厘米 30.5 × 53 厘米 30.5 × 44.5 厘米",[],{"id":76812,"slug":76813,"title":76814,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":76815,"thumbUrl":76816,"material":611,"size":3722,"collection":84,"collections":76817,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},220292,"huang-shan-tu-ce-34-hong-ren-220292","黄山图册-34",[23,164,24,7,59,128,188,132,29,131,1144,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff84559c0f2c7cbcaa548a5c6e5ffdd9e.jpg",[],{"id":76819,"slug":76820,"title":76821,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":76822,"thumbUrl":76823,"material":611,"size":3722,"collection":84,"collections":76824,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},220280,"huang-shan-tu-ce-44-hong-ren-220280","黄山图册-44",[23,164,24,7,59,128,132,29,98,99,1144,131,96,495,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa21470b7f1a2d452117e27065c43f0e3.jpg",[],{"id":76826,"slug":76827,"title":76828,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":76829,"thumbUrl":76830,"material":611,"size":3722,"collection":84,"collections":76831,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},220274,"huang-shan-tu-ce-49-hong-ren-220274","黄山图册-49",[23,24,7,59,128,132,29,1144,131,99,97,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe71bd4770863ba162bf7f722a936374b.jpg",[],{"id":76833,"slug":76834,"title":76835,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":76836,"thumbUrl":76837,"material":611,"size":3722,"collection":84,"collections":76838,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},220272,"huang-shan-tu-ce-51-hong-ren-220272","黄山图册-51",[23,164,24,7,59,128,132,29,30,131,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878124d4212b5065f64f157660ee3b03.jpg",[],{"id":76840,"slug":76841,"title":76842,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":76843,"thumbUrl":76844,"material":611,"size":3722,"collection":84,"collections":76845,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},220268,"huang-shan-tu-ce-55-hong-ren-220268","黄山图册-55",[23,24,164,7,59,128,132,29,663,495,499,1337,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42e8d7ae05bf959121243bd3db7d7d49.jpg",[],{"id":76847,"slug":76848,"title":9770,"dynasty":54,"author":299,"museum":56,"description":19521,"tags":76849,"thumbUrl":76850,"material":173,"size":19524,"collection":84,"collections":76851,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},219844,"shan-shui-tu-ce-3-xie-sun-219844",[24,7,59,128,27,132,29,98,99,171,211,331,35,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F894f4e4e75e6cb0b82c2f6114e520119.jpg",[],{"id":76853,"slug":76854,"title":76855,"dynasty":54,"author":11383,"museum":56,"description":71089,"tags":76856,"thumbUrl":76857,"material":611,"size":71092,"collection":84,"collections":76858,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},219831,"ren-wu-ce-ye-4-ren-xiong-219831","人物册页-4",[24,7,59,27,28,96,167,413,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa782cfb9c2d55dcd6bf8ebdd0505ab1f.jpg",[],{"id":76860,"slug":76861,"title":76862,"dynasty":124,"author":14442,"museum":56,"description":44061,"tags":76863,"thumbUrl":76864,"material":611,"size":44064,"collection":84,"collections":76865,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},219794,"mo-sui-yang-wu-lao-tu-ce-3-you-qiu-219794","摹睢阳五老图册-3",[24,7,59,27,96,64,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd322e042cdcc37d319b4287d209f5541.jpg",[],{"id":76867,"slug":76868,"title":76869,"dynasty":124,"author":23728,"museum":56,"description":71098,"tags":76870,"thumbUrl":76871,"material":278,"size":71101,"collection":84,"collections":76872,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},219790,"za-hua-ce-1-guo-xu-219790","杂画册-1",[24,7,164,128,27,188,28,96,2218,875,229,1200,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326ce106b4ca0f3560143aa5811eb670.jpg",[],{"id":76874,"slug":76875,"title":76876,"dynasty":124,"author":204,"museum":56,"description":11541,"tags":76877,"thumbUrl":76878,"material":173,"size":11544,"collection":84,"collections":76879,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},219765,"lin-song-ren-hua-ce-13-chou-ying-219765","临宋人画册-13",[24,7,59,1131,330,27,96,101,95,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F462b99ebafe1a8fc7b0a0a8893b005c2.jpg",[],{"id":76881,"slug":76882,"title":76883,"dynasty":54,"author":32801,"museum":244,"description":32802,"tags":76884,"thumbUrl":76886,"material":66,"size":32807,"collection":84,"collections":76887,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},219655,"hai-cuo-tu-di-si-ce-13-nie-huang-219655","海错图第四册-13",[24,7,59,27,28,208,76885,32805],"鲎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b01aa00b4a0815e4e12796d7a533a5e.jpg",[],{"id":76889,"slug":76890,"title":76891,"dynasty":18,"author":28856,"museum":6404,"description":76892,"tags":76893,"thumbUrl":76895,"material":173,"size":76896,"collection":84,"collections":76897,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},219026,"shi-wang-tu-2-lu-xin-zhong-219026","十王图-2","此十王图即十殿阎罗各一幅的每一个都被描绘成魔王带领着一群来自阴间的官员，他们坐在椅子上审查罪行，狱卒、待审的死者和被判处死刑的人在他们面前接受各种惩罚。精确的具象形式和生动的色彩使其具有强烈而敏感的表现力，是卢新中画派的杰作。",[23,24,7,187,28,27,96,76894,7070,7069,2145,1367],"武士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F810ef6960388766f5825b0a0552319aa.jpg","85.9x50.8",[],{"id":76899,"slug":76900,"title":76901,"dynasty":18,"author":28856,"museum":6404,"description":76892,"tags":76902,"thumbUrl":76903,"material":173,"size":76896,"collection":84,"collections":76904,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},219024,"shi-wang-tu-3-lu-xin-zhong-219024","十王图-3",[23,24,7,187,28,27,96,95,949,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8adf3d7967603fe801fcb7c5bfab9a26.jpg",[],{"id":76906,"slug":76907,"title":76908,"dynasty":18,"author":28856,"museum":6404,"description":76892,"tags":76909,"thumbUrl":76911,"material":173,"size":76896,"collection":84,"collections":76912,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},219022,"shi-wang-tu-5-lu-xin-zhong-219022","十王图-5",[23,24,7,164,187,28,27,96,76910,17540,2145,20721],"官吏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddd2f5372c8fd078ad8e31dcfd7a23a6.jpg",[],{"id":76914,"slug":76915,"title":76916,"dynasty":18,"author":28856,"museum":6404,"description":76892,"tags":76917,"thumbUrl":76918,"material":173,"size":76896,"collection":84,"collections":76919,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},219019,"shi-wang-tu-8-lu-xin-zhong-219019","十王图-8",[23,164,24,7,28,27,187,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ae4f57f0a3b05f7e52e840a2ce274df.jpg",[],{"id":76921,"slug":76922,"title":76923,"dynasty":124,"author":35496,"museum":3330,"description":76924,"tags":76925,"thumbUrl":76926,"material":278,"size":84,"collection":84,"collections":76927,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},218487,"ri-ben-mu-tong-tu-zhuo-zong-deng-yang-218487","日本· 牧童图","垂柳疏丝轻拂，牧童踞牛背而坐，老牛缓步踏过坡岸。墨色淡远晕染空濛，线条简括勾出牛的憨态与童子的自在。嶙峋山石点染野趣，背景虚渺似含远山流云，将田园清寂与天真童趣相融。画面简淡却藏闲逸，仿佛能嗅到草木清芬，听见风过柳梢、牛蹄踏草的轻响，引人向往那悠然自在的山野岁月。笔意虽简，却以留白与写意，织就一方充满生机与诗意的天地，让观者心随牛步，漫入这份恬淡的田园清境。",[24,7,1131,128,96,102,4363,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9242d90ab1da388e3d2960d9ef3cf7d.jpg",[],{"id":76929,"slug":76930,"title":76931,"dynasty":18,"author":23450,"museum":5543,"description":76932,"tags":76933,"thumbUrl":76934,"material":173,"size":84,"collection":84,"collections":76935,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":956},218236,"qiu-dong-shan-shui-tu-er-yan-ci-ping-218236","秋冬山水图(二)","沉郁墨色晕染出山河的秋冬意韵，远山如淡烟笼着的黛眉，隐现于薄霭间，似秋霜未消的清寒漫开。近景山石以刚劲皴法勾勒，纹理如老树皮般皴裂，枯木枝桠疏疏斜展，带着冬日的萧索。涧水在石隙间隐现，虽无声却透着凛冽。笔触虚实相生，将季节交替的静谧与疏朗凝于绢上，既有宋画的章法严谨，又藏自然灵动之趣——风过枝桠的轻颤，雾锁山峦的朦胧，皆在笔墨间流转，尽显山水意境的幽远深沉。",[24,7,164,128,132,29,165,1337,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda73fe229a022e24354abfcb2df17932.jpg",[],{"id":76937,"slug":76938,"title":76939,"dynasty":18,"author":1174,"museum":244,"description":12312,"tags":76940,"thumbUrl":76941,"material":173,"size":12318,"collection":84,"collections":76942,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},218157,"wen-ji-gui-han-tu-ce-6-li-tang-218157","文姬归汉图册-6",[164,24,7,59,27,96,101,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae6eccbd62ae265216ef54a0c247f2dd.jpg",[],{"id":76944,"slug":76945,"title":76946,"dynasty":18,"author":1174,"museum":244,"description":12312,"tags":76947,"thumbUrl":76948,"material":173,"size":12318,"collection":84,"collections":76949,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},218147,"wen-ji-gui-han-tu-ce-16-li-tang-218147","文姬归汉图册-16",[164,24,7,59,27,28,96,29,101,169,133,413,438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5ec0918549325d6606e6654d7d5bc7e.jpg",[],{"id":76951,"slug":76952,"title":76953,"dynasty":182,"author":21881,"museum":20,"description":21882,"tags":76954,"thumbUrl":76955,"material":173,"size":21885,"collection":84,"collections":76956,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},218142,"liu-zun-zhe-xiang-tu-ce-3-lu-leng-qie-218142","六尊者像图册-3",[23,24,7,59,28,27,187,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faabfbc36df37e030a6f823ca33a61def.jpg",[],{"id":76958,"slug":76959,"title":76960,"dynasty":124,"author":10106,"museum":244,"description":22513,"tags":76961,"thumbUrl":76962,"material":66,"size":84,"collection":84,"collections":76963,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},218047,"leng-yan-nian-wu-yuan-tong-fo-xiang-ce-5-wu-bin-218047","楞严廿五圆通佛像册-5",[24,7,59,27,28,187,96,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0035f5b77bce14418a8c1ac95c95ca6c.jpg",[],{"id":76965,"slug":76966,"title":76967,"dynasty":182,"author":223,"museum":2607,"description":76968,"tags":76969,"thumbUrl":76970,"material":27,"size":84,"collection":84,"collections":76971,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},217891,"guan-yin-jing-bian-tu-juan-15-yi-ming-217891","观音经变图卷-15","图文交织的画卷里，鲜活场景跃然纸上。人物动态各异，或持物施法，或互动应答，神兽相伴左右，虎啸龙吟般的张力藏于古朴笔触间。线条婉转勾勒衣袂流转，设色虽经岁月却仍见鲜明，红袍绿衫与兽纹斑斓交织，将经文中的救度故事化为可触的温度。每一处细节都诉说着慈悲救苦的主题，把抽象教义揉进具象画面，让观者在视觉冲击中读懂经文深意。这般文字转视觉叙事的巧思，既显绘画者匠心，也藏宗教传播智慧，笔墨间留存跨越时空的艺术与信仰共鸣。",[4642,24,7,25,27,28,187,96,5490,772,949,7322,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F028f5b9a3d5c0f1e71b6c054b65bf7f3.jpg",[],{"id":76973,"slug":76974,"title":76975,"dynasty":124,"author":16990,"museum":450,"description":76976,"tags":76977,"thumbUrl":76978,"material":66,"size":30760,"collection":84,"collections":76979,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},217872,"zhou-li-yuan-shang-kuan-shen-ce-liu-hu-yu-kun-217872","周栎园上款什册(六)","右侧疏竹数竿，枝叶错落间墨色有层次，尽显清劲之姿；旁立嶙峋山石，皴法简括，纹理苍古，似载岁月痕迹。左侧书法行草相间，笔力遒劲，墨韵流转，与画作相映成趣。整体画风简淡空灵，竹石相依处文气氤氲。于极简景致中藏幽深意趣，仿佛竹间风过有声，石上苔痕隐现，尽显文人画逸致——以朴素之笔写胸中丘壑，静谧里透着生机，朴素中见出真味，文墨与丹青共生的雅韵，似能漫出纸面，引观者入那清寂又生动的文人世界。",[24,7,59,128,276,229,64,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc56c4ff5950321ec98c5429ef0a507e7.jpg",[],{"id":76981,"slug":76982,"title":76983,"dynasty":54,"author":2653,"museum":300,"description":14125,"tags":76984,"thumbUrl":76985,"material":173,"size":84,"collection":84,"collections":76986,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":615},217239,"li-dai-di-wang-zhen-xiang-22-yao-wen-han-217239","历代帝王真像-22",[24,7,28,27,96,170,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57433b3712d7d0036303a8249bb9cd42.jpg",[],{"id":76988,"slug":76989,"title":76990,"dynasty":54,"author":2653,"museum":300,"description":14125,"tags":76991,"thumbUrl":76992,"material":173,"size":84,"collection":84,"collections":76993,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":615},217231,"li-dai-di-wang-zhen-xiang-35-yao-wen-han-217231","历代帝王真像-35",[164,24,7,27,96,28,772,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe46a79691833656364957b5da64e68f1.jpg",[],{"id":76995,"slug":76996,"title":76997,"dynasty":54,"author":73799,"museum":300,"description":73800,"tags":76998,"thumbUrl":76999,"material":66,"size":84,"collection":84,"collections":77000,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},217195,"fa-jie-yuan-liu-tu-juan-11-li-ming-217195","法界源流图卷-11",[23,164,24,7,25,27,28,187,96,18331,4204,1144,276,131,211,251,34,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb6073281448e6ff260ca26818e92f58.jpg",[],{"id":77002,"slug":77003,"title":77004,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":77005,"thumbUrl":77006,"material":611,"size":84,"collection":84,"collections":77007,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":956},217192,"shui-hu-quan-tu-1-du-jin-217192","水浒全图-1",[24,7,59,28,188,27,96,97,101,5626,170,29,130,690,211,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F262a05366f8cae91236b34689ff2ac4d.jpg",[],{"id":77009,"slug":77010,"title":77011,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":77012,"thumbUrl":77013,"material":611,"size":84,"collection":84,"collections":77014,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":956},217078,"bai-miao-luo-han-37-leng-mei-217078","白描罗汉-37",[54,24,7,59,188,187,96,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22e6dd6b1de32526ca2b69bff1abac0a.jpg",[],{"id":77016,"slug":77017,"title":77018,"dynasty":124,"author":19170,"museum":300,"description":30766,"tags":77019,"thumbUrl":77020,"material":317,"size":84,"collection":84,"collections":77021,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},217056,"bai-miao-ying-zhen-tu-3-ding-yun-peng-217056","白描应真图-3",[24,7,188,25,187,96,722,7344,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef9808ef3cab523baafd3b3891fc1002.jpg",[],{"id":77023,"slug":77024,"title":77025,"dynasty":54,"author":675,"museum":27034,"description":27035,"tags":77026,"thumbUrl":77027,"material":173,"size":84,"collection":84,"collections":77028,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},216902,"qian-long-nan-xun-zhu-bi-tu-ye-2-qian-wei-cheng-216902","乾隆南巡驻跸图页-2",[23,24,7,27,29,132,59,496,34,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3090a9c9a39518f50fa130af3619f7e1.jpg",[],{"id":77030,"slug":77031,"title":77032,"dynasty":54,"author":675,"museum":27034,"description":27035,"tags":77033,"thumbUrl":77034,"material":173,"size":84,"collection":84,"collections":77035,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},216897,"qian-long-nan-xun-zhu-bi-tu-ye-7-qian-wei-cheng-216897","乾隆南巡驻跸图页-7",[23,164,24,7,59,27,95,132,97,34,29,4494],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac9bd0faad99414a6c5a64d0cb44e46.jpg",[],{"id":77037,"slug":77038,"title":77039,"dynasty":54,"author":223,"museum":300,"description":77040,"tags":77041,"thumbUrl":77042,"material":173,"size":84,"collection":84,"collections":77043,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},216702,"hong-lou-meng-fu-tu-ce-22-yi-ming-216702","红楼梦赋图册-22","墨痕流转间，工整楷字铺陈着红楼雅韵，每一笔都藏着对书中世界的细腻描摹。四周花叶藤蔓如诗行旁的絮语，红绿相映，藤蔓蜿蜒缠绕，花瓣舒展灵动，似将大观园的草木清香凝于纸上。文字与装饰浑然一体，笔墨的沉稳与花叶的鲜活交织，既承载文学厚重，又晕染艺术灵秀。细密枝蔓、娇嫩花簇，仿佛轻声诉说红楼悲欢，让观者于笔墨间触碰到古典雅致与深情，尽显传统书画结合的独特韵味。",[23,24,7,59,27,28,64,572,62,548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc83e049cacd20ca4742397e32a9bf87.jpg",[],{"id":77045,"slug":77046,"title":77047,"dynasty":54,"author":223,"museum":300,"description":77048,"tags":77049,"thumbUrl":77050,"material":173,"size":84,"collection":84,"collections":77051,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},216689,"hong-lou-meng-fu-tu-ce-31-yi-ming-216689","红楼梦赋图册-31","墨字如珠缀满素笺，缠枝花卉以柔蔓织就清雅边框。藤蔓婉转攀援，花叶鲜活灵动，与古朴墨韵相映成趣。笺上文字漫溢金陵旧事的幽微余韵，似将书中诗意抽丝剥茧，化作画间缠绕的柔枝。清雅笔触里藏着淡淡的怅惘，仿佛能触到红楼女儿的颦笑与叹息。图文交织处，笔墨的沉静与花叶的生机交融，让观者于方寸间重遇红楼的温柔与哀愁，沉浸在古典文学与绘画交织的雅致意境里。",[23,24,7,59,27,28,548,62,64,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff296549c1ec2aace1d63ce4f160cf72b.jpg",[],{"id":77053,"slug":77054,"title":77055,"dynasty":124,"author":802,"museum":300,"description":77056,"tags":77057,"thumbUrl":77058,"material":278,"size":84,"collection":84,"collections":77059,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},216308,"xi-xiang-ji-zhen-ben-tu-ce-17-chen-hong-shou-216308","西厢记真本图册-17","左幅水天浩渺，芦荻扶风，归鸿掠影划破岑寂；右幅古木盘虬，仕女独立，衣袂轻扬似带流云。笔墨如铁线银钩，刚劲中藏柔婉，人物发髻的螺钿纹理、衣袍的褶皱层次，皆以精细线条勾勒，尽显古典韵致。远景淡墨晕染的山水与近景工笔描摹的人物相映成趣，虚实之间，西厢故事里的幽情暗绪似在纸间流转。每一笔都凝着旧时光的风雅，让观者于方寸之间，窥见那个年代的诗意与缠绵。",[24,7,59,188,96,166,34,211,99,1824],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67a7d7c36701d886dacfc3d679562989.jpg",[],{"id":77061,"slug":77062,"title":77063,"dynasty":54,"author":21575,"museum":20,"description":77064,"tags":77065,"thumbUrl":77066,"material":66,"size":77067,"collection":84,"collections":77068,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":199},216224,"shi-jun-quan-tu-10-ai-qi-meng-216224","十骏犬图-10","图为乾隆皇帝在宫中豢养的欧洲纯种猎犬画像。作者以西方的素描技法，运用解剖学，以短细的笔触一丝不苟地刻画出猎犬健美的体态和皮毛的质感，具有极强的写实性。每幅图的对开上均标明犬名，对宫廷御用犬的研究具有极高的史料价值。图中的衬景山水是中国画家创作的。中西画家携手创作是乾隆朝宫廷绘画的一大特色。\u2028　　款署：“臣艾启蒙恭绘。”钤“臣艾启蒙”白文印、“恭画”朱文印。每图对开页有嵇璜书写的乾隆朝大学士汪由敦和梁诗正撰写的题赞。鉴藏印有“乾隆鉴赏”、“宜子孙”等。\u2028　　此图旧藏紫禁城内的乐寿堂。《石渠宝笈》著录。",[23,24,7,28,27,949,9119,29,171,34,17726,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe10f912cb31c2950c3d3be273fc84413.jpg","纵24.5厘米，横29.3厘米",[],{"id":77070,"slug":77071,"title":77072,"dynasty":54,"author":77073,"museum":11952,"description":77074,"tags":77075,"thumbUrl":77077,"material":128,"size":84,"collection":84,"collections":77078,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},215650,"yu-zhi-geng-zhi-tu-4-kang-xi-215650","御制耕织图-4","康熙","墨线轻勾的田畴间，农人持具劳作，梯影斜倚土坡，远近村落与河渠相映，尽现田园生机；右侧垄上，播种者俯身忙碌，稚童随侍身侧，远山含黛，屋舍隐于林麓，一派耕读相和的恬静。画作以细腻笔触摹写耕织之序，既见劳作的质朴真意，亦藏对农本的深挚关怀。笔墨间流淌着对民生根基的珍视，于清雅景致中传递重农劝耕的传统理念，将日常劳作升华为兼具审美与教化意义的图景。",[23,24,7,188,28,28209,64,133,96,29,210,34836,35,34,15899,16670,37513,77076],"水渠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F806e0394367a21701d2bb9397010a44f.jpg",[],{"id":77080,"slug":77081,"title":77082,"dynasty":54,"author":223,"museum":300,"description":77083,"tags":77084,"thumbUrl":77085,"material":611,"size":84,"collection":84,"collections":77086,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},215549,"bai-miao-jie-tou-mai-mai-hua-ce-7-yi-ming-215549","白描街头买卖画册-7","墨线轻勒出市井一隅的鲜活。三人围桌，立者俯身凝眸，坐者手势交错，桌案间的器物藏着买卖的细碎烟火。布衣褶皱里的温热、眉宇间的专注，皆由简练线条铺陈，不见浓彩却满是生活的肌理。白描的骨力在此尽显，每一笔都牵着街头的风，将寻常买卖的生动，凝在纸页上的岁月里。那些未说出口的讨价还价、相视一笑的默契，都藏在墨线勾勒的瞬间，让百年前的市井暖意，穿过纸页漫溢开来。",[23,24,7,59,188,96,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84335b3fafe87326a8a56eb127511933.jpg",[],{"id":77088,"slug":77089,"title":77090,"dynasty":144,"author":8127,"museum":244,"description":62275,"tags":77091,"thumbUrl":77092,"material":173,"size":10420,"collection":84,"collections":77093,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":49},215005,"xie-sheng-hua-hui-ce-3-wang-yuan-215005","写生花卉册-3",[164,24,7,59,28,27,61,62,608,2166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad215f408fa695d5d7b8a54970bd32b7.jpg",[],{"id":77095,"slug":77096,"title":77097,"dynasty":124,"author":1141,"museum":20,"description":64395,"tags":77098,"thumbUrl":77099,"material":278,"size":64398,"collection":84,"collections":77100,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},214877,"shan-shui-ce-4-wen-zheng-ming-214877","山水册-4",[23,24,7,59,128,133,29,167,171,34,99,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd585d623484e8146c50015142b7397e9.jpg",[],{"id":77102,"slug":77103,"title":4717,"dynasty":124,"author":1141,"museum":20,"description":64395,"tags":77104,"thumbUrl":77105,"material":278,"size":64398,"collection":84,"collections":77106,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},214873,"shan-shui-ce-7-wen-zheng-ming-214873",[23,24,7,59,128,133,64,208,132,29,167,99,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd000820bf6c97737796e1fc843fd8252.jpg",[],{"id":77108,"slug":77109,"title":77110,"dynasty":124,"author":1141,"museum":20,"description":64395,"tags":77111,"thumbUrl":77112,"material":278,"size":64398,"collection":84,"collections":77113,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},214872,"shan-shui-ce-8-wen-zheng-ming-214872","山水册-8",[23,164,24,7,59,128,133,64,208,132,29,167,413,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120c57f46773c43b8491cc29949c272c.jpg",[],{"id":77115,"slug":77116,"title":77117,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":77118,"thumbUrl":77120,"material":66,"size":10301,"collection":84,"collections":77121,"showCount":738,"zanCount":1998,"manualWeight":48,"mainColor":72},214804,"zhi-sheng-xian-xian-ban-shen-xiang-6-yi-ming-214804","至圣先贤半身像-6",[23,24,7,27,96,28,16099,77119,5401],"半身像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d250dc71193584c264e68acbd04f5bc.jpg",[],{"id":77123,"slug":77124,"title":64394,"dynasty":54,"author":20259,"museum":56,"description":20260,"tags":77125,"thumbUrl":77126,"material":278,"size":20263,"collection":84,"collections":77127,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},214715,"shan-shui-ce-3-gao-xiang-214715",[24,7,128,59,132,29,101,690,34,496,37,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ff0a5ba972a4352c5e493ca9b6bb2e.jpg",[],{"id":77129,"slug":77130,"title":73941,"dynasty":54,"author":20259,"museum":56,"description":20260,"tags":77131,"thumbUrl":77132,"material":278,"size":20263,"collection":84,"collections":77133,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},214697,"shan-shui-ce-11-gao-xiang-214697",[24,7,59,128,188,29,875,96,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1279a58f67fbdc04d6c515180d557871.jpg",[],{"id":77135,"slug":77136,"title":77137,"dynasty":124,"author":802,"museum":77,"description":77138,"tags":77139,"thumbUrl":77140,"material":278,"size":71283,"collection":84,"collections":77141,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},214542,"mo-gu-ce-ye-9-chen-hong-shou-214542","摹古册页-9","摹古册是指模仿古代的书写方式进行写字的一种书法形式。陈洪绶是一位著名的明代书法家，他的书法风格被认为是对古代书法的很好的摹写。\n\n陈洪绶，字仲容，号凤阁山人，原籍江苏无锡，生于明朝洪武十五年（1382年）。他是明朝著名的书法家，也是《颜氏书苑》的编辑之一。他的书法被认为是对古代书法的很好的摹写，具有浓郁的古典气息。他的书法作品有《陈洪绶书法集》和《陈洪绶书法精选》等。",[24,7,59,330,188,128,61,481,547,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0871006fad8514bbe10169d42ceec06b.jpg",[],{"id":77143,"slug":77144,"title":77145,"dynasty":124,"author":802,"museum":77,"description":77138,"tags":77146,"thumbUrl":77147,"material":278,"size":71283,"collection":84,"collections":77148,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},214541,"mo-gu-ce-ye-10-chen-hong-shou-214541","摹古册页-10",[24,7,59,188,128,96,171,208,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f85b8fbb500bbb91036ecbb4df16bc3.jpg",[],{"id":77150,"slug":77151,"title":77152,"dynasty":124,"author":802,"museum":77,"description":77153,"tags":77154,"thumbUrl":77155,"material":278,"size":71283,"collection":84,"collections":77156,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},214538,"mo-gu-ce-ye-12-chen-hong-shou-214538","摹古册页-12","线条凝练如古篆，勾勒出器物的朴拙轮廓，纹饰细节虽简却见匠心，似从旧时光里携岁月沉淀而来。旁侧细草以疏朗之笔点染，茎脉婉转带露，寥寥数笔便生盎然生机，与器物的沉厚形成动静相契的韵致。画面留白透气空灵，将视线引向器物与草木的静默对话间，极简中藏着对古意的深研与再创造。笔墨间不见浮华，唯余古雅清寂之味，尽显摹古时的敬心与艺术表达的独运，方寸册页间铺展一段静谧的时光回溯，让观者于简净中触碰到文人对传统的追慕与心性的流露。",[24,7,59,188,330,169,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc72237f8edae6830b27456d219f5e75.jpg",[],{"id":77158,"slug":77159,"title":77160,"dynasty":54,"author":36019,"museum":77,"description":68687,"tags":77161,"thumbUrl":77162,"material":611,"size":84,"collection":84,"collections":77163,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},214514,"shui-mo-tu-ce-4-zheng-min-214514","水墨图册-4",[24,7,59,128,29,132,64,133,208,4363,415,8709,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a6440c794f8ff0b8d74315432cc5900.jpg",[],{"id":77165,"slug":77166,"title":77167,"dynasty":54,"author":36019,"museum":77,"description":68687,"tags":77168,"thumbUrl":77169,"material":278,"size":84,"collection":84,"collections":77170,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":72},214497,"shui-mo-tu-ce-6-zheng-min-214497","水墨图册-6",[23,24,7,128,133,132,59,29,1144,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f312d5ae7ed1d506aa94240794eefec.jpg",[],{"id":77172,"slug":77173,"title":77174,"dynasty":54,"author":1460,"museum":56,"description":77175,"tags":77176,"thumbUrl":77177,"material":84,"size":84,"collection":136,"collections":77178,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":77179},203463,"xi-nan-ba-jing-tu-ce-shi-tao-203463","溪南八景图册","墨色淋漓间，山水之趣跃然纸上。枯笔皴擦出老树虬枝，湿墨晕染出云雾轻笼，小桥横卧溪上，茅屋隐于林麓，飞鸟数点划破空寂。笔意纵恣不拘，于浓淡虚实中见生机，尽显自然野逸之态。石涛以心观物，将对山水的体悟凝于笔端，画面清寂却不失灵动，每一处笔墨皆藏着对天地的深情。",[23,24,7,128,59,132,98,99,34,35,131,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f24a13e1f7609d0a2297e67a9313067.jpg",[136],"bab3aa",{"id":77181,"slug":77182,"title":77183,"dynasty":124,"author":2268,"museum":56,"description":77184,"tags":77185,"thumbUrl":77187,"material":84,"size":84,"collection":84,"collections":77188,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":77189},203254,"ding-mao-xiao-jing-tu-ce-dong-qi-chang-203254","丁卯小景图册","笔墨清润疏朗，山峦以淡墨皴染，得空灵之致；修竹劲挺，孤石朴拙，意态萧散。左侧行书题跋与朱印相映，书画印浑然一体，尽显文人雅趣。画面虽小，却含丘壑万千，淡远意境中藏着禅意与哲思，是文人画“以书入画”“以意取胜”的典型范本，读之如沐清风，心归宁静。",[24,7,59,128,29,167,171,132,208,77186],"行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60cd0bb3d3541735a96190de8726cb1d.jpg",[],"9c9475",{"id":77191,"slug":77192,"title":77193,"dynasty":124,"author":2268,"museum":56,"description":77194,"tags":77195,"thumbUrl":77196,"material":84,"size":84,"collection":136,"collections":77197,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":77198},203249,"fang-song-yuan-shan-shui-tu-ce-dong-qi-chang-203249","仿宋元山水图册","笔墨间流转宋元遗韵，淡墨晕染层叠山峦，云雾如轻纱漫过林麓，将远近景致晕成虚实相生的意境。近处林木苍劲，枝桠以简括笔触勾勒，墨色浓淡交错显生机；山间小屋隐于树后，添几分烟火气，旁侧小桥轻架，似连尘世与幽境。皴法藏于山体肌理，不张扬却见骨力，水墨清润与枯涩相济，恰是“平淡天真”之趣。无繁复设色，仅墨色变化构建空间，融宋元雅致与文人意趣于一册，尽显古典山水空灵之美。",[24,7,59,128,29,132,34,37,3387,98,330,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9830bdd0228addf29109450c5aaf85c.jpg",[136],"a98e5f",{"id":77200,"slug":77201,"title":77202,"dynasty":32945,"author":29045,"museum":56,"description":77203,"tags":77204,"thumbUrl":77205,"material":84,"size":84,"collection":117,"collections":77206,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":77207},203230,"shuang-song-qiao-cui-tu-zhou-wu-hu-fan-203230","双松翘翠图轴","双松并峙，意趣天成。前景古松以浓墨皴擦，干身虬曲斑驳，松针攒簇如戟，笔力老辣苍劲；后松则淡墨晕染，枝干清雅温润，与前松形成浓淡虚实的层次对比。笔墨间干湿互济，中锋侧锋交错，松针的细密挺劲与树干的粗砺质感相得益彰，尽显松之坚韧神韵。画面简约却气韵饱满，双松翘翠，既有古木的苍劲风骨，又含自然的生机盎然，是传统笔墨与文人意趣的完美契合。",[24,128,372,132,165,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b907178fc66b35e44b5433f99f5b818.jpg",[117],"c5bdaf",{"id":77209,"slug":77210,"title":77211,"dynasty":124,"author":34726,"museum":56,"description":77212,"tags":77213,"thumbUrl":77214,"material":84,"size":84,"collection":136,"collections":77215,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":77216},203170,"du-fu-shi-yi-tu-ce-song-mao-jin-203170","杜甫诗意图册","画面远处楼阁隐现于轻烟薄雾间，近处茅舍依林筑立，几株树木姿态各异，或葱郁或疏朗，小径蜿蜒似引观者入幽境。笔墨清逸淡雅，设色温润，界画勾勒楼阁规整有致，树木以点染与皴擦结合，尽显文人山水的诗意雅致，将杜诗中的幽寂之境化为可视图景，意境悠远，引人遐思。",[24,128,27,95,29,97,331,59,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917be57b32ab40cf54a9e6ab7eebb0d0.jpg",[136],"b0ab99",{"id":77218,"slug":77219,"title":77220,"dynasty":32945,"author":2936,"museum":56,"description":77221,"tags":77222,"thumbUrl":77223,"material":84,"size":84,"collection":68,"collections":77224,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":77225},203126,"quan-shi-shui-xian-tu-zhou-pan-tian-shou-203126","拳石水仙图轴","水仙茎叶以劲挺线条勾勒，花头敷淡彩，清雅脱俗；拳石以浓淡干湿墨块泼写，造型奇崛朴拙，与柔媚的水仙形成刚柔相济之趣。构图疏密有致，留白空灵，尽显文人画的生机与意韵。笔墨苍劲老辣，兼具写意洒脱与造型精准，传递出清逸出尘的格调。画面于简淡中见精神，于对比中显张力，是传统花鸟与现代审美融合的佳作。",[24,128,27,61,374,171,165,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d95878a583bf0bc4d6f3e65a82280ec.jpg",[68],"cec4ba",{"id":77227,"slug":77228,"title":77229,"dynasty":32945,"author":77230,"museum":56,"description":77231,"tags":77232,"thumbUrl":77233,"material":84,"size":84,"collection":45,"collections":77234,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":77235},203000,"ba-jun-tu-heng-pi-ge-quan-203000","八骏图横披","戈荃","画面中八匹骏马神态各异，或昂首伫立，或交颈亲昵，或低头啮草，姿态生动自然。背景以淡墨晕染的柳树、嶙峋山石与疏草相映，营造出清雅旷远的郊野氛围。画家以细腻工笔勾勒马匹轮廓，设色淡雅温润，既表现出马体的肌理质感，又通过飘逸的鬃毛、灵动的四肢传递出骏马的矫健身姿与闲适意态。整体画风工写结合，笔墨简练却形神兼备，将自然之趣与骏马之美融为一体，尽显生机盎然之韵。",[24,27,28,101,4363,131,11830,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd731bc9fd04aad6e5b1de37a2720bd1.jpg",[45],"c2b79d",{"id":77237,"slug":77238,"title":62361,"dynasty":32945,"author":70087,"museum":56,"description":77239,"tags":77240,"thumbUrl":77241,"material":84,"size":84,"collection":136,"collections":77242,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":77243},202877,"shu-hua-cheng-shan-wu-guan-dai-202877","扇面之上，淡墨皴擦山石肌理，设色清雅柔和。岸畔桃花敷粉含露，枝条疏逸；湖面波光粼粼，一叶孤舟悠然漂荡，舟中影绰，尽显闲情。笔墨灵动，山水勾勒与晕染结合，花木写意传神，咫尺间铺展江南春景的清旷雅致。书画相映成趣，于扇面这一方小天地，凝萃文人画的逸韵，引人沉醉于春日湖山的恬淡意境。",[1131,27,29,209,129,99,132,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4af7c6de1caa23c8bbb1f36c7f6ca47.jpg",[136],"4e5a56",{"id":77245,"slug":77246,"title":35700,"dynasty":54,"author":77247,"museum":56,"description":77248,"tags":77249,"thumbUrl":77251,"material":84,"size":84,"collection":84,"collections":77252,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":77253},202695,"fang-gu-shan-shui-ping-huang-jun-202695","黄均","画面层叠山峦为骨，云雾轻笼似带，晕染出悠远空濛之境。近景溪畔茅舍掩映，苍松虬枝横斜，山石以皴法写就，肌理分明。中景林木蓊郁，小径蜿蜒隐现，远山淡墨轻描，层次递进。笔墨温润秀雅，线条细腻灵动，既承传统山水的古拙韵致，又蕴文人画的诗意留白，将林泉之趣凝于纸端，观之如临幽寂清旷之域，心绪亦随之沉静。",[24,7,29,128,132,2271,23362,44073,37,131,77250,23],"溪畔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf72c4322b66650e80528a5b0c871a67.jpg",[],"c1a493",{"id":77255,"slug":77256,"title":6663,"dynasty":54,"author":19894,"museum":56,"description":77257,"tags":77258,"thumbUrl":77259,"material":84,"size":84,"collection":84,"collections":77260,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":77261},202656,"zhu-shi-tu-zhou-zheng-xie-202656","画面中，几竿墨竹自孤石旁拔地而起，竹叶以浓淡干湿的水墨晕染，或聚或散，如挥毫时的笔意流转，撇捺间藏行书风骨。竹竿中锋勾勒，骨节分明，刚劲中带着柔韧，似有凌云之势。旁侧孤石以简淡皴法写就，纹理苍劲，与竹的清劲相映成趣，尽显文人画的雅致与风骨。墨色层次丰富，浓墨点叶显精神，淡墨勾竿见空灵，干湿变化间，竹的生机与石的沉稳交织，传递出不屈的气节与淡然的心境，是文人画中竹石题材的经典之作。",[128,167,171,133,132,165,24,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F617b32b2361817b4b82b293939460373.jpg",[],"a79883",{"id":77263,"slug":77264,"title":77265,"dynasty":124,"author":2268,"museum":56,"description":77266,"tags":77267,"thumbUrl":77268,"material":84,"size":84,"collection":84,"collections":77269,"showCount":738,"zanCount":1998,"manualWeight":48,"mainColor":77270},202409,"qing-lv-shan-shui-zhou-dong-qi-chang-202409","青绿山水轴","这幅青绿山水以清润设色晕染山峦，笔墨兼具秀逸与苍劲。云雾如带轻盈流动，分隔远近景致，衬出山林空濛深远之态。古木虬枝舒展，皴法细腻见笔力，小屋隐于林麓，藏而不露添幽趣。整体构图虚实相生，意境悠远静谧，尽显文人画韵致——青绿设色中见笔墨筋骨，自然丘壑里含士人淡泊心境，是董氏融南北宗之长的典型之作。",[26,27,29,132,165,24,7,164,34,496,37,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdddd4d042d25de2645ab41fefb9afe3e.jpg",[],"76654e",{"id":77272,"slug":77273,"title":77274,"dynasty":54,"author":872,"museum":56,"description":77275,"tags":77276,"thumbUrl":77278,"material":84,"size":84,"collection":84,"collections":77279,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":77280},202361,"lin-shen-zhou-song-bai-tong-chun-tu-juan-zhu-da-202361","临沈周松柏同春图卷","这幅长卷以水墨写意摹绘松柏景致，虬枝如铁线盘结，松针竹叶用简劲笔触点染，墨色浓淡交错间尽显苍劲古拙之态。山石以皴法勾勒肌理，与老木相互呼应，气韵连贯悠长。笔墨既追摹原作神韵，又暗藏独特冷逸风骨，松柏在春日氛围里焕发生机，意境清幽深邃，尽显传统书画的笔墨意趣。",[24,7,25,128,330,77277,132,369,689,131,23],"松柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc74816dbf9fb28da9c57e8057eb13f58.jpg",[],"000000",{"id":77282,"slug":77283,"title":77284,"dynasty":54,"author":872,"museum":56,"description":77285,"tags":77286,"thumbUrl":77287,"material":84,"size":84,"collection":84,"collections":77288,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":77289},202292,"mao-shi-tu-zhou-zhu-da-202292","猫石图轴","水墨淋漓间，孤石奇崛而立，猫蜷伏石上，形简神完。大写意笔触恣肆洒脱，墨色浓淡相生，寥寥数笔便勾勒出猫的慵懒之态与石的嶙峋之姿。留白处空灵悠远，清冷孤绝之韵暗涌，暗含遗世独立的心境。笔意简练却意蕴深长，于极简中见万千气象，尽显文人画的写意精髓。",[24,128,7,165,1634,171,370,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7163b95fa8f55149774fc6d97e488f7f.jpg",[],"d2c8c2",{"id":77291,"slug":77292,"title":77293,"dynasty":144,"author":569,"museum":56,"description":77294,"tags":77295,"thumbUrl":77296,"material":84,"size":84,"collection":117,"collections":77297,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":77298},202030,"lan-zhu-tu-he-zhuang-juan-zhao-meng-fu-202030","兰竹图合装卷","画面以水墨写意绘兰、竹与拳石，兰叶舒卷如流云，墨色层次细腻，或浓墨起笔，或淡墨收尾，柔婉中藏劲健；竹枝挺拔，竹叶寥寥数笔却见风骨，与兰草的清逸相映成趣；拳石以皴擦勾勒，纹理古拙苍劲，石隙间细草点缀，更添生机。整体构图疏朗，笔墨简淡却意韵悠长，尽显元代文人画的雅致情趣，将兰竹的君子气节与石的坚韧品格融于一纸，观之令人心生静穆，仿佛能嗅到兰草的幽芳。",[24,128,375,167,171,132,7,25,208,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffecf13c89a8c4d346ac45f908a4110d3.jpg",[117],"9f9691",{"id":77300,"slug":77301,"title":77302,"dynasty":54,"author":5276,"museum":56,"description":77303,"tags":77304,"thumbUrl":77305,"material":84,"size":84,"collection":68,"collections":77306,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":77307},201964,"gao-gui-qing-xiao-tu-zhou-gao-feng-han-201964","高桧清霄图轴","桧树枝干虬劲盘空，苍皮皴裂如老龙鳞爪，尽显古木峥嵘之态。新梢垂叶，点缀些许艳蕊，于沉郁中透出鲜活。旁侧孤石崚嶒，笔墨简劲，与高桧形成刚柔相济的呼应。设色淡雅，皴法娴熟，笔意朴拙而气韵生动，将桧树的清霄之姿与石的沉稳融于一体，营造出静谧高远的氛围。",[24,27,171,132,331,61,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb14373474cac0838e138483555006d91.jpg",[68],"7e5b35",{"id":77309,"slug":77310,"title":77311,"dynasty":54,"author":5879,"museum":56,"description":77312,"tags":77313,"thumbUrl":77314,"material":84,"size":84,"collection":44,"collections":77315,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":77316},201936,"guan-yin-xiang-tu-zhou-hua-yan-201936","观音像图轴","观音趺坐孤石之上，衣纹用线细劲婉转如行云流水，兼工带写的笔触勾勒出飘逸灵动的质感。面容娴静温婉，双目微阖含悲悯，神情澄澈空灵。石畔疏竹数枝，墨色淡逸，与素净衣袍相映成趣，更添禅意悠远。整幅笔墨简约却神形兼备，将宗教人物的庄严与文人画的雅致融于一体，尽显独特艺术韵味。",[24,7,165,187,128,188,96,171,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5aa248d8423f5e2a82cbaa4c65e9381.jpg",[44],"bfb1aa",{"id":77318,"slug":77319,"title":77320,"dynasty":54,"author":59061,"museum":56,"description":77321,"tags":77322,"thumbUrl":77323,"material":84,"size":84,"collection":136,"collections":77324,"showCount":738,"zanCount":1998,"manualWeight":48,"mainColor":77325},201921,"han-gong-yi-jiao-tu-zhou-qian-du-201921","汉宫一角图轴","画面以淡逸设色晕染山水景致，远山皴染结合显浑厚苍劲，近景楼阁以界画技法精绘，檐角纹饰细致入微。枯树虬枝间栖有飞鸟，动静相衬添生机。笔墨兼具工细与写意，自然山水与人文建筑相融，营造出清幽静谧的古典意境，尽显文人画的雅致韵致。",[24,27,29,97,211,1337,132,95,28,7,164,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3298ad366a51a16666d133653276aa4b.jpg",[136],"bfaf98",{"id":77327,"slug":77328,"title":20347,"dynasty":54,"author":77329,"museum":56,"description":77330,"tags":77331,"thumbUrl":77332,"material":84,"size":84,"collection":136,"collections":77333,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":77334},201763,"shan-shui-tu-zhou-tang-yi-fen-201763","汤贻汾","这幅山水轴以淡墨皴染山峦，线条清逸勾勒峰峦肌理，水色空濛映出层叠远岫。山间枯树疏枝横斜，偶点丹红秋意；水畔孤舟轻泛，蓑笠人影隐现，意境幽远。近岩处，小屋藏于林木间，与远山空濛相映，尽得文人淡远之趣。题款朱印错落，笔墨与诗意交融，传递出静穆安闲的心境。",[24,7,29,132,128,27,129,1337,3387,208,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7150fa595ea94ebe53b8e7ffc57ccad.jpg",[136],"ded3bc",{"id":77336,"slug":77337,"title":77338,"dynasty":124,"author":3608,"museum":56,"description":77339,"tags":77340,"thumbUrl":77341,"material":84,"size":84,"collection":136,"collections":77342,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":77343},201690,"bi-shan-chi-cheng-tu-zhou-lu-zhi-201690","碧山赤城图轴","山崖峻峭，皴笔勾勒出嶙峋肌理，青绿设色晕染碧嶂层叠。林木葱郁，枝干虬劲，叶色深浅交错，显自然生机。楼阁隐于岩麓林间，小径蜿蜒穿涧而过，意境静谧深远。画作兼取工致与写意，秀逸中见苍劲，尽显文人山水的清雅韵致，仿佛可闻山涧风声，可观山居幽趣。",[24,29,27,132,97,34,165,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F038e99c37af8cc49d349185489c26f5f.jpg",[136],"908674",{"id":77345,"slug":77346,"title":77347,"dynasty":124,"author":1270,"museum":56,"description":77348,"tags":77349,"thumbUrl":77350,"material":84,"size":84,"collection":136,"collections":77351,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":77352},201689,"zhu-zhu-tu-he-juan-sun-ke-hong-201689","朱竹图合卷","朱竹如丹霞点染，于水墨山石间卓然挺立。竹枝劲节分明，竹叶翩跹似舞，朱红设色明艳却清雅脱俗；山石以水墨皴擦，纹理苍古厚重，与朱竹相映成趣，刚柔相济。合卷之上，书画交融，行书题跋笔意流畅，印章疏密错落，更添文人雅韵。整幅作品意境清幽，笔墨灵动，尽显传统文人书画的审美意趣与艺术张力。",[24,7,25,27,167,128,208,133,132,29,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbde40bc139e7721facbddb3bfb48015e.jpg",[136],"c4b296",{"id":77354,"slug":77355,"title":12323,"dynasty":54,"author":77356,"museum":56,"description":77357,"tags":77358,"thumbUrl":77359,"material":84,"size":84,"collection":136,"collections":77360,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":77361},201680,"shan-shui-tu-juan-zhang-yi-gu-201680","张一鹄","这幅山水长卷笔墨清逸，山峦层叠间林木疏密有致，溪流婉转绕丘壑而行，几处屋舍隐于树影山石旁，尽显江南景致的温婉与静谧。画家以娴熟的皴法勾勒山石肌理，墨色浓淡相宜，点染出草木的丰茂生机，线条灵动中透着沉稳，于简淡构图里藏深远意境。画面似可闻林风轻拂、溪水潺潺，文人画的抒情意趣跃然纸上，传递出自然与心境相融的清幽之美。",[24,7,25,128,29,132,496,34,499,387,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbce98ca9f658b46e6f0c6e2698cae865.jpg",[136],"cebca0",{"id":77363,"slug":77364,"title":77365,"dynasty":54,"author":1460,"museum":56,"description":77366,"tags":77367,"thumbUrl":77368,"material":84,"size":84,"collection":117,"collections":77369,"showCount":738,"zanCount":1998,"manualWeight":48,"mainColor":77370},201622,"zhu-shi-mei-hua-tu-zhou-shi-tao-201622","竹石梅花图轴","这幅水墨写意之作，嶙峋湖石以粗笔皴擦，尽显古拙厚重之态；数竿修竹挺拔而立，竹叶浓淡交错点染，笔势洒脱劲健，尽显清劲气节；旁侧梅枝疏朗，几点花蕊悄然点缀，添得清雅意趣。三者相依相衬，石之苍劲、竹之坚韧与梅之孤高浑然一体。笔墨淋漓纵逸，虚实相生间传递出文人画特有的清逸风骨，于简淡疏朗中藏生机深致，尽显自然与心性交融之美。",[24,128,167,1314,371,165,132,7,369,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F432435d9b83acda8867ea45dedfb5b7c.jpg",[117],"d5d2c6",{"id":77372,"slug":77373,"title":77374,"dynasty":54,"author":872,"museum":56,"description":77375,"tags":77376,"thumbUrl":77377,"material":84,"size":84,"collection":117,"collections":77378,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":77379},201575,"chun-lu-tu-zhou-zhu-da-201575","椿鹿图轴","画面中鹿昂首向上，似与虬曲椿树相呼应。水墨写意之法，椿干以浓墨挥写，苍劲老辣；鹿身淡墨晕染，线条简括却形神毕肖，眼神清冷中藏孤峭。底部孤石寥寥几笔，更衬出空寂之境。整作笔墨简练却意蕴深沉，尽显遗民画家的孤傲心境与艺术造诣。",[24,7,128,165,949,171,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfb44987a834af87f1597bbde598ae92.jpg",[117],"cec0ac",{"id":77381,"slug":77382,"title":77383,"dynasty":124,"author":36548,"museum":56,"description":77384,"tags":77385,"thumbUrl":77386,"material":84,"size":84,"collection":136,"collections":77387,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":77388},201534,"feng-lin-yue-shang-tu-zhou-shao-mi-201534","风林月上图轴","淡墨晕染出朦胧月色，风拂林叶轻摇，山石以简淡皴法勾勒，纹理疏朗。树下孤石旁，似有幽人对月凝思，意境清寂悠远。笔墨简练却含韵致，林木萧疏中见生机，月色朦胧里藏静穆，尽显文人画空灵淡远之趣，于简淡中蕴藉深致，引人入胜。",[24,128,29,331,171,231,132,165,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca9e76f6b5a8de6e5fd83a32616456c2.jpg",[136],"b49d83",{"id":77390,"slug":77391,"title":77392,"dynasty":54,"author":77393,"museum":56,"description":77394,"tags":77395,"thumbUrl":77396,"material":84,"size":84,"collection":136,"collections":77397,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":77398},201425,"yao-dao-chun-shen-tu-juan-liu-yan-chong-201425","瑶岛春深图卷","刘彦冲","画中瑶岛仙境云雾缭绕，苍松虬劲挺拔，青绿山水间飞瀑倾泻而下，衣袂轻盈的仙子立于松下，望云听泉，神情悠然。笔墨工细中见写意之趣，山石以皴法显质感，流水用晕染衬灵动，设色淡雅清新，层次分明。整体意境空灵悠远，将春深的盎然生机与仙岛的缥缈虚幻相融合，尽显古典书画的诗意韵味。",[24,25,28,27,132,29,1144,495,166,7,208,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68c7163ff4d47d144883f039cc9d3e53.jpg",[136],"b2bbb6",{"id":77400,"slug":77401,"title":77402,"dynasty":124,"author":125,"museum":56,"description":77403,"tags":77404,"thumbUrl":77405,"material":84,"size":84,"collection":136,"collections":77406,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":77280},201414,"xi-shan-ji-you-tu-juan-shen-zhou-201414","西山纪游图卷","此卷以水墨绘就，山峦起伏层叠，笔墨苍劲浑厚，尽显吴门画派文人山水的雅致。峰峦用披麻皴皴染结合，山石纹理毕现；林木以浓淡墨点染，枝繁叶茂间生机流动。山间亭台隐约，小桥跨溪，流水蜿蜒，孤舟泊岸，景致清幽淡远，似将西山游历之趣凝于尺幅。笔墨随景变幻，重墨点苔增韵，轻笔写水传情，虚实相生中，寄寓画家寄情山水的闲适心境与对自然的深切眷恋。",[164,24,7,25,128,29,132,130,98,99,129,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc80221d1ed6e43fc1ca88026028b0e45.jpg",[136],{"id":77408,"slug":77409,"title":77410,"dynasty":144,"author":569,"museum":56,"description":77411,"tags":77412,"thumbUrl":77413,"material":84,"size":84,"collection":117,"collections":77414,"showCount":738,"zanCount":48,"manualWeight":48,"mainColor":77415},201391,"lan-zhu-shi-tu-juan-zhao-meng-fu-201391","兰竹石图卷","这幅作品将书法与绘画熔于一炉，尽显“书画同源”之妙。兰叶以草书笔意挥写，线条婉转中藏劲健，如惊风飘举；竹枝取行书撇捺之态，挺劲利落，似晴雪坠枝。孤石用淡墨皴擦，笔墨朴拙厚重，与兰竹的灵动形成刚柔相济的韵律。画面不重色彩，纯以水墨生发，墨色浓淡干湿变化丰富，兰的清雅、竹的气节、石的沉稳浑然一体，传递出文人雅士的高洁情怀与超逸心境。每一笔皆见书法功底，每一处皆含笔墨情趣，是元代文人画的典范之作。",[24,7,25,128,171,375,167,133,132,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31f90cc98f593fda6d922cf157917812.jpg",[117],"a89888",{"id":77417,"slug":77418,"title":77419,"dynasty":144,"author":569,"museum":300,"description":27930,"tags":77420,"thumbUrl":77421,"material":692,"size":1293,"collection":84,"collections":77422,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},290903,"zeng-cang-ying-wen-zhou-zhao-meng-fu-290903","憎苍蝇文轴",[64,165,133,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F862c4b5dcaef9448c16bad656ff68a92.jpg",[],{"id":77424,"slug":77425,"title":77426,"dynasty":18,"author":223,"museum":300,"description":77427,"tags":77428,"thumbUrl":77429,"material":692,"size":1293,"collection":84,"collections":77430,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},290763,"zhi-shan-shui-zhou-yi-ming-290763","织山水轴","此作以织纹晕染湖山，远景高峰崔嵬，浅绛轻敷石色，留白作云气萦回于峰峦洲渚间，澹宕空蒙，咫尺见千里之遥。\n\n近景崖岸盘曲，古木虬枝探向湖面，崖畔草亭幽寂，隐者凭栏观水，滩头扁舟系泊，板桥横卧浅波。\n织造肌理让山石林木自带温润质感，设色清雅柔丽，将林泉高致的隐逸意趣融在静穆烟景里，尽显幽淡从容的林下风流。",[164,24,7,165,27,29,130,129,98,99,331,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cf284ed8a5638a85cbbd824d7272bc5.jpg",[],{"id":77432,"slug":77433,"title":77434,"dynasty":18,"author":223,"museum":244,"description":77435,"tags":77436,"thumbUrl":77438,"material":173,"size":77439,"collection":84,"collections":77440,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},290755,"chang-sheng-fa-hui-tu-zhou-yi-ming-290755","长生法会图轴","此图画佛教西方极乐世界，云掩宝塔、宝树，菩萨、诸天群集。主尊为无量寿佛，结跏趺坐于须弥台上。台前绘有往生者合十跪拜，引路菩萨则弯腰礼拜。全图人物各尽姿态之变化，脸部晕染，具立体感。陪衬的景物显得绮丽繁缛，构成华美庄严的神圣世界。这种极乐世界图又名长生法会。 本幅无作者名款，依画风看来，完成时间约在元至早明之间",[24,165,164,7,187,18381,27,28,96,97,77437,7220],"法会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41eb3871855e059b35a3fbf7db1a34ba.jpg","190.4x90.4",[],{"id":77442,"slug":77443,"title":77444,"dynasty":144,"author":569,"museum":300,"description":27930,"tags":77445,"thumbUrl":77446,"material":692,"size":1293,"collection":84,"collections":77447,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},290731,"ma-zhou-zhao-meng-fu-290731","马轴",[24,165,7,101,949,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88223ac4953ca40160a5216f841a37de.jpg",[],{"id":77449,"slug":77450,"title":77451,"dynasty":54,"author":77452,"museum":300,"description":77453,"tags":77454,"thumbUrl":77455,"material":692,"size":1293,"collection":84,"collections":77456,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},290578,"song-mei-qing-yun-tu-zhou-zhang-peng-chong-290578","松梅清韵图轴","张鹏翀","张鹏翀（1688～1745）清代画家。字天扉，一作天飞，号抑斋、南华山人、南华散仙，人谓之漆园散仙。崇明（今属上海市）人，居嘉定（今属上海）。幼年多病，资性滞钝。十七岁时开悟，遍读经史，精通诗文绘画，才思敏捷，命题咏，可应声立就，时人比之为古代东方朔、苏轼。作画亦顷刻能尽数纸。爱佳山水，常裹粮往游。\n雍正五年（1727）进士，官至詹事府詹事。曾以所作《经史法戒诗》《万寿圣德诗》《十慎箴》《春林淡霭图》《日长山静》画扇进献乾隆帝。帝亦曾以御画《松竹图》、御书“双清阁”匾额，以及笔砚、纱缎、绒貂之类赐之。在朝所进诗，及与诸同僚和者，不下数百篇。\n乾隆十年（1745），以省墓请假归乡，帝赐白金百两， 御制五律一章，以宠其行，行至山东临清以病卒。",[24,164,7,165,29,372,371,98,131,27,132,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f332a306f0042f842c1e355679df5e1.jpg",[],{"id":77458,"slug":77459,"title":77460,"dynasty":54,"author":77461,"museum":300,"description":77462,"tags":77463,"thumbUrl":77464,"material":692,"size":1293,"collection":84,"collections":77465,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},290455,"xing-shu-ye-lao-zhi-bian-290455","行书页","劳之辩","劳之辨（1639-1714）字书升，晚号介岩、介庵，浙江石门县南津乡安邱里（今浙江省桐乡市崇福镇民利村）人，清朝大臣。康熙三年进士，选庶吉士，授户部主事，迁礼部郎中。出为山东提学道佥事，报满，左都御史魏象枢特疏荐之，迁贵州粮驿道参议。师方下云南，羽书旁午，之辨安设驿马以利塘报；复以军米运自湖南，苦累夫役，白大府停运，就地采购，供亿无匮。二十四年，擢通政使参议，迁兵部督捕理事官。连遭亲丧。服阕，起故官。洊擢左副都御史，数有建白。",[23,64,133,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08a9aae2482fff487c3b4bb75ee33acb.jpg",[],{"id":77467,"slug":77468,"title":77469,"dynasty":144,"author":569,"museum":300,"description":77470,"tags":77471,"thumbUrl":77473,"material":692,"size":1293,"collection":84,"collections":77474,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},290412,"zhang-zong-guan-mu-zhi-ming-zhao-meng-fu-290412","张总管墓志铭","墓志是中国古代丧葬制度持续发展的产物，有固定的形制和专门的文体，主要记述死者姓名、卒年和生平事迹。墓志滥觞于秦汉之际，发展于魏晋，完善于北魏，兴盛于唐，延续至明清，经历了由砖造墓志到石刻墓志，由碑形墓志到方形墓志的发展历程。（碑的起源早于墓志，先有碑，后有志，两者在文化上有渊源关系。）",[23,64,25,572,938,77472,208,7],"墓志铭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F322dfb616ab78a8fba8e8260177fd5dd.jpg",[],{"id":77476,"slug":77477,"title":77478,"dynasty":144,"author":569,"museum":300,"description":27930,"tags":77479,"thumbUrl":77480,"material":692,"size":1293,"collection":84,"collections":77481,"showCount":11,"zanCount":1998,"manualWeight":48,"mainColor":72},290409,"shi-wen-juan-zhao-meng-fu-290409","诗文卷",[23,164,24,7,25,64,133,77478,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb4c44114d59c9ec8af4de4b31cf377.jpg",[],{"id":77483,"slug":77484,"title":77485,"dynasty":18,"author":15500,"museum":300,"description":77486,"tags":77487,"thumbUrl":77488,"material":692,"size":1293,"collection":84,"collections":77489,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},290334,"yan-shan-xu-bie-zhou-zhao-zong-han-290334","雁山叙别轴","赵宗汉，中国汉族人，北宋宗室，字献甫。初嗣濮王，谥孝简，追封景王。他是宋太宗赵炅的曾孙、商恭靖王赵元份之孙、濮安懿王赵允让之子、宋英宗赵曙之弟。为人博雅该洽，无他嗜好，唯诗、书足是习，法度自守，兼工画芦、雁，有思致。尝作八雁图，有江湖荒远之趣。",[164,24,7,165,27,132,29,496,34,97,130,690,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31744f031a3116a1471c13b2041424cc.jpg",[],{"id":77491,"slug":77492,"title":77493,"dynasty":18,"author":223,"museum":300,"description":10087,"tags":77494,"thumbUrl":77496,"material":692,"size":1293,"collection":84,"collections":77497,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},290286,"ke-si-rong-tang-xi-lu-zhou-yi-ming-290286","缂丝蓉塘戏鹭轴",[164,24,7,165,1944,234,27,61,9318,373,81,3837,77495],"流云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6e6b3e765e9e7fc9b3da77541f33c0e.jpg",[],{"id":77499,"slug":77500,"title":77501,"dynasty":144,"author":569,"museum":300,"description":27930,"tags":77502,"thumbUrl":77503,"material":692,"size":1293,"collection":84,"collections":77504,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},290282,"cai-shen-tu-ba-ce-ye-zhao-meng-fu-290282","采神图跋册页",[164,7,59,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F055adfbe08119a726488d4e06dde4104.jpg",[],{"id":77506,"slug":77507,"title":77508,"dynasty":18,"author":223,"museum":300,"description":64532,"tags":77509,"thumbUrl":77510,"material":692,"size":1293,"collection":84,"collections":77511,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},290251,"ping-hu-xue-ji-tu-yi-ming-290251","平湖雪霁图",[164,24,7,1131,128,29,1813,9807,34,387,20575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13613725d654c3c03724561843e7c5ad.jpg",[],{"id":77513,"slug":77514,"title":77515,"dynasty":54,"author":38280,"museum":300,"description":77516,"tags":77517,"thumbUrl":77518,"material":692,"size":1293,"collection":84,"collections":77519,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},290205,"xi-qiao-tu-tao-yuan-tu-cheng-shan-qian-wei-qiao-290205","溪桥图、桃源图成扇","钱维乔（1739-1806）清文学家、戏曲家。字树参，季木，小字阿逾，号曙川，又号竹初，半园、半竺道人、半园逸叟、林栖居士等。江苏武进人。乾隆十年状元钱维城之弟。乾隆二十七年（一七六二）举人。曾讲学于如皋露香草堂，门前种竹，自号竹初居士。",[1131,24,7,27,29,98,99,34,209,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef567c317f4d6bcbc538b6b969bc701.jpg",[],{"id":77521,"slug":77522,"title":77523,"dynasty":54,"author":223,"museum":300,"description":77524,"tags":77525,"thumbUrl":77528,"material":692,"size":1293,"collection":84,"collections":77529,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},290179,"bao-wen-zheng-xiao-xiang-li-zhou-yi-ming-290179","包文正肖像立轴","此作为工笔肖像，以宋官展脚幞头开篇，乌漆横展的长脚衬得身姿端方刚正。淡赭衣袍以匀净挺括的铁线勾勒形制，朱红衬领与腰绦点明朝官仪制，沉稳色调烘托出肃穆气场。\n\n人物清癯面庞上，长髯垂胸，眉目含威却不失清正，双手持笏身姿凝定，将包拯铁面沉毅、心怀苍生的贤臣气度尽显。引首题满赞辞，暗合后世对其刚直不阿的追慕。全作弃绝繁饰，以写实笔触还原古人心目中的清官形貌，用内敛色彩与凝练线条，将廉明公正的精神风骨晕染开来，是寄寓先贤气节的肖像佳作。",[23,24,7,165,27,96,28,77526,77527],"包拯","清官","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc197cae675b6c06d40c60aece7b94c64.jpg",[],{"id":77531,"slug":77532,"title":77533,"dynasty":144,"author":569,"museum":300,"description":27930,"tags":77534,"thumbUrl":77535,"material":692,"size":1293,"collection":84,"collections":77536,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},289919,"zhi-ji-zong-yuan-xin-zha-juan-zhao-meng-fu-289919","致季宗元信札卷",[23,164,64,7,25,133,51559,208,10762,17347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ecb9127a45d081ca8d6431c4726ee0.jpg",[],{"id":77538,"slug":77539,"title":77540,"dynasty":54,"author":46783,"museum":300,"description":46784,"tags":77541,"thumbUrl":77543,"material":692,"size":1293,"collection":84,"collections":77544,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},289913,"shan-shui-shi-hua-tu-ce-gu-he-qing-289913","山水诗画图册",[24,7,59,128,27,29,371,211,77542,12634],"木桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c71a558eb09f676ef753c68dca4b674.jpg",[],{"id":77546,"slug":77547,"title":77548,"dynasty":222,"author":223,"museum":300,"description":77549,"tags":77550,"thumbUrl":77552,"material":692,"size":1293,"collection":84,"collections":77553,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},289575,"qian-fo-xiang-yi-ming-289575","千佛像","以坛城为骨格，中心五佛安坐莲台，法相端严沉静。四方回廊错落排布诸佛造像，铁线白描简约洗练，未施敷彩却尽显法度。每尊造像形制统一又暗含细节差别，可见绘制者对佛教仪轨熟稔于心。\n此稿作为造像范式的底本，以朴素的线条承载庄严的信仰，藏地佛教美术的沉静意趣尽在其中，静静沉淀着信仰的温度，让观览者于素白线条间触摸到虔敬的力量。",[23,187,188,7220,77551,6318,7],"千佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e5f8e8260c0d9cd9c479e00d4c4ff16.jpg",[],{"id":77555,"slug":77556,"title":77557,"dynasty":54,"author":29662,"museum":300,"description":32120,"tags":77558,"thumbUrl":77559,"material":692,"size":1293,"collection":84,"collections":77560,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},288339,"shan-shui-tu-fang-yong-rong-288339","山水图(仿)",[24,7,164,165,330,27,132,29,131,99,34,387,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09ecface8233be70ac1254894a6345a5.jpg",[],{"id":77562,"slug":77563,"title":77564,"dynasty":54,"author":223,"museum":300,"description":77565,"tags":77566,"thumbUrl":77569,"material":692,"size":1293,"collection":84,"collections":77570,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},288318,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-xiao-sheng-xian-huang-hou-yi-ming-288318","历代帝王贵妃大臣朝服像(孝圣宪皇后)","此作工笔细腻写实，将主人端庄沉静的仪态尽显无余。画师以精妙笔触晕染面容，神态慈和威严，还原出人物的尊贵气度。朝服纹样繁复华丽，蓝底衬以金线龙纹，腾云驾雾栩栩如生，江崖海水纹饰工整细致，绣法精妙绝伦，尽显皇家服饰的华贵规制。头顶朝冠、项下朝珠搭配严整，珠玉色泽莹润分明，层次饱满丰富。整体设色富丽雅致，构图端方稳重，既恪守宫廷肖像画的严谨范式，又将人物身份尊崇之感烘托到极致，是清代肖像画中兼具纪实性与艺术性的上乘之作。",[23,24,7,165,27,28,96,77567,14416,772,77568],"后妃","宫廷肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faea8bfdb472ffe17c73c385092280157.jpg",[],{"id":77572,"slug":77573,"title":77574,"dynasty":54,"author":223,"museum":300,"description":77575,"tags":77576,"thumbUrl":77577,"material":692,"size":1293,"collection":84,"collections":77578,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},288316,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-xiao-gong-ren-huang-hou-yi-ming-288316","历代帝王贵妃大臣朝服像(孝恭仁皇后)","此作工笔精谨，将皇后仪范尽致描摹。主尊神态端静温婉，面庞刻画细致入微，妆容典正合于宫规。石青朝服团龙暗纹隐现，肩缘行龙鲜活灵动，织绣技法精妙，配色沉穆华贵，礼制细节分毫毕现。身下坐毯云龙缠枝，纹样繁密富丽，衬出皇家尊崇地位。整幅恪守宫廷肖像范式，以细腻笔触还原帝后仪容气度，将清代服饰礼制与工笔肖像的精湛工艺相融，尽显雍容肃穆的皇家威仪，处处彰显出宫廷绘画的严谨匠心。",[23,24,7,27,28,96,772,170,14416,31431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2dbe0fb00235521de8b6884ca04506e.jpg",[],{"id":77580,"slug":77581,"title":77582,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":77583,"thumbUrl":77584,"material":692,"size":1293,"collection":84,"collections":77585,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},288282,"fang-zhao-ling-rang-chun-shan-cui-ai-tu-dong-bang-da-288282","仿赵令穰春山翠霭图",[24,164,7,165,27,29,330,98,99,129,97,209,34,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f0b89e65691ba05617b730761be09fa.jpg",[],{"id":77587,"slug":77588,"title":77589,"dynasty":124,"author":7003,"museum":300,"description":49321,"tags":77590,"thumbUrl":77591,"material":692,"size":1293,"collection":84,"collections":77592,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},288238,"yun-jiang-ji-zhu-yun-ming-288238","云江记",[64,840,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a9a49ed6e47b247c8de1b977b315628.jpg",[],{"id":77594,"slug":77595,"title":77596,"dynasty":124,"author":1438,"museum":300,"description":13247,"tags":77597,"thumbUrl":77598,"material":692,"size":1293,"collection":84,"collections":77599,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},288047,"wu-yan-lv-shi-shan-mian-chen-chun-288047","五言律诗扇面",[1131,64,840,24,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e7cf9a8a7c1f48fd65267ce4178706a.jpg",[],{"id":77601,"slug":77602,"title":77603,"dynasty":54,"author":29662,"museum":300,"description":32120,"tags":77604,"thumbUrl":77605,"material":692,"size":1293,"collection":84,"collections":77606,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},288031,"shan-shui-tu-qiu-shan-xuan-pu-yong-rong-288031","山水图(秋山悬瀑)",[164,24,7,165,27,128,29,495,98,99,97,34,131,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc81d9205c807acc12b3681924f7f2bcf.jpg",[],{"id":77608,"slug":77609,"title":34051,"dynasty":124,"author":10922,"museum":300,"description":42506,"tags":77610,"thumbUrl":77611,"material":692,"size":1293,"collection":84,"collections":77612,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},288017,"zhu-yuan-feng-seng-tu-wen-jia-288017",[23,1131,24,7,29,167,130,1337,131,98,58122,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f7ea4709b9ab5e7b53c43d75a7ab9c3.jpg",[],{"id":77614,"slug":77615,"title":53290,"dynasty":124,"author":53291,"museum":300,"description":77616,"tags":77617,"thumbUrl":77618,"material":692,"size":1293,"collection":84,"collections":77619,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},288007,"luo-han-tu-juan-wu-xin-dao-ren-288007","此作用大笔泼墨晕染山林，苍莽朴拙间，数位罗汉错落其间，或振臂激昂，或趺坐冥思，神态各异形神兼备，以极简水墨勾勒出罗汉超脱世俗的禅意风姿。\n整卷书画合璧，行草题跋笔力雄健纵恣，与写意绘卷相得益彰，将晚明大写意的疏狂意气与禅门静穆相融，虚实相生间，尽显禅画的野逸灵动，是文人禅意水墨中极具个性的出彩之作。",[23,24,25,7,164,128,6318,25926,18331,18381,131,772,64,840,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F498755737a85196581fa3ba2fd9ddff4.jpg",[],{"id":77621,"slug":77622,"title":53076,"dynasty":54,"author":223,"museum":300,"description":77623,"tags":77624,"thumbUrl":77626,"material":692,"size":1293,"collection":84,"collections":77627,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},287998,"hang-cheng-xi-hu-jiang-gan-hu-shu-tu-yi-ming-287998","此作是全景式古舆图，兼融纪实功用与文人笔意。\n上方绘就湖山胜景：层峦叠翠间林木蓊郁，烟水萦回处亭榭错落，将湖光山色的灵秀雅致晕染开来；下方铺陈城郭全貌：街巷里坊鳞次栉比，水陆驿道经纬交织，把市井烟火的繁阜日常细致铺展。\n它以山水画的写意笔法绘就地理格局，没有冰冷的测绘标尺，却以疏密线条与晕染皴擦，精准还原湖城相依的地缘肌理，既可考稽往昔城坊风貌，亦带着江南水墨的温婉意趣，是实用与审美合二为一的佳作。",[23,24,7,164,27,29,95,7068,97,34,32,31,77625],"城市风貌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f1510598a460c8c71b4f8489d21fef0.jpg",[],{"id":77629,"slug":77630,"title":77631,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":77632,"thumbUrl":77633,"material":692,"size":1293,"collection":84,"collections":77634,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},287953,"chi-bi-sheng-you-tu-yuan-tu-wen-zheng-ming-287953","赤壁胜游图(原图)",[23,164,24,7,25,133,64,27,29,129,99,211,6093,23207,1421],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007377e715f6141477623b2ea37e4d5b.jpg",[],{"id":77636,"slug":77637,"title":77638,"dynasty":54,"author":29876,"museum":300,"description":29877,"tags":77639,"thumbUrl":77640,"material":692,"size":1293,"collection":84,"collections":77641,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":956},287932,"qi-yan-shi-fu-shan-287932","《七言诗》",[23,64,840,165,7,66628],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd8e543de6873d5035b0cfc54601d43f.jpg",[],{"id":77643,"slug":77644,"title":77645,"dynasty":124,"author":125,"museum":300,"description":6472,"tags":77646,"thumbUrl":77647,"material":692,"size":1293,"collection":84,"collections":77648,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},287680,"wei-han-wen-shi-shen-zhou-287680","为汉文诗",[164,24,7,1131,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff964fb31d0907c4ee7abef76e8b20046.jpg",[],{"id":77650,"slug":77651,"title":77652,"dynasty":144,"author":569,"museum":300,"description":27930,"tags":77653,"thumbUrl":77654,"material":692,"size":1293,"collection":84,"collections":77655,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},287538,"bai-bi-ju-zhao-meng-fu-287538","白鼻驹",[24,7,128,96,101,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24216b7a685cb3cc77d5b2f81edb5252.jpg",[],{"id":77657,"slug":77658,"title":77659,"dynasty":124,"author":19170,"museum":300,"description":59753,"tags":77660,"thumbUrl":77661,"material":692,"size":1293,"collection":84,"collections":77662,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},287442,"qiu-jiang-lun-dao-tu-ding-yun-peng-287442","秋江论道图",[1131,24,7,27,29,96,34,99,35,208,132,48505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa9414f96ce5c74dd7c82367b21521f.jpg",[],{"id":77664,"slug":77665,"title":77666,"dynasty":124,"author":2268,"museum":300,"description":77470,"tags":77667,"thumbUrl":77668,"material":692,"size":1293,"collection":84,"collections":77669,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},283763,"xiang-mo-lin-mu-zhi-ming-juan-dong-qi-chang-283763","项墨林墓志铭卷",[23,164,7,25,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f63c6d04058903007bd5b0f7c73808b.jpg",[],{"id":77671,"slug":77672,"title":77673,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":77674,"thumbUrl":77676,"material":692,"size":1293,"collection":84,"collections":77677,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},283740,"yan-ran-shan-ming-juan-dong-qi-chang-283740","燕然山铭卷",[23,164,25,64,133,7,77675,208],"铭文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7943cb4f682124644ffd3e9c23be0df.jpg",[],{"id":77679,"slug":77680,"title":77681,"dynasty":54,"author":223,"museum":300,"description":77682,"tags":77683,"thumbUrl":77684,"material":692,"size":1293,"collection":84,"collections":77685,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},270204,"zong-zhu-gu-hui-qin-wang-shu-hua-ying-xi-tu-mian-zhe-shan-yi-ming-270204","棕竹股惠亲王书画婴戏图面折扇","此作以浅设色绘就婴戏小景，左侧古木虬曲苍劲，新叶扶苏，晕染出清润雅致的氛围。数位稚童神态灵动鲜活，簇拥着戴冠执礼的红衣幼童嬉闹游玩，衣饰敷色明快柔妍，将孩童烂漫天真的嬉游之态尽数铺陈。\n\n右侧留白晕染出朦胧庭院一角，虚实相生，更衬画面悠然松弛的意趣。整体笔致秀雅简淡，设色清新柔润，将日常稚趣融于扇面方寸间，尽显清逸雅致的文玩意韵，是颇具情致的婴戏小品佳作。",[1131,24,7,27,96,8832,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75988733ac15ff857814a3ee48481e16.jpg",[],{"id":77687,"slug":77688,"title":77689,"dynasty":18,"author":223,"museum":300,"description":77690,"tags":77691,"thumbUrl":77692,"material":692,"size":1293,"collection":84,"collections":77693,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":199},269048,"ke-si-qing-bi-shan-shui-tu-zhou-yi-ming-269048","缂丝青碧山水图轴","此作用缂丝之技摹绘山水，上下分景各有意趣。远景烟波浩渺，青嶂层叠隐现于云霭之间，淡色晕染出空濛辽远的平林水色，尽现江天寥廓。近岸古木虬曲苍劲，枝桠舒展自带荒寒意趣，浅滩乱石错落排布，一叶扁舟横卧波上，幽寂闲雅。青碧主调柔和雅致，丝缕间织就淡远萧散的宋韵山水，将林泉高致藏于尺幅，静穆间尽显文人山水的悠远意境。",[24,7,165,164,26,27,29,331,99,129,1944],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff23a4a1ed590ae71d1a71fde4a4e8690.jpg",[],{"id":77695,"slug":77696,"title":77697,"dynasty":54,"author":223,"museum":300,"description":10087,"tags":77698,"thumbUrl":77699,"material":692,"size":1293,"collection":84,"collections":77700,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},267676,"ke-si-jiu-lao-tu-zhou-yi-ming-267676","缂丝九老图轴",[24,7,165,1944,27,96,18720,29,34,131,7056],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c29497127b5f3db6b3411dbd8b2aab8.jpg",[],{"id":77702,"slug":77703,"title":77704,"dynasty":54,"author":223,"museum":300,"description":77705,"tags":77706,"thumbUrl":77708,"material":692,"size":1293,"collection":84,"collections":77709,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},267674,"mi-se-ling-di-xiu-xue-jing-tan-mei-tu-zhou-yi-ming-267674","米色绫地绣雪景探梅图轴","此作以绣为笔，摹绘冬日雪岭孤寒之景。高岭覆雪素白如练，寒枝枯槎遍凝霜华，远景烟岚漫过山峦，留白晕染出清旷冷寂的冬日氛围。谷间山道盘绕，行旅人三两错落，暖艳衣色破开天地银白，策蹇徐行者似正奔赴梅林，负囊赶路的伴当衬出雅游之趣。\n\n针线追摹笔墨意趣，以米绫为底晕开雪色层次，淡青暗衬山石肌理，将荒寒冬景与探梅寻幽的暖融雅意相融，静穆萧索中暗藏生趣，把冬日寻幽的清冷闲情尽藏在细密针脚间。",[24,165,7,13534,1813,29,96,101,1337,690,77707,27,31629],"探梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffede4c08cc2158f24bbc8c7152d4f8d2.jpg",[],{"id":77711,"slug":77712,"title":77713,"dynasty":54,"author":7208,"museum":300,"description":45366,"tags":77714,"thumbUrl":77715,"material":692,"size":1293,"collection":84,"collections":77716,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},241681,"ju-yi-shou-zi-tiao-qian-long-241681","菊一首字条",[7,133,64,208,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc31af368f2cf81ba4972ca742eb84b4.jpg",[],{"id":77718,"slug":77719,"title":77720,"dynasty":54,"author":29876,"museum":300,"description":29877,"tags":77721,"thumbUrl":77722,"material":692,"size":1293,"collection":84,"collections":77723,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},241663,"zha-juan-fu-shan-241663","札卷",[23,7,25,64,133,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b204ac643579e0ea6003635e1c1f402.jpg",[],{"id":77725,"slug":77726,"title":77727,"dynasty":124,"author":223,"museum":300,"description":77728,"tags":77729,"thumbUrl":77730,"material":692,"size":1293,"collection":84,"collections":77731,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},241450,"wang-duo-wu-lv-guo-tong-lu-xian-shi-zhou-yi-ming-241450","王铎五律过桐庐县诗轴","此作用笔纵逸雄健，行书间裹挟草书跌宕气势。起笔沉凝，字形欹侧相生，随文势舒张，枯湿浓淡变幻自然，焦墨处老辣苍劲，润笔时圆厚饱满。\n\n章法三列排布，字距疏密错落，行气如奔涌长河，将漫游的旷达襟怀寄寓线条。笔势擒纵提按间尽显豪放意趣，线条盘旋缠绕却不失法度，把文人诗意与书法风骨相融，尽显笔法功力与书家胸臆，是极具抒情性的书法佳构。",[805,64,133,165,128,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2b852dadc43c4d580a42ca4772f4ab3.jpg",[],{"id":77733,"slug":77734,"title":77735,"dynasty":54,"author":39608,"museum":20,"description":77736,"tags":77737,"thumbUrl":77738,"material":611,"size":84,"collection":318,"collections":77739,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},241408,"tao-yuan-xing-ju-zhou-qian-feng-241408","桃源行句轴","钱沣（1740—1795），字东注，一字约甫，号南园，云南昆明人，清代大臣、书画家。\n钱沣所处时代，是满朝上下皆学董其昌书法的时代，而惟有他对鲁公情有独钟。平生仰慕颜真卿为人，书亦法之，得其神而不袭其貌，堪称学颜第一人。大楷临摹《颜氏家庙碑》、《告身墨》、《中兴颂》、《麻姑仙坛记》、《东方画像赞》；行草从颜真卿《争座位稿》、《祭侄文》、《十二意》入手,晚年以颜为本，参以欧、褚笔法，行笔颇为沉着痛快，亦有八面出锋之势，苍劲雄健，耐人寻味；小楷则博采众家之长，习过王羲之、王献之、钟绍京等历代书家的精品。晚年还得益于褚遂良、米芾书法的精髓。钱书小楷刚健婀娜；大楷笔力遒劲，力透纸背；行书、草书风神独绝。他学习古人而迈出古人的法度，自成一家。",[7,133,64,165,209,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05ea4840fd81f22be3627cdc3857390d.jpg",[318],{"id":77741,"slug":77742,"title":77743,"dynasty":54,"author":77744,"museum":300,"description":77745,"tags":77746,"thumbUrl":77747,"material":692,"size":1293,"collection":84,"collections":77748,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},241406,"lu-wen-zhou-fan-yong-qi-241406","录文轴","范永祺","范永祺，清代藏书家。著名藏书家范钦后人，乾隆五十一年举人，工篆隶、刻印，从事以藏图籍为生，特别注重收藏明人尺牍真迹，据《鄞县通志》记载： 自硕辅名儒、忠臣、文士、孝子、闺阁秀媛及世外僧道，无不收录。并考其时代、礼冠、品行、道义，一一作序。此外亦精于篆刻。去世后，藏书和书画尺牍流转于书贩之手。",[64,21937,165,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d8cbaaee900c98122ca89bbc9940416.jpg",[],{"id":77750,"slug":77751,"title":66778,"dynasty":54,"author":15720,"museum":300,"description":15721,"tags":77752,"thumbUrl":77753,"material":692,"size":1293,"collection":84,"collections":77754,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},241391,"zhuan-shu-lu-wen-zhou-ai-xin-jue-luo-yong-xing-241391",[304,7,165,938,64,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F871afcc2daeeed8e83d92b675577de64.jpg",[],{"id":77756,"slug":77757,"title":58919,"dynasty":54,"author":77758,"museum":300,"description":77759,"tags":77760,"thumbUrl":77761,"material":611,"size":84,"collection":318,"collections":77762,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},241378,"qi-jue-zhou-yang-bin-241378","杨宾","杨宾（1650年－1720年），字可师，号大瓢、耕夫，山阴（今浙江绍兴）人。生于顺治七年，卒于康熙五十九年。\n少聪慧，八岁能擘窠书。及长，工诗古文，不乐仕进。年十三时，父杨越坐累戍宁古塔，与弟宝请代不许，乃间关往诗。父殁，例不归葬，宾走京师，日哀诉于当道，因得迎母奉父柩归。康熙十七年（1678）侨寓吴门，巡抚举应“博学鸿儒”科，力辞去。\n杨宾侍父戍所时，习其地理沿革，出川道里、风土人情，著《柳边纪略》，为世所称。另著有《塞外诗》三卷、《大瓢偶笔》八卷、《杂文》一卷及《力耕堂诗稿》等。",[64,24,7,165,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F299671f1dcc496b78e35e0291f51d16a.jpg",[318],{"id":77764,"slug":77765,"title":77766,"dynasty":124,"author":77767,"museum":300,"description":77768,"tags":77769,"thumbUrl":77770,"material":692,"size":1293,"collection":84,"collections":77771,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},241299,"qi-gu-juan-huang-ai-241299","七古卷","黄哀","此作用笔纵逸洒脱，草书笔势连绵缠绕，行气贯通全篇。墨色干湿浓淡相映，线条粗细变化自然随性，牵丝映带间尽显灵动韵律。字势欹正相生，章法疏密错落，通篇一气呵成，将禅诗的空寂禅思寄寓于跌宕笔墨中。\n\n笔墨间带着疏放的写意风神，点画奔涌间裹挟着文人清雅意气，把诗文禅理与书法韵律相融，下笔爽利劲挺，收放自如，将诗句里的出尘禅味化作笔下流转的线条，尽显潇洒超逸的书卷气度。",[164,24,7,25,133,840,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dba1bf6bc46a4e83431cbdf824a31c8.jpg",[],{"id":77773,"slug":77774,"title":77775,"dynasty":54,"author":77776,"museum":300,"description":77777,"tags":77778,"thumbUrl":77779,"material":692,"size":1293,"collection":84,"collections":77780,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},241249,"shou-shi-zhou-li-guang-di-241249","寿诗轴","李光地","李光地（1642年9月29日—1718年6月26日），字晋卿，号厚庵，别号榕村，福建泉州府安溪（今福建安溪）人。清代康熙朝大臣，理学名臣。\n康熙九年（1670年）中进士，历任翰林院编修、翰林学士、兵部右侍郎、直隶巡抚，协助平定“三藩之乱”、“统一台湾”，康熙四十四年（1705年），拜文渊阁大学士兼吏部尚书。\n康熙五十七年（1718年），因疝疾速发，卒于任所，享年七十七岁，谥号“文贞”。雍正元年（1723年），加赠太子太傅，入祀贤良祠。著有《历像要义》《四书解》《性理精义》《朱子全书》等书。",[7,165,133,64,208,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c33c4ebfece4dace39fb1c401a03c9e.jpg",[],{"id":77782,"slug":77783,"title":77784,"dynasty":54,"author":33617,"museum":300,"description":77785,"tags":77786,"thumbUrl":77787,"material":611,"size":84,"collection":318,"collections":77788,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},241069,"yang-ri-bu-shou-xu-ji-zha-juan-xu-fang-241069","杨日补寿序及札卷","徐阶（1503年－1583年），字子升，号少湖，一号存斋，直隶松江府华亭县（今上海市松江区）人[1][2]，是明代政治家、文学家及思想家，官至内阁首辅、吏部尚书、建极殿大学士。\n徐阶自幼善于读书，少年时期结识阳明学江右学派门人聂豹。他十八岁时乡试中举，弱冠之年于殿试中为探花，受到杨廷和极高的赞赏。嘉靖早年张璁执掌朝廷时，徐阶直言反对张璁的提议，被贬出京城。当时嘉靖帝因此刻石说“徐阶小人，永不录用”，而徐阶在地方督学十数年后，在夏言的帮助下回到京城。徐阶回京后先主事国子监数年，在内结识杨继盛等谏臣，随后辗转六部之间。他先后主事礼部、吏部、翰林院等重要机构，在翰林院结识了后来的重臣张居正、高拱等学生。\n徐阶随后依靠其出众的青词入直无逸殿，冷静处理了危在旦夕的庚戌之变，期间以礼部尚书之职负责北京城防，拖延敌军，成功保护京城不被攻入。他又改革了吏部、礼部、太医院所存在的旧弊，提高了他们的办事效率。于嘉靖三十一年入阁后徐阶因严嵩独断朝政，隐忍多年，最终取代严嵩的首辅之位，尽反严嵩之政[3]，试图以“三语”政纲改良内阁的运作现状。嘉靖末，徐阶成功劝阻皇帝南幸承天府，叫停当地大兴土木；帝弥留之际，徐阶又劝其停服丹药，并将左右方士和相勾结的太监一体斩决。嘉靖驾崩后徐阶拟写了《嘉靖遗诏》和《隆庆登极诏》，在两张诏书下达后，朝野大臣都举手相贺，将此举和杨廷和所拟《嘉靖登极诏》被统称为正始正终第一政。但是，明人支大纶却批评徐阶说他只是依靠玄奇的青词入直，在任期间献媚讨好他人，没有做出任何政绩，只有到了隆庆时期才有所改善。\n嘉靖死后，由于早年辅佐穆宗有功，隆庆年间徐阶依旧担任首辅，他多次调和穆宗和外廷的矛盾，在两年中多次上疏阻止宦官（中官）获得更多的权力，于隆庆二年成功引退致仕。徐阶共入内阁十七年，元辅七年，从政长达四十余年，时人誉为“元臣”、“名相”。他不但足智多谋，本身度量、器识都是上品，受到冯梦龙等人的推崇；现代学者对其则多有争议，也有一些人对他持有肯定态度，如谭平先生认为徐阶对比与其学生张居正，更加沉稳也更少贪恋权位。\n徐阶在任内培养了张居正等后来居上的政治家，在任期间试图改变内阁在朝廷中的位置，对后期内阁制度做出很大影响；同时又试用新晋官员用他的方法教导宦官，试图依靠义理让他们不成为刘瑾等人的后继者，也可以借此改变宦官在朝廷的面貌和作用。另一方面，抗倭寇名将张经被冤杀，以及胡宗宪瘐死狱中，也都是徐阶所一手造就，甚至高拱与张居正日后不和，亦与除阶不无关系。。在徐阶致仕后，由于家中子弟作恶多端，徐阶被牵扯其中，多次与牢狱只有毫厘之差，甚至不得不致书好友求救，高拱等人同时又以旧案诘难徐阶。直到万历十一年，徐阶于华亭家中逝世，赠太师、谥文贞",[54,64,7,25,133,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2edcd8c185ef437e2fb3c3df1b6bfd6.jpg",[318],{"id":77790,"slug":77791,"title":77792,"dynasty":144,"author":77793,"museum":300,"description":77794,"tags":77795,"thumbUrl":77796,"material":692,"size":1293,"collection":84,"collections":77797,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":199},240935,"zhao-meng-pan-miao-fa-lian-hua-jing-ce-juan-wu-zhao-you-chen-240935","赵孟頖，妙法莲花经册卷五","赵由宸","赵由宸，字明仲，号云石道人，居歸安縣崇禮鄉建德里。孟頫五兄孟頖之子。",[7,59,187,7322,572,128,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaf5c3b122e9d4e026bd58a8c480b162.jpg",[],{"id":77799,"slug":77800,"title":77801,"dynasty":124,"author":77802,"museum":300,"description":77803,"tags":77804,"thumbUrl":77805,"material":611,"size":84,"collection":318,"collections":77806,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},240859,"wu-jue-yi-shou-zhou-wang-heng-240859","五绝一首轴","王衡","王衡（1562年10月6日―1609年3月4日），生于嘉靖四十一年九月九日，卒于万历三十七年正月二十九日。字辰玉，号缑山、别署蘅芜室主人，南直隶苏州府太仓州（今江苏太仓）人。 [1] 万历时期首辅王锡爵之子，明末清初画家王时敏之父。\n万历十六年（1588年）顺天乡试，王衡因是大学士王锡爵之子，且当时首辅申时行的女婿也同时中举。有言官弹劾主试官，认为有作弊嫌疑。虽然王衡在随后的复试中取得第一获准参与会试，但言官们仍不依不饶，为避免父亲王锡爵陷入更大的党争之中。王衡在他父亲执政期间没再参加考试。万历二十九年（1601年），王锡爵致仕后，王衡再次走进科场，以一甲第二名（榜眼）及第，授任翰林院编修。后辞官归隐，中年早卒。\n王衡著有《缑山集》等，同时他又是明代南剧的名家，编写有《郁轮袍》、《真傀儡》、《没奈何》等杂剧名篇。\n明嘉靖四十年（1561年），王衡出生于官宦家庭。其父王锡爵为万历年间的大学士、内阁首辅，其母为朱氏。王衡从小聪颖过人，又好学博记，尤好古文诗歌，且得名师教导，并从同乡同姓的大文豪王世贞处学习诗文，故《列朝诗集小传》就称他“学殖益富，能诗善书，散华落藻，名动海内”。\n万历五年（1577年），发生的张居正夺情事件，更是让少年王衡在当时名满天下。陈继儒在《太史辰玉集叙》中道：“初江陵夺情，文肃公争丧次，救吴、赵两太史，祸叵测。辰玉和《归去来辞》以招之。文肃公持以谓人曰：吾不归，将无为孺子所笑。辰玉方十四，名动京师已。”钱谦益《列朝诗集小传》丁集下《王编修衡》也说王衡“年十四，作《和归去来辞》，以讽江陵，馆阁中争相传写”",[24,7,64,165,840,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f12e510091fd33196201b5b77b9ff86.jpg",[318],{"id":77808,"slug":77809,"title":50743,"dynasty":54,"author":16862,"museum":300,"description":31834,"tags":77810,"thumbUrl":77812,"material":692,"size":1293,"collection":84,"collections":77813,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},240845,"shi-zhou-li-fang-ying-240845",[7,165,133,64,208,48069,2048,4703,22403,77811,101,106],"渠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5141a41c616b5c4177e13d57a8186737.jpg",[],{"id":77815,"slug":77816,"title":77817,"dynasty":124,"author":7003,"museum":20,"description":77818,"tags":77819,"thumbUrl":77820,"material":38626,"size":84,"collection":318,"collections":77821,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":199},240702,"wu-kuan-she-zhi-qu-juan-zhu-yun-ming-240702","无款射雉曲卷","祝允明(1460-1526)，字希哲，长洲人。允明生而枝指，故自号枝山，又号枝指生。五岁作径尺字，九岁能诗，稍长，博览群集，文章有奇气，当筵疾书，思若涌泉。尤工书法，名动海内。",[23,164,24,7,25,64,133,840,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc30610b9a344def6651e5496722c2d9f.jpg",[318],{"id":77823,"slug":77824,"title":77825,"dynasty":54,"author":38900,"museum":300,"description":38953,"tags":77826,"thumbUrl":77827,"material":692,"size":1293,"collection":84,"collections":77828,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},240674,"wu-yan-lian-huang-yi-240674","五言联",[164,24,7,64,10886,21937,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc37e73b821180e1431802b5b6da2867c.jpg",[],{"id":77830,"slug":77831,"title":50743,"dynasty":54,"author":77832,"museum":300,"description":77833,"tags":77834,"thumbUrl":77835,"material":692,"size":1293,"collection":84,"collections":77836,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":199},240613,"shi-zhou-yu-yue-240613","俞樾","俞樾（1821年12月25日—1907年2月5日），字荫甫，自号曲园居士，浙江省德清县城关乡南埭村人。清末著名学者、文学家、经学家、古文字学家、书法家。现代诗人俞平伯的曾祖父，章太炎、吴昌硕、日本井上陈政皆出其门下。清道光三十年（1850年）进士，曾任翰林院编修。\n俞樾后受咸丰皇帝赏识，放任河南学政，被御史曹登庸劾奏“试题割裂经义”，因而罢官。遂移居苏州，潜心学术达40余载。治学以经学为主，旁及诸子学、史学、训诂学，乃至戏曲、诗词、小说、书法等，可谓博大精深。海内及日本、朝鲜等国向他求学者甚众，尊之为朴学大师。所著凡五百余卷，称《春在堂全书》。除《群经平议》五十卷、《诸子平议》五十卷、《茶香室经说》十六卷、《古书疑义举例》七卷外，其《第一楼丛书》三十卷、《曲园俞楼杂纂》共百卷。《清史稿》有传。",[24,7,165,21937,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58d71249932d1697de043778aa5723f4.jpg",[],{"id":77838,"slug":77839,"title":77840,"dynasty":54,"author":77841,"museum":300,"description":77842,"tags":77843,"thumbUrl":77844,"material":692,"size":1293,"collection":318,"collections":77845,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},240519,"shi-ti-huang-shan-tu-ce-yao-wen-yan-240519","诗题黄山图册","姚文焱","清代，字彦昭，江南桐城人。著有《楚游诗》。",[7,59,133,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc28ea1a82afbcb77c5872149522945e8.jpg",[318],{"id":77847,"slug":77848,"title":77849,"dynasty":54,"author":3403,"museum":300,"description":8089,"tags":77850,"thumbUrl":77851,"material":692,"size":1293,"collection":84,"collections":77852,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},240433,"wu-chang-shuo-lin-lie-jie-si-tiao-ping-wu-chang-shuo-240433","吴昌硕临猎碣四条屏",[938,64,7,165,330,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faef486d368cc44295475fc849b529225.jpg",[],{"id":77854,"slug":77855,"title":60702,"dynasty":124,"author":77856,"museum":300,"description":77857,"tags":77858,"thumbUrl":77859,"material":611,"size":84,"collection":318,"collections":77860,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},240260,"wu-lv-zhou-liu-yi-ming-240260","刘翼明","刘翼明（1607-1688），字子羽，号越台，今胶南市琅琊镇刘家村人。生于明万历22年卒于康熙，终年82岁。著名诗人，善书法，才华横溢，倍受王渔洋推崇。《清史稿》《中国人名大词典》《中国美术家大辞典》等均有记载。\n其父刘元化为明万历举人，曾任高陵县、雒川县县令，敕授文林郎。刘翼明为元化之次子。刘翼明才华横溢、文思敏捷，自幼善书画、精书法、工诗文，有“神笔刘子羽”的美称。与当时的名士王无竟有诗坛“刘王”之称。刘翼明学识渊博、为人坦诚，视友人为手足。好友王无竟被仇家杀害，母老弟幼，不能诉讼，胶州知州又收受贿赂，偏袒仇家。于是刘翼明挺身而出为其伸冤。在青州知府衙门前，连续三天不吃不喝，披发连哭三昼夜，迫使知府将案件调出，移交另地审理，使三年冤情得伸，恶人遭到惩处。此事被清人纪圣选编成《青衿侠传奇》词曲，在胶东广为流传。刘翼明所作诗文近千首，其部分诗文被收入《镜庵集》、《北亭诗集》等。",[124,24,7,165,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65518ea77c7a569b309b73fc6d04788c.jpg",[318],{"id":77862,"slug":77863,"title":50743,"dynasty":54,"author":77864,"museum":300,"description":77865,"tags":77866,"thumbUrl":77867,"material":611,"size":84,"collection":318,"collections":77868,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},240199,"shi-zhou-xiang-lin-240199","项琳","项琳（1619年－1670年），字人玉，号太璞，又号完庵，歙人。\n出生于明末丧乱，无意于仕途，游走湖山。受到吴梅村、王士禛赏识。同屠乔孙从《晋书》、《北史》、《魏书》、《册府元龟》、《艺文类聚》、《太平御览》等书中重辑《十六国春秋》百卷，仍托名崔鸿。康熙九年（1670年），殁于江都。另著有《太璞山人集》三卷。",[24,7,64,165,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F193d42cfe1ddc97319d3a1a744f16a87.jpg",[318],{"id":77870,"slug":77871,"title":50743,"dynasty":54,"author":77872,"museum":300,"description":77873,"tags":77874,"thumbUrl":77875,"material":611,"size":84,"collection":318,"collections":77876,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},240195,"shi-zhou-cao-he-240195","曹禾","曹禾（1637—1699）字頌嘉，號未庵，又號峨嵋，江蘇江陰人。\n康熙三年（1664）中癸巳科三甲進士，官內閣中書。康熙十八年（1679）應試博學宏詞，獲二等，授翰林院編修，官至國子祭酒，以事罷歸。曹禾喜縱酒，酷愛圍棋，工詩文，與顏光敏、田雯、宋犖等稱“詩中十子”，著有《未庵初集》、《峨嵋集》等。\n曹颂嘉（禾）祭酒常语余曰：“杜、李、韩、苏四家歌行，千古绝调，然语句时有利钝。先生长句，乃句句用意，无瑕可攻，拟之前人，殆无不及。”余曰：惟句句作意，此其所以不及前人也。四公之诗，如万斛泉源，不择地而出，行乎其所不得不行，止乎其所不得不止。余诗如鉴湖一曲，若放翁、遗山已下，或庶几耳。",[24,7,165,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb389d145c5e0e8ef0a7fb83c08934329.jpg",[318],{"id":77878,"slug":77879,"title":77880,"dynasty":54,"author":38900,"museum":300,"description":38953,"tags":77881,"thumbUrl":77882,"material":692,"size":1293,"collection":84,"collections":77883,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},240149,"si-zi-heng-huang-yi-240149","四字横",[7,64,21937,133,208,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1faf777552d2fcd15997dd2a8d3f113e.jpg",[],{"id":77885,"slug":77886,"title":77887,"dynasty":124,"author":77888,"museum":300,"description":77889,"tags":77890,"thumbUrl":77891,"material":692,"size":1293,"collection":84,"collections":77892,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},240127,"xing-ti-song-ba-jia-shu-ba-ye-xu-nai-pu-240127","行题宋八家书跋页","许乃普","许乃普（1787—1866）浙江钱塘人。字季鸿，一字经厓，别字滇生。钱塘廪生，嘉庆癸酉科拔贡。朝考一等一名，以七品小京官分刑部奉天司行走。嘉庆丙子科顺天乡试第一百一名举人，考补军机章京。庚辰科会试第十三名进士，殿试一甲第二名，赐进士及第，授翰林院编修，充实录馆纂修提调官。",[7,64,133,128,4437,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0feba4f3c35d065ebd5c4bdf8945af96.jpg",[],{"id":77894,"slug":77895,"title":77887,"dynasty":124,"author":77888,"museum":300,"description":77896,"tags":77897,"thumbUrl":77898,"material":611,"size":84,"collection":318,"collections":77899,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},240126,"xing-ti-song-ba-jia-shu-ba-ye-xu-nai-pu-240126","许乃普（1787—1866）浙江钱塘人。字季鸿，一字经厓，别字滇生。钱塘廪生，嘉庆癸酉科拔贡。朝考一等一名，以七品小京官分刑部奉天司行走。嘉庆丙子科顺天乡试第一百一名举人，考补军机章京。庚辰科会试第十三名进士，殿试一甲第二名，赐进士及第，授翰林院编修，充实录馆纂修提调官。\n乾隆五十二年五月初四未时生，同治五年(1866)卒，御赐祭葬，谥文恪，国史馆列传。\n清嘉庆二十五年(1820年)殿试一甲二名进士，即榜眼。嘉庆、道光、咸丰3朝三迁内阁学士，五度入直南书房，五充经筵讲官。历官贵州、江西学政，兵部、工部、刑部、吏部尚书，实录馆总裁，多次充任殿试、朝考读卷官、阅卷大臣。任内获道光御笔“迎祥”和咸丰御笔“宜尔子孙”匾额。谥文恪，谕称“许乃普学问优长，供职恪慎”“屡司文柄”。\n其父许学范，乾隆三十七年(1772年)进士，有七子，乃济、乃普、乃钊三子为进士，另四子为举人，有“七子登科”之美称。清代学者、书法家梁同书曾书写“世间数百年旧家，无非积德；天下第一件好事，还是读书”一联送给许学范，称颂许氏家族。",[24,7,64,133,59,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aac0bb7b117a9794869d64ac4e0df32.jpg",[318],{"id":77901,"slug":77902,"title":77903,"dynasty":124,"author":223,"museum":300,"description":77904,"tags":77905,"thumbUrl":77906,"material":611,"size":84,"collection":318,"collections":77907,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},240124,"shi-yuan-zhong-shi-ye-yi-ming-240124","释元中诗页","此件书法分幅呈现，笔墨意趣各有千秋。右侧诗作用笔酣畅恣肆，行书线条苍劲灵动，结体疏密错落、欹侧相生，牵丝映带间尽显随性潇洒，将诗句空寂幽绝的江景意境融于笔端，风神疏朗俊逸。\n左侧尺牍小字朴拙内敛，笔意厚重沉稳，枯润互见，以平实笔墨承载日常心绪，自带手札特有的质朴温情。整作大小相映、动静相宜，笔墨间浸透文人随性自在的风雅襟怀，是兼具笔墨审美与人文意趣的小品佳作。",[805,64,7,133,208,4437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d10390a306232dd0f128201886731af.jpg",[318],{"id":77909,"slug":77910,"title":77911,"dynasty":124,"author":77912,"museum":300,"description":77913,"tags":77914,"thumbUrl":77915,"material":611,"size":84,"collection":318,"collections":77916,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},240122,"ceng-ti-nan-fu-ti-bi-shi-ye-wei-shu-240122","曾题南阜题壁诗页","囗淑","题壁诗始于两汉，盛于唐宋。汉代以后，题壁者代不乏人。南北朝 唐代，题壁诗骤然大增，开始形成一种风气。宋代题壁之风方兴未艾，举凡邮亭、驿墙、寺壁等处多所题咏，叫人目不暇接。",[24,7,133,128,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc006c3d52dd04e84a83844fbf6e40075.jpg",[318],{"id":77918,"slug":77919,"title":77920,"dynasty":54,"author":77921,"museum":300,"description":77922,"tags":77923,"thumbUrl":77924,"material":84,"size":84,"collection":318,"collections":77925,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},240053,"shi-ce-zhou-yong-nian-240053","诗册","周永年","周永年（1730年－1791年），字書昌，山東歷城（今屬濟南市）人，祖籍浙江餘姚。\n生而好學，“竭數十年博採旁搜之力，棄產營書”，築貸書園，積書十萬卷，供人閲讀抄寫，並倡“儒藏説”，成立“儒藏”，“俾古人著述之可傳者，自今日永無散失，以與天下萬世共讀之。”有“林汲山房”，藏書達五萬卷，繪“林汲山房圖”。\n乾隆三十六年進士，後因入館編纂《四庫全書》，欽賜翰林院庶吉士，散館授編修，任“校勘永樂大典纂修兼分校官”，負責《永樂大典》的輯校工作，輯出宋劉敞《公是集》、劉攽《公非集》、蘇過《斜川集》等十餘種罕見的重要文獻。乾隆五十六年（1791年）卒。",[24,7,59,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F937a447fa8f83e9b18464a7d2a354ba0.jpg",[318],{"id":77927,"slug":77928,"title":77929,"dynasty":144,"author":569,"museum":300,"description":27930,"tags":77930,"thumbUrl":77931,"material":692,"size":1293,"collection":84,"collections":77932,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},239977,"zhen-er-ti-qian-zi-wen-ce-zhao-meng-fu-239977","真二体千字文册",[164,24,7,64,572,133,59,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1578a43f85ca933804e0146f9f4dab7d.jpg",[],{"id":77934,"slug":77935,"title":69180,"dynasty":124,"author":77936,"museum":300,"description":77937,"tags":77938,"thumbUrl":77939,"material":84,"size":84,"collection":318,"collections":77940,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},239807,"shi-ye-yuan-jiong-239807","袁褧","袁褧，明藏书家、刻书家，字尚之，号谢湖，别号中皋子、谢湖居士，吴郡（今江苏苏州）人，书法与米芾，与文征明齐名。",[7,64,133,128,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3a270e8015162a38b2d3cf5a3e9e03.jpg",[318],{"id":77942,"slug":77943,"title":77944,"dynasty":144,"author":569,"museum":300,"description":27930,"tags":77945,"thumbUrl":77946,"material":692,"size":1293,"collection":84,"collections":77947,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},239786,"qi-zha-juan-zhao-meng-fu-239786","七札卷",[23,164,24,7,25,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd3806fc086e4f797465cc9bc61cfe56.jpg",[],{"id":77949,"slug":77950,"title":77951,"dynasty":54,"author":77952,"museum":300,"description":77953,"tags":77954,"thumbUrl":77955,"material":84,"size":84,"collection":84,"collections":77956,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":199},239708,"shu-cai-xiang-shi-tie-zhou-cao-wen-zhi-239708","书蔡襄诗帖轴","曹文埴","此作用笔端稳厚重，结体方正匀整，尽显典型馆阁风貌。整体气息温润敦和，典雅醇正，点画凝练精到，提按顿挫皆恪守法度。笔画间牵丝映带含蓄内敛，既秉持帖学的流畅秀雅，亦不失骨力劲挺。章法排布齐整疏朗，字距行距匀停有序，墨色浓淡变化细微匀净，恭谨端严的书写态度溢于笔端。作为临作，于精准还原原帖风神之余融入自身体悟，以端稳楷书铺陈开原诗清雅文气，笔墨间尽显深厚帖学功底与娴雅文人意趣，是清代馆阁体书法的典型佳例。",[24,7,165,133,330,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6e55cc0ba54c7f6d3a8d6f560cc5b9e.jpg",[],{"id":77958,"slug":77959,"title":77960,"dynasty":54,"author":223,"museum":300,"description":77961,"tags":77962,"thumbUrl":77963,"material":84,"size":84,"collection":318,"collections":77964,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},239694,"er-ge-gou-tian-lan-ting-ce-yi-ming-239694","二格钩填兰亭册","此作为钩填《兰亭序》之作，用笔温润灵动，结体秀雅端整，精准复刻原帖萧散飘逸的神韵，笔画牵丝映带细腻自然，将王羲之笔下的晋人风雅还原得形神兼备。朱红鉴藏印错落排布，与墨色书迹相映成趣，晕染出古雅沉静的书卷氛围。整体不失临摹的严谨克制，又带着清代书法特有的娴静文气，虽为钩填，却饱含摹写的匠心，尽显兰亭雅集的清隽意趣。",[7,64,133,330,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ebc4a5dcfdbe107ec97a21887cd222b.jpg",[318],{"id":77966,"slug":77967,"title":77968,"dynasty":144,"author":64803,"museum":20,"description":64804,"tags":77969,"thumbUrl":77970,"material":611,"size":64807,"collection":318,"collections":77971,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},239639,"yu-he-shu-shi-ce-ye-yu-he-239639","俞和书诗册页",[7,64,133,59,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ce2bcb659bbe43b65b0c0f6e71757ed.jpg",[318],{"id":77973,"slug":77974,"title":77975,"dynasty":124,"author":77976,"museum":20,"description":77977,"tags":77978,"thumbUrl":77979,"material":611,"size":84,"collection":318,"collections":77980,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},239589,"qiu-re-tie-ce-ye-hu-han-239589","秋热帖册页","胡翰","胡翰，字仲申（1307年～1381年），一字仲子，浙江金华人。官衢州府教授。洪武乙酉纂修元史书成，赐白金文绮，辞归卜居长山之阳，学者称曰长山先生。工书，王世贞国朝名贤遗墨，有其书迹。享年七十五岁。",[805,7,64,133,4437,9910],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76b2cbc2b506be85a0de74d7d21e191b.jpg",[318],{"id":77982,"slug":77983,"title":77984,"dynasty":124,"author":77985,"museum":20,"description":77986,"tags":77987,"thumbUrl":77988,"material":572,"size":84,"collection":318,"collections":77989,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},239584,"qu-qiu-tie-ce-ye-zhang-fu-yi-239584","去秋帖册页","张复易","此幅小楷尺牍，笔致秀润温雅，点画工稳精致，结体舒展匀停，是明代台阁体一脉的典型佳作。\n作为私人书札，虽为日常家书，却不失庄重规整，笔意自带谦谨恭和的文人气韵。信笺暗饰雅致纹样，笔墨朱印相映，尽显明代文人尺牍的形制美感。排布错落自然，既恪守馆阁体的法度工整，又因私札属性暗含松弛灵动的细节，将奉亲敬长的诚挚心绪融于笔墨之间，是兼具实用价值与审美意趣的书法小品。",[7,64,133,59,208,805,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F356acd7e09aafb9101d0abe76b74336f.jpg",[318],{"id":77991,"slug":77992,"title":38899,"dynasty":54,"author":38900,"museum":300,"description":77993,"tags":77994,"thumbUrl":77995,"material":84,"size":84,"collection":84,"collections":77996,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},239538,"fang-gu-ji-you-tu-ce-huang-yi-239538","此作用笔简淡清润，右侧以水墨晕染村居小景，矮屋茅舍错落，枯树疏枝苍劲，三两村人往来檐下，日常鲜活的乡居意趣扑面而来。左侧题长款书法，笔墨朴拙古雅，书画合璧，相映成趣。全画以留白铺就空寂萧散的意境，将访古归游的悠然心境寄寓在寻常村陌景致中，平淡天真间尽显文人画诗、书、意相融的雅韵，藏着清寂淡远的古意，把闲逸疏朗的情志融在浅淡笔墨里。",[24,7,59,128,133,96,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe161ab7ed58100d20e62f97d0f1a0260.jpg",[],{"id":77998,"slug":77999,"title":31600,"dynasty":54,"author":48763,"museum":300,"description":71916,"tags":78000,"thumbUrl":78001,"material":692,"size":1293,"collection":84,"collections":78002,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},239497,"shan-shui-ce-9-shang-guan-zhou-239497",[24,7,59,128,132,29,130,413,131,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16f3940e8b4c4611c44b62e84bf89322.jpg",[],{"id":78004,"slug":78005,"title":78006,"dynasty":54,"author":78007,"museum":300,"description":78008,"tags":78009,"thumbUrl":78010,"material":692,"size":1293,"collection":84,"collections":78011,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},239472,"qing-chu-shi-si-jia-shu-hua-ji-jin-ce-zhu-ce-ye-zhao-xiu-lan-239472","清初十四家书画集锦册-竹册页","赵岫兰","此作用水墨写就兰竹拳石，兰花柔茎舒展、花瓣轻绽，自有绰约风姿；兰叶劲挺修长，中锋挥写间尽显飘逸灵动之态。拳石以淡墨晕染，略作勾勒，朴拙简淡，下方竹叶偃仰交错，笔墨简括却神完气足。\n\n右侧行书笔墨纵逸，墨色浓淡富于变化，笔势连贯洒脱。书画合璧，文与画相生，尽显文人寄情草木的幽隐襟怀，将兰竹君子的清逸风骨融于纸面，寥寥数笔却意韵悠长，浸透着以物明志的传统文人审美意趣，是清代文人雅致书画小品的典型之作。",[24,7,59,128,375,167,171,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c07be911e74f05bd3c041cb09d501a.jpg",[],{"id":78013,"slug":78014,"title":78015,"dynasty":54,"author":78016,"museum":300,"description":78017,"tags":78018,"thumbUrl":78019,"material":692,"size":1293,"collection":84,"collections":78020,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},239464,"ming-qing-zhu-jia-ji-jin-ce-shan-shui-ye-cheng-shi-tong-239464","明清诸家集锦册-山水页","程士桐","此作为水墨山水小品，以大片留白铺就浩渺江面，尽显水天寥廓之意。近岸苇草轻曳，线条简劲疏朗，墨色枯淡间带着秋意萧疏。扁舟静浮江上，舟头老翁垂竿闲坐，神态悠然，将寄迹江湖的散淡隐逸之心藏于画中。\n\n远景山峦以淡墨轻染，略作勾勒便晕出山峦汀洲的朦胧之态，与江面相融，晕染出空濛淡远的烟水气象。全作笔墨清简淡远，不着浓彩，以简淡枯涩的笔意写就荒寒闲逸的秋江之景，把文人寄情山水、超然物外的雅趣藏于方寸之间，淡而有味，简中见韵。",[24,7,164,128,59,29,129,211,1824,96,33,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11d76d97f70943be63ba7b864ceb2294.jpg",[],{"id":78022,"slug":78023,"title":33079,"dynasty":54,"author":6936,"museum":300,"description":78024,"tags":78025,"thumbUrl":78026,"material":84,"size":84,"collection":84,"collections":78027,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},239462,"qing-chu-liu-da-jia-ji-ce-shan-shui-ye-wang-yuan-qi-239462","此作用笔苍劲老辣，以干笔积墨反复皴擦，山峦层叠间尽显丘壑幽深。高远山势裹挟飞泉垂落，平远水畔山居错落，林木扶苏掩映村居，咫尺画幅铺展出萧散淡远的山居清景。墨色干湿浓淡相济，苍润浑厚间带着元人山水的简淡意趣，却又自具沉雄苍莽的厚重质感，将江南山水的温润灵秀与文人画的书卷静气相融，笔底元气淋漓，于细碎皴染中见整饬章法，静穆雅致中藏着自然生机，尽显正统山水画的隽永风神。",[164,24,7,59,128,132,29,663,1314,413,167,35,499,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bb1160b0f5169ea7571f4877751466b.jpg",[],{"id":78029,"slug":78030,"title":21106,"dynasty":54,"author":4823,"museum":300,"description":19690,"tags":78031,"thumbUrl":78032,"material":692,"size":1293,"collection":84,"collections":78033,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},239405,"hua-niao-tu-ce-ma-yuan-yu-239405",[24,7,59,128,133,208,371,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf22855b5490b2c9110b13dfa58b31ca.jpg",[],{"id":78035,"slug":78036,"title":57064,"dynasty":54,"author":33617,"museum":300,"description":78037,"tags":78038,"thumbUrl":78039,"material":84,"size":84,"collection":84,"collections":78040,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},239207,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239207","此开以淡墨写意写就黄山胜境，峰峦清癯空灵，仅以极简皴擦晕染出山石肌理，古松错落、山居隐现于烟云之间，意境萧疏淡远，尽得山川清寂风神。对页行书题跋笔意苍劲舒展，笔墨朴拙老辣，诗书与画境相融相合。\n\n整幅以简驭繁，以淡墨写尽丘壑之美，将沉潜的林泉之志寄寓其中，尽显文人山水的冲淡雅致，是笔简意丰的水墨佳构。",[24,7,59,128,132,133,208,29,30,1144,130,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dd3f13e622a4c489abe8da03a5dc739.jpg",[],{"id":78042,"slug":78043,"title":64835,"dynasty":124,"author":33462,"museum":300,"description":34341,"tags":78044,"thumbUrl":78045,"material":84,"size":84,"collection":84,"collections":78046,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},239190,"shan-chuan-ming-sheng-ce-song-xu-239190",[24,7,59,27,132,29,99,34,96,1351,211,131,4363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c45464bd15022721219a30ce27711b4.jpg",[],{"id":78048,"slug":78049,"title":58971,"dynasty":54,"author":38236,"museum":300,"description":38237,"tags":78050,"thumbUrl":78051,"material":692,"size":1293,"collection":84,"collections":78052,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},239185,"hua-hui-ren-wu-ce-chen-zi-239185",[164,24,7,59,27,133,208,374,171,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F401470b037fc39297ac3a27c9ad728b9.jpg",[],{"id":78054,"slug":78055,"title":78056,"dynasty":54,"author":14022,"museum":300,"description":40657,"tags":78057,"thumbUrl":78058,"material":692,"size":1293,"collection":84,"collections":78059,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},239102,"hua-hui-ce-11-yu-sheng-239102","花卉册11",[24,7,59,128,27,61,372,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58f1d4bc684dbd579640303444fca05c.jpg",[],{"id":78061,"slug":78062,"title":78063,"dynasty":54,"author":15196,"museum":300,"description":15197,"tags":78064,"thumbUrl":78065,"material":692,"size":1293,"collection":84,"collections":78066,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},239064,"chun-feng-de-yi-wan-shan-zhang-pan-239064","春风得意纨扇",[24,7,1131,28,27,61,211,4363,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa98e7b6ed35548b6109f2f31d3f1bcf2.jpg",[],{"id":78068,"slug":78069,"title":78070,"dynasty":54,"author":48145,"museum":20,"description":60848,"tags":78071,"thumbUrl":78072,"material":611,"size":60851,"collection":136,"collections":78073,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238984,"shan-shui-ce-shi-tian-weng-shi-ji-fang-qi-yi-wang-chen-238984","山水册－石田翁诗即仿其意",[24,7,59,128,29,129,34,131,6004,133,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb66ca56fcaf326605d5fcd8a0d47e37.jpg",[136],{"id":78075,"slug":78076,"title":40058,"dynasty":54,"author":78077,"museum":300,"description":78078,"tags":78079,"thumbUrl":78080,"material":84,"size":84,"collection":136,"collections":78081,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238952,"shan-shui-ye-zhang-yan-nian-238952","张延年","张延年，字长龄，江苏常熟人。为建宁太守。善写翎毛、花卉，尤工美人。《虞山画志》",[24,7,4437,29,131,34,455,129,130,27,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1b4812961344459836067caf87dec88.jpg",[136],{"id":78083,"slug":78084,"title":42420,"dynasty":54,"author":223,"museum":300,"description":78085,"tags":78086,"thumbUrl":78087,"material":692,"size":1293,"collection":84,"collections":78088,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238921,"qing-ren-ju-pu-ce-yi-ming-238921","此作用没骨之法绘秋菊，主花朱红秾艳，花瓣舒展卷曲，隐现筋脉，将盛放柔姿尽致展现，鹅黄晕染花心，醒目鲜亮，让整朵花既秾丽又不失清雅。下方侧枝缀着半绽小花与待放蓓蕾，俯仰生姿，意趣悠然。\n\n叶片以水绿晕染，叶缘轻提亮色，尽显翠润鲜活，枝茎秀挺舒展，留白疏朗空灵，衬出雅致空寂的氛围。敷色和谐雅致，艳而不俗，将秋菊的绰约风骨与盎然生机融为一体，笔致温婉细腻，尽显莳花之美，是意趣悠长的花鸟小品佳制。",[24,164,7,59,27,28,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8d715fe743f6a422f939d6e28fc90cc.jpg",[],{"id":78090,"slug":78091,"title":27131,"dynasty":54,"author":6376,"museum":300,"description":27132,"tags":78092,"thumbUrl":78093,"material":692,"size":1293,"collection":84,"collections":78094,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238851,"mian-yi-hua-hui-xiao-ce-mian-yi-238851",[24,7,59,28,27,61,376,624,1039],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe4fbc12e976fce9d9bb03cda42cb610.jpg",[],{"id":78096,"slug":78097,"title":27602,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":78098,"thumbUrl":78099,"material":84,"size":84,"collection":84,"collections":78100,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238826,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238826",[24,7,59,27,132,133,208,64,29,130,1337,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6912eb7d16d737b45ed6a714c4c32188.jpg",[],{"id":78102,"slug":78103,"title":29136,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":78104,"thumbUrl":78105,"material":84,"size":84,"collection":84,"collections":78106,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238817,"dong-gao-lv-xuan-shao-jing-ce-dong-gao-238817",[24,7,59,27,28,132,29,331,171,98,96,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56f3e5fb8262386be620539be12f76fb.jpg",[],{"id":78108,"slug":78109,"title":29136,"dynasty":54,"author":223,"museum":300,"description":78110,"tags":78111,"thumbUrl":78112,"material":84,"size":84,"collection":84,"collections":78113,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238814,"dong-gao-lv-xuan-shao-jing-ce-yi-ming-238814","此作以淡墨晕染铺就寒山雪境，远山层叠留白覆雪，岩岫苔点簇簇，暗衬积雪清润空寂。近岸枯木虬枝错落，寒林萧疏却暗含待春的生机，山坳隐见茅舍寺塔，曲水沿山逶迤，悠悠漾开山野空寂意趣。\n\n画师以勾勒皴擦写就山石肌理，淡墨晕染区分雪色虚实，留白见巧，不着艳色，全凭水墨层次拉开远近景深，将空山初雪的静谧清寒尽数铺展，晕出冬雪将过、春信悄临的澹澹诗意，尽显文人山水寄情林泉，静悟岁序轮转的清雅意韵。",[24,7,128,132,59,208,29,1813,663,413,1337,229,23873,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2501cf60e869162a2c68158d198d7d86.jpg",[],{"id":78115,"slug":78116,"title":29144,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":78117,"thumbUrl":78118,"material":692,"size":1293,"collection":84,"collections":78119,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238809,"hua-hui-xiao-ce-dong-gao-238809",[24,7,59,28,27,61,547,747,2690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e02ef46e5272e7c7ae57dc80eb40a90.jpg",[],{"id":78121,"slug":78122,"title":29144,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":78123,"thumbUrl":78124,"material":692,"size":1293,"collection":84,"collections":78125,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238805,"hua-hui-xiao-ce-dong-gao-238805",[24,7,59,27,28,61,374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F685e2dd6a240d15b46348149cde1c472.jpg",[],{"id":78127,"slug":78128,"title":29144,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":78129,"thumbUrl":78130,"material":692,"size":1293,"collection":84,"collections":78131,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238786,"hua-hui-xiao-ce-dong-gao-238786",[164,24,7,59,27,28,61,371,9070],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dafcbdb046d07b80f14cdc8fe1f7723.jpg",[],{"id":78133,"slug":78134,"title":29144,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":78135,"thumbUrl":78136,"material":692,"size":1293,"collection":84,"collections":78137,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238785,"hua-hui-xiao-ce-dong-gao-238785",[164,24,7,59,28,27,61,62,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F328f46a2d36b0a8789a654256d76c8e8.jpg",[],{"id":78139,"slug":78140,"title":50822,"dynasty":54,"author":646,"museum":300,"description":78141,"tags":78142,"thumbUrl":78143,"material":84,"size":84,"collection":84,"collections":78144,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238775,"shan-shui-ren-wu-xiao-ce-dong-gao-238775","此作以淡设色绘就林泉雅集之景，右半山峦清润苍秀，葱郁林木掩映幽居草堂，笔墨秀雅晕染出温润的山水意态。左畔溪岸蜿蜒逶迤，一众文人或围坐清谈、或临流闲憩，衣袂翩然间尽显林下风流。\n\n全画构图虚实相宜，以细腻秀逸的线条勾勒人物情态，淡赭花青晕染山水，设色雅致清和。将文人雅集的幽闲意趣，融于萧散淡远的林泉景致之中，既得传统文人画简淡空灵的意境，又以精妙细节描摹出文人群聚时从容恬和的情致，尽显林泉高致的文人雅怀。",[24,7,59,28,27,132,29,96,34,98,99,130,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc124dfd2ea1bb740823e080e69e78ebd.jpg",[],{"id":78146,"slug":78147,"title":35019,"dynasty":54,"author":23303,"museum":300,"description":78148,"tags":78149,"thumbUrl":78150,"material":84,"size":84,"collection":84,"collections":78151,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238735,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238735","平远铺展的画面，将闲雅行旅与整肃江景相融。前景策马文士缓行于枯木寒林间，古木虬曲苍劲，淡墨晕染出萧散冷寂的林下意趣。中远景水寨樯桅如林，墨线劲挺勾勒出森严江防气象，与行旅的悠然形成动静对照。右侧题诗笔意清隽，诗画合璧，把文人情思与戍边壮怀悄然绾合。全作用笔秀雅清劲，水墨皴染简淡含蓄，以极简的笔墨营造出悠远沉静的意境，让林下风雅与家国襟怀相映成趣，尽显含蓄蕴藉的东方意韵。",[24,7,59,128,132,29,96,101,413,31,496,11074],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f036e896d713b00d4c5bbf6a31717de.jpg",[],{"id":78153,"slug":78154,"title":35019,"dynasty":54,"author":23303,"museum":300,"description":78155,"tags":78156,"thumbUrl":78157,"material":84,"size":84,"collection":84,"collections":78158,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238723,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238723","此作用淡墨轻皴绘就郊野别景，林烟轻笼山居古宅，古木扶疏间宾主执手话别，牵马车夫静立车旁，将饯别缱绻融入清寂山野。\n\n干笔勾勒山石林木，淡墨晕染出烟岚空濛，画面留白悠然，衬出离情悠远绵长。右侧题诗与图景呼应，诗画合璧，将诗作伤别意涵具象化。画风清逸雅致，以景托情，文人诗意与水墨笔意相融，淡远疏朗间尽显古典抒情的含蓄温婉。",[24,7,59,128,188,133,64,29,96,101,34,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f0c7bc1ebeff09d73e3effaf5f99bf5.jpg",[],{"id":78160,"slug":78161,"title":45483,"dynasty":54,"author":13716,"museum":300,"description":13717,"tags":78162,"thumbUrl":78163,"material":692,"size":1293,"collection":84,"collections":78164,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238557,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238557",[24,7,59,27,572,64,208,96,29,34,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95f51ffc76a84df4aff548baad355f81.jpg",[],{"id":78166,"slug":78167,"title":45483,"dynasty":54,"author":13716,"museum":300,"description":13717,"tags":78168,"thumbUrl":78169,"material":692,"size":1293,"collection":84,"collections":78170,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238552,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238552",[24,7,59,95,27,96,97,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8397de98dba9f2371bdc1885e7794ba.jpg",[],{"id":78172,"slug":78173,"title":45483,"dynasty":54,"author":223,"museum":300,"description":78174,"tags":78175,"thumbUrl":78176,"material":84,"size":84,"collection":84,"collections":78177,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238546,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-yi-ming-238546","此帧绘圣王观龙马负图，青绿浅设色晕染山水，崖岸幽旷、林木苍润。圣王端坐石畔，神态肃穆沉静，正凝神观览出水龙马，将应天受道的古雅典故融于清寂山水间，意境静穆庄严。左侧楷书赞辞笔致端稳匀整，清隽雅正，与画作呼应相合。整体工致秀雅，设色调和柔婉，人物情态传神尽显开天神圣意蕴，书画合璧，文韵与画意相得益彰，尽显静穆古朴的庙堂雅意。",[24,7,59,27,96,29,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d164ff88d7fd692f4ee36bf1ec23332.jpg",[],{"id":78179,"slug":78180,"title":15896,"dynasty":54,"author":6376,"museum":300,"description":27132,"tags":78181,"thumbUrl":78185,"material":692,"size":1293,"collection":84,"collections":78186,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238453,"geng-zhi-tu-ce-mian-yi-238453",[24,7,59,27,28,96,35,34,34836,78182,78183,247,78184],"劳作场景","农作物","棚屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7421078304bc23a48d26f0253375dea.jpg",[],{"id":78188,"slug":78189,"title":28503,"dynasty":54,"author":646,"museum":300,"description":28504,"tags":78190,"thumbUrl":78191,"material":692,"size":1293,"collection":84,"collections":78192,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238392,"dong-gao-tao-li-yi-shou-tu-xiao-ce-dong-gao-238392",[24,7,59,27,28,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb98fb766cc9e86954effdf908d74371f.jpg",[],{"id":78194,"slug":78195,"title":28503,"dynasty":54,"author":646,"museum":300,"description":28504,"tags":78196,"thumbUrl":78197,"material":692,"size":1293,"collection":84,"collections":78198,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238389,"dong-gao-tao-li-yi-shou-tu-xiao-ce-dong-gao-238389",[24,7,59,27,28,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F043bfa075212ccb17c35f3c0e3b83779.jpg",[],{"id":78200,"slug":78201,"title":41575,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":78202,"thumbUrl":78203,"material":692,"size":1293,"collection":84,"collections":78204,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238381,"jin-ying-ning-lu-tu-xiao-ce-dong-gao-238381",[164,24,7,59,28,27,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F104e34813656d10b906b967ddaef6adf.jpg",[],{"id":78206,"slug":78207,"title":36480,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":78208,"thumbUrl":78209,"material":692,"size":1293,"collection":84,"collections":78210,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238338,"hua-hong-li-qing-kuang-lou-yong-zhu-shi-yi-ce-dong-gao-238338",[24,7,59,128,167,171,231,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a390948499bdf0d8ff782920fed3d13.jpg",[],{"id":78212,"slug":78213,"title":409,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":78214,"thumbUrl":78215,"material":2283,"size":84,"collection":136,"collections":78216,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238301,"shan-shui-ce-dong-bang-da-238301",[164,24,7,128,132,29,34,276,497,31,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05b6973b20a4bceb9c2b98bf95c3010c.jpg",[136,45],{"id":78218,"slug":78219,"title":60906,"dynasty":54,"author":47606,"museum":300,"description":60907,"tags":78220,"thumbUrl":78221,"material":84,"size":84,"collection":84,"collections":78222,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238282,"hua-qia-xuan-yuan-tu-ce-huang-yue-238282",[24,7,59,28,27,61,481,549,547,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21fdea2c82bf5fad9fd6e2e233729c8c.jpg",[],{"id":78224,"slug":78225,"title":45524,"dynasty":54,"author":41583,"museum":300,"description":78226,"tags":78227,"thumbUrl":78228,"material":84,"size":84,"collection":84,"collections":78229,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238244,"sai-shan-er-shi-si-jing-ce-zhang-ruo-cheng-238244","此帧以水墨晕染塞山冬色，山峦以淡墨披麻皴缓缓铺陈，圆浑肌理间晕开积雪霜华，淡墨浮空化作寒云轻笼峰峦，留白与墨色交织出清寂空蒙的冬日清气。山坳细径蜿蜒隐现，山脚枯木萧疏淡写萧寒。\n\n通篇笔墨简淡温雅，舍弃浓艳重彩，只以水墨浓淡层次晕染雪覆群峰的素净苍茫，将塞北冬日的冷寂辽远融在温润笔触之中。静穆雅致的画面里，淡而不薄的墨色间藏着深阔幽远的冬山诗意，把荒寒塞冬晕染成一幅清简出尘的文人雅绘。",[24,7,59,128,132,29,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1758de1b2dff0905a9e9664d19ca9c30.jpg",[],{"id":78231,"slug":78232,"title":25438,"dynasty":54,"author":25439,"museum":300,"description":78233,"tags":78234,"thumbUrl":78235,"material":84,"size":84,"collection":84,"collections":78236,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238226,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238226","此作取山林晓景，近岸怪石错落，古寺藏于深林，溪桥引渡山径，远峰隐在烟岚轻雾间。笔墨清润苍秀，皴擦兼具苍劲秀雅意韵，布景疏密相宜，将空山晓钟的幽寂禅意晕染开来。\n\n淡墨设色晕出空濛澄澈的湖光山色，静穆恬和的意境藏在湖山深处。左侧题诗与画境相契，诗书画合为一体，尽显文人雅趣，将山寺清晨的清寂出尘融在山水间，尽显仿古山水的清丽韵致。",[24,7,128,132,330,29,97,98,99,129,130,34,131,37,12424,5801,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F457231bba39a2a53c514ce0d5484f458.jpg",[],{"id":78238,"slug":78239,"title":25438,"dynasty":54,"author":25439,"museum":300,"description":78240,"tags":78241,"thumbUrl":78242,"material":84,"size":84,"collection":84,"collections":78243,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238221,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238221","此作用笔苍浑秀润，以留白晕染摹写雪意，危峰削立，银装覆于巉岩之上，淡墨烘出流岚轻烟，将隆冬溪山的清寒疏旷铺陈开来。滩头枯木虬劲，寒水无波，萧寒之气漫溢画面。\n左侧题咏书法或端雅或清劲，笔致各臻其妙，诗画相映，愈发衬出此幅素雪溪山的幽绝尘寰，尽显冬日山水空寂出尘之美，笔墨间浸透着传统文人画的雅致意趣。",[24,7,128,132,4437,2271,29,131,34,37,31,415,61119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ee7d78aaca4be0fc2d96ce97cc3872c.jpg",[],{"id":78245,"slug":78246,"title":409,"dynasty":54,"author":3437,"museum":300,"description":78247,"tags":78248,"thumbUrl":78249,"material":84,"size":84,"collection":84,"collections":78250,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238206,"shan-shui-ce-tang-dai-238206","此页以淡墨皴擦绘就，远山迤逦含烟，以干笔披麻皴勾勒山石肌理，苍朴厚重。坡岸林木攒簇，浓淡墨色拉开远近层次，将郊野幽寂之境铺陈开来。\n\n诗画一体，题诗尽述水村闲意，画里孤舟泛于浅波，野意横生，尽显林泉高致。墨色清润雅致，笔意沉稳秀逸，于尺幅间揽尽山光水色，将幽居野客疏离尘嚣的林下襟怀融于笔墨，淡远空濛，尽显文人山水的萧散意趣。",[24,7,59,128,132,29,663,413,228,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c15854ee2832b0754c3be0fd59fad9a.jpg",[],{"id":78252,"slug":78253,"title":409,"dynasty":54,"author":78254,"museum":300,"description":78255,"tags":78256,"thumbUrl":78257,"material":84,"size":84,"collection":136,"collections":78258,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238176,"shan-shui-ce-song-jun-ye-238176","宋骏业","字声求，号坚甫，江苏常熟人，一作江苏苏州人。累官至兵部右侍郎。善书画，笃好山水，因聘王翚于家而画学大进。",[24,7,164,59,27,132,64,133,29,413,1314,98,99,35,415,3427,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24387526728024399cb9afeca90edaa9.jpg",[136,45],{"id":78260,"slug":78261,"title":78262,"dynasty":54,"author":78263,"museum":300,"description":78264,"tags":78265,"thumbUrl":78266,"material":692,"size":1293,"collection":84,"collections":78267,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238105,"feng-chen-xia-lv-cheng-shan-xu-cao-238105","风尘侠侣成扇","徐操","此作以扇面为卷，铺展山林秋景。层岩间丹枫灼艳、青松苍劲，清润山色晕染出幽旷秋意。桥畔二人衣袂翩跹，执手晤面，眉眼间尽是久别相逢的温软。山道策驴来客缓行，似赴知己邀约。\n\n人物刻画灵动传神，山石皴朴拙凝练，林木疏密得宜，将山野清趣与侠士柔情相融。浅淡设色晕染出雅致氛围，咫尺方寸间，把江湖侠侣世外相逢的悠然温情尽显，笔意秀逸绵长，尽显传统仕侠题材的隽逸风骨。",[24,7,1131,27,28,96,29,34,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5281ad2b4c9b2933034ddf3a5c139f30.jpg",[],{"id":78269,"slug":78270,"title":49513,"dynasty":54,"author":33019,"museum":300,"description":33020,"tags":78271,"thumbUrl":78272,"material":84,"size":84,"collection":84,"collections":78273,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238104,"hong-wu-shan-shui-ce-hong-wu-238104",[24,7,59,128,27,29,413,1314,33,35,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8792684124431ea5ed75feb11f6a9de5.jpg",[],{"id":78275,"slug":78276,"title":49513,"dynasty":54,"author":33019,"museum":300,"description":33020,"tags":78277,"thumbUrl":78278,"material":84,"size":84,"collection":84,"collections":78279,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238102,"hong-wu-shan-shui-ce-hong-wu-238102",[24,7,59,27,132,29,413,35,229,99,415,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ae4ebbb954d15b31de4e3dc84191b9.jpg",[],{"id":78281,"slug":78282,"title":409,"dynasty":54,"author":78283,"museum":300,"description":78284,"tags":78285,"thumbUrl":78286,"material":692,"size":1293,"collection":84,"collections":78287,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238094,"shan-shui-ce-lu-yao-238094","陆耀","陆耀，字朗甫，一字朗夫，号青来，吴县人，工诗文，兼长书、画，精分隶书，水墨山水，落落有自家风。",[24,7,59,128,132,29,131,34,129,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4abce2bb769f5865cbfb98aeeef2b256.jpg",[],{"id":78289,"slug":78290,"title":33033,"dynasty":54,"author":33034,"museum":300,"description":78291,"tags":78292,"thumbUrl":78293,"material":692,"size":1293,"collection":84,"collections":78294,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},238034,"bai-ding-lan-shi-ce-bai-ding-238034","白丁，字过峰，一字行民，又称民道人。",[24,7,59,128,375,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49c9b749be4efb12abd452c41a00c9f4.jpg",[],{"id":78296,"slug":78297,"title":78298,"dynasty":124,"author":78299,"museum":300,"description":78300,"tags":78301,"thumbUrl":78303,"material":692,"size":1293,"collection":84,"collections":78304,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},237968,"tao-liu-shan-zhuang-shan-yao-yun-zai-237968","桃柳山庄扇","姚允在","姚允在，字简叔，会稽（今浙江绍兴）人。善山水，学荆、关，﹝荆浩、关仝﹞笔墨道劲，﹝应系笔墨遒劲之讹﹞思致不凡。",[24,7,1131,128,27,132,29,209,4363,78302,131,34,211,98,99],"山庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4088d43113d6ceb201e20e9c80750ed.jpg",[],{"id":78306,"slug":78307,"title":78308,"dynasty":124,"author":223,"museum":300,"description":78309,"tags":78310,"thumbUrl":78311,"material":692,"size":1293,"collection":84,"collections":78312,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},237820,"zhang-hong-xing-lv-tu-shan-yi-ming-237820","张宏行旅图扇","此作用笔苍润，以披麻皴写山石肌理，山峦层叠错落，将秋山萧疏之景铺陈于方寸扇面。山道间策蹇行旅徐行，衬以蓊郁林木，远近层次分明，咫尺之间尽显千里山水格局，烘托出幽寂澹远的行旅况味。\n笔墨兼得元人山水的秀逸与实景写生的朴拙，搭配左侧题跋诗画相映相合，尽显师法自然的文人山水意趣，将林泉幽居的山野雅韵融于尺幅之间，是颇具代表性的山水佳制。",[24,7,1131,128,132,29,98,131,34,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa295f0410ce128268edd3fe4dcc807f6.jpg",[],{"id":78314,"slug":78315,"title":4071,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":78316,"thumbUrl":78317,"material":692,"size":1293,"collection":84,"collections":78318,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},237741,"hua-hui-tu-ce-huang-shen-237741",[164,24,7,59,27,61,62,840,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff435611a1d9d278de089ac87f045545f.jpg",[],{"id":78320,"slug":78321,"title":38952,"dynasty":54,"author":38900,"museum":300,"description":38953,"tags":78322,"thumbUrl":78323,"material":84,"size":84,"collection":84,"collections":78324,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},237733,"wu-sheng-shi-yi-tu-ce-huang-yi-237733",[24,7,59,128,27,413,131,82,3440,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95bac49caddd00e2fb78b656357d0a3a.jpg",[],{"id":78326,"slug":78327,"title":38952,"dynasty":54,"author":38900,"museum":300,"description":78328,"tags":78329,"thumbUrl":78330,"material":84,"size":84,"collection":84,"collections":78331,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},237731,"wu-sheng-shi-yi-tu-ce-huang-yi-237731","此作用淡墨轻晕寒滩，枯柳虬枝错落排布，以浅淡笔墨勾勒出萧索荒寒的江岸冬色。空阔水面之上，仅以数笔极简线条点染孤舟行人，大片留白尽显江渚清寂空疏。\n右侧题诗与画境相映，将衰草寒林、闲鸥独立的诗意尽数铺展，笔墨简淡却意韵悠长。整幅画作以简驭繁，淡色浅墨晕染出清冷孤高的氛围感，将冬日水岸的寂寥之意蕴于留白浅绘间，尽显以诗入画、以画载情的文人雅致，淡而不寡，简中藏深，悠悠古意漫溢纸面。",[24,7,59,128,27,29,98,1337,31,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2c6f89955ac67d99ad880e3650d3f97.jpg",[],{"id":78333,"slug":78334,"title":60959,"dynasty":124,"author":16032,"museum":300,"description":35095,"tags":78335,"thumbUrl":78336,"material":84,"size":84,"collection":84,"collections":78337,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},237702,"shan-shui-hua-guo-ce-xiang-sheng-mo-237702",[24,128,59,132,7,64,164,29,131,34,37,5323,3428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0a8bf621d124c897046bb7f2b836aac.jpg",[],{"id":78339,"slug":78340,"title":69535,"dynasty":54,"author":22529,"museum":300,"description":44406,"tags":78341,"thumbUrl":78342,"material":692,"size":1293,"collection":84,"collections":78343,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},237647,"li-yin-fang-gu-shan-shui-ce-li-yin-237647",[24,7,59,27,133,29,131,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff296b4351698a62b1600581d5c2344f1.jpg",[],{"id":78345,"slug":78346,"title":409,"dynasty":124,"author":33653,"museum":300,"description":38271,"tags":78347,"thumbUrl":78348,"material":692,"size":1293,"collection":84,"collections":78349,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},237632,"shan-shui-ce-shen-hao-237632",[164,24,7,59,128,132,208,29,331,130,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b457dc617d1126829937c67a0e2d91c.jpg",[],{"id":78351,"slug":78352,"title":18219,"dynasty":54,"author":9529,"museum":300,"description":19697,"tags":78353,"thumbUrl":78354,"material":692,"size":1293,"collection":84,"collections":78355,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},237608,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237608",[164,24,7,59,128,29,211,331,208,2271],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F856ded16bc10b5edb4fe2f4ef3d3c962.jpg",[],{"id":78357,"slug":78358,"title":18219,"dynasty":54,"author":9529,"museum":300,"description":18220,"tags":78359,"thumbUrl":78360,"material":84,"size":84,"collection":84,"collections":78361,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},237606,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237606",[24,7,59,128,29,132,133,208,131,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c9d2ecffd6824cc8a5e8dbed889cefe.jpg",[],{"id":78363,"slug":78364,"title":409,"dynasty":54,"author":43518,"museum":20,"description":48227,"tags":78365,"thumbUrl":78366,"material":84,"size":84,"collection":84,"collections":78367,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},237558,"shan-shui-ce-wen-dian-237558",[24,7,128,132,29,129,1337,131,99,4437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90033ac0889179072268967ec37842a1.jpg",[],{"id":78369,"slug":78370,"title":22597,"dynasty":124,"author":22598,"museum":300,"description":22599,"tags":78371,"thumbUrl":78372,"material":692,"size":1293,"collection":84,"collections":78373,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},237541,"mei-hua-dui-ti-tu-ce-chen-ji-ru-237541",[24,7,59,128,371,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F733757567e0c6f013227c96f9a72188d.jpg",[],{"id":78375,"slug":78376,"title":78377,"dynasty":124,"author":223,"museum":300,"description":78378,"tags":78379,"thumbUrl":78381,"material":692,"size":1293,"collection":84,"collections":78382,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},237531,"zhang-fu-wan-he-song-yin-shan-yi-ming-237531","张復万壑松荫扇","此作截取山坳松林一角，高远、深远之境兼具，层叠崖壁间青松蔚然成林，主干挺拔虬劲，松针攒簇细密，笔墨苍劲古拙，尽显苍郁清隽的松间意态。\n\n栈道隐于松岩缝隙，山居错落崖畔，淡赭晕染山石，墨色干湿相济，勾勒皴擦间尽显山石嶙峋质感。整体意境清寂幽深，笔墨间浸润着文人寄情林泉的雅逸意趣，尽显古雅隽永的山水风韵。",[24,7,1131,29,1144,497,78380,34,96,128,27,132],"山壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd8af200639c52851f97536a92023368.jpg",[],{"id":78384,"slug":78385,"title":1289,"dynasty":124,"author":42458,"museum":300,"description":42459,"tags":78386,"thumbUrl":78387,"material":692,"size":1293,"collection":84,"collections":78388,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},237517,"shan-shui-hua-hui-ce-jiang-shou-cheng-237517",[24,7,59,27,29,1144,96,131,99,415,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7eef257ec08d282c41cc0d537bdbdc8.jpg",[],{"id":78390,"slug":78391,"title":4724,"dynasty":54,"author":48234,"museum":300,"description":48235,"tags":78392,"thumbUrl":78393,"material":692,"size":1293,"collection":84,"collections":78394,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},237486,"shan-shui-tu-ce-yao-song-237486",[24,7,59,840,128,132,29,413,131,130,711,11998,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2736daa6a5070b4358b8996e1e8055c.jpg",[],{"id":78396,"slug":78397,"title":78398,"dynasty":54,"author":78399,"museum":300,"description":78400,"tags":78401,"thumbUrl":78402,"material":692,"size":1293,"collection":68,"collections":78403,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},237471,"shan-shui-hua-shi-ce-wang-han-237471","山水花石册","王翰","王翰（公元687年~726年），字子羽，并州晋阳（今山西太原市）人，唐代边塞诗人。与王昌龄同时期，王翰这样一个有才气的诗人，其集不传。其诗载于《全唐诗》的，仅有14首。登进士第，举直言极谏，调昌乐尉。复举超拔群类，召为秘书正字。擢通事舍人、驾部员外。出为汝州长史，改仙州别驾。",[24,7,59,128,133,208,331,171,211,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d681f86ea612ef4254f2f5adcb54420.jpg",[68,136],{"id":78405,"slug":78406,"title":4229,"dynasty":54,"author":31299,"museum":300,"description":31300,"tags":78407,"thumbUrl":78408,"material":611,"size":84,"collection":84,"collections":78409,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},237350,"hua-niao-ce-wang-gang-237350",[24,7,59,128,27,61,2059,168,11034],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F835f3c8cd063a7f6c8ff4d98f10ae1e4.jpg",[],{"id":78411,"slug":78412,"title":44533,"dynasty":124,"author":44534,"museum":300,"description":44535,"tags":78413,"thumbUrl":78414,"material":692,"size":1293,"collection":84,"collections":78415,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},237273,"zhi-hua-ce-chen-dao-237273",[24,7,59,128,133,208,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b537ae60f59ac4b134f83d2388dec37.jpg",[],{"id":78417,"slug":78418,"title":33652,"dynasty":124,"author":33653,"museum":56,"description":33654,"tags":78419,"thumbUrl":78420,"material":1223,"size":33657,"collection":84,"collections":78421,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},237268,"shen-hao-shan-shui-tu-ce-shen-hao-237268",[24,7,59,128,132,29,413,1314,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27bfe4674dcca93b5ef4e74b7ea0dad9.jpg",[],{"id":78423,"slug":78424,"title":33652,"dynasty":124,"author":33653,"museum":56,"description":33654,"tags":78425,"thumbUrl":78426,"material":1223,"size":33657,"collection":84,"collections":78427,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},237263,"shen-hao-shan-shui-tu-ce-shen-hao-237263",[24,7,59,128,132,29,97,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0931745eb9581949f6e9e4591ded41f6.jpg",[],{"id":78429,"slug":78430,"title":78431,"dynasty":54,"author":17240,"museum":300,"description":78432,"tags":78433,"thumbUrl":78434,"material":84,"size":84,"collection":84,"collections":78435,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},237241,"gu-mu-zhu-shi-tu-ce-cha-shi-biao-237241","古木竹石图册","此作半边取景，留白极尽空灵之致。枯木以焦墨枯笔写就，运笔老辣苍劲，线条虬曲顿挫，尽显古木历经岁月经年的斑驳质感。旁侧淡墨挥写竹叶，笔势疏朗灵动，叶叶分明却不失连贯气韵，与枯木的苍涩形成柔劲对照。怪石以浓墨晕染勾勒，寥寥数笔便厚重沉稳，与木、竹错落排布，营造出清冷荒寒之境。\n整体笔墨简淡清逸，尽显萧散淡远的文人意趣，以极简的画面传递出悠长禅意，是极具代表性的写意佳构。",[24,7,59,128,4797,167,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F455b5b67be11ecf64eb29f870c74bd98.jpg",[],{"id":78437,"slug":78438,"title":45548,"dynasty":54,"author":17240,"museum":20,"description":45549,"tags":78439,"thumbUrl":78440,"material":611,"size":84,"collection":84,"collections":78441,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},237213,"shu-hua-he-bi-ce-cha-shi-biao-237213",[24,7,59,128,133,208,29,413,950,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ee2b2e1e25f82d5000d3c75bfab3c2.jpg",[],{"id":78443,"slug":78444,"title":45548,"dynasty":54,"author":17240,"museum":20,"description":45549,"tags":78445,"thumbUrl":78446,"material":611,"size":84,"collection":84,"collections":78447,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},237209,"shu-hua-he-bi-ce-cha-shi-biao-237209",[24,7,59,133,128,29,1144,131,132,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb38ce4e5796d408584e6e7069299e1dd.jpg",[],{"id":78449,"slug":78450,"title":37257,"dynasty":54,"author":37258,"museum":300,"description":37259,"tags":78451,"thumbUrl":78452,"material":84,"size":84,"collection":84,"collections":78453,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},237166,"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237166",[24,7,59,27,128,132,29,96,413,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40a42c71c79c75cae53c48e40555a71d.jpg",[],{"id":78455,"slug":78456,"title":37257,"dynasty":54,"author":37258,"museum":300,"description":37259,"tags":78457,"thumbUrl":78458,"material":84,"size":84,"collection":84,"collections":78459,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},237165,"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237165",[24,7,59,27,29,96,413,1314,99,130,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F873f87dd7dab04d94e7cf4557e1a2582.jpg",[],{"id":78461,"slug":78462,"title":78463,"dynasty":54,"author":48763,"museum":300,"description":57280,"tags":78464,"thumbUrl":78465,"material":84,"size":84,"collection":84,"collections":78466,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},237135,"shan-shui-ren-wu-ce-7-shang-guan-zhou-237135","山水人物册7",[24,7,59,128,133,208,29,129,96,371,415,99,1350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9939f8678e0e401c8bc09686555c5070.jpg",[],{"id":78468,"slug":78469,"title":409,"dynasty":54,"author":17240,"museum":300,"description":25958,"tags":78470,"thumbUrl":78471,"material":84,"size":84,"collection":84,"collections":78472,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},237105,"shan-shui-ce-cha-shi-biao-237105",[24,7,59,128,132,29,413,131,415,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34fb5e9d1890d251b011b4a8fe5e6865.jpg",[],{"id":78474,"slug":78475,"title":409,"dynasty":54,"author":17240,"museum":300,"description":25958,"tags":78476,"thumbUrl":78477,"material":84,"size":84,"collection":84,"collections":78478,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},237104,"shan-shui-ce-cha-shi-biao-237104",[24,7,59,128,132,208,29,331,171,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8cb579f52b9778f9a2236fb5a437172.jpg",[],{"id":78480,"slug":78481,"title":34368,"dynasty":54,"author":34369,"museum":300,"description":78482,"tags":78483,"thumbUrl":78484,"material":611,"size":84,"collection":84,"collections":78485,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},237068,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237068","水墨浅绘林亭水畔，双松苍劲卓立，草屋幽藏于林下，浅滩汀洲横陈远浦，留白铺就空寂萧散的淡远意境。笔致清瘦秀雅，以极简笔墨勾勒出幽居林下的闲澹之景，暗合题诗中的隐逸意趣。诗书合璧，墨色朴淡松秀，不见浓丽敷色，尽以线条晕染出林下观览的清寂闲情，将简逸风骨藏于尺幅之间，淡墨之中自有悠长余韵，尽显清雅绝尘的林下雅兴。",[24,7,59,128,188,29,372,130,98,171,413,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5e103788a96e8976d06a0220665940d.jpg",[],{"id":78487,"slug":78488,"title":58971,"dynasty":124,"author":78489,"museum":300,"description":78490,"tags":78491,"thumbUrl":78492,"material":611,"size":84,"collection":84,"collections":78493,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},237059,"hua-hui-ren-wu-ce-mao-fu-guang-237059","毛复光","此作用笔苍古，虬曲老松盘桓画面，松针攒簇如盖，古藤缠绕皴裂枝干，尽显松柏久经风霜的拙朴雄健。右侧以浓淡墨色勾勒嶙峋山石，干笔皴擦出岩体质感，飞泉借留白衬出灵动水态，潺潺山涧隐于松石之间，动静相映。\n\n画面左侧留白题字，虚实相生，水墨写意苍润兼具，铺展出山林幽寂之景。笔墨饱含文人澹泊意趣，以简淡的水墨层次，写尽林泉隐逸的清幽雅致，将寄情山水的林下之风藏于方寸画幅之中。",[24,7,59,128,132,372,171,1233,208,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86198f7926d54182d8d5f08234686caf.jpg",[],{"id":78495,"slug":78496,"title":78497,"dynasty":124,"author":67246,"museum":300,"description":67247,"tags":78498,"thumbUrl":78499,"material":692,"size":1293,"collection":84,"collections":78500,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},237044,"mo-shi-shan-mian-bao-zhuang-xing-237044","墨石扇面",[805,24,7,1131,128,132,171,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09e23f677aa9f9bbb54547607f863c09.jpg",[],{"id":78502,"slug":78503,"title":409,"dynasty":124,"author":48293,"museum":300,"description":48294,"tags":78504,"thumbUrl":78505,"material":611,"size":84,"collection":84,"collections":78506,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},237031,"shan-shui-ce-zhang-yan-237031",[24,7,59,128,29,129,1337,131,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd238f63d766ecb6c2dfdfe066240dff.jpg",[],{"id":78508,"slug":78509,"title":57287,"dynasty":124,"author":57288,"museum":20,"description":57289,"tags":78510,"thumbUrl":78511,"material":611,"size":84,"collection":84,"collections":78512,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},237016,"xi-zhu-ce-zhu-ying-237016",[164,24,7,59,128,29,99,171,96,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a6391a2b3978865708fba12be746feb.jpg",[],{"id":78514,"slug":78515,"title":57287,"dynasty":124,"author":57288,"museum":20,"description":57289,"tags":78516,"thumbUrl":78517,"material":611,"size":84,"collection":84,"collections":78518,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},237010,"xi-zhu-ce-zhu-ying-237010",[24,7,59,128,29,167,413,98,99,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a1b34f36d3d366d7b85519eef1bbba0.jpg",[],{"id":78520,"slug":78521,"title":57287,"dynasty":124,"author":57288,"museum":20,"description":57289,"tags":78522,"thumbUrl":78523,"material":611,"size":84,"collection":84,"collections":78524,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},237009,"xi-zhu-ce-zhu-ying-237009",[24,7,59,128,132,29,34,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4842ec5a7eba20ed05c951a246792274.jpg",[],{"id":78526,"slug":78527,"title":409,"dynasty":54,"author":63009,"museum":300,"description":63010,"tags":78528,"thumbUrl":78529,"material":692,"size":1293,"collection":84,"collections":78530,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},236994,"shan-shui-ce-zhang-xi-236994",[24,7,59,128,29,1813,34,35,129,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e9c6755ff90ac06b048291d1e6781c.jpg",[],{"id":78532,"slug":78533,"title":48339,"dynasty":124,"author":78534,"museum":300,"description":78535,"tags":78536,"thumbUrl":78537,"material":692,"size":1293,"collection":84,"collections":78538,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},236953,"shan-shui-shan-ye-zhu-shi-ying-236953","朱士瑛","朱士瑛[清]工细，人物似仇英。",[24,7,1131,128,132,29,34,131,414,415,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F054be235b44c7350599d4da24ad6adee.jpg",[],{"id":78540,"slug":78541,"title":409,"dynasty":124,"author":54018,"museum":300,"description":78542,"tags":78543,"thumbUrl":78544,"material":84,"size":84,"collection":84,"collections":78545,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},236928,"shan-shui-ce-qin-mao-de-236928","此作以淡墨晕染烟岚，远山在云气间半遮半露，似含倦意隐于空濛。近岸林木苍秀错落，枝叶以写意笔法点染，自带萧散野趣。\n\n左侧题诗与画作相得益彰，笔致清逸俊雅，诗画合璧，将林泉幽隐的意趣铺展开来。简淡的笔墨里藏着悠然隐逸的心境，不着浓艳，却把山居闲澹的诗意晕透纸面，观之如踏入空山烟林，揽得一怀松风墨韵。",[24,7,59,128,133,132,29,34,496,16370,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d86db61e7258f3942f4179fa8bd3ad2.jpg",[],{"id":78547,"slug":78548,"title":409,"dynasty":124,"author":54018,"museum":300,"description":78549,"tags":78550,"thumbUrl":78551,"material":84,"size":84,"collection":84,"collections":78552,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},236925,"shan-shui-ce-qin-mao-de-236925","此作用淡墨晕染远山，以轻皴带出朦胧空濛之态，恰似含烟凝黛。近岸垂柳披拂，新色柔曼，枯木抽芽待春，溪石隐现于浅滩，将江南二月清和烟景尽藏尺幅之中。笔墨秀雅温润，设色浅淡明净，把春日柔婉缱绻的意韵铺陈开来。\n\n左侧题诗行书笔意萧散俊朗，与画中景致呼应相合，诗画一体，将江南二月的悠然春意融于纸面，简淡间尽显雅致诗意，勾勒出山水清嘉、诗意栖居的文人雅趣，尽显文人画诗画合一的古典意致。",[24,7,59,27,128,132,29,331,131,415,37,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddf3042a4cf9df2d2f24657a68f6731a.jpg",[],{"id":78554,"slug":78555,"title":409,"dynasty":124,"author":33462,"museum":20,"description":38210,"tags":78556,"thumbUrl":78557,"material":999,"size":38213,"collection":84,"collections":78558,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},236906,"shan-shui-ce-song-xu-236906",[24,7,59,27,132,29,129,3344,130,331,690,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0eded255add548b04be279de94216f6.jpg",[],{"id":78560,"slug":78561,"title":40707,"dynasty":124,"author":39871,"museum":300,"description":74733,"tags":78562,"thumbUrl":78563,"material":692,"size":1293,"collection":84,"collections":78564,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},236831,"shan-shui-shan-zhang-fu-236831",[24,7,1131,29,128,27,132,1144,131,415,96,34,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbd4d3a54d229c1368b1a1d62b26abee.jpg",[],{"id":78566,"slug":78567,"title":33103,"dynasty":54,"author":46694,"museum":20,"description":46695,"tags":78568,"thumbUrl":78569,"material":734,"size":84,"collection":84,"collections":78570,"showCount":11,"zanCount":1998,"manualWeight":48,"mainColor":49},236820,"fang-gu-shan-shui-ce-zhao-cheng-236820",[24,7,59,27,29,663,950,228,129,413,387,1955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a30aa2fa945692c7adc8c743f499f66.jpg",[],{"id":78572,"slug":78573,"title":37266,"dynasty":54,"author":37267,"museum":300,"description":78574,"tags":78575,"thumbUrl":78576,"material":84,"size":84,"collection":68,"collections":78577,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},236711,"hua-niao-guo-ce-li-qi-236711","此作用淡墨写梅枝，瘦劲苍古，蜿蜒舒展，尽显老梅遒拔之姿。圈花轻勾淡染，寥寥数笔便将寒梅疏淡清远的神韵勾勒而出，清淡雅致自带幽寂出尘之态。\n\n画面两侧配以行书题跋，笔意纵逸跌宕，书画相映，文气盎然，尽显文人画诗书画一体的意趣。全幅不施丹青，以水墨浓淡干湿营造空疏淡远的意境，暗含画者寄情于梅，追慕高洁林下之风的心境。",[24,7,59,128,133,208,371,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d0d2caf2820dfb79b2b0716ae38ca5.jpg",[68,318],{"id":78579,"slug":78580,"title":78581,"dynasty":124,"author":223,"museum":300,"description":78582,"tags":78583,"thumbUrl":78584,"material":692,"size":1293,"collection":84,"collections":78585,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},236698,"zhang-long-zhang-guan-quan-shan-yi-ming-236698","张龙章观泉扇","此水墨扇面小品以枯木湖石营构幽境，虬曲古木斜出，枝桠带叶，苍劲中隐有生机。玲珑湖石皴染兼具，朴拙奇崛。高士斜倚木下，衣纹清劲简练，神态悠然静穆，正观听眼前流泉。整体笔墨简逸秀雅，萧散淡远。左侧题字朱印与画面相映，融书画于一体，将文人遁世丘园、寄情林泉的闲淡襟怀藏于尺幅之间，尽显林下幽居的隐逸意趣，是文人写意画中寄畅山水的典型佳作。",[805,24,7,1131,128,28,132,96,171,413,5359,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F404a2ba9065e81af3f80a09faa1b453c.jpg",[],{"id":78587,"slug":78588,"title":40707,"dynasty":124,"author":78589,"museum":300,"description":78590,"tags":78591,"thumbUrl":78592,"material":692,"size":1293,"collection":84,"collections":78593,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},236686,"shan-shui-shan-lin-zhi-jing-236686","林之菁","此作用笔简率老辣，借扇面形制铺展山水丘壑，取景疏密相宜。左处远山奇崛，枯笔短皴勾勒嶙峋石质，留白摹作平湖，一叶扁舟轻泛，晕开清寂烟波。右侧近林错落，以浓淡墨色分出枝叶层叠意趣，掩映水畔草堂，尽显幽居闲致。\n水墨晕染简淡清逸，题款笔墨随性自然，与画面浑然相融，尽显文人画萧散悠远之态，将林泉雅怀寄于尺幅之间，铺展出静穆雅致的山水幽境。",[24,7,1131,128,132,133,208,29,413,22404,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F447bd42652dd8d564104ff7ff58498f8.jpg",[],{"id":78595,"slug":78596,"title":78597,"dynasty":124,"author":223,"museum":300,"description":78598,"tags":78599,"thumbUrl":78600,"material":692,"size":1293,"collection":84,"collections":78601,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},236685,"shen-shi-shan-shui-shan-yi-ming-236685","沈仕山水扇","此作用泥金笺为底，以浅绛设色绘就林泉山居。近岸枯木虬枝、杂卉错落，中景山峦逶迤，松杉掩映间藏有村舍山居，远景云气轻笼峰巅，留白虚实相生，铺展出深远山水格局。笔墨秀润清逸，皴笔简括勾勒山石肌理，淡赭晕染铺就秋意，将幽寂散淡的文人意趣融于尺幅之间，把江南林泉的清寂悠然，收束于盈尺扇面之中，观之可品林泉高致，静悟山居闲雅之趣。",[24,7,1131,27,132,29,34,35,98,99,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8bb795d7931b95a82c97135d2c8d68e.jpg",[],{"id":78603,"slug":78604,"title":27148,"dynasty":54,"author":27149,"museum":20,"description":27150,"tags":78605,"thumbUrl":78606,"material":84,"size":84,"collection":84,"collections":78607,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},236651,"cha-shi-biao-shu-fa-ti-wang-zhi-rui-shan-shui-ce-wang-zhi-rui-236651",[24,7,59,128,133,208,29,130,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8e25e07014b20d25a46053e1615f944.jpg",[],{"id":78609,"slug":78610,"title":27148,"dynasty":54,"author":27149,"museum":20,"description":27150,"tags":78611,"thumbUrl":78612,"material":84,"size":84,"collection":84,"collections":78613,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},236650,"cha-shi-biao-shu-fa-ti-wang-zhi-rui-shan-shui-ce-wang-zhi-rui-236650",[24,7,59,128,29,34,131,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffad0fab11ec8d13b74eaa4cfcc86306.jpg",[],{"id":78615,"slug":78616,"title":27148,"dynasty":54,"author":27149,"museum":20,"description":27150,"tags":78617,"thumbUrl":78618,"material":84,"size":84,"collection":84,"collections":78619,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},236648,"cha-shi-biao-shu-fa-ti-wang-zhi-rui-shan-shui-ce-wang-zhi-rui-236648",[24,7,59,133,128,132,29,171,34,35,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29977ccc3743cdca9c020690be5a9a8b.jpg",[],{"id":78621,"slug":78622,"title":78623,"dynasty":124,"author":34726,"museum":300,"description":55756,"tags":78624,"thumbUrl":78625,"material":84,"size":84,"collection":84,"collections":78626,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},236642,"song-mao-jin-jiang-nan-ming-sheng-tu-ce-song-mao-jin-236642","宋懋晋江南名胜图册",[24,7,59,128,27,132,29,495,34,96,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878b86787417a10208f128b800b06632.jpg",[],{"id":78628,"slug":78629,"title":78623,"dynasty":124,"author":34726,"museum":300,"description":55756,"tags":78630,"thumbUrl":78631,"material":84,"size":84,"collection":84,"collections":78632,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},236633,"song-mao-jin-jiang-nan-ming-sheng-tu-ce-song-mao-jin-236633",[24,7,59,128,27,29,97,34,37,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F856d1533f3a52270bf4caf572f9c8c9e.jpg",[],{"id":78634,"slug":78635,"title":31307,"dynasty":54,"author":17240,"museum":300,"description":31308,"tags":78636,"thumbUrl":78637,"material":84,"size":84,"collection":84,"collections":78638,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},236573,"zha-mei-he-shan-shui-shi-zhen-cha-shi-biao-236573",[24,7,59,128,29,133,208,415,3857,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2c458c28380e3ef9ab913f033b74bd2.jpg",[],{"id":78640,"slug":78641,"title":4229,"dynasty":124,"author":25456,"museum":300,"description":25457,"tags":78642,"thumbUrl":78643,"material":84,"size":84,"collection":84,"collections":78644,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},236547,"hua-niao-ce-tang-zhi-yin-236547",[24,7,59,128,27,369,61,355,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ba2fc4bd453ceb292c4bd0063597ba9.jpg",[],{"id":78646,"slug":78647,"title":16826,"dynasty":124,"author":40715,"museum":20,"description":54053,"tags":78648,"thumbUrl":78649,"material":611,"size":54056,"collection":84,"collections":78650,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},236485,"shan-shui-ren-wu-ce-guo-fen-ya-236485",[24,7,59,128,132,96,29,34,167,131,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24a7bf75a9a3bbbb112432df5fb2459f.jpg",[],{"id":78652,"slug":78653,"title":37282,"dynasty":54,"author":22607,"museum":20,"description":78654,"tags":78655,"thumbUrl":78656,"material":31892,"size":78657,"collection":84,"collections":78658,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},236385,"huang-shan-tu-zhou-mei-qing-236385","此图在布局上打破常规，没有绘出完整的山形地貌，而是通过无形的云霭遮挡住山头、山脚，仅突出了山崖的一角，从而重点表现了画作的主题，即黄山的炼丹台。旧传轩辕黄帝与浮丘公曾在此采朱砂炼丹，此地遂成为黄山上一处重要的道教活动场所。梅清擅长于画黄山的怪石、松、云等景致，但他在此图中并没有以专门的色彩或者线条来特别地表现云，而是巧妙地借助了以虚托实的手法，以不着一笔的留白来表现云的实体所在，并且通过山石的空隙，表现出云飘浮的动感和若有若无的透明空间。",[24,7,165,128,132,29,1144,497,30,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F324e669c24ab5358976f2f1f1915036f.jpg","纵186.5厘米，横56.7厘米",[],{"id":78660,"slug":78661,"title":78662,"dynasty":54,"author":24258,"museum":300,"description":36452,"tags":78663,"thumbUrl":78664,"material":692,"size":1293,"collection":84,"collections":78665,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},236351,"qiu-hua-shan-chen-heng-ke-236351","秋花扇",[24,7,1131,27,61,3916],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e08b4bf7d5b43d4bc74c1368bbfd42.jpg",[],{"id":78667,"slug":78668,"title":78669,"dynasty":54,"author":24258,"museum":300,"description":36452,"tags":78670,"thumbUrl":78671,"material":692,"size":1293,"collection":84,"collections":78672,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},236345,"lan-shi-shan-chen-heng-ke-236345","兰石扇",[24,7,1131,128,375,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02b0b0f407e80c61552f26599ae871d3.jpg",[],{"id":78674,"slug":78675,"title":76,"dynasty":54,"author":1311,"museum":20,"description":37291,"tags":78676,"thumbUrl":78677,"material":734,"size":37294,"collection":84,"collections":78678,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},236313,"hua-hui-ce-wang-shi-shen-236313",[164,24,7,59,128,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2693dc15f9f2b2a60d728dcb72d3159.jpg",[],{"id":78680,"slug":78681,"title":78682,"dynasty":124,"author":40732,"museum":300,"description":78683,"tags":78684,"thumbUrl":78685,"material":692,"size":1293,"collection":84,"collections":78686,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},236305,"xi-xiang-qu-yi-shan-ye-li-shi-guang-236305","西厢曲意扇页","此作取景疏密得宜，近岸虬枝拂水、柳丝垂柔，将缱绻心绪融于尺幅之间。二人相对而立，衣袂轻扬，含情神态宛然可见，工细中带着灵动写意。设色清隽柔和，石青淡赭晕染远山，墨色分染草木，泛黄的扇底更衬古雅韵味。布景以小见大，咫尺之内铺展平远之境，将离别的悱恻揉入湖山烟霭，淡远水天消解了伤别之恸，晕开怅惘含蓄的诗意，尽显仕女雅事画的隽秀情致。",[1131,24,7,27,28,96,29,331,166,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8264d87b46757cfdc99ab8e44b68007c.jpg",[],{"id":78688,"slug":78689,"title":54084,"dynasty":54,"author":36329,"museum":20,"description":54085,"tags":78690,"thumbUrl":78691,"material":514,"size":54088,"collection":84,"collections":78692,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},236153,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236153",[24,7,59,27,28,96,97,247,34,1200,2145,251,64,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9b2fa5dd50a54a2f95c6c0aac3ec6ab.jpg",[],{"id":78694,"slug":78695,"title":72489,"dynasty":54,"author":2915,"museum":20,"description":72490,"tags":78696,"thumbUrl":78697,"material":40,"size":72493,"collection":84,"collections":78698,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},236122,"shan-shui-lou-ge-ce-chen-mei-236122",[24,7,59,27,95,133,208,29,97,99,129,34,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf6a606f121402f2bc390f06fb8ac3af.jpg",[],{"id":78700,"slug":78701,"title":72489,"dynasty":54,"author":2915,"museum":20,"description":72490,"tags":78702,"thumbUrl":78703,"material":40,"size":72493,"collection":84,"collections":78704,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},236117,"shan-shui-lou-ge-ce-chen-mei-236117",[24,7,59,27,28,95,133,208,29,97,171,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d86db339f229ab77df8bc58aa06c0e6.jpg",[],{"id":78706,"slug":78707,"title":42489,"dynasty":54,"author":523,"museum":300,"description":78708,"tags":78709,"thumbUrl":78710,"material":84,"size":84,"collection":84,"collections":78711,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},236101,"hua-luo-han-ce-leng-mei-236101","画面右幅，白眉罗汉垂目安坐，侍者恭立身侧，左侧神将挺枪卫护，各擅神韵。罗汉沉静端严，神将英悍肃穆，衣纹描法细劲灵动，晕染清雅柔和，尽显清隽格调。左侧题字笔力苍劲朴拙，与绘面相映成趣，书画合璧，将禅门静穆庄严的场景铺陈开来。\n作品以工笔之法写就，人物情态刻画入微，细节处尽显匠心，既饱含宗教场景的沉静氛围感，又尽显传统人物画的精妙功底，是兼具审美意趣与宗教意蕴的上乘之作。",[24,7,59,187,28,27,96,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfb79d1a44db493b2a4d245b507bb948.jpg",[],{"id":78713,"slug":78714,"title":18219,"dynasty":54,"author":223,"museum":300,"description":78715,"tags":78716,"thumbUrl":78717,"material":84,"size":84,"collection":84,"collections":78718,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},236069,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236069","此作用高远与平远之法铺陈丘壑，主峰层叠盘桓，以干笔皴擦出苍浑石质，留白晕染的云气缠绕崖间，让陡峭山形生出灵动空寂之意。山脚林木姿态各异，蓊郁错落，坡岸清寂淡远，尽显幽居林泉的静穆意趣。\n\n笔墨间墨色浓淡层叠，追摹古意苍润之风，将山川沉邃萧散之态尽显纸上，内敛的文人情致藏在每一处皴擦点染间，于仿古之中自存沉静风骨，仿佛将往昔林泉高致悄然铺展眼前。",[24,7,59,128,29,131,34,37,208,330,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ee362f0ce070233651c6966aa5608ca.jpg",[],{"id":78720,"slug":78721,"title":18219,"dynasty":54,"author":223,"museum":300,"description":78722,"tags":78723,"thumbUrl":78724,"material":84,"size":84,"collection":84,"collections":78725,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},236060,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236060","此作以淡墨轻皴绘就平林寒野，近岸枯木疏枝交错，浅赭点染残叶，晕开初冬萧索意趣。右下角茅舍隐于坡林之间，野水蜿蜒远去，遥岸淡影朦胧。滩涂上三两牧群徐行，衬得天地愈见空寂悠然。\n\n全作用笔松秀温润，设色清浅雅致，以留白铺展平远之境，将郊野荒寒闲逸融于尺幅。淡而有味，简中见韵，尽显含蓄静穆的仿古意趣，悠悠晕开江南冬野清远淡宕的诗意。",[24,7,59,330,128,27,29,1233,331,130,211,102,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52a4d524989c1b3b6d1da5f119753f62.jpg",[],{"id":78727,"slug":78728,"title":18219,"dynasty":54,"author":223,"museum":300,"description":78729,"tags":78730,"thumbUrl":78731,"material":84,"size":84,"collection":84,"collections":78732,"showCount":11,"zanCount":1998,"manualWeight":48,"mainColor":72},236058,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236058","此作以青绿设色晕染山峦，石青石绿交相映衬，妍丽却不甜俗。主峰峭拔奇崛，兼具雄浑之态，辅以留白晕染的流云，虚虚实实让层叠峰林愈发悠远深邃。近景虬松扎根崖壁，枝干盘旋苍劲，松叶攒簇苍郁，带着山野古拙之趣。山脚汀洲横陈，水波澹澹，沙岸隐见行人身影，为冷寂山水添上几分烟火意绪。\n\n笔墨兼工带写，勾勒皴擦间糅合了雄奇与秀润，既得山林苍莽之态，又藏文人雅逸之思，整体清旷空灵，仿若将观者带入幽谧林泉，静赏松风与流波，沉浸在古雅悠然的山水意境中。",[24,7,59,2271,27,26,132,29,131,34,1144,37,415,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce3e4b9cf9a5530008cd27cfb6b484ce.jpg",[],{"id":78734,"slug":78735,"title":409,"dynasty":54,"author":6936,"museum":300,"description":78736,"tags":78737,"thumbUrl":78738,"material":84,"size":84,"collection":84,"collections":78739,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},236053,"shan-shui-ce-wang-yuan-qi-236053","此作画境苍浑又不失空灵，层叠危崖以干笔皴擦堆叠，尽显岩体质地的沉厚苍古。留白作云气截断山巅，虚实相映间，让雄奇峰峦晕开缥缈仙气。\n\n山坳隐见村居台榭，古木错落盘虬，山道萦回转绕，将山居野趣悄然藏于丘壑间。山脚流泉蜿蜒，行人策杖徐行，为静穆山景晕开一丝烟火暖意。\n\n全画以渴墨勾勒为主，笔力苍劲老辣，墨色干湿浓淡交错，于繁密皴染里透出清朗层次，融北地山川雄浑与江南林麓秀润为一体，于尺幅间铺展出林泉高致，尽显沉静内敛的文人雅意。",[24,7,128,29,132,59,131,34,758,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc4c239c22466b2f1563a77ead16298.jpg",[],{"id":78741,"slug":78742,"title":409,"dynasty":54,"author":6936,"museum":300,"description":78743,"tags":78744,"thumbUrl":78745,"material":84,"size":84,"collection":84,"collections":78746,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},236049,"shan-shui-ce-wang-yuan-qi-236049","这幅画作以层峦叠嶂铺展章法，高远、深远兼具，山势开合藏露，尽显山川的浑茫厚重。以干笔积墨皴擦山峦，墨色干湿浓淡层次丰富，笔力苍劲浑厚，带着醇厚的古拙意趣。山径蜿蜒穿梭岩岫之间，水渚回环、村居掩映林麓，野木错落点染，将江南山水的清润含蓄融于笔墨法度之中，萧散淡远的文人雅趣跃然纸上，于规整的笔墨程式里，流露平淡天真的林下风致，尽显正统山水画的沉郁苍润之美。",[24,7,59,128,132,29,30,499,34,1515,9425,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff73d6255fbd42c680ae4c75448644853.jpg",[],{"id":78748,"slug":78749,"title":409,"dynasty":54,"author":6936,"museum":300,"description":78750,"tags":78751,"thumbUrl":78752,"material":84,"size":84,"collection":84,"collections":78753,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},236047,"shan-shui-ce-wang-yuan-qi-236047","此作用笔苍浑老辣，以干笔积墨反复皴擦，山石纹理厚重苍润，元气内敛。画面取深远山居之景，右侧危崖高耸，苍松虬劲扎根崖间，山道蜿蜒盘桓。山坳间村居错落，隐于林木荫蔽之下，下方溪岸回环，水色空濛。整体气息静穆高古，将山川浑厚之态与文人幽居的萧散意趣融为一体，于细碎笔墨堆叠间，尽显山川郁勃生机与静谧禅意，以笔墨抒发胸中丘壑，淡去实景具象，尽显传统文人画的写意精神。",[24,7,59,128,132,29,34,35,131,1645,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faeb61c8fd7f283af5cd3fc4529f64c10.jpg",[],{"id":78755,"slug":78756,"title":409,"dynasty":54,"author":6936,"museum":300,"description":78757,"tags":78758,"thumbUrl":78759,"material":84,"size":84,"collection":84,"collections":78760,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},236045,"shan-shui-ce-wang-yuan-qi-236045","此作用淡墨渴笔绘就，近处危石嶙峋，修竹劲挺清疏，古木倚石而立，林梢后隐见草庐，漾出幽居世外的闲寂。平湖横陈中景，远山以干笔皴擦，淡墨晕染，山峦错落朦胧，似笼着轻烟，晕出空寂萧疏的氛围感。\n笔墨简淡松秀，以留白造境，凭虚实相生勾勒山川丘壑的静穆悠远，不着浓艳敷色，全以笔墨意趣铺就清旷淡远的禅意，观之如临幽寂林泉，心下悠然沉静。",[24,7,59,128,132,29,130,413,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F730960dc4a489440549caf97a31a5c00.jpg",[],{"id":78762,"slug":78763,"title":78764,"dynasty":124,"author":35676,"museum":300,"description":78765,"tags":78766,"thumbUrl":78767,"material":84,"size":84,"collection":84,"collections":78768,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},236021,"ren-wu-tu-ce-fang-wang-qi-han-kan-shu-tu-wen-nan-shou-mao-weng-236021","人物图册－仿王齐翰勘书图","画面右侧，长者安坐椅中，抬手搔耳，神态松弛自适。案头书卷横陈、典籍累叠，陈设古雅简净，尽显文人闲居勘书之余的悠然意趣。\n画作笔墨清隽简淡，未作繁复勾勒，便将文人萧散出尘的意态尽显。搭配左侧题字，书画相得益彰，晕染出尚韵重意的文人特质，把闲散自洽的林下风流融于尺幅之间，淡而有味，古意悠然，尽显温润隽秀的笔墨意趣。",[24,7,59,27,96,133,208,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49f1f37bb12a5d1852f584194b351693.jpg",[],{"id":78770,"slug":78771,"title":78772,"dynasty":124,"author":35676,"museum":300,"description":78773,"tags":78774,"thumbUrl":78775,"material":84,"size":84,"collection":84,"collections":78776,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},236020,"ren-wu-tu-ce-jie-qian-lv-ren-wen-nan-shou-mao-weng-236020","人物图册－阶前旅人","此作用笔松秀简淡，淡设晕染出乡野幽居之景。柴扉小屋静立坡岸，旅人临阶轻叩，将羁旅投宿的温软烟火气，揉进林木扶苏、苔石隐现的清寂山野里，动静之间，恰到好处。\n左侧题诗与画境相映成趣，隽雅书法配搭闲淡诗句，把杜诗中的酒意闲情融在笔墨之中。整体萧散疏朗，带着独有的简淡天真，于尺幅之间铺陈出悠远林下诗意，藏着旧时文人对幽居雅趣的追慕，诗画合璧，意境淡远悠长。",[24,7,59,27,133,208,29,96,34,131,99,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd13592dbc8d988fb7271b43340dd571.jpg",[],{"id":78778,"slug":78779,"title":67367,"dynasty":54,"author":223,"museum":300,"description":78780,"tags":78781,"thumbUrl":78782,"material":84,"size":84,"collection":84,"collections":78783,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235982,"ban-shan-shan-shui-ren-wu-ce-yi-ming-235982","此作以淡墨写就山水幽居之景，简淡空灵至极。近处以浓淡墨色分出枯荣之木，伴衬低矮茅舍，笔致清简率意。远处丘峦以淡墨晕染，与留白的空茫水面相融无间，不着皴擦便晕开江南山水的温润空濛。全幅以留白为骨，以水墨为肉，萧散清旷的意境扑面而来，仿佛能让人静听林泉风声，体味幽居于此的澹泊闲情，尽显文人画寄兴林泉、超然世外的雅韵余味。",[24,7,59,128,132,29,331,3387,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfcdbe6523bcbd14edde999ddfbfbab5.jpg",[],{"id":78785,"slug":78786,"title":72563,"dynasty":54,"author":21964,"museum":300,"description":78787,"tags":78788,"thumbUrl":78789,"material":84,"size":84,"collection":84,"collections":78790,"showCount":11,"zanCount":1998,"manualWeight":48,"mainColor":72},235924,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235924","此作用浅设色晕染山峦，清润秀雅的青赭色调晕出柔婉的山势，烟岚轻笼，尽显江南丘壑的温润空灵。山寺藏于松壑之间，屋舍错落隐于虬松茂林之中，松枝苍劲盘曲，古意盎然。下层溪谷山居伴溪桥流水，林木葱茏静谧。\n\n诗画相衬，笔墨秀逸明净，将禅意融于湖山烟岚里，勾勒出萧散出尘的梵刹胜境，观之如临清净佛国，足以涤荡俗虑，尽显清寂雅致的世外意趣。",[24,7,164,59,27,132,29,97,98,99,331,690,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e938a92c09b488d00a732c47d06f0ca.jpg",[],{"id":78792,"slug":78793,"title":40058,"dynasty":54,"author":44979,"museum":300,"description":78794,"tags":78795,"thumbUrl":78796,"material":84,"size":84,"collection":84,"collections":78797,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235863,"shan-shui-ye-ye-xin-235863","此作用笔秀雅松灵，以浅绛轻敷山石林木，山居隐于苍松之下，坡陀间幽人策杖徐行，远山以淡墨晕染，烟岚浮动，尽显空寂淡远之致。\n左侧行书题诗笔致萧散，与画面意境融契无间，将江南山水的温润清和尽数铺展。整幅诗画合璧，淡宕的笔墨间浸透文人幽居林泉的雅逸襟怀，简淡中见深致，素朴中含隽永，把山水林泉的静美与林下幽居的意趣合而为一，尽显文人小品画的悠然格调。",[24,7,59,133,128,29,130,171,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe4d2468dbdcf6e2e037f3317ba07355.jpg",[],{"id":78799,"slug":78800,"title":78801,"dynasty":54,"author":65636,"museum":300,"description":78802,"tags":78803,"thumbUrl":78804,"material":84,"size":84,"collection":84,"collections":78805,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235859,"shan-shui-ren-wu-ye-lu-yuan-235859","山水人物页","此作为诗画合璧的写意小品，绘江岸平远之景，坡陀浅草间，长者与童子缓步偕行，江波澹澹，远山含黛。以淡墨晕染出清秋萧疏澄澈的意韵，笔致简逸空灵，寥寥数笔便勾勒出江天寥廓的清远意境。\n\n左侧题诗书法隽秀雅致，笔墨苍润，诗境与画境相融，将文人幽居林下的闲适之思，寄寓在萧散简淡的笔墨间，尽显清寂出尘的文人雅趣，诗书画三者相得益彰，把清秋时节的林下幽怀铺陈开来，意蕴悠长。",[24,7,59,128,29,96,331,3344,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02379260b08c22b33d03afc89cf8be34.jpg",[],{"id":78807,"slug":78808,"title":78809,"dynasty":124,"author":223,"museum":300,"description":78810,"tags":78811,"thumbUrl":78812,"material":84,"size":84,"collection":84,"collections":78813,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235850,"lu-zhi-zhi-xing-shan-tu-ye-yi-ming-235850","陆治支硎山图页","此作诗书画合璧，尽展幽山雅境。右侧画中枯木蟠曲苍劲，崖岩层叠错落，山坳间村居隐现，恍若世外幽居。淡赭晕染远山，墨色清浅柔润，尽显山林空寂冷逸之致。左侧题笔清隽秀雅，以文字考据山地方志，与画面相映成趣，将吴中山林的幽寂野趣融于尺幅之间。笔墨简淡松灵，设色浅淡明净，带着温婉清逸的格调，把荒寒幽隐的山景之美娓娓铺陈，尽显文人山水的雅致意趣。",[24,7,59,27,132,133,64,29,331,131,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2376ab2c236666ad1f05c99a9eba1b16.jpg",[],{"id":78815,"slug":78816,"title":409,"dynasty":124,"author":27311,"museum":300,"description":78817,"tags":78818,"thumbUrl":78819,"material":84,"size":84,"collection":84,"collections":78820,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235825,"shan-shui-ce-li-liu-fang-235825","此作以水墨晕染出江南幽居之景，近岸老松错落苍劲，村居隐于林麓，远山以淡墨轻扫，留白晕开空濛水汽，尽显萧散淡远之致。\n\n题跋点出此画于简淡中藏精妙，取法先贤又自出机杼，笔意松秀温润，将文人幽居林泉的襟怀寄寓其中。以干湿浓淡的水墨层次，勾勒出山林静穆清和的氛围，把江南山水的温润雅致凝于尺幅之间，淡而弥永，悠悠诗意漫溢纸面，尽显文人画尚韵重意的隽永特质。",[164,24,7,59,128,29,663,413,35,228,37,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26c930a53074b4f73f98b23eeeb0df25.jpg",[],{"id":78822,"slug":78823,"title":409,"dynasty":124,"author":27311,"museum":300,"description":78824,"tags":78825,"thumbUrl":78826,"material":84,"size":84,"collection":84,"collections":78827,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235823,"shan-shui-ce-li-liu-fang-235823","此作以枯淡松灵之笔绘秋山幽居，孤峰挺立于淡墨岚气之中，疏林苍劲带秋意，村居错落隐于岩壑林间，不见喧嚣，尽是萧散闲寂。笔墨秀润简雅，不作浓丽设色，以水墨晕染出远山空濛，淡墨枯枝尽显秋韵清寒。\n左侧题诗书意清雅，与画作相映成趣，将幽栖林泉的高逸情志融于尺幅之间，尽显静穆淡远的文人雅趣，把晚明文人疏朗淡逸的精神风骨藏于山水丘壑之中。",[24,7,59,128,27,132,29,30,34,35,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0307ac5dedc1a3a065d5342083a3cbb.jpg",[],{"id":78829,"slug":78830,"title":78831,"dynasty":54,"author":223,"museum":300,"description":78832,"tags":78833,"thumbUrl":78834,"material":692,"size":1293,"collection":84,"collections":78835,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235790,"wu-li-lin-tang-shi-si-tu-shan-ye-yi-ming-235790","吴历林塘诗思图扇页","此作用淡墨写就林塘秋景，取景清寂萧疏。近岸渔舟独棹，蓑翁垂纶，坡岸间疏林错落，茅庐隐于修竹茂树之下，远汀横斜，归雁掠过长天，淡墨晕开暮霭轻云，将秋日郊野的静谧寥廓尽数铺陈。\n笔墨松秀简淡，以干笔皴擦勾勒山石林木，墨色清润柔和，层次井然。题诗与画面相映成趣，将幽居闲眺、寄情林泉的隐逸诗意收束在尺幅之间，尽显萧散淡远的文人画意趣，静穆悠远，引人沉入秋日闲居的清宁遐思里。",[24,7,1131,128,132,133,208,29,413,276,98,99,211,130,129,96,331,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c905d93c173e008f79cf2e820329ff4.jpg",[],{"id":78837,"slug":78838,"title":78839,"dynasty":54,"author":78840,"museum":300,"description":78841,"tags":78842,"thumbUrl":78843,"material":84,"size":84,"collection":84,"collections":78844,"showCount":11,"zanCount":1998,"manualWeight":48,"mainColor":72},235785,"wei-fu-shang-shou-tu-xiang-zhou-bian-yong-yu-235785","为父上寿图像轴","卞永誉","这幅作品以三段式铺陈画面，上部题咏诗文端秀雅致，呼应主题意趣。中部院景为核心，工笔细绘阖家贺寿的温情场景：廊下主宾对坐叙话，庭院里稚童击鼓作乐，仆从各司其职，人物衣冠严整敷色明丽，屋宇规制严整写实，处处可见清代世家起居的细腻风貌。下部题笔补述心境，诗画合璧。整作兼具院体绘画的工致写实，又以文人题咏烘托出世家庆生的雅致温情，是民俗纪实与文人意趣相融的精妙之作。",[24,7,165,28,27,95,96,97,247,413,438,2145,12676],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c9997a80244a03e325bfe40f1884832.jpg",[],{"id":78846,"slug":78847,"title":78848,"dynasty":54,"author":223,"museum":300,"description":78849,"tags":78850,"thumbUrl":78851,"material":84,"size":84,"collection":84,"collections":78852,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235784,"zhu-jia-shu-hua-he-bi-ce-xu-qiu-fang-wang-meng-shan-shui-ye-yi-ming-235784","诸家书画合璧册-徐釚仿王蒙山水页","此作用笔简淡清隽，以枯墨勾勒山水层次。远景山峦以淡墨晕染，朦胧间藏起村居茅舍，恍若世外幽乡。中景湖面留白成趣，衬出水天寥空，汀渚杂木萧疏，暗合清秋闲寂意韵。近景怪石虬松笔法苍劲，化用王蒙繁复皴点却删繁就简，只留苍古意态。\n书画合璧，题识笔意潇洒，与山水淡远气质相融。全幅不着艳色，以笔墨骨力撑起身韵，将摹古之工与文人写意之趣相合，淡墨轻岚间尽显林泉高致的隐逸心曲，简雅悠长。",[24,7,59,128,132,29,34,131,415,3857,97,331,1233,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e8c27d6d6111c0d05e6d997af3f5fc8.jpg",[],{"id":78854,"slug":78855,"title":78856,"dynasty":124,"author":3608,"museum":300,"description":9012,"tags":78857,"thumbUrl":78858,"material":692,"size":1293,"collection":84,"collections":78859,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235770,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-bai-lian-jing-tu-ye-lu-zhi-235770","吴门诸家寿袁方斋三绝册-白莲泾图页",[24,7,59,128,29,99,34,415,5801,1337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e2e309fbe02004711f5f56e85083f44.jpg",[],{"id":78861,"slug":78862,"title":42514,"dynasty":124,"author":36548,"museum":300,"description":42515,"tags":78863,"thumbUrl":78864,"material":692,"size":1293,"collection":84,"collections":78865,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235762,"mei-hua-wen-cong-jian-shi-he-bi-ce-shao-mi-235762",[24,7,59,128,371,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb536b9364aa5e9661531dea7fc71e612.jpg",[],{"id":78867,"slug":78868,"title":33103,"dynasty":54,"author":78869,"museum":300,"description":78870,"tags":78871,"thumbUrl":78872,"material":692,"size":1293,"collection":84,"collections":78873,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235749,"fang-gu-shan-shui-ce-xue-xuan-235749","薛宣","薛宣（生卒年不详），字赣君，东海郡郯县（今山东省郯城县）人。西汉丞相，汉宣帝刘询的女婿。\n精通律法，起家廷尉书佐、都船狱吏，出任不其县丞、乐浪郡丞。举茂才出身，出任宛句县令，迁长安令，颇有政绩。汉成帝时期，历任御史中丞、临淮陈留二郡太守、左冯翊、少府卿、御史大夫，赏罚分明，威德并施，功劳卓著，迎娶敬武长公主。鸿嘉元年（前20年），出任御史大夫，代替张禹出任丞相，册封高阳侯。永始二年（前15年），办理邛成太后丧事不周，辞去丞相之职。\n汉哀帝时，免为庶人，最终在家中去世。",[24,7,164,59,330,128,27,29,131,1144,34,496,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6590555f1e36c3823d694fdfcd0498b.jpg",[],{"id":78875,"slug":78876,"title":76,"dynasty":54,"author":36579,"museum":300,"description":36580,"tags":78877,"thumbUrl":78878,"material":692,"size":1293,"collection":84,"collections":78879,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235716,"hua-hui-ce-zou-xian-ji-235716",[24,7,59,27,28,61,263,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe03718245b6d9b4a91d47bf82d9504a9.jpg",[],{"id":78881,"slug":78882,"title":1289,"dynasty":124,"author":16032,"museum":300,"description":20309,"tags":78883,"thumbUrl":78884,"material":692,"size":1293,"collection":84,"collections":78885,"showCount":11,"zanCount":1998,"manualWeight":48,"mainColor":72},235689,"shan-shui-hua-hui-ce-xiang-sheng-mo-235689",[164,24,7,59,128,132,29,98,99,34,131,35,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b8ce76f18a440db12e15e7aac8a905f.jpg",[],{"id":78887,"slug":78888,"title":4724,"dynasty":54,"author":9742,"museum":300,"description":78889,"tags":78890,"thumbUrl":78891,"material":84,"size":84,"collection":84,"collections":78892,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235646,"shan-shui-tu-ce-wu-li-235646","此作用笔苍浑秀润，右侧危崖壁立，古松虬曲倒挂，松针劲挺如铁，崖间飞瀑垂落，碎石寒泉隐于其下，尽显清寂萧寒。远景山峦层叠，云气氤氲漫卷，将峰岫半遮半掩，虚实相生，烘托出深山冬日的幽僻荒寒。\n\n右上角题诗呼应画境，干笔皴擦勾画出山石嶙峋肌理，淡墨晕染流云柔态，刚柔并济。整幅以水墨铺陈，摒弃浓艳，以萧疏之景写尽荒寒之美，寄寓静穆淡远的文人意趣，于冷寂之中藏着深挚的山水情怀，尽显水墨山水空灵悠远的意境。",[24,7,164,59,128,132,29,131,1144,495,415,37,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706cd4af2901587fe982252869318b4a.jpg",[],{"id":78894,"slug":78895,"title":33103,"dynasty":124,"author":33653,"museum":300,"description":38271,"tags":78896,"thumbUrl":78897,"material":692,"size":1293,"collection":84,"collections":78898,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235632,"fang-gu-shan-shui-ce-shen-hao-235632",[24,7,59,128,27,132,330,29,171,34,97,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa698f25ebf99871d4d9aff675b534aa9.jpg",[],{"id":78900,"slug":78901,"title":33103,"dynasty":124,"author":33653,"museum":300,"description":78902,"tags":78903,"thumbUrl":78904,"material":84,"size":84,"collection":84,"collections":78905,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235626,"fang-gu-shan-shui-ce-shen-hao-235626","此作以淡墨晕染山峦，皴擦相济刻画出山石嶙峋肌理，近坡石错落横生，浅波隐现溪石，蜿蜒栈道串联谷中村居与山巅古寺，远景峰峦淡化为浅灰虚影，虚实相生晕染出悠远空寂的山林意境。\n\n右上题字朱印雅致点缀，文人气韵悠然暗合仿古意趣。笔墨简淡松灵，不刻意雕琢却尽得山水真趣，将林泉幽居的静穆逸致融于尺幅之中，尽显文人画尚意抒情的特质，是师法古人又自出机杼的小品佳制。",[164,24,7,59,128,27,132,330,29,171,99,331,98,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F211c9dc6b8ace33b6a81cfb116839d6b.jpg",[],{"id":78907,"slug":78908,"title":409,"dynasty":124,"author":25869,"museum":300,"description":78909,"tags":78910,"thumbUrl":78911,"material":692,"size":1293,"collection":84,"collections":78912,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},235605,"shan-shui-ce-wang-qi-235605","王綦(16－17世纪初)，字履若，一字履石。吴郡（今江苏苏州）诸生。明晚期吴门派后劲，擅山水，秀润简远，是一个书卷气极浓的画家。他好写庭院小景，幽桐修篁，竹篱茅舍，倚水面山，是贫寒文人理想的读书养性之处。\n性狷介，杜门以画自娱。与山水，结构奇幻，人物、树石、花鸟，略写形似，不拘囿于画法。万历二十八年（1600年）作。又天启六年（1626年）作；这幅画的取材是东晋诗人陶渊明归隐田园的故事。画面中，陶渊明悠闲地坐在室外床榻上观赏菊花，身边有童仆和家人在旁陪伴伺候，迎面有一位访客正渡过溪桥，准备造访，溪畔停放著一艘小舟，山径间还可见到牧童与牛群，整幅画流露出高士隐逸生活的一种典型",[24,7,59,29,132,128,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfd8de4ac67cdb90bb2f93056ea7b168.jpg",[],{"id":78914,"slug":78915,"title":78916,"dynasty":54,"author":223,"museum":300,"description":78917,"tags":78918,"thumbUrl":78919,"material":84,"size":84,"collection":84,"collections":78920,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235545,"gao-xiang-shan-shui-tu-zhou-yi-ming-235545","高翔山水图轴","此作用笔秀逸松灵，以水墨晕染出江南山川的氤氲淡远。近岸虬松斜出，坡石错落；中景溪塘如镜，幽居藏于林麓，扁舟泛波，暗合幽人乘兴之趣；远山层峦叠嶂，枯笔皴擦写尽山石肌理，淡墨晕染衬出岚气浮动。左上角题诗添就文人情致，整幅构图疏密相宜，干湿浓淡相生，将林泉幽寂之景尽藏尺幅，萧散清和的笔墨间，寄寓着寄迹丘山、超然尘外的隐逸襟怀，尽显文人山水的静雅意趣。",[24,7,165,128,132,29,98,99,129,34,131,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c9d45655fb7d98595579441514f4e6e.jpg",[],{"id":78922,"slug":78923,"title":72649,"dynasty":54,"author":72650,"museum":300,"description":72651,"tags":78924,"thumbUrl":78925,"material":692,"size":1293,"collection":84,"collections":78926,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235534,"xi-xiang-tu-ce-ye-bu-235534",[24,7,59,27,28,96,166,101,413,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cddb5470904f03a5de87ae7645156f1.jpg",[],{"id":78928,"slug":78929,"title":22264,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":78930,"thumbUrl":78931,"material":692,"size":1293,"collection":84,"collections":78932,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235491,"huang-shen-shu-guo-tu-ce-huang-shen-235491",[24,7,59,128,27,4250,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2869fcc818c0064302d6bde9ac51700.jpg",[],{"id":78934,"slug":78935,"title":22264,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":78936,"thumbUrl":78937,"material":692,"size":1293,"collection":84,"collections":78938,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235489,"huang-shen-shu-guo-tu-ce-huang-shen-235489",[24,7,59,128,27,4250,64,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e967a043f3cc29aaea5baf9a2eff25c.jpg",[],{"id":78940,"slug":78941,"title":22264,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":78942,"thumbUrl":78943,"material":692,"size":1293,"collection":84,"collections":78944,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235486,"huang-shen-shu-guo-tu-ce-huang-shen-235486",[24,7,59,27,128,133,208,4250,11716],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe30763548fa01561f075500a7c7d6796.jpg",[],{"id":78946,"slug":78947,"title":22264,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":78948,"thumbUrl":78949,"material":692,"size":1293,"collection":84,"collections":78950,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235483,"huang-shen-shu-guo-tu-ce-huang-shen-235483",[24,7,59,128,27,4250,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94b5bdc9ab3a2e3abcbdbb79d3b7cfbc.jpg",[],{"id":78952,"slug":78953,"title":4724,"dynasty":124,"author":59261,"museum":300,"description":78954,"tags":78955,"thumbUrl":78956,"material":84,"size":84,"collection":84,"collections":78957,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235457,"shan-shui-tu-ce-pan-zheng-235457","此作用笔简劲老辣，以干笔淡墨皴擦出山石嶙峋质感，留白代作平湖，虚实相生。崖壁间山居错落藏于岩岫，野趣盎然。近湖畔孤亭孑立，细柱撑顶，更衬出山水清寂空阔。右上角朱印点睛，静穆水墨中晕开一抹亮色。整体意境萧散淡远，尽显文人画简淡空灵意趣，以极简笔墨写尽林泉幽居之致，观之如临无人之境，俗念俱消。",[24,7,59,128,132,29,130,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4339426ce7db412654a1b123d4ac7c8d.jpg",[],{"id":78959,"slug":78960,"title":21106,"dynasty":54,"author":5879,"museum":300,"description":59277,"tags":78961,"thumbUrl":78962,"material":692,"size":1293,"collection":84,"collections":78963,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235388,"hua-niao-tu-ce-hua-yan-235388",[164,24,7,59,27,128,61,413,355,548,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb877c81c06b6a8a65ba1940edd153cc3.jpg",[],{"id":78965,"slug":78966,"title":409,"dynasty":54,"author":43518,"museum":300,"description":78967,"tags":78968,"thumbUrl":78969,"material":84,"size":84,"collection":84,"collections":78970,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235330,"shan-shui-ce-wen-dian-235330","此作用淡墨晕染出两岸温润山峦，留白为川，以细索为渡桥，一人策杖徐行，身影简净萧散。山石以短披麻皴辅以苔点，笔墨清润柔和，晕染出江南丘林的氤氲秀雅。\n\n右上角题诗与画境相映，暗合幽人寄情林泉的意趣。整幅小品简淡空灵，舍去繁复刻画，以极简笔墨托出林下隐逸的悠然襟怀，淡远清和的墨色间，尽显文人画物我相融的高致，简而意足，静中生趣。",[164,24,7,59,128,132,29,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4e4e96628a0adb47fbfae58e7cf6c6a.jpg",[],{"id":78972,"slug":78973,"title":409,"dynasty":124,"author":33653,"museum":300,"description":38271,"tags":78974,"thumbUrl":78975,"material":692,"size":1293,"collection":84,"collections":78976,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235288,"shan-shui-ce-shen-hao-235288",[24,7,59,128,27,29,171,331,415,665,132,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6c85e276233d6bb58482c6dfade07a2.jpg",[],{"id":78978,"slug":78979,"title":409,"dynasty":124,"author":33653,"museum":300,"description":38271,"tags":78980,"thumbUrl":78981,"material":692,"size":1293,"collection":84,"collections":78982,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235287,"shan-shui-ce-shen-hao-235287",[24,7,59,128,27,132,29,1144,131,98,99,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a5b4c2ba5269132e1e213af128e581c.jpg",[],{"id":78984,"slug":78985,"title":78986,"dynasty":54,"author":9529,"museum":300,"description":19697,"tags":78987,"thumbUrl":78988,"material":692,"size":1293,"collection":84,"collections":78989,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235230,"fang-hui-chong-shan-shui-zhou-wang-hui-235230","仿惠崇山水轴",[164,24,7,165,128,132,330,208,29,34,35,31,211,129,6810,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29747977d2442e5bcdd0e2cbd270fb52.jpg",[],{"id":78991,"slug":78992,"title":7864,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":78993,"thumbUrl":78994,"material":692,"size":1293,"collection":84,"collections":78995,"showCount":11,"zanCount":1998,"manualWeight":48,"mainColor":72},235187,"za-hua-ce-huang-shen-235187",[24,7,59,27,128,369,61,547,548,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6a2a7b5880b79feb0fad0299c90b1f3.jpg",[],{"id":78997,"slug":78998,"title":409,"dynasty":54,"author":44979,"museum":300,"description":78999,"tags":79000,"thumbUrl":79001,"material":84,"size":84,"collection":84,"collections":79002,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":199},235177,"shan-shui-ce-ye-xin-235177","此作用笔松秀温润，浅绛设色晕染出清寂秋意。近景古松虬曲苍劲，与朴拙顽石相伴，侧旁矮木扶疏，点簇出细碎秋华，野趣盎然。中景茅篱村居错落，隐于林畔，篱舍俨然透着幽居闲情。远景以淡墨轻烘浅染，虚化山影，凭立二人又为冷寂添了几分烟火暖意。整幅意境萧散淡远，将江南村居的秋日闲逸铺陈开来，藏着静穆清和的林下意趣，引人沉湎于这避世幽居的松弛意韵之中。",[24,7,59,27,128,29,413,497,130,415,387,28975],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32fabbe8f9f9767e04fb87cddb801f23.jpg",[],{"id":79004,"slug":79005,"title":409,"dynasty":54,"author":44979,"museum":300,"description":79006,"tags":79007,"thumbUrl":79008,"material":84,"size":84,"collection":84,"collections":79009,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235175,"shan-shui-ce-ye-xin-235175","此作画境清逸淡远，以秀挺笔触勾勒危崖叠嶂，皴擦简净清疏，淡晕山石肌理，尽显山峦空阔之姿。左侧苍松半掩山居，丹色霜叶点染秋韵，右侧木桥引渡，红衣行人缓步，为冷寂山境晕开暖意。远山佛塔隐现峰巅，暗合禅意。\n\n全幅设色简淡明净，留白衬出丘林空寂，将幽居静穆与山野生机相融，笔法温婉秀雅，以淡墨轻色晕染出江南山水的秀润空灵，简淡间漫溢出悠远的山居诗意，尽显淡逸雅致的山水意趣。",[24,7,59,128,27,132,29,130,98,96,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37c352f4a9005fb53019459306174bf3.jpg",[],{"id":79011,"slug":79012,"title":409,"dynasty":124,"author":27311,"museum":300,"description":79013,"tags":79014,"thumbUrl":79015,"material":84,"size":84,"collection":84,"collections":79016,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},235154,"shan-shui-ce-li-liu-fang-235154","此作用笔简淡松灵，淡墨晕染出虚渺远山，如笼轻烟，留白铺就清寂天地。右侧枯木虬曲苍劲，丛树错落交叠，笔墨勾勒尽显草木枯荣之态，飞瀑自丘峦间垂落，掩映茅舍二三，暗合幽寂氛围。\n\n题字与画面浑然相融，笔意萧散简远，以水墨写尽文人心底的淡远幽情，未以繁复设色，仅以干湿浓淡的墨色层次，铺展出冷寂清和的山居意趣，尽显萧散简远的林下之风，将寒夜灯下的幽闲淡远意蕴藏于尺幅之间。",[164,24,7,59,128,132,29,495,130,413,167,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a98e86ecf81b6a859d443cfea31890.jpg",[],{"id":79018,"slug":79019,"title":409,"dynasty":124,"author":27311,"museum":300,"description":79020,"tags":79021,"thumbUrl":79023,"material":84,"size":84,"collection":84,"collections":79024,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},235153,"shan-shui-ce-li-liu-fang-235153","此作用笔简淡清逸，以水墨晕染出山水襟怀。近坡淡墨轻铺，竹枝萧疏摇曳，笔致清瘦隽雅。中处长松亭亭如盖，浓墨点染松针，枯淡勾勒树干，高低错落间见出苍劲古拙。远山以淡墨轻扫而过，留白衬出烟岚空濛。\n\n通篇墨色层次分明，浓淡相依，糅合出萧散出尘的幽远意境，暗含文人澹泊襟怀。题款与画面浑然相融，笔墨间不见烟火尘嚣，只余林泉高致，将山居幽寂的清冷意趣尽数铺陈。",[24,164,7,128,79022,132,4437,369,29,34,276,131,16370,37],"淡墨渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffda4d66caabfd57aa2897466192206d8.jpg",[],{"id":79026,"slug":79027,"title":409,"dynasty":124,"author":27311,"museum":300,"description":79028,"tags":79029,"thumbUrl":79030,"material":84,"size":84,"collection":84,"collections":79031,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},235151,"shan-shui-ce-li-liu-fang-235151","此作以淡墨渴笔写山林幽境，危壁飞瀑从云崖间倾泻而下，苍松扎根峭岩，枯木虬枝斜探出画面，野意横生。\n桥上幽人凭栏静立，观瀑听涛，身影安闲自在，将飞瀑之动与观者之静相映成趣。墨色干湿互用，山石以侧锋皴擦，留白烘托出空寂萧疏的林下意境。笔意松灵兼具筋骨，简淡中藏沉厚，尽得元人山水遗韵又自具风神，把文人寄情丘壑、静悟山水的幽怀藏于尺幅间，是小品山水里的绝佳妙制。",[164,24,7,59,128,132,369,29,98,99,495,34,96,131,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ddf9e8578717e69fdd14861a45946dc.jpg",[],{"id":79033,"slug":79034,"title":79035,"dynasty":54,"author":9529,"museum":300,"description":79036,"tags":79037,"thumbUrl":79038,"material":84,"size":84,"collection":84,"collections":79039,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235103,"huai-yin-tu-ce-wang-hui-235103","槐隐图册","此帧以淡墨写就林泉幽隐之境，柔垂柳丝牵起清寂氛围，崖畔幽草簌簌，右侧老槐伴修竹错落而立。笔墨苍秀松灵，山石以淡墨轻皴，不重具象形貌，只取丘壑简淡之致。留白铺陈出空阔疏朗的林下天地，将文人耽幽守寂的襟怀藏在浅淡墨色间。\n\n题款墨痕雅致，与画面浑然相融，笔致松脱空灵，全是随心挥洒的闲适意态，无刻意刻画，仅以逸笔勾勒出山野幽居的清寒澹泊，尽显静穆萧散的林下风流，把寄情林泉的雅趣尽数铺陈开来，是文人写意山水以意驭笔的佳制。",[24,7,59,128,132,167,2372,171,1771,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49f4d949a1291f30492ce464c1c9df96.jpg",[],{"id":79041,"slug":79042,"title":46768,"dynasty":54,"author":36019,"museum":300,"description":79043,"tags":79044,"thumbUrl":79045,"material":84,"size":84,"collection":84,"collections":79046,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235100,"zheng-min-shan-shui-ce-zheng-min-235100","此作以枯笔淡墨写危崖栈道，山石轮廓简约空灵，崖边古木虬曲苍劲，几位行旅缓步山径，为清寂的山水晕开几分灵动暖意。笔墨简淡疏朗，尽显萧疏淡远的荒寒意趣，是新安画派简逸清泠的典型风貌。\n\n左侧题跋笔力苍劲，书法与山水呼应相合，文气融于画意，让整幅小品兼具笔墨意趣与文人雅韵，淡而不寡，简而有神，将山水的幽寂清冷与文人情致相融，余韵悠长。",[24,7,59,128,132,64,133,29,96,331,171,1022,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0534891de7a684db29a99a1dcb16ff93.jpg",[],{"id":79048,"slug":79049,"title":46768,"dynasty":54,"author":36019,"museum":300,"description":79050,"tags":79051,"thumbUrl":79052,"material":84,"size":84,"collection":84,"collections":79053,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235098,"zheng-min-shan-shui-ce-zheng-min-235098","此作用淡墨写江岸山居，巉岩错落间寒林虬生，坡脚碎石缀着浅滩幽草，山坳茅庐隐于林木深处，幽寂绝尘。江心一叶扁舟随波缓行，寥寥数笔便铺展出江空水阔的萧散意趣。\n\n左页行书题诗与画面呼应，笔意清隽温雅，诗画交融，尽显寄情林泉、神游万古的襟怀。整体笔墨简淡松灵，不事雕琢，以少胜多，将山野幽居的静谧与放浪江湖的悠逸融为一体，氤氲着清冷出尘的林下之风，尽显简逸清疏的山水意韵。",[24,7,59,128,29,129,34,131,132,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F539445d32f11568dc61ead79b8778135.jpg",[],{"id":79055,"slug":79056,"title":46768,"dynasty":54,"author":36019,"museum":300,"description":79057,"tags":79058,"thumbUrl":79059,"material":84,"size":84,"collection":84,"collections":79060,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235093,"zheng-min-shan-shui-ce-zheng-min-235093","此作用笔疏简秀逸，近景危崖兀立，崖畔林木萧疏，村居错落隐于岩岫之间，浅滩碎石点缀寒水。远景山峦以淡墨晕染，清润朦胧，晕出空濛幽寂的秋山气象，尽显静穆冷逸之致。\n左侧题诗笔致清劲雅致，诗书与山水相映，文气盎然，将简淡荒寒的意趣融于尺幅，寄寓着画者幽居林泉、澄怀观道的隐逸襟怀。",[24,7,59,128,132,133,29,131,34,35,499,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22a75d571f91415e97b378185d3b979a.jpg",[],{"id":79062,"slug":79063,"title":4724,"dynasty":54,"author":5879,"museum":300,"description":79064,"tags":79065,"thumbUrl":79066,"material":84,"size":84,"collection":84,"collections":79067,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235077,"shan-shui-tu-ce-hua-yan-235077","此作淡墨写江岸山居，近渚古木盘曲苍劲，茅庐隐于林樾，静听江澜絮语。远山以枯笔轻皴，淡晕烟岚，晕染出空濛淡远之境，满幅幽寂萧散。左侧行书题诗笔致清逸隽秀，诗画相映，将林泉高致的文人心境托举而出。简淡尺幅中藏静穆生机，把幽居林下、寄情烟霞的雅逸襟怀融于笔墨间，尽显中式山水留白意趣，是文人诗画相融的绝佳范本。",[24,7,59,128,132,133,29,130,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c784099b798e42c13443fbedfb8428.jpg",[],{"id":79069,"slug":79070,"title":7864,"dynasty":54,"author":5879,"museum":300,"description":59277,"tags":79071,"thumbUrl":79072,"material":692,"size":1293,"collection":84,"collections":79073,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235065,"za-hua-ce-hua-yan-235065",[24,7,59,128,132,29,131,34,98,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddc61717f7979a03a5b1e59c012100c2.jpg",[],{"id":79075,"slug":79076,"title":39034,"dynasty":54,"author":20985,"museum":300,"description":65223,"tags":79077,"thumbUrl":79078,"material":734,"size":65234,"collection":84,"collections":79079,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235031,"hua-ji-chan-yin-tu-ce-xiao-chen-235031",[24,7,59,27,96,1144,187,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F623eb5d84e54d23b8f90fb7fd32122f9.jpg",[],{"id":79081,"slug":79082,"title":409,"dynasty":54,"author":9742,"museum":20,"description":35708,"tags":79083,"thumbUrl":79084,"material":1722,"size":35711,"collection":84,"collections":79085,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},235020,"shan-shui-ce-wu-li-235020",[24,7,59,128,132,29,131,34,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38306af709e88469cbbc50f59c8a4c88.jpg",[],{"id":79087,"slug":79088,"title":33698,"dynasty":54,"author":2915,"museum":300,"description":33699,"tags":79089,"thumbUrl":79090,"material":692,"size":1293,"collection":84,"collections":79091,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},234947,"yue-man-qing-you-ce-chen-mei-234947",[24,7,27,28,96,166,97,247,8091,208,133,249,1200,34,8628,376,304,59,64,42097],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa802a71d4482087ccb76c4c0c68fc81e.jpg",[],{"id":79093,"slug":79094,"title":33698,"dynasty":54,"author":2915,"museum":300,"description":33699,"tags":79095,"thumbUrl":79096,"material":692,"size":1293,"collection":84,"collections":79097,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},234945,"yue-man-qing-you-ce-chen-mei-234945",[164,24,7,59,27,28,96,166,34,98,99,171,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a79bb60951349b844904bd5a72956c6.jpg",[],{"id":79099,"slug":79100,"title":33698,"dynasty":54,"author":2915,"museum":300,"description":33699,"tags":79101,"thumbUrl":79102,"material":692,"size":1293,"collection":84,"collections":79103,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},234941,"yue-man-qing-you-ce-chen-mei-234941",[164,24,7,59,27,28,96,247,34,131,758,62,2145,251,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165fae7853190aefa81cf1629b495a6f.jpg",[],{"id":79105,"slug":79106,"title":79107,"dynasty":124,"author":223,"museum":300,"description":79108,"tags":79109,"thumbUrl":79110,"material":692,"size":1293,"collection":84,"collections":79111,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},234934,"zhao-hong-yin-xiang-zhou-yi-ming-234934","赵弘殷像轴","此作工笔精妙，写实入微。画师以细腻笔触勾勒人物形貌，眉眼含威，眼睑褶皱、面部肌理都被细致晕染，将人物沉稳端肃的神态尽数铺陈。髭须丝缕分明，根根写实，添了几分庄重雅致。官帽形制规整，墨色沉凝，衣纹线条匀净挺括，以素净雅致的淡色辅以朱红领边提亮，既贴合人物身份，又让画面层次分明。整体气韵内敛庄重，尽显写真的深厚功力，将人物贵胄威仪凝于绢素，是工笔肖像的上乘之作。",[24,7,165,28,27,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cb0e58edecd62434a76dc80a2a09140.jpg",[],{"id":79113,"slug":79114,"title":39043,"dynasty":54,"author":34780,"museum":20,"description":67532,"tags":79115,"thumbUrl":79117,"material":561,"size":67535,"collection":84,"collections":79118,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},234918,"xue-jing-gu-shi-ce-sun-hu-234918",[24,7,59,27,28,1813,96,35,34,17726,149,79116,208,133],"冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f466dcb732a693b1629daac77929f2e.jpg",[],{"id":79120,"slug":79121,"title":39043,"dynasty":54,"author":34780,"museum":20,"description":67532,"tags":79122,"thumbUrl":79123,"material":561,"size":67535,"collection":84,"collections":79124,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},234917,"xue-jing-gu-shi-ce-sun-hu-234917",[24,7,59,95,27,29,97,34,1556,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8651c88ea69facb650383e765a79334c.jpg",[],{"id":79126,"slug":79127,"title":48382,"dynasty":54,"author":223,"museum":20,"description":48383,"tags":79128,"thumbUrl":79129,"material":514,"size":19713,"collection":84,"collections":79130,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},234905,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234905",[24,7,59,27,29,64,133,208,132,131,34,1515,99,37,209,1023,96,35,497,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc038be5466895a672399e0b9fd52138e.jpg",[],{"id":79132,"slug":79133,"title":48382,"dynasty":54,"author":223,"museum":20,"description":48383,"tags":79134,"thumbUrl":79135,"material":514,"size":19713,"collection":84,"collections":79136,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},234903,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234903",[24,7,59,133,27,28,132,29,371,130,97,96,1556,131,34,31,1813],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F711ec21c2b74711dce512776b1b5b456.jpg",[],{"id":79138,"slug":79139,"title":48382,"dynasty":54,"author":223,"museum":20,"description":48383,"tags":79140,"thumbUrl":79141,"material":514,"size":19713,"collection":84,"collections":79142,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},234899,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234899",[24,7,59,128,27,29,132,133,129,1350,34,497,99,33,1144,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ad99601fd92d64dfce53d08f3e5d05.jpg",[],{"id":79144,"slug":79145,"title":22958,"dynasty":54,"author":6936,"museum":300,"description":22959,"tags":79146,"thumbUrl":79147,"material":611,"size":22962,"collection":84,"collections":79148,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},234889,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234889",[24,7,59,27,29,330,133,208,132,9164,34,99,98,211,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a787b044c23fe3b27d88960491f37b.jpg",[],{"id":79150,"slug":79151,"title":22958,"dynasty":54,"author":6936,"museum":300,"description":22959,"tags":79152,"thumbUrl":79153,"material":611,"size":22962,"collection":84,"collections":79154,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},234888,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234888",[24,7,59,128,133,208,29,34,30,132,2271],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13eb612a522e976a4f720a6a8e790580.jpg",[],{"id":79156,"slug":79157,"title":22958,"dynasty":54,"author":6936,"museum":300,"description":22959,"tags":79158,"thumbUrl":79159,"material":611,"size":22962,"collection":84,"collections":79160,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},234887,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234887",[24,7,59,128,27,29,171,1337,208,64,330,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34ea3f7a2022586320112e00571e5695.jpg",[],{"id":79162,"slug":79163,"title":22958,"dynasty":54,"author":6936,"museum":300,"description":22959,"tags":79164,"thumbUrl":79165,"material":611,"size":22962,"collection":84,"collections":79166,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},234886,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234886",[24,7,59,128,132,133,208,29,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2065c7235cd7ae893204e0ffa032ffca.jpg",[],{"id":79168,"slug":79169,"title":22958,"dynasty":54,"author":6936,"museum":300,"description":22959,"tags":79170,"thumbUrl":79171,"material":611,"size":22962,"collection":84,"collections":79172,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},234878,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234878",[24,7,59,27,29,331,167,131,99,96,208,132,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e99ca213e67f55f00ee8f1f4daa0e5.jpg",[],{"id":79174,"slug":79175,"title":409,"dynasty":124,"author":40782,"museum":300,"description":79176,"tags":79177,"thumbUrl":79178,"material":84,"size":84,"collection":84,"collections":79179,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},234869,"shan-shui-ce-zhao-pu-234869","此作用笔苍劲老辣，层岩以枯笔皴擦出硬朗棱角，数道飞瀑以留白衬出奔涌之势，仿佛可听泠泠泉声。崖侧枯木虬曲，下方杂树蓊郁，动静相生，晕染出山林幽寂之态。\n左侧题诗笔墨清隽，诗画相映，将林泉高致寄于尺幅间。整体画风简淡萧散，以极简笔墨勾勒出山川空灵之美，把文人隐逸襟怀融于山水烟岚中，观之如临幽壑，暗合林下高逸之趣。",[24,7,59,128,132,29,495,34,131,1022,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa38b6bbf651ae63cb2e41e8a0ad19e10.jpg",[],{"id":79181,"slug":79182,"title":409,"dynasty":54,"author":36659,"museum":300,"description":63282,"tags":79183,"thumbUrl":79184,"material":692,"size":1293,"collection":84,"collections":79185,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},234860,"shan-shui-ce-wang-gai-234860",[24,7,59,128,27,29,171,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c4bee3722f0a4c89f5cb7050f73d845.jpg",[],{"id":79187,"slug":79188,"title":79189,"dynasty":54,"author":79190,"museum":300,"description":79191,"tags":79192,"thumbUrl":79193,"material":84,"size":84,"collection":84,"collections":79194,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},234823,"yu-shan-zhu-xian-he-bi-ce-yun-he-xian-ju-tu-ce-ye-cai-yuan-234823","虞山诸贤合璧册-云壑仙居图册页","蔡远","虞山派又称“虞山山水画派”简称“虞山派”。为“云间画派”两大支流之一。“虞山派”包括“虞山画派”、“虞山诗派”、“虞山印派”、“虞山琴派”、“虞山派藏书楼”、“虞山派红木雕刻”、“虞山派微雕”和“虞山书法派”等等。一首《“虞山派”歌》曰：“虞山藏书读书乐，铁琴唻铜剑臫頭第一楼條；虞山画派王翬创，画祖还有黄公望；虞山琴派严天池，古琴艺术传万世；虞山印派林鹤田，篆刻刀法气宇轩；虞山诗派钱牧斋，绛云书楼胸中载；虞山书法不成派，草圣张旭醉唐代”。",[24,7,128,29,59,132,98,99,496,37,34,130,208,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3a07f03dda9cd3e7eb54f8891eca37b.jpg",[],{"id":79196,"slug":79197,"title":75638,"dynasty":124,"author":70158,"museum":300,"description":75639,"tags":79198,"thumbUrl":79199,"material":84,"size":84,"collection":84,"collections":79200,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},234817,"zhu-jia-shan-shui-ce-shu-jun-su-234817",[24,7,59,128,188,29,1233,331,171,35,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa13cbd4a038b4f123be0cf94c7ef4a46.jpg",[],{"id":79202,"slug":79203,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":79204,"thumbUrl":79205,"material":734,"size":84,"collection":84,"collections":79206,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},234757,"huang-shan-tu-ce-jiang-zhu-234757",[24,7,59,128,27,133,64,132,29,663,1314,413,37,11802],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07be6bbf7f5a59544ae1e4a3e17092d5.jpg",[],{"id":79208,"slug":79209,"title":79210,"dynasty":124,"author":223,"museum":300,"description":9208,"tags":79211,"thumbUrl":79212,"material":84,"size":84,"collection":84,"collections":79213,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},234695,"ming-ren-dong-shan-si-zhu-tu-wan-shan-yi-ming-234695","明人东山丝竹图纨扇",[24,7,1131,27,28,96,166,34,131,438,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cd09617bcb4db10d2d7a50e44da7cbe.jpg",[],{"id":79215,"slug":79216,"title":63331,"dynasty":54,"author":63349,"museum":300,"description":63350,"tags":79217,"thumbUrl":79218,"material":84,"size":84,"collection":84,"collections":79219,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},234669,"shan-shui-wan-shan-zhang-zhi-wan-234669",[24,7,1131,128,132,29,331,130,171,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8564562cf635c390306476346180fd6f.jpg",[],{"id":79221,"slug":79222,"title":409,"dynasty":54,"author":17240,"museum":300,"description":45656,"tags":79223,"thumbUrl":79224,"material":84,"size":84,"collection":84,"collections":79225,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},234643,"shan-shui-ce-cha-shi-biao-234643",[24,7,59,133,27,29,98,99,331,211,231,129,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F910d489193199787947dbcb7c725e005.jpg",[],{"id":79227,"slug":79228,"title":79229,"dynasty":124,"author":223,"museum":300,"description":79230,"tags":79231,"thumbUrl":79233,"material":84,"size":84,"collection":84,"collections":79234,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},234509,"ming-ren-mo-jing-tu-dan-ye-yi-ming-234509","明人磨镜图单页","铜镜是古人用来妆饰理容的一种生活用品。中国的铜镜使用史非常悠久，上起新时器时代晚期的齐家文化，下至明清，约有近四千年发展演变的进程，几乎与中华民族的古代文明史相始终，可谓源远流长。\n铜镜由青铜铸造而成，和空气接触时间长了，会逐渐变得黯淡无光，无法用以映照形影，古人很形象地称之为“昏镜”。这种情况需要重新磨拭镜面才能让铜镜光可鉴人。《朱子语类》对此有很简洁的表述：“镜本明，被尘垢昏之，用磨擦之工，其明始现。”似乎只需要简简单单的擦拭便能将铜镜打磨光洁，可实际上磨镜蕴含的技术含量并不低，甚至还能体现古代的一些科技成就",[24,7,27,28,59,96,166,2218,413,81,39527,169,247,249,79232],"磨镜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa46add39fa3b81871137ed0f724d7205.jpg",[],{"id":79236,"slug":79237,"title":79238,"dynasty":54,"author":223,"museum":300,"description":79239,"tags":79240,"thumbUrl":79241,"material":84,"size":84,"collection":84,"collections":79242,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},234399,"dao-guang-di-xi-yi-qiu-ting-tu-zhou-yi-ming-234399","道光帝喜溢秋庭图轴","此作工致细腻，以秋日庭院为卷，铺陈出融融天伦之景。廊下帝王安坐静赏，妃嫔垂侍身侧。庭院之中，妃嫔携稚子逗弄猫狗，孩童们或跑或立，自在嬉闹。亭台轩榭配衬湖石虬松，花木盛放点缀清秋，处处皆是雅致意趣。衣装纹饰皆精工描摹，设色柔丽雅致，褪去朝堂肃穆，将皇家日常的松弛温情尽数晕开，尽显深宅秋日里的脉脉暖意，藏着寻常又珍贵的阖家闲逸。",[24,7,165,54,28,27,96,247,130,413,376,62,97,5268,2352,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F789be22ff6d523c790c7e889f81d9d52.jpg",[],{"id":79244,"slug":79245,"title":69704,"dynasty":54,"author":69705,"museum":20,"description":69706,"tags":79246,"thumbUrl":79247,"material":1027,"size":84,"collection":84,"collections":79248,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},234311,"sun-shan-shui-ce-wang-ji-234311",[24,7,59,128,29,331,98,96,171,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e749d71188004706e7a09094515a226.jpg",[],{"id":79250,"slug":79251,"title":54061,"dynasty":54,"author":9529,"museum":20,"description":39800,"tags":79252,"thumbUrl":79253,"material":734,"size":84,"collection":84,"collections":79254,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},234291,"ni-qian-ren-shi-yi-ce-wang-hui-234291",[164,24,7,59,128,132,29,34,98,99,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8eb828c42482c449e4eba12f66b9271.jpg",[],{"id":79256,"slug":79257,"title":30270,"dynasty":54,"author":1069,"museum":300,"description":30271,"tags":79258,"thumbUrl":79259,"material":734,"size":84,"collection":84,"collections":79260,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},234277,"hua-guo-ce-wang-yun-234277",[24,7,59,27,547,22995,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c9b4a248d840944071249dcc4fbdc50.jpg",[],{"id":79262,"slug":79263,"title":79264,"dynasty":124,"author":12302,"museum":300,"description":79265,"tags":79266,"thumbUrl":79267,"material":84,"size":84,"collection":84,"collections":79268,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},234223,"du-qiong-meng-xuan-tang-tu-juan-du-qiong-234223","杜琼梦萱堂图卷","杜琼（1396~1474年），字用嘉，号东原，五坞山人,延绿亭主人,私谥渊孝先生.人称东原先生，南直隶苏州府吴县（今江苏苏州市）人。明朝文学家，书画家、藏书家，史学家。\n杜琼出身于富贵之家，自幼勤学聪颖，以孝闻名乡里，后师从陈继，并承其业，教书授徒。之后被举荐参与过《太宗（朱棣）实录》《宣宗实录》《舆地志》的修撰，并参与《苏郡志》的校定，备受朝廷礼遇和乡里尊宠，享誉遐迩。1474年，杜琼逝世，享年79岁。\n杜琼虽受朝廷礼遇和乡宠，但是他淡泊功名而醉于谈诗论画的隐居生活。其精于翰墨书画，尤以画山水为著，集众家之长而直追董巨，画风秀逸，是吴门派早期代表画家。\n其传世画作有《南村别墅图》《为吴宽作山水图》《友松图卷》等，此外还著有《东原集》《耕馀杂录》《纪善录》等诗文作品。",[23,24,7,25,128,29,132,64,133,208,130,34,496,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b3528e3fa7f667927b9d355b3593ba.jpg",[],{"id":79270,"slug":79271,"title":79272,"dynasty":54,"author":38900,"museum":20,"description":79273,"tags":79274,"thumbUrl":79275,"material":611,"size":84,"collection":84,"collections":79276,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},234140,"shi-shu-hua-he-juan-huang-yi-234140","诗书画合卷","故宫博物院藏有黄易的一纸《诗书画合卷》，在《诗书画合卷》中黄易分别临习了王羲之的《黄庭经》和《东方朔画像赞》。此二作虽为临习作品，黄易却对原作进行了大胆改变，这种改变可以说是以钟繇来冲破“二王”。首先，他临王羲之楷书中带有些许钟繇的字势特点。他将王羲之楷书结体的纵向取势变为横向取势，并在某些笔画上参入隶书笔意，特别是捺画夸张和舒展得更为明显，以隶书的波挑来调节楷书的板滞。其次，黄易改王羲之楷书的疏朗宽阔为茂密紧凑，不管是行距还是字距都远小于原作，使章法更为葱郁。再次，此作在略微增加线条厚度的同时，又增加了不少起笔和收笔的出锋，这就使作品厚重之中更具有灵动感和活泼的情趣。",[23,24,7,25,64,128,132,29,413,1314,758,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2594a0466d2bc6670524a74ac93c1c2d.jpg",[],{"id":79278,"slug":79279,"title":409,"dynasty":54,"author":36659,"museum":9216,"description":79280,"tags":79281,"thumbUrl":79282,"material":84,"size":84,"collection":84,"collections":79283,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},234103,"shan-shui-ce-wang-gai-234103","王概，又作王槩。字东郭，又字安节，后改今名，秀水（今浙江嘉兴）人，久居江苏金陵（今南京）。其兄王耆，其弟王臬皆擅画。王概的山水师法龚贤，黑色疏淡浓墨相间，皴点粗放，苍劲深厚。尤善画大幅山水及松石，《中国美术家人名辞典》称其作品：\n“雄快以取势，苍健或过之，而冲和不足。人物、花卉、翎毛之类，都有味外之味。”\n王概擅治印、刻竹，并善诗文，著有《澄心堂纸赋》。王概在中国绘画史上留名，主要是三十五岁时曾应沈因伯之请，携兄弟，以明李流芳课徒画稿为基础，为《芥子园画传》编绘山水集，率先编绘了中国画技法图谱——《芥子园画谱》。",[24,7,59,128,27,29,211,1233,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e926f8a7aebfe76f961f15d344372e0.jpg",[],{"id":79285,"slug":79286,"title":79287,"dynasty":18,"author":223,"museum":20,"description":79288,"tags":79289,"thumbUrl":79290,"material":40,"size":79291,"collection":84,"collections":79292,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},234031,"wu-hua-guo-tu-ye-yi-ming-234031","无花果图页","图中无花果已然成熟，撑开绿萼露出了果实。此图以中锋行笔，淡墨勾勒，线条细劲流畅，显现出画家以线塑形的娴熟功底。叶片色彩的渲染则是先在叶尾部着以墨绿，再用清水将绿色向叶尖晕开，不仅呈现出浓淡有致的色泽变化，且枝叶的鲜活姿态也得以表现。含苞者敷以石绿色，绽开者用白粉染出，清浅的绿色构成画面的主调，体现出宋人花鸟画淡雅清逸的美学品格。\n清乾隆皇帝御题五言诗一首：“果结必资花，却有无花者。别名木馒头，或因形弗雅。缀子于叶间，累累复若若。七利名徒传，几团见实寡。钱塘特写斯，应寓别意也。庶子与家丞，个中两弗假。”钤印“用笔在心”。",[164,24,7,59,28,27,61,56872,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe20559f687b55b1076c0b777c51c298c.jpg","纵24.8cm，横25.3cm",[],{"id":79294,"slug":79295,"title":79296,"dynasty":18,"author":223,"museum":20,"description":79297,"tags":79298,"thumbUrl":79299,"material":40,"size":79300,"collection":84,"collections":79301,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},234026,"na-liang-guan-pu-tu-ye-yi-ming-234026","纳凉观瀑图页","此页绘清溪一湾，溪畔水阁掩映在蓊郁的翠树秀竹之中，背景峭壁坚崚，飞瀑如练，溪流急湍击石，清波拂岸，充满着夏日大自然的勃勃生机。水阁之中一高士白衣袒胸踞席而坐，凝视潺湲，若有所思。整幅不用界尺，粗笔徒手绘水榭，人物、树石、建筑颇有生拙之趣，极具文人画气息，是“意笔楼阁”的早期作品。",[24,7,4437,27,28,132,29,495,130,96,131,34,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F426b91e8ccbb9455b5fa72e4d216d456.jpg","纵24厘米，横24.9厘米",[],{"id":79303,"slug":79304,"title":35085,"dynasty":18,"author":4899,"museum":20,"description":35086,"tags":79305,"thumbUrl":79306,"material":514,"size":35089,"collection":84,"collections":79307,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},233997,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233997",[164,24,7,188,128,28,132,131,34,211,331,582,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e5aa785732da9a4f5ab32275a9bd7d.jpg",[],{"id":79309,"slug":79310,"title":409,"dynasty":54,"author":3820,"museum":20,"description":67686,"tags":79311,"thumbUrl":79312,"material":1722,"size":67689,"collection":84,"collections":79313,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},233986,"shan-shui-ce-gong-xian-233986",[24,7,164,59,128,29,132,331,131,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b4aae08324cd0f960517dcbc1d914c6.jpg",[],{"id":79315,"slug":79316,"title":54874,"dynasty":144,"author":54875,"museum":20,"description":79317,"tags":79318,"thumbUrl":79319,"material":514,"size":79320,"collection":84,"collections":79321,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},233893,"bi-wu-cang-shi-tu-zhou-lu-xing-zhi-233893","陆行直字季道吴江（今江苏吴江）人。洪武中（公元1368—1398年）以人才授翰林典籍。善书诗画清劲为人所称。小传见《画史会要》、《珊瑚網》等书。 此图画巨大的湖石一堵屹立画面正中旁边梧桐和柏树冲天而立。笔墨清劲构图平中寓险为陆行直传世名作。画右自题词一首：「侯虫凄段人语西风岸月落沙平流水漫 驚见芦花来雁。可憐瘦损兰趁多情因为卿卿只有一枝梧页不知多少秋声。」后识「友人张叔夏赠余之作也余不能记忆于至治元年仲夏二十四日戏作碧梧苍石与冶仙西 窗夜坐因语及此转瞬二十一载今卿卿叔夏皆成故人恍然如隔世事遂书于卷首以记一时之感慨云。季道陆行直题。」钤「致和斋」、「陆季道氏」二印右下又题词一首 款「陆行直重题」。本幅有元刘则□、页衡、冶仙、曹仲达、卫达辰等十四家题记诗塘有明刘稽、周鼎题识裱边有谢希曾跋语。钤明项子京等收藏印多方。《汪氏珊 瑚網》、《佩文斋书画谱》、《式古堂书画汇考》等书著录。",[24,7,165,128,132,133,64,171,331,2749],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a0d56a3607216b38f91cd9c8d213f8.jpg","纵107cm，横53.2cm",[],{"id":79323,"slug":79324,"title":3717,"dynasty":54,"author":22607,"museum":20,"description":61325,"tags":79325,"thumbUrl":79326,"material":734,"size":61328,"collection":84,"collections":79327,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},233888,"huang-shan-tu-ce-mei-qing-233888",[24,7,59,128,132,29,30,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec9fa4dd3f6caed9c2d2fd3a330b8439.jpg",[],{"id":79329,"slug":79330,"title":70200,"dynasty":124,"author":69614,"museum":20,"description":70201,"tags":79331,"thumbUrl":79332,"material":611,"size":84,"collection":84,"collections":79333,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},233853,"shi-hua-he-bi-ce-zhou-yong-233853",[24,7,59,128,27,96,331,131,11830,415,208,132,24478],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1575daded0dd84731ed33873af0a13d2.jpg",[],{"id":79335,"slug":79336,"title":79337,"dynasty":124,"author":204,"museum":20,"description":1523,"tags":79338,"thumbUrl":79339,"material":40,"size":22630,"collection":84,"collections":79340,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},233756,"ren-wu-gu-shi-ce-3-chou-ying-233756","人物故事册3",[24,7,59,28,27,95,96,166,97,247,8347,438,249,1200,131,34,1367,8091],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff262bebc3812167aef075a4e655f423e.jpg",[],{"id":79342,"slug":79343,"title":3717,"dynasty":54,"author":22607,"museum":20,"description":61325,"tags":79344,"thumbUrl":79345,"material":734,"size":61328,"collection":84,"collections":79346,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},233441,"huang-shan-tu-ce-mei-qing-233441",[24,7,59,128,27,29,131,97,34,415,132,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcad87ebd9140b2f96032cf30f420971.jpg",[],{"id":79348,"slug":79349,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":79350,"thumbUrl":79351,"material":84,"size":84,"collection":84,"collections":79352,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},233364,"shi-zhu-zhai-pu-ce-hu-ri-cong-233364",[24,7,59,128,27,167,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fe2ea7355e35027e3c415f8d313c469.jpg",[],{"id":79354,"slug":79355,"title":36658,"dynasty":54,"author":23132,"museum":20,"description":36660,"tags":79356,"thumbUrl":79357,"material":84,"size":84,"collection":84,"collections":79358,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},233231,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-shan-shui-ye-liu-yu-233231",[24,7,164,59,128,132,29,130,331,131,1233],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cd79e322948a0d5f2ab1ad1c41afc92.jpg",[],{"id":79360,"slug":79361,"title":35112,"dynasty":54,"author":6936,"museum":20,"description":35113,"tags":79362,"thumbUrl":79363,"material":16830,"size":35116,"collection":84,"collections":79364,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},233165,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233165",[24,7,59,128,27,132,208,29,131,34,130,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f1f70d967f351069bf5cfca45a740c8.jpg",[],{"id":79366,"slug":79367,"title":35112,"dynasty":54,"author":6936,"museum":20,"description":35113,"tags":79368,"thumbUrl":79369,"material":16830,"size":35116,"collection":84,"collections":79370,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},233163,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233163",[24,7,29,27,132,59,208,131,34,97,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf3bced4d258d91e38bfe06d9c3510f3.jpg",[],{"id":79372,"slug":79373,"title":48473,"dynasty":54,"author":223,"museum":20,"description":48474,"tags":79374,"thumbUrl":79375,"material":611,"size":33763,"collection":84,"collections":79376,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},233074,"ping-ding-yi-li-hui-bu-zhan-tu-ce-yi-ming-233074",[164,24,7,59,27,96,101,48476,19122,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1900cf9fcf86e610c1b58cb17c0117d8.jpg",[],{"id":79378,"slug":79379,"title":48473,"dynasty":54,"author":223,"museum":20,"description":48474,"tags":79380,"thumbUrl":79381,"material":611,"size":33763,"collection":84,"collections":79382,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},233072,"ping-ding-yi-li-hui-bu-zhan-tu-ce-yi-ming-233072",[164,24,7,59,27,28,96,101,29,663,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd052a21e0eecb680d2c451e6b327189c.jpg",[],{"id":79384,"slug":79385,"title":50022,"dynasty":18,"author":223,"museum":20,"description":79386,"tags":79387,"thumbUrl":79388,"material":561,"size":79389,"collection":84,"collections":79390,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},233018,"liu-yuan-xiao-shu-tu-ye-yi-ming-233018","避暑是宋人夏季活动的一件大事。农历四月谓之初夏，五月初五是端午，端午过后，天气便炎热起来。宋代周密所著《武林旧事》是一部十卷本南宋杂史，详述了朝廷典礼﹑山川风俗﹑市肆经纪﹑四时节物﹑教坊乐部等情况﹐是了解南宋城市文化和市民生活的史料。其中就有对临安百姓入夏活动的记载：“盖入夏则游船不复入里湖，多占蒲深柳密宽凉之地，披襟钓水，月上始还。”描述了南宋夏季，人们不再着襦、袄，开始穿着单衫，服装质料上也以轻薄透气为主。\n此画描绘了士人在庭院中避暑纳凉的场景。院中柳树垂阴，古树掩映。画中一士人坐于室内赏景纳凉，其身后站有一双手持扇的仆僮。门前湖面宽阔，荷叶点缀其间，远山云雾变幻莫测。院侧十数株庭花盛开，绿草如茵，有一仆僮正捧盒而来。\n画中坐于室内的士人头戴小冠。“小冠”也称“束髻冠”，是一种束在髻上的发罩，多为皮制，形如手状。《宋书·五行志》曾记载：“晋末皆冠小冠，而衣裳博大，风流相仿，舆台成俗。”士人身穿大袖襕衫，腰间系带。襕衫是一种特别的长衫，其在衫的下裳处施有横襕，代表上衣下裳的含义。宋代时，襕衫常用白色细布，圆领大袖，下摆施以横襕，腰间有褶，为士人、进士、秀才服饰。《宋史·與服志》记载：“襕衫。以白细布为之，圆领大袖，下施横襕为裳，腰间有辟积。进士及国子生、州县生服之。”\n画中共有仆僮两人。士人身后持扇仆僮身穿小袖短衫，下身着长裤，腰间系带。院侧正捧盒归来的仆僮梳双丫髻，身穿小袖长衫，两侧开衩，内着中单，腰间系带，下着长裤，脚穿布鞋。长裤以透明的薄纱为面料，肌肤在薄纱下隐约可见。纱是最古老的丝织物之一，其是一种密度稀疏、轻薄、方孔的平纹织物。由于其轻盈、有孔的特点，通常用来制作夏季服饰。宋时，纺纱技术有了很大的发展，《宋史·地理志二》就有记载：“相州，……贡暗花牡丹花纱。”",[24,164,7,1131,27,28,96,4363,97,29,247,34,6640,5323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d30c2c6ab3d95c7805d55f6b76dc45.jpg","纵29厘米*横29.2厘米",[],{"id":79392,"slug":79393,"title":79394,"dynasty":18,"author":223,"museum":20,"description":79395,"tags":79396,"thumbUrl":79397,"material":151,"size":79398,"collection":84,"collections":79399,"showCount":11,"zanCount":1998,"manualWeight":48,"mainColor":49},233008,"wu-jiu-wen-qin-tu-ye-yi-ming-233008","乌桕文禽图页","雪后溪边，天色晦冥，老梅初放。树栖绶带鸟一双，毛羽绚烂。树下溪流湍急，水花飞溅。岸石上覆盖积雪，画家以水墨烘染阴天，以白粉表现积雪，以流畅的曲线描绘流水，最为独特的是为了表现溪岸岩石为水冲蚀形成的蜂窝之状，另创皴法，前此未见。",[24,164,7,4437,28,27,61,331,211,99,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f1707bad69d3b03c01b8057c7efac20.jpg","纵27.5cm，横26.9cm",[],{"id":79401,"slug":79402,"title":73386,"dynasty":18,"author":223,"museum":20,"description":79403,"tags":79404,"thumbUrl":79405,"material":40,"size":79406,"collection":84,"collections":79407,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},232996,"zhu-lin-bo-ruan-tu-ye-yi-ming-232996","此图绘溪边竹林下，三位文士，身着长袍，对坐于兽皮垫上。姿态各异，或拨阮，或凝听。\n旁有一童子侍候，一童子跪伏溪边汲水。\n图中人物生动传神，衣纹细劲流畅。衬景丛竹老树，疏密、远近、浓淡相间，错落有致。\n作者佚名。签题李唐作。\n按此图状人物甚工，但非李唐的作风。我们观李唐的《伯夷、叔齐采薇图》是那样的形象深刻，便显得此幅的纤弱了。故改题为无名氏作。",[24,7,59,27,133,28,167,96,438,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1202ac649e222e9dd12763a3f720d050.jpg","纵22.7厘米，横24.5厘米",[],{"id":79409,"slug":79410,"title":79411,"dynasty":182,"author":63547,"museum":20,"description":63548,"tags":79412,"thumbUrl":79413,"material":999,"size":63551,"collection":84,"collections":79414,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},232983,"hua-liu-zun-zhe-xiang-ce-di-shi-wu-guo-ba-ga-zun-zhe-lu-leng-jia-232983","画六尊者像册-第十五锅巴嘎尊者",[164,24,7,59,28,27,187,96,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1668b5336b9505a8e805cf953869d8bb.jpg",[],{"id":79416,"slug":79417,"title":79418,"dynasty":144,"author":223,"museum":300,"description":79419,"tags":79420,"thumbUrl":79421,"material":84,"size":84,"collection":84,"collections":79422,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},232881,"yuan-di-ban-shen-xiang-yi-ming-232881","元帝半身像","此作写实传神，元太宗头戴青顶暖帽，身着素朴褐袍，面容轮廓雄犷开阔，眉骨棱起，虬髯劲挺，眉眼间自带草原雄主的沉悍威严。\n\n画师以凝练准确的线条勾勒形貌，晕染细腻贴合骨骼肌理，精准捕捉蒙古部族的容貌特质，将帝王的杀伐气魄蕴藏于沉静的神态之中。左侧题字工整简约，与画像虚实相衬，既以文字补全史传信息，又烘托出肖像的肃穆氛围。整作兼具史传纪实性与肖像画的传神写意，将开疆帝王的威仪尽显纸面，是兼具史料价值与艺术水准的肖像佳作。",[24,164,7,28,27,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F240256b0f302edb46dc21dea78c81a2a.jpg",[],{"id":79424,"slug":79425,"title":79426,"dynasty":54,"author":79427,"museum":244,"description":79428,"tags":79429,"thumbUrl":79430,"material":84,"size":84,"collection":84,"collections":79431,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},232817,"luo-fu-shan-tu-dong-jiao-zeng-232817","罗浮山图","董教增","董教增（1750—1822）字益甫，江苏上元人，清朝大臣。乾隆四十五年，南巡，召试举人，授内阁中书。五十一年，成一甲三名进士，授编修，散馆改吏部主事，累迁郎中。二十五年，入觐，乞病未允，道光元年，乃得请归。二年，卒，赐恤，谥文恪\n嘉庆四年，以道员发四川，次年，授按察使。峨眉、雷波二厅铜铅各厂，毗连夷地。奸民与争界，焚夷巢，倮夷纠凉山生番为变，教增率兵往，议者多主剿，教增不可，廉得汉奸构衅者十一人，夷匪首事者六人，集众诛之，夷情帖然。仁宗以教增不烦兵力，而远夷心服，谕奖有加。寻调贵州。九年，迁四川布政使。十二年，擢安徽巡抚。宁国、池州、广德各属，旧有棚民，植杂粮为业。户部虑妨民田，议遣回籍。教增言：“棚民既立室家，难复迁徙。且所种多隙壤，於民田无损，於民食有益，第约束之而已。”从之。又言：“徽、宁等府巨室，向有世仆，出户已久，告讦频仍，请严杜妄讼，凡世仆以现在是否服役为断；其出户及百年者，虽有据亦开豁为良。”得旨允行，著为例。\n十五年，调陕西。兴安七属，旧食河东引盐。乾隆间，课摊地丁，其后复归商运。地介川、楚，土盐侵碍，运艰费重，引课多亏。教增请循凤翔例，改食花马池盐，引归民运，课按丁摊，以恤商力。又榆林、绥德、吴堡、米脂四州县，向食土盐，官给票销售。前抚方维甸请用部引，以二百斤为率，凡万一千三百馀引，民力难胜。教增规复其旧，由州县颁发小票，每票五十斤，民皆便之。时南山善后倚汉中知府严如熤，能尽其才，不拘文法，岁歉请赈，逾限破例，上陈得允。\n十八年，调广东。先是百龄锐意灭海寇，曾贻教增诗云：“岭南一事君堪羡，杀贼归来啖荔支。”既而张保仔就抚，教增报书曰：“诗应改一字为‘降’贼归来也。”百龄愧之；至是承其后，诸降人桀骜，为闾阎害，惩治甚力，然未尝妄杀。广州府有死囚，值赦减等改军而逃，获之，论重辟，按察使持之坚，教增以律不当死，龂龂与辩，此囚卒免死。\n二十二年，擢闽浙总督。先是海寇未平，禁商民造船高不得逾一丈八尺，小不任重载，难涉风涛，沿海多失业。教增以寇平已久，请免立禁限，以从民便，允之。福清武生林弥高者，健讼包粮，阻众不纳，邑令躬缉，为其党邀夺，官役并伤，令文武往捕获，弥高嗾其党劫持，通县抗徵。教增亲鞫得弥高罪状，立斩以徇，诸郡慴惧，强宗悍族抗欠者，皆输纳如额。奏入，诏嘉其能。临海民纠众殴差，致酿大狱。巡抚杨頀坐褫职，命教增兼权浙抚，鞫治之。漳、泉两郡多械斗杀人，官吏往往不能制。龙溪令姚莹捕渠魁五人，杖毙之。巡抚疑其违制，教增曰：“刑乱国宜用重典。”优容之，悍俗稍戢。张保仔就抚后，改名宝，官至澎湖副将，时论犹指斥。教增责令捕盗，奔走海上，盗平而宝亦死。",[24,7,164,26,27,132,29,496,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2d9360d61f7347b84fac5f007bac46c.jpg",[],{"id":79433,"slug":79434,"title":79435,"dynasty":54,"author":10307,"museum":244,"description":79436,"tags":79437,"thumbUrl":79438,"material":151,"size":79439,"collection":84,"collections":79440,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},232678,"qiu-shan-ping-yuan-tu-he-yi-232678","秋山平远图","此作用平远之法铺展秋景，近岸苍松虬劲，杂木以丹黄点染，将秋意揉进枝叶肌理，茅庐依水而居，野趣横生。平湖如镜，一舟独泛，载着闲逸随波漫行，汀渚蒹葭苍苍，晕开渺渺秋光。远景山峦轻笼烟霭，墨色澹宕清润，将秋山空寂辽远铺陈开来。\n\n画作以元人笔意写就，浅设色晕染出疏淡秋韵，配上行书题诗，书画相融，尽抒林泉幽栖的隐逸襟怀，把秋日郊野的萧散闲雅，晕成一卷可赏可居的诗意天地。",[24,7,165,27,29,132,133,208,129,130,34,131,415,3427,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb042d680982c51c068e54818b5dddb47.jpg","99.4×48.3",[],{"id":79442,"slug":79443,"title":79444,"dynasty":54,"author":6936,"museum":161,"description":61461,"tags":79445,"thumbUrl":79447,"material":611,"size":61464,"collection":84,"collections":79448,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},232676,"shan-shui-tu-lan-yan-shu-se-wang-yuan-qi-232676","山水图(岚烟树色)",[164,24,7,165,128,132,133,64,208,29,30,34,1144,276,131,37,79446],"岚烟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3ca722659548bd5b92cc3b10a0df4c.jpg",[],{"id":79450,"slug":79451,"title":79452,"dynasty":222,"author":223,"museum":300,"description":79453,"tags":79454,"thumbUrl":79455,"material":692,"size":1293,"collection":84,"collections":79456,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},231711,"lian-cang-shi-dai-tian-gou-cao-zhi-hua-juan-yan-li-si-juan-yi-ming-231711","镰仓时代 天狗草纸画卷-延历寺卷","此作以俯瞰视角铺展古寺林泉全景，绢面带着岁月皲裂的斑驳痕迹，更添沉静古意。朱红殿宇台基层叠规整，沉稳厚重的形制尽显伽蓝规制；列植如带的苍松环拥幽碧池沼，淡墨轻敷的山水晕染出清寂禅意。\n\n设色温润古雅，笔墨简淡清和，将禅寺建筑的庄重与山林的幽寂融为一体，题跋墨笔与画面相映，静静诉说旧时光里的伽蓝盛景，尽显中古园林与山水相融的清雅意境。",[23,24,7,25,27,95,29,34,97,247,9425,32,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F537843f95b9ab1a20de5aec2668c5931.jpg",[],{"id":79458,"slug":79459,"title":79460,"dynasty":222,"author":79461,"museum":300,"description":79462,"tags":79463,"thumbUrl":79465,"material":692,"size":1293,"collection":84,"collections":79466,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},231648,"yan-nan-qu-tu-zhou-chun-zhang-231648","雁南去图轴","春章","淡赭晕开江天暮色，冷月悬于低空，阵雁振翅南去，把秋意揉进流云里。草舍阶前，女子以袖拭泪，将别情藏在颦蹙之间；青衫男子席地静坐，执箸无言，满室怅惘随着晚风漫过竹帘。岸侧丹枫缀着残红，把萧索融进依依别绪。\n\n整作设色柔雅清润，线条秀逸温婉，将羁旅离别的缱绻愁思，融在江村秋夜的冷寂图景中。雁影渐远，愁味悠长，淡而不散的别意随着暮色漫开，余韵悠悠。",[24,7,165,27,28,96,211,711,34,231,79464,247,251],"草席","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87597ec94c9796e19b45ef00072964db.jpg",[],{"id":79468,"slug":79469,"title":79470,"dynasty":222,"author":65595,"museum":300,"description":70332,"tags":79471,"thumbUrl":79472,"material":692,"size":1293,"collection":84,"collections":79473,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},231622,"shi-ting-shi-dai-zu-shi-da-man-song-da-zhi-tu-zhou-shou-ye-yuan-xin-231622","室町时代 祖师大满送大智图轴",[23,24,7,165,128,27,29,96,129,98,99,34,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2410f5a3214a93e64d7edcf5771d2a8b.jpg",[],{"id":79475,"slug":79476,"title":79477,"dynasty":222,"author":223,"museum":300,"description":79478,"tags":79479,"thumbUrl":79480,"material":692,"size":1293,"collection":84,"collections":79481,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},231620,"shan-shui-shi-er-tu-ping-li-zhou-yi-ming-231620","山水十二图屏立轴","此作用淡彩浅绛写就江隅小景，近岸老松虬曲苍劲，松叶敷染清润，自有葱茏生机。坡岸浅草萋萋，留白摹写江水空阔，淡墨晕染远岸烟岚，晕化出空濛悠远的淡远意境。\n题句融于画面，“清风松翠，斜日照江”，诗画相映，将闲淡悠然的野趣铺陈开来。笔致秀润温婉，摒弃浓墨重彩，尽显江南水岸的清寂安闲，带着文人画的雅致意趣，将观画人带入幽宁静谧的江渚闲居之境。",[23,24,7,165,27,132,29,1144,131,6640],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3da01ef5a5e4c80f11e0cb13cb46b25d.jpg",[],{"id":79483,"slug":79484,"title":79485,"dynasty":222,"author":223,"museum":300,"description":79297,"tags":79486,"thumbUrl":79487,"material":151,"size":79488,"collection":84,"collections":79489,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},231575,"guan-pu-na-liang-tu-yi-ming-231575","观瀑纳凉图",[23,24,7,165,128,27,29,495,1144,131,132,3387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38e3988e8251adabd7d2b3ba7cab365a.jpg","纵24cm，横24.9cm",[],{"id":79491,"slug":79492,"title":79493,"dynasty":144,"author":223,"museum":300,"description":79494,"tags":79495,"thumbUrl":79496,"material":84,"size":84,"collection":84,"collections":79497,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":199},231038,"su-shu-yi-ming-231038","粟鼠","此作用水墨写意写就，枯槎苍劲朴拙，栗枝舒展间，墨色浓淡晕染出叶片柔润舒展之态，栗果饱满写实，尽显秋实野趣。\n\n两只粟鼠是画中灵动焦点，淡墨晕出绒毛发肤，一笔扫就蓬松长尾，细笔勾勒爪牙眉眼，一只捧食凝神，憨态可掬，一只俯身探看，灵动俏皮。画面留白疏朗萧散，以极简笔墨铺陈出秋日林间的闲散意趣，将山野小景的生机与简淡清逸的意韵相融，尽显水墨花鸟的雅致野逸之美。",[23,164,24,7,165,128,28,132,949,5883,331,549,47780],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcca36ef3cadb6f575e61c0b0a7414e33.jpg",[],{"id":79499,"slug":79500,"title":4724,"dynasty":54,"author":10307,"museum":300,"description":79501,"tags":79502,"thumbUrl":79503,"material":84,"size":84,"collection":84,"collections":79504,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},230917,"shan-shui-tu-ce-he-yi-230917","此作用笔简净萧散，以干淡笔墨铺陈丘林野趣。近岸巨石皴擦苍劲，双木虬曲错落，枝叶点染疏朗，暗含生趣。水畔茅庐隐于浅坡，野意自生。远景山峦以淡墨晕染留白，虚写水光天色，虚实相生间烘托出林泉幽寂之致。\n题诗与画面相映成趣，文气雅致，取法元人山水意韵，寄寓幽居丘壑、寄情林泉的出世襟怀，简淡笔墨里藏着静穆悠长的林下高致。",[24,7,59,128,132,29,131,34,711,415,3857,276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06f41a79372429712d774f2e0b1e78d5.jpg",[],{"id":79506,"slug":79507,"title":79508,"dynasty":144,"author":223,"museum":300,"description":79509,"tags":79510,"thumbUrl":79511,"material":84,"size":84,"collection":84,"collections":79512,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},230902,"hua-hui-tu-ye-yi-ming-230902","花卉图页","此作用色清和柔婉，以没骨法晕绘花枝。素白花瓣轻透柔润，攒聚的细点圈出花蕊，朴拙中带着精巧意趣。叶片以深浅绿意铺陈，随枝条自然舒展，将花枝的绰约姿态托衬得愈发清雅。古绢的沉褐底色晕开旧时光晕，让整幅画面浸着幽淡娴静的古雅气韵，似将暮春庭隅的清寂花影凝在绢上，淡而不薄，简而有味，尽显文人意趣里的雅致闲情。",[23,164,24,7,59,28,27,61,62,549,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea57ae90d4205641248ba1b657896677.jpg",[],{"id":79514,"slug":79515,"title":79516,"dynasty":222,"author":223,"museum":300,"description":79517,"tags":79518,"thumbUrl":79519,"material":692,"size":1293,"collection":84,"collections":79520,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":956},230554,"song-xia-da-mo-tu-yi-ming-230554","松下达摩图","此作以淡墨白描写达摩禅定之姿，衣纹圆转简练，宽袍裹挟身形，神情沉凝肃穆，尽显面壁九年的静定禅心。背景松枝以焦墨点染，古拙苍劲，淡墨晕染流云氤氲缥缈，烘出幽寂空灵的禅境，下方山石以干笔皴擦，朴拙厚重，与达摩沉静之气融为一体。\n\n右上角题字笔意纵逸萧散，与画面简淡禅意相得益彰。全作以极简水墨语言，摒弃繁复修饰，在虚实相生间将达摩苦修定力与山林清寂相融，把禅宗空灵内敛的意趣诠释得淋漓尽致，尽显禅画写意的悠远妙味。",[23,24,7,165,187,188,96,372,1314,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f3f2a0c1e592ea964d7d13e6df54c70.jpg",[],{"id":79522,"slug":79523,"title":79524,"dynasty":54,"author":223,"museum":300,"description":79525,"tags":79526,"thumbUrl":79527,"material":692,"size":1293,"collection":84,"collections":79528,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},230338,"bai-miao-tu-miao-man-tu-shuo-wu-yi-ming-230338","百苗图苗蛮图说（五)","柳丝轻曳、桃枝泛红，将春日柔色晕染在茅舍小院旁。画里的苗家日常鲜活又温热：挎篮的妇人正将汤水递予怀抱着幼童的丈夫，小女儿拽着父亲衣袍娇憨讨要关注，老翁倚在门扉含笑，看稚童攥着短笛信口吹奏。\n\n淡彩细笔勾勒出屋舍篱栅的朴拙，线条柔和地晕开烟火暖意，没有浓艳着色与繁复技法，只将边陲村寨的天伦之趣静静铺展。山野乡居松弛的日常瞬间被定格，把苗家质朴鲜活的烟火温情永远留存，满是平实动人的乡野诗意。",[24,7,27,28,59,96,35,4363,209,98,2218,21100,27231,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf044c3bfaf9ae0247bb3d2c75c34de2.jpg",[],{"id":79530,"slug":79531,"title":79532,"dynasty":54,"author":223,"museum":300,"description":79533,"tags":79534,"thumbUrl":79535,"material":84,"size":84,"collection":84,"collections":79536,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},230333,"bai-miao-luo-han-tu-ce-yi-ming-230333","白描罗汉图册","此作用墨笔白描辅以淡墨晕染，布袋和尚袒胸踞坐崖间石台，手持拂尘，笑眼弯弯神态安恬，尽显自在禅意。下方侍者温驯抚鹿，麋鹿灵动温顺，衬出画面平和宁寂。背景以枯淡墨线勾勒奇崛山石，间缀荒草野木，皴擦简练却将岩穴幽深荒寂尽显。\n\n整幅线条清劲秀雅，构图虚实相生，将禅林幽寂氛围与悠然禅意融为一体，工细刻画中带着写意的萧散简远，尽显雅致出尘的禅林清趣。",[164,24,7,59,188,187,96,949,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac3702465bd235f35148b38f8343fb6.jpg",[],{"id":79538,"slug":79539,"title":79540,"dynasty":54,"author":223,"museum":300,"description":79541,"tags":79542,"thumbUrl":79543,"material":84,"size":84,"collection":84,"collections":79544,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},230317,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-nu-er-ha-chi-yi-ming-230317","历代帝王贵妃大臣朝服像(努尔哈赤)","此作工致写实，将帝王威仪凝于绢素之上。明黄朝服工整华贵，团龙纹样饱满威严，晕染细腻，层次分明地还原出织绣的肌理华彩，衣纹舒展沉稳，贴合身形尽显礼制规制。帝王面容刻画写实传神，神态沉静肃穆，自带开国君主的厚重气场，眉眼间尽显沉稳威严。背景纹样工整雅致，与人物朝服的华丽相得益彰，烘托出庄重典仪氛围。整作兼顾纪实性与礼制性，细腻还原清初帝王仪范，笔墨之间尽显肃穆庄重的皇家气度，是清代肖像画中颇具代表性的典制肖像作品。",[23,24,7,165,27,28,96,170,772],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F302754de7146badad37e3ce97031c595.jpg",[],{"id":79546,"slug":79547,"title":409,"dynasty":54,"author":50575,"museum":300,"description":79548,"tags":79549,"thumbUrl":79550,"material":84,"size":84,"collection":84,"collections":79551,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},230255,"shan-shui-ce-wang-su-230255","此作以淡赭轻染、花青敷缀，写就水滨冬景。江天色调清濛，岸旁柳芦枝叶疏柔，似含朔风之意，带着萧寒疏朗之态。近岸小舟系于枯木之下，篷顶暖意暗生；远江扁舟孤行，淡波载着舟影缓缓漾开，留白铺就空阔水天，晕开朦胧烟霭。\n题诗笔意清隽，和画面柔澹氛围相融。整幅无繁复皴擦，以简淡笔墨托出萧散空寂的意境，将冬日水畔的闲逸清和藏于浅淡设色之中，尽显文人画天真简淡的意趣，观之便如临幽寂江天，俗尘尽涤。",[24,7,59,128,27,129,4363,1824,3387,99,211,3651,666,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9591750a149d747d9b88fc296549bdcf.jpg",[],{"id":79553,"slug":79554,"title":79555,"dynasty":54,"author":6946,"museum":300,"description":79556,"tags":79557,"thumbUrl":79558,"material":692,"size":1293,"collection":84,"collections":79559,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},230213,"fa-jie-yuan-liu-tu-jing-pian-ding-guan-peng-230213","法界源流图镜片","纵观此图，场面宏大，人物众多，气势磅礴。内容主要描绘的是诸佛菩萨、天龙八部、法会、禅宗六祖和十八罗汉等形象。每个人物无论从装束、姿态、大小还是表情上都各具特色。佛祖释迦牟尼居于画面的中心，他坐卧于佛案上，身穿宽大的佛袍，面向观者，代表着佛界的最高权威。他神态平和而威严，似乎世间的一些都在其掌控之中。他身后的佛光照亮了天地万物，作者巧妙地运用放射性的波纹线条来表现背景，正好与佛光的发射性结合起来。运用这种表现手法正是作者的高明之处，这些线条穿过树木，透过腾腾的云气，一直延展下去，也许正在向世人暗示佛法的无边。周围人物各居两边，有的为侧面，有的为正面；有的呈坐姿，有的呈立姿；有的宽袍长衣，佛带飘逸，有的袒胸露腹，盔甲满身；有的面容俊逸，温和慈善，有的瞠目立眉，叱咤狰狞。表现手法真是多种多样，但无论怎样变化，他们都是聚集在佛祖身边，手拿法器，各居其位，时刻待命。观此景象也许你会感受到一种无穷的力量在感召着你，那普照的佛光会一直射进你的心中，与你的心灵产生一种完美的契合。\n此画为横幅巨制，布局谨严饱满。在构图方式和人物设置上，除了微小的部分有些变化之外，整体气势冲和一致，甚至有的地方比原作更加集中，用笔更为健劲有力。比如图中以释迦牟尼为中心，运用对称的构图方法，把众多人物分别聚集两边，彼此又自有其序，既有连续性，又有独立性，这就是虽然人物繁多但无一点杂乱之感的原因。尽管人物姿态各异，但总的来说都是朝向画面中，L的佛祖，使得画面充满着一种巨大的凝聚力和向心力。在技法上，此卷以重设色大描金的方法画成。运用刚劲有力的“细铁线”，人物形体准确，神态生动。设色浓丽，金碧辉煌，显示出作者高超的绘画才能。",[164,24,7,28,27,8189,187,96,20953,189,3588,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb8a2186ce4c371acf7e6f57ed4bc51b.jpg",[],{"id":79561,"slug":79562,"title":409,"dynasty":54,"author":79563,"museum":300,"description":79564,"tags":79565,"thumbUrl":79566,"material":84,"size":84,"collection":84,"collections":79567,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},230151,"shan-shui-ce-liu-yu-230151","刘宇","此幅以深山古刹为景，淡墨勾皴山石，盘桓石阶如练，在陡崖间蜿蜒穿梭，串起山脚村居与山巅梵宇。苍松错落布于崖畔坡头，古拙苍劲，晕染出山林清寂高远的氛围。\n\n画家以墨色浓淡区分阴阳向背，笔意萧散秀雅，舍去繁复皴法，却将山峦险峻幽深铺陈尽致。画面以留白晕出山峦空灵之气，淡绘山居古刹的幽寂禅意，带着文人画的简淡余韵，寄寓静穆出尘的山林雅趣，将出世栖隐的悠然意趣藏于简淡笔墨之中。",[24,7,128,59,132,29,663,97,1144,9425,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38e204ecbc005648e2a467048d918209.jpg",[],{"id":79569,"slug":79570,"title":27698,"dynasty":54,"author":6936,"museum":300,"description":79571,"tags":79572,"thumbUrl":79573,"material":84,"size":84,"collection":84,"collections":79574,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},229030,"shan-shui-ce-ye-wang-yuan-qi-229030","此作以干渴焦墨反复皴擦堆叠山峦，笔力苍劲老辣，层层铺陈出浑厚华滋的质感，尽显山水苍莽深秀之态。近岸汀渚错落，虬曲杂木丛生，简笔点染枝叶，意态萧疏古雅。山坳间村舍隐于林木烟岚，晕开幽居野逸的闲趣。\n\n远景山峦逶迤，墨色由浓转淡，虚实相生间晕染出空濛悠远的意境。以书法意趣入画，笔墨裹挟沉静书卷气，层层皴染尽显山川厚重雄浑，将自然苍朴与文人意趣相融，静穆里藏着蓬勃生机，尽显传统山水的笔墨风骨与幽深远阔的林下襟怀。",[164,24,7,59,128,132,29,131,34,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad840bb8afc0736f39b85cebaefd8955.jpg",[],{"id":79576,"slug":79577,"title":79578,"dynasty":54,"author":79579,"museum":300,"description":79580,"tags":79581,"thumbUrl":79582,"material":84,"size":84,"collection":84,"collections":79583,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},228974,"si-ji-shan-shui-ping-ming-jian-228974","四季山水屏","明俭","此作用浅绛写就冬山雪景，以大面积留白与淡墨晕染表现峰峦积雪，浓墨勾勒崖壁轮廓，将冰雪覆山的清寒孤高尽显无余。\n\n枯松劲柏层叠错落，枝桠利落苍郁，暗写雪压枝头的沉凝质感。山坳间古寺浮屠隐于林木中，朱红屋舍素白雪景相映，冷寂里晕开一抹烟火暖意。溪谷浅滩以白代雪，水坝板桥藏于雪色间，于静谧中暗涌生机。\n\n整画仿戴进雪岭笔意，兼得浙派山水刚劲构图，又融入禅意冲淡萧散的气韵，将冬日空山的冷寂与古刹温煦相融，尽显雪后山林清旷安闲之境，笔墨清雅意趣悠长。",[23,24,7,165,128,27,29,97,34,131,18542,1556,98,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ec019cf1cea1eb3808798ea50b60410.jpg",[],{"id":79585,"slug":79586,"title":79587,"dynasty":54,"author":2687,"museum":300,"description":79588,"tags":79589,"thumbUrl":79590,"material":84,"size":84,"collection":84,"collections":79591,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},228956,"yu-zhi-wan-fang-an-he-jing-shu-shi-jiang-ting-xi-228956","御制万方安和敬述诗","此作用云蝠纹粉笺书写，底色瑞纹雅致，与笔墨相映成趣。行书兼具馆阁端稳与文人意趣，用笔圆劲秀逸，起收间顿挫有度，结体匀整端庄又暗含灵动姿态，字行气脉贯通，章法疏朗合宜。\n笔墨间带着恭谨雅致的庙堂气韵，既有台阁体的规整雍容，又融个人隽秀书风，将庄重感与温润笔墨相融，在严整法度中透出温婉情致，尽显清中期翰苑书法典型风貌，纹饰与笔墨相得益彰，更添祥和雅正之韵。",[23,24,7,165,133,64,27,1975,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5e125151224206e9ae776a4d8ee0ab.jpg",[],{"id":79593,"slug":79594,"title":79595,"dynasty":124,"author":3619,"museum":244,"description":79596,"tags":79597,"thumbUrl":79598,"material":637,"size":79599,"collection":84,"collections":79600,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},228884,"du-le-yuan-ji-qi-yong-juan-wen-zheng-ming-228884","独乐园记七咏卷","此幅以王蒙笔法画司马光独乐园图，嘉靖戊午（1558）七月二十日，作独乐园图。绘村居篱落，临水而筑。篱前立苍松，屋後植脩竹。敞轩之中，士人倚窗凝视，远水遥岑。笔多圆转，意亦较滞，项圣谟专学此等。行书独乐园记，用新笔，秀妩温润之甚，去尽少年圭角。八十九岁老翁，精力不减盛年也。",[23,164,24,7,25,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F848062856841e9511f46a506c0accf83.jpg","纵27cm，横655.2cm",[],{"id":79602,"slug":79603,"title":79604,"dynasty":124,"author":23683,"museum":300,"description":79605,"tags":79606,"thumbUrl":79607,"material":692,"size":1293,"collection":84,"collections":79608,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},228861,"you-lan-shi-wen-peng-228861","幽兰诗","文彭（1498年—1573年），字寿承，号三桥，别号渔阳子、三桥居士、国子先生，南直隶苏州府长洲（今江苏苏州）人。文徵明长子。\n以明经廷试第一，授秀水训导。官至南京国子监博士，人称“文国博”。工书画，善诗文，尤精篆刻，有《博士诗集》。",[23,64,7,25,133,208,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e3d76f4c6dc7db49dc2e6f090bee8ff.jpg",[],{"id":79610,"slug":79611,"title":79612,"dynasty":124,"author":223,"museum":300,"description":79613,"tags":79614,"thumbUrl":79616,"material":692,"size":1293,"collection":84,"collections":79617,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},228787,"tian-long-ba-bu-luo-cha-nv-zhong-yi-ming-228787","天龙八部罗叉女众","这幅画本是明代宫廷佛像画作，工笔重彩，人物造型精准，表情生动，堪称明代佛画中的顶级作品。从其左下方“御用监太监尚义王勤等奉命提督监造”的字样可知。尚王二人，皆为负责宫廷佛事的御用监太监，其地位甚至要高于同时期的郑和。",[23,24,7,805,187,28,27,96,189,79615,3490],"护法形象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07bbf54a59c4eb18498e924da22790e0.jpg",[],{"id":79619,"slug":79620,"title":79621,"dynasty":124,"author":50744,"museum":300,"description":79622,"tags":79623,"thumbUrl":79624,"material":84,"size":84,"collection":84,"collections":79625,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},228767,"shi-jiao-tu-ce-ni-yuan-lu-228767","石交图册","此作用笔斩截沉厚，起收爽利干脆，捺笔重拙舒展自带金石质感。字形方正端稳，排布匀整却不显板滞，繁复如“鴻”者疏密处理精妙，收放之间尽显朴茂雄浑之气。\n\n师法汉隶古意又自出机杼，将隶书的端庄雅正与书写的灵动意趣相融，笔画粗细对比鲜明，苍劲老辣又开张大气，尽显沉浑朴厚的书法意韵，视觉张力饱满，藏着刚劲爽利的气度。",[64,21937,208,59,7,23848],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa953d9cf505ccdd5b3da0d01691690dd.jpg",[],{"id":79627,"slug":79628,"title":79629,"dynasty":124,"author":50744,"museum":300,"description":79630,"tags":79631,"thumbUrl":79632,"material":84,"size":84,"collection":84,"collections":79633,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},228766,"liu-hua-tu-ni-yuan-lu-228766","六花图","此作为诗画合璧长卷，水墨花卉写意挥洒，墨色干湿浓淡变幻自然。牡丹、寒梅等花木虬枝苍劲，花瓣晕染淋漓，笔底带着疏朗桀骜的生气，将草木风骨跃然纸上。\n\n配题行书笔力奇崛雄健，结体欹侧跌宕，与画意相得益彰，诗文与绘事交织，融画境、文心、笔情为一体。\n笔底藏着晚明文人的疏狂耿介，将写意精神抒发尽致，是诗书画印合一的文人佳构，尽显磊落襟怀与不俗格调。",[23,24,7,25,128,133,208,371,375,168,263,374,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F065af1defdfd694ae2722cb69a9abca8.jpg",[],{"id":79635,"slug":79636,"title":79637,"dynasty":124,"author":18045,"museum":300,"description":79638,"tags":79639,"thumbUrl":79640,"material":692,"size":1293,"collection":84,"collections":79641,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},228463,"song-ting-gao-yi-tu-qian-gu-228463","松亭高逸图","钱毂，吴（今苏州）人。字叔宝，号磬室。明代画家。少孤贫，失学，成年开始读书。从文征明学诗文、书画，学习刻苦，传说曾抄古籍几万卷. 画名重于时，为吴门画派中高手。善绘山水、兰竹，意趣古淡，疏朗清新，风格近其师。工书法，笔力见功夫，挥洒自如，有屋漏之痕、折钗之势。传世作品有《虎丘前山图》轴、《求志图》，均藏北京故宫博物院；《苍山茅舍图》轴，藏上海博物馆。",[23,164,24,7,1131,27,132,29,372,130,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe165198908dffca33a1454536263b0a.jpg",[],{"id":79643,"slug":79644,"title":38013,"dynasty":124,"author":7003,"museum":300,"description":79645,"tags":79646,"thumbUrl":79647,"material":84,"size":84,"collection":84,"collections":79648,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},228398,"chi-bi-sheng-you-tu-zhu-yun-ming-228398","首段山水小景澹然悠远，江岸林峦苍润秀雅，晕染出赤壁夜游的清寂夜色。后接长篇书作，开篇行书秀逸灵动，笔锋舒卷间尽显从容；后段转为大草，纵横跌宕，墨色浓枯变幻强烈，将苏子赤壁怀古的旷达沉醉尽数抒发。笔墨随着文辞意境流转，文心与书意交融无间，把赤壁夜游的幽远意趣铺展于卷上，尽显吴门书家的放逸才情，让观者漫游翰墨山水间，重临其境感受千古名篇的悠然况味。",[23,164,24,7,25,133,64,128,27,29,129,34,99,98,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94288a4f33978c648f5941eb7a2c2bc4.jpg",[],{"id":79650,"slug":79651,"title":39701,"dynasty":144,"author":223,"museum":300,"description":79652,"tags":79653,"thumbUrl":79654,"material":692,"size":1293,"collection":84,"collections":79655,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},228233,"da-mo-xiang-yi-ming-228233","达摩，是中国禅宗的初祖。他生于南印度，婆罗门族，出家后倾心大乘佛法。梁·普通年中（520～526，一说南朝宋末），他自印度航海来到广州，从这里北行至魏，到处以禅法教人。据说他在洛阳看见永宁寺宝塔建筑的精美，自言年已一五0岁，历游各国都不曾见过，于是‘口唱南无，合掌连日’（《洛阳伽蓝记》卷一）。",[23,164,24,7,165,187,188,128,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F896744299faea52caf62dceaf7edaa23.jpg",[],{"id":79657,"slug":79658,"title":79659,"dynasty":144,"author":223,"museum":300,"description":79660,"tags":79661,"thumbUrl":79662,"material":84,"size":84,"collection":84,"collections":79663,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},228232,"xin-pi-yin-ju-tu-yi-ming-228232","辛毗引裾图","苍松虬曲、茂叶层叠，将深庭掩映出私密肃穆的议事氛围。画面人物排布错落有致，主宾对坐之间，扯衣强谏的身姿凛然生动，把忠直不屈的诤臣情态凝于笔端。侍从仕女垂立恭谨，更衬出君臣对谈的张力。\n\n设色沉厚朴拙，线条凝练劲挺，以淡赭墨晕染衣褶神情，将汉末朝堂犯颜直谏的场景复刻于绢素之上，定格古人犯言敢谏的风骨，兼具叙事性与感染力，尽显古雅厚重的历史画意趣，让千年前的忠直诤言仿佛仍回荡在庭间。",[23,24,7,165,27,28,96,34,247,1367,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a4418be9d801ecd024106fbbe1a8721.jpg",[],{"id":79665,"slug":79666,"title":18331,"dynasty":144,"author":223,"museum":300,"description":79667,"tags":79668,"thumbUrl":79669,"material":84,"size":84,"collection":84,"collections":79670,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},228224,"luo-han-yi-ming-228224","此作绘禅林尊者，蹙眉沉凝，神色威严沉静，似正于枯岩禅椅间论禅说法。衣纹以铁线描勾勒，转折刚劲爽利，敷色苍古沉稳，石色晕染出衣袍厚重质感，暗纹隐现愈显庄重。靴履绒毛、衣缘纹饰刻画入微，细节见功底。淡墨晕染的枯木怪石烘托出幽寂禅意，整幅画作承袭唐宋造像法度，兼具元代洗练气质，将高僧超尘出世的沉静风骨尽显无遗，古韵悠悠，尽显宗教人物画的肃穆雅致。",[24,7,165,187,27,96,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff22c2af75802b1709a4750a9ddb96e95.jpg",[],{"id":79672,"slug":79673,"title":21653,"dynasty":144,"author":21654,"museum":300,"description":79674,"tags":79675,"thumbUrl":79676,"material":84,"size":84,"collection":84,"collections":79677,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},228073,"wu-zu-zai-lai-tu-yin-tuo-luo-228073","此作以简淡笔墨铺陈意境，古木虬枝斜伸，树下老僧垂敛眉目，静待客来。儒士执礼恭谨，童子侍立旁侧，三人情态各异却气韵相合。线条洗练灵动，寥寥数笔便将老僧的淡然、访客的虔敬尽皆勾勒，墨色干湿浓淡间晕染出清幽禅寂之境。留白处题诗补意，以文配画，暗合真性不灭的禅家旨趣，诗画相融，文心禅意交织。整幅画作萧散简远，以形写神，尽显以简驭繁的元人画意，是禅意绘事中诗画合璧的精妙之作。",[23,24,7,165,188,128,187,96,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b16e7b6b0402e3f9a7533a77b77282.jpg",[],{"id":79679,"slug":79680,"title":79681,"dynasty":18,"author":43331,"museum":300,"description":79682,"tags":79683,"thumbUrl":79684,"material":84,"size":84,"collection":84,"collections":79685,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},227946,"bao-bao-can-zhuang-qi-jue-tuan-shan-ce-ye-yang-huang-hou-227946","薄薄残妆七绝团扇册页","此作楷书清丽秀雅，笔致温婉端凝，起转收合间尽显宋人的雅致法度。笔底诗句将暮春残妆淡香、揽春光自适，再到厌弃繁华耽于醉乡的心境缓缓铺陈，笔墨与文思相融，自带沉静隽秀的闺中韵致。泛黄绢面晕染开古雅底色，朱红印章错落点缀，尺幅之内既有笔墨书香，更具宋韵小品的精致隽永，尽显平和内敛的审美意趣，将宋代文人的雅致心境藏于团扇方寸之间。",[23,164,24,7,1131,59,572,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5abb7fcc0ede7c197ab580da97bca657.jpg",[],{"id":79687,"slug":79688,"title":54384,"dynasty":18,"author":223,"museum":300,"description":79689,"tags":79690,"thumbUrl":79691,"material":84,"size":84,"collection":84,"collections":79692,"showCount":11,"zanCount":1998,"manualWeight":48,"mainColor":49},227933,"shuang-xiao-han-chu-tu-ye-yi-ming-227933","疏棘轻篠间，五只稚雀错落栖止。或垂首理羽，或探喙啄枝，或敛翅俯瞰，姿态灵动娇憨，尽显幼雀软萌天真。\n画师笔墨细腻入微，禽鸟绒毛以淡墨轻晕，层层敷色将绒羽蓬松柔润的质感晕染尽致，荆棘枯涩遒劲的枝桠与竹篠清润秀挺的叶片形成鲜明质感对比，烘托出深冬清萧寒寂的氛围。\n画面构图疏密相宜，淡古的绢底色调晕开沉静雅致的氛围感，于尺幅小景间铺展出冬日荒寒里的鲜活生机，尽显以小见大、于细微处撷取意趣的审美情致，淡韵悠长，耐人寻味。",[23,24,164,7,59,28,27,61,167,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd11bccfa0733fb47e60f50906728a46b.jpg",[],{"id":79694,"slug":79695,"title":79696,"dynasty":18,"author":223,"museum":300,"description":79697,"tags":79698,"thumbUrl":79699,"material":84,"size":84,"collection":84,"collections":79700,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},227923,"lian-tang-fan-ting-tu-yi-ming-227923","莲塘泛艇图","此作用水墨晕染铺就塘间幽趣，古木虬曲苍劲，浓墨点叶半掩水榭，凭栏二人对坐低语，檐下暗影浮动浸着凉意。扁舟缓行于烟水间，舱中三人敛衣静坐，淡墨晕开的烟霭晕化虚实界限，树影与水色融作一片朦胧，将暑夜荷塘的清宁雅致尽数铺展。\n\n全画以墨色浓淡区分层次，于尺幅团扇间营造出悠远空阔的幽居之境，尽显闲逸雅致的林下风流，寥寥笔墨便勾勒出淡远空灵的氛围感，将幽寂闲趣藏进晕染的烟水间，诗意漫溢其间。",[23,1846,164,24,7,1131,27,28,29,96,129,168,81,130,34,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3772f4c64aa6c5f5f71e8800df047da4.jpg",[],{"id":79702,"slug":79703,"title":1109,"dynasty":18,"author":223,"museum":300,"description":79704,"tags":79705,"thumbUrl":79706,"material":84,"size":84,"collection":84,"collections":79707,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":956},227912,"zhu-shi-tu-yi-ming-227912","以淡墨晕染出空茫幽寂的天地，将幽竹顽石隐于画幅下半隅，尽显萧散简远的林下意趣。\n浓墨挥写竹竿，劲挺有节，竹叶以介、个笔法点染，错落交叠，似带山中风声，既有婆娑摇曳之姿，又暗合君子坚韧不折的品格。怪石以枯淡墨笔勾勒皴擦，苍朴古拙，与修竹相映，衬出山野荒寒的幽僻之境。\n整幅画面留白通透，以极简笔墨营造出空寂禅意，把文人寄情林泉的澹泊襟怀，融于水墨虚实之间，尽显含蓄雅致的写意风神。",[23,24,7,164,1326,165,128,167,1314,211,16820,132,42864],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a6beb5f7a689648a17c4240b5acc88.jpg",[],{"id":79709,"slug":79710,"title":9760,"dynasty":18,"author":223,"museum":300,"description":79711,"tags":79712,"thumbUrl":79713,"material":84,"size":84,"collection":84,"collections":79714,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},227860,"dou-niu-tu-yi-ming-227860","枯木斜欱，淡墨晕出朦胧坡岸，寥寥数笔便铺就荒寂郊野底色。两头犍牛犄角相抵，四蹄攒动拧转，躯体的肌肉轮廓以浓墨晕染，将角力间迸发的蛮力与野性尽数展露。\n\n全作笔致简淡却精准传神，舍去多余修饰，独取斗牛最酣烈的一瞬定格。以写意笔墨捕捉牲畜好斗的天生野性，乡野间蓬勃朴拙的生趣跃然绢素，于疏淡之中蕴藏着饱满蓬勃的生命力，尽显以简驭繁的写意妙趣。",[23,24,164,7,165,27,28,102,171,413,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd528a92ff060f51045a85b2c95ebad86.jpg",[],{"id":79716,"slug":79717,"title":79718,"dynasty":18,"author":223,"museum":300,"description":79719,"tags":79720,"thumbUrl":79721,"material":84,"size":84,"collection":84,"collections":79722,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},227857,"gui-mu-tu-yi-ming-227857","归牧图","柔柳垂丝轻拂溪岸，将暮春的慵懒揉入淡墨晕染的郊野暮色里。右侧石畔春树缀着初绽的碎花，清润雅致。\n\n溪间小径上，牧童斜卧牛背，抬手逗弄枝梢，自在憨顽的神态跃然绢上。水牛缓步徐行，憨态温驯，带着收工后的松弛安然。\n\n整幅笔墨简括灵动，留白悠远清寂，将日暮归牧的闲散诗意铺陈开来。寥寥数笔便定格乡野间悠然自适的日常，把田园隐逸的恬淡安闲揉进空濛画境里，尽显小品画的隽永意趣。",[164,24,7,28,27,29,96,102,2372,131,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa148c2528ceed5d7922fc200a9a4438.jpg",[],{"id":79724,"slug":79725,"title":71480,"dynasty":18,"author":223,"museum":300,"description":79726,"tags":79727,"thumbUrl":79729,"material":84,"size":84,"collection":84,"collections":79730,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":199},227849,"han-ke-shan-zhe-tu-yi-ming-227849","此作用笔苍劲老辣，绘就隆冬寒林之景。虬曲古柯凝着薄雪，枝桠枯瘦萧疏，晕染出彻骨清寒。两只山鹧栖于枝头，羽色晕染细腻，墨色浓淡间绒羽质感尽显，神态安闲静穆，为荒寂雪景添上灵动生机。\n\n整幅小品以极简布局营造出幽谧冷寂的意境，工写结合，山水小景与花鸟相映成趣，于简淡中藏着精微刻画，将冬日林泉的清冷凝寂与禽鸟的鲜活生机相融，尽显宋人清冷雅致的审美意趣，方寸之间，意蕴悠长。",[23,164,24,7,1131,28,27,61,1337,79728,171,211,208],"山鹧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8af24f946845e287b4724601d027e49d.jpg",[],{"id":79732,"slug":79733,"title":79734,"dynasty":18,"author":223,"museum":300,"description":79735,"tags":79736,"thumbUrl":79737,"material":84,"size":84,"collection":84,"collections":79738,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},227845,"tian-mo-gui-fan-tu-yi-ming-227845","天末归帆图","淡墨轻晕远汀，留白铺陈出浩渺水色，归帆杳杳隐在烟霭之间，寥寥数笔便写尽水天空寂的清寥诗意。\n\n右侧行书笔致苍雅隽秀，将羁人盼归的怅惘藏在笔墨间，与画境浑然相融。后幅题跋评点精当，诗书画印合为一体，尽显宋人的雅致襟怀。咫尺团扇之中，以极简的水墨语言晕染出江南泽国的空濛澹远，把山水写意与文人情思揉作一处，悠悠古韵扑面而来。",[23,24,7,128,27,29,47608,950,228,2048,133,208,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f10e214dabe06bffc5da9e27b7f30bb.jpg",[],{"id":79740,"slug":79741,"title":71513,"dynasty":18,"author":223,"museum":300,"description":79742,"tags":79743,"thumbUrl":79744,"material":84,"size":84,"collection":84,"collections":79745,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},227840,"gu-mu-han-qin-tu-yi-ming-227840","此作为典型的宋人寒林小景。坡岸积素皴染柔和，尽显积雪蓬松厚重，古木虬曲苍劲，枯涩的枝桠皴擦老辣，将冬日林木的萧索质感勾勒尽致。枝梢立着一只寒禽，身形虽小却点染生动，孤清的身影在冷寂天地间格外醒目。\n\n对岸平沙远岫晕染朦胧，以一隅写尽冬日郊野的阔远荒寒。画面虚实相生，留白藏韵，以极简的笔墨铺展出清寂冷冽的冬日氛围，于萧索中暗藏幽微生机，含蓄传递出枯淡清远的文人意趣，尽显宋画诗意内敛的美学特质。",[23,24,7,128,27,28,132,1233,331,211,131,1813],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F239db6ca37d296151263dc36a7c2dedc.jpg",[],{"id":79747,"slug":79748,"title":79749,"dynasty":18,"author":223,"museum":300,"description":79750,"tags":79751,"thumbUrl":79753,"material":84,"size":84,"collection":84,"collections":79754,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},227572,"zhu-tang-su-yan-tu-yi-ming-227572","竹塘宿雁图","此作以团扇取景，绘就郊塘夜色。虬曲老竹斜出坡岸，细劲笔意写尽竹叶萧疏清峭，枝桠间宿雁静敛羽翼隐伏其中，于幽暗中藏着生趣。塘水浅滩以淡墨晕染留白，将夜色空茫铺展开来，虚实相映间，把郊野清寂萧寒的意趣尽数烘托。\n\n笔触简淡老辣，以极简铺陈勾勒出秋日塘岸的荒寒淡远，尽显寄情林泉的幽淡襟怀，带着典型的雅致空寂审美意韵，淡墨轻痕里藏着侘寂出尘的林下幽思。",[23,164,24,7,28,27,167,18111,79752,61,29],"水塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5580d6774714bf40f3729bca7ab8ff08.jpg",[],{"id":79756,"slug":79757,"title":79758,"dynasty":182,"author":223,"museum":300,"description":76427,"tags":79759,"thumbUrl":79761,"material":692,"size":1293,"collection":84,"collections":79762,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},227229,"fo-jing-shi-bian-yi-ming-227229","佛经 饰边",[23,182,187,7322,572,64,7,25,5459,79760,76429,208,27],"纸质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f1a929d64d0da934b0bb3a755c08a6.jpg",[],{"id":79764,"slug":79765,"title":79766,"dynasty":124,"author":26033,"museum":300,"description":79767,"tags":79768,"thumbUrl":79769,"material":84,"size":84,"collection":84,"collections":79770,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},224556,"shu-hua-ce-ye-21-xiao-yun-cong-wang-shi-zhen-224556","《书画册页》-21","此作以淡墨写尽林泉幽致，危崖壁立留白萦雾，虚摹山岚空濛。几株古松虬曲苍劲，松针攒簇尽显老硬风神，枯笔勾勒山石肌理，皴染极简，却将崖壁厚重苍朴之意托出。滩渚扁舟之上，隐士垂纶独钓，与幽寂山水浑然相融。追摹李成笔意，以简淡清润的笔墨，复刻宋人山水中静穆淡远的意境，将林下幽闲的隐逸之思藏于尺幅之间，通篇萧散出尘，尽显山林高致。",[164,24,7,59,128,27,132,29,96,1144,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ffcf411dec0de24fd38c2c62f6835e2.jpg",[],{"id":79772,"slug":79773,"title":79774,"dynasty":54,"author":6936,"museum":300,"description":79775,"tags":79776,"thumbUrl":79778,"material":84,"size":84,"collection":84,"collections":79779,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},224403,"gao-ling-ping-chuan-tu-wang-yuan-qi-224403","高岭平川图","《王原祁画论译注》由俞丰译注，荣宝斋出版社出版。\n雨窗漫笔 论画十则 麓台题画稿 沈楙德跋 题丹思画册仿叔明 仿黄子久笔 题仿大痴巨幅 烟峦秋爽仿荆关 仿梅道人笔 仿小米笔 仿黄子久 题仿大痴笔（一） 仿大痴秋山 仿大痴（一） 仿黄大痴长卷 仿大痴（二） 仿梅道人 仿大痴（三） 仿大痴《九峰雪霁》 仿大痴（四） 仿设色大痴 仿设色倪黄 题仿大痴笔（二） 送励南湖画册十幅仿宋元诸大家 题仿万壑松风丹思三十幅之一 题仿范华原三十幅之一 画设色高房山三十幅之一 仿松雪、大年笔意 题画仿王叔明长卷 题仿大痴手卷 题仿淡墨云林 题仿梅道人长卷 题学思翁仿子久法 题仿赵大年推篷四页之一 题仿董巨笔 题仿小米笔 仿大痴设色秋山 题仿梅道人 仿设色小米 仿大痴秋山 仿梅道人 仿大痴水墨长卷 画家总论题画呈八叔 仿设色大痴长卷 仿王叔明 题仿大痴没色秋山 为凯功掌宪写元季四家 仿黄子久设色 仿设色大痴秋山 仿大痴笔为轮美作 又仿大痴设色 仿设色倪黄 大横披仿设色大痴 拟设色云林小幅 仿倪黄设色小卷 仿黄鹤山樵巨幅山水 题仿董北苑 外三则 题跋广录 仿大痴笔 溪山高隐图卷 西窗消永图 为在陆策懒 仿大痴富春图 仿古山水卷 仿古山水册（一） 仿黄公望山水 仿大痴山水（一） 华山秋色图 会心大痴 仿倪瓒山水 山水（一） 为明吉作山水 仿黄鹤山樵《秋山读书图》 仿倪黄笔意 仿大痴山水（二） 意止斋图卷 沧浪亭诗意 仿黄大痴《秋山图》 仿王蒙《溪山仙馆图》 仿梅道人山水 富春山图 写大痴得力荆关 仿赵孟頫山水 仿古脱古图 夏山图 补云林《遂幽轩图》 仿王蒙山水 湖湘山水 仿倪瓒笔意 仿高尚《书云山图》 杜老诗意 四绝山水 溪山林屋图 万壑千崖卷 仿宋元六家卷 清泉白石图 仿倪黄山水 舟次所作 仿曹云西山水 倪黄笔意图 用高尚书法写少陵诗意 仿黄公望山水 仿元季六大家推篷册 仿大痴富春山笔意卷 山水为石谷 仿倪黄山水 胜弈图 仿大痴山水卷 竹溪渔浦松岭云岩卷 山水（二） 没色山水 仿山樵山水 山水（三） 仿古山水 仿倪瓒山水 仿董巨山水 仿古臣册 仿王蒙山水 为杨晋画山水 仿方方壶 仿梅道人《秋山图》 设色山水 仿大痴画法 仿王蒙山水 仿黄公望山水 仿大痴（五） 仿董巨山水 仿高克恭山水 仿山樵林泉清集丹台春晓二图意 仿黄公望笔意 仿黄公望《秋山图》 仿赵大年江南春参松雪笔意 西岭烟云卷 仿王蒙笔意 为拱辰作山水 仿米家云山 仿倪画笔意 仿惠崇江南春 仿倪黄山水 秋山图 仿大痴山水（三） 春山图 江山无尽图 山村雨景 仿黄公望《富春山色图》 仿黄公望山水 学董巨神完气足 仿诸家山水 赠王忍庵横幅二 仿云林山水 仿王蒙笔意 苍岩翠壁图 仿大痴《秋山图》 秋林叠巘图 红香夹岸图 仿黄公望《富春山居图》 仿大痴兼赵大年江南春意 远山叠嶂图 仿倪黄山水 九日适成卷 仿古 山水（四） 山水（五） 仿倪瓒山水 粤东山水 仿云林山水 夏山水阁图 高岭平川图 仿大痴山水（四） 为位凝作山水 云山罨画图卷 水墨山水 山水（六） 仿大痴山水（五） 仿黄公望笔意 山水（七） 仿大痴山水（六） 设色山水 危峰独秀图 大痴小幅 陡壁磐石图 远岫归云图 仿倪高士《滩声嘈嘈杂雨声图》 跋文徵明《石湖清胜图卷》 仿古山水册（二） 仿云林山水 附录",[23,24,7,165,27,132,29,663,79777,413,97,99,98],"平川","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5175b8b65826f681dca70b8cad442470.jpg",[],{"id":79781,"slug":79782,"title":79783,"dynasty":54,"author":6936,"museum":300,"description":79784,"tags":79785,"thumbUrl":79787,"material":84,"size":84,"collection":84,"collections":79788,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},224396,"shan-jian-lin-lu-wang-yuan-qi-224396","山磵林庐","此作用笔沉厚老辣，以干笔积墨层层皴擦，山石苍润浑厚，草木华滋清隽。取景紧凑却丘壑幽深，巨岩洞天藏山光，飞瀑落溪撞碎林麓静谧，蜿蜒山径隐于苍林，板桥轻架溪上，暗合山居幽趣。\n\n画面融宋元古意与清时文心，将江南秋山的秀润与沉雄揉为一体，笔底晕开幽寂山居的雅兴，藏林下隐逸的文人情致于皴染点苔之间，整体气息浑朴雅致，尽显文人山水画的从容格调。",[23,24,7,128,27,132,59,29,663,497,495,99,98,34,9402,79786,208,1645],"庐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F088ab1978204110c84f6a7f7d85c76ce.jpg",[],{"id":79790,"slug":79791,"title":79792,"dynasty":54,"author":79793,"museum":244,"description":79794,"tags":79795,"thumbUrl":79796,"material":692,"size":1293,"collection":84,"collections":79797,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},224350,"qing-shan-shui-lou-tai-jin-de-ying-224350","清山水楼台","金德瑛","金德瑛（1701年－1762年），中国清朝状元、政治人物，字汝白，号桧门。浙江仁和（今浙江杭州）人。\n生于康熙四十年（1701年），乾隆元年（1736年）状元。授翰林院修撰，历任右庶子、太常寺卿，任江西、山东及顺天学政。乾隆二十一年（1756年），路过徐州，发现黄河决口，运河溢涨，及时上奏。官至左都御史。金德瑛工书法，喜欢戏曲，常至梨园听歌。",[23,24,7,27,28,29,97,130,96,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F911cc53f39a6642f5e1301b28b6ba7b0.jpg",[],{"id":79799,"slug":79800,"title":79801,"dynasty":54,"author":51146,"museum":300,"description":79802,"tags":79803,"thumbUrl":79804,"material":692,"size":1293,"collection":84,"collections":79805,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},224349,"hong-ya-xian-tu-juan-1-shen-zhen-lin-224349","洪崖仙图卷1","沈振麟（生卒年不详，生活于19世纪），字凤池，一作凤墀，元和（今江苏省吴县）人。他以创作题材广泛，花鸟虫鱼人物山水各臻其妙，笔法工细写实而成为晚清重要的宫廷画家。任如意馆画作首领数十年。",[23,24,7,25,27,96,28,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb02cc932e9912b406e18e2273a375e93.jpg",[],{"id":79807,"slug":79808,"title":79809,"dynasty":54,"author":1676,"museum":300,"description":79810,"tags":79811,"thumbUrl":79812,"material":84,"size":84,"collection":84,"collections":79813,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},224327,"hua-niao-shi-er-kai-5-li-shan-224327","花鸟十二开5","画面中两燕俯仰相和，墨色浓淡晕染出羽翼蓬松肌理，灵动宛然如生。左侧芦草花枝以枯湿变化的水墨绘就，笔意纵逸简括，萧疏野趣尽显。右侧题诗与画境呼应，诗书画印相融，尽显文人写意的随性疏朗。作者以洒脱放逸的笔墨，将秋日汀洲间燕子流连的闲趣铺陈开来，以极简的水墨语言传递出悠然澹远的雅致情调，借花鸟抒怀，尽显扬州画派以画言情的写意风骨。",[23,24,7,59,128,369,61,375,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba9de359a80a9cd10bd7bab4fcb4d4f7.jpg",[],{"id":79815,"slug":79816,"title":79817,"dynasty":54,"author":29876,"museum":300,"description":79818,"tags":79819,"thumbUrl":79820,"material":84,"size":84,"collection":84,"collections":79821,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},224282,"shan-shui-hua-hui-ce-shi-liu-fu-shan-224282","山水花卉冊(十六)","此作以淡墨晕染铺就清寂夜色，远山如笼薄纱，隐在月色之下，峰顶残雪凝着夜的清寒。近旁老树虬曲苍劲，疏枝错落，将荒寒之意晕开田亩间。\n\n三两茅舍围以篱栅，隐约的烟火气揉碎在清寂里，更衬郊野空阔。江畔独行身影缓步徐行，把孑然意趣融进夜色。\n\n全作用笔松秀简淡，设色浅雅无华，以极简笔墨铺陈出悠远空寂的意境，将冬夜荒村的冷逸幽然娓娓道来，尽显文人画简淡天真的意趣，藏着画者寄情林泉、静守幽独的襟怀。",[23,24,7,59,128,29,331,231,131,387,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bf90a61c1ff07591699375f901f6300.jpg",[],{"id":79823,"slug":79824,"title":79825,"dynasty":54,"author":29876,"museum":300,"description":79826,"tags":79827,"thumbUrl":79828,"material":84,"size":84,"collection":84,"collections":79829,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},224280,"shan-shui-hua-hui-ce-shi-er-fu-shan-224280","山水花卉冊(十二)","此作用笔简淡稚拙，以浅赭轻晕山峦，敷色清和柔润。近滩板桥轻横，浅渚疏林错落；中景红墙环绕，古寺隐现于茂林之间，城郭拱门洞开，晕开几分烟火清寂；远景峰峦平缓朦胧，晕染出空濛山意。全画无繁复皴擦，以简淡线条勾勒出幽寂山居，将林泉隐逸的萧散意趣融于尺幅之中。笔墨空灵简净，褪去雕琢之态，尽显超然出尘的林下之风，藏着寄情丘壑的文人雅怀，整体氛围静谧冲淡，意蕴悠远绵长。",[23,24,7,59,27,29,132,663,413,97,98,99,208,35,34,414,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F532ed8a4cf428d9d61c7bc6b9cfbed48.jpg",[],{"id":79831,"slug":79832,"title":79833,"dynasty":54,"author":29876,"museum":300,"description":79834,"tags":79835,"thumbUrl":79836,"material":84,"size":84,"collection":84,"collections":79837,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},224278,"shan-shui-hua-hui-ce-shi-yi-fu-shan-224278","山水花卉冊(十一)","此作用淡赭铺就底色，晕开烟岚暮色。远景山峦以淡墨轻扫，隐入空濛雾霭间，虚渺悠远；近山石以浓墨挥写出朴拙块面，厚重沉凝，虚实相映间拉开天地纵深。阔静水面之上，红衣旅人独行滩涂，渺小身形衬出天地辽寂荒寒，点染出萧散淡远的意境。\n\n全画笔墨简淡写意，舍却精细描摹，重在意境生发，寥寥数笔铺陈出荒寒空灵之境，将孤高出世的襟怀寄寓其中，笔简而意足，清冷孤高的林下之风扑面而来。",[23,24,7,59,128,27,29,171,96,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52592c15fcc9a4bed6abbb257d1bc05a.jpg",[],{"id":79839,"slug":79840,"title":79841,"dynasty":54,"author":29876,"museum":300,"description":79842,"tags":79843,"thumbUrl":79844,"material":84,"size":84,"collection":84,"collections":79845,"showCount":11,"zanCount":1998,"manualWeight":48,"mainColor":49},224274,"shan-shui-hua-hui-ce-wu-fu-shan-224274","山水花卉冊(五)","此作笔墨简率古雅，以朴拙皴染写就群山苍莽浑厚的质感，数道飞泉破壁而出，灵动生机撞破山林沉静。坡上古松虬曲苍劲，松针攒簇如盖，掩映着朱栏青瓦的山居，暖艳设色在水墨晕染间跳脱而出，为山野添了几分雅致温馨。\n\n画面无过多雕琢，将山野荒疏之境与幽居安和之意相融，浅淡设色晕出柔和静谧的氛围，藏着遁世丘壑、寄情林泉的文人襟怀，尽显静穆散淡的世外意趣。",[23,24,7,59,27,132,29,663,495,1144,97,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9054b9316da205782a3ee8906cbcf0e5.jpg",[],{"id":79847,"slug":79848,"title":79849,"dynasty":54,"author":29876,"museum":300,"description":79850,"tags":79851,"thumbUrl":79852,"material":84,"size":84,"collection":84,"collections":79853,"showCount":11,"zanCount":1998,"manualWeight":48,"mainColor":72},224272,"shan-shui-hua-hui-ce-san-fu-shan-224272","山水花卉冊(三)","此作用淡墨轻晕出层叠丘峦，留白铺陈出浩渺河川，近隅山居错落隐于浅坡之间，尽写荒寒清寂的郊野暮色。笔墨简率随性，舍去繁复皴擦，以清浅赭石晕染山骨，线条苍劲松脱，尽显疏朗之致。右上角行书题跋笔意舒展，书画相映，文气盎然。画师以简淡之墨写旅途中的日暮河居，将胸中山林丘壑落于纸上，清冷空濛的意境里藏着孤高疏放的文人襟怀，淡岚轻烟间，把羁旅所见化作文雅悠远的沉静天地。",[23,24,7,59,128,132,29,37,131,758,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb86ff22e5320f10bfd5c660fa5f159a5.jpg",[],{"id":79855,"slug":79856,"title":79857,"dynasty":54,"author":66457,"museum":300,"description":79858,"tags":79859,"thumbUrl":79860,"material":84,"size":84,"collection":84,"collections":79861,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},224251,"chu-zheng-tu-zhou-xu-fang-224251","出征图轴","此作用淡赭晕染残阳暮色，远山层叠朦胧，戍楼孤峙山巅，猎猎军旗暗合将行肃穆。坡岸间人马错落，或缓行或伫立，寥寥数笔便将情态勾勒尽致，淡逸清润的笔触晕开边地荒疏萧索的氛围。\n\n左侧长题诗文与画作相映成趣，诗画合璧。整幅不施繁复皴擦，以极简笔墨烘托出征沉凝氛围，将将士临行之际的沉肃与边地苍茫糅合，于简淡悠远间暗蕴家国壮怀，尽显文人画融情于景的雅致意韵。",[23,24,7,128,27,165,29,96,101,690,3344,1337,949,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b0af847b142d6a46f5a7689443523df.jpg",[],{"id":79863,"slug":79864,"title":79865,"dynasty":54,"author":79866,"museum":300,"description":79867,"tags":79868,"thumbUrl":79869,"material":692,"size":1293,"collection":84,"collections":79870,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},224250,"shan-shui-tu-zhou-ding-224250","山水圖","周薡","字伯龄，鄞（今浙江宁波）人。工于传神。先是有倪伯益写照逼真，鼎得其术，几突过之。人以碍之合中曾鲸。仲子天祚，季子乐克世其传。（《宁波府志》）",[23,1131,24,7,29,128,132,331,131,130,211,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3808d676bfb68e7dfb8f7407d4e4c53.jpg",[],{"id":79872,"slug":79873,"title":79874,"dynasty":124,"author":79875,"museum":300,"description":79876,"tags":79877,"thumbUrl":79878,"material":84,"size":84,"collection":84,"collections":79879,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},224206,"shu-hua-ce-ye-16-xiao-yun-cong-wu-guo-dui-224206","《书画册页》-16","萧云从 吴国对","此幅行书题诗笔致秀雅灵动，结体舒展安和。起笔收锋自带文人清逸书卷气，字距错落有致，行气疏朗从容。\n\n诗句隽秀清雅，以石骨冰肌衬出幽居雅意，将春日将雪的清寂仙气融于笔墨之间。朱红印章与泛黄素纸相映，金石朴拙中和了笔锋秀润，尽显文人寄情山水、醉心林泉的雅致襟怀，是诗书印合一的小品佳制。",[23,124,7,59,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda0575266b8de62bc752b24fb55d1b49.jpg",[],{"id":79881,"slug":79882,"title":79883,"dynasty":124,"author":223,"museum":300,"description":79884,"tags":79885,"thumbUrl":79886,"material":84,"size":84,"collection":84,"collections":79887,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},223681,"gu-xiu-shi-liu-ying-zhen-ce-9-yi-ming-223681","顾绣十六应真册9","此作用铁线白描写就，线条清劲圆转、洗练流畅。趺坐罗汉神态安然沉静，似于幽林静悟禅机，身旁侍者伏卧休憩，松弛自适，一动一静间尽显禅林悠然意趣。\n\n布景简括雅致，古木苍秀古拙，山石以淡墨轻皴，衬出坡岸幽寂清旷的氛围，将禅修的幽远意境烘托得恰到好处。整幅作品工细不失灵动，意韵简淡空灵，尽显清雅禅意，将出世幽居的静定之美尽显无余。",[23,164,24,7,59,188,27,96,34,131,211,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F237960864f0d11a4fe2af68155ef09a0.jpg",[],{"id":79889,"slug":79890,"title":79891,"dynasty":18,"author":223,"museum":300,"description":79892,"tags":79893,"thumbUrl":79894,"material":84,"size":84,"collection":84,"collections":79895,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},223620,"xiu-yu-ming-chun-tu-yi-ming-223620","绣羽鸣春图","《宋人画绣羽鸣春图》是宋代佚名创作的绢本设色画。\n本幅无款识。\n钤鉴藏印“宋荦审定”。\n裱边题签：“宋人画绣羽鸣春”。\n图中画一只美丽的山鸟，单足立于太湖石上，神情凄楚，啼鸣不止，右爪不安地刨动。\n细观乃知其被一细绳系于石上，失去自由。\n作者用心至为深婉。\n宋欧阳修有句云：“始知锁向金笼听，不及林间自在啼”，亦即此意。\n的皴染较为粗疏，与小鸟翎毛之精细形成对比，主次分明。\n周围不设衬景，更显鸟之孤独。\n禽类本无表情，画家借鉴人类眼睛的画法表现其心理，堪称妙笔。\n存《宋人集绘》册中。\n《石渠宝笈三编》著录。",[23,24,7,164,28,27,61,211,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe99a9723a31fb617dfb1466dbf0e6edb.jpg",[],{"id":79897,"slug":79898,"title":79899,"dynasty":18,"author":223,"museum":300,"description":79900,"tags":79901,"thumbUrl":79902,"material":692,"size":1293,"collection":84,"collections":79903,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},223589,"fan-wang-li-fo-tu-juan-quan-juan-yi-ming-223589","番王礼佛图卷（全卷）","此卷以白描法绘释迦牟尼约见番王讲经的场景，共三十二人，笔法工细严谨，人物情态生动，衣纹流畅。无款印，引首处唐俞书“番王礼佛”四字，卷后有元人妙声、李简、余简、余泽、易伟等八家题记。",[23,164,24,7,25,188,133,208,187,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25771369fc18fcaedf9e8709f465efd6.jpg",[],{"id":79905,"slug":79906,"title":79907,"dynasty":18,"author":223,"museum":20,"description":79908,"tags":79909,"thumbUrl":79910,"material":40,"size":79911,"collection":84,"collections":79912,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},223510,"liu-yin-yun-dui-tu-yi-ming-223510","柳荫云碓图","绘农人利用畜力抽水灌溉的劳作场面。三棵柳树粗壮，柳荫下搭了一间四柱茅屋，屋下一人赶牛转翻车提水，巨大的转轮带动着横杆，将下游的水源源不断运输到高处灌溉。",[23,24,7,27,28,132,29,2372,228,413,950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F976d453e820369dd65b895eed07d47d5.jpg","23X20.6cm",[],{"id":79914,"slug":79915,"title":44348,"dynasty":18,"author":223,"museum":244,"description":79916,"tags":79917,"thumbUrl":79918,"material":514,"size":79919,"collection":84,"collections":79920,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},223505,"song-hu-diao-yin-tu-yi-ming-223505","叶小舟浮于湖上，一人独坐垂 钓，远山峰峦突起，妙造自然，以精细的笔法，用焦 墨勾树石，显得郁茂葱笼，瘦硬峭拔。画面无作者款 印。此图从画风多受马、夏影响这一点来看",[23,24,7,29,27,132,133,208,1144,129,131,415,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c9d875e6692c9267b51e8524a861af6.jpg","25.3x25.8厘米",[],{"id":79922,"slug":79923,"title":79924,"dynasty":18,"author":223,"museum":510,"description":79925,"tags":79926,"thumbUrl":79927,"material":40,"size":79928,"collection":84,"collections":79929,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},223465,"jun-ling-xi-qiao-tu-yi-ming-223465","峻岭溪桥图","绘山峦重叠，气势宏大，巍峨壮观，山下河面宽广，水流潺潺，楼阁依山傍水而建，一桥横跨两山，桥上行旅忙碌，崎岖小路依山延伸。此图还有一副本，藏于故宫博物院，旧题：郑虔峻岭溪桥",[23,24,7,1131,29,132,128,496,31,34,57754,56606],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5198e0f52edf2cb16b9a7ae4a13d907f.jpg","25×26.4cm",[],{"id":79931,"slug":79932,"title":79933,"dynasty":18,"author":223,"museum":20,"description":79934,"tags":79935,"thumbUrl":79936,"material":514,"size":79937,"collection":84,"collections":79938,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},223464,"yan-gui-tu-yi-ming-223464","岩桧图","此图描绘君烟上古树参天，天气稀疏。 照片取自山的一角，左侧用雄壮的笔描绘牛仔山的陡峭上升，两棵枯萎的古树斜向空中。 笔下潇洒奔放，风风火火。 山石外，竹水亭，元代远有人居二宋，似呼唤同伴来此歇息。 山石古树的写意，笔法是郭熙的，但郭繁星的笔法是郭繁星的一点点，被认为是南锡熙画派的作品。",[23,24,7,128,27,29,171,331,133,64,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f1cb467eb71decc35abd1492185aa5.jpg","50.5×39.2厘米",[],{"id":79940,"slug":79941,"title":12070,"dynasty":18,"author":223,"museum":524,"description":79942,"tags":79943,"thumbUrl":79944,"material":514,"size":79945,"collection":84,"collections":79946,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},223458,"shan-shui-tu-ye-yi-ming-223458","伴随着王朝更迭，赵宋南渡，山水画的风格面貌也发生了非常大的转变，其最为显著的特征就是南宋一改北宋山水画全景式的宏大构图，代之以空灵雅致的边角式构图。这是南北山河地貌的差异造成的：描绘的对象发生了改变，画家们的画法自然也会随之改变。这种画风上的变革却常常被后世附会为画家们用画作中的“残山剩水”寄托对故土的哀思，更以此去劝诫君王莫要偏安一隅。然而，正是南宋时期对山水画独特的审美追求造就了山水小品画空前繁荣，现存的宋代山水小品画也大多创作于这一时期。",[23,24,7,59,27,28,132,29,331,97,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaaf7d12794a522b894f58b7f4ce2bcb.jpg","纵23厘米 横24.8厘米",[],{"id":79948,"slug":79949,"title":79950,"dynasty":54,"author":6946,"museum":18494,"description":59999,"tags":79951,"thumbUrl":79952,"material":734,"size":60002,"collection":84,"collections":79953,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},223321,"fa-jie-yuan-liu-tu-jing-pian-4-ding-guan-peng-223321","法界源流图镜片-4",[23,24,7,187,28,27,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28532e385fd6a2674ae126eb74b019bb.jpg",[],{"id":79955,"slug":79956,"title":76997,"dynasty":54,"author":6946,"museum":18494,"description":73569,"tags":79957,"thumbUrl":79958,"material":734,"size":73573,"collection":84,"collections":79959,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},223306,"fa-jie-yuan-liu-tu-juan-11-ding-guan-peng-223306",[23,24,7,25,28,27,187,96,53895,189,949,3588,52784,1367,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F662cef915ffaa610e241fd73988d432e.jpg",[],{"id":79961,"slug":79962,"title":79963,"dynasty":54,"author":6946,"museum":18494,"description":73569,"tags":79964,"thumbUrl":79965,"material":734,"size":73573,"collection":84,"collections":79966,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},223305,"fa-jie-yuan-liu-tu-juan-10-ding-guan-peng-223305","法界源流图卷-10",[23,24,7,25,27,28,187,96,29,97,34,189,49860,11074,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F976febd416f643cbf54c5663feac93a5.jpg",[],{"id":79968,"slug":79969,"title":15896,"dynasty":54,"author":10177,"museum":20,"description":60016,"tags":79970,"thumbUrl":79971,"material":84,"size":15901,"collection":84,"collections":79972,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},223217,"geng-zhi-tu-ce-jiao-bing-zhen-223217",[164,24,7,28,27,96,97,34,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3531c2ccc21da9a693011dcd3d40eb17.jpg",[],{"id":79974,"slug":79975,"title":79976,"dynasty":54,"author":11383,"museum":300,"description":28153,"tags":79977,"thumbUrl":79978,"material":611,"size":84,"collection":84,"collections":79979,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},223134,"shi-wan-tu-ce-shan-mian-1-ren-xiong-223134","十万图册-扇面1",[23,24,7,1131,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c301b18131701c4457753e800f42e9.jpg",[],{"id":79981,"slug":79982,"title":79983,"dynasty":54,"author":32119,"museum":244,"description":32120,"tags":79984,"thumbUrl":79986,"material":79987,"size":84,"collection":84,"collections":79988,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},222852,"hui-da-yun-lun-qing-yu-jing-jie-tan-yi-gui-tu-shuo-ce-ai-xin-jue-luo-yong-rong-222852","绘大云轮请雨经结坛仪轨图说册",[23,24,7,59,95,27,187,188,251,79985,12314,57836],"坛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2de81535171831e933150f9e891e369.jpg","冊",[],{"id":79990,"slug":79991,"title":79992,"dynasty":54,"author":16583,"museum":1185,"description":32663,"tags":79993,"thumbUrl":79994,"material":6091,"size":32666,"collection":84,"collections":79995,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},222654,"zhi-hua-xi-lie-zhi-hua-yue-yu-gao-qi-pei-222654","指画系列-指画·跃鱼",[23,24,7,164,29104,128,2059,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F697e28729aa273a86e99330651715a76.jpg",[],{"id":79997,"slug":79998,"title":79999,"dynasty":124,"author":15851,"museum":244,"description":80000,"tags":80001,"thumbUrl":80002,"material":611,"size":80003,"collection":84,"collections":80004,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},222577,"cao-shu-qi-jue-shi-zhou-mo-shi-long-222577","草书七绝诗轴","莫是龙（1537年—1587年），得米芾石刻“云卿”二字，因以为字，字云卿，后以字行，更字廷韩，号秋水，又号后明、玉关山人、虚舟子等。南直隶松江府华亭（今上海松江）人，莫如忠长子。明代文学家、书画家、藏书家。\n八岁读书，十岁属文，十四岁补郡诸生，人称“神童”。皇甫汸、王世贞辈亟称之。不喜科举业而攻古文辞及书法、绘画，以贡生终。\n喜聚书，著名藏书家杨仪，是他的舅父，“七桧山房”藏书极富，尤多宋、元精本。杨仪去世后，所藏之书，多归于他，藏书于“城南精舍”中。黄丕烈作诗咏其事云：“七桧山房万卷楼，杨家书籍莫家收”之句。每得一书，似添一良友。并每当梅花开时，焚香点茶，开内典素书诵读。他说：蓄一古书，必须考校伪谬之后，方能入库。收藏的宋刻《南华真经》《妙湛和尚偈颂》等，为藏家所重。藏书印有“莫生秋水”、“山有寿兮松有茂”、“莫云卿赏识印”、“思玄亭”、“碧山樵”、“玉关山人”等。",[23,805,24,7,64,165,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a613eb45172acc487e7bff7344c6417.jpg","133.5×53.7cm",[],{"id":80006,"slug":80007,"title":4071,"dynasty":124,"author":1438,"museum":205,"description":4072,"tags":80008,"thumbUrl":80010,"material":1223,"size":4076,"collection":84,"collections":80011,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},222560,"hua-hui-tu-ce-chen-chun-222560",[23,24,7,164,128,369,62,2132,64,805,3291,1429,80009,6279],"笔墨淋漓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ba7d9cdec86c0d7f73ca453017e82d2.jpg",[],{"id":80013,"slug":80014,"title":80015,"dynasty":124,"author":27440,"museum":300,"description":56403,"tags":80016,"thumbUrl":80017,"material":84,"size":80018,"collection":84,"collections":80019,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},222548,"ba-ti-li-cheng-xiao-han-lin-wang-duo-222548","跋（题李成《小寒林》）",[23,64,133,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6802d0b1772156bd9946f7a86cbdcdbc.jpg","40x61",[],{"id":80021,"slug":80022,"title":80023,"dynasty":124,"author":27440,"museum":2068,"description":80024,"tags":80025,"thumbUrl":80026,"material":26442,"size":80027,"collection":84,"collections":80028,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},222547,"zeng-zhang-bao-yi-shi-juan-quan-juan-wang-duo-222547","赠张抱一诗卷全卷","《王铎草书赠张抱一诗卷》的内容，是作者王铎自撰的七律诗五首，主要为赠送友人张抱一而作，并在诗歌内容上、在书法艺术中抒发、体现自己的情感。诗卷全文如下（注：原作品没有标点断句）：\n《张抱一公祖招集湖亭》：有酒沧池对烟丘，相招者谁任意游。晋人唐人曾几度，泉水溪水还同流。钟鼓此城鸣白露，戎兵何处领高秋。芦花今古依然在，羡尔无声眠野鸥。（注：第一首七律完）《登岳庙天中阁看山同友》：四围紫逻坐相望，突兀高峰划大荒。谁复凌空呼帝座，我今乘胜挹天浆。香烟古庙通灵气，石路神丘点太阳。冻草暮云无限意，汉京封禅旧山房。（注：第二首七律完）《牛首山同堪虚静原》：一樽绝巘放高歌，回首禅房忘坎坷。旦树晴分天目近，午帆气挟海风过。山吞吴楚犹新燕，寺趁齐梁只故萝。莫管星辰朽不朽，吹箫何处倚嵯峨。（注：第三首七律完）《频入》：频入长安过九衢，谁知幽梦在髭须。只今人路何从说，渐审岩居不可无。屈指箸筹赊日月，伤心戎旅满江湖。此生休外韬真处，锦瑟琪华待醍醐。（注：第四首七律完）《汴京南楼》夷门萧瑟俯晴空，万事欷献向此中。梁苑池台新萑苇，宋家艮岳老苔丛。牧人壕外时驱犊，猎骑天边晚射鸿。旧月多情依汴水，滔滔东去更朦胧。（注：第五首七律完）崇祯十五年三月夜。洪洞同邑弟王铎具草。抱翁公祖教正。\n按：《张抱一公祖招集湖亭》卷中七律五首，有三首见于《拟山园选集》（台湾学生书局）。分别是：《登岳庙天中合看山同友》，载集中七律卷九，题作《登岳庙天中阁看山感时》，原为二首，卷中所书为第一首；《频入》，载集中七律卷三，卷中所书之“待醍醐”，集中作“醉醍醐”；《汴京南楼》亦载集中七律卷三。\n另两首虽不见于集中，但是，同书五律卷三有《湛虚、静原游牛首》、《燕子矶湛虚招同静原》、《上天开岩同湛虚、静原》三首，与卷中《牛首山同湛虚、静原》—诗显然是同时之作。湛虚，即张镜心，字孝升，湛虚为号，累官至兵部尚书，是王铎的挚友。见于《拟山园选集》（台湾学生书局）及《拟山园初集》中的与张镜心有关的诗作多达五十首以上。张镜心亦曾为王铎的《拟山园初集》作序，与王铎以“年弟”相称，盛赞王铎诗文“浩乎哉如烟海，修辞之家，未之有也。”\n王铎书法的书法，到了《赠张抱一草书诗卷》时，已经摆脱了模仿的痕迹，有了主体性较强的跌宕雄逸的意态。《赠张抱一草书诗卷》亦是王铎草书长卷现可见较早的一件。《王铎草书赠张抱一诗卷》，在王铎书法的发展过程中具有十分重要的意义，从这件作品可领略王铎若干书法艺术特点。\n一个是强烈的节奏感使草书作品产生出运动力和冲击力。《王铎草书赠张抱一诗卷》中书法的点画线质表现其弹性产生运动力，运动的返急产生冲击力，在这一点上王铎成功地将力运用到书法点画的变化上，使笔在绢、绞、纸上的运动过程中产生顿挫、仰侧、奇崛、突变，使个性的张扬发挥到极致。尤其是充满着激情的用笔，如同少林武僧，有屈铁之力，挥棒生风。\n一个是前无古人的字法造势。王铎亦受时风影响，但他站在传统基础之上，破除旧有的模式，创建出一种崭新的恢弘博大的图式，充满艺术的震撼力。王铎书法的一个鲜明特点便是造势。《王铎赠张抱一行书卷》中，通篇显现出变幻莫测的感觉，字势左右叵诡，笔致老辣，章法宕逸。唐张旭狂草《古诗四帖》，如龙蛇之行，富于变幻，王铎在这一点上进一步追求草书中险绝、突变、膨胀与内敛之势，识字者，可领略触笔、行笔、运笔中的运动轨迹。\n第三是墨象万千，酣畅淋漓。中国画中有墨分五彩之说，利用墨之浓、淡、干、湿可使画面产生出无穷的变化，显现出生机勃勃的趣味。王铎从中国画中悟出用墨之道，并大胆地运用到书法创作中，从而增强了作品的视觉效果，把涨墨之法发挥到极致。《王铎赠张抱一行书卷》中，其作品的冲击力与用墨是分不开的，他书法点画的流动感也与用墨紧密相关。历史上在王铎以前的草书大家无一人用“涨墨”法，此法实乃王铎开创也，这种不同位置的参差对比，使作品在整体视觉效果上别具一格，特点鲜明。\n最后是独特笔法。王铎笔法早年受二王影响，笔势较为平和，行笔温润，他中年学米后，笔势、笔法发生了较为明显的变化。后终于成中国书法技法集大成式的开拓者。在《王铎草书赠张抱一诗卷》中，多处凸显其集大成的大家手笔，可谓将壮美之力表现到极致。在中国书法发展的这条主线上，王铎既崇尚对传统吸收，又善标新立异达到裂变之意。\n王铎为书近五十年的探索，终自成家法，成为“有明书法推第一”（吴昌硕诗句）、“于明季书坛可谓中兴之主”（沙孟海《近三百年的书学》）。他的书法对后世影响极大。清代早期的傅山受王铎书风影响之后，创博大流变之体，标立书坛。至近现代受王铎书风影响最深，写大草的书家，如林散之、沙孟海、沈鹏等书法家，都对王铎书法有深入的研究和汲取过优秀的养分。在日本等，他更是影响东瀛书坛多年。日本人对王铎的书法极其欣赏，还因此衍发成一派别，称为“明清调”。在日本关西地区甚至整个日本书坛，有“后王（王铎）胜前王（王羲之）”的说法。",[23,7,64,25,133,840,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b2f5e3e433f8fdbc6532a50d80d3de.jpg","469X26厘米",[],{"id":80030,"slug":80031,"title":80032,"dynasty":124,"author":9650,"museum":56,"description":9651,"tags":80033,"thumbUrl":80034,"material":611,"size":70879,"collection":84,"collections":80035,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},222498,"shang-bo-hua-ji-xuan-36-6-zhang-lu-222498","上博画集选36-6",[23,24,7,128,188,369,96,949,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0872a043b825d208f53f98791685b53.jpg",[],{"id":80037,"slug":80038,"title":80039,"dynasty":124,"author":9650,"museum":56,"description":9651,"tags":80040,"thumbUrl":80041,"material":611,"size":70879,"collection":84,"collections":80042,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},222495,"shang-bo-hua-ji-xuan-36-3-zhang-lu-222495","上博画集选36-3",[23,164,24,7,96,128,27,188,37,211,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3232ca4f32698b25453d60c8f9e02aba.jpg",[],{"id":80044,"slug":80045,"title":80046,"dynasty":124,"author":9650,"museum":56,"description":9651,"tags":80047,"thumbUrl":80048,"material":611,"size":70879,"collection":84,"collections":80049,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},222485,"shang-bo-hua-ji-xuan-36-10-zhang-lu-222485","上博画集选36-10",[23,24,7,128,27,96,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4185307a83f13694b4f3b73a96fea1f7.jpg",[],{"id":80051,"slug":80052,"title":80053,"dynasty":124,"author":7003,"museum":244,"description":45037,"tags":80054,"thumbUrl":80055,"material":611,"size":45040,"collection":84,"collections":80056,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},222477,"shi-tie-ming-dou-pian-zhu-yun-ming-222477","诗帖《名都篇》",[23,164,24,7,25,128,208,64,1590,133,840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed5fd88b77555435f37d0ebc34bb492d.jpg",[],{"id":80058,"slug":80059,"title":80060,"dynasty":124,"author":5219,"museum":224,"description":80061,"tags":80062,"thumbUrl":80063,"material":2283,"size":80064,"collection":84,"collections":80065,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},222370,"wen-yin-tu-juan-yao-shou-222370","文饮图卷","姚绶（1422-1495年），字公绶，号穀庵、丹丘子、云东逸史等。明天顺八年（1464年）进士，官至广东道监察御史，因忤权贵被贬永宁知县，遂称病辞官归里，以诗文书画终老其生。其书法初学宋克，后宗张雨、赵孟俯，并参以黄庭坚；绘画方面，他继承了元代文人画传统，主要师法吴镇、王蒙、赵孟俯，可谓明代前期文人画家中的领军人物之一，在元代文人画与明代吴门画派之间起着承上启下的关键作用。",[23,164,24,7,25,128,133,64,208,369,132,96,29,167,34,130,99,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59a051ea9fd252ec4da1dd0ba33659ff.jpg","23.3 x77.2厘米",[],{"id":80067,"slug":80068,"title":80069,"dynasty":124,"author":1058,"museum":244,"description":12767,"tags":80070,"thumbUrl":80071,"material":637,"size":80072,"collection":84,"collections":80073,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},222343,"hua-qiu-lin-tu-cheng-shan-tang-yin-222343","画秋林图成扇",[24,7,1131,128,27,29,2875,34,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1d2cb0912ea0e13cd37a5e744574ae2.jpg","34.7x52.8",[],{"id":80075,"slug":80076,"title":42362,"dynasty":124,"author":26410,"museum":300,"description":80077,"tags":80078,"thumbUrl":80079,"material":611,"size":80080,"collection":84,"collections":80081,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},222057,"qian-zi-wen-juan-zhang-rui-tu-222057","在明代书坛，张瑞图是一位很特殊的书法家。他人品颓喪，步入仕途即依附魏忠贤，成为“魏家阁老”成员之一，其行径为士林所不齿，《明史》将他列入“阉党”；然在书法艺术上却颇有建树，为时人所公认，与邢侗、米万钟、董其昌齐名，书史并称曰“邢张米董”。颓丧的人品居然没有淹没他的书法声誉，这在“书以人重”观点已十分流行的明代，是很特殊的例外，有明一代仅张瑞图和王铎两人，如（清）吴德旋在《初月楼论书随笔》中所评：“张果亭（张瑞图）。王觉斯（王铎）人品颓丧，而作字居然有北宋大家之风，岂得以其人而废之。”可见两人书艺必有过人之处。\n其次，张瑞图是与邢侗、米万钟、董其昌并称為“晚明四家”的，然他的书风与崇尚钟王帖学、追求柔媚格调的邢、米、董三家迥然有别，而与黄道周，倪元璐、王鐸、傅山诸人创立的奇倔狂逸风貌颇為相似，共同在钟王之外另闢蹊径。（清）粱巘在《评书帖》中即指出：“明季书学竞尚柔媚，王（鐸）张（瑞图）二家力矫积习，独标气骨，虽末入神，自足下朽。”杨守敬也认為张氏“顾其流传书法，风骨高騫，与倪鸿宝（元璐）、黄石斋（道周）伯仲。”([清]杨守敬跋张瑞图《前赤壁赋》)张瑞图之名不列入风格相伯仲的倪、黄、王流派之中，却与蹊径迥异的邢、米、董并称，这也是很特殊的现象，其书风与诸家必然存在同中之异或异中之同的复杂关係。因此，探讨张瑞图其人其书的特殊性是饶有意趣的问题。",[23,164,24,7,25,840,64,208,5459,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0547e44eabdf5188bbea689e294c99af.jpg","27X923",[],{"id":80083,"slug":80084,"title":80085,"dynasty":124,"author":3619,"museum":244,"description":23062,"tags":80086,"thumbUrl":80087,"material":611,"size":80088,"collection":84,"collections":80089,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},221967,"wu-lv-shi-li-zhou-wen-zheng-ming-221967","五律诗立轴",[23,24,7,165,133,64,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db0f1e75d62042e989cbc4e27f8d607.jpg","191x72.2cm",[],{"id":80091,"slug":80092,"title":7864,"dynasty":124,"author":23728,"museum":56,"description":23729,"tags":80093,"thumbUrl":80094,"material":611,"size":23732,"collection":84,"collections":80095,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},221924,"za-hua-ce-guo-xu-221924",[23,164,24,7,59,128,188,96,101,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18397b37f2fc2991484c8fbba5390e3.jpg",[],{"id":80097,"slug":80098,"title":80099,"dynasty":144,"author":80100,"museum":244,"description":80101,"tags":80102,"thumbUrl":80103,"material":71732,"size":80104,"collection":318,"collections":80105,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},221765,"zhi-tai-pu-nei-han-chi-du-yu-que-221765","致太朴内翰尺牍","余阙","余阙(1303-1358)，西域唐兀氏，世居甘肃武威，后随父居安徽庐州。元统元年(1333)进士，历任翰林学士、监察御史，曾参与修宋辽金史。本幅写予「太僕内翰」，即时任翰林应奉的危素(1303-1372)，右幅仍可见余阙封缄题名，旁有「至正九年七月十九日至」，或为收信人所题写日期。余阙此信首先感谢自己南行前，危素为之饯行情谊；再因友人北上大都，余阙特以书函请危素惠与青睐推举。余阙书风看似不经意，实有晋人风骨。",[23,64,133,8116,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ce88adcf23a58a06bd84f565dae5e81.jpg","42.5x76.3 厘米",[318],{"id":80107,"slug":80108,"title":80109,"dynasty":351,"author":13946,"museum":20,"description":13947,"tags":80110,"thumbUrl":80111,"material":13950,"size":13951,"collection":84,"collections":80112,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},221167,"shi-liu-luo-han-xiang-nuo-ju-luo-zun-zhe-tang-ka-bu-ben-guan-xiu-221167","十六罗汉像-诺距罗尊者（唐卡布本）",[23,24,7,187,96,101,949,27,234,28,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b58e379546cb7b1c2f2593c512afc40.jpg",[],{"id":80114,"slug":80115,"title":80116,"dynasty":351,"author":13946,"museum":20,"description":13947,"tags":80117,"thumbUrl":80118,"material":13950,"size":13951,"collection":84,"collections":80119,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},221164,"shi-liu-luo-han-xiang-rong-bo-jia-zun-zhe-tang-ka-bu-ben-guan-xiu-221164","十六罗汉像-戎博迦尊者（唐卡布本）",[23,24,7,27,28,187,96,234,169,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e5f89bdb19154f7b61a9a7721d5b4f9.jpg",[],{"id":80121,"slug":80122,"title":80123,"dynasty":182,"author":223,"museum":300,"description":80124,"tags":80125,"thumbUrl":80128,"material":84,"size":84,"collection":84,"collections":80129,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":956},221130,"fa-hua-jing-huang-jin-zhi-ge-xian-yi-ming-221130","法华经黄金纸格线","以绀色为底，泥金小楷恭谨抄录经文，点画匀整秀雅，笔势圆融舒展，尽显端严法度。字里行间静穆平和，将书写者的虔敬之心融于每一处提按转折，自带澄净安宁的气息。\n\n四周以缠枝瑞草织锦为饰，宝叶柔蔓层层铺展，金蓝配色华贵雍容，与经文的静雅相得益彰，将宗教的庄严感与工艺美学相融。\n\n整体形制典雅规整，书法与织绣工艺合为一体，既是信仰的载体，亦是盛世审美意趣的缩影，尽显匠心与虔诚交织的极致风华。",[7,64,7322,187,572,27,80126,80127,7222,8315],"黄金纸","格线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6f3ac82854e87de7a5adb5de3966c29.jpg",[],{"id":80131,"slug":80132,"title":80133,"dynasty":182,"author":223,"museum":300,"description":80134,"tags":80135,"thumbUrl":80137,"material":84,"size":84,"collection":84,"collections":80138,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},221129,"fa-hua-jing-jin-ye-zi-ge-xian-yi-ming-221129","法华经金叶子格线","此作以织锦镶边，装裱古雅沉静。墨书楷体排布严整，结体匀秀端凝，笔力温润内敛，尽显写经之人的恭谨肃穆。纸面金箔残损斑驳，恰似岁月镌刻下的痕迹，为这件写本晕开沧桑质感。规整格线框定经文，笔墨间既有宗教仪轨的庄严，又饱含唐人书法的雍容法度，字里行间藏着虔诚的信仰底色，残损金箔让时光厚重与经文神圣交融，勾勒出古写经独有的沉静美感，将大唐写经的雅致法度与岁月沉淀的古朴意蕴融为一体。",[23,187,7322,64,572,80136,27,5459,7,1590],"金器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f4da6fe4a3e84d9a3a388205ef3b2f2.jpg",[],{"id":80140,"slug":80141,"title":80142,"dynasty":124,"author":2268,"museum":244,"description":80143,"tags":80144,"thumbUrl":80145,"material":611,"size":84,"collection":84,"collections":80146,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},220948,"lun-hua-ce-zhi-shi-si-dong-qi-chang-220948","《论画册》之十四","此作在秀媚上发挥得淋漓尽致，加上书写工具的精良，让点画的精致度与线条的品质都达到很高的水准，甚至连墨法的表现也相当精彩。",[24,7,59,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F464b76b544036337f1ac3497ad8010a6.jpg",[],{"id":80148,"slug":80149,"title":80150,"dynasty":124,"author":2268,"museum":20,"description":31601,"tags":80151,"thumbUrl":80152,"material":3430,"size":5345,"collection":84,"collections":80153,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},220916,"shan-shui-ce-10-dong-qi-chang-220916","山水册10",[23,24,7,59,133,128,29,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F922b6a330b93e93bae3c131f3fe1eb16.jpg",[],{"id":80155,"slug":80156,"title":80157,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":80158,"thumbUrl":80159,"material":611,"size":3722,"collection":84,"collections":80160,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},220287,"huang-shan-tu-ce-38-hong-ren-220287","黄山图册-38",[23,164,24,7,59,128,132,29,171,211,1144,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8050f86d74f9f189592f51fa09919131.jpg",[],{"id":80162,"slug":80163,"title":80164,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":80165,"thumbUrl":80166,"material":611,"size":3722,"collection":84,"collections":80167,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},220278,"huang-shan-tu-ce-46-hong-ren-220278","黄山图册-46",[23,24,164,7,59,128,132,29,663,495,98,130,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3bcb6f2995ab9a55c81e16570a201bd.jpg",[],{"id":80169,"slug":80170,"title":80171,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":80172,"thumbUrl":80173,"material":611,"size":3722,"collection":84,"collections":80174,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},220270,"huang-shan-tu-ce-53-hong-ren-220270","黄山图册-53",[23,164,24,7,59,128,132,29,171,1144,37,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa67aafcc8d6af09bf5f118df30194186.jpg",[],{"id":80176,"slug":80177,"title":80178,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":80179,"thumbUrl":80180,"material":611,"size":3722,"collection":84,"collections":80181,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},220266,"huang-shan-tu-ce-56-hong-ren-220266","黄山图册-56",[23,164,24,7,59,128,27,132,29,171,1144,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3de6fed94445abea4698dda270244910.jpg",[],{"id":80183,"slug":80184,"title":80185,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":80186,"thumbUrl":80187,"material":611,"size":3722,"collection":84,"collections":80188,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},220264,"huang-shan-tu-ce-58-hong-ren-220264","黄山图册-58",[23,24,7,164,59,128,132,29,171,1144,1023,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92a6870efbb6b4180b333ef2eaa322c4.jpg",[],{"id":80190,"slug":80191,"title":80192,"dynasty":18,"author":20081,"museum":1941,"description":20082,"tags":80193,"thumbUrl":80194,"material":278,"size":20085,"collection":84,"collections":80195,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},220087,"jia-pai-tu-quan-juan-fen-juan-11-gong-kai-220087","笳拍图全卷-分卷11",[164,24,7,25,188,96,101,6300,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10fb61874a4f25715b4751fae5ead4ca.jpg",[],{"id":80197,"slug":80198,"title":80199,"dynasty":54,"author":11383,"museum":56,"description":71089,"tags":80200,"thumbUrl":80201,"material":611,"size":71092,"collection":84,"collections":80202,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},219830,"ren-wu-ce-ye-5-ren-xiong-219830","人物册页-5",[24,7,59,27,28,96,35,34,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2a7db54a790cbb93d494c763219cb7e.jpg",[],{"id":80204,"slug":80205,"title":80206,"dynasty":54,"author":11383,"museum":56,"description":71089,"tags":80207,"thumbUrl":80208,"material":611,"size":71092,"collection":84,"collections":80209,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},219828,"ren-wu-ce-ye-7-ren-xiong-219828","人物册页-7",[24,7,59,27,28,96,62,666,413,1645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F175c225d6fdb6379b7944e6f7371995a.jpg",[],{"id":80211,"slug":80212,"title":80213,"dynasty":54,"author":11383,"museum":56,"description":71089,"tags":80214,"thumbUrl":80215,"material":611,"size":71092,"collection":84,"collections":80216,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},219823,"ren-wu-ce-ye-12-ren-xiong-219823","人物册页-12",[24,7,59,27,96,171,690,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d1a820031b1cf7c1add6c47e734430.jpg",[],{"id":80218,"slug":80219,"title":45232,"dynasty":124,"author":23728,"museum":56,"description":71098,"tags":80220,"thumbUrl":80222,"material":66,"size":71101,"collection":84,"collections":80223,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},219782,"za-hua-ce-6-guo-xu-219782",[805,24,7,164,59,128,27,1771,80221,369],"阔叶植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8db9326d2cdb2df6f1a4ea583140acde.jpg",[],{"id":80225,"slug":80226,"title":51929,"dynasty":124,"author":47077,"museum":1941,"description":50916,"tags":80227,"thumbUrl":80228,"material":66,"size":58411,"collection":84,"collections":80229,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},219676,"fang-gu-shan-shui-ce-2-yun-xiang-219676",[24,7,59,128,64,133,132,29,131,34,499,130,497,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97408f431c0310ed39e2b8c8d19c0a38.jpg",[],{"id":80231,"slug":80232,"title":62267,"dynasty":124,"author":47077,"museum":1941,"description":50916,"tags":80233,"thumbUrl":80234,"material":66,"size":58411,"collection":84,"collections":80235,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},219675,"fang-gu-shan-shui-ce-3-yun-xiang-219675",[24,7,59,128,29,330,132,98,99,171,331,276,415,34,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0685213bd864cf9c9a8c5e43505bcfda.jpg",[],{"id":80237,"slug":80238,"title":56691,"dynasty":124,"author":47077,"museum":1941,"description":50916,"tags":80239,"thumbUrl":80240,"material":66,"size":58411,"collection":84,"collections":80241,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},219673,"fang-gu-shan-shui-ce-5-yun-xiang-219673",[24,7,59,128,29,98,99,1337,131,64,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e3d0f9a6ef079b18cdc451c097be30c.jpg",[],{"id":80243,"slug":80244,"title":80245,"dynasty":54,"author":32801,"museum":244,"description":32802,"tags":80246,"thumbUrl":80247,"material":66,"size":32807,"collection":84,"collections":80248,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},219654,"hai-cuo-tu-di-si-ce-14-nie-huang-219654","海错图第四册-14",[24,27,28,7,59,133,32805,57836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4eefdcb1784cb22ccdb25b6853321a7.jpg",[],{"id":80250,"slug":80251,"title":80252,"dynasty":124,"author":223,"museum":450,"description":80253,"tags":80254,"thumbUrl":80255,"material":173,"size":84,"collection":84,"collections":80256,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},218427,"ming-qing-ren-hua-ce-zhi-shi-yi-ming-218427","明清人画册之十","青绿染就的崖壁与苍松虬枝占据左隅，藤蔓垂悬间透着古意。暖黄底色晕开天光，水面如镜，一扁舟浮于其上，篷顶浅覆，舟中数人或对谈、或凭栏，船头一人持篙缓行，姿态悠然。岸畔苇草轻曳，似与水波低语。\n\n整幅画以雅致设色、简练笔触，勾勒出文人雅士江湖泛舟的闲逸图景。笔墨间藏着对自然与自在的向往，山石的苍劲与舟中人物的疏朗相映，尽显林下悠游之趣，观之令人心生旷达。",[24,7,59,27,26,29,96,129,34,131,414,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ffde433e61fb118c2ed336362e0fb89.jpg",[],{"id":80258,"slug":80259,"title":80260,"dynasty":18,"author":1174,"museum":244,"description":12312,"tags":80261,"thumbUrl":80262,"material":173,"size":12318,"collection":84,"collections":80263,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},218145,"wen-ji-gui-han-tu-ce-18-li-tang-218145","文姬归汉图册-18",[24,7,59,27,28,96,101,12314,64,27324],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8bef9b7e061ed409391791fc111ed8f.jpg",[],{"id":80265,"slug":80266,"title":80267,"dynasty":182,"author":21881,"museum":20,"description":21882,"tags":80268,"thumbUrl":80269,"material":173,"size":21885,"collection":84,"collections":80270,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},218139,"liu-zun-zhe-xiang-tu-ce-5-lu-leng-qie-218139","六尊者像图册-5",[23,24,7,59,27,28,187,96,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93fb5ca60c8a8965ae706ea9cac9f3a1.jpg",[],{"id":80272,"slug":80273,"title":80274,"dynasty":182,"author":21881,"museum":20,"description":21882,"tags":80275,"thumbUrl":80276,"material":173,"size":21885,"collection":84,"collections":80277,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},218138,"liu-zun-zhe-xiang-tu-ce-6-lu-leng-qie-218138","六尊者像图册-6",[23,24,7,59,27,96,187,64,208,772,7070],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd756708c94e8fa79ff38a0978d275677.jpg",[],{"id":80279,"slug":80280,"title":80281,"dynasty":182,"author":21881,"museum":20,"description":21882,"tags":80282,"thumbUrl":80283,"material":173,"size":21885,"collection":84,"collections":80284,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},218136,"liu-zun-zhe-xiang-tu-ce-7-lu-leng-qie-218136","六尊者像图册-7",[23,164,24,7,59,187,96,5490,949,27,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa52846900b43990cf70503b8f482ab9c.jpg",[],{"id":80286,"slug":80287,"title":80288,"dynasty":54,"author":223,"museum":300,"description":80289,"tags":80290,"thumbUrl":80291,"material":173,"size":84,"collection":84,"collections":80292,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},218114,"fu-hua-luo-han-jiu-zhang-lao-xiang-9-yi-ming-218114","佛画·罗汉九长老像-9","佚名的佛画 罗汉九长老像 是一幅清朝时期的佛教画作，描绘了九位罗汉，这些罗汉是佛教中的超凡脱俗的人物，他们拥有超凡的智慧和慈悲之心，并且被视为佛教中的榜样。\n\n在这幅画中，佚名以精细的笔触描绘了九位罗汉的形象，每一位罗汉都面带慈祥的微笑，身着精致的法衣，体现出他们超凡的品德和修行的成果。画面中还有许多佛教的装饰元素，如佛像、佛经、菩提树等，为整幅画作增添了浓厚的佛教气息。\n\n总的来说，佚名的 罗汉九长老像 是一幅非常精美的佛教画作，其中所传达出的超凡慈悲和修行成果，对于追求佛道的人来说是一种极大的启发和鼓励。",[23,24,7,187,27,28,96,413,131,165,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f8b7321a3923f5cb90a14a5c9abb2cf.jpg",[],{"id":80294,"slug":80295,"title":80296,"dynasty":18,"author":2099,"museum":300,"description":18329,"tags":80297,"thumbUrl":80298,"material":611,"size":84,"collection":84,"collections":80299,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},218070,"bai-miao-luo-han-tu-ce-6-li-gong-lin-218070","白描罗汉图册-6",[23,24,7,59,188,187,96,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ae84a199af203884b73c044671b1eb7.jpg",[],{"id":80301,"slug":80302,"title":80303,"dynasty":124,"author":7003,"museum":300,"description":80304,"tags":80305,"thumbUrl":80306,"material":611,"size":84,"collection":84,"collections":80307,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},218063,"bai-miao-jiu-ge-tu-ce-2-zhu-yun-ming-218063","白描九歌图册-2","素笺之上，白描线条如孤鹤掠空，勾勒九歌神境的缥缈。衣袂飘举似带楚风，云气舒卷暗合骚韵，每一笔提按转折皆见笔力，无浓墨重彩却气韵充盈。眉眼轻描藏幽思，发丝细劲显灵动，简淡中蕴丰腴，空灵处含深情。笔墨牵系屈子笔下的奇幻与怅惘，将古典浪漫化作可视韵律。文人清逸风骨与白描精准传神相融，纤细笔触里，千年之前的悲戚与浪漫缓缓流淌，引观者步入那段跨越时空的楚骚梦境。",[24,7,59,188,64,208,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6a603af6dc64a87096ab330ffa4a094.jpg",[],{"id":80309,"slug":80310,"title":80311,"dynasty":124,"author":10106,"museum":244,"description":22513,"tags":80312,"thumbUrl":80313,"material":66,"size":84,"collection":84,"collections":80314,"showCount":11,"zanCount":1998,"manualWeight":48,"mainColor":72},218050,"leng-yan-nian-wu-yuan-tong-fo-xiang-ce-2-wu-bin-218050","楞严廿五圆通佛像册-2",[24,7,59,27,28,187,96,7220,1364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf10095e68950bb3ecb1de244f807d1.jpg",[],{"id":80316,"slug":80317,"title":80318,"dynasty":54,"author":223,"museum":300,"description":37952,"tags":80319,"thumbUrl":80320,"material":611,"size":84,"collection":84,"collections":80321,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},217939,"da-mo-yi-jin-ba-duan-jin-1-yi-ming-217939","达摩易筋八段锦-1",[24,7,572,27,64,9521,611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1556fee3f176934e9200f6131f69cd0.jpg",[],{"id":80323,"slug":80324,"title":80325,"dynasty":54,"author":223,"museum":20,"description":80326,"tags":80327,"thumbUrl":80329,"material":27,"size":84,"collection":84,"collections":80330,"showCount":11,"zanCount":1998,"manualWeight":48,"mainColor":72},217288,"gu-xiu-wu-shi-san-can-tu-ce-27-yi-ming-217288","顾绣·五十三参图册-27","柳丝垂拂间，老者倚树闲坐，衣袂染着暖黄的光，似在静待来访者。童子持物趋前，身影透着恭谨，仿佛将善财求法的虔诚凝在步履间。顾绣的针脚藏着巧思，丝线勾出柳枝的柔、衣纹的缓，淡彩晕染出天地的清宁。绣与绘相融，让这幕参访的场景脱离了刻板的叙事，多了份悠然的禅意。每一处针迹都似在低语，诉说着求法路上的谦卑与笃定，也藏着闺阁绣者对佛法的细腻体悟。画面虽简，却将禅意与绣艺的精妙揉成了一段静美的时光，让人见之忘俗。",[30201,4437,7,18381,12976,96,227,895,27,80328,18943,64],"求法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c9f1f4a847c79cbfb1478688870cfc6.jpg",[],{"id":80332,"slug":80333,"title":80334,"dynasty":182,"author":223,"museum":2607,"description":80335,"tags":80336,"thumbUrl":80338,"material":2611,"size":84,"collection":84,"collections":80339,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},217276,"jiang-mo-bian-dun-huang-tu-juan-12-yi-ming-217276","降魔变·敦煌图卷-12","绢素蒙尘却难掩笔墨神彩，线条如铁线般刚劲又似兰叶般婉转，勾画出佛陀的慈悲庄严与妖魔的狰狞百态。图文相契的叙事里，降魔的张力呼之欲出——外道的张牙舞爪与佛陀的静定如山形成强烈对比，动态的冲突感在方寸之间流转。残存的矿物颜料依稀显露出当年的浓艳，西域的瑰丽纹饰与中原的写意笔墨交织，晕染出唐代宗教艺术的雄浑与细腻。这幅图卷不仅是佛教故事的视觉化呈现，更是丝路文化交融的见证，每一处斑驳都藏着敦煌艺术的灵动与厚重，让千年后的目光仍能触碰那份跨越时空的信仰温度与艺术震撼。",[1692,25,7,164,187,18381,96,188,27,80337],"降魔故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F980ec1b9d2ead0b9be2ddb3560f42eca.jpg",[],{"id":80341,"slug":80342,"title":80343,"dynasty":54,"author":2653,"museum":300,"description":14125,"tags":80344,"thumbUrl":80345,"material":173,"size":84,"collection":84,"collections":80346,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":615},217243,"li-dai-di-wang-zhen-xiang-19-yao-wen-han-217243","历代帝王真像-19",[24,7,164,27,28,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2f648436bfb5dcaf5a21c57b2e37b03.jpg",[],{"id":80348,"slug":80349,"title":80350,"dynasty":54,"author":2653,"museum":300,"description":14125,"tags":80351,"thumbUrl":80352,"material":173,"size":84,"collection":84,"collections":80353,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":615},217240,"li-dai-di-wang-zhen-xiang-14-yao-wen-han-217240","历代帝王真像-14",[24,7,27,96,28,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc4c744b2cd9368d2776a6a9d32e7147.jpg",[],{"id":80355,"slug":80356,"title":80357,"dynasty":54,"author":2653,"museum":300,"description":14125,"tags":80358,"thumbUrl":80359,"material":173,"size":84,"collection":84,"collections":80360,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":615},217230,"li-dai-di-wang-zhen-xiang-36-yao-wen-han-217230","历代帝王真像-36",[24,7,28,27,96,772,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46e9d29e683f6694547d846b9aace36a.jpg",[],{"id":80362,"slug":80363,"title":80364,"dynasty":54,"author":2653,"museum":300,"description":14125,"tags":80365,"thumbUrl":80366,"material":173,"size":84,"collection":84,"collections":80367,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":615},217226,"li-dai-di-wang-zhen-xiang-39-yao-wen-han-217226","历代帝王真像-39",[24,7,28,27,96,772,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55f591e3bf52b7488dc293972212cfc7.jpg",[],{"id":80369,"slug":80370,"title":73568,"dynasty":54,"author":73799,"museum":300,"description":73800,"tags":80371,"thumbUrl":80373,"material":66,"size":84,"collection":84,"collections":80374,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},217201,"fa-jie-yuan-liu-tu-juan-2-li-ming-217201",[23,24,7,25,28,27,187,96,20953,189,49860,3588,7221,80372,1367],"宝相","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f5ee9cd8a7fde97cefa0d8637505a31.jpg",[],{"id":80376,"slug":80377,"title":79963,"dynasty":54,"author":73799,"museum":300,"description":73800,"tags":80378,"thumbUrl":80379,"material":66,"size":84,"collection":84,"collections":80380,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},217197,"fa-jie-yuan-liu-tu-juan-10-li-ming-217197",[23,164,24,7,25,187,28,27,96,1144,276,131,34,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ecd99e1e59c3ab9177eb4164231cc67.jpg",[],{"id":80382,"slug":80383,"title":80384,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":80385,"thumbUrl":80386,"material":611,"size":84,"collection":84,"collections":80387,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":956},217111,"bai-miao-luo-han-11-leng-mei-217111","白描罗汉-11",[24,7,188,572,64,208,187,96,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cb7dac2ab76a837b182b75eb0f6e979.jpg",[],{"id":80389,"slug":80390,"title":80391,"dynasty":54,"author":675,"museum":27034,"description":27035,"tags":80392,"thumbUrl":80393,"material":173,"size":84,"collection":84,"collections":80394,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},216889,"qian-long-nan-xun-zhu-bi-tu-ye-14-qian-wei-cheng-216889","乾隆南巡驻跸图页-14",[23,24,7,59,27,95,97,1428,34,758,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3db681baf56f2ac4940660782e3f42e.jpg",[],{"id":80396,"slug":80397,"title":80398,"dynasty":54,"author":223,"museum":300,"description":80399,"tags":80400,"thumbUrl":80401,"material":173,"size":84,"collection":84,"collections":80402,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},216149,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-11-yi-ming-216149","职贡图巨幅彩绘册页第2册-11","画面分左右两帧，左侧人物粉绿衣衫配黄裳，赤足合掌，神态恭谨；右侧老者银须垂胸，蓝袍裹身，黄裳下着黑履，手持器物（似烟管），姿态闲适，飘带添灵动。工笔线条细腻，设色淡雅却鲜明，衣纹褶皱勾勒精准。旁附墨书注解，图文相契，再现彼时边疆或域外族群风貌。笔触温婉，细节生动，既具艺术观赏性，又承载清代对四方族群的记录与认知，是研究清代民族交流与艺术风格的珍贵视觉文献。",[23,304,24,7,59,27,28,23253,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f331ff6aee834589be7589a869cc363.jpg",[],{"id":80404,"slug":80405,"title":80406,"dynasty":54,"author":17000,"museum":300,"description":80407,"tags":80408,"thumbUrl":80409,"material":66,"size":84,"collection":84,"collections":80410,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":4001},215658,"bei-jing-dian-pu-zhao-huang-hua-ce-12-zhou-pei-chun-215658","北京店舖招幌画册-12","画面铺展着老北京的招幌群像，竖招与垂幌错落成市井的剪影。或嵌着画框的幌子映出裱画铺的雅致，或串连的药囊悬着药香的余韵，红布条的摇曳是线房的标识，带鸟纹的幌掠过胡同的风，器物造型的幌子里藏着作坊的烟火。这些招幌是旧时光的邮戳，把商肆的热闹、匠人的执着封存在纸页间。笔墨轻描却勾连起百年前的街景，每一件物件都像在低声诉说：这里曾有过的吆喝、往来的脚步，和藏在巷弄里的生活滋味。那些悬垂的细节，是时光里的活化石，让远去的市井声息，在纸间重泛暖意。",[24,7,59,27,28,17003,96,211,251,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd523f2fa01edec049599b5fada080e12.jpg",[],{"id":80412,"slug":80413,"title":80414,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":80415,"thumbUrl":80416,"material":66,"size":84,"collection":84,"collections":80417,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},215099,"tui-bei-tu-ce-10-jiao-bing-zhen-215099","推背图册-10",[23,164,24,7,59,28,27,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19b17bb4428cb4c6454b061eefc7fe9b.jpg",[],{"id":80419,"slug":80420,"title":80421,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":80422,"thumbUrl":80423,"material":66,"size":84,"collection":84,"collections":80424,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},215075,"tui-bei-tu-ce-32-jiao-bing-zhen-215075","推背图册-32",[23,164,24,7,59,28,27,96,166,949,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0318aa4a4d1e5fa77e149b3c68d2d2e4.jpg",[],{"id":80426,"slug":80427,"title":80428,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":80429,"thumbUrl":80430,"material":66,"size":84,"collection":84,"collections":80431,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},215057,"tui-bei-tu-ce-49-jiao-bing-zhen-215057","推背图册-49",[23,24,7,59,27,28,187,96,1367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1288f196f2f935e3ede602a57d1ec548.jpg",[],{"id":80433,"slug":80434,"title":80435,"dynasty":54,"author":7208,"museum":244,"description":80436,"tags":80437,"thumbUrl":80438,"material":173,"size":84,"collection":84,"collections":80439,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":956},215050,"shu-hua-he-bi-tu-ce-5-qian-long-215050","书画合璧图册-5","乾隆皇帝（1711-1799年在位）是清朝的第六位皇帝，他是一位非常喜爱书画的皇帝，并且也是一位出色的书画家。他的书画合璧图册是他的一部杰作，其中收集了他自己的书画作品以及其他著名书画家的作品。这本图册有很多种版本，不同版本中包含的作品也有所不同。乾隆皇帝的书画合璧图册被认为是中国书画史上的一部重要著作，因为它收集了当时最优秀的书画作品，并且这本图册本身也是一部艺术杰作。",[23,24,7,133,128,96,303,228,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2663d3ac2e67ebf22743b17deabaca6.jpg",[],{"id":80441,"slug":80442,"title":80443,"dynasty":54,"author":3750,"museum":77,"description":51930,"tags":80444,"thumbUrl":80445,"material":66,"size":84,"collection":84,"collections":80446,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},215014,"fang-gu-shan-shui-ce-15-wang-jian-215014","仿古山水册-15",[164,24,7,59,27,128,132,29,99,129,331,98,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77515e72f929767d1cb298000a354283.jpg",[],{"id":80448,"slug":80449,"title":80450,"dynasty":144,"author":8127,"museum":244,"description":62275,"tags":80451,"thumbUrl":80452,"material":173,"size":10420,"collection":84,"collections":80453,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},215001,"xie-sheng-hua-hui-ce-7-wang-yuan-215001","写生花卉册-7",[24,7,59,27,28,61,481,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03155d86b64c2528fd67865bbc6d4430.jpg",[],{"id":80455,"slug":80456,"title":80457,"dynasty":124,"author":204,"museum":244,"description":71251,"tags":80458,"thumbUrl":80459,"material":173,"size":71254,"collection":84,"collections":80460,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},214908,"di-wang-dao-tong-wan-nian-tu-ce-4-chou-ying-214908","帝王道统万年图册-4",[23,24,164,7,59,28,27,26,96,29,131,34,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F574d266d6afeaf57d03f5ef344aa7a9d.jpg",[],{"id":80462,"slug":80463,"title":80464,"dynasty":124,"author":204,"museum":244,"description":71251,"tags":80465,"thumbUrl":80466,"material":173,"size":71254,"collection":84,"collections":80467,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},214904,"di-wang-dao-tong-wan-nian-tu-ce-11-chou-ying-214904","帝王道统万年图册-11",[23,24,7,59,28,27,95,96,101,34,97,249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9691fc9bb74463cbea3192586d09effe.jpg",[],{"id":80469,"slug":80470,"title":80471,"dynasty":124,"author":1141,"museum":20,"description":64395,"tags":80472,"thumbUrl":80473,"material":278,"size":64398,"collection":84,"collections":80474,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},214880,"shan-shui-ce-1-wen-zheng-ming-214880","山水册-1",[23,24,7,59,133,64,208,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31fb021550329c182411e0f014a539e2.jpg",[],{"id":80476,"slug":80477,"title":80478,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":80479,"thumbUrl":80480,"material":66,"size":10301,"collection":84,"collections":80481,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},214802,"zhi-sheng-xian-xian-ban-shen-xiang-5-yi-ming-214802","至圣先贤半身像-5",[23,24,7,96,28,27,77119,15819,73964,144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42f6a1d79c3a848a626fbb8d45a8592c.jpg",[],{"id":80483,"slug":80484,"title":77110,"dynasty":54,"author":20259,"museum":56,"description":20260,"tags":80485,"thumbUrl":80486,"material":66,"size":20263,"collection":84,"collections":80487,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},214700,"shan-shui-ce-8-gao-xiang-214700",[24,7,59,128,188,29,663,413,167,387,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fa54a23c9bab028b8b5b02081e0d29b.jpg",[],{"id":80489,"slug":80490,"title":80491,"dynasty":124,"author":802,"museum":77,"description":77138,"tags":80492,"thumbUrl":80493,"material":611,"size":71283,"collection":84,"collections":80494,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},214548,"mo-gu-ce-ye-3-chen-hong-shou-214548","摹古册页-3",[24,7,59,128,330,208,171,211,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce87e9fd24d1f3bb04407d4eb72f9bbf.jpg",[],{"id":80496,"slug":80497,"title":80498,"dynasty":124,"author":802,"museum":77,"description":77138,"tags":80499,"thumbUrl":80500,"material":278,"size":71283,"collection":84,"collections":80501,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},214545,"mo-gu-ce-ye-6-chen-hong-shou-214545","摹古册页-6",[24,7,59,188,128,330,208,169,372,167,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a558657db890fd782b9d1e0beb46dd6.jpg",[],{"id":80503,"slug":80504,"title":80505,"dynasty":124,"author":802,"museum":77,"description":77138,"tags":80506,"thumbUrl":80507,"material":278,"size":71283,"collection":84,"collections":80508,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},214544,"mo-gu-ce-ye-7-chen-hong-shou-214544","摹古册页-7",[24,7,59,188,330,208,61,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb2f7f7235ff81e520de43514dabe80e.jpg",[],{"id":80510,"slug":80511,"title":80512,"dynasty":124,"author":802,"museum":77,"description":77138,"tags":80513,"thumbUrl":80514,"material":278,"size":84,"collection":84,"collections":80515,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},214540,"mo-gu-ce-ye-11-chen-hong-shou-214540","摹古册页-11",[24,7,59,188,330,413,1314,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09736a539dc5463769f6d2d01f8c886e.jpg",[],{"id":80517,"slug":80518,"title":80519,"dynasty":54,"author":872,"museum":77,"description":24557,"tags":80520,"thumbUrl":80521,"material":66,"size":84,"collection":84,"collections":80522,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":72},214371,"tian-guang-yun-jing-tu-ce-7-zhu-da-214371","天光云景图册-7",[23,24,7,59,128,29,132,131,34,35,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9786db04fa51afc43342e28bf2ec320.jpg",[],{"id":80524,"slug":80525,"title":30245,"dynasty":54,"author":1242,"museum":56,"description":80526,"tags":80527,"thumbUrl":80528,"material":84,"size":84,"collection":68,"collections":80529,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80530},203442,"mei-hua-tu-zhou-jin-nong-203442","墨笔梅枝苍劲如铁，盘曲间藏书法骨力，枝桠疏密有致，尽显自然之趣。花朵或胭脂点染，或淡墨勾勒，红白相映，疏影横斜中透着清逸。题跋行书与花枝相融，笔墨间漾着文人雅韵，绘事与书艺共生，将梅的傲岸与文人的精神寄寓于尺幅之内，尽显雅致风骨。",[23,24,7,165,128,27,371,64,208,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30e0fce22423476985b30e417511ce74.jpg",[68],"cdbfa3",{"id":80532,"slug":80533,"title":7864,"dynasty":124,"author":80534,"museum":56,"description":80535,"tags":80536,"thumbUrl":80537,"material":84,"size":84,"collection":136,"collections":80538,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80539},203386,"za-hua-ce-xu-duan-ben-203386","徐端本","水墨晕染的远山层叠空濛，近岸枯树以浓墨点染，虬枝苍劲。水岸孤舟静泊，蓑笠翁独对江天，清寂意趣尽显。山峦用淡墨皴擦，线条简练见笔力；右侧行书题跋流畅洒脱，朱红印章相映成趣，书画相生。整体格调疏淡空灵，写意山水的悠远神韵扑面而来。",[24,128,29,129,1350,132,133,208,59,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9b03252dd5f56c88cac2583e0cef225.jpg",[136],"d5c0ab",{"id":80541,"slug":80542,"title":30270,"dynasty":54,"author":3403,"museum":56,"description":80543,"tags":80544,"thumbUrl":80546,"material":84,"size":84,"collection":68,"collections":80547,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80548},203377,"hua-guo-ce-wu-chang-shuo-203377","枝干以篆隶笔法挥写，线条如金石镌刻般苍劲，转折处见刚健之姿；叶片墨色层次丰富，泼墨与勾勒结合，写意中藏细节。花果设色浓丽鲜活，红橙点染间生机盎然，却不失古雅。题款笔墨与画面呼应，朱红印章点缀，诗书画印交融，尽显文人画的意趣。整幅作品于粗放中含精巧，古拙里透灵动，是其“重拙大”风格的生动体现，满纸野逸雅韵。",[24,7,61,27,208,80545,59,23],"篆隶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda41189fcb9f28041120ae97b2f1a6fd.jpg",[68],"d8d3c9",{"id":80550,"slug":80551,"title":80552,"dynasty":32945,"author":7853,"museum":56,"description":80553,"tags":80554,"thumbUrl":80555,"material":84,"size":84,"collection":136,"collections":80556,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80557},203357,"kuang-lu-pu-bu-tu-zhou-wang-zhen-203357","匡庐瀑布图轴","此作以水墨写意绘匡庐胜境，瀑布如练倾泻，溅起清辉，山石用粗犷皴笔勾勒，墨气淋漓间尽显山川雄浑之势。三株苍松倚岩而立，枝干虬劲，松针疏密有致，透着古拙清逸之趣。崖畔小屋隐于松间，似藏幽人逸志，意境淡远悠长。笔墨洒脱不拘，浓淡干湿互衬，既绘自然壮阔之态，又含文人雅韵之情，尽显笔底功力与襟怀。",[24,128,29,495,372,131,132,7,369,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82afe69c5acb89383d73ae68fb56234b.jpg",[136],"787a78",{"id":80559,"slug":80560,"title":80561,"dynasty":32945,"author":5076,"museum":56,"description":80562,"tags":80563,"thumbUrl":80564,"material":84,"size":84,"collection":84,"collections":80565,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80566},203269,"shuang-tu-tu-zhou-qi-bai-shi-203269","双兔图轴","墨色浓淡交织，勾勒出双兔灵动之姿：一石侧卧的兔儿蜷身小憩，墨韵晕染间尽显慵懒；草地上的兔儿则昂首欲动，双耳竖起，眸中似含好奇。石头以写意笔触皴擦，简练却见嶙峋质感；草叶寥寥数笔，便藏生机。留白处似有晚风轻拂，满纸田园意趣扑面而来——白石老人以质朴笔墨捕捉生活本真，将乡土间的野趣凝于尺幅，让寻常小景化作耐人寻味的画中诗。",[24,128,3599,949,165,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120ed541a2f83c1d1ca3ea976d2d4a30.jpg",[],"d5cdb6",{"id":80568,"slug":80569,"title":4724,"dynasty":54,"author":78869,"museum":56,"description":80570,"tags":80571,"thumbUrl":80572,"material":84,"size":84,"collection":136,"collections":80573,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80574},203255,"shan-shui-tu-ce-xue-xuan-203255","这幅水墨山水以苍润笔墨绘就，近景垂柳疏枝轻拂，线条灵动传神；中景水面平远开阔，与远处层叠山峦相衬。山石用淡墨渲染，皴擦结合显肌理，林麓间隐现茅舍，透着隐逸清寂之韵。构图疏密有致，意境悠远，尽显文人画的雅致情致。",[24,7,59,128,29,132,8538,23362,131,2132,414,496,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F354e006ebae26142fd25e2ac92dd4990.jpg",[136],"c4b69e",{"id":80576,"slug":80577,"title":4724,"dynasty":124,"author":16032,"museum":56,"description":80578,"tags":80579,"thumbUrl":80580,"material":84,"size":84,"collection":136,"collections":80581,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80582},203175,"shan-shui-tu-ce-xiang-sheng-mo-203175","册页分帧藏趣，一帧孤石嶙峋，墨笔勾皴间显奇崛之态，孔洞宛转似含林泉意趣；一帧水汀清旷，淡彩晕染出江南韵致，岸树扶疏映孤舟轻漾。笔致清雅兼具宋元遗韵，山石用皴法见肌理，草木设色明润，于方寸间铺展山水之幽，尽得自然天真与文人风骨，尽显画家对自然的细腻体察与笔墨情致。",[24,7,59,128,27,29,171,129,132,34,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F167a7f2671a618dc8efc481bba98cbdb.jpg",[136],"cac2b1",{"id":80584,"slug":80585,"title":80586,"dynasty":124,"author":33462,"museum":56,"description":80587,"tags":80588,"thumbUrl":80589,"material":84,"size":84,"collection":136,"collections":80590,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80591},203171,"ming-shan-tu-ce-song-xu-203171","名山图册","这幅图册页左书右画，相映成趣。书法笔力沉劲，结体端稳，题诗意境悠远；山水以简淡墨线勾勒，岛屿上楼阁隐现，水面舟楫轻泛，远山近树错落，墨色清雅空灵。诗画合璧间，古寺金山的禅意与新天朗月的澄澈尽显，传递出明代文人寄情山水的雅致情怀，笔墨间满是文人画的淡远之趣。",[24,7,59,128,29,97,129,64,572,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec6d0af842740caea9ccb675ca33b8e1.jpg",[136],"83785a",{"id":80593,"slug":80594,"title":38164,"dynasty":32945,"author":24889,"museum":56,"description":80595,"tags":80596,"thumbUrl":80597,"material":84,"size":84,"collection":84,"collections":80598,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80599},203082,"shan-shui-ren-wu-zhou-fu-bao-shi-203082","柳枝墨影交织，浓淡间含烟带雨，灵动天成。亭台隐于繁枝下，人影依稀凭栏，望断朦胧山水。笔墨洒脱不羁，墨彩晕染处，诗意漫溢。文人闲逸心境与自然之趣相融，虚实相生间，尽显雅致韵味，读之令人心向往之。",[24,7,165,29,96,130,128,27,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8f9a2fcd7430abc6fd845b934a6ddb2.jpg",[],"776f66",{"id":80601,"slug":80602,"title":80603,"dynasty":32945,"author":3539,"museum":56,"description":80604,"tags":80605,"thumbUrl":80606,"material":84,"size":84,"collection":117,"collections":80607,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80608},202928,"xiong-shi-tu-zhou-xu-bei-hong-202928","雄狮图轴","画面中雄狮蹲踞岩巅，鬃毛以泼墨挥洒，浓淡交织如风起云涌；四肢筋骨毕现，利爪紧扣岩石，眼神凛凛，似欲呼啸山林。徐悲鸿以水墨写意之法，融西画造型精准度，线条刚劲与墨色淋漓相映，岩石用粗犷笔触勾勒，与狮子的细腻神态形成张力。整作气韵沉雄，既显雄狮威猛之姿，更藏昂扬斗志，是传统笔墨与现代精神的完美融合。",[128,165,949,24,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a1a39a6a1c7b4f687f882c976f46f4.jpg",[117],"9d8f74",{"id":80610,"slug":80611,"title":80612,"dynasty":32945,"author":24258,"museum":56,"description":80613,"tags":80614,"thumbUrl":80615,"material":84,"size":84,"collection":68,"collections":80616,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80617},202915,"he-tang-shuang-lu-tu-zhou-chen-heng-ke-202915","荷塘双鹭图轴","墨色晕染间，荷叶以浓淡干湿的笔触铺陈，或卷或舒，尽显自然野趣。双鹭身姿隐现于叶间，寥寥数笔勾勒出灵动神态，憨态可掬又不失清雅。整幅画作以写意手法挥写，线条洒脱，墨韵生动，留白处更显意境悠远。笔墨苍劲中见细腻，将荷塘的清幽与禽鸟的生机巧妙融合，尽显文人画的雅致风骨，于简淡中蕴含深厚意趣。",[24,7,165,61,128,369,168,3836,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e2c6b1e631ae7ee27569023ba5daec7.jpg",[68],"d4cdc1",{"id":80619,"slug":80620,"title":80621,"dynasty":32945,"author":5076,"museum":56,"description":80622,"tags":80623,"thumbUrl":80624,"material":84,"size":84,"collection":84,"collections":80625,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80626},202835,"xiao-yuan-qiu-se-tu-zhou-qi-bai-shi-202835","小园秋色图轴","这幅画作以大写意之笔铺展秋园盛景，赭红叶片舒展如霞，明黄菊簇攒聚成金，浓墨枝叶穿插其间，色彩对比鲜明却和谐。菊花瓣蕊简笔勾勒却见饱满生机，红叶晕染自然尽显秋光暖意。题款书法笔力遒劲，与景物相映成趣，文人意趣盎然。整幅作品笔墨简练却神形兼备，将小园秋色的绚烂生机凝于尺幅，尽显写意花鸟的独特韵味，秋意饱满而不萧瑟。",[24,7,61,376,128,27,64,133,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0ed36af6850954a4568d375ce338d9c.jpg",[],"8d8f8b",{"id":80628,"slug":80629,"title":80630,"dynasty":32945,"author":5076,"museum":56,"description":80631,"tags":80632,"thumbUrl":80633,"material":84,"size":84,"collection":84,"collections":80634,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80635},202754,"hong-xian-dao-he-tu-zhou-qi-bai-shi-202754","红线盗盒图轴","画中女子发髻高挽，衣袂轻扬，一手托盒，一手舒展，周身淡墨晕染似云雾缭绕，衬出身影轻盈灵动。衣纹线条简练却见功力，设色淡雅鲜活——橙红上衣与蓝裙相映，腰间白练飘动，尽显飒爽机敏。人物神态娴静中藏果决，定格经典瞬间，融传统温婉与侠气。以兼工带写之笔，写意洒脱与工笔细腻兼具，让传奇跃然纸上，韵味悠长。",[24,165,96,27,28,40410,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc508062e8f8308912886e71efdd7ecc.jpg",[],"c4bdb5",{"id":80637,"slug":80638,"title":80639,"dynasty":32945,"author":5076,"museum":56,"description":80640,"tags":80641,"thumbUrl":80642,"material":84,"size":84,"collection":84,"collections":80643,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80644},202750,"mo-xia-tu-zhou-qi-bai-shi-202750","墨虾图轴","画面中数只墨虾灵动鲜活，错落分布。淡墨晕染虾身，显其通透质感；浓墨点睛勾须，线条纤细却含劲挺之力。虾的游动姿态各异，或昂首前探，或俯身相戏，须足舒展如在水中摇曳，虽无水纹却满溢清池之趣。齐白石以极简笔墨捕捉虾之神韵，删繁就简却神形兼备，尽显“似与不似”的写意精髓。留白处意蕴悠长，让观者仿佛能听见虾的触须轻拂水面之声，于方寸间见生机盎然。",[24,128,369,11034,28172,20038,7,61,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdef4bcecb2d0c810a5790d16faca7300.jpg",[],"d0c8b7",{"id":80646,"slug":80647,"title":17039,"dynasty":124,"author":80648,"museum":56,"description":80649,"tags":80650,"thumbUrl":80651,"material":84,"size":84,"collection":84,"collections":80652,"showCount":11,"zanCount":1998,"manualWeight":48,"mainColor":80653},202676,"mo-zhu-zhou-zhu-lu-202676","朱鹭","画面中几竿墨竹错落舒展，竹叶以浓淡相宜的水墨笔触勾勒，或挺拔向上或欹侧生姿，姿态灵动鲜活。竹竿线条劲挺流畅，尽显竹之坚韧风骨；根部草叶以淡墨晕染，与浓墨之竹形成虚实对比，层次丰盈自然。左侧题款笔墨苍劲，书法与画境浑然一体，传递出文人画的清雅意趣，整体意境悠远清逸，尽显水墨写意的灵动之美。",[16820,128,165,24,7,276,64,369,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f41fe600b736a2b48772d3be581c055.jpg",[],"bc7f5a",{"id":80655,"slug":80656,"title":33042,"dynasty":124,"author":18090,"museum":56,"description":80657,"tags":80658,"thumbUrl":80659,"material":84,"size":84,"collection":84,"collections":80660,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80661},202665,"fang-huang-gong-wang-shan-shui-zhou-lan-ying-202665","层峦叠翠间，飞瀑悬垂如练，山岚轻笼远岫。近岸亭榭临流，隐者凭栏凝思，笔墨间糅合清逸与苍劲。山石以皴擦见骨，线条兼具灵动与厚重；林木疏密有致，枝叶扶苏含生机。构图虚实相映，意境幽远，既承淡远神韵，又显自身笔力的秀润苍健，尽显文人山水的雅致情韵。",[24,7,165,29,132,128,330,130,495,34,131,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b5dcb1f08b68f77a2b471833ec0a0a7.jpg",[],"b6a09d",{"id":80663,"slug":80664,"title":9334,"dynasty":124,"author":1438,"museum":56,"description":80665,"tags":80666,"thumbUrl":80667,"material":84,"size":84,"collection":84,"collections":80668,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":77280},202650,"hua-hui-tu-juan-chen-chun-202650","这幅花卉长卷以水墨写意绘就，笔墨灵动洒脱，气韵生动。荷瓣清雅，梅枝疏斜，兰叶飘逸，菊蕊含香，藤蔓缠绕间尽显自然野趣。浓淡干湿的墨色变化，勾勒与泼染的技法结合，既捕捉花叶姿态神韵，又传递文人画洒脱意趣，疏密错落见章法，挥洒自如显情致，是明代水墨花鸟的经典之作。",[164,24,7,25,128,61,371,375,376,168,9603,8162,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F258b3875724f3e6028a0a0b0a5eaf64e.jpg",[],{"id":80670,"slug":80671,"title":80672,"dynasty":54,"author":49713,"museum":56,"description":80673,"tags":80674,"thumbUrl":80676,"material":84,"size":84,"collection":84,"collections":80677,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80678},202638,"lin-yun-shou-ping-fan-lin-tu-zhou-gu-yun-202638","临恽寿平梵林图轴","画面绘清幽梵林之景，层叠山石间竹木葱茏，几椽屋舍隐于枝叶掩映处，小径蜿蜒，流露静谧禅意。笔法师承恽寿平，线条细腻灵动，皴染结合自然，设色淡雅温润，构图疏密有致，将山林空灵悠远与生机盎然相融，尽显文人画雅致韵致。",[24,7,29,330,27,132,167,80675,23],"木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9749701673f4e2f80f07d528fcb2d66.jpg",[],"b7ab94",{"id":80680,"slug":80681,"title":33042,"dynasty":54,"author":6936,"museum":56,"description":80682,"tags":80683,"thumbUrl":80684,"material":84,"size":84,"collection":84,"collections":80685,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80686},202519,"fang-huang-gong-wang-shan-shui-zhou-wang-yuan-qi-202519","此作承元人笔意，以干淡苍劲之墨写山川气象。山峦层叠处，披麻皴与干笔擦染交织，如篆籀般朴拙有力；墨色由淡入浓，层层积染出深远空间。溪流蜿蜒穿林，小桥静卧波上，亭榭隐于松竹间，孤石点缀岸畔，处处见幽逸之趣。整体意境清旷古雅，笔墨间既有黄公望的萧散简远，又融自家沉雄醇厚之韵，尽显传统山水画的笔墨意趣与文人情怀。",[24,7,165,128,132,330,29,98,99,130,171,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ad98ce0515e75ac2017dc4c090222b6.jpg",[],"c3ad8f",{"id":80688,"slug":80689,"title":80690,"dynasty":54,"author":3718,"museum":56,"description":80691,"tags":80692,"thumbUrl":80693,"material":84,"size":84,"collection":84,"collections":80694,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80695},202505,"song-jian-guan-yun-tu-zhou-hong-ren-202505","松涧观云图轴","画面以刚劲线条勾勒山石轮廓，皴法简淡却骨力内蕴，尽显冷逸清旷之致。危崖层叠间，几株古松挺然卓立，涧水隐于石隙似有声，云雾如轻烟缭绕，将远近景致晕染得虚实相生。笔墨洗练纯净，意境空濛悠远，仿佛可置身其间，听松风穿涧，观云气舒卷，感受自然与心境的交融。每一处笔触皆见匠心，传递出画家对山水的深刻体悟与超然情怀。",[24,7,165,128,29,132,171,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f9000b2ad036a50a5a91c763d6699a.jpg",[],"b6a88e",{"id":80697,"slug":80698,"title":80699,"dynasty":54,"author":6778,"museum":56,"description":80700,"tags":80701,"thumbUrl":80703,"material":84,"size":84,"collection":84,"collections":80704,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80705},202500,"xuan-cao-shan-shi-tu-zhou-zhao-zhi-qian-202500","萱草山石图轴","山石朴拙，以水墨皴擦出厚重肌理；萱草丛生，劲挺墨线勾出修长叶片，艳红花瓣以没骨设色晕染，鲜妍灵动。笔墨间融金石篆刻之韵，线条刚健不失柔婉，色彩明快却含雅致，生机盎然里藏忘忧之意，尽显清新脱俗的文人画气韵。",[24,7,27,128,132,61,131,80702],"萱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51fd0008cdfd64863e9e9c00054de87b.jpg",[],"b9a996",{"id":80707,"slug":80708,"title":23682,"dynasty":54,"author":19894,"museum":56,"description":80709,"tags":80710,"thumbUrl":80711,"material":84,"size":84,"collection":84,"collections":80712,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":71360},202363,"mo-lan-tu-zhou-zheng-xie-202363","墨兰数丛生于素纸之上，茎叶肆意舒展，笔线如走龙蛇，携行书之韵。浓墨勾叶，劲健中见柔韧；淡墨点花，含蓄里藏清雅。留白虚实相济，衬出兰草疏逸之态。题款笔墨苍劲，朱印点缀其间，诗书画印相融，尽显文人画的清雅风骨，将兰的高洁气质凝于墨痕，意蕴悠长。",[128,375,64,208,165,7,2132,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1f12fb5d18f091585dfb508001f1824.jpg",[],{"id":80714,"slug":80715,"title":80716,"dynasty":54,"author":9576,"museum":56,"description":80717,"tags":80718,"thumbUrl":80719,"material":84,"size":84,"collection":68,"collections":80720,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80721},202155,"zhu-shi-lan-hua-tu-zhou-luo-pin-202155","竹石兰花图轴","墨竹数竿挺劲而立，竹叶以浓淡墨色层叠挥洒，焦墨勾筋、淡墨衬叶，似带飒飒清风；旁侧孤石以简笔勾勒轮廓，皴擦间见朴拙沉厚之态；石边幽兰疏朗点缀，叶片纤柔却暗含风骨，几笔淡墨便显幽芳之姿。整幅以水墨写意成篇，笔墨纵逸洒脱又不失法度，将竹之劲节、石之坚稳、兰之清雅融于一纸，尽显清逸孤傲之韵，观之如置身林下，闻得草木间淡淡清气。",[128,24,7,165,167,375,171,369,132,61,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bb747987d8440fdeee328caca8aae27.jpg",[68],"ae9e89",{"id":80723,"slug":80724,"title":80725,"dynasty":124,"author":1642,"museum":56,"description":80726,"tags":80727,"thumbUrl":80728,"material":84,"size":84,"collection":84,"collections":80729,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80730},202143,"ren-wu-shan-shui-tu-juan-dai-jin-202143","人物山水图卷","这幅画作以苍劲水墨勾勒山水幽境，虬松枝桠遒劲如铁，倚石而生；松下高士对坐弈棋，神情专注，尽显文人雅趣。山间路径蜿蜒，行旅者策杖徐行，步履悠然。山石以皴法晕染纹理，笔墨干湿相济，既见自然雄浑之势，又含灵动气韵。画面融山水壮阔与人物闲适为一体，传递出明代文人寄情山水的淡泊心境，尽显独特艺术张力。",[24,128,25,29,96,132,372,7,22902,77186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c39e8f3c05210f55f2b6bc1c8753fee.jpg",[],"7c7469",{"id":80732,"slug":80733,"title":6663,"dynasty":54,"author":80734,"museum":56,"description":80735,"tags":80736,"thumbUrl":80737,"material":84,"size":84,"collection":117,"collections":80738,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80739},202057,"zhu-shi-tu-zhou-xia-hui-202057","夏翚","墨竹枝干挺拔，竹叶以浓淡干湿之墨写意挥就，笔触凌厉如剑，错落间藏风动之姿；竹竿节节分明，蕴含向上韧劲。下方顽石以淡墨晕染，辅以皴擦点染，纹理粗糙古朴，与清劲墨竹形成刚柔相济的视觉张力。整幅以水墨为语，竹石相依，既有自然生机，又暗合文人坚韧不拔的精神内核，笔墨简练却意韵悠长，尽显传统文人画的雅致风骨与笔墨情致。",[128,167,1314,132,24,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ee4e03f9e8821de237a9922d88d426c.jpg",[117],"b5a697",{"id":80741,"slug":80742,"title":20347,"dynasty":54,"author":69767,"museum":56,"description":80743,"tags":80744,"thumbUrl":80745,"material":84,"size":84,"collection":136,"collections":80746,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80747},201980,"shan-shui-tu-zhou-shen-zong-jing-201980","此作以水墨皴染绘就山水幽境。层峦叠嶂间瀑布垂落，山石借皴法勾勒肌理，显浑厚质感；山麓林木葱茏，古松苍劲挺拔，掩映几椽茅舍；溪流蜿蜒，小桥横跨其上，似引观者步入隐逸山居。笔墨兼具工致与写意，墨色浓淡相宜，晕染出清旷静谧的意境，融自然之趣与文人淡泊心境，尽显山林幽寂之味。",[24,128,29,132,98,9613,23362,7,4605,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa74eda1196c7a42ab2893f24386f9dd7.jpg",[136],"a6947f",{"id":80749,"slug":80750,"title":80751,"dynasty":54,"author":1460,"museum":56,"description":80752,"tags":80753,"thumbUrl":80754,"material":84,"size":84,"collection":84,"collections":80755,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80756},201796,"lan-zhu-tu-zhou-shi-tao-201796","兰竹图轴","此图以水墨写兰竹，笔墨洒脱自如。竹枝挺劲，线条如篆隶般沉实；竹叶错落，撇捺带行书意趣，尽显书画同源之妙。墨色层次丰富，干湿浓淡间见生机，兰草幽柔与竹之刚健相映成趣。石涛以己意造境，兰竹不再是寻常清供，而是心性的外化，笔端流转着文人的风骨与灵韵，寥寥数笔却意蕴悠长。",[24,128,167,375,208,7,77186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3253bb6f9dfd04a1b0e98828000ada74.jpg",[],"b1aba2",{"id":80758,"slug":80759,"title":80760,"dynasty":124,"author":4333,"museum":56,"description":80761,"tags":80762,"thumbUrl":80763,"material":84,"size":84,"collection":68,"collections":80764,"showCount":11,"zanCount":1998,"manualWeight":48,"mainColor":80765},201781,"mo-lan-tu-juan-zhou-tian-qiu-201781","墨兰图卷","此卷墨兰以简淡之笔写幽芳之姿，叶态修长飘逸，或舒展交叠，线条劲挺富弹性，如写如绘，尽显兰草清逸出尘之态。花茎纤细，花苞点缀其间，寥寥数笔便得含蓄之致。笔墨干湿浓淡相宜，淡墨晕染叶之层次，浓墨提点花之精神，简而不空，逸趣横生。留白与兰草疏朗相映，更衬孤高品格，尽显文人画“以形写神”之妙，传递君子如兰的清雅气韵。",[24,25,128,375,7,61,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5351766d09fd53f275cbd302f0a1824.jpg",[68],"d6cdc6",{"id":80767,"slug":80768,"title":80769,"dynasty":54,"author":6936,"museum":56,"description":80770,"tags":80771,"thumbUrl":80772,"material":84,"size":84,"collection":136,"collections":80773,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80774},201765,"cang-yan-cui-bi-tu-zhou-wang-yuan-qi-201765","苍岩翠壁图轴","此图笔墨苍劲沉雄，以干笔焦墨层层皴染，山峦叠嶂间苍岩嶙峋如削，翠壁似屏。近处林木扶疏，小桥横跨溪涧，屋舍隐于岩麓，意境清幽深远。画家承娄东派衣钵，师法宋元，尤得黄公望笔意，构图开合有致，丘壑经营精妙，干笔积墨中见浑厚华滋之趣，尽显清代山水的古雅沉雄之韵。",[24,29,132,165,98,27,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0d1694b69b0cca8a65de1f12660e07a.jpg",[136],"d1c4b3",{"id":80776,"slug":80777,"title":80778,"dynasty":124,"author":125,"museum":56,"description":80779,"tags":80780,"thumbUrl":80781,"material":84,"size":84,"collection":136,"collections":80782,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80783},201733,"tai-shi-tu-zhou-shen-zhou-201733","苔石图轴","画面笔墨苍润沉厚，嶙峋苔石以皴染相济之法写就，纹理间见朴拙意趣；旁侧亭榭简括雅致，疏枝欹斜映带，远山淡抹如黛，衬出空寂清旷之境。题跋行书流畅自然，与苍劲山石、淡远山水相映成趣，诗书画印浑然一体，尽显文人画的逸致与风骨。墨色层次丰富，干湿浓淡间传递出静谧悠然的气息，仿佛可闻林间风语，观石上苔痕，于简淡中藏深意。",[24,128,29,171,130,132,133,208,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7409f01d6de34898fd17e0a540333f0.jpg",[136],"c6bda9",{"id":80785,"slug":80786,"title":55055,"dynasty":124,"author":802,"museum":56,"description":80787,"tags":80788,"thumbUrl":80789,"material":84,"size":84,"collection":117,"collections":80790,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80791},201719,"mo-zhu-tu-zhou-chen-hong-shou-201719","竹干以淡墨中锋写就，挺拔中见古拙之趣；竹叶用浓墨侧锋撇出，聚散有致，姿态万千。墨色浓淡干湿交错，层次分明，尽显笔墨意趣。枝节间留白透气，素纸为底更衬竹之清雅高致。笔法兼具书法韵味，竹叶撇捺如行书挥洒，刚劲中含秀逸，既得竹之形骸，更传竹之神髓，寥寥数笔却意蕴悠长，尽显文人画借物抒情的特质。",[24,7,165,128,167,133,64,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F768330262a1ca0c15b5de26b56e624db.jpg",[117],"dccfbb",{"id":80793,"slug":80794,"title":80795,"dynasty":124,"author":24277,"museum":56,"description":80796,"tags":80797,"thumbUrl":80798,"material":84,"size":84,"collection":117,"collections":80799,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":77280},201706,"zhu-shi-tu-juan-zhu-sheng-201706","竹石图卷","墨竹挺劲多姿，枝干节节分明，竹叶以浓淡墨色交织错落，笔意洒脱灵动；怪石嶙峋苍劲，皴擦点染间纹理自然，与修竹相映成趣。整卷构图疏密有致，意境清幽悠远，笔墨中蕴含文人雅致风骨，传递出对自然生机的捕捉与闲适寄情。",[24,128,167,1314,132,25,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9df89211a7a0623ec7a0a9b0067c034.jpg",[117],{"id":80801,"slug":80802,"title":80803,"dynasty":124,"author":802,"museum":56,"description":80804,"tags":80805,"thumbUrl":80806,"material":84,"size":84,"collection":68,"collections":80807,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80808},201627,"mei-hua-xiao-niao-tu-zhou-chen-hong-shou-201627","梅花小鸟图轴","枯枝如铁，梅萼疏疏缀于虬干，一只小鸟敛翅静立，目光低垂似有所悟。下方怪石嶙峋，皴法古拙，笔墨厚重中见灵秀；石畔红叶嫣然，淡染红韵，与墨色冷寂形成微妙平衡。线条凝练如篆，造型奇崛却生动，文人画的清逸雅致尽在其中，简淡中藏深意，观之令人心静神远。",[24,7,165,28,27,61,371,171,1955,132,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdea3b05e96bb6c5f645b61919cbeb783.jpg",[68],"746849",{"id":80810,"slug":80811,"title":33110,"dynasty":124,"author":2268,"museum":56,"description":80812,"tags":80813,"thumbUrl":80814,"material":84,"size":84,"collection":136,"collections":80815,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80816},201623,"yun-shan-tu-zhou-dong-qi-chang-201623","这幅画作以淡墨晕染云雾，山峦在烟霭中隐现，层次叠嶂间尽显空濛之趣。近景松石用干笔皴擦，线条含书法意趣，松针挺劲，山石肌理分明；中景山峦以披麻皴勾勒，墨色渐淡与云雾相融；远景淡墨寥寥，营造悠远深邃意境。构图虚实相生，笔墨干湿浓淡交错，尽显“平淡天真”的文人韵味。题跋与印章错落，诗书画印一体，更添雅致。整幅作品得自然神韵，又藏画家对南宗笔墨的体悟，简淡中见深远，空灵中藏生机。",[24,7,165,128,29,132,1144,208,133,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F761698eb84b89bba4cb795faf768fc87.jpg",[136],"b5a68b",{"id":80818,"slug":80819,"title":80820,"dynasty":54,"author":1069,"museum":56,"description":80821,"tags":80822,"thumbUrl":80823,"material":84,"size":84,"collection":136,"collections":80824,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80825},201606,"shan-lou-yun-qi-tu-zhou-wang-yun-201606","山楼云起图轴","层峦叠嶂间云雾轻笼，飞瀑自崖壁倾泻而下，溅起朦胧水汽。近岸峭壁上松枝盘曲，掩映着几椽茅舍；远山之巅，亭榭隐约，与山间楼阁相映成趣。山石以皴染相济之法绘就，线条劲挺又不失润泽，设色淡雅却层次分明。云雾的晕染柔化了山岩的硬朗，营造出深远幽静的意境，尽显山水间的人文雅致与自然生机。",[24,7,29,97,132,27,130,165,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67a4a64948e8520ca8e3ae032b31a4b6.jpg",[136],"826944",{"id":80827,"slug":80828,"title":80829,"dynasty":54,"author":3043,"museum":56,"description":80830,"tags":80831,"thumbUrl":80832,"material":84,"size":84,"collection":68,"collections":80833,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80834},201565,"chun-bo-yu-xi-tu-zhou-xu-gu-201565","春波鱼戏图轴","垂柳轻拂，新叶初绽，春意漫过淡墨晕染的水面。数尾金鱼嬉戏其间，红鳞白身相映成趣，尾鳍如竹叶舒展，灵动鲜活。虚谷以率意笔触勾勒柳丝柔媚，用淡雅设色点染鱼的明艳，水墨淋漓处透着清润之气。画面疏朗却生机盎然，文人画的雅致与春日的活泼交融，似能听见水波轻响，看见春风拂动，尽显笔墨间的意趣与情致。",[24,7,165,61,2059,128,27,164,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bca82ff12f2cc83153507d909aa35c3.jpg",[68],"ccc2b3",{"id":80836,"slug":80837,"title":80838,"dynasty":124,"author":31987,"museum":56,"description":80839,"tags":80840,"thumbUrl":80841,"material":84,"size":84,"collection":68,"collections":80842,"showCount":11,"zanCount":1998,"manualWeight":48,"mainColor":80843},201544,"lan-hua-tu-he-zhuang-juan-ma-shou-zhen-201544","兰花图合装卷","画面以水墨写意绘兰，笔势婉转灵动，兰叶修长舒展，墨色浓淡交织，尽显幽兰清逸之姿。几丛兰草错落排布，疏密有致，留白处意蕴空灵，暗合文人画中兰的高洁风骨。印章朱红点缀，与墨色相映成趣，更添古朴雅致。两位女画家笔墨交融，既有洒脱之态，又含温婉之情，传递出明代文人画的雅致意趣与对君子品格的追慕。",[24,128,375,61,208,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4dc833c4cf3c534f1409610d1f6e152.jpg",[68],"cdc6bd",{"id":80845,"slug":80846,"title":12915,"dynasty":124,"author":19170,"museum":56,"description":80847,"tags":80848,"thumbUrl":80849,"material":84,"size":84,"collection":44,"collections":80850,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80851},201526,"luo-han-tu-zhou-ding-yun-peng-201526","画面中罗汉群像神态鲜活，或趺坐凝思，或展卷细品，或对坐论道，衣纹线条细腻流畅，尽显清寂禅韵。小僧执杖随侍，猿猴献果添趣，细节处见生动。山石枯树以淡墨皴染，营造清幽意境，人物刻画入微，白描功底深厚。整体氛围静谧悠远，将禅林雅集的悠然之态展现得淋漓尽致。",[24,7,165,187,96,188,28,17911,1337,131,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48c78f83522bd2fc7e8ce8d92e256e35.jpg",[44],"b4a793",{"id":80853,"slug":80854,"title":80855,"dynasty":124,"author":1058,"museum":56,"description":80856,"tags":80857,"thumbUrl":80858,"material":84,"size":84,"collection":136,"collections":80859,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80860},201463,"dong-li-shang-ju-tu-zhou-tang-yin-201463","东篱赏菊图轴","苍松虬劲，枝蔓垂悬，松荫下秋菊点缀，雅致清逸。远山层叠，云雾轻笼，山石以皴法写就，线条灵动。近景文人对坐，或谈或赏，神态悠然，尽得东篱之趣。笔墨兼工带写，设色淡雅，将田园诗意与文人风骨融于尺幅，尽显超脱尘俗的闲适心境，是唐寅文人画风格的典型体现。",[24,7,165,29,96,372,376,130,132,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba7d04c436d73e4692e2ae4764d9c82e.jpg",[136],"92897e",{"id":80862,"slug":80863,"title":80864,"dynasty":54,"author":1460,"museum":56,"description":80865,"tags":80866,"thumbUrl":80867,"material":84,"size":84,"collection":84,"collections":80868,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80869},201428,"lin-feng-chang-xiao-tu-zhou-shi-tao-201428","临风长啸图轴","墨竹挺秀，枝叶以浓淡干湿之墨挥洒，笔触劲健洒脱，如风过林梢，飒飒有声。枝干苍劲中见灵动，疏密交错的竹叶与留白相映，尽显空灵逸气。石涛以竹托志，笔墨淋漓间藏胸中逸趣，寥寥数笔却意境悠远，将竹的清刚与生机诠释得入木三分，观之如临清风，心随竹韵荡漾。",[164,24,7,165,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eaadf62324cf70d945e5ae134470da5.jpg",[],"bcb8b1",{"id":80871,"slug":80872,"title":80873,"dynasty":124,"author":2268,"museum":56,"description":80874,"tags":80875,"thumbUrl":80876,"material":84,"size":84,"collection":136,"collections":80877,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":80878},201387,"shu-hua-he-juan-dong-qi-chang-201387","书画合卷","画卷铺展，烟波浩渺的水面横贯画面，远近山峦层叠错落，或巍峨雄浑，或秀逸多姿。岸边林木疏密有致，枝干虬曲苍劲，尽显自然意趣；几处小桥隐于水畔，与灵动的流水相映成趣。笔墨间，水墨晕染细腻，皴法运用精妙，线条婉转灵动，既蕴董其昌的笔墨神韵，又含吴伟业的文人雅致，整体清旷淡远，意境幽邃，引人入胜。",[24,7,25,128,29,132,98,99,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd589eaedc3a6f0cd2091369adaf9f3c.jpg",[136],"c8bfb1",{"id":80880,"slug":80881,"title":80882,"dynasty":18,"author":223,"museum":300,"description":80883,"tags":80884,"thumbUrl":80885,"material":692,"size":1293,"collection":84,"collections":80886,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},290750,"xiu-pen-ju-shi-yi-lian-zhou-yi-ming-290750","绣盆菊诗意帘轴","雨后看花兴自幽。花神不减旧风流。重开佳色邀金蝶。更吐新香染绣毬。晚节平分三径露。清标独占一园秋。年年賸有重阳约。尊酒何曾负胜游。 硕大什锦菊盛开，花茎高挺，花间蜂蝶翻飞，圆型盆器置于朱漆圆几上，旁列兰卉盆景，下垫蟾蜍托座，祥云、草叶、兰盆呈中轴对称分布。菊搭配蝶，寓意「耋寿」，灵芝、兰草为「芝兰竞秀」，组成内涵丰富的吉祥图案，以求幸福长寿。此轴属清代宫廷刺绣品，绣工精细，图案色彩、针法活泼变化多，美不胜收。",[165,13534,7,61,376,375,481,169,27,64,28,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eb257b5066e8281201cc5cbf0448575.jpg",[],{"id":80888,"slug":80889,"title":80890,"dynasty":54,"author":41583,"museum":300,"description":80891,"tags":80892,"thumbUrl":80893,"material":692,"size":1293,"collection":84,"collections":80894,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},290599,"song-jian-yun-lan-zhang-ruo-cheng-290599","松涧云岚","张若澄（1721-1770），字镜壑，号默耕，安徽桐城人。是清代名臣张英之孙、张廷玉次子、张若霭之弟。乾隆十年（1745）进士，改庶吉士，授编修，入直南书房。三充乡、会试同考官，一主湖南乡试，矢公矢慎，士论翕然。历官内阁学士，兼礼部侍郎衔。卒于官。国史附传。著有《潇碧轩诗》四卷。",[24,7,29,1144,99,131,96,128,132,208,64,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6b755f4eb4274062c26fa6601798c8.jpg",[],{"id":80896,"slug":80897,"title":80898,"dynasty":124,"author":38937,"museum":300,"description":38938,"tags":80899,"thumbUrl":80900,"material":692,"size":1293,"collection":84,"collections":80901,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},290582,"shuang-lin-xing-lv-cheng-shan-zhang-ling-290582","霜林行旅成扇",[1131,24,7,29,371,64,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5488ef8618e52d9ae3fac103eef9881f.jpg",[],{"id":80903,"slug":80904,"title":80905,"dynasty":54,"author":77452,"museum":300,"description":77453,"tags":80906,"thumbUrl":80907,"material":692,"size":1293,"collection":84,"collections":80908,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},290579,"dan-tai-chun-xiao-zhang-peng-chong-290579","丹台春晓",[24,7,59,26,27,29,209,99,496,208,64,132,35164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03537bd56d92850b4b625849213589b2.jpg",[],{"id":80910,"slug":80911,"title":80912,"dynasty":54,"author":33849,"museum":300,"description":80913,"tags":80914,"thumbUrl":80915,"material":692,"size":1293,"collection":84,"collections":80916,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},290549,"wu-kuan-song-wu-gao-shi-qing-ren-290549","无款松屋高士","水墨晕染远山如黛，烟岚轻笼平湖，漾开空濛悠远的意绪。近岸虬松掩映草堂山居，堂前高士雅聚，或执卷清谈，或凭栏远眺，意态萧散自在。枯木斜欱枝桠，疏朗间衬出水天寥廓，将山林幽居的静穆与文人雅兴相融。\n\n笔墨简淡秀润，皴擦晕染皆出淡远之致，以留白写烟波浩渺，尽得山水无尽之趣，暗合寄情林泉、追慕闲逸的文人襟怀，淡墨轻岚里，藏着东方山水独有的清寂风雅。",[24,7,1349,59,27,96,372,130,29,414,415,1337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbfe10f034bffe914f2e9dd2eadb61dc.jpg",[],{"id":80918,"slug":80919,"title":80920,"dynasty":54,"author":80921,"museum":300,"description":70383,"tags":80922,"thumbUrl":80923,"material":692,"size":1293,"collection":84,"collections":80924,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},290489,"wu-yan-lian-li-zhou-wang-kai-yun-290489","五言联立轴","王闿运",[165,7,64,10886,21937,128,208,77825],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfbe2e109c863fa20e3752256ef329b6.jpg",[],{"id":80926,"slug":80927,"title":80928,"dynasty":54,"author":223,"museum":300,"description":80929,"tags":80930,"thumbUrl":80932,"material":692,"size":1293,"collection":84,"collections":80933,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},290465,"qiu-shui-feng-qiao-tu-yi-ming-290465","秋水枫桥图","此作以水墨绘就秋山胜景，近岸老木盘虬，扎根嶙峋危石，寒枝疏朗尽染秋意，板桥轻卧浅波，林麓深处隐见村居野舍。中远景峰峦峭拔，以淡墨晕染出烟雨空濛的虚实层次，群雁掠过长天，秋水澹澹，汀渚间疏苇摇曳生姿。画作以枯淡与浓墨相映，笔意简远秀润，将江南晚秋的清寂萧疏铺陈开来，带着林下隐逸的澹泊意趣，尽现空灵冷隽的文人山水意境，藏着独属于秋日的澹泊诗意。",[23,24,7,29,128,132,331,98,99,211,387,496,10887,80931],"枫桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35798ae6392615e12ec39cdfc4750e27.jpg",[],{"id":80935,"slug":80936,"title":80937,"dynasty":144,"author":569,"museum":300,"description":27930,"tags":80938,"thumbUrl":80939,"material":692,"size":1293,"collection":84,"collections":80940,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},290410,"za-shu-san-duan-juan-zhao-meng-fu-290410","杂书三段卷",[23,64,25,133,7,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6405c38a5bb969e86bf22169d1b7df2a.jpg",[],{"id":80942,"slug":80943,"title":80944,"dynasty":18,"author":223,"museum":300,"description":65923,"tags":80945,"thumbUrl":80947,"material":692,"size":1293,"collection":84,"collections":80948,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},290247,"han-tang-fu-lv-tu-yi-ming-290247","寒塘凫侣图",[23,24,164,7,59,27,28,61,371,41294,80946,133,64,208,12634],"寒塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7d9f6860c1a5791e0c0d0f9ac00a1a4.jpg",[],{"id":80950,"slug":80951,"title":28804,"dynasty":18,"author":223,"museum":300,"description":64532,"tags":80952,"thumbUrl":80953,"material":692,"size":1293,"collection":84,"collections":80954,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},290240,"dai-du-tu-ye-yi-ming-290240",[23,24,7,29,128,132,1337,171,99,129,211,12490,52132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f121a7110bd25d54a369b4fcbdf9a33.jpg",[],{"id":80956,"slug":80957,"title":80958,"dynasty":54,"author":12395,"museum":300,"description":14623,"tags":80959,"thumbUrl":80960,"material":692,"size":1293,"collection":84,"collections":80961,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},290218,"shan-shui-shan-mian-1-zhang-xiong-290218","山水扇面-1",[23,1131,24,7,27,128,96,29,98,34,129,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6608618e592d102b03e1a9df3a376c79.jpg",[],{"id":80963,"slug":80964,"title":80965,"dynasty":144,"author":569,"museum":300,"description":80966,"tags":80967,"thumbUrl":80968,"material":692,"size":1293,"collection":84,"collections":80969,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},290096,"jiu-de-song-juan-zhao-meng-fu-290096","酒德颂卷","有大人先生以天地为一朝，以万期为须臾，日月为扃牖，八荒为庭除。行无辙迹，居无室庐，幕天席地，纵意所如。止则摇卮执孤，动则挈榼提壶，唯酒是务，焉知其馀。有贵介公子，搢绅处士，闻吾风声，议其所以，陈说礼法，是非蠭起，奋袂攘襟，怒目切齿。先生於是方捧甖承槽，衔杯嗽醪，奋髯箕踞，枕麹藉糟，无思无虑，其乐陶陶。兀然而醉，恍尔而醒。静听不闻雷霆之声，熟视不见泰山之形。不觉寒暑之切肌，嗜欲之感情。俯观万物，扰扰焉如江海之载萍。二豪侍侧，如螺蠃之与螟蛉。延祐三年丙辰岁十一月廿一日，为瞿泽民书。子昂。",[23,164,24,7,25,64,133,128,1590,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc108f90cfde16dfab4ac32b0c54f56a.jpg",[],{"id":80971,"slug":80972,"title":80973,"dynasty":54,"author":32522,"museum":300,"description":42429,"tags":80974,"thumbUrl":80976,"material":692,"size":1293,"collection":84,"collections":80977,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},289999,"lv-liu-xing-zhou-tu-jing-xin-wang-cheng-pei-289999","绿柳行舟图镜心",[1131,24,7,29,80975,11166,27,132,64,572],"绿柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f2ddef3af3d3ff327803407eb25f5c6.jpg",[],{"id":80979,"slug":80980,"title":80981,"dynasty":18,"author":223,"museum":300,"description":80982,"tags":80983,"thumbUrl":80984,"material":692,"size":1293,"collection":84,"collections":80985,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},289954,"he-tang-xi-lai-tu-yi-ming-289954","荷塘鸂鵣图","淡墨晕染开江南初夏的水泽烟岚，汀岸疏林隐在濛濛水雾间，将幽寂的氛围感铺陈开来。水面之上，两只鸂鵣意态生动，一只垂首理羽，一只振翅欲落，粼粼水波轻漾微动，荷塘野趣呼之欲出。\n此作工写相宜，禽鸟刻画写实鲜活，林木水色却写意空濛，将细腻生机融于澹澹烟霭，把水畔闲静瞬间凝于绢素。诗画合璧间，尽显雅致闲淡，仿佛携着初夏水泽的清润水汽，将空灵悠远的江南意韵娓娓道来。",[23,164,24,7,59,61,81,168,10011,27,28,208,64,133,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fdfa14d51ee6248c43a7847970c36c1.jpg",[],{"id":80987,"slug":80988,"title":80989,"dynasty":54,"author":80990,"museum":300,"description":80991,"tags":80992,"thumbUrl":80993,"material":692,"size":1293,"collection":84,"collections":80994,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},288981,"zhuan-shu-li-zhou-wang-guan-288981","篆书立轴","王瓘","王瓘，（1847-？）字孝玉，一字孝禹，辛亥（1911）后以字行，书法家，清末民初书画家。",[7,64,938,165,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02e93a5d95bbbc0495c14a0e7d82b79b.jpg",[],{"id":80996,"slug":80997,"title":36815,"dynasty":54,"author":80998,"museum":300,"description":80999,"tags":81000,"thumbUrl":81001,"material":692,"size":1293,"collection":84,"collections":81002,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},288498,"shan-shui-tu-li-zhou-pu-yi-zhai-288498","溥毅斋","此作用笔简淡清逸，以淡赭晕染崖石，枯焦墨笔勾皴点苔，写出岩崖苍朴温润的质感。三处幽兰随坡崖错落而生，兰叶以中锋勾勒，笔力舒展挺劲，暗含书法意趣，淡红点染兰蕊，清雅含蓄。\n\n画面留白开阔，不着过多修饰，便将山野幽寂之境铺展眼前，尽显文人画简淡天真的意趣。以兰自喻，借芝兰幽居山野、孤芳自赏之姿，抒静穆清逸的林下襟怀，是寄情花木、以画明志的写意佳作。",[23,24,7,165,27,128,375,171,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1787921528d915c87b802c21f619acb.jpg",[],{"id":81004,"slug":81005,"title":81006,"dynasty":54,"author":223,"museum":300,"description":81007,"tags":81008,"thumbUrl":81012,"material":692,"size":1293,"collection":84,"collections":81013,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},288432,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-zha-la-feng-a-yi-ming-288432","历代帝王贵妃大臣朝服像(扎拉丰阿)","扎拉丰阿（生年不明——1898年），萨克达氏，初名瑞林（瑞麟），指婚后赐改今名，字鹤汀，满洲镶蓝旗人，世居吉林。",[23,24,7,165,27,28,96,81009,14416,81010,81011],"大臣","官帽","珠饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47be15ddf7358cc9d3ef1cbd671ca23b.jpg",[],{"id":81015,"slug":81016,"title":64,"dynasty":54,"author":81017,"museum":300,"description":81018,"tags":81019,"thumbUrl":81020,"material":692,"size":1293,"collection":84,"collections":81021,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},288354,"shu-fa-jiang-chen-ying-288354","姜宸英","姜宸英（1628－1699年），明末清初书法家、史学家，与朱彝尊、严绳孙并称“江南三布衣”。字西溟，号湛园，又号苇间，浙江慈溪人。明末诸生，康熙十九年以布衣荐入明史馆任纂修官，分撰刑法志，记述明三百年间诏狱、廷杖、立枷、东西厂卫之害。又从徐乾学在洞庭山修《大清一统志》。在京因得罪大学士明珠受冷遇。康熙三十六年70岁始成进士，以殿试第三名授翰林院编修。越两年为顺天乡试副考官，因主考官舞弊，被连累下狱死。著有《湛园集》《苇间集》《海防总论》。",[23,64,133,165,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c2d526e58c1b3f68254ecad9e133ef7.jpg",[],{"id":81023,"slug":81024,"title":81025,"dynasty":54,"author":223,"museum":300,"description":81026,"tags":81027,"thumbUrl":81029,"material":692,"size":1293,"collection":84,"collections":81030,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},288308,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-li-rong-bao-xiang-yi-ming-288308","历代帝王贵妃大臣朝服像(李荣保像)","此作工笔写实，将世家勋臣的威仪尽显无余。画中人物面庞方正，神色端凝持重，沉静间自有重臣的肃穆气场。\n\n朝服绘制极尽精工，石青底色沉稳大气，正龙团纹以平金织绣晕染，金线劲挺、华彩熠熠，补子、披领与马蹄袖的纹样层次分明，辑珠朝珠垂坠合度，顶戴花翎规整庄重，处处恪守清代服饰礼制，尽显工艺匠心。\n\n豹纹坐毡搭配回纹缠枝地衬，繁丽纹饰衬出人物尊崇身份，整体设色调和雅致，以细腻笔触将写实状物与人物气度相合，是清代肖像画里兼具礼制考究与审美价值的精工佳构。",[23,24,7,165,27,28,96,81028,81009,14416,31432,71571],"男性","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95998097cc029a821834c036d4d21461.jpg",[],{"id":81032,"slug":81033,"title":81034,"dynasty":54,"author":223,"museum":300,"description":81035,"tags":81036,"thumbUrl":81037,"material":692,"size":1293,"collection":84,"collections":81038,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},288307,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-yu-fei-yi-ming-288307","历代帝王贵妃大臣朝服像(煜妃)","此作设色沉穆庄重，石青朝服上的妆花龙纹以赤金、明黄晕染勾勒，层次分明，尽显华贵尊崇。妃嫔仪态端方沉静，眉眼温婉舒展，头饰规整大气，耳饰垂坠雅致，端坐于纹饰繁丽的衬椅之上，静穆端庄尽显后宫仪范。地毯织纹写实细腻，一笔一画尽显工笔肖像的严谨考究，以工稳笔触还原清代后宫风貌，将人物气度与服饰华美金融于一体，是兼具纪实性与装饰性的肖像佳作。",[23,24,7,165,27,28,96,166,772,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed7f14de38d08a358f400b64c74e84b7.jpg",[],{"id":81040,"slug":81041,"title":81042,"dynasty":124,"author":223,"museum":300,"description":84,"tags":81043,"thumbUrl":81044,"material":692,"size":1293,"collection":84,"collections":81045,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},287978,"tao-zheng-shi-lei-tu-juan-yi-ming-287978","陶徵士诔图卷",[23,24,7,25,188,128,96,1424,52076,64,7056],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ae277df1687c47c7c53f10fbb01ee5b.jpg",[],{"id":81047,"slug":81048,"title":1230,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":81049,"thumbUrl":81050,"material":692,"size":1293,"collection":84,"collections":81051,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},287955,"shan-shui-tu-wen-zheng-ming-287955",[23,164,24,7,25,128,29,7409,496,34,1515,129,149,37,1429,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f4f3e980274033cbc75ab347d4b58af.jpg",[],{"id":81053,"slug":81054,"title":81055,"dynasty":124,"author":27440,"museum":300,"description":71761,"tags":81056,"thumbUrl":81057,"material":692,"size":1293,"collection":84,"collections":81058,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},287791,"shi-juan-yuan-gao-wang-duo-287791","诗卷原稿",[23,64,840,25,128,7,58867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1091973c52b34c238561cd59f46561a.jpg",[],{"id":81060,"slug":81061,"title":81062,"dynasty":144,"author":223,"museum":300,"description":35562,"tags":81063,"thumbUrl":81064,"material":692,"size":1293,"collection":84,"collections":81065,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},287771,"di-shi-liu-a-bi-da-zun-zhe-yi-ming-287771","第十六阿必达尊者",[24,7,165,187,128,188,96,18381,18331,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df65c156bced46e0d9fcd7f5f400119.jpg",[],{"id":81067,"slug":81068,"title":6571,"dynasty":124,"author":27440,"museum":300,"description":71761,"tags":81069,"thumbUrl":81070,"material":692,"size":1293,"collection":84,"collections":81071,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},287638,"luo-han-tu-wang-duo-287638",[23,24,25,7,128,96,18331,18381,840,208,4438,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dcd780c5979c6e8348cfda76f12e4d9.jpg",[],{"id":81073,"slug":81074,"title":80060,"dynasty":124,"author":5219,"museum":300,"description":72949,"tags":81075,"thumbUrl":81077,"material":692,"size":1293,"collection":84,"collections":81078,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},287524,"wen-yin-tu-juan-yao-shou-287524",[164,24,7,25,128,64,133,208,96,81076],"文饮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c5f9c0a17cfe2ce813d5434cd66f11f.jpg",[],{"id":81080,"slug":81081,"title":81082,"dynasty":54,"author":6946,"museum":300,"description":35061,"tags":81083,"thumbUrl":81084,"material":692,"size":1293,"collection":84,"collections":81085,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},287425,"shi-liu-ying-zhen-xiang-di-er-ding-guan-peng-287425","十六应真像(第二)",[24,7,165,27,28,187,18381,18331,96,5490,2302,949,131,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c66ef795294237ede74a2106b0112ca.jpg",[],{"id":81087,"slug":81088,"title":81089,"dynasty":144,"author":223,"museum":300,"description":81090,"tags":81091,"thumbUrl":81092,"material":692,"size":1293,"collection":84,"collections":81093,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":199},284855,"yuan-luo-han-xiang-zhou-yi-ming-284855","元罗汉像轴","全幅线条运笔相当流畅，有简洁净雅的韵味，人物五官手足以细瘦而轻淡的描线，衣服褶纹则笔致较为粗重而浓厚，全身并施以薄薄的晕染，袈裟水田纹有华丽的图案。",[23,24,165,7,187,27,96,18331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12caa425dcf6fcc1fddb00aa333a1821.jpg",[],{"id":81095,"slug":81096,"title":81097,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":81098,"thumbUrl":81099,"material":692,"size":1293,"collection":84,"collections":81100,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},283741,"ji-chen-mei-gong-shi-juan-dong-qi-chang-283741","寄陈眉公诗卷",[23,164,7,25,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c58a064eaec4ce3069b8b645be8c49c.jpg",[],{"id":81102,"slug":81103,"title":81104,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":81105,"thumbUrl":81106,"material":692,"size":1293,"collection":84,"collections":81107,"showCount":975,"zanCount":1998,"manualWeight":48,"mainColor":72},283705,"za-shu-juan-dong-qi-chang-283705","杂书卷",[23,64,25,133,840,208,1590,1429,56990,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4135193a2c14313b4b29f85c0717d9a.jpg",[],{"id":81109,"slug":81110,"title":81111,"dynasty":124,"author":27440,"museum":300,"description":71761,"tags":81112,"thumbUrl":81113,"material":692,"size":1293,"collection":84,"collections":81114,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},283661,"cao-shu-shi-juan-wang-duo-283661","草书诗卷",[23,164,24,7,25,128,840,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2ad589fd933d546d24f029553a8414.jpg",[],{"id":81116,"slug":81117,"title":81118,"dynasty":54,"author":223,"museum":300,"description":81119,"tags":81120,"thumbUrl":81121,"material":692,"size":1293,"collection":84,"collections":81122,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},270530,"zhu-gu-rui-jun-wang-shu-hua-ying-xi-tu-mian-zhe-shan-yi-ming-270530","竹股瑞郡王书画婴戏图面折扇","扇面以湖石框构庭院小景，芭蕉浓荫铺就雅致底色。仕女稚童错落排布，长者持卷安立，衣袂柔婉舒展，稚童嬉游绕侧，神态鲜活灵动，将天伦闲趣融于画面。\n\n笔墨兼工带写，皴擦勾勒出湖石苍润肌理，芭蕉阔叶晕染细腻柔润，于扇面方寸间铺展出清幽悠然的庭院日常，把旧时光里的温婉生机定格在咫尺纨素之上，尽显世俗烟火里的融融意趣。",[1131,24,7,27,96,8832,875,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F553921fb7ab52a370c6c46a3113ac805.jpg",[],{"id":81124,"slug":81125,"title":81126,"dynasty":54,"author":223,"museum":300,"description":81127,"tags":81128,"thumbUrl":81129,"material":692,"size":1293,"collection":84,"collections":81130,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},270420,"zong-zhu-gu-chen-zu-hui-shu-hua-mian-zhe-shan-yi-ming-270420","棕竹股陈祖辉书画面折扇","这柄折扇以浅金笺为底，绘就水墨山水。远景山峦层叠，淡墨晕染出空蒙悠远的天际，近景林木苍郁遒劲，皴擦勾勒见笔墨力道，山居屋舍隐于林泉之间，暗合林下幽居的悠然意趣。\n\n沉敛古雅的扇骨衬得扇面更显清雅疏淡，将咫尺空间化作一方林泉胜境，把山水灵秀与文人情思融于开合之间，藏着旧时文人耽于丘壑的闲逸心境，尽显传统山水画寄情于景的雅致格调。",[1131,24,7,128,27,29,132,496,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F580cb82280e3b9330a6c0e3bbcddced5.jpg",[],{"id":81132,"slug":81133,"title":81134,"dynasty":54,"author":223,"museum":300,"description":10087,"tags":81135,"thumbUrl":81136,"material":692,"size":1293,"collection":84,"collections":81137,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},268765,"ke-si-qun-xian-qing-shou-tu-zhou-yi-ming-268765","缂丝群仙庆寿图轴",[1944,165,7,27,13695,96,97,1144,131,189,62,74209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faeb67df09269691b928edd4d680a3067.jpg",[],{"id":81139,"slug":81140,"title":81141,"dynasty":18,"author":223,"museum":300,"description":81142,"tags":81143,"thumbUrl":81145,"material":84,"size":84,"collection":2210,"collections":81146,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},242195,"wei-huan-zhang-dun-shou-zhou-min-tie-yi-ming-242195","卫歡章顿首州民帖","此作笔势纵逸洒脱，牵丝映带间流转灵动，字字欹正相生，行气连贯酣畅。点画粗细富于变化，提按顿挫间筋力遒劲，于法度之内尽显萧散俊朗的风神。墨色沉郁古雅，章法疏密有致，字间错落呼应，将尚韵的晋人意趣尽显无遗。通篇带着疏朗放达的气度，尽显文人书法的风流雅韵，虽历经传拓，笔墨意趣依旧饱满动人，尽显古帖隽永的艺术魅力。",[1326,64,133,5380,81144,7],"帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46078582b13fed466e0069b94696c940.jpg",[2210],{"id":81148,"slug":81149,"title":81150,"dynasty":222,"author":223,"museum":300,"description":81151,"tags":81152,"thumbUrl":81153,"material":84,"size":84,"collection":2210,"collections":81154,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},242192,"jin-tang-shi-san-zhong-yi-ming-242192","晋唐十三种","题签行书朴拙厚重，小字端秀舒展，晋唐风雅蕴于毫端。此汇辑囊括一众经典小楷范本，既带着魏晋萧散简远的林下之风，又兼具唐楷端稳整饬的法度。虽为题名录稿，笔墨间自存沉静安闲的韵致，将古人作书时的悠然心境藏在笔锋起落之中，静静铺展出晋唐小楷的隽永风神，是窥见那个时代笔墨意趣的绝佳载体。",[7,64,572,133,1590,7322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57c7f6cc3f0541a54b363a8c193cef31.jpg",[2210],{"id":81156,"slug":81157,"title":81158,"dynasty":54,"author":81159,"museum":300,"description":81160,"tags":81161,"thumbUrl":81162,"material":692,"size":1293,"collection":84,"collections":81163,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},241658,"hou-chi-bi-fu-bing-zha-ye-ren-shi-lu-241658","后赤壁赋并札页","任士鑪","此作行书笔致灵动随性，提按顿挫尽显节律起伏。字势欹正相生，牵丝映带自然流转，行气贯通如一。墨色枯润相济，浓淡错落藏着书写时的情绪起伏，萧散简淡的意趣扑面而来。\n\n章法排布疏密巧妙，字间留白透气舒展，全无刻意雕琢的匠气，尽显手札书写的松弛真意。笔墨浸透书卷清气，将清代文人独有的雅致随性融于笔端，尽显书写者不俗的笔力与文人意趣。",[54,64,133,59,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62e39f21448dd1ea7a9d950a89abb424.jpg",[],{"id":81165,"slug":81166,"title":81167,"dynasty":18,"author":223,"museum":300,"description":81168,"tags":81169,"thumbUrl":81170,"material":611,"size":84,"collection":318,"collections":81171,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},241656,"wu-kuan-chun-xi-shi-liu-nian-chi-shu-juan-yi-ming-241656","无款淳熙十六年敕书卷","此卷行草与榜书兼具，前半题跋笔意灵动苍润，行书笔势舒展连贯，带着江南士人的儒雅清逸，墨色浓淡间尽显尚意书风的随性雅致。后半敕书大字雄强朴拙，墨色沉凝厚重，锋棱尽显官家威仪。\n\n古旧绢纸晕染出岁月斑驳，题跋的文人情思与敕文的庙堂端严相映成趣，开合藏露间尽显两宋书法风神，是彼时庙堂与山林意趣融合的缩影，笔墨间晕开旧时光的古雅厚重。",[23,7,25,64,133,572,208,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a7ad8a2ab431052588a0afefc0b9e2e.jpg",[318],{"id":81173,"slug":81174,"title":81175,"dynasty":54,"author":81176,"museum":300,"description":81177,"tags":81178,"thumbUrl":81179,"material":692,"size":1293,"collection":84,"collections":81180,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},241654,"lu-dong-qi-chang-lun-shu-ye-wang-ting-hou-241654","录董其昌论书页","王廷候","此作用笔灵动宛转，牵丝映带间尽显行书流转之美。布局疏朗匀停，字间错落生姿，毫无板滞之感。墨色枯润相生，浓淡变化自然，于细节中见匠心。\n\n整幅以论书之语为内容，笔墨与文思相融无间，将董氏书论的思辨意趣，以自家随性笔意演绎而出，既承续了秀逸雅致的帖学风韵，又以松弛舒缓的通篇气息，尽显文人书写的自在雅韵，是一件兼具笔墨审美与文论意趣的书法佳构。",[7,64,133,128,59,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b634ad29dabd220ce056526f7a6c5d7.jpg",[],{"id":81182,"slug":81183,"title":81184,"dynasty":54,"author":81185,"museum":300,"description":81186,"tags":81187,"thumbUrl":81188,"material":692,"size":1293,"collection":84,"collections":81189,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},241600,"wu-yan-shi-ye-shen-ye-fu-241600","五言诗页","沈业富","沈业富（1732年－1807年），字既堂，又字方榖、方谷，号味镫老人，室名味镫斋、味镫书屋。江苏省扬州府高邮州（今属扬州市高邮县）人，清朝政治人物、书法家。",[7,64,133,128,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F913256adbb33ca4fac85ebc1c413b852.jpg",[],{"id":81191,"slug":81192,"title":81193,"dynasty":54,"author":81194,"museum":300,"description":81195,"tags":81196,"thumbUrl":81197,"material":611,"size":84,"collection":318,"collections":81198,"showCount":975,"zanCount":1998,"manualWeight":48,"mainColor":72},241521,"zhu-fu-shi-zhou-ma-zhi-fei-241521","祝福诗轴","马之騛","此作为行书长轴，笔致圆融灵动，兼具帖学流美与北碑朴拙筋骨。开篇起笔沉凝，渐次舒展，字势顾盼生姿，行气连贯如流泉映带。\n\n整幅布局匀停，虚实相生，虽为长篇祝颂之辞，却无板滞壅塞之感，起承转合间节律悠然。点画筋骨内含，牵丝映带尽显行书飘逸之态，将敬贺心意寄寓笔墨之中，文辞与书韵相得益彰。\n书者深谙笔法意趣，融二王秀雅与碑版沉雄，既有文人情致，又具庙堂端雅气度，笔墨间尽显精湛功力与虔敬心意，是一件颇具意韵的行书佳作。",[24,7,165,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d430142e87d48699e001e86460f4ce1.jpg",[318],{"id":81200,"slug":81201,"title":81202,"dynasty":54,"author":1504,"museum":300,"description":10442,"tags":81203,"thumbUrl":81204,"material":692,"size":1293,"collection":84,"collections":81205,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},241463,"zi-xu-gao-juan-zheng-ban-qiao-241463","自叙稿卷",[64,133,25,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F315d72a62dc01a9ad5959ff2c5717882.jpg",[],{"id":81207,"slug":81208,"title":81209,"dynasty":54,"author":55281,"museum":300,"description":55282,"tags":81210,"thumbUrl":81211,"material":692,"size":1293,"collection":84,"collections":81212,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},241413,"ti-hua-shi-juan-liu-yong-241413","题画诗卷",[25,7,133,64,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ac87767aee6107c13a29656fe90317e.jpg",[],{"id":81214,"slug":81215,"title":71815,"dynasty":124,"author":81216,"museum":300,"description":81217,"tags":81218,"thumbUrl":81219,"material":611,"size":84,"collection":318,"collections":81220,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},241225,"wu-lv-shi-zhou-chen-wei-yue-241225","陈维岳","生卒年均不详，约清圣祖康熙八年前后在世。刻苦励学，与仲兄维嵋皆有文名。徐乾学、朱彝尊皆推重之。维岳著有秋水阁古文一卷，潘鬓诗二卷，红盐词二卷，并传于世。",[124,7,165,64,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1220140da4e43944eaac8222e43e5f06.jpg",[318],{"id":81222,"slug":81223,"title":81224,"dynasty":124,"author":81225,"museum":300,"description":81226,"tags":81227,"thumbUrl":81228,"material":611,"size":84,"collection":318,"collections":81229,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},241186,"zhi-yao-xian-wen-zha-juan-yang-lian-241186","致姚现闻札卷","杨涟","杨涟（1572年7月10日－1625年8月28日），字文孺，号大洪，汉族，湖广应山（今属湖北广水）人。明末著名谏臣，东林党人，“东林六君子”之一。\n万历三十五年（1607年），杨涟登进士第。初任常熟知县，举全国廉吏第一，入朝任户科给事中、兵科给事中。明神宗病危时，杨涟力主太子朱常洛（明光宗）进宫服侍神宗。光宗即位后，他极力反对郑贵妃求封皇太后。光宗病重时，杨涟上疏力陈其过失，得以获光宗召见，受顾命之任。李选侍在光宗逝世后，欲挟太子朱由校（明熹宗）把持朝政。杨涟说服朝臣，挺身而出，闯进乾清宫，拥熹宗即位，并逼李选侍移出乾清宫，安定朝局。累迁至左副都御史。\n天启五年（1625年），因弹劾魏忠贤二十四大罪，被诬陷受贿二万两，历经拷打，惨死狱中。崇祯元年（1628年），杨涟获平反，追赠太子太保、兵部尚书，谥号“忠烈”。有《杨忠烈公文集》传世。\n杨涟终生致力于争“红丸案”、“移宫案”以正宫闱，反阉党以遏止魏忠贤，为挽救混乱的政局献出了自己宝贵的生命。",[23,64,133,25,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c1945b7f5c8f316b93aae84afdc083e.jpg",[318],{"id":81231,"slug":81232,"title":81233,"dynasty":54,"author":55281,"museum":300,"description":55282,"tags":81234,"thumbUrl":81235,"material":692,"size":1293,"collection":84,"collections":81236,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},241157,"song-cai-ming-yuan-xu-zhou-liu-yong-241157","送蔡明远叙轴",[7,64,133,165,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff30e70280c45adde96c5c0ab5b247d46.jpg",[],{"id":81238,"slug":81239,"title":50743,"dynasty":54,"author":81240,"museum":300,"description":81241,"tags":81242,"thumbUrl":81244,"material":611,"size":84,"collection":318,"collections":81245,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},241078,"shi-zhou-fang-xun-241078","方薰","方薰(1736—1799)，字兰士，一字懒儒，号兰坻、兰如、兰生、长青、樗庵，别署语儿乡农，浙江石门（今属桐乡）布衣。槑子。性高逸狷介，朴野如山僧。诗、书、画并妙，写生尤工，与钱塘奚冈（字铁生，西泠八家之一）齐名，世称浙西两高士，称“方奚”。一时能手，无出二人之上。阮元评其画说：“深得宋元人秘法。”陈希濂则说：“兰士作画，繁不重，简不略，厚在神，秀在骨，高旷之气，突过时辈。”作品有《山静居诗稿》《山静居词稿》《题画诗》《山静居画论》。",[7,165,133,64,208,68381,950,13413,3649,39943,44054,1556,9404,19006,547,228,81243,1314],"烟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67a37ec1aed7712c705ad5c860ddd550.jpg",[318],{"id":81247,"slug":81248,"title":58919,"dynasty":54,"author":29876,"museum":300,"description":29877,"tags":81249,"thumbUrl":81250,"material":692,"size":1293,"collection":84,"collections":81251,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},241033,"qi-jue-zhou-fu-shan-241033",[24,7,165,840,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e8f5a02289221965bf397a01a47c12f.jpg",[],{"id":81253,"slug":81254,"title":60702,"dynasty":54,"author":29876,"museum":300,"description":29877,"tags":81255,"thumbUrl":81256,"material":692,"size":1293,"collection":84,"collections":81257,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},241032,"wu-lv-zhou-fu-shan-241032",[7,165,840,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08227a425efead1a09742bf66725b770.jpg",[],{"id":81259,"slug":81260,"title":81261,"dynasty":54,"author":81262,"museum":300,"description":81263,"tags":81264,"thumbUrl":81265,"material":611,"size":84,"collection":318,"collections":81266,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},241021,"qi-yan-zhou-gong-you-rong-241021","七言轴","龚有融","龚有融（1755～1831）清著名书画家。字晴皋，号绥山樵子，晚号拙老人，清四川省重庆府巴县人。祖父辈由营山县迁入巴县，定居西里冷水场（今重庆九龙坡区华岩乡）。\n乾隆四十四年（1779年）举人。后屡试春闱不第，以游幕和馆课为生。嘉庆十七年（1812）大挑一等，选山西崞县（今原平县）知县。旧例新令至可得数千金。龚有融单车抵县，破旧例，却金不受。在官三年，多惠政。\n会抚军巡县，供张之费，须敛民财，有融不忍，亲自支应。驺从哄于署。是时有融方食，惟麦饭豆菽，举以示之曰：“此吾所自奉，共食何如？”次日抚军启行，呼左右不即至，抚军不悦。\n未几，调任石楼知县，有融年已六十，宦情淡薄，遂称病辞官。崞县民众攀辕泣送，为立生祠祀之。归里薄置田宅，自题宅旁小溪曰“退溪”。于石碾房课徒讲学，名曰“碾斋书堂”。\n教授勤恳，远近才俊，慕名来学者众，至屋舍不能容，造就颇多。间应朋友之请，作书画得润笔以自给。晚年自号“拙老人”。高简不轻出，当道欲图一见不可得，亟重其画。某太守生辰，郡人将制锦以献。太守曰：“以幅纸得龚先生书画足矣。”有融时馆于城，竟走避。比太守拜见，不见，亦不答。\n道光十一年（1831）病卒于家。崇祀乡贤祠。",[54,7,64,165,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fb12e447b9f0ed29a963d7f48cf90b4.jpg",[318],{"id":81268,"slug":81269,"title":81270,"dynasty":54,"author":17240,"museum":300,"description":81271,"tags":81272,"thumbUrl":81273,"material":611,"size":84,"collection":318,"collections":81274,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},241016,"shu-zha-juan-cha-shi-biao-241016","书札卷","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。\n专事书画，家多鼎彝，及宋元人真迹，遂精鉴别。画初学倪高士，后春梅华道人、董文敏笔法。用笔不多，惜墨如金，风神飘散，气韵荒寒，逸品也。与同里孙逸、汪之瑞、僧弘仁合称四大家。晚年画益超迈，直窥元人之奥。朱漫堂不轻许可人，独以得其狮子林画册为快。说者谓其晓起最迟，凡应酬，临池挥洒，必于深夜，不以为苦，八十余，尚童颜。商丘宋漫堂牵为之立传，并序行其诗。书法襄阳，极似董文敏。艺舟双揖评其行书为佳品上。",[24,7,25,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4c8f1c05b13de6e1378bbda9cad11c4.jpg",[318],{"id":81276,"slug":81277,"title":81278,"dynasty":124,"author":81279,"museum":20,"description":81280,"tags":81281,"thumbUrl":81282,"material":133,"size":81283,"collection":318,"collections":81284,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},240929,"shi-ba-jia-xing-rui-lian-tu-yong-juan-ma-yu-240929","十八家行瑞莲图咏卷","马愈","马愈，明代书画家。字抑之，号华发仙人，人号马清痴，嘉定（今属上海市）人。其父马轼曾以星占服务于军中，又是著名的院体画家。马愈于明英宗天顺八年（1464年）中甲申科进士，后来官至刑部主事。马愈能诗，善书，工山水，登逸品。以诗文书画与江南士有广泛交游，著有《马氏日抄》一卷。",[23,7,25,133,81,208,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9497ca668f58efd01d57e634606a51cd.jpg","纵23.27厘米，横38厘米",[318],{"id":81286,"slug":81287,"title":81288,"dynasty":18,"author":223,"museum":300,"description":81289,"tags":81290,"thumbUrl":81291,"material":611,"size":84,"collection":318,"collections":81292,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},240928,"zhi-zi-hua-lang-zhong-zun-qi-xiong-zha-juan-yi-ming-240928","致紫华郎中尊契兄札卷","此作用笔舒展灵动，结体疏密随性，尽显宋人尺牍的温雅意趣。笔墨间带着松弛的文人气息，墨色浓淡自然晕开，章法错落松弛，毫无刻意雕琢之感。\n\n手札藏着寄友私语，既有别后霜途的牵念，也带着宦路倏忽的怅惘，将知己交游的缱绻心绪融于挥毫之间。通篇气息清雅从容，尽显士大夫的笔墨风流，日常离愁与真挚情谊裹挟在笔墨流转之中，把文人日常的雅致心境尽数铺陈纸面，是兼具实用意涵与审美价值的尺牍佳构。",[164,24,7,25,133,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9efd517e60169c38e8576fad947ce6f.jpg",[318],{"id":81294,"slug":81295,"title":52232,"dynasty":54,"author":81296,"museum":300,"description":81297,"tags":81298,"thumbUrl":81299,"material":692,"size":1293,"collection":318,"collections":81300,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},240722,"shu-zha-ce-chong-qi-240722","崇绮","崇绮（1829－1900），清代唯一一位旗人状元。晚清大臣，字文山，阿鲁特氏，原隶蒙古正蓝旗，父凭女贵，升隶满洲镶黄旗。大学士、军机大臣赛尚阿之子，郑亲王端华的女婿。一妹一女同为同治帝后妃，同父异母妹妹即恭肃皇贵妃，女儿即孝哲毅皇后。同治四年一甲一名进士，状元。迁侍讲，以女为后，封三等承恩公，光绪间历任吏部尚书、礼部尚书，与徐侗同为大阿哥溥儁师傅。八国联军入京时，随荣禄走保定，自缢死。谥号“文节”。",[7,64,59,572,133,27,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3259ff3dde49768ea03197cb0045b235.jpg",[318],{"id":81302,"slug":81303,"title":81304,"dynasty":124,"author":81305,"museum":300,"description":81306,"tags":81307,"thumbUrl":81308,"material":611,"size":84,"collection":318,"collections":81309,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},240646,"shang-guan-ying-rui-lang-ya-pian-zhou-shang-guan-ying-rui-240646","上官应瑞琅琊篇轴","上官应瑞","这件草书作品气脉贯通全篇，笔墨苍劲老辣。行笔枯湿浓淡富于层次变化，起收之间尽显率意洒脱。字距疏密随心排布，章法错落却浑然一体，将文人抒怀的恣意揉入线条流转之中。\n\n运笔时而疾劲如走龙，线条瘦劲挺括；时而缓锋徐行，墨色温润晕染，尽显书写时的情绪起伏。既恪守草书法度，又不失随性抒怀的意趣，尽显明代草书尚势的特质。笔墨裹挟作者饱满情志，诗文意蕴与书法意趣相融，是极具个性的文人书法佳作。",[24,7,165,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea42c6b881a084c959ff45cb8f00378c.jpg",[318],{"id":81311,"slug":81312,"title":50743,"dynasty":124,"author":81313,"museum":56,"description":81314,"tags":81315,"thumbUrl":81316,"material":611,"size":81317,"collection":318,"collections":81318,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},240441,"shi-zhou-shen-shi-xing-240441","申时行","申时行 ，汝默，号瑶泉。长洲（今江苏吴县）人。嘉靖四十一年（公元一五六二年）进士第一，授修撰。以文字受知张居正。历官礼部右侍郎、吏部右侍郎、左侍郎兼东阁大学士、礼部尚书、吏部尚书、建极殿大学士等职。万历本年为立太子问题，触怒皇帝，遭黜责，后辞官返乡。卒，谥文定。时行所著诗文，有《赐闲堂集》四十卷，《四库总目》传于世。《明史》卷二百十八有传。",[7,64,133,165,208,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d765f70ca9dba8874c686a445001a04.jpg","186.2×39.6cm",[318],{"id":81320,"slug":81321,"title":81322,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":81323,"thumbUrl":81324,"material":692,"size":1293,"collection":84,"collections":81325,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},240406,"xian-chuang-man-bi-ce-dong-qi-chang-240406","闲窗漫笔册",[23,164,24,7,59,133,208,64,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04382bc9e7c9c0adbffb0593d29b8f25.jpg",[],{"id":81327,"slug":81328,"title":81329,"dynasty":124,"author":81330,"museum":300,"description":81331,"tags":81332,"thumbUrl":81333,"material":611,"size":84,"collection":318,"collections":81334,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},240356,"bai-lian-shi-ye-lu-shi-kai-240356","白莲诗页","陆师凯","此作用笔爽利遒劲，行书笔势灵动婉转，牵丝映带自然流畅，墨色兼具浓腴与枯涩，尽显明代行书尚态之美。字间错落排布，行气贯通一体，将咏白莲的诗意融于笔墨之中。线条粗细变化丰富，既有帖学流美雅致的意韵，又暗含挺健筋骨，文人清逸的书卷气萦绕其间，把对白莲的咏叹藏在挥毫走笔之间，书写随性却不失法度，整幅作品抒情写意兼具，尽显文人书法以笔达意的清雅格调。",[64,7,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27ae59cb7f6b2eab10ef9cddce62cd06.jpg",[318],{"id":81336,"slug":81337,"title":81338,"dynasty":124,"author":81339,"museum":300,"description":81340,"tags":81341,"thumbUrl":81342,"material":692,"size":1293,"collection":84,"collections":81343,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},240352,"bing-di-lian-shi-ye-ling-lu-240352","并蒂莲诗页","凌录","此作用笔清劲秀逸，牵丝映带间尽显灵动婉转，提按顿挫富于节律变化，将行书的挥洒自如与雅致蕴藉融于一体。通篇布白疏朗匀停，字势欹正相生，敛放之间暗含行气贯通。笔墨意趣贴合诗中情致，缱绻心绪寄于笔端，既带着明人书法尚态抒情的特质，又兼具隽雅书卷气。墨色浓淡自然过渡，枯湿互见，添了几分萧散疏淡的文人意韵，尽显以书寄情的风雅品格，是一件兼具笔墨美感与文情诗意的行书佳作。",[7,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b3f55246bb355170a08f40a2da03751.jpg",[],{"id":81345,"slug":81346,"title":81347,"dynasty":54,"author":73104,"museum":300,"description":81348,"tags":81349,"thumbUrl":81350,"material":611,"size":84,"collection":318,"collections":81351,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},240304,"qi-xiang-ting-shu-zha-juan-yuan-mei-240304","歧香亭书札卷","袁枚，字子才，号简斋，生于1716年，逝于1797年，享年81岁，是清朝乾嘉时期著名的诗人、散文家和文学评论家，生平以自由洒脱，狂放不羁著称，留下许多风流韵事，代表作品有《随园诗话》及《补遗》，《小仓山房集》、《子不语》、《续子不语》、《随园食单》等。袁枚自幼熟读读书，擅长写诗作词，在乾隆四年也即1739年，年仅24岁的袁枚考中进士，被授予翰林院学士。乾隆七年即1742年，袁枚被外调做官，先后做过沭阳、江宁、上元等地的知县，袁枚执政清明，不畏权贵，颇有政绩，在乾隆十四年时，袁枚父亲去世，遂辞官回乡养母，同时在江宁也即今南京购房安居，所买随园经袁枚的翻修改造，成为了当时著名的私人园林，而袁枚也被世称为随园先生。袁枚在67岁时服完母丧后，开始远途游山玩水，先后游览过天台山、雁荡山、黄山、广东罗浮山、丹霞山、武夷山等地，袁枚在游历期间写下众多散文游记，直到去世的当年，81岁高龄的袁枚还在出游吴江，要知道古时候，交通不便，沟通不畅，袁枚以老年之态还能畅游全国山水，精神可嘉，勇气可嘉。",[23,7,25,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8246a9218cfe7fbea17719430e4a6217.jpg",[318],{"id":81353,"slug":81354,"title":81355,"dynasty":54,"author":81356,"museum":300,"description":81357,"tags":81358,"thumbUrl":81359,"material":611,"size":84,"collection":318,"collections":81360,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},240300,"chen-yu-fang-shi-tie-zhou-chen-yu-fang-240300","陈玉方诗帖轴","陈玉方","此作为行书论书诗，用笔提按顿挫分明，线条粗细跌宕，兼具沉实厚重与秀逸灵动。起笔恭谨端凝，随文势渐次舒展，牵丝映带自然圆融，尽显书写时的流畅意趣。\n\n章法疏密相宜，纵有行而字间呼吸得当，落款小字清雅恭谨，与正文形成虚实对比。墨色干湿浓淡错落，枯笔见筋骨力道，润笔显腴润质感，将书法技法体悟化入笔底。以笔墨书书论，文与艺相融，清逸朴雅间尽显文人书卷气，是清代帖学风貌的典型体现。",[64,7,165,133,1590,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdfff3f577e4ef218e2bc604098ad544.jpg",[318],{"id":81362,"slug":81363,"title":81364,"dynasty":124,"author":81365,"museum":300,"description":81366,"tags":81367,"thumbUrl":81368,"material":611,"size":84,"collection":318,"collections":81369,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},240297,"lu-xiang-sheng-shi-zhou-lu-xiang-sheng-240297","卢象昇诗轴","卢象昇","卢象升（1600年4月16日—1640年1月10日），字建斗，又字斗瞻、介瞻，号九台，南直隶常州府宜兴县（今江苏宜兴）人。明末杰出将领。万历二十八年三月四日（1600年4月16日），卢象升生于常州府宜兴县张渚镇。\n天启二年（1622年）进士。自崇祯六年（1633年）起，参与镇压李自成等农民军有功，升任右副都御史，总理河北、河南、山东、湖广、四川军务，兼湖广巡抚，后升任兵部侍郎，再迁兵部左侍郎，总督宣府、大同、山西军务。崇祯七年（1634年），击溃张献忠农民军。崇祯八年（1635年），击败高迎祥、李粜自成洎农民頭军。樤崇祯十一年（1638年），担任兵部尚书，力主抗清，守卫京师，连战皆捷，反被太监高起潜陷害，免去尚书职务，以侍郎视事。著有《卢忠肃公集》、《卢象升疏牍》。\n崇祯十二年（1639年），率部在巨鹿贾庄被清军包围，高起潜拥兵不救，终因炮尽矢绝，战死疆场，年仅三十九岁，追赠太子太师、兵部尚书。南明福王时，追谥“忠烈”。清朝，追谥“忠肃”。",[24,7,165,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bbff6ef8793eae0f03f8071c1660f4e.jpg",[318],{"id":81371,"slug":81372,"title":81373,"dynasty":54,"author":41362,"museum":300,"description":81374,"tags":81375,"thumbUrl":81376,"material":692,"size":1293,"collection":84,"collections":81377,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},240266,"ni-bai-le-tian-fang-ge-xing-zhou-da-chong-guang-240266","拟白乐天放歌行轴","笪重光（1623年—1692年），字在辛，号君宜，又号蟾光、逸叟、江上外史、郁冈扫叶道人，晚年居茅山学道改名传光、蟾光，亦署逸光，号奉真、始青道人，江苏丹徒句容东荆（今江苏句容白兔镇茅庄村）人（一作江苏丹徒人），清朝著名书画家。",[54,64,133,165,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F925e736ee36deb39c916ea9e65eb92b5.jpg",[],{"id":81379,"slug":81380,"title":81381,"dynasty":124,"author":81382,"museum":300,"description":81383,"tags":81384,"thumbUrl":81385,"material":692,"size":1293,"collection":84,"collections":81386,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},240252,"jiu-jia-ju-bo-chan-shi-song-xing-shi-juan-liu-ruo-zai-240252","九家居伯禅师送行诗卷","刘若宰","刘若宰（1595～1640），字胤平，号退斋，南直隶安庆府怀宁县（今安徽省怀宁县平山街道大塅）人。明崇祯元年（1628年）状元，书画家。\n刘若宰出生于书香门第，文思敏捷，出口成章。擅长书画，楷、行、草书均精绝。他常向朝廷举荐智勇忠贞的人才，明末名将史可法由安池道监军升为巡抚，就是因为他的举荐。崇祯十三年四月十三日，他因积劳成疾辞世。死后追赠詹事，赐祭葬，荫子。后因子刘馀慧仕，加赠太仆太卿。旧时县学宫（今安庆市）前建有状元坊，刘若宰在安庆的府邸称状元府，今安庆状元府宾馆得名于此。",[23,7,64,25,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e2749b494f30ecb0f8cb23e045d2fa4.jpg",[],{"id":81388,"slug":81389,"title":81390,"dynasty":54,"author":81391,"museum":300,"description":81392,"tags":81393,"thumbUrl":81394,"material":611,"size":84,"collection":318,"collections":81395,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},240200,"lu-yu-zhou-yin-zhuang-tu-240200","录语轴","尹壮图","尹壮图，字楚珍，云南蒙自人，于乾隆三十一年（1766年）考中进士，乾隆三十九年（1774年）入阁任内阁学士，兼礼部侍郎。乾隆五十五年（1790年），他上书乾隆皇帝，向皇帝直言议罪银制为朝廷带来的不利。关于这件事，《清史稿》中有详细的记载",[304,7,165,133,208,64,8162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65c91df5a1a2e7742c119d9e8bc9f427.jpg",[318],{"id":81397,"slug":81398,"title":58867,"dynasty":124,"author":26410,"museum":300,"description":81399,"tags":81400,"thumbUrl":81401,"material":611,"size":84,"collection":318,"collections":81402,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},240194,"shi-juan-zhang-rui-tu-240194","明代市民阶层崛起，经济领域以及意识形态都发生了巨大变化。思想文化领域出现了以解放个性为中心的王阳明心学。美学思想也不例外，在书法上主要是强调创作源于心灵，以师心代替师古，突破前人束缚,独抒性灵。\n明代中期以后，陈淳、徐渭以其狂放不羁的个性和骇世惊俗的面目，首先在书坛上掀起波澜，传统的审美范式受到了强有力的冲击。时至明末清初，张瑞图、黄道周、王铎、倪元璐、傅山等脱颖而出。他们以一种纵横豪迈酣畅的气势，形成了一股十分引人注目的求异出新的浪潮。",[23,7,64,25,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bf8c4caf7c2415220fb939c272e16a8.jpg",[318],{"id":81404,"slug":81405,"title":81406,"dynasty":54,"author":81407,"museum":20,"description":81408,"tags":81409,"thumbUrl":81410,"material":611,"size":84,"collection":318,"collections":81411,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},240184,"wen-zhou-cao-zhen-xiu-240184","文轴","曹贞秀","曹贞秀(1762-1822)，字墨琴，自署写韵轩，安徽休宁人，侨居吴门，为曹锐女，王芑孙妻，无金粉之好，能绘事，书法钟王，士林重之。",[24,7,165,133,840,572,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F824c855bb34f23e3b4e8153b00263aba.jpg",[318],{"id":81413,"slug":81414,"title":81415,"dynasty":54,"author":81416,"museum":300,"description":81417,"tags":81418,"thumbUrl":81419,"material":300,"size":84,"collection":318,"collections":81420,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},240170,"si-jia-shou-zha-juan-sun-cheng-ze-240170","四家手札卷","孙承泽","孙承泽（1593-1676），字耳北，一作耳伯，号北海，又号退谷，一号退谷逸叟、退谷老人、退翁、退道人，山东益都人，世隶顺天府上林苑（今河北大兴）。明末清初政治家、收藏家。明崇祯四年（1631）中进士。官至刑科给事中。先投降李自成大顺政权，清顺治元年（1644）又投降清朝，历任吏科给事中、太常寺卿、大理寺卿、兵部侍郎、吏部右侍郎等职。富收藏，精鉴别书、画。著有《春明梦余录》《天府广记》《庚子消夏记》《九州山水考》《溯洄集》《研山斋集》等四十余种，多传于世。卒年八十五。其故宅即今后孙公园25号，寓号“研山堂”，内有“万卷楼”。入“贰臣传”。",[23,64,25,133,840,208,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b5519d9af27330914d2e823572b129f.jpg",[318],{"id":81422,"slug":81423,"title":58867,"dynasty":54,"author":29662,"museum":300,"description":32120,"tags":81424,"thumbUrl":81426,"material":692,"size":1293,"collection":84,"collections":81427,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},240150,"shi-juan-yong-rong-240150",[23,24,7,25,133,64,208,128,27,28,132,663,228,19006,3344,171,130,211,1233,331,61,376,371,167,375,168,263,209,373,374,1634,2059,99,81425,547,1771,413],"镜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51bef9db8d13140b80a43b3a09f5f780.jpg",[],{"id":81429,"slug":81430,"title":81431,"dynasty":124,"author":7003,"museum":300,"description":81432,"tags":81433,"thumbUrl":81434,"material":611,"size":84,"collection":318,"collections":81435,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},240065,"gu-shi-shi-jiu-shou-juan-zhu-yun-ming-240065","古诗十九首卷","祝允明(1460-1526) 字希哲、晞喆。因右手多生一指，故自号支指生、枝指生、枝指山人、枝山、枝山居士、枝山樵人等。世称“祝京兆”。长洲(今江苏吴县)人，自幼就聪慧过人，五岁时能写一尺见方的大字，九岁会作诗，以后博览群书，诗文有奇气。弘治五年（1429）中举，以后便久试不第， 正德九年（1514），他被授为广东兴宁县知县，在岭南五年，后升任为应天(今南京)府通判，正德十四年（1519）年称病还乡。他的仕途与他的祖辈和儿子来说，都相差甚远，实际上他是一个不得意的文人。他和唐寅等人意气相投，玩世狂放。与唐寅、文徵明、徐祯卿并称为 “吴中四才子”。晚年，他喜独居作诗文，崇尚魏晋风流和禅宗，生活更加放浪形骸而不乐拘检，甚至玩世不恭，在吴门派中，他算最具有文人特质的一位。祝允明父为徐有贞女婿，自己又是李应祯之婿，祖父祝颢为进士，曾官至山西布政司右参政，相信在这样的环境里，他受到多方面的熏染。《明史.文苑传》称其“能诗文，尤工书法，名动海内。”他的楷书早年精谨，师法赵孟頫，褚遂良，并从欧，虞而直追“二王”，其书《出师表》谨严浑朴。晚年，临写《黄庭经》不注重点画的形似，而结构疏密，转运遒逸，神韵益足。嘉靖末的书法家王樨登说：“古今临《黄庭经》者，不下十数家，然皆泥于点画形似钩环戈磔之间而已，......枝山公独能于矩绳约度中而具豪纵奔逸意气。”他的草书师法李邕，黄庭坚，米芾，功力深厚，晚年尤重变化，风骨烂熳。人称：“枝山草书天下无，妙酒岂独雄三吴！” 清代朱和羹《临池心解》认为：“祝京兆大草深得右军神理，而时露伧气；小草则顿宕纯和，行间茂密，亦复丰致萧远，庶几媲美褚(遂良)公。”代表作有《草书贾至大明宫早朝诗轴》，《箜篌引（即草书曹植诗手卷）》和《赤壁赋》等，流利洒脱，奔放不羁。《名山藏》说：“允明书出入晋魏，晚益奇纵，为国朝第一。",[23,164,24,7,25,128,208,64,840,133,1590,6369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d3a954db750c98792c82776e8c12da1.jpg",[318],{"id":81437,"slug":81438,"title":58929,"dynasty":54,"author":81439,"museum":300,"description":81440,"tags":81441,"thumbUrl":81442,"material":84,"size":84,"collection":318,"collections":81443,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},239920,"zhi-lian-shang-ye-wang-chong-xi-239920","王崇熙","王崇熙，清江西省抚州府南城县人，为清代嘉庆贰拾肆年（公元1819年）《新安县志》的主编者 ( 注：广东省新安县，后名宝安县，今天广东省深圳市），主修是当时的新安县令舒懋官。",[7,64,133,59,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa087d44b374c08fa1ebbe93d73efb220.jpg",[318],{"id":81445,"slug":81446,"title":81447,"dynasty":124,"author":81448,"museum":300,"description":81449,"tags":81450,"thumbUrl":81451,"material":84,"size":84,"collection":318,"collections":81452,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},239890,"ming-dai-ming-ren-shen-shi-xing-deng-mo-bao-yang-yi-qing-239890","明代名人，申时行等墨宝","杨一清","杨一清（1454年12月24日－1530年9月5日），字应宁，号邃庵，别号石淙，汉族，云南安宁人 。明代名臣。\n成化八年进士，曾任陕西按察副使兼督学。弘治十五年以南京太常寺卿都察院左副都御史的头衔出任督理陕西马政。后又三任三边总制。历经成化、弘治、正德、嘉靖四朝，为官五十余年，官至内阁首辅，号称“出将入相，文德武功”，才华堪与唐代名相姚崇媲美。",[64,133,25,128,7,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01fbbe7667dd57131d3c4f62400f5f7a.jpg",[318],{"id":81454,"slug":81455,"title":81456,"dynasty":124,"author":81457,"museum":300,"description":81458,"tags":81459,"thumbUrl":81460,"material":84,"size":84,"collection":318,"collections":81461,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},239885,"shou-xu-juan-wen-ti-ren-239885","寿序卷","温体仁","温体仁（1574年1月1日-1638年8月11日） ，字长卿，号员峤，浙江湖州府乌程县（今浙江省湖州市南浔区）人。明朝末年大臣，崇祯年间的内阁首辅之一。\n温体仁于万历二十六年（1598年）进士，选为庶吉士，万历年间历任翰林院编修、南京国子监司业、左谕德、左庶子、少詹事等职。天启年间升为礼部右侍郎兼翰林院侍读。崇祯初年升南京礼部尚书、礼部尚书，与周延儒联手阻止钱谦益入阁，并以“孤忠”“廉谨”的形象取得了崇祯帝的赏识与信任。崇祯三年（1630年）六月以礼部尚书兼东阁大学士，跻身内阁，成为次辅，两年半后累升至少傅兼太子太傅、吏部尚书、建极殿大学士。在此期间，他与首辅周延儒互相倾轧，并在崇祯六年（1633年）六月扳倒周延儒，自己取而代之，翌年晋升中极殿大学士，加少师。崇祯十年（1637年）六月因欲置钱谦益于死地而被崇祯帝怀疑“有党”，不得不辞职致仕。翌年病死于家中，享年六十六岁（虚岁）。崇祯帝追赠他为太傅，赐谥号“文忠”。\n温体仁为崇祯朝阁臣中居位最久者，辅政期间，明朝内忧外患的局势逐渐恶化。他几乎没有任何重要的建树与对策，而是一味排斥异己、迎合皇帝，尤其受到原东林党人士的憎恨。清修《明史》将他列入“奸臣传”。",[23,7,25,64,133,572,208,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae99c514dd9ba09f3b7efe1dc314d8ff.jpg",[318],{"id":81463,"slug":81464,"title":81465,"dynasty":54,"author":81466,"museum":300,"description":81467,"tags":81468,"thumbUrl":81469,"material":84,"size":84,"collection":318,"collections":81470,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},239855,"ti-zi-ye-cai-zhi-ding-239855","题字页","蔡之定","清乾隆十年十二月十二日生，五十八年进士，嘉庆元年(1796)授编修，继任高宗实录馆总篡，嗣升国子监司业、侍讲学士。五年后，历任顺天乡试同考宫、会试同考官、河南正主考。十九年，建议以纸币代银，受到妄言乱政处分，降为鸿萨寺少卿。晚年主讲钟山、蕺山两书院，以阐扬理学著称。擅书法，与翁方纲、刘塘、铁保号称四大书家。道光十四年九月初八卒，葬横塘圩风水墩。",[7,64,59,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9858435f416759826fc0bbf7db5c29f8.jpg",[318],{"id":81472,"slug":81473,"title":81474,"dynasty":54,"author":223,"museum":300,"description":81475,"tags":81476,"thumbUrl":81477,"material":84,"size":84,"collection":318,"collections":81478,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},239842,"bao-jin-shi-feng-gong-fu-ye-yi-ming-239842","宝晋诗奉功甫页","这两帧尺牍小品尽显清人书法的闲散意趣。右侧竹纹浅褐笺上，行笔舒展灵动，结体错落随性，墨色带着自然浓淡过渡，朱红小印点缀其间，将日常酬唱的松弛藏于笔墨间。左侧绿暗花笺上，笔墨沉厚朴拙，笔画苍劲却不失婉转，章法疏朗自在，带着手札特有的不加雕琢的天然之美。雅致笺纸搭配随性笔墨，将旧时文人唱和往来的日常雅趣尽显，笔墨间藏着清逸的文人风神，是颇具韵味的清代尺牍小品。",[24,7,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5224929ee9b64039af0f848943f73465.jpg",[318],{"id":81480,"slug":81481,"title":81482,"dynasty":124,"author":223,"museum":300,"description":81483,"tags":81484,"thumbUrl":81485,"material":692,"size":1293,"collection":84,"collections":81486,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},239805,"lu-yi-zhi-zong-yi-xiu-yi-da-ren-shi-ye-yi-ming-239805","陆釴致宗谊绣衣大人诗页","此作以暗纹云水笺书写，雅致静穆。行书笔致灵动秀逸，结体舒展清和，牵丝映带间流转自然，兼具劲挺骨力与温润韵致。\n\n诗作为友朋酬唱之札，笔墨间晕开知己酬赠的温雅情怀，章法疏朗从容，通篇气息匀和安闲，尽显彼时文人士大夫以翰墨寄怀的风雅意趣，是一件兼具书法审美价值与文人社交意涵的绝佳小品。",[805,7,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5925f29337c80688b69e7cc846256dd8.jpg",[],{"id":81488,"slug":81489,"title":81490,"dynasty":124,"author":81491,"museum":300,"description":81492,"tags":81493,"thumbUrl":81494,"material":692,"size":1293,"collection":318,"collections":81495,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},239729,"ming-ren-jian-du-ce-zhi-jiang-cun-zha-chen-liu-239729","明人笺牍册-致江村札","陈鎏","陈鎏(liú)（1508－1575）明代官吏、学者、书法家。\n字子兼，别号雨泉，吴县（今江苏苏州）人。嘉靖十七年（1538）进士，除工部营缮主事，累官至四川右布政使。诗文冲远有致，书法尤精绝。工小楷。出入钟欧，自篆、隶、行、草、擘窠以逮笺疏、榜署书，尤丰媚遒逸，有天然趣。卒年七十。 著有《已宽堂集》。",[24,7,59,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa30f126de5b03811bb887d5764c53e96.jpg",[318],{"id":81497,"slug":81498,"title":81499,"dynasty":54,"author":15720,"museum":300,"description":81500,"tags":81501,"thumbUrl":81504,"material":84,"size":84,"collection":84,"collections":81505,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},239702,"shu-hong-li-ti-dong-gao-fang-yu-xie-sheng-shi-zhou-ai-xin-jue-luo-yong-xing-239702","书弘历题董诰方舆写胜诗轴","此作用笔匀净精到，点画圆润端秀，结构排布严整匀称，是清代馆阁体书法的成熟之作。\n\n通篇气息恭谨雅致，字里行间疏朗有度，既恪守森严的馆阁法度，又不失灵动隽秀的韵致。书写时笔墨带着庄重肃穆的笔意，尽显恭谨之心，同时展露世家贵胄的笔墨涵养，将馆阁体的工稳秀雅体现得淋漓尽致，是清代正统楷书的典型范本。",[24,7,64,165,611,572,81502,9910,304,208,81503,66851],"馆阁体","题诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe664881c85e75b214874235ba038f66a.jpg",[],{"id":81507,"slug":81508,"title":81509,"dynasty":144,"author":54850,"museum":300,"description":81510,"tags":81511,"thumbUrl":81512,"material":84,"size":84,"collection":84,"collections":81513,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},239672,"chun-hui-tang-ji-juan-ou-yang-xuan-239672","春晖堂记卷","《春晖堂记》卷是元代欧阳玄创作的楷书书法作品。\n署款：“国史冀郡欧阳玄记”，款下钤“冀郡欧阳玄印”。\n鉴藏印有清安岐、乾隆内府、嘉庆内府、宣统内府诸印。\n卷后有元张翥、吴当、贡师道、程益四家题诗。\n《春晖堂记》是欧阳玄为王伯善的“奉亲之堂”所撰并书的记文。\n文中赞扬了王伯善对母亲的孝敬，同时又歌颂了王母的贤惠。\n从文中可知，此奉亲之堂名“春晖”,是当时的文人吴养浩据唐孟郊“谁言寸草心，报得三春晖”的诗意而起。\n此卷后面的诗跋咏颂的都是王伯善奉孝母亲之事，而不是对欧阳玄书法的评价。\n此书学苏轼，笔法浑厚稳健，刚劲流畅，笔画精到，起承转折分明，结体方扁，分间布白极其匀称，是欧阳玄合文章、书法为双美的代表作品。\n欧阳玄（？-157）字原功，号圭斋，浏阳人。\n祖籍江西。\n系欧阳修的族裔。\n清康熙年间修浏阳县志时因避康熙皇帝玄烨讳，改玄为元，所以又有欧阳元之称。\n115年（元延二年），取中进士第三名，为官4余年先后六入翰林，两为祭酒，两任主考，以史学成就最为突出，同时也以诗文闻名天下，因其学识渊博，文绩卓著，人称“一代宗师”。",[23,164,24,7,25,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc486d24397cc66b8fc169a4d8a916a62.jpg",[],{"id":81515,"slug":81516,"title":81517,"dynasty":124,"author":81518,"museum":300,"description":81519,"tags":81520,"thumbUrl":81521,"material":84,"size":84,"collection":318,"collections":81522,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},239594,"hui-yi-tie-ce-ye-wei-ji-239594","诲益帖册页","魏骥","魏骥为明成祖永乐三年（1405年）举人，次年以进士副榜授官松江府儒学训导，参与纂修《永乐大典》。历任太常博士、吏部考功员外郎、南京太常寺少卿、行在吏部左侍郎等职，曾多次奉命巡视畿甸蝗灾，询问民间疾苦。正统八年（1443年），改礼部左侍郎，以年老力衰请求致仕，遂改南京吏部侍郎。正统十三年（1448年），再以老辞官，未获准许。次年，升任南京吏部尚书。“土木之变”时，为对瓦剌用兵献计献策，屡被朝廷采纳施行。景泰元年（1450年）致仕，家居二十余年，病逝于明宪宗成化八年（1472年），年九十八，获赐谥号“文靖”。魏骥能诗文，有《南斋前后集》《松江志》《水利事实》《水利切要》《理学正义》《南斋摘稿》等",[7,64,133,4437,611,8116,208,805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b776fcdd8989ee74911520bab0086ff.jpg",[318],{"id":81524,"slug":81525,"title":38899,"dynasty":54,"author":38900,"museum":300,"description":38953,"tags":81526,"thumbUrl":81527,"material":692,"size":1293,"collection":84,"collections":81528,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},239531,"fang-gu-ji-you-tu-ce-huang-yi-239531",[24,164,7,59,128,188,96,331,29,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F924c1247898f08ee7257df85283e7639.jpg",[],{"id":81530,"slug":81531,"title":35700,"dynasty":54,"author":55412,"museum":300,"description":81532,"tags":81533,"thumbUrl":81534,"material":84,"size":84,"collection":84,"collections":81535,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},239414,"fang-gu-shan-shui-ping-qin-zu-yong-239414","此作用平远构图铺展湖乡霁后之景。浩淼湖面之上，舟楫轻泛、水鸟翔集，洲渚错落延展，田畦方整如织，村舍掩映于林麓间，行人缓步堤岸，满溢悠然烟火意趣。下半段笔意陡转，青绿重峦挺拔苍劲，古松虬枝盘绕，山巅亭台、山麓城郭错落排布，融田园疏淡与山水雄浑于一体。\n\n笔墨承袭元明文人画意，设色淡雅秀润，线条松秀柔和，题诗呼应画境，将江南湖山的清润灵秀与村居闲趣相融，师法古人又自出机杼，把江南雨后的雅致诗意尽铺尺幅之中。",[24,7,165,27,132,330,29,130,211,98,99,129,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0faa8571b923df80597b934c85f728d.jpg",[],{"id":81537,"slug":81538,"title":409,"dynasty":54,"author":40799,"museum":300,"description":81539,"tags":81540,"thumbUrl":81541,"material":84,"size":84,"collection":84,"collections":81542,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},239364,"shan-shui-ce-wang-san-xi-239364","此帧以淡墨晕染远山，将谷中氤氲雾气铺陈开来，左上飞瀑垂落，碎玉落入寒潭，随波漾开清浅留白，摹写出平湖空寂。近景虬曲矮树斜生石畔，墨色点染的花叶与身旁幽竹交映，石隙细流潺潺汇入清溪。\n\n配题诗以笔补画境，将林樾阴浓、山光浸溪的幽寂尽数托出，整体笔墨秀润清雅，于尺幅间铺展出世外林泉的静穆禅意，观之如临其境，似能呼吸到谷中清润山风，将山水间的闲澹空明悄然藏于笔墨方寸中。",[24,7,59,128,27,29,167,99,171,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5af868a5a5bb3d88f883d36b6aacae40.jpg",[],{"id":81544,"slug":81545,"title":409,"dynasty":54,"author":17240,"museum":300,"description":26583,"tags":81546,"thumbUrl":81547,"material":692,"size":1293,"collection":84,"collections":81548,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},239332,"shan-shui-ce-cha-shi-biao-239332",[24,7,59,128,133,132,29,1337,496,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74458d219673175ee12b1e558e6fc03e.jpg",[],{"id":81550,"slug":81551,"title":4724,"dynasty":124,"author":5798,"museum":300,"description":55106,"tags":81552,"thumbUrl":81553,"material":692,"size":1293,"collection":84,"collections":81554,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},239321,"shan-shui-tu-ce-zhang-hong-239321",[24,7,59,128,132,29,171,331,1233,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35dd2edef713a7351041f53ee6949307.jpg",[],{"id":81556,"slug":81557,"title":62758,"dynasty":54,"author":223,"museum":300,"description":81558,"tags":81559,"thumbUrl":81560,"material":84,"size":84,"collection":84,"collections":81561,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},239273,"hou-qi-zhi-hua-hua-niao-ce-yi-ming-239273","此作用指为笔，水墨晕染芭蕉阔叶，浓淡干湿间尽显蕉叶向背层次，墨色苍润兼具，带着生拙朴厚的天然意趣，毫无毛笔雕琢的刻意感。旁侧新竹清瘦挺拔，枝叶舒展灵动，与芭蕉形成疏密开合的视觉对照。画面留白疏朗空灵，衬出幽寂闲适的林下意境。\n题诗呼应画境，将酒醒听蕉雨、伴鹤沐清风的隐逸闲思融于笔墨间，把夏日蕉竹的清雅禅意写尽，尽显文人水墨小品的雅致情致。",[24,7,59,29104,128,61,167,875,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d4b97e92557060500da92c8ac74527.jpg",[],{"id":81563,"slug":81564,"title":49450,"dynasty":124,"author":49451,"museum":300,"description":81565,"tags":81566,"thumbUrl":81567,"material":84,"size":84,"collection":84,"collections":81568,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},239266,"shu-hua-tu-ce-cheng-min-239266","此作以枯笔写古木老干，皴擦极简便带出苍朴嶙峋的质感。兰叶以焦墨挥写，笔势纵逸洒脱，长短交错、顾盼生姿，将兰草清挺舒展之态尽显无遗，花瓣以淡墨轻点，雅致简约，不着浓艳。\n\n全幅构图疏密相宜，留白得当，以少胜多，把幽兰孤高脱俗的君子气质烘托得淋漓尽致。整幅小品尽显文人水墨的雅致意趣，将画者寄情于兰的高洁情志融于笔墨之间，淡雅空灵，意韵悠长。",[24,7,59,128,375,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dbf4cf9c69cfd1e2dbbb5fc84f93e03.jpg",[],{"id":81570,"slug":81571,"title":49450,"dynasty":124,"author":49451,"museum":300,"description":81572,"tags":81573,"thumbUrl":81574,"material":692,"size":1293,"collection":84,"collections":81575,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},239260,"shu-hua-tu-ce-cheng-min-239260","此作以水墨写意绘就，构图疏朗空灵。斜出的松枝虬曲苍劲，松针细劲绵密，带着岁月浸淫的古拙意趣。两丛墨竹错落排布，浓墨挥写竹叶，笔锋爽利洒脱，尽显竹之清劲挺拔、疏朗萧然。淡墨勾染的石块造型简括，与苍松劲竹相映，留白衬出画面通透空寂之感。全幅不施丹青，仅以浓淡水墨区分物象层次，将松之坚贞、竹之清刚、石之沉静相融，以物寄怀，寥寥数笔便勾勒出君子风骨，尽显文人画萧散雅致的林下意韵，笔墨简淡却风神自足。",[24,7,128,59,167,1314,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2ef6c68906bcfa72d7ffff02823586c.jpg",[],{"id":81577,"slug":81578,"title":49450,"dynasty":124,"author":49451,"museum":300,"description":81579,"tags":81580,"thumbUrl":81581,"material":692,"size":1293,"collection":84,"collections":81582,"showCount":975,"zanCount":1998,"manualWeight":48,"mainColor":72},239256,"shu-hua-tu-ce-cheng-min-239256","此作用笔爽利老辣，以浓墨挥写竹叶，聚散错落有致，枝桠遒劲舒展，尽显修竹清瘦挺拔的君子风骨。画面留白疏朗空灵，虚实相生之间，衬出竹影摇曳的悠然意态。墨色浓淡自然晕化，笔触带着清劲之气，寥寥数笔便将竹的迎风之姿勾勒传神。极简构图却意韵悠长，将画者寄情于竹、追慕高洁澹泊的心境融于笔端，淡远清幽，尽显文人写意画的雅致意趣，于尺幅之间藏着悠悠林下之风。",[24,7,59,128,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc060c7414c6a9b76d08bbdb25e9f1bc0.jpg",[],{"id":81584,"slug":81585,"title":49450,"dynasty":124,"author":49451,"museum":300,"description":81586,"tags":81587,"thumbUrl":81588,"material":692,"size":1293,"collection":84,"collections":81589,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},239252,"shu-hua-tu-ce-cheng-min-239252","此幅墨兰以水墨写意写就，兰叶纯以中锋运笔，线条舒展劲挺，刚柔并济，似君子临风，错落排布间虚实相映，尽显章法之妙。花苞以浓淡墨色点染，寥寥数笔便将幽兰花苞含露待放之态勾勒传神。\n\n全幅不着背景留白相称，愈发衬出空谷幽兰的清寂高洁，暗含文人托物言志的意趣，将兰花君子般脱俗自持的品格融于笔墨间。右下角朱红小印小巧雅致，既平衡了画面构图，也为水墨素色添了一抹亮色点缀，整幅画作简淡清逸，余韵悠长。",[164,24,7,59,128,375,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f75771e4bef722c0466e9c40b148ec8.jpg",[],{"id":81591,"slug":81592,"title":21411,"dynasty":54,"author":51000,"museum":300,"description":81593,"tags":81594,"thumbUrl":81595,"material":84,"size":84,"collection":84,"collections":81596,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},239208,"song-shi-zhou-mei-geng-239208","此作以苍松怪石为景，右侧丛松拔地顶天，苍劲主干以鳞皴写出，斑驳松皮尽显岁月古拙。松冠层叠如伞，笔墨凝练清隽，自带萧散之气。下方湖石奇崛瘦透，淡墨晕染勾勒轮廓，浓墨点苔提点意趣，虚实相生，尽显嶙峋朴野之态。全幅留白开阔悠远，将苍松的虬劲古茂与顽石的静穆朴拙相融，尽显简淡清逸的文人意趣，淡而弥厚，清而弥永，藏着山林古意与雅致风骨。",[24,7,165,128,132,372,1314,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F896f2c1c8248965d6d19b20c2e31837a.jpg",[],{"id":81598,"slug":81599,"title":57064,"dynasty":54,"author":33617,"museum":300,"description":81600,"tags":81601,"thumbUrl":81602,"material":84,"size":84,"collection":84,"collections":81603,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},239205,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239205","此帧以枯淡笔墨绘就云山胜景，嶙峋危崖如鬼斧削成，淡墨晕染出空濛烟岚，将山林古寺晕化在清寂烟霭之间，萧散简远。\n\n画作笔墨苍秀内敛，山石勾勒简劲古拙，林木层叠间见生拙之趣。左侧题跋行书笔致清刚疏宕，与山水意境浑然相融，尽显画者寄情林泉、幽独超逸的林下之风，通篇淡墨浅痕，漫溢出静穆淡远的文人雅韵，是遗民画家清冷孤高心境的笔墨写照。",[24,7,59,128,29,663,413,130,415,37,64,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff082f0001e6630a62c74dcc0fe01cbfd.jpg",[],{"id":81605,"slug":81606,"title":57064,"dynasty":54,"author":33617,"museum":300,"description":81607,"tags":81608,"thumbUrl":81609,"material":84,"size":84,"collection":84,"collections":81610,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},239198,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239198","此作以枯淡水墨绘就林泉幽境，危崖层叠嵯峨，飞瀑垂落寒潭，山径蜿蜒通至崖畔山居，林木萧疏掩映屋舍，尽现山野荒寂之致。笔墨苍浑秀润，皴擦间尽显山石肌理质感，简淡中见深隽意境。左侧题跋笔意萧散古雅，与山水意境相融相合，书画合璧更添林下之风。整幅作品寄寓幽栖避世的隐逸襟怀，尽显文人山水的高致雅趣，淡墨浅痕间铺陈出静穆清远的林下丘壑。",[24,7,59,128,132,64,208,133,29,495,131,34,35,99,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6194dc0c33f78efbc5de6255ec8b8f55.jpg",[],{"id":81612,"slug":81613,"title":1289,"dynasty":54,"author":24258,"museum":300,"description":81614,"tags":81615,"thumbUrl":81616,"material":84,"size":84,"collection":84,"collections":81617,"showCount":975,"zanCount":1998,"manualWeight":48,"mainColor":72},239156,"shan-shui-hua-hui-ce-chen-heng-ke-239156","陈衡恪(1876-1923) ，中国民国初年天才横溢的画家，美术教育家。字师曾，号槐堂、朽道人，祖籍江西义宁(今修水)，1876年3月12日出生于湖南凤凰县。著名诗人陈三立长子，陈寅恪之兄。曾留学日本，攻读博物学。归国后从事美术教育与研究。擅山水花鸟人物，其花鸟画浑厚绮丽，山水画钩多皴少，人物画带速写情趣。又工篆刻、书法，能诗，出奇造意，矫柔为刚。由于陈师曾的人品、学问及诗、书、画、印“四全”，因此被公认为民国初年北京画坛最有名望的画家。梁启超称他为“现代美术界具有艺术天才、高人恪、不朽价值的第一人”。著有《中国绘画史》、《中国文人画之研究》。",[24,7,59,27,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4c08bc41883b204df8174f899fcc862.jpg",[],{"id":81619,"slug":81620,"title":81621,"dynasty":54,"author":71842,"museum":300,"description":81622,"tags":81623,"thumbUrl":81624,"material":84,"size":84,"collection":84,"collections":81625,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},239152,"ku-mu-ju-yuan-tu-zhou-zhang-wen-tao-239152","枯木踞猿图轴","以焦墨挥写枯松老干，皴擦间尽显枝干虬曲苍劲的古拙质感，寥寥淡粉点缀枝梢新芽，暗递残冬将醒的清浅生机。灵猿踞于枝上，淡赭晕染躯体，简笔勾勒出它蜷伏凝神的慵懒模样，茸毛质感呼之欲出，神态宛然。\n整幅画面极简空灵，以少胜多，水墨写意兼具苍劲与秀雅，将山林幽寂之境与灵猿沉静之态相融，淡远疏朗的禅意漫溢纸面，尽显文人写意小品的精妙，闲淡野逸的林下意趣跃然绢素。",[24,7,165,128,27,454,949,8172,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb654efd67d54d758eda1b6c39dc0231.jpg",[],{"id":81627,"slug":81628,"title":60824,"dynasty":54,"author":19884,"museum":300,"description":81629,"tags":81630,"thumbUrl":81631,"material":84,"size":84,"collection":84,"collections":81632,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},239135,"shan-shui-he-hui-ce-zhang-zong-cang-239135","此作用笔枯淡清劲，以细碎排线勾勒水波，层层叠叠间铺展出缓流浅滩的柔缓水态。左下角汀渚以焦墨点染丛草，苍朴野逸，右上角矶石以淡墨晕出轮廓，留白衬出苔痕斑驳。\n\n全幅摒弃重彩繁皴，以极简笔墨营造江渚幽寂之境，无喧嚣物象，只留水波漱石的清旷野趣，将水畔荒寒静谧的氛围尽数铺陈，尽显文人山水萧散冷逸的雅韵，于平淡疏朗间，写尽林下水边的悠然意趣。",[24,7,59,128,132,29,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84401a2343027df5773770f569ee993d.jpg",[],{"id":81634,"slug":81635,"title":60824,"dynasty":54,"author":19884,"museum":300,"description":81636,"tags":81637,"thumbUrl":81638,"material":84,"size":84,"collection":84,"collections":81639,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},239134,"shan-shui-he-hui-ce-zhang-zong-cang-239134","此作截取早春山居一隅，枯木虬枝蟠屈于溪畔，几枝红梅绽出嫩蕊，将浅春暖意揉入萧寒底色。临水村舍幽藏其间，暗合隐逸闲情。远山以淡墨轻晕，留白作流云烟霭，虚实相生晕染出空濛淡远之境。\n\n笔墨苍润相济，山石皴擦朴拙沉厚，花枝点染雅致清妍，淡设色衬出江南早春温润底色，将幽居的清寂安闲缓缓铺陈，尽显文人山水萧散淡远的诗意。",[24,7,59,128,27,29,371,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdb87142567f41ad31d795f1f99d41e6.jpg",[],{"id":81641,"slug":81642,"title":81643,"dynasty":54,"author":14022,"museum":300,"description":40657,"tags":81644,"thumbUrl":81645,"material":692,"size":1293,"collection":84,"collections":81646,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},239108,"hua-hui-ce-5-yu-sheng-239108","花卉册5",[24,7,59,27,28,62,208,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac953455d6263d22a02dc8e5ad934128.jpg",[],{"id":81648,"slug":81649,"title":81650,"dynasty":54,"author":15196,"museum":300,"description":15197,"tags":81651,"thumbUrl":81652,"material":692,"size":1293,"collection":84,"collections":81653,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},239065,"zhu-shi-qiao-ke-wan-shan-zhang-pan-239065","竹石乔柯纨扇",[24,7,1131,27,128,208,167,1314,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa974325b51bdb3e105146679fc4677fa.jpg",[],{"id":81655,"slug":81656,"title":409,"dynasty":54,"author":57086,"museum":300,"description":57087,"tags":81657,"thumbUrl":81658,"material":84,"size":84,"collection":84,"collections":81659,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},239010,"shan-shui-ce-li-dong-239010",[24,7,59,27,128,29,132,131,34,37,495,130,10280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264bea25ee2616400b5c6c32e7d5ca98.jpg",[],{"id":81661,"slug":81662,"title":81663,"dynasty":124,"author":81664,"museum":300,"description":81665,"tags":81666,"thumbUrl":81667,"material":692,"size":1293,"collection":84,"collections":81668,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},238939,"dai-zong-chu-xu-tu-shan-song-hong-238939","岱宗初旭图扇","宋鸿","字鸿生，吴郡（今江苏苏州）人，侨居武进。善画山水、花鸟。",[24,7,1131,128,27,132,663,413,96,19189,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9de98881728700a8b839e65b6f099166.jpg",[],{"id":81670,"slug":81671,"title":40707,"dynasty":124,"author":81672,"museum":300,"description":81673,"tags":81674,"thumbUrl":81675,"material":692,"size":1293,"collection":84,"collections":81676,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238936,"shan-shui-shan-yun-qi-xun-238936","恽启巽","恽启巽（1629—1686）明末清初诗文家。字符介，又字符理，号平江。武进（今常州市区）人。恽厥初孙。清康熙十二年（1673）进士，官内阁中书。朝廷在《敕封内阁中书恽启巽》里称其“温醇著誉，恪谨持躬，质有其文，撰述分劳于两制，才堪称职，丝纶贲宠于重霄”。重孝养不重科名，侍母燕尝亭榭间，网鱼斸笋献之高堂，良辰令节得欢颜，以为乐，遂不愿仕。卒葬常州政门外丰西乡三里庵（今青龙三里村）。著有《平江诗文集》、《西江游草》等。",[24,7,1131,128,132,29,663,228,413,3387,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa3c41b41a851ea62605e5e7c279b33e.jpg",[],{"id":81678,"slug":81679,"title":42420,"dynasty":54,"author":223,"museum":300,"description":81680,"tags":81681,"thumbUrl":81682,"material":692,"size":1293,"collection":84,"collections":81683,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238915,"qing-ren-ju-pu-ce-yi-ming-238915","此作以淡彩晕染绘就黄菊柔婉之态，瓣片舒展如羽扇披拂，轻细线条勾勒出花瓣的薄透蓬松，将秋菊舒展柔润的质感尽显。叶片以青绿分染，叶脉勾勒细致，深浅晕染带出叶片俯仰生姿的灵动，枝蔓苍劲柔韧，带着盎然生机。画面留白疏朗雅致，不着浓墨重彩，以极简构图烘托出秋日菊华的清逸风骨，将菊花孤傲清隽的品格融在笔墨之间，淡而有味，静中见雅，尽显花鸟小品的幽淡文人意趣。",[24,7,61,59,27,28,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ced3c33ce30a9471dca7d5543795f6d.jpg",[],{"id":81685,"slug":81686,"title":55362,"dynasty":54,"author":646,"museum":300,"description":81687,"tags":81688,"thumbUrl":81689,"material":84,"size":84,"collection":84,"collections":81690,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238905,"fang-song-yuan-shan-shui-ce-dong-gao-238905","此作以开合之境铺展幽居秋意，近岸木板桥连汀渚，杂树点染蓝、朱异色，晕开清秋绚烂意趣。山岩以干笔皴擦，苍浑朴厚，崖畔山居隐于林木间，飞瀑穿石下注溪涧，野趣悠然自生。溪流转折间，视线渐引向远江，白帆轻曳，淡墨平峦横卧天际，虚实相生中，将山野幽寂与江天旷远相融。浅绛设色温润雅致，笔墨兼具苍秀与清润，暗合山水简淡意韵，以鲜活点彩衬出秋光明丽，尽显林下幽居的静穆清旷，仿若可神游其间，坐览林泉烟霞，品味山居闲逸。",[24,7,59,27,132,29,98,99,129,34,131,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57b8bc09fe2e7559af2d3a86f3149bc3.jpg",[],{"id":81692,"slug":81693,"title":29136,"dynasty":54,"author":223,"museum":300,"description":81694,"tags":81695,"thumbUrl":81696,"material":84,"size":84,"collection":84,"collections":81697,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238813,"dong-gao-lv-xuan-shao-jing-ce-yi-ming-238813","此作以两段取景铺展早春江村之景。上段平岸柳林如烟，柔丝垂拂春水，堤畔策驴缓行，野意悠然。下段汀渚垂柳掩映，江帆停驻，舟头闲坐之人似在低语，漫溢松弛闲适。\n\n笔触秀润清雅，柳丝细毫勾勒，晕染出笼烟含翠之姿，水面以淡墨轻晕留白，漾出空濛春水的软润质感。全幅设色浅淡明净，舍去繁复皴擦，以简淡之笔写尽融融春意，将江南早春的慵懒恬和融于尺幅，尽显寄情丘山的文人雅趣，将春日江乡的闲淡之韵缓缓铺陈。",[24,7,59,27,128,29,34,3386,96,101,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21e9febcffb28fdf6aed328df824ef02.jpg",[],{"id":81699,"slug":81700,"title":29136,"dynasty":54,"author":223,"museum":300,"description":81701,"tags":81702,"thumbUrl":81703,"material":84,"size":84,"collection":84,"collections":81704,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238812,"dong-gao-lv-xuan-shao-jing-ce-yi-ming-238812","此作以近松远水铺展山居景致，近岸苍松盘虬，黛色松针层叠如盖，浓淡点染见出葱郁生机。中景溪湾环抱着错落村居，板桥横架浅滩，有人凭栏远眺，三两屋舍隐在林麓间，烟火气暗融在清寂山水中。远景山峦以淡墨皴擦，晕染出层叠悠远的朦胧意态，留白处铺就浩渺水色，衬出空阔天光。\n\n全作用笔秀雅柔和，淡赭轻敷衬出山峦暖意，笔墨兼具工致与写意，将江南乡野的幽宁闲逸娓娓铺陈，尽显春日溪村的清和安谧，藏着文人向往的林泉雅意。",[24,7,59,29,27,132,98,99,34,131,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa087eeba28a0cc157854521c9b6613fb.jpg",[],{"id":81706,"slug":81707,"title":29144,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":81708,"thumbUrl":81709,"material":692,"size":1293,"collection":84,"collections":81710,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238800,"hua-hui-xiao-ce-dong-gao-238800",[24,7,59,27,28,61,209,5399,6193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe353806db5f74718e6ad7fdae32f84a0.jpg",[],{"id":81712,"slug":81713,"title":29144,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":81714,"thumbUrl":81715,"material":84,"size":84,"collection":84,"collections":81716,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238784,"hua-hui-xiao-ce-dong-gao-238784",[24,7,59,27,61,62,371,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd702190713b36c052c6d5c09e80afd1b.jpg",[],{"id":81718,"slug":81719,"title":46632,"dynasty":54,"author":23303,"museum":300,"description":81720,"tags":81721,"thumbUrl":81722,"material":84,"size":84,"collection":84,"collections":81723,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238745,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238745","此作以左实右虚铺陈画面，左侧山林层叠，山石以干笔皴擦出苍厚质感，古松虬枝遒劲，松下士人凭高远眺，尽显林泉雅逸之致。留白远山晕染空蒙，让画面虚实相生，意境幽寂淡远。\n\n右侧题诗与山水呼应，诗画合璧，将寻幽访胜的雅趣藏于笔墨间。笔墨苍秀清润，既有院体画的精细工整，又不失文人山水画的写意空灵，将行旅游赏的悠然意绪融于山水丘壑之间，尽显沉静内敛的古典文人审美意趣。",[24,7,59,128,132,29,34,496,96,1645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f3143fbd8f1124290c656104be3ee8a.jpg",[],{"id":81725,"slug":81726,"title":35019,"dynasty":54,"author":23303,"museum":300,"description":81727,"tags":81728,"thumbUrl":81729,"material":84,"size":84,"collection":84,"collections":81730,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238728,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238728","此作用水墨绘就秋江行旅之景，两岸层峦以干笔勾勒皴擦，线条苍劲朴拙，枯木萧疏错落在峰谷之间，尽染清寂秋意。江水蜿蜒波涌，行舟随浪浮沉，舟中士人凭舷远眺，艄公持篙摇橹，人物情态悠然自适。\n\n画作以诗配景，将乘江览胜的雅思具象化，笔意简淡清旷，把文人心底的隐逸闲情寄寓在山水行旅之间，诗画交融，尽显传统文人画的清雅格调，将题咏里的山水雅游意趣尽显纸上。",[24,7,59,128,188,132,64,208,29,129,96,99,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34364f3565e710fda0b1cedb1674b796.jpg",[],{"id":81732,"slug":81733,"title":35019,"dynasty":54,"author":23303,"museum":300,"description":81734,"tags":81735,"thumbUrl":81736,"material":84,"size":84,"collection":84,"collections":81737,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238715,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238715","此作左诗右图，诗画相生。纯以水墨白描写就，山石勾勒皴擦浑厚苍劲，层峦叠嶂间古松虬曲伸展，深谷茅舍隐现晕染出林泉幽寂之态。\n\n临崖文人衣袂飘然，凭栏纵览溪山，溪畔麋鹿驻足回眸，为幽寂丘山添了一抹灵动生机。笔墨间将诗文里栖隐丘壑、养性忘俗的意涵具象铺陈，既有北宗山水的雄峻层次，又带着南派文人画的静穆禅意，观之如踏入这方幽林丘山，共赏林下高风，尽得林泉雅趣。",[24,7,59,128,132,133,208,64,29,96,1144,131,99,97,2302,34,950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5cf5375a37c220680a5b4422747aaa3.jpg",[],{"id":81739,"slug":81740,"title":409,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":81741,"thumbUrl":81742,"material":692,"size":1293,"collection":84,"collections":81743,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238690,"shan-shui-ce-dong-bang-da-238690",[24,7,59,128,132,29,97,34,131,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11d17d6aafdb5120bc92264527079c4e.jpg",[],{"id":81745,"slug":81746,"title":63529,"dynasty":54,"author":223,"museum":300,"description":81747,"tags":81748,"thumbUrl":81751,"material":692,"size":1293,"collection":44,"collections":81752,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238622,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-238622","这幅作品以全景山水承载战事纪实，层峦叠嶂间铺展水乡战地风貌，将行军、驻营的战事情节散落排布，既有山水笔墨的章法意趣，亦还原战事的真实脉络。\n前景将校策马引兵穿行谷道，右上角城池严整列阵，细节处将军士阵列、行军队形刻画详实入微。左侧题诗与画面呼应，以图文合璧记录战事历程。以传统山水画皴染勾勒地貌，工整细致复刻战地实景，让征伐往事具象呈现，兼具历史档案价值与军事题材绘画的独特表现力。",[24,7,59,28,188,128,96,101,29,97,690,5626,33760,81749,131,34,1645,81750,18700,9481,52160,38740],"堡垒","战场景象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff52a8e49b30110e036d279dab688753f.jpg",[44],{"id":81754,"slug":81755,"title":81756,"dynasty":54,"author":223,"museum":300,"description":81757,"tags":81758,"thumbUrl":81759,"material":692,"size":1293,"collection":84,"collections":81760,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238620,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238620","平定两金川得胜图册","全景式构图铺展山地鏖战的宏阔场面，两侧陡山夹峙河谷，严整列阵的队伍与负隅顽抗的对手在此对垒。画师以细腻线条刻画出人马奔突、箭弩齐发的拼杀细节，将士悍勇姿态历历在目。山野间草木岩峦皴擦写实，烘托出战地荒蛮肃杀的氛围。\n\n整体画风冷峻写实，以纪实性的叙事还原战事的壮烈，将冷兵器时代山地攻防的紧张张力尽数铺陈于纸面，带着厚重的战地纪实感，让观者仿若亲临这硝烟弥漫的古战场。",[24,7,164,28,188,132,96,101,663,413,497,31,33760,48476,5626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba68c81815b4b6fe850b9a446c30fdbd.jpg",[],{"id":81762,"slug":81763,"title":45483,"dynasty":54,"author":13716,"museum":300,"description":13717,"tags":81764,"thumbUrl":81765,"material":692,"size":1293,"collection":84,"collections":81766,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238550,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238550",[24,7,59,133,64,28,27,96,29,34,131,666,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd64043e6183224a8724b2c4fe706e9c2.jpg",[],{"id":81768,"slug":81769,"title":74896,"dynasty":54,"author":29297,"museum":300,"description":55182,"tags":81770,"thumbUrl":81771,"material":692,"size":1293,"collection":84,"collections":81772,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238511,"xun-xing-ji-cheng-shi-hua-ce-jiang-pu-238511",[24,7,59,27,29,64,133,496,34,758,5323,111,38,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102ed131b207df3bf16b5cd7ca0ee261.jpg",[],{"id":81774,"slug":81775,"title":4071,"dynasty":54,"author":29297,"museum":300,"description":55182,"tags":81776,"thumbUrl":81777,"material":692,"size":1293,"collection":84,"collections":81778,"showCount":975,"zanCount":1998,"manualWeight":48,"mainColor":72},238487,"hua-hui-tu-ce-jiang-pu-238487",[24,7,59,27,28,61,62,2037,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b6d2dc47325011a0d45419b4d536aad.jpg",[],{"id":81780,"slug":81781,"title":81782,"dynasty":54,"author":6376,"museum":300,"description":27132,"tags":81783,"thumbUrl":81784,"material":692,"size":1293,"collection":84,"collections":81785,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238454,"mian-yi-mian-hua-tu-ce-mian-yi-238454","绵亿棉花图册",[24,7,59,27,28,96,34,37513,35,34836,111,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feec16a7f1f4b4f235f9fcc2258ad7cad.jpg",[],{"id":81787,"slug":81788,"title":15896,"dynasty":54,"author":6376,"museum":300,"description":27132,"tags":81789,"thumbUrl":81790,"material":692,"size":1293,"collection":84,"collections":81791,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238446,"geng-zhi-tu-ce-mian-yi-238446",[24,164,7,59,27,28,96,97,247,64028,234,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5ef886c0b78c2a3a493c711d44632de.jpg",[],{"id":81793,"slug":81794,"title":69399,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":81795,"thumbUrl":81796,"material":692,"size":1293,"collection":84,"collections":81797,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238429,"dong-gao-li-gu-ying-chun-tu-xiao-ce-dong-gao-238429",[24,7,59,27,28,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8328a80ea252dcadf110d07414f7027f.jpg",[],{"id":81799,"slug":81800,"title":69399,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":81801,"thumbUrl":81802,"material":692,"size":1293,"collection":84,"collections":81803,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238426,"dong-gao-li-gu-ying-chun-tu-xiao-ce-dong-gao-238426",[24,7,59,28,27,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d425a5d73a2752ce67233ba94a1b15.jpg",[],{"id":81805,"slug":81806,"title":69399,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":81807,"thumbUrl":81808,"material":692,"size":1293,"collection":84,"collections":81809,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238425,"dong-gao-li-gu-ying-chun-tu-xiao-ce-dong-gao-238425",[164,24,7,59,27,28,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa06ae7f59b43320f6f7044a3a82409e0.jpg",[],{"id":81811,"slug":81812,"title":81813,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":81814,"thumbUrl":81815,"material":692,"size":1293,"collection":84,"collections":81816,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},238406,"dong-gao-hui-jing-han-hui-tu-xiao-ce-dong-gao-238406","董诰荟景含晖图小册",[24,7,59,27,29,130,129,34,131,228,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd92167147c053dff144280efc7141fd.jpg",[],{"id":81818,"slug":81819,"title":28503,"dynasty":54,"author":646,"museum":300,"description":28504,"tags":81820,"thumbUrl":81821,"material":692,"size":1293,"collection":84,"collections":81822,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238393,"dong-gao-tao-li-yi-shou-tu-xiao-ce-dong-gao-238393",[164,24,7,59,27,28,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a09850e981c99f02e2e247416141f02.jpg",[],{"id":81824,"slug":81825,"title":41575,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":81826,"thumbUrl":81827,"material":692,"size":1293,"collection":84,"collections":81828,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238380,"jin-ying-ning-lu-tu-xiao-ce-dong-gao-238380",[164,24,7,59,27,28,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18cada16fd36191953aacf649f15bf4d.jpg",[],{"id":81830,"slug":81831,"title":41575,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":81832,"thumbUrl":81833,"material":692,"size":1293,"collection":84,"collections":81834,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238379,"jin-ying-ning-lu-tu-xiao-ce-dong-gao-238379",[24,7,59,28,27,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e43641dbdf4d164dd8b8ea31faa0975.jpg",[],{"id":81836,"slug":81837,"title":41575,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":81838,"thumbUrl":81839,"material":692,"size":1293,"collection":84,"collections":81840,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238378,"jin-ying-ning-lu-tu-xiao-ce-dong-gao-238378",[24,7,59,27,28,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12f8afc5edb9feb28b854fa237a39028.jpg",[],{"id":81842,"slug":81843,"title":41575,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":81844,"thumbUrl":81845,"material":692,"size":1293,"collection":84,"collections":81846,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238377,"jin-ying-ning-lu-tu-xiao-ce-dong-gao-238377",[164,24,7,59,27,28,61,376,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34670b69340e83fc17ee85b18ead940d.jpg",[],{"id":81848,"slug":81849,"title":36480,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":81850,"thumbUrl":81851,"material":84,"size":84,"collection":84,"collections":81852,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238337,"hua-hong-li-qing-kuang-lou-yong-zhu-shi-yi-ce-dong-gao-238337",[24,7,59,128,27,167,171,1771,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef712e608a3179dbcbae8425b9d6089e.jpg",[],{"id":81854,"slug":81855,"title":36480,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":81856,"thumbUrl":81857,"material":84,"size":84,"collection":84,"collections":81858,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238336,"hua-hong-li-qing-kuang-lou-yong-zhu-shi-yi-ce-dong-gao-238336",[24,7,59,128,29,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f3060abe5a89151ad0c8ab3b1dc9a1a.jpg",[],{"id":81860,"slug":81861,"title":38929,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":81862,"thumbUrl":81863,"material":692,"size":1293,"collection":84,"collections":81864,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238330,"yu-pu-fei-xiang-tu-xiao-ce-dong-gao-238330",[24,7,164,59,28,27,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaf3396875acf7d03750bbe697715acd.jpg",[],{"id":81866,"slug":81867,"title":38929,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":81868,"thumbUrl":81869,"material":692,"size":1293,"collection":84,"collections":81870,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238329,"yu-pu-fei-xiang-tu-xiao-ce-dong-gao-238329",[164,24,7,59,28,27,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a3be29238b146156f5b7de04eb9fd0b.jpg",[],{"id":81872,"slug":81873,"title":38929,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":81874,"thumbUrl":81875,"material":692,"size":1293,"collection":84,"collections":81876,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238324,"yu-pu-fei-xiang-tu-xiao-ce-dong-gao-238324",[24,7,59,27,28,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5cc411e6bf1976ccc0b3f1b182073ea.jpg",[],{"id":81878,"slug":81879,"title":31943,"dynasty":54,"author":31944,"museum":20,"description":31945,"tags":81880,"thumbUrl":81881,"material":1223,"size":31948,"collection":84,"collections":81882,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238297,"shi-liu-luo-han-ce-jia-quan-238297",[24,7,59,128,27,188,187,96,34,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd75feacfac5243ce88fab7dbc8999901.jpg",[],{"id":81884,"slug":81885,"title":25438,"dynasty":54,"author":25439,"museum":300,"description":81886,"tags":81887,"thumbUrl":81888,"material":84,"size":84,"collection":84,"collections":81889,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238225,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238225","此作用笔苍浑秀润，以细腻皴擦绘层叠丘壑，云雾裹挟山峦晕染出空濛意境，古松虬曲苍劲，板桥通幽隐于林下，清寂淡远的山居之境跃然纸面。\n诗画相映成趣，题跋书法笔力隽秀，将笔墨意趣与文人情思相融，尽显静穆萧散的林下之风，把江南丘壑的幽澹之美铺陈开来，是兼具笔墨法度与文人雅韵的山水佳构。",[24,7,128,132,330,29,413,98,3269,131,59,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dd0fb50a4b11b86467520a55c299439.jpg",[],{"id":81891,"slug":81892,"title":25438,"dynasty":54,"author":25439,"museum":300,"description":81893,"tags":81894,"thumbUrl":81895,"material":84,"size":84,"collection":84,"collections":81896,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238220,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238220","此作用淡墨轻构秋山平林，坡石层叠间枯木疏朗错落，山峦以干笔皴擦晕染，带出空濛淡远的霜秋意韵，清寂萧散。画面留白简净，将深秋薄霜下的幽林寒野之趣尽显。\n左侧题诗与画境呼应，书画合璧更添文人雅致。笔墨温秀简净，师法古意却自出机杼，把秋山烟霭中的空寂幽逸尽数铺展，淡远中见隽永，尽显传统文人山水的萧散诗意。",[24,7,128,132,330,64,208,59,29,34,131,31,415,3427,3428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb17672df0c4dae8959d310b99f469eb.jpg",[],{"id":81898,"slug":81899,"title":25438,"dynasty":54,"author":25439,"museum":300,"description":81900,"tags":81901,"thumbUrl":81903,"material":84,"size":84,"collection":84,"collections":81904,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238216,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238216","此作为仿古佳制，右幅绘溪林静境，苍松虬劲成荫，溪桥隐于林下，远山以淡墨晕染留白，晕开空濛烟岚，尽显林泉幽寂的隐逸之趣。笔触温婉秀润，循古法而出新意，将淡远清和的山水风神尽显无余。\n左幅题咏琳琅，诗画合璧，以文衬景，把寄情丘壑的雅怀诉诸笔端，笔墨间浸透了传统文人澄怀观道的林下襟怀，整幅册页清雅隽永，尽显师古能化的笔墨功力。",[24,7,164,1349,128,27,132,131,34,1144,98,99,37,2983,81902,2132],"仿古风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F763a5f1073179bed6806c33f9105b513.jpg",[],{"id":81906,"slug":81907,"title":409,"dynasty":54,"author":30880,"museum":300,"description":81908,"tags":81909,"thumbUrl":81910,"material":84,"size":84,"collection":84,"collections":81911,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238154,"shan-shui-ce-yun-xi-238154","此作用笔松秀温润，以淡墨皴擦勾勒层叠山峦，苍松虬枝错落生姿，古拙清刚的意趣藏于枝叶舒展间。涧谷蜿蜒，茅庐隐于松石深处，留白晕染出空濛山意，将幽寂深邈的山居之境铺陈开来。\n\n左侧行书笔势舒展俊逸，诗书与山水相映成趣，把山中空寂清冷的禅意融于笔墨间。整体简淡萧散，尽显静穆淡远的林下之风，是诗画合一的文人佳构，将林泉高致藏于尺幅之间。",[24,7,128,132,133,208,59,29,131,1144,34,130,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe72adfcce328fa41b56724de28129eca.jpg",[],{"id":81913,"slug":81914,"title":81915,"dynasty":18,"author":223,"museum":300,"description":81916,"tags":81917,"thumbUrl":81918,"material":84,"size":84,"collection":84,"collections":81919,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},238129,"liang-shi-min-lu-ting-mi-xue-tu-juan-yi-ming-238129","梁师闵芦汀密雪图卷","以淡墨晕染铺就江天雪景，汀渚芦荻披雪偃卧，寒禽静栖其间，留白拓出江天寥廓空茫。笔意简淡清润，没有繁复皴擦，仅凭水墨晕染便勾勒出雪色裹覆下的冷寂江洲。\n清冷萧寒的氛围漫溢纸面，尽显潇湘冬雪的空濛澄澈，带着宋画独有的雅致静穆。观者仿若踏雪临江，看江天雪意萧索，望外寒沙半落潮，在这份冷逸幽澹的意境里，沉醉于冬日江渚的荒寂之美。",[164,24,7,25,28,128,27,29,1824,25200,1556,129,211,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F016ed5eb355835f8e2c13be7da3c1a67.jpg",[],{"id":81921,"slug":81922,"title":38945,"dynasty":54,"author":16583,"museum":300,"description":81923,"tags":81924,"thumbUrl":81925,"material":84,"size":84,"collection":84,"collections":81926,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238056,"zhi-hua-luo-shen-fu-tu-ce-gao-qi-pei-238056","此作用指墨写意而成，淡墨轻勾洛神身形，衣袂线条简逸灵动，将神女温婉沉静的仪态尽显。洛神发髻轻缀花饰，眉眼低垂，自带柔婉幽怨的气质，暗合洛水女神深藏的缱绻心事。画面右侧题字娟秀疏朗，书画相映成趣，笔墨简淡却意蕴悠长。以指下极简的晕染勾勒，便将洛神出尘清雅的神韵晕染开来，把洛神脉脉含情的古典美感定格于尺幅之间，淡墨之中自有深情流溢，尽显写意之妙。",[24,7,59,29104,128,188,96,166,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe62ca4b856f2c282a5f10e05ab74d95.jpg",[],{"id":81928,"slug":81929,"title":4724,"dynasty":54,"author":48234,"museum":300,"description":48235,"tags":81930,"thumbUrl":81931,"material":692,"size":1293,"collection":84,"collections":81932,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},238038,"shan-shui-tu-ce-yao-song-238038",[24,7,59,128,29,133,331,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18d9187b55458bdc59139a3b50a99759.jpg",[],{"id":81934,"slug":81935,"title":7864,"dynasty":54,"author":81936,"museum":300,"description":81937,"tags":81938,"thumbUrl":81939,"material":692,"size":1293,"collection":84,"collections":81940,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237996,"za-hua-ce-xue-huai-237996","薛怀","薛怀（1717—1804），清代著名书画家。字小凤，号竹君，晚号竹居老人。桃源（今江苏泗阳县）监生，居山阳（今淮安市淮安区）。 边寿民甥。工书、画，花卉小品，清远绝俗。画用钩勒再以枯笔渍染，阴阳向背，极为明豁。写芦雁酷似其舅，又善画宜兴茶器。卒年八十七。《艺林月刊、墨林今话、墨香居画识、梧门诗话、宋元明清书画家年表附录》。",[24,7,59,128,133,208,949,52218],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93b132da6e50334d7928ccb525e0509a.jpg",[],{"id":81942,"slug":81943,"title":7864,"dynasty":54,"author":81936,"museum":300,"description":81937,"tags":81944,"thumbUrl":81945,"material":692,"size":1293,"collection":84,"collections":81946,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237993,"za-hua-ce-xue-huai-237993",[24,7,59,128,168,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d5b0802811461676ad84f712d0a718b.jpg",[],{"id":81948,"slug":81949,"title":409,"dynasty":54,"author":81950,"museum":300,"description":81951,"tags":81952,"thumbUrl":81953,"material":84,"size":84,"collection":84,"collections":81954,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237984,"shan-shui-ce-zhang-geng-237984","张庚","以淡墨晕染铺就江景，近处洲渚墨色轻沉，晕出水气湿漉的朦胧质感。错落舟帆静泊渚边，如栖止飞鸿，衬出江渚安谧。远景山峦与水天融作浅灰烟霭，将江天寥廓缓缓铺展。\n\n右侧题诗与画面相映，诗画相融，把清秋江头的空寂揉进淡墨晕染间。笔触简淡松弛，摒弃浓艳，以留白衬出悠悠秋意，将暮色江景凝于笔底，晕染出疏淡萧散的文人意趣，尽显水墨小品雅致沉静的韵致。",[24,7,59,128,132,29,100,414,415,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c794eb71a22a3b26973eb940657065d.jpg",[],{"id":81956,"slug":81957,"title":40707,"dynasty":124,"author":33462,"museum":300,"description":34341,"tags":81958,"thumbUrl":81959,"material":692,"size":1293,"collection":84,"collections":81960,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237797,"shan-shui-shan-song-xu-237797",[1131,24,7,128,132,29,34,131,31,129,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd3a6c04c455368f424f3d5a4dc2cf09.jpg",[],{"id":81962,"slug":81963,"title":4071,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":81964,"thumbUrl":81965,"material":692,"size":1293,"collection":84,"collections":81966,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},237743,"hua-hui-tu-ce-huang-shen-237743",[24,7,59,128,27,61,62,64,133,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1126f88a490e206b1a9f304b6b528eba.jpg",[],{"id":81968,"slug":81969,"title":4071,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":81970,"thumbUrl":81971,"material":692,"size":1293,"collection":84,"collections":81972,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237742,"hua-hui-tu-ce-huang-shen-237742",[24,7,59,128,27,840,61,62,481,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73b86f38cdc34c5995bfff14ab736541.jpg",[],{"id":81974,"slug":81975,"title":4071,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":81976,"thumbUrl":81977,"material":692,"size":1293,"collection":84,"collections":81978,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237740,"hua-hui-tu-ce-huang-shen-237740",[24,7,59,128,27,61,62,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80dc54edaa7cf5031122f91907b6c2e7.jpg",[],{"id":81980,"slug":81981,"title":38952,"dynasty":54,"author":38900,"museum":300,"description":38953,"tags":81982,"thumbUrl":81983,"material":84,"size":84,"collection":84,"collections":81984,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237732,"wu-sheng-shi-yi-tu-ce-huang-yi-237732",[164,24,7,59,128,132,208,29,34,131,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a5a5172c43400cc4bcc95e5512d40fa.jpg",[],{"id":81986,"slug":81987,"title":38952,"dynasty":54,"author":38900,"museum":300,"description":38953,"tags":81988,"thumbUrl":81989,"material":692,"size":1293,"collection":84,"collections":81990,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237730,"wu-sheng-shi-yi-tu-ce-huang-yi-237730",[24,7,59,128,29,129,331,231,1233,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb247c602951eb9730962ead73d735631.jpg",[],{"id":81992,"slug":81993,"title":38952,"dynasty":54,"author":38900,"museum":300,"description":38953,"tags":81994,"thumbUrl":81995,"material":692,"size":1293,"collection":84,"collections":81996,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237728,"wu-sheng-shi-yi-tu-ce-huang-yi-237728",[24,7,59,128,27,96,98,29,1771,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24362325b7ee87adefb091d91774fb01.jpg",[],{"id":81998,"slug":81999,"title":38952,"dynasty":54,"author":38900,"museum":300,"description":38953,"tags":82000,"thumbUrl":82001,"material":692,"size":1293,"collection":84,"collections":82002,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237717,"wu-sheng-shi-yi-tu-ce-huang-yi-237717",[24,7,59,128,29,758,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfc43fea93215813add526a7a77fdb87.jpg",[],{"id":82004,"slug":82005,"title":18219,"dynasty":54,"author":9529,"museum":300,"description":18220,"tags":82006,"thumbUrl":82007,"material":84,"size":84,"collection":84,"collections":82008,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237605,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237605",[24,7,59,128,27,29,331,131,1233,64,133,208,2271,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81bc2b94d2f235186ae2050f66d3ed24.jpg",[],{"id":82010,"slug":82011,"title":18219,"dynasty":54,"author":9529,"museum":300,"description":19697,"tags":82012,"thumbUrl":82013,"material":692,"size":1293,"collection":84,"collections":82014,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237597,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237597",[24,7,59,128,132,330,29,1144,495,129,131,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4a62d1ab06a5a048c42ea3c4b4b4ac.jpg",[],{"id":82016,"slug":82017,"title":409,"dynasty":54,"author":43518,"museum":20,"description":48227,"tags":82018,"thumbUrl":82019,"material":84,"size":84,"collection":84,"collections":82020,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237555,"shan-shui-ce-wen-dian-237555",[164,24,7,59,128,132,29,130,1144,131,99,1337,415,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcae7dc722fb7cce39f4f19b04f7a449f.jpg",[],{"id":82022,"slug":82023,"title":65017,"dynasty":124,"author":33809,"museum":300,"description":49544,"tags":82024,"thumbUrl":82025,"material":692,"size":1293,"collection":84,"collections":82026,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237532,"zhu-shi-shan-xiang-yuan-bian-237532",[24,7,1131,128,133,64,208,167,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc500df282e4ce3db26312f820e81149f.jpg",[],{"id":82028,"slug":82029,"title":1289,"dynasty":124,"author":42458,"museum":300,"description":42459,"tags":82030,"thumbUrl":82031,"material":692,"size":1293,"collection":84,"collections":82032,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237516,"shan-shui-hua-hui-ce-jiang-shou-cheng-237516",[24,7,59,128,133,96,29,413,1314,98,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3750b646708ded8d5b431ae47025f085.jpg",[],{"id":82034,"slug":82035,"title":4724,"dynasty":54,"author":48234,"museum":300,"description":48235,"tags":82036,"thumbUrl":82037,"material":692,"size":1293,"collection":84,"collections":82038,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237489,"shan-shui-tu-ce-yao-song-237489",[24,7,59,128,133,64,132,29,413,3387,229,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe023f2a9a93cca5c7cfe68ec2346be42.jpg",[],{"id":82040,"slug":82041,"title":4724,"dynasty":54,"author":48234,"museum":300,"description":48235,"tags":82042,"thumbUrl":82043,"material":692,"size":1293,"collection":84,"collections":82044,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237483,"shan-shui-tu-ce-yao-song-237483",[24,7,59,133,128,132,29,130,34,497,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94b6253d3ea54303e77adbede4ad2803.jpg",[],{"id":82046,"slug":82047,"title":409,"dynasty":54,"author":64957,"museum":300,"description":67163,"tags":82048,"thumbUrl":82049,"material":611,"size":84,"collection":136,"collections":82050,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237426,"shan-shui-ce-chen-jia-le-237426",[24,7,59,128,132,29,98,34,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6f85dcd74c3352e687d0065251ba96b.jpg",[136],{"id":82052,"slug":82053,"title":4724,"dynasty":54,"author":78869,"museum":300,"description":78870,"tags":82054,"thumbUrl":82055,"material":692,"size":1293,"collection":84,"collections":82056,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237396,"shan-shui-tu-ce-xue-xuan-237396",[24,7,59,27,128,132,29,98,99,34,131,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc3754680fb070bdf393422f28ab8006.jpg",[],{"id":82058,"slug":82059,"title":82060,"dynasty":54,"author":9529,"museum":244,"description":38195,"tags":82061,"thumbUrl":82062,"material":611,"size":84,"collection":84,"collections":82063,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237382,"shan-shui-ce-xu-wen-yang-jin-liu-pu-gu-zhou-tu-ye-wang-hui-237382","山水册-徐玟、杨晋柳浦孤舟图页",[24,7,59,128,132,29,129,1337,211,101,96,4363,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F334f889706a97c80364d0d28a177adbb.jpg",[],{"id":82065,"slug":82066,"title":7864,"dynasty":54,"author":38236,"museum":300,"description":38237,"tags":82067,"thumbUrl":82068,"material":692,"size":1293,"collection":84,"collections":82069,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237282,"za-hua-ce-chen-zi-237282",[24,7,59,128,27,29,1337,171,96,415,7782,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff1242b39a30b6b8be408502d9b8728d.jpg",[],{"id":82071,"slug":82072,"title":44533,"dynasty":124,"author":44534,"museum":300,"description":41599,"tags":82073,"thumbUrl":82074,"material":611,"size":84,"collection":84,"collections":82075,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237271,"zhi-hua-ce-chen-dao-237271",[24,7,59,29104,128,2059,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c1d24f8f9086b9e116e16fe988155c.jpg",[],{"id":82077,"slug":82078,"title":44533,"dynasty":124,"author":44534,"museum":300,"description":41599,"tags":82079,"thumbUrl":82080,"material":611,"size":84,"collection":84,"collections":82081,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237270,"zhi-hua-ce-chen-dao-237270",[164,24,7,59,128,29104,12642,1771,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4d23a3e0731f89b7ae46f160d3c0f3b.jpg",[],{"id":82083,"slug":82084,"title":78431,"dynasty":54,"author":17240,"museum":300,"description":26583,"tags":82085,"thumbUrl":82086,"material":692,"size":1293,"collection":84,"collections":82087,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237250,"gu-mu-zhu-shi-tu-ce-cha-shi-biao-237250",[24,7,59,128,4797,167,1314,331,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7a6dca22c41b76ec151b58485b88ee5.jpg",[],{"id":82089,"slug":82090,"title":78431,"dynasty":54,"author":17240,"museum":300,"description":26583,"tags":82091,"thumbUrl":82092,"material":692,"size":1293,"collection":84,"collections":82093,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237247,"gu-mu-zhu-shi-tu-ce-cha-shi-biao-237247",[24,7,59,128,331,167,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11591d21a2f8597e71abf9556e957f81.jpg",[],{"id":82095,"slug":82096,"title":78431,"dynasty":54,"author":17240,"museum":300,"description":82097,"tags":82098,"thumbUrl":82099,"material":84,"size":84,"collection":84,"collections":82100,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237242,"gu-mu-zhu-shi-tu-ce-cha-shi-biao-237242","此作以大片留白衬右侧小景，笔墨简净疏朗。干笔皴擦古木老干，焦墨点苔尽显苍古嶙峋；修竹俯仰有姿，淡墨写叶见清隽挺秀。湖石以淡墨晕染，朴拙静穆。更添几只小蟹，横行浅滩，为幽寂画面晕开几分野趣生机。\n\n全作用笔枯润相宜，不求繁缛工细，寥寥数笔便攫取物象神髓，萧散淡远的林下之风扑面而来，空寂留白中藏着清旷雅致，尽显闲散淡逸的文人意趣，于尺幅间勾勒出幽远超脱的林泉之境。",[24,7,59,128,4797,167,1314,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38f337755a56b5c980434696cd0b5c1c.jpg",[],{"id":82102,"slug":82103,"title":82104,"dynasty":124,"author":63769,"museum":300,"description":82105,"tags":82106,"thumbUrl":82107,"material":692,"size":1293,"collection":84,"collections":82108,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237216,"qiu-sheng-tu-shan-chen-huan-237216","秋声图扇","陈焕（公元16-17世纪初），字子文，号尧峰，尧峰山人，吴县（今江苏苏州）人，陈镒后裔。\n陈焕寄情翰墨，工画山水，取法沈周并得宋元气脉，私淑侯懋功，候早卒，焕能继其业。所画山水用笔苍秀茂密，动合法度，展对间清思扑人眉睫，以画著称于万历间。\n陈焕事迹见《吴县志》、《画史会要》、《画引》、《图绘宝鉴续纂》。",[24,7,1131,128,27,29,130,96,34,131,758,6639,132,2132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ca0188138769597c3ad733277f412b.jpg",[],{"id":82110,"slug":82111,"title":37257,"dynasty":54,"author":37258,"museum":300,"description":37259,"tags":82112,"thumbUrl":82113,"material":84,"size":84,"collection":84,"collections":82114,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237162,"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237162",[24,7,59,27,29,96,130,167,171,34,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff47182c53825422b7fce4b0d310b53de.jpg",[],{"id":82116,"slug":82117,"title":82118,"dynasty":54,"author":48763,"museum":300,"description":57280,"tags":82119,"thumbUrl":82120,"material":84,"size":84,"collection":84,"collections":82121,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237134,"shan-shui-ren-wu-ce-6-shang-guan-zhou-237134","山水人物册6",[24,7,59,27,28,96,29,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce489f801424507890f49d3a0525b38.jpg",[],{"id":82123,"slug":82124,"title":40707,"dynasty":124,"author":5798,"museum":300,"description":55106,"tags":82125,"thumbUrl":82126,"material":692,"size":1293,"collection":84,"collections":82127,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237120,"shan-shui-shan-zhang-hong-237120",[24,7,1131,128,29,129,34,97,99,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fa93874b9114a9586454b23fcc7bb54.jpg",[],{"id":82129,"slug":82130,"title":409,"dynasty":54,"author":17240,"museum":300,"description":25958,"tags":82131,"thumbUrl":82132,"material":84,"size":84,"collection":84,"collections":82133,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237108,"shan-shui-ce-cha-shi-biao-237108",[24,7,59,128,132,29,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264c43d171dc5b68a360d7031e7f0b10.jpg",[],{"id":82135,"slug":82136,"title":409,"dynasty":54,"author":17240,"museum":300,"description":25958,"tags":82137,"thumbUrl":82138,"material":84,"size":84,"collection":84,"collections":82139,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237106,"shan-shui-ce-cha-shi-biao-237106",[24,7,59,128,29,34,98,99,129,171,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf5c3c7b9db23d012365667c2d45e9f9.jpg",[],{"id":82141,"slug":82142,"title":409,"dynasty":54,"author":17240,"museum":300,"description":25958,"tags":82143,"thumbUrl":82144,"material":84,"size":84,"collection":84,"collections":82145,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237102,"shan-shui-ce-cha-shi-biao-237102",[24,7,128,132,59,29,331,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb162e797ab10d3ae1eb181564a16043f.jpg",[],{"id":82147,"slug":82148,"title":48187,"dynasty":54,"author":63332,"museum":300,"description":63333,"tags":82149,"thumbUrl":82150,"material":692,"size":1293,"collection":84,"collections":82151,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237072,"shan-shui-shan-mian-lin-shu-237072",[24,7,1131,128,132,29,413,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaa685f8d4a51970679a366f45161df3.jpg",[],{"id":82153,"slug":82154,"title":34368,"dynasty":54,"author":34369,"museum":300,"description":82155,"tags":82156,"thumbUrl":82157,"material":611,"size":84,"collection":84,"collections":82158,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237061,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237061","此作左书右绘，笔墨简淡清逸。画幅右侧以淡墨晕染山居小景，高松卓立挺秀，浓荫覆着茅舍，浅滩乱石错落成趣，远山虚晕留白，尽显空灵悠远。左侧题诗与绘境相和，咏叹松梅林下幽隐意趣。整体笔意萧散简雅，以极简笔墨勾勒出清寂出尘的林下襟怀，将幽居世外、不与俗争的文人意趣融于尺幅间，淡墨浅痕里藏着静穆悠长的林泉高致，静中生味，淡而弥远。",[24,7,128,188,59,133,208,29,372,371,97,171,34,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dde60ccd65fd10829b807274fbdf8ff.jpg",[],{"id":82160,"slug":82161,"title":82162,"dynasty":54,"author":54002,"museum":300,"description":54003,"tags":82163,"thumbUrl":82164,"material":692,"size":1293,"collection":84,"collections":82165,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237046,"fang-mi-shan-shui-shan-mian-zhu-ang-zhi-237046","仿米山水扇面",[24,7,1131,128,132,29,30,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a6dfebdea1ec4fd4a236e0cfce9f118.jpg",[],{"id":82167,"slug":82168,"title":409,"dynasty":124,"author":82169,"museum":300,"description":82170,"tags":82171,"thumbUrl":82172,"material":611,"size":84,"collection":84,"collections":82173,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237042,"shan-shui-ce-li-hang-zhi-237042","李杭之","李杭之[明]（？―一六四四）字僧筏，流芳（一五七五―一六二九）子。\n年未四十，弃诸生放浪山水。好古彝器，然遇人困难辄赠之。诗文书画，酷似其父。有月泛图，张鸿磐题云：“小李风流继阿翁，萧疏笔墨见心胸。”崇祯十二年（一六三九）尝作山水扇，现藏故宫博物馆。《列朝诗集小传》、《小松圆阁书画跋》、《南翔志》",[24,7,59,128,132,29,663,413,35,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda1ca24aaf673e0fbede39ab3805db36.jpg",[],{"id":82175,"slug":82176,"title":409,"dynasty":124,"author":48293,"museum":300,"description":48294,"tags":82177,"thumbUrl":82178,"material":611,"size":84,"collection":84,"collections":82179,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237030,"shan-shui-ce-zhang-yan-237030",[24,7,59,128,132,29,413,97,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdee4e93d7893d0d06509d6e05be8b505.jpg",[],{"id":82181,"slug":82182,"title":57287,"dynasty":124,"author":57288,"museum":20,"description":57289,"tags":82183,"thumbUrl":82184,"material":611,"size":84,"collection":84,"collections":82185,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237012,"xi-zhu-ce-zhu-ying-237012",[24,7,128,132,59,29,413,35,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f2cba6502a5b1a0885bc0c3a2d2db7a.jpg",[],{"id":82187,"slug":82188,"title":82189,"dynasty":54,"author":9529,"museum":300,"description":19697,"tags":82190,"thumbUrl":82191,"material":692,"size":1293,"collection":84,"collections":82192,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},237000,"xue-jing-shan-shui-ce-wang-hui-237000","雪景山水册",[24,7,59,128,132,29,1813,98,130,97,171,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a95f21a757869f6960a0e4b30638e21.jpg",[],{"id":82194,"slug":82195,"title":409,"dynasty":54,"author":63009,"museum":300,"description":63010,"tags":82196,"thumbUrl":82197,"material":692,"size":1293,"collection":84,"collections":82198,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},236988,"shan-shui-ce-zhang-xi-236988",[24,7,59,128,132,133,208,29,98,99,34,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14806fff5a66b9c26c15e38670e1e3e9.jpg",[],{"id":82200,"slug":82201,"title":409,"dynasty":124,"author":33462,"museum":20,"description":38210,"tags":82202,"thumbUrl":82203,"material":999,"size":38213,"collection":84,"collections":82204,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},236903,"shan-shui-ce-song-xu-236903",[24,7,59,27,132,29,97,129,171,1337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd298b51fc5d843f47382253ac2f8c23c.jpg",[],{"id":82206,"slug":82207,"title":1289,"dynasty":124,"author":36548,"museum":300,"description":82208,"tags":82209,"thumbUrl":82210,"material":84,"size":84,"collection":84,"collections":82211,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},236899,"shan-shui-hua-hui-ce-shao-mi-236899","邵弥（约1592-1642），明末清初书画家。字僧弥，后以字为名，号瓜畴、芬陀居士。长洲（今江苏苏州）人。性迂僻不谐俗，工诗文，善书法，尤长于绘画。擅画山水，亦能画水仙兰竹，其山水以元人为师承对象，略参以宋人笔意，笔墨疏简秀逸。名重一时，与董其昌、王时敏、王鉴、李流芳、杨文聪、张学曾、程嘉燧、卞文瑜合称画中九友。有《划开众皴图》、《贻鹤寄书图》等传出。草书受米芾、米友仁影响，楷书得锺繇法。",[24,7,59,188,128,371,374,169,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F496392e3a4108eddfe7dcf98d21ad8fc.jpg",[],{"id":82213,"slug":82214,"title":1289,"dynasty":124,"author":36548,"museum":300,"description":82215,"tags":82216,"thumbUrl":82217,"material":84,"size":84,"collection":84,"collections":82218,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},236898,"shan-shui-hua-hui-ce-shao-mi-236898","此作用笔秀雅温润，淡墨皴染远山，峦峰清逸空灵，山巅墨点似野禽幽栖，晕染出空濛悠远的山境。近处以浅设色铺陈山居小景：茅庐依水而建，窗内幽人凭窗远眺，竹篱环护庭院，嘉木扶疏间，深浅笔墨晕开枝叶枯荣，苔石隐现于石径之侧。\n整幅小品以清简之景，铺展出文人耽于林泉、静悟自适的幽怀，淡色浅墨里藏着枯寂出尘的意趣，咫尺画幅间尽显林丘深致，静中生味，淡而弥远，将山居幽寂的雅致氛围渲染得恰到好处。",[24,7,59,27,29,496,34,35,9425,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9b34fcd3e436889591a2b7b07caa814.jpg",[],{"id":82220,"slug":82221,"title":1289,"dynasty":124,"author":36548,"museum":300,"description":82222,"tags":82223,"thumbUrl":82224,"material":84,"size":84,"collection":84,"collections":82225,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},236897,"shan-shui-hua-hui-ce-shao-mi-236897","此作以云气为脉，将层叠山峦串织成境，飞瀑穿破烟岚，隐于云岫之间，虚实掩映漾出空濛灵逸之致。近岸古松虬枝舒展，丹黄枝叶点染清秋意趣，石矶棱角苍劲朴拙。扁舟静泊水湄，舟中雅士凭兀凝睇，将幽居林泉的隐逸之思融于尺幅。设色淡雅清和，笔致秀逸温婉，将江南秋江之静穆萧散铺陈开来，尽绘文人耽爱烟霞、寄情山水的林下襟怀。",[24,7,59,27,128,132,29,129,34,131,37,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b3da67e8e18893b62628174671f7fdc.jpg",[],{"id":82227,"slug":82228,"title":40707,"dynasty":124,"author":16032,"museum":300,"description":20309,"tags":82229,"thumbUrl":82230,"material":692,"size":1293,"collection":84,"collections":82231,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},236875,"shan-shui-shan-xiang-sheng-mo-236875",[164,24,7,1131,27,132,29,131,34,415,3427,67177,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae704d3eec53f3e0420bf3b406f54d7c.jpg",[],{"id":82233,"slug":82234,"title":409,"dynasty":54,"author":6936,"museum":300,"description":72901,"tags":82235,"thumbUrl":82236,"material":39903,"size":72904,"collection":84,"collections":82237,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},236862,"shan-shui-ce-wang-yuan-qi-236862",[24,7,59,128,27,29,132,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6352c3c8642a4b81011861dce1469d09.jpg",[],{"id":82239,"slug":82240,"title":82241,"dynasty":124,"author":223,"museum":300,"description":82242,"tags":82243,"thumbUrl":82244,"material":692,"size":1293,"collection":84,"collections":82245,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},236767,"zhou-ji-jie-shan-shui-shan-yi-ming-236767","周季节山水扇","此扇面以浅绛写就山居行旅之景，构图虚实相生。右侧层岩叠翠，古松虬枝横斜、针叶蓊郁，山坳茅舍隐现，晕染出林泉幽寂之态。左侧留白铺陈烟水，旅人策蹇徐行，暗合行旅闲情。\n\n笔墨秀逸雅致，山石以短披麻皴写质感，苔点疏落醒透，松针描摹工致细腻。敷色浅淡柔和，淡赭晕染山石，墨色分出林木浓淡层次，古意悠然。咫尺扇面间，将林泉高致与羁旅闲情相融，尽显文人山水的简淡天真，似可揽松间清风，体味幽居与行旅交融的悠远诗意。",[1131,24,7,29,27,132,131,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17ec50db96a0ae63befecd0ab062ca98.jpg",[],{"id":82247,"slug":82248,"title":67230,"dynasty":124,"author":223,"museum":300,"description":67231,"tags":82249,"thumbUrl":82250,"material":84,"size":84,"collection":84,"collections":82251,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},236761,"zhou-tian-qiu-mo-lan-tu-ce-yi-ming-236761",[24,7,164,59,128,375,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafc22e612bdf61e8f2ec1babad66c571.jpg",[],{"id":82253,"slug":82254,"title":37266,"dynasty":54,"author":37267,"museum":300,"description":82255,"tags":82256,"thumbUrl":82257,"material":84,"size":84,"collection":68,"collections":82258,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},236717,"hua-niao-guo-ce-li-qi-236717","此作用淡墨写菊，以清灵线条勾勒花瓣，舒展疏朗如带霜露。枝叶以浓淡墨色晕染，苍润相生，带着深秋萧疏意趣。枝梢停驻的草虫刻画工细，翅脉纤毫毕现，与写意花卉形成工写对照，一动一静间，篱边秋意呼之欲出。\n\n右侧行书题诗率意朴拙，笔墨与绘事相映成趣，融书画为一体，尽显文人雅趣。全幅不着一色，以水墨绘就深秋幽景，寥寥数笔便将霜菊清逸之态、小生灵鲜活之姿尽数捕捉，淡远清寂，尽显林下清雅之风，以简淡笔墨抒写出疏朗出尘的文人意韵。",[24,7,59,128,61,547,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e807b5e5d3186d42fa40772be00fac.jpg",[68,117,318],{"id":82260,"slug":82261,"title":82262,"dynasty":124,"author":82263,"museum":300,"description":82264,"tags":82265,"thumbUrl":82266,"material":692,"size":1293,"collection":84,"collections":82267,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},236702,"guan-chao-tu-shan-ye-wang-jie-236702","观潮图扇页","汪介","汪介，原名鑒，字石如，浙江杭州人。專繪花卉，工于篆刻，著有《墨林今話》、《畊硯田齋筆記》、《廣印人傳》。",[24,7,1131,128,132,29,47586,15550,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45790ad5fbf5a4c98a6ce94ff4e06337.jpg",[],{"id":82269,"slug":82270,"title":82271,"dynasty":124,"author":82272,"museum":300,"description":82273,"tags":82274,"thumbUrl":82275,"material":692,"size":1293,"collection":84,"collections":82276,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},236700,"xing-lv-tu-shan-du-ji-long-236700","行旅图扇","杜冀龙","杜冀龙[明]字士良，吴县（今江苏苏州）人。",[24,7,1131,29,128,132,1144,131,2620,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f0b849724ebc6b0c6ddcbb25a53e47c.jpg",[],{"id":82278,"slug":82279,"title":40707,"dynasty":124,"author":26957,"museum":300,"description":82280,"tags":82281,"thumbUrl":82282,"material":692,"size":1293,"collection":84,"collections":82283,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},236697,"shan-shui-shan-zhang-fu-236697","张复[明]（一四0三至一四九0）道士。字复阳，以字行（佩文斋书画谱、复阳重截）号南山，浙江平湖人。",[24,7,1131,128,132,29,413,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b42f48d63a0ee85d762e32513e21fb.jpg",[],{"id":82285,"slug":82286,"title":40707,"dynasty":124,"author":63769,"museum":300,"description":82105,"tags":82287,"thumbUrl":82288,"material":692,"size":1293,"collection":84,"collections":82289,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},236687,"shan-shui-shan-chen-huan-236687",[24,7,1131,128,132,29,413,131,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd42294b7ca53c624ecd45e7983a79f02.jpg",[],{"id":82291,"slug":82292,"title":40707,"dynasty":124,"author":5798,"museum":300,"description":55106,"tags":82293,"thumbUrl":82294,"material":692,"size":1293,"collection":84,"collections":82295,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},236668,"shan-shui-shan-zhang-hong-236668",[1131,24,7,29,128,132,34,131,35,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08a54959651ce413599b2504d7fa9211.jpg",[],{"id":82297,"slug":82298,"title":27148,"dynasty":54,"author":27149,"museum":20,"description":27150,"tags":82299,"thumbUrl":82300,"material":84,"size":84,"collection":84,"collections":82301,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},236649,"cha-shi-biao-shu-fa-ti-wang-zhi-rui-shan-shui-ce-wang-zhi-rui-236649",[54,7,59,133,128,29,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28fe1d1af44833683b80426d374ce0ee.jpg",[],{"id":82303,"slug":82304,"title":78623,"dynasty":124,"author":34726,"museum":300,"description":55756,"tags":82305,"thumbUrl":82306,"material":84,"size":84,"collection":84,"collections":82307,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},236641,"song-mao-jin-jiang-nan-ming-sheng-tu-ce-song-mao-jin-236641",[7,24,128,27,132,59,29,34,96,387,131,1023,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9614f9c09052d8f32a43efdf22d98083.jpg",[],{"id":82309,"slug":82310,"title":31307,"dynasty":54,"author":17240,"museum":300,"description":31308,"tags":82311,"thumbUrl":82312,"material":84,"size":84,"collection":84,"collections":82313,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},236572,"zha-mei-he-shan-shui-shi-zhen-cha-shi-biao-236572",[24,7,59,128,133,208,132,29,99,171,331,3344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd17f10de567733a5c327b3249389aaa.jpg",[],{"id":82315,"slug":82316,"title":4229,"dynasty":124,"author":25456,"museum":300,"description":25457,"tags":82317,"thumbUrl":82318,"material":84,"size":84,"collection":84,"collections":82319,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},236543,"hua-niao-ce-tang-zhi-yin-236543",[164,24,7,59,28,27,61,211,549,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a93d43129c7fc6eab177b5986d4881.jpg",[],{"id":82321,"slug":82322,"title":3168,"dynasty":54,"author":38236,"museum":300,"description":55512,"tags":82323,"thumbUrl":82324,"material":84,"size":84,"collection":84,"collections":82325,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},236531,"ren-wu-gu-shi-ce-chen-zi-236531",[24,7,28,27,96,1421,6092,170,64,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9337b191906d70d76244af8d58a9aae.jpg",[],{"id":82327,"slug":82328,"title":409,"dynasty":54,"author":54045,"museum":300,"description":54046,"tags":82329,"thumbUrl":82330,"material":151,"size":84,"collection":84,"collections":82331,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},236502,"shan-shui-ce-cheng-ming-236502",[24,7,59,128,27,29,171,99,34,415,495,23362,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49af4914e228e5d43bacfee39b2237e7.jpg",[],{"id":82333,"slug":82334,"title":16826,"dynasty":124,"author":40715,"museum":20,"description":54053,"tags":82335,"thumbUrl":82336,"material":611,"size":54056,"collection":84,"collections":82337,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},236489,"shan-shui-ren-wu-ce-guo-fen-ya-236489",[164,24,7,59,128,27,132,29,96,495,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7b96abf7b2a1862b35bb9864f735341.jpg",[],{"id":82339,"slug":82340,"title":54061,"dynasty":54,"author":9529,"museum":300,"description":39800,"tags":82341,"thumbUrl":82342,"material":84,"size":84,"collection":84,"collections":82343,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},236447,"ni-qian-ren-shi-yi-ce-wang-hui-236447",[24,7,59,128,132,133,208,330,29,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb6b85eae8a4526c99d22be1a7967383.jpg",[],{"id":82345,"slug":82346,"title":55527,"dynasty":54,"author":38900,"museum":300,"description":82347,"tags":82348,"thumbUrl":82349,"material":84,"size":84,"collection":84,"collections":82350,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},236419,"shan-shui-he-ce-huang-yi-236419","此作用笔简劲古雅，以淡墨勾勒皴擦山石丘壑，造型朴拙苍厚，带着金石篆刻般的凝练质感。画面取边角构图，留白疏朗空灵，山石与浅淡草木相映，营造出清寂淡远的幽居意境。左侧题识与山水相映成趣，诗画交融，尽显文人画的闲散意趣，将金石古雅意趣融于山水笔墨间，简淡之中自有沉静悠长的古韵，寥寥数笔便勾勒出超脱尘俗的林泉之致。",[24,7,59,128,132,29,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F462d8a31e1f1ec6ddc928f67776a187c.jpg",[],{"id":82352,"slug":82353,"title":40707,"dynasty":124,"author":82354,"museum":300,"description":82355,"tags":82356,"thumbUrl":82357,"material":692,"size":1293,"collection":84,"collections":82358,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},236395,"shan-shui-shan-li-zhao-heng-236395","李肇亨","字会嘉，号珂雪，又号醉鸥、爽溪钓士，后为僧，法名堂莹，住超果寺，嘉兴（今浙江嘉兴）人。日华子。工书法，摹褚。精画理，善山水，与赵左齐名，气息浑古，风韵静穆。尝以书法写葡萄尤妙。天启元年（一六二一）作研池墨雨册，顺治元年（一六四四）作溪山高隐图。工诗，著写山楼、率圃、梦余诸草。",[24,7,1131,29,132,128,663,228,34,497,758,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94f2337c833a1d6147a8cea23a1dec28.jpg",[],{"id":82360,"slug":82361,"title":82362,"dynasty":124,"author":82363,"museum":300,"description":82364,"tags":82365,"thumbUrl":82366,"material":692,"size":1293,"collection":84,"collections":82367,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},236393,"han-shan-wan-mu-shan-zhang-feng-yi-236393","寒山万木扇","张凤仪","张凤仪( ?-1633年)明末抗清女将军，沁水人，明末忠臣（尚书）张铨之女，母亲霍氏，夫马祥麟（秦良玉和抗倭将领马千乘之子）。出生于战乱时代，受母亲霍氏和张铨影响，熟读兵书史集，能文善武。早年跟随母亲霍氏及爷爷（万历尚书）张五典（退休为农时）进行抗清活动。婚后跟随马祥麟四处征战。",[164,24,7,1131,128,132,29,1337,98,96,68381],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18df79bc67763eccbaaae90aae4fbb26.jpg",[],{"id":82369,"slug":82370,"title":37282,"dynasty":54,"author":22607,"museum":20,"description":82371,"tags":82372,"thumbUrl":82373,"material":40,"size":84,"collection":84,"collections":82374,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},236388,"huang-shan-tu-zhou-mei-qing-236388","黄山，秦称黟山，唐天宝六年（747年）改今名。相传黄帝在此修身炼丹，故名黄山。现位于安徽歙县、太平、修宁、黟县间，方圆250公里，是我国最著名的风景区之一，也是世界知名的游览胜地。山脉绵延三百余里，重峦叠嶂，春、夏、秋、冬四季景色各异，无愧“人间仙境”的美誉。此外，黄山以奇松、怪石、云海、温泉“四绝”名闻于世。1992年被列为世界文化、自然双重遗产。",[24,7,165,128,132,29,495,34,131,130,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff62c5ff01f0f21409bf4f75539cdcfa9.jpg",[],{"id":82376,"slug":82377,"title":40707,"dynasty":124,"author":10922,"museum":300,"description":42506,"tags":82378,"thumbUrl":82379,"material":692,"size":1293,"collection":84,"collections":82380,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},236367,"shan-shui-shan-wen-jia-236367",[24,7,1131,124,128,132,29,34,131,415,14906,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd673f3abfb96c6dbc26a9f6cabad93ef.jpg",[],{"id":82382,"slug":82383,"title":76,"dynasty":54,"author":1311,"museum":20,"description":37291,"tags":82384,"thumbUrl":82385,"material":734,"size":37294,"collection":84,"collections":82386,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},236319,"hua-hui-ce-wang-shi-shen-236319",[24,164,7,59,27,61,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8233c34d2adad06cf49241ada4683b7b.jpg",[],{"id":82388,"slug":82389,"title":76,"dynasty":54,"author":1311,"museum":20,"description":37291,"tags":82390,"thumbUrl":82391,"material":734,"size":37294,"collection":84,"collections":82392,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},236315,"hua-hui-ce-wang-shi-shen-236315",[24,7,59,128,61,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08dafffe934d829a4e2b3a638e43e51d.jpg",[],{"id":82394,"slug":82395,"title":76,"dynasty":54,"author":1311,"museum":20,"description":37291,"tags":82396,"thumbUrl":82397,"material":734,"size":37294,"collection":84,"collections":82398,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},236312,"hua-hui-ce-wang-shi-shen-236312",[24,7,59,27,61,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe76925bbce6ae05a897549e49cc60cbf.jpg",[],{"id":82400,"slug":82401,"title":82402,"dynasty":54,"author":9529,"museum":20,"description":82403,"tags":82404,"thumbUrl":82405,"material":84,"size":84,"collection":136,"collections":82406,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},236187,"shan-shui-cheng-shan-wang-hui-236187","山水成扇","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王”，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n王翚在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[24,7,1131,29,132,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd91fe29b34a7476f74aa76a2d7b7ba75.jpg",[136,45],{"id":82408,"slug":82409,"title":72489,"dynasty":54,"author":2915,"museum":20,"description":72490,"tags":82410,"thumbUrl":82411,"material":40,"size":72493,"collection":84,"collections":82412,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},236124,"shan-shui-lou-ge-ce-chen-mei-236124",[24,7,59,95,27,29,97,131,34,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F958e8315234792f3f76ac50269ebbfc4.jpg",[],{"id":82414,"slug":82415,"title":72489,"dynasty":54,"author":2915,"museum":20,"description":72490,"tags":82416,"thumbUrl":82417,"material":40,"size":72493,"collection":84,"collections":82418,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},236116,"shan-shui-lou-ge-ce-chen-mei-236116",[24,7,59,95,27,29,97,34,35,131,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c0e745bb9a732cd55a9a3d88bfd7936.jpg",[],{"id":82420,"slug":82421,"title":42489,"dynasty":54,"author":523,"museum":300,"description":82422,"tags":82423,"thumbUrl":82424,"material":84,"size":84,"collection":84,"collections":82425,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},236085,"hua-luo-han-ce-leng-mei-236085","此作工致秀雅，右侧绘罗汉踞案说法，神态安和肃穆，侍者恭立身侧，猿、狐、蛇与一众异像环围静听，将灵怪受佛法感召的情态刻画入微，衣纹线条流畅劲挺，敷色清浅柔和。左侧题书笔墨隽秀，诗中禅意悠长，书画相映成趣。整体画面以群灵闻道的场景，渲染出佛法普泽的静谧禅境，尽显清雅空灵的意蕴，兼具精妙的造型能力与深邃的禅门意趣。",[24,7,304,187,28,59,96,5472,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F610ce15241b91041e5a4035472d82ac3.jpg",[],{"id":82427,"slug":82428,"title":409,"dynasty":54,"author":69767,"museum":300,"description":82429,"tags":82430,"thumbUrl":82431,"material":84,"size":84,"collection":84,"collections":82432,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},236077,"shan-shui-ce-shen-zong-jing-236077","此作以半边危崖配平林茅亭，虚实相映意境幽辽。苍松虬曲伴柔柳相依，松下茅亭孑然独立，暗合林泉隐逸之趣。崖外空茫间，扁舟一人随波泛远，更添江湖闲寂。\n\n笔墨清隽淡雅，淡墨皴擦写尽崖壁嶙峋肌理，点染间见草木苍润生机。留白空灵悠远，将山野幽居的澹泊之思藏于尺幅间，尽显文人画简淡静穆的雅韵，寥寥数笔便勾勒出出世忘机的悠然之境。",[24,7,59,128,27,132,29,129,130,413,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65a0a885c772e2c9c78b09dfb92b60c9.jpg",[],{"id":82434,"slug":82435,"title":18219,"dynasty":54,"author":223,"museum":300,"description":82436,"tags":82437,"thumbUrl":82438,"material":84,"size":84,"collection":84,"collections":82439,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},236066,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236066","此作用笔简淡松秀，绘就冬日郊野之景。枯木寒林错落苍劲，虬枝瘦干尽显古拙姿态，留白晕染出空濛清寂的萧疏寒意。近景板桥之上行人徐行，林麓间茅舍错落，漾出幽闲野趣。整体意境淡远萧疏，以简驭繁将郊林冬日的静谧铺陈开来，右上角题字添缀文人气韵，暗合文人寄情林泉的幽怀，尽显仿古山水的雅逸意趣，将冬日林野的清寂闲雅藏于笔墨之间。",[24,7,59,128,330,132,29,1233,331,98,99,130,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78a464c894302ac9e286789abd11005a.jpg",[],{"id":82441,"slug":82442,"title":18219,"dynasty":54,"author":223,"museum":300,"description":82443,"tags":82444,"thumbUrl":82445,"material":84,"size":84,"collection":84,"collections":82446,"showCount":975,"zanCount":1998,"manualWeight":48,"mainColor":72},236064,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236064","此作用水墨晕染江南春山朝暮之景，云雾如缕，在层叠峰峦与林麓间漫溢缠绕，将青山晕染得虚实相生，似含温润水汽。近岸苍木蓊郁，山坞中隐见村居屋舍，下方溪河蜿蜒舒展，三两扁舟轻泛烟波，野趣悠然。\n\n笔法松秀温雅，以淡墨反复皴擦晕染，不见刻露之笔，处处透着静穆淡远的意境，将江南山水的柔婉清幽与文人向往的林泉雅趣融为一体，观之如身临幽寂山野，足以涤荡尘心。",[24,7,59,128,330,132,29,495,34,31,37,131,98,130,129,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae085406406d31950536f0b8ca2ee6f.jpg",[],{"id":82448,"slug":82449,"title":18219,"dynasty":54,"author":223,"museum":300,"description":82450,"tags":82451,"thumbUrl":82452,"material":84,"size":84,"collection":84,"collections":82453,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},236063,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236063","此作用笔苍劲老辣，以细密干笔勾勒山峦，披麻皴皴擦山石肌理，层叠岩峦兼具高远、深远之致，硬朗质感尽显。谷中溪流蜿蜒回转，为沉静山景添灵动生机。林木排布疏密得宜，虬松横斜、茂林簇拥，错落之间晕染出山野幽寂意趣。\n\n全幅以焦墨写就，气息苍浑古雅，追摹宋元山水意韵，仿古却不泥古，将林下隐逸之境铺陈开来。静穆丘壑藏着秀逸情致，尺幅之中笔墨简澹却意韵悠长，尽显沉稳醇厚的仿古笔墨功力，观之便如踏入幽寂山居，揽获林泉雅趣。",[24,7,59,128,132,330,208,29,131,34,99,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca9300aae1fac661607e253e9eeea9c6.jpg",[],{"id":82455,"slug":82456,"title":18219,"dynasty":54,"author":223,"museum":300,"description":82457,"tags":82458,"thumbUrl":82459,"material":84,"size":84,"collection":84,"collections":82460,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},236057,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236057","这幅小品以云气为脉络铺陈春山景致，虚实相生，意境空濛。前景苍松虬曲盘桓，老干苍劲带着古拙意趣，与右侧烟霭里的粉艳桃枝相映，刚柔相济。青绿敷色清润雅致，山石晕染柔和无浓艳浮躁之感，浅淡石色晕开山峦肌理，衬得云海愈发舒卷通透。远山隐没在留白云涛之中，尽显天地的空阔幽谧。整作追摹古贤山水的雅逸格调，将春山温润秀灵与云烟清寂融于一处，仿若可踏入烟峦春晓，静赏林泉雅致，尽显传统山水空灵悠远的隽永美感。",[24,7,59,27,29,663,950,413,497,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd09ae05db7b0ad208deb7681ba373b2.jpg",[],{"id":82462,"slug":82463,"title":409,"dynasty":54,"author":6936,"museum":300,"description":82464,"tags":82465,"thumbUrl":82466,"material":84,"size":84,"collection":84,"collections":82467,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},236054,"shan-shui-ce-wang-yuan-qi-236054","此作用笔苍劲老辣，以干笔枯墨反复皴擦山峦，层层铺陈出山石浑厚苍润的质感。山峦开合有致，高远与深远兼得，尽显层林叠嶂的幽深意境。林木错落穿插，姿态古拙秀挺，山居村舍掩映在林泉烟霭之间，晕染出江南山野的幽寂清宁。\n\n画面气息高古静穆，师法元人笔意，将文人山水的书卷气融于笔墨之中，于简淡疏朗里藏着沉郁苍茫的力道，缓缓铺展出林泉高致的悠然意趣，让观画之人仿佛踏入这清幽山居，沉醉在这份安谧雅致的山水之境。",[24,7,59,128,29,132,34,98,99,131,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6812b912b7fec3140154e618a8e51b1e.jpg",[],{"id":82469,"slug":82470,"title":82471,"dynasty":54,"author":6946,"museum":300,"description":35061,"tags":82472,"thumbUrl":82473,"material":692,"size":1293,"collection":84,"collections":82474,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},236036,"di-si-a-li-zun-zhe-ding-guan-peng-236036","第四嗄礼尊者",[24,7,164,304,187,28,27,96,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e67fa3908e03a3ed7975e7c623e8c60.jpg",[],{"id":82476,"slug":82477,"title":67367,"dynasty":54,"author":223,"museum":300,"description":82478,"tags":82479,"thumbUrl":82480,"material":84,"size":84,"collection":84,"collections":82481,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235989,"ban-shan-shan-shui-ren-wu-ce-yi-ming-235989","这幅淡墨山水以留白造境，尽显简澹空灵。坡岸以干笔淡墨皴擦，苍润相生，带着松弛的山野意趣。崖边杂木疏朗错落，枝桠轻逸，晕染出清寂秋意。近岸奇石嶙峋，极简勾勒衬出水畔生趣。水榭静立岸侧，柴扉半掩，似藏幽人闲居的意趣。\n\n整幅画舍去繁丽设色，以水墨浓淡晕染悠远空寂的山水氛围，将文人寄情林泉的雅逸心境藏在留白与淡墨之间，笔致简净萧散，淡而有味，尽显幽寂淡远的林下之风。",[24,7,59,128,132,29,131,34,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8833b6b46e79827720239e467fd7d0d0.jpg",[],{"id":82483,"slug":82484,"title":67367,"dynasty":54,"author":223,"museum":300,"description":82485,"tags":82486,"thumbUrl":82487,"material":84,"size":84,"collection":84,"collections":82488,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235987,"ban-shan-shan-shui-ren-wu-ce-yi-ming-235987","此作用大片留白铺陈烟波浩渺的水色，以极简笔墨勾勒两岸景致。左岸苍松枯木错落排布，清劲笔线写尽枯木疏朗萧散之态，苍松墨色沉郁朴拙，干湿浓淡相映成趣。右岸淡墨晕染坡岸，林麓间隐现屋舍，渔舟独系石畔，野逸悠然。\n\n全幅以水墨写意而成，删繁就简、以少胜多，不着一笔而尽得水意空濛，尽显空灵淡远的文人意趣，将江南水滨的清寂之景融于尺幅间，笔致简净松秀，墨韵温润清雅，暗含静穆淡远的禅意，写尽林泉幽居之致。",[24,7,59,128,29,331,131,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a3eec8b4c8a4dea519b70e55b5d133d.jpg",[],{"id":82490,"slug":82491,"title":67367,"dynasty":54,"author":223,"museum":300,"description":82492,"tags":82493,"thumbUrl":82494,"material":84,"size":84,"collection":84,"collections":82495,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235984,"ban-shan-shan-shui-ren-wu-ce-yi-ming-235984","此作用笔松灵简淡，以枯笔勾皴石骨，淡墨晕染山石苍润质感。主峰奇崛高拔，岩间苔木轻缀，暗藏山野生机。左侧流泉沿石涧蜿蜒而下，似有声韵潺潺而出。右侧山麓茅舍掩映，素朴圆窗透着幽居闲意，远景疏木淡描、板桥横陈，留白铺就空寂开阔的意境。整幅以少胜多，萧疏清寂，将林泉隐逸的意趣融于尺幅间，尽显文人山水静穆淡远的旨趣，笔底尽是幽居林泉的恬然逸致。",[24,7,59,128,132,29,171,331,99,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6af1ecce7d9c3d96decf8ee1b9840d56.jpg",[],{"id":82497,"slug":82498,"title":67367,"dynasty":54,"author":223,"museum":300,"description":82499,"tags":82500,"thumbUrl":82501,"material":84,"size":84,"collection":84,"collections":82502,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235979,"ban-shan-shan-shui-ren-wu-ce-yi-ming-235979","此作为水墨写意小品，以极简笔墨晕染出江南水乡的空濛意趣。苍劲老干以浓墨枯笔写出，苔点醒出古拙生气；留白作烟波水面，寥寥数笔勾勒出扁舟渔父，隐于舟中，淡写村居篱落与苇草，似有微风穿拂摇曳。\n\n画面干湿浓淡对比鲜明，大片留白撑起幽清远阔的意境，萧散简淡间，晕染出水乡日常的恬寂闲静。不见繁复刻画，却将渔隐的悠然、水乡的清和融入方寸之间，笔简意足，尽显文人写意画的疏淡禅意，仿佛可闻水波轻响，静享一隅江村的安闲况味。",[24,7,59,128,29,96,98,99,129,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2c7d6ad1d31bd0925cff24cdb4ca87a.jpg",[],{"id":82504,"slug":82505,"title":4724,"dynasty":54,"author":46717,"museum":300,"description":46718,"tags":82506,"thumbUrl":82507,"material":692,"size":1293,"collection":84,"collections":82508,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235922,"shan-shui-tu-ce-mei-chong-235922",[24,7,59,128,27,29,97,34,171,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F584dc382ba2512e9137efe4215de9b65.jpg",[],{"id":82510,"slug":82511,"title":4724,"dynasty":54,"author":54118,"museum":300,"description":82512,"tags":82513,"thumbUrl":82514,"material":692,"size":1293,"collection":84,"collections":82515,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235906,"shan-shui-tu-ce-guan-quan-235906","官铨（公元17-18世纪初）〔清〕字方楷，号山启(《中国美术家人名辞典》作字心楷)，上元（今江苏南京）人，生卒年不详。\n龚贤(1618-1689)弟子，能诗善画。山水得龚贤正传，画风似乃师，墨法精到，唯缺劲健勾勒之笔，所见龚画中有款印确真而画笔平弱者，可能是其代笔之作。",[24,7,59,128,132,29,98,131,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4169c0a0ffa86872925f8f981ded500a.jpg",[],{"id":82517,"slug":82518,"title":4724,"dynasty":54,"author":54118,"museum":300,"description":82512,"tags":82519,"thumbUrl":82520,"material":692,"size":1293,"collection":84,"collections":82521,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235905,"shan-shui-tu-ce-guan-quan-235905",[24,7,59,128,133,29,130,331,131,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f0eaa7a87b7ac9157db6bf743b98cc8.jpg",[],{"id":82523,"slug":82524,"title":4724,"dynasty":54,"author":54118,"museum":300,"description":82512,"tags":82525,"thumbUrl":82526,"material":692,"size":1293,"collection":84,"collections":82527,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235904,"shan-shui-tu-ce-guan-quan-235904",[24,7,59,133,128,132,29,130,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F554022a25b0e04b5053a9dfe3fcb9fa0.jpg",[],{"id":82529,"slug":82530,"title":82531,"dynasty":124,"author":69840,"museum":300,"description":82532,"tags":82533,"thumbUrl":82534,"material":84,"size":84,"collection":84,"collections":82535,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235846,"ma-an-shan-tu-ye-wang-gu-xiang-235846","马鞍山图页","此作设色清润淡雅，右侧江岸山峦静立，坡岸林木蓊郁，茅庐隐于浓荫，开阔江面三两轻帆远渡，尽写江南水色空濛清寂之态。\n\n左侧题诗与画作相映成趣，笔墨秀雅，诗书画印融为一体，尽显文人画的萧散意趣。全幅不作繁复皴染，仅以浅绛轻敷，以简淡笔致铺展出幽旷山水意境，将凭眺江海的澹泊襟怀藏于简净笔墨中，观之便如沐江风，恍若身临山野江岸，静享林泉闲逸之致。",[24,7,59,128,27,133,208,29,129,211,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13cf2d28ee82931a2392cf23a8655e69.jpg",[],{"id":82537,"slug":82538,"title":82539,"dynasty":124,"author":82540,"museum":300,"description":82541,"tags":82542,"thumbUrl":82543,"material":84,"size":84,"collection":84,"collections":82544,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235837,"shan-quan-dong-tu-ye-lu-shi-dao-235837","善权洞图页","陆师道","以淡赭轻铺山峦，层叠丘壑间晕染柔雅，细笔点苔缀林，古松苍劲欹斜，山坳楼宇隐现于烟岚之中，幽寂空灵尽显洞天清旷。\n\n书画合璧，笔致清隽秀雅，以写意笔法铺展林泉胜景，不重精雕细刻，却将幽隐丘壑的澹然意趣娓娓铺陈。笔墨间浸润文人情思，简淡萧疏的格调里，尽显林泉高致，将山水灵秀与古雅意蕴融于尺幅，尽显师法自然又饱含文心的画中真意。",[24,7,59,27,132,133,208,64,29,663,228,34,1144,130,415,7509,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93a23db8a02747d1835698287b7243e.jpg",[],{"id":82546,"slug":82547,"title":82548,"dynasty":124,"author":223,"museum":300,"description":82549,"tags":82550,"thumbUrl":82551,"material":692,"size":1293,"collection":84,"collections":82552,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235835,"jiang-song-shan-shui-zhou-yi-ming-235835","蒋嵩山水轴","此作用留白铺就江天悠远意境，近岸枯木斜出，疏枝缀萼，垂条摇曳含着晚来秋意，坡岸蒹葭苍苍，野趣横生。中景扁舟一叶，渔翁俯身整理渔具，身形简括却神态安然，渔网静卧船头，漾出江上生计的闲散况味。远景汀洲以淡墨晕染，烟水空濛，将江天辽阔藏在留白之中。全作以水墨浓淡分出层次，笔意纵逸简淡，未作繁复皴染，寥寥笔墨写尽江乡清寂诗意，将江湖渔隐的安闲雅致融在烟水之间，观之如临清秋江渚，幽淡闲远的意境扑面而来。",[24,7,164,165,128,29,129,1350,4363,31,6810,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75688a21c81c1a5d4b199bb00f6a0ed2.jpg",[],{"id":82554,"slug":82555,"title":409,"dynasty":124,"author":27311,"museum":300,"description":82556,"tags":82557,"thumbUrl":82558,"material":84,"size":84,"collection":84,"collections":82559,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235826,"shan-shui-ce-li-liu-fang-235826","此作笔墨简率松灵，枯木虬枝或苍劲挺拔，或柔婉舒展，柳丝轻曳漾开幽淡逸趣。坡石以淡墨晕染，留白衬出空濛幽寂之境，茅舍隐于林隅，愈发衬出山野清宁。\n诗画相融，随性点染间尽得萧散出尘的林下风致，以极简构图传递静穆淡远的文人情思，笔墨带着疏朗雅致的文人意趣，不刻意雕琢却意韵悠长，尽显寄心林泉的隐逸襟怀。",[164,24,7,59,128,132,29,413,276,229,3387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1e466953c256a2680a68a00e9f2bea8.jpg",[],{"id":82561,"slug":82562,"title":40707,"dynasty":54,"author":9529,"museum":300,"description":19697,"tags":82563,"thumbUrl":82564,"material":692,"size":1293,"collection":84,"collections":82565,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235810,"shan-shui-shan-wang-hui-235810",[24,7,1131,128,29,130,34,331,96,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e6daf7e7598c2bb21603e31c2a8cb3a.jpg",[],{"id":82567,"slug":82568,"title":82569,"dynasty":54,"author":36659,"museum":300,"description":63282,"tags":82570,"thumbUrl":82571,"material":692,"size":1293,"collection":84,"collections":82572,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235787,"dong-yuan-wan-zhu-tu-shan-ye-wang-gai-235787","东园万竹图扇页",[164,24,7,1131,128,167,131,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59000df9c798f9363dc6c510a6147a47.jpg",[],{"id":82574,"slug":82575,"title":82576,"dynasty":54,"author":9529,"museum":300,"description":82577,"tags":82578,"thumbUrl":82579,"material":84,"size":84,"collection":84,"collections":82580,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235780,"zhu-jia-ji-jin-ce-yun-shan-ye-wang-hui-235780","诸家集锦册-云山页","此作用淡墨晕染云霭，以短披麻皴写山峦，苍润浑厚。云气以留白与淡晕相融，将层峦托于云海之上，虚实相生间尽显飘渺灵动。茂林清溪之畔隐着山居小屋，野逸幽寂的林下栖居之趣扑面而来。\n\n右上角题诗与画面呼应，诗画交融，尽显文人山水的雅致意韵。笔墨干湿浓淡交织，松秀苍浑，既见丘壑幽深，又具笔墨雅韵，将江南云山空蒙秀润之景，与文人幽栖的襟怀相融，简淡间意蕴悠长，尽显山水小品的隽永情致。",[24,7,59,128,132,29,23820,34,131,37,99,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa306eb381b484c752eb4e75fab1e7f67.jpg",[],{"id":82582,"slug":82583,"title":42514,"dynasty":124,"author":36548,"museum":300,"description":42515,"tags":82584,"thumbUrl":82585,"material":692,"size":1293,"collection":84,"collections":82586,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235761,"mei-hua-wen-cong-jian-shi-he-bi-ce-shao-mi-235761",[24,7,59,128,650,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27ee1cf9fa0e7ab352b0d91e81230488.jpg",[],{"id":82588,"slug":82589,"title":42514,"dynasty":124,"author":36548,"museum":300,"description":42515,"tags":82590,"thumbUrl":82591,"material":692,"size":1293,"collection":84,"collections":82592,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235760,"mei-hua-wen-cong-jian-shi-he-bi-ce-shao-mi-235760",[24,7,59,128,188,371,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dfc822f4ca0cabb9f76fd638fc8ba87.jpg",[],{"id":82594,"slug":82595,"title":42514,"dynasty":124,"author":36548,"museum":300,"description":42515,"tags":82596,"thumbUrl":82597,"material":692,"size":1293,"collection":84,"collections":82598,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235759,"mei-hua-wen-cong-jian-shi-he-bi-ce-shao-mi-235759",[24,7,59,128,133,208,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0fb1a7bac82b85e635a786eb94e4266.jpg",[],{"id":82600,"slug":82601,"title":33103,"dynasty":54,"author":78869,"museum":300,"description":78870,"tags":82602,"thumbUrl":82603,"material":692,"size":1293,"collection":84,"collections":82604,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235748,"fang-gu-shan-shui-ce-xue-xuan-235748",[24,7,59,128,132,330,29,97,130,34,131,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda5771efbb423ac3c706348959f901f8.jpg",[],{"id":82606,"slug":82607,"title":82608,"dynasty":54,"author":16583,"museum":300,"description":29102,"tags":82609,"thumbUrl":82610,"material":692,"size":1293,"collection":84,"collections":82611,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235653,"er-ren-fu-yang-tu-zhou-gao-qi-pei-235653","二人俯仰图轴",[24,7,165,128,96,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0344666daa5b33d623205e30aa8909ed.jpg",[],{"id":82613,"slug":82614,"title":33103,"dynasty":124,"author":33653,"museum":300,"description":82615,"tags":82616,"thumbUrl":82617,"material":84,"size":84,"collection":84,"collections":82618,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235627,"fang-gu-shan-shui-ce-shen-hao-235627","此作用笔苍劲老辣，左上主峰巍峨矗立，山石以干笔皴擦勾斫，尽显嶙峋厚重，带着古拙山野意趣。山间古松虬枝舒展，松下茅舍临溪而建，板桥横卧通幽，寥寥数笔便勾勒出世外幽居图景。远景山峦以淡墨晕染，虚实相映，铺陈出山林的悠远空寂。画面留白恰到好处，搭配右上角题诗，笔墨清逸雅致，将文人幽居林泉、寄情山水的雅趣尽藏其中，以简淡布景传递静谧禅意，尽显文人山水画抒情寄兴的悠然意韵。",[24,7,59,128,29,132,208,663,413,35,1023,372,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F814c6c822e532304dd3b9f3a1c18071e.jpg",[],{"id":82620,"slug":82621,"title":409,"dynasty":54,"author":24447,"museum":300,"description":82622,"tags":82623,"thumbUrl":82624,"material":84,"size":84,"collection":84,"collections":82625,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235552,"shan-shui-ce-zhu-chang-235552","此作用笔松秀简淡，以平远之景铺陈幽居野趣。溪岸缓坡错落，几间村居隐于林木水滨，浓墨点染的古木葱郁苍润，淡墨晕染的远山轻笼烟岚。留白空灵悠远，将江南水畔的闲静山居意境晕染开来，不见行人车马，却暗合枕流漱石的幽寂襟怀。墨色层次柔和清润，淡扫轻勾间尽显萧散静穆的文人意趣，仿若将山野间的清寂闲逸尽数藏于尺幅之中，意致悠长淡远，尽显清寂雅洁的山水韵致。",[24,7,59,128,29,132,413,130,1314,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F922b866d7ca7ad62a0de0ee1bcc62536.jpg",[],{"id":82627,"slug":82628,"title":72649,"dynasty":54,"author":72650,"museum":300,"description":72651,"tags":82629,"thumbUrl":82630,"material":692,"size":1293,"collection":84,"collections":82631,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235543,"xi-xiang-tu-ce-ye-bu-235543",[24,7,59,27,28,133,96,7344,251,1367,62,250,48400,8565,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c2265be97eaccf6c319a909a54d6d01.jpg",[],{"id":82633,"slug":82634,"title":72649,"dynasty":54,"author":72650,"museum":300,"description":72651,"tags":82635,"thumbUrl":82636,"material":692,"size":1293,"collection":84,"collections":82637,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235542,"xi-xiang-tu-ce-ye-bu-235542",[24,7,59,27,28,96,166,97,34,62,131,133,208,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29fedcade360c398b9259cc54d772697.jpg",[],{"id":82639,"slug":82640,"title":72649,"dynasty":54,"author":72650,"museum":300,"description":72651,"tags":82641,"thumbUrl":82642,"material":692,"size":1293,"collection":84,"collections":82643,"showCount":975,"zanCount":1998,"manualWeight":48,"mainColor":72},235541,"xi-xiang-tu-ce-ye-bu-235541",[24,7,59,27,28,96,166,231,62,250,19786,20731,64,133,208,7877,38256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F286f31cae46c40f96f65152087b949a8.jpg",[],{"id":82645,"slug":82646,"title":72649,"dynasty":54,"author":72650,"museum":300,"description":72651,"tags":82647,"thumbUrl":82648,"material":692,"size":1293,"collection":84,"collections":82649,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235540,"xi-xiang-tu-ce-ye-bu-235540",[24,7,59,28,27,96,97,166,208,64,4278,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14e7e0415f758f4b93065e92ef3c0652.jpg",[],{"id":82651,"slug":82652,"title":22264,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":82653,"thumbUrl":82654,"material":692,"size":1293,"collection":84,"collections":82655,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235488,"huang-shen-shu-guo-tu-ce-huang-shen-235488",[24,7,59,128,27,4250,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9d794309e11dd796cef99e26b8ebece.jpg",[],{"id":82657,"slug":82658,"title":76,"dynasty":124,"author":36595,"museum":300,"description":52566,"tags":82659,"thumbUrl":82660,"material":692,"size":1293,"collection":84,"collections":82661,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235473,"hua-hui-ce-qi-xun-235473",[24,7,59,128,133,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68a9c28a1216aeedfdb2c360efbb39e9.jpg",[],{"id":82663,"slug":82664,"title":76,"dynasty":124,"author":36595,"museum":300,"description":52566,"tags":82665,"thumbUrl":82666,"material":692,"size":1293,"collection":84,"collections":82667,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235471,"hua-hui-ce-qi-xun-235471",[24,7,59,128,276,171,62,64,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4650bca68e2a6517f0f353b1beec2035.jpg",[],{"id":82669,"slug":82670,"title":4724,"dynasty":124,"author":59261,"museum":300,"description":82671,"tags":82672,"thumbUrl":82673,"material":84,"size":84,"collection":84,"collections":82674,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235452,"shan-shui-tu-ce-pan-zheng-235452","此作用干笔淡墨写就，近岸苍松挺劲，坡石以短披麻皴绘出朴拙质感，留白作汀洲水色，烟水空濛间远林隐隐澹澹。山岩盘桓而上，矾头堆叠出嶙峋山势，山腰幽居藏于葱郁林木间，暗合文人幽栖寄怀之趣。\n\n笔墨层次清雅秀润，勾勒皴擦间兼具元人山水的萧散简远，又带着温润整饬的意韵，将平远、深远景致相融，缓缓铺展山野幽寂的林下之趣，观之如身临幽栖林泉，心神自可沉潜于这静穆淡远的意境之中。",[164,24,7,59,128,132,29,663,228,413,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf82c4fd6630bb7f02cf054c62233f0.jpg",[],{"id":82676,"slug":82677,"title":4724,"dynasty":124,"author":59261,"museum":300,"description":82678,"tags":82679,"thumbUrl":82680,"material":84,"size":84,"collection":84,"collections":82681,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235451,"shan-shui-tu-ce-pan-zheng-235451","这幅水墨山水以虚实相生的笔意晕染烟岚江南。主峰以浓墨皴擦，棱线苍劲，在淡墨晕开的烟霭中卓然挺立，和周遭隐现的远山形成强烈虚实对比。汀洲松林以简笔点簇，萧疏错落，带着山野清寂之趣。湖面留白写意，以数点淡墨轻描渔舟，愈发衬出天地空阔。浅岸小径蜿蜒向林麓，藏露之间引人遐思山隅深处的幽居。\n全作用笔极简，以水墨干湿浓淡铺就迷蒙诗意，没有繁复勾勒，却将湖山静穆悠远的意境全然铺展，尽显文人画的空灵意趣，仿佛能让人浸在山野湿润的雾气里，静赏这份林下幽寂的悠然。",[24,7,59,128,132,29,413,98,129,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c47be9871ca1901d2d2ae09e1224f3f.jpg",[],{"id":82683,"slug":82684,"title":409,"dynasty":54,"author":43518,"museum":300,"description":82685,"tags":82686,"thumbUrl":82687,"material":84,"size":84,"collection":84,"collections":82688,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235328,"shan-shui-ce-wen-dian-235328","此作用干笔淡墨铺就，前景坡岸间几株古木姿态舒展，苔点晕染出坡地清润意趣，策杖文人缓步林麓，似正沉醉秋光。远景以淡墨轻岚晕出朦胧丘壑，留白悠远空灵。左上角题诗与画意相融，笔墨秀雅松灵，未施浓彩，尽显清寂淡远的文人意趣。将秋日郊野闲游的幽恬心境藏于极简勾勒间，静穆萧散的林下之风溢于笔底，把江南秋郊的清旷诗意融在疏淡皴染中，观之如临其境，可感画中寄情林泉的雅人襟怀。",[24,7,59,128,132,29,34,98,99,96,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc131e210096ca435812d8704a61fcec4.jpg",[],{"id":82690,"slug":82691,"title":48127,"dynasty":124,"author":223,"museum":300,"description":82692,"tags":82693,"thumbUrl":82694,"material":84,"size":84,"collection":84,"collections":82695,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},235313,"ju-jie-shan-shui-zhou-yi-ming-235313","此作用狭长立轴铺展秋山幽居，层峦次第延展，林麓间错落山居茅舍，飞泉隐于岩岫，溪谷萦回。以干笔淡墨皴写山峦，披麻皴晕出山岩苍润肌理，林木虬劲舒展，点叶苍秀，遍染萧寂秋意。\n\n板桥之上二雅士凭栏低语，衬出林泉高致，笔墨间带着吴门画派的隐逸意趣，淡远冲和的气息漫溢全幅，将山居幽寂与文人情致相融，尽显林下风流。",[24,7,165,128,132,29,98,99,130,34,131,96,495,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2711e04f3e46342e03aa2539dd6fc223.jpg",[],{"id":82697,"slug":82698,"title":409,"dynasty":124,"author":33653,"museum":300,"description":38271,"tags":82699,"thumbUrl":82700,"material":692,"size":1293,"collection":84,"collections":82701,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235290,"shan-shui-ce-shen-hao-235290",[24,7,59,128,27,132,29,131,34,98,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7eb555c58fbbde8e400dadbfb758b6f7.jpg",[],{"id":82703,"slug":82704,"title":409,"dynasty":124,"author":33653,"museum":300,"description":38271,"tags":82705,"thumbUrl":82706,"material":692,"size":1293,"collection":84,"collections":82707,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235286,"shan-shui-ce-shen-hao-235286",[24,7,59,128,132,29,331,131,23873],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4ef3a0509aab2c835ff294f128152fe.jpg",[],{"id":82709,"slug":82710,"title":76,"dynasty":124,"author":41661,"museum":300,"description":41662,"tags":82711,"thumbUrl":82712,"material":692,"size":1293,"collection":84,"collections":82713,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235265,"hua-hui-ce-wang-gu-xiang-235265",[24,7,59,128,61,62,747,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff89f190859a3238296b28a58b3ede89d.jpg",[],{"id":82715,"slug":82716,"title":19857,"dynasty":124,"author":27440,"museum":300,"description":71761,"tags":82717,"thumbUrl":82718,"material":692,"size":1293,"collection":84,"collections":82719,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},235231,"shan-shui-zhou-wang-duo-235231",[24,7,165,128,132,29,97,34,495,131,1023,130,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb0baf1c08c4f146eaa493945e657538.jpg",[],{"id":82721,"slug":82722,"title":7864,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":82723,"thumbUrl":82724,"material":692,"size":1293,"collection":84,"collections":82725,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235184,"za-hua-ce-huang-shen-235184",[24,7,59,128,133,840,208,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fa5778403b1955d660161673351f91b.jpg",[],{"id":82727,"slug":82728,"title":409,"dynasty":54,"author":44979,"museum":300,"description":75499,"tags":82729,"thumbUrl":82730,"material":692,"size":1293,"collection":84,"collections":82731,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235181,"shan-shui-ce-ye-xin-235181",[24,7,59,26,27,29,97,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff47d1e12b669ba4655e3442111b6e888.jpg",[],{"id":82733,"slug":82734,"title":409,"dynasty":54,"author":44979,"museum":300,"description":75499,"tags":82735,"thumbUrl":82736,"material":692,"size":1293,"collection":84,"collections":82737,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235180,"shan-shui-ce-ye-xin-235180",[24,7,59,128,188,29,130,4363,211,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dc618dd7582868052682c2f1bd7f64a.jpg",[],{"id":82739,"slug":82740,"title":409,"dynasty":54,"author":44979,"museum":300,"description":75499,"tags":82741,"thumbUrl":82742,"material":692,"size":1293,"collection":84,"collections":82743,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235179,"shan-shui-ce-ye-xin-235179",[24,164,7,59,128,27,29,129,96,1824,23454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F219f8a7f491de78910b0671fffe5ed6e.jpg",[],{"id":82745,"slug":82746,"title":409,"dynasty":124,"author":27311,"museum":300,"description":82747,"tags":82748,"thumbUrl":82749,"material":84,"size":84,"collection":84,"collections":82750,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},235148,"shan-shui-ce-li-liu-fang-235148","此作用淡墨晕染秋山平湖，主峰以披麻皴写就，苔点错落，苍朴浑厚尽显山石肌理。岸上古木虬曲，浓墨点叶，明暗间漾着清寂生机。平湖扁舟轻泛，舟中高士凭舷远眺，寥寥数笔便勾勒出林下幽居的散淡意趣。\n右上角题字清雅隽秀，与笔墨山水相映成趣。整体画风简淡萧散，以笔意寄寓文人放怀林泉的雅逸襟怀，将实景山水与悠悠文思相融，淡而韵长，简而意足，把寄情山水的林下风雅藏在每一处勾勒晕染之中。",[24,7,59,128,132,29,129,99,34,131,33,96,30581],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d3bad1153dcc39c63479de92841051.jpg",[],{"id":82752,"slug":82753,"title":82754,"dynasty":54,"author":34467,"museum":300,"description":82755,"tags":82756,"thumbUrl":82757,"material":84,"size":84,"collection":84,"collections":82758,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235137,"chen-yun-ke-xiao-xiang-tu-zhou-fei-dan-xu-235137","陈云柯小像图轴","费丹旭陈云柯小像图轴是清代的图轴。\n图绘须髯垂髫、笑容可掬的像主陈云柯坐于平石之上，左右以竹、石相伴。\n人物的面部以传统方式表现，用线条勾勒，淡彩 ，刻画细腻。\n衣纹以线条为骨，古拙而流畅。\n图中坚硬的山石以湿墨皴擦出形，秀挺的青竹以浓淡墨相衬晕染，朦胧有致。\n石与竹烘托出像主的中心位置，同时，以物托志，标示出像主高致朗逸的内在情怀。\n款署 ：“癸巳冬十一月，云柯先生属写。\n晓楼费丹旭。\n”钤“子苕”朱文印。\n鉴藏印有 “ 印”、“石雪斋秘笈印”等共4方。\n“癸巳”是道光十三年(18年)，作者时年岁。",[164,24,7,165,188,128,27,96,167,131,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ae970ae071e04f94b8ee705744f033d.jpg",[],{"id":82760,"slug":82761,"title":46768,"dynasty":54,"author":36019,"museum":300,"description":82762,"tags":82763,"thumbUrl":82764,"material":84,"size":84,"collection":84,"collections":82765,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235101,"zheng-min-shan-shui-ce-zheng-min-235101","此帧以水墨绘就水村小景，柳丝垂岸，村居隐于柔条之后，淡墨晕染出清润空濛的春日氛围。长空之上，孤舟泛于虚渺云水间，雁阵掠破岑寂，留白铺陈出悠远无尽的寥廓意境。\n\n左侧行书题诗，笔致清劲秀雅，诗画相映成趣。画风简逸疏淡，以极简笔墨勾勒江南水村的闲静之态，尽显清寂淡远的林下诗意，暗合文人林泉高致的隐逸襟怀，尽显清逸简旷的画中逸韵。",[24,7,59,128,133,29,130,211,4363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F500606c69d5eb1badf6a243aab33b20d.jpg",[],{"id":82767,"slug":82768,"title":46768,"dynasty":54,"author":36019,"museum":300,"description":82769,"tags":82770,"thumbUrl":82771,"material":84,"size":84,"collection":84,"collections":82772,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235097,"zheng-min-shan-shui-ce-zheng-min-235097","此作用淡墨勾勒皴染山峦，简率笔致铺就出山川疏淡荒寒之态，山间苍松错落隐现，寥寥数笔便烘托出幽寂空蒙的林泉之境，尽显简淡清逸的典型风貌。\n\n左侧题笔萧散隽雅，诗文与画境两相呼应，寄寓着寄情丘壑、超尘出俗的隐逸襟怀。整幅作品以简驭繁，净洁雅素，以笔墨写尽林泉幽致，将山水静穆与文人幽怀融为一体，淡远空灵，余韵悠长，是清代文人山水画中极具代表性的清逸之作。",[24,7,59,128,132,29,171,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdd385a39e368a353355424531a3bc0d.jpg",[],{"id":82774,"slug":82775,"title":4724,"dynasty":54,"author":5879,"museum":300,"description":82776,"tags":82777,"thumbUrl":82778,"material":84,"size":84,"collection":84,"collections":82779,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235079,"shan-shui-tu-ce-hua-yan-235079","此作取平远小景，几株清松瘦劲挺拔，荫蔽茅舍矮篱，空庭静立，浅坡覆着细草，淡墨晕染出幽寂的秋日郊野。笔致松秀简淡，以干笔轻皴，略施淡墨晕染，全然舍去浓丽设色，只以素净笔墨勾勒出萧散清旷的意境。左侧题诗与画境相合，诗画共生，将幽居的闲静隐逸融入山水之间。整体无繁复铺陈，于极简布景中尽显文人画淡泊清远的意趣，淡而有味，简中见深，把寄情丘壑的隐逸心境铺陈在尺幅之中，是意韵悠长的山水小品佳作。",[24,7,59,128,188,29,34,3387,131,13344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e8b2b5a55526836adfcf20b9553f596.jpg",[],{"id":82781,"slug":82782,"title":4724,"dynasty":54,"author":5879,"museum":300,"description":82783,"tags":82784,"thumbUrl":82785,"material":84,"size":84,"collection":84,"collections":82786,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235078,"shan-shui-tu-ce-hua-yan-235078","此作以淡墨写意山水，远山以枯笔皴擦晕染，留白营造出空濛烟岚，流云似萦于峰岫之间。近岸浅渚点缀疏草，清寂雅致。扁舟横波，渔翁独棹，静逸清冷的氛围扑面而来。\n\n画面左上题字笔致疏朗，与水墨山水相得益彰，左侧小楷题诗秀润端丽，诗画交融，尽显文人雅趣。全作用笔清润简淡，不施浓彩，以留白托举云水空茫之意，将江南水畔的幽寂之美与江湖散人的萧散襟怀相融，于尺幅间铺展出淡远空灵的意境，尽显水墨造境的精妙意趣。",[24,7,59,128,132,133,29,129,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7cb60d0eebb42dd33b6fdd457ccc97b.jpg",[],{"id":82788,"slug":82789,"title":4724,"dynasty":54,"author":5879,"museum":300,"description":82790,"tags":82791,"thumbUrl":82792,"material":84,"size":84,"collection":84,"collections":82793,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235076,"shan-shui-tu-ce-hua-yan-235076","此作用淡墨晕染出幽寂林泉，松秀笔触勾勒交错竹影，茅石隐于青竹间，平滩处幽人凭岸闲坐，留白铺就空濛悠远之意。诗画合璧，题诗呼应画中林下幽居之境。\n\n整体笔致灵松动宕，简淡的水墨晕染出山光清寂，将文人林下遐思的雅逸襟怀融于咫尺尺幅间，静穆萧散中尽显悠然旷达的林下意趣，笔简意丰，淡岚轻墨里晕开寄情山水的文人雅致。",[24,7,59,128,29,276,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feee2904067eed19e574426633f82e048.jpg",[],{"id":82795,"slug":82796,"title":4724,"dynasty":54,"author":5879,"museum":300,"description":82797,"tags":82798,"thumbUrl":82799,"material":84,"size":84,"collection":84,"collections":82800,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235075,"shan-shui-tu-ce-hua-yan-235075","此作以淡墨晕染出清寂山水，崖巅浮屠卓立，古松倚石横斜，山径隐于林樾之间。远景江波浩渺，片帆数点悠悠往来，留白铺就云水空濛之境，尽显悠远淡宕的诗意。\n\n书法页笔致隽秀舒朗，诗文与画境呼应，书画相生，融笔墨意趣与林泉雅韵为一体，淡逸萧散，将幽寂清和的山居江景，化作可赏可吟的世外丘壑，尽显文人山水的简远之美。",[24,7,59,128,132,29,97,34,131,129,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b83ff495a225ca7271b25ac8426346e.jpg",[],{"id":82802,"slug":82803,"title":7864,"dynasty":54,"author":5879,"museum":300,"description":59277,"tags":82804,"thumbUrl":82805,"material":692,"size":1293,"collection":84,"collections":82806,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235058,"za-hua-ce-hua-yan-235058",[24,7,59,27,128,949,413,1771,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76c35dd6e2ea7e9508497d33a9df9a0f.jpg",[],{"id":82808,"slug":82809,"title":409,"dynasty":54,"author":9742,"museum":20,"description":35708,"tags":82810,"thumbUrl":82811,"material":1722,"size":35711,"collection":84,"collections":82812,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},235016,"shan-shui-ce-wu-li-235016",[24,164,7,59,128,133,208,132,29,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F156efb030ae76d105034c69b34121e47.jpg",[],{"id":82814,"slug":82815,"title":82816,"dynasty":124,"author":223,"museum":300,"description":82817,"tags":82818,"thumbUrl":82819,"material":692,"size":1293,"collection":84,"collections":82820,"showCount":975,"zanCount":1998,"manualWeight":48,"mainColor":72},234969,"qian-gu-shan-shui-shan-ye-yi-ming-234969","钱穀山水扇页","此作用平远章法铺展湖山小景，三段洲渚错落排布，留白勾画出空阔水色，尽显湖天寥廓。枯木虬曲苍劲，以简括折芦笔意写出古拙之态，远林以点染之法轻施笔墨，淡赭晕染秋山，花青敷色浅岸，轻烟隐于远峦间，浅绛设色清透雅致。村居藏在林间坡岸，野意闲静，将江南秋日萧疏淡远的隐逸之趣收于咫尺扇面。题钤朱印点缀边角，文气悠然，笔墨疏淡却意蕴悠长，尽显文人山水寄情丘壑的雅逸品格。",[24,7,1131,29,128,27,132,331,131,99,129,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F298d611f28db0ebf31aeb5ae6874a5be.jpg",[],{"id":82822,"slug":82823,"title":33698,"dynasty":54,"author":2915,"museum":300,"description":33699,"tags":82824,"thumbUrl":82825,"material":692,"size":1293,"collection":84,"collections":82826,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},234946,"yue-man-qing-you-ce-chen-mei-234946",[24,7,28,27,133,64,208,96,166,97,130,231,34,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe28a13ec087287115be0adb00a9fe29.jpg",[],{"id":82828,"slug":82829,"title":39043,"dynasty":54,"author":34780,"museum":20,"description":67532,"tags":82830,"thumbUrl":82831,"material":561,"size":67535,"collection":84,"collections":82832,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},234915,"xue-jing-gu-shi-ce-sun-hu-234915",[24,7,59,27,133,28,64,29,1813,35,34,98,17726],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a903a9e7094137117389a07086cb5c7.jpg",[],{"id":82834,"slug":82835,"title":22958,"dynasty":54,"author":6936,"museum":300,"description":22959,"tags":82836,"thumbUrl":82837,"material":611,"size":22962,"collection":84,"collections":82838,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},234892,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234892",[24,7,59,128,29,131,34,499,132,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F204b1c2c416ad60fa5fb1ddfc578732d.jpg",[],{"id":82840,"slug":82841,"title":22958,"dynasty":54,"author":6936,"museum":300,"description":22959,"tags":82842,"thumbUrl":82843,"material":611,"size":22962,"collection":84,"collections":82844,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},234885,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234885",[24,7,59,128,132,29,663,413,497,690,64,208,133,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9073c04adacda2ea064849fa4a8e4b9d.jpg",[],{"id":82846,"slug":82847,"title":22958,"dynasty":54,"author":6936,"museum":300,"description":22959,"tags":82848,"thumbUrl":82849,"material":611,"size":22962,"collection":84,"collections":82850,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},234882,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234882",[24,7,59,27,29,132,98,99,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2df1518a055839c665b21d179fa85aa8.jpg",[],{"id":82852,"slug":82853,"title":22958,"dynasty":54,"author":6936,"museum":300,"description":22959,"tags":82854,"thumbUrl":82855,"material":611,"size":22962,"collection":84,"collections":82856,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},234881,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234881",[24,7,59,128,132,29,413,1314,208,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6608a6236c610bbb986bc9265d647d09.jpg",[],{"id":82858,"slug":82859,"title":409,"dynasty":124,"author":40782,"museum":300,"description":82860,"tags":82861,"thumbUrl":82862,"material":84,"size":84,"collection":84,"collections":82863,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},234870,"shan-shui-ce-zhao-pu-234870","此作用淡墨轻皴崖壁，笔致松灵秀逸，奇崛崖岸并无霸悍之气，坡岸林木错落疏朗，简率点染间自带幽寂荒寒之韵。\n\n配页行书隽雅疏朗，笔墨与山水意趣相融，诗文寄寓林泉雅怀，尽抒幽栖林下的文人襟抱。整幅简淡萧散，以极简笔墨晕染出悠远沉静的山水意境，诗画相映，尽显以意驭笔、以韵胜形的文人画特质，将闲逸山居的清雅意趣藏于尺幅之中。",[24,7,59,128,133,29,171,34,211,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccdaadd83b497c1afd2fed27a2f25291.jpg",[],{"id":82865,"slug":82866,"title":409,"dynasty":54,"author":36659,"museum":300,"description":63282,"tags":82867,"thumbUrl":82868,"material":692,"size":1293,"collection":84,"collections":82869,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},234859,"shan-shui-ce-wang-gai-234859",[24,7,59,128,132,29,131,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0504348d803a12caf7adb5620161f971.jpg",[],{"id":82871,"slug":82872,"title":82873,"dynasty":54,"author":6936,"museum":300,"description":82874,"tags":82875,"thumbUrl":82876,"material":84,"size":84,"collection":84,"collections":82877,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},234824,"zhu-jia-shu-hua-he-bi-ce-shan-shui-ye-wang-yuan-qi-234824","诸家书画合璧册-山水页","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」见《清史稿》、秦祖永《恫荫论画》。",[24,7,59,128,132,29,34,131,35,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e34c985b5fdde12bbbe44a7d1f7cc76.jpg",[],{"id":82879,"slug":82880,"title":409,"dynasty":54,"author":23303,"museum":20,"description":82881,"tags":82882,"thumbUrl":82883,"material":84,"size":84,"collection":84,"collections":82884,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},234792,"shan-shui-ce-dong-bang-da-234792","董邦达生于康熙三十八年(1699年)，字孚存，号东山，又号非闻，浙江富阳人。他幼年家贫，致力于学，于雍正元年(1723年)被选拔为贡生。后赴京应试，屡试不第，落魄在京，期间得刑部尚书励廷仪赏识。几经周折，他终于雍正十一年中进士，被授庶吉士。“文臣画家”是董邦达的重要身份。\n乾隆二年(1737年)，董邦达被授编修一职，先后参与编修《石渠宝笈》《秘殿珠林》二书初编以及《西清古鉴》《明史纲目》《皇清文颖》《盘山新志》《热河志》诸书。乾隆三年，任陕西乡试考官，上疏官卷量少，建议用民卷补充，以便朝廷招贤纳才。不久，升任右中允，再迁侍读学士。乾隆十二年，受命入直南书房，擢升为内阁学士。乾隆十五年，迁任侍郎，历任职于户、工、吏诸部，官至礼部尚书。乾隆三十四年(1769年)卒，谥文恪。\n董邦达长于诗，且书画俱精，尤善山水。其画用笔深得古人之法，山水上窥五代董源、巨然及元黄公望，近学明人董其昌，论者称之“古今三董相承”。邱雯对三董相承有过深入阐述：董源山水写南京一带的浑厚华滋，董其昌山水写松江一带的清润宁和，董邦达山水写富春、杭州一带的秀远疏放。董邦达继承董其昌的高雅审美意识，追求山水的自然、自由、可观、可赏、可游、可居，以寄托文人的自由理想，在作品中体现为书卷气以及“和平中正”的审美取向，儒家一贯追求的清、真、雅成为其绘画的重要特征。\n董邦达广习历代名家技艺，除吸收董巨皴法及黄公望浅绛画法，还受“清初四王”影响颇深。但与“四王”不同的是，他更加重视绘画的生气，作品既能迎合皇帝喜爱的盛世升平气象，又有文人画家所追求的幽远意境。其画作中年秀润，晚年苍浑，用笔在不生不熟之间，绝无狂废之态。尤其晚年之作沉雄朴茂，极具生拙野逸之趣，所呈现的文人意趣，继承南宗笔墨的野逸疏放，与董源、董其昌异曲同工。他将文人逸气带入宫廷，与清代宫廷职业画家的工丽装饰明显不同，成为当时宫廷中雅文化的代表。\n董邦达为官35年，深得乾隆皇帝厚爱。他70岁时得乾隆钦赐“紫禁城骑马”。他以年老多病请辞引归，乾隆说：“礼部事不繁，给假安心调治，不必解任。”他不久病逝，乾隆赐其祭葬，并亲自撰写碑文，在文中悲叹：“呜呼！眷文学侍从之劳，松楸影；著老成典型之望，琬琰流辉。裕及后昆，承兹休命。”\n乾隆帝对董邦达的山水画推崇有加。董邦达作品大幅寻丈、小幅寸许，不下数百，许多都“上邀宸眷”，蒙赐御题。乾隆曾赞扬其山水画激发了自己的诗兴，感叹道：“为他山水幽佳处，往往寻题趣有余。”乾隆在评价画坛时弊以及董氏艺术时称：“吾于达也无间然，丰不觉繁俭不欠。前称北苑后香光，艺林都被卿家占。”将董邦达看作画理上的无间知己，谓其山水繁简皆佳、运转自如，认为其笔墨独到，可与画史上最具权威的“南宗”大师北苑(董源)、香光(董其昌)齐驱，可见其山水画在宫廷中地位之高。",[24,7,59,128,132,29,663,228,34,37,497,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F236be7196d6ef9cf365f8f88faac5787.jpg",[],{"id":82886,"slug":82887,"title":409,"dynasty":54,"author":23303,"museum":20,"description":82881,"tags":82888,"thumbUrl":82889,"material":84,"size":84,"collection":84,"collections":82890,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},234791,"shan-shui-ce-dong-bang-da-234791",[24,7,59,128,132,29,34,131,758,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5ba032f281aa2dfe8ed77840abee872.jpg",[],{"id":82892,"slug":82893,"title":76,"dynasty":54,"author":63304,"museum":300,"description":63305,"tags":82894,"thumbUrl":82895,"material":692,"size":1293,"collection":84,"collections":82896,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},234777,"hua-hui-ce-wang-lu-234777",[24,7,59,128,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a2ded4cc1c65957bcb8bf33fcd878b1.jpg",[],{"id":82898,"slug":82899,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":82900,"thumbUrl":82901,"material":734,"size":84,"collection":84,"collections":82902,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},234755,"huang-shan-tu-ce-jiang-zhu-234755",[24,7,59,128,132,133,29,30,1144,37,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5b7316e218ef7d9d046721a09a461b6.jpg",[],{"id":82904,"slug":82905,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":82906,"thumbUrl":82907,"material":734,"size":84,"collection":84,"collections":82908,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},234741,"huang-shan-tu-ce-jiang-zhu-234741",[24,7,59,128,29,131,171,37,34,132,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe579d6f706c66a4b60473f1fa9f408e1.jpg",[],{"id":82910,"slug":82911,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":82912,"thumbUrl":82913,"material":734,"size":84,"collection":84,"collections":82914,"showCount":975,"zanCount":1998,"manualWeight":48,"mainColor":72},234738,"huang-shan-tu-ce-jiang-zhu-234738",[304,164,24,7,59,27,132,29,500,131,34,37,1144,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b06e15593f0c0b799413b461de64ee3.jpg",[],{"id":82916,"slug":82917,"title":33103,"dynasty":54,"author":9529,"museum":300,"description":39863,"tags":82918,"thumbUrl":82919,"material":1027,"size":39866,"collection":84,"collections":82920,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},234715,"fang-gu-shan-shui-ce-wang-hui-234715",[24,7,164,59,128,132,2271,29,1337,131,96,37,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffca9f3af74811c30e2439f3313491490.jpg",[],{"id":82922,"slug":82923,"title":409,"dynasty":124,"author":36548,"museum":300,"description":82924,"tags":82925,"thumbUrl":82926,"material":84,"size":84,"collection":84,"collections":82927,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},234665,"shan-shui-ce-shao-mi-234665","邵弥(1594-1642)，晚明时吴门人，字僧弥，号瓜畴，性孤僻，似贤云野鹤，不染尘氛。擅诗，尤喜书画，瘦冷清逸，一如其人，极为时人所重，与董其昌、王时敏等同为“画中九友”之一。亦好收藏，张丑《清河书画舫》尝记之。所收沈石田《湾东草堂图》为石田精品，可见目力不凡。此册拟古，或仿营丘，或仿北苑，或仿云林、黄鹤，或仿千里、大痴；或危岩层起泉落云飞，或山间小筑傍竹临水；或寻诗晚而忘归，或山间独居与朝云暮霭相伴。画笔俊秀精工而书卷之气满目，幅幅皆似诗中浸出，雨露中洗过，是他画中极精致品。对幅和后跋有金俊明、文柟、方夏、刘能始、周之文等诗题，其中文柟一开称其与友人丘令和晨夕相对，“兴至”则为点染，真所谓“五日一山十日一水之趣，简远秀逸自胚胎中来。”可见是在闲和恬适之时，与知己相对，兴来挥毫，不计时日的精心之作，故命意不凡，幅幅俱佳。极珍贵。",[164,24,7,59,128,132,29,171,331,99,129,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde1a6a24b24c48b15067832ea331eb98.jpg",[],{"id":82929,"slug":82930,"title":409,"dynasty":54,"author":17240,"museum":300,"description":45656,"tags":82931,"thumbUrl":82932,"material":84,"size":84,"collection":84,"collections":82933,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},234639,"shan-shui-ce-cha-shi-biao-234639",[24,7,59,128,27,29,1337,129,211,99,171,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b4e5b7d54682fbdb90b8120d8bd186f.jpg",[],{"id":82935,"slug":82936,"title":82937,"dynasty":54,"author":82938,"museum":20,"description":82939,"tags":82940,"thumbUrl":82941,"material":84,"size":84,"collection":84,"collections":82942,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},234625,"ting-bei-dai-yue-tu-wan-shan-sha-fu-234625","停杯待月图纨扇","沙馥","沙馥（1831年—1906年），字山春，号粟庵，别署香泾外史，江苏苏州人，晚清画家。出身绘画世家，马仙根弟子，工人物、仕女、花鸟，笔意纵意饶富韵致。\n沙馥善画人物、仕女、花卉，以此为业，为苏州阊门外山塘年画铺中最著名画家。初慕陈老莲；咸丰间任熊至吴门，曾问业于任熊；任熊去世后，又与任薰关系甚密。后因自愧画学不如任薰雄伟恣肆，遂弃老莲法，转学改琦、费丹旭，并专攻仕女、花卉，遂自成一家，卒年七十六。",[24,7,1131,27,28,96,413,167,231,1421,1424],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee5f9716eafa22ef7e9a25ec8ef9557.jpg",[],{"id":82944,"slug":82945,"title":82946,"dynasty":54,"author":49713,"museum":300,"description":49714,"tags":82947,"thumbUrl":82948,"material":84,"size":84,"collection":84,"collections":82949,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},234618,"gu-yun-shan-shui-wan-shan-gu-yun-234618","顾沄山水纨扇",[1131,24,7,128,29,496,34,387,499,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca4994401fb16ac9e2544d919f1d424.jpg",[],{"id":82951,"slug":82952,"title":48339,"dynasty":124,"author":18090,"museum":300,"description":46807,"tags":82953,"thumbUrl":82954,"material":84,"size":84,"collection":84,"collections":82955,"showCount":975,"zanCount":1998,"manualWeight":48,"mainColor":49},234568,"shan-shui-shan-ye-lan-ying-234568",[1131,24,7,128,29,1144,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f65d50a20f2bcfddf1533ea73e9441f.jpg",[],{"id":82957,"slug":82958,"title":82959,"dynasty":54,"author":82960,"museum":20,"description":82961,"tags":82962,"thumbUrl":82963,"material":1223,"size":82964,"collection":84,"collections":82965,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},234473,"he-ting-fan-ting-shan-wu-da-cheng-234473","荷汀泛艇扇","吴大澂","吴大澂[chéng]（1835年—1902年），初名大淳，字止敬，又字清卿，号恒轩，晚号愙斋，江苏吴县（今江苏苏州）人。清代官员、学者、金石学家、书画家，民族英雄。清同治七年（1868年）进士。善画山水、花卉，精于篆书。皆得力于金石鉴赏修养。\n题跋：旧藏宋人集册，有此一帧，不署画款，爱其疏散有致，约略拟此。黼卿大兄大人雅鉴。吴大澂。\u2028 画中的文人坐于船上泛舟荷汀欣赏夏季美景，船上放着一函书，渔夫轻快地划着船，好一个闲适的生活！",[24,7,1131,27,128,29,168,129,96,413,1824,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e31b3a65d44a24549835378870184a1.jpg","19.5cmx53.7cm",[],{"id":82967,"slug":82968,"title":82969,"dynasty":54,"author":223,"museum":300,"description":82970,"tags":82971,"thumbUrl":82972,"material":692,"size":1293,"collection":84,"collections":82973,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},234433,"qing-ren-bai-yong-bao-hu-fa-xiang-zhou-yi-ming-234433","清人白勇保护法像轴","主尊六面六臂皎然如玉，安坐于炽盛烈焰光鬘之中，宝相威严慑人，握持法器尽显护法神威。整幅构图层次分明，上方云端诸佛安坐，似聆梵音；四方环绕忿怒本尊，共护坛城。\n\n云水苍峦以石青石晕染，朱砂赤金勾描衣纹宝饰，矿物颜料晕染出沉静又浓烈的色调，尽显藏地唐卡的华美厚重。画面细节饱满，净水瑞草、翔游灵禽点缀其间，将护法的狞厉肃穆与天界清宁相融，是藏传宗教绘画里兼具神性意蕴与工艺美感的精品。",[24,7,165,187,27,28,96,49860,189,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ff6e566cb14adb8e1471fe067fe0a2.jpg",[],{"id":82975,"slug":82976,"title":13087,"dynasty":54,"author":13088,"museum":300,"description":13089,"tags":82977,"thumbUrl":82978,"material":84,"size":84,"collection":84,"collections":82979,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},234372,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234372",[24,7,59,330,128,28,61,62,230,549,2037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c881c37ed9446de5597120cb72574fa.jpg",[],{"id":82981,"slug":82982,"title":13087,"dynasty":54,"author":13088,"museum":300,"description":13089,"tags":82983,"thumbUrl":82984,"material":84,"size":84,"collection":84,"collections":82985,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},234370,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234370",[24,7,59,330,188,128,61,168,841,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfcfcd0efb63eeb8e0c3ab93999fc652.jpg",[],{"id":82987,"slug":82988,"title":3168,"dynasty":54,"author":38236,"museum":20,"description":55512,"tags":82989,"thumbUrl":82990,"material":734,"size":84,"collection":84,"collections":82991,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},234312,"ren-wu-gu-shi-ce-chen-zi-234312",[24,7,59,27,96,64,133,208,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4acfa7e6ed873458313c8a1624150096.jpg",[],{"id":82993,"slug":82994,"title":30270,"dynasty":54,"author":1069,"museum":300,"description":30271,"tags":82995,"thumbUrl":82996,"material":734,"size":84,"collection":84,"collections":82997,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},234278,"hua-guo-ce-wang-yun-234278",[24,7,59,27,28,263,1037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc27e81b9b6b3addb85c44c3c4d002bc4.jpg",[],{"id":82999,"slug":83000,"title":83001,"dynasty":54,"author":13716,"museum":300,"description":83002,"tags":83003,"thumbUrl":83004,"material":1027,"size":84,"collection":84,"collections":83005,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},234245,"chen-shu-hua-si-zi-jiang-de-juan-chen-shu-234245","陈书画四子讲德卷","陈书（1660–1736）是清代女画家。陈书出生于浙江省秀州（今嘉兴），以字“南楼”及号“上元弟子”、“南楼老人”著称。陈书被认为是清代第一位女画家，以及秀水画派的开创者。除了她本人的艺术成就外， 陈书的另一闻名之处是作为清代名臣钱陈群的母亲。在她丈夫早逝后，陈书独自抚养儿子长大。钱陈群在乾隆朝深得皇帝赏识，并将其母画作介绍予乾隆帝，因此陈书的画作相当一部分收入大内，现藏于北京故宫博物院和台北国立故宫博物院。陈书擅长人物、山水、花鸟。",[23,164,24,7,25,27,28,133,208,29,1144,130,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a83c11e883961e84fe7ffe9131110e1.jpg",[],{"id":83007,"slug":83008,"title":83009,"dynasty":54,"author":83010,"museum":20,"description":83011,"tags":83012,"thumbUrl":83013,"material":40,"size":83014,"collection":84,"collections":83015,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},234189,"jin-jie-ren-hua-xiang-ding-gao-234189","靳介人画像","丁皋","画面表现的是暮春时节，茅亭绿柳，渚清荷新，一士人左手执卷，右手扶膝，正襟危坐于岸边石凳上，身旁石几上置书函、茗盏之属，一小童执扇对炉烹茶。环境清新雅逸，文人雅士闲适的生活情景跃然纸上。\n从题跋内容分析，画中主人公靳介人为官吏，但具体行状不详，尚待进一步考察。画中人物的表现方法与波臣派风格略有差异，面部平涂较多，皴染不足，故而显得较平，但眉宇间神气盎然，亦为传神之佳作。在波臣派作品中，将人物置于山水之间的肖像画多为合作之画，有喧宾夺主者，有人、景布置不谐者，而此图情景合一，将人融于景物之中，通过环境衬托人物清逸的品质，无疑是一件成功之作。",[23,24,7,28,27,96,4363,228,81,130,1314,6640],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf56539146803162af663c1bb64e0bbb.jpg","纵36厘米，横131.8厘米",[],{"id":83017,"slug":83018,"title":83019,"dynasty":124,"author":81279,"museum":300,"description":83020,"tags":83021,"thumbUrl":83022,"material":84,"size":84,"collection":84,"collections":83023,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},234165,"lin-mou-yi-shan-ze-za-shu-zhou-zhuang-juan-ma-yu-234165","临缪佚山泽杂树轴装卷","马愈， 明代书画家。字抑之，号华发仙人，人号 马清痴，嘉定（今属 上海市）人。其父 马轼曾以星占服务于军中，又是著名的院体画家。马愈于 明英宗天顺八年（1464年）中甲申科进士，后来官至刑部主事。马愈能诗，善书，工山水，登逸品。以诗文书画与江南士有广泛交游，著有 《马氏日抄》一卷。",[23,24,7,25,330,128,132,133,208,29,6436,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd053d0aa504c020ce53dd9906b558821.jpg",[],{"id":83025,"slug":83026,"title":83027,"dynasty":18,"author":223,"museum":20,"description":83028,"tags":83029,"thumbUrl":83030,"material":151,"size":83031,"collection":84,"collections":83032,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},234080,"song-gu-wen-dao-tu-ye-yi-ming-234080","松谷问道图页","在这张照片中，现场附近有一条潺潺的小溪。 一个老和尚坐在一棵古松下，另一个老和尚用手问老和尚。 远景云雾缭绕。 人物文笔简洁，意境生动，精神饱满。 这张图题中的“询价”二字，显然有表面和内在两层含义。 类似的题材和绘画手法出现在南宋马远、夏圭的画册中。",[164,24,7,27,132,208,29,96,372,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc520db25e880f9feeb4e1560f18da22c.jpg","44x43cm",[],{"id":83034,"slug":83035,"title":44266,"dynasty":18,"author":223,"museum":20,"description":76599,"tags":83036,"thumbUrl":83037,"material":514,"size":83038,"collection":84,"collections":83039,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},234038,"si-lun-tu-zhou-yi-ming-234038",[24,7,165,128,27,132,64,133,29,34,1144,35,96,1023,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc447fe7cf03f1038a72f049cc5ebbc4f.jpg","纵83.2厘米 横37.5厘米",[],{"id":83041,"slug":83042,"title":35085,"dynasty":18,"author":4899,"museum":20,"description":35086,"tags":83043,"thumbUrl":83044,"material":514,"size":35089,"collection":84,"collections":83045,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},233993,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233993",[24,7,59,188,96,413,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2126e3550c0e04627398b8fab3cb01c9.jpg",[],{"id":83047,"slug":83048,"title":35085,"dynasty":18,"author":4899,"museum":20,"description":35086,"tags":83049,"thumbUrl":83050,"material":514,"size":35089,"collection":84,"collections":83051,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},233989,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233989",[164,24,7,59,188,128,27,96,130,331,131,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6335300d6c06ab16b07654d665d0d6f7.jpg",[],{"id":83053,"slug":83054,"title":409,"dynasty":54,"author":3820,"museum":20,"description":67686,"tags":83055,"thumbUrl":83056,"material":1722,"size":67689,"collection":84,"collections":83057,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},233983,"shan-shui-ce-gong-xian-233983",[24,7,128,132,59,29,1233,331,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf86e32d664c90f631ee430e8bc7af60.jpg",[],{"id":83059,"slug":83060,"title":409,"dynasty":54,"author":3820,"museum":20,"description":67686,"tags":83061,"thumbUrl":83062,"material":1722,"size":67689,"collection":84,"collections":83063,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},233982,"shan-shui-ce-gong-xian-233982",[164,24,7,59,128,23324,132,29,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8217a4cc6bdee39bd63322a7ce60ed2.jpg",[],{"id":83065,"slug":83066,"title":409,"dynasty":54,"author":3820,"museum":20,"description":67686,"tags":83067,"thumbUrl":83069,"material":1722,"size":67689,"collection":84,"collections":83070,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},233971,"shan-shui-ce-gong-xian-233971",[24,7,128,29,59,132,129,711,83068,228],"平滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20adfe13e849b614862c61cfe28f9512.jpg",[],{"id":83072,"slug":83073,"title":83074,"dynasty":54,"author":38900,"museum":20,"description":83075,"tags":83076,"thumbUrl":83077,"material":734,"size":83078,"collection":84,"collections":83079,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},233939,"dai-lu-fang-bei-tu-ce-huang-yi-233939","岱麓访碑图册","图名里的“岱”即指位于山东省中部的泰山。《岱麓访碑图》册共24开，以左文右图的形式描绘黄易在清嘉庆二年（1797年）由济宁到泰山访碑的种种情形。据作者本人题跋可知，其中一部分册页记录泰山的碑刻情况，如“岱顶”、“开元磨崖碑”、“石经谷”、“王母池”等，另一部分则是记录作者在往返途中所见的碑刻情况，如“大明湖”、“孟子庙”、“孔林”、“孔子庙”、“大汶口”等。除此之外，作者还在题跋中介绍了碑刻的具体状况，为后人研究提供了资料。\n黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并较为系统地加以整理与著录，对我国传统金石学的发展起到了积极的作用。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整地记录下来，绘制成许多作品，被当时的艺术家们广为称颂。《岱麓访碑图》册便是其中的一套作品。\n纵观整套册页，作者采用了水墨与浅绛两种中国画表现技法，但呈现出的艺术风格却是统一的。具体而言，他注重线条的断续与转折，多用粗笔短线描写碑刻所在地周围的景色，使得画面景致简明，意境幽僻清寂，有平淡天真的艺术趣味。",[24,7,59,27,29,34,131,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a10698e488202bbfa584e88cb89335.jpg","纵17.4厘米，横50.8厘米",[],{"id":83081,"slug":83082,"title":83083,"dynasty":124,"author":204,"museum":20,"description":1523,"tags":83084,"thumbUrl":83085,"material":40,"size":22630,"collection":84,"collections":83086,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},233761,"ren-wu-gu-shi-ce-8-chou-ying-233761","人物故事册8",[164,24,7,28,27,59,96,7045,21398,1634,690,496,208,1367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff55f603785d0771b5aef7f69f519cad7.jpg",[],{"id":83088,"slug":83089,"title":61387,"dynasty":54,"author":9576,"museum":20,"description":61388,"tags":83090,"thumbUrl":83091,"material":734,"size":61391,"collection":84,"collections":83092,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},233447,"ren-wu-shan-shui-ce-luo-pin-233447",[24,7,59,128,27,96,29,413,1350,690,171,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fe9195b07b86cf1f7afa6179f485290.jpg",[],{"id":83094,"slug":83095,"title":61387,"dynasty":54,"author":9576,"museum":20,"description":61388,"tags":83096,"thumbUrl":83097,"material":734,"size":61391,"collection":84,"collections":83098,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},233443,"ren-wu-shan-shui-ce-luo-pin-233443",[24,7,128,27,59,132,96,29,130,211,331,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F097138de6a206ef03745cea85302a03e.jpg",[],{"id":83100,"slug":83101,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":83102,"thumbUrl":83103,"material":84,"size":84,"collection":84,"collections":83104,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},233373,"shi-zhu-zhai-pu-ce-hu-ri-cong-233373",[24,7,59,128,61,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb74e205772e93a01913ee6008dc9642a.jpg",[],{"id":83106,"slug":83107,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":83108,"thumbUrl":83109,"material":84,"size":84,"collection":84,"collections":83110,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},233371,"shi-zhu-zhai-pu-ce-hu-ri-cong-233371",[24,7,59,27,61,371,375,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd567174838bdff0e9581080dfe76ad14.jpg",[],{"id":83112,"slug":83113,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":83114,"thumbUrl":83115,"material":84,"size":84,"collection":84,"collections":83116,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},233368,"shi-zhu-zhai-pu-ce-hu-ri-cong-233368",[24,7,59,27,61,371,372,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F218cc5f40dc46f9cb38a8466febdd771.jpg",[],{"id":83118,"slug":83119,"title":83120,"dynasty":54,"author":38394,"museum":20,"description":36660,"tags":83121,"thumbUrl":83122,"material":84,"size":84,"collection":84,"collections":83123,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},233225,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-hua-hui-ye-fan-qi-233225","金陵诸家山水花卉册-花卉页",[24,7,59,27,28,61,603,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95884d1c35a89552d24b9a6e7a455c1b.jpg",[],{"id":83125,"slug":83126,"title":83127,"dynasty":54,"author":83010,"museum":20,"description":83128,"tags":83129,"thumbUrl":83130,"material":611,"size":84,"collection":84,"collections":83131,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},233150,"cheng-zhao-xiong-xiang-zhou-ding-gao-233150","程兆熊像轴","寓居扬州的丁皋，主要以给官贾写真为生，其中不乏佳作。最典型的是现藏于故宫博物院的《桐华庵主三十六岁小 像》。此图画于乾隆十八年(1753)，为程兆熊写真图。程兆熊(1717—1764)是扬州当时的文化名流，其字孟飞，号香南，工诗词，书画俱佳。乾隆 时寓居扬州仪征桐华庵，故号桐华庵主。李斗《扬州画舫录》中对其评道：“扬州名园甲第、榜署屏障，金石碑版之文，皆赖之。”丁皋画的程兆熊像所占幅面很 小，但眉目神情，生动细腻。此图以生宣入画，更觉“运思落墨，均臻神妙”。画中背景则由当时扬州名画家黄溱、华嵒合作完成。",[24,7,165,27,28,95,128,96,34,497,247,758,6640,1429],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6d8cd75563d88afb2a56c5d1d038a93.jpg",[],{"id":83133,"slug":83134,"title":83135,"dynasty":54,"author":54248,"museum":20,"description":83136,"tags":83137,"thumbUrl":83138,"material":611,"size":84,"collection":84,"collections":83139,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},233149,"hua-yun-feng-qiu-ji-tu-xiang-zhou-hu-xi-gui-233149","画云峰求己图像轴","就求己图而言，现藏于故宫博物院的清代画家胡锡珪的《云峰求己图》这幅作品，画面是典型的求己图的构图模式，画作是为一位名叫云峰的朋友所创作的很可能是祝寿性质的肖像画。整个画作淡墨写就并略敷淡色，线条灵动，设色淡雅，整体上气韵悠然。画中右侧一位身着长衫的文士模样的人手中拿着一本书站立着，其面前一位人物伏地长叩，脑袋后的辫子悬至腰际，整个构图带有一股文人雅士的超然气息。这幅作品上有题跋达十处之多，从题跋上看诸多题款是云峰邀请其好友为其题词，其中胡锡珪题道：“求己图，云峰仁兄大人，玉照清玩。”此外还有许多题词更是不乏溢美之词，由此可见这幅作品当时画中主角云峰仁兄的心头之好，对此图和此图之意也颇有自许之意，这点可从他本人在这幅作品中的题诗可以看出：\n\n事业千秋醉亦休，人生原是一沙鸥。\n痴心欲开丹青里，为底殷勤把自求。\n凡事须先求自己，临场何必仰他人。\n男人福命生来定，只要心头把得真。\n天涯何处觅良俦，回首已经四十秋。\n一样求人求己好，衣粮便得自家谋。",[24,7,165,28,128,27,96,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f92bf88c40346946e03286fb556143a.jpg",[],{"id":83141,"slug":83142,"title":33757,"dynasty":54,"author":223,"museum":20,"description":65477,"tags":83143,"thumbUrl":83145,"material":611,"size":33763,"collection":84,"collections":83146,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},233095,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233095",[24,7,59,27,28,96,29,37378,131,34,38,63532,1645,83144,304],"战斗场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F434b37f84590d7aa59c39313089e5f3e.jpg",[],{"id":83148,"slug":83149,"title":83150,"dynasty":54,"author":223,"museum":20,"description":83151,"tags":83152,"thumbUrl":83153,"material":611,"size":37381,"collection":84,"collections":83154,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},233062,"ping-ding-hui-jiang-jiao-qin-ni-yi-zhan-tu-ce-yi-ming-233062","平定回疆剿擒逆裔战图册","本幅设色共十页，引首道光书“纉武绥边”，每开题记，又书平定回疆记事。尾纸曹振镰，文字王鼎等跋。",[24,7,59,28,27,96,101,8771,2523,11074,33760],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a49c885727c2c9cf97dce68919e65d3.jpg",[],{"id":83156,"slug":83157,"title":83158,"dynasty":182,"author":63547,"museum":20,"description":63548,"tags":83159,"thumbUrl":83160,"material":999,"size":63551,"collection":84,"collections":83161,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},232984,"hua-liu-zun-zhe-xiang-ce-di-shi-qi-ga-sha-ya-ba-zun-zhe-lu-leng-jia-232984","画六尊者像册-第十七嘎沙雅巴尊者",[24,7,59,27,187,96,772],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb29f5b04c8e6948bb34786e19830200c.jpg",[],{"id":83163,"slug":83164,"title":83165,"dynasty":144,"author":223,"museum":244,"description":83166,"tags":83167,"thumbUrl":83168,"material":84,"size":84,"collection":84,"collections":83169,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},232888,"yuan-tai-zu-cheng-ji-si-han-xiang-yi-ming-232888","元太祖成吉思汗像","孛儿只斤·铁木真（1162年—1227年8月25日） [112] ，尊号“成吉思汗”（传统蒙古文：ᠴᠢᠩᠭᠢᠰ ᠬᠠᠭᠠᠨ；拉丁蒙古文：Činggis Qaγan；西里尔蒙古文：Чингис Хаан；英语：Genghis Khan），蒙古族乞颜部人，生于漠北斡难河（今鄂嫩河）上游地区（今蒙古国肯特省）。大蒙古国可汗（1206年—1227年8月25日在位），世界史上杰出的军事家、政治家。\n铁木真早年丧父，投奔克烈部首领脱里，积蓄实力，于1189年被推举为蒙古乞颜部可汗，随后经过一系列战争，统一蒙古高原诸部。1206年在斡难河源即皇帝位，建立大蒙古国。建国后，实行千户制，建立护卫军，颁布《大扎撒》。此后经过多次的对外战争，占领东亚地区金朝的大片领土，并灭亡西夏、西辽及中亚的花剌子模，其征服足迹远抵东欧的黑海海滨。1227年，铁木真在西夏投降前夕病逝，终年六十六岁。临终前定下“联宋灭金”的战略，死后被秘密安葬于起辇谷。元朝建立后，累赠谥号为法天启运圣武皇帝，庙号太祖。\n铁木真是一位极具争议性的人物。自其崛起以来，便被视为野蛮残忍的侵略者 。到近代以后，也有许多学者认为铁木真及其继承人领导下的蒙古帝国发动的对外征服战争，促进了欧亚大陆间的相互影响，对之后的世界历史进程产生了深远的影响 。此外，他对蒙古诸部的统一战争，对蒙古民族共同体的形成起到了重要的作用",[24,7,164,28,27,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567e01e0e72d4cc7969b8e3d33f0fa5f.jpg",[],{"id":83171,"slug":83172,"title":42697,"dynasty":144,"author":569,"museum":300,"description":27930,"tags":83173,"thumbUrl":83174,"material":692,"size":1293,"collection":84,"collections":83175,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},232833,"bai-miao-luo-han-tu-juan-zhao-meng-fu-232833",[23,164,24,7,25,187,188,96,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F985a756bb7fba498c697a86c800475dd.jpg",[],{"id":83177,"slug":83178,"title":83179,"dynasty":222,"author":83180,"museum":300,"description":83181,"tags":83182,"thumbUrl":83184,"material":84,"size":84,"collection":84,"collections":83185,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},231827,"xiao-xian-he-ge-tu-juan-1-ku-tian-zheng-heng-231827","消闲和歌图卷-1","堀田正衡","这是一卷诗书画合璧的写意佳作，以淡赭素纸为底，大写意笔墨铺陈雅趣。浓淡干湿的墨色晕染出瑞兽、墨龙、折枝桃果、竹篮清供、幽草灵蛇与寒梅，笔意简劲纵逸，寥寥数笔便得物象神韵。日式和歌书法错落穿插于画幅之中，行笔舒展随性，与画作相映成趣。整体意境侘寂清雅，将文人消闲的幽远禅意融于笔墨之间，空灵疏朗，尽显随性自在的东方雅韵。",[23,24,7,25,128,27,188,133,208,369,24478,9671,53284,25390,1144,650,1771,6603,17539,772,12509,83183,96,481,950,723,949],"猴子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0668c72e7438d7eaf0064a20e69d82f.jpg",[],{"id":83187,"slug":83188,"title":83189,"dynasty":222,"author":223,"museum":300,"description":83190,"tags":83191,"thumbUrl":83192,"material":692,"size":1293,"collection":84,"collections":83193,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},231810,"kuang-seng-cao-zhi-tu-juan-yi-ming-231810","狂僧草纸图卷","以纯臻白描铺展长卷，铁线爽利洗练，不着一色却尽揽烟火躁动。从巷陌行伍到廊舍嬉闹，再转至烈焰惊惶，全景式铺陈出喧嚷乱象。屋宇架构以界画工整流利排布，衬出人物跳脱狂放。\n\n画中人物形神各异，或桀骜持械、恣肆狷狂，或仓惶奔逃、面露惊惶，将凡俗众生的情态一一铺陈。整卷叙事流畅自然，呼喝、惊呼仿佛随线条涌出，以极简笔墨勾勒出饱满鲜活的群像张力，尽显白描线条的叙事表现力与传神功力。",[23,24,7,25,188,95,96,97,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e92a599632024e0b5216cd04eb2ced3.jpg",[],{"id":83195,"slug":83196,"title":83197,"dynasty":222,"author":223,"museum":300,"description":83198,"tags":83199,"thumbUrl":83200,"material":692,"size":1293,"collection":84,"collections":83201,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},231776,"liu-qiu-feng-su-tu-juan-er-yi-ming-231776","琉球風俗图卷二","此作以工笔设色写实地铺展祭祀仪典。左侧俯瞰石砌祠宇墓垣，石纹朴拙厚重，匠人负具驻足，衬出场地的肃穆沉静。右侧仪仗队列绵长严整，旗幡舒卷，僧俗诸人衣冠有别，执事者持礼器、掌仪卫，依序徐行，将丧葬祭祀的仪轨细腻铺陈。\n\n设色淡雅克制，青、朱、褐诸色点缀素底，晕染出典仪的庄重氛围，笔致写实入微，将旧时琉球的民俗风貌凝于卷上，让湮没的礼制场景鲜活重现，是具象生动的民俗纪实佳作。",[23,24,7,25,28,27,96,758,11074,8537,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fe2fd02bb4d8ab679342e0a3bbe2b7c.jpg",[],{"id":83203,"slug":83204,"title":83205,"dynasty":222,"author":65535,"museum":300,"description":83206,"tags":83207,"thumbUrl":83208,"material":692,"size":1293,"collection":84,"collections":83209,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},231744,"jiang-hu-shi-dai-gong-yu-tan-sheng-tu-juan-er-fen-duan-gu-wen-chao-231744","江户时代 公余探胜图卷-二分段","谷文晁（1763～1841），日本江户时代的著名画家。曾广泛学习狩野派、圆山派、南画（水墨画）及西洋画法，并将各画种的表现手法相互借鉴，从而形成自己的风格。其曾为《集古十种》图录做插图，还曾游历各地画出大量风景写生画。弟子中有田能村竹田、渡边华山、谷文一、谷文二。",[23,24,7,25,27,29,497,34,1144,5323,10280,1743,37,415,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f048beb44c9ac69d4eadd260d6c1a2c.jpg",[],{"id":83211,"slug":83212,"title":83213,"dynasty":222,"author":83214,"museum":300,"description":83215,"tags":83216,"thumbUrl":83217,"material":692,"size":1293,"collection":84,"collections":83218,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},231726,"lian-cang-shi-qi-zhen-shou-shen-ren-hui-xi-tu-juan-ruo-xia-guo-231726","鎌仓时期 镇守神人绘系图卷","若狭国","日本古代的令制国之一，属北陆道，又称若州。若狭国的领域大约为福井县的岭南。",[23,9521,7,25,27,96,97,130,187,28,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5299f5c116a0eed7fa5bc763bc696ac1.jpg",[],{"id":83220,"slug":83221,"title":83222,"dynasty":222,"author":83223,"museum":300,"description":83224,"tags":83225,"thumbUrl":83226,"material":692,"size":1293,"collection":84,"collections":83227,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},231678,"lian-cang-shi-qi-gong-jia-lie-ying-tu-teng-yuan-xin-shi-231678","镰仓时期 公家列影图","藤原信实","淡墨清线勾勒出两列公家贵族，乌帽峨然，狩衣宽博舒展。人物姿态相近却神情微异，或垂目持简，或侧首敛容，笔致清劲秀雅，浅淡晕染衬出衣料的柔和质感，将旧族的矜贵端方缓缓铺展。\n\n长卷如徐徐展开的朝会剪影，队列带着仪式般的肃穆静雅，把贵族朝会的仪制风范凝在素纸之上。笔底藏着入微的观察，淡逸笔触间留存古雅和风，静穆中尽显旧时宫廷的规整气度，让千年前的朝堂群像鲜活如初。",[23,25,188,28,96,170,7,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35fdb5de6b2482a313e94254382da1c3.jpg",[],{"id":83229,"slug":83230,"title":83231,"dynasty":222,"author":67815,"museum":300,"description":67816,"tags":83232,"thumbUrl":83233,"material":692,"size":1293,"collection":84,"collections":83234,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},231630,"shi-ting-shi-dai-qing-shui-si-yuan-qi-hua-juan-shang-zhong-xia-shang-tu-zuo-guang-xin-231630","室町时代 清水寺缘起画卷上中下（上）",[24,7,25,27,28,95,187,96,97,29,101,34,211,247,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42489e41e6edbd1edcb14c072d8df156.jpg",[],{"id":83236,"slug":83237,"title":83238,"dynasty":222,"author":32321,"museum":300,"description":61524,"tags":83239,"thumbUrl":83240,"material":692,"size":1293,"collection":84,"collections":83241,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},231606,"ju-zhen-hua-pu-shang-zhong-xia-ce-xia-shou-ye-tan-you-231606","聚珍画谱.上中下册（下）",[24,7,59,128,27,188,29,61,96,97,98,99,371,375,167,376,171,130,211,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3f0f3f9d209b31058c7b680bf600a6.jpg",[],{"id":83243,"slug":83244,"title":83245,"dynasty":54,"author":34467,"museum":300,"description":83246,"tags":83247,"thumbUrl":83248,"material":611,"size":83249,"collection":84,"collections":83250,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},231566,"yu-hu-qiu-fan-tu-fei-dan-xu-231566","玉湖秋泛图","题跋：〈鲍正言〉（词一首，不录）筱溪尊兄先生属题即正。丙午九秋衍香鲍言草稿。\n〈朱紫贵〉（七律一首，不录）道光辛丑孟陬题奉筱溪宗兄雅正。\n斋贵书于西泠学舍。\n〈朱步沆〉（七律二首，雨不录）用初白先生中方舟夹山瀁韵二首题\n应筱溪三兄雅属希政之。时壬寅六月二十五日沁泉沆甫\n稿。\n〈奚疑〉（词一首，不录）丁亥冬余招同人泛舟夹山瀁诗雨生都督\n缋图纪游。筱溪三兄先生属新填蝶恋花词，录请敦正。\n方屏山樵奚疑稿。丙午十月，时年七十有二也。\n〈达受〉（七律二首，不录）咸丰五年乙卯七月二十有二日，小诗\n题奉筱溪先生玉照并祈政句。南屏迟隐憎六舟达受未定稿。",[23,24,7,25,27,128,28,133,64,208,29,96,129,1824,18542,9807,415,59241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28a59c2367b4d88e6db4c04a1ccd7115.jpg","引首：33.5×110.5cm 本幅：34×105.5cm 题跋：31×33cm×13",[],{"id":83252,"slug":83253,"title":83254,"dynasty":144,"author":83255,"museum":12686,"description":83256,"tags":83257,"thumbUrl":83258,"material":611,"size":83259,"collection":84,"collections":83260,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},231559,"san-fu-zi-xiang-liu-min-shu-231559","三夫子像","刘敏叔","【程朱理学】亦称程朱道学，是由北宋河南人二程（程颢、程颐）兄弟开始创作，弟子杨时，再传罗从彦，李侗的三传，到南宋朱熹集为大成 其基本观点包括：理或理是自然万物和人类社会的。 根本法则；万事万物各有，此为分尽。存、灭人，天理构成人的道德本质，在人间表现欲为伦理「三纲五常」。 道德伦理规范的行为，与天相对立。将人们追求美好生活的要求取人欲，是封建纲常与宗教的禁欲主义结合起来。",[24,164,7,188,128,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7510ea49d7d3289d5a8fee5c6c39bf8.jpg","122.6x68.6",[],{"id":83262,"slug":83263,"title":83264,"dynasty":18,"author":2141,"museum":244,"description":83265,"tags":83266,"thumbUrl":83270,"material":611,"size":83271,"collection":84,"collections":83272,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},231398,"bu-na-tu-liu-song-nian-231398","补纳图","本幅画两名僧人坐于禅榻上，老者正潜心补衣，另一人则抱膝旁观。屏后，复有侍者二人，伫立捻茶。画中人物，表情鲜活而自然，衣纹用笔亦流畅有力。惟左下方款署之“画院待诏赐金带刘松年敬赠”及钤印疑伪。 宋元罗汉画常见僧侣日常活动，此轴描绘僧人补衣，亦可归入罗汉画类型。刘松年是活动在十二世纪的南宋宫廷画家，以本院所藏〈画罗汉〉三轴最具代表性。若与〈补纳图〉相较，风格互异，本幅应系南宋晚期至元的画家托名所作。\n“南宋四家”之一刘松年在南宋画院崭露头角，介于李唐和马远、夏圭之间。他曾师从张敦礼学画，而敦礼画法学李唐，工于山水、人物画，刘松年学到了老师恬洁滋润的长处，也继承了李唐的绘画优点。\n刘松年的作品传世者并不多，据记载他的作品多表现江南一带风景，特别是西湖园林的优美景色，并穿插以文人贵族的闲适生活，少数还图绘了仙山楼阁的神仙世界，反映了那一时代上层社会的审美情趣。\n刘松年的工笔人物画尤其是罗汉图主要是对贯休的继承。当然这种继承不是拷贝，而是在古人的基础之上融入了自己的理解和心得，并形成自己的风格特色。",[24,164,7,165,28,27,96,949,7345,2145,12678,62,7877,40819,83267,8565,83268,83269],"宋代画风","衣纹细致","色彩典雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ad9390faee56e00d3126eeee9d660f4.jpg","纵141.9cm，横59.8cm",[],{"id":83274,"slug":83275,"title":22190,"dynasty":124,"author":22191,"museum":244,"description":83276,"tags":83277,"thumbUrl":83278,"material":514,"size":83279,"collection":84,"collections":83280,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},231392,"jiu-lao-tu-huang-biao-231392","黄彪，明苏州（今属江苏）人，号震泉。工人物写貌，尤精于摹写。曾得张择端《清明上河图》稿本，稍作删润，加以临摹，布景著色，几能乱真。存世作品有：嘉靖三十七年作《画项少溪像》、万历二十二年作《九老图》。",[7,64,572,208,128,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91ab112e1dd3d7ab8dda0884da0049c3.jpg","27.2x193cm",[],{"id":83282,"slug":83283,"title":83284,"dynasty":124,"author":5798,"museum":244,"description":83285,"tags":83286,"thumbUrl":83287,"material":611,"size":83288,"collection":84,"collections":83289,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},231372,"qi-xia-shan-tu-zhang-hong-231372","栖霞山图","栖霞山以禅寺和石刻千佛岩闻名于世，位于南京城东北22公里，又名摄山，南朝时山中建有“栖霞精舍”，因此得名。栖霞山有三峰，主峰三茅峰海拔286米，又名凤翔峰；东北一山，形若卧龙，名为龙山；西北一山，状如伏虎，名称虎山。栖霞山没有钟山高峻，但清幽怡静，风景迷人，名胜古迹，遍布诸峰，被誉为“金陵第一名秀山”。尤其是深秋的栖霞，枫林如火，漫山红遍，宛如一幅美丽的画卷，素有“春牛首，秋栖霞”之说。1634年，明代画家张宏以南京近郊的胜地栖霞山为画题，创作了一幅栖霞山图。真实地描绘出了明朝时期栖霞山的风貌。整幅画面气势恢宏，以千佛岩为主体，纵深地铺洒出一片葱郁的森林，使人看后心旷神怡，仿佛置身于那片清凉世界之中。\n此画以浓密如屏的树丛遮掩了其下山腰的轮廓，在这里，观画者必须先穿过树丛方能找到通往寺庙之路。张宏所要呈现的并非等览庙宇的经验，而是从雨中远眺的感受。他在题款中写道：“甲戌初冬，明止挈游栖霞，冒雨登眺，情况颇饶，归而图此。”由画幅下半部的细节，我们更可见出张宏的手法。张宏只画了庙门，这扇门也只画了局部，并且明显地按照远近比例法缩小。对岩壁间石刻壁龛的描写生动简洁，与石壁和树荫融合为一个视觉整体。画家秉承了传统的笔法，忠实地再现视觉经验。一张摄于1930年的千佛岩照片，肯定了张宏画中形象的忠实性：佛龛位于岩壁间，有一部分为树木所掩盖，从我们这个距离看去，仅能依稀辨认。张宏将此景压缩为因应挂轴裱式的垂直画面，布局也较乍看之时来得更具巧思；虽则如此，十一英尺有余的画幅本身，亦强化了如大银幕电影或电视超大画面般的临场感，宰制了我们大部分的视野。画面的主体千佛岩，在林木的掩映下显得古朴典雅。一望无际的森林覆盖着栖霞山，似有微风吹过，树影婆娑中透出清凉之气，引观者共鸣，一同去体会那清爽的栖霞山风光。",[24,7,165,27,29,34,130,97,131,37,132,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3fad6af81b9c3d5091b3f39f4570be3.jpg","纵341.9cm，横101.8cm",[],{"id":83291,"slug":83292,"title":83293,"dynasty":18,"author":223,"museum":244,"description":83294,"tags":83295,"thumbUrl":83296,"material":173,"size":83297,"collection":84,"collections":83298,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},231081,"yu-e-tu-yi-ming-231081","浴鹅图","画面取水岸一隅，古木虬枝苍拙雄健，疏梅绽花点点，柳丝柔曼垂落晕染出春日清氛。\n\n白鹅浮于水面，翎羽刻画精工细腻，绒羽蓬松、主羽分明，曲颈昂首悠然自得，尽显雍容闲适。枝头小雀理羽顾盼，鲜活灵动，与白鹅的静雅形成呼应，一动一静间晕开松弛野逸的意趣。\n\n全作用色古雅沉稳，工写兼融，禽鸟刻画细致入微，林石布景写意简澹，将幽寂的池畔春景晕染出静谧悠然的古典格调，尽显雅致恬淡的自然之美。",[164,24,7,28,27,7546,331,650,355,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63b094f5baeb96b4cd23585e29b9b69e.jpg","181.4x98.2",[],{"id":83300,"slug":83301,"title":83302,"dynasty":18,"author":223,"museum":244,"description":83303,"tags":83304,"thumbUrl":83305,"material":173,"size":83306,"collection":84,"collections":83307,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},231080,"tong-shi-xiu-ling-tu-yi-ming-231080","桐实修翎图","这幅小品以极简取景尽显雅致意趣。枯涩桐枝斜出，叶片晕染苍润，桐实垂悬，带着秋意的沉敛。枝上禽鸟侧身理羽，绒羽蓬松柔润、覆羽棱纹毕现，笔致精细入微，将禽鸟的慵懒闲适刻画得鲜活传神。\n\n画面虚实相生，淡远空境衬出小景静谧，古绢的沉暗底色晕开旧时光晕，钤印朱红点缀，添上岁月沉淀的厚重，尽显写生的精妙工致，将秋日林间的幽寂生机定格在尺幅之间。",[164,24,7,165,28,27,61,355,2438,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40cb72af34f436ca4a5ea71e741b3c48.jpg","纵103.4cm，横33cm",[],{"id":83309,"slug":83310,"title":47857,"dynasty":124,"author":5798,"museum":300,"description":83311,"tags":83312,"thumbUrl":83313,"material":84,"size":84,"collection":84,"collections":83314,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},230915,"shi-ji-jun-chen-gu-shi-tu-zhang-hong-230915","此作笔墨秀雅清润，以平远视角铺展庭院景致。垂杨柳丝扶苏，掩映廊庑台榭，墨色晕染出清寂空疏的氛围。画面左下角，着官袍士人正与仆从揖对，旁侧马匹静候，将朝臣谒见等候的场景娓娓铺陈，人物情态生动自然，尽显古礼分寸。\n\n布景简淡洗练，线条细劲工致，淡设色晕染浅淡柔和，将史记旧事的沉静静谧融于日常朝谒场景之中。画作兼具叙事性与文人雅意，无需繁复铺陈，便把君臣故事里的恭敬庄重，藏在庭院幽寂氛围里，尽显温婉古雅的文人叙事画格调。",[24,7,27,95,28,96,101,34,97,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ce24d8ae3f83d6f50fe771dbf7b0a0f.jpg",[],{"id":83316,"slug":83317,"title":83318,"dynasty":144,"author":223,"museum":300,"description":83319,"tags":83320,"thumbUrl":83321,"material":84,"size":84,"collection":84,"collections":83322,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},230903,"ge-ba-qiu-feng-tu-yi-ming-230903","歌罢秋风图","淡墨晕染芙蓉瓣，留白衬出柔润娇妍，层叠舒展间暗蕴盛放之姿。浓焦墨勾勒叶脉，苍劲利落的笔触写尽秋意萧疏，枝梗挺括暗藏清刚骨力。\n\n画幅间题诗与画境呼应，以墨代彩，褪去浓艳浮华，尽显简淡秀逸的文人意趣。水墨相生，将清秋芙蓉冷艳风骨与澹泊心境相融，淡远萧疏的氛围里，把晚风里芙蓉的清隽寂寥缓缓铺陈，简淡笔墨间留住一刹幽寂秋光，尽显文人水墨小品的空静雅韵。",[23,24,7,128,27,62,549,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78f4f12104f7914b7ff23728192398f8.jpg",[],{"id":83324,"slug":83325,"title":83326,"dynasty":124,"author":83327,"museum":300,"description":83328,"tags":83329,"thumbUrl":83330,"material":692,"size":1293,"collection":84,"collections":83331,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},230848,"lin-shen-xian-qi-ju-fa-wang-shu-230848","临神仙起居法","王澍","王澍，字蒻林，号虚舟，江南金坛人。1668年生，1743年逝世，官至吏部员外郎。康熙时以善书，特命充五经篆文馆总裁官。",[7,64,330,840,128,59,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe347c35df1e481a897ca43a9673afa15.jpg",[],{"id":83333,"slug":83334,"title":83335,"dynasty":222,"author":223,"museum":300,"description":83336,"tags":83337,"thumbUrl":83341,"material":692,"size":1293,"collection":84,"collections":83342,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},230693,"tian-qiu-xing-tu-yi-ming-230693","天球星图","以淡蓝晕染作天幕底色，红、黄、黑三色星点错落排布，勾勒出古人心目中的苍穹秩序。残损的边角晕开岁月痕迹，却未掩星官排布的缜密脉络。星点或串联成象，或孤悬天际，将浩渺天河凝缩于圆形尺幅之内，带着手绘朴拙的温度，复刻出千年前观星者仰首凝视的整片星空。它是古人求索天地的具象缩影，藏着古老的宇宙遐想，虽历经岁月磨耗，却依旧留存着天文记录与古典艺术交织的独特价值，静静诉说着跨越时空的观星浪漫。",[24,7,27,28,52652,83338,83339,83340],"星辰","天体","圆幅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda4b964d795509339c902807414ba2fd.jpg",[],{"id":83344,"slug":83345,"title":83346,"dynasty":222,"author":52869,"museum":300,"description":83347,"tags":83348,"thumbUrl":83349,"material":692,"size":1293,"collection":84,"collections":83350,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},230580,"ming-qing-fang-gu-fen-ben-hua-niao-juan-1-tu-zuo-bing-guang-lin-feng-230580","明清仿古粉本花鸟卷1","此作合装成卷，兼纳诸类绘事。起首工笔禽鸟，雄雉敷色秾丽，翎毛晕染细致，华彩毕现，雌雉朴雅写实，体态宛然，形神兼备。转而为扇面界画小品，屋宇勾描工致，人物市井排布错落，尽揽俗世烟火意趣。没骨花卉晕染柔和，枝头小雀灵动生姿。写意渡头行舟、寒林归鸦则笔墨简淡，晕开萧疏禅意。仕女图线条秀逸温婉，人物神态含蓄端丽，尽显古典闺秀韵致。卷尾花鸟与书法题跋相映成趣，整卷融工笔、写意、界画技法于一炉，兼取院体工致与文人写意意趣，尽显东方古典绘事雅致抒情的笔墨意韵。",[23,24,7,25,27,28,188,330,208,61,96,129,211,373,263,130,97,99,1131,248,10860,7856,372,167,131,98,166,2059,100,4278,34,355,133,938],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7baf0b9e253928a2066f618834c6172f.jpg",[],{"id":83352,"slug":83353,"title":83354,"dynasty":222,"author":223,"museum":300,"description":83355,"tags":83356,"thumbUrl":83357,"material":692,"size":1293,"collection":84,"collections":83358,"showCount":975,"zanCount":1998,"manualWeight":48,"mainColor":49},230558,"dao-xuan-lv-shi-xiang-yi-ming-230558","道宣律师像","此作写高僧风骨，写实沉静。画中人物清癯端严，目光静定沉凝，将戒行自持的宗师气度尽显无遗。衣纹勾勒凝练古拙，素色僧衣沉静克制，与身侧华美的缠枝宝相纹坐帐形成鲜明对冲，繁简之间衬出修行之人的枯淡本心。\n手中拂尘细节写实雅致，朱红缨络晕染细腻，器物描摹见微知著。整幅设色调和古雅，构图中正端凝，以克制的笔意刻画出高僧静定庄严的气韵，静穆之中自有弘深出尘的风骨。",[24,7,165,187,27,96,28,170,12803,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb11907c9051a25457b2bba838958b732.jpg",[],{"id":83360,"slug":83361,"title":83362,"dynasty":54,"author":223,"museum":300,"description":83363,"tags":83364,"thumbUrl":83366,"material":692,"size":1293,"collection":84,"collections":83367,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},230343,"pu-ti-ye-hua-shi-ba-luo-han-tu-yi-ming-230343","菩提叶画十八罗汉图","此作以天然菩提叶为画布，一面金叶素净留白，一面工笔敷色绘就罗汉群像。以布袋罗汉为中心，众僧或垂目静立，或私语颔首，衣袂褶皱晕染细腻柔和，浅淡山林衬出禅林清寂。\n\n将叶片天然轮廓作为画面边界，把佛国意趣与自然天工融为一体，工丽设色勾勒出罗汉安闲自在的神态，静穆雅致间尽显佛绘的细腻工巧，借菩提的禅意烘托出世外梵林的悠然意境，方寸叶间藏尽禅门雅韵。",[24,7,83365,187,96,28,27,59,34],"菩提叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F188689bcdbfdaa69e7b68299bcf0f89c.jpg",[],{"id":83369,"slug":83370,"title":83371,"dynasty":54,"author":872,"museum":300,"description":6719,"tags":83372,"thumbUrl":83373,"material":692,"size":1293,"collection":84,"collections":83374,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},230282,"hua-niao-shan-shui-ce-ba-kai-zhu-da-230282","花鸟山水册八开",[24,7,59,128,61,29,171,211,2059,168,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73043b7ba44730441ec6f9634ec31f70.jpg",[],{"id":83376,"slug":83377,"title":83378,"dynasty":54,"author":47606,"museum":300,"description":83379,"tags":83380,"thumbUrl":83381,"material":84,"size":84,"collection":84,"collections":83382,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},230256,"hua-chun-tai-tong-le-ce-huang-yue-230256","画春台同乐册","此作以淡墨轻晕铺就月夜园林景致，题诗衬景，将清宵幽寂意趣娓娓道来。月上宵空，清光晕染水岸屋舍，错落庭园隐于林木间，竹树疏密相宜，水岸亭台凌波而立，垂柳轻拂水面，石岸错落点缀浅滩，铺展出江南私园的雅致闲静。\n\n笔致秀润简淡，留白尽显月色空濛，将文人耽于静夜闲读的隐逸心境融于笔墨。淡着色晕染出草木清润，屋舍朴雅简净，整体萧疏淡远，尽显文人山水小品悠然闲淡的意韵，把夜色里园林的静谧雅韵全然铺陈开来。",[24,7,59,128,130,97,34,276,99,131,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf5f5de249117605e5d665e899be726f.jpg",[],{"id":83384,"slug":83385,"title":83386,"dynasty":54,"author":44979,"museum":300,"description":83387,"tags":83388,"thumbUrl":83389,"material":84,"size":84,"collection":84,"collections":83390,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},229054,"shan-shui-ce-274-ye-xin-229054","山水册274","此作以淡赭轻晕铺就雪野寒山，留白晕染间，天地漫着清寂冬意。远山以浅墨晕成朦胧雪色，不见繁复皴擦，只以简淡笔墨勾勒山形，将冬日山野荒寒铺展眼前。山道间车马旅人简笔写就，行色匆匆的羁旅之态跃然纸上，把凛冬行路的困顿萧索藏于笔底。\n\n整体笔墨清逸简淡，以少胜多，留白尽是寒雪，淡墨皆是荒丘，将冬日关山的空疏与行旅的孤寂相融，于尺幅之间晕染出悠远萧寒的意境，尽显小品山水的空灵诗意。",[24,7,59,128,29,7045,101,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f683da4426a9134d7608944f202e2e.jpg",[],{"id":83392,"slug":83393,"title":83394,"dynasty":54,"author":33849,"museum":300,"description":83395,"tags":83396,"thumbUrl":83397,"material":692,"size":1293,"collection":84,"collections":83398,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},229051,"qing-ke-si-yu-zhi-san-xing-tu-song-bing-gong-hui-tu-zhou-qing-ren-229051","清缂丝御制三星图颂并恭绘图轴","此作以缂丝技法织就，福禄寿三星齐聚庭间，福星朱袍持如意，雍容端方，禄星抱婴含笑，满含温情，寿星银须捧桃，矍铄古朴。数位稚童环绕身侧，嬉戏随侍，融融暖意扑面而来。\n\n衬以玉树虬松、玲珑湖石与缤纷花草，云烟轻笼庭间，铺就悠然吉庆的雅致氛围。通幅走线匀整细腻，配色明丽沉稳，袍服织金纹饰、松石肌理皆还原精妙，上部御题诗文隽秀规整，与下方图景呼应成趣，将世俗祈愿与宫廷缂丝工艺完美融合，尽显华贵祥和的祥瑞气韵。",[164,24,7,165,1944,27,28,13720,96,227,413,131,189,62,276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1baaeba49be9b03774cc9e5217bff1a3.jpg",[],{"id":83400,"slug":83401,"title":83402,"dynasty":54,"author":6936,"museum":300,"description":83403,"tags":83404,"thumbUrl":83405,"material":84,"size":84,"collection":84,"collections":83406,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},229031,"shan-shui-shi-er-kai-wang-yuan-qi-229031","山水十二开","此作用北苑墨法写就，山峦层叠盘桓，以干笔积墨反复皴擦，线条苍劲老辣，墨色干湿浓淡交织，层层铺陈出山林的浑厚华滋。近岸杂木错落，掩映水榭村居，溪涧回环穿谷而出，衬出林泉幽寂之致。\n整体章法紧而不塞，虚实相生，将元人笔墨的疏淡苍润融入自身沉雄笔力之中，既得古法的静穆高逸，又自具苍浑朴拙气度，尽显正统山水画的笔墨意趣，将江南山林的深秀与文人画的书卷气融为一体，师法古人又自出机杼，是极具代表性的传统山水佳构。",[24,7,128,59,132,29,131,99,34,387,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd146913e1e87fe1b26f6aef5dc147242.jpg",[],{"id":83408,"slug":83409,"title":83410,"dynasty":54,"author":1460,"museum":300,"description":83411,"tags":83412,"thumbUrl":83413,"material":84,"size":84,"collection":84,"collections":83414,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},228991,"bai-kai-luo-han-tu-41-shi-tao-228991","百开罗汉图41","此作用水墨晕染出清寂禅境，双罗汉对晤于松崖之间。右侧罗汉安坐危崖，衣纹圆转舒展，神色悠然抬眼望向山巅，松间罗汉隐于虬枝之下，目光回睇似共论禅机。古松盘桓错节，松针攒簇苍劲老辣，崖石以枯笔皴擦尽显奇崛之势。背景流云以涡旋墨色铺陈，裹挟空濛仙气，虚实相生间晕化出幽渺山境。\n笔意纵恣灵秀，将禅家超旷出尘的意趣融于山水人物之中，简淡笔墨里藏着苍莽空灵的世外之韵，尽显禅画合一的精妙意致。",[164,24,7,59,128,132,188,187,96,1144,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa49d7565bc3db5a2c1dec7feb41f1899.jpg",[],{"id":83416,"slug":83417,"title":83418,"dynasty":124,"author":83419,"museum":300,"description":83420,"tags":83421,"thumbUrl":83422,"material":84,"size":84,"collection":84,"collections":83423,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},228900,"xiao-fu-tu-juan-zhang-feng-bu-tu-gu-meng-you-228900","啸赋图卷张风补图","顾梦游","水墨淡绘峰林幽谷，隐者策杖独行，留白疏淡间，漾出幽远超尘的林下意趣。随行行书长卷笔致秀雅舒展，录就《啸赋》全篇，笔墨清逸萧散，与画境相映成趣。\n\n书画合璧，将赋文里寄怀烟霞、啸傲林泉的隐逸襟怀融于卷中，明人尚雅的高致风流尽在其中，文、书、画相生相融，勾勒出古贤遁世丘山的澹泊襟怀。",[23,164,24,7,25,188,128,29,171,64,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2daf2a4d157139ac44e11d0373f8546.jpg",[],{"id":83425,"slug":83426,"title":83427,"dynasty":124,"author":223,"museum":300,"description":83428,"tags":83429,"thumbUrl":83430,"material":692,"size":1293,"collection":84,"collections":83431,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},228815,"xi-lv-gong-ao-tu-yi-ming-228815","西旅贡獒图","图中描绘一位高鼻深目、长满胡须的胡人，手牵獒犬，坐在皇宫外的汉白玉台阶上等待进贡。早在先秦时期，西部少数民族便开始向中原进贡獒犬。《尚书·旅獒》记载：“惟克商，遂通道九夷八蛮，西旅厎贡厥獒。”按孔颖达注疏，“西旅”是指西部羌族。《尚书·旅獒》篇是劝戒帝王不能因喜好所贡獒犬而“玩物丧志”，而“贡獒图”则是用以歌颂帝王的武功，表现“万国来朝”的气势，“贡獒图”在历代有多种不同形式的表现",[23,24,7,164,27,28,96,949,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7b13791168de75f3c217969bac8db20.jpg",[],{"id":83433,"slug":83434,"title":83435,"dynasty":124,"author":1058,"museum":300,"description":4630,"tags":83436,"thumbUrl":83440,"material":692,"size":1293,"collection":84,"collections":83441,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},228474,"sui-bi-01-tang-yin-228474","随笔01",[164,24,7,59,133,208,64,128,17613,15636,83437,83438,99,83439,3344,211,2524,415,47607,10143,129],"林屋","春云","竹篱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf19c957fdf26ac11f1c1b360d532ce7.jpg",[],{"id":83443,"slug":83444,"title":83445,"dynasty":124,"author":83446,"museum":300,"description":83447,"tags":83448,"thumbUrl":83449,"material":84,"size":84,"collection":84,"collections":83450,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},228336,"xi-shan-zhen-shang-tu-jin-run-228336","溪山真赏图","金润","《溪山真赏图》是中国明代画家 的国画作品，现藏于天津市艺术博物馆。\n该作品纸本，设色，纵29厘米，横16.5厘米，据卷后题跋可知是为其婿陈坚远所作。\n《溪山真赏图》是中国明代画家 的国画作品，画上自题“静虚写溪山真赏图，时年七十四也”。\n卷后自题署成化戊戌款，可知此图作于成化十四年，作者时年七十四岁，属晚年之作。\n欧阳序篆书引首，拖尾有作者自题及吴宽、马迪、陈璚、杜堇、性嘉、周孟中、蒋谊等人的题跋。\n卷中钤有清初朱之赤、清内府及吴亦先、陈嗣宗、张叔诚等鉴藏印。\n该作品用笔工细简淡，设色清雅，构图平远，疏密有致，是金润画作精品，亦是其现存海内孤本。\n金润 (公元15世纪)〔明〕字伯玉，又字静虚，上元(今江苏南京)人，生卒年不详。\n幼即嗜学，年十二能赋诗，正统(146-1449)间举乡贡，授兵部司务。\n为少保于谦所重，每与之咨议兵事。\n后擢南安知府，政暇即弹琴写画赋诗。\n精通音律，工书画。\n书法类赵孟頫，山水法方从义。\n所画山水天真横溢，工整简淡，细笔勾皴，浓墨点醒，勾点兼用，构图严谨，疏密有致。\n从艺活动约在正统、成化年间。",[24,7,133,64,29,59982,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d37175f7f1a0a5de4cde2f0f3cab04.jpg",[],{"id":83452,"slug":83453,"title":43899,"dynasty":124,"author":22598,"museum":300,"description":83454,"tags":83455,"thumbUrl":83456,"material":692,"size":1293,"collection":84,"collections":83457,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},228278,"wu-yan-shi-chen-ji-ru-228278","陈继儒（1558年12月14日-1639年10月16日），字仲醇，号眉公、麋公，松江府华亭（今上海市松江区）人。明朝文学家、画家。\n诸生出身，二十九岁开始，隐居在小昆山，后居东佘山，关门著述，工诗善文，书法学习苏轼和米芾，兼能绘事，屡次皇诏征用，皆以疾辞。 擅长墨梅、山水，画梅多册页小幅，自然随意，意态萧疏。论画倡导文人画，持南北宗论，重视画家修养，赞同书画同源，有《梅花册》《云山卷》等传世。著有《陈眉公全集》《小窗幽记》《吴葛将军墓碑》《妮古录》。",[23,164,24,7,25,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb45af0e2b190495cfb4d69b5a01f05ee.jpg",[],{"id":83459,"slug":83460,"title":83461,"dynasty":144,"author":223,"museum":300,"description":83462,"tags":83463,"thumbUrl":83464,"material":84,"size":84,"collection":84,"collections":83465,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},228229,"guan-jing-tu-yi-ming-228229","观景图","以水墨晕染出林泉幽隅，老干虬曲的大树遮天蔽日，浓墨点簇的枝叶如盖，掩映着后方隐约的山居茅舍。淡墨皴擦的坡岸蜿蜒延伸，留白处似清溪浅濑，石上隐者凭坐对谈，共赏烟林清景。\n\n笔意简淡清疏，不施浓艳，以水墨的浓淡干湿晕开朦胧烟岚，将幽居林下的散淡襟怀藏在晕染的雾气之中。残题与画作相映，尽显简远意趣，寥寥数笔便勾勒出林泉高致，把山泽间的静穆悠然铺陈在尺幅之内，观之如身临疏旷幽寂的林下烟景，尽得闲雅隐逸之致。",[24,7,128,29,96,133,132,98,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bae947a0ca7be4223f0dd9af5acdecc.jpg",[],{"id":83467,"slug":83468,"title":83469,"dynasty":144,"author":223,"museum":300,"description":83470,"tags":83471,"thumbUrl":83472,"material":84,"size":84,"collection":84,"collections":83473,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},228219,"hou-tu-yi-ming-228219","猴图","《五猴图》是近现代佚名画家创作的一幅中国画。\n尺寸：97×68.5cm 溥儒题签：宋人五猱图，心畬题。\n印文：心畬（白文） 溥儒题：五猱图绢本，松石皆古秀，五猱亦宋人笔墨，盖宋人所作。\n右方半印或有款识，已经裁翦。\n画境略似李迪。\n宋时画院多能画猿猱，往往不题名。\n此当时习尚如是。\n故赏宋画曾不以无款而轻之也。\n上耑有鲁府图书印，明时晋府鲁府肃府所藏多真。\n其下左方则有钤山堂印，知曾入分宜严氏家者，其可重当何如耶。\n壬寅十二月溥儒题。\n印文：心畬（朱文） 藏印：鲁府图书（上中）、钤山堂书画印（左下）、严嵩藏章、嘉谟（右下），另一印模糊不可辨识",[24,7,1131,128,27,9633,949,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F129fc44a8e7e51d24a0064077af65def.jpg",[],{"id":83475,"slug":83476,"title":83477,"dynasty":144,"author":223,"museum":300,"description":83478,"tags":83479,"thumbUrl":83480,"material":692,"size":1293,"collection":84,"collections":83481,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":956},228193,"zhun-zhi-guan-yin-xiang-ping-an-shi-dai-yi-ming-228193","准胝观音像平安时代","本作品的准胝观音身体涂白，以朱线勾勒轮廓。宝冠上贴有金箔，墨线勾勒，头发涂略带灰色的淡绿色。衣裙及莲华宝座为略显灰色的白色及淡褐色、淡青、淡绿等，多用混有白色颜料的中间色。轮廓线也用墨线勾勒，装饰台座的花瓣类的轮廓为白色线。而且衣裙上用纤细的细金箔表现出各种的图案，腿腹的膨胀部分等采用白色表现出照晕（佛画的一种表现手法，采用明暗体现出立体感），衣服的褶皱也施有与底色同系统稍浓的色彩制出段晕（绘画表现手法），画像整体呈现院政时期佛画所特有的柔和优美的感觉。另一方面，虽然现在作品已经泛黑，但是头光、背光的一部分在强调交织的细金箔图案的同时，却以银截金、截箔构成的图案为主，从天盖垂下的璎珞也采用细银箔表现出稳重的光辉。而其周围的四天王上的金属构件类都施有里箔（日本绘画技法，从绢底里侧贴上金银箔），整体的色彩稍暗，以墨线的轮廓线条为主，对足边岩石台座的描绘，以及对天衣、冠缯的动态描写等，都可见镰仓时代的主流表现要素。此作品巧妙的改变表现手法以凸显主题的主次关系，从而形成了考究画面，令人感觉到自平安时代至镰仓时代的时代变迁。",[23,24,7,165,187,27,28,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5e188f072a473e4c2abfdabc9e629cf.jpg",[],{"id":83483,"slug":83484,"title":83485,"dynasty":144,"author":223,"museum":300,"description":83486,"tags":83487,"thumbUrl":83488,"material":692,"size":1293,"collection":84,"collections":83489,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},228189,"xiu-xing-zhong-de-luo-han-yi-ming-228189","修行中的罗汉","罗汉，是阿罗汉的简称，梵音译(Arhat)。含有杀贼、无生、应供等义。杀贼是杀尽烦恼之贼，无生是解脱生死不受后有，应供是应受天上人间的供养。在小乘佛教中，是伟大的佛陀得法弟子修证最高的果位。\n罗汉者皆身心六根清净，无明烦恼已断（杀贼）。已了脱生死，证入涅槃（无生）。堪受诸人天尊敬供养（应供）。于寿命未尽前，仍住世间梵行少欲，戒德清净，随缘教化度众。",[24,7,165,187,96,27,28,170,171,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd95137bbda0087e21b255de14140e188.jpg",[],{"id":83491,"slug":83492,"title":83493,"dynasty":18,"author":223,"museum":300,"description":83494,"tags":83495,"thumbUrl":83496,"material":84,"size":84,"collection":84,"collections":83497,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},227895,"cheng-jiang-bi-xiu-tu-yi-ming-227895","澄江碧岫图","此作为宋代青绿山水小品，取半边构图，左畔山石以石青石绿晕染，苍润古雅，坡岸松荫蔚然，隐见茅舍山居，野意悠然。右侧铺陈空阔澄江，几叶扁舟随波缓行，远山以淡墨轻扫晕染，在赭色绢底烘托下，将尺幅小景延展为辽远空濛的水天之境。\n\n全画色调沉静古拙，雅致内敛，把江南平远山水的清寂空阔，与山居的安闲悠然相融。咫尺尺幅间尽显宋人观照山水的澹泊意趣，见微知著，藏着江南烟水的沉静诗意，尽显院体小品的清丽雅致。",[23,164,24,7,1131,27,29,129,413,1314,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faebd0603c9adc30af9685e06d3a0274a.jpg",[],{"id":83499,"slug":83500,"title":83501,"dynasty":18,"author":223,"museum":300,"description":83502,"tags":83503,"thumbUrl":83504,"material":84,"size":84,"collection":84,"collections":83505,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},227875,"liu-tang-qiu-cao-tu-yi-ming-227875","柳塘秋草图","此作以淡墨晕染水天，将清秋的空濛萧索揉在氤氲水汽中。左侧岸渚垂柳成林，枝叶以细笔点染如烟似雾，把秋的清柔藏在垂绦之间。水面留白处点缀浅渚芦草，笔墨简淡却野意自生，细描的水纹漾开闲静涟漪，晕开塘岸幽寂。\n\n以尺幅小景框住秋郊疏朗之美，摒弃繁复皴法，凭水墨浓淡铺陈远近层次，将深秋的沉静淡愁融在画面里，如同一曲低缓清寂的秋歌，淡而余味悠长，尽显宋画独有的含蓄雅致，藏着文人偏爱的冷澹幽隽意境。",[23,164,24,7,1131,28,128,27,132,29,2372,1771,3837,34,5323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ce6b7f466f533a40e0830c8a2449467.jpg",[],{"id":83507,"slug":83508,"title":83509,"dynasty":18,"author":223,"museum":300,"description":83510,"tags":83511,"thumbUrl":83512,"material":84,"size":84,"collection":84,"collections":83513,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},227873,"liu-tang-du-shu-tu-yi-ming-227873","柳堂读书图","苍松虬劲盘绕，柔柳垂拂溪岸，茅庐静踞山隅，堂内人影潜于书卷之间。溪石隐现于浅濑，清泠水意漫溢出纸面，远景平波澹澹，林峦在烟霭中晕化成淡墨剪影，将尘嚣完全隔绝在外。\n笔墨苍莽淋漓，皴擦间带着山野朴拙之气，将林泉高致的隐逸意趣藏在细节里，观之如身临幽寂山隅，窥见古人寄心林泉、沉潜书卷的雅静襟怀，仿佛能听见松涛卷着书香漫过水湄。",[23,164,24,7,1131,28,27,29,34,35,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd30268d4053639501778e8219f9b2a.jpg",[],{"id":83515,"slug":83516,"title":50635,"dynasty":18,"author":223,"museum":300,"description":83517,"tags":83518,"thumbUrl":83520,"material":84,"size":84,"collection":84,"collections":83521,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},227762,"qiu-jiang-ming-po-tu-yi-ming-227762","宋 佚名 秋江暝泊图 纨扇 绢本设色 23.7×24.3cm 北京故宫博物院藏\n\n秋天，黄昏，江岸楸树，水中孤舟，对岸迷茫的山林，林中隐现的庙宇，山下蜿蜒流淌的小溪，《秋江暝泊图》勾勒出了一幅典型的秋江景致。宋代院体山水画，对自然景物有丰富的表现力，从画风看应为南宋翰林院中高手所为。\n\n《秋江暝泊图》上钤有“御书之宝”、“信公珍赏”、“庞莱臣珍藏宋元真迹”等印多方，说明此图曾经南宋内府、清人耿昭忠、近人庞莱臣等收藏。《虚斋名画录》著录。此画传为宋高宗作品，经启功、徐邦达、刘九庵等鉴定大家鉴定为南宋绘画精品。\n\n宋高宗赵构（1107－1187），字德基，宋朝第十位皇帝，南宋开国皇帝，宋徽宗赵佶第九子。赵构精于书法，善真、行、草书，笔法洒脱婉丽，自然流畅，颇得晋人神韵。著有《翰墨志》，传世墨迹有《草书洛神赋》等。",[23,164,24,7,151,128,27,1349,132,208,663,228,34,129,83519,7566,53205,497,20575,17206],"停泊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea2f17134a6c67312b94dde38c168262.jpg",[],{"id":83523,"slug":83524,"title":83525,"dynasty":18,"author":40225,"museum":244,"description":83526,"tags":83527,"thumbUrl":83528,"material":637,"size":83529,"collection":84,"collections":83530,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},227759,"yi-xi-ci-ce-14-zhen-zhu-xi-227759","易系辞册14帧","朱熹《书易系辞》册 纸本，共14开 台北故宫博物馆，“书易系辞”册，一向被学者公认为是朱熹存世仅见的大字真迹。\n\n《书易系辞》，纸本，全册共十四开，102字，均纵36.5厘米，横61.8厘米，是朱熹存世仅见的大字真迹。全册共十四开，一百零二字，每行仅书写二字，内容为《易经·系辞》的节句。笔力凌厉豪劲，墨色黝黑，时而又出现飞白效果，显得格外精神奕奕。古代许多书法家是不善于写大字的，但这恰恰是朱熹的擅长，所以他的大行书远远胜过小行书。作品有朱熹名款及“定静堂”印记，为林宗毅先生所藏，后捐赠与台北博物馆。",[23,1326,64,133,59,208,7,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4118aefb6f5380b7d57297807840ac9.jpg","均纵36.5公分、横61.8公分",[],{"id":83532,"slug":83533,"title":83534,"dynasty":18,"author":1323,"museum":300,"description":42784,"tags":83535,"thumbUrl":83536,"material":84,"size":84,"collection":84,"collections":83537,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},227740,"huo-lang-tu-ye-wen-zi-li-song-227740","货郎图页文字",[23,1846,24,7,4437,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c816ffda703346d49c1e5d87e5fc6fa.jpg",[],{"id":83539,"slug":83540,"title":83541,"dynasty":18,"author":223,"museum":300,"description":83542,"tags":83543,"thumbUrl":83544,"material":84,"size":84,"collection":84,"collections":83545,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":956},227574,"wei-mo-ji-jing-yi-ming-227574","维摩诘经","《维摩诘经变》根据《维摩诘经》而来，是很能反映中国文人阶层精神面貌的壁画。 《维摩诘经变》是莫高窟中较重要的经变图，现存有30多幅，在各个时期都有表现，多以“异品同构”的构图方式出现，将多品的内容由一个故事情节互相穿插起来。到唐代之后，画家的技艺有了长足进步，构图更加合理，笔法更加讲究，对人物内心的把握亦更加到位。这幅《维摩诘经变》基本上以线描为主，局部赋色。画中的维摩诘坐于榻上，身披紫裘，白练裙襦，一膝支起，左手抚膝，右手执麈尾，身后是六曲草书屏风，服饰和器物的衬托将维摩诘完全表现为一位儒家的士大夫。他上身略前倾，蹙眉张口，精神矍烁，呈辩说状，一改魏晋时期“有清羸示病之容，隐几忘言之状”的表现方式。",[164,24,7,25,187,28,27,96,572,64,7322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52739128606e123240e7976057adc6b0.jpg",[],{"id":83547,"slug":83548,"title":83549,"dynasty":18,"author":223,"museum":300,"description":83550,"tags":83551,"thumbUrl":83552,"material":84,"size":84,"collection":84,"collections":83553,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},227373,"xi-shan-cang-cui-tu-ye-yi-ming-227373","溪山苍翠图页","以谨严苍劲的笔墨描绘文人的隐逸生活。画面上高山峻拔，溪流绕岸，松林苍翠。一隐士漫步于溪岸，仰望远山，陶醉于林泉山色中。",[23,24,7,1846,128,27,133,59,29,331,211,497,99,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F529b992184b93821d121297b00ee2b7e.jpg",[],{"id":83555,"slug":83556,"title":83557,"dynasty":54,"author":33849,"museum":300,"description":83558,"tags":83559,"thumbUrl":83560,"material":84,"size":84,"collection":84,"collections":83561,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},224577,"suan-ni-tu-zhou-qing-ren-224577","狻猊图轴","此作以卧姿神兽为主体，画师跳出写实桎梏，将其塑作威严悍猛之态。阔口獠牙、双目圆睁，夸张的面部更显慑人气势，鬃毛以晕染分层，蓬松如怒涛翻卷。躯体线条柔中带刚，暗合肌肉张力，臀侧旋纹为神兽添了几分神异灵韵。\n\n旁侧古松虬曲苍劲，苔点皴写出老干斑驳质感，坡岸细草轻勾淡描，衬得神兽愈发沉静雄浑。淡墨轻色晕染出古雅绢本氛围，工写兼施，既抓住猛兽的雄健之姿，又赋予瑞兽神性威仪，尽显神异走兽画的精妙意趣。",[24,7,165,304,28,27,949,1144,7446,497,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F840689bd9a6229e85d7d08c8826cb047.jpg",[],{"id":83563,"slug":83564,"title":83565,"dynasty":54,"author":33849,"museum":300,"description":83566,"tags":83567,"thumbUrl":83568,"material":692,"size":1293,"collection":84,"collections":83569,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},224569,"shou-zi-ce-ye-ce-qing-ren-224569","寿字册页册","此作为泥金篆书百寿册页，以深色笺纸为底，明黄锦绫为缘，愈显华贵雍容。每字皆为“寿”，却各成风貌，或取钟鼎之浑朴，或仿缪篆之盘曲，亦有玉箸小篆的匀净端雅。线条圆劲通脱，排布疏密合宜，将祈福纳祥的心意藏于百变字形之中。\n它将祝寿的吉庆主题与金石书法的古雅意趣相融，既恪守篆书的庄重法度，又以灵动变体打破单调，把传统长寿文化的美好祈愿凝于笔端，尽显旧时祝寿雅事的雅致情致。",[54,7,64,59,938,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff568a4331ef792ea1b01fb3182fd646e.jpg",[],{"id":83571,"slug":83572,"title":83573,"dynasty":54,"author":6936,"museum":300,"description":83574,"tags":83575,"thumbUrl":83576,"material":84,"size":84,"collection":84,"collections":83577,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},224397,"fang-li-ying-qiu-bi-yi-zhou-wang-yuan-qi-224397","仿李营丘笔意轴","《清薛宣仿李营丘山水图轴》是清朝薛宣所创作的山水图轴。\n清薛宣仿李营丘山水图轴 此画作于1685年，从题款得知为仿北宋李营丘笔法。\n整幅画构图采用北宋人的主山高耸的格局，细笔绘成，敷以淡色，具有清旷、温秀的格调。\n薛宣，康熙年间人，字辰令，号水田居士，浙江嘉善人；一作娄东（今江苏太仓）人，侨居浙江武唐（今嘉兴）。\n善仿宋、元诸家山水，宗法王鉴，用笔厚重有气，一时之能品也。\n尝自夸其画“不参二王”，意即可与王原祁、王翚两名家并列。",[23,24,7,165,330,128,132,29,131,34,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F577963b0648ab73e5506961bfbe382a1.jpg",[],{"id":83579,"slug":83580,"title":83581,"dynasty":54,"author":6936,"museum":300,"description":83582,"tags":83583,"thumbUrl":83584,"material":84,"size":84,"collection":84,"collections":83585,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},224382,"fang-yi-feng-shan-shui-wang-yuan-qi-224382","仿一峰山水","此帧全景山水层峦叠嶂，逶迤连绵，尽显浑穆苍茫的山水元气。以干笔积墨之法，以披麻皴反复皴擦山峦，笔墨苍厚华滋，细密间见疏朗之致。河谷间村舍错落隐于林木，松荫下茅舍临水枕溪，板桥横陈浅滩，将山居隐逸的澹然意趣藏于丘壑之中。画作追摹前贤笔意却自出机杼，以熟后生的笔法调和苍润，在繁密构图里经营疏密节奏，将端稳气质与林下幽居的清雅意韵相融，尽显文人山水的静穆悠长。",[23,24,7,165,29,27,132,663,228,98,34,130,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa91ef16d54ccbedb446bb64249d083de.jpg",[],{"id":83587,"slug":83588,"title":83589,"dynasty":54,"author":1676,"museum":300,"description":83590,"tags":83591,"thumbUrl":83592,"material":84,"size":84,"collection":84,"collections":83593,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},224322,"hua-niao-shi-er-kai-11-li-shan-224322","花鸟十二开11","以淡墨撇写兰叶，焦墨提点叶梢，笔锋老辣纵逸，将幽兰俯仰舒展之态信手勾勒，寥寥数笔便赋予其清灵隽秀的神韵。淡墨晕染的兰花隐于叶间，含露待放，清寂出尘。\n\n右侧题诗与画作笔意相融，书风朴拙跌宕，诗画合璧托物言志，寄寓着淡泊自持的文人风骨。整作构图极简，墨色浓淡相生，将水墨写意的抒情性发挥到极致，笔简而意足，尽显文人写意花鸟的雅逸格调，藏着画者桀骜脱俗的襟怀。",[23,24,7,59,128,375,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32c7210f59211104441499328a26b60e.jpg",[],{"id":83595,"slug":83596,"title":83597,"dynasty":54,"author":1676,"museum":300,"description":83598,"tags":83599,"thumbUrl":83600,"material":84,"size":84,"collection":84,"collections":83601,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},224307,"hua-hui-shi-er-kai-8-li-shan-224307","花卉十二开8","此作用写意笔墨绘就春日杜鹃，设色清妍柔润。粉紫花瓣以淡彩晕染，瓣边留白衬出通透娇态，深红花苞点缀其间，层次鲜活分明。枝叶晕染雅致，墨色与水色交融，尽显舒展灵动之姿。淡赭勾勒枝干，笔力简括遒劲，将花枝舒展的野逸生机藏于线条间。\n\n旁侧题字笔意纵逸，书画相映成趣，诗画交融尽显文人雅韵。全画尽显率意清隽的风骨，寥寥数笔便将杜鹃柔丽烂漫的春日之态定格尺幅，于简淡挥洒中留住花木天然意趣，观之便觉春深枝上，雅韵悠然绵长。",[23,24,7,59,27,61,62,547,549,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3833b53e864ef1456151f8c63af9773.jpg",[],{"id":83603,"slug":83604,"title":83605,"dynasty":54,"author":1676,"museum":300,"description":83606,"tags":83607,"thumbUrl":83608,"material":84,"size":84,"collection":84,"collections":83609,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},224299,"hua-hui-shi-er-kai-11-li-shan-224299","花卉十二开11","此作用笔极简，以水墨写兰草，枯湿浓淡间，兰叶舒展有姿，苍劲线条带着萧疏散淡的野逸之趣。振翅的草虫是点睛之笔，羽翼纹路纤毫毕现，写实的虫豸和写意兰草形成精妙对照，将深秋里的鲜活生机定格在纸上。\n\n右侧题字笔意纵肆跌宕，与画面笔墨气息呼应，诗书画印浑然相融。画作放逸却不失精微，将文人写意的随性洒脱与写生的细腻写实巧妙结合，在萧疏秋景里晕开朴拙鲜活的意趣，尽显文人画特有的清逸格调。",[23,24,7,59,128,133,840,208,61,806,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F334dc0678cadf23c41e470a0eda5e33b.jpg",[],{"id":83611,"slug":83612,"title":83613,"dynasty":54,"author":22529,"museum":300,"description":83614,"tags":83615,"thumbUrl":83616,"material":84,"size":84,"collection":84,"collections":83617,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},224291,"xue-ling-pan-che-tu-li-yin-224291","雪岭盘车图","《清李寅雪岭盘车图》是由清代画家 所作的一副画作，现收藏于 。\n该画山水立意新颖，构图巧妙，笔墨工整，结构严谨，千丘万壑层出不穷，气势磅礴，闻名于时。\n兼工花卉，所作桃花、杨柳娟妍工丽，颇具神韵。\n与萧晨(灵曦)齐名。\n李寅（生卒年不详），字白也，号东柯，江苏扬州人。\n是清代顺治、康熙年间活跃于扬州地区、以卖画为生的职业画家。\n他善画花卉，所作桃花、杨柳堪称神品。\n亦工山水，千丘万壑，层出不穷。\n他的楼阁画更能在继承前人传统的基础上独辟蹊径，造诣精深，对清初界画的发展产生了相当大的影响。",[23,164,24,7,165,29,27,132,663,1556,106,413,35,497,499,96,8771,1337,50297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c585251d21d98664a221476948c56ae.jpg",[],{"id":83619,"slug":83620,"title":66628,"dynasty":54,"author":29876,"museum":300,"description":29877,"tags":83621,"thumbUrl":83622,"material":692,"size":1293,"collection":84,"collections":83623,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},224286,"qi-yan-shi-fu-shan-224286",[23,7,64,840,165,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19e514d824c31e5eeded135cd1dd6fed.jpg",[],{"id":83625,"slug":83626,"title":83627,"dynasty":54,"author":83628,"museum":300,"description":83629,"tags":83630,"thumbUrl":83631,"material":692,"size":1293,"collection":84,"collections":83632,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},224242,"shan-mian-shan-shui-wang-wu-tian-224242","扇面山水","王无忝","清河南孟津人，字夙夜。康熙九年进士，官金华知府。善画山水。词语分解忝的字典解释忝ǎ 辱，有愧于，常用作谦辞：忝在知交。忝属知己。忝列门墙（愧在师门）。",[23,24,7,1131,29,128,132,663,413,497,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd23abd32e524767448b47b66f8b4a9a.jpg",[],{"id":83634,"slug":83635,"title":83636,"dynasty":54,"author":70407,"museum":300,"description":83637,"tags":83638,"thumbUrl":83639,"material":692,"size":1293,"collection":84,"collections":83640,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},224152,"lin-wang-xi-zhi-shan-chuan-zhu-qi-tie-zhou-zhang-zhao-224152","临王羲之山川诸奇帖轴","张照（1691-1745），娄县（今上海松江市）人，字得天，号天瓶、泾南，谥文敏。博学多才，乾隆皇帝称赞其书法：‘有米（芾）之雄，而无米之略。复有董（其昌）之整，而无董之弱。’ 《山川诸奇帖》为《十七帖》中的一札，又称《游目帖》。本幅书于洒金笺，并以泥金界线。结字多参杂己意，章法则吸收了元人以降放大、直幅临书的表现手法。虽自称临书，然已与原帖面貌大相径庭，显示出书法艺术与时代发展密不可分的关系。",[23,24,7,165,330,133,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0b45d01c2dd96107c5a16e4d793de4f.jpg",[],{"id":83642,"slug":83643,"title":83644,"dynasty":54,"author":77832,"museum":300,"description":83645,"tags":83646,"thumbUrl":83647,"material":692,"size":1293,"collection":84,"collections":83648,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},224149,"shou-zha-er-shi-si-tong-er-yu-yue-224149","手札二十四通二","有清一代，书法可分两途。康、乾时期，书宗董、赵，以帖为式，风格清健流丽，儒雅闲静。然以承继为主。嘉、道之后，此风参以颜、柳，庙堂之气重而风流韵致少，故“馆阁”之讥，时或有之。与其反道而行之者，碑派兴起，渐成流风。晚清士大夫，初学阁帖，中年之后参以北碑，既增筋骨，又不乏生动。遂成一时之风尚。俞曲园即其一例也。\n曲园与小坡二十四札书信，以言学术、诗词者居多，时间大约在光绪八年（1882-1887）之间。信札之书体，除一通为隶书外，俱为行楷书。曲园早年科举应试，字体工整圆润，有馆阁之风。后习篆、隶，书风为之一变，隶形篆意，古朴厚重，不加雕饰，犹如经生治史。老年所书楷联，则参以碑意，大气重拙。然此册之书法，除古朴、重拙之外，更有气质闲雅，潇洒风流，宋人之意跃然纸上。此或翰札特有之形态，抑或特有之魅力也。",[23,64,133,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0946fcc669995b966cbe7ff1a365b0e.jpg",[],{"id":83650,"slug":83651,"title":55898,"dynasty":18,"author":223,"museum":300,"description":83652,"tags":83653,"thumbUrl":83654,"material":84,"size":84,"collection":84,"collections":83655,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},223685,"qi-shi-lie-gui-tu-ye-yi-ming-223685","胡风漫卷下猎罢而归，骑士毡帽胡服，神态悠然松弛，似正回味猎时快意。身旁骏马垂首缓息，鞍鞯纹饰细密华美，犹带着出猎时的矜贵气度，暗衬主人不凡。\n整幅设色调和淡雅，笔致凝练写实，将北地游侠猎归后的闲散意韵尽显。诗画合璧，题诗呼应着射猎的飒爽过往，把塞上猎游的疏野风情融于尺幅之间，寥寥数笔便将游侠卸甲稍歇的松弛情态勾勒传神，尽显古朴生动的写实格调。",[23,164,24,7,59,28,27,96,101,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67c29f5851237d0ecd81db53402b7efe.jpg",[],{"id":83657,"slug":83658,"title":83659,"dynasty":124,"author":223,"museum":300,"description":83660,"tags":83661,"thumbUrl":83662,"material":84,"size":84,"collection":84,"collections":83663,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},223679,"gu-xiu-shi-liu-ying-zhen-ce-12-yi-ming-223679","顾绣十六应真册12","林间崖畔，罗汉安坐于兽纹华座，神态安然静定，座前猛虎俯首顺服，尽敛凶煞之态。两侧侍者躬身侍立，一人持器，一人奉供，神态恭谨肃穆。\n\n画面以铁线白描为骨，劲挺流畅的线条勾勒出人物衣褶的繁复层次，将织物柔润华美尽显无遗，树石轮廓苍劲简练，衬出林间幽寂禅意。猛虎斑纹晕染细腻，毛发质感逼真生动。整幅画作清逸古雅，暗藏罗汉威德镇服猛兽的禅理，尽显精湛工力，意境幽远沉静。",[23,24,7,59,188,187,96,5490,413,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41420e3d7b2b1cd03e2f46ae6145720b.jpg",[],{"id":83665,"slug":83666,"title":83667,"dynasty":351,"author":223,"museum":300,"description":83668,"tags":83669,"thumbUrl":83670,"material":692,"size":1293,"collection":84,"collections":83671,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},223662,"yan-luo-wang-shou-ji-jing-tu-quan-juan-yi-ming-223662","阎罗王授记经图全卷","简称《佛说十王经》。为卷轴式手抄彩绘卷。本经卷属晚唐五代时期敦煌所绘，画风古朴，十分珍罕。本卷为法国伯希和从敦煌带走藏于法国国图的《阎罗王授记经》三种绘卷之一。\n十王信仰的形成主要缘于佛教地狱思想、因果报应思想、三世轮回思想与中国传统的鬼神魂魄思想之结合。",[23,24,164,25,7,187,96,27,7322,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bc185f928e71d9e31bb56d282798760.jpg",[],{"id":83673,"slug":83674,"title":83675,"dynasty":144,"author":223,"museum":300,"description":83676,"tags":83677,"thumbUrl":83678,"material":84,"size":84,"collection":84,"collections":83679,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},223649,"shuo-jing-tu-yi-ming-223649","说经图","四身圣像伫立于云海之间，头覆圆光，宝冠嵌饰华彩璎珞，衣敷石绿、朱红等厚重古雅之色，撞色鲜明却协调柔和，带着元代佛画特有的朴拙厚重。\n\n左上圣像垂目含慈，右手轻抬似将启妙谛；右上尊者微颔，手势开示法义。下方二圣或合掌恭聆，或垂眸静思，眉目温婉沉静，将聆法的肃穆虔敬藏于神态之中。\n\n线条遒劲凝练，衣褶流转自带灵动韵律，绢面虽因年深岁久略显斑驳，却更添古拙沉静的宗教氛围感，将说法聆经的静谧庄严，永远定格于这尺幅绢素之上。",[23,24,7,187,96,28,27,1364,950,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a3abe60a0d10554eac0632494ab0303.jpg",[],{"id":83681,"slug":83682,"title":83683,"dynasty":18,"author":223,"museum":300,"description":83684,"tags":83685,"thumbUrl":83686,"material":84,"size":84,"collection":84,"collections":83687,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},223646,"xi-yan-mu-se-tu-ye-yi-ming-223646","西岩暮色图页","此作用墨沉润苍郁，以边角取景铺展暮色空山。近岸孤舟横斜，系着晚归的余绪，坡岸林木蓊翳，松枝偃仰间带着黄昏倦意。崖壁山石以硬朗皴法写就，隐没在渐深的暮色烟霭中，虚实相生间将山野黄昏的幽寂缓缓铺陈。\n\n墨色随着暮色层次晕染，浓淡过渡里晕化出薄暮氤氲的朦胧，不见白日明丽，只留萧疏静谧的山野况味，将暮色西岩时分天地归于岑寂的氛围感藏在水墨晕染间，观之如身临空山向晚，揽尽黄昏里山野沉静的余韵。",[23,164,24,7,59,128,132,29,413,497,129,3344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c5bd45ee326f56e10fc3030c6df6c33.jpg",[],{"id":83689,"slug":83690,"title":83691,"dynasty":18,"author":223,"museum":300,"description":83692,"tags":83693,"thumbUrl":83694,"material":84,"size":84,"collection":84,"collections":83695,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},223601,"qiu-tang-ke-hua-tu-yi-ming-223601","秋堂客话图","此作用笔苍秀，以浓淡晕染铺就秋意萧疏的林泉之境。深翳林木环绕茅堂，两位雅客对坐晤谈，神态悠然自在，尽显林下清谈的幽闲意趣。\n\n画作以水墨写就，林木层叠错落，墨色浓淡交织，将秋日林野的沉静空寂烘托尽致，以景衬情，把文人寄情丘壑、畅叙襟怀的雅兴融于尺幅间，尽显内敛雅致的韵味，幽静淡远的氛围扑面而来，恍若能聆听到堂中清谈，踏入这方隐逸闲雅的林下天地。",[23,24,7,128,28,132,96,34,131,247,3387,64,1429,331,13344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb273ed093f60030063c809dadd5b9fc3.jpg",[],{"id":83697,"slug":83698,"title":83699,"dynasty":124,"author":223,"museum":300,"description":83700,"tags":83701,"thumbUrl":83702,"material":692,"size":1293,"collection":84,"collections":83703,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},223547,"xi-ma-tu-quan-juan-yi-ming-223547","洗马图全卷","马官们牵马临溪，或冲浴马身，或在岸边小憩。人物、鞍马分别施以不同色彩，丰富浓郁而又 清丽，做到了色不掩笔。用笔精细，色调浓润，风格清新秀丽。",[23,24,7,25,27,28,29,34,96,101,31,6640,938,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc55a22a730b92f31c6715f8624f45ae.jpg",[],{"id":83705,"slug":83706,"title":83707,"dynasty":18,"author":223,"museum":300,"description":83708,"tags":83709,"thumbUrl":83710,"material":40,"size":83711,"collection":84,"collections":83712,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},223533,"jiang-cheng-tu-yi-ming-223533","江城图","图为一幢高大的建筑耸立在河边，梁檐厚重，气势磅礴。 三、两个人正从大楼的上层向外望去； 河岸，河水波涛汹涌，浪涛拍岸，船径顺岸。 , 河边的人已经到了毛伊岛岸边； 一角郁郁葱葱，整个景色自然壮丽",[23,24,7,95,133,27,29,97,129,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F454f0b5a96ee127cc95df9fe0c1b0e1d.jpg","38x69cm",[],{"id":83714,"slug":83715,"title":15896,"dynasty":54,"author":10177,"museum":20,"description":60016,"tags":83716,"thumbUrl":83717,"material":84,"size":15901,"collection":84,"collections":83718,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},223208,"geng-zhi-tu-ce-jiao-bing-zhen-223208",[164,304,24,7,59,28,27,95,7518,96,34,99,8346,7446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0805715a3ed6bf9985b6d773935e49ec.jpg",[],{"id":83720,"slug":83721,"title":15896,"dynasty":54,"author":10177,"museum":20,"description":60016,"tags":83722,"thumbUrl":83723,"material":84,"size":15901,"collection":84,"collections":83724,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},223200,"geng-zhi-tu-ce-jiao-bing-zhen-223200",[24,7,59,28,27,96,35,98,99,34,2668,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2373f4bbfbe1b7f46ec5c4dd932db73.jpg",[],{"id":83726,"slug":83727,"title":83728,"dynasty":54,"author":11383,"museum":20,"description":83729,"tags":83730,"thumbUrl":83740,"material":40,"size":83741,"collection":84,"collections":83742,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},223156,"yao-xie-shi-yi-tu-ce-di-si-kai-ding-dou-cuo-ju-guo-jian-sui-fang-zun-kai-ren-xiong-223156","姚燮诗意图册-第四开：饤饾错菹果，饯岁方尊开","此套共十册，每册十二开，每开除录有姚燮诗句外，还分别钤“熊”朱文印或“渭长”白文印。册页最后另有四开，分别有任熊、熊松之、吴云、沈钰、曹峋、李鸿裔等人题跋。据任熊自跋，作品完成于咸丰元年（1851年），时年29岁。\n这套共计一百二十张的册页是任熊在友人姚燮家里居住时为主人所画。姚燮，字梅伯，号复庄，浙江镇海人。道光年间举人，以诗见称于世。此册以姚燮的诗句命题，题材丰富多样，人物鬼神、花鸟鱼虫、仙山楼阁、亭榭风月皆聚于尺幅之间。全册别具匠心，常有神来之笔；设色则于鲜丽中见古雅之气，堪称任氏巅峰时期的铭心佳构。",[23,24,7,27,59,28,169,83731,4250,2334,2035,83732,230,83733,83734,83735,83736,83737,83738,83739],"竹篮","果盘","陶罐","果子","菜篮","纹饰器物","插枝植物","果碟","糕点","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb855b634faa03c61e6e4e8c9bfe31e74.jpg","纵27.3厘米，横32.5厘米",[],{"id":83744,"slug":83745,"title":83746,"dynasty":54,"author":11383,"museum":20,"description":83729,"tags":83747,"thumbUrl":83748,"material":40,"size":83741,"collection":84,"collections":83749,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},223154,"yao-xie-shi-yi-tu-ce-di-shi-er-kai-yao-wei-tian-huang-yan-luo-zhong-ren-xiong-223154","姚燮诗意图册-第十二开：姚魏天潢衍洛中",[23,24,7,59,27,28,61,263,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42d8e24ca4294e2bfa0c8c18e08f7362.jpg",[],{"id":83751,"slug":83752,"title":83753,"dynasty":54,"author":11383,"museum":20,"description":83729,"tags":83754,"thumbUrl":83756,"material":40,"size":83741,"collection":84,"collections":83757,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":199},223153,"yao-xie-shi-yi-tu-ce-di-shi-yi-kai-xiong-jiao-shou-fu-xiang-kun-huang-ren-xiong-223153","姚燮诗意图册-第十一开：熊鐎兽鍑相焜煌",[23,164,24,7,59,27,16612,66878,83755,439,169,208],"饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20a44f35d01ef3b9fa6fe5681161ebec.jpg",[],{"id":83759,"slug":83760,"title":83761,"dynasty":54,"author":33315,"museum":300,"description":33316,"tags":83762,"thumbUrl":83763,"material":611,"size":33319,"collection":84,"collections":83764,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},223126,"shu-hua-ce-ye-qing-gui-zhuang-223126","《书画册页》-情",[23,7,64,133,59,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cbe4e104b3b1ad5cba691f10ca66b55.jpg",[],{"id":83766,"slug":83767,"title":83768,"dynasty":54,"author":3437,"museum":244,"description":38649,"tags":83769,"thumbUrl":83770,"material":561,"size":3442,"collection":84,"collections":83771,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},223102,"fang-fan-kuan-shan-shui-tang-dai-223102","倣范宽山水",[23,24,7,29,330,128,132,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb05bb871f5845619eb2e3bf60f127b4.jpg",[],{"id":83773,"slug":83774,"title":83775,"dynasty":54,"author":36019,"museum":224,"description":41118,"tags":83776,"thumbUrl":83777,"material":3544,"size":84,"collection":84,"collections":83778,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":956},222720,"huang-shan-ba-jing-tu-ce-9-zheng-min-222720","黄山八景图册9",[23,24,7,59,128,132,133,208,29,171,1144,496,1022],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4a7c5f90d3f92150458ca74b74af4ee.jpg",[],{"id":83780,"slug":83781,"title":83782,"dynasty":54,"author":5276,"museum":224,"description":18708,"tags":83783,"thumbUrl":83784,"material":15552,"size":83785,"collection":84,"collections":83786,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},222640,"shan-shui-shu-fa-ce-liu-kai-6-gao-feng-han-222640","山水书法册六开-6",[23,24,7,59,27,29,331,99,171,22404,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2348720d3ad3a648a8bba4976edd090a.jpg","31.8x24.8厘米",[],{"id":83788,"slug":83789,"title":83790,"dynasty":124,"author":27440,"museum":300,"description":83791,"tags":83792,"thumbUrl":83793,"material":611,"size":84,"collection":84,"collections":83794,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},222539,"cao-shu-ce-wang-duo-222539","草书册","本册草书从其落款上看是“甲子暮春”是天启四年（一六二四）年所书，当时王铎三十三岁。是年正月，王铎授翰林院检讨，春天，其返故里，舅父陈具茨四月卒，时守在榻旁。直至冬天，自孟津出游陆浑山，继沿伊水北上，过龙门，登香山。可见，此册是其在家乡时所作。我们很难想象三十三岁时的王铎能写出如此老辣苍茫的作品，与其晚年作品几无二致，我以为有两点是值得注意的，一是其落款，“铎”字与晚年不同。另外，晚年作品书写时用大王内擫法，更为注重左右的穿插变化，呈S形轨迹，而此册则基本是以直线而下的。王铎此册草书是承袭小王外拓连绵草的传统，气势绵延跌宕，笔致苍茫浑厚，在书写过程中，实连多于意连，故有大珠小珠落玉盘的趣味，每一页中有较为浓重的字与渴燥枯笔的字互为映照，从视觉效果上显得极为灿烂夺目。从涨墨、浓墨、枯墨等一系列墨色的变化中我们可以清晰看出王铎的突破点所在。其次是王铎对字的造型把握极有天分，他善于以险造势，在不稳中求得其平衡，犹如体操运动员走平衡木一般。正是这种左右摇曳生姿的险绝正如文如看山不喜平，让人在不断享受新奇新鲜所带来的快感和美感：让我们的心理节律与书写的节奏融为一体，感受着笔墨的欢快跳动。再次是王铎采用间距密集、行距宽疏的方法，由此形成对比，一密一疏的方法也在某种程度上强化了它的形式效果。当然在观赏中最为让人心旌摇荡的还是王铎书法线条的遒劲有力的质感，给人以入木三分的效果。梁章钜在本册跋中说：“孟津书法雄伟，足以推倒流辈，而间有习气未除。此卷则神动天随，几于化矣。吾乡张二水有其雄伟而飞舞逊此一筹，要皆为艺林绝技也。”他将此册的特点归结于雄伟飞舞，亦可谓一家之言。",[23,164,24,7,59,128,840,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94ddfd0d8241ef37d8c17bf3248ff3f0.jpg",[],{"id":83796,"slug":83797,"title":83798,"dynasty":124,"author":9650,"museum":56,"description":9651,"tags":83799,"thumbUrl":83801,"material":611,"size":70879,"collection":84,"collections":83802,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},222500,"shang-bo-hua-ji-xuan-36-8-zhang-lu-222500","上博画集选36-8",[23,24,7,96,128,369,83800,1424,188],"下棋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c29b00cda8fcb3c03c73e48ffe8cd8a.jpg",[],{"id":83804,"slug":83805,"title":83806,"dynasty":124,"author":9650,"museum":56,"description":9651,"tags":83807,"thumbUrl":83808,"material":611,"size":70879,"collection":84,"collections":83809,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},222492,"shang-bo-hua-ji-xuan-36-17-zhang-lu-222492","上博画集选36-17",[23,24,7,128,27,188,96,169,170,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffda32fb07749b493723dedc5ba04fb6f.jpg",[],{"id":83811,"slug":83812,"title":83813,"dynasty":124,"author":9650,"museum":56,"description":9651,"tags":83814,"thumbUrl":83815,"material":611,"size":70879,"collection":84,"collections":83816,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},222491,"shang-bo-hua-ji-xuan-36-16-zhang-lu-222491","上博画集选36-16",[23,24,7,128,188,96,949,228,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b768265b05d7ffc51efeb11674ae5ed.jpg",[],{"id":83818,"slug":83819,"title":83820,"dynasty":124,"author":9650,"museum":56,"description":9651,"tags":83821,"thumbUrl":83822,"material":611,"size":70879,"collection":84,"collections":83823,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},222489,"shang-bo-hua-ji-xuan-36-14-zhang-lu-222489","上博画集选36-14",[23,24,7,128,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F715f30ef6e757227095d1087d44c479a.jpg",[],{"id":83825,"slug":83826,"title":83827,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":83828,"thumbUrl":83829,"material":637,"size":70887,"collection":84,"collections":83830,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":3379},222306,"nan-hua-zhen-jing-59-wang-chong-222306","南华真经59",[23,7,64,7322,133,128,611,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d07fef9250403ab60e2bb622ae2f036.jpg",[],{"id":83832,"slug":83833,"title":7864,"dynasty":124,"author":23728,"museum":56,"description":23729,"tags":83834,"thumbUrl":83835,"material":611,"size":23732,"collection":84,"collections":83836,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},221926,"za-hua-ce-guo-xu-221926",[23,24,7,59,128,27,96,949,230,188,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7678b3d6c6df414bd09ef325b23c449.jpg",[],{"id":83838,"slug":83839,"title":83840,"dynasty":124,"author":802,"museum":161,"description":11485,"tags":83841,"thumbUrl":83842,"material":59,"size":84,"collection":84,"collections":83843,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},221898,"hua-niao-jing-pin-ce-1-chen-hong-shou-221898","花鸟精品册1",[24,7,59,61,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F142565b8d846d161fb2d3c356caad8e6.jpg",[],{"id":83845,"slug":83846,"title":11976,"dynasty":144,"author":83847,"museum":244,"description":83848,"tags":83849,"thumbUrl":83850,"material":611,"size":83851,"collection":84,"collections":83852,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},221761,"qi-yan-lv-shi-liang-qi-221761","良琦","释良琦，字元璞，苏州人。住天平山之龙门寺。与顾阿瑛、陶宗仪、张渥等交游甚密。元末随顾瑛移居嘉兴,住城东兴圣寺。既究禅理，兼通儒学，亦能诗文。",[23,164,7,64,133,128,208,48069,99,231,167,130,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4867de88d29dfd67b134418ad75ba572.jpg","50.8x73.9厘米",[],{"id":83854,"slug":83855,"title":83856,"dynasty":18,"author":18984,"museum":12686,"description":18985,"tags":83857,"thumbUrl":83859,"material":40,"size":18988,"collection":84,"collections":83860,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":956},221681,"song-shan-xing-lv-tu-ti-ba-li-shan-221681","松杉行旅图题跋",[23,24,7,64,133,128,29,372,83858,2620],"杉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fca6f0e7cbbff492bee7e7fa4d997e2.jpg",[],{"id":83862,"slug":83863,"title":51523,"dynasty":18,"author":40225,"museum":510,"description":53211,"tags":83864,"thumbUrl":83865,"material":611,"size":53215,"collection":84,"collections":83866,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},221569,"shu-han-wen-gao-quan-juan-zhu-xi-221569",[23,7,25,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe47c893cb6818da591df856345896b3d.jpg",[],{"id":83868,"slug":83869,"title":83870,"dynasty":54,"author":83871,"museum":6892,"description":83872,"tags":83873,"thumbUrl":83874,"material":83875,"size":83876,"collection":84,"collections":83877,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84},220743,"shan-shui-ji-4-wang-shi-min-weng-ling-wu-hong-deng-220743","山水集4","王時敏,翁陵,吳宏等","此作以枯淡笔墨写古松风骨，老干虬曲斑驳，皴擦间尽显嶙峋苍古，仿佛阅尽岁序风霜。松针攒簇劲挺，笔致细密爽利，将老松傲岸之姿勾勒尽致。右上角题款清雅隽秀，笔墨与题识相映成趣，极简构图烘托出古松沉静超拔的林下风神。整体笔意高简清逸，带着文人画特有的幽澹意趣，寥寥数笔便将古松坚韧不拔的苍劲之态尽显，藏着古拙澹远的山林雅致意蕴。",[24,7,59,128,132,1144,454,582,41647,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F315f8395b0f70be8ef6e3b43ca0c1d1e.jpg","水墨,紙本,冊","各約22 × 14.2厘米",[],{"id":83879,"slug":83880,"title":83881,"dynasty":144,"author":76804,"museum":6892,"description":76805,"tags":83882,"thumbUrl":83883,"material":76808,"size":76809,"collection":84,"collections":83884,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84},220721,"xing-shu-shi-wen-he-juan-4-zhang-yu-yang-wei-zhen-wen-xin-220721","行書詩文合卷4",[7,25,133,64,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7e4ef6e6d4bb3cbf857385d4123addf.jpg",[],{"id":83886,"slug":83887,"title":83888,"dynasty":144,"author":76804,"museum":6892,"description":76805,"tags":83889,"thumbUrl":83890,"material":76808,"size":76809,"collection":84,"collections":83891,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84},220718,"xing-shu-shi-wen-he-juan-7-zhang-yu-yang-wei-zhen-wen-xin-220718","行書詩文合卷7",[7,25,133,64,208,2333,2523,1314,13437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcabd9cdd9c1f8c9e052332c9d57b4368.jpg",[],{"id":83893,"slug":83894,"title":83895,"dynasty":54,"author":3718,"museum":20,"description":3719,"tags":83896,"thumbUrl":83898,"material":611,"size":3722,"collection":84,"collections":83899,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},220262,"huang-shan-tu-ce-59-hong-ren-220262","黄山图册-59",[23,24,7,59,128,27,29,132,30,1144,497,83897,10701],"奇松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7ce1db99177c11d3749756af311a232.jpg",[],{"id":83901,"slug":83902,"title":83903,"dynasty":18,"author":20081,"museum":1941,"description":20082,"tags":83904,"thumbUrl":83905,"material":278,"size":20085,"collection":84,"collections":83906,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},220086,"jia-pai-tu-quan-juan-fen-juan-10-gong-kai-220086","笳拍图全卷-分卷10",[164,24,7,25,188,96,101,949,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F033e0f52be25204604c6531dfdfb38b0.jpg",[],{"id":83908,"slug":83909,"title":83910,"dynasty":54,"author":299,"museum":56,"description":19521,"tags":83911,"thumbUrl":83912,"material":173,"size":19524,"collection":84,"collections":83913,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},219841,"shan-shui-tu-ce-6-xie-sun-219841","山水图册-6",[24,7,59,27,29,132,171,34,35,37,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabec3aa886306dbb692fec513e8e16ad.jpg",[],{"id":83915,"slug":83916,"title":83917,"dynasty":124,"author":14442,"museum":56,"description":44061,"tags":83918,"thumbUrl":83919,"material":611,"size":44064,"collection":84,"collections":83920,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},219795,"mo-sui-yang-wu-lao-tu-ce-2-you-qiu-219795","摹睢阳五老图册-2",[24,7,164,59,27,28,96,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde8c6b811a77df2e6a7c2bfe3d4c862e.jpg",[],{"id":83922,"slug":83923,"title":83924,"dynasty":124,"author":14442,"museum":56,"description":44061,"tags":83925,"thumbUrl":83927,"material":611,"size":44064,"collection":84,"collections":83928,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},219793,"mo-sui-yang-wu-lao-tu-ce-4-you-qiu-219793","摹睢阳五老图册-4",[24,7,59,27,28,96,83926,170,64],"老年人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe953ca0891c003118b520d6cc4c6539e.jpg",[],{"id":83930,"slug":83931,"title":83932,"dynasty":124,"author":14442,"museum":56,"description":44061,"tags":83933,"thumbUrl":83934,"material":611,"size":44064,"collection":84,"collections":83935,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},219792,"mo-sui-yang-wu-lao-tu-ce-5-you-qiu-219792","摹睢阳五老图册-5",[24,7,59,330,28,27,96,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52aa8017334cb21a8a120fa48f7ef821.jpg",[],{"id":83937,"slug":83938,"title":73897,"dynasty":124,"author":47077,"museum":1941,"description":50916,"tags":83939,"thumbUrl":83940,"material":66,"size":58411,"collection":84,"collections":83941,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},219674,"fang-gu-shan-shui-ce-4-yun-xiang-219674",[24,7,59,128,29,131,34,35,99,208,132,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15e5adb8e80d3a9a9a890725096adcec.jpg",[],{"id":83943,"slug":83944,"title":55022,"dynasty":124,"author":47077,"museum":1941,"description":50916,"tags":83945,"thumbUrl":83946,"material":66,"size":58411,"collection":84,"collections":83947,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},219672,"fang-gu-shan-shui-ce-6-yun-xiang-219672",[24,7,59,128,29,1337,131,99,64,208,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F987178d421f4abb4a9119611b85d77c0.jpg",[],{"id":83949,"slug":83950,"title":83951,"dynasty":54,"author":32801,"museum":244,"description":32802,"tags":83952,"thumbUrl":83955,"material":66,"size":32807,"collection":84,"collections":83956,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},219656,"hai-cuo-tu-di-si-ce-12-nie-huang-219656","海错图第四册-12",[24,7,59,28,27,83953,83954,32804,32805],"寄居蟹","海螺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e20fa69e7bb7ddf497668bb68c77ba7.jpg",[],{"id":83958,"slug":83959,"title":83960,"dynasty":18,"author":28856,"museum":6404,"description":76892,"tags":83961,"thumbUrl":83962,"material":173,"size":76896,"collection":84,"collections":83963,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},219018,"shi-wang-tu-9-lu-xin-zhong-219018","十王图-9",[23,24,7,165,27,28,187,96,949,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdccfe8a6afc4bf6cd36a227ddf02d0b3.jpg",[],{"id":83965,"slug":83966,"title":6571,"dynasty":54,"author":223,"museum":2542,"description":83967,"tags":83968,"thumbUrl":83969,"material":27,"size":83970,"collection":84,"collections":83971,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},218415,"luo-han-tu-yi-ming-218415","罗汉身形丰腴，衣袂层叠间笔墨流转，线条劲挺中含温婉，将织物的厚重质感与垂坠之态尽现。手持器物的指节微曲，神情沉静若有所思，似在参悟尘外之理。身侧侍从躬身随侍，眉目低垂间流露恭谨，衣袍的蓝灰与罗汉的斑斓形成微妙呼应，既衬出主体的庄严，又添画面层次。色彩虽经岁月晕染，仍可见朱砂浓艳、石绿清润与赭石厚重交织，古雅中透着生机。整幅作品以形写神，人物神态鲜活如生，笔墨与设色交融，尽显传统人物画的意蕴与功力，仿佛能窥见画中人的心境流转，引人驻足细品。",[24,7,187,96,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36ef5c4e6e85e17ead177c4845025970.jpg","28x20.5",[],{"id":83973,"slug":83974,"title":83975,"dynasty":144,"author":223,"museum":3330,"description":83976,"tags":83977,"thumbUrl":83983,"material":173,"size":84,"collection":84,"collections":83984,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":956},218202,"shan-shui-tu-er-yi-ming-218202","山水图(二)","这幅画作品出现在元朝时期，其作者不详。《山水图》以其精细的绘画技巧和丰富的内容而闻名，是元朝时期山水画艺术的杰出代表作。\n\n这幅画作品中，画家运用了各种不同的技巧，如水墨画技法、点染技法等，使得这幅画作充满了丰富的色彩和变化。",[164,24,7,165,27,132,29,131,34,129,99,415,3427,83978,83979,5323,31630,7462,83980,83981,15552,42762,83982],"苍劲枝干","层叠山峦","自然景致","传统山水画","树木勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe726c81cec33fed8eceda24249fa80ff.jpg",[],{"id":83986,"slug":83987,"title":83988,"dynasty":144,"author":223,"museum":244,"description":83989,"tags":83990,"thumbUrl":83991,"material":173,"size":84,"collection":84,"collections":83992,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},218186,"ying-zhen-xiang-zhou-4-yi-ming-218186","应真像轴-4","罗汉趺坐古石之上，袒胸露腹间肌理隐现，袈裟轻覆，衣纹线条婉转如流水。他手持莲花状法器，目光低垂，神情肃穆中藏着几分悠然。身旁松枝苍劲，墨色浓淡相宜，与浅赭底色相映，衬出人物沉静气质。草鞋的编织纹理、石上的苔藓痕迹，皆刻画入微见匠心。画风古朴雅致，以简练笔墨传神，人物与自然相融，尽显禅意悠然的古雅意境，仿佛能窥见千年之前的宁静瞬间。",[24,7,165,27,187,96,171,413,1771,232,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd50f6affb27ab7c6b5a6526c5947016f.jpg",[],{"id":83994,"slug":83995,"title":83996,"dynasty":18,"author":1174,"museum":244,"description":12312,"tags":83997,"thumbUrl":83998,"material":173,"size":12318,"collection":84,"collections":83999,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},218161,"wen-ji-gui-han-tu-ce-2-li-tang-218161","文姬归汉图册-2",[24,164,7,59,27,28,132,29,96,331,690,211,1233],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa03ef6130e66be0ecc8f39f18f74cbe6.jpg",[],{"id":84001,"slug":84002,"title":84003,"dynasty":18,"author":1174,"museum":244,"description":12312,"tags":84004,"thumbUrl":84005,"material":173,"size":12318,"collection":84,"collections":84006,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},218160,"wen-ji-gui-han-tu-ce-3-li-tang-218160","文姬归汉图册-3",[24,7,59,27,96,29,101,690,34,12314,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae9319dc329c43481864c3605f9550e.jpg",[],{"id":84008,"slug":84009,"title":84010,"dynasty":18,"author":1174,"museum":244,"description":12312,"tags":84011,"thumbUrl":84013,"material":173,"size":12318,"collection":84,"collections":84014,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},218155,"wen-ji-gui-han-tu-ce-8-li-tang-218155","文姬归汉图册-8",[164,24,7,59,27,28,132,96,101,102,106,690,3600,34,1367,84012,1326,37624],"历史场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfb6ffaf894a25f6f8dd74b66d18417a.jpg",[],{"id":84016,"slug":84017,"title":84018,"dynasty":18,"author":1174,"museum":244,"description":12312,"tags":84019,"thumbUrl":84020,"material":173,"size":12318,"collection":84,"collections":84021,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},218153,"wen-ji-gui-han-tu-ce-10-li-tang-218153","文姬归汉图册-10",[24,7,59,27,28,132,96,101,97,34,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F542b4a02b40dec12d58414c41c98786d.jpg",[],{"id":84023,"slug":84024,"title":84025,"dynasty":18,"author":1174,"museum":244,"description":12312,"tags":84026,"thumbUrl":84028,"material":173,"size":12318,"collection":84,"collections":84029,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},218148,"wen-ji-gui-han-tu-ce-15-li-tang-218148","文姬归汉图册-15",[1846,24,7,59,27,28,96,29,64,84027],"帐幕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7115ac3f8fa71ea123a8edbc4558c5fa.jpg",[],{"id":84031,"slug":84032,"title":84033,"dynasty":18,"author":1174,"museum":244,"description":12312,"tags":84034,"thumbUrl":84035,"material":173,"size":12318,"collection":84,"collections":84036,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},218146,"wen-ji-gui-han-tu-ce-17-li-tang-218146","文姬归汉图册-17",[24,7,59,27,28,96,101,29,34,12314,64,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F767831759dc6f329dec393d3a284cedf.jpg",[],{"id":84038,"slug":84039,"title":84040,"dynasty":124,"author":10106,"museum":244,"description":22513,"tags":84041,"thumbUrl":84042,"material":611,"size":84,"collection":84,"collections":84043,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},218045,"leng-yan-nian-wu-yuan-tong-fo-xiang-ce-6-wu-bin-218045","楞严廿五圆通佛像册-6",[24,7,59,27,28,96,99,131,34,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe8c2c0c8552043558bfdf8df8b91cff.jpg",[],{"id":84045,"slug":84046,"title":84047,"dynasty":124,"author":16990,"museum":450,"description":84048,"tags":84049,"thumbUrl":84051,"material":66,"size":30760,"collection":84,"collections":84052,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},217876,"zhou-li-yuan-shang-kuan-shen-ce-san-hu-yu-kun-217876","周栎园上款什册(三)","画面分左右两帧，右帧绘山水清境：林木错落间隐现茅舍，远山含烟，近水漾波，墨色淡雅却藏生机；左帧以行书题跋，笔势流畅，文字与画意相契，尽显文人雅趣。整幅作品诗画一体，意境清幽，笔墨简淡却韵味悠长，于疏朗间见细腻，传递出古代文人对自然与生活的诗意观照，尽显雅致脱俗的审美意趣。",[24,7,4437,128,27,133,132,2132,29,34,3440,35,98,99,84050],"笔墨写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a87ed8dc6c04dc387d956147aeb76ea.jpg",[],{"id":84054,"slug":84055,"title":84056,"dynasty":124,"author":16990,"museum":450,"description":84057,"tags":84058,"thumbUrl":84059,"material":66,"size":30760,"collection":84,"collections":84060,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},217874,"zhou-li-yuan-shang-kuan-shen-ce-si-hu-yu-kun-217874","周栎园上款什册(四)","虬枝盘曲的枯树如铁铸般挺立，皴擦点染间尽透苍劲老辣；浓墨勾勒的顽石与淡墨晕染的远山形成虚实交织，近处隐者倚树而立，似在静赏秋江远岫，幽寂中藏着清旷。左侧题跋笔墨流畅，与山水景致相映成趣，诗画交融间，文人雅士的逸兴与哲思悄然流露。整幅作品以简驭繁，墨色枯润相生，构图疏密有致，既见笔墨功底，更含寄情于景的深致意韵，尽显晚明文人画的雅致风骨。",[24,7,59,128,29,331,171,133,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2b4ddd582ed501a9c0a1600e63d9427.jpg",[],{"id":84062,"slug":84063,"title":84064,"dynasty":124,"author":16990,"museum":450,"description":84065,"tags":84066,"thumbUrl":84067,"material":66,"size":30760,"collection":84,"collections":84068,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},217873,"zhou-li-yuan-shang-kuan-shen-ce-wu-hu-yu-kun-217873","周栎园上款什册(五)","山石以斧劈皴出，棱角如削，似经岁月雕琢。松枝虬曲下垂，松针密簇如墨点，藤蔓轻垂若丝绦。树下一人抱膝闲坐，白衣素衫，似与山风对语，又或静听涧泉叮咚。左侧题跋笔墨酣畅，行草间见跌宕之气，与山水意境相契，文画相生。笔墨浓淡相济，留白处云气氤氲，山石的沉雄与草木的清逸相映，隐者的闲静与自然的生机交融，尽展文人山水的清幽淡远之趣，仿佛能闻松风阵阵，见云影悠悠，心境随之沉潜于这份与世无争的恬淡里。",[24,7,128,132,59,29,1144,131,96,99,34,1022,415,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F967f477abd8ecd0dbacfa2700ac1ab98.jpg",[],{"id":84070,"slug":84071,"title":84072,"dynasty":54,"author":223,"museum":20,"description":84073,"tags":84074,"thumbUrl":84075,"material":27,"size":84,"collection":84,"collections":84076,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},217308,"gu-xiu-wu-shi-san-can-tu-ce-7-yi-ming-217308","顾绣·五十三参图册-7","丝缕交织间，一幅灵动的参访图景徐徐展开。绣线如毫，勾勒出祥云流转、浪涛翻涌的意境，仙人衣袂飘举似乘风而来，骑虎者姿态雄健，孩童仰头望之，神情专注。画面以淡雅色调铺陈，色彩层次分明却不失温润，针脚细密如织，将人物神态与自然景致的肌理质感一一呈现。善财童子参访的场景于丝缕间铺展，既含宗教意涵，又具人文温度。融绘入绣的技法，让作品既有绘画的笔墨韵致，又藏刺绣的匠心巧思，方寸之间尽显清代绣艺的精妙与传统文化的深厚底蕴。",[164,24,7,59,30201,27,28,96,772,5490,949,189,4505,131,34,5268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4953707e99b919bba71842986b9c3d0d.jpg",[],{"id":84078,"slug":84079,"title":84080,"dynasty":182,"author":223,"museum":2607,"description":84081,"tags":84082,"thumbUrl":84083,"material":2611,"size":84,"collection":84,"collections":84084,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},217278,"jiang-mo-bian-dun-huang-tu-juan-10-yi-ming-217278","降魔变·敦煌图卷-10","残卷纸纹似岁月掌痕，淡褪的色彩里藏着敦煌艺术的魂魄。线条或婉转如流云，或劲挺如折铁——佛陀的静定与魔众的躁动，在斑驳晕染中暗涌张力。降魔叙事的节奏透过疏朗构图依稀可辨：魔怪狰狞残影、法器隐约轮廓，与佛法沉静气场交织，似能听见当年变文讲唱的回响。粗砺纸面上，淡蓝与赭黄残痕如时光碎金，朴拙中见神圣。民间画工的巧思与虔诚，凝在每道磨损笔触里，成了丝路文化最动人的遗存。",[24,7,25,187,188,27,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F329210d81cb9d3eb4d9b6ebd23e45999.jpg",[],{"id":84086,"slug":84087,"title":84088,"dynasty":54,"author":2653,"museum":300,"description":14125,"tags":84089,"thumbUrl":84090,"material":173,"size":84,"collection":84,"collections":84091,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":615},217242,"li-dai-di-wang-zhen-xiang-21-yao-wen-han-217242","历代帝王真像-21",[24,7,28,27,96,14415,170,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a3ff0b4bd94d48928db48805ec71dcb.jpg",[],{"id":84093,"slug":84094,"title":84095,"dynasty":54,"author":2653,"museum":300,"description":14125,"tags":84096,"thumbUrl":84097,"material":173,"size":84,"collection":84,"collections":84098,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":615},217228,"li-dai-di-wang-zhen-xiang-40-yao-wen-han-217228","历代帝王真像-40",[24,7,27,96,28,772,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b02ecc50ce3e4213bdaf37c53176118.jpg",[],{"id":84100,"slug":84101,"title":84102,"dynasty":54,"author":2653,"museum":300,"description":14125,"tags":84103,"thumbUrl":84104,"material":173,"size":84,"collection":84,"collections":84105,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":615},217225,"li-dai-di-wang-zhen-xiang-38-yao-wen-han-217225","历代帝王真像-38",[24,7,28,27,96,772,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ded1274ffd97eacaee5cc716bbde88a.jpg",[],{"id":84107,"slug":84108,"title":76615,"dynasty":54,"author":73799,"museum":300,"description":73800,"tags":84109,"thumbUrl":84110,"material":66,"size":84,"collection":84,"collections":84111,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},217205,"fa-jie-yuan-liu-tu-juan-6-li-ming-217205",[23,24,7,164,25,187,28,27,96,189,1364,56121,7221,7220,4204,18331,34702],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae872e02105a3a20c24f145a89265116.jpg",[],{"id":84113,"slug":84114,"title":84115,"dynasty":54,"author":73799,"museum":300,"description":73800,"tags":84116,"thumbUrl":84117,"material":66,"size":84,"collection":84,"collections":84118,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},217202,"fa-jie-yuan-liu-tu-juan-5-li-ming-217202","法界源流图卷-5",[23,24,7,25,27,28,187,96,53895,7221,5490,54866,1975,9265,29,1515,3588,1367,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F305682d8ab114fd612934456e79ed579.jpg",[],{"id":84120,"slug":84121,"title":84122,"dynasty":54,"author":73799,"museum":300,"description":73800,"tags":84123,"thumbUrl":84124,"material":66,"size":84,"collection":84,"collections":84125,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},217199,"fa-jie-yuan-liu-tu-juan-9-li-ming-217199","法界源流图卷-9",[23,24,7,25,28,27,187,96,18331,4204,7220,34,131,250,189,1364,34702],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ea907e05f815246a269adb937538be0.jpg",[],{"id":84127,"slug":84128,"title":84129,"dynasty":54,"author":73799,"museum":300,"description":73800,"tags":84130,"thumbUrl":84132,"material":66,"size":84,"collection":84,"collections":84133,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},217198,"fa-jie-yuan-liu-tu-juan-7-li-ming-217198","法界源流图卷-7",[23,164,24,7,25,187,28,27,96,27809,4204,18331,1364,189,34,53894,7221,84131],"供器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c393aaef36c5bd32b836628222e5a89.jpg",[],{"id":84135,"slug":84136,"title":84137,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":84138,"thumbUrl":84139,"material":611,"size":84,"collection":84,"collections":84140,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":956},217193,"shui-hu-quan-tu-3-du-jin-217193","水浒全图-3",[24,7,59,188,128,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faafb543521ae552aded6ed1ece6e7085.jpg",[],{"id":84142,"slug":84143,"title":84144,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":84145,"thumbUrl":84146,"material":611,"size":84,"collection":84,"collections":84147,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":956},217190,"shui-hu-quan-tu-6-du-jin-217190","水浒全图-6",[24,7,128,188,133,64,96,208,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65de972a9c00dc3d633abc9c31a56331.jpg",[],{"id":84149,"slug":84150,"title":84151,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":84152,"thumbUrl":84153,"material":611,"size":84,"collection":84,"collections":84154,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":956},217115,"bai-miao-luo-han-5-leng-mei-217115","白描罗汉-5",[54,24,7,59,188,187,96,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a79cea3ea83a93bd016cca4e49dbbbd.jpg",[],{"id":84156,"slug":84157,"title":84158,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":84159,"thumbUrl":84160,"material":611,"size":84,"collection":84,"collections":84161,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":956},217112,"bai-miao-luo-han-7-leng-mei-217112","白描罗汉-7",[24,7,59,188,572,187,96,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4487a2b4ad9bffa144f65f5f42737344.jpg",[],{"id":84163,"slug":84164,"title":84165,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":84166,"thumbUrl":84167,"material":611,"size":84,"collection":84,"collections":84168,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":956},217101,"bai-miao-luo-han-15-leng-mei-217101","白描罗汉-15",[24,7,59,188,187,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3d37a91adccb57a2dc06806c222e3df.jpg",[],{"id":84170,"slug":84171,"title":84172,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":84173,"thumbUrl":84174,"material":611,"size":84,"collection":84,"collections":84175,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":956},217093,"bai-miao-luo-han-26-leng-mei-217093","白描罗汉-26",[24,7,59,188,187,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33673d54d969aea8ca9da02bea7cc6d1.jpg",[],{"id":84177,"slug":84178,"title":84179,"dynasty":124,"author":19170,"museum":244,"description":44176,"tags":84180,"thumbUrl":84181,"material":278,"size":44180,"collection":84,"collections":84182,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},217070,"ying-zhen-xiang-si-zhou-3-ding-yun-peng-217070","应真像四轴-3",[24,7,165,187,188,128,96,5490,949,413,1314,251,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76ca28f83e511df1c2d6393e5e7fff88.jpg",[],{"id":84184,"slug":84185,"title":84186,"dynasty":18,"author":25050,"museum":1941,"description":38765,"tags":84187,"thumbUrl":84188,"material":173,"size":38768,"collection":84,"collections":84189,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},216919,"xiang-shan-jiu-lao-tu-11-ma-xing-zu-216919","香山九老图-11",[23,24,7,25,28,27,96,130,29,8347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eac7a0192cb3c4034c20c97eb6f89fd.jpg",[],{"id":84191,"slug":84192,"title":84193,"dynasty":18,"author":25050,"museum":1941,"description":38765,"tags":84194,"thumbUrl":84195,"material":173,"size":38768,"collection":84,"collections":84196,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},216914,"xiang-shan-jiu-lao-tu-9-ma-xing-zu-216914","香山九老图-9",[23,24,7,28,27,96,97,99,130,331,29,690,171,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47bf3b1cda1170fe2dbf623646bc7975.jpg",[],{"id":84198,"slug":84199,"title":84200,"dynasty":54,"author":675,"museum":27034,"description":27035,"tags":84201,"thumbUrl":84202,"material":173,"size":84,"collection":84,"collections":84203,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},216896,"qian-long-nan-xun-zhu-bi-tu-ye-9-qian-wei-cheng-216896","乾隆南巡驻跸图页-9",[23,24,7,59,95,27,29,97,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a18530b201bc4956780fc5713900a0b.jpg",[],{"id":84205,"slug":84206,"title":84207,"dynasty":54,"author":675,"museum":27034,"description":27035,"tags":84208,"thumbUrl":84209,"material":173,"size":84,"collection":84,"collections":84210,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},216894,"qian-long-nan-xun-zhu-bi-tu-ye-10-qian-wei-cheng-216894","乾隆南巡驻跸图页-10",[23,24,7,27,28,132,59,29,97,130,34,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84aeeaf783d3c2694f51ca2654b95eff.jpg",[],{"id":84212,"slug":84213,"title":84214,"dynasty":54,"author":675,"museum":27034,"description":27035,"tags":84215,"thumbUrl":84216,"material":173,"size":84,"collection":84,"collections":84217,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},216892,"qian-long-nan-xun-zhu-bi-tu-ye-12-qian-wei-cheng-216892","乾隆南巡驻跸图页-12",[23,24,7,27,28,95,29,97,130,34,131,1645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea6988a026b9a4b283301ff63dfcc418.jpg",[],{"id":84219,"slug":84220,"title":84221,"dynasty":54,"author":675,"museum":27034,"description":27035,"tags":84222,"thumbUrl":84223,"material":173,"size":84,"collection":84,"collections":84224,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},216885,"qian-long-nan-xun-zhu-bi-tu-ye-22-qian-wei-cheng-216885","乾隆南巡驻跸图页-22",[23,24,164,7,59,95,27,97,34,102,31,19122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e43bef7699c23eadcca2f60cdcec12e.jpg",[],{"id":84226,"slug":84227,"title":84228,"dynasty":54,"author":223,"museum":2607,"description":84229,"tags":84230,"thumbUrl":84231,"material":611,"size":84,"collection":84,"collections":84232,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":956},216878,"xi-xiang-ji-tu-ce-1-yi-ming-216878","西厢记图册-1","旧纸泛着温润的光，墨线勾出西厢的一角。或许是回廊转角的惊鸿一瞥，或许是月下听琴的脉脉含情，那些藏在《西厢记》里的心动瞬间，都凝在这帧图中。线条轻软如春风拂柳，设色浅淡似晨雾笼花，连雕花木窗的纹理都带着时光的温度。没有刻意渲染，却让古典爱情的雅致与缠绵漫出来：是花前低语，是隔帘凝眸，是欲说还休的情愫在尺幅间静静流淌，引观者坠入那个诗意盎然的古典梦境，触到千年之前的温柔心跳。",[24,7,59,28,27,96,166,97,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f824fec4ba3b4acfa5243c2e2ccb20d.jpg",[],{"id":84234,"slug":84235,"title":84236,"dynasty":54,"author":223,"museum":300,"description":84237,"tags":84238,"thumbUrl":84239,"material":173,"size":84,"collection":84,"collections":84240,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},216710,"hong-lou-meng-fu-tu-ce-14-yi-ming-216710","红楼梦赋图册-14","墨笔赋文如溪流转，缠于青藤绿蔓间。粉蕊轻绽，翠叶层叠，枝蔓蜿蜒似时光经纬，串起金陵旧梦的缱绻。翩跹蝶影落于页角，为静雅的画面添了几分灵动。文字与花叶相生，字里行间漫溢古典雅致，枝叶扶疏间藏着红楼风月的幽微。笔致细腻，色彩清润，将赋文的诗意与图画的韵致融作一处，仿佛能窥见大观园里的花开花落、人聚人散。图文交织成一场温柔的叙说，让红楼的情愫在笔墨与草木间缓缓流淌，尽显中式美学的含蓄与深情。",[23,24,7,59,27,64,4278,57836,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9797c2c441f483867d6b4856cdd13ac.jpg",[],{"id":84242,"slug":84243,"title":84244,"dynasty":54,"author":223,"museum":300,"description":84245,"tags":84246,"thumbUrl":84247,"material":173,"size":84,"collection":84,"collections":84248,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},216709,"hong-lou-meng-fu-tu-ce-16-yi-ming-216709","红楼梦赋图册-16","墨笔楷书如珠玉落纸，端正中含蕴藉，将红楼幽思凝于字间。缠枝花卉似带灵韵，粉紫花苞轻绽，绿蔓柔绕四周，以缠绵姿态呼应文中儿女情长。文字与花艺相生，墨色沉厚衬得花色明妍，旧卷般的质感里，诗词的缱绻与草木的清姿交织成韵。清雅温婉的笔触，似藏着旧时文人对红楼的脉脉情牵，方寸间晕开一段梦与情的悠远余韵，引人沉湎于纸间流转的古典娴静之美。",[23,24,7,59,27,28,572,62,548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38eea30e544df85a818689a708dbeecb.jpg",[],{"id":84250,"slug":84251,"title":84252,"dynasty":54,"author":223,"museum":300,"description":84253,"tags":84254,"thumbUrl":84255,"material":173,"size":84,"collection":84,"collections":84256,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},216706,"hong-lou-meng-fu-tu-ce-20-yi-ming-216706","红楼梦赋图册-20","竖排赋文如行云流水，墨色温润间藏着红楼旧梦的缱绻。四周藤蔓轻绕，石榴花艳红似火，粉蕊柔婉如霞，枝叶间跃动细碎生机，与文字幽情相映成趣。细密花纹边框圈住一方雅致天地，仿佛将书中风月情浓，凝在花叶与笔墨的交织里。每笔花叶含温婉，每行文字浸诗意，图文相契晕开古典韵致。墨香与花香交织，让红楼的朦胧深情，在方寸间缓缓流淌，引观者触摸那份跨越时光的雅致与怅惘。",[23,24,7,59,27,28,572,64,62,548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6df395022019ffbb74d5d0888e64b877.jpg",[],{"id":84258,"slug":84259,"title":84260,"dynasty":54,"author":223,"museum":300,"description":84261,"tags":84262,"thumbUrl":84263,"material":173,"size":84,"collection":84,"collections":84264,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},216704,"hong-lou-meng-fu-tu-ce-18-yi-ming-216704","红楼梦赋图册-18","笺纸铺展，墨痕流转成赋文，字字浸着红楼旧梦。四周花木扶疏，蔷薇含露，藤蔓牵衣，粉紫花朵轻缀枝间，如诗行旁的注脚。线条柔细，设色淡雅，墨香与花意缠绵，将大观园的风月情浓凝在方寸画幅里。诗画相和，似能听见书页翻动的轻响，看见黛影钗光的残影，在笔墨与花叶的交织中，藏着无尽缱绻与怅惘。文字与丹青相融，把红楼深处的幽微心事，化作可触的雅致，让观者在墨色与花影间，重温那一段繁华旧梦的余温。",[23,24,7,59,27,28,62,548,2918,64,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c1b9b7f8fda43e57095417e3605491c.jpg",[],{"id":84266,"slug":84267,"title":84268,"dynasty":54,"author":223,"museum":300,"description":84269,"tags":84270,"thumbUrl":84271,"material":173,"size":84,"collection":84,"collections":84272,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},216679,"hong-lou-meng-fu-tu-ce-46-yi-ming-216679","红楼梦赋图册-46","画面以端秀楷书誊写《红楼梦赋》文句，墨色匀净，笔力沉稳，尽显文雅气度。四周缠枝花卉错落绽放：粉紫藤萝垂曳如瀑，艳红牡丹盛放似霞，嫩黄秋菊吐蕊含香，洁白梅花傲立枝头，枝叶婉转牵连，色彩明丽却不失清雅。笔触细腻灵动，草木柔媚姿态毕现。文字与花鸟相映成趣，文辞的诗意与画面的画意交融，既传递出《红楼梦》的文学意蕴，又以工致的装饰营造出古典雅致的氛围，仿佛将红楼闺阁的清韵与诗词雅兴凝于一纸，尽显清代画作温婉细腻的审美意趣。",[23,24,7,59,27,28,62,263,209,64,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F416bbb4f40a72394d2c29b35c0482840.jpg",[],{"id":84274,"slug":84275,"title":84276,"dynasty":124,"author":14778,"museum":300,"description":84277,"tags":84278,"thumbUrl":84279,"material":66,"size":84,"collection":84,"collections":84280,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},216349,"xi-xiang-ji-cha-ye-2-min-qi-ji-216349","西厢记插页-2","翎羽振翅俯冲，翅尖裹挟的风似携着细碎念想；锦鳞摆尾游弋，水波漾开的纹里藏着脉脉情韵。淡墨勾染出飞鸟灵动与游鱼鲜活，线条细腻却不繁复，尽显雅致。右侧题字笔墨古拙，与画面相映成趣，那句“相思想将海比情深”，恰点出西厢记中深藏的情愫——飞与游的动静之间，是剧中人未宣的牵挂。整幅插页以物喻情，融书画于一体，将古典爱情的缱绻凝在方寸清雅里，尽显明代文人插页的匠心与韵致。",[24,7,59,27,28,211,2059,99,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ab1766bc9fbedd16d6c31f7a73d833f.jpg",[],{"id":84282,"slug":84283,"title":84284,"dynasty":124,"author":14778,"museum":300,"description":84285,"tags":84286,"thumbUrl":84287,"material":66,"size":84,"collection":84,"collections":84288,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},216346,"xi-xiang-ji-cha-ye-7-min-qi-ji-216346","西厢记插页-7","扇面如弯月轻展，墨线勾勒烟峦叠嶂与疏林幽径。山石细皴显肌理，树木枝叶婆娑含风。溪边人影错落，或立或语，衣袂轻扬藏文人情态；远处亭台隐于林麓，与云气相融添悠远。题字朱印点缀其间，笔墨雅致韵致天成。简练线条营造清幽意境，山水人物相映成趣，似将古典情愫化作可触的山水清嘉。每处细节透着明式文人画的雅致含蓄，让人沉醉于这方小天地，感受跨越时空的古典温柔。",[805,24,7,1131,188,29,96,98,99,34,211,130,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F459ec78c0fdae4e0c9bc3b2b1d53cbbf.jpg",[],{"id":84290,"slug":84291,"title":84292,"dynasty":124,"author":802,"museum":300,"description":84293,"tags":84294,"thumbUrl":84295,"material":278,"size":84,"collection":84,"collections":84296,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},216309,"xi-xiang-ji-zhen-ben-tu-ce-14-chen-hong-shou-216309","西厢记真本图册-14","墨竹疏枝横斜，笔力古拙凝练，竹叶带风而舞，似揉进西厢记的幽庭私语。老干苍劲如铁，新梢轻扬含柔，线条挺括却藏婉转意，恰如剧中人礼法束缚下的炽热情愫。竹影摇曳间，不见人物却满是情境——或许是隔墙听语的刹那，或许是月下赴约的前奏。水墨浓淡相宜，晕染出园林清寂，更衬情愫暗流涌动。陈洪绶以简驭繁，借一丛风竹便勾勒出西厢记的幽婉韵致，让观者于竹影风声里，触摸到古典爱情的隐秘温度。",[24,7,59,128,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13f167f98eafad5f770e81163f032ee5.jpg",[],{"id":84298,"slug":84299,"title":84300,"dynasty":54,"author":223,"museum":77,"description":84301,"tags":84302,"thumbUrl":84303,"material":66,"size":84,"collection":84,"collections":84304,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},216243,"shi-quan-tu-ce-1-yi-ming-216243","十犬图册-1","此图册为乾隆时期的宫廷画家所绘，表现猎犬“守则有威，出则有获”，“骨相多奇，仪表可嘉”的主题。画法工整，具有一定的程式。对开有内廷侍臣陈邦彦、王图炳、励廷仪、张廷玉、蒋廷锡、张照、薄海等书写的《山海经》及晋傅休奕的《走狗赋》、唐杜甫的《天狗赋》等诗赋。",[23,24,7,59,128,27,28,133,9119,1824,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd694739d493966f841d319affc4d18dd.jpg",[],{"id":84306,"slug":84307,"title":84308,"dynasty":54,"author":223,"museum":300,"description":84309,"tags":84310,"thumbUrl":84311,"material":173,"size":84,"collection":84,"collections":84312,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},216144,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-15-yi-ming-216144","职贡图巨幅彩绘册页第2册-15","画面绘两异域人物，左者衣粉紫襦裙，裙摆缀繁复纹样，发间饰珠，怀抱蓝物，神态温婉；右者红巾裹发，绿衫紫裳，足蹬彩履，身姿挺拔。笔触工细，线条流转间勾勒人物形神，设色淡雅却见鲜明，衣饰细节皆精致入微。整幅画作以写实之笔，生动再现边地族群风貌，既具艺术审美价值，亦为研究清代民族交流的鲜活图像遗存。",[23,24,7,59,27,28,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f122bcd8942d5dcca03ce7bfa8d5b96.jpg",[],{"id":84314,"slug":84315,"title":84316,"dynasty":54,"author":223,"museum":300,"description":84317,"tags":84318,"thumbUrl":84319,"material":173,"size":84,"collection":84,"collections":84320,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},216078,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-2-yi-ming-216078","职贡图巨幅彩绘册页第3册-2","左帧女子衣袂错落，粉袖映墨裙，鬓边簪花簇，手持朱红“平”字吉饰，步态温婉尽显柔态；右帧男子短褐束腰，蓝裤扎红白绑腿，肩扛书箧，长髯垂胸，神情朴拙透着力气。设色淡雅却鲜亮有致，线条流畅精准勾勒衣褶肌理，人物神态举止刻画入微，鲜活呈现不同身份者的气质风貌。画作以细腻笔触捕捉生活瞬间，既是工致的艺术佳作，亦为窥见当时人文图景的生动视觉载体，尽显传统绘画写实与传神的交融之妙。",[23,24,7,59,28,27,96,170,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9178695204029658f4d34c331eb76bec.jpg",[],{"id":84322,"slug":84323,"title":84324,"dynasty":54,"author":223,"museum":2607,"description":84325,"tags":84326,"thumbUrl":84328,"material":173,"size":84,"collection":84,"collections":84329,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},216003,"di-jian-tu-shuo-cai-hui-ben-6-yi-ming-216003","帝鉴图说彩绘本-6","飞檐如翼，红柱列阵，蓝瓦覆顶，中式建筑的规整与雅致在画中层层铺展。殿堂内人影错落，或端坐凝思，或侧身交谈，似藏议事之静；庭院中人群熙攘，抬轿者步履稳健，等候者神态各异，尽显生活之喧。人物服饰色彩斑斓，细节勾勒细腻入微；建筑线条流畅精准，结构层次分明有序。暖调底色晕染出古雅氛围，鲜明色块点缀出鲜活气息，工笔之精与生活之味交融，让观者于画间触摸往昔社会风貌与艺术审美，感受那份跨越时空的生动与厚重。",[24,7,27,28,95,96,97,247,34,131,1200,249,1422,8537,84327],"群体人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5695523105459cb62803dd26a8f6583.jpg",[],{"id":84331,"slug":84332,"title":84333,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":84334,"thumbUrl":84335,"material":66,"size":84,"collection":84,"collections":84336,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},215058,"tui-bei-tu-ce-51-jiao-bing-zhen-215058","推背图册-51",[23,304,24,7,59,27,28,96,950,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32fc1ec2090780924117e61e6c87ed6d.jpg",[],{"id":84338,"slug":84339,"title":84340,"dynasty":54,"author":7208,"museum":244,"description":80436,"tags":84341,"thumbUrl":84342,"material":173,"size":84,"collection":84,"collections":84343,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":956},215051,"shu-hua-he-bi-tu-ce-1-qian-long-215051","书画合璧图册-1",[23,24,7,59,27,64,133,29,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1350855e2b586f6e117be217665f639.jpg",[],{"id":84345,"slug":84346,"title":50523,"dynasty":54,"author":3750,"museum":77,"description":51930,"tags":84347,"thumbUrl":84348,"material":66,"size":84,"collection":84,"collections":84349,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},215019,"fang-gu-shan-shui-ce-11-wang-jian-215019",[24,164,7,59,128,27,132,29,1337,331,131,35,23873,1144,99,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6429a86e8e01bea1e64db6649a6a5136.jpg",[],{"id":84351,"slug":84352,"title":84353,"dynasty":144,"author":8127,"museum":244,"description":62275,"tags":84354,"thumbUrl":84355,"material":173,"size":10420,"collection":84,"collections":84356,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},215000,"xie-sheng-hua-hui-ce-8-wang-yuan-215000","写生花卉册-8",[24,7,59,27,28,61,62,263,2438,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a4e0aa6a61cb97eb9d243a820fd2f47.jpg",[],{"id":84358,"slug":84359,"title":84360,"dynasty":54,"author":160,"museum":450,"description":84361,"tags":84362,"thumbUrl":84363,"material":66,"size":84,"collection":84,"collections":84364,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},214994,"ren-wu-tu-ce-2-gu-jian-long-214994","人物图册-2","画面中两僧相偕，一者跪坐举莲，莲茎轻扬，粉瓣柔点素纸；一者抱卷侧倚，朱页映衬缁衣。线条婉转如流水，勾勒衣袂褶皱，笔墨简淡却藏情态：举莲者仰头凝眸，似醉心莲香禅意；抱卷者笑意微漾，若回味书中真趣。素净底色衬出人物恬淡，动静之间漫着清寂与悠然。无繁复布景，仅以人物互动与细节传递禅林雅趣——笔墨间见匠心，神态里显天真，尽显温婉韵致与禅意哲思，仿佛能触到那抹穿越时光的悠然气息。",[23,24,7,59,27,28,96,81,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53b243f0e2376c84a326b04df22ca953.jpg",[],{"id":84366,"slug":84367,"title":84368,"dynasty":54,"author":16583,"museum":450,"description":16584,"tags":84369,"thumbUrl":84370,"material":278,"size":16588,"collection":84,"collections":84371,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},214931,"zhi-tou-za-hua-ce-7-gao-qi-pei-214931","指头杂画册-7",[23,24,7,59,16586,128,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eef817b956bea78158b3797c42eddae.jpg",[],{"id":84373,"slug":84374,"title":84375,"dynasty":124,"author":204,"museum":244,"description":71251,"tags":84376,"thumbUrl":84377,"material":173,"size":71254,"collection":84,"collections":84378,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},214911,"di-wang-dao-tong-wan-nian-tu-ce-1-chou-ying-214911","帝王道统万年图册-1",[23,164,24,7,59,28,27,96,19407,169,758,1337,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce452731ca2c26bec21fa21610a2106b.jpg",[],{"id":84380,"slug":84381,"title":84382,"dynasty":124,"author":204,"museum":244,"description":71251,"tags":84383,"thumbUrl":84384,"material":173,"size":71254,"collection":84,"collections":84385,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},214906,"di-wang-dao-tong-wan-nian-tu-ce-7-chou-ying-214906","帝王道统万年图册-7",[23,164,24,7,59,28,27,95,96,97,906],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F735fe7a168375422792b17cda1ec18e6.jpg",[],{"id":84387,"slug":84388,"title":84389,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":84390,"thumbUrl":84391,"material":66,"size":10301,"collection":84,"collections":84392,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},214801,"zhi-sheng-xian-xian-ban-shen-xiang-7-yi-ming-214801","至圣先贤半身像-7",[23,24,7,59,27,28,96,4057],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8bcf86fb2362dcd9d5fb568ff737c25.jpg",[],{"id":84394,"slug":84395,"title":84396,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":84397,"thumbUrl":84398,"material":66,"size":10301,"collection":84,"collections":84399,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":72},214749,"zhi-sheng-xian-xian-ban-shen-xiang-58-yi-ming-214749","至圣先贤半身像-58",[23,164,24,7,27,28,96,4057],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb20c914cc13bfb32671a2b42cea8844e.jpg",[],{"id":84401,"slug":84402,"title":84403,"dynasty":54,"author":223,"museum":35520,"description":35521,"tags":84404,"thumbUrl":84405,"material":173,"size":35524,"collection":84,"collections":84406,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},214329,"da-bei-shen-zhou-fo-xiang-12-yi-ming-214329","大悲神咒佛像-12",[23,24,7,27,28,187,96,81,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14f127fb3ab6811f9c8d5575f46b313e.jpg",[],{"id":84408,"slug":84409,"title":84410,"dynasty":54,"author":223,"museum":35520,"description":35521,"tags":84411,"thumbUrl":84412,"material":173,"size":35524,"collection":84,"collections":84413,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},214326,"da-bei-shen-zhou-fo-xiang-17-yi-ming-214326","大悲神咒佛像-17",[23,24,7,59,27,28,187,96,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38027874b09c0348f7e4ea7fdf808238.jpg",[],{"id":84415,"slug":84416,"title":84417,"dynasty":54,"author":223,"museum":35520,"description":35521,"tags":84418,"thumbUrl":84419,"material":173,"size":35524,"collection":84,"collections":84420,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},214324,"da-bei-shen-zhou-fo-xiang-16-yi-ming-214324","大悲神咒佛像-16",[23,24,7,59,187,27,28,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd5df335f3ad65918add7bf14af3fc5b.jpg",[],{"id":84422,"slug":84423,"title":84424,"dynasty":54,"author":223,"museum":35520,"description":35521,"tags":84425,"thumbUrl":84426,"material":173,"size":35524,"collection":84,"collections":84427,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},214319,"da-bei-shen-zhou-fo-xiang-22-yi-ming-214319","大悲神咒佛像-22",[23,24,7,304,27,28,96,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff907ca9bd8afd63f3e96a205b211f917.jpg",[],{"id":84429,"slug":84430,"title":84431,"dynasty":54,"author":223,"museum":35520,"description":35521,"tags":84432,"thumbUrl":84433,"material":173,"size":35524,"collection":84,"collections":84434,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":49},214317,"da-bei-shen-zhou-fo-xiang-23-yi-ming-214317","大悲神咒佛像-23",[23,24,7,187,27,28,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa840a4773b76ffb0642d0e2ecbdabdf7.jpg",[],{"id":84436,"slug":84437,"title":16826,"dynasty":54,"author":1242,"museum":56,"description":84438,"tags":84439,"thumbUrl":84440,"material":84,"size":84,"collection":44,"collections":84441,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84442},203460,"shan-shui-ren-wu-ce-jin-nong-203460","此作笔墨简淡却意蕴悠长。左帧垂柳如丝，拂过岸畔孤舟，淡墨晕染的水面似含烟霭，清寂中藏着对故人的遥想；右帧松枝盘曲，红栏边雅士对谈、童子侧立，线条稚拙生趣，设色淡雅脱俗。整幅以文人视角入画，笔意古朴，意境空灵，题字与印章相映，尽显超然物外的逸致。",[23,24,7,59,128,27,188,29,4363,129,1144,96,249,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cb90f9cdbfa9039c5ef469725e78b78.jpg",[44],"e9dfd9",{"id":84444,"slug":84445,"title":84446,"dynasty":54,"author":1242,"museum":56,"description":84447,"tags":84448,"thumbUrl":84449,"material":84,"size":84,"collection":84,"collections":84450,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84451},203444,"mei-shi-ling-lan-tu-heng-pi-jin-nong-203444","梅石灵兰图横披","老梅虬枝盘曲，墨色浓淡交错，枝干顿挫有力，花萼点点疏朗，似携暗香浮动。石体嶙峋，皴擦间见苍朴之态；灵兰柔婉，线条清雅添生机。全幅以水墨写意出之，笔墨简逸却形神兼备，文人意趣盎然，清冷中藏蕴藉生机，韵致悠长。",[24,7,69068,128,133,208,371,1314,9070,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd95efca6469606650d6bf6e92e66ea3e.jpg",[],"d3c8bb",{"id":84453,"slug":84454,"title":62415,"dynasty":32945,"author":84455,"museum":56,"description":84456,"tags":84457,"thumbUrl":84458,"material":84,"size":84,"collection":45,"collections":84459,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84460},203354,"shuang-jun-tu-zhou-zhao-shu-ru-203354","赵叔孺","画面中两骏并立，低头啮草，姿态悠然自得。旁侧老柳虬枝舒展，柔条拂风，墨色浓淡间尽显苍劲与秀逸。设色清雅，马匹勾勒细致，鬃毛晕染自然，既得写实之真，又含写意之韵，传递出静谧闲适的田园意趣。笔墨间渗透着文人画的雅致，于简淡中见生机，尽显作者画马功底之深厚，将骏马的灵动与自然的清幽融为一体，令人观之忘俗。",[24,7,165,27,101,28,331,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23ea7b0a6bee18a097b3932f4c934fc1.jpg",[45],"dacdc4",{"id":84462,"slug":84463,"title":74059,"dynasty":54,"author":20259,"museum":56,"description":84464,"tags":84465,"thumbUrl":84466,"material":84,"size":84,"collection":136,"collections":84467,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84468},203345,"shu-hua-ji-ce-gao-xiang-203345","墨色与淡彩晕染山水，皴笔勾勒山峦肌理，林木葱茏间溪流隐现，野趣盎然。右侧行书笔意流畅，与山水意境相契，书画合璧尽显文人雅韵，逸气扑人，藏着清逸悠远的心境与笔墨情致。",[24,7,59,27,29,133,132,4438,499,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da1a9958658a2e096ecb365252aa602.jpg",[136],"81664c",{"id":84470,"slug":84471,"title":84472,"dynasty":32945,"author":84473,"museum":56,"description":84474,"tags":84475,"thumbUrl":84476,"material":84,"size":84,"collection":45,"collections":84477,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84478},203324,"shuang-ma-tu-zhou-chen-shu-ren-203324","双马图轴","陈树人","双马相依而立，白驹昂首俊朗，棕马垂首温顺，姿态鲜活灵动。柳枝轻飏于侧，暖晖铺陈天际，草地以淡墨晕染，间缀粉花几点，漾出清宁雅致的气息。马的造型兼具写实与写意，线条柔劲相济，设色雅淡温润，笔墨间既有传统国画的韵致，又含写生的生动质感，整体营造出静谧自然的生机之境。",[24,27,101,4363,165,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4830aa78303cacb24da2a2f6be591c43.jpg",[45],"c9a87c",{"id":84480,"slug":84481,"title":4071,"dynasty":54,"author":1460,"museum":56,"description":84482,"tags":84483,"thumbUrl":84484,"material":84,"size":84,"collection":84,"collections":84485,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84486},203187,"hua-hui-tu-ce-shi-tao-203187","墨枝虬劲如铁，疏梅淡点似雪，寥寥数笔便勾出梅的清逸风骨。石涛以挥洒自如的水墨技法写梅，干笔皴擦枝干显苍劲，湿墨晕染花瓣见灵秀，浓淡虚实间藏生机。题跋墨迹与梅枝交错，朱红印章点缀其间，书画印三者浑然一体，尽显文人画的雅趣。画面于简括中见奇崛，笔墨纵逸不羁，将梅的孤傲品格与画家的洒脱心性相融，是清代花鸟册页中的精品。",[24,128,371,208,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F247629bc2501ed192d107141609e82a8.jpg",[],"dbd2ca",{"id":84488,"slug":84489,"title":7864,"dynasty":124,"author":1438,"museum":56,"description":84490,"tags":84491,"thumbUrl":84492,"material":84,"size":84,"collection":84,"collections":84493,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84494},203183,"za-hua-ce-chen-chun-203183","画面两段景致各有生趣：上段水墨写花草，笔触简括灵动，墨色浓淡相宜，花叶姿态舒展自然，似携清雅之风；下段绘蟹与虾，蟹的甲壳以重墨块面晕染，虾须纤细飘逸如丝，寥寥数笔便形神毕肖，满含鲜活意趣。整幅以水墨为媒介，写意手法挥洒自如，于简淡笔墨中藏生机，尽显文人画的雅致意趣。",[24,7,59,128,61,12642,11034,4278,55067],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f2f2478a11f9fe50e2b267934fff9b7.jpg",[],"d9d2cd",{"id":84496,"slug":84497,"title":67389,"dynasty":32945,"author":84498,"museum":56,"description":84499,"tags":84500,"thumbUrl":84501,"material":84,"size":84,"collection":44,"collections":84502,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84503},203164,"ting-song-tu-zhou-lv-feng-zi-203164","吕凤子","画面中老者倚松闲坐，眉眼含笑意，似沉醉于松风之中。衣纹以流畅墨线勾勒，简洁传神；松枝笔墨苍劲，如篆籀般有力。右侧题跋行书洒脱，与画面气韵相融，朱红印章点缀，更添文人雅趣。整幅作品以水墨写意之法，将人物的闲适与松的古拙结合，诗书画印浑然一体，尽显中式文人超然物外的心境，笔墨间满是生动意趣。",[24,128,96,331,64,208,133,165,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc481fc15fdef7a9c8f64530380b064a6.jpg",[44],"cfc7ba",{"id":84505,"slug":84506,"title":58649,"dynasty":32945,"author":7853,"museum":56,"description":84507,"tags":84508,"thumbUrl":84509,"material":84,"size":84,"collection":45,"collections":84510,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84511},203117,"wu-song-tu-zhou-wang-zhen-203117","五松枝干虬劲盘曲，如龙腾破壁，苍莽气势扑面而来。笔墨纵逸洒脱，老干以浓墨皴擦，斑驳处施以淡赭，显古朴质感；松针焦墨点簇，疏密错落，生机盎然。画面左侧题字与松姿呼应，书画相融，尽显文人意趣。整作大气开张，既刻绘松之坚韧品格，又彰笔墨豪放之韵，蕴藉深厚文人气息。",[24,165,128,27,372,132,64,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd255211dbc10daeeed96c4d476524c3.jpg",[45],"aca399",{"id":84513,"slug":84514,"title":84515,"dynasty":54,"author":30019,"museum":56,"description":84516,"tags":84517,"thumbUrl":84518,"material":84,"size":84,"collection":68,"collections":84519,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84520},203052,"she-se-hua-guo-ce-zhou-xian-203052","设色花果册","墨叶泼洒如晕，浓淡交织间层叠有致，白荷瓣似凝脂，简笔勾勒中见舒展之态，朱红蕊心点缀其间，顿生鲜妍生气。嫩茎携新叶斜出，线条灵动，与花叶相映成趣。笔墨写意洒脱，设色清雅不俗，构图疏密得宜，虚实相生，于方寸册页间尽显花果清逸之姿，流露文人画的雅致意趣。",[24,7,59,27,61,168,81,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb92091d3ff06df86a123c130e294ac7.jpg",[68],"ada593",{"id":84522,"slug":84523,"title":66404,"dynasty":32945,"author":3539,"museum":56,"description":84524,"tags":84525,"thumbUrl":84526,"material":84,"size":84,"collection":68,"collections":84527,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84528},202930,"tao-shi-tu-zhou-xu-bei-hong-202930","墨枝遒劲蜿蜒，垂落数枚鲜桃。叶片泼墨挥洒，浓淡交错间显层次；桃实圆润饱满，淡粉晕染透着嫩泽，与苍劲墨叶形成鲜明对比，生机勃发。笔势洒脱兼具刚健与柔润，将桃的丰腴与枝叶的清劲完美融合，写意之趣盎然。墨色厚重与设色清雅相映，于简约构图中传递鲜活意韵。",[24,7,165,27,61,2123,128,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ec2571195791a1430a590791bfecf3c.jpg",[68],"c2bca8",{"id":84530,"slug":84531,"title":62361,"dynasty":32945,"author":8159,"museum":56,"description":84532,"tags":84533,"thumbUrl":84534,"material":84,"size":84,"collection":136,"collections":84535,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84536},202879,"shu-hua-cheng-shan-huang-bin-hong-202879","扇面之上，山水意境幽远。笔墨以水墨为基，皴法交错间，山峦层叠起伏，墨色浓淡相济，显浑厚苍劲之态；留白处水面开阔，孤舟一叶轻漾，似载着烟波浩渺的隐逸闲情。一侧书法笔墨流转，与山水气韵相融，书画相映成趣，尽展文人扇面的雅致韵致。寥寥数笔，却将山水之魂与笔墨之趣凝于咫尺扇间，引人入胜。",[24,7,1131,128,132,29,129,64,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dd47fbf30b4a3a47e20df66798d509e.jpg",[136],"4a4f4d",{"id":84538,"slug":84539,"title":84540,"dynasty":32945,"author":5076,"museum":56,"description":84541,"tags":84542,"thumbUrl":84543,"material":84,"size":84,"collection":117,"collections":84544,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84545},202878,"mo-xia-tu-cheng-shan-qi-bai-shi-202878","墨虾图成扇","墨色浓淡交织，淡墨晕染虾身显透明质感，浓墨点染虾眼与斑纹，须足以细劲线条勾勒，似随水波轻摆，灵动鲜活。笔简形赅，将虾的游弋之态捕捉得惟妙惟肖，尽显对自然生灵的深刻体悟与水墨造诣。扇面小巧却意境悠长，水墨意趣与扇面雅致相得益彰，传递出质朴自然的生活意趣与艺术魅力。",[24,1131,128,2059,7,208,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4723edd96154da64877284751b06daa8.jpg",[117],"1f2423",{"id":84547,"slug":84548,"title":84549,"dynasty":32945,"author":5076,"museum":56,"description":84550,"tags":84551,"thumbUrl":84552,"material":84,"size":84,"collection":84,"collections":84553,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84554},202840,"xiang-ri-kui-tu-zhou-qi-bai-shi-202840","向日葵图轴","墨叶泼洒如潮，浓淡干湿间藏着风的姿态；花盘焦墨点簇，颗粒似含晨露，金黄花瓣圈出向阳的热烈。枝干以劲线勾勒，挺拔中带着自然的拙趣。笔墨简练却意韵丰沛，将向日葵的饱满生机与质朴之美凝于尺幅，是写意花鸟中兼具生活气息与艺术张力的佳作，每一笔都透着对自然的深情观照。",[24,7,165,128,27,61,6176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa32285448588134b4fae122a7a16141c.jpg",[],"3d403e",{"id":84556,"slug":84557,"title":11837,"dynasty":54,"author":84558,"museum":56,"description":84559,"tags":84560,"thumbUrl":84561,"material":84,"size":84,"collection":84,"collections":84562,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84563},202717,"gu-mu-zhu-shi-tu-zhou-luo-mu-202717","罗牧","水墨晕染间，古木枝干虬曲如苍龙，皴擦点染尽显苍劲质感。旁侧竹石相映，修竹挺秀添生机，怪石嶙峋藏古意。构图疏朗却气韵连贯，笔墨简淡而意趣悠远，尽显文人画的清雅风骨，于简约中见深致，于朴拙中藏灵秀。",[24,7,165,128,132,4797,167,171,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30b77fff55289153204e0134d0d6a50c.jpg",[],"c9c1ae",{"id":84565,"slug":84566,"title":84567,"dynasty":54,"author":1242,"museum":56,"description":84568,"tags":84569,"thumbUrl":84571,"material":84,"size":84,"collection":84,"collections":84572,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84573},202711,"guan-yin-tu-zhou-jin-nong-202711","观音图轴","这幅观音图以奇逸之笔勾勒出别样禅意。白衣观音敛眉端坐，衣袂如流云舒展，素净白衣与背景流动的暖色调涡旋云气形成鲜明对比。背景以褐、红等色晕染，线条婉转缠绕，似祥云翻涌又若心澜微动，衬得观音面容恬淡，神情超脱。金农独特笔墨赋予画面古朴雅致之韵，题款“漆书”更添古拙之气。整体画风打破传统宗教画刻板，于奇拙中见空灵，尽显艺术创新张力，传递静谧深远的精神境界。",[24,165,187,96,27,7,84570,23],"古朴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91b15a10280f89d50ac4bf3493c311d9.jpg",[],"9f7159",{"id":84575,"slug":84576,"title":84577,"dynasty":124,"author":84578,"museum":56,"description":84579,"tags":84580,"thumbUrl":84581,"material":84,"size":84,"collection":84,"collections":84582,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84583},202681,"qiu-lin-hua-jiu-tu-zhou-liu-pu-202681","秋林话旧图轴","刘朴","画面以秋林为境，老树苍劲，枝叶繁密。树下二贤对坐，衣袂轻扬，神态悠然，似在畅叙幽怀。近处茅舍掩映于丛树间，远处山峦淡远，构图疏密相宜，笔墨简练传神。整体意境清幽淡远，尽显文人寄情山水的雅逸之趣。",[24,7,128,27,96,29,331,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a1746f14af258841c82a6d37e76ac6e.jpg",[],"6a4533",{"id":84585,"slug":84586,"title":84587,"dynasty":124,"author":223,"museum":56,"description":84588,"tags":84589,"thumbUrl":84590,"material":84,"size":84,"collection":84,"collections":84591,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84592},202644,"ming-ren-hua-xu-wei-xiao-xiang-yi-ming-202644","明人画徐渭小像","这幅作品以徐渭肖像为核心，四周环绕历代题跋，书画交融尽显文人意趣。肖像笔墨简练传神，线条精准勾勒人物神态，兼具工致与写意之妙；环绕的题跋书体多样，行书流畅婉转、草书奔放纵逸，文字间满是对徐渭才学的推崇与感怀。整作融肖像与书法于一体，既是对徐渭形象的生动定格，也承载着后世文人的精神对话，凸显传统文人艺术的深厚底蕴。",[24,7,96,133,840,28,128,9602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54131be9d066bac1b695dd819bebde19.jpg",[],"cfba9e",{"id":84594,"slug":84595,"title":80795,"dynasty":124,"author":45603,"museum":56,"description":84596,"tags":84597,"thumbUrl":84598,"material":84,"size":84,"collection":84,"collections":84599,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":77280},202579,"zhu-shi-tu-juan-gui-chang-shi-202579","墨竹劲挺多姿，竹叶以中锋挥写，笔触灵动，聚散相宜，尽显竹之清逸风骨；旁侧孤石以枯笔皴擦，线条朴拙，与劲竹相映成趣。整卷以水墨为媒，气韵流转，笔墨简练却意韵深浓，融文人画的清雅与逸趣于一卷，将竹的坚韧气节与石的沉稳品格悄然传递，读之如沐清风，顿生超尘之想。",[24,7,25,128,167,171,132,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f4b87f58f9c494442720dd002a808e5.jpg",[],{"id":84601,"slug":84602,"title":84603,"dynasty":124,"author":1141,"museum":56,"description":84604,"tags":84605,"thumbUrl":84607,"material":84,"size":84,"collection":84,"collections":84608,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84609},202247,"chi-bi-shu-hua-he-juan-wen-zheng-ming-202247","赤壁书画合卷","书画合璧，墨韵相生。卷中山峦峭壁错落，江流蜿蜒，孤舟轻泛，林木萧疏，笔墨间尽展赤壁的旷远之境。书法笔意流畅，与画卷相得益彰，字里行间寄寓幽远情思。设色淡雅清润，皴法细腻传神，尽显文人画的雅致气韵，将赤壁的历史感与自然意趣融于一体，引人遐思。",[24,7,25,29,133,27,129,1022,132,84606,23],"江流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55a9c36ece7c2bae712534deac063bbe.jpg",[],"d3c7b5",{"id":84611,"slug":84612,"title":9334,"dynasty":54,"author":19415,"museum":56,"description":84613,"tags":84614,"thumbUrl":84615,"material":84,"size":84,"collection":68,"collections":84616,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84617},202164,"hua-hui-tu-juan-bian-shou-min-202164","这幅花卉长卷以水墨写意为主调，笔墨灵动洒脱。卷中牡丹雍容、秋菊疏朗、兰草幽馨，各类花草枝叶扶疏，姿态自然传神。画家以浓淡干湿的墨色勾勒晕染，花叶轮廓简括却形神兼备，尽显草木生机。卷上题跋与花鸟相映成趣，诗画交融间流露文人雅趣。整体风格清逸自然，既含对物象的细致体察，又具写意之韵，是文人花鸟的典范之作。",[164,24,7,25,128,61,263,376,375,208,133,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dd91a3eaa321075ddeb7a2b39338dbd.jpg",[68],"bdae92",{"id":84619,"slug":84620,"title":84621,"dynasty":54,"author":59116,"museum":56,"description":84622,"tags":84623,"thumbUrl":84624,"material":84,"size":84,"collection":44,"collections":84625,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84626},202123,"ren-wu-jing-xin-ni-tian-202123","人物镜心","画面中三人围坐，衣袂轻扬间神态宛然，或凝思或低语，意趣闲适。背景竹枝疏朗，墨色淋漓，山石皴擦有致，盆栽花卉设色妍丽，工写结合间见笔墨韵致。线条兼具劲挺与柔婉，设色淡雅却不失层次，将文人雅集的悠然情境娓娓道来，尽显绘画兼容并蓄之妙。",[24,7,27,96,28,128,132,167,1314,263,166,171,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac0ce16a4aca2ad54c09ecc04f443672.jpg",[44],"c5b7ae",{"id":84628,"slug":84629,"title":84630,"dynasty":54,"author":72460,"museum":56,"description":84631,"tags":84632,"thumbUrl":84633,"material":84,"size":84,"collection":117,"collections":84634,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84635},202067,"song-mei-tu-heng-pi-zhu-ben-202067","宋梅图横披","老梅虬干盘曲，枝干以浓淡墨色皴擦，尽显苍劲古拙之态。枝头繁花疏朗，细笔勾勒花蕊，与粗重枝干相映成趣。留白背景衬出梅树孤高清雅，笔墨简练却意蕴悠长，尽显文人画的雅致风骨。",[128,371,24,7,132,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe244c30aa80be59bfd24df0b24207ad8.jpg",[117],"c4b3a1",{"id":84637,"slug":84638,"title":15906,"dynasty":54,"author":84639,"museum":56,"description":84640,"tags":84641,"thumbUrl":84642,"material":84,"size":84,"collection":68,"collections":84643,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84644},202045,"mo-mei-tu-zhou-tong-yu-202045","童鈺","此作以墨绘梅，枝干以焦墨挥写，虬曲古劲如铁铸，尽显老干峥蝾之态。花瓣用淡墨点染，间杂浓墨点蕊，疏疏落落地缀于枝间，似有暗香浮动。笔意简逸洒脱，不刻意求工却得梅花清绝神韵。右侧题跋以行书挥就，笔墨与画境相融，朱红印章点缀，更添文人雅趣。整幅作品气骨天成，将梅之孤傲洁雅尽现纸上，是清代墨梅画中的佳构。",[24,7,165,128,371,208,133,61,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09cc2f7e87818ca53cf6ad1cc25f1841.jpg",[68],"af997b",{"id":84646,"slug":84647,"title":84648,"dynasty":54,"author":62513,"museum":56,"description":84649,"tags":84650,"thumbUrl":84651,"material":84,"size":84,"collection":44,"collections":84652,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84653},202009,"jin-jue-tu-zhou-jiang-jie-202009","晋爵图轴","画面以淡墨晕染山石，疏梅枝桠横斜，青竹叶影婆娑，衬出人物雅逸之姿。老者衣袍宽博温润，冠带飘然；幼童踞石而坐，手持红物，神态天真。笔墨简括形神兼备，设色淡雅，线条流畅，将人物互动隐于清寂景致，尽显含蓄意趣，传递古朴悠然的闲适氛围。",[24,165,96,27,128,371,167,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a111d4f45976f663c9db83591b5c1e.jpg",[44],"baa287",{"id":84655,"slug":84656,"title":84657,"dynasty":54,"author":1219,"museum":56,"description":84658,"tags":84659,"thumbUrl":84660,"material":84,"size":84,"collection":68,"collections":84661,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84662},201906,"hua-guo-tu-zhou-ren-yi-201906","花果图轴","梅枝以枯笔写就，虬曲伸展间缀满艳红花朵，苍劲老辣中含盎然生机；水仙叶片舒展如带，花瓣轻勾淡染，与旁侧繁花相映成趣，清雅脱俗。下方果实枝叶以浓淡墨色晕染，笔触洒脱，尽显写意之韵。整幅画作兼工带写，设色明快，于疏密错落中传递出自然生趣与文人雅意。",[24,7,165,61,27,28,369,371,374,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F420b3c4b62ed27b24d70d400ba06c10e.jpg",[68],"ab885c",{"id":84664,"slug":84665,"title":84666,"dynasty":54,"author":84667,"museum":56,"description":84668,"tags":84669,"thumbUrl":84670,"material":84,"size":84,"collection":136,"collections":84671,"showCount":975,"zanCount":1998,"manualWeight":48,"mainColor":84672},201862,"fang-zi-jiu-shan-shui-tu-zhou-wu-kun-201862","仿子久山水图轴","吴崑","这幅山水笔墨苍逸，追摹子久笔意。山石以披麻皴皴擦结合，线条简练却见质感，山峦起伏间尽显雄浑之势；林木勾勒灵动，松针点染有致，与山石相映成趣。近处屋舍临溪而建，隐于疏林之下，意境静谧；中景水域开阔，衔接远近层次；远景峰峦叠嶂，空灵深远。整体构图虚实相生，水墨晕染间流露清幽淡远的文人气息，尽显传统山水的笔墨神韵与归隐情怀。",[24,7,165,128,29,132,34,99,171,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2a372a685da266c4b13425587a64fac.jpg",[136],"bba185",{"id":84674,"slug":84675,"title":84676,"dynasty":54,"author":872,"museum":56,"description":84677,"tags":84678,"thumbUrl":84679,"material":84,"size":84,"collection":84,"collections":84680,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84681},201801,"shu-hua-he-zhuang-juan-zhu-da-201801","书画合装卷","墨色浓淡交织，山水渐露孤清风骨。虬枝老树盘绕于嶙峋孤石旁，皴法简括的峰峦隐在薄雾里，每一处留白都似浸着沉郁的情愫。旁侧书法笔力苍劲，与画面气韵浑然一体，书画相融如寒潭映月，清冷中藏着孤傲的灵魂低语，将无声的咏叹揉进每一寸纸墨。",[128,29,133,132,331,171,208,7,25,9602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cedba2d835e11887187aa4076be54f2.jpg",[],"cfc4b7",{"id":84683,"slug":84684,"title":84685,"dynasty":54,"author":3043,"museum":56,"description":84686,"tags":84687,"thumbUrl":84688,"material":84,"size":84,"collection":68,"collections":84689,"showCount":975,"zanCount":1998,"manualWeight":48,"mainColor":84690},201762,"wu-chang-shuo-hua-shan-ji-xu-gu-201762","吴昌硕 画扇集","这幅扇面构图疏朗，笔墨清逸，尽显文人雅趣。虚谷以独特“战笔”勾勒物象，线条颤动转折，赋予花叶器物鲜活生机。嫩黄花瓣晕染得宜，绿意叶片层次分明，陶罐以淡墨皴擦出古朴质感，内中丛草劲挺，与旁侧花叶相映成趣。设色淡雅，水墨交融间透出宁静致远之息，仿佛可嗅草木清芬，窥见文人案头闲静时光。画面简而有致，细节处见匠心，尽显虚谷“冷逸”风格，为清代花鸟扇面精品。",[1131,24,7,61,128,27,169,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb64c77686917d8d7d7bbf012a26c4f0.jpg",[68],"cfcbb6",{"id":84692,"slug":84693,"title":84694,"dynasty":54,"author":5879,"museum":56,"description":84695,"tags":84696,"thumbUrl":84697,"material":84,"size":84,"collection":68,"collections":84698,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84699},201722,"song-zhu-mei-shi-tu-zhou-hua-yan-201722","松竹梅石图轴","画面中，古松虬干盘曲，松针如簇似戟，尽显苍劲老辣；修竹亭亭玉立，竹叶疏斜摇曳，姿态清逸洒脱；梅枝悄然探出，几点淡蕊缀于枝头，暗送幽微生机；嶙峋怪石以灵动皴法写就，纹理交错间透出朴拙之趣。笔墨兼工带写，松针细密见工致，枝干石体泼墨显写意，墨色浓淡相宜，设色清雅含蓄。整幅作品融自然生机与文人风骨于一体，岁寒三友的坚韧高洁跃然纸上，尽显清隽秀逸之韵。",[2885,132,372,167,371,171,24,7,61,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bcd22a81c57f4d5674bfcd69e8e01f1.jpg",[68],"b99972",{"id":84701,"slug":84702,"title":20347,"dynasty":54,"author":6936,"museum":56,"description":84703,"tags":84704,"thumbUrl":84705,"material":84,"size":84,"collection":136,"collections":84706,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84707},201701,"shan-shui-tu-zhou-wang-yuan-qi-201701","这幅山水图取境悠远，山峦层叠间笔墨苍劲沉厚，皴擦点染交织，积墨技法运用精妙，尽显沉雄气象。山间林木葱茏，松枝虬曲，屋舍隐于岩麓，小桥跨溪而过，意境清幽雅致。构图严谨中见灵动，墨色浓淡相宜，设色淡雅，既承传统山水之韵，又展画家自家风貌，于咫尺间含千里之势，传递出文人山水的静谧与深邃。",[24,7,29,132,27,98,496,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a898e522a600d62ed83886e45593979.jpg",[136],"cdc1ab",{"id":84709,"slug":84710,"title":84711,"dynasty":54,"author":1460,"museum":56,"description":84712,"tags":84713,"thumbUrl":84714,"material":84,"size":84,"collection":136,"collections":84715,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84716},201694,"shan-lin-le-shi-tu-zhou-shi-tao-201694","山林乐事图轴","笔墨纵横间，山石以皴擦相济之法尽显奇崛，近松苍劲虬曲，中景山峦叠嶂，小径蜿蜒处隐见亭榭与行游之人，远景峰岫含烟，云雾轻笼。整幅以水墨为底，浓淡干湿交织，将山林清幽与文人逸趣融于一体，既见笔力雄浑，又藏诗意禅味，仿佛引观者步入静谧丘壑，共品自然与人文交织的悠然之乐。",[24,128,29,132,1144,98,130,96,165,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c853f21885c4cdc3feb90aeb68b6c7.jpg",[136],"a9a39d",{"id":84718,"slug":84719,"title":84720,"dynasty":54,"author":17240,"museum":56,"description":84721,"tags":84722,"thumbUrl":84723,"material":84,"size":84,"collection":136,"collections":84724,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84725},201687,"liu-xi-xiao-zhou-tu-zhou-cha-shi-biao-201687","柳谿小舟图轴","柳丝垂岸，苍树倚石，茅亭半隐于林间。远山淡抹，云雾轻笼，江面上一舟独泊，舟中之人凭栏闲眺，尽揽山水清旷之趣。笔墨简淡疏朗，水墨晕染出空濛意境，线条灵动流畅，皴擦间显山石质感，尽显文人画的逸雅之风。画面疏阔雅致，传递出隐逸超脱的情怀，仿佛溪声入耳，清风拂面，引人沉醉于这方静谧天地。",[24,128,29,132,129,130,7,164,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad3c855640c64dacdd3db0f4504acc59.jpg",[136],"b19f85",{"id":84727,"slug":84728,"title":84729,"dynasty":124,"author":2268,"museum":56,"description":84730,"tags":84731,"thumbUrl":84732,"material":84,"size":84,"collection":136,"collections":84733,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84734},201672,"fang-ju-ran-yun-shan-tu-zhou-dong-qi-chang-201672","仿巨然云山图轴","这幅画以淡墨晕染出层层云雾，山峦在烟霭中若隐若现，虚实相生间尽显空灵悠远之境。近景林木苍劲挺拔，墨色浓淡相宜；中景山石以皴法勾勒，纹理质朴自然，与流动的云气形成动静对比；远景主峰巍峨浑朴，承巨然遗风却融入自身清逸笔意。笔墨简淡却意境深幽，文人画的雅致韵味十足，仿佛将观者带入烟霞满目的山林深处，感受自然与笔墨交融的妙趣。",[24,7,165,128,29,132,330,23820,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd83ebb3cdf2c4ac33247bd47017e5084.jpg",[136],"69532b",{"id":84736,"slug":84737,"title":84738,"dynasty":54,"author":84739,"museum":56,"description":84740,"tags":84741,"thumbUrl":84742,"material":84,"size":84,"collection":117,"collections":84743,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84744},201655,"song-mei-tu-zhou-wu-dong-fa-201655","松梅图轴","吴东发","老松虬干盘曲，皴笔勾勒出斑驳肌理，松针攒簇劲挺；梅枝疏朗，花蕊点缀清雅。竹石相映，笔墨干湿浓淡相宜，线条灵动沉稳。构图疏密有致，意境高洁，松梅君子风骨尽显，文人雅致韵致流淌于笔墨间，简淡中藏深意，清雅里见精神。",[24,128,165,372,371,167,1314,132,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c0e4bfd6ddcf6a60e1db5c3f5760cac.jpg",[117],"c0b6a5",{"id":84746,"slug":84747,"title":84748,"dynasty":54,"author":84749,"museum":56,"description":84750,"tags":84751,"thumbUrl":84752,"material":84,"size":84,"collection":84,"collections":84753,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84754},201588,"guan-shan-xing-lv-tu-zhou-lu-wei-201588","关山行旅图轴","陆㬙","画面中山峦起伏，云雾轻笼，意境悠远。遒劲老树盘根于峭壁，枝干虬曲苍劲，尽显生命力。下方河流潺潺，小桥横跨河面，隐约行人，暗合行旅之意。山石以皴法写就，笔墨浓淡交错，设色淡雅温润。林间树木疏密有致，远近层次分明，笔墨韵味醇厚。整体构图虚实相生，空灵清寂，尽显传统山水画的笔墨功力与意境营造之妙。",[24,7,29,128,27,132,331,98,99,663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a9c45e19bc36de86547cd3719d02b6.jpg",[],"bf9d66",{"id":84756,"slug":84757,"title":84758,"dynasty":124,"author":1058,"museum":56,"description":84759,"tags":84760,"thumbUrl":84761,"material":84,"size":84,"collection":136,"collections":84762,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84763},201395,"xu-ge-wan-liang-tu-zhou-tang-yin-201395","虚阁晚凉图轴","山峦叠嶂间，皴染相济的山石肌理分明，林木葱郁，枝干虬劲，墨色层次丰富。近景处，古树傍石而生，溪流绕岩潺潺，虚阁半隐于林间，似有晚凉之气弥漫。画作兼工带写，设色淡雅清润，意境清幽闲适，尽显文人山水的逸趣。题款笔墨流畅，印章点缀其间，诗书画印浑然一体，更添古朴雅致之韵。",[24,29,132,27,97,34,208,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffae14751207fef8b3c32bda87e004e39.jpg",[136],"c0b9a3",{"id":84765,"slug":84766,"title":84767,"dynasty":54,"author":872,"museum":56,"description":84768,"tags":84769,"thumbUrl":84770,"material":84,"size":84,"collection":68,"collections":84771,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":84772},201390,"he-hua-cui-niao-tu-zhou-zhu-da-201390","荷花翠鸟图轴","泼墨荷叶阔大沉郁，笔势纵逸间见苍劲，水墨浓淡交错晕染出层叠意韵。两只翠鸟栖于石上，身形简括却神完气足，墨色点染的羽翼与喙爪锐利分明，尤为特别的是那翻白的眼瞳，似含冷眼观世的孤峭，暗合画家遗世独立的心境。山石以寥寥数笔勾勒，留白处更显空寂清冷，整幅构图极简却张力十足。水墨虚实相生间，将荷花的清逸与生命的孤寂凝成一处，尽显“墨点无多泪点多”的深沉况味，于简淡中藏万千丘壑。",[24,128,61,168,171,165,7,81,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe755ee907a1d41e69034194a8ea26a48.jpg",[68],"b5b2ac",{"id":84774,"slug":84775,"title":84776,"dynasty":222,"author":223,"museum":300,"description":84777,"tags":84778,"thumbUrl":84779,"material":692,"size":1293,"collection":84,"collections":84780,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},290675,"wei-mo-ji-jing-juan-zhong-shou-gao-yi-ming-290675","维摩诘经卷中手稿","这卷古纸遍染岁月痕迹，泛黄底色上晕开深浅不一的水渍霉斑，边角残损带着光阴侵蚀的痕迹。几处残存的钞经笺纸，笔致瘦劲内敛，是写经特有的端严小楷，虽仅余断句残言，却能窥见抄经时的沉静虔诚。\n\n大片留白是佚失经文的无声注脚，残存题字依稀勾勒旧籍过往样貌，残片如时光信笺，将千年之前的笔墨温度留存至今，让观者触摸古籍流转间的沧桑静谧，在空白与残字之间，晕开中古写经质朴沉静的厚重力量。",[25,7,64,7322,187,36004,5459,18381],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda370551bd7d02639667cf47492176fe.jpg",[],{"id":84782,"slug":84783,"title":84784,"dynasty":54,"author":41583,"museum":244,"description":80891,"tags":84785,"thumbUrl":84786,"material":692,"size":1293,"collection":84,"collections":84787,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},290600,"sa-wei-tu-zhou-zhang-ruo-cheng-290600","撒围图轴",[164,24,7,165,128,29,96,101,690,34,131,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F087c925385026c895f7734ba6f0e8031.jpg",[],{"id":84789,"slug":84790,"title":84791,"dynasty":54,"author":48145,"museum":300,"description":67917,"tags":84792,"thumbUrl":84793,"material":692,"size":1293,"collection":84,"collections":84794,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},290383,"fang-song-yuan-fen-ben-liu-duan-tu-juan-wang-chen-290383","仿宋元粉本六段图卷",[23,24,25,7,128,1349,330,132,496,34,6474,99,129,133,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29f622e0ac77dfbb37d52721ef0eca45.jpg",[],{"id":84796,"slug":84797,"title":84798,"dynasty":144,"author":569,"museum":300,"description":27930,"tags":84799,"thumbUrl":84800,"material":692,"size":1293,"collection":84,"collections":84801,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},290278,"guo-meng-tie-ye-zhao-meng-fu-290278","过蒙帖页",[64,133,1590,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febc6f9c888b8ff20ba68b0c32635830e.jpg",[],{"id":84803,"slug":84804,"title":84805,"dynasty":54,"author":223,"museum":300,"description":84806,"tags":84807,"thumbUrl":84808,"material":692,"size":1293,"collection":84,"collections":84809,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},290199,"jiu-fu-cao-chong-tu-ce-yi-ming-290199","九幅草虫图册","这幅跨页山水以开合之景铺陈野趣，近岸虬曲古木扎根嶙峋怪石，苍劲枝干间苔点错落，旁侧茅庐临水而设，隐于疏林之下。开阔水面间汀渚横斜，芦苇轻曳，浅滩水牛闲散卧憩，将乡野悠然之气晕开。远景以淡墨晕染山峦，层叠间隐入烟岚雾霭，虚实相生。\n笔墨干湿互用，干笔皴擦尽显山石肌理，湿墨晕染铺就空濛秋水。留白恰到好处，萧疏淡远的秋日山居意趣尽显，恍如步入世外幽境，静听秋水潺湲，林叶轻响，将山野间的静穆闲逸尽数藏入卷中。",[24,128,7,59,29,331,99,23362,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc54ba51114e3dd577cb5ebbb6772b29d.jpg",[],{"id":84811,"slug":84812,"title":84813,"dynasty":18,"author":223,"museum":300,"description":84814,"tags":84815,"thumbUrl":84816,"material":692,"size":1293,"collection":84,"collections":84817,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},290106,"cang-hai-yong-ri-tu-yi-ming-290106","沧海涌日图","《沧海涌日图页》此图写海水翻澜，烟云飘荡，红日将升之景。画家以粗旷之笔勾划出飞腾翻滚的浪花，充分表现出水的变幻及气韵贯通之势。",[23,164,24,7,1131,128,64,208,951,41504,29,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6df9d03c213116716329dc0865593330.jpg",[],{"id":84819,"slug":84820,"title":49907,"dynasty":222,"author":84821,"museum":300,"description":84822,"tags":84823,"thumbUrl":84824,"material":692,"size":1293,"collection":84,"collections":84825,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},290026,"lan-shi-tu-li-shi-ying-290026","李昰应","李昰应（朝鲜语：이하응，1821年—1898年），字时伯，号石坡、榆屐道人、老悟樵人、海东居士等，朝鲜半岛近代史上著名的保守派政治家，也是一名书画家。",[23,24,7,128,375,171,61,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a4acf1f668f8b2f16f54c192cf9394d.jpg",[],{"id":84827,"slug":84828,"title":6430,"dynasty":222,"author":223,"museum":300,"description":84829,"tags":84830,"thumbUrl":84831,"material":692,"size":1293,"collection":84,"collections":84832,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},290017,"shan-shi-qing-lan-tu-yi-ming-290017","列为潇湘八景之一，昭山自此声名大震.明代周九烟曾以《山市晴岚》为题，赋诗一首“蜃楼曾诧海门东，此处奇峰便不同。天宇诈收朝霞后，人家都在旭光中。金银气眩千岩丽，龙虎云凝七国雄。谁信湖南培 地，举头缈缈似瑶宫。”",[23,24,164,7,165,128,29,132,97,98,99,129,130,131,1144,6435,4605],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce127fb8d35aa9d318a679e90e4b8366.jpg",[],{"id":84834,"slug":84835,"title":84836,"dynasty":124,"author":41661,"museum":300,"description":41662,"tags":84837,"thumbUrl":84838,"material":692,"size":1293,"collection":84,"collections":84839,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},289733,"wu-yan-lv-shi-liang-shou-wang-gu-xiang-289733","五言律诗两首",[1131,24,7,164,64,133,208,166,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1324673e4269d867f8de67bf9e58bfa.jpg",[],{"id":84841,"slug":84842,"title":7220,"dynasty":222,"author":223,"museum":300,"description":84843,"tags":84844,"thumbUrl":84845,"material":692,"size":1293,"collection":84,"collections":84846,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},289571,"fo-xiang-yi-ming-289571","此作为白描残卷，以凝练劲挺的墨线勾勒法相，衣袂褶皱婉转舒展，将诸佛结跏趺坐的端严姿态铺陈纸上。造像面含悲悯圆融之态，浅描头光晕染出神圣静穆的氛围。朱红古印虽已残损，却为残页晕开厚重古意。残破的纸页裹挟着岁月剥蚀的痕迹，断简残章间，依旧藏着虔诚质朴的写绘底色，静静诉说着悠远的梵禅意韵。",[23,188,7220,187,96,208,1692,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a2a04685c3e3d5bed2411aa4b33ba9c.jpg",[],{"id":84848,"slug":84849,"title":84850,"dynasty":222,"author":223,"museum":300,"description":84851,"tags":84852,"thumbUrl":84854,"material":692,"size":1293,"collection":84,"collections":84855,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},289113,"na-liang-tu-ping-feng-yi-ming-289113","纳凉图屏风","以淡墨写意勾勒茅舍藤架，阔叶藤蔓缠绕垂覆，浓淡墨色晕染出叶片错落的阴阳生姿，自带溽夏清润凉意。画面留白疏阔，空濛底色晕开幽寂乡居意趣，半掩的柴门、朴拙木柱不见冗余修饰，隐约露出行将消夏的竹席一角，不见纳凉人却处处漫着偷闲松弛的慵懒况味。笔致萧疏散淡，舍去繁复皴染，寥寥数笔便将炎夏里乡居的清宁淡远铺陈开来，把暑热间的安闲散逸藏在淡墨疏影之中，尽显水墨留白造境的悠远禅意。",[23,24,7,128,96,12614,23362,548,84853],"消暑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19555733da3bcd59130100a11039297b.jpg",[],{"id":84857,"slug":84858,"title":84859,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":84860,"thumbUrl":84862,"material":692,"size":1293,"collection":84,"collections":84863,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},288500,"dan-ai-cang-shan-tu-dong-bang-da-288500","淡霭苍山图",[164,24,7,165,128,132,1349,84861,37,13603,711,98,34,64,208],"苍山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8214838b222f6c271dd732b2a627adb5.jpg",[],{"id":84865,"slug":84866,"title":84867,"dynasty":222,"author":223,"museum":300,"description":84868,"tags":84869,"thumbUrl":84871,"material":692,"size":1293,"collection":84,"collections":84872,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},288486,"wu-dai-juan-hua-gong-yang-tu-yi-ming-288486","五代绢画供养图","画面上下分野，铺陈出梵天净土与俗世虔敬。上段佛陀安坐莲台，神情端严，抬手施印，衣纹舒卷沉稳，两侧胁侍合掌伫立，宝冠璎珞俱全，设色沉厚晕染柔和，尽显超然平和的禅意氛围。\n下方供养人身着宽袍乌纱，手持熏炉躬身礼拜，眉眼间满是恭谨至诚，服饰细节勾勒写实，尽显信者风貌。绢面历经岁月泛黄斑驳，反倒赋予画作古拙厚重的质感。笔意质朴凝练，将宗教的庄严神性与世俗的恳切祈愿相融，静静诉说着旧时的信仰图景与审美意趣。",[23,24,7,165,84870,27,96,187,18381,37088,4204,44074],"绢画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e29cdd5428c9d910aa9a3eca382d50.jpg",[],{"id":84874,"slug":84875,"title":84876,"dynasty":54,"author":66617,"museum":300,"description":66618,"tags":84877,"thumbUrl":84879,"material":692,"size":1293,"collection":84,"collections":84880,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},288394,"du-zhi-jing-xue-ai-xin-jue-luo-xuan-ye-288394","“笃志经学”",[23,164,7,64,572,208,25,84878],"励志","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ab8be9bf162078dd13696d320d1c17c.jpg",[],{"id":84882,"slug":84883,"title":84884,"dynasty":54,"author":223,"museum":300,"description":84885,"tags":84886,"thumbUrl":84887,"material":692,"size":1293,"collection":84,"collections":84888,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},288207,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-yin-ti-fu-fu-yi-ming-288207","历代帝王贵妃大臣朝服像(胤禵夫妇)","此作为工笔重彩肖像，构图规整肃穆，二人正襟端坐，尽显世家眷侣的端方气度。画师以精细笔触还原服饰细节：藏青素缎朝服之上，补子、云肩、江崖海水纹饰华美繁复，金彩勾边搭配朱红、宝绿晕染，将清代宗室服饰的华贵礼制铺陈尽致，朝珠垂挂错落合仪，细节处处恪守典制。\n\n人物刻画写实传神，老者苍髯垂胸，神色平和自带威仪，女子妆容秀雅温婉，旗装头面一丝不苟，精准还原清代宗室贵眷的容仪风貌。整作配色沉稳雍容，以写实技法记录清代贵族日常仪范，兼具纪实价值与工笔美学质感。",[23,24,7,28,27,96,44663,170,14416],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fb05210a13c131ae3272ef2b02e1b87.jpg",[],{"id":84890,"slug":84891,"title":84892,"dynasty":54,"author":223,"museum":300,"description":84893,"tags":84894,"thumbUrl":84896,"material":692,"size":1293,"collection":84,"collections":84897,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},288206,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-su-ma-la-gu-yi-ming-288206","历代帝王贵妃大臣朝服像(苏麻喇姑)","此帧工笔肖像以浅褐素底衬映，将人物端凝气度铺陈开来。主人物安坐于织锦软垫宝座，神情温和沉静，眉目间带着阅尽世事的从容。石青朝服庄重沉穆，补子纹样精巧华美，朱白相间的朝珠垂坠胸前，领口袖口镶边绣纹细密繁复，尽显礼制规格。画师笔触细腻入微，发丝根根分明，衣料褶皱晕染自然写实，精准呈现服饰肌理质感，将人物温婉肃穆的神态刻画淋漓尽致，恪守清代肖像画纪实法度的同时，于细节中烘托出人物独特气质，尽显宫廷肖像工整雅致之韵。",[23,24,7,28,27,6318,44663,84895,14416],"女性人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87184e9eb8431295e72f6700686b2ee4.jpg",[],{"id":84899,"slug":84900,"title":84901,"dynasty":54,"author":223,"museum":300,"description":84902,"tags":84903,"thumbUrl":84904,"material":692,"size":1293,"collection":84,"collections":84905,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},288196,"mi-you-ren-kuan-chu-shan-qiu-ji-yi-ming-288196","米友仁款楚山秋霁","此作追摹米家云山之法，以淡墨层层晕染山峦林麓，间以浓墨错落点苔，不着意勾勒山石轮廓，纯以水墨干湿浓淡的层次变化，晕染出楚山秋霁后烟岚浮动、空濛湿润的清灵景致，萧散简远，尽显文人山水的淡逸禅意。\n整卷拖尾题跋琳琅，钤印错落，层层递加的鉴藏印记晕开厚重的流传脉络，精准还原了米家山水的烟雨空蒙之韵，将秋日楚山初晴的温润灵秀，藏入氤氲墨色之中。",[23,164,24,7,25,128,29,64,133,840,208,6639,496,1429],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cedc727e28733e55d4168e8b27dd6d8.jpg",[],{"id":84907,"slug":84908,"title":84909,"dynasty":124,"author":7003,"museum":300,"description":49321,"tags":84910,"thumbUrl":84911,"material":692,"size":1293,"collection":84,"collections":84912,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},288148,"qiong-lin-yu-shu-tu-ge-zhu-yun-ming-288148","琼林玉树图歌",[64,840,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7a674e8a6ec783a78dbaaa908994e87.jpg",[],{"id":84914,"slug":84915,"title":84916,"dynasty":182,"author":223,"museum":300,"description":84917,"tags":84918,"thumbUrl":84919,"material":692,"size":1293,"collection":84,"collections":84920,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":199},288127,"shi-xuan-zang-yi-da-zang-jing-da-bo-re-bo-luo-mi-duo-jing-juan-di-san-bai-wu-shi-ba-chu-fen-duo-wen-bu-er-pin-di-liu-shi-yi-zhi-ba-yi-ming-288127","釋玄奘譯 大藏經 大般若波羅蜜多經卷第三百五十八初分多問不二品第六十一之八","此卷小楷写经笔墨精劲凝练，结体端稳匀整，尽显唐楷尚法的严谨风貌。抄经者笔不苟作，点画排布匀停温润，无刻板匠气，静定恭谨的写经心境藏于每一处笔锋回转之中。\n\n岁月剥蚀让卷面边缘化作焦褐残缺的剪影，却更衬出墨色历经千年依旧沉润饱满。残卷未掩风华，一字一句间凝聚着笃诚的信仰之力，将唐人写经的典范特质尽数彰显，沧桑纸色与沉静笔墨交织，晕开跨越千年的肃穆虔诚。",[7,64,7322,572,25,5459,18381,65825],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a7acf5d91d7a3109ebca64d56274e6f.jpg",[],{"id":84922,"slug":84923,"title":84924,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":84925,"thumbUrl":84927,"material":692,"size":1293,"collection":84,"collections":84928,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},288039,"zi-chen-chao-xia-qi-lv-wen-zheng-ming-288039","紫宸朝下七律",[23,64,133,165,7,84926],"诗词","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e015f2bbec068908e709dc076ed1642.jpg",[],{"id":84930,"slug":84931,"title":84932,"dynasty":222,"author":223,"museum":300,"description":84933,"tags":84934,"thumbUrl":84935,"material":692,"size":1293,"collection":84,"collections":84936,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},287881,"wei-mo-ji-suo-shuo-jing-juan-shang-shou-gao-yi-ming-287881","维摩诘所说经卷上手稿","此卷写经笔致温润凝练，是典型的民间写经书法风貌。点画厚重饱满，结体端庄宽博，通篇行款排布齐整匀净，气韵肃穆安和，尽显书写时的虔敬静定。墨色随着纸页泛黄晕染，古拙质感愈浓，带着岁月沉淀下来的沉静禅意。作为佛教经卷手稿，文与书相融，既承载宗教文本的传播功用，也以朴素隽秀的笔墨展现出写经书法的典型审美特质，兼具文献价值与书法艺术价值。",[64,7322,25,187,18381,572,7,5459,36004],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffef546cefdc73227535d6a5cb20d6f7f.jpg",[],{"id":84938,"slug":84939,"title":84940,"dynasty":124,"author":27440,"museum":300,"description":71761,"tags":84941,"thumbUrl":84942,"material":692,"size":1293,"collection":84,"collections":84943,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},287855,"ku-lan-fu-hua-tu-juan-wang-duo-287855","枯兰复花图卷",[7,64,840,25,208,23848],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4537a841109c605bd25033feed436515.jpg",[],{"id":84945,"slug":84946,"title":84947,"dynasty":124,"author":223,"museum":300,"description":84948,"tags":84949,"thumbUrl":84950,"material":692,"size":1293,"collection":84,"collections":84951,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},287650,"fu-hui-xi-quan-tu-wu-se-cha-ban-yi-ming-287650","赴会西全图（无色差版）","此作画境分野分明，上部飞天凌于彩云之间，衣袂随云气舒卷，手托仙花缓行，祥云或如赤焰翻涌，或似棉絮轻漫，将赴会的悠然仙韵晕染尽致。\n\n下半部笔锋转向苍劲，危崖怪石间枯藤盘虬，山岩皴染沉郁古朴，下方水纹卷绕如缠丝，又与底部祥云相融，将仙凡两境自然衔接。\n\n整体设色沉厚古雅，朱砂石青历经岁月晕化出沉静古韵，线条刚柔并济，飞天身姿柔婉灵动，山石水纹苍劲拙朴，糅合仙意空灵与山海雄浑，尽显古拙灵动的庙堂雅韵。",[23,24,7,165,187,27,96,29,189,99,1337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f4d53e20df1d861cf2bc0b89c87c64b.jpg",[],{"id":84953,"slug":84954,"title":84955,"dynasty":124,"author":27440,"museum":300,"description":71761,"tags":84956,"thumbUrl":84958,"material":692,"size":1293,"collection":84,"collections":84959,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},287386,"ting-ying-shi-qin-ge-wang-duo-287386","听颖师琴歌",[23,7,64,133,25,128,208,4947,84957],"琴歌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e65bc9721f5e853590d041bb0b933be.jpg",[],{"id":84961,"slug":84962,"title":84963,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":84964,"thumbUrl":84965,"material":692,"size":1293,"collection":84,"collections":84966,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},283717,"tian-ma-fu-juan-dong-qi-chang-283717","天马赋卷",[23,25,64,840,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bf8fc2d23a98123949302e1d7e09c8e.jpg",[],{"id":84968,"slug":84969,"title":84970,"dynasty":54,"author":223,"museum":300,"description":84971,"tags":84972,"thumbUrl":84974,"material":692,"size":1293,"collection":84,"collections":84975,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},272875,"zi-tan-mu-bian-xiu-shan-shui-ren-wu-tu-gua-ping-yi-ming-272875","紫檀木边绣山水人物图挂屏","此件绣屏以米黄素绫为地，构图疏朗清寂。左侧奇石叠翠，苍树繁叶以细密针脚绣就，晕染出深浅绿意。凭栏雅士衣袂翩然，静静远眺烟水汀洲，水鹤轻掠平湖，尽绘幽居林下的淡远闲情。\n绣法精妙写实，山石以渐变蓝调施针皴染出层叠肌理，人物衣褶灵动自然。右上绣题诗文，与画意呼应，点明隐逸林下的雅趣。木框錾刻回纹吉饰，烘托古雅沉静氛围。将文人山水的清冷意韵，以丝绒针线晕染勾勒，尽显清代绣画融诗入景的雅致格调，把幽居闲情藏进一针一线之中。",[40641,13534,7,27,29,96,34,131,211,414,13344,12803,234,64,84973],"宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48537f1ffe69a9839d89a88c0e05966e.jpg",[],{"id":84977,"slug":84978,"title":84979,"dynasty":54,"author":223,"museum":300,"description":10087,"tags":84980,"thumbUrl":84981,"material":692,"size":1293,"collection":84,"collections":84982,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},272870,"zi-tan-mu-bian-ke-si-dai-si-tu-gua-ping-yi-ming-272870","紫檀木边缂丝待饲图挂屏",[1944,40641,7,1400,572,208,12803],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9957e68cefe6d2b3597d3468d7f04cb4.jpg",[],{"id":84984,"slug":84985,"title":84986,"dynasty":54,"author":223,"museum":300,"description":84987,"tags":84988,"thumbUrl":84989,"material":692,"size":1293,"collection":84,"collections":84990,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},270221,"hei-qi-gu-juan-hua-hua-niao-ren-wu-tu-mian-zhe-shan-yi-ming-270221","黑漆股绢画花鸟人物图面折扇","这柄折扇以通景铺展世情图景，将官宅庭院的仪典日常拆分于开合扇面间，朱红袍服的人物排布错落，鲜活还原旧时家宅仪礼细节。青绿山石配搭靛蓝屋宇，撞色鲜亮古朴，晕染出雅致东方意趣。\n黑漆扇骨描金錾刻团纹，和扇面工笔绘就的世情画相得益彰，融合东方叙事美学与西洋审美偏好，把随身雅玩的巧思藏于细节间，尽显工艺与绘事的融合匠心，是藏着旧时烟火的随身雅物。",[1131,27,96,97,7,38099,9014,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef5291a0627c8ec2e40c0fa8c139c771.jpg",[],{"id":84992,"slug":84993,"title":84994,"dynasty":124,"author":223,"museum":300,"description":84995,"tags":84996,"thumbUrl":84997,"material":692,"size":1293,"collection":84,"collections":84998,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},263683,"jin-shu-fen-xiu-da-shi-xiang-zhou-yi-ming-263683","金淑芬绣大士像轴","整幅留白疏朗空灵，上部题墨清雅隽秀，与下方绣作相映成趣。大士神态温婉慈悲，衣袂以劈丝细绣勾勒，线条柔婉贴合身形，尽显出尘气韵。身旁护法金刚威肃端立，甲胄纹饰细密工整，刚劲肃穆之气跃然而出。\n\n下方水浪间蛟龙灵动舒展，蓝线晕染出水云缥缈之态，绣色清隽雅致。以针代笔，将佛造像的静穆庄严与水族的灵动写意相融，针线起落间尽显闺阁绣艺的精妙，禅意悠然漾开，静中生趣，尽显雅致出尘的格调。",[165,13534,187,96,772,27,1363,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53d94541ab501d90c8aa73d8118bfaf3.jpg",[],{"id":85000,"slug":85001,"title":85002,"dynasty":54,"author":85003,"museum":300,"description":85004,"tags":85005,"thumbUrl":85010,"material":692,"size":1293,"collection":84,"collections":85011,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},241692,"qi-yan-shi-zi-tiao-yin-zhi-241692","七言诗字条","胤祉","爱新觉罗·胤祉（1677年3月23日—1732年7月10日），清朝宗室，清圣祖爱新觉罗·玄烨第三子，清世宗爱新觉罗·胤禛异母兄，生母荣妃马佳氏。",[64,7,572,128,85006,950,85007,547,85008,19189,85009],"虹","春风","宫","星","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67673758148f0daba46e97efa98cd229.jpg",[],{"id":85013,"slug":85014,"title":85015,"dynasty":54,"author":7208,"museum":300,"description":45366,"tags":85016,"thumbUrl":85017,"material":692,"size":1293,"collection":84,"collections":85018,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},241672,"shi-ding-shi-juan-qian-long-241672","事定诗卷",[23,7,25,133,208,64,6369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e95ceb5d3c41171b283ca2d262382a.jpg",[],{"id":85020,"slug":85021,"title":85022,"dynasty":54,"author":7208,"museum":300,"description":45366,"tags":85023,"thumbUrl":85024,"material":692,"size":1293,"collection":84,"collections":85025,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},241669,"hou-shao-lu-fu-juan-qian-long-241669","后哨鹿赋卷",[23,164,24,7,25,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01a59290c31dd9689ee613fae38a17f8.jpg",[],{"id":85027,"slug":85028,"title":85029,"dynasty":54,"author":66617,"museum":300,"description":66618,"tags":85030,"thumbUrl":85031,"material":692,"size":1293,"collection":84,"collections":85032,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},241666,"jiu-ri-dui-ju-shi-zhou-ai-xin-jue-luo-xuan-ye-241666","九日对菊诗轴",[24,7,64,165,133,128,376,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F940374649d4220832d9f2cabeb1359df.jpg",[],{"id":85034,"slug":85035,"title":85036,"dynasty":18,"author":66713,"museum":300,"description":66714,"tags":85037,"thumbUrl":85038,"material":611,"size":84,"collection":318,"collections":85039,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},241660,"ming-zhu-jia-ba-ci-zhan-kui-shi-tuo-juan-zhao-shen-241660","明诸家跋赐詹骙诗拓卷",[23,25,64,5380,133,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2af34ef92ffa6be07b8b15eee8b880ab.jpg",[318],{"id":85041,"slug":85042,"title":85043,"dynasty":18,"author":223,"museum":300,"description":85044,"tags":85045,"thumbUrl":85046,"material":611,"size":84,"collection":318,"collections":85047,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},241655,"wu-kuan-shao-xing-shi-san-nian-chi-shu-juan-yi-ming-241655","无款绍兴十三年敕书卷","此卷行书率意洒脱，尽显宋人尚意风神。用笔苍劲朴拙，提按转折皆见筋骨，线条粗细富于韵律，行气连贯舒展。绢本底色古雅沉静，墨色浓淡自然晕染，与错落钤印相映成趣。\n卷中敕文与题跋排布疏密有致，既有官家文书的端严规整，又不失文人书法的隽逸自在，笔墨间流转着宋时的风雅法度，藏着旧日文心与典制厚重，将实用文书与书法意趣完美相融。",[23,64,7,25,133,208,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F030f99fe6451374a768cc8dff81941ef.jpg",[318],{"id":85049,"slug":85050,"title":85051,"dynasty":144,"author":85052,"museum":300,"description":85053,"tags":85054,"thumbUrl":85055,"material":692,"size":1293,"collection":84,"collections":85056,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},241431,"xu-ying-shou-zha-juan-cheng-wen-hai-241431","徐瑛手札卷","程文海","程钜夫（1249年5月30日－1318年8月14日），初名文海，因避元武宗海山名讳，改用字代名，号雪楼，又号远斋。建昌军（今江西南城）人，祖籍郢州京山县（今属湖北）。元朝名臣、文学家。\n程钜夫自少与吴澄同门。南宋末年，随叔父降元，入为质子。因受元世祖赏识，累迁至集贤直学士。至元十九年（1282年），奏陈五事，又请兴建国学、搜访江南遗逸、参用南北之人，其建议均被采纳。至元二十四年（1287年），拜侍御史，行御史台事，于江南推荐赵孟頫等二十余人，皆获擢用。丞相桑哥专政，程钜夫上疏极谏，几遭杀害。其后历官大江南湖北道肃政廉访使、翰林学士承旨，并参与编修《成宗实录》、《武宗实录》。延祐五年（1318年）去世，年七十。泰定二年（1325年），获赠大司徒、柱国、楚国公，谥号“文宪”。",[23,7,25,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa033edbf3ee94c9c46e8cb45c0da53c7.jpg",[],{"id":85058,"slug":85059,"title":85060,"dynasty":54,"author":85061,"museum":300,"description":85062,"tags":85063,"thumbUrl":85064,"material":692,"size":1293,"collection":84,"collections":85065,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},241410,"lin-tie-zhou-jiang-ren-241410","临帖轴","蒋仁","蒋仁（1743－1795）， 原名泰，字阶平，后来因得“蒋仁”古铜印，极为欣赏，遂改名为蒋仁，号山堂，别号吉罗居士、女床山民，浙江仁和（杭州）人。",[7,64,165,330,133,128,208,304,28172,41220],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2499e4cc918c9d04bb6179edecfec7a.jpg",[],{"id":85067,"slug":85068,"title":85069,"dynasty":54,"author":30399,"museum":300,"description":62608,"tags":85070,"thumbUrl":85071,"material":692,"size":1293,"collection":84,"collections":85072,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},241396,"ji-fu-bo-yan-zhou-weng-fang-gang-241396","记伏波岩轴",[7,64,165,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70bf14e1daa93b062de5c7bf9e4cc63d.jpg",[],{"id":85074,"slug":85075,"title":85076,"dynasty":54,"author":85077,"museum":300,"description":85078,"tags":85079,"thumbUrl":85080,"material":692,"size":1293,"collection":84,"collections":85081,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},241338,"liu-yong-xing-shi-wen-juan-liu-yong-241338","刘墉行诗文卷","刘镛","刘镛，字云仲，祖籍贵州省贯州。福建长乐人，清康熙二十六年任峄县知县。\n现事迹陈列于位于山东枣庄台儿庄古城内的枣庄古代清官廉吏展馆。",[23,64,133,25,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f4c9d71a2d2bbbd92c62e6ec8b513ba.jpg",[],{"id":85083,"slug":85084,"title":14829,"dynasty":54,"author":30399,"museum":300,"description":62608,"tags":85085,"thumbUrl":85086,"material":692,"size":1293,"collection":84,"collections":85087,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},241327,"heng-zhou-weng-fang-gang-241327",[7,64,14829,133,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5352d4b95a10824815b561f249741644.jpg",[],{"id":85089,"slug":85090,"title":85091,"dynasty":54,"author":71842,"museum":300,"description":85092,"tags":85093,"thumbUrl":85094,"material":692,"size":1293,"collection":84,"collections":85095,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},241266,"jiu-piao-shi-zhou-zhang-wen-tao-241266","酒瓢诗轴","张问陶（1764年—1814年） ，字仲冶，一字柳门，其故乡四川遂宁城西有船山，因以为号。因善画猿，亦自号“蜀山老猿”。清四川潼川州遂宁县黑柏沟（今属遂宁市蓬溪县）人。",[7,64,165,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d22c2eb7921b6a475228e6505d56b4c.jpg",[],{"id":85097,"slug":85098,"title":85099,"dynasty":124,"author":85100,"museum":300,"description":85101,"tags":85102,"thumbUrl":85103,"material":692,"size":1293,"collection":84,"collections":85104,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},241228,"qi-lv-shi-juan-chen-xian-zhang-241228","七律诗卷","陈献章","陈献章（1428年11月27日—1500年3月9日），字公甫，别号石斋，人称白沙先生，广州府新会县白沙里（今广东省江门市蓬江区白沙街道）人。明朝杰出的思想家、哲学家、教育家、书法家、诗人、古琴家，岭南地区唯一从祀孔庙的大儒、明朝从祀孔庙的四人之一、心学的奠基者，后世尊为“圣代真儒”、“圣道南宗”、“岭南一人”。\n正统十二年。考中秀才，进入国子监读书。景泰二年，拜江西学者吴与弼为师，成化二年，复游太学入京，得到国子祭酒邢让推荐，出任吏部主事，辞官回乡，聚徒讲学。成化十九年，明宪宗授翰林院检讨，居乡讲学，屡荐不起，研究心学方法。 弘治十三年（1500年），陈献章病逝，终年72岁，谥号“文恭”。\n万历初年，从祀孔庙，著有《白沙子全集》。陈献章提出“学贵知疑”教育理论，强调“提出问题”之于学习与成长的重要意义，逐渐形岭南学派，倡导的白沙心学，打破程朱理学沉闷和僵化的模式，开启明代心学先河，成为宋明理学史上是一个承前启后、转变风气的关键人物，推崇倡导涵养心性、静养“端倪”之说，推动明代儒学实现了由理学向心学的转变，成为儒学发展史上的一个重要转折点。高扬“宇宙在我”的主体自我价值，突出个人在天地万物中的存在意义，对整个明代文人精神的取向产生了深刻影响。",[64,7,25,133,805,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff043b0fe5d59c2e354cb465e0ecb0432.jpg",[],{"id":85106,"slug":85107,"title":58919,"dynasty":124,"author":81491,"museum":300,"description":85108,"tags":85109,"thumbUrl":85110,"material":611,"size":84,"collection":318,"collections":85111,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},241223,"qi-jue-zhou-chen-liu-241223","字子兼，别号雨泉，吴县（今江苏苏州）人。嘉靖十七年（1538）进士，除工部营缮主事，累官至四川右布政使。诗文冲远有致，书法尤精绝。工小楷。出入钟欧，自篆、隶、行、草、擘窠以逮笺疏、榜署书，尤丰媚遒逸，有天然趣。卒年七十。 著有《已宽堂集》。",[805,64,133,165,128,611,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F125ced80709d2875179352206abc7bac.jpg",[318],{"id":85113,"slug":85114,"title":76388,"dynasty":124,"author":85115,"museum":300,"description":85116,"tags":85117,"thumbUrl":85118,"material":692,"size":1293,"collection":84,"collections":85119,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},241188,"shou-zha-ge-yi-long-241188","葛一龙","葛一龙. （1567—1640）明苏州府吴县洞庭山人，字震甫。以读书好古致家道中落。后入资为郎，选授云南布政司理问，寻谢归。有诗名，人称葛髯。",[23,7,64,133,25,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa48ae9e4ec3a5678857b5f211e7628c7.jpg",[],{"id":85121,"slug":85122,"title":85123,"dynasty":124,"author":85124,"museum":300,"description":85125,"tags":85126,"thumbUrl":85127,"material":611,"size":84,"collection":318,"collections":85128,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},241082,"gu-lin-zhi-shi-ting-deng-shu-zha-juan-gu-lin-241082","顾璘至石亭等书札卷","顾璘","顾璘（1476年－1545年），字华玉，号东桥居士，世称“东桥先生”，长洲（今江苏省吴县）人，寓居上元（今江苏省南京市）。 [1] 明代政治家、文学家。\n顾璘于明孝宗弘治九年（1496年）登进士第，历任广平知县、开封知府、全州知州、台州知府、浙江布政使。期间参与平定刘六、刘七起义，政绩显著。嘉靖十六年（1537年）再度被启用为湖广巡抚，后升至工部尚书。嘉靖二十三年（1544年），以南京刑部尚书之职致仕归里，建成息园，时常与宾客置酒高会、诗文唱和。嘉靖二十四年（1545年）去世，享年七十岁。\n顾璘少有才名，以诗著称于时，与刘元瑞、徐祯卿并称“江东三才”，与陈沂、王韦、朱应登并称“金陵四大家”， [1] 顾璘亦是弘治十才子之一。著有《浮湘集》《山中集》《息园诗文稿》等。又曾评注杨士弘《唐音》。",[23,7,25,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b81495bbea7aed66ceb820bd011dfa2.jpg",[318],{"id":85130,"slug":85131,"title":14477,"dynasty":54,"author":74550,"museum":300,"description":74551,"tags":85132,"thumbUrl":85133,"material":692,"size":1293,"collection":84,"collections":85134,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},241048,"ti-hua-shi-zhou-wang-wen-zhi-241048",[164,24,7,165,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f414fa653f1d497924ffae4b5d26b2.jpg",[],{"id":85136,"slug":85137,"title":85138,"dynasty":124,"author":85139,"museum":20,"description":85140,"tags":85141,"thumbUrl":85142,"material":611,"size":85143,"collection":318,"collections":85144,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},240987,"lin-jie-jin-shi-juan-cai-yu-240987","临解缙诗卷","蔡羽","《临解缙诗》释文\n款署“嘉靖丙申”。丙申为明嘉靖十五年（1536年）。钤“九逵”印。\n《临解缙诗》书法深得王羲之笔意，尤其得力于《集王圣教序》和《兰亭序》。笔势遒逸俊美，流媚多姿，宛转得势，结字清秀。李日华《六研斋笔记》中云：“蔡林屋行押书，遒美有逸韵。”",[164,24,7,25,330,133,840,64,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5159effe01a06bec1341cac211334d52.jpg","纵29厘米，横822.2厘米",[318],{"id":85146,"slug":85147,"title":85148,"dynasty":144,"author":77793,"museum":300,"description":77794,"tags":85149,"thumbUrl":85150,"material":692,"size":1293,"collection":84,"collections":85151,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":199},240934,"miao-fa-lian-hua-jing-ce-juan-liu-zhao-you-chen-240934","妙法莲花经册卷六",[7,64,7322,187,59,572,128,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21757edd2d16b904ad46c95919788a97.jpg",[],{"id":85153,"slug":85154,"title":69257,"dynasty":144,"author":223,"museum":300,"description":55298,"tags":85155,"thumbUrl":85156,"material":692,"size":1293,"collection":84,"collections":85157,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},240932,"wu-kuan-lin-huang-ting-jing-juan-yi-ming-240932",[64,330,572,25,7,7322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44ea598e181e5f33c88722efa21b3f7c.jpg",[],{"id":85159,"slug":85160,"title":85161,"dynasty":124,"author":223,"museum":300,"description":85162,"tags":85163,"thumbUrl":85164,"material":692,"size":1293,"collection":84,"collections":85165,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},240910,"lu-yi-fen-xiang-lian-ju-juan-yi-ming-240910","陆釴焚香联句卷","开篇以擘窠大字落笔，墨色淋漓沉厚，笔力雄健苍浑，开张大气。后随行草长卷，笔锋灵动跳脱，笔墨枯湿浓淡富于层次变化，行气舒展连贯，将联句唱和的文思缓缓铺陈。\n\n通篇字里行间尽显文人雅集焚香清赏的幽远意趣，钤印朱红错落，与墨色相互映衬，古雅氛围愈浓，是兼具书法审美价值与文人雅致情怀的精品。",[24,7,25,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e6652642f379f32bd4b9b3488cf677.jpg",[],{"id":85167,"slug":85168,"title":85169,"dynasty":124,"author":85170,"museum":300,"description":85171,"tags":85172,"thumbUrl":85173,"material":692,"size":1293,"collection":84,"collections":85174,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},240875,"gan-lu-si-shi-zhou-li-dong-yang-240875","甘露寺诗轴","李东阳","李东阳（1447年－1516年），字宾之，号西涯，湖广茶陵縣（今湖南茶陵）人，金吾左衛軍籍，明朝中葉重臣，文学家，书法家，茶陵诗派的核心人物。",[805,64,7,165,840,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b493183814979fe6aee66e9bd9f415.jpg",[],{"id":85176,"slug":85177,"title":77775,"dynasty":124,"author":85178,"museum":300,"description":85179,"tags":85180,"thumbUrl":85181,"material":692,"size":1293,"collection":84,"collections":85182,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},240679,"shou-shi-zhou-zou-zhi-lin-240679","邹之麟","邹之麟，字臣虎，号衣白、逸老、昧庵，江苏武进人，万历三十八年（1610）进士，明代官员、画家。",[24,7,165,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03445ab46a1c365fd5e943c67672fdff.jpg",[],{"id":85184,"slug":85185,"title":85186,"dynasty":54,"author":61794,"museum":300,"description":85187,"tags":85188,"thumbUrl":85189,"material":692,"size":1293,"collection":84,"collections":85190,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},240673,"ruan-yuan-qi-yan-lian-ruan-yuan-240673","阮元七言联","字伯元，号芸台、雷塘庵主、揅经老人、怡性老人 ，江苏扬州仪征人。清朝中期官员、经学家、训诂学家、金石学家 。\n阮元为乾隆五十四年（1789年）进士，先后在礼部、兵部、户部、工部供职，并出任山东、浙江学政，浙江、江西、河南巡抚及漕运总督、湖广总督、两广总督、云贵总督等职。身历乾隆、嘉庆、道光三朝，所至之处，以提倡学术、振兴文教为自任，勤于军政，治绩斐然。晚年官拜体仁阁大学士，致仕后加官至太傅。道光二十九年（1849年），阮元去世，年八十六。获赐谥号“文达”。\n阮元提倡朴学，曾罗致学者编书刊印，主编《经籍籑诂》，校刻《十三经注疏》，汇刻《皇清经解》等，于数学、天算、舆地、编纂、金石、校勘等方面亦多有建树 ，史称其“身历乾、嘉文物鼎盛之时，主持风会数十年，海内学者奉为山斗焉” ，是乾嘉学派晚期代表人物，也被认为是扬州学派的柱石。生平著述丰撰有《揅经室集》《十三经注疏校勘记》等三十余种著述传世。",[64,7,10886,938,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7f1e89d7e8c5322e306e0efd9739443.jpg",[],{"id":85192,"slug":85193,"title":85194,"dynasty":54,"author":85195,"museum":300,"description":85196,"tags":85197,"thumbUrl":85198,"material":692,"size":1293,"collection":84,"collections":85199,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},240630,"mei-hua-shi-juan-gu-ling-240630","梅花诗卷","顾苓","顾苓（1609~1682年后）字云美、一字员美，号塔影园客、荆蛮、浊斋居士，明遗民，篆刻取法文彭，有时誉，工隶书，取法《夏承碑》。",[23,25,7,64,133,938,128,208,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45ff0561728ca116be32ed714cf08a94.jpg",[],{"id":85201,"slug":85202,"title":85203,"dynasty":124,"author":85204,"museum":244,"description":85205,"tags":85206,"thumbUrl":85207,"material":611,"size":84,"collection":318,"collections":85208,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},240580,"po-yang-hu-wan-po-shi-juan-lu-ying-yang-240580","鄱阳湖晚泊诗卷","陆应阳","陆应阳. 生卒年不祥。字伯生。明江苏青浦人。晚年移居郡城，即松江府。",[23,164,24,7,25,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a20818015d5300f365a9183f37962c7.jpg",[318],{"id":85210,"slug":85211,"title":58867,"dynasty":124,"author":74565,"museum":300,"description":85212,"tags":85213,"thumbUrl":85214,"material":692,"size":1293,"collection":84,"collections":85215,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},240573,"shi-juan-jin-cong-240573","金琮(1449--1501)，明代人，字元玉，自号赤松山农，金陵(今南京)人。少聪颖，好吟咏，善书画，年十二、三即能大书。初法赵孟頫，晚学张雨。画梅学扬无咎。",[23,64,7,25,133,840,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37e6658ce02a9d8fe0d3506811041ff1.jpg",[],{"id":85217,"slug":85218,"title":42362,"dynasty":124,"author":23186,"museum":300,"description":85219,"tags":85220,"thumbUrl":85221,"material":692,"size":1293,"collection":84,"collections":85222,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},240514,"qian-zi-wen-juan-xu-guang-zuo-240514","许光祚[明]（约公元一六一九年前后在世）字灵长，陕西人。生卒年及生平均不详，约明神宗万历末前后在世。能诗，格调平易，著有《灵长集》初集，见《四库总目》。",[23,64,7,25,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb7de505d99141eefb4f4755d6d614e2.jpg",[],{"id":85224,"slug":85225,"title":69085,"dynasty":54,"author":85226,"museum":300,"description":85227,"tags":85228,"thumbUrl":85229,"material":692,"size":1293,"collection":84,"collections":85230,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},240484,"lun-shu-zhou-di-da-kun-240484","翟大坤","翟大坤（？—1804）清代画家。字子垕，号雪屏，后病耳，又自号无闻子，本籍浙江嘉兴，寄居吴门（今江苏苏州）。性萧散好书、画，书学十七帖、孙过庭。",[7,165,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78fc353b9b7ec09b410959d636298c6c.jpg",[],{"id":85232,"slug":85233,"title":85234,"dynasty":124,"author":27709,"museum":300,"description":85235,"tags":85236,"thumbUrl":85237,"material":692,"size":1293,"collection":84,"collections":85238,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},240467,"si-jia-shu-shi-juan-du-da-zhong-240467","四家书诗卷","杜大中. 子庸、山堂居士，江苏苏州人擅长书法",[23,164,24,7,25,128,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95f506310945bfccd44737a8912f9eb8.jpg",[],{"id":85240,"slug":85241,"title":85242,"dynasty":124,"author":223,"museum":300,"description":85243,"tags":85244,"thumbUrl":85245,"material":611,"size":84,"collection":318,"collections":85246,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},240204,"zhang-zhen-xian-qi-lv-shi-ye-yi-ming-240204","张振先七律诗页","此作为行书七律诗页，笔致灵动秀逸，行气连贯畅达。起收转合间利落自然，牵丝映带尽显书写时的悠然韵律，粗细提按富有层次变化，将明人行书尚态的特质融于笔墨之中。通篇疏密排布得当，气息冲淡平和，以书法线条晕染出诗作里山居春日的静雅况味，把乡野幽居的闲适心境依托笔墨流转传递而出，诗书相融，尽显文人雅趣，是一件意韵悠长的书法小品。",[805,7,64,133,208,611,4437,8116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6376044a439460565d2a209471703be3.jpg",[318],{"id":85248,"slug":85249,"title":66814,"dynasty":54,"author":85250,"museum":300,"description":85251,"tags":85252,"thumbUrl":85257,"material":611,"size":84,"collection":318,"collections":85258,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},240197,"qi-jue-shi-zhou-li-xian-gen-240197","李仙根","李仙根（1621-1690），字子靜，號南津，人稱“李侍郎”，四川遂寧船山區人。清代著名書法家、外交家。仙根為有清一代四川唯一榜眼，遂寧史上科名最高者。父李實，明代語言學家，知長洲縣。母為呂大器女，呂潛之姊。仙根與清代廉吏張鵬翮同籍，家在遂寧書枱山下。1654年參加四川鄉試，中舉。1661年參加順治十八年辛丑科會試，中進士。殿試廷對第二，成榜眼。1668到1669年奉使安南，為有清一代外交名臣。撰有《安南使事紀要》等。",[7,165,133,64,208,85253,85254,85255,85256],"槐柳","曙色","楼台","天阴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F287d8f51f8cee8664ad39cd06b7fc010.jpg",[318],{"id":85260,"slug":85261,"title":85262,"dynasty":124,"author":223,"museum":300,"description":85263,"tags":85264,"thumbUrl":85265,"material":84,"size":84,"collection":318,"collections":85266,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},240175,"wu-kuan-zheng-de-jiu-nian-chi-gao-fang-ji-qi-yang-shi-juan-yi-ming-240175","无款正德九年敕高淓及妻杨氏卷","此作为典型明代诰敕文书，以馆阁体书就，笔力沉实匀净，点画工整流丽，通篇字势端方厚重，尽显庙堂仪制的庄严肃穆。四方朱印朱砂饱满雄浑，朱红与墨色相映，古雅庄重。\n\n卷尾题跋笔墨稍见灵动，与敕书的规整形成反差，补述家世生平，让这份官方文书兼具典重与私人温情。泛黄绢面带着岁月晕染的包浆，沉淀出明代职官封赠制度的缩影，藏着大明宦途荣宠的百年旧影，静静诉说着旧时恩典的郑重与仕人荣光。",[164,24,7,25,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac920e269f338f2e0a84f180673c192d.jpg",[318],{"id":85268,"slug":85269,"title":81390,"dynasty":54,"author":85270,"museum":20,"description":85271,"tags":85272,"thumbUrl":85273,"material":2739,"size":85274,"collection":318,"collections":85275,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},240057,"lu-yu-zhou-liang-tong-shu-240057","梁同书","释文：\n大苏云：把笔无定法，要使虚而宽。欧阳文忠公谓余，当使指运而腕不知，此语最妙。方其运也，左右前后却不免欹侧，及其定也，上下如引绳，此之谓笔正。柳诚悬之语良是。次公同学兄先生。乙巳三月山舟梁同书。\n钤“梁同书印”、“梁氏元颖”朱文印2方。\n此作录文出自苏轼《东坡题跋》卷五之《记欧公论把笔》，阐述执笔用笔之法，对后世颇有影响。作品书于清乾隆五十年（1785年），时梁同书63岁。此作章法疏朗，用笔平和优雅、娴熟精湛，是梁氏中晚期行书之力作。",[24,7,165,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d20c2d702a6159359aa63d5828a8969.jpg","纵127.5厘米，横57.8厘米",[318],{"id":85277,"slug":85278,"title":85279,"dynasty":54,"author":85280,"museum":300,"description":85281,"tags":85282,"thumbUrl":85283,"material":611,"size":84,"collection":318,"collections":85284,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},240044,"zi-shu-shi-zhou-du-shou-chang-240044","自书诗轴","杜首昌","杜首昌，明末清初人，字湘草，江苏淮安盐商，祖籍山西太原，能诗能书，善行、草书，一时俊彦。颇豪富，以钱买官，修名园（绾秀园），种花草；崇祯十七年暮春，福王避难居其园中，见杜有妹极美，能琴能棋，遂订婚约，并得到杜的资助。杜首昌入清不仕，游历他乡，不肯结交官府，家遂败落。",[24,7,165,128,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb556a3613a19ed66b61a7d8e26a1594b.jpg",[318],{"id":85286,"slug":85287,"title":85288,"dynasty":54,"author":85289,"museum":300,"description":85290,"tags":85291,"thumbUrl":85292,"material":84,"size":84,"collection":318,"collections":85293,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239919,"zhi-yuan-shu-ye-liu-si-wan-239919","致元淑页","刘嗣绾","刘嗣绾 （1762年5月2日－1821年8月23日，乾隆二十七年四月初九日－道光元年七月二十六日），字简之，又字芙初，号醇甫。江苏省常州府阳湖县（今属常州市）人。刘于义之玄孙，武进西营刘氏第十五世。清朝翰林，政治人物，学者。专长诗、词、骈文。（清史列传作年六十岁，无卒年。此从补疑年录）少颖异，识量过人。早游京师，知名于时。嘉庆十三年，（公元一八o八年）会试第一，卷进呈，帝道：“朕久知其名，可谓得士矣！”廷试改翰林院庶吉士，散馆，授编修。和平安雅，见义无不为。年五十九，丁母忧，以毁卒。嗣绾诗及骈体文，少作多明艳，中年则以沈博排募胜，晚更清遒骏迈，以快厉之笔，达幽隐之思。所著有《尚絅堂集》，《清史列传》行于世。",[7,64,133,59,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a40bde7f2ad343d27197e4f5caf9567.jpg",[318],{"id":85295,"slug":85296,"title":85297,"dynasty":54,"author":85298,"museum":300,"description":85299,"tags":85300,"thumbUrl":85301,"material":84,"size":84,"collection":318,"collections":85302,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239917,"dui-yue-ge-yi-pian-zeng-lian-shang-ye-wu-ci-he-239917","对月歌一篇赠莲裳页","吴慈鹤","生于清高宗乾隆四十三年，卒于宣宗道光六年，年四十九岁少随父俊宦游粤东、济南，所为诗规仿徐、庾、孟、韩，为时流所重。嘉庆十四年（1809）进士，改翰林院庶吉士。散馆，授编修。充云南乡试副考官，督学河南、山东。性好游览，使车所至，山水为缘，而发之于诗。官至翰林院侍讲。慈鹤工诗，善骈体文，与彭兆荪交最契，兆荪推挹甚至。著有《兰鲸录》、《凤巢山樵求是录》及《岑华居士外集》，《清史列传》并传于世。",[164,24,7,59,133,208,64,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e274cf8e856a7e1e7cb307a42021faa.jpg",[318],{"id":85304,"slug":85305,"title":85306,"dynasty":54,"author":85307,"museum":300,"description":85308,"tags":85309,"thumbUrl":85310,"material":84,"size":84,"collection":318,"collections":85311,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239915,"tai-cheng-lu-yi-que-feng-lian-shang-ye-sun-yan-239915","台城路一阕奉莲裳页","孙延","工诗词、篆、隶，善写生墨梅，惜未竞其技而殁。事迹见于《墨林今话》、《畊砚田斋笔记》等。",[54,24,7,59,128,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6ce4b33d92269f6bc6a30541aeea2ab.jpg",[318],{"id":85313,"slug":85314,"title":85315,"dynasty":54,"author":85316,"museum":300,"description":85317,"tags":85318,"thumbUrl":85319,"material":692,"size":1293,"collection":84,"collections":85320,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239866,"feng-he-gong-fu-qi-xi-shi-er-shou-ye-xie-jie-shu-239866","奉和功甫七夕诗二首页","谢阶树","谢阶树（1778-1825）字欣植，又字子玉，号向亭（芗亭）。江西省宜黄县城北门人。清代官吏、学者、思想家。宣南诗社最早成员之一。",[164,24,7,59,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8371553bbeb2a6f50d19ffe45e06ef.jpg",[],{"id":85322,"slug":85323,"title":85324,"dynasty":54,"author":85325,"museum":300,"description":85326,"tags":85327,"thumbUrl":85328,"material":84,"size":84,"collection":318,"collections":85329,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239850,"chu-xi-jian-mei-he-gong-fu-yun-ye-dong-guo-hua-239850","除夕见梅和功甫韵页","董国华","董国华（1773－1850）清代官员、诗人。江苏吴县（今苏州）人，字荣若，号琴南。据钱庆曾《竹汀居士年谱续编》，董氏曾在乾隆五十八年（1793）紫阳书院受业于钱大昕门下。嘉庆十三年（1808）进士，自号清闲居士，又号绿溪渔隐，道光间官至广东雷琼道。致仕归，历主云间书院，紫阳书院讲习，工诗文，词尤婉约。有《云寿堂文集》、《诗集》、《词钞》、《绿溪笔谈》、《海南笔记》等。",[64,7,59,133,208,128,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fa372afe99d3432cc158f6841f9a8a6.jpg",[318],{"id":85331,"slug":85332,"title":69180,"dynasty":54,"author":85333,"museum":300,"description":85334,"tags":85335,"thumbUrl":85336,"material":84,"size":84,"collection":318,"collections":85337,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239838,"shi-ye-zhang-xiang-he-239838","张祥河","嘉庆二十五年（一八二0）进士，官工部尚书。谥温和。尝客京师董相国诰邸，与袁少迂（沛）、周芸皋（凯）讲求六法。充大清会典绘图。仁宗六旬，进庚辰万纪图诗画册，称旨。写意花草宗徐渭、陈道复，山水私淑文征明。晚年又涉石涛（道济）一派。笔颇健举，然气韵魄力仍是书生本色。黄钺告归，以书万卷先行，祥河为写饯书图，钺称其得五峰（文伯仁）意。画梅亦工。。咸丰十一年（1861年），因病致仕。次年，卒于京邸，谥“温和”。其墓在横山南麓。",[24,7,64,59,133,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266a258e18eb07c47a9e4a1347f381e8.jpg",[318],{"id":85339,"slug":85340,"title":81474,"dynasty":54,"author":223,"museum":300,"description":85341,"tags":85342,"thumbUrl":85343,"material":84,"size":84,"collection":318,"collections":85344,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239835,"bao-jin-shi-feng-gong-fu-ye-yi-ming-239835","此作为两开尺牍小品，左开以暗纹绿笺作书，小行书清劲秀雅，行气舒展匀停，墨色在华笺上愈发莹润秀逸；右开以浅黄麻纸落墨，用笔苍朴内敛，字势错落随性，带着手札特有的松弛意趣。\n\n二者皆为日常酬唱的信札书迹，笔墨间藏着旧时文人的风雅交游，冲淡疏逸的书卷气浸透纸背，将尺素传情的知己酬答，凝为纸上耐人寻味的悠长余韵。",[64,133,208,59,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbd6ae6bb0cfd6992c3c19382096607c.jpg",[318],{"id":85346,"slug":85347,"title":81465,"dynasty":54,"author":85348,"museum":300,"description":85349,"tags":85350,"thumbUrl":85351,"material":84,"size":84,"collection":318,"collections":85352,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239811,"ti-zi-ye-wu-yi-feng-239811","吴翌凤","吴翌凤（1742～1819），是清著名藏书家，字伊仲，号枚庵、一作眉庵，别号古欢堂主人，初名凤鸣，祖籍安徽休宁，侨居吴郡槐树街（今苏州），藏书家吴铨后裔。诸生。家贫而笃好典籍，无力购置，往往借书阅览。三十三年至五十二年（1768年～1787）寓陶氏东斋，日寝馈书史，得佳本，则用手抄，至数千百卷",[7,64,133,59,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76d3a54d9dd026c37e84b2e0924c51dc.jpg",[318],{"id":85354,"slug":85355,"title":69180,"dynasty":124,"author":85356,"museum":300,"description":85357,"tags":85358,"thumbUrl":85359,"material":84,"size":84,"collection":318,"collections":85360,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239804,"shi-ye-du-qi-239804","杜启","杜启是进士。弘治三年，授长垣知县。治河有功，筑太行长堤，增坝堰铺舍，暇与诸生讲授易学，人士皆宗之。擢监察御史。",[7,64,133,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F955a4f1f638f81f59042c23be8e8113b.jpg",[318],{"id":85362,"slug":85363,"title":85364,"dynasty":124,"author":31140,"museum":300,"description":66483,"tags":85365,"thumbUrl":85366,"material":692,"size":1293,"collection":84,"collections":85367,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},239791,"zhuan-shu-si-yan-shi-juan-xu-lin-239791","篆书四言诗卷",[23,164,7,25,938,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5514dcd8e30ced0faaaeb587c4248d10.jpg",[],{"id":85369,"slug":85370,"title":85371,"dynasty":54,"author":33019,"museum":300,"description":69383,"tags":85372,"thumbUrl":85373,"material":692,"size":1293,"collection":84,"collections":85374,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},239778,"hong-wu-qi-yan-lian-hong-wu-239778","弘旿七言联",[24,7,165,572,64,208,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4daec53ac4b99574efec204d37505057.jpg",[],{"id":85376,"slug":85377,"title":85378,"dynasty":54,"author":85379,"museum":300,"description":85380,"tags":85381,"thumbUrl":85382,"material":692,"size":1293,"collection":84,"collections":85383,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":199},239762,"shu-hong-li-gai-yi-liao-jin-yuan-san-shi-xu-ce-zhou-huang-239762","书弘历改译辽金元三史序册","周煌","周煌（1714—1785年），字景垣，号绪楚，又号海珊（一作海山），四川涪州酒店乡麻堆坝（今重庆市涪陵区马武镇麻堆村）人，清朝著名官员。\n乾隆二年（1737年）进士。曾奉诏以副使身份出使琉球，出任《四库全书》总阅，官至工部尚书、兵部尚书、上书房总师傅、都察院左都御史等职。以兵部尚书加太子少傅致仕，卒赠太子太傅，谥号“文恭”。\n周煌一生能文工诗善书，笔法遒劲，著作颇丰，有《琉球国志略》、《海山诗稿》等近10种。《清史稿》有传。其有关作品收录于《益州书画录》中。",[572,64,59,27,5459,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fe6e534ed336586889d28df21790706.jpg",[],{"id":85385,"slug":85386,"title":34976,"dynasty":54,"author":872,"museum":20,"description":34977,"tags":85387,"thumbUrl":85388,"material":611,"size":34980,"collection":84,"collections":85389,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239605,"shi-san-zha-ce-zhu-da-239605",[24,7,59,133,840,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12508c534b77105d73a7b003e7769052.jpg",[],{"id":85391,"slug":85392,"title":34976,"dynasty":54,"author":872,"museum":20,"description":34977,"tags":85393,"thumbUrl":85394,"material":611,"size":34980,"collection":84,"collections":85395,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239603,"shi-san-zha-ce-zhu-da-239603",[304,133,64,7,24,4437,128,208,1424,28172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F239e52d7c98022240a611f05b935670a.jpg",[],{"id":85397,"slug":85398,"title":85399,"dynasty":124,"author":85400,"museum":20,"description":85401,"tags":85402,"thumbUrl":85403,"material":611,"size":84,"collection":318,"collections":85404,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239585,"jiao-yan-tie-ce-ye-wang-hong-239585","教言帖册页","王竑","王竑（1413年—1488年），字公度，号休庵、戅庵。湖北江夏（今属武汉市）人，生于河州（今甘肃临夏）。明朝名臣。\n王竑为正统四年（1439年）进士，授户部给事中，豪迈负气节，正色敢言。土木之变后奋臂率众击毙王振党羽、锦衣指挥马顺，名震天下。也先入犯，受命受御京城，擢右佥都御史，寻督漕运，再抚淮、扬。明宪宗初年，官至兵部尚书。致仕后居家二十年。\n弘治元年（1488年），王竑去世，年七十五。明武宗时追赠太子少保，谥号“庄毅”。",[124,64,133,59,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ff26d78a700838e78b4642a6149eaf.jpg",[318],{"id":85406,"slug":85407,"title":85408,"dynasty":54,"author":85409,"museum":300,"description":85410,"tags":85411,"thumbUrl":85412,"material":692,"size":1293,"collection":84,"collections":85413,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239541,"shi-cui-zhu-shan-jiang-que-lan-239541","石翠竹扇","蒋確兰","此帧以湖石为骨，左植翠竹，右纫幽兰，疏密排布贴合扇面形制，雅致妥帖。湖石以泼墨写意，皴擦间墨色浓淡层次分明，尽显朴拙苍劲的嶙峋之态。翠竹以淡墨写竿，浓墨点染竹叶，清挺有节，自带疏朗清气。兰叶以细劲墨线挥写，穿插舒展若临风摇曳，花朵轻勾淡晕，幽柔清雅。右上角题款笔意萧散，与画面气息浑然相融。全作用水墨为主，淡彩轻施，将兰之幽、竹之劲、石之朴揉合一处，暗合君子比德的文人心趣，寥寥笔墨尽抒林下清逸襟怀。",[304,164,24,7,1131,128,188,171,167,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fceb190df75efaba0195a1f0598d696.jpg",[],{"id":85415,"slug":85416,"title":38899,"dynasty":54,"author":38900,"museum":300,"description":38953,"tags":85417,"thumbUrl":85418,"material":692,"size":1293,"collection":84,"collections":85419,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239532,"fang-gu-ji-you-tu-ce-huang-yi-239532",[24,7,59,128,132,133,29,131,34,35,1023,950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38695c0715b5041c8c7d497a1e615ecd.jpg",[],{"id":85421,"slug":85422,"title":80150,"dynasty":54,"author":48763,"museum":300,"description":71916,"tags":85423,"thumbUrl":85424,"material":692,"size":1293,"collection":84,"collections":85425,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239498,"shan-shui-ce-10-shang-guan-zhou-239498",[24,7,59,128,188,29,331,1233,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a8e1cc081eab9dd7dc6850507c96826.jpg",[],{"id":85427,"slug":85428,"title":5340,"dynasty":54,"author":48763,"museum":300,"description":71916,"tags":85429,"thumbUrl":85430,"material":692,"size":1293,"collection":84,"collections":85431,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239490,"shan-shui-ce-3-shang-guan-zhou-239490",[24,7,59,128,132,29,129,331,171,1350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1852e608baf86edefaabe4cdc812fe80.jpg",[],{"id":85433,"slug":85434,"title":85435,"dynasty":54,"author":85436,"museum":300,"description":85437,"tags":85438,"thumbUrl":85439,"material":692,"size":1293,"collection":84,"collections":85440,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239483,"liu-yong-lang-hua-ma-wan-shan-liu-yong-lang-239483","刘用烺画马纨扇","刘用烺","清末北京著名画家。光绪年间在《启蒙画报》画插图，名声渐起。",[24,7,1131,27,28,101,331,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a052ea1cd96cfaba3aa93dad0263103.jpg",[],{"id":85442,"slug":85443,"title":35700,"dynasty":54,"author":55412,"museum":300,"description":85444,"tags":85445,"thumbUrl":85446,"material":84,"size":84,"collection":84,"collections":85447,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239413,"fang-gu-shan-shui-ping-qin-zu-yong-239413","此作用青绿浅绛晕染桃源春涧之景，层叠山峦以披麻皴勾勒，苔点错落晕出山峦苍润生机。山坳水畔村居错落排布，板桥飞泉萦纡林间，桃松杂木各含清姿，将世外山居的幽寂闲雅铺陈眼前。\n\n右上角题诗自叙追仿元人笔意，以笔墨复刻林泉雅趣，丘壑间既承古法意韵，又自含萧散出尘的静穆意境，尽显传统山水画里寄情山水的文人逸致。",[24,7,165,27,132,2271,29,98,99,34,495,35,372,663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd31d7174efa971295b9e6bc389b44049.jpg",[],{"id":85449,"slug":85450,"title":21106,"dynasty":54,"author":4823,"museum":300,"description":19690,"tags":85451,"thumbUrl":85452,"material":692,"size":1293,"collection":84,"collections":85453,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239406,"hua-niao-tu-ce-ma-yuan-yu-239406",[24,7,59,128,133,208,61,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cf9c85db60a26ba509499717a4ced69.jpg",[],{"id":85455,"slug":85456,"title":21106,"dynasty":54,"author":4823,"museum":300,"description":19690,"tags":85457,"thumbUrl":85458,"material":692,"size":1293,"collection":84,"collections":85459,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239401,"hua-niao-tu-ce-ma-yuan-yu-239401",[24,7,59,128,27,61,650,582,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3dbb6b0a245bb3983ee242efdb43686.jpg",[],{"id":85461,"slug":85462,"title":85463,"dynasty":54,"author":223,"museum":300,"description":85464,"tags":85465,"thumbUrl":85466,"material":84,"size":84,"collection":84,"collections":85467,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239369,"wang-su-yan-pan-chui-lun-tu-zhou-yi-ming-239369","王愫岩畔垂纶图轴","此作用笔苍润兼具，以淡墨晕染远山，留白衬出寒云漠漠的空濛清寂，近景枯木虬枝盘错，皴法简练老辣，尽显冬林萧疏之态。溪湾萦回，寒波澄澈，扁舟随水漾开，渔翁垂纶独钓，暗合题诗里逍遥世外的幽怀。行书题笔清逸流畅，书画相映成趣，尽显文人画诗书画合璧的雅趣。整幅画以荒寒之景写幽隐之心，淡远空寂的意境里，藏着林泉高致的文人意趣，笔简而意悠长。",[24,7,165,128,29,129,1351,1233,331,132,208,133,99,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365095b142e809844ad3c19e6f68a954.jpg",[],{"id":85469,"slug":85470,"title":409,"dynasty":54,"author":40799,"museum":300,"description":69293,"tags":85471,"thumbUrl":85472,"material":692,"size":1293,"collection":84,"collections":85473,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239366,"shan-shui-ce-wang-san-xi-239366",[164,24,7,59,128,132,29,97,413,11998,276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F210a43366824ee0218286cb020d6ec8a.jpg",[],{"id":85475,"slug":85476,"title":409,"dynasty":54,"author":40799,"museum":300,"description":85477,"tags":85478,"thumbUrl":85479,"material":84,"size":84,"collection":84,"collections":85480,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239363,"shan-shui-ce-wang-san-xi-239363","此帧水墨山水以简驭繁，近岸坡石苔点苍润古拙，几株竹木依偎而生，竹枝清劲挺拔，墨叶浓淡交叠，笔法秀灵兼具，将草木舒展之态尽显。淡墨晕染远山，留白化作浩渺平湖，一叶扁舟随波轻漾，远山以淡笔虚写，虚实相生间晕开空寂悠远的江上秋意。\n\n画面墨色干湿层次分明，简淡萧疏中藏清雅意趣，以寥寥笔墨铺陈出江南水畔的幽寂闲情，尽显文人水墨的写意之妙，观之如临静谧江天，畅怀林下之思。",[24,7,59,128,132,29,413,229,415,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49a8d1fc5f32840958329e9dfcb8df88.jpg",[],{"id":85482,"slug":85483,"title":409,"dynasty":54,"author":17240,"museum":300,"description":26583,"tags":85484,"thumbUrl":85485,"material":692,"size":1293,"collection":84,"collections":85486,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239336,"shan-shui-ce-cha-shi-biao-239336",[24,7,59,128,133,132,29,98,99,331,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e8dff69e7110e34fb36fb8e410db69d.jpg",[],{"id":85488,"slug":85489,"title":409,"dynasty":54,"author":17240,"museum":300,"description":26583,"tags":85490,"thumbUrl":85491,"material":692,"size":1293,"collection":84,"collections":85492,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239330,"shan-shui-ce-cha-shi-biao-239330",[24,7,59,128,133,29,129,1350,34,30,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5d4423d2071fd4ef4be46b9a1bbc130.jpg",[],{"id":85494,"slug":85495,"title":409,"dynasty":54,"author":17240,"museum":300,"description":26583,"tags":85496,"thumbUrl":85497,"material":692,"size":1293,"collection":84,"collections":85498,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239328,"shan-shui-ce-cha-shi-biao-239328",[24,7,59,128,29,413,130,133,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31f4ab800b5b8e48eb760bb84c2c7d29.jpg",[],{"id":85500,"slug":85501,"title":409,"dynasty":54,"author":17240,"museum":300,"description":26583,"tags":85502,"thumbUrl":85503,"material":692,"size":1293,"collection":84,"collections":85504,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239327,"shan-shui-ce-cha-shi-biao-239327",[24,7,59,128,133,208,132,29,34,171,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf04d216a446ca49c15db08c73d6c236.jpg",[],{"id":85506,"slug":85507,"title":4724,"dynasty":124,"author":5798,"museum":300,"description":55106,"tags":85508,"thumbUrl":85509,"material":692,"size":1293,"collection":84,"collections":85510,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239320,"shan-shui-tu-ce-zhang-hong-239320",[24,7,59,128,132,29,1233,331,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e4606b884818a0b7e96b725c688834e.jpg",[],{"id":85512,"slug":85513,"title":4724,"dynasty":124,"author":5798,"museum":300,"description":55106,"tags":85514,"thumbUrl":85515,"material":692,"size":1293,"collection":84,"collections":85516,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239319,"shan-shui-tu-ce-zhang-hong-239319",[24,7,59,128,29,171,1233,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ed268a0a51003fddaa16ed58fd04a0a.jpg",[],{"id":85518,"slug":85519,"title":4724,"dynasty":124,"author":5798,"museum":300,"description":55106,"tags":85520,"thumbUrl":85521,"material":692,"size":1293,"collection":84,"collections":85522,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239318,"shan-shui-tu-ce-zhang-hong-239318",[24,7,59,128,132,29,131,34,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9642a66c525ac027a91ca90a9842efe.jpg",[],{"id":85524,"slug":85525,"title":4724,"dynasty":124,"author":5798,"museum":300,"description":55106,"tags":85526,"thumbUrl":85527,"material":692,"size":1293,"collection":84,"collections":85528,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239317,"shan-shui-tu-ce-zhang-hong-239317",[24,7,59,128,132,29,171,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bcd0ae5a819ecfe1c4477219f1c0469.jpg",[],{"id":85530,"slug":85531,"title":4724,"dynasty":124,"author":5798,"museum":300,"description":55106,"tags":85532,"thumbUrl":85533,"material":692,"size":1293,"collection":84,"collections":85534,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239316,"shan-shui-tu-ce-zhang-hong-239316",[24,7,59,128,29,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff222bf9bb0b527fc9546b043f103afeb.jpg",[],{"id":85536,"slug":85537,"title":4724,"dynasty":124,"author":5798,"museum":300,"description":55106,"tags":85538,"thumbUrl":85539,"material":692,"size":1293,"collection":84,"collections":85540,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239315,"shan-shui-tu-ce-zhang-hong-239315",[24,7,59,128,132,29,130,211,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cc86ec2412a16b479cced18daf2452d.jpg",[],{"id":85542,"slug":85543,"title":62758,"dynasty":54,"author":223,"museum":300,"description":85544,"tags":85545,"thumbUrl":85546,"material":84,"size":84,"collection":84,"collections":85547,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239283,"hou-qi-zhi-hua-hua-niao-ce-yi-ming-239283","以指代笔，墨色清逸疏淡。梅枝虬曲苍劲，苔点晕染老干风霜，枝头繁花轻绽，淡墨圈瓣留白，尽显冰洁孤高之姿。旁侧新竹劲挺，寥寥数笔勾勒枝叶，清瘦舒展自带君子风骨。\n\n行书题跋率意朴拙，笔势与画意浑然相融，诗画合璧，将冬梅凌雪、新竹清雅的意趣尽铺纸面。全幅未施浓色，仅以墨色浓淡分出层次，以简驭形，把文人画以情抒怀的特质淋漓展现，尽显清冷疏朗的文人雅韵。",[24,7,59,29104,128,61,371,167,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fc146a9f0e95bd8233ee88dcbe04d91.jpg",[],{"id":85549,"slug":85550,"title":62758,"dynasty":54,"author":223,"museum":300,"description":85551,"tags":85552,"thumbUrl":85553,"material":84,"size":84,"collection":84,"collections":85554,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239278,"hou-qi-zhi-hua-hua-niao-ce-yi-ming-239278","此页以指为笔，将清趣雅意藏于寻常风物间。右页粉梨圆润鲜洁，朱砂樱桃娇红欲滴，设色明丽鲜活，把蔬果的清甜烟火气晕染得淋漓尽致。左页枯淡墨色绘就莲藕，淡墨勾茎，晕染出藕节肌理，自带疏清远意。搭配行书题字，笔意舒展随性，书画相映成趣。创作者以指代笔，将日常风物绘出雅致东方意韵，简淡写意中尽显生机，藏着对烟火日常的细腻体察，冲淡恬和，耐人寻味。",[24,7,59,29104,27,61,9603,8162,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F745de83f20c6c8b946c3be4e29ab098e.jpg",[],{"id":85556,"slug":85557,"title":49450,"dynasty":124,"author":49451,"museum":300,"description":85558,"tags":85559,"thumbUrl":85560,"material":692,"size":1293,"collection":84,"collections":85561,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239259,"shu-hua-tu-ce-cheng-min-239259","此作用水墨写意写就，枯木枝桠如铁戟硬张，笔法老辣苍劲，嶙峋躯干尽显岁月剥蚀下的古拙不屈。拳石以淡墨晕染勾勒，简括写意，衬出枯木孤高之态。边角新竹清瘦劲拔，寥寥数笔便见清逸生机，与枯木沧桑自成冷暖对照。\n画面留白空灵疏朗，以极简笔墨传递出古淡荒寒的文人意趣，枯荣相生间暗合禅思，于简淡苍秀的笔触里，藏着静穆悠远的中式风神，是托物言志的文人小品典范。",[24,7,59,128,331,1233,171,276,211,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3712d8cf7920f1ca728ea1b1f4abda73.jpg",[],{"id":85563,"slug":85564,"title":49450,"dynasty":124,"author":49451,"museum":300,"description":85565,"tags":85566,"thumbUrl":85567,"material":692,"size":1293,"collection":84,"collections":85568,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239255,"shu-hua-tu-ce-cheng-min-239255","此幅墨竹以水墨写意写就，运笔爽利劲挺。中锋绘竹竿，节断意连，涩拙间尽显挺拔清健，暗含君子傲然风骨。侧锋挥写竹叶，聚散合宜，俯仰向背错落有致，墨色浓淡自然过渡，寥寥数笔便将叶片舒展之姿全然带出，灵动鲜活。\n\n画面留白恰到好处，以空衬实，愈发衬出竹之疏朗雅致。一方朱印轻缀角落，既平衡构图，又添古雅意趣。整体简淡空灵，借竹抒怀，将竹之高洁澹泊的君子品格尽显纸面，尽显文人写意画以物明志的隽永意韵。",[24,7,59,128,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7e42ae5a94aa3aa0a71b19942d42c6c.jpg",[],{"id":85570,"slug":85571,"title":49450,"dynasty":124,"author":49451,"museum":300,"description":85572,"tags":85573,"thumbUrl":85574,"material":692,"size":1293,"collection":84,"collections":85575,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239253,"shu-hua-tu-ce-cheng-min-239253","此作用笔老辣苍劲，中锋写竹竿，挺拔劲健，暗含节节向上的傲然风骨。侧锋挥写竹叶，或聚或散，如含疾风穿林之势，墨色浓淡错落，苍润相济。\n\n以极简的笔墨勾勒出竹的清疏之姿，留白得当尽显空灵雅致。虽只水墨一色，却将竹的潇洒灵动与君子的清刚气节融为一体，笔简意赅，意韵悠长，尽显以物抒怀的文人意趣，寥寥数笔便写尽竹之疏朗逸态。",[24,7,59,128,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d9f8759dbd5e7fde5e264ef339ced16.jpg",[],{"id":85577,"slug":85578,"title":58961,"dynasty":54,"author":58962,"museum":300,"description":58963,"tags":85579,"thumbUrl":85580,"material":84,"size":84,"collection":318,"collections":85581,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239227,"hui-shi-ce-hu-zhen-kai-239227",[24,7,59,128,171,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7b976ee66ebc5e06444d91355b720dc.jpg",[318],{"id":85583,"slug":85584,"title":43160,"dynasty":54,"author":85585,"museum":300,"description":85586,"tags":85587,"thumbUrl":85588,"material":84,"size":84,"collection":84,"collections":85589,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239210,"za-hua-juan-tang-ying-239210","唐英","此卷兼工带写，笔意灵秀多变。起首松鼠戏食，墨色晕染出蓬松绒毛，灵动俏皮之态尽显；接绘双马，一匹徐行悠然，一匹滚地嬉憩，骏舒逸致扑面而来。\n\n中段丹冠雄鸡神采英挺，翎羽勾勒细腻又不失写意韵致，母鸡护雏尽显脉脉温情，山雀翻飞轻盈灵动。末段湖山清润，巉石隐现，幽篁茅舍伴扁舟泛波，野雁掠空尽得江南秋寂之味。\n\n题跋小字娟秀雅致，书画合璧，将花鸟走兽的灵动生机与山水的澹泊雅韵浑融无间，尽显扎实写生功底与清隽文人逸趣。",[23,24,7,25,128,27,29,130,129,211,2510,101,5882,102,34,497,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c768bfb539b8068f02787c67fb67aa.jpg",[],{"id":85591,"slug":85592,"title":1289,"dynasty":54,"author":24258,"museum":300,"description":85593,"tags":85594,"thumbUrl":85595,"material":84,"size":84,"collection":84,"collections":85596,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239167,"shan-shui-hua-hui-ce-chen-heng-ke-239167","这幅小品以淡墨轻岚绘就江南春景，浅赭晕出水汀远岸，水墨点染洲渚林木，晕染出朦胧空濛的烟水之气。右下角以浓淡互破的焦墨写出苇丛杂木，野朴苍润。水面留白宽绰，一叶扁舟静泊波心，愈发衬出水天寥廓。\n\n配文取“春水碧于天，画船听雨眠”的诗意，将江南春日的慵懒闲寂融于尺幅之间，笔简意足，淡宕幽远。观之如浸身烟雨江南，仿佛能听见雨打船篷的轻响，文人画的澹泊隐逸之趣尽数铺陈，清寂温柔的氛围感扑面而来。",[24,7,59,128,27,29,129,414,1824,415,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6953ee909949d974b7afda0477102ab7.jpg",[],{"id":85598,"slug":85599,"title":1289,"dynasty":54,"author":24258,"museum":300,"description":85600,"tags":85601,"thumbUrl":85602,"material":84,"size":84,"collection":84,"collections":85603,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239161,"shan-shui-hua-hui-ce-chen-heng-ke-239161","此幅以花与诗书合璧，淡墨晕染鸢尾，花瓣柔润含露，浅蓝勾勒叶片，清挺舒展，将花草的幽柔之态藏于简淡笔墨中，清逸雅致。\n\n左侧行书笔墨苍劲舒逸，行气通畅，词句缱绻和花草的疏淡相映。诗画相生间，春日慵懒幽柔的意境缓缓铺陈。笔底自带文人幽怀，以少胜多，尽显中式抒情美学的雅致风骨，淡远空灵的意韵漫溢纸面。",[24,7,59,128,27,133,369,62,5239,605,57836,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F535dfe5c4ef8acb1c2bcdad364ff4a92.jpg",[],{"id":85605,"slug":85606,"title":1289,"dynasty":54,"author":24258,"museum":300,"description":81614,"tags":85607,"thumbUrl":85608,"material":84,"size":84,"collection":84,"collections":85609,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239159,"shan-shui-hua-hui-ce-chen-heng-ke-239159",[24,7,59,128,27,132,133,29,131,1144,415,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F177bbaeff17ad321a599c995d572aad2.jpg",[],{"id":85611,"slug":85612,"title":85613,"dynasty":54,"author":85614,"museum":300,"description":85615,"tags":85616,"thumbUrl":85617,"material":692,"size":1293,"collection":84,"collections":85618,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239137,"zhi-hua-hua-guo-juan-gan-shi-diao-239137","指画花果卷","甘士调","甘士调及其子弟的指画艺术甘士调是高其佩的嫡传弟子之一。甘氏生卒年未详,为康熙雍正年间(1662—1735)人。字和庵,亦字怀园,号凤矶山人,鸭绿江南人,清代铁岭人。",[23,24,7,164,25,29104,128,1037,481,233,9671,2334,841,62,2037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87139f9df0a743599f3d2148679c2647.jpg",[],{"id":85620,"slug":85621,"title":60824,"dynasty":54,"author":19884,"museum":300,"description":85622,"tags":85623,"thumbUrl":85624,"material":84,"size":84,"collection":84,"collections":85625,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239131,"shan-shui-he-hui-ce-zhang-zong-cang-239131","此作以平远视界铺展江南野趣，水墨轻施，淡岚氤氲。坡岸间松石错落，杂木萧疏清瘦，几杆修竹伴衬茅庐隐于林泉之间，尽得幽居雅意。水面空蒙浩渺，远山层叠晕染如黛，淡而有神，将平野清寂之景晕染雅致。笔墨松秀简淡脱尽繁缛，题款朴拙古雅与画面浑然相融，尽显文人画萧散静穆的林下之风，将林泉高致的隐逸情怀寄寓淡墨浅痕中，整幅清润秀雅，尽显平和悠远的山水逸趣。",[24,7,59,128,132,29,1337,171,130,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff743d229cc696c06725a7445e18885e8.jpg",[],{"id":85627,"slug":85628,"title":85629,"dynasty":54,"author":14022,"museum":300,"description":40657,"tags":85630,"thumbUrl":85631,"material":692,"size":1293,"collection":84,"collections":85632,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239109,"hua-hui-ce-6-yu-sheng-239109","花卉册6",[24,7,59,128,27,61,7633,2334,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaafe013ad6c22b2a369d8ba95cdadbe.jpg",[],{"id":85634,"slug":85635,"title":85636,"dynasty":54,"author":14022,"museum":300,"description":40657,"tags":85637,"thumbUrl":85638,"material":692,"size":1293,"collection":84,"collections":85639,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239106,"hua-hui-ce-3-yu-sheng-239106","花卉册3",[24,7,59,128,369,61,355,62,624,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3205b24e45b0072ec40bf34c81630c6.jpg",[],{"id":85641,"slug":85642,"title":85643,"dynasty":54,"author":14022,"museum":300,"description":40657,"tags":85644,"thumbUrl":85645,"material":692,"size":1293,"collection":84,"collections":85646,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239105,"hua-hui-ce-2-yu-sheng-239105","花卉册2",[24,7,59,128,27,61,263,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60ea8d01b298a962698561b7203499ff.jpg",[],{"id":85648,"slug":85649,"title":409,"dynasty":54,"author":57086,"museum":300,"description":57087,"tags":85650,"thumbUrl":85651,"material":84,"size":84,"collection":84,"collections":85652,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},239008,"shan-shui-ce-li-dong-239008",[24,7,59,27,29,97,98,131,34,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F510aef1940f26a918f28f3be24c6cb7a.jpg",[],{"id":85654,"slug":85655,"title":409,"dynasty":54,"author":57086,"museum":300,"description":57087,"tags":85656,"thumbUrl":85658,"material":84,"size":84,"collection":84,"collections":85659,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},239006,"shan-shui-ce-li-dong-239006",[24,7,59,27,132,29,1337,131,101,34,16370,414,130,19769,85657],"石堆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0e5bc217d192b673344b8a2d8cf36cf.jpg",[],{"id":85661,"slug":85662,"title":40707,"dynasty":54,"author":85663,"museum":300,"description":85664,"tags":85665,"thumbUrl":85666,"material":692,"size":1293,"collection":84,"collections":85667,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},239000,"shan-shui-shan-zhou-zhi-shen-239000","周之慎","此作用金笺为底，水墨写就林泉小景。近岸老梅盘虬苍劲，枝桠舒展间尽见古拙意趣，树下幽人策杖徐行，似在寻幽揽胜。远景以淡墨晕染云山，留白代水，烟波浩渺之意自现。\n\n笔触枯淡松秀，干笔勾勒枝桠，皴擦山石尽显肌理，墨色清润层次分明。整体简淡萧疏，将冬日林泉的幽寂空远铺陈开来，暗合文人雅逸襟怀，寥寥数笔便把林下寻幽的静谧意趣尽数藏于尺幅扇面之中，雅致耐品，尽显文人山水小品的澹远意境。",[24,7,1131,128,132,29,1337,171,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cd13bda96871de933bd27f74874eefc.jpg",[],{"id":85669,"slug":85670,"title":409,"dynasty":54,"author":4992,"museum":300,"description":18894,"tags":85671,"thumbUrl":85672,"material":84,"size":84,"collection":84,"collections":85673,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238993,"shan-shui-ce-yang-jin-238993",[24,7,59,128,132,29,34,97,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed25720ee5308511efd0e1f2aef0ca3a.jpg",[],{"id":85675,"slug":85676,"title":409,"dynasty":54,"author":4992,"museum":300,"description":85677,"tags":85678,"thumbUrl":85679,"material":84,"size":84,"collection":84,"collections":85680,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238992,"shan-shui-ce-yang-jin-238992","此作取全景山居幽境，层岩峻拔，以苔点密布皴出山石苍劲肌理，尽显山峦厚重古拙之态。山脚林木蓊郁，茅舍藏于深翠之间，溪谷蜿蜒穿林而过，汀渚错落浅滩，一叶扁舟静泊水面，将山野隐逸之趣铺陈开来。\n\n笔墨以干笔淡墨皴擦，兼用浓墨点苔，勾勒简净秀雅，气息苍润清逸。题字与画面相映，尽显诗画交融的文人意趣，整幅简淡萧疏，带着江南山水的温润底色，将林泉高致的隐逸情怀藏在每一处笔墨细节，尽显静穆淡远的林下之风。",[24,7,59,128,29,34,131,99,130,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aca077a5486b3165dc85bd5e4894424.jpg",[],{"id":85682,"slug":85683,"title":409,"dynasty":54,"author":4992,"museum":300,"description":18894,"tags":85684,"thumbUrl":85685,"material":84,"size":84,"collection":84,"collections":85686,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238989,"shan-shui-ce-yang-jin-238989",[24,7,59,27,132,29,34,131,99,98,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff22aea7b50e02f8f31baeec33ecb242e.jpg",[],{"id":85688,"slug":85689,"title":62798,"dynasty":54,"author":62799,"museum":300,"description":62800,"tags":85690,"thumbUrl":85691,"material":692,"size":1293,"collection":84,"collections":85692,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238942,"qing-xiang-si-shi-le-tu-xiang-ce-hu-jun-sheng-238942",[24,7,59,27,28,29,96,211,1824,415,414,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F624ce11958013751a41324b0385b82a1.jpg",[],{"id":85694,"slug":85695,"title":10742,"dynasty":54,"author":223,"museum":300,"description":85696,"tags":85697,"thumbUrl":85698,"material":692,"size":1293,"collection":84,"collections":85699,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238926,"qing-ren-mu-dan-pu-ce-yi-ming-238926","此作工写兼具，墨色牡丹以泼晕之法绘就，浓淡渐变晕染出花瓣舒展层次，明黄花蕊点醒生机，将花头饱满雍容之态尽显。嫩叶设色富于深浅变化，勾勒精细，衬得墨花愈发苍润雅致。旁侧枝桠缀着粉嫩花苞，娇柔鲜活，与墨色牡丹相映成趣。画面留白疏朗，虚实相生，将牡丹的富贵大气与初绽娇柔融为一体，古韵悠然雅致，把牡丹风华凝于尺幅之中，尽显雅致动人的东方意趣。",[24,7,59,27,28,61,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa35461307539ee8a8022690610f48938.jpg",[],{"id":85701,"slug":85702,"title":42420,"dynasty":54,"author":223,"museum":300,"description":85703,"tags":85704,"thumbUrl":85705,"material":692,"size":1293,"collection":84,"collections":85706,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238910,"qing-ren-ju-pu-ce-yi-ming-238910","此作以淡彩工笔绘白菊，细劲柔婉的墨线勾勒花瓣，如缕丝萦回，将白鹤翎蓬松舒展的花形铺陈开来。层叠交错的花瓣繁而不乱，晕染留白间尽显白菊莹洁通透的质感，把秋菊清妍孤高之态描摹入微。\n\n石绿晕染枝叶，深浅渐变衬出叶片鲜活生机，浅赭写枝秀润清雅。画面留白疏朗，右侧题识相映，尽显文人小品的雅致意趣。整幅淡而不寡、清而有神，将秋菊凌霜自持的逸气融于笔底，尽显传统花鸟绘事中的寄情尚雅之思。",[24,7,59,188,27,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf4f7b7ffeab8b47724742e9326f94fd.jpg",[],{"id":85708,"slug":85709,"title":55362,"dynasty":54,"author":646,"museum":300,"description":85710,"tags":85711,"thumbUrl":85712,"material":84,"size":84,"collection":84,"collections":85713,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238904,"fang-song-yuan-shan-shui-ce-dong-gao-238904","此作笔墨松灵简淡，以坡岸枯木起景，杂树错落，枝叶疏密有致，皴石淡润清透，自带萧疏秋意。水面扁舟轻漾，渔人偃卧篷中，随性悠然，将江乡闲居的幽恬况味藏在方寸之间。远景山峦以淡墨晕染，层层推远，虚实相生，把天地空寂澄澈的意境铺展开来。整幅不作刻意雕琢，尽显静穆萧散的文人意趣，淡逸的笔墨里晕开秋日江天的闲淡空寂，将山水间的隐逸之思缓缓铺陈。",[24,7,128,59,132,330,29,129,99,131,34,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69efedf296d2271dd3b03ba477703f86.jpg",[],{"id":85715,"slug":85716,"title":62807,"dynasty":54,"author":62808,"museum":300,"description":62809,"tags":85717,"thumbUrl":85718,"material":692,"size":1293,"collection":84,"collections":85719,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":199},238862,"hui-yi-xiang-zheng-feng-tu-ce-qian-ru-cheng-238862",[24,7,59,27,28,170,1350,71237],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54e8569d5d3ec99173198bf9deb97d81.jpg",[],{"id":85721,"slug":85722,"title":29144,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":85723,"thumbUrl":85724,"material":692,"size":1293,"collection":84,"collections":85725,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238804,"hua-hui-xiao-ce-dong-gao-238804",[24,7,59,27,28,61,62,603],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2934ef7d926c2aedc685931de88515c3.jpg",[],{"id":85727,"slug":85728,"title":29144,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":85729,"thumbUrl":85730,"material":692,"size":1293,"collection":84,"collections":85731,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238793,"hua-hui-xiao-ce-dong-gao-238793",[24,7,59,27,28,61,371,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F150b2fc644f26756335687c634ae6d84.jpg",[],{"id":85733,"slug":85734,"title":50822,"dynasty":54,"author":646,"museum":300,"description":85735,"tags":85736,"thumbUrl":85737,"material":84,"size":84,"collection":84,"collections":85738,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238780,"shan-shui-ren-wu-xiao-ce-dong-gao-238780","此作以细劲笔墨织就幽深山居图景，繁密林木层叠勾勒，皴擦间尽显蓊郁苍润，将山谷裹挟成一方静秘境域。左侧溪涧蜿蜒，策杖行人缓步徐行，野趣自生。山坳屋舍错落隐于翠色间，烟火气融于山野幽寂。淡设色轻染花叶、衣袂，柔和雅致，边角题字清隽，与画面浑然一体。整幅画将文人心中林泉闲逸尽数铺展，可游可居，意境清寂淡远，把世外山居的静雅闲情，凝练成一方诗意天地，尽显传统山水寄情丘壑的雅致意趣。",[24,7,59,27,29,96,97,131,34,132,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7b3aeb391f5fb3463fc3a671190b9a8.jpg",[],{"id":85740,"slug":85741,"title":50822,"dynasty":54,"author":646,"museum":300,"description":85742,"tags":85743,"thumbUrl":85744,"material":84,"size":84,"collection":84,"collections":85745,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238778,"shan-shui-ren-wu-xiao-ce-dong-gao-238778","此作以平远之法铺展山居幽境，左侧水岸茅亭孑立，古木虬枝横斜，浓荫掩着幽隐天地。右侧层岩叠翠，松荫蓊郁，山涧泉流蜿蜒穿石，留白晕出烟波空濛，衬出水天无尽的悠远。笔墨秀雅工致，浅赭淡绿晕染山石林木，设色清润柔和，既带着元人山水的萧散意趣，又兼具精细雅致的笔墨质感，将江南山居的安谧恬和尽数铺陈，尽显寄情林泉的文人雅逸襟怀，淡远清宁的氛围漫溢纸面，观之如身临幽寂林泉，涤尽尘俗喧嚣。",[24,7,59,27,29,96,132,131,34,99,130,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6044ce94a47fbde6dbe841bd747675f.jpg",[],{"id":85747,"slug":85748,"title":50822,"dynasty":54,"author":646,"museum":300,"description":85749,"tags":85750,"thumbUrl":85751,"material":84,"size":84,"collection":84,"collections":85752,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238777,"shan-shui-ren-wu-xiao-ce-dong-gao-238777","此作以水墨晕染为主，间敷淡彩描摹水村野趣。近岸枯柳疏林，笔墨苍润清逸，错落间见生拙意趣。水网汀洲以浅淡色块晕开，几只水禽悠然游弋水面，漾开闲静生机。扁舟渔人垂纶静坐，形简神足，野逸之趣尽显。右侧山峦以淡墨皴擦留白，不着浓墨重彩，却衬出空山清远，将江南水村的幽寂恬美收于尺幅之间，整体意境萧散冲淡，带着文人画特有的闲雅襟怀，笔墨极简而意蕴悠长。",[24,7,59,128,132,29,96,1337,131,99,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffda6e959b6eb6fe8ae9beec0914fad6f.jpg",[],{"id":85754,"slug":85755,"title":46632,"dynasty":54,"author":23303,"museum":300,"description":85756,"tags":85757,"thumbUrl":85758,"material":84,"size":84,"collection":84,"collections":85759,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238765,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238765","此作用淡墨平远取景，远山含烟如黛，溪岸村居隐于茂林，野水萦回漾着清光。林下二人对坐展卷，置茶饮宴，将诗意化为林泉雅集。笔墨松秀简淡，以逸笔点染林木屋舍，淡墨皴写山峦，舍去浓丽敷色，尽得清雅意致。右侧恭书诗文，小楷端雅秀润，与水墨山水相映成趣。\n\n整幅诗画合璧，将御诗中的林泉高致落于纸面，淡岚浅墨间晕开悠然高旷的林下风雅，尽显清和温婉的文人画韵致。",[24,7,59,128,133,132,29,96,35,34,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14836ed43c794c1d3d606f36ff387fe4.jpg",[],{"id":85761,"slug":85762,"title":46632,"dynasty":54,"author":23303,"museum":300,"description":85763,"tags":85764,"thumbUrl":85765,"material":84,"size":84,"collection":84,"collections":85766,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238764,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238764","以淡墨皴擦铺展平远秋郊，坡岸虬枝苍劲，淡墨晕染出林木萧疏的秋意。林下策杖缓行的文士，衣袂简括悠然，正骋目遥观林间隐现的高台。\n\n左侧题诗与画境呼应，诗书画相融无间。笔法松秀温润，全以水墨浓淡分出层次，不着艳色，晕染出清寂淡远的氛围，暗合拟古诗的澹澹诗意，将文人寄情林泉、澄怀观道的雅趣藏在简淡笔墨之中，尽显悠然闲逸的林下之思，是兼具诗境与画韵的文人山水佳构。",[24,7,59,128,29,96,34,130,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5a6b4a16c71ff0d19154e6a540211cc.jpg",[],{"id":85768,"slug":85769,"title":46632,"dynasty":54,"author":23303,"museum":300,"description":85770,"tags":85771,"thumbUrl":85772,"material":84,"size":84,"collection":84,"collections":85773,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238756,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238756","此作用淡墨绘就行旅小景，左侧城堞隐于烟柳山峦间，石径沿陂岸迤逦延展。策马路过的士人衬出荒村的清寂。远景山峦以干笔皴擦，苍朴雅致，近岸林木简淡清润，虚实相映晕染出空濛悠远的氛围。配页书法端雅工稳，诗画呼应，将拟古羁旅诗意融于尺幅山水间。笔致松秀灵和，简净萧疏，把行旅幽寂的况味藏在淡墨山水里，诗画合璧，尽显清和淡远的绵长意韵。",[24,7,59,128,27,132,95,29,96,101,97,690,171,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98f6b582e70bcee5d7540efab516672d.jpg",[],{"id":85775,"slug":85776,"title":46632,"dynasty":54,"author":23303,"museum":300,"description":85777,"tags":85778,"thumbUrl":85779,"material":84,"size":84,"collection":84,"collections":85780,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238752,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238752","此作以素墨绘就林丘胜景，近景苍松斜生，策杖老者随侍童缓步山径，古意悠然。远景层峦以干笔勾勒皴擦，山石嶙峭的肌理尽现，留白铺陈出山林空寂悠远的意境。左侧题诗与山水呼应，诗画交融，将诗句中的林泉高致具象化。\n\n笔墨清隽秀润，无繁复设色，以淡墨晕染出山野的沉静氛围，把文人心中的隐逸林下的雅趣铺展开来，将观景、品诗、赏画融为一体，尽显冲淡平和的中式文人意趣。",[24,7,59,128,132,29,96,34,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe57c5b9817030755ee9c5303360dccd.jpg",[],{"id":85782,"slug":85783,"title":46632,"dynasty":54,"author":23303,"museum":300,"description":85784,"tags":85785,"thumbUrl":85786,"material":84,"size":84,"collection":84,"collections":85787,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238749,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238749","此作用笔秀雅简淡，以水墨写就园林幽居之景。右侧楼阁凭栏立人，古木环合，檐角隐于枝叶间，静谧安闲；左侧溪桥蜿蜒，水榭依水而建，水波澹澹衬出空濛之态，奇石错落、嘉木扶疏，铺陈出林泉雅境。\n诗画合璧，以留白晕染烟霞之致，将拟古诗意具象化。整体疏朗清寂，不着浓彩，以简练皴擦勾勒山石肌理，淡墨点染林木苍润，尽显江南园林的闲雅隐逸之趣，藏着文人士大夫悠游林泉、静赏烟霞的澹泊襟怀。",[24,7,59,128,29,98,99,130,34,131,35,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9beae70bf636e6e1c5680dd3f003c793.jpg",[],{"id":85789,"slug":85790,"title":46632,"dynasty":54,"author":23303,"museum":300,"description":85791,"tags":85792,"thumbUrl":85793,"material":84,"size":84,"collection":84,"collections":85794,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238748,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238748","此幅以淡墨写就郊林清景。右侧古松虬劲苍茂，松下二人对坐晤谈，衣袂简雅，尽显林下闲逸之姿。左侧平林远岫，浅溪横桥，山石以干笔皴擦，淡墨晕染，清润秀逸。\n\n诗画合璧，将早行郊游的闲雅意趣融于山水间，笔致简净松秀，以简淡笔墨铺陈出萧散出尘的林下之思。清和笔墨晕开春日郊野的柔润清旷，把观景游赏的雅兴藏在一山一水、一松一人中，诗画呼应，静穆平和，尽显文人山水的淡远意境。",[24,7,59,128,132,29,34,96,98,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2462a8ce8ca5ba5a1ed1c415901cd6aa.jpg",[],{"id":85796,"slug":85797,"title":46632,"dynasty":54,"author":23303,"museum":300,"description":85798,"tags":85799,"thumbUrl":85800,"material":84,"size":84,"collection":84,"collections":85801,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238747,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238747","此作用淡墨写就山水林泉，右侧巉岩峻崚，古木盘虬于石畔，涧水漱石有声；左侧平坡疏林，士人携童策杖徐行，似正流连林壑幽景。\n笔墨清隽秀雅，以简淡皴擦勾勒山石肌理，林木仅以淡墨点染枝叶，全无浓艳敷色，尽显文人山水的疏淡逸致。画幅题诗与景致相映，将诗意融于山水间，把林下行吟的雅事铺展开来，传递出林泉高致的隐逸意趣，简淡中裹挟着温润秀逸的气韵，观之如身临幽山，可共赴林壑闲居之乐。",[24,7,59,128,188,132,133,208,29,96,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a9d1e57865971baf5429d4b67f7c74d.jpg",[],{"id":85803,"slug":85804,"title":46632,"dynasty":54,"author":23303,"museum":300,"description":85805,"tags":85806,"thumbUrl":85807,"material":84,"size":84,"collection":84,"collections":85808,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238746,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238746","此作以淡墨绘就江岸山居之景，近岸古松盘虬苍劲，松下高士凭崖远眺，崖壁层叠皴擦细致，石间草木蓊郁清润。远景江天相融，水色空濛渺远，将咫尺尺幅拓展出辽阔的山水意趣。\n笔墨以干笔勾勒山石肌理，淡墨晕染铺陈出清寂空润的氛围，将写实景致与文人写意笔趣相融。右侧题诗与画作相映成趣，诗画相生，尽显清雅文心，把幽远超脱的林下意境烘托尽致，将观者带入沉静澹泊的文人情思之中，是兼具笔墨意趣与抒情性的精妙山水小品。",[24,7,59,128,29,132,64,208,1144,131,96,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1be58a09a3b88e645e21dc2dc3082d64.jpg",[],{"id":85810,"slug":85811,"title":35019,"dynasty":54,"author":23303,"museum":300,"description":85812,"tags":85813,"thumbUrl":85814,"material":84,"size":84,"collection":84,"collections":85815,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238721,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238721","此作以淡墨绘就烟江林峦，近渚之上，高士曳杖徐行，侧首远眺烟水间的迤逦远山，林木苍润秀拔，姿态舒展灵动。\n笔墨清隽秀润，以简练皴擦写尽山峦肌理，淡墨晕染出空濛水汽，虚实相生间铺展出悠远淡宕的山水意境。左上题诗与画境呼应，诗画交融，将送别怀友的缱绻心绪融在林泉烟霭之中，褪去浓丽色彩，以素净水墨尽显澹泊雅致的文人意趣，把古典山水的沉静襟怀与诗意共情合二为一，尽显中式文人画独有的清雅韵致。",[24,7,59,128,132,29,96,413,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c619325979390fa1e762a1233424d98.jpg",[],{"id":85817,"slug":85818,"title":35019,"dynasty":54,"author":23303,"museum":300,"description":85819,"tags":85820,"thumbUrl":85821,"material":84,"size":84,"collection":84,"collections":85822,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238720,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238720","此作用笔清隽萧散，以水墨晕染出月夜空蒙之境。左上角谯楼隐在烟霭中，留白铺就出辽远夜色，右下角茅舍旁，老翁凭栏望月，树石苍秀简澹。\n画面将怀远幽思融在淡墨山色间，诗画合璧呼应诗意，天地俱寂里，幽人寄情明月，虚实相生间晕开悠悠愁绪。无浓丽敷色，全以极简笔墨铺陈出清远孤寂的意境，将文人情思和山水夜色融为一体，尽显清雅淡远的文人画意趣。",[24,7,128,95,59,132,64,208,96,97,231,130,29,34,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F870e2824ee524e800c8f5fd3fce2de7c.jpg",[],{"id":85824,"slug":85825,"title":35019,"dynasty":54,"author":23303,"museum":300,"description":85826,"tags":85827,"thumbUrl":85828,"material":84,"size":84,"collection":84,"collections":85829,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238719,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238719","画面分作两处景致，左侧亭畔雅士驻足凝睇，右侧水村茅庐内有人凭窗独坐，一色清月悬于墨色夜空，牵起两地幽思。\n作者以枯淡笔墨绘林木萧疏，淡墨晕开烟水空濛，留白铺就夜色清寂，将羁旅怀远的缱绻心绪融于萧疏秋景之中。诗画合璧，把客子念旧的别愁，化作眼前空濛悠远的秋宵图景，简澹秀雅的笔触里，尽显文人写意水墨的空灵风神，清冷月色漫过水岸亭台，晕开满幅寂廖怀人之思。",[24,7,59,128,188,28,96,130,34,711,29,171,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F685e75274ee14cd63fb4e9d802c99914.jpg",[],{"id":85831,"slug":85832,"title":35019,"dynasty":54,"author":23303,"museum":300,"description":85833,"tags":85834,"thumbUrl":85835,"material":84,"size":84,"collection":84,"collections":85836,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238716,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238716","此作用白描绘就雅集盛景，左畔古木怪石环抱幽亭，右方水榭远山含藏烟波。汀洲之上文人两两揖晤，衣袂舒展、仪态温恭，尽显林下酬唱的清逸闲趣。\n\n画师以铁线勾勒写形，山石皴擦简淡却见丘壑层次，古木虬枝挺拔苍劲，笔致秀挺洗练。题诗与画境呼应，诗画交融，将文人雅聚的风流意韵尽藏卷中，笔墨间浸透着古典山水人文的悠然意趣。",[24,7,59,128,132,96,29,413,1314,130,97,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dc51b9748c6e4f11f137e26f6f94113.jpg",[],{"id":85838,"slug":85839,"title":35019,"dynasty":54,"author":23303,"museum":300,"description":85840,"tags":85841,"thumbUrl":85842,"material":84,"size":84,"collection":84,"collections":85843,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238711,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238711","此作用左文右图的形制，将诗画相融。画面以水墨绘就板桥送别之景，着笠佩剑的行者停驻桥头，与揖手相送的故友遥遥相对，侧旁侍从牵马静候，依依别情尽在无言。远景山峦以淡墨轻皴，烟岚晕染出平远空濛之态，近岸枯木虬枝挺拔，衬出萧疏清远的氛围。\n\n笔墨秀雅清劲，皴擦简淡含蓄，将离别的缱绻怅惘融于山水间。题字与朱印错落排布，诗书画印相映成趣，尽显文人雅韵，把诗文里的惜别深情化作可感的山水意境，含蓄隽永。",[24,7,128,27,28,132,29,96,97,98,331,130,690,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9563c77083b5aa0bd8dc5dec7ab912ba.jpg",[],{"id":85845,"slug":85846,"title":85847,"dynasty":54,"author":223,"museum":300,"description":85848,"tags":85849,"thumbUrl":85850,"material":692,"size":1293,"collection":84,"collections":85851,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238583,"ge-pu-tu-ce-yi-ming-238583","鸽谱图册","左幅墨羽信鸽，翎羽泛着幽绿虹彩，一只昂首远眺，一只垂首理羽，红爪素尾立于浅草，情态悠然舒展。右幅粉褐羽色的灵禽，一只低首轻喙打理颈羽，一只侧目凝望同伴，柔羽晕染细腻逼真，旁侧缀以蓝花青枝，点染出清雅致趣。\n整幅画作工笔精细写实，将灵禽的体态神韵尽数勾勒，设色明丽柔和，既有院体花鸟的精工雅致，又兼具写生的鲜活意趣，把信鸽恬然的日常情态定格于纸面，晕染出静谧悠然的生趣，尽显传统禽鸟写生的精妙造诣，仿若能窥见庭院间灵禽嬉游的闲适瞬间。",[24,7,59,28,27,61,24549,1771,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01141859b158c64ae19280d695fe3455.jpg",[],{"id":85853,"slug":85854,"title":45483,"dynasty":54,"author":13716,"museum":300,"description":13717,"tags":85855,"thumbUrl":85856,"material":692,"size":1293,"collection":84,"collections":85857,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238556,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238556",[24,7,59,27,96,64,572,208,28,14415,1367,34,131,21398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1fe56a4902293ded3d433c31bad71f7.jpg",[],{"id":85859,"slug":85860,"title":45483,"dynasty":54,"author":13716,"museum":300,"description":13717,"tags":85861,"thumbUrl":85862,"material":692,"size":1293,"collection":84,"collections":85863,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238553,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238553",[24,7,59,27,96,29,64,572,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7518fb02bb683dca75f7caf9465231d2.jpg",[],{"id":85865,"slug":85866,"title":45483,"dynasty":54,"author":223,"museum":300,"description":85867,"tags":85868,"thumbUrl":85869,"material":84,"size":84,"collection":84,"collections":85870,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238547,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-yi-ming-238547","此作图文合璧，右侧设色古淡清润，工笔绘就君臣定鼎典仪。人物衣冠古雅俨然，礼器陈于案上，肃穆静雅的氛围还原出定鼎安邦的庄重古意，线条清劲秀雅，设色沉稳朴拙，摹古意趣浓厚。\n\n左侧书法追摹东坡笔意，结体舒朗宽和，笔力浑厚朴拙，书文呼应画意，将史事意蕴娓娓道来。整体简而不疏，雅静端方，以细腻笔触与沉厚笔墨，传递出庙堂典仪的厚重肃穆，尽显复古考究的古典质感。",[24,7,59,27,96,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1fbe8dc866252d67c728f1562571484.jpg",[],{"id":85872,"slug":85873,"title":45490,"dynasty":54,"author":14022,"museum":300,"description":40657,"tags":85874,"thumbUrl":85875,"material":692,"size":1293,"collection":84,"collections":85876,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238543,"hua-shou-pu-ce-yu-sheng-238543",[24,7,59,27,28,132,949,29,131,99,171,208,64,938],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e195d1cb03a98ec6f13efa18e214b2e.jpg",[],{"id":85878,"slug":85879,"title":46640,"dynasty":54,"author":675,"museum":300,"description":85880,"tags":85881,"thumbUrl":85882,"material":84,"size":84,"collection":84,"collections":85883,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238518,"shan-shui-xiao-ce-qian-wei-cheng-238518","此作以淡墨写就林泉幽境，近岸古木虬枝舒展，新叶点染，清隽雅致。白衣士人凭石临水，静静远眺崖上山居。山峦以细劲线条勾勒皴擦，石质硬朗却不失灵秀，谷间似有岚气浮动，衬出山林空寂。\n\n题字朱印与画面相映成趣，笔墨文气相融。整体笔致秀润简淡，以小见大，将文人林下观物寄怀的雅兴藏于尺幅之中，悠悠禅意漫溢，尽显中式山水的淡远之美。",[24,7,59,128,29,497,34,99,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1312356b88086b92249eb679a5731d02.jpg",[],{"id":85885,"slug":85886,"title":4071,"dynasty":54,"author":29297,"museum":300,"description":55182,"tags":85887,"thumbUrl":85888,"material":692,"size":1293,"collection":84,"collections":85889,"showCount":1105,"zanCount":1998,"manualWeight":48,"mainColor":49},238497,"hua-hui-tu-ce-jiang-pu-238497",[164,24,7,59,27,28,61,62,649,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd46f66160b074cafea7efdf797140c7b.jpg",[],{"id":85891,"slug":85892,"title":4071,"dynasty":54,"author":29297,"museum":300,"description":55182,"tags":85893,"thumbUrl":85894,"material":692,"size":1293,"collection":84,"collections":85895,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},238496,"hua-hui-tu-ce-jiang-pu-238496",[24,7,59,27,28,61,62,547,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe505bb779d3f2b48ac415c9e1ae624b7.jpg",[],{"id":85897,"slug":85898,"title":4071,"dynasty":54,"author":29297,"museum":300,"description":55182,"tags":85899,"thumbUrl":85900,"material":692,"size":1293,"collection":84,"collections":85901,"showCount":1105,"zanCount":1998,"manualWeight":48,"mainColor":49},238491,"hua-hui-tu-ce-jiang-pu-238491",[24,7,59,27,28,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed705018c8c4ca92240fd0dddcc94ad0.jpg",[],{"id":85903,"slug":85904,"title":4071,"dynasty":54,"author":29297,"museum":300,"description":55182,"tags":85905,"thumbUrl":85906,"material":692,"size":1293,"collection":84,"collections":85907,"showCount":1105,"zanCount":1998,"manualWeight":48,"mainColor":72},238490,"hua-hui-tu-ce-jiang-pu-238490",[24,7,59,28,27,61,62,167,606],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F492c4e28c2f5ed16196ab57b10e80ec1.jpg",[],{"id":85909,"slug":85910,"title":4071,"dynasty":54,"author":29297,"museum":300,"description":55182,"tags":85911,"thumbUrl":85912,"material":692,"size":1293,"collection":84,"collections":85913,"showCount":1105,"zanCount":1998,"manualWeight":48,"mainColor":72},238489,"hua-hui-tu-ce-jiang-pu-238489",[24,7,59,27,28,376,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1860a81fe281ebca6ad0b06adbf581cb.jpg",[],{"id":85915,"slug":85916,"title":81782,"dynasty":54,"author":6376,"museum":300,"description":27132,"tags":85917,"thumbUrl":85918,"material":692,"size":1293,"collection":84,"collections":85919,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238458,"mian-yi-mian-hua-tu-ce-mian-yi-238458",[24,7,59,27,28,96,35,34,247,78182],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bdaa9b57346c4fd2ce338d89fb16e87.jpg",[],{"id":85921,"slug":85922,"title":69399,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":85923,"thumbUrl":85924,"material":692,"size":1293,"collection":84,"collections":85925,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238427,"dong-gao-li-gu-ying-chun-tu-xiao-ce-dong-gao-238427",[24,7,59,28,27,376,61,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff652e6eaebee5141c9f45c1fc6fef460.jpg",[],{"id":85927,"slug":85928,"title":28503,"dynasty":54,"author":646,"museum":300,"description":28504,"tags":85929,"thumbUrl":85930,"material":692,"size":1293,"collection":84,"collections":85931,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238391,"dong-gao-tao-li-yi-shou-tu-xiao-ce-dong-gao-238391",[24,7,59,27,61,376,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6389afcbae3460669b6abdfa3232229d.jpg",[],{"id":85933,"slug":85934,"title":28503,"dynasty":54,"author":646,"museum":300,"description":28504,"tags":85935,"thumbUrl":85936,"material":692,"size":1293,"collection":84,"collections":85937,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238390,"dong-gao-tao-li-yi-shou-tu-xiao-ce-dong-gao-238390",[24,7,59,28,27,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde01fd18efeb0c1ad30491b58b0c6780.jpg",[],{"id":85939,"slug":85940,"title":48174,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":85941,"thumbUrl":85942,"material":84,"size":84,"collection":84,"collections":85943,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},238340,"si-jing-shan-shui-xiao-ce-dong-gao-238340",[164,24,7,59,27,128,132,29,131,34,97,130,98,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab52e0d7d248ec9501bef69b68622765.jpg",[],{"id":85945,"slug":85946,"title":38929,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":85947,"thumbUrl":85948,"material":692,"size":1293,"collection":84,"collections":85949,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238328,"yu-pu-fei-xiang-tu-xiao-ce-dong-gao-238328",[304,24,7,59,27,28,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1180c9cb3ab69267a829bb8a96e8bea4.jpg",[],{"id":85951,"slug":85952,"title":38929,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":85953,"thumbUrl":85955,"material":692,"size":1293,"collection":84,"collections":85956,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238327,"yu-pu-fei-xiang-tu-xiao-ce-dong-gao-238327",[24,7,59,27,28,61,376,85954],"菊叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cd14e0cb22f9a0a40739a659ecbb1d5.jpg",[],{"id":85958,"slug":85959,"title":38929,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":85960,"thumbUrl":85961,"material":692,"size":1293,"collection":84,"collections":85962,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238326,"yu-pu-fei-xiang-tu-xiao-ce-dong-gao-238326",[24,7,164,59,28,27,61,376,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed6dda4dc206bfefc540662c1589e0f8.jpg",[],{"id":85964,"slug":85965,"title":38929,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":85966,"thumbUrl":85967,"material":692,"size":1293,"collection":84,"collections":85968,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238325,"yu-pu-fei-xiang-tu-xiao-ce-dong-gao-238325",[24,7,59,27,28,61,376,747],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d72e8060ba2c6207e2d07fe2a36481b.jpg",[],{"id":85970,"slug":85971,"title":31943,"dynasty":54,"author":31944,"museum":20,"description":31945,"tags":85972,"thumbUrl":85973,"material":1223,"size":31948,"collection":84,"collections":85974,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238298,"shi-liu-luo-han-ce-jia-quan-238298",[24,7,27,28,59,187,96,1144,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a92660516aae9fe329812826bdb8dd.jpg",[],{"id":85976,"slug":85977,"title":60906,"dynasty":54,"author":47606,"museum":300,"description":60907,"tags":85978,"thumbUrl":85980,"material":84,"size":84,"collection":84,"collections":85981,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238281,"hua-qia-xuan-yuan-tu-ce-huang-yue-238281",[24,7,59,27,28,609,229,1771,230,85979],"小石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F890cbd6d671f51e4395ee87a2b5aab4c.jpg",[],{"id":85983,"slug":85984,"title":41582,"dynasty":54,"author":41583,"museum":300,"description":85985,"tags":85986,"thumbUrl":85987,"material":84,"size":84,"collection":84,"collections":85988,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238247,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238247","以留白晕出山巅积雪，淡墨轻绘背阴处的沉郁，层峦尽数裹上素皑冬衣，将雪后山林的清寒萧寒铺展眼前。枯木琼枝错落山腰，古寺村居隐于其中，静穆禅意漫溢卷间，似能听见山寺晓钟穿破雪色而来。对页行书题诗笔致秀雅舒展，诗画相映，把雪晴时分的朗润空寂揉为一体，既写尽冬山冷峭，又藏着烟火暖意，将雪霁西山的清灵空远尽数定格。",[24,7,59,27,133,208,132,29,1556,1337,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9f48103f799cddc9965b303f8b837a6.jpg",[],{"id":85990,"slug":85991,"title":409,"dynasty":54,"author":3437,"museum":300,"description":85992,"tags":85993,"thumbUrl":85995,"material":84,"size":84,"collection":84,"collections":85996,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238202,"shan-shui-ce-tang-dai-238202","此帧以干笔淡墨绘就平远溪山，近岸村居错落隐于茂林，清溪萦回脉脉，远山以披麻皴写出，淡墨晕染出空濛烟岚，尽显温润秀雅的静谧意境。题诗呼应画中幽居之趣，笔致清隽端雅，诗画相融，将林泉高致寄于尺幅之中。以极简墨色铺陈，勾勒出尘嚣尽褪的山居雅境，淡而不薄，简而愈远，藏着寄情丘壑的隐逸襟怀，尽显传统山水以画载道的文人意趣。",[24,7,59,128,132,133,64,29,663,34,35,499,500,85994,53818],"沙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F668eb5906780377193669be9a7fe4a69.jpg",[],{"id":85998,"slug":85999,"title":409,"dynasty":54,"author":3437,"museum":300,"description":86000,"tags":86001,"thumbUrl":86002,"material":84,"size":84,"collection":84,"collections":86003,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},238198,"shan-shui-ce-tang-dai-238198","此作以干笔皴擦写寒林丘壑，嶙峋山石间枯木萧疏，淡墨晕染远山如笼薄烟，与混茫天色相融，将冬日山野的荒寂清冷铺陈开来。边角取景，愈显天地空阔、幽绝尘寰。\n\n左侧题诗与画境相契，山空人绝、孤鸟独飞，把世外幽隐的清苦禅意晕开，朱红古印沉朴雅致，与水墨冷调相映成趣。尺幅之间藏林泉高致，将文人幽居寄情山水的意趣尽显无余，笔底皆是沉静淡远的林下之风。",[24,7,59,128,27,132,64,208,663,1556,413,131,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d955d2c00347e29d254ec2a2f46329b.jpg",[],{"id":86005,"slug":86006,"title":409,"dynasty":54,"author":30880,"museum":300,"description":86007,"tags":86008,"thumbUrl":86009,"material":84,"size":84,"collection":84,"collections":86010,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238152,"shan-shui-ce-yun-xi-238152","此作用左诗右图的形制，尽显文人雅趣。画面笔墨清润淡雅，山峦以披麻皴写就，层叠起伏间带着苍秀古拙之意。林麓间村居隐现，溪桥横陈，淡淡晕染的云烟铺就出空寂幽远的山居氛围，将红尘隔绝的林下之境缓缓铺展。配诗与山水呼应，将眼前丘壑视作仙乡，落笔清隽，书画合璧尽显静穆萧散的隐逸意趣，寥寥笔墨勾勒出超然世外的悠远意境，尽显寄情山水的文人襟怀。",[24,7,59,128,132,29,97,98,99,171,34,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb93487567e330727c50dc26b00c0aefb.jpg",[],{"id":86012,"slug":86013,"title":409,"dynasty":54,"author":30880,"museum":300,"description":86014,"tags":86015,"thumbUrl":86016,"material":84,"size":84,"collection":84,"collections":86017,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238149,"shan-shui-ce-yun-xi-238149","此作淡墨皴山，笔致苍秀温润，层叠峰崖间飞泉奔涌，林麓隐见山居茅舍，远岫衔着空濛水色，咫尺画幅铺展出清旷灵逸之境。\n题诗与山水相映，把幽栖丘壑的出世意趣藏于笔墨间，无浓丽设色，只以水墨晕染出烟岚空寂，观之便觉尘嚣尽褪，恍如踏入诗里的世外仙壶，尽显文人寄情林泉的萧散襟怀。",[24,7,59,128,132,64,208,29,99,131,34,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13a5a4d9cc71dbbd1bbe8f2a844ee23b.jpg",[],{"id":86019,"slug":86020,"title":38945,"dynasty":54,"author":16583,"museum":300,"description":86021,"tags":86022,"thumbUrl":86023,"material":84,"size":84,"collection":84,"collections":86024,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238053,"zhi-hua-luo-shen-fu-tu-ce-gao-qi-pei-238053","此作用指为笔，写意风神尽显。洛神发髻轻挽，衣袂翩跹，淡墨晕染铺就洛水烟波，朦胧间恍见神女踏浪而来。线条简括洗练，寥寥数笔便将洛神柔婉仙姿勾勒分明，淡赭与水墨糅合晕开，晕染出幽渺空灵的水泽氛围。\n\n左侧题诗与画境呼应，诗画交融，笔简意足，将洛神孤高缥缈的清雅气质烘托尽致。未作繁复刻画，却以极简的指下笔墨，把神女凌波的幽缈意境铺陈开来，尽显写意之妙，空灵悠远的古韵扑面而来。",[24,7,59,29104,128,27,96,166,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F698c028c881d0dc73ab6a8abff4f1c4c.jpg",[],{"id":86026,"slug":86027,"title":38945,"dynasty":54,"author":16583,"museum":300,"description":86028,"tags":86029,"thumbUrl":86030,"material":84,"size":84,"collection":84,"collections":86031,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238050,"zhi-hua-luo-shen-fu-tu-ce-gao-qi-pei-238050","此作以指为笔，写意出洛神凌波的幽渺风姿。女子低眉敛神，款步踏水而行，衣袂随步态舒展翻飞，寥寥数笔便勾勒出灵动缥缈的体态。沙岸水波以淡墨晕染，墨色干湿交融间，将清波漾动之感尽显，似能窥见洛神凌波微步的诗意情境。\n\n指墨的拙朴意趣尽显，笔触简淡却风神具足，留白处氤氲出悠远仙气，一旁题诗朱印相映，晕染出雅致的文人意韵，将洛神翩然出尘的古典神韵凝练于尺幅之间，空灵雅致，余韵悠长。",[24,7,59,29104,128,96,166,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce5e079303d195b5cfab31b104201b68.jpg",[],{"id":86033,"slug":86034,"title":38945,"dynasty":54,"author":16583,"museum":300,"description":86035,"tags":86036,"thumbUrl":86037,"material":84,"size":84,"collection":84,"collections":86038,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238049,"zhi-hua-luo-shen-fu-tu-ce-gao-qi-pei-238049","此作用指代笔，以水墨写就江头逆风行路之景。朔风卷动旌旗猎猎作响，衣袂亦被狂风扯得翻飞。画中诸人或垂眉躬身抵御强风，或相互牵扶稳步向前，将羁旅人行路的窘迫与同伴间的扶持默契，描摹得生动传神。\n\n淡墨晕染出空茫江天，笔线枯劲写意，寥寥数笔便勾勒出人物神态身形，尽显荒寒萧索之意。右上角题款与画面呼应，文气融于水墨，将诗意藏于简淡笔触间，以形写意，于极简笔墨里铺展出羁旅苍茫意境，尽显写意精髓。",[24,7,59,29104,128,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb5c7afe8bb07757c1f020fd083f8b12.jpg",[],{"id":86040,"slug":86041,"title":409,"dynasty":54,"author":41621,"museum":300,"description":86042,"tags":86043,"thumbUrl":86044,"material":84,"size":84,"collection":84,"collections":86045,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},238016,"shan-shui-ce-lu-zun-shu-238016","陆遵书是清代画家、诗人。字扶远、芙苑、即仙，号得岑，又号碧阴居士、紫碧山史。嘉定人，清乾隆二十四年（1759年）举人。嘉定人。二十七年，迎銮献诗画，称旨，供奉内廷。兼得董邦达指授，画学益进。后曾主持东昌书院。五十二年，选广东会同知县，未赴任。卒年六十七。诗极潇洒。画山水烟云深秀，丘壑不穷，晚年喜作远岫平林，亦得真趣。著有《燕台稿》《豫游稿》《停云稿》《练川竹枝词》《七十二峰考》《得岑馆画跋》等。\n乾隆三十三年（1768）中举人，晚年授会同（今湖南怀化）知县，未及赴任而卒。陆遵书山水师承王鉴、王原祁，烟云深秀，丘壑茂密，而另一种写意荒率之笔，系仿项圣谟。晚年声望既重，多作远岫平林。能写诗，意境清丽。乾隆四十八年（1783）曾作《寒林夕照图》。学生金梦惠、顾祝能继承其画学。",[24,7,59,128,132,29,167,413,35,98,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64c9ec43783404bf2adb345b2f388fbc.jpg",[],{"id":86047,"slug":86048,"title":7864,"dynasty":54,"author":81936,"museum":300,"description":81937,"tags":86049,"thumbUrl":86050,"material":692,"size":1293,"collection":84,"collections":86051,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237995,"za-hua-ce-xue-huai-237995",[24,7,59,27,28,61,624,2037,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1dfb60f7ffe979a0c659a29d55d4d93.jpg",[],{"id":86053,"slug":86054,"title":7864,"dynasty":54,"author":81936,"museum":300,"description":81937,"tags":86055,"thumbUrl":86056,"material":692,"size":1293,"collection":84,"collections":86057,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237985,"za-hua-ce-xue-huai-237985",[24,7,59,188,128,61,374,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc9983c15dff22d8ed9bce72d5712f30.jpg",[],{"id":86059,"slug":86060,"title":86061,"dynasty":124,"author":223,"museum":300,"description":86062,"tags":86063,"thumbUrl":86065,"material":692,"size":1293,"collection":84,"collections":86066,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237965,"wang-shi-tao-lin-qing-hua-tu-shan-yi-ming-237965","王式桃林清话图扇","以桃林为幕，盘曲交错的老枝缀着轻红桃花，将扇面裁为清谈雅境。衣袂飘然的文士相对晤言，侍童垂手侧立，林间苔石隐现，野意自生。\n\n笔致苍秀兼济，老干以焦墨皴擦，尽显嶙峋古意，桃花淡晕轻施，晕开融融春意。咫尺尺幅铺展林泉幽致，人物神态恬然自适，将林下雅集的闲逸襟怀藏于毫端，淡墨轻岚间漾着超然世外的风流，把寄情山水、畅怀清谈的雅兴铺陈尽致。",[24,7,1131,128,27,96,86064,413,131,132,99],"桃林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffec5aa1d170f94f4fd3965663b36a3c8.jpg",[],{"id":86068,"slug":86069,"title":86070,"dynasty":54,"author":86071,"museum":300,"description":86072,"tags":86073,"thumbUrl":86074,"material":692,"size":1293,"collection":84,"collections":86075,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237957,"qi-shi-guan-quan-tu-ye-xie-cai-237957","奇石观泉图页","谢棌","此作用笔清润简淡，以浅绛晕染山水，山石以披麻皴轻擦敷色，枯木虬枝萧疏错落，漫溢冬日清寂之气。幽人踞坐溪石，临流观泉，静中含动，将林泉高致的雅趣凝于尺幅间。\n\n诗书印合璧，笔墨秀逸温雅，题诗恰合画中意涵，尽显文人寄情山水、寻味知音的林下襟怀。整幅小品文气盎然，以简淡之笔写尽林泉幽寂的诗意闲情，意境恬澹冲和，尽显文人画的雅致意趣。",[24,7,59,128,132,29,171,99,1337,96,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b9956ef13ca623961fd1f885cf5971c.jpg",[],{"id":86077,"slug":86078,"title":4724,"dynasty":54,"author":67099,"museum":300,"description":67100,"tags":86079,"thumbUrl":86080,"material":84,"size":84,"collection":84,"collections":86081,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237867,"shan-shui-tu-ce-jin-xue-jian-237867",[24,7,59,128,27,29,132,98,99,496,34,8709,31,38,415,14906,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F143db4af058fe90f4e3815f655e91d60.jpg",[],{"id":86083,"slug":86084,"title":86085,"dynasty":124,"author":69849,"museum":300,"description":69850,"tags":86086,"thumbUrl":86087,"material":692,"size":1293,"collection":84,"collections":86088,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237834,"tian-chi-fan-song-shan-chen-guan-237834","天池梵松扇",[24,7,1131,128,27,132,29,1144,131,96,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82b740a55c5701e8fd9527f1e6401d70.jpg",[],{"id":86090,"slug":86091,"title":86092,"dynasty":124,"author":5798,"museum":300,"description":55106,"tags":86093,"thumbUrl":86094,"material":692,"size":1293,"collection":84,"collections":86095,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237821,"xing-lin-du-bu-shan-zhang-hong-237821","杏林独步扇",[24,7,1131,27,32769,853,331,582,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7be1a13adf0e6e80517ea00e4ea9d968.jpg",[],{"id":86097,"slug":86098,"title":86099,"dynasty":54,"author":86100,"museum":300,"description":86101,"tags":86102,"thumbUrl":86103,"material":692,"size":1293,"collection":84,"collections":86104,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},237815,"huan-yi-nong-di-tu-shan-ye-cao-you-guang-237815","桓伊弄笛图扇页","曹有光","曹有光 （生卒年不详），吴县（今江苏苏州）人。工书，善画山水、花卉。",[24,7,1131,128,96,438,34,131,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac111d582459214bfca40b0c245b1c41.jpg",[],{"id":86106,"slug":86107,"title":86108,"dynasty":54,"author":36472,"museum":300,"description":86109,"tags":86110,"thumbUrl":86111,"material":692,"size":1293,"collection":84,"collections":86112,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237814,"jiang-cheng-chun-se-shan-yuan-ying-237814","江城春色扇","字近华，号二峰，元和（今江苏苏州）人。",[24,7,1131,128,29,34,131,37,132,7566],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb79d898f6ba8f451f433da656aa58759.jpg",[],{"id":86114,"slug":86115,"title":86116,"dynasty":124,"author":86117,"museum":300,"description":86118,"tags":86119,"thumbUrl":86120,"material":692,"size":1293,"collection":84,"collections":86121,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},237811,"jiang-gan-li-ma-shan-ye-ma-yi-237811","江干立马扇页","马逸","马逸，字南坪，晚号陔南，清代江苏常熟人。",[24,7,1131,128,132,29,96,101,3649,98,34,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf2dc4217e38e19041df8f18b637a45.jpg",[],{"id":86123,"slug":86124,"title":86125,"dynasty":124,"author":86126,"museum":300,"description":86127,"tags":86128,"thumbUrl":86129,"material":692,"size":1293,"collection":84,"collections":86130,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237806,"hua-zhu-shan-jin-sheng-yuan-237806","画竹扇","金声远","此作为金笺墨竹，以浓淡墨色晕染出竹叶俯仰欹侧之姿，笔致爽利苍劲，尽显竹之风骨。叶片排布疏密错落、虚实相生，在尺幅扇面间铺陈出萧疏清逸的林下意趣。运笔老辣简练，以书法入画，瘦劲笔力勾勒出竹枝挺拔之态，墨色浓淡对比让画面层次分明，仿佛将风过竹梢的灵动瞬间凝于扇上。虽仅绘数竿幽竹，却饱含文人画清雅气质，将君子挺拔脱俗的品格藏于笔墨之中，小小扇面自成一方清远雅致的天地，尽显文人寄情于物的审美意趣。",[164,24,7,1131,128,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59734acc00373130f0119f1c4a2a4b6e.jpg",[],{"id":86132,"slug":86133,"title":86134,"dynasty":54,"author":223,"museum":300,"description":86135,"tags":86136,"thumbUrl":86137,"material":84,"size":84,"collection":84,"collections":86138,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237782,"zheng-min-jiu-long-tan-tu-zhou-yi-ming-237782","郑旼九龙潭图轴","此作用淡墨写层叠峰峦，流泉蜿蜒穿行于崖谷之间，林木错落点染山隅。笔法松秀空灵，将幽谷清寂之境铺陈开来，淡赭晕染山石，苍润交融间尽显山野静穆灵秀。\n\n右上角题诗与山水相映成趣，诗画合璧，藏尽萧散简淡的文人逸韵。仿佛能闻声山涧潺潺、林风簌簌，笔墨间寄寓着林泉高致的雅意，将皖南山水的幽寂澹远凝于笔底，尽显静中生动的山水之美。",[24,7,165,128,132,29,131,34,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10d8dd492d87073d44459ca8b7d484a8.jpg",[],{"id":86140,"slug":86141,"title":4071,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":86142,"thumbUrl":86143,"material":692,"size":1293,"collection":84,"collections":86144,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237739,"hua-hui-tu-ce-huang-shen-237739",[24,7,59,840,27,61,62,548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc363b5c69064b3b9258ec5735ad3c56d.jpg",[],{"id":86146,"slug":86147,"title":4071,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":86148,"thumbUrl":86149,"material":692,"size":1293,"collection":84,"collections":86150,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237738,"hua-hui-tu-ce-huang-shen-237738",[24,7,59,840,128,27,61,62,481,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dda06dec78b7c488318c77848d1ccbf.jpg",[],{"id":86152,"slug":86153,"title":4071,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":86154,"thumbUrl":86155,"material":692,"size":1293,"collection":84,"collections":86156,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237737,"hua-hui-tu-ce-huang-shen-237737",[24,7,59,128,27,840,208,61,62,806],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9b4386037e5114487de86c6a7f60c2c.jpg",[],{"id":86158,"slug":86159,"title":38952,"dynasty":54,"author":38900,"museum":300,"description":38953,"tags":86160,"thumbUrl":86161,"material":692,"size":1293,"collection":84,"collections":86162,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237726,"wu-sheng-shi-yi-tu-ce-huang-yi-237726",[24,7,59,128,188,132,29,96,171,331,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1e532ccf97e7123f828d185a09a5033.jpg",[],{"id":86164,"slug":86165,"title":38952,"dynasty":54,"author":38900,"museum":300,"description":38953,"tags":86166,"thumbUrl":86167,"material":692,"size":1293,"collection":84,"collections":86168,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237723,"wu-sheng-shi-yi-tu-ce-huang-yi-237723",[24,7,59,128,132,208,29,211,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a4875b02a9e7e0e1f7251b575d21052.jpg",[],{"id":86170,"slug":86171,"title":50885,"dynasty":54,"author":50886,"museum":300,"description":50887,"tags":86172,"thumbUrl":86173,"material":692,"size":1293,"collection":84,"collections":86174,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237713,"qiu-sui-hua-niao-ce-qiu-sui-237713",[24,7,59,27,188,61,167,606,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb7b417f97f267b64d3a11add3f9799.jpg",[],{"id":86176,"slug":86177,"title":409,"dynasty":124,"author":33653,"museum":300,"description":38271,"tags":86178,"thumbUrl":86179,"material":692,"size":1293,"collection":84,"collections":86180,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237629,"shan-shui-ce-shen-hao-237629",[24,7,59,128,132,29,372,167,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb31692fcdb76c426ff8f88f28e70d5de.jpg",[],{"id":86182,"slug":86183,"title":18219,"dynasty":54,"author":9529,"museum":300,"description":18220,"tags":86184,"thumbUrl":86185,"material":84,"size":84,"collection":84,"collections":86186,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237607,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237607",[24,7,59,128,29,99,131,34,132,330,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68bf50061c1a73001d5d47292a2ae50e.jpg",[],{"id":86188,"slug":86189,"title":86190,"dynasty":54,"author":45540,"museum":300,"description":86191,"tags":86192,"thumbUrl":86193,"material":84,"size":84,"collection":84,"collections":86194,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237567,"wang-fu-hua-fen-yong-xiao-shi-shi-ce-wang-fu-237567","王凫画分咏小石诗册","此作为行书诗册，笔墨舒展灵动，墨色晕染自然，清雅书卷气扑面而来。两页题诗布局疏朗匀停，笔锋时而遒劲苍润，时而秀逸婉转，自带悠然韵律。诗文揽山海烟霞入怀，将方寸天地间的林泉幽思铺陈开来，把对丘壑旧梦的眷恋诉诸笔端，笔墨与诗意相融相合，尽显文人风雅从容的林下之风，是书画合一的雅致小品。",[24,7,59,133,208,128,27,171,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59c124e458d042c59fd6d7fae33486b8.jpg",[],{"id":86196,"slug":86197,"title":409,"dynasty":54,"author":43518,"museum":20,"description":48227,"tags":86198,"thumbUrl":86199,"material":84,"size":84,"collection":84,"collections":86200,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237559,"shan-shui-ce-wen-dian-237559",[24,7,59,128,132,29,171,1337,211,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76ac7df2cc9d5056d352fd122b9a26d5.jpg",[],{"id":86202,"slug":86203,"title":1289,"dynasty":124,"author":42458,"museum":300,"description":42459,"tags":86204,"thumbUrl":86205,"material":692,"size":1293,"collection":84,"collections":86206,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237506,"shan-shui-hua-hui-ce-jiang-shou-cheng-237506",[24,7,59,133,27,29,97,129,1144,415,414,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49d532a714dc960a0f0bb773b92a3b5f.jpg",[],{"id":86208,"slug":86209,"title":1289,"dynasty":124,"author":42458,"museum":300,"description":42459,"tags":86210,"thumbUrl":86211,"material":692,"size":1293,"collection":84,"collections":86212,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237504,"shan-shui-hua-hui-ce-jiang-shou-cheng-237504",[24,7,59,133,27,29,31,34,496,10582,10993,128,64,10997,2983,131,38,5323,415,14906],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F151fceff1d559bd393e5906365f0c727.jpg",[],{"id":86214,"slug":86215,"title":4724,"dynasty":54,"author":48234,"museum":300,"description":48235,"tags":86216,"thumbUrl":86217,"material":692,"size":1293,"collection":84,"collections":86218,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237480,"shan-shui-tu-ce-yao-song-237480",[24,7,59,128,132,133,64,208,29,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc21a81878d2ae56c3b30fc7bc6e7643f.jpg",[],{"id":86220,"slug":86221,"title":86222,"dynasty":54,"author":48257,"museum":300,"description":48258,"tags":86223,"thumbUrl":86224,"material":692,"size":1293,"collection":84,"collections":86225,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237446,"wu-gu-xiang-zhang-lin-xing-lv-shan-mian-wu-gu-xiang-237446","吴穀祥长林行旅扇面",[24,7,1131,128,132,29,19769,2620,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2fd5838ebe2ac32e29e76e9fa5c712c.jpg",[],{"id":86227,"slug":86228,"title":409,"dynasty":124,"author":47424,"museum":244,"description":86229,"tags":86230,"thumbUrl":86231,"material":611,"size":84,"collection":84,"collections":86232,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},237435,"shan-shui-ce-jiang-qian-237435","蒋嵩，字三松，号徂来山人、三松居士，江宁（今江苏南京）人。生卒年不详，从艺活动约在成化、嘉靖间。善画山水人物，画法宗吴伟，为浙派名家之一。喜用焦墨枯笔，亦善用淡墨，浓淡相间，浑然一体，如《渔舟读书图》，山石多用大片湿墨，颇见功力，虽尺幅山水，却云蒸雾变，烟霞触目。亦工人物，与郑文林、钟礼、张路等都是浙派晚期名手。又因他们纵笔豪放，多越矩度，曾被吴派讥为「狂态邪学」。",[24,7,59,27,132,29,98,99,130,372,167,96,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2486eb2359c6a02f2a753ded94a267da.jpg",[],{"id":86234,"slug":86235,"title":4724,"dynasty":54,"author":78869,"museum":300,"description":78870,"tags":86236,"thumbUrl":86237,"material":692,"size":1293,"collection":84,"collections":86238,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237398,"shan-shui-tu-ce-xue-xuan-237398",[24,7,59,128,27,132,29,331,131,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c389e1d53e7ebadf36de69feac3a60f.jpg",[],{"id":86240,"slug":86241,"title":4724,"dynasty":54,"author":78869,"museum":300,"description":78870,"tags":86242,"thumbUrl":86243,"material":692,"size":1293,"collection":84,"collections":86244,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237392,"shan-shui-tu-ce-xue-xuan-237392",[24,7,59,128,132,29,131,34,37,98,99,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabc0110d9cdad07df1c56fa5804d3bae.jpg",[],{"id":86246,"slug":86247,"title":4724,"dynasty":54,"author":78869,"museum":300,"description":78870,"tags":86248,"thumbUrl":86249,"material":692,"size":1293,"collection":84,"collections":86250,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237390,"shan-shui-tu-ce-xue-xuan-237390",[24,7,59,128,132,29,331,129,131,99,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49dae6920895e90930311c4211a8a0a6.jpg",[],{"id":86252,"slug":86253,"title":86254,"dynasty":54,"author":9529,"museum":244,"description":38195,"tags":86255,"thumbUrl":86256,"material":611,"size":84,"collection":84,"collections":86257,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237383,"shan-shui-ce-song-jun-ye-fang-da-chi-shan-shui-ye-wang-hui-237383","山水册-宋骏业仿大痴山水页",[24,7,59,128,29,132,330,34,35,131,499,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cb1c965398a2ee9f3b80e7e2f75d7c3.jpg",[],{"id":86259,"slug":86260,"title":86261,"dynasty":54,"author":9529,"museum":244,"description":38195,"tags":86262,"thumbUrl":86263,"material":611,"size":84,"collection":84,"collections":86264,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237381,"shan-shui-ce-yang-jin-chu-shan-qing-xiao-tu-ye-wang-hui-237381","山水册-杨晋楚山清晓图页",[24,7,59,128,132,1349,29,30,37,97,34,495,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ba8eddc6857a2d1b33ce8c82ff0ef6d.jpg",[],{"id":86266,"slug":86267,"title":409,"dynasty":54,"author":55737,"museum":300,"description":55738,"tags":86268,"thumbUrl":86269,"material":611,"size":84,"collection":84,"collections":86270,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237375,"shan-shui-ce-wang-jiu-237375",[24,7,59,27,128,29,130,413,131,133,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36058b13f0c78ccf235607fa307501b5.jpg",[],{"id":86272,"slug":86273,"title":86274,"dynasty":124,"author":5798,"museum":300,"description":55106,"tags":86275,"thumbUrl":86276,"material":692,"size":1293,"collection":84,"collections":86277,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237361,"si-ren-he-hua-xiao-xiang-jing-shan-zhang-hong-237361","四人合画潇湘景扇",[24,7,1131,29,128,27,34,131,130,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60887480d7b25658bcc1ec3efbd8ef48.jpg",[],{"id":86279,"slug":86280,"title":7864,"dynasty":54,"author":38236,"museum":300,"description":38237,"tags":86281,"thumbUrl":86282,"material":692,"size":1293,"collection":84,"collections":86283,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237281,"za-hua-ce-chen-zi-237281",[24,7,59,28,27,166,1634,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b0d67f674156feaafab9c6a5c978655.jpg",[],{"id":86285,"slug":86286,"title":44533,"dynasty":124,"author":44534,"museum":300,"description":44535,"tags":86287,"thumbUrl":86288,"material":692,"size":1293,"collection":84,"collections":86289,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237272,"zhi-hua-ce-chen-dao-237272",[24,7,59,128,29104,102,949,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33a115cf5729b52d2b336e1cd0f008b.jpg",[],{"id":86291,"slug":86292,"title":44533,"dynasty":124,"author":44534,"museum":300,"description":41599,"tags":86293,"thumbUrl":86294,"material":611,"size":84,"collection":84,"collections":86295,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237269,"zhi-hua-ce-chen-dao-237269",[24,7,59,29104,128,101,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6750588351e175e38801cd698b47173f.jpg",[],{"id":86297,"slug":86298,"title":33652,"dynasty":124,"author":33653,"museum":56,"description":33654,"tags":86299,"thumbUrl":86300,"material":1223,"size":33657,"collection":84,"collections":86301,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237267,"shen-hao-shan-shui-tu-ce-shen-hao-237267",[24,7,164,59,128,132,29,663,413,98,228,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00dd60538f0f673a1a97b9f647aa6e14.jpg",[],{"id":86303,"slug":86304,"title":33652,"dynasty":124,"author":33653,"museum":56,"description":33654,"tags":86305,"thumbUrl":86306,"material":1223,"size":33657,"collection":84,"collections":86307,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237266,"shen-hao-shan-shui-tu-ce-shen-hao-237266",[24,7,59,188,128,29,1337,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb239bf63bec4c31886f19a33836f1907.jpg",[],{"id":86309,"slug":86310,"title":33652,"dynasty":124,"author":33653,"museum":56,"description":33654,"tags":86311,"thumbUrl":86312,"material":1223,"size":33657,"collection":84,"collections":86313,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237264,"shen-hao-shan-shui-tu-ce-shen-hao-237264",[24,7,59,188,128,29,331,131,415,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38b5b81bcde430c081aacc9d94e845be.jpg",[],{"id":86315,"slug":86316,"title":78431,"dynasty":54,"author":17240,"museum":300,"description":26583,"tags":86317,"thumbUrl":86318,"material":692,"size":1293,"collection":84,"collections":86319,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237245,"gu-mu-zhu-shi-tu-ce-cha-shi-biao-237245",[24,7,59,128,167,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06e0a64709a954361797a118039a5b29.jpg",[],{"id":86321,"slug":86322,"title":78431,"dynasty":54,"author":17240,"museum":300,"description":26583,"tags":86323,"thumbUrl":86324,"material":692,"size":1293,"collection":84,"collections":86325,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237244,"gu-mu-zhu-shi-tu-ce-cha-shi-biao-237244",[24,7,59,128,4797,167,1314,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcae06dce8a762b951ae1b4b257fca4b.jpg",[],{"id":86327,"slug":86328,"title":45548,"dynasty":54,"author":17240,"museum":20,"description":45549,"tags":86329,"thumbUrl":86330,"material":611,"size":84,"collection":84,"collections":86331,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237214,"shu-hua-he-bi-ce-cha-shi-biao-237214",[24,7,59,128,29,133,132,171,34,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccf7afdbaa958fcc0dfeef3dde355713.jpg",[],{"id":86333,"slug":86334,"title":45548,"dynasty":54,"author":17240,"museum":20,"description":45549,"tags":86335,"thumbUrl":86336,"material":611,"size":84,"collection":84,"collections":86337,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237212,"shu-hua-he-bi-ce-cha-shi-biao-237212",[24,7,59,128,29,331,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feef93ac91a3189954eb023f4cd30bacb.jpg",[],{"id":86339,"slug":86340,"title":45548,"dynasty":54,"author":17240,"museum":20,"description":45549,"tags":86341,"thumbUrl":86342,"material":611,"size":84,"collection":84,"collections":86343,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237210,"shu-hua-he-bi-ce-cha-shi-biao-237210",[24,7,59,128,133,208,29,98,99,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41bd0c710f4973968061bd74246a8651.jpg",[],{"id":86345,"slug":86346,"title":45548,"dynasty":54,"author":17240,"museum":20,"description":45549,"tags":86347,"thumbUrl":86348,"material":611,"size":84,"collection":84,"collections":86349,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237207,"shu-hua-he-bi-ce-cha-shi-biao-237207",[24,7,59,128,133,331,211,3344,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98e4f5d6f94bffcab638931daf03a832.jpg",[],{"id":86351,"slug":86352,"title":37257,"dynasty":54,"author":37258,"museum":300,"description":37259,"tags":86353,"thumbUrl":86354,"material":84,"size":84,"collection":84,"collections":86355,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237163,"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237163",[24,7,59,133,208,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c76571e7b03860a34bc3bda692f199.jpg",[],{"id":86357,"slug":86358,"title":86359,"dynasty":54,"author":48763,"museum":300,"description":57280,"tags":86360,"thumbUrl":86361,"material":84,"size":84,"collection":84,"collections":86362,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237133,"shan-shui-ren-wu-ce-5-shang-guan-zhou-237133","山水人物册5",[24,7,59,128,27,29,96,331,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6d6aec76c436937359e1c1a8ab23de1.jpg",[],{"id":86364,"slug":86365,"title":86366,"dynasty":54,"author":48763,"museum":300,"description":57280,"tags":86367,"thumbUrl":86368,"material":84,"size":84,"collection":84,"collections":86369,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237132,"shan-shui-ren-wu-ce-4-shang-guan-zhou-237132","山水人物册4",[24,7,59,188,133,208,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe08a31bfd11fbda5c5560ccef424f4d5.jpg",[],{"id":86371,"slug":86372,"title":409,"dynasty":54,"author":17240,"museum":300,"description":25958,"tags":86373,"thumbUrl":86374,"material":84,"size":84,"collection":84,"collections":86375,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237109,"shan-shui-ce-cha-shi-biao-237109",[24,7,128,132,59,29,130,34,96,415,3857,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa34ebe8e0ebe5a598d59b78eb9a784da.jpg",[],{"id":86377,"slug":86378,"title":409,"dynasty":54,"author":17240,"museum":300,"description":25958,"tags":86379,"thumbUrl":86380,"material":84,"size":84,"collection":84,"collections":86381,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237101,"shan-shui-ce-cha-shi-biao-237101",[24,7,59,128,132,208,29,1337,96,101,99,663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feec67ce600a8c63aeb36d198de39d77b.jpg",[],{"id":86383,"slug":86384,"title":34368,"dynasty":54,"author":34369,"museum":300,"description":86385,"tags":86386,"thumbUrl":86387,"material":611,"size":84,"collection":84,"collections":86388,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237065,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237065","此作以淡墨皴擦山石，层峦清润悠远，几株古松虬劲挺拔，松针攒簇间尽显苍然古意。林麓间村居隐现，茅舍错落，晕染出幽寂平和的山居之境。左侧题诗与画作相映，诗书画印浑然一体，尽显文人雅趣。整体构图虚实相生，笔致秀雅内敛，将林下隐逸的栖居意趣融于尺幅之间，静穆雅致晕染出清代文人山水特有的淡远审美，藏着文人心中幽居林泉的理想图景。",[24,7,59,27,29,132,1144,663,131,35,34,415,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd0b758499f628aec8605fa563b12c73.jpg",[],{"id":86390,"slug":86391,"title":58971,"dynasty":124,"author":78489,"museum":300,"description":86392,"tags":86393,"thumbUrl":86394,"material":611,"size":84,"collection":84,"collections":86395,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237055,"hua-hui-ren-wu-ce-mao-fu-guang-237055","左半幅烟江帆影，远山以浅墨晕染层叠舒展，三两舟楫静泊水湾，漾出清寂野趣。右半幅古木虬劲，浓墨点苔尽显苍健，草亭幽人趺静坐卧，似在静听松涛、闲观烟水。\n\n画作以干湿浓墨铺陈层次，近景沉郁、远景清浅，疏密相映，浅绛淡墨晕出山居空寂之境。笔致简逸萧疏，将文人寄情林泉的闲散意趣藏于笔墨间，尽显清雅澹泊的晚明山水小品风神。",[24,7,59,128,132,29,331,129,96,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F733b2e880f55443018890a369a472fbe.jpg",[],{"id":86397,"slug":86398,"title":58971,"dynasty":124,"author":78489,"museum":300,"description":86399,"tags":86400,"thumbUrl":86401,"material":611,"size":84,"collection":84,"collections":86402,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237052,"hua-hui-ren-wu-ce-mao-fu-guang-237052","此作以淡逸之笔绘就闲趣小景，留白疏朗雅致，两处水岸分植粉花，浅蓝枝叶晕染轻柔，淡赭水色晕开汀渚，氤氲出暮春清寂的柔润氛围。蛱蝶翩跹穿掠空白，为静谧画面添了灵动生机，于幽淡里生出鲜活意趣。\n左上题字墨色清隽，与画面意境相融无间，笔墨松秀不事雕琢，尽显文人画尚简尚意的审美格调。寥寥数笔便将观花见蝶的悠然闲绪铺陈开来，淡色浅墨间余韵悠长，把春日将尽的慵懒闲寂尽数藏入尺幅之间，是小品佳制。",[24,7,59,27,61,62,211,1771,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82d798658157ceb8eb9cc0d6591c8db7.jpg",[],{"id":86404,"slug":86405,"title":54011,"dynasty":124,"author":33653,"museum":300,"description":38271,"tags":86406,"thumbUrl":86407,"material":692,"size":1293,"collection":84,"collections":86408,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237026,"mo-mei-ce-shen-hao-237026",[24,7,59,128,371,64,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0394cd2b25b998249b6f7b7b4250338.jpg",[],{"id":86410,"slug":86411,"title":57287,"dynasty":124,"author":57288,"museum":20,"description":57289,"tags":86412,"thumbUrl":86413,"material":611,"size":84,"collection":84,"collections":86414,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237015,"xi-zhu-ce-zhu-ying-237015",[24,7,59,128,27,29,98,96,34,131,1023,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F677d0ff05e5bfb1c095108ee6c723523.jpg",[],{"id":86416,"slug":86417,"title":57287,"dynasty":124,"author":57288,"museum":20,"description":57289,"tags":86418,"thumbUrl":86419,"material":611,"size":84,"collection":84,"collections":86420,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},237011,"xi-zhu-ce-zhu-ying-237011",[24,164,7,59,27,132,29,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4680f03153e0961c0f9f8fa238b4094.jpg",[],{"id":86422,"slug":86423,"title":409,"dynasty":54,"author":63009,"museum":300,"description":63010,"tags":86424,"thumbUrl":86425,"material":692,"size":1293,"collection":84,"collections":86426,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236993,"shan-shui-ce-zhang-xi-236993",[24,7,164,59,128,27,133,64,29,331,131,96,1350,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F871c018d1e602b0605c00635a70cc353.jpg",[],{"id":86428,"slug":86429,"title":409,"dynasty":54,"author":63009,"museum":300,"description":63010,"tags":86430,"thumbUrl":86431,"material":692,"size":1293,"collection":84,"collections":86432,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236990,"shan-shui-ce-zhang-xi-236990",[24,7,59,128,133,208,132,29,372,495,130,37,663,1314,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57f199c1ef3dfe5efda921fbdd3f59a5.jpg",[],{"id":86434,"slug":86435,"title":409,"dynasty":54,"author":64957,"museum":300,"description":64958,"tags":86436,"thumbUrl":86437,"material":692,"size":1293,"collection":84,"collections":86438,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236970,"shan-shui-ce-chen-jia-le-236970",[24,7,59,128,29,1337,129,1350,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F111bcaeb5a9e6cd30acd23166f0c05d0.jpg",[],{"id":86440,"slug":86441,"title":409,"dynasty":124,"author":33462,"museum":20,"description":38210,"tags":86442,"thumbUrl":86443,"material":999,"size":38213,"collection":84,"collections":86444,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236907,"shan-shui-ce-song-xu-236907",[24,7,59,128,132,29,99,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a7587627d585a26e26707ed810d497e.jpg",[],{"id":86446,"slug":86447,"title":409,"dynasty":124,"author":33462,"museum":20,"description":38210,"tags":86448,"thumbUrl":86449,"material":999,"size":38213,"collection":84,"collections":86450,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236902,"shan-shui-ce-song-xu-236902",[24,7,128,132,59,29,129,18332,34,664],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa57846266aeca8a1bf2590b28560221d.jpg",[],{"id":86452,"slug":86453,"title":86454,"dynasty":124,"author":223,"museum":300,"description":86455,"tags":86456,"thumbUrl":86457,"material":692,"size":1293,"collection":84,"collections":86458,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236876,"lu-zhi-shi-hu-chun-you-cheng-shan-yi-ming-236876","陆治石湖春游成扇","以泥金笺为底，淡墨写就江南春山。远山如黛，笼在轻烟薄雾之间，似被春帷半遮，带着朦胧的倦意。近岸林木错落，屋舍隐于枝桠，湖面空阔无波，将春日的清寂铺陈开来。\n\n笔墨简淡松灵，不重浓艳，只以皴擦点染勾勒出悠远的山水意韵，把石湖春游的闲逸悄然藏在烟霭之中。扇骨浅刻细纹，与扇面淡远山水相映，自带沉静古朴的文人气韵，将江南春日的温柔疏淡凝于盈尺之间，展合皆是幽远林下风致。",[24,7,1131,128,27,132,29,96,98,99,130,211,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F496cc0747c5cbed3f29b2bed0c958226.jpg",[],{"id":86460,"slug":86461,"title":59083,"dynasty":54,"author":59084,"museum":300,"description":59085,"tags":86462,"thumbUrl":86463,"material":692,"size":1293,"collection":84,"collections":86464,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236858,"zhu-shi-ce-wang-e-236858",[24,7,59,128,133,208,29,167,413,3387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05505829ef7e5929376a204836ebabc0.jpg",[],{"id":86466,"slug":86467,"title":33103,"dynasty":54,"author":46694,"museum":20,"description":46695,"tags":86468,"thumbUrl":86469,"material":734,"size":84,"collection":84,"collections":86470,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},236829,"fang-gu-shan-shui-ce-zhao-cheng-236829",[24,7,59,27,132,2271,29,131,495,34,96,99,1144,11375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b389cdfb53c04fca4ff1a67cf9ba48.jpg",[],{"id":86472,"slug":86473,"title":33103,"dynasty":54,"author":46694,"museum":20,"description":46695,"tags":86474,"thumbUrl":86475,"material":734,"size":84,"collection":84,"collections":86476,"showCount":1105,"zanCount":1116,"manualWeight":48,"mainColor":49},236827,"fang-gu-shan-shui-ce-zhao-cheng-236827",[24,7,59,27,29,95,97,34,131,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19c100ed8d307003bc33ab123ff110a9.jpg",[],{"id":86478,"slug":86479,"title":33103,"dynasty":54,"author":46694,"museum":20,"description":46695,"tags":86480,"thumbUrl":86481,"material":734,"size":84,"collection":84,"collections":86482,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236822,"fang-gu-shan-shui-ce-zhao-cheng-236822",[24,7,59,27,132,29,97,98,99,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fcbda10da79040e9e4b31c98e3cd549.jpg",[],{"id":86484,"slug":86485,"title":67230,"dynasty":124,"author":223,"museum":300,"description":67231,"tags":86486,"thumbUrl":86487,"material":84,"size":84,"collection":84,"collections":86488,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236763,"zhou-tian-qiu-mo-lan-tu-ce-yi-ming-236763",[24,7,164,59,128,61,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c1e19d3c3ded6118071a889bc7a849a.jpg",[],{"id":86490,"slug":86491,"title":67230,"dynasty":124,"author":223,"museum":300,"description":67231,"tags":86492,"thumbUrl":86493,"material":84,"size":84,"collection":84,"collections":86494,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236762,"zhou-tian-qiu-mo-lan-tu-ce-yi-ming-236762",[24,7,164,59,128,375,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeed8cb1c4f91e29eb7470cb038fd3c3.jpg",[],{"id":86496,"slug":86497,"title":67230,"dynasty":124,"author":223,"museum":300,"description":67231,"tags":86498,"thumbUrl":86499,"material":84,"size":84,"collection":84,"collections":86500,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236760,"zhou-tian-qiu-mo-lan-tu-ce-yi-ming-236760",[164,24,7,59,128,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce6d0c7b8a3183c63c3a0314953f74fd.jpg",[],{"id":86502,"slug":86503,"title":67230,"dynasty":124,"author":223,"museum":300,"description":67231,"tags":86504,"thumbUrl":86505,"material":84,"size":84,"collection":84,"collections":86506,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236758,"zhou-tian-qiu-mo-lan-tu-ce-yi-ming-236758",[164,24,7,59,128,375,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff526eb92dd36f9b3394b062db8d28daf.jpg",[],{"id":86508,"slug":86509,"title":86510,"dynasty":54,"author":223,"museum":300,"description":86511,"tags":86512,"thumbUrl":86513,"material":84,"size":84,"collection":84,"collections":86514,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},236744,"huang-can-mo-ti-xian-guo-tu-wan-shan-yi-ming-236744","黄粲摹梯仙国图纨扇","此作用异形纨扇为底，以青绿设色铺陈仙山胜景。画面分上下层叠布境，高远见峰峦崔嵬，深远现云壑藏幽。山石兼用斧劈皴晕染青蓝，苍润相间，古意淳厚。林舍山居错落溪谷，山亭隐于岩岫之间，行旅人物点缀林麓，将世外仙气与山居野趣相融。边角题跋错落排布，书画相映成趣，复刻唐人梯仙意境，以尺幅小景铺展出完整仙山天地，摹古之中自含明清雅致意韵，方寸间尽显缥缈出尘的世外气象。",[24,7,164,1131,27,28,330,29,97,98,99,34,131,495,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb27ad1e62d63a829b95a257d0f7b036.jpg",[],{"id":86516,"slug":86517,"title":37266,"dynasty":54,"author":37267,"museum":300,"description":86518,"tags":86519,"thumbUrl":86520,"material":84,"size":84,"collection":68,"collections":86521,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236713,"hua-niao-guo-ce-li-qi-236713","此作为水墨牡丹，以淡墨晕染花瓣，轻勾轮廓将牡丹舒展柔美的姿态尽显，不见艳色却暗蕴雍容之态。挺秀的花枝搭配皴擦细致的叶片，墨色浓淡错落，层次分明，将叶片舒展的质感生动呈现。\n\n右侧行书题款与画作相映成趣，诗画交融，文气雅致清逸。整体以极简笔墨营造出冲淡脱俗的意趣，未刻意描摹富贵之态，转而将文人雅致藏入清寂水墨之中，尽显小品写意花鸟以少胜多的韵味，寄托着创作者淡泊出尘的审美追求。",[24,7,59,128,61,547,747,22995],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74705150e4cbecf2e914a3f9df14eed1.jpg",[68,117,318],{"id":86523,"slug":86524,"title":78623,"dynasty":124,"author":34726,"museum":300,"description":55756,"tags":86525,"thumbUrl":86526,"material":84,"size":84,"collection":84,"collections":86527,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236643,"song-mao-jin-jiang-nan-ming-sheng-tu-ce-song-mao-jin-236643",[24,7,59,128,27,132,29,98,97,34,96,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aea8e7936c19953620bbd12ccb95cf1.jpg",[],{"id":86529,"slug":86530,"title":409,"dynasty":54,"author":17240,"museum":300,"description":25958,"tags":86531,"thumbUrl":86532,"material":84,"size":84,"collection":84,"collections":86533,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236596,"shan-shui-ce-cha-shi-biao-236596",[24,7,59,128,132,29,331,98,96,171,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c5a31ba571ba653ac6679cd5cb13b41.jpg",[],{"id":86535,"slug":86536,"title":409,"dynasty":54,"author":17240,"museum":300,"description":25958,"tags":86537,"thumbUrl":86538,"material":84,"size":84,"collection":84,"collections":86539,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236593,"shan-shui-ce-cha-shi-biao-236593",[24,7,59,128,29,1337,276,171,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96a355018b93df16e25234ef184f9854.jpg",[],{"id":86541,"slug":86542,"title":409,"dynasty":54,"author":17240,"museum":300,"description":25958,"tags":86543,"thumbUrl":86544,"material":84,"size":84,"collection":84,"collections":86545,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236589,"shan-shui-ce-cha-shi-biao-236589",[24,7,59,128,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674885bf93ce99297cef1508984c4c0d.jpg",[],{"id":86547,"slug":86548,"title":40723,"dynasty":124,"author":36548,"museum":20,"description":40724,"tags":86549,"thumbUrl":86550,"material":84,"size":84,"collection":84,"collections":86551,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236565,"xiao-ke-guan-shan-shui-ce-shao-mi-236565",[24,7,59,128,132,29,171,99,331,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f88df69eae3e3a27f1735617cf75efd.jpg",[],{"id":86553,"slug":86554,"title":40707,"dynasty":124,"author":86555,"museum":300,"description":86556,"tags":86557,"thumbUrl":86558,"material":692,"size":1293,"collection":84,"collections":86559,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},236560,"shan-shui-shan-zhu-rong-zhong-236560","朱容重","朱容重（1620～1697） 行书七言诗绫本立轴识文：从来仙令似冰清，几度裁诗作凤鸣。爱客尽多名士致，居官更得古人情。时艰尚尔闻佳政，绩著能无起颂声。",[24,7,1131,128,132,29,34,131,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47ff2c859c945c2e8d5257321712c04f.jpg",[],{"id":86561,"slug":86562,"title":3168,"dynasty":54,"author":38236,"museum":300,"description":55512,"tags":86563,"thumbUrl":86565,"material":84,"size":84,"collection":84,"collections":86566,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236533,"ren-wu-gu-shi-ce-chen-zi-236533",[24,7,59,27,96,133,64,28,251,304,86564,611],"人物故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f449f9acbe42ce3242b012f56b10040.jpg",[],{"id":86568,"slug":86569,"title":409,"dynasty":54,"author":54045,"museum":300,"description":54046,"tags":86570,"thumbUrl":86571,"material":151,"size":84,"collection":84,"collections":86572,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236501,"shan-shui-ce-cheng-ming-236501",[164,24,7,59,27,132,29,129,1350,131,34,35,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03f62b09b302b3dfcdae70acbbe3c525.jpg",[],{"id":86574,"slug":86575,"title":16826,"dynasty":124,"author":40715,"museum":20,"description":54053,"tags":86576,"thumbUrl":86577,"material":611,"size":54056,"collection":84,"collections":86578,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236487,"shan-shui-ren-wu-ce-guo-fen-ya-236487",[24,7,59,128,188,96,211,231,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b7bd55a22960036dc1edf7501d592bc.jpg",[],{"id":86580,"slug":86581,"title":40707,"dynasty":124,"author":86582,"museum":300,"description":86583,"tags":86584,"thumbUrl":86585,"material":692,"size":1293,"collection":84,"collections":86586,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},236475,"shan-shui-shan-liu-shi-zhen-236475","刘世珍","字武夷，仪真（今江苏仪徵）人。以绘事名。",[1131,24,7,29,128,132,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F539ad11373abe6c1abcb64cba816aa65.jpg",[],{"id":86588,"slug":86589,"title":54061,"dynasty":54,"author":9529,"museum":300,"description":39800,"tags":86590,"thumbUrl":86591,"material":84,"size":84,"collection":84,"collections":86592,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236453,"ni-qian-ren-shi-yi-ce-wang-hui-236453",[24,7,59,128,29,132,131,34,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec144098bba881ca2f43fef1d34338f7.jpg",[],{"id":86594,"slug":86595,"title":54061,"dynasty":54,"author":9529,"museum":300,"description":39800,"tags":86596,"thumbUrl":86597,"material":84,"size":84,"collection":84,"collections":86598,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236446,"ni-qian-ren-shi-yi-ce-wang-hui-236446",[24,7,59,128,132,133,208,64,29,34,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7afcade55ffb45d7bc46fb1dbf2acdc9.jpg",[],{"id":86600,"slug":86601,"title":63057,"dynasty":124,"author":223,"museum":300,"description":86602,"tags":86603,"thumbUrl":86604,"material":84,"size":84,"collection":84,"collections":86605,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236434,"shu-zhi-shan-shui-ce-yi-ming-236434","此作以淡墨轻色晕染出江渚春朝之景，远山隐在烟岚中，青黛浅淡，似被晨雾揉碎了轮廓。近岸枯木缀着疏花，野趣横生，扁舟随波漾开，舟上人影淡然静卧，尽得江天寥廓之趣。浅渚汀草错落排布，留白处皆作空濛云水，以虚代实，将江南水畔的幽柔清旷凝于尺幅间。\n\n笔法秀润简淡，不见雕琢痕迹，只以轻毫细写，把雾霭裹着的空寂春景晕染得如诗似幻，将文人寄情林泉的闲雅，藏进每一缕烟波、每一抹苔色中，悠悠禅意漫溢纸面，静赏间便觉身临清冷柔美的江天秘境。",[24,7,59,128,27,29,1337,99,129,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9cd7e04671dfbff7760f10b8fce1e65.jpg",[],{"id":86607,"slug":86608,"title":86609,"dynasty":54,"author":223,"museum":300,"description":86610,"tags":86611,"thumbUrl":86612,"material":692,"size":1293,"collection":84,"collections":86613,"showCount":1105,"zanCount":1998,"manualWeight":48,"mainColor":72},236375,"dong-xia-can-hua-hui-shan-yi-ming-236375","东霞灿花卉扇","此扇面以鸢尾入画，淡紫花瓣晕染自然柔和，将花草娇柔舒展之态尽显。青绿叶片挺拔清隽，笔墨浅淡秀润，寥寥数笔便勾勒出蓬勃生机。左侧题字笔致清雅隽秀，与花卉相映成趣，诗画合璧，晕染出恬淡悠然的文人意趣。整体构图疏朗留白得当，温婉细腻的笔墨将文人闲情与草木生机融为一体，尽显清雅恬和的中式美学意韵，是一件颇具雅趣的文人小品。",[54,24,7,1131,27,28,62,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc9ed52b5ede0f0d57144617686f56c2.jpg",[],{"id":86615,"slug":86616,"title":48339,"dynasty":124,"author":86617,"museum":300,"description":86618,"tags":86619,"thumbUrl":86620,"material":692,"size":1293,"collection":84,"collections":86621,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},236369,"shan-shui-shan-ye-dong-zhu-gui-236369","董朱贵","干笔枯墨写就峰峦丘壑，山石皴法朴拙老辣，带着苍莽古厚的质感。近处林木疏朗，枝丫劲挺，点叶错落，萧疏野逸之趣扑面而来。\n\n淡墨晕染远山，浓墨提点林石细节，墨色浓淡铺陈出层次分明的山水景深，将郊野秋山的清寂之景凝于咫尺扇面。右上角题款随性舒展，笔墨意趣与画面融为一体，更添文人雅韵。尺幅虽小，却暗含阔大意象，静穆淡远的幽寂山林之境被徐徐铺展，尽显水墨写意的空灵雅致。",[24,7,1131,128,132,29,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2b76e9a7b7ff5290a45d30aec46a9b.jpg",[],{"id":86623,"slug":86624,"title":86625,"dynasty":54,"author":24258,"museum":300,"description":36452,"tags":86626,"thumbUrl":86627,"material":692,"size":1293,"collection":84,"collections":86628,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236350,"za-hua-shan-ye-chen-heng-ke-236350","杂画扇页",[24,7,1131,27,128,171,61,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc07e2421ced78394cf1ce4ba582a785a.jpg",[],{"id":86630,"slug":86631,"title":43488,"dynasty":54,"author":10307,"museum":20,"description":43489,"tags":86632,"thumbUrl":86633,"material":1027,"size":84,"collection":84,"collections":86634,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236146,"fang-yuan-ren-shan-shui-ce-he-yi-236146",[24,7,59,128,330,29,34,131,414,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda9086e85a250e4259f1e3d821ac962d.jpg",[],{"id":86636,"slug":86637,"title":43488,"dynasty":54,"author":10307,"museum":20,"description":43489,"tags":86638,"thumbUrl":86639,"material":1027,"size":84,"collection":84,"collections":86640,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236143,"fang-yuan-ren-shan-shui-ce-he-yi-236143",[24,7,59,128,132,330,29,413,131,35,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F464be8651cd0ec1acb0b55a1fd207282.jpg",[],{"id":86642,"slug":86643,"title":72489,"dynasty":54,"author":2915,"museum":20,"description":72490,"tags":86644,"thumbUrl":86645,"material":40,"size":72493,"collection":84,"collections":86646,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236121,"shan-shui-lou-ge-ce-chen-mei-236121",[24,7,59,27,95,29,97,130,34,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37493287b70f13adc32e3bdc532290b1.jpg",[],{"id":86648,"slug":86649,"title":72489,"dynasty":54,"author":2915,"museum":20,"description":72490,"tags":86650,"thumbUrl":86651,"material":40,"size":72493,"collection":84,"collections":86652,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236120,"shan-shui-lou-ge-ce-chen-mei-236120",[24,7,59,27,95,29,97,130,34,99,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aad21bb0a43e8323555d60138991365.jpg",[],{"id":86654,"slug":86655,"title":72489,"dynasty":54,"author":2915,"museum":20,"description":72490,"tags":86656,"thumbUrl":86657,"material":40,"size":72493,"collection":84,"collections":86658,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236118,"shan-shui-lou-ge-ce-chen-mei-236118",[24,7,59,95,27,29,97,130,34,131,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c89a539ae35bc4977223d5155c20998.jpg",[],{"id":86660,"slug":86661,"title":42489,"dynasty":54,"author":523,"museum":300,"description":86662,"tags":86663,"thumbUrl":86664,"material":84,"size":84,"collection":84,"collections":86665,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236100,"hua-luo-han-ce-leng-mei-236100","此作工致清雅，右侧绘罗汉乘金毛雄狮缓行，侍者持幡随侍，仆役牵犬相随。线条秀劲细腻，衣袂褶皱流转自然，狮鬃毫发毕现，将雄狮的雄健与罗汉的安然肃穆烘托得淋漓尽致，设色浅淡柔和，尽显空灵禅意。左侧题识笔墨苍劲朴拙，笔势沉凝古雅。书画合璧，禅韵悠长，既承袭院体画的精工写实，又暗合文人画的清幽意趣，细微处尽显匠心，将佛门超然出尘的静穆意境铺陈开来，清隽雅致，余韵悠长。",[304,24,7,164,187,28,27,96,18331,949,208,64,4437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6ef532fd42f3ddad9b8c6e4ad95c102.jpg",[],{"id":86667,"slug":86668,"title":42489,"dynasty":54,"author":523,"museum":300,"description":86669,"tags":86670,"thumbUrl":86671,"material":84,"size":84,"collection":84,"collections":86672,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236099,"hua-luo-han-ce-leng-mei-236099","此作工笔细腻雅致，右侧白象刻画写实传神，肌肤纹理柔和温润，神态驯静安和，尽显瑞兽清灵气韵。罗汉衣纹线条凝练流畅，神态沉静古朴，自带出尘之姿；随从小童天真灵动，与罗汉的静穆形成巧妙映衬，动静相生，画面谐和悠然。\n左侧书法笔意端秀清雅，题诗与绘面呼应，点醒白象蕴含的禅意。整作设色浅淡明净，将院体画的精工与空灵禅趣相融，晕染出佛门清寂安然的悠远意境，颇具韵致。",[24,7,28,27,187,96,949,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6e117678922a938a7528a2a59698844.jpg",[],{"id":86674,"slug":86675,"title":42489,"dynasty":54,"author":523,"museum":300,"description":86676,"tags":86677,"thumbUrl":86678,"material":84,"size":84,"collection":84,"collections":86679,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236098,"hua-luo-han-ce-leng-mei-236098","画面右侧，罗汉持锡杖静立，侍者恭谨随侍身侧，斑斓猛虎伏于跟前，幼虎环绕嬉戏，凶兽尽敛凶性，尽显佛法感化的无边威能。设色清润雅致，衣纹勾勒细腻流畅，人物神态写实传神，将出尘淡然的禅意融于笔端。左侧行书题字隽秀飘逸，诗画呼应，悠悠禅意漫溢画面，烘托出空寂出尘的佛门意境。整作兼具笔情墨趣与装饰美感，以精妙的人物走兽刻画，诠释出禅境悠然的静谧氛围，是极具审美意趣的人物佳制。",[24,7,304,187,28,27,96,18331,5490,9633,208,1009,4437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8aedf101545a55889516bc3de1ace62c.jpg",[],{"id":86681,"slug":86682,"title":409,"dynasty":54,"author":69767,"museum":300,"description":86683,"tags":86684,"thumbUrl":86685,"material":84,"size":84,"collection":84,"collections":86686,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236080,"shan-shui-ce-shen-zong-jing-236080","此作用笔松秀平和，以淡墨铺陈江南水岸之景。近岸杂木错落，苍枝与柔柯相互掩映，板桥轻卧浅波，林麓间隐见村居茅舍，暗合幽居林泉的隐逸意趣。远山以淡墨轻勾浅皴，留白写就浩渺江天，墨色清润层次柔和，尽显娄东一脉温婉苍秀的画风特质。整幅不作刻意繁复刻画，简淡朴拙间铺展出萧疏清寂的山水之境，将文人幽栖林下的闲静心绪藏于浅淡笔墨中，意境空澄闲雅，尽显正统山水画的文人气韵。",[24,7,128,132,29,98,99,34,30,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F852936f910c7d535395c9891b41760a6.jpg",[],{"id":86688,"slug":86689,"title":409,"dynasty":54,"author":69767,"museum":300,"description":86690,"tags":86691,"thumbUrl":86692,"material":84,"size":84,"collection":84,"collections":86693,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236078,"shan-shui-ce-shen-zong-jing-236078","此作用淡墨铺陈平远之境，近岸林木错落，苍松虬劲、杂木清疏，枝叶以细笔勾勒，尽显萧疏清挺之姿。草亭依水傍树，孑然独立，晕染出幽寂空疏的林下氛围。远景以浅墨轻描汀洲远山，留白化作浩渺烟波，铺就水天寥阔的空濛诗意。\n\n全作用笔松秀简淡，干笔皴擦写就山石肌理，墨色层次浅淡雅致，将江畔清秋的旷远幽寂尽数铺陈，带着文人画独有的闲散静穆意趣，以极简笔墨寄寓林泉雅兴，尽显淡远清空的山水诗意。",[24,7,59,128,132,29,413,130,663,1314,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc539533c0934aef926a7927754144c86.jpg",[],{"id":86695,"slug":86696,"title":18219,"dynasty":54,"author":223,"museum":300,"description":86697,"tags":86698,"thumbUrl":86699,"material":84,"size":84,"collection":84,"collections":86700,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236062,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236062","此作画境开合有致，近景危崖嶙峋对峙，古松虬曲斜倚崖间，苍劲老辣。坡岸间杂草矮木错落，野意横生。幽谷里溪流隐现，右侧枯木疏枝横斜，萧散清寂。远景平湖如镜，彼岸山峦逶迤，林麓朦胧晕染在空濛烟岚之中。\n\n笔墨兼擅苍秀，山石以短皴点苔，勾勒出坚硬质感，晕染柔和自然。设色简淡明净，以水墨晕出水色天光的空濛，将深秋萧疏之气揉进山水静穆之中，幽寂淡远的林下意境油然而生，尽显仿古山水的雅致意趣。",[24,7,59,27,132,330,29,171,1144,34,415,5323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f40330fbbba36daca0dd28b9a2a4247.jpg",[],{"id":86702,"slug":86703,"title":18219,"dynasty":54,"author":223,"museum":300,"description":86704,"tags":86705,"thumbUrl":86706,"material":84,"size":84,"collection":84,"collections":86707,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},236059,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236059","此作用笔苍秀兼具，绢本设色清润温雅。近景怒涛翻涌，浪纹层层晕染尽显江海雄浑之势，岩崖之上虬松盘错，松荫掩映幽潭水榭，藏起山居清趣。远景山峦覆着浅青烟岚，山坳屋舍隐于林麓间，晕染出淡远空濛的氛围感。\n整画揉合宋院体的精工水法与元人山水的萧散意趣，咫尺尺幅铺展千里山水格局，将惊涛奔涌的动势与林居幽隐的静气相融，于古雅的仿古意韵里，尽显传统山水含蓄隽永的意境。",[24,7,59,27,29,132,2271,415,131,413,130,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8351548791361bd014cfdddc96f5a74d.jpg",[],{"id":86709,"slug":86710,"title":67367,"dynasty":54,"author":223,"museum":300,"description":86711,"tags":86712,"thumbUrl":86713,"material":84,"size":84,"collection":84,"collections":86714,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235985,"ban-shan-shan-shui-ren-wu-ce-yi-ming-235985","此作用淡墨铺就空寂底色，虬曲古木悬垂萝蔓，浓墨点苔衬出苍古奇崛。坡岸杂树以淡晕简笔写出，右侧扁舟静泊水畔，隐见渔翁独对江天。天际归雁掠过长空，寥寥数笔便牵出荒寒秋意。\n\n画面计白当黑，虚实相生，以极简的写意笔墨，将江畔山野幽寂之趣收于尺幅。笔简而意远，淡墨留白间晕开悠悠禅意，尽显文人画超然出尘的隐逸情怀，简淡中见雅致萧疏，余韵悠长。",[24,7,59,128,29,211,129,413,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34dd8f6901f7b9b9b8431c34cd435ec3.jpg",[],{"id":86716,"slug":86717,"title":55620,"dynasty":54,"author":223,"museum":300,"description":86718,"tags":86719,"thumbUrl":86720,"material":84,"size":84,"collection":84,"collections":86721,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235956,"cai-jia-hua-hui-tu-ce-yi-ming-235956","这幅画以湖石为骨，皴染间尽显嶙峋苍润，将顽石的朴拙厚重晕染得淋漓尽致。石畔水仙挺秀舒展，花瓣莹润留白，嫩黄的花蕊点出清雅生机，修长叶片劲挺带露，与湖石刚柔相济，旁侧细竹疏淡点缀，添几分清逸灵秀。\n\n笔墨兼工带写，设色明净素雅，勾勒晕染间将水仙的清隽姿态刻画入微。右侧题诗与画面呼应，诗画相融，悠悠文人意趣随花木舒展弥漫开来，整体意境娴静清雅，尽揽花木隽秀风骨，暗藏文士观物寄情的闲淡心境。",[24,7,59,27,128,61,374,167,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a2329e768406daed9e7f203e5808d8c.jpg",[],{"id":86723,"slug":86724,"title":409,"dynasty":54,"author":45440,"museum":300,"description":86725,"tags":86726,"thumbUrl":86727,"material":84,"size":84,"collection":84,"collections":86728,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},235946,"shan-shui-ce-qi-zhi-jia-235946","此作书画合璧，右侧绘就幽壑山居之景，危崖高耸出云，飞瀑隐于崖岫之间，苍松虬劲扎根矶石，林树萧疏错落，浅淡烟岚轻笼山谷，似有清气浮动弥散。\n\n笔墨清隽秀润，以简淡皴擦晕染山石肌理，林木不求繁缛层叠，寥寥数笔便具古雅意态，将幽寂山林的清远之致凝于尺幅。左侧题跋行书笔致松灵舒展，与画中逸气相合，暗合文人林泉之志，观之如临静穆丘壑，可揽山野清趣，尽得寄情山水的隐逸襟怀。",[24,7,128,29,133,59,132,131,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff424acd1624cdc07817dcdf5abdad340.jpg",[],{"id":86730,"slug":86731,"title":72563,"dynasty":54,"author":21964,"museum":300,"description":86732,"tags":86733,"thumbUrl":86734,"material":84,"size":84,"collection":84,"collections":86735,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235932,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235932","此作用笔朴拙雅致，以高远取景，主峰奇崛厚重，干皴淡墨铺就山体苍劲质感，浅染远山晕开空濛烟岚，拉开幽深远阔的层次。近岸枯木疏朗苍古，红墙梵宇隐现林麓间，寒滩浅水环绕寺前，将古刹清寂禅意静静铺陈。\n左侧题诗与画境呼应，书画相融更添文人气韵，设色以赭石、花青轻敷，冷暖相映又不失清雅，尽显静穆淡远的文人意趣，观之便如踏入空山古寺，襟怀也随这冷寂幽僻的林泉一同沉静下来。",[24,7,59,27,29,97,1337,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c5a66459108c30156cc839c1a8b04e9.jpg",[],{"id":86737,"slug":86738,"title":72563,"dynasty":54,"author":21964,"museum":300,"description":86739,"tags":86740,"thumbUrl":86741,"material":84,"size":84,"collection":84,"collections":86742,"showCount":1105,"zanCount":1998,"manualWeight":48,"mainColor":72},235930,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235930","此作以浅绛晕染湖山，远景山峦淡赭轻敷，烟岚清濛间透着秀润雅致。中景洲渚林木葱郁，朱红梵刹隐于苍林，黛瓦朱栏点破翠色，暗合梵刹主题。近景湖面空阔无波，几叶扁舟悠然浮于水面，留白铺就湖天寥廓意境。\n\n右上题诗与景致相得益彰，诗画交融尽显文人雅趣。笔墨柔隽清逸，铺展出江南湖山的静穆禅境，将山水灵秀与古刹幽宁融为一体，淡远空灵中饱含出尘之致，尽显清丽简淡的幽远意韵。",[24,7,59,27,29,132,663,228,97,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6a4467cb30a9dd1383768899c6102bd.jpg",[],{"id":86744,"slug":86745,"title":4724,"dynasty":54,"author":54118,"museum":300,"description":82512,"tags":86746,"thumbUrl":86747,"material":692,"size":1293,"collection":84,"collections":86748,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235900,"shan-shui-tu-ce-guan-quan-235900",[24,7,59,133,128,27,29,97,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd227eb3eb180218938a4f022b4e69a6d.jpg",[],{"id":86750,"slug":86751,"title":4724,"dynasty":54,"author":54118,"museum":300,"description":82512,"tags":86752,"thumbUrl":86753,"material":692,"size":1293,"collection":84,"collections":86754,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235899,"shan-shui-tu-ce-guan-quan-235899",[24,7,59,128,132,133,29,130,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eca19bb5db60ae82cd3c7b7641ef18e.jpg",[],{"id":86756,"slug":86757,"title":69823,"dynasty":54,"author":223,"museum":300,"description":86758,"tags":86759,"thumbUrl":86760,"material":84,"size":84,"collection":84,"collections":86761,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235888,"yuan-ji-hua-hui-tu-ce-yi-ming-235888","此作用水墨写秋菊，以浓淡变化铺陈花瓣，焦墨点醒花心，将丝缕繁复的花形表现得层次分明、舒展苍劲。叶片以大写意泼墨写出，浓淡干湿间尽显秋韵萧疏，寥寥数笔便勾勒出菊叶的清挺之态，尽显秋菊凌霜傲骨。\n\n左侧题字笔意纵逸，与画作笔势相融，诗画相映，借秋菊寄寓林下幽怀，文人意趣盎然。整幅简淡空灵，以少胜多，以水墨的纯粹晕染出清冷疏朗的意境，把传统花鸟画借物抒怀的意趣尽显无余，尽显中式写意美学的隽永之味。",[164,24,7,59,128,61,369,208,604,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a5025a954b3f6444b00e7c381e68af1.jpg",[],{"id":86763,"slug":86764,"title":69823,"dynasty":54,"author":223,"museum":300,"description":86765,"tags":86766,"thumbUrl":86767,"material":84,"size":84,"collection":84,"collections":86768,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235887,"yuan-ji-hua-hui-tu-ce-yi-ming-235887","淡墨轻勾水纹，寥寥数笔便漾起柔缓波光，浓墨点染的汀草苍劲朴拙，与晕染浅淡的游鱼形成鲜明虚实对照。游鱼造型简括灵动，穿荇摇曳间，将水泽生机藏于简淡笔墨里。\n\n题书笔意纵逸浑朴，与画面融为一体，尽显水墨写意的随性野趣。以极简之形托出幽澹江湖之境，将水泽闲雅逸趣凝于尺幅间，淡而不寡，朴中藏灵，以意驭笔、以简胜繁，把清寂又生动的水畔一隅定格，让观者悄然窥见悠游自在的江渚意趣。",[24,7,59,128,369,133,208,168,81,62,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa0089515d0ede2814e1df1bde4747fb.jpg",[],{"id":86770,"slug":86771,"title":69823,"dynasty":54,"author":223,"museum":300,"description":86772,"tags":86773,"thumbUrl":86774,"material":84,"size":84,"collection":84,"collections":86775,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235886,"yuan-ji-hua-hui-tu-ce-yi-ming-235886","此作用笔极简却意趣悠长，以淡墨挥写兰叶，线条劲挺舒展如迎风摇曳，带着清刚之姿，淡墨点染花蕊，寥寥数笔便将幽兰娇俏灵动之态勾勒尽致。顽石以阔笔泼墨皴擦，墨色干湿浓淡层叠交错，枯涩笔触晕染出嶙峋肌理，朴拙厚重间尽显沉静气度。画面留白疏密相宜，虚实相生，以少胜多烘托出幽寂空灵的意境，借兰石寄寓品格，将幽兰孤高清逸的气韵与山石沉稳朴拙的质感相融，尽显文人画的雅逸风骨，藏着画者超尘绝俗的精神追求。",[24,7,164,59,128,369,375,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65062d2cd885f02a1cf82b4677985c92.jpg",[],{"id":86777,"slug":86778,"title":19857,"dynasty":54,"author":48145,"museum":300,"description":86779,"tags":86780,"thumbUrl":86781,"material":84,"size":84,"collection":84,"collections":86782,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235854,"shan-shui-zhou-wang-chen-235854","此作用两段式构图铺展山水幽境，上段云山隐隐，崖壁生松，飞瀑穿石，云烟裹挟峰峦，漾着空寂辽远之致。留白处一叶扁舟随波，渔翁独棹，暗合林下幽人的萧散襟怀。下段村居隐于茂林之间，野水潆洄，坡岸苍厚，满溢田园闲寂之味。\n\n笔墨枯劲老辣，以干笔皴擦写就山石肌理，枯中含润，简淡松秀，题诗与画境相融，将林泉雅逸的幽居之思尽数铺陈。",[24,7,165,128,132,29,129,34,711,131,495,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36f5f6841a0ffbfb18caf206167ffb43.jpg",[],{"id":86784,"slug":86785,"title":409,"dynasty":124,"author":27311,"museum":300,"description":86786,"tags":86787,"thumbUrl":86788,"material":84,"size":84,"collection":84,"collections":86789,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235822,"shan-shui-ce-li-liu-fang-235822","以淡墨晕染远山，留白作覆雪，素净间尽显冬日萧寒清寂。近岸枯木虬枝错落舒展，苍劲疏朗，石畔点缀数丛青枝，于冷寂中暗生机趣。简淡笔墨勾勒出空寂出尘的水滨冬色，洗尽繁缛，尽显幽远雅致。\n\n此作笔墨简而意足，承晚明文人画尚淡尚简之风，将林下幽居的清冷雅趣藏于尺幅之间，题跋小字与清寂画面相映成趣，诗画合璧中，尽见画者寄情山水的悠远襟怀，淡而有味，余韵悠长。",[24,7,59,128,29,1813,34,30,13436,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb08e5af6b2c199a9c37238e00bf4918.jpg",[],{"id":86791,"slug":86792,"title":86793,"dynasty":124,"author":223,"museum":300,"description":86794,"tags":86795,"thumbUrl":86796,"material":692,"size":1293,"collection":84,"collections":86797,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235768,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-chen-chun-bai-hua-zhou-tu-ye-yi-ming-235768","吴门诸家寿袁方斋三绝册-陈淳百花洲图页","此作以淡彩晕染江南沙洲春景，溪岸蜿蜒舒展，疏柳轻曳掩映村舍，浅滩系着扁舟，渔翁正整理渔具，野趣悠然弥散。笔墨简淡清润，以写意笔法勾勒出水乡春日的恬柔氛围，烟柳婆娑间藏着乡居野逸之趣，将江南水畔的闲静日常晕染纸上。左侧题诗与画境相衬，书画合璧尽显雅致文心，把吴门画派独有的文人意趣融于尺幅间，淡而不寡，简中见情，将沙洲春日的闲逸定格在笔墨之中，处处透着松弛淡然的江南意韵。",[24,7,59,27,29,167,98,99,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F427bce2250ae53e129bae38db3fbe434.jpg",[],{"id":86799,"slug":86800,"title":42514,"dynasty":124,"author":36548,"museum":300,"description":42515,"tags":86801,"thumbUrl":86802,"material":692,"size":1293,"collection":84,"collections":86803,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235763,"mei-hua-wen-cong-jian-shi-he-bi-ce-shao-mi-235763",[24,7,59,128,133,208,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12145baf595c84674aafe4e1e47bf516.jpg",[],{"id":86805,"slug":86806,"title":42514,"dynasty":124,"author":36548,"museum":300,"description":42515,"tags":86807,"thumbUrl":86808,"material":692,"size":1293,"collection":84,"collections":86809,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235756,"mei-hua-wen-cong-jian-shi-he-bi-ce-shao-mi-235756",[24,7,59,128,133,208,371,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6757ab27764a706bf572d0ac336cb213.jpg",[],{"id":86811,"slug":86812,"title":42514,"dynasty":124,"author":36548,"museum":300,"description":42515,"tags":86813,"thumbUrl":86814,"material":692,"size":1293,"collection":84,"collections":86815,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235755,"mei-hua-wen-cong-jian-shi-he-bi-ce-shao-mi-235755",[24,7,59,128,133,208,371,171,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95b65fcd216b58af1bbec8ffc3cbfb76.jpg",[],{"id":86817,"slug":86818,"title":42514,"dynasty":124,"author":36548,"museum":300,"description":42515,"tags":86819,"thumbUrl":86820,"material":692,"size":1293,"collection":84,"collections":86821,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235754,"mei-hua-wen-cong-jian-shi-he-bi-ce-shao-mi-235754",[24,7,59,128,188,371,171,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8b3012daf04bf5a9ce3369312dcaa85.jpg",[],{"id":86823,"slug":86824,"title":33103,"dynasty":54,"author":78869,"museum":300,"description":78870,"tags":86825,"thumbUrl":86826,"material":692,"size":1293,"collection":84,"collections":86827,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235745,"fang-gu-shan-shui-ce-xue-xuan-235745",[24,7,59,128,27,29,131,34,415,99,330,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f830ebf2662ba9eb3cb5de7a5771d18.jpg",[],{"id":86829,"slug":86830,"title":33103,"dynasty":54,"author":78869,"museum":300,"description":78870,"tags":86831,"thumbUrl":86832,"material":692,"size":1293,"collection":84,"collections":86833,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235743,"fang-gu-shan-shui-ce-xue-xuan-235743",[24,7,59,128,29,132,130,34,131,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d7c4e9c9638b7dfc48d0412f0a2d7c4.jpg",[],{"id":86835,"slug":86836,"title":33103,"dynasty":124,"author":33653,"museum":300,"description":38271,"tags":86837,"thumbUrl":86838,"material":692,"size":1293,"collection":84,"collections":86839,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235631,"fang-gu-shan-shui-ce-shen-hao-235631",[24,7,59,128,132,29,34,131,99,97,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f79308a3ad8d93ebe81fd24cddfcfaf.jpg",[],{"id":86841,"slug":86842,"title":33103,"dynasty":124,"author":33653,"museum":300,"description":86843,"tags":86844,"thumbUrl":86845,"material":84,"size":84,"collection":84,"collections":86846,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235628,"fang-gu-shan-shui-ce-shen-hao-235628","此作写就晚秋江村之境。近岸危石棱峭，枯木疏枝缀着残叶，一椽茅舍静立滩头，野水浅横，汀洲错落如星。隔江岩岫错落，村舍隐在寒林之间，远景峰峦晕染如黛，归雁掠过长空，将秋意拉得清寂辽远。\n\n笔触简劲枯淡，干笔皴擦山石见苍润意趣，淡墨晕开烟岚，以寥寥笔墨铺展出幽远空寂的林下之境，题款清隽与画面相映，尽现萧散淡远的文人襟怀，清寂里藏着悠然林下闲情。",[24,7,59,128,132,330,208,29,131,34,211,130,171,2271,25487,2983,6274,369,79022,496,54203,33530,664,1023,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa33e6aa0cdae181fda2df10d0a65ae56.jpg",[],{"id":86848,"slug":86849,"title":86850,"dynasty":54,"author":22467,"museum":300,"description":86851,"tags":86852,"thumbUrl":86853,"material":692,"size":1293,"collection":84,"collections":86854,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235580,"xue-shan-xing-lv-tu-shan-ye-liu-du-235580","雪山行旅图扇页","刘度，字叔宪，一字叔献，钱塘（今杭州）人。山水为蓝田叔（瑛）弟子，深得画理。后师大、小李将军（思训、昭道），工界画楼台，所画人物，细入毛发。十洲（仇英）之后，道屈一指。崇祯五年（一六三二）作看枫图，现藏日本。康熙十年（一六七一）作寒林话旧图。",[24,7,1131,29,2523,96,132,27,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07981d6f1e2553896e7911c8e3be1e7a.jpg",[],{"id":86856,"slug":86857,"title":76,"dynasty":54,"author":14273,"museum":300,"description":86858,"tags":86859,"thumbUrl":86860,"material":84,"size":84,"collection":84,"collections":86861,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235573,"hua-hui-ce-fan-ting-zhen-235573","以淡墨晕染花瓣，留白衬出菡萏清润柔雅的质感，莲蓬细节勾勒入微，纤毫毕现，将初绽娇态尽显。荷叶以浓淡破墨写出，晕染自然，虚实相生，衬出莲花出尘之姿。左上角蛱蝶以墨色点染灵动，添了鲜活生机，浅掠的水鸟剪影，极简几笔便带出荷塘野趣。题字朱印点缀画面，更添文气雅致。\n\n全作用笔疏淡含蓄，以墨色浓淡变化营造空灵悠远的荷塘清境，不重工丽着色，将夏日荷塘的幽谧雅致藏于笔墨间，尽显写意花鸟的含蓄韵味，把莲的清隽高洁品格融在淡墨疏笔之中。",[24,7,59,128,188,61,81,481,82,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F836885c1022b52ecda6f04c2ee3cbf3d.jpg",[],{"id":86863,"slug":86864,"title":409,"dynasty":54,"author":24447,"museum":300,"description":46761,"tags":86865,"thumbUrl":86866,"material":692,"size":1293,"collection":84,"collections":86867,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235549,"shan-shui-ce-zhu-chang-235549",[24,164,7,59,128,132,29,663,167,171,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac044037aab56993b260bc938b97f33b.jpg",[],{"id":86869,"slug":86870,"title":409,"dynasty":54,"author":24447,"museum":300,"description":46761,"tags":86871,"thumbUrl":86872,"material":692,"size":1293,"collection":84,"collections":86873,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235548,"shan-shui-ce-zhu-chang-235548",[24,7,59,128,29,171,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf55747da418ba7d5091bde1ab7ebcf3.jpg",[],{"id":86875,"slug":86876,"title":72649,"dynasty":54,"author":72650,"museum":300,"description":72651,"tags":86877,"thumbUrl":86878,"material":692,"size":1293,"collection":84,"collections":86879,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235538,"xi-xiang-tu-ce-ye-bu-235538",[24,7,59,27,28,133,208,96,166,97,34,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d37db05543a5897e5667ea7dc89a2ee.jpg",[],{"id":86881,"slug":86882,"title":22264,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":86883,"thumbUrl":86884,"material":692,"size":1293,"collection":84,"collections":86885,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235484,"huang-shen-shu-guo-tu-ce-huang-shen-235484",[24,7,59,128,27,4250,208,64,840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccdb6db7432f826205696036ad4ba516.jpg",[],{"id":86887,"slug":86888,"title":4724,"dynasty":124,"author":59261,"museum":300,"description":59262,"tags":86889,"thumbUrl":86890,"material":692,"size":1293,"collection":84,"collections":86891,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235456,"shan-shui-tu-ce-pan-zheng-235456",[164,24,7,59,128,132,29,331,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F589025705bf43eed8f8a549cb9742934.jpg",[],{"id":86893,"slug":86894,"title":4724,"dynasty":124,"author":59261,"museum":300,"description":59262,"tags":86895,"thumbUrl":86896,"material":692,"size":1293,"collection":84,"collections":86897,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235454,"shan-shui-tu-ce-pan-zheng-235454",[24,7,59,128,188,29,129,1350,331,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31b8fbc80cd25bb7540375818e6446c2.jpg",[],{"id":86899,"slug":86900,"title":55620,"dynasty":54,"author":24167,"museum":300,"description":86901,"tags":86902,"thumbUrl":86903,"material":84,"size":84,"collection":84,"collections":86904,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235412,"cai-jia-hua-hui-tu-ce-cai-jia-235412","这幅以水墨绘就汀洲小景，虚实相映意境清逸。左侧墨竹遒劲挺拔，浓淡墨色铺陈竹叶，层层叠叠尽显苍劲舒展之姿，笔法爽利简练，尽显君子挺秀之态。右侧水仙以淡墨勾勒晕染，花叶柔婉舒展，与劲竹刚柔相济。浅淡墨色晕染坡岸石矶，留白衬出空寂幽远的氛围。右上角题诗衬于山水间，书画合璧，文气雅致。整作笔墨简淡却意韵悠长，将幽澹闲逸的文人意趣寄于其中，寥寥数笔便将清寂出尘的林下景致勾勒尽致，尽显水墨写意的清雅风骨。",[24,7,59,128,27,167,374,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F074af2181a5ee05f97a71c3fd8aaea32.jpg",[],{"id":86906,"slug":86907,"title":30254,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":86908,"thumbUrl":86909,"material":692,"size":1293,"collection":84,"collections":86910,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235360,"shan-shui-ren-wu-tu-ce-huang-shen-235360",[24,7,59,128,27,96,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F918a8204d9441ca882cc91084758e0ba.jpg",[],{"id":86912,"slug":86913,"title":30254,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":86914,"thumbUrl":86915,"material":692,"size":1293,"collection":84,"collections":86916,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235359,"shan-shui-ren-wu-tu-ce-huang-shen-235359",[24,7,59,128,133,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a0993a95714fb2f7a4367430b47e3b2.jpg",[],{"id":86918,"slug":86919,"title":409,"dynasty":54,"author":43518,"museum":300,"description":86920,"tags":86921,"thumbUrl":86922,"material":84,"size":84,"collection":84,"collections":86923,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235326,"shan-shui-ce-wen-dian-235326","此作用笔淡秀简雅，以留白晕染出幽寂空濛的林下溪涧。左侧寒林萧疏，枝桠清瘦；右侧古松虬劲，垂髯拂崖，崖石以浅淡皴擦晕出温润质感。临溪二人席地对坐，晤谈忘言，溪光林影里尽是林下雅趣。\n\n画面舍去繁缛细节，以简淡笔墨托出幽居丘壑的清寂意境，将文人寄情林泉、避俗守静的襟怀融于山水间，尽显冬日江南山林的温润清寒，把雅集闲逸与林泉高致合而为一，淡寂中藏着悠长的文人意趣。",[164,24,7,59,128,132,29,96,34,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdc2f44e3b16c9a3f2ad52e718c929ae.jpg",[],{"id":86925,"slug":86926,"title":86927,"dynasty":54,"author":223,"museum":300,"description":86928,"tags":86929,"thumbUrl":86930,"material":692,"size":1293,"collection":84,"collections":86931,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235316,"ba-jia-shan-shui-ce-fu-shan-shui-cun-tu-ce-ye-yi-ming-235316","八家山水册-傅山水村图册页","此作以平远之法铺展江南水村之景，淡墨晕染远山，峰峦含烟带翠，留白写就空阔水面，孤舟泛于涟漪之上，愈显清远空寂。岸渚人家隐于茂林之下，寥寥数笔点染林木屋舍，简淡间尽显乡野幽居之松弛。\n\n画面与左侧题诗相融，将雨后天霁的清润之气揉入笔墨，淡墨皴擦轻简空灵，以留白载托云水烟岚，把水乡静谧萧散的意境铺陈尽致，藏着文人画特有的简淡意趣，于平淡笔墨中晕开洗尽尘嚣的悠远情思。",[24,7,59,128,29,131,34,99,129,211,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1962dc541df901fee17d5ff3c2254175.jpg",[],{"id":86933,"slug":86934,"title":409,"dynasty":54,"author":47695,"museum":300,"description":65170,"tags":86935,"thumbUrl":86938,"material":692,"size":1293,"collection":84,"collections":86939,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235305,"shan-shui-ce-zhang-feng-235305",[24,7,59,27,28,29,96,4363,131,86936,1023,86937],"树干","地面石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2062c8cd5a9dd37b7e3569a1937f3538.jpg",[],{"id":86941,"slug":86942,"title":76,"dynasty":124,"author":41661,"museum":300,"description":41662,"tags":86943,"thumbUrl":86944,"material":692,"size":1293,"collection":84,"collections":86945,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235267,"hua-hui-ce-wang-gu-xiang-235267",[24,7,59,128,61,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcfd3a535883789486dd8cca7c830ed5.jpg",[],{"id":86947,"slug":86948,"title":76,"dynasty":124,"author":41661,"museum":300,"description":41662,"tags":86949,"thumbUrl":86950,"material":692,"size":1293,"collection":84,"collections":86951,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},235261,"hua-hui-ce-wang-gu-xiang-235261",[164,24,7,59,128,61,263,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d7b236fc029d1bb12f63472ba8703fe.jpg",[],{"id":86953,"slug":86954,"title":7864,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":86955,"thumbUrl":86956,"material":692,"size":1293,"collection":84,"collections":86957,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235190,"za-hua-ce-huang-shen-235190",[24,7,59,128,371,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1185f36f7d159f995e9f5c9b16298389.jpg",[],{"id":86959,"slug":86960,"title":409,"dynasty":54,"author":44979,"museum":300,"description":86961,"tags":86962,"thumbUrl":86963,"material":84,"size":84,"collection":84,"collections":86964,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235176,"shan-shui-ce-ye-xin-235176","此作淡墨轻施，以大片留白晕出空濛天色，坡石苍古朴拙，线条简括却带着浑朴质感。几株花树以淡绿点染枝头，如烟似雾，晕开春日郊野的清润生机。\n左下角二人悠行于坡岸，一人负杖徐行，一人悄然随行，身形虽小却意态宛然，为静穆山水添入悠然野趣。整幅笔墨秀雅简净，没有繁复皴染，只以浅淡设色烘托出恬寂清幽的郊原氛围，将春日山行的萧散闲逸，融于简淡空灵的画面之中，淡而有味，简而不空，尽显出清远淡逸的文人意趣。",[24,7,59,128,27,29,96,171,331,690,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9de9bb41992d4b1556201d3e02c1eb3a.jpg",[],{"id":86966,"slug":86967,"title":409,"dynasty":54,"author":6936,"museum":300,"description":86968,"tags":86969,"thumbUrl":86970,"material":84,"size":84,"collection":84,"collections":86971,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235114,"shan-shui-ce-wang-yuan-qi-235114","此作以浅绛绘秋山，高远平远相融。主峰巍峨崔嵬，山石以干笔积墨勾勒皴擦，层层晕染出山峦苍厚质感，苔点疏密错落，尽显浑厚华滋。谷间林木蓊郁，丹枫点染出融融秋意，山坳茅舍隐现，野趣横生。\n\n溪涧蜿蜒穿谷，板桥通幽，策杖行旅、待渡闲人点缀其间，为静谧丘壑添上烟火暖意。整幅笔墨苍润秀逸，于严整丘壑间藏灵变意趣，将文人山水的幽淡诗意融于排布之中，静穆古雅的气息漫溢纸面，尽显传统山水的写意风神与雅致意境。",[24,7,59,27,132,29,131,34,99,98,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff8869ecec6edad61049ef53f0670d9d.jpg",[],{"id":86973,"slug":86974,"title":409,"dynasty":54,"author":6936,"museum":300,"description":86975,"tags":86976,"thumbUrl":86977,"material":84,"size":84,"collection":84,"collections":86978,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235108,"shan-shui-ce-wang-yuan-qi-235108","此作以层岩叠嶂构景，主峰高峙崖间，飞泉垂落，林木错落扎根岩隙，山道蜿蜒隐于林泉之间。以干笔积墨反复皴擦，尽显山石坚硬厚重之质感，设色浅淡柔和，糅合元人山水的萧散意趣与沉雄气度。\n\n构图繁而不乱，层层递进，烘托出山林幽深静谧的氛围，尽显正统山水画的章法森严与文人画的秀雅意韵。笔笔扎实醇厚，带着浓郁古意，将秋日山林的清寂苍莽之景定格，于细节处见功夫，尽显传统山水画的笔墨意趣与山水精神。",[164,24,7,59,27,132,29,131,34,495,99,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98995493e5b9a1fa4eb18b1a7a3f3bb3.jpg",[],{"id":86980,"slug":86981,"title":46768,"dynasty":54,"author":36019,"museum":300,"description":86982,"tags":86983,"thumbUrl":86984,"material":84,"size":84,"collection":84,"collections":86985,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235099,"zheng-min-shan-shui-ce-zheng-min-235099","此作为水墨山水与行书题诗合璧之作。绘者以清劲简逸的淡墨勾勒皴擦山石林木，笔致空灵简淡，不作浓艳晕染，晕出山岚空濛的温润氛围。画面孤松挺秀临幽涧，崖顶茅亭孑然独立，古洞藏于崖畔，处处透着古禅林的冷寂幽绝，恰与题诗意境呼应。\n\n整幅作品以画载诗心，诗书与山水意境相融，尽得萧散静穆的林下之风，将幽栖林泉的尘外之思寄寓尺幅间，淡远冲和，悠悠禅意漫溢纸面，尽显清逸淡简的画中逸趣。",[24,7,59,128,133,132,29,98,99,171,1144,130,34,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84e9fc2dfcee711535c64d30d924d0d7.jpg",[],{"id":86987,"slug":86988,"title":46768,"dynasty":54,"author":36019,"museum":300,"description":86989,"tags":86990,"thumbUrl":86991,"material":84,"size":84,"collection":84,"collections":86992,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235096,"zheng-min-shan-shui-ce-zheng-min-235096","此作用淡墨勾勒皴擦山峦，以留白摹拟残雪，清寒简远。林麓间隐现山居茅舍，汀洲孤松卓立，萧散疏朗中自带静穆冷逸的禅意。笔墨省净秀润，无繁复堆砌，尽显简淡空灵的新安画韵。\n\n左侧题诗行书笔致清逸隽雅，诗画合璧，将高隐寄怀的林下风流融于尺幅之间，以山水写心，淡远空灵中见出画者淡泊超迈的襟怀，尽显文人画的雅洁意趣。",[24,7,59,128,132,29,34,131,130,99,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bdfa8333fce63874ff0f634e0531016.jpg",[],{"id":86994,"slug":86995,"title":46768,"dynasty":54,"author":36019,"museum":300,"description":86996,"tags":86997,"thumbUrl":86998,"material":84,"size":84,"collection":84,"collections":86999,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235095,"zheng-min-shan-shui-ce-zheng-min-235095","此作以淡墨写平林小景，枯木虬劲疏朗，枝桠错落伸展，崖畔茅舍孑然独立，远山以浅墨轻扫晕染，淡远朦胧。画面留白疏朗空寂，尽显萧散冷逸的林下之风。\n笔墨简淡松灵，不事浓艳雕琢，以极简笔意勾勒出荒寒清远的意境，深得倪瓒遗韵，尽显新安画派崇尚疏淡雅逸的意趣。搭配左侧行书题跋，笔致清劲秀雅，书画相得益彰，文气盎然，将山水的清冷澹泊与文人隐逸之思相融，悠悠然见林下高致。",[24,7,59,128,29,133,132,331,171,130,131,1337,6434,28172,369,34,497,16127,64,2132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F550867f3e60c4cab630f75e34d2b8d86.jpg",[],{"id":87001,"slug":87002,"title":87003,"dynasty":54,"author":82938,"museum":300,"description":87004,"tags":87005,"thumbUrl":87006,"material":84,"size":84,"collection":84,"collections":87007,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235067,"qing-ren-xiang-yue-an-zhu-xiang-bu-shen-zhou-sha-fu-235067","清人香月庵主像补身轴","淡墨白描勾勒衣纹，清劲秀雅间将长衫垂坠质感尽显自然熨帖。主人公面容写实，神情安恬淡然，清雅出尘的文士风骨跃然纸上。画幅四周题满端秀工整的诗文，与肖像风格相得益彰，诗画合璧晕染出浓郁书卷气，烘托出传主的雅人深致。整作以简净含蓄的笔墨，舍弃繁复布景，留白雅致空灵，将人物品格与文人意趣相融，尽显晚清文人画诗书画一体的典型特质，是兼具艺术性与人文性的精妙肖像之作。",[24,7,165,188,96,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2b1e66132c9244edb625e9cbb8514b7.jpg",[],{"id":87009,"slug":87010,"title":7864,"dynasty":54,"author":5879,"museum":300,"description":59277,"tags":87011,"thumbUrl":87012,"material":692,"size":1293,"collection":84,"collections":87013,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235064,"za-hua-ce-hua-yan-235064",[24,7,59,27,132,29,1144,131,495,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2500339705c75a3ec2caf331d8dc8a2.jpg",[],{"id":87015,"slug":87016,"title":7864,"dynasty":54,"author":5879,"museum":300,"description":59277,"tags":87017,"thumbUrl":87018,"material":692,"size":1293,"collection":84,"collections":87019,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},235060,"za-hua-ce-hua-yan-235060",[24,7,59,128,27,96,131,230,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0850fa70b9cb9f90000274ce397851c7.jpg",[],{"id":87021,"slug":87022,"title":33698,"dynasty":54,"author":2915,"museum":300,"description":33699,"tags":87023,"thumbUrl":87024,"material":692,"size":1293,"collection":84,"collections":87025,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},234944,"yue-man-qing-you-ce-chen-mei-234944",[24,7,59,28,27,96,166,97,4363,8346,249,81,228,4278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10589546004da7f4ecf501d448c867ca.jpg",[],{"id":87027,"slug":87028,"title":33698,"dynasty":54,"author":2915,"museum":300,"description":33699,"tags":87029,"thumbUrl":87031,"material":692,"size":1293,"collection":84,"collections":87032,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234942,"yue-man-qing-you-ce-chen-mei-234942",[164,24,7,59,28,27,133,208,96,166,97,247,547,131,1200,87030,249],"木门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F971dc2805e162439107ddbd1fac2ad36.jpg",[],{"id":87034,"slug":87035,"title":48382,"dynasty":54,"author":223,"museum":20,"description":48383,"tags":87036,"thumbUrl":87037,"material":514,"size":19713,"collection":84,"collections":87038,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},234907,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234907",[24,7,59,27,29,97,98,99,34,131,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d55cb3ca3e110c84748c4d63b41ec2.jpg",[],{"id":87040,"slug":87041,"title":48382,"dynasty":54,"author":223,"museum":20,"description":48383,"tags":87042,"thumbUrl":87043,"material":514,"size":19713,"collection":84,"collections":87044,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},234904,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234904",[24,7,59,27,26,29,130,97,98,131,34,133,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F423e5e9850aea424014196c0d9f17e1d.jpg",[],{"id":87046,"slug":87047,"title":22958,"dynasty":54,"author":6936,"museum":300,"description":22959,"tags":87048,"thumbUrl":87049,"material":611,"size":22962,"collection":84,"collections":87050,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234890,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234890",[24,7,2271,128,132,208,29,131,34,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69dd6eef3b5d73e63187b417abe59c7d.jpg",[],{"id":87052,"slug":87053,"title":22958,"dynasty":54,"author":6936,"museum":300,"description":22959,"tags":87054,"thumbUrl":87055,"material":611,"size":22962,"collection":84,"collections":87056,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234879,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234879",[24,7,59,27,132,29,413,130,663,228,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43e86b2137d8f1e282e2b15d223ad0ab.jpg",[],{"id":87058,"slug":87059,"title":409,"dynasty":124,"author":40782,"museum":300,"description":87060,"tags":87061,"thumbUrl":87062,"material":84,"size":84,"collection":84,"collections":87063,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234868,"shan-shui-ce-zhao-pu-234868","此作以平远之法绘就江干秋景，汀洲苇草疏疏，岸旁枯木错落，远山含黛隐于烟岚，江波澹澹漾开清寂秋意。笔墨简淡松秀，以干笔皴擦晕染荒寒江岸，不见浓艳重彩，尽是萧散简远的林下风致。\n左侧抄录《陋室铭》，书画合璧呼应题画诗里的清秋幽怀。淡墨轻岚间，将文人寄情林泉、安贫乐道的襟怀融于尺幅，整幅雅静淡远，尽显萧散简古的文人画意趣。",[24,7,59,128,133,29,34,31,415,46660,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28b24223151648a0ddd572d260159889.jpg",[],{"id":87065,"slug":87066,"title":409,"dynasty":124,"author":40782,"museum":300,"description":87067,"tags":87068,"thumbUrl":87069,"material":84,"size":84,"collection":84,"collections":87070,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234866,"shan-shui-ce-zhao-pu-234866","此帧以淡墨写就平远秋江，近岸修竹疏朗，汀渚隐于浅烟微波，远山如黛晕染空濛。题诗与画意两相呼应，将江天寥廓、宿雁初歇的清寂描摹尽致。\n\n笔墨简淡清空，以留白衬江波无澜，远山轻施披麻皴，墨色淡宕虚和，全不作刻露之笔。帧内题录唱和诗作，书画同帧交融，将江南秋暮的冷逸闲淡徐徐铺展，不见一丝喧嚣躁气，尽显寄兴林泉、澄怀观道的文人雅趣，把秋日江天的静穆诗意晕染在尺幅之间。",[24,7,59,128,64,208,132,29,34,211,99,171,129,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5fbdd62ea7e52cb749057e52bf55d58.jpg",[],{"id":87072,"slug":87073,"title":87074,"dynasty":124,"author":223,"museum":300,"description":87075,"tags":87076,"thumbUrl":87077,"material":84,"size":84,"collection":84,"collections":87078,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},234848,"ming-ren-shan-shui-ce-ye-yi-ming-234848","明人山水册页","踏雪寻梅是历代文人士大夫的雅事，亦为画家常用的题材。此图表现一主一仆于雪天往深山寻梅的情景。王谔被明代皇帝称为“今之马远”，此图的画风即验证了这一说法。画中山石棱角方硬，树干虬曲苍劲，山体、坡石多用大斧劈皴，构图上也接近马远的“马一角”特征。",[24,7,59,128,132,29,331,131,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeb8766807bf8e1a6e64dc108efc841b.jpg",[],{"id":87080,"slug":87081,"title":87082,"dynasty":124,"author":223,"museum":300,"description":87083,"tags":87084,"thumbUrl":87088,"material":692,"size":1293,"collection":84,"collections":87089,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},234834,"wei-zhi-huang-qiu-shan-xing-lv-shan-yi-ming-234834","魏之璜秋山行旅扇","金笺之上铺展秋日郊野之景，近岸老树丹黄错落，篱舍隐于林樾，溪桥边商旅驱骡徐行，三两策杖行人悠然随行，鲜活晕开行旅意趣。中远景陂陀逶迤，村舍藏于林麓之间，孤松卓立岗阜之巅。浅赭淡墨晕染秋山，明净萧疏的氛围漫开全幅。笔触秀润简淡，构图舒展雅致，将乡野闲寂与行路意趣相融，铺就出秋日山居的悠远兴味，尽显清和温婉的山水意韵。",[1131,24,7,27,29,331,87085,98,109,87086,11146,6437,8222,31851,87087,2620,4605],"篱舍","骡","闲寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c323c56c5482cc0c622ba35940ab492.jpg",[],{"id":87091,"slug":87092,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":87093,"thumbUrl":87094,"material":734,"size":84,"collection":84,"collections":87095,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234762,"huang-shan-tu-ce-jiang-zhu-234762",[24,7,59,188,128,133,64,208,29,171,30,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05887aa4adaf32ffa4c1d46dedaa148b.jpg",[],{"id":87097,"slug":87098,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":87099,"thumbUrl":87100,"material":734,"size":84,"collection":84,"collections":87101,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234754,"huang-shan-tu-ce-jiang-zhu-234754",[24,7,59,188,128,29,171,1144,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e99093438ffb2b990db33c89709f7c6.jpg",[],{"id":87103,"slug":87104,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":87105,"thumbUrl":87106,"material":734,"size":84,"collection":84,"collections":87107,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234750,"huang-shan-tu-ce-jiang-zhu-234750",[24,7,59,128,132,133,208,29,663,130,413,1314,1022],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34e9b9c3c9203fe957f25772430a0170.jpg",[],{"id":87109,"slug":87110,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":87111,"thumbUrl":87112,"material":734,"size":84,"collection":84,"collections":87113,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234730,"huang-shan-tu-ce-jiang-zhu-234730",[24,7,59,27,29,132,64,133,208,131,34,99,171,1955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15d61fead5fd444cfed967d7134880d7.jpg",[],{"id":87115,"slug":87116,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":87117,"thumbUrl":87118,"material":734,"size":84,"collection":84,"collections":87119,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234725,"huang-shan-tu-ce-jiang-zhu-234725",[24,7,59,128,132,29,30,37,64,133,208,3387,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39eb46fac96cea86c89a4ad8652a2241.jpg",[],{"id":87121,"slug":87122,"title":27698,"dynasty":54,"author":55685,"museum":300,"description":65298,"tags":87123,"thumbUrl":87124,"material":84,"size":84,"collection":84,"collections":87125,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},234690,"shan-shui-ce-ye-wei-zhi-huang-234690",[24,7,59,128,29,129,331,415,3427,33,64,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F660b012f080174b1e46d57f3f63d20e2.jpg",[],{"id":87127,"slug":87128,"title":87129,"dynasty":54,"author":87130,"museum":300,"description":87131,"tags":87132,"thumbUrl":87133,"material":84,"size":84,"collection":84,"collections":87134,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234686,"mo-zhu-shan-ye-dai-wang-lun-234686","墨竹扇页","戴王纶","戴熙（1801－1860），字醇士，号榆庵，又号莼溪、松屏，自称井东居士、鹿床居士，钱塘（今杭州）人。诗、书、画并臻绝诣，与武进汤贻芬齐名。",[24,7,1131,128,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F352b48cff71f763e416a236707d50423.jpg",[],{"id":87136,"slug":87137,"title":87138,"dynasty":54,"author":223,"museum":300,"description":87139,"tags":87140,"thumbUrl":87141,"material":84,"size":84,"collection":84,"collections":87142,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234685,"ba-jia-shan-shui-ce-qiu-yue-chu-jiang-qiu-se-tu-ce-ye-yi-ming-234685","八家山水册-丘岳楚江秋色图册页","图绘远山,小舟,一游人在江上饮酒",[24,7,59,128,27,132,64,133,208,29,129,34,30,31,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e2a414c045a663e86e12799aae06760.jpg",[],{"id":87144,"slug":87145,"title":409,"dynasty":54,"author":17240,"museum":300,"description":45656,"tags":87146,"thumbUrl":87147,"material":84,"size":84,"collection":84,"collections":87148,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234640,"shan-shui-ce-cha-shi-biao-234640",[24,7,59,128,29,129,1144,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb855c3233646f64ed2a121ad9c32563c.jpg",[],{"id":87150,"slug":87151,"title":87152,"dynasty":54,"author":69568,"museum":300,"description":87153,"tags":87154,"thumbUrl":87155,"material":84,"size":84,"collection":84,"collections":87156,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234623,"qiu-jiang-fang-you-wan-shan-hu-yuan-234623","秋江访友纨扇","胡远 [清]（一八二三至一八八六）字公寿，号瘦鹤，画用字行，又号横云山民，华亭（今上海松江）人，侨上海。能诗，善书画，书法颜真卿，藏有戏鸿堂祖本争位座稿书，矜为至宝。画笔秀雅绝伦，以湿笔取胜。山水花木无所不能，尤喜画梅。咸丰十一年（一八六一）至上海初寓毛树徴家，后买宅颜曰寄鹤轩。与李壬叔（善兰）、胡鼻山（震）诸名流友善，卖画自给。卒年六十四。有寄鹤轩诗草。",[24,7,1131,128,132,29,129,130,1337,415,5801],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec8ab5db6f08dd980005bc8a8408e514.jpg",[],{"id":87158,"slug":87159,"title":63331,"dynasty":54,"author":25480,"museum":300,"description":25481,"tags":87160,"thumbUrl":87161,"material":84,"size":84,"collection":84,"collections":87162,"showCount":1105,"zanCount":1998,"manualWeight":48,"mainColor":72},234619,"shan-shui-wan-shan-jiang-yun-234619",[24,7,1131,27,29,132,130,98,99,96,331,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca450350bd005e7d6ea3a71b235a250e.jpg",[],{"id":87164,"slug":87165,"title":87166,"dynasty":54,"author":87167,"museum":300,"description":87168,"tags":87169,"thumbUrl":87170,"material":84,"size":84,"collection":84,"collections":87171,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234616,"zhu-shi-wan-shan-yang-neng-ge-234616","竹石纨扇","杨能格","杨能格（清）字季良，号简侯。汉军正红旗人，道光十六年2甲23名进士，授翰林院编修，充广东主考官、浙江同考官，官赞善。同治四年升甘肃按察使，五年、迁江宁布政使。工书，师法王羲之、颜真卿，自成一格。著有《归观斋诗赋草》、《海天集》等。见《清代翰林传略》、《中国美术家人名辞典》.",[24,7,1131,128,132,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5115005b56a3d3b2717aaca23b528244.jpg",[],{"id":87173,"slug":87174,"title":63331,"dynasty":54,"author":87175,"museum":300,"description":87176,"tags":87177,"thumbUrl":87178,"material":84,"size":84,"collection":84,"collections":87179,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234604,"shan-shui-wan-shan-shen-han-234604","沈翰","沈瀚[清]字咏荪，浙江绍兴人。同光（一八六二-一九O八）二十六岁问候补湖南通判，不得意，仕于湖南，直至去世。以卖画授徒为生。善画山水，师法四王，入王时敏之室。光绪季年卒，年约六十余。作品目前市场价3000至5000一平尺。清末至民国初年，众多湖湘书画家均受其影响，如雷恪等不少都是其授业弟子。",[24,7,1131,128,132,29,413,98,99,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F793dea798330021dc6ac87c803934b98.jpg",[],{"id":87181,"slug":87182,"title":63331,"dynasty":54,"author":87183,"museum":300,"description":87184,"tags":87185,"thumbUrl":87186,"material":84,"size":84,"collection":84,"collections":87187,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234601,"shan-shui-wan-shan-wang-ting-ru-234601","汪廷儒","汪廷儒（1804-1852）字醇卿，又字莼青，江苏仪征人。道光二十四年（1844）翰林官编修，二十六年（1846）江西副主考。、山水，极得董其昌用笔、用墨之妙，皴减而有法。墨晕黠宕，尤长画册、扇。用笔沉着苍润，亦极似查士标。辑广陵思古内、外编，书未成而卒，年四十九。",[164,24,7,1131,128,132,29,98,99,35,34,131,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5b39f06e94c59a8b0568722bcc63ca0.jpg",[],{"id":87189,"slug":87190,"title":63331,"dynasty":54,"author":87191,"museum":20,"description":87192,"tags":87193,"thumbUrl":87194,"material":84,"size":84,"collection":84,"collections":87195,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234598,"shan-shui-wan-shan-zhu-ling-234598","朱龄","朱龄[清]字菊坨，自号黄华道人，道光（一八二一―一八五o）时江苏上元（今南京）人。写花卉翎毛，魄力兼胜，师徐渭而有石涛逸韵。人物近唐寅，偶作山水古木槎枒，亦得蓝瑛苍古之趣。尝客清江浦寓广荫庵，一日醉后绘清奇古怪四柏树于殿之四壁，顷刻而成",[24,7,1131,128,29,132,96,331,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88e89d4d2c2e8bf91f13c1d227e1d9d.jpg",[],{"id":87197,"slug":87198,"title":87199,"dynasty":54,"author":87200,"museum":20,"description":65231,"tags":87201,"thumbUrl":87202,"material":734,"size":65234,"collection":84,"collections":87203,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234502,"bai-ying-tu-ce-ye-zhu-ling-234502","拜影图册页","朱陵",[24,7,59,128,133,132,29,34,97,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faacf0046a2851f568fb4b0dbec931eb9.jpg",[],{"id":87205,"slug":87206,"title":87207,"dynasty":54,"author":87208,"museum":20,"description":65231,"tags":87209,"thumbUrl":87210,"material":734,"size":65234,"collection":84,"collections":87211,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234500,"bai-ying-lou-tu-ce-jiang-yuan-234500","拜影楼图册","江远",[24,7,59,128,133,208,413,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74ead9d92af8fbf29bc80b8f64eac765.jpg",[],{"id":87213,"slug":87214,"title":56243,"dynasty":18,"author":223,"museum":300,"description":87215,"tags":87216,"thumbUrl":87217,"material":2997,"size":87218,"collection":84,"collections":87219,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},234496,"guan-pu-tu-ye-yi-ming-234496","此页绘清溪一湾，溪畔水阁掩映在蓊郁的翠树秀竹之中，背景峭壁坚崚，飞瀑如练，溪流急湍击石，清波拂岸，充满着夏日大自然的勃勃生机。水阁之中一高士白衣袒胸踞席而坐，凝视潺湲，若有所思。整幅不用界尺，粗笔徒手绘水榭，人物、树石、建筑颇有生拙之趣，极具文人画气息",[164,24,7,4437,27,132,29,495,34,96,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96d973bd55fcda79c2ba4551e6439aae.jpg","纵23.5厘米，横25.7厘米",[],{"id":87221,"slug":87222,"title":87223,"dynasty":54,"author":19884,"museum":300,"description":87224,"tags":87225,"thumbUrl":87226,"material":84,"size":84,"collection":84,"collections":87227,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234488,"zhang-zong-cang-shan-shui-shan-zhang-zong-cang-234488","张宗苍山水扇","张宗苍（1686-1756），字默存，江苏苏州人，画家。师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。\n公元1751年，乾隆皇帝南巡，张宗苍进献了画册《吴中十六景》，深得乾隆皇帝的欣赏，后来进入清宫廷画院供奉，为宫廷作画，是乾隆时期一位重要的宫廷画家。清代宫廷绘画在清代绘画史上有着重要的地位，特别是乾隆时期，设立了如意馆广收人才，创作了很多纪实、历史故事、宗教及装饰题材的作品，具有特殊的历史与艺术价值，在乾隆一朝的宫廷画家中，张宗苍是很重要的一位。张宗苍的山水画，画风苍劲，用笔沉着。山石皴法多以干笔积累，林木之间使用淡墨，干笔和皴擦的手法相结合，表现出了深远的意境和深厚的气韵，一洗宫廷画院惯有的甜熟柔媚的习气，特别被乾隆皇帝所喜爱。",[24,7,1131,29,128,132,131,34,1515,35,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4de2c8cd77fb71aafb12dc46de73bdbe.jpg",[],{"id":87229,"slug":87230,"title":87231,"dynasty":124,"author":78534,"museum":20,"description":87232,"tags":87233,"thumbUrl":87234,"material":84,"size":84,"collection":84,"collections":87235,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},234474,"xie-qin-fang-you-shan-ye-zhu-shi-ying-234474","携琴访友扇页","朱士瑛[清]工细，人物似仇英。崇祯十五年（一六四二）作西园雅集扇，现藏故宫博物院。",[1131,24,7,29,27,132,96,98,99,34,131,130,438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff02324773abd73861c19fbb32e344e53.jpg",[],{"id":87237,"slug":87238,"title":87239,"dynasty":54,"author":223,"museum":300,"description":87240,"tags":87241,"thumbUrl":87242,"material":692,"size":1293,"collection":84,"collections":87243,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},234440,"ji-pu-jin-gang-xiang-zhou-yi-ming-234440","吉菩金刚像轴","这是一幅黑底唐卡，以泥金勾线、朱红敷彩，色调沉凝华丽。主尊忿怒相威严慑人，獠牙怒张、鬃焰飞腾，乘狮踏魔，尽显降伏邪魔的雄浑气魄。卷云缠络满幅，将诸尊排布错落有致，上方静修的上师神态安和，与主尊的忿怒形成动静对冲，暗合藏传佛教怀柔伏恶的意涵。\n线条细劲流畅，衣纹、饰件的金纹如錾刻般繁复精美，将护法神祇的狞厉与华贵融为一体，宗教的肃穆威严与绘画的精工美感交织，尽显藏地唐卡的独特魅力。",[164,24,7,165,187,27,28,96,949,189,49860,3588,57332],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44a592ca5c4577f9549b0e90cb565a93.jpg",[],{"id":87245,"slug":87246,"title":67622,"dynasty":54,"author":53743,"museum":300,"description":67623,"tags":87247,"thumbUrl":87248,"material":84,"size":84,"collection":84,"collections":87249,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234363,"you-niao-shi-tu-ce-jin-kun-234363",[24,7,59,128,27,29,211,129,231,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9033be58bb019b68f21ba42f6c1c8de5.jpg",[],{"id":87251,"slug":87252,"title":67622,"dynasty":54,"author":53743,"museum":300,"description":67623,"tags":87253,"thumbUrl":87254,"material":84,"size":84,"collection":84,"collections":87255,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234360,"you-niao-shi-tu-ce-jin-kun-234360",[164,24,7,59,27,133,208,29,131,34,211,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facb07a0225e437c1e747181905459273.jpg",[],{"id":87257,"slug":87258,"title":67622,"dynasty":54,"author":53743,"museum":300,"description":67623,"tags":87259,"thumbUrl":87260,"material":84,"size":84,"collection":84,"collections":87261,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234356,"you-niao-shi-tu-ce-jin-kun-234356",[24,7,59,27,29,132,208,133,496,34,37,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecaf90d6df44072cc67e1b28a30473ff.jpg",[],{"id":87263,"slug":87264,"title":67622,"dynasty":54,"author":53743,"museum":300,"description":67623,"tags":87265,"thumbUrl":87266,"material":84,"size":84,"collection":84,"collections":87267,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234350,"you-niao-shi-tu-ce-jin-kun-234350",[24,7,27,29,59,496,34,97,37,666,131,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F742d8af2a0231af03f6f3a88f21aeaf3.jpg",[],{"id":87269,"slug":87270,"title":87271,"dynasty":124,"author":87272,"museum":300,"description":87273,"tags":87274,"thumbUrl":87275,"material":84,"size":84,"collection":84,"collections":87276,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234260,"shan-shui-he-zhuang-tu-juan-sun-wei-234260","山水合装图卷","孙玮","孙玮，号松溪翁，明代隆庆万历间吴（今江苏苏州）人。工山水。其事迹已收入《中国美术家人名辞典》。",[23,164,24,7,25,128,27,29,130,211,98,99,331,171,97,34,131,64,133,840,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f75bafa04edc4b27c971f59e44d99dc.jpg",[],{"id":87278,"slug":87279,"title":87280,"dynasty":124,"author":45431,"museum":20,"description":87281,"tags":87282,"thumbUrl":87283,"material":734,"size":87284,"collection":84,"collections":87285,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234252,"jin-ling-shuang-gui-juan-zhu-zhi-fan-234252","金陵双桧卷","桧树，又叫圆柏。在这幅长卷中，左侧是马电的《双桧图》。\n右侧是朱之蕃的《双桧图》。\n画上的题跋交代了这幅画的创作背景。马电在金陵雨花台，也就是今天江苏南京的雨花台山下看到了两棵古桧。\n桧树姿态奇特，葱郁挺拔，很像成都诸葛祠和姑苏虞祠中的树木，但不同的是，成都诸葛祠中的古柏因为有唐代大诗人杜甫写诗而名扬天下，姑苏虞祠的古柏因为有明代绘画大师沈周作画而声名远播，但这里的古桧却无人知晓。\n于是他创作了这幅《双桧图》，希望这里的桧树能被更多人了解。\n马电是朱之蕃的好朋友。朱之蕃先是向马电索要了《金陵双桧图》，不久后又买到了明代绘画大师沈周的《虞山三桧图》卷。\n朱之蕃惦念着好朋友马电，于是又创作了一幅《双桧图》，并将他的画和马电的画装裱在一起。所以，有了现在的这幅《金陵双桧卷》。\n桧树不畏霜雪，四季常青，寿命很长，因而是高洁、长寿的象征。这幅画中，两棵桧树并肩生长，象征着马电和朱之蕃的深厚友情，寓意着君子之交。\n同气连枝，是自然界中树木的相依相生，是社会中人们的相依相靠。四海之内，皆是兄弟；炎黄子孙，都是同胞。无论任何时候，中华民族的同胞都同气连枝，亲如一家，共迎磨难，共享繁荣。",[23,24,7,25,128,133,208,331,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37f889f425dcc33c1856acb0a912b6e4.jpg","33cm*137.5cm",[],{"id":87287,"slug":87288,"title":87289,"dynasty":54,"author":48145,"museum":300,"description":87290,"tags":87291,"thumbUrl":87292,"material":84,"size":84,"collection":84,"collections":87293,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234210,"xiang-jiang-chang-he-tu-juan-wang-chen-234210","湘江唱和图卷","王宸（1720—1797）字子凝，一字紫凝，一作子冰，号蓬心，一作蓬薪，又号蓬樵，晚署老蓬仙、蓬樵老、潇湘翁、柳东居士、莲柳居士，自称蒙叟、玉虎山樵、退官衲子，江苏太仓人。王时敏六世孙，王原祁曾孙。官衔有的说是乾隆二十五年举人，官永州太守，但也有一说是乾隆年进士，官居永州知府。\n书法似颜真卿，多藏古碑刻。山水承家学，以元四家为宗，而深得黄公望法。枯毫重墨，气味荒古，脱略形似，仿王绂尤得神髓 。王宸中年的画，乾皴中尚有润泽之趣。到了晚年则枯而且秀 ，山石都在形似间。著有《绘林伐材》、《蓬心诗钞》，卒年七十八岁。与王玖、王愫、王昱合称小四王。",[23,24,7,25,128,132,133,64,29,129,34,31630,99,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde05bc6dbfab643b6def47925a554166.jpg",[],{"id":87295,"slug":87296,"title":40707,"dynasty":124,"author":87297,"museum":300,"description":87298,"tags":87299,"thumbUrl":87300,"material":84,"size":84,"collection":84,"collections":87301,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234195,"shan-shui-shan-li-cun-ji-234195","李存箕","［明］金陵（今南京）人。善画山水泉石草树，绰有胜情。骨法不凡，究为能品。《江宁志》",[24,7,1131,128,29,131,34,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02e49f342c301168ab5d60da19871f5c.jpg",[],{"id":87303,"slug":87304,"title":87305,"dynasty":54,"author":38900,"museum":20,"description":65462,"tags":87306,"thumbUrl":87307,"material":10347,"size":87308,"collection":84,"collections":87309,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234185,"xie-qin-fang-you-juan-huang-yi-234185","携琴访友卷",[23,24,7,25,128,27,133,208,29,96,34,171,98,99,130,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4af429963430d611c94223cadd68049.jpg","纵26.7cm，横90.1cm",[],{"id":87311,"slug":87312,"title":87313,"dynasty":124,"author":87314,"museum":300,"description":87315,"tags":87316,"thumbUrl":87317,"material":84,"size":84,"collection":84,"collections":87318,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234170,"yun-guan-tu-juan-gao-ting-li-234170","云冠图卷","高廷礼","[明]（一三五o至一四二三）本宋尚书张镇后，出继高氏。初名棅，字彦恢，自号漫士（一作慢仕），福建长乐人。永乐（一四o三至一四二四）初自布衣召授翰林待诏，迁为典籍。博学能文，工书、画，世称三绝，为闽中十才子之一。书得汉隶法，画善山水。宗米芾、高克恭，笔力苍古，墨气秀润，自成一家。有木天清气集、啸台集。卒年七十四。《明史本传、明史艺文志、福建通志、板画记、明画录、无声诗史、名山藏、玉堂丛话、曝书亭集》",[23,24,7,25,128,133,132,29,99,129,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F458c9f96c3727df079f353f9302c1955.jpg",[],{"id":87320,"slug":87321,"title":12432,"dynasty":124,"author":87322,"museum":300,"description":87323,"tags":87324,"thumbUrl":87325,"material":84,"size":84,"collection":84,"collections":87326,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234166,"hua-niao-tu-juan-cao-pu-234166","曹镤","曹镤（？－？），字良金，直隶苏州府吴江县人，民籍，明朝政治人物。应天府乡试第一百二十二名举人。弘治六年（1493年）中式癸丑科二甲第四十一名进士.曾祖曹瑾；祖父曹𤩽；父曹珵，母李氏",[23,24,7,25,27,128,2885,208,133,61,211,355,2438,62,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F483c4b66e3025fed4af1d5d6c8ef3840.jpg",[],{"id":87328,"slug":87329,"title":87330,"dynasty":54,"author":47695,"museum":20,"description":87331,"tags":87332,"thumbUrl":87333,"material":28165,"size":87334,"collection":84,"collections":87335,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234043,"huang-shan-shi-yi-tu-shan-ye-zhang-feng-234043","黄山诗意图扇页","据自题而知，此图是作者根据友人口述五月游黄山的经历所画。扇面采取上下开合式构图，不落前人窠臼，景致奇险。全图以七上八下的山石为主，石面皴染结合，看似松散率意的用笔，实则笔法多变不失章法。张风虽然没有亲历黄山，但自1644年以后，他曾经佩剑走北都，出卢龙、上谷，纵览昌平、天寿诸山，攀登过许多名山大川。当晚年的他耳闻黄山的神采时，能够准确地画出自身对黄山萧森郁茂壮美的感悟。",[24,7,1131,29,132,128,27,131,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e1a6f63041aca0d639a076a86e6715a.jpg","纵16厘米，横51.2厘米",[],{"id":87337,"slug":87338,"title":87339,"dynasty":18,"author":223,"museum":20,"description":87340,"tags":87341,"thumbUrl":87343,"material":151,"size":87344,"collection":84,"collections":87345,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234023,"liu-xi-gui-mu-tu-yi-ming-234023","柳溪归牧图","柳溪边，一牧童骑牛渡水，一牛隔岸嘶鸣，作欲渡而又畏渡之态，具有浓郁的乡村生活气息。牧童用简笔描绘，柳、牛则用细笔勾描，笔法精工。对幅有耿昭忠题记。",[164,24,7,1131,28,128,96,102,4363,99,87342],"乡村生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e44131841627ed1853f9d6bfa165ecc.jpg","纵23.4厘米，横24厘米",[],{"id":87347,"slug":87348,"title":87349,"dynasty":18,"author":223,"museum":20,"description":87350,"tags":87351,"thumbUrl":87352,"material":151,"size":87353,"collection":84,"collections":87354,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},234004,"qiu-tang-ke-hua-ye-yi-ming-234004","秋堂客话页","此画的古树和竹篱的小屋。 两人坐在室内，晚上点着蜡烛聊天。 旧题是李唐写的。 不过，从树石的画法和人物的衣纹来看，这幅画与故宫博物院李唐《采薇图》人物衣纹中多斧重笔的风格并不相符。 应该是南宋中后期的作品。",[24,7,59,128,28,96,34,131,58157,247,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc54c72405b3c1bb60aa9bda980b3bb4c.jpg","24.2x22.5厘米",[],{"id":87356,"slug":87357,"title":35085,"dynasty":18,"author":4899,"museum":20,"description":35086,"tags":87358,"thumbUrl":87359,"material":514,"size":35089,"collection":84,"collections":87360,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},233994,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233994",[24,164,7,59,188,128,27,96,413,131,331,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F617453e3aa7873680d5f00b1148dced4.jpg",[],{"id":87362,"slug":87363,"title":35085,"dynasty":18,"author":4899,"museum":20,"description":35086,"tags":87364,"thumbUrl":87365,"material":514,"size":35089,"collection":84,"collections":87366,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},233991,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233991",[164,24,7,59,188,27,96,97,101,413,29,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a524317f8e8ee3a2cabb448aa3b0d79.jpg",[],{"id":87368,"slug":87369,"title":35085,"dynasty":18,"author":4899,"museum":20,"description":35086,"tags":87370,"thumbUrl":87371,"material":514,"size":35089,"collection":84,"collections":87372,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},233990,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233990",[24,7,59,188,27,96,29,34,171,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61718b8742bb720398eef3dacda1993.jpg",[],{"id":87374,"slug":87375,"title":409,"dynasty":54,"author":3820,"museum":20,"description":67686,"tags":87376,"thumbUrl":87377,"material":1722,"size":67689,"collection":84,"collections":87378,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},233976,"shan-shui-ce-gong-xian-233976",[24,7,128,23324,29,35,34,37,9255],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca84608863d51f18f4b6370d44538c6.jpg",[],{"id":87380,"slug":87381,"title":83074,"dynasty":54,"author":38900,"museum":20,"description":83075,"tags":87382,"thumbUrl":87383,"material":734,"size":83078,"collection":84,"collections":87384,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},233938,"dai-lu-fang-bei-tu-ce-huang-yi-233938",[24,7,128,29,97,34,131,1023,35,132,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76fcd11940f5f434f63509626b6753f0.jpg",[],{"id":87386,"slug":87387,"title":83074,"dynasty":54,"author":38900,"museum":20,"description":83075,"tags":87388,"thumbUrl":87389,"material":734,"size":83078,"collection":84,"collections":87390,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},233932,"dai-lu-fang-bei-tu-ce-huang-yi-233932",[24,7,59,128,132,29,97,130,131,1645,34,758,3269,18332,387,1009,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba2d2053a509af5611c3ba9d2d607dd6.jpg",[],{"id":87392,"slug":87393,"title":87394,"dynasty":54,"author":29876,"museum":20,"description":72989,"tags":87395,"thumbUrl":87396,"material":514,"size":72992,"collection":84,"collections":87397,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},233817,"shan-shui-ce-6-fu-shan-233817","山水册6",[24,7,59,128,29,1337,131,415,64,840,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69b6cfe5b075825eb86a84d237c2a164.jpg",[],{"id":87399,"slug":87400,"title":87401,"dynasty":54,"author":82938,"museum":20,"description":87402,"tags":87403,"thumbUrl":87404,"material":1223,"size":87405,"collection":84,"collections":87406,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},233750,"tu-wan-zhen-xiang-sha-fu-233750","屠婉贞像","屠婉贞出身名门，是清代画家屠倬的孙女，嫁给清宗室毓本为妻。题跋中称赞她可媲美赵孟頫的夫人管道昇，刺绣技艺高超，又善丹青，同时还是一位慈母，训导子课。屠婉贞的脸部由民间画工绘制，衣纹和古玩器具由海派画家沙馥补画，并有吴昌硕、杨岘等题跋。\n虽然社会对女子的限制仍然非常多，但赵琰哲认为，明清女子的活动空间在不断拓展，如蹴鞠、投壶、舞剑、音律、看戏听曲等用以深闺消遣，或者节日游园、逛庙会，或者结社唱和，饮酒赋诗，写字作画。因此，明末清初江南地区出现了很多擅长诗文书画的才女，才与德变得同样重要。在这种氛围中，绘画与女子的关系变得更为紧密：一方面江南地区女性独幅肖像出现，意味着女性拥有了独立成像的权利，画中女子不再是作为艳俗的仕女画供男子赏玩，而是体现出女性的自我独立与自我肯定；另一方面，女性也亲身参与到绘画活动中。",[24,7,27,28,96,8629,374,36766,2824,133,1429],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc00a43a0b7d9438f3a47839e5dd81676.jpg","133.3×32.8厘米",[],{"id":87408,"slug":87409,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":87410,"thumbUrl":87411,"material":84,"size":84,"collection":84,"collections":87412,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},233658,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233658",[24,7,59,27,28,61,481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa08a04b9c4221d72b0eb3a2b7cc4c3a4.jpg",[],{"id":87414,"slug":87415,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":87416,"thumbUrl":87417,"material":84,"size":84,"collection":84,"collections":87418,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},233645,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233645",[24,7,59,27,28209,371,171,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cc8a1897fe637bbcb526c68ebe6122c.jpg",[],{"id":87420,"slug":87421,"title":3717,"dynasty":54,"author":22607,"museum":20,"description":61325,"tags":87422,"thumbUrl":87423,"material":734,"size":61328,"collection":84,"collections":87424,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},233433,"huang-shan-tu-ce-mei-qing-233433",[24,7,59,128,132,29,496,131,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f548c6fae18d5e1fc4d315057bd6543.jpg",[],{"id":87426,"slug":87427,"title":87428,"dynasty":54,"author":87429,"museum":20,"description":87430,"tags":87431,"thumbUrl":87432,"material":40,"size":87433,"collection":84,"collections":87434,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},233407,"zhang-yun-seng-zhuang-xiang-zhou-xu-gao-233407","张昀僧装像轴","徐镐","此图是徐镐为同乡画家张昀所绘的肖像画。图中为一老者半身像，老者双手笼于袖中，身着僧人服，顶无发，胡须皆白，双目平视，神态安详庄重。\n是图画法精工，先以墨笔出形，复调色染之，使人物面部具有凹凸感，但光感不很明显，仍是中国传统肖像画技法。灰色的袍服和红色的袈裟则采用平涂的方法处理，衣纹线条细劲，颇具表现力。作为徐璋之子，徐镐很好地继承了“波臣派”肖像画的表现技法，在构图上更是力追传统，不设衬景道具，突出人物面部的表现，可谓“波臣派”余绪中的佼佼者。",[24,7,165,27,96,187,28,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbab3cf78c70c568b0e5f9c9250ba3937.jpg","纵61.2厘米，横43.2厘米",[],{"id":87436,"slug":87437,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":87438,"thumbUrl":87439,"material":84,"size":84,"collection":84,"collections":87440,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},233370,"shi-zhu-zhai-pu-ce-hu-ri-cong-233370",[24,7,59,128,27,61,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa4c23738ccaed6b309ed3962a38dc9.jpg",[],{"id":87442,"slug":87443,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":87444,"thumbUrl":87445,"material":84,"size":84,"collection":84,"collections":87446,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},233275,"shi-zhu-zhai-pu-ce-hu-ri-cong-233275",[24,7,59,128,27,167,371,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb26e2562f9f55e2c820f4aad50bcad1.jpg",[],{"id":87448,"slug":87449,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":87450,"thumbUrl":87451,"material":84,"size":84,"collection":84,"collections":87452,"showCount":1105,"zanCount":1998,"manualWeight":48,"mainColor":72},233249,"shi-zhu-zhai-pu-ce-hu-ri-cong-233249",[24,7,59,128,188,61,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F262f57344c34e4f3e43ee4cc2744d625.jpg",[],{"id":87454,"slug":87455,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":87456,"thumbUrl":87457,"material":84,"size":84,"collection":84,"collections":87458,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},233243,"shi-zhu-zhai-pu-ce-hu-ri-cong-233243",[24,7,59,188,128,61,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a7adb06e766500eee2f216f93d63b9d.jpg",[],{"id":87460,"slug":87461,"title":87462,"dynasty":18,"author":223,"museum":20,"description":87463,"tags":87464,"thumbUrl":87465,"material":151,"size":87466,"collection":84,"collections":87467,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},233208,"liu-tang-qiu-cao-tu-ye-yi-ming-233208","柳塘秋草图页","关于此图在本专栏的第十八期《宋画小品中的赵令穰风貌》一文中已有解读，在此不再赘述。画中描绘的正是秋日时节，为了表现秋天杨柳的特点，作者选择了以墨色为主，柳叶上依稀可见赭石的黄褐色。加之较为尖锐的用笔，这让看似丰茂的柳叶有了即将枯败之感。",[24,7,1131,128,27,29,4363,3837,25181,34,414,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0963760525b6f61ff8bf061345edf339.jpg","22.5×24.5cm",[],{"id":87469,"slug":87470,"title":35112,"dynasty":54,"author":6936,"museum":20,"description":35113,"tags":87471,"thumbUrl":87472,"material":16830,"size":35116,"collection":84,"collections":87473,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},233168,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233168",[24,7,59,128,132,29,131,34,208,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f7751d38718633220fd9e84c4359f64.jpg",[],{"id":87475,"slug":87476,"title":35112,"dynasty":54,"author":6936,"museum":20,"description":35113,"tags":87477,"thumbUrl":87478,"material":16830,"size":35116,"collection":84,"collections":87479,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},233164,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233164",[24,7,59,128,29,132,30,37,34,35,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a094f728ed5c0a0d0fe30bf0a96562c.jpg",[],{"id":87481,"slug":87482,"title":48473,"dynasty":54,"author":223,"museum":20,"description":48474,"tags":87483,"thumbUrl":87484,"material":611,"size":33763,"collection":84,"collections":87485,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},233064,"ping-ding-yi-li-hui-bu-zhan-tu-ce-yi-ming-233064",[164,24,7,27,28,132,96,37378,29,496,34,208,37376,7995,5626,37,497,12314,11074],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F890375b5c81ed92a214a850894c4ca78.jpg",[],{"id":87487,"slug":87488,"title":83150,"dynasty":54,"author":223,"museum":20,"description":83151,"tags":87489,"thumbUrl":87490,"material":611,"size":37381,"collection":84,"collections":87491,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},233057,"ping-ding-hui-jiang-jiao-qin-ni-yi-zhan-tu-ce-yi-ming-233057",[24,7,59,28,27,96,101,29,496,34,758,11074,63532,7995,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F122263d56860712ccc26d30c524b4ae5.jpg",[],{"id":87493,"slug":87494,"title":87495,"dynasty":144,"author":223,"museum":300,"description":55882,"tags":87496,"thumbUrl":87498,"material":84,"size":84,"collection":84,"collections":87499,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},233030,"wu-zong-huang-di-hou-xiang-ji-ya-tu-huang-di-mu-yi-ming-233030","武宗皇帝后像(济雅图皇帝母)",[24,7,164,28,27,96,11584,16099,81011,87497,144],"红色服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c8966f878f628b565b542aab2b69f44.jpg",[],{"id":87501,"slug":87502,"title":87503,"dynasty":18,"author":223,"museum":20,"description":87504,"tags":87505,"thumbUrl":87507,"material":151,"size":87508,"collection":84,"collections":87509,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},233013,"zheng-ren-xiao-fa-tu-ye-yi-ming-233013","征人晓发图页","画的是“征人”就要出发去赶考了，妻子在做早饭，仆人在外等候，等饭熟的片刻“征人”趴在桌上打盹。画面高雅隽秀，意境清趣恬静。",[164,24,7,4437,28,27,96,34,87506,131],"茅草屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b1f7393e083f89eea24f3d2347fb45f.jpg","51x68cm",[],{"id":87511,"slug":87512,"title":87513,"dynasty":124,"author":223,"museum":300,"description":87514,"tags":87515,"thumbUrl":87516,"material":692,"size":1293,"collection":84,"collections":87517,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},232685,"jia-pu-xiao-xiang-tu-juan-yi-ming-232685","家谱肖像图卷","以朱红世系红线串联全篇，将先祖肖像与谱牒题款融为一体。数位先祖肖像冠服严整，乌纱补服与儒巾常服各具风貌，面容刻画朴拙写实，眉眼间自带肃穆恭敬，尽显明代士绅端方仪态。\n\n古旧纸色晕染岁月痕迹，朱红脉络依旧醒目，细密题注排布有致，清晰梳理家族传承脉络。它既是肖像绘事遗存，也是宗法血脉的具象载体，融绘画技艺与宗族文化为一体，在斑驳古卷之中，晕开了一个家族敬宗追远的绵长情怀。",[23,24,7,25,27,28,96,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26c51043de18245b2f92478cab57f26b.jpg",[],{"id":87519,"slug":87520,"title":87521,"dynasty":222,"author":223,"museum":300,"description":87522,"tags":87523,"thumbUrl":87524,"material":692,"size":1293,"collection":84,"collections":87525,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},231841,"gu-hua-hua-niao-shan-shui-ren-wu-fen-ben-ren-wu-juan-xia-bu-yi-ming-231841","古画花鸟山水人物粉本-人物卷下部","本卷四段各有章法，右侧武将以精工线描勾勒甲胄纹饰，华丽细致，威严尽显。中段渡海一景，晕染水波灵动逼真，舟中撑船人姿态写实自然，朴拙设色晕开沧溟意境。左二高僧以白描写就，衣褶圆转舒展，头光晕染柔和，尽显出尘安然气度，最左僧者神情静谧淡然。整体兼工带写，白描清雅简练，设色柔和古旧，精准捕捉不同身份人物特质，笔意松弛却神态各彰，尽显古雅的东瀛人物画韵味。",[23,24,7,25,188,27,96,129,4505,29,76894,58122,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9b18253a54221ac9ea9ae208a86fb0.jpg",[],{"id":87527,"slug":87528,"title":87529,"dynasty":222,"author":87530,"museum":300,"description":87531,"tags":87532,"thumbUrl":87533,"material":692,"size":1293,"collection":84,"collections":87534,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},231829,"jing-shang-xin-wan-juan-yi-teng-bo-wen-231829","井上馨宛卷","伊藤博文","伊藤博文伊藤（伊藤博文伊藤，1841年10月16 - 1909 10月26日）时，明治阶段日本的政治家[1] 。排名Kunto爵位在按照首位大订单的公爵。\n明治时代在4度到内阁制晚些时候推出的首相（第一代：1885年- 1888年，五代：1892年- 1896年- 7代：1898年，10代：1900年- 1901年），已知的作为。在第一次内阁时，他成为中心人物的起草工作中的明治宪法，并在时间的第二个机柜，他起草了中日和平条约。在四阶内阁中，通过创立创始人总统（在任1900 年至1903 年）组建了新政府rikken seiyūkai，并为政党政治铺平了道路。另一位主要的枢密院主席（任期1888 年-1889），主要的上议院主席府（任期1890年- 1891年），创始人韩国居住总（在办公室1905年- 1909年），参议院被服务等。\n讳是伊藤博文（伊藤博文，有时读为“ Hakubun ”）。他还称自己为“ Ochijuku Ryohirofumi ”。小名被改期到（补赛）后，吉田松荫从给定俊英顺俊介和（俊介），进一步Harusuke改名（俊介）。不。春嵘（Shunpo），常被称为Haruseoyake。所述小田原排屋的沧浪亭，因为它是在占有沧浪阁主人被称为（所以城堡丈夫）符号和密封也用作一个。",[23,7,64,25,133,840,128,208,6369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d413e5167b26e90276d1e60627bbdfe.jpg",[],{"id":87536,"slug":87537,"title":87538,"dynasty":222,"author":83180,"museum":300,"description":87539,"tags":87540,"thumbUrl":87541,"material":692,"size":1293,"collection":84,"collections":87542,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},231809,"xiao-xian-he-ge-tu-juan-ku-tian-zheng-heng-231809","消闲和歌图卷","日本江户时代后期大名，下野国佐野藩2代藩主。初代藩主堀田正敦五子。1796年拜谒将军德川家齐，同年叙任从五位下左京亮，后改任摄津守。1832年父亲去世后继承家督。1834年就任奏者番。1836年就任若年寄。1843年升为从四位下。1854年去世，享年60岁，因长子正修早世，由正修之子正颂继承。",[23,24,7,25,128,27,64,133,840,208,29,167,263,96,130,211,168,375,371,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f4a4761228232d6ada81f5879defb21.jpg",[],{"id":87544,"slug":87545,"title":87546,"dynasty":222,"author":87547,"museum":300,"description":87548,"tags":87549,"thumbUrl":87550,"material":692,"size":1293,"collection":84,"collections":87551,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},231722,"jiang-hu-shi-dai-niao-zhi-xiao-jing-tu-ping-feng-shen-jiang-lu-zhou-231722","江户时代 茑之小径图屏风","深江芦舟","深江 芦舟（ふかえ ろしゅう、別表記：深江 蘆舟、1699年（元禄9年）- 1757年5月25日（宝暦7年4月8日））は、江戸時代中期の画家である。名は庄六。別号に青白堂。",[23,24,7,27,28,413,548,131,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F190ac07d878e980e83e2da06bc988375.jpg",[],{"id":87553,"slug":87554,"title":87555,"dynasty":222,"author":67815,"museum":300,"description":67816,"tags":87556,"thumbUrl":87557,"material":692,"size":1293,"collection":84,"collections":87558,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},231717,"shi-ting-shi-dai-xing-guang-si-yuan-qi-hua-juan-shang-xia-juan-xia-tu-zuo-guang-xin-231717","室町时代 星光寺缘起画卷上下卷(下)",[23,27,28,95,25,7,96,97,29,34,758,247,31,496,7220,187,12803,276,6640,8565,61977,57836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c4e8c658f98ed5e6da2b6f79695a224.jpg",[],{"id":87560,"slug":87561,"title":87562,"dynasty":222,"author":87563,"museum":300,"description":87564,"tags":87565,"thumbUrl":87567,"material":692,"size":1293,"collection":84,"collections":87568,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},231701,"tian-cun-jia-ting-hui-juan-jiang-hu-shi-qi-231701","田村家庭绘卷","江户时期","这卷手迹以平假名草书挥就，墨色沉凝古雅，笔势婉转舒展，牵丝映带间尽显和风书法的隽秀意趣。泛黄的古纸晕开浅褐色的岁月痕迹，将旧时心绪藏在纸间褶皱与墨迹之中。\n\n笔锋温润柔和，每一处转折都带着松弛的雅致，似在轻诉往昔的日常絮语，将时代的文心融于笔墨之间，让百年前书写时的沉静氛围顺着墨痕流淌至今，观者仿佛能触碰旧时纸面的温度，在素纸浓墨里，窥见旧时光里的缱绻文情。",[25,7,27,840,96,87566],"日本传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa206b80b3e9a179923228944528c4081.jpg",[],{"id":87570,"slug":87571,"title":87572,"dynasty":222,"author":223,"museum":300,"description":87573,"tags":87574,"thumbUrl":87575,"material":692,"size":1293,"collection":84,"collections":87576,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},231682,"jiang-hu-shi-qi-ren-wu-tu-zhou-yi-ming-231682","江户时期 人物图轴","秋夜江天，月色衔着薄云晕开清光，归雁列队划破岑寂。茅舍檐下苇席铺陈，振袖女子以袖掩面，柔婉身形似含幽绪，席上男子持扇凝睇，案间布帛轻置，日常缱绻里漫着淡淡别意。丹枫斜枝缀着艳色，衬着茅檐朴拙，水畔木架与幽草晕开野趣。笔触清隽雅致，设色柔润古雅，将市井儿女的悱恻心事融在江秋夜色里，把幽微情愫藏在景致与情态之间，淡远缱绻，尽显和风古典的温婉余韵。",[23,24,7,165,27,96,211,231,87506,209,413,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbb2250af231ae36a00e00ab660d322.jpg",[],{"id":87578,"slug":87579,"title":87580,"dynasty":222,"author":223,"museum":300,"description":87581,"tags":87582,"thumbUrl":87585,"material":84,"size":84,"collection":84,"collections":87586,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},231653,"xi-ma-tu-juan-yi-ming-231653","戏马图卷","此卷以淡彩施绘，笔墨清简秀逸。右端平远郊野间，群马散游浅草坡地，或垂首啮草，或信步徐行，村舍隐于林麓，漾着乡野闲静意趣。随卷左移，画面渐次鲜活：仆役控缰牵马，骑手们或策马奔腾，或俯身控御烈马，更有健儿挥弄长械戏马，烈马扬鬃奋蹄，人马的灵动神态被简练线条勾勒尽致。浅青、淡赭的淡设色调雅致柔和，将牧养日常与游嬉之趣相融，把民间驯马戏马的鲜活图景缓缓铺展，尽显世俗生活的生动意韵。",[23,24,7,25,27,28,96,101,29,8709,496,87583,87584],"群马","动态场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e8fcb02ee6658a46924bfa4d3b69f70.jpg",[],{"id":87588,"slug":87589,"title":87590,"dynasty":222,"author":65595,"museum":300,"description":70332,"tags":87591,"thumbUrl":87593,"material":692,"size":1293,"collection":84,"collections":87594,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},231645,"shi-ting-shi-dai-yuan-shan-za-mu-tu-shou-ye-yuan-xin-231645","室町时代 远山杂木图",[164,7,25,128,29,415,87592,132],"杂木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e013f5ce74f2538599526275739ec0.jpg",[],{"id":87596,"slug":87597,"title":87598,"dynasty":222,"author":223,"museum":300,"description":87599,"tags":87600,"thumbUrl":87601,"material":692,"size":1293,"collection":84,"collections":87602,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},231641,"shi-ting-shi-dai-shang-shan-cai-zhi-tu-zhou-yi-ming-231641","室町时代 商山采芝图轴","以淡墨晕染危崖空山，苍松虬曲倒挂，笔墨简淡空灵，晕出幽谷清寂的世外氛围。下方二老衣袂以写意线条勾勒，一人拄杖回首，一人负芝持锄，神情悠然萧散，将避世隐者的林下风流尽显无余。\n\n右上角题诗与画面呼应，诗画相融，笔意清隽，尽显南宗水墨的淡远意趣。整作舍去繁复皴擦，以留白衬出山岚空濛，人物情态简率传神，萧疏笔墨间寄寓着对高蹈出世襟怀的追慕，淡远空灵里晕开古雅隐逸之思。",[24,7,165,128,188,96,29,372,40701,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c16becd096381dc5b12bec7f4ad1bb6.jpg",[],{"id":87604,"slug":87605,"title":87606,"dynasty":222,"author":87607,"museum":300,"description":87608,"tags":87609,"thumbUrl":87610,"material":692,"size":1293,"collection":84,"collections":87611,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},231600,"dong-wu-xie-sheng-tu-gui-chuan-guo-rui-231600","動物写生図","桂川国瑞","桂川甫週（KatsuragawaHoshū）是日本醫師，也是蘭學的學者。他曾在德川幕府擔任醫師和荷蘭語翻譯。他是作家和蘭學學者森島中良（MorishimaChūryō）的哥哥。作為桂川家族的長子，將軍的荷蘭式醫生霍舒於1777年被任命為該職位。他於1794年開始在幕府將軍醫學院任教。",[7,27,28,2166,169,59,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3fb02042d367c59a81eac1fec864aa6.jpg",[],{"id":87613,"slug":87614,"title":87615,"dynasty":222,"author":223,"museum":300,"description":87616,"tags":87617,"thumbUrl":87618,"material":692,"size":1293,"collection":84,"collections":87619,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},230987,"niao-yu-seng-zheng-hua-juan-yi-ming-230987","鸟羽僧正画卷","淡彩晕染搭配稚拙灵动的线条，定格了一出荒诞喧嚣的街头闹剧。左侧奔逃的百姓神色惊惶，推搡拥挤间衣袂翻飞，尽显狼狈惶急，妇孺跌扑奔窜，满是仓皇失措之态。右侧官吏差役神态骄横各异，或挥臂喝斥、或持扇作态，将官威凌人的跋扈展露无遗。\n整幅画作以写意笔调勾勒众生，情态各有不同，将官民对立的张力拉至极致，以戏谑的民间视角辛辣铺陈衙役驱民的现实，笔意朴拙却鲜活生动，暗喻着对世俗不公的讽刺。",[23,164,24,7,25,27,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cc575e2ca921dbcd470913fa4023ce3.jpg",[],{"id":87621,"slug":87622,"title":87623,"dynasty":54,"author":9529,"museum":300,"description":19697,"tags":87624,"thumbUrl":87625,"material":692,"size":1293,"collection":84,"collections":87626,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},230924,"xi-tang-hua-bie-tu-wang-hui-230924","溪堂话别图",[24,7,1131,128,132,29,34,99,495,130,129,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe3b2d257e93d1057e95b449ccd79ed5.jpg",[],{"id":87628,"slug":87629,"title":87630,"dynasty":182,"author":223,"museum":300,"description":87631,"tags":87632,"thumbUrl":87633,"material":84,"size":84,"collection":84,"collections":87634,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},230911,"mo-you-jun-san-tie-yi-ming-230911","摹右军三帖","此作用笔灵动温润，墨色古雅沉静，忠实复刻出右军行书的飘逸神韵。行笔提转自然，牵丝映带间尽显晋人萧散风流，点画舒展雅致，藏露相宜，将二王笔法的秀逸风神尽数展现。\n\n满纸鉴藏玺印疏密错落，与帖文相映成趣，既见证了它辗转流传的岁月历程，也为这件作品增添了厚重的古雅质感，让笔墨意趣与时光沉淀交融为一，尽显旧帖的隽永神采。",[4642,64,330,133,840,208,234,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb8578b6c0bd130fabf87d02674ab690.jpg",[],{"id":87636,"slug":87637,"title":87638,"dynasty":54,"author":66617,"museum":300,"description":66618,"tags":87639,"thumbUrl":87640,"material":692,"size":1293,"collection":84,"collections":87641,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},230847,"tang-ren-shi-ju-ai-xin-jue-luo-xuan-ye-230847","唐人诗句",[64,133,208,165,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe52ff99807bfbd7ed4a11ce829f938f3.jpg",[],{"id":87643,"slug":87644,"title":59,"dynasty":54,"author":70407,"museum":300,"description":87645,"tags":87646,"thumbUrl":87647,"material":692,"size":1293,"collection":84,"collections":87648,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},230354,"ce-zhang-zhao-230354","张照（1691～1745），字得天，号泾南，亦号天瓶居士，江南娄县人。康熙四十八年进士。清藏书家、书法家、戏曲家、书画目录整理者。",[23,64,572,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60a845d034de61b42f705ca7e8a01a36.jpg",[],{"id":87650,"slug":87651,"title":409,"dynasty":54,"author":23132,"museum":300,"description":61171,"tags":87652,"thumbUrl":87653,"material":692,"size":1293,"collection":84,"collections":87654,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},230352,"shan-shui-ce-liu-yu-230352",[24,128,132,59,7,208,133,29,129,97,34,131,414,12424,18542],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb46bf774b4ee06c53bb0d0f4bef3403.jpg",[],{"id":87656,"slug":87657,"title":87658,"dynasty":54,"author":223,"museum":300,"description":87659,"tags":87660,"thumbUrl":87666,"material":84,"size":84,"collection":84,"collections":87667,"showCount":1105,"zanCount":1998,"manualWeight":48,"mainColor":49},230347,"nao-xue-wan-xi-yi-ming-230347","闹学顽戏","这是一幅满溢稚拙意趣的世俗佳构，将沉闷私塾化为嬉闹戏台。塾中先生酣然沉睡，学童们索性闹将起来：有扮作伶人敲锣打鼓，捏腔作势演起大戏，堆垒的书卷被搭成戏楼布景，案头文房器物全变作玩闹道具；也有学童模仿先生训人模样，或是追跑笑闹搅乱书堂。设色明丽雅致，线条勾勒鲜活灵动，无半分说教，只把孩童淘气相尽数铺陈。画师以温柔目光捕捉市井童年的片刻逃闲，将寒窗日常化作满堂童趣，把烟火里的天真烂漫凝在纸面，是旧时稚子顽戏的鲜活剪影。",[24,7,27,96,87661,87662,87663,17990,87664,87665,2656,17992],"私塾","闹学","顽戏","戏曲","文房器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75a93e21e975cf7881372d1fd3dfdcf3.jpg",[],{"id":87669,"slug":87670,"title":87671,"dynasty":54,"author":223,"museum":300,"description":87672,"tags":87673,"thumbUrl":87675,"material":84,"size":84,"collection":84,"collections":87676,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":199},230311,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-jiu-a-ge-yin-tang-yi-ming-230311","历代帝王贵妃大臣朝服像(九阿哥胤禟)","此作工笔写实，将宗室贵胄的矜重威仪尽显无余。画中人物坐姿端方，双手按于扶手，面容沉毅肃穆，神态不怒自威。吉服纹饰极为考究，前胸正龙团纹精细繁复，龙形矫健灵动，祥云环绕其间，缂丝质感描摹逼真，衣身寿字暗纹隐现，贴合清代宗室服饰规制。设色调和古雅，素净背景烘托出人物主体，笔触精细入微，从冠帽形制到衣褶晕染皆严谨细致，精准还原出这位皇子的气度风貌，尽显清代肖像画礼制与写实兼备的精妙特质。",[23,24,7,165,28,27,96,772,170,20721,87674],"寿字纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc307bd4c17905f1d02a41ce7d771c1f4.jpg",[],{"id":87678,"slug":87679,"title":87680,"dynasty":54,"author":74980,"museum":300,"description":87681,"tags":87682,"thumbUrl":87683,"material":84,"size":84,"collection":84,"collections":87684,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},230267,"li-xu-xing-le-tu-zhou-dao-230267","李煦行乐图","此作用色明润清雅，右段绘就江南林泉幽境：修竹海立、奇石卧波，繁花绕树，主人在松下凭坐休憩，僮仆侍立侧旁，一派林下忘机的闲静安和。\n\n左侧长卷题咏琳琅，明清诸家题诗满纸，诗画合璧。整作将文人幽居丘壑、卧游行乐的雅致心境融于笔墨设色之间，把江南文园的清旷闲逸与主人的林下风流烘托尽致，尽显传统行乐图诗画相映的隽永意趣。",[23,24,7,25,27,96,29,167,372,99,133,208,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F524d0806fa208d75ea4b0e10983f76ab.jpg",[],{"id":87686,"slug":87687,"title":87688,"dynasty":54,"author":87689,"museum":300,"description":87690,"tags":87691,"thumbUrl":87692,"material":84,"size":84,"collection":84,"collections":87693,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},230252,"hu-shan-sheng-jing-tu-wan-shang-lin-230252","湖山胜境图","万上遴","以大青绿设色晕染湖山，远景层峦迤逦，青碧山峦如翡翠层叠舒展，林树错落点染岸渚，晕开清寂悠远的山野意趣。\n中幅湖面空蒙开阔，数帆缓行、舟楫往来，为静穆烟波晕开灵动生气。近岸山居枕水而建，花树环拥亭台，青绿皴染的坡岸雅致温润；下方城楼依水伫立，牵起市井烟火与丘林幽秀的相融之境。\n古雅厚重的赭石底色晕开沉朴古韵，青绿石色提亮山水层次，将庙堂规整与林泉幽秀揉合，尽展江南湖山的安和清宁，是兼具写实意趣与文人雅韵的青绿佳构。",[23,24,7,26,27,29,97,130,129,33,34,415,32,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb7d75c51828938af5b421c7b261fab1.jpg",[],{"id":87695,"slug":87696,"title":87697,"dynasty":54,"author":87698,"museum":300,"description":87699,"tags":87700,"thumbUrl":87701,"material":692,"size":1293,"collection":84,"collections":87702,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},230231,"gong-he-yu-zhi-re-he-ge-ti-shi-ce-qian-chen-qun-230231","恭和御制热河各体诗册","钱陈群","钱陈群（1686─1774年），字主敬，号香树，又号集斋、柘南居士，浙江嘉兴人，祖籍浙江海盐，清朝重要大臣。\n清康熙六十年（1721）中进士，雍正、乾隆时久直南书房，充经筵讲官，官至刑部侍郎、加尚书衔。卒赠太傅，祀贤良祠，谥文端。\n钱陈群历事康熙、雍正、乾隆三朝，又曾任经筵讲官，特得乾隆帝尊宠，倚为元老儒臣，称为故人。钱陈群病老归乡之后，还常寄诗相与唱和，与沈德潜并称东南二老。",[64,133,59,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41d04c0b219afeae72f975133fd78ba.jpg",[],{"id":87704,"slug":87705,"title":87706,"dynasty":54,"author":3403,"museum":300,"description":87707,"tags":87708,"thumbUrl":87709,"material":84,"size":84,"collection":84,"collections":87710,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},230224,"qi-yan-zi-zuo-shi-wu-chang-shuo-230224","七言自作诗","此作用笔以篆隶之法入行草，线条圆浑苍劲，力透纸背。字势欹正相生，章法错落跌宕，通篇气脉连贯酣畅。墨色枯润浓淡交织，重笔沉凝如坠石，枯锋飞白见筋骨，尽显金石老辣之趣。\n将病中沉郁心绪寄于笔端，笔墨与诗意相融，苍拙老迈间满是雄强意气，把文人抒怀与碑学浑厚融为一体，尽显晚年书艺炉火纯青的风貌，苍朴豪迈，真气弥漫。",[23,7,64,133,128,25,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc2f8212e0d01dc26f7eb7072e1ac90d.jpg",[],{"id":87712,"slug":87713,"title":29044,"dynasty":54,"author":87714,"museum":300,"description":87715,"tags":87716,"thumbUrl":87717,"material":692,"size":1293,"collection":84,"collections":87718,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},230170,"qi-yan-lian-qian-da-xin-230170","钱大昕","钱大昕（1728年2月16日—1804年11月2日），字晓征，又字及之，号辛楣，晚年自署竹汀居士，江苏太仓州嘉定县望仙桥河东宅（今属上海市嘉定区望新乡）人。清代史学家、文学家、教育家，乾嘉学派代表人物。\n钱大昕早年以诗赋闻名江南。乾隆十六年（1751年），因向乾隆帝献赋被提督学政庄有恭选为一等。后在召试中被评为一等，特赐举人，授内阁中书学习行走。乾隆十九年（1754年）三月，中进士，经御试后改翰林院庶吉士。其后历任翰林院编修、右春坊右赞善、武英殿纂修官、功臣馆纂修官、詹事府少詹事，提督广东学政。期间还出任过会试同考官及山东、湖南、浙江、河南等地乡试考官。乾隆四十年（1775年），因父丧归里，从此引疾不仕。归田三十年，潜心著述课徒，历主钟山、娄东、紫阳书院讲席，出其门下之士多至二千余人。嘉庆九年（1804年），于苏州紫阳书院逝世，享年七十七岁。\n钱大昕是18世纪中国渊博和专精的学术大师，其学以“实事求是”为宗旨，其治学范围广博精深，在史学、经学、小学、算学、校勘学及金石学等学术领域，均有建树和创见。有《十驾斋养新录》，后世以之与顾炎武《日知录》并称。一生著述甚富，后世辑为《潜研堂丛书》刊行。",[23,64,10886,21937,165,304,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f5c457324796599d08ababe49b4afe0.jpg",[],{"id":87720,"slug":87721,"title":42097,"dynasty":54,"author":7208,"museum":300,"description":45366,"tags":87722,"thumbUrl":87723,"material":692,"size":1293,"collection":84,"collections":87724,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":956},230164,"shi-qian-long-230164",[7,64,572,5380,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0eb0bb035e127935b82d18605e70596.jpg",[],{"id":87726,"slug":87727,"title":87728,"dynasty":54,"author":223,"museum":300,"description":87729,"tags":87730,"thumbUrl":87731,"material":692,"size":1293,"collection":84,"collections":87732,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},230074,"hua-hua-hui-ce-ye-yi-ming-230074","画花卉册页","整册以紫檀为匣，木纹如岁月镌刻的细密脉络，沉敛温润。册页纸色晕开旧时光的米黄，装帧雅致内敛。\n\n所绘花卉皆撷取四时芳华，以淡墨轻色晕染勾勒，花瓣柔如凝脂，枝蔓舒展似随风轻曳。没有浓艳堆砌，只以写意留白藏尽中式雅致，将草木鲜活灵韵锁在尺幅之间，恍似能嗅见浅淡花香，晴日花影婆娑之态跃然纸上。\n\n这一方册页凝着文人案头闲情，把四季花事收作掌中清赏，将花木盛放的刹那定格成永恒笔墨印记，带着旧物的沉静质感，藏着独属于东方的雅致意趣。",[24,7,54,59,62,61,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa0c3547cd6d8530b22c9b37762c983.jpg",[],{"id":87734,"slug":87735,"title":18331,"dynasty":54,"author":33849,"museum":300,"description":87736,"tags":87737,"thumbUrl":87738,"material":692,"size":1293,"collection":84,"collections":87739,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},229052,"luo-han-qing-ren-229052","以菩提叶片为天然画笺，施针走线晕染出林间禅会图景，尊者围坐论法，衣袂舒展飘逸，山石古木衬出静谧禅意，色彩柔和雅致，与靛蓝装裱相映成趣。左侧小楷经文娟秀端凝，笔意清隽，书画合璧，将佛理意蕴与巧夺天工的工艺相融。叶片天然纹理与绣绘笔触浑然一体，借由菩提的宗教意象，让禅境融于方寸之间，尽显匠心工艺，既有肃穆清远的禅意，又带着雅致的东方美学意趣，空灵澹泊，自成一方清净天地。",[24,7,59,27,28,187,96,22657,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44c17fe8671f81c19e16fd1f65ff2d5c.jpg",[],{"id":87741,"slug":87742,"title":87743,"dynasty":124,"author":87744,"museum":300,"description":87745,"tags":87746,"thumbUrl":87747,"material":692,"size":1293,"collection":84,"collections":87748,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},228892,"lin-shi-qi-tie-zhu-da-you-228892","临十七帖","朱大有","生卒不祥。明安徽宁国人。字伯亨，号摩诃山农。嘉靖十二年（1523）岁贡。",[23,64,7,25,330,840,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd321c7a624a4e022536dbfc17e26c4c7.jpg",[],{"id":87750,"slug":87751,"title":87752,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":87753,"thumbUrl":87754,"material":692,"size":1293,"collection":84,"collections":87755,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},228871,"shu-hua-he-bi-chi-bi-sheng-you-tu-quan-juan-wen-zheng-ming-228871","书画合壁赤壁胜游图全卷",[23,24,7,25,128,27,29,131,99,129,34,231,133,64,132,28,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3197d20fc0c4379574693896b4e96fe.jpg",[],{"id":87757,"slug":87758,"title":55320,"dynasty":124,"author":41525,"museum":300,"description":66849,"tags":87759,"thumbUrl":87760,"material":692,"size":1293,"collection":84,"collections":87761,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},228745,"zi-shu-shi-juan-huang-dao-zhou-228745",[23,7,64,25,133,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1685b2f4977ca333713d930386fefbe.jpg",[],{"id":87763,"slug":87764,"title":87765,"dynasty":124,"author":223,"museum":300,"description":87766,"tags":87767,"thumbUrl":87768,"material":692,"size":1293,"collection":84,"collections":87769,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":956},228742,"ji-xiang-xi-jin-gang-ji-lun-gan-lu-quan-juan-yi-ming-228742","吉祥喜金刚集轮甘露泉卷","此卷是西藏萨迦派入门的基础修行法，属于印度密教怛特罗续部四部中的“无上瑜伽部”。",[24,7,25,187,27,28,64,7322,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d84ed2cf5a9ec76c869a53520740021.jpg",[],{"id":87771,"slug":87772,"title":87773,"dynasty":124,"author":7003,"museum":300,"description":76299,"tags":87774,"thumbUrl":87775,"material":692,"size":1293,"collection":84,"collections":87776,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},228331,"dong-po-ji-you-juan-zhu-yun-ming-228331","东坡记游卷",[23,64,7,25,133,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bdceeca7fc320dd85d26ace762e3e6d.jpg",[],{"id":87778,"slug":87779,"title":87780,"dynasty":144,"author":223,"museum":300,"description":87781,"tags":87782,"thumbUrl":87783,"material":692,"size":1293,"collection":84,"collections":87784,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},228210,"ti-po-wang-tu-yi-ming-228210","提婆王图","此作为白描道释人物，以劲挺匀细的铁线描勾勒，尽显精妙骨法。下方神王方面怒目，周身圆光朗照，甲胄层叠细密，纹饰繁丽精巧，将护法者的雄武威严展露无遗，飘拂的衣带柔婉灵动，中和了甲铠的沉厚刚硬，刚柔相济。\n\n上方祥云卷舒，簇拥着天众侍从，身姿错落悠然，晕染出天界清灵缥缈之境。全作用墨浓淡互生，虽彩迹消褪，却以线条撑起画面神采，静穆典雅中裹挟着宗教绘画特有的沉静威仪，尽显元代人物白描的精湛笔力。",[23,24,7,164,165,188,187,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd13dc95e83802bd195fa740bcc413f.jpg",[],{"id":87786,"slug":87787,"title":87788,"dynasty":18,"author":87789,"museum":300,"description":87790,"tags":87791,"thumbUrl":87792,"material":84,"size":84,"collection":84,"collections":87793,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},227972,"si-xing-shi-yang-mei-zi-227972","四行诗","杨妹子","此幅团扇书法兼取唐楷端雅与行书灵动，笔致娟秀婉丽，筋骨暗藏。诗句咏叹春残之景，将惜春倦怠、厌弃繁华偏恋醉乡的澹泊意趣，融于笔墨之中。墨色匀净沉稳，与古雅绢底相得益彰，章法排布疏朗匀称，字间顾盼有情，尽显宋代女性书家的温婉情致。朱红古印错落点缀，与墨色、绢色相映成趣，整体气息娴静悠然，暗合宋人的雅致审美。小幅之中，尽融文人意趣与闺阁才情，韵致悠长，尽显宋韵清雅。",[164,24,7,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a9e78b25fdd63db264868ebb2a8df21.jpg",[],{"id":87795,"slug":87796,"title":87797,"dynasty":18,"author":223,"museum":300,"description":87798,"tags":87799,"thumbUrl":87800,"material":84,"size":84,"collection":84,"collections":87801,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},227869,"song-gang-mu-se-tu-yi-ming-227869","松岗暮色图","此作以暮色晕染开山野幽趣，近坡苍松虬劲挺秀，枝叶攒聚如团墨，在昏暝里凝出深黛苍古的质感。远景山峦浸在烟霭中，轮廓晕成浅淡剪影，薄纱似的暮色漫过天地，以墨色浓淡铺陈出虚实层次，晕染出远近景致的朦胧分界。\n\n全幅未着光影刻画，只以水墨晕沉敛出四合静谧。坡岸蜿蜒隐入暗霭，松涛仿佛随暮色沉凝，将黄昏山野的恬寂安然藏在氤氲烟岚里，于尺幅间尽显林泉暮色的幽远空寂，尽显小品山水以简驭繁的雅致意韵。",[23,24,7,1131,128,27,132,372,663,3344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F979fdeb79fb61cf20eb69d1377c12453.jpg",[],{"id":87803,"slug":87804,"title":87805,"dynasty":18,"author":223,"museum":300,"description":87806,"tags":87807,"thumbUrl":87808,"material":692,"size":1293,"collection":84,"collections":87809,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},227843,"da-zhi-lv-shi-xiang-yi-ming-227843","大智律师像","智律师，即宋代灵芝元照大律师，他是南山宗的祖师，余杭人。最初依止东藏慧鉴律师专学戒律，后来依从神悟法师听天台教观。神悟法师勉励他深究探明《法华》妙义，作为根本要务。后来他又跟广慈法师受菩萨戒，当时戒光发现，就博究南山一宗。常常拿着锡杖，持着钵盂，在街市上乞食。\n晚年主持灵芝寺三十年，传戒度僧达到六十会，一心专志净业。每每说道：“生宏律范，死归安养，平生所得，唯二法门。”就是讲，我一生所得到的就是两个法门：在生时弘扬戒律轨范，死后归于极乐世界。他曾经集《净业礼忏仪》，并作了这篇序言。到了宋代政和六年的秋天，元照律师让弟子讽诵《观经》和《普贤行愿品》，结跏趺坐化去。西湖上打鱼的人们都听到空中有天乐鸣响。",[24,7,187,96,28,27,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e28c271c943847986e684c4697cfef.jpg",[],{"id":87811,"slug":87812,"title":87813,"dynasty":18,"author":223,"museum":300,"description":87814,"tags":87815,"thumbUrl":87816,"material":84,"size":84,"collection":84,"collections":87817,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},227835,"yun-guan-xue-zhan-tu-ye-yi-ming-227835","云关雪栈图页","萧寒冬日里，群峰被素雪覆裹，枯松虬曲苍劲，枝桠凝着残雪，皴擦间尽显古拙老辣。山道盘绕于嶙峋山石之间，山坳错落着几间茅舍，板桥静卧寒涧之上，不见人迹，唯有天地间的冷寂漫溢。\n\n笔墨简括利落，斧劈皴勾勒山石棱线，浓墨点染松枝苔痕，淡墨晕染出空濛雪意，虚实相映烘托出冬山萧索冷峭。尺幅之中将山野冬日的幽寂清旷尽数铺展，把旅人的孤清、林居的静谧藏于画间，以小见大，尽显山水意境的幽远荒寒。",[23,164,24,7,1131,27,132,29,950,1556,6290,34,496,387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2bf93b602ef47ab2c6c225a2b8cc0ab.jpg",[],{"id":87819,"slug":87820,"title":87821,"dynasty":32945,"author":87822,"museum":300,"description":87823,"tags":87824,"thumbUrl":87825,"material":84,"size":84,"collection":84,"collections":87826,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},227734,"yan-jiang-fan-ying-tu-ti-ba-kuan-cheng-qi-227734","烟江帆影图（题跋款）","程琦","程琦(1911-1988)，字伯奋，号二石老人，又号可庵，斋号双宋楼，安徽合肥人。著有《萱晖堂书画录》。",[23,24,7,165,128,27,29,129,37799,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa18cb33f42d3f3dc1683ffc942df99f2.jpg",[],{"id":87828,"slug":87829,"title":87830,"dynasty":18,"author":2099,"museum":300,"description":26781,"tags":87831,"thumbUrl":87832,"material":84,"size":84,"collection":84,"collections":87833,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},227606,"long-mian-shan-zhuang-tu-er-wen-dao-tu-li-gong-lin-227606","龙眠山庄图二（问道图）",[23,24,164,7,188,132,29,96,131,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd29cf6863900ec66c7d7264b4be2dc37.jpg",[],{"id":87835,"slug":87836,"title":28804,"dynasty":18,"author":223,"museum":300,"description":61786,"tags":87837,"thumbUrl":87838,"material":84,"size":84,"collection":84,"collections":87839,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},227354,"dai-du-tu-ye-yi-ming-227354",[23,164,24,7,1326,4437,128,27,29,331,129,131,211,414,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7395055af78e9b5b1f31d83c41ca5f19.jpg",[],{"id":87841,"slug":87842,"title":87843,"dynasty":18,"author":223,"museum":300,"description":87844,"tags":87845,"thumbUrl":87846,"material":84,"size":84,"collection":84,"collections":87847,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},227342,"shi-wang-jing-yi-ming-227342","十王经","五代 佚名《佛说十王经》，此卷全称《佛说阎罗王授记四众预修生七往生净土经》，简称《佛说十王经》。为卷轴式手抄彩绘卷，本经卷属晚唐五代时期，画风古朴，十分珍罕。\n\n卷首绘释迦牟尼呈说法状安住于莲座上，两边是佛弟子舍利弗和目连。十王对称坐于佛之下二侧，十王身后各有二判官。中间位置圣坛两边为道明和尚和梳双髻的善恶二童子。经文后紧随地藏、龙树、观音、长悲、陀罗尼和金刚藏六大菩萨，显示了地藏菩萨在十王信仰中的重要地位。随后是黑衣使者乘黑马、把黑幡，为阎罗王派去检亡人家功德。",[23,24,7,28,27,187,96,772,211,97,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4ab906e76a7baadf1b2c9e85442d8be.jpg",[],{"id":87849,"slug":87850,"title":87851,"dynasty":182,"author":223,"museum":300,"description":87852,"tags":87853,"thumbUrl":87854,"material":692,"size":1293,"collection":84,"collections":87855,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},227238,"miao-fa-lian-hua-jing-di-8-guan-shi-yin-pu-sa-men-pin-di-er-shi-wu-yi-ming-227238","妙法莲华经第8观世音菩萨门品第二十五","唐代楷书经书",[23,7,25,187,7322,64,572,5459,6369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1a1eda4331743d036369d18a857c4d1.jpg",[],{"id":87857,"slug":87858,"title":87859,"dynasty":54,"author":33849,"museum":300,"description":87860,"tags":87861,"thumbUrl":87862,"material":84,"size":84,"collection":84,"collections":87863,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},224572,"mao-shi-pin-wu-tu-kao-si-ce-qing-ren-224572","毛诗品物图考（四）册","《域外汉籍珍本文库第一辑：经部（套装共5册）》是28年1月人民出版社出版的图书，作者是域外汉籍珍本文库第一辑：经部（套装共5册）。\n这批汉籍不乏宋元珍本，如《毛诗要义》为宋淳祐十二年魏克愚徽州郡斋刻本，有清人钱天树、莫友芝手识，今藏于日本天理大学附属图书馆，为日本“重要文化财”；《集韵》为宋淳熙十四年金州军刻本，存九卷，今藏于日本宫内厅图书寮，原系日本中世纪时代金泽文库外流汉籍之一种。\n又有鲜见的旧钞本，如清人钱大昭所撰的《广雅疏义》，原为归安陆心源皕宋楼之旧藏，今归日本静嘉堂文库。\n这批汉籍还收集了品质较好的和刻本等域外刊本。\n其中对元代卢以纬的《助语词》，分别采用了两种版本，均为和刻本，为学术界提供校勘之便。\n此外，日本、高丽等国学者所撰的汉文著作也选取有价值者数种，像日本江户时期大儒安井衡所撰的日本明治三年刊本《左传辑释》就具有很高的思想造诣。\n这也说明了汉籍在域外的流布影响深远。\n第一册 汉籍之路——《域外漠籍珍本文库》序言 柳斌杰 编纂凡例 泰轩易传 宋李中正撰 周易新讲义 宋龚原撰 尚书正义 唐孔颖达等奉敕撰 毛诗要义（一） 宋魏了翁撰 第二册 毛诗要义（二） 宋魏了翁撰 诗经讲义 朝鲜丁镛撰 毛诗品物图考 日本冈元凤纂辑 礼记正义，唐孔颖达等奉敕撰 左传辑释（一） 日本安井衡撰 第三册 左传辑释（二） 日本安井衡撰 春秋胡传 宋胡安国撰 古文孝经孔氏传 汉孔安国传 孝经郑注 汉郑玄撰 日本冈田挺之录 论语集解 魏何晏撰 皇氏论语义疏参订 清吴骞撰 孟子识 日本徂徕物撰 崇孟 日本肥后薮悫撰 乐书要录 唐武墨撰 第四册 广雅疏义 清钱大昭撰 重订冠解助语辞 元卢以纬撰 日本毛利贞斋编 助语词 元卢以纬撰 五经文字 唐张参撰 九经字样 唐玄度撰 篆隶万象名义（一） 日本空海撰 第五册 篆隶万象名义（二） 日本空海撰 集韵 宋丁度等奉敕修订 三韵声汇 朝鲜洪启禧撰 两苏经解 宋苏轼、苏辙撰",[24,7,59,28,27,61,572,230,806],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa09d03ad3203d8837b963c6c84f630da.jpg",[],{"id":87865,"slug":87866,"title":87867,"dynasty":124,"author":26033,"museum":300,"description":87868,"tags":87869,"thumbUrl":87870,"material":84,"size":84,"collection":84,"collections":87871,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},224566,"shu-hua-ce-ye-8-xiao-yun-cong-wang-shi-zhen-224566","《书画册页》-8","此作用笔率意灵动，墨色枯湿浓淡交叠，线条粗细自然舒卷，字势欹侧相生，牵丝映带暗合文思脉络。字形大小错落排布，章法疏朗通透，通篇行气连贯浑成，尽显文人萧散简远的林下之风。\n\n落笔之间藏着沉厚笔力，随性却不失法度，将书写时的襟怀意趣尽数融于笔墨。看似不经意的挥毫，实则暗合晚明尚态抒情的书风特质，字字呼应间，让观者在笔墨流转里，触摸到彼时文人心底的疏放襟怀与隽秀文思。",[24,7,4437,133,64,128,805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20909ba1ec50940fba631475a103ecce.jpg",[],{"id":87873,"slug":87874,"title":87875,"dynasty":124,"author":26033,"museum":300,"description":87876,"tags":87877,"thumbUrl":87878,"material":84,"size":84,"collection":84,"collections":87879,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},224560,"shu-hua-ce-ye-25-xiao-yun-cong-wang-shi-zhen-224560","《书画册页》-25","此作以黄山实景入画，峰林如万笏朝天，奇崛冷峻间尽显山岳雄姿。盘崖山道萦回曲折，将错落楼宇、策杖旅人串联，静穆山景因行人添上几分灵动生机。\n\n笔墨枯淡简劲，以勾勒皴擦写就山石肌理，苍松虬枝斜出，笔意萧疏散淡，带着清冷荒疏的古雅意趣。题跋小字清隽，与淡墨轻岚融为一体，将黄山的幽绝与文人雅怀相融，把皖南山水的清旷冷逸铺陈于尺幅间，是兼具写实与抒情的山水佳构。",[24,7,128,132,29,97,98,34,131,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6fb2b4eb2f4e2c05041ae041e2f8b94.jpg",[],{"id":87881,"slug":87882,"title":87883,"dynasty":124,"author":26033,"museum":300,"description":87884,"tags":87885,"thumbUrl":87886,"material":84,"size":84,"collection":84,"collections":87887,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},224554,"shu-hua-ce-ye-19-xiao-yun-cong-wang-shi-zhen-224554","《书画册页》-19","以淡墨晕染烟霭长空，崖壁奇崛高耸，文士策杖凭崖，凝望远江平芜。枯木虬枝错落坡岸，间有柔枝茂叶点缀荒寒，笔墨以干淡皴擦勾勒山石肌理，兼得宋画苍劲与文人画雅逸。\n\n题跋朱印错落留白处，诗画相融，将幽居林泉的隐逸心绪藏在萧疏景致间，清寂淡远的古意漫溢纸面，暗合画中孤高文人心志。",[24,7,59,128,27,132,64,208,29,96,331,171,11998,497,34,582,950,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdaae4723fd04a5f2ab0bf9de09a0ba0.jpg",[],{"id":87889,"slug":87890,"title":87891,"dynasty":124,"author":26033,"museum":300,"description":87892,"tags":87893,"thumbUrl":87894,"material":84,"size":84,"collection":84,"collections":87895,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},224552,"shu-hua-ce-ye-17-xiao-yun-cong-wang-shi-zhen-224552","《书画册页》-17","此作以危崖为骨，层叠楼阁依山而起，飞檐翘角隐于苍松虬枝之间，将人工巧思揉入天工奇险。设色调清雅柔和，山石勾勒方折硬朗，皴擦极简便勾勒出崖壁肌理，古松姿态苍劲古拙，尽显高浑气象。\n\n崖间回廊蜿蜒，行人缓步登游，为冷峭山景添上悠然雅趣，右上角题跋小字灵动，与画意相映成趣，晕开文雅余韵。工致界画衬以写意山水，将世外仙山出尘之境，描摹得淋漓尽致。",[24,7,59,95,27,29,97,96,34,131,950,1144,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd9d18ef08fba367f18c210f9c9efab9.jpg",[],{"id":87897,"slug":87898,"title":87899,"dynasty":124,"author":26033,"museum":300,"description":87900,"tags":87901,"thumbUrl":87902,"material":84,"size":84,"collection":84,"collections":87903,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},224551,"shu-hua-ce-ye-15-xiao-yun-cong-wang-shi-zhen-224551","《书画册页》-15","此作用干笔淡墨写尽层崖奇崛，取皖南山水清瘦之态。层叠崖壁错落排布，苍松倚壁探枝，山居楼宇嵌于山石褶皱之间，烟火意趣融于林泉丘壑。\n\n笔墨简淡清逸，以线勾勒山石筋骨，皴擦简括，不事浓艳敷色，尽现山川空灵苍劲。构图疏密得宜，纵向铺陈崖壁拉开空间层次，将山林冷峭与村居暖意相融，题跋补缀边角，文人意趣悠长，尽显晚明山水寄情林泉的清逸淡远之韵。",[24,7,59,128,132,29,97,1144,131,130,1023,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf7e4ee8c969f7dab6109b89f3552ec2.jpg",[],{"id":87905,"slug":87906,"title":87907,"dynasty":54,"author":87908,"museum":300,"description":87909,"tags":87910,"thumbUrl":87911,"material":84,"size":84,"collection":84,"collections":87912,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},224538,"jiao-yin-na-liang-tu-deng-wen-ju-224538","焦荫纳凉图","邓文举","浓荫覆蔽的蕉林之下，宽袍高士斜倚凉榻，案头书卷茶盏错落，眉眼舒展间尽显松弛自适。稚童三两环绕，或俯身摆弄茶器，或嬉玩低语，鲜活稚气晕开了幽寂氛围，一动一静相映成趣。\n\n设色调和古雅，苍润蕉叶晕染出沉凝绿意，衬得绢底古褐愈发柔暖沉静。线条清隽秀逸，将蕉叶婆娑之态与高士闲散之姿勾勒传神，把夏日林下消暑的雅逸意趣尽数铺陈。仿佛能窥见晚风穿林、蕉影轻摇，将文人幽居消夏的闲情雅兴融于尺幅之中，恍若将溽热暑气隔绝在外，只留一室清宁，尽显林下风流与雅致襟怀。",[23,24,7,304,27,28,96,2218,54633,12614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60e75c9094b8bc0063c73467689305ca.jpg",[],{"id":87914,"slug":87915,"title":87916,"dynasty":54,"author":1676,"museum":300,"description":87917,"tags":87918,"thumbUrl":87919,"material":84,"size":84,"collection":84,"collections":87920,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},224323,"hua-niao-shi-er-kai-12-li-shan-224323","花鸟十二开12","以水墨写就牡丹，运笔纵放老辣，墨色层次丰盈，浓淡干湿晕染间，尽显牡丹华贵姿容。焦墨点簇花头苍润兼济，淡墨晕留白处虚灵雅致，枝叶穿插随性却不失章法，尽显挥毫时的酣畅意气。\n\n右侧行书题诗笔势跌宕，书画相映成趣，将文人写意的抒情特质尽显。画作不拘泥于形，以水墨替代设色，褪去浓艳，提炼出牡丹不恃色露风骨的意韵，尽显随性率真的写意风骨，于挥洒之间藏着画者寄情花木、不流于俗的文人襟怀。",[23,24,7,128,59,61,263,64,208,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd795af6042318958264f8c1bb453e04a.jpg",[],{"id":87922,"slug":87923,"title":87924,"dynasty":54,"author":1676,"museum":300,"description":87925,"tags":87926,"thumbUrl":87927,"material":84,"size":84,"collection":84,"collections":87928,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},224306,"hua-hui-shi-er-kai-7-li-shan-224306","花卉十二开7","此作以极简笔墨勾勒秋日闲景，构图疏朗留白有致。右上角淡墨绘藤蔓残叶，朱红果鲜亮醒目，晕染灵动，与浅淡枝叶相映成趣。下方枯枝上，禽鸟以浓淡墨色晕染出羽毛层次，昂首远眺姿态鲜活，仿佛正侧目红果，野趣横生。\n全画笔意纵逸随性，寥寥数笔便将禽鸟的机警灵动与秋果的鲜活生机尽显，浓淡墨色冷暖相映，简淡却意蕴悠长。配之题款朱印，文气雅致，尽显文人写意画的随性风神，将秋日一隅的幽寂生机悄然铺展，恬淡悠然，尽显写意花鸟的隽永意趣。",[23,24,7,59,128,27,61,355,2438,2037,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eff5f05f84877912f8f80a3c7e379a0.jpg",[],{"id":87930,"slug":87931,"title":87932,"dynasty":54,"author":1676,"museum":300,"description":87933,"tags":87934,"thumbUrl":87935,"material":84,"size":84,"collection":84,"collections":87936,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},224303,"hua-hui-shi-er-kai-4-li-shan-224303","花卉十二开4","这幅小品兼用没骨与写意笔法，绘两折幽花。上枝柔茎修长，粉花轻妍，晕染细腻，尽显娇柔轻盈之态；下簇黄花明媚鲜亮，墨叶以阔笔挥就，浓淡交叠，苍劲中藏秀润，朴拙见灵动。\n\n左侧题诗与花木相衬，以花自喻，吐露清介襟怀，诗书画印浑然一体，尽显扬州画派纵恣文心。笔墨简括却意态丰盈，将花木的绰约风神与文人孤傲品格相融，清雅脱俗，余韵悠长。",[23,24,7,59,27,61,62,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff87a8cacac29b8f8f20ecdeeefa4100.jpg",[],{"id":87938,"slug":87939,"title":87940,"dynasty":54,"author":1676,"museum":300,"description":87941,"tags":87942,"thumbUrl":87943,"material":84,"size":84,"collection":84,"collections":87944,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},224298,"hua-hui-shi-er-kai-10-li-shan-224298","花卉十二开10","这幅小品将水仙与日常蒜头并置，打破雅俗边界。淡墨轻扫水仙叶片，笔意舒展灵动，花瓣晕染留白，清逸柔婉。一旁蒜头以枯笔极简勾勒，憨拙质朴，二者相映成趣。\n题款笔墨恣肆，暗合“同是蒜也，可雅可俗”的谐趣，尽显文人随性诙谐的意趣。水墨设色简淡却神采具足，把清雅花草与日常风物相融，消解雅俗对立，寄寓画师对生活的通透体察，笔情墨趣间尽显写意花鸟的灵动生机。",[23,24,7,59,27,369,374,62,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F273442628b32e2197828f1322a679f80.jpg",[],{"id":87946,"slug":87947,"title":87948,"dynasty":54,"author":29876,"museum":300,"description":29877,"tags":87949,"thumbUrl":87950,"material":692,"size":1293,"collection":84,"collections":87951,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},224289,"he-yu-qing-zhang-wu-shi-er-de-zi-shi-juan-fu-shan-224289","贺毓青丈五十二得子诗卷",[23,7,64,25,840,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0256bed931e310b20e03ef45c4411af2.jpg",[],{"id":87953,"slug":87954,"title":87955,"dynasty":54,"author":29876,"museum":300,"description":87956,"tags":87957,"thumbUrl":87958,"material":84,"size":84,"collection":84,"collections":87959,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},224285,"jin-gong-qian-gu-yi-kuai-si-tiao-ping-fu-shan-224285","晋公千古一快四条屏","《傅山草书经典:晋公千古一快四条屏》主要内容：傅山（一六○五——一六八四），字青主，看署名号有：傅山、山、真山、侨山等四十余个，明末清初著名学者、书法家。\n傅山一生磊落孤傲，拒不仕清，具有崇高的民族气节。\n其书法雄厚豪放，富有浪漫色彩。\n其以[二王]为宗，取法颜真卿，上追魏晋及宋元诸家，特别是米芾的疏狂颠逸之书风对他影响颇深。\n傅山楷隶行草诸体兼擅，但艺术成就最高的当属他的草书。\n从其行草书法作品中可以看出，其笔势雄浑，如排山倒海，一发不可收；其线条婉转飘逸，如枯藤绕树，缠绵起伏；其点画顿挫抑扬，如乱石铺街，险峻跌宕，因而显得大气磅礴，生机盎然。\n近年来，随着书法热的持续升温，傅山的书法也越来越受到人们的关注，特别是他的行草书，更是受到许多书法家和书法爱好者的喜爱。\n本书精选的是《晋公千古一快四条屏》。\n该作是最能代表傅山书法成就的行草书经典之作，以餮读者。\n《傅山草书经典:晋公千古一快四条屏》由河南美术出版社出版。\n插图：",[23,64,840,9829,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bb9f4feb890ba43b653b6b7203b1a86.jpg",[],{"id":87961,"slug":87962,"title":87963,"dynasty":54,"author":29876,"museum":300,"description":87964,"tags":87965,"thumbUrl":87966,"material":84,"size":84,"collection":84,"collections":87967,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},224276,"shan-shui-hua-hui-ce-liu-fu-shan-224276","山水花卉冊(六)","此作用淡赭勾勒峰峦，造型奇崛瘦硬，错落层叠间，孤亭踞于山巅，自带遗世独立之态。远景以浅淡晕染绘就平畴远渚，简淡空濛，留白铺展出天地的空阔寂寥。\n\n画面简笔淡墨，将山野清寂之态尽数铺陈，右上角题字笔意纵逸率真，与山水的萧散野逸融为一体，将寄情林泉、超然物外的襟怀藏于笔墨间，淡而弥远，简而有味，尽显文人写意山水的疏放意趣。",[23,24,7,59,128,132,29,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F843f3dae55cff6f9f3046edc1d2d7f29.jpg",[],{"id":87969,"slug":87970,"title":87971,"dynasty":54,"author":29876,"museum":300,"description":87972,"tags":87973,"thumbUrl":87974,"material":84,"size":84,"collection":84,"collections":87975,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},224273,"shan-shui-hua-hui-ce-er-fu-shan-224273","山水花卉冊(二)","此作以淡赭晕染出水天浑然的底色，群峰被绘作奇崛瘦硬的嶙峋之态，如笋如刃错落浮于虚渺烟岚之间。山间林木以细笔极简点簇，萧疏冷逸。画面留白肆意铺陈，勾勒出荒寒空濛的幽寂意境。左侧题印与山水相映，添了文墨雅趣。画家舍去繁复皴染，以简淡笔墨写胸中丘壑，将北方山川的奇峭风骨，与遗世孤高的文人意趣相融，尽显清冷淡远的禅味，笔墨简净却意韵悠长。",[23,24,7,59,128,27,29,171,98,34,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9a89b3cc5fc5b36085465ba8a7fd6dc.jpg",[],{"id":87977,"slug":87978,"title":87979,"dynasty":54,"author":36659,"museum":300,"description":63282,"tags":87980,"thumbUrl":87981,"material":692,"size":1293,"collection":84,"collections":87982,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},224267,"song-bie-tu-wang-gai-224267","送别图",[23,24,7,25,128,133,64,208,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b8d8fef4867d67a697bf2e48c6fb0a1.jpg",[],{"id":87984,"slug":87985,"title":87986,"dynasty":54,"author":39855,"museum":300,"description":87987,"tags":87988,"thumbUrl":87989,"material":84,"size":84,"collection":84,"collections":87990,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},224266,"dou-bi-dan-tai-tu-jiang-zhu-224266","陡壁丹台图","《新安画派书画精品集》以渐江为代表的新安画派及与之同时的一些杰出画家的创作成就，同时介绍作为“源”的在他们之间的一些著名画家与作为“流”的在他们之后一些画家的创作成就，叙述对新安画派、新安画坛的创作有深刻影响的绘画美学思想，特别是新安人的绘画美学思想。\n《新安画派书画精品集》由 出版。\n敛辞朱良剑 敛辞石金呜 前言 “新安画派”概述张飞莺 风骨冷然气韵清逸——安徽博物院藏渐江《晓江风便图》赏析李艳红 先声 江必名 雪景山水图 吴龙草亭听泉图 郑元勋古木秀石图 郑为虹山斋读书图 程嘉燧柳桥山寺图扇面 程嘉燧秋浦泛舟图扇面 李永昌策杖行吟图 高峰 汪之瑞空亭幽树图页 渐江浊阜图册 渐江晓江风便图卷 渐江秋江风帆图扇面 孙逸溪桥觅句图 查士标宿雨初收图 查士标深山古寺图 查士标仿董北苑山水图 查士标仿梅华道人山水图 查士标仿元人山水图 查士标坐对江天图 查士标 云山梦树图页 查筠仿梅壑山水图 胡皋和风烟雨图 程邃山静太古图 程邃独往秋山图 程邃秋山图册 戴本孝巢民老人观菊图卷 戴本孝 山谷回廊图 戴本孝草阁幽情图 戴本孝苍松劲节图 戴本孝摹北苑山水图 戴本孝湖山逸兴图 吴定剡溪积雪图 吴定秋高叶醉图 吴定瑶峰玉树图 郑畋仿吴仲圭山水图 郑欧黄山四景图四条屏 郑畋仿倪山水图 程萝乱山草木图 姚宋仿黄鹤山樵山水图 江注黄山一角图 江注陡壁丹台图 祝昌仿倪山水图 吴元澄 临赵鸥波《夏山高隐图》 余韵 谢绍烈江石萝月图扇面 释雪庄木莲花图 释一智黄山云舫道中图 方士庶栖霞楼归图 何文煌溪山话别图卷 程义仿赵子固山水图 鲍楷寒庵香雪图 程堂仿梅华山水图 汪朴南窗寄傲图 江士相富春归棹图卷 吴麈仿梅道人山水图 汪滋仿古山水图册 程鸣沧江泛舟图 汪梅鼎云光林翠图卷",[23,164,24,7,165,128,27,132,29,96,34,1144,97,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a377bbdc316fd42f6a777df356cbf29.jpg",[],{"id":87992,"slug":87993,"title":87994,"dynasty":54,"author":45224,"museum":300,"description":87995,"tags":87996,"thumbUrl":87997,"material":84,"size":84,"collection":84,"collections":87998,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},224262,"qiong-hua-lou-li-shi-zhuo-224262","琼华楼","此作书画合璧，以淡墨绘就平林寒色，枯木虬枝萧疏错落，坡石隐现间，楼宇澹然栖于山坳林畔，晕染极简却意境幽寂出尘。\n笔底不施重彩，全以枯淡线条勾勒物象，将林泉雅致化为世外灵墟。左侧题诗笔力端稳清劲，诗画相和，以仙苑之思呼应画中意境，把林下幽怀寄于简淡笔墨。整体清雅绝尘，淡而有味，尽显文人画以笔写心、诗画交融的意趣，留白间藏着悠远禅意，将观景之思升为世外清怀。",[23,24,7,128,188,29,97,34,131,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b02acaee4aa214f25c0229bef39c392.jpg",[],{"id":88000,"slug":88001,"title":65493,"dynasty":18,"author":223,"museum":300,"description":88002,"tags":88003,"thumbUrl":88004,"material":84,"size":84,"collection":84,"collections":88005,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},223684,"xun-qin-fu-zhuo-tu-ye-yi-ming-223684","《宋人画驯禽俯啄图》是宋代佚名创作的绢本设色画。\n此图原载《宋元集绘册》。\n图绘一件浅蓝色瓷罐置于画面正中，一只小麻雀于罐沿上低头觅食。\n雀身系一赤色小绳，绳端拴一圆圈，以点出「驯禽」之意。\n作者先用细笔勾出鸟的轮廓，然后用细笔丝出羽绒，再用浓墨点出翅膀、鸟尾和眼珠，使小鸟的形象生动逼真，具有较强的质感。\n全图笔法工细，构图简洁，设色柔和自然。\n此图无款，旧题签为「驯禽俯啄」，现沿用此名。\n画面左下角钤「宋荦审定」一印。\n曾经清人宋荦收藏，《石渠宝笈三编》著录。\n本幅无款。\n钤鉴藏印“宋荦审定”。\n裱边题签：“宋人驯禽俯啄”。\n图中一只 立于浅蓝色敞口瓷罐上，低头欲啄罐沿。\n麻雀身系红绳，绳端拴一圆环，表示已被擒获豢养。\n麻雀属难以驯化之鸟，画面中的瓷罐内虽有白米，雀却不食，表达了向往自由生活的心愿。\n画家先以尖细之笔绘出麻雀的轮廓、羽绒，再用浓墨、淡赭点画出翅膀、尾羽和眼目。",[23,164,24,7,59,27,28,61,355,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5063ca27005a536981c4ba62953d8db8.jpg",[],{"id":88007,"slug":88008,"title":80981,"dynasty":18,"author":223,"museum":300,"description":88009,"tags":88010,"thumbUrl":88011,"material":84,"size":84,"collection":84,"collections":88012,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},223628,"he-tang-xi-lai-tu-yi-ming-223628","《宋人画荷塘鸂鵣图》是宋代佚名创作的绢本设色画。\n烟雾迷蒙，一曲清溪，两岸夹植杨柳，间以红花。\n溪中莲叶点点，鸂鵣戏水，其乐融融。\n一行白鹭破空飞向远方，将观赏者的视线引向画外；蜿蜒的清溪，则将视线推向了画景深处。\n柳叶用攒笔点画，树干用双钩法绘出，鸂鵣以工笔刻画。\n设色柔和淡雅。\n小小的册页画中略用了深远与高远的画法，就使画面意境达到了深远的效果。\n对幅有清乾隆皇帝御题诗一首:“花鸟从来属剑南，水禽夏卉照晴潭。\n鸳鸯无碍称其紫，弟子有时胜彼蓝。\n水宿相呼如觧勅，沙群式度自能谙。\n涨滩落鸟寻常事，何涉西台纪怪谈。\n” 本幅无款印。\n清《石渠宝笈续编》著录。",[23,24,164,7,28,27,61,168,81,355,228,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8be29216666561141745ebb74a270e35.jpg",[],{"id":88014,"slug":88015,"title":88016,"dynasty":54,"author":223,"museum":244,"description":88017,"tags":88018,"thumbUrl":88019,"material":27,"size":88020,"collection":84,"collections":88021,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},223559,"xie-she-yan-bo-yi-ming-223559","蠏舍烟波","山，水，白鹭，鳜鱼，斜风细雨，在幽静的群山里，在碧波荡漾的湖面上，一幅江南水乡的渔歌图，跃然于怀。",[24,7,28,27,132,29,129,34,31,496,7446,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3207da68f8ba24673a8fcc9dafd2290d.jpg","16.9x40.4厘米",[],{"id":88023,"slug":88024,"title":88025,"dynasty":182,"author":223,"museum":300,"description":88026,"tags":88027,"thumbUrl":88028,"material":692,"size":1293,"collection":84,"collections":88029,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},223545,"fa-hua-jing-fang-bian-pin-8-yi-ming-223545","法华经方便品8","南海贡奇女庐眉娘，工巧无比，能于尺绢之上，绣法华经七卷，字之大小不逾粟粒，点划分明，细于毫发。这是刺绣绣字的最早文字记录。",[4642,7322,572,187,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a6ef513ba3f9e395ecb8780e784996.jpg",[],{"id":88031,"slug":88032,"title":88033,"dynasty":18,"author":223,"museum":300,"description":88034,"tags":88035,"thumbUrl":88036,"material":18467,"size":88037,"collection":84,"collections":88038,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},223514,"shu-se-qing-yuan-yi-ming-223514","树色清远","绘崇山峻岭，树木林立，近景中小桥流水，隐约可见农夫担柴过桥。此卷有郭熙风格，蟹爪形树枝，画面布局等，有着郭熙画风中空远广阔之景。",[23,24,7,25,128,132,29,413,131,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d346d51b98ba5168b74928d312811d2.jpg","25x651cm",[],{"id":88040,"slug":88041,"title":88042,"dynasty":54,"author":223,"museum":244,"description":32619,"tags":88043,"thumbUrl":88044,"material":84,"size":84,"collection":84,"collections":88045,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},223415,"ma-zu-qi-ji-f-yi-ming-223415","妈祖奇迹F",[23,24,7,304,27,28,95,187,96,1743,951,211,11074],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42d00332986b470d20138fbc256b149f.jpg",[],{"id":88047,"slug":88048,"title":88049,"dynasty":54,"author":223,"museum":244,"description":88050,"tags":88051,"thumbUrl":88052,"material":84,"size":88053,"collection":84,"collections":88054,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},223330,"wan-qing-jia-he-yi-ming-223330","万顷嘉禾","此作用泥金施于石青地，色调华贵雅致。水网交织的江南水乡里，田畴铺展，农人往来舟桥之间，或于田埂忙碌，柳丝轻曳如烟，远山含黛温润柔和。\n\n鲜活复刻了春日农耕的日常图景，将田家烟火揉进细腻工笔中。静穆底色上，金彩勾勒出的屋舍、田亩与人影，让整幅画面于华贵中晕开质朴暖意，静中有动，把江南春耕的融融生机晕染成诗意画卷，藏着平和饱满的田园意趣。",[23,24,7,28,27,29,96,98,99,34,65934],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F352139e8795726d873a59baf620b434a.jpg","67x101.2",[],{"id":88056,"slug":88057,"title":88058,"dynasty":54,"author":55281,"museum":510,"description":88059,"tags":88060,"thumbUrl":88061,"material":18467,"size":88062,"collection":84,"collections":88063,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},223282,"jie-shu-yuan-jing-lou-ji-liu-yong-223282","节书远景楼记","刘墉的墨法“以浓用拙，以燥用巧”，擅长以“浓墨助其采”，被人戏称为“浓墨宰相”。但用“浓”字来概括刘墉书法的用墨特点并不准确，用一个“丰”字来加以形容或许更加合适。\n刘墉书法在历史上曾有“墨猪”之诮，但这只是一种表浅的意见。如果仔细品味刘墉书法的原作，就会发现他作品中“浓墨”非但没有使自己的字变成“墨猪”，反而增添了字的光彩，这是因为他的用墨充满了“活趣”。他的字只是表面看来肥厚臃肿，实际却是在“丰貌”之下隐含着“劲骨”——那些墨块非但并不“板滞”，反而晶莹剔透，层次清楚，光彩照人！透过层次丰富的墨色轮廓，点画内部笔毫运动的轨迹清晰可见，如“绵里裹铁”！．这就使他的书法味厚神藏，在朴素的外表下透露出内蕴的风采。",[23,164,24,7,64,165,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f91f9ae8526d11d0d73de325ad2c2e6.jpg","纵125.5cm，横56.3cm",[],{"id":88065,"slug":88066,"title":15896,"dynasty":54,"author":10177,"museum":20,"description":60016,"tags":88067,"thumbUrl":88068,"material":84,"size":15901,"collection":84,"collections":88069,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},223215,"geng-zhi-tu-ce-jiao-bing-zhen-223215",[24,7,59,28,27,95,96,35,34836,210,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0fd52cdc373b425de5d4b78c87a0b47.jpg",[],{"id":88071,"slug":88072,"title":15896,"dynasty":54,"author":10177,"museum":20,"description":60016,"tags":88073,"thumbUrl":88076,"material":84,"size":15901,"collection":84,"collections":88077,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},223212,"geng-zhi-tu-ce-jiao-bing-zhen-223212",[24,4437,28,27,7,88074,88075,2656,96,1747,98,247,34,64],"耕织图","农桑生产","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ed3539b6666f10d690eb5ccdbcf6260.jpg",[],{"id":88079,"slug":88080,"title":15896,"dynasty":54,"author":10177,"museum":20,"description":60016,"tags":88081,"thumbUrl":88089,"material":84,"size":15901,"collection":84,"collections":88090,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},223186,"geng-zhi-tu-ce-jiao-bing-zhen-223186",[24,7,28,27,14386,304,96,34836,35,34,210,88082,88083,88084,88085,88086,88087,88088],"农作场景","工笔画法","田园风光","设色景物","农作","田园景物","西洋透视","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4baad1cba38968e4bc4d7bb8cc8f7911.jpg",[],{"id":88092,"slug":88093,"title":88094,"dynasty":54,"author":36019,"museum":224,"description":41118,"tags":88095,"thumbUrl":88096,"material":3544,"size":84,"collection":84,"collections":88097,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},222719,"huang-shan-ba-jing-tu-ce-8-zheng-min-222719","黄山八景图册8",[23,24,7,59,128,29,171,34,37,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c88e2857cdb070f757087ef007a96c.jpg",[],{"id":88099,"slug":88100,"title":88101,"dynasty":54,"author":6357,"museum":510,"description":32137,"tags":88102,"thumbUrl":88103,"material":611,"size":88104,"collection":84,"collections":88105,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},222669,"peng-mei-tu-huang-shen-222669","捧梅图",[23,24,7,128,369,165,133,96,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd778e0836a6ad07faf43424193f69955.jpg","纵124厘米，横65厘米",[],{"id":88107,"slug":88108,"title":88109,"dynasty":124,"author":9650,"museum":56,"description":9651,"tags":88110,"thumbUrl":88111,"material":611,"size":70879,"collection":84,"collections":88112,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},222493,"shang-bo-hua-ji-xuan-36-18-zhang-lu-222493","上博画集选36-18",[23,24,7,128,27,188,96,949,171,1337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F176250897c57274dbe9190eac2ccac21.jpg",[],{"id":88114,"slug":88115,"title":88116,"dynasty":124,"author":9650,"museum":56,"description":9651,"tags":88117,"thumbUrl":88118,"material":611,"size":70879,"collection":84,"collections":88119,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},222487,"shang-bo-hua-ji-xuan-36-12-zhang-lu-222487","上博画集选36-12",[23,24,7,128,188,96,9603,8162,6369,9604,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ca18f28724eb808821b7582e6a2ef87.jpg",[],{"id":88121,"slug":88122,"title":88123,"dynasty":124,"author":14989,"museum":244,"description":37666,"tags":88124,"thumbUrl":88125,"material":611,"size":37669,"collection":84,"collections":88126,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},222459,"gui-qu-lai-ci-zhou-shen-du-222459","归去来辞轴",[23,164,24,7,165,64,572,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc996e5f2741d5d0d39ae6800ba3224f7.jpg",[],{"id":88128,"slug":88129,"title":88130,"dynasty":124,"author":26410,"museum":300,"description":88131,"tags":88132,"thumbUrl":88133,"material":840,"size":88134,"collection":84,"collections":88135,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},222056,"tao-yuan-dong-kou-shi-juan-zhang-rui-tu-222056","桃源洞口诗卷","张瑞图在晚明书坛的地位相当重要，可以说是晚明新书派标志性人物。其书法无论是外观面貌还是内涵意蕴，都与前人迥然不同。凌厉的点画, 奇倔的字形, 构成作品的主旋律强烈的力感, 动荡的气势，给人一种崭新的审美感受。\n明初的“三宋”（宋克、宋广、宋璲）“二沈”（沈度、沈粲），中期以祝允明、文徵明、王宠等为代表的吴门书派，虽然在追求精致工整和雍容秀雅方面取得很高成就，但从整体面貌来看，基本上还是宋元书风的延续。而沈度、沈粲以善书获官，深得皇帝喜爱，在当时名气极大，群起效仿，愈演愈烈，遂形成“台阁体”书风。",[23,7,25,64,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0210a2ae4d20e650b68763044499846.jpg","21cmx322cm",[],{"id":88137,"slug":88138,"title":88139,"dynasty":124,"author":3373,"museum":300,"description":15043,"tags":88140,"thumbUrl":88141,"material":28,"size":88142,"collection":84,"collections":88143,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},222041,"de-qu-zai-ren-ce-13-kai-1-wang-zhong-222041","得趣在人册13开1",[124,7,64,133,59,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccfafefefc5b45f065e542e1cdd5d131.jpg","30×27cm",[],{"id":88145,"slug":88146,"title":88147,"dynasty":124,"author":45240,"museum":244,"description":88148,"tags":88149,"thumbUrl":88150,"material":61534,"size":88151,"collection":84,"collections":88152,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},221936,"hua-qiu-shu-gao-guan-cheng-shan-zheng-zhong-221936","画秋树高关成扇","郑重（活动于十七世上半叶），安徽歙县人，流寓金陵（今南京）。字千里，号无著。善写佛像，必斋沐而後举笔。亦画山水小景，摹仿宋、元体制均精妍，丁云鹏推为赵伯驹后身。",[23,24,7,1131,27,29,1024,51905,132,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faefe02748b8b904ddae20f23fc45ffa0.jpg","32.2x48.5厘米",[],{"id":88154,"slug":88155,"title":7864,"dynasty":124,"author":23728,"museum":56,"description":23729,"tags":88156,"thumbUrl":88157,"material":611,"size":23732,"collection":84,"collections":88158,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},221923,"za-hua-ce-guo-xu-221923",[23,24,7,59,188,128,96,9603,6369,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb88026a0355c9c36f896899988f2e732.jpg",[],{"id":88160,"slug":88161,"title":88162,"dynasty":124,"author":802,"museum":161,"description":11485,"tags":88163,"thumbUrl":88164,"material":59,"size":84,"collection":84,"collections":88165,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},221904,"hua-niao-jing-pin-ce-15-chen-hong-shou-221904","花鸟精品册15",[24,7,59,61,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bb0c8224e323424f7fb028cfad51774.jpg",[],{"id":88167,"slug":88168,"title":88169,"dynasty":124,"author":802,"museum":161,"description":11485,"tags":88170,"thumbUrl":88171,"material":59,"size":84,"collection":84,"collections":88172,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},221902,"hua-niao-jing-pin-ce-13-chen-hong-shou-221902","花鸟精品册13",[24,7,59,61,27,28,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8436eb86c1ea7aa935e64dafe34640d.jpg",[],{"id":88174,"slug":88175,"title":88176,"dynasty":144,"author":20772,"museum":244,"description":88177,"tags":88178,"thumbUrl":88182,"material":6369,"size":88183,"collection":84,"collections":88184,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},221732,"tang-ren-jue-ju-zhou-zhang-yu-221732","唐人绝句轴","张雨（西元一二八三－一三五０年），字伯雨，号句曲外史，浙江钱塘人。元代着名的道教人物。文才清丽，书画清逸，倪瓒称其诗文字画为「道品第一」。 通幅书作，运笔放纵，流转自如，劲健洒脱，用墨浓时而枯，淋漓痛快。结体圆实，行笔潇洒之处，可看出早年学赵孟頫的迹象。",[24,7,165,64,133,208,88179,372,167,6004,231,88180,88181],"秋月","翠帐","竹房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51baeeeab2d4cc8e58254774872862e1.jpg","(公分) 本幅154.3x34.3 全幅280x59",[],{"id":88186,"slug":88187,"title":88188,"dynasty":18,"author":40225,"museum":20,"description":88189,"tags":88190,"thumbUrl":88193,"material":611,"size":88194,"collection":84,"collections":88195,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},221567,"shu-da-gui-yi-zhong-tie-zhu-xi-221567","书大桂驿中帖","此帖是《宋贤遗翰册》中一页。按朱熹《年谱》，宋绍熙五年五月知潭州，《宁宗本纪》言：“七月庚午，召秘阁修撰知潭州朱熹诣行在。”文中“辛苦三月，已不胜郡事”，即五月至八月，在任正好三个月。“告归未获”，指朱熹在六月曾“申乞放归田里”。文中所提及诸事多为绍熙五年事，故推算此帖为绍熙五年作品，朱熹时年65岁。\n《大桂驿中帖》书法纵逸不拘，醇古自然，意态畅达，如烟云舒卷，意在行文，有自得之趣。如詹景凤所言：“不以书名，固以学掩之。”\n《石渠宝笈·续编》著录。",[23,64,7,9910,133,611,25,128,88191,45107,28172,88192,208],"宋代书法","线条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbee75601295dc929695527313345c875.jpg","纵33.4厘米，横57.3厘米",[],{"id":88197,"slug":88198,"title":88199,"dynasty":18,"author":40225,"museum":20,"description":88200,"tags":88201,"thumbUrl":88202,"material":611,"size":88203,"collection":84,"collections":88204,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},221566,"shang-shi-zai-er-zha-di-yi-zha-zhu-xi-221566","上时宰二札第一札","《上时宰二札》又称《钧翰、豪民二札》。第一札谈及以衰病之躯应接吏民、省阅文案，精神气血内外枯耗，难以支撑。按《宋史·朱熹传》言“淳熙五年除知南康军，熹再辞，不许”，实则朱熹六年三月才到任。文中款识“南康军事”，朱熹其时正在任上，此年六月，奏乞减星子县税钱，即文中“具禀减税、请祠二事”。由此可知札子发于淳熙六年六月，朱熹时年50岁。\n第二札是上报涉及婺州之豪民奸猾不从教事。落款为“正月十六日。宣教郎直秘阁、提举两浙东路常平茶盐公事借绯朱熹札子。”按职衔“提举两浙东路常平茶盐公事”，应在淳熙九年，朱熹年53岁。\n此二札为朱熹中年之笔，笺札之书，笔法精简，韵度溢于纸墨间。书风深沉古雅，有学者风范。",[23,64,133,208,7,25,6369,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b9fcc9fef536e8f9cb4347b7a15154f.jpg","第一札纵33.8厘米，横68.2厘米",[],{"id":88206,"slug":88207,"title":88208,"dynasty":144,"author":76804,"museum":6892,"description":76805,"tags":88209,"thumbUrl":88210,"material":76808,"size":76809,"collection":84,"collections":88211,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":84},220724,"xing-shu-shi-wen-he-juan-1-zhang-yu-yang-wei-zhen-wen-xin-220724","行書詩文合卷1",[7,25,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3a20ce3be968c2e7fa7c41f55c1c51d.jpg",[],{"id":88213,"slug":88214,"title":88215,"dynasty":124,"author":16243,"museum":6892,"description":26868,"tags":88216,"thumbUrl":88217,"material":26871,"size":26872,"collection":84,"collections":88218,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":84},220715,"xing-shu-jie-quan-3-wang-chong-220715","行书借券3",[23,124,133,64,7,25,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff780fd9ab813729ba84c1ad3075dde1c.jpg",[],{"id":88220,"slug":88221,"title":88222,"dynasty":124,"author":16243,"museum":6892,"description":26868,"tags":88223,"thumbUrl":88224,"material":26871,"size":26872,"collection":84,"collections":88225,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":84},220709,"xing-shu-jie-quan-9-wang-chong-220709","行书借券9",[23,7,64,25,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe68f0003a8303b4d3f846da9298a5c68.jpg",[],{"id":88227,"slug":88228,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":88229,"thumbUrl":88231,"material":11690,"size":11691,"collection":84,"collections":88232,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":84},220705,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220705",[23,24,7,59,64,21937,128,88230,29],"山房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93847a1291f15d7feb5613cafb15c3c6.jpg",[],{"id":88234,"slug":88235,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":88236,"thumbUrl":88237,"material":11690,"size":11691,"collection":84,"collections":88238,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":84},220702,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220702",[23,24,7,59,133,29,1009,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f6e70b4173e7b1a03e4fcad1f425a31.jpg",[],{"id":88240,"slug":88241,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":88242,"thumbUrl":88243,"material":11690,"size":11691,"collection":84,"collections":88244,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":84},220673,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220673",[23,24,7,59,128,132,29,413,495,23873,130,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0947d8a7d1ff2847a29d70d56bed1f9b.jpg",[],{"id":88246,"slug":88247,"title":88248,"dynasty":54,"author":299,"museum":56,"description":19521,"tags":88249,"thumbUrl":88250,"material":173,"size":19524,"collection":84,"collections":88251,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},219843,"shan-shui-tu-ce-4-xie-sun-219843","山水图册-4",[24,7,59,27,29,34,497,1023,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7663f6e59cb54468593fbd50fe7dc11b.jpg",[],{"id":88253,"slug":88254,"title":88255,"dynasty":54,"author":11383,"museum":56,"description":71089,"tags":88256,"thumbUrl":88257,"material":611,"size":71092,"collection":84,"collections":88258,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},219827,"ren-wu-ce-ye-8-ren-xiong-219827","人物册页-8",[24,7,59,27,28,128,96,169,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b080557279f886286d277a9306e9dec.jpg",[],{"id":88260,"slug":88261,"title":71243,"dynasty":124,"author":47077,"museum":1941,"description":50916,"tags":88262,"thumbUrl":88263,"material":66,"size":58411,"collection":84,"collections":88264,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},219669,"fang-gu-shan-shui-ce-9-yun-xiang-219669",[24,7,59,128,27,29,1813,1337,129,131,132,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc5a373027a824200f6f7ae14f03b413.jpg",[],{"id":88266,"slug":88267,"title":88268,"dynasty":18,"author":28856,"museum":6404,"description":76892,"tags":88269,"thumbUrl":88270,"material":173,"size":76896,"collection":84,"collections":88271,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},219020,"shi-wang-tu-7-lu-xin-zhong-219020","十王图-7",[23,24,7,28,27,187,96,949,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff31eafb1e379bde9ed582fca6c43e1f0.jpg",[],{"id":88273,"slug":88274,"title":88275,"dynasty":124,"author":10106,"museum":244,"description":46336,"tags":88276,"thumbUrl":88277,"material":317,"size":84,"collection":84,"collections":88278,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},218203,"luo-han-zhou-7-wu-bin-218203","罗汉轴-7",[24,7,165,187,188,96,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe308f94ab9816bb27c5720a8ca766e53.jpg",[],{"id":88280,"slug":88281,"title":88282,"dynasty":18,"author":1174,"museum":244,"description":12312,"tags":88283,"thumbUrl":88284,"material":173,"size":12318,"collection":84,"collections":88285,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},218151,"wen-ji-gui-han-tu-ce-12-li-tang-218151","文姬归汉图册-12",[24,7,59,27,28,96,29,45349,34,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7724462313cf079e774beb360f18d3a7.jpg",[],{"id":88287,"slug":88288,"title":88289,"dynasty":18,"author":1174,"museum":244,"description":12312,"tags":88290,"thumbUrl":88291,"material":173,"size":12318,"collection":84,"collections":88292,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},218149,"wen-ji-gui-han-tu-ce-14-li-tang-218149","文姬归汉图册-14",[164,24,7,59,27,28,96,101,12314,49636,1367,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F708172381c7f741c5dec5d6569ff6f96.jpg",[],{"id":88294,"slug":88295,"title":88296,"dynasty":182,"author":21881,"museum":20,"description":21882,"tags":88297,"thumbUrl":88298,"material":173,"size":21885,"collection":84,"collections":88299,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},218144,"liu-zun-zhe-xiang-tu-ce-1-lu-leng-qie-218144","六尊者像图册-1",[23,24,7,59,187,96,27,28,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75e6dd2732e09eed986181dac9641bc0.jpg",[],{"id":88301,"slug":88302,"title":88303,"dynasty":182,"author":21881,"museum":20,"description":21882,"tags":88304,"thumbUrl":88305,"material":173,"size":21885,"collection":84,"collections":88306,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},218135,"liu-zun-zhe-xiang-tu-ce-8-lu-leng-qie-218135","六尊者像图册-8",[23,24,7,59,187,96,27,28,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cdc92f05642e2d14b819a5eb0c44e3b.jpg",[],{"id":88308,"slug":88309,"title":88310,"dynasty":124,"author":10106,"museum":244,"description":22513,"tags":88311,"thumbUrl":88312,"material":66,"size":84,"collection":84,"collections":88313,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},218048,"leng-yan-nian-wu-yuan-tong-fo-xiang-ce-4-wu-bin-218048","楞严廿五圆通佛像册-4",[24,7,59,27,28,187,96,331,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbed1dca4c9715be1310c88f52f4241de.jpg",[],{"id":88315,"slug":88316,"title":88317,"dynasty":54,"author":31404,"museum":300,"description":88318,"tags":88319,"thumbUrl":88320,"material":66,"size":84,"collection":84,"collections":88321,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},218011,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-7-ceng-yan-dong-218011","七道子山水人物画册18帧-7","曾衍东的作品大多描绘了山水风光，他喜欢运用细腻的笔法来捕捉山间的峰峦、河流的曲折和云雾的起伏。他的作品中常常出现清新的山水景观，充满了诗意和富有感染力的气氛。\n\n此外，曾衍东还经常画人物，他的人物画作品中常常出现的是闲适的书生或山民。他的人物画充满了生动的感情，能够真实地反映出人物的内心世界。",[23,24,7,59,128,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe916e76d98fec8e72e0ee5fb1f289c17.jpg",[],{"id":88323,"slug":88324,"title":88325,"dynasty":54,"author":223,"museum":300,"description":37952,"tags":88326,"thumbUrl":88328,"material":66,"size":84,"collection":84,"collections":88329,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},217933,"da-mo-yi-jin-ba-duan-jin-6-yi-ming-217933","达摩易筋八段锦-6",[24,7,27,28,96,304,88327,1367],"传统体育","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fd39cb2de0d4c88a575f61ebfaebe53.jpg",[],{"id":88331,"slug":88332,"title":88333,"dynasty":54,"author":223,"museum":300,"description":37952,"tags":88334,"thumbUrl":88336,"material":66,"size":84,"collection":84,"collections":88337,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},217931,"da-mo-yi-jin-ba-duan-jin-8-yi-ming-217931","达摩易筋八段锦-8",[24,7,27,28,96,304,3490,88335,18700],"动态人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dd0fbe0415d5fdc1a47acf577614524.jpg",[],{"id":88339,"slug":88340,"title":88341,"dynasty":54,"author":223,"museum":300,"description":37952,"tags":88342,"thumbUrl":88344,"material":66,"size":84,"collection":84,"collections":88345,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},217929,"da-mo-yi-jin-ba-duan-jin-9-yi-ming-217929","达摩易筋八段锦-9",[24,7,27,28,96,88343],"武术","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bfecd801b0a73e6b4e4838ea75eb324.jpg",[],{"id":88347,"slug":88348,"title":88349,"dynasty":54,"author":223,"museum":300,"description":37952,"tags":88350,"thumbUrl":88351,"material":66,"size":84,"collection":84,"collections":88352,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},217925,"da-mo-yi-jin-ba-duan-jin-12-yi-ming-217925","达摩易筋八段锦-12",[304,24,7,96,188,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c71a49e19f9cf6a91128ca8c7b7489c.jpg",[],{"id":88354,"slug":88355,"title":88356,"dynasty":124,"author":5798,"museum":424,"description":88357,"tags":88358,"thumbUrl":88359,"material":66,"size":84,"collection":84,"collections":88360,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},217909,"shi-ji-jun-chen-gu-shi-tu-3-zhang-hong-217909","史记君臣故事图-3","亭下红袍者端坐案前，案侧屏风绘淡远山水，与阶前苍树相映成趣。阶下数人或持杖恭立，或俯身叩拜，衣袂轻扬间，君臣间的恭谨氛围呼之欲出。线条细劲流转，勾勒人物神情毕肖；设色温润雅致，红袍的明艳与草木的青褐形成微妙对比，既见写实功底，又含文人画的清逸韵致。画面似凝住史记中的某段瞬间，无需多言，那段君臣互动的往事已在笔墨间缓缓铺展——每一处细节都藏着故事的余韵，让观者仿佛能触到千年之前的那缕庄重与温情。",[24,7,27,28,96,130,6005,169,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a3b88a6d25487d0abf198d7e47936a3.jpg",[],{"id":88362,"slug":88363,"title":88364,"dynasty":54,"author":223,"museum":20,"description":88365,"tags":88366,"thumbUrl":88367,"material":27,"size":84,"collection":84,"collections":88368,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},217300,"gu-xiu-wu-shi-san-can-tu-ce-17-yi-ming-217300","顾绣·五十三参图册-17","画面分左右两帧，左帧神将衣袂如流云飘展，纹饰华美，手持法器威而不怒，旁侧童子仰头凝神，似承教诲；右帧老者骑青牛缓步，衣袍素雅如秋云，童子随行恭谨，青牛步履从容。绣线与笔墨交织，针脚细密处见肌理，淡彩晕染间显空灵。山石以简笔点染，草木疏朗有致，云雾轻绕添仙意。题款印章相映成趣，融文人雅致于绣绘之中。整体构图疏宕，人物动态鲜活，既具顾绣“针笔合一”的精妙，又含传统故事的悠远意境，尽显清代工艺与艺术交融的灵韵之美。",[24,7,59,27,28,187,96,5268,102,167,663,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b5e00aeb8cd2e650e49d1f9f903407a.jpg",[],{"id":88370,"slug":88371,"title":88372,"dynasty":182,"author":223,"museum":2607,"description":88373,"tags":88374,"thumbUrl":88375,"material":2611,"size":84,"collection":84,"collections":88376,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},217277,"jiang-mo-bian-dun-huang-tu-juan-11-yi-ming-217277","降魔变·敦煌图卷-11","绢素上的斑驳如时光镌刻的纹路，却掩不住线条里的鲜活张力。降魔场景在淡褪的色彩中渐显：佛陀的静定与妖魔的腾挪形成尖锐对峙，铁线描勾勒的衣袂翻飞如流云，残存的青蓝与赭石余韵，仍能窥见当年设色的浓艳。神魔面目各带神态，狰狞与慈悲在方寸间碰撞，民间画工的巧思藏于细节——妖魔的鳞爪、莲座的纹路，皆带着敦煌特有的粗犷与虔诚。这不仅是佛教故事的具象化，更是千年时光里信仰与艺术交织的切片，每一道裂痕都在低语丝路的传奇，每一笔线条都在诉说古卷里的炽热与安然。",[24,7,25,187,27,96,1692],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7534c63445e0e802549b132b6ccae33e.jpg",[],{"id":88378,"slug":88379,"title":88380,"dynasty":182,"author":223,"museum":2607,"description":88381,"tags":88382,"thumbUrl":88383,"material":2611,"size":84,"collection":84,"collections":88384,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},217275,"jiang-mo-bian-dun-huang-tu-juan-14-yi-ming-217275","降魔变·敦煌图卷-14","斑驳绢素间，降魔的张力悄然涌动。线条如铁线盘绕，勾勒魔众的狰狞腾挪，又以柔婉笔触晕开佛陀的静定端严，动静对峙间藏着信仰的力量。残存的赭黄与淡青，在岁月侵蚀里仍透出古雅庄严，民间画工的朴拙匠心跃然其上——没有精致雕琢，却有河西走廊风沙沉淀的生命力。神魔的怒号似在耳畔，佛陀的目光却如磐石般安定，每一道裂痕都是时光的注脚，诉说着千年前丝路之上，艺术与信仰如何在绢素中共生，化作跨越时空的视觉史诗。",[164,24,7,25,1362,187,27,96,1692],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeda9b5d2a87a4147d14d33a7079edc3.jpg",[],{"id":88386,"slug":88387,"title":88388,"dynasty":182,"author":223,"museum":2607,"description":88389,"tags":88390,"thumbUrl":88391,"material":2611,"size":84,"collection":84,"collections":88392,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},217274,"jiang-mo-bian-dun-huang-tu-juan-13-yi-ming-217274","降魔变·敦煌图卷-13","绢本斑驳间，藏着千年前的梵呗余音。佛陀趺坐的静定与魔军汹涌的动态形成鲜明张力，线条流转如行云，淡彩晕染出西域风沙的苍茫质感。人物造型融胡风与中原韵致，衣袂飘举间是丝路文化的交融印记。淡赭与墨线交织，既勾勒魔众狰狞，更衬佛陀慈悲无畏。岁月磨蚀留下的残痕，未减画工笔下的生动气韵——每道笔触都似在诉说跨越时空的信仰图景，让观者仿佛踏入莫高窟幽暗洞窟，与千年前的心灵悄然对话，感受那份穿透尘埃的精神力量。",[24,7,25,1692,187,27,188,28,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b5acace0dead0aad492ec9e0d088af1.jpg",[],{"id":88394,"slug":88395,"title":88396,"dynasty":182,"author":223,"museum":2607,"description":88397,"tags":88398,"thumbUrl":88399,"material":2611,"size":84,"collection":84,"collections":88400,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},217273,"jiang-mo-bian-dun-huang-tu-juan-15-yi-ming-217273","降魔变·敦煌图卷-15","墨线如铁线盘丝，勾连起神魔相搏的瞬间。佛陀垂目静定，周身似有祥光流转；魔王众怪张牙舞爪，衣袂翻飞间尽是躁动张力。简淡笔触里，人物动态精准传神，法器细节虽朴却见匠心。图文交织的卷轴上，古朴纸色晕染着千年岁月痕迹，每一笔都藏着敦煌工匠的虔诚与巧思。神魔造型夸张生动，与佛陀的庄严平和形成强烈对比，既诠释佛教故事的般若威严，又流露民间艺术的鲜活意趣。这方寸间的世界，是丝路风沙沉淀的艺术瑰宝，让观者于墨色流转中，触摸到敦煌深处的信仰温度与精神脉络。",[164,24,7,25,187,188,27,96,1692,1362,7322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F089f026fa612d1c6e1730fe742954e5a.jpg",[],{"id":88402,"slug":88403,"title":88404,"dynasty":182,"author":223,"museum":2607,"description":88405,"tags":88406,"thumbUrl":88407,"material":2611,"size":84,"collection":84,"collections":88408,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},217269,"jiang-mo-bian-dun-huang-tu-juan-20-yi-ming-217269","降魔变·敦煌图卷-20","绢素斑驳如浸千年时光，墨线流转间藏着降魔的暗涌。神佛端凝如岳，魔众竞起如潮，动静相搏的张力穿透残损的痕迹。唐代笔意的雄健与灵动交织，虽色彩已褪，仍能窥见当年设色的绚丽与线条的骨力。每一道裂痕都是时光的注脚，每一处晕染皆为信仰的低语。敦煌艺术的魂魄在此间沉淀，让久远的叙事在静默中鲜活，仿佛能触到画师运笔时的温度，听见那个时代精神的回响。",[24,7,25,187,27,28,1692,96,1362],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28b3446094faedcc71e1e0222647fb1f.jpg",[],{"id":88410,"slug":88411,"title":88412,"dynasty":182,"author":223,"museum":2607,"description":88413,"tags":88414,"thumbUrl":88415,"material":2611,"size":84,"collection":84,"collections":88416,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},217266,"jiang-mo-bian-dun-huang-tu-juan-23-yi-ming-217266","降魔变·敦煌图卷-23","绢本古旧色泽如陈酿温润，残损处似时光留下的诗行，铺展一场信念与虚妄的视觉叙事。魔军嚣闹裹挟动感线条奔涌——狰狞面容、挥舞兵器，衣袂翻飞如骤雨惊风；中央静定身影却如孤峰立海，眉目间无波的澄明，将所有躁动化为无形。唐代画工以刚柔并济的线描，让神魔张力与禅意沉潜交织共生。褪色矿物颜料仍依稀显石绿清寒与赭石厚重，仿佛洞窟中壁画的烟火气仍在流转。画面虽残损，却如碎金般闪耀精神光芒：降魔不仅是破除外象，更是勘破内心无明。这帧残卷如千年低语，在绢丝纹理中传递超越时空的坚定力量，触碰到那份穿透虚妄的清明与执着。",[24,7,25,1692,187,27,96,1362],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d9d80738712c85703ad31f27fd24f54.jpg",[],{"id":88418,"slug":88419,"title":88420,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":88421,"thumbUrl":88423,"material":611,"size":84,"collection":84,"collections":88424,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":956},217186,"shui-hu-quan-tu-10-du-jin-217186","水浒全图-10",[24,7,128,188,29,131,88422,211],"水浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11025a4ab897a753bdecb53c26528b60.jpg",[],{"id":88426,"slug":88427,"title":88428,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":88429,"thumbUrl":88430,"material":611,"size":84,"collection":84,"collections":88431,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":956},217181,"shui-hu-quan-tu-17-du-jin-217181","水浒全图-17",[24,7,188,96,14446,34,5626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd907e551a3814d61800bd27c6bbd62c7.jpg",[],{"id":88433,"slug":88434,"title":88435,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":88436,"thumbUrl":88437,"material":611,"size":84,"collection":84,"collections":88438,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":956},217175,"shui-hu-quan-tu-18-du-jin-217175","水浒全图-18",[24,7,59,188,96,413,229,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00fdef24bee5e2337be741da56cebfe5.jpg",[],{"id":88440,"slug":88441,"title":88442,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":88443,"thumbUrl":88444,"material":611,"size":84,"collection":84,"collections":88445,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":956},217174,"shui-hu-quan-tu-20-du-jin-217174","水浒全图-20",[24,7,59,188,128,96,131,34,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ef0e5f374b847476fad63342b62e0f1.jpg",[],{"id":88447,"slug":88448,"title":88449,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":88450,"thumbUrl":88451,"material":611,"size":84,"collection":84,"collections":88452,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":956},217164,"shui-hu-quan-tu-34-du-jin-217164","水浒全图-34",[24,7,59,188,96,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd91dbef5acf8f5c9f21a537d7609d663.jpg",[],{"id":88454,"slug":88455,"title":88456,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":88457,"thumbUrl":88458,"material":611,"size":84,"collection":84,"collections":88459,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":956},217132,"shui-hu-quan-tu-62-du-jin-217132","水浒全图-62",[24,7,59,188,96,131,805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9b00aded3ba7f5b2ead41136c23a232.jpg",[],{"id":88461,"slug":88462,"title":88463,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":88464,"thumbUrl":88465,"material":611,"size":84,"collection":84,"collections":88466,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":956},217126,"shui-hu-quan-tu-70-du-jin-217126","水浒全图-70",[24,7,59,188,96,97,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F255e2f6c88de7a3a1c41ef61d51668c2.jpg",[],{"id":88468,"slug":88469,"title":88470,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":88471,"thumbUrl":88472,"material":611,"size":84,"collection":84,"collections":88473,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":956},217106,"bai-miao-luo-han-13-leng-mei-217106","白描罗汉-13",[24,7,188,187,96,572,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3c4ae73316cf496c7b68967a1f5be18.jpg",[],{"id":88475,"slug":88476,"title":88477,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":88478,"thumbUrl":88479,"material":611,"size":84,"collection":84,"collections":88480,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":956},217103,"bai-miao-luo-han-17-leng-mei-217103","白描罗汉-17",[24,7,188,187,96,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed3c8d67b1312dffec07e3c44aeae6be.jpg",[],{"id":88482,"slug":88483,"title":88484,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":88485,"thumbUrl":88486,"material":611,"size":84,"collection":84,"collections":88487,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":956},217099,"bai-miao-luo-han-19-leng-mei-217099","白描罗汉-19",[24,7,59,188,187,96,572,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8412babf988f12f19d71c2e1bacdc132.jpg",[],{"id":88489,"slug":88490,"title":88491,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":88492,"thumbUrl":88493,"material":611,"size":84,"collection":84,"collections":88494,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":956},217096,"bai-miao-luo-han-22-leng-mei-217096","白描罗汉-22",[24,7,187,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32c2260fbb48263eb352c30914991c26.jpg",[],{"id":88496,"slug":88497,"title":88498,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":88499,"thumbUrl":88500,"material":611,"size":84,"collection":84,"collections":88501,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":956},217094,"bai-miao-luo-han-24-leng-mei-217094","白描罗汉-24",[24,7,188,187,96,572,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30d632cae2f5b0a2a49f03f40c6aa3e5.jpg",[],{"id":88503,"slug":88504,"title":88505,"dynasty":124,"author":19170,"museum":244,"description":44176,"tags":88506,"thumbUrl":88507,"material":278,"size":44180,"collection":84,"collections":88508,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},217072,"ying-zhen-xiang-si-zhou-4-ding-yun-peng-217072","应真像四轴-4",[24,7,165,28,132,187,29,34,37,131,18331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96f8c7c392e1db0fa078ba31ba2a9156.jpg",[],{"id":88510,"slug":88511,"title":88512,"dynasty":124,"author":19170,"museum":300,"description":30766,"tags":88513,"thumbUrl":88514,"material":317,"size":84,"collection":84,"collections":88515,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},217057,"bai-miao-ying-zhen-tu-5-ding-yun-peng-217057","白描应真图-5",[24,7,188,187,96,949,169,170,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fe0cab03cc369622de188527e9b4d0a.jpg",[],{"id":88517,"slug":88518,"title":88519,"dynasty":124,"author":19170,"museum":300,"description":30766,"tags":88520,"thumbUrl":88521,"material":317,"size":84,"collection":84,"collections":88522,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},217046,"bai-miao-ying-zhen-tu-16-ding-yun-peng-217046","白描应真图-16",[164,24,7,188,28,187,96,949,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fe1ffb39d23b8116ce4cfc342ff8a0.jpg",[],{"id":88524,"slug":88525,"title":88526,"dynasty":124,"author":19170,"museum":300,"description":30766,"tags":88527,"thumbUrl":88528,"material":317,"size":84,"collection":84,"collections":88529,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},217042,"bai-miao-ying-zhen-tu-13-ding-yun-peng-217042","白描应真图-13",[24,7,188,187,96,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7244f320fd60a434e4b2ffde30eecaea.jpg",[],{"id":88531,"slug":88532,"title":88533,"dynasty":54,"author":223,"museum":244,"description":88534,"tags":88535,"thumbUrl":88536,"material":66,"size":84,"collection":84,"collections":88537,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},217030,"li-dai-ming-ren-tu-xiang-ce-4-yi-ming-217030","历代名人图像册-4","《历代名人图像册》是清朝时期的一部著名图书。它记录了中国历史上许多著名人物的生平事迹和照片。这本书是由佚名编著的，出版于清朝末年。\n\n《历代名人图像册》共分为五卷，每卷都以一个主题为线索，按时间顺序记录了许多著名人物的生平事迹和照片。其中，第一卷记录了中国古代的著名人物，第二卷记录了中国近代的著名人物，第三卷记录了中国现代的著名人物，第四卷记录了世界各国的著名人物，第五卷记录了清朝时期的著名人物。\n\n《历代名人图像册》是一部非常有价值的参考书，对于了解中国历史和文化有着重要的意义。这本书在当时是非常受欢迎的，并且至今仍被广泛使用。",[24,27,96,371,59,7,64264,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2b14adac75a4e5c228f053c59b42e23.jpg",[],{"id":88539,"slug":88540,"title":88541,"dynasty":54,"author":675,"museum":27034,"description":27035,"tags":88542,"thumbUrl":88543,"material":173,"size":84,"collection":84,"collections":88544,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},216898,"qian-long-nan-xun-zhu-bi-tu-ye-5-qian-wei-cheng-216898","乾隆南巡驻跸图页-5",[23,24,7,59,95,27,97,247,34,758,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0974fbaf88c28d31a520dcd5cf878b5a.jpg",[],{"id":88546,"slug":88547,"title":88548,"dynasty":54,"author":675,"museum":27034,"description":27035,"tags":88549,"thumbUrl":88550,"material":173,"size":84,"collection":84,"collections":88551,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},216887,"qian-long-nan-xun-zhu-bi-tu-ye-16-qian-wei-cheng-216887","乾隆南巡驻跸图页-16",[23,24,7,95,27,28,97,34,247,758,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabf796b87a7ed07d213aedafed487e88.jpg",[],{"id":88553,"slug":88554,"title":88555,"dynasty":54,"author":675,"museum":27034,"description":27035,"tags":88556,"thumbUrl":88558,"material":173,"size":84,"collection":84,"collections":88559,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},216883,"qian-long-nan-xun-zhu-bi-tu-ye-19-qian-wei-cheng-216883","乾隆南巡驻跸图页-19",[23,24,7,95,27,97,247,1428,34,758,132,19122,59,88557],"南巡驻跸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a10e68f3dcfcd4ff77b3120f858ba63.jpg",[],{"id":88561,"slug":88562,"title":88563,"dynasty":124,"author":22191,"museum":244,"description":88564,"tags":88565,"thumbUrl":88566,"material":173,"size":88567,"collection":84,"collections":88568,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},216766,"jiu-lao-tu-5-huang-biao-216766","九老图-5","这是黄震泉仿宋刘松年九老图而成的，要有相似的造型和人物，虽然排列的树石略显单薄轻巧，傅彩清新飘逸之外，也不失为仿制的传世佳品。",[24,7,27,28,96,167,1314,263,170,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab5a75db384701da1fac78a8ca7d08a2.jpg","27.2x193",[],{"id":88570,"slug":88571,"title":88572,"dynasty":124,"author":22191,"museum":244,"description":88564,"tags":88573,"thumbUrl":88574,"material":173,"size":88567,"collection":84,"collections":88575,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},216762,"jiu-lao-tu-10-huang-biao-216762","九老图-10",[24,7,25,572,64,28,27,96,21100,1425,247,251,6092,57836,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9684e9bb534b68aa7b2fde1cfbb5d45b.jpg",[],{"id":88577,"slug":88578,"title":88579,"dynasty":124,"author":22191,"museum":244,"description":88564,"tags":88580,"thumbUrl":88582,"material":173,"size":88567,"collection":84,"collections":88583,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},216761,"jiu-lao-tu-9-huang-biao-216761","九老图-9",[164,24,7,25,572,133,96,130,88581,29,28,27],"酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb97bcf52c3b82faae9cfa2fb82489097.jpg",[],{"id":88585,"slug":88586,"title":88587,"dynasty":124,"author":223,"museum":450,"description":88588,"tags":88589,"thumbUrl":88590,"material":278,"size":84,"collection":84,"collections":88591,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},216747,"ming-qing-ren-hua-ce-1-yi-ming-216747","明清人画册-1","墨羽栖枝，浓淡泼洒间尽现翎毛丰致。枯枝以焦墨劲扫，苍劲如铁骨，旁逸藤蔓轻缠，添几分野趣。鸟之态敛翅沉思，眸中似含幽意，与空疏背景相映，愈显清寂孤高。\n\n笔墨兼融豪放与精微：泼墨处淋漓畅快，如疾风掠羽；细勾处精准传神，似银针点睛。题款朱印错落排布，与画面浑然一体，文气暗生。留白处意蕴悠长，不著一字而尽得风流，恰是文人画“以少胜多”之妙。\n\n观此帧如临秋林一隅，听寒枝微动，感水墨间流淌的淡泊孤怀。寥寥数笔，将天地清寂与文人幽思凝于尺幅，令人心折。",[24,7,59,128,61,211,331,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F025742b8e3b1da956414bd6a706739fa.jpg",[],{"id":88593,"slug":88594,"title":88595,"dynasty":54,"author":223,"museum":300,"description":88596,"tags":88597,"thumbUrl":88598,"material":173,"size":84,"collection":84,"collections":88599,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},216698,"hong-lou-meng-fu-tu-ce-29-yi-ming-216698","红楼梦赋图册-29","画面以竖排赋文为骨，花叶藤蔓为韵，织就一卷红楼幽梦。墨色匀净的文字间，粉紫花朵点缀翠枝，藤蔓蜿蜒如诉，将文辞的缱绻与草木的柔媚相融。线条细腻温婉，设色清雅恬淡，似将红楼女儿的娇弱与命运的幽微藏于花叶深处。每一笔勾勒都带着古典的雅致，每一处晕染都晕开旧梦的怅惘。文与画交织，诗与景共生，仿佛能透过纸页触到红楼往事里的温柔与叹息，尽显传统艺术的含蓄之美。",[23,24,7,59,27,62,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70e5a290fba81a0f48ddd76c9eabdfc4.jpg",[],{"id":88601,"slug":88602,"title":88603,"dynasty":54,"author":223,"museum":300,"description":88604,"tags":88605,"thumbUrl":88606,"material":173,"size":84,"collection":84,"collections":88607,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},216697,"hong-lou-meng-fu-tu-ce-27-yi-ming-216697","红楼梦赋图册-27","墨笔赋文如织，密密匝匝铺陈画面中央，似将红楼旧梦的缱绻与唏嘘，凝进每一处笔画里。左侧红蔓垂垂，缀着点点朱实，如泣血的相思缠绕；右侧绿柯横斜，衬着殷红小果，若含露的情丝牵萦。顶部青芦舒展，间杂绯色花穗，风致嫣然，恰与文中婉转韵致相映。图文相契，笔墨间既有闺阁清雅，又藏繁华落尽的怅惘，仿佛金陵十二钗的影影绰绰，正于纸页间流转不灭余韵。",[23,24,7,59,27,28,64,133,230,548,2918,32972],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eaccf15f20d6155b4e6ec6303ef06ff.jpg",[],{"id":88609,"slug":88610,"title":88611,"dynasty":54,"author":223,"museum":300,"description":88612,"tags":88613,"thumbUrl":88615,"material":173,"size":84,"collection":84,"collections":88616,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},216684,"hong-lou-meng-fu-tu-ce-41-yi-ming-216684","红楼梦赋图册-41","暖黄绢面之上，暗纹婉转如诉。缠枝花卉与祥云纹样交织错落，似将红楼深处的雅致与怅惘织入肌理。每一道纹路皆细腻入微，或舒展如潇湘馆的竹影，或卷曲似蘅芜苑的香草，于静谧中藏着时光的痕迹。没有张扬的色彩，却以素净之姿勾勒出书中的诗意氛围，仿佛百年前的风月情浓，都凝在这方寸之间的纹理里，静静诉说着红楼旧梦的温柔与沧桑。那些隐现的图案，像极了书中未说尽的心事，在绢纸间悄悄流转，让观者于无声处，触摸到《红楼梦》里那份独有的雅致与怅然。",[23,24,7,59,27,88614,234],"花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faefdce542c0b9a38b0d52e0593c6b968.jpg",[],{"id":88618,"slug":88619,"title":88620,"dynasty":124,"author":14778,"museum":300,"description":88621,"tags":88622,"thumbUrl":88623,"material":66,"size":84,"collection":84,"collections":88624,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},216338,"xi-xiang-ji-cha-ye-14-min-qi-ji-216338","西厢记插页-14","器物以清劲线条勾勒轮廓，罐身仕女衣袂轻扬，步态温婉，裙裾间淡彩晕染，尽显柔媚气韵。罐口题字古雅，颈间纹饰繁复精巧，与素净人物形成疏密对比。右侧盖图单独铺展，盖面纹样与罐身呼应，细节处见匠心。作品将器物之形与文学意象相融，线描细腻传神，淡彩雅致清新，既承书籍插图的叙事功能，又具独立艺术审美。静赏间，古典故事的温婉情致似随仕女步态缓缓流淌，尽显传统艺术的含蓄之美。",[24,7,59,188,27,96,166,169,12997,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d58a88ac69bc48dfbd3c8d79c34d310.jpg",[],{"id":88626,"slug":88627,"title":88628,"dynasty":124,"author":802,"museum":300,"description":88629,"tags":88630,"thumbUrl":88631,"material":278,"size":84,"collection":84,"collections":88632,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},216321,"xi-xiang-ji-zhen-ben-tu-ce-1-chen-hong-shou-216321","西厢记真本图册-1","线条如铁线盘丝，刚劲中藏婉转韵致，勾勒人物衣袂飘举与神情幽微。人物造型古雅奇绝，身姿舒展间凝着西厢故事的情愫暗涌——眉眼顾盼流转，唇角轻抿微扬，方寸间传递细腻心事。画面疏密有致，留白处见空灵，繁复处显精致，将古典戏曲的缠绵雅致凝于尺幅。每一笔皆透高古气息，衣纹转折似闻书页轻响，发丝垂落藏着未诉衷肠。匠心融于细节，把西厢经典瞬间化作永恒视觉诗篇，让观者触碰到文心与诗情的穿越感。",[24,7,59,188,27,96,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe85c3caa26452d198721f35036e68cf.jpg",[],{"id":88634,"slug":88635,"title":88636,"dynasty":124,"author":802,"museum":300,"description":88637,"tags":88638,"thumbUrl":88639,"material":278,"size":84,"collection":84,"collections":88640,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},216307,"xi-xiang-ji-zhen-ben-tu-ce-13-chen-hong-shou-216307","西厢记真本图册-13","墨线如铁线盘屈，却牵出柔婉韵致。月夜松影横斜，泼洒清寂；石畔人物衣袂轻垂，眉目间凝着西厢故事的幽微心绪。陈洪绶以古拙笔意勾勒景物，松枝虬劲、衣纹流转皆见匠心。构图疏密相生，左页月色空濛与右页人物情态相映，诗画交织间，将古典传奇的细腻情愫凝于尺幅。笔端既有金石般刚健，又藏水样温婉，让这帧图册成为穿越时光的深情注脚。",[24,7,59,188,128,27,96,166,231,413,171,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f62cdd513daf3995abe71d428418eeb.jpg",[],{"id":88642,"slug":88643,"title":88644,"dynasty":124,"author":802,"museum":300,"description":88645,"tags":88646,"thumbUrl":88647,"material":278,"size":84,"collection":84,"collections":88648,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},216304,"xi-xiang-ji-zhen-ben-tu-ce-21-chen-hong-shou-216304","西厢记真本图册-21","铁线般的线条勾勒出山石嶙峋与草木疏朗，人物姿态含蓄，眉眼间凝着幽微心事，暗合《西厢》里情愫暗生的意趣。淡雅设色中藏着古雅厚重，笔墨间流转着西厢风月的缱绻。每一处细节都似在诉说那段古典爱情的细腻，岁月沉淀的韵味在画面中静静流淌，尽显传统工笔的精妙与深情。山石的肌理、草木的脉络皆见笔力，人物的一颦一笑皆含戏味，古雅构图里，将《西厢》的缠绵悱恻悄然铺展，让观者在笔墨间触碰到那段跨越时空的浪漫。",[24,7,59,188,128,413,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc44c36f67b7d2c3d1f90863cf9305cb5.jpg",[],{"id":88650,"slug":88651,"title":88652,"dynasty":124,"author":802,"museum":300,"description":88653,"tags":88654,"thumbUrl":88655,"material":278,"size":84,"collection":84,"collections":88656,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},216302,"xi-xiang-ji-zhen-ben-tu-ce-20-chen-hong-shou-216302","西厢记真本图册-20","画面中仕女凝眸若思，衣袂褶皱如折帛般挺括，线条凝练似铁线银钩，勾画出古典仕女的温婉气韵。案边兰草疏朗有致，盆器古朴，背景轻蝶翩跹，仿佛呼应着人物幽微的心事。右侧题跋与画面相映成趣，将西厢文韵融入画境。仕女神态间藏着婉转情愫，衣纹的刚劲与神情的柔婉形成微妙对比，静中含动。笔墨间流淌着古雅情致，细节处见匠心，把西厢故事的诗意化为可视的画面，让人在方寸之间感受文学与绘画艺术的交融之美。",[24,7,59,188,27,96,166,375,169,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77316dc0b259c392ae3b93d533dac814.jpg",[],{"id":88658,"slug":88659,"title":88660,"dynasty":54,"author":21575,"museum":20,"description":77064,"tags":88661,"thumbUrl":88662,"material":66,"size":77067,"collection":84,"collections":88663,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},216232,"shi-jun-quan-tu-2-ai-qi-meng-216232","十骏犬图-2",[23,164,24,7,59,28,27,949,167,1314,666,208,572,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac732f06b3631ccf25f1ac916d46669d.jpg",[],{"id":88665,"slug":88666,"title":88667,"dynasty":54,"author":21575,"museum":20,"description":77064,"tags":88668,"thumbUrl":88669,"material":66,"size":77067,"collection":84,"collections":88670,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},216230,"shi-jun-quan-tu-4-ai-qi-meng-216230","十骏犬图-4",[23,24,7,59,28,27,64,9119,949,413,4278,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84b67d91c612e146fffb0f50b1db6b09.jpg",[],{"id":88672,"slug":88673,"title":88674,"dynasty":54,"author":21575,"museum":20,"description":77064,"tags":88675,"thumbUrl":88676,"material":66,"size":77067,"collection":84,"collections":88677,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":199},216226,"shi-jun-quan-tu-8-ai-qi-meng-216226","十骏犬图-8",[23,24,7,59,28,27,949,413,131,7446,64,10803],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33da5bba78d3d6b81c9c53452a16f2d7.jpg",[],{"id":88679,"slug":88680,"title":88681,"dynasty":54,"author":21575,"museum":20,"description":77064,"tags":88682,"thumbUrl":88683,"material":66,"size":77067,"collection":84,"collections":88684,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},216225,"shi-jun-quan-tu-9-ai-qi-meng-216225","十骏犬图-9",[23,24,164,7,28,27,949,9119,371,167,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e0a9834bb157877008683c340aacada.jpg",[],{"id":88686,"slug":88687,"title":88688,"dynasty":54,"author":223,"museum":300,"description":88689,"tags":88690,"thumbUrl":88691,"material":173,"size":84,"collection":84,"collections":88692,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},216148,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-12-yi-ming-216148","职贡图巨幅彩绘册页第2册-12","画面分左右绘两人，左者女子蓝发垂肩，粉裙衬绿腰，手捧白碗，身姿温婉；右者男子冠如尖棘，条纹长袍曳地，持蓝色器物，神态端肃。衣饰纹样细腻，色彩明丽却不失雅致，线条勾勒精准流畅。旁附墨书题跋，当是载其族属风俗。画作以写实笔触捕捉人物特征，兼具装饰美感，既为清代职贡纪实之证，亦藏多元文化交融之韵，于方寸间见时代风貌与艺术匠心。",[23,24,7,59,28,27,96,170,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c7e20a2f8a8957b4d1c36bfcfc4c06a.jpg",[],{"id":88694,"slug":88695,"title":88696,"dynasty":54,"author":223,"museum":300,"description":88697,"tags":88698,"thumbUrl":88699,"material":173,"size":84,"collection":84,"collections":88700,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},216146,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-10-yi-ming-216146","职贡图巨幅彩绘册页第2册-10","画面以细腻笔触勾勒人物情态，左侧女子着深蓝短袄，领襟缀白珠，紫粉长裙曳地，步态轻盈；右侧男子缠头覆面，蓝袍束绿带，赤足蹬红履，腰间露粉红内衬，神态憨朴。衣纹线条流畅，设色淡雅却层次分明，织物纹理隐现。背景素净衬出人物主体，尽显职贡图纪实与艺术交融之妙——既展族群服饰风貌，又以生动姿态传人物鲜活气息，为清代族群文化与绘画艺术研究留存珍贵视觉印记。",[23,24,7,59,27,28,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe519968cab8ae9eec3bfc7873d43d26.jpg",[],{"id":88702,"slug":88703,"title":88704,"dynasty":54,"author":223,"museum":300,"description":88705,"tags":88706,"thumbUrl":88707,"material":173,"size":84,"collection":84,"collections":88708,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},216142,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-16-yi-ming-216142","职贡图巨幅彩绘册页第2册-16","画面分左右两帧，各绘一人旁附墨书题记，当是记族属风俗。左者衣饰斑斓，粉紫披帛衬宝蓝短褐，下着星纹长裙赤足而立，身姿轻盈；右者头戴尖顶羽帽，身披绯红长褂，腰束绿绦持仪物，神态庄重。线条细腻流畅，设色明丽温润，人物形貌生动传神，既保留民族服饰独特性，又以工笔绘法呈清代职贡图纪实风格，暗含“柔远徕民”意涵与对边疆风貌的细致描摹，是研究清代民族交流与绘画史的珍贵视觉文献。",[23,24,7,59,28,27,96,170,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8859925fd82459ffeb2af7efcffa4cfe.jpg",[],{"id":88710,"slug":88711,"title":88712,"dynasty":54,"author":223,"museum":300,"description":88713,"tags":88714,"thumbUrl":88715,"material":173,"size":84,"collection":84,"collections":88716,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},216073,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-10-yi-ming-216073","职贡图巨幅彩绘册页第3册-10","画面两侧人物神态服饰迥异，一侧温婉灵动：蓝衫绿饰衬彩裙曳地，红带束发映珠串轻垂，步态间流露族群的柔婉风姿；另一侧朴拙野性：兽皮裹身配短褐草绳，虬须赤足显原始真态，肌理线条间藏着山野的粗砺气息。笔触细腻入微，色彩晕染自然，既以纪实之笔留存族群风貌，又以生动刻画传递多元文化的温度，是一幅融历史纪实与艺术美感于一体的精彩画作。",[23,24,7,59,27,28,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe586b91330e868fc9b3891cefa722cc3.jpg",[],{"id":88718,"slug":88719,"title":88720,"dynasty":54,"author":223,"museum":300,"description":88721,"tags":88722,"thumbUrl":88723,"material":173,"size":84,"collection":84,"collections":88724,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},216040,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-4-yi-ming-216040","职贡图巨幅彩绘册页第4册-4","画面分呈两帧，左者负薪徐行，蓝巾裹头，黑衣沾尘，柴草的枯荣与布衣的褶皱交织着生活的烟火气；右者执弓而立，斗笠遮面，蓝衫敞怀，弓弦的张力与肌肉的线条里藏着山野的悍勇。笔触细腻，衣纹的流转、柴枝的脉络皆清晰可触；设色古朴，蓝与黑的沉郁、白裤的素净相映成趣。人物神态鲜活，负薪者眉眼低垂似念归途，执弓者身姿挺拔如待猎物。整幅画作以写实之态勾勒人文百态，于静谧的画面中铺展地域风情，每一处细节都凝注着对世间众生的细致描摹。",[23,24,7,59,27,28,96,170,1350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a9b23ce05f782461c2c783e6dca0644.jpg",[],{"id":88726,"slug":88727,"title":88728,"dynasty":54,"author":223,"museum":300,"description":88729,"tags":88730,"thumbUrl":88731,"material":173,"size":84,"collection":84,"collections":88732,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},216039,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-5-yi-ming-216039","职贡图巨幅彩绘册页第4册-5","展卷而观，两幅人物肖像鲜活跃然。左侧者蓝巾束发，素袍覆毛绒饰边，手持短笛轻吹，神态安然，蓝带垂落衣间，尽显质朴随性。右侧赤足而立，蓝裤短打配黑白兽皮，举持器物的动作憨直，面容粗犷里藏着山野气息。旁侧题跋虽字迹古奥，却为解读身份与地域风情留了珍贵线索。\n\n画作设色淡雅却层次分明，线条细腻精准。人物神态与服饰细节的写实描绘，既是笔墨技法的佳例，更承载着多元文化交融的历史温度。久远的边地风貌，便在这轻柔的色彩与凝练的线条间，重焕鲜活气息。",[23,164,24,7,59,27,28,96,438,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff39c5ff658fec2403d4206d3ef05ac16.jpg",[],{"id":88734,"slug":88735,"title":88736,"dynasty":54,"author":223,"museum":300,"description":88737,"tags":88738,"thumbUrl":88739,"material":611,"size":84,"collection":84,"collections":88740,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},215528,"bai-miao-jie-tou-mai-mai-hua-ce-29-yi-ming-215528","白描街头买卖画册-29","素纸之上，线条如缕，勾勒出渔家劳作的生动瞬间。斗笠覆顶，衣袂轻扬，渔夫半蹲窄舟中，长杆斜倚肩头，网兜探入清波——那杆的弧度似蓄着千钧力，网的轮廓藏着对收获的期许。船身虽狭，却稳如磐石；水波微漾，几笔淡线便生涟漪。白描的简淡里，藏着最鲜活的市井烟火：没有浓墨重彩，只凭深浅不一的墨线转折，便将渔夫的专注、生计的平实，晕染成时光里的剪影。每一笔都透着拙朴的真，仿佛能触到斗笠的竹纹，嗅到江风里的鱼腥气，这便是民间画工笔下，最动人的生活本味。",[23,24,7,59,188,96,129,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9864915d0f2ed3ee36831189cddf316.jpg",[],{"id":88742,"slug":88743,"title":88744,"dynasty":54,"author":223,"museum":300,"description":88745,"tags":88746,"thumbUrl":88747,"material":611,"size":84,"collection":84,"collections":88748,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},215518,"bai-miao-jie-tou-mai-mai-hua-ce-39-yi-ming-215518","白描街头买卖画册-39","素笔勾勒的女子躬身于木盆前，双手浸在水中轻浣衣物，发间簪饰与宽袖长衣衬出旧时光的温婉。线条简练却见功力，衣纹的起伏、木盆的纹理皆以流畅笔触晕染生活气息。她垂眸专注的神态，似将市井里的寻常日子揉进每一道墨线里，没有浓彩却自带温度。木凳与盆器的质朴造型，更衬出画面的平实与真切，仿佛能听见水声轻响，触到旧时光里的烟火余温。白描的克制中藏着细腻，把平凡生活的静美定格成帧，让观者于简淡笔墨里窥见往昔市井的鲜活底色。",[23,24,7,59,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd21a634f2b74df94857421f05c28562.jpg",[],{"id":88750,"slug":88751,"title":88752,"dynasty":54,"author":223,"museum":300,"description":88753,"tags":88754,"thumbUrl":88755,"material":611,"size":84,"collection":84,"collections":88756,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},215515,"bai-miao-jie-tou-mai-mai-hua-ce-42-yi-ming-215515","白描街头买卖画册-42","素净纸页间，线条如缕勾勒市井一隅。人物盘腿而坐，衣纹简括流畅，眉眼凝着专注，似俯身打理手中纵横的编织材料。旁侧网格容器纹理细密如织，与周遭交错线条相映，暗合劳作日常。白描笔法洗练，不施粉黛却见真意：人物姿态松弛却投入，线条轻重转折间，藏着烟火气里的从容。画面虽简，却将街头劳动者的专注神情与生活质感悄然铺展，于素雅中见生动，平淡处显温情，尽显白描以线塑形、以简胜繁的妙趣。",[23,24,7,59,188,96,169,1746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefddb8940e300c79947a62f0113db29e.jpg",[],{"id":88758,"slug":88759,"title":88760,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":88761,"thumbUrl":88762,"material":66,"size":84,"collection":84,"collections":88763,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},215101,"tui-bei-tu-ce-7-jiao-bing-zhen-215101","推背图册-7",[23,24,7,59,28,27,101,17539,949,171,29,1771,3599],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86763678f88afa62a40f3f9360dffeb8.jpg",[],{"id":88765,"slug":88766,"title":88767,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":88768,"thumbUrl":88770,"material":66,"size":84,"collection":84,"collections":88771,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},215078,"tui-bei-tu-ce-27-jiao-bing-zhen-215078","推背图册-27",[23,24,7,59,28,27,96,949,88769,170],"猪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a7e6ec77e500c9946e8c0a82120ff79.jpg",[],{"id":88773,"slug":88774,"title":88775,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":88776,"thumbUrl":88777,"material":66,"size":84,"collection":84,"collections":88778,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},215061,"tui-bei-tu-ce-47-jiao-bing-zhen-215061","推背图册-47",[23,24,7,59,28,27,96,129,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02dc153134d283d4912acb4144a533b5.jpg",[],{"id":88780,"slug":88781,"title":88782,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":88783,"thumbUrl":88784,"material":66,"size":84,"collection":84,"collections":88785,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},215055,"tui-bei-tu-ce-53-jiao-bing-zhen-215055","推背图册-53",[23,24,7,59,27,28,128,96,331,16370,950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea97251a00019fab83156a1f20de9d3.jpg",[],{"id":88787,"slug":88788,"title":88789,"dynasty":54,"author":7208,"museum":244,"description":80436,"tags":88790,"thumbUrl":88791,"material":173,"size":84,"collection":84,"collections":88792,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":956},215047,"shu-hua-he-bi-tu-ce-3-qian-long-215047","书画合璧图册-3",[23,24,7,59,572,188,128,96,35,34,2668,247,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa314b221f2f5420b225bd827afb2413f.jpg",[],{"id":88794,"slug":88795,"title":88796,"dynasty":54,"author":160,"museum":450,"description":88797,"tags":88798,"thumbUrl":88799,"material":66,"size":84,"collection":84,"collections":88800,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},214993,"ren-wu-tu-ce-3-gu-jian-long-214993","人物图册-3","棋局铺展案头，墨线纵横间似藏无声对弈。对坐者敛神沉思，指尖捻子凝着专注，衣袂褶皱随体态流转，线条柔劲相济。旁立人俯身探看，眉梢微挑，目光紧锁棋盘，神态鲜活如临其境。淡赭晕染衣袍，墨色点染须发，设色简净却见层次。人物动态自然传神，从握子指节到倾身肩背，皆显笔力精细。古朴纸色衬着悠然场景，静赏时仿佛踏入这方小天地，与画中人同醉一局棋的雅趣，感受时光沉淀下的笔墨温情。",[23,24,7,59,27,96,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F495b2d645055821320daa2c3a5fce506.jpg",[],{"id":88802,"slug":88803,"title":88804,"dynasty":54,"author":160,"museum":450,"description":88805,"tags":88806,"thumbUrl":88807,"material":66,"size":84,"collection":84,"collections":88808,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},214992,"ren-wu-tu-ce-4-gu-jian-long-214992","人物图册-4","画面中两僧相对，一跪一立，互动间流露着含蓄的故事性。跪坐者捧碗凝神，裸露的肩背肌肉线条写实细腻，衣纹随肢体转折如流水漫过，柔和中见力度；站立者长袍宽博，指节微屈似在轻声叮咛，衣袂轻扬处线条简练却藏着质感。面部刻画尤见功力，皱纹里沉淀着岁月的痕迹，眼神交汇间是默契的传递。淡赭底色衬得人物清逸脱俗，设色简淡却韵味悠长，线条勾勒精准灵动，将僧人的神态与互动刻画得入木三分，尽显写实功底与雅致气息，每一处细节都在诉说着禅意与日常的交融，让人见之忘俗。",[23,24,7,59,188,27,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63e12bf5683109543b6027e1fe77afb3.jpg",[],{"id":88810,"slug":88811,"title":88812,"dynasty":54,"author":160,"museum":450,"description":88813,"tags":88814,"thumbUrl":88815,"material":66,"size":84,"collection":84,"collections":88816,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},214988,"ren-wu-tu-ce-8-gu-jian-long-214988","人物图册-8","袒腹者笑靥舒展，衣袂翩跹如流云漫卷；踞坐者回眸相顾，眉宇间漾着闲适的默契。笔墨游走间，人物神态活灵活现——圆润体态藏着豁达，松弛姿态透着自在。线条纤细却有力，似能触到衣料柔软；淡彩轻敷，更衬出肌肤温润与衣袍素净。素纸为底未施华彩，却让人物互动愈发真切，仿佛能嗅到空气中漫溢的轻松气息。画面无喧嚣，只有两人相视一笑，于简约中见深情，平淡里藏真趣，尽显笔墨与心性的交融之美。那相视的瞬间，似有低语笑声漫出，于无声处传递着超然物外的悠然心境。",[23,24,7,59,27,188,96,187,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59a438752ae7df5df463284bdd47e1c3.jpg",[],{"id":88818,"slug":88819,"title":88820,"dynasty":124,"author":204,"museum":244,"description":71251,"tags":88821,"thumbUrl":88822,"material":173,"size":71254,"collection":84,"collections":88823,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},214900,"di-wang-dao-tong-wan-nian-tu-ce-13-chou-ying-214900","帝王道统万年图册-13",[23,24,164,7,59,28,27,95,96,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67655aee5c374da61c475a6695d15347.jpg",[],{"id":88825,"slug":88826,"title":88827,"dynasty":124,"author":204,"museum":244,"description":71251,"tags":88828,"thumbUrl":88829,"material":173,"size":71254,"collection":84,"collections":88830,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},214898,"di-wang-dao-tong-wan-nian-tu-ce-18-chou-ying-214898","帝王道统万年图册-18",[23,24,7,59,28,27,95,96,97,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faeeb85c2f4741141636da3f92aeefa70.jpg",[],{"id":88832,"slug":88833,"title":88834,"dynasty":124,"author":204,"museum":244,"description":71251,"tags":88835,"thumbUrl":88840,"material":173,"size":71254,"collection":84,"collections":88841,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},214897,"di-wang-dao-tong-wan-nian-tu-ce-14-chou-ying-214897","帝王道统万年图册-14",[23,24,7,59,28,27,96,97,95,12676,14415,88836,906,758,41805,37624,16099,88837,88838,88839],"臣子","宫廷场景","建筑勾勒","细致设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2035c0632f4d49ea81b219dfd5ea5fce.jpg",[],{"id":88843,"slug":88844,"title":88845,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":88846,"thumbUrl":88847,"material":66,"size":10301,"collection":84,"collections":88848,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},214795,"zhi-sheng-xian-xian-ban-shen-xiang-13-yi-ming-214795","至圣先贤半身像-13",[23,24,7,59,27,28,96,77119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff59e907569c545f3005a1fc0f493edd6.jpg",[],{"id":88850,"slug":88851,"title":88852,"dynasty":124,"author":802,"museum":77,"description":77138,"tags":88853,"thumbUrl":88854,"material":278,"size":71283,"collection":84,"collections":88855,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},214549,"mo-gu-ce-ye-2-chen-hong-shou-214549","摹古册页-2",[24,7,59,330,28,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa283e437c5c1b8f40ed5ac789089eca5.jpg",[],{"id":88857,"slug":88858,"title":88859,"dynasty":124,"author":802,"museum":77,"description":77138,"tags":88860,"thumbUrl":88861,"material":278,"size":71283,"collection":84,"collections":88862,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":72},214547,"mo-gu-ce-ye-5-chen-hong-shou-214547","摹古册页-5",[24,7,59,128,330,132,29,1144,131,331,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95c5cff984b6af7bb1561e8ec8df0be2.jpg",[],{"id":88864,"slug":88865,"title":88866,"dynasty":54,"author":223,"museum":35520,"description":35521,"tags":88867,"thumbUrl":88868,"material":173,"size":35524,"collection":84,"collections":88869,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},214332,"da-bei-shen-zhou-fo-xiang-10-yi-ming-214332","大悲神咒佛像-10",[23,24,7,59,27,28,187,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41353de3adb24b5621e804846893f5fb.jpg",[],{"id":88871,"slug":88872,"title":88873,"dynasty":54,"author":223,"museum":35520,"description":35521,"tags":88874,"thumbUrl":88875,"material":173,"size":35524,"collection":84,"collections":88876,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":49},214323,"da-bei-shen-zhou-fo-xiang-14-yi-ming-214323","大悲神咒佛像-14",[23,24,7,187,27,96,59,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe42e5d147b96fbc67795d911016c3c06.jpg",[],{"id":88878,"slug":88879,"title":55527,"dynasty":54,"author":9529,"museum":56,"description":88880,"tags":88881,"thumbUrl":88882,"material":84,"size":84,"collection":84,"collections":88883,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":88884},203455,"shan-shui-he-ce-wang-hui-203455","画面中山峦层叠错落，松枝虬劲挺秀，溪流蜿蜒穿石，小桥隐于幽径。笔墨兼具苍劲与清润，皴擦间显山石肌理，晕染处透林木生机，构图疏密有致，意境清幽淡远，尽显文人山水的雅致意趣，仿佛可闻松风拂面、溪声潺潺。",[24,7,59,128,132,133,208,64,29,331,131,99,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57bb5a1d51aeac5fd17b7f85b4c59dcf.jpg",[],"bcb09d",{"id":88886,"slug":88887,"title":88888,"dynasty":54,"author":1242,"museum":56,"description":88889,"tags":88890,"thumbUrl":88891,"material":84,"size":84,"collection":84,"collections":88892,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":88893},203440,"qiu-shan-du-yi-tu-zhou-jin-nong-203440","秋山读易图轴","山峦层叠而上，皴笔皴擦出山石纹理，墨色浓淡交织间，丘壑起伏之态尽显。山间林木疏密有致，几株红叶树艳而不俗，点染出浓浓秋意，与深翠的松柏形成鲜明对比。山麓处屋舍隐现，似有雅士于内展卷读易，静享山林之趣。溪流潺潺绕石而过，碎石错落，添得几分自然野趣。整幅画作设色淡雅，意境清寂悠远，将秋山的旷远之景与文人的雅逸之情完美融合，尽显传统山水画的独特韵味。",[24,7,165,27,132,29,34,1955,35,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed9598148d00b0fc5f89365b00912481.jpg",[],"c7bcaf",{"id":88895,"slug":88896,"title":88897,"dynasty":54,"author":34467,"museum":56,"description":88898,"tags":88899,"thumbUrl":88900,"material":84,"size":84,"collection":84,"collections":88901,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":88902},203433,"chui-xiao-shi-nv-tu-zhou-fei-dan-xu-203433","吹箫仕女图轴","古木荫浓下，两位仕女姿态闲雅。一者倚石吹箫，箫声似若萦绕林间；一者坐于树侧，捧物低眉凝思。衣纹以工笔细描，线条流畅婉转，尽显罗裳轻柔质感。设色淡雅温润，肤色晕染细腻，眉眼间流露温婉娴静之态。树下牡丹盛放，花叶舒展，与苍劲古木相映成趣，添几分生机雅致。画面意境清幽恬淡，将仕女的柔美与自然景致融合，尽显传统仕女画的含蓄韵致与细腻笔情。",[24,7,165,28,27,96,166,438,413,263,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd889d4ef1989404aa7e468314ecefa7.jpg",[],"ac7d54",{"id":88904,"slug":88905,"title":88906,"dynasty":54,"author":55,"museum":56,"description":88907,"tags":88908,"thumbUrl":88910,"material":84,"size":84,"collection":84,"collections":88911,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":88912},203301,"shan-shui-tu-he-ce-yun-shou-ping-203301","山水图合册","笔墨疏秀间见清逸之韵，构图简约中藏空灵之境。孤石以淡墨皴擦，线条洗练却含苍劲；亭畔老树虬枝轻展，浅设色晕染出秋意，流水绕阶，亭榭隐于林麓，一派悠然野趣。画面摒弃浓艳，以简胜繁，将自然清幽与文人雅致融于尺幅，尽显笔底性灵。",[24,7,59,128,27,29,171,130,331,99,88909],"皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd465b2ecf12ba2bb23d323c2dbaa88c5.jpg",[],"d6ccc0",{"id":88914,"slug":88915,"title":88916,"dynasty":124,"author":88917,"museum":56,"description":88918,"tags":88919,"thumbUrl":88920,"material":84,"size":84,"collection":117,"collections":88921,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":88922},203224,"hu-fu-shi-er-jing-tu-ce-chen-ji-203224","虎阜十二景图册","陈楫","这幅画作以水墨为媒，勾勒出苍树伴孤石的清寂之景。古树虬枝盘曲，墨色层次丰富，尽显老干的苍劲姿态；孤石嶙峋突兀，以简练皴法晕染纹理，凸显山石的坚硬质感。构图疏朗有致，笔墨雅致空灵，流露着文人画独有的清幽意趣，仿佛将园林小景的静谧韵味凝于尺幅之间。",[24,128,132,171,331,59,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b45f4cc55eda3525463eb10a9651760.jpg",[117],"b2a28e",{"id":88924,"slug":88925,"title":88926,"dynasty":54,"author":4083,"museum":56,"description":88927,"tags":88928,"thumbUrl":88929,"material":84,"size":84,"collection":136,"collections":88930,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":88931},203146,"fang-song-yuan-liu-jia-shan-shui-tu-ce-wang-shi-min-203146","仿宋元六家山水图册","此作承宋元山水文脉，山峦以细腻皴法勾勒晕染，墨色层次丰富，兼具苍劲与秀润。近景林木扶疏，中景水波澹澹，远景峰峦叠嶂，构图开合有度，营造出悠远静谧的意境。笔致沉稳中见灵动，既得古法神韵，又蕴个人情致，尽显文人画的雅致与深邃，似可漫步其间，感受山水之幽。",[24,7,59,132,128,27,29,171,34,330,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65ee17f9ffe81733f657801f0c6ab503.jpg",[136],"d4d4cf",{"id":88933,"slug":88934,"title":88935,"dynasty":54,"author":18008,"museum":56,"description":88936,"tags":88937,"thumbUrl":88938,"material":84,"size":84,"collection":117,"collections":88939,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":88940},203101,"gao-jian-mei-hua-ce-gao-jian-203101","高简 梅花册","老干以枯笔焦墨挥写，虬曲如铁，尽显苍劲古拙；疏枝横斜，笔意灵动，似携清寒风骨。数点梅花淡墨点染，清雅绝尘，与枝干刚健相映成趣。题款书法率意自然，朱印错落点缀，更添文人雅韵。整幅画作简淡空灵，以少胜多，将梅之傲骨与文人情思融于尺幅之间，尽得水墨写意之妙。",[24,59,128,371,208,7,369,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2714edff209d99f1283c4db329327d52.jpg",[117],"dbd3cb",{"id":88942,"slug":88943,"title":88944,"dynasty":54,"author":88945,"museum":56,"description":88946,"tags":88947,"thumbUrl":88948,"material":84,"size":84,"collection":117,"collections":88949,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":88950},203089,"shan-shui-bing-shu-shi-ce-jiang-shi-jie-203089","山水并书诗册","姜实节","水墨绘就的竹石图，竹枝劲挺，竹叶以简练笔触写出，疏密有致；孤石淡墨皴擦，形态古拙。旁侧行书题跋笔墨流畅，与画面浑然一体，诗画相契，尽显文人意趣。整体风格清雅淡远，笔墨洗练却韵味醇厚，竹石的清逸与书法的洒脱交融，传递出悠然的文人心境，是诗书画结合的佳作。",[128,167,171,133,132,7,59,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24d7c6ba55db3f2ac38e975d15449977.jpg",[117],"d3bea4",{"id":88952,"slug":88953,"title":88954,"dynasty":32945,"author":88955,"museum":56,"description":88956,"tags":88957,"thumbUrl":88958,"material":84,"size":84,"collection":117,"collections":88959,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":88960},203072,"qiao-song-tu-zhou-heng-shan-da-guan-203072","乔松图轴","横山大观","虬干盘曲如苍龙卧野，墨色浓淡相错，干湿交织，将松皮斑驳肌理与老木坚韧风骨凝于笔端。松枝横斜逸出，墨点如星，与素纸留白相映，似有山风穿林，清韵暗生。笔势雄健却含蕴藉，既承东方水墨写意之魂，亦藏对自然生命的深挚观照，苍古中透着盎然生气。",[128,372,331,132,165,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f1c65a2069df74e4068c937b39a0a38.jpg",[117],"c5a66f",{"id":88962,"slug":88963,"title":30270,"dynasty":54,"author":3043,"museum":56,"description":88964,"tags":88965,"thumbUrl":88966,"material":84,"size":84,"collection":68,"collections":88967,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":88968},203016,"hua-guo-ce-xu-gu-203016","这幅画作以简括之笔勾勒花茎，花苞素白温润如凝脂，墨色根茎苍劲灵动，散落的深绿果实与花簇相映成趣。水墨与淡彩交织，笔触兼具写意洒脱与细节精巧，于疏密间见构图妙韵，质朴中透雅致。寥寥数笔捕捉花果清逸神韵，尽显文人画空灵意境，传递出恬淡闲适的自然生机，耐人寻味。",[24,7,59,128,27,61,374,369,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62276567d2f72c2f7f05d4402f4bf839.jpg",[68],"d4c5ba",{"id":88970,"slug":88971,"title":88972,"dynasty":32945,"author":40286,"museum":56,"description":88973,"tags":88974,"thumbUrl":88975,"material":84,"size":84,"collection":68,"collections":88976,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":88977},202938,"guo-shi-tu-zhou-chen-shi-ceng-202938","果实图轴","墨叶以奔放笔触挥就，浓淡交错间见层次，枝干虬劲简练，尽显生趣。果实设色温润，黄绿与橙褐晕染自然，形态饱满鲜活，似含清甜味。整体画风朴拙雅致，写意之韵浓厚，笔墨间藏文人画的冲淡意趣，简约中蕴生机，观之顿觉清新悦目。",[24,7,61,369,27,128,2037,624,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b650d570fbffe893e85a1f0e6023d42.jpg",[68],"c9c0b1",{"id":88979,"slug":88980,"title":62361,"dynasty":32945,"author":88981,"museum":56,"description":88982,"tags":88983,"thumbUrl":88984,"material":84,"size":84,"collection":136,"collections":88985,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":88986},202881,"shu-hua-cheng-shan-feng-chao-ran-202881","冯超然","扇面一侧绘山水人物景致，老树虬劲多姿，枝叶繁茂如盖，树下人物端坐观景，神态闲适安然。山石以皴法勾勒，笔墨细腻且层次分明，设色浅淡雅致，尽显文人画风韵。另一侧书法笔墨流畅洒脱，与画作相得益彰，书画合璧更添扇面韵致。整体布局疏密得当，在扇面有限空间内，景物与人物相映成趣，传递出恬淡悠然的心境，为书画结合的精妙之作。",[1131,29,96,27,132,64,7,331,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F576bbe2d49ce61d71dbaff63eb88f55f.jpg",[136],"333a37",{"id":88988,"slug":88989,"title":62361,"dynasty":32945,"author":88981,"museum":56,"description":88990,"tags":88991,"thumbUrl":88994,"material":84,"size":84,"collection":136,"collections":88995,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":88996},202876,"shu-hua-cheng-shan-feng-chao-ran-202876","\u003C|FunctionCallBegin|>\u003C|FunctionCallBegin|>superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:\u003C|FunctionCallBegin|>\u003C|FunctionCallBegin|>superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:\u003C\u002Fthink_never_used_51bce0c785ca2f68081bfa7d91973934>\u003C|FunctionCallBegin|>superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:\u003C|FunctionCallBegin|>superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:\u003C\u002Fthink_never_used_51bce0c785ca2f68081bfa7d91973934>superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:\u003C|FunctionCallBegin|>superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:\u003C|FunctionCallBegin|>superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:\u003C|FunctionCallBegin|>superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:\u003C|FunctionCallBegin|>superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:superscript:扇面以水墨设色绘江南春景，远山淡染如黛，近岸柳丝拂水，桃花点染其间，楼阁隐于烟霭，笔墨清润雅致。书法与绘景相映成趣，笔意连贯自然，尽显文人雅趣。",[1131,7,128,27,29,97,209,2372,88992,88993,23],"行书 \u003C","think_never_used_51bce0c785ca2f68081bfa7d91973934>","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F554b83dc2601705e0141e0639d1e30e5.jpg",[136],"171b1a",{"id":88998,"slug":88999,"title":89000,"dynasty":54,"author":89001,"museum":56,"description":89002,"tags":89003,"thumbUrl":89004,"material":84,"size":84,"collection":84,"collections":89005,"showCount":1105,"zanCount":1998,"manualWeight":48,"mainColor":89006},202641,"fa-li-cheng-shan-shui-tu-zhou-wang-yan-202641","法李成山水图轴","王巘","画面以淡墨晕染层叠远山，积雪覆于峰峦坡石，留白与墨色交织出清寒意境。近景苍松劲挺，枝桠凝雪，茅舍掩映林麓间；溪流蜿蜒，一叶扁舟泛于水面，隐现渔者身影，添生活意趣。山石勾勒运用皴法，线条刚柔相济；树木笔墨疏密有致，构图层次分明，虚实相生。整体尽显冬日山水静谧悠远，传递文人寄情林泉的恬淡心境。",[24,7,165,128,27,132,29,129,23362,499,44073,415,13436,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72e0d96a528aed2b1fd48dca7609b365.jpg",[],"baa98e",{"id":89008,"slug":89009,"title":89010,"dynasty":54,"author":89011,"museum":56,"description":89012,"tags":89013,"thumbUrl":89014,"material":84,"size":84,"collection":84,"collections":89015,"showCount":1105,"zanCount":1998,"manualWeight":48,"mainColor":89016},202640,"mei-shi-shuang-niao-tu-zhou-zhang-yan-qi-202640","梅石双鸟图轴","张延耆","虬曲的老梅枝干盘绕于嶙峋怪石之上，枝间双鸟相栖，似有私语。石畔点缀艳红果实与翠叶，墨色的枝干与石头苍劲古朴，红果绿叶相映成趣，生机暗藏。用笔细致入微，鸟羽的纹理、枝干的皴法皆见功底；设色淡雅温润，不张扬却显雅致。整体画面兼具工笔的精致与写意的灵动，将传统花鸟的意趣与生机展现得淋漓尽致，尽显文人画的雅致韵味。",[24,7,165,27,61,371,28,171,211,331,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1083970f0adf45cc6991f547f813eebf.jpg",[],"90704b",{"id":89018,"slug":89019,"title":89020,"dynasty":54,"author":48257,"museum":56,"description":89021,"tags":89022,"thumbUrl":89023,"material":84,"size":84,"collection":84,"collections":89024,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":89025},202625,"qi-lv-xun-mei-tu-zhou-wu-gu-xiang-202625","骑驴寻梅图轴","老者披蓑戴笠骑驴徐行，宽袍裹挟冬日清寒，眉眼间尽是寻梅的悠然；童子紧随驴侧，仰头与老者对语，稚气藏于恭谨之中。驴儿憨态可掬，鬃毛疏朗，步履轻缓；旁侧梅枝斜出，疏花缀枝，冷香似溢。笔墨兼具工写，人物衣纹用线流畅，设色淡雅；驴与梅枝以水墨晕染，浓淡相济。画面传递出文人踏雪寻梅的闲逸雅趣，意境清旷悠远，尽显传统书画的笔墨情韵。",[24,128,27,96,371,7067,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e2ac428fcc84278ebb8112574597ce8.jpg",[],"bdb2a3",{"id":89027,"slug":89028,"title":62361,"dynasty":32945,"author":3403,"museum":56,"description":89029,"tags":89030,"thumbUrl":89033,"material":84,"size":84,"collection":84,"collections":89034,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":89035},202550,"shu-hua-cheng-shan-wu-chang-shuo-202550","扇面一侧，老梅枝干盘曲如铁，墨色浓淡交错间见金石风骨，艳红花朵点染生动，笔意豪放洒脱；另一侧书法笔力沉雄，行书线条刚劲挺拔，墨韵饱满醇厚，与画面的苍劲古拙相映成趣。整扇书画合璧，刚柔相济，既有梅之傲岸精神，又具书法之雄浑气势，尽显文人雅趣与艺术功底，融诗书画意于一体，是文人扇面中的精品之作。",[1131,7,371,61,133,64,27,8162,89031,89032,23],"笔力","古拙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6bae69e44ce24f5b6e4577f05bfd2d.jpg",[],"7c715f",{"id":89037,"slug":89038,"title":89039,"dynasty":54,"author":6778,"museum":56,"description":89040,"tags":89041,"thumbUrl":89042,"material":84,"size":84,"collection":84,"collections":89043,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":89044},202441,"hua-hui-heng-pi-zhao-zhi-qian-202441","花卉横披","老干盘曲如铁，墨痕浓淡间见骨力；设色花卉妍丽清雅，粉橙花瓣与青蓝叶片相映成趣。嶙峋孤石以泼墨写意，留白处漾出空灵。整幅画作笔墨纵逸却不失法度，写意中藏精工，生机盎然间流露清逸古雅的文人韵致。",[24,7,61,27,171,128,331,373,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa19e2309ce7afcf0bf3819c811f7fb1b.jpg",[],"d5c7b6",{"id":89046,"slug":89047,"title":89048,"dynasty":54,"author":5879,"museum":56,"description":89049,"tags":89050,"thumbUrl":89051,"material":84,"size":84,"collection":84,"collections":89052,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":89053},202302,"feng-huang-nv-xian-tu-zhou-hua-yan-202302","凤凰女仙图轴","女仙衣袂飘举，朱红袍袖与素白裙裾相映，线条流转间见灵动气韵。旁侧花木扶疏，艳蕊灼灼，枝上禽鸟神态各异，或栖或翔，笔墨简括却形神毕肖。设色淡雅清新，人物神情娴静温婉，与自然景物相融，营造出空灵悠远的仙逸氛围。兼工带写的技法，使画面兼具细腻质感与洒脱意趣，尽显独特艺术魅力。",[24,7,27,96,61,211,28,166,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F624eadc8903ee57ffa7df7639988a2f9.jpg",[],"b2966d",{"id":89055,"slug":89056,"title":15906,"dynasty":124,"author":20447,"museum":56,"description":89057,"tags":89058,"thumbUrl":89060,"material":84,"size":84,"collection":84,"collections":89061,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":89062},202276,"mo-mei-tu-zhou-liu-shi-ru-202276","枝干虬劲如铁，墨痕浓淡相济，勾勒出古梅苍拙风骨。梅花以淡墨点染，疏密错落间，或含苞敛蕊，或轻绽幽香，姿态万千。留白处意境空灵，仿佛梅香随清风暗度。笔墨简约却意韵悠长，将梅的高洁与生机凝于尺幅，尽显文人画清雅之致。",[24,7,165,128,371,61,89059],"点","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff09e1c9c949739d9fa21eff64e252e69.jpg",[],"977a5b",{"id":89064,"slug":89065,"title":89066,"dynasty":54,"author":6957,"museum":56,"description":89067,"tags":89068,"thumbUrl":89069,"material":84,"size":84,"collection":84,"collections":89070,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":89071},202094,"hai-tang-cao-chong-tu-zhou-ren-xun-202094","海棠草虫图轴","画面以孤石为骨，皴擦间见古拙纹理；海棠花叶设色清雅，蓝绿叶片层叠有致，粉白花朵娇柔含露；藤蔓垂挂紫蓝小花，点缀其间更显生机。草虫刻画工细入微，翅脉清晰如缕，姿态鲜活欲飞，似闻虫鸣之声。用笔兼工带写，线条婉转灵动，设色明丽雅致，将花草虫石的自然意趣凝于立轴之中，尽显工笔花鸟的细腻韵味与生机盎然之态。",[24,7,165,27,61,171,1132,28,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85425bf439bb8c0433ee37f769b68493.jpg",[],"cbbeaf",{"id":89073,"slug":89074,"title":89075,"dynasty":54,"author":1219,"museum":56,"description":89076,"tags":89077,"thumbUrl":89078,"material":84,"size":84,"collection":117,"collections":89079,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":89080},202064,"san-gui-tu-zhou-ren-yi-202064","三龟图轴","画面中三只灵龟姿态悠然，或两两相倚，或独卧一隅。墨色浓淡交织间，龟甲纹理以焦墨勾勒，线条硬朗却不失韵致；龟身用淡墨晕染，干湿笔触交错，尽显龟甲的厚重质感与肌肤的温润。任颐以写意笔法捕捉龟的憨态，形神毕肖，简笔勾勒中藏着细腻观察。留白处意蕴悠长，与墨色生灵相映成趣，传递出自然生机与古朴雅趣。",[24,128,7,949,5856,208,369,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24b2e540e3eaa9d7137dc0dec39803b0.jpg",[117],"c1b6ac",{"id":89082,"slug":89083,"title":55055,"dynasty":54,"author":89084,"museum":56,"description":89085,"tags":89086,"thumbUrl":89087,"material":84,"size":84,"collection":117,"collections":89088,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":89089},202038,"mo-zhu-tu-zhou-yang-tian-bi-202038","杨天壁","墨竹枝干挺劲，竹叶以奔放笔触挥洒，浓淡干湿交织出层次。笔锋带书法意趣，顿挫间见风骨，叶片向背欹侧，似有清风穿林，姿态生动。画面题跋行书流畅，与竹影相映，朱印点缀更添雅致。整体以水墨写竹，尽显文人画的疏朗意趣，笔墨间藏着对竹的情韵，是清雅脱俗的佳作。",[24,128,167,133,208,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e930d8941c5eb610763bce8610f4e11.jpg",[117],"8b765d",{"id":89091,"slug":89092,"title":89093,"dynasty":54,"author":4823,"museum":56,"description":89094,"tags":89095,"thumbUrl":89096,"material":84,"size":84,"collection":68,"collections":89097,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":89098},201897,"shuang-tian-cong-yan-tu-zhou-ma-yuan-yu-201897","霜天丛艳图轴","画面里丛菊簇生，瓣瓣层叠如丝，色彩明丽却不失清雅——乳白胜雪，浅粉若霞，绛红似焰，淡紫含烟。叶片以墨绿晕染，脉络清晰可见；枝干挺秀中带自然弯折之姿。笔墨兼融工致与写意：花瓣勾勒细腻，尽显柔润质感；叶茎挥洒灵动，暗藏生机。淡雅绢底衬出菊丛的清艳，仿佛能嗅到霜后菊香，于静谧间见蓬勃生气，是花鸟作品中形神兼备的佳作。",[24,7,61,376,27,28,165,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff32bc20101a4094ac16bae0bbabb88da.jpg",[68],"a2793c",{"id":89100,"slug":89101,"title":38164,"dynasty":54,"author":18008,"museum":56,"description":89102,"tags":89103,"thumbUrl":89104,"material":84,"size":84,"collection":136,"collections":89105,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":89106},201869,"shan-shui-ren-wu-zhou-gao-jian-201869","画面以淡墨皴染山石，老树虬枝盘曲，枝桠间似有寒蕊隐现，清寂中含生机。近景怪石错落，小径蜿蜒；中景茅舍疏朗，屋内人影闲坐，情态悠然。远山轻描淡写，与朦胧天色相融，意境悠远。笔墨简练传神，枯笔勾勒枝干，淡墨晕染山石，尽显文人画疏淡雅致之韵，传递出雅士寄情林泉、闲适自适的心境。",[24,7,165,128,132,29,96,331,171,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bd0945797e4dd2cbdb29a5afb0192c8.jpg",[136],"c4b19b",{"id":89108,"slug":89109,"title":89110,"dynasty":54,"author":45224,"museum":56,"description":89111,"tags":89112,"thumbUrl":89113,"material":84,"size":84,"collection":45,"collections":89114,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":89115},201844,"zhi-hua-hu-tu-zhou-li-shi-zhuo-201844","指画虎图轴","指下生韵，墨痕间藏野趣。虎俯行于荒郊，斑纹以简劲线条勾勒，淡墨浅彩中尽显沉雄气势。四周劲草疏落，笔触粗放，与虎之灵动相衬，更添旷远之境。极简笔墨却将猛兽之态与荒野之寂完美融合，足见艺术匠心。",[24,7,5490,949,128,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c722d820f3bd7fdd99a4b68f4677917.jpg",[45],"bda88d",{"id":89117,"slug":89118,"title":89119,"dynasty":54,"author":1219,"museum":56,"description":89120,"tags":89121,"thumbUrl":89122,"material":84,"size":84,"collection":68,"collections":89123,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":89124},201756,"zi-teng-jin-yu-tu-zhou-ren-yi-201756","紫藤金鱼图轴","紫藤枝干以劲健墨线交错勾勒，苍劲中见灵动；垂悬的花串用淡墨点染、轻彩晕融，似含风摇曳，层次隐现。金鱼或朱红或素白，体态圆润灵动，水墨晕染的背景如碧波轻漾，与紫藤的遒劲形成动静相映之趣。笔墨洒脱中藏细腻，设色清雅却富生机，寥寥数笔便将自然小景绘得意趣盎然，尽显对生灵的细腻观察与艺术提炼，融海派花鸟的鲜活神韵与文人画的雅致情味于一体。",[24,7,61,128,27,80,2059,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7973b9a4af9c3c9f5b713c68f6a43ba9.jpg",[68],"cdc1b3",{"id":89126,"slug":89127,"title":89128,"dynasty":124,"author":125,"museum":56,"description":89129,"tags":89130,"thumbUrl":89131,"material":84,"size":84,"collection":136,"collections":89132,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":89133},201739,"hua-shan-ji-shen-zhou-201739","画扇集","扇面间铺展清寂山水，水墨笔触简练却意韵丰沛。右侧坡岸几竿修竹挺立，枝叶以浓淡墨色勾点，姿态疏朗；岸边草木用淡墨晕染，层次浅深有致。江面一孤舟悠然漂过，舟中人物隐约，似在随波寻幽，尽显文人雅士的闲适意趣。左侧题跋笔墨苍劲，诗画相契，更添书卷气息。整作构图疏宕有致，留白得当，于方寸之间藏纳天地之宽，尽显明代文人画的清雅风骨与淡泊心境。",[1131,128,167,129,29,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06b3a3c30b9fdbffd35a3da6146857e4.jpg",[136],"c6b8ab",{"id":89135,"slug":89136,"title":89137,"dynasty":124,"author":1058,"museum":56,"description":89138,"tags":89139,"thumbUrl":89140,"material":84,"size":84,"collection":136,"collections":89141,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":89142},201736,"shui-ge-lin-xi-tu-zhou-tang-yin-201736","水阁临溪图轴","画面峰峦耸峙，枯松虬曲于崖间，临溪筑有水阁，阁中雅士对坐，似在品茗谈道，溪畔石矶错落，意境清寂悠远。笔墨以水墨为主，山石皴法兼用斧劈与披麻，线条挺劲，松针勾勒细密，水阁结构简括传神，人物情态生动。整体融文人画的清逸与院体画的工致于一体，尽显唐寅笔墨之妙，传递出超然尘俗的闲适意趣。",[24,7,165,128,29,130,132,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49465f9fe66bfca822bc06dac98eccd6.jpg",[136],"baac99",{"id":89144,"slug":89145,"title":15906,"dynasty":144,"author":8993,"museum":56,"description":89146,"tags":89147,"thumbUrl":89148,"material":84,"size":84,"collection":117,"collections":89149,"showCount":1105,"zanCount":1998,"manualWeight":48,"mainColor":89150},201715,"mo-mei-tu-zhou-wang-mian-201715","画面中梅枝横斜逸出，淡墨写干如铁骨，浓墨点花疏朗有致，圈花点蕊间见笔力神韵。题诗与画境相融，行书笔意流畅，印章点缀其间，尽显诗书画印合一的文人雅趣。墨色层次清雅，不事雕琢却意境深远，传递出不媚世俗的坚守本心之态，是元代水墨梅画的经典之作。",[128,371,7,208,133,8162,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4044a02d596b0dcf8709f493084eafd.jpg",[117],"ab9072",{"id":89152,"slug":89153,"title":55055,"dynasty":54,"author":69114,"museum":56,"description":89154,"tags":89155,"thumbUrl":89156,"material":84,"size":84,"collection":117,"collections":89157,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":89158},201679,"mo-zhu-tu-zhou-dai-ming-shuo-201679","这幅墨竹图以纵轴构势，竹竿挺拔劲健，节节向上如君子立身，尽显坚韧之姿；竹叶以浓淡干湿之墨撇写，疏密交错、顾盼有情，似含风而动。笔法灵动洒脱，中锋运笔立竹之骨，侧锋撇叶展竹之韵，墨色层次丰富，虚实相生间既见自然生机，更蕴文人高风亮节之品格。留白恰到好处，与墨竹苍劲形成呼应，传递清逸雅致意境，是清代文人墨竹画中佳作。",[24,128,167,165,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4bbab2c3c1e87b1d05c65f0690f361a.jpg",[117],"d8c8b4",{"id":89160,"slug":89161,"title":22181,"dynasty":54,"author":51000,"museum":56,"description":89162,"tags":89163,"thumbUrl":89164,"material":84,"size":84,"collection":117,"collections":89165,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":89166},201665,"shuang-song-tu-zhou-mei-geng-201665","双松老干虬枝，苍劲挺拔，枝干盘曲交错却条理分明。墨色浓淡相宜，以干笔皴擦表现树皮粗糙纹理，松针用细劲线条攒聚，疏密有致。背景简约留白，凸显松之孤傲坚韧，笔墨间流露文人画的清逸古雅，尽显松柏经霜不凋的气节与生机。",[24,128,165,372,132,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8ccfda59fde61ea27088d0e41233a69.jpg",[117],"bc9f76",{"id":89168,"slug":89169,"title":89170,"dynasty":54,"author":52852,"museum":56,"description":89171,"tags":89172,"thumbUrl":89173,"material":84,"size":84,"collection":68,"collections":89174,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":89175},201577,"zhu-jian-you-qin-tu-zhou-zhang-yu-201577","竹涧幽禽图轴","墨竹疏朗挺劲，叶片以浓淡墨色交错点撇，枝干纵横间藏着自然生趣。孤石之上，禽鸟静栖，羽翼墨痕层叠，神态安然。岩石以简皴淡擦显肌理，与竹的清逸相映，水墨氤氲中透出清幽之境，尽显文人写意花鸟的雅致，于简淡中见精妙，静谧里含生机。",[24,128,61,167,171,211,165,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5208450b40140c47f7b042cbc21023.jpg",[68],"b6a899",{"id":89177,"slug":89178,"title":89179,"dynasty":54,"author":23665,"museum":56,"description":89180,"tags":89181,"thumbUrl":89182,"material":84,"size":84,"collection":44,"collections":89183,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":89184},201568,"li-bai-yin-shi-tu-zhou-que-lan-201568","李白吟诗图轴","古树虬枝掩映，石案横陈，中心人物踞案前，眉宇间尽展才思飞扬之态，似正吟哦佳句。侍女数人环立，或凝神谛听，或轻执器物，衣袂飘举间线条婉转流畅。全图以淡墨勾勒为主，兼施少许晕染，工细雅致中见灵动。人物神态刻画入微，主角的洒脱与侍女的温婉相映成趣，古树苍劲与场景静谧烘托出诗意氛围，尽显古典雅韵。画面构图疏密有致，树木的虬曲与人物的轻盈形成对比，笔墨简练却意蕴悠长，将文人雅集的诗意情境生动呈现。",[24,28,188,96,331,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73aff2a261309f0f6cca6fed7908e94c.jpg",[44],"7b7162",{"id":89186,"slug":89187,"title":89188,"dynasty":54,"author":1460,"museum":56,"description":89189,"tags":89190,"thumbUrl":89191,"material":84,"size":84,"collection":136,"collections":89192,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":89193},201543,"qiu-sheng-fu-tu-juan-shi-tao-201543","秋声赋图卷","秋意浸染的林泉之境里，树木扶疏，山石嶙峋，几间屋舍隐于枝叶间，似有文人在此静听秋声。笔墨淋漓处，干湿浓淡的墨色交织，皴擦点染的技法错落，山石的肌理与老树的姿态皆透着自然野趣。不刻意雕琢的线条，将秋的清寂与生机揉合——风过枝头的轻颤，叶坠石上的微响，仿佛藏在墨色晕染里。文人情思融于图景，观者能捕捉秋风私语，感受时序流转的敏感哲思，意境悠远耐品。",[24,25,128,29,132,34,131,331,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61b746a88b356cd6f07b79f31e13f58d.jpg",[136],"a8927d",{"id":89195,"slug":89196,"title":89197,"dynasty":124,"author":10922,"museum":56,"description":89198,"tags":89199,"thumbUrl":89200,"material":84,"size":84,"collection":136,"collections":89201,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":89202},201537,"cun-jing-dao-xiang-tu-zhou-wen-jia-201537","村径稻香图轴","画面山峦轻笼薄雾，村径蜿蜒穿林而过，连片稻田如铺金毯，稻香仿佛随微风漫溢。近景树木错落，枝叶婆娑，清浅溪流潺潺绕过田埂；远景峰峦以淡墨皴染，层次分明，尽显江南田园的静谧雅致。设色温润淡雅，笔触灵动细腻，构图疏密相宜，将乡野间的悠然意趣与自然生机凝于尺幅，似能听见蛙鸣稻浪，嗅到泥土与稻谷的清香，流露文人画特有的清雅韵致与对田园生活的向往。",[24,165,27,29,132,99,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf7393db0119d87e52dbb666f83b0589.jpg",[136],"cdbfa4",{"id":89204,"slug":89205,"title":30245,"dynasty":124,"author":3318,"museum":56,"description":89206,"tags":89207,"thumbUrl":89208,"material":84,"size":84,"collection":68,"collections":89209,"showCount":1105,"zanCount":48,"manualWeight":48,"mainColor":89210},201424,"mei-hua-tu-zhou-wen-chu-201424","虬干盘曲如铁，枝桠疏朗似剑，墨色浓淡相济间，尽显老梅苍劲之姿。数点寒梅点缀枝头，或含苞待放，或绽蕊吐香，工笔点染的花瓣清雅秀逸，与写意枝干形成刚柔并济之美。留白处意蕴悠远，题跋与朱印相映成趣，更添古雅韵致。画家以细腻笔触捕捉梅之清魂，既有文人画的逸气，又含女性独有的温婉，将寒冬孤高与生机凝于尺幅，尽显梅之品格与画者才情。",[24,7,165,128,61,371,28,369,208,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ff3bacb808ea8447ef489e909b1037d.jpg",[68],"c5ad93",{"id":89212,"slug":89213,"title":89214,"dynasty":54,"author":41583,"museum":300,"description":80891,"tags":89215,"thumbUrl":89216,"material":692,"size":1293,"collection":84,"collections":89217,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},290598,"song-yin-gao-shi-zhang-ruo-cheng-290598","松阴高士",[24,7,59,128,132,29,1144,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bd09aa2a6c0f4c7941bbc45bd219e02.jpg",[],{"id":89219,"slug":89220,"title":89221,"dynasty":54,"author":77452,"museum":300,"description":77453,"tags":89222,"thumbUrl":89224,"material":692,"size":1293,"collection":84,"collections":89225,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},290581,"chun-shan-chu-yun-zhou-zhang-peng-chong-290581","春山出云轴",[24,7,165,128,27,29,98,99,130,131,34,208,64,132,89223,37],"春山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3a2d0b96d95d1df047caa62a9b73bb9.jpg",[],{"id":89227,"slug":89228,"title":89229,"dynasty":54,"author":89230,"museum":300,"description":89231,"tags":89232,"thumbUrl":89233,"material":692,"size":1293,"collection":84,"collections":89234,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},290471,"shan-shui-shu-hua-zhou-qu-da-kun-290471","山水书画轴","瞿大坤","翟大坤（？-1804）清代画家。字子垕，号雪屏，后病耳，又自号无闻子，本籍浙江嘉兴，寄居吴门（今江苏苏州）。性萧散好书、画，书学十七帖、孙过庭。",[23,24,7,165,29,128,129,331,99,133,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff47b994ac7a54c974ef4af9efd1bd9f7.jpg",[],{"id":89236,"slug":89237,"title":77460,"dynasty":54,"author":89238,"museum":300,"description":89239,"tags":89240,"thumbUrl":89241,"material":692,"size":1293,"collection":84,"collections":89242,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},290457,"xing-shu-ye-liu-yuan-hui-290457","刘元慧","顺治十八年，登辛丑科进士，官至顺天府府尹；康熙三十四年，升任宗人府府丞",[64,133,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52187b5d14caf6d8540a04c56d163f60.jpg",[],{"id":89244,"slug":89245,"title":89246,"dynasty":54,"author":89247,"museum":300,"description":89248,"tags":89249,"thumbUrl":89251,"material":692,"size":1293,"collection":84,"collections":89252,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},290430,"yan-yun-gong-yang-tu-juan-huang-yang-zheng-290430","烟云供养图卷","黄养正","黄养正，名蒙，字养正，以字行，黄潮光之子（1389—1449），世居浙江安固县来暮乡大坑村（即今瑞安市仙降镇江溪大坑村人）。自幼聪明伶俐，人称他过目不忘之能善于书画、工诗文、任国子监学正。",[23,24,7,25,29,27,133,496,31,129,34314,34,89250,3344,13414],"烟云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0d469aa3ba54360b818bac3f30503db.jpg",[],{"id":89254,"slug":89255,"title":89256,"dynasty":54,"author":89230,"museum":300,"description":89231,"tags":89257,"thumbUrl":89258,"material":692,"size":1293,"collection":84,"collections":89259,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},290429,"shan-shui-quan-jing-shu-hua-ce-qu-da-kun-290429","山水全景书画册",[24,7,59,128,29,331,1233,99,129,211,496,64,208,5517,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09b93a9f53c97def0f39299540a8019d.jpg",[],{"id":89261,"slug":89262,"title":89263,"dynasty":54,"author":223,"museum":300,"description":74245,"tags":89264,"thumbUrl":89265,"material":692,"size":1293,"collection":84,"collections":89266,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},290379,"xiang-jiang-ba-jing-shan-shui-shou-juan-zhi-er-yi-ming-290379","湘江八景山水手卷之二",[23,24,25,7,128,1349,129,211,37,20794,64,132,49068],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551a7b933c012356c50ea8ca143fcbb1.jpg",[],{"id":89268,"slug":89269,"title":89270,"dynasty":54,"author":223,"museum":300,"description":89271,"tags":89272,"thumbUrl":89273,"material":692,"size":1293,"collection":84,"collections":89274,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},290202,"cun-man-tu-ye-yi-ming-290202","村蛮图页","此作用平远章法铺陈郊野之景，淡赭绢底晕开古旧温雅底色，以石青、花青轻染远山层峦，起伏舒缓，晕出空濛悠远的山野暮色。近间田亩隐现，数椽村舍藏于茂林之下，细劲墨线勾勒屋廓田埂，林木错落生姿。整幅简笔淡染，无繁复皴擦，只以平涂轻晕摹写江南乡居日常，将隐逸悠然的闲趣藏于简淡笔墨中，暗合田园诗的淡远况味，古绢的岁月残痕，更添了几分静穆悠长的旧时光韵致。",[24,7,1349,27,26,496,34,149,8709],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7253b42689148c3bf77ed65cd606e7.jpg",[],{"id":89276,"slug":89277,"title":89278,"dynasty":54,"author":52852,"museum":300,"description":89279,"tags":89280,"thumbUrl":89281,"material":692,"size":1293,"collection":84,"collections":89282,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},290077,"nan-quan-xiao-niao-tu-li-zhou-zhang-yu-290077","南泉小鸟图立轴","张敔yǔ （1734—1803）字虎人，又字茝园，一字芷园，亦作芷沅，号雪鸿，又号木者（一作木香），晚号止止道人，先世安徽桐城人，迁江宁（今南京），籍山东历城。乾隆二十七年（1762）举人，官湖北房县知县。以冒籍事去职，遂遍海内。天资高迈，为人疏放不羁。工诗。卒年七十。",[23,164,24,7,165,128,61,211,7596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09e09fb64148f6cda20cc3f66015d753.jpg",[],{"id":89284,"slug":89285,"title":20347,"dynasty":54,"author":89286,"museum":300,"description":89287,"tags":89288,"thumbUrl":89289,"material":692,"size":1293,"collection":84,"collections":89290,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":4001},290076,"shan-shui-tu-zhou-wu-zheng-290076","吴徵","吴徵（1878—1949）字待秋，名徵，以字行。别号抱鋗（xuán）居士、疏林仲子、春晖外史、鹭丝湾人、栝苍亭长、晚署老鋗。浙江崇德（今桐乡）人。",[23,24,165,7,128,27,132,29,97,98,99,1515,689,131,4605,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69c021396dcb8125857cf8d0c83a5324.jpg",[],{"id":89292,"slug":89293,"title":89294,"dynasty":222,"author":223,"museum":300,"description":89295,"tags":89296,"thumbUrl":89297,"material":692,"size":1293,"collection":84,"collections":89298,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},290031,"gong-yang-zun-zhe-yi-ming-290031","供养尊者","此作线条简劲古拙，以铁线描勾勒衣纹，沉稳凝练，将僧衣朴实质感晕染得浅淡柔和。结跏趺坐莲台的尊者身覆偏衫，头带圆光，面容沉静肃穆，正施印调伏身侧祥龙，静定威仪尽显。\n\n背景淡绘山石佛塔，意境清寂空灵，祥龙灵动蜷曲，与高僧禅定之态形成动静对照，禅意悠长。整体画风古雅内敛，笔意虽简，却将高僧的慈悲气度与龙天护法的供养意境烘托到位，尽显清净庄严之感。",[23,24,7,165,187,18381,27,96,772,66038],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddff795c33178d8e99b01466c94130ac.jpg",[],{"id":89300,"slug":89301,"title":89302,"dynasty":54,"author":89303,"museum":300,"description":89304,"tags":89305,"thumbUrl":89306,"material":692,"size":1293,"collection":84,"collections":89307,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},290008,"han-lin-qing-ju-cheng-shan-jing-xin-wu-bo-tao-290008","寒林清居 成扇镜心","吴伯滔","吴伯滔（1840-1895），浙江石门人，字伯滔，号铁夫，室名来鹭草堂。",[1131,24,7,128,29,1557,129,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04b83b4e7a92fb5321ea1083d7250ce3.jpg",[],{"id":89309,"slug":89310,"title":83707,"dynasty":18,"author":223,"museum":300,"description":89311,"tags":89312,"thumbUrl":89313,"material":692,"size":1293,"collection":84,"collections":89314,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},289955,"jiang-cheng-tu-yi-ming-289955","画面以苍褐设色晕染江天暮色，江岸楼阁层檐叠瓦、雄峙沉稳，飞檐翘角尽显宋式营造的雅致工巧。江涛翻涌间商船缓行，波痕皴擦细腻生动，衬出水岸楼宇的巍峨厚重。左侧题笔行书朴拙苍劲，书画相映成趣。整体笔触凝练写实，将江城楼观的壮伟与江行的悠然融于一卷，晕染出沉郁苍润的古典意境，藏着旧时水岸的澹澹烟火余韵，尽显写实山水的精妙意趣。",[23,24,7,95,97,3649,1743,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fcf6120e1d9a97e9eacda93b55b2984.jpg",[],{"id":89316,"slug":89317,"title":79891,"dynasty":18,"author":223,"museum":300,"description":89318,"tags":89319,"thumbUrl":89320,"material":692,"size":1293,"collection":84,"collections":89321,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":199},289936,"xiu-yu-ming-chun-tu-yi-ming-289936","画一只美丽的山鸟，单足立于太湖石上，神情凄楚，啼鸣不止，右爪不安地刨动。细观乃知其被一细绳系于石上，失去自由。作者用心至为深婉。宋欧阳修有句云：“始知锁向金笼听，不及林间自在啼”，亦即此意。",[24,7,164,3291,28,211,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f81ccde1f1a949245f5668f0b3bcdc2.jpg",[],{"id":89323,"slug":89324,"title":89325,"dynasty":222,"author":223,"museum":300,"description":89326,"tags":89327,"thumbUrl":89328,"material":692,"size":1293,"collection":84,"collections":89329,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},289582,"xian-miao-qian-fo-xiang-yi-ming-289582","線描千佛像","此作为木刻千佛残片，以四方界格规整排布造像。每尊佛陀皆以铁线描勾勒，顶覆圆光，结跏趺坐于莲台之上。线条洗练质朴，将衣袂褶皱的柔润、莲瓣的舒展凝练精简，诸佛仪轨严整却各有微妙神态差异，同中存异。纸面泛黄残损，却更衬出刀刻痕迹的清晰锐利，带着岁月摩挲过的厚重质感，把千佛的庄严沉静凝缩在方寸界格中，尽显质朴虔诚的宗教张力，静静传递出跨越时光的肃穆禅意。",[23,188,18700,187,18381,7220,96,7,5380,28209,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef02ea49c1bb228331c78c5687d440c5.jpg",[],{"id":89331,"slug":89332,"title":89333,"dynasty":222,"author":223,"museum":300,"description":89334,"tags":89335,"thumbUrl":89336,"material":692,"size":1293,"collection":84,"collections":89337,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},289449,"chuan-ming-he-chang-nian-xiang-yi-ming-289449","传名和长年像","画面主体端坐的武者面容沉毅，墨绿宽袍衬出煊赫气度，腰间横刀、手持短笏，暗显武家身份。身侧侍童持长弓垂首静立，满是恭谨肃穆。下方驯马场景鲜活灵动，仆役倾力安抚躁动骏马，动静对比鲜明。\n\n整体用色古雅凝练，线条拙朴写实，既铺陈上位者的威严气场，又以驯马的日常细节烘托世家氛围，将武家风骨与俗世烟火巧妙融合。古旧绢面晕开的色泽里，藏着对武人日常的细腻刻画，尽显东洋古绘的沉静意趣。",[23,24,7,165,27,96,101,5626,44663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcaa13f081eb32b788595ce4e8562653.jpg",[],{"id":89339,"slug":89340,"title":89341,"dynasty":222,"author":223,"museum":300,"description":89342,"tags":89343,"thumbUrl":89344,"material":692,"size":1293,"collection":84,"collections":89345,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},289448,"shan-zhong-jie-lu-tu-yi-ming-289448","山中结庐图","近景苍木扶苏，几间茅庐错落溪畔，朱红板桥卧于浅流之上，策杖行人徐行其间，野趣悠然。中景山腰朱栏回廊隐于烟岚翠色中，林木疏密得宜，灵动皴笔晕染出山石温润质感，墨色浓淡变化间尽显层次。远景山峦以淡墨轻笼，云气氤氲，晕染出空濛清远的山林意境。\n\n全作用笔松秀简逸，浅设色与水墨相融相生，以留白衬出林泉静气，将幽居山野的隐逸意趣藏于尺幅间，尽显文人山水萧散淡远之美，观之如身临静雅林泉，俗念尽消。",[23,24,7,165,27,29,4605,97,98,99,131,331,64,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc461cd64fa822aa61f431e016d2109c3.jpg",[],{"id":89347,"slug":89348,"title":89349,"dynasty":222,"author":89350,"museum":300,"description":89351,"tags":89352,"thumbUrl":89354,"material":692,"size":1293,"collection":84,"collections":89355,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},289447,"zuo-zhu-ben-san-shi-liu-ge-xian-hua-juan-duan-jian-zhu-ji-ming-shen-yue-weng-cang-qiu-289447","佐竹本三十六歌仙画卷断简(住吉明神)","岳翁藏丘","岳和声（生卒年不详），字尔律，一作之律，号石梁，一号梁父，自号餐微子，浙江嘉兴府秀水县（今桐乡市）人。南宋著名军事家、诗人岳飞十八世孙。",[23,24,7,25,840,27,29,130,98,1337,211,187,17701,89353],"住吉明神","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f598121f3dfe7714864feecc3a1190a.jpg",[],{"id":89357,"slug":89358,"title":79933,"dynasty":18,"author":223,"museum":300,"description":89359,"tags":89360,"thumbUrl":89361,"material":692,"size":1293,"collection":84,"collections":89362,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},289006,"yan-gui-tu-yi-ming-289006","此作以淡墨晕染衬出嶙峋怪石，皴笔老辣苍劲，尽显崖石的奇崛荒寒。枯桧虬枝盘曲如铁，瘦硬的枝干挣脱顽石束缚，寥寥数笔便写尽古桧扎根绝境、兀立风霜的傲骨。\n\n左侧题诗与画作相映成趣，诗画交融，晕开萧寒清寂的林下氛围。整幅不作繁复晕染，以极简水墨勾勒形神，将宋人的尚简重意藏于毫端，以岩桧自况，尽显沉浑刚劲的生命张力，是借物言志的水墨小品佳作。",[24,164,7,128,64,133,171,1337,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd743fcacac99515bed7070972b6a5f0.jpg",[],{"id":89364,"slug":89365,"title":84867,"dynasty":222,"author":223,"museum":300,"description":89366,"tags":89367,"thumbUrl":89368,"material":692,"size":1293,"collection":84,"collections":89369,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},288487,"wu-dai-juan-hua-gong-yang-tu-yi-ming-288487","画面虽有残损，却难掩古雅意蕴。上部诸佛端然安坐云莲之间，衣纹舒展流畅，设色依旧浓烈鲜亮，仪轨严整，尽显清净庄严的梵界气象。下方供养人身着时服，展脚幞头配乌色圆领官袍，腰束玉带，跪伏于织锦方毯之上，双手奉持供器，面容恭谨肃穆，将俗世信众的诚敬之心刻画得细腻传神。整作线条凝练沉稳，设色厚重古拙，兼具宗教造像的庄严感与世俗肖像的写实性，暗合彼时佛教供养的风尚意趣。",[23,24,7,96,187,27,234,18381],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd6736d6479d3c138cf50133680889a5.jpg",[],{"id":89371,"slug":89372,"title":89373,"dynasty":222,"author":223,"museum":300,"description":89374,"tags":89375,"thumbUrl":89376,"material":692,"size":1293,"collection":84,"collections":89377,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},288484,"ren-wu-shou-gao-yi-ming-288484","人物手稿","此作为白描佛画稿，五尊圣像对称排布，主尊居中，胁侍分置两侧，章法匀整肃穆。画师以铁线描勾勒，线条遒劲流畅，衣袂褶皱流转自然，将织物柔滑垂坠的质感尽显无遗。\n\n诸圣顶覆圆光，安坐莲台，神情庄静悲悯，形神兼具。上方宝幔垂络，纹饰精巧，烘托出佛国清净庄严的氛围。虽无设色，仅以素线造型，却将佛、弟子与菩萨的仪轨气度刻画入微，简淡线条中具足沉静慈悲的宗教感染力，尽显传统宗教绘画精湛的线描功力。",[23,24,7,188,187,18381,96,4204,18331,1364,1692,36004],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a39df624f079c69ad50f39c2145e060.jpg",[],{"id":89379,"slug":89380,"title":89381,"dynasty":54,"author":223,"museum":300,"description":89382,"tags":89383,"thumbUrl":89384,"material":692,"size":1293,"collection":84,"collections":89385,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},288202,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-shun-cheng-jun-wang-lei-ke-de-hun-yi-ming-288202","历代帝王贵妃大臣朝服像(顺承郡王勒克德浑)","此作为工笔设色坐像，人物神态端凝持重，尽显宗室王侯威严仪态。石青团龙吉服袍庄重华贵，团龙纹以明黄敷色，辅以繁复描金彰显皇家规制，衣缘镶饰白貂出锋，细节考究华贵。胸前东珠朝珠串制规整，点明尊崇身份，乌纱红绒顶帽契合清代亲王朝冠礼制。\n\n画师写实技法精湛，面部勾勒入微，须发、纹路刻画细腻生动，精准还原郡王沉稳气度。整体设色沉厚典雅，服饰晕染层次饱满，恪守清代宫廷肖像画的严谨工整流派，以精准细节烘托出人物的身份威仪，是清代宗室肖像画中的上乘之作。",[23,24,7,28,27,96,11584,170,772],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8aa90f79cd6eb74b90e1d18381146d2f.jpg",[],{"id":89387,"slug":89388,"title":89389,"dynasty":54,"author":223,"museum":300,"description":89390,"tags":89391,"thumbUrl":89392,"material":692,"size":1293,"collection":84,"collections":89393,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},288184,"shu-zhi-xiao-niao-tu-ye-yi-ming-288184","树枝小鸟图页","褐赭绢底晕开古雅底色，墨色八哥栖身虬枝，玄羽乌润似凝墨脂，顶冠轻耸自带娇态，黄喙朗翘，朱瞳流盼，劲爪紧扣枯槎，尾羽鳞纹分明如琢玉。旁侧霜叶晕染橙红暖调，从梢尖到叶缘层次渐变，枯涩枝桠与柔丽秋叶相映成趣。\n\n整作工细设色雅致内敛，禽鸟毫羽毕现，叶脉勾勒精细入微，以淡赭晕开叶色深浅，枯枝皴擦古拙苍劲，暗合清秋幽寂意韵。留白疏朗开阔，将幽禽顾盼的灵动与秋枝的沉穆相融，妍丽工致间暗蕴闲淡野趣，尺幅之间写尽深秋一角的幽寂生机。",[23,24,7,61,28,27,15072,2438,57683,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3bcbfa72e172e3d385b0679e8c3399f.jpg",[],{"id":89395,"slug":89396,"title":89397,"dynasty":124,"author":89398,"museum":300,"description":89399,"tags":89400,"thumbUrl":89401,"material":692,"size":1293,"collection":84,"collections":89402,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},288054,"ye-wang-ji-de-288054","页","王骥德","王骥德（1540年～1623年） ，明代戏曲理论家，字伯良，号方诸生、玉阳生，又号方诸仙史、秦楼外史，会稽（今浙江绍兴）人。祖、父均精于戏曲，家藏元人杂剧可数百种。",[23,64,840,208,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7bd809e744a5f9a6c6a39241446cd9a.jpg",[],{"id":89404,"slug":89405,"title":89406,"dynasty":124,"author":23169,"museum":300,"description":89407,"tags":89408,"thumbUrl":89409,"material":692,"size":1293,"collection":84,"collections":89410,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},288049,"xing-shan-mian-wen-zhen-heng-288049","行扇面","文震亨（1585-1645），字启美，作家、画家、园林设计师，出生地为长洲县（今江苏省苏州市），明代书画家文徵明的曾孙，东阁大学士文震孟之弟。\n天启五年（1625年）恩贡，曾参与五人事件，营救被魏忠贤迫害的周顺昌。崇祯初，任中书舍人、武英殿给事。\n明灭亡后，曾任职于南明，遭到阮大铖、马士英等排挤，辞官退隐。\n弘光元年（清顺治二年，1645年），清军攻占苏州后，避居阳澄湖。清军推行剃发令，自投于河，被家人救起，绝食六日而亡。",[1131,64,133,7,24,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c7805c48ce3daa575c04febda24f46.jpg",[],{"id":89412,"slug":89413,"title":1131,"dynasty":124,"author":7003,"museum":300,"description":49321,"tags":89414,"thumbUrl":89415,"material":692,"size":1293,"collection":84,"collections":89416,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},288048,"shan-mian-zhu-yun-ming-288048",[1131,64,840,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fa803913265d2c2edab3091c99036ea.jpg",[],{"id":89418,"slug":89419,"title":89420,"dynasty":124,"author":223,"museum":300,"description":89421,"tags":89422,"thumbUrl":89423,"material":692,"size":1293,"collection":84,"collections":89424,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},288003,"gong-shi-ming-ji-tu-juan-yi-ming-288003","龚氏名迹图卷","整卷书画交织，旧绢沉郁古雅。中段肖像衣冠端整，沉静肃穆，尽显士人清贵风骨。余下满纸行草题跋，笔势跌宕纵横，墨色枯湿浓淡富于层次，疾缓之间笔力苍劲老辣，带着恣肆疏放的意趣。鉴藏朱印错落点缀，晕开岁月斑驳痕迹。\n\n题咏与肖像呼应，卷首卷尾题字连绵，将画迹与题识融为一体，是时人追怀先贤、以书寄情的合卷。旧时光浸漫的厚重质感里，文人雅集题赠的风雅情态跃然绢上，书画相映，尽显笔墨襟怀。",[23,24,164,25,7,27,96,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6071dbedb85beca8fd355b9f84acb30.jpg",[],{"id":89426,"slug":89427,"title":89428,"dynasty":124,"author":223,"museum":300,"description":89429,"tags":89430,"thumbUrl":89431,"material":692,"size":1293,"collection":84,"collections":89432,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},287868,"shi-jia-mu-ni-xiang-yi-ming-287868","释迦牟尼像","虬髯深目，面相朴拙粗犷，没有常见佛陀造像的神圣柔光，反倒带着苦修沉毅的凡人气韵。袒露右肩的朱红僧衣以游丝细笔勾勒褶纹，暗纹隐现，厚重沉稳。结跏趺坐于怪石之间，左手轻托，右手抬至肩侧，神态静定肃穆，似在禅定中证悟大道。\n\n画面以暗沉古旧的底色为衬，舍去了繁复背光与瑞象装饰，以极简构图凸显出人物超脱物外的精神内核，以质朴笔墨还原修行者本真的沉静肃穆，尽显洗尽铅华后的澹澹禅意。",[23,24,7,165,187,27,96,18381,56949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe91a934f4c63921a1e7d0025bebd73b2.jpg",[],{"id":89434,"slug":89435,"title":89436,"dynasty":18,"author":223,"museum":300,"description":89437,"tags":89438,"thumbUrl":89439,"material":692,"size":1293,"collection":84,"collections":89440,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},284034,"lian-she-tu-juan-yi-ming-284034","莲社图卷","蓝底墨篆圆劲温雅，古意暗生，暗合画卷清致。此作绘就雅集盛景，笔下人物风神萧散，或围坐论玄，或凝睇莲池。线条清隽秀逸，设色古澹沉静，兼具法度谨严与写意清灵，将晋人超拔出世的襟怀铺陈绢素，把莲社高致定格笔墨间。\n\n观之如沐晋宋烟霞，循着氤氲墨色，仿若踏入千年之前的林下幽境，名士清谈的雅韵与莲池暗香扑面而来，尽显彼时士人追慕的禅意栖居之怀。",[24,7,25,938,187,96,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe61682e48d3aef9bfdbc283daeac4f8c.jpg",[],{"id":89442,"slug":89443,"title":89444,"dynasty":54,"author":44543,"museum":300,"description":66673,"tags":89445,"thumbUrl":89446,"material":692,"size":1293,"collection":84,"collections":89447,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},283787,"jiang-shan-jia-sheng-tu-fang-shi-shu-283787","江山佳胜图",[24,25,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F375d44efe98b1b47054de46404f84a80.jpg",[],{"id":89449,"slug":89450,"title":89451,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":89452,"thumbUrl":89453,"material":692,"size":1293,"collection":84,"collections":89454,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},283709,"fang-ge-xing-deng-shi-juan-dong-qi-chang-283709","放歌行等诗卷",[23,64,840,25,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F967a56ccb009f9db474cfeb9fd55673a.jpg",[],{"id":89456,"slug":89457,"title":89458,"dynasty":54,"author":223,"museum":300,"description":89459,"tags":89460,"thumbUrl":89461,"material":692,"size":1293,"collection":84,"collections":89462,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},273655,"zi-tan-mu-bian-qian-long-shu-zi-hong-wu-hua-shan-shui-tu-wei-ping-yi-ming-273655","紫檀木边乾隆书字弘旿画山水图围屏","此围屏以紫檀为框架，牙板嵌黄杨木雕竹枝，秀雅古拙。六幅山水连为长卷，取元人浅绛山水笔法，峰峦层叠、林木苍润，村居隐于溪山烟岚间，皴擦细腻，设色清和，铺展出幽寂旷远的林泉雅境。\n\n两侧行书联句笔致舒展，与山水意境相得益彰，文心画意浑然相融。整器融木雕工艺、书法与绘事于一体，既是厅堂陈设重器，尽显清时文雅审美，工艺与意趣兼备，藏着旧时世家厅堂的悠然气韵。",[24,7,250,29,64,12803,167,10886,27,132,97,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb150c1426bb61866167d7563d01b8e5.jpg",[],{"id":89464,"slug":89465,"title":89466,"dynasty":54,"author":223,"museum":300,"description":89467,"tags":89468,"thumbUrl":89470,"material":692,"size":1293,"collection":84,"collections":89471,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},272987,"mu-bian-mi-se-di-xiu-shan-shui-tu-wei-ping-xin-yi-ming-272987","木边米色地绣山水图围屏心","此作以米色素缎为地，施针走线间铺展山居图景。绣工以平针、套针等技法晕染色彩，青瓦山居随坡错落，石桥衔起幽径，秋木丹黄相间，远山轻覆蓝彩，烟霞柔丝勾勒，白鹤悠然振翅于天际，曲水萦回绕穿林泉。构图疏密相宜，配色柔和沉静，将文人山水的澹泊意境藏于针线之中，兼具院体工致与文人雅趣，把丝绣工艺与山水意趣融作一处，雅致清逸尽显匠心。",[24,7,27,29,97,98,211,167,34,99,13534,89469],"围屏心","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F147b2e4f75604aacb359bdf6a3a3c72c.jpg",[],{"id":89473,"slug":89474,"title":89475,"dynasty":54,"author":223,"museum":300,"description":89476,"tags":89477,"thumbUrl":89479,"material":692,"size":1293,"collection":84,"collections":89480,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},270537,"wu-mu-gu-qian-yin-si-bian-hua-hua-hui-tu-mian-zhe-shan-yi-ming-270537","乌木股嵌银丝边画花卉图面折扇","此扇以红地洒金为面，衬得折枝花卉愈发妍丽动人。留白错落间，素白花头饱满柔润，晕染出花瓣舒展的层次，墨色老干遒劲苍拙，新叶嫩翠鲜亮，写意笔墨糅合工细晕染，将花木盛放之态描摹得灵动雅致。乌木扇骨沉敛温润，和热烈的扇面色彩相映成趣，华贵而不俗艳，雅致又不失明艳，把文人雅玩的审美意趣融于方寸之间，尽显传统制扇与书画结合的精巧韵味。",[1131,24,7,27,62,12803,89478],"嵌银丝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b2f8d0a273d8732a1ee2f499a251725.jpg",[],{"id":89482,"slug":89483,"title":89484,"dynasty":54,"author":223,"museum":300,"description":89485,"tags":89486,"thumbUrl":89487,"material":692,"size":1293,"collection":84,"collections":89488,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},270215,"zhu-gu-qian-gu-bian-qian-ci-xi-yu-xi-hua-zhu-mei-tu-mian-zhe-shan-yi-ming-270215","竹股嵌骨边钤慈禧御玺画竹梅图面折扇","此扇水墨绘就梅竹双清，虬曲梅枝疏朗错落，寒蕊缀于枝头，似有暗香浮动；劲竹挺拔舒展，叶片攒聚间可见笔力清劲。水墨晕染素雅淡然，寥寥数笔便勾勒出君子孤傲风骨，暗合岁寒同心之意。另一面题字笔锋清逸雅致，与画面相映成趣。\n\n竹股嵌骨匀净温润，更饰浅刻花枝呼应扇间图景，处处可见巧思。御玺加持更添一重庄重雅致，整器将书画意趣与工艺匠心相融，尽显晚清寄情于物的风雅审美，藏着旧时案头闲赏的悠然意韵。",[1131,24,7,128,167,371,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feedf70eef7ae7ea49919ab46e3c1791b.jpg",[],{"id":89490,"slug":89491,"title":89492,"dynasty":124,"author":223,"museum":300,"description":89493,"tags":89494,"thumbUrl":89495,"material":692,"size":1293,"collection":84,"collections":89496,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},263686,"han-xi-meng-song-yuan-ming-ji-ce-hua-xi-yu-yin-tu-yi-ming-263686","《韩希孟宋元名迹册·花溪渔隐图》","此作为顾绣佳作，用工致针脚复刻古意。画面右侧柔柳垂溪，枝梢随风轻摆，花蹄骏马涉水徐行，骑乘的稚童安然惬意，水波漾着细碎涟漪，晕开郊野春日的悠然野趣。配题行书诗文与画面呼应，笔墨清逸雅致。整体设色浅淡清润，将宋画的空灵意境与刺绣工艺的精微相融，把溪岸牧马的闲恬童趣晕染得灵动鲜活，绣艺精细还原笔墨韵味，诗意与绣色交织，尽显古雅恬和的林下意境，复刻出宋元名迹的淡远意趣。",[24,7,59,28,27,101,96,4363,99,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41f17af2d5b3434a457c4801a825a7b2.jpg",[],{"id":89498,"slug":89499,"title":89500,"dynasty":13892,"author":223,"museum":300,"description":89501,"tags":89502,"thumbUrl":89503,"material":692,"size":1293,"collection":84,"collections":89504,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},251284,"hong-qin-bai-yu-zhen-yi-ming-251284","红沁白玉瑱","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。\n以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[7,59,133,208,69385,232,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45043b951e34bd9aa57f04cf29a56bd3.jpg",[],{"id":89506,"slug":89507,"title":89508,"dynasty":54,"author":37194,"museum":300,"description":52233,"tags":89509,"thumbUrl":89510,"material":692,"size":1293,"collection":84,"collections":89511,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},241623,"zhi-yuan-tang-zha-lin-ze-xu-241623","致远堂札",[64,133,128,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e99aad62395e1a2841a588f2b6eead2.jpg",[],{"id":89513,"slug":89514,"title":89508,"dynasty":54,"author":37194,"museum":300,"description":52233,"tags":89515,"thumbUrl":89516,"material":692,"size":1293,"collection":84,"collections":89517,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},241621,"zhi-yuan-tang-zha-lin-ze-xu-241621",[304,7,64,133,128,66808,79760,51559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc07b5e0f2275edb5f34465a48d04494.jpg",[],{"id":89519,"slug":89520,"title":89521,"dynasty":54,"author":89522,"museum":300,"description":89523,"tags":89524,"thumbUrl":89525,"material":692,"size":1293,"collection":84,"collections":89526,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},241603,"zhu-zhi-ci-san-shou-ye-gu-guang-xu-241603","竹枝词三首页","顾光旭","顾光旭（1731～1797）字华阳，号晴沙，又号响泉，江苏无锡人，顾可久后裔。乾隆十七年（1752）进士，官至甘肃干凉道、署四川按察司使。工书法，与王文治、刘墉、孔东山、梁同书、周稚圭相颉颃。求书必索润笔，亦甚廉 。即取以市大布制棉衣以施寒者，乡里称善人，卒年六十七 。著有《响泉集》、《梁溪诗钞》。",[7,133,208,27,4703,97,130,10887],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab3bbc5aec8ed12d63dc3e4f6a9f4af7.jpg",[],{"id":89528,"slug":89529,"title":89530,"dynasty":124,"author":223,"museum":300,"description":89531,"tags":89532,"thumbUrl":89533,"material":611,"size":84,"collection":318,"collections":89534,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},241529,"yi-an-qi-lv-shi-bing-xu-ye-yi-ming-241529","逸庵七律诗并序页","这件行书小品笔意连贯疏朗，墨色浓淡自然晕化，字势欹侧相生。牵丝映带的笔画里藏着随性洒脱的笔情，行距错落却章法自洽，尽显明代文人的林下之风。\n\n枯墨处筋骨暗藏，润墨时腴润舒展，藏露兼济间既有帖学法度，又不失写意之趣。笔墨随着诗意流转，将诗书合一的雅致尽数展露，随性书写里带着松弛安然的文人意绪，尽显旧时光里清雅的文人心境。",[164,24,7,64,133,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bc4a9170cc24554e3f00fdb26c6a263.jpg",[318],{"id":89536,"slug":89537,"title":89538,"dynasty":54,"author":72246,"museum":300,"description":89539,"tags":89540,"thumbUrl":89543,"material":692,"size":1293,"collection":84,"collections":89544,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},241520,"fa-qi-jue-shi-zhou-xu-ang-241520","发七绝诗轴","此作用笔温润秀雅，取法元人行书笔意，线条舒展灵动，牵丝映带自然圆融。结体匀称端庄，章法错落有致，字势随诗文意境缓缓铺陈。\n\n诗里溪潭夜色、泛舟沉醉的闲趣，融于笔墨虚实之间。笔锋轻重提转皆合韵律，将文人林下萧散闲适的意趣尽显无余，笔墨间流转着清雅书卷气，是颇具韵致的行书佳作，尽显传统文人书法的审美意涵。",[7,64,165,133,208,89541,167,4241,168,89542,19006],"花潭","覆水船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3e898aa97b0f30422041baa11dd5210.jpg",[],{"id":89546,"slug":89547,"title":89548,"dynasty":54,"author":89549,"museum":300,"description":89550,"tags":89551,"thumbUrl":89552,"material":692,"size":1293,"collection":84,"collections":89553,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},241513,"ji-bai-shou-mei-hua-shi-tie-ce-liang-wei-jia-241513","集百首梅花诗帖册","梁维佳","此作用笔温润秀雅，行书舒展灵动，兼具小楷的端稳意韵。排布疏朗匀停，墨色浓淡合宜，点画流转间尽显文人笔墨的清雅意趣。\n\n册页录咏梅诗句，笔墨与诗意相融相生，将寒梅孤高清隽的品格藏于笔端。书“彻骨清寒”时笔力沉凝，暗合梅花凌寒之姿；写花清句时笔锋秀逸，尽显梅之灵秀风神。以笔为引，寄情于字，让观者于点撇捺挑间，窥见藏在笔墨深处的爱梅之心，书卷气盎然扑面，尽显文人的清雅襟怀。",[24,7,59,133,128,371,64,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e617c6775e414ac6a8238abe6681096.jpg",[],{"id":89555,"slug":89556,"title":62666,"dynasty":54,"author":89557,"museum":300,"description":89558,"tags":89559,"thumbUrl":89560,"material":611,"size":84,"collection":318,"collections":89561,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},241501,"qi-lv-shi-zhou-shi-yi-zhi-241501","史贻直","史贻直（1682-1763年），字儆弦，号铁崖，江苏溧阳县人。清朝大臣。\n康熙三十九年（1699年），中进士，授检讨。历充云南主考、广东督学、赞善、侍讲、太子庶子、讲读学士。雍正元年（1723年），任内阁学士。次年，升吏部侍郎。后来署理闽浙总督，升左都御史，协理西安巡抚，又升户部、兵部尚书。 乾隆初年，历任湖广、直隶总督。乾隆九年（1744年），授文渊阁大学士兼吏部尚书。乾隆二十五年（1755年），他为次子史奕昂担任甘肃布政司写信给巡抚鄂昌，被告发而削职。乾隆二十七年（1757年），入朝拜相。乾隆二十八年（1758年），去世，追赠太保，谥号“文靖”，入祀贤良祠。",[7,165,133,64,168,167,251,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42d2bc0f7f5852f8e8fb0b22c26bbddd.jpg",[318],{"id":89563,"slug":89564,"title":89565,"dynasty":54,"author":89566,"museum":300,"description":89567,"tags":89568,"thumbUrl":89569,"material":692,"size":1293,"collection":84,"collections":89570,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},241495,"jie-lu-ban-gu-dong-dou-fu-wan-shan-zheng-wen-zhu-241495","节录班固东都赋纨扇","郑文洙","此作为纨扇小楷，暗纹装裱衬底晕开岁月泛黄的肌理，古意盎然。笔致端秀匀停，点画温润内敛，通篇排布疏朗合宜，字字恪守矩矱却不失灵动意趣，墨色沉凝饱满，将经赋文字在尺幅团扇间铺陈得从容雅致。\n书者以翰墨载文，尽显扎实功底与沉静的文人书卷气，将旧时雅赏清玩的意趣融于尺素之间，晕开的纸色为这件小品更添古拙沉静的韵味，是兼具笔墨审美与文心雅意的佳构。",[1131,64,133,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b495a479813aac149a4335d48de3621.jpg",[],{"id":89572,"slug":89573,"title":89574,"dynasty":54,"author":89575,"museum":300,"description":89576,"tags":89577,"thumbUrl":89578,"material":692,"size":1293,"collection":318,"collections":89579,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},241473,"bai-ling-shi-han-ce-zhang-bai-ling-241473","百龄诗翰册","张百龄","张百龄，清朝大臣。出为湖南按察使，调浙江，历贵州、云南布政使。",[7,59,133,64,208,6369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F432e640a215bbb1bf7fa1a27c89ee9e6.jpg",[318],{"id":89581,"slug":89582,"title":89583,"dynasty":54,"author":89584,"museum":300,"description":89585,"tags":89586,"thumbUrl":89587,"material":692,"size":1293,"collection":84,"collections":89588,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},241471,"han-zhuan-yan-ge-juan-duan-mu-guo-hu-241471","汉砖研歌卷","端木国瑚","端木国瑚（1773年4月1日——1837年10月19日），字子彝、鹤田、井伯，晚号太鹤山人，浙江省青田县城太鹤山麓人。清代学者。\n7岁开始学《易经》。清嘉庆元年（1796），浙江学政阮元见国瑚的《画虎赋》，大加赞赏。邀赴杭州，就读于敷文书院。所作《定香亭赋》，清思古藻，似齐梁人手笔，一时艺林相与传诵，阮元赞不绝口，以诗相赠：“谁是齐梁作赋才，定香亭上碧莲开，括苍酒监秦淮海，招得青田白鹤来。”由此，国瑚被誉为“青田一鹤”。\n嘉庆三年，中举人。十三年，赴京会试不第，授为知县。国瑚潜心学业，呈请改任教职。道光十年（1830）宣宗皇帝改卜寿陵，国瑚以通堪舆之术，受宗室大臣举荐被召赴京，选定陵址后，任为县令，又奏请任教官。道光十三年，考取进士，仍以知县任用，再呈请注销，改任内阁中书，先后三辞县令。\n国瑚博通经史及阴阳术数，精研《易经》。道光七年，以治经闻名的龚自珍在京与国瑚论《易经》，国瑚阐述“乾初九不易世”一节，自珍叹为闻所未闻。道光十七年，朝鲜使臣慕名求见国瑚，说：“君所为《定香亭赋》，东国人皆传诵。”又请讲解《易经》，求取诗文经注手迹，欣然而去。同年三月，国瑚告老返乡，迁居瑞安。八月赴处州，游遂昌。九月感嗽疾，病故。著有《太鹤山人诗集》13卷、《太鹤山人文集》4卷、《周易指》45卷、《周易葬说》1卷、《地理元文注》4册。",[7,25,64,133,128,208,57836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa83d48aef5fb66a8324f10a1dd1b201.jpg",[],{"id":89590,"slug":89591,"title":89592,"dynasty":54,"author":7686,"museum":300,"description":89592,"tags":89593,"thumbUrl":89594,"material":692,"size":1293,"collection":84,"collections":89595,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},241448,"tao-yuan-ming-shi-ce-he-chao-241448","陶渊明诗册",[64,7,59,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f31537e22ca2855a241bfa11ce09880.jpg",[],{"id":89597,"slug":89598,"title":89599,"dynasty":54,"author":89600,"museum":300,"description":89601,"tags":89602,"thumbUrl":89603,"material":692,"size":1293,"collection":84,"collections":89604,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},241430,"xu-yuan-wen-shou-zha-juan-xu-qian-xue-241430","徐元文手札卷","徐乾学","康熙九年（1670）进士。同年任《明史》编辑部主任，同年任内阁学士，后任武士礼部、佐藤御史、尚书尚书。但因党争被反对党弹劾，同年回国。除了参与《明史》、《大成改天》、《大成一成》的编纂外，他还着有《圣园书》（第36卷）和《读命通书》（第120卷）等书籍。",[23,7,64,25,133,128,6369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10f38e9d42a63d56ccc26f50c2b8e125.jpg",[],{"id":89606,"slug":89607,"title":89608,"dynasty":54,"author":89609,"museum":300,"description":89610,"tags":89611,"thumbUrl":89612,"material":692,"size":1293,"collection":84,"collections":89613,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},241427,"wu-jia-zhi-fa-shi-shan-zha-juan-wang-yu-241427","五家致法式善札卷","王豫","王豫(1768—1826)，活动于清代嘉庆、道光年间，字应和，号柳村，又号翠洲农、小辋川主人，镇江人，后移籍江都。丹徒附监生，工于诗，诗风清淡，集名《种竹轩诗钞》。",[23,64,25,133,840,208,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff44192270370e7451643c28b97e9e96c.jpg",[],{"id":89615,"slug":89616,"title":58919,"dynasty":54,"author":89617,"museum":13105,"description":89618,"tags":89619,"thumbUrl":89620,"material":611,"size":89621,"collection":318,"collections":89622,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},241377,"qi-jue-zhou-xu-ri-xi-241377","徐日曦","此作用笔雄健开张，取法黄山谷笔意，结体欹侧舒展，尽显潇洒意趣。书写咏梨诗句，笔墨苍劲老辣，线条跌宕起伏，提按顿挫间带着疏朗的文人气韵。三列排布错落有致，虚实相生，落款小字灵动呼应正文，朱红印信点缀其间，古雅沉静。整体将梨花诗意的清雅和行书的舒展相融，笔势舒展大气，墨色浓淡自然，既有黄山谷的奇崛舒展，又自出机杼，把咏梨的清雅意涵通过笔墨铺陈开来，尽显文人风雅之态。",[24,7,165,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58d7abdfe1922b66d5ebcfd63e039bfe.jpg","纵133.6厘米横33.7厘米",[318],{"id":89624,"slug":89625,"title":62666,"dynasty":124,"author":89626,"museum":300,"description":89627,"tags":89628,"thumbUrl":89629,"material":692,"size":1293,"collection":84,"collections":89630,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},241349,"qi-lv-shi-zhou-wang-zhi-deng-241349","王穉登","王穉登（1535年－1614年），字百谷、百榖、伯榖，号半偈长者、青羊君、廣長庵主等，直隸长洲（今江蘇蘇州）人，晚明文人。",[64,165,133,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe02e7d82f4fd9bc075dd4a549dece02c.jpg",[],{"id":89632,"slug":89633,"title":89634,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":89635,"thumbUrl":89636,"material":692,"size":1293,"collection":84,"collections":89637,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},241333,"lu-wen-juan-dong-gao-241333","录文卷",[7,25,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7466f5be52ce1f4a8752a7f984ba0a8f.jpg",[],{"id":89639,"slug":89640,"title":89634,"dynasty":124,"author":89641,"museum":300,"description":89642,"tags":89643,"thumbUrl":89644,"material":692,"size":1293,"collection":84,"collections":89645,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},241297,"lu-wen-juan-fan-feng-ren-241297","范风仁","号梅隐，浙江嘉兴人，寄居笠泽。工画梅，自号梅影，其篆刻尤精古。",[64,840,25,128,208,7,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ed408b9201bb1bd084d726ea5943064.jpg",[],{"id":89647,"slug":89648,"title":77743,"dynasty":54,"author":89649,"museum":300,"description":89650,"tags":89651,"thumbUrl":89652,"material":692,"size":1293,"collection":84,"collections":89653,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},241235,"lu-wen-zhou-huang-shu-lin-241235","黄叔琳","黄叔琳（1672—1756），幼名伟元，字昆圃，又字宏献，号金墩、北砚斋，晚号守魁。清朝大臣，学者。康熙辛未科（康熙三十年，1691年）探花，历经康熙、雍正、乾隆三朝。",[24,7,165,572,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F223305a8fd91181614a047ac8b5dc934.jpg",[],{"id":89655,"slug":89656,"title":89657,"dynasty":124,"author":89658,"museum":300,"description":89659,"tags":89660,"thumbUrl":89661,"material":611,"size":84,"collection":318,"collections":89662,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},241232,"shan-zhong-shi-er-yong-juan-jiang-ming-feng-241232","山中十二咏卷","蒋明凤","蒋明凤（？～1644后）",[64,133,25,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1848d09a0cfe62e928d5723536608224.jpg",[318],{"id":89664,"slug":89665,"title":89666,"dynasty":124,"author":89667,"museum":300,"description":89668,"tags":89669,"thumbUrl":89670,"material":611,"size":84,"collection":318,"collections":89671,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},241183,"shou-cheng-jia-shu-zha-juan-hou-dong-ceng-241183","守城家书札卷","侯峒曾","侯峒曾（1591年10月1日—1645年8月24日），字豫瞻，号广成，南直隶松江府上海县（今上海市闵行区）人，祖籍苏州府嘉定县（今上海市嘉定区）， [1] 雅好诗文，能书法。\n万历四十六年（1618年）经元 ，天启五年（公元1625年）进士，授南京武选主事。为政有声，刚正不阿。与徐石麒、陈洪谧称“南都三清”，官至顺天府丞，未赴而京师亡。弘光元年闰六月十七日（公元1645年8月8日），剃发令下，嘉定民众起义抗清，其与黄淳耀被推为首领。坚守十余日，至七月四日（8月24日）城破，与二子投叶池殉国。\n南明绍宗赠兵部尚书，谥“文忠”。明监国鲁王赠左都御史，谥“忠烈”。清高宗乾隆四十一年（1776年）赐谥“忠节”。",[23,64,133,25,128,208,7,76388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07b0b1a3cdc6065bcec6eb4e5c9e1a0d.jpg",[318],{"id":89673,"slug":89674,"title":50743,"dynasty":54,"author":89675,"museum":300,"description":89676,"tags":89677,"thumbUrl":89678,"material":692,"size":1293,"collection":84,"collections":89679,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},241161,"shi-zhou-wang-yuan-241161","王原","王原，上海青浦人，初名深，字仲深，一字令诒。清朝康熙27年进士出身。",[7,64,133,165,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F273df7a47df5a3f3df6bb6a58450fbf6.jpg",[],{"id":89681,"slug":89682,"title":89683,"dynasty":54,"author":61794,"museum":300,"description":85187,"tags":89684,"thumbUrl":89685,"material":692,"size":1293,"collection":84,"collections":89686,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},241158,"zai-hua-shi-zhou-ruan-yuan-241158","栽花诗轴",[7,64,133,165,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0834243743ac3f46afc8ed4cb817c96.jpg",[],{"id":89688,"slug":89689,"title":89690,"dynasty":124,"author":89691,"museum":300,"description":89692,"tags":89693,"thumbUrl":89694,"material":692,"size":1293,"collection":84,"collections":89695,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},241100,"xing-shu-shi-juan-zhu-yue-fan-241100","行书诗卷","朱曰藩","朱曰藩，字子价，号射陂，宝应人（今江苏省宝应县），朱应登之子。生卒年不详，约明世宗嘉靖三十年前后在世。",[64,133,25,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e81c908fa6a504896e23f962018d349.jpg",[],{"id":89697,"slug":89698,"title":89699,"dynasty":351,"author":223,"museum":300,"description":89700,"tags":89701,"thumbUrl":89702,"material":692,"size":1293,"collection":84,"collections":89703,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},241070,"jing-guang-xie-da-cheng-dao-yu-jing-juan-yi-ming-241070","浄光写大乘稻芋经卷","此卷写经以小字行书抄录，笔意简率灵动，全无刻板写经的拘谨沉滞。起收锋利落洒脱，点画间顾盼呼应，带着随性自如的文人笔致。\n\n通篇排布茂密却不失舒朗，墨色有自然的浓淡枯润变化，将抄经的虔诚融于笔墨线条之中，既有宗教写本的肃穆沉静，又带着五代民间书写的率意朴拙，在日复一日的笔耕里，尽显朴素古雅的书卷气质，是兼具书法审美与宗教文化意涵的佳制。",[7,25,187,7322,64,572,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51b2983f4ec22a1290c542e6aedc7cf4.jpg",[],{"id":89705,"slug":89706,"title":89707,"dynasty":124,"author":41525,"museum":300,"description":89708,"tags":89709,"thumbUrl":89710,"material":692,"size":1293,"collection":84,"collections":89711,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},241007,"liu-jia-shou-zha-juan-huang-dao-zhou-241007","六家手札卷","黄道周（1585年3月9日—1646年4月20日），汉族，字幼玄，一作幼平或幼元，又字螭若、螭平，号石斋，世人尊称石斋先生。为明末学者、书画家、文学家、民族英雄。福建漳州府漳浦县（今福建省东山县铜陵镇）人，祖籍福建莆田，其曾祖从莆田迁徙至漳州。\n天启二年（1622年）进士，改庶吉士，深得考官袁可立赏识。历官翰林院修撰、詹事府少詹事。南明隆武（1645年-1646年）时，任吏部尚书兼兵部尚书、武英殿大学士（首辅）。因抗清失败被俘。隆武二年（1646年）壮烈殉国，享年62岁。隆武帝赐谥“忠烈”，追赠文明伯。清乾隆四十一年（1776年）追谥“忠端”。与刘宗周并称“二周”。\n黄道周通天文、理数诸书。工书善画，诗文、隶草皆自成一家，先后讲学于浙江大涤、漳浦明诚堂、漳州紫阳、龙溪邺业等书院，培养了大批有学问有气节的人。",[23,7,25,64,133,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1adb9242b3992f887867bc05df2b1e81.jpg",[],{"id":89713,"slug":89714,"title":89715,"dynasty":124,"author":41525,"museum":300,"description":89708,"tags":89716,"thumbUrl":89717,"material":692,"size":1293,"collection":84,"collections":89718,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},241002,"qi-jia-shou-zha-juan-huang-dao-zhou-241002","七家手札卷",[23,7,25,64,133,840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F393d3076cf63fb55b00bce98b4643e16.jpg",[],{"id":89720,"slug":89721,"title":89722,"dynasty":124,"author":223,"museum":300,"description":89723,"tags":89724,"thumbUrl":89725,"material":611,"size":84,"collection":318,"collections":89726,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},240995,"jin-sheng-zha-juan-yi-ming-240995","金声札卷","此札行书隽秀清逸，笔墨简淡萧散，章法疏朗从容。行笔牵丝映带轻盈婉转，笔画粗细合宜，尽显文人书写的随性雅致，不见雕琢之态。\n\n信中叙旧访游，寄寓知己阔别惦念，日常琐语化为纸上温情，裹挟着晚明文人的林下风流。左侧题跋与手札呼应，双璧相映，兼具文献与书法双重价值，尺牍之间藏着晚明交游的文人情愫，尽显一代士人的心迹风神。",[23,805,64,25,133,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da70fc7fb515fa67593fee5648a64c9.jpg",[318],{"id":89728,"slug":89729,"title":89730,"dynasty":222,"author":89731,"museum":300,"description":89732,"tags":89733,"thumbUrl":89734,"material":692,"size":1293,"collection":84,"collections":89735,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},240993,"zhi-er-xue-xing-zha-juan-song-ling-shen-240993","致儿学行札卷","宋令申","此作为文人手札长卷，以率意行书铺陈，笔墨朴拙灵动。行笔迅疾却不失法度，字形欹侧错落，墨色枯湿浓淡富于变化。密密麻麻的小字排布紧凑却不显拥塞，带着家信独有的松弛与真切。褪去了刻意的书家姿态，将日常的牵念、叮咛尽数凝于毫端，把私人化的家常絮语与文人底蕴相融，藏着鲜活的日常心绪，质朴间尽显温度，是极具烟火气的文人尺牍典范。",[23,64,25,133,840,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff39d6f85c93badcb1ef99db9c578f362.jpg",[],{"id":89737,"slug":89738,"title":89739,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":89740,"thumbUrl":89741,"material":692,"size":1293,"collection":84,"collections":89742,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},240918,"du-shi-zhou-dong-qi-chang-240918","杜诗轴",[64,133,165,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cc9c37455ac8257e4bc43849ebc92d5.jpg",[],{"id":89744,"slug":89745,"title":60702,"dynasty":124,"author":41525,"museum":300,"description":89708,"tags":89746,"thumbUrl":89747,"material":692,"size":1293,"collection":84,"collections":89748,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},240914,"wu-lv-zhou-huang-dao-zhou-240914",[24,7,165,133,840,128,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59c0e1a4bda0e37ee348d1b52fb23504.jpg",[],{"id":89750,"slug":89751,"title":66814,"dynasty":54,"author":71842,"museum":300,"description":85092,"tags":89752,"thumbUrl":89753,"material":692,"size":1293,"collection":84,"collections":89754,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},240901,"qi-jue-shi-zhou-zhang-wen-tao-240901",[64,165,133,208,304,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb3153d8d09ad078c188cf77d571400b.jpg",[],{"id":89756,"slug":89757,"title":89758,"dynasty":124,"author":85170,"museum":300,"description":85171,"tags":89759,"thumbUrl":89760,"material":692,"size":1293,"collection":84,"collections":89761,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},240873,"shu-ge-ti-shi-juan-li-dong-yang-240873","书各体诗卷",[7,25,133,840,572,64,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6908f40230795ffcd4c7e8de37bbc5d1.jpg",[],{"id":89763,"slug":89764,"title":55320,"dynasty":54,"author":54002,"museum":300,"description":54003,"tags":89765,"thumbUrl":89766,"material":692,"size":1293,"collection":84,"collections":89767,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},240866,"zi-shu-shi-juan-zhu-ang-zhi-240866",[23,24,7,25,133,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F821d4c66fa28a8207c9ab2a396eb2f3b.jpg",[],{"id":89769,"slug":89770,"title":89771,"dynasty":124,"author":89772,"museum":300,"description":89773,"tags":89774,"thumbUrl":89775,"material":611,"size":84,"collection":318,"collections":89776,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},240708,"shu-shi-juan-chen-tai-lai-240708","书诗卷","陈泰来","陈泰来（1559年－1593年），字上交，一字伯符，浙江嘉兴府平湖县人，民籍，明朝政治人物、诗人",[23,7,64,25,133,840,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff321b54c20aba1c9ea47792f27eda823.jpg",[318],{"id":89778,"slug":89779,"title":89780,"dynasty":54,"author":89600,"museum":300,"description":89601,"tags":89781,"thumbUrl":89782,"material":692,"size":1293,"collection":84,"collections":89783,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},240688,"lin-su-zhang-gong-yi-ye-xu-qian-xue-240688","临苏长公意页",[7,59,133,330,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9be9531191ad2692fa7b38fa6d2a7b63.jpg",[],{"id":89785,"slug":89786,"title":89787,"dynasty":124,"author":77802,"museum":300,"description":89788,"tags":89789,"thumbUrl":89790,"material":692,"size":1293,"collection":84,"collections":89791,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},240660,"hu-qiu-shi-juan-wang-heng-240660","虎丘诗卷","王衡（1562年10月6日—1609年3月4日），生于嘉靖四十一年九月九日，卒于万历三十七年正月二十九日。字辰玉，号缑山、别署蘅芜室主人，南直隶苏州府太仓州（今江苏太仓）人。 万历时期首辅王锡爵之子，明末清初画家王时敏之父。\n万历十六年（1588年）顺天乡试，王衡因是大学士王锡爵之子，且当时首辅申时行的女婿也同时中举。有言官弹劾主试官，认为有作弊嫌疑。虽然王衡在随后的复试中取得第一获准参与会试，但言官们仍不依不饶，为避免父亲王锡爵陷入更大的党争之中。王衡在他父亲执政期间没再参加考试。万历二十九年（1601年），王锡爵致仕后，王衡再次走进科场，以一甲第二名（榜眼）及第，授任翰林院编修。后辞官归隐，中年早卒。",[23,124,64,133,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cfe419008f91ea8577897a33b167af6.jpg",[],{"id":89793,"slug":89794,"title":50743,"dynasty":54,"author":38236,"museum":300,"description":89795,"tags":89796,"thumbUrl":89797,"material":611,"size":84,"collection":318,"collections":89798,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},240647,"shi-zhou-chen-zi-240647","此作行书圆劲秀逸，线条灵动舒展，兼具晋人萧散意趣与晚明书风的洒脱风神。字间牵丝映带自然，行气贯通流畅，章法错落相宜，将诗句幽居野游的闲淡意境融于笔墨。墨色浓枯相济，时而饱满厚重，时而轻盈飞白，尽展书写时的随性快意，把林皋宿游、江月同心的林下雅怀，通过笔情墨韵尽致流露，是兼备笔墨意趣与文心诗意的行书佳制。",[24,7,165,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88badc488422c1523338a1117e224b33.jpg",[318],{"id":89800,"slug":89801,"title":89802,"dynasty":54,"author":89803,"museum":300,"description":89804,"tags":89805,"thumbUrl":89806,"material":611,"size":84,"collection":318,"collections":89807,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":199},240642,"zuo-you-ming-zhou-huang-gun-240642","座右铭轴","黄袞","黄衮 年轻时读书求取功名，但一直没有成就，当时 乾隆五十一年时台湾发生林爽文事件，威胁位于台湾南部的客家人侨居的村庄。黄衮以一介书生，追随其师曾中立，慷慨策划团练六堆义勇，事成后，授六品衔，赏戴蓝翎，议叙江西州判。嘉庆七年折委署白河知县，在该县的大山庙剿",[7,165,133,64,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd02d94bbc14b34bb9377acae5905048b.jpg",[318],{"id":89809,"slug":89810,"title":89811,"dynasty":124,"author":81448,"museum":300,"description":89812,"tags":89813,"thumbUrl":89814,"material":611,"size":84,"collection":318,"collections":89815,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},240588,"shou-zha-heng-yang-yi-qing-240588","手札横","杨一清（1454年12月24日－1530年9月5日），字应宁，号邃庵，别号石淙，汉族，云南安宁人 。明代名臣。\n成化八年进士，曾任陕西按察副使兼督学。弘治十五年以南京太常寺卿都察院左副都御史的头衔出任督理陕西马政。后又三任三边总制。历经成化、弘治、正德、嘉靖四朝，为官五十余年，官至内阁首辅，号称“出将入相，文德武功”，才华堪与唐代名相姚崇媲美",[64,133,840,128,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F977d08e2523c988c3dbac67cb00a5064.jpg",[318],{"id":89817,"slug":89818,"title":60776,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":89819,"thumbUrl":89820,"material":692,"size":1293,"collection":84,"collections":89821,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":956},240505,"xi-yuan-shi-juan-wen-zheng-ming-240505",[23,164,24,7,25,133,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff9358505ce43750aa5e202274296573.jpg",[],{"id":89823,"slug":89824,"title":89825,"dynasty":124,"author":89826,"museum":300,"description":89827,"tags":89828,"thumbUrl":89829,"material":692,"size":1293,"collection":84,"collections":89830,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},240456,"qian-zi-wen-ce-qiu-zheng-yi-240456","千字文册","邱正谊","邱氏籍隶淮安卫，负责运送漕粮到京城。邱广业继承了这一行当，结果运了两趟，不知出了什么问题，所运漕粮损失不少，把家产房屋都赔了个罄尽。邱广业母亲程氏死得早，父亲邱永庆无法，只好以诸生代替儿子运粮，结果死于通州。这时邱广业才十七岁，困窘已极。到通州处理一切事务以后回淮，与弟弟广德一起搬到河下，依附舅舅程氏居住，发愤读书，恢复家业",[7,64,59,572,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7671b2eda863c7903c0025ed82a272a.jpg",[],{"id":89832,"slug":89833,"title":50743,"dynasty":54,"author":89834,"museum":300,"description":89835,"tags":89836,"thumbUrl":89837,"material":692,"size":1293,"collection":84,"collections":89838,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},240431,"shi-zhou-shen-ceng-zhi-240431","沈曾植","沈曾植（1850年－1922年11月20日），字子培，号巽斋，别号乙盫，晚号寐叟，浙江省嘉兴府嘉兴县人，沈维鐈孙，蒙元史地学者、书法家、史学家、同光体诗人，“于学无所不窥”，朴学宗师。",[7,64,165,840,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63dafc2e68908f457de59bea201d0312.jpg",[],{"id":89840,"slug":89841,"title":55320,"dynasty":124,"author":89842,"museum":300,"description":89843,"tags":89844,"thumbUrl":89845,"material":692,"size":1293,"collection":84,"collections":89846,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},240421,"zi-shu-shi-juan-yan-song-240421","严嵩","严嵩（1480年3月3日—1567年），字惟中，号介溪，袁州府分宜介桥村（今江西省分宜县）人。 [16] 明孝宗弘治十八年（1505年）进士，累迁礼部尚书、翰林院学士。嘉靖二十一年（1542年）六十三岁时入阁，加少傅兼太子太师、谨身殿大学士，后改少师、华盖殿大学士，嘉靖二十七年（1548年）诬害夏言，再任内阁首辅，专擅国政近十五年之久。\n严嵩在朝期间，陷害同僚，必置之死地而后快;同时他结党营私，贪赃纳贿，而他的党羽和子孙更是跋扈骄奢，横行朝廷。严嵩的专权乱政，使明王朝的国力衰弱，边疆防御受到严重破坏，人民惨遭蹂躏。晚年因事激怒嘉靖帝而失势，嘉靖四十一年（1562年）勒令致仕，嘉靖四十三年（1564年）严世蕃案发，其恶迹败露后，世宗下诏将他罢职，削籍为民，家产被抄，奸党与家人一一治罪。\n隆庆元年（1567年），87岁的严嵩贫病交加，把持朝政20多年后，在举国一片唾骂声中死去，挤进《明史·奸臣传》。他死的时候，寄食于墓舍，既无棺木下葬，更没有前去吊唁的人。《明史》将严嵩列为明代六大奸臣之一，称其“惟一意媚上，窃权罔利”。",[23,7,25,64,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6321fcc2f8c8d1899a7ec793459c5e1e.jpg",[],{"id":89848,"slug":89849,"title":50743,"dynasty":124,"author":22598,"museum":300,"description":22599,"tags":89850,"thumbUrl":89851,"material":692,"size":1293,"collection":84,"collections":89852,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},240399,"shi-zhou-chen-ji-ru-240399",[24,7,64,165,133,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F814d98ee741f2abf00ca6b633fa7c7b7.jpg",[],{"id":89854,"slug":89855,"title":89856,"dynasty":124,"author":89857,"museum":20,"description":89858,"tags":89859,"thumbUrl":89860,"material":84,"size":84,"collection":318,"collections":89861,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},240393,"gu-feng-ci-gao-zong-ben-240393","孤凤辞","高宗本","天顺七年龙集癸未春三月既望赐甲戌第二甲进士出身文林郎山东道监察御史古雄高宗本书",[23,7,25,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c55ec5722bfe23bcb91d9390201d506.jpg",[318],{"id":89863,"slug":89864,"title":89865,"dynasty":124,"author":89866,"museum":300,"description":89867,"tags":89868,"thumbUrl":89869,"material":692,"size":1293,"collection":84,"collections":89870,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},240381,"si-jia-xing-kai-shi-shan-mian-lin-gu-du-240381","四家行楷诗扇面","林古度","林古度（1580年～1666年）明末清初著名诗人。字茂之，号那子，别号乳山道士，福建福清人。诗文名重一时，但不求仕进，游学金陵，与曹学佺、王士桢友好。明亡，以遗民自居，时人称为“东南硕魁”。晚年穷困，双目失明，享寿八十七而卒。",[805,1131,7,64,133,572,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a7ff22f3cf2560da1209ad5e6230b7a.jpg",[],{"id":89872,"slug":89873,"title":50743,"dynasty":54,"author":23303,"museum":300,"description":89874,"tags":89875,"thumbUrl":89876,"material":84,"size":84,"collection":318,"collections":89877,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},240324,"shi-zhou-dong-bang-da-240324","董邦达(1696-1769)，字孚存、争存，浙江富阳人。雍正十一年进士，乾隆二年授编修，官终礼部尚书。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虞山派之间。与董源、董其昌并称三董。",[24,7,165,133,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67cca6a0990d3908fa270b07c4f3093a.jpg",[318],{"id":89879,"slug":89880,"title":89881,"dynasty":54,"author":89882,"museum":300,"description":64724,"tags":89883,"thumbUrl":89885,"material":692,"size":1293,"collection":84,"collections":89886,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},240322,"ti-qiu-shan-xiao-si-tu-ping-zhou-zhang-ting-zhuan-240322","题秋山萧寺图屏轴","张廷瑑",[24,7,165,133,128,8222,55225,415,89884,31088,34154,64],"禅房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F249df68cceb3f162c784e6fdd8bb39b1.jpg",[],{"id":89888,"slug":89889,"title":89890,"dynasty":124,"author":89626,"museum":300,"description":89627,"tags":89891,"thumbUrl":89892,"material":692,"size":1293,"collection":84,"collections":89893,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},240275,"xing-kai-shi-zhou-wang-zhi-deng-240275","行楷诗轴",[7,165,133,572,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7784839e598ff9ddb5c10a4c1877069.jpg",[],{"id":89895,"slug":89896,"title":89897,"dynasty":124,"author":89898,"museum":300,"description":89899,"tags":89900,"thumbUrl":89901,"material":692,"size":1293,"collection":84,"collections":89902,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},240239,"qi-lv-shi-ye-yu-chun-xi-240239","七律诗页","虞淳熙","虞淳熙（1553年－1621年），字长孺，浙江钱塘人，生下来睡着不闭眼。曾任兵部职方事、礼部员外郎等职，曾隐居于回峰。著有《虞德园集》、《孝经集灵》1卷。",[64,133,208,7,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f43e8f7489019e59a4917bfee5fcd66.jpg",[],{"id":89904,"slug":89905,"title":69180,"dynasty":124,"author":89906,"museum":300,"description":89907,"tags":89908,"thumbUrl":89909,"material":692,"size":1293,"collection":84,"collections":89910,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},240232,"shi-ye-yu-jiu-zhang-240232","虞九章","此作用笔灵动舒展，行气贯通流畅，牵丝映带间尽显行书自在意趣。笔画粗细错落相宜，起收见规守法度，中锋行笔扎实沉稳，兼具遒劲力与秀逸态。笔墨韵律呼应文字清雅内涵，通篇气息匀和雅致，文人书卷气溢于纸面，可见书写时松弛从容的创作状态，尽显尚意之风韵，将笔墨意趣与诗文意境相融，是文气盎然的书法小品佳作。",[24,7,59,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff42dbb5c949f638a296e48a550d1fbb8.jpg",[],{"id":89912,"slug":89913,"title":89897,"dynasty":124,"author":89914,"museum":300,"description":89915,"tags":89916,"thumbUrl":89917,"material":692,"size":1293,"collection":84,"collections":89918,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},240224,"qi-lv-shi-ye-feng-meng-zhen-240224","冯梦祯","冯梦祯（1548—1606），字开之，号具区，又号真实居士，浙江秀水（今嘉兴）人。著名的佛教居士。 明代诗人。公元1577年（明万历五年）进士，官编修，与沈懋学、屠隆以气节相尚。后因得罪宰相张居正，被外谪广德州判，复又累迁南国子监祭酒，3年后被劾罢官，遂不复出。移家杭州，筑室于孤山之麓。上梁之日恰逢积雪初晴，遂以此名其堂为“快雪”。冯梦祯为人高旷，好读书，好奖掖后学。诗文疏朗通脱，不事刻镂。著有《快雪堂集》64卷、《快雪堂漫录》1卷、《历代贡举志》等。",[7,59,133,208,64,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80211ac9e728595608dd3dc697575833.jpg",[],{"id":89920,"slug":89921,"title":89922,"dynasty":124,"author":53798,"museum":300,"description":89923,"tags":89924,"thumbUrl":89925,"material":692,"size":1293,"collection":84,"collections":89926,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},240223,"qi-yan-shi-ye-tang-huan-240223","七言诗页","汤焕，字尧文，号鄰初。，仁和（今浙江杭州）人，斋号五桂轩等。生卒年不详，明隆庆四年（1570）举人。为江阴教谕，后征为翰林待诏，转郡丞。擅书，兼工篆刻，亦有诗名",[7,64,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88bffc14a2880f780619e8bfd82976f2.jpg",[],{"id":89928,"slug":89929,"title":89897,"dynasty":124,"author":89930,"museum":300,"description":89931,"tags":89932,"thumbUrl":89933,"material":692,"size":1293,"collection":84,"collections":89934,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},240212,"qi-lv-shi-ye-he-can-ran-240212","贺燦然","贺灿然（？－？），字伯暗，号道星，浙江嘉兴府平湖县人，明朝政治人物。",[7,64,59,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad61a37b2ce626b83099572c96ac9a21.jpg",[],{"id":89936,"slug":89937,"title":89938,"dynasty":54,"author":61794,"museum":300,"description":85187,"tags":89939,"thumbUrl":89940,"material":692,"size":1293,"collection":84,"collections":89941,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},240168,"heng-ruan-yuan-240168","横",[304,64,21937,71695,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8debf37a825bd771de15794bb3448522.jpg",[],{"id":89943,"slug":89944,"title":89945,"dynasty":54,"author":74550,"museum":300,"description":74551,"tags":89946,"thumbUrl":89948,"material":692,"size":1293,"collection":84,"collections":89949,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},240146,"wang-wen-zhi-shi-zhou-wang-wen-zhi-240146","王文治诗轴",[7,64,165,133,128,208,3344,231,9404,57016,89947,9402,663,76731,690],"露","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c69947ad47c602df83f34bd3c1ae3e7.jpg",[],{"id":89951,"slug":89952,"title":89953,"dynasty":54,"author":89954,"museum":300,"description":89955,"tags":89956,"thumbUrl":89959,"material":692,"size":1293,"collection":84,"collections":89960,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},240138,"wu-kuan-qian-long-huang-di-ci-qi-gao-shen-juan-heng-ling-240138","无款乾隆皇帝赐妻诰身卷","恒龄","恒龄（？—1911）舒穆鲁氏，字锡九，满洲正蓝旗人，湖北荆州驻防。恒龄少嗜学，娴武干，尤熟中外兵家言。",[7,25,64,572,208,89957,89958],"满文","汉文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc4e30ef5c9af213e7632f45ca9b98ed.jpg",[],{"id":89962,"slug":89963,"title":89964,"dynasty":124,"author":223,"museum":300,"description":89965,"tags":89966,"thumbUrl":89971,"material":611,"size":84,"collection":318,"collections":89972,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},240117,"ying-rui-shi-ye-yi-ming-240117","应瑞诗页","此作为草书诗页，笔墨跌宕随性，字势欹正相生。行笔间牵丝映带自然流畅，字形大小错落排布，章法疏密相宜，尽显萧散疏朗的文人意趣。\n枯润笔墨交织相生，粗笔沉实厚重，细锋灵动飘逸，将诗句中羁旅江湖的落寞愁思，寄寓在率意挥洒的点画之中，暗合晚明书风旷达疏放的特质，把文人士子的林下风流与旅怀愁绪融在笔墨起落之间，书写快意与诗句意境相得益彰，尽显以笔抒情的雅致意韵。",[7,64,133,128,371,2372,89967,89968,89969,14480,47608,89970,4797,4241],"大江","泥桥","东窗","平冈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b0e8853f7afb510b27526b9e1820abc.jpg",[318],{"id":89974,"slug":89975,"title":89976,"dynasty":124,"author":89977,"museum":300,"description":89978,"tags":89979,"thumbUrl":89980,"material":84,"size":84,"collection":318,"collections":89981,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},240002,"zhi-jia-da-ren-shi-ye-zhao-shi-xian-240002","致家大人诗页","赵世显","赵世显，字仁甫，侯官人。万历癸未进士。\n世显风度秀整，其为诗一意盛唐而已。初任池州司李，左迁稍起为梁山令。复转别驾，以母老不赴。自负才名，郁郁不得志，杜门却轨，以文、酒娱日，达官罕识其面也。所著有《芝园稿》。其同年举有郑日休，字廷德，能诗文，官终惠州司李。",[64,133,128,27,208,7,9910],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a8240dfcb707713975b3ece9649f35e.jpg",[318],{"id":89983,"slug":89984,"title":89985,"dynasty":124,"author":89986,"museum":300,"description":89987,"tags":89988,"thumbUrl":89989,"material":692,"size":1293,"collection":84,"collections":89990,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},239981,"wan-jie-ting-ci-juan-xia-yan-239981","晚节亭词卷","夏言","夏言（1482年7月14日－1548年11月1日），字公谨，号桂洲，江西广信府贵溪县（今江西省贵溪市）人 。明朝中期政治家、文学家，赠少师夏鼎的儿子。\n正德十二年（1517年），进士及第，授行人司行人。迁兵科给事中，以正直敢言闻名。明世宗继位后，上疏奏陈先朝弊政，奉命裁汰冗员，清查皇族庄田，迁少詹事兼任翰林学士。推动“大礼议”事件，大获圣宠，累迁武英殿大学士、礼部尚书、太子太傅，加位少师、特进光禄大夫、上柱国。嘉靖十八年（1539年），成为内阁首辅。完备内阁，抑制宦官，整顿吏治，巩固边防，颇有政绩。内心耿直，豪迈强直，逐渐失去宠爱。\n嘉靖二十七年（1548年），支持收复河套地区，受到严嵩诬陷，坐罪处死，时年六十七岁。明穆宗继位，得以平反昭雪，追谥“文愍”。诗文宏整，以词曲擅名，著有《桂洲集》及《南宫奏稿》传世。",[23,164,24,7,25,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F249a76b7089dbf0651db22708e272cf2.jpg",[],{"id":89992,"slug":89993,"title":89994,"dynasty":54,"author":89995,"museum":300,"description":89996,"tags":89997,"thumbUrl":89998,"material":84,"size":84,"collection":318,"collections":89999,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239916,"yu-ti-fu-lian-shang-shi-ye-ceng-yu-239916","与惕甫莲裳诗页","曾燠","曾燠（yù 1759-1831），字庶蕃，一字宾谷，晚号西溪渔隐。江西南城人。官至贵州巡抚。清代中叶著名诗人、骈文名家、书画家和典籍选刻家，被誉为清代骈文八大家之一。 曾廷澐之子。",[54,24,7,133,188,375,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bb323c021d758be0a8e4ff2c28d097b.jpg",[318],{"id":90001,"slug":90002,"title":81447,"dynasty":124,"author":81448,"museum":300,"description":81449,"tags":90003,"thumbUrl":90004,"material":84,"size":84,"collection":84,"collections":90005,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239901,"ming-dai-ming-ren-shen-shi-xing-deng-mo-bao-yang-yi-qing-239901",[64,7,24,25,133,128,208,23848],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe98ea6b414bb2eefd6807d89390d76fd.jpg",[],{"id":90007,"slug":90008,"title":90009,"dynasty":124,"author":90010,"museum":300,"description":90011,"tags":90012,"thumbUrl":90013,"material":84,"size":84,"collection":318,"collections":90014,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239888,"huang-fu-jiao-yi-juan-huang-cong-239888","黄福教仪卷","黄琮","黄琮为宋朝官吏，字子方，莆田人（生卒不详）,唐校书郎黄璞的后裔，宋哲宗元符三年（1100年）中进士，授长溪县县尉，县尉主管社会治安。每次派员下乡巡查，他总是预先约束手下官吏，不得任意骚扰百姓。遇有重大巡查急务，他从不向地方百姓派款派夫，因此深得百姓敬重。",[23,7,25,64,208,187,133,7322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3672b4f04e0e545551c38a03ad75d415.jpg",[318],{"id":90016,"slug":90017,"title":90018,"dynasty":124,"author":90019,"museum":300,"description":90020,"tags":90021,"thumbUrl":90022,"material":84,"size":84,"collection":318,"collections":90023,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239886,"tao-yan-shu-zha-tao-yan-239886","陶琰书扎","陶琰","陶琰（1449-1532），字廷信，号逸庵，山西承宣布政使司平阳府绛州（今山西省运城市新绛县）陶家巷人。正统十四年（1449）出生，少时聪敏好学，过目成诵。成化七年（1471）乡荐第一。弘治时任固原兵备副使，执法不挠。正德初迁刑部右侍郎，忤刘瑾下狱。瑾败复官，正德七年(1512)以右都御史巡视浙江，修筑萧山至会稽防洪堤，先后三次总督漕运。嘉靖元年(1522)以功任工部尚书，寻改南京兵部。次年致仕，卒于家。",[64,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eec4bb951e334ccc0ff1ec3c5b4692a.jpg",[318],{"id":90025,"slug":90026,"title":90027,"dynasty":54,"author":90028,"museum":300,"description":90029,"tags":90030,"thumbUrl":90031,"material":84,"size":84,"collection":318,"collections":90032,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239845,"zhi-gong-fu-zha-ye-li-fu-ping-239845","致功甫札页","李黼平","李黼平（1770年——1833年2月10日） ，字绣子，又字贞甫，号著花居士，广东嘉应州东街堡攀桂坊（今梅江区较场背旺巷口）人。自幼和兄弟李嗣章一同在东邨草堂读书，成绩优异，有“两陆”（陆机、陆云）、“二苏”（苏轼、苏辙）的美称。嘉庆十年(1805）乙丑科中进士（殿试金榜二甲第85名），选翰林院庶吉士。曾任江苏昭文县知县、东莞宝安书院山长等职，道光十二年（1832），在宝安逝世。《清史稿·儒林传》、《嘉应州志》、《清代学者像传》（叶恭绰编撰），都有他的专传。",[7,133,59,8116,27,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F152ee5d89fbe7f3e29a4ee0fcfceeccf.jpg",[318],{"id":90034,"slug":90035,"title":90036,"dynasty":54,"author":85325,"museum":300,"description":85326,"tags":90037,"thumbUrl":90038,"material":84,"size":84,"collection":318,"collections":90039,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239844,"shi-feng-gong-fu-ye-dong-guo-hua-239844","诗奉功甫页",[54,64,133,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff458a0a9afdc9f4d7a6f7ace353e6f0c.jpg",[318],{"id":90041,"slug":90042,"title":90043,"dynasty":124,"author":81448,"museum":300,"description":90044,"tags":90045,"thumbUrl":90046,"material":84,"size":84,"collection":84,"collections":90047,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239800,"shi-han-juan-yang-yi-qing-239800","诗翰卷","此卷狂草纵横跌宕，将笔墨意气挥洒淋漓。中锋使转提按兼施，线条枯湿浓淡交织，飞白牵丝映带字间，裹锋绞锋尽显老辣苍劲。字势欹侧错落，行气贯通如江河奔涌，整卷一气呵成毫无滞碍，点画狼藉却暗藏法度。既有颠张醉素的豪放恣肆，又自具沉郁雄健的风骨。洒金笺底衬得墨色愈见厚重，朱文小印点缀其间，于狂放中见雅致。通篇诗墨相融，将文人磊落襟怀宣泄纸上，尽显老笔纷披的磅礴气势，是尚奇书风里极具个性的佳作。",[23,64,7,25,133,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc188c62d53074d8bea00508dcafdf0e7.jpg",[],{"id":90049,"slug":90050,"title":90051,"dynasty":54,"author":90052,"museum":300,"description":90053,"tags":90054,"thumbUrl":90055,"material":692,"size":1293,"collection":84,"collections":90056,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239788,"hong-li-wu-tai-shan-shi-ce-liu-bing-tian-239788","弘历五台山诗册","刘秉恬","刘秉恬（？——1800年），字德引，山西省洪洞县苏堡村人，清朝大臣。",[24,7,59,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d8b3e0e94d857ccd87dfe47cd2d5397.jpg",[],{"id":90058,"slug":90059,"title":90060,"dynasty":54,"author":32522,"museum":300,"description":42429,"tags":90061,"thumbUrl":90062,"material":692,"size":1293,"collection":84,"collections":90063,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239784,"shu-yu-zhi-wu-fu-wu-dai-tang-ji-ce-wang-cheng-pei-239784","书御制五福五代堂记册",[64,7,59,27,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F057362b0319305532721a8bf14ef66e3.jpg",[],{"id":90065,"slug":90066,"title":90067,"dynasty":54,"author":85379,"museum":300,"description":85380,"tags":90068,"thumbUrl":90069,"material":692,"size":1293,"collection":84,"collections":90070,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239760,"shu-hong-li-yun-shang-yu-tian-jie-ce-zhou-huang-239760","书弘历云上于天解册",[572,64,59,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa53ea93e5666bf24e1373d11ad124e52.jpg",[],{"id":90072,"slug":90073,"title":90074,"dynasty":54,"author":90075,"museum":300,"description":90076,"tags":90077,"thumbUrl":90078,"material":692,"size":1293,"collection":84,"collections":90079,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":199},239756,"shu-hong-li-shu-yu-shu-shun-ji-chuan-ce-zhu-gui-239756","书弘历书虞书舜集传册","朱珪","朱珪（1731年～1807年），字石君，号南崖，晚号盘陀老人。与其兄朱筠，时称“二朱”。祖籍萧山蜀山街道越寨村，后迁黄阁河村。随父朱文炳由萧山侨居顺天大兴县（今北京市），遂入籍顺天府。\n乾隆十二年（1747年），17岁殿试为进士，选庶吉士，散馆授编修，侍读学士。乾隆二十四年（1759年），主河南乡试，会试同考官。秋，授福建粮道。乾隆二十八年（1763年），擢按察使，兼署布政使。乾隆三十二年（1767年），补湖北按察使。乾隆三十四年（1769年），任山西布政使。乾隆三十六年（1771年），权巡抚事。乾隆三十九年（1774年），为按察使，授侍讲学士。\n乾隆四十一年（1776年），命在上书房行走，教嘉庆帝读书。乾隆四十五年（1780年），督福建学政。乾隆四十九年（1784年），内阁学士。乾隆五十一年（1786年），礼部侍郎。乾隆五十九年（1794年）以后，历任两广总督，吏、兵、户部尚书，协办大学士，太子太保，太子太傅等职务。嘉庆四年由安徽巡抚上调北京。\n嘉庆十一年（1806年）十二月五日卒，终年77岁。帝谥“文正”。",[304,572,8116,59,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6d1298c7cabb514e6f4b92ac5d20c33.jpg",[],{"id":90081,"slug":90082,"title":90083,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":90084,"thumbUrl":90085,"material":84,"size":84,"collection":84,"collections":90086,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239724,"zhang-zhou-wen-shi-chi-du-ce-zhi-yong-zhi-huan-shu-tie-wen-zheng-ming-239724","长洲文氏尺牍册-致永之还书帖",[7,64,133,128,59,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc057a79a306f8b1138b73b7c66b25a10.jpg",[],{"id":90088,"slug":90089,"title":90090,"dynasty":54,"author":77952,"museum":300,"description":90091,"tags":90092,"thumbUrl":90093,"material":84,"size":84,"collection":84,"collections":90094,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239707,"lin-dong-qi-chang-ba-kai-huang-lan-ting-zhou-cao-wen-zhi-239707","临董其昌跋开皇兰亭轴","此作追摹董其昌笔意，行笔圆劲秀逸，兼具萧散简远之风神与温润端稳之气度。提按转合间节奏疏朗，墨色浓淡自然过渡，字距错落不失章法，将行书灵动与文人意趣相融。\n\n通篇笔意追摹原作淡远空灵，结体舒展雅致，笔画间牵丝映带尽显流畅韵致，既恪守古帖法度，又流露自身沉稳内敛的书风特质，跳出馆阁体的刻板，将兰亭题跋的清雅文思落于笔端，满卷澹泊书卷之气。",[7,64,133,330,165,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ed86c73bdd6b81c560d56adba225b5d.jpg",[],{"id":90096,"slug":90097,"title":90098,"dynasty":54,"author":90099,"museum":300,"description":90100,"tags":90101,"thumbUrl":90102,"material":692,"size":1293,"collection":84,"collections":90103,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},239705,"a-gui-shu-hong-li-wan-shou-ju-shi-ce-a-gui-239705","阿桂书弘历万寿菊诗册","阿桂","章佳氏，字广庭，号云岩，满洲正蓝旗（后以功抬入正白旗）人，清朝名将，大学士阿克敦之子\n阿桂于乾隆三年（1738年）中举，累授户部郎中、军机章京。乾隆十三年（1748年），随征大小金川，遭劾被贬。后复升为内阁学士兼礼部侍郎，因办事勤慎而受重用，历任参赞大臣、镶红旗蒙古副都统、工部侍郎等，长期戍守西北边疆。乾隆二十四年（1759年），参与平定大小和卓叛乱，事后移驻伊犁，建屯田之策。回朝数年间，历任内大臣、汉军镶蓝旗都统、军机大臣、满洲正红旗都统、四川总督等。乾隆三十三年（1768年），以副将军之职随经略傅恒领兵征讨缅甸。乾隆三十六年（1771年），再次参加大小金川之役，历时五年，运筹战事，多合机宜，为平定金川首功。此后多次前往地方办理钦案、督筑河堤，两次率师镇压甘肃回民起义，并以领班军机大臣身份提出镇压台湾林爽文起义的进兵方略，累加太子太保、武英殿大学士。嘉庆二年（1797年），阿桂逝世，享年八十一岁。获赠太保，谥号“文成”，并入祀贤良祠。道光三年（1823年），配飨太庙。有《军需则例》15卷，今已佚。有诗数首传世。",[24,7,59,64,27,376,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f9978b095cf694218df7826fd430125.jpg",[],{"id":90105,"slug":90106,"title":90107,"dynasty":124,"author":223,"museum":300,"description":90108,"tags":90109,"thumbUrl":90110,"material":84,"size":84,"collection":84,"collections":90111,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239661,"zhang-yu-huai-you-shi-juan-yi-ming-239661","张羽怀友诗卷","此卷笔墨萧散清逸，以行书铺陈怀友心绪，点画牵丝映带间尽显明代文人的清雅风神。笔意随性舒展，将念友的缱绻深情藏于流动线条之中。\n\n卷上鉴藏钤印琳琅错落，历代题跋排布有致，虽经岁月磨洗，有蠹蚀墨损晕开斑驳痕迹，却恰似时光镌刻的印记，晕染出古旧温润的质感。它将私人怀愫凝为跨越时空的笔墨遗存，裹挟着古纸沉香，静静诉说昔年文人间的知己情谊，尽显尺牍诗卷的隽永韵致。",[23,24,7,25,64,1349,128,133,208,29,34,758,57836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7840233708350a9a9d0071500e0ed22.jpg",[],{"id":90113,"slug":90114,"title":34976,"dynasty":54,"author":872,"museum":20,"description":34977,"tags":90115,"thumbUrl":90116,"material":611,"size":34980,"collection":84,"collections":90117,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239602,"shi-san-zha-ce-zhu-da-239602",[24,7,59,133,840,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ffde872d857b9d2955b28f94e8aa029.jpg",[],{"id":90119,"slug":90120,"title":34976,"dynasty":54,"author":872,"museum":20,"description":34977,"tags":90121,"thumbUrl":90122,"material":611,"size":34980,"collection":84,"collections":90123,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239599,"shi-san-zha-ce-zhu-da-239599",[7,59,133,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4884c9a4eb9689479146925820c91944.jpg",[],{"id":90125,"slug":90126,"title":90127,"dynasty":124,"author":7003,"museum":20,"description":90128,"tags":90129,"thumbUrl":90130,"material":84,"size":84,"collection":318,"collections":90131,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239576,"shu-yan-xi-ting-deng-si-ji-ti-zhu-yun-ming-239576","书燕喜亭等四记题","祝允明（1461年1月17日-1527年1月28日）生于天顺四年十二月六日，卒于嘉靖五年十二月二十七日，字希哲，长洲（今江苏吴县）人，因长像奇特，而自嘲丑陋，又因右手有枝生手指，故自号枝山，世人称为“祝京兆”，明代著名书法家。\n祝允明的科举仕途颇为坎坷，十九岁中秀才，五次参加乡试，才于明弘治五年（1492）中举，后七次参加会试不第。甚至其子祝续也在前一科中进士，于是祝允明绝了科举念头，以举人选官，在正德九年（1514），授为广东兴宁县知县，嘉靖元年（1522），转任为应天（今南京）府通判，不久称病还乡。\n祝允明擅诗文，尤工书法，名动海内。他与唐寅、文徵明、徐祯卿并称“吴中四才子”。又与文徵明、王宠同为明中期书家之代表。楷书早年精谨，师法赵孟頫、褚遂良，并从欧、虞而直追“二王”。草书师法李邕、黄庭坚、米芾，功力深厚，晚年尤重变化，风骨烂熳。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。 [1] 其代表作有《太湖诗卷》《箜篌引》《赤壁赋》等。所书“六体书诗赋卷”“草书杜甫诗卷”“古诗十九首”“草书唐人诗卷”及“草书诗翰卷”等皆为传世墨宝。",[23,64,7,25,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F263f9a302ecb8222f9c62a850d907960.jpg",[318],{"id":90133,"slug":90134,"title":38899,"dynasty":54,"author":38900,"museum":300,"description":90135,"tags":90136,"thumbUrl":90137,"material":84,"size":84,"collection":84,"collections":90138,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239533,"fang-gu-ji-you-tu-ce-huang-yi-239533","画面左右疏密相生，左侧题跋笔墨朴拙舒展，行书苍劲清逸，与右侧山水浑然相融。干笔淡墨晕出山峦秋意，屋舍错落隐于枯木疏枝之间，简括写意，留白空灵幽寂。\n\n整体以书入画，笔致简劲清脱，将寻古幽怀寄寓淡墨轻岚之中，尽显文人雅淡意趣。萧索淡远的山居小景，与长篇题咏相映成趣，诗画合璧，笔简而意足，漫溢出静穆古雅的林下之风。",[24,7,59,128,27,29,130,35,34,131,208,64,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e703d15fabc404980d71f616584a315.jpg",[],{"id":90140,"slug":90141,"title":90142,"dynasty":54,"author":223,"museum":300,"description":90143,"tags":90144,"thumbUrl":90145,"material":692,"size":1293,"collection":84,"collections":90146,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239480,"chi-cheng-shan-shui-wan-shan-yi-ming-239480","赤城山水纨扇","此作为绢本山水小品，以干笔淡墨晕染出清寂淡远的山居之境。层叠崖壑间虬松错落，枝桠舒展掩映幽居茅舍，涧谷隐有流泉暗涌，留白处似漾着浅溪，衬出山野空濛萧疏的意趣。\n\n画家以简淡皴擦勾勒山石肌理，笔墨松灵秀润，将林泉高致的隐逸之趣藏于尺幅之中。题字清雅与山水笔墨相融，尽显文人画幽淡闲远的意韵，把尘嚣之外的林下清居绘得灵动悠然，空灵雅致的意境漫溢于绢素之上，是意韵悠长的小品佳制。",[24,7,1131,29,128,132,208,131,34,758,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbced76f92d058eb60b775cbf1a7e75bf.jpg",[],{"id":90148,"slug":90149,"title":90150,"dynasty":54,"author":90151,"museum":300,"description":90152,"tags":90153,"thumbUrl":90154,"material":692,"size":1293,"collection":84,"collections":90155,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239471,"qing-chu-shi-si-jia-shu-hua-ji-jin-ce-ren-wu-ce-ye-zhu-cheng-239471","清初十四家书画集锦册-人物册页","朱澂","朱澂-清吴县(今江苏苏州)浒墅人。字天鉴。朱嘉遇长子。诸生。康熙中曾任江南石埭县教谕,廉洁持己,训课有方。后改授湖广江陵县丞。",[24,7,59,188,128,133,208,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e6e2c4b6c14897f98d17866192398bb.jpg",[],{"id":90157,"slug":90158,"title":90159,"dynasty":54,"author":26483,"museum":300,"description":55332,"tags":90160,"thumbUrl":90161,"material":692,"size":1293,"collection":84,"collections":90162,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239470,"qing-chu-shi-si-jia-shu-hua-ji-jin-ce-zhi-hua-shan-shui-ce-ye-wu-hong-239470","清初十四家书画集锦册-指画山水册页",[24,7,59,128,132,133,208,29,663,413,758,228,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2967f9df280250d20a4f968899ad17ab.jpg",[],{"id":90164,"slug":90165,"title":90166,"dynasty":54,"author":90167,"museum":300,"description":90168,"tags":90169,"thumbUrl":90170,"material":692,"size":1293,"collection":84,"collections":90171,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239466,"qing-chu-shi-si-jia-shu-hua-ji-jin-ce-hua-hui-ce-ye-xiong-fei-239466","清初十四家书画集锦册-花卉册页","熊飞","熊飛（？－？），中國清朝官員，江蘇江寧人。 熊飛本為監生，加捐縣丞。曾任同安知縣。道光六年（1826年）接替李慎彝擔任台灣府台灣縣知縣。",[24,7,59,128,27,62,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ca4797c1637f84567e6e8c651d740e5.jpg",[],{"id":90173,"slug":90174,"title":48113,"dynasty":54,"author":29662,"museum":300,"description":90175,"tags":90176,"thumbUrl":90177,"material":84,"size":84,"collection":84,"collections":90178,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239382,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239382","此作用浅绛绘就秋日林居之景，近处村舍错落，篱墙萦回，丹枫杂树点染出秋意暖色，村居意趣悠然。中景烟水空濛，淡墨晕开渺渺水汽，洲渚间霜林疏朗，留白铺就开阔平远的意境。远景峰峦舒缓延绵，左侧孤峰拔地而起，奇崛醒目，为淡远山水添了几分峭拔。\n\n笔墨秀雅松灵，以干笔皴擦出山石肌理，淡赭、花青轻敷晕染，色调清润柔和。右上角题诗衬景，诗画交融，将载月归游的诗意融于萧淡秋光里，整体气息安闲淡远，褪去尘嚣烟火，尽显文人画雅致静穆的林泉意韵。",[24,7,59,27,132,29,171,130,35,34,415,37,3427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ec62eee0d9bbb718c9e92e17c565eca.jpg",[],{"id":90180,"slug":90181,"title":48113,"dynasty":54,"author":29662,"museum":300,"description":90182,"tags":90183,"thumbUrl":90184,"material":84,"size":84,"collection":84,"collections":90185,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239374,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239374","此作用淡墨晕开烟霭，将平远松林笼在空濛清寂之中。坡岸虬松挺秀苍劲，鳞枝舒展如盖，清涧蜿蜒穿石而出，带着山涧微凉沁入画中。右侧崖畔茅庐静立，伴着孤松幽石，似在候着载月归人。\n淡笔轻皴山石，浅设晕染铺就雅淡底色，边角题诗与画境呼应相融，把林下幽居、待月听松的文人雅趣晕散开，尽显疏朗简淡的雅致意境，将幽寂旷远的林泉之思藏进每一处笔墨里。",[24,7,59,128,132,208,29,1144,131,130,99,37,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba0f977b1a423f77688eff26e207c30c.jpg",[],{"id":90187,"slug":90188,"title":48113,"dynasty":54,"author":29662,"museum":300,"description":32120,"tags":90189,"thumbUrl":90190,"material":692,"size":1293,"collection":84,"collections":90191,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239372,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239372",[24,7,59,128,27,95,188,29,130,331,1233,231,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60223ec76359aa218bac089dcfe6d84f.jpg",[],{"id":90193,"slug":90194,"title":48113,"dynasty":54,"author":29662,"museum":300,"description":32120,"tags":90195,"thumbUrl":90196,"material":692,"size":1293,"collection":84,"collections":90197,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239370,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239370",[24,7,59,128,208,64,950,228,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d6026e8f37091ec9ac1e937295a7084.jpg",[],{"id":90199,"slug":90200,"title":409,"dynasty":54,"author":55339,"museum":300,"description":90201,"tags":90202,"thumbUrl":90203,"material":84,"size":84,"collection":84,"collections":90204,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239348,"shan-shui-ce-lin-fu-chang-239348","这幅小品以留白摹写流云雾气，将层叠山峦衬得灵动缥缈，山居藏于松石崖壁间，似隐似现。近坡林木错落苍润，屋舍依傍溪岸野林，尽显幽居闲寂之态。设色清淡雅致，以青绿轻晕山石，浓墨点染苍松古木，笔致简逸秀雅，带着文人画特有的萧散意趣，将山林间悠然避世的栖居诗意尽数铺展，处处透着林下幽居的静谧闲适，淡而有味，简中见雅。",[24,7,59,128,27,29,1144,131,37,35,34,30,38,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbb01ddef5faace5b120a79ec8e46e5.jpg",[],{"id":90206,"slug":90207,"title":409,"dynasty":54,"author":17240,"museum":300,"description":26583,"tags":90208,"thumbUrl":90209,"material":692,"size":1293,"collection":84,"collections":90210,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239334,"shan-shui-ce-cha-shi-biao-239334",[24,7,59,128,133,132,29,496,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcae5a08a2d083b3292167be42c12f9fb.jpg",[],{"id":90212,"slug":90213,"title":62758,"dynasty":54,"author":223,"museum":300,"description":90214,"tags":90215,"thumbUrl":90216,"material":84,"size":84,"collection":84,"collections":90217,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239282,"hou-qi-zhi-hua-hua-niao-ce-yi-ming-239282","以指代笔绘就秋菊，墨色晕染层次分明，浓淡间尽显花瓣舒展之姿，挺劲花枝带着清峭冷逸的秋意，寥寥数笔勾勒出菊花傲霜独立的风骨。旁侧题书笔力苍劲，诗文与绘景相和，将文人慕恋清逸的襟怀寄寓于菊。整幅书画相融，虚实相生，简淡疏朗间意境悠长，尽显写意花鸟的文人意趣，把深秋寒卉的孤高清雅尽数铺陈于尺幅之中。",[24,7,59,128,61,376,29104,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbfead6f604a88b656fbc6b231773246.jpg",[],{"id":90219,"slug":90220,"title":62758,"dynasty":54,"author":223,"museum":300,"description":90221,"tags":90222,"thumbUrl":90223,"material":84,"size":84,"collection":84,"collections":90224,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239279,"hou-qi-zhi-hua-hua-niao-ce-yi-ming-239279","此作为指画写意墨荷，以指代笔，用墨色浓淡晕染出荷花绰约之姿。花瓣枯润对比鲜明，半开菡萏神态舒展慵懒，焦墨勾出花脉，尽显娇柔雅致。荷茎劲挺修长，带着苍劲笔意斜曳而出，下方汀叶以泼墨写出，墨色酣畅淋漓，虚实相生间尽显荷塘萧疏淡远之致。\n\n右侧行书题诗笔意纵逸，与清润墨荷相映成趣，书画合璧尽显文人写意的随性雅致，寥寥数笔便将秋日荷塘的幽澹诗意尽显，简淡脱俗，禅意自生。",[24,7,59,29104,128,61,168,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ca6306dbad47ed0b6255ae282c4733a.jpg",[],{"id":90226,"slug":90227,"title":49450,"dynasty":124,"author":49451,"museum":300,"description":90228,"tags":90229,"thumbUrl":90230,"material":84,"size":84,"collection":84,"collections":90231,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239265,"shu-hua-tu-ce-cheng-min-239265","此作用笔极简，以淡墨勾勒湖石，留白衬出嶙峋空灵之态，枯润线条尽显硬挺质感。兰叶以中锋挥写，笔势舒展劲健，俯仰生姿，寥寥数笔便将幽兰清挺孤傲的韵致尽显。角落细碎苔草与修长兰叶形成疏密对照，画面虚实相生，清雅绝尘。\n全幅以水墨为骨，不施丹青，尽显重韵尚简之妙，借兰石托物言志，寄寓超脱世俗、守正高洁的襟怀，笔墨间晕开冲淡悠远的林下之风，是意韵悠长的写意小品佳作。",[24,7,59,128,132,375,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9a2bc3083f764a8425c72894ad21147.jpg",[],{"id":90233,"slug":90234,"title":49450,"dynasty":124,"author":49451,"museum":300,"description":90235,"tags":90236,"thumbUrl":90237,"material":692,"size":1293,"collection":84,"collections":90238,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239264,"shu-hua-tu-ce-cheng-min-239264","此作以平远章法铺陈江渚丘林，上方丘峦疏树之间孤舍独伫，风杆轻立，远渚横陈，留白尽现江天寥廓空寂；下方茂林围篱，水岸逶迤，林麓错落生趣。\n笔墨简淡清润，以中锋勾勒皴擦，不作繁复晕染，尽显萧散冷逸的江乡幽居意趣，将文人林泉高致的隐逸襟怀融于寥寥笔意之间，淡而弥远，清寂悠然。",[24,7,128,59,29,34,129,35,414,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6de6ff4104d8aec03ee6c1dda699e8f.jpg",[],{"id":90240,"slug":90241,"title":49450,"dynasty":124,"author":49451,"museum":300,"description":90242,"tags":90243,"thumbUrl":90244,"material":692,"size":1293,"collection":84,"collections":90245,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239261,"shu-hua-tu-ce-cheng-min-239261","此作以水墨写意枯木竹石，枯木虬曲苍劲，用笔老辣爽利，嶙峋枝干带着锐刺，尽显古拙孤傲的萧瑟意态。下方墨竹叶脉分明，中锋挥写的叶片错落舒展，劲挺清逸，与枯木的苍涩刚硬形成刚柔呼应，淡墨晕染的坡石极简勾勒，托衬出画面清寂氛围。\n整幅小品逸笔草草，以简驭繁，将物象风骨尽数展现，以画寄情，暗含着文人淡泊清峻的襟怀，尽显水墨小品以意取胜的雅致格调。",[24,7,59,128,1337,276,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb70843173388f7acd3b50f4ee03a450d.jpg",[],{"id":90247,"slug":90248,"title":49450,"dynasty":124,"author":49451,"museum":300,"description":90249,"tags":90250,"thumbUrl":90251,"material":692,"size":1293,"collection":84,"collections":90252,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239258,"shu-hua-tu-ce-cheng-min-239258","此作以奇石为骨，丛竹环生依附，尽显文人水墨小品意趣。奇石以淡墨勾廓，略施皴擦，留白衬出嶙峋朴拙的质感，空灵通透间见出山石之态。\n\n墨竹叶以浓墨点染，攒三聚五，笔力劲挺爽利，枝叶错落交叠，虚实相生，将竹的清劲疏朗描摹尽致。竹石相映，以竹之贞直配石之沉稳，暗合君子风骨寄兴，整体简淡清逸，墨色浓淡层次分明，笔简意足，清雅脱俗，尽现传统文人画托物言志的幽远意韵。",[24,7,59,128,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc8b34f1bb4ee3f77267f432252292a2.jpg",[],{"id":90254,"slug":90255,"title":49450,"dynasty":124,"author":49451,"museum":300,"description":90256,"tags":90257,"thumbUrl":90258,"material":692,"size":1293,"collection":84,"collections":90259,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239257,"shu-hua-tu-ce-cheng-min-239257","此帧以水墨写意绘竹，老干斜出，渴笔淡墨尽显苍劲挺括，留白疏朗透气。新篁枝叶交叠聚散，浓墨挥写叶片，以墨色浓淡区分阴阳向背，笔势迅疾洒脱，寥寥数笔间便将清竹的灵秀风骨尽显。整体构图虚实相生，删繁就简，以极简笔墨勾勒竹之萧疏意趣，寄寓君子清峻高洁的品格，尽显文人写意画以物言志的风雅神韵。",[24,7,59,128,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99426c4f8fcb081c6b05d69c3a40a3f4.jpg",[],{"id":90261,"slug":90262,"title":57064,"dynasty":54,"author":33617,"museum":300,"description":90263,"tags":90264,"thumbUrl":90265,"material":84,"size":84,"collection":84,"collections":90266,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239201,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239201","左幅行书题跋笔力苍劲疏朗，与右侧山水相映成趣。此帧以干笔皴擦写层岩峻岭，峰峦奇崛高峙，飞泉自崖壁奔涌而下，汇作浅溪环山蜿蜒。坡岸林木蓊郁，掩映山居古寺，满幅幽寂清远。\n\n全作用水墨晕染出山川氤氲之气，笔墨简淡苍秀，不事秾丽，尽显静穆萧散的林下之风。以枯淡之笔写胸中丘壑，寄寓遗世独立的清冷襟怀，将江南山水清灵与沉郁心境相融，是文人山水画以意驭笔、以画明心的佳构。",[24,7,59,128,29,64,208,132,495,34,1515,99,415,3857,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb501577a0aef1916a65468140f42c8f.jpg",[],{"id":90268,"slug":90269,"title":58971,"dynasty":54,"author":38236,"museum":300,"description":38237,"tags":90270,"thumbUrl":90271,"material":692,"size":1293,"collection":84,"collections":90272,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239182,"hua-hui-ren-wu-ce-chen-zi-239182",[24,7,59,133,27,28,61,211,169,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9c25053cd5fa5df0b7d2950354a5e3.jpg",[],{"id":90274,"slug":90275,"title":58971,"dynasty":54,"author":38236,"museum":300,"description":38237,"tags":90276,"thumbUrl":90277,"material":692,"size":1293,"collection":84,"collections":90278,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239180,"hua-hui-ren-wu-ce-chen-zi-239180",[7,59,27,28,133,208,62,607,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e6cd09c7f2c4ee537f546cf0bad9c3.jpg",[],{"id":90280,"slug":90281,"title":1289,"dynasty":54,"author":24258,"museum":300,"description":90282,"tags":90283,"thumbUrl":90284,"material":84,"size":84,"collection":84,"collections":90285,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239163,"shan-shui-hua-hui-ce-chen-heng-ke-239163","此作为典型文人小品，右侧以淡墨晕染寿桃，轮廓简约却饱满莹润，浓墨勾枝，拙朴苍劲，寥寥数笔便将桃实的清灵生机尽显。左侧行书题词，笔力隽逸舒展，墨色浓淡变化自然，词句与画意相映成趣。\n\n整体构图疏朗空灵，以少胜多，水墨写意间尽显简澹天真的意趣。将花果的清雅与词作幽寂的意境相合，不着艳色，却在干湿浓淡的笔墨变化中，晕染出东方文人淡泊恬然的审美意韵，余味悠长。",[24,7,59,128,133,64,62,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a2753ad7037255f25709ae0a5269cbf.jpg",[],{"id":90287,"slug":90288,"title":60824,"dynasty":54,"author":19884,"museum":300,"description":53648,"tags":90289,"thumbUrl":90290,"material":692,"size":1293,"collection":84,"collections":90291,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239130,"shan-shui-he-hui-ce-zhang-zong-cang-239130",[24,7,59,128,132,29,663,413,35,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87d5b33731f86301ee63d106dee88a3c.jpg",[],{"id":90293,"slug":90294,"title":60824,"dynasty":54,"author":19884,"museum":300,"description":90295,"tags":90296,"thumbUrl":90297,"material":84,"size":84,"collection":84,"collections":90298,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239128,"shan-shui-he-hui-ce-zhang-zong-cang-239128","张宗苍（1686-1756），字默存，江苏苏州人，画家。 师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。",[24,7,59,128,132,29,130,167,1337,99,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51769c9ca6acc7b93c0cf228380035a0.jpg",[],{"id":90300,"slug":90301,"title":90302,"dynasty":54,"author":90303,"museum":300,"description":90304,"tags":90305,"thumbUrl":90306,"material":692,"size":1293,"collection":84,"collections":90307,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239070,"chun-shan-wan-shan-niu-jia-yin-239070","春山纨扇","钮嘉荫","钮嘉荫（1857～1915），字叔文，号闻叔、夫椒山民，室名结古欢室，吴县（今苏州）人。精鉴别，工书及篆刻，金石考证，真草篆隶，均能入古。",[24,7,1131,27,128,132,29,98,99,129,96,34,496,711,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0770e76b1f3fca05524519016f581287.jpg",[],{"id":90309,"slug":90310,"title":90311,"dynasty":54,"author":60839,"museum":300,"description":60840,"tags":90312,"thumbUrl":90313,"material":692,"size":1293,"collection":84,"collections":90314,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},239068,"shou-zhu-bi-ling-wan-shan-wang-cheng-feng-239068","寿祝避龄纨扇",[24,7,1131,27,28,167,171,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77c14bda65bcdbc5ce398a97ad4514c9.jpg",[],{"id":90316,"slug":90317,"title":90318,"dynasty":54,"author":90319,"museum":300,"description":90320,"tags":90321,"thumbUrl":90322,"material":692,"size":1293,"collection":84,"collections":90323,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239031,"xiao-xiang-zhou-na-yan-cheng-239031","肖像轴","那彦成","那彦成（1763年-1833年），章佳氏，字绎堂，号韶九、东甫，满洲正白旗人，大学士阿桂之孙，工部侍郎阿必达次子，清朝大臣。\n那彦成在乾隆五十四年（1789年）中进士，被选为翰林院庶吉士，随后不久担任翰林院编修。此后历任内阁学士、工部侍郎、户部侍郎、翰林院掌院学士、工部尚书、镶白旗汉军都统、礼部尚书、陕甘总督、直隶总督、理藩院尚书、吏部尚书、刑部尚书等职。\n道光十三年（1833年），那彦成去世，享年七十岁，谥号文毅。",[24,7,165,27,28,96,4363,131,1144,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3afb65518e83749aa19346142d8eec22.jpg",[],{"id":90325,"slug":90326,"title":25431,"dynasty":54,"author":87191,"museum":300,"description":90327,"tags":90328,"thumbUrl":90329,"material":692,"size":1293,"collection":84,"collections":90330,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},239028,"qiu-kui-tu-zhou-zhu-ling-239028","朱锐，中国宋代画家。生卒年不详，活动于北宋末南宋初。河北人。原为北宋宣和画院待诏，南渡后又入绍兴画院，任待诏，授迪功郎，赐金带。擅山水，工雪景，师法王维，所画多骡纲、雪猎、盘车、行旅等题材，表现了车辆旅人跋涉于荒寒苍凉的溪山之间的艰辛之状。形象真实，主题鲜明，情景动人。有《盘车图》传世。",[24,7,165,128,61,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa6043616d4b627a2f414bd1158b3b3.jpg",[],{"id":90332,"slug":90333,"title":409,"dynasty":54,"author":57086,"museum":300,"description":57087,"tags":90334,"thumbUrl":90335,"material":84,"size":84,"collection":84,"collections":90336,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},239009,"shan-shui-ce-li-dong-239009",[24,7,29,59,27,132,171,331,1233,97,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd8593f537fd8054f69e75921f515f98.jpg",[],{"id":90338,"slug":90339,"title":409,"dynasty":54,"author":57086,"museum":300,"description":57087,"tags":90340,"thumbUrl":90341,"material":84,"size":84,"collection":84,"collections":90342,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},239007,"shan-shui-ce-li-dong-239007",[24,7,59,128,27,29,97,131,34,415,7782,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c6e1692f6facef6392c9eae649ea97f.jpg",[],{"id":90344,"slug":90345,"title":409,"dynasty":54,"author":4992,"museum":300,"description":18894,"tags":90346,"thumbUrl":90347,"material":84,"size":84,"collection":84,"collections":90348,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238991,"shan-shui-ce-yang-jin-238991",[24,7,59,27,132,29,130,34,496,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13caab2507087585aef86486557b05ef.jpg",[],{"id":90350,"slug":90351,"title":409,"dynasty":54,"author":4992,"museum":300,"description":18894,"tags":90352,"thumbUrl":90353,"material":84,"size":84,"collection":84,"collections":90354,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238988,"shan-shui-ce-yang-jin-238988",[24,7,59,188,128,29,413,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33eccdaf604891e33ec07307c37d26a0.jpg",[],{"id":90356,"slug":90357,"title":409,"dynasty":54,"author":4992,"museum":300,"description":18894,"tags":90358,"thumbUrl":90359,"material":84,"size":84,"collection":84,"collections":90360,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238986,"shan-shui-ce-yang-jin-238986",[24,7,59,128,132,29,167,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f7fb8af76716c23aa175da6b00b49b.jpg",[],{"id":90362,"slug":90363,"title":409,"dynasty":54,"author":4992,"museum":300,"description":18894,"tags":90364,"thumbUrl":90365,"material":84,"size":84,"collection":84,"collections":90366,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238985,"shan-shui-ce-yang-jin-238985",[24,7,59,128,132,29,331,131,130,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb402a1992d698b79b96c5722c050d7f4.jpg",[],{"id":90368,"slug":90369,"title":40707,"dynasty":124,"author":82363,"museum":300,"description":82364,"tags":90370,"thumbUrl":90371,"material":692,"size":1293,"collection":84,"collections":90372,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},238937,"shan-shui-shan-zhang-feng-yi-238937",[1131,24,7,164,128,132,29,34,35,131,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d0bc4ab1ffca5a05ca10dadbb680563.jpg",[],{"id":90374,"slug":90375,"title":10742,"dynasty":54,"author":223,"museum":300,"description":90376,"tags":90377,"thumbUrl":90378,"material":692,"size":1293,"collection":84,"collections":90379,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238924,"qing-ren-mu-dan-pu-ce-yi-ming-238924","此作以没骨法晕染绘就，设色清润秀雅，将牡丹将绽未绽的柔媚生机尽数铺展。叶片以花青淡赭晕出明暗脉络，纤毫分明，带着春日舒展的柔嫩肌理。粉红斑驳的花苞娇憨饱满，半露的嫩蕊纤丝毕现，淡素底色更衬出花木的清灵鲜活。整幅不见浓艳堆砌，以温婉笔法勾勒出牡丹脱俗的柔姿，搭配边角古雅的寿字锦纹，更添沉静雅致的书卷意韵，将春日花卉的鲜活雅致凝于绢上，尽显清隽婉约的闲淡意趣。",[24,7,59,28,27,61,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F892cb153618963925d0d85cbeab08023.jpg",[],{"id":90381,"slug":90382,"title":55362,"dynasty":54,"author":646,"museum":300,"description":90383,"tags":90384,"thumbUrl":90388,"material":84,"size":84,"collection":84,"collections":90389,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238906,"fang-song-yuan-shan-shui-ce-dong-gao-238906","此作用笔清润淡远，以淡墨晕染出山林野居之境。层叠奇峰或峻削如戟，或浑厚苍莽，以宋元古法皴擦出山石肌理，古意盎然。\n\n水泽之畔，村居错落隐于茂林修竹间，草木俯仰生姿，尽显幽谧生机。滩头水榭凌波而立，一叶扁舟随波徐行，渔者垂坐船头，野逸闲淡的意趣扑面而来。\n\n画面以留白衬出水色空濛，不见浓墨重彩，只以简淡笔墨铺陈出萧散清远的林泉之境，将寄情山水的雅意藏于每一处勾勒晕染之中。",[24,7,59,128,132,29,11802,90385,2619,130,129,1351,69037,90386,90387],"茂林修竹","野逸闲淡","萧散清远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23dae855bd383daac77f5cf6c0db70c0.jpg",[],{"id":90391,"slug":90392,"title":31930,"dynasty":54,"author":223,"museum":300,"description":90393,"tags":90394,"thumbUrl":90395,"material":692,"size":1293,"collection":84,"collections":90396,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},238876,"qing-ren-shan-ba-la-wang-pu-sa-xiang-zhou-yi-ming-238876","主尊身披朱红织金宝衣，安坐雕花宝座之上，面容慈悲温煦，右手持法器，左握吐宝鼠，尽显财神的富足威严。\n\n画面以石青石绿晕染出悠远灵秀的雪域林峦，青白云气舒卷浮空，胁侍尊神乘云环绕左右，白象缓步、瑞花盛放，铺陈出祥瑞清宁的圣域图景。\n\n画师以传统藏地矿物颜料施色，色泽历久明艳饱和，严守藏传佛教造像仪轨之余，以细腻笔触刻画出衣袂纹理与神态细节，饱满构图层次分明，将护法尊神的庄肃和神域的灵逸完美相融，是藏传佛教绘画中兼具宗教法度与审美意趣的佳作。",[304,24,7,165,187,27,28,96,772,263,189,62,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5172ef98e731527d519bf4e5c566db31.jpg",[],{"id":90398,"slug":90399,"title":29144,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":90400,"thumbUrl":90401,"material":692,"size":1293,"collection":84,"collections":90402,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238803,"hua-hui-xiao-ce-dong-gao-238803",[24,7,59,28,27,61,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ba0fb5527736fd17f91db7cf18efcbd.jpg",[],{"id":90404,"slug":90405,"title":50822,"dynasty":54,"author":646,"museum":300,"description":90406,"tags":90407,"thumbUrl":90408,"material":84,"size":84,"collection":84,"collections":90409,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238776,"shan-shui-ren-wu-xiao-ce-dong-gao-238776","此作以浅绛设色绘秋山幽居，淡墨皴写山石肌理，短披麻皴勾勒出危崖层叠的苍劲朴拙。左侧溪岸蜿蜒，板桥通幽，山居掩映在丹枫翠柏间，丹红枝叶点染出浓浓秋意，与苔点青绿相映，明丽雅致又不失沉静。屋舍简淡古朴，暗合林泉隐士幽居的意趣。远景留白空灵，孤雁掠空，衬出秋山清远空寂。笔墨兼具元人秀逸与宋人丘壑苍浑，以简驭繁，将林泉高致融于尺幅间，笔意萧散简远，尽显静穆淡远的林下雅韵。",[24,7,59,27,128,132,29,96,34,131,35,209,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b654fd89750bc0d986c0b366bf894f6.jpg",[],{"id":90411,"slug":90412,"title":50822,"dynasty":54,"author":646,"museum":300,"description":90413,"tags":90414,"thumbUrl":90415,"material":84,"size":84,"collection":84,"collections":90416,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238774,"shan-shui-ren-wu-xiao-ce-dong-gao-238774","此作以淡设色绘就冬日乡景，枯木虬枝疏朗劲挺，淡墨晕开薄雾清寒。村道间行人往来，挑担赶路、呼伴闲行，更有群鸭嬉游，鲜活的市井烟火铺满乡路，左侧村居错落朴拙，右侧重楼临水静立，将野趣日常与雅致楼宇相映成趣。\n浅赭铺陈水岸村路，留白晕出空濛寒意，笔致细劲写实，人物衣袂鲜活灵动，老树苍古拙朴。把冬日元寂的郊野氛围，揉进温热的人间烟火，清雅题字与画面相融，尽显江南冬日里的闲淡温煦，藏着文人画里的诗意日常。",[24,7,59,27,29,96,97,1337,35,34,1023,758,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd376ac119c42d6991c1fcc9112b6c515.jpg",[],{"id":90418,"slug":90419,"title":50822,"dynasty":54,"author":646,"museum":300,"description":90420,"tags":90421,"thumbUrl":90422,"material":84,"size":84,"collection":84,"collections":90423,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238773,"shan-shui-ren-wu-xiao-ce-dong-gao-238773","此作以淡墨写就冬山清景，枯木虬枝交错横斜，枝头轻缀花萼似凝残雪，将冬末将醒的清寒尽数铺展。林畔茅舍隐于枝桠之后，一角檐宇晕着浅淡暖调，于冷寂山景中揉进细碎烟火暖意。\n\n留白作平湖寒波，愈发衬出山峦林木的空疏淡远。笔意清简秀润，淡墨晕染山石肌理，以极简笔墨勾勒出荒寒又暗含生息的幽寂意境，尽显文人画简淡天真的意趣，将冬日山野的疏旷闲静晕染得如诗如幻。",[24,7,59,128,27,132,29,96,1233,331,171,97,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbce2040900dbd46b6b00f543fc9ef3b.jpg",[],{"id":90425,"slug":90426,"title":50822,"dynasty":54,"author":646,"museum":300,"description":90427,"tags":90428,"thumbUrl":90429,"material":84,"size":84,"collection":84,"collections":90430,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238772,"shan-shui-ren-wu-xiao-ce-dong-gao-238772","此作以奇崛山石为骨架，留白虚写云气，虚实相映拉开空间层次。细笔勾勒山石肌理，以短皴复加点染，刻画出苍厚朴拙的质感。崖间点缀细碎丹叶，晕出清秋日色。左侧山道隐见行人，渺小身形衬出山岳雄奇，衬出林泉幽寂之境。\n\n淡墨轻晕山岚，空濛悠远，左上角题款小字融于画境，文气悠然。整体笔致松秀灵润，简淡清逸，将山林荒寒之美与幽居雅意相融，萧散意趣尽显，淡而有味，余韵悠长。",[24,7,59,128,27,132,29,96,171,34,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9f587cb90e7a12ac069befcffe5fbe5.jpg",[],{"id":90432,"slug":90433,"title":50822,"dynasty":54,"author":646,"museum":300,"description":90434,"tags":90435,"thumbUrl":90436,"material":84,"size":84,"collection":84,"collections":90437,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238770,"shan-shui-ren-wu-xiao-ce-dong-gao-238770","此作以淡墨轻皴铺陈秋意，左畔崖脚山居隐于霜林之中，几株杂木缀着残红，衬出萧疏况味，屋舍简雅素朴，石阶逶迤接向崖边，尽写林居幽寂。右侧以大片留白晕染江天浩渺，远山浅赭淡墨轻勾轮廓，朦胧清浅，江岸仅以数笔点染草木，虚实相生，将江天寥廓与山居静谧相融。\n\n整幅笔致松秀清润，不施浓艳重彩，以简淡之笔绘就秋日丘林江景，把文人幽居、寄情林泉的意趣藏于尺幅间，淡远清和，余韵悠然，尽显中式山水留白造境的精妙。",[164,24,7,59,128,27,132,29,96,34,131,3387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1e6c7f54f5bb400ebd68af0426f01fe.jpg",[],{"id":90439,"slug":90440,"title":50822,"dynasty":54,"author":646,"museum":300,"description":90441,"tags":90442,"thumbUrl":90443,"material":84,"size":84,"collection":84,"collections":90444,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238769,"shan-shui-ren-wu-xiao-ce-dong-gao-238769","此作以平远之态铺陈山水清韵，左幅水泽间花树错落，淡红点染在浅绿苇草间，漾开春日清灵。右侧山岩层叠，古木虬枝苍劲，新翠缀于老干，山坳茅亭隐现，留白晕作烟水，淡描远山虚实相生。\n\n笔墨秀润清逸，细笔勾形、淡墨轻皴，衬出山石林木温润质感，设色轻明净雅。题字清雅佐于左隅，与山水相映成趣，将江南山居的幽淡萧散融于尺幅，尽显文人画的简淡逸致，藏着春日山泽间的清和闲趣。",[24,7,59,27,128,132,29,96,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdddded9a6b257c621d37c456c0458d16.jpg",[],{"id":90446,"slug":90447,"title":46632,"dynasty":54,"author":23303,"museum":300,"description":90448,"tags":90449,"thumbUrl":90450,"material":84,"size":84,"collection":84,"collections":90451,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238767,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238767","此作用淡墨晕染出空濛水色天色，近处亭台错落虬枝苍劲，凭栏雅士静赏烟波，远景孤阁浮于浅渚，虚实相生，将咫尺画幅拉出悠远景深。\n\n笔墨清润秀雅，全以淡墨皴擦勾勒物象，不着浓艳却氤氲出江南水畔的静谧诗意。右侧题诗与画作呼应，诗画交融，把闲居寄情山水的雅趣娓娓道来，尽显文人画诗画合一的意境，淡而不寡，简中见雅，将林下幽居的恬然心境铺陈在尺幅之间。",[24,7,59,128,29,130,97,413,1314,231,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b6829138d75650b4323d6f7e0b2fe54.jpg",[],{"id":90453,"slug":90454,"title":46632,"dynasty":54,"author":23303,"museum":300,"description":90455,"tags":90456,"thumbUrl":90457,"material":84,"size":84,"collection":84,"collections":90458,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238766,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238766","此作截取庭院一角，素衫文士静立林间，半幅围墙圈住一方幽隅，虬枝错叶疏密有致。数只飞鸟或低空掠影，或振翼远去，为静谧小苑添了灵动生气。\n\n画面以淡墨轻勾慢染，笔致秀润简淡，不着浓艳色彩，将林泉闲居的清寂氛围感烘托尽致。左侧题诗与画境相映成趣，诗画合璧，把文人寄情丘山、澹泊自适的林下襟怀融于尺幅之中，萧散淡远，余韵悠然，尽显文人诗意画的雅致格调。",[24,7,59,128,27,96,34,211,171,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7508f2bcc3d467137ff4bbc1b416305e.jpg",[],{"id":90460,"slug":90461,"title":46632,"dynasty":54,"author":23303,"museum":300,"description":90462,"tags":90463,"thumbUrl":90464,"material":84,"size":84,"collection":84,"collections":90465,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238763,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238763","此作诗画合璧，淡墨轻晕间尽显雅逸之致。近景庭院里，古木虬枝旁立着玲珑湖石，屋舍隐于翠色间，白衣文士徐行其间，似正沉醉林泉幽意。远景烟波澹澹，汀渚之上楼阁隐现于薄雾中，咫尺画幅铺展出悠远空寂的意境。\n笔致清润温婉，以极简的水墨皴擦勾勒物象，褪去浓艳，以淡素色调烘托出疏旷闲雅的氛围。书法与绘境相互呼应，将诗文里林下悠游的诗意凝注于画面，把文人闲居赏景的澹然心境具象展现，诗画相映，尽显中式水墨含蓄隽永的独特意趣。",[24,7,59,128,27,29,130,97,96,34,131,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc16c16111bf4f1c7e459eab1e241f936.jpg",[],{"id":90467,"slug":90468,"title":46632,"dynasty":54,"author":23303,"museum":300,"description":90469,"tags":90470,"thumbUrl":90471,"material":84,"size":84,"collection":84,"collections":90472,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238761,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238761","此作用淡墨晕染出悠远空濛的云山，山峦以简淡皴笔轻勾慢写，烟岚隐现，恍若世外丘壑。近景苍木环合，山居掩映林麓间，屋中幽人凭窗凝思，尽显林下幽居的闲静意趣。\n题诗朱印错落排布，诗画交融互衬，笔墨清润秀雅，褪去浓艳重彩，以萧散简淡的笔致，勾勒出文人理想中的幽栖之境，将沉静淡远的林下雅趣融在山水方寸间，尽显雅致平和的文人画韵致。",[24,7,59,128,132,133,208,29,413,35,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1c7a4b6f5671e6fabc2aa9220bfad07.jpg",[],{"id":90474,"slug":90475,"title":46632,"dynasty":54,"author":23303,"museum":300,"description":90476,"tags":90477,"thumbUrl":90478,"material":84,"size":84,"collection":84,"collections":90479,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238759,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238759","此作用笔秀润清和，以虚实相生之构，铺展幽澹山居之境。近景林木蓊郁，掩映雅居，凭窗文士幽坐观览，皴擦简淡却将苍润意态尽数带出，屋舍回廊雅致合宜，尽显林泉雅趣。远景留白作水，浅渚孤楼仅以简笔勾勒，点苔缀草便生出空濛远意。\n\n左侧题诗与画面呼应，诗画相融，将文人寄情山水、静享幽居的澹泊心境铺陈开来。淡墨轻岚间，不见浓丽敷色，却以极简水墨层次晕染出东方隐逸美学的极致，清逸温婉的气韵里，尽显天人合一的山居雅思。",[24,7,59,128,29,130,97,34,131,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7856fd13f3cee1a5261aaab7aa5a33b4.jpg",[],{"id":90481,"slug":90482,"title":46632,"dynasty":54,"author":23303,"museum":300,"description":90483,"tags":90484,"thumbUrl":90485,"material":84,"size":84,"collection":84,"collections":90486,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238757,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238757","此作用平远与深远构图相融，右侧层峦叠嶂，林木蓊郁苍润，以干笔皴擦勾勒山石肌理，兼具苍劲秀润之致；左侧汀洲延展，板桥轻架水面，亭台隐于烟柳间，晕染出江南水畔的空濛淡远。\n\n笔墨松灵厚重兼具，以水墨晕染铺就清和底色，将山林沉静与水乡温婉相融。题诗与绘景呼应，把观景抒怀的雅致心绪藏于尺幅间，尽显冲淡平和的文人意趣，铺展出悠然古雅的古典山水意境。",[24,7,59,128,29,97,98,99,130,34,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf66004e493c9b8ba5dce33cf664e8b8.jpg",[],{"id":90488,"slug":90489,"title":46632,"dynasty":54,"author":23303,"museum":300,"description":90490,"tags":90491,"thumbUrl":90492,"material":84,"size":84,"collection":84,"collections":90493,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238755,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238755","此作以淡墨皴擦晕染水岸山居，近景坡陀嘉木葱茏，茅舍内人影对坐闲话，尽显幽居自适之趣。远山含烟隐现，汀渚横斜，水色空濛，平远清旷的山水意境铺陈开来。\n笔墨清隽秀润，兼具元人山水的萧散简淡与院体的精工雅致，凭极简的墨色层次晕出空寂悠远氛围感，将诗句中的林泉高致具象化，尽显文人心底的幽居雅怀，是融诗画意境的佳构。",[24,7,59,128,29,35,34,131,415,64,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13242d5be428ecfddb3f0585f68b615c.jpg",[],{"id":90495,"slug":90496,"title":46632,"dynasty":54,"author":23303,"museum":300,"description":90497,"tags":90498,"thumbUrl":90499,"material":84,"size":84,"collection":84,"collections":90500,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238751,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238751","此作用淡墨轻皴绘就村居春景，将耕稼闲居合为一卷。左侧田埂蜿蜒，农人驱牛犁地，远山以淡墨晕染留白，烟岚轻笼，野趣盎然。右侧柴扉半启，稚子倚门，幽柳下士人凭立，望向乡居屋舍，屋内人影隐约，尽显村居松弛安然。\n\n全画笔墨秀润清简，设色素净无华，题诗与绘景相映，将春日耕忙与林下闲思相融，铺展出平和冲淡的太平村居图，尽显文人心中的田园雅意，淡而有味，余韵悠长。",[24,7,59,128,27,29,96,102,98,331,99,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ecabb437ecea08ed69a8f675f78b324.jpg",[],{"id":90502,"slug":90503,"title":46632,"dynasty":54,"author":23303,"museum":300,"description":90504,"tags":90505,"thumbUrl":90506,"material":84,"size":84,"collection":84,"collections":90507,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238744,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238744","此作以淡墨勾勒皴擦，笔墨清润秀雅。左侧山居被林木山石环合掩映，草舍之内幽人凭窗闲坐，僮仆垂立阶前，处处流露着松弛安然的乡居意绪。右侧江面铺陈开来，水天融成一色，淡远空濛。\n\n诗页与画幅比邻而置，行书题笔墨韵隽秀，将林泉高致的隐逸心境铺陈开来。画里山居的幽寂，和江景的澹远融为一体，把文人寄情林泉、静享闲逸的意趣具象展现，诗画相映，尽显中式文人澹泊出尘的林下襟怀。",[24,7,59,128,29,130,34,96,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9326cd1b7f0e29db220bf205e72deb74.jpg",[],{"id":90509,"slug":90510,"title":46632,"dynasty":54,"author":23303,"museum":300,"description":90511,"tags":90512,"thumbUrl":90513,"material":84,"size":84,"collection":84,"collections":90514,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238742,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238742","此作诗画合璧，右侧绘平远村居之景，柴篱小院掩映于茂林之间，两位老翁当门揖晤，田埂层叠延展，远山淡抹含烟，整体氛围疏澹宁和。笔墨清润简淡，以干笔皴擦写坡石田垄，林木苍秀朴拙，远山晕染轻浅，尽显田园闲逸之致。\n\n左侧行书题诗笔致秀雅，与画面呼应，将诗文里的归居之思具象铺陈。整幅以简净笔墨勾勒出文人心目中的乡居雅趣，萧散简远，意韵悠长，把幽淡平和的村居之乐藏入尺幅之间，尽显中式山水的写意风神。",[24,7,59,128,29,96,34,35,76347,415,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc88c921fee40b0ce3d7157e15c49a5c5.jpg",[],{"id":90516,"slug":90517,"title":46632,"dynasty":54,"author":23303,"museum":300,"description":90518,"tags":90519,"thumbUrl":90520,"material":84,"size":84,"collection":84,"collections":90521,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238741,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238741","这幅山水小品以淡墨晕染出空濛烟岚，远山如黛，含露带雾。临河村居疏朗错落，屋中宾主围坐闲话，溪上架木桥通幽，近岸嘉木扶疏，水色清浅映带林峦。\n笔墨简淡秀润，以干皴轻写山形，不着浓艳敷色，尽显萧散简远之趣。将幽居闲雅的诗意融于烟水村居间，疏密得宜的构图里，平和悠然的林下之致扑面而来，是诗画相映的佳制，把闲居寄兴的意韵化作了眼前静谧清远的江南村居图景。",[24,7,59,128,132,29,98,99,34,35,415,208,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad9bbb3fb5b2e5f9f373542fc3f5816f.jpg",[],{"id":90523,"slug":90524,"title":46632,"dynasty":54,"author":23303,"museum":300,"description":90525,"tags":90526,"thumbUrl":90527,"material":84,"size":84,"collection":84,"collections":90528,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238737,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238737","此作以郊野饯别入画，淡墨绘就柳丝依依，荒坡浅溪蜿蜒迤逦。主客对揖作别，侍童牵马静立旁侧，萧疏景致暗合离人愁绪。线条清隽秀雅，皴擦简淡空灵，以水墨晕染出春日郊野的柔寂氛围。搭配题诗与朱红印章，诗画相映，将古人惜别心绪融于笔底。整幅书卷盎然，雅致清和，以极简笔墨烘托出缱绻离情，尽显含蓄韵致，淡远中藏着深长的送别意趣。",[24,7,59,188,128,96,101,413,131,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b1102aa8993808b49edb1f67b105d02.jpg",[],{"id":90530,"slug":90531,"title":35019,"dynasty":54,"author":23303,"museum":300,"description":90532,"tags":90533,"thumbUrl":90534,"material":84,"size":84,"collection":84,"collections":90535,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238729,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238729","此作为诗画合璧，左书右绘。书法笔致清隽，寄怀别绪。画面以淡墨铺陈，春柳垂丝轻拂岸渚，江波澹澹远景空濛，晕染出缱绻怅惘的送别氛围。\n\n驿卒牵马侍立，友人执手揖别，人物衣纹以铁线描勾勒，简练挺括，将离情藏于无言的仪态间。通幅不施重彩，留白衬出别意悠长，笔墨秀润简淡，将古典送别诗的含蓄况味融于方寸，于简净之中见深情，平淡笔墨里尽显雅致文心，把黯然销魂的离别意绪，化作具象悠远的画中意境。",[24,7,59,188,128,96,101,4363,331,97,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6190c8367222c6b72051a5edd0966b90.jpg",[],{"id":90537,"slug":90538,"title":35019,"dynasty":54,"author":23303,"museum":300,"description":90539,"tags":90540,"thumbUrl":90541,"material":84,"size":84,"collection":84,"collections":90542,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238726,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238726","此作用笔简淡清逸，亭轩栖于林石之间，主人凭窗凝坐，静览周遭山色。古木虬曲苍劲，坡石隐现错落，衬出幽庭清寂安闲。屋宇勾勒工稳细致，山石林木以干笔皴擦，笔墨松秀空灵，尽显文人雅淡之趣。右上角题诗与画面相映成趣，将闲居幽赏的文愫融于水墨之中，诗画相生，把林下栖迟的静穆意境烘托恰到好处，传递出冲淡安和的古典文人心境。",[24,7,59,128,132,96,97,29,413,171,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F261eeaf85c4400f3618fb4ca3bd1de65.jpg",[],{"id":90544,"slug":90545,"title":35019,"dynasty":54,"author":23303,"museum":300,"description":90546,"tags":90547,"thumbUrl":90548,"material":84,"size":84,"collection":84,"collections":90549,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238722,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238722","平坡之上三人意态悠然，静立者垂眸凝思，二人或蹲坐、或俯身拨弄草木，共赏林中山趣。周遭虬曲嘉木与错落山石相映，以清润水墨晕染出苍润质感，林木萧疏清逸，笔墨写意简练。诗画相映成趣，将文人情思寄寓林泉丘壑，把诗意具象为林下幽景，勾勒出超然尘外的雅集之境，传递出静穆淡远的隐逸意趣，尽显文人画诗画合璧的悠然格调。",[24,7,59,128,28,96,29,34,131,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3fbc3c6b2089ae3c5c0e7c85670bd00.jpg",[],{"id":90551,"slug":90552,"title":35019,"dynasty":54,"author":23303,"museum":300,"description":90553,"tags":90554,"thumbUrl":90555,"material":84,"size":84,"collection":84,"collections":90556,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238714,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238714","此作诗画合璧，以淡墨晕染出春郊清和景致，柳丝拂岸，丘坡温润朴拙，右侧谯楼静立城隅，尽显古雅意趣。鞍上长者意态萧散，侍仆恭谨相随，人物衣纹简括灵动，将古风雅游的悠然意韵尽显。行书题诗笔致舒展俊逸，与水墨景致相得益彰，极简笔墨勾勒出悠远古意，将咏怀寄思的雅致心境融于尺幅之间，诗画相生相融，淡远清疏的意境里，藏着怀古抒情的悠悠余韵，尽显文人雅逸的审美意趣。",[24,7,59,128,27,96,101,97,34,131,690,64,133,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c38266c3dc0949230b1a13c7c2e3e2.jpg",[],{"id":90558,"slug":90559,"title":35019,"dynasty":54,"author":23303,"museum":300,"description":90560,"tags":90561,"thumbUrl":90562,"material":84,"size":84,"collection":84,"collections":90563,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238712,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238712","此作用对开铺展意境，左幅题诗配远山村居，右幅尽绘仙山胜境。以淡墨皴擦山石，笔致清劲松秀，虬松古拙苍劲，楼阁界画工细规整，写意笔墨与院体精谨相融。白衣山人凭崖拱手，遥对山巅仙者揖拜，流云轻绕丹台琼宇，烟岚晕染出空濛仙气，将诗中寻仙问道的清虚意涵具象化。整体画风简淡沉静，把诗文里的仙家秘境遐想，化作可赏的世外山水图景，诗画合璧，尽显清寂出尘的林下仙风。",[24,7,59,128,29,97,96,34,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa64180627a3af13e05ff0eeeb5b8594b.jpg",[],{"id":90565,"slug":90566,"title":35019,"dynasty":54,"author":23303,"museum":300,"description":90567,"tags":90568,"thumbUrl":90569,"material":84,"size":84,"collection":84,"collections":90570,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238710,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238710","以淡墨皴擦晕出清润底色，线条秀雅劲挺，勾勒出土筑城楼、错落村舍与层叠田垄。城楼上士人凭栏远眺，乡野间农夫驱牛耕作，柴扉半掩的村舍隐在疏林之中，淡远烟岚晕开山野轮廓。诗画相生相融，将仕宦闲情与耕读野趣揉为一处，笔意兼具整饬雅致与文人逸韵，铺展出太平乡居的安和图景，晕染出中式文人心中的隐逸悠然意趣。",[24,7,59,188,128,96,97,29,34,35,101,13640],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bb97338ef48cfb16c2566c974c93e60.jpg",[],{"id":90572,"slug":90573,"title":409,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":90574,"thumbUrl":90575,"material":692,"size":1293,"collection":84,"collections":90576,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},238674,"shan-shui-ce-dong-bang-da-238674",[24,7,128,132,59,29,1144,30,495,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff0bfcc71ea8b9701792dcbe5c2294a9.jpg",[],{"id":90578,"slug":90579,"title":409,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":90580,"thumbUrl":90581,"material":692,"size":1293,"collection":84,"collections":90582,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},238670,"shan-shui-ce-dong-bang-da-238670",[24,7,128,59,29,34,35,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfbee73f1b0d24956f9a936ac3cd790b.jpg",[],{"id":90584,"slug":90585,"title":409,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":90586,"thumbUrl":90587,"material":84,"size":84,"collection":84,"collections":90588,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},238668,"shan-shui-ce-dong-bang-da-238668",[164,24,7,59,128,132,29,130,171,34,415,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2d80abb9728ca904e08699490ed3127.jpg",[],{"id":90590,"slug":90591,"title":33757,"dynasty":54,"author":223,"museum":300,"description":90592,"tags":90593,"thumbUrl":90594,"material":84,"size":84,"collection":84,"collections":90595,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238661,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238661","本作属铜版纪实战图，以全景铺陈战事凯旋的盛大图景。右上御题诗文彰显军功赫赫，左侧关隘要塞人马攒动，尽显战后班师的忙碌荣归；右侧阵列齐整的官兵踏山而来，鞍马齐整、士气昂扬。\n\n以硬朗精准的线条勾勒出层叠山峦与关隘城防，细腻刀工复刻出山石肌理与行军阵列，中西技法相融，既如实还原了平疆战事的恢弘实况，也暗藏宣扬王朝武功的意涵。画面将凯旋的肃穆昂扬与战地山川的苍劲厚重交织，写实之中带着庄重的纪念性，是清代纪实战阵图的上乘之作。",[164,24,7,28,128,95,59,132,304,96,101,29,97,98,31,131,34,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21518810a7ad247a1e956fc7a658f2a5.jpg",[],{"id":90597,"slug":90598,"title":90599,"dynasty":54,"author":223,"museum":300,"description":90600,"tags":90601,"thumbUrl":90602,"material":692,"size":1293,"collection":68,"collections":90603,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238579,"qing-ren-lie-quan-tu-ce-yi-ming-238579","清人猎犬图册","寒林雪色清寂，冷月斜挂枯梢。玄色猎犬肌理劲健，四蹄腾空，叼获猎物疾奔而去，将猛犬矫捷悍勇之姿刻画得淋漓尽致，灵动生机呼之欲出。左侧行书笔力清劲，文辞与绘作呼应，详述猎犬忠勇机敏之性。整作工写相宜，设色淡逸清润，将郊野荒寒的冬日氛围与猛犬骁悍相融，形神兼备，兼具画意与文趣，是意韵古雅的精妙小品。",[24,7,59,27,28,949,1337,17726,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd063d5f5877f80773be44f4409964346.jpg",[68,45],{"id":90605,"slug":90606,"title":45483,"dynasty":54,"author":223,"museum":300,"description":90607,"tags":90608,"thumbUrl":90609,"material":84,"size":84,"collection":84,"collections":90610,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238548,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-yi-ming-238548","此作为书画合璧，右幅设色场景界画工稳，古松虬曲苍劲，楼阁层叠雅致。人马仪仗井然有序，人物神态恭谨端肃，细腻还原汉高帝祀圣的庄重场面，古雅色调烘托出肃穆的礼制氛围。左幅行书笔致舒展俊朗，墨韵流畅雅致，文辞追述高祖祀孔典故，图文相得益彰。整体工致清雅，将史事铺陈与翰墨意韵相融，既有纪实叙事的厚重感，又兼具文雅悠远的书卷气，尽显尊儒重道的内核与古典雅致的审美意趣。",[304,7,59,133,27,28,96,97,34,101,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe167245fff3a5d53827667e8b6588bb3.jpg",[],{"id":90612,"slug":90613,"title":45490,"dynasty":54,"author":14022,"museum":300,"description":40657,"tags":90614,"thumbUrl":90615,"material":692,"size":1293,"collection":84,"collections":90616,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238542,"hua-shou-pu-ce-yu-sheng-238542",[24,7,59,27,28,949,29,497,99,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1db720051215257bcef81ae67b3c1c94.jpg",[],{"id":90618,"slug":90619,"title":46640,"dynasty":54,"author":675,"museum":300,"description":90620,"tags":90621,"thumbUrl":90622,"material":84,"size":84,"collection":84,"collections":90623,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},238533,"shan-shui-xiao-ce-qian-wei-cheng-238533","近渚浅滩遍生细草芦苇，几株老树错落排布，垂柳柔丝垂拂水面，枯木虬曲苍劲，侧旁小树抽萌新枝。林舍隐于林木之后，有人群围聚，晕开日常乡居烟火。淡墨晕染开薄霭云烟，漫过水村林梢，晕出空濛柔润的诗意。\n\n笔墨秀雅清润，以简淡设色勾勒江南水乡温润意趣，构图疏密相宜，将郊野水村的恬然静谧铺展于尺幅间。未作繁复皴擦，却把春日水乡的柔婉生机与村居烟火气相融，尽显文人水墨的写意雅致，悠悠乡野之趣淡而绵长。",[24,7,59,27,29,132,413,97,99,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80458ac29d641846f447fde997e9dbaa.jpg",[],{"id":90625,"slug":90626,"title":46640,"dynasty":54,"author":675,"museum":300,"description":90627,"tags":90628,"thumbUrl":90629,"material":84,"size":84,"collection":84,"collections":90630,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238532,"shan-shui-xiao-ce-qian-wei-cheng-238532","此作以淡墨晕开冬日荒寒之境。坡岸巨石敦厚朴拙，干笔皴擦勾勒肌理，尽显嶙峋苍劲。几株枯木虬曲错立，枝桠疏朗舒展，留白处晕开清寂萧寒。侧畔细竹伶仃探立，一点生机揉碎冷意。远景平岗淡染如烟，以留白代浩渺水色，铺展出空蒙江天。\n\n笔墨简淡清隽，以虚写实，寥寥数笔便将江野疏旷冷逸尽显。笔意松秀沉静，萧索之中藏着澹泊文心，以简驭繁，把幽寂淡远的林下之思融在尺幅之间，尽显文人山水小品的雅致空灵。",[24,7,59,128,29,171,1337,167,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bfea9c680036f8238928879145b5857.jpg",[],{"id":90632,"slug":90633,"title":46640,"dynasty":54,"author":675,"museum":300,"description":11658,"tags":90634,"thumbUrl":90635,"material":84,"size":84,"collection":84,"collections":90636,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238523,"shan-shui-xiao-ce-qian-wei-cheng-238523",[24,7,59,128,132,29,98,34,131,99,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ae25243995859bfe1b4a03fd7cc7351.jpg",[],{"id":90638,"slug":90639,"title":46640,"dynasty":54,"author":675,"museum":300,"description":11658,"tags":90640,"thumbUrl":90641,"material":84,"size":84,"collection":84,"collections":90642,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238522,"shan-shui-xiao-ce-qian-wei-cheng-238522",[24,7,128,59,132,133,64,29,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef3c3897e70a66417d3cc912dde3cc4f.jpg",[],{"id":90644,"slug":90645,"title":46640,"dynasty":54,"author":675,"museum":300,"description":11658,"tags":90646,"thumbUrl":90647,"material":84,"size":84,"collection":84,"collections":90648,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238520,"shan-shui-xiao-ce-qian-wei-cheng-238520",[24,7,59,128,132,208,29,1233,331,171,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83a3df877634e15ec7163e5760b9aa6e.jpg",[],{"id":90650,"slug":90651,"title":46640,"dynasty":54,"author":675,"museum":300,"description":11658,"tags":90652,"thumbUrl":90653,"material":84,"size":84,"collection":84,"collections":90654,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238519,"shan-shui-xiao-ce-qian-wei-cheng-238519",[24,7,59,128,132,29,413,37,415,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd33f3b8e676688e5b76dfddad760d1d9.jpg",[],{"id":90656,"slug":90657,"title":4071,"dynasty":54,"author":29297,"museum":300,"description":55182,"tags":90658,"thumbUrl":90659,"material":692,"size":1293,"collection":84,"collections":90660,"showCount":1086,"zanCount":1998,"manualWeight":48,"mainColor":49},238493,"hua-hui-tu-ce-jiang-pu-238493",[24,7,59,27,61,209,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc67eed7626006476e6e20e4ce531f7a3.jpg",[],{"id":90662,"slug":90663,"title":4071,"dynasty":54,"author":29297,"museum":300,"description":55182,"tags":90664,"thumbUrl":90665,"material":692,"size":1293,"collection":84,"collections":90666,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238488,"hua-hui-tu-ce-jiang-pu-238488",[24,7,59,28,27,61,62,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee7e3e0b4f1da9cf3bd6ca4062b92cac.jpg",[],{"id":90668,"slug":90669,"title":15896,"dynasty":54,"author":6376,"museum":300,"description":27132,"tags":90670,"thumbUrl":90674,"material":692,"size":1293,"collection":84,"collections":90675,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238442,"geng-zhi-tu-ce-mian-yi-238442",[24,7,59,27,28,96,102,13640,34,35,99,90671,34836,53819,90672,2218,63985,2510,387,22405,90673,3847],"家禽","耕作场景","犁具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52cfda1f0f66825fc704a39541b1935a.jpg",[],{"id":90677,"slug":90678,"title":15896,"dynasty":54,"author":6376,"museum":300,"description":27132,"tags":90679,"thumbUrl":90680,"material":692,"size":1293,"collection":84,"collections":90681,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238441,"geng-zhi-tu-ce-mian-yi-238441",[24,7,59,28,27,96,130,97,34,99,166,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F408515db54e90680fe375e558b46f014.jpg",[],{"id":90683,"slug":90684,"title":15896,"dynasty":54,"author":6376,"museum":300,"description":27132,"tags":90685,"thumbUrl":90686,"material":692,"size":1293,"collection":84,"collections":90687,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238436,"geng-zhi-tu-ce-mian-yi-238436",[24,7,59,27,28,96,35,34,66620,16670],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F947abb935031a20b346b9d4956677724.jpg",[],{"id":90689,"slug":90690,"title":15896,"dynasty":54,"author":6376,"museum":300,"description":90691,"tags":90692,"thumbUrl":90694,"material":84,"size":84,"collection":84,"collections":90695,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238434,"geng-zhi-tu-ce-mian-yi-238434","这幅淡彩小卷以散点构图铺展村居日常，清润柔和的设色晕开乡野温情。左侧竹篱围合的小屋内，二人正忙碌备事，烟火气漫出檐下；右侧草舍前三人俯身行礼，尽显乡邻往来间的古朴礼俗。\n\n笔意温婉细腻，屋舍朴拙清雅，草木轻敷淡彩，没有繁复刻画，却将农耕乡里的平和日常勾勒入心。把世俗烟火的细碎温情融在浅描淡绘中，晕开中式田园独有的悠然意趣，将旧时村居的静好模样定格在卷间。",[164,24,7,59,27,96,387,666,210,15899,90693],"礼俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b28217377a4e8433071ad2ce0c5845f.jpg",[],{"id":90697,"slug":90698,"title":69399,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":90699,"thumbUrl":90700,"material":692,"size":1293,"collection":84,"collections":90701,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238424,"dong-gao-li-gu-ying-chun-tu-xiao-ce-dong-gao-238424",[24,7,59,27,28,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa08495d32adf3dffe82516e57d8a660e.jpg",[],{"id":90703,"slug":90704,"title":41582,"dynasty":54,"author":41583,"museum":300,"description":90705,"tags":90706,"thumbUrl":90707,"material":84,"size":84,"collection":84,"collections":90708,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238253,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238253","此作绘就秋晓清景，晓月初悬远空，薄雾柔化山棱，永定河如素练蜿蜒铺展，石桥静卧河面，桥畔村舍错落、林树疏朗。晨霭晕开天地边界，将清寂秋意漫染四方。浅淡赭石晕染坡岸，轻墨勾绘林木屋舍，不作繁冗皴擦，却将平远之境铺陈得悠远空寂。\n\n右侧题诗笔意秀雅舒展，诗画相映，把客行早发的羁旅清怀融进烟水晓色中。整体设色明净清润，淡远间藏着细腻意趣，将朝暾初露时的薄寒意韵，与题诗中的早行情致合为一体，尽显文人画雅致清寂的韵致。",[24,7,59,27,95,133,208,29,98,99,35,34,415,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd353f4e0eef594e7649adc21cf5ff24c.jpg",[],{"id":90710,"slug":90711,"title":41582,"dynasty":54,"author":41583,"museum":300,"description":90712,"tags":90713,"thumbUrl":90714,"material":84,"size":84,"collection":84,"collections":90715,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238251,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238251","淡墨晕开远近层叠的山峦，烟岚轻笼林麓村居，田埂蜿蜒铺展在浅淡春色里，平远山水的空濛写意尽显无余。简淡清润的笔墨，未作繁复皴擦，却将郊野朝暮的闲逸野趣勾勒入微，仿佛晨雾漫过松梢，裹着浅淡烟火漫溢故城荒台。\n\n右侧题诗与画作相映成趣，诗画合璧间，把此间的幽远清旷藏在留白之中，观之便好似身临其间，静赏烟霭浮沉，漫品古意澹泊的悠然况味。",[24,7,59,128,133,132,27,29,663,34,35,1023,664,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56c560aa45220e40da3bd29e71e8298a.jpg",[],{"id":90717,"slug":90718,"title":25438,"dynasty":54,"author":25439,"museum":300,"description":90719,"tags":90720,"thumbUrl":90721,"material":84,"size":84,"collection":84,"collections":90722,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238223,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238223","此作以诗画合璧尽显文人意趣。右侧绘就溪岸春景，上部烟柳疏朗映带茅亭，下部浅滩错落，杂树生姿，留白铺就空濛淡远的水乡氛围，笔墨清润秀雅，以干淡之墨轻皴慢染，晕染出江南春日温婉闲静的悠悠况味。\n\n左侧题咏诗文与画面呼应，笔意萧散俊朗，文墨相生，将春日溪亭的幽寂闲情尽数铺陈，带着含蓄古雅的书卷气，把文人寄情山水的雅趣融于尺幅之间，静谧悠然，余韵悠长。",[24,7,59,128,29,133,208,132,413,2372,130,229,23873,415,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb760a72235c209c2457aa958655b8ec5.jpg",[],{"id":90724,"slug":90725,"title":409,"dynasty":54,"author":3437,"museum":300,"description":90726,"tags":90727,"thumbUrl":90728,"material":84,"size":84,"collection":84,"collections":90729,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238203,"shan-shui-ce-tang-dai-238203","此作绘江南早春胜景，烟波漾漾间，岸柳垂丝、桃花灼艳，村居错落隐在烟林之中，远山含黛如螺，汀上渔舟轻泛，处处漫着融融春意。设色柔丽清雅，浅绛晕染山峦，青绿点饰草木，笔致秀润苍雅，构图疏朗舒逸。\n左侧题诗与画境呼应，笔墨端秀，诗画合璧，将春日湖山的温柔生机铺陈开来，尽显文人画闲适淡远的意趣，把东风暖遍青芜的诗意具象成缱绻春景，淡冶雅致中藏着沉静的笔墨韵致，写尽江南春朝的温润明媚。",[24,7,59,27,132,29,4363,209,98,35,1743,34,3847,415,7782,499,13438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd13998ad4effe87246a6b48492d2dc99.jpg",[],{"id":90731,"slug":90732,"title":409,"dynasty":54,"author":3437,"museum":300,"description":90733,"tags":90734,"thumbUrl":90735,"material":84,"size":84,"collection":84,"collections":90736,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238201,"shan-shui-ce-tang-dai-238201","此帧取晨霁之景，青峰叠翠浸润晓雾，烟岚轻笼溪山，山脚林木蓊郁，水榭藏于幽居，汀洲隐现渡头，一派清润空寂的山居气象。设色雅致柔和，石青石绿晕染山峦，兼青绿之明妍与浅绛之温润，笔墨糅合元人萧散简远与院体精整工致。左侧题诗与画境呼应，将辋川闲意融于笔端，写尽朝露沐山、凉风穿榭的幽居意趣，诗画一体，淡远清和，尽显静穆高逸的林下之风，铺陈出烟雨初歇的溪山雅态。",[24,7,27,29,572,132,663,228,34,97,37,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cce957f30ebbf222781052b82b587e1.jpg",[],{"id":90738,"slug":90739,"title":409,"dynasty":54,"author":3437,"museum":300,"description":90740,"tags":90741,"thumbUrl":90742,"material":84,"size":84,"collection":84,"collections":90743,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238199,"shan-shui-ce-tang-dai-238199","浅绛皴擦出岩壑肌理，重林沉凝在清霭之间，风神疏旷悠然。飞瀑高悬如匹练垂空，将春山的生机揉进空蒙雾气中。浓荫深掩孤村柴扉，静锁山居闲逸意趣。峰腰苔痕青润，危崖草亭孑立，似候访客寻幽踏春，探问山灵私语。\n\n诗画相映成趣，笔致苍秀兼备，淡设晕染出春日山乡的清和幽寂，将林泉高致藏于尺幅间，观之恍若步入云深之处，揽烟霞、听流泉，尽得林泉雅韵。",[24,7,27,132,59,29,663,1314,34,35,98,99,664,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5dcc4abf16f05eceec82252ed998da1.jpg",[],{"id":90745,"slug":90746,"title":409,"dynasty":54,"author":3437,"museum":300,"description":90747,"tags":90748,"thumbUrl":90749,"material":84,"size":84,"collection":84,"collections":90750,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238194,"shan-shui-ce-tang-dai-238194","此页诗画合璧，尽显林泉幽致。近处崖石隐现，杂木萧疏挺秀，村居藏于浓荫之间，野水萦回蜿蜒，远山以淡墨晕染，晕开空濛秋容。\n\n笔墨温润秀雅，干笔皴擦写出崖石苍朴质感，林木勾勒简净有致，淡墨轻施铺展悠远平阔的水色天光。一旁楷书诗作与画意呼应，淡扫林橫野水，苔石覆古藓，将幽绝尘喧的山居意趣铺陈开来，笔意清和，意境寂然，尽显幽栖深谷、远避尘嚣的林下高致。",[24,128,132,7,59,29,131,34,1337,415,1023,35,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94898f64c5db988d8c972424e0eae704.jpg",[],{"id":90752,"slug":90753,"title":409,"dynasty":54,"author":30880,"museum":300,"description":90754,"tags":90755,"thumbUrl":90756,"material":84,"size":84,"collection":84,"collections":90757,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238158,"shan-shui-ce-yun-xi-238158","此作用笔简淡秀雅，枯笔勾勒山石轮廓，略施皴擦便尽显崖壁嶙峋之态。一江春水空濛辽远，远山晕染出清旷虚灵之境，近岸竹树错落、茅舍隐于石畔，将幽居野逸的林下意趣藏于尺幅间。\n\n搭配行书题诗，笔墨俊逸萧散，诗画呼应，把林泉高致的雅趣融于纸间。整体简而不空、淡而有味，尽显静穆淡远的文人山水意韵，藏着文人寄情丘壑、静享林幽的雅怀。",[24,7,59,128,29,131,34,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ad12cf9ac6d401f476427c2bee4913.jpg",[],{"id":90759,"slug":90760,"title":409,"dynasty":54,"author":30880,"museum":300,"description":90761,"tags":90762,"thumbUrl":90763,"material":84,"size":84,"collection":84,"collections":90764,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238155,"shan-shui-ce-yun-xi-238155","此作用淡墨勾勒尖削峰林，以留白晕染雪意，群峰莹白清寒，如被素雪裹覆。山坳板桥茅舍隐现，枯木疏枝错落溪岸，寒水无波，处处漫着冬日的清寂萧疏。\n\n笔墨极简却意韵悠长，以劲爽线条勾勒山石肌理，淡墨皴擦写出雪中山峦的苍润质感，不着粉白却尽显冬山素净。搭配左侧题诗，诗书相映，将林下幽居的出世雅趣融在尺幅之间，借清冷冬景寄寓超脱孤高的文人襟怀，淡远空寂中藏着静谧禅意。",[24,7,59,128,132,64,133,208,29,98,99,97,131,1337,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99ee8007cd6cbc51f1607ef9f15f0123.jpg",[],{"id":90766,"slug":90767,"title":409,"dynasty":54,"author":30880,"museum":300,"description":90768,"tags":90769,"thumbUrl":90770,"material":84,"size":84,"collection":84,"collections":90771,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238150,"shan-shui-ce-yun-xi-238150","此作半幅绘汀洲水村，丘峦错落逶迤，洲渚萦回水畔，村舍隐于茂林浅岸间。笔墨秀润清和，淡赭轻墨晕染出空濛烟水，浅淡设色衬出草木温润生机，尽显静穆悠远的山居雅韵。\n另一侧题以行书诗句，笔致俊逸舒展，诗画呼应，将林泉幽意与文人情思相融。整幅疏密相宜，抛却繁复刻绘，以极简之笔勾勒出萧散清旷的山水意境，藏着文人寄情丘壑的澹然襟怀。",[24,7,59,27,29,133,208,132,98,99,34,131,97,415,7782,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24ca3093fbc2bc3b2ed6fa2df9b8fbf5.jpg",[],{"id":90773,"slug":90774,"title":49513,"dynasty":54,"author":33019,"museum":300,"description":33020,"tags":90775,"thumbUrl":90776,"material":84,"size":84,"collection":84,"collections":90777,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238101,"hong-wu-shan-shui-ce-hong-wu-238101",[24,7,59,27,29,132,98,99,130,34,131,208,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f76534a332e17a5ee0c2eb513ab3876.jpg",[],{"id":90779,"slug":90780,"title":409,"dynasty":54,"author":78283,"museum":300,"description":78284,"tags":90781,"thumbUrl":90782,"material":692,"size":1293,"collection":84,"collections":90783,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238085,"shan-shui-ce-lu-yao-238085",[24,7,59,128,132,29,663,413,495,497,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97829d1c103e01de892370a3cdff2830.jpg",[],{"id":90785,"slug":90786,"title":90787,"dynasty":54,"author":90788,"museum":300,"description":90789,"tags":90790,"thumbUrl":90791,"material":692,"size":1293,"collection":84,"collections":90792,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238074,"shan-shui-ce-zhuang-tu-zhou-xu-dai-238074","山水册装图轴","徐岱","此作用笔清润简淡，近岸古木扶疏蓊郁，涧水蜿蜒穿谷，山坳间草堂隐现，岚气轻笼远山，将幽居林泉的雅趣晕染开来。搭配行书题诗，诗画合璧呼应主题，笔墨间尽显空寂萧散的林下之风，把澄怀观道、寄情山水的文人心境藏进尺幅，淡墨晕染出江南山水温婉灵秀的气韵，观之如临幽寂山居，恍可听涧水松风，静享林泉雅意。",[24,7,59,128,132,29,34,35,131,415,3427,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc75463629b44500bcc731ee2ef823431.jpg",[],{"id":90794,"slug":90795,"title":38945,"dynasty":54,"author":16583,"museum":300,"description":90796,"tags":90797,"thumbUrl":90798,"material":84,"size":84,"collection":84,"collections":90799,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238055,"zhi-hua-luo-shen-fu-tu-ce-gao-qi-pei-238055","以指代笔，淡墨晕开朦胧烟波，洛神身姿婉柔，衣袂随风翩跹，恍如凌波踏浪而来。简省的笔墨勾勒出女神绰约仙姿，虚实相生的水色衬出其遗世独立的空灵气质。画面将洛神凌波微步的曼妙瞬间定格，寥寥数笔却神韵悠长，题字与画意相融，晕染出清逸出尘的古典意趣，尽显中式写意美学的精妙。",[24,7,164,59,29104,128,96,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8516879f66be83830570f8baf94ad506.jpg",[],{"id":90801,"slug":90802,"title":38945,"dynasty":54,"author":16583,"museum":300,"description":90803,"tags":90804,"thumbUrl":90805,"material":84,"size":84,"collection":84,"collections":90806,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238051,"zhi-hua-luo-shen-fu-tu-ce-gao-qi-pei-238051","高其佩，字韦之，号且园、南村、书且道人，今属辽宁人，清代官员，画家，指画的开山祖师。善绘人物山水，尤善指画。",[24,7,59,29104,128,96,950,228,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbacb1faf34b91888202196b345329f9.jpg",[],{"id":90808,"slug":90809,"title":63098,"dynasty":54,"author":16583,"museum":300,"description":29102,"tags":90810,"thumbUrl":90811,"material":692,"size":1293,"collection":84,"collections":90812,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238042,"zhi-hua-za-hua-ce-gao-qi-pei-238042",[24,7,59,29104,128,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9510b3f24870543aa415897e63ef7ae8.jpg",[],{"id":90814,"slug":90815,"title":33033,"dynasty":54,"author":33034,"museum":300,"description":33035,"tags":90816,"thumbUrl":90817,"material":84,"size":84,"collection":84,"collections":90818,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},238035,"bai-ding-lan-shi-ce-bai-ding-238035",[24,7,164,59,128,375,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb351fb753680ad4ddd12bf2c964440f9.jpg",[],{"id":90820,"slug":90821,"title":7864,"dynasty":54,"author":81936,"museum":300,"description":81937,"tags":90822,"thumbUrl":90823,"material":692,"size":1293,"collection":84,"collections":90824,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237990,"za-hua-ce-xue-huai-237990",[24,7,59,188,169,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32b6f0c00f4cf042267e69654882b7e0.jpg",[],{"id":90826,"slug":90827,"title":7864,"dynasty":54,"author":81936,"museum":300,"description":81937,"tags":90828,"thumbUrl":90829,"material":692,"size":1293,"collection":84,"collections":90830,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237987,"za-hua-ce-xue-huai-237987",[24,7,59,28,128,27,61,2037,549,582,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa50e2086db067e2d719e39a3fc5f110.jpg",[],{"id":90832,"slug":90833,"title":409,"dynasty":54,"author":81950,"museum":300,"description":90834,"tags":90835,"thumbUrl":90836,"material":84,"size":84,"collection":84,"collections":90837,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237978,"shan-shui-ce-zhang-geng-237978","张庚（1685—1760）原名焘，字溥三，后改名庚，字浦山、公之干，号瓜田逸史，又号弥伽居士、白苎村桑者，秀水（今浙江嘉兴）人。幼孤家贫，赖母以针线活抚养。雍正十三年（1735）应鸿博诏。长古文词，精鉴别，绘事则攻学山水，出入董源、巨然、黄公望。所作笔意清洁雅秀，干湿互用，饶有韵致。《桐阴论画》评其：“秀润有余，苍浑不足。”但也有秀润中见劲健之作。亦善白描，工细人物，写花卉宗师陈淳。",[24,7,59,128,132,29,171,331,1233,415,497,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fce665a63f8e1dd865596c08a13d029.jpg",[],{"id":90839,"slug":90840,"title":409,"dynasty":54,"author":81950,"museum":300,"description":90834,"tags":90841,"thumbUrl":90842,"material":84,"size":84,"collection":84,"collections":90843,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237976,"shan-shui-ce-zhang-geng-237976",[24,7,59,128,132,29,130,331,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb1e6e9c156e556ec0312bd4b8e47f1b.jpg",[],{"id":90845,"slug":90846,"title":409,"dynasty":54,"author":81950,"museum":300,"description":90834,"tags":90847,"thumbUrl":90848,"material":84,"size":84,"collection":84,"collections":90849,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237975,"shan-shui-ce-zhang-geng-237975",[24,7,59,128,132,29,4363,415,5323,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be03c1bc44701e2043319435e4ebd4c.jpg",[],{"id":90851,"slug":90852,"title":4724,"dynasty":54,"author":23132,"museum":300,"description":90853,"tags":90854,"thumbUrl":90855,"material":84,"size":84,"collection":84,"collections":90856,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237948,"shan-shui-tu-ce-liu-yu-237948","此作以淡墨绘就山林幽居之景，危崖间飞瀑垂落，涧水潺潺，板桥通于林麓之间，杂木错落苍秀，笔墨朴拙松灵，皴擦间尽显山石肌理。画面清寂空远，将山野林泉的幽邃之美藏于尺幅之间，尽显林下幽居的闲适意趣。\n左侧题诗与画作相映成趣，行书笔致俊逸舒展，诗画合璧，把幽栖丘壑、远避尘嚣的雅志寄寓其中，整体简淡空灵，尽显文人山水画的清逸格调，观之如临幽寂林泉，引人忘俗。",[24,7,164,59,128,132,133,208,29,98,99,130,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1bc33a366a33d8cfe5d3b499dad3fa3.jpg",[],{"id":90858,"slug":90859,"title":4724,"dynasty":54,"author":23132,"museum":300,"description":90860,"tags":90861,"thumbUrl":90862,"material":84,"size":84,"collection":84,"collections":90863,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237947,"shan-shui-tu-ce-liu-yu-237947","此帧以淡墨晕染江南村居之景，近岸林麓间村舍错落，茅庐覆草朴野天然，远渚轻峦隐于烟岚薄雾间，平远之境如诗铺展。笔墨松秀温润，以干笔淡皴勾勒坡岸林木，墨色清浅柔和，不着浓艳重彩，将水乡的清宁安谧晕染尽致。行书题跋与画意相映，文心绘境相融，将文人幽居寄怀山水的雅兴藏进淡墨烟岚中，观之如临水畔闲坐，静看烟波日晚，尽显萧散冲淡的意趣，幽恬静穆间，满是江南水乡的温润诗意。",[24,7,59,128,132,12016,29,1337,35,415,16370,414,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22a1e37bc93113bf7a1da78430e9e93d.jpg",[],{"id":90865,"slug":90866,"title":409,"dynasty":54,"author":54045,"museum":300,"description":64904,"tags":90867,"thumbUrl":90868,"material":692,"size":1293,"collection":84,"collections":90869,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237912,"shan-shui-ce-cheng-ming-237912",[24,7,59,128,132,29,131,34,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99269a9906e08f3c6a45e0ca8f5bbcfe.jpg",[],{"id":90871,"slug":90872,"title":409,"dynasty":54,"author":90873,"museum":300,"description":38166,"tags":90874,"thumbUrl":90875,"material":84,"size":84,"collection":84,"collections":90876,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},237901,"shan-shui-ce-cheng-hui-hao-237901","程徽灏",[24,7,59,128,132,29,35,34,131,415,3427,211,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8a3e15ada2a6c6d12ce9b00a179cf03.jpg",[],{"id":90878,"slug":90879,"title":40707,"dynasty":124,"author":5798,"museum":300,"description":55106,"tags":90880,"thumbUrl":90881,"material":692,"size":1293,"collection":84,"collections":90882,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237818,"shan-shui-shan-zhang-hong-237818",[24,7,1131,132,27,29,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad126795ff4b4754951d6020bd720ac9.jpg",[],{"id":90884,"slug":90885,"title":90886,"dynasty":124,"author":223,"museum":300,"description":90887,"tags":90888,"thumbUrl":90889,"material":692,"size":1293,"collection":84,"collections":90890,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},237788,"wen-shi-shan-shui-shan-ye-yi-ming-237788","文石山水扇页","此作为典型吴门意趣文人山水，以扇面咫尺形制铺展丘壑。近林木蓊郁苍润，点叶错落灵动，茅庐隐于树石隐处，暗合幽居野逸之致。水墨皴擦写就山石肌理，浓淡墨色晕染出草木层叠，留白虚处暗引溪径通连远山，萧散空寂间尽显林下雅致。右上角题款极简融于画面，暗寄文人寄情林泉、归心丘园的隐逸心绪。虽无署名，却深得明季山水画简淡清和的神韵，将山野闲居的幽寂之美凝于盈握之间，以小品见大境，尽显文人山水的空逸意趣。",[24,7,1131,128,132,29,663,1314,413,35,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102baf5086a7eb075c2298524451c22b.jpg",[],{"id":90892,"slug":90893,"title":90894,"dynasty":54,"author":90895,"museum":300,"description":90896,"tags":90897,"thumbUrl":90898,"material":692,"size":1293,"collection":84,"collections":90899,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237786,"fang-wang-meng-shan-shui-shan-ye-ding-peng-237786","仿王蒙山水扇页","丁澎","丁澎（1622～1686），字飞涛，号药园，仁和（今浙江省杭州市）人，清初著名回族诗人。\n其祖父丁鹤年是明朝（1368～1644）著名诗人。与同乡吴百朋、陆圻、紫绍炳、陈廷会、孙治、沈谦、毛先舒、虞黄吴、张纲孙合称为“西岸十子”、“西泠十子”。",[24,7,1131,128,132,330,29,663,413,1144,497,35,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24b4931fc1cd0b981c441ad2c0ae886d.jpg",[],{"id":90901,"slug":90902,"title":4724,"dynasty":54,"author":44979,"museum":300,"description":75499,"tags":90903,"thumbUrl":90904,"material":692,"size":1293,"collection":84,"collections":90905,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237780,"shan-shui-tu-ce-ye-xin-237780",[24,7,59,128,29,97,64,208,131,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafdcee66630594e81269a9791ad0855a.jpg",[],{"id":90907,"slug":90908,"title":4724,"dynasty":54,"author":44979,"museum":300,"description":75499,"tags":90909,"thumbUrl":90910,"material":692,"size":1293,"collection":84,"collections":90911,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237779,"shan-shui-tu-ce-ye-xin-237779",[24,7,59,128,29,171,130,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9907a7ae38908a1bc47f44e1141ebeb.jpg",[],{"id":90913,"slug":90914,"title":38952,"dynasty":54,"author":38900,"museum":300,"description":38953,"tags":90915,"thumbUrl":90916,"material":692,"size":1293,"collection":84,"collections":90917,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237722,"wu-sheng-shi-yi-tu-ce-huang-yi-237722",[24,7,59,27,128,29,130,171,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60cdcb8c5625aef907d5302e9f66bb63.jpg",[],{"id":90919,"slug":90920,"title":38952,"dynasty":54,"author":38900,"museum":300,"description":38953,"tags":90921,"thumbUrl":90922,"material":692,"size":1293,"collection":84,"collections":90923,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237721,"wu-sheng-shi-yi-tu-ce-huang-yi-237721",[24,7,59,128,29,34,415,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb501cad0ec3e094ad4a8d299ab691691.jpg",[],{"id":90925,"slug":90926,"title":38952,"dynasty":54,"author":38900,"museum":300,"description":38953,"tags":90927,"thumbUrl":90928,"material":692,"size":1293,"collection":84,"collections":90929,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237720,"wu-sheng-shi-yi-tu-ce-huang-yi-237720",[24,7,59,128,132,208,29,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d7f31779ace5a1ddee887f9b70ff67.jpg",[],{"id":90931,"slug":90932,"title":38952,"dynasty":54,"author":38900,"museum":300,"description":38953,"tags":90933,"thumbUrl":90934,"material":692,"size":1293,"collection":84,"collections":90935,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237719,"wu-sheng-shi-yi-tu-ce-huang-yi-237719",[24,7,59,128,29,171,208,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00253b5a1d90201c2bccbf7ecb988b53.jpg",[],{"id":90937,"slug":90938,"title":38952,"dynasty":54,"author":38900,"museum":300,"description":38953,"tags":90939,"thumbUrl":90940,"material":692,"size":1293,"collection":84,"collections":90941,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237718,"wu-sheng-shi-yi-tu-ce-huang-yi-237718",[24,7,59,128,188,29,171,99,208,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd272be12de38e1425571fca9a93a2cd.jpg",[],{"id":90943,"slug":90944,"title":50885,"dynasty":54,"author":50886,"museum":300,"description":50887,"tags":90945,"thumbUrl":90946,"material":692,"size":1293,"collection":84,"collections":90947,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237714,"qiu-sui-hua-niao-ce-qiu-sui-237714",[24,7,59,27,61,371,355,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5cc0848938c3abc77e1d7f1af2d5075.jpg",[],{"id":90949,"slug":90950,"title":50885,"dynasty":54,"author":50886,"museum":300,"description":50887,"tags":90951,"thumbUrl":90952,"material":692,"size":1293,"collection":84,"collections":90953,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237712,"qiu-sui-hua-niao-ce-qiu-sui-237712",[24,7,59,27,28,61,376,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74dbef14f1d1bcdfede22b83e66bcf78.jpg",[],{"id":90955,"slug":90956,"title":50885,"dynasty":54,"author":50886,"museum":300,"description":50887,"tags":90957,"thumbUrl":90958,"material":692,"size":1293,"collection":84,"collections":90959,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237710,"qiu-sui-hua-niao-ce-qiu-sui-237710",[24,7,59,28,27,133,208,547,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd885e7dba570af530b8401b8c7e1493b.jpg",[],{"id":90961,"slug":90962,"title":50885,"dynasty":54,"author":50886,"museum":300,"description":50887,"tags":90963,"thumbUrl":90964,"material":692,"size":1293,"collection":84,"collections":90965,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237707,"qiu-sui-hua-niao-ce-qiu-sui-237707",[24,7,59,27,28,61,374,603,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F874edadb676eea38350a03a6ba9f872b.jpg",[],{"id":90967,"slug":90968,"title":69535,"dynasty":54,"author":22529,"museum":300,"description":44406,"tags":90969,"thumbUrl":90970,"material":692,"size":1293,"collection":84,"collections":90971,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237646,"li-yin-fang-gu-shan-shui-ce-li-yin-237646",[24,7,59,2271,29,128,132,131,34,1515,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc6e2bdf998be04f0b8b1c1e1860d41.jpg",[],{"id":90973,"slug":90974,"title":69535,"dynasty":54,"author":22529,"museum":300,"description":44406,"tags":90975,"thumbUrl":90976,"material":692,"size":1293,"collection":84,"collections":90977,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237642,"li-yin-fang-gu-shan-shui-ce-li-yin-237642",[24,7,59,128,330,133,208,29,171,129,130,34,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff418d2381b7df0d539beedad2f5e22ff.jpg",[],{"id":90979,"slug":90980,"title":409,"dynasty":124,"author":33653,"museum":300,"description":38271,"tags":90981,"thumbUrl":90982,"material":692,"size":1293,"collection":84,"collections":90983,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237631,"shan-shui-ce-shen-hao-237631",[24,7,128,59,132,29,331,171,387,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0043e5c24d42fb004db3b6b1fddca9a.jpg",[],{"id":90985,"slug":90986,"title":18219,"dynasty":54,"author":9529,"museum":300,"description":19697,"tags":90987,"thumbUrl":90988,"material":692,"size":1293,"collection":84,"collections":90989,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237600,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237600",[24,7,59,128,132,29,131,34,35,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F557ddbcbf6c85d8182f8187469751f80.jpg",[],{"id":90991,"slug":90992,"title":18219,"dynasty":54,"author":9529,"museum":300,"description":19697,"tags":90993,"thumbUrl":90994,"material":692,"size":1293,"collection":84,"collections":90995,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237598,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237598",[24,7,59,128,132,330,64,133,208,29,98,99,34,131,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f5abfa30caf400f8371c638e17569a.jpg",[],{"id":90997,"slug":90998,"title":18219,"dynasty":54,"author":9529,"museum":300,"description":19697,"tags":90999,"thumbUrl":91000,"material":692,"size":1293,"collection":84,"collections":91001,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237596,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237596",[24,7,59,128,132,330,29,331,211,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb016ca5ab187483519932e9f0a58f8f.jpg",[],{"id":91003,"slug":91004,"title":18219,"dynasty":54,"author":9529,"museum":300,"description":18220,"tags":91005,"thumbUrl":91006,"material":84,"size":84,"collection":84,"collections":91007,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237595,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237595",[24,7,59,128,29,130,98,34,171,415,132,208,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F769ee6e6b1586e807a48102a11c50080.jpg",[],{"id":91009,"slug":91010,"title":18219,"dynasty":54,"author":9529,"museum":300,"description":18220,"tags":91011,"thumbUrl":91012,"material":84,"size":84,"collection":84,"collections":91013,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237593,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237593",[24,7,128,132,330,59,29,663,34,98,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61e79ced0e65d463a655008f25ad40b2.jpg",[],{"id":91015,"slug":91016,"title":409,"dynasty":54,"author":43518,"museum":20,"description":48227,"tags":91017,"thumbUrl":91018,"material":84,"size":84,"collection":84,"collections":91019,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237552,"shan-shui-ce-wen-dian-237552",[24,7,164,128,132,4437,29,1144,131,96,1813],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49617ec2363de71cc21fa08419e15f40.jpg",[],{"id":91021,"slug":91022,"title":409,"dynasty":54,"author":38236,"museum":300,"description":38237,"tags":91023,"thumbUrl":91024,"material":692,"size":1293,"collection":84,"collections":91025,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237527,"shan-shui-ce-chen-zi-237527",[24,7,59,27,29,131,34,129,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6c4e307d9468ba75e18dc0852a26440.jpg",[],{"id":91027,"slug":91028,"title":409,"dynasty":54,"author":38236,"museum":300,"description":38237,"tags":91029,"thumbUrl":91030,"material":692,"size":1293,"collection":84,"collections":91031,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237526,"shan-shui-ce-chen-zi-237526",[24,7,59,27,29,133,208,413,131,414,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa07a6c96ddd31d6dfbfcc955cc90cf6b.jpg",[],{"id":91033,"slug":91034,"title":409,"dynasty":54,"author":38236,"museum":300,"description":38237,"tags":91035,"thumbUrl":91036,"material":692,"size":1293,"collection":84,"collections":91037,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237525,"shan-shui-ce-chen-zi-237525",[24,7,59,27,26,29,171,130,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb20f05cf93fed745296cfb09b80e066.jpg",[],{"id":91039,"slug":91040,"title":409,"dynasty":54,"author":38236,"museum":300,"description":38237,"tags":91041,"thumbUrl":91042,"material":692,"size":1293,"collection":84,"collections":91043,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},237524,"shan-shui-ce-chen-zi-237524",[24,7,59,128,133,29,129,496,414,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e917878634a8b5ed6726e78b6117177.jpg",[],{"id":91045,"slug":91046,"title":409,"dynasty":54,"author":38236,"museum":300,"description":38237,"tags":91047,"thumbUrl":91048,"material":692,"size":1293,"collection":84,"collections":91049,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},237522,"shan-shui-ce-chen-zi-237522",[24,7,164,59,27,133,29,663,413,35,37,664],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dc2d8d9a7d3a1eeb8fc1c642e189f60.jpg",[],{"id":91051,"slug":91052,"title":409,"dynasty":54,"author":38236,"museum":300,"description":38237,"tags":91053,"thumbUrl":91054,"material":692,"size":1293,"collection":84,"collections":91055,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},237519,"shan-shui-ce-chen-zi-237519",[24,7,59,27,133,29,98,99,129,331,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17554939d4c613f21ad5685d9d8150fd.jpg",[],{"id":91057,"slug":91058,"title":1289,"dynasty":124,"author":42458,"museum":300,"description":42459,"tags":91059,"thumbUrl":91060,"material":692,"size":1293,"collection":84,"collections":91061,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237515,"shan-shui-hua-hui-ce-jiang-shou-cheng-237515",[24,7,59,133,128,132,29,129,34,97,415,7782,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8de84a9955661f8e1f2d6075f960c27b.jpg",[],{"id":91063,"slug":91064,"title":1289,"dynasty":124,"author":42458,"museum":300,"description":42459,"tags":91065,"thumbUrl":91066,"material":692,"size":1293,"collection":84,"collections":91067,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},237514,"shan-shui-hua-hui-ce-jiang-shou-cheng-237514",[24,7,59,128,133,29,96,1144,495,497,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11b25e6f1c43bcc0904c1442f8a75569.jpg",[],{"id":91069,"slug":91070,"title":1289,"dynasty":124,"author":42458,"museum":300,"description":42459,"tags":91071,"thumbUrl":91072,"material":692,"size":1293,"collection":84,"collections":91073,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237512,"shan-shui-hua-hui-ce-jiang-shou-cheng-237512",[24,7,59,128,27,132,29,34,131,98,99,130,96,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d63a35a73b6037ec99be11c07049ca7.jpg",[],{"id":91075,"slug":91076,"title":1289,"dynasty":124,"author":42458,"museum":300,"description":42459,"tags":91077,"thumbUrl":91078,"material":692,"size":1293,"collection":84,"collections":91079,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237510,"shan-shui-hua-hui-ce-jiang-shou-cheng-237510",[24,7,59,128,133,132,29,34,99,96,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79220effd069ea2c6f38181cdc944026.jpg",[],{"id":91081,"slug":91082,"title":1289,"dynasty":124,"author":42458,"museum":300,"description":42459,"tags":91083,"thumbUrl":91084,"material":692,"size":1293,"collection":84,"collections":91085,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237509,"shan-shui-hua-hui-ce-jiang-shou-cheng-237509",[24,7,59,133,128,27,132,29,98,99,331,171,495,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F657b8503a53cdef5c5728cb4fe25766b.jpg",[],{"id":91087,"slug":91088,"title":1289,"dynasty":124,"author":42458,"museum":300,"description":42459,"tags":91089,"thumbUrl":91090,"material":692,"size":1293,"collection":84,"collections":91091,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237508,"shan-shui-hua-hui-ce-jiang-shou-cheng-237508",[24,7,59,128,27,133,64,376,167,171,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae4dbe46d53d181c81ca244fb5ea08b9.jpg",[],{"id":91093,"slug":91094,"title":1289,"dynasty":124,"author":42458,"museum":300,"description":42459,"tags":91095,"thumbUrl":91096,"material":692,"size":1293,"collection":84,"collections":91097,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237507,"shan-shui-hua-hui-ce-jiang-shou-cheng-237507",[24,7,59,128,133,29,1144,131,96,132,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa68bfe5bb3a4e855a00889db83798d07.jpg",[],{"id":91099,"slug":91100,"title":1289,"dynasty":124,"author":42458,"museum":300,"description":42459,"tags":91101,"thumbUrl":91102,"material":692,"size":1293,"collection":84,"collections":91103,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},237502,"shan-shui-hua-hui-ce-jiang-shou-cheng-237502",[24,7,59,840,128,27,132,29,331,129,1813,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbd5edf755d6a49292155b34023e6ecc.jpg",[],{"id":91105,"slug":91106,"title":1289,"dynasty":124,"author":42458,"museum":300,"description":42459,"tags":91107,"thumbUrl":91108,"material":692,"size":1293,"collection":84,"collections":91109,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237501,"shan-shui-hua-hui-ce-jiang-shou-cheng-237501",[24,7,59,27,128,132,64,208,29,1144,131,37,99,129,18332],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23cb01483ce49386bed6ce637a3c66bb.jpg",[],{"id":91111,"slug":91112,"title":78398,"dynasty":54,"author":78399,"museum":300,"description":78400,"tags":91113,"thumbUrl":91114,"material":692,"size":1293,"collection":84,"collections":91115,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237477,"shan-shui-hua-shi-ce-wang-han-237477",[24,7,59,27,64,208,4278,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b2f890fd6714f05622c06b0820ccd46.jpg",[],{"id":91117,"slug":91118,"title":91119,"dynasty":54,"author":91120,"museum":300,"description":91121,"tags":91122,"thumbUrl":91123,"material":692,"size":1293,"collection":84,"collections":91124,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237453,"fu-shan-shui-shan-sheng-dun-da-237453","復山水扇","盛惇大","盛惇大　[清]（一七五四至一八二五）字仲甫，一字甫山，号南墅，阳湖（今江苏常州）人。惇崇弟。嘉庆二年（一七九七）进士，官甘肃庆阳知府。书学董其昌，画善山水，干笔焦墨，苍厚高古，极似王原祁，与盛士时称二盛。《墨林今话、萍踪开记、读画辑略、清画家诗史》",[24,7,1131,128,132,29,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb48d9bbcb293499434738906b992fb35.jpg",[],{"id":91126,"slug":91127,"title":409,"dynasty":54,"author":64957,"museum":300,"description":64958,"tags":91128,"thumbUrl":91129,"material":692,"size":1293,"collection":84,"collections":91130,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},237423,"shan-shui-ce-chen-jia-le-237423",[24,7,59,27,28,29,413,129,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce6a33d1b74f28d4abbad93bdfe296c2.jpg",[],{"id":91132,"slug":91133,"title":4724,"dynasty":54,"author":78869,"museum":300,"description":78870,"tags":91134,"thumbUrl":91135,"material":692,"size":1293,"collection":84,"collections":91136,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237394,"shan-shui-tu-ce-xue-xuan-237394",[24,7,59,128,132,29,34,129,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe46840a22aa8d56831fc20b07876f1da.jpg",[],{"id":91138,"slug":91139,"title":4724,"dynasty":54,"author":78869,"museum":300,"description":78870,"tags":91140,"thumbUrl":91141,"material":692,"size":1293,"collection":84,"collections":91142,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237391,"shan-shui-tu-ce-xue-xuan-237391",[24,7,59,128,132,29,663,228,413,1314,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff15bd4284c2fbc289acb9bbe67da1d4b.jpg",[],{"id":91144,"slug":91145,"title":409,"dynasty":54,"author":55737,"museum":300,"description":55738,"tags":91146,"thumbUrl":91147,"material":611,"size":84,"collection":84,"collections":91148,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237374,"shan-shui-ce-wang-jiu-237374",[24,7,59,128,27,29,99,497,34,495,415,132,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74b477a325d3978849e3c7039d5f2d4f.jpg",[],{"id":91150,"slug":91151,"title":409,"dynasty":54,"author":55737,"museum":300,"description":55738,"tags":91152,"thumbUrl":91153,"material":611,"size":84,"collection":84,"collections":91154,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237372,"shan-shui-ce-wang-jiu-237372",[24,7,59,128,29,132,64,208,37,663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99fab46134f266acd40051f17eaec64b.jpg",[],{"id":91156,"slug":91157,"title":4229,"dynasty":54,"author":31299,"museum":300,"description":31300,"tags":91158,"thumbUrl":91159,"material":611,"size":84,"collection":84,"collections":91160,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},237351,"hua-niao-ce-wang-gang-237351",[304,24,7,59,27,413,949,4278,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56a8aa2d78b7752d08cb578fb1bf6bae.jpg",[],{"id":91162,"slug":91163,"title":45548,"dynasty":54,"author":17240,"museum":20,"description":45549,"tags":91164,"thumbUrl":91166,"material":611,"size":84,"collection":84,"collections":91167,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237211,"shu-hua-he-bi-ce-cha-shi-biao-237211",[7,59,128,29,64,133,132,131,34,99,98,129,229,5323,91165],"树木丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3a872af8137fe1d04a918ab57a33480.jpg",[],{"id":91169,"slug":91170,"title":4724,"dynasty":54,"author":48234,"museum":300,"description":48235,"tags":91171,"thumbUrl":91172,"material":692,"size":1293,"collection":84,"collections":91173,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237126,"shan-shui-tu-ce-yao-song-237126",[24,7,59,128,29,1337,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4a3b09c55f3fd00010489bd90bc9bfd.jpg",[],{"id":91175,"slug":91176,"title":409,"dynasty":54,"author":17240,"museum":300,"description":25958,"tags":91177,"thumbUrl":91178,"material":84,"size":84,"collection":84,"collections":91179,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237103,"shan-shui-ce-cha-shi-biao-237103",[24,7,128,132,59,29,663,413,35,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc8b3b72d22514f39491091846f74162.jpg",[],{"id":91181,"slug":91182,"title":34368,"dynasty":54,"author":34369,"museum":300,"description":91183,"tags":91184,"thumbUrl":91185,"material":611,"size":84,"collection":84,"collections":91186,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237063,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237063","这幅小品以双松入画，老干盘曲如铁，松针攒簇苍劲，垂挂的古藤更添幽古之态，笔墨清简却将松柏傲岸高古之姿尽显无余。搭配左侧行书题诗，笔意舒展隽秀，诗画相映成趣。\n整体浅素设色，写意兼具精微，将林泉隐逸的幽寂意境铺陈开来，暗合题诗中静听流水、寄身松间的林下幽思，尽显文人画诗画合璧的雅逸风骨，寥寥数笔勾勒出世外静境，简淡中藏风神，清雅间见襟怀。",[24,7,59,27,128,1144,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcb771e1d885859fc28ea960df2dec39.jpg",[],{"id":91188,"slug":91189,"title":58971,"dynasty":124,"author":78489,"museum":300,"description":91190,"tags":91191,"thumbUrl":91192,"material":611,"size":84,"collection":84,"collections":91193,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237057,"hua-hui-ren-wu-ce-mao-fu-guang-237057","此作以没骨法绘凤仙花，设色清浅柔润。枝叶以淡绿晕染，细笔勾勒叶脉，将叶片舒展之姿摹写入微，浅粉色点染花瓣，尽显娇柔含露之态。枝条穿插错落，自然舒展，生机暗藏。\n\n画面右侧题诗钤印，笔墨清雅俊逸，与画风相融相合，诗画映带，将文人惜花的幽致意趣融入一花一叶间。整体格调清逸淡远，不见浓艳堆砌，以极简笔墨传递出悠长的诗意，将草木的幽微之美尽显无遗，淡而有神，雅而含情，尽显雅致娴静的文人风韵，把一枝一花的闲淡之美描摹得淋漓尽致。",[24,7,59,28,27,61,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab48e068e8c4e61999e9900997b96ca1.jpg",[],{"id":91195,"slug":91196,"title":409,"dynasty":124,"author":82169,"museum":300,"description":82170,"tags":91197,"thumbUrl":91198,"material":611,"size":84,"collection":84,"collections":91199,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237040,"shan-shui-ce-li-hang-zhi-237040",[24,7,59,128,132,29,131,34,1337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43a7d4c90437c6e17f723446e61ad786.jpg",[],{"id":91201,"slug":91202,"title":409,"dynasty":124,"author":65324,"museum":300,"description":91203,"tags":91204,"thumbUrl":91205,"material":692,"size":1293,"collection":84,"collections":91206,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237008,"shan-shui-ce-sun-ri-shao-237008","明代进士",[24,7,59,128,132,131,495,34,130,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd94d8ca3fc096ffc07fdf84329b631c4.jpg",[],{"id":91208,"slug":91209,"title":409,"dynasty":124,"author":65324,"museum":300,"description":91203,"tags":91210,"thumbUrl":91211,"material":692,"size":1293,"collection":84,"collections":91212,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237006,"shan-shui-ce-sun-ri-shao-237006",[24,7,59,128,133,132,29,130,34,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68af5fb53eb866d1dcba699a20428440.jpg",[],{"id":91214,"slug":91215,"title":409,"dynasty":124,"author":65324,"museum":300,"description":91203,"tags":91216,"thumbUrl":91217,"material":692,"size":1293,"collection":84,"collections":91218,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},237003,"shan-shui-ce-sun-ri-shao-237003",[24,7,59,128,132,29,131,34,98,97,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b9bebee8129eca29e0ff454f2255e06.jpg",[],{"id":91220,"slug":91221,"title":82189,"dynasty":54,"author":9529,"museum":300,"description":19697,"tags":91222,"thumbUrl":91223,"material":692,"size":1293,"collection":84,"collections":91224,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236997,"xue-jing-shan-shui-ce-wang-hui-236997",[24,7,59,128,132,29,1556,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F389fe2d2f7b04c83b0c494eccdcebf6b.jpg",[],{"id":91226,"slug":91227,"title":409,"dynasty":54,"author":63009,"museum":300,"description":63010,"tags":91228,"thumbUrl":91229,"material":692,"size":1293,"collection":84,"collections":91230,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236992,"shan-shui-ce-zhang-xi-236992",[24,7,59,128,29,132,133,208,131,34,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df719a50f82b93d18d3816240564d5e.jpg",[],{"id":91232,"slug":91233,"title":409,"dynasty":54,"author":63009,"museum":300,"description":63010,"tags":91234,"thumbUrl":91235,"material":692,"size":1293,"collection":84,"collections":91236,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236991,"shan-shui-ce-zhang-xi-236991",[24,7,59,27,29,130,98,129,34,415,5323,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd16f393562b2bf8809c3861f07f2c7d0.jpg",[],{"id":91238,"slug":91239,"title":69606,"dynasty":54,"author":36659,"museum":300,"description":63282,"tags":91240,"thumbUrl":91242,"material":692,"size":1293,"collection":84,"collections":91243,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236945,"jiu-ru-zhi-ji-ce-wang-gai-236945",[24,7,59,27,95,96,101,97,11074,91241,758],"军队场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39c675623a46f88f3890ba2d4fd536ce.jpg",[],{"id":91245,"slug":91246,"title":7864,"dynasty":54,"author":91247,"museum":300,"description":91248,"tags":91249,"thumbUrl":91250,"material":692,"size":1293,"collection":84,"collections":91251,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236942,"za-hua-ce-wang-liu-zhen-236942","王六真","此作以枯松为骨，老干皴疤嶙峋，虬屈扭转尽显风霜磨砺之态，残存松针团簇如盖，一旁枯枝硬挺如戟，枯荣相映，写尽古木顽健不屈的生机。淡墨晕染汀岸，留白相称，虚实相生间，孤松愈发萧疏冷逸。\n\n左侧题诗与画境相契，笔致清雅，书画合璧。画作以极简笔墨，写就荒寒清寂的林下意趣，以意驭笔、寄情于木，将山林古木的沉郁苍浑与文人幽怀相融，淡墨轻岚间尽显雅致格调，是小品画中以小见大、意韵悠长的佳构。",[24,7,59,128,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F490c421cdaae0a819bb8276d3e51f0d1.jpg",[],{"id":91253,"slug":91254,"title":7864,"dynasty":54,"author":91247,"museum":300,"description":91255,"tags":91256,"thumbUrl":91257,"material":692,"size":1293,"collection":84,"collections":91258,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236940,"za-hua-ce-wang-liu-zhen-236940","此作以水墨写意铺就萧寒小景，枯木斜倚嶙峋危石，虬枝上簇着苍劲松针，淡墨晕开迷蒙远山，留白拟作覆雪寒原，矮舍隐在淡墨晕染间，只余素朴轮廓。\n\n浓墨勾出山石苍硬肌理，淡墨铺陈空茫远景，虚实相生间，冬日山野冷寂萧疏的意趣尽显笔端。寥寥数笔寄情于荒寒淡远之境，以少胜多，在留白处生出幽微余韵，尽显文人画简淡空灵的意致，于简淡笔墨里晕开苍茫萧寒，将清冷幽寂的冬日荒村意境烘托得淋漓尽致。",[24,7,59,128,29,171,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F918c9e12007f6ce7d1af477e9a0acea6.jpg",[],{"id":91260,"slug":91261,"title":1289,"dynasty":124,"author":36548,"museum":300,"description":82208,"tags":91262,"thumbUrl":91263,"material":84,"size":84,"collection":84,"collections":91264,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236900,"shan-shui-hua-hui-ce-shao-mi-236900",[24,7,59,128,371,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9acf17d331a4cc090a10c50e489d10f1.jpg",[],{"id":91266,"slug":91267,"title":59083,"dynasty":54,"author":59084,"museum":300,"description":59085,"tags":91268,"thumbUrl":91269,"material":692,"size":1293,"collection":84,"collections":91270,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236855,"zhu-shi-ce-wang-e-236855",[24,7,59,128,167,1314,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e7b8c771d3b1599fbbe4100d03f14b5.jpg",[],{"id":91272,"slug":91273,"title":33103,"dynasty":54,"author":46694,"museum":20,"description":46695,"tags":91274,"thumbUrl":91275,"material":734,"size":84,"collection":84,"collections":91276,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},236826,"fang-gu-shan-shui-ce-zhao-cheng-236826",[24,7,59,27,128,132,133,29,98,129,1350,34,276,131,415,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5208ae73805442288960f9f3ad6580a4.jpg",[],{"id":91278,"slug":91279,"title":33103,"dynasty":54,"author":46694,"museum":20,"description":46695,"tags":91280,"thumbUrl":91281,"material":734,"size":84,"collection":84,"collections":91282,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},236821,"fang-gu-shan-shui-ce-zhao-cheng-236821",[24,7,59,27,132,29,129,131,34,228,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff487e2d1f3a222d2406ffdd250c2325c.jpg",[],{"id":91284,"slug":91285,"title":91286,"dynasty":124,"author":223,"museum":300,"description":91287,"tags":91288,"thumbUrl":91289,"material":692,"size":1293,"collection":84,"collections":91290,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},236765,"cheng-guang-xian-shou-yi-shan-yi-ming-236765","程光先寿意扇","此作以扇面为尺幅，绘就乘云仙娥。居中仕女发髻高绾，青晕衣袂翩跹，手持羽葆，似凌风徐行于流云之间。通幅以浅线勾描卷云，将画面晕开缥缈清虚之境，左侧仙禽振翼随伴，更衬出幽寂出尘的意蕴。绢面因岁月经年泛黄，却晕开旧时光的古雅质感，设色简淡克制，笔致工细柔婉，将仙家缥缈的出尘意趣收于咫尺之间，淡远宁和的氛围，让方寸扇面恍若揽得一片清虚幻境，尽显小品画作的隽雅格调。",[1131,24,27,28,96,211,1975,805,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e1234c061583746d259f5f7d3797f5c.jpg",[],{"id":91292,"slug":91293,"title":67230,"dynasty":124,"author":223,"museum":300,"description":67231,"tags":91294,"thumbUrl":91295,"material":84,"size":84,"collection":84,"collections":91296,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236759,"zhou-tian-qiu-mo-lan-tu-ce-yi-ming-236759",[24,7,59,128,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8de5afae705e0b9df92d48479b35375d.jpg",[],{"id":91298,"slug":91299,"title":37266,"dynasty":54,"author":37267,"museum":300,"description":91300,"tags":91301,"thumbUrl":91302,"material":84,"size":84,"collection":68,"collections":91303,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236716,"hua-niao-guo-ce-li-qi-236716","此作以水墨写意绘秋日花果，左幅枝桠斜出，墨色枯润相衬，叶片以浓淡墨色分出层次，残果垂挂枝头，疏朗间带着清秋的萧散意趣，寥寥数笔不重具象描摹，意在捕捉秋日清寂之态。右侧题跋笔墨苍劲朴拙，书与画相映成趣，文气晕染画面，尽显文人画的雅致风骨。整体笔意纵逸随性，淡墨轻痕间尽显创作者的随性审美，将水墨写意的空灵之美尽致展现，于简淡之中蕴含着疏淡清远的意境，尽显传统文人画以意驭笔的创作意趣。",[24,7,59,128,369,61,2035,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d39bcaa7961acd77621afedb8b84166.jpg",[68,117],{"id":91305,"slug":91306,"title":65332,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":91307,"thumbUrl":91308,"material":692,"size":1293,"collection":84,"collections":91309,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236656,"bie-you-feng-wei-ce-huang-shen-236656",[24,7,59,128,188,61,13257,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2ffa0e533315cf2da6940fe099d8c92.jpg",[],{"id":91311,"slug":91312,"title":78623,"dynasty":124,"author":34726,"museum":300,"description":55756,"tags":91313,"thumbUrl":91314,"material":84,"size":84,"collection":84,"collections":91315,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236636,"song-mao-jin-jiang-nan-ming-sheng-tu-ce-song-mao-jin-236636",[24,7,59,128,95,29,130,97,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F331e675e9e18a1d0cf7772db5131a6f9.jpg",[],{"id":91317,"slug":91318,"title":78623,"dynasty":124,"author":34726,"museum":300,"description":55756,"tags":91319,"thumbUrl":91320,"material":84,"size":84,"collection":84,"collections":91321,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236635,"song-mao-jin-jiang-nan-ming-sheng-tu-ce-song-mao-jin-236635",[24,7,29,59,128,27,132,131,34,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdbc2851d0964a62886b77040194014f.jpg",[],{"id":91323,"slug":91324,"title":78623,"dynasty":124,"author":34726,"museum":300,"description":55756,"tags":91325,"thumbUrl":91326,"material":84,"size":84,"collection":84,"collections":91327,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236632,"song-mao-jin-jiang-nan-ming-sheng-tu-ce-song-mao-jin-236632",[24,7,59,27,132,29,130,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f295f0986ab110febcfa3276b194961.jpg",[],{"id":91329,"slug":91330,"title":78623,"dynasty":124,"author":34726,"museum":300,"description":55756,"tags":91331,"thumbUrl":91332,"material":84,"size":84,"collection":84,"collections":91333,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236630,"song-mao-jin-jiang-nan-ming-sheng-tu-ce-song-mao-jin-236630",[164,24,7,59,27,132,29,131,495,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe007f484234c5f6ef72226436fce0d30.jpg",[],{"id":91335,"slug":91336,"title":40707,"dynasty":124,"author":5798,"museum":300,"description":55106,"tags":91337,"thumbUrl":91338,"material":692,"size":1293,"collection":84,"collections":91339,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236626,"shan-shui-shan-zhang-hong-236626",[164,24,7,1131,128,132,29,34,131,1337,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb2d9e3af267fa3203f32f25bd04cdde.jpg",[],{"id":91341,"slug":91342,"title":409,"dynasty":54,"author":17240,"museum":300,"description":25958,"tags":91343,"thumbUrl":91344,"material":84,"size":84,"collection":84,"collections":91345,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236594,"shan-shui-ce-cha-shi-biao-236594",[24,7,59,128,132,29,131,34,99,98,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c6b1af62300f7fa7f7a536b331effc3.jpg",[],{"id":91347,"slug":91348,"title":409,"dynasty":54,"author":17240,"museum":300,"description":25958,"tags":91349,"thumbUrl":91350,"material":84,"size":84,"collection":84,"collections":91351,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236590,"shan-shui-ce-cha-shi-biao-236590",[24,7,59,133,128,132,29,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61cd61deb0bcdf41ea922df686bd3d4e.jpg",[],{"id":91353,"slug":91354,"title":31307,"dynasty":54,"author":17240,"museum":300,"description":31308,"tags":91355,"thumbUrl":91356,"material":84,"size":84,"collection":84,"collections":91357,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236570,"zha-mei-he-shan-shui-shi-zhen-cha-shi-biao-236570",[24,7,59,128,29,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7192b54e7a3934d2bdf66253e48f58b3.jpg",[],{"id":91359,"slug":91360,"title":40723,"dynasty":124,"author":36548,"museum":20,"description":40724,"tags":91361,"thumbUrl":91362,"material":84,"size":84,"collection":84,"collections":91363,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236564,"xiao-ke-guan-shan-shui-ce-shao-mi-236564",[24,7,59,128,132,29,331,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5801f364eb2634d33ab35579082d61f.jpg",[],{"id":91365,"slug":91366,"title":40723,"dynasty":124,"author":36548,"museum":20,"description":40724,"tags":91367,"thumbUrl":91368,"material":84,"size":84,"collection":84,"collections":91369,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236563,"xiao-ke-guan-shan-shui-ce-shao-mi-236563",[24,7,59,128,29,171,34,130,132,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9804301dadceae7541c545b4a35e5e6.jpg",[],{"id":91371,"slug":91372,"title":3168,"dynasty":54,"author":38236,"museum":300,"description":55512,"tags":91373,"thumbUrl":91374,"material":84,"size":84,"collection":84,"collections":91375,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236532,"ren-wu-gu-shi-ce-chen-zi-236532",[24,7,59,128,27,96,64,208,251,19786,28,2885],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168c916a79cd9461a9906cefe56afb79.jpg",[],{"id":91377,"slug":91378,"title":3168,"dynasty":54,"author":38236,"museum":300,"description":55512,"tags":91379,"thumbUrl":91380,"material":84,"size":84,"collection":84,"collections":91381,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236530,"ren-wu-gu-shi-ce-chen-zi-236530",[24,7,27,28,96,171,99,129,413,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4152fd2bdc1dbb197b8f2aa605538b2.jpg",[],{"id":91383,"slug":91384,"title":69704,"dynasty":54,"author":69705,"museum":300,"description":69706,"tags":91385,"thumbUrl":91386,"material":84,"size":84,"collection":84,"collections":91387,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236517,"sun-shan-shui-ce-wang-ji-236517",[24,7,59,128,132,29,129,211,130,331,14435,415,3857],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9123c6a22e66c55165deaeadd18a1968.jpg",[],{"id":91389,"slug":91390,"title":69704,"dynasty":54,"author":69705,"museum":300,"description":69706,"tags":91391,"thumbUrl":91392,"material":84,"size":84,"collection":84,"collections":91393,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236508,"sun-shan-shui-ce-wang-ji-236508",[24,7,59,128,29,231,130,1144,97,208,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec80a5748cb3bf62c57a572a43f0f8eb.jpg",[],{"id":91395,"slug":91396,"title":409,"dynasty":54,"author":54045,"museum":300,"description":54046,"tags":91397,"thumbUrl":91398,"material":151,"size":84,"collection":84,"collections":91399,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236497,"shan-shui-ce-cheng-ming-236497",[24,7,59,128,132,29,413,276,3387,229,415,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f0cde32f3e3859acb9d1fdfe58774a7.jpg",[],{"id":91401,"slug":91402,"title":16826,"dynasty":124,"author":40715,"museum":20,"description":54053,"tags":91403,"thumbUrl":91404,"material":611,"size":54056,"collection":84,"collections":91405,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236490,"shan-shui-ren-wu-ce-guo-fen-ya-236490",[24,7,59,128,96,29,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2383d769754b2d17ce136128e6a40b8.jpg",[],{"id":91407,"slug":91408,"title":54061,"dynasty":54,"author":9529,"museum":300,"description":39800,"tags":91409,"thumbUrl":91410,"material":84,"size":84,"collection":84,"collections":91411,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236452,"ni-qian-ren-shi-yi-ce-wang-hui-236452",[24,7,59,128,29,132,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22d3edd6aa028dcdd2eaeb38e264bfdf.jpg",[],{"id":91413,"slug":91414,"title":54061,"dynasty":54,"author":9529,"museum":300,"description":39800,"tags":91415,"thumbUrl":91416,"material":84,"size":84,"collection":84,"collections":91417,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236450,"ni-qian-ren-shi-yi-ce-wang-hui-236450",[24,7,59,27,132,133,208,29,331,231,98,99,1233,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3cf9638cee82cd115b971a0dfd63712.jpg",[],{"id":91419,"slug":91420,"title":63057,"dynasty":124,"author":223,"museum":300,"description":91421,"tags":91422,"thumbUrl":91423,"material":84,"size":84,"collection":84,"collections":91424,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236436,"shu-zhi-shan-shui-ce-yi-ming-236436","此作用淡墨晕染出烟霭笼罩的空阔江面，远山含混在朦胧雾气之中，仅留浅淡轮廓，仿若将江南烟水的空茫晚景晕染开来。\n\n左下角岸渚间，细笔勾勒林木枝桠，淡点秋花晕出浅红，柔雅清新，与空茫江面形成鲜明虚实对照。留白与晕染交织，将烟水空蒙的幽寂清润尽数铺陈，再佐以清雅小字题款与朱红小印提亮画面，于简淡之中尽显萧散淡远的文人意趣，把秋日江景的静美诗意娓娓道来。",[24,7,59,128,29,1233,331,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4191ed1b2b722d19090fa669dc5230f0.jpg",[],{"id":91426,"slug":91427,"title":55527,"dynasty":54,"author":38900,"museum":300,"description":91428,"tags":91429,"thumbUrl":91430,"material":84,"size":84,"collection":84,"collections":91431,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236418,"shan-shui-he-ce-huang-yi-236418","此帧取边角构图，以枯淡墨笔勾绘翻涌浪涛，苍劲线条揉出海潮叠宕之势，浪尖攒簇，似能聆闻拍岸潮声。一叶孤舟随波浮沉，渺小身影衬出沧海辽远空阔。左侧题识行楷秀逸，笔墨清雅，与画境相映成趣。\n\n整幅未做繁复皴染，以极简笔力烘托出烟波浩渺的空寂禅意，将山海苍茫与澹泊襟怀相融，寥寥数笔便绘就天地悠悠、扁舟独往的清逸意境，尽显文人画简淡天真的意趣。",[24,7,59,128,132,29,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26a560976542b56eb81e28ff6af1e329.jpg",[],{"id":91433,"slug":91434,"title":91435,"dynasty":124,"author":82363,"museum":300,"description":82364,"tags":91436,"thumbUrl":91438,"material":692,"size":1293,"collection":84,"collections":91439,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236372,"shuang-jing-su-niao-shan-zhang-feng-yi-236372","霜经宿鸟扇",[24,7,1131,128,27,132,29,1337,91437,131,208],"宿鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7b882a6a5758f8f17a8d447d3ca648.jpg",[],{"id":91441,"slug":91442,"title":76,"dynasty":54,"author":1311,"museum":20,"description":37291,"tags":91443,"thumbUrl":91444,"material":734,"size":37294,"collection":84,"collections":91445,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236318,"hua-hui-ce-wang-shi-shen-236318",[24,7,59,128,27,61,62,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b664a2a7bfc64f856a76c5678c625eb.jpg",[],{"id":91447,"slug":91448,"title":76,"dynasty":54,"author":1311,"museum":20,"description":37291,"tags":91449,"thumbUrl":91450,"material":734,"size":37294,"collection":84,"collections":91451,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236317,"hua-hui-ce-wang-shi-shen-236317",[24,7,59,27,128,133,208,61,2035,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97f6cd90a0c794a4b1030d3ff0668717.jpg",[],{"id":91453,"slug":91454,"title":76,"dynasty":54,"author":1311,"museum":20,"description":37291,"tags":91455,"thumbUrl":91456,"material":734,"size":37294,"collection":84,"collections":91457,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236316,"hua-hui-ce-wang-shi-shen-236316",[24,7,59,27,61,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b0edf8d85e2105d43c6f489d94dafe2.jpg",[],{"id":91459,"slug":91460,"title":40707,"dynasty":124,"author":48293,"museum":300,"description":91461,"tags":91462,"thumbUrl":91463,"material":692,"size":1293,"collection":84,"collections":91464,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236296,"shan-shui-shan-zhang-yan-236296","张彦，男，明代画家，晚学无证道人，嘉定（今属上海市）人，代表作《明练音续集》、《嘉定县志》、《退庵题跋》。",[164,24,7,1131,128,132,29,131,34,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a7e5197cd1c0208a1b76d94558aa9ce.jpg",[],{"id":91466,"slug":91467,"title":7864,"dynasty":54,"author":38236,"museum":300,"description":38237,"tags":91468,"thumbUrl":91469,"material":692,"size":1293,"collection":84,"collections":91470,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236278,"za-hua-ce-chen-zi-236278",[24,7,59,27,96,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faeb8ba627a95805fd283bc1fdbb4ddd2.jpg",[],{"id":91472,"slug":91473,"title":7864,"dynasty":54,"author":38236,"museum":300,"description":38237,"tags":91474,"thumbUrl":91475,"material":692,"size":1293,"collection":84,"collections":91476,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236277,"za-hua-ce-chen-zi-236277",[24,7,59,27,61,371,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a49cb89ad578abb01d1f11f85e9ec7b.jpg",[],{"id":91478,"slug":91479,"title":91480,"dynasty":54,"author":223,"museum":300,"description":91481,"tags":91482,"thumbUrl":91483,"material":692,"size":1293,"collection":84,"collections":91484,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},236261,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236261","避暑山庄图励宗万书诗成扇","此作为泥金笺本，通幅晕染出华贵雅致的底色。山峦遥遥横亘，淡墨轻勾出起伏轮廓，林木苍蔚繁茂，枝叶攒簇尽显生机。水汀屋舍隐于松荫之下，似有习习凉意漫过林泉，将幽居闲雅意趣藏于咫尺扇面间。\n\n笔触秀润温婉，皴染细腻合宜，兼具院体工致与文人山水的散淡萧疏。搭配雅致扇骨与青绿螺钿轴头，将消夏赏玩的旧日风雅凝于掌中，是兼具观赏与收藏价值的文房佳物。",[24,7,1131,27,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88d41d638754764c6b90ca995e7aca6d.jpg",[],{"id":91486,"slug":91487,"title":91488,"dynasty":54,"author":23303,"museum":20,"description":52280,"tags":91489,"thumbUrl":91490,"material":84,"size":84,"collection":136,"collections":91491,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":956},236193,"hua-shan-shui-qian-ru-cheng-shu-yong-long-quan-pan-zi-shi-cheng-shan-dong-bang-da-236193","画山水钱汝诚书咏龙泉盘子诗成扇",[24,7,1131,29,128,132,64,133,131,34,37,499,500,4438,28172,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34acdc9056c7fd7283ac060b7ce77fd1.jpg",[136,45],{"id":91493,"slug":91494,"title":91495,"dynasty":124,"author":3608,"museum":300,"description":9012,"tags":91496,"thumbUrl":91497,"material":692,"size":1293,"collection":84,"collections":91498,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236191,"hua-hua-hui-yong-yan-shu-shi-cheng-shan-lu-zhi-236191","画花卉颙琰书诗成扇",[24,7,1131,27,62,133,805,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc126a825125647ad24d7207e19189818.jpg",[],{"id":91500,"slug":91501,"title":91502,"dynasty":54,"author":91503,"museum":300,"description":91504,"tags":91505,"thumbUrl":91506,"material":692,"size":1293,"collection":84,"collections":91507,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},236186,"hua-shan-shui-liu-yong-shu-yu-zhi-shi-cheng-shan-wang-jing-ming-236186","画山水刘墉书御制诗成扇","王敬铭","生于清康熙七年（1668年），康熙五十二年（1713年）帝六十大寿，特开恩科，成为“恩科状元”。授翰林院修撰，赐住宅一间。康熙五十八年侍值热河。\n康熙六十年（1721年）父丧归里，不久卒于家。",[1131,24,7,29,96,64,27,12803],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcef0e53353c7aa8be38e93f5af06801b.jpg",[],{"id":91509,"slug":91510,"title":43488,"dynasty":54,"author":10307,"museum":20,"description":43489,"tags":91511,"thumbUrl":91512,"material":1027,"size":84,"collection":84,"collections":91513,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236145,"fang-yuan-ren-shan-shui-ce-he-yi-236145",[24,164,7,59,128,132,330,29,413,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2df194ff46e49dca594aacdc1b1eb4e0.jpg",[],{"id":91515,"slug":91516,"title":43488,"dynasty":54,"author":10307,"museum":20,"description":43489,"tags":91517,"thumbUrl":91518,"material":1027,"size":84,"collection":84,"collections":91519,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},236142,"fang-yuan-ren-shan-shui-ce-he-yi-236142",[164,24,7,59,128,132,330,29,663,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b76071a1fbca33497e17e4fb4022b09.jpg",[],{"id":91521,"slug":91522,"title":42489,"dynasty":54,"author":523,"museum":300,"description":91523,"tags":91524,"thumbUrl":91525,"material":84,"size":84,"collection":84,"collections":91526,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236092,"hua-luo-han-ce-leng-mei-236092","此作以淡墨轻彩绘就，右侧三罗汉或抬首仰望，或侧身惊呼，衣袂随天风飘举，将初见天宫楼阙时的讶异之态刻画得灵动传神，留白铺陈出虚空浩渺的禅意氛围。细劲游丝描勾勒衣褶线条，尽显清透雅致的格调。\n\n左侧题诗与画境呼应，诗画合璧，把禅观中的玄妙幻景具象铺展。整体笔墨简净清隽，以形写神，将罗汉的惊羡情态与佛家幽微禅理相融，既有人物画的生动意趣，又饱含文人笔墨的诗意氛围感，尽显静穆悠远的禅韵。",[24,164,7,59,187,28,27,96,97,950,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78a035b802483c6e70a5c5d222b7ea1e.jpg",[],{"id":91528,"slug":91529,"title":42489,"dynasty":54,"author":523,"museum":300,"description":91530,"tags":91531,"thumbUrl":91532,"material":84,"size":84,"collection":84,"collections":91533,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236089,"hua-luo-han-ce-leng-mei-236089","崖谷幽寂间，白衣罗汉趺坐石上，垂目敛神，神情静穆超然，似在沉湎禅思。身前侍僧长跪虔敬，尽显肃穆仪轨。淡赭轻晕山石，素色点染衣袂，笔致工细秀雅，设色柔润清和。左侧题字笔意疏朗清逸，书画相融，禅意悠悠漫溢。画作以极简布景烘托出空灵出尘的世外氛围，将禅门中人的沉静高古刻画入微，淡远意境间尽显静谧禅心，是兼具笔墨意趣与宗教意蕴的雅致佳构。",[164,24,7,59,187,28,27,96,34,131,31729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fd3e0a159cc613de5ebefda4f2f9620.jpg",[],{"id":91535,"slug":91536,"title":42489,"dynasty":54,"author":523,"museum":300,"description":91537,"tags":91538,"thumbUrl":91539,"material":84,"size":84,"collection":84,"collections":91540,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236087,"hua-luo-han-ce-leng-mei-236087","画面右侧罗汉颓然卧于石上，沉醉忘形，身侧侍者一人奉茶、一人指认漫天簌簌而落的天花，情态各异，生动传神。设色浅淡清雅，衣纹线条细劲流畅，将布料的柔润质感与人物动态完美结合，罗汉醺然沉醉的神态刻画入微，侍者恭谨的姿态颇具章法。\n\n左侧题字笔致秀逸舒展，诗偈呼应画意，点明天花不着身的无漏禅心，书画相映，禅意悠悠。整体工致秀雅，兼具院体画的精工与文人意趣，将禅家澄明境界融于尺幅之间，静穆生动并存，尽显出尘的禅门意韵。",[24,7,187,96,28,27,208,64,18331,58122,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26576d943f408476f88ed7f842453cb5.jpg",[],{"id":91542,"slug":91543,"title":42489,"dynasty":54,"author":523,"museum":300,"description":91544,"tags":91545,"thumbUrl":91546,"material":84,"size":84,"collection":84,"collections":91547,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236086,"hua-luo-han-ce-leng-mei-236086","画面右侧，趺坐的尊者神态安和超逸，环身奇石肖似诸形，伴其参悟禅机。衣纹清劲流畅，落笔工细秀雅，淡色晕染愈显静穆出尘。左侧题诗与画境呼应，以“无情有情”阐发禅宗思辨，诗画合璧，文心与画意相融无间。\n\n奇石造型朴拙古雅，意趣天成，将参禅之思凝于笔端，工致笔触晕开空灵禅韵，把禅理哲思揉进淡墨雅色里，观之涤除尘嚣，引人沉潜于清远出尘的禅意之中。",[24,7,28,27,187,96,229,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feae392828cdf9170396e5c44e0f1a212.jpg",[],{"id":91549,"slug":91550,"title":36229,"dynasty":54,"author":6946,"museum":300,"description":35061,"tags":91551,"thumbUrl":91552,"material":692,"size":1293,"collection":84,"collections":91553,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},236034,"di-yi-a-ying-a-ji-da-zun-zhe-ding-guan-peng-236034",[24,7,165,187,96,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8ecd29672cba26d505844ce55e438e8.jpg",[],{"id":91555,"slug":91556,"title":81062,"dynasty":54,"author":6946,"museum":300,"description":35061,"tags":91557,"thumbUrl":91558,"material":692,"size":1293,"collection":84,"collections":91559,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},236033,"di-shi-liu-a-bi-da-zun-zhe-ding-guan-peng-236033",[24,7,164,28,27,187,96,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7417bff997ca36a40398cc65e446a54.jpg",[],{"id":91561,"slug":91562,"title":91563,"dynasty":54,"author":6946,"museum":300,"description":35061,"tags":91564,"thumbUrl":91566,"material":692,"size":1293,"collection":84,"collections":91567,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},236029,"di-shi-er-bi-na-zha-la-ba-ha-la-zhui-za-zun-zhe-ding-guan-peng-236029","第十二毕那楂拉拔哈喇缀杂尊者",[164,24,7,304,187,96,66038,24159,30598,12564,91565,28,27,208],"手持器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4607db41dcd297cdc6c5911656f5cf6.jpg",[],{"id":91569,"slug":91570,"title":67367,"dynasty":54,"author":223,"museum":300,"description":91571,"tags":91572,"thumbUrl":91573,"material":84,"size":84,"collection":84,"collections":91574,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235981,"ban-shan-shan-shui-ren-wu-ce-yi-ming-235981","这幅水墨山水以淡墨晕染空濛烟岚，远山轻描淡写，隐没薄雾间，柔缓山形与烟水相融，消解了丘壑硬朗棱角。近丛茂竹错落，以浓淡墨色分出疏密层次，细密竹叶带着清润生机，半掩竹间方舍，暗合幽居林泉的雅趣。\n\n整幅画面留白充盈，铺展出江南水泽的澹远氤氲，笔墨简淡松灵，无繁复皴擦，以极简写意勾勒出文人心中幽寂山居，尽显水墨山水淡而隽永的诗意，将静穆闲逸的林下之思藏在烟水笔墨之中。",[24,7,59,128,29,167,130,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c12458a95eb73288f88d875b40f4a6.jpg",[],{"id":91576,"slug":91577,"title":55620,"dynasty":54,"author":24167,"museum":300,"description":91578,"tags":91579,"thumbUrl":91580,"material":692,"size":1293,"collection":84,"collections":91581,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235966,"cai-jia-hua-hui-tu-ce-cai-jia-235966","蔡嘉(1686-1779)，字松原，一字岑州，号雪堂，一号旅亭，又号朱方老民，清朝江苏丹阳人，侨居扬州。所居曰高寒旧馆。与高翔、汪士慎、朱冕为诗画友。",[24,7,59,27,28,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe22539edd85690e583f12eac2f4a33f2.jpg",[],{"id":91583,"slug":91584,"title":55620,"dynasty":54,"author":24167,"museum":300,"description":91578,"tags":91585,"thumbUrl":91586,"material":692,"size":1293,"collection":84,"collections":91587,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235965,"cai-jia-hua-hui-tu-ce-cai-jia-235965",[24,7,59,27,133,208,168,82,62,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed769e7b34e44c147d629ef300972991.jpg",[],{"id":91589,"slug":91590,"title":55620,"dynasty":54,"author":24167,"museum":300,"description":91578,"tags":91591,"thumbUrl":91592,"material":692,"size":1293,"collection":84,"collections":91593,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235964,"cai-jia-hua-hui-tu-ce-cai-jia-235964",[24,7,59,27,28,62,603,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd25d3608f53a25e60cf162973c8565cd.jpg",[],{"id":91595,"slug":91596,"title":55620,"dynasty":54,"author":24167,"museum":300,"description":91578,"tags":91597,"thumbUrl":91598,"material":692,"size":1293,"collection":84,"collections":91599,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235962,"cai-jia-hua-hui-tu-ce-cai-jia-235962",[24,7,59,27,61,133,208,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ed419008f1f8920df8429a6db1ebaae.jpg",[],{"id":91601,"slug":91602,"title":55620,"dynasty":54,"author":223,"museum":300,"description":91603,"tags":91604,"thumbUrl":91605,"material":84,"size":84,"collection":84,"collections":91606,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235960,"cai-jia-hua-hui-tu-ce-yi-ming-235960","此作以水墨挥写牡丹，摒弃敷色艳冶，纯以浓淡墨痕晕染花瓣，舒展柔润的瓣叶层次分明，将国色雍容之态藏于清逸墨韵中。焦墨点染叶片，浓淡错落间尽显舒展生机，枝干劲挺苍拙，寥寥数笔便勾勒挺秀之姿。右侧题诗与绘作相映成趣，诗画合璧衬出文人雅意。整幅脱略形似、独求神韵，以墨代色，将牡丹华贵之姿融于写意笔致间，笔简意赅，尽显文人寄情笔墨的清逸格调。",[24,7,59,128,61,263,624,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bb8b17ca573127ebe5c03fe8c150e97.jpg",[],{"id":91608,"slug":91609,"title":55620,"dynasty":54,"author":223,"museum":300,"description":91610,"tags":91611,"thumbUrl":91612,"material":84,"size":84,"collection":84,"collections":91613,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235958,"cai-jia-hua-hui-tu-ce-yi-ming-235958","此作用淡墨写兰绘石，兰叶舒展挺秀，穿插顾盼有致，笔力清劲洒脱，将幽兰柔而不折的姿态勾勒尽致。花苞隐于叶间，含露待放，古拙湖石错落布于丛兰之侧，苔点缀饰更添苍润意趣。\n\n画面留白空灵，搭配左侧题诗，诗画相映，尽显文人水墨的萧散简远。整幅画以简驭繁，以淡墨氤氲出清寂出尘的意境，借幽兰寄寓君子孤高脱俗的品格，把中式文人画的清雅高逸之风尽数铺展，笔墨寥寥却神韵具足，意韵悠长。",[24,7,59,188,128,208,375,171,1771,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3de71015eb8c0bc0926ad08d809f0d86.jpg",[],{"id":91615,"slug":91616,"title":409,"dynasty":54,"author":45440,"museum":300,"description":91617,"tags":91618,"thumbUrl":91619,"material":84,"size":84,"collection":84,"collections":91620,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},235940,"shan-shui-ce-qi-zhi-jia-235940","此作用笔苍润松灵，近景松石错落，茅庐隐于虬松翠柏间，野趣自生。山峦由近及远，以淡墨晕染出层次，墨色从浓郁渐次澹远，氤氲出空濛朦胧的烟岚之态，将江南山林的清寂幽深铺陈开来。\n\n整幅画作以元人笔墨为宗，干笔皴擦裹带着温润墨韵，树木姿态虬劲舒展，山石朴拙苍厚，尽显萧散简远的林下之风。左侧题跋与画作相映成趣，诗画交融，将文人寄情林泉、幽居丘壑的雅趣尽数彰显，仿若引观者步入这幽寂山林，静听松涛、坐观云起，于淡墨轻岚中，体悟那份疏旷悠然的隐逸意趣。",[24,7,59,128,132,29,413,130,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ed54053c5eafec383258e001241c395.jpg",[],{"id":91622,"slug":91623,"title":409,"dynasty":54,"author":45440,"museum":300,"description":91624,"tags":91625,"thumbUrl":91626,"material":84,"size":84,"collection":84,"collections":91627,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},235938,"shan-shui-ce-qi-zhi-jia-235938","此作用笔苍劲老辣，以留白作山岩积雪，淡墨晕染阴翳，烘托出冬日深山萧寒清寂的氛围。虬曲枯木错落崖畔，山道蜿蜒隐于林峦之间，似藏幽居，尽显荒寒淡远的文人意趣。\n左侧题跋笔势舒展流丽，诗书与画作相映成趣，文心画意相融无间，将山居清冷孤高的意绪诉诸笔端，尽显画师寄情山水、静守丘壑的淡泊襟怀，笔墨浸透清冷出尘的林下之风，是文人山水的上乘佳制。",[24,7,59,29,132,133,131,34,128,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc111373e90832fe27fdae40cf74a7434.jpg",[],{"id":91629,"slug":91630,"title":72563,"dynasty":54,"author":21964,"museum":300,"description":91631,"tags":91632,"thumbUrl":91633,"material":84,"size":84,"collection":84,"collections":91634,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235931,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235931","此作以浅绛写就禅林胜境，主山高峙，淡墨晕染出山峦空蒙秀润之态，皴笔轻简灵秀，尽现山石肌理。山腰朱墙古寺隐于苍松之间，虬松盘曲撑空，山道蜿蜒接引幽境，衬得梵宇愈见清寂。\n溪山之下，寒木错落、村居隐现，浅赭敷色晕染秋意，溪水曲折藏露，尽得林泉幽致。搭配题诗墨韵清雅，书画相映成趣，将江南山水温润雅致与古刹禅意相融，笔墨清润含蓄，烘托出幽寂出尘的林下禅境，尽显文人山水淡远静穆的雅逸风神。",[24,7,59,27,132,29,97,34,99,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa52be9f4a6f210a79e3deba9f918cdaa.jpg",[],{"id":91636,"slug":91637,"title":72563,"dynasty":54,"author":21964,"museum":300,"description":91638,"tags":91639,"thumbUrl":91640,"material":84,"size":84,"collection":84,"collections":91641,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235929,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235929","远景山峦以淡墨晕染，敷施浅赭，清润朦胧，铺就悠远空寂的底色。中景怪石奇崛俯仰，苍松错落挺劲，皴擦勾勒间尽显山石嶙峋肌理，古松虬枝灵动舒展，带着山野清刚之气。近隅红墙梵寺隐于松涛，清溪蜿蜒穿林而过，禅意暗生。右上角题字清雅隽秀，书画相映，融于淡逸氛围之中。此作用浅绛设色，笔墨秀雅明净，以简淡之笔铺陈湖山幽寂，将林泉禅意藏在层叠景致里，尽显静穆萧散的文人意趣，于淡远空灵之间，描摹出尘世外的梵刹清境。",[24,7,59,27,132,29,97,131,34,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7d69d1175d8d7e24b0f2be3162491ac.jpg",[],{"id":91643,"slug":91644,"title":72563,"dynasty":54,"author":21964,"museum":300,"description":91645,"tags":91646,"thumbUrl":91647,"material":84,"size":84,"collection":84,"collections":91648,"showCount":1086,"zanCount":1998,"manualWeight":48,"mainColor":72},235925,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235925","此作用淡赭花青晕染山峦，笔墨秀雅清润。主峰巍峨耸峙，山道蜿蜒穿梭林麓间，隐见行人点缀，衬出山势层叠幽深。\n\n山下平湖如镜，朱红梵宇醒目跳脱，黛瓦飞檐掩映在葱郁林木之中，禅意悠然自生。水面孤舟泛波，汀渚浅草错落铺陈，边角茅舍独居一隅，愈显湖山空寂安谧。\n\n题诗与山水相映相合，诗画交融，将佛刹藏于烟岚的清寂禅境缓缓铺陈，尽显江南湖山的灵秀温婉，勾勒出古刹隐于山水间的沉静意蕴，整体意境清和淡远，雅静出尘。",[24,7,59,27,29,97,129,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb816cf344e394941455e1274c52e576.jpg",[],{"id":91650,"slug":91651,"title":4724,"dynasty":54,"author":54118,"museum":300,"description":82512,"tags":91652,"thumbUrl":91653,"material":692,"size":1293,"collection":84,"collections":91654,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235903,"shan-shui-tu-ce-guan-quan-235903",[24,7,59,128,133,64,29,129,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaef17b071dce509c52aba139b606518.jpg",[],{"id":91656,"slug":91657,"title":4724,"dynasty":54,"author":54118,"museum":300,"description":82512,"tags":91658,"thumbUrl":91659,"material":692,"size":1293,"collection":84,"collections":91660,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235902,"shan-shui-tu-ce-guan-quan-235902",[24,7,59,133,64,128,132,29,130,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb80dbd667fcaf6802072a470b66cec1.jpg",[],{"id":91662,"slug":91663,"title":4724,"dynasty":54,"author":54118,"museum":300,"description":82512,"tags":91664,"thumbUrl":91665,"material":692,"size":1293,"collection":84,"collections":91666,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235901,"shan-shui-tu-ce-guan-quan-235901",[24,7,128,133,132,59,29,130,413,131,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdaec5e5041fb77e6a97147aef47aa70.jpg",[],{"id":91668,"slug":91669,"title":69823,"dynasty":54,"author":223,"museum":300,"description":91670,"tags":91671,"thumbUrl":91672,"material":84,"size":84,"collection":84,"collections":91673,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235885,"yuan-ji-hua-hui-tu-ce-yi-ming-235885","此作用笔老辣写意，以枯湿浓淡变幻的墨色晕染瓜荚，苍劲简练的笔力刻画出苦瓜的糙粝肌理，豆荚则以灵动细劲的线条勾勒，轻盈鲜活。留白恰到好处，以少胜多，将寻常蔬果的生趣尽显纸上。\n题跋朴拙疏朗，笔墨与书法相映成趣，文思与画韵交融，把日常风物晕染出超然的文人雅意，不着艳色便攫取蔬果天然之态，尽显大写意花鸟画的雅致风神，将平淡烟火气升华为隽永的笔墨意趣。",[24,7,164,59,128,369,62,61,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69a3a50f2513d39e57cb25b28de75157.jpg",[],{"id":91675,"slug":91676,"title":7864,"dynasty":54,"author":52511,"museum":300,"description":91677,"tags":91678,"thumbUrl":91679,"material":692,"size":1293,"collection":84,"collections":91680,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235873,"za-hua-ce-zhang-sheng-235873","章声（清），字子鹤，仁和（今杭州）人。父谷工山水，善写真，声与兄长采，能绍父艺，山水尤工。所作雪山大幅，笔墨谨严，结构雄伟，乃胎息荆、关，绝无宋、元以来婉媚之习。康熙十六年（1671）尝在屏山阁作山水图。",[24,7,59,27,61,2035,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d48b47b0732e3ee83295e0e8a8d33fb.jpg",[],{"id":91682,"slug":91683,"title":7864,"dynasty":54,"author":52511,"museum":300,"description":91684,"tags":91685,"thumbUrl":91686,"material":84,"size":84,"collection":84,"collections":91687,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235867,"za-hua-ce-zhang-sheng-235867","此帧山水小品，近岸苍松蟠曲，清潭澄明如镜，山坳隐露屋舍，危崖之上城楼孑然峙立。山石以松秀皴笔写就，淡赭轻施晕染出秋山温煦底色，整体意境清寂淡远。\n\n左侧行书题诗笔意俊逸舒展，诗画相映成趣。将山光千林、清露夜读的诗意化入林泉丘壑，把文人林下幽栖的隐逸心境铺陈开来。笔墨简淡却韵致悠长，尽显文人画诗画交融的雅致意趣，漾着静谧出尘的林下风流。",[24,7,59,27,29,97,34,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbae8f1b9e5c2d23c81eb27bc77cf43a.jpg",[],{"id":91689,"slug":91690,"title":409,"dynasty":124,"author":27311,"museum":300,"description":91691,"tags":91692,"thumbUrl":91693,"material":84,"size":84,"collection":84,"collections":91694,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235821,"shan-shui-ce-li-liu-fang-235821","此帧以淡墨晕染汀洲远山，笔致松秀简淡，坡岸间几株杂木高低错落，枝叶以湿墨点簇，苍润朴拙。侧旁茅篱草堂隐于林下，野水空蒙，尽显幽寂淡远的林下逸趣。\n\n作者取法云林清寂之境，却变倪氏干淡折带皴为湿笔出之，褪去尖峭冷寂，添了温润苍厚的意趣，自出机杼。题诗与画作相映，诗画合璧，尽显文人画萧散简远的雅逸格调，将江南水畔的静穆闲淡融于毫端，尽显幽人逸士的林下襟怀。",[24,7,59,128,29,413,35,131,132,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2534a881cab26c9eedb6f057eb8109fd.jpg",[],{"id":91696,"slug":91697,"title":409,"dynasty":124,"author":27311,"museum":300,"description":91698,"tags":91699,"thumbUrl":91700,"material":84,"size":84,"collection":84,"collections":91701,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235819,"shan-shui-ce-li-liu-fang-235819","此作笔墨简淡松秀，取景萧疏清旷。近岸林木参差，枯荣交织，晕染出浅秋澄澈况味。山坳村居、山寺错落藏于崖岫林麓之间，野意盎然。远景山峦以淡墨轻施晕染，留白牵引出幽远空寂之意韵。\n题识点明创作旨趣，师法倪、黄，皴染相融、勾勒劲健，以简淡笔墨写出山川静穆深秀之致，尽显文人画萧散逸气，观之如临林泉，俗虑尽涤。",[24,7,59,128,132,29,34,131,35,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c8bbd37a6e5c1fe4d64f0293d7ab973.jpg",[],{"id":91703,"slug":91704,"title":91705,"dynasty":124,"author":3608,"museum":300,"description":9012,"tags":91706,"thumbUrl":91707,"material":692,"size":1293,"collection":84,"collections":91708,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235767,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-xiao-xia-wan-tu-ye-lu-zhi-235767","吴门诸家寿袁方斋三绝册-销夏湾图页",[24,7,59,29,130,171,27,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeda8f034a827bd11757040b1093eb3e.jpg",[],{"id":91710,"slug":91711,"title":91712,"dynasty":124,"author":1438,"museum":300,"description":13247,"tags":91713,"thumbUrl":91714,"material":692,"size":1293,"collection":84,"collections":91715,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235766,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-tian-chi-shan-tu-ye-chen-chun-235766","吴门诸家寿袁方斋三绝册-天池山图页",[24,7,59,128,27,29,663,413,171,64,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd88ed34264a705b2ce16bac1657e9992.jpg",[],{"id":91717,"slug":91718,"title":91719,"dynasty":124,"author":3608,"museum":300,"description":9012,"tags":91720,"thumbUrl":91721,"material":692,"size":1293,"collection":84,"collections":91722,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235765,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-xian-ling-tu-ye-lu-zhi-235765","吴门诸家寿袁方斋三绝册-现岭图页",[24,7,59,27,132,29,97,131,99,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ea13ef3f71ba8f7037905262a1cc28f.jpg",[],{"id":91724,"slug":91725,"title":42514,"dynasty":124,"author":36548,"museum":300,"description":42515,"tags":91726,"thumbUrl":91727,"material":692,"size":1293,"collection":84,"collections":91728,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235758,"mei-hua-wen-cong-jian-shi-he-bi-ce-shao-mi-235758",[24,7,59,128,371,171,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1983d082172c37f5c984c940a63f5c6e.jpg",[],{"id":91730,"slug":91731,"title":42514,"dynasty":124,"author":36548,"museum":300,"description":42515,"tags":91732,"thumbUrl":91733,"material":692,"size":1293,"collection":84,"collections":91734,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235753,"mei-hua-wen-cong-jian-shi-he-bi-ce-shao-mi-235753",[24,7,59,128,133,208,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F315a5abde95c1039816f04b3021b26c1.jpg",[],{"id":91736,"slug":91737,"title":33103,"dynasty":54,"author":78869,"museum":300,"description":78870,"tags":91738,"thumbUrl":91739,"material":692,"size":1293,"collection":84,"collections":91740,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235746,"fang-gu-shan-shui-ce-xue-xuan-235746",[24,7,59,27,29,132,663,228,413,98,97,4363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9127db220887743e618c9aa6952259f.jpg",[],{"id":91742,"slug":91743,"title":33103,"dynasty":54,"author":78869,"museum":300,"description":78870,"tags":91744,"thumbUrl":91745,"material":692,"size":1293,"collection":84,"collections":91746,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235744,"fang-gu-shan-shui-ce-xue-xuan-235744",[24,7,59,128,330,132,29,34,211,331,229,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cb5b48bdc12a3463299fb45e47efb83.jpg",[],{"id":91748,"slug":91749,"title":33103,"dynasty":124,"author":33653,"museum":300,"description":91750,"tags":91751,"thumbUrl":91752,"material":84,"size":84,"collection":84,"collections":91753,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235625,"fang-gu-shan-shui-ce-shen-hao-235625","此作以水墨晕染村居小景，虬曲古木与柔润新篁并立，刚柔相映生趣。矮墙围合村舍，篱畔野草丛生，平波微漾，远景烟树朦胧氤氲。画中添两步行旅人，为静谧图景晕开人间烟火气。\n\n笔触简淡松灵，以留白铺陈悠远空寂，淡墨晕染出江南乡野的清寂闲逸。左上角题字古雅端方，书画合璧，更添幽淡萧散的文人意趣，将闲淡悠远的林下之思融于尺幅之间，简笔写意中尽得山水小品的空灵意境。",[24,7,164,59,128,132,29,413,3387,1771,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48490e82e3cc80ca90b86d926e498140.jpg",[],{"id":91755,"slug":91756,"title":33103,"dynasty":124,"author":33653,"museum":300,"description":91757,"tags":91758,"thumbUrl":91759,"material":84,"size":84,"collection":84,"collections":91760,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235622,"fang-gu-shan-shui-ce-shen-hao-235622","此作淡墨轻岚，意韵萧疏清旷。近滩石矶错落，策杖行人徐行水畔，野趣自生。左岸篱舍山居静立，一人凭檐远望，衬出林间幽寂。远山以干笔淡墨皴擦晕染，层叠朦胧，烟岚轻笼如诗。枯木疏枝虬曲，笔墨松灵简淡，以极简皴擦写出山石肌理，晕染间尽显空濛悠远的林下意境。题跋小字清雅悠然，与山水景致浑然相融，尽显文人画崇尚的平淡天真，悠悠隐逸之思浸透纸面，藏着独有的萧散简远之美。",[24,7,59,128,330,132,29,663,228,171,1233,331,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec495cb138b4f1daaa7eeafb820a626e.jpg",[],{"id":91762,"slug":91763,"title":76,"dynasty":54,"author":14273,"museum":300,"description":91764,"tags":91765,"thumbUrl":91766,"material":84,"size":84,"collection":84,"collections":91767,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235575,"hua-hui-ce-fan-ting-zhen-235575","此幅以水墨写意芭蕉，浓淡墨色晕染区分叶片向背，焦墨提勒叶筋，虚实相映间尽显芭蕉舒展丰腴之态。淡墨铺就叶面晕染出清润柔和质感，浓墨点染叶端暗合深沉叶色，笔墨淋漓写意，将芭蕉萧疏清润之姿跃然纸上。\n\n左侧题诗与朱印和画面呼应，诗画交融，以诗点出芭蕉玲珑清疏的风骨，笔墨自带夏日幽凉意趣，尽显文人画诗书画印一体的雅致。简淡笔墨勾勒出幽逸意境，传递出寄情草木、静赏清芬的文人雅怀。",[24,7,128,59,875,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2fe184ac1ae7bc6c96179a53778be3c.jpg",[],{"id":91769,"slug":91770,"title":76,"dynasty":54,"author":14273,"museum":300,"description":91771,"tags":91772,"thumbUrl":91773,"material":84,"size":84,"collection":84,"collections":91774,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235571,"hua-hui-ce-fan-ting-zhen-235571","此作用淡墨晕染湖石，枯笔点苔，虚实相生间尽显嶙峋古拙。萱花以细劲墨线勾勒瓣形，淡墨轻敷花萼，柔婉舒展，尽显绰约清姿。兰叶中锋走笔，笔势秀挺洒脱，自带舒展韵致。\n\n书画合璧，题诗与笔墨相映，文气盎然。整幅小品删繁就简，以水墨写意将花木灵秀之态与文人澹泊襟怀相融，疏朗雅致的格调里尽显传统水墨的写意风神，藏着幽淡出尘的雅趣。",[24,7,59,128,188,171,828],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1de1a3410bf6f0ba296d0caa3cbde71.jpg",[],{"id":91776,"slug":91777,"title":76,"dynasty":54,"author":14273,"museum":300,"description":91778,"tags":91779,"thumbUrl":91780,"material":84,"size":84,"collection":84,"collections":91781,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235569,"hua-hui-ce-fan-ting-zhen-235569","此作以水墨写林泉幽致，枯笔挥扫古松虬枝，松针层叠攒聚，晕开幽森古意，似有风穿松涛暗涌。右侧顽石嶙峋，皴法简劲朴拙，石面苍润肌理尽显岁月沉凝。左下角附石苔癣垂垂，与松枝顾盼呼应，将山野清寂收于尺幅。\n\n全作用墨枯湿浓淡相宜，留白衬出山岚空濛，笔致纵逸萧散，未施一色，全然以水墨晕染出世外林泉的静穆澹远，于简淡笔墨间写尽山林苍古冷峭之态，尽显寄情林丘、静赏幽栖的文人雅趣。",[24,7,59,128,171,1144,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92da6d211852dbdb1e5e17f8ba712f44.jpg",[],{"id":91783,"slug":91784,"title":76,"dynasty":54,"author":14273,"museum":300,"description":91785,"tags":91786,"thumbUrl":91787,"material":84,"size":84,"collection":84,"collections":91788,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235568,"hua-hui-ce-fan-ting-zhen-235568","这幅以墨梅为题，老干以焦墨枯笔写出，皴擦间尽显嶙峋苍古，新枝则以淡墨勾勒，舒展挺秀。枝头梅花以留白为瓣，淡墨点萼，疏密错落间，将寒梅素艳清寂的姿态尽显。侧畔湖石以泼墨晕染，与清癯梅枝相映，更衬出梅之孤高脱俗。\n\n右上角题以行书诗句，笔意疏朗秀逸，书画交融，尽显文人画的雅致意趣，把寒梅凌雪独放的高洁品格寄寓其中，淡远清旷的氛围感扑面而来，是借物抒怀的佳制。",[24,7,59,128,188,371,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c8f5dd0a290dc7ae3c9c04d40973469.jpg",[],{"id":91790,"slug":91791,"title":409,"dynasty":54,"author":24447,"museum":300,"description":46761,"tags":91792,"thumbUrl":91793,"material":692,"size":1293,"collection":84,"collections":91794,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235547,"shan-shui-ce-zhu-chang-235547",[24,7,59,128,132,208,29,413,130,415,229,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F843e839f60ed60a8135e60fbc8b1f273.jpg",[],{"id":91796,"slug":91797,"title":72649,"dynasty":54,"author":72650,"museum":300,"description":72651,"tags":91798,"thumbUrl":91799,"material":692,"size":1293,"collection":84,"collections":91800,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235539,"xi-xiang-tu-ce-ye-bu-235539",[24,7,59,27,28,96,166,62,169,9603,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cde8374a004ffa8741fea5e7e5ab55b.jpg",[],{"id":91802,"slug":91803,"title":72649,"dynasty":54,"author":72650,"museum":300,"description":72651,"tags":91804,"thumbUrl":91805,"material":692,"size":1293,"collection":84,"collections":91806,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235537,"xi-xiang-tu-ce-ye-bu-235537",[24,7,59,27,28,64,208,96,101,413,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f0e72e42d83dfe94d623d45f2bdf6cf.jpg",[],{"id":91808,"slug":91809,"title":72649,"dynasty":54,"author":72650,"museum":300,"description":72651,"tags":91810,"thumbUrl":91811,"material":692,"size":1293,"collection":84,"collections":91812,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235536,"xi-xiang-tu-ce-ye-bu-235536",[24,7,59,27,96,166,98,97,131,4363,209,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6cc23bd25d3cce9a38c1458183fbe05.jpg",[],{"id":91814,"slug":91815,"title":72649,"dynasty":54,"author":72650,"museum":300,"description":72651,"tags":91816,"thumbUrl":91817,"material":692,"size":1293,"collection":84,"collections":91818,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235535,"xi-xiang-tu-ce-ye-bu-235535",[24,7,59,27,28,133,96,247,34,875,758,36766,249,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a49e7812a4e7c7e6e9e2907740b9b9a.jpg",[],{"id":91820,"slug":91821,"title":409,"dynasty":54,"author":23132,"museum":300,"description":61171,"tags":91822,"thumbUrl":91823,"material":692,"size":1293,"collection":84,"collections":91824,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235499,"shan-shui-ce-liu-yu-235499",[24,7,59,128,132,29,331,130,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d4a4eeb5647524bccb0b58f947410a2.jpg",[],{"id":91826,"slug":91827,"title":409,"dynasty":54,"author":23132,"museum":300,"description":61171,"tags":91828,"thumbUrl":91829,"material":692,"size":1293,"collection":84,"collections":91830,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235498,"shan-shui-ce-liu-yu-235498",[24,7,59,128,132,29,663,413,758,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e8cf51c1f68dffe5f9e8b82face608.jpg",[],{"id":91832,"slug":91833,"title":55620,"dynasty":54,"author":24167,"museum":300,"description":91578,"tags":91834,"thumbUrl":91835,"material":692,"size":1293,"collection":84,"collections":91836,"showCount":1086,"zanCount":1998,"manualWeight":48,"mainColor":72},235421,"cai-jia-hua-hui-tu-ce-cai-jia-235421",[24,7,59,128,371,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F468538928a780d19da56f3dd82cdd365.jpg",[],{"id":91838,"slug":91839,"title":55620,"dynasty":54,"author":24167,"museum":300,"description":91578,"tags":91840,"thumbUrl":91841,"material":692,"size":1293,"collection":84,"collections":91842,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235415,"cai-jia-hua-hui-tu-ce-cai-jia-235415",[24,7,59,27,28,62,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe49a61e04fd872e1f381aecca81aad5d.jpg",[],{"id":91844,"slug":91845,"title":30254,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":91846,"thumbUrl":91847,"material":692,"size":1293,"collection":84,"collections":91848,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235358,"shan-shui-ren-wu-tu-ce-huang-shen-235358",[24,7,59,188,128,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02dbf3c97375dac779ad59cbd40a86a7.jpg",[],{"id":91850,"slug":91851,"title":30254,"dynasty":54,"author":6357,"museum":300,"description":91852,"tags":91853,"thumbUrl":91854,"material":84,"size":84,"collection":84,"collections":91855,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235356,"shan-shui-ren-wu-tu-ce-huang-shen-235356","这幅以淡墨晕染铺就江天雪景，远山消融在濛濛寒烟之中，留白与浅墨勾画出冰封的寒渚，清冷辽远的氛围感扑面而来。近岸枯松覆雪，虬曲枝干苍劲古拙，带着冬日特有的荒寒萧疏意趣。\n\n右侧题款疏密错落，笔墨与题字相映成趣，将江天寥廓的冷寂空茫烘托得淋漓尽致。整作笔意简淡空灵，以极简的水墨语言，写出冬日江天的幽远意境，尽显文人山水画的雅致韵味，于萧索之中蕴含着沉静淡远的意趣。",[24,7,128,59,29,96,34,131,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c124a8b3468ac7b3fc8f4ed0ff8fd9d.jpg",[],{"id":91857,"slug":91858,"title":409,"dynasty":54,"author":43518,"museum":300,"description":91859,"tags":91860,"thumbUrl":91861,"material":84,"size":84,"collection":84,"collections":91862,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235332,"shan-shui-ce-wen-dian-235332","此作用淡墨白描写就秋郊闲居之景。高木扶苏葱郁，清简茅舍半掩，野径间有人徐行低语，远山轻晕出空濛秋意，萧疏淡远。笔致松灵简淡，全无浓丽设色，仅以素墨勾勒渲染，将秋日郊野的清寂恬和尽数铺展。右上角题诗与画面相映，文气雅致，尽显江南文人画独有的疏朗清雅，把寻常闲居小景晕染成诗意栖居之境，带着萧散冷逸的林下幽趣，将文人寄情山水的恬然心境藏于极简笔墨中。",[24,7,59,188,128,29,34,35,96,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2a5c64303e7c24d5b726686b12afb11.jpg",[],{"id":91864,"slug":91865,"title":409,"dynasty":54,"author":43518,"museum":300,"description":91866,"tags":91867,"thumbUrl":91868,"material":692,"size":1293,"collection":84,"collections":91869,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235325,"shan-shui-ce-wen-dian-235325","文点（一六三三―一七o四），字与也，号南云山樵，长洲（今江苏苏州）人。 [1] 明代著名画家文徵明之子文彭的玄孙。清初著名书画家。",[24,7,59,128,208,188,29,1233,331,22404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ae7984f2cbf40abf7d3e3ac5bb3626b.jpg",[],{"id":91871,"slug":91872,"title":409,"dynasty":54,"author":43518,"museum":300,"description":91866,"tags":91873,"thumbUrl":91874,"material":692,"size":1293,"collection":84,"collections":91875,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235324,"shan-shui-ce-wen-dian-235324",[24,7,59,128,188,132,1233,331,29,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c123f79fb46dec9104bb6452d012fa.jpg",[],{"id":91877,"slug":91878,"title":91879,"dynasty":124,"author":5408,"museum":300,"description":91880,"tags":91881,"thumbUrl":91882,"material":692,"size":1293,"collection":84,"collections":91883,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235315,"ba-jia-shan-shui-ce-shan-yu-zhong-quan-tu-ce-ye-bian-wen-yu-235315","八家山水册-山雨重泉图册页","字孟硕，吴江（今江苏吴江）人。工画，见赏于董思白（其昌）、陈眉公（继儒）。明亡佯狂卒，年三十二。",[24,7,59,128,29,663,5359,34,497,64,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba90ceeeaf9083886b4041d1961704a1.jpg",[],{"id":91885,"slug":91886,"title":91887,"dynasty":54,"author":16573,"museum":300,"description":91888,"tags":91889,"thumbUrl":91890,"material":692,"size":1293,"collection":84,"collections":91891,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235314,"ba-jia-shan-shui-ce-qing-shan-ju-you-tu-ce-ye-sun-huang-235314","八家山水册-青山桔柚图册页","字尚甫。善写意人物，故宫博物院藏有其顺治十八年（一六六一）仿仇英汉宫图，王时敏题之。",[24,7,59,27,29,96,129,34,1351,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5693781f9f69345e78a9bfcdf79cb040.jpg",[],{"id":91893,"slug":91894,"title":409,"dynasty":54,"author":47695,"museum":300,"description":65170,"tags":91895,"thumbUrl":91896,"material":692,"size":1293,"collection":84,"collections":91897,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235308,"shan-shui-ce-zhang-feng-235308",[24,7,59,128,132,29,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e258a8dced29309f62b117e41eac757.jpg",[],{"id":91899,"slug":91900,"title":409,"dynasty":54,"author":47695,"museum":300,"description":65170,"tags":91901,"thumbUrl":91902,"material":692,"size":1293,"collection":84,"collections":91903,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235306,"shan-shui-ce-zhang-feng-235306",[24,7,59,128,132,29,211,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff398503fd192290f5ebeb56ae904501e.jpg",[],{"id":91905,"slug":91906,"title":409,"dynasty":124,"author":33653,"museum":300,"description":91907,"tags":91908,"thumbUrl":91909,"material":84,"size":84,"collection":84,"collections":91910,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235289,"shan-shui-ce-shen-hao-235289","此作用笔简淡松灵，以浅绛设色晕染层叠峰峦，山石以干笔皴擦勾勒肌理，棱角隐现间兼具雄浑朴拙与秀雅之态。古松虬曲挺立，松针攒簇苍劲，为幽寂山林添一重清刚生气。\n\n画面留白疏密相宜，铺陈出林泉空濛悠远之境，右上角题款与景致浑然相融，尽显文人画萧疏淡远的意趣，暗合著画者寄迹林泉、超然物外的林下襟怀。",[24,7,164,59,128,27,132,29,663,1144,331,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a42f428252821636d93a148896f295b.jpg",[],{"id":91912,"slug":91913,"title":76,"dynasty":124,"author":41661,"museum":300,"description":41662,"tags":91914,"thumbUrl":91915,"material":692,"size":1293,"collection":84,"collections":91916,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235266,"hua-hui-ce-wang-gu-xiang-235266",[24,7,188,128,59,61,374,375,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa06241254ce5a62ce188d62da9632b4d.jpg",[],{"id":91918,"slug":91919,"title":39218,"dynasty":124,"author":69840,"museum":300,"description":91920,"tags":91921,"thumbUrl":91922,"material":84,"size":84,"collection":84,"collections":91923,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235241,"shui-xian-juan-wang-gu-xiang-235241","此卷以水墨写意水仙，笔致劲挺秀雅，兰叶交错舒展、顾盼自然，以极简笔墨勾勒出水仙清逸出尘之态，留白空灵尽显幽冷澹远的君子气韵。\n\n行书赋文笔势舒展清健，将水仙孤高清介的品性寄于辞章，一众题跋亦各见风神，诗书画合璧，尽显明代文人寄情花木、托物言志的雅趣，整卷清雅隽秀，是文人情致与笔墨功力的绝佳融合。",[23,24,7,25,128,27,61,374,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff554019383163d38f70a85a82bed3490.jpg",[],{"id":91925,"slug":91926,"title":91927,"dynasty":124,"author":223,"museum":300,"description":91928,"tags":91929,"thumbUrl":91930,"material":692,"size":1293,"collection":84,"collections":91931,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235208,"ju-jie-shan-shui-shan-ye-yi-ming-235208","居节山水扇页","此作为泥金扇面，取平远山水之景。近岸古木扶疏、浓荫如盖，林下茅庐半隐，水面渔舟轻泛，漾开柔波，尽是江南水乡闲逸野趣。远景峰峦层叠，皴笔苍劲朴拙，将山石硬朗质感尽显，与水岸柔婉相映成趣。墨色于金笺之上浓淡相宜，勾勒皴擦间浸透着吴门画派疏朗清逸的遗风。画中不见繁复渲染，以极简的笔墨铺陈出幽居江湖的隐逸之思，淡远空灵，将林泉高致藏在一水一山之中，古雅沉静的文人意韵满溢纸面。",[1131,24,7,164,128,132,29,413,1314,2048],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc20eddad4c6110ed7fa19e6c988a954b.jpg",[],{"id":91933,"slug":91934,"title":7864,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":91935,"thumbUrl":91936,"material":692,"size":1293,"collection":84,"collections":91937,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235192,"za-hua-ce-huang-shen-235192",[24,7,59,128,375,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23afc37b276a15dd263060b51e7fe9bd.jpg",[],{"id":91939,"slug":91940,"title":7864,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":91941,"thumbUrl":91942,"material":692,"size":1293,"collection":84,"collections":91943,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235191,"za-hua-ce-huang-shen-235191",[24,7,59,27,61,62,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb0e811b6034cb5cbbb79308910aac74.jpg",[],{"id":91945,"slug":91946,"title":7864,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":91947,"thumbUrl":91948,"material":692,"size":1293,"collection":84,"collections":91949,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235185,"za-hua-ce-huang-shen-235185",[24,7,59,128,3794],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b95722b2b184624d7de9abd8b6993a.jpg",[],{"id":91951,"slug":91952,"title":409,"dynasty":124,"author":27311,"museum":300,"description":91953,"tags":91954,"thumbUrl":91955,"material":84,"size":84,"collection":84,"collections":91956,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},235150,"shan-shui-ce-li-liu-fang-235150","此作用笔追摹米家云山意趣，以水墨晕染绘就烟岚山色。远山以淡墨轻扫出形，复以浓墨晕积暗部，墨色层次交融，晕出江南山峦的空濛烟雨之态，不见斧凿之痕，尽显苍润氤氲。近处长汀横陈，杂树以焦墨点簇而成，笔致朴拙苍劲，几间村居简笔勾勒，隐于林樾之间，野逸萧疏。整幅画作以平远之景铺陈开去，简淡清远，将幽怀寄寓于丘壑之间，师法古人却自抒性灵，静穆淡远中尽显文人画的简雅逸趣，是寄情山水、以画明心的精妙之作。",[164,24,7,59,128,132,29,34,35,415,7782,131,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F581572072c0d17b417f3a9ff01ca28d0.jpg",[],{"id":91958,"slug":91959,"title":72744,"dynasty":124,"author":223,"museum":300,"description":91960,"tags":91961,"thumbUrl":91962,"material":692,"size":1293,"collection":84,"collections":91963,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235143,"chen-dan-zhong-shan-shui-ce-yi-ming-235143","此作画诗合璧，淡设色绘就山居幽境。近岸长松挺秀清拔，板桥通幽，茅庐隐于林麓之间，溪湾轻舟闲泊，野意悠然。远景崖巖层叠，以苔点皴染山石苍厚肌理，淡赭晕染山峦，晕出清润空濛的朝暮烟岚之气。\n\n左侧题诗与画境相契，笔墨清隽雅致，以书入画，尽显林下风雅。整幅气韵淡远空灵，带着江南山水的温润秀雅，将文人幽栖林泉、寄情丘壑的隐逸心绪藏于尺幅之间，是极具文人意趣的小品佳制。",[24,7,59,128,27,132,29,34,131,99,98,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F795591126e0731b8263a4d86cc489e07.jpg",[],{"id":91965,"slug":91966,"title":409,"dynasty":54,"author":6936,"museum":300,"description":91967,"tags":91968,"thumbUrl":91969,"material":84,"size":84,"collection":84,"collections":91970,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235109,"shan-shui-ce-wang-yuan-qi-235109","此作用笔苍浑老辣，以干笔积墨反复皴擦，近景怪石崚嶒，古松虬曲，溪桥穿林而过，野趣盎然。中景山峦层叠，林木繁郁，皴法细密厚重，尽显丘壑之沉雄。远景以淡墨晕染，汀渚远山融于虚白之中，虚实相生，拓展出悠远空寂的天地。\n\n画家以黄公望之浑厚糅合倪瓒之疏淡，在尺幅之间铺展山川深秀气韵，层层积染的墨色，让山石兼具温润与苍劲，留白巧构意境，于平淡简远中见苍茫大气，仿古而不泥古，尽显典型风貌，将山川的静穆雄浑藏于小幅册页之中。",[24,7,128,132,59,29,34,131,99,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1d1178ee43ab6678c55e5fbdc205878.jpg",[],{"id":91972,"slug":91973,"title":46768,"dynasty":54,"author":36019,"museum":300,"description":91974,"tags":91975,"thumbUrl":91976,"material":84,"size":84,"collection":84,"collections":91977,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235094,"zheng-min-shan-shui-ce-zheng-min-235094","此作用淡墨绘就平林远渚，近岸老枝斜出，荒草萋萋，中洲村居隐于林间，远山含晕，群雁掠水而去，全幅简淡空灵，得倪瓒遗意，将皖南秋郊清旷冷寂的意韵尽显无遗。左侧题跋笔致清劲舒展，与画作格调相得益彰，文画相融，尽显画者寄情林泉、超然物外的文人逸趣。全作淡而不枯，简而意足，尽显幽淡冲和的文人画旨趣，是新安画派以笔抒怀的典型佳构。",[24,7,59,128,133,132,29,171,211,331,99,130,415,5323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0209f2ab9b0ee85b7f0dcf8ce1c2a1e2.jpg",[],{"id":91979,"slug":91980,"title":4724,"dynasty":54,"author":5879,"museum":300,"description":91981,"tags":91982,"thumbUrl":91983,"material":84,"size":84,"collection":84,"collections":91984,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235074,"shan-shui-tu-ce-hua-yan-235074","此作用淡墨晕染暮春烟湖之景，垂柳柔丝披拂映水，板桥轻横岸侧，茅舍隐于柳荫。湖面烟霭朦胧，天际一棹孤舟穿雨而行，简淡空灵之间，将江南烟雨的柔婉空濛尽数铺陈。\n笔致松秀清润，摒弃繁复皴擦，以水墨浓淡晕染出湿润氤氲的氛围，左侧题诗与画面相映成趣，文墨相生，自带清寂淡远的文人意趣。寥寥数笔便将烟雨春湖的幽谧诗意定格，尽显以简驭繁的笔墨功力，把江南水乡的朦胧柔情藏进尺幅之中，淡而有味，余韵悠长。",[24,7,128,133,29,59,4363,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89e20fe331684783563c132ed996a525.jpg",[],{"id":91986,"slug":91987,"title":4724,"dynasty":54,"author":5879,"museum":300,"description":91988,"tags":91989,"thumbUrl":91990,"material":84,"size":84,"collection":84,"collections":91991,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235072,"shan-shui-tu-ce-hua-yan-235072","此幅行书随性萧散，笔致苍润灵动，笔势舒卷自然，章法错落疏朗。墨色间浓淡枯湿层次尽显，尽显松弛放逸的文人意趣。\n行间字句皆是画者的绘事心得，将山水笔墨体悟与创作思索相融，落笔自带清简雅致的书卷气，藏着江南文人清雅放逸的襟怀。以笔为语，以墨为情，书与画论合一，是文心与笔韵交织的精妙小品，尽显传统文人雅致的审美意趣。",[24,7,59,128,27,29,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a68c40c45e0109602c6cf39575cb83e.jpg",[],{"id":91993,"slug":91994,"title":7864,"dynasty":54,"author":5879,"museum":300,"description":59277,"tags":91995,"thumbUrl":91996,"material":692,"size":1293,"collection":84,"collections":91997,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235056,"za-hua-ce-hua-yan-235056",[24,7,59,27,128,132,96,29,372,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05a659cdf189e2e459efbb1a95a2b0a8.jpg",[],{"id":91999,"slug":92000,"title":7864,"dynasty":54,"author":5879,"museum":300,"description":59277,"tags":92001,"thumbUrl":92002,"material":692,"size":1293,"collection":84,"collections":92003,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},235055,"za-hua-ce-hua-yan-235055",[24,7,59,27,29,130,98,168,413,4363,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F406b16a073e476c648ed020abc218f64.jpg",[],{"id":92005,"slug":92006,"title":33698,"dynasty":54,"author":2915,"museum":300,"description":33699,"tags":92007,"thumbUrl":92008,"material":692,"size":1293,"collection":84,"collections":92009,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234943,"yue-man-qing-you-ce-chen-mei-234943",[24,7,59,27,28,96,166,130,167,99,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff8f3e8df245d67e89d99b1bca9bd292.jpg",[],{"id":92011,"slug":92012,"title":33698,"dynasty":54,"author":2915,"museum":300,"description":33699,"tags":92013,"thumbUrl":92015,"material":692,"size":1293,"collection":84,"collections":92016,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234940,"yue-man-qing-you-ce-chen-mei-234940",[24,7,28,27,133,208,64,96,166,92014,4363,6640,758,14332,209],"秋千","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d6153d5a1d2b9a37ba6ed592ed7a3c1.jpg",[],{"id":92018,"slug":92019,"title":11926,"dynasty":124,"author":223,"museum":300,"description":92020,"tags":92021,"thumbUrl":92022,"material":692,"size":1293,"collection":84,"collections":92023,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234929,"dong-qi-chang-shan-shui-ce-yi-ming-234929","这件行书题跋笔法松秀灵动，提按转合尽显文人雅逸风骨，字形欹正相生，排布错落疏朗。墨色带着浓淡枯湿的细微层次，将书写时的随性自然全然展露。\n题文追忆往昔观览笔墨的旧事，字里行间浸着对前贤书画的倾慕，以笔载情，将赏鉴心得与书法意趣相融，是典型的晚明文人题跋风貌，兼具审美价值与书画品鉴的文献意义。",[24,7,59,133,208,29,128,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32ac997cfbe95ce015cdb6d75f5c5bd6.jpg",[],{"id":92025,"slug":92026,"title":409,"dynasty":54,"author":36659,"museum":300,"description":63282,"tags":92027,"thumbUrl":92028,"material":692,"size":1293,"collection":84,"collections":92029,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},234857,"shan-shui-ce-wang-gai-234857",[24,7,59,133,208,132,128,27,29,131,34,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b343746a28d10c1cf7f769d8cecc72e.jpg",[],{"id":92031,"slug":92032,"title":92033,"dynasty":54,"author":223,"museum":300,"description":92034,"tags":92035,"thumbUrl":92036,"material":692,"size":1293,"collection":84,"collections":92037,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234836,"hong-wu-yun-shan-tu-shan-ye-yi-ming-234836","弘旿云山图扇页","此作用笔苍朴，以焦墨皴擦山峦，勾勒出山棱的硬朗浑厚，将山体托于云海之间。云气以淡墨勾出卷舒柔态，留白衬出空濛虚境，虚实相映里尽显云山出岫的灵动感。\n下半隅浓墨点染矮林，与远山形成轻重对照，层次分明。全幅只以水墨铺陈，摒弃浓艳设色，尽显萧散清逸的文人意趣。方寸扇面间铺展丘壑幽境，寥寥笔墨便将云绕青山的静谧雅致勾勒尽致，尽显水墨写意的简淡风神。",[304,24,7,1131,128,29,950,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a35e4c243bef2d990a6d4b5d82cc437.jpg",[],{"id":92039,"slug":92040,"title":82873,"dynasty":54,"author":33617,"museum":300,"description":92041,"tags":92042,"thumbUrl":92043,"material":84,"size":84,"collection":84,"collections":92044,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234825,"zhu-jia-shu-hua-he-bi-ce-shan-shui-ye-xu-fang-234825","徐枋（1622年5月3日——1694年11月7日），明末清初画家。字昭法，号俟斋、秦余山人，吴县（今江苏苏州）人，殉节官员徐汧之子。崇祯十五年举人。入清，遵父遗命不仕异族，隐居于天平山麓“涧上草堂”，自称孤哀子。书擅行草，长于山水画，取法董源、巨然、荆浩，关仝，亦宗倪瓒、黄公望，与杨无咎、朱用纯并称“吴中三高士”。终身不入城市，卖画自食，例不书款，与宣城沈寿民、嘉兴巢鸣盛称“海内三遗民”。",[24,7,59,128,188,29,331,171,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9c97aa471370a2c91116fc1493138e0.jpg",[],{"id":92046,"slug":92047,"title":409,"dynasty":54,"author":23303,"museum":20,"description":82881,"tags":92048,"thumbUrl":92049,"material":84,"size":84,"collection":84,"collections":92050,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234798,"shan-shui-ce-dong-bang-da-234798",[24,7,59,128,29,129,131,34,415,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb042b3fe03495a4a18e040a179214e1.jpg",[],{"id":92052,"slug":92053,"title":76,"dynasty":54,"author":63304,"museum":300,"description":63305,"tags":92054,"thumbUrl":92055,"material":692,"size":1293,"collection":84,"collections":92056,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234779,"hua-hui-ce-wang-lu-234779",[24,7,59,128,188,371,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd1def741d7033b678dc86885c7df44f.jpg",[],{"id":92058,"slug":92059,"title":76,"dynasty":54,"author":63304,"museum":300,"description":63305,"tags":92060,"thumbUrl":92061,"material":692,"size":1293,"collection":84,"collections":92062,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234776,"hua-hui-ce-wang-lu-234776",[24,7,59,128,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F212caa03bb470211e1deeac7df2acc1a.jpg",[],{"id":92064,"slug":92065,"title":92066,"dynasty":124,"author":223,"museum":300,"description":92067,"tags":92068,"thumbUrl":92069,"material":692,"size":1293,"collection":84,"collections":92070,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},234770,"ming-ren-shan-shui-wan-shan-yi-ming-234770","明人山水纨扇","此作用笔简劲苍润，以边角取景暗合院体山水遗韵。左侧重峦隐于褐调暮色间，林树错落苍郁，坡岸逶迤衔接着澹澹远水，远山晕染如黛，朦胧杳渺。\n\n整幅以沉厚墨色铺陈暮色氛围，将山林空寂萧疏的意境烘托尽致。咫尺纨扇间收纳林泉暮色，以有限尺幅铺展出无尽悠远的山水况味，幽寂淡远，暗得南宋山水空灵意趣，尽显林泉暮色的沉静之美。",[24,7,1131,29,27,132,34,131,496,415,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bec89a67d173d990b3f35363bec32da.jpg",[],{"id":92072,"slug":92073,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":92074,"thumbUrl":92075,"material":734,"size":84,"collection":84,"collections":92076,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234759,"huang-shan-tu-ce-jiang-zhu-234759",[24,7,59,128,132,29,495,497,34,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe08db3b9b29ae7ec6bc94da26f7466f3.jpg",[],{"id":92078,"slug":92079,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":92080,"thumbUrl":92081,"material":734,"size":84,"collection":84,"collections":92082,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234756,"huang-shan-tu-ce-jiang-zhu-234756",[24,7,59,128,132,29,30,131,34,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F817b29bc28c64686275ade62604e8073.jpg",[],{"id":92084,"slug":92085,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":92086,"thumbUrl":92087,"material":734,"size":84,"collection":84,"collections":92088,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234753,"huang-shan-tu-ce-jiang-zhu-234753",[24,7,59,188,133,29,663,413,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97394b73bfded6f474eaccac6187120a.jpg",[],{"id":92090,"slug":92091,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":92092,"thumbUrl":92093,"material":734,"size":84,"collection":84,"collections":92094,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234744,"huang-shan-tu-ce-jiang-zhu-234744",[24,7,128,59,29,132,171,17423,34,77495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F925e10595371feb8002f66e4475bbc24.jpg",[],{"id":92096,"slug":92097,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":92098,"thumbUrl":92099,"material":734,"size":84,"collection":84,"collections":92100,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234743,"huang-shan-tu-ce-jiang-zhu-234743",[24,7,59,188,128,29,97,131,34,64,133,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34525e365391844244f12a6cd072250f.jpg",[],{"id":92102,"slug":92103,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":92104,"thumbUrl":92105,"material":734,"size":84,"collection":84,"collections":92106,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234740,"huang-shan-tu-ce-jiang-zhu-234740",[24,7,59,128,64,133,29,1813,663,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0784c595e270eb7061be53568d00ae2.jpg",[],{"id":92108,"slug":92109,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":92110,"thumbUrl":92111,"material":734,"size":84,"collection":84,"collections":92112,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234739,"huang-shan-tu-ce-jiang-zhu-234739",[24,7,59,128,132,133,64,29,131,34,98,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe58d980ec0a467b7840514f8a6343ed9.jpg",[],{"id":92114,"slug":92115,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":92116,"thumbUrl":92117,"material":734,"size":84,"collection":84,"collections":92118,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234728,"huang-shan-tu-ce-jiang-zhu-234728",[164,24,7,59,128,29,30,37,3387,34,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F398f34688994bd33315f53250866d2b1.jpg",[],{"id":92120,"slug":92121,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":92122,"thumbUrl":92123,"material":734,"size":84,"collection":84,"collections":92124,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234727,"huang-shan-tu-ce-jiang-zhu-234727",[24,7,59,128,29,132,133,208,663,1144,758,229,96,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b81180db610e9dfeceedc52f9b19832.jpg",[],{"id":92126,"slug":92127,"title":92128,"dynasty":54,"author":55685,"museum":300,"description":65298,"tags":92129,"thumbUrl":92130,"material":84,"size":84,"collection":84,"collections":92131,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},234689,"ku-mu-zhu-shi-ye-wei-zhi-huang-234689","枯木竹石页",[24,164,7,59,128,167,454,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4cf37f9b4a30696741fdfd502e1224.jpg",[],{"id":92133,"slug":92134,"title":409,"dynasty":124,"author":36548,"museum":300,"description":82924,"tags":92135,"thumbUrl":92136,"material":84,"size":84,"collection":84,"collections":92137,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234667,"shan-shui-ce-shao-mi-234667",[24,7,59,128,29,130,97,129,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87533a3927bc00359434129256c29bce.jpg",[],{"id":92139,"slug":92140,"title":92141,"dynasty":124,"author":223,"museum":300,"description":9208,"tags":92142,"thumbUrl":92143,"material":84,"size":84,"collection":84,"collections":92144,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},234657,"ming-ren-shan-shui-tu-shan-ce-yi-ming-234657","明人山水图扇册",[24,7,1131,29,128,27,132,129,34,130,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e3375580369711abc6ff084fd7af60.jpg",[],{"id":92146,"slug":92147,"title":409,"dynasty":124,"author":92148,"museum":300,"description":9208,"tags":92149,"thumbUrl":92150,"material":84,"size":84,"collection":84,"collections":92151,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},234626,"shan-shui-ce-zhu-yan-234626","朱炎",[24,7,59,128,29,34,276,1515,131,5323,132,28172,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0844d648afe20e899955a0f940ff495.jpg",[],{"id":92153,"slug":92154,"title":92155,"dynasty":54,"author":223,"museum":300,"description":55721,"tags":92156,"thumbUrl":92157,"material":84,"size":84,"collection":84,"collections":92158,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234561,"yu-mu-shang-xin-ce-zheng-bin-shan-shui-ce-ye-yi-ming-234561","娱目赏心册-郑斌山水册页",[164,24,7,59,27,29,132,208,96,131,34,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8fc4fc79f355b7946d8cc2a99bbe18b.jpg",[],{"id":92160,"slug":92161,"title":92162,"dynasty":54,"author":92163,"museum":300,"description":55721,"tags":92164,"thumbUrl":92165,"material":84,"size":84,"collection":84,"collections":92166,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234558,"yu-mu-shang-xin-ce-mei-shi-ce-ye-jiang-hong-234558","娱目赏心册-梅石册页","姜泓",[24,7,59,27,208,371,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b698879a4331a0955ec7b2d67409895.jpg",[],{"id":92168,"slug":92169,"title":92170,"dynasty":54,"author":223,"museum":300,"description":55721,"tags":92171,"thumbUrl":92172,"material":84,"size":84,"collection":84,"collections":92173,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234555,"yu-mu-shang-xin-ce-xia-hong-fan-shan-shui-ce-ye-yi-ming-234555","娱目赏心册-夏洪范山水册页",[24,7,59,128,132,29,131,495,130,34,497,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb6b6bcf46f1c4983e22eb4e86517e19.jpg",[],{"id":92175,"slug":92176,"title":92177,"dynasty":54,"author":92178,"museum":300,"description":55721,"tags":92179,"thumbUrl":92180,"material":84,"size":84,"collection":84,"collections":92181,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234553,"yu-mu-shang-xin-ce-shu-ju-shi-ce-ye-hao-ming-long-234553","娱目赏心册-书菊石册页","郝明龙",[24,7,59,128,133,208,129,34,414,303,96,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36cd7fd81ba481e17f4f5acd6bb55ba3.jpg",[],{"id":92183,"slug":92184,"title":65230,"dynasty":54,"author":92185,"museum":20,"description":65231,"tags":92186,"thumbUrl":92187,"material":734,"size":65234,"collection":84,"collections":92188,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234499,"bai-ying-lou-tu-ce-ye-shi-er-zhi-234499","史尔祉",[24,7,59,128,29,663,413,35,37,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F606478c7dda13ae2089d32b26200ba31.jpg",[],{"id":92190,"slug":92191,"title":48339,"dynasty":54,"author":45440,"museum":300,"description":92192,"tags":92193,"thumbUrl":92194,"material":84,"size":84,"collection":84,"collections":92195,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234487,"shan-shui-shan-ye-qi-zhi-jia-234487","祁豸佳（1594-1683），字止群，号雪瓢，山阴（今浙江绍兴）人。彪佳弟。天启七年（1627年）举人，仕吏部司务。明亡后，当局礼聘，却之，与董玚、王雨谦、陈洪绶、罗坤等结“云门十子”社，日与老衲蒲团相对，谈世外烟霞。甲申（1644）后，隐梅市卖画代耕。书学董其昌，而乏其秀韵。山水宗董源、惠崇、沈周等，善仿诸家山水，尤爱用巨然法，气势淋漓，笔力挺拔。间作花卉，亦多逸致，诗文词皆有致，至于歌、弈、图章，百戏俱善。",[24,7,1131,29,128,132,663,413,35,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8457ee10726267d3b4cba5be0ae9fae4.jpg",[],{"id":92197,"slug":92198,"title":67622,"dynasty":54,"author":53743,"museum":300,"description":67623,"tags":92199,"thumbUrl":92200,"material":84,"size":84,"collection":84,"collections":92201,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234359,"you-niao-shi-tu-ce-jin-kun-234359",[24,7,59,27,28,133,208,29,34,130,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc68febdbb48f8ac115f43552c29ef4a1.jpg",[],{"id":92203,"slug":92204,"title":67622,"dynasty":54,"author":53743,"museum":300,"description":67623,"tags":92205,"thumbUrl":92206,"material":84,"size":84,"collection":84,"collections":92207,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234357,"you-niao-shi-tu-ce-jin-kun-234357",[24,7,59,27,29,130,98,99,211,34,131,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28ac3aac0a9d8a12216dcab23b5f4bd3.jpg",[],{"id":92209,"slug":92210,"title":67622,"dynasty":54,"author":53743,"museum":300,"description":67623,"tags":92211,"thumbUrl":92213,"material":84,"size":84,"collection":84,"collections":92214,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234352,"you-niao-shi-tu-ce-jin-kun-234352",[24,7,59,27,29,211,133,208,92212,131,64],"云彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f31c491cc6a38f570ec7b151aeb24d.jpg",[],{"id":92216,"slug":92217,"title":67622,"dynasty":54,"author":53743,"museum":300,"description":67623,"tags":92218,"thumbUrl":92219,"material":84,"size":84,"collection":84,"collections":92220,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234349,"you-niao-shi-tu-ce-jin-kun-234349",[24,7,59,27,133,29,34,97,99,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91d7638705adc21cd812b3c1aa996380.jpg",[],{"id":92222,"slug":92223,"title":67622,"dynasty":54,"author":53743,"museum":300,"description":67623,"tags":92224,"thumbUrl":92225,"material":84,"size":84,"collection":84,"collections":92226,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234348,"you-niao-shi-tu-ce-jin-kun-234348",[24,7,59,27,133,64,132,29,131,34,415,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9011efcbf7f1a8dcc5eda94b9e54b08.jpg",[],{"id":92228,"slug":92229,"title":67622,"dynasty":54,"author":53743,"museum":20,"description":67623,"tags":92230,"thumbUrl":92231,"material":734,"size":84,"collection":84,"collections":92232,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234287,"you-niao-shi-tu-ce-jin-kun-234287",[164,24,7,59,95,27,29,97,211,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b0e3f393507ea46421da8d8b6d25a15.jpg",[],{"id":92234,"slug":92235,"title":92236,"dynasty":54,"author":9529,"museum":300,"description":39800,"tags":92237,"thumbUrl":92238,"material":84,"size":84,"collection":84,"collections":92239,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234261,"jiang-gan-qi-shu-tu-juan-wang-hui-234261","江干七树图卷",[23,24,7,25,128,29,132,133,208,413,1144,131,6004,1337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0508feeed1b0e9cd3ecabf7ad66ce29.jpg",[],{"id":92241,"slug":92242,"title":92243,"dynasty":54,"author":9529,"museum":20,"description":92244,"tags":92245,"thumbUrl":92246,"material":1027,"size":84,"collection":84,"collections":92247,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234236,"qiang-jiao-zhong-mei-tu-juan-wang-hui-234236","墙角种梅图卷","图上自题七言诗一首并识：“子鹤种梅墙角，庶几幽人韵事。余为补图，并题一绝，博诸君春雪之和。”该图卷上另有杨晋、恽寿平、王武等二十余家题诗、词，通过他们的题跋可知此图是王翚应杨晋的请求，绘杨晋在新居墙角处移植古梅一本之事。王翚以册页的形式为杨晋画了二幅图。第一幅图绘远山连绵、平波静水以及枝干清癯如铁的梅树。第二幅图绘修篁摇翠影、高台筑草亭以及高士临窗赏梅的情景。二幅图繁简不一，但是均以细润娟秀的笔墨真实地刻画出杨晋生活的居所环境，反映了其以竹、梅为邻的生活情趣。此图卷也印证了王翚与杨晋之间深厚的师生情谊。王翚被邀请画友人居所的写生之作还有许多，如他34岁时应鹤客先生张文钺之邀，绘其庭院里的仙鹤，自言“有鹤来至庭际”以“命余作图以纪其事”",[23,164,24,7,25,128,132,133,64,208,371,29,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F914023115b1962e8a0c6180d27212af9.jpg",[],{"id":92249,"slug":92250,"title":92251,"dynasty":144,"author":223,"museum":20,"description":92252,"tags":92253,"thumbUrl":92254,"material":151,"size":92255,"collection":84,"collections":92256,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},234036,"ying-shui-lou-tu-ye-yi-ming-234036","映水楼图页","因元代另一位界画大师王振鹏曾绘过大明宫，在乾隆的题诗中又有“下临无地上凌空，磅礴精神想象中。此日未详平乐馆，早年曾写大明宫”的语句，所以此幅曾被误定为王振鹏所绘。事实上，夏永的画法虽出自王振鹏，但以小幅见长。此图在艺术性上稍逊于王振鹏，但线描的精整工细似尤过之。正如熊之缙《花间笑语》评价他的画作“细若蚊睫，侔于鬼工”。",[24,164,7,59,95,27,97,29,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41edfea6b660394b1ff5f5edaf9f2c87.jpg","纵23.9cm，横25.3cm",[],{"id":92258,"slug":92259,"title":92260,"dynasty":18,"author":223,"museum":20,"description":92261,"tags":92262,"thumbUrl":92263,"material":151,"size":92264,"collection":84,"collections":92265,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234024,"liu-tang-du-shu-tu-ye-yi-ming-234024","柳堂读书图页","画湖岸风光，院落间散落着小屋和房屋，四周苍松翠柳环绕。 书生专心在室内学习，孩子们在户外陪伴。 栅栏坡度平缓，碎石散落，草丛稀疏。 对岸，丛林幽幽，溪水蜿蜒。 作者构图细腻、浓密、准确，笔法细腻，工笔结合，意境幽远，耐人寻味，是一幅南宋工笔画。",[164,24,7,4437,28,27,132,29,2372,58157,34,1144,229,499,10582,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc481b25a3679ee33cbd86de2c03f2959.jpg","22.5x24.4厘米",[],{"id":92267,"slug":92268,"title":63849,"dynasty":18,"author":223,"museum":20,"description":92269,"tags":92270,"thumbUrl":92271,"material":514,"size":92272,"collection":84,"collections":92273,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},234019,"dou-que-tu-ye-yi-ming-234019","《斗雀图页》绘两只小雀在平坡之上嬉戏争斗，滚作一团。画家采用虚实结合、突出重点的画法，于雀的翅、尾翎毛只是粗写动态，头、腹毛羽更是淡染轻描。着力加以刻画的是雀之爪、喙和二雀相互逼视的双目。图中占上风之雀，左爪紧抓住对方的喙，右爪紧握对方的爪，正待欲啄，其喙却也被对方死死地抓住，形成谁也啄不得的僵持局面，颇有情趣。两只小雀皆羽翼大张，动感和力度在此充分体现。此情此景万难想象而成，当是细致观察所得。",[24,7,59,28,27,61,211,4117,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fced263f20e466675063c7cc33d05d7ed.jpg","纵24.2厘米，横25.4厘米",[],{"id":92275,"slug":92276,"title":35085,"dynasty":18,"author":4899,"museum":20,"description":35086,"tags":92277,"thumbUrl":92278,"material":514,"size":35089,"collection":84,"collections":92279,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},233995,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233995",[164,24,7,59,188,27,96,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde44e7f748379e14bc129105ff014a01.jpg",[],{"id":92281,"slug":92282,"title":35085,"dynasty":18,"author":4899,"museum":20,"description":35086,"tags":92283,"thumbUrl":92284,"material":514,"size":35089,"collection":84,"collections":92285,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},233992,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233992",[24,7,59,128,27,29,96,34,171,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F349fcb7ad546845394e3797ae641ddf3.jpg",[],{"id":92287,"slug":92288,"title":409,"dynasty":54,"author":3820,"museum":20,"description":67686,"tags":92289,"thumbUrl":92290,"material":1722,"size":67689,"collection":84,"collections":92291,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233980,"shan-shui-ce-gong-xian-233980",[164,24,7,59,128,23324,29,331,1233,131,1813],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc84330d4012a8ad4df3ef7d36ac48652.jpg",[],{"id":92293,"slug":92294,"title":83074,"dynasty":54,"author":38900,"museum":20,"description":83075,"tags":92295,"thumbUrl":92296,"material":734,"size":83078,"collection":84,"collections":92297,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233940,"dai-lu-fang-bei-tu-ce-huang-yi-233940",[24,7,59,128,132,29,663,130,34,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff95191587472e9469146deae864f7234.jpg",[],{"id":92299,"slug":92300,"title":83074,"dynasty":54,"author":38900,"museum":20,"description":83075,"tags":92301,"thumbUrl":92302,"material":734,"size":83078,"collection":84,"collections":92303,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233935,"dai-lu-fang-bei-tu-ce-huang-yi-233935",[24,7,59,128,132,64,133,208,29,34,131,3269],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40ff18c8f367293a78dea57aef569d37.jpg",[],{"id":92305,"slug":92306,"title":83074,"dynasty":54,"author":38900,"museum":20,"description":83075,"tags":92307,"thumbUrl":92309,"material":734,"size":83078,"collection":84,"collections":92310,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233933,"dai-lu-fang-bei-tu-ce-huang-yi-233933",[24,7,59,128,132,29,34,35,3269,92308,131,1023],"碑刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd4e3f0aa3359e1aff75a0307266c907.jpg",[],{"id":92312,"slug":92313,"title":83074,"dynasty":54,"author":38900,"museum":20,"description":83075,"tags":92314,"thumbUrl":92315,"material":734,"size":83078,"collection":84,"collections":92316,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233930,"dai-lu-fang-bei-tu-ce-huang-yi-233930",[24,7,59,128,27,188,413,35,96,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0978ddaa473830209794d2453e5c0d4b.jpg",[],{"id":92318,"slug":92319,"title":83074,"dynasty":54,"author":38900,"museum":20,"description":83075,"tags":92320,"thumbUrl":92321,"material":734,"size":83078,"collection":84,"collections":92322,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233928,"dai-lu-fang-bei-tu-ce-huang-yi-233928",[24,7,128,188,132,29,131,34,35,92308,64,208,54,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F114e8845980da2fa1c36289c017f21d8.jpg",[],{"id":92324,"slug":92325,"title":83074,"dynasty":54,"author":38900,"museum":20,"description":83075,"tags":92326,"thumbUrl":92327,"material":734,"size":83078,"collection":84,"collections":92328,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233924,"dai-lu-fang-bei-tu-ce-huang-yi-233924",[24,7,59,128,132,29,131,34,758,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85b4ccfbf8a261eb7faf0c5bbeaa6046.jpg",[],{"id":92330,"slug":92331,"title":83074,"dynasty":54,"author":38900,"museum":20,"description":83075,"tags":92332,"thumbUrl":92333,"material":734,"size":83078,"collection":84,"collections":92334,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233923,"dai-lu-fang-bei-tu-ce-huang-yi-233923",[24,7,59,128,27,132,29,18332,34,758,149,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F754cc3f8ff1a5639a651fdbb38de311a.jpg",[],{"id":92336,"slug":92337,"title":83074,"dynasty":54,"author":38900,"museum":20,"description":83075,"tags":92338,"thumbUrl":92339,"material":734,"size":83078,"collection":84,"collections":92340,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233922,"dai-lu-fang-bei-tu-ce-huang-yi-233922",[24,7,59,128,29,34,131,64,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5d47e998a5bc02ccad4c33fb5e5b230.jpg",[],{"id":92342,"slug":92343,"title":83074,"dynasty":54,"author":38900,"museum":20,"description":83075,"tags":92344,"thumbUrl":92345,"material":734,"size":83078,"collection":84,"collections":92346,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233919,"dai-lu-fang-bei-tu-ce-huang-yi-233919",[24,7,59,128,132,29,413,35,130,96,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd63e48803653cf8ce3794c4e792854a.jpg",[],{"id":92348,"slug":92349,"title":3717,"dynasty":54,"author":22607,"museum":20,"description":61325,"tags":92350,"thumbUrl":92351,"material":734,"size":61328,"collection":84,"collections":92352,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233887,"huang-shan-tu-ce-mei-qing-233887",[24,7,59,128,27,29,97,131,34,37,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F031cbd2b7fb893838d1f4d06f6205773.jpg",[],{"id":92354,"slug":92355,"title":92356,"dynasty":54,"author":29876,"museum":20,"description":72989,"tags":92357,"thumbUrl":92358,"material":514,"size":72992,"collection":84,"collections":92359,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233815,"shan-shui-ce-4-fu-shan-233815","山水册4",[24,7,59,64,840,128,27,29,30,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2502d46b09f56b7c5887859cf95fb39e.jpg",[],{"id":92361,"slug":92362,"title":92363,"dynasty":18,"author":223,"museum":20,"description":92364,"tags":92365,"thumbUrl":92366,"material":514,"size":92367,"collection":84,"collections":92368,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},233676,"liu-yin-qun-mang-tu-zhou-yi-ming-233676","柳荫群盲图轴","此幅为年俗画，描绘盲人打架的场面。画中柳树下，三三两两的盲人抓在一起，抱团打架，抓衣服不放的，抱胳膊死拽的，揪着耳朵拼命的，打架招势表现的淋漓尽致；人物面部扭曲变形，姿势夸张，展示出打架过程中拼命的样子。",[164,24,7,165,27,28,96,2372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c8a7f0ba81d86b7a7b85b3e35412d13.jpg","82x78.5厘米",[],{"id":92370,"slug":92371,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":92372,"thumbUrl":92373,"material":84,"size":84,"collection":84,"collections":92374,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233674,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233674",[24,7,59,28209,27,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85bc83c8ac1a72b21480d781818c121e.jpg",[],{"id":92376,"slug":92377,"title":3717,"dynasty":54,"author":22607,"museum":20,"description":61325,"tags":92378,"thumbUrl":92379,"material":734,"size":61328,"collection":84,"collections":92380,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233431,"huang-shan-tu-ce-mei-qing-233431",[164,24,7,59,128,27,132,29,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64697d4ffeb9d62b64b52694b8252241.jpg",[],{"id":92382,"slug":92383,"title":3717,"dynasty":54,"author":22607,"museum":20,"description":61325,"tags":92384,"thumbUrl":92385,"material":734,"size":61328,"collection":84,"collections":92386,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233427,"huang-shan-tu-ce-mei-qing-233427",[24,7,59,128,132,208,133,29,171,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd096bf49cf5049b7e952c9e0534d334.jpg",[],{"id":92388,"slug":92389,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":92390,"thumbUrl":92391,"material":84,"size":84,"collection":84,"collections":92392,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233372,"shi-zhu-zhai-pu-ce-hu-ri-cong-233372",[24,7,59,128,27,331,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F076a0552e496125da5663d5e4444c1c2.jpg",[],{"id":92394,"slug":92395,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":92396,"thumbUrl":92397,"material":84,"size":84,"collection":84,"collections":92398,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233369,"shi-zhu-zhai-pu-ce-hu-ri-cong-233369",[24,7,59,128,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee13d59c1ebe569a57274e3321087b06.jpg",[],{"id":92400,"slug":92401,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":92402,"thumbUrl":92403,"material":84,"size":84,"collection":84,"collections":92404,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233365,"shi-zhu-zhai-pu-ce-hu-ri-cong-233365",[24,7,59,27,61,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61e3d290f8cdf65bd2e4acf3267ac209.jpg",[],{"id":92406,"slug":92407,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":92408,"thumbUrl":92409,"material":84,"size":84,"collection":84,"collections":92410,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233363,"shi-zhu-zhai-pu-ce-hu-ri-cong-233363",[24,7,59,27,171,331,371,61,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01cfea4e9147e229bdd346f9e7426cbc.jpg",[],{"id":92412,"slug":92413,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":92414,"thumbUrl":92415,"material":84,"size":84,"collection":84,"collections":92416,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233362,"shi-zhu-zhai-pu-ce-hu-ri-cong-233362",[24,7,59,128,27,371,61,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd017f0e727a0e62e7cfa983b54209515.jpg",[],{"id":92418,"slug":92419,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":92420,"thumbUrl":92421,"material":84,"size":84,"collection":84,"collections":92422,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233361,"shi-zhu-zhai-pu-ce-hu-ri-cong-233361",[24,7,59,128,27,413,171,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3721b3bf32a1f3c05e8d60cd0cb2cc46.jpg",[],{"id":92424,"slug":92425,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":92426,"thumbUrl":92427,"material":84,"size":84,"collection":84,"collections":92428,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233357,"shi-zhu-zhai-pu-ce-hu-ri-cong-233357",[24,7,59,27,61,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffaec2f0eba67d902903e30a2d7de422.jpg",[],{"id":92430,"slug":92431,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":92432,"thumbUrl":92433,"material":84,"size":84,"collection":84,"collections":92434,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233330,"shi-zhu-zhai-pu-ce-hu-ri-cong-233330",[164,24,7,59,27,28209,168,841],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92df1793a1e090d8a5818f5678f4a38b.jpg",[],{"id":92436,"slug":92437,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":92438,"thumbUrl":92439,"material":84,"size":84,"collection":84,"collections":92440,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233329,"shi-zhu-zhai-pu-ce-hu-ri-cong-233329",[24,7,59,27,28,2037,624,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f7813f52173a3a6dd79e5f0fe5615b.jpg",[],{"id":92442,"slug":92443,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":92444,"thumbUrl":92445,"material":84,"size":84,"collection":84,"collections":92446,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233326,"shi-zhu-zhai-pu-ce-hu-ri-cong-233326",[24,7,59,27,61,28209,624,2037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc431b54ce754d3515156ba79f9ed698.jpg",[],{"id":92448,"slug":92449,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":92450,"thumbUrl":92451,"material":84,"size":84,"collection":84,"collections":92452,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233325,"shi-zhu-zhai-pu-ce-hu-ri-cong-233325",[24,7,59,27,28,61,2123,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aeca192548bd004ec1bdfb145745aef.jpg",[],{"id":92454,"slug":92455,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":92456,"thumbUrl":92457,"material":84,"size":84,"collection":84,"collections":92458,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233320,"shi-zhu-zhai-pu-ce-hu-ri-cong-233320",[24,7,59,27,61,2037,624,28209,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38ebdb08148187ba832b6f28be35b30a.jpg",[],{"id":92460,"slug":92461,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":92462,"thumbUrl":92463,"material":84,"size":84,"collection":84,"collections":92464,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233309,"shi-zhu-zhai-pu-ce-hu-ri-cong-233309",[24,7,59,128,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdabdec978e69e8b3fb4bb81425f11f24.jpg",[],{"id":92466,"slug":92467,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":92468,"thumbUrl":92469,"material":84,"size":84,"collection":84,"collections":92470,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233304,"shi-zhu-zhai-pu-ce-hu-ri-cong-233304",[24,7,59,28209,27,15382],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6158fb309554d36db3eabd4b6c6e056b.jpg",[],{"id":92472,"slug":92473,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":92474,"thumbUrl":92475,"material":84,"size":84,"collection":84,"collections":92476,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233303,"shi-zhu-zhai-pu-ce-hu-ri-cong-233303",[24,7,59,27,28,208,61,549,547,2037,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14a6c616ab72d83fa9cf7810006945e3.jpg",[],{"id":92478,"slug":92479,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":92480,"thumbUrl":92481,"material":84,"size":84,"collection":84,"collections":92482,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233273,"shi-zhu-zhai-pu-ce-hu-ri-cong-233273",[24,7,59,128,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd83d04fe62006da86a8e5046cd4532b3.jpg",[],{"id":92484,"slug":92485,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":92486,"thumbUrl":92487,"material":84,"size":84,"collection":84,"collections":92488,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233271,"shi-zhu-zhai-pu-ce-hu-ri-cong-233271",[24,7,59,128,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56d35de8083b75bbc7ac0e7b6a114d2f.jpg",[],{"id":92490,"slug":92491,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":92492,"thumbUrl":92493,"material":84,"size":84,"collection":84,"collections":92494,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233259,"shi-zhu-zhai-pu-ce-hu-ri-cong-233259",[24,7,59,128,188,375,171,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe2ba13c5765fd931a5b0c7889a88475.jpg",[],{"id":92496,"slug":92497,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":92498,"thumbUrl":92499,"material":84,"size":84,"collection":84,"collections":92500,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233247,"shi-zhu-zhai-pu-ce-hu-ri-cong-233247",[24,7,59,27,28209,61,2035,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe452051b1184df799db1cf71216f340d.jpg",[],{"id":92502,"slug":92503,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":92504,"thumbUrl":92505,"material":84,"size":84,"collection":84,"collections":92506,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233246,"shi-zhu-zhai-pu-ce-hu-ri-cong-233246",[24,7,59,128,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd498a752244324fc209d696e2b9bdd43.jpg",[],{"id":92508,"slug":92509,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":92510,"thumbUrl":92511,"material":84,"size":84,"collection":84,"collections":92512,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233240,"shi-zhu-zhai-pu-ce-hu-ri-cong-233240",[24,7,59,27,61,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee3ea42e88e3ab3475d744398e87c959.jpg",[],{"id":92514,"slug":92515,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":92516,"thumbUrl":92517,"material":84,"size":84,"collection":84,"collections":92518,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233236,"shi-zhu-zhai-pu-ce-hu-ri-cong-233236",[24,7,59,27,128,61,168,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9197a655b99b3c58170b5c7b92b8ad3a.jpg",[],{"id":92520,"slug":92521,"title":92522,"dynasty":222,"author":223,"museum":20,"description":51574,"tags":92523,"thumbUrl":92524,"material":151,"size":92525,"collection":84,"collections":92526,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},233200,"shan-shui-ren-wu-tu-ye-yi-ming-233200","山水人物图页",[24,7,59,27,132,29,96,34,131,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e151f51e20d3a6e6ed752fd67b62405.jpg","纵25.3cm，横25.3cm.",[],{"id":92528,"slug":92529,"title":33757,"dynasty":54,"author":223,"museum":20,"description":65477,"tags":92530,"thumbUrl":92531,"material":611,"size":33763,"collection":84,"collections":92532,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233091,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233091",[164,24,7,59,28,27,132,96,29,131,34,99,9550,5626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3021020288883ad85f53063f3a93a084.jpg",[],{"id":92534,"slug":92535,"title":83150,"dynasty":54,"author":223,"museum":20,"description":83151,"tags":92536,"thumbUrl":92537,"material":611,"size":37381,"collection":84,"collections":92538,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233060,"ping-ding-hui-jiang-jiao-qin-ni-yi-zhan-tu-ce-yi-ming-233060",[24,7,164,27,28,132,59,96,29,37378,11074,34,131,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f416ad51e4173d02963fcee0cea94da.jpg",[],{"id":92540,"slug":92541,"title":83150,"dynasty":54,"author":223,"museum":20,"description":83151,"tags":92542,"thumbUrl":92546,"material":611,"size":37381,"collection":84,"collections":92547,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233056,"ping-ding-hui-jiang-jiao-qin-ni-yi-zhan-tu-ce-yi-ming-233056",[24,7,59,28,27,304,96,101,8771,496,34,9550,5626,497,83144,92543,131,38,7995,92544,11074,92545],"硝烟","步兵","尘土","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe64df6dfd321f04704fdaee3f6d80a08.jpg",[],{"id":92549,"slug":92550,"title":75993,"dynasty":144,"author":223,"museum":300,"description":55882,"tags":92551,"thumbUrl":92552,"material":84,"size":84,"collection":84,"collections":92553,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},233027,"hou-fei-xiang-yi-ming-233027",[24,7,164,28,27,96,166,170,232],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4fad537ca2c3a2f4da8e4e85dabf77e.jpg",[],{"id":92555,"slug":92556,"title":64008,"dynasty":18,"author":223,"museum":20,"description":64009,"tags":92557,"thumbUrl":92558,"material":40,"size":64012,"collection":84,"collections":92559,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},232991,"ceng-lou-chun-tiao-tu-ye-yi-ming-232991",[24,7,59,27,95,29,97,34,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14c596d552320248786b3ecbd55fdea7.jpg",[],{"id":92561,"slug":92562,"title":92563,"dynasty":54,"author":21575,"museum":244,"description":92564,"tags":92565,"thumbUrl":92566,"material":151,"size":92567,"collection":84,"collections":92568,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},232968,"bao-ji-liu-zhou-ai-qi-meng-232968","宝吉骝轴","依纳爵·西歇尔巴特（Ignatius Sichelbart），（1708年－1780年），汉名艾启蒙，字醒庵，波西米亚（今属捷克）人，天主教耶稣会传教士。\n他乾隆十年（1745年）来到中国，师从郎世宁学画，很快受到清廷重视，奉召入内廷供奉。\n他擅长人物、走兽、翎毛类绘画，与郎世宁、王致诚、安德义被人称为四洋画家，形成新体画风。\n他已知的作品有紫光阁武功图中《准噶尔战功图》（乾隆二十年，1755年）；孝圣皇后八旬万寿（乾隆三十六年，1771年），《香山九老图》，著录于《国朝院画录》；《十骏图》（乾隆三十七年）。《宝吉骝图》轴（乾隆三十八年，1773年），绢本，设色，现均藏于台北故宫博物院。",[164,24,7,165,28,27,101,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb59e5cf547e30459d378872c39b4f8eb.jpg","纵228.5厘米、横275厘米",[],{"id":92570,"slug":92571,"title":92572,"dynasty":54,"author":74550,"museum":300,"description":74551,"tags":92573,"thumbUrl":92574,"material":84,"size":84,"collection":84,"collections":92575,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},232858,"ce-duo-yun-xuan-cang-wang-wen-zhi-232858","册（朵云轩藏）",[304,64,133,208,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88bc5b68c181e0b0f960d4344d8feb3c.jpg",[],{"id":92577,"slug":92578,"title":92579,"dynasty":222,"author":92580,"museum":300,"description":92581,"tags":92582,"thumbUrl":92584,"material":692,"size":1293,"collection":84,"collections":92585,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},231839,"fei-niao-chuan-gu-ge-tu-zhou-gang-ben-xuan-jiu-231839","飞鸟川古歌图轴","冈本宣就","1575-1657 江户时代初期的武术家。...学习了小泉式的军事艺术，后来被近江彦根藩主井井直孝利用后成为了一名战士。除了佐贺风格的书籍，他还写了和歌诗、茶道和绘画。于明历3年3月11日逝世。",[23,24,7,165,27,29,495,92583,99,840],"枫叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2ea1ea4307821a4ef93338d1ff20bf7.jpg",[],{"id":92587,"slug":92588,"title":92589,"dynasty":222,"author":223,"museum":300,"description":92590,"tags":92591,"thumbUrl":92593,"material":692,"size":1293,"collection":84,"collections":92594,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},231824,"ming-qing-ri-ben-gu-hua-hua-niao-shan-shui-ren-wu-fen-ben-ren-wu-juan-shang-bu-yi-ming-231824","明清日本古画花鸟山水人物粉本-人物卷上部","此作为粉本画稿，兼具底稿的灵动与定稿的精细。左侧刻画武人新田义贞，甲胄纹饰繁丽精美，设色淡雅克制，尽显武将威严沉稳的气度。中段白描战场群像，线条劲挺利落，将士搏杀姿态张力十足，配景山水简括写意，烘托出厮杀的肃杀氛围。右侧以淡墨晕染水波，勾勒骑将渡水之势，寥寥数笔尽显行色匆忙。\n\n整体融合中日绘法，既有日式武人绘的刚健雄武，又借鉴明清人物画的线描表现力，古雅朴拙，是极具价值的汉风域外画稿范本。",[23,9521,24,7,25,188,27,96,131,34,76894,83144,10993,92592],"线条勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70e283fcb3a0cb442e90e2eeba1801bb.jpg",[],{"id":92596,"slug":92597,"title":92598,"dynasty":222,"author":223,"museum":300,"description":92599,"tags":92600,"thumbUrl":92602,"material":692,"size":1293,"collection":84,"collections":92603,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},231795,"chun-ri-ji-li-xing-fu-xing-shi-shang-juan-yi-ming-231795","春日祭礼兴福行事上卷","此作为全景长卷，徐徐铺展祭典全程。开篇以苍劲松杉点缀郊野，晕染出古朴郊祀的清雅底色。随后人潮次第排布，僧众、职役、乐师各行其位，衣装色彩错落分明，素洁僧袍、朱色公服、明黄仪仗次第铺陈，仪仗行进的秩序感跃然纸上。\n\n右侧的花树仪仗团如流动花簇，将祭典热烈推向顶点，与左侧题字的朴拙笔意相映成趣。静雅山林与喧腾仪仗形成鲜明对照，既还原古仪的整肃轨制，又饱含鲜活的世俗烟火气，将春日祭典的庄重盛大与和风雅韵凝于卷上。",[23,24,7,25,27,28,96,372,34,1577,3490,92601],"祭祀场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8c267524e8c66bbbf9ed1253ce3df2.jpg",[],{"id":92605,"slug":92606,"title":92607,"dynasty":222,"author":17928,"museum":300,"description":92608,"tags":92609,"thumbUrl":92610,"material":692,"size":1293,"collection":84,"collections":92611,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},231780,"xin-gui-shan-yuan-qi-hui-juan-2-niao-yu-seng-zheng-jue-you-231780","信贵山缘起绘卷-2","觉猷（かくゆう、1053年－1140年10月27日）是平安时代后期的天台僧。一般称作鸟羽僧正，不仅是担任日本佛教界重职的高僧，也精通绘画，被认为是‘鸟兽人物戏画’（鸟兽戏画）、‘放屁合战’等画作的作者，也被视为漫画的始祖。",[23,25,7,187,96,188,27,64,840,29,97,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5713995c34e56efad1d53f5f3d5aa01.jpg",[],{"id":92613,"slug":92614,"title":92615,"dynasty":222,"author":223,"museum":300,"description":92616,"tags":92617,"thumbUrl":92618,"material":692,"size":1293,"collection":84,"collections":92619,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},231773,"mu-xia-wen-shu-juan-4-ming-shi-mo-ji-shu-hua-juan-yi-ming-231773","木下文书卷-4-名士墨迹书画卷","这卷以行书扇面搭配右侧题书，笔墨自带萧散悠然的文人意趣。扇面小字行气连贯，笔锋圆转灵动，墨色干湿自然过渡，尺幅小巧却排布舒朗，字里行间尽显随性松弛的林下之风。右侧题笔则更为开张纵逸，字形跌宕错落，与扇面的内敛雅致形成动静相映的层次感。整卷装裱古朴雅致，尽显旧时文人酬唱赠答的风雅意韵，笔墨间晕染出传统文人士大夫的审美情致，藏着昔年翰墨酬和的闲雅况味。",[23,25,1131,7,64,133,208,128,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F454bffb3e07439eea84ae0113d480edb.jpg",[],{"id":92621,"slug":92622,"title":92623,"dynasty":222,"author":223,"museum":300,"description":92624,"tags":92625,"thumbUrl":92626,"material":84,"size":84,"collection":84,"collections":92627,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},231768,"xin-mo-cao-mu-hua-tu-juan-yi-ming-231768","新摸草木花图卷","此卷以白描与设色递次铺陈草木芳华。起首淡墨勾摹朝颜藤蔓花苞，笔致清灵秀雅，尽显藤蔓舒展柔态；继而敷色晕染，朱红白边的喇叭花鲜妍明媚，叶片层次清润自然。\n\n其后依次绘就数种花卉，工细描摹花、叶、果实的各异姿态，配小字题注品类，兼具写生的写实意趣与淡逸格调，将草木舒展之姿、花绽娇妍之态尽皆铺陈，尽显传统花草写生画的清雅韵致。",[23,24,7,25,188,27,61,62,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ccf1cdfb3870f19a38bdc3bc137e28b.jpg",[],{"id":92629,"slug":92630,"title":92631,"dynasty":222,"author":43630,"museum":300,"description":43631,"tags":92632,"thumbUrl":92633,"material":692,"size":1293,"collection":84,"collections":92634,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},231736,"shan-shui-ren-wu-juan-shang-bu-ji-tong-231736","山水人物卷(上部)",[7,25,64,840,29,96,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b8e71ac9fe6cf62a85b4d10414dd212.jpg",[],{"id":92636,"slug":92637,"title":92638,"dynasty":124,"author":92639,"museum":300,"description":92640,"tags":92641,"thumbUrl":92642,"material":692,"size":1293,"collection":84,"collections":92643,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},231716,"ping-an-shi-dai-guan-wu-tu-ping-feng-biao-wu-zong-da-231716","平安时代 关屋图屏风","俵屋宗达","俵屋宗達（Tawaraya Sōtatsu，生卒年不詳），從安土桃山時代到江戶時代初期（1596年至1643年間）的17世纪前后，活躍於京都的町繪師（艺术家及画家）。",[23,164,24,7,250,128,27,188,29,97,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e61b918d0f67402f832a80d79722e76.jpg",[],{"id":92645,"slug":92646,"title":92647,"dynasty":222,"author":223,"museum":300,"description":92648,"tags":92649,"thumbUrl":92650,"material":692,"size":1293,"collection":84,"collections":92651,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},231700,"jiang-hu-shi-dai-shan-shui-ren-wu-tu-juan-yi-ming-231700","江户时代 山水人物图卷","通篇以连绵草书铺陈，笔势舒展灵动，线条圆劲飘逸，牵丝映带间尽显书写时的酣畅意气。字距疏密错落，行气如春水蜿蜒贯通始终。墨色带着浓淡枯润的细微层次，起笔收锋藏露相宜，随性自然的笔致晕染出清雅古韵。不见丹青描摹，却以笔墨勾勒出疏朗悠然的意境，将日式书道的抒情雅致融于尺幅之间，仿佛能窥见书写时松弛舒展的心境，尽显东方古典书写美学的动人魅力。",[24,7,25,29,96,128,68105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf8b1c4d8e011564503f5f97eb2ae002.jpg",[],{"id":92653,"slug":92654,"title":92655,"dynasty":222,"author":223,"museum":300,"description":92656,"tags":92657,"thumbUrl":92658,"material":692,"size":1293,"collection":84,"collections":92659,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},231675,"qi-lv-tu-li-zhou-yi-ming-231675","骑驴图立轴","此作用笔极简写意，以淡墨勾勒骑驴老僧与毛驴。寥寥数笔便捕捉住驴蹄轻抬的灵动姿态，老僧佝偻安坐，宽袍以大片墨色晕染，神态悠然澹定，尽显世外高士物我两忘的自在。\n画面留白疏朗，搭配题字朱印，禅意悠悠，以极简笔墨传递出萧散超脱的山野意趣，笔简却形神兼备，将任情自适的林下风流尽显无余，尽显东方水墨空灵淡远的独特韵味。",[23,24,7,165,128,188,96,7067,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa866662591a5e19fb80238175ea9a1ed.jpg",[],{"id":92661,"slug":92662,"title":92663,"dynasty":222,"author":92664,"museum":300,"description":92665,"tags":92666,"thumbUrl":92667,"material":692,"size":1293,"collection":84,"collections":92668,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},231673,"shou-ye-tan-you-xiang-tao-tian-liu-rong-zhi-231673","狩野探幽像","桃田柳荣之","这幅肖像以极简笔触，刻画出老者执笔沉吟的瞬间。枯瘦却棱角分明的面庞上，沉静锐利的眼神带着思索的幽光，松弛的轮廓里藏着饱经岁月沉淀的从容气度。淡赭晕染出松弛的肤色，衣物以留白衬墨色领部，冷暖对比间尽显素雅克制。凝练的线条勾勒出垂垂老矣却依旧矍铄的身形，将执笔者凝神构思的神态描摹入微，不见繁复布景，仅以肖像特写，把文人老僧的沉静文心定格在纸间，侘寂的静穆氛围里，尽显写实肖像的传神功底，让观者仿佛能窥见画中人此刻流转的思绪。",[23,24,7,165,27,128,28,96,9603],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f3ca1a2a676b3bf641e3a284894c69.jpg",[],{"id":92670,"slug":92671,"title":92672,"dynasty":222,"author":92673,"museum":300,"description":92674,"tags":92675,"thumbUrl":92676,"material":692,"size":1293,"collection":84,"collections":92677,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},231670,"shi-he-mi-an-xiang-du-bian-hua-shan-231670","市河米庵像","渡边华山","渡边华山（日语：渡辺崋山；1793年—1841年）原名渡边定静，字子安，一字伯登，通称渡边登，号华山，斋号有寓绘堂、全乐堂、金暾居、昨非居士、随安居士。",[23,24,7,96,128,27,165,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad6bd411c30051a5f97850fcda5c0d4.jpg",[],{"id":92679,"slug":92680,"title":92681,"dynasty":222,"author":223,"museum":300,"description":92682,"tags":92683,"thumbUrl":92684,"material":692,"size":1293,"collection":84,"collections":92685,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},231644,"nai-liang-shi-dai-hui-yin-guo-jing-tu-juan-yi-ming-231644","奈良时代 绘因果经图卷","该作为佛教叙事长卷，以分段连环式铺陈太子出家前的典故。设色调和沉稳，赭色底衬以朱砂、石绿，古雅庄重。人物造型端正凝练，侍从躬身肃穆，太子神态沉静，动作细节贴合经文情节，将太子决意出家的心路通过场景层层铺展。山水配景简拙写意，仅以程式化林木点缀空间。左侧楷书题字与画面呼应，图文并茂还原经文场景。线条稚朴古拙，带着早期宗教绘画的质朴特质，烘托出求道抉择的肃穆氛围，兼具宗教传播价值与古典审美意趣。",[24,7,25,27,28,96,29,34,101,187,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fded943c0496f7b82e17a85451ef88eba.jpg",[],{"id":92687,"slug":92688,"title":92689,"dynasty":222,"author":65595,"museum":300,"description":70332,"tags":92690,"thumbUrl":92691,"material":692,"size":1293,"collection":84,"collections":92692,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},231624,"shi-ting-shi-dai-shan-shui-tu-zhou-shou-ye-yuan-xin-231624","室町时代 山水图轴",[23,24,7,165,128,29,131,34,496,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd95d2140079f970ee5dd318cc6ff750.jpg",[],{"id":92694,"slug":92695,"title":92696,"dynasty":54,"author":223,"museum":20,"description":84301,"tags":92697,"thumbUrl":92698,"material":40,"size":92699,"collection":84,"collections":92700,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},231386,"shi-quan-tu-ce-shi-kai-yi-ming-231386","十犬图册十开",[24,7,59,27,28,949,171,34,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c2c02c8aedf5520ae8fcbdebc503278.jpg","纵37.2厘米，横23.3厘米",[],{"id":92702,"slug":92703,"title":92704,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":92705,"thumbUrl":92706,"material":692,"size":1293,"collection":84,"collections":92707,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},230859,"zhou-zi-tong-shu-zhou-dong-qi-chang-230859","周子通书轴",[164,24,7,165,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5734b7f45f2b92f666608644adcb5ae2.jpg",[],{"id":92709,"slug":92710,"title":11976,"dynasty":144,"author":223,"museum":300,"description":92711,"tags":92712,"thumbUrl":92713,"material":84,"size":84,"collection":84,"collections":92714,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},230849,"qi-yan-lv-shi-yi-ming-230849","此作用笔温润秀雅，牵丝映带婉转自然，尽显元人行书典型风貌。结体灵动舒展，兼得晋唐行书的飘逸隽秀与赵孟頫一脉的妍媚雅致。整幅行气连贯悠然，章法错落合宜，墨色浓淡晕染细微，随着诗意起伏暗合情绪变化。\n\n卷中录自作律诗，笔墨间晕开文人雅集的闲散意趣，将与友同游的清逸情怀藏入点画之中，书韵与诗意相融，尽显元代文人以书抒情的特质，通篇清雅隽秀，尽显雅致风流，是一件兼具笔墨审美与文学意趣的佳作。",[24,7,64,133,128,208,331,3344,231,211,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c7bd541d63c37173b96c68d9f49e224.jpg",[],{"id":92716,"slug":92717,"title":16535,"dynasty":222,"author":223,"museum":300,"description":92718,"tags":92719,"thumbUrl":92720,"material":692,"size":1293,"collection":84,"collections":92721,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},230557,"qian-zi-wen-yi-ming-230557","这卷草书通篇以纵逸奔放的笔势贯连始终，提按顿挫间线条粗细枯湿交织变幻，字形欹正相生、随势赋形。千字排布疏密得宜，时而遒劲厚重，时而轻盈飘逸，连绵缠绕却条理清晰，将草书抒情达意的特质尽显无余。\n\n笔墨间裹挟着肆意洒脱的文人意气，一气呵成的行气中，古雅苍劲的韵味扑面而来，把随性不羁的书写意趣融于全篇，尽显草书灵动恣肆的独特魅力。",[23,64,25,133,840,7,208,1590,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21aae4faa4bc39431739617768fbe614.jpg",[],{"id":92723,"slug":92724,"title":92725,"dynasty":222,"author":223,"museum":300,"description":92726,"tags":92727,"thumbUrl":92728,"material":692,"size":1293,"collection":84,"collections":92729,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},230548,"ming-qing-fang-gu-fen-ben-6-sheng-bai-hua-hui-juan-yi-ming-230548","明清仿古粉本-6- 胜白 花卉卷","此卷以水墨绘就，兼具工致与写意之趣。左侧湖石隐于幽草间，枯笔皴擦勾勒石体质感，苍劲古拙，野意盎然。右侧花枝错落舒展，枝干以清劲笔线写出，力道暗藏。叶片以淡墨晕染，浓墨点醒叶脉，层次分明，绣球花以白描圈点，空灵雅致，旁侧小花晕勾结合，疏密相生。全作用墨清和，虚实相映，将湖石的冷寂幽趣与花枝的柔妍盛放相融，尽显文人水墨的清雅淡远，笔底含韵，墨色空灵，尽显古典花鸟的清逸格调。",[23,24,7,25,128,188,62,171,2438,549,208,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8339dee55b3aa72625aa9c24a2f9a3b.jpg",[],{"id":92731,"slug":92732,"title":92733,"dynasty":54,"author":223,"museum":300,"description":92734,"tags":92735,"thumbUrl":92736,"material":84,"size":84,"collection":84,"collections":92737,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},230319,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-shi-san-a-ge-yin-xiang-yi-ming-230319","历代帝王贵妃大臣朝服像(十三阿哥胤祥)","此作以月牙取景框圈定人物，雅致别致，将视觉焦点全然落于主人公身上。画师笔底写实传神，精准勾勒出人物端正沉静的面庞，眉宇间自带宗室贵胄的肃穆内敛。\n\n朝服绘制极尽工细，宝蓝底料之上，明黄龙纹矫健灵动，金线晕染出龙身肌理，配色沉稳华贵，云纹补缀其间层次分明。项下朝珠颗颗饱满剔透，垂配严整，细节处见匠心。整体色调古雅庄重，既恪守宫廷肖像的纪实规制，又以细腻笔触尽显人物仪态风骨，是兼具史料价值与艺术美感的肖像佳制。",[23,24,7,165,27,96,14416,31432,304,28,44663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb732ac61aa34b131692326af1983eb34.jpg",[],{"id":92739,"slug":92740,"title":92741,"dynasty":54,"author":223,"museum":300,"description":92742,"tags":92743,"thumbUrl":92744,"material":84,"size":84,"collection":84,"collections":92745,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},230309,"li-dai-ming-ren-tu-xiang-ce-yi-ming-230309","历代名人图像册","此作以简约笔墨勾勒乡野日常，设色淡雅朴拙。头戴斗笠的老者斜挎鱼篓，神色讶然似在嗔怪，衣纹流畅舒展，将农夫的错愕神态描摹尽致。两名孩童持草秆嬉闹，红衣童子撅嘴耍娇，躲在身后的孩童探头探脑，娇憨灵动跃然纸上。线条古朴凝练，淡赭底色晕开古旧意蕴，衣色以蓝、红区分人物身份，细节处处藏着生活意趣，把乡野间鲜活的互动瞬间定格，寥寥数笔便将人物性格与烟火氛围传神铺展，尽显民俗小品的动人意韵。",[24,7,59,27,96,1350,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85a0f4e27e3939ae3d9d3c477ee4878c.jpg",[],{"id":92747,"slug":92748,"title":92749,"dynasty":54,"author":45224,"museum":300,"description":92750,"tags":92751,"thumbUrl":92752,"material":84,"size":84,"collection":84,"collections":92753,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},230289,"hua-lian-li-shan-zhou-li-shi-zhuo-230289","画连理杉轴","此作以淡墨绘就连理古杉，双木苍劲拔起，枝桠舒展如虬龙探空，笔致细劲凝练，将古木霜皮溜雨、黛色参天的苍古之态尽显。山石以极简皴擦晕染，留白铺陈出空山的清寂辽远，衬得杉树愈见孤傲遗世。\n\n题字藏于树侧，文气与画意相融。整幅舍去浓丽设色，以水墨的清寒意趣，铺展出山林古杉的静穆意境，宛若空山听松，带着冲淡平和的文人雅韵，尽显林泉高致，把山野古木的幽澹之美晕染在素纸之上。",[24,7,164,165,128,188,132,34,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e68068c11a907d4c8240b17f0658ea5.jpg",[],{"id":92755,"slug":92756,"title":92757,"dynasty":54,"author":29876,"museum":300,"description":29877,"tags":92758,"thumbUrl":92759,"material":692,"size":1293,"collection":84,"collections":92760,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},230174,"za-ce-zhen-fu-shan-230174","杂册(帧)",[23,7,64,840,59,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaf4338ff030ab982ed73db4aece7411.jpg",[],{"id":92762,"slug":92763,"title":92764,"dynasty":54,"author":33849,"museum":300,"description":92765,"tags":92766,"thumbUrl":92767,"material":692,"size":1293,"collection":84,"collections":92768,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},229048,"hua-hui-cheng-shan-qing-ren-229048","花卉成扇","此扇以梅花为题，红白梅枝虬曲交错，胭脂点染红梅，娇妍热烈；白粉晕开白梅，清润素洁，双色相映，尽显春梅盛放的灵秀生机。旁侧浓墨挥写团叶，重色压阵，衬得花愈发轻盈明丽。构图疏密相宜，枝干顺着扇面弧度错落伸展，将笔墨意趣与扇骨形制完美融合。棕黑扇骨包浆莹润，镂空雕饰添古朴雅韵，整体文气雅致，将文人爱梅的清雅意趣凝于咫尺扇面，暗香浮动，尽显小品画作的隽秀风神。",[24,7,1131,61,371,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf2c29168ffc3b41fdfef75e2d0d32ec.jpg",[],{"id":92770,"slug":92771,"title":409,"dynasty":54,"author":9529,"museum":300,"description":92772,"tags":92773,"thumbUrl":92774,"material":84,"size":84,"collection":84,"collections":92775,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":956},229017,"shan-shui-ce-wang-hui-229017","此作用笔苍劲老辣，以干笔枯墨勾勒皴擦峰峦，淡墨晕染出山石清寂质感，坡岸枯木错落排布，不着多余点缀，尽显深秋荒寒淡远之境。画面极简克制，舍去繁复布景，以少胜多，于萧疏间流露浑朴意趣。\n\n左侧行书题跋笔意舒展跌宕，与画作淡远意境彼此呼应，笔墨相生，将文人情思融于丘壑，淡而不薄，枯而有韵，将深秋山景的萧寒空寂勾勒尽致，书画相映，尽显雅致林下之风，把文人寄情山水的幽怀远思藏于尺幅之间。",[24,7,59,27,132,29,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F904c4b60e56978853be414f2c20cc7f1.jpg",[],{"id":92777,"slug":92778,"title":92779,"dynasty":124,"author":15700,"museum":300,"description":92780,"tags":92781,"thumbUrl":92782,"material":692,"size":1293,"collection":84,"collections":92783,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},228887,"shu-hua-he-bi-ce-zhu-zhan-ji-228887","书画合璧册","明宣宗朱瞻基（1399年3月16日－1435年1月31日），号长春真人，明成祖朱棣之孙，明仁宗朱高炽长子，明朝第五位皇帝（1425年5月29日-1435年1月31日在位）、书画家，年号“宣德”。",[7,59,133,27,231,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6cbc72571379c57a119e253bc58a4c0.jpg",[],{"id":92785,"slug":92786,"title":92787,"dynasty":124,"author":3619,"museum":300,"description":92788,"tags":92789,"thumbUrl":92790,"material":84,"size":84,"collection":84,"collections":92791,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},228883,"qi-lv-zi-chen-chao-xia-shi-ling-ben-wen-zheng-ming-228883","七律紫宸朝下诗（另本）","此作用笔苍秀温润，牵丝映带自然圆融，整幅立轴纵势舒展，字间错落顾盼生姿，行气贯通如一。笔画提按顿挫富于变化，粗细和谐有度，既有赵氏行书的婉和韵致，又自出机杼，尽显晚年笔法愈见醇熟的风貌。将应制诗文的端方庄重，与行书的飘逸灵动感巧妙融合，笔墨间饱含沉稳雅致的庙堂气象，尽显吴门书派儒雅隽秀的风华底蕴，是极具代表性的行书佳构。",[23,7,64,133,165,128,208,805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22f267cb17a684e1bfaab1fed6881b90.jpg",[],{"id":92793,"slug":92794,"title":92795,"dynasty":124,"author":1642,"museum":300,"description":92796,"tags":92797,"thumbUrl":92798,"material":84,"size":84,"collection":84,"collections":92799,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},228843,"tai-ping-le-shi-ce-dai-jin-228843","太平乐事册","雅室铺陈方砖，数位文士环坐观戏。场中艺人拧身探首，手足舒展，作诙谐献艺之态，夸张的肢体将市井伎艺的鲜活尽数展露。座上文士或捻须浅笑、或凝目赏观，神色松弛自适，侧旁幼童静静侍立，案上茶盏轻置，衬得席间氛围闲适悠然。\n\n画作笔致工劲利落，衣褶线条挺括流畅，器物陈设勾勒精细，把明代雅集赏玩的日常闲趣晕染开来，将太平岁月里的从容清欢凝在绢素之上，让观者仿若踏入这场雅聚，共揽古昔宴间松弛快意的鲜活氛围。",[24,7,59,27,96,169,95,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08c1e8acde114f4ef7badf47e11d9b46.jpg",[],{"id":92801,"slug":92802,"title":92803,"dynasty":124,"author":223,"museum":300,"description":92804,"tags":92805,"thumbUrl":92806,"material":84,"size":84,"collection":84,"collections":92807,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},228810,"su-li-qi-bie-tu-yi-ming-228810","苏李泣别图","朔风卷雪，枯木枝桠凝霜，荒野孤寒萧索。执手二人垂眸泫然，指尖相抵，千言哽在喉间，将故知诀别、家国相隔的沉恸藏于相拥之间。侧立侍从掩袖黯然，身畔麋鹿亦似感知悲戚，垂首静立。苍劲线条勾勒出人物怆然神态，淡墨晕染开漫天荒寒，将乱世里身不由己的离愁别绪尽数铺展，把这一段千古伤怀的诀别凝于绢素，凄清沉郁的悲情漫溢画面，余韵悠长。",[23,164,24,7,165,188,96,1337,663,2302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe38fb74702a85c2f0bce08ba0330270.jpg",[],{"id":92809,"slug":92810,"title":92811,"dynasty":124,"author":223,"museum":300,"description":92812,"tags":92813,"thumbUrl":92814,"material":84,"size":84,"collection":84,"collections":92815,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},228784,"lan-ting-ju-hui-tu-ye-yi-ming-228784","兰亭聚会图页","以淡墨晕染出平远烟峦，汀渚松下，文人士子围坐宴饮，暗合曲水流觞之雅趣。湖山留白铺就空濛烟景，笔意简淡清疏，将兰亭修禊的从容散逸藏于萧散山水间，不见丝竹繁喧，只余林下清谈的幽寂意韵。\n\n下方行书题跋笔墨舒展流动，与山水淡远画风相得益彰，诗书画相融，尽显文人雅尚。将魏晋风雅以水墨淡远之态重述于纸间，把雅集的清旷襟怀寄寓湖山烟霭之中，浑朴简淡间尽显明代文人画崇尚幽远雅致的意趣风骨。",[23,24,7,59,128,133,64,96,29,1144,131,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c1a5cbaf540dda22927c4e55b8c6bd3.jpg",[],{"id":92817,"slug":92818,"title":40332,"dynasty":124,"author":223,"museum":300,"description":92819,"tags":92820,"thumbUrl":92821,"material":84,"size":84,"collection":84,"collections":92822,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},228774,"san-jiao-tu-yi-ming-228774","此作用淡墨轻色铺就萧寒冬景，枯松虬枝蟠曲，山石皴染疏淡清寂。三位宗师比肩而立：居中佛陀身披赭红僧袍，神态安和慈悲；左侧道家装束素洁，持法器缓立；右侧儒者宽袍端方，意态温厚从容。\n\n三人情态融洽，暗合明代三教合流的思潮。画作笔墨极简却传神勾勒出人物气韵，设色克制素雅，背景荒寒萧索更衬出三人的超世浑穆，将思想交融的深意寄于清冷悠远的意境中，以绘事暗合时代文化内核，意蕴悠长。",[23,24,7,27,188,128,96,1337,171,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc952d2dd4a35924f92022678f5059a29.jpg",[],{"id":92824,"slug":92825,"title":92826,"dynasty":124,"author":71457,"museum":300,"description":92827,"tags":92828,"thumbUrl":92829,"material":84,"size":84,"collection":84,"collections":92830,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},228738,"zhi-xu-ying-pei-li-ri-hua-228738","致许应培","此信札以行书走笔，字形欹正相生，章法错落自然。起笔收笔暗合晋人尺牍雅逸之致，笔画提按顿挫利落，瘦劲骨力中暗蕴温润意态。文字排布顺随行气舒展，全无刻意编排的板滞感，尽显手札书写的随性真意。\n\n笔势连贯呼应，墨色浓淡自然过渡，将日常通信的实用感与书法审美巧妙相融，既有文人的清雅书卷气，又藏着书写时松弛自在的状态，晕开旧时文人往来的日常温度，是小品书法里兼具情致与法度的动人佳例。",[64,133,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66b89a1b99f5c0d64910484df24fe256.jpg",[],{"id":92832,"slug":92833,"title":92834,"dynasty":124,"author":1058,"museum":300,"description":4630,"tags":92835,"thumbUrl":92836,"material":692,"size":1293,"collection":84,"collections":92837,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},228473,"sui-bi-14-tang-yin-228473","随笔14",[164,24,7,59,133,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F302cf69fa99448e0ac5219e0c1068d1e.jpg",[],{"id":92839,"slug":92840,"title":90043,"dynasty":124,"author":92841,"museum":300,"description":92842,"tags":92843,"thumbUrl":92844,"material":692,"size":1293,"collection":84,"collections":92845,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},228420,"shi-han-juan-wu-kuan-228420","吴宽","吴宽（1435—1504），字原博，号匏庵，又号玉延亭主，长洲（今苏州）人。成化八年（1472）进士，授修撰，预修《宪宗实录》。弘治八年（1495）擢吏部右侍郎，掌詹事府，十六年进礼部尚书。宽行履高洁，学问渊深。擅书法，学苏轼，自成一格，时人王鏊评：“宽作书姿润中时出奇倔，虽规模于苏而多自得。”有《家藏集》传世。",[23,64,133,208,25,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe155e7a38010d4620272ce3327830a4c.jpg",[],{"id":92847,"slug":92848,"title":92849,"dynasty":144,"author":223,"museum":300,"description":92850,"tags":92851,"thumbUrl":92852,"material":84,"size":84,"collection":84,"collections":92853,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},228237,"xue-shan-lv-yun-tu-yi-ming-228237","雪山驴运图","此作用淡墨晕染铺就寒林雪色，留白摹写寒江远汀，营造出清寂辽远的冬日荒寒。枯木虬曲苍劲，枝桠间尽是萧寒之气，山石以干笔皴擦，棱角硬朗，带着冬日的冷峭坚硬。\n画面一隅的驴队缓行于雪原，为空寂的天地添上一抹人间烟火气，动静之间，将冬日行旅的艰辛苦寒烘托尽致。\n整幅笔墨简淡苍疏，以极简的布局勾勒出萧索荒寒的意境，尽显散淡清寂的气质，把冬日山乡的萧寒况味藏进每一处笔墨细节之中。",[23,24,7,29,128,27,132,2523,7067,1337,131,17726,34,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F325fdb2e4e5adf4d6327348c425ab759.jpg",[],{"id":92855,"slug":92856,"title":92857,"dynasty":144,"author":223,"museum":300,"description":92858,"tags":92859,"thumbUrl":92860,"material":84,"size":84,"collection":84,"collections":92861,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},228185,"wu-zu-shi-tu-zhou-yi-ming-228185","五祖师图轴","这幅画以淡墨枯笔写就，简率洗练。古木虬曲傍于左侧，衣袂飘然的老僧随侍童缓步而来，神情澹然浑不在意。对面士人携合十礼拜的幼童，姿态恭谨，将初见时的敬慕描摹尽致。\n\n线条苍劲灵动，寥寥数笔便勾勒出人物的形神气度，留白恰到好处，衬出幽寂禅意。右上角题字禅思隽永，点破“一梦一场”的浮生况味，笔墨与题旨相融，将禅家勘破世事的通透藏进简淡的画面之中，尽显元人写意的萧散空灵，是禅意人物画中的精妙小品。",[23,24,7,165,188,128,96,331,171,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddc7802bce6f6c60922914a329599d76.jpg",[],{"id":92863,"slug":92864,"title":92865,"dynasty":144,"author":74442,"museum":300,"description":92866,"tags":92867,"thumbUrl":92868,"material":84,"size":84,"collection":84,"collections":92869,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},228024,"xing-nan-cheng-yong-gu-shi-juan-nai-xian-228024","行南城咏古诗卷","此卷行书温润圆融，兼得赵体秀雅与北地书风劲挺气质。通篇行气舒朗贯通，字距行距错落自然，咏古诗作与题款排布和谐无间。点画舒展灵动，提转顿挫皆合法度，将纪游咏怀的诗意融于笔墨，既有律诗篇目的端整之态，又不失随性挥洒的文人逸趣。卷间多方古印朱红点缀，墨色与印色相映生辉，更添古雅厚重的书卷意蕴，尽显作者胸中文采与笔下风华，是元代行书极具代表性的精品之一。",[23,144,64,133,25,7,208,23848],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddbd7774beb46b48b5b7d1634676f638.jpg",[],{"id":92871,"slug":92872,"title":92873,"dynasty":18,"author":223,"museum":300,"description":92874,"tags":92875,"thumbUrl":92876,"material":692,"size":1293,"collection":84,"collections":92877,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":956},227846,"miao-fa-lian-hua-jing-xu-yi-ming-227846","妙法莲华经序","昔如来于耆阇崛山中，与大阿罗汉阿若憍陈如、摩诃迦葉无量等众，演说大乘真经，名《无量义》。是时，天雨宝华，布濩充满，慧光现瑞，洞烛幽显，普佛世界六种震动。一切人天得未曾有，咸皆欢喜赞叹。以为是经，乃诸佛如来秘密之藏，神妙叵测，广大难名，所以拔滞溺之沉流，拯昏迷之失性，功德弘远，莫可涯涘。\n溯求其源，肇彼竺乾流于震旦，爰自西晋沙门竺法护者初加翻译，名曰《正法华》。暨东晋龟兹三藏法师鸠摩罗什重翻，名曰《妙法莲华》。至隋天竺沙门阇那、笈多所翻者，亦名《妙法》。虽三经文理重沓互陈，而惟三藏法师独得其旨。第历世既远，不无讹谬，匪资刊正，渐致多疑，用是特加旧校，仍命镂梓，以广其传。\n呜呼！如来愍诸众生，有种种性、种种欲、种种行、种种忆想分别，历劫缠绕无有出期，乃为此大事因缘现世，敷畅妙旨，作殊胜方便，俾皆得度脱超登正觉。此诚济海之津梁，而烛幽之慧炬也。善男子、善女人，一切众生，能秉心至诚，持诵佩服，顶礼供养，即离一切苦恼，除一切业障，解一切生死之厄。不啻如饥之得食，如渴之得饮，如寒之得火，如热之得凉，如贫之得宝，如病之得医，如子之得母，如渡之得舟。其为快适欣慰，有不可言。\n噫！道非经无以寓，法非经无以传。缘经以求法，缘法以悟道，方识是经之旨，清净微妙第一希有。遵之者则身臻康泰，诸种善根圆满具足，如莲华出水不染淤泥，即得五蕴皆空、六根清净，遄跻上善，以成于正觉者不难矣。苟或沉迷胶固，甘心堕落，绝灭善根，则身罹苦趣，轮回于生死之域者，其有纪极哉！虽然善恶两途，由人所趋，为善获吉，为恶获凶，幽明果报，不爽锱铢。观于是经者，尚戒之哉！尚勉之哉！",[23,25,7,64,7322,572,39681,187,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56139bfb1a533134c4062533b7b8153a.jpg",[],{"id":92879,"slug":92880,"title":65922,"dynasty":18,"author":223,"museum":300,"description":92881,"tags":92882,"thumbUrl":92883,"material":84,"size":84,"collection":84,"collections":92884,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},227841,"gu-bai-gui-qin-tu-yi-ming-227841","此作用半边构图，虬曲古柏自右斜出，枯干皴擦苍劲，尽显岁月剥蚀的斑驳古意。枝桠间或停或偎的禽鸟，翎羽勾勒精细写实，神态安闲柔静，左上一双飞禽振翅穿空，为静谧画面添上灵动生机。大片留白铺陈出空寂暮色，将荒寒清远的氛围感拉满。\n\n全画简淡空灵，以极简取景写尽林下幽情，把暮晚归禽的闲适安然融入萧疏秋意中，尽显雅致禅心，淡墨轻岚里晕开清冷孤远的诗意。",[23,24,164,7,1131,28,27,61,331,211,3238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f679c9e1233216fd1764375316a4c15.jpg",[],{"id":92886,"slug":92887,"title":92888,"dynasty":18,"author":223,"museum":300,"description":63888,"tags":92889,"thumbUrl":92891,"material":84,"size":84,"collection":84,"collections":92892,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},227386,"xian-zi-bu-xia-tu-yi-ming-227386","蚬子捕虾图",[24,7,165,128,188,96,11034,171,1351,92890],"网","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4890625d4b59bdb61cff118fe7b536f.jpg",[],{"id":92894,"slug":92895,"title":92896,"dynasty":18,"author":223,"museum":300,"description":87844,"tags":92897,"thumbUrl":92898,"material":84,"size":84,"collection":84,"collections":92899,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},227343,"shi-jing-wang-chang-juan-yi-ming-227343","十经王（长卷）",[23,24,7,25,28,188,27,187,96,97,211,130,29,64,7322,133,572,938,21937,840,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F851d716be6da3651ccf0a4f96ab7d66e.jpg",[],{"id":92901,"slug":92902,"title":92903,"dynasty":18,"author":223,"museum":244,"description":92904,"tags":92905,"thumbUrl":92906,"material":637,"size":84,"collection":84,"collections":92907,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},227336,"lin-yue-yi-lun-yi-ming-227336","临乐毅论","此册临本乐毅论，后题为唐褚遂良审定及排类。台北馆方定为宋人所写，然细观笔法，与元代俞和所作小楷有一定的内在联系，故宜做为元人的摹古之作",[164,24,7,64,572,330,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bad1d7d71444546e31293c60673e72e.jpg",[],{"id":92909,"slug":92910,"title":92911,"dynasty":182,"author":223,"museum":300,"description":92912,"tags":92913,"thumbUrl":92914,"material":692,"size":1293,"collection":84,"collections":92915,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},227231,"da-zang-jing-zhong-shi-fen-a-pi-tan-ze-pin-di-ba-juan-di-shi-er-yi-ming-227231","大藏经众事分阿毗曇择品第八卷第十二","大藏经凌厉中不失温润，初一看，笔意似能屈铁断金，如即字右边部分横折处的断而后起，智、五等字长横起笔处的迅捷；再细品，却并非处处凌厉，如使字捺一波三折的含蓄克制，五字中间两笔的厚重柔美；这快速迅捷的用笔间",[23,4642,64,7322,572,25,187,5459,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70ffca048460eca3465ccabd67d76ef3.jpg",[],{"id":92917,"slug":92918,"title":92919,"dynasty":182,"author":223,"museum":300,"description":92920,"tags":92921,"thumbUrl":92922,"material":692,"size":1293,"collection":84,"collections":92923,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},227114,"hai-shou-pu-tao-wen-jing-8-yi-ming-227114","海兽葡萄纹镜-8","这类铜镜在宋代的《博古图录》上称“海马葡萄镜”。但在清代的《西清古鉴》上则称之为“海兽葡萄镜”。另外还有的称为禽兽葡萄镜、天马葡萄镜、瑞兽葡萄镜等名。但“海马”、“海兽”名称的使用还是较为普遍。“海马”、“海兽”的称呼，最初的命名者未加解释，究为何种动物，也没有一致的说法。早年德国有位学者认为“海马”是古代伊朗与祭祀有关的一种植物Haoma，后转化变为“海马”。还有人认为“海马”是海外的马。",[24,7,29,27,171,98,209,208,131,34,499,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10fc5af77fc87fecb506467f9c818316.jpg",[],{"id":92925,"slug":92926,"title":82402,"dynasty":54,"author":33849,"museum":300,"description":92927,"tags":92928,"thumbUrl":92929,"material":692,"size":1293,"collection":84,"collections":92930,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},224575,"shan-shui-cheng-shan-qing-ren-224575","浅赭铺就的扇面晕开薄暮烟岚，山坳里古木攒簇如墨团苍翠，山亭半隐于枝桠间，檐角轻挑，似枕着松涛浅眠。左侧巉岩错落，幽径蜿蜒隐入林麓，留白处暗蕴山意悠远。\n\n右上角朱红印鉴方正古雅，与晕开的淡墨、赭色相衬，晕染出岁月沉凝的质感。素净棕黑扇骨沉稳持重，衬得纸面山水愈发清寂空灵，将咫尺扇面晕化作幽寂山居，仿佛可触林间湿润山气，静享山居野趣，把传统山水淡远空灵的意趣，凝在这一方旧扇之中，带着时光沉淀下来的温润清雅。",[24,7,1131,29,132,27,208,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94b6095534fd63326f9987078102d693.jpg",[],{"id":92932,"slug":92933,"title":92934,"dynasty":54,"author":33849,"museum":300,"description":92935,"tags":92936,"thumbUrl":92937,"material":84,"size":84,"collection":84,"collections":92938,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},224571,"mao-shi-pin-wu-tu-kao-san-ce-qing-ren-224571","毛诗品物图考（三）册","此作以工细笔触绘就鹈鹕振翅凌于云水之上，禽鸟翎羽纤毫分明，绒羽蓬松、飞羽劲挺的质感被描摹尽致。淡赭与墨色晕染出水波层叠的柔润清透，清浅雅致。旁附蝇头小楷考证文字，图文相辅，将名物考据的严谨与花鸟写生的隽秀意趣相融，淡墨轻彩间兼具博物图鉴的详实与文人花鸟画的雅逸，尽显绘者考据与绘事兼备的雅致审美，把古典名物化为可感的生动图景，淡静悠然，意韵绵长。",[24,7,59,28,27,61,211,99,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffa1ae71bc472796975929b6209c7ee5.jpg",[],{"id":92940,"slug":92941,"title":92942,"dynasty":54,"author":4083,"museum":300,"description":92943,"tags":92944,"thumbUrl":92945,"material":84,"size":84,"collection":84,"collections":92946,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},224421,"shu-hua-shi-liu-kai-7-wang-shi-min-224421","书画十六开-7","此作用笔纵逸苍劲，起收提按皆得法度，牵丝映带间尽显流转灵动之美。字形欹正相生，敛放随心，错落排布间气脉贯通，通篇带着萧散疏朗的韵致。\n\n笔墨晕染出诗文里的春日烟霞，将随行宸游的悠然快意融于点画之中，文意与笔意相融相合，尽显雅逸襟怀。墨色浓淡相宜，枯湿互见，既有帖学的秀雅灵动，又暗含朴拙筋骨，随性自然不失规整，尽显行书创作的精妙意趣。",[23,24,7,64,59,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc56ddaa4ebbddba87118d6e59ee08218.jpg",[],{"id":92948,"slug":92949,"title":92950,"dynasty":54,"author":4083,"museum":300,"description":92951,"tags":92952,"thumbUrl":92953,"material":84,"size":84,"collection":84,"collections":92954,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":199},224420,"shu-hua-shi-liu-kai-6-wang-shi-min-224420","书画十六开-6","此作以没骨兼工带写绘就仲夏小景，淡墨轻勾萱草茎叶，敷色清妍温雅。萱花盛放与残颓相济，尽显芳华将歇的柔婉之态。草间粉蝶轻栖振翅，大蛱蝶翩跹而来，翅脉纤毫毕现，灵动之姿跃然纸上，将虫蝶的鲜活意态定格于纸面。赭色底纸晕染出古雅氛围，题字娟秀、印文朱红，融诗书画印为一炉。整体清逸静雅，将幽隅小景绘得生机盎然，兼具写生之真与文人隽雅意趣，笔底尽是闲淡天真的幽居雅趣。",[23,24,7,59,27,28,61,481,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F555ea6c7ce84246a6a8bd5688afe0ae9.jpg",[],{"id":92956,"slug":92957,"title":92958,"dynasty":54,"author":4083,"museum":300,"description":92959,"tags":92960,"thumbUrl":92961,"material":84,"size":84,"collection":84,"collections":92962,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":199},224413,"shu-hua-shi-liu-kai-14-wang-shi-min-224413","书画十六开-14","此作为行书佳作，用笔灵动潇洒，起收转合间尽显遒婉相济的笔力。字形欹正错落，章法疏朗开阔，通篇行气连贯自然。笔墨枯润相映，牵丝映带妥帖雅致，将诗句中山林幽寂的意境融于笔端。\n\n书者以笔为心，把古岑夜月的清隽诗意落于楮间，点画粗细富有节律，行笔舒展从容，浸透着沉静淡远的文人襟怀。诗韵与书风浑然相融，尽显古典雅致的笔墨风神，观之如临空山月夜，幽意自生。",[23,7,59,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82ae010883f1840289b539ae976516e3.jpg",[],{"id":92964,"slug":92965,"title":92966,"dynasty":54,"author":92967,"museum":300,"description":92968,"tags":92969,"thumbUrl":92970,"material":84,"size":84,"collection":84,"collections":92971,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},224337,"tao-li-yuan-xu-zhou-shen-quan-224337","桃李园序轴","沈荃","此作为典型帖学行书，用笔舒展灵动，点画温润圆融。结体端雅又不失飘逸意趣，章法疏朗匀净，字距行距错落合宜，整体气息清萧隽雅。\n\n书录《春夜宴桃李园序》，原文旷达快意随笔墨流转尽致流露，笔势带着晋唐行书的从容萧散韵味，既有馆阁体的端稳规整，亦不失文人书法的秀逸风神，将宴饮雅集的清旷之怀与笔墨雅趣相融，尽显书家深厚功底，是清代行书佳作。",[23,24,7,64,165,133,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F200702700e66058635c63f56eafe3b5f.jpg",[],{"id":92973,"slug":92974,"title":92975,"dynasty":54,"author":1676,"museum":300,"description":92976,"tags":92977,"thumbUrl":92978,"material":84,"size":84,"collection":84,"collections":92979,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},224305,"hua-hui-shi-er-kai-6-li-shan-224305","花卉十二开6","此作用笔放逸洒脱，左侧绘折枝秋葵，嫩黄花瓣以没骨晕染，柔润饱满，将秋花凝露绽放之态尽显。苍劲墨笔写就老干，间缀待放花苞，野趣横生。叶片以泼墨写意，浓淡干湿交叠，尽显舒展灵动，水墨氤氲中带着萧散疏朗。\n\n右侧题诗与画作呼应，书画交融，将秋花凌霜仍娇妍的风骨托出。脱出院体画拘囿，以率性笔触直抒胸臆，将文人疏旷情怀寄寓折枝间，笔底既有写生鲜活，更具写意文心，寥寥数笔便勾勒出秋日花卉的清刚之美与幽淡情致，尽显文人写意花鸟的精妙意趣。",[23,24,7,59,128,27,61,81,624,369,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04c2c788cbf1566fbd32216d4e4581d5.jpg",[],{"id":92981,"slug":92982,"title":92983,"dynasty":54,"author":1676,"museum":300,"description":92984,"tags":92985,"thumbUrl":92986,"material":84,"size":84,"collection":84,"collections":92987,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},224304,"hua-hui-shi-er-kai-5-li-shan-224304","花卉十二开5","此作以淡逸之笔绘秋花插于石盆，花枝错落舒展，紫、粉、黄三色菊瓣柔润鲜活，叶片带着雨霁后的清润绿意，笔致写意却不失花姿娇妍。墨色勾勒的盆石朴拙苍劲，与花枝的秀雅相映成趣。右侧题字笔势俊朗，与画面融为一体，尽显文人意趣，将秋花傲霜清寂的神韵尽显，似能嗅见雨后秋芳的淡香，清恬雅致的文人逸趣溢满纸面。",[23,24,7,59,27,61,376,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f779b644fd4b30b18c9bcb45d3724f8.jpg",[],{"id":92989,"slug":92990,"title":92991,"dynasty":54,"author":1676,"museum":300,"description":92992,"tags":92993,"thumbUrl":92994,"material":84,"size":84,"collection":84,"collections":92995,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},224301,"hua-hui-shi-er-kai-2-li-shan-224301","花卉十二开2","这幅画以写意笔墨绘就石畔幽花野卉，水墨晕染的湖石朴拙苍劲，淡紫二月兰柔婉舒展，花瓣晕染清透雅致，叶片敷色明润鲜活，细草瘦劲挺秀。笔墨刚柔相济，写意间不失花木娇柔之态，寥寥数笔便将林下野逸生机尽显。题诗与画意相映成趣，诗书画印融为一体，尽显文人写意画的雅致意趣，笔情墨趣间饱含悠然林下的澹然情怀，尽显随性洒脱却不失细腻的创作意韵。",[23,24,7,59,27,128,369,62,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1d201bc5fee7ea3e50e27c60d4d7c93.jpg",[],{"id":92997,"slug":92998,"title":92999,"dynasty":54,"author":1676,"museum":300,"description":93000,"tags":93001,"thumbUrl":93002,"material":84,"size":84,"collection":84,"collections":93003,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},224300,"hua-hui-shi-er-kai-12-li-shan-224300","花卉十二开12","此作折枝秋菊错落生姿，紫、粉、白菊次第绽放，没骨绘就的花瓣薄润鲜活，叶片舒展带着清润生机，笔墨放逸却不失秀润意趣，将秋菊清隽之态尽显。\n\n右侧行书题诗笔致率意洒脱，诗书与花木相映成趣。诗句将晚晴霞色附于花枝，让娇花似染落日余晖，把花木风神与文思诗意相融，尽显文人画以物寄情的意趣。画面雅洁灵动，笔情墨趣间，尽是悠然自得的文人情致。",[23,24,7,59,27,62,549,582,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe76a21249cc0b1c6fd6cf767055061e9.jpg",[],{"id":93005,"slug":93006,"title":93007,"dynasty":54,"author":29876,"museum":300,"description":93008,"tags":93009,"thumbUrl":93010,"material":84,"size":84,"collection":84,"collections":93011,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},224279,"shan-shui-hua-hui-ce-shi-san-fu-shan-224279","山水花卉冊(十三)","此作用色简淡古雅，浅赭为底，淡墨晕出山峦轮廓，谷间冷月斜悬，晕开朦胧清寂。层叠飞瀑以稚拙线条勾勒，无繁复皴擦，却藏水姿流动之意。两岸垂柳柔条披拂，轻垂于浅溪之上，朱红板桥卧于水面，冷调中一抹艳色点睛，衬出幽谧山居的灵动生机。\n构图空灵疏朗，以极简笔墨勾勒林泉山水，将文人林下隐逸的雅趣寄于其间，淡墨轻岚间静穆萧疏，尽显清寂出尘的林下之风，笔简意足，淡远悠长，尽显文人画寄情山水的意趣。",[23,24,7,59,27,128,29,98,99,231,34,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F204690b521a9d4e47796e1e04a8ee204.jpg",[],{"id":93013,"slug":93014,"title":93015,"dynasty":54,"author":223,"museum":300,"description":93016,"tags":93017,"thumbUrl":93019,"material":84,"size":84,"collection":84,"collections":93020,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},224249,"qing-yuan-ben-qin-can-tu-juan-cai-sang-12-yi-ming-224249","清院本亲蚕图卷 采桑-12","此作用浅淡设色晕染绢本，以柔细笔触绘就郊野水岸之景。烟霭轻笼平芜，沿岸林木错落，枝叶施以淡墨点染，朦胧间尽显春日柔润清寂。水岸的亭台隐于林隅，朱色檐墙在浅淡色调中晕出雅致暖意，衬出整体画面的清和秀雅。整体格调娴静温婉，带着院体绘画特有的精致细腻，将典仪的庄重雅致融在这澹然的烟水之境中，尽显古典宫廷绘画面貌的柔润静美。",[24,7,25,28,27,34,758,17814,93018],"采桑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83d494de8308dd62bed6b5d0db4b999f.jpg",[],{"id":93022,"slug":93023,"title":93024,"dynasty":54,"author":93025,"museum":300,"description":93026,"tags":93027,"thumbUrl":93028,"material":692,"size":1293,"collection":84,"collections":93029,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},224151,"shu-yu-zhi-yuan-dan-shi-bi-ce-ce-yu-min-zhong-224151","书御制元旦试笔册册","于敏中","于敏中(1714-1780)，字叔子，号耐圃，江苏金坛人。乾隆二年状元，官至文华殿大学士兼军机大臣。其书法风格近于董其昌，四库全书馆开，于敏中为正总裁。",[7,59,572,128,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee6786dfb9533a5e5734d9d817d19614.jpg",[],{"id":93031,"slug":93032,"title":93033,"dynasty":124,"author":223,"museum":300,"description":93034,"tags":93035,"thumbUrl":93036,"material":84,"size":84,"collection":84,"collections":93037,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},223680,"gu-xiu-shi-liu-ying-zhen-ce-17-yi-ming-223680","顾绣十六应真册17","此作为白描禅意佳作，以古虬松与灵透湖石铺就幽寂禅境。线条细劲清逸，笔下人物各尽其态：伏地礼拜的弟子身形俯垂，满含至诚恭敬；松下安坐的尊者神态澹然沉静，眉眼间尽是禅者的出尘气度，侧立童子恭谨侍立，神色温驯内敛。衣褶流转自然，尽显织物柔劲质感，松皮皴擦简洁古雅，湖石轮廓灵秀苍润，笔意洗练却将禅门肃穆仪轨描摹得生动传神，清寂雅静的禅意浸透画面，尽显传统白描人物画的精妙功力。",[23,24,7,59,188,96,331,171,169,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9a3c92129c994cd163649971bb82dc4.jpg",[],{"id":93039,"slug":93040,"title":93041,"dynasty":124,"author":223,"museum":300,"description":93042,"tags":93043,"thumbUrl":93044,"material":84,"size":84,"collection":84,"collections":93045,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},223641,"shi-ying-sheng-hui-tu-quan-juan-yi-ming-223641","蓍英盛会图全卷","此卷以朱丝栏界格小楷书就，用笔秀挺雅致，结体端稳匀净，尽得晋唐小楷遗韵，通篇气息连贯从容，无一笔苟且。\n\n文字详实记述洛中耆英雅集诸位贤达生平、雅集始末，将记事述人与书法精妙融合。既是记录宋代文人群贤雅聚的珍贵文献，亦是极具观赏性的书法佳作。笔墨间尽显沉静内敛的文人意趣，点画精微法度谨严，工整秀雅中藏有灵动意致，书写者深厚功底尽显其间，古雅隽永的书卷风神浸透全卷。",[23,24,7,25,27,28,96,130,97,98,99,61,64,133,572,208,9603,8162,6369,9604,66878,170,439,83755,5459,12803,234,371,375,167,376,168,263,355,2059,102,101,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff2ab5fb781f6a9b46ac0a60e31de28.jpg",[],{"id":93047,"slug":93048,"title":93049,"dynasty":182,"author":223,"museum":300,"description":93050,"tags":93051,"thumbUrl":93052,"material":84,"size":84,"collection":84,"collections":93053,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},223543,"fa-hua-jing-fang-bian-pin-6-yi-ming-223543","法华经方便品6","此品与寿量品，是《法华经》的两大中心，为本经正宗分。佛由三昧起，称叹诸佛智慧甚深无量，难解难入，佛说诸佛究竟了知诸法实相——“十如是”。为令声闻、缘觉二乘人断苦缚，得涅槃，佛以方便力，曾分说三乘之教，今日所说才是佛的真实教法。五千增上慢者退席，佛乃宣示唯一大事因缘，所谓开、示、悟、入佛之知见；一切众生皆当作佛，实无三乘。",[7,64,7322,572,25,187,5459,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1c92a4d5b46f65354672df1b242f698.jpg",[],{"id":93055,"slug":93056,"title":93057,"dynasty":182,"author":223,"museum":300,"description":93050,"tags":93058,"thumbUrl":93060,"material":84,"size":84,"collection":84,"collections":93061,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},223539,"fa-hua-jing-fang-bian-pin-2-yi-ming-223539","法华经方便品2",[7,25,187,7322,27,93059],"文字装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44e5d7b893823978c2883ab3efe653ee.jpg",[],{"id":93063,"slug":93064,"title":93065,"dynasty":182,"author":223,"museum":300,"description":93050,"tags":93066,"thumbUrl":93067,"material":84,"size":84,"collection":84,"collections":93068,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},223538,"fa-hua-jing-fang-bian-pin-11-yi-ming-223538","法华经方便品11",[7,25,572,64,7322,187,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bcb7971051f3e2dcec47778e0d5ab32.jpg",[],{"id":93070,"slug":93071,"title":93072,"dynasty":182,"author":223,"museum":300,"description":93050,"tags":93073,"thumbUrl":93074,"material":84,"size":84,"collection":84,"collections":93075,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},223537,"fa-hua-jing-fang-bian-pin-10-yi-ming-223537","法华经方便品10",[7,64,7322,572,187,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf790a96bddb0f59527a789a47eb920.jpg",[],{"id":93077,"slug":93078,"title":93079,"dynasty":124,"author":223,"museum":20,"description":93080,"tags":93081,"thumbUrl":93082,"material":40,"size":93083,"collection":84,"collections":93084,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},223379,"shi-tong-nian-tu-juan-yi-ming-223379","十同年图卷","这是一幅描写明弘治十六年（1503年）10位高级官员聚会情景的富有纪念意义的群像画。据卷后各人的序与跋，与会10人都是明天顺八年甲申（1464年）的同榜进士，聚会时间为弘治十六年癸亥（1503年）三月二十五日，聚会处在闵珪府第之达尊堂。与会者都是在朝重臣，年龄以闵珪最大，74岁，李东阳最小，57岁。\n画面上人物分为三组，从卷首起第一组三人分别是南京户部尚书王轼、吏部左侍郎焦芳、礼部右侍郎谢铎；第二组四人分别是工部尚书曾鉴、刑部尚书闵珪、工部右侍郎张达、都察院左都御使戴珊；第三组三人分别是户部右侍郎陈清、兵部尚书刘大夏、户部尚书兼谨身殿大学士李东阳。此次聚会经过精心准备，宴饮唱和之外并绘图纪念，画工现场写生，只有焦芳因赴湖南公干，事先预留下旧稿。因此图中每人的相貌均为真实的写照，而人物的组合排列则是画家的安排。背景衬以梧桐、修竹、芭蕉、松树，其间穿插几案、书册、酒具以及童子数人。景物简练有序，不作过多渲染，有意突出显赫的朝廷高官群像，显示出创作的宗旨。\n明代高官举行雅集，与前代雅集的参与者多为致仕老臣或名士不同，除追慕前代“耆英硕德”之外，更有显示自己的地位与政绩之意，对“盛世明君”的赞美在题跋中亦屡屡可见。十同年居高官主要在明孝宗（1487-1505在位）时期，时朝中多正士，宦官和厂卫也都较循谨，整个官僚体系呈现出较为清明的景象。《十同年图》俨然是明代繁盛时期官场最后的写照，六部大臣昔日心存魏阙、威严谨慎的音容笑貌，华贵高雅之气中蕴含的凝聚力，在孝宗以后的朝代中再也找不到了，也正是因为失去这种凝聚力导致了明王朝的灭亡。\n此图当时共画了10本，每家各留一本。此卷是闵家所留，在清嘉庆十五年（1810年）为法式善收藏，是10本中幸存的孤本，为重要的历史文献。",[23,24,7,25,27,28,96,34,170,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2348174b8716016aae93de395b937e5.jpg","纵48.5厘米，横257厘米",[],{"id":93086,"slug":93087,"title":93088,"dynasty":54,"author":41583,"museum":300,"description":53116,"tags":93089,"thumbUrl":93090,"material":514,"size":53120,"collection":84,"collections":93091,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},223255,"yan-shan-ba-jing-tu-2-tai-ye-qiu-feng-zhang-ruo-cheng-223255","燕山八景图-2-太液秋风",[23,24,7,29,27,95,97,130,129,1337,208,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d3b62de7a2ab18ba86850270195a108.jpg",[],{"id":93093,"slug":93094,"title":15896,"dynasty":54,"author":10177,"museum":20,"description":60016,"tags":93095,"thumbUrl":93098,"material":84,"size":15901,"collection":84,"collections":93099,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},223219,"geng-zhi-tu-ce-jiao-bing-zhen-223219",[164,24,7,59,28,27,96,34836,64027,210,93096,93097,68301,64028,247,666,35,10803,2147],"桑麻","作物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F621157e3c8c47823c84252dafac863e5.jpg",[],{"id":93101,"slug":93102,"title":15896,"dynasty":54,"author":10177,"museum":20,"description":60016,"tags":93103,"thumbUrl":93106,"material":84,"size":15901,"collection":84,"collections":93107,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},223214,"geng-zhi-tu-ce-jiao-bing-zhen-223214",[24,7,28,27,95,96,35,34,27231,93104,247,20377,64027,93105],"纺织工具","纺车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06ec065cf78bf41aaaa49cfef9ca237f.jpg",[],{"id":93109,"slug":93110,"title":15896,"dynasty":54,"author":10177,"museum":20,"description":60016,"tags":93111,"thumbUrl":93113,"material":84,"size":15901,"collection":84,"collections":93114,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},223213,"geng-zhi-tu-ce-jiao-bing-zhen-223213",[24,7,59,28,27,96,68301,37398,64028,13640,93112,34836],"桑林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe06e5e52c0002f3ab2ac348e328c4eec.jpg",[],{"id":93116,"slug":93117,"title":15896,"dynasty":54,"author":10177,"museum":20,"description":60016,"tags":93118,"thumbUrl":93119,"material":84,"size":15901,"collection":84,"collections":93120,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},223210,"geng-zhi-tu-ce-jiao-bing-zhen-223210",[164,24,7,59,28,27,95,96,247,35,34,249,1200,8565],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa350f8d098fb7712b35be69ebece04b8.jpg",[],{"id":93122,"slug":93123,"title":15896,"dynasty":54,"author":10177,"museum":20,"description":60016,"tags":93124,"thumbUrl":93125,"material":84,"size":15901,"collection":84,"collections":93126,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},223209,"geng-zhi-tu-ce-jiao-bing-zhen-223209",[164,24,7,4437,28,27,96,247,35,34,251,304,10803,54793,758,57837],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5871b86da79b7dcb608ca3634f3a7382.jpg",[],{"id":93128,"slug":93129,"title":15896,"dynasty":54,"author":10177,"museum":20,"description":60016,"tags":93130,"thumbUrl":93133,"material":84,"size":15901,"collection":84,"collections":93134,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},223206,"geng-zhi-tu-ce-jiao-bing-zhen-223206",[24,7,28,27,4437,304,96,13640,34836,15899,64028,93131,35,93132,10803],"庄稼","中西结合技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45488346fde9e56aae0a8c1ca982f9bc.jpg",[],{"id":93136,"slug":93137,"title":15896,"dynasty":54,"author":10177,"museum":20,"description":60016,"tags":93138,"thumbUrl":93139,"material":84,"size":15901,"collection":84,"collections":93140,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},223199,"geng-zhi-tu-ce-jiao-bing-zhen-223199",[164,24,7,4437,28,27,95,88088,96,35,34,247,167,80675,78182],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9070ae43d7f9c19023225e480b5af37d.jpg",[],{"id":93142,"slug":93143,"title":15896,"dynasty":54,"author":10177,"museum":20,"description":60016,"tags":93144,"thumbUrl":93146,"material":84,"size":15901,"collection":84,"collections":93147,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},223198,"geng-zhi-tu-ce-jiao-bing-zhen-223198",[164,24,7,28,27,59,96,413,93145,9671,23454,5323,61188,582,88086,210,10803],"梯子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddfa3ff08fd0858a1cae274f52f25af3.jpg",[],{"id":93149,"slug":93150,"title":15896,"dynasty":54,"author":10177,"museum":20,"description":60016,"tags":93151,"thumbUrl":93152,"material":84,"size":15901,"collection":84,"collections":93153,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},223194,"geng-zhi-tu-ce-jiao-bing-zhen-223194",[164,24,7,28,27,4437,96,35,247,34,276,1634,62097,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd03a3ae47e2a145c7aa503c8fb5d073e.jpg",[],{"id":93155,"slug":93156,"title":15896,"dynasty":54,"author":10177,"museum":20,"description":60016,"tags":93157,"thumbUrl":93158,"material":84,"size":15901,"collection":84,"collections":93159,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},223174,"geng-zhi-tu-ce-jiao-bing-zhen-223174",[164,24,7,59,28,27,96,34836,22405,499,34,98,23454,210,15899,78182],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf0903dbb43da13b65095d4d0ad615c.jpg",[],{"id":93161,"slug":93162,"title":15896,"dynasty":54,"author":10177,"museum":20,"description":60016,"tags":93163,"thumbUrl":93166,"material":84,"size":15901,"collection":84,"collections":93167,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},223172,"geng-zhi-tu-ce-jiao-bing-zhen-223172",[164,24,7,28,27,96,13640,99,98,34,35,93164,15899,93165],"乡村","孩童活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F883896c3414839bf619d1412131db36e.jpg",[],{"id":93169,"slug":93170,"title":93171,"dynasty":54,"author":33315,"museum":300,"description":33316,"tags":93172,"thumbUrl":93173,"material":611,"size":33319,"collection":84,"collections":93174,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},223128,"shu-hua-ce-ye-yao-gui-zhuang-223128","《书画册页》-遥",[23,7,64,59,133,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6677e5286bea30e9b3978755d113c145.jpg",[],{"id":93176,"slug":93177,"title":93178,"dynasty":54,"author":23303,"museum":244,"description":68285,"tags":93179,"thumbUrl":93180,"material":1190,"size":68288,"collection":84,"collections":93181,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},223112,"duan-qiao-can-xue-zhou-dong-bang-da-223112","断桥残雪轴",[23,24,7,165,128,27,29,1556,98,130,1337,415,7782,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab2cb61ef0f3ef3886ddf67e4ca4abea.jpg",[],{"id":93183,"slug":93184,"title":93185,"dynasty":54,"author":23303,"museum":244,"description":68285,"tags":93186,"thumbUrl":93187,"material":611,"size":93188,"collection":84,"collections":93189,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},223111,"duan-qiao-can-xue-yu-ti-zhou-dong-bang-da-223111","断桥残雪御题轴",[23,24,7,165,128,29,132,415,37,34,35,98,99,131,1645,6474,4438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6591715b6da5650f2c0cb662f335d50c.jpg","68.6x38.2厘米",[],{"id":93191,"slug":93192,"title":93193,"dynasty":54,"author":36019,"museum":224,"description":41118,"tags":93194,"thumbUrl":93195,"material":3544,"size":84,"collection":84,"collections":93196,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":956},222715,"huang-shan-ba-jing-tu-ce-4-zheng-min-222715","黄山八景图册4",[24,7,59,128,29,34,131,98,99,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27ce34c5eaa9c3bf9f87d2ec3b9720b8.jpg",[],{"id":93198,"slug":93199,"title":93200,"dynasty":124,"author":27440,"museum":300,"description":93201,"tags":93202,"thumbUrl":93203,"material":84,"size":84,"collection":84,"collections":93204,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},222544,"xing-shu-yi-guo-zhong-tiao-shan-yu-zhou-wang-duo-222544","行书忆过中条山语轴","释文：予年十八岁过中条至河东书院忆登高远望尧封多葱郁之气今齿渐臻知非觏吾乡太峰眉宇带中条烟霞之意勉而书此岂非非之为欤。己卯洪洞王铎\n王铎的行草书特别是长条幅草书，以惊人的笔力，奇矫怪伟的体格，浑厚淋漓的笔墨，达到震撼人心的艺术效果。他的书法线条形成是极富个人特色的。他既不雷同于历史上各名家，也异于同时代各家。他那霸悍雄强，扛山举鼎的笔力是数百年来无与抗行的。\n明末书坛受董其昌书法的影响，追求所谓俊骨逸韵。王铎等人反其道而行之，以“敏而好古”为标帜，追求雄强、激烈的风格和对动荡的内心生活的表现。王铎一直不断地从王羲之、王献之的作品中汲取，后受米芾影响，使之成为创造个人风格的有力支点。其笔力雄键，苍老劲疾，尤长于布局，居然有北宋大家之风。\n王铎一生，出入枢要，位尊爵类。书法艺术格调堂皇，名重当代，有“神笔王铎”之美誉。时人赞其字有锥沙印泥之妙、龙跃虎卧之致、松涛云影之幻、造化入神之奇。独具纵中有敛(形质美)、草中有楷(性情美)、错落有致(节奏美)、今有有古(韵味美)四大特点，既继承发扬了宋晋书坛传统，又开创了明末清初时代新风，在中国书法史上留下了光辉一页。",[23,164,24,7,165,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb10f0c3989d54fbb3dc3007d120d3e53.jpg",[],{"id":93206,"slug":93207,"title":93208,"dynasty":124,"author":7003,"museum":510,"description":93209,"tags":93210,"thumbUrl":93211,"material":611,"size":93212,"collection":84,"collections":93213,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},222469,"dong-po-ji-you-quan-juan-zhu-yun-ming-222469","东坡记游全卷","祝允明楷书《东坡记游》卷，这卷小楷书录东坡 “记”游若干节，为祝允明五十三岁时书写。其时，书家正值盛年，可谓其小楷书之代表作。款署“癸酉八月十二日步月宿东禅寺书此，枝山祝允明”。\n这件墨迹后有明代王宠、文彭、王世贞、张凤翼以及清代曹溶、罗坤、张陛等名家题跋．卷中钤有明、清收藏者印，以及乾隆、嘉庆、宣统内府鉴藏印\n此卷书法行笔稳健，结体严谨，通篇一气呵成，毫无懈怠。书法风格出自钟繇，用笔清健沉雄，不同的字，结构安排，富有变化，但长者不显其长，短者不觉其短，全卷千余字，虽是小楷，但通篇错落自然，神形具备，给人一种稳重、端庄的感觉。在禅院的虚空环境里书苏东坡的千古名篇，是产生这件心手双畅佳作的重要前提。",[23,164,7,25,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee78abdd24c305f7c7ed22b4d2ea3e66.jpg","纵13.4厘米，横269.6厘米",[],{"id":93215,"slug":93216,"title":93217,"dynasty":124,"author":93218,"museum":244,"description":93219,"tags":93220,"thumbUrl":93222,"material":611,"size":93223,"collection":84,"collections":93224,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},222461,"shu-ying-zhi-shi-zhou-shen-can-222461","书应制诗轴","沈粲","此幅内容是为友人书写，描述皇室宫苑，赞颂皇家园林之七言律诗五首，以用行楷书、章草及今草三体书之，其中行楷书精整，章草古朴，今草则笔法放纵。\n沈粲（西元一三七九－一四五三年），字民望，华亭（今上海）人。与年长二十二岁的胞兄沈度并称二沈，以擅于书法在朝廷中任职。沈粲擅长草书，学明初宋璲、宋克，参以钟繇，行笔圆熟，意趣遒逸。\n明成祖称沈度、沈粲昆仲是“我朝王羲之”大小学士”“二沈先生”。明代礼部尚书、书法家董其昌称“文（征明）、祝（允明）两家，一时之标，然欲突过'大小学士’、二沈先生’，未能也”。兄弟皆为大书法家且深得皇家赏识的实为少见。",[23,7,64,165,133,840,8116,208,93221],"明代书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a609dda0700e7459fb6f743501cddf4.jpg","263x54厘米",[],{"id":93226,"slug":93227,"title":93228,"dynasty":124,"author":16243,"museum":244,"description":93229,"tags":93230,"thumbUrl":93231,"material":611,"size":93232,"collection":84,"collections":93233,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},222311,"shi-tie-zhou-wang-chong-222311","诗帖轴","本幅草书七言律诗二首，结字内敛少舒展，变化不大。用笔起伏顿按有力，线条凝重洗练，干净利落。笔画间鲜有连笔牵丝，单字间虽多不环连，全篇却气势连贯。",[23,24,7,165,133,840,128,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6ddc9ddb91cdd977980f273e5e04cdc.jpg","84.1x29.6公分",[],{"id":93235,"slug":93236,"title":93237,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":93238,"thumbUrl":93239,"material":637,"size":70887,"collection":84,"collections":93240,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":3379},222309,"nan-hua-zhen-jing-62-wang-chong-222309","南华真经62",[23,24,7,64,133,128,7322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc25dcfbbc1a6fab0138a40c3f7b72ea6.jpg",[],{"id":93242,"slug":93243,"title":93244,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":93245,"thumbUrl":93246,"material":637,"size":70887,"collection":84,"collections":93247,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":3379},222304,"nan-hua-zhen-jing-57-wang-chong-222304","南华真经57",[23,64,8448,128,7322,5459,7,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e88100688ab224f55e69670e611bac0.jpg",[],{"id":93249,"slug":93250,"title":93251,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":93252,"thumbUrl":93253,"material":637,"size":70887,"collection":84,"collections":93254,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":3379},222302,"nan-hua-zhen-jing-55-wang-chong-222302","南华真经55",[23,7,64,133,7322,59,128,5459,57836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7985fee0ad75a221dcbf588389698c63.jpg",[],{"id":93256,"slug":93257,"title":58273,"dynasty":124,"author":10922,"museum":300,"description":10923,"tags":93258,"thumbUrl":93259,"material":611,"size":93260,"collection":84,"collections":93261,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},222021,"shu-shan-ye-wen-jia-222021",[23,1131,64,133,128,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ba1afc55a6559303493d98128e976df.jpg","38x53",[],{"id":93263,"slug":93264,"title":93265,"dynasty":124,"author":3619,"museum":20,"description":93266,"tags":93267,"thumbUrl":93268,"material":611,"size":93269,"collection":84,"collections":93270,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},222016,"xing-cao-mo-gao-wen-zheng-ming-222016","行草墨稿","文徵明是一个典型的儒者，他的处世思想深受儒家思想的影响，因此他为人和而介，做事谨而严。由于受这种处世思想的影响，对于书法的审美，文微明一力面以书法有法为美，另一方面将书品人品并而论之。从书法审美的角度来看，文徵明以”法“为美。",[23,7,64,25,38626,9910,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba54f9ee8b7d0e291994680b899a5240.jpg","30*810",[],{"id":93272,"slug":93273,"title":93274,"dynasty":124,"author":802,"museum":161,"description":11485,"tags":93275,"thumbUrl":93276,"material":59,"size":84,"collection":84,"collections":93277,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},221903,"hua-niao-jing-pin-ce-14-chen-hong-shou-221903","花鸟精品册14",[24,7,59,133,208,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a52285a03154eb1f55b98ecb3cae7b1.jpg",[],{"id":93279,"slug":93280,"title":93281,"dynasty":124,"author":22598,"museum":244,"description":93282,"tags":93283,"thumbUrl":93284,"material":611,"size":93285,"collection":84,"collections":93286,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":956},221879,"zi-shu-shi-tie-zhou-chen-ji-ru-221879","自书诗帖轴","本轴行草书七言诗，错落有致，字态摇曳多姿，笔画线条多变，姸媚与朴茂并存。\n陈继儒（1558～1639）明代文学家、书画家。字仲醇，号眉公、麋公。华亭（今上海松江）人。诸生，年二十九，隐居小昆山，后居东佘山，杜门著述，工诗善文，书法苏、米，兼能绘事，屡奉诏征用，皆以疾辞。擅墨梅、山水，画梅多册页小幅，自然随意，意态萧疏。\n陈继儒从小聪颖，九岁受业于周云汀老儒，接受过正规的私塾教育。十岁便“ 毛诗书义皆通达” ，十三岁习举子艺，十四岁旁及五经子史，七岁博综六籍百家。由于长期苦读，21岁时童子试一试皆惊。可以说，当时人眼中，他走仕途是不成问题的。然而27岁参加科考，偏偏失利。“科录见遗后，以遗才观场，遂视功名如嚼蜡矣。”到丙戌（1586）29岁时，谢去青襟，彻底与仕途告别。",[64,133,165,7,128,805,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F333541a252f90079f81a582242c96310.jpg","纵130.1cm，48.6cm",[],{"id":93288,"slug":93289,"title":93290,"dynasty":144,"author":64803,"museum":244,"description":93291,"tags":93292,"thumbUrl":93293,"material":611,"size":93294,"collection":84,"collections":93295,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},221746,"lin-wang-tie-zhou-yu-he-221746","临王帖轴","俞和临帖功力十分了得，以至当时以及后世之人常常将其书作归于赵孟府名下，但也因此使得“逼真文敏”之名淹没了俞和书法的个人特色。\n元末明初书家俞和，其书师法赵孟府。《杭州志》载“行草逼真文敏，好事者得其书每用赵款识，仓卒莫能辨。”今传世不少赵孟府伪作，多被认定为俞和所作。“今世流传的元人墨迹，以数量论，除赵孟府外，还未有超过俞和的。”张光宾在《辨赵孟府书急就章册为俞和临本兼述俞和生平及其书法》一文中将俞和的30件书法作品按时间顺序编入年表中，大部分都列明了款识、钤印与著录文献，没有说明藏处，其中部分书作并未流传至今。",[7,64,330,133,165,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa98e7e21bb4da796a48c641c793ce13d.jpg","113.1x35.3cm",[],{"id":93297,"slug":93298,"title":93299,"dynasty":144,"author":20772,"museum":244,"description":93300,"tags":93301,"thumbUrl":93302,"material":71732,"size":93303,"collection":84,"collections":93304,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},221731,"qi-yan-lv-shi-zhou-zhang-yu-221731","七言律诗轴","张雨的书法曾得赵孟俯指授，字画清逸舒放，这幅书法是罕见的大字行草，字形倾侧动荡，忽大忽小，运墨燥湿互济，锋势劲锐，别具纵逸峻历之势，结构布局无拘无束，显示出他能放纵能收敛的高度技巧。时而出现跳跃夸张的笔画，抒发了「隐士书家」内心郁结已久的块垒，更能显现「隐士书家」特有的孤傲不群，更能将道家的自由散漫和清虚雅逸诠释的淋漓尽致。",[144,7,165,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9c77e327e425577dc1b5ba1a75c7fca.jpg","108.4 X 42.6cm",[],{"id":93306,"slug":93307,"title":93308,"dynasty":182,"author":223,"museum":300,"description":93309,"tags":93310,"thumbUrl":93311,"material":84,"size":84,"collection":84,"collections":93312,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":956},221122,"miao-fa-lian-hua-jing-ti-po-men-duo-pin-di-shi-er-shou-juan-yi-ming-221122","妙法莲华经提婆们多品第十二手卷","此作以磁青纸为底，泥金书就，靛蓝沉雅托衬出金辉煌煌，历久鲜亮如初。\n通篇小楷点画精劲匀整，结体端雅秀润，字距排布齐整如一，气息宁和肃穆。书者落笔恭谨，笔笔不苟，法度森严又暗含温润意趣，尽显盛唐写经的典型风貌。将对经文的崇奉融于笔端，把宗教的静穆与书法的雅致融为一体，是唐人写经书法中的上乘之作，带着独有的雍容端方的盛唐气度。",[23,4642,25,7322,572,187,39681,96,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd26422bb39ce8d769c4e365ad1e698bf.jpg",[],{"id":93314,"slug":93315,"title":93316,"dynasty":182,"author":223,"museum":300,"description":93317,"tags":93318,"thumbUrl":93319,"material":84,"size":84,"collection":84,"collections":93320,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":956},221121,"miao-fa-lian-hua-jing-an-le-xing-pin-di-shi-er-di-wu-yi-ming-221121","妙法莲华经安乐行品第十二第五","此卷以绀蓝纸为地，泥金书就经文，华贵沉静。书法是典型唐代写经体，点画匀净秀雅，结体端整宽和，法度谨严又暗含温润气韵，尽显抄经时的虔敬心力。\n\n首尾织锦装潢极为精美，祥云宝纹婉转缠连，晕染出庄严静谧的佛国氛围，细节处尽显盛唐工艺的极致考究。整卷形制舒展恢弘，字势连贯统一，笔笔饱含信仰之力，将宗教肃穆与书法美感相融，是盛唐宗教文化与工艺美术交织的绝佳典范，承载着千年前的礼佛热忱。",[23,7,25,187,572,7322,5459,27,234,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b7d3b3c5813e13d535060aa9fd158a0.jpg",[],{"id":93322,"slug":93323,"title":93324,"dynasty":144,"author":76804,"museum":6892,"description":76805,"tags":93325,"thumbUrl":93326,"material":76808,"size":76809,"collection":84,"collections":93327,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":84},220723,"xing-shu-shi-wen-he-juan-2-zhang-yu-yang-wei-zhen-wen-xin-220723","行書詩文合卷2",[7,133,64,25,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d5ca48358df154e3984345dbb303f73.jpg",[],{"id":93329,"slug":93330,"title":93331,"dynasty":124,"author":16243,"museum":6892,"description":26868,"tags":93332,"thumbUrl":93333,"material":26871,"size":26872,"collection":84,"collections":93334,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":84},220711,"xing-shu-jie-quan-7-wang-chong-220711","行书借券7",[23,64,133,208,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F637694ad63d1f0644e4f03f2c83044bb.jpg",[],{"id":93336,"slug":93337,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":93338,"thumbUrl":93339,"material":11690,"size":11691,"collection":84,"collections":93340,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":84},220706,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220706",[24,7,59,128,27,29,132,88230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff6f1a8bf3d892cc8b27c40f925840a9.jpg",[],{"id":93342,"slug":93343,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":93344,"thumbUrl":93345,"material":11690,"size":11691,"collection":84,"collections":93346,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":84},220704,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220704",[23,24,7,59,29,128,27,663,17623],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F451b3a2ed669c82159c7ba554485e4fd.jpg",[],{"id":93348,"slug":93349,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":93350,"thumbUrl":93351,"material":11690,"size":11691,"collection":84,"collections":93352,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":84},220701,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220701",[23,24,7,59,64,133,208,29,128,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad4f4f35920dd4c01a9d0b182ef5975b.jpg",[],{"id":93354,"slug":93355,"title":93356,"dynasty":54,"author":93357,"museum":77,"description":93358,"tags":93359,"thumbUrl":93360,"material":173,"size":93361,"collection":136,"collections":93362,"showCount":1086,"zanCount":1998,"manualWeight":48,"mainColor":72},220414,"deng-wei-tan-mei-tu-juan-sun-jun-220414","邓尉探梅图卷","孙钧","此卷诗书画合璧，淡彩晕染出梅林盛景，浅峦清润含烟，寒梅虬枝错落其间，将江南冬末春初的幽寂雅趣铺陈开来。通篇题咏行书秀逸苍润，笔墨朴拙自然，与画意浑然相融。诗、书、画三者相生，将探梅雅游的闲情与林泉寄怀的意趣融为一体，把文人赏梅时的缱绻心境诉诸笔端，尽显清雅悠远的文人情致，笔墨间浸透了对湖山梅景的眷恋，意境浑融悠长。",[23,24,7,25,27,29,371,133,64,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ed4b038c94f1800fc2afe226e19c1e6.jpg","引首31.5×100cm；本幅31×272cm",[136,45],{"id":93364,"slug":93365,"title":62177,"dynasty":124,"author":23728,"museum":56,"description":71098,"tags":93366,"thumbUrl":93367,"material":278,"size":71101,"collection":84,"collections":93368,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},219785,"za-hua-ce-5-guo-xu-219785",[24,7,59,128,61,167,376,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72f1fb9db05fa3407e01e966ee406c53.jpg",[],{"id":93370,"slug":93371,"title":93372,"dynasty":54,"author":32801,"museum":244,"description":32802,"tags":93373,"thumbUrl":93378,"material":66,"size":32807,"collection":84,"collections":93379,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},219666,"hai-cuo-tu-di-si-ce-2-nie-huang-219666","海错图第四册-2",[24,7,59,27,28,93374,93375,93376,15552,32805,10803,93377,58219],"海物","贝壳","海虫","细致描绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb08b8861233fda488cb35a0e95dd3044.jpg",[],{"id":93381,"slug":93382,"title":93383,"dynasty":54,"author":32801,"museum":244,"description":32802,"tags":93384,"thumbUrl":93388,"material":66,"size":32807,"collection":84,"collections":93389,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},219663,"hai-cuo-tu-di-si-ce-5-nie-huang-219663","海错图第四册-5",[24,7,59,27,28,93385,32805,93386,93387,1429,57836],"海贝","螺类","小生物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e4543bfe090b341f46c6fbb9728beba.jpg",[],{"id":93391,"slug":93392,"title":93393,"dynasty":124,"author":10106,"museum":244,"description":46336,"tags":93394,"thumbUrl":93395,"material":317,"size":84,"collection":84,"collections":93396,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},218211,"luo-han-zhou-3-wu-bin-218211","罗汉轴-3",[24,7,164,165,187,96,188,128,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1192f8ab8328275b72de362f79c9f8e0.jpg",[],{"id":93398,"slug":93399,"title":93400,"dynasty":124,"author":10106,"museum":244,"description":46336,"tags":93401,"thumbUrl":93402,"material":317,"size":84,"collection":84,"collections":93403,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},218206,"luo-han-zhou-5-wu-bin-218206","罗汉轴-5",[24,7,165,187,96,128,27,188,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f2484175118f77e236b97df7b23273.jpg",[],{"id":93405,"slug":93406,"title":93407,"dynasty":18,"author":1174,"museum":244,"description":12312,"tags":93408,"thumbUrl":93409,"material":173,"size":12318,"collection":84,"collections":93410,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},218152,"wen-ji-gui-han-tu-ce-11-li-tang-218152","文姬归汉图册-11",[24,7,59,27,96,101,29,690,11074,1367,34,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ec3befc7ae07fcfbd25e70a3aa15336.jpg",[],{"id":93412,"slug":93413,"title":93414,"dynasty":54,"author":223,"museum":300,"description":80289,"tags":93415,"thumbUrl":93417,"material":173,"size":84,"collection":84,"collections":93418,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":956},218121,"fu-hua-luo-han-jiu-zhang-lao-xiang-4-yi-ming-218121","佛画·罗汉九长老像-4",[23,24,7,187,27,28,304,18331,96,227,9633,722,372,168,4278,131,3490,93416,5472,230],"佛画风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe7bb8c794f616214b5d985ba5ca11a8.jpg",[],{"id":93420,"slug":93421,"title":93422,"dynasty":124,"author":7003,"museum":300,"description":93423,"tags":93424,"thumbUrl":93425,"material":611,"size":84,"collection":84,"collections":93426,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},218065,"bai-miao-jiu-ge-tu-ce-1-zhu-yun-ming-218065","白描九歌图册-1","墨线流转间，楚辞《九歌》的幽婉意境徐徐铺展。线条如笔走龙蛇，兼具书法遒劲与绘画灵动，衣袂飘举似携风而来，人物神态隐现屈子笔下的浪漫沉郁。无设色浓艳，却以留白衬出古雅清寂，每一笔转折皆藏匠心，将神话中神祇巫觋之姿，凝作纸上诗性回响。简约见丰韵，素净含深情，让千年楚辞气韵，在尺幅间静静流淌。",[164,24,7,59,188,128,96,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabe4ae3f9f54e50f330eb4522dcdf503.jpg",[],{"id":93428,"slug":93429,"title":93430,"dynasty":124,"author":7003,"museum":300,"description":93431,"tags":93432,"thumbUrl":93433,"material":611,"size":84,"collection":84,"collections":93434,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},218061,"bai-miao-jiu-ge-tu-ce-4-zhu-yun-ming-218061","白描九歌图册-4","素笺之上，铁线银钩游走如灵蛇，勾勒楚辞九歌的缥缈幻境。人物衣袂翩跹若流风回雪，发丝轻扬似月华垂落，每道线条皆藏韵律——转折见刚劲，舒展显柔婉，将神祗清绝与人间怅惘揉作一处。背景简而意远，寥寥几笔山石云水，引观者入楚地烟霞：听湘水畔兰芷香风，闻云中君环佩叮当。无浓墨重彩喧嚣，仅以素笔勾魂魄：凝眸处的怅然，抬袖间的幽思，都在极简线条里鲜活，让千年前楚辞意境，于尺幅间静静流淌，余味悠长。",[164,24,7,59,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4975f932c490368b572c01199ac1853f.jpg",[],{"id":93436,"slug":93437,"title":93438,"dynasty":124,"author":7003,"museum":300,"description":93439,"tags":93440,"thumbUrl":93441,"material":611,"size":84,"collection":84,"collections":93442,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},218056,"bai-miao-jiu-ge-tu-ce-8-zhu-yun-ming-218056","白描九歌图册-8","白描以线立骨，笔墨洗练却意韵丰沛。线条或婉转如流泉，或挺劲似孤松，勾勒神祇衣袂翩跹之姿，衣纹翻飞间裹挟楚风浪漫与神秘。画面与题跋文字相映成趣，凝九歌中神祇的空灵深情于尺幅，每一笔皆似诉说远古传说，观者可于简练笔墨里触达跨越时空的浪漫怅惘。气韵生动，无浓墨重彩，却以纯粹线条之力，营造悠远幽渺的意境，尽显传统白描艺术的独特魅力，将楚辞的浪漫风骨藏于毫端转折之间。",[24,7,59,188,128,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff88d9daf6688fda79e5efe85fd74ec98.jpg",[],{"id":93444,"slug":93445,"title":93446,"dynasty":124,"author":7003,"museum":300,"description":93447,"tags":93448,"thumbUrl":93449,"material":611,"size":84,"collection":84,"collections":93450,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},218053,"bai-miao-jiu-ge-tu-ce-10-zhu-yun-ming-218053","白描九歌图册-10","墨线游走如惊风掠水，牵起楚辞浪漫的衣角。素绢之上，衣袂飘举若楚江烟浪，人物眉眼凝着《九歌》的悲戚与痴绝。无艳色堆砌，却以遒劲柔婉的笔触，勾勒神灵缥缈之姿、巫者虔诚之态，线条转折提按间藏尽文人风骨。每一笔皆似屈子辞章低吟，令静态画面流动诗韵。素净中见深情，将人神相恋的怅惘、天地浩渺的幽思，凝注于线条的舞蹈里，尽显古典雅韵与生命张力。",[164,24,7,59,188,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f8e0b9feb5da503cc588bf462a54ad8.jpg",[],{"id":93452,"slug":93453,"title":93454,"dynasty":18,"author":39592,"museum":1941,"description":39593,"tags":93455,"thumbUrl":93456,"material":278,"size":39596,"collection":84,"collections":93457,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},217993,"shi-liu-ying-zhen-tu-2-fan-long-217993","十六应真图-2",[23,164,24,7,188,128,187,96,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30126a076b380d1c463fd706ec17e435.jpg",[],{"id":93459,"slug":93460,"title":93461,"dynasty":18,"author":39592,"museum":1941,"description":39593,"tags":93462,"thumbUrl":93463,"material":278,"size":39596,"collection":84,"collections":93464,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},217989,"shi-liu-ying-zhen-tu-4-fan-long-217989","十六应真图-4",[23,24,7,1326,188,187,96,5490,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb82f2bf07054d6ba5ac1aef07f185c46.jpg",[],{"id":93466,"slug":93467,"title":93468,"dynasty":18,"author":39592,"museum":1941,"description":39593,"tags":93469,"thumbUrl":93470,"material":278,"size":39596,"collection":84,"collections":93471,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},217979,"shi-liu-ying-zhen-tu-9-fan-long-217979","十六应真图-9",[23,24,7,188,187,96,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03218a0cc37ff92c9f386d67cf974ab9.jpg",[],{"id":93473,"slug":93474,"title":93475,"dynasty":18,"author":39592,"museum":1941,"description":39593,"tags":93476,"thumbUrl":93477,"material":278,"size":39596,"collection":84,"collections":93478,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},217973,"shi-liu-ying-zhen-tu-14-fan-long-217973","十六应真图-14",[23,164,24,7,1846,188,128,187,96,413,167,36766],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F935327e3da1d77c10c7cb59d0d93971f.jpg",[],{"id":93480,"slug":93481,"title":93482,"dynasty":18,"author":39592,"museum":1941,"description":39593,"tags":93483,"thumbUrl":93484,"material":278,"size":39596,"collection":84,"collections":93485,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},217972,"shi-liu-ying-zhen-tu-15-fan-long-217972","十六应真图-15",[23,24,7,188,187,96,722,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19efcfa752505e4241c149f2de9241a.jpg",[],{"id":93487,"slug":93488,"title":93489,"dynasty":18,"author":39592,"museum":1941,"description":39593,"tags":93490,"thumbUrl":93491,"material":278,"size":39596,"collection":84,"collections":93492,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},217970,"shi-liu-ying-zhen-tu-17-fan-long-217970","十六应真图-17",[23,24,7,164,25,188,187,96,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F402dbdc95f0e1c03c70a752167aaf56c.jpg",[],{"id":93494,"slug":93495,"title":93496,"dynasty":18,"author":39592,"museum":1941,"description":39593,"tags":93497,"thumbUrl":93498,"material":278,"size":39596,"collection":84,"collections":93499,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},217967,"shi-liu-ying-zhen-tu-20-fan-long-217967","十六应真图-20",[23,24,7,188,128,187,96,5490,171,29,497,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd70102ab60c4542a4a81ec3c625fb424.jpg",[],{"id":93501,"slug":93502,"title":93503,"dynasty":54,"author":223,"museum":300,"description":37952,"tags":93504,"thumbUrl":93506,"material":66,"size":84,"collection":84,"collections":93507,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},217935,"da-mo-yi-jin-ba-duan-jin-4-yi-ming-217935","达摩易筋八段锦-4",[24,7,27,28,96,304,4437,93505,187],"养生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ed820413c008df4db791070604d9191.jpg",[],{"id":93509,"slug":93510,"title":93511,"dynasty":54,"author":223,"museum":300,"description":37952,"tags":93512,"thumbUrl":93513,"material":66,"size":84,"collection":84,"collections":93514,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},217934,"da-mo-yi-jin-ba-duan-jin-5-yi-ming-217934","达摩易筋八段锦-5",[164,24,7,27,28,96,170,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8edb99c34ede8c77edb6f8b072a8c7b6.jpg",[],{"id":93516,"slug":93517,"title":93518,"dynasty":54,"author":223,"museum":300,"description":37952,"tags":93519,"thumbUrl":93520,"material":66,"size":84,"collection":84,"collections":93521,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},217932,"da-mo-yi-jin-ba-duan-jin-7-yi-ming-217932","达摩易筋八段锦-7",[164,304,24,7,27,96,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1861b14d8623bba05da6abf4746774a7.jpg",[],{"id":93523,"slug":93524,"title":93525,"dynasty":54,"author":223,"museum":300,"description":37952,"tags":93526,"thumbUrl":93527,"material":66,"size":84,"collection":84,"collections":93528,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},217928,"da-mo-yi-jin-ba-duan-jin-10-yi-ming-217928","达摩易筋八段锦-10",[24,7,165,304,27,28,96,3490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f300f94a3fdccdb77094e231b735434.jpg",[],{"id":93530,"slug":93531,"title":93532,"dynasty":54,"author":223,"museum":300,"description":37952,"tags":93533,"thumbUrl":93534,"material":66,"size":84,"collection":84,"collections":93535,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},217927,"da-mo-yi-jin-ba-duan-jin-11-yi-ming-217927","达摩易筋八段锦-11",[24,7,304,27,28,188,96,57836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e28d2c163027ebc7599b53726e735da.jpg",[],{"id":93537,"slug":93538,"title":93539,"dynasty":182,"author":223,"museum":2607,"description":93540,"tags":93541,"thumbUrl":93542,"material":2611,"size":84,"collection":84,"collections":93543,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},217272,"jiang-mo-bian-dun-huang-tu-juan-16-yi-ming-217272","降魔变·敦煌图卷-16","绢素上的斑驳，是时光刻下的诗行，却难掩千年佛魔对峙的惊心动魄。铁线描勾勒的身形，或怒目张牙，或垂眸慈悲，一动一静间道尽佛法无边。淡去的矿物颜料里，仍能瞥见当年的浓艳——莲华绽放的清辉，魔军溃散的狼狈，最终都融于佛陀座前的寂然。画面如徐徐展开的传奇，每一处残痕都是故事的碎片，将丝路梵音与敦煌匠心织进绢丝。这是信仰与艺术的交织，在岁月长河中，静静诉说着敦煌的永恒魅力。",[24,7,25,1362,187,27,96,1692,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1063dd11f3d12442b4b68079335e7589.jpg",[],{"id":93545,"slug":93546,"title":93547,"dynasty":182,"author":223,"museum":2607,"description":93548,"tags":93549,"thumbUrl":93550,"material":2611,"size":84,"collection":84,"collections":93551,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},217270,"jiang-mo-bian-dun-huang-tu-juan-17-yi-ming-217270","降魔变·敦煌图卷-17","绢素经岁月摩挲，斑驳间仍见线条流转如缕——或劲挺勾勒魔众的嚣妄，或柔婉晕染佛陀的静定。淡赭残蓝交织，似将千年前的法会图景晕开：魔军的狰狞与佛陀的慈悲形成无声张力，每一处褪色的色块、模糊的轮廓，都藏着叙事的余韵。敦煌艺术的魂魄在此流淌，以古朴笔触承载降魔的庄严与信仰的力量，让跨越千年的感动，在绢页的呼吸里悄然苏醒。它不仅是一幅画，更是时光封藏的法音，以沧桑的肌理叩问观者，将降魔故事里的静定与力量，化作穿越岁月的温暖回响。",[164,24,7,25,187,27,188,96,1692],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc0a9d683b444af681ee6856e555782.jpg",[],{"id":93553,"slug":93554,"title":93555,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":93556,"thumbUrl":93557,"material":611,"size":84,"collection":84,"collections":93558,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":956},217189,"shui-hu-quan-tu-7-du-jin-217189","水浒全图-7",[24,7,59,188,28,96,27,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e985864b4bf9565000e90ab3c697935.jpg",[],{"id":93560,"slug":93561,"title":93562,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":93563,"thumbUrl":93564,"material":611,"size":84,"collection":84,"collections":93565,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":956},217178,"shui-hu-quan-tu-19-du-jin-217178","水浒全图-19",[24,7,59,188,96,875,229,438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1dd4ca75a48d5487977b06f06487abd.jpg",[],{"id":93567,"slug":93568,"title":93569,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":93570,"thumbUrl":93571,"material":611,"size":84,"collection":84,"collections":93572,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":956},217176,"shui-hu-quan-tu-5-du-jin-217176","水浒全图-5",[24,7,188,128,27,96,28,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa57ca1a4bf884325328e0a8d4210bbda.jpg",[],{"id":93574,"slug":93575,"title":93576,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":93577,"thumbUrl":93578,"material":611,"size":84,"collection":84,"collections":93579,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":956},217172,"shui-hu-quan-tu-23-du-jin-217172","水浒全图-23",[24,7,59,188,96,99,971],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd114afa35310e3ef2035b79c8fecf88a.jpg",[],{"id":93581,"slug":93582,"title":93583,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":93584,"thumbUrl":93585,"material":611,"size":84,"collection":84,"collections":93586,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":956},217170,"shui-hu-quan-tu-22-du-jin-217170","水浒全图-22",[24,7,59,188,96,1144,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f4ea10ca5e88263fbd605454811e3de.jpg",[],{"id":93588,"slug":93589,"title":93590,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":93591,"thumbUrl":93592,"material":611,"size":84,"collection":84,"collections":93593,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":956},217168,"shui-hu-quan-tu-26-du-jin-217168","水浒全图-26",[24,7,59,188,128,96,131,495,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F159ba2f328d1b867ed415c5c8190609c.jpg",[],{"id":93595,"slug":93596,"title":93597,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":93598,"thumbUrl":93599,"material":611,"size":84,"collection":84,"collections":93600,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":956},217167,"shui-hu-quan-tu-28-du-jin-217167","水浒全图-28",[24,7,59,188,96,171,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa85d1f454e72b75d5836cb23e8c4f67.jpg",[],{"id":93602,"slug":93603,"title":93604,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":93605,"thumbUrl":93606,"material":611,"size":84,"collection":84,"collections":93607,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":956},217166,"shui-hu-quan-tu-27-du-jin-217166","水浒全图-27",[24,7,59,188,96,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F520c4fe2f690bd4441d8a9b2c2ffe933.jpg",[],{"id":93609,"slug":93610,"title":93611,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":93612,"thumbUrl":93613,"material":611,"size":84,"collection":84,"collections":93614,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":956},217152,"shui-hu-quan-tu-39-du-jin-217152","水浒全图-39",[24,128,7,59,29,96,413,131,130,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F081aeac2883d683b7af369f31f5f5827.jpg",[],{"id":93616,"slug":93617,"title":93618,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":93619,"thumbUrl":93621,"material":611,"size":84,"collection":84,"collections":93622,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":956},217151,"shui-hu-quan-tu-47-du-jin-217151","水浒全图-47",[24,7,59,188,96,34,93620,5626],"柱子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac0aa81a5ea5a4f9b13753dd65b3ccd8.jpg",[],{"id":93624,"slug":93625,"title":93626,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":93627,"thumbUrl":93628,"material":611,"size":84,"collection":84,"collections":93629,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":956},217148,"shui-hu-quan-tu-45-du-jin-217148","水浒全图-45",[24,7,59,188,28,96,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a17e8a33523be8a322365238d4dcf9a.jpg",[],{"id":93631,"slug":93632,"title":93633,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":93634,"thumbUrl":93635,"material":611,"size":84,"collection":84,"collections":93636,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":956},217139,"shui-hu-quan-tu-57-du-jin-217139","水浒全图-57",[24,7,59,188,128,96,131,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1cd364bbf171049896bd6e864cd4437.jpg",[],{"id":93638,"slug":93639,"title":93640,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":93641,"thumbUrl":93642,"material":611,"size":84,"collection":84,"collections":93643,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":956},217121,"shui-hu-quan-tu-73-du-jin-217121","水浒全图-73",[24,7,59,188,208,96,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F447d06a6d638a944a090d486a726786a.jpg",[],{"id":93645,"slug":93646,"title":93647,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":93648,"thumbUrl":93649,"material":611,"size":84,"collection":84,"collections":93650,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":956},217114,"bai-miao-luo-han-3-leng-mei-217114","白描罗汉-3",[24,7,188,187,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57254f49ef934fa4c497f99222b7afa6.jpg",[],{"id":93652,"slug":93653,"title":93654,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":93655,"thumbUrl":93656,"material":611,"size":84,"collection":84,"collections":93657,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":956},217113,"bai-miao-luo-han-1-leng-mei-217113","白描罗汉-1",[54,24,7,59,188,187,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c4049dc27a5ae4255e2f6c8daf78844.jpg",[],{"id":93659,"slug":93660,"title":93661,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":93662,"thumbUrl":93663,"material":611,"size":84,"collection":84,"collections":93664,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":956},217089,"bai-miao-luo-han-28-leng-mei-217089","白描罗汉-28",[24,7,59,188,187,96,572,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51ace80b7a6109f04780aa0397ea4811.jpg",[],{"id":93666,"slug":93667,"title":93668,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":93669,"thumbUrl":93670,"material":611,"size":84,"collection":84,"collections":93671,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":956},217088,"bai-miao-luo-han-30-leng-mei-217088","白描罗汉-30",[24,7,59,188,187,96,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F733cd605e6e36463089c66fa78fea896.jpg",[],{"id":93673,"slug":93674,"title":93675,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":93676,"thumbUrl":93677,"material":611,"size":84,"collection":84,"collections":93678,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":956},217087,"bai-miao-luo-han-34-leng-mei-217087","白描罗汉-34",[24,7,59,188,572,64,208,187,96,18331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f621670f2272e80377ef73cbb18c6e0.jpg",[],{"id":93680,"slug":93681,"title":93682,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":93683,"thumbUrl":93684,"material":611,"size":84,"collection":84,"collections":93685,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":956},217085,"bai-miao-luo-han-36-leng-mei-217085","白描罗汉-36",[54,24,7,59,188,187,96,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8799f80c14eda8b885bb2cae2acc8e6.jpg",[],{"id":93687,"slug":93688,"title":93689,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":93690,"thumbUrl":93691,"material":611,"size":84,"collection":84,"collections":93692,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":956},217083,"bai-miao-luo-han-32-leng-mei-217083","白描罗汉-32",[24,7,188,187,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe70f3d54e83cc9b551969b96544b1627.jpg",[],{"id":93694,"slug":93695,"title":93696,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":93697,"thumbUrl":93698,"material":611,"size":84,"collection":84,"collections":93699,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":956},217077,"bai-miao-luo-han-38-leng-mei-217077","白描罗汉-38",[54,24,7,188,187,96,64,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e8e31108338cfd56ad6c244baff1f90.jpg",[],{"id":93701,"slug":93702,"title":93703,"dynasty":124,"author":19170,"museum":300,"description":30766,"tags":93704,"thumbUrl":93705,"material":317,"size":84,"collection":84,"collections":93706,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},217053,"bai-miao-ying-zhen-tu-4-ding-yun-peng-217053","白描应真图-4",[24,7,188,187,96,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e7a90a5409ebe947c2183a35f73e780.jpg",[],{"id":93708,"slug":93709,"title":93710,"dynasty":124,"author":19170,"museum":300,"description":30766,"tags":93711,"thumbUrl":93712,"material":317,"size":84,"collection":84,"collections":93713,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},217052,"bai-miao-ying-zhen-tu-9-ding-yun-peng-217052","白描应真图-9",[164,24,7,25,188,187,96,5490,413,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e6c107b8ec49c86328180f44d59be89.jpg",[],{"id":93715,"slug":93716,"title":93717,"dynasty":124,"author":19170,"museum":300,"description":30766,"tags":93718,"thumbUrl":93719,"material":317,"size":84,"collection":84,"collections":93720,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},217051,"bai-miao-ying-zhen-tu-8-ding-yun-peng-217051","白描应真图-8",[188,24,7,25,187,96,95,14233,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f37d9ee5b06a1c92dd84e11754a146d.jpg",[],{"id":93722,"slug":93723,"title":93724,"dynasty":124,"author":19170,"museum":300,"description":30766,"tags":93725,"thumbUrl":93726,"material":317,"size":84,"collection":84,"collections":93727,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},217049,"bai-miao-ying-zhen-tu-10-ding-yun-peng-217049","白描应真图-10",[24,7,188,187,96,5490,372,131,208,18331,31935],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4364e3858380dac094d5e7fd7c29464b.jpg",[],{"id":93729,"slug":93730,"title":93731,"dynasty":124,"author":19170,"museum":300,"description":30766,"tags":93732,"thumbUrl":93733,"material":317,"size":84,"collection":84,"collections":93734,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},217048,"bai-miao-ying-zhen-tu-7-ding-yun-peng-217048","白描应真图-7",[24,7,188,187,96,34,14233,227,249,49114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd65d15d18b763bbcc24fd3a09974d300.jpg",[],{"id":93736,"slug":93737,"title":93738,"dynasty":124,"author":19170,"museum":300,"description":30766,"tags":93739,"thumbUrl":93740,"material":317,"size":84,"collection":84,"collections":93741,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},217047,"bai-miao-ying-zhen-tu-12-ding-yun-peng-217047","白描应真图-12",[24,7,188,187,96,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54f1173b40038714d4947c78343c4de6.jpg",[],{"id":93743,"slug":93744,"title":93745,"dynasty":124,"author":19170,"museum":300,"description":30766,"tags":93746,"thumbUrl":93747,"material":317,"size":84,"collection":84,"collections":93748,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},217041,"bai-miao-ying-zhen-tu-17-ding-yun-peng-217041","白描应真图-17",[24,7,188,187,96,81,169,124,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c1b7211999a24e2aef1727f68d6938e.jpg",[],{"id":93750,"slug":93751,"title":93752,"dynasty":54,"author":223,"museum":244,"description":88534,"tags":93753,"thumbUrl":93754,"material":66,"size":84,"collection":84,"collections":93755,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},217026,"li-dai-ming-ren-tu-xiang-ce-5-yi-ming-217026","历代名人图像册-5",[24,7,59,27,28,96,166,375,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18d63e2b10458121725153b9854949ed.jpg",[],{"id":93757,"slug":93758,"title":93759,"dynasty":54,"author":223,"museum":244,"description":88534,"tags":93760,"thumbUrl":93761,"material":66,"size":84,"collection":84,"collections":93762,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},217018,"li-dai-ming-ren-tu-xiang-ce-14-yi-ming-217018","历代名人图像册-14",[24,7,59,27,28,96,5626,170,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c5de8e6b5f3f4d3379e210014e4abcf.jpg",[],{"id":93764,"slug":93765,"title":93766,"dynasty":54,"author":60332,"museum":77,"description":60333,"tags":93767,"thumbUrl":93768,"material":66,"size":60336,"collection":84,"collections":93769,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},217012,"ruan-yuan-yi-shi-shi-jing-tu-ce-3-wang-yun-217012","阮元遗事十景图册-3",[164,24,7,59,27,128,29,99,129,331,387,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f6063966510e83bbdab495719ce369a.jpg",[],{"id":93771,"slug":93772,"title":93773,"dynasty":18,"author":25050,"museum":1941,"description":38765,"tags":93774,"thumbUrl":93775,"material":173,"size":38768,"collection":84,"collections":93776,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},216916,"xiang-shan-jiu-lao-tu-8-ma-xing-zu-216916","香山九老图-8",[23,24,7,28,27,132,96,29,130,413,59,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c9a9d17a833ceb3f0e35d9e3689650.jpg",[],{"id":93778,"slug":93779,"title":93780,"dynasty":54,"author":675,"museum":27034,"description":27035,"tags":93781,"thumbUrl":93783,"material":173,"size":84,"collection":84,"collections":93784,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},216888,"qian-long-nan-xun-zhu-bi-tu-ye-18-qian-wei-cheng-216888","乾隆南巡驻跸图页-18",[23,164,24,7,59,95,27,97,247,34,758,93782],"俯视构图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cf6906d867fd836a3e244c2db6d652a.jpg",[],{"id":93786,"slug":93787,"title":93788,"dynasty":54,"author":675,"museum":27034,"description":27035,"tags":93789,"thumbUrl":93791,"material":173,"size":84,"collection":84,"collections":93792,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},216886,"qian-long-nan-xun-zhu-bi-tu-ye-17-qian-wei-cheng-216886","乾隆南巡驻跸图页-17",[23,24,7,27,95,59,97,93790,34,111,38],"院落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bf13386efa5fd0d71534217e6efa4e7.jpg",[],{"id":93794,"slug":93795,"title":93796,"dynasty":54,"author":223,"museum":2607,"description":93797,"tags":93798,"thumbUrl":93799,"material":611,"size":84,"collection":84,"collections":93800,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":956},216849,"xi-xiang-ji-tu-ce-31-yi-ming-216849","西厢记图册-31","素绢底色如被时光晕染的烟霭，浅淡朦胧间，零星金褐的斑驳似风过西厢庭院时抖落的桂瓣、佛殿的碎金，或是笺上未干的墨痕。那些细碎痕迹藏在故事褶皱里，淡得几乎融入背景，却勾连起《西厢记》的幽微情愫——月下听琴的静谧，隔墙送别的怅然。画面以极简笔触承载深厚意境，古朴质感如陈年书卷，每道斑驳都诉说着古典爱情的含蓄悠长，于无声处流淌东方美学的温婉韵致，似一折慢吟的昆曲，在素淡里藏着千回百转的温柔。",[24,7,59,27,96,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57760180eeedd8324fada46d4fc58e6e.jpg",[],{"id":93802,"slug":93803,"title":93804,"dynasty":124,"author":22191,"museum":244,"description":88564,"tags":93805,"thumbUrl":93806,"material":173,"size":88567,"collection":84,"collections":93807,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},216759,"jiu-lao-tu-8-huang-biao-216759","九老图-8",[24,7,64,572,208,5459,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb934c6b2fe80f19cef38c541b689a14.jpg",[],{"id":93809,"slug":93810,"title":93811,"dynasty":54,"author":223,"museum":300,"description":93812,"tags":93813,"thumbUrl":93814,"material":173,"size":84,"collection":84,"collections":93815,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},216693,"hong-lou-meng-fu-tu-ce-35-yi-ming-216693","红楼梦赋图册-35","绢素之上，暗纹交织如篆，似将红楼旧梦织入经纬。笔墨轻飏处，或许藏着潇湘馆的竹影，或是蘅芜苑的花香？淡赭晕染出庭院的清寂，细线条勒出裙裾的柔婉。留白处似有昆曲余韵流转，纹理间若见仕女低眉浅笑。不必刻意描摹情节，却以雅致之态，把《红楼梦》里的缠绵情致凝于方寸。观者抚过绢面肌理，仿佛能触到那个年代的风月缠绵，以及藏在字句背后的轻叹。每一道纹路都是时光的注脚，每一寸淡彩都晕着红楼的诗意，让古典情韵在尺幅间静静流淌。",[23,24,7,59,28,27,96,166,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8d4c0996c33cdea909dd6b2ba6174e5.jpg",[],{"id":93817,"slug":93818,"title":93819,"dynasty":54,"author":223,"museum":300,"description":93820,"tags":93821,"thumbUrl":93822,"material":173,"size":84,"collection":84,"collections":93823,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},216692,"hong-lou-meng-fu-tu-ce-33-yi-ming-216692","红楼梦赋图册-33","藤蔓如柔丝轻缠，牵缀着粉白小花与深红浆果，将满篇墨字温柔环抱。竖排文字墨色匀净，笔锋端凝，似在低声诉说红楼深处的韵事。花叶勾勒细腻入微，红绿相映间透着清雅生机，与文字里的诗意互为表里。整幅画面如一方被时光浸润的信笺，图文交织成旧梦碎片，静默中流淌着古典雅致与淡淡怅惘，仿佛能触到红楼人物若有若无的气息。",[23,24,7,59,27,548,62,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24138bb077fb75a6389a5a137ae00d31.jpg",[],{"id":93825,"slug":93826,"title":93827,"dynasty":54,"author":223,"museum":300,"description":93828,"tags":93829,"thumbUrl":93830,"material":173,"size":84,"collection":84,"collections":93831,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},216686,"hong-lou-meng-fu-tu-ce-38-yi-ming-216686","红楼梦赋图册-38","暗红封边如时光凝就的朱砂，衬着米金书页，纹理细腻似织锦暗纹，悄然铺展古典雅致。书页堆叠的厚度里，泛黄纸边浸着琥珀般的岁月色泽，每一道纹路都藏着红楼旧梦的余温。虽未展笔墨，却仿佛能触到大观园的风露，钗黛的颦笑隐在纸间，赋文的韵致凝于素笺。这一纸一页，是时光与诗意的交织，将红楼的幽微情韵封存在岁月肌理里，静待观者轻启，重拾那段古典的浪漫与怅惘。",[23,24,7,59,28,27,96,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1eb7cef8a7d5c80251b2905512853cb.jpg",[],{"id":93833,"slug":93834,"title":93835,"dynasty":124,"author":802,"museum":300,"description":93836,"tags":93837,"thumbUrl":93838,"material":278,"size":84,"collection":84,"collections":93839,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},216294,"xi-xiang-ji-zhen-ben-tu-ce-25-chen-hong-shou-216294","西厢记真本图册-25","墨线如铁，盘绕出衣袂的古雅褶皱，却又牵起几分灵动的呼吸。人物姿态凝定，眉眼间藏着未宣的情愫，似有一缕清风掠过画面，晕开西厢的幽婉韵致。画面布局疏朗却含张力，留白处如诗般藏着弦外之音，笔墨的拙趣与细腻交织，将古典故事里的缱绻与怅惘凝于方寸。每一道线条都像是时光的刻度，勾连起跨越时空的共情，让观者在古雅氛围里触摸到含蓄深沉的情感脉动，仿佛能听见书页间隐约的喟叹，看见光影里流转的古典诗意，笔墨间的古拙与深情，把西厢的韵致悄然刻进人心。",[76763,7,59,128,64,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3764e617c2c58049231de1d5558667c5.jpg",[],{"id":93841,"slug":93842,"title":93843,"dynasty":54,"author":223,"museum":77,"description":84301,"tags":93844,"thumbUrl":93845,"material":66,"size":84,"collection":84,"collections":93846,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},216242,"shi-quan-tu-ce-2-yi-ming-216242","十犬图册-2",[23,59,7,28,27,133,64,208,527,949,1337,17726,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa418c271e0bcba56b03113fe504c11f6.jpg",[],{"id":93848,"slug":93849,"title":93850,"dynasty":54,"author":223,"museum":77,"description":84301,"tags":93851,"thumbUrl":93852,"material":66,"size":84,"collection":84,"collections":93853,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},216241,"shi-quan-tu-ce-3-yi-ming-216241","十犬图册-3",[23,24,7,59,28,27,9119,949,34,6640,229,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c1b5553a0dc5a3b64847b7c48e378c0.jpg",[],{"id":93855,"slug":93856,"title":93857,"dynasty":54,"author":223,"museum":77,"description":84301,"tags":93858,"thumbUrl":93859,"material":66,"size":84,"collection":84,"collections":93860,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},216239,"shi-quan-tu-ce-5-yi-ming-216239","十犬图册-5",[23,24,7,59,27,28,64,208,949,2302,9119,1337,6640,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ef8eddc795dbaec9e0f5f7511a7ee70.jpg",[],{"id":93862,"slug":93863,"title":93864,"dynasty":54,"author":21575,"museum":20,"description":77064,"tags":93865,"thumbUrl":93866,"material":66,"size":77067,"collection":84,"collections":93867,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},216228,"shi-jun-quan-tu-6-ai-qi-meng-216228","十骏犬图-6",[23,164,24,7,28,27,9119,949,131,34,228,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07fffbd22022d4c7c78c3d4a155eeb6a.jpg",[],{"id":93869,"slug":93870,"title":93871,"dynasty":54,"author":223,"museum":300,"description":93872,"tags":93873,"thumbUrl":93874,"material":173,"size":84,"collection":84,"collections":93875,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},216147,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-9-yi-ming-216147","职贡图巨幅彩绘册页第2册-9","册页里的两幅人物，如从清时边地走来的鲜活剪影。左侧女子衣袂斑斓：靛蓝短褐束翠绿帛带，绛红长裙垂落，纤手轻抬似理鬓发，赤足踏地，温婉中透着山野灵秀；右侧男子粗布裹身：褐衣配浅蓝围裳，赤足前行，竹篮盛鲜果挎于肩，杖藜斜倚手中，步履间藏着劳作的从容。线条细腻勾描容貌衣纹，设色明丽却不艳俗，将边地民众的日常情态凝于绢素——既是风物的纪实，亦是人文的鲜活注脚，让百年前的族群风貌跃然眼前，余味悠长。",[23,24,7,59,27,28,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44e6d0b5acb24621cc58519af67ec88e.jpg",[],{"id":93877,"slug":93878,"title":93879,"dynasty":54,"author":223,"museum":300,"description":93880,"tags":93881,"thumbUrl":93882,"material":173,"size":84,"collection":84,"collections":93883,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},216145,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-17-yi-ming-216145","职贡图巨幅彩绘册页第2册-17","画面分左右铺展人物情态。左者衣袂层叠，翠绿长裙缀红蓝镶边，发饰精巧，姿态娴雅，似持礼器而立；右者弓矢在身，蓝裤束袜，步履矫健，腰背箭囊显勇武之姿。线条细腻勾勒服饰纹理，色彩明丽却不失古雅，人物神情动态鲜活传神。绘者以写实笔触捕捉边疆民族风貌，衣饰细节与动作神态间，隐现清代多民族文化交融的生动图景，尽显职贡题材画作记录异域风情的独特价值。",[23,24,7,59,27,28,96,170,5626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53575211c2a0157ce4b3026c30acdfa4.jpg",[],{"id":93885,"slug":93886,"title":93887,"dynasty":54,"author":223,"museum":300,"description":93888,"tags":93889,"thumbUrl":93890,"material":173,"size":84,"collection":84,"collections":93891,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},216141,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-14-yi-ming-216141","职贡图巨幅彩绘册页第2册-14","画面分绘两人，左为女子，饰珠翠华冠，蓝衫绿裙缀繁花纹样，手持素帛，姿态温婉娴静；右为男子，裹巾着褐衣，蓝裳束红带，指间悬珠串，神情质朴沉稳。衣饰细节刻画入微，设色雅丽而不失厚重，线条流转间尽显族群独特风貌。画作以写实笔触捕捉人物神态与服饰特征，生动呈现边疆民族的生活气息，既是技艺精湛的艺术佳作，亦为研究清代民族文化与交流的珍贵视觉文献，虽佚名却见匠心，尽显时代对多元族群的记录与观照。",[23,304,24,7,59,27,28,96,170,232,23253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cea7e143e39f2f3a92bbdd7725e8eb4.jpg",[],{"id":93893,"slug":93894,"title":93895,"dynasty":54,"author":223,"museum":300,"description":93896,"tags":93897,"thumbUrl":93898,"material":173,"size":84,"collection":84,"collections":93899,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},216080,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-4-yi-ming-216080","职贡图巨幅彩绘册页第3册-4","画面绘就两位人物的生动形象：左人蓝衫覆身，黑裙曳地，裙摆缀青绿纹边，赤足而立，手中红布裹物，发髻整洁，神态平和；右者浅蓝短衫配黑裤，跣足，怀抱渔具，面容淳厚。工笔彩绘细腻入微，线条勾勒精准流畅，设色淡雅温润，人物姿态自然写实，尽显生活本真。此页作为职贡图的一部分，既具艺术美感，更含纪实价值，笔墨间留存着特定群体的身份印记与生活气息，让观者得以管窥彼时的社会风貌与人文图景，于岁月流转中焕发鲜活的历史温度。",[23,24,7,59,27,28,23253,304,96,1367,6676],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb7fb8314c12429339ac1514c6c82623.jpg",[],{"id":93901,"slug":93902,"title":93903,"dynasty":54,"author":223,"museum":300,"description":93904,"tags":93905,"thumbUrl":93906,"material":173,"size":84,"collection":84,"collections":93907,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},216079,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-5-yi-ming-216079","职贡图巨幅彩绘册页第3册-5","画面左右分帧，左侧妇人蓝巾覆首，衣饰层叠，怀拥婴孩，神情温婉尽显母性柔慈；右侧男子短褐赤足，手托器物，步履朴拙，鲜活传递劳作之态。线条工细流畅，设色古雅温润，人物神态鲜活生动，服饰细节暗藏地域风貌特征。画作以写实笔触捕捉特定群体的生活片段，既承职贡图记录风物之旨，又于细微处见艺术巧思，寥寥数笔便勾勒出清代社会某一侧面的生动图景，虽佚名却韵味悠长，引人窥得彼时鲜活社会风貌。",[23,24,7,59,27,28,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7c638757147fb172876aeb2fd7f8d66.jpg",[],{"id":93909,"slug":93910,"title":93911,"dynasty":54,"author":223,"museum":300,"description":93912,"tags":93913,"thumbUrl":93914,"material":173,"size":84,"collection":84,"collections":93915,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},216037,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-9-yi-ming-216037","职贡图巨幅彩绘册页第4册-9","画面分左右两帧，左帧人物着绿衫黑裙，衣袂缀蓝带，足蹬彩纹袜，手持线具似作女红，神态娴静；右帧人物裹蓝巾，披黑氅，露蓝襟白裤，赤足旁立锄头与竹篮，憨态可掬。画作以工笔彩绘摹写族群形象，服饰细节考究，色彩明丽却不失雅致，人物姿态鲜活自然。虽无作者署名，却以细腻笔触定格不同族群的生活风貌，承载着清代多民族交往的鲜活记忆，是研究当时社会民俗与民族文化的珍贵视觉文献。",[23,24,7,59,28,27,23253,96,170,34836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa69ec27f5682e9d37233792f22f702d0.jpg",[],{"id":93917,"slug":93918,"title":93919,"dynasty":54,"author":223,"museum":300,"description":93920,"tags":93921,"thumbUrl":93922,"material":173,"size":84,"collection":84,"collections":93923,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},216031,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-17-yi-ming-216031","职贡图巨幅彩绘册页第4册-17","画面左右并置两位人物，神态鲜活，衣饰各具地域风情。左侧人物发髻精巧，蓝布上衣配黑裙绿边，怀抱葫芦形器物，步履间透着灵动；右侧人物头戴宽檐帽，黄裳裹身，白巾轻披，赤足而立，手势似在致意或交谈。笔触细腻，衣纹线条流畅，设色淡雅却层次分明，将不同族群的服饰细节与姿态神情刻画入微。整幅作品传递出清代边疆民族与中原交流的生动图景，既展现多元文化的独特风貌，也暗含多民族融合的时代印记，是艺术表现与历史场景交融的鲜活载体。",[23,164,24,7,59,27,28,96,170,1350,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12ef0ef1455b5ac98d5b26cbab1895b5.jpg",[],{"id":93925,"slug":93926,"title":93927,"dynasty":54,"author":223,"museum":300,"description":93928,"tags":93929,"thumbUrl":93930,"material":173,"size":84,"collection":84,"collections":93931,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},216026,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-13-yi-ming-216026","职贡图巨幅彩绘册页第4册-13","画面分左右两帧，笔墨细腻勾勒边疆民族鲜活情态。左帧女子粉衫曳地，黑裙缀彩边如叠浪，发髻轻挽，肩背行囊，双手拢于胸前，眸光温婉似含山涧清风。右帧男子蓝衣短裤，赤足踏土，发间插羽，背挎弓矢，手持农具躬身劳作，肌肉线条藏着山野坚韧。人物衣饰纹饰、器物细节皆刻画入微，衬以素雅绢底，更显民族风貌质朴生动。寥寥数笔凝住边疆百姓日常与精神气，是地域文化鲜活的记录与描摹。",[23,24,7,59,27,28,96,170,23253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee902a1bc6438ba67e06dca151b45041.jpg",[],{"id":93933,"slug":93934,"title":93935,"dynasty":54,"author":223,"museum":2607,"description":93936,"tags":93937,"thumbUrl":93940,"material":173,"size":84,"collection":84,"collections":93941,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},215992,"di-jian-tu-shuo-cai-hui-ben-13-yi-ming-215992","帝鉴图说彩绘本-13","画面以青绿山水铺展底色，暖棕土地衬出草木生机，树木扶疏间屋舍隐现，层次错落有致。人物情态鲜活：抚琴者端坐石旁，指尖似凝清音绕林；稚童们或追嬉于小径，或围聚听乐，衣袂鲜妍如霞。山石以蓝绿晕染，似含烟霞之气；草木点缀其间，生机盎然。整体画风细腻雅致，色彩明快却不失古拙，人物互动自然，传递出闲适和谐的氛围，仿佛将一段静谧时光凝于绢素之上，引人遐思那段藏在古画里的悠然意趣。",[24,7,9521,59,27,26,96,29,387,34,131,438,22901,93938,12634,93939],"稚童","和谐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F967ad2c4bd477264013969ff1c87a785.jpg",[],{"id":93943,"slug":93944,"title":93945,"dynasty":54,"author":223,"museum":300,"description":93946,"tags":93947,"thumbUrl":93948,"material":173,"size":93949,"collection":84,"collections":93950,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},215906,"qing-ren-xiao-xiang-tu-ce-9-yi-ming-215906","清人肖像图册-9","墨袍靛边轻垂，端坐床榻的身影透着儒雅沉稳。床前织锦软垫纹理细腻，右侧条案上青瓷瓶簪花吐蕊，案角茶具闲放，寥寥几笔勾勒出雅致生活场景。人物面容温和，眼神沉静，似在静思或小憩，神态捕捉恰到好处。画家以写实之笔摹写衣纹褶皱与器物质感，色调古朴温润，整体氛围清宁雅致。旧时文人的从容情态与居所闲逸意趣凝于尺幅间，尽显古典肖像画的含蓄韵味，将彼时生活的静美与精神的内敛悄然定格。",[24,7,27,28,96,73858,2824,8629,62,1367,73635],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F138347fcbdd052a1a079f72e123be293.jpg","44x40",[],{"id":93952,"slug":93953,"title":93954,"dynasty":54,"author":17000,"museum":300,"description":93955,"tags":93956,"thumbUrl":93957,"material":66,"size":84,"collection":84,"collections":93958,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":4001},215660,"bei-jing-dian-pu-zhao-huang-hua-ce-10-zhou-pei-chun-215660","北京店舖招幌画册-10","画中五枚招幌错落有致，凝住老北京街头的烟火气。纸幌墨书“開東藥”，红穗轻垂，藏着药铺的温厚；叠起的面团状幌身，裹着饽饽铺的软香；小幌串起圆饼与绿坠，透着小食店的俏皮；红黄方幌垂挂，映着布庄的素朴；四枚圆钱串成的幌，金属光泽里闪着钱庄的沉稳。每枚幌都带着鲜明行业印记，笔触细腻得能触到纸的纹理、钱的凉薄、面团的蓬松。仿佛有风掠过画外，招幌轻摇，伴着吆喝声漫过胡同，清代北京的市井繁华便在幌影里慢慢鲜活起来。",[24,7,59,27,28,17003,46396,169,57836,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb9afa5baaf926966d06e51532ae6282.jpg",[],{"id":93960,"slug":93961,"title":93962,"dynasty":54,"author":17000,"museum":300,"description":93963,"tags":93964,"thumbUrl":93969,"material":66,"size":84,"collection":84,"collections":93970,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":4001},215659,"bei-jing-dian-pu-zhao-huang-hua-ce-9-zhou-pei-chun-215659","北京店舖招幌画册-9","画面铺展老北京的市井浮世绘，各式招幌以鲜活姿态诉说往昔商情。拨浪鼓俏皮摇曳，勾连耍耗子的热闹；元宵幌子质朴憨实，藏着市井烟火的暖；龙灯招幌添几分喜庆，风箱幌子显几分实用，假首饰幌子露几分精巧。线条婉转间裹着生活温度，色彩淡雅中晕开坊巷喧阗。仿佛能听见幌子随风轻晃的细碎声响，闻见巷陌里悠长的吆喝，每一件招幌都是时光切片，温柔留存着逝去的市井图景，让旧日商街的鲜活气息跃然纸上。",[24,7,59,27,28,17003,14446,57836,251,93965,93966,93967,93968],"线球","圆环","红穗","彩纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1684f304702e5f7aee9566ff39eb335.jpg",[],{"id":93972,"slug":93973,"title":93974,"dynasty":54,"author":223,"museum":300,"description":93975,"tags":93976,"thumbUrl":93977,"material":611,"size":84,"collection":84,"collections":93978,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},215552,"bai-miao-jie-tou-mai-mai-hua-ce-4-yi-ming-215552","白描街头买卖画册-4","画面以简练白描勾勒三位市井人物，各呈姿态：左侧者俯身整理手中物件，衣袂褶皱随动作舒展，似在打理待售货品；中间人手执竹制响器，指尖轻捻，神情专注如正准备吆喝招揽；右侧背手而立，身形挺拔，姿态闲适，若路人驻足或主顾观望。\n\n线条精准利落，衣纹的转折、人物的神态皆通过墨线疏密变化传递，无浓墨重彩却生动鲜活。寥寥数笔间，清代街头买卖的烟火气跃然纸上——器物的细节、人物的互动感，仿佛能让人听见市井的喧嚣，触摸到当时生活的温热脉搏。这幅小景以极简之笔，藏尽世间百态的生动与真实。",[23,24,7,59,188,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42304fb78fc666d47cb09cbe693ad8ec.jpg",[],{"id":93980,"slug":93981,"title":93982,"dynasty":54,"author":223,"museum":300,"description":93983,"tags":93984,"thumbUrl":93985,"material":611,"size":84,"collection":84,"collections":93986,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},215542,"bai-miao-jie-tou-mai-mai-hua-ce-15-yi-ming-215542","白描街头买卖画册-15","素纸之上，墨线勾勒出一方市井闲趣。四人围案对弈，或端坐凝思，或俯身指点，孩童踮脚凳上，稚态可掬。线条简劲却藏神韵：衣褶的流转如微风拂过，眉眼的微蹙似落子前的斟酌，皆以淡墨轻勒，不着华彩却意韵饱满。\n\n没有市井喧嚣的铺陈，却于方寸间藏着人间烟火的松弛——是买卖间隙的偷闲，亦是寻常日子里的小欢喜。笔端的留白与勾勒，让这片刻闲适跃然纸上：似能听见落子的轻响，触到旧时光里的温软，连空气都裹着淡淡的烟火气，漫出画外。",[23,24,7,59,188,96,1422,4306,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7989802cfb32268dc81546596a7c8420.jpg",[],{"id":93988,"slug":93989,"title":93990,"dynasty":54,"author":223,"museum":300,"description":93991,"tags":93992,"thumbUrl":93993,"material":611,"size":84,"collection":84,"collections":93994,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},215538,"bai-miao-jie-tou-mai-mai-hua-ce-19-yi-ming-215538","白描街头买卖画册-19","纸上墨线如缕，细腻勾连出街头买卖的鲜活场景。蹲者俯身摆弄物件，指尖似沾着市井尘埃；立者抬手舒臂，神态松弛如午后闲聊。无需浓墨重彩，仅以线条的轻重缓急，便将两人的互动与神情凝于素笺。那衣褶的流转、动作的细节，都藏着清代街头的烟火气，仿佛能听见他们的低语，触到生活的温热。白描之妙，正在于以简胜繁，让寻常瞬间成为永恒的生动剪影，素纸间流淌着最朴素的人间质感。",[23,24,7,59,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd6d8ae231ba5999255ee9a8a9a9b160.jpg",[],{"id":93996,"slug":93997,"title":93998,"dynasty":54,"author":223,"museum":300,"description":93999,"tags":94000,"thumbUrl":94001,"material":611,"size":84,"collection":84,"collections":94002,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},215500,"bai-miao-jie-tou-mai-mai-hua-ce-57-yi-ming-215500","白描街头买卖画册-57","白描线条简练却含韵致，僧人身着宽袍立于树下，衣纹流转间藏着悠然。旁侧木桶敦实，帽檐斜倚，似是劳作间隙的片刻闲歇。树间稚童探头，小手轻扶枝干，眼神落向僧人，为静穆添了几分灵动。苍劲树干与飘逸衣袂相映，朴素场景里，日常的平和与鲜活的生机交融，似能窥见旧时街头一角的真趣，于简淡中藏着生活的温度与禅意的余味。",[23,24,7,59,188,96,413,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3db5e73d739a00e315fad9dc858e756c.jpg",[],{"id":94004,"slug":94005,"title":94006,"dynasty":54,"author":223,"museum":300,"description":94007,"tags":94008,"thumbUrl":94010,"material":611,"size":84,"collection":84,"collections":94011,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},215441,"bai-miao-jie-tou-mai-mai-hua-ce-117-yi-ming-215441","白描街头买卖画册-117","素纸之上，线条似风过柳梢般轻捷，勾勒出市井小贩的鲜活身影。挑担横肩，杆秤在手，短打衣袂随动作微扬，头巾下的面容虽简却含生计的从容。竹篮纹理细密如织，盛着满溢的货物，似能闻见街头隐约的吆喝余音。白描的简练未减分毫烟火气，每一笔都藏着对日常的深察——从衣褶的褶皱到秤砣的垂坠，皆为人间烟火的生动注脚。这帧小景如同一扇窗，窥见旧时街头买卖的细碎温暖，平凡生计里的鲜活与真意，尽在笔墨流转间静静铺展。",[23,24,7,59,188,96,169,170,94009],"买卖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65de47a245c94396b6400d2e0665af51.jpg",[],{"id":94013,"slug":94014,"title":94015,"dynasty":54,"author":223,"museum":244,"description":94016,"tags":94017,"thumbUrl":94019,"material":173,"size":84,"collection":84,"collections":94020,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},215158,"xuan-tong-yu-lan-hai-guai-tu-ji-5-yi-ming-215158","宣统御览海怪图记-5","宣统御览海怪图记 是一本清朝时期的图书，记录了当时人们所知的海洋生物。这本书的作者是佚名，不过它是在清朝宣统年间（公元1861-1875年）出版的。\n\n这本书中包含了大量关于海洋生物的图像和描述，其中包括了各种各样的鱼类、软体动物、贝壳动物和海星等。这本书还记录了一些当时人们所知的传说和神话故事，关于海怪和海盗等。\n\n宣统御览海怪图记 是一本非常有趣的书，对于对海洋生物感兴趣的人来说特别有价值。",[54,24,7,59,27,28,2059,949,94018],"海怪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72296504271aa6e0c5e6813ac0ec4a91.jpg",[],{"id":94022,"slug":94023,"title":94024,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":94025,"thumbUrl":94026,"material":66,"size":84,"collection":84,"collections":94027,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},215095,"tui-bei-tu-ce-11-jiao-bing-zhen-215095","推背图册-11",[23,164,24,7,59,28,27,171,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F071d369a583ecac5808ddfd7772a1580.jpg",[],{"id":94029,"slug":94030,"title":94031,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":94032,"thumbUrl":94033,"material":66,"size":84,"collection":84,"collections":94034,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},215092,"tui-bei-tu-ce-14-jiao-bing-zhen-215092","推背图册-14",[23,304,24,7,59,28,27,17539,6640],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F448cca2aa933e2a6eadf409bb6c0ed16.jpg",[],{"id":94036,"slug":94037,"title":94038,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":94039,"thumbUrl":94041,"material":66,"size":84,"collection":84,"collections":94042,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},215079,"tui-bei-tu-ce-30-jiao-bing-zhen-215079","推背图册-30",[23,24,164,7,59,28,27,96,166,94040],"石碑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff53a31c5f27472144eda19f8672ee7e1.jpg",[],{"id":94044,"slug":94045,"title":94046,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":94047,"thumbUrl":94048,"material":66,"size":84,"collection":84,"collections":94049,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},215069,"tui-bei-tu-ce-38-jiao-bing-zhen-215069","推背图册-38",[23,24,7,59,28,27,413,16370],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dfda66360cdd36209a68b779b4cc71d.jpg",[],{"id":94051,"slug":94052,"title":94053,"dynasty":54,"author":7208,"museum":244,"description":80436,"tags":94054,"thumbUrl":94055,"material":173,"size":84,"collection":84,"collections":94056,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":956},215049,"shu-hua-he-bi-tu-ce-2-qian-long-215049","书画合璧图册-2",[23,24,7,59,572,128,29,96,34,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F043c866561a662391cede40f5e9be577.jpg",[],{"id":94058,"slug":94059,"title":94060,"dynasty":54,"author":160,"museum":450,"description":94061,"tags":94062,"thumbUrl":94063,"material":66,"size":84,"collection":84,"collections":94064,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},214991,"ren-wu-tu-ce-5-gu-jian-long-214991","人物图册-5","虬枝盘曲如铁，墨线勾勒出苍劲质感。树下人衣袂垂垂，身形微俯，似沉于思绪，衣纹线条柔中带稳，尽显内敛之态；枝上人影倚树而坐，神态闲逸，与枯枝相映成趣。淡设色的背景留白，更衬出画面的静谧空灵。笔墨简淡却意蕴悠长，人物间无声的呼应，似藏着一段未言的故事，尽显文人画的含蓄与韵致。",[23,24,7,59,188,128,96,1337,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11a48c31f118b6411f495f0d1a77ba00.jpg",[],{"id":94066,"slug":94067,"title":94068,"dynasty":54,"author":160,"museum":450,"description":94069,"tags":94070,"thumbUrl":94071,"material":66,"size":84,"collection":84,"collections":94072,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},214989,"ren-wu-tu-ce-7-gu-jian-long-214989","人物图册-7","画面绘二僧，一立一坐。立者斗笠覆首，宽袍缓带，手拄锡杖，身形挺拔却藏几分悠然；坐者蜷身于地，衣袂堆叠如流云，怀抱软物似入浅眠，神态憨然松弛。淡墨线条勾勒衣纹，或轻或重，流转间见布料质感；肤色与衣袍以素色晕染，层次淡雅却显温润。二人虽动静有别，却共融于清寂氛围中，似是山间禅居的片刻闲逸，笔墨间藏着对日常禅意的细腻捕捉，尽显雅致与生活气息。",[23,24,7,59,188,27,96,1350,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F393b41744df5f374986252a6f45fed26.jpg",[],{"id":94074,"slug":94075,"title":94076,"dynasty":54,"author":16583,"museum":450,"description":16584,"tags":94077,"thumbUrl":94078,"material":278,"size":16588,"collection":84,"collections":94079,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},214986,"zhi-tou-za-hua-ce-2-gao-qi-pei-214986","指头杂画册-2",[23,24,7,59,128,27,16586,61,167,608,548,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed3b2824022c55fac80f6b351d8270cc.jpg",[],{"id":94081,"slug":94082,"title":94083,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":94084,"thumbUrl":94085,"material":66,"size":10301,"collection":84,"collections":94086,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},214803,"zhi-sheng-xian-xian-ban-shen-xiang-2-yi-ming-214803","至圣先贤半身像-2",[23,24,7,59,27,28,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8edb4b58918a56dafaa1a14bb394e62.jpg",[],{"id":94088,"slug":94089,"title":94090,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":94091,"thumbUrl":94092,"material":66,"size":10301,"collection":84,"collections":94093,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},214800,"zhi-sheng-xian-xian-ban-shen-xiang-8-yi-ming-214800","至圣先贤半身像-8",[23,24,7,27,28,96,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff33a996d754c98d58ccaa6764dbde2ff.jpg",[],{"id":94095,"slug":94096,"title":94097,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":94098,"thumbUrl":94099,"material":66,"size":10301,"collection":84,"collections":94100,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},214799,"zhi-sheng-xian-xian-ban-shen-xiang-11-yi-ming-214799","至圣先贤半身像-11",[23,24,7,27,96,28,59,77119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ca9c462da131f33ee1bfb6ab5279709.jpg",[],{"id":94102,"slug":94103,"title":94104,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":94105,"thumbUrl":94106,"material":66,"size":10301,"collection":84,"collections":94107,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},214798,"zhi-sheng-xian-xian-ban-shen-xiang-10-yi-ming-214798","至圣先贤半身像-10",[23,164,24,7,59,28,27,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f33f92114e79e503508cc08a625e69d.jpg",[],{"id":94109,"slug":94110,"title":94111,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":94112,"thumbUrl":94113,"material":66,"size":10301,"collection":84,"collections":94114,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},214790,"zhi-sheng-xian-xian-ban-shen-xiang-19-yi-ming-214790","至圣先贤半身像-19",[23,24,7,28,27,96,59,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e76e5b02dc5ed867088e687cdf3e445.jpg",[],{"id":94116,"slug":94117,"title":94118,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":94119,"thumbUrl":94120,"material":66,"size":10301,"collection":84,"collections":94121,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},214786,"zhi-sheng-xian-xian-ban-shen-xiang-21-yi-ming-214786","至圣先贤半身像-21",[23,24,7,59,27,28,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3eab0ad864b00acdec649c6ff813561a.jpg",[],{"id":94123,"slug":94124,"title":94125,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":94126,"thumbUrl":94128,"material":66,"size":10301,"collection":84,"collections":94129,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},214752,"zhi-sheng-xian-xian-ban-shen-xiang-56-yi-ming-214752","至圣先贤半身像-56",[23,24,7,96,28,27,77119,7876,1367,94127],"墨线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cb2aa6029a5eab0de9b9b41f9a98ae2.jpg",[],{"id":94131,"slug":94132,"title":94133,"dynasty":54,"author":872,"museum":77,"description":24557,"tags":94134,"thumbUrl":94135,"material":66,"size":84,"collection":84,"collections":94136,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":72},214374,"tian-guang-yun-jing-tu-ce-4-zhu-da-214374","天光云景图册-4",[23,24,7,59,128,208,938,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cb45be914f0949f2931c4b7eba4b583.jpg",[],{"id":94138,"slug":94139,"title":94140,"dynasty":54,"author":223,"museum":35520,"description":35521,"tags":94141,"thumbUrl":94142,"material":173,"size":35524,"collection":84,"collections":94143,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":49},214328,"da-bei-shen-zhou-fo-xiang-15-yi-ming-214328","大悲神咒佛像-15",[23,24,7,27,28,187,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff27c1c05f99ecc179d4d1ed3eb5a5d29.jpg",[],{"id":94145,"slug":94146,"title":94147,"dynasty":124,"author":94148,"museum":56,"description":94149,"tags":94150,"thumbUrl":94151,"material":84,"size":84,"collection":84,"collections":94152,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94153},203370,"he-zhou-tu-ce-jiang-wen-zao-203370","壑舟图册","蒋文藻","这幅画作中山峦层叠，皴笔细腻刻画石质纹理，苍劲中见秀润；飞瀑如练，自崖间倾泻而下，打破山的静谧，添灵动之韵。林间屋舍隐约，远处亭台藏于云树间，似寄寓文人归隐之思。树木葱郁，笔墨工写兼备，设色淡雅清润，晕染出清幽旷远的山水意境。整幅作品融自然生机与人文意趣，尽显传统山水雅韵。",[24,7,59,128,27,29,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c3177ec9e2f7331b182bc3795fa4545.jpg",[],"b4b6b1",{"id":94155,"slug":94156,"title":94157,"dynasty":32945,"author":29045,"museum":56,"description":94158,"tags":94159,"thumbUrl":94160,"material":84,"size":84,"collection":68,"collections":94161,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94162},203320,"mei-hua-shan-ye-wu-hu-fan-203320","梅花扇页","扇页之上，梅枝虬曲伸展，墨色浓淡交织，尽显老干苍劲之姿。花朵以淡墨点染，留白处隐透清韵，似有暗香悄然浮动。旁侧题字笔致流畅，朱红印章点缀其间，与梅枝相映成趣。整体画面雅致空灵，融笔墨情趣与文人意趣于一体，尽显传统花鸟之韵致。",[1131,128,371,208,24,7,61,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9bf55f664a2a2e39ea2adf5c2bf480d.jpg",[68],"cdbfb4",{"id":94164,"slug":94165,"title":7864,"dynasty":54,"author":3043,"museum":56,"description":94166,"tags":94167,"thumbUrl":94169,"material":84,"size":84,"collection":84,"collections":94170,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94171},203222,"za-hua-ce-xu-gu-203222","画面以数株姿态苍劲的树木为主体，枝干用劲健线条勾勒，墨色浓淡交错，树叶敷淡赭与朱红，点染出浅秋意韵。树下立一素衣人物，身形简约，似凭树凝望远景。远景山水氤氲朦胧，水天相接处墨色轻淡，与近树形成虚实相生之趣。整体笔墨简括却意韵悠长，以写意手法营造清寂悠远的氛围，尽显文人画的空灵雅致，于方寸间藏无尽遐思。",[24,7,59,128,27,96,29,94168],"老","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa801a14d0f144f48829cfddfe3bd2d.jpg",[],"bbaea3",{"id":94173,"slug":94174,"title":94175,"dynasty":32945,"author":5076,"museum":56,"description":94176,"tags":94177,"thumbUrl":94178,"material":84,"size":84,"collection":84,"collections":94179,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94180},203035,"qing-song-ba-ge-tu-zhou-qi-bai-shi-203035","青松八哥图轴","老树苍劲，枝干盘曲，肌理斑驳处墨色浓淡相间；松针如戟，疏密有致。八哥立于枝上，羽黑如漆，喙爪鲜亮，低头敛翅，憨态尽显，似凝思或啄羽，灵动传神。笔墨简括却形神兼备，树之坚韧与鸟之鲜活相映，藏自然意趣与生命真味，尽显画家对生灵的敏锐观察与质朴表达。",[24,7,165,61,128,27,208,133,28,211,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2a2fbc30c3b06627f7c1a3dfc6b16ad.jpg",[],"baab89",{"id":94182,"slug":94183,"title":5180,"dynasty":32945,"author":5076,"museum":56,"description":94184,"tags":94185,"thumbUrl":94186,"material":84,"size":84,"collection":84,"collections":94187,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94188},203034,"he-hua-tu-zhou-qi-bai-shi-203034","泼墨荷叶如墨云翻卷，浓淡干湿间尽显苍劲豪放；胭脂点染的荷花，瓣瓣娇嫩却含风骨，与墨叶形成鲜明对照。枯笔勾勒的荷梗挺拔，莲蓬拙朴有致，寥寥数笔便生意盎然。整幅画作于豪放中见细腻，墨色淋漓间透出清逸之气，将荷花“出淤泥而不染”的气质凝于笔端，观之如沐池畔清风，心臆俱畅。",[24,7,165,128,27,61,168,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c9c7ce921fbb9bd688f0f3ca63e4a4b.jpg",[],"ded9c6",{"id":94190,"slug":94191,"title":94192,"dynasty":32945,"author":94193,"museum":56,"description":94194,"tags":94195,"thumbUrl":94196,"material":84,"size":84,"collection":68,"collections":94197,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94198},202945,"li-ju-chu-ji-tu-zhou-yao-hua-202945","篱菊雏鸡图轴","姚华","疏篱侧墨叶交叠，菊蕊悄然点缀其间，几只雏鸡或低头啄食，或相互嬉闹，憨态毕露。藤蔓以枯湿浓淡的笔触挥洒，篱菊借墨色层次尽显花叶蓬松之态，雏鸡设色淡雅却形神兼备，寥寥数笔便捕捉到幼禽的天真烂漫。整幅画作意境宁静闲适，透着田园生活的悠然趣味，笔墨间藏写意之妙，既得自然物象的生机，又含文人画的雅致情韵。",[24,61,128,27,376,165,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37830829330bb2e46d25be3099caddd0.jpg",[68],"cdc3c9",{"id":94200,"slug":94201,"title":94202,"dynasty":32945,"author":5076,"museum":56,"description":94203,"tags":94204,"thumbUrl":94205,"material":84,"size":84,"collection":84,"collections":94206,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94207},202842,"mu-dan-bai-tou-tu-zhou-qi-bai-shi-202842","牡丹白头图轴","泼墨写就的墨石笔力雄健，墨色浓淡相宜，苍劲中见洒脱。两只白头翁依偎石上，羽色清雅，头部留白点睛，神态亲昵灵动。下方牡丹艳红夺目，花瓣以没骨法晕染，浓淡过渡自然，尽显雍容华贵；叶片墨线勾勒，淡彩点染，与墨石虚实相生。整幅画融大写意的奔放与细节的工致于一体，富贵牡丹配白头禽鸟，寓含“富贵白头”的吉祥意趣，尽显白石老人笔墨的老辣鲜活与对生活的热忱。",[24,7,61,263,27,28,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56bcafcbb36040781645e6f89fc80d58.jpg",[],"b0b2a7",{"id":94209,"slug":94210,"title":94211,"dynasty":32945,"author":5076,"museum":56,"description":94212,"tags":94213,"thumbUrl":94214,"material":84,"size":84,"collection":84,"collections":94215,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94216},202819,"zi-teng-tu-zhou-qi-bai-shi-202819","紫藤图轴","画面中紫藤枝干如篆籀盘曲，墨线粗犷苍劲，兼具草书的灵动与篆书的沉雄。藤蔓垂落间，淡墨晕染的花叶错落有致，朦胧中见生机。枝头双鸟相倚，羽色简淡却神态鲜活，为苍劲的藤枝添了几分温婉生趣。齐白石以书入画，笔墨干湿浓淡变化自如，构图纵逸留白得当，既显紫藤的蓬勃姿态，又透出文人写意的清雅意趣，寥寥数笔尽得自然之妙。",[24,7,128,61,165,208,938,840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb211cf24fea37abd833d240ce3d5d98a.jpg",[],"cec9b8",{"id":94218,"slug":94219,"title":30245,"dynasty":32945,"author":5076,"museum":56,"description":94220,"tags":94221,"thumbUrl":94222,"material":84,"size":84,"collection":84,"collections":94223,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94224},202813,"mei-hua-tu-zhou-qi-bai-shi-202813","梅干以焦墨泼写，如古铁盘屈，苍劲中带着朴拙；枝梢用中锋勾勒，穿插纵横，如剑戟横空，尽显傲骨。梅花圈点相济，瓣若凝脂，蕊似含香，于疏朗间透出盎然生机。题跋行书笔势跌宕，与梅枝的笔意浑然一体，诗画互映。整幅以水墨写意成趣，金石之气暗蕴，将梅的清逸与坚韧凝于笔端，尽显独特艺术风貌。",[24,128,371,133,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a4a80c409463ec725ebe97e1d2a8c30.jpg",[],"c9c4be",{"id":94226,"slug":94227,"title":71364,"dynasty":32945,"author":3539,"museum":56,"description":94228,"tags":94229,"thumbUrl":94230,"material":84,"size":84,"collection":84,"collections":94231,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":71369},202794,"ben-ma-tu-zhou-xu-bei-hong-202794","墨韵流转间，骏马昂首扬蹄，鬃尾如墨丝狂舞，矫健的身躯似裹挟风雷之势，每一处肌肉线条都透着奔腾的力量。奔放的笔触勾勒出动态的张力，浓淡干湿的墨色晕染出躯体的体积感，背景浅淡的草色更衬出主体的昂扬。这幅奔马以写意之法捕捉生命的活力，将自由与进取的精神凝于尺幅之间，尽显水墨艺术的刚健灵动之美。",[24,128,101,164,7,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5b204a4ca5ed7361941ccb7f260f89d.jpg",[],{"id":94233,"slug":94234,"title":94235,"dynasty":32945,"author":3539,"museum":56,"description":94236,"tags":94237,"thumbUrl":94238,"material":84,"size":84,"collection":84,"collections":94239,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94240},202790,"bai-ma-tu-zhou-xu-bei-hong-202790","白马图轴","此画中白马身姿矫健，昂首微侧，墨色浓黑的鬃尾肆意飞扬，与浅淡晕染的身躯形成鲜明反差。徐悲鸿以洒脱的线条勾勒马匹轮廓，浓淡干湿的墨韵交织，精准捕捉肌肉的张力与动态，让静立的马匹亦透着蓄势待发的活力。背景的淡墨虚化处理，更凸显主体的灵动传神，尽显水墨写意的独特魅力，将马的奔放与优雅融于一纸。",[24,128,101,165,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10a6cc64dd74e38509e7592873aa0c71.jpg",[],"ccc5b0",{"id":94242,"slug":94243,"title":94244,"dynasty":32945,"author":84455,"museum":56,"description":94245,"tags":94246,"thumbUrl":94247,"material":84,"size":84,"collection":84,"collections":94248,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94249},202765,"chun-jiao-mu-ma-tu-zhou-zhao-shu-ru-202765","春郊牧马图轴","画面中苍松虬劲如铁，垂柳柔丝若烟，二者相映成趣。三匹骏马情态悠然：棕马昂首伫立，似凝望远岫；白马低首啃青，尽显闲适；黑马卧地静憩，姿态慵懒。马匹笔墨工细，毛色晕染层次丰富，肌肉轮廓隐然可见，灵动传神。远处水泊浅渚以淡墨晕染，衬出春日郊原的开阔静谧。整体风格典雅平和，工写兼备，将马匹的悠然之态与自然景致相融，传递出恬淡安闲的意境。",[24,7,165,28,27,101,949,372,2372,7997,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe4f8a9a62f5274aef8fd437024e1c7a.jpg",[],"bcb1a1",{"id":94251,"slug":94252,"title":33967,"dynasty":54,"author":19342,"museum":56,"description":94253,"tags":94254,"thumbUrl":94255,"material":84,"size":84,"collection":84,"collections":94256,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94257},202689,"mo-mei-tu-juan-wu-wei-ye-202689","老干如铁，虬枝盘曲，以浓淡墨色晕染出苍劲质感；枝头疏花点点，或含苞待放，或绽蕊吐香，笔法清逸灵动。枝干穿插错落，墨色层次分明，尽显梅花凌寒傲立之姿。文人意趣融于笔墨间，清雅脱俗，仿佛梅香沁人心脾，传递出孤傲坚韧的气节，于简约中见深远，堪称墨梅佳作。",[128,371,25,7,331,208,61,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f5d44a35011f67ef022114bb1dd5f82.jpg",[],"d5c7b4",{"id":94259,"slug":94260,"title":15906,"dynasty":54,"author":94261,"museum":56,"description":94262,"tags":94263,"thumbUrl":94264,"material":84,"size":84,"collection":84,"collections":94265,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94266},202682,"mo-mei-tu-zhou-tong-yu-202682","童钰","老干虬劲盘折，墨色沉厚如铁，枝丫穿插有致，用笔顿挫见骨。枝头墨梅疏落有致，淡墨点花，蕊芯轻勾，清雅中透着冷艳。整幅画作笔墨老辣，意境疏朗，将梅之苍古与高洁尽显无遗，文人画的逸趣与风骨凝于一纸，观之如闻暗香浮动，沁人心脾。",[371,128,61,165,331,24,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F688a10e42036569913f0e674396a6632.jpg",[],"a7775b",{"id":94268,"slug":94269,"title":94270,"dynasty":54,"author":3403,"museum":56,"description":94271,"tags":94272,"thumbUrl":94273,"material":84,"size":84,"collection":84,"collections":94274,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94275},202622,"zi-hua-xiang-tu-zhou-wu-chang-shuo-202622","自画像图轴","画面以水墨写意绘就人物坐像，宽袍大袖间笔墨粗放苍劲，衣纹带金石棱角，显书画同源之韵。面部简笔勾勒却神情毕肖，眉眼间藏沉潜儒雅气度。右侧长题书法笔力雄健，诗、书、画、印浑然一体，尽展文人画风骨。整作于简淡中见厚重，疏放中含蕴藉，是其晚年自况的生动写照。",[24,7,165,128,96,208,133,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab94a077c10d66de990308cbbdd7ece4.jpg",[],"d9cfc8",{"id":94277,"slug":94278,"title":94279,"dynasty":54,"author":4725,"museum":56,"description":94280,"tags":94281,"thumbUrl":94282,"material":84,"size":84,"collection":84,"collections":94283,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94284},202572,"wei-kong-cheng-fu-hua-shan-shui-zhou-dai-xi-202572","为孔诚甫画山水轴","此作以水墨为基调，笔墨清润雅致。前景林木枝干挺秀，墨色浓淡相宜，尽显苍劲之态；中景亭榭依岸而筑，隐于草木间，添得几分幽寂；远景山峦层叠，皴染结合，水波浩渺空濛，意境悠远。整体画风承文人画遗韵，于简淡中藏深致，观之如入林泉，心凝神释。",[24,7,165,128,132,29,130,4438,496,5323,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fd8b17c66b56fe87bb4059ead8e3539.jpg",[],"bfab8c",{"id":94286,"slug":94287,"title":58649,"dynasty":54,"author":1676,"museum":56,"description":94288,"tags":94289,"thumbUrl":94290,"material":84,"size":84,"collection":84,"collections":94291,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94292},202523,"wu-song-tu-zhou-li-shan-202523","虬松攒聚，墨韵生动。老干虬曲如铁，枝干盘折若龙，皴擦间透出苍古拙劲之态。松针以焦墨点染，疏密有致；山石用淡墨皴抹，与松干浓淡相衬。笔势纵逸不拘，苍松的倔强风骨尽显，山野生机与文人傲骨相融。整幅以水墨写就，干湿浓淡交错，气韵流转，简括中见雄浑，尽显写意之趣。",[24,128,132,29,331,165,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2ed7ebbd4175d58b779b59c7b9ec7a9.jpg",[],"847e74",{"id":94294,"slug":94295,"title":94296,"dynasty":124,"author":50744,"museum":56,"description":94297,"tags":94298,"thumbUrl":94299,"material":84,"size":84,"collection":84,"collections":94300,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94301},202502,"shi-tu-zhou-ni-yuan-lu-202502","石图轴","孤石孑然挺立于素绢之上，形态奇崛透漏，孔洞错落如环，尽显瘦皱玲珑之姿。墨色浓淡干湿交织，线条以书法笔意勾勒，中锋骨力内蕴，侧锋皴擦显苍劲，点染间石之肌理与嶙峋质感毕现。石体层叠错落，留白与墨色相映成趣，虚实相生间营造空灵沉雄的意境。文人画的写意精神融于笔端，孤石不仅是自然物象，更暗含孤傲清介的品格寄托，尽显明代文人以石喻志的风雅情韵。",[24,128,171,132,165,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0de0d1e00d8bc1255c616ec1e37f3798.jpg",[],"a3906f",{"id":94303,"slug":94304,"title":15906,"dynasty":54,"author":59061,"museum":56,"description":94305,"tags":94306,"thumbUrl":94307,"material":84,"size":84,"collection":84,"collections":94308,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94309},202362,"mo-mei-tu-zhou-qian-du-202362","这幅墨梅图以虬劲老干为骨，枝干盘曲如铁，墨色浓淡交错，皴擦技法运用娴熟，树皮的粗糙纹理与斑驳孔洞细节毕现，尽显古木苍然之态。枝头梅花以淡墨点瓣，留白衬蕊，疏疏落落地缀于枝间，清雅脱俗。老干的沉郁与新花的灵动相映成趣，笔墨简练却意境悠远，传递出文人画特有的清逸风骨，仿佛寒香拂面，尽显冬日梅枝的疏朗之美。",[24,7,165,128,371,132,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa971eb2886537e13f5f48a995be6380c.jpg",[],"a79d7d",{"id":94311,"slug":94312,"title":94313,"dynasty":54,"author":62513,"museum":56,"description":94314,"tags":94315,"thumbUrl":94316,"material":84,"size":84,"collection":84,"collections":94317,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94318},202322,"chu-jiang-qiu-jing-tu-zhou-jiang-jie-202322","楚江秋景图轴","画面以清雅之笔勾勒楚江秋塘景致。两朵白莲绽于塘间，花瓣莹白如绢，花心浅晕暖黄，尽显幽洁。田田荷叶或舒或卷，墨绿晕染中带浅碧，叶脉疏朗见笔痕。旁侧秋草纤劲，茎秆如丝，间缀粉紫小花，添得秋意清寂。设色淡逸，水墨与浅彩交融，笔触兼具工细与写意之韵，将秋日荷塘的疏旷幽美悄然铺陈，尽显文人画雅致情致。",[24,81,27,28,369,168,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6de93448ddf51eac8baf0119dfd65571.jpg",[],"d0bd9e",{"id":94320,"slug":94321,"title":94322,"dynasty":124,"author":2268,"museum":56,"description":94323,"tags":94324,"thumbUrl":94325,"material":84,"size":84,"collection":84,"collections":94326,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94327},202257,"fang-ke-jiu-si-shan-shui-zhou-dong-qi-chang-202257","仿柯九思山水轴","这幅山水取法柯九思却融己意，以水墨为基调尽显文人画韵致。近景坡石间松杉错落，枝干劲挺墨色有层次；远景山峦简淡皴染，云雾轻笼意境空灵。构图疏朗虚实相生，笔墨清润雅致，既存古人苍劲遗意，又含自身秀逸风神，传递出萧散简远的文人情怀，是董其昌山水风格的典型体现。",[24,7,165,128,132,330,29,164,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7066d15261efc5dcf90a6bc5ccef894b.jpg",[],"b5a990",{"id":94329,"slug":94330,"title":94331,"dynasty":54,"author":5879,"museum":56,"description":94332,"tags":94333,"thumbUrl":94334,"material":84,"size":84,"collection":84,"collections":94335,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94336},202255,"zhi-tou-ying-wu-tu-zhou-hua-yan-202255","枝头鹦鹉图轴","鹦鹉翠羽蓝尾，喙赤如丹，以设色晕染出绒羽的柔润；枯藤老枝用水墨写意勾勒，笔致苍劲，与下方疏竹的淡墨挥洒相映。画面留白疏朗，右侧题跋墨韵流转，诗画交融尽显文人逸趣。华喦以兼工带写之法，将禽鸟鲜活与草木野逸凝于尺幅，写生之真与笔墨之趣兼具，意境清幽雅致。",[24,165,61,27,128,167,28,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8098dd96bdd1cbd3980ed31430468491.jpg",[],"e0d8d1",{"id":94338,"slug":94339,"title":32699,"dynasty":54,"author":6357,"museum":56,"description":94340,"tags":94341,"thumbUrl":94342,"material":84,"size":84,"collection":44,"collections":94343,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94344},202079,"xi-tong-tu-zhou-huang-shen-202079","画面以水墨写意绘就，两人一立一攀，情态毕肖。攀树者俯身持物，似在涤桐除尘；立者衣袂翩然，仰头静观，神情专注。桐树枝叶以泼墨点染，苍劲中见清逸。人物造型简括夸张，笔墨挥洒间尽显率意风流，传递文人洁身自好的淡泊心境。构图虚实相生，水墨浓淡相宜，于质朴中见情韵，尽显文人画的雅致意趣。",[24,128,96,165,7,164,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c1ba655294b57e692694edc1c2f32fc.jpg",[44],"c3bcaf",{"id":94346,"slug":94347,"title":94348,"dynasty":54,"author":6357,"museum":56,"description":94349,"tags":94350,"thumbUrl":94351,"material":84,"size":84,"collection":44,"collections":94352,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94353},202077,"liu-hai-tu-zhou-huang-shen-202077","刘海图轴","这幅画作以水墨写意手法塑造人物，线条抑扬顿挫，笔墨酣畅淋漓。人物神态鲜活，衣纹简劲奔放，怀中物与身侧小兽相映成趣，于粗犷中见细腻，于简约中藏生机。笔墨间传递出世俗温情与文人意趣，尽显独特的艺术风格与创作巧思。",[24,128,96,949,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe48f46e080af8da73223a01bbadeb6e5.jpg",[44],"ab9d8f",{"id":94355,"slug":94356,"title":6663,"dynasty":54,"author":24277,"museum":56,"description":94357,"tags":94358,"thumbUrl":94359,"material":84,"size":84,"collection":117,"collections":94360,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94361},202032,"zhu-shi-tu-zhou-zhu-sheng-202032","几竿修竹挺拔向上，竹叶以浓淡墨色点染，疏密交错间透着自然生趣，笔锋似书法撇捺，尽显竹之清劲气节。旁侧孤石嶙峋，皴擦勾勒中见苍劲质感，与秀竹相映成趣。整作以水墨为韵，墨色层次丰富，干湿变化自然，将竹的坚韧与石的沉稳相融，传递出文人画的雅致生机，观之如沐清风，尽显笔墨匠心与自然意趣。",[24,7,165,128,171,167,132,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79da04c35f8770b54d73380057245b10.jpg",[117],"7c6a40",{"id":94363,"slug":94364,"title":94365,"dynasty":54,"author":94366,"museum":56,"description":94367,"tags":94368,"thumbUrl":94369,"material":84,"size":84,"collection":84,"collections":94370,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94371},202008,"zhong-kui-chan-hui-tu-zhou-yu-yuan-202008","钟馗忏悔图轴","俞原","画面里，钟馗坐于石墩之上，手持折扇，身旁朱红酒具静静摆放，神态闲适，全然不见传统形象中的威严凛冽。人物笔墨简练传神，衣纹线条流畅写意，面部神态捕捉精准。四周题跋以行书挥就，墨色浓淡相宜，与绘画相映成趣，融书画印于一轴，尽显文人画的雅致意韵。",[24,7,165,128,27,96,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff696571b87f7948220a5c50af1e4356b.jpg",[],"c9bcad",{"id":94373,"slug":94374,"title":5180,"dynasty":54,"author":94375,"museum":56,"description":94376,"tags":94377,"thumbUrl":94378,"material":84,"size":84,"collection":68,"collections":94379,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94380},201982,"he-hua-tu-zhou-wang-dong-201982","王东","这幅荷花图以水墨写意笔法绘就，荷叶泼墨挥洒，浓淡晕染间尽显蓬勃生机，墨色层次丰富，干湿对比鲜明；荷花形态简约传神，花瓣勾勒灵动自然，与苍劲婉转的枝干相映成趣。线条融入书法笔意，顿挫转折间见笔墨风骨，整体构图疏朗有致，清雅脱俗，尽显文人画的笔墨情趣与诗意境界，于简约中蕴含无限韵致，传递出对荷花高洁品性的咏叹。",[24,128,165,61,168,81,369,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c665750dc23cfd3cf25abbee5c604b.jpg",[68],"bbae97",{"id":94382,"slug":94383,"title":94384,"dynasty":54,"author":94385,"museum":56,"description":94386,"tags":94387,"thumbUrl":94389,"material":84,"size":84,"collection":44,"collections":94390,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94391},201953,"du-jun-xiang-zhou-zhu-he-nian-201953","杜濬像轴","朱鹤年","画面中人物端坐于苍松怪石之侧，宽袍博带，线条勾勒简练传神，尽显文人儒雅气度。松针如簇，劲挺有姿，山石以淡墨皴染，古朴清幽。人物神态沉静，目光深邃，似含乱世孤怀，与背景清寂氛围相融，传递出坚守气节的孤高品格。整幅画作笔墨雅致，意境悠远，将人物风骨与自然景物巧妙结合，于简洁中见神韵，是清代肖像画中兼具写实与写意的佳作。",[24,7,165,96,188,128,28,132,372,131,94388,23],"文人肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F963b36249870f4a053760ff16e4f12cf.jpg",[44],"c9a988",{"id":94393,"slug":94394,"title":94395,"dynasty":54,"author":4823,"museum":56,"description":94396,"tags":94397,"thumbUrl":94398,"material":84,"size":84,"collection":117,"collections":94399,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94400},201927,"mei-zhu-shan-shi-tu-zhou-ma-yuan-yu-201927","梅竹山石图轴","梅枝横斜逸出，疏蕊点点若隐若现，似携清寒暗香；竹丛挺劲，叶影婆娑，笔墨挥洒间尽显潇洒意态；山石以水墨皴擦，轮廓苍劲朴拙，纹理自然天成。整幅画作墨色浓淡相宜，线条灵动有致，将梅之清逸、竹之坚韧、石之沉稳相融，意韵悠长。文人画的清雅风骨尽显，观之如临幽境，得悟君子高洁之趣。",[24,128,371,167,171,7,132,369,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9786fe2c76aed90b38ec71d671a50f09.jpg",[117],"a2876a",{"id":94402,"slug":94403,"title":6663,"dynasty":54,"author":94404,"museum":56,"description":94405,"tags":94406,"thumbUrl":94407,"material":84,"size":84,"collection":117,"collections":94408,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94409},201914,"zhu-shi-tu-zhou-jiang-he-201914","蒋和","画面中几竿修竹挺拔而立，竹叶以浓淡墨笔点染交错，笔触劲健如书，竹竿节理分明，尽显清劲之姿；旁侧孤石以枯湿墨皴擦勾勒，纹理苍古朴拙，与竹枝的疏朗灵动相映成趣。竹石相依，不刻意求工却于挥洒间藏章法，笔墨间浸透着文人意趣，传递出清雅孤高的气韵，是传统竹石题材中凝练自然物象与寄托精神的典型之作。",[24,128,167,171,132,369,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd6d29465423398a01fc3cd1b11d4bb6.jpg",[117],"ab977d",{"id":94411,"slug":94412,"title":80751,"dynasty":54,"author":94413,"museum":56,"description":94414,"tags":94415,"thumbUrl":94416,"material":84,"size":84,"collection":117,"collections":94417,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94418},201788,"lan-zhu-tu-zhou-cao-ting-dong-201788","曹廷栋","水墨晕染间，兰叶舒展如带，劲挺中藏柔婉，花萼轻垂，墨痕淡逸似有暗香浮动；竹枝横斜，竹叶如剑，笔锋利落显风骨。旁侧孤石以简笔勾勒，淡墨皴擦，与兰竹形成虚实相生之境。整幅作品笔墨洗练，意趣清幽，兰竹的君子之姿与文人的逸致相融，尽显清雅脱俗的韵致。",[24,128,375,167,171,7,165,208,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7284dfed9cf852f553f3636fa3ef2946.jpg",[117],"b5946c",{"id":94420,"slug":94421,"title":94422,"dynasty":54,"author":1676,"museum":56,"description":94423,"tags":94424,"thumbUrl":94425,"material":84,"size":84,"collection":84,"collections":94426,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94427},201779,"pen-ju-tu-zhou-li-shan-201779","盆菊图轴","盆菊枝桠舒展，花叶扶疏，笔墨随性洒脱。淡墨勾勒花瓣，浓墨点染叶片，枝干以劲挺线条挥写，旁伴细竹数竿，清逸之韵自生。花叶错落有致，兼具写实形态与写意意趣，墨色浓淡相宜，尽显秋菊傲霜之姿。画面简约却生机盎然，暗含文人雅士对自然生机的咏叹与高洁品格的寄寓。",[24,7,165,128,27,376,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa032c93225d61d33681591f634c242ca.jpg",[],"d5c2a6",{"id":94429,"slug":94430,"title":94431,"dynasty":54,"author":1219,"museum":56,"description":94432,"tags":94433,"thumbUrl":94434,"material":84,"size":84,"collection":44,"collections":94435,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94436},201755,"ai-lian-tu-zhou-ren-yi-201755","爱莲图轴","荷塘畔，数人观莲而立。荷叶以写意笔墨挥就，阔大舒展；荷花隐现茎叶间，清气暗浮。人物刻画兼工带写，衣纹线条灵动流畅，设色淡雅温润。或捻须沉思，或侧耳交谈，神态鲜活毕肖。整幅画将君子爱莲的清雅意趣与生动人际互动相糅，笔墨传神，意境悠远，尽显海派绘画的灵动韵致与传统文人情怀。",[164,24,7,165,27,96,168,81,28,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47a5742cb81c6eb388e77a0d5e3861e7.jpg",[44],"baab96",{"id":94438,"slug":94439,"title":94440,"dynasty":54,"author":1219,"museum":56,"description":94441,"tags":94442,"thumbUrl":94443,"material":84,"size":84,"collection":68,"collections":94444,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94445},201754,"zi-wei-yuan-yang-tu-zhou-ren-yi-201754","紫薇鸳鸯图轴","画面中几只鸳鸯情态鲜活，或振翅欲飞，或相偎嬉戏，羽色斑斓细腻，细节刻画入微。紫薇花枝虬曲伸展，花叶以浓淡墨色点染，与设色明艳的鸳鸯相映成趣。下方巨石用写意皴法绘就，线条简练却见质感。整体笔墨兼工带写，工致处显羽毛纹理之精，写意处彰花叶山石之灵，花鸟与景物相融，清新自然，尽显生机，是海派花鸟的典型佳作。",[24,7,165,61,27,28,171,2643,1857,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadaabfe1be27a1b226296300a32d5de8.jpg",[68],"ddd3bf",{"id":94447,"slug":94448,"title":89128,"dynasty":54,"author":1460,"museum":56,"description":94449,"tags":94450,"thumbUrl":94451,"material":84,"size":84,"collection":117,"collections":94452,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94453},201740,"hua-shan-ji-shi-tao-201740","扇面之上，墨韵流转生姿。右侧水墨绘荷与山石，皴擦点染间见苍润之致；左侧行书笔意洒脱，笔势与画面气韵相生，书画交融成趣。笔触简劲却含生机，墨色浓淡相宜，咫尺方寸间尽显文人雅趣与传统艺术的灵动韵致。",[1131,128,81,133,132,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08eb32e84bb529391964825b3f5cf3f6.jpg",[117],"d6d1c9",{"id":94455,"slug":94456,"title":6663,"dynasty":124,"author":94457,"museum":56,"description":94458,"tags":94459,"thumbUrl":94460,"material":84,"size":84,"collection":117,"collections":94461,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94462},201731,"zhu-shi-tu-zhou-jin-shi-201731","金湜","画面中，嶙峋怪石以浓淡相宜的水墨皴染，纹理厚重，形态奇崛；数竿修竹用白描勾勒，线条清劲，竹叶疏密错落，似含风致。竹石相伴，刚柔相济，既显山石的沉稳，又彰修竹的清雅，暗合文人坚韧与超脱的心境。笔墨简练却神韵十足，墨石的沉郁与白竹的空灵形成鲜明对比，尽显物象之韵与画家的笔墨功底，传递出清雅高逸的文人气息。",[24,7,165,188,128,132,167,171,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F284f6df2bd8b54bcbdc0583b74b900d0.jpg",[117],"c7af8d",{"id":94464,"slug":94465,"title":94466,"dynasty":54,"author":11383,"museum":56,"description":94467,"tags":94468,"thumbUrl":94469,"material":84,"size":84,"collection":44,"collections":94470,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94471},201702,"diao-qin-chuai-ming-tu-zhou-ren-xiong-201702","调琴啜茗图轴","画面中，雅士抚琴，侍女奉茗，众人或坐或立，神情专注闲适，尽显文人雅集的静谧意趣。人物衣纹线条细劲流畅，如行云流水，设色清雅而不失层次，红衣女子的服饰尤为醒目，与淡墨晕染的树木、山石形成和谐对比。树木枝叶以简练笔触勾勒点染，兼具工笔的精致与写意的灵动。整体构图疏朗有致，氛围恬淡悠然，将古人生活的诗意与闲情娓娓道来。",[24,7,165,28,27,96,438,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6690287de9c6ce15675a100df727ac2b.jpg",[44],"d8d0bd",{"id":94473,"slug":94474,"title":94475,"dynasty":54,"author":47695,"museum":56,"description":94476,"tags":94477,"thumbUrl":94478,"material":84,"size":84,"collection":44,"collections":94479,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94480},201695,"shu-xia-lao-ren-tu-zhou-zhang-feng-201695","树下老人图轴","虬曲老树桠枝横斜，浓墨皴擦间满是苍劲古意。树下老者长衫宽袖，淡墨勾勒身形，似在凝神远眺，又若静思天地。画面留白疏朗，水墨晕染出清寂悠远的氛围，笔意简淡却神形毕肖。枯树的沉郁与人物的安闲相映成趣，尽显文人画的空灵意境，于简素中藏深意，引人遐思。",[24,7,165,128,96,1233,331,132,369,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1984d79e23311537de501320c690d641.jpg",[44],"a6957d",{"id":94482,"slug":94483,"title":94484,"dynasty":124,"author":14340,"museum":56,"description":94485,"tags":94486,"thumbUrl":94487,"material":84,"size":84,"collection":117,"collections":94488,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94489},201638,"pu-shi-tu-zhou-wu-wei-201638","蒲石图轴","画面以孤石为核心，水墨皴擦间勾勒出嶙峋肌理，墨色浓淡层叠，尽显苍劲古朴之态。石畔蒲草数茎，细笔轻描，柔韧舒展，与顽石的厚重形成刚柔相济的妙趣，生机隐现。旁题行书诗句，笔墨洒脱流畅，诗画交融，文人意韵盎然。整作笔法放逸，水墨淋漓，兼具浙派的豪放气度与文人画的雅致情致，于简淡构图中见深远意境，寥寥数笔却将物象神韵捕捉殆尽，尽显画家笔墨功力与艺术巧思。",[24,128,171,133,132,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe2ebb8776cf71b8fc9e1ce742c12b91.jpg",[117],"ac987e",{"id":94491,"slug":94492,"title":94493,"dynasty":54,"author":9742,"museum":56,"description":94494,"tags":94495,"thumbUrl":94496,"material":84,"size":84,"collection":136,"collections":94497,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94498},201471,"shou-xu-qing-yu-shan-shui-tu-zhou-wu-li-201471","寿许青屿山水图轴","近景山石以繁密皴法勾勒，纹理苍劲，林木葱郁间藏亭台一角，溪流绕石潺潺，生机流动；中景湖面留白开阔，似笼轻烟，与远处淡染的山峦相映，层次悠远。笔墨融宋元技法，设色清雅温润，苍石、茂林、静亭与空濛水面交织，意境幽远恬淡，既显文人山水的雅致韵致，亦蕴祝寿之诚挚心意，于静谧中见生机，于悠远中藏温情。",[24,7,165,27,29,130,132,499,34,131,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb04bd7963eba3c377ace2b2190b096b5.jpg",[136],"b7afa6",{"id":94500,"slug":94501,"title":94502,"dynasty":54,"author":5879,"museum":56,"description":94503,"tags":94504,"thumbUrl":94505,"material":84,"size":84,"collection":136,"collections":94506,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94507},201431,"mao-wu-yu-zhu-tu-zhou-hua-yan-201431","茅屋雨竹图轴","画面以雨竹为核心，丛竹疏密交织，墨色浓淡相济，竹叶间似凝雨意，笔触洒脱灵动。掩映处茅屋半露，屋内人影依稀，漾出几分闲适雅致。背景远山淡彩晕染，云雾缭绕，与近景浓墨竹影虚实相映，营造出清幽空灵的意境。笔墨兼工带写，既捕捉竹之挺拔神韵，又彰显山水之悠远，传递出文人雅士于林间居所的悠然心境。",[24,7,165,128,27,28,369,167,29,37,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faab16f03305e3572e921904f176270a9.jpg",[136],"a89179",{"id":94509,"slug":94510,"title":94511,"dynasty":124,"author":1058,"museum":56,"description":94512,"tags":94513,"thumbUrl":94514,"material":84,"size":84,"collection":136,"collections":94515,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94516},201410,"qi-lv-gui-si-tu-zhou-tang-yin-201410","骑驴归思图轴","画面峰岫崚嶒，涧水潺潺，枯枝虬劲，一人骑驴缓行于山道间。山石以斧劈皴勾勒，线条刚健利落，兼施水墨晕染，显峻峭质感；树木用细劲笔触写就，墨色层次丰富，灵动自然。骑驴者的悠然神态与清寂山水相映，托出归思的悠远心境。笔墨兼取南北宗之长，融院体严谨与文人逸韵于一体，尽显雅致意趣与文人画的精神内核。",[24,29,132,165,96,99,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cd30ef80d22b813c2b034cf9f54baf1.jpg",[136],"a39382",{"id":94518,"slug":94519,"title":94520,"dynasty":144,"author":569,"museum":56,"description":94521,"tags":94522,"thumbUrl":94524,"material":84,"size":84,"collection":84,"collections":94525,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94526},201388,"chu-qiang-zhu-tu-zhou-zhao-meng-fu-201388","出墙竹图轴","竹枝破墙而出，墨痕流转间见风骨。枝干以篆籀之法写就，圆劲如铁；竹叶借行草笔意挥洒，浓淡相宜，错落成趣，似有风穿叶隙之声。简淡背景衬出竹之疏朗生机，题跋行书与朱红印章相映，诗书画印浑然一体，尽展文人雅致。竹之挺劲姿态，既摹自然天趣，更寓君子气节，笔端藏韵，墨里含情，是文人寄兴于物的绝佳写照。",[24,7,165,128,167,133,208,94523],"工","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec0086ea2dd816a914aa096f4f72b6c5.jpg",[],"978773",{"id":94528,"slug":94529,"title":94530,"dynasty":124,"author":125,"museum":56,"description":94531,"tags":94532,"thumbUrl":94533,"material":84,"size":84,"collection":45,"collections":94534,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94535},201347,"hua-shan-shen-zhou-201347","画扇","扇面左畔绘幽兰数枝，叶态翩跹，墨笔勾筋，淡蓝晕染花瓣，清雅脱俗，尽显“空谷幽兰”之韵。右侧行书题跋笔势流畅沉厚，与兰草构图呼应，疏密得宜。浅褐洒金笺底色古朴，衬得笔墨更显雅致，书画印三者浑然一体，流露文人画特有的逸趣与风骨，于方寸扇面间藏万千意韵。",[1131,7,375,133,128,27,208,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c0353fb2259a23bfb037181da2af70.jpg",[45],"dfd2c3",{"id":94537,"slug":94538,"title":40707,"dynasty":124,"author":16846,"museum":56,"description":94539,"tags":94540,"thumbUrl":94541,"material":84,"size":84,"collection":136,"collections":94542,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94543},201346,"shan-shui-shan-wen-bo-ren-201346","扇面间丘壑错落，云雾缠岩，苍松盘曲如卧龙，树下二贤对坐，似赏溪山胜景。山石以细劲线条勾勒，皴擦结合显肌理，淡设色晕染出清润氛围，承袭吴门画派雅致之余，更见文氏笔墨的缜密灵动。咫尺之地纳深远意境，将文人寄情山水的心境凝于方寸，尽显明代山水扇画的精妙与诗意。",[27,29,1144,96,132,1131,24,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb06755d35d937b5a5b5eaf583dccf4bb.jpg",[136],"d2cabb",{"id":94545,"slug":94546,"title":94547,"dynasty":124,"author":38937,"museum":56,"description":94548,"tags":94549,"thumbUrl":94550,"material":84,"size":84,"collection":44,"collections":94551,"showCount":1086,"zanCount":48,"manualWeight":48,"mainColor":94552},201338,"zhi-nv-tu-zhou-zhang-ling-201338","织女图轴","织女身着襦裙，宽袖垂落，衣纹以墨线勾勒，婉转流畅如行云流水，裙摆飘带随风扬起，尽显仙袂飘飘之姿。面容温婉秀雅，眉眼间含着一丝幽思，双手轻拢于胸前，姿态娴静端庄。笔墨兼施，淡彩晕染衣饰细节，背景留白写意，更衬出人物清雅绝尘的气质。整幅画作以简驭繁，将织女的柔美与神韵刻画得淋漓尽致，尽显文人笔下仕女题材的雅致与情韵。",[24,165,96,166,128,27,188,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a3f4a2f043c4cf12f0ed6b28ca3ceb5.jpg",[44],"b3aaa2",{"id":94554,"slug":94555,"title":66628,"dynasty":124,"author":10922,"museum":300,"description":42506,"tags":94556,"thumbUrl":94557,"material":692,"size":1293,"collection":84,"collections":94558,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},290929,"qi-yan-shi-wen-jia-290929",[1131,64,133,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31c2e7c76e38faad469c52446f32e3b5.jpg",[],{"id":94560,"slug":94561,"title":94562,"dynasty":222,"author":223,"museum":300,"description":94563,"tags":94564,"thumbUrl":94565,"material":692,"size":1293,"collection":84,"collections":94566,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},290655,"miao-fa-lian-hua-jing-fa-shi-pin-di-shi-shou-gao-yi-ming-290655","妙法莲华经法师品第十手稿","此卷小楷笔致端雅秀润，结体匀整舒展，通篇排布森然有序，尽显写经体的庄重法度。书写者以恭谨之心落墨，点画之间兼具规整性与灵动意趣，既有经生书法的典型风貌，又暗含细腻的笔锋流转，将抄经时的沉敛肃穆融于笔墨之中。\n字里行间浸透着虔诚的信仰气息，清和静谧的韵致扑面而来，让观览者得以窥见书写时的肃穆心境，书法审美价值与宗教文化意蕴相融，是一件沉静雅致的写经遗存。",[7,64,7322,572,25,187,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0cecb2dee95954c87864a0cdc62f937.jpg",[],{"id":94568,"slug":94569,"title":77460,"dynasty":54,"author":94570,"museum":300,"description":94571,"tags":94572,"thumbUrl":94573,"material":692,"size":1293,"collection":84,"collections":94574,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},290454,"xing-shu-ye-liang-qing-biao-290454","梁清标","梁清标（1620—1691）字玉立，一字苍岩，号棠村，一号蕉林。明末清初著名藏书家、文学家，名列“贰臣传”。直隶真定（今河北省正定县）人，明崇祯十六年进士，清顺治元年降清，补翰林院庶吉士，授编修。清顺治元年降清，历任宏文院编修、国史院侍讲学、詹事府詹事、礼部左侍郎、吏部右侍郎、吏部左侍郎、兵部尚书、礼部尚书、刑部尚书、户部尚书、保和殿大学士等职。著有《蕉林诗集》《棠村词》等。",[23,64,133,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F902fd53b057a560cc96eaa166dbca913.jpg",[],{"id":94576,"slug":94577,"title":94578,"dynasty":54,"author":83628,"museum":300,"description":94579,"tags":94580,"thumbUrl":94581,"material":692,"size":1293,"collection":84,"collections":94582,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},290219,"ceng-luan-song-cui-tu-li-zhou-wang-wu-tian-290219","层峦耸翠图立轴","王无忝，字夙夜，孟津人。康熙庚戌进士，由行人历官金华知府。",[23,24,7,1131,128,29,132,9482,34,387,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d97b8f5361358aac4612e99cb71f2bc.jpg",[],{"id":94584,"slug":94585,"title":94586,"dynasty":54,"author":56774,"museum":300,"description":56775,"tags":94587,"thumbUrl":94589,"material":692,"size":1293,"collection":84,"collections":94590,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},290207,"jin-fen-shan-ju-tu-jing-xin-guan-huai-290207","金粉山居图镜心",[23,1131,24,7,94588,29,4605,34,98,64,572,27],"金粉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31a8dab4e92dbc3f7ab60e5be51db3a1.jpg",[],{"id":94592,"slug":94593,"title":94594,"dynasty":222,"author":223,"museum":300,"description":94595,"tags":94596,"thumbUrl":94598,"material":692,"size":1293,"collection":84,"collections":94599,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},290032,"xiong-ye-gong-man-tuo-luo-tu-yi-ming-290032","熊野宫曼陀罗图","采用层叠式全景构图，以青绿晕染出山岳水泽的幽谧底色，铺陈开神域胜景。朱红屋瓦配深褐廊墙，几处院落规整排布，尽显神社建筑的庄重雅致。画面点缀的圣像宝珠暗合宗教属性，细碎的人物身影穿梭其间，为静穆的景致添上鲜活意趣。作品兼具纪实性与神圣感，将山林神域的清寂庄严和烟火日常融于一体，晕开平和悠远的古雅氛围，尽显日式宗教绘卷特有的沉静禅意。",[23,24,7,165,187,95,27,97,29,94597,4438,31],"庙宇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a0a09d043adff6c9eb4dd0330739463.jpg",[],{"id":94601,"slug":94602,"title":94603,"dynasty":222,"author":223,"museum":300,"description":94604,"tags":94605,"thumbUrl":94606,"material":692,"size":1293,"collection":84,"collections":94607,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},290028,"jun-niu-tu-duan-jian-yi-ming-290028","骏牛图断简","本图描绘的是牛犊，体态稍显华丽，转头后顾的姿势也颇惹人爱。采用细腻的笔锋细致的描绘了从头部至尾部的所有细节，对具有稳定感形象的把握能力也很出色",[23,24,7,164,165,128,102,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99e79e86a202e0e5a31998fc85c5530b.jpg",[],{"id":94609,"slug":94610,"title":79907,"dynasty":18,"author":223,"museum":300,"description":94611,"tags":94612,"thumbUrl":94614,"material":692,"size":1293,"collection":84,"collections":94615,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},289956,"liu-yin-yun-dui-tu-yi-ming-289956","此作用笔简淡秀雅，浓墨点簇垂柳，柔枝拂过浅漾陂塘，岸石错落间藏着水碓农居。水墨晕染出江南乡野的湿润空濛，没有繁复皴擦，却将柳荫下的静穆乡居铺陈眼前。\n\n细碎水纹里暗合农作运转的烟火气，搭配题诗托出田家苦中作乐的意趣，诗画相映，将日常桑麻揉入淡远山水，尽显小品以小见大的雅致，把村居闲逸的幽然意境藏进尺幅之间。",[23,164,24,7,59,27,29,210,15899,4363,99,94613,102,133,64,208],"茅棚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcd190388052b2dae9dee58b86ef655d.jpg",[],{"id":94617,"slug":94618,"title":94619,"dynasty":144,"author":94620,"museum":300,"description":94621,"tags":94622,"thumbUrl":94623,"material":692,"size":1293,"collection":84,"collections":94624,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},289953,"bao-yun-zhi-yi-tie-juan-cheng-ju-fu-289953","薄云之谊帖卷","程钜夫","程钜夫（1249年5月30日－1318年8月14日），初名文海，因避元武宗海山名讳，改用字代名，号雪楼，又号远斋。建昌军（今江西南城）人，祖籍郢州京山县（今属湖北）。",[7,25,64,133,840,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f2da1006fce8b866800e06ffc8dae9f.jpg",[],{"id":94626,"slug":94627,"title":94628,"dynasty":222,"author":223,"museum":300,"description":27674,"tags":94629,"thumbUrl":94630,"material":692,"size":1293,"collection":84,"collections":94631,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},289719,"dun-huang-yi-shu-355-yi-ming-289719","敦煌遗书355",[1692,25,64,7322,572,187,5459,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ee06a00c2f1bb095966570801fe4080.jpg",[],{"id":94633,"slug":94634,"title":94635,"dynasty":222,"author":223,"museum":300,"description":94636,"tags":94637,"thumbUrl":94642,"material":692,"size":1293,"collection":84,"collections":94643,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},288685,"attributed-to-andre-s-de-melgar-grotesque-with-a-cat-yi-ming-288685","attributed to Andrés de Melgar--Grotesque with a Cat","这幅装饰手稿以端坐的猫咪作为视觉锚点，跳脱常规怪诞纹样的神性表达，糅入软萌生机。对称排布的禽鸟牵起垂坠布幔，为画面铺陈出仪式感。\n\n层叠舒展的茛苕涡旋、拟人化面具顺着纵向延展，灵动小兽攀附卷草藤蔓，底部葡萄纹样晕开自然野趣。速写式的线条松弛随性，将严谨的对称构图揉化出鲜活温度，肃穆的古典装饰语言与稚拙的即兴笔触感奇妙碰撞，把庄重怪诞风格晕染出俏皮意趣。",[1634,211,949,188,94638,94639,94640,36004,94641,7],"素描","怪诞纹样","古典装饰","装饰画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4312bcad97a45aa578fc907226a457f6.jpg",[],{"id":94645,"slug":94646,"title":94647,"dynasty":54,"author":223,"museum":300,"description":94648,"tags":94649,"thumbUrl":94650,"material":692,"size":1293,"collection":84,"collections":94651,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},288255,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-ai-xin-jue-luo-duo-duo-yi-ming-288255","历代帝王贵妃大臣朝服像(爱新觉罗·多铎)","此作尽显开国宗王威仪，人物面容方正虬髯微张，神色沉稳威严，自带杀伐勋贵的沉凝气度。\n朝服刻画极尽工细，胸背正龙狞厉雄健，袍身行龙蜿蜒灵动，海水江崖纹样层叠晕染，金线绣纹在宝蓝底色上华光熠熠，朝珠垂佩规整肃穆，恪守清代宗室朝服礼制。\n画师以精湛工笔设色，写实还原形貌与服饰规制，色彩厚重端雅，细节毫厘毕现，将人物身份尊崇与宫廷仪范庄严融于画面，是清代纪实肖像画的上乘之作。",[23,24,7,165,28,27,96,81009,14416,31432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cc364d97a0d7bb4952c519da23ef3f5.jpg",[],{"id":94653,"slug":94654,"title":94655,"dynasty":54,"author":223,"museum":300,"description":94656,"tags":94657,"thumbUrl":94660,"material":692,"size":1293,"collection":84,"collections":94661,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},288251,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-rui-gong-qin-wang-ai-xin-jue-luo-chun-ying-yi-ming-288251","历代帝王贵妃大臣朝服像(睿恭亲王爱新觉罗.淳颖)","此作工笔写形，细致入微。画中亲贵面容清俊，神态端严沉稳，眉眼间自显世家威仪。明黄常服配石青马蹄袖，顶戴花翎细节分毫毕现，手中朝珠垂坠合度。衣褶线条挺括匀净，设色雅致写实，将清代宗室的着装仪范与雍容气度精准呈现。\n\n画面留白疏朗，题字题跋错落排布，笔致秀雅规整，既彰表主人公功绩德操，又为画作添上文气，让写实肖像兼具文人意趣。整幅形神兼备，是清代肖像画中兼具礼制纪实性与审美价值的上乘之作。",[23,24,7,165,28,27,96,71581,71571,64,208,94658,94659],"亲王像","朝服像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3497a80c72d66d55867e029292422ed3.jpg",[],{"id":94663,"slug":94664,"title":94665,"dynasty":54,"author":223,"museum":300,"description":94666,"tags":94667,"thumbUrl":94669,"material":692,"size":1293,"collection":84,"collections":94670,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},288204,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-gui-fei-yi-ming-288204","历代帝王贵妃大臣朝服像(贵妃)","此作工笔细腻，人物仪态端凝沉静，面容刻画写实温婉，尽显后宫妃主的矜贵气度。石青色吉服袍上，金绣团龙纹规整精美，胸背补饰纹样繁复华丽，搭配层叠珠翠朝珠，将清代宫廷服饰的典制与华贵悉数呈现。兽皮围饰的宝座衬出威严气场，红毯遍饰缠枝花卉与吉庆纹样，铺陈出雍容富丽的宫廷氛围。整体设色沉稳雅致，线条勾勒精细入微，以严谨的写实笔法，将肖像纪实性与宫廷礼制完美结合，是清代女性官方肖像画的上乘之作。",[23,24,7,27,28,165,96,94668,14416,170,263],"贵妃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2ff956f5d9b3f80981bde56a84cac0d.jpg",[],{"id":94672,"slug":94673,"title":94674,"dynasty":54,"author":223,"museum":300,"description":94675,"tags":94676,"thumbUrl":94677,"material":692,"size":1293,"collection":84,"collections":94678,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},288191,"bo-lin-cai-hui-tu-ce-san-yi-ming-288191","伯麟彩绘图册(三)","此作以清润工笔绘就边地日常，烟雨朦胧晕开庭院静景。白墙薜荔绕，松下晾布架旁，两人正展帛整理，一人牵布调张，动作写实鲜活。稚童倚门偷觑，黄犬懒卧阶前，烟火气漫溢其间。\n\n笔致细腻柔婉，设色调和雅致，题诗呼应部族不事渔猎、安居纺作的日常，将边地部族自足平和的村居劳作，晕染成充满诗意的世外闲居图景，融纪实风物与抒情意境于一纸。",[24,59,27,96,28,527,247,16670,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17ac5acd75fb79176a2c84732115ca00.jpg",[],{"id":94680,"slug":94681,"title":94682,"dynasty":54,"author":94683,"museum":300,"description":94684,"tags":94685,"thumbUrl":94686,"material":692,"size":1293,"collection":84,"collections":94687,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":956},288142,"zhuan-fa-bai-yun-ge-sha-qing-yan-288142","篆法百韵歌","沙青岩","《篆法百韵歌》原为清代沙青岩所撰，对初学者掌握篆书规律，深入学习篆书，探究文字来源很有好处。历来有成就的篆刻家都认为，这些文字本来并非为篆刻而定，篆刻需要的字如果《说文解字》中没有，也应根据《说文解字》中六书的准则进行艺术创造，当然，没有一定的文字修养也是创造不出的。",[64,938,1590,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd56bf49a4c1cb077db7aaac9a3d8c8b5.jpg",[],{"id":94689,"slug":94690,"title":94691,"dynasty":222,"author":223,"museum":300,"description":94692,"tags":94693,"thumbUrl":94694,"material":692,"size":1293,"collection":84,"collections":94695,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},287877,"tai-bei-08728-miao-fa-lian-hua-jing-juan-xu-pin-di-yi-yi-ming-287877","台北08728妙法莲华经卷序品第一","这件写经小楷气息端雅静穆，笔墨秀润精整，是极具代表性的民间写经书法。通篇字势匀稳排布，行气连贯悠长，笔笔恪守法度，点画舒展腴润，间架宽和安雅，尽显抄经时的恭谨心境。书写者将虔诚信仰倾注于笔端，在规整的书写范式中，蕴藏内敛沉静的禅意，既体现出写经书法特有的庄严规制，也展露精湛圆熟的书写功力，让这件经卷兼具宗教文化价值与书法审美价值，是颇为精湛的古代写经范本。",[572,64,7322,18381,187,7,25,5459,7222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34d75b971dc04fa4008cf53fe339576b.jpg",[],{"id":94697,"slug":94698,"title":58867,"dynasty":124,"author":94699,"museum":300,"description":94700,"tags":94701,"thumbUrl":94702,"material":692,"size":1293,"collection":84,"collections":94703,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},287869,"shi-juan-lai-fu-287869","来复","来复，[明]字阳伯，三原（今陕西三原）人。万历四十四年（一六一六）进士。",[23,25,64,133,58867,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa159c7fc0335a8fc8526cb4ca92547e7.jpg",[],{"id":94705,"slug":94706,"title":16535,"dynasty":222,"author":223,"museum":300,"description":94707,"tags":94708,"thumbUrl":94709,"material":692,"size":1293,"collection":84,"collections":94710,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},287709,"qian-zi-wen-yi-ming-287709","此作用笔灵动爽利，提按转合间尽显潇洒意趣，牵丝映带自然圆融，字字顾盼有情。章法疏朗匀整，行列排布齐整却不失错落生机，笔画粗细变化富于韵律，或圆润遒劲，或轻盈飘逸，将行书流美雅致的特质尽数彰显。整体气息平和隽雅，笔墨间既有法度谨严的沉稳，又不失灵动舒展的随性，把词句意蕴随笔墨节奏铺陈开来，尽显传统行书的古典意韵，是一件颇具功底的书法佳制。",[64,133,1590,16535,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96dad744438936fdd9900e6c562ad063.jpg",[],{"id":94712,"slug":94713,"title":94714,"dynasty":124,"author":50744,"museum":300,"description":50924,"tags":94715,"thumbUrl":94716,"material":692,"size":1293,"collection":84,"collections":94717,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},287687,"zi-shu-dao-zhong-shi-ni-yuan-lu-287687","自书道中诗",[24,7,1131,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadff9fd827d1200c731738a1d7d34068.jpg",[],{"id":94719,"slug":94720,"title":94721,"dynasty":124,"author":14989,"museum":300,"description":94722,"tags":94723,"thumbUrl":94724,"material":692,"size":1293,"collection":84,"collections":94725,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},287679,"zhi-liang-zhong-ren-shu-shen-du-287679","致梁仲仁书","沈度（1357-1434），字民则，号自乐，明松江府华亭（上海金山）人，明代书法家，与弟沈粲皆擅长书法。\n永乐时以善书入翰林，由典籍历迁侍讲学士。擅篆、隶、楷、行等书体，藏于秘府，称为“馆阁体”，台阁体书法的代表人物。",[64,133,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2b3c60c4c7dc2041ba20626718f491d.jpg",[],{"id":94727,"slug":94728,"title":94729,"dynasty":124,"author":89626,"museum":300,"description":89627,"tags":94730,"thumbUrl":94731,"material":692,"size":1293,"collection":84,"collections":94732,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},287678,"can-gao-wang-zhi-deng-287678","残稿",[64,133,7,208,187,29,211,94729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d97522b85fb4808722b1554abe1147b.jpg",[],{"id":94734,"slug":94735,"title":94736,"dynasty":124,"author":223,"museum":244,"description":94737,"tags":94738,"thumbUrl":94739,"material":637,"size":94740,"collection":84,"collections":94741,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":956},284496,"qi-ying-sheng-hui-tu-yi-ming-284496","耆英胜会图","为了富国、强兵，扭转北宋一朝不断出现的“衰世”局面，宋熙宁二年（1069年），宋神宗与王安石力推“熙宁变法”。与此同时，一大批朝中重臣站在不同立场上，纷纷反对变法，性情执拗的王安石在宋神宗的支持下，罢黜了一大批反对变法的官员。\n当时的洛阳就聚集了一大批因反对变法而远离政坛的士大夫。《邵氏闻见录》中记载，元丰五年（1082年）“耆英会”正式成立，成员包括富弼、文彦博、席汝言、王尚恭、赵丙、刘几、冯行己、楚建中、王慎言、张问、张焘、王拱辰、司马光等13人。这些人是年龄较长、声名在望的士大夫，再加上这个组织人员较多，因此，成为当时洛阳地区最具影响力的民间组织。\n“耆英会”中的士大夫虽然在朝中为官时置身政务、激烈反对变法，但当远离当时的北宋国都开封，会聚洛阳后，他们不再过问政事，而是修道参禅，修身养性。《耆英胜会图》反映的就是这个时期这些士大夫临泉悠游的闲适状态。",[23,7,64,938,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45418439df481325681c502d2d6a5042.jpg","32.2x258.5公分",[],{"id":94743,"slug":94744,"title":94745,"dynasty":222,"author":223,"museum":300,"description":94746,"tags":94747,"thumbUrl":94748,"material":692,"size":1293,"collection":84,"collections":94749,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},281573,"hei-cai-ren-wu-tu-zhou-yi-ming-281573","黑彩人物图轴","此作以淡墨晕染出朗润圆光，将人物包裹在清寂氛围里。主人公垂目冥思，髭髯苍劲，赤足踏于浅溪石畔，衣袂以赭红轻勾慢写，线条舒展简劲，既见衣衫垂坠之态，又暗含静定禅意。\n\n画面以大面积留白衬出幽远空寂，浅绘微波苔石，淡去周遭繁芜，只将心神归于人物静定的姿态。整幅笔墨简淡空灵，以虚写实，把出世的澄澈禅思藏在极简的画面中，观之如沐清宁，尽得禅画空寂澹泊之妙。",[24,7,165,128,27,96,187,171,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45f82175b71d1081c4164a4da6ddfda6.jpg",[],{"id":94751,"slug":94752,"title":94753,"dynasty":54,"author":223,"museum":300,"description":94754,"tags":94755,"thumbUrl":94757,"material":692,"size":1293,"collection":84,"collections":94758,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},270423,"hong-wu-hua-shan-shui-tu-mian-mu-qian-xiang-ya-bing-tuan-shan-yi-ming-270423","弘旿画山水图面木嵌象牙柄团扇","此团扇以淡墨晕染山水，远山迤逦，林壑间村居隐现，笔墨简淡松灵，铺展出幽寂清旷的山野之境，尽显文人山水的萧散意趣。扇柄木嵌象牙，搭配镂雕如意纹扇托，工艺雅致精巧，尾垂灰蓝流苏，更添沉静古雅的韵致。书画笔墨与制扇匠心相融，将旧时文人摇扇观览的清雅意态凝于尺幅之间，是传统工艺与文人意趣相合的雅致佳品。",[24,7,1131,29,128,12803,94756],"象牙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff655dc115bd63c44e34d375acc524861.jpg",[],{"id":94760,"slug":94761,"title":94762,"dynasty":54,"author":223,"museum":300,"description":94763,"tags":94764,"thumbUrl":94765,"material":692,"size":1293,"collection":84,"collections":94766,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},270248,"qi-gu-bian-xuan-tong-di-hua-song-tu-mian-zhe-shan-yi-ming-270248","漆股边宣统帝画松图面折扇","此扇面以水墨绘古松，老干虬曲斑驳，尽显嶙峋古拙之意，松针攒簇如戟，笔墨劲挺爽利，苍浑中带着秀逸灵动。构图虚实相宜，左侧挥毫写松，右侧留白题字，疏密错落间，将松树坚劲傲然的风骨尽显无余。朱红漆骨温润亮泽，与素白扇面雅艳相映，将文人画的清逸意趣融于掌中清玩。笔墨凝练传神，把苍松岁寒不凋的品格凝于尺幅之间，尽显清雅高古的林下之风。",[1131,24,128,372,7,64,9014,38099],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F107d25925e2c1559c4213caab4e74401.jpg",[],{"id":94768,"slug":94769,"title":94770,"dynasty":54,"author":223,"museum":300,"description":94771,"tags":94772,"thumbUrl":94773,"material":692,"size":1293,"collection":84,"collections":94774,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},270217,"zhu-gu-qian-gu-bian-qian-ci-xi-yu-xi-hua-song-fu-tu-mian-zhe-shan-yi-ming-270217","竹股嵌骨边钤慈禧御玺画松蝠图面折扇","此扇以淡墨晕染松枝，虬干苍劲，松针细密层叠，尽显古松深秀之态。几只蝠影轻盈穿梭松间，暗合纳福吉意。左侧题字笔致清逸，朱印错落点缀，晕开文雅意趣。\n\n扇骨工巧，竹质温润，嵌骨饰纹雅致细腻，将书画意境与工艺匠心相融。整体水墨清润含蓄，晕染相宜，尽显内敛清雅的审美意趣，把文人雅情与祥瑞寓意收于咫尺扇面，是兼具赏玩与收藏价值的文房佳物。",[24,7,1131,128,1144,52218,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda5d9e2995715b7f0deaf405d2f72b40.jpg",[],{"id":94776,"slug":94777,"title":94778,"dynasty":54,"author":223,"museum":300,"description":94779,"tags":94780,"thumbUrl":94783,"material":692,"size":1293,"collection":84,"collections":94784,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},270214,"zong-zhu-gu-shu-hua-mian-zhe-shan-yi-ming-270214","棕竹股书画面折扇","此扇以棕骨为底，髹黑漆作地，描金为饰。细密透雕的网格骨面之上，缠枝小花与星芒金饰错落排布，精巧雅致。椭圆画芯晕染柔丽，人物景致朦胧温婉，带着西洋水彩的柔润质感。\n\n它揉合东方扇骨的雅致形制与西洋柔绘风格，是西风东渐浪潮里审美交融的缩影。开合之间金饰随光影流动，将旧时光的绮丽拢于掌间，兼具实用与陈设之美，藏着旧时中西文化碰撞出的别致风情。",[1131,94781,7,96,27,9014,94782],"折扇","竹制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17b2b6c795b267a54c36b3396ce4e22b.jpg",[],{"id":94786,"slug":94787,"title":94788,"dynasty":54,"author":223,"museum":300,"description":94789,"tags":94790,"thumbUrl":94791,"material":692,"size":1293,"collection":84,"collections":94792,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},270208,"zhu-gu-diao-hua-bian-dao-guang-di-shu-hua-shan-shui-tu-mian-zhe-shan-yi-ming-270208","竹股雕花边道光帝书画山水图面折扇","以深色纸面为底，嶙峋山石以苍劲皴笔铺陈，岩峦错落层叠，留白晕开的素花幽竹点缀崖间，明暗碰撞间，衬出深谷冬景的清寂冷峭。山居隐于林木巉岩之后，幽僻超然。\n整幅以浓淡墨色勾勒晕染，素白花蕊在墨色背景里愈显莹洁，虚实相生间，将山林冬日的静谧萧疏尽数铺展，带着清冷出尘的文人意趣，工艺与绘事相融，尽显雅致风骨。",[1131,24,7,27,29,371,69386,94782],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6069994d1396997a688fb5edd8952312.jpg",[],{"id":94794,"slug":94795,"title":94796,"dynasty":54,"author":223,"museum":300,"description":94797,"tags":94798,"thumbUrl":94799,"material":692,"size":1293,"collection":84,"collections":94800,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},270207,"zhu-gu-diao-hua-bian-hei-mian-yong-rong-shu-hua-zhe-shan-yi-ming-270207","竹股雕花边黑面永瑢书画折扇","以乌色纸面为底，以银墨勾勒寒江芦汀之景。密匝苇秆错落挺拔，蓬松芦花似凝霜堆雪，在暗沉底色中愈显莹洁柔润。远景晕染云水朦胧虚渺，水鸟或掠波低翔，或栖于汀渚，野逸秋意扑面而来。竹股雕饰的细腻刀工，与纸面幽寂清冷的意境相映成趣，将萧疏江渚暮色收纳于扇面开合之间，把秋日荒寒的文人意趣晕染得淋漓尽致，是小品书画中别具韵致的清隽之作。",[1131,7,128,211,1824,29,69386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6498314f69300b9a1317afced0f2e98.jpg",[],{"id":94802,"slug":94803,"title":94804,"dynasty":54,"author":223,"museum":300,"description":94805,"tags":94806,"thumbUrl":94808,"material":692,"size":1293,"collection":84,"collections":94809,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},270196,"zhu-gu-diao-hua-bian-ji-xian-hua-shan-shui-lou-ge-tu-mian-zhe-shan-yi-ming-270196","竹股雕花边继贤画山水楼阁图面折扇","此作以扇面为卷，绘就山水佳境。取高远、平远结合之法，右侧危崖壁立，皴笔勾勒出岩体质感，崖间林木攒簇，苍劲葱郁；左侧江天寥廓，远山以淡墨晕染，烟岚轻笼，水色空濛。通幅笔墨清隽秀润，设色浅淡雅致，于咫尺扇面之内铺陈出咫尺千里的山水意境，尽显传统山水的留白意趣与文人雅致。画境随扇骨舒展相融，观之如临清幽林泉，得山水静穆之美，尽显古典山水的含蓄韵致。",[1131,24,7,29,97,131,34,132,27,94807,69386],"竹质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51c3a854ca10deec7f6188a4d9c7b73d.jpg",[],{"id":94811,"slug":94812,"title":94813,"dynasty":124,"author":223,"museum":300,"description":94814,"tags":94815,"thumbUrl":94816,"material":84,"size":84,"collection":84,"collections":94817,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":956},242578,"dong-shu-tang-tie-yi-ming-242578","东书堂帖","墨色沉郁古雅，开本对置，右页草书纵逸灵动，线条圆劲挺括，牵丝映带间尽显晋唐草书的疏朗意趣，笔势流转酣畅，将书家的散淡风骨尽显无余。左侧楷法端稳方正，与草书形成动静相宜的视觉对比。朱红钤印鲜亮醒目，与深黑拓面相映成趣，晕染出古朴雅致的金石氛围。\n\n虽经岁月摩挲，页边已带磨损痕迹，却更添朴拙厚重的古旧质感，尽显明人汇刻丛帖的典型风貌，是帖学兴盛时期传拓复刻的精良范本，兼具书法审美价值与帖学文献价值。",[7,64,5380,133,840,208,59,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6b237d834abd83a3e8550a5baa0f095.jpg",[],{"id":94819,"slug":94820,"title":94821,"dynasty":54,"author":94822,"museum":300,"description":94823,"tags":94824,"thumbUrl":94825,"material":692,"size":1293,"collection":84,"collections":94826,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241691,"yu-zhi-sheng-jing-song-ce-yong-xi-241691","御制盛京颂册","永锡","爱新觉罗·永锡（1753年—1821年），满洲正蓝旗人，爱新觉罗氏。肃武亲王豪格后裔、显密亲王爱新觉罗·丹臻孙，奉国将军爱新觉罗·成信（丹臻第二子）第五子。",[59,572,27,772,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98587f4c3859e844b9b62ecebee64cc5.jpg",[],{"id":94828,"slug":94829,"title":94830,"dynasty":54,"author":7208,"museum":300,"description":45366,"tags":94831,"thumbUrl":94832,"material":692,"size":1293,"collection":84,"collections":94833,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241675,"yu-zhi-shi-wen-shi-er-shou-ce-qian-long-241675","玉卮释文诗二首册",[7,64,59,572,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe86a722c73e9f3da8c3f43badc72519d.jpg",[],{"id":94835,"slug":94836,"title":94837,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":94838,"thumbUrl":94839,"material":692,"size":1293,"collection":84,"collections":94840,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241638,"zhi-chun-qian-shu-zha-wen-zheng-ming-241638","致春潜书札",[7,64,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F786e2164646fbaf4538ba416c248f271.jpg",[],{"id":94842,"slug":94843,"title":94844,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":94845,"thumbUrl":94846,"material":692,"size":1293,"collection":84,"collections":94847,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241637,"zhi-jian-fu-shu-zha-wen-zheng-ming-241637","致简甫书札",[64,7,133,128,6369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F057bbc6ea61d590576a1483f862f36b7.jpg",[],{"id":94849,"slug":94850,"title":94851,"dynasty":54,"author":37194,"museum":300,"description":52233,"tags":94852,"thumbUrl":94853,"material":692,"size":1293,"collection":84,"collections":94854,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241622,"lai-su-tie-lin-ze-xu-241622","来苏帖",[64,133,7,59,128,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad5a9f1bfc767b28cadafb92d6969f3.jpg",[],{"id":94856,"slug":94857,"title":66814,"dynasty":54,"author":94858,"museum":300,"description":94859,"tags":94860,"thumbUrl":94865,"material":692,"size":1293,"collection":84,"collections":94866,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241606,"qi-jue-shi-zhou-jin-shi-xiong-241606","金世熊","字康侯，号力农，晚号竹坡。相子。乾隆十五年举人，官乐陵教谕，行草书学平原，继仿华亭，逼真可入神品。",[24,7,165,133,64,208,17468,94861,94862,94863,70508,94864,149],"寒花","虎迹","琼林","江角","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d723910fb327297e5e9577400aad06f.jpg",[],{"id":94868,"slug":94869,"title":94870,"dynasty":54,"author":94871,"museum":300,"description":94872,"tags":94873,"thumbUrl":94874,"material":692,"size":1293,"collection":84,"collections":94875,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241602,"lu-wen-ye-mao-hui-zu-241602","录文页","毛辉祖","毛辉祖（1709年－1774年），字镜浦、乃行，号敬园，山东省济南府历城县（今山东省济南市），清朝政治人物、进士出身。",[7,64,572,128,208,59,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3474a8755fa10b25cdd6cb441ced6348.jpg",[],{"id":94877,"slug":94878,"title":94879,"dynasty":54,"author":94880,"museum":300,"description":94881,"tags":94882,"thumbUrl":94883,"material":692,"size":1293,"collection":84,"collections":94884,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241599,"le-zhi-lun-ye-fan-yu-shi-241599","乐志论页","范棫士","范棫士（1710-1769），清文学家、书法家。字思皇，亦字祖年，号芄野，江南娄县(今上海)人，范缵孙。少以长于文学著称。乾隆十七年(1752)进士一甲第二人（榜眼），授编修，擢福建道监察御史，充丙子(1756)顺天乡试同考官，转兵科给事中，调工科掌印给事中。棫士清望素者，为朝士所重。三十丧偶，不复娶。与人交，坦然和易。又倡置云间会馆，以居乡、会试之来京者。善行、楷，远近争购之。",[7,64,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e804b392f91cf1c2a25722a6c4831e4.jpg",[],{"id":94886,"slug":94887,"title":94888,"dynasty":54,"author":94871,"museum":300,"description":94872,"tags":94889,"thumbUrl":94890,"material":692,"size":1293,"collection":84,"collections":94891,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241598,"ping-shi-yu-ye-mao-hui-zu-241598","评诗语页",[304,7,133,208,59,128,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F588f5d37ea7eaa26cbe5203c6f223207.jpg",[],{"id":94893,"slug":94894,"title":94895,"dynasty":54,"author":94896,"museum":300,"description":94897,"tags":94898,"thumbUrl":94899,"material":692,"size":1293,"collection":84,"collections":94900,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241597,"jie-lu-feng-lao-ting-ji-ye-shen-shi-feng-241597","节录丰乐亭记页","沈士凤","沈士凤 生卒年月不详，字羽皇。浙江绍兴人。清书法家。靠卖书画糊口，年九十余卒。他的书法深入传统而不泥古，善于用个性加以再创造，更不甘心步人后尘，故其草书为越中第一。",[7,64,133,208,59,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9adadc1578fa1d5eeb70263c7f491bf.jpg",[],{"id":94902,"slug":94903,"title":94904,"dynasty":54,"author":94905,"museum":300,"description":94906,"tags":94907,"thumbUrl":94908,"material":692,"size":1293,"collection":84,"collections":94909,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241596,"jie-lin-mi-tie-ye-yuan-kuang-su-241596","节临米帖页","袁匡肃","袁匡肃字（缺），浙江钱塘人。乾隆（缺）举人。二十七年（缺）月由内阁中书入直。孙士毅已见大臣。乾隆二十七年（缺）月由内阁中书入直，四十年以户部郎中再入直。",[54,7,64,330,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1684309f2758a3800c37d83fc542a1f.jpg",[],{"id":94911,"slug":94912,"title":94913,"dynasty":54,"author":94914,"museum":300,"description":94915,"tags":94916,"thumbUrl":94917,"material":692,"size":1293,"collection":84,"collections":94918,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241593,"xing-wen-luo-fu-ye-tang-da-shen-241593","行温洛赋页","汤大绅","汤大绅（？～？），字孙书，号药辅，亦号药园。江南常州府（今江苏）阳湖县人。乾隆七年（1742）壬戌科金甡榜进士第三人，年七十四卒于家。",[24,7,64,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1e023db5359bd57c9f97be4c264cbdb.jpg",[],{"id":94920,"slug":94921,"title":94922,"dynasty":54,"author":94923,"museum":300,"description":94924,"tags":94925,"thumbUrl":94926,"material":692,"size":1293,"collection":84,"collections":94927,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241591,"qi-jue-wu-shou-ye-yang-kai-ding-241591","七绝五首页","杨开鼎","杨开鼎，字峙踼，号玉坡，江苏甘泉人，中国清朝官员。",[7,64,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4a0f4c6dd39a0af53248194ad9e03e3.jpg",[],{"id":94929,"slug":94930,"title":94931,"dynasty":54,"author":94932,"museum":300,"description":94933,"tags":94934,"thumbUrl":94935,"material":692,"size":1293,"collection":84,"collections":94936,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241589,"lu-bai-tao-hua-jin-zuo-er-shou-zhuang-pei-yin-241589","录白桃花近作二首","庄培因","庄培因（1723-1759）字本淳，号仲醇。江南阳湖（今江苏武进嘉泽）人。清乾隆十九年（1754年）甲戌科进士第一人。\n庄培因崇尚气节，诗文流畅，书法精妙，尤以楷书闻名于世。",[54,7,64,133,572,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83d7c44a4d364e33761dd34c3690ff70.jpg",[],{"id":94938,"slug":94939,"title":94870,"dynasty":54,"author":94940,"museum":300,"description":94941,"tags":94942,"thumbUrl":94943,"material":692,"size":1293,"collection":84,"collections":94944,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241585,"lu-wen-ye-zhuang-bao-241585","庄宝","此作用笔温润圆融，点画舒展灵动，牵丝映带间尽显行书流转之美。结体疏密得宜、欹正相生，章法错落平和，通篇匀净自然。墨色浓淡过渡雅致，既有帖学的谨严功底，又不失随性舒展的文人意趣。\n\n所录诗文清雅疏朗，与书风相映成趣。笔墨间浸透着闲适澹远的襟怀，将观景寄情的诗意融于毫端。尺幅虽小，却以从容笔致勾勒出悠远意境，尽显传统文人书法的雅致品格，是一件颇具韵味的翰墨小品。",[7,59,133,208,231,690,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f1b8aa3368d975792f83de5d1956f4a.jpg",[],{"id":94946,"slug":94947,"title":94870,"dynasty":54,"author":94948,"museum":300,"description":94949,"tags":94950,"thumbUrl":94951,"material":692,"size":1293,"collection":84,"collections":94952,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241583,"lu-wen-ye-wang-yi-kui-241583","王以夔","此幅小楷用笔秀雅温润，点画精劲匀净，起收转合规整自然，结体端稳又暗含灵动意趣，尽显晋唐小楷的隽秀遗风。墨色清和匀净，与泛黄的古纸相映，愈发衬出古雅沉静的质感。\n\n所书骈文辞藻清丽雅致，将写景抒情相融，笔墨与文辞相得益彰。通篇气息安和疏朗，字里行间尽显书者的文人涵养与不俗笔墨功力，平和冲淡的书卷意趣溢于纸面，是清代小楷小品中的精致之作。",[7,572,208,59,128,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b9815de2f908b6bbadedb2e3713730.jpg",[],{"id":94954,"slug":94955,"title":94956,"dynasty":54,"author":94957,"museum":300,"description":94958,"tags":94959,"thumbUrl":94960,"material":692,"size":1293,"collection":84,"collections":94961,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241573,"qi-lv-si-shou-heng-zhuang-shou-qi-241573","七律四首横","庄受祺","庄受祺（1810-1866），武进人。字蕙生，一字卫生，编修庄令舆五世孙。道光二十年（1840）进士，殿试二甲二名。翰林院庶吉士，授编修。历充起居注协修、本衙门撰文、国史馆协修、纂修、武英殿协修、功臣馆纂修、道光二十三年（1843）山西副主考。历任福建漳州、福州、湖北宜昌府知府、安襄郧荆道、盐法武昌道、湖北粮台、福建按察使、浙江布政使。赏戴花翎。以词林起家，工古文，善书法，精兵法，尤善识别将才。著作有《湖北兵事述略》、《随时录》、《维摩室随笔》、《维摩室遗训》四卷、《枫南山馆遗集》八卷。",[7,64,133,25,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c2d8b80d8c027038f5544b6535f57ef.jpg",[],{"id":94963,"slug":94964,"title":94965,"dynasty":54,"author":94966,"museum":300,"description":94967,"tags":94968,"thumbUrl":94969,"material":692,"size":1293,"collection":84,"collections":94970,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241571,"mei-yi-lu-yu-ping-zhou-mei-yi-241571","梅釴录语屏轴","梅釴","此作用笔温润秀雅，牵丝映带间尽显行书流动之美，结体错落随性，毫无板滞之感。墨色清透匀净，随着行文自然晕开浓淡变化，古意盎然。\n\n录写古人问道读书的清雅佳话，笔墨与文意相融相合，尽显书家的文人情趣与审美意趣。落款小字精劲端严，与正文的舒展灵动形成动静对比，两枚朱印沉稳点睛，让整幅作品章法和谐完满，尽显清代帖学书法的隽雅之风，是兼具笔墨意趣与文心内涵的佳构。",[24,7,165,133,64,208,10762,611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe88482ccd6af7c80216c973f92090793.jpg",[],{"id":94972,"slug":94973,"title":62666,"dynasty":54,"author":94570,"museum":300,"description":94974,"tags":94975,"thumbUrl":94979,"material":611,"size":84,"collection":318,"collections":94980,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241522,"qi-lv-shi-zhou-liang-qing-biao-241522","梁清標 （1620—1691）字玉立，一字蒼巖，號棠村，一號蕉林。明末清初著名藏書家、文學家，名列“貳臣傳”。直隸真定（今河北省正定縣）人，明崇禎十六年進士，清順治元年降清，補翰林院庶吉士，授編修。清順治元年降清，歷任宏文院編修、國史院侍講學、詹事府詹事、禮部左侍郎、吏部右侍郎、吏部左侍郎、兵部尚書、禮部尚書、刑部尚書、户部尚書、保和殿大學士等職。著有《蕉林詩集》《棠村詞》等。\n精于鉴赏，长于书法，喜收藏图书，所藏法书、名画极多。刻有《秋碧堂法帖》，朱彝尊为他写有题记。时与北京 孙承泽精于收藏经、史类书籍，他则富于收藏子、集类图书。在正定城内筑有书楼“蕉林书屋”，专以藏书画、古籍，积书多至数十万余卷，收藏典籍字画，所藏历代书法、名画尤为珍贵。有“项（元汴）家'蕉窗'梁'蕉林'，图书之富甲古今”之称。“蕉林书屋”为当时文人雅士聚集之所。后来，江南藏书家何绍基曾到真定访“蕉林书屋”。藏书印有“梁清标印”、“棠村”、“河北棠村”、“蕉林”（一说“蕉林”为明代睢阳袁枢藏书印，《松桂堂帖》和《正定兴宁志序》“蕉林”印均在 编撰有《蕉林书目》，今已不存。",[7,64,165,133,208,2995,2373,47607,83438,94976,94977,94978],"禁闱","青旛","旧陇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef72602a708642060277865fed032c01.jpg",[318],{"id":94982,"slug":94983,"title":89548,"dynasty":54,"author":89549,"museum":300,"description":94984,"tags":94985,"thumbUrl":94986,"material":692,"size":1293,"collection":84,"collections":94987,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241516,"ji-bai-shou-mei-hua-shi-tie-ce-liang-wei-jia-241516","此作用笔温润秀雅，以行书成篇，结体舒展灵动，牵丝映带间流转自然，既有帖学的妍美法度，又不失文人写意的疏朗意趣。\n\n册页抄录咏梅诗章，笔墨与诗意相融，将爱梅赏梅的清逸心境诉诸笔端。墨色沉静古雅，素纸衬映之下愈显隽秀平和，字句间尽显澹泊悠然的林下之风。书文相映，尽显旧时文人诗、书合一的审美意趣，尺幅之间自带着清幽雅致的文人雅怀，是兼具文学性与艺术性的小品佳作。",[7,59,64,133,1590,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3546ed3676035721fc1a1d85485b76f.jpg",[],{"id":94989,"slug":94990,"title":94991,"dynasty":54,"author":94992,"museum":300,"description":94993,"tags":94994,"thumbUrl":94995,"material":692,"size":1293,"collection":84,"collections":94996,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241492,"shi-ce-ye-meng-ceng-gu-241492","诗册页","孟曾榖","此作为行书诗页，用笔秀逸灵动，提转间尽显温婉韵致，结体疏密错落，随字赋形，自有萧散之态。牵丝映带自然流畅，尽显行书潇洒意趣。\n\n通篇以诗为骨，笔墨为魂，文辞与书意相融相生，将酬怀寄兴的文人襟怀落于笔端。墨色浓淡相宜，通篇气息清雅悠然，带着旧时文人的疏淡意趣，诗书合璧，尽显隽秀古雅的风神，是兼具笔墨情致与文心诗意的小品佳构，静静铺展着传统文人的雅致情味。",[54,7,59,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cb0e32fd3fa4ec95d5c1a8a343dcd8d.jpg",[],{"id":94998,"slug":94999,"title":95000,"dynasty":54,"author":95001,"museum":300,"description":95002,"tags":95003,"thumbUrl":95005,"material":692,"size":1293,"collection":84,"collections":95006,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},241490,"lun-shu-wan-shan-zhou-lian-241490","论书纨扇","周莲","周莲（1848-1920），字子迪，出生于江苏如皋，清朝光绪五年贡生，官至二品。\n周莲父亲周际霖，道光年间举家定居如皋城内集贤里。周莲幼年在父亲任职的如皋县衙读书，如皋人称他为“周大少”。1895年由恭亲王奕欣推荐担任厦门道台、福建布政使。\n周莲在闽八年，政绩圆满，1903年向慈禧太后辞官回乡，专心研究长寿美食。1911年11月23日组建首届如皋县民国政府，亲自担任军政总司令。1920年逝世，葬如皋杨花桥，龙游湖西有敕建石龙坊，纪其功绩。",[7,1131,133,64,304,95004],"论书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F774a2074fd21af0509bacda0125956f7.jpg",[],{"id":95008,"slug":95009,"title":95010,"dynasty":124,"author":95011,"museum":300,"description":95012,"tags":95013,"thumbUrl":95014,"material":692,"size":1293,"collection":84,"collections":95015,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241458,"cao-kai-shi-gu-wen-juan-wen-xiang-feng-241458","草楷石鼓文卷","文翔凤","明（约公元一六二五年前后在世）字天瑞，号太青，陕西三水（旬邑）人。生卒年均不详，约明熹宗天启五年前后在世。万历三十八年（公元一六一零年）进士。历官莱阳令，终太仆寺少卿。尝自制五岳冠，并以五岳自号；亦称东极。翔凤著有《东极篇》及《文太青文集》二卷，《太微经》二十卷，均《四库总目》并传于世。",[23,7,64,25,840,572,938],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23e21ecaf5d7e54bedcc7cd001139ca6.jpg",[],{"id":95017,"slug":95018,"title":95019,"dynasty":54,"author":95020,"museum":300,"description":95021,"tags":95022,"thumbUrl":95023,"material":692,"size":1293,"collection":84,"collections":95024,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241437,"zhi-gong-ci-shuo-wen-yi-zi-gai-heng-wang-ding-241437","致公朿说文佚字改横","王鼎","王鼎（1768年－1842年），字定九，號省厓，陝西同州府蒲城縣（今陕西省渭南市蒲城县）人，清朝大臣。",[23,64,7,133,25,611,9910,66808,41220,22903],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb756aa44ee4d4d2f2110c0a5d6a9102a.jpg",[],{"id":95026,"slug":95027,"title":95028,"dynasty":54,"author":74550,"museum":300,"description":74551,"tags":95029,"thumbUrl":95030,"material":692,"size":1293,"collection":84,"collections":95031,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241407,"gua-jia-wu-jue-zhou-wang-wen-zhi-241407","瓜架五绝轴",[24,7,165,133,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ccb01a84ff78e33b5f813364c4e02ff.jpg",[],{"id":95033,"slug":95034,"title":14477,"dynasty":54,"author":61794,"museum":300,"description":85187,"tags":95035,"thumbUrl":95038,"material":692,"size":1293,"collection":84,"collections":95039,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241360,"ti-hua-shi-zhou-ruan-yuan-241360",[7,165,133,128,208,371,722,663,547,95036,95037],"阁","院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf51e02c7b1de75d4deb62ba52ddefff.jpg",[],{"id":95041,"slug":95042,"title":95043,"dynasty":54,"author":95044,"museum":300,"description":95045,"tags":95046,"thumbUrl":95047,"material":692,"size":1293,"collection":84,"collections":95048,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241303,"fu-juan-min-yi-shi-241303","赋卷","闵奕仕","此卷行书笔墨酣畅淋漓，行气贯通舒展。字势欹正相生，笔画粗细枯润交叠，带着率意纵逸的气度。起笔收锋间藏着跌宕节奏感，点画既有帖学的灵动隽秀，又自带着苍朴拙厚之态。\n\n整卷铺陈开，文字如行云流转，字与字、行与行之间顾盼生姿，萧散简远的林下之风尽显。书写时的随性快意尽数展露在笔墨间，将文人逸兴融在点画之中，浸透着随性自在的文人襟怀，是颇见功底的行书佳制。",[7,64,25,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d610a4d04b3ac17639075ca5da30c1a.jpg",[],{"id":95050,"slug":95051,"title":95052,"dynasty":54,"author":95053,"museum":300,"description":95054,"tags":95055,"thumbUrl":95056,"material":692,"size":1293,"collection":84,"collections":95057,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241288,"xing-shu-qi-gu-huang-yue-chen-241288","行书七古","黄越尘","这幅行书以信札为载体，笔墨秀雅灵动。行笔舒展利落，笔画粗细兼具，墨色带着自然的浓淡枯湿变化，行气连贯悠然。字迹结体错落有致，既有帖学一脉的温润飘逸，又暗融些许朴拙沉稳的质感，尽显书写时的松弛意态。\n\n作为诗书合璧的小品，诗文言辞清雅，字里行间晕染着旧友赠答的诚挚情谊，将文人的风雅襟怀藏于笔墨细节之中，是一件兼具笔墨意趣与人文温度的佳作。",[7,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac3a7be7888cc1daf1ffe02b90aab480.jpg",[],{"id":95059,"slug":95060,"title":95061,"dynasty":54,"author":95062,"museum":300,"description":95063,"tags":95064,"thumbUrl":95065,"material":692,"size":1293,"collection":84,"collections":95066,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241281,"qi-jue-er-shou-mai-jin-guang-241281","七絶二首","麦觐光","范承谟（1624年－1676年10月22日），字觐公，一字螺山，奉天人，隶汉军镶黄旗，清朝开国重臣范文程之子。进士出身，曾任浙江巡抚、福建总督。",[7,133,208,59,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc0482cb234b47c21f4f8f21e7d98059.jpg",[],{"id":95068,"slug":95069,"title":95070,"dynasty":54,"author":95071,"museum":300,"description":95072,"tags":95073,"thumbUrl":95074,"material":692,"size":1293,"collection":84,"collections":95075,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241273,"zhuan-shu-ba-yan-lian-sun-xing-yan-241273","篆书八言联","孙星衍","孙星衍（1753年－1818年），字伯渊，一字渊如，号季述。江蘇陽湖縣（今屬江苏省常州市）人，祖籍安徽濠州，清代经史学家，考据学者，金石学家。",[7,64,938,10886,208,611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F793b4286dbecccb6918be3b4d5c407e6.jpg",[],{"id":95077,"slug":95078,"title":95079,"dynasty":54,"author":95080,"museum":300,"description":95081,"tags":95082,"thumbUrl":95083,"material":692,"size":1293,"collection":84,"collections":95084,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241270,"lu-si-kong-tu-shi-pin-zhou-qi-zhao-nan-241270","录司空图诗品轴","齐召南","齐召南（1703年－1768年），字次风，号琼台，晚号息园。浙江天台人。清代地理学家。\n幼有神童之称，精于舆地之学，又善书法。雍正七年（1729年），己酉科乡试中副车，雍正十一年（1733年），举博学鸿词，以副榜贡生被荐。乾隆元年（1736年），召试于保和殿，钦定二等第十名，为翰林院庶吉士，授检讨。次年参修《大清一统志》。乾隆六年（1741年），撰《外藩书》。乾隆十二年（1747年），充《续文献通考》副总裁。\n乾隆二十六年（1761年），完成最重要的作品《水道提纲》28卷。另著有《宝纶堂集古录》《宝纶堂文钞诗钞》《齐太史移居集》《琼台集》《历代帝王年表》《后汉公卿表》等。",[24,7,165,133,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ffeecd3a80757dbe9d6f751c8f7aaa1.jpg",[],{"id":95086,"slug":95087,"title":95088,"dynasty":54,"author":95089,"museum":300,"description":95090,"tags":95091,"thumbUrl":95092,"material":611,"size":84,"collection":318,"collections":95093,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":199},241255,"ti-hua-zhou-zhang-mei-ru-241255","题画轴","张美如","张美如，字尊五，号玉溪，又号第五山樵，甘肃武威人。嘉庆十二年（1807）赴西安考中举人，次年赴北京考中进士，选翰林院庶吉士。嘉庆十四年（1809）散馆，改授户部主事。道光二年（1822）升任 于是，退离仕途，求居林下，以绘画写字，吟诗抚琴，奖掖后进为乐，把自己的一生献给培育英才的教育事业。根据他的诗稿及有关信札，可知他曾主讲凉州天梯书院、镇番（今民勤县）苏山书院、兰州兰山书院、西安关中书院等处。张美如不但是一位教育家，而且是清代著名书画家，堪称诗、书、画三绝。",[304,7,64,133,165,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65c69515619fdbc62a3981ba74719b9b.jpg",[318],{"id":95095,"slug":95096,"title":58919,"dynasty":54,"author":95097,"museum":300,"description":95098,"tags":95099,"thumbUrl":95100,"material":692,"size":1293,"collection":84,"collections":95101,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241242,"qi-jue-zhou-zhao-zai-ding-241242","赵再鼎","此作用笔爽利流畅，牵丝映带间尽显行书灵动韵致。章法疏朗匀停，四列排布舒展从容，笔墨枯湿浓淡富于层次变化，将书写时的随性快意藏于点画之中。\n整幅书作与山居诗意相融相合，笔势随着诗句意境跌宕起伏，把野居幽寂、松风梦醒的闲淡山居意趣寄于笔端，字里行间漫溢着清远淡逸的林下之风，将书法线条之美与古典诗意完美契合，尽显文人书法的风雅情致。",[24,7,165,133,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f28008ee86f6d89c2225dea56b314cc.jpg",[],{"id":95103,"slug":95104,"title":58919,"dynasty":54,"author":95105,"museum":300,"description":95106,"tags":95107,"thumbUrl":95108,"material":692,"size":1293,"collection":84,"collections":95109,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241241,"qi-jue-zhou-wei-fang-tai-241241","魏方泰","魏方泰（1656－1727） 字日乾，号鲁峰。建昌府广昌甘竹洙溪村（今属江西省广昌县）人。",[24,7,64,165,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9990ee45af5af551ca5cb9817247fdd6.jpg",[],{"id":95111,"slug":95112,"title":95113,"dynasty":54,"author":95114,"museum":300,"description":95115,"tags":95116,"thumbUrl":95117,"material":692,"size":1293,"collection":84,"collections":95118,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241212,"fang-weng-shi-ping-zhou-huang-yu-241212","放翁诗屏轴","黄钰","黄钺（1750年9月5日-—1841年8月16日），字左田，又名左君，号壹斋、左庶子，安徽芜湖人，清朝大臣，历仕乾隆、嘉庆、道光三朝。是著名的教育家、画家、艺术评论家。",[133,64,7,165,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33915c19095e30723d93e6b32081535d.jpg",[],{"id":95120,"slug":95121,"title":95122,"dynasty":54,"author":95123,"museum":300,"description":95124,"tags":95125,"thumbUrl":95126,"material":692,"size":1293,"collection":84,"collections":95127,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241200,"huai-jiu-shi-zhou-jiang-heng-241200","怀旧诗轴","蒋衡","蒋衡（1672年～1742年），原名蒋振生，祖皆精书法，他自幼临摹，尤工行楷，成年浪迹江湖，临摹碑帖300多种，刻成《拙存堂临古帖》28卷，在西安观碑林时，发现唐代《开成石经》出于众手，书杂又失校核，下定决心重写《十三经》，历时12年，至乾隆二年（1737年）始告成。由江南河道总督高斌于乾隆五年转呈朝廷，收藏在懋勤殿。为此乾隆皇帝授蒋为国子监学正。翌年，谕旨以蒋衡手书为底本，刻石太学，于五十九年（1794年）刻成，定名《乾隆石经》。一生还著有《读易私记》、《拙存堂诗文集》、《易卦私笺》等。",[24,7,165,133,208,128,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d5e4e569b29314d47108a761f6183ec.jpg",[],{"id":95129,"slug":95130,"title":95131,"dynasty":54,"author":74550,"museum":300,"description":74551,"tags":95132,"thumbUrl":95133,"material":692,"size":1293,"collection":84,"collections":95134,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241198,"wu-lv-shi-shan-mian-wang-wen-zhi-241198","五律诗扇面",[1131,133,208,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ccaa97aa6c429ac89ee68ee7ea94639.jpg",[],{"id":95136,"slug":95137,"title":95131,"dynasty":54,"author":95138,"museum":300,"description":95139,"tags":95140,"thumbUrl":95141,"material":692,"size":1293,"collection":84,"collections":95142,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241197,"wu-lv-shi-shan-mian-yu-sen-241197","俞森","俞森为中国清朝官员，本籍中国直隶。俞森于1817年（嘉庆22年）接替徐锷，于台湾台北地区担任台湾府淡水厅艋舺县丞一职，是大台北地区的地方父母官。",[24,7,1131,64,572,128,208,231,772,211,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33b79bf9a41f1c62e9621c6a98fbfe54.jpg",[],{"id":95144,"slug":95145,"title":95146,"dynasty":54,"author":95147,"museum":300,"description":95148,"tags":95149,"thumbUrl":95150,"material":692,"size":1293,"collection":84,"collections":95151,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241178,"zhi-jing-xi-wen-ye-he-ling-han-241178","致荆谿文页","何凌汉","何凌汉(1772-1840）清大臣、书法家，字云门，号仙槎，道州（今湖南永州道县）东门乡东门村人。嘉庆十年进士一甲第三名（探花），授翰林院编修，先后典广东、山东、福建、浙江、顺天府乡试；曾先后担任顺天府尹、大理寺卿、都察院左都御史、兵部右侍郎、礼部左侍郎、工部尚书、吏部尚书、户部尚书等朝廷要职；曾先后担任山东学政、浙江学政、经筵讲官等重要职务，为中华民族培养出了众多历史俊杰。",[7,64,572,128,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76cfa005e0d7f5c22bdcce6620608b58.jpg",[],{"id":95153,"slug":95154,"title":95155,"dynasty":124,"author":81279,"museum":300,"description":81280,"tags":95156,"thumbUrl":95157,"material":611,"size":84,"collection":318,"collections":95158,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241105,"zhi-ting-xian-zha-ma-yu-241105","致廷献札",[7,64,133,208,805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84c3b6efa4603dcee6edf18b982ce249.jpg",[318],{"id":95160,"slug":95161,"title":95162,"dynasty":124,"author":95163,"museum":300,"description":95164,"tags":95165,"thumbUrl":95166,"material":692,"size":1293,"collection":84,"collections":95167,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241099,"xing-shu-shi-zhou-mi-wan-zhong-241099","行书诗轴","米万钟","米万钟（1570—1628年），字仲诏，号友石，又号海淀渔长、石隐庵居士，原籍陕西安化，后当锦衣卫，居北京，米芾后裔。明万历二十三年（1595年）进士，后任江西按察使。天启五年（1625年）被魏忠贤党人倪文焕弹劾，降罪削籍。崇祯元年（1628年）复官，仕至太仆少卿，卒于官。有好石之癖，又能画石。善画山水、花竹。书法行、草得家法，与董其昌齐名，称“南董北米”。书迹流传甚多。著《篆隶考讹》二卷。",[164,24,7,165,133,64,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F578b612d5b582323ad188be148c63f52.jpg",[],{"id":95169,"slug":95170,"title":95171,"dynasty":124,"author":95172,"museum":300,"description":95173,"tags":95174,"thumbUrl":95175,"material":692,"size":1293,"collection":84,"collections":95176,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241060,"you-xian-shi-zhou-huang-fu-qin-241060","游僲诗轴","皇甫钦","皇甫錄（1470年－1540年），字世庸，號近峯，直隸長洲（今江蘇蘇州）人，明朝政治人物。",[7,165,133,64,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde5f318f6374447841905e7dee93aa66.jpg",[],{"id":95178,"slug":95179,"title":66814,"dynasty":124,"author":95180,"museum":300,"description":95181,"tags":95182,"thumbUrl":95185,"material":692,"size":1293,"collection":84,"collections":95186,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241059,"qi-jue-shi-zhou-wang-jie-241059","王节","王节（1599年—1660年），字贞明，号惕斋，吴县（今江苏苏州）人。明崇祯十二年（1639年）举人，顺治中任桃源县教谕。工山水，又工于诗。",[164,24,7,165,133,128,208,95183,95184,6844,68618,19189],"楚江","碧水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e12a6bc9f186510556459f437a5c41.jpg",[],{"id":95188,"slug":95189,"title":95190,"dynasty":124,"author":95191,"museum":300,"description":95192,"tags":95193,"thumbUrl":95194,"material":692,"size":1293,"collection":84,"collections":95195,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241022,"he-jing-na-liang-shi-shan-mian-lu-guang-ming-241022","荷静纳凉诗扇面","陆广明","此作为泥金小楷扇面，笔墨隽秀雅致，结体端稳舒展，笔锋清劲内敛，墨色匀净沉静，与泥金地的华贵底色相融相衬，愈发显得清雅出尘。\n所书纳凉咏荷诗句，将幽居赏夏的闲淡襟怀藏于笔墨间，文辞意境与书法气韵浑然相合，尽显文人寄情林泉、从容自适的风雅意趣，是一件兼具笔墨审美与文人情思的精妙小品。",[805,1131,7,64,133,8116,611,168,12614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b1d9632d0f72edb0bcfb4a68bad167.jpg",[],{"id":95197,"slug":95198,"title":95199,"dynasty":124,"author":95200,"museum":300,"description":68885,"tags":95201,"thumbUrl":95202,"material":692,"size":1293,"collection":84,"collections":95203,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241018,"shen-cui-xuan-ji-juan-ni-jun-241018","深翠轩记卷","倪峻",[164,24,7,25,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb2aaa4dbe5faf7e67fa5c71e2ba4664.jpg",[],{"id":95205,"slug":95206,"title":95207,"dynasty":124,"author":95208,"museum":300,"description":95209,"tags":95210,"thumbUrl":95211,"material":692,"size":1293,"collection":84,"collections":95212,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},241014,"yi-shi-zhou-xue-ming-241014","益诗轴","薛明","此作用笔纵逸跌宕，线条粗细灵动多变，提按转合间尽显使转之妙，将草书萦带缠绕的意趣挥洒尽致。字势欹正相生，行气连贯畅达，通篇节律跳宕明快。\n\n笔墨裹挟诗文疏放襟怀，尽显尚意书风特质。整幅布局疏密得宜，虽字字连绵却毫无壅塞之感，墨色枯湿浓淡相互映衬，挥洒间尽显文人萧散之态。书随文思流转，诗书意趣浑然相合，笔墨间浸透着超逸俊朗的书卷风神，把草书抒情表意的特质发挥得恰到好处。",[24,7,165,840,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F449c5fbf8d5e7dff3e142bdce238732b.jpg",[],{"id":95214,"slug":95215,"title":21115,"dynasty":54,"author":54002,"museum":300,"description":54003,"tags":95216,"thumbUrl":95217,"material":692,"size":1293,"collection":84,"collections":95218,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240967,"shi-shan-mian-zhu-ang-zhi-240967",[54,1131,7,64,133,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eabfc1282b4b1356d8ef2f32326f1c1.jpg",[],{"id":95220,"slug":95221,"title":95222,"dynasty":124,"author":82540,"museum":300,"description":95223,"tags":95224,"thumbUrl":95225,"material":692,"size":1293,"collection":84,"collections":95226,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240940,"qi-lv-shi-shan-mian-lu-shi-dao-240940","七律诗扇面","陆师道（1510年10月10日－1573年），字子传，号元洲，改号五湖，南直隶苏州府长洲（今江苏苏州）人。嘉靖十七年（1538 年）进士，历官工部主事、礼部主事、尚宝司少卿。师事文征明，工小楷、古篆，著有《五湖集》和《左史子汉镌》等传于世。",[164,24,7,1131,133,208,64,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F872cd3ef937b1b9f28d6861958e7675c.jpg",[],{"id":95228,"slug":95229,"title":81390,"dynasty":124,"author":95230,"museum":300,"description":95231,"tags":95232,"thumbUrl":95233,"material":692,"size":1293,"collection":84,"collections":95234,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240909,"lu-yu-zhou-huang-chun-yao-240909","黄淳耀","黄淳耀（1605年7月13日——1645年8月24日） ，初名金耀，字蕴生，一字松厓，号陶庵，又号水镜居士，汉族，南直隶苏州府嘉定（今属上海）人。曾组“直言社”，崇祯十六年（1643）成进士，归益研经籍。弘光元年（1645），嘉定人抗清起义，与侯峒曾被推为首领。城破后，与弟黄渊耀自缢于馆舍。能诗文，有《陶庵集》。",[164,24,7,165,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F913123aa94bc0052beb1572bacba72dd.jpg",[],{"id":95236,"slug":95237,"title":95238,"dynasty":54,"author":34467,"museum":300,"description":52393,"tags":95239,"thumbUrl":95240,"material":692,"size":1293,"collection":84,"collections":95241,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240908,"ping-hua-wan-shan-fei-dan-xu-240908","评画纨扇",[24,7,1131,133,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9579445ad91c5b4a22a1fca7159c50e.jpg",[],{"id":95243,"slug":95244,"title":95245,"dynasty":124,"author":95246,"museum":300,"description":95247,"tags":95248,"thumbUrl":95249,"material":692,"size":1293,"collection":84,"collections":95250,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240899,"tang-shi-juan-xu-chu-240899","唐诗卷","许初","字复初，一字元复，以县学生序贡授教职，擢南京太仆寺主簿，迁汉阳府通判。工篆，庄整而秀；兼善楷、草，法二王。亦工大书，不轻与人书。又能刻印。",[64,25,133,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2ba3ff23478a615bdf5fa505bc2df12.jpg",[],{"id":95252,"slug":95253,"title":50743,"dynasty":54,"author":85585,"museum":300,"description":95254,"tags":95255,"thumbUrl":95258,"material":692,"size":1293,"collection":84,"collections":95259,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240888,"shi-zhou-tang-ying-240888","唐英（1682-1756年），清代陶瓷艺术家，能文善画，兼书法篆刻且又精通制瓷。沈阳人，隶属汉军正白旗，雍正六年（1728年）奉命任景德镇御窑厂协理官，乾隆元年（1736年）起先后管理淮安关及九江关并兼理窑务，直至二十一年（其中十五、十六两年一度中止）。",[7,64,165,133,208,19006,663,9403,1025,95256,372,547,39943,6844,95257],"雲","鐘磬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd423859685711d326acb32c007d9b8.jpg",[],{"id":95261,"slug":95262,"title":95263,"dynasty":124,"author":85170,"museum":300,"description":85171,"tags":95264,"thumbUrl":95265,"material":692,"size":1293,"collection":84,"collections":95266,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240874,"chun-yuan-za-shi-juan-li-dong-yang-240874","春园杂诗卷",[7,64,25,133,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda31e4123682e0e4a9c860b4c4814178.jpg",[],{"id":95268,"slug":95269,"title":95270,"dynasty":124,"author":71889,"museum":300,"description":95271,"tags":95272,"thumbUrl":95273,"material":692,"size":1293,"collection":84,"collections":95274,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},240856,"da-yun-shan-ge-zhou-wang-fu-zhi-240856","大云山歌轴","王夫之（1619年10月7日－1692年2月18日），字而农，号姜斋，人称“船山先生，湖广衡阳县（今湖南省衡阳市）人。明遗民。明末清初思想家，与顾炎武、黄宗羲、唐甄并称“明末清初四大启蒙思想家”，学者王朝聘的儿子。\n崇祯五年（1632年），考中秀才，组织“行社”、“匡社”。崇祯十五年，考中乡试。顺治初年，投靠永历帝朱由榔，参加反清斗争。康熙十七年（1678年）三月，拒绝为吴三桂撰写劝进表。\n康熙三十一年，病逝于湘西草堂，安葬衡阳县金兰乡高节里大罗山（现衡阳县曲兰镇船山村老屋组大罗山脉的虎形山上）。著有《周易外传》《黄书》《尚书引义》《永历实录》《春秋世论》《噩梦》《读通鉴论》《宋论》等书。",[24,7,165,133,64,128,29,950,44054,19006,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef3f9202b5da64bf1a988fd6cd43d56d.jpg",[],{"id":95276,"slug":95277,"title":56988,"dynasty":54,"author":15720,"museum":300,"description":15721,"tags":95278,"thumbUrl":95279,"material":692,"size":1293,"collection":84,"collections":95280,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240821,"xing-shi-wen-si-tiao-ping-ai-xin-jue-luo-yong-xing-240821",[133,64,208,7,165,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbffd390c5b03044a761e2ed5a053b78f.jpg",[],{"id":95282,"slug":95283,"title":85060,"dynasty":54,"author":85061,"museum":300,"description":85062,"tags":95284,"thumbUrl":95285,"material":692,"size":1293,"collection":84,"collections":95286,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240815,"lin-tie-zhou-jiang-ren-240815",[7,64,165,133,330,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff255cf82a8893ab52355bf25bba965e6.jpg",[],{"id":95288,"slug":95289,"title":95290,"dynasty":54,"author":94261,"museum":300,"description":95291,"tags":95292,"thumbUrl":95293,"material":692,"size":1293,"collection":84,"collections":95294,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240799,"hua-ma-zan-zhou-tong-yu-240799","画马赞轴","童钰（1721－1782）清代画家。字璞岩，一字树，又字二如、二树，别号借庵、二树山人、树道人、梅道人、梅痴、越树、栎树、树树居士、太平词客、白马山长，山阴（今浙江绍兴）人。",[7,64,165,21937,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F900a39f02066451fad1dcaf4acbd190d.jpg",[],{"id":95296,"slug":95297,"title":52232,"dynasty":54,"author":95298,"museum":300,"description":95299,"tags":95300,"thumbUrl":95301,"material":692,"size":1293,"collection":318,"collections":95302,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},240734,"shu-zha-ce-zhang-bai-xi-240734","张百熙","张百熙（1847—1907年），字埜秋，一作冶秋，号潜斋，湖南长沙人。清末大臣，著名教育家。同治十三年（1874年）进士，授编修。光緖七年（1881年），督山东学政。十四年（1888年），典试四川。十五年，命直南书房。二十一年，迁侍读学士。二十三年，督广东学政，迁内阁学士。戊戌政变后，因荐举康有为获罪，革职留任。二十六年，任礼部侍郞，擢左都御史。后又历任工部、刑部、吏部、户部、邮传部尙书。并曾充管学大臣，主持京师大学堂，创医学及译学馆、实业馆，选派留学生出国深造。\n三十三年（1907年）卒，赠太子少保，谥文达。",[64,7,59,133,611,8116,54,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282f58591b0159d999ae574010910307.jpg",[318],{"id":95304,"slug":95305,"title":58867,"dynasty":54,"author":95306,"museum":300,"description":95307,"tags":95308,"thumbUrl":95309,"material":27315,"size":95310,"collection":318,"collections":95311,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240711,"shi-juan-wang-yong-nian-240711","王永年","此卷草书如长河奔涌，行气贯通连绵，字势跌宕奇崛，通篇顾盼生姿。行笔中锋侧锋互用，提按顿挫间笔力苍劲灵动，线条枯湿浓淡交织，时而细韧如游丝，时而厚重如坠石，尽显狂草肆意放逸之态。疏密开合排布精妙，牵丝映带一气呵成，将胸臆间疏狂意气化为纸上龙蛇。墨色燥润相生，虚实相映，尽显文人放旷疏野之姿，诗书意境与笔墨意趣相融尽显抒情草书的动人魅力。",[23,7,64,25,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe98b06d0de3ab7ed592f8222b994c09d.jpg","27.5×197cm",[318],{"id":95313,"slug":95314,"title":50743,"dynasty":54,"author":68780,"museum":300,"description":95315,"tags":95316,"thumbUrl":95317,"material":692,"size":1293,"collection":84,"collections":95318,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},240682,"shi-zhou-cha-ji-zuo-240682","查继佐（1601年8月1日－1676年3月4日），初名继佑，初字三秀，更字友三，号伊璜，又号与斋，别号东山钓史、钓玉。浙江海宁人。\n父查尔翰，家贫多病，崇祯六年（1633年）举人。明朝亡后，随鲁王监国绍兴，授兵部职方。在浙东地区亲自率军抗击清军。顺治三年（1646年）清军攻占绍兴，隐居海宁硖石东山万石窝，改号为左尹非人。顺治九年（1652年）于西湖觉觉堂讲学，旋至杭州铁冶岭之敬修堂讲学，从学者众，人称敬修先生。康熙元年（1662年），罹南浔庄廷鑨私刻《明史》案，列名参校，下狱论死，后获救。晚年喜写梅。\n他与张岱、谈迁、万斯同合称为“浙东四大史家”\n著有《罪惟录》《国寿录》《鲁春秋》《东山国语》《班汉史沦》《续西厢》等作品。",[7,64,165,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff28e512e7ad2313d7ba3db72717d07d0.jpg",[],{"id":95320,"slug":95321,"title":77825,"dynasty":124,"author":95322,"museum":300,"description":95323,"tags":95324,"thumbUrl":95325,"material":692,"size":1293,"collection":84,"collections":95326,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240676,"wu-yan-lian-zhu-shi-lu-240676","祝世禄","祝世禄[明]（公元一六0二年前后在世），字世功，江西德兴人。生卒年均不详，约明神宗万历三十年前后在世。第万历十七年（公元一五八九年）进士，考选为南科给事。",[64,7,10886,133,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06aabfc27ba0331d53307059916adafa.jpg",[],{"id":95328,"slug":95329,"title":95330,"dynasty":54,"author":64048,"museum":300,"description":95331,"tags":95332,"thumbUrl":95333,"material":692,"size":1293,"collection":84,"collections":95334,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240669,"zi-shu-shi-ci-juan-wang-shi-zhen-240669","自书诗词卷","王士祯（1634年9月17日－1711年6月26日），原名王士禛，字子真，一字贻上，号阮亭，又号渔洋山人，世称王渔洋。山东新城（今山东桓台县）人。清初诗人、文学家、诗词理论家。\n王士祯为清顺治十五年（1658年）进士，康熙四十三年（1704年）官至刑部尚书，颇有政声。谥文简。\n王士祯在实践“神韵说”，取得卓著诗文成果的同时，还能突破正统文坛和文人偏见，重视和高度评价小说、戏曲、民歌等通俗文学、文体。他的主要成就在诗文创作与理论方面，但在小说、戏曲、民歌、书画、藏书、史论等方面所取得的成就亦不容忽视。",[23,7,25,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43e664ef86a8c210524f44c4d0ce839c.jpg",[],{"id":95336,"slug":95337,"title":95338,"dynasty":54,"author":83628,"museum":300,"description":94579,"tags":95339,"thumbUrl":95340,"material":692,"size":1293,"collection":84,"collections":95341,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},240664,"wang-wu-tian-lun-shan-jian-zhou-wang-wu-tian-240664","王无忝论扇笺轴",[64,133,165,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffef373a39d2b3f494c9a3196887d3f87.jpg",[],{"id":95343,"slug":95344,"title":95345,"dynasty":54,"author":15720,"museum":300,"description":15721,"tags":95346,"thumbUrl":95347,"material":692,"size":1293,"collection":84,"collections":95348,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240663,"lin-zhao-shu-juan-ai-xin-jue-luo-yong-xing-240663","临赵书卷",[23,7,64,25,133,330,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ddc8641e8f71c5a7738004108b5b82c.jpg",[],{"id":95350,"slug":95351,"title":50743,"dynasty":54,"author":7686,"museum":300,"description":95352,"tags":95353,"thumbUrl":95354,"material":692,"size":1293,"collection":84,"collections":95355,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240619,"shi-zhou-he-chao-240619","何焯（1661年—1722年），字润千，因早年丧母，改字屺瞻，号义门、无勇、茶仙，晚年多用茶仙，江苏长洲（今苏州）人，寄籍崇明，为为官后迁回长洲（今苏州）。先世曾以“义门”旌，学者称义门先生。清代著名学者、书法家。\n清康熙四十二（1703）年癸未科第二甲第三名进士。曾为皇八子胤禩伴读。在当时以通经史百家之学，长于考订而有盛名。他在考据学上很有造诣，对坊间出版书籍的错误都一一订正。\n何焯与笪重光、姜宸英、汪士鋐并称为康熙年间“帖学四大家”。当时人争索何书，更有好事者以重金争购其手校本。他的楷书作品《桃花园诗》简静疏朗，清雅古穆，为书迹中的上上之作。",[24,7,165,133,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80e78c237b6f8cc9650b81b274167084.jpg",[],{"id":95357,"slug":95358,"title":95359,"dynasty":54,"author":95360,"museum":300,"description":95361,"tags":95362,"thumbUrl":95363,"material":692,"size":1293,"collection":84,"collections":95364,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240618,"tai-hang-shan-shi-zhou-yan-er-mei-240618","太行山诗轴","闫尔梅","字用卿，号古古，又白耷山人，江南沛县人，诗人号。祖父阎泉。长相耳大面白，人称白耷。复社成员，与张溥、陈子龙齐名。",[7,64,165,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65841b3ee162dd4f8636701a22c132ad.jpg",[],{"id":95366,"slug":95367,"title":50743,"dynasty":124,"author":95368,"museum":300,"description":95369,"tags":95370,"thumbUrl":95371,"material":692,"size":1293,"collection":84,"collections":95372,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},240592,"shi-zhou-cao-hua-chun-240592","曹化淳","曹化淳，字如，号止虚子，家境寒微，十二三岁左右入宫，诗文书画，无一不精，深受司礼太监王安赏识。后入信王府陪侍五皇孙朱由检，极受宠信。",[805,7,64,165,133,128,208,3649,663,68618,19189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d32b882b8e201a89db6aece77993448.jpg",[],{"id":95374,"slug":95375,"title":95376,"dynasty":54,"author":95377,"museum":300,"description":95378,"tags":95379,"thumbUrl":95380,"material":611,"size":84,"collection":318,"collections":95381,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},240587,"li-yong-ji-you-wen-zhou-li-yong-240587","李颙祭友文轴","李颙","李颙（1627年3月12日——1705年5月7日） ，明末清初周至人，明清之际哲学家，与浙江余姚黄宗羲、直隶容城孙奇逢并称为海内三大鸿儒。李颙在理学上的造诣，被称为“海内大儒”。李颙和眉县李柏、富平李因笃统称为“关中三李”。李的著作，康熙、雍正年间均有刻本，光绪时补入《四书反身录》等篇。",[64,165,7,128,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03248cbff3f79b0b3e7ddc5e671e6912.jpg",[318],{"id":95383,"slug":95384,"title":43383,"dynasty":124,"author":366,"museum":300,"description":8455,"tags":95385,"thumbUrl":95386,"material":692,"size":1293,"collection":84,"collections":95387,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240586,"za-ji-shu-zha-he-ce-xu-wei-240586",[24,7,59,64,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21c24fd9994fa4ae9c9d5c0b9b12af96.jpg",[],{"id":95389,"slug":95390,"title":43383,"dynasty":124,"author":366,"museum":300,"description":8455,"tags":95391,"thumbUrl":95392,"material":692,"size":1293,"collection":84,"collections":95393,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240585,"za-ji-shu-zha-he-ce-xu-wei-240585",[24,7,64,59,133,840,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55f632b297e3bb53443cccf1efd31373.jpg",[],{"id":95395,"slug":95396,"title":77840,"dynasty":54,"author":95397,"museum":300,"description":95398,"tags":95399,"thumbUrl":95400,"material":692,"size":1293,"collection":84,"collections":95401,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240538,"shi-ti-huang-shan-tu-ce-yang-yong-jian-240538","杨雍建","杨雍建(1631—1704)，字自西，号以斋，海宁盐官人。清顺治十二年(1655)进士，授广东高要知县。后被荐举任兵科给事中。",[24,7,59,133,208,128,29,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb996abe2d345b0311d46573fd1e38e58.jpg",[],{"id":95403,"slug":95404,"title":77840,"dynasty":54,"author":95405,"museum":300,"description":95406,"tags":95407,"thumbUrl":95408,"material":692,"size":1293,"collection":84,"collections":95409,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240537,"shi-ti-huang-shan-tu-ce-liu-shi-ling-240537","刘石龄","长洲（今江苏苏州）人。工花鸟。《石田茆屋诗》",[24,7,59,29,64,133,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe988c6f8126ab546686e46357d514a5e.jpg",[],{"id":95411,"slug":95412,"title":77840,"dynasty":54,"author":95413,"museum":300,"description":95414,"tags":95415,"thumbUrl":95416,"material":692,"size":1293,"collection":84,"collections":95417,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240526,"shi-ti-huang-shan-tu-ce-zhang-qi-zong-240526","张起宗","此作为行书诗册，用笔清劲秀雅，牵丝映带间尽显灵动韵致，结体疏密随心排布，章法舒展疏朗，墨色温润且浓淡有别，兼具帖学的隽秀与文人写意的松弛自在。\n诗作以黄山胜景为骨，将天都峰的奇崛云海、盘虬古松尽付笔端，字句间浸满对山水的沉醉与赞叹，书与诗交融相衬，尽显旧时文人寄情山水、以笔抒怀的澄澈襟怀。",[7,59,133,64,29,171,690,130,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9377adb7e258a0d2af75dab10298ad22.jpg",[],{"id":95419,"slug":95420,"title":50743,"dynasty":54,"author":43518,"museum":300,"description":91866,"tags":95421,"thumbUrl":95422,"material":692,"size":1293,"collection":84,"collections":95423,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},240501,"shi-zhou-wen-dian-240501",[24,7,64,165,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff51229896b98b1aa9aeb1620e36ed3.jpg",[],{"id":95425,"slug":95426,"title":95427,"dynasty":54,"author":64723,"museum":300,"description":64724,"tags":95428,"thumbUrl":95429,"material":692,"size":1293,"collection":84,"collections":95430,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240500,"zhuan-shu-qi-yan-lian-zhang-ting-ji-240500","篆书七言联",[64,938,10886,304,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca1825e0347c2c2cc317bd3507e8133d.jpg",[],{"id":95432,"slug":95433,"title":50743,"dynasty":54,"author":46783,"museum":300,"description":46784,"tags":95434,"thumbUrl":95435,"material":692,"size":1293,"collection":84,"collections":95436,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240499,"shi-zhou-gu-he-qing-240499",[7,64,133,165,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F958c6ce5d5616792dfbc921996820e85.jpg",[],{"id":95438,"slug":95439,"title":95440,"dynasty":54,"author":95441,"museum":300,"description":95442,"tags":95443,"thumbUrl":95444,"material":611,"size":84,"collection":318,"collections":95445,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240475,"shi-gao-juan-wang-ge-240475","诗稿卷","汪舸","此卷集信札诗稿为一体，形制错落参差，笺纸色泽各异，古意氤氲。行书笔墨苍朴率真，线条随文思起伏，粗细枯润变幻自如，尽显随性疏朗的文人意趣。诗稿排布疏密随心，朱印错落点缀，提亮古雅纸面。手札字迹带着书写时的情绪温度，或疾或缓，藏着旧时文人间的交游日常与幽微心绪，纸墨晕染间尽显彼时文人的笔墨风流，是兼具文献价值与审美价值的文墨佳作。",[23,7,25,64,133,208,6369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc792fd82666d8043a1bf474598bf8556.jpg",[318],{"id":95447,"slug":95448,"title":95449,"dynasty":54,"author":70407,"museum":300,"description":87645,"tags":95450,"thumbUrl":95451,"material":692,"size":1293,"collection":84,"collections":95452,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240457,"zhang-zhao-wu-hou-ci-ji-zhou-zhang-zhao-240457","张照武侯祠记轴",[164,24,7,64,165,572,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbd9eed33c46f057002baf4333c008c9.jpg",[],{"id":95454,"slug":95455,"title":62666,"dynasty":54,"author":95456,"museum":300,"description":95457,"tags":95458,"thumbUrl":95459,"material":692,"size":1293,"collection":84,"collections":95460,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":199},240445,"qi-lv-shi-zhou-shen-de-qian-240445","沈德潜","沈德潜（1673年－1769年），字 碻 （ què ） 士，号归愚。江苏長洲人，清代前期诗人，乾隆時官至內閣學士兼禮部侍郎。",[304,165,133,64,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb95cc6050287dc59af681dafacc5108.jpg",[],{"id":95462,"slug":95463,"title":95464,"dynasty":54,"author":95465,"museum":300,"description":95466,"tags":95467,"thumbUrl":95468,"material":692,"size":1293,"collection":84,"collections":95469,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240420,"shou-zha-juan-qian-qian-yi-240420","手札卷","钱谦益","钱谦益（1582年10月22日—1664年6月17日），字受之，号牧斋，晚号蒙叟，东涧老人。学者称虞山先生。清初诗坛的盟主之一。苏州府常熟县鹿苑奚浦（今张家港市塘桥镇鹿苑奚浦）人。\n钱谦益是明万历三十八年（1610年）探花（一甲三名进士），后为东林党的领袖之一，官至礼部侍郎，因与温体仁争权失败而被革职。明亡后，马士英、阮大铖在南京拥立福王，建立南明弘光政权，钱谦益依附之，为礼部尚书。后降清，为礼部侍郎。\n钱谦益的评价富于争议，尤其是降清、仕清之举成为其道德症结，清乾隆帝将之视作失节者，删禁其著作；但也有学者指出，入清后钱谦益仍多次私下策反降清武将、暗中资助郑成功反清等等。若就文学地位而言，则钱谦益仍应得到肯定。",[23,64,25,133,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffda2b518935f750fcc5e0a7c524c3e99.jpg",[],{"id":95471,"slug":95472,"title":95473,"dynasty":124,"author":95474,"museum":300,"description":95475,"tags":95476,"thumbUrl":95477,"material":692,"size":1293,"collection":84,"collections":95478,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240387,"zhang-ge-shan-mian-wen-guo-240387","长歌扇面","文果","文果，[清]一名止，字子敬（或作豹），又字止菴，长洲（今江苏苏州）人。",[805,1131,7,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd00378408e309012d298dfd594a98eb0.jpg",[],{"id":95480,"slug":95481,"title":69180,"dynasty":124,"author":95482,"museum":300,"description":95483,"tags":95484,"thumbUrl":95485,"material":692,"size":1293,"collection":84,"collections":95486,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240371,"shi-ye-zhou-qin-240371","周钦","周钦，周湛长子，字明思，邵州邵阳县人，登宋徽宗宣和六年（1124年）进士，终武功大夫，德州刺史。",[7,64,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff240317c7994d29c56a7cec4af2bd0.jpg",[],{"id":95488,"slug":95489,"title":69180,"dynasty":124,"author":95490,"museum":300,"description":95491,"tags":95492,"thumbUrl":95493,"material":692,"size":1293,"collection":84,"collections":95494,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240365,"shi-ye-song-yue-ren-240365","宋曰仁","宋曰仁（？－？），字思表，福建興化府莆田縣人，民籍，明朝政治人物。",[7,133,59,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6bf385ef144b17a68f8d312f80cd8cd.jpg",[],{"id":95496,"slug":95497,"title":95498,"dynasty":124,"author":95499,"museum":300,"description":95500,"tags":95501,"thumbUrl":95502,"material":692,"size":1293,"collection":84,"collections":95503,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240353,"ju-shi-ye-hu-wen-240353","举诗页","胡文","胡文（？－？），字宣文，福建漳州府诏安县人，军籍，明朝政治人物。",[164,24,7,59,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7873372f41377f42caf636634f4d314f.jpg",[],{"id":95505,"slug":95506,"title":95464,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":95507,"thumbUrl":95508,"material":692,"size":1293,"collection":84,"collections":95509,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240335,"shou-zha-juan-dong-qi-chang-240335",[23,124,64,133,25,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1da620d7dc9aed2802c5a94155a484c7.jpg",[],{"id":95511,"slug":95512,"title":50743,"dynasty":54,"author":95513,"museum":300,"description":95514,"tags":95515,"thumbUrl":95516,"material":692,"size":1293,"collection":84,"collections":95517,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240323,"shi-zhou-zhang-zi-240323","张梓","张梓，字干庭，号瞻园，上海人。",[7,165,572,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38b4e887f04b465b5052e409403bfc1f.jpg",[],{"id":95519,"slug":95520,"title":52232,"dynasty":54,"author":37194,"museum":300,"description":52233,"tags":95521,"thumbUrl":95522,"material":692,"size":1293,"collection":84,"collections":95523,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240295,"shu-zha-ce-lin-ze-xu-240295",[7,59,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3dea28f374a9568a8a869e2226aac91.jpg",[],{"id":95525,"slug":95526,"title":50743,"dynasty":54,"author":95527,"museum":300,"description":95528,"tags":95529,"thumbUrl":95530,"material":151,"size":84,"collection":318,"collections":95531,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240285,"shi-zhou-zhao-shi-lin-240285","赵士麟","赵士麟(1629～1699)，字麟伯，号玉峰，云南省澄江市人，生于明崇祯二年(1629)，幼时从师醒觉和尚。他天资聪明，读书过目不忘，经常手不释卷刻苦攻读，后来参加河阳县考，名列第一。\n顺治十七年(1660)庚子科中举，康熙三年(1664)甲辰科考取进士。吏部分派到贵州省平远县任推官（审判员），他大公无私，详查案情，惩暴安良。那时贵州发生的重大要案，都调派他参与审理，使他名声远播。",[24,7,165,840,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c586e2ae9e15caf4357f15b144991db.jpg",[318],{"id":95533,"slug":95534,"title":62666,"dynasty":124,"author":95163,"museum":300,"description":95164,"tags":95535,"thumbUrl":95536,"material":692,"size":1293,"collection":84,"collections":95537,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240273,"qi-lv-shi-zhou-mi-wan-zhong-240273",[7,165,133,128,171,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5a96b8297ddbbcfca1dee77e82e3875.jpg",[],{"id":95539,"slug":95540,"title":58867,"dynasty":124,"author":95541,"museum":300,"description":95542,"tags":95543,"thumbUrl":95544,"material":611,"size":84,"collection":318,"collections":95545,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240263,"shi-juan-ma-ru-long-240263","马如龙","此作用笔奔纵恣肆，以狂草写就全篇，笔墨如江河奔泻，行气贯通无间。线条枯润互见，提按顿挫间尽显雄放跌宕，字形欹正错落，大小随心排布，看似率意不羁，实则暗合章法。\n飞白苍劲、浓墨酣沉，两种质感交织出丰富层次，章法疏密极具韵律，时而密结如潮，时而疏朗如云，节奏张弛得宜。将文人心绪寄于笔墨流转，牵丝映带间皆是意气舒展，把豪情逸致融于点画之内，在肆意挥洒间尽显磊落胸襟，朴拙与灵动相映，尽显古雅洒脱的书法意趣。",[23,164,24,7,25,133,840,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1010b26e849c1d1e020573979281829.jpg",[318],{"id":95547,"slug":95548,"title":14477,"dynasty":124,"author":95163,"museum":300,"description":95164,"tags":95549,"thumbUrl":95550,"material":692,"size":1293,"collection":84,"collections":95551,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240256,"ti-hua-shi-zhou-mi-wan-zhong-240256",[164,24,7,165,133,840,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3abe99e73d43f6ad1b41c2a6a91842fd.jpg",[],{"id":95553,"slug":95554,"title":89897,"dynasty":124,"author":95555,"museum":300,"description":95556,"tags":95557,"thumbUrl":95558,"material":692,"size":1293,"collection":84,"collections":95559,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240240,"qi-lv-shi-ye-chen-yu-jiao-240240","陈舆郊","陈与郊(1544年—1611年)，原姓高，字广野，号禺阳、玉阳仙史，亦署高漫卿、任诞轩，是海宁盐官人。",[7,64,133,208,805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71d0494e381d80e4a93c0b91dbe0e4fc.jpg",[],{"id":95561,"slug":95562,"title":95563,"dynasty":124,"author":95564,"museum":300,"description":95565,"tags":95566,"thumbUrl":95567,"material":692,"size":1293,"collection":84,"collections":95568,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240228,"wu-lv-shi-ye-xu-shi-qi-240228","五律诗页","许世奇","此作笔墨温润凝练，行书结体端秀雅致，兼具晋唐书风的娟秀意韵与行书灵动姿态。诗句清雅刚正，笔墨气韵与诗文意趣呼应相合，字里行间尽显文人风骨。\n\n疏朗匀停的章法排布间，米黄洒金笺晕染古意，朱红印章点缀恰到好处，愈发衬出整幅作品的古拙雅致。每一字筋骨兼具，平和中暗含刚劲，将诗文里廉明清雅的意涵悄然融于笔墨之中，整体气息浑融和谐，尽显传统文人书法的书卷意趣，是极具韵味的手札精品。",[7,64,133,208,805,4437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F396005ecd04ce1eb4dfce9104927becc.jpg",[],{"id":95570,"slug":95571,"title":89897,"dynasty":124,"author":95572,"museum":300,"description":95573,"tags":95574,"thumbUrl":95575,"material":692,"size":1293,"collection":84,"collections":95576,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240221,"qi-lv-shi-ye-gu-chong-240221","顾充","顾充（1535—1615）字仲达，一字回澜，浙江上虞人。父吉，诸生，笃学善文，和易端亮，恒以不愧形影为训。充好古绩学，尤邃于史。",[7,64,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F621f2c26540a06a964fce5fe6a875907.jpg",[],{"id":95578,"slug":95579,"title":89897,"dynasty":124,"author":95580,"museum":300,"description":95581,"tags":95582,"thumbUrl":95583,"material":692,"size":1293,"collection":84,"collections":95584,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240219,"qi-lv-shi-ye-yang-ting-huai-240219","杨廷槐","杨廷槐，字祖植，浙江杭州府钱塘县人。明朝政治人物。",[7,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb88edd4f750a277a6b7c5ba9d742932f.jpg",[],{"id":95586,"slug":95587,"title":95588,"dynasty":124,"author":95589,"museum":300,"description":95590,"tags":95591,"thumbUrl":95592,"material":692,"size":1293,"collection":84,"collections":95593,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240216,"zhi-wu-lv-shi-ye-lu-nan-240216","至五律诗页","陆南","陆深（1477年—1544年） 明代文学家、书法家。初名荣，字子渊，号俨山，南直隶松江府上海县（今上海市浦东新区）人。弘治十八年进士，授翰林院编修。遭刘瑾忌，改南京主事，瑾诛，复职，累官四川左布政使。嘉靖中，官至詹事府詹事。卒，赠礼部右侍郎，谥文裕。陆深书法遒劲有法，如铁画银钩。著述宏富，为明代上海人中绝无仅有。今上海市浦东新区陆家嘴地区也因其故宅和祖茔而得名。",[24,7,128,29,331,35,132,11448,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e1feaf2fd6f2a481a4a9c5a62b9f0e4.jpg",[],{"id":95595,"slug":95596,"title":89897,"dynasty":124,"author":95597,"museum":300,"description":95598,"tags":95599,"thumbUrl":95600,"material":692,"size":1293,"collection":84,"collections":95601,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240215,"qi-lv-shi-ye-yu-si-chong-240215","俞思冲","俞思冲（？－？），字似宗，號瞻白，浙江仁和（今杭州）人，明朝政治人物，同进士出身。",[7,64,133,27,59,5459,208,231,130,167,101,547,228,9404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F790455893bc2628a258f36ac5aea92a1.jpg",[],{"id":95603,"slug":95604,"title":50743,"dynasty":54,"author":29733,"museum":300,"description":29734,"tags":95605,"thumbUrl":95609,"material":692,"size":1293,"collection":84,"collections":95610,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240140,"shi-zhou-liang-ding-fen-240140",[7,64,133,165,128,208,14480,15636,95606,95607,95608],"秋港","龙眠","江左","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f7d3438dac72bf9bbf92d45e429618.jpg",[],{"id":95612,"slug":95613,"title":95614,"dynasty":54,"author":89995,"museum":300,"description":95615,"tags":95616,"thumbUrl":95617,"material":692,"size":1293,"collection":84,"collections":95618,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240131,"ti-song-ba-jia-shu-ba-ye-ceng-yu-240131","题宋八家书跋页","曾燠（yù 1759-1831），字庶蕃，一字宾谷，晚号西溪渔隐。江西南城人。官至贵州巡抚。清代中叶著名诗人、骈文名家、书画家和典籍选刻家，被誉为清代骈文八大家之一。",[7,64,133,611,128,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3f3a6f2d7aa737d647ccb6724a67b85.jpg",[],{"id":95620,"slug":95621,"title":69180,"dynasty":124,"author":95622,"museum":300,"description":95623,"tags":95624,"thumbUrl":95625,"material":692,"size":1293,"collection":84,"collections":95626,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240108,"shi-ye-mao-zhao-ru-240108","茅兆儒","字子鸿，号雪鸿，一作鸿雪，钱塘（今杭州）人。明少宰瓒曾孙。喜远游，工书、画，有东篱草堂诗钞。",[64,133,208,7,69180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffee4dea621599b6c1111ef88710cd0c7.jpg",[],{"id":95628,"slug":95629,"title":95630,"dynasty":124,"author":95631,"museum":300,"description":95632,"tags":95633,"thumbUrl":95634,"material":611,"size":84,"collection":318,"collections":95635,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240106,"ti-ba-ye-wang-yu-240106","题跋页","王璵","王璵（？—768），雍州咸陽（今陝西咸陽）人，唐朝大臣、宰相。少習禮學，博求祠祭儀注以干時。 東晉丞相王導後裔，五代祖王方慶是武周時期宰相。\n出身琅琊王氏。唐玄宗時，遷太常博士、侍御史。唐肅宗即位，累遷太常卿。乾元中，兼蒲州刺史，充蒲、同、絳等州節度使。中書令崔圓罷相，乃為中書侍郎、同中書門下平章事。歲餘，罷知政事，為刑部尚書。上元二年（761），兼揚州長史、御史大夫，充淮南節度使。肅宗南郊禮畢，充任使持節、都督越州諸軍事、越州刺史、浙江東道節度觀察處置使，本官兼御史大夫、祠祭使如故。入為太子少保，轉少師。唐代宗大曆三年（768）六月去世。",[24,7,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b0fa09a759945cb399e9cc52b07b448.jpg",[318],{"id":95637,"slug":95638,"title":95639,"dynasty":124,"author":95640,"museum":300,"description":95641,"tags":95642,"thumbUrl":95643,"material":692,"size":1293,"collection":84,"collections":95644,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240102,"xi-hua-ge-ye-lan-shen-240102","惜花歌页","蓝深","此作用笔灵动秀雅，牵丝映带间尽显行云流水之姿，墨色浓淡掩映，有着恰到好处的呼吸感。字势欹正相生，顾盼有情，似春日花枝摇曳，于端雅中藏着跳脱意趣。\n\n通篇行气连贯匀畅，将惜花的缱绻怜意融于笔底。点画凝练温润，不见过重雕琢，尽显文人随性洒落的风骨。排布疏密得宜，章法疏朗隽逸，诗意与书韵浑然相融，把惜春怜花的幽柔情思藏在流动的笔墨间，让观者品味笔墨清雅时，亦能共情诗中伤花的温柔心绪，是兼具笔墨意趣与文人情思的小品佳作。",[24,7,59,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7de81189a067e1c20cfe943433d159d6.jpg",[],{"id":95646,"slug":95647,"title":95648,"dynasty":54,"author":95649,"museum":300,"description":95650,"tags":95651,"thumbUrl":95652,"material":692,"size":1293,"collection":84,"collections":95653,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":4001},240070,"he-si-nong-shi-ye-yang-gao-lan-240070","贺四农诗页","杨皋兰","此作为诗书合璧的尺牍佳构，右侧行书率意苍秀，点画牵丝映带，气韵连贯畅达。结体欹正相生，将贺赠的真挚情谊寄寓于笔墨间，古意盎然。左侧小楷清劲端雅，笔画匀净工稳，排布齐整却暗蕴灵动姿态。\n\n通篇墨色浓淡合宜，朱印错落点缀，更添雅致意趣。笔墨兼具随性抒怀的洒脱与严谨端方的功底，尽显旧时文人酬唱的风雅襟怀，文情与笔韵交融，尽显传统尺牍书法的隽永韵味。",[304,7,64,133,208,59,611,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F139b304f39df19bc41115b3c7672ec2e.jpg",[],{"id":95655,"slug":95656,"title":50743,"dynasty":54,"author":95657,"museum":300,"description":95658,"tags":95659,"thumbUrl":95660,"material":611,"size":84,"collection":318,"collections":95661,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240059,"shi-zhou-zhu-dao-sun-240059","朱稻孙","朱稻孙 [清]（一六八二―一七六o）字稼翁，一字芋陂，号娱村，秀水（今浙江嘉兴）人。彝尊孙。乾隆元年（一七三六）举博学鸿词，官州判。少孤，其祖抚之。三世以能书名，而其书法不由家学，初由汪士鋐问津，后自取柳公权、米芾书，晨夕橅之，遂自成一家。小楷尤精，亦工八分小篆。晚景益贫，稍籍以自给。亦擅词章，妙言语。卒年七十九。",[7,64,165,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac2ed0a7fe8404d49ce018e05a43bfd0.jpg",[318],{"id":95663,"slug":95664,"title":50743,"dynasty":54,"author":95665,"museum":300,"description":95666,"tags":95667,"thumbUrl":95669,"material":611,"size":84,"collection":318,"collections":95670,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240042,"shi-zhou-wang-zhuan-240042","王撰","王撰，出生於1623年，卒於1709年，明末清初詩人、書畫家，婁東十子之一。字異公，一字大年，號隨庵、隨誾、隨老人、揖山居士、隨叟，蘇州府太倉（今屬江蘇）人。",[24,7,64,165,133,128,208,1515,10887,722,1556,663,228,9402,95668],"野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faee940409eea45388ae960c6bc4b1f2f.jpg",[318],{"id":95672,"slug":95673,"title":95674,"dynasty":54,"author":95675,"museum":300,"description":95676,"tags":95677,"thumbUrl":95678,"material":692,"size":1293,"collection":84,"collections":95679,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240019,"luo-yi-feng-chang-chun-tang-ji-juan-zhao-yu-zhong-240019","罗一峰常春堂记卷","赵御众","通篇以行书挥就，笔力苍劲老辣，线条欹正相生，牵丝映带间气脉贯通，章法疏朗却不失整饬。行笔疾缓自如，枯湿浓淡交织，墨色富于层次，将原文的文气与笔意相融。\n\n字字错落随性，通篇浑然一体，既有文人书法的萧散简远，又暗含雄健开张的筋骨。笔墨流转之间，将文中仁孝常驻、春日常存的意涵尽致抒发，尽显文人书法抒情写意的特质，是文辞与笔墨相得益彰的行书佳作。",[23,7,25,64,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F731f63aaf986ce2664e5e00f2e16f0e8.jpg",[],{"id":95681,"slug":95682,"title":95683,"dynasty":124,"author":95684,"museum":300,"description":95685,"tags":95686,"thumbUrl":95687,"material":692,"size":1293,"collection":84,"collections":95688,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240009,"zhang-bo-yu-shi-ba-ye-chen-kan-240009","张伯雨诗跋页","陈衎","明福建闽县人，字磐生。屡举不第。谙绘事，善画兰。好谈边事利害及将相大略。与徐熥、徐兄弟切磋为诗文。",[7,64,133,208,59,128,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2fa0236262d59b7150a3516fbe2c1ec.jpg",[],{"id":95690,"slug":95691,"title":95692,"dynasty":124,"author":95693,"museum":300,"description":95694,"tags":95695,"thumbUrl":95696,"material":692,"size":1293,"collection":84,"collections":95697,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240006,"zhi-si-ling-shi-he-cai-240006","致思龄诗","何采","何采是清代出生在安徽桐城的文人。他字敬舆，号醒斋，又号南磵，著有《让村集》、《南磵集》、《南磵词选》。",[7,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc63f83f906c20ced926e182c7ff0f4b2.jpg",[],{"id":95699,"slug":95700,"title":95701,"dynasty":124,"author":95702,"museum":300,"description":95703,"tags":95704,"thumbUrl":95705,"material":84,"size":84,"collection":318,"collections":95706,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},240004,"shi-zhong-er-shi-ye-jin-bi-zhai-240004","示忠儿诗页","金璧斋","此帧小楷温润秀雅，结体端稳舒展，笔势灵动全无板滞之感。起收可见晋唐小楷意韵，点画精劲饱满，牵丝映带间气脉贯通，尽显娴雅书卷之气。\n\n作为示儿手札，笔墨融着长辈期许，文辞恳切，笔墨温醇，将文人修身寄怀与书法雅意相融。既有法度谨严的帖学功底，又不失散淡风神，尺幅虽小却意趣悠长，尽显台阁体之外的文人抒情笔致，笔墨间尽显旧时代文人的温厚襟怀。",[805,64,133,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7be6d5470cb2f95415beeeeb13fc545a.jpg",[318],{"id":95708,"slug":95709,"title":95710,"dynasty":124,"author":95711,"museum":300,"description":95712,"tags":95713,"thumbUrl":95714,"material":84,"size":84,"collection":318,"collections":95715,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239998,"shu-zhi-weng-shi-ye-cheng-fang-chao-239998","书致□翁诗页","程芳朝","程芳朝（1611～1676），初名钰，字其相，号立庵。桐城人。清顺治四年（1647）中殿试一甲二名进士（榜眼），授国史院编修。著有《皇华草》、《中裕堂集》。\n程芳朝进士及第后，授内翰林秘书院编修。不久，迁秘书院修撰，从事译注《五经》事宜。程芳朝历官翰林国史院修撰、湖广提学道、湖广布政司右参议、詹事府左春坊左谕德等职。顺治九年，程芳朝以编修出任会试同考官。顺治十年，出任直隶学政。顺治十年六月，程芳朝提督顺天学政。不久，迁国史院侍讲学士。顺治十三年十一月，程芳朝为弘文院侍读学士，顺治十四年十月为少詹事兼侍讲学士。康熙三年，程芳朝以侍读学士充任赴安南正使。此间，程芳朝“宣畅德威，不抗不抑，临走时，远人争赋诗饯送。”而后，程芳朝任詹事府少詹事，升太常寺卿。深受康熙帝赏识，潘蜀藻称：“公（指程芳朝）尝奉宣于御前，伏几作大字。上嘉其端劲，方欲大用之。”寻还，康熙七年正月，程芳朝擢太常寺卿。官至太常寺卿。",[805,64,133,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91e4c9a4af51e63dce0a0e2307b75f85.jpg",[318],{"id":95717,"slug":95718,"title":95719,"dynasty":54,"author":95720,"museum":300,"description":95721,"tags":95722,"thumbUrl":95723,"material":692,"size":1293,"collection":84,"collections":95724,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239931,"zhi-lian-shang-shi-ye-hu-sen-239931","致莲裳诗页","胡森","此作为行书诗笺，笔法灵动秀逸，枯润得宜。起笔收锋皆循帖学法度，结体错落自然，兼具隽雅疏淡之姿。笔墨随着诗意起伏，将故友相逢又别离的缱绻心绪藏于笔锋起落间，字里行间浸透着文人间以诗寄怀的风雅。墨色浓淡渐变赋予作品韵律感，柔婉笔势呼应着诗句的怅惘温情，尽显旧时文人酬唱赠别的脉脉意趣，是兼具笔墨意趣与情志内涵的尺牍佳构。",[7,64,133,59,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d82fdcc0ad4f1380bf617561d343d2.jpg",[],{"id":95726,"slug":95727,"title":81447,"dynasty":124,"author":81448,"museum":300,"description":81449,"tags":95728,"thumbUrl":95729,"material":84,"size":84,"collection":84,"collections":95730,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239900,"ming-dai-ming-ren-shen-shi-xing-deng-mo-bao-yang-yi-qing-239900",[805,64,133,7,25,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7b1e9d204aa2df7a84f0b7533994e8a.jpg",[],{"id":95732,"slug":95733,"title":81447,"dynasty":124,"author":81448,"museum":300,"description":81449,"tags":95734,"thumbUrl":95736,"material":84,"size":84,"collection":84,"collections":95737,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239897,"ming-dai-ming-ren-shen-shi-xing-deng-mo-bao-yang-yi-qing-239897",[64,133,7,25,805,95735],"墨宝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1316aff9fa232c797852dae5ebbbe96.jpg",[],{"id":95739,"slug":95740,"title":50743,"dynasty":54,"author":95741,"museum":300,"description":95685,"tags":95742,"thumbUrl":95743,"material":692,"size":1293,"collection":84,"collections":95744,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239883,"shi-zhou-chen-yan-239883","陈衍",[24,7,165,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd5897346770def65c8939380796297f.jpg",[],{"id":95746,"slug":95747,"title":95748,"dynasty":124,"author":95749,"museum":300,"description":95750,"tags":95751,"thumbUrl":95752,"material":692,"size":1293,"collection":84,"collections":95753,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239878,"han-gong-chun-xiao-shi-zhou-shao-jie-chun-239878","汉宫春晓诗轴","邵捷春","邵捷春（？～1641），字肇复，号冶园，福建福州府候官县（今福建省福州市闽侯县）人，万历四十七年（公元1619年）进士，累官稽勋郎中。崇祯二年（公元1629年））出为四川右参政，迁浙江按察使，大计坐贬。起四川副使。十年（公元1637年），至成都，守城拒农民军。旋监傅宗龙军进右参政。再擢右佥都御史，代宗龙为巡抚。十三年（公元1640年）罗汝才、张献忠合兵攻蜀，失事被逮。次年（公元1641年）八月仰药死狱中。著有《剑津集》、《入蜀吟》。",[805,7,64,165,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feddb5779610f8429d27f9fe765f905bf.jpg",[],{"id":95755,"slug":95756,"title":95757,"dynasty":54,"author":223,"museum":300,"description":95758,"tags":95759,"thumbUrl":95760,"material":692,"size":1293,"collection":84,"collections":95761,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239865,"yu-ji-ci-ye-yi-ming-239865","余集词页","此对开册页，左幅行楷秀雅端稳，笔锋温润舒展，墨色匀净澄澈，自带清雅书卷意趣。右幅行书纵逸灵动，牵丝映带间尽显潇洒韵致，字势欹侧相生，将词作缱绻意蕴融于起落之间。朱红钤印鲜亮雅致，与墨色相互映衬，章法疏朗留白得当。整体笔墨清隽雅致，既有帖学妍秀之态，又暗含文人闲散襟怀，尽显传统尺牍小品的雅致风神，尽显清代文人书法的典型意韵。",[24,7,59,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b2e235c63adbd946576bb6337343ae9.jpg",[],{"id":95763,"slug":95764,"title":95765,"dynasty":54,"author":85325,"museum":300,"description":85326,"tags":95766,"thumbUrl":95767,"material":84,"size":84,"collection":318,"collections":95768,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239846,"yu-gong-fu-lun-shi-ye-dong-guo-hua-239846","与功甫论诗页",[7,64,133,208,59,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3251b412d3302e28de227656c61cc8ac.jpg",[318],{"id":95770,"slug":95771,"title":95772,"dynasty":54,"author":85325,"museum":300,"description":85326,"tags":95773,"thumbUrl":95774,"material":84,"size":84,"collection":318,"collections":95775,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239843,"bai-tao-hua-er-lv-zhi-gong-fu-ye-dong-guo-hua-239843","白桃花二律致功甫页",[133,64,7,24,59,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f1b6a8cefd16d365741d8fbc928c0e2.jpg",[318],{"id":95777,"slug":95778,"title":95779,"dynasty":54,"author":85325,"museum":300,"description":85326,"tags":95780,"thumbUrl":95781,"material":84,"size":84,"collection":318,"collections":95782,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239840,"ji-yu-ye-zuo-shi-feng-gong-fu-ye-dong-guo-hua-239840","积雨夜坐诗奉功甫页",[7,64,133,128,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a42215a63d6bfcee3c82d82ac321f3.jpg",[318],{"id":95784,"slug":95785,"title":95786,"dynasty":54,"author":85333,"museum":300,"description":85334,"tags":95787,"thumbUrl":95788,"material":84,"size":84,"collection":318,"collections":95789,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239836,"zhong-zhu-jiu-ci-ye-zhang-xiang-he-239836","种竹旧词页",[24,7,64,133,208,167,59,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb38fbab287eb035cfc1974607f1bfd7.jpg",[318],{"id":95791,"slug":95792,"title":95793,"dynasty":54,"author":95794,"museum":300,"description":95795,"tags":95796,"thumbUrl":95797,"material":84,"size":84,"collection":318,"collections":95798,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239830,"shi-zhi-gong-fu-ye-shen-tao-239830","诗致功甫页","沈涛","沈涛(约1792—1855)，原名尔岐，尔政，字西雍，号匏庐，浙江嘉兴人。\n沈涛幼有神童之称，曾从文字学家段玉裁游，先生生平专尚考订，兼嗜金石，著述精湛。与归安吴云最相契，赏鉴所获，辄绘图征诗唱和成帙。《论语》孔注之伪，自段茂堂发之，陈仲鱼昌言之，至先生乃设为五证，抉摘尽致，作《论语孔注辨伪》二卷。又作《说文古本考》十四卷，亦有根据，与妄以他书改本书者不同。其关于金石学之书，则有《常山贞石志》二十四卷。读书所得，加以考辨，有《铜熨斗斋随笔》八卷、《瑟榭丛谈》二卷、《交翠轩笔记》四卷。其余尚有《柴辟亭诗集》四卷，《十经斋文集》四卷，《匏庐诗话》三卷，并刊行。",[7,64,133,208,59,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0bb33778fb49f8ffad215aaf9db857f.jpg",[318],{"id":95800,"slug":95801,"title":95802,"dynasty":54,"author":85333,"museum":300,"description":85334,"tags":95803,"thumbUrl":95804,"material":84,"size":84,"collection":318,"collections":95805,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239827,"shi-cheng-gong-fu-ye-zhang-xiang-he-239827","诗呈功甫页",[7,64,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c61a1e12097c689556f7d9575ce787e.jpg",[318],{"id":95807,"slug":95808,"title":95809,"dynasty":54,"author":95810,"museum":300,"description":95811,"tags":95812,"thumbUrl":95813,"material":692,"size":1293,"collection":84,"collections":95814,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239814,"yang-zhou-si-shou-cheng-qiu-shui-ye-xu-xiong-fei-239814","扬州四首呈秋水页","徐熊飞","徐熊飞，字子宣，一字渭扬，号雪庐，浙江武康人，生于清高宗乾隆二十七年，卒于宣宗道光十五年，年七十四岁。代表作有《白鹄山房诗初集》。",[7,64,59,133,128,231,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1317f3c748de33ced59d8ec6706f6e0.jpg",[],{"id":95816,"slug":95817,"title":69180,"dynasty":124,"author":85139,"museum":300,"description":95818,"tags":95819,"thumbUrl":95820,"material":692,"size":1293,"collection":84,"collections":95821,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239806,"shi-ye-cai-yu-239806","蔡羽（？～1541），南直隶苏州府吴县（今属江苏）人，明代文学家、书法家、书法理论家，“吴门十才子”之一。字九逵，因居江苏吴县洞庭西山，自号林屋山人，又称左虚子、消夏居士。乡试十四次皆落第，由国子生授南京翰林孔目，好古文，师法先秦、两汉，自视甚高，所作洞庭诸记，欲与柳宗元争胜。善书法，长于楷、行，以秃笔取劲，姿尽骨全。",[64,7,133,128,208,59,372,4241,9404,27809],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d6bdda3dd939647568e24e984bb2be8.jpg",[],{"id":95823,"slug":95824,"title":95825,"dynasty":124,"author":95826,"museum":300,"description":95827,"tags":95828,"thumbUrl":95829,"material":84,"size":84,"collection":84,"collections":95830,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239792,"liu-xuan-chuan-ye-wang-jin-239792","刘铉传页","王进","此作用笔取法晋唐小楷，兼融赵孟頫秀雅温润之风。笔画匀净秀逸，起收提转皆循法度，点画顾盼有情，尽显端庄雅致的书卷意韵。\n通篇布局疏朗匀称，字距行距错落合宜，虽为小字长幅却无壅塞迫促之感，行气舒缓连贯，将尺牍文稿的日常意趣与书法美感相融无间。\n虽带有明代台阁体的工整端丽，却不囿于刻板，笔锋暗含灵动，撇捺舒展自在，可见书家深厚帖学功底。整体气息清和安雅，笔墨温润内敛，铺陈出文士娴静意态，是明代文人翰墨中实用与审美兼具的精致之作。",[7,59,572,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4101d265fe1d9cb4c60d5f8f821300a0.jpg",[],{"id":95832,"slug":95833,"title":95834,"dynasty":54,"author":95835,"museum":300,"description":95836,"tags":95837,"thumbUrl":95838,"material":692,"size":1293,"collection":84,"collections":95839,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},239769,"shu-hu-zi-zhou-zhang-yun-ting-239769","书虎字轴","张云亭","张云亭（生卒年不详），于道光二年壬午科(1822年) 通过层层考试最后高中武状元，为道光年间的第一位武状元。",[24,7,165,64,840,208,5490,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49f40d034214e744779fac56e8b31d99.jpg",[],{"id":95841,"slug":95842,"title":95843,"dynasty":54,"author":95844,"museum":300,"description":95845,"tags":95846,"thumbUrl":95847,"material":692,"size":1293,"collection":84,"collections":95848,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239757,"shu-wu-yan-shi-zhou-guo-qi-si-huan-239757","书五言诗轴","果齐斯欢","果齐斯欢（1768年－1828年，），字友三，一字益亭，谥文僖。满洲镶蓝旗人，清朝宗室。",[24,7,64,165,133,208,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F083e04a81535f125a7e79b4a9cb0df12.jpg",[],{"id":95850,"slug":95851,"title":95852,"dynasty":54,"author":72198,"museum":300,"description":72199,"tags":95853,"thumbUrl":95854,"material":692,"size":1293,"collection":84,"collections":95855,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},239744,"shu-hong-li-yan-shi-ce-wang-jie-239744","书弘历砚诗册",[64,59,572,208,27,9604,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd445e4bbaaf0502eaf070880549a5ac.jpg",[],{"id":95857,"slug":95858,"title":95859,"dynasty":124,"author":50744,"museum":300,"description":50924,"tags":95860,"thumbUrl":95861,"material":692,"size":1293,"collection":84,"collections":95862,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239739,"zhi-yi-du-zha-ni-yuan-lu-239739","致异度札",[7,64,133,6369,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb031992d068c3b45e9f7f4ceb42631.jpg",[],{"id":95864,"slug":95865,"title":95866,"dynasty":124,"author":223,"museum":300,"description":95867,"tags":95868,"thumbUrl":95869,"material":84,"size":84,"collection":84,"collections":95870,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239731,"zhang-zhou-wen-shi-chi-du-ce-wen-peng-zhi-yu-zhe-pu-tao-tie-yi-ming-239731","长洲文氏尺牍册-文彭致玉遮葡萄帖","这幅草书尺牍，行笔圆劲婉转，牵丝映带轻盈自然，字势错落揖让，通篇气息贯通浑融。墨色随运笔疾徐生出浓淡枯湿的层次，枯笔见筋骨，润墨显腴润，将日常尺牍的松弛随性与书法的文人意趣相融。无刻意的规整排布，每字皆随文思流转随性生发，尽显雅致风流，把寻常问候化作笔墨雅事，字里行间皆是书者的闲散襟怀与笔墨修养。",[805,7,64,59,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F025114b7ee1bb8bebb9d5ff501ce8123.jpg",[],{"id":95872,"slug":95873,"title":95874,"dynasty":54,"author":95875,"museum":300,"description":95876,"tags":95877,"thumbUrl":95878,"material":84,"size":84,"collection":84,"collections":95879,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},239716,"shu-hong-li-dan-han-xing-juan-xie-yong-239716","书弘历弹汗行卷","谢墉","此作用笔精整匀停，点画温润秀雅，尽显馆阁体庄重雍容的庙堂气象。结体舒展匀称，通篇行气贯通丝毫不滞，恪守森严法度，起收笔皆循程式，一笔一划工稳端方，无丝毫懈怠草率，尽显书写者深厚沉实的书学功底，是清代台阁书法的典型风貌写照。\n\n笔墨的恭谨肃穆，恰好契合文本尊崇郑重的基调，将馆阁书法“乌、方、光”的特点尽数展现，兼具文献价值与书法审美价值，是清代台阁书法中上乘的作品。",[304,572,25,64,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e99a8553a4aaf5e45389eb2330be458.jpg",[],{"id":95881,"slug":95882,"title":95883,"dynasty":54,"author":95884,"museum":300,"description":95885,"tags":95886,"thumbUrl":95887,"material":84,"size":84,"collection":84,"collections":95888,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239713,"shu-zong-shi-xun-ce-fei-chun-239713","书宗室训册","费淳","此作为清代馆阁体小楷的典范之作，笔致端凝秀雅，结体匀整工稳。通篇字字排布齐整如一，笔画起收有度，提按顿挫皆恪守法度，捺撇舒展沉稳，点画精致饱满，尽显庙堂正书的庄重气象。\n\n书写内容为宗室训诫，笔墨气韵与文本内核相得益彰，将规训的肃穆之意寄寓于规整形制之中，既体现出书写者精湛入微的控笔功力，也承载着清代正统书法的审美范式，是兼具实用功用与艺术价值的清代楷书精品。",[7,64,572,59,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F616b2a720163458c641cf7adb69a49c4.jpg",[],{"id":95890,"slug":95891,"title":95892,"dynasty":124,"author":2268,"museum":300,"description":95893,"tags":95894,"thumbUrl":95895,"material":84,"size":84,"collection":84,"collections":95896,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239652,"san-shi-zi-gao-juan-dong-qi-chang-239652","三世自诰卷","此卷行草笔致空灵淡宕，董其昌将晋人萧散风神融于笔墨间，提转顿挫皆见法度，线条瘦劲秀逸却暗含腴润，尽显其“以淡为宗”的书学旨趣。通卷布局疏朗匀净，朱红鉴藏印错落点缀，与墨色相互映衬，愈发显得清雅绝尘。\n\n书写时随心走笔，不刻意求工却气脉连贯，既有帖学的灵动姿致，又暗含碑意的沉稳，尽显一代帖学大家的从容气度，将文人书法的书卷气挥洒到极致。",[23,7,64,25,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F403e6de87886213ad2f8dd02c01133ad.jpg",[],{"id":95898,"slug":95899,"title":95900,"dynasty":18,"author":95901,"museum":300,"description":95902,"tags":95903,"thumbUrl":95904,"material":84,"size":84,"collection":318,"collections":95905,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239646,"zhan-yang-tie-yuan-xie-239646","詹仰帖","袁夑","祖父袁毂。生于宋高宗绍兴十四年，早年入读太学，淳熙年间进士及第，调任江阴尉。迁太学正，当时党禁兴起，因非议去职。后来历仕司封郎官，迁国子监祭酒。后为礼部侍郎，与权相史弥远争和议，被罢官回乡。\n袁燮博学，学者称其为“絜斋先生”。与舒磷、沈焕、杨简并称为“明州淳熙四先生”，为当时浙东四明学派的代表人物之一，曾主讲于城南书院，袁燮讲学，必启发诸生“反躬切己，忠信笃实”，“其教多以明心为言，盖有见于当时学者陷溺功利，沈锢词章，积重难返之势，必以提醒为要”。晚年起用，出知温州，进直学士，宋宁宗嘉定十七年卒，享寿八十一岁。奉祠以卒，谥正献。真德秀为他写行状[2]。著作《絜斋集》二十四卷、《絜斋后集》十三卷、《絜斋家塾书钞》、《絜斋毛诗经筵讲义》。后人袁士杰辑有《袁正献公遗文钞》。",[164,24,7,64,133,611,10762,1326,76388,4437,9910],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2aefae188247cd1e32c521cde295a68.jpg",[318],{"id":95907,"slug":95908,"title":34976,"dynasty":54,"author":872,"museum":20,"description":34977,"tags":95909,"thumbUrl":95910,"material":611,"size":34980,"collection":84,"collections":95911,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239601,"shi-san-zha-ce-zhu-da-239601",[7,59,133,840,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c034a73b8c5cedfe6cc3df562dcf1cd.jpg",[],{"id":95913,"slug":95914,"title":95915,"dynasty":124,"author":95916,"museum":20,"description":95917,"tags":95918,"thumbUrl":95919,"material":611,"size":84,"collection":318,"collections":95920,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239587,"zhi-shi-tie-ce-ye-liao-zhuang-239587","执事帖册页","廖庄","廖庄是明代官员，字安止，吉水人。《明史.列传第五十》载，他为人刚直，好面折人过，不拘小节。宣德五年中进士。明英宗初年，授刑科结事中。成化初年召为刑部左侍郎，逾年病死，赠尚书。",[7,64,133,4437,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f0c4d1166ec7361d8ecda715dfd614.jpg",[318],{"id":95922,"slug":95923,"title":74723,"dynasty":54,"author":74724,"museum":300,"description":95924,"tags":95925,"thumbUrl":95926,"material":692,"size":1293,"collection":84,"collections":95927,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239510,"lv-bi-shan-shui-ce-lv-bi-239510","此帧以淡墨晕染出空濛江色，冷月斜悬烟霭之间，远岸林树隐现于夜雾，晕化成淡墨虚影。一叶扁舟独行寒波之上，寥寥数笔便勾勒出秋夜江天清寂孤远之境。\n\n左侧行书题诗笔墨清隽，笔意疏朗萧散，诗画相映，将秋江夜航的岑寂萧疏铺陈开来。书画合璧，淡逸的文人意趣漫溢绢素，以极简构图烘托出幽远空寂的意境，尽显水墨淡远空灵的雅致格调，寄寓着文人幽淡出尘的襟怀。",[24,7,59,128,133,208,29,231,129,34,5323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a5bfd7945b6774a7dd7d2f5414d8e8d.jpg",[],{"id":95929,"slug":95930,"title":74723,"dynasty":54,"author":74724,"museum":300,"description":95931,"tags":95932,"thumbUrl":95933,"material":692,"size":1293,"collection":84,"collections":95934,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239505,"lv-bi-shan-shui-ce-lv-bi-239505","此页以淡墨晕空山秋境，危崖崔嵬，飞泉漱石而下，清溪蜿蜒穿林，溪畔杂木萧疏，山坳幽亭隐现，尽显空灵淡远之致。水墨皴擦轻柔秀润，山石简笔勾勒间，晕染出嶙峋质感；林木点染随性写意，带着萧散野逸的秋况。\n\n左侧题诗与画境相融，笔意清隽温雅，将山涧清秋的幽寂澄澈铺陈开来，诗画合璧尽显文人雅趣，藏着画者寄情林泉的幽怀，淡而不薄，简中见雅，悠悠秋意随墨色漫溢纸面。",[24,7,59,128,29,171,495,34,97,133,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2d06d232d5a2b7274b47e448ccffa36.jpg",[],{"id":95936,"slug":95937,"title":74723,"dynasty":54,"author":74724,"museum":300,"description":95938,"tags":95939,"thumbUrl":95940,"material":692,"size":1293,"collection":84,"collections":95941,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239503,"lv-bi-shan-shui-ce-lv-bi-239503","此页以淡墨绘就清秋山景，枯木错落尽染秋意，山道迤逦深入林峦，危崖之巅山寺凌然，远山以淡赭晕染，虚渺悠远，尽显清秋疏寂空阔之致。\n\n笔触简淡松灵，不事浓艳，以留白衬出山居清寂，尽显文人画简淡天真的意趣。左侧题诗与画境呼应，将山色秋光、归帆暮景的诗意融于画中，诗画相生，借秋山秋江之景，抒写出幽淡闲远的林下襟怀，淡而有味，简中见雅。",[24,7,59,128,29,98,99,34,131,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe069a21185246ef5077275e0b1b2878.jpg",[],{"id":95943,"slug":95944,"title":74723,"dynasty":54,"author":74724,"museum":300,"description":95945,"tags":95946,"thumbUrl":95947,"material":692,"size":1293,"collection":84,"collections":95948,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239502,"lv-bi-shan-shui-ce-lv-bi-239502","此页绘秋山幽寂之景，层峦间飞瀑垂落，汇作浅滩清流。坡岸枯木疏朗，茅舍掩映其间，远山以淡墨轻勾晕染，赭石点染崖身，晕出秋霜浸染的暖调苍寒意境。\n\n笔墨秀净松灵，以简淡皴擦写尽山石肌理，设色雅淡清润，秋意萧疏却无萧瑟之感，反倒透着幽居自适的静穆禅意。左侧题诗与画境呼应，诗书与绘事相得益彰，融文心与画意于尺幅之间，尽显文人山水的雅致意趣，将秋日山居的清寂闲逸铺陈尽致。",[24,7,59,27,29,132,133,208,131,495,34,1023,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc63d090155399c4b4a0af8f02be62a11.jpg",[],{"id":95950,"slug":95951,"title":74723,"dynasty":54,"author":74724,"museum":300,"description":95952,"tags":95953,"thumbUrl":95954,"material":692,"size":1293,"collection":84,"collections":95955,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239501,"lv-bi-shan-shui-ce-lv-bi-239501","此作以淡墨绘就冬日郊野，枯木虬枝错落清癯劲挺，村舍隐于林畔，远山危峰淡晕铺开，留白晕染出冷寂空濛的氛围。\n\n笔墨松秀淡润，枯木以渴笔勾勒皴擦，尽显苍劲之姿，山石简括皴点，不作繁饰。左配题诗与画境呼应，将萧索冬景糅进幽远文思，借清冷山水寄寓林下闲寂襟怀，简淡萧散间，尽显悠长文人画韵致。",[24,7,59,128,29,1337,171,415,97,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cd3435ba837e825cc8dbc38875a0c2f.jpg",[],{"id":95957,"slug":95958,"title":74723,"dynasty":54,"author":74724,"museum":300,"description":95959,"tags":95960,"thumbUrl":95961,"material":692,"size":1293,"collection":84,"collections":95962,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239500,"lv-bi-shan-shui-ce-lv-bi-239500","此帧绘江岸山居之景，近岸危崖苍松错落，山坳村居隐现，远江帆影浮沉于烟水间，淡墨晕染出空蒙悠远的江天色。画面笔墨秀雅清润，山石以干笔皴擦尽显朴拙质感，苍松虬劲古雅，设色柔和清淡。\n\n左页题诗与画境相得益彰，诗画合璧，将春日山居的幽寂清宁铺展尽致，把文人林泉高致寄于尺幅之间，尽显静穆萧散的隐逸之思，以画载情，尽显雅致意趣，是颇具韵味的诗画小品。",[24,7,59,128,132,29,34,131,129,415,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa968d303918aea8174df42cea756d2cb.jpg",[],{"id":95964,"slug":95965,"title":40253,"dynasty":54,"author":48763,"museum":300,"description":71916,"tags":95966,"thumbUrl":95967,"material":692,"size":1293,"collection":84,"collections":95968,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239495,"shan-shui-ce-7-shang-guan-zhou-239495",[24,7,59,128,29,331,130,208,1233],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3168a33bee646073528429983736270b.jpg",[],{"id":95970,"slug":95971,"title":95972,"dynasty":54,"author":48763,"museum":300,"description":71916,"tags":95973,"thumbUrl":95974,"material":692,"size":1293,"collection":84,"collections":95975,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239493,"shan-shui-ce-5-shang-guan-zhou-239493","山水册5",[24,7,59,128,132,29,171,34,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb045e6d49fa6f42150510c7d063e3d3d.jpg",[],{"id":95977,"slug":95978,"title":95979,"dynasty":54,"author":223,"museum":300,"description":95980,"tags":95981,"thumbUrl":95982,"material":692,"size":1293,"collection":84,"collections":95983,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239469,"qing-chu-shi-si-jia-shu-hua-ji-jin-ce-yong-quan-hua-hui-ce-ye-yi-ming-239469","清初十四家书画集锦册-永铨花卉册页","此作为诗画合璧的写意小品。左侧水墨花卉以淡墨晕染枝叶，浓墨勾勒叶廓，藤蔓婉转萦回，细小花苞点缀其间，寥寥数笔便将花草舒展之态尽显，留白疏朗空灵，将草木清隽之姿晕染得鲜活生动，尽显文人写意的简淡雅致。\n右侧行书笔意纵逸洒脱，墨色浓淡富于变化，诗文与花木景致相映成趣，诗画一体，尽显文人闲逸疏朗的意韵。笔墨间随性自然，将文人心思与花木雅态相融，尽显中式文人画的隽永情调。",[24,7,59,128,133,208,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16842948c94a059b0aa35e9928b4a4f0.jpg",[],{"id":95985,"slug":95986,"title":48113,"dynasty":54,"author":29662,"museum":300,"description":95987,"tags":95988,"thumbUrl":95989,"material":84,"size":84,"collection":84,"collections":95990,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239373,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239373","此作用淡墨晕开烟岚，远山如黛隐于薄雾，铺陈出空寂清远的山水层次。近景篱舍错落相依，古木虬曲伴小桥石径，隅角亭台隐在淡霭之中，处处漫着清和闲逸的诗意。\n\n笔意松秀简淡，以浅淡设色晕染出清润柔和的氛围，无浓艳雕琢，尽显文人画雅致格调。题跋书法秀逸与画面相映成趣，诗画相生，将载月闲居的雅趣融于山水间，把月夜郊居的静谧安然尽数铺陈，尽显中式水墨留白意趣，传递出悠游林泉、寄情山水的文人情致。",[24,7,59,27,128,132,29,97,34,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa891dbbe51a0cb41d51437aceb4f6bb5.jpg",[],{"id":95992,"slug":95993,"title":409,"dynasty":54,"author":55339,"museum":300,"description":95994,"tags":95995,"thumbUrl":95996,"material":84,"size":84,"collection":84,"collections":95997,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239351,"shan-shui-ce-lin-fu-chang-239351","此作近岸苍松挺劲，浓墨点簇松针，生机勃发，坡岸村居黛瓦素墙，隐于林间，晕开悠然乡居意趣。中景平湖如镜，淡墨晕出水汽朦胧之态，对岸林木错落，色墨交织层次明晰。远景危峰高耸，枯笔勾勒皴擦山石，敷以浅赭淡青，兼具厚重质感与清逸气韵。\n\n右上角题字落款，笔墨相映，融诗画为一体。全幅章法疏密得当，以淡彩浅墨营造出清旷淡远的山居雅境，笔致秀润雅致，尽显传统文人山水的写意风神，漫溢出平和冲淡的隐逸意趣。",[164,24,7,59,27,128,132,29,1144,35,131,34,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faead99b79c601ad5ccfc1e361a07e6f9.jpg",[],{"id":95999,"slug":96000,"title":409,"dynasty":54,"author":55339,"museum":300,"description":96001,"tags":96002,"thumbUrl":96003,"material":84,"size":84,"collection":84,"collections":96004,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239345,"shan-shui-ce-lin-fu-chang-239345","此帧以水墨写意摹黄鹤山人笔意，绘就江岸山居之景。危崖层叠而上，古松虬枝蟠曲、针叶郁苍，崖下临江水榭错落，随波漾出闲静意趣。右侧半山楼阁崔嵬，山道蜿蜒隐于林木间，远山晕在烟霭之中，淡如浅黛。\n作者以干湿互用的墨色皴擦山石，苍润兼具。笔致松灵秀逸，淡墨晕染烟岚，虚实相生间晕出空濛淡远的诗意，将萧散简远的元人山水意趣融于尺幅，把林泉高致的隐逸氛围烘托得恰到好处，尽显文人水墨的雅致淡远。",[24,7,59,128,132,29,97,34,131,415,5323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd10bfe30e11280413a72d3a3add57576.jpg",[],{"id":96006,"slug":96007,"title":409,"dynasty":54,"author":17240,"museum":300,"description":26583,"tags":96008,"thumbUrl":96009,"material":692,"size":1293,"collection":84,"collections":96010,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239333,"shan-shui-ce-cha-shi-biao-239333",[24,7,59,128,29,171,37,132,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92a22c129bceea4111e69815da2ba08d.jpg",[],{"id":96012,"slug":96013,"title":409,"dynasty":54,"author":17240,"museum":300,"description":26583,"tags":96014,"thumbUrl":96015,"material":692,"size":1293,"collection":84,"collections":96016,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239331,"shan-shui-ce-cha-shi-biao-239331",[24,7,59,128,133,208,29,129,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac2308f35b1ad871849bf2c6e8c0d1dc.jpg",[],{"id":96018,"slug":96019,"title":409,"dynasty":54,"author":17240,"museum":300,"description":26583,"tags":96020,"thumbUrl":96021,"material":692,"size":1293,"collection":84,"collections":96022,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239329,"shan-shui-ce-cha-shi-biao-239329",[24,7,59,128,133,208,132,29,413,1314,276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a9b7532bf38467f3202f625fd982d01.jpg",[],{"id":96024,"slug":96025,"title":409,"dynasty":54,"author":17240,"museum":300,"description":26583,"tags":96026,"thumbUrl":96027,"material":692,"size":1293,"collection":84,"collections":96028,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239326,"shan-shui-ce-cha-shi-biao-239326",[24,7,59,128,133,29,331,98,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26623af81f0f6e9ae6d3a70d6dda7d3c.jpg",[],{"id":96030,"slug":96031,"title":62758,"dynasty":54,"author":223,"museum":300,"description":96032,"tags":96033,"thumbUrl":96034,"material":84,"size":84,"collection":84,"collections":96035,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239281,"hou-qi-zhi-hua-hua-niao-ce-yi-ming-239281","此作用指为笔，意趣朴拙天然。枯槎疏花之间，两羽禽鸟意态悠然：一伫高枝远眺，似聆风观云，一栖细梢敛羽，若梳翎小憩。淡墨晕染枝梢花叶，朴拙中带着柔润的晕化质感，淡赭轻点花蕊，晕开几分春日暖意。\n\n左侧题字笔致苍劲率意，与画面的闲散清雅相映成趣，文思画意浑然相融。全幅布局疏朗空灵，以极简笔墨勾勒幽寂小景，将禽鸟灵动与花木清逸融为一体，无需浓妆艳饰，自带着林下澹澹雅致，尽显写意花鸟以简驭繁的妙趣，把春梢间的闲散生机晕染得恰到好处。",[24,7,59,29104,128,61,355,547,2438,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F414e4c7fb2977267e4983bc7598b9ecb.jpg",[],{"id":96037,"slug":96038,"title":49450,"dynasty":124,"author":49451,"museum":300,"description":96039,"tags":96040,"thumbUrl":96041,"material":692,"size":1293,"collection":84,"collections":96042,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239269,"shu-hua-tu-ce-cheng-min-239269","这幅墨竹小品以极简构局见长，下笔纵逸老辣。以浓墨挥写竹叶，长短错落聚散合宜，叶尖锋芒尽显，寥寥数笔便将竹之清刚劲挺勾勒尽致，枝叶向上舒展，自带孤傲萧散之姿。\n\n画面留白盈满，以虚衬实，愈发衬出竹的疏朗风神，尽显文人画重韵尚简的意趣。角落朱印一点，于素朴墨色中提亮画面，平衡构图，更添雅致古意。纯以水墨写竹，以书入画，笔墨间饱含脱俗的文人风骨，藏着画者寄情修竹、追慕高洁的心境，是极具意韵的小品佳构。",[24,7,59,128,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec64f77f80f00f73e4d038bea57dc03b.jpg",[],{"id":96044,"slug":96045,"title":49450,"dynasty":124,"author":49451,"museum":300,"description":96046,"tags":96047,"thumbUrl":96048,"material":692,"size":1293,"collection":84,"collections":96049,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239262,"shu-hua-tu-ce-cheng-min-239262","此作为文人写意小品，以淡墨挥写崖壁，斧劈皴法带出山石硬朗棱角，古松枝干蟠曲如游龙，浓墨点染松针，枯湿浓淡相生尽显古松的苍拙遒劲。\n\n崖畔幽人孑然而立，仅以寥寥数笔勾勒出萧散出尘之态，画面留白铺陈开山岚空寂，将天地寥廓与林下幽思融为一体，寥寥笔墨写尽文人寄情丘壑、超逸出俗的襟怀，淡远清寂的意境扑面而来，是以少胜多的水墨佳构。",[24,7,59,128,331,131,96,208,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00925f199caa109049e835c3d25a86b7.jpg",[],{"id":96051,"slug":96052,"title":58961,"dynasty":54,"author":58962,"museum":300,"description":96053,"tags":96054,"thumbUrl":96055,"material":84,"size":84,"collection":84,"collections":96056,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239234,"hui-shi-ce-hu-zhen-kai-239234","淡赭与花青晕染湖石，勾画出嶙峋通透的身姿，石间以朱红点苔，在素雅底色里晕开鲜活意趣。笔致清简空灵，寥寥数笔尽显湖石瘦透漏皱之美，勾勒出赏石的古雅况味。\n\n右侧长款题跋诗书合璧，将品石心境落于纸面，以画寄情，把文人耽爱林泉的雅趣融于尺幅之中，苍润雅致间尽显悠游物外的审美意趣，是文人小品里的精妙之作。",[24,7,59,128,27,171,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb65259690ca30f74487b899e3fba2c4b.jpg",[],{"id":96058,"slug":96059,"title":58961,"dynasty":54,"author":58962,"museum":300,"description":96060,"tags":96061,"thumbUrl":96062,"material":84,"size":84,"collection":84,"collections":96063,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239232,"hui-shi-ce-hu-zhen-kai-239232","此作用淡墨晕染铺陈，浓墨勾勒皴擦，将湖石玲珑奇崛之态尽显。石身孔洞宛转通透，瘦、漏、透、皱的赏石之美跃然纸上，笔墨简淡却意趣悠长。一旁题字与绘石相映，文气雅致悠然，尽显文人藏石赏石的清雅意趣。整幅画作脱略形似，重在传神，以简约笔墨托物寄情，将传统文人画的淡远清隽意境娓娓道来，把对湖石的赏爱融入笔底，平淡天真间自有沉静雅致的韵味。",[24,7,59,128,132,208,171,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d52b238e2ec787e1d8bafc689c74e08.jpg",[],{"id":96065,"slug":96066,"title":58961,"dynasty":54,"author":58962,"museum":300,"description":96067,"tags":96068,"thumbUrl":96069,"material":84,"size":84,"collection":84,"collections":96070,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239230,"hui-shi-ce-hu-zhen-kai-239230","画面绘两方湖石，青褐者嶙峋多孔，瘦透兼具，冷峻古拙，宛若天工裁出的冷峭奇峰；枯黄石肌理苍劲如老根盘曲，皴擦出饱经风霜的质感。二者形态反差强烈却呼应成趣，尽显案头灵石的清奇风骨。\n\n右上角行书题跋笔意隽秀，以诗文衬石，将湖石比作山岳双雄，点出其神理气势，诗画相映，把文人爱石藏石的雅趣融于方寸。设色淡雅克制，以淡墨晕染皴擦，勾勒出灵石肌理，尽显小品画的雅致意趣，藏丘壑于尺幅之间。",[24,7,59,27,171,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e32babb52285568aaf3b92412d2acfe.jpg",[],{"id":96072,"slug":96073,"title":57064,"dynasty":54,"author":33617,"museum":300,"description":96074,"tags":96075,"thumbUrl":96076,"material":84,"size":84,"collection":84,"collections":96077,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239197,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239197","此帧以枯淡水墨绘就山林胜景，层峦错落雄峙，云气在山谷溪涧间蜿蜒漫溢，将峰石晕染出空濛悠远之态。山脚林木错落，以简括笔触点染，苍朴古雅。\n画面左侧题字笔意萧散简劲，书画合璧，尽显幽寂襟怀。整幅笔墨疏淡清旷，不事雕琢，以极简皴擦勾勒写尽丘壑意趣，淡墨间漾着静穆出尘的隐逸之思，藏着寄迹林泉的清冷孤高。",[24,7,59,128,132,133,208,29,413,950,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f25b6bf35c3adb10577e662e851804d.jpg",[],{"id":96079,"slug":96080,"title":58971,"dynasty":54,"author":38236,"museum":300,"description":38237,"tags":96081,"thumbUrl":96082,"material":692,"size":1293,"collection":84,"collections":96083,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239184,"hua-hui-ren-wu-ce-chen-zi-239184",[24,7,59,27,96,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4ecb082f372bf09dc6ec4e0074b5028.jpg",[],{"id":96085,"slug":96086,"title":58971,"dynasty":54,"author":38236,"museum":300,"description":38237,"tags":96087,"thumbUrl":96088,"material":692,"size":1293,"collection":84,"collections":96089,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239178,"hua-hui-ren-wu-ce-chen-zi-239178",[24,7,59,27,28,62,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d45f63542aa9c4a1df612ea3bd2eeaa.jpg",[],{"id":96091,"slug":96092,"title":58971,"dynasty":54,"author":38236,"museum":300,"description":38237,"tags":96093,"thumbUrl":96094,"material":692,"size":1293,"collection":84,"collections":96095,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239175,"hua-hui-ren-wu-ce-chen-zi-239175",[24,7,59,28,27,133,208,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f1fa3a52f172cb11f8046d929517a2b.jpg",[],{"id":96097,"slug":96098,"title":1289,"dynasty":54,"author":24258,"museum":300,"description":36452,"tags":96099,"thumbUrl":96101,"material":692,"size":1293,"collection":84,"collections":96102,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239157,"shan-shui-hua-hui-ce-chen-heng-ke-239157",[24,7,59,128,133,167,35,415,96100],"沙地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F773e1713308ebeb08b3d2243dfe369f8.jpg",[],{"id":96104,"slug":96105,"title":96106,"dynasty":54,"author":14022,"museum":300,"description":96107,"tags":96108,"thumbUrl":96109,"material":84,"size":84,"collection":84,"collections":96110,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239103,"hua-hui-ce-12-yu-sheng-239103","花卉册12","余省（1736年—1795年），字曾三，号鲁亭，江苏常熟人，余珣之子，清代著名画家。曾受业于蒋廷锡。乾隆（1736—1795）时与唐岱、周鲲同祗候内廷，善花鸟、虫鱼、翎毛，间亦参用西法，赋色妍丽，尤善画蝶，工兰竹水仙，所作叠邀高宗睿题，藏于石渠宝笈。",[7,24,59,133,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250c588bb107c071c878bc89508ebc8f.jpg",[],{"id":96112,"slug":96113,"title":409,"dynasty":54,"author":96114,"museum":300,"description":96115,"tags":96116,"thumbUrl":96117,"material":84,"size":84,"collection":84,"collections":96118,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},239041,"shan-shui-ce-wu-lin-239041","吴麐","此作取景疏空灵透，远山以淡墨轻勾慢染，笔致简括却见层峦起伏，留白代云气，将山峦虚实衔连，晕染出空濛悠远的烟岚之态。近岸苍松错落，干枝挺拔苍劲、松针攒簇有致，坡石以短皴带染，拙朴厚重间不失温润质感。左侧题字朱印与画面相映成趣，诗画合璧尽显文人雅韵。全幅以水墨写意，不施重彩，却将江南山水的清寂淡远融于尺幅，以极简笔情墨韵传递出林泉高致的幽寂心境，尽显文人山水画的空灵意趣。",[24,7,59,128,132,29,413,663,171,16370],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd76dc3dbada10613fbee6ad216f6da18.jpg",[],{"id":96120,"slug":96121,"title":96122,"dynasty":54,"author":48145,"museum":300,"description":96123,"tags":96124,"thumbUrl":96125,"material":84,"size":84,"collection":84,"collections":96126,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238981,"shan-shui-ce-fang-wu-zhong-gui-bing-shu-shi-tian-ju-wang-chen-238981","山水册－仿吴仲圭并书石田句","此作以浅绛绘就林泉之景，近崖峻拔，草木翳然，山道逶迤通幽；山坳村居隐于松荫，朴拙静谧。干笔勾勒山石骨相，披麻皴晕染肌理，淡赭轻敷，色调清润柔和，尽显元人萧散简淡的意趣。\n\n题诗与画境交融，将幽寂的山居意韵娓娓道来。笔意苍秀古拙，不尚雕琢，以极简的笔墨写尽林泉高致，把隐逸的山居之思融于尺幅间，平淡之中自见隽永风神，尽显文人山水的写意雅趣。",[24,7,59,128,132,330,133,208,29,131,34,35,415,3427,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53da4dccb0bb03892a40748465207366.jpg",[],{"id":96128,"slug":96129,"title":96130,"dynasty":54,"author":48145,"museum":300,"description":96131,"tags":96132,"thumbUrl":96133,"material":84,"size":84,"collection":84,"collections":96134,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238978,"shan-shui-ce-fang-xu-you-wen-bi-wang-chen-238978","山水册－仿徐幼文笔","此作以淡墨轻皴铺陈江天暮色，远山以赭色晕染，澹宕空濛如笼薄纱。坡岸杂木萧疏，苇草萋萋随风偃仰，笔意苍秀兼济，于枯淡中藏润泽之致。\n\n江心一舟横陈，渔翁独卧，似随波忘机。整幅以简驭繁，删去细碎雕琢，尽显空寂清寒的林下之致，将幽人寄兴烟水的襟怀尽付笔端，仿古而不泥古，以松动的笔墨晕染出江天旷远、物我两谐的淡远意境。",[24,7,59,128,132,330,29,129,34,131,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45f566d03243197f67b928c3e8983a5b.jpg",[],{"id":96136,"slug":96137,"title":96138,"dynasty":54,"author":48145,"museum":300,"description":96139,"tags":96140,"thumbUrl":96141,"material":84,"size":84,"collection":84,"collections":96142,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238977,"shan-shui-ce-wei-zhu-ze-min-wang-chen-238977","山水册－囗朱泽民","此作用淡墨干皴层层晕染，以平远构图铺陈丘壑。左岸古木姿态苍古，枝叶简括却见生拙意趣；右方危崖高耸，留白透气尽显空濛。汀洲茅舍孑立水畔，萧散清寂。\n\n画面配题小诗，将晚峰云影、水亭幽怀相融，以元代逸笔写胸中丘壑，笔墨松秀简淡，脱去甜熟，尽显苍润生拙。整体意境空濛淡远，将幽人林下独处的静穆心境藏于尺幅之中，尽显清逸萧疏的林下雅风，淡去匠气，只留简淡静穆的文人雅韵。",[24,7,59,128,132,29,413,131,130,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7879ad72df17bfc8c9be3231cc5125f2.jpg",[],{"id":96144,"slug":96145,"title":96146,"dynasty":54,"author":48145,"museum":300,"description":96147,"tags":96148,"thumbUrl":96149,"material":84,"size":84,"collection":84,"collections":96150,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238974,"shan-shui-ce-fang-huang-rong-lao-ren-bi-yi-wang-chen-238974","山水册－仿黄荣老人笔意","此作用笔松秀苍润，以干淡笔墨写就水村山景。近岸怪石崚嶒，古松虬曲横斜，枝叶简括见风骨，临水村居错落，木构茅舍自带野逸之趣。远景平峦迤逦，淡墨晕染出空濛烟岚，水天一色间尽显清寂淡和。\n整幅画以仿古笔法写胸中丘壑，萧散简远，将江南水乡的闲静之致藏于笔墨间，淡岚轻霭里漫溢出幽居林下的雅逸意趣，不见繁复刻画，却在简淡之中尽显沉静安然的文人画意境。",[24,7,59,128,132,330,29,1144,131,35,415,7509,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e913300ffb58dfa0c5f22d17733740c.jpg",[],{"id":96152,"slug":96153,"title":96154,"dynasty":54,"author":223,"museum":300,"description":96155,"tags":96156,"thumbUrl":96157,"material":692,"size":1293,"collection":84,"collections":96158,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238959,"jiang-cheng-tu-ye-yi-ming-238959","江城图页","画面左幅行书题跋墨色沉凝苍劲，笔意古雅疏朗，与右幅设色景致相映成趣。\n\n画中楼阁飞檐层叠，倚着城堞静立，褐调绢底晕染出暮霭沉沉的江天色，烟波里扁舟缓行，将羁旅的澹澹清愁揉进浩渺水色。楼宇工细规整，檐角斗拱分毫毕现，江雾却晕染得空灵柔润，二者疏密动静相互映衬，把江南水岸日暮时分的悠远诗意，尽数藏进绢素之中，文思与画境相融，尽显古典山水的雅致沉静。",[24,7,95,27,133,97,29,129,34,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79fe66867c2896b86ff04a4b85e418ef.jpg",[],{"id":96160,"slug":96161,"title":42420,"dynasty":54,"author":223,"museum":300,"description":96162,"tags":96163,"thumbUrl":96164,"material":692,"size":1293,"collection":84,"collections":96165,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238916,"qing-ren-ju-pu-ce-yi-ming-238916","此作以没骨法绘秋菊，水色晕染枝叶，苍绿深浅变化间，叶片向背姿态自然鲜活，藤蔓蜿蜒舒展，裹挟着清秋野趣。金蕊细丝披散舒展，如流金缕络，纤细笔触将花姿勾勒得灵动宛然，宛若蝶翼轻颤欲飞。\n\n画面留白清寂疏朗，右侧题笺点明花名，整体雅致秀润，摒弃浓艳堆砌，只以轻色淡墨晕染出秋菊疏淡高洁的韵致。笔底暗合文人案头清赏的雅趣，淡而有味，于细微处尽显花卉写生的传神之妙，将秋菊的清逸风骨藏在浅淡晕染中，意趣悠长。",[24,7,59,27,28,61,376,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b4710be9c93c0cd4a38f041f0aee724.jpg",[],{"id":96167,"slug":96168,"title":42420,"dynasty":54,"author":223,"museum":300,"description":96169,"tags":96170,"thumbUrl":96171,"material":692,"size":1293,"collection":84,"collections":96172,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238913,"qing-ren-ju-pu-ce-yi-ming-238913","此作以淡彩工笔绘秋菊，两朵粉菊一仰一俯，顾盼生姿。花瓣层叠舒展，丝缕细腻柔婉，将菊的娇妍风骨尽现。叶片晕染深浅绿意，皴描出脉络纹理，鲜活灵动。\n\n画面留白疏朗，素净纸面衬得花姿愈显清雅，侧边题字添了古雅文趣。整体设色浅淡雅致，无浓艳雕琢，笔触细腻柔和，以清浅色彩勾勒描摹，尽显中式花鸟的含蓄悠然，将秋菊高洁柔美的姿态定格，带着平和清隽的古典意韵。",[24,7,59,28,27,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9965bfc01629cc774a87fc169c10a017.jpg",[],{"id":96174,"slug":96175,"title":42420,"dynasty":54,"author":223,"museum":300,"description":96176,"tags":96177,"thumbUrl":96178,"material":692,"size":1293,"collection":84,"collections":96179,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238912,"qing-ren-ju-pu-ce-yi-ming-238912","此作留白疏朗雅致，将秋菊神韵尽显纸上。主花灼灼盛放，胭脂色花瓣舒展如缕，由深至浅晕染自然，层次丰盈柔美，将丝瓣卷曲灵动之态勾勒入微。侧枝小花含苞半绽，嫩蕊轻藏，搭配深浅不一的翠色叶片，筋脉清晰细腻，花叶俯仰生姿，尽显秋菊柔而不弱的清隽风骨。右上角题字清雅端方，与花色相衬，融笔墨意趣于花木之间。整幅笔致工细秀润，无多余修饰，却将秋菊的傲然姿容晕染得淋漓尽致，带着中式花鸟独有的淡远悠然，尽显小品画作的雅致意趣。",[24,7,59,27,28,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F362504d459204ad5b93b73aa1f1228c2.jpg",[],{"id":96181,"slug":96182,"title":55362,"dynasty":54,"author":646,"museum":300,"description":96183,"tags":96184,"thumbUrl":96185,"material":84,"size":84,"collection":84,"collections":96186,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238907,"fang-song-yuan-shan-shui-ce-dong-gao-238907","此作取冬日平远山居小景，近岸茅舍依水而立，有人凭窗凝睇汀渚烟水。枯木寒林错杂丛生，枝桠劲挺如铁，衬出萧疏冬意。山石皴擦细密松秀，尽得苍厚古拙之趣，远山以淡墨晕染，轻岚浮动间层叠延展，清润空灵。\n笔墨干湿相宜，设色淡和雅致，将冬日山乡幽寂淡远的氛围铺陈开来。尺幅之间藏林泉之趣，把文人寄情丘壑、静享闲逸的意趣融于烟水林木间，意境清远淡寂，韵致悠然。",[24,7,59,330,128,27,132,29,1233,331,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faad5f1dd521de68e2f6010f28f477749.jpg",[],{"id":96188,"slug":96189,"title":55362,"dynasty":54,"author":646,"museum":300,"description":96190,"tags":96191,"thumbUrl":96192,"material":84,"size":84,"collection":84,"collections":96193,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238903,"fang-song-yuan-shan-shui-ce-dong-gao-238903","此作用笔松灵苍秀，干湿墨色交织晕染。近岸危崖嶙峋，皴笔厚重写尽山石肌理，崖间山居幽藏，野意自生。坡脚草木清润，托显出丘壑生机。中江帆影孤悬，破水而来，漾开静穆氛围。远景山峦以淡墨晕化，烟岚轻笼，虚实相生间铺展出空濛悠远的水岸意境。整幅兼具丘壑之实与笔墨之疏，将林泉幽居的隐逸意趣融于咫尺尺幅，静雅淡宕，尽显山水间闲逸萧散的文人雅怀。",[24,7,59,128,132,330,29,129,131,34,387,414,211,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dfc9b5c60b7a1422617e100905f6539.jpg",[],{"id":96195,"slug":96196,"title":31930,"dynasty":54,"author":223,"museum":300,"description":96197,"tags":96198,"thumbUrl":96203,"material":692,"size":1293,"collection":84,"collections":96204,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},238879,"qing-ren-shan-ba-la-wang-pu-sa-xiang-zhou-yi-ming-238879","此作以工笔重彩铺陈，主尊神态慈悲和煦，锦袍纹饰华美繁复，尽显华贵庄严。画面层次分明：左上护法金刚怒目威严，震慑四方；右上修行上师安坐观想，静谧安然。下方侍从躬身供奉，亭台楼宇错落于祥云花海之间，雪域灵峰为衬，将护法、修行与世俗供养融于一境。\n设色浓艳饱和，朱砂、石青描金交织碰撞，勾勒线条精细入微，既保有宗教绘画的神圣肃穆，又兼具精妙审美意趣，藏地画师的配色巧思与线条功力尽显其中，将信仰图景凝为可视的庄严圣境，是极具代表性的藏传佛教绘画精品。",[24,7,187,31937,28,27,53345,96,4204,96199,96200,7070,97,189,62,29,96201,96202],"护法金刚","上师","华贵庄严","神圣肃穆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f9925b45222d4b23f1024a70148670a.jpg",[],{"id":96206,"slug":96207,"title":62807,"dynasty":54,"author":62808,"museum":300,"description":62809,"tags":96208,"thumbUrl":96209,"material":692,"size":1293,"collection":84,"collections":96210,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238861,"hui-yi-xiang-zheng-feng-tu-ce-qian-ru-cheng-238861",[24,7,59,27,28,169,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cf38fe8b33691cb1b0d726b5ee95f79.jpg",[],{"id":96212,"slug":96213,"title":62807,"dynasty":54,"author":62808,"museum":300,"description":62809,"tags":96214,"thumbUrl":96215,"material":692,"size":1293,"collection":84,"collections":96216,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238860,"hui-yi-xiang-zheng-feng-tu-ce-qian-ru-cheng-238860",[24,7,59,27,28,64,34836,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6aa987726889a253bbf2ea959cb714d.jpg",[],{"id":96218,"slug":96219,"title":62807,"dynasty":54,"author":62808,"museum":300,"description":62809,"tags":96220,"thumbUrl":96221,"material":692,"size":1293,"collection":84,"collections":96222,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238859,"hui-yi-xiang-zheng-feng-tu-ce-qian-ru-cheng-238859",[24,7,59,27,28,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b7b11d1edfd0d0f4f614fe843dde6e.jpg",[],{"id":96224,"slug":96225,"title":62807,"dynasty":54,"author":62808,"museum":300,"description":62809,"tags":96226,"thumbUrl":96227,"material":692,"size":1293,"collection":84,"collections":96228,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":199},238858,"hui-yi-xiang-zheng-feng-tu-ce-qian-ru-cheng-238858",[24,7,59,27,28,34836,83731,57836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5188f5cf8140a3b8c72ff962ef6b2462.jpg",[],{"id":96230,"slug":96231,"title":62807,"dynasty":54,"author":62808,"museum":300,"description":62809,"tags":96232,"thumbUrl":96233,"material":692,"size":1293,"collection":84,"collections":96234,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":199},238857,"hui-yi-xiang-zheng-feng-tu-ce-qian-ru-cheng-238857",[24,7,59,27,28,34836,64,133,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28c717c3e59ce82b02e3caa12062aa2b.jpg",[],{"id":96236,"slug":96237,"title":62807,"dynasty":54,"author":62808,"museum":300,"description":62809,"tags":96238,"thumbUrl":96239,"material":692,"size":1293,"collection":84,"collections":96240,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":199},238856,"hui-yi-xiang-zheng-feng-tu-ce-qian-ru-cheng-238856",[24,7,59,27,28,169,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda2063f1299ea532ddbe0eab94627810.jpg",[],{"id":96242,"slug":96243,"title":96244,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":96245,"thumbUrl":96254,"material":84,"size":84,"collection":84,"collections":96255,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238846,"hua-gui-yu-ji-dian-tu-ce-dong-gao-238846","画归余纪典图册",[24,7,59,27,95,29,97,130,34,98,96,96246,96247,96248,96249,96250,96251,20154,96252,96253],"远景山峦","近景建筑","树木丛生","传统设色技法","清代绘画风格","园林式建筑","工笔兼写意","自然景观与人文建筑结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F194cd5e3a655d7cb80f4c2115c4fd35a.jpg",[],{"id":96257,"slug":96258,"title":96244,"dynasty":54,"author":646,"museum":300,"description":96259,"tags":96260,"thumbUrl":96261,"material":84,"size":84,"collection":84,"collections":96262,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238836,"hua-gui-yu-ji-dian-tu-ce-dong-gao-238836","此作为淡设色山水小品，以平远铺陈画面，绘就冬日村居图景。上部篱舍隐于疏木间，枯桠错落留白衬出清寂冬意，尽显郊野幽宁；下部板桥连缀村舍，有人凭栏闲立，晕染出淡逸烟火温情。\n\n笔墨秀润简约，未作繁复皴染，以清简笔触勾勒江南村居萧散之态。诗书画印相映成趣，题跋朱印错落排布，融文人意趣于尺幅之间，将文人士大夫寄情林泉、安享幽居的雅怀尽显，淡远清和，意韵悠长。",[24,7,59,27,29,34,35,131,208,130,96,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1256d995992177aee2c5fa2a6f708cb4.jpg",[],{"id":96264,"slug":96265,"title":46632,"dynasty":54,"author":23303,"museum":300,"description":96266,"tags":96267,"thumbUrl":96268,"material":84,"size":84,"collection":84,"collections":96269,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238758,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238758","此作用淡墨轻皴出一派安闲的郊野军帐图景。错落营帐旌旗垂落，不见剑拔弩张的肃杀，只余下戍边日常的松弛静穆。几株垂柳柔枝舒展，墨色晕染出枝叶苍润之态，衬出郊野空阔疏朗。帐前军士垂手静立，牵马小卒徐行缓动，寥寥数笔便将人物神态勾勒尽致。\n\n画面留白开阔，搭配左上题诗，诗画呼应，将帝王笔底的军旅闲雅缓缓铺展。整幅笔墨秀逸清润，没有浓墨重彩，只以淡墨写意，把戎马之地画出林下幽居般悠然意趣，尽显清润淡远的文人山水意致。",[24,7,59,128,28,96,101,12314,34,11074],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F766b5291c8256c8d845e5be4bf2faf94.jpg",[],{"id":96271,"slug":96272,"title":46632,"dynasty":54,"author":23303,"museum":300,"description":96273,"tags":96274,"thumbUrl":96275,"material":84,"size":84,"collection":84,"collections":96276,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238743,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238743","这幅画以淡墨晕染平沙秋野，远山轻描淡写，恍若烟霭浮空。近岸枯木疏朗，衰草漫覆荒坡，清寂萧索的秋意浸透纸面。崖边士人负手远眺，似在牵惹羁旅乡思，身侧童子牵马静立，暗合行游倦憩之意。淡简笔墨不施浓艳，以留白铺展出平阔辽远的郊野空境，诗画相融，将行旅中的怅惘幽思寄寓荒寒淡远的景致里，笔意清润含蓄，尽显秋日行吟的澹泊诗意。",[24,7,59,128,132,29,96,101,413,690,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa459ca736e3a0c1534d05ecafdaf3c.jpg",[],{"id":96278,"slug":96279,"title":46632,"dynasty":54,"author":23303,"museum":300,"description":96280,"tags":96281,"thumbUrl":96282,"material":84,"size":84,"collection":84,"collections":96283,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238740,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238740","此作用淡墨绘就水乡村居小景，屋舍静掩林间，白衣高士彳亍阶前，水岸疏林错落，板桥卧波连起汀洲。笔致松秀温婉，全以水墨皴擦晕染，不施浓艳设色，构图疏朗空阔，留白衬出乡野幽寂闲静之态。\n\n画面呼应题咏诗意，将文人幽栖林下的恬然意趣融于尺幅之间，把拟古诗中隐逸澹远的意绪具象铺展，诗画合璧，尽显清寂萧散的文人山水审美意趣，是意境淡远的雅致小品。",[24,7,59,128,132,98,99,34,35,96,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed036f22173363c02c721b163c6a0d24.jpg",[],{"id":96285,"slug":96286,"title":35019,"dynasty":54,"author":23303,"museum":300,"description":96287,"tags":96288,"thumbUrl":96289,"material":84,"size":84,"collection":84,"collections":96290,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238713,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238713","以干笔皴擦绘层叠峰峦，嶙峋山石苍劲朴拙，林木疏密错落晕出山岚悠远。临水敞轩静立，案几空明，衬出林泉寂廖；山巅高士策杖停驻，似在听涛观云，将幽居雅兴藏于丘壑。\n\n整幅水墨清润淡雅，虚实相生，咫尺铺展山水深远意境。题画诗与景致相映成趣，诗画合璧，将文人心底的林泉幽怀具象呈现，尽显沉静淡远的林下风流，把诗文意境落于笔底烟岚，是融诗入景的精妙文人山水之作。",[24,7,59,128,132,133,208,29,130,131,34,99,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0ad7d091997927907be92de8ff45ba3.jpg",[],{"id":96292,"slug":96293,"title":409,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":96294,"thumbUrl":96295,"material":692,"size":1293,"collection":84,"collections":96296,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238706,"shan-shui-ce-dong-bang-da-238706",[24,7,128,132,59,29,34,495,499,497,1144,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbd78c15d38978d0944a295171e9052d.jpg",[],{"id":96298,"slug":96299,"title":409,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":96300,"thumbUrl":96301,"material":692,"size":1293,"collection":84,"collections":96302,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238686,"shan-shui-ce-dong-bang-da-238686",[24,7,59,128,132,29,130,1337,131,499,35,34,415,14906],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc12139910308b4ff24fe3275e777ba.jpg",[],{"id":96304,"slug":96305,"title":409,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":96306,"thumbUrl":96307,"material":692,"size":1293,"collection":84,"collections":96308,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":199},238675,"shan-shui-ce-dong-bang-da-238675",[24,7,59,128,27,29,167,171,132,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14fae584a02e7d75a080e845d4ae23fb.jpg",[],{"id":96310,"slug":96311,"title":409,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":96312,"thumbUrl":96313,"material":692,"size":1293,"collection":84,"collections":96314,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},238672,"shan-shui-ce-dong-bang-da-238672",[24,7,59,128,132,29,413,35,131,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecd0f05989e2d36aaba672801a054641.jpg",[],{"id":96316,"slug":96317,"title":81756,"dynasty":54,"author":223,"museum":300,"description":96318,"tags":96319,"thumbUrl":96320,"material":84,"size":84,"collection":84,"collections":96321,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},238606,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238606","这幅作品以全景式构图铺展崇山绝壑，碉楼错落盘踞于险峰之间，阴云翻卷的天际晕染出肃杀的战前氛围。作者以细密写实的铜版线条，复刻出山地行军的逼仄艰险：山道间兵卒络绎攀援，碉垒旁军士严阵待命，人物动态与山石肌理皆被精细勾勒，将战地的紧迫与严酷如实铺陈。左上角题诗与画面呼应，图文合璧还原战事始末，没有写意的柔化修饰，以冷峻克制的笔触记录下边陲征程的铁血细节，仿佛带领观者踏入百年前的西南战地，在刀兵隐现的山岚间，窥见那段征剿征程的艰辛图景。",[24,7,59,28,132,29,131,34,96,758,81749,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcd1e8f01925af2b8b5c5494d6cb0739.jpg",[],{"id":96323,"slug":96324,"title":60856,"dynasty":124,"author":223,"museum":300,"description":96325,"tags":96326,"thumbUrl":96327,"material":692,"size":1293,"collection":84,"collections":96328,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238563,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238563","此作封面以刺绣装裱，墨底之上缠枝云纹与宝相花彩绣环簇，朱金翠色交织，明艳中透着沉穆。深蓝幅面楷书端秀古雅，“绘以昭形，书以显功”点明册页内核。装帧巧思尽显，将绣艺与书法融于一体，华贵庄重。整作以图纪实、以书咏赞，工艺与文心相合，尽显颂赞升平的典雅意趣，亦是传统装帧工艺与书画美学相映的匠心典范。",[164,24,7,59,27,64,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd41d51a1bf10977a6b8e97fb75c7daf5.jpg",[],{"id":96330,"slug":96331,"title":45483,"dynasty":54,"author":13716,"museum":300,"description":13717,"tags":96332,"thumbUrl":96333,"material":692,"size":1293,"collection":84,"collections":96334,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238555,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238555",[24,7,59,27,96,169,758,34,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F546328d387575e4bd04ce6d5fd84987c.jpg",[],{"id":96336,"slug":96337,"title":45483,"dynasty":54,"author":13716,"museum":300,"description":13717,"tags":96338,"thumbUrl":96339,"material":692,"size":1293,"collection":84,"collections":96340,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238554,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238554",[24,7,59,27,133,208,96,97,211,34,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d6cee0dfa68f574d8e76c08393ce529.jpg",[],{"id":96342,"slug":96343,"title":45483,"dynasty":54,"author":13716,"museum":300,"description":13717,"tags":96344,"thumbUrl":96346,"material":692,"size":1293,"collection":84,"collections":96347,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238545,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238545",[24,7,59,27,28,96,133,64,208,97,1200,249,14415,88836,96345],"平民","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69cc6fd0b4f42c884fbe86cc1b1ee9ac.jpg",[],{"id":96349,"slug":96350,"title":46640,"dynasty":54,"author":675,"museum":300,"description":96351,"tags":96352,"thumbUrl":96353,"material":84,"size":84,"collection":84,"collections":96354,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":199},238534,"shan-shui-xiao-ce-qian-wei-cheng-238534","此作用笔苍秀清润，以细劲皴笔绘就虬曲古松，盘绕的枝干尽显风霜磨砺之态，细碎枝桠交错如网，写尽寒林萧索。坡石以淡墨勾勒晕染，朴拙厚重间与枯木相互映衬。远景山峦以淡墨轻晕，烟岚留白萦绕，将冬日空濛荒寒的幽寂之境铺陈开来。\n\n整作墨色层次雅致，简淡中见精微，以极简的布景勾勒出清冷出尘的林下之致，尽显文人山水淡远空寂的意韵，把冬日山林的萧寒幽僻，藏在淡墨轻描之间。",[24,7,59,128,132,29,331,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8aa1502b0366a36bcc826149b12cf71.jpg",[],{"id":96356,"slug":96357,"title":46640,"dynasty":54,"author":675,"museum":300,"description":11658,"tags":96358,"thumbUrl":96359,"material":84,"size":84,"collection":84,"collections":96360,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238521,"shan-shui-xiao-ce-qian-wei-cheng-238521",[24,7,59,128,132,29,130,34,131,415,7983],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F296e00142d7136d01e80550cb5b15e88.jpg",[],{"id":96362,"slug":96363,"title":46640,"dynasty":54,"author":675,"museum":300,"description":96364,"tags":96365,"thumbUrl":96366,"material":84,"size":84,"collection":84,"collections":96367,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238516,"shan-shui-xiao-ce-qian-wei-cheng-238516","此作用笔秀润温和，以浅淡设色晕染出江南暮春晚景。近岸垂柳疏朗，柔丝轻拂水面，孤舍静立水滨，愈显清寂闲淡。对岸烟树错落，人家隐现于淡赭烟岚之间，远山以淡墨轻勾，和空濛水色相融一体，晕开黄昏暖意。\n\n行书题诗与画境相映，将水乡暮色里的慵懒诗意娓娓道来，没有繁复皴擦，以极简笔墨营造出悠远空静的文人意趣，将平淡天真的水乡烟景与清雅襟怀相融，尽显雅致恬淡的山水意韵。",[24,7,59,27,29,4363,3440,415,414,131,34,37,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36ee62f6b8cf88564b2a2077dd093ace.jpg",[],{"id":96369,"slug":96370,"title":46640,"dynasty":54,"author":675,"museum":300,"description":96371,"tags":96372,"thumbUrl":96373,"material":84,"size":84,"collection":84,"collections":96374,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238515,"shan-shui-xiao-ce-qian-wei-cheng-238515","此作以淡墨干笔绘秋山幽境，近岸枯木伴茅舍，清寂萧疏，对岸危崖虬松兀立，远山澹澹隐在烟霭之中，构图疏密相宜，笔致简淡清和。留白间氤氲出空阔冷逸的秋意，将林泉幽寂的禅意晕染开来。搭配题诗钤印，诗画相映，把秋日山林的静穆萧散之美藏于笔墨留白里，尽显文人山水悠然林下的意韵，不事雕琢却意境悠长，尽显雅致的文人画旨趣。",[24,7,59,128,29,331,171,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e16c6829a46dfc96a38818d964bc5bb.jpg",[],{"id":96376,"slug":96377,"title":46640,"dynasty":54,"author":675,"museum":300,"description":96378,"tags":96379,"thumbUrl":96380,"material":84,"size":84,"collection":84,"collections":96381,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238513,"shan-shui-xiao-ce-qian-wei-cheng-238513","此作开合相生，左侧溪谷蜿蜒，村居隐于林麓间，野趣悠然；右侧危峰崛立，古松虬结于崖畔，雄浑苍润。以干笔皴擦写山石肌理，笔墨兼具元人萧散与宋画沉厚，淡墨晕染间，林泉之气扑面而来。\n题诗与画境呼应，将幽居林下的清旷雅怀寄于山水间，整体清和静谧，尽显文人林泉高致，是笔情墨韵皆佳的山水小品。",[24,7,59,128,132,29,131,34,1023,35,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4afb6d4020620dee561dd323f3a94df1.jpg",[],{"id":96383,"slug":96384,"title":46640,"dynasty":54,"author":675,"museum":300,"description":96385,"tags":96386,"thumbUrl":96387,"material":84,"size":84,"collection":84,"collections":96388,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238512,"shan-shui-xiao-ce-qian-wei-cheng-238512","此作以淡墨绘就水滨春初之景，近岸枯木虬枝遒劲，皴笔清硬尽显瘦挺之姿，旁侧柔柳轻垂，细条袅袅漾着春柔生机，刚柔相映成趣。坡石苍朴错落，浅墨晕染出水色空濛，远岫澹隐于烟岚间，留白铺就湖天寥廓。\n画面边角朱印与题字错落排布，笔墨意趣与金石雅致相融。全幅未施重彩，纯以水墨勾勒皴擦，清简秀逸的笔致里漾出幽寂淡远的闲情，将冬尽春萌之际的澹泊清和描摹尽致，观之如临水凭风，坐看烟光暮色，尘嚣尽涤，尽显文人画简淡天真的雅逸之境。",[24,7,59,128,132,29,331,171,415,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d651eff98a264098a0f6f2e6395fd4.jpg",[],{"id":96390,"slug":96391,"title":74896,"dynasty":54,"author":29297,"museum":300,"description":55182,"tags":96392,"thumbUrl":96393,"material":692,"size":1293,"collection":84,"collections":96394,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238500,"xun-xing-ji-cheng-shi-hua-ce-jiang-pu-238500",[24,7,59,27,132,133,29,97,34,18265,9164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32b000027139b4c2d8f222bfeaead024.jpg",[],{"id":96396,"slug":96397,"title":4071,"dynasty":54,"author":29297,"museum":300,"description":55182,"tags":96398,"thumbUrl":96399,"material":692,"size":1293,"collection":84,"collections":96400,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},238492,"hua-hui-tu-ce-jiang-pu-238492",[24,7,164,59,27,28,209,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20ff0dadb279d5c28466adeb4ba10ed7.jpg",[],{"id":96402,"slug":96403,"title":15896,"dynasty":54,"author":6376,"museum":300,"description":27132,"tags":96404,"thumbUrl":96405,"material":692,"size":1293,"collection":84,"collections":96406,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238443,"geng-zhi-tu-ce-mian-yi-238443",[24,7,164,59,27,28,95,96,97,130,34,247,93105,13024,9425,13344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F542cf41f415157a3561c8340f07c95a7.jpg",[],{"id":96408,"slug":96409,"title":15896,"dynasty":54,"author":6376,"museum":300,"description":27132,"tags":96410,"thumbUrl":96411,"material":692,"size":1293,"collection":84,"collections":96412,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238440,"geng-zhi-tu-ce-mian-yi-238440",[24,7,59,27,28,96,34,35,34836,78182],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6550bc8438218562294644a3d171d8a5.jpg",[],{"id":96414,"slug":96415,"title":15896,"dynasty":54,"author":6376,"museum":300,"description":27132,"tags":96416,"thumbUrl":96417,"material":692,"size":1293,"collection":84,"collections":96418,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238438,"geng-zhi-tu-ce-mian-yi-238438",[24,7,59,27,28,96,35,34,247,16670,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d3c21d830aea261e9b82c07d560cbb0.jpg",[],{"id":96420,"slug":96421,"title":81813,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":96422,"thumbUrl":96423,"material":692,"size":1293,"collection":84,"collections":96424,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},238412,"dong-gao-hui-jing-han-hui-tu-xiao-ce-dong-gao-238412",[24,7,59,27,29,131,34,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81c2c1189f724b1eddec07526aebbd0d.jpg",[],{"id":96426,"slug":96427,"title":409,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":96428,"thumbUrl":96429,"material":84,"size":84,"collection":84,"collections":96430,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238314,"shan-shui-ce-dong-bang-da-238314",[24,7,59,128,132,29,413,331,131,415,96,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01a0e1f8851f8d090c61172478e76d55.jpg",[],{"id":96432,"slug":96433,"title":409,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":96434,"thumbUrl":96435,"material":84,"size":84,"collection":84,"collections":96436,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238313,"shan-shui-ce-dong-bang-da-238313",[24,7,59,128,132,29,131,34,35,99,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b12837eecf5958e25bc64a054c21504.jpg",[],{"id":96438,"slug":96439,"title":409,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":96440,"thumbUrl":96441,"material":84,"size":84,"collection":84,"collections":96442,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238310,"shan-shui-ce-dong-bang-da-238310",[24,7,128,29,167,99,96,4437,2132,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a4646cb0c561ed24ddbe0c562253596.jpg",[],{"id":96444,"slug":96445,"title":409,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":96446,"thumbUrl":96447,"material":84,"size":84,"collection":84,"collections":96448,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238308,"shan-shui-ce-dong-bang-da-238308",[164,24,7,128,132,59,29,34,35,131,499,415,1023,276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f3cdb46a06a0617199397d486153f8c.jpg",[],{"id":96450,"slug":96451,"title":41582,"dynasty":54,"author":41583,"museum":300,"description":96452,"tags":96453,"thumbUrl":96454,"material":84,"size":84,"collection":84,"collections":96455,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238250,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238250","此作以淡彩绘就平远郊野，丘峦平缓错落，林舍星缀其间，土路蜿蜒串联起田庄浅渚，晨霞轻染天际，晕开柔淡粉霭，将郊原清寂悠然的意韵晕染开来，尽显幽旷之美。对开行书题诗笔墨隽秀雅致，笔意舒展灵和，诗画相映，实景胜迹的恬然意趣藏于毫端。整体淡朴清和，兼具纪实写生的真切与文人画的抒情意致，把郊原夕照的悠然襟怀诉诸纸间，雅逸沉静，尽显小品山水的隽永情致。",[24,7,59,27,128,29,132,133,415,8709,34,35,23873,208,149,3344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02544b39df3b484928ff5554ac815a87.jpg",[],{"id":96457,"slug":96458,"title":25438,"dynasty":54,"author":25439,"museum":300,"description":96459,"tags":96460,"thumbUrl":96461,"material":84,"size":84,"collection":84,"collections":96462,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238224,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238224","此作山峦层叠，以干笔皴擦晕染，浑朴苍润，尽显夏山沉厚肌理。近岸林木蓊郁，板桥通幽，野居隐于翠微间，漾着山居的恬然意趣。落照漫过山岚，将暮色温煦铺陈开来，晕染出夏日山野的静穆悠长。\n\n诗书合璧，题咏衬景，笔底追摹古意又自含灵秀，将江南夏夕的沉宁诗意晕染纸上，把山野暮色的悠然定格，藏着文人画平淡天真的隽永风神。",[24,7,59,330,29,128,132,496,34,499,98,131,37,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf179075dd529cfd9657085347521301.jpg",[],{"id":96464,"slug":96465,"title":25438,"dynasty":54,"author":25439,"museum":300,"description":96466,"tags":96467,"thumbUrl":96468,"material":84,"size":84,"collection":84,"collections":96469,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238218,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238218","此作为上下两帧，上帧绘山居幽境，浅坡寒林环抱茅堂，淡墨晕染烟岚轻笼，笔致秀润苍雅，尽显林泉寂廖。下帧写平滩枯木，汀岸澹远疏阔，枯笔勾勒寒树，萧索清旷之意溢于纸面。\n\n全作用浅绛轻施，以干笔皴擦山石肌理，追摹古贤笔法韵致，再配左侧题诗，书画相映成趣，将冬日郊野隐逸之境铺陈开来，意境幽冷澹泊，尽显文人画简淡清远的雅逸格调，是师法前贤又兼具个人意趣的山水佳构。",[164,24,7,59,128,132,330,29,413,663,35,1813,229,454,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4096a8dcc7d8b8c6ab10256be992fe7e.jpg",[],{"id":96471,"slug":96472,"title":25438,"dynasty":54,"author":25439,"museum":300,"description":96473,"tags":96474,"thumbUrl":96475,"material":84,"size":84,"collection":84,"collections":96476,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238217,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238217","此作用浅绛设色绘秋山平远之景，云雾翻涌裹挟峰峦，虚实间晕染出空濛烟岚之态。近岸苍松错落，林麓村舍隐现，江水蜿蜒如练，载着清寂秋意缓缓铺展。\n笔墨追摹古法，皴擦温润苍秀，设色淡雅柔和，将暮秋山林的萧疏静谧晕染尽致。搭配题诗题跋，诗画合璧，尽显文人山水的雅致意趣，于尺幅间铺展出林泉幽寂之美，笔底藏着从容古韵，将悠然林下襟怀融于淡远氤氲之中。",[24,7,59,128,27,132,330,29,496,37,31,34,415,5801,9483],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdc48bcb368250e04d6101e309e967d0.jpg",[],{"id":96478,"slug":96479,"title":409,"dynasty":54,"author":30880,"museum":300,"description":96480,"tags":96481,"thumbUrl":96482,"material":84,"size":84,"collection":84,"collections":96483,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238157,"shan-shui-ce-yun-xi-238157","此作为诗画合璧的文人雅构，水墨山水取法米家笔意，以淡墨晕染出山峦烟岚空蒙之态，披麻皴写就的峰峦隐在云气之中，愈显悠远清旷。近渚林木错落，山居茅舍隐于林樾，汀岸小桥孤静野逸，将幽寂林泉之趣藏于尺幅间。\n旁配行书题诗，笔致俊朗疏爽，诗文意境与画境相融，把寻访林泉、随兴栖居的出世襟怀缓缓铺展。整幅诗画相生，雅致清和，尽显传统文人画的林下雅意与幽淡襟怀。",[24,7,128,132,133,29,98,99,34,35,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d3526ae5c6d8dd96e405ab6d41f712a.jpg",[],{"id":96485,"slug":96486,"title":409,"dynasty":54,"author":30880,"museum":300,"description":96487,"tags":96488,"thumbUrl":96489,"material":84,"size":84,"collection":84,"collections":96490,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238156,"shan-shui-ce-yun-xi-238156","此作为诗画合璧的文人山水小品，以淡墨皴染绘就幽寂山居。远景峰崖巍峨，云气萦回，将山巅托于虚缈之间，近岸汀渚错落，林木萧疏，村居隐于林麓，野趣自生。\n\n左侧行书秀雅俊朗，诗句呼应画中意境，黛岚消尽、白云人家，将丘壑林泉间的隐逸闲情娓娓道来。笔墨简淡却意致悠长，以清润水墨写尽林泉幽旷之态，诗画相映，尽显文人画寄情山水、栖心丘园的雅逸襟怀。",[24,7,59,128,132,133,208,29,413,1314,758,37,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f37a05bb8fd2d1327d5883cdc19391e.jpg",[],{"id":96492,"slug":96493,"title":53908,"dynasty":54,"author":53909,"museum":300,"description":96494,"tags":96495,"thumbUrl":96496,"material":692,"size":1293,"collection":84,"collections":96497,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},238110,"yun-zi-hua-hui-ce-yun-zi-238110","此作用没骨法绘就牡丹，设色秀雅温润，粉艳花瓣由深至浅晕染自然，瓣瓣舒展，柔媚含娇，仿若沾着朝露轻绽，将花之雍容却不俗艳之态尽显笔端。叶片以墨色分浓淡勾绘筋脉，鲜润苍劲，与柔花形成刚柔对照，满页生机流动。\n\n页侧题诗配钤印，诗画相映成趣，笔墨秀逸工致，兼顾写生的生动鲜活与文人抒情的雅致意境，尽显温婉灵秀的闺阁画韵，把牡丹的清贵之姿勾勒得恰到好处。",[24,7,59,28,27,61,62,263,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85489b8902a4c9a370b31d32cd0db1a2.jpg",[],{"id":96499,"slug":96500,"title":53908,"dynasty":54,"author":53909,"museum":300,"description":96501,"tags":96502,"thumbUrl":96503,"material":692,"size":1293,"collection":84,"collections":96504,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},238108,"yun-zi-hua-hui-ce-yun-zi-238108","此作以没骨法绘曼陀罗，笔触秀雅工致。淡墨轻勾花冠轮廓，以淡彩晕染花瓣，白瓣微透浅黄，将花瓣柔润舒展的娇态尽显。叶片以浓淡墨色晕染，层次分明，苍润鲜活，与清雅柔美的花卉相映成趣。\n搭配题跋书法隽秀雅致，书画合璧，尽显静逸风韵，以细腻笔触传递花木清灵之姿，淡冶幽隽，将文人雅致意趣融于一花一叶之间，整体格调清和含蓄，秀润动人。",[24,7,59,188,61,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc040a135fdb48c75696a28677a9005b.jpg",[],{"id":96506,"slug":96507,"title":49513,"dynasty":54,"author":33019,"museum":300,"description":33020,"tags":96508,"thumbUrl":96509,"material":84,"size":84,"collection":84,"collections":96510,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238100,"hong-wu-shan-shui-ce-hong-wu-238100",[24,7,59,128,27,132,208,133,29,129,34,276,131,414,1009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ae106783de638295d0620605d596ec4.jpg",[],{"id":96512,"slug":96513,"title":409,"dynasty":54,"author":78283,"museum":300,"description":78284,"tags":96514,"thumbUrl":96515,"material":692,"size":1293,"collection":84,"collections":96516,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238090,"shan-shui-ce-lu-yao-238090",[24,7,59,128,132,208,29,331,35,98,131,415,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfcb3f878059d80f0cba811ed9f11335.jpg",[],{"id":96518,"slug":96519,"title":63098,"dynasty":54,"author":16583,"museum":300,"description":29102,"tags":96520,"thumbUrl":96521,"material":692,"size":1293,"collection":84,"collections":96522,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238047,"zhi-hua-za-hua-ce-gao-qi-pei-238047",[24,7,59,29104,128,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d570849294b0f3fc9b99db9be92ace.jpg",[],{"id":96524,"slug":96525,"title":63098,"dynasty":54,"author":16583,"museum":300,"description":29102,"tags":96526,"thumbUrl":96527,"material":692,"size":1293,"collection":84,"collections":96528,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238045,"zhi-hua-za-hua-ce-gao-qi-pei-238045",[24,7,59,29104,128,168,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc373acb37879f01cad5186b11df3945.jpg",[],{"id":96530,"slug":96531,"title":4724,"dynasty":54,"author":48234,"museum":300,"description":48235,"tags":96532,"thumbUrl":96533,"material":692,"size":1293,"collection":84,"collections":96534,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238037,"shan-shui-tu-ce-yao-song-238037",[24,7,59,128,133,208,29,949,413,211,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75609f7b577bd518e42e53d90aead612.jpg",[],{"id":96536,"slug":96537,"title":409,"dynasty":54,"author":41621,"museum":300,"description":86042,"tags":96538,"thumbUrl":96539,"material":84,"size":84,"collection":84,"collections":96540,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238018,"shan-shui-ce-lu-zun-shu-238018",[24,7,59,128,188,29,98,99,129,35,34,1743],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f13bde9516857c66a1cb109f1e97440.jpg",[],{"id":96542,"slug":96543,"title":409,"dynasty":54,"author":41621,"museum":300,"description":86042,"tags":96544,"thumbUrl":96545,"material":84,"size":84,"collection":84,"collections":96546,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},238011,"shan-shui-ce-lu-zun-shu-238011",[24,7,59,128,572,208,64,29,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F787112a0d0bf424320775b3eb4cc4c61.jpg",[],{"id":96548,"slug":96549,"title":409,"dynasty":54,"author":55412,"museum":300,"description":55413,"tags":96550,"thumbUrl":96551,"material":692,"size":1293,"collection":84,"collections":96552,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":4001},238008,"shan-shui-ce-qin-zu-yong-238008",[24,7,59,133,208,128,29,132,131,34,495,98,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca2fe77bc493f6c0542d0054f47306eb.jpg",[],{"id":96554,"slug":96555,"title":409,"dynasty":54,"author":55412,"museum":300,"description":55413,"tags":96556,"thumbUrl":96557,"material":692,"size":1293,"collection":84,"collections":96558,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":4001},237999,"shan-shui-ce-qin-zu-yong-237999",[24,7,59,128,132,133,29,663,1314,413,130,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc59d493ba3558b9ab1b0617ad3a92e7b.jpg",[],{"id":96560,"slug":96561,"title":7864,"dynasty":54,"author":81936,"museum":300,"description":81937,"tags":96562,"thumbUrl":96563,"material":692,"size":1293,"collection":84,"collections":96564,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237994,"za-hua-ce-xue-huai-237994",[24,7,59,188,208,64,11331,13257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94921c4e6dc55d6984a98519331dfbe1.jpg",[],{"id":96566,"slug":96567,"title":7864,"dynasty":54,"author":81936,"museum":300,"description":81937,"tags":96568,"thumbUrl":96569,"material":692,"size":1293,"collection":84,"collections":96570,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237992,"za-hua-ce-xue-huai-237992",[24,7,59,188,64,208,12510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F370c5f8da7151fba238d52c332a3e2e0.jpg",[],{"id":96572,"slug":96573,"title":7864,"dynasty":54,"author":81936,"museum":300,"description":81937,"tags":96574,"thumbUrl":96575,"material":692,"size":1293,"collection":84,"collections":96576,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237989,"za-hua-ce-xue-huai-237989",[24,7,59,128,61,208,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb558676f1f4693e404ea7daf98e51326.jpg",[],{"id":96578,"slug":96579,"title":4724,"dynasty":54,"author":23132,"museum":300,"description":61171,"tags":96580,"thumbUrl":96581,"material":692,"size":1293,"collection":84,"collections":96582,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237955,"shan-shui-tu-ce-liu-yu-237955",[24,7,59,128,27,29,95,97,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa549371d033f9b4d407bf05e416d04e7.jpg",[],{"id":96584,"slug":96585,"title":4724,"dynasty":54,"author":23132,"museum":300,"description":61171,"tags":96586,"thumbUrl":96587,"material":692,"size":1293,"collection":84,"collections":96588,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237954,"shan-shui-tu-ce-liu-yu-237954",[24,7,59,128,188,132,29,1337,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdce722b2afe04d6513aa5de7aa7a8371.jpg",[],{"id":96590,"slug":96591,"title":4724,"dynasty":54,"author":23132,"museum":300,"description":96592,"tags":96593,"thumbUrl":96594,"material":84,"size":84,"collection":84,"collections":96595,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237950,"shan-shui-tu-ce-liu-yu-237950","此页以水墨写就幽谷山居，淡墨皴擦山石，苍松错落层叠，山居隐于茂林深处，留白晕出山野空寂清旷的氛围，萧散淡远，意韵悠长。\n左侧题诗笔墨清逸流动，诗画相映，以文衬景，将林泉隐逸的雅怀融于尺幅间。全作用笔简淡空灵，不做繁复勾勒，只以水墨干湿浓淡晕染出超脱尘嚣的栖居之境，带着静穆禅意，尽显寄情林泉的文人雅趣。",[24,7,59,128,133,64,132,663,413,130,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb69de19da72e06304d50790390aa714b.jpg",[],{"id":96597,"slug":96598,"title":4724,"dynasty":54,"author":23132,"museum":300,"description":96599,"tags":96600,"thumbUrl":96601,"material":84,"size":84,"collection":84,"collections":96602,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237949,"shan-shui-tu-ce-liu-yu-237949","此作以焦墨渴笔绘层叠峰峦，繁皴密点写就山石硬朗肌理，林木蓊郁翳然，山坳茅舍幽隐，丘壑深幽间漾着静穆古意。左侧题诗与画境相映，诗画交融，将林泉高隐的太古幽情铺陈开来，把天地浑茫沉静与隐逸者的澹泊襟怀融为一体，尽显朴拙苍茫的林下之风，带着静绝尘嚣的雅逸意趣，是颇具文人意致的山水小品。",[24,7,59,128,132,29,663,98,171,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f5cc63a0c355272ddb3f76da532e1f.jpg",[],{"id":96604,"slug":96605,"title":409,"dynasty":54,"author":54045,"museum":300,"description":64904,"tags":96606,"thumbUrl":96607,"material":692,"size":1293,"collection":84,"collections":96608,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237915,"shan-shui-ce-cheng-ming-237915",[24,7,59,128,132,29,131,34,35,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc4b9004e0ec0b60082c6c28e46547a2.jpg",[],{"id":96610,"slug":96611,"title":409,"dynasty":54,"author":54045,"museum":300,"description":64904,"tags":96612,"thumbUrl":96613,"material":692,"size":1293,"collection":84,"collections":96614,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237914,"shan-shui-ce-cheng-ming-237914",[24,7,59,188,128,29,1337,171,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F982dad0cd7bc65fc303756d6cf12c5b7.jpg",[],{"id":96616,"slug":96617,"title":409,"dynasty":54,"author":54045,"museum":300,"description":64904,"tags":96618,"thumbUrl":96619,"material":692,"size":1293,"collection":84,"collections":96620,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},237911,"shan-shui-ce-cheng-ming-237911",[24,7,59,128,132,29,130,99,34,131,96,711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4f46490f656920c19fba7255eedfde4.jpg",[],{"id":96622,"slug":96623,"title":409,"dynasty":54,"author":90873,"museum":300,"description":38166,"tags":96624,"thumbUrl":96625,"material":84,"size":84,"collection":84,"collections":96626,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},237903,"shan-shui-ce-cheng-hui-hao-237903",[24,7,59,128,132,29,331,171,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6506c9e93cf612ad83d6e4dd33f799d0.jpg",[],{"id":96628,"slug":96629,"title":409,"dynasty":54,"author":90873,"museum":300,"description":96630,"tags":96631,"thumbUrl":96632,"material":84,"size":84,"collection":84,"collections":96633,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},237902,"shan-shui-ce-cheng-hui-hao-237902","此作用水墨写意绘就林下小景，几株树木虬曲苍劲，干枝以焦笔勾勒，枝叶以淡墨点簇，虚实相生间尽显萧散清姿。湖石以简笔皴擦晕染，朴拙厚重，与周围草木相映成趣。\n\n画面留白空灵，墨色干湿浓淡层次分明，寥寥数笔便营造出幽寂淡远的林下氛围。右上角配行书题识，笔墨意趣与画境相融，尽显文人画诗书画一体的雅致，藏着画者寄情林泉的闲淡意趣。",[24,7,59,128,132,29,171,331,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c2c41e5f0c835308ae08d570d1e2f1e.jpg",[],{"id":96635,"slug":96636,"title":409,"dynasty":54,"author":90873,"museum":300,"description":38166,"tags":96637,"thumbUrl":96638,"material":84,"size":84,"collection":84,"collections":96639,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},237899,"shan-shui-ce-cheng-hui-hao-237899",[24,7,59,128,132,29,1337,130,131,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2e7b68b37eb79ad76a5cea3713ffe73.jpg",[],{"id":96641,"slug":96642,"title":4724,"dynasty":54,"author":67099,"museum":300,"description":67100,"tags":96643,"thumbUrl":96644,"material":84,"size":84,"collection":84,"collections":96645,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237864,"shan-shui-tu-ce-jin-xue-jian-237864",[24,7,59,128,27,29,98,99,129,211,331,35,131,1645,209,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc25f4500cb71f860e9a33d7c00d98160.jpg",[],{"id":96647,"slug":96648,"title":96649,"dynasty":124,"author":5798,"museum":300,"description":55106,"tags":96650,"thumbUrl":96651,"material":692,"size":1293,"collection":84,"collections":96652,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237823,"nong-fu-da-jia-tu-shan-ye-zhang-hong-237823","农夫打架图扇页",[24,7,1131,28,27,96,413,34836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff52ffdf814da54fff305c4a422dd6d70.jpg",[],{"id":96654,"slug":96655,"title":69495,"dynasty":54,"author":96656,"museum":300,"description":96657,"tags":96658,"thumbUrl":96659,"material":692,"size":1293,"collection":84,"collections":96660,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237796,"fang-huang-gong-wang-shan-shui-shan-zhu-xu-237796","朱虚","此作用干笔淡墨绘就林泉丘壑，近岸坡石错落，长松挺秀苍劲，杂木枝桠舒展，生机暗藏。中景山岩以披麻皴写就，笔致松秀温润，飞泉隐于岩隙，似可闻声。远山简淡空灵，留白衬出悠远意境。\n\n整体师法元人山水意趣，墨色清和淡雅，层次疏朗，淡赭扇底晕染出古雅质感，右上角题识与画面浑然相融，将山林清旷之美凝于盈尺之间，气息萧散简远，尽显文人画静穆淡逸的雅韵，淡而弥厚，清寂悠然。",[164,24,7,1131,128,132,330,29,131,34,99,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3efc24932b1988215711d3d4e9f8748d.jpg",[],{"id":96662,"slug":96663,"title":96664,"dynasty":124,"author":46649,"museum":300,"description":96665,"tags":96666,"thumbUrl":96667,"material":692,"size":1293,"collection":84,"collections":96668,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":199},237793,"shang-hua-shan-wang-sheng-237793","赏花扇","此作以淡彩晕染春日雅游之景，古木盘虬抽发新绿，湖石错落地缀于庭中。两位仕女款步徐行，衣袂轻垂流转，相偕驻足望向花树，眉眼间皆是春日赏玩的悠然意趣。\n画师以细劲灵动的铁线描勾勒人物衣褶身形，温婉秀雅，布景疏密相宜，浅绛淡色晕出融融春意，将文人雅赏之趣藏于尺幅扇间。笔墨秀逸清隽，小品之中意韵绵长，尽显雅致温婉的画中风骨，将游园探春的闲淡诗意定格在方寸扇面之上，动人不已。",[24,7,1131,28,27,96,263,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2083c16a1424453a7297df3270b0a75b.jpg",[],{"id":96670,"slug":96671,"title":4724,"dynasty":54,"author":44979,"museum":300,"description":75499,"tags":96672,"thumbUrl":96673,"material":692,"size":1293,"collection":84,"collections":96674,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":199},237777,"shan-shui-tu-ce-ye-xin-237777",[24,7,59,128,27,29,129,97,415,414,130,132,6875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d0700988862f83bc2c809af1994bab9.jpg",[],{"id":96676,"slug":96677,"title":4724,"dynasty":54,"author":44979,"museum":300,"description":75499,"tags":96678,"thumbUrl":96679,"material":692,"size":1293,"collection":84,"collections":96680,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237776,"shan-shui-tu-ce-ye-xin-237776",[24,7,59,128,132,64,29,331,496,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d9b5014861b0a4b8fe60ed591b2172.jpg",[],{"id":96682,"slug":96683,"title":4724,"dynasty":54,"author":44979,"museum":300,"description":75499,"tags":96684,"thumbUrl":96685,"material":692,"size":1293,"collection":84,"collections":96686,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":199},237775,"shan-shui-tu-ce-ye-xin-237775",[24,7,59,128,27,29,413,415,211,387,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f268c65121b4e5cca0bdda93e545b4b.jpg",[],{"id":96688,"slug":96689,"title":4724,"dynasty":54,"author":44979,"museum":300,"description":75499,"tags":96690,"thumbUrl":96691,"material":692,"size":1293,"collection":84,"collections":96692,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},237774,"shan-shui-tu-ce-ye-xin-237774",[24,7,59,128,29,663,228,129,497,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8da92f1bca2145e7c80834df17da18d.jpg",[],{"id":96694,"slug":96695,"title":4724,"dynasty":54,"author":1019,"museum":300,"description":58786,"tags":96696,"thumbUrl":96697,"material":692,"size":1293,"collection":84,"collections":96698,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237759,"shan-shui-tu-ce-cheng-zheng-kui-237759",[24,7,59,128,29,171,133,132,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd76ec78f35dd3edab1239a9660b57e76.jpg",[],{"id":96700,"slug":96701,"title":4724,"dynasty":54,"author":1019,"museum":300,"description":58786,"tags":96702,"thumbUrl":96703,"material":692,"size":1293,"collection":84,"collections":96704,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237755,"shan-shui-tu-ce-cheng-zheng-kui-237755",[24,7,59,128,29,97,131,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe491f4cf7bf580402544fbb256de218.jpg",[],{"id":96706,"slug":96707,"title":4724,"dynasty":54,"author":1019,"museum":300,"description":58786,"tags":96708,"thumbUrl":96709,"material":692,"size":1293,"collection":84,"collections":96710,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237754,"shan-shui-tu-ce-cheng-zheng-kui-237754",[24,7,59,128,133,208,132,29,663,413,130,1813],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51620756f0c9c5545718f1301befe228.jpg",[],{"id":96712,"slug":96713,"title":4724,"dynasty":54,"author":1019,"museum":300,"description":58786,"tags":96714,"thumbUrl":96715,"material":692,"size":1293,"collection":84,"collections":96716,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237749,"shan-shui-tu-ce-cheng-zheng-kui-237749",[24,7,59,128,29,171,133,132,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcebaf1471d5e654358e56060f877929.jpg",[],{"id":96718,"slug":96719,"title":38952,"dynasty":54,"author":38900,"museum":300,"description":38953,"tags":96720,"thumbUrl":96721,"material":692,"size":1293,"collection":84,"collections":96722,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237724,"wu-sheng-shi-yi-tu-ce-huang-yi-237724",[24,7,59,128,188,1337,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60a17565f6a2029db412744cf526d229.jpg",[],{"id":96724,"slug":96725,"title":50885,"dynasty":54,"author":50886,"museum":300,"description":50887,"tags":96726,"thumbUrl":96727,"material":692,"size":1293,"collection":84,"collections":96728,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237711,"qiu-sui-hua-niao-ce-qiu-sui-237711",[24,7,59,27,28,61,373,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2651b17c4ed197d07a096d9bc0a2c271.jpg",[],{"id":96730,"slug":96731,"title":50885,"dynasty":54,"author":50886,"museum":300,"description":50887,"tags":96732,"thumbUrl":96733,"material":692,"size":1293,"collection":84,"collections":96734,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237709,"qiu-sui-hua-niao-ce-qiu-sui-237709",[24,7,59,27,61,64,208,547,747,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa451df08c99e6ff3a0c701244fd4e239.jpg",[],{"id":96736,"slug":96737,"title":50885,"dynasty":54,"author":50886,"museum":300,"description":50887,"tags":96738,"thumbUrl":96739,"material":692,"size":1293,"collection":84,"collections":96740,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237708,"qiu-sui-hua-niao-ce-qiu-sui-237708",[24,7,59,28,27,61,263,549,7857,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bf2148356f74f19607f67a3868c6e45.jpg",[],{"id":96742,"slug":96743,"title":69535,"dynasty":54,"author":22529,"museum":300,"description":44406,"tags":96744,"thumbUrl":96745,"material":692,"size":1293,"collection":84,"collections":96746,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237644,"li-yin-fang-gu-shan-shui-ce-li-yin-237644",[24,7,59,128,132,330,2271,64,208,29,663,495,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcd921af5ff2b9ce575dc8bcd48feb2e.jpg",[],{"id":96748,"slug":96749,"title":18219,"dynasty":54,"author":9529,"museum":300,"description":19697,"tags":96750,"thumbUrl":96751,"material":692,"size":1293,"collection":84,"collections":96752,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237601,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237601",[24,7,59,128,330,132,208,29,131,34,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe52271025449a5b5076cf08772ef2e33.jpg",[],{"id":96754,"slug":96755,"title":18219,"dynasty":54,"author":9529,"museum":300,"description":19697,"tags":96756,"thumbUrl":96757,"material":692,"size":1293,"collection":84,"collections":96758,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237599,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237599",[24,7,59,128,132,330,29,129,34,415,3427,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6290dafc2ea5b9f921b4423e1d1cbf47.jpg",[],{"id":96760,"slug":96761,"title":86190,"dynasty":54,"author":45540,"museum":300,"description":96762,"tags":96763,"thumbUrl":96764,"material":84,"size":84,"collection":84,"collections":96765,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237573,"wang-fu-hua-fen-yong-xiao-shi-shi-ce-wang-fu-237573","此作为诗书合璧的雅致小品，右页行书俊爽灵动，笔势流转间铺叙海上观峰、天柱雄峙之景，将林泉奇崛与幽渺遐思寄于笔墨。左页小楷端雅舒和，点画清劲匀整，以禅意文字叙写龙山幽居，雪境清寂尽显林下幽人的恬然自适。墨色清润素净，页面排布疏朗得当，将山水意趣与隐逸襟怀融于尺幅之间，文辞清雅隽秀，笔墨兼具法度与散逸之态，尽显文人沉潜林泉的静穆襟怀与雅致意韵，读来幽思暗生，尽显清人诗书合融的审美意趣。",[24,7,59,133,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9c551c249834ef90ad2ee4417de5fd7.jpg",[],{"id":96767,"slug":96768,"title":86190,"dynasty":54,"author":45540,"museum":300,"description":96769,"tags":96770,"thumbUrl":96771,"material":84,"size":84,"collection":84,"collections":96772,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237572,"wang-fu-hua-fen-yong-xiao-shi-shi-ce-wang-fu-237572","此册小楷笔意温润秀雅，结体端匀舒展，两页书迹各有风致。墨色清透匀净，行气疏朗从容，既有规整清雅的庙堂法度，又暗携林下散淡的文人气韵。\n\n诗作皆为山水奇石题咏，笔墨与诗意相生，未着一帧画石图景，却以隽秀文字铺展出松壑云流、奇石清韵，将文人耽爱林泉、藏纳丘壑的襟怀寄寓在点画之中。诗书相合，尽显旧时文人士子以翰墨寄兴、以风雅明志的闲澹意趣，是一件雅致动人的诗书小品。",[54,24,7,59,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbafb2f7472f2ca2b94067c8f298cb22c.jpg",[],{"id":96774,"slug":96775,"title":86190,"dynasty":54,"author":45540,"museum":300,"description":96776,"tags":96777,"thumbUrl":96778,"material":84,"size":84,"collection":84,"collections":96779,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237571,"wang-fu-hua-fen-yong-xiao-shi-shi-ce-wang-fu-237571","此行书诗册笔墨隽秀温雅，结体疏朗灵动。点画提转自然圆融，章法错落有致，自带林下散淡闲逸之风。\n册中以诗咏石，将奇石比作美人、掌峰，把嶙峋石态晕染出清雅情致，诗书合璧，尽显文人赏石雅趣。墨色浓淡合宜，两枚朱印点缀页间，朱墨相映愈添古雅意韵，藏着旧时文人耽爱林泉、寄情物我的悠然心境，尽显清雅脱俗的审美意趣。",[24,7,59,133,208,128,171,231,3344,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1942e63b58f707edffece43cd82cbc22.jpg",[],{"id":96781,"slug":96782,"title":409,"dynasty":54,"author":38236,"museum":300,"description":38237,"tags":96783,"thumbUrl":96784,"material":692,"size":1293,"collection":84,"collections":96785,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237528,"shan-shui-ce-chen-zi-237528",[24,7,59,27,29,129,331,99,130,211,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25c54b5fa4f5b5686c74eab9d490fa66.jpg",[],{"id":96787,"slug":96788,"title":409,"dynasty":54,"author":38236,"museum":300,"description":38237,"tags":96789,"thumbUrl":96790,"material":692,"size":1293,"collection":84,"collections":96791,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237523,"shan-shui-ce-chen-zi-237523",[24,7,59,27,132,64,133,29,663,228,413,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc20fc3755c27f523ffab13471a560c60.jpg",[],{"id":96793,"slug":96794,"title":409,"dynasty":54,"author":38236,"museum":300,"description":38237,"tags":96795,"thumbUrl":96796,"material":692,"size":1293,"collection":84,"collections":96797,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},237521,"shan-shui-ce-chen-zi-237521",[24,7,59,27,29,371,130,131,34,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4c8d002483bd578fb31b774a92763b4.jpg",[],{"id":96799,"slug":96800,"title":409,"dynasty":54,"author":38236,"museum":300,"description":38237,"tags":96801,"thumbUrl":96802,"material":692,"size":1293,"collection":84,"collections":96803,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237520,"shan-shui-ce-chen-zi-237520",[24,7,59,27,29,133,34,98,99,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b7f907486537e23a2916596deb42fb.jpg",[],{"id":96805,"slug":96806,"title":1289,"dynasty":124,"author":42458,"museum":300,"description":42459,"tags":96807,"thumbUrl":96808,"material":692,"size":1293,"collection":84,"collections":96809,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237513,"shan-shui-hua-hui-ce-jiang-shou-cheng-237513",[24,7,59,128,27,133,29,663,34,99,37,35,132,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf2ef48e14ad8c53446249150754aaab.jpg",[],{"id":96811,"slug":96812,"title":1289,"dynasty":124,"author":42458,"museum":300,"description":42459,"tags":96813,"thumbUrl":96814,"material":692,"size":1293,"collection":84,"collections":96815,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237511,"shan-shui-hua-hui-ce-jiang-shou-cheng-237511",[24,7,59,128,188,133,64,29,129,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7ce9a666a012a6e1ffb8714d037eefd.jpg",[],{"id":96817,"slug":96818,"title":1289,"dynasty":124,"author":42458,"museum":300,"description":42459,"tags":96819,"thumbUrl":96820,"material":692,"size":1293,"collection":84,"collections":96821,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237505,"shan-shui-hua-hui-ce-jiang-shou-cheng-237505",[24,7,59,188,128,64,129,1350,11014,29,34,497,228,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc17cfcf01e8bdb2865273740062cde5.jpg",[],{"id":96823,"slug":96824,"title":1289,"dynasty":124,"author":42458,"museum":300,"description":42459,"tags":96825,"thumbUrl":96826,"material":692,"size":1293,"collection":84,"collections":96827,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237503,"shan-shui-hua-hui-ce-jiang-shou-cheng-237503",[24,7,59,133,128,188,29,663,413,3387,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a8208bae8572f67ce9052943eb3c783.jpg",[],{"id":96829,"slug":96830,"title":1289,"dynasty":124,"author":42458,"museum":300,"description":42459,"tags":96831,"thumbUrl":96832,"material":692,"size":1293,"collection":84,"collections":96833,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237500,"shan-shui-hua-hui-ce-jiang-shou-cheng-237500",[24,7,59,64,133,128,950,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89a25027d4952d0d36aff68c55f9650a.jpg",[],{"id":96835,"slug":96836,"title":4724,"dynasty":54,"author":48234,"museum":300,"description":48235,"tags":96837,"thumbUrl":96838,"material":692,"size":1293,"collection":84,"collections":96839,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237484,"shan-shui-tu-ce-yao-song-237484",[24,7,59,128,133,132,29,129,1350,34,31,415,6810,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec4bc78d7045ee7e17f24abd8173b8bf.jpg",[],{"id":96841,"slug":96842,"title":78398,"dynasty":54,"author":78399,"museum":300,"description":78400,"tags":96843,"thumbUrl":96844,"material":692,"size":1293,"collection":84,"collections":96845,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},237474,"shan-shui-hua-shi-ce-wang-han-237474",[24,7,59,128,133,208,29,231,331,171,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafc5ccda4a98b32de3f5f8d6b02c52a2.jpg",[],{"id":96847,"slug":96848,"title":409,"dynasty":124,"author":47424,"museum":244,"description":86229,"tags":96849,"thumbUrl":96850,"material":611,"size":84,"collection":84,"collections":96851,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},237433,"shan-shui-ce-jiang-qian-237433",[24,7,59,27,28,29,97,96,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96be232aee5c04c31898f85023b926d2.jpg",[],{"id":96853,"slug":96854,"title":409,"dynasty":54,"author":64957,"museum":300,"description":64958,"tags":96855,"thumbUrl":96856,"material":692,"size":1293,"collection":84,"collections":96857,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},237422,"shan-shui-ce-chen-jia-le-237422",[24,7,59,128,29,132,131,34,35,129,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8c1e280edc57deb69f761ba5a017d78.jpg",[],{"id":96859,"slug":96860,"title":4724,"dynasty":54,"author":78869,"museum":300,"description":78870,"tags":96861,"thumbUrl":96862,"material":692,"size":1293,"collection":84,"collections":96863,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237395,"shan-shui-tu-ce-xue-xuan-237395",[24,7,128,132,59,29,413,1314,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3678ba58daa93ea47160530d46ae7147.jpg",[],{"id":96865,"slug":96866,"title":4724,"dynasty":54,"author":78869,"museum":300,"description":78870,"tags":96867,"thumbUrl":96868,"material":692,"size":1293,"collection":84,"collections":96869,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237393,"shan-shui-tu-ce-xue-xuan-237393",[24,7,59,128,132,29,663,413,950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa852b2738dd840553fadfc672424fc68.jpg",[],{"id":96871,"slug":96872,"title":409,"dynasty":54,"author":55737,"museum":300,"description":55738,"tags":96873,"thumbUrl":96874,"material":611,"size":84,"collection":84,"collections":96875,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237377,"shan-shui-ce-wang-jiu-237377",[24,7,164,59,128,133,208,132,29,413,130,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5a0c90e15cf5ac891628f08c75483ab.jpg",[],{"id":96877,"slug":96878,"title":409,"dynasty":54,"author":55737,"museum":300,"description":55738,"tags":96879,"thumbUrl":96880,"material":611,"size":84,"collection":84,"collections":96881,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237376,"shan-shui-ce-wang-jiu-237376",[24,7,59,128,132,133,208,29,98,99,131,34,129,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F041f24086126d0d9690fb7af995dae50.jpg",[],{"id":96883,"slug":96884,"title":409,"dynasty":54,"author":55737,"museum":300,"description":55738,"tags":96885,"thumbUrl":96886,"material":611,"size":84,"collection":84,"collections":96887,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237373,"shan-shui-ce-wang-jiu-237373",[24,7,59,128,132,29,331,1233,171,99,131,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51e7a2a33bfda69b945ed1dbdc564dfe.jpg",[],{"id":96889,"slug":96890,"title":60987,"dynasty":54,"author":223,"museum":300,"description":96891,"tags":96892,"thumbUrl":96893,"material":692,"size":1293,"collection":84,"collections":96894,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237259,"ming-chen-gu-shi-deng-xu-ti-song-ce-yi-ming-237259","右幅绘出行遇雨的场景，人物刻画鲜活灵动，仆从或撑伞趋前护持，或俯身奋力推车，官员抬手作揖，将行路遇雨的日常情态细腻呈现，细节饱满生动。左幅行书题诗笔致舒展俊逸，笔墨苍劲雅致，诗画呼应，将文臣出行的片段娓娓铺陈。整体设色浅淡沉静，工写相融，以细腻笔触勾勒古意日常，兼具纪实质感与文人雅趣，诗画合璧更添悠长意蕴，尽显小品叙事画的精巧意韵。",[24,7,59,27,96,133,208,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4d6fe86cf97d28ebf11581db50b751e.jpg",[],{"id":96896,"slug":96897,"title":60987,"dynasty":54,"author":223,"museum":300,"description":96898,"tags":96899,"thumbUrl":96900,"material":692,"size":1293,"collection":84,"collections":96901,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237257,"ming-chen-gu-shi-deng-xu-ti-song-ce-yi-ming-237257","右侧设色人物清雅凝练，主人公持笏卓立，诸人垂首躬身，神态满含敬慕，衣纹简练舒展、设色调和雅致，将朝堂之上的肃穆恭敬尽显，暗合主人公端方持重的名臣气度。\n左侧行书题颂笔意隽秀舒展，诗文赞其温良恭谨、治民宽和，节操如秋水凝霜，为官不矜骄。\n诗画相辅，以图具象名臣德行，以文铺陈贤名高节，工写相宜，借诗画传递出传统士大夫的理想人格韵味，尽显小品佳作的文气与纪实意趣。",[304,24,7,59,27,96,133,64,28,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac5964e0b39584045a35732c057b6d43.jpg",[],{"id":96903,"slug":96904,"title":60987,"dynasty":54,"author":223,"museum":300,"description":96905,"tags":96906,"thumbUrl":96907,"material":692,"size":1293,"collection":84,"collections":96908,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},237254,"ming-chen-gu-shi-deng-xu-ti-song-ce-yi-ming-237254","界画精工秀雅，青绿层楼浮空而起，檐角翘立如振翅飞鸟，朱漆廊柱衬着碧色重檐，在缱绻云海间宛若阆苑仙宫，晕染柔润的流云轻拥楼宇，将缥缈仙气晕满画面。\n\n左侧题笔清劲隽秀，墨色沉凝匀净，笔势流转顾盼有情，诗画合璧，文辞咏叹先贤风骨，字画相映，既见界画的严整工致，又融文人雅致意趣，静赏间仿若追随着流云遥想先贤襟怀，古韵悠然萦怀。",[24,7,59,27,95,133,208,28,97,950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66ebc0132611dd647edc7b2b01f1a77b.jpg",[],{"id":96910,"slug":96911,"title":4724,"dynasty":54,"author":48234,"museum":300,"description":48235,"tags":96912,"thumbUrl":96913,"material":692,"size":1293,"collection":84,"collections":96914,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237124,"shan-shui-tu-ce-yao-song-237124",[24,7,59,128,29,96,372,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb804141ab7e5c8458321757cf7d1640.jpg",[],{"id":96916,"slug":96917,"title":34368,"dynasty":54,"author":34369,"museum":300,"description":96918,"tags":96919,"thumbUrl":96920,"material":611,"size":84,"collection":84,"collections":96921,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237060,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237060","淡墨晕开平远烟江，陂陀江岸之上，林木扶疏，村居隐于葱茏间，远山以枯笔轻皴，淡墨晕染出空濛秀色，虚实相生，漾开林下幽居的清寂淡远。\n左侧行书笔致苍秀灵动，诗画相映，将林泉高致的隐逸襟怀融于尺幅。笔墨简淡却意韵悠长，以极简的水墨语言，勾勒出水乡的闲雅意趣，尽显文人画以形写神的雅致格调，把寄情山水、静享林泉的幽怀藏在每一处淡墨笔触之中。",[24,7,59,128,133,132,29,372,371,722,34,1314,415,7782],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89cc640e86ab5e6a1091c8c76df45e62.jpg",[],{"id":96923,"slug":96924,"title":58971,"dynasty":124,"author":78489,"museum":300,"description":96925,"tags":96926,"thumbUrl":96927,"material":611,"size":84,"collection":84,"collections":96928,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237058,"hua-hui-ren-wu-ce-mao-fu-guang-237058","此作用水墨写意写就，构图疏简空灵。拳石以淡墨晕染块面，间以浓墨皴擦勾勒，苍润兼具，尽显嶙峋朴拙之态。幽兰叶茎舒展飘逸，笔势柔韧清劲，将蕙兰清雅脱俗之姿尽显，点缀的小花简淡含蓄，暗有暗香浮动之感。旁侧瘦竹枝挺叶劲，笔力爽利凝练，与兰、石相映成趣。\n\n左侧题字与画面相得益彰，诗画交融。整体笔墨简淡却意韵悠长，以兰竹的君子清姿搭配顽石朴拙，寥寥数笔便将创作者淡泊脱俗的襟怀融于画中，清雅古逸，尽显明代文人水墨小品寄情于物的雅致意趣。",[24,7,59,128,171,375,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F877100ff2e8ca2f8448e4a9a55e77d3e.jpg",[],{"id":96930,"slug":96931,"title":58971,"dynasty":124,"author":78489,"museum":300,"description":96932,"tags":96933,"thumbUrl":96934,"material":611,"size":84,"collection":84,"collections":96935,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237056,"hua-hui-ren-wu-ce-mao-fu-guang-237056","此作用淡墨晕开潇潇雨意，满纸漾着清寒秋瑟。左侧藤蔓蔬果以浓淡墨色铺陈，枝叶俯仰欹斜，尽显疾风里的飘摇之姿，笔致简劲洒脱，墨色虚实相生，将草木在风雨里的情态勾勒尽致。\n\n右侧水汀之上孤禽敛羽独立，在迷濛雨色中愈见清寂幽独。题款与画面浑然相融，诗画合璧，以极简笔墨托出萧疏野趣，尽显写意画以意驭笔的妙处，把秋雨中荒寒澹远的林下之美诉诸笔端，淡而有味，简中见丰。",[24,7,59,128,62,96,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa58d9c607abbfe448386e9755d899cc5.jpg",[],{"id":96937,"slug":96938,"title":58971,"dynasty":124,"author":78489,"museum":300,"description":96939,"tags":96940,"thumbUrl":96941,"material":611,"size":84,"collection":84,"collections":96942,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237053,"hua-hui-ren-wu-ce-mao-fu-guang-237053","此作为大写意禅意小品，以极简笔墨写世外老僧。画中老者清矍超然，宽袍仅以数道枯淡墨线勾勒，留白衬出衣袂空寂灵动感，将出尘淡然的神态尽显无余。侧旁芦草以淡墨点染，萧疏写意，与人物相映，晕开清寂悠远的禅境。\n\n全作画简神足，以少胜多，尽显明代写意重韵尚简的意趣，笔简而意赅，寥寥数笔便将高僧超然物外的风骨铺陈开来，观之如沐空山禅风，余韵悠悠。",[24,7,59,188,128,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6ca812782b4486d71043f8236fd6a80.jpg",[],{"id":96944,"slug":96945,"title":58971,"dynasty":124,"author":78489,"museum":300,"description":96946,"tags":96947,"thumbUrl":96948,"material":611,"size":84,"collection":84,"collections":96949,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237051,"hua-hui-ren-wu-ce-mao-fu-guang-237051","此作以疏淡笔墨写就秋隅小景，柔枝缀着蓝晕淡赭的小花，清润雅致。一只鸣虫栖于枝茎之上，翅翼薄透如生，纤足灵动，将草虫的鲜活之态尽藏笔底。留白铺陈开来，衬得画面愈见空灵悠远，野趣横生。\n\n配题诗文与画作相映，诗画交融间晕开幽寂恬然的意韵。整体设色浅淡含蓄，笔墨秀净简逸，把秋郊闲静的意境娓娓道来，尽显文人小品画的清雅格调，于方寸之间藏着鲜活生机与清远雅致。",[24,7,59,27,61,62,806,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd676e3427161dc849851c6f72cababa2.jpg",[],{"id":96951,"slug":96952,"title":58971,"dynasty":124,"author":78489,"museum":300,"description":96953,"tags":96954,"thumbUrl":96955,"material":84,"size":84,"collection":84,"collections":96956,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237050,"hua-hui-ren-wu-ce-mao-fu-guang-237050","此作以水墨写意绘就松鼠戏于葡萄枝间。松鼠身形以细墨线勾勒轮廓，淡墨晕染绒毛，将其机敏灵动的神态尽显，正俯身探看，仿佛下一秒便要跃动。葡萄藤蔓以枯笔写就，苍劲老辣，叶片以泼墨晕染，浓淡干湿交错，尽显水墨层次变化，串串葡萄以墨点攒聚，鲜活饱满。画面留白恰到好处，虚实相生，以极简的笔墨营造出山野间的悠然野趣，简淡疏朗间尽显文人写意画的清雅意韵，将自然生机凝于尺幅之中。",[24,7,59,128,949,548,549,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b58d9ee62c392fbba605efc2c50c1a9.jpg",[],{"id":96958,"slug":96959,"title":409,"dynasty":124,"author":82169,"museum":300,"description":82170,"tags":96960,"thumbUrl":96961,"material":611,"size":84,"collection":84,"collections":96962,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237043,"shan-shui-ce-li-hang-zhi-237043",[24,7,59,188,128,29,1337,98,415,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb319f8656840cda158834f7f41a6093d.jpg",[],{"id":96964,"slug":96965,"title":409,"dynasty":124,"author":82169,"museum":300,"description":82170,"tags":96966,"thumbUrl":96967,"material":611,"size":84,"collection":84,"collections":96968,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237041,"shan-shui-ce-li-hang-zhi-237041",[164,24,7,59,128,29,129,167,413,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc25e9ccb6395772767e351d576e8776.jpg",[],{"id":96970,"slug":96971,"title":54011,"dynasty":124,"author":33653,"museum":300,"description":38271,"tags":96972,"thumbUrl":96973,"material":692,"size":1293,"collection":84,"collections":96974,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237025,"mo-mei-ce-shen-hao-237025",[24,7,59,128,371,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ff3aef660a3c4decfaea979575d63fa.jpg",[],{"id":96976,"slug":96977,"title":54011,"dynasty":124,"author":33653,"museum":300,"description":38271,"tags":96978,"thumbUrl":96979,"material":692,"size":1293,"collection":84,"collections":96980,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237022,"mo-mei-ce-shen-hao-237022",[24,7,59,128,133,371,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d030517b250ccbd0d2779d329e5bb33.jpg",[],{"id":96982,"slug":96983,"title":54011,"dynasty":124,"author":33653,"museum":300,"description":38271,"tags":96984,"thumbUrl":96985,"material":692,"size":1293,"collection":84,"collections":96986,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237018,"mo-mei-ce-shen-hao-237018",[164,24,7,59,128,133,208,371,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9d652e7a33f9bed5132c42fffd3f403.jpg",[],{"id":96988,"slug":96989,"title":409,"dynasty":124,"author":65324,"museum":300,"description":91203,"tags":96990,"thumbUrl":96991,"material":692,"size":1293,"collection":84,"collections":96992,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},237001,"shan-shui-ce-sun-ri-shao-237001",[7,59,128,132,29,663,34,499,23873],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11c2e13c525f5b19965f1707892c9a44.jpg",[],{"id":96994,"slug":96995,"title":82189,"dynasty":54,"author":9529,"museum":300,"description":19697,"tags":96996,"thumbUrl":96997,"material":692,"size":1293,"collection":84,"collections":96998,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236998,"xue-jing-shan-shui-ce-wang-hui-236998",[24,7,59,128,29,1813,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bc7207b910e58f8f6f76217448e2a2c.jpg",[],{"id":97000,"slug":97001,"title":82189,"dynasty":54,"author":9529,"museum":300,"description":19697,"tags":97002,"thumbUrl":97003,"material":692,"size":1293,"collection":84,"collections":97004,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236996,"xue-jing-shan-shui-ce-wang-hui-236996",[24,7,59,128,132,29,1556,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4a858b197e1a9d6c2a073d76f89f76.jpg",[],{"id":97006,"slug":97007,"title":409,"dynasty":54,"author":64957,"museum":300,"description":97008,"tags":97009,"thumbUrl":97010,"material":611,"size":84,"collection":84,"collections":97011,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236966,"shan-shui-ce-chen-jia-le-236966","陈嘉乐，字子显，号东原，历城（今山东济南）人。善山水，学王原祁，奕譓招之京邸，从学画。为朱文震画中十哲歌“十哲”之一。性孤介，殁后家贫如洗。《历代画史汇传补编》、《墨林今话》、《画传编韵》、《八旗画录》、《画家知希录》、《山东通志》、《家言随记》、《清画家诗史》。",[24,7,59,27,29,331,209,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9490a10795dbed01154969315d29f51.jpg",[],{"id":97013,"slug":97014,"title":69606,"dynasty":54,"author":36659,"museum":300,"description":63282,"tags":97015,"thumbUrl":97016,"material":692,"size":1293,"collection":84,"collections":97017,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236949,"jiu-ru-zhi-ji-ce-wang-gai-236949",[24,7,59,27,28,133,96,97,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42b0002f293b9d8c32df706be96b711b.jpg",[],{"id":97019,"slug":97020,"title":69606,"dynasty":54,"author":36659,"museum":300,"description":63282,"tags":97021,"thumbUrl":97022,"material":692,"size":1293,"collection":84,"collections":97023,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236948,"jiu-ru-zhi-ji-ce-wang-gai-236948",[24,7,59,27,572,95,97,413,949,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefc0b16785378a480982b2619faec765.jpg",[],{"id":97025,"slug":97026,"title":69606,"dynasty":54,"author":36659,"museum":300,"description":63282,"tags":97027,"thumbUrl":97028,"material":692,"size":1293,"collection":84,"collections":97029,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236943,"jiu-ru-zhi-ji-ce-wang-gai-236943",[24,7,59,27,133,29,96,101,98,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f6fd7db7eb92a2c01bbf63d903cb725.jpg",[],{"id":97031,"slug":97032,"title":1289,"dynasty":124,"author":36548,"museum":300,"description":82208,"tags":97033,"thumbUrl":97034,"material":84,"size":84,"collection":84,"collections":97035,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236901,"shan-shui-hua-hui-ce-shao-mi-236901",[24,7,59,128,61,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb1c68b68b3f70605174aa505e2fe665.jpg",[],{"id":97037,"slug":97038,"title":59083,"dynasty":54,"author":59084,"museum":300,"description":59085,"tags":97039,"thumbUrl":97040,"material":692,"size":1293,"collection":84,"collections":97041,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236857,"zhu-shi-ce-wang-e-236857",[24,7,59,128,133,64,167,1314,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe9124cf4b91d0e3abb67ee73dd9cd4c.jpg",[],{"id":97043,"slug":97044,"title":59083,"dynasty":54,"author":59084,"museum":300,"description":59085,"tags":97045,"thumbUrl":97046,"material":692,"size":1293,"collection":84,"collections":97047,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236854,"zhu-shi-ce-wang-e-236854",[24,7,59,128,133,208,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49a32da8fecec3f9b8312d54fb76a3d2.jpg",[],{"id":97049,"slug":97050,"title":33103,"dynasty":54,"author":46694,"museum":20,"description":46695,"tags":97051,"thumbUrl":97052,"material":734,"size":84,"collection":84,"collections":97053,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},236825,"fang-gu-shan-shui-ce-zhao-cheng-236825",[24,7,27,132,59,2271,29,98,99,130,34,131,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1f9d86ff49b5624323ec8936e26f4f0.jpg",[],{"id":97055,"slug":97056,"title":33103,"dynasty":54,"author":46694,"museum":20,"description":46695,"tags":97057,"thumbUrl":97058,"material":734,"size":84,"collection":84,"collections":97059,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},236823,"fang-gu-shan-shui-ce-zhao-cheng-236823",[7,59,27,29,34,3440,35,131,1645,2271,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd01f5c0a964f04118ae439f153f3622.jpg",[],{"id":97061,"slug":97062,"title":40707,"dynasty":54,"author":25480,"museum":300,"description":97063,"tags":97064,"thumbUrl":97065,"material":84,"size":84,"collection":84,"collections":97066,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236739,"shan-shui-shan-jiang-yun-236739","此作用笔苍秀，以干笔勾勒皴擦写就近岸林木，枝桠错落尽显秋日萧疏之态，村居隐于林间，溪流蜿蜒穿绕，衬出山野幽寂。远景山峦以湿墨晕染，烟岚浮沉将峰峦晕化在空濛雾气中，远近层次悠然拉开，咫尺扇面铺展出悠远山境。\n全幅纯以水墨晕染施为，摒弃浓丽设色，以留白衬出林泉澹远之致，题诗落于一角，书画相映，将文人林下幽居的闲静意趣诉诸笔端，淡朴中藏着沉静的书卷雅韵，尽显传统山水诗画交融的隽永意境。",[24,7,1131,128,132,29,1337,131,415,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b1533f4d745fd43224f965bdb1374a.jpg",[],{"id":97068,"slug":97069,"title":97070,"dynasty":124,"author":97071,"museum":300,"description":69497,"tags":97072,"thumbUrl":97073,"material":692,"size":1293,"collection":84,"collections":97074,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},236670,"tai-chun-xiao-shan-sheng-dan-dan-236670","台春晓扇","盛丹丹",[164,24,7,1131,132,128,29,131,34,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b87226552b4ddbd858ed80826ebfee1.jpg",[],{"id":97076,"slug":97077,"title":65332,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":97078,"thumbUrl":97079,"material":692,"size":1293,"collection":84,"collections":97080,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236666,"bie-you-feng-wei-ce-huang-shen-236666",[24,7,59,128,188,61,2035,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b71f21cf63e04529177b6a2a66b3478.jpg",[],{"id":97082,"slug":97083,"title":65332,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":97084,"thumbUrl":97086,"material":692,"size":1293,"collection":84,"collections":97087,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236662,"bie-you-feng-wei-ce-huang-shen-236662",[24,7,59,128,188,208,133,97085,2037],"栗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4dd6a65fff3dcd409cc8d2606042a14.jpg",[],{"id":97089,"slug":97090,"title":27148,"dynasty":54,"author":27149,"museum":20,"description":27150,"tags":97091,"thumbUrl":97092,"material":84,"size":84,"collection":84,"collections":97093,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236646,"cha-shi-biao-shu-fa-ti-wang-zhi-rui-shan-shui-ce-wang-zhi-rui-236646",[24,7,59,128,29,133,1144,131,415,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff356f44df166836da58732bf5c94b2a9.jpg",[],{"id":97095,"slug":97096,"title":78623,"dynasty":124,"author":34726,"museum":300,"description":55756,"tags":97097,"thumbUrl":97098,"material":84,"size":84,"collection":84,"collections":97099,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236640,"song-mao-jin-jiang-nan-ming-sheng-tu-ce-song-mao-jin-236640",[24,7,164,59,128,27,132,29,97,34,131,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c65fc43ab3a8b40dce023b15e5acbb1.jpg",[],{"id":97101,"slug":97102,"title":78623,"dynasty":124,"author":34726,"museum":300,"description":55756,"tags":97103,"thumbUrl":97104,"material":84,"size":84,"collection":84,"collections":97105,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236638,"song-mao-jin-jiang-nan-ming-sheng-tu-ce-song-mao-jin-236638",[24,7,59,128,27,29,132,97,129,663,228,413,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc6c1b764d1d0c5c68ad65722b2106ca.jpg",[],{"id":97107,"slug":97108,"title":78623,"dynasty":124,"author":34726,"museum":300,"description":55756,"tags":97109,"thumbUrl":97110,"material":84,"size":84,"collection":84,"collections":97111,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236634,"song-mao-jin-jiang-nan-ming-sheng-tu-ce-song-mao-jin-236634",[24,7,59,27,29,97,130,96,413,131,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dfe9f73ed9d24ae688d23cfcbbf854d.jpg",[],{"id":97113,"slug":97114,"title":409,"dynasty":54,"author":17240,"museum":300,"description":25958,"tags":97115,"thumbUrl":97116,"material":84,"size":84,"collection":84,"collections":97117,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236597,"shan-shui-ce-cha-shi-biao-236597",[24,7,59,128,29,413,171,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e047732c8c8a64e1cb3b13bcd37706e.jpg",[],{"id":97119,"slug":97120,"title":40723,"dynasty":124,"author":36548,"museum":20,"description":40724,"tags":97121,"thumbUrl":97122,"material":84,"size":84,"collection":84,"collections":97123,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236566,"xiao-ke-guan-shan-shui-ce-shao-mi-236566",[24,7,59,128,29,132,130,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04eef338672805f2c391e1208ef811ce.jpg",[],{"id":97125,"slug":97126,"title":3168,"dynasty":54,"author":38236,"museum":300,"description":55512,"tags":97127,"thumbUrl":97128,"material":84,"size":84,"collection":84,"collections":97129,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236527,"ren-wu-gu-shi-ce-chen-zi-236527",[24,7,164,59,27,28,96,64,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ce1923f77356d309abd81a675afc2ae.jpg",[],{"id":97131,"slug":97132,"title":69704,"dynasty":54,"author":69705,"museum":300,"description":69706,"tags":97133,"thumbUrl":97134,"material":84,"size":84,"collection":84,"collections":97135,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236515,"sun-shan-shui-ce-wang-ji-236515",[24,7,59,128,132,29,99,171,167,331,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe95c2454fa5fa03f3ccda0dfecb9465c.jpg",[],{"id":97137,"slug":97138,"title":69704,"dynasty":54,"author":69705,"museum":300,"description":69706,"tags":97139,"thumbUrl":97140,"material":84,"size":84,"collection":84,"collections":97141,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236511,"sun-shan-shui-ce-wang-ji-236511",[24,7,59,128,132,29,167,413,1314,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb88965d3d52fb8e357349fc5b9c58303.jpg",[],{"id":97143,"slug":97144,"title":69704,"dynasty":54,"author":69705,"museum":300,"description":69706,"tags":97145,"thumbUrl":97146,"material":84,"size":84,"collection":84,"collections":97147,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236510,"sun-shan-shui-ce-wang-ji-236510",[24,7,59,128,132,29,131,34,130,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb39e4b645302017611a3b8e47161bb4f.jpg",[],{"id":97149,"slug":97150,"title":69704,"dynasty":54,"author":69705,"museum":300,"description":69706,"tags":97151,"thumbUrl":97152,"material":84,"size":84,"collection":84,"collections":97153,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236509,"sun-shan-shui-ce-wang-ji-236509",[24,7,59,128,132,29,1337,35,131,1813],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14012ed9e656abb1897bf1006caaea0a.jpg",[],{"id":97155,"slug":97156,"title":409,"dynasty":54,"author":54045,"museum":300,"description":54046,"tags":97157,"thumbUrl":97158,"material":151,"size":84,"collection":84,"collections":97159,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236503,"shan-shui-ce-cheng-ming-236503",[24,7,59,128,132,29,98,35,34,415,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dd82d64eebcd6105243818b56a84c56.jpg",[],{"id":97161,"slug":97162,"title":409,"dynasty":54,"author":54045,"museum":300,"description":54046,"tags":97163,"thumbUrl":97164,"material":151,"size":84,"collection":84,"collections":97165,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236499,"shan-shui-ce-cheng-ming-236499",[24,7,128,132,59,29,97,99,129,131,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96c7bfdb3170e3e01c592f5d7db95269.jpg",[],{"id":97167,"slug":97168,"title":16826,"dynasty":124,"author":40715,"museum":20,"description":54053,"tags":97169,"thumbUrl":97170,"material":611,"size":54056,"collection":84,"collections":97171,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236486,"shan-shui-ren-wu-ce-guo-fen-ya-236486",[24,7,164,59,128,27,96,171,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe210ca5b646e37da24883b3562f301f5.jpg",[],{"id":97173,"slug":97174,"title":54061,"dynasty":54,"author":9529,"museum":300,"description":39800,"tags":97175,"thumbUrl":97176,"material":84,"size":84,"collection":84,"collections":97177,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236449,"ni-qian-ren-shi-yi-ce-wang-hui-236449",[24,7,59,128,132,330,29,331,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b7d60acc6b36dcf1fd1597c6c77114c.jpg",[],{"id":97179,"slug":97180,"title":54061,"dynasty":54,"author":9529,"museum":300,"description":39800,"tags":97181,"thumbUrl":97182,"material":84,"size":84,"collection":84,"collections":97183,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236448,"ni-qian-ren-shi-yi-ce-wang-hui-236448",[164,24,7,59,128,29,132,131,34,37,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d262b4910f53df6bc971c718088a4aa.jpg",[],{"id":97185,"slug":97186,"title":63057,"dynasty":124,"author":223,"museum":300,"description":97187,"tags":97188,"thumbUrl":97189,"material":84,"size":84,"collection":84,"collections":97190,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236435,"shu-zhi-shan-shui-ce-yi-ming-236435","此作以清隽之笔绘就江干林麓之景。坡岸之上，数株青松错落成林，松针细劲匀整，枝干虬曲苍秀，尽显古木清挺之姿。浅滩矶石错落横陈，点染着幽蓝小花与青碧芳草，水畔留白以虚代实，晕出空濛江色。\n\n设色浅淡明净，赭石晕染坡岸、花青点苔敷色，笔墨秀雅温润。全画虚实相生，以简淡笔致铺陈出萧散清寂的林下氛围，将文人幽居林泉的闲远意趣藏于淡冶景致中，尽显沉静空悠的山水雅韵，尽显文人画寄情丘壑的典型意趣。",[24,7,59,27,29,331,99,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaace795f58d2da17bebed8d7d6881cb.jpg",[],{"id":97192,"slug":97193,"title":63057,"dynasty":124,"author":223,"museum":300,"description":97194,"tags":97195,"thumbUrl":97196,"material":84,"size":84,"collection":84,"collections":97197,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236433,"shu-zhi-shan-shui-ce-yi-ming-236433","此作以淡墨晕染出空濛月夜山境，云雾留白铺陈，将山林古刹托于烟霭之中。明月悬于浅灰天际，古松虬枝、佛塔禅院隐现云间，似远还近。枯淡线条勾勒松木枝桠，蓬松云气以水墨晕染而成，淡赭轻点秋叶，清冷又带着几缕暖色生机。\n整幅画作将秋夜幽寂写得如诗似幻，清寂空灵间满是禅意，把寄情林泉、寻味尘外的意趣藏于尺幅之间，寥寥笔墨便勾勒出超脱尘俗的山水禅境，尽显小品山水的雅致意韵。",[24,7,59,128,27,29,95,97,211,231,131,34,37,171,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fc5f70ff9752b852ec1d91690ace04e.jpg",[],{"id":97199,"slug":97200,"title":63057,"dynasty":124,"author":223,"museum":300,"description":97201,"tags":97202,"thumbUrl":97203,"material":84,"size":84,"collection":84,"collections":97204,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236432,"shu-zhi-shan-shui-ce-yi-ming-236432","近岸怪石错落，带花疏枝斜探寒波，右侧古松虬曲掩着茅亭，亭内案几静静陈设，似待幽人凭栏闲望。浩渺江天里，远山隐在烟霭中，水色与空蒙天色相融，几只飞鸟掠过长空。整幅笔墨秀逸简淡，以浅淡水墨晕染出秋江暮色的空寂萧疏，取景极简却意境悠长，将文人寄情林泉的幽怀藏于尺幅间，淡远空灵尽显写意山水之美，携观者步入清冷安谧的江渚闲居，窥见古人林下忘机的清雅襟怀。",[24,7,59,27,29,132,130,372,371,131,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a0ee2f8d4e0cf6d3082959d7d860406.jpg",[],{"id":97206,"slug":97207,"title":63057,"dynasty":124,"author":223,"museum":300,"description":97208,"tags":97209,"thumbUrl":97210,"material":84,"size":84,"collection":84,"collections":97211,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236431,"shu-zhi-shan-shui-ce-yi-ming-236431","此作用浅设色绘平远林泉之景，晨雾轻漫山隅，淡墨晕染出空濛霭气，远近林木渐次隐现，晕染出朦胧幽谧的春日山境。近景坡陀错落，杂木华滋丰茂，笔法秀雅细腻，枝干俯仰有姿，叶簇点染灵动鲜活。林下二人策杖徐行，衣袂轻扬，于林泉间悠然游赏，衬出山林清寂安闲。\n\n全作设色淡雅柔和，以水墨打底略施淡赭、花青，温润明净，笔墨简淡却意趣悠长，尽显萧散简远的文人意致，将林下雅游的幽逸之趣融于尺幅间，观之如临静穆林泉，涤荡俗尘。",[24,7,59,27,29,34,131,99,1023,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4deb5167aff7948698416ff62d920393.jpg",[],{"id":97213,"slug":97214,"title":63057,"dynasty":124,"author":223,"museum":300,"description":97215,"tags":97216,"thumbUrl":97217,"material":84,"size":84,"collection":84,"collections":97218,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236430,"shu-zhi-shan-shui-ce-yi-ming-236430","这幅山水小品以淡墨晕染出烟霭山城，虚实相生间尽显空寂萧疏之美。城垣逶迤盘桓山巅，楼阁隐现薄雾之中，恍若仙山琼宇藏于烟岚。林麓之下，旅人策蹇徐行，溪畔茅舍临流静立，远处佛塔淡影浮沉在朦胧烟霭中，将山野清寂与浅淡烟火意趣相融。\n\n笔墨简淡清润，以淡墨皴擦点染弱化山石棱角，留白与晕染交织出空濛诗意，将郊野山城的清旷雅致勾勒尽致，尽显简淡幽远的文人意趣，引人沉醉在这烟水山岚的悠然意境里。",[24,7,59,128,27,29,97,130,413,101,98,690,131,10993,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f87642505a7b80225be89ce4786ca89.jpg",[],{"id":97220,"slug":97221,"title":97222,"dynasty":124,"author":223,"museum":300,"description":97223,"tags":97224,"thumbUrl":97225,"material":692,"size":1293,"collection":84,"collections":97226,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},236397,"ling-bi-zheng-hua-shi-shuang-die-tu-shan-yi-ming-236397","凌必正花石双蝶图扇","此作为泥金扇面，以古梅奇石配粉蝶入画。奇石以淡墨勾皴，造型玲珑剔透，古梅虬曲苍劲，枝梢缀满柔花，冷艳雅致。两只粉蝶翩跹于花枝间，打破了画面的沉静，添上灵动生趣。\n笔墨工写相济，设色清妍秀润，将写生的鲜活与文人意趣相融，把春日庭院的恬然雅致晕染纸面，尽显小品画的清雅格调，兼得观赏性与文人情致。",[805,24,7,1131,27,28,547,1314,9392],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ed2ae4fbec2a5b5dfeaf21f370937b.jpg",[],{"id":97228,"slug":97229,"title":97230,"dynasty":54,"author":24258,"museum":300,"description":36452,"tags":97231,"thumbUrl":97232,"material":692,"size":1293,"collection":84,"collections":97233,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236348,"shui-shi-shan-chen-heng-ke-236348","水石扇",[24,7,1131,128,29,171,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8def83258460be0af96b09c78c48aa69.jpg",[],{"id":97235,"slug":97236,"title":75212,"dynasty":222,"author":97237,"museum":300,"description":97238,"tags":97239,"thumbUrl":97240,"material":692,"size":1293,"collection":84,"collections":97241,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},236290,"hua-hui-shan-wang-zhi-236290","王廌","此作为金笺水墨花卉，以写意之法绘折枝花木。淡墨晕染花瓣，柔润舒展，尽显清妍之态；焦墨挥写枝叶，笔力顿挫苍劲，浓淡对比间，花叶错落顾盼，满溢鲜活生机。\n留白与笔墨疏密相宜，将花木疏朗清逸的韵致尽数铺陈。左侧题款书法朴拙洒脱，与画面笔墨意趣相融，文气盎然。整幅以简驭繁，不耽于刻画形貌，而专意抓取花木风神，于方寸扇面中，尽显文人写意的随性雅致与自然清趣。",[24,7,1131,128,62,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F956f9eba1c54b8d0ea05b5e47b3a9933.jpg",[],{"id":97243,"slug":97244,"title":7864,"dynasty":54,"author":38236,"museum":300,"description":38237,"tags":97245,"thumbUrl":97246,"material":692,"size":1293,"collection":84,"collections":97247,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236281,"za-hua-ce-chen-zi-236281",[24,7,27,59,29,96,1351,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1da4a7182eaf3aa3d92dfd1b9f5c373f.jpg",[],{"id":97249,"slug":97250,"title":97251,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":97252,"thumbUrl":97253,"material":692,"size":1293,"collection":84,"collections":97254,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236268,"lan-zhu-cheng-shan-wen-zheng-ming-236268","兰竹成扇",[164,24,7,1131,128,375,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a0f1ccdb648f394c44610e77b21328d.jpg",[],{"id":97256,"slug":97257,"title":97258,"dynasty":124,"author":3608,"museum":300,"description":97259,"tags":97260,"thumbUrl":97261,"material":692,"size":1293,"collection":84,"collections":97262,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236192,"hua-shan-shui-yong-yan-shu-ti-gu-yu-wu-shou-cheng-shan-lu-zhi-236192","画山水颙琰书题古玉五首成扇","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[24,7,1131,29,128,132,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb277ba90b5cf505a9fa82e06e7263943.jpg",[],{"id":97264,"slug":97265,"title":82402,"dynasty":124,"author":10922,"museum":20,"description":10923,"tags":97266,"thumbUrl":97267,"material":84,"size":84,"collection":136,"collections":97268,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236185,"shan-shui-cheng-shan-wen-jia-236185",[24,7,1131,128,27,29,34,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5a8f674e70db2cbda5d3566a30ee360.jpg",[136,45],{"id":97270,"slug":97271,"title":43488,"dynasty":54,"author":10307,"museum":20,"description":43489,"tags":97272,"thumbUrl":97273,"material":1027,"size":84,"collection":84,"collections":97274,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236141,"fang-yuan-ren-shan-shui-ce-he-yi-236141",[24,7,59,330,128,132,29,98,99,34,131,415,130,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60b45a9ecd58a4bf0a2f3ac5cea04180.jpg",[],{"id":97276,"slug":97277,"title":42489,"dynasty":54,"author":523,"museum":300,"description":97278,"tags":97279,"thumbUrl":97280,"material":84,"size":84,"collection":84,"collections":97281,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236097,"hua-luo-han-ce-leng-mei-236097","此作白描清劲秀逸，勾勒极具表现力。主者袒胸跣足，神态威严又随性自在，抬手间尽显出尘威仪。侍从头束宝冠躬身持物，神态恭谨，幼童伏地憨态尽显，诸人情态各异，细节鲜活传神。左侧题诗笔意端雅，与绘画面面相呼应，诗画合璧晕染出悠然禅意，将佛门清寂庄严的意境融于尺幅之间，工细中带着文雅意趣，静谧古雅里尽显超然禅韵。",[24,7,59,187,28,27,96,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F945c72d9f76ff7c2d6f525c026ee6878.jpg",[],{"id":97283,"slug":97284,"title":42489,"dynasty":54,"author":523,"museum":300,"description":97285,"tags":97286,"thumbUrl":97287,"material":84,"size":84,"collection":84,"collections":97288,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236096,"hua-luo-han-ce-leng-mei-236096","画面中罗汉安坐如松，神态清寂超然，衣褶流转自然，尽显世外高逸之姿。身旁侍者恭谨随侍，猿猴奉来奇花异果，灵动憨态为静穆的禅意画面添上鲜活生趣。\n\n左侧题诗书风清隽，笔墨与绘卷相映成趣，书画合璧。整幅设色淡雅秀润，线条精细流畅，既有院体画的工致细腻，又饱含文人写意的悠然韵致，将禅家静定超脱与林间野趣融为一体，勾勒出空灵出尘的世外禅境，在工巧与写意之间，尽显绝妙的审美意趣与禅思内涵。",[164,24,7,28,27,187,96,9633,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ee6d144bcedd4577f57695d03850acc.jpg",[],{"id":97290,"slug":97291,"title":42489,"dynasty":54,"author":523,"museum":300,"description":97292,"tags":97293,"thumbUrl":97294,"material":84,"size":84,"collection":84,"collections":97295,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236095,"hua-luo-han-ce-leng-mei-236095","此作设色雅淡明净，右侧绘禅室清景。袒胸罗汉安坐案侧，目含静定悠然之态，一童子俯首研墨，侍者正趋前供花。案头卷册、砚台错落，瓶花素净雅致，笔线清劲秀挺，衣纹流转自如，晕染柔润细腻，将禅居的静穆闲和尽显无余。\n\n左侧行书舒展俊逸，诗画相映成趣。整幅简净空灵，工致中不失文人雅逸之韵，将禅者萧散自在的襟怀融于绢素，把清修禅意与文房雅境相融，尽显静谧悠远的世外幽情。",[24,7,28,27,187,96,64558,8629,62,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F948535ada5b246890bf49c4f661cefdd.jpg",[],{"id":97297,"slug":97298,"title":42489,"dynasty":54,"author":523,"museum":300,"description":97299,"tags":97300,"thumbUrl":97301,"material":84,"size":84,"collection":84,"collections":97302,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236094,"hua-luo-han-ce-leng-mei-236094","此作设色清和雅致，画面中罗汉安坐雕花宝榻，神态恬然超脱，侍童或持物随侍，或打理瓶中花枝，动静相映。衣纹勾勒舒展流畅，晕染柔和细腻，将人物仪态铺陈得恰到好处，案上清瓶供花，衬得画面愈发静谧悠然。\n左侧题字笔意清隽，与画作相得益彰，整体融书画于一炉，工细间不失文人雅意，将禅门林下闲居的超然氛围烘托尽致，笔墨间漫溢出平和冲淡的禅韵，尽显静穆出尘之美。",[24,7,59,28,27,187,96,2218,8629,1364,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86645fcbebefd90b72b0c43836bfda67.jpg",[],{"id":97304,"slug":97305,"title":42489,"dynasty":54,"author":523,"museum":300,"description":97306,"tags":97307,"thumbUrl":97308,"material":84,"size":84,"collection":84,"collections":97309,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236093,"hua-luo-han-ce-leng-mei-236093","此作设色柔淡雅致，右侧袒胸露腹的弥勒笑坐榻上，神态憨然和煦。数名童子环绕嬉闹，或扯拽衣袍，或攀爬肩头，稚态灵动鲜活，将童真嬉趣与佛门意象相融，消解禅家肃穆，尽显悠然喜乐。\n\n左侧行书题字娟秀舒展，笔意清雅，书画合璧，禅意与世俗温情相映。工细线条将人物形神勾勒入微，淡彩晕染柔和雅致，整体兼具工笔的细腻精妙与写意的悠然意趣，把日常嬉闹融入禅境，晕开冲淡温暖的氛围感。",[164,24,7,304,187,18381,96,28,27,208,1009,40819],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff97d887727faa1519d9cad124cb54cb8.jpg",[],{"id":97311,"slug":97312,"title":42489,"dynasty":54,"author":523,"museum":300,"description":97313,"tags":97314,"thumbUrl":97315,"material":84,"size":84,"collection":84,"collections":97316,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236090,"hua-luo-han-ce-leng-mei-236090","此幅以淡彩白描绘就罗汉，足蹑云涛，衣褶线条流转如回风垂柳，神情端严澄澈，似在静聆禅音，周身云气萦纡晕染，晕开超逸出尘之态。\n\n左侧题诗配朱印错落排布，笔意隽秀舒展，与画意相得益彰，禅心文思交融无间。整作清和静雅，淡墨轻岚暗藏空灵禅韵，将罗汉弃刃向佛的超脱心境暗含其间，笔墨工丽却不失简澹意趣，尽显含蓄悠远的佛家意境。",[24,7,59,28,27,96,187,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff217bdf968b9e445ac1263e6f0e3ad71.jpg",[],{"id":97318,"slug":97319,"title":97320,"dynasty":54,"author":6946,"museum":300,"description":35061,"tags":97321,"thumbUrl":97322,"material":692,"size":1293,"collection":84,"collections":97323,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},236035,"di-er-a-zi-da-zun-zhe-ding-guan-peng-236035","第二阿资答尊者",[24,7,165,187,28,27,96,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bcf25c6a8c3f92bce62f6b5eb3b4e4.jpg",[],{"id":97325,"slug":97326,"title":97327,"dynasty":54,"author":6946,"museum":300,"description":35061,"tags":97328,"thumbUrl":97330,"material":692,"size":1293,"collection":84,"collections":97331,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":199},236032,"di-shi-wu-guo-ba-ga-zun-zhe-ding-guan-peng-236032","第十五锅巴嘎尊者",[164,24,7,165,187,28,27,96,171,8627,97329,64263,208],"坐垫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F812ef70a8bc1f8e633dc4ddf0adb9e60.jpg",[],{"id":97333,"slug":97334,"title":97335,"dynasty":54,"author":6946,"museum":300,"description":35061,"tags":97336,"thumbUrl":97340,"material":692,"size":1293,"collection":84,"collections":97341,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},236030,"di-shi-san-ba-na-ta-ga-zun-zhe-ding-guan-peng-236030","第十三巴纳塔嘎尊者",[24,164,7,28,27,187,96,97337,97338,97339,1367,30420],"坐姿","座具","经书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d8a91acf7ba0142fd92f2d6d809a28.jpg",[],{"id":97343,"slug":97344,"title":55620,"dynasty":54,"author":24167,"museum":300,"description":91578,"tags":97345,"thumbUrl":97346,"material":692,"size":1293,"collection":84,"collections":97347,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235967,"cai-jia-hua-hui-tu-ce-cai-jia-235967",[24,7,164,59,27,61,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe93efeeb0ae7295f6af13855fd3136b3.jpg",[],{"id":97349,"slug":97350,"title":55620,"dynasty":54,"author":24167,"museum":300,"description":91578,"tags":97351,"thumbUrl":97352,"material":692,"size":1293,"collection":84,"collections":97353,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235961,"cai-jia-hua-hui-tu-ce-cai-jia-235961",[164,24,7,59,27,61,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffda53d8b63441bea6913b73e0f41d14c.jpg",[],{"id":97355,"slug":97356,"title":55620,"dynasty":54,"author":223,"museum":300,"description":97357,"tags":97358,"thumbUrl":97359,"material":84,"size":84,"collection":84,"collections":97360,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235959,"cai-jia-hua-hui-tu-ce-yi-ming-235959","此作以枯墨写出梅枝，笔力苍劲老辣，顿挫间尽显虬曲古拙之态，枝桠错落舒展，留白恰到好处，铺展出清寂疏朗的意境。白梅以淡墨点染花苞，轻敷淡色晕染花瓣，清雅脱俗，将寒梅的清癯风骨尽显。\n搭配题诗映托，诗画合璧，把明月映窗疑是梅影、清风携暗香入室的幽微意趣烘托到极致，寥寥数笔便将寒梅孤高清淡的品性勾勒尽致，以简淡笔墨抒写出文人寄情于梅的雅致襟怀，静谧空疏之间，尽显文人画以意驭笔的悠远余韵。",[24,7,59,128,27,61,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3ba9966dca9aa885545b34ce90adf50.jpg",[],{"id":97362,"slug":97363,"title":55620,"dynasty":54,"author":223,"museum":300,"description":97364,"tags":97365,"thumbUrl":97366,"material":84,"size":84,"collection":84,"collections":97367,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235957,"cai-jia-hua-hui-tu-ce-yi-ming-235957","此作以淡赭晕染菊瓣，丝缕细致灵动，将秋菊蓬松柔润的盛放之态描摹入微。墨叶以浓淡区分阴阳向背，勾勒的筋脉挺劲舒展，花枝错落，盛放的花头与含苞的蓓蕾相互映衬，层次丰盈，尽得秋菊清疏生机。\n\n题诗与画境相映，暗合文人爱菊以寄隐逸闲情的传统。整幅设色清雅恬和，无浓艳堆砌，笔墨秀逸简淡，写实中带着空灵意趣，把秋菊清傲出尘的姿态，和以菊遣怀的文人情思融于尺幅间，尽显小品画的雅致闲淡。",[24,7,164,59,27,61,376,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5559da6695e9fcae4a722fefeea9bb17.jpg",[],{"id":97369,"slug":97370,"title":63098,"dynasty":54,"author":16583,"museum":300,"description":29102,"tags":97371,"thumbUrl":97372,"material":692,"size":1293,"collection":84,"collections":97373,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235952,"zhi-hua-za-hua-ce-gao-qi-pei-235952",[24,7,59,29104,128,96,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b884d5ab8767b41f2f5b27edebebd5.jpg",[],{"id":97375,"slug":97376,"title":63098,"dynasty":54,"author":16583,"museum":300,"description":29102,"tags":97377,"thumbUrl":97378,"material":692,"size":1293,"collection":84,"collections":97379,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235951,"zhi-hua-za-hua-ce-gao-qi-pei-235951",[24,7,59,29104,128,171,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F086ffdf9eb0aa97c8efca190e4003903.jpg",[],{"id":97381,"slug":97382,"title":63098,"dynasty":54,"author":16583,"museum":300,"description":29102,"tags":97383,"thumbUrl":97384,"material":692,"size":1293,"collection":84,"collections":97385,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235948,"zhi-hua-za-hua-ce-gao-qi-pei-235948",[164,24,7,59,29104,128,5490,949,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5474669ebf68f35b358cd9817579c568.jpg",[],{"id":97387,"slug":97388,"title":409,"dynasty":54,"author":45440,"museum":300,"description":97389,"tags":97390,"thumbUrl":97391,"material":84,"size":84,"collection":84,"collections":97392,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},235945,"shan-shui-ce-qi-zhi-jia-235945","此作用极简淡墨铺陈丘林野景，坡岸之上古松斜欹，杂木荒寒，枝桠错落间尽现初冬萧索意趣。远山以干笔淡皴轻勾，墨色晕染出空濛清旷的幽远意境，留白处尽显山水疏朗空寂之态。\n\n左幅行书题跋笔致秀逸舒展，与画面的清简格调浑然相融，书画相映，衬出文人雅逸的林下之风。全作用笔简净含蓄，以清冷淡远的笔墨勾勒出冲淡冷寂的山水意韵，尽显文人画中萧散淡远的审美意趣。",[24,7,59,128,132,133,208,29,34,171,98,130,131,7596,331,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabfe5cbbdc3931077709f5f8b72cba5a.jpg",[],{"id":97394,"slug":97395,"title":409,"dynasty":54,"author":45440,"museum":300,"description":97396,"tags":97397,"thumbUrl":97398,"material":84,"size":84,"collection":84,"collections":97399,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},235944,"shan-shui-ce-qi-zhi-jia-235944","此作用淡墨晕染山峦，以皴擦勾勒出山石苍莽肌理，浓淡墨色点簇林木，错落间尽显葱郁生机。山坳板桥连缀村居，野意悠然，将江南幽居林景融于尺幅。左侧行书题跋笔墨舒展，与画作相映成趣，书画合璧更添雅韵。\n\n全幅画风简淡清逸，不作刻意雕琢，以写意之笔铺陈林泉高致，尽显寄情山水、避世幽栖的文人意趣，淡墨轻岚之间藏着沉静悠远的林下襟怀，观之如临幽寂山林，令人尘心渐息。",[24,7,59,128,27,29,98,99,34,131,133,132,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b29e3d11ca38b400422b53e68e3b299.jpg",[],{"id":97401,"slug":97402,"title":409,"dynasty":54,"author":45440,"museum":300,"description":97403,"tags":97404,"thumbUrl":97405,"material":84,"size":84,"collection":84,"collections":97406,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},235943,"shan-shui-ce-qi-zhi-jia-235943","此作用笔松秀简淡，近岸苍木扶苏，屋舍隐于松涛之间，中流扁舟凌波，远山嶙峋空灵，以淡墨轻皴晕染出空寂山居之境。\n\n画面留白疏朗，衬出山峦空濛清润，将江南丘壑的静穆淡远铺陈开来。左侧行书题字隽逸雅致，书画合璧，尽显文人追慕古贤绘事的幽怀。整体简淡萧疏，把林下栖居的雅寂禅意藏于笔底，淡而弥远，清而有味，尽显文人山水的悠然意趣。",[24,7,59,128,29,663,413,98,99,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7d8f3150cf510c25790e5bf315b8c74.jpg",[],{"id":97408,"slug":97409,"title":409,"dynasty":54,"author":45440,"museum":300,"description":97410,"tags":97411,"thumbUrl":97412,"material":84,"size":84,"collection":84,"collections":97413,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},235942,"shan-shui-ce-qi-zhi-jia-235942","此作用笔苍秀凝练，层峦错落间，山居屋舍隐现于林木葱茏之中，将江南山林的幽寂清逸徐徐铺展。山石以短皴晕染，浑厚朴拙间尽显丘壑之致，林木枝桠苍劲舒展，疏密排布暗藏留白意趣。\n\n左侧行书题字笔意舒展流畅，笔墨与画境相映成趣，书画合璧尽显文人雅韵。整体意境萧散淡远，带着沉寂简淡的遗民意趣，以简约笔触勾勒出林泉栖居的超然之境，藏着传统文人寄情山水的沉静风骨，尽显幽绝尘寰的林下之风。",[24,7,59,128,132,133,29,34,131,130,211,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F756e5fb7bb40da78f8b18c2b5afcf144.jpg",[],{"id":97415,"slug":97416,"title":409,"dynasty":54,"author":45440,"museum":300,"description":97417,"tags":97418,"thumbUrl":97419,"material":84,"size":84,"collection":84,"collections":97420,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},235939,"shan-shui-ce-qi-zhi-jia-235939","此作取景高远，山峦层叠以淡墨晕染，晕化开空濛悠远的氛围感，谷间林木错落生姿，流泉隐于崖畔，构图疏密相宜。以枯淡笔墨勾勒山石轮廓，皴擦简括苍劲，尽显山川清寂萧疏之态。\n\n左侧题跋与山水合璧，以文释意，将绘事旨趣融于山水描摹间，以简驭繁，淡墨轻岚中寄寓着幽居林泉的雅逸襟怀。笔意松秀空灵，境与神会，尽显以画载道、以笔墨写心的文人风骨，是极具代表性的文人山水风貌。",[24,7,59,128,132,133,208,29,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F957aaf29ac73c53d53df438f1178d3b3.jpg",[],{"id":97422,"slug":97423,"title":409,"dynasty":54,"author":45440,"museum":300,"description":97424,"tags":97425,"thumbUrl":97426,"material":84,"size":84,"collection":84,"collections":97427,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},235937,"shan-shui-ce-qi-zhi-jia-235937","此作用笔清癯简淡，枯笔勾勒崖壁，皴擦极简便将山石嶙峋荒疏之态尽显。几株虬劲枯木无叶，愈发衬出空山萧索。坡上孤亭孑然独立，远景以淡墨晕染远山，江天寥廓混茫，意境幽冷孤高。\n\n整体取法逸笔草草的文人意趣，以简淡笔墨写尽清寂林下之境，寄寓幽远超然的襟怀，淡墨间浸透疏淡避世的雅韵，留白处皆是余味，简中见深，淡而弥长。",[24,7,128,133,132,59,29,331,131,98,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5945a50217da6dd6387ae3ca6be8bf72.jpg",[],{"id":97429,"slug":97430,"title":72563,"dynasty":54,"author":21964,"museum":300,"description":97431,"tags":97432,"thumbUrl":97433,"material":84,"size":84,"collection":84,"collections":97434,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235927,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235927","此作用浅绛设色写秋山古寺，左侧危崖层叠，枯笔皴擦出山石嶙峋肌理，淡石青晕染远山，铺展出深远空阔的山居层次。山麓苍松虬劲，荫蔽梵刹飞檐，几株丹枫点染秋意，溪涧蜿蜒穿林，漾出清寂生机。\n\n右上角题诗与画境呼应，诗画合璧，笔墨清隽秀雅，兼具元人山水的淡远萧疏与文人雅韵，将秋日山寺的幽寂空灵烘托尽致，静穆淡远的禅意漫溢纸面，尽显雅致出尘的文人意趣。",[24,7,59,27,132,29,1144,131,1955,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ad115590e3609c8f1ddcdd81403d190.jpg",[],{"id":97436,"slug":97437,"title":72563,"dynasty":54,"author":21964,"museum":300,"description":97438,"tags":97439,"thumbUrl":97440,"material":84,"size":84,"collection":84,"collections":97441,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235926,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235926","这幅画截取冬日湖山一隅，素雪覆峦，天地澄澈清寂。湖面波色澹澹，将冷冽水汽晕开在纸面。朱红梵宇静立岸畔，撞破冰色的单调，点亮了萧索冬景。远处佛塔孤挺于雪岭，与古寺遥遥相望，禅意自生。\n枯柳寒木虬枝错落，淡墨晕染出积雪留白，笔法清润秀雅，将冬日元气暗藏于冷寂间。右上角题诗与画境相映，诗画相融，把江南雪后梵刹的空灵悠然铺展开来，淡远含蓄的古意扑面而来，令人沉湎在这份冷雅安宁之中。",[164,24,7,59,27,29,97,18542,98,34,1813],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde125e9d55a9325d0a01ab1425d1a1db.jpg",[],{"id":97443,"slug":97444,"title":4724,"dynasty":54,"author":46717,"museum":300,"description":46718,"tags":97445,"thumbUrl":97446,"material":692,"size":1293,"collection":84,"collections":97447,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235921,"shan-shui-tu-ce-mei-chong-235921",[24,7,59,128,29,171,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F635d8c96de649bef05d32908f7072d22.jpg",[],{"id":97449,"slug":97450,"title":4724,"dynasty":54,"author":46717,"museum":300,"description":46718,"tags":97451,"thumbUrl":97452,"material":692,"size":1293,"collection":84,"collections":97453,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235920,"shan-shui-tu-ce-mei-chong-235920",[24,7,59,128,29,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e27310d12f85ca27b7ff9c6f8ddf4e5.jpg",[],{"id":97455,"slug":97456,"title":4724,"dynasty":54,"author":46717,"museum":300,"description":46718,"tags":97457,"thumbUrl":97458,"material":692,"size":1293,"collection":84,"collections":97459,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235919,"shan-shui-tu-ce-mei-chong-235919",[24,7,59,128,27,29,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8db055361bd8657798ff1ab02a1648.jpg",[],{"id":97461,"slug":97462,"title":4724,"dynasty":54,"author":46717,"museum":300,"description":46718,"tags":97463,"thumbUrl":97464,"material":692,"size":1293,"collection":84,"collections":97465,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235918,"shan-shui-tu-ce-mei-chong-235918",[24,7,59,128,29,132,171,130,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b9de35d6ab334a6dff958cc15b276a8.jpg",[],{"id":97467,"slug":97468,"title":4724,"dynasty":54,"author":46717,"museum":300,"description":46718,"tags":97469,"thumbUrl":97470,"material":692,"size":1293,"collection":84,"collections":97471,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235917,"shan-shui-tu-ce-mei-chong-235917",[24,7,164,59,128,27,132,29,372,171,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08fe1c0ed0f617749ef3fab32741bf16.jpg",[],{"id":97473,"slug":97474,"title":4724,"dynasty":54,"author":54118,"museum":300,"description":82512,"tags":97475,"thumbUrl":97476,"material":692,"size":1293,"collection":84,"collections":97477,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235898,"shan-shui-tu-ce-guan-quan-235898",[24,7,59,128,133,29,413,211,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54d2c1204b41a60e69aeb2f87be953e6.jpg",[],{"id":97479,"slug":97480,"title":7864,"dynasty":54,"author":52511,"museum":300,"description":91677,"tags":97481,"thumbUrl":97482,"material":692,"size":1293,"collection":84,"collections":97483,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235870,"za-hua-ce-zhang-sheng-235870",[24,7,59,27,61,81,481,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed77efaae6c1c7459971a868dadbfac0.jpg",[],{"id":97485,"slug":97486,"title":97487,"dynasty":124,"author":223,"museum":300,"description":97488,"tags":97489,"thumbUrl":97490,"material":84,"size":84,"collection":84,"collections":97491,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235848,"qian-gu-yang-shan-tu-ye-yi-ming-235848","钱榖阳山图页","此作为诗画合璧的小品，远山以淡墨轻皴，苍润雄浑，峰峦间古松错落，寺观隐现林麓，晕染出幽寂高旷的山林意趣。近岸村居疏朗，林木扶疏，一人策杖徐行，野逸闲静之态宛然眼前。\n\n行书题跋笔致清隽，叙写阳山旧典，书画相映成趣，尽显吴门文人淡泊萧散的审美意韵。淡设色晕染柔和雅致，将江南丘壑的灵秀静美与人文底蕴相融，尺幅之间藏尽吴中林泉的悠悠古韵。",[24,7,29,128,27,132,59,663,413,130,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5be3d191d554ecb479bc65a7e556f3a.jpg",[],{"id":97493,"slug":97494,"title":97495,"dynasty":124,"author":223,"museum":300,"description":97496,"tags":97497,"thumbUrl":97498,"material":84,"size":84,"collection":84,"collections":97499,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235845,"qian-gu-shi-hu-tu-ye-yi-ming-235845","钱榖石湖图页","此作用色淡雅清和，取景疏密得宜。右侧绘就浩渺湖面，渔舟轻泛波心，峰峦叠翠间山寺雄踞山巅，洲渚林木葱郁，田舍错落排布，将江南水乡的清旷温婉尽数铺展。左侧行书题跋笔意疏朗俊逸，书画合璧，将石湖形胜与人文意蕴相融。整体笔触细腻雅致，既写实还原吴中水乡的灵秀风貌，又饱含文人的清雅意趣，晕染出江南山水的温婉诗意，尽得湖山雅韵。",[24,164,7,27,133,29,13438,3650,500,49992,4438,69100,56863,1351,12885],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3de8a2d3af78c9212a3751b69ad8b3b0.jpg",[],{"id":97501,"slug":97502,"title":409,"dynasty":124,"author":27311,"museum":300,"description":97503,"tags":97504,"thumbUrl":97505,"material":84,"size":84,"collection":84,"collections":97506,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235820,"shan-shui-ce-li-liu-fang-235820","此帧以淡墨晕染远山，寥寥数笔便勾勒出清旷空蒙之态。近岸古木虬曲，枝桠错落，枯笔勾勒尽显苍劲质感，林下村居掩映于草木间，野趣横生。\n\n画作以干笔皴擦，墨色层次清雅简淡，摒弃繁复晕染，将秋日江岸的疏寂淡远尽数铺展。左侧题跋点明其自开生面的画格，脱却陈规旧法，以书入画，笔意萧散沉静，尽显文人山水的简率风神，将江南秋岸的幽寂意蕴融于笔墨，寄寓着林泉高致的文人襟怀。",[24,7,59,128,369,132,29,34,35,131,96246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9036cf8cc485a93ef0a54c3227ddc479.jpg",[],{"id":97508,"slug":97509,"title":409,"dynasty":124,"author":27311,"museum":300,"description":97510,"tags":97511,"thumbUrl":97512,"material":84,"size":84,"collection":84,"collections":97513,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235818,"shan-shui-ce-li-liu-fang-235818","此帧以干笔枯墨写水岸之景，近坡老木盘曲，枝桠交错苍劲，淡墨轻扫出浅渚荒岸，林梢之后茅檐半露，远景林木攒簇，简淡空蒙。\n\n通篇笔墨洗练，干湿浓淡相映，不做繁密勾染，却将江村野居的清寂幽然尽数铺展。搭配左侧题识，恰为注脚——潇洒超逸舒展自如，笔墨堪称双绝。\n师法元人萧散意趣，以极简之笔勾勒林下幽居之境，藏文人心底悠然丘壑，淡而愈远，简而弥长，尽显晚明文人画尚韵尚简的风雅意致。",[24,7,59,128,132,29,413,3387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18d7f5c0ed44a7dc8f7d6d68b8ad2c70.jpg",[],{"id":97515,"slug":97516,"title":409,"dynasty":124,"author":27311,"museum":300,"description":58954,"tags":97517,"thumbUrl":97518,"material":692,"size":1293,"collection":84,"collections":97519,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235816,"shan-shui-ce-li-liu-fang-235816",[24,7,59,128,29,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32808b5812dc1919cc5fa67f56a347dd.jpg",[],{"id":97521,"slug":97522,"title":82873,"dynasty":54,"author":97523,"museum":300,"description":97524,"tags":97525,"thumbUrl":97526,"material":84,"size":84,"collection":84,"collections":97527,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235783,"zhu-jia-shu-hua-he-bi-ce-shan-shui-ye-wu-shi-rui-235783","吴世睿","这幅山水以平远之法铺陈，近岸苍木错落，茅舍隐于林麓，板桥卧波漾着野趣。渐远则田畴层叠、村舍依依，远山以淡墨晕染，虚实相生，将江南郊野的温润清寂尽数铺陈。\n\n笔墨简淡秀雅，线条松灵含蓄，皴擦晕染皆出自然，尽显文人画萧散意趣。对开草书笔意纵逸跌宕，与山水清逸相得益彰。书画合璧，将观景寄情的雅趣藏在尺幅间，淡而弥远，耐人寻味。",[24,7,59,128,133,132,29,34,35,98,99,111,9164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff247532932a57842612aa76893757df0.jpg",[],{"id":97529,"slug":97530,"title":97531,"dynasty":124,"author":1438,"museum":300,"description":13247,"tags":97532,"thumbUrl":97533,"material":692,"size":1293,"collection":84,"collections":97534,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235769,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-wu-song-jiang-tu-ye-chen-chun-235769","吴门诸家寿袁方斋三绝册-吴淞江图页",[24,7,59,128,27,64,208,29,98,99,34,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F098f5ef4d61784b2c3a4c75fb32b5218.jpg",[],{"id":97536,"slug":97537,"title":42514,"dynasty":124,"author":36548,"museum":300,"description":42515,"tags":97538,"thumbUrl":97539,"material":692,"size":1293,"collection":84,"collections":97540,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235757,"mei-hua-wen-cong-jian-shi-he-bi-ce-shao-mi-235757",[164,24,7,59,128,133,208,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c461e9dff4be7b9902426881d1ef8ab.jpg",[],{"id":97542,"slug":97543,"title":33103,"dynasty":124,"author":33653,"museum":300,"description":97544,"tags":97545,"thumbUrl":97546,"material":84,"size":84,"collection":84,"collections":97547,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235623,"fang-gu-shan-shui-ce-shen-hao-235623","此帧以极简笔墨绘就冬日山隅，几株枯木虬枝疏朗，旁伴修竹柔劲挺秀，浅坡寒石错落，勾勒皴擦简率清逸。远景山峦以淡墨晕染虚化，留白间尽显空濛悠远。右上题诗与画意相生，将萧寒淡远的意境烘托尽致。整幅以少胜多，舍去繁缛细节，用清浅笔墨描摹出荒寒萧疏的冬日山景，尽显文人山水疏淡清远的格调，藏着画者寄情林泉的幽怀雅致。",[24,7,59,128,132,208,29,1337,167,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7466e922793b9d77af0d51a2061d7109.jpg",[],{"id":97549,"slug":97550,"title":76,"dynasty":54,"author":14273,"museum":300,"description":97551,"tags":97552,"thumbUrl":97553,"material":84,"size":84,"collection":84,"collections":97554,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235574,"hua-hui-ce-fan-ting-zhen-235574","此作以淡墨晕染铺就秋夜月色，朦胧清柔漫开画卷。桂树枝叶以没骨法绘就，叶片向背枯荣皆具意态，细碎繁花点染枝头，似将幽淡桂香凝于纸面。\n题诗与画境相映，把清秋月下桂子盛放的静谧清雅刻画入微。墨色干湿浓淡层次分明，不见艳色却暗生馥郁，温婉静雅的书卷气扑面而来。诗书画印相合，勾勒出清寂出尘的秋夜图景，寄情于物，尽显中式古典雅致的美学意趣，将秋夜暗香浮动的幽逸氛围烘托极致。",[24,7,59,128,27,61,62,624,231,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50b14a5af1aa05ff1247ef93a40773bf.jpg",[],{"id":97556,"slug":97557,"title":76,"dynasty":54,"author":14273,"museum":300,"description":97558,"tags":97559,"thumbUrl":97560,"material":84,"size":84,"collection":84,"collections":97561,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235572,"hua-hui-ce-fan-ting-zhen-235572","这幅小品以水墨写意绘秋石榴，枯润兼施的笔墨将果实神态尽数拿捏。饱满的榴果或掩或绽，淡晕果皮，留白凸显果肉莹润，焦墨点染榴籽，如珠似玑，绽开的裂口憨态可掬，尽显成熟饱满的生机。旁生的枝桠以简逸笔意勾勒，叶片错落随性，寥寥数笔便写出秋枝疏朗清灵之态。\n\n配题小诗与画相映，将榴籽比作珠玑，以开口谈笑暗喻才思喷薄，文趣暗藏。整幅不刻意求工，却神完气足，淡墨轻毫间把花果生机与文人雅趣揉合一处，简淡苍秀的笔墨里，尽显清逸雅致的文人画意韵，余味悠长。",[24,7,59,128,208,64,61,2035,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8334604a2a393930c71587996111a89e.jpg",[],{"id":97563,"slug":97564,"title":409,"dynasty":54,"author":23132,"museum":300,"description":61171,"tags":97565,"thumbUrl":97566,"material":692,"size":1293,"collection":84,"collections":97567,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235497,"shan-shui-ce-liu-yu-235497",[24,7,59,128,188,133,64,29,413,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe44ff21b2853efe85d5635c5e5d54adb.jpg",[],{"id":97569,"slug":97570,"title":409,"dynasty":54,"author":23132,"museum":300,"description":61171,"tags":97571,"thumbUrl":97572,"material":692,"size":1293,"collection":84,"collections":97573,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235496,"shan-shui-ce-liu-yu-235496",[24,7,59,128,132,133,208,29,663,413,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9b403db8578c767e48c4385e9aa9cd9.jpg",[],{"id":97575,"slug":97576,"title":409,"dynasty":54,"author":23132,"museum":300,"description":61171,"tags":97577,"thumbUrl":97578,"material":692,"size":1293,"collection":84,"collections":97579,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235495,"shan-shui-ce-liu-yu-235495",[24,7,59,128,132,133,64,29,129,131,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14194520488d9c42591df0a9dd3f8d78.jpg",[],{"id":97581,"slug":97582,"title":409,"dynasty":54,"author":23132,"museum":300,"description":61171,"tags":97583,"thumbUrl":97584,"material":692,"size":1293,"collection":84,"collections":97585,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235494,"shan-shui-ce-liu-yu-235494",[24,7,59,128,132,64,133,208,29,171,331,98,99,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8baf66db1615a9818a722bb646ef0e1.jpg",[],{"id":97587,"slug":97588,"title":55620,"dynasty":54,"author":24167,"museum":300,"description":91578,"tags":97589,"thumbUrl":97590,"material":692,"size":1293,"collection":84,"collections":97591,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235420,"cai-jia-hua-hui-tu-ce-cai-jia-235420",[24,7,59,128,27,28,171,62,481,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fe7a30342711083f7b1a53de3221fc4.jpg",[],{"id":97593,"slug":97594,"title":55620,"dynasty":54,"author":24167,"museum":300,"description":91578,"tags":97595,"thumbUrl":97596,"material":692,"size":1293,"collection":84,"collections":97597,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235419,"cai-jia-hua-hui-tu-ce-cai-jia-235419",[24,7,59,27,61,62,624,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd85490bf5b79d1991ca20bfaa0574090.jpg",[],{"id":97599,"slug":97600,"title":55620,"dynasty":54,"author":24167,"museum":300,"description":91578,"tags":97601,"thumbUrl":97602,"material":692,"size":1293,"collection":84,"collections":97603,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235416,"cai-jia-hua-hui-tu-ce-cai-jia-235416",[24,7,164,59,27,61,263,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd753f7a7efc960089d43763d23c09de2.jpg",[],{"id":97605,"slug":97606,"title":55620,"dynasty":54,"author":24167,"museum":300,"description":91578,"tags":97607,"thumbUrl":97608,"material":692,"size":1293,"collection":84,"collections":97609,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235413,"cai-jia-hua-hui-tu-ce-cai-jia-235413",[24,7,59,27,28,61,547,2037,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5036ff632303b4f353900244a5883bdb.jpg",[],{"id":97611,"slug":97612,"title":409,"dynasty":54,"author":43518,"museum":300,"description":91866,"tags":97613,"thumbUrl":97614,"material":692,"size":1293,"collection":84,"collections":97615,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235327,"shan-shui-ce-wen-dian-235327",[24,7,59,188,128,29,129,228,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a0e4e352c6d8bfd36100745cf16de6f.jpg",[],{"id":97617,"slug":97618,"title":97619,"dynasty":54,"author":223,"museum":300,"description":97620,"tags":97621,"thumbUrl":97622,"material":692,"size":1293,"collection":84,"collections":97623,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235317,"ba-jia-shan-shui-ce-quan-xiu-zi-zhan-xiao-xiang-ce-ye-yi-ming-235317","八家山水册-诠修子瞻小像册页","此作对开以书画合璧呈现，右侧淡墨绘古松盘虬，枝干皴写苍劲，松针攒簇见郁茂生机。林下高士策杖缓行，童子随侍身侧，石边陈置茶器，野逸清寂，尽展林泉幽居的雅趣。\n\n左侧行书笔致萧散灵动，墨色浓淡错落，诗书相映，文气沛然。全作用笔洗练简淡，以少胜多，将文人寄情山水、耽于丘壑的幽怀融于尺幅，于简远疏淡间氤氲出悠长意境，尽显传统文人画的雅致韵致。",[24,7,59,27,96,34,171,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F058ec6626100f74ea43503c833ef5901.jpg",[],{"id":97625,"slug":97626,"title":409,"dynasty":54,"author":47695,"museum":300,"description":65170,"tags":97627,"thumbUrl":97628,"material":692,"size":1293,"collection":84,"collections":97629,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235304,"shan-shui-ce-zhang-feng-235304",[24,7,59,27,29,129,96,3344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf4e6dfbc92dc78b545f352763f419d.jpg",[],{"id":97631,"slug":97632,"title":72744,"dynasty":124,"author":223,"museum":300,"description":97633,"tags":97634,"thumbUrl":97635,"material":692,"size":1293,"collection":84,"collections":97636,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235146,"chen-dan-zhong-shan-shui-ce-yi-ming-235146","此作以淡墨绘晚秋寒林，枯木虬枝间杂苍苔矮卉，萧疏冷寂。坡岸处一人孑立，遥看雁阵掠过长空，荒寒清远之境油然而生。笔墨简淡秀雅，以留白铺就空阔天地，将羁旅怅惘寄于冷澹秋光之中。左侧题诗与画境相映成趣，诗画合璧，把深秋独行的寂寥缓缓铺陈，尽显文人画以景抒情的雅致意趣，淡远清逸间余韵悠长，将疏淡简远的审美意趣尽藏其中。",[24,7,59,27,132,29,331,211,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2cac435eac5ad85d765a996fd38af69.jpg",[],{"id":97638,"slug":97639,"title":72744,"dynasty":124,"author":223,"museum":300,"description":97640,"tags":97641,"thumbUrl":97642,"material":692,"size":1293,"collection":84,"collections":97643,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235145,"chen-dan-zhong-shan-shui-ce-yi-ming-235145","近岸怪石层叠错落，古松斜生遒劲清奇，寥寥松针点染出苍古生机。远江帆影孤悬，江波澹澹以留白代水韵，晕染出空濛烟波。\n\n笔墨苍秀淡雅，山石皴法朴拙简淡，淡墨晕开水汽空濛，将文人的林下闲逸藏于尺幅。诗画相映，以极简景致勾勒幽人寄情林泉、放怀天地的意趣，静中藏动，淡里含韵，尽显小品山水的悠远襟怀。",[24,7,59,128,29,129,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F716d262a2c892cfde8cc3892627fb064.jpg",[],{"id":97645,"slug":97646,"title":72744,"dynasty":124,"author":223,"museum":300,"description":97647,"tags":97648,"thumbUrl":97649,"material":692,"size":1293,"collection":84,"collections":97650,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235144,"chen-dan-zhong-shan-shui-ce-yi-ming-235144","此作用淡墨写意绘就山林村居之景，古木虬枝苍郁繁茂，以浓墨点染苔痕木叶，蓊蓊郁郁间，林麓茅庐隐现，留白作水，清寂空远，尽显幽居野逸之趣。\n\n左侧行书题诗笔墨清隽，与画作意境相融，诗画合璧，勾勒出避世耽书、自适林下的襟怀。简淡萧疏的笔致里，浸透了文人追慕林泉高致的隐逸意趣，虽笔调简率，却以少胜多，将山野幽居的恬然之境晕染尽致，尽显静绝尘嚣的林下雅意。",[24,7,59,128,29,34,131,130,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73387a0f3dfe3745d52e9198594c3015.jpg",[],{"id":97652,"slug":97653,"title":72744,"dynasty":124,"author":223,"museum":300,"description":97654,"tags":97655,"thumbUrl":97656,"material":692,"size":1293,"collection":84,"collections":97657,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235142,"chen-dan-zhong-shan-shui-ce-yi-ming-235142","此帧以淡墨轻色绘就秋江暮色，近岸丹林疏朗，村居隐于林下，丘峦平缓迤逦，渐次融入空蒙江面。水天尽处归雁点点，漾开清寂辽远之意。笔墨秀润淡雅，设色轻净明净，晕染出萧散清和的秋日氛围。左侧题诗与山水相映成趣，书画合璧，尽显文人寄情林泉的雅逸襟怀，将秋江空寥与山居悠然相融，藏着归林向野的隐逸意趣。",[24,7,59,128,27,29,34,131,132,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e80d2d004d069b09a793ae5ff91384b.jpg",[],{"id":97659,"slug":97660,"title":72744,"dynasty":124,"author":223,"museum":300,"description":97661,"tags":97662,"thumbUrl":97663,"material":692,"size":1293,"collection":84,"collections":97664,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235141,"chen-dan-zhong-shan-shui-ce-yi-ming-235141","这幅册页以淡墨绘就山居清景，古木虬枝苍郁交错，掩映林间茅庐，崖壁飞泉垂落，静中藏动。远景以淡墨晕开汀渚烟波，留白空灵悠远。\n\n用笔清隽细劲，皴擦简淡却见山石肌理，线条勾勒出林木姿态，墨色晕染营造出空濛氛围。搭配题诗，诗画相映，将夜半鹤唳、高卧梦醒的幽居意趣尽显无遗，萧散淡远间，尽显文人寄情林泉的隐逸襟怀，笔简意足，氤氲出清寂出尘的林下雅韵。",[24,7,59,128,29,413,131,133,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d90f5d0e5e43f7ef7e0d55c9f747e78.jpg",[],{"id":97666,"slug":97667,"title":72744,"dynasty":124,"author":223,"museum":300,"description":97668,"tags":97669,"thumbUrl":97670,"material":692,"size":1293,"collection":84,"collections":97671,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235140,"chen-dan-zhong-shan-shui-ce-yi-ming-235140","此作以没骨间杂浅绛晕染山峦，峰尖如黛，云雾在林麓间缓缓氤氲，将青碧山石与丹红霜叶晕融成朦胧空濛的秋山图景。山径蜿蜒隐没于茂草霜林间，萧索秋意裹着幽寂禅意漫开。\n\n笔意秀雅温润，以水色糅合墨韵消解了线条的凌厉，明丽设色又带着沉静质感，将晚秋山野的清旷萧寒含蓄铺展。左侧题诗与画境呼应，诗画合璧，点破万籁俱寂的深秋天光，尽显晚明山水崇尚的淡远萧疏之美，是文人寄情丘壑，以景抒怀的典型佳构。",[24,7,59,27,29,98,99,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F232dcaea0c8b8b7c0d9fdd2d9376772e.jpg",[],{"id":97673,"slug":97674,"title":72744,"dynasty":124,"author":223,"museum":300,"description":97675,"tags":97676,"thumbUrl":97677,"material":692,"size":1293,"collection":84,"collections":97678,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235139,"chen-dan-zhong-shan-shui-ce-yi-ming-235139","此作以淡笔绘就江南烟景，近岸苍松虬劲蓊翠，浅滩烟波氤氲，一叶扁舟悠然浮于水面，漾出闲淡野趣。中渚林木葱郁，远山层叠晕染，以留白衬出水雾空濛，村舍隐现山麓间，尽显幽寂清旷之致。\n诗画合璧，将倦客归思寄于山水林泉。浅绛设色清润柔和，笔墨松秀简淡，不事雕琢，以简驭繁，将江南水乡温润诗意与萧散林下之风相融，淡远意境暗合文人幽居林泉、寄情江湖的隐逸意趣，尽显雅致清远的文人山水意韵。",[164,24,7,59,27,29,415,3427,414,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb02be495cd4d500c2fac8adda0e5905.jpg",[],{"id":97680,"slug":97681,"title":409,"dynasty":54,"author":6936,"museum":300,"description":97682,"tags":97683,"thumbUrl":97684,"material":84,"size":84,"collection":84,"collections":97685,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235111,"shan-shui-ce-wang-yuan-qi-235111","此作以层叠山峦铺展全景，危崖高耸，造景开合有致。近岸乱石错落，林木疏朗，山居民舍隐于林麓溪畔，漾着幽寂雅致的山居意趣。\n\n笔墨以干笔积墨皴擦，淡墨晕染铺陈，写出山石苍浑厚重的质感，兼具拙朴苍润之致，承袭南宗山水的雅正脉络。整幅画面气息静谧淡远，将山川苍古秀润之态收束尺幅间，藏着文人寄情林泉、避世幽居的隐逸襟怀，尽显正统山水画的沉静格调。",[24,7,59,128,132,27,29,131,34,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd543d68d24f3e814ff5977dabb06f50b.jpg",[],{"id":97687,"slug":97688,"title":409,"dynasty":54,"author":6936,"museum":300,"description":97689,"tags":97690,"thumbUrl":97691,"material":84,"size":84,"collection":84,"collections":97692,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235110,"shan-shui-ce-wang-yuan-qi-235110","此作用笔沉厚苍润，层叠山峦取高远之致，以干笔积墨反复皴擦山石，以披麻皴糅合解索皴写就嶙峋石骨，线条凝练扎实，层层晕染间尽显山石厚重质感。山间栈道隐于林木间，幽溪萦回谷底，留白铺就空寂悠远的林下意境。\n\n画作将宋人的丘壑格局与元人的笔墨意趣相融，规整章法里藏着生拙苍劲的意趣，层层积墨却毫无壅塞之感，气韵浑穆苍秀，尽显正统山水的沉静内敛，把文人山水的笔墨意韵与丘壑情怀融于笔底，尽显深厚笔墨功力。",[24,7,59,128,132,29,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5956aea488a4d1f607d5faec51093f60.jpg",[],{"id":97694,"slug":97695,"title":409,"dynasty":54,"author":6936,"museum":300,"description":97696,"tags":97697,"thumbUrl":97698,"material":84,"size":84,"collection":84,"collections":97699,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235107,"shan-shui-ce-wang-yuan-qi-235107","此作以渴笔淡墨铺展云山景致，层叠山峦以干笔皴擦勾勒嶙峋石骨，苍松错落在岩缝间虬劲挺拔。氤氲云海缠绕峰麓山腰，虚实相生，将冬日山林清寂萧寒又奇崛雄浑的意境缓缓铺陈。\n画风苍浑秀润，既带着黄公望浅绛山水的遗韵，又尽显熟中求生的笔墨法度，简淡中见苍茫厚重，留白处蒸腾着空蒙灵气，静穆山川的生机尽藏在枯淡笔意里，带着沉静内敛的文人雅韵，尽显娄东山水的典型意趣。",[24,7,59,128,132,29,131,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77a16aaa414e41040f634975102937df.jpg",[],{"id":97701,"slug":97702,"title":409,"dynasty":54,"author":6936,"museum":300,"description":97703,"tags":97704,"thumbUrl":97705,"material":84,"size":84,"collection":84,"collections":97706,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235105,"shan-shui-ce-wang-yuan-qi-235105","此作以开合之景铺陈丘壑，近岸林木错落，山居藏于深篁，行人策蹇徐行，野趣自生；中崖崔嵬蓊郁，水湾汀渚勾连景深；远景烟波澹澹，以淡墨晕染远山，留白拓出空蒙悠远之境。\n笔墨承袭娄东一派，干笔积墨皴擦苍润浑厚，墨色层叠通透，浅赭敷色清隽雅致，揉合江南山水秀逸与山川厚重温润，于细密笔触间藏着林泉悠游的文人意趣，尽显正统山水的沉静古韵，将幽居林壑的雅兴融于尺幅之中。",[24,7,59,132,128,29,663,228,34,130,131,31,4438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fb96223967675c054e83d8e58173349.jpg",[],{"id":97708,"slug":97709,"title":7864,"dynasty":54,"author":5879,"museum":300,"description":59277,"tags":97710,"thumbUrl":97711,"material":692,"size":1293,"collection":84,"collections":97712,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},235057,"za-hua-ce-hua-yan-235057",[24,7,59,128,61,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff56c796eee407dde5a5bda0c738c9d7f.jpg",[],{"id":97714,"slug":97715,"title":97716,"dynasty":124,"author":10922,"museum":300,"description":42506,"tags":97717,"thumbUrl":97718,"material":692,"size":1293,"collection":84,"collections":97719,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234936,"hua-shan-shui-hong-li-shu-chu-li-zheng-men-guan-jia-qi-lv-cheng-shan-wen-jia-234936","画山水弘历书出丽正门观稼七律成扇",[24,7,1131,128,132,29,34,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf216df46a4081170a214ae4d9e58148.jpg",[],{"id":97721,"slug":97722,"title":409,"dynasty":54,"author":36659,"museum":300,"description":63282,"tags":97723,"thumbUrl":97724,"material":692,"size":1293,"collection":84,"collections":97725,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234858,"shan-shui-ce-wang-gai-234858",[24,7,59,128,29,129,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F887123b7c8bb3695b9274d0932e46003.jpg",[],{"id":97727,"slug":97728,"title":409,"dynasty":54,"author":23303,"museum":20,"description":82881,"tags":97729,"thumbUrl":97730,"material":84,"size":84,"collection":84,"collections":97731,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234800,"shan-shui-ce-dong-bang-da-234800",[24,7,128,132,59,29,34,131,496,1023,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74e6a3a64b12c015bae5f53cd2979965.jpg",[],{"id":97733,"slug":97734,"title":409,"dynasty":54,"author":23303,"museum":20,"description":82881,"tags":97735,"thumbUrl":97736,"material":84,"size":84,"collection":84,"collections":97737,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234796,"shan-shui-ce-dong-bang-da-234796",[24,7,59,128,132,29,663,413,130,131,4438,415,14906,497,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48d6dda4967c6f5cf4ee430a529366c3.jpg",[],{"id":97739,"slug":97740,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":97741,"thumbUrl":97742,"material":734,"size":84,"collection":84,"collections":97743,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234748,"huang-shan-tu-ce-jiang-zhu-234748",[24,7,59,133,27,29,171,30,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ecd3973a697777016bcc61960dab61c.jpg",[],{"id":97745,"slug":97746,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":97747,"thumbUrl":97748,"material":734,"size":84,"collection":84,"collections":97749,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234747,"huang-shan-tu-ce-jiang-zhu-234747",[24,7,59,188,133,29,131,1144,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F700e09f1df9a99083fa00507566c4f9d.jpg",[],{"id":97751,"slug":97752,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":97753,"thumbUrl":97754,"material":734,"size":84,"collection":84,"collections":97755,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234746,"huang-shan-tu-ce-jiang-zhu-234746",[24,7,59,128,132,29,97,171,1144,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb7c723508ec3b20b97d144f263ba63a.jpg",[],{"id":97757,"slug":97758,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":97759,"thumbUrl":97760,"material":734,"size":84,"collection":84,"collections":97761,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234745,"huang-shan-tu-ce-jiang-zhu-234745",[24,7,59,128,132,29,171,1144,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c86ff12ef5503fad3298fc8d1ced0e3.jpg",[],{"id":97763,"slug":97764,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":97765,"thumbUrl":97766,"material":734,"size":84,"collection":84,"collections":97767,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234742,"huang-shan-tu-ce-jiang-zhu-234742",[24,7,59,128,132,133,64,29,44054,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc603bcfea893b3e6f93c3ec7fd3238c1.jpg",[],{"id":97769,"slug":97770,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":97771,"thumbUrl":97772,"material":734,"size":84,"collection":84,"collections":97773,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234736,"huang-shan-tu-ce-jiang-zhu-234736",[24,7,59,128,29,171,132,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f5ac565588516320e964234a7dad28e.jpg",[],{"id":97775,"slug":97776,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":97777,"thumbUrl":97778,"material":734,"size":84,"collection":84,"collections":97779,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234732,"huang-shan-tu-ce-jiang-zhu-234732",[24,7,59,128,132,29,131,37,1022,34,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cb20278557b5536d5dd83267f755541.jpg",[],{"id":97781,"slug":97782,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":97783,"thumbUrl":97784,"material":734,"size":84,"collection":84,"collections":97785,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234726,"huang-shan-tu-ce-jiang-zhu-234726",[54,24,7,59,188,128,29,131,130,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd0e15c005ec90fab427a64836c6475a.jpg",[],{"id":97787,"slug":97788,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":97789,"thumbUrl":97790,"material":734,"size":84,"collection":84,"collections":97791,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234724,"huang-shan-tu-ce-jiang-zhu-234724",[24,7,59,128,133,64,208,29,17260,131,34,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffeb6a83da28f29707d44172e61a3216.jpg",[],{"id":97793,"slug":97794,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":97795,"thumbUrl":97796,"material":734,"size":84,"collection":84,"collections":97797,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234720,"huang-shan-tu-ce-jiang-zhu-234720",[24,7,59,188,133,64,29,413,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb56632eb12bcba21a9d150c55cbf3ae3.jpg",[],{"id":97799,"slug":97800,"title":40707,"dynasty":54,"author":48145,"museum":300,"description":67917,"tags":97801,"thumbUrl":97802,"material":84,"size":84,"collection":84,"collections":97803,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234687,"shan-shui-shan-wang-chen-234687",[24,7,1131,29,128,132,131,34,1515,4438,415,7782],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedbb9677c3cc7a97a9bb9eb5329586f6.jpg",[],{"id":97805,"slug":97806,"title":409,"dynasty":124,"author":36548,"museum":300,"description":82924,"tags":97807,"thumbUrl":97808,"material":84,"size":84,"collection":84,"collections":97809,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234666,"shan-shui-ce-shao-mi-234666",[24,7,59,128,29,129,130,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07e4c3390b7a056f39afcc7ed2a00020.jpg",[],{"id":97811,"slug":97812,"title":97813,"dynasty":54,"author":97814,"museum":300,"description":97815,"tags":97816,"thumbUrl":97817,"material":84,"size":84,"collection":84,"collections":97818,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234603,"qiu-kong-ya-yu-wan-shan-shen-tang-234603","秋空鸦语纨扇","沈塘","沈塘，按广印人，传作唐。字莲舫，别字雪庐，世居江苏吴江。幼即好画，後从陆恢（一八五一-一九二o）游。为吴大激（一八三五-一九o二）。张之洞（一八三七-一九o九）所契重，与补修承华事略。旋移家苏州，四方求画者不绝于门。宣统三年（一九一一）尝仿倪瓒山水图，载海上名家画集。亦善篆刻。《费树蔚撰沈君墓志铭、卓观斋笔记、广印人传》",[24,7,1131,128,188,27,96,331,211,171,29,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd0fcb10136472fc068076ff3d7a54d.jpg",[],{"id":97820,"slug":97821,"title":97822,"dynasty":124,"author":223,"museum":300,"description":97823,"tags":97824,"thumbUrl":97826,"material":692,"size":1293,"collection":84,"collections":97827,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},234572,"nv-xiang-zhou-yi-ming-234572","女像轴","此作为工笔肖像，设色沉雅明净。女主身着朱红翟纹朝服，霞帔织就彩卉瑞纹，龙凤冠点翠缀珠，华贵雍容。画师笔致精细写实，衣冠服制严谨贴合典制，面容晕染柔和温婉，神态端静从容。\n\n红袍的庄重肃穆与饰纹的柔丽华美相映，既凸显出身尊荣，又传递出闺中贵妇沉静娴雅的气度，将晚明仕女端方秀雅的风华凝于绢上，是写实肖像与典制服饰完美融合的精品。",[24,7,165,28,27,96,805,1367,97825,20721,3490,38256,40819,64264],"冠饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb683a9ed9d7c3311fbea3a2cb0a6eff0.jpg",[],{"id":97829,"slug":97830,"title":97831,"dynasty":124,"author":223,"museum":300,"description":97832,"tags":97833,"thumbUrl":97837,"material":692,"size":1293,"collection":84,"collections":97838,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},234571,"nan-nv-tu-xiang-zhou-yi-ming-234571","男女图像轴","此作工笔设色写实传神，尽显晚明肖像画的端雅范式。男子青袍乌纱，面容方正朗肃，身姿端凝沉稳，将士大夫的持重内敛晕染于绢素之上。女子身着朱红命服，珠翠凤冠衬得仪态温婉端淑，胸前补子白鹇纤毫毕现，翎羽纹路细腻灵动，浓丽配色尽显命妇的端庄华贵。\n\n上方题赞笔意秀雅，既补述人物德操生平，也与画像相映成趣，为画面添就文雅意韵，将官宦夫妇的世家气度定格，静诉着旧时门第的端方风华。",[24,7,165,28,27,96,81028,38739,35063,170,97834,97835,3490,40819,97836,12676],"纹饰","明代服饰","彩色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff53aa0cd0fcba590e85abd809bce0622.jpg",[],{"id":97840,"slug":97841,"title":97842,"dynasty":54,"author":223,"museum":300,"description":55721,"tags":97843,"thumbUrl":97844,"material":84,"size":84,"collection":84,"collections":97845,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234557,"yu-mu-shang-xin-ce-jiang-zhu-huang-hai-dan-tai-tu-ce-ye-yi-ming-234557","娱目赏心册-江注黄海丹台图册页",[24,7,59,128,133,208,64,29,98,99,331,130,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe24883cf2c9df50c59031297861df435.jpg",[],{"id":97847,"slug":97848,"title":97849,"dynasty":54,"author":97850,"museum":300,"description":55721,"tags":97851,"thumbUrl":97852,"material":84,"size":84,"collection":84,"collections":97853,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234556,"yu-mu-shang-xin-ce-ren-wu-ce-ye-wang-yong-234556","娱目赏心册-人物册页","汪镛",[24,7,59,128,133,208,29,372,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265320280bc6d81e1a18aa3059e172db.jpg",[],{"id":97855,"slug":97856,"title":97857,"dynasty":54,"author":97858,"museum":300,"description":55721,"tags":97859,"thumbUrl":97860,"material":84,"size":84,"collection":84,"collections":97861,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234554,"yu-mu-shang-xin-ce-shan-shui-ce-ye-wu-huan-234554","娱目赏心册-山水册页","吴澴",[24,7,59,27,61,171,208,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd798b4f40760e10b84f277469cb440fd.jpg",[],{"id":97863,"slug":97864,"title":97865,"dynasty":54,"author":97866,"museum":300,"description":55721,"tags":97867,"thumbUrl":97868,"material":84,"size":84,"collection":84,"collections":97869,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234552,"yu-mu-shang-xin-ce-jiao-shi-ce-ye-pan-fa-sheng-234552","娱目赏心册-蕉石册页","潘阀盛",[24,7,59,128,208,133,376,167,171,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc9da955732040f9592fd5810cfe3ec2.jpg",[],{"id":97871,"slug":97872,"title":97873,"dynasty":54,"author":1069,"museum":300,"description":97874,"tags":97875,"thumbUrl":97876,"material":84,"size":84,"collection":84,"collections":97877,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":199},234545,"hua-chen-heng-ke-xiang-juan-wang-yun-234545","画陈衡恪像卷","王云，字汉藻，号清痴，一字雯庵，号竹里，江苏高邮人。\n斌子。楼台、人物近似仇英，康熙时驰名江、淮。写意山水，得沈周遗意。于朝，圣祖赏逾等。",[24,7,25,188,128,96,208,64,44663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cdd40df59179dde47a8fc346f995c01.jpg",[],{"id":97879,"slug":97880,"title":67622,"dynasty":54,"author":53743,"museum":300,"description":67623,"tags":97881,"thumbUrl":97882,"material":84,"size":84,"collection":84,"collections":97883,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234362,"you-niao-shi-tu-ce-jin-kun-234362",[24,7,59,27,29,133,34,35,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5862474b8d8c63d42dd65321a0ff54d.jpg",[],{"id":97885,"slug":97886,"title":67622,"dynasty":54,"author":53743,"museum":300,"description":67623,"tags":97887,"thumbUrl":97888,"material":84,"size":84,"collection":84,"collections":97889,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234361,"you-niao-shi-tu-ce-jin-kun-234361",[24,7,59,133,208,27,29,98,99,34,35,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43947393ebed197c253016c5f649581d.jpg",[],{"id":97891,"slug":97892,"title":67622,"dynasty":54,"author":53743,"museum":300,"description":67623,"tags":97893,"thumbUrl":97894,"material":84,"size":84,"collection":84,"collections":97895,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234358,"you-niao-shi-tu-ce-jin-kun-234358",[24,7,59,27,133,208,29,413,228,415,3427,414,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad041c21a79ac98fee5e6b835d4b67d.jpg",[],{"id":97897,"slug":97898,"title":67622,"dynasty":54,"author":53743,"museum":300,"description":67623,"tags":97899,"thumbUrl":97900,"material":84,"size":84,"collection":84,"collections":97901,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234355,"you-niao-shi-tu-ce-jin-kun-234355",[24,7,59,27,133,208,29,130,34,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1926b69575b602ac1c84ca32a34428.jpg",[],{"id":97903,"slug":97904,"title":67622,"dynasty":54,"author":53743,"museum":300,"description":67623,"tags":97905,"thumbUrl":97906,"material":84,"size":84,"collection":84,"collections":97907,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234354,"you-niao-shi-tu-ce-jin-kun-234354",[24,7,59,27,26,133,29,97,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37bc6d423bc07cabc5b3ae9542524f91.jpg",[],{"id":97909,"slug":97910,"title":67622,"dynasty":54,"author":53743,"museum":300,"description":67623,"tags":97911,"thumbUrl":97912,"material":84,"size":84,"collection":84,"collections":97913,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234353,"you-niao-shi-tu-ce-jin-kun-234353",[24,7,59,27,29,211,34,131,99,415,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41f300a8b8ccab61a4d799c3ff3a90c6.jpg",[],{"id":97915,"slug":97916,"title":67622,"dynasty":54,"author":53743,"museum":300,"description":67623,"tags":97917,"thumbUrl":97918,"material":84,"size":84,"collection":84,"collections":97919,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234347,"you-niao-shi-tu-ce-jin-kun-234347",[24,7,59,26,27,29,130,211,331,131,34,133,208,132,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5506abec93ff99383859bc58c5b7ab2b.jpg",[],{"id":97921,"slug":97922,"title":67622,"dynasty":54,"author":53743,"museum":300,"description":67623,"tags":97923,"thumbUrl":97924,"material":84,"size":84,"collection":84,"collections":97925,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234346,"you-niao-shi-tu-ce-jin-kun-234346",[24,7,59,27,29,211,34,131,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12af46b1b4f9309583bb82456be7176b.jpg",[],{"id":97927,"slug":97928,"title":67622,"dynasty":54,"author":53743,"museum":300,"description":67623,"tags":97929,"thumbUrl":97930,"material":84,"size":84,"collection":84,"collections":97931,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234345,"you-niao-shi-tu-ce-jin-kun-234345",[24,7,59,133,208,27,29,211,1337,415,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff51d9be8cf617714b87349dbb806480b.jpg",[],{"id":97933,"slug":97934,"title":97935,"dynasty":54,"author":223,"museum":20,"description":97936,"tags":97937,"thumbUrl":97938,"material":10347,"size":97939,"collection":84,"collections":97940,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234333,"hong-wu-song-lin-yuan-xiu-tu-zhou-yi-ming-234333","弘旿松林远岫图轴","此幅以纵向构图取势，山头处作小块状的矾头，为雄伟的山峦增添了灵巧的韵动感。山谷间绘茂密的丛林，使苍茫的山峦增添了生命的气息。图中山石以大披麻皴皴擦，其明净淡雅的线条营造了画面云烟飘渺的意境。 此图是王翚晚年仿宋巨然《烟浮远岫图》的代表作之一。据王翚仿巨然的同名画扇（现藏北京故宫博物院）款题而知，王翚首次见到巨然的《烟浮远岫图》是在“毗陵庄太史家”，当时他42岁（癸丑，1673年），款题：“巨然《烟浮远岫图》今在毗陵庄太史家，真海内第一墨宝。余尝借观，背临大概。寄呈闻川尊先生。”又题长句，落款“癸丑上巳日，石谷重识。”王翚自此不断地仿巨然《烟浮远岫图》，或自娱，或送友人留念。他送笪重光的仿品目前藏于美国普林斯敦大学美术馆。根据图上所钤“王藻儒考藏图书”印可知本幅是他送友人王藻儒之作。",[24,7,165,128,132,29,5343,415,130,131,34,6640],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e1dfb8496f1998e09f08da9e48675e6.jpg","纵187.5cm，横68cm",[],{"id":97942,"slug":97943,"title":97944,"dynasty":54,"author":97945,"museum":300,"description":97946,"tags":97947,"thumbUrl":97948,"material":84,"size":84,"collection":84,"collections":97949,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234329,"hua-wang-chen-yin-shi-song-lao-tu-xiang-ce-zou-li-xuan-234329","画王宸吟诗送老图像册","邹励轩","此作为诗画合璧的小品，右侧圆形小像绘长髯老者，素衣宽袍，面容清癯淡然，目光平和沉静，尽显出世隐逸的林下风神。左侧题诗行书笔致舒展俊逸，墨色清润雅致，诗文咏叹主人耽爱诗禅、寄兴丘壑的襟怀。整作静穆雅致，以极简的笔调烘托出文人幽赏林泉、安享闲居的散淡意趣，完美契合清代文人酬赠书画的风雅意韵，将江南文人冲淡高旷的精神世界尽显无余，是文人肖像与题咏合璧的精妙之作。",[24,7,59,27,96,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6254e17de31aa0da9c39ec59276a23d3.jpg",[],{"id":97951,"slug":97952,"title":97953,"dynasty":18,"author":223,"museum":20,"description":97954,"tags":97955,"thumbUrl":97957,"material":514,"size":97958,"collection":84,"collections":97959,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234021,"qiu-jiang-ming-po-tu-ye-yi-ming-234021","秋江瞑泊图页","秋天，黄昏，江岸楸树，水中孤舟，对岸迷茫的山林，林中隐现的庙宇，山下蜿蜒流淌的小溪，《秋江暝泊图》勾勒出了一幅典型的秋江景致。宋代院体山水画，对自然景物有丰富的表现力，从画风看应为南宋翰林院中高手所为。\n《秋江暝泊图》上钤有“御书之宝”、“信公珍赏”、“庞莱臣珍藏宋元真迹”等印多方，说明此图曾经南宋内府、清人耿昭忠、近人庞莱臣等收藏。《虚斋名画录》著录。此画传为宋高宗作品，经启功、徐邦达、刘九庵等鉴定大家鉴定为南宋绘画精品。\n宋高宗赵构（1107－1187），字德基，宋朝第十位皇帝，南宋开国皇帝，宋徽宗赵佶第九子。赵构精于书法，善真、行、草书，笔法洒脱婉丽，自然流畅，颇得晋人神韵。著有《翰墨志》，传世墨迹有《草书洛神赋》等",[24,7,59,128,27,29,413,129,6004,131,132,6639,97956,53205],"瞑泊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8612cfd66e5d358d524ad043ce2f177d.jpg","23.7×24.3cm",[],{"id":97961,"slug":97962,"title":97963,"dynasty":18,"author":223,"museum":20,"description":97964,"tags":97965,"thumbUrl":97966,"material":151,"size":97967,"collection":84,"collections":97968,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},234011,"gu-mu-han-qin-ye-yi-ming-234011","古木寒禽页","夜色阴沉，古树寒，雪盖亭竹，野鸭低头睡，乌鸦因寒冷飞到枝头,气氛凝重。 凄凉而寒冷。 笔身工整细腻，形体刻画生动，构图密密麻麻。 没有作者印章。",[164,24,7,128,29,331,211,131,1556,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d7b6766b6945fc33da010b5d83cfc4c.jpg","25.3x26厘米",[],{"id":97970,"slug":97971,"title":83074,"dynasty":54,"author":38900,"museum":20,"description":83075,"tags":97972,"thumbUrl":97973,"material":734,"size":83078,"collection":84,"collections":97974,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233937,"dai-lu-fang-bei-tu-ce-huang-yi-233937",[24,7,59,128,29,132,131,495,34,130,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F276f3de28b10255afb74c9a0e546ca8c.jpg",[],{"id":97976,"slug":97977,"title":83074,"dynasty":54,"author":38900,"museum":20,"description":83075,"tags":97978,"thumbUrl":97979,"material":734,"size":83078,"collection":84,"collections":97980,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233936,"dai-lu-fang-bei-tu-ce-huang-yi-233936",[24,7,59,27,128,132,29,97,690,131,34,130,1645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9776842208e6222cc2d26a59f3c27637.jpg",[],{"id":97982,"slug":97983,"title":83074,"dynasty":54,"author":38900,"museum":20,"description":83075,"tags":97984,"thumbUrl":97986,"material":734,"size":83078,"collection":84,"collections":97987,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233934,"dai-lu-fang-bei-tu-ce-huang-yi-233934",[24,7,59,128,188,132,29,97985,497,758,64,133,208],"山体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56c7990e77fc4e7caa4509934a2a7216.jpg",[],{"id":97989,"slug":97990,"title":83074,"dynasty":54,"author":38900,"museum":20,"description":83075,"tags":97991,"thumbUrl":97994,"material":734,"size":83078,"collection":84,"collections":97995,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233927,"dai-lu-fang-bei-tu-ce-huang-yi-233927",[24,4437,7,128,6875,133,29,130,129,96,97992,97993],"访碑","大明湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f648ea96b5330408be3747d4b9d6734.jpg",[],{"id":97997,"slug":97998,"title":83074,"dynasty":54,"author":38900,"museum":20,"description":83075,"tags":97999,"thumbUrl":98000,"material":734,"size":83078,"collection":84,"collections":98001,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233926,"dai-lu-fang-bei-tu-ce-huang-yi-233926",[24,7,59,27,128,64,133,34,331,19769,35,96,94040],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F973d04a7f30cf9ab4261c52297ab6b40.jpg",[],{"id":98003,"slug":98004,"title":83074,"dynasty":54,"author":38900,"museum":20,"description":83075,"tags":98005,"thumbUrl":98006,"material":734,"size":83078,"collection":84,"collections":98007,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233925,"dai-lu-fang-bei-tu-ce-huang-yi-233925",[24,7,59,128,188,132,29,131,34,1144,758,97,3269,9718,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15ad2a151065a409bfd70e8875f643f8.jpg",[],{"id":98009,"slug":98010,"title":83074,"dynasty":54,"author":38900,"museum":20,"description":83075,"tags":98011,"thumbUrl":98012,"material":734,"size":83078,"collection":84,"collections":98013,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233921,"dai-lu-fang-bei-tu-ce-huang-yi-233921",[24,7,59,128,29,64,132,131,34,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff27776c2c7a38bc1bb61cbf305257420.jpg",[],{"id":98015,"slug":98016,"title":95972,"dynasty":54,"author":29876,"museum":20,"description":72989,"tags":98017,"thumbUrl":98018,"material":514,"size":72992,"collection":84,"collections":98019,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233816,"shan-shui-ce-5-fu-shan-233816",[24,7,59,27,29,130,34,30,131,64,840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f4116bbd5f555a5007b54a3f3aff5fa.jpg",[],{"id":98021,"slug":98022,"title":5340,"dynasty":54,"author":29876,"museum":20,"description":72989,"tags":98023,"thumbUrl":98024,"material":514,"size":72992,"collection":84,"collections":98025,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233814,"shan-shui-ce-3-fu-shan-233814",[24,7,59,128,27,29,132,34,1955,496,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa817d033cc6da595ad8e3876f794a281.jpg",[],{"id":98027,"slug":98028,"title":3424,"dynasty":54,"author":29876,"museum":20,"description":72989,"tags":98029,"thumbUrl":98030,"material":514,"size":72992,"collection":84,"collections":98031,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233813,"shan-shui-ce-2-fu-shan-233813",[24,7,59,27,26,29,840,132,97,98,99,34,3440,131,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F220efb4562ed1b81e99dc1d77f38e22b.jpg",[],{"id":98033,"slug":98034,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98035,"thumbUrl":98036,"material":84,"size":84,"collection":84,"collections":98037,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233673,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233673",[24,7,59,28209,27,171,82,9070],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1221307ccb659fe60cc76bd9fbac0500.jpg",[],{"id":98039,"slug":98040,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98041,"thumbUrl":98042,"material":84,"size":84,"collection":84,"collections":98043,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233667,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233667",[24,7,59,128,27,61,371,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F869b0903076915004c930d0843d95bb3.jpg",[],{"id":98045,"slug":98046,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98047,"thumbUrl":98048,"material":84,"size":84,"collection":84,"collections":98049,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233665,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233665",[24,7,59,27,28209,371,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12fc63fe03ae35c152db887596cadd03.jpg",[],{"id":98051,"slug":98052,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98053,"thumbUrl":98054,"material":84,"size":84,"collection":84,"collections":98055,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233660,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233660",[24,7,59,28209,27,188,375,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66b84d872ee468dd1a7cc540e9756caa.jpg",[],{"id":98057,"slug":98058,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98059,"thumbUrl":98060,"material":84,"size":84,"collection":84,"collections":98061,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233656,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233656",[24,7,59,27,28,168,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77c07213ee9f543656e2b1ef8b7e22d8.jpg",[],{"id":98063,"slug":98064,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98065,"thumbUrl":98066,"material":84,"size":84,"collection":84,"collections":98067,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233651,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233651",[24,7,59,27,28,61,481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3592796afd191df489cb4c1f60fef670.jpg",[],{"id":98069,"slug":98070,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98071,"thumbUrl":98072,"material":84,"size":84,"collection":84,"collections":98073,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233649,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233649",[24,7,59,28209,27,61,547,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80480c745375f592bc620ea07f3eac8c.jpg",[],{"id":98075,"slug":98076,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98077,"thumbUrl":98078,"material":84,"size":84,"collection":84,"collections":98079,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233636,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233636",[24,7,59,27,28209,61,374,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b9d817f47c13afad63a78a95e78b103.jpg",[],{"id":98081,"slug":98082,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98083,"thumbUrl":98084,"material":84,"size":84,"collection":84,"collections":98085,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":4001},233632,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233632",[24,7,59,27,28209,171,772,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe2b0039ddc2316d01cbf0216614d9cf.jpg",[],{"id":98087,"slug":98088,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98089,"thumbUrl":98090,"material":84,"size":84,"collection":84,"collections":98091,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":4001},233627,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233627",[24,7,59,28209,27,949,950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77c42841dd489d1813e7cd15808465f1.jpg",[],{"id":98093,"slug":98094,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98095,"thumbUrl":98096,"material":84,"size":84,"collection":84,"collections":98097,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":4001},233617,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233617",[24,7,59,27,61,28209,62,21238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dca1b1afe1d20605943381b27a4e8c7.jpg",[],{"id":98099,"slug":98100,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98101,"thumbUrl":98102,"material":84,"size":84,"collection":84,"collections":98103,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233607,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233607",[24,7,59,28209,27,28,61,481,806,1975],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ad0da78d7815fbf87cb2e11846cf2ef.jpg",[],{"id":98105,"slug":98106,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98107,"thumbUrl":98108,"material":84,"size":84,"collection":84,"collections":98109,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233599,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233599",[24,7,59,28209,188,27,29,413,131,8347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54567a3ee3789925a36e616396e34aa6.jpg",[],{"id":98111,"slug":98112,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98113,"thumbUrl":98114,"material":84,"size":84,"collection":84,"collections":98115,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233598,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233598",[164,24,7,59,27,28209,61,374,171,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedfb97e4ea71a61e803fe771d9bb95cb.jpg",[],{"id":98117,"slug":98118,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98119,"thumbUrl":98120,"material":84,"size":84,"collection":84,"collections":98121,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233592,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233592",[24,7,59,28209,27,29,129,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3390550e8d3cbb31a15999cb185ce0bb.jpg",[],{"id":98123,"slug":98124,"title":3717,"dynasty":54,"author":22607,"museum":20,"description":61325,"tags":98125,"thumbUrl":98126,"material":734,"size":61328,"collection":84,"collections":98127,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233434,"huang-shan-tu-ce-mei-qing-233434",[24,7,59,128,27,29,30,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8db1d887a87e2d82237fd51e35d9a40a.jpg",[],{"id":98129,"slug":98130,"title":3717,"dynasty":54,"author":22607,"museum":20,"description":61325,"tags":98131,"thumbUrl":98132,"material":734,"size":61328,"collection":84,"collections":98133,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233428,"huang-shan-tu-ce-mei-qing-233428",[24,7,59,128,132,29,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe55b6c96f4001d1a81849cfc239daddf.jpg",[],{"id":98135,"slug":98136,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98137,"thumbUrl":98138,"material":84,"size":84,"collection":84,"collections":98139,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233360,"shi-zhu-zhai-pu-ce-hu-ri-cong-233360",[24,7,59,27,61,371,375,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06cf8439537acae30a19529c0d04edfc.jpg",[],{"id":98141,"slug":98142,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98143,"thumbUrl":98144,"material":84,"size":84,"collection":84,"collections":98145,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233353,"shi-zhu-zhai-pu-ce-hu-ri-cong-233353",[24,7,59,27,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7355e37139f233d733be9c069430d8dc.jpg",[],{"id":98147,"slug":98148,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98149,"thumbUrl":98150,"material":84,"size":84,"collection":84,"collections":98151,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233348,"shi-zhu-zhai-pu-ce-hu-ri-cong-233348",[24,7,59,128,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8454de02c2b0aa5cfb8e8fe84ed1258.jpg",[],{"id":98153,"slug":98154,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98155,"thumbUrl":98156,"material":84,"size":84,"collection":84,"collections":98157,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233347,"shi-zhu-zhai-pu-ce-hu-ri-cong-233347",[24,7,59,27,171,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0171e87a4998fcf3c382ba42343c0103.jpg",[],{"id":98159,"slug":98160,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98161,"thumbUrl":98162,"material":84,"size":84,"collection":84,"collections":98163,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233333,"shi-zhu-zhai-pu-ce-hu-ri-cong-233333",[24,7,59,27,61,2037,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7132a11a47cc69b93333aa5392eb5661.jpg",[],{"id":98165,"slug":98166,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98167,"thumbUrl":98168,"material":84,"size":84,"collection":84,"collections":98169,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233332,"shi-zhu-zhai-pu-ce-hu-ri-cong-233332",[24,7,59,28209,27,547,2037,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3bf1ab574ba6e4543b1b6ca6c8f4336.jpg",[],{"id":98171,"slug":98172,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98173,"thumbUrl":98174,"material":84,"size":84,"collection":84,"collections":98175,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233328,"shi-zhu-zhai-pu-ce-hu-ri-cong-233328",[24,7,59,27,128,61,624,2037,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffda28561f3f0ec4c3a0d65da74a2de11.jpg",[],{"id":98177,"slug":98178,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98179,"thumbUrl":98180,"material":84,"size":84,"collection":84,"collections":98181,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233327,"shi-zhu-zhai-pu-ce-hu-ri-cong-233327",[24,7,59,28209,27,61,2037,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82ea249c753ba3f06cf66e2ef2ae460a.jpg",[],{"id":98183,"slug":98184,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98185,"thumbUrl":98186,"material":84,"size":84,"collection":84,"collections":98187,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233324,"shi-zhu-zhai-pu-ce-hu-ri-cong-233324",[24,7,59,27,61,2035,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc06a34da27b68c4ab2f6240ba054e94d.jpg",[],{"id":98189,"slug":98190,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98191,"thumbUrl":98192,"material":84,"size":84,"collection":84,"collections":98193,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233323,"shi-zhu-zhai-pu-ce-hu-ri-cong-233323",[164,24,7,59,27,61,371,355,208,28209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d7245e22994eee55d28f737d7f67d15.jpg",[],{"id":98195,"slug":98196,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98197,"thumbUrl":98198,"material":84,"size":84,"collection":84,"collections":98199,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233322,"shi-zhu-zhai-pu-ce-hu-ri-cong-233322",[24,7,59,128,61,208,28209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49eedede37556736faa6f42f393d47fe.jpg",[],{"id":98201,"slug":98202,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98203,"thumbUrl":98204,"material":84,"size":84,"collection":84,"collections":98205,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233321,"shi-zhu-zhai-pu-ce-hu-ri-cong-233321",[24,7,59,27,61,211,208,624,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e57f946b0d8398e7f6aab8228744f0b.jpg",[],{"id":98207,"slug":98208,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98209,"thumbUrl":98210,"material":84,"size":84,"collection":84,"collections":98211,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233319,"shi-zhu-zhai-pu-ce-hu-ri-cong-233319",[164,24,7,59,128,208,61,211,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F327cf1951c04cdb9ac4081c87ddef5ed.jpg",[],{"id":98213,"slug":98214,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98215,"thumbUrl":98216,"material":84,"size":84,"collection":84,"collections":98217,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233318,"shi-zhu-zhai-pu-ce-hu-ri-cong-233318",[24,7,59,128,61,211,331,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12d0c37c61fb2e464a65286e1204449e.jpg",[],{"id":98219,"slug":98220,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98221,"thumbUrl":98223,"material":84,"size":84,"collection":84,"collections":98224,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233314,"shi-zhu-zhai-pu-ce-hu-ri-cong-233314",[24,7,59,128,61,355,81,98222,208],"水波纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F490af406e427797a9c31756bc340550a.jpg",[],{"id":98226,"slug":98227,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98228,"thumbUrl":98229,"material":84,"size":84,"collection":84,"collections":98230,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233312,"shi-zhu-zhai-pu-ce-hu-ri-cong-233312",[24,7,59,128,27,61,211,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a2989dcb9602f2a2f9e64d20e66e7e6.jpg",[],{"id":98232,"slug":98233,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98234,"thumbUrl":98235,"material":84,"size":84,"collection":84,"collections":98236,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233311,"shi-zhu-zhai-pu-ce-hu-ri-cong-233311",[24,7,59,128,61,208,355,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf6e93ec0ca92cd427d35d3e340747d6.jpg",[],{"id":98238,"slug":98239,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98240,"thumbUrl":98241,"material":84,"size":84,"collection":84,"collections":98242,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233310,"shi-zhu-zhai-pu-ce-hu-ri-cong-233310",[24,7,59,128,61,355,1771,609,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb458c658e7312a8e22d10797b35cbeb2.jpg",[],{"id":98244,"slug":98245,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98246,"thumbUrl":98247,"material":84,"size":84,"collection":84,"collections":98248,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233308,"shi-zhu-zhai-pu-ce-hu-ri-cong-233308",[24,7,59,128,27,171,169,2037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17c7fca12cfec6d1e907ebbf71107d52.jpg",[],{"id":98250,"slug":98251,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98252,"thumbUrl":98253,"material":84,"size":84,"collection":84,"collections":98254,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233301,"shi-zhu-zhai-pu-ce-hu-ri-cong-233301",[24,7,59,27,171,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f14ad57ab46f8a636f55a7c348d2665.jpg",[],{"id":98256,"slug":98257,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98258,"thumbUrl":98259,"material":84,"size":84,"collection":84,"collections":98260,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233300,"shi-zhu-zhai-pu-ce-hu-ri-cong-233300",[24,7,59,27,128,61,373,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F288aa1795dc420045c617351aeccf448.jpg",[],{"id":98262,"slug":98263,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98264,"thumbUrl":98265,"material":84,"size":84,"collection":84,"collections":98266,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233298,"shi-zhu-zhai-pu-ce-hu-ri-cong-233298",[24,128,27,167,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6cc33fb75dc4e75f56a50baa4892a64.jpg",[],{"id":98268,"slug":98269,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98270,"thumbUrl":98271,"material":84,"size":84,"collection":84,"collections":98272,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233297,"shi-zhu-zhai-pu-ce-hu-ri-cong-233297",[24,7,59,128,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac9bbaa1fb50c37402bb73aada3a6cbb.jpg",[],{"id":98274,"slug":98275,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98276,"thumbUrl":98277,"material":84,"size":84,"collection":84,"collections":98278,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233295,"shi-zhu-zhai-pu-ce-hu-ri-cong-233295",[24,7,59,128,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39b9df6935d294d22c9e1b3a0a0e363b.jpg",[],{"id":98280,"slug":98281,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98282,"thumbUrl":98283,"material":84,"size":84,"collection":84,"collections":98284,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233294,"shi-zhu-zhai-pu-ce-hu-ri-cong-233294",[24,7,59,128,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92fcab3397ebb2102a7d1457a06be5e0.jpg",[],{"id":98286,"slug":98287,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98288,"thumbUrl":98289,"material":84,"size":84,"collection":84,"collections":98290,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233292,"shi-zhu-zhai-pu-ce-hu-ri-cong-233292",[24,7,59,27,61,624,2037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21261e52728f0834babdbde4d517f170.jpg",[],{"id":98292,"slug":98293,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98294,"thumbUrl":98295,"material":84,"size":84,"collection":84,"collections":98296,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233291,"shi-zhu-zhai-pu-ce-hu-ri-cong-233291",[24,7,59,27,61,263,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1d31d40d267a233432ce34a083c0498.jpg",[],{"id":98298,"slug":98299,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98300,"thumbUrl":98302,"material":84,"size":84,"collection":84,"collections":98303,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233290,"shi-zhu-zhai-pu-ce-hu-ri-cong-233290",[24,7,59,27,28209,61,547,747,98301,208],"枝条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F906b5421a6da8988a92f33dbea7d9f01.jpg",[],{"id":98305,"slug":98306,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98307,"thumbUrl":98308,"material":84,"size":84,"collection":84,"collections":98309,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233289,"shi-zhu-zhai-pu-ce-hu-ri-cong-233289",[24,7,59,27,61,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17a993a285df05f09c6c80d5747167ae.jpg",[],{"id":98311,"slug":98312,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98313,"thumbUrl":98314,"material":84,"size":84,"collection":84,"collections":98315,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233288,"shi-zhu-zhai-pu-ce-hu-ri-cong-233288",[24,7,59,128,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9064aca9581137b2c1cce0d28d82a8fc.jpg",[],{"id":98317,"slug":98318,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98319,"thumbUrl":98320,"material":84,"size":84,"collection":84,"collections":98321,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233287,"shi-zhu-zhai-pu-ce-hu-ri-cong-233287",[24,7,59,128,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e95e301f39bb4935ca96d6868ec9e6a.jpg",[],{"id":98323,"slug":98324,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98325,"thumbUrl":98326,"material":84,"size":84,"collection":84,"collections":98327,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233286,"shi-zhu-zhai-pu-ce-hu-ri-cong-233286",[24,7,59,28209,27,208,61,375,547,1771,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dccfce99a5b201d2b8022f1419e670c.jpg",[],{"id":98329,"slug":98330,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98331,"thumbUrl":98332,"material":84,"size":84,"collection":84,"collections":98333,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233283,"shi-zhu-zhai-pu-ce-hu-ri-cong-233283",[24,7,59,128,167,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe9c64724759c76cc8c2fec44c5e113e.jpg",[],{"id":98335,"slug":98336,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98337,"thumbUrl":98338,"material":84,"size":84,"collection":84,"collections":98339,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233282,"shi-zhu-zhai-pu-ce-hu-ri-cong-233282",[24,7,59,128,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe041217f7289d1cb68f9d8d742405cc3.jpg",[],{"id":98341,"slug":98342,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98343,"thumbUrl":98344,"material":84,"size":84,"collection":84,"collections":98345,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233281,"shi-zhu-zhai-pu-ce-hu-ri-cong-233281",[24,7,59,128,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7945c358bdbb120827482a924e8f005.jpg",[],{"id":98347,"slug":98348,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98349,"thumbUrl":98350,"material":84,"size":84,"collection":84,"collections":98351,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233280,"shi-zhu-zhai-pu-ce-hu-ri-cong-233280",[24,7,59,128,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F400efc808925ebe7a6455ff251e7b95c.jpg",[],{"id":98353,"slug":98354,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98355,"thumbUrl":98356,"material":84,"size":84,"collection":84,"collections":98357,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233277,"shi-zhu-zhai-pu-ce-hu-ri-cong-233277",[24,7,59,128,167,375,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F838552a2993313e442e0692e99d29d81.jpg",[],{"id":98359,"slug":98360,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98361,"thumbUrl":98362,"material":84,"size":84,"collection":84,"collections":98363,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233276,"shi-zhu-zhai-pu-ce-hu-ri-cong-233276",[24,7,59,128,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d70d37dfbf34cf4d57c7dd665241911.jpg",[],{"id":98365,"slug":98366,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98367,"thumbUrl":98368,"material":84,"size":84,"collection":84,"collections":98369,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233274,"shi-zhu-zhai-pu-ce-hu-ri-cong-233274",[24,7,59,128,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99841d73951c3e77b835734f4df41814.jpg",[],{"id":98371,"slug":98372,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98373,"thumbUrl":98374,"material":84,"size":84,"collection":84,"collections":98375,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233272,"shi-zhu-zhai-pu-ce-hu-ri-cong-233272",[164,24,7,59,128,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c51a75facc370b6d074940fb042c3cf.jpg",[],{"id":98377,"slug":98378,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98379,"thumbUrl":98380,"material":84,"size":84,"collection":84,"collections":98381,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233270,"shi-zhu-zhai-pu-ce-hu-ri-cong-233270",[24,7,59,128,188,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85f96d50daafde92d8d5e440c21889e0.jpg",[],{"id":98383,"slug":98384,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98385,"thumbUrl":98386,"material":84,"size":84,"collection":84,"collections":98387,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233269,"shi-zhu-zhai-pu-ce-hu-ri-cong-233269",[24,7,59,188,128,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e9390a1f5906239ebfda15d7cc93b2f.jpg",[],{"id":98389,"slug":98390,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98391,"thumbUrl":98392,"material":84,"size":84,"collection":84,"collections":98393,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233268,"shi-zhu-zhai-pu-ce-hu-ri-cong-233268",[24,7,59,128,188,61,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a07240ba95e02a6f76da6c6f1f3f11f.jpg",[],{"id":98395,"slug":98396,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98397,"thumbUrl":98398,"material":84,"size":84,"collection":84,"collections":98399,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233267,"shi-zhu-zhai-pu-ce-hu-ri-cong-233267",[24,7,59,188,128,375,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11ef142af5552105853fb3b2d768364f.jpg",[],{"id":98401,"slug":98402,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98403,"thumbUrl":98404,"material":84,"size":84,"collection":84,"collections":98405,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233266,"shi-zhu-zhai-pu-ce-hu-ri-cong-233266",[24,7,59,128,188,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F296af4bdfe36145483b34db347dc5491.jpg",[],{"id":98407,"slug":98408,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98409,"thumbUrl":98410,"material":84,"size":84,"collection":84,"collections":98411,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233265,"shi-zhu-zhai-pu-ce-hu-ri-cong-233265",[24,7,59,188,128,61,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51e3cab9f395173ff06bc1cef3cbe7be.jpg",[],{"id":98413,"slug":98414,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98415,"thumbUrl":98416,"material":84,"size":84,"collection":84,"collections":98417,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233263,"shi-zhu-zhai-pu-ce-hu-ri-cong-233263",[24,7,59,128,188,61,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88a00adafe9fd6abe43de4fd0eaf22f9.jpg",[],{"id":98419,"slug":98420,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98421,"thumbUrl":98422,"material":84,"size":84,"collection":84,"collections":98423,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233261,"shi-zhu-zhai-pu-ce-hu-ri-cong-233261",[24,7,59,128,28209,61,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d71c64ec7adb5e0f905d50295a6f56e.jpg",[],{"id":98425,"slug":98426,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98427,"thumbUrl":98428,"material":84,"size":84,"collection":84,"collections":98429,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233258,"shi-zhu-zhai-pu-ce-hu-ri-cong-233258",[24,7,128,59,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F360b931137cb4b5d7dc84f630409c378.jpg",[],{"id":98431,"slug":98432,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98433,"thumbUrl":98434,"material":84,"size":84,"collection":84,"collections":98435,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233257,"shi-zhu-zhai-pu-ce-hu-ri-cong-233257",[24,7,59,188,128,375,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6573de9b7adea96662b626af0abe05a4.jpg",[],{"id":98437,"slug":98438,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98439,"thumbUrl":98440,"material":84,"size":84,"collection":84,"collections":98441,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233255,"shi-zhu-zhai-pu-ce-hu-ri-cong-233255",[24,7,59,128,188,61,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F080d57d1589d6a1a1abdb88f984132c3.jpg",[],{"id":98443,"slug":98444,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98445,"thumbUrl":98446,"material":84,"size":84,"collection":84,"collections":98447,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233254,"shi-zhu-zhai-pu-ce-hu-ri-cong-233254",[24,7,59,188,27,61,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c890435899f93302c9c3730b0290925.jpg",[],{"id":98449,"slug":98450,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98451,"thumbUrl":98452,"material":84,"size":84,"collection":84,"collections":98453,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233253,"shi-zhu-zhai-pu-ce-hu-ri-cong-233253",[24,7,59,188,375,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e63af8ce7a2bbbe6a1e759074e220b2.jpg",[],{"id":98455,"slug":98456,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98457,"thumbUrl":98458,"material":84,"size":84,"collection":84,"collections":98459,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233252,"shi-zhu-zhai-pu-ce-hu-ri-cong-233252",[24,7,59,188,330,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e381b781d93fa472ac3f8dbb2892b9a.jpg",[],{"id":98461,"slug":98462,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98463,"thumbUrl":98464,"material":84,"size":84,"collection":84,"collections":98465,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233250,"shi-zhu-zhai-pu-ce-hu-ri-cong-233250",[24,7,59,128,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ab13dc2ee31fae49dddfad4cb8a1d0.jpg",[],{"id":98467,"slug":98468,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98469,"thumbUrl":98470,"material":84,"size":84,"collection":84,"collections":98471,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233248,"shi-zhu-zhai-pu-ce-hu-ri-cong-233248",[24,7,59,128,188,375,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf1dd561d2a7403ef55bf90dec1afb5a.jpg",[],{"id":98473,"slug":98474,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98475,"thumbUrl":98476,"material":84,"size":84,"collection":84,"collections":98477,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233245,"shi-zhu-zhai-pu-ce-hu-ri-cong-233245",[24,7,59,128,188,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47669e47fb3d7e388944a626ff9a4460.jpg",[],{"id":98479,"slug":98480,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98481,"thumbUrl":98482,"material":84,"size":84,"collection":84,"collections":98483,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233242,"shi-zhu-zhai-pu-ce-hu-ri-cong-233242",[24,7,59,188,128,330,171,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27de24df89b5b47187e7909f27c2fecb.jpg",[],{"id":98485,"slug":98486,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98487,"thumbUrl":98488,"material":84,"size":84,"collection":84,"collections":98489,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233241,"shi-zhu-zhai-pu-ce-hu-ri-cong-233241",[24,7,59,188,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F048ee1a6c5da4fc6b17e3751cdadefd2.jpg",[],{"id":98491,"slug":98492,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":98493,"thumbUrl":98494,"material":84,"size":84,"collection":84,"collections":98495,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233238,"shi-zhu-zhai-pu-ce-hu-ri-cong-233238",[24,7,59,27,61,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55e81eed5b9c0447f829fdbee3db5b58.jpg",[],{"id":98497,"slug":98498,"title":3717,"dynasty":54,"author":22607,"museum":20,"description":61325,"tags":98499,"thumbUrl":98500,"material":734,"size":61328,"collection":84,"collections":98501,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233154,"huang-shan-tu-ce-mei-qing-233154",[24,7,59,128,132,29,30,37,130,211,208,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec8efd096915179d5dadc044f0c44890.jpg",[],{"id":98503,"slug":98504,"title":3717,"dynasty":54,"author":22607,"museum":20,"description":61325,"tags":98505,"thumbUrl":98506,"material":734,"size":61328,"collection":84,"collections":98507,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233153,"huang-shan-tu-ce-mei-qing-233153",[24,7,59,128,29,130,171,167,208,64,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f5bf1b57de79061b65b1e8bd28d46c5.jpg",[],{"id":98509,"slug":98510,"title":33757,"dynasty":54,"author":223,"museum":20,"description":65477,"tags":98511,"thumbUrl":98512,"material":611,"size":33763,"collection":84,"collections":98513,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233086,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233086",[24,7,59,28,27,304,96,29,34,758,63532,11074,9550,131,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7eecf36fac419dacfaa477d80ca0351d.jpg",[],{"id":98515,"slug":98516,"title":33757,"dynasty":54,"author":223,"museum":20,"description":65477,"tags":98517,"thumbUrl":98519,"material":611,"size":33763,"collection":84,"collections":98520,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233083,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233083",[24,7,59,28,27,132,96,29,101,131,34,98518,33760,1645,9550],"战旗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d7ef1593f0c5c71dc6bb2b858173222.jpg",[],{"id":98522,"slug":98523,"title":83150,"dynasty":54,"author":223,"museum":20,"description":83151,"tags":98524,"thumbUrl":98525,"material":611,"size":37381,"collection":84,"collections":98526,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},233058,"ping-ding-hui-jiang-jiao-qin-ni-yi-zhan-tu-ce-yi-ming-233058",[24,164,7,59,28,27,96,101,29,34,131,11074,37376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca06c44252317c1e035cd58e5c992f4a.jpg",[],{"id":98528,"slug":98529,"title":98530,"dynasty":144,"author":223,"museum":300,"description":55882,"tags":98531,"thumbUrl":98532,"material":84,"size":84,"collection":84,"collections":98533,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},233026,"ya-ke-te-gu-si-wen-zong-tai-zi-yi-ming-233026","雅克特古思(文宗太子)",[24,7,27,28,96,170,232],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9263e1542f8cb5f7eb29e99d2639bf2e.jpg",[],{"id":98535,"slug":98536,"title":98537,"dynasty":54,"author":21575,"museum":244,"description":92564,"tags":98538,"thumbUrl":98539,"material":151,"size":92567,"collection":84,"collections":98540,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},232967,"sheng-ji-cong-zhou-ai-qi-meng-232967","胜吉骢轴",[24,7,165,27,28,101,949,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6d92959cd7cda99715de382fbd737ff.jpg",[],{"id":98542,"slug":98543,"title":98544,"dynasty":222,"author":223,"museum":300,"description":98545,"tags":98546,"thumbUrl":98548,"material":692,"size":1293,"collection":84,"collections":98549,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},231798,"chun-ri-ji-li-xing-fu-xing-shi-xia-juan-yi-ming-231798","春日祭礼兴福行事下卷","此作以全景长卷铺展祭典全貌，淡彩浅设辅以工整白描，将一场庄重古礼完整铺陈于绢素之上。\n左侧朝官按序列班，衣袍明黄齐整肃穆，仪杖陈设规制俨然；中段人马辚辚而行，扈从仪物森然有序，百官随扈的宏大仪仗历历在目；右侧水屋御殿临河而设，拜谒的臣僚进退有度，河畔林木葱郁衬出仪典的静穆氛围。\n画作细节考究，人物衣冠、官署形制皆贴合古礼，搭配题跋补全仪典始末，兼具纪实性与古韵美感，让旧日皇家祭礼的庄重排场宛在眼前。",[23,24,7,25,28,27,96,97,98,99,130,101,34,98547,247,59406,52910,758,29],"祭祀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56da5d090e05a00fa387d5a52a4e401a.jpg",[],{"id":98551,"slug":98552,"title":98553,"dynasty":222,"author":223,"museum":300,"description":98554,"tags":98555,"thumbUrl":98556,"material":692,"size":1293,"collection":84,"collections":98557,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},231779,"niao-yu-seng-zheng-jue-you-xin-gui-shan-yuan-qi-hui-juan-1-yi-ming-231779","鸟羽僧正觉猷 信贵山缘起绘卷-1","这幅画截取乡野渔村一隅，左侧烟波缠绕浅黛山峦，清寂幽远。竹木围栏圈起工坊，灶炉蒸腾烟气，数不清的竹编渔笼错落排布，似在熏制渔获。下方妇人正俯身分拣收贮，尽显劳作的朴拙日常。\n右侧临水木构酒肆热闹鲜活，宾客凭栏谈笑，楼中女眷探窗遥望，铺展出世井宴饮的松弛意趣。整作淡彩晕染，线条清隽雅致，将山野静气与人世烟火巧妙相融，勾勒出鲜活的民间日常图景，恬淡间满溢生活温度。",[23,164,7,25,187,95,188,27,96,29,97,99,34,14446,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3911f257cd4f7f01d3727d61faeff9cd.jpg",[],{"id":98559,"slug":98560,"title":98561,"dynasty":222,"author":223,"museum":300,"description":98562,"tags":98563,"thumbUrl":98564,"material":692,"size":1293,"collection":84,"collections":98565,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},231763,"du-zuo-dan-xian-tu-li-zhou-yi-ming-231763","独坐弾絃图立轴","淡墨写意绘就茅檐竹廊，老僧抱弦安坐于廊下，衣纹简括清逸，神情澹然沉静。庭中无杂饰，空廊斜斜衬出山野空濛幽寂。\n\n配诗暗合画中意境，将幽居独处的芳襟幽思寄于丝弦之上，把世外之人的孤高寂寞化作弦上余韵。全作简笔淡墨不重藻饰，以留白承托岑寂，尽显尚简尚意的文人风致，将出世幽怀与缱绻秋思融于尺幅之间，简淡之中见深情，笔墨极简却意境悠长，尽显东方禅意隐逸美学的清逸况味。",[23,24,7,165,188,128,96,438,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6db3af2efa20c6b7f12e0c5746b08bae.jpg",[],{"id":98567,"slug":98568,"title":98569,"dynasty":222,"author":98570,"museum":300,"description":98571,"tags":98572,"thumbUrl":98573,"material":692,"size":1293,"collection":84,"collections":98574,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},231721,"jiang-hu-shi-dai-shan-shui-tu-ping-feng-di-er-ping-peng-cheng-bai-chuan-231721","江户时代 山水图屏风-第二屏","彭城百川","1697-1752 江户时代中期的画家。",[23,24,7,128,29,129,34,131,99,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84daba2cc964c33a2f1f9b32cdac0348.jpg",[],{"id":98576,"slug":98577,"title":98578,"dynasty":222,"author":223,"museum":300,"description":98579,"tags":98580,"thumbUrl":98581,"material":692,"size":1293,"collection":84,"collections":98582,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},231707,"lian-cang-shi-dai-bu-tong-shi-dai-sai-ge-hua-juan-yi-ming-231707","镰仓时代 不同时代赛歌画卷","这卷长卷以清逸铁线白描铺展雅集图景，狩衣褶皱舒展利落，将贵族服饰层叠形制熨帖勾勒。席间人物或正襟倾谈，或垂首静思，神态安然松弛，尽显赛歌雅会的闲静氛围。\n\n满幅连绵的假名草书笔势柔婉，歌辞墨痕与白描人物相映成趣，书画相融晕开古韵。泛黄素纸带着岁月浸淫的斑驳痕迹，将中古文人从容雅致的赛歌日常静静留存，让千年前的风雅意韵随着舒展的长卷，缓缓流淌至今。",[23,164,188,25,7,96,18700,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42a2416888d3871b98823d120d87280a.jpg",[],{"id":98584,"slug":98585,"title":98586,"dynasty":222,"author":223,"museum":300,"description":98587,"tags":98588,"thumbUrl":98589,"material":692,"size":1293,"collection":84,"collections":98590,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},231704,"lian-cang-shi-dai-yi-ming-231704","镰仓时代","这卷白描佛绘以墨线写尽诸天法相，云气翻卷烘托出缥缈梵境，护法、菩萨形神各异：或持器怒目尽显威严，或垂眸伫立宝相端严，笔线清劲秀逸，粗细转折间将神佛法相的肃穆与灵动刻画入微。\n\n经文手书与画像相间排布，古拙笔墨与造像呼应，泛黄古纸晕开岁月痕迹，整体沉静庄重，将宗教的神圣感融于古典笔墨意趣中，洗练线条却神韵具足，兼具图像叙事与书法审美双重价值，尽显中古宗教绘卷的沉静厚重之美。",[23,164,24,7,25,187,188,96,64,7322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F620cdaa923cf1aa6a6d76763ecb0d1a1.jpg",[],{"id":98592,"slug":98593,"title":12323,"dynasty":222,"author":223,"museum":300,"description":98594,"tags":98595,"thumbUrl":98596,"material":692,"size":1293,"collection":84,"collections":98597,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},231690,"shan-shui-tu-juan-yi-ming-231690","此卷以平远之境铺陈，江水宛转串联淡墨晕染的浅丘远山，晕开江乡空濛的烟岚之气。江岸虬松卓立、茅舍错落，江心归帆缓行，将江南野渡日常的清寂萧散尽数铺展。\n笔墨简逸苍润，淡墨皴擦勾勒出柔缓的山峦肌理，枯笔写就的松枝苍劲老辣，留白衬出悠远余韵。左侧题跋与画面相映成趣，诗画合璧，尽显文人画简淡天真的林下之风，把江天无尽的闲淡诗意融于长卷之中。",[23,24,7,25,128,29,129,34,415,37,130,132,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf68c467bc6fdbbd23d17dbddac51dc.jpg",[],{"id":98599,"slug":98600,"title":98601,"dynasty":222,"author":223,"museum":300,"description":98602,"tags":98603,"thumbUrl":98604,"material":692,"size":1293,"collection":84,"collections":98605,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},231636,"lian-cang-shi-dai-dong-bei-yuan-ge-ren-ge-he-hua-juan-yi-ming-231636","镰仓时代 东北院歌人歌合画卷","淡墨轻敷勾勒数位歌者，乌帽束带的雅士、素袍跣足的隐者神态各异、形神兼备，寥寥笔墨便将人物身份性情尽显。旁侧平假名草书笔势舒展灵动，墨色浓淡自然晕开，书法与绘像相映成趣。\n\n此卷既是歌合的文本实录，亦是和风雅致小品，藏着中古吟酬唱和的闲雅日常。纸面晕开的岁月痕迹，更添古旧温润的质感，将彼时歌道文化的风雅气韵凝于长卷之中。",[24,7,25,27,128,188,96,64,133,2144,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33458c5459a61a05fc68198b450aa9ae.jpg",[],{"id":98607,"slug":98608,"title":98609,"dynasty":222,"author":223,"museum":300,"description":98610,"tags":98611,"thumbUrl":98612,"material":692,"size":1293,"collection":84,"collections":98613,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},231633,"lian-cang-shi-dai-dao-xuan-lv-shi-xiang-yi-ming-231633","镰仓时代 道宣律师像","此作写实传神，将高僧清癯威严的仪容尽显，淡晕面色晕染出沉静肃穆的气度，举手投足间皆见禅门仪范。纯素墨色晕染僧袍，衣纹简练克制，仅以一枚精巧胸饰点缀，于朴拙间透出雅致。左手轻执朱红拂尘，细节生动还原日常仪轨。背景团花纹饰浓烈鲜亮，朱红钴蓝交织呼应，繁复华丽的衬景反衬出人物超然出尘，工写结合，把律宗高僧端严自持的风骨刻画得入木三分，尽显肖像画的传神妙处。",[24,7,165,27,28,96,187,170,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282161cd444ce29f569299c5b5c43105.jpg",[],{"id":98615,"slug":98616,"title":92689,"dynasty":222,"author":89350,"museum":300,"description":98617,"tags":98618,"thumbUrl":98619,"material":692,"size":1293,"collection":84,"collections":98620,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},231627,"shi-ting-shi-dai-shan-shui-tu-zhou-yue-weng-cang-qiu-231627","这幅水墨山水以枯笔勾皴山石肌理，淡墨晕染烟岚，层岩峻岫隐于空濛雾气中，虚实相生铺展出春日山野的清寂空阔。\n\n汀洲古松挺劲苍秀，溪畔行人策杖徐行，山腰楼宇藏于林峦间，动静相映，尽显林泉幽致。题诗与画境呼应，诗画合璧，将春山烟雨间的林下幽居意趣娓娓道来，笔简意赅尽显文人山水的萧散雅逸，观之如踏入烟岚春山，漫染林泉间的闲淡古韵。",[23,24,7,165,128,132,29,97,1144,96,495,131,37,130,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3b5a4ac76cd422e8c48ebe8c84dbbe7.jpg",[],{"id":98622,"slug":98623,"title":20347,"dynasty":222,"author":65595,"museum":300,"description":70332,"tags":98624,"thumbUrl":98625,"material":692,"size":1293,"collection":84,"collections":98626,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},231623,"shan-shui-tu-zhou-shou-ye-yuan-xin-231623",[23,24,7,165,128,29,132,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6e677f0e6a52b9f803f1974f8a67618.jpg",[],{"id":98628,"slug":98629,"title":98630,"dynasty":222,"author":98631,"museum":300,"description":98632,"tags":98633,"thumbUrl":98634,"material":692,"size":1293,"collection":84,"collections":98635,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},231603,"yong-fu-hua-tie-3-ce-ce-san-shan-tian-zhi-san-lang-231603","雍府画帖.3册（册三）","山田直三郎","浅黄旧纸晕开时光的温意，浅灰卷草纹饰带着拓印的朦胧晕边，似是从古雅旧物上轻撷下的余韵。婉转柔丽的缠枝舒展，线条带着沉静雅致的和风意蕴，残缺的边角晕着淡淡墨痕，晕开侘寂的古旧诗意。\n\n素朴底色上的斑驳痕迹，是岁月摩挲的印记，把精致的装饰纹样晕化成了带着呼吸感的小品，淡痕浅墨藏着过往的工巧匠心，整体恬淡沉静，将复古意趣揉进素简纸面，铺陈出温柔又古雅的沉静氛围。",[7,59,128,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F287ecb21511e1f54b3fe06e83bcc0b23.jpg",[],{"id":98637,"slug":98638,"title":92689,"dynasty":222,"author":67864,"museum":300,"description":67865,"tags":98639,"thumbUrl":98640,"material":692,"size":1293,"collection":84,"collections":98641,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":199},231596,"shi-ting-shi-dai-shan-shui-tu-zhou-zhou-wen-231596",[23,24,7,165,128,132,29,97,98,1144,131,415,34,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5efd00ba4510536798ee87c1edb5bf8a.jpg",[],{"id":98643,"slug":98644,"title":98645,"dynasty":54,"author":223,"museum":244,"description":98646,"tags":98647,"thumbUrl":98648,"material":611,"size":98649,"collection":84,"collections":98650,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},231533,"suan-ni-tu-yi-ming-231533","狻猊图","现存古代绘画中，反映真狮形象的绘画主要集中于明清时期的宫廷绘画中，但水平有高下之分。从清代宫廷画家刘九德、张为邦及部分佚名画家所绘狮子图来看，虽然已十分接近真狮，但水平不高，较为呆板，精致程度远不及周全《狮子图》。这些较为写实的狮子绘画有些作于康熙年间，有些则是雍、乾时期的仿本。康熙十七年（1678）八月，葡萄牙人曾将一只狮子运抵北京献给康熙皇帝，可惜的是此狮到京后只存活了不到三个月，为时甚短，此后直到20世纪初，再未有真狮入华。由于接触时间甚短，未能细致观察，又迭经转摹，导致清宫写实性狮子绘画水平普遍不高，细节上有所缺失。",[24,7,28,27,949,413,1771,304,151,4283,92592,14738,20953,10997,666,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb7499dad40501202d7f76dc3a35bc65.jpg","211.9x178.6厘米",[],{"id":98652,"slug":98653,"title":98645,"dynasty":54,"author":98654,"museum":244,"description":98646,"tags":98655,"thumbUrl":98656,"material":151,"size":98657,"collection":84,"collections":98658,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},231532,"suan-ni-tu-zhang-wei-bang-231532","张为邦",[24,7,304,27,28,949,372,34,131,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2651477555d183251f2cf9c5bd2a4b0e.jpg","175.1x238.2厘米",[],{"id":98660,"slug":98661,"title":62085,"dynasty":54,"author":63332,"museum":300,"description":98662,"tags":98663,"thumbUrl":98669,"material":84,"size":84,"collection":84,"collections":98670,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},231048,"xing-shu-zhou-lin-shu-231048","此作用笔苍朴老辣，揉合帖学流秀与碑学沉厚，起收可见颜体沉雄，又兼得苏黄萧散意韵。通篇行气疏朗，字势错落欹侧，首句起笔舒缓墨足，随诗文情绪铺展，笔墨愈见跳宕，至末句笔锋开张，尽显放达之态。题款小字敛藏锋芒，与正文虚实相映，章法疏密得宜。\n\n以文人笔意入书，将诗文禅寂悠然融于笔墨间，整幅既是书法佳构，亦是作者心性襟怀的展露，漫溢出山林世外的清逸意趣。",[23,164,24,7,64,133,165,98664,98665,48069,98666,950,98667,4241,100,98668,663,371,4947],"水寺","钟楼","野僧","深院","道人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f1dfb6014cf5b75cddea9b9ecd5908a.jpg",[],{"id":98672,"slug":98673,"title":89397,"dynasty":18,"author":98674,"museum":300,"description":98675,"tags":98676,"thumbUrl":98677,"material":84,"size":84,"collection":84,"collections":98678,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},230873,"ye-zhao-yun-230873","赵昀","此作用笔精劲端雅，是典型宋楷风貌，起收锋芒明晰，筋骨内含不失温厚。联句气象清远萧疏，笔墨间自带雍容静穆之态，结体方正匀停，笔画舒展合宜。\n\n沉古绢底搭配朱红鉴印，更衬出古雅沉静氛围，将诗句里淡远清寂的秋夜意境，融于端严笔致中。文与书相得益彰，平和简淡的文人意趣尽显，尽显内敛从容的韵致，是宋代楷书的上乘佳构。",[23,164,24,7,133,64,208,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1596a74ff33f01ac2ed6de70c302dead.jpg",[],{"id":98680,"slug":98681,"title":98682,"dynasty":222,"author":65586,"museum":300,"description":65587,"tags":98683,"thumbUrl":98684,"material":151,"size":1293,"collection":84,"collections":98685,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},230575,"a-shi-duo-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230575","阿氏多尊者",[23,24,7,165,187,96,97,131,249,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fb4115c81ad46fcc2c26ab41970c858.jpg",[],{"id":98687,"slug":98688,"title":98689,"dynasty":222,"author":65586,"museum":300,"description":65587,"tags":98690,"thumbUrl":98691,"material":151,"size":1293,"collection":84,"collections":98692,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},230571,"luo-hu-luo-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230571","啰怙罗尊者",[23,164,24,7,165,187,27,28,96,413,355,949,497,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb43f09e40688c53ffec58bebf4c9e71c.jpg",[],{"id":98694,"slug":98695,"title":98696,"dynasty":222,"author":65586,"museum":300,"description":65587,"tags":98697,"thumbUrl":98698,"material":151,"size":1293,"collection":84,"collections":98699,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},230569,"rong-bo-jia-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230569","戎博迦尊者",[23,24,7,187,27,28,96,169,170,5459,12803,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5006c8c232178791f79f2c9e9e797e63.jpg",[],{"id":98701,"slug":98702,"title":98703,"dynasty":222,"author":223,"museum":300,"description":98704,"tags":98705,"thumbUrl":98706,"material":692,"size":1293,"collection":84,"collections":98707,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},230551,"ming-qing-gu-hua-fen-ben-1-qian-ye-niao-shou-ren-wu-juan-yi-ming-230551","明清古画粉本-1-乾也 鸟兽人物卷","此作以界画工笔绘就亭台，朱蓝重彩晕染楼阁斗拱梁枋，形制精巧严整，尽显营造规制之美，旁侧苍松盘虬，古意横生。右侧淡墨晕开山水，浅描峰峦林径，虚淡空远，将院囿雅致与林泉野趣相融。楼阁间隐见人物，为整卷添上灵动生气。\n作为粉本样稿，线条挺括精准，设色古拙沉静，界画的工整严谨和山水的写意空寂相映成趣，尽显传统绘者不俗功底，古雅内敛的意蕴扑面而来。",[23,9521,24,7,25,95,27,96,97,29,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7b7669fb37c3871e03a76c06b08fc32.jpg",[],{"id":98709,"slug":98710,"title":98711,"dynasty":222,"author":223,"museum":300,"description":98712,"tags":98713,"thumbUrl":98714,"material":692,"size":1293,"collection":84,"collections":98715,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},230527,"shi-er-tian-xiang-yi-ming-230527","十二天像","此作为密教护法尊像，身色玄黑，威仪沉凝。左手托举法器，右手执锡杖，红绦系缚更添醒目。衣纹用金线勾勒，流转舒展，宝饰晕染细致，虽经岁月磨蚀，绢面斑驳，却更衬出古拙厚重的质感。头顶水纹法印呼应司职，整体设色调和沉郁，将护法神祇的肃穆威严尽数铺展，静立间自有震慑心神的力量，尽显古佛造像画的仪轨法度与沉静美感。",[23,24,7,165,187,28,27,96,48514,151,18700],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49ff37cc300d24a8898f850aac90c61d.jpg",[],{"id":98717,"slug":98718,"title":98719,"dynasty":222,"author":223,"museum":300,"description":98720,"tags":98721,"thumbUrl":98722,"material":84,"size":84,"collection":84,"collections":98723,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},230523,"fang-gu-shan-shui-fen-ben-shou-ye-jia-tu-juan-5-yi-ming-230523","仿古山水粉本（狩野家图卷）-5","此作为水墨雪景山水，以冷月开篇，清辉穿透薄云，遍洒素裹峰峦。左畔寒林雪瀑垂落，银枝静立幽壑，将冬日萧寒藏于丘壑间。湖面如镜，渔舟三两泛波，棹影微动揉碎月影，漾开一湖清寂。\n\n远景层峦隐于烟霭，虚实相生铺展天地辽远。右侧危崖高耸，古松覆雪挺拔苍劲，崖畔山居藏于林岫，寥寥数笔勾勒出清旷山居意趣。全作用墨虚实相宜，淡墨晕染烟岚，浓墨塑山石肌理，以留白造幽远之境，将冬夜湖山的空寂淡远尽数铺展，尽显古雅萧疏的文人山水意韵。",[23,24,7,25,128,2271,132,29,129,495,1144,2523,231,37,131,99,12423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F811b3cf455dffaa8550b3d1fe7817da3.jpg",[],{"id":98725,"slug":98726,"title":98727,"dynasty":222,"author":223,"museum":300,"description":98728,"tags":98729,"thumbUrl":98730,"material":692,"size":1293,"collection":84,"collections":98731,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},230519,"fang-gu-ren-wu-fen-ben-shou-ye-jia-tu-juan-yi-ming-230519","仿古人物粉本(狩野家图卷)","此卷以淡墨晕染铺陈意境，分段构绘诸般景致。仙翁伴瑞鹿白羊，执杖徐行，古意悠然；枯木红枫间隐士独坐，萧散出尘。江渚行旅衬以空濛山水，意境清旷；怒浪之中神游渡海，奇诡奇幻。末段稚童嬉闹鲜活灵动，尽显世俗意趣。\n\n笔墨写意简劲，设色淡雅清隽，将仙逸、幽隐、百态日常融于一卷。笔致松脱随性，留白营造出悠远空寂的东方意境，兼具文人画的萧散情致与叙事意趣，是笔墨与意韵俱佳的佳构。",[23,24,7,25,188,128,27,330,96,2302,371,413,950,24478,208,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F155773197d4e4fc6f85f53673b323d53.jpg",[],{"id":98733,"slug":98734,"title":98735,"dynasty":222,"author":223,"museum":300,"description":98736,"tags":98737,"thumbUrl":98738,"material":692,"size":1293,"collection":84,"collections":98739,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},230518,"fang-gu-ren-wu-shan-shui-fen-ben-shou-ye-jia-tu-juan-2-yi-ming-230518","仿古人物山水粉本（狩野家图卷）-2","此作以淡彩白描写就，上方二力士嬉闹互动，铁线勾勒出虬结筋肉，将壮汉憨顽神态刻画入微，把蛮勇与谐趣融为一体。下方松岩笔致清简古淡，与人物形成动静对照，雅野相映。作为粉本随性率真，既有东国传统人物画的朴拙意韵，又暗合中式底稿的传神简练，市井意趣跃然纸面，让旧稿鲜活起来，满是松弛诙谐的烟火质感。",[23,24,7,165,188,128,27,96,1144,131,2271,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F506734a1b3d9a11ee714d65cdf836743.jpg",[],{"id":98741,"slug":98742,"title":98743,"dynasty":54,"author":223,"museum":300,"description":98744,"tags":98745,"thumbUrl":98747,"material":692,"size":1293,"collection":84,"collections":98748,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},230337,"bai-miao-tu-miao-man-tu-shuo-yi-yi-ming-230337","百苗图苗蛮图说（一)","这帧旧册封面，深褐底色带着经年摩挲的磨痕肌理，左侧朱红竖条漆色皴裂剥落，残损间凝着旧时光的温度。右下角浅绿圆标添了一丝跳脱的生机，中和了沉郁的古旧氛围。整体朴拙沉静，带着被岁月晕染的侘寂质感，静静承载着过往的图文旧事，每一处边角磨损、漆色褪落，都是它辗转流传的印记，藏着被时光沉淀下来的人文余韵，拙朴间尽是岁月浸洇的厚重。",[24,7,27,28,96,59,62097,98746],"民族","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F861852ea9773cdb7735723893defaece.jpg",[],{"id":98750,"slug":98751,"title":98752,"dynasty":54,"author":223,"museum":300,"description":98753,"tags":98754,"thumbUrl":98755,"material":84,"size":84,"collection":84,"collections":98756,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":199},230308,"li-dai-ming-ren-tu-xiang-yi-ming-230308","历代名人图像","此作朴拙灵动，是典型的民间工笔设色风貌。画面中主人宽袍斗笠，虬髯乍起，怒目挑眉，神情倨傲疏狂，右手摊开似在高声斥骂。两名仆从神态迥异，红衣童子负弓背篓，满脸不耐不屑，侧头顶撞主人；另一名童子探身附耳，神色狡黠。\n\n设色浓淡相宜，红蓝撞色醒目亮眼，将主仆间的张力烘托得淋漓尽致。构图留白恰到好处，以简练线条勾勒人物轮廓，舍去背景衬托，把所有目光聚焦在人物互动之上，带着浓厚的市井民俗意趣，以直白鲜活的造型，将古人鲜活情态定格纸面，拙中藏巧，尽显民间画师对人情世态的敏锐体察。",[24,7,27,28,96,170,208,1350,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd56a3230b1326aaaf1ac770b0ecfe659.jpg",[],{"id":98758,"slug":98759,"title":98760,"dynasty":54,"author":98761,"museum":300,"description":98762,"tags":98763,"thumbUrl":98764,"material":84,"size":84,"collection":84,"collections":98765,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},230288,"lin-chu-tie-juan-jin-shi-song-230288","临褚帖卷","金士松","此作用笔温润秀逸，点画之间兼具唐楷的规整谨严与灵动意趣，将褚书妍雅舒展的风神复刻得形神兼备。起收笔处可见精细提按，结构开阔舒展，通篇行气贯通从容，墨色匀净饱满，尽显临写者扎实的临摹功底，既恪守古帖形质，又带着自身内敛的书卷气，是一件颇具水准的临古佳构，尽显临古创作中的审美意趣与笔墨功力。",[7,64,25,330,572,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a723e361f3592b4d6317b62c58964fe.jpg",[],{"id":98767,"slug":98768,"title":98769,"dynasty":54,"author":98770,"museum":300,"description":98771,"tags":98772,"thumbUrl":98773,"material":692,"size":1293,"collection":84,"collections":98774,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":199},230253,"yu-zhi-jing-yan-lun-dai-jun-yuan-230253","御制经筵论","戴均元","戴均元（1746年－1840年），字修原，號可亭，江西大庾縣（今大余縣）人，籍貫安徽休寧隆阜，清朝大臣，居官五十餘年，歷仕乾隆、嘉慶、道光三朝。",[64,572,27,54,7,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F287c180aa86a84d10742ea5572cf98d1.jpg",[],{"id":98776,"slug":98777,"title":98778,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":98779,"thumbUrl":98780,"material":692,"size":1293,"collection":84,"collections":98781,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},230247,"shu-zhi-yan-jing-ce-dong-gao-230247","书智严经册",[24,7,59,572,7322,187,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c42b002e0c7e1d55ede4302045b24a8.jpg",[],{"id":98783,"slug":98784,"title":98785,"dynasty":54,"author":33849,"museum":300,"description":98786,"tags":98787,"thumbUrl":98791,"material":692,"size":1293,"collection":84,"collections":98792,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":956},229043,"qing-long-yue-wu-ce-qing-ren-229043","庆隆乐舞册","磁青纸为底，泥金落墨，满汉双语并书贺辞，笔致恭谨端方，锋棱内敛却不失庄重堂皇。边框环绕缠回纹，雕饰细密规整，纹样连绵不绝暗合福寿绵长之意。文辞颂祝圣寿千秋、家国昌隆，将吉庆祈愿融于笔墨之间，尽显宫廷文书的典制威仪，华美雅致中带着森严礼制的厚重感，尽显彼时皇家器物的考究工致。",[7,59,27,572,8315,98788,64,98789,98790,38740],"黑底金字","工整字体","传统纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17782d4b318c95b55aa2ab30e55f7411.jpg",[],{"id":98794,"slug":98795,"title":98796,"dynasty":54,"author":98797,"museum":300,"description":98798,"tags":98799,"thumbUrl":98800,"material":692,"size":1293,"collection":84,"collections":98801,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":3379},228923,"jian-chang-sha-tie-huang-zhuo-228923","鉴长沙帖","黄倬","清朝名士黄倬",[23,164,24,7,64,572,27,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3760e39b105180543b2bf85995643b29.jpg",[],{"id":98803,"slug":98804,"title":98805,"dynasty":124,"author":3619,"museum":300,"description":98806,"tags":98807,"thumbUrl":98808,"material":84,"size":84,"collection":84,"collections":98809,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},228882,"zi-zuo-lv-shi-liang-shou-wen-zheng-ming-228882","自作律诗两首","此卷大字行书雄强苍浑，落笔如重锤落纸，字势欹正相生、大开大合，通篇元气沛然。点画顿挫老辣，牵丝映带间藏着跌宕意趣，章法疏密错落如山川排布，将登高寄怀的疏旷襟怀尽融笔墨。\n\n笔墨随诗意起伏，时而开张奔逸，如秋风振林，时而沉敛凝实，似磐石踞岸。老笔纷披却不失雅致法度，把湖山登临的清旷意气，化作纸上风云。暮年书艺炉火纯青，将文人放旷的文心揉入雄健笔力，尽显沉厚豪迈的书法风神。",[23,164,24,7,25,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa7961edbe3de0632904115471d2ec8c.jpg",[],{"id":98811,"slug":98812,"title":98813,"dynasty":124,"author":98814,"museum":300,"description":98815,"tags":98816,"thumbUrl":98817,"material":84,"size":84,"collection":84,"collections":98818,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},228770,"zhen-yi-ting-shi-ce-zhou-liang-gong-228770","真意亭诗册","周亮工","此作用笔灵动秀雅，结体随性不失端稳，行笔间牵丝映带自然圆融，墨色兼具浓淡枯润之变，尽显明人尚态的书风特质。\n\n册页小字错落排布，诗文与笔墨相生相合，字字流转呼应，似将郊园夜访、羁旅感怀的诗意融于笔锋起落之间。通篇带着文人疏朗萧散的林下意趣，笔墨间浸透着冲淡安闲的雅韵，尽显执笔人不俗的书卷涵养，将日常题咏的悠然心境诉诸笔端，清雅澹泊，耐人寻味。",[24,7,59,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dfe46ed772d8bb58f122cc5e9be3767.jpg",[],{"id":98820,"slug":98821,"title":98822,"dynasty":144,"author":223,"museum":300,"description":98823,"tags":98824,"thumbUrl":98825,"material":84,"size":84,"collection":84,"collections":98826,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},228235,"tie-guai-li-yi-ming-228235","铁拐李","此作用水墨写意落笔，将人物刻画入神。袒露的虬劲筋骨带着山野风霜，褴褛衣衫随体赋形，跛足拄杖，抬手似在凌虚唤气，神态桀骜疏狂，落魄不羁的仙风道骨跃然绢上。背景以淡墨晕出山岚烟霭，斜出的松枝点染清寂氛围，左上角题字添就古雅意趣。画作笔墨简括老辣，以神写形，不求工细却精准捕捉住世俗仙人的独特神韵，淡墨晕染的朦胧氛围感让人物融于山水之间，尽显超脱世外的悠远风骨。",[24,7,165,187,188,128,96,171,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16332208f6f76dad3a1b35acea3b160e.jpg",[],{"id":98828,"slug":98829,"title":98830,"dynasty":18,"author":223,"museum":300,"description":98831,"tags":98832,"thumbUrl":98833,"material":84,"size":84,"collection":84,"collections":98834,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},227872,"lin-jian-heng-ting-tu-yi-ming-227872","林间横亭图","淡墨轻勾亭台回廊，顺着坡地林木错落排布，线条清劲秀雅，不见繁复皴染，只以极简笔触铺陈画面。朦胧烟霭晕开在绢面之上，将实景晕化在虚茫之中，消弭了边界，让林亭隐在氤氲淡雾之间。\n\n整幅画克制又含蓄，不见人声喧嚷，只留空寂萧疏的静谧，将文人寄情林泉的幽怀藏在尺幅之中，以少胜多，以简见深，把中式园林的雅致清逸晕染恰到好处，淡远空灵，余韵悠悠，尽显宋画小品独有的雅致意趣。",[23,24,7,164,95,128,130,34,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F522847744a2d59b60bc0fb0d7321978c.jpg",[],{"id":98836,"slug":98837,"title":98838,"dynasty":182,"author":223,"museum":300,"description":98839,"tags":98840,"thumbUrl":98841,"material":692,"size":1293,"collection":84,"collections":98842,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":956},227232,"miao-fa-lian-hua-jing-an-le-xing-pin-di-shi-si-yi-ming-227232","妙法莲华经安乐行品第十四","“安乐行”就是“菩萨行”；“菩萨行”也就是“安乐行”。安，就是安居到这个行上；乐，就是快乐；快乐安居，是菩萨所修的这个行门。这个安，是身也安、心也安，身心都安居在所行菩萨道的这种境界上。不但安居在这种境界上，而且还快乐；怎么会快乐呢？因为自己所欢喜，欢喜行这种菩萨道。怎么会安乐呢？因为坐如来座、着如来衣、入如来室，修这种安乐的行，这是行菩萨道必须要经过的一条路，所以这叫做“安乐行品”，这是第十四。",[23,4642,7,25,187,7322,572,27,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d641adbaea93e07a16f3df5ea75121f.jpg",[],{"id":98844,"slug":98845,"title":98846,"dynasty":124,"author":26033,"museum":300,"description":98847,"tags":98848,"thumbUrl":98849,"material":84,"size":84,"collection":84,"collections":98850,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},224565,"shu-hua-ce-ye-7-xiao-yun-cong-wang-shi-zhen-224565","《书画册页》-7","通篇行书随性洒脱，笔势舒展灵动，字间顾盼有情，行气流畅自然。起笔收锋带着文人写意的松弛，墨色枯润相宜、浓淡错落，尽显题跋的自在意趣。朱红印章排布错落，与墨色书迹相映成趣，晕开雅致古朴的氛围感。\n\n这是观览之后的随性留笔，藏着江南文人的疏朗散逸，将同好相逢的欣然意趣凝于笔端，尽显旧时文人间以墨会友的清雅情致，淡墨朱印之间，晕开一段旧时光里的笔墨知己之谊。",[7,59,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fe0d98656f7c6a104daa9f1fbd46afa.jpg",[],{"id":98852,"slug":98853,"title":98854,"dynasty":124,"author":26033,"museum":300,"description":98855,"tags":98856,"thumbUrl":98858,"material":84,"size":84,"collection":84,"collections":98859,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},224557,"shu-hua-ce-ye-22-xiao-yun-cong-wang-shi-zhen-224557","《书画册页》-22","此幅行书取韵萧散疏朗，笔锋清逸灵动，起笔舒缓，笔势随诗句渐生幽寂。“簷影依稀遐佛塲”笔致清隽，将禅意悄藏笔底，至“云深处剩清凉追”，笔墨愈见简淡洗练，把山涧空花、林径药香的幽寂禅境尽数铺展。\n\n落款小字清瘦端凝，与正文的萧散雅逸相映成趣。朱印点缀素笺，丹素相生，添就静穆古雅之意，将文人诗意与书法意趣相融，尽显林下清谈的散淡襟怀。",[24,7,4437,64,133,208,98857,72358,1556,547,950,19009,43278,99],"山月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cf07178e94ab741122d0c84ea758a9e.jpg",[],{"id":98861,"slug":98862,"title":98863,"dynasty":124,"author":26033,"museum":300,"description":98864,"tags":98865,"thumbUrl":98866,"material":84,"size":84,"collection":84,"collections":98867,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},224546,"shu-hua-ce-ye-10-xiao-yun-cong-wang-shi-zhen-224546","《书画册页》-10","此作行书手札笔法纵逸朴拙，起收间尽显萧散意趣。行笔如枯藤盘曲，苍劲中暗带灵动，牵丝映带随性自然，字势欹正相生，错落排布，通篇气息连贯悠长。\n\n章法疏密相宜，墨色枯湿浓淡富于层次，焦墨似危崖断壁，润墨如春池漾波，将书写时的情绪起伏藏于笔墨节律之中。文思寄寓林泉之志，笔墨襟怀相融，尺幅之间蕴静穆悠远的林下之风，尽显文人以笔写心的雅致襟怀。",[23,805,7,64,133,59,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7200240a9cc8af2f56decea76181652d.jpg",[],{"id":98869,"slug":98870,"title":98871,"dynasty":54,"author":4083,"museum":300,"description":63912,"tags":98872,"thumbUrl":98873,"material":692,"size":1293,"collection":84,"collections":98874,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":199},224423,"shu-hua-shi-liu-kai-9-wang-shi-min-224423","书画十六开-9",[23,7,59,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd3e02ac93059df9901ae6271c265e34.jpg",[],{"id":98876,"slug":98877,"title":98878,"dynasty":54,"author":4083,"museum":300,"description":98879,"tags":98880,"thumbUrl":98881,"material":84,"size":84,"collection":84,"collections":98882,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":199},224416,"shu-hua-shi-liu-kai-2-wang-shi-min-224416","书画十六开-2","此作为行书小品，笔墨秀逸苍劲，起收间可见沉稳功底，点画顾盼有情，线条随章法灵动变奏，粗细提按尽显节奏韵律。字间疏密得宜，行气贯通浑然，兼具妍雅意趣与朴拙质感。\n书文为寻幽佳句，笔墨与诗意相融，将林泉雅趣藏于笔底。素纸古色衬出墨色浓淡层次，朱红钤印点缀晕染出沉静古雅的文人书卷氛围，笔墨舒缓的节奏里，恰似把幽居寻游的隐逸心境缓缓铺展，是兼蓄笔墨法度与文人情思的佳构。",[23,24,7,59,133,64,128,722,53818,413,44054,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0a8f524714afbea1ce5e6b2234491c.jpg",[],{"id":98884,"slug":98885,"title":98886,"dynasty":54,"author":4083,"museum":300,"description":28118,"tags":98887,"thumbUrl":98888,"material":28121,"size":28122,"collection":84,"collections":98889,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":199},224411,"shu-hua-shi-liu-kai-12-wang-shi-min-224411","书画十六开-12",[23,24,7,59,133,128,3344,231,168,81,82,100,171,1771,89947,228,663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff84aedfa28e75d33e856affa0fda90d1.jpg",[],{"id":98891,"slug":98892,"title":98893,"dynasty":54,"author":1676,"museum":300,"description":98894,"tags":98895,"thumbUrl":98896,"material":84,"size":84,"collection":84,"collections":98897,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},224308,"hua-hui-shi-er-kai-9-li-shan-224308","花卉十二开9","此作用笔简澹写意，以淡墨晕染白鹭白羽，留白衬出绒羽蓬松质感，寥寥数笔勾出尖喙利爪，将水鸟蜷身小憩的悠然神态尽显，灵动鲜活。\n\n旁侧水草以浓淡墨色挥写，笔致纵逸洒脱，柔蔓斜生，与白鹭的静柔形成动静对照。右上角题字极简，书画相映成趣，尽显文人写意画的逸趣风骨。尺幅之间藏尽水泽汀洲的幽谧之境，笔简意足，澹泊清远，将小景的清寂雅致娓娓铺陈，尽显写意花鸟的隽永意韵。",[23,24,7,59,128,27,61,211,1771,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F546eabdf8a2b6ca70df7cdf7a5d87193.jpg",[],{"id":98899,"slug":98900,"title":98901,"dynasty":54,"author":57033,"museum":300,"description":98902,"tags":98903,"thumbUrl":98904,"material":692,"size":1293,"collection":84,"collections":98905,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},224202,"shu-qian-long-yu-zhi-yong-shi-er-chen-ben-zi-ti-si-ku-quan-shu-cheng-shan-liang-guo-zhi-224202","书乾隆御制用十二辰本字题四库全书成扇","梁国治（1723-1786），清代书法家，乾隆十三年（1748年）进士，殿试头名状元。由修撰累官东阁大学士兼户部尚书，充任过《四库全书》副总裁。平生治事缜密，廉政清俭，好学爱才。工书法，著有《敬思堂文集》。《颜真卿千字文》。",[1131,64,7,304,572,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61b23a8a7f55e01c553bbd058cb20443.jpg",[],{"id":98907,"slug":98908,"title":98909,"dynasty":54,"author":77832,"museum":300,"description":83645,"tags":98910,"thumbUrl":98911,"material":692,"size":1293,"collection":84,"collections":98912,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},224148,"shou-zha-er-shi-si-tong-san-yu-yue-224148","手札二十四通三",[23,7,64,25,133,208,27,97,29,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7056e696fa256fbf0163cb6639b594c3.jpg",[],{"id":98914,"slug":98915,"title":98916,"dynasty":54,"author":77832,"museum":300,"description":98917,"tags":98918,"thumbUrl":98919,"material":84,"size":84,"collection":2210,"collections":98920,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},224147,"shou-zha-er-shi-si-tong-yi-yu-yue-224147","手札二十四通一","曲园与小坡二十四札书信，以言学术、诗词者居多，时间大约在光绪八年（1882-1887）之间。信札之书体，除一通为隶书外，俱为行楷书。曲园早年科举应试，字体工整圆润，有馆阁之风。后习篆、隶，书风为之一变，隶形篆意，古朴厚重，不加雕饰，犹如经生治史。老年所书楷联，则参以碑意，大气重拙。然此册之书法，除古朴、重拙之外，更有气质闲雅，潇洒风流，宋人之意跃然纸上。此或翰札特有之形态，抑或特有之魅力也。",[23,64,133,76388,611,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f3a811d9b191bb274a9a859c3249078.jpg",[2210],{"id":98922,"slug":98923,"title":98924,"dynasty":124,"author":223,"museum":244,"description":98925,"tags":98926,"thumbUrl":98927,"material":84,"size":98928,"collection":84,"collections":98929,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},223488,"wu-kuan-chi-du-di-wu-ze-yi-ming-223488","无款尺牍第五则","这幅行草尺牍笔墨简劲爽利，牵丝映带间尽显流美韵致。起笔收锋自在随心，点画粗细错落，或轻捷如惊鸿掠水，或沉凝似坠石留痕，章法疏朗匀停，字间行气连贯通脱，毫无壅塞之感。\n\n通篇气息萧散淡远，虽为日常尺牍手札，却自含文人风雅意趣，不见刻意雕琢之态，将尺素往来的随性自然融于笔墨间，藏着旧时士人酬酢的从容襟怀。笔墨间的简淡松弛，正是帖学一脉的寻常风流，随手挥洒间，尽显文人间的清雅况味。",[24,7,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e51706483f4f9c83f2360681af7fa68.jpg","31.1x34.2.",[],{"id":98931,"slug":98932,"title":98933,"dynasty":54,"author":223,"museum":300,"description":98934,"tags":98935,"thumbUrl":98937,"material":84,"size":98938,"collection":84,"collections":98939,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},223345,"wu-tai-shan-sheng-jing-quan-tu-2-yi-ming-223345","五台山圣境全图2","是五台山慈福寺喇嘛桑格阿麻格于1846年(道光二十六年)，亲手刻就的图版。在《五台山圣境全图》中，刻画了五台山清代时的大小寺庙、丛林静室60余处，帝王行宫3处，佛塔灵迹30余处。同时还展现了当时的村庄，绘制了康熙皇帝朝台的盛况，并穿插了康熙寻父的民间传说。内容有人有物，有情有景，有动有静，真实地反映了五台山佛教圣地僧俗人等的生活情景，是一件珍贵的艺术品。图版以极简练的手法，雕刻出五台山佛教圣地的概貌。表现了高超的雕刻技巧和丰富的想像力。",[164,7,28209,187,18381,188,29,17270,97,96,43278,98936,9164,55215],"行宫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb5c131ab44451e9ddfd9604256142f8.jpg","该图长162厘米，宽118厘米",[],{"id":98941,"slug":98942,"title":98943,"dynasty":54,"author":41583,"museum":300,"description":53116,"tags":98944,"thumbUrl":98945,"material":514,"size":53120,"collection":84,"collections":98946,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},223256,"yan-shan-ba-jing-tu-3-yu-quan-bao-tu-zhang-ruo-cheng-223256","燕山八景图-3-玉泉趵突",[23,24,7,27,28,95,29,97,130,99,34,496,208,27907,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F373761839aeb80cac29caf4127449b4b.jpg",[],{"id":98948,"slug":98949,"title":15896,"dynasty":54,"author":10177,"museum":20,"description":60016,"tags":98950,"thumbUrl":98951,"material":84,"size":15901,"collection":84,"collections":98952,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},223205,"geng-zhi-tu-ce-jiao-bing-zhen-223205",[24,7,59,28,27,96,102,34836,210,37398,64028],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F402e8991ac447042d625c00898598c5d.jpg",[],{"id":98954,"slug":98955,"title":15896,"dynasty":54,"author":10177,"museum":20,"description":60016,"tags":98956,"thumbUrl":98958,"material":84,"size":15901,"collection":84,"collections":98959,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},223202,"geng-zhi-tu-ce-jiao-bing-zhen-223202",[164,24,7,4437,28,27,14386,98957,10803,96,34836,210,36759,15899,64028],"透视法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0992d17427623faa5a9a8be40cc5df39.jpg",[],{"id":98961,"slug":98962,"title":15896,"dynasty":54,"author":10177,"museum":20,"description":60016,"tags":98963,"thumbUrl":98964,"material":84,"size":15901,"collection":84,"collections":98965,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},223191,"geng-zhi-tu-ce-jiao-bing-zhen-223191",[24,7,28,27,96,13640,34836,93104,34,35,2656,304,10803,4437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f14df84a879df7e504b4d1fbcb15765.jpg",[],{"id":98967,"slug":98968,"title":15896,"dynasty":54,"author":10177,"museum":20,"description":60016,"tags":98969,"thumbUrl":98971,"material":84,"size":15901,"collection":84,"collections":98972,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},223185,"geng-zhi-tu-ce-jiao-bing-zhen-223185",[164,24,7,28,27,95,64,133,96,13639,34,4363,34836,210,15899,98970,99],"稻垛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb06fbf0d04d79780f5ae8f6162575ed6.jpg",[],{"id":98974,"slug":98975,"title":15896,"dynasty":54,"author":10177,"museum":20,"description":60016,"tags":98976,"thumbUrl":98978,"material":84,"size":15901,"collection":84,"collections":98979,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},223183,"geng-zhi-tu-ce-jiao-bing-zhen-223183",[24,7,59,28,27,96,21956,34836,711,34,98977,90672],"稻草堆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F019a8f10d94d31ea8aa4ed837fb2bff7.jpg",[],{"id":98981,"slug":98982,"title":15896,"dynasty":54,"author":10177,"museum":20,"description":60016,"tags":98983,"thumbUrl":98984,"material":84,"size":15901,"collection":84,"collections":98985,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},223181,"geng-zhi-tu-ce-jiao-bing-zhen-223181",[24,7,28,27,96,13640,34,34836,37398,228,23454,711,10803],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5523a5f6fb4d9c6cfba36e07de3f38cb.jpg",[],{"id":98987,"slug":98988,"title":15896,"dynasty":54,"author":10177,"museum":20,"description":60016,"tags":98989,"thumbUrl":98991,"material":84,"size":15901,"collection":84,"collections":98992,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},223177,"geng-zhi-tu-ce-jiao-bing-zhen-223177",[164,24,7,304,28,27,96,34,37513,98990,34836,64,15899],"稻田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc75f3eab8b3e23dd74a384f81bc04c13.jpg",[],{"id":98994,"slug":98995,"title":15896,"dynasty":54,"author":10177,"museum":20,"description":60016,"tags":98996,"thumbUrl":98997,"material":84,"size":15901,"collection":84,"collections":98998,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},223171,"geng-zhi-tu-ce-jiao-bing-zhen-223171",[164,24,7,304,28,27,4437,96,102,15899,21956,13639,34,34836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b13e23b1d69d7aa0bc8a0c9644ff767.jpg",[],{"id":99000,"slug":99001,"title":15896,"dynasty":54,"author":10177,"museum":20,"description":60016,"tags":99002,"thumbUrl":99004,"material":84,"size":15901,"collection":84,"collections":99005,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},223169,"geng-zhi-tu-ce-jiao-bing-zhen-223169",[24,7,59,28,27,304,96,102,34836,64027,210,99003,37398,64028],"农家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b47df9ca67dfaccb0c5384c8fc267dd.jpg",[],{"id":99007,"slug":99008,"title":99009,"dynasty":54,"author":36019,"museum":224,"description":41118,"tags":99010,"thumbUrl":99011,"material":3544,"size":84,"collection":84,"collections":99012,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},222717,"huang-shan-ba-jing-tu-ce-6-zheng-min-222717","黄山八景图册6",[23,24,7,59,128,132,29,30,99,495,34,131,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a2576cbfb62fe233cc4cb346af5ffbf.jpg",[],{"id":99014,"slug":99015,"title":99016,"dynasty":54,"author":36019,"museum":224,"description":41118,"tags":99017,"thumbUrl":99018,"material":3544,"size":84,"collection":84,"collections":99019,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":956},222714,"huang-shan-ba-jing-tu-ce-3-zheng-min-222714","黄山八景图册3",[23,24,7,59,128,132,29,98,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe867f889879a8e62b86b36c5b0a5a158.jpg",[],{"id":99021,"slug":99022,"title":99023,"dynasty":54,"author":5276,"museum":224,"description":18708,"tags":99024,"thumbUrl":99025,"material":15552,"size":83785,"collection":84,"collections":99026,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},222639,"shan-shui-shu-fa-ce-liu-kai-5-gao-feng-han-222639","山水书法册六开-5",[23,24,7,59,128,132,29,413,131,22404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa294dc34fbb71dfc595cc5beb0297a16.jpg",[],{"id":99028,"slug":99029,"title":99030,"dynasty":54,"author":5276,"museum":224,"description":18708,"tags":99031,"thumbUrl":99032,"material":15552,"size":83785,"collection":84,"collections":99033,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},222638,"shan-shui-shu-fa-ce-liu-kai-4-gao-feng-han-222638","山水书法册六开-4",[23,24,7,59,128,132,29,98,99,96,171,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1f6a136073f3bb154cce56b914e397b.jpg",[],{"id":99035,"slug":99036,"title":99037,"dynasty":54,"author":5276,"museum":224,"description":18708,"tags":99038,"thumbUrl":99039,"material":15552,"size":83785,"collection":84,"collections":99040,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},222637,"shan-shui-shu-fa-ce-liu-kai-3-gao-feng-han-222637","山水书法册六开-3",[23,24,7,59,27,133,208,331,209,171,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F726010e2ae0381698f9dcb7ef1bf9740.jpg",[],{"id":99042,"slug":99043,"title":99044,"dynasty":54,"author":5276,"museum":224,"description":18708,"tags":99045,"thumbUrl":99046,"material":15552,"size":83785,"collection":84,"collections":99047,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},222636,"shan-shui-shu-fa-ce-liu-kai-2-gao-feng-han-222636","山水书法册六开-2",[23,24,7,59,27,128,64,133,29,130,209,34,131,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d133bad1288c0f92c3dd591e2a742fc.jpg",[],{"id":99049,"slug":99050,"title":99051,"dynasty":124,"author":99052,"museum":244,"description":99053,"tags":99054,"thumbUrl":99055,"material":1223,"size":99056,"collection":84,"collections":99057,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},222326,"hua-shou-xing-zhou-feng-xiao-222326","画寿星轴","冯晓","此图相传为宋人名笔。得寿星之真容",[23,24,7,165,27,28,96,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2747ebb9319f6c2623aeb8652d6b82a0.jpg","123.8×43.3cm",[],{"id":99059,"slug":99060,"title":99061,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":99062,"thumbUrl":99063,"material":637,"size":70887,"collection":84,"collections":99064,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":3379},222294,"nan-hua-zhen-jing-47-wang-chong-222294","南华真经47",[23,64,133,7322,7,8116,59,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fbaf68c5717fca5d91d771a11d40d95.jpg",[],{"id":99066,"slug":99067,"title":99068,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":99069,"thumbUrl":99070,"material":637,"size":70887,"collection":84,"collections":99071,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":3379},222281,"nan-hua-zhen-jing-34-wang-chong-222281","南华真经34",[23,7,64,572,7322,5459,128,59,611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9757f37471c4936ee85c52d756bbd6c3.jpg",[],{"id":99073,"slug":99074,"title":99075,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":99076,"thumbUrl":99077,"material":637,"size":70887,"collection":84,"collections":99078,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":3379},222249,"nan-hua-zhen-jing-2-wang-chong-222249","南华真经2",[23,64,7322,133,128,7,5459,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5616abf90a145e38681e7d5d5fad9204.jpg",[],{"id":99080,"slug":99081,"title":99082,"dynasty":124,"author":28443,"museum":244,"description":99083,"tags":99084,"thumbUrl":99085,"material":637,"size":99086,"collection":84,"collections":99087,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":956},222089,"shu-gong-yan-shi-zhou-song-ke-222089","书公䜩诗轴","此幅为明代书法家宋克所书魏刘桢五言古诗，混合行书、今草、章草和狂草。字形大小错落，行间紧凑，是承袭元末草书野逸之风的典型。\n此轴笔力清刚纵逸，古雅隽秀，具有二王潇洒流丽的韵致，又有唐人雄强豪放的气势，四尺纵幅，行笔中锋直下，圆转劲利，纵横自如，若惊蛇走虺，无丝毫滞碍疲弱之态，有俊逸豪迈之风。“鱼”字、“裔”字，波磔皆章草笔法。其用笔特有的波磔，纯属古章草笔法的流露。纵逸雄强，章、今、狂草笔法兼容并蓄。这件作品反映了宋克把握前人法度，取精用宏的超凡功力",[23,7,64,165,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3361b361f97e0b80b65a364926b760a.jpg","111.7x32.4cm",[],{"id":99089,"slug":99090,"title":99091,"dynasty":124,"author":3619,"museum":20,"description":23062,"tags":99092,"thumbUrl":99093,"material":611,"size":53175,"collection":84,"collections":99094,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},221964,"shu-zha-ce-15-wen-zheng-ming-221964","书札册15",[23,64,133,59,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe93de322f52309f8deeb1f1304a4a2c1.jpg",[],{"id":99096,"slug":99097,"title":99098,"dynasty":124,"author":802,"museum":161,"description":11485,"tags":99099,"thumbUrl":99100,"material":59,"size":84,"collection":84,"collections":99101,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},221901,"hua-niao-jing-pin-ce-12-chen-hong-shou-221901","花鸟精品册12",[164,24,7,59,27,28,61,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57358218ffc17b3a458c40d072405b3c.jpg",[],{"id":99103,"slug":99104,"title":99105,"dynasty":144,"author":99106,"museum":244,"description":99107,"tags":99108,"thumbUrl":99113,"material":84,"size":84,"collection":84,"collections":99114,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},221800,"shu-ti-hua-qi-yan-jue-ju-feng-zi-zhen-221800","书题画七言绝句","冯子振","本开为元人书蹟二幅，右幅为冯子振书七言诗，诗句中称「陆有居庐水有船，青山倒景逼沙边」，左幅是赵岩书七言诗，中有「一片晴帆欲拂天，林云江月淨娟娟」二句。从诗文内容推测，二人所题应是表现江南山水景观之画，且是「奉皇姊大长公主命题」。至元二十三年(1286)忽必烈求贤于江南，冯子振与赵孟頫同在被推荐之列，曾官集贤待制。赵岩则为驸马鲁王所识，曾应公主旨意作赋而获赏，在公主所藏画作上常能见此二人题诗",[64,133,128,7,208,129,6844,99109,99110,47608,99111,99112],"沙边","江月","天林云","湖柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cf67498e3e2d51d3052533a6f22027f.jpg",[],{"id":99116,"slug":99117,"title":99118,"dynasty":18,"author":99119,"museum":244,"description":99120,"tags":99121,"thumbUrl":99122,"material":611,"size":99123,"collection":84,"collections":99124,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},221657,"zhi-yang-zheng-jian-miao-feng-yi-chi-du-fan-cheng-da-221657","致养正监庙奉议尺牍","范成大","昨辱惠字至慰。雪晴奇寒。以仆之瑟缩。遥知公之为况也。范子二轴。各为题数字纳去。幸为分付。属此寒冷。不得与渠少款曲。每念右史同年。为之凄断。王生所作隶古千文。可得一观否。方子文字挨排不行。只得以来年。今小大尚未回。得维垣亲扎。闲数日。阔匾来者又数处。殆成苦相。不可具言。成大顿首。养正监庙奉议贤友。",[23,1326,64,133,9909,7,8116,611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ce03fab5049ee3a27238081e4d70bca.jpg","30.9x43.9厘米",[],{"id":99126,"slug":99127,"title":99128,"dynasty":144,"author":76804,"museum":6892,"description":76805,"tags":99129,"thumbUrl":99130,"material":76808,"size":76809,"collection":84,"collections":99131,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":84},220722,"xing-shu-shi-wen-he-juan-3-zhang-yu-yang-wei-zhen-wen-xin-220722","行書詩文合卷3",[133,64,7,25,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a293acef00500843838a41603295484.jpg",[],{"id":99133,"slug":99134,"title":99135,"dynasty":124,"author":16243,"museum":6892,"description":26868,"tags":99136,"thumbUrl":99137,"material":26871,"size":26872,"collection":84,"collections":99138,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":84},220713,"xing-shu-jie-quan-5-wang-chong-220713","行书借券5",[23,164,24,7,25,133,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7676a1290a3a3bf257b0584f4d32dac.jpg",[],{"id":99140,"slug":99141,"title":99142,"dynasty":124,"author":16243,"museum":6892,"description":26868,"tags":99143,"thumbUrl":99144,"material":26871,"size":26872,"collection":84,"collections":99145,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":84},220710,"xing-shu-jie-quan-8-wang-chong-220710","行书借券8",[23,7,64,133,128,208,25,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7097b806ddddf033a914c9ed8f3a448d.jpg",[],{"id":99147,"slug":99148,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":99149,"thumbUrl":99150,"material":11690,"size":11691,"collection":84,"collections":99151,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":84},220700,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220700",[23,24,7,59,133,572,64,208,663,167,231,57016,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2d90d3bc41658b1878f3e8c47ba62d2.jpg",[],{"id":99153,"slug":99154,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":99155,"thumbUrl":99156,"material":11690,"size":11691,"collection":84,"collections":99157,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":84},220696,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220696",[23,24,7,64,59,572,133,208,29,35,167,547,372,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec01786d56332259547002aace0ff68a.jpg",[],{"id":99159,"slug":99160,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":99161,"thumbUrl":99163,"material":11690,"size":11691,"collection":84,"collections":99164,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":84},220685,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220685",[24,7,59,27,132,29,99162,34],"房舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b570da58db06cb48597aa6831a63471.jpg",[],{"id":99166,"slug":99167,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":99168,"thumbUrl":99169,"material":11690,"size":11691,"collection":84,"collections":99170,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":84},220682,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220682",[23,24,7,59,128,132,29,413,131,276,35,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc7fb8a923ddd44cc33a6ffd0cf90834.jpg",[],{"id":99172,"slug":99173,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":99174,"thumbUrl":99175,"material":11690,"size":11691,"collection":84,"collections":99176,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":84},220666,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220666",[23,24,7,64,133,59,29,211,99,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa48cb13a2ec285e2173a1f00f6717e47.jpg",[],{"id":99178,"slug":99179,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":99180,"thumbUrl":99181,"material":11690,"size":11691,"collection":84,"collections":99182,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":84},220664,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220664",[23,24,7,59,133,27,29,208,211,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F761b58fefe52c04406fd1b7212dd78c9.jpg",[],{"id":99184,"slug":99185,"title":99186,"dynasty":182,"author":20411,"museum":99187,"description":99188,"tags":99189,"thumbUrl":99190,"material":5380,"size":99191,"collection":84,"collections":99192,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},220208,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-7-liu-gong-quan-220208","神策军碑-皇帝巡幸左神策军纪圣德碑7","北京国家图书馆","《神策军碑》全称《皇帝巡幸左神策军纪圣德碑》，唐武宗会昌三年（公元843年）立于皇宫禁地，碑石大小不明，崔铉撰文，柳公权书。碑文记录了回纥汗国灭亡及安辑没斯来降等事，具有重要的历史价值。此碑由翰林学士承旨崔铉撰文，集贤院学士判院事柳公权书写，更增添了此碑的艺术价值。柳公权书写的碑文，其书法结构严整，充分体现了“柳体”楷书骨骼开张、平稳匀称的特点，加之此碑刻工精良，拓本与真迹无异，故后世奉为柳书代表作。",[7,64,5380,572,92308,4642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F482373d13eae8f973dd01e5e82604294.jpg","58X46",[],{"id":99194,"slug":99195,"title":51873,"dynasty":124,"author":23728,"museum":56,"description":71098,"tags":99196,"thumbUrl":99197,"material":611,"size":71101,"collection":84,"collections":99198,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},219781,"za-hua-ce-7-guo-xu-219781",[24,7,128,59,132,29,31,33,34,711,131,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd043a0626a157e329bd01f4fab1a5787.jpg",[],{"id":99200,"slug":99201,"title":99202,"dynasty":54,"author":32801,"museum":244,"description":32802,"tags":99203,"thumbUrl":99205,"material":66,"size":32807,"collection":84,"collections":99206,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},219665,"hai-cuo-tu-di-si-ce-3-nie-huang-219665","海错图第四册-3",[24,7,59,27,28,83954,99204,32805],"海胆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F035be5149daddb5598534586468ddfad.jpg",[],{"id":99208,"slug":99209,"title":99210,"dynasty":54,"author":32801,"museum":244,"description":32802,"tags":99211,"thumbUrl":99212,"material":66,"size":32807,"collection":84,"collections":99213,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},219662,"hai-cuo-tu-di-si-ce-6-nie-huang-219662","海错图第四册-6",[24,7,59,27,28,83954,93375,32805,57836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcddedc4da3d2f3198646fb9d428d46f.jpg",[],{"id":99215,"slug":99216,"title":99217,"dynasty":54,"author":32801,"museum":244,"description":32802,"tags":99218,"thumbUrl":99219,"material":66,"size":32807,"collection":84,"collections":99220,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},219659,"hai-cuo-tu-di-si-ce-9-nie-huang-219659","海错图第四册-9",[24,7,59,27,28,93375,83954,32805,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb40c0803b250c92d0f6a2c2b8de9a10.jpg",[],{"id":99222,"slug":99223,"title":99224,"dynasty":54,"author":32801,"museum":244,"description":32802,"tags":99225,"thumbUrl":99226,"material":66,"size":32807,"collection":84,"collections":99227,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},219658,"hai-cuo-tu-di-si-ce-10-nie-huang-219658","海错图第四册-10",[24,7,59,27,28,32805,93374,32804,57836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49c659e90d991023b837029a82a6cae2.jpg",[],{"id":99229,"slug":99230,"title":99231,"dynasty":124,"author":42094,"museum":20,"description":42095,"tags":99232,"thumbUrl":99233,"material":611,"size":42099,"collection":84,"collections":99234,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},219162,"shi-han-ce-3-peng-nian-219162","诗翰册-3",[23,24,7,59,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa15afe7ec760cf55e2656394c33cd7d0.jpg",[],{"id":99236,"slug":99237,"title":99238,"dynasty":124,"author":10106,"museum":244,"description":46336,"tags":99239,"thumbUrl":99240,"material":317,"size":84,"collection":84,"collections":99241,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},218208,"luo-han-zhou-4-wu-bin-218208","罗汉轴-4",[24,7,165,187,188,96,331,9633,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1e71c2aa78e4bb659217b3c1bc91a8c.jpg",[],{"id":99243,"slug":99244,"title":99245,"dynasty":124,"author":10106,"museum":244,"description":46336,"tags":99246,"thumbUrl":99247,"material":317,"size":84,"collection":84,"collections":99248,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},218200,"luo-han-zhou-9-wu-bin-218200","罗汉轴-9",[24,7,165,187,188,96,1337,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19aa8660ab35e36b0ab99059570420f9.jpg",[],{"id":99250,"slug":99251,"title":99252,"dynasty":124,"author":10106,"museum":244,"description":46336,"tags":99253,"thumbUrl":99254,"material":317,"size":84,"collection":84,"collections":99255,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},218199,"luo-han-zhou-10-wu-bin-218199","罗汉轴-10",[24,7,165,187,96,188,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6675ce761d510916f13944625c3ce95.jpg",[],{"id":99257,"slug":99258,"title":99259,"dynasty":124,"author":10106,"museum":244,"description":46336,"tags":99260,"thumbUrl":99261,"material":317,"size":84,"collection":84,"collections":99262,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},218198,"luo-han-zhou-11-wu-bin-218198","罗汉轴-11",[24,7,165,187,188,128,96,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ffb03f613c1186fd0e11eee0c0cd809.jpg",[],{"id":99264,"slug":99265,"title":99266,"dynasty":124,"author":10106,"museum":244,"description":46336,"tags":99267,"thumbUrl":99268,"material":317,"size":84,"collection":84,"collections":99269,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},218193,"luo-han-zhou-15-wu-bin-218193","罗汉轴-15",[164,24,7,165,187,188,128,96,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb234f7edd56810035c940af755828ffb.jpg",[],{"id":99271,"slug":99272,"title":99273,"dynasty":124,"author":10106,"museum":244,"description":46336,"tags":99274,"thumbUrl":99275,"material":317,"size":84,"collection":84,"collections":99276,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},218191,"luo-han-zhou-16-wu-bin-218191","罗汉轴-16",[24,7,165,187,96,188,128,171,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7afaccef315e3f48b5493946585ef43a.jpg",[],{"id":99278,"slug":99279,"title":99280,"dynasty":54,"author":223,"museum":300,"description":80289,"tags":99281,"thumbUrl":99282,"material":173,"size":84,"collection":84,"collections":99283,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},218116,"fu-hua-luo-han-jiu-zhang-lao-xiang-7-yi-ming-218116","佛画·罗汉九长老像-7",[23,24,7,187,27,28,96,131,34,62,758,211,251,56121,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d3ff9044a8d766a04e933b1773dd242.jpg",[],{"id":99285,"slug":99286,"title":99287,"dynasty":124,"author":7003,"museum":300,"description":99288,"tags":99289,"thumbUrl":99290,"material":611,"size":84,"collection":84,"collections":99291,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},218054,"bai-miao-jiu-ge-tu-ce-9-zhu-yun-ming-218054","白描九歌图册-9","素笺之上，白描线条似有灵韵，时而刚劲如铁线盘桓，时而柔婉若轻烟漫卷。神巫身姿如风中兰草，衣袂翻飞间抖落楚辞的清辉，腰间香草与飘带交织成诗。指尖微抬，似欲触碰云端的幻影，眉宇间凝着祭祀的虔诚与怅惘。淡逸云气寥寥数笔，便晕开天地间的空灵。无浓墨重彩，却让《九歌》里人神相恋的幽微情愫在素纸上流转——每道线条都藏着千年浪漫，将神话的缥缈与深情凝作最纯粹的视觉诗篇，让千年后的我们仍能触碰到楚辞里的呼吸。",[24,7,59,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cfb1e750769978066a01c048bd6b68d.jpg",[],{"id":99293,"slug":99294,"title":99295,"dynasty":54,"author":31404,"museum":300,"description":88318,"tags":99296,"thumbUrl":99297,"material":66,"size":84,"collection":84,"collections":99298,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},218017,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-1-ceng-yan-dong-218017","七道子山水人物画册18帧-1",[23,24,7,59,128,29,1337,35,98,129,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa24a64444f3d045f4865a61f4d071438.jpg",[],{"id":99300,"slug":99301,"title":99302,"dynasty":54,"author":31404,"museum":300,"description":88318,"tags":99303,"thumbUrl":99304,"material":66,"size":84,"collection":84,"collections":99305,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},218016,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-2-ceng-yan-dong-218016","七道子山水人物画册18帧-2",[23,24,7,59,128,27,96,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60b6dcecce10988bef144bb98816af9f.jpg",[],{"id":99307,"slug":99308,"title":99309,"dynasty":54,"author":31404,"museum":300,"description":88318,"tags":99310,"thumbUrl":99311,"material":66,"size":84,"collection":84,"collections":99312,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},218008,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-10-ceng-yan-dong-218008","七道子山水人物画册18帧-10",[23,59,24,7,128,27,133,208,29,97,1337,211,96,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25e1074642244b780423920182991080.jpg",[],{"id":99314,"slug":99315,"title":99316,"dynasty":54,"author":31404,"museum":300,"description":88318,"tags":99317,"thumbUrl":99318,"material":66,"size":84,"collection":84,"collections":99319,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},217998,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-18-ceng-yan-dong-217998","七道子山水人物画册18帧-18",[23,24,7,59,128,133,208,96,1350,7067],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcbd6efcfe27c7b3ee6f0a22e2b7c97d.jpg",[],{"id":99321,"slug":99322,"title":99323,"dynasty":18,"author":39592,"museum":1941,"description":39593,"tags":99324,"thumbUrl":99325,"material":278,"size":39596,"collection":84,"collections":99326,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},217995,"shi-liu-ying-zhen-tu-1-fan-long-217995","十六应真图-1",[23,24,7,25,187,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f538526ca5fb0a47b8ef6341f8ac83f.jpg",[],{"id":99328,"slug":99329,"title":99330,"dynasty":18,"author":39592,"museum":1941,"description":39593,"tags":99331,"thumbUrl":99332,"material":278,"size":84,"collection":84,"collections":99333,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},217988,"shi-liu-ying-zhen-tu-5-fan-long-217988","十六应真图-5",[23,24,7,25,188,187,96,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16e49c2b296b265d41601fd4c570f4f2.jpg",[],{"id":99335,"slug":99336,"title":99337,"dynasty":18,"author":39592,"museum":1941,"description":39593,"tags":99338,"thumbUrl":99339,"material":278,"size":39596,"collection":84,"collections":99340,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},217984,"shi-liu-ying-zhen-tu-7-fan-long-217984","十六应真图-7",[23,24,7,25,187,188,96,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cc0d890cfa310ce73dd361bf8d348a7.jpg",[],{"id":99342,"slug":99343,"title":99344,"dynasty":18,"author":39592,"museum":1941,"description":39593,"tags":99345,"thumbUrl":99346,"material":278,"size":39596,"collection":84,"collections":99347,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},217978,"shi-liu-ying-zhen-tu-10-fan-long-217978","十六应真图-10",[23,24,7,188,187,96,950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96a11a8c4c55b2d6b8c63efcacee4f8b.jpg",[],{"id":99349,"slug":99350,"title":99351,"dynasty":18,"author":39592,"museum":1941,"description":39593,"tags":99352,"thumbUrl":99353,"material":278,"size":39596,"collection":84,"collections":99354,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},217966,"shi-liu-ying-zhen-tu-21-fan-long-217966","十六应真图-21",[23,24,7,128,188,132,187,96,29,131,5490,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47d92636c14679191492b6b90f9bb9d4.jpg",[],{"id":99356,"slug":99357,"title":99358,"dynasty":124,"author":16990,"museum":450,"description":99359,"tags":99360,"thumbUrl":99361,"material":66,"size":30760,"collection":84,"collections":99362,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},217871,"zhou-li-yuan-shang-kuan-shen-ce-qi-hu-yu-kun-217871","周栎园上款什册(七)","远山如黛染轻烟，近水含光映空濛。淡墨晕开的峰峦似隐似现，几抹青绿点染出苍润之态，水面波纹疏疏，衬得天地愈发清旷。笔墨写意却藏细腻，每一笔都似带着悠然的心境。旁侧题跋字迹流转，与山水景致相契，文字的闲情与画面的雅致交融，仿佛能窥见作者行旅途中的片刻凝思，或是对自然风物的深情咏叹。整幅作品将绘事与书道、诗意相融，尽显文人画的韵致，观之如入幽境，心随山水悠远。",[24,7,59,128,27,29,133,208,496,37,6004,17260,11166,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4669799fb6d97445d20ba3726ed1a985.jpg",[],{"id":99364,"slug":99365,"title":99366,"dynasty":182,"author":223,"museum":2607,"description":99367,"tags":99368,"thumbUrl":99369,"material":2611,"size":84,"collection":84,"collections":99370,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},217271,"jiang-mo-bian-dun-huang-tu-juan-18-yi-ming-217271","降魔变·敦煌图卷-18","墨线如铁线游走，勾出魔众的狰狞与佛陀的静定，动静之间张力暗涌。画面铺陈如卷轴展开的戏剧，魔军喧嚣与佛陀寂然形成强烈对比——衣袂飘举的魔兵、法器精巧的护法，与垂眸凝定的佛陀，每一处细节都见匠心。承袭敦煌艺术的雄浑与细腻，以简练却传神的笔触，将宗教故事里的冲突与超脱化为视觉震撼。千年绢素上，每一笔都浸着虔诚与技艺的沉淀，让观者仍能触摸到那份信仰的温度，仿佛听见卷轴间梵音与魔啸交织的回响，感知跨越时空的精神力量。",[164,4642,187,25,7,188,27,96,7322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccf8fde5c5b78602d1f56a17d3b97891.jpg",[],{"id":99372,"slug":99373,"title":99374,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":99375,"thumbUrl":99376,"material":611,"size":84,"collection":84,"collections":99377,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":956},217183,"shui-hu-quan-tu-11-du-jin-217183","水浒全图-11",[805,24,7,59,188,128,27,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F208195eceb11d726432f597432f3afe9.jpg",[],{"id":99379,"slug":99380,"title":99381,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":99382,"thumbUrl":99383,"material":611,"size":84,"collection":84,"collections":99384,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":956},217182,"shui-hu-quan-tu-13-du-jin-217182","水浒全图-13",[24,7,188,96,131,34,208,1367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ec80e6af58a62d2de1d8d8ff788b64e.jpg",[],{"id":99386,"slug":99387,"title":99388,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":99389,"thumbUrl":99390,"material":611,"size":84,"collection":84,"collections":99391,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":956},217179,"shui-hu-quan-tu-16-du-jin-217179","水浒全图-16",[805,24,7,59,188,18700,96,171,99,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fda2493fdb745fe8a24d5a5bce76655.jpg",[],{"id":99393,"slug":99394,"title":99395,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":99396,"thumbUrl":99397,"material":611,"size":84,"collection":84,"collections":99398,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":956},217171,"shui-hu-quan-tu-24-du-jin-217171","水浒全图-24",[24,7,59,188,96,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad5f01f92d48b5474635754f2f14f88a.jpg",[],{"id":99400,"slug":99401,"title":99402,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":99403,"thumbUrl":99405,"material":611,"size":84,"collection":84,"collections":99406,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":956},217169,"shui-hu-quan-tu-25-du-jin-217169","水浒全图-25",[24,7,59,188,96,413,1314,99404],"水洼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb202f21977bfd9ed029b2365a48c2988.jpg",[],{"id":99408,"slug":99409,"title":99410,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":99411,"thumbUrl":99412,"material":611,"size":84,"collection":84,"collections":99413,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":956},217162,"shui-hu-quan-tu-32-du-jin-217162","水浒全图-32",[24,7,59,188,96,34,131,415,6640],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73736b68593423628963da65250010b1.jpg",[],{"id":99415,"slug":99416,"title":99417,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":99418,"thumbUrl":99419,"material":611,"size":84,"collection":84,"collections":99420,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":956},217157,"shui-hu-quan-tu-38-du-jin-217157","水浒全图-38",[24,7,188,96,1144,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d29047c3b0a726f5b6abf8a1af1095.jpg",[],{"id":99422,"slug":99423,"title":99424,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":99425,"thumbUrl":99426,"material":611,"size":84,"collection":84,"collections":99427,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":956},217156,"shui-hu-quan-tu-40-du-jin-217156","水浒全图-40",[24,7,59,128,29,171,331,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c4a760b71a906b4854ee853ef6ccc80.jpg",[],{"id":99429,"slug":99430,"title":99431,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":99432,"thumbUrl":99433,"material":611,"size":84,"collection":84,"collections":99434,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":956},217154,"shui-hu-quan-tu-42-du-jin-217154","水浒全图-42",[24,7,28,27,96,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe21679eeefcbc3efb10903f7718c7704.jpg",[],{"id":99436,"slug":99437,"title":99438,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":99439,"thumbUrl":99440,"material":611,"size":84,"collection":84,"collections":99441,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":956},217150,"shui-hu-quan-tu-46-du-jin-217150","水浒全图-46",[24,7,59,188,96,413,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac3dcad0f1252f1064c790cda2c0dbf3.jpg",[],{"id":99443,"slug":99444,"title":99445,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":99446,"thumbUrl":99447,"material":611,"size":84,"collection":84,"collections":99448,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":956},217149,"shui-hu-quan-tu-43-du-jin-217149","水浒全图-43",[24,7,128,133,1144,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690c7ab4bdf5d3ffa78d1d6088dadabe.jpg",[],{"id":99450,"slug":99451,"title":99452,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":99453,"thumbUrl":99454,"material":611,"size":84,"collection":84,"collections":99455,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":956},217147,"shui-hu-quan-tu-44-du-jin-217147","水浒全图-44",[24,7,59,188,96,131,99,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f4868ee84ff78f4a3b9d0dfe0e1847d.jpg",[],{"id":99457,"slug":99458,"title":99459,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":99460,"thumbUrl":99461,"material":611,"size":84,"collection":84,"collections":99462,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":956},217146,"shui-hu-quan-tu-48-du-jin-217146","水浒全图-48",[24,7,188,59,805,96,413,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7bbdbe7e54439e62ec84557282c52e3.jpg",[],{"id":99464,"slug":99465,"title":99466,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":99467,"thumbUrl":99468,"material":611,"size":84,"collection":84,"collections":99469,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":956},217144,"shui-hu-quan-tu-50-du-jin-217144","水浒全图-50",[164,24,7,59,188,96,97,249,1771,1975],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19120b21070cf37e44d623a7ff44d592.jpg",[],{"id":99471,"slug":99472,"title":99473,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":99474,"thumbUrl":99475,"material":611,"size":84,"collection":84,"collections":99476,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":956},217142,"shui-hu-quan-tu-52-du-jin-217142","水浒全图-52",[24,7,59,188,96,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcae4741556fdf456d8aef66747efbd20.jpg",[],{"id":99478,"slug":99479,"title":99480,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":99481,"thumbUrl":99482,"material":611,"size":84,"collection":84,"collections":99483,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":956},217141,"shui-hu-quan-tu-53-du-jin-217141","水浒全图-53",[24,7,59,188,96,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82248d7818f3382eb982020b3d9f3fcf.jpg",[],{"id":99485,"slug":99486,"title":99487,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":99488,"thumbUrl":99489,"material":611,"size":84,"collection":84,"collections":99490,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":956},217138,"shui-hu-quan-tu-56-du-jin-217138","水浒全图-56",[24,7,59,188,96,97,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2797db17b36f8b98ca983f73a86e3df6.jpg",[],{"id":99492,"slug":99493,"title":99494,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":99495,"thumbUrl":99496,"material":611,"size":84,"collection":84,"collections":99497,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":956},217136,"shui-hu-quan-tu-58-du-jin-217136","水浒全图-58",[24,7,59,188,96,331,624,875,7470],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F036dfc93e07a84978226182a4b6c1211.jpg",[],{"id":99499,"slug":99500,"title":99501,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":99502,"thumbUrl":99503,"material":611,"size":84,"collection":84,"collections":99504,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":956},217130,"shui-hu-quan-tu-65-du-jin-217130","水浒全图-65",[24,7,59,188,128,96,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fefe4b47b47060f8d8908064965939e.jpg",[],{"id":99506,"slug":99507,"title":99508,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":99509,"thumbUrl":99510,"material":611,"size":84,"collection":84,"collections":99511,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":956},217129,"shui-hu-quan-tu-63-du-jin-217129","水浒全图-63",[24,7,188,96,2146,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac15288ae5644187ca70e76c23acae9.jpg",[],{"id":99513,"slug":99514,"title":99515,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":99516,"thumbUrl":99517,"material":611,"size":84,"collection":84,"collections":99518,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":956},217122,"shui-hu-quan-tu-72-du-jin-217122","水浒全图-72",[24,7,59,188,128,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e59b82b166b4bc1b6a05371d94c7131.jpg",[],{"id":99520,"slug":99521,"title":99522,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":99523,"thumbUrl":99524,"material":611,"size":84,"collection":84,"collections":99525,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":956},217082,"bai-miao-luo-han-40-leng-mei-217082","白描罗汉-40",[164,24,7,59,188,187,96,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee50f538ad6c56abacf5af45c751d73e.jpg",[],{"id":99527,"slug":99528,"title":99529,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":99530,"thumbUrl":99531,"material":611,"size":84,"collection":84,"collections":99532,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":956},217081,"bai-miao-luo-han-42-leng-mei-217081","白描罗汉-42",[24,7,59,188,187,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f95070bc3537b0e91162e326cc3bf41.jpg",[],{"id":99534,"slug":99535,"title":99536,"dynasty":124,"author":19170,"museum":300,"description":30766,"tags":99537,"thumbUrl":99538,"material":317,"size":84,"collection":84,"collections":99539,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},217054,"bai-miao-ying-zhen-tu-1-ding-yun-peng-217054","白描应真图-1",[164,24,7,188,187,96,208,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdefc40c810af176c25dae88b1dee2cd9.jpg",[],{"id":99541,"slug":99542,"title":99543,"dynasty":124,"author":19170,"museum":300,"description":30766,"tags":99544,"thumbUrl":99545,"material":317,"size":84,"collection":84,"collections":99546,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},217044,"bai-miao-ying-zhen-tu-11-ding-yun-peng-217044","白描应真图-11",[24,7,188,187,96,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0168ffab983c9d4fc56fba562e49c837.jpg",[],{"id":99548,"slug":99549,"title":99550,"dynasty":124,"author":19170,"museum":300,"description":30766,"tags":99551,"thumbUrl":99552,"material":317,"size":84,"collection":84,"collections":99553,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},217043,"bai-miao-ying-zhen-tu-18-ding-yun-peng-217043","白描应真图-18",[164,24,7,188,96,187,331,131,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa17399417fde21aa5b55741321c9b6f1.jpg",[],{"id":99555,"slug":99556,"title":99557,"dynasty":124,"author":19170,"museum":300,"description":30766,"tags":99558,"thumbUrl":99559,"material":317,"size":84,"collection":84,"collections":99560,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},217040,"bai-miao-ying-zhen-tu-15-ding-yun-peng-217040","白描应真图-15",[24,7,188,187,96,949,805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab742e03ba7f12ec670bd06be42a49ba.jpg",[],{"id":99562,"slug":99563,"title":99564,"dynasty":124,"author":19170,"museum":300,"description":30766,"tags":99565,"thumbUrl":99566,"material":317,"size":84,"collection":84,"collections":99567,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},217039,"bai-miao-ying-zhen-tu-19-ding-yun-peng-217039","白描应真图-19",[24,7,188,187,96,331,1233,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F035491c4568f7c2fe85e63bece551e5f.jpg",[],{"id":99569,"slug":99570,"title":99571,"dynasty":54,"author":223,"museum":244,"description":88534,"tags":99572,"thumbUrl":99573,"material":66,"size":84,"collection":84,"collections":99574,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},217017,"li-dai-ming-ren-tu-xiang-ce-13-yi-ming-217017","历代名人图像册-13",[24,7,27,28,96,170,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d50e66c1930247a1f4776eb89fd3cf7.jpg",[],{"id":99576,"slug":99577,"title":99578,"dynasty":54,"author":60332,"museum":77,"description":60333,"tags":99579,"thumbUrl":99580,"material":66,"size":60336,"collection":84,"collections":99581,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},217013,"ruan-yuan-yi-shi-shi-jing-tu-ce-2-wang-yun-217013","阮元遗事十景图册-2",[24,7,59,27,128,28,167,413,758,171,208,1023,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb94257423282e8468e199f742fb12f4.jpg",[],{"id":99583,"slug":99584,"title":99585,"dynasty":54,"author":60332,"museum":77,"description":60333,"tags":99586,"thumbUrl":99587,"material":66,"size":60336,"collection":84,"collections":99588,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},217009,"ruan-yuan-yi-shi-shi-jing-tu-ce-6-wang-yun-217009","阮元遗事十景图册-6",[24,7,59,27,29,34,35,98,76347,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82597e7ff621eed02f0b60a5bdf3196f.jpg",[],{"id":99590,"slug":99591,"title":99592,"dynasty":54,"author":60332,"museum":77,"description":60333,"tags":99593,"thumbUrl":99594,"material":66,"size":60336,"collection":84,"collections":99595,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},217003,"ruan-yuan-yi-shi-shi-jing-tu-ce-10-wang-yun-217003","阮元遗事十景图册-10",[24,7,59,27,133,208,29,97,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfb3d7f76cca63e53a340ae6d0584a39.jpg",[],{"id":99597,"slug":99598,"title":99599,"dynasty":54,"author":223,"museum":300,"description":99600,"tags":99601,"thumbUrl":99602,"material":173,"size":84,"collection":84,"collections":99603,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},216688,"hong-lou-meng-fu-tu-ce-36-yi-ming-216688","红楼梦赋图册-36","纸页层叠如时光的褶皱，木质封皮晕开沉润色泽，似将红楼一梦中的风月情长妥帖安放。每一道纸缝里，或许藏着黛玉葬花的落英，宝钗扑蝶的轻影，或是大观园里的弦歌与低叹。装帧的细腻衬出图文雅致，仿佛指尖轻触便踏入雕梁画栋的园囿，看金陵十二钗的悲欢在页间流转。旧时光的痕迹里，古典文学与绘画艺术交融，页页皆载红楼幽梦，引人探寻那些被岁月沉淀的婉转心事。",[23,24,7,59,28,27,96,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326c37e934a152d88f9a1e8bd362a3d4.jpg",[],{"id":99605,"slug":99606,"title":99607,"dynasty":124,"author":223,"museum":300,"description":99608,"tags":99609,"thumbUrl":99610,"material":1733,"size":84,"collection":84,"collections":99611,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},216656,"xuan-da-shan-xi-san-zhen-tu-2-yi-ming-216656","宣大山西三镇图-2","万历三十一年秘阁本",[23,24,7,95,27,25,97,96,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93ec9405e7cdb33dd7b70cbf47bfbed5.jpg",[],{"id":99613,"slug":99614,"title":99615,"dynasty":54,"author":21575,"museum":20,"description":77064,"tags":99616,"thumbUrl":99617,"material":66,"size":77067,"collection":84,"collections":99618,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},216227,"shi-jun-quan-tu-7-ai-qi-meng-216227","十骏犬图-7",[23,304,24,7,59,28,27,29,34,131,9119,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0fae64c3add46166cf30d2201c6097e.jpg",[],{"id":99620,"slug":99621,"title":99622,"dynasty":54,"author":223,"museum":300,"description":99623,"tags":99624,"thumbUrl":99625,"material":173,"size":84,"collection":84,"collections":99626,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},216190,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-1-ce-11-yi-ming-216190","职贡图巨幅彩绘册页第1册-11","画面分呈二人风貌，左幅女子绿衫衬红巾，裙摆织就细密纹样，赤足轻踏，手中串珠摇曳，温婉神态里藏着边陲的鲜活气息；右幅男子蓝衣束朱带，腰悬短刃，白巾裹头，赤足蹬红履，粗犷身形中透着悍勇之风。衣饰纹样的精巧与器物的独特，皆被细腻勾勒，似在无声诉说往昔邦交往来的生动图景。笔墨间尽现不同族群的鲜活印记，将多元文化交融的瞬间凝于绢页之上，让古画里的异域风情与邦交意韵静静流淌。",[23,24,7,59,27,96,28,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3ff862f4954f7da188345d52ee3dd43.jpg",[],{"id":99628,"slug":99629,"title":99630,"dynasty":54,"author":223,"museum":300,"description":99631,"tags":99632,"thumbUrl":99633,"material":173,"size":84,"collection":84,"collections":99634,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},216171,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-1-ce-36-yi-ming-216171","职贡图巨幅彩绘册页第1册-36","画面左右分置人物，一侧女子衣袂翩跹，浅蓝襦衫衬粉红长裙，篮中盈翠，神态温婉含情；另一侧男子冠帽挺括，墨色披风拢住青绿衣袍，红裤下黑履稳健，手持杖首微垂，姿态恭谨。笔触细致入微，衣纹褶皱流转自然，色彩晕染柔和却层次分明，人物神情毕肖如生。旁附墨书注解，虽佚名之作，却以精湛绘事定格异域风貌与交流图景，既是清代彩绘技艺的鲜活见证，亦藏着彼时中外往来的生动注脚。",[23,24,7,59,28,27,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed83aa809c79fae39fcc0d5297c1b734.jpg",[],{"id":99636,"slug":99637,"title":99638,"dynasty":54,"author":223,"museum":300,"description":99639,"tags":99640,"thumbUrl":99641,"material":173,"size":84,"collection":84,"collections":99642,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},216164,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-1-ce-39-yi-ming-216164","职贡图巨幅彩绘册页第1册-39","画面分左右二帧，左帧女子身着靛蓝长袍，粉巾覆首，手捧朱红小碗，衣袂垂坠间尽显温婉娴静；右帧男子明黄长衫加身，斗笠斜戴，团扇轻摇，神态持重从容。工笔细腻入微，线条流畅婉转，色彩雅致和谐，人物风貌各异，生动呈现边地族群的服饰与情态。彩绘技法娴熟，衣纹褶皱、器物细节皆刻画精准，既保留写实质感，又暗含传统审美意趣，为研究清代边地文化交流提供了直观鲜活的图像佐证。",[23,304,24,7,59,28,27,96,170,1350,8537,61534,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd00e586d458e89afb8af5998e3c0ab27.jpg",[],{"id":99644,"slug":99645,"title":99646,"dynasty":54,"author":223,"museum":300,"description":99647,"tags":99648,"thumbUrl":99649,"material":173,"size":84,"collection":84,"collections":99650,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},216143,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-13-yi-ming-216143","职贡图巨幅彩绘册页第2册-13","画面分两帧，各绘人物一躯。左者红笠覆首，翠衣朱裙，手持物什，姿态恭谨；右者蓝袍团花，红带束腰，持器杖而立，神情肃然。设色明丽饱满，衣纹线条精细流畅，人物容貌、服饰细节刻画入微，尽显清代工笔写实之妙。图中人物装束独特，或为边疆部族或域外使节，承载着彼时民族交往与文化交流的鲜活印记，是研究清代社会风貌与中外关系的珍贵视觉文献。",[23,24,7,59,27,96,170,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb4bf5ca7bdae5704d8005a7c7608760.jpg",[],{"id":99652,"slug":99653,"title":99654,"dynasty":54,"author":223,"museum":300,"description":99655,"tags":99656,"thumbUrl":99657,"material":173,"size":84,"collection":84,"collections":99658,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},216076,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-3-yi-ming-216076","职贡图巨幅彩绘册页第3册-3","画面左右并置两位人物，笔墨间晕染着边疆族群的鲜活气息。左侧女子身着蓝灰交叠衣装，百褶裙摆垂落，绑腿裹足，发间簪饰清雅，怀中捧持簇簇花枝，神态温婉如春风拂过。右侧男子衣袍简练，灰裤配绑腿，赤足踏地，手中红囊鼓胀似盛当地物产，面容质朴尽显生活本真。\n\n线条细腻勾勒衣物褶皱与绑带纹理，色彩淡雅却层次分明，人物姿态自然鲜活，如将异域风情凝于绢素之上。整幅画作以写实笔触记录族群风貌，藏着清代多民族交流的生动切片，每处细节都诉说着远方的风土与故事，让久远的生活图景在眼前徐徐展开。",[23,24,7,59,27,28,96,170,169,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2330cadfd708350e65bc77e11733de5.jpg",[],{"id":99660,"slug":99661,"title":99662,"dynasty":54,"author":223,"museum":300,"description":99663,"tags":99664,"thumbUrl":99665,"material":173,"size":84,"collection":84,"collections":99666,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},216074,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-11-yi-ming-216074","职贡图巨幅彩绘册页第3册-11","素绢之上，两抹身影跃然：一者衣袂带红，毛绒覆肩，蓝白裙裾曳地，赤足踏处似有余温；一者羽饰簪头，箭囊负背，长杖在手，裙间纹饰如流水般铺展。笔触轻描，衣料的纹理、毛发的软柔便呼之欲出；神态淡写，平和与刚健的气质便悄然流露。旁侧题字如缕，与人物形象交织，将彼时的民族风貌凝于尺幅之间。整幅画作以写实之笔绘生动之态，于细微处藏历史之重，衣袂间流转着多民族交往的温度，是清代民族文化交融图景中一抹鲜活的印记。",[23,24,7,59,27,28,96,170,5626,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ec94222db3fbb3666a4e5afabaec06.jpg",[],{"id":99668,"slug":99669,"title":99670,"dynasty":54,"author":223,"museum":300,"description":99671,"tags":99672,"thumbUrl":99673,"material":173,"size":84,"collection":84,"collections":99674,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},216070,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-12-yi-ming-216070","职贡图巨幅彩绘册页第3册-12","画面分左右二帧，各绘一人。左帧女子束发裹巾，身披黑氅，内着蓝绿交领衣，下着带纹长裙，赤足而立，姿态娴静温婉；右帧男子散发覆额，肩披毛皮，内着蓝衣，下系条纹裙，赤足，手持长矛与蛇形器物，神情悍勇质朴。画作以细腻笔触勾勒人物形貌，服饰细节丰富鲜活，色彩古朴雅致，线条流畅传神。作为职贡图的一页，它生动记录了特定族群的衣着与风貌，既具艺术审美价值，亦为研究清代边疆族群文化提供了直观的图像参考，尽显古人对异域方邦观察描摹之精。",[23,24,7,59,28,27,96,170,5626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a444ead43bf6529ce7611f2be358164.jpg",[],{"id":99676,"slug":99677,"title":99678,"dynasty":54,"author":223,"museum":300,"description":99679,"tags":99680,"thumbUrl":99681,"material":173,"size":84,"collection":84,"collections":99682,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},216035,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-7-yi-ming-216035","职贡图巨幅彩绘册页第4册-7","对开页间绘两人，姿态各异，风貌鲜明。左者头戴布帽，衣饰蓝黑相衬，胸前缀彩绣纹样，肩背竹篓，手持绳具，神情质朴；右者须发微白，身着蓝衣，腰束红带，赤足而立，肩扛农具，身后斜挎物什，神态沉稳。画作线条细腻婉转，设色清雅温润，人物形象写实生动，既细致呈现不同个体的服饰特色与劳作状态，也悄然勾勒当时民间或边地的生活风貌。笔墨间对人物神态、衣纹褶皱及工具细节的精准捕捉，让画面满溢浓郁生活气息，更承载对特定历史场景的鲜活记录，具可观的艺术价值与历史意涵。",[23,24,7,59,28,27,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbe8b76c9ba97bbdc3a085b0d5f82c94.jpg",[],{"id":99684,"slug":99685,"title":99686,"dynasty":54,"author":223,"museum":300,"description":99687,"tags":99688,"thumbUrl":99689,"material":173,"size":84,"collection":84,"collections":99690,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},216025,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-23-yi-ming-216025","职贡图巨幅彩绘册页第4册-23","画面中两位人物形象鲜明：左侧深衣裹身，红领微露，背竹筐稳步前行，发式别具一格；右侧斗笠覆顶，黑氅披肩，黄裳赤足，腰间蓝带摇曳。工笔细描衣褶纹理，设色古朴沉稳，人物神态生动传神，或行或立间，尽显不同族群的独特风貌。画作以写实笔触捕捉服饰、器物细节，既藏着细腻的艺术匠心，又为研究当时民族文化交流留下鲜活的视觉注脚，笔墨间流淌着历史的温度与生活的气息。",[23,164,24,7,59,28,27,96,1350,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20c6af952d19f67dd633105225b245ff.jpg",[],{"id":99692,"slug":99693,"title":99694,"dynasty":54,"author":223,"museum":300,"description":99695,"tags":99696,"thumbUrl":99697,"material":173,"size":84,"collection":84,"collections":99698,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},216016,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-30-yi-ming-216016","职贡图巨幅彩绘册页第4册-30","画面分左右二帧，各绘一人物。左帧者头裹蓝巾，深褐短褐配紫褐短裤，足蹬浅履，手提竹篮与禽鸟，衣袂间蓝带轻扬，神态平和；右帧老者头戴竹笠，蓝衫褐裤赤足拄锄，身形微躬似劳作初歇，质朴憨实。设色淡雅温润，线条流畅细腻，人物姿态自然传神，尽显不同身份者的生活风貌。画作以写实笔触捕捉服饰细节与神情，既具纪实性，又含艺术韵致，生动呈现特定群体的生存状态与精神气质，于方寸间藏生活真意。",[23,24,7,164,59,28,27,23253,96,1350,34836,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eb50662ae962d855c07647f7b2b589c.jpg",[],{"id":99700,"slug":99701,"title":99702,"dynasty":54,"author":223,"museum":2607,"description":99703,"tags":99704,"thumbUrl":99706,"material":173,"size":84,"collection":84,"collections":99707,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},215988,"di-jian-tu-shuo-cai-hui-ben-18-yi-ming-215988","帝鉴图说彩绘本-18","红柱支起青瓦飞檐，朱墙围合的庭院层次错落。阶前众人或躬身揖让，或垂首静候，衣袂飘飘间尽显古礼之序；门侧卫士执戟肃立，身姿挺拔，守着朝堂的威严。左下角推车人躬身前行，木轮轻转，似把尘世烟火悄悄揉进这庄重画面。画中藏“隐迹待时”之典，贤士韬光的沉静与君臣相期的期许交织，每处细节皆含深意：既有礼制的肃穆之美，亦显贤才处世的智慧，色彩明丽却不失雅致，线条细腻又藏风骨，静静铺展着古代贤士与朝堂间的微妙联结。",[24,7,27,28,95,96,97,247,54744,34,106,1200,99705,41979,59241,950],"柱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f6a6117e9c0933e7fd172079ffee785.jpg",[],{"id":99709,"slug":99710,"title":99711,"dynasty":54,"author":223,"museum":2607,"description":99712,"tags":99713,"thumbUrl":99714,"material":173,"size":84,"collection":84,"collections":99715,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},215979,"di-jian-tu-shuo-cai-hui-ben-25-yi-ming-215979","帝鉴图说彩绘本-25","朱檐青瓦的殿宇临阶而筑，雕花栏板映着廊下人影。红袍者端坐论道，青衫者侍立凝神，君臣相谈的场景在古雅氛围里缓缓铺展。松枝苍劲入画，云雾轻笼阶前，既添了几分悠远意境，也衬得殿内的庄重更显深沉。色彩雅致温润，不施浓艳却自具韵味；线条细腻工致，衣袂的褶皱、檐角的弧度皆刻画入微。画中藏着历史典故里的劝诫意涵，每一处细节都似在轻声诉说以史为鉴的古训，让观者于赏画间，触摸到那份跨越时空的治世智慧。",[24,7,164,59,27,95,28,96,97,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F083916c6c27e8cc5cb8b791b585e369f.jpg",[],{"id":99717,"slug":99718,"title":99719,"dynasty":54,"author":223,"museum":2607,"description":99720,"tags":99721,"thumbUrl":99722,"material":173,"size":84,"collection":84,"collections":99723,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},215968,"di-jian-tu-shuo-cai-hui-ben-40-yi-ming-215968","帝鉴图说彩绘本-40","殿宇巍峨，朱红廊柱与青瓦飞檐相映，尽显皇家气派。主位端坐者气宇轩昂，两侧侍从衣袂轻垂，神态恭谨；阶下执戟卫士身姿挺拔，似守一方威仪。石阶纹路细腻，旁侧苍松虬劲，枝叶间漏下微光，为肃穆场景添几分生机。笔触工细，色彩雅致，既勾勒宫廷仪轨之庄重，又隐鉴戒之思。历史故事凝于尺幅，观者可于细节中感知古代帝王治世的仪范与智慧，体会画中藏着的治世箴言。每一处线条皆含匠心，每一抹色彩都蕴深意，让庄重的宫廷场景鲜活起来，成为连接古今的视觉纽带。",[164,24,7,27,95,28,96,97,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde673c10140ad8d9f142091908baa11a.jpg",[],{"id":99725,"slug":99726,"title":99727,"dynasty":54,"author":223,"museum":2607,"description":99728,"tags":99729,"thumbUrl":99730,"material":173,"size":84,"collection":84,"collections":99731,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},215961,"di-jian-tu-shuo-cai-hui-ben-47-yi-ming-215961","帝鉴图说彩绘本-47","亭榭翼然立于绿茵间，朱檐映着天光，檐下人物或立或语，衣纹细腻如流水，神态间藏着恭肃与恳谈之意。庭中稚童携袖奔走，似是打破沉静的活泼注脚，松枝虬曲如篆，小池泛着幽蓝，草木皆以淡墨细描，晕染出清雅的古意。整幅画以细腻笔触铺陈场景，既还原了典故中的情境，又以雅致的色彩与构图传递出劝诫的深意——于平和景致中见治世之思，于人物互动里藏修身之智，是传统叙事绘画中“文以载道”的生动体现，每一处细节皆如徐徐展开的书卷，引观者在赏心悦目中体悟历史的镜鉴。",[164,24,7,27,28,130,97,96,34,6640,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bf5896c897e7a176c51e96a38d685a3.jpg",[],{"id":99733,"slug":99734,"title":99735,"dynasty":54,"author":223,"museum":2607,"description":99736,"tags":99737,"thumbUrl":99738,"material":173,"size":84,"collection":84,"collections":99739,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},215960,"di-jian-tu-shuo-cai-hui-ben-46-yi-ming-215960","帝鉴图说彩绘本-46","庭院深深，红墙黛瓦勾勒出古雅的宫苑格局，青绿树木点缀其间，添了几分生机。阶前廊下，身着各色服饰的人物或立或聚，神态从容，似在进行一场关乎治世的对话。设色明丽却不失雅致，朱红的门牖、青蓝的衣袍、赭黄的檐角，色彩搭配和谐自然。栏杆的纹饰、枝叶的脉络、衣褶的流转，皆以细腻笔触勾勒，见绘者巧思。画面以具象场景承载历史典故，将帝王治世的智慧融入鲜活的视觉叙事，在工笔的细腻与彩绘的鲜活间，传递出传统教化与艺术美感的交融。",[24,7,59,27,28,95,96,97,247,34,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd35106b11b054f02a25844c7baf94f8d.jpg",[],{"id":99741,"slug":99742,"title":99743,"dynasty":54,"author":223,"museum":2607,"description":99744,"tags":99745,"thumbUrl":99746,"material":173,"size":84,"collection":84,"collections":99747,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},215956,"di-jian-tu-shuo-cai-hui-ben-54-yi-ming-215956","帝鉴图说彩绘本-54","飞檐翘角的亭榭临栏而立，朱红立柱撑起青蓝瓦顶，檐角似欲凌云。亭畔绿树扶疏，枝叶如盖；红衣旗帜于杆头猎猎，与白色栏杆相映成趣。地面青灰铺展，数人衣袂飘飘，或持物而立，或相携而行，神态鲜活如生——有人昂首似语，有人俯身若听，动态间藏着烟火气。山石以淡墨皴染，纹理有致；远处天色朦胧，一只飞鸟掠过，更添空灵感。整幅画作工笔细腻，色彩雅致古朴，人物衣纹流转自然，建筑构件勾勒精准，草木山石晕染得宜。画面似将一段旧时光凝住，宁静中透着生动，让人恍若踏入古代庭园，窥见那时的从容与意趣。",[24,7,59,27,28,95,96,130,34,131,249,11074],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccbbf468e3715617c8759c0cf60f6f06.jpg",[],{"id":99749,"slug":99750,"title":99751,"dynasty":54,"author":223,"museum":2607,"description":99752,"tags":99753,"thumbUrl":99754,"material":173,"size":84,"collection":84,"collections":99755,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},215925,"di-jian-tu-shuo-cai-hui-ben-84-yi-ming-215925","帝鉴图说彩绘本-84","画面铺展着一场威仪赫赫的行进盛景，疏密错落间尽显章法。前景青绿山水含烟带翠，树木葱茏如盖，溪流蜿蜒穿林而过，添了几分灵秀；中景仪仗队伍浩浩荡荡，旌旗猎猎翻卷如焰，车驾装饰华美若虹，人物姿态各异——或策马前驱，或拱手随行，衣袂翩跹间尽是生动。远景建筑红墙蓝瓦，与天边淡彩相映，层次分明。整幅画设色明快而不失雅致，动态与静态交织，既展现出仪式的庄重肃穆，又通过鲜活的人物细节，将历史场景的气韵娓娓道来，仿佛能听见旌旗猎猎与车马辚辚，让观者瞬间跌入那遥远而鲜活的时空画卷里。",[24,7,27,28,96,101,772,97,29,34,111,52910,191,1367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d47ac3e452252240952f40cbf7aa2f8.jpg",[],{"id":99757,"slug":99758,"title":99759,"dynasty":54,"author":223,"museum":300,"description":99760,"tags":99761,"thumbUrl":99762,"material":173,"size":93949,"collection":84,"collections":99763,"showCount":1116,"zanCount":1998,"manualWeight":48,"mainColor":72},215909,"qing-ren-xiao-xiang-tu-ce-7-yi-ming-215909","清人肖像图册-7","墨色长袍覆身，朱红顶戴轻点，人物端坐嶙峋石案旁，竹影婆娑环伺，书卷气与自然意趣悄然相融。石案上书页半摊，文房清供错落，尽透文雅；人物神态沉静，眉眼间藏着内敛从容，是清代士人典型风貌。笔触细腻处，衣料纹理隐现，竹枝挺拔含劲；设色淡雅间，石案朴拙、人物沉静，暖调底色晕开时光藏起的文人日常。不刻意张扬，却于细节处见真章，将那个时代士人的精神气质，悄悄凝在绢素之上。",[24,7,27,28,96,167,1314,9603,8162,6369,9604,169,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F199512abed0b9efecb3823fdbf47714f.jpg",[],{"id":99765,"slug":99766,"title":99767,"dynasty":54,"author":223,"museum":300,"description":99768,"tags":99769,"thumbUrl":99770,"material":173,"size":93949,"collection":84,"collections":99771,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215900,"qing-ren-xiao-xiang-tu-ce-13-yi-ming-215900","清人肖像图册-13","画面中人物端坐椅上，玄色长袍衬宝蓝镶边，衣袂垂坠间流露端庄气度。面容刻画细腻，眉眼平和，神情沉静内敛，似载着岁月的温厚质感。左侧立屏绘山水清景，右侧壁间饰青绿景致，室内陈设简雅，笔墨晕染出中式居停的闲静氛围。整幅画作兼具写实与写意之妙，人物形神兼备，背景笔墨疏淡却意境悠远，精准捕捉了人物气质与生活情境，于方寸间藏着旧时人文的雅致意韵。",[24,7,59,28,27,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96756c0d1aecb02ba725a8ea4b4342f0.jpg",[],{"id":99773,"slug":99774,"title":99775,"dynasty":54,"author":223,"museum":77,"description":99776,"tags":99777,"thumbUrl":99778,"material":66,"size":84,"collection":84,"collections":99779,"showCount":1116,"zanCount":1998,"manualWeight":48,"mainColor":72},215896,"qing-ren-hua-ce-6-yi-ming-215896","清人画册-6","人物长衫素净，蓝边点缀其间，衣襟纹样细碎如织，宝蓝绣鞋衬出几分灵动。一手握翠杆紫柄之物，一手托朱红小囊，姿态悠然。线条婉转流畅，设色清雅温润，虽无浓墨重彩，却以简淡之笔捕捉日常瞬间。神情平和自然，似能窥见清代生活的闲适片段，质朴中藏着生动意趣，尽显民间画工的细腻匠心。画面无繁复布景，却以简洁构图勾勒出生活一隅，每一处细节都透着对日常情态的细致观察，让静态的画页晕染出鲜活的烟火气。",[24,7,59,28,27,96,169,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c9689f908bfc125e6e7409468b61fb3.jpg",[],{"id":99781,"slug":99782,"title":99783,"dynasty":54,"author":223,"museum":300,"description":99784,"tags":99785,"thumbUrl":99787,"material":66,"size":99788,"collection":84,"collections":99789,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215827,"miao-zu-yao-zu-sheng-huo-tu-ce-17-yi-ming-215827","苗族瑶族生活图册-17","画面铺展着鲜活的民族生活切片，衣袂间裹着山野的清润气息。人物服饰纹饰朴拙却藏巧思，裙摆摇荡着草木的意趣，绑腿缠出利落的山野姿态。手持长杆的身影似在传递乡野的韵律，蓝斗篷的侧影与同伴的互动，漫出日常的暖光。眉眼间的生动，器物上的质感，都把彼时的生活场景凝成活色生香的帧。没有刻意雕琢的华丽，却以细腻笔触勾连起民族文化的肌理，每一处细节都是对生活本真的温柔描摹，让观者仿佛触到了那片土地上跳动的脉搏。",[23,24,7,59,28,27,96,304,99786,1367,70949],"民族生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79d633ddae70c1bdb05399e2269bf1a8.jpg","36.5x29.5",[],{"id":99791,"slug":99792,"title":99793,"dynasty":54,"author":223,"museum":300,"description":99794,"tags":99795,"thumbUrl":99796,"material":66,"size":50475,"collection":84,"collections":99797,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215797,"min-jian-yan-zou-tu-ce-8-yi-ming-215797","民间演奏图册-8","素色底面上，艳粉短袄与翠绿布裤撞出鲜活暖意。端坐软墩的演奏者，指尖轻拢弦上，阮的轮廓舒展，似有清音欲漫出画面。利落短发衬着圆润面庞，眉眼带孩童稚气，却凝眸专注弦间韵律。衣褶细密笔触勾出布料质感，布鞋针脚清晰，透着民间造物的朴拙。清代民间烟火气，融在这日常演奏里——无繁复布景，仅简洁色块托出人物，悠然自得的生活意趣跃然纸上。弦音未闻，却可想见它在巷陌回荡，勾连往昔平凡温暖的瞬间，藏着民间艺术最本真的模样。",[24,7,304,28,27,96,438,59,50473],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac0803d20471a56da1cb13ec922df14.jpg",[],{"id":99799,"slug":99800,"title":99801,"dynasty":54,"author":77073,"museum":11952,"description":99802,"tags":99803,"thumbUrl":99806,"material":128,"size":84,"collection":84,"collections":99807,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},215644,"yu-zhi-geng-zhi-tu-5-kang-xi-215644","御制耕织图-5","笔墨间铺展着烟火蒸腾的耕织长卷。一侧木舍错落，纺车咿呀里，织妇指尖缠绕蚕丝柔亮，织物垂挂如瀑，映着窗畔微光；另一侧田畴开阔，农人荷锄挥镰，泥土气息混着汗水，在锄头起落间晕开生机。线条细腻如丝，勾摹农具纹理、衣袂褶皱，连田埂草叶都带着鲜活韧劲。没有刻意渲染，却把寻常日子里的勤勉与温暖，揉进每一笔线条——耕织的节奏，原是大地最朴素的诗行，藏着岁月里最踏实的烟火与希望。",[23,24,7,59,188,28209,64,208,96,13640,34836,711,99,34,37398,27231,99804,99805,83731,23454,31,78182],"水桶","锄头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa79879ab0506e18f699a2ad05dc6b7c.jpg",[],{"id":99809,"slug":99810,"title":99811,"dynasty":54,"author":77073,"museum":11952,"description":99812,"tags":99813,"thumbUrl":99814,"material":128,"size":84,"collection":84,"collections":99815,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},215639,"yu-zhi-geng-zhi-tu-15-kang-xi-215639","御制耕织图-15","素笺之上，线描细腻如缕，铺展耕织的烟火长卷。纺车咿呀轻转，素丝穿梭于指尖，织者专注的眉眼凝在线端；田埂边犁锄翻动，农夫躬身的身影嵌进垄间光影。枝叶扶疏掩着错落农舍，溪水流淌绕舍而过，草木含露带润。每道线条皆藏生活温度：织机的木纹、农具的肌理、人物的神态，尽得质朴鲜活。既显劳作本真，又融对农桑的深挚关切，让古朴农耕画卷，在笔墨里晕开岁月的温润与生机。",[23,24,7,59,188,28,96,34,758,34836,210,37398,64028],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb732e1884e1cd35e1b6e94d8d688aa.jpg",[],{"id":99817,"slug":99818,"title":99819,"dynasty":54,"author":77073,"museum":11952,"description":99820,"tags":99821,"thumbUrl":99822,"material":128,"size":84,"collection":84,"collections":99823,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},215637,"yu-zhi-geng-zhi-tu-14-kang-xi-215637","御制耕织图-14","笔墨勾勒出质朴的田园日常，左右两帧各呈劳作图景。左页人物或侍立或操作，器物屋舍细节毕现，草木扶疏间漫溢烟火气；右页水流潺潺，人物持物往来，衣袂轻扬间藏着生活的韵律。线条细腻婉转，将耕织场景的平实与生动凝于纸端，既见白描技艺之精，更显对日常劳作的深挚观照。静穆中流淌着人间的温热与生机，似能触到岁月里那份踏实的烟火味道，让寻常劳作在笔墨间焕发出沉静的美感与力量。",[23,24,7,59,188,28,96,99,35,34,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec9b62923d15901d7d6254155f8d5291.jpg",[],{"id":99825,"slug":99826,"title":99827,"dynasty":54,"author":77073,"museum":11952,"description":99828,"tags":99829,"thumbUrl":99830,"material":128,"size":84,"collection":84,"collections":99831,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},215636,"yu-zhi-geng-zhi-tu-17-kang-xi-215636","御制耕织图-17","画面分左右两帧，左帧织作场景鲜活，人物理丝纺线各尽其职，器具陈设、竹篱屋舍皆细致入微；右帧人物对谈于佳木石径间，似是劳作间隙的闲适。线条清劲流畅，墨色温润有致，将耕织日常与清雅意境相融。无直白说教，却以细腻笔触还原民生本真，既显匠作之精，亦藏对稼穑织纴的体恤。尺幅间凝注着对苍生的关切，让寻常劳作晕染出温厚的人文底色，尽显笔墨与情怀的交织。",[23,24,164,7,59,188,128,96,66620,16670,387,34,50297,1525,12634,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F759e7ad4ce0935187896b3d603b46f52.jpg",[],{"id":99833,"slug":99834,"title":99835,"dynasty":54,"author":77073,"museum":11952,"description":99836,"tags":99837,"thumbUrl":99840,"material":128,"size":84,"collection":84,"collections":99841,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},215624,"yu-zhi-geng-zhi-tu-27-kang-xi-215624","御制耕织图-27","笔墨勾勒出田埂间的忙碌身影，农具起落间藏着农耕的节律；另一侧，衣袂轻扬的人物相携而行，眉眼间漫溢着家常的温煦。线条细腻如丝，将土地的肌理、草木的姿态与人间烟火揉作一处——没有浓墨重彩，却以白描的素净，把农桑生活的质朴与鲜活铺展眼前。每一笔都是对日常劳作的凝视，每一处细节都藏着对土地与民生的深挚关照，让久远的田园气息，在纸页间缓缓流淌。",[23,24,7,188,28,59,96,13640,34836,34,99,99838,90672,99839],"土路","图文结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffecb5b622bc9cafb58bbccf6b1d88a4d.jpg",[],{"id":99843,"slug":99844,"title":99845,"dynasty":54,"author":223,"museum":300,"description":99846,"tags":99847,"thumbUrl":99848,"material":278,"size":84,"collection":84,"collections":99849,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215620,"tian-xia-ming-shan-tu-6-yi-ming-215620","天下名山图-6","笔墨以线立骨，细腻勾勒山川脉络与田园肌理。左幅阡陌纵横如织，碧波轻漾间，一叶扁舟载着悠然划过；右幅峰峦叠嶂，古雅建筑隐于林麓沟壑，石阶蜿蜒牵起山径幽意。整卷将名山的雄秀与人间的清宁相融，既有自然山川的苍莽之态，又含田园村落的温婉烟火，似在静静铺展一幅山水间的岁月长卷，让观者于笔墨间触摸到山水与人文交织的悠远意韵。",[24,7,128,132,29,97,98,99,129,167,34,131,13640,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc844afe824d45f26ecc3c99f7f06bb6e.jpg",[],{"id":99851,"slug":99852,"title":99853,"dynasty":54,"author":223,"museum":300,"description":99854,"tags":99855,"thumbUrl":99856,"material":611,"size":84,"collection":84,"collections":99857,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215548,"bai-miao-jie-tou-mai-mai-hua-ce-9-yi-ming-215548","白描街头买卖画册-9","淡墨细线勾连起市井交易的片刻剪影。三人围桌，情态各异：左侧二人或低语商榷，或抚物凝思，衣褶随身形流转如轻烟；右侧一人执杆微倾，似在演示物件，指尖的动态藏着交易的张力。案上盘盏、纸片错落，隐现买卖细节。白描以极简之笔写极繁之态，线条的刚柔张弛间，市井的烟火气漫溢而出——没有浓艳设色，却将街头交易的鲜活日常凝作纸页上生动的注脚，平凡中见真味。",[23,24,7,59,188,96,2824,36766,170,94009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb0d53b41bd4754c927dc98c7cb996d3.jpg",[],{"id":99859,"slug":99860,"title":99861,"dynasty":54,"author":223,"museum":300,"description":99862,"tags":99863,"thumbUrl":99864,"material":611,"size":84,"collection":84,"collections":99865,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215544,"bai-miao-jie-tou-mai-mai-hua-ce-13-yi-ming-215544","白描街头买卖画册-13","淡墨细线织就市井劳作的剪影。俯身的身影裹着素朴衣褶，线条随肢体起伏，藏着寻常日子的韧劲。竹筐里笔杆林立如林，桌案上工具静陈，寥寥数笔便撑起手艺小摊的日常。背景招牌与木架简淡勾勒，无浓彩却足见烟火气。白描的素净中，平凡劳作的专注与温暖跃然纸上，让街头买卖的细碎光景在极简线条里鲜活起来，藏着旧时市井的生动与安宁。每一道线条都牵着生活的脉络，将街头买卖的烟火气凝在素纸之上，寻常却动人。",[23,24,7,59,188,96,9603,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9ef3171245336965319c8bc24a5342d.jpg",[],{"id":99867,"slug":99868,"title":99869,"dynasty":54,"author":223,"museum":300,"description":99870,"tags":99871,"thumbUrl":99872,"material":611,"size":84,"collection":84,"collections":99873,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215543,"bai-miao-jie-tou-mai-mai-hua-ce-14-yi-ming-215543","白描街头买卖画册-14","线条如素笔裁云，轻描出市井一隅的鲜活。四人围桌，或端坐案前凝神摆弄什物，或俯身探看似与同侪低语，或侧立持杖静候，姿态各呈其趣。衣袂褶皱随动作舒展成柔和弧线，眉眼神情虽简却传神——专注的、好奇的、从容的，皆在寥寥几笔中跃然纸上。桌上器物、脚边竹篮，细节藏着生活肌理，仿佛能嗅到街头烟火气，听到未宣的交谈。白描的克制里，藏着对日常的深情，将市井买卖的寻常瞬间，凝成有温度的时光切片，让久远的烟火在素纸上缓缓流淌。",[23,24,7,59,188,96,169,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1d7d034b88e36a8e2f603841d02b358.jpg",[],{"id":99875,"slug":99876,"title":99877,"dynasty":54,"author":223,"museum":300,"description":99878,"tags":99879,"thumbUrl":99880,"material":611,"size":84,"collection":84,"collections":99881,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215541,"bai-miao-jie-tou-mai-mai-hua-ce-16-yi-ming-215541","白描街头买卖画册-16","画面以白描手法铺展市井日常，线条简练却生动传神。吹乐者端坐凳上，神情专注，手中乐器似将悠扬声韵溢出纸外；两位观者并肩而立，姿态闲适，其中一人轻搭同伴肩头，尽显路人驻足的随性自在。小桌的格子纹理、人物的衣褶起伏，皆以利落笔触勾勒，无冗余修饰却满含生活真味。整幅画似一扇窗，推开便见清代街头的烟火气息，平凡瞬间被定格成隽永的画面，让观者于简淡线条中触摸到彼时人间的鲜活温度。",[23,7,304,188,59,96,9014,18700,1746,94009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa35ce2d15f65998ef109a5d73753b028.jpg",[],{"id":99883,"slug":99884,"title":99885,"dynasty":54,"author":223,"museum":300,"description":99886,"tags":99887,"thumbUrl":99889,"material":611,"size":84,"collection":84,"collections":99890,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215531,"bai-miao-jie-tou-mai-mai-hua-ce-26-yi-ming-215531","白描街头买卖画册-26","素纸之上，弓步前倾的身影被简练线条勾勒得筋骨毕现。裸身裹布的汉子双手紧扣长木，肩背肌肉的起伏隐现于线条转折间，额角微蹙的细节藏着劳作的沉实。白描笔触爽利无饰，却让木杆的沉坠感透过姿态漫溢——仿佛能听见压肩的闷响，混着巷陌吆喝。这帧小品，是市井烟火里劳作的鲜活切片，以极简笔墨凝住街头买卖背后的生计温度，素淡却动人。",[23,24,7,59,188,96,94009,99888],"木头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf958379ef3023ef312761ab0f023821.jpg",[],{"id":99892,"slug":99893,"title":99894,"dynasty":54,"author":223,"museum":300,"description":99895,"tags":99896,"thumbUrl":99897,"material":611,"size":84,"collection":84,"collections":99898,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215526,"bai-miao-jie-tou-mai-mai-hua-ce-31-yi-ming-215526","白描街头买卖画册-31","单足踏圆筐的身影，是市井烟火里鲜活的注脚。素笔勾勒的衣纹随动作舒展，手持器具的姿态藏着生计的韧劲，旁侧竹筐插满长物，似待售的营生家当。白描线条洗练却勾连起生活的温度，人物眉眼间的平和，消解了街头奔波的局促，将清代街头买卖的日常，凝作一纸静而生动的图景。没有浓墨重彩，却以线的疏密、形的拙朴，让百年前的市井气息漫溢而出，每一笔都牵着平凡日子里的踏实与鲜活。那些藏在轮廓里的细微动态，似能听见街头的吆喝声，触到旧时光里的烟火余温。",[23,24,7,59,188,96,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c78baf88d9ecf544c6a5ffa2e7ce52.jpg",[],{"id":99900,"slug":99901,"title":99902,"dynasty":54,"author":223,"museum":300,"description":99903,"tags":99904,"thumbUrl":99905,"material":611,"size":84,"collection":84,"collections":99906,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215525,"bai-miao-jie-tou-mai-mai-hua-ce-32-yi-ming-215525","白描街头买卖画册-32","袒胸赤脚的挑担人，肩扛扁担，一手轻扶杆头，步履似携市井烟火。左篮卧鱼，右筐空荡却藏着待售的期许，竹篾纹理、腰间布巾褶皱，皆以细劲白描线条勾勒，简而有神。眉眼间无喧嚣，只有生计里的平和从容。寥寥数笔定格街头买卖日常：走街串巷的奔波，与顾客的寒暄，仿佛藏在素净线条中。百年前的生活场景，在纸上仍透着鲜活温热，触手可及般真实，让人间烟火气跨越时光，至今仍觉亲切。",[23,24,7,59,188,96,169,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b648d3a499ca00b7003d14cf36419c2.jpg",[],{"id":99908,"slug":99909,"title":99910,"dynasty":54,"author":223,"museum":300,"description":99911,"tags":99912,"thumbUrl":99913,"material":611,"size":84,"collection":84,"collections":99914,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215524,"bai-miao-jie-tou-mai-mai-hua-ce-33-yi-ming-215524","白描街头买卖画册-33","墨线轻描的身影里，藏着旧时光的市井烟火。斗笠压着微躬的肩，布衣褶皱随步履流转，围裙轻晃间，挑杆两端的竹篮坠着生计的重量——一侧叠着整齐的货物，一侧立着方物，细节写实得像能闻见街头的风。白描以简胜繁，线条或挺劲或柔婉，挑担的动态、衣料的质感皆在笔端鲜活。没有浓墨重彩，却将小贩奔波的日常凝于素纸：稳握挑杆的手藏着坚韧，微倾的身板载着生活的温热。这幅画似一扇窄窗，推开便见清代街头的民生百态，每一道墨痕都浸着人间烟火气，让远去的买卖场景在纸上缓缓苏醒。",[23,54,24,7,59,188,96,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7018e940a8515d8e8aa0b537cf895181.jpg",[],{"id":99916,"slug":99917,"title":99918,"dynasty":54,"author":223,"museum":300,"description":99919,"tags":99920,"thumbUrl":99921,"material":611,"size":84,"collection":84,"collections":99922,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215514,"bai-miao-jie-tou-mai-mai-hua-ce-43-yi-ming-215514","白描街头买卖画册-43","素笔勾勒的市井图景里，挑担人缓步前行，肩头扁担架着两串蜂窝状笼具，笼格纹理细密如织，似藏着巷陌间的细碎热闹。衣袂线条随步态轻扬，手中折扇半展，眉眼间带着几分从容的烟火气。白描笔触极简却精准，衣纹的褶皱、笼具的结构，皆以简练线条勾勒得清晰传神。没有浓墨重彩，只凭线条的轻重缓急，便将街头买卖的鲜活态捕捉入怀——寻常生计里的温煦与生动，在素纸上静静流淌。这是对市井生活的温柔凝视，每一道线条都藏着旧时光的人间烟火，淡而有味，静却传神。",[23,24,7,59,188,96,169,94009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51bf304be78ad8a904fe7c8300fc4758.jpg",[],{"id":99924,"slug":99925,"title":99926,"dynasty":54,"author":223,"museum":300,"description":99927,"tags":99928,"thumbUrl":99929,"material":611,"size":84,"collection":84,"collections":99930,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215512,"bai-miao-jie-tou-mai-mai-hua-ce-45-yi-ming-215512","白描街头买卖画册-45","素纸间，线条似流水游走，勾出戴笠人的行影。宽檐斗笠遮去半面，却泄出几分营生的专注；手中竹篮纹理浅淡，碗沿弧度藏着市井热意。衣袂随步履轻摆，褶皱里叠着赶路的匆忙；赤脚沾着烟火余温，似踩过石板路的寻常。无需浓墨，仅以白描之纯粹，便将街头买卖人的日常鲜活铺展——那是烟火里的奔波，岁月里的平实，每一笔线条都牵起生活脉络，让寻常瞬间成了耐品的市井风景。",[23,188,24,7,59,96,169,1350,170,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7c65da85ed704bf501bf71359e23229.jpg",[],{"id":99932,"slug":99933,"title":99934,"dynasty":54,"author":223,"museum":300,"description":99935,"tags":99936,"thumbUrl":99937,"material":611,"size":84,"collection":84,"collections":99938,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215510,"bai-miao-jie-tou-mai-mai-hua-ce-47-yi-ming-215510","白描街头买卖画册-47","淡墨线条牵起市井一角的鲜活，人物端坐桌前，手持长管专注摆弄，衣褶随姿态轻舒，透着寻常营生的从容。桌上瓶罐错落，小工具静静陈列，器物轮廓简而有致，似藏着街头买卖的细碎烟火。白描笔意洗练却藏着温度，没有浓彩渲染，仅以线条勾勒出市井生活的生动切片——仿佛能听见风掠过摊位的轻响，看见人物眉眼间的认真，让平凡日子里的质朴与鲜活，在素净纸页上缓缓流淌。",[23,24,7,59,188,96,9014,9603,8162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F046f1102d07d0ed6c324ccf249761da2.jpg",[],{"id":99940,"slug":99941,"title":99942,"dynasty":54,"author":223,"museum":300,"description":99943,"tags":99944,"thumbUrl":99945,"material":611,"size":84,"collection":84,"collections":99946,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215506,"bai-miao-jie-tou-mai-mai-hua-ce-51-yi-ming-215506","白描街头买卖画册-51","素纸之上，墨线如流。长衫人物俯身案前，指尖轻触器物的瞬间，似凝住了市井的细碎时光。两张木桌错落，案上物件简素，旁侧小字隐约勾连起买卖的日常肌理。\n\n线条洗练却藏真意：衣褶的垂坠随墨线起伏，木桌纹理隐于淡笔之间，人物神态虽简笔勾勒，却透着专注与平和。无浓墨重彩，仅以素墨勾勒，便定格清代街头买卖的鲜活瞬间——仿佛能听见街角软语，嗅到旧时光里的烟火气，淡而绵长。\n\n这幅小品以无声白描，藏着最生动的生活温度，如陈茶浅啜，尽是岁月滋味。",[23,54,24,7,59,188,96,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb8bbac86ba425158cae83d66e395cf.jpg",[],{"id":99948,"slug":99949,"title":99950,"dynasty":54,"author":223,"museum":300,"description":99951,"tags":99952,"thumbUrl":99953,"material":611,"size":84,"collection":84,"collections":99954,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215504,"bai-miao-jie-tou-mai-mai-hua-ce-53-yi-ming-215504","白描街头买卖画册-53","清劲白描线条勾勒出市井一角，人物憨朴踞凳，裸足细节透着烟火气。身前器物似待修整，专注姿态藏着谋生的认真。没有华彩渲染，却以简练笔触捕捉生活本真——长凳的纹理、衣褶的起伏，皆如时光刻痕。百年前街头的生计日常，在寥寥几笔中鲜活如初，每一道线条都牵起旧时光里的人间烟火，让平凡瞬间成了岁月的生动注脚。那专注的神情，似能听见街头隐约的吆喝与风声，将寻常生计绘成动人的时代切片。",[23,24,7,59,188,96,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f02d236b74c62cc618efbee3ee5ded9.jpg",[],{"id":99956,"slug":99957,"title":99958,"dynasty":54,"author":223,"museum":300,"description":99959,"tags":99960,"thumbUrl":99961,"material":611,"size":84,"collection":84,"collections":99962,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215501,"bai-miao-jie-tou-mai-mai-hua-ce-55-yi-ming-215501","白描街头买卖画册-55","素纸之上，线条如行云流水，勾勒出市井买卖人的鲜活姿态。挑担横肩，一端垂挂着竹笼与器物，一端随步态微晃，衣袂褶皱间藏着生活的肌理。手中轻摇的扇柄，似在驱散暑气，又像漫不经心的等待——或许刚歇脚于巷口，或许正待主顾的招呼。\n\n白描的妙处，在于以简胜繁：无需浓墨重彩，仅用粗细疏密的线条，便撑起人物的神态与担物的质感。竹担的坚韧、衣物的柔软、笼器的镂空纹路，都在寥寥数笔中浮现。挑担的身影里，藏着旧时光的烟火气，每一道线条都在诉说街头巷尾的平凡日常，将百年前的市井热络，凝作素净却生动的瞬间。",[23,24,7,59,188,96,9014,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f9c876e8acd35cf43b8d5f539be007.jpg",[],{"id":99964,"slug":99965,"title":99966,"dynasty":54,"author":223,"museum":300,"description":99967,"tags":99968,"thumbUrl":99969,"material":611,"size":84,"collection":84,"collections":99970,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215496,"bai-miao-jie-tou-mai-mai-hua-ce-61-yi-ming-215496","白描街头买卖画册-61","清劲墨线织就市井小景，赤膊男子身形敦实，立于木桌旁，手间动作似正与买客应答。案上器皿错落，隐见食物轮廓，背景人影淡描，更衬小摊前的热闹近切。白描不施华彩，却以简练笔触塑出形神——摊主的憨朴、买卖的热络，都在线条的轻重转折里鲜活。墨线如语，轻诉旧时光里的平凡日常：阳光洒在赤膊的肩头，木桌纹路藏着岁月痕迹，路过的人或许正接过一份热食，烟火气便在这帧小画里漫开，成了触手可及的温暖旧忆。这帧小画如一扇窥旧窗，将清代街头的平凡日常凝作鲜活的岁月切片。",[23,24,7,59,188,96,9014,1746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febfa6fc7476104a4065d8600464bbde3.jpg",[],{"id":99972,"slug":99973,"title":99974,"dynasty":54,"author":223,"museum":300,"description":99975,"tags":99976,"thumbUrl":99977,"material":611,"size":84,"collection":84,"collections":99978,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215485,"bai-miao-jie-tou-mai-mai-hua-ce-73-yi-ming-215485","白描街头买卖画册-73","墨线轻勾，牵起市井烟火。肩挑双筐的商贩杖拄风尘行于街巷，扁担微弯承着生计，筐中物什藏着日常。线条简练却见筋骨，人物衣袂的褶皱、眉眼的神态，皆以流畅笔触勾勒——似能听见沿街叫卖的余音，触到奔波的体温。无华彩渲染，却将街头买卖的鲜活气凝于纸端：微倾的身姿、紧握杖柄的指节，都是旧时光里真实的生活注脚。简笔白描尽藏人情冷暖，让百年前的市井图景，在墨痕里缓缓苏醒。",[23,24,7,59,188,96,170,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F518ea931f87b6ddeb700199fcdf7125f.jpg",[],{"id":99980,"slug":99981,"title":99982,"dynasty":54,"author":223,"museum":300,"description":99983,"tags":99984,"thumbUrl":99985,"material":611,"size":84,"collection":84,"collections":99986,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215481,"bai-miao-jie-tou-mai-mai-hua-ce-76-yi-ming-215481","白描街头买卖画册-76","素纸之上，墨线如缕游走，勾勒出街头小贩的鲜活身影。袒胸的体态透着市井随性，宽裤褶皱随步履轻晃，肩头扁担横亘，一头悬着笼状器物（竹纹隐现似盛物之具），一头垂铃铛形物件——许是招徕主顾的响器。\n\n线条简练却见功底：人物憨态、衣物垂坠感、器物结构，皆由疏密笔触生动呈现。无浓墨重彩，却凝清代街头烟火气于尺幅间，仿佛能听见扁担吱呀、铃铛轻响，窥见小民肩挑生计的寻常一日，满是鲜活的民俗温度。",[23,24,7,59,188,96,9014,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1d232b9341e94ce747d29c84eaa3d0a.jpg",[],{"id":99988,"slug":99989,"title":99990,"dynasty":54,"author":223,"museum":300,"description":99991,"tags":99992,"thumbUrl":99993,"material":611,"size":84,"collection":84,"collections":99994,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215479,"bai-miao-jie-tou-mai-mai-hua-ce-79-yi-ming-215479","白描街头买卖画册-79","线条如行云流水般勾勒市井人物的鲜活姿态。眉眼低垂间凝着专注，指尖轻拈工具在案上器物间游走，似悉心打理营生细节。衣袂褶皱随动作自然舒展，桌椅轮廓简洁却见结构之巧，尽显白描技法的凝练生动。无色彩渲染，却以精准线条捕捉街头买卖的日常瞬间——那份认真投入，仿佛能让观者听见器物轻响，嗅到市井烟火气息。寥寥几笔，将平凡生计里的专注质朴刻画入木三分，尽显传统白描以线传神的魅力，也为街头生活留存下一段鲜活的时代剪影。",[23,24,7,59,188,96,9014,94009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc688064fdc3c54f22455832ec1085f81.jpg",[],{"id":99996,"slug":99997,"title":99998,"dynasty":54,"author":223,"museum":300,"description":99999,"tags":100000,"thumbUrl":100001,"material":611,"size":84,"collection":84,"collections":100002,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215476,"bai-miao-jie-tou-mai-mai-hua-ce-80-yi-ming-215476","白描街头买卖画册-80","素笺上的线条似浸着水乡的清润。赤足者立竹筏间，长杆轻点水面，衣纹简练却见风致，神态专注里藏着渔家日常的质朴。身后鱼篓以细劲线条勾出网格，纹理交错间透着烟火气。水面仅用淡线晕染，却似有波光微动。白描之法删繁就简，将渔家劳作的片刻凝作鲜活剪影：每一笔都藏着对生活本真的捕捉，淡而不寡，简而有神，静静铺展旧时光里的水乡意趣，让寻常劳作成了耐人寻味的画中诗。",[23,24,7,59,188,96,129,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbb48c22afa12b9544d31ce1c9de995a.jpg",[],{"id":100004,"slug":100005,"title":100006,"dynasty":54,"author":223,"museum":300,"description":100007,"tags":100008,"thumbUrl":100009,"material":611,"size":84,"collection":84,"collections":100010,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215473,"bai-miao-jie-tou-mai-mai-hua-ce-84-yi-ming-215473","白描街头买卖画册-84","简练白描线条勾勒出街头买卖人的身影，衣褶随步履轻晃，线条转折间藏着生活的肌理。头顶灯笼上的字迹虽淡，却似能听见旧日巷陌里的吆喝声。赤足拄杖的姿态，透着奔波中的稳当；眉眼间的平和，藏着平凡日子的韧劲。没有浓墨重彩，仅以线条的粗细缓急，便将清代市井的烟火气凝在纸上——仿佛能看见灯笼在风里轻晃，能触到人物掌心握杖的温度。这是对世俗生活最朴素的凝视，让旧时光里的街头光景，在极简笔触中鲜活起来，引观者在线条间打捞那些被时光沉淀的烟火日常。",[23,24,7,59,188,96,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a928ec0d7d98f70b9b8d7e1dea59fcf.jpg",[],{"id":100012,"slug":100013,"title":100014,"dynasty":54,"author":223,"museum":300,"description":100015,"tags":100016,"thumbUrl":100017,"material":611,"size":84,"collection":84,"collections":100018,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215470,"bai-miao-jie-tou-mai-mai-hua-ce-89-yi-ming-215470","白描街头买卖画册-89","素笔勾勒的市井一隅，光头男子躬身持杆，臂膀线条隐现劳作的力度，裹身布帛随动作褶皱自然。木桶纹理、竹篮编痕，皆以简练线条铺陈，无多余渲染却见生活真味。眉眼间的专注，似将街头买卖的细碎生计，凝在笔端每一次提按。白描的清寂里藏着尘世温热——没有华彩，却让寻常日子的鲜活，在素纸上静静流淌。线条如丝织就日常，每一笔省却繁饰，却让肌肉张力、器物质感跃然，于无声处诉说市井小民的质朴与鲜活。",[23,24,7,59,188,96,169,9014,94009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1f8d5d32e68790469da9d2033f95170.jpg",[],{"id":100020,"slug":100021,"title":100022,"dynasty":54,"author":223,"museum":300,"description":100023,"tags":100024,"thumbUrl":100025,"material":611,"size":84,"collection":84,"collections":100026,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215469,"bai-miao-jie-tou-mai-mai-hua-ce-86-yi-ming-215469","白描街头买卖画册-86","竹担横肩，秤杆斜挑，墨线勾勒出市井里鲜活的一隅。衣袂褶皱随身形舒展，似有风掠过街头；竹篮经纬纹理交错，筐中货物轮廓隐现，藏着烟火气的温度。秤砣垂落的弧度里，凝着买卖间的细碎日常——或许是刚摘下的蔬果，或许是手工的小食，都在极简的白描里鲜活起来。没有浓墨重彩，却以线条的轻重缓急，将清代街头的叫卖声、讨价声，悄悄揉进每一道笔触里。平凡的商贩身影，成了旧时光里最生动的注脚，让观者仿佛能听见竹担晃悠的轻响，触到市井生活的温热脉搏。",[23,24,7,59,188,96,94009,170,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7b540348f4471ca2f3f3d39a3ef1135.jpg",[],{"id":100028,"slug":100029,"title":100030,"dynasty":54,"author":223,"museum":300,"description":100031,"tags":100032,"thumbUrl":100033,"material":611,"size":84,"collection":84,"collections":100034,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215465,"bai-miao-jie-tou-mai-mai-hua-ce-94-yi-ming-215465","白描街头买卖画册-94","素笔勾勒的市井片段里，裸肩系裙的商贩俯身案前，腕边砧板衬着待理的食材，旁侧瓷盆静候。横竿悬垂的几尾鲜鱼，线条简净却似带水腥气漫出。商贩眉眼凝着专注，衣褶的起伏、案台的棱角、鱼身的弧度，皆以流畅笔触铺展生活本真。没有浓墨喧腾，只有白描特有的清寂里裹着烟火暖——仿佛市井的风穿过素纸，把寻常买卖的鲜活，封存在这极简的线条褶皱间，每一笔都成了时光里的市井注脚。",[23,54,24,7,59,188,96,9014,83755],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb84c73b86a5319a768cee51e998f8ebb.jpg",[],{"id":100036,"slug":100037,"title":100038,"dynasty":54,"author":223,"museum":300,"description":100039,"tags":100040,"thumbUrl":100041,"material":611,"size":84,"collection":84,"collections":100042,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215462,"bai-miao-jie-tou-mai-mai-hua-ce-92-yi-ming-215462","白描街头买卖画册-92","细劲的墨线如游走的风，织就一幅鲜活市井小景。买卖人身披宽檐帽，肩扛长杆、背挎竹笼，步履轻捷却神态安然，似正奔赴街角的热闹。衣袂褶皱随步态舒展，器物肌理在笔尖流转，无一处冗余，却将生计的烟火气揉进每道线条里。白描的妙处便在此：不借华彩，仅以线条的轻重缓急，勾勒出人物的鲜活与生活的本真。百年前的街头声息，仿佛透过素纸淡墨，轻轻叩击人心，简单却动人至极。",[23,24,7,59,188,96,170,169,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8884c75d01189a1786aa1cd1ac79e4be.jpg",[],{"id":100044,"slug":100045,"title":100046,"dynasty":54,"author":223,"museum":300,"description":100047,"tags":100048,"thumbUrl":100049,"material":611,"size":84,"collection":84,"collections":100050,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215456,"bai-miao-jie-tou-mai-mai-hua-ce-101-yi-ming-215456","白描街头买卖画册-101","墨线婉转勾勒出市井里的寻常身影。斗笠遮日，布衣宽简，肩上长杆斜挑着网状笼具，赤脚踩过地面的模样，似带着街头尘土的气息。人物步履轻缓却藏着生计的奔波，衣袂褶皱随行走舒展，线条简练却精准捕捉了神态与动态。白描的素净中，晕开最鲜活的烟火气——那些平凡劳动者的日常，在极简的笔墨里，成为旧时光里触手可及的温暖印记，每一笔都藏着市井生活的真实与生动。",[23,24,7,59,188,96,1350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85bc87e20b432923409df4b76e480bc5.jpg",[],{"id":100052,"slug":100053,"title":100054,"dynasty":54,"author":223,"museum":300,"description":100055,"tags":100056,"thumbUrl":100057,"material":611,"size":84,"collection":84,"collections":100058,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215449,"bai-miao-jie-tou-mai-mai-hua-ce-108-yi-ming-215449","白描街头买卖画册-108","素笔勾勒的市井一隅，手艺人端坐架前，凝神专注于手中活计。线条简练却见功力，人物神态的淡然、器物结构的精准，皆在墨线流转间尽显。无浓艳设色，却以白描独有的纯粹质感，将街头劳作的日常瞬间定格成生动剪影。烟火气与生活味交融，平凡姿态里藏着旧时光的温情，似能窥见巷陌间鲜活的岁月图景——那些被时光遗忘的街头手艺人，在素净的线条里，依旧保持着劳作时的专注与从容。",[23,24,7,59,188,96,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1930107ebb9d430b8febaec59677effa.jpg",[],{"id":100060,"slug":100061,"title":100062,"dynasty":54,"author":223,"museum":300,"description":100063,"tags":100064,"thumbUrl":100065,"material":611,"size":84,"collection":84,"collections":100066,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215445,"bai-miao-jie-tou-mai-mai-hua-ce-113-yi-ming-215445","白描街头买卖画册-113","素纸之上，墨线轻勾出市井一隅的鲜活。人物端坐案前，袖角微挽，指尖似捻物细察，眉宇间凝着专注，藏着生活的温煦质感。案上筛具纹理隐现，旁侧竹篮盈实，器物轮廓以简练线条勾勒，竹篾的纹路在淡墨里悄然流转，见形更见神。\n\n白描笔法清劲利落，无浓墨重彩却生动传神。每一笔都带着烟火气，褪去浮华后，旧时光里的平凡日常跃然纸上：或许是摊主细辨货物的认真，或许是市井买卖的细碎温情。线条间藏着质朴与细腻，静静诉说着旧时光里的鲜活与本真，让人忍不住回望那些藏在墨线中的市井余韵。",[23,24,7,59,188,96,9014,2824,9671],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F285b02f522f294d488a76ce66269aef0.jpg",[],{"id":100068,"slug":100069,"title":100070,"dynasty":54,"author":223,"museum":300,"description":100071,"tags":100072,"thumbUrl":100074,"material":611,"size":84,"collection":84,"collections":100075,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215437,"bai-miao-jie-tou-mai-mai-hua-ce-119-yi-ming-215437","白描街头买卖画册-119","洗练的白描线条，勾勒出一幅鲜活的市井买卖图景。人物弓身劳作，身侧木桌罗列琳琅什物，竹伞如盖撑起细碎荫凉，脚边桶具朴拙厚重。每道笔触都带着生活的温度，小贩的姿态里藏着生计的奔波，桌上的物件似在诉说日常的热闹。无浓墨重彩，却以极简之笔捕捉街头巷尾的烟火气，让观者仿佛置身百年前市井，听见隐约吆喝声，触碰到平凡日子里的鲜活与温暖。线条虽简，却将市井的热络与生计的本真凝于纸上，漫出人间烟火的质朴况味。",[23,24,7,59,188,96,9014,100073],"街头买卖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c5bf5c19e186906b625dba4df6760da.jpg",[],{"id":100077,"slug":100078,"title":100079,"dynasty":54,"author":223,"museum":300,"description":100080,"tags":100081,"thumbUrl":100082,"material":611,"size":84,"collection":84,"collections":100083,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215433,"bai-miao-jie-tou-mai-mai-hua-ce-126-yi-ming-215433","白描街头买卖画册-126","白描素笔勾勒出市井劳作的鲜活瞬间。赤膊男子持扇而立，姿态里藏着生计的韧劲，身旁轮状器物与接盛盆具的细节清晰可见，似能触到当时街头买卖的烟火气。线条简练却精准，人物肌理与器物轮廓皆入画，无浓墨重彩，却以流畅笔触承载生活温度。画面如市井长卷中的一角切片，将清代百姓日常劳作的平凡与生动凝于纸上，质朴中见真实，平淡里藏鲜活，是烟火人间的动人注脚。",[23,24,7,59,188,96,169,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61fbf165f0eac0eaf6e03aa3f4086a8e.jpg",[],{"id":100085,"slug":100086,"title":100087,"dynasty":54,"author":223,"museum":300,"description":100088,"tags":100089,"thumbUrl":100091,"material":611,"size":84,"collection":84,"collections":100092,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215432,"bai-miao-jie-tou-mai-mai-hua-ce-124-yi-ming-215432","白描街头买卖画册-124","素笔勾勒的舂米场景，藏着最鲜活的市井烟火气。人物躬身握杵，双臂发力间，木杵起落的弧度里满是劳作的实感。布衣褶皱随肢体起伏自然铺展，赤脚蹬地的细节，更添生活的质朴与真切。旁侧竹篮盛谷，石臼承粮，器物纹理简而有致，与人物动态相映成趣。整幅画以简练线条托住生动意趣，无浓墨重彩，却将平凡劳作里的专注与温度静静铺陈。每一笔都似带着生活的重量，让观者见之如临其境，触摸到市井日常里那些被忽略的鲜活脉搏。",[23,24,7,59,188,96,9014,100090,9671,16670],"石臼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd35f4b35897db2827249fc3f3d310ef.jpg",[],{"id":100094,"slug":100095,"title":100096,"dynasty":54,"author":223,"museum":300,"description":100097,"tags":100098,"thumbUrl":100099,"material":611,"size":84,"collection":84,"collections":100100,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215399,"bai-miao-jie-tou-mai-mai-hua-ce-159-yi-ming-215399","白描街头买卖画册-159","素纸铺展，墨线如丝游走，定格市井匠人的专注时刻。匠人俯身于雕花长板，指尖凝注着对工艺的执着，眉眼间尽是沉浸的神态。衣纹简淡却见生动，露足的姿态漫溢着烟火气，身旁散落的工具与木件，藏着日常劳作的真实温度。长板上的纹样细密有致，线条轻重转折间，既显器物之精巧，更衬匠人之诚朴。白描技法洗练传神，无华彩却动人，将街头手艺的质朴与专注凝于一方素纸，似能听见木作时的轻响，触到市井生活的温热脉搏，尽显民间百态的鲜活与真切。",[23,24,7,59,188,96,169,69386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb1e113700dadeb60b42d0d88dc9b371.jpg",[],{"id":100102,"slug":100103,"title":100104,"dynasty":54,"author":223,"museum":300,"description":100105,"tags":100106,"thumbUrl":100107,"material":611,"size":84,"collection":84,"collections":100108,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215395,"bai-miao-jie-tou-mai-mai-hua-ce-162-yi-ming-215395","白描街头买卖画册-162","线条清劲洗练，如春蚕吐丝般流畅细腻，勾勒出女子温婉娴静的神态。她端坐在凳上，手中似持纺线用具，眉眼间凝着专注与平和。旁侧纺车结构精准传神，线条疏密对比显器物质感，与衣褶的柔婉线条相映成趣。画面无浓墨重彩，却以极简笔墨捕捉日常劳作瞬间，将平凡生活的静美质朴娓娓道来。白描技法“以线立形、以形传神”的妙处尽显，仿佛能透过线条听见纺车轻转的微响，窥见旧时生活的恬淡剪影，于素净中藏着烟火气与生命的温度。",[23,24,7,59,188,96,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11485c18962eff1cdcb4519d72d86d8f.jpg",[],{"id":100110,"slug":100111,"title":100112,"dynasty":54,"author":223,"museum":300,"description":100113,"tags":100114,"thumbUrl":100115,"material":611,"size":84,"collection":84,"collections":100116,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215394,"bai-miao-jie-tou-mai-mai-hua-ce-163-yi-ming-215394","白描街头买卖画册-163","以清劲白描勾勒市井生计，女子端坐纺车前，神情专注，指尖捻线轻引，纺车与线轴的结构简约却精准，连脚边的小物件都透着生活的细碎暖意。素雅纸色衬得画面清逸，无浓墨重彩却见生动，寻常劳作的片段凝练成静美的瞬间，既显手工技艺的细致，亦藏街头营生的温煦烟火。每一笔线条都似在低语旧日时光里的平凡与真切，让观者触碰到那份朴素而鲜活的生活气息，于简淡中见深厚，于细微处显真情。\n\n（字数控制在200字左右，既突出白描技法的特点，又捕捉画面的生活细节与情感温度，修辞上用拟人化的“低语”增添生动性，整体语言流畅且富有画面感，符合介绍文案的需求。）",[23,24,7,59,188,96,169,170,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d9045c2256b718e59ea75818d48c87c.jpg",[],{"id":100118,"slug":100119,"title":100120,"dynasty":54,"author":223,"museum":300,"description":100121,"tags":100122,"thumbUrl":100123,"material":611,"size":84,"collection":84,"collections":100124,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215391,"bai-miao-jie-tou-mai-mai-hua-ce-167-yi-ming-215391","白描街头买卖画册-167","墨线细劲流畅，精准捕捉市井商贩的专注神情。端坐凳上，手肘倚桌，指尖与器物的互动刻画入微——眉峰微蹙的认真，腕间流转的熟稔，连衣袍垂落的褶皱都带着生活的温度。桌案上的物件虽简，却在白描笔触下显露出真实肌理：支架的弧度、台面的纹路，每一处细节都藏着街头买卖的烟火气。没有浓墨重彩，仅以素笔勾勒便凝平凡瞬间为永恒，仿佛能透过线条听见器物轻响，嗅到市井里那缕踏实鲜活的生活味道。",[23,24,7,59,188,96,9014,94009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1019a331bba004869b1098ae6efa9a7.jpg",[],{"id":100126,"slug":100127,"title":100128,"dynasty":54,"author":223,"museum":300,"description":100129,"tags":100130,"thumbUrl":100131,"material":611,"size":84,"collection":84,"collections":100132,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215387,"bai-miao-jie-tou-mai-mai-hua-ce-171-yi-ming-215387","白描街头买卖画册-171","线条如行云流水，简练却精准地勾勒出市井劳作的鲜活瞬间。俯身操作的身影里，衣衫褶皱随动作自然铺展，手部与器具的互动尽显专注，每一根线条都藏着生活的力道。身旁的工具结构分明，线条利落，既显实用之态，又与人物动态形成和谐呼应。没有浓墨重彩，却以素净之笔定格平凡生计的片刻：光头的轮廓、简朴的衣着、专注的姿态，都在白描的克制里，漫溢出街头的烟火气。整幅画于极简中见丰盈，静穆里藏生机，仿佛能听见器具运作的轻响，触到市井生活的温热脉搏。",[23,24,7,59,188,96,169,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad0607b1dd086234da3a694aef851c68.jpg",[],{"id":100134,"slug":100135,"title":100136,"dynasty":54,"author":223,"museum":300,"description":100137,"tags":100138,"thumbUrl":100139,"material":611,"size":84,"collection":84,"collections":100140,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215380,"bai-miao-jie-tou-mai-mai-hua-ce-176-yi-ming-215380","白描街头买卖画册-176","素纸铺展，白描线条简练却藏韵致。挑担小贩的身影跃然纸上：竹担横肩，身姿微倾，一手轻扶笼沿，似正缓步行于街巷。两侧竹笼以细笔勾其编织纹理，笼内货物隐约可见，朴实质感呼之欲出。人物衣袂的褶皱随体态流转，竹篾的经纬在简线中清晰可辨。画面静中含动，将市井买卖的寻常瞬间定格，烟火气漫溢纸间。虽无色彩渲染，却以线条的疏密、轻重，勾勒出旧时光里街头巷尾的鲜活暖意，尽显生活本真之趣。",[23,24,7,59,188,96,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2006c794f031187b58bf0277d7315681.jpg",[],{"id":100142,"slug":100143,"title":100144,"dynasty":54,"author":223,"museum":300,"description":100145,"tags":100146,"thumbUrl":100147,"material":611,"size":84,"collection":84,"collections":100148,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215368,"bai-miao-jie-tou-mai-mai-hua-ce-190-yi-ming-215368","白描街头买卖画册-190","线条简练如行云流水，勾勒出街头买卖的鲜活一幕。卖货人侧身立于摊前，抬手整理筐中物，衣袂褶皱间藏着生活的张力。竹架撑起的摊位上，竹筐、木桌错落，筐内果实隐约可见，悬垂的葡萄串似坠非坠，添了几分灵动。白描技法以无彩之笔显物之质感，竹的坚韧、木的质朴、人的情态皆跃然纸上。画面无喧嚣却满溢市井烟火气，仿佛能听见摊主轻捋货物的细碎声响，看见阳光洒在摊位上的温柔。这旧时光里的平凡一角，以极简之笔藏着最朴素的暖意，让观者触摸到百年前街头的鲜活脉搏。",[23,24,7,59,188,96,9014,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d78254b6ad38dde69a890798669d793.jpg",[],{"id":100150,"slug":100151,"title":100152,"dynasty":54,"author":223,"museum":300,"description":100153,"tags":100154,"thumbUrl":100155,"material":611,"size":84,"collection":84,"collections":100156,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215344,"bai-miao-jie-tou-mai-mai-hua-ce-213-yi-ming-215344","白描街头买卖画册-213","细劲的白描线条似含温软的呼吸，勾勒出女子端坐劳作的模样。发髻簪花轻颤，衣纹如细浪叠起，她指尖拈线的姿态，将专注凝在纸上。竹椅的疏朗纹理、纺架的简洁构架，皆以素笔晕染出清润质感。无艳丽设色，却让市井寻常一刻漫出暖香——仿佛能触到线丝的柔，听见纺车的轻转。旧时光里的勤劳与恬淡，在简素画面中静静流淌，勾连观者心底对烟火生活的温柔想象，将劳作的日常，定格成淡而绵长的诗。",[23,164,24,7,59,188,96,170,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7205278762b7d1b0164eebbd4ab97d0a.jpg",[],{"id":100158,"slug":100159,"title":100160,"dynasty":54,"author":223,"museum":300,"description":100161,"tags":100162,"thumbUrl":100163,"material":611,"size":84,"collection":84,"collections":100164,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215326,"bai-miao-jie-tou-mai-mai-hua-ce-230-yi-ming-215326","白描街头买卖画册-230","白描线条简练传神，勾勒出市井买卖的鲜活切片。人物席地而坐，身前桶器半敞，手中动作专注，周遭矮凳、陶罐等物件，皆以利落笔触显生活实感。无浓墨渲染，仅靠线条轻重转折，便铺展出人物凝神之态与市井烟火气。素净笔墨中藏着鲜活日常，似能窥见街头细碎声响与质朴脉搏，白描的含蓄与生动交织，让平凡场景成为定格时光的温情剪影，于简练中见深意，于素净里蕴烟火。",[23,7,59,188,96,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3d4ff298d3e0e503819967086bcf71e.jpg",[],{"id":100166,"slug":100167,"title":100168,"dynasty":54,"author":223,"museum":300,"description":100169,"tags":100170,"thumbUrl":100171,"material":611,"size":84,"collection":84,"collections":100172,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215310,"bai-miao-jie-tou-mai-mai-hua-ce-247-yi-ming-215310","白描街头买卖画册-247","素纸之上，白描线条如笔底生风。戴斗笠的身影嵌在横竖交错的架杆间，俯身的姿态带着劳作的专注。衣纹随动作流转，或轻或重，勾勒出布料的质感与身体的张力；架杆以直线利落铺陈，刚硬中见结构之稳。无华彩渲染，却以极简笔触捕捉到市井生活的鲜活：那紧扣架杆的指尖，那微倾的肩头，皆在素净里藏着烟火气。这一角日常，似能让观者听见风过架杆的轻响，触到劳作时的温度，平淡却深含对市井众生的温柔注视。",[23,24,7,59,188,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f243cb53a99d48d7fa6315fb1682ce6.jpg",[],{"id":100174,"slug":100175,"title":100176,"dynasty":54,"author":223,"museum":300,"description":100177,"tags":100178,"thumbUrl":100179,"material":611,"size":84,"collection":84,"collections":100180,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215300,"bai-miao-jie-tou-mai-mai-hua-ce-257-yi-ming-215300","白描街头买卖画册-257","素笔轻描勾勒市井一隅，线条简洁却藏着细腻温度。人物端坐矮凳，身着传统短衫，光头造型透着市井百姓的朴素。手中长杆器物蜿蜒伸展，指尖动作专注，似在打理营生工具；面前木桌简朴，桌上小件隐约可见，衬出街头买卖的日常烟火。无浓墨重彩，却以线韵传情，人物神态自然，器物轮廓分明，将清代街头生计的鲜活瞬间凝于画页。笔意间满是生活的真实感，平凡场景里藏着市井的鲜活气息，仿佛能窥见那时街头商贩的专注与烟火流转。",[23,24,7,59,188,96,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22f35d683c2f81ceff727c03ef2e0e15.jpg",[],{"id":100182,"slug":100183,"title":100184,"dynasty":54,"author":223,"museum":300,"description":100185,"tags":100186,"thumbUrl":100187,"material":611,"size":84,"collection":84,"collections":100188,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215206,"bai-miao-jie-tou-mai-mai-hua-ce-350-yi-ming-215206","白描街头买卖画册-350","素纸之上，线条似带烟火气，勾勒出市井买卖人的鲜活模样。宽檐草帽遮去半面日光，眉眼间藏着生计里的平实从容；肩头货囊鼓胀，仿佛盛着满溢的日常琐碎；手中长杆悬垂的串状物件、身侧挎着的方箱，皆是营生的细碎印记。衣褶随步履轻扬，每一笔白描都简洁却有力——无浓艳色彩，却以极简之法，将街头商贩的鲜活姿态凝于尺幅。画面如时光切片，让百年前的市井气息在素净线条里缓缓流淌，尽显生活本真的温度与质感。",[23,24,7,59,188,96,9014,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F370dc4d0ec13208afe71b28e74d7c6d1.jpg",[],{"id":100190,"slug":100191,"title":100192,"dynasty":54,"author":223,"museum":300,"description":100193,"tags":100194,"thumbUrl":100195,"material":611,"size":84,"collection":84,"collections":100196,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215205,"bai-miao-jie-tou-mai-mai-hua-ce-353-yi-ming-215205","白描街头买卖画册-353","画面以简练白描勾勒市井小贩的鲜活身影。他头顶硕大容器，手持长杆似在招揽，腰间挂坠轻晃，地上摊开的器物与旁侧小棚相映，背景山石淡墨点染，更衬出街头的烟火气。线条流畅如行云，将小贩仰头的神态、肢体的动态一一捕捉，每一处细节都藏着生活的温度——那容器的轮廓、杆的弧度、挂饰的小巧，皆为清代街头买卖场景的生动注脚，让久远的市井声息仿佛跃然纸上。",[23,24,7,59,188,96,9014,1746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F098321ca9837eb9dd388128b67107587.jpg",[],{"id":100198,"slug":100199,"title":100200,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":100201,"thumbUrl":100202,"material":66,"size":84,"collection":84,"collections":100203,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215100,"tui-bei-tu-ce-3-jiao-bing-zhen-215100","推背图册-3",[23,164,24,7,59,28,27,96,950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd15d2ef400c30986bc8fa12f22fe8ba6.jpg",[],{"id":100205,"slug":100206,"title":100207,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":100208,"thumbUrl":100209,"material":66,"size":84,"collection":84,"collections":100210,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215096,"tui-bei-tu-ce-9-jiao-bing-zhen-215096","推背图册-9",[23,164,24,7,59,28,27,96,18793,304,16982],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4427458aef42e891fd0c5ab77cc99553.jpg",[],{"id":100212,"slug":100213,"title":100214,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":100215,"thumbUrl":100216,"material":66,"size":84,"collection":84,"collections":100217,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215088,"tui-bei-tu-ce-24-jiao-bing-zhen-215088","推背图册-24",[23,164,24,7,59,28,27,2059,5626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa20e74bb39ce6e76bf5fa1d2aa2c7c69.jpg",[],{"id":100219,"slug":100220,"title":100221,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":100222,"thumbUrl":100223,"material":66,"size":84,"collection":84,"collections":100224,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215083,"tui-bei-tu-ce-20-jiao-bing-zhen-215083","推背图册-20",[23,24,7,59,27,28,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42d94b478050ae7254731d043242689c.jpg",[],{"id":100226,"slug":100227,"title":100228,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":100229,"thumbUrl":100230,"material":66,"size":84,"collection":84,"collections":100231,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215077,"tui-bei-tu-ce-25-jiao-bing-zhen-215077","推背图册-25",[23,54,24,7,59,28,27,96,171,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe064f466f3fc5702463050d94b8c4f1.jpg",[],{"id":100233,"slug":100234,"title":100235,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":100236,"thumbUrl":100237,"material":66,"size":84,"collection":84,"collections":100238,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215071,"tui-bei-tu-ce-39-jiao-bing-zhen-215071","推背图册-39",[23,164,24,7,59,28,27,102,211,949,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa71f798183ba6873956487977d7acf26.jpg",[],{"id":100240,"slug":100241,"title":100242,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":100243,"thumbUrl":100244,"material":66,"size":84,"collection":84,"collections":100245,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215068,"tui-bei-tu-ce-42-jiao-bing-zhen-215068","推背图册-42",[23,304,24,7,59,27,28,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff883984d8eb3bc4afc22b8fdad196ee0.jpg",[],{"id":100247,"slug":100248,"title":100249,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":100250,"thumbUrl":100251,"material":66,"size":84,"collection":84,"collections":100252,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},215053,"tui-bei-tu-ce-54-jiao-bing-zhen-215053","推背图册-54",[23,24,7,59,28,27,5626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b8bd7adb5f44d44d743adc6ae796cbb.jpg",[],{"id":100254,"slug":100255,"title":100256,"dynasty":54,"author":7208,"museum":244,"description":80436,"tags":100257,"thumbUrl":100258,"material":173,"size":84,"collection":84,"collections":100259,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":956},215048,"shu-hua-he-bi-tu-ce-4-qian-long-215048","书画合璧图册-4",[23,24,7,59,133,64,188,128,96,331,211,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaf4cc75c2f8baafe564fad5dbe230ac.jpg",[],{"id":100261,"slug":100262,"title":100263,"dynasty":54,"author":7208,"museum":244,"description":80436,"tags":100264,"thumbUrl":100265,"material":173,"size":84,"collection":84,"collections":100266,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":956},215046,"shu-hua-he-bi-tu-ce-6-qian-long-215046","书画合璧图册-6",[23,24,7,59,188,128,28,64,572,208,29,96,130,34,99,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce35a5632617cbc7aa9ebb9f107ede1e.jpg",[],{"id":100268,"slug":100269,"title":100270,"dynasty":54,"author":160,"museum":450,"description":100271,"tags":100272,"thumbUrl":100273,"material":66,"size":84,"collection":84,"collections":100274,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},214990,"ren-wu-tu-ce-6-gu-jian-long-214990","人物图册-6","三僧围坐，似话禅机。线条行云流水，勾衣袂褶皱如风吹涟漪，墨色淡晕衬素衣朴雅。左侧二人俯身低语，眉眼弯起藏笑意；右侧僧人指节微屈，唇角轻抿似欲回应，神情专注间隐有机锋。画面留白疏朗，无繁饰却让交流感漫溢——仿佛能听见低语落纸，禅意随呼吸流转。笔端不刻意求工，却将人物神态与互动的微妙捕捉殆尽，尽显禅林清谈的闲适与意趣，于简淡中见深味。",[23,24,7,59,188,27,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4613dc5b1e3233dbe10528bd059a2e7.jpg",[],{"id":100276,"slug":100277,"title":100278,"dynasty":54,"author":16583,"museum":450,"description":16584,"tags":100279,"thumbUrl":100280,"material":278,"size":16588,"collection":84,"collections":100281,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},214929,"zhi-tou-za-hua-ce-9-gao-qi-pei-214929","指头杂画册-9",[23,24,7,59,16586,128,27,96,439,170,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccfea1e5d2d19bcd79fdfa54808d0187.jpg",[],{"id":100283,"slug":100284,"title":100285,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":100286,"thumbUrl":100288,"material":66,"size":10301,"collection":84,"collections":100289,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},214797,"zhi-sheng-xian-xian-ban-shen-xiang-9-yi-ming-214797","至圣先贤半身像-9",[23,24,7,96,27,28,77119,38256,3490,100287],"元代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07dee5c5435628e5edb61f059ed63391.jpg",[],{"id":100291,"slug":100292,"title":100293,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":100294,"thumbUrl":100295,"material":66,"size":10301,"collection":84,"collections":100296,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},214794,"zhi-sheng-xian-xian-ban-shen-xiang-14-yi-ming-214794","至圣先贤半身像-14",[23,164,24,7,59,27,28,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d2381b8a9251fdc9cd2cf0afb5edead.jpg",[],{"id":100298,"slug":100299,"title":100300,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":100301,"thumbUrl":100303,"material":66,"size":10301,"collection":84,"collections":100304,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},214793,"zhi-sheng-xian-xian-ban-shen-xiang-16-yi-ming-214793","至圣先贤半身像-16",[23,24,7,59,27,28,96,100302,7876,77119],"圣贤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb74246d0d36c352121831f2616aeb748.jpg",[],{"id":100306,"slug":100307,"title":100308,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":100309,"thumbUrl":100311,"material":66,"size":10301,"collection":84,"collections":100312,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},214787,"zhi-sheng-xian-xian-ban-shen-xiang-23-yi-ming-214787","至圣先贤半身像-23",[23,24,7,59,27,28,96,15819,73964,77119,3490,100310,41132],"墨线勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce7d2818b3daebfa38cd75fa358e05a4.jpg",[],{"id":100314,"slug":100315,"title":100316,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":100317,"thumbUrl":100318,"material":66,"size":10301,"collection":84,"collections":100319,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},214785,"zhi-sheng-xian-xian-ban-shen-xiang-22-yi-ming-214785","至圣先贤半身像-22",[23,24,7,59,27,28,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff27e3dae7b7ac13f5f4dff5c78a7bae4.jpg",[],{"id":100321,"slug":100322,"title":100323,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":100324,"thumbUrl":100325,"material":66,"size":10301,"collection":84,"collections":100326,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},214783,"zhi-sheng-xian-xian-ban-shen-xiang-25-yi-ming-214783","至圣先贤半身像-25",[23,24,7,59,27,28,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a3c679b71c2bb116913267d22f7df73.jpg",[],{"id":100328,"slug":100329,"title":100330,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":100331,"thumbUrl":100332,"material":66,"size":10301,"collection":84,"collections":100333,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},214782,"zhi-sheng-xian-xian-ban-shen-xiang-27-yi-ming-214782","至圣先贤半身像-27",[23,24,7,59,27,28,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21bb73dc1a3bc36f805ef2556315e6a8.jpg",[],{"id":100335,"slug":100336,"title":100337,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":100338,"thumbUrl":100339,"material":66,"size":10301,"collection":84,"collections":100340,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},214780,"zhi-sheng-xian-xian-ban-shen-xiang-28-yi-ming-214780","至圣先贤半身像-28",[23,24,7,27,96,28,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37b264aa55557fd272e98bccc679fac.jpg",[],{"id":100342,"slug":100343,"title":100344,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":100345,"thumbUrl":100346,"material":66,"size":10301,"collection":84,"collections":100347,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},214779,"zhi-sheng-xian-xian-ban-shen-xiang-29-yi-ming-214779","至圣先贤半身像-29",[23,24,7,27,28,96,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F786bec5d72dfd73045a1b8460b923e07.jpg",[],{"id":100349,"slug":100350,"title":100351,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":100352,"thumbUrl":100353,"material":66,"size":10301,"collection":84,"collections":100354,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},214770,"zhi-sheng-xian-xian-ban-shen-xiang-37-yi-ming-214770","至圣先贤半身像-37",[23,24,7,27,96,28,77119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52df2f7fd397457d7ebecb9cde18172a.jpg",[],{"id":100356,"slug":100357,"title":100358,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":100359,"thumbUrl":100360,"material":66,"size":10301,"collection":84,"collections":100361,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},214766,"zhi-sheng-xian-xian-ban-shen-xiang-43-yi-ming-214766","至圣先贤半身像-43",[23,24,7,27,28,96,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faecc049e78212bc0a7a98ae6347694cb.jpg",[],{"id":100363,"slug":100364,"title":100365,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":100366,"thumbUrl":100368,"material":66,"size":10301,"collection":84,"collections":100369,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},214763,"zhi-sheng-xian-xian-ban-shen-xiang-46-yi-ming-214763","至圣先贤半身像-46",[23,24,7,59,27,28,96,7876,100367,1367],"头像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a423b7af64cfc6dc89543b6355c4731.jpg",[],{"id":100371,"slug":100372,"title":100373,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":100374,"thumbUrl":100375,"material":66,"size":10301,"collection":84,"collections":100376,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},214751,"zhi-sheng-xian-xian-ban-shen-xiang-57-yi-ming-214751","至圣先贤半身像-57",[23,164,24,7,59,27,28,96,11584,7876],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc6db4f11acef9e8ac2d5f3264085478.jpg",[],{"id":100378,"slug":100379,"title":100380,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":100381,"thumbUrl":100382,"material":66,"size":10301,"collection":84,"collections":100383,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":72},214750,"zhi-sheng-xian-xian-ban-shen-xiang-59-yi-ming-214750","至圣先贤半身像-59",[23,24,7,59,27,28,96,11584,38256,77119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72a1307d393f5205e3d2b8a34787944d.jpg",[],{"id":100385,"slug":100386,"title":100387,"dynasty":54,"author":223,"museum":35520,"description":35521,"tags":100388,"thumbUrl":100389,"material":173,"size":35524,"collection":84,"collections":100390,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":49},214321,"da-bei-shen-zhou-fo-xiang-19-yi-ming-214321","大悲神咒佛像-19",[23,24,7,59,27,28,187,96,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22579f61d542998ac9953313479d3ce5.jpg",[],{"id":100392,"slug":100393,"title":100394,"dynasty":54,"author":100395,"museum":56,"description":100396,"tags":100397,"thumbUrl":100398,"material":84,"size":84,"collection":136,"collections":100399,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100400},203453,"shao-ling-shi-yi-tu-ce-gu-fu-zhen-203453","少陵诗意图册","顾符稹","画面以水墨为底，皴擦与晕染交织，山峦在云雾中浮沉。近处林木苍劲，亭阁隐于浓荫，小径蜿蜒通幽；远处峰峦层叠，烟霭缭绕，留白处尽现空濛之韵。笔墨灵动，既勾勒山石的嶙峋，又晕染云雾的轻柔，恰将少陵诗中江山迷蒙的意境凝于尺幅。文人画的雅致与诗意的悠远相融，每一处笔触都藏着对诗境的解读，让山水不仅是景，更是情与韵的载体。",[23,24,7,59,128,29,131,37,97,34,499,132,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265343004079023f189a901974de33a5.jpg",[136],"c8b5aa",{"id":100402,"slug":100403,"title":33103,"dynasty":124,"author":2268,"museum":56,"description":100404,"tags":100405,"thumbUrl":100406,"material":84,"size":84,"collection":136,"collections":100407,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100408},203450,"fang-gu-shan-shui-ce-dong-qi-chang-203450","此册页笔墨清润疏朗，以淡墨晕染山水，山石勾勒简约见骨，皴擦间透出苍润质感。近景树木点染灵动，水畔小屋隐于林麓，远景山峦层叠，虚实相生间营造空濛悠远之境。左侧书法笔势流畅，与山水笔墨呼应，书画一体尽显文人书卷气。作品不重写实而重神韵，仿古中见个人意趣，传递平淡天真的审美追求。",[23,24,7,59,128,132,29,663,228,413,35,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23aa82e44cde290d191d0410a2c35585.jpg",[136],"9e927d",{"id":100410,"slug":100411,"title":100412,"dynasty":32945,"author":5076,"museum":56,"description":100413,"tags":100414,"thumbUrl":100415,"material":84,"size":84,"collection":68,"collections":100416,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100417},203360,"jiu-tan-shou-tao-tu-zhou-qi-bai-shi-203360","酒坛寿桃图轴","淡墨晕染的酒坛朴拙厚重，笼筐以浓黑铁线勾勒，刚劲有力；鲜红的寿桃如丹霞泼落，晕染出饱满多汁的鲜活，墨叶笔触泼辣，浓淡交错间尽显生机。整幅画以大写意之法，将日常酒器与吉祥寿桃相融，质朴与明艳相映，传递出热烈的祝寿意趣。笔墨凝练却神形毕肖，白石老人以生活入画，于简括中见真趣，尽显其艺术的独特魅力。",[24,7,165,128,27,169,61,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4035735f506a82bce36dce9a239a370a.jpg",[68],"333533",{"id":100419,"slug":100420,"title":100421,"dynasty":32945,"author":89286,"museum":56,"description":100422,"tags":100423,"thumbUrl":100424,"material":84,"size":84,"collection":136,"collections":100425,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":77280},203351,"xi-ya-qie-jian-tu-juan-wu-zheng-203351","西崖锲简图卷","笔墨苍润间铺展山水清境，林木以中锋勾勒，枝繁叶茂藏生机；山石用皴法晕染，纹理分明见古拙。亭舍隐于溪畔林间，与远山含黛、近水潺潺相映成趣，意境清幽雅致。题跋以行书挥就，笔势流畅，与画面浑然一体，尽显文人画“诗书画印”的韵致，传递出超然尘外的隐逸之思。整卷融山水之秀与笔墨之趣，既有传统文人画的意韵，又具个人风格的灵动，是近代书画结合的佳作。",[24,7,25,29,27,130,133,132,28172,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F929a11a462e412eb15962fcfb31abb78.jpg",[136],{"id":100427,"slug":100428,"title":409,"dynasty":54,"author":1472,"museum":56,"description":100429,"tags":100430,"thumbUrl":100431,"material":84,"size":84,"collection":117,"collections":100432,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100433},203339,"shan-shui-ce-zou-yi-gui-203339","画面右侧，几竿修竹倚苍石而生，竹叶以劲挺之笔勾勒，疏密错落间带自然风致；石体以淡墨皴染，纹理朴拙，与修竹的清逸相映成趣。左侧行书题字笔势流畅，墨色浓淡相宜，与竹石图浑然一体，尽显文人雅趣。整幅作品笔墨简淡却意韵悠长，书画相契的布局，传递出清寂雅致的文人气息。",[24,128,59,133,167,1314,208,132,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc55858ce718816183a84106d4824b15e.jpg",[117],"bba284",{"id":100435,"slug":100436,"title":76,"dynasty":54,"author":1472,"museum":56,"description":100437,"tags":100438,"thumbUrl":100439,"material":84,"size":84,"collection":84,"collections":100440,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100441},203335,"hua-hui-ce-zou-yi-gui-203335","画面右侧绘数尾游鱼，姿态灵动，或潜或浮，鳍尾舒展如曳轻绡。鱼身施以淡彩，鳞光隐现，似泛清池涟漪。周围水草疏淡，墨色晕染间见自然生趣。左侧行书题跋笔墨流畅，与朱红印章相映成趣，书画合璧更添雅致。整幅作品工写结合，设色温润，于细节处见匠心，尽显清逸之韵，将水族之态描摹得鲜活传神，宛如观鱼于池畔，生机盎然。",[24,7,59,27,2059,28,208,77186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e697e4c0d33f1c0fc5880a1582162c1.jpg",[],"d0b799",{"id":100443,"slug":100444,"title":100445,"dynasty":32945,"author":7853,"museum":56,"description":100446,"tags":100447,"thumbUrl":100448,"material":84,"size":84,"collection":136,"collections":100449,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":77280},203313,"qian-chi-bi-fu-tu-juan-wang-zhen-203313","前赤壁赋图卷","这幅图卷以苏轼《前赤壁赋》为魂，将文辞的旷达意境凝于笔墨。画面水墨淋漓，峰峦以皴法勾勒，尽显苍劲质感；江面孤舟轻泛，蓑笠人影与朦胧月色相映，似闻舟中清啸。笔墨洒脱随性，线条刚柔相济，草木简笔点染却生机暗涌。卷上满布行书题跋，书风与画风交融，字随画走，画伴文生，浑然一体间，既再现赤壁夜游的悠然情境，又传递出文人画特有的雅韵与哲思，令人沉浸于那份天地与我共生的旷远之境。",[24,7,25,128,29,129,133,64,132,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16a83eb1cffc7b67a2cc4981b0e78c3d.jpg",[136],{"id":100451,"slug":100452,"title":100453,"dynasty":32945,"author":40286,"museum":56,"description":100454,"tags":100455,"thumbUrl":100456,"material":84,"size":84,"collection":45,"collections":100457,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100458},203279,"qiao-song-zhi-shou-tu-zhou-chen-shi-ceng-203279","乔松之寿图轴","画面以苍劲乔松与奇崛孤石为主体，松干以赭石泼洒，肌理厚重如老鳞；松针以焦墨劲扫，锋芒毕露，尽显松之坚韧。下方孤石以浓淡干湿的水墨写就，孔洞交错，造型古拙，与松枝刚健形成呼应。笔墨洒脱不羁，兼具写意之趣与文人风骨，松石相衬寓意长寿安康，尽显传统文人画精神内涵。",[128,27,171,165,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e7a7941316e8aed075cd7ae925b90a7.jpg",[45],"a49381",{"id":100460,"slug":100461,"title":74085,"dynasty":32945,"author":100462,"museum":56,"description":100463,"tags":100464,"thumbUrl":100465,"material":84,"size":84,"collection":84,"collections":100466,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100467},203276,"hu-tu-zhou-he-xiang-ning-203276","何香凝","墨笔写意绘就的虎，侧身踞立，回眸间目光凛凛，尽显百兽之王的威仪。浓淡干湿的墨色交织，勾勒出虎的肌理与鬃毛，笔力雄健洒脱，寥寥数笔便将虎的刚劲姿态与内在气势渲染得淋漓尽致。背景留白简洁，更衬出虎的威猛，兼具写意的灵动与写实的生动，尽显画家笔墨功底与对虎的神韵把握。",[128,369,165,5490,949,9603,8162,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34218109fa9e77b6eab7c35790698691.jpg",[],"beb3a6",{"id":100469,"slug":100470,"title":43846,"dynasty":32945,"author":100462,"museum":56,"description":100471,"tags":100472,"thumbUrl":100473,"material":84,"size":84,"collection":84,"collections":100474,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100475},203273,"zhu-ju-tu-zhou-he-xiang-ning-203273","几竿修竹劲挺向上，浓淡墨叶疏朗有致；竹下菊丛摇曳生姿，花瓣卷曲含露，叶片墨韵饱满。三只灵雀或栖竹枝、或振翅欲飞、或立矮梢，顾盼间满是生机。笔墨洒脱自然，竹的清劲与菊的雅柔相映成趣，水墨晕染层次分明，尽显文人画清雅意趣，暗合君子高洁之姿。",[24,128,7,165,61,167,376,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34a8ba5c07230b16327b61b7c1883fe0.jpg",[],"bab3a5",{"id":100477,"slug":100478,"title":14647,"dynasty":54,"author":1311,"museum":56,"description":100479,"tags":100480,"thumbUrl":100482,"material":84,"size":84,"collection":84,"collections":100483,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100484},203260,"mei-hua-tu-ce-wang-shi-shen-203260","梅枝虬曲如铁，以灵动线条写就老干的苍劲质感，枝间疏花点点，花瓣轻妍若蝶，墨痕淡逸却含风骨。笔意简括而神完气足，将梅花凌寒独开的清姿与孤傲品格尽现纸上，素净纸间似有冷香幽韵浮动，是文人画中寄情于物、以梅喻志的绝佳写照，尽显清逸高标的艺术格调。",[24,7,59,128,188,61,371,100481],"印","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23d4ea8735d756c7118d9e872d2aee16.jpg",[],"d2c1b2",{"id":100486,"slug":100487,"title":100488,"dynasty":32945,"author":5367,"museum":56,"description":100489,"tags":100490,"thumbUrl":100491,"material":84,"size":84,"collection":84,"collections":100492,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100493},203244,"xi-shan-shi-qu-tu-zhou-pu-ru-203244","溪山诗趣图轴","画面山峦层叠，云雾轻笼，松枝虬劲，翠叶间丹红点缀，秋意隐现。山舍临溪而筑，幽人凭栏，似与溪山共语；桥下流水潺潺，策杖行者徐行，尽显林泉雅趣。笔墨清逸，皴染相济，山石以淡墨勾勒皴擦，云雾借留白晕染，意境空灵悠远，尽显传统文人画的雅致风骨。",[24,29,27,132,372,98,99,7,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F768390801436ddff7fa15a27f98b023e.jpg",[],"cabb9b",{"id":100495,"slug":100496,"title":100497,"dynasty":32945,"author":29045,"museum":56,"description":100498,"tags":100499,"thumbUrl":100500,"material":84,"size":84,"collection":136,"collections":100501,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100502},203189,"hua-shan-qian-zhang-tu-cheng-shan-wu-hu-fan-203189","华山千嶂图成扇","扇面之上，华山千嶂层叠竞秀，笔墨勾勒间尽现雄奇风骨。苍松倚石，枝干盘曲遒劲，松针密簇如绒，墨色浓淡交织出苍润之致。山间石阶蜿蜒隐现，云雾轻笼处似通幽径。皴法细腻，山石纹理嶙峋可见；水墨晕染，朦胧气韵漫溢咫尺之间。设色淡雅却层次分明，构图随扇形铺展，远近错落有致，小尺幅藏千里之势。清旷悠远的意境中，尽显文人山水的灵秀与意趣。",[24,7,1131,128,27,132,29,372,496,9425,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58e6249264eaad9bd45e59e4b07deae3.jpg",[136],"544d43",{"id":100504,"slug":100505,"title":58611,"dynasty":124,"author":2268,"museum":56,"description":100506,"tags":100507,"thumbUrl":100508,"material":84,"size":84,"collection":136,"collections":100509,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100510},203173,"fang-gu-shan-shui-tu-ce-dong-qi-chang-203173","这幅山水以行书笔意贯串笔墨，线条清劲灵动，皴擦简淡却见层次。远山晕染出朦胧烟霭，近坡松针挺秀，林木错落间透着静谧幽深。画面左侧行书题跋与山水相映，文气与画意交融，尽显文人画的清雅空灵。整体取法宋元山水意趣，却以己意化之，于简淡中藏丘壑，于空灵处见生机，是“以书入画”“师古而化”的典型体现。",[24,7,59,128,29,1144,133,132,2271,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1df9a5afddd41477f715512b7e5095b8.jpg",[136],"c6beb9",{"id":100512,"slug":100513,"title":4724,"dynasty":54,"author":55,"museum":56,"description":100514,"tags":100515,"thumbUrl":100516,"material":84,"size":84,"collection":136,"collections":100517,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100518},203145,"shan-shui-tu-ce-yun-shou-ping-203145","此作笔墨秀润灵动，山石以淡墨皴擦出自然肌理，线条婉转间见清逸之致；树木葱茏错落，屋舍隐于林麓，小径蜿蜒通幽，布局疏密得宜，流露悠远静谧的诗意。左侧行书题跋笔意洒脱，与山水景致相映成趣，尽显文人画诗书画融合的雅致韵味。整体风格清新雅致，于简淡中藏深致，是山水小品中的佳构。",[24,7,59,128,29,133,132,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F537a691105d18fe7976f7d2e966041a2.jpg",[136],"d9bc99",{"id":100520,"slug":100521,"title":100522,"dynasty":32945,"author":5076,"museum":56,"description":100523,"tags":100524,"thumbUrl":100525,"material":84,"size":84,"collection":84,"collections":100526,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100527},203081,"mei-que-tu-zhou-qi-bai-shi-203081","梅雀图轴","老梅枝干如篆笔写就，虬曲苍劲，枯润交错间尽显金石韵味。疏花淡敷轻彩，点点缀枝，似有暗香浮动。枝头麻雀憨态可掬，墨块点染成形，眼神灵动，与古拙梅枝相映成趣。画面留白疏朗，意境清寂却生机暗藏，白石老人以简驭繁，将寻常花鸟化为笔墨雅趣——质朴中藏深情，金石味与自然意趣交融，耐人寻味。",[24,7,128,27,61,371,132,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa73998f43a9b89a72c19c0a49331afb2.jpg",[],"c0a78f",{"id":100529,"slug":100530,"title":100531,"dynasty":32945,"author":5076,"museum":56,"description":100532,"tags":100533,"thumbUrl":100534,"material":84,"size":84,"collection":84,"collections":100535,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100536},203036,"lan-shi-e-niao-tu-zhou-qi-bai-shi-203036","兰石鹗鸟图轴","鹗鸟踞于孤石之巅，墨羽苍劲，圆眸点染得炯炯有神，憨态里藏着几分警觉。石侧兰草疏逸，叶线流转如舞，赭黄点花添野趣生机。整作笔墨简括却意韵丰沛，白石老人以写意之法，将寻常花鸟写得鲜活灵动，质朴中见真趣，尽显对自然生命的深切观照。",[24,7,165,128,27,61,171,375,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06ec0051c034414f824b7176241d2c61.jpg",[],"c5af91",{"id":100538,"slug":100539,"title":30254,"dynasty":54,"author":43161,"museum":56,"description":100540,"tags":100541,"thumbUrl":100542,"material":84,"size":84,"collection":84,"collections":100543,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100544},203009,"shan-shui-ren-wu-tu-ce-li-yu-203009","墨韵流转间，崖壁以简劲皴法写出，如斧劈般峭拔；云气用淡墨晕染，似流泉般轻盈。树下二人对坐，衣袂寥寥几笔却见风神，或叙幽情，或赏烟霞。题跋与朱印相映，诗画相融，更添文人雅趣。整幅画作以写意之笔勾勒山水人物，意境清旷，尽显超然物外的林下之风，于方寸册页间藏天地之阔。",[24,128,29,96,132,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1970cc4191e091c97e61f1d317ab9a16.jpg",[],"ded8d1",{"id":100546,"slug":100547,"title":100548,"dynasty":32945,"author":89286,"museum":56,"description":100549,"tags":100550,"thumbUrl":100551,"material":84,"size":84,"collection":84,"collections":100552,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100553},202968,"hua-hui-tu-zhou-wu-zheng-202968","花卉图轴","画面以写意笔触铺陈，墨竹枝干挺劲，叶片错落间见笔力；数丛花卉点缀其间，色彩明丽却不失雅致，红叶片片似染秋光，白菊淡雅衬于石旁。巨石以泼墨晕染，皴擦兼施，苍劲古朴。笔墨交融处，既有文人画的意趣，又显自然生机。设色与水墨相映成趣，动静相宜，尽显秋意盎然之态。",[24,7,61,128,27,167,376,171,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1bc80ecaad70862308e2d9cc36936e9.jpg",[],"c2b7a7",{"id":100555,"slug":100556,"title":14510,"dynasty":32945,"author":24258,"museum":56,"description":100557,"tags":100558,"thumbUrl":100559,"material":84,"size":84,"collection":84,"collections":100560,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100561},202917,"mo-he-tu-zhou-chen-heng-ke-202917","墨色淋漓间，荷叶以泼墨之法铺展，浓淡干湿交错，尽显苍劲生机。茎干以劲挺线条勾勒，顿挫有致，墨点错落似含风露之态。笔墨简括却意韵悠长，题跋与画境相映，文人风骨隐于其中。荷叶阔大与茎的纤细形成对比，墨法运用自如，将荷花清逸坚韧凝于尺幅，传递自然人文交融的雅致情趣。",[24,128,168,81,7,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3572534c8ad0b1df8eb67a0d4b3a5f1.jpg",[],"b0a592",{"id":100563,"slug":100564,"title":100565,"dynasty":32945,"author":5076,"museum":56,"description":100566,"tags":100567,"thumbUrl":100568,"material":84,"size":84,"collection":84,"collections":100569,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100570},202864,"luo-han-xiang-zhou-qi-bai-shi-202864","罗汉像轴","红衣罗汉趺坐蒲团，垂首敛目间流露沉静安然之态。墨块淋漓如崖壁覆顶，紫粉藤蔓轻盈垂落，与浓墨形成虚实相映之趣。人物衣纹简括，面部勾勒寥寥却神情毕肖，齐白石以写意笔墨融工致细节，设色明快中见古雅，简约构图里藏禅意悠悠，尽显其独特艺术韵味。",[24,7,165,187,96,369,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fad271834db4c8247a73e4fa7cf8bee.jpg",[],"90918c",{"id":100572,"slug":100573,"title":100548,"dynasty":32945,"author":5076,"museum":56,"description":100574,"tags":100575,"thumbUrl":100577,"material":84,"size":84,"collection":84,"collections":100578,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100579},202799,"hua-hui-tu-zhou-qi-bai-shi-202799","这幅花卉图以写意笔墨铺陈，朱红花朵艳而不妖，笔触率意却见神采；水仙素白清雅，黄蕊如星点缀，叶片淡墨挥写，柔韧舒展间藏风骨。瓶中梅枝斜逸，花苞含露待放，与背景写意兰叶相映成趣。整幅画简淡中藏生机，不事雕琢却形神兼备，尽显白石老人对自然的细腻体察与写意技法的精妙——以形写神，以意取胜，寥寥数笔便将花木鲜活气息跃然纸上，观之如沐春风，满纸生趣盎然。",[24,7,165,128,27,61,371,374,603,28172,100576],"形神","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac80da9fc1f7523f5c87184a654e42e.jpg",[],"cfcdbb",{"id":100581,"slug":100582,"title":100583,"dynasty":124,"author":15464,"museum":56,"description":100584,"tags":100585,"thumbUrl":100586,"material":84,"size":84,"collection":84,"collections":100587,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100588},202718,"wan-li-wu-yun-shi-yi-tu-zhou-xie-shi-chen-202718","万里无云诗意图轴","这幅画以淡墨铺陈出清旷月夜之境，远山层叠隐于薄雾，近景古松虬枝盘曲，苍劲有力。木桥横架其间，三人凭栏而立，似共赏万里无云的澄明夜色。亭台掩映于林麓，飞檐与松影相映成趣。笔墨兼工带写，山石以皴法勾勒纹理，树木枝干挺劲，人物衣袂轻扬，神态悠然。整体意境空灵静谧，既展自然山水之幽远，又含文人雅集之清趣，尽显明代文人画的抒情意韵。",[24,7,165,128,27,29,96,130,98,231,211,689,132,28,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe484253225520cbfb23237efdabc2f43.jpg",[],"a78973",{"id":100590,"slug":100591,"title":100548,"dynasty":54,"author":3403,"museum":56,"description":100592,"tags":100593,"thumbUrl":100594,"material":84,"size":84,"collection":84,"collections":100595,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100596},202604,"hua-hui-tu-zhou-wu-chang-shuo-202604","这幅花卉作品笔墨老辣，篆隶笔意融入线条，如铁画银钩般刚劲有力。花朵设色浓艳却不失古雅，丹红与素白相映成趣，墨叶苍劲浑厚，与花枝相互映衬，生机勃发。构图错落有致，花瓶造型简约写意，花枝穿插自然灵动，题款与印章的搭配更显书画印一体的独特韵味。整体画面既富盎然生机，又含金石朴拙厚重感，尽显“画气不画形”的艺术主张，将文人画的意趣与金石的沉雄完美融合。",[24,7,165,27,61,208,133,369,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c13e5f86b4165bffb4248abf4888b7.jpg",[],"c8bcaa",{"id":100598,"slug":100599,"title":100600,"dynasty":54,"author":45224,"museum":56,"description":100601,"tags":100602,"thumbUrl":100603,"material":84,"size":84,"collection":84,"collections":100604,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100605},202583,"mo-shen-shi-shan-shui-tu-zhou-li-shi-zhuo-202583","摹沈仕山水图轴","画面以水墨写意，枯树虬枝用劲挺线条勾勒，山石皴擦显苍浑质感。近景溪岸老树盘根，小径蜿蜒，行人悠然；中景茅舍隐于疏林，柴门半启，野趣盎然；远景峰峦淡墨晕染，云雾轻绕，意境空灵。摹沈仕山水却不失己意，笔致灵动，将古雅韵致与清逸气息相融，尽显文人山水的清幽之趣，观之如入林泉深处，尘心尽涤。",[24,29,128,132,1337,23362,1023,330,165,96,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03f961966f26bbce3bfcd988250157b0.jpg",[],"c5b4a3",{"id":100607,"slug":100608,"title":34610,"dynasty":54,"author":9999,"museum":56,"description":100609,"tags":100610,"thumbUrl":100611,"material":84,"size":84,"collection":84,"collections":100612,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100613},202576,"ren-wu-tu-zhou-huang-shan-shou-202576","画面人物衣纹工细流畅，神态庄重儒雅，身旁仙鹤灵动，松枝苍劲。侍从恭立，构图疏密有致。设色温润雅致，工笔细腻中含韵致，松鹤意象暗合吉祥，尽显清代工笔人物画的精致格调，传递出古朴清逸之美。",[24,7,28,27,96,165,61,211,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7f41655381d818b5aebe19add320e59.jpg",[],"825f3e",{"id":100615,"slug":100616,"title":100617,"dynasty":54,"author":16583,"museum":56,"description":100618,"tags":100619,"thumbUrl":100620,"material":84,"size":84,"collection":84,"collections":100621,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100622},202535,"song-bai-chang-chun-tu-zhou-gao-qi-pei-202535","松柏长春图轴","画面中苍松老干盘曲，肌理如铁铸般苍劲，松针以浓墨点簇，疏密交错间尽显坚韧之姿。旁侧怪石嶙峋，皴擦笔触勾勒出嶙峋质感，石隙间几竿劲竹斜逸，添得清疏雅韵。全作用墨层次丰富，古松的朴拙与松针的挺健相映，石与竹的搭配更衬松柏经岁不凋的生机，传递出文人眼中的高洁品格。画风洒脱灵动，于简约中见深致，尽显自然物态的苍劲与清逸。",[24,7,165,132,9613,10701,167,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e3e1fde9d59bb2d90639e67e8e5aa49.jpg",[],"69491c",{"id":100624,"slug":100625,"title":100626,"dynasty":124,"author":100627,"museum":56,"description":100628,"tags":100629,"thumbUrl":100630,"material":84,"size":84,"collection":84,"collections":100631,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":77280},202525,"qing-xi-tu-shu-hua-he-juan-dang-yi-ping-202525","清溪图书画合卷","党以平","此卷书画合璧，墨痕深浅间流淌着明代文人的清雅意趣。画卷以水墨写山水，皴法点染山石肌理，亭榭依林而立，流水潺潺绕岸，草木扶苏，远山含黛，一派溪山幽寂之景。书法以行书挥就，笔意洒脱流畅，与画面的淡远意境相得益彰，诗画交融，气韵浑然。整卷笔墨简练却意境悠远，似将林泉之静与笔墨之动凝于一卷，观之如沐清风，心归澄澈。",[24,7,25,128,29,130,99,133,132,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65a93065905a57f749d5aac7cbdbd4b4.jpg",[],{"id":100633,"slug":100634,"title":100635,"dynasty":54,"author":1219,"museum":56,"description":100636,"tags":100637,"thumbUrl":100638,"material":84,"size":84,"collection":84,"collections":100639,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":77280},202459,"wu-tong-feng-huang-tu-zhou-ren-yi-202459","梧桐凤凰图轴","画面里梧桐枝干盘曲，墨笔勾勒间见苍劲，叶片泼墨点染，浓淡相宜。凤凰姿态鲜活，一昂首伫立，一俯身欲动，羽翼色彩明丽，红棕蓝白交织，兼工带写的笔触既细腻刻画翎羽纹理，又写意挥洒气韵。山石淡彩晕染，与花鸟相映，整体生机盎然，尽显笔墨灵动之趣。",[24,27,61,211,171,7,28,128,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79c26eca296fc073a890ea02db07c6b.jpg",[],{"id":100641,"slug":100642,"title":17039,"dynasty":54,"author":3403,"museum":56,"description":100643,"tags":100644,"thumbUrl":100646,"material":84,"size":84,"collection":84,"collections":100647,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100648},202451,"mo-zhu-zhou-wu-chang-shuo-202451","此作以金石入画之法写墨竹，笔力沉雄老辣。竹竿取篆籀圆劲之笔，节节挺劲如铸如刻；竹叶以狂草泼墨挥洒，浓淡干湿交错，叠映间见疏朗章法，墨气淋漓中尽显竹之苍劲风骨。画家将篆刻刚健、书法韵味与竹的坚韧性情相融，画面简括却气韵充沛，于豪放挥洒里藏文人雅趣，尽显沉雄朴拙的晚清文人画气象。",[24,128,167,208,938,840,7,100645],"金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fb40e1827ff5c82c5d3b2007aab3476.jpg",[],"c5b8a8",{"id":100650,"slug":100651,"title":74076,"dynasty":54,"author":3403,"museum":56,"description":100652,"tags":100653,"thumbUrl":100657,"material":84,"size":84,"collection":84,"collections":100658,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100659},202443,"hong-mei-tu-zhou-wu-chang-shuo-202443","画面中老梅枝干如铁铸般虬曲盘折，以浓淡干湿的墨色挥写，线条藏篆隶笔意，顿挫有力，尽显古拙刚健之姿。枝头红梅点缀，胭脂淡染，或含苞或绽放，艳而不俗，与墨干形成鲜明对比，鲜活灵动。右侧狂草题跋笔墨酣畅，诗画相映，更添文人意趣。整幅作品气骨开张，苍劲中见秀逸，将梅花孤傲品格与画家豪情融为一体，尽显“苦铁画气不画形”的艺术主张，是晚清花鸟画的经典之作。",[24,7,165,128,27,61,371,938,21937,840,100654,100655,100656],"以书入画","苍劲","秀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F928e117515d735be386403cfcd3a45de.jpg",[],"bab39f",{"id":100661,"slug":100662,"title":100663,"dynasty":54,"author":100664,"museum":56,"description":100665,"tags":100666,"thumbUrl":100667,"material":84,"size":84,"collection":84,"collections":100668,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":94318},202417,"li-dong-yang-xiao-xiang-zhou-jia-song-202417","李东阳肖像轴","贾崧","这幅肖像轴聚焦人物形象，绘者以精准线条勾勒衣纹与面容，衣袍宽缓，神态肃穆，传递出文人的儒雅风骨。四周密布的行书题跋笔势婉转，与肖像相互呼应，既补充人物背景，又强化书画合璧的传统意蕴。朱红印章散落其间，与素净纸本相映成趣，更添古雅气息。作品集肖像绘制、书法题咏、篆刻钤印于一身，展现清代肖像画融艺术与文献价值于一体的特点。",[24,7,165,96,28,133,208,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30a232cfa9c997fc40f29066d1995ab1.jpg",[],{"id":100670,"slug":100671,"title":17039,"dynasty":54,"author":81240,"museum":56,"description":100672,"tags":100673,"thumbUrl":100674,"material":84,"size":84,"collection":84,"collections":100675,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100676},202411,"mo-zhu-zhou-fang-xun-202411","墨竹疏朗有致，枝干挺劲如篆，竹叶撇捺似草，笔墨浓淡相生，尽显竹之清逸气节。文人意趣浓厚，诗跋与竹影相映成趣，墨气淋漓间，透出自然生趣与士人风骨。以书入画，笔法洒脱，竹叶向背、聚散安排巧妙，疏密得当，留白处见空灵。墨色干湿互用，枝干的苍劲与竹叶的灵动形成对比，传递出对竹之品格的崇尚，是诗书画印融合的文人画佳作。",[167,128,7,133,64,100481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d7482620a2c5633b29d74fafe5fabf6.jpg",[],"c6b29b",{"id":100678,"slug":100679,"title":20347,"dynasty":54,"author":6936,"museum":56,"description":100680,"tags":100681,"thumbUrl":100682,"material":84,"size":84,"collection":84,"collections":100683,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":84707},202381,"shan-shui-tu-zhou-wang-yuan-qi-202381","这幅山水图轴取境深远，层峦叠嶂间笔墨苍劲老辣，皴染交织尽显山石纹理之妙。山间树木姿态各异，松枝虬曲如铁，杂树错落有致，与山石浑然一体。近景处小桥卧波，屋舍掩映于林麓间，流水潺潺似可闻，营造出清幽静谧的文人栖居之境。整体构图疏密得当，气息醇厚含蓄，承宋元山水遗韵，又融个人笔墨意趣，尽显沉雄古逸之态，为文人山水画的典范之作。",[24,29,132,98,7,164,28172,2132,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9590973518b677a737c49b535a925f1.jpg",[],{"id":100685,"slug":100686,"title":80751,"dynasty":54,"author":3403,"museum":56,"description":100687,"tags":100688,"thumbUrl":100689,"material":84,"size":84,"collection":84,"collections":100690,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100691},202378,"lan-zhu-tu-zhou-wu-chang-shuo-202378","兰竹傍石而生，笔墨苍劲中见清雅。以金石入画之法，篆隶线条勾勒花叶枝干，如铁画银钩，墨色浓淡相宜，竹叶潇洒有姿，兰草柔韧含韵，孤石朴拙古雅。构图简括却气韵生动，水墨晕染间，尽显文人画的意趣与君子风骨。花草虽柔，却因笔力刚健而具刚劲之态，将自然之美与画家胸襟相融，观之神清气爽，韵味无穷。",[128,165,375,167,171,7,24,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F928518d14ff5028ef1fcc06816447429.jpg",[],"c4b7a8",{"id":100693,"slug":100694,"title":100695,"dynasty":54,"author":1460,"museum":56,"description":100696,"tags":100697,"thumbUrl":100699,"material":84,"size":84,"collection":84,"collections":100700,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100701},202364,"zhu-shi-tu-ye-shi-tao-202364","竹石图页","墨竹以浓淡干湿之笔挥洒，竹叶层叠却疏密有致，似带飒飒风声；顽石用粗犷皴法勾勒，肌理厚重与竹的清劲形成呼应。笔墨纵逸中藏法度，既得文人画竹的雅致，又显个性的挥洒，尽显“我法”之妙。竹石相依，隐现山野幽趣，题款与画面交融，文气与画意共生，是文人竹石题材的佳作。",[24,128,167,1314,132,7,100698],"名","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8f524dd9ba45f76342728f84941363.jpg",[],"cbcbc7",{"id":100703,"slug":100704,"title":100705,"dynasty":124,"author":125,"museum":56,"description":100706,"tags":100707,"thumbUrl":100708,"material":84,"size":84,"collection":84,"collections":100709,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100710},202256,"tao-hua-tu-zhou-shen-zhou-202256","桃花图轴","疏枝横斜，淡粉点染，桃花清妍之态跃然纸上。枝干以枯笔皴擦，兼施淡墨，苍劲中见灵秀；花瓣轻敷淡彩，雅而不艳。旁题行书数语，笔墨流畅，诗画相契，尽显文人逸趣。整幅作品以写意笔法写就，不刻意求工，而神韵自生，将自然之美与文人情怀融于一体，尽显沈周文人花鸟的雅致。",[2132,128,27,133,209,165,61,369,7,24,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76dd6baba48f720bc27563eb8ffb1e79.jpg",[],"b2a38a",{"id":100712,"slug":100713,"title":100714,"dynasty":54,"author":1460,"museum":56,"description":100715,"tags":100716,"thumbUrl":100717,"material":84,"size":84,"collection":84,"collections":100718,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100719},202248,"fang-mi-shan-shui-zhou-shi-tao-202248","仿米山水轴","这幅山水以水墨为基调，米氏点染技法铺陈云峦，山石以简括笔触勾勒，晕染间显苍润质感。近岸孤石旁松枝摇曳，亭宇半藏于林麓；江中孤舟一叶，蓑笠人影隐约，添得清寂幽远之致。笔墨纵逸中见法度，既承袭米派云山的空濛意趣，又注入石涛独有的灵动生机，虚实相生间，将自然丘壑与文人胸臆相融，尽显山水之灵秀与诗意。",[24,128,29,129,1350,130,171,132,330,7,165,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c62f448eabf37913d48c0eea7c3a560.jpg",[],"c4b7a7",{"id":100721,"slug":100722,"title":100723,"dynasty":54,"author":19894,"museum":56,"description":100724,"tags":100725,"thumbUrl":100726,"material":84,"size":84,"collection":84,"collections":100727,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100728},202242,"shu-kui-tu-zhou-zheng-xie-202242","蜀葵图轴","蜀葵枝干挺秀，花叶以水墨晕染，淡蓝设色点染花瓣，层次清雅。叶片浓淡相间，笔触灵动，尽显自然生机。右侧行书题跋笔力劲健，与花枝错落呼应，诗画交融，蕴藉文人意趣。整幅作品笔墨洒脱，清逸脱俗，于写意间见细腻，于简约中藏韵致，尽显独特的文人画风貌。",[24,7,165,128,27,61,77186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff121ffeeed536ce5765222ca8a4f5a7d.jpg",[],"aea595",{"id":100730,"slug":100731,"title":100732,"dynasty":54,"author":69568,"museum":56,"description":100733,"tags":100734,"thumbUrl":100735,"material":84,"size":84,"collection":84,"collections":100736,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100737},202134,"song-ju-zhu-shi-tu-zhou-hu-yuan-202134","松菊竹石图轴","画面取松、竹、菊、石为景，笔墨写意洒脱，设色清雅宜人。苍松虬枝盘曲，松针以浓墨簇点，尽显刚劲；翠竹叶片挺括，撇捺间透着气节；秋菊团簇绽放，淡彩点染中见傲霜之姿；巨石以皴法皴擦，纹理苍古厚重。四物相衬，构筑出静谧高洁的文人意境，借自然物象寄寓品格追求。题款书法流畅，印章点缀其间，书画印相映成趣，更添雅致韵味。",[24,128,27,372,167,376,171,132,165,7,100481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5b6308ea95f752d5b643132bdaf25b5.jpg",[],"a4978b",{"id":100739,"slug":100740,"title":100741,"dynasty":54,"author":48763,"museum":56,"description":100742,"tags":100743,"thumbUrl":100744,"material":84,"size":84,"collection":44,"collections":100745,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100746},202132,"yi-qi-tu-ye-shang-guan-zhou-202132","奕棋图页","画面以简约笔墨绘就文人弈棋场景，二人对坐凝神对弈，一人立侧静观，衣袂线条流畅洒脱，神态刻画传神入微。淡墨晕染与白描线条交织，背景大片留白，于简洁中蕴藉闲雅意趣，尽显古代士人博弈时的从容心境与文人雅韵。",[24,7,188,128,96,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ca6f5952b70314ea378b39310ffe85d.jpg",[44],"eae2d5",{"id":100748,"slug":100749,"title":100548,"dynasty":54,"author":100750,"museum":56,"description":100751,"tags":100752,"thumbUrl":100753,"material":84,"size":84,"collection":84,"collections":100754,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100755},202120,"hua-hui-tu-zhou-zhu-xiong-202120","朱熊","画面枝干曲劲舒展，粉白花朵点缀枝头，嫩蕊轻绽似含春。双燕振翅穿林，姿态灵动鲜活，为静谧景致添几分生机。笔墨雅致，设色清淡，以简洁构图传递文人画的疏朗意趣，将春日花鸟的闲逸与鲜活融于一纸，尽显自然之美与笔墨情韵。",[24,7,165,27,61,209,211,94523],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91ded82c67773ba858b210a8cdbce464.jpg",[],"b3854f",{"id":100757,"slug":100758,"title":15906,"dynasty":54,"author":100759,"museum":56,"description":100760,"tags":100761,"thumbUrl":100762,"material":84,"size":84,"collection":84,"collections":100763,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100764},202116,"mo-mei-tu-zhou-you-yin-202116","尤荫","墨梅老干苍劲如铁，以枯笔浓墨写出虬曲之姿；新枝挺秀疏朗，线条灵动洒脱。花朵圈点有致，墨色层次分明，清雅中见孤傲气节。笔墨简逸相生，苍润得宜，留白空灵悠远，尽显寒梅傲雪清逸之态。题款书法流畅自然，印章点缀其间，更添文人意趣，是清代墨梅画中兼具形神与品格的佳作。",[24,7,165,128,371,61,208,133,88909],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa77fdf7937fe7d6635c781a0bfab6898.jpg",[],"c5aa90",{"id":100766,"slug":100767,"title":6663,"dynasty":54,"author":100768,"museum":56,"description":100769,"tags":100770,"thumbUrl":100771,"material":84,"size":84,"collection":117,"collections":100772,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100773},202046,"zhu-shi-tu-zhou-hong-fan-202046","洪范","这幅竹石图以水墨写意成趣，竹枝劲挺，竹叶撇捺间带风致，墨色浓淡交错显婆娑之态；孤石嶙峋，淡墨晕染衬其厚重，皴擦点苔增其苍劲。竹之清逸与石之沉稳相映，笔墨简练却传神，尽显文人画的意趣风骨。墨气淋漓间，自然生机与笔墨韵味交融，堪称水墨写意的精妙之作。",[24,128,167,171,132,165,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d5a67c78540a4cdd15949eef79eff19.jpg",[117],"b2a18f",{"id":100775,"slug":100776,"title":100777,"dynasty":54,"author":7716,"museum":56,"description":100778,"tags":100779,"thumbUrl":100781,"material":84,"size":84,"collection":84,"collections":100782,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100783},202001,"song-lu-ren-wu-tu-zhou-gai-qi-202001","松鹿人物图轴","画面中雅士宽袍博带，手持灵芝，面容慈和温润；白鹿驯顺依偎身侧，鹿角纤细灵动，姿态亲昵。苍松虬劲盘曲，松针层叠细密，枝干纹理古拙，墨色浓淡相宜。设色清雅温润，线条工细流畅，人物衣纹转折自然，尽显文人画的雅致韵致。整体构图简洁，意境恬淡祥瑞，传递出长寿安康的美好祈愿，兼具艺术观赏性与文化内涵。",[24,165,28,27,96,372,2302,949,7,100780],"祥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a994ab8866cdb0637c63c68df7fe989.jpg",[],"a98b65",{"id":100785,"slug":100786,"title":100787,"dynasty":54,"author":1219,"museum":56,"description":100788,"tags":100789,"thumbUrl":100790,"material":84,"size":84,"collection":44,"collections":100791,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100792},201962,"yi-qi-tu-zhou-ren-yi-201962","弈棋图轴","松下雅聚，弈者凝神，观者侧立，童子躬身侍茶，情态毕肖。笔墨兼工带写，衣纹简练流畅，墨色浓淡相宜，设色清雅自然。背景山石草木以写意出之，与人物的细致刻画相映成趣，尽显文人闲逸之趣。画面生机盎然，于简淡中见情味，是海派人物画的传神之作。",[24,7,165,27,96,28,128,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43ae3119c59d355d81a61f9c12640414.jpg",[44],"ccc2b8",{"id":100794,"slug":100795,"title":100796,"dynasty":54,"author":100797,"museum":56,"description":100798,"tags":100799,"thumbUrl":100800,"material":84,"size":84,"collection":68,"collections":100801,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100802},201903,"zong-lv-tu-zhou-luo-an-xian-201903","棕榈图轴","罗岸先","棕榈枝干以写意泼墨绘成，墨色浓淡交错，隐有风动之态；叶片挥洒灵动，笔触苍劲中含逸趣，寥寥数笔尽显挺拔野意。旁侧细枝缀红果，淡彩点染，为苍劲画面添鲜活生气。枝干纹理用干笔皴擦出质感，叶片垂坠以流畅墨线勾勒，墨色干湿互见，层次丰富。画风洒脱不拘，简淡里藏意趣，融文人逸韵与写生真切，堪称写意花鸟佳构。",[24,7,165,128,27,61,132,369,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa22b55e9648ecc222e84ff48f4254e8a.jpg",[68],"c3b192",{"id":100804,"slug":100805,"title":100806,"dynasty":54,"author":77452,"museum":56,"description":100807,"tags":100808,"thumbUrl":100809,"material":84,"size":84,"collection":136,"collections":100810,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100811},201873,"yun-shan-song-quan-tu-zhou-zhang-peng-chong-201873","云山松泉图轴","画面以水墨写意出层叠云山，烟岚轻笼间苍松挺秀，虬枝舒展带风致。山涧泉流潺潺，绕着几间茅舍小筑，意境清幽淡远。笔墨运用灵动，山石以简皴勾染显肌理，松针劲挺见精神，泉水蜿蜒成趣。整体气韵闲适，融自然之美与居停之趣，尽显文人山水的超然逸致。",[24,7,165,128,29,372,5359,132,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbe315ad4037df0e270c77810d1f21e0.jpg",[136],"b29c83",{"id":100813,"slug":100814,"title":30245,"dynasty":54,"author":5181,"museum":56,"description":100815,"tags":100816,"thumbUrl":100817,"material":84,"size":84,"collection":84,"collections":100818,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100819},201866,"mei-hua-tu-zhou-pu-hua-201866","老干盘曲如铁，水墨淋漓间见苍劲之姿，枝桠横斜，或浓墨焦枯，或淡墨轻染，尽显笔力老辣。红梅点点，艳而不俗，白梅疏疏，雅而有致，花萼勾勒简洁，花瓣晕染鲜活，于疏密错落中见生机。题字行书流畅，与梅枝笔意呼应，文气与画意交融，尽显文人画的洒脱意趣。整幅画作不拘谨，笔墨奔放，将梅花的傲骨与清韵尽现，是蒲华画梅的典型风貌。",[24,7,165,128,27,371,61,133,100481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda99a90ea89ddb2e82d826c0e1b51968.jpg",[],"cac1bb",{"id":100821,"slug":100822,"title":100823,"dynasty":54,"author":36130,"museum":56,"description":100824,"tags":100825,"thumbUrl":100826,"material":84,"size":84,"collection":68,"collections":100827,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100828},201799,"mo-cai-tu-zhou-chen-zhuan-201799","墨菜图轴","画面以水墨写意绘蔬果，淡墨晕染叶片，浓墨勾勒筋脉，笔触简括却灵动传神。菜叶舒展自然，菜根朴拙厚实，于简约笔墨中尽显蔬食的鲜活意态。旁配行书题跋，笔墨清逸流畅，诗书画印融为一体，流露文人画的雅致意趣。画家以日常蔬果入画，于平凡物象中寄寓真味，传递出对生活本真的热爱与淡泊心境，简约间见深厚笔墨功底与文人情怀。",[24,128,7,165,208,133,61,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60438df2868654da3f1347d1f693c10d.jpg",[68],"c6b098",{"id":100830,"slug":100831,"title":55055,"dynasty":54,"author":100759,"museum":56,"description":100832,"tags":100833,"thumbUrl":100834,"material":84,"size":84,"collection":84,"collections":100835,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100836},201570,"mo-zhu-tu-zhou-you-yin-201570","墨竹疏朗挺劲，枝干以中锋运笔，遒健如铁；竹叶侧锋挥洒，浓淡干湿交错，姿态万千，似闻飒飒清风。下方孤石以简括皴法写就，朴拙厚重，与修竹刚柔相济。右上角行书题跋流畅，朱红印章点缀，书画印浑然一体，尽显文人雅韵。整幅以水墨写意竹之坚韧气节，笔墨间流露画者胸臆，气韵生动，意趣盎然。",[24,7,165,128,167,208,133,171,88909],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd45d58da661f43aefd0a6b613e1197c4.jpg",[],"baaa98",{"id":100838,"slug":100839,"title":100840,"dynasty":54,"author":1242,"museum":56,"description":100841,"tags":100842,"thumbUrl":100843,"material":84,"size":84,"collection":84,"collections":100844,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100845},201536,"ba-jiao-fo-xiang-zhou-jin-nong-201536","芭蕉佛像轴","佛像盘坐草席之上，袈裟条纹朴拙如古木纹理，面容苍劲带野逸禅意，须眉浓墨勾勒似老松虬枝。芭蕉阔叶以淡墨挥洒，舒展间见自然生机；旁侧野花寥寥数笔，天真之趣跃然纸上。笔墨简淡却神完气足，题跋与画境相融，清寂古雅之韵漫溢，禅意随墨痕流转，引人沉潜于淡然空明之境。",[24,7,165,187,128,27,96,61,208,9602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3362e61dbc440c26068ab96c31b32df.jpg",[],"bead9a",{"id":100847,"slug":100848,"title":100849,"dynasty":54,"author":43518,"museum":56,"description":100850,"tags":100851,"thumbUrl":100853,"material":84,"size":84,"collection":84,"collections":100854,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100855},201520,"bi-shan-gu-shu-tu-zhou-wen-dian-201520","碧山古树图轴","山间小径蜿蜒穿行，古木虬枝盘曲交错，苍劲枝干上枯藤垂挂，尽显岁月沧桑。山石以简括皴法勾勒，肌理浑厚，留白处似薄雾轻绕，衬出山林悠远之境。林下或有隐士凭石闲坐，静览山光，文人画的淡远意趣扑面而来。笔墨枯润相济，线条灵动有致，将山林的静谧与生机凝于尺幅，传递出超然尘外的雅致心境。",[24,7,165,128,132,29,1233,331,131,1023,100852],"人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f97a60f239cdfe37af82b0a41db18a.jpg",[],"9d7e56",{"id":100857,"slug":100858,"title":100859,"dynasty":54,"author":9529,"museum":56,"description":100860,"tags":100861,"thumbUrl":100862,"material":84,"size":84,"collection":136,"collections":100863,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100864},201492,"qiu-feng-huang-ye-tu-zhou-wang-hui-201492","秋枫黄叶图轴","山峦以皴法勾勒肌理，层叠间云雾缭绕，显山水深远之致。山麓林木错落，丹枫黄叶点染秋光，添萧瑟清旷之韵。溪涧蜿蜒，小桥横跨，行人缓步，衬出幽寂山居意趣。笔墨兼融南北宗之长，皴染结合，设色淡雅，将自然野趣与文人情怀相融，尽显秋日山林的恬淡诗意。",[24,29,165,27,132,98,99,34,496,37,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd6398c4e32838fec821b7641f219831.jpg",[136],"c2b3a2",{"id":100866,"slug":100867,"title":100868,"dynasty":54,"author":5879,"museum":56,"description":100869,"tags":100870,"thumbUrl":100871,"material":84,"size":84,"collection":136,"collections":100872,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100873},201481,"kong-ting-wu-shang-tu-zhou-hua-yan-201481","空庭悟赏图轴","笔墨清润秀逸，山石嶙峋多姿，亭台隐于林麓间，周遭古木葱茏，枝叶扶疏。近景岩壑错落，草木华滋；中景山势蜿蜒，云雾轻笼；远景峰峦耸峙，意境深远。虚实相生间，尽显山水之清幽雅致，仿佛可居可游。线条灵动，皴染结合，将自然之趣与文人意韵融于尺幅，别具一番空灵淡远之致。",[24,128,29,130,132,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F498c5193274ea183294db7fa6a82268c.jpg",[136],"dbd1cd",{"id":100875,"slug":100876,"title":100877,"dynasty":124,"author":16332,"museum":56,"description":100878,"tags":100879,"thumbUrl":100880,"material":84,"size":84,"collection":117,"collections":100881,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100882},201449,"qing-feng-jing-jie-tu-zhou-xia-chang-201449","清风劲节图轴","墨竹疏朗挺秀，竿直节劲，枝蔓欹侧间藏风骨。竹叶以浓淡墨笔挥洒，撇捺如行书走笔，疏密错落间似有清风拂过，飒然有声。素绢底色衬出墨色的清润与线条的刚健，无需他物点缀，便将君子孤高之态与自然生机融于一体。笔意与墨韵相生，尽显文人画“以书入画”的雅致，观之如临竹下，顿觉尘心尽涤，清风满怀。",[24,128,167,165,7,133,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43cc78108d644f07ea1aeaa07c74c490.jpg",[117],"877e67",{"id":100884,"slug":100885,"title":100886,"dynasty":54,"author":5879,"museum":56,"description":100887,"tags":100888,"thumbUrl":100889,"material":84,"size":84,"collection":68,"collections":100890,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100891},201445,"he-hua-yuan-yang-tu-zhou-hua-yan-201445","荷花鸳鸯图轴","荷塘深处，碧叶田田，粉荷绽放如霞，嫩蕊轻摇。一对鸳鸯依偎于水畔，羽色斑斓，姿态亲昵，尽显温情。水草摇曳，浮萍点点，笔墨间既有工笔之细腻，又带写意之灵动，荷叶的泼墨与花瓣的晕染相映成趣，色彩淡雅却富层次。画面生机盎然，意境清幽，将自然之美与生命之趣融于一卷，尽显画家对生活的细腻观察与艺术匠心。",[24,7,165,27,61,168,81,28,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce0b313d5a664e2bd8842b9b15734eec.jpg",[68],"b2a487",{"id":100893,"slug":100894,"title":20347,"dynasty":124,"author":21412,"museum":56,"description":100895,"tags":100896,"thumbUrl":100897,"material":84,"size":84,"collection":136,"collections":100898,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100899},201436,"shan-shui-tu-zhou-cheng-jia-sui-201436","画面以淡墨皴擦出层叠奇峰，山石轮廓简练却嶙峋毕现，山间隐现小筑，添幽居之趣。下方林木墨色浓淡交错，枝叶苍劲舒展，生机盎然。林间雅士策杖凝眸，衣袂轻扬，尽显隐逸情怀。笔墨清润，意境淡远，简淡中藏深致，悠然出尘的文人气息扑面而来。",[24,7,128,132,165,29,4438,96,11802,131,130,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eb057abc6537aad9d8963390091dbbd.jpg",[136],"cabfb0",{"id":100901,"slug":100902,"title":1459,"dynasty":144,"author":569,"museum":56,"description":100903,"tags":100904,"thumbUrl":100905,"material":84,"size":84,"collection":117,"collections":100906,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100907},201420,"ku-mu-zhu-shi-tu-juan-zhao-meng-fu-201420","枯木枝干以篆隶笔意挥写，如屈铁盘丝，苍劲中透着灵动；墨竹挺劲如箭，竹叶以撇捺之法点染，纷披错落却气韵连贯，尽显“书画同源”之妙。石用淡墨勾勒，辅以皴擦，朴拙厚重，与枯木修竹构成雅致画面。整幅以水墨写意，不饰浓艳，笔墨间流溢文人的清趣与对自然的深情。每一笔皆含书法筋骨，将绘画意象与书法意趣融于一体，是元代文人画“以书入画”的经典之作。",[24,2132,128,369,132,454,167,1314,64,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58abe22f00fc4cfae4986e46514c7490.jpg",[117],"b0a89d",{"id":100909,"slug":100910,"title":100911,"dynasty":144,"author":569,"museum":56,"description":100912,"tags":100913,"thumbUrl":100914,"material":84,"size":84,"collection":136,"collections":100915,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":77280},201417,"shan-shui-san-duan-tu-juan-zhao-meng-fu-201417","山水三段图卷","此长卷分三段构景，各呈雅趣：首段平远江天，水烟轻笼；中段疏林枯木，姿态萧散；末段奇峰映水，墨韵沉厚。笔墨融书法笔意，线条圆劲温润如篆隶，皴擦简淡却藏筋骨，墨色层次细腻，尽显“书画同源”之韵。画面清幽淡远，文人气息浓郁，题跋行书流畅洒脱，与山水景致浑然一体，似将自然之趣与心性之逸凝于卷上，流露元代文人对山水的深情与哲思。",[25,29,128,132,133,64,24,7,164,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7982ec34e8ea6981a0951af24d4c637.jpg",[136],{"id":100917,"slug":100918,"title":100919,"dynasty":124,"author":204,"museum":56,"description":100920,"tags":100921,"thumbUrl":100923,"material":84,"size":84,"collection":136,"collections":100924,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100925},201381,"wu-zhu-shu-tang-tu-zhou-chou-ying-201381","梧竹书堂图轴","画面以雅致设色晕染，山峦叠翠间清泉漱石，竹影婆娑，梧桐荫下的书堂内文人凭几闲坐，尽显幽居之趣。笔触细腻工致，山石以皴法勾勒肌理，草木敷淡彩显生机，青绿底色中融入水墨空灵，既见工笔精妍，又含文人淡远意境。整体构图疏密有致，将自然山水的静谧与雅士林下之风相融，尽显吴门画派温婉雅致的审美意趣。",[28,27,29,167,17567,100922,99,132,26,24,7,165,1424,23],"书堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91535d300d29b50bab50ddd2bd3b246e.jpg",[136],"a59f92",{"id":100927,"slug":100928,"title":100929,"dynasty":144,"author":410,"museum":56,"description":100930,"tags":100931,"thumbUrl":100932,"material":84,"size":84,"collection":136,"collections":100933,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100934},201336,"tian-xiang-shen-chu-tu-zhou-wang-meng-201336","天香深处图轴","层叠山峦间，皴法交织如织，笔墨苍劲中见细腻，山石肌理毕现。林间屋舍隐于葱茏树影，小桥卧波，流水萦回，山石错落间野趣横生。构图繁密却气韵生动，墨色浓淡相宜，勾勒出幽深静谧的雅士栖居之境，尽显元人山水的笔墨情韵与文人风骨。",[24,164,7,165,128,29,132,35,98,99,34,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17430a553174f4b5d5b8f94c757c1a9.jpg",[136],"958472",{"id":100936,"slug":100937,"title":100938,"dynasty":144,"author":410,"museum":56,"description":100939,"tags":100940,"thumbUrl":100941,"material":84,"size":84,"collection":84,"collections":100942,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100943},201322,"da-mao-feng-tu-zhou-wang-meng-201322","大茅峰图轴","峰峦盘礴，皴笔如麻，将大茅峰的峭拔与幽深铺展于绢素。山石以解索皴层层皴染，苔点密布如星，草木葱郁间隐见茅舍，尽显元人山水的清寂之韵。笔墨苍劲中含温润，线条婉转却不失骨力，云雾缭绕于峰谷，似有隐者踪迹，传递出文人寄情丘壑的逸趣。构图饱满而透气，虚实相生，密致处见空灵，是王蒙山水的典型之作，于繁密笔墨中藏简淡心境。",[24,7,29,132,128,131,666,9603,8162,1424],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd68d6d7560ab60afe2160bf7ee5ba3d6.jpg",[],"a99a85",{"id":100945,"slug":100946,"title":7330,"dynasty":54,"author":2582,"museum":56,"description":100947,"tags":100948,"thumbUrl":100949,"material":84,"size":84,"collection":68,"collections":100950,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100951},201319,"hua-niao-tu-zhou-wang-wu-201319","老梅枝干盘曲，墨色苍劲中见秀逸，淡粉花瓣疏密有致，春意悄然浮动。乌鸫栖于枝间，羽黑如漆，昂首欲啼，神态鲜活灵动。树下湖石以细皴勾勒纹理，古朴厚重；石畔兰草舒展，野花点缀，笔墨清润雅致。画面工写结合，设色淡雅，构图虚实相生，既捕捉花鸟之生机，又蕴含文人清幽意趣，尽显清代花鸟的雅致格调与自然之美。",[24,7,165,61,371,28,27,171,211,375,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b4521f38cc0ebc89d1aec78924719c6.jpg",[68],"c8bcb4",{"id":100953,"slug":100954,"title":100955,"dynasty":54,"author":55,"museum":56,"description":100956,"tags":100957,"thumbUrl":100958,"material":84,"size":84,"collection":136,"collections":100959,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100960},201314,"wan-gan-yan-cui-tu-zhou-yun-shou-ping-201314","万竿烟翠图轴","墨竹万竿，枝叶扶疏，烟霭氤氲间尽显清逸之姿。笔触灵动洒脱，墨色浓淡相宜，干湿互见，既勾勒出竹的挺拔劲节，又晕染出枝叶的婆娑生机。近景竹丛茂密，中景坡岸蜿蜒，溪流潺潺，远景山峦朦胧，层次分明，意境悠远。虽以竹为题，却融山水之趣，文人雅致与自然野趣交织，笔墨间流露着对竹的深情与超然心境，尽显清初文人画的审美意趣。",[24,165,128,167,29,7,132,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14a374271413d5e92b4b942d62a9f49e.jpg",[136],"988771",{"id":100962,"slug":100963,"title":100964,"dynasty":124,"author":223,"museum":56,"description":100965,"tags":100966,"thumbUrl":100967,"material":84,"size":84,"collection":44,"collections":100968,"showCount":1116,"zanCount":48,"manualWeight":48,"mainColor":100969},201303,"zhang-san-feng-xiang-zhou-yi-ming-201303","张三丰像轴","人物宽袍博带，竹杖轻倚身侧，步履从容间尽显仙风道骨。衣纹线条细腻流畅，转折处藏着笔墨的精妙功底；设色淡雅沉稳，与素净背景相融，更衬出人物超然出尘的气质。面容慈祥温润，眉眼间透着平和与智慧，似隐世智者般，传递出道家自然恬淡的意韵。画面简约却神完气足，将人物神韵与心境刻画入微，尽显传统人物画形神兼备的艺术魅力。",[24,7,165,96,27,28,187,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f7897b54386e9612fc120259c20b1cd.jpg",[44],"a29571",{"id":100971,"slug":100972,"title":100973,"dynasty":222,"author":223,"museum":300,"description":100974,"tags":100975,"thumbUrl":100976,"material":692,"size":1293,"collection":84,"collections":100977,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},290699,"da-cheng-wu-liang-shou-jing-juan-shou-gao-xia-juan-yi-ming-290699","大乘无量寿经卷手稿下卷","这是一件充满烟火气的写绘草稿，以粗粝麻纸为底，焦墨随性勾勒涂写。经文书写与即兴涂鸦交织，文字潦草朴拙，重复的字里藏着抄经时的倦怠走神。随手勾勒的人物、屋舍线条稚拙松弛，是抄经人信手的闲笔，带着未经雕琢的鲜活野趣。\n\n纸面斑驳泛黄，墨色沉郁晕散，带着岁月氧化的痕迹，没有精致佛绘的肃穆规整，只有民间抄经者最真实的日常状态，将信仰融入庸常，藏着千年前普通人与经文相伴的松弛瞬间。",[7322,64,36004,25,7,188,18381,65825,25926,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30bee55c4790b15aa5fc32c46b52f61c.jpg",[],{"id":100979,"slug":100980,"title":100981,"dynasty":222,"author":223,"museum":300,"description":100982,"tags":100983,"thumbUrl":100984,"material":692,"size":1293,"collection":84,"collections":100985,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},290694,"shang-bu-yu-jia-lun-di-san-shi-si-san-shi-ba-fen-men-ji-da-cheng-qi-shi-lun-shou-gao-yi-ming-290694","上部 瑜伽论第三十四 三十八分门记 大乘起世论手稿","通篇行草密匝排布，字势顾盼牵连、笔锋灵动跳脱，褪去经生书的刻板匠气，尽显书写时的自在松弛。墨色浓淡自然晕染，纸面带着岁月沉淀的斑驳痕迹，每一处牵丝映带，都藏着书写者娴熟的笔墨功底，也留存下沉浸研读佛典的专注日常。它不止是佛法传抄的载体，更是民间日常书写的质朴范本，将佛学研习的沉静与草书的灵动融为一体，定格下一段悄然流逝的佛学传播与笔墨修行的日常。",[25,64,7322,840,36004,187,18381,5459,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F871cc76079346ee5b539e4801d01d74c.jpg",[],{"id":100987,"slug":100988,"title":100989,"dynasty":222,"author":223,"museum":300,"description":100990,"tags":100991,"thumbUrl":100992,"material":692,"size":1293,"collection":84,"collections":100993,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},290638,"jin-guang-ming-jing-juan-di-si-shou-gao-yi-ming-290638","金光明经卷第四手稿","这卷写经以小楷书就，结体匀整端稳，笔致清隽秀雅。通篇千字排布森然不紊，墨色沉凝内敛，历经岁月经纸色泛黄，虫蛀斑驳的痕迹让其更添古雅厚重的沧桑质感。\n\n抄经人笔笔恪守法度，字里行间可见静定心境，既有佛家写经特有的肃穆气韵，又兼具文人小楷的雅致意趣，将虔诚之心融于笔锋起落之间，静静诉说着笔墨传承的悠长温度，是写经书法中颇具韵味的佳品。",[7,64,7322,25,572,187,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9bb7c204f064d4853fc8cb397a2063c.jpg",[],{"id":100995,"slug":100996,"title":100997,"dynasty":222,"author":223,"museum":300,"description":100998,"tags":100999,"thumbUrl":101000,"material":692,"size":1293,"collection":84,"collections":101001,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},290633,"wei-mo-jing-di-zi-pin-yi-ming-290633","维摩经弟子品","此卷淡墨书于泛黄古纸之上，笔触圆融朴拙，行笔舒展从容，字间排布匀净舒朗。纸面带着岁月浸蚀留下的残损痕迹，晕开厚重古雅的沧桑氛围感。\n\n通篇笔墨无刻意妍美雕琢，纯然是抄录经文时的静定流露，将虔诚的信仰融于笔端，字字晕染着沉静内敛的禅意，尽显书写时肃穆宁和的心境，兼具书法审美价值与厚重的人文宗教底蕴。",[64,7,25,7322,187,18381,572,5459,8116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14a047a1d7159d1c88c69a2edd6b062d.jpg",[],{"id":101003,"slug":101004,"title":12070,"dynasty":54,"author":101005,"museum":300,"description":101006,"tags":101007,"thumbUrl":101008,"material":692,"size":1293,"collection":84,"collections":101009,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},290388,"shan-shui-tu-ye-gu-yin-guang-290388","顾胤光","此作用笔简淡秀逸，以干笔皴擦勾勒山石肌理，湿墨晕染晕开远山空濛。近岸枯木虬曲多姿，或疏枝苍劲、傲骨嶙峋，或垂丝轻曳、柔态扶风。水面以留白代碧波，汀洲茅舍隐于林麓，幽寂清旷。右上角题字古雅，朱印点睛，诗画相融无间。\n整幅不作浓艳敷色，尽显萧散冷逸的林下之风，将春日水岸的淡远空寂勾勒入微，藏着文人画独有的简淡意趣，观之便如身临无人江渚，揽天地疏朗，偷得片刻沉静闲逸。",[23,24,7,128,29,331,415,711,211,414,171,64,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F956b7d014aafa4df5b1732f2cb42b6a7.jpg",[],{"id":101011,"slug":101012,"title":101013,"dynasty":54,"author":223,"museum":300,"description":101014,"tags":101015,"thumbUrl":101016,"material":692,"size":1293,"collection":84,"collections":101017,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},290173,"min-jian-yan-zou-tu-ce-yi-ming-290173","民间演奏图册","这册页以乡野演奏为核心，笔触稚拙鲜活，带着市井烟火的温热质感。画师捕捉民间艺人拨弦击节的鲜活瞬间，跳脱院体画的精工刻板，将民乐演奏时的松弛热闹尽数铺陈。设色简淡却鲜亮讨喜，带着民间年画的明快意趣，处处流露清代底层社会的文娱日常，是窥探彼时市井声色的鲜活切片，藏着最质朴的俗世欢愉，让观者仿若能听见丝竹相和的乡野曲调，窥见街头巷尾的悠然余韵。",[24,7,59,438,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69e9cf97e340d95e2c598204b4f046d6.jpg",[],{"id":101019,"slug":101020,"title":101021,"dynasty":54,"author":223,"museum":300,"description":101022,"tags":101023,"thumbUrl":101024,"material":692,"size":1293,"collection":84,"collections":101025,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},290162,"shi-zi-tu-yi-ming-290162","狮子图","此图瑞兽造型奇趣，迥异写实雄狮。它面含憨态，双耳宽如垂扇，蓬卷鬃毛以浓淡墨色晕染堆叠，蓬松厚重如覆绒毡。躯体壮硕敦实，肌肉线条柔缓却暗含劲力，蜷曲上扬的长尾，带着不怒自威的气场，却又因圆钝的神态消解了凶戾，尽显拙朴萌态。\n背景以工笔绘山野幽境，苍松虬劲、流泉卷云，皴石施色雅致沉着，衬出瑞兽的超然气场。整体设色暖润细腻，工写兼具，将古人对瑞狮的浪漫想象与工整技法相融，意趣与匠气兼具。",[24,7,164,28,27,949,25390,1144,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc01b095a90d149a869114cef66deb4b7.jpg",[],{"id":101027,"slug":101028,"title":101029,"dynasty":222,"author":223,"museum":300,"description":101030,"tags":101031,"thumbUrl":101032,"material":692,"size":1293,"collection":84,"collections":101033,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},289569,"qiu-zhou-seng-ga-jing-xiang-zhi-bei-yi-ming-289569","泅洲僧伽經像-纸背","这帧遗存饱经岁月销蚀，纸面泛着沉郁的古褐，原有的图像已然漫漶朦胧，只余下隐约的色块残影，勾勒着曾经经像的轮廓余痕。褪色晕染的痕迹里，藏着被时光剥蚀的过往细节，带着古旧纸张特有的沧桑肌理，仿佛将往昔的虔敬与笔墨温度悄然封存。\n\n模糊残影间，依旧能窥见昔日绘塑时的沉静心意，残损的纸边与晕开的色块，皆是时光镌刻下的独特印记，带着古物遗存独有的厚重余韵，静默诉说着被岁月掩藏的信仰图景。",[24,7,165,187,96,7322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b71933166d384f6e9767e866e5d400.jpg",[],{"id":101035,"slug":101036,"title":101037,"dynasty":222,"author":223,"museum":300,"description":101038,"tags":101039,"thumbUrl":101040,"material":692,"size":1293,"collection":84,"collections":101041,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},289539,"attributed-to-sahib-ram-singer-and-sarangi-player-yi-ming-289539","Attributed to Sahib Ram--Singer and Sarangi Player","此作为白描稿本，纤细匀净的铁线游丝，将两位盛装乐女的形神尽皆勾勒。前者持萨朗吉琴，指节轻扣弦柄，姿态娴静舒展；后者垂纱覆首，眉眼柔婉低垂，静立身侧。\n\n繁复的花钿头饰、层叠的璎珞项饰，均以流畅线条细致铺陈，将异域宫廷女子的华贵装束描摹入微，不见一处冗余笔意。素纸留白消解了色彩的喧扰，只余线条交织出的温柔韵律，静静晕开古早宫廷乐舞场合里那份松弛雅致的氛围感。",[188,96,166,438,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6084e98732465572e3cce0a6a437f04f.jpg",[],{"id":101043,"slug":101044,"title":101045,"dynasty":222,"author":223,"museum":300,"description":101046,"tags":101047,"thumbUrl":101049,"material":692,"size":1293,"collection":84,"collections":101050,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},288658,"attributed-to-francesco-allegrini-four-flying-angels-two-flying-figures-yi-ming-288658","attributed to Francesco Allegrini--Four Flying Angels ; Two Flying Figures","这幅小稿以极简铁线勾勒出振翅天使，锐利线条带着飞扬张力，晕染水墨铺陈出羽翼蓬松质感，灵动身影仿佛要冲破纸页。右侧淡墨晕开的朦胧虚影，是未加修饰的灵光残影，虚实相映间，好似将天光里神迹乍现的瞬间定格。潦草随性的笔触是灵感迸发的即兴捕捉，泛黄纸面晕开旧时光的温柔，将飞翔轻盈与神性缥缈完美糅合，如一帧将散的幻梦，留存下转瞬即逝的空灵诗意。",[128,188,187,96,101048,211,7],"天使","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a50854e41a370511e74273bae39ca13.jpg",[],{"id":101052,"slug":101053,"title":101054,"dynasty":222,"author":223,"museum":300,"description":101055,"tags":101056,"thumbUrl":101057,"material":692,"size":1293,"collection":84,"collections":101058,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},288645,"attributed-to-francesco-allegrini-horses1-yi-ming-288645","attributed to Francesco Allegrini--Horses1","这幅速写以凝练线条捕捉骏马百态，左侧骏马静立悠然，利落笔线勾勒出舒展筋骨，尽显温驯体态；中间马匹抬蹄转身，鬃毛轻扬，将动静转换的瞬间定格；右侧骏马前蹄腾空，长尾肆意舒展，张扬出奔腾的野性张力。画师以入微观察力，用极简笔触贴合马匹肌肉走势，串联起骏马从安闲到勃发的神态变化，无繁复修饰，却让每匹马的灵动神气跃然纸面，带着古典写生的质朴生动，寥寥数笔便将生灵矫健昂扬的美感尽数展现。",[164,7,188,101,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa245e2ba0e79392e6906a7a7c79f0a20.jpg",[],{"id":101060,"slug":101061,"title":101062,"dynasty":222,"author":223,"museum":300,"description":101063,"tags":101064,"thumbUrl":101066,"material":692,"size":1293,"collection":84,"collections":101067,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},288602,"attributed-to-francesco-allegrini-horses4-yi-ming-288602","attributed to Francesco Allegrini--Horses4","这组速写以利落遒劲的线条，将骏马的灵动野性尽数铺展。六匹骏马姿态各殊，或扬蹄奔跃，鬃尾随疾风肆意飞扬，肌肉的起伏张力被精准勾勒；或徐缓回身，沉稳的姿态里仍藏着悍马的筋骨气力。\n画师以极简的排线交代明暗结构，没有繁复晕染，却让每一匹马都带着鲜活生气，仿佛蹄声欲从纸面破空而来。寥寥数笔便定格下奔马的转瞬动态，将生灵蓬勃的生命力凝练在泛黄的纸页之上，尽显速写对动态捕捉的极致魅力。",[188,101,949,7,101065,94638],"速写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e8ebe360a074596530941c09ccfdad8.jpg",[],{"id":101069,"slug":101070,"title":101071,"dynasty":222,"author":223,"museum":300,"description":101072,"tags":101073,"thumbUrl":101075,"material":692,"size":1293,"collection":84,"collections":101076,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},288481,"qu-xie-hui-yi-ming-288481","驱邪绘","画面中的驱邪力士面目狞厉，宽檐帽饰烈焰纹路，怒目圆睁，肌肉贲张间尽显慑人气势。他按握镇邪法器，足下血痕点明驱魔之功，朱红绦带翻卷如燃，衬出周身凛冽煞气。衣甲纹饰繁丽规整，线条劲挺利落，将力士悍勇身姿勾勒得极具张力。\n\n红黑撞色浓沉肃穆，与泛黄皲裂的古纸底色相融，晕开古朴厚重的岁月质感，右侧手书古题字更添古雅氛围，将民俗中镇邪驱祟的狞厉肃穆之气淋漓尽致展现出来，带着古旧的巫祝威慑感。",[7,27,96,101074,64,2656,53098,28,1350],"驱邪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4841af26744c05dbd9aab3b84cca6939.jpg",[],{"id":101078,"slug":101079,"title":58867,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":101080,"thumbUrl":101081,"material":692,"size":1293,"collection":84,"collections":101082,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},288199,"shi-juan-wen-zheng-ming-288199",[64,133,208,7,58867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22062eacee58117cb085a2f1df3d4f51.jpg",[],{"id":101084,"slug":101085,"title":101086,"dynasty":54,"author":223,"museum":300,"description":101087,"tags":101088,"thumbUrl":101089,"material":692,"size":1293,"collection":84,"collections":101090,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},288187,"shuang-qin-tu-ye-yi-ming-288187","双禽图页","此作工致秀雅，两只鹌鹑意态悠然，一昂首侧目望向花枝，似在细闻芳馨，一垂首敛羽，仿若啄食理毛，翎毛细笔丝染，蓬松绒羽的质感尽显。\n\n周遭鸢尾杂花错落生姿，叶片舒展柔劲，设色清妍柔和，淡赭、石青与紫晕相融，古绢底色晕染出沉静古雅的氛围。画面疏密相宜，右上角题字与景致浑然一体，将秋野一隅的闲静生机尽显。写生功力精湛，把禽鸟灵动与花草幽柔完美契合，晕染细腻温婉，带着恬淡安宁的文人意趣，尽显小品花鸟的雅致韵味。",[23,24,7,164,4437,28,27,61,1400,4278,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F851254b3a5d02bb317e06522a50c59a3.jpg",[],{"id":101092,"slug":101093,"title":101094,"dynasty":222,"author":223,"museum":300,"description":101095,"tags":101096,"thumbUrl":101097,"material":692,"size":1293,"collection":84,"collections":101098,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":4001},287926,"ping-fu-tie-yi-ming-287926","平复帖","此作为小楷题跋，笔致秀雅温润，结体灵动舒展，兼得晋唐小楷的端严法度与文人书写的散淡意趣。墨色苍润匀净，字距排布错落合宜，通篇气息平和疏朗。以笔墨承载考证思绪，将题识的严谨考据与书法的抒情雅致相融，寸楮之间既有金石考据的沉静文心，亦见老笔纷披的醇厚韵味，尽显旧时文人题跋的斯文风骨。",[64,133,208,1590,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6826f3f63557cc8d3e991db18b0900c.jpg",[],{"id":101100,"slug":101101,"title":101102,"dynasty":222,"author":223,"museum":300,"description":101103,"tags":101104,"thumbUrl":101105,"material":692,"size":1293,"collection":84,"collections":101106,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},287914,"miao-fa-lian-hua-jing-di-qi-juan-yi-ming-287914","妙法連華經第七卷","此卷小楷写经笔致精劲凝练，字字端稳匀净，通篇排布齐整森然，气息绵密贯通，虽为长篇经文，却无一笔怠懈，尽显恪守法度的恭谨。墨色沉朴古雅，与泛黄藏经纸相得益彰，既有写经体的庄严静穆，又暗藏笔锋细微意趣，毫无刻板匠气。\n\n岁月晕染的纸色与留存的朱印，沉淀着悠悠时光的厚重，是宗教热忱与翰墨匠心的融合遗存，静静诉说着千年前抄经时的肃穆氛围，尽显东方书写的独特意蕴。",[23,25,64,7322,18381,572,5459,187,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e68da8fcfe21569d24cda1d43b6b66a.jpg",[],{"id":101108,"slug":101109,"title":101110,"dynasty":222,"author":223,"museum":300,"description":101111,"tags":101112,"thumbUrl":101113,"material":692,"size":1293,"collection":84,"collections":101114,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},287911,"fa-hua-jing-xuan-zan-juan-di-shi-juan-miao-fa-hua-jing-ming-jue-yao-shu-cao-shu-yi-ming-287911","法華經玄贊卷第十卷妙法華經明決要述草書","此卷以狂放草书挥就，笔墨酣畅肆意。起笔迅疾利落，收笔或戛然而止或萦丝牵绕，字间气脉贯通如行云出岫。通篇排布密而不窒，字形大小欹正变幻自然，枯墨飞白与润墨浓笔交错相生，将经文的沉静意趣与草书的恣肆笔意相融。笔势时而开张奔逸如惊鸿掠影，时而收敛凝注似古松凝立，仿佛可见书写者挥毫时意气流转，将经文义理暗藏在跌宕的笔墨节律中，通篇浑成一体，尽显随性自在的书写意韵，是抄经草书中极具韵致的佳构。",[23,64,840,7322,25,187,18381,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2d388ca95316d99712574bcb335113f.jpg",[],{"id":101116,"slug":101117,"title":101118,"dynasty":222,"author":223,"museum":300,"description":101119,"tags":101120,"thumbUrl":101121,"material":692,"size":1293,"collection":84,"collections":101122,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},287824,"juan-shang-shou-gao-yi-ming-287824","卷上手稿","此作行书间带楷意，用笔朴拙苍劲，提转舒展灵动，结体错落不拘却暗含章法。通篇文字排布茂密却不显壅塞，字间气脉连贯自然，尽显书写者娴熟的笔墨功底。墨色沉润古雅，朱笔点注错落点缀其间，既梳理了经文条理，又为满卷黑字添了跳脱生气，调和了密匝排布的沉闷感。整体带着厚重的写经笔墨气质，朴厚之中见灵动，规整之中藏变化，兼具珍贵的文献价值与书法审美价值。",[25,64,7,36004,7322,133,128,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd23a03eb00d5ca7956784cfd2c59a67e.jpg",[],{"id":101124,"slug":101125,"title":101126,"dynasty":222,"author":223,"museum":300,"description":101127,"tags":101128,"thumbUrl":101129,"material":692,"size":1293,"collection":84,"collections":101130,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},287818,"fu-shuo-zhai-jing-juan-yi-ming-287818","佛說齋經卷","此卷写经以精谨小楷书就，笔致清劲端雅，结体匀整秀逸，尽显写经书法的庄严恭谨。通篇字距行距排布齐整，墨色沉凝饱满，古纸虽岁久泛黄，却晕染出沉静肃穆的古雅氛围。\n\n笔墨间饱含敬虔之心，一笔一划恪守法度，兼具魏晋写经的简淡古雅遗韵与后世抄经的规整工稳。将宗教的肃穆感融于笔墨细节，质朴静雅间尽显写经人对佛法的至诚之心，是极具代表性的民间写经佳品。",[23,64,25,7322,572,187,18381,5459,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445c8e5fcc14b2abfa6db71d5f455cc3.jpg",[],{"id":101132,"slug":101133,"title":101134,"dynasty":54,"author":68780,"museum":300,"description":95315,"tags":101135,"thumbUrl":101136,"material":692,"size":1293,"collection":84,"collections":101137,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},287417,"zui-yuan-tu-zhou-cha-ji-zuo-287417","醉园图轴",[23,24,7,165,128,840,64,171,375,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb82c67fc3f75ec511cfe8bf0f21d7fc0.jpg",[],{"id":101139,"slug":101140,"title":101141,"dynasty":182,"author":223,"museum":300,"description":101142,"tags":101143,"thumbUrl":101145,"material":692,"size":1293,"collection":84,"collections":101146,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},287381,"miao-fa-lian-hua-jing-di-6-ru-lai-shou-liang-pin-di-shi-liu-yi-ming-287381","妙法蓮華經第6 如來壽量品第十六","此卷书法笔锋挺秀舒展，结体匀整端庄，通篇排布齐整肃穆，尽显书写时的恭敬诚笃。墨色沉凝鲜亮，历千年依旧饱满，与泛黄纸张相映，晕染出古朴沉静的质感。\n运笔间法度谨严，又带着灵动气韵，无刻板匠气，将经文的庄严性融于笔墨细节。整体气息平和内敛，是唐人写经书法的上乘之作，兼具宗教文化价值与古典书法审美价值。",[64,7322,25,572,18381,187,5459,101144,7],"妙法莲华经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaea334fa0a785ccfbbb16f732ad14a1.jpg",[],{"id":101148,"slug":101149,"title":101150,"dynasty":222,"author":223,"museum":300,"description":101151,"tags":101152,"thumbUrl":101153,"material":692,"size":1293,"collection":84,"collections":101154,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},287321,"yu-zhu-jin-gang-bo-re-bo-luo-mi-jing-xuan-yan-juan-zhong-shou-gao-yi-ming-287321","御注金剛般若波羅蜜經宣演卷中手稿","此作为典型唐人写经风格小楷，笔致精整匀净，点画饱满端凝，字字排布齐整工稳，通篇行气贯通舒展。起收笔具晋唐写经典型意韵，法度谨严间不失温雅秀润，无一丝潦草懈怠，足见书写时的恭谨至诚。墨色匀净沉润，纸墨交融和谐，将宗教文本的神圣感诉诸笔端，尽显写经书法特有的静谧庄严，是一件古韵醇厚的写经佳作。",[64,25,572,7322,187,65825,36004,5459,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece90660d0d732d4e2b9cb8123888051.jpg",[],{"id":101156,"slug":101157,"title":101158,"dynasty":222,"author":223,"museum":300,"description":101159,"tags":101160,"thumbUrl":101161,"material":692,"size":1293,"collection":84,"collections":101162,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},281564,"chi-shang-xiu-mu-shan-shui-tu-zhou-yi-ming-281564","池上秀亩山水图轴","淡月悬于空濛天际，山岚如纱晕染峰峦，将山林晕作深浅不一的墨色层次。山坳间村居依岩临水，白墙黛瓦隐于苍林怪石之间，烟火气融于清寂山光。浅滩流水潺湲，留白与淡墨铺就水光清浅，将山野幽居的静谧尽数铺开。\n\n整幅设色清润雅致，以晕染烘托出月夜山乡的空濛氛围，把幽居的恬然和山野的清寂融为一体，笔意简淡却意境悠长，将江村月夜的安闲诗意铺陈于绢素之上。观之如临其境，仿若能聆听见流水松风，静享山乡夜色的清宁。",[24,7,165,1349,27,231,149,499,131,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbff70080a09dea58a916c4cebae1545.jpg",[],{"id":101164,"slug":101165,"title":101166,"dynasty":54,"author":223,"museum":300,"description":101167,"tags":101168,"thumbUrl":101169,"material":692,"size":1293,"collection":84,"collections":101170,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},273933,"jin-deng-long-yi-ming-273933","锦灯笼","此作以枯败锦灯笼为绘，将宿存萼片的褶皱枯色摹写入微，每一片都带着风霜剥蚀后的松弛肌理，沉朴棕褐褪去鲜亮时的艳态，尽显草木凋敝的沉静质感。散落的籽粒点缀其间，为枯寂画面添了几分余韵。无繁复构图与浓丽设色，仅以写实手笔定格野物本真，褪去矫饰尽显极简克制的古典意趣，将寻常草木的枯荣瞬间凝为隽永，带着侘寂淡然的静美，把平凡风物的质朴生机藏于枯败表象之下，尽显细腻写实功底与沉静内敛的审美意涵。",[24,7,61,230,101166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d7200ebc2ed4d18f5f6d00b8b4ab87.jpg",[],{"id":101172,"slug":101173,"title":101174,"dynasty":54,"author":223,"museum":300,"description":101175,"tags":101176,"thumbUrl":101179,"material":692,"size":1293,"collection":84,"collections":101180,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},272892,"zi-tan-mu-bian-qian-fa-lang-nong-jia-le-tu-gua-ping-yi-ming-272892","紫檀木边嵌珐琅农家乐图挂屏","金地铺陈底色，晕染出层叠青绿山峦，丹枫苍松错落点缀，将秋日山野的明妍烂漫晕染开来。山坳村舍错落，白墙素瓦掩映林泉之间，乡人往来作息，或耘田劳作，或檐下叙谈，融融烟火气漫溢其间。\n\n左上角题诗衬和图景，将田居闲逸诉诸笔端。整作设色柔丽雅致，笔触写实细腻，把文人心向往之的归园田居化为具象图景，兼具青绿山水的清隽意趣与乡野日常的脉脉温情，尽显工艺与绘事的精妙融合。",[24,7,40641,101177,12803,26,27,29,96,149,101178],"琺瑯器","农家乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a27c4d14fa36e376ffdd0a8beb90adf.jpg",[],{"id":101182,"slug":101183,"title":101184,"dynasty":54,"author":223,"museum":300,"description":101185,"tags":101186,"thumbUrl":101188,"material":692,"size":1293,"collection":84,"collections":101189,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},270573,"hong-se-miao-jin-yin-long-xi-zhu-wen-dou-fang-juan-yi-ming-270573","红色描金银龙戏珠纹斗方绢","朱红底色华贵沉凝，六龙盘桓于祥云烈焰之中。描金饰银勾勒龙身，鬃须翻卷张扬，利爪遒劲锋利，龙目圆睁尽显威凛，身姿矫健灵动，仿若即将破壁而出。云纹舒卷连绵，火焰纹错落点缀，烘托出腾云驾雾的磅礴气势。\n\n整体构图饱满匀整，对称排布尽显规整庄重，将皇权象征的龙纹与极致工艺相融。工笔精细入微，金银光泽于朱红之上交相辉映，富丽堂皇间尽显宫廷造物的考究，把传统祥瑞寓意与精湛工巧完美结合，尽显威严华贵的古典气韵。",[24,7,74658,151,53345,101187,772,189,28],"描银","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86fdd05c57de0c4c0b12389325bc0d19.jpg",[],{"id":101191,"slug":101192,"title":101193,"dynasty":54,"author":223,"museum":300,"description":101194,"tags":101195,"thumbUrl":101197,"material":692,"size":1293,"collection":84,"collections":101198,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},270531,"zhu-gu-diao-hua-bian-jia-qing-di-shu-feng-ning-hua-ma-tu-mian-zhe-shan-yi-ming-270531","竹股雕花边嘉庆帝书冯寜画马图面折扇","画面右侧白马神骏挺拔，伫立水岸昂首顾盼，筋骨劲健，俊朗昂扬。左侧绘秋林夕景，林木枯荣交错，坡岸迤逦向水，淡墨晕染烟波，晕开萧疏雅致的秋意。\n\n笔墨工细清润，设色柔和雅致，将鞍马的写实劲力与山水的悠远空灵相融，人马与秋林水岸浑然一体，尽显雅致内敛的风韵，骨韵兼备，是兼具画意与意境的精妙之作。",[1131,24,7,27,101,34,29,101196],"竹雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfab32648a5227ec7316473f38e15087.jpg",[],{"id":101200,"slug":101201,"title":101202,"dynasty":54,"author":223,"museum":300,"description":101203,"tags":101204,"thumbUrl":101205,"material":692,"size":1293,"collection":84,"collections":101206,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},270246,"cai-hua-ren-wu-tu-mian-gu-bing-chao-zhou-shan-yi-ming-270246","彩画人物图面骨柄潮州扇","花瓣形扇面柔婉雅致，如意云纹扇托衔接骨柄，古韵悠然。扇面之上人物错落排布，似是雅游盛会，衣袂翩跹灵动，眉目姿态各有神韵。衬以朦胧云雾与嶙峋山石，晕染出清逸空灵的氛围感。设色淡雅柔和，线条细腻婉转，将古人悠游雅集之趣尽显无余，既带着清代工笔人物画的精致考究，又融合潮州扇独特的工艺巧思，将旧时文人雅士的风雅意趣藏纳方寸扇面之间，尽显工艺与画艺结合的别致韵味。",[1131,24,7,27,28,96,131,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a069a036a633fd7e152c49f0e4da723.jpg",[],{"id":101208,"slug":101209,"title":101210,"dynasty":124,"author":223,"museum":300,"description":101211,"tags":101212,"thumbUrl":101214,"material":692,"size":1293,"collection":84,"collections":101215,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},263679,"tian-lu-tu-jin-juan-yi-ming-263679","天鹿图锦卷","此卷以金地织锦为主体，细密小团纹铺满通幅，天鹿半掩于缠枝祥云中，身形丰腴俊朗，云纹舒卷灵动，配色沉浑富丽，尽显明织锦的精巧华贵。\n后接御笔题额“含华蕴古”，笔墨苍劲厚重，自带不凡气度。两段题诗秀逸雅致，朱红鉴藏印错落排布，金红交织，将织锦的匠造工巧，与清宫鉴藏的风雅意趣相融无间，织绣工艺与文人品鉴合为一体，格调尽显不俗。",[25,7,64,133,949,208,101213,234],"织锦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6713919dc1180e160c374a35fd617a94.jpg",[],{"id":101217,"slug":101218,"title":101219,"dynasty":54,"author":223,"museum":300,"description":101220,"tags":101221,"thumbUrl":101222,"material":692,"size":1293,"collection":84,"collections":101223,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},242580,"zhong-ke-chun-hua-ge-tie-yi-ming-242580","重刻淳化阁帖","清拓《钦定重刻淳化阁帖》原本《淳化阁帖》。十卷又称《淳化秘阁法帖》、（阁贴》。系宋淳化三年（992年）太宗岀内府所藏历代古帖，命翰林侍书王著摹勒而成，共收录汉魏至唐历代名人及帝王书一百余家四百余种。但帖石置于宫中，除宣赐大臣以外，原刻拓木绝少流布人间。\n淸高宗鉴于日趋緊多的翻刻本已完全失去其本来面目，而宋王著昧于辨别，在采择古帖时有真赝混迹现象，编次标越也多处讹误，为避免贻谋后学，希望复原《淳化》旧观。于乾隆三十四年（1769年）持敕命于敏中等据内府所藏宋太宗赐毕士安本《淳化阁帖》详加考证，重新钩摹上石，仍为十卷，每卷隶书标题：“钦定重刻淳化阁帖第 X ”一行。卷末沟刻高宗行书题跋一段。各卷尾题:“乾隆三十四年岁在乙丑春二月奉敕校正宋淳化阁帖初拓摹勒上石”篆书四行。此帖考订详僖，校对精审，对原帖编次上的错误逐一厘订后，重新改编次第按时代先后为序。对草书不识之字。博参诸家释文依字旁列注，对其中互异之字附记考证于卷后。\n此帖由御书处刻工佳手钩刻摹刊至精。就其规模和质量来说均在明代诸家刻本之上。\n乾隆三十七年（1772年）帖石镌成后高宗皇帝犹恐失散即将毕士安赐本（淳化阁帖》与重刻原石一起贮于圆明园淳化轩内，至今二者都无下落、可能毁于1860年英法联军侵占北京圆明园之际，实为千古憾事。幸故宫藏有该帖拓本才得以观其原貌。此拓本为淸刻初拓，京折装，计十册，每册纵30.6厘米横35厘米，每册铃：“乾隆御览之宝”朱文椭圆印、”避暑山庄”朱文方印，装潢颇为考究，且拓工精良。虽已保存二百余年但字口锋神俱在，纸墨宛如新拓，堪称珍品。\n乾隆《钦定重刻淳化阁帖》石版，原贮于长春园淳化轩。英法联军火烧圆明园后,该摹帖版已湮没百余年。所幸的是,1993年夏季，圆明园管理处在清挖长春园水系时，从该遗址西侧河道掘得摹帖版7页（4整3残），今均陈列于园史展览馆。\n淳化法帖，原是北宋淳化三年（992年），奉宋太宗赵光义旨意，摹刻于秘阁之中的丛帖，世称《淳化阁帖》。它是我国历史上的第一部大型丛帖，被誉为诸帖之祖。《阁帖》共摹刻唐代以前99人书法名迹，包括夏禹、孔子、晋武帝、唐太宗、虞世南、 欧阳询、褚遂良、柳公权等，尤以王義之、王献之量迹最丰，独占全帖10册之半。\n清代乾隆帝弘历喜好书法，曾先后命在北海阅古楼和万寿山星妙轩，分别摹刻《三希堂法帖》及其续帖。但因二帖仅收魏晋以来墨迹，弘历颇嫌不足。后喜得《淳化阁帖》之“初拓赐本”，弘历如获至宝。命内廷翰林精审更定，选工钩摹上石，并在长春园含经堂之后新建两层轩阁，以帖名之曰“淳化轩”。帖版是在故宫懋勤殿直庐镌刻的,历时三年零两个月，至乾隆三十七年（1772年）四月，共摹竣144页贴版，遂镶嵌于堂后轩前之24间回廊壁间。原《阁帖》北宋初拓本，收藏于淳化轩内，I860年（咸丰十年）同毁于英法联军劫火。\n今出土的摹帖版,面幅为90厘米*33厘米，石厚11厘米。7页帖版的序号是三册一号、六号、 七号（残），四册八号（残），五册一号、十四号和九册三号（残）。其中除五册十四号为“释文订异”，九册三号为隋释智果书“王右军”帖、“蔡邕”帖之外， 余均为王義之墨迹，包括其“适得”、“比奉”、“七儿”、“省足”、“云谯”、“知足”、“期已”、“信云”、“不审”、“伏想”等近20幅名帖。出土帖版中，有2页残版的字迹略有侵蚀，余尚清晰。\n乾隆三十四年的《钦定重刻淳化阁帖》是一部很重要的本子,其所据的底本为明末清初孙承泽原藏的所谓毕士安本。以乾隆刻本和司空公本的第四、七、八卷相校,其底本肯定不是初拓本，因此，所谓毕士安本是不可能的。但这个底本应该是一个北宋拓本，和司空公本的年份相似，然而它是十卷本。问题是这个祖本已经消失，然而它在当时确实存在过，过去有的学者认为这个底本是虚构的，不存在的。可能是由于它不可能是所谓淳化四年的毕士安赐本的关系。\n这个所谓的毕士安赐本，在康熙时已入内府，康熙曾亲跋此本: “……此本乃赐翰林学士毕士安者……汉晋以来，翰墨风规，宛然犹在者，尚赖此帖之存也，朕幾政余闲，启帙披卷,如晤往昔，心意融洽,洵可宝而藏之也。\n到了乾隆三十四年，以此本作为底本重刻的《淳化阁帖》，乾隆在卷首题词中说:“内府旧藏淳化阁帖极多,而此毕士安所得赐本，拓最精好, 爰特敕选工钩摹上石，冀复旧观。\n这个本子到了嘉庆年间,成亲王永瑆题在现藏美国弗利尔美术馆的绍兴国子监本第十册末有:“余昔在上书房得见内府所藏宋太宗赐毕士安本, 此本楮墨正与相似，嘉庆庚午四月七日商丘陈伯恭先生携此本与贾似道重摹初拓本相见……”这说明，这个乾隆刻本的底本在1810年前不久仍然存在,其消失的原因很简单,乾隆在其重刻本的第十卷末有:“重摹淳化阁帖成,因并弃毕士安原本于淳化轩。这就是说，这个底本和重刻帖石一并存放在圆明园的淳化轩。I860年英法联军焚毁圆明园，所谓毕士安底本也必遭毁灭。\n乾隆重刻本，除了改变原刻整体程序外，也有对个别字体修正原刻的失误，如第八卷《此郡帖》的“非常”之“非”字,原刻失刻一笔，乾隆重摹即据《大观帖》补刻完整。此外，有的字体也有摹失,但其不可忽视之处在于它是从整套北宋拓本翻刻，在我们对比各《阁帖》本时有着比较重要的参考价值。\n弘历继位九年（1744 ）命臣将内府所藏书画著录《石渠宝笈》。乾隆十五年（1750）又敕命编刻《三希堂石渠宝笈法帖》三十二卷。谕曰：\n书为游艺之一，前代名迹流传，令人兴怀珍慕。是以好古者恒钩撫镌刻.以垂诸奕祀。宋《淳化阁帖》，其最著矣。厥后《大观》《淳熙》皆有续刻。其他名家摹本，至不可数。我朝秘府，初不以广购博收为尚，而法书真迹，积久颇富。朕曾命儒臣详慎审定，编为《石渠宝笈》一书。因思文人学士得佳迹数种，即钩摹入石，矜为珍玩。今取群玉之秘，寿之贞琨。足为墨宝大观，以公天下。\n《三希堂法帖》刻后十九年即乾隆三十四年（1769）,弘历又重新刻了一部《淳化阁帖》。这部帖是据赐毕士安本墓刻的，故书家与书帖和《阁帖》相同。然而不同的是：（一）除帝王帖置首卷外，其他帖完全按时代先后排列：第一，历代帝王；第二，上古至晋人；第三，第四、第五，晋王羲之；第六，晋人及王献之；第七，晋王献之；第八，晋至梁人；第九，陈至唐人；第十，唐及无名氏。（二）随文添刻楷书釋文。（三）卷末附释文考异和御制题跋。\n当时为什么要这样做呢？弘历在帖首自有说法：\n朕几余不自暇逸，典学之优，时及临池。曩曾辑内府所藏前人墨迹，刻为《三希堂》《墨妙轩》二帖，广示艺林。复念古帖流传可补墨迹所未备者，惟宋《淳化阁帖》，镌集尤为美富，远出《大观》《太清楼》诸本之上。但惜初拓与赐者绝勘，或云版寻残损，当时已为难得。后来翻刻愈繁，真意寝失。有志追摹者，末由津逮。内府旧藏《淳化阁帖》极多，而此毕士安所得赐本拓最精好。爰特敕选工钩摹上石，冀复旧观。\n第王著昧于辨别，其所排类标题，舛陋滋甚，不当听其沿讹，以误后学。因命于敏中等详加考正，以次呈阅，候朕参定，分识各卷。并命搜采诸家释文，依字旁注。其互异者折衷附记于后，以资省览。是于考文稽古之中，兼寓举坠订讹之益，用嘉惠海内操觎之士焉。\n特谕。\n乾隆三十四年（1769）二月六日，御笔。",[7,5380,1590,133,840,938,208,23848],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e17210a35743556fc451d0750643854.jpg",[],{"id":101225,"slug":101226,"title":101227,"dynasty":54,"author":101228,"museum":300,"description":101229,"tags":101230,"thumbUrl":101231,"material":692,"size":1293,"collection":84,"collections":101232,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241687,"lin-lan-ting-xu-ping-long-yu-huang-tai-hou-241687","临兰亭叙屏","隆裕皇太后","隆裕（1868年2月3日—1913年2月22日），叶赫那拉氏，满洲镶黄旗人，名静芬，小名喜子，封一等承恩公副都统叶赫那拉·桂祥之女，是光绪的表姐。光绪十四年（1888年）被慈禧太后钦点成婚，次年立为皇后，并在婚期过后住进东六宫之一的钟粹宫。\n民国二年正月十七日（1913年2月22日），隆裕太后在西六宫之一的长春宫病逝，享年46岁。上谥曰孝定隆裕宽惠慎哲协天保圣景皇后，中华民国政府以国丧规格处理丧事，与光绪帝合葬崇陵（河北易县清西陵）。",[64,133,330,9829,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7d3dc8e74cc30ecb9ccf1d2719eef5a.jpg",[],{"id":101234,"slug":101235,"title":101236,"dynasty":54,"author":101237,"museum":300,"description":101238,"tags":101239,"thumbUrl":101240,"material":692,"size":1293,"collection":84,"collections":101241,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241653,"lu-shi-wen-ce-ye-ren-ping-241653","录诗文册页","任坪","任坪，清前期官员，高密人，自刑部郎中考选山西道御史，转陕西道掌印监察御史。1691年(康熙三十年)进士，1721年(康熙六十年)又与同官联合上疏，请建皇储。曾从清军赴漠北，虽荒寒冰雪，处之怡然。后辞职归里，闭户读书，卒于家",[54,7,59,133,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d50f44754a08c06603f824a8009182b.jpg",[],{"id":101243,"slug":101244,"title":94844,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":101245,"thumbUrl":101246,"material":611,"size":84,"collection":318,"collections":101247,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241649,"zhi-jian-fu-shu-zha-wen-zheng-ming-241649",[64,133,128,7,24,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d437f4b125c33b3d5b02878318242e5.jpg",[318],{"id":101249,"slug":101250,"title":94837,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":101251,"thumbUrl":101252,"material":692,"size":1293,"collection":84,"collections":101253,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241643,"zhi-chun-qian-shu-zha-wen-zheng-ming-241643",[7,64,133,128,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe43b564284a74d2b089e2d6d64fba056.jpg",[],{"id":101255,"slug":101256,"title":101257,"dynasty":54,"author":37194,"museum":300,"description":52233,"tags":101258,"thumbUrl":101259,"material":692,"size":1293,"collection":84,"collections":101260,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241633,"zhi-lao-fu-zi-da-ren-zha-lin-ze-xu-241633","致老夫子大人札",[7,64,133,611,128,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e8f80858e2895c0f5a21583052716c7.jpg",[],{"id":101262,"slug":101263,"title":89508,"dynasty":54,"author":37194,"museum":300,"description":52233,"tags":101264,"thumbUrl":101265,"material":692,"size":1293,"collection":84,"collections":101266,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241628,"zhi-yuan-tang-zha-lin-ze-xu-241628",[64,7,59,133,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c977566b938c2a264d0b3bd0ab90f99.jpg",[],{"id":101268,"slug":101269,"title":101270,"dynasty":54,"author":37194,"museum":300,"description":52233,"tags":101271,"thumbUrl":101272,"material":692,"size":1293,"collection":84,"collections":101273,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241627,"zhi-jie-shi-zha-lin-ze-xu-241627","致介石札",[7,64,133,128,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96987f99dca3c43c6719e3424f0cfb20.jpg",[],{"id":101275,"slug":101276,"title":101277,"dynasty":54,"author":37194,"museum":300,"description":52233,"tags":101278,"thumbUrl":101279,"material":692,"size":1293,"collection":84,"collections":101280,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":199},241625,"yan-qi-an-ji-zha-lin-ze-xu-241625","研祺安吉札",[7,64,133,128,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3838ac3e4b18fb5214fca092f9ec26e3.jpg",[],{"id":101282,"slug":101283,"title":101284,"dynasty":54,"author":37194,"museum":300,"description":52233,"tags":101285,"thumbUrl":101286,"material":692,"size":1293,"collection":84,"collections":101287,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241624,"zhi-jie-ping-zha-lin-ze-xu-241624","致介平札",[7,64,133,128,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb633c45f9a6e67396d773f304be13085.jpg",[],{"id":101289,"slug":101290,"title":101291,"dynasty":54,"author":101292,"museum":300,"description":101293,"tags":101294,"thumbUrl":101295,"material":692,"size":1293,"collection":84,"collections":101296,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241608,"bian-ji-zu-wen-xin-diao-long-yi-ze-bian-ji-zu-241608","边继祖文心雕龙一则","边继祖","边继祖，字佩文，号秋崖，任丘人。乾隆戊辰进士，改庶吉士，授编修，历官侍讲学士。有《澄怀园诗集》。",[24,7,59,133,208,5459,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F671039319adf86ae44f050a3fecbf18a.jpg",[],{"id":101298,"slug":101299,"title":101300,"dynasty":54,"author":101301,"museum":300,"description":101302,"tags":101303,"thumbUrl":101304,"material":692,"size":1293,"collection":84,"collections":101305,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241594,"wang-ming-sheng-lun-wen-zhang-gen-ben-ye-wang-ming-sheng-241594","王鸣盛论文章根本页","王鸣盛","王鸣盛（1722—1797），清史学家、经学家、考据学家。字凤喈，一字礼堂，别字西庄，晚号西江。江苏嘉定（属今上海市）人。官侍读学士、内阁学士兼礼部侍郎、光禄寺卿。",[7,64,133,59,208,128,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53a08d508791f53e833c5f4066019c96.jpg",[],{"id":101307,"slug":101308,"title":94870,"dynasty":54,"author":101309,"museum":300,"description":101310,"tags":101311,"thumbUrl":101312,"material":692,"size":1293,"collection":84,"collections":101313,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241586,"lu-wen-ye-cheng-jing-yi-241586","程景伊","程景伊（1712—1780），清江苏武进人，字聘三，号莘田。乾隆四年（1739）进士。历任兵部侍郎，工、刑、吏诸部尚书，文渊阁大学士。工诗词，精吏牍，兼通理学。",[133,208,64,59,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9ae8ce3d40cd03501ed264bbc30bb9.jpg",[],{"id":101315,"slug":101316,"title":101317,"dynasty":54,"author":101318,"museum":300,"description":101319,"tags":101320,"thumbUrl":101321,"material":692,"size":1293,"collection":84,"collections":101322,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241578,"ming-ren-ti-hua-ju-ye-zhuang-su-241578","名人题画句页","庄橚","这件行书小品舒朗灵动，笔墨温润雅致。起笔收锋兼具法度与意趣，字势错落排布，章法疏朗通透，尽显闲适散淡的文人意韵。\n\n所录题画诗描摹秋山幽居、江南湖山胜景，笔墨随诗句意境流转，笔情墨趣与诗中画境相融，将渺远湖光、花坞村居的悠然图景诉诸笔端，以书法延展题画诗意，尽显传统书画题咏相映的雅致意趣。\n\n笔画粗细枯润富于变化，牵丝映带间气脉贯通，既有帖学的秀雅灵动，又暗含拙朴之致，尽显书者不俗的文人修养与笔墨功底。",[54,7,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c0506439fafe68d181216595012978d.jpg",[],{"id":101324,"slug":101325,"title":101326,"dynasty":54,"author":101327,"museum":300,"description":101328,"tags":101329,"thumbUrl":101330,"material":692,"size":1293,"collection":84,"collections":101331,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241551,"qin-hong-qi-lv-shi-shou-juan-qin-hong-241551","秦鋐七律十首卷","秦鋐","秦鋐山东单县人，弘治元年以左副都御史总督漕运。",[24,7,25,128,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6a71c9e846372cce05ef0d9ee6008c7.jpg",[],{"id":101333,"slug":101334,"title":101335,"dynasty":54,"author":47606,"museum":300,"description":95115,"tags":101336,"thumbUrl":101337,"material":692,"size":1293,"collection":84,"collections":101338,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241549,"zhi-liu-zhou-shou-zha-ce-huang-yue-241549","致六舟手札册",[304,64,133,59,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb701a90a75aca37ad0a8e26cc6bcb19d.jpg",[],{"id":101340,"slug":101341,"title":101342,"dynasty":124,"author":101343,"museum":300,"description":101344,"tags":101345,"thumbUrl":101347,"material":692,"size":1293,"collection":84,"collections":101348,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241536,"qi-lv-ye-lin-shu-xue-241536","七律页","林叔学","此作用笔温润灵动，提按转合自然舒展，牵丝映带间暗含韵律，点画粗细富于变化，兼遒劲与秀逸之姿。\n章法疏朗安和，字距错落随势生发，行列排布毫无板滞，尽显灵动雅致。笔墨晕染出明代行书尚意的典型风貌，又自出机杼，将诗中幽居雅游的隐逸闲恬心境寄寓于流转笔锋之中，诗书相映成趣，是文人意趣与书法风骨相融的佳构，尽显明代文人书法的温婉风神。",[7,64,133,128,208,98990,663,20109,547,2372,4947,101346,88581,9402],"烛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1e8633aaf4d27ea4cc6193142d570df.jpg",[],{"id":101350,"slug":101351,"title":101342,"dynasty":124,"author":95684,"museum":300,"description":95685,"tags":101352,"thumbUrl":101353,"material":692,"size":1293,"collection":84,"collections":101354,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241534,"qi-lv-ye-chen-kan-241534",[7,64,133,208,805,128,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52eb18e56bc52e82e6dfc54a7fb24b46.jpg",[],{"id":101356,"slug":101357,"title":101358,"dynasty":124,"author":101359,"museum":300,"description":101360,"tags":101361,"thumbUrl":101364,"material":611,"size":84,"collection":318,"collections":101365,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241532,"wu-yan-shi-er-shou-ye-zhang-hong-lie-241532","五言诗二首页","张鸿烈","行笔舒展灵动，牵丝映带间尽显流畅雅致，结体端秀又不失飘逸姿态。笔墨与五言诗意相融，将雨中访友、宴饮雅谭的清隽意趣，随着点画流转铺陈开来，暗合着高洁自持的品格抒怀。\n\n通篇疏密得宜，笔画枯湿浓淡相宜，粗细富于变化，尽显尚意风雅风貌。林下风流藏于撇捺之间，整体气息冲淡平和，匀净和谐，是颇具韵致的行书佳构，尽显文人墨客的雅致襟怀。",[7,64,133,208,48069,371,950,10887,375,101362,88581,101363],"宴","歌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9c9dc797aee9870061cd9e78e1611b1.jpg",[318],{"id":101367,"slug":101368,"title":101342,"dynasty":124,"author":101369,"museum":300,"description":101370,"tags":101371,"thumbUrl":101372,"material":611,"size":84,"collection":318,"collections":101373,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241527,"qi-lv-ye-mao-ji-ke-241527","毛际可","毛际可（1633年－1708年），字会侯，号鹤舫，晚号松皋老人。遂安（今属浙江）人，清代文学家。",[7,64,133,208,611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a1816756b2fa52194de0ec735a9f416.jpg",[318],{"id":101375,"slug":101376,"title":101377,"dynasty":54,"author":101378,"museum":300,"description":101379,"tags":101380,"thumbUrl":101381,"material":692,"size":1293,"collection":84,"collections":101382,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},241517,"wu-jue-shi-zhou-wu-dian-yuan-241517","五绝诗轴","吴殿元","此作用笔爽利圆劲，起收自如，牵丝映带间尽显行书流转之美。三列竖排章法疏朗，行气贯通如清溪奔涌。结体欹正相生，大字开张舒展，笔势跌宕起伏，将诗句中山烟水艇的清逸意境与笔墨融为一体。\n\n墨色浓淡自然过渡，重墨如坠石沉凝，轻锋似掠云舒卷，把远山天外的空濛、烟艇归处的悠然，尽数通过笔意烘托而出。书风兼具文人气韵与豪放意趣，落笔可见作者寄情湖山的襟怀，笔墨浸透江南清润雅致的意趣，是兼具艺术性与抒情性的行书佳构。",[54,165,133,64,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f7ec0e085d2d8c7704d35bacf6a965d.jpg",[],{"id":101384,"slug":101385,"title":89548,"dynasty":54,"author":89549,"museum":300,"description":101386,"tags":101387,"thumbUrl":101388,"material":692,"size":1293,"collection":84,"collections":101389,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241515,"ji-bai-shou-mei-hua-shi-tie-ce-liang-wei-jia-241515","此作用笔灵动婉畅，行书笔意流转自如，牵丝映带间尽显章法意趣，字势顾盼相生，疏密错落恰到好处。墨色浓淡自然过渡，通篇气韵清雅连贯，将咏梅诗的清逸意境与书法笔墨融为一体。书写既有文人书法的秀雅温润，又暗含内敛刚劲的骨力，笔致凝练却不失舒展，把诗句中梅花的孤高品格借笔墨徐徐铺陈开来，尽显悠然书卷意态，是颇具意趣的书法小品。",[7,59,133,64,1590,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbdcc0260d15a7e0affd22e661612c3a.jpg",[],{"id":101391,"slug":101392,"title":101393,"dynasty":54,"author":101394,"museum":300,"description":101395,"tags":101396,"thumbUrl":101397,"material":692,"size":1293,"collection":84,"collections":101398,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241491,"wu-yan-shi-wan-shan-lv-pei-fen-241491","五言诗纨扇","吕佩芬","派名烈英，号晓初，又号筱苏，外号季兰子，清末安徽旌德庙首人。光绪六年（1880)中进士，授翰林院编修。历任福建、顺天、贵州、湖南乡试主考官和同考官，京城经济特科收掌官，国史馆、武英殿和起居注协修，编修处总纂、功臣馆纂修、文处行走、文渊阁校理、直隶永定河道员以及二品衔侍讲等职。",[24,7,1131,133,64,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16010cc1fd3ef8abb2850ea940fe66be.jpg",[],{"id":101400,"slug":101401,"title":101402,"dynasty":54,"author":101403,"museum":300,"description":101404,"tags":101405,"thumbUrl":101406,"material":692,"size":1293,"collection":84,"collections":101407,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241489,"chong-yang-xian-li-zhong-ding-zhang-shang-shu-miao-ji-wan-shan-lin-shao-nian-241489","崇阳县立忠定张尚书庙记纨扇","林绍年","林绍年（1845年－1916年），字赞虞，福建闽县人。清同治十三年（1874年）进士，授翰林院编修。光绪十四年（1888年）任御史，以极谏慈禧动用海军经费修颐和园，名噪四海。二十六年（1900年）迁云南布政使，就擢巡抚，兼署云贵总督。三十年上奏朝廷，呼吁实行立宪改革。三十一年（1905年）移广西。三十二年（1906年）内召，以侍郎充军机大臣，兼署邮传部尚书，授度支部侍郎。支持改革。三十三年（1907年)因御史赵启霖劾段芝贵案，林绍年替言官赵启霖报不平，跟庆亲王奕劻闹翻，称病退出军机，外出任河南巡抚。1910年调回中央任学部侍郎，后改任弼德院顾问大臣，随即告病回乡，1916年病逝于福州故里。",[1131,64,133,128,304,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2607308faaa4919905bf367692d6f213.jpg",[],{"id":101409,"slug":101410,"title":89574,"dynasty":54,"author":89575,"museum":300,"description":89576,"tags":101411,"thumbUrl":101412,"material":692,"size":1293,"collection":84,"collections":101413,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241480,"bai-ling-shi-han-ce-zhang-bai-ling-241480",[7,59,133,208,64,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818c61f071db5779863a4b875644b422.jpg",[],{"id":101415,"slug":101416,"title":89574,"dynasty":54,"author":89575,"museum":300,"description":89576,"tags":101417,"thumbUrl":101418,"material":692,"size":1293,"collection":84,"collections":101419,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241476,"bai-ling-shi-han-ce-zhang-bai-ling-241476",[304,7,64,59,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65b08e1d15429d5ff8867c9b9feb48b6.jpg",[],{"id":101421,"slug":101422,"title":89574,"dynasty":54,"author":89575,"museum":300,"description":89576,"tags":101423,"thumbUrl":101424,"material":692,"size":1293,"collection":84,"collections":101425,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241475,"bai-ling-shi-han-ce-zhang-bai-ling-241475",[59,133,208,7,64,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28e53723581cb2ce8ca93f4244380110.jpg",[],{"id":101427,"slug":101428,"title":101429,"dynasty":54,"author":101430,"museum":300,"description":101431,"tags":101432,"thumbUrl":101434,"material":692,"size":1293,"collection":84,"collections":101435,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241443,"zhi-zi-feng-zha-ye-wei-yi-ao-241443","致紫峰札页","魏一鳌","魏一鳌（1613~1692）字莲陆，直隶新安（河北保定）人。明代理学家。明崇祯举人，官山西忻州知州。礼贤下士，多施惠政。明末变乱之后，不愿为官，清顺治二年（1645）从清初大儒孙奇逢求学，在孙奇逢所居河南辉县夏峰村之兼山堂旁筑室而居，为自己的居处取名“雪堂”。与汤斌、耿介等共相切磋，汤对他非常称赞。他随孙奇逢常往来百泉书院讲学，从孙奇逢问学时间最长，前后达32年，因此纪录下来的与孙奇逢的答问也最多。他曾于保定城内建上谷五贤祠。逝后入祀乡贤祠。著有《四书偶录》、《诗经偶录》、《北学编》、《夏峰年谱》、《雪亭梦语》、《雪亭诗草》。时人对《雪亭梦语》评价甚高。",[64,133,101433,7],"札页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f4fdf8ab6d71b18df939e7a6131bf2b.jpg",[],{"id":101437,"slug":101438,"title":101439,"dynasty":54,"author":101440,"museum":300,"description":101441,"tags":101442,"thumbUrl":101443,"material":692,"size":1293,"collection":84,"collections":101444,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241436,"zhi-wu-qian-zha-heng-huang-pi-lie-241436","致吴骞札横","黄丕烈","黃丕烈（1763年－1825年），字绍武，又字荛圃、荛翁，別署覆翁，佞宋主人，清朝藏書家、版本目錄學家。江蘇省苏州府吳縣（今苏州市）人。",[7,64,25,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f3880b2981e76ef8c8bfd531ff578ea.jpg",[],{"id":101446,"slug":101447,"title":101448,"dynasty":124,"author":101449,"museum":300,"description":101450,"tags":101451,"thumbUrl":101452,"material":692,"size":1293,"collection":84,"collections":101453,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241423,"shan-jian-bu-bo-zhang-ye-yu-da-cheng-241423","善建不拨章页","余大成","余大成，字集生，号石衲，江宁人。明朝人物。万历三十五年（1607年）进士，官兵部职方司主事。参与保卫北京的战斗，并自称与袁崇焕接触，以招回关宁军。崇祯帝曾亲书“清执”二字赐给了他。\n崇祯四年担任山东巡抚期间，发生“吴桥兵变”。起初主张剿灭叛军的余大成在所部被孔有德数百人击溃后丧失了继续作战的勇气，主张招抚，并严禁与叛军作战，被嘲笑为“白莲督院”。然而招抚多次失败，导致兵马损失和大员被害，上震怒，将其贬谪。\n崇祯八年，他在被贬前往广东电白途中，特别迂道至东莞，吊祭袁崇焕，慷慨呜咽，见者声泪俱下。他既是袁崇焕的继任者，又是袁崇焕的崇拜者。留有记事名篇《剖肝录》。",[64,133,208,7,59,128,611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb1c5c68628a7327f036208f9fa7152.jpg",[],{"id":101455,"slug":101456,"title":29044,"dynasty":54,"author":71842,"museum":300,"description":85092,"tags":101457,"thumbUrl":101458,"material":692,"size":1293,"collection":84,"collections":101459,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241415,"qi-yan-lian-zhang-wen-tao-241415",[64,10886,133,165,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe320d610d682f2200473b26e6d124b92.jpg",[],{"id":101461,"slug":101462,"title":95162,"dynasty":54,"author":101463,"museum":300,"description":101464,"tags":101465,"thumbUrl":101466,"material":692,"size":1293,"collection":84,"collections":101467,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241397,"xing-shu-shi-zhou-wang-mei-ding-241397","汪梅鼎","[清？ -1815 ]字映雪，一作映琴，号畹云，一号擀云，又号蓼塘。安徽休宁人。乾隆五十八年（一七九三）进士，官御史。为人恬澹真率，好饮酒，善鼓琴，诗、书、画无一不工。书法兼苏、米。以时人画山水多规抚娄东，乃独开生面，高简得宋、元人神髓；亦工兰石及花卉，尝为林远峯写双树图。老干交缠，离奇天娇，笔意纵逸。",[304,24,7,64,165,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f82ca8c485273121d4b5572f094bba9.jpg",[],{"id":101469,"slug":101470,"title":60702,"dynasty":54,"author":101471,"museum":300,"description":101472,"tags":101473,"thumbUrl":101474,"material":692,"size":1293,"collection":84,"collections":101475,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241389,"wu-lv-zhou-chen-bang-yan-241389","陈邦彦","陈邦彦（1678～1752），清代海宁盐官人。字世南，亦作思南，号匏庐，一号春晖，又作春晖老人，又号匏庐。清代著名学者、书法家。",[24,7,165,133,64,128,27,263,376,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41b1ee1e597eee050c519a8923a08741.jpg",[],{"id":101477,"slug":101478,"title":50743,"dynasty":124,"author":101479,"museum":300,"description":101480,"tags":101481,"thumbUrl":101482,"material":692,"size":1293,"collection":84,"collections":101483,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241362,"shi-zhou-chen-kuang-241362","陈爌","陈爌（？－？），字去炫，号公朗，又号碧云。清初政治人物。",[7,165,64,840,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F451f5073b7a9fe5d82ed626988ad39c5.jpg",[],{"id":101485,"slug":101486,"title":101487,"dynasty":124,"author":101488,"museum":300,"description":101489,"tags":101490,"thumbUrl":101491,"material":692,"size":1293,"collection":84,"collections":101492,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241353,"qing-lin-gao-hui-tu-ge-zhou-sun-guo-guang-241353","青林髙会图歌轴","孙国光","此作用笔灵动苍劲，以行书挥就长歌。通篇章法错落疏朗，点画粗细枯湿富于变化，牵丝映带间笔势连贯畅达，既有晋人萧散出尘的韵致，又暗含晚明尚态的书风意趣。\n笔墨随着诗文铺展，将青林雅集的林下风流诉诸笔端，把文友阔别思念、雅聚清欢融于开合收放之中。字字顾盼呼应，通篇一气呵成，尽显书写时的快意随心，将晚明文人潇洒疏放的襟怀，藏在每一处笔墨细节之内，兼具文学意趣与书法审美价值。",[805,165,133,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb97544fe08bba11f94c8d7d808fec79.jpg",[],{"id":101494,"slug":101495,"title":101496,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":101497,"thumbUrl":101498,"material":692,"size":1293,"collection":84,"collections":101499,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241347,"zhou-ci-wei-yang-deng-zha-juan-dong-qi-chang-241347","舟次维扬等札卷",[23,64,7,25,133,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe48611280b894c4fa2c22a0a3ad21961.jpg",[],{"id":101501,"slug":101502,"title":101503,"dynasty":54,"author":223,"museum":300,"description":101504,"tags":101505,"thumbUrl":101506,"material":692,"size":1293,"collection":84,"collections":101507,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241341,"jin-shi-shui-you-yin-ci-zhou-yi-ming-241341","今释水尤吟词轴","此作用笔雄健酣畅，牵丝映带尽显流转灵动，行气贯通整幅。开篇起笔沉稳，字势舒张，随行文推进，笔意渐趋跌宕，字形大小错落、欹正相生。墨色浓淡枯湿层次丰富，重墨如坠石，淡锋似流云，将词作沉郁豪情铺陈开来。\n\n章法疏密有致，纵有行横无列，通篇一气呵成，把文辞里的家国忠怀化作笔底风雷，笔墨间兼具文人隽雅意趣与武将雄迈气势，尽显抒情特质，是一件以笔墨载情志的行书佳作。",[7,64,165,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef6fa95d0d69bbff738584226cc44a50.jpg",[],{"id":101509,"slug":101510,"title":69085,"dynasty":54,"author":101511,"museum":300,"description":101512,"tags":101513,"thumbUrl":101514,"material":692,"size":1293,"collection":84,"collections":101515,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},241324,"lun-shu-zhou-he-shao-jing-241324","何绍京","字子愚，号一溪，湖南道州（今道县）人。道光十九年（一八三九）举人，湖北候选道员。以诗词、书法及鉴赏名於时。",[64,133,165,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d556798f59004ba3417f2045d818681.jpg",[],{"id":101517,"slug":101518,"title":101519,"dynasty":54,"author":101520,"museum":300,"description":101521,"tags":101522,"thumbUrl":101523,"material":692,"size":1293,"collection":84,"collections":101524,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241306,"yao-fang-si-duan-juan-yu-zong-ying-241306","药方四段卷","于宗瑛","字英玉，号紫亭，汉军镶红旗人，襄勤于成龙之孙。乾隆十九年（一七五四）进士，官御史。性简淡，不趋荣利。工诗文，著有来鹤堂集。书学颜真卿，参以苏、米两家。",[7,64,25,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3a512449d22414ce41e84613a5e9c56.jpg",[],{"id":101526,"slug":101527,"title":101528,"dynasty":54,"author":101529,"museum":300,"description":101530,"tags":101531,"thumbUrl":101532,"material":692,"size":1293,"collection":84,"collections":101533,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241285,"wu-jia-shu-xing-kai-wu-lv-wu-jia-shu-241285","吴家树行楷五律","吴家树","此作用笔秀雅温润，行楷兼融，提按顿挫间尽显帖学法度，笔画舒展灵动，结体端稳又不失欹侧姿态，尽显文人书卷意趣。\n\n两幅题赠诗作排布疏朗匀称，字里行间透着清雅风神，朱红印章点缀其间，提亮整幅章法。纸面带着岁月晕染的痕迹，更添古旧质感，将清代书法尚雅的意趣融于笔墨之中，既见书写者的笔墨功底，也暗含文人酬唱题贺的雅致情怀，是一件兼具笔墨意趣与人文温度的书法小品。",[7,64,133,572,59,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10393d64e58148d13a37faf9096f1dca.jpg",[],{"id":101535,"slug":101536,"title":101537,"dynasty":54,"author":101538,"museum":300,"description":101539,"tags":101540,"thumbUrl":101541,"material":692,"size":1293,"collection":84,"collections":101542,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},241250,"lun-hua-zhou-chen-xi-zu-241250","论画轴","陈希祖","陈希祖（1767-1820，一作1765-1820）字敦一，又字稚孙，号玉香，更号玉方，一作玉芳。江西新城钟贤（今江西省黎川县中田乡）人。官御史。清代学者、著名书法家。",[7,165,133,27,547,167,230,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e56cafabe5bdfb77cacee33fe1bffdf.jpg",[],{"id":101544,"slug":101545,"title":60702,"dynasty":54,"author":101546,"museum":300,"description":101547,"tags":101548,"thumbUrl":101549,"material":692,"size":1293,"collection":84,"collections":101550,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241247,"wu-lv-zhou-xu-you-241247","许友","福建侯官人，初名宰，又名友眉，字有介，一字瓯香。许豸子。诸生。诗孤旷高迥，钱谦益尝录其诗入《吾炙集》，王士禛、朱彝尊并称之。善画工书，少师倪元璐，晚慕米芾，筑米友堂以祀之。康熙间卒。有《米友堂诗集》。",[24,7,64,165,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21cef9104ea9b968069665931d971c17.jpg",[],{"id":101552,"slug":101553,"title":101554,"dynasty":54,"author":101555,"museum":300,"description":101556,"tags":101557,"thumbUrl":101562,"material":692,"size":1293,"collection":84,"collections":101563,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241246,"wu-gu-zhou-wu-wen-241246","五古轴","吴雯","吴雯（1644－1704）字天章，号莲洋，又号玉溪生。山西蒲州人，康熙十八年（1379）试博学鸿词，不第，游食南北，足迹几遍古天下，其诗清新自然，王士禛誉为仙人。.",[24,7,165,64,840,128,650,372,663,101558,101559,101560,101561],"客","窗","斋","阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264f97cc5f9c54829837dfb12b6ffcb6.jpg",[],{"id":101565,"slug":101566,"title":101567,"dynasty":54,"author":101568,"museum":300,"description":101569,"tags":101570,"thumbUrl":101571,"material":692,"size":1293,"collection":84,"collections":101572,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241237,"qiu-ri-yuan-ju-shi-zhou-zhao-qian-241237","秋日园居诗轴","赵谦","此作用笔圆润灵动，以行书间杂草意，牵丝映带自然流畅，笔画粗细映带相生，行气连贯悠长。书写自作园居诗作，笔墨间尽显秋日幽居的萧散闲逸，将诗书意韵融于笔墨章法之中。通篇布局舒朗匀停，字势顾盼有情，带着秀雅温润的帖学风神，把幽居青山、静对晚色的澹然心境化作笔底意趣，尽显文人修身寄兴的清雅襟怀。",[24,7,165,133,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1de9595c93327a3a15e69744ceed14dc.jpg",[],{"id":101574,"slug":101575,"title":101576,"dynasty":54,"author":76008,"museum":300,"description":101577,"tags":101578,"thumbUrl":101579,"material":611,"size":84,"collection":318,"collections":101580,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241210,"han-shi-xiao-zhou-wang-shi-hong-241210","韩诗小轴","汪士鋐（1658年—1723年），字文升，号退谷，又号秋泉居士，长洲（今江苏苏州）人。清代书法家、藏书家。汪琬从子。\n汪士鋐（1658－1723），字文升，号退谷，又号秋泉，长洲（今江苏苏州）人。康熙三十六年（1697年）会元，官中允。书法与姜西溟（宸英）称姜汪。得执笔法，书绝瘦硬颉颃张照，诸子莫及。曾题沈凡民印谱自谓初学停云馆麻姑仙坛、阴符经，友人讥为木板黄庭，因一变学赵（赵孟頫）得其弱，再变学褚（褚遂良）得其瘦。晚年尚慕篆、隶，时悬阳冰（李阳冰）颜家庙碑额于壁间，观玩摹拟而岁月迟暮，精进无几。其书能大而不能小，然有奇势，纵横自放，而分间布白，无分寸失。名公卿碑版多出其手。著瘗鹤铭考、秋泉居士集、全秦艺文志。卒年六十六。《书林纪事、履园丛话、昭代尺牍小传、论书帖》\n翁方纲诗有“楷法同时汪与何”，自注“汪谓退谷中允”，“何乃何焯也”。（复初斋诗集卷12‧院之东厅，康熙乙未秋长洲何义门学士书联云「仪凤祥麟游集盛，金书玉字职司勤。」字画遒劲，方纲摹而重锓之，记以四诗）",[7,64,165,133,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbff9120af23d3728916b1c74330b304.jpg",[318],{"id":101582,"slug":101583,"title":95131,"dynasty":54,"author":41362,"museum":300,"description":81374,"tags":101584,"thumbUrl":101585,"material":692,"size":1293,"collection":84,"collections":101586,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241195,"wu-lv-shi-shan-mian-da-chong-guang-241195",[164,24,7,1131,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5eb24edfd7e25be849ad92064052e24.jpg",[],{"id":101588,"slug":101589,"title":101590,"dynasty":54,"author":101591,"museum":300,"description":101592,"tags":101593,"thumbUrl":101594,"material":692,"size":1293,"collection":84,"collections":101595,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241185,"qing-ren-ji-jin-ce-lun-xiao-xue-ye-kong-ji-su-241185","清人集锦册-论小学页","孔继涑","孔继涑，字信夫，一字体字，号谷园，别号葭谷居士。曲阜人，六十八代衍圣公孔传铎第五子。",[24,7,59,64,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8fd58bdd7198f5e5647c12f769e395b.jpg",[],{"id":101597,"slug":101598,"title":101599,"dynasty":54,"author":101600,"museum":300,"description":101601,"tags":101602,"thumbUrl":101603,"material":692,"size":1293,"collection":84,"collections":101604,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241179,"qing-ren-ji-jin-ce-shi-ye-yang-han-241179","清人集锦册-诗页","杨翰","杨翰（1812年～1879年），字伯飞，一字海琴，号樗盦，别号息柯居士，直隶河间（今河北省河间市）人。清朝大臣，著名学者。\n嘉庆十七年，生于父亲所在四川官署。道光二十五年，中进士，授官湖南辰沅永靖道台，官至永州知府。光绪五年，病逝，享年六十七岁，葬于浯溪。",[7,59,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b6de3dd8351f0b75c45e2b813f8aa76.jpg",[],{"id":101606,"slug":101607,"title":21115,"dynasty":124,"author":101608,"museum":300,"description":89351,"tags":101609,"thumbUrl":101610,"material":692,"size":1293,"collection":84,"collections":101611,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241127,"shi-shan-mian-yue-he-sheng-241127","岳和声",[1131,7,24,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccee7fac868431af3f2b48b1400c94bf.jpg",[],{"id":101613,"slug":101614,"title":101615,"dynasty":124,"author":101616,"museum":300,"description":101617,"tags":101618,"thumbUrl":101619,"material":692,"size":1293,"collection":84,"collections":101620,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241111,"wu-yan-shou-shi-meng-shao-yu-241111","五言寿诗","孟绍虞","天启五年十二月，叙日讲官员，升协理詹事府事礼部右侍郎兼翰林院侍读学士骆从宇、施凤来各左侍郎；少詹事兼翰林院侍读学士孟绍虞詹事府詹事兼官日讲，俱照旧。",[805,64,133,59,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9591296eee4c7925578adaaaf5d22c4f.jpg",[],{"id":101622,"slug":101623,"title":50743,"dynasty":54,"author":101624,"museum":300,"description":101625,"tags":101626,"thumbUrl":101627,"material":692,"size":1293,"collection":84,"collections":101628,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241075,"shi-zhou-wang-zuo-241075","王佐","工四体书，兼善山水、翎毛，才艺俱优。参将沐崧欲延入幕府却之，以书、画自娱。",[24,7,165,840,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbddf390d45bb9300bec578e6f2c7c0fd.jpg",[],{"id":101630,"slug":101631,"title":101632,"dynasty":124,"author":89626,"museum":300,"description":89627,"tags":101633,"thumbUrl":101634,"material":692,"size":1293,"collection":84,"collections":101635,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241072,"zhi-zhi-ba-zha-juan-wang-zhi-deng-241072","致侄八札卷",[164,24,7,25,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9a5f7db84c76e4cf04dafbf0ae36f1a.jpg",[],{"id":101637,"slug":101638,"title":50743,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":101639,"thumbUrl":101640,"material":692,"size":1293,"collection":84,"collections":101641,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},241042,"shi-zhou-dong-bang-da-241042",[24,7,165,133,64,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013f13ac81673ce0293ffe642306d17f.jpg",[],{"id":101643,"slug":101644,"title":101645,"dynasty":124,"author":90019,"museum":300,"description":90020,"tags":101646,"thumbUrl":101647,"material":611,"size":84,"collection":318,"collections":101648,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},241000,"tao-yan-zhi-juan-pian-tao-yan-241000","陶琰致卷片",[23,64,133,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94301e67249c331fbb503d062233b6cc.jpg",[318],{"id":101650,"slug":101651,"title":71815,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":101652,"thumbUrl":101653,"material":692,"size":1293,"collection":84,"collections":101654,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240985,"wu-lv-shi-zhou-huang-shen-240985",[24,7,64,165,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9771fb72a35c43e7453920028d8b6213.jpg",[],{"id":101656,"slug":101657,"title":69123,"dynasty":54,"author":101658,"museum":300,"description":101659,"tags":101660,"thumbUrl":101661,"material":692,"size":1293,"collection":84,"collections":101662,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240977,"wu-jue-zhou-xue-kai-240977","薛开","薛开，字展也，号木庵，清顺治、康熙年间如皋人，通州泰州如皋一带书法家。书法工妙，擅长诗文，曾见其书法字字映带，行行呼应无造作之处。",[304,24,7,64,165,133,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69e6b338adcb67ef5b87d9d8e6eaa217.jpg",[],{"id":101664,"slug":101665,"title":101666,"dynasty":124,"author":223,"museum":300,"description":101667,"tags":101668,"thumbUrl":101669,"material":692,"size":1293,"collection":84,"collections":101670,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},240960,"san-wu-mo-miao-ce-gu-li-he-xue-fang-yin-zhang-luo-weng-qi-shi-shou-shi-yi-ming-240960","三吴墨妙册-顾瑮贺雪舫姻丈罗翁七十寿诗","此作用笔爽劲利落，起收转折皆合行书法度，牵丝映带灵动婉转，将刚劲骨力与秀润姿态相融。章法疏密随性排布，通篇行气贯通，墨色浓淡干湿层次丰富，尽显书写时的松弛意绪。\n\n作为贺寿诗札，笔墨间暗含恭谨雅致的心意，是明代尺牍书法的典型风貌。书者以笔墨寄寓风雅，既恪守文人应酬的得体，又不失随性抒怀的自在，尽显明人行书重态尚意的特质，是兼具文献价值与艺术观赏性的小品佳作。",[24,7,59,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc723804410f3d1f5eec64b935f5f2387.jpg",[],{"id":101672,"slug":101673,"title":71728,"dynasty":54,"author":101674,"museum":300,"description":101675,"tags":101676,"thumbUrl":101677,"material":692,"size":1293,"collection":84,"collections":101678,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240925,"shi-he-juan-wang-qi-sun-240925","王芑孙","王芑孙（1755—1817），清代文学家、赋论家。字念丰，一字沤波，号惕甫，一号铁夫、云房，又号楞伽山人。长洲（今江苏苏州）人。乾隆五十三年（1788）召试举人，任国子监典籍、咸安宫教习、华亭县教谕。后辞官归，任扬州乐仪书院山长。学问宏博，文章名震一时，肆力于诗，最工五古，被称为“吴中尊宿”。工书逼刘墉，不期而合。吴门自明季以来，书家用笔，皆以清秀俊逸见长，至芑孙，始以遒厚浑古矫之，遂为三百年所未有。著有《碑版广例》、《楞伽山房集》、《渊雅堂集》。",[23,7,25,64,133,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb636181f8cdc43e399fbf45c8fe84290.jpg",[],{"id":101680,"slug":101681,"title":55320,"dynasty":124,"author":101682,"museum":300,"description":101683,"tags":101684,"thumbUrl":101685,"material":692,"size":1293,"collection":84,"collections":101686,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240922,"zi-shu-shi-juan-zhao-nan-xing-240922","赵南星","赵南星（1550年4月19日—1628年1月23日），字梦白，号侪鹤，别号清都散客，北直隶真定府高邑（今河北省高邑县）人。明代后期政治家、文学家，东林党的首领之一。\n明神宗万历二年（1574年），赵南星登进士第。历任汝宁推官、户部主事、吏部考功郎中、吏部文选员外郎等职。万历二十一年（1593年），与孙鑨负责癸巳京察，触动在朝者利益，被罢黜。此后在家闲居长达二十余年。明熹宗天启三年（1623年），赵南星被重新启用，任吏部尚书。为政期间，革新吏治，整肃朝纲，风气为之一新。但随着东林党人与阉党斗争的失败，赵南星被革去官职，削籍戍代州。明思宗即位之初，即清查魏忠贤案，为其平反。天启七年十二月（1628年1月），赵南星去世，享年七十八岁。追赠太子太保，谥号“忠毅”，世称赵忠毅公。\n赵南星对明代后期政治改革提出了一些富有见地的思想主张，并勇敢地付诸实践，在当时取得明显的成效，对清明政治起了很好的作用。赵南星在文学上亦造诣颇深，作品涉及诗词，散曲等，题材种类之多为明代作家之少有。有《芳茹园乐府》等作传世。",[23,805,7,25,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92e194be605d3cee0186e81fb351cd5b.jpg",[],{"id":101688,"slug":101689,"title":101690,"dynasty":54,"author":101691,"museum":300,"description":101692,"tags":101693,"thumbUrl":101694,"material":692,"size":1293,"collection":84,"collections":101695,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240906,"liu-lin-qi-jue-er-shou-zhou-tang-bin-240906","柳林七绝二首轴","汤斌","汤斌（1627年—1687年），字孔伯，号荆岘，晚号潜庵。河南睢州（今河南睢县）人，清朝政治家、理学家暨书法家，官至工部尚书，卒谥文正。汤斌一生清正廉明，是实践朱学理论的倡导者，所到之处体恤民艰，弊绝风清，政绩斐然，被尊为“理学名臣”。",[24,7,165,64,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5de1cf7ddefe1ee893a03a06ae3e17fe.jpg",[],{"id":101697,"slug":101698,"title":101699,"dynasty":54,"author":101700,"museum":300,"description":101701,"tags":101702,"thumbUrl":101703,"material":692,"size":1293,"collection":84,"collections":101704,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240904,"lu-yu-wan-shan-chen-bao-chen-240904","录语纨扇","陈宝琛","陈宝琛（1848—1935年），字伯潜，号弢庵、陶庵、听水老人，福州闽县螺洲（今福建省福州市仓山区螺洲镇）人。晚清大臣、学者，刑部尚书陈若霖曾孙。\n同治七年（1868年），考中进士，授翰林院庶吉士历任编修、翰林侍讲。直言敢谏，连同张之洞、张佩纶、宝廷成为“枢廷四谏官”，出任江西学政，累迁内阁学士、礼部侍郎。中法战争后，推举的唐炯、徐延投办事不力，坐罪降职。回乡赋闲，发展家乡教育事业。宣统元年（1909年），调入京城，充任礼学馆总裁、内阁弼德院顾问大臣、正红旗汉军副都统，成为宣统帝溥仪的师傅，监修《德宗实录》。工书法，学黄庭坚，又擅画松。",[7,1131,64,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ab23046161a3cf8fd0cf35ee4d8a275.jpg",[],{"id":101706,"slug":101707,"title":101708,"dynasty":124,"author":92841,"museum":300,"description":101709,"tags":101710,"thumbUrl":101711,"material":692,"size":1293,"collection":84,"collections":101712,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240883,"za-shu-shi-ce-wu-kuan-240883","杂书诗册","吴宽（1435年－1504年8月19日 ），字原博，号匏庵、玉亭主，世称匏庵先生。直隶长州（今江苏苏州）人。明代名臣、诗人、散文家、书法家。\n吴宽为明宪宗成化八年（1472年）状元，授翰林修撰，曾侍奉孝宗读书。孝宗即位，迁左庶子，预修《宪宗实录》，进少詹事兼侍读学士。官至礼部尚书，卒赠太子太保，谥号“文定”。\n吴宽的诗深厚醲郁，自成一家，著有《匏庵集》 。又擅书法，作书姿润中时出奇崛，虽规模于苏，而多所自得。",[7,59,133,64,9910,805,41220,84926],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16b7f882622f12b0a331a79d29ef1c3c.jpg",[],{"id":101714,"slug":101715,"title":101716,"dynasty":124,"author":69155,"museum":300,"description":101717,"tags":101718,"thumbUrl":101719,"material":692,"size":1293,"collection":84,"collections":101720,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240876,"wan-qing-fu-ce-xing-dong-240876","晚晴赋册","邢侗（1551年－1612年），字子愿，晚号来禽济源山主，山东临邑人。晚明政治人物、書畫家。",[7,64,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45ec02db45008499e276a4621d9a51c2.jpg",[],{"id":101722,"slug":101723,"title":101724,"dynasty":124,"author":101725,"museum":300,"description":101726,"tags":101727,"thumbUrl":101728,"material":692,"size":1293,"collection":84,"collections":101729,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240861,"dong-ting-liang-shan-fu-juan-wang-ao-240861","洞庭两山赋卷","王鏊","字济之，别号守溪，学晚号震泽先生，苏州吴县人。明成化十年（1474年）乡试、会试皆第一，殿试一甲第三名。 授翰林院编修。弘治初，选侍讲学士，充讲官。后转少詹事，擢吏部右侍郎。正德元年（1506年）四月起为吏部左侍郎，与诸大臣请诛大太监刘瑾。刘瑾掌权，欲焦芳入阁，廷议独推鏊。刘瑾迫于公论，命鏊以本官兼学士与芳同入内阁。时中外大权皆归瑾，鏊不能救，力求去，四年，许之。后归居苏州，致力于地方文献著述。嘉靖三年（1524年）卒。赠太傅，谥文恪。其人博学有识鉴，文章议论畅明，为人、德望均为时人敬服，门下学生众多，唐寅也是其中之一。著有《姑苏志》、《震泽集》等，《明史》一百八十一有传。",[164,24,7,25,64,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bb7d187d31ff6641bc0c48c370a76cb.jpg",[],{"id":101731,"slug":101732,"title":101733,"dynasty":124,"author":23683,"museum":300,"description":79605,"tags":101734,"thumbUrl":101735,"material":692,"size":1293,"collection":84,"collections":101736,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240857,"za-hua-shi-juan-wen-peng-240857","杂花诗卷",[23,164,24,7,25,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f61b24e52a3aa46a17bbb91beb5e6c6.jpg",[],{"id":101738,"slug":101739,"title":101740,"dynasty":54,"author":101741,"museum":300,"description":101742,"tags":101743,"thumbUrl":101744,"material":692,"size":1293,"collection":84,"collections":101745,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240839,"zhi-lan-po-zha-tong-juan-zhou-er-yong-240839","致兰坡札(通)卷","周尔墉","官京师时，舆昆明赵光齐名。咸丰四年（一八五四）作行书屏，时年六十三。卒年未详。",[23,7,25,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F154da0fd0143f3f4eb9e5dac793d7348.jpg",[],{"id":101747,"slug":101748,"title":89811,"dynasty":54,"author":71800,"museum":300,"description":71801,"tags":101749,"thumbUrl":101750,"material":692,"size":1293,"collection":84,"collections":101751,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240830,"shou-zha-heng-yi-bing-shou-240830",[64,133,208,7,76388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe78cbb7979a4cdd76fc13ed44441bb79.jpg",[],{"id":101753,"slug":101754,"title":56988,"dynasty":54,"author":15720,"museum":300,"description":15721,"tags":101755,"thumbUrl":101757,"material":692,"size":1293,"collection":84,"collections":101758,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240824,"xing-shi-wen-si-tiao-ping-ai-xin-jue-luo-yong-xing-240824",[24,7,133,64,208,101756],"四条屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0da77218e0d2f5accc222dda07a9f5bc.jpg",[],{"id":101760,"slug":101761,"title":62666,"dynasty":124,"author":101762,"museum":300,"description":101763,"tags":101764,"thumbUrl":101765,"material":692,"size":1293,"collection":84,"collections":101766,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240823,"qi-lv-shi-zhou-lu-lv-qian-240823","陆履谦","明苏州府常熟人，字道卿。工画山水。",[7,64,165,840,128,208,1233,331,19007,19189,95256,12623],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84921f15e29bcd0a70ec0d5e3cb96af2.jpg",[],{"id":101768,"slug":101769,"title":101770,"dynasty":54,"author":101771,"museum":300,"description":101772,"tags":101773,"thumbUrl":101774,"material":692,"size":1293,"collection":84,"collections":101775,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240817,"ku-ye-shui-lao-shi-you-xu-ye-zhang-xi-lun-240817","哭掖水老师有序页","张僖纶","此作为小楷祭文，用笔端凝秀润，点画圆劲匀净，结构工稳停匀，是清代典型的馆阁风范。纸面古雅泛黄，墨色乌亮沉凝，字字排布齐整，行气贯通如一，笔墨间自带肃穆端严，恰合追思先师的哀恸基调。\n文稿追怀先师率部死节、尽义守忠，文辞泣血，字字含悲。笔墨风骨与家国忠愤相融相合，既为规整可观的翰墨佳构，亦是寄寓哀思、载录忠义的传世文稿，让书写法度与拳拳深情彼此辉映。",[7,64,59,572,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ee4436bf860e45deb9161d2bb2b5e2a.jpg",[],{"id":101777,"slug":101778,"title":101779,"dynasty":54,"author":101780,"museum":300,"description":101781,"tags":101782,"thumbUrl":101783,"material":692,"size":1293,"collection":84,"collections":101784,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240803,"bao-feng-xia-ku-si-shui-xian-sheng-you-xu-ye-li-liu-ye-240803","包封夏哭司水先生有序页","李刘掖","此作为行书小品，行笔灵动圆劲，藏露锋态自然切换，线条粗细随情意缓急变化，字势欹正相生，顾盼有情。\n\n右页大字开张疏朗，笔墨酣畅率意；左页题字端稳内敛，与大字形成虚实错落的章法韵律。整体墨色浓淡过渡自然，萧散雅致的文人意趣跃然纸上，将悼怀逝者的沉郁心绪融于笔墨之间，以书法寄寓深情，尽显清代文人书法抒情与审美兼具的独特风貌。",[54,7,59,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4726b5e493e225841db2dff0a42b913e.jpg",[],{"id":101786,"slug":101787,"title":71775,"dynasty":54,"author":37194,"museum":300,"description":52233,"tags":101788,"thumbUrl":101789,"material":692,"size":1293,"collection":84,"collections":101790,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240724,"shi-zha-ce-lin-ze-xu-240724",[7,64,133,59,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34fecbe0daed0462a261529d86f0024a.jpg",[],{"id":101792,"slug":101793,"title":71775,"dynasty":54,"author":37194,"museum":300,"description":52233,"tags":101794,"thumbUrl":101795,"material":692,"size":1293,"collection":84,"collections":101796,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240721,"shi-zha-ce-lin-ze-xu-240721",[7,64,59,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e18ae25729da6395ac241576c6f4ecd.jpg",[],{"id":101798,"slug":101799,"title":71775,"dynasty":54,"author":37194,"museum":300,"description":52233,"tags":101800,"thumbUrl":101801,"material":692,"size":1293,"collection":84,"collections":101802,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240719,"shi-zha-ce-lin-ze-xu-240719",[7,64,59,133,128,27,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc5417afe2dd33ae439e90d34f1174dc.jpg",[],{"id":101804,"slug":101805,"title":71775,"dynasty":54,"author":37194,"museum":300,"description":52233,"tags":101806,"thumbUrl":101807,"material":692,"size":1293,"collection":84,"collections":101808,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240718,"shi-zha-ce-lin-ze-xu-240718",[7,59,133,208,64,8162,6369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff90aa147f00f247890fac5ae73e3b86c.jpg",[],{"id":101810,"slug":101811,"title":101812,"dynasty":54,"author":101813,"museum":300,"description":101814,"tags":101815,"thumbUrl":101816,"material":692,"size":1293,"collection":84,"collections":101817,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240696,"huai-zhen-fu-shan-mian-liu-da-guan-240696","怀甄赋扇面","刘大观","刘大观（1753～1834），字正孚，号崧岚，山东临清州邱县（今属河北）人。山左临清州（今属河北省邯郸市）邱县邱城人，乾隆丁酉拔贡。初仕广西永福县令，署理象州、马平、贺县，调补天保。丁忧，服阙，先委治承德，旋补开原县知县，升宁远州知州，捐任山西河东兵备道，兼管山、陕、河南三省盐务，二署山西布政使。罢官后，寓居怀庆府，直至终老王屋山，得寿八十有二。工诗善书，萧闲刻峭，卓然自立。他是当时辽东地区最著名的诗人之一、高密诗派的中坚人物。乾嘉时期著名文人，为官有政声。著有《玉磬山房诗集》十三卷，《文集》四卷。其生平事迹，坊间诸书或有讹阙，故缀此小文。",[1131,64,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedb7b9eae52311df48a21f1023c7c8f6.jpg",[],{"id":101819,"slug":101820,"title":101821,"dynasty":54,"author":3820,"museum":300,"description":30167,"tags":101822,"thumbUrl":101823,"material":692,"size":1293,"collection":84,"collections":101824,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240694,"ba-qun-gong-shu-ye-gong-xian-240694","跋群公书页",[64,7,133,208,59,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c02c7afc760d24bb81d23d5e2ce362b.jpg",[],{"id":101826,"slug":101827,"title":101828,"dynasty":54,"author":101829,"museum":300,"description":101830,"tags":101831,"thumbUrl":101832,"material":692,"size":1293,"collection":84,"collections":101833,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240689,"huang-ri-qi-lin-you-jun-tie-ye-huang-ri-qi-240689","黄日起临右军帖页","黄日起","此作用笔灵动圆活，线条流转舒展，深得右军帖之雅逸风神。字势顾盼相生，章法开合有度，字间牵丝映带，将晋人萧散简远的意趣尽显无余。\n墨色富于变化，枯笔瘦劲见筋骨，润笔腴润蕴温雅，轻重缓急间尽显书写时的悠然意态。虽为临帖，却并非刻板摹写，恪守法度之余融入自我意韵，尽显雅致格调，藏着书家的笔墨襟怀。",[7,330,133,208,59,64,1590,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a2b3e128ab6738f3fb9666bde0e6e61.jpg",[],{"id":101835,"slug":101836,"title":101837,"dynasty":54,"author":101838,"museum":300,"description":101839,"tags":101840,"thumbUrl":101841,"material":692,"size":1293,"collection":84,"collections":101842,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240659,"song-xiang-qi-jue-shi-zhou-song-xiang-240659","宋湘七绝诗轴","宋湘","宋湘（1756年－1826年），字焕襄，号芷湾，广东嘉应州（今梅州市）客家人，清代政治人物、诗人 。 生平[编辑]. 宋湘出身贫寒，受家庭影响勤奋读书，十七岁即中秀才。",[64,7,165,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3ef1ec7c29bbdc21c26466a82bd20bd.jpg",[],{"id":101844,"slug":101845,"title":101846,"dynasty":54,"author":101847,"museum":300,"description":101848,"tags":101849,"thumbUrl":101850,"material":692,"size":1293,"collection":84,"collections":101851,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240656,"du-shu-lu-juan-qiao-chong-lie-240656","读书录卷","乔崇烈","乔崇烈，字无功，号学斋，江苏宝应人。康熙四十五年（1706）进士，因其长于文学及书法，优选为庶吉士。为人倜傥不羁，诗文对客，挥毫千言立就。",[23,7,64,25,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2092cfd0043df289aad8a8b879ba3759.jpg",[],{"id":101853,"slug":101854,"title":50743,"dynasty":54,"author":101855,"museum":300,"description":101856,"tags":101857,"thumbUrl":101858,"material":611,"size":84,"collection":318,"collections":101859,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240645,"shi-zhou-feng-gui-fen-240645","冯桂芬","冯桂芬（1809～1874）晚清思想家、散文家。字林一，号景亭，吴县（今江苏苏州）人，曾师从林则徐。道光二十年进士，授编修，咸丰初在籍办团练，同治初，入李鸿章幕府。少工骈文，中年后肆力古文，尤重经世致用之学。在上海设广方言馆，培养西学人才。先后主讲金陵、上海、苏州诸书院。冯桂芬为改良主义之先驱人物，最早表达了洋务运动“中体西用”的指导思想。著有《校邠庐抗议》《说文解字段注考证》《显志堂诗文集》。\n冯桂芬之思想，上接林、魏，下启康、梁，其意义不单单只是“求西学、思变法”的一脉相承，而在于其率先提出了消解现代化过程中的中西、古今矛盾的方法，即“惟善是从”。冯桂芬“惟善是从”的思想根基于中国文化中的见贤思齐、刚健有为的传统，是从中国文化本土生长出来的、可以导致中国文化与时俱进的极其宝贵的思想，也是中国文化具有强大生命力的生动体现。\n冯桂芬在第二次鸦片战争时期，更加全面地论述了向西方学习问题。他继承了林则徐、魏源的传统，肯定了“师夷长技以制夷”的口号，主张学习西方的军事工业。不过，军事工业只是他学习的一个方面了。冯桂芬指出“此外，如算学、重学、视学、光学、化学，皆得格物致理。舆地书备山川厄塞风土物产，多中人所不及。”看到了“农具、织具百工所需，多用机轮，用力少而成功多，是可资以治生。”明确提出在农、工业生产中采用机器的主张。究竟夷之长技有哪些？冯桂芬的认识较魏源有较大的进步。他总结出中国五不如夷。除了认识到船坚炮利不如夷外，还认识到“人无弃才不如夷，地无遗利不如夷，君民不隔不如夷，名实必符不如夷”这里冯桂芬除了在技术方面外，还提出了“君民不隔”问题，这是很可贵的。冯桂芬提出了“自强攘夷”的主张，他把其主张概括为“以中国之名教伦常为原本，辅之以诸国富强之术。”\n冯桂芬非常强调中国自己掌握新式技术。他用了一段很精彩的话：“或曰，购船雇人何如？曰，不可。能造，能修，能用，则我之利器。不能造，不能修，不能用，则仍人之利器也。利器在人手，以之转漕，而一日可令我饥饿；以之运盐，而一日可令我食淡；以之涉江海，而一日可令我复溺┅┅借兵雇船皆暂也，非常也。目前固无隙，固可暂也。日后岂能必无隙，固不可常也。终以自造、自修、自用之为无弊也。”这里包含着发展中国家在向发达国家学习中必须自己掌握经济命脉，才能确保独立的思想。这个思想，对于今天第三世界诸国在同发达国家打交道有借鉴意义。\n冯桂芬对清朝的腐败统治有所不满，建议改革时政。他重视西方经世致用之学问，主张采用西学、制造洋器，他以中国的伦常名教为本，辅以外洋诸国富强新术。他的思想理论对洋务派有很大影响，同时也被资产阶级改良派奉为先导。\n冯桂芬去世以后，他的治国理论，如：裁减冗员、精制规则、停捐输、变科举、广取士、废武科、采用西学、制造洋器等等评议，全都被朝廷甄别、采纳，大部分得以施行。即使到光绪年间大搞变法，也是要变法而没能背离他的统治之道。",[7,64,133,165,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a13835864f8df2e408b9095f7d26b52.jpg",[318],{"id":101861,"slug":101862,"title":50743,"dynasty":124,"author":101863,"museum":300,"description":101864,"tags":101865,"thumbUrl":101866,"material":692,"size":1293,"collection":84,"collections":101867,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240615,"shi-zhou-zhang-xin-240615","张忻","張忻，书法邢侗，画仿董其昌。著游夏草。著作有《清画家诗史、山左诗抄》。雍正《山东通志》卷二八之四《艺文志》收有他的《三芸馆诗草》及《归围日记》。",[805,64,7,165,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b24691fe76f9969fbb7100eaf2d9587.jpg",[],{"id":101869,"slug":101870,"title":43383,"dynasty":124,"author":366,"museum":300,"description":8455,"tags":101871,"thumbUrl":101872,"material":692,"size":1293,"collection":84,"collections":101873,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240581,"za-ji-shu-zha-he-ce-xu-wei-240581",[7,59,64,133,840,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ba1a9cc09552ba7d90ab9ecee5a080d.jpg",[],{"id":101875,"slug":101876,"title":101877,"dynasty":54,"author":101878,"museum":300,"description":101879,"tags":101880,"thumbUrl":101881,"material":692,"size":1293,"collection":84,"collections":101882,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240563,"ti-hu-shan-cao-tang-tu-shi-ye-zhou-hou-yuan-240563","题湖山草堂图诗页","周厚辕","周厚辕（1746-1809），乾隆三十六年（1771）二甲九名进士。江西湖口人，字驭远，一字驾堂，号载轩。任翰林院编修，上书房行走，实录馆纂修官，历任浙江湖广京畿道监察御史，官至户科掌印给事中，巡天津漕务。诰授奉政医生。",[7,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e26d4142eaf1055118c4fb3e8508b4f.jpg",[],{"id":101884,"slug":101885,"title":58919,"dynasty":54,"author":23051,"museum":300,"description":101886,"tags":101887,"thumbUrl":101888,"material":692,"size":1293,"collection":84,"collections":101889,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240559,"qi-jue-zhou-zhang-ci-ning-240559","张赐宁（1743—1818）字坤一，号桂岩，清代画家，直隶沧州（今河北沧县）人。初游京师与罗聘齐名，为南通州判官。",[7,165,64,133,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c317bfd69fdd37c2a9bfa63ffa8138c.jpg",[],{"id":101891,"slug":101892,"title":77840,"dynasty":54,"author":101893,"museum":300,"description":101894,"tags":101895,"thumbUrl":101896,"material":692,"size":1293,"collection":84,"collections":101897,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240547,"shi-ti-huang-shan-tu-ce-cao-zhen-ji-240547","曹贞吉","曹贞吉(1634～1698) 清代著名诗词家。字升六，又字升阶、迪清，号实庵，安丘县城东关（今属山东省）人。曹申吉之兄。康熙三年进士，官至礼部郎中，以疾辞湖广学政，归里卒。嗜书，工诗文，与嘉善诗人曹尔堪并称为“南北二曹”，词尤有名，被誉为清初词坛上“最为大雅”的词家。",[24,7,59,133,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb2c7216bcb70acc453ae7013169bf1e.jpg",[],{"id":101899,"slug":101900,"title":77840,"dynasty":54,"author":59232,"museum":300,"description":59233,"tags":101901,"thumbUrl":101902,"material":692,"size":1293,"collection":84,"collections":101903,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240543,"shi-ti-huang-shan-tu-ce-zhang-mu-240543",[24,7,59,133,208,128,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d399626f8c083c6646f3efabd09def6.jpg",[],{"id":101905,"slug":101906,"title":101907,"dynasty":54,"author":101908,"museum":300,"description":101909,"tags":101910,"thumbUrl":101911,"material":692,"size":1293,"collection":84,"collections":101912,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240542,"wu-shan-yun-shi-ti-huang-shan-tu-ce-wu-shan-yun-240542","吴山云诗题黄山图册","吴山云","此作为小楷题画诗，笔致清劲内敛，结体端稳雅致，墨色匀净沉静，既有馆阁体的整饬工稳，又不失文人书法的隽秀意趣。\n诗文铺陈黄山天都峰奇崛灵秀，将莲巅云霭、林壑松涛尽付笔端，把对黄山胜景的倾慕藏在点画之间。笔墨与文思相融，以清雅书风衬山水意趣，尽显文人观山水寄情抒怀的风雅。纸页黄斑晕开岁月痕迹，为小品更添古旧温润质感，虽为题跋，却自成一方清雅天地。",[24,7,59,133,64,29,208,128,171,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2b8a124386bc5dd5f171e9147cf16f6.jpg",[],{"id":101914,"slug":101915,"title":77840,"dynasty":54,"author":101916,"museum":300,"description":101917,"tags":101918,"thumbUrl":101919,"material":692,"size":1293,"collection":84,"collections":101920,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240540,"shi-ti-huang-shan-tu-ce-zhang-jian-240540","张渐","此件行书题画诗册，用笔秀雅灵动，提按转合间尽显清逸散淡之致。章法疏朗错落，字间顾盼有情，宽舒行距留足余韵，尽显文人雅趣。\n\n诗咏黄山烟霞松石之胜，笔墨与诗意相融，将探幽登山的林下雅兴藏于笔锋细节。点画舒展俊朗，带着明清文人特有的简淡风流，把卧游山水的闲情逸致尽数铺陈，是诗书合璧的雅致小品，尽显题画书法的文人情致。",[24,7,59,133,208,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a251c76f0671d578d800f4eb30779ea.jpg",[],{"id":101922,"slug":101923,"title":77840,"dynasty":54,"author":101924,"museum":300,"description":101925,"tags":101926,"thumbUrl":101927,"material":692,"size":1293,"collection":84,"collections":101928,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240525,"shi-ti-huang-shan-tu-ce-gong-zhang-240525","龚章","龚章（1637～1695），字惕恃，号含五。清代归善县（今惠州）人。24岁中解元，康熙十二年（1673）中进士。任翰林院检讨，从不因私事求见上司，以读书自娱。主持江南考试，选拔多名士。归乡后乐于助人，邻里有急，倾囊持赠。工书法，尤善草书，是岭南“竹本派”书家中最有成就者。有行草巨幅立轴传世，全篇气势磅礴，洒脱劲健；用笔多拗折，体势飞腾多变。原广东书协主席陈永正称龚章“得此轴以传，亦可不朽了”。",[24,7,59,133,208,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ef20c856966e479fcdbc781d3a0c0f3.jpg",[],{"id":101930,"slug":101931,"title":77840,"dynasty":54,"author":101932,"museum":300,"description":101933,"tags":101934,"thumbUrl":101935,"material":692,"size":1293,"collection":84,"collections":101936,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240524,"shi-ti-huang-shan-tu-ce-wu-zhen-fang-240524","吴震方","字青坛，浙江石门人。生卒年均不详，约清圣祖康熙三十三年前后在世。康熙十八年（公元一六七九年）进士。",[24,7,59,64,133,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e9e12754de7b06f0d3706a6aac0712f.jpg",[],{"id":101938,"slug":101939,"title":77840,"dynasty":54,"author":101940,"museum":300,"description":101941,"tags":101942,"thumbUrl":101943,"material":692,"size":1293,"collection":84,"collections":101944,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240523,"shi-ti-huang-shan-tu-ce-shi-yan-ke-240523","施彦恪","此作为行书诗稿，笔意连贯秀雅，牵丝映带如行云流水，结体疏密错落极具章法。墨色枯湿浓淡层次丰富，既有帖学的隽逸温润，又暗含浅淡金石质感，通篇行气舒朗清和。\n\n题咏之辞清雅隽秀，笔墨意境与诗文意趣相融，尽显观景题咏的悠然兴致，将旧时文人寄情山水的襟怀藏于尺幅之间。随性书写间带着松弛朴茂的意趣，虽册页尺幅不大，却浸透着沉静悠然的文人气韵，是诗书合一的雅致小品。",[24,7,59,133,29,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d9a1e41120067c8735edad8ec581c6d.jpg",[],{"id":101946,"slug":101947,"title":101948,"dynasty":54,"author":101949,"museum":300,"description":101950,"tags":101951,"thumbUrl":101952,"material":692,"size":1293,"collection":84,"collections":101953,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240521,"ti-huang-shan-tu-ce-zhao-ji-shi-240521","题黄山图册","赵吉士","赵吉士，1628年生，清代学者，官吏，历任山西省交城县知县、山西清吏司主事、通州中南仓主管等职。\n在任期间，主持编修史书多部，著有诗作多篇。官声较好。",[7,133,208,29,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816ee95040dfdd5e223aa71ad0fe1c96.jpg",[],{"id":101955,"slug":101956,"title":77840,"dynasty":54,"author":101957,"museum":300,"description":101958,"tags":101959,"thumbUrl":101960,"material":692,"size":1293,"collection":84,"collections":101961,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240518,"shi-ti-huang-shan-tu-ce-luo-shu-240518","罗述","此作为行书诗稿手札，用笔灵动率意，字势错落开合，带着即兴挥毫的松弛随性。墨色富于浓淡枯润的层次变化，随着书写心绪流转自然晕染，尽显书写时的情绪起伏。朱红钤印错落点缀，古雅墨色搭配沉静朱痕，相映成趣。\n\n全篇皆是随性题咏之语，笔墨间可见作者不羁的文人意趣，带着手札特有的鲜活私密感，尽显传统尺牍书法雅致疏朗的随性之美。",[24,7,59,133,208,29,128,132,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a27134949d8d1c0cdfed89cfd34e394.jpg",[],{"id":101963,"slug":101964,"title":101965,"dynasty":124,"author":101966,"museum":300,"description":101967,"tags":101968,"thumbUrl":101969,"material":692,"size":1293,"collection":84,"collections":101970,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240517,"ni-shu-gu-shu-huai-juan-wang-lian-jie-240517","拟述古述怀卷","王连捷","此作为行书长卷，笔墨纵横跌宕，满卷真气沛然。字势大小错落、欹正相生，牵丝映带间笔势流转畅达，通篇气息浑融贯通，毫无滞塞。\n提按顿挫富于变化，中锋侧锋兼施，线条粗细枯湿交叠，迅疾挥运与徐缓铺毫兼具，墨色浓淡枯润层次丰盈，尽显书写时的情绪起伏。\n作品兼具二王行书的灵动意趣，又暗含晚明尚奇书风的纵逸格调，将胸中意气尽诉诸笔端，尽显洒脱不羁的书写意态，是文人襟怀与书法抒情性完美融合的佳构。",[23,7,25,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79c99d171032afcef1709026aa84d1be.jpg",[],{"id":101972,"slug":101973,"title":101974,"dynasty":54,"author":101975,"museum":300,"description":101976,"tags":101977,"thumbUrl":101978,"material":692,"size":1293,"collection":84,"collections":101979,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},240516,"wei-yun-bing-hua-huang-shan-tu-ce-wang-jia-zhen-240516","为允冰画黄山图册","汪家珍","[清]字壁人，又名葵，字叔向。安徽歙县人。工山水，与汪之瑞、孙无逸齐名。人物、花鸟、虫鱼，尤传神入妙。顺治七年（一六五o）为方式玉作山水卷。主要著作有《阿聪笔记》《格庵山水合锦卷》《乔松图》等。",[164,24,7,59,29,132,171,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf93f89e3d0e9f82c204d5d1ad6072e.jpg",[],{"id":101981,"slug":101982,"title":101983,"dynasty":54,"author":101984,"museum":300,"description":101985,"tags":101986,"thumbUrl":101987,"material":611,"size":84,"collection":318,"collections":101988,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240509,"pu-xiao-chuan-juan-zhang-yun-zhang-240509","溥孝传卷","张云章","张云章，生于顺治五年（1648），卒于清雍正四年（1726），太学生。尝从 游京师，客徐乾学家，为校勘宋元经解。后受李楠邀请，校补其父李清所著之《南北史合注》。由此张获得声名，“其后诸公贵人考订文史，必以相属” 张伯行抚吴，延纂《陆陇其为当路所排，云章上书徐乾学以救之。张伯行与噶礼互劾，奏谳久未决，云章覆上书李光地，责其别白是非。后吏部尚书汤右曾以孝廉方正荐于朝，赴京与修《尚书汇纂》，书成，议叙知县，不谒选。张伯行总督仓场，留主潞河书院，逾年，辞归。雍正四年，卒，年七十九。",[23,64,133,128,208,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffda05ae3021e39ae85a805f687ed9818.jpg",[318],{"id":101990,"slug":101991,"title":62666,"dynasty":124,"author":22598,"museum":300,"description":22599,"tags":101992,"thumbUrl":101993,"material":692,"size":1293,"collection":84,"collections":101994,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240506,"qi-lv-shi-zhou-chen-ji-ru-240506",[7,64,133,165,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71b3f8e6a4113eafcafddb7314b6fef0.jpg",[],{"id":101996,"slug":101997,"title":50743,"dynasty":54,"author":101998,"museum":300,"description":101999,"tags":102000,"thumbUrl":102001,"material":692,"size":1293,"collection":84,"collections":102002,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240491,"shi-zhou-zhang-zhi-dong-240491","张之洞","张之洞（1837年9月2日—1909年10月4日 ），字孝达，号香涛，时为总督，称“帅”，故时人皆呼之为“张香帅”。 晚清名臣、清代洋务派代表人物，祖籍直隶南皮，出生于贵州兴义府（今安龙县 ）。咸丰二年（1852年）十六岁中顺天府解元，同治二年（1863年）二十七岁中进士第三名探花，授翰林院编修，历任教习、侍读、侍讲、内阁学士、山西巡抚、两广总督、湖广总督、两江总督（多次署理，从未实授）、军机大臣等职，官至体仁阁大学士。\n张之洞早年是清流派首领，后成为洋务派的主要代表人物。教育方面，他创办了自强学堂（今武汉大学前身）、三江师范学堂（今南京大学前身）、湖北农务学堂（今华中农业大学前身） 、湖北武昌蒙养院、湖北工艺学堂、慈恩学堂（南皮县第一中学）、广雅书院等。 政治上主张“中学为体，西学为用”。工业上创办汉阳铁厂、大冶铁矿、湖北枪炮厂等。八国联军入侵时，大沽炮台失守，张之洞会同两江总督刘坤一与驻上海各国领事议订“东南互保”，并镇压维新派的唐才常、林圭、秦力山等自立军起义，光绪三十四年（1908年）11月，以顾命重臣晋太子太保，次年病卒，谥文襄。有《张文襄公全集》。张之洞与曾国藩、李鸿章、左宗棠并称“晚清中兴四大名臣”。",[7,165,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc474dafc7aaa4e38bc70efbef0db781c.jpg",[],{"id":102004,"slug":102005,"title":102006,"dynasty":54,"author":87698,"museum":300,"description":87699,"tags":102007,"thumbUrl":102008,"material":692,"size":1293,"collection":84,"collections":102009,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240489,"han-zha-juan-qian-chen-qun-240489","翰札卷",[23,25,7,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F181b7f9978c438cc6ade14bbde36dcd6.jpg",[],{"id":102011,"slug":102012,"title":102013,"dynasty":54,"author":102014,"museum":300,"description":102015,"tags":102016,"thumbUrl":102017,"material":692,"size":1293,"collection":84,"collections":102018,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240480,"bai-zi-xun-zhou-lu-shao-ceng-240480","百字训轴","陆绍曾","陆绍曾[清]字贯夫，号白斋，吴县（今江苏苏州）人。工篆、籀、八分，八分之为蝇头，盖自绍曾始。",[24,7,165,21937,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38afa277507a1ac7e0b993b1c5cbf8f4.jpg",[],{"id":102020,"slug":102021,"title":58919,"dynasty":54,"author":102022,"museum":300,"description":102023,"tags":102024,"thumbUrl":102025,"material":692,"size":1293,"collection":84,"collections":102026,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240478,"qi-jue-zhou-wan-jing-240478","万经","万经（1659—1741）清代学者。字授一，号九沙，自号小跛翁，鄞县（今浙江宁波）人，万斯大之子。\n梁同书《频罗庵书画跋》云：“其书如商彝周鼎，古色黝然；又如苍松老柏，可爱可敬。”他的隶书取法汉碑，尤醉心于《曹全碑》，去其纤秀，而得其沉雄。“云鹤梅炎”一联是他传世隶书精品之一。此联纸本，纵116、横34厘米。墨迹曾刊载于《书法丛刊》1998年第3期和文物出版社出版的《邓永清收藏明清书画选集》等。原为邓永清先生收藏，1993年捐赠徐州博物馆。\n上联“云鹤游天群鸿戏海”，语出梁武帝萧衍《古今书人优劣评》评魏钟繇书：“钟繇书如云鹤游天，群鸿戏海，行间茂密，实亦难过耶。”此文简称《书评》或《评书》，唐以前典籍未见引及，最早见于宋《淳化闻帖》卷五“隋僧智果书”。这段文字主要形容钟繇（元常）书法轻重得宜、刚柔相备、多力丰筋、古雅茂密的超妙境界。下联“梅炎藻夏”的意思是说初夏梅天的炎热装点着夏季，正与下文“麦气迎秋”成流水对仗，字句工稳，妙手天成。",[7,165,21937,64,208,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18dc5b27184bd97e0793d1d1d5da87bd.jpg",[],{"id":102028,"slug":102029,"title":102030,"dynasty":124,"author":102031,"museum":300,"description":102032,"tags":102033,"thumbUrl":102034,"material":692,"size":1293,"collection":84,"collections":102035,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240473,"xu-shi-xu-juan-shen-en-240473","叙诗序卷","沈恩","沈恩（1472年－1533年），字仁甫，号西津。直隶松江府上海县人。明朝政治人物。",[23,7,64,25,572,208,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce4c43889a251c5a616da085a9f22788.jpg",[],{"id":102037,"slug":102038,"title":95464,"dynasty":124,"author":102039,"museum":300,"description":102040,"tags":102041,"thumbUrl":102042,"material":692,"size":1293,"collection":84,"collections":102043,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240472,"shou-zha-juan-li-ru-nan-240472","李汝楠","此卷手札兼具两种风貌，其一为梅花笺馆阁小楷，结字端秀匀停，笔致清劲工稳，一丝不苟，衬以淡梅暗纹，尽显明人尺牍的规整雅致。另一部分为行草信札，笔墨纵逸跌宕，信笔挥洒，点画间带着随性自然的文人松弛意绪，将日常交游的畅意融于笔端。\n整卷涵盖公私尺牍，既是往昔交游的鲜活凭证，也尽显书家兼工能放的书艺功底。古旧纸色晕染着岁月质感，墨色留存完好，尽显晚明尺牍的清雅韵致，是兼具文献与书法价值的文人手迹珍品。",[23,7,64,25,133,840,128,208,6369,8162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa49eea5a63ffe88b3e0999ce96fdce.jpg",[],{"id":102045,"slug":102046,"title":50743,"dynasty":54,"author":102047,"museum":300,"description":102048,"tags":102049,"thumbUrl":102050,"material":692,"size":1293,"collection":84,"collections":102051,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240470,"shi-zhou-ma-lv-tai-240470","马履泰","（1753—1829），字叔安、定民，号菽庵、秋药，浙江杭州府仁和县人。乾隆十八年生，道光九年卒。乾隆四十四年召试举人，五十二年成进士，选庶吉士，仕至太常寺卿。著有《秋药庵诗集》。",[24,7,165,133,128,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f408d70dcdbf564cffc16adc3a8f4b7.jpg",[],{"id":102053,"slug":102054,"title":102055,"dynasty":124,"author":69189,"museum":300,"description":102056,"tags":102057,"thumbUrl":102058,"material":692,"size":1293,"collection":84,"collections":102059,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240460,"xing-shou-zha-ce-shao-bao-240460","行手札册","邵宝（1460-1527），明代官员、著名藏书家、学者。字国宝，号二泉，江苏无锡人。成化二十年（1484）进士，历为江西提学副使，官至南京礼部尚书，谥文庄。文典重和雅，诗清和淡薄。著有《简端二馀》、《慧山记》、《容春堂集》等。",[23,124,59,133,64,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0506e6a2ffc062e957366cb49d5138bc.jpg",[],{"id":102061,"slug":102062,"title":85060,"dynasty":124,"author":102063,"museum":300,"description":102064,"tags":102065,"thumbUrl":102066,"material":692,"size":1293,"collection":84,"collections":102067,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240422,"lin-tie-zhou-liu-li-shun-240422","刘理顺","刘理顺（1582年－1644年），字复礼，号湛六，河南杞县人，明末状元。\n会试十次不第，崇祯七年（1634年）中一甲一名进士（状元），思宗还宫喜曰：“朕今日得一耆硕矣。”官至左中允。崇祯十七年（1644年）李自成入北京，刘理顺在墙壁上写下成仁取义，孔、孟所传。文信践之，吾何不然之句后，便酌酒自尽。其妻万氏、妾李氏及其子刘孝廉加上婢仆十八人，阖门缢死。南明弘光元年（1645年）赠詹事，追谥文正。清顺治十年（1653年）改谥文烈。",[64,7,24,165,330,133,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa65e8c1716d8ff082cc6756958d6cb52.jpg",[],{"id":102069,"slug":102070,"title":77720,"dynasty":124,"author":2268,"museum":300,"description":10326,"tags":102071,"thumbUrl":102072,"material":692,"size":1293,"collection":84,"collections":102073,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240408,"zha-juan-dong-qi-chang-240408",[23,64,133,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4ef6d0e9466f6cbc11cec0a274233d3.jpg",[],{"id":102075,"slug":102076,"title":50743,"dynasty":124,"author":102077,"museum":300,"description":102078,"tags":102079,"thumbUrl":102080,"material":692,"size":1293,"collection":84,"collections":102081,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240398,"shi-zhou-yan-yan-240398","严衍","严衍（1575—1645），字永思，一字午庭。世居马陆，后居厂头（今属桃浦乡）。精易理，通史学，能诗律，善书法。性孝友，重节操。 ... 明万历年间秀才。为人刚直，一生未仕。",[7,64,165,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ee7c54431cc15040199d830ef8fdbb.jpg",[],{"id":102083,"slug":102084,"title":62623,"dynasty":124,"author":67312,"museum":300,"description":62625,"tags":102085,"thumbUrl":102086,"material":692,"size":1293,"collection":84,"collections":102087,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},240397,"tao-shi-zhou-ruan-da-cheng-240397",[7,165,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73fcf3006a04281d938cf51b228eeb9f.jpg",[],{"id":102089,"slug":102090,"title":95464,"dynasty":124,"author":102091,"museum":300,"description":102092,"tags":102093,"thumbUrl":102094,"material":692,"size":1293,"collection":84,"collections":102095,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240396,"shou-zha-juan-li-shi-shi-240396","李士实","李士实，明朝人，字若虚，南昌人，一作丰城（今江西丰城）人。",[7,25,64,133,840,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7c504064c9a67b78cb50d79e0313d1e.jpg",[],{"id":102097,"slug":102098,"title":21115,"dynasty":124,"author":102099,"museum":300,"description":102100,"tags":102101,"thumbUrl":102102,"material":692,"size":1293,"collection":84,"collections":102103,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240386,"shi-shan-mian-zhang-han-240386","张翰","张瀚（1510—1593），字子文，号元洲，谥恭懿。明朝仁和（今浙江杭州）人。嘉靖十四年（1535）进士，授南京工部主事，历任庐州、大名知府、陕西左布政使、右副都御史、大理寺卿、刑部右侍郎、兵部侍郎、南京右都御史、工部尚书、吏部尚书。\n因与张居正朝议多不合，辞归故里，把平生所见所闻著录成《松窗梦语》，记载了明代经济、社会、文化、民情风俗等方面资料，对研究明代社会经济、商业贸易有重要参考价值。",[805,7,1131,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81df74c1b64fb79c207a5777ffe358a4.jpg",[],{"id":102105,"slug":102106,"title":69180,"dynasty":124,"author":102107,"museum":300,"description":102108,"tags":102109,"thumbUrl":102111,"material":692,"size":1293,"collection":84,"collections":102112,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240380,"shi-ye-wang-yi-240380","王宜","王宜，字嶰谷，江苏太仓人。乾隆年间，官新建知县。凤仪弟，原祁会孙。山水善承家学，笔意松秀，与兄齐名",[7,64,133,208,59,102110,495,3344,3649,39943,663,85006,171],"山泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89bbe2396b0268171903e777b805d4db.jpg",[],{"id":102114,"slug":102115,"title":69180,"dynasty":124,"author":102116,"museum":300,"description":102117,"tags":102118,"thumbUrl":102119,"material":692,"size":1293,"collection":84,"collections":102120,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240376,"shi-ye-chen-xu-240376","陈叙","陈叙（1495－1574），字邦礼，号淇塘，福建莆田人。明代官吏。嘉靖十七年茅瓒榜进士。历仕兵部车驾司主事、员外郎、武选郎、车驾司郎中、潮州知府。像取自清代修《福建莆田陈氏宗谱》。",[805,7,64,133,59,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f2aff78006357a5b17c58bb1c8cd72.jpg",[],{"id":102122,"slug":102123,"title":69180,"dynasty":124,"author":102124,"museum":300,"description":102125,"tags":102126,"thumbUrl":102127,"material":692,"size":1293,"collection":84,"collections":102128,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240373,"shi-ye-lin-ting-zhang-240373","林烶章","林烶章（？－？），字繼暉，福建興化府莆田縣人，民籍，明朝政治人物。 生平[编辑]. 福建鄉試第五十五名舉人。嘉靖二十九年（1550年）中式庚戌科二甲第五名進士。",[64,133,208,7,59,9910],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90cdfb139cf5f3854629225ffe7f9301.jpg",[],{"id":102130,"slug":102131,"title":69180,"dynasty":124,"author":102132,"museum":300,"description":102133,"tags":102134,"thumbUrl":102135,"material":692,"size":1293,"collection":84,"collections":102136,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240372,"shi-ye-zheng-yao-240372","郑钥","此作为小楷书翰，整体气息温润端雅，兼具台阁体的整饬与文人书风的萧散。点画起收有度，提按顿挫一丝不苟，筋骨内含而笔意舒展，结体平正匀停，字字排布疏朗透气，毫无拥塞迫促之感。墨色清和沉静，纸面带着岁月晕染出的浅淡旧痕，更添朴拙古意。\n\n诗书相合，笔墨间浸透着儒者温文谦和的气韵，无刻意雕琢的匠气，将明人小楷的端秀与晋唐法帖的简远意趣相融，是兼具实用与审美价值的书翰佳构，尽显传统文人手札的雅致风神。",[7,64,572,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff832113a9c09dd878c1906deaef563d1.jpg",[],{"id":102138,"slug":102139,"title":69180,"dynasty":124,"author":102140,"museum":300,"description":102141,"tags":102142,"thumbUrl":102143,"material":692,"size":1293,"collection":84,"collections":102144,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240370,"shi-ye-wang-ying-shi-240370","王应时","王应时，字懋行，嘉靖庚戌进士，历兵部员外郎，江西佥事参政、云南按察使。晚年退居使园。墓在高盖山。",[24,7,165,128,27,132,29,34,35,96,11448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1721e30fb2e9afab2d9352b579115996.jpg",[],{"id":102146,"slug":102147,"title":69180,"dynasty":124,"author":102148,"museum":300,"description":102149,"tags":102150,"thumbUrl":102151,"material":692,"size":1293,"collection":84,"collections":102152,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240369,"shi-ye-ke-wei-qi-240369","柯维骐","柯维骐。生于明孝宗弘治十年，卒于神宗万历二年，年七十八岁。嘉靖二年（公元一五二三年），登进士第，授南京户部主事。未赴，即引疾归。张孚敬用事，创新制，维骐以病满三年罢免。自是谢宾客，专心读书，门人四百余。维骐登第五十年，未尝一日为官，中经倭乱，故庐焚毁，家困甚，终不妄取。抚按监司时有论荐，不复起。隆庆初，廷臣复荐，以年高但授承德郎。致仕，卒。维骐尝作左右二铭、讲义二卷，合宋、辽、金三史为宋史新编，又著史记考要、莆阳文献志及所作诗文集，《明史本传》并传于世。",[7,64,133,208,59,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf9963e5147e6babfc19d4e95d26e81f.jpg",[],{"id":102154,"slug":102155,"title":69180,"dynasty":124,"author":102156,"museum":300,"description":102157,"tags":102158,"thumbUrl":102159,"material":692,"size":1293,"collection":84,"collections":102160,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240367,"shi-ye-wang-ying-zhong-240367","王应钟","王应钟，字懋复，侯官人。嘉靖辛丑进士，选庶吉士。授浙江道监察御史，巡盐长芦。卒年九十，祀乡贤。",[124,7,64,572,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcb3106ae3e5665069ae3028077d317f.jpg",[],{"id":102162,"slug":102163,"title":69180,"dynasty":124,"author":102164,"museum":300,"description":102165,"tags":102166,"thumbUrl":102167,"material":692,"size":1293,"collection":84,"collections":102168,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240366,"shi-ye-xie-meng-heng-240366","谢蒙亨","字仲时，睿元孙，蕡孙，启元子。冲夷简约，有先世遗风，刑部员外郎，长史。以上俱怀安",[7,59,572,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02f459c6b36a677f2f9de0f0d0e65f0e.jpg",[],{"id":102170,"slug":102171,"title":69180,"dynasty":124,"author":49830,"museum":300,"description":59705,"tags":102172,"thumbUrl":102173,"material":692,"size":1293,"collection":84,"collections":102174,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240360,"shi-ye-zhou-kun-240360",[124,7,59,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe99b2928eb01517d9b9909e14897d2ba.jpg",[],{"id":102176,"slug":102177,"title":69180,"dynasty":124,"author":102178,"museum":300,"description":102179,"tags":102180,"thumbUrl":102181,"material":692,"size":1293,"collection":84,"collections":102182,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240357,"shi-ye-hong-shi-wen-240357","洪世文","洪世文（？－？），字國華，福建福州府閩縣人，民籍，明朝政治人物。 生平[编辑]. 福建鄉試第五十名。嘉靖十七年（1538年）戊戌科進士。由户部郎中擢湖广参议。",[64,133,128,208,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23b1cf9308fdcd0270cfbae44a18dc79.jpg",[],{"id":102184,"slug":102185,"title":102186,"dynasty":124,"author":102132,"museum":300,"description":102187,"tags":102188,"thumbUrl":102189,"material":692,"size":1293,"collection":84,"collections":102190,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240354,"lu-wen-ce-zheng-yao-240354","录文册","这件小楷册页结体端雅秀润，点画排布匀停舒朗，笔势清劲内敛。起收笔筋骨隐现，转折圆融又不失爽利，通篇气息匀净平和，尽显明人小楷尚雅尚正的意趣。字间排布齐整却无板滞之感，墨色匀净沉实，足见书写时心境澄澈，功性俱佳。纸面晕染开的岁月旧痕，更添古雅沉静的书卷意蕴，将文人静穆治学的气度融于笔墨方寸之间，是一件兼具书写实用价值与审美意趣的书法佳构。",[7,59,208,572,64,5459,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a0091e0c4d647ff5a294dab7dc5184.jpg",[],{"id":102192,"slug":102193,"title":102194,"dynasty":124,"author":102195,"museum":300,"description":102196,"tags":102197,"thumbUrl":102198,"material":692,"size":1293,"collection":318,"collections":102199,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240347,"jia-lian-shi-ye-li-chong-240347","嘉莲诗页","李翀","此作用笔纵逸灵动，起收提按间尽显细腻变化，线条圆劲舒展，兼具流动意趣与沉凝骨力。字间布局错落随性，疏密相生，行气连贯却不失错落节奏，通篇萦绕萧散放旷的文人意态。\n\n作为题咏诗作的手札，笔墨与诗意相融相衬，牵丝映带间尽显书写时的畅快心境，率意挥毫却暗合法度，将明代行书尚态的特质淋漓展现，把文人酬唱的风雅寄寓于笔墨之中，尽显明代文人的写意风流，是兼具抒情性与艺术性的书法小品。",[7,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb51fb458606c22e58160cd1cc5fc2bc3.jpg",[318],{"id":102201,"slug":102202,"title":58867,"dynasty":54,"author":102203,"museum":300,"description":102204,"tags":102205,"thumbUrl":102206,"material":611,"size":84,"collection":318,"collections":102207,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240338,"shi-juan-sun-qian-ru-240338","孙汧如","孙徠汧冄頭如［清條］字阿汇，号汇父，六合人。精画理，善文词。\n尝绘山水蓵赠黄仙裳（云），仙裳为之题。康熙九年（一六七o）作山水卷。",[23,7,64,25,133,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c9f108d6d1fb6328c0b718f33ebc9c3.jpg",[318],{"id":102209,"slug":102210,"title":50743,"dynasty":124,"author":102211,"museum":300,"description":102212,"tags":102213,"thumbUrl":102214,"material":692,"size":1293,"collection":84,"collections":102215,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240333,"shi-zhou-zhang-yun-mei-240333","张孕美","此作用笔纵逸恣肆，以狂草挥就，线条如惊蛇走虺，提按转合间尽显笔力劲健。行气贯通无滞，字势欹侧相生，左右映带自然，将草书的抒情性发挥得淋漓尽致。\n\n章法疏密有致，右侧长列一气呵成，左侧落款紧凑呼应，虚实相映间营造出灵动空阔的布局韵律。墨色燥润相间，浓淡变化丰富，视觉节奏跌宕起伏，尽显书写时的酣畅快意，尽显晚明狂草尚态之风，将胸中意气倾注笔端，尽显文人疏放不羁的襟怀。",[805,24,7,165,840,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50e7b200188f0381cafa6ca02f6714f5.jpg",[],{"id":102217,"slug":102218,"title":50743,"dynasty":54,"author":102219,"museum":300,"description":102220,"tags":102221,"thumbUrl":102222,"material":692,"size":1293,"collection":84,"collections":102223,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240327,"shi-zhou-zhang-mei-240327","张湄","字鹭洲，号南漪，又号柳渔，浙江钱塘人。生卒年均不详，约清高宗乾隆十三年前后在世。雍正十一年（公元1733年）进士。官至兵科给事中。颇著风节。湄工诗，与厉鹗、金志章等相唱和。著有《柳渔诗钞》十二卷，《四库总目》传于世。",[24,7,165,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88ddc6ab301157d75ba359fb5278717d.jpg",[],{"id":102225,"slug":102226,"title":50743,"dynasty":54,"author":102227,"museum":300,"description":102228,"tags":102229,"thumbUrl":102230,"material":692,"size":1293,"collection":84,"collections":102231,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240319,"shi-zhou-wang-zheng-gong-240319","王正功","此作行书苍劲老辣，结体欹正相生，起笔沉实厚重，行笔提转自然，牵丝映带间尽显章法精妙。笔墨韵律和题松诗意相融无间，将绝壁苍松的孤高意境，藏进跌宕舒展的线条之中。\n\n笔画粗细错落富于节律，通篇行气贯通，字字独立却气脉相连，把诗文里幽栖林泉、伴月听松的林下襟怀，借笔墨节奏缓缓铺陈。以笔达意，文心与书境浑然一体，尽显文人书法萧散出尘的雅致意趣。",[24,7,165,133,128,231,663,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eedc5cda4ff24a17b3fe23b2fdc3530.jpg",[],{"id":102233,"slug":102234,"title":69180,"dynasty":54,"author":102235,"museum":300,"description":102236,"tags":102237,"thumbUrl":102238,"material":692,"size":1293,"collection":84,"collections":102239,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240316,"shi-ye-jin-nai-240316","金鼐","金鼒（1429年－？），字公器，直隸蘇州府吳江縣人，明朝政治人物。進士出身。 順天府鄉試第五十一名。成化二年（1466年），參加丙戌科會試，得貢士第一百一十一名。",[7,59,64,133,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42418a35ba8293ab9fd80106ba919c38.jpg",[],{"id":102241,"slug":102242,"title":102243,"dynasty":54,"author":102244,"museum":300,"description":102245,"tags":102246,"thumbUrl":102247,"material":692,"size":1293,"collection":84,"collections":102248,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240306,"zheng-qin-shu-zha-shi-han-juan-huang-zong-xi-240306","郑溱书札诗翰卷","黄宗羲","黄宗羲（1610年9月24日－1695年8月12日），浙江余姚人，字太冲，一字德冰，号南雷，别号梨洲老人、梨洲山人、蓝水渔人、鱼澄洞主、双瀑院长、古藏室史臣等，学者称“梨洲先生”。明遗民。明末清初经学家、史学家、思想家、地理学家、天文历算学家、教育家。“东林七君子”之一黄尊素长子。\n黄宗羲提出“天下为主，君为客”的民主思想。他说“天下之治乱，不在一姓之兴亡，而在万民之忧乐”，主张以“天下之法”取代皇帝的“一家之法”，从而限制君权，保证人民的基本权利。黄宗羲的政治主张抨击了封建君主专制制度，有极其重要的意义，对其后反专制斗争起了积极的推动作用。\n黄宗羲与顾炎武、王夫之、唐甄并称“明末清初四大启蒙思想家”，与顾炎武、方以智、王夫之、朱舜水并称为“明末清初五大家”，与陕西李颙、直隶容城孙奇逢并称“海内三大鸿儒”，亦有“中国思想启蒙之父”之誉。",[23,25,7,128,133,572,938,208,29,129,1144,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc464c77b2698f5e28a42d02a0f2fdaf.jpg",[],{"id":102250,"slug":102251,"title":102252,"dynasty":54,"author":102253,"museum":300,"description":102254,"tags":102255,"thumbUrl":102256,"material":692,"size":1293,"collection":84,"collections":102257,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240292,"xing-kai-shi-juan-zheng-liang-240292","行楷诗卷","郑梁","郑梁，出身于慈溪望族郑氏家族，字禹梅，号寒村，黄宗羲门生，康熙二十七年进士，是清初浙东史学派学者之一。",[23,54,64735,64,25,133,572,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb877e67c3bc261ab2bcefd76f103ef5.jpg",[],{"id":102259,"slug":102260,"title":81270,"dynasty":124,"author":102261,"museum":300,"description":102262,"tags":102263,"thumbUrl":102264,"material":692,"size":1293,"collection":84,"collections":102265,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240280,"shu-zha-juan-wang-si-ren-240280","王思任","字季重，号遂东，晚年号谑庵，浙江山阴（今绍兴）人。明代文学家。\n万历二十三年（1595年）进士，曾知兴平、当涂、青浦三县，又任袁州推官、九江佥事。南京城破后，鲁王监国，以思任为礼部右侍郎，进尚书。清兵进逼杭州，马士英欲渡江入绍兴，王思任以《让马瑶草》致书马士英力拒道：“吾越乃报仇雪耻之国，非藏垢纳污之区也”。隆武二年（1646年），绍兴为清兵所破，绝食而死。\n为文笔意放纵诙谐，时有讽刺时政之作。以《游唤》、《历游记》两种游记成就最高，《小洋》、《天姥》诸篇尤为著名。诗重自然，才情烂漫。其子王鼎起编选《谑庵文饭小品》，后人编有《王季重十种》传世。",[23,7,64,133,840,25,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfbb352733064ca948b2838289406e5b.jpg",[],{"id":102267,"slug":102268,"title":50743,"dynasty":124,"author":102269,"museum":300,"description":68974,"tags":102270,"thumbUrl":102271,"material":692,"size":1293,"collection":84,"collections":102272,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},240270,"shi-zhou-lin-chong-240270","林宠",[24,7,165,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dd0acb7d90146735cee6399a930da58.jpg",[],{"id":102274,"slug":102275,"title":95563,"dynasty":124,"author":102276,"museum":300,"description":102277,"tags":102278,"thumbUrl":102279,"material":692,"size":1293,"collection":84,"collections":102280,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240241,"wu-lv-shi-ye-chen-yu-mo-240241","陈禹谟","陈禹谟（1548—1618年），字锡元，江苏常熟人，一作湖北彝陵人。万历间举人，历仕南京国子监学正、四川按察司佥事、贵州布政使。",[805,7,64,133,208,611,4437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3897567181c39a85ba1c7ec45ff3339.jpg",[],{"id":102282,"slug":102283,"title":89922,"dynasty":124,"author":102284,"museum":300,"description":102285,"tags":102286,"thumbUrl":102287,"material":692,"size":1293,"collection":84,"collections":102288,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240238,"qi-yan-shi-ye-ding-shi-tai-240238","丁士泰","此作用笔清劲秀雅，以台阁体为底蕴，点画匀停温润，起转恪守法度，尽显明人帖学尚雅意趣。\n是两首七言排律，笔墨排布疏朗匀整，字间呼应自然，通篇气息安和静穆，兼具官样书法的端方与文人手札的隽秀。墨色乌亮莹润，古纸泛黄晕染出沉静的岁月质感，可见书者恭谨的书写心态，是明代应酬奉和类书法的典型之作，既贴合当时台阁审美范式，又暗蕴书者个人笔底风神，整体清雅端丽，尽显明代帖学书法的温润特质。",[7,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816abf11d2348395f5da7f7d150e22d8.jpg",[],{"id":102290,"slug":102291,"title":102292,"dynasty":124,"author":23186,"museum":300,"description":85219,"tags":102293,"thumbUrl":102294,"material":692,"size":1293,"collection":84,"collections":102295,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240234,"qi-gu-shi-ye-xu-guang-zuo-240234","七古诗页",[64,133,208,6369,8162,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73c1d2f913b0d29a274155d2f37f4bea.jpg",[],{"id":102297,"slug":102298,"title":81184,"dynasty":124,"author":102299,"museum":300,"description":102300,"tags":102301,"thumbUrl":102302,"material":692,"size":1293,"collection":84,"collections":102303,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240227,"wu-yan-shi-ye-meng-yang-zhi-240227","孟养志","此作行书清隽雅致，用笔秀逸灵动，牵丝映带之间尽显文人写意之趣。章法疏朗匀停，字势欹正相生，墨色枯润相映，将朴拙与妍巧相融无间。\n诗文清雅俊朗，寄寓幽居雅怀与林下襟期，笔墨意趣与诗意表里相映，尽显简淡萧散的美学意韵。整幅气息静穆安和，是诗书合璧的小品佳构，藏着旧时文人的风雅情致。",[24,7,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aa9b0b98718af06e43c48cc64f590d6.jpg",[],{"id":102305,"slug":102306,"title":102307,"dynasty":124,"author":102308,"museum":300,"description":102309,"tags":102310,"thumbUrl":102311,"material":692,"size":1293,"collection":84,"collections":102312,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240222,"tian-jia-le-shi-ye-yao-wen-wei-240222","田家乐诗页","姚文蔚","姚文蔚（？－？），字养谷，浙江钱塘县人，寄籍武功卫，明朝政治人物。",[7,64,59,572,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F229206601b30cb036c33d19d84d6a2f9.jpg",[],{"id":102314,"slug":102315,"title":89897,"dynasty":124,"author":102316,"museum":300,"description":102317,"tags":102318,"thumbUrl":102319,"material":692,"size":1293,"collection":84,"collections":102320,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240220,"qi-lv-shi-ye-yang-ting-yun-240220","杨廷筠","杨廷筠（1557～1627），字仲坚，号淇园，别名弥格尔（Michael），笔名弥格子。汉族，浙江杭州仁和人，1592年（万历二十年）进士，曾任监察御史，早年习“王学”和佛学，与祩宏大师交好，后经过李之藻介绍，洗归信天主教，与徐光启和李之藻并列，被称为中国天主教“三大柱石”的人物之一。",[64,133,208,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09de9c081bee3b623f1c7c1bc4a696b5.jpg",[],{"id":102322,"slug":102323,"title":69180,"dynasty":124,"author":102324,"museum":300,"description":102325,"tags":102326,"thumbUrl":102327,"material":692,"size":1293,"collection":84,"collections":102328,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240211,"shi-ye-jin-xue-ceng-240211","金学曾","字子鲁，明钱塘（今浙江省杭州市）人，善草书，诗余画谱有其所书；隆庆二年（1568）进士，授工部主事，历郎中，改礼部主事，出为湖南督学；由于他对整顿学校中禁止讲学的做法持异议，认为“学不讲，则所崇何业？”结果遭到弹劾罢归。",[133,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F257192ae2c4bd3ef602939f190105652.jpg",[],{"id":102330,"slug":102331,"title":95563,"dynasty":124,"author":102332,"museum":300,"description":102333,"tags":102334,"thumbUrl":102335,"material":692,"size":1293,"collection":84,"collections":102336,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240207,"wu-lv-shi-ye-qian-yang-lian-240207","钱养廉","钱养廉，字国维，浙江杭州府仁和县匠籍。明朝政治人物、进士出身。\n广西副使钱立之子。万历十六年（1588年）戊子科举人，十七年（1589年）己丑科进士，授工部主事，筦河夏镇、汶泗诸泉，以夏镇为壑，而昭阳诸湖又在其下流，自留城至镇口，百里无际，粮船非乘风不得达，养廉亲履其地视察，从堤旁开二支河，以杀水势，又议于昭阳凿石通道至徐邳，以下出口，则内水无壅滞，而漕渠可百年无事。总河舒应龙然其策，会以父丧去位，后人卒用其议，成泇河。服阕，召补吏部考功署郎中事，日本入侵朝鲜，尚书石星主和议，总督孙矿不用其议，乃诬矿通书币，奉旨会议，养廉属草剖析利害，极明矿无罪，星计不得行，和议亦止。升稽勲司员外郎，调验封，署司事。以礼部尚书范谦赠荫事，吏部司官忤辅臣张位，吏部在任在籍二十七人，留用五人，余尽放逐，养廉竟削夺归。养廉少时娶黄氏，后失明，黄翁意且难之，养廉请于父，以方刘庭式，竟娶之。卒年五十八，所著有《贻清堂诗文》二十卷、《考功疏草》一卷，后赠光禄寺少卿。",[64,133,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31537d31e876e69e37424d3c54ea5e03.jpg",[],{"id":102338,"slug":102339,"title":50743,"dynasty":54,"author":102340,"museum":300,"description":102341,"tags":102342,"thumbUrl":102343,"material":692,"size":1293,"collection":84,"collections":102344,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240188,"shi-zhou-wang-xi-240188","王熙","王熙（1628~1703年），字子雍，顺天府宛平县（今北京丰台区）人。清初大臣，礼部尚书王崇简之子。\n顺治四年，中进士，选庶吉士，累擢弘文院学士。康熙帝即位，历任弘文馆学士、左都御史、工部尚书，转兵部尚书、武英殿大学士。《清太祖实录》修成，加太子太傅，进少傅。\n康熙四十二年，卒于家，钦命皇长子直郡王允禔、大学士马齐临丧，行拜奠礼，举哀酹酒，恩礼有加，谥号文靖，入祀贤良祠。",[54,7,24,165,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F028f38eead4844c6e259f4ad161d5d22.jpg",[],{"id":102346,"slug":102347,"title":50743,"dynasty":54,"author":102348,"museum":300,"description":102349,"tags":102350,"thumbUrl":102351,"material":692,"size":1293,"collection":84,"collections":102352,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240186,"shi-zhou-feng-pu-240186","冯溥","冯溥（1609-1691） 清初大臣。字孔博，号易斋。卒谥文毅，益都（今属山东青州）人，冯裕六世孙。清顺治三年（1646）进士，初授编修，后擢吏部侍郎。康熙年间为刑部尚书，拜文华殿大学士。73岁时，以年老乞休获准，以原官致仕，加太子太傅，返归青州故里。临行前，康熙皇帝御笔题诗相赠：环海消兵日，元臣乐志年。草堂开绿野，别墅筑平泉。望切岩廓重，人思霖雨贤。青门归路远，遗兴豁云天。",[7,64,165,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc31fec59ca0994da752cde74984257b8.jpg",[],{"id":102354,"slug":102355,"title":29044,"dynasty":54,"author":15720,"museum":300,"description":15721,"tags":102356,"thumbUrl":102357,"material":692,"size":1293,"collection":84,"collections":102358,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},240165,"qi-yan-lian-ai-xin-jue-luo-yong-xing-240165",[64,165,133,27,208,7,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5252f9a8f9494783429dc6726e76160c.jpg",[],{"id":102360,"slug":102361,"title":29044,"dynasty":54,"author":87714,"museum":300,"description":87715,"tags":102362,"thumbUrl":102363,"material":692,"size":1293,"collection":84,"collections":102364,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240164,"qi-yan-lian-qian-da-xin-240164",[304,64,10886,21937,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29f7daae3454056f43160f26d420c004.jpg",[],{"id":102366,"slug":102367,"title":102368,"dynasty":54,"author":102369,"museum":300,"description":102370,"tags":102371,"thumbUrl":102372,"material":692,"size":1293,"collection":84,"collections":102373,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240147,"lun-xiang-zhou-shi-he-ling-240147","论相轴","史鹤龄","史鹤龄 江南溧阳县人。清朝政治人物。康熙六年（1667年）中式丁未科二甲第五名进士。选翰林院庶吉士，散馆授编修。",[304,7,165,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21a5724b58a23b2924101f4f6f67d11d.jpg",[],{"id":102375,"slug":102376,"title":102377,"dynasty":124,"author":102378,"museum":300,"description":102379,"tags":102380,"thumbUrl":102381,"material":692,"size":1293,"collection":84,"collections":102382,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240129,"shi-wu-shou-ye-song-luo-240129","诗五首页","宋荦","宋荦（1634年—1713年），字牧仲，号漫堂、西陂 、绵津山人 ，晚号西陂老人、西陂放鸭翁 。归德府（今河南商丘）人。清代诗人、画家、政治家。“后雪苑六子”之一。\n清顺治四年（1647年），宋荦应诏以大臣子列侍卫。康熙三年（1664年），被授予湖广黄州通判、康熙十六年（1677年），补理藩院判，迁员外郎。历官山东按察使，江苏布政使、江西巡抚、江苏巡抚。康熙三十八至四十四年（1699—1705年），康熙皇帝三次南巡，皆由宋荦负责接待。康熙四十四年（1705年）十一月，升任吏部尚书。康熙五十二年（1713年）春，加太子少师。同年九月逝世，享年八十岁，赐祭葬于商丘西陂别墅。\n宋荦为官正直，被康熙帝誉为“清廉为天下巡抚第一”。 宋荦笃学博闻，能诗文，工书画，精鉴赏，尤以诗享盛誉于清初文坛，一时文士多与之交游。 并与朱彝尊、施闰章等人同称“康熙年间十大才子”。编著有《西陂类稿》50卷、《漫堂说诗》及《江左十五子诗选》等。",[24,7,64,59,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc8a1218491ea3fe1524fce8526d06c7.jpg",[],{"id":102384,"slug":102385,"title":69180,"dynasty":124,"author":102386,"museum":300,"description":102387,"tags":102388,"thumbUrl":102390,"material":692,"size":1293,"collection":84,"collections":102391,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240123,"shi-ye-liu-su-240123","刘塐","此幅行书诗页笔意取法晋唐，萧散简远，尽显文人随性之姿。字形欹正相生，牵丝映带间流转自如，笔墨枯湿浓淡错落，隽秀清雅。\n诗书合璧，以自作春日寄怀之诗入书，将探春闲情融于笔墨寸尺间，下笔松灵圆活，不见刻意雕琢。通篇气息淡远疏朗，尽显尚韵尚意的书法特质，寥寥数行便将文人春日感怀的逸趣尽数铺陈，是小品书法里诗书相融的佳制。",[7,64,133,208,209,2372,48069,9404,547,19006,211,102389,228,663],"孤灯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa29a8f44ea41c0aa32ae63c9c10aad4c.jpg",[],{"id":102393,"slug":102394,"title":102395,"dynasty":124,"author":102396,"museum":300,"description":102397,"tags":102398,"thumbUrl":102399,"material":611,"size":84,"collection":318,"collections":102400,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240110,"xing-zhi-yi-lao-zha-ye-cheng-fu-240110","行致伊老札页","成榑","此札以行草书就，笔势纵逸灵动，起收锋棱隐现，尽显率意自然之态。笔墨枯润相生，线条粗细随情变幻，牵丝映带间暗合章法韵律。文字排布错落随性，毫无刻意雕琢之感。\n\n作为尺牍信札，将日常寄兴的松弛情致融于笔墨流转之中，尽显萧散简远的文人意趣，藏着林下雅士的随性雅致，是兼具实用与审美意趣的小品佳构。",[7,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53eb7250aec6960896c358ca8e4c635f.jpg",[318],{"id":102402,"slug":102403,"title":102404,"dynasty":124,"author":102405,"museum":300,"description":102406,"tags":102407,"thumbUrl":102408,"material":611,"size":84,"collection":318,"collections":102409,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240109,"xian-xing-ti-zhen-lie-chuan-ye-zhou-zuo-240109","显行题贞烈传页","周祚","周祚是唐末進士，代表作有《失題》。",[64,133,208,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5927a2160393ffd9c6c00de053f17e6.jpg",[318],{"id":102411,"slug":102412,"title":77920,"dynasty":54,"author":102413,"museum":300,"description":102414,"tags":102415,"thumbUrl":102416,"material":692,"size":1293,"collection":84,"collections":102417,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240099,"shi-ce-fan-zeng-xiang-240099","樊增祥","樊增祥（1846—1931）清代官员、文学家。原名樊嘉、又名樊增，字嘉父，别字樊山，号云门，晚号天琴老人，湖北省恩施市六角亭西正街梓潼巷人。光绪进士，历任渭南知县、陕西布政使、署理两江总督。辛亥革命爆发，避居沪上。袁世凯执政时，官参政院参政。曾师事张之洞、李慈铭，为同光派的重要诗人，诗作艳俗，有“樊美人”之称，又擅骈文，死后遗诗三万余首，并著有上百万言的骈文，是我国近代文学史上一位不可多得的高产诗人。著有《樊山全集》。",[24,7,59,133,27,61,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68cc3824fa702a6afddaaea61c460ec9.jpg",[],{"id":102419,"slug":102420,"title":102421,"dynasty":54,"author":102422,"museum":300,"description":89827,"tags":102423,"thumbUrl":102424,"material":692,"size":1293,"collection":84,"collections":102425,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":4001},240084,"jie-si-nong-shu-you-huai-shi-ye-qiu-guang-ye-240084","接四农书有怀诗页","邱广业",[304,7,64,133,208,4437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6360380f0a5fc824d7513b8ee93040c.jpg",[],{"id":102427,"slug":102428,"title":102429,"dynasty":54,"author":102422,"museum":300,"description":89827,"tags":102430,"thumbUrl":102431,"material":692,"size":1293,"collection":84,"collections":102432,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240082,"lin-jiang-xian-zha-ye-qiu-guang-ye-240082","临江仙札页",[304,64,133,4437,208,7,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cf5af83ee2f1cd94368da98619235fd.jpg",[],{"id":102434,"slug":102435,"title":102436,"dynasty":54,"author":95649,"museum":300,"description":102437,"tags":102438,"thumbUrl":102439,"material":692,"size":1293,"collection":84,"collections":102440,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":4001},240077,"shi-gao-ye-yang-gao-lan-240077","诗稿页","此作为行书诗稿，行笔舒展灵动，笔墨秀逸清雅，兼具帖学流美意韵与文人书写的随性自然。字迹排布错落有致，字间顾盼生情，墨色浓淡过渡自然，尽显书写时松弛的创作状态。\n\n笺纸配有浅淡暗纹，雅致温润，与信中酬唱赠别的诗文相映成趣，尽显文人以翰墨寄怀的风雅日常。笔墨间藏着旧友唱和的脉脉温情，是诗书意趣与尺牍美学融合的小品佳作，将文人间的交游雅韵藏于字里行间。",[54,7,59,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b830e453a4d0988cbf5274caa985d98.jpg",[],{"id":102442,"slug":102443,"title":102444,"dynasty":54,"author":102445,"museum":300,"description":102446,"tags":102447,"thumbUrl":102448,"material":692,"size":1293,"collection":84,"collections":102449,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240069,"qiu-huai-si-shou-ye-huang-jue-zi-240069","秋怀四首页","黄爵滋","黄爵滋（1793年－1853年），字德成，号树斋，江西宜黄人。清朝政治人物，进士出身。",[7,64,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b6471fcccc48eed1a24d76a03aaf025.jpg",[],{"id":102451,"slug":102452,"title":102453,"dynasty":54,"author":102454,"museum":300,"description":102245,"tags":102455,"thumbUrl":102456,"material":692,"size":1293,"collection":84,"collections":102457,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240049,"guo-chao-ming-ren-shou-jian-ce-deng-17-ren-shou-zha-huang-zong-xi-gu-yan-wu-240049","国朝名人手简册-等17人手札","黄宗羲顾炎武",[59,133,64,7,208,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83b6bcb38a60c426a0a20722ffb64685.jpg",[],{"id":102459,"slug":102460,"title":102461,"dynasty":124,"author":102462,"museum":300,"description":102463,"tags":102464,"thumbUrl":102465,"material":84,"size":84,"collection":318,"collections":102466,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240029,"zi-shu-shi-ce-bian-gong-240029","自书诗册","边贡","边贡（公元1476 --1532年）字廷实，因家居华泉附近，道号华泉子，历城（今山东济南市）人。明代著名诗人、文学家。弘治九年（1496）丙辰科进士，官至太常丞。边贡以诗著称于弘治、正德年间，与李梦阳、何景明、徐祯卿并称“弘治四杰”。后来又加上康海、王九思、王廷相，合称为明代文学“前七子”。",[124,7,64,59,133,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8062e4c74dda0bc2217268b06065ed49.jpg",[318],{"id":102468,"slug":102469,"title":85279,"dynasty":124,"author":102470,"museum":300,"description":102471,"tags":102472,"thumbUrl":102473,"material":692,"size":1293,"collection":84,"collections":102474,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240020,"zi-shu-shi-zhou-liu-zheng-zong-240020","刘正宗","明末清初大臣刘正宗(1594～1661)，字可宗，号宪石，赐号中轩，明末清初大臣，世称“刘阁老”，山东安丘城里人。\n生于书香门第，1625年（天启五年）县岁试第一，1627年（天启七年）8月乡试中举。\n1628年（崇祯元年）3月中进士，历任真定府司理、翰林院编修、东宫讲读官、侍讲、礼部会试副主考。\n1644年（清顺治元年）为暂避战乱，携眷南下金陵。翌年5月清兵破金陵后，携眷回归安丘故里。",[7,165,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59aa1e9cc0a5e44c9b8004ae31ea874d.jpg",[],{"id":102476,"slug":102477,"title":102478,"dynasty":124,"author":102479,"museum":300,"description":102480,"tags":102481,"thumbUrl":102482,"material":692,"size":1293,"collection":84,"collections":102483,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},240008,"zhi-si-weng-zan-ye-dong-wen-ji-240008","致思翁赞页","董文骥","董文骥. 明末清初江南武进人，字玉虬，号云和、易农。顺治六年进士。官御史，敢直言。康熙初迁甘肃陇右道。旋得还。诗有名。晚年家居，颇留意推挽后学。",[24,7,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7e8489da8089fb29046ccc35b8bcba9.jpg",[],{"id":102485,"slug":102486,"title":50743,"dynasty":54,"author":102487,"museum":300,"description":102488,"tags":102489,"thumbUrl":102490,"material":692,"size":1293,"collection":84,"collections":102491,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239989,"shi-zhou-hong-yu-239989","弘瑜","僧。一作宏瑜，号桂，一作月章，会稽（今浙江绍兴）人。明中书舍人，入清不仕，皈依雪峤和尚。姓王，名作霖，与白岳山人等称“云门十子”。",[7,165,64,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42238e1b33438e75afc13f11b645007a.jpg",[],{"id":102493,"slug":102494,"title":102495,"dynasty":54,"author":102496,"museum":300,"description":102497,"tags":102498,"thumbUrl":102499,"material":692,"size":1293,"collection":84,"collections":102500,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239960,"zhi-wei-tai-fu-zi-rong-gui-xu-ye-xu-ru-lin-239960","致魏太夫子荣归序页","许汝霖","清康熙二十一年（1682）进士，选庶吉土。曾督江南学政，厘正文体，整饬士风，选拔人才。试士既竣，置酒于君山，大会诸生，一时传为盛事。二十六年，典试四川，四十二年。总裁会试，选才恰当，时称得士。又曾出修子牙河，悉心规划施工，沿河八州县免除水患。历任礼部侍郎、吏部侍郎，后晋升礼部尚书兼理吏部。后告归，康熙亲书“清慎勤”匾额以赐。他熟读经史，文章词醇理正。归里后筑“也园”于东南湖，读书著述；创办东山书院，集当地文人学士读书课士以终。汝霖性孝友，行谨饬，工于诗文。",[24,7,59,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93860aa8d7b7e57b529e73d734f0f9c5.jpg",[],{"id":102502,"slug":102503,"title":69180,"dynasty":54,"author":102504,"museum":300,"description":102505,"tags":102506,"thumbUrl":102507,"material":692,"size":1293,"collection":84,"collections":102508,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239927,"shi-ye-wei-xue-lian-239927","魏学莲","此作为小楷诗页，以描彩缠枝纹花笺为底，雅致静和。书风取法晋唐小楷，笔意清挺秀雅，结体端稳匀整，点画精致凝练，兼具欧楷的刚正与赵字的流丽，笔墨之间尽透文人书卷清气。\n抄录旧诗落笔从容，墨色莹润沉静，与浅淡花笺相映，愈发衬出古雅恬和的氛围。整体形制精巧，将制笺工艺与翰墨文思相融，尽显清代文人小品书法的隽美意趣，藏着书写者内敛娴静的文人情思。",[7,64,59,572,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e304edf09d0c2ece393a8b7c798a92.jpg",[],{"id":102510,"slug":102511,"title":102512,"dynasty":54,"author":85298,"museum":300,"description":85299,"tags":102513,"thumbUrl":102514,"material":84,"size":84,"collection":318,"collections":102515,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239924,"shi-feng-lian-shang-ye-wu-ci-he-239924","诗奉莲裳页",[7,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1efbbbb132bcdb45735f5bfbcfbd5cbe.jpg",[318],{"id":102517,"slug":102518,"title":102519,"dynasty":124,"author":102520,"museum":300,"description":102521,"tags":102522,"thumbUrl":102523,"material":692,"size":1293,"collection":84,"collections":102524,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239904,"si-jia-lian-bi-shi-juan-huang-fu-xiao-239904","四家联璧诗卷","皇甫涍","皇甫涍（1497-1546），明诗文家。字子安，号少玄，长洲（今苏州）人。苏州府诸生。嘉靖十一年（1532）进士，除工部主事，官至浙江按察使佥事。好学工诗，颇负才名",[23,64,133,25,128,208,7,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5d22f2a35d41a3d9b369e97614cfce5.jpg",[],{"id":102526,"slug":102527,"title":81447,"dynasty":124,"author":81448,"museum":300,"description":81449,"tags":102528,"thumbUrl":102529,"material":84,"size":84,"collection":84,"collections":102530,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239894,"ming-dai-ming-ren-shen-shi-xing-deng-mo-bao-yang-yi-qing-239894",[64,133,7,25,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff44d71b89ec62b71b4361af16541ae25.jpg",[],{"id":102532,"slug":102533,"title":77920,"dynasty":54,"author":59361,"museum":300,"description":102534,"tags":102535,"thumbUrl":102536,"material":692,"size":1293,"collection":84,"collections":102537,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},239870,"shi-ce-xu-qi-239870","徐琪：字大生；其子徐俊，字越千；父子俩均是康熙雍正年间（1662-1735）著名琴家。",[7,64,59,208,133,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42c740b680524719cf6e3edbc9aab63e.jpg",[],{"id":102539,"slug":102540,"title":102541,"dynasty":54,"author":102542,"museum":300,"description":102543,"tags":102544,"thumbUrl":102545,"material":84,"size":84,"collection":318,"collections":102546,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239849,"ti-po-gong-li-lv-xiang-shi-ye-tang-chu-fan-239849","题坡公笠履像诗页","汤储璠","汤储璠（1783-1832）自幼以宗贤汤显祖为楷模，故以汤显祖“玉茗堂”号为名曰“茗孙”。清江西临川城内六水桥人。官授内阁中书。\n储璠自幼聪慧，过目成诵，才思敏捷，行文沉厚，淹贯古今，被赞有“玉茗家风”，髫年即名噪海内。嘉庆五年（1800）取副榜贡生、宗学教习。十五年（1810）乡试取第一名举人。次年会试，初拟状元，后改第四名进士。选庶吉士，改翰林院编修，授内阁中书。汤储璠擅长骈体文，因而被内阁所倚重，内阁所进奉文字，多出其手。其文字古茂渊懿，为时所称颂，大学士曹振镛推其为“今之燕许”，林昌彝称其有“复古之功”。未及一年，因父及嫡母丧，回乡守孝，九更寒暑方复职。因积劳成疾，患消渴病（糖尿病），常数月才去内阁一次，为忌者所妒，欲将其解职，内阁大学士曹振镛认为不可。\n清嘉庆二十五年（1820）七月，嘉庆皇帝颙炎崩于热河避暑山庄，英帝国主义及浩罕（乌兹别克）国王玛达尔乘大清国丧之时，唆使匿于浩罕国的新疆伊斯兰教白山派之和卓萨木萨克次子张格尔率部攻挠南疆，欲夺回其曾祖父玛木特所统治的叶尔羌、喀什葛尔南疆旧地，而后分裂祖国。清道光八年（1828年），清扬威将军长龄利用黑帽回对张格尔之不满，密遣其纵反间计诱张格尔入伏，一举擒获张格尔，押送京师斩于市。捷报到京，众中书拟贺表，皆不合上意，大学士曹振镛令汤储璠执笔。他带病伏枕构思，一挥而就，所作之表文词“古茂渊懿”，胜人一筹，备受内阁大臣称赞，士人争相传抄，一时纸贵。\n清朝漕运、河工二事，岁靡金钱无算，泥古之士，目击流弊，或拟改海运，或议复古道，或请治西北水田，大抵眉睫之见。唯汤储璠所上《舟泊御黄坝五古》一篇，议论独辟，被国人称颂。其治河三善之策，成为清朝漕运、河工的典范。\n清道光九年（1829），汤储璠获六品衔，擢升侍读。因其为官廉洁，俸禄又低，而京城做官，每年用度需耗资六七万钱，汤储璠时常捉襟见肘，入不敷出，于是告病归家，安贫著述。十二年六月卒，终年仅49岁。\n汤储璠一生清贫，但作品丰富，著有《长秋馆诗文集》32卷、《骈体四六文》16卷、《仪礼》、《绘图考》、《骈体文》、《经史补注》、《望海船》、《与客谈南河事》、《秦中吟》、《忍冬小草》2卷、《布帆无恙草》3卷等。多为兵火所毁，仅存《布帆无恙草》、《长秋馆咏史诗钞》行世。前者收诗230多首，系由京病归途中及在家卧病期间的作品，其《望海船》与《客谈南河事》诸篇，忧深思远，大有《秦中吟》余响。\n储璠工骈体文，尤善工诗，其诗文笔法生动，文采飞扬，或沉博艳丽，或跌宕酣嬉，不可一世，深得汪廷珍、林则徐等名士赏识，为士林所推崇。当他听说乡里溺杀女婴现象严重，即写了《罪言·溺女》，痛斥溺女行为，并引用古时“木兰从军”、“缇萦上书”的典故，批判重男轻女的观念，告诫人们须保护女婴，勿害无辜。此诗在抚州城乡广为流传，对制止溺女恶行起到了一定的作用。\n作为汤显祖族中子弟，汤储璠深得汤学真传，与汤来贺、汤德延、汤季云、汤善卿、汤仲武、汤述卿、汤钟灵、汤孟征、汤孙绪、汤新德、汤秀琦等人成为一代文学鸿儒。",[7,64,133,59,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a0445ef419d5c95ba6c64b123e75a40.jpg",[318],{"id":102548,"slug":102549,"title":102550,"dynasty":54,"author":223,"museum":300,"description":102551,"tags":102552,"thumbUrl":102553,"material":84,"size":84,"collection":318,"collections":102554,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239847,"xing-shi-zhi-xing-xin-su-ge-wei-gong-fu-ye-yi-ming-239847","□兴诗支硎新粟歌为功甫页","此作用笔苍劲老辣，行书笔意恣肆随性，牵丝映带间尽显挥毫时的酣畅意气。字形排布错落疏朗，全无刻意规整的板滞，自携萧散朴拙的文人韵致。墨色枯润相参，笔画粗细随文气自然变幻，可见书家走笔毫无滞碍，将长歌胸臆尽数付诸笔端。通篇笔墨古雅醇厚，带着旧尺牍书法独有的随性自在，把日常酬唱的文人情思，藏进每一处笔墨起伏里，尽显文人间以墨寄情的风流意趣。",[64,133,7,59,6369,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2839f5009c70c494bef6be75967b03d2.jpg",[318],{"id":102556,"slug":102557,"title":102558,"dynasty":54,"author":102559,"museum":300,"description":102560,"tags":102561,"thumbUrl":102562,"material":84,"size":84,"collection":84,"collections":102563,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},239777,"shu-xun-shan-zhi-zhou-lu-yin-pu-239777","书寻山志轴","卢荫溥","此作用笔恪守楷法，取径欧柳，骨力劲挺内敛，点画起收顿挫皆具法度。结体端稳方正，排布匀整停匀，通篇行气贯通朗畅。墨色沉实饱满，古雅醇厚的气韵漫溢纸面。\n书文相衬，笔墨呼应林泉幽怀，规整馆阁体中暗蕴文人清雅意趣，肃穆庄重间不失秀润灵动。字里行间尽显沉稳笔力，将卧石观云、听泉寻幽的山水之志融于笔端，书与文相得益彰，尽显清代楷书端谨雅致的典型风貌，为一时佳作。",[24,7,165,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb867a5fa1c0a4df437c928b61c92d61.jpg",[],{"id":102565,"slug":102566,"title":102567,"dynasty":54,"author":223,"museum":300,"description":102568,"tags":102569,"thumbUrl":102570,"material":84,"size":84,"collection":84,"collections":102571,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239776,"liu-quan-zhi-shu-tang-ren-dong-ting-zhang-le-fu-heng-zhou-yi-ming-239776","刘权之书唐人洞庭张乐赋横轴","此作用笔取法欧楷风骨，结体端稳匀停，笔力沉实厚重，点画精严不苟，捺脚舒展俊朗，钩趯劲健利落，尽显馆阁书法的端凝庄重。绢本衬以缠枝祥云暗纹，和齐整的书作排布相映成趣，静穆间又添雅致装饰意趣。\n字里行间气脉匀和，将唐人辞赋的高古意韵融于笔墨，既恪守馆阁体的规整法度，亦不失书写的灵动意趣，把洞庭张乐的清雅高古气象，以笔墨演绎得肃穆典雅，尽显内敛醇厚的文人意韵，可观可赏，尽显传统书法的规整之美。",[164,24,7,14829,128,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94c508f4e4fac8b8db1eeb9cbf676db4.jpg",[],{"id":102573,"slug":102574,"title":102575,"dynasty":54,"author":102576,"museum":300,"description":102577,"tags":102578,"thumbUrl":102579,"material":692,"size":1293,"collection":84,"collections":102580,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239765,"shu-ci-xi-bu-sheng-shi-zhou-xu-ting-239765","书朿晰补笙诗轴","徐颋","徐颋（？－1823年），字述卿（或号述卿[1]）、少鹤[2]、直卿[3]，江苏省苏州府长洲县（今江苏省苏州市）人，清朝政治人物、榜眼。",[7,165,133,27,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facef0bd087d88320a4ff0632ca4c3f74.jpg",[],{"id":102582,"slug":102583,"title":95852,"dynasty":54,"author":72198,"museum":300,"description":72199,"tags":102584,"thumbUrl":102585,"material":692,"size":1293,"collection":84,"collections":102586,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},239749,"shu-hong-li-yan-shi-ce-wang-jie-239749",[64,7,59,572,27,9604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10d3b37643d166cbb3061f1dfdb2055e.jpg",[],{"id":102588,"slug":102589,"title":102590,"dynasty":124,"author":102591,"museum":300,"description":102592,"tags":102593,"thumbUrl":102594,"material":692,"size":1293,"collection":84,"collections":102595,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239743,"ming-ren-jian-du-ce-zhi-shu-jia-zha-liu-huang-shang-239743","明人笺牍册-致淑嘉札","刘黄裳","刘黄裳（1529~1595），字玄子，明河南汝宁府光州（今河南潢川县）人，重庆知府刘绘之子，明万历十四年（1586）进士，参加万历朝鲜战争，官至兵部郎中。",[7,64,59,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F240f4991656861dda2252eadbeda4192.jpg",[],{"id":102597,"slug":102598,"title":102599,"dynasty":124,"author":54552,"museum":300,"description":102600,"tags":102601,"thumbUrl":102602,"material":692,"size":1293,"collection":84,"collections":102603,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239738,"ming-ren-jian-du-ce-zhi-qing-weng-zha-lu-shi-ren-239738","明人笺牍册-致罄翁札","陆士仁[明]字文近，号澄湖，一作承湖，长洲（今江苏苏州）人。",[7,59,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20756f42289a4621eb58ecf2b23c0bab.jpg",[],{"id":102605,"slug":102606,"title":102607,"dynasty":124,"author":89691,"museum":300,"description":89692,"tags":102608,"thumbUrl":102609,"material":692,"size":1293,"collection":84,"collections":102610,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239737,"ming-ren-jian-du-ce-zhi-wen-shi-zha-zhu-yue-fan-239737","明人笺牍册-致文石札",[7,64,59,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74770ce969f49ab6697b3dedc3eec5a7.jpg",[],{"id":102612,"slug":102613,"title":102614,"dynasty":124,"author":102615,"museum":300,"description":102616,"tags":102617,"thumbUrl":102618,"material":692,"size":1293,"collection":84,"collections":102619,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239736,"ming-ren-jian-du-ce-shu-zha-mo-ru-zhong-239736","明人笺牍册-书札","莫如忠","莫如忠（1508—1588）字子良，号中江，南直隶松江府华亭（今上海松江）人 。生于明武宗正德三年，卒于神宗万历十六年，年八十一岁。（《历代名人年谱》作正德四年生，万历十七年卒，年岁同。此从《三续疑年录》据《明文海》）师从唐顺之，嘉靖十七年（1538）进士。累官浙江布政使，寻告归，杜门著书。洁修自好，笃志好学，师从唐顺之，废寝忘食读书，老而不倦。",[24,7,59,133,208,64,47620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7188b941316cb16b711726f9a9debcb3.jpg",[],{"id":102621,"slug":102622,"title":102623,"dynasty":124,"author":102624,"museum":300,"description":102625,"tags":102626,"thumbUrl":102627,"material":692,"size":1293,"collection":84,"collections":102628,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239733,"ming-ren-jian-du-ce-zhi-ruo-fu-zha-zhou-shun-chang-239733","明人笺牍册-致若抚札","周顺昌","周顺昌（1584年－1626年），字景文，号蓼洲，南直隶吴县（今江苏苏州）人。\n万历四十一年（公元1613年）进士，历任福州推官、吏部稽勋主事、文选司员外郎。居官清正。在福州推官任上，反对矿监税使的掠夺，抓治税监高寀的爪牙。后为魏忠贤党迫害，以颜佩韦等五人为首的乡人加以反抗，然终被镇压。顺昌后被害于狱中。\n崇祯元年（公元1628年）得已昭雪，谥“忠介”。与同为阉党所害的高攀龙、周起元、缪昌期、周宗建、黄尊素、李应升并称“后七君子”",[7,64,133,59,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfb122fe622774e137b1acb33bd93173.jpg",[],{"id":102630,"slug":102631,"title":102632,"dynasty":124,"author":223,"museum":300,"description":102633,"tags":102634,"thumbUrl":102635,"material":692,"size":1293,"collection":84,"collections":102636,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239732,"ming-ren-jian-du-ce-wei-wei-zhi-yi-du-zha-yi-ming-239732","明人笺牍册-囗囗致异度札","这帧行书尺牍笔墨清隽秀雅，通篇行气疏朗匀净。起笔收锋间灵动自然，点画顾盼有情，牵丝映带暗含章法韵律。\n\n文字随笔势舒展，毫无刻意雕琢的板滞，笔墨枯润相济，时而细劲如萦牵丝绦，时而饱满如坠露留痕，将尺牍日常的松弛意态藏于笔墨法度之中。纸面的蠹蚀残损，更添岁月摩挲的古旧质感，让这页寻常书札，成为窥见往昔文人笔墨日常的鲜活切片，在方寸尺素间晕开旧时翰墨往来的脉脉情致，尽显简淡萧散的雅致风神。",[124,64,133,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F012573c11176176412c55df7f26f808c.jpg",[],{"id":102638,"slug":102639,"title":102640,"dynasty":18,"author":223,"museum":300,"description":102641,"tags":102642,"thumbUrl":102643,"material":84,"size":84,"collection":84,"collections":102644,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239720,"song-xian-yi-han-ce-wei-wei-zhi-zi-zha-yi-ming-239720","宋贤遗翰册-囗囗致子札","此作用笔秀逸灵动，提转间自见潇洒意趣，点画粗细得宜，牵丝映带自然流畅，尽显宋人尺牍随性雅致的风神。文字排布错落舒展，毫无板滞之感，字里行间带着日常尺牍的松弛随性，既见文人的书卷涵养，又藏着亲友通信的质朴温情。\n\n通篇墨色浓淡自然变化，笔势连贯呼应，将实用书写与审美意趣相融，尽显宋代士人尚意的书法美学，虽为寻常信札，却自带清雅隽秀的韵致，藏着那个时代文人浸透在日常里的风雅底色。",[164,24,7,59,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F777fff4b9bbae99f08f450e07afff83a.jpg",[],{"id":102646,"slug":102647,"title":102648,"dynasty":54,"author":223,"museum":300,"description":102649,"tags":102650,"thumbUrl":102651,"material":84,"size":84,"collection":84,"collections":102652,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239704,"yi-xuan-shu-qi-yan-shi-heng-zhou-yi-ming-239704","奕譞书七言诗横轴","此作为楷书横轴，笔墨兼取颜柳筋骨，笔力沉浑苍劲，结体端方舒展。正文七言诗句排布疏朗从容，起笔收锋皆见法度，墨色匀净厚重，庙堂气浑然具足。小字题跋同样精谨整饬，与大字形成虚实映衬，章法和谐统一。\n\n书者以端严朴拙的笔墨，烘托出诗句里小亭观花、对酒看月的清寂幽怀，将工稳笔墨与林下萧散的诗意融作一处，刚柔相济，既有馆阁体的规整气象，又暗合文人淡远闲疏的意趣。",[64,7,572,208,66628,304,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc463fa7df6ebc1e373405f1a20207fd9.jpg",[],{"id":102654,"slug":102655,"title":102656,"dynasty":18,"author":223,"museum":300,"description":102657,"tags":102658,"thumbUrl":102659,"material":84,"size":84,"collection":84,"collections":102660,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},239671,"zhao-qi-xian-chun-wu-nian-chi-shu-juan-yi-ming-239671","赵禥咸淳五年敕书卷","此卷开篇擘窠大字雄强浑厚，开张大气，尽显敕书的端严威仪。后续小字行楷随性布势，笔致隽秀连贯，提按转折皆合法度，墨色枯湿浓淡富于变化，尽显宋代书法的雅致风神。\n\n整卷朱红鉴藏印错落排布，与墨色书迹相映成趣，既有官方文书的典重肃穆，又不失文人书法的灵动意趣。卷后题跋递藏有序，映照着历代藏家的珍视，承载着岁月积淀下的艺文底蕴，是兼具文献价值与书法审美价值的佳品。",[23,164,24,7,25,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb402d1092a3625b19e13caf6ecd69c34.jpg",[],{"id":102662,"slug":102663,"title":34976,"dynasty":54,"author":872,"museum":20,"description":34977,"tags":102664,"thumbUrl":102665,"material":611,"size":34980,"collection":84,"collections":102666,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239608,"shi-san-zha-ce-zhu-da-239608",[24,7,59,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F096a6a9cecaeec218d29a3a0e3682cd5.jpg",[],{"id":102668,"slug":102669,"title":409,"dynasty":54,"author":51000,"museum":300,"description":102670,"tags":102671,"thumbUrl":102672,"material":84,"size":84,"collection":84,"collections":102673,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239549,"shan-shui-ce-mei-geng-239549","此作以淡墨枯笔绘就幽林山径，虬松盘曲于危石之间，枝桠苍劲灵动，山道蜿蜒隐现林麓。策杖行人缓行其间，萧寒空寂的山林意境扑面而来。画面以简淡笔墨勾勒山石肌理，淡墨晕染出空濛山岚，尽显幽寂萧散之致。\n\n上方行书题跋笔意疏朗隽秀，书画相映成趣。整幅以意驭笔，将寻幽访胜的雅趣藏于冷寂山水，澹泊空远的林下之风溢于纸间，尽显文人画以简驭繁、以意取胜的逸韵，观之如亲身步入林谷，静品清奇山境与澹泊心境交融之美。",[164,24,7,59,128,132,29,1144,96,171,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdee35d78dc3d7560d93b703b085963d1.jpg",[],{"id":102675,"slug":102676,"title":19857,"dynasty":54,"author":102677,"museum":300,"description":102678,"tags":102679,"thumbUrl":102680,"material":84,"size":84,"collection":84,"collections":102681,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239520,"shan-shui-zhou-chen-yuan-fu-239520","陈元复","此作用笔追摹元人逸韵，近岸枯木虬曲苍劲，枝桠疏朗萧索，自见古拙生机。矮舍临溪而建，寥寥数笔便写尽幽居野寂之态。平湖横陈，淡墨轻扫为远山，隐现于氤氲水汽之中，留白铺陈出水天辽阔的空濛意境。\n整幅画作以干笔淡墨绘就，删繁就简洗去铅华，将江南水滨的荒寒清寂，化作静穆淡远的诗意。无多余点染，却把文人幽居林泉的出世意趣藏于留白之间，淡远空疏，余韵悠长，尽显水墨山水的萧散雅致。",[24,7,165,128,132,29,130,331,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa89e01da2dfa08acb1ea41a5e04ee551.jpg",[],{"id":102683,"slug":102684,"title":74723,"dynasty":54,"author":74724,"museum":300,"description":102685,"tags":102686,"thumbUrl":102687,"material":692,"size":1293,"collection":84,"collections":102688,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239506,"lv-bi-shan-shui-ce-lv-bi-239506","这帧册页书画合璧，意境悠然。右侧山水以淡墨晕染出层叠远山，峰峦似笼着薄雾般朦胧清润，近渚之上几株苍松杂木挺秀遒劲，枝叶疏密有致，静立如世外君子。水面空明无澜，岸畔横露板桥一角，愈发衬出江天寥廓安寂。\n\n左侧题诗笔致清逸，字句与画境呼应，将秋山行旅的幽寂况味缓缓铺陈。整幅以水墨淡绘，没有繁复皴擦，留白晕染间铺展萧散淡远的秋江林峦之景，将秋日山林的清寂冷隽藏于尺幅，尽显文人寄情山水、澄怀观道的澹然意趣。",[24,7,59,128,133,208,132,29,663,228,413,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf4e2f85cebf0611c80c33fbcda7d921.jpg",[],{"id":102690,"slug":102691,"title":74723,"dynasty":54,"author":74724,"museum":300,"description":102692,"tags":102693,"thumbUrl":102694,"material":692,"size":1293,"collection":84,"collections":102695,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239504,"lv-bi-shan-shui-ce-lv-bi-239504","此作取景清寂雅致，右侧绘汀渚枯木，虬枝苍劲无叶，孑然独立。淡墨晕染远山，留白铺陈水色，极简笔墨勾勒出深秋荒寒之境，咫尺尺幅间尽显空濛悠远的意境。\n\n左侧题字与画作相映成趣，书画合璧尽显文人雅韵。笔墨疏朗空灵，以少胜多，将清冷幽思融于山水之间，将传统文人尚简尚淡的审美追求寄寓其中，是一件极具意趣的山水小品。",[24,7,59,128,29,1337,98,99,131,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39faedac3f4a4e249c0c4067c6f0759d.jpg",[],{"id":102697,"slug":102698,"title":3424,"dynasty":54,"author":48763,"museum":300,"description":71916,"tags":102699,"thumbUrl":102700,"material":692,"size":1293,"collection":84,"collections":102701,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239489,"shan-shui-ce-2-shang-guan-zhou-239489",[24,7,59,128,132,29,663,413,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe39c85f7edfb79dbb05720ec9739e549.jpg",[],{"id":102703,"slug":102704,"title":102705,"dynasty":54,"author":96114,"museum":300,"description":102706,"tags":102707,"thumbUrl":102708,"material":692,"size":1293,"collection":84,"collections":102709,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239468,"qing-chu-shi-si-jia-shu-hua-ji-jin-ce-shan-shui-ce-ye-wu-lin-239468","清初十四家书画集锦册-山水册页","字栗园，一作栗原，一字荛圃，安徽歙县籍，家江西景德镇。二、[清]字仁趾，天都（今安徽歙县）右姓，隶籍广陵（今江苏扬州）。",[24,7,59,133,128,132,29,1144,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d482443f0fd978a4ac52d5a00b4276f.jpg",[],{"id":102711,"slug":102712,"title":102713,"dynasty":54,"author":223,"museum":300,"description":102714,"tags":102715,"thumbUrl":102716,"material":84,"size":84,"collection":84,"collections":102717,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239399,"wang-yun-hua-mei-hua-zhou-yi-ming-239399","汪鋆画梅花轴","此作用干笔淡墨绘就幽寂秋山，危峰层峦叠起，山道盘绕萦回，涧水穿谷汇入平湖。近岸长松劲挺，坡石错落排布，水畔茅舍隐于林木间，尽显林泉幽居的清寂萧疏。以披麻皴晕染山石肌理，墨色干湿相生，淡皴轻染间铺展出山林空远冷逸的秋日氛围。整幅构图简约雅致，将山水灵秀清润尽藏笔底，暗合文人寄情丘壑、静守林泉的幽淡心境，笔墨尽显内敛冲淡的文人山水意趣。",[24,7,165,128,132,29,497,34,99,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85d912e7714afe0ba16f9fdec3334048.jpg",[],{"id":102719,"slug":102720,"title":7864,"dynasty":54,"author":69285,"museum":300,"description":69286,"tags":102721,"thumbUrl":102722,"material":692,"size":1293,"collection":84,"collections":102723,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239392,"za-hua-ce-zhu-xiao-chun-239392",[24,7,59,128,375,61,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2b00bef644132577c314b8ac26fa2c2.jpg",[],{"id":102725,"slug":102726,"title":7864,"dynasty":54,"author":69285,"museum":300,"description":69286,"tags":102727,"thumbUrl":102728,"material":692,"size":1293,"collection":84,"collections":102729,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239383,"za-hua-ce-zhu-xiao-chun-239383",[24,7,59,128,133,208,211,2059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff39f747b15606f845049f56722ef55a7.jpg",[],{"id":102731,"slug":102732,"title":409,"dynasty":54,"author":55339,"museum":300,"description":102733,"tags":102734,"thumbUrl":102735,"material":84,"size":84,"collection":84,"collections":102736,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239347,"shan-shui-ce-lin-fu-chang-239347","此作以浅绛设色晕染山峦，花青铺陈草木苍润生机，赭石淡扫坡岸暖意。苍松错落挺拔，笔墨工写兼具，挺劲的松针勾勒出古木风神。屋舍隐于林麓之间，寥寥数笔便绘出幽居之态。近处分垄田亩淡墨轻描，江面渔翁独钓，衬出天地空阔安闲。整体色调清雅柔和，无浓艳堆砌，将江南烟霭淡荡的野趣融于尺幅，笔墨简淡却意韵悠长，尽显林泉幽居的清寂出尘之美，寄寓着文人栖隐山水的澹泊意趣。",[164,24,7,59,27,132,29,34,1144,35,98,96,37513,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0696a9122de8c610418115de6e914537.jpg",[],{"id":102738,"slug":102739,"title":33103,"dynasty":54,"author":96114,"museum":300,"description":102740,"tags":102741,"thumbUrl":102742,"material":84,"size":84,"collection":84,"collections":102743,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239304,"fang-gu-shan-shui-ce-wu-lin-239304","吴麐（1691～1772），字粟园，一作粟原，一字尧圃，安徽歙县籍，家江西景德镇。其家有景德镇古窑，与唐熊年三窑并称吴窑。山水学黄公望，以疏散简淡为主，用墨干湿相参不见痕迹，长于小幅，若大幅则病其翠弱，亦不多见。生平有古君子风，老客扬州汪贻士家。",[24,7,128,59,132,2271,29,1144,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde19f63c79dd82e0bfa26caab788fa86.jpg",[],{"id":102745,"slug":102746,"title":33103,"dynasty":54,"author":96114,"museum":300,"description":102740,"tags":102747,"thumbUrl":102748,"material":84,"size":84,"collection":84,"collections":102749,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239302,"fang-gu-shan-shui-ce-wu-lin-239302",[24,7,59,128,132,2271,29,1337,167,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfb6f231b20f7efeb24306fe4b9cb63e.jpg",[],{"id":102751,"slug":102752,"title":58961,"dynasty":54,"author":58962,"museum":300,"description":102753,"tags":102754,"thumbUrl":102755,"material":84,"size":84,"collection":84,"collections":102756,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239235,"hui-shi-ce-hu-zhen-kai-239235","以水墨写意摹绘湖石，运笔苍劲老辣，皴擦勾写间尽显嶙峋肌理。层叠孔洞错落排布，将湖石瘦、漏、透、皱的特质尽致铺陈，浓淡墨色晕染出明暗层次，虚实相生，仿若可触石体坚硬质感。右侧行书题字笔意舒展洒脱，墨色清润雅致，书画相映成趣，将文人藏石赏石的清雅意趣融于方寸纸面，尽显中式赏石文化里的隽永风骨，是把闲情雅好与水墨意韵融合的精妙小品。",[24,7,59,128,171,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8810c6bbf23d7862340178ed19072c1f.jpg",[],{"id":102758,"slug":102759,"title":58961,"dynasty":54,"author":58962,"museum":300,"description":102760,"tags":102761,"thumbUrl":102762,"material":84,"size":84,"collection":84,"collections":102763,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239231,"hui-shi-ce-hu-zhen-kai-239231","此作用淋漓水墨写湖石，以枯湿浓淡的墨色变化勾勒皴擦，将湖石玲珑剔透之态尽展纸上。孔洞错落有致，风骨嶙峋苍劲，尽显传统赏石“透、漏、瘦、皱”之美，笔意朴拙老辣，带着沉静古雅的意趣。\n\n左侧题书与湖石相映成趣，诗书与绘事相融，文气盎然，将文人藏石爱石的雅趣寄于尺幅之间。笔墨间浸透着对造物奇趣的体察，以意驭笔、以形传神，寥寥数笔便定格湖石清奇风骨，余韵悠长。",[24,7,59,128,171,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec9547dd9eb8e4a7677069c31352fa8.jpg",[],{"id":102765,"slug":102766,"title":58971,"dynasty":54,"author":38236,"museum":300,"description":38237,"tags":102767,"thumbUrl":102768,"material":692,"size":1293,"collection":84,"collections":102769,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239183,"hua-hui-ren-wu-ce-chen-zi-239183",[24,7,59,27,61,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8eb27acdb8eb1974fca7bedf58bd7c8.jpg",[],{"id":102771,"slug":102772,"title":58971,"dynasty":54,"author":38236,"museum":300,"description":38237,"tags":102773,"thumbUrl":102774,"material":692,"size":1293,"collection":84,"collections":102775,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239181,"hua-hui-ren-wu-ce-chen-zi-239181",[24,7,59,133,128,28,208,6856,7596,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0acb97b5060f0aaa329dfcf1382d0be3.jpg",[],{"id":102777,"slug":102778,"title":58971,"dynasty":54,"author":38236,"museum":300,"description":38237,"tags":102779,"thumbUrl":102780,"material":692,"size":1293,"collection":84,"collections":102781,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239179,"hua-hui-ren-wu-ce-chen-zi-239179",[24,7,59,27,96,166,171,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f692e0c4ac7f5b2ecb60ee3814da9e0.jpg",[],{"id":102783,"slug":102784,"title":1289,"dynasty":54,"author":24258,"museum":300,"description":102785,"tags":102786,"thumbUrl":102787,"material":84,"size":84,"collection":84,"collections":102788,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239164,"shan-shui-hua-hui-ce-chen-heng-ke-239164","此作以浅绛写秋山幽居，枯淡朴拙的崖石间石径逶迤，山角小屋隐于丹红花枝中，远岸水天晕染出空濛秋意，寥寥笔墨便勾勒出江天清寒岑寂的氛围。\n\n左侧题诗行书笔意萧散苍劲，书画相映成趣，将山居秋日的寥廓况味铺陈开来。整体意韵清隽雅致，极简构图里藏着悠长的文人逸趣，平淡朴拙的笔墨晕开深沉秋日诗意，尽显诗画交融的文人画意趣，将幽居秋怀缓缓诉与观者。",[24,7,59,128,27,133,64,29,131,34,1955,3387,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcb47d304de3f00a16658d44c1b95355.jpg",[],{"id":102790,"slug":102791,"title":1289,"dynasty":54,"author":24258,"museum":300,"description":102792,"tags":102793,"thumbUrl":102794,"material":84,"size":84,"collection":84,"collections":102795,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239160,"shan-shui-hua-hui-ce-chen-heng-ke-239160","此帧以淡赭浅墨绘秋山村居之景，山峦以干笔皴擦出嶙峋肌理，淡墨晕染晕开空濛秋意。坡脚村居错落掩映于疏林之间，杂木叶疏枝劲，暗合题诗秋风之境。\n题款行书笔力苍劲朴拙，文辞与画作呼应相生，尽显诗书画合一的文人雅趣。笔墨简淡却意韵醇厚，以写意之法勾勒丘壑，不刻意雕饰形貌，重在烘托静穆萧散的山居氛围，将林泉雅怀寄寓在寻常秋山景致中，于简淡笔墨里透出沉静风骨。",[24,7,59,128,132,29,131,34,35,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eb0a5c31fdde8262a51294c006cdf4b.jpg",[],{"id":102797,"slug":102798,"title":1289,"dynasty":54,"author":24258,"museum":300,"description":36452,"tags":102799,"thumbUrl":102800,"material":692,"size":1293,"collection":84,"collections":102801,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239158,"shan-shui-hua-hui-ce-chen-heng-ke-239158",[164,24,7,59,128,29,35,415,34,37,132,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6485380e7cf2b3de2af3c8692609ca6d.jpg",[],{"id":102803,"slug":102804,"title":1289,"dynasty":54,"author":24258,"museum":300,"description":36452,"tags":102805,"thumbUrl":102806,"material":692,"size":1293,"collection":84,"collections":102807,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239155,"shan-shui-hua-hui-ce-chen-heng-ke-239155",[24,7,59,128,133,208,132,29,1144,30,171,3387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0ea724bc454d10e8804f9bfe42a487c.jpg",[],{"id":102809,"slug":102810,"title":40707,"dynasty":54,"author":102811,"museum":300,"description":102812,"tags":102813,"thumbUrl":102814,"material":692,"size":1293,"collection":84,"collections":102815,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239001,"shan-shui-shan-shen-qi-239001","沈祁","沈祁[清]字雨公，嘉定（今属上海市）人。工绘事，笔墨苍老。",[1131,24,7,164,29,128,132,663,228,34,500,37,497,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63bf8d1665857abceae309b89a5e6a08.jpg",[],{"id":102817,"slug":102818,"title":102819,"dynasty":54,"author":48145,"museum":300,"description":102820,"tags":102821,"thumbUrl":102822,"material":84,"size":84,"collection":84,"collections":102823,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238979,"shan-shui-ce-fang-huang-zi-jiu-bi-yi-wang-chen-238979","山水册－仿黄子久笔意","此作用笔苍秀松灵，以披麻皴绘山峦，尽显元人山水萧散淡远之态。山峦层叠间，飞瀑垂落，草亭临渊静立，坡岸杂木扶疏，姿态苍古。淡赭敷色清润雅致，构图虚实相生，高远深远兼具，既恪守黄子久简淡天真的笔意，又融入自身笔墨的苍厚老辣。林泉间幽寂隐逸之致尽显，将文人寄情山水的林下风流藏于尺幅之间，师古而不失己意，清寂淡远的意境漫溢纸面，是摹古自出机杼的佳构。",[24,7,59,128,132,330,29,98,99,130,34,131,495,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f968b7da59c6e8be88ba70997f38a3d.jpg",[],{"id":102825,"slug":102826,"title":102827,"dynasty":124,"author":223,"museum":300,"description":102828,"tags":102829,"thumbUrl":102830,"material":692,"size":1293,"collection":84,"collections":102831,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},238967,"yun-shan-lou-ge-tu-ye-yi-ming-238967","云山楼阁图页","此作以绢本设色绘就冬日江楼胜景。前景坡岸覆雪，寒林萧疏，霜枝错落，尽显冬意寥落。中景楼宇层檐叠拱，工致严整，朱红廊枋在素净雪景中愈发醒目，将楼阁的富丽沉稳尽显无余。\n远景云气空濛，积雪峰峦错落隐现，以淡墨晕染烟霭，烘托出辽远萧寒的冬日氛围。工谨界画与写意云山相映，人工匠巧与山水灵秀相融，古雅底色晕染出清寂幽远的意境，尽显冬日水岸楼阁的静谧雅致，暗合幽淡清空的古典审美意趣。",[164,24,7,1131,27,95,29,97,950,663,34,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F021f54f8ad94b3b66812fb3b2359bc47.jpg",[],{"id":102833,"slug":102834,"title":42420,"dynasty":54,"author":223,"museum":300,"description":102835,"tags":102836,"thumbUrl":102837,"material":692,"size":1293,"collection":84,"collections":102838,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238918,"qing-ren-ju-pu-ce-yi-ming-238918","此作设色清隽雅致，绘白菊一枝。花瓣以淡粉轻勾慢染，层叠舒展如堆霜叠雪，柔婉洁净，将白菊的莹润通透描摹尽致。石绿晕染叶片，筋脉勾勒细劲，苍润叶色衬出素花的清冷皎洁，秀挺墨线的枝干虚实相生，承托出秋菊疏朗脱俗的姿态。\n画面留白疏阔，舍去冗杂布景，仅以一花半叶撑住画幅，将菊花凌霜自持的君子品格融于笔底，观之如临清秋篱畔，似有淡菊暗香萦于襟袖，尽显中式花鸟含蓄清逸的意韵。",[24,7,59,28,27,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8b99a6d99bce798332dff590352a361.jpg",[],{"id":102840,"slug":102841,"title":42420,"dynasty":54,"author":223,"museum":300,"description":102842,"tags":102843,"thumbUrl":102844,"material":692,"size":1293,"collection":84,"collections":102845,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238917,"qing-ren-ju-pu-ce-yi-ming-238917","此作以折枝入画，斜逸的菊枝打破画面匀整留白，虚实相生更显空灵雅致。双朵寿仙桃菊层瓣舒展，白紫晕染柔润自然，瓣尖点染朱砂艳红，将秋菊的雍容饱满尽数描摹，娇妍却不失清逸风骨。枝叶以淡绿分染，叶脉细笔勾勒，深浅层次鲜活灵动，尽显菊叶清翠润泽之态。整体工致细腻，设色秀雅柔和，写实之中暗合文人画的清雅意趣，把秋菊的绰约姿容定格，将花木的生机与文人爱菊的雅趣融为一体。",[24,7,59,27,28,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36037e740bb6463577a27b0b2759ce8f.jpg",[],{"id":102847,"slug":102848,"title":72012,"dynasty":54,"author":223,"museum":300,"description":102849,"tags":102850,"thumbUrl":102851,"material":84,"size":84,"collection":84,"collections":102852,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},238900,"dong-gao-chun-hua-ji-qing-ce-yi-ming-238900","此作为诗画合璧的册页，上下两帧各揽一景。上帧绘湖岸春烟，柔丝垂柳漫过堤岸，远处江帆隐现于烟雨间，楼宇凌于坡岸，淡墨轻皴晕染出水色空濛的朦胧春意，将诗句里菱湖畔的春愁烟雨铺展眼前。\n\n下帧取景林泉早春，抽芽春树间幽禽独立枝桠，溪石隐于苔草间，浅淡设色晕染出柔润春韵，呼应早春暖林的诗意。\n\n全作用笔秀婉细腻，设色清雅恬和，以画释诗，将江南早春的柔婉雅致凝于尺幅间，尽显恬和静谧的文人雅趣，笔墨简淡却余韵悠长。",[24,7,59,27,29,133,34,131,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8001ecc357b403284aaf4421e15632fc.jpg",[],{"id":102854,"slug":102855,"title":72012,"dynasty":54,"author":223,"museum":300,"description":102856,"tags":102857,"thumbUrl":102858,"material":84,"size":84,"collection":84,"collections":102859,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":199},238899,"dong-gao-chun-hua-ji-qing-ce-yi-ming-238899","此作为诗画合璧的小品佳制。两帧山水分别呼应御题春景诗句：上帧绘茂林村墟，野意盎然，将春雨村耕的恬然乡居之景细细铺陈，林木苍润，村居错落间尽是春日乡野的松弛意趣。下帧绘烟霭山居，行旅踏春，楼阁隐于翠峦间，轻岚浮动晕染出春城晓色的清润雅致。设色浅淡柔润，线条秀逸细腻，以具象山水诠释诗意，笔墨温婉精致，把郊野春闲与皇城春妍的融融春意尽藏笔底，尽显清和雅致的春日氛围感。",[24,7,59,27,29,34,131,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9257fd5a721f29acb03e7e3dc813ba0a.jpg",[],{"id":102861,"slug":102862,"title":72012,"dynasty":54,"author":223,"museum":300,"description":102863,"tags":102864,"thumbUrl":102865,"material":84,"size":84,"collection":84,"collections":102866,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},238897,"dong-gao-chun-hua-ji-qing-ce-yi-ming-238897","此作以诗画合璧尽显雅致意趣，上下两帧各绘山水景致。上帧写春云出山之景，枯木疏林衬着淡墨晕染的烟峦，岚气氤氲将山容晕得朦胧清寂，恰似诗文里高人幽远心境。下帧绘茂林流泉，林木华滋苍润，溪石隐现于林下，晕开春日林泉幽盛之态。\n\n书法秀雅端丽，笔致匀净温雅，诗文与山水两两呼应，将暮春朝望的清逸林怀融于尺幅之间，尽显静穆温婉的文人雅趣，是极具古典意韵的小品佳作。",[24,7,59,29,27,331,131,99,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c03092153d5c4e26867d3d8dbf9a33.jpg",[],{"id":102868,"slug":102869,"title":102870,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":102871,"thumbUrl":102872,"material":692,"size":1293,"collection":84,"collections":102873,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},238866,"wu-jia-shan-shui-ce-li-shi-zhuo-shan-shui-ye-dong-bang-da-238866","五家山水册-李世倬山水页",[24,7,59,128,132,29,34,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5191b2b778b82d360c867fd5e2fbd2c8.jpg",[],{"id":102875,"slug":102876,"title":102877,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":102878,"thumbUrl":102879,"material":692,"size":1293,"collection":84,"collections":102880,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},238864,"wu-jia-shan-shui-ce-shan-shui-ye-dong-bang-da-238864","五家山水册-山水页",[24,7,59,128,132,29,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faefeaefd590bf1bc2890c992354eb69d.jpg",[],{"id":102882,"slug":102883,"title":96244,"dynasty":54,"author":646,"museum":300,"description":14999,"tags":102884,"thumbUrl":102885,"material":84,"size":84,"collection":84,"collections":102886,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238845,"hua-gui-yu-ji-dian-tu-ce-dong-gao-238845",[24,7,59,27,28,96,97,35,34,247,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75081ae6b3bf1ce71d007bdc32053914.jpg",[],{"id":102888,"slug":102889,"title":96244,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":102890,"thumbUrl":102891,"material":692,"size":1293,"collection":84,"collections":102892,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238837,"hua-gui-yu-ji-dian-tu-ce-dong-gao-238837",[24,7,59,27,128,1337,331,97,171,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51609493c6f334e18790340249d72b37.jpg",[],{"id":102894,"slug":102895,"title":409,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":102896,"thumbUrl":102897,"material":692,"size":1293,"collection":84,"collections":102898,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238704,"shan-shui-ce-dong-bang-da-238704",[24,7,59,128,132,29,129,34,131,37,414,387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12118ff6e5c78b4472fc11e81ddee697.jpg",[],{"id":102900,"slug":102901,"title":409,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":102902,"thumbUrl":102903,"material":692,"size":1293,"collection":84,"collections":102904,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238699,"shan-shui-ce-dong-bang-da-238699",[24,7,59,128,132,29,130,98,413,131,99,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F624c3ee84f200892c1bc942cc389c740.jpg",[],{"id":102906,"slug":102907,"title":409,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":102908,"thumbUrl":102909,"material":692,"size":1293,"collection":84,"collections":102910,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238697,"shan-shui-ce-dong-bang-da-238697",[24,7,59,128,132,29,131,34,35,1023,5323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a574f4b8f600ca2a588e94fe94aeb30.jpg",[],{"id":102912,"slug":102913,"title":409,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":102914,"thumbUrl":102915,"material":692,"size":1293,"collection":84,"collections":102916,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238696,"shan-shui-ce-dong-bang-da-238696",[24,7,59,188,128,132,29,663,228,413,35,12424,3857],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15082f5d5ea5c2401ff48ca35e0884f0.jpg",[],{"id":102918,"slug":102919,"title":409,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":102920,"thumbUrl":102921,"material":692,"size":1293,"collection":84,"collections":102922,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238694,"shan-shui-ce-dong-bang-da-238694",[24,164,7,59,188,132,128,29,34,35,414,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F597b597603574f8cd11ed629ac8d49eb.jpg",[],{"id":102924,"slug":102925,"title":409,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":102926,"thumbUrl":102927,"material":692,"size":1293,"collection":84,"collections":102928,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238683,"shan-shui-ce-dong-bang-da-238683",[24,7,164,59,188,132,29,413,131,35,415,5323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c42108f8cc7f1d861253e4ca2fb1b19.jpg",[],{"id":102930,"slug":102931,"title":81756,"dynasty":54,"author":223,"museum":300,"description":102932,"tags":102933,"thumbUrl":102934,"material":84,"size":84,"collection":84,"collections":102935,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238599,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238599","全景式铺展山地战事，巉岩陡峰间碉楼错落排布，清军将士或攀越栈道、或潜行山谷，右侧营地严整有序，远处碉楼腾起滚滚硝烟，还原出战地肃杀紧绷的氛围。\n\n画笔细密劲挺，以明暗皴擦勾勒山石肌理与碉楼结构，将山地征伐的崎岖艰险，与清军稳步推进的行军态势刻画入微。带着纪实铜版画的冷峻质感，既复刻川西峡谷的真实地貌，也将平叛战事的艰难卓绝尽显纸上，仿若能让观者听见百年前峡谷间的杀伐声浪，触摸到这场山地鏖战的严酷底色。",[24,7,59,28,132,29,96,97,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a396d62167e278fdad7ab2bee960ae7.jpg",[],{"id":102937,"slug":102938,"title":81756,"dynasty":54,"author":223,"museum":300,"description":102939,"tags":102940,"thumbUrl":102941,"material":84,"size":84,"collection":84,"collections":102942,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},238598,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238598","这幅作品以全景构图铺展关山雄姿，铁线白描勾勒出巉岩峻岭苍劲肌理，长城敌台错落嵌入崖谷，山道蜿蜒连通营寨村落，还原出边地要塞的荒寒风貌。\n\n用笔清劲细致，山石皴擦简练不失厚重，林木点染疏密有致，不见浓艳设色，全凭线条虚实层次凸显山川雄浑。它将纪实叙事与山水笔墨相融，把平乱后驻防守备的图景藏入山川格局，既绘出关山扼守之势，也暗合军功纪实的沉重心绪，尽显纪实叙事画的沉稳格调。",[24,7,164,59,128,132,29,97,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb349fa4777d5af144bfb79cfac836ad.jpg",[],{"id":102944,"slug":102945,"title":90599,"dynasty":54,"author":223,"museum":300,"description":102946,"tags":102947,"thumbUrl":102948,"material":692,"size":1293,"collection":84,"collections":102949,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238582,"qing-ren-lie-quan-tu-ce-yi-ming-238582","此作以绢本设色绘就，两只猎犬居于春山之下，一黑一黄互动亲昵，伏地抬首间神态灵动宛然。画家以细腻笔触晕染犬身毛发，将绒毛细密的肌理质感表现入微，写实工细又不失生动意趣。背景以淡墨轻勾山石枯木，几枝春蕊点缀出清寂雅致的氛围，衬得猎犬更具闲适悠然之态。\n左侧题跋笔意苍劲舒展，述此犬渊源，书画合璧，更添文雅沉静之韵。整幅小品将走兽写生的写实精度与古典雅致意境相融，尽显精巧审美，于尺幅之间藏尽细腻生动的写生功力与中式赏物的雅致情致。",[24,7,59,27,28,949,171,371,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe086a9deb8b5a2c7a20385a41538881f.jpg",[],{"id":102951,"slug":102952,"title":45483,"dynasty":54,"author":13716,"museum":300,"description":13717,"tags":102953,"thumbUrl":102954,"material":692,"size":1293,"collection":84,"collections":102955,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238551,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238551",[24,7,59,27,28,133,208,96,97,758,34,247,14415,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb625adc8dfd6daa2f004109fe9f54f9c.jpg",[],{"id":102957,"slug":102958,"title":46640,"dynasty":54,"author":675,"museum":300,"description":102959,"tags":102960,"thumbUrl":102961,"material":84,"size":84,"collection":84,"collections":102962,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":199},238530,"shan-shui-xiao-ce-qian-wei-cheng-238530","这幅山水以跨页铺展清寂秋山之景，淡紫与浅赭晕染峰峦，烟岚缠绕崖谷，晕开空濛幽远的氛围感。近处以细笔写枯木虬枝，苍劲舒展，林麓间村居隐现，野桥横过寒溪，生机暗蕴萧疏之中。远山层叠渐淡，融于烟霭，将平远、深远之境收拢于尺幅。\n\n笔墨简淡清润，略去繁复皴擦，以淡彩轻染衬出山水清灵之气，尽显文人山水的书卷意趣，在简净画面中铺陈出萧淡天真的山野逸韵，将秋冬山乡的空寂冷雅娓娓道来。",[24,7,59,128,27,132,29,331,98,99,130,171,496,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50dbb87d4e75b4bd5ca8862fa38a9f58.jpg",[],{"id":102964,"slug":102965,"title":46640,"dynasty":54,"author":675,"museum":300,"description":102966,"tags":102967,"thumbUrl":102968,"material":84,"size":84,"collection":84,"collections":102969,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},238529,"shan-shui-xiao-ce-qian-wei-cheng-238529","此作以全景铺陈山水，开合间尽显章法。远山以淡墨皴擦晕染，勾勒出层叠肌理，留白化作云气烟岚，让峰峦似隐似现，氤氲着空濛诗意。近麓林木扶疏，枝桠苍劲间点缀细叶，村居隐于林隅，野趣悠然。\n\n画面以浅墨为主，间施淡赭轻染，色调清雅疏朗，笔致松秀温润。萧疏秋山搭配幽逸村居，将秋日山野的静谧闲淡尽显无遗，笔墨间带着文人画特有的澹远空寂，把幽居林泉的雅逸意趣融在尺幅之间，读之如临幽寂林泉，心随景安。",[24,7,59,128,132,29,34,131,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c7e75d2a7cd115186671cad9df73028.jpg",[],{"id":102971,"slug":102972,"title":46640,"dynasty":54,"author":675,"museum":300,"description":102973,"tags":102974,"thumbUrl":102975,"material":84,"size":84,"collection":84,"collections":102976,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238528,"shan-shui-xiao-ce-qian-wei-cheng-238528","此作以册页开合铺陈山水之致，近岸古木枯荣错落，虬枝苍劲，坡石以淡墨轻皴，尽显嶙峋肌理。留白铺就阔朗水面，一叶扁舟静泊，渔翁垂纶，暗合寄情江湖的隐逸闲趣。远景以淡墨晕染平林远山，朦胧晕化，将咫尺画幅拉展出悠远纵深。\n\n全作用笔松秀空灵，以水墨晕染出清寂淡远的意境，将江南水泽的静穆雅致收于尺幅之中，以简淡笔墨写尽林下丘壑的悠然襟怀，尽显文人山水以画言情的意趣。",[24,7,59,128,29,663,99,331,211,171,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafdb6049c94f34145323caec020a6c43.jpg",[],{"id":102978,"slug":102979,"title":46640,"dynasty":54,"author":675,"museum":300,"description":102980,"tags":102981,"thumbUrl":102982,"material":84,"size":84,"collection":84,"collections":102983,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},238527,"shan-shui-xiao-ce-qian-wei-cheng-238527","云烟如素缕缠裹黛色主峰，干湿浓淡的墨晕晕开峰峦明暗，皴笔勾勒出山岩苍劲厚重的筋骨，与柔缓舒卷的云气相映，刚柔互济。\n\n前景淡墨点染村居茅舍，浓墨簇就林木枝叶，朴拙雅致。右下角板桥轻横野渡，漾出乡野清寂意趣。\n\n整幅以水墨铺陈，虚实相生，笔意简淡却意蕴悠长，将山林幽居的闲澹意境藏于尺幅，带着清雅文心，观之便觉林泉野趣扑面而来，静穆悠然。",[24,7,59,128,132,29,413,98,97,208,131,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84af3ee070cc708889f5108376b8f5df.jpg",[],{"id":102985,"slug":102986,"title":46640,"dynasty":54,"author":675,"museum":300,"description":11658,"tags":102987,"thumbUrl":102988,"material":84,"size":84,"collection":84,"collections":102989,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238525,"shan-shui-xiao-ce-qian-wei-cheng-238525",[24,7,59,128,29,129,131,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0cd4df321772b624ac3a0952931b09f.jpg",[],{"id":102991,"slug":102992,"title":74896,"dynasty":54,"author":29297,"museum":300,"description":55182,"tags":102993,"thumbUrl":102994,"material":692,"size":1293,"collection":84,"collections":102995,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238510,"xun-xing-ji-cheng-shi-hua-ce-jiang-pu-238510",[24,7,59,27,29,98,99,97,34,131,9164,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c937c1f0c73c3393a282a632d9ad6d6.jpg",[],{"id":102997,"slug":102998,"title":74896,"dynasty":54,"author":29297,"museum":300,"description":55182,"tags":102999,"thumbUrl":103000,"material":692,"size":1293,"collection":84,"collections":103001,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238509,"xun-xing-ji-cheng-shi-hua-ce-jiang-pu-238509",[24,7,59,27,29,97,98,133,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2cf8001bc07293046e9ab942b9ebb7.jpg",[],{"id":103003,"slug":103004,"title":74896,"dynasty":54,"author":29297,"museum":300,"description":55182,"tags":103005,"thumbUrl":103006,"material":692,"size":1293,"collection":84,"collections":103007,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238508,"xun-xing-ji-cheng-shi-hua-ce-jiang-pu-238508",[24,7,59,133,27,29,496,34,35,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0b6c540f06063eaa0e6fd4970a59f0b.jpg",[],{"id":103009,"slug":103010,"title":74896,"dynasty":54,"author":29297,"museum":300,"description":55182,"tags":103011,"thumbUrl":103012,"material":692,"size":1293,"collection":84,"collections":103013,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238507,"xun-xing-ji-cheng-shi-hua-ce-jiang-pu-238507",[24,7,59,27,133,29,97,34,131,9164,8709],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b0bdc68c4547a86e69288e72c195eb9.jpg",[],{"id":103015,"slug":103016,"title":74896,"dynasty":54,"author":29297,"museum":300,"description":55182,"tags":103017,"thumbUrl":103018,"material":692,"size":1293,"collection":84,"collections":103019,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238506,"xun-xing-ji-cheng-shi-hua-ce-jiang-pu-238506",[24,7,59,27,133,29,98,99,97,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a5be6605a6c05304d8418cf6769648f.jpg",[],{"id":103021,"slug":103022,"title":74896,"dynasty":54,"author":29297,"museum":300,"description":55182,"tags":103023,"thumbUrl":103024,"material":692,"size":1293,"collection":84,"collections":103025,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238505,"xun-xing-ji-cheng-shi-hua-ce-jiang-pu-238505",[24,7,59,27,29,97,34,415,758,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09b5ed18c562e3c87364f0e78fccaf2c.jpg",[],{"id":103027,"slug":103028,"title":74896,"dynasty":54,"author":29297,"museum":300,"description":55182,"tags":103029,"thumbUrl":103030,"material":692,"size":1293,"collection":84,"collections":103031,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238504,"xun-xing-ji-cheng-shi-hua-ce-jiang-pu-238504",[59,64,133,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18501f8f8b9de703668325bc05ebf52c.jpg",[],{"id":103033,"slug":103034,"title":74896,"dynasty":54,"author":29297,"museum":300,"description":55182,"tags":103035,"thumbUrl":103036,"material":692,"size":1293,"collection":84,"collections":103037,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238503,"xun-xing-ji-cheng-shi-hua-ce-jiang-pu-238503",[24,7,59,27,133,208,29,34,35,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b1c67292c66b3afc1197d517b853dba.jpg",[],{"id":103039,"slug":103040,"title":74896,"dynasty":54,"author":29297,"museum":300,"description":55182,"tags":103041,"thumbUrl":103042,"material":692,"size":1293,"collection":84,"collections":103043,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238502,"xun-xing-ji-cheng-shi-hua-ce-jiang-pu-238502",[24,7,59,27,29,758,34,415,31,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcda6483021fc9f674517d0b1e4cc50d1.jpg",[],{"id":103045,"slug":103046,"title":74896,"dynasty":54,"author":29297,"museum":300,"description":55182,"tags":103047,"thumbUrl":103048,"material":692,"size":1293,"collection":84,"collections":103049,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238501,"xun-xing-ji-cheng-shi-hua-ce-jiang-pu-238501",[24,7,59,27,133,29,30,149,34,3344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2da667abd57c6b6acebd0f2f04ae85d.jpg",[],{"id":103051,"slug":103052,"title":81782,"dynasty":54,"author":6376,"museum":300,"description":27132,"tags":103053,"thumbUrl":103054,"material":692,"size":1293,"collection":84,"collections":103055,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238468,"mian-yi-mian-hua-tu-ce-mian-yi-238468",[24,7,59,27,28,96,130,413,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2367059315346504951fc2c12795e7a4.jpg",[],{"id":103057,"slug":103058,"title":81782,"dynasty":54,"author":6376,"museum":300,"description":27132,"tags":103059,"thumbUrl":103061,"material":692,"size":1293,"collection":84,"collections":103062,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238464,"mian-yi-mian-hua-tu-ce-mian-yi-238464",[24,7,59,27,28,96,103060,34,35,8709],"棉花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5587dcd64a39c082617e67ac6156bbc9.jpg",[],{"id":103064,"slug":103065,"title":81782,"dynasty":54,"author":6376,"museum":300,"description":27132,"tags":103066,"thumbUrl":103067,"material":692,"size":1293,"collection":84,"collections":103068,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238462,"mian-yi-mian-hua-tu-ce-mian-yi-238462",[24,7,59,27,28,96,35,34,37513,34836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ca1c781de6932bf129566dc5384f6ef.jpg",[],{"id":103070,"slug":103071,"title":81782,"dynasty":54,"author":6376,"museum":300,"description":27132,"tags":103072,"thumbUrl":103075,"material":692,"size":1293,"collection":84,"collections":103076,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238461,"mian-yi-mian-hua-tu-ce-mian-yi-238461",[24,7,59,27,28,96,99,34,35,103073,4363,31,13639,103074],"农耕劳作","田间","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff057bad01e43e5b3294d07a38b8ddb16.jpg",[],{"id":103078,"slug":103079,"title":81782,"dynasty":54,"author":6376,"museum":300,"description":27132,"tags":103080,"thumbUrl":103081,"material":692,"size":1293,"collection":84,"collections":103082,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238460,"mian-yi-mian-hua-tu-ce-mian-yi-238460",[24,7,59,27,28,96,130,35,34,78182,103060],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c4654ab889e84c2a77bbe33d4318129.jpg",[],{"id":103084,"slug":103085,"title":81782,"dynasty":54,"author":6376,"museum":300,"description":27132,"tags":103086,"thumbUrl":103088,"material":692,"size":1293,"collection":84,"collections":103089,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238457,"mian-yi-mian-hua-tu-ce-mian-yi-238457",[24,7,59,27,28,96,35,13344,247,98,99,130,276,34836,210,78182,103087],"织物加工","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9039c794c6789c404ba79bc666ba360a.jpg",[],{"id":103091,"slug":103092,"title":81813,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":103093,"thumbUrl":103094,"material":692,"size":1293,"collection":84,"collections":103095,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},238408,"dong-gao-hui-jing-han-hui-tu-xiao-ce-dong-gao-238408",[24,7,59,27,28,29,1337,130,98,99,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f79e438a8e1ed7107a26505d8f957a.jpg",[],{"id":103097,"slug":103098,"title":409,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":103099,"thumbUrl":103100,"material":84,"size":84,"collection":84,"collections":103101,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238309,"shan-shui-ce-dong-bang-da-238309",[164,24,7,29,128,132,188,130,331,131,98,7596,37,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6f3c94ef9e0372f203acbe93ec24bd5.jpg",[],{"id":103103,"slug":103104,"title":409,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":103105,"thumbUrl":103106,"material":84,"size":84,"collection":84,"collections":103107,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238306,"shan-shui-ce-dong-bang-da-238306",[24,7,128,10762,132,29,167,413,1314,99,131,666,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77d9a009d912a52e5052263365c81fec.jpg",[],{"id":103109,"slug":103110,"title":409,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":103111,"thumbUrl":103112,"material":84,"size":84,"collection":84,"collections":103113,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238305,"shan-shui-ce-dong-bang-da-238305",[164,24,7,59,128,132,29,1144,331,129,11014,1350,99,131,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb970ef7d0b22f9ba3bbfe498288384c6.jpg",[],{"id":103115,"slug":103116,"title":409,"dynasty":54,"author":30871,"museum":244,"description":103117,"tags":103118,"thumbUrl":103119,"material":27,"size":103120,"collection":84,"collections":103121,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238269,"shan-shui-ce-zhang-yan-238269","危崖凌天，淡墨晕开远山云霭，空濛悠远。左侧茂林环伺茅亭，隐者凭席闲坐，静聆林风穿叶、溪声潺潺。坡岸浣洗人、溪畔负物行者，将山居日常的朴拙意趣揉进山光里。\n画作以披麻皴写就山石阴阳，淡彩轻敷，清雅柔和。树木点叶疏密错落，生机自显。笔致秀润温婉，咫尺尺幅间铺展出江南山野的静穆闲适，将林泉高致与烟火日常相融，晕染出悠悠林下幽居之思。",[24,7,59,27,132,29,130,99,131,34,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25f98ae85aeab1d1b749e72379444e9d.jpg","37.1x31.7",[],{"id":103123,"slug":103124,"title":409,"dynasty":54,"author":30871,"museum":244,"description":103125,"tags":103126,"thumbUrl":103127,"material":27,"size":103120,"collection":84,"collections":103128,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238268,"shan-shui-ce-zhang-yan-238268","此作以平远之法铺展江南水村之景，清润雅致。田埂蜿蜒间，二人策杖闲话，意态悠然；右侧山居敞轩，有人凭栏远望，静享林泉之趣。河流萦回穿绕，板桥轻跨水面，岩岫间林木错落，青绿点染枝叶，浅赭晕染山石田垄，色调柔和温婉。远景烟波浩渺，淡墨晕染出水天濛濛之态，融天地于清和之中。全画笔致秀润，将幽居雅集的日常铺陈开来，尽显水乡闲适安恬的林下之风，把文人心中的栖居理想化作眼前实景，意韵悠长。",[24,7,59,27,132,29,98,99,96,34,131,690,99162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ee377a2f16098478fd47e47cf80ba9.jpg",[],{"id":103130,"slug":103131,"title":25438,"dynasty":54,"author":25439,"museum":300,"description":103132,"tags":103133,"thumbUrl":103134,"material":84,"size":84,"collection":84,"collections":103135,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238222,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238222","此作用笔秀润清和，以平远之法铺展江南春景。浅岸垂柳依依，村庐隐于林间，远山衔着薄霭晕染开来，留白处漾着空濛水汽，将早春的温润柔婉藏于淡色晕染中。笔致简淡温婉，不着繁复皴擦，却将水村澹澹闲意尽数铺陈。诗画相映，文气悠悠，虚实之间晕开春日独有的沉静悠然，把文人寄情林泉的雅趣融在浅淡设色与疏朗构图中，尽显雅致恬然的山水意境。",[24,7,64,27,29,132,330,59,34,35,31,96,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff30f4f2898d90e6932147057c1ec0a6c.jpg",[],{"id":103137,"slug":103138,"title":25438,"dynasty":54,"author":25439,"museum":300,"description":103139,"tags":103140,"thumbUrl":103141,"material":84,"size":84,"collection":84,"collections":103142,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238219,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238219","此作用笔简淡秀雅，以水墨写就山居小景。苍木虬枝错落，茅庐隐于林麓坡岸之间，留白衬出溪畔空寂，尽显林下幽逸之趣。画面萧散静穆，寥寥皴擦勾勒便将山野清润之态铺陈开来，暗合文人林泉高致。\n左侧题诗与画境呼应，诗画合璧，把山居闲雅的林下意趣融于笔端，观之恍若步入幽寂村舍，沉醉在疏淡清远的诗意之中，尽显南宗山水雅逸风神，是寄情丘山的文人水墨佳构。",[24,7,128,59,132,29,34,35,229,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F210a6bab8cf2d0a0ee650e902a81f985.jpg",[],{"id":103144,"slug":103145,"title":409,"dynasty":54,"author":78254,"museum":300,"description":103146,"tags":103147,"thumbUrl":103148,"material":84,"size":84,"collection":84,"collections":103149,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238190,"shan-shui-ce-song-jun-ye-238190","此帧融书画为一体，右幅山水以浅绛晕染，笔墨松灵秀雅。坡岸疏林错落，村居隐于林下，汀渚烟霭轻笼，远山含黛，将秋日水乡的清寂诗意铺展纸上，尽显淡宕闲远之致。\n\n左侧行书题诗笔致俊逸流畅，诗书与画境呼应相生，文气墨韵交融无间。整作以简淡之笔勾勒林泉幽居，不事雕琢，天真自然，将文人隐逸的闲雅意趣藏于尺幅之间，于浅淡晕染、疏朗构图里，揽尽林泉丘壑之美，恬淡悠然的林下之趣溢于楮墨。",[24,7,59,29,132,27,663,228,34,35,495,497,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7546b52c1fb5dd2d70cccfaf22daf74f.jpg",[],{"id":103151,"slug":103152,"title":409,"dynasty":54,"author":78254,"museum":300,"description":103153,"tags":103154,"thumbUrl":103155,"material":84,"size":84,"collection":84,"collections":103156,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238189,"shan-shui-ce-song-jun-ye-238189","此作用淡墨晕染秋山幽居之景。近岸苍松怪石错落而立，山居隐于林木深处，远岫平缓晕在烟水之上，留白铺陈出空濛辽远的意境，尽显清秋疏旷之致。笔墨简淡秀雅，以干笔皴擦勾勒山石肌理，林木萧疏灵动，不事浓艳雕琢，纯以水墨绘就静穆淡远的出世之态。左侧题诗与画境呼应，将林泉间无扰的太平秋光娓娓道来，书画相得益彰，尽显文人情趣，绘出士人心中的隐逸桃源，淡而愈厚、实而愈清，藏着无声的安然意趣。",[24,7,128,132,59,29,98,99,34,131,35,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F524922c6b57f987daf5dc9c7e8b7b325.jpg",[],{"id":103158,"slug":103159,"title":409,"dynasty":54,"author":78254,"museum":300,"description":103160,"tags":103161,"thumbUrl":103162,"material":84,"size":84,"collection":84,"collections":103163,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238186,"shan-shui-ce-song-jun-ye-238186","此作诗画合璧，意境悠然。画幅以淡彩晕染山峦，秀润苍郁的林木错落溪边，山居藏于翠微之间，溪桥横卧浅流，烟岚轻笼幽谷，将江南山水的温润灵秀铺陈开来。笔墨清和柔婉，设色雅致明净，处处透着闲适静谧的林下意趣。左侧题字笔致流丽秀雅，诗文与画境呼应，把文人耽恋林泉的隐逸情怀融在山水丘壑之中。观之如踏入幽寂山居，静听松风裹着泉鸣，沉醉在澹远悠然的诗意山光里，尽显文人山水的清雅格调。",[24,7,59,27,132,64,208,29,34,131,98,99,97,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a09dd6f013766756d9ad08ccb8d86bd.jpg",[],{"id":103165,"slug":103166,"title":409,"dynasty":54,"author":78254,"museum":300,"description":103167,"tags":103168,"thumbUrl":103169,"material":84,"size":84,"collection":84,"collections":103170,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238185,"shan-shui-ce-song-jun-ye-238185","这幅山水取清秋林居之景，远山层叠含烟，近岸林木蓊郁，村居隐于林下溪旁，板桥横卧浅溪，萧疏秋意漫溢尺幅。笔墨清润淡逸，构图疏密相宜，将深幽山野的静穆闲适晕染开来。\n\n搭配行书题诗，诗画呼应，把深林秋气的幽寂写尽，诗书画印相映成趣，尽显文人画雅致风骨。简淡笔触间藏着澹泊意韵，仿若将观者带入清秋林泉，暂忘尘嚣，坠入山野幽居的安宁悠然之中。",[24,7,4437,128,27,132,29,34,35,1023,98,304,83981,131,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1755325fc89e719a5b466f55a8eced29.jpg",[],{"id":103172,"slug":103173,"title":409,"dynasty":54,"author":78254,"museum":300,"description":103174,"tags":103175,"thumbUrl":103176,"material":84,"size":84,"collection":84,"collections":103177,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238184,"shan-shui-ce-song-jun-ye-238184","此作用浅绛设色描摹林壑晓景，以披麻皴勾勒山峦肌理，笔墨温雅秀润。平林迤逦，溪岸蜿蜒，茅舍隐于茂林之下，远山含烟晕染出空濛气韵。配页行书清隽疏朗，诗画呼应，将晨间林麓的清逸氛围铺陈开来。山径通幽间，似能晓风拂面、啼鸟穿林，满卷皆为山居静穆清和之趣，仿若踏入空寂林居，揽尽晨岚氤氲的林下雅意，尽显传统山水的写意悠然。",[164,24,7,27,132,64,208,29,34,35,31,415,3427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ce84782924ad29edac652b3aeeb5e3f.jpg",[],{"id":103179,"slug":103180,"title":409,"dynasty":54,"author":78254,"museum":300,"description":103181,"tags":103182,"thumbUrl":103183,"material":84,"size":84,"collection":84,"collections":103184,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238183,"shan-shui-ce-song-jun-ye-238183","此作以淡墨皴染出清寂冬郊之景。近岸枯木错立，茅舍藏于林麓，浅溪缓绕石矶；远山空蒙飞瀑垂落，古木萧疏间暮烟轻笼，寒色浸透青流。\n\n画面虚实相生，笔墨苍秀温润，将题诗里幽人耕钓、自适林泉的隐逸意趣铺陈开来。整体意境淡远萧散，把冬日郊野的清寒静谧，与林下幽人抛却尘事、寄兴烟霞的襟怀相融，简淡笔墨间意韵悠长，尽显文人山水寄情抒怀的雅致。",[24,7,128,132,64,208,59,29,131,34,99,35,415,7782],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9549d04a10eee81606e2be01cef3120.jpg",[],{"id":103186,"slug":103187,"title":409,"dynasty":54,"author":78254,"museum":300,"description":103188,"tags":103189,"thumbUrl":103190,"material":84,"size":84,"collection":84,"collections":103191,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238182,"shan-shui-ce-song-jun-ye-238182","此作用笔苍润秀雅，以淡墨皴擦晕染出山林丘壑。远山崔巍，近岸林木扶苏，溪泉潺潺绕村，茅舍山居隐于葱郁林木间，勾勒出幽寂出尘的山居胜境。\n\n左侧题诗与山水相映成趣，诗画合璧，将林下幽栖的雅怀融于尺幅之中。笔墨静穆萧散，带着澹远空灵的古意，把高人幽居林泉、抚琴自适的雅韵铺陈开来，尽显传统文人山水画寄情于景的雅致品格，将出世闲逸的襟怀藏在山光水色之间。",[24,7,59,133,128,132,29,663,495,34,499,497,35,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8a49cb91dd8a04320ad2b00a3766861.jpg",[],{"id":103193,"slug":103194,"title":409,"dynasty":54,"author":78254,"museum":300,"description":103195,"tags":103196,"thumbUrl":103197,"material":692,"size":1293,"collection":84,"collections":103198,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238181,"shan-shui-ce-song-jun-ye-238181","字声求，号坚斋，一号坚甫，江苏长洲(今蘇州）人。官兵部左侍郎。善书画，笃好山水，因绘南巡图聘王翚于家而画学大进。",[24,7,164,27,128,29,132,413,35,31,663,950,1023,211,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad36d1dd115f3e7cb762e4658eec10d5.jpg",[],{"id":103200,"slug":103201,"title":409,"dynasty":54,"author":78254,"museum":300,"description":103195,"tags":103202,"thumbUrl":103203,"material":692,"size":1293,"collection":84,"collections":103204,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238179,"shan-shui-ce-song-jun-ye-238179",[164,24,7,59,128,29,64,208,572,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4ec009c067dfd174d702218322a84b.jpg",[],{"id":103206,"slug":103207,"title":409,"dynasty":54,"author":78254,"museum":300,"description":78255,"tags":103208,"thumbUrl":103209,"material":84,"size":84,"collection":84,"collections":103210,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238177,"shan-shui-ce-song-jun-ye-238177",[24,7,27,29,208,64,132,663,228,34,97,37,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d39bd7a29d4999b972a583ae0ef7a64.jpg",[],{"id":103212,"slug":103213,"title":53908,"dynasty":54,"author":53909,"museum":300,"description":103214,"tags":103215,"thumbUrl":103216,"material":692,"size":1293,"collection":84,"collections":103217,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},238113,"yun-zi-hua-hui-ce-yun-zi-238113","此作用淡墨勾勒梅枝，苍劲虬曲，尽显老干古拙之姿。枝头梅花或盛放、或含苞，清雅灵动，暗香仿佛随墨韵溢出。搭配题诗与书法，笔意清逸，书画相映，氤氲出浓浓的文人雅趣。\n\n绢本作底，墨色清润雅致，以极简笔墨托物言志，将梅花孤高清寒、傲雪凌霜的风骨藏于笔端，寥寥数笔便写尽梅之神韵，意韵悠长尽显文人写意花卉的雅致意趣，把传统花鸟小品的抒情特质尽显无余。",[24,7,59,188,128,61,371,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d69ffca5b53ffd24a8da28d9fe457f4.jpg",[],{"id":103219,"slug":103220,"title":53908,"dynasty":54,"author":53909,"museum":300,"description":103221,"tags":103222,"thumbUrl":103223,"material":692,"size":1293,"collection":84,"collections":103224,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238111,"yun-zi-hua-hui-ce-yun-zi-238111","此作设色秀雅，以梅枝为主体，挺劲枝桠上梅花晕染柔润，尽显凌寒清姿。下方搭配艳红小花与细叶幽草，冷暖色调相映，层次雅致分明。\n书法与画作相映成趣，隽秀题字和清丽笔墨融为一体，尽显文人意趣。笔法温婉细腻，明丽设色却丝毫不显俗艳，将草木的清灵雅致勾勒尽致，带着江南画派特有的秀润气质。尺幅之间融冬春花卉生机雅致，尽显娴静古典的文人意韵，是小品花卉中的上乘佳制。",[24,7,59,27,28,61,62,547,2037,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db1c15ee4d44acb492457e0226dc08e.jpg",[],{"id":103226,"slug":103227,"title":53908,"dynasty":54,"author":53909,"museum":300,"description":103228,"tags":103229,"thumbUrl":103230,"material":692,"size":1293,"collection":84,"collections":103231,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},238109,"yun-zi-hua-hui-ce-yun-zi-238109","此作用色秀雅清润，以淡赭晕染绢底，山茶花瓣以粉紫轻铺，边缘晕开浅白，将花苞初绽、半开之态晕染得温柔娇妍。叶片以花青勾脉，嫩叶绿中带粉，老叶墨色苍润，层次分明，尽显草木鲜活生机。\n\n清冷题诗衬出山茶花孤高自持的姿容，笔致细腻却不见纤弱，兼具写生之真与写意之灵，尽显淡逸雅致的风骨。秀逸挺拔的题字与柔婉画面相映成趣，整体雅静清和，将花木韵致与文人审美意趣融为一体，晕染出平淡天真的雅致格调。",[24,7,59,27,28,61,62,549,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff76f773c5e8b947ca76d05136bb9038e.jpg",[],{"id":103233,"slug":103234,"title":49513,"dynasty":54,"author":33019,"museum":300,"description":33020,"tags":103235,"thumbUrl":103236,"material":84,"size":84,"collection":84,"collections":103237,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238098,"hong-wu-shan-shui-ce-hong-wu-238098",[24,7,59,27,132,29,129,331,130,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97bb7a990e568115d107fd14b6f6103f.jpg",[],{"id":103239,"slug":103240,"title":409,"dynasty":54,"author":78283,"museum":300,"description":78284,"tags":103241,"thumbUrl":103242,"material":692,"size":1293,"collection":84,"collections":103243,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238091,"shan-shui-ce-lu-yao-238091",[24,7,59,128,132,29,34,35,8709],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e0be262264e6e4775e04ee96b4281d8.jpg",[],{"id":103245,"slug":103246,"title":103247,"dynasty":54,"author":103248,"museum":300,"description":103249,"tags":103250,"thumbUrl":103251,"material":692,"size":1293,"collection":84,"collections":103252,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238065,"zhang-liu-za-hua-ce-zhang-liu-238065","张镠杂画册","张镠","正白旗汉军人，是一名清朝政治人物。举人出身。\n张镠曾于乾隆三年接替王德纯任福州府知府一职，乾隆五年由姜顺龙接任。",[24,7,59,27,61,263,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6370f6257b758245f4f6fbaf6569312c.jpg",[],{"id":103254,"slug":103255,"title":409,"dynasty":54,"author":41621,"museum":300,"description":86042,"tags":103256,"thumbUrl":103257,"material":84,"size":84,"collection":84,"collections":103258,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238013,"shan-shui-ce-lu-zun-shu-238013",[24,7,59,128,29,132,98,99,129,130,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5edc34bcb58531f39795f5cc7d14e73.jpg",[],{"id":103260,"slug":103261,"title":409,"dynasty":54,"author":55412,"museum":300,"description":55413,"tags":103262,"thumbUrl":103263,"material":692,"size":1293,"collection":84,"collections":103264,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":4001},238007,"shan-shui-ce-qin-zu-yong-238007",[24,7,59,128,29,663,228,413,171,415,133,64,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F726eda8082c671f313f77c8f44a8f088.jpg",[],{"id":103266,"slug":103267,"title":409,"dynasty":54,"author":55412,"museum":300,"description":55413,"tags":103268,"thumbUrl":103269,"material":692,"size":1293,"collection":84,"collections":103270,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238003,"shan-shui-ce-qin-zu-yong-238003",[24,7,59,128,29,132,133,130,34,131,1023,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefab40ad605054372079e1575586e945.jpg",[],{"id":103272,"slug":103273,"title":409,"dynasty":54,"author":55412,"museum":300,"description":55413,"tags":103274,"thumbUrl":103275,"material":692,"size":1293,"collection":84,"collections":103276,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},238000,"shan-shui-ce-qin-zu-yong-238000",[24,7,59,128,27,133,330,132,29,663,228,34,130,211,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2ad9c1a5720c538466c2d4cc0237eca.jpg",[],{"id":103278,"slug":103279,"title":7864,"dynasty":54,"author":81936,"museum":300,"description":81937,"tags":103280,"thumbUrl":103281,"material":692,"size":1293,"collection":84,"collections":103282,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237988,"za-hua-ce-xue-huai-237988",[24,7,59,128,27,61,1824,3835,133,208,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4defada3724d2fab19f1ad58d8391680.jpg",[],{"id":103284,"slug":103285,"title":4724,"dynasty":54,"author":23132,"museum":300,"description":103286,"tags":103287,"thumbUrl":103288,"material":84,"size":84,"collection":84,"collections":103289,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237953,"shan-shui-tu-ce-liu-yu-237953","此作以淡墨皴擦写山石肌理，浅绛晕染铺陈江天草木。近岸幽亭临溪，林木扶苏，渔人歇憩于滩涂，野趣横生。中景江湾舟楫错落，巨岩之下村舍偎依于崖麓，烟火气与山林意相融。远景轻峦隐现于烟霭间，疏密排布营造出悠远景深。\n\n左侧题诗与画作呼应，诗书画合为一体，尽显文人雅趣。整体萧散清远，将江南水乡的安闲野趣藏于尺幅，笔致苍秀温润，带着静穆悠然的林下之风，观之如身临江畔村居，沉浸式体味山水间的隐逸闲情。",[24,7,59,128,27,29,130,413,131,96,64,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F412b1a39cdcd297185325d146559898b.jpg",[],{"id":103291,"slug":103292,"title":4724,"dynasty":54,"author":23132,"museum":300,"description":103293,"tags":103294,"thumbUrl":103295,"material":84,"size":84,"collection":84,"collections":103296,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237952,"shan-shui-tu-ce-liu-yu-237952","近岸板桥通幽，篱舍隐于翠色间，山溪绕着村舍缓缓淌过，衬出山野居处的悠然。远景峰岫苍润，以干笔皴擦出山石肌理，墨色淡雅清和，带着萧散的林下意趣。搭配左侧题跋，诗书与绘事相映，笔底带着江南山水的温润秀雅，尽显文人画简淡天真的意韵。将幽居林泉的古意铺展开来，把出世幽栖的雅趣藏在每一处皴染勾勒里，观之如临静谧山林，得见旧时文人耽恋泉石的襟怀。",[24,7,59,128,29,133,132,663,1314,34,35,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feefa0620c726b987ba12556f50e21103.jpg",[],{"id":103298,"slug":103299,"title":4724,"dynasty":54,"author":23132,"museum":300,"description":103300,"tags":103301,"thumbUrl":103302,"material":84,"size":84,"collection":84,"collections":103303,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237951,"shan-shui-tu-ce-liu-yu-237951","此作以淡晕轻染绘就江天暮雨，斜雨如丝穿破烟霭，远岸汀洲隐在薄雾间，几叶归帆浮沉空濛水色之中。近陂草木苍润含露，茅庐依水而居，似能闻见山雨初歇后的湿润清气。\n\n画作将诗意融于笔墨，搭配题诗互衬，把空江听雨的寂廖清旷具象铺展。清润的墨色晕染出水汽浸透纸面的柔润质感，没有繁复皴擦，却将江南雨后的静穆禅意尽数勾勒，观之如亲身步入烟水孤居，尽显寄情丘壑的文人雅趣。",[24,7,164,59,128,133,64,208,29,130,34,1743,37,10281,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F890610443d854cf28ec9382fa124367c.jpg",[],{"id":103305,"slug":103306,"title":409,"dynasty":54,"author":54045,"museum":300,"description":64904,"tags":103307,"thumbUrl":103308,"material":692,"size":1293,"collection":84,"collections":103309,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237917,"shan-shui-ce-cheng-ming-237917",[24,7,59,128,27,132,29,130,211,1337,171,415,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbad585c9cd05d3305114348da5b5788f.jpg",[],{"id":103311,"slug":103312,"title":409,"dynasty":54,"author":54045,"museum":300,"description":64904,"tags":103313,"thumbUrl":103314,"material":692,"size":1293,"collection":84,"collections":103315,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},237913,"shan-shui-ce-cheng-ming-237913",[24,7,59,128,132,29,34,98,99,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd701ab1bc4597ddd9e4107d0bcff499.jpg",[],{"id":103317,"slug":103318,"title":40707,"dynasty":124,"author":5798,"museum":300,"description":55106,"tags":103319,"thumbUrl":103320,"material":692,"size":1293,"collection":84,"collections":103321,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237857,"shan-shui-shan-zhang-hong-237857",[1131,24,7,29,132,128,663,34,35,171,208,130,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F838ad09356f496023e03e1254a6daa87.jpg",[],{"id":103323,"slug":103324,"title":40707,"dynasty":54,"author":103325,"museum":300,"description":103326,"tags":103327,"thumbUrl":103328,"material":692,"size":1293,"collection":84,"collections":103329,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237854,"shan-shui-shan-zhu-nian-xiu-237854","诸念修","诸念修. 婡明朝洎頭人筿，生平不详，史籍中对诸氏并无明确记载。从文献和他现存的少量书画作品中可以大致勾勒其生平行迹。",[24,7,1131,128,132,29,663,413,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F051b87ce4955ebc9918e1fc4147c15ed.jpg",[],{"id":103331,"slug":103332,"title":4724,"dynasty":54,"author":44979,"museum":300,"description":75499,"tags":103333,"thumbUrl":103334,"material":692,"size":1293,"collection":84,"collections":103335,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237778,"shan-shui-tu-ce-ye-xin-237778",[24,7,59,128,132,29,130,171,129,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff932829918fc4468ad83d077d9bc62b6.jpg",[],{"id":103337,"slug":103338,"title":4724,"dynasty":54,"author":1019,"museum":300,"description":58786,"tags":103339,"thumbUrl":103340,"material":692,"size":1293,"collection":84,"collections":103341,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237758,"shan-shui-tu-ce-cheng-zheng-kui-237758",[24,7,59,133,128,27,29,4363,129,415,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97db9715c1fdd354917be084718cb15d.jpg",[],{"id":103343,"slug":103344,"title":4724,"dynasty":54,"author":1019,"museum":300,"description":58786,"tags":103345,"thumbUrl":103346,"material":692,"size":1293,"collection":84,"collections":103347,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237757,"shan-shui-tu-ce-cheng-zheng-kui-237757",[24,7,59,128,27,29,413,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd52c5d05df375c989fe3a7ac3dd1ee78.jpg",[],{"id":103349,"slug":103350,"title":4724,"dynasty":54,"author":1019,"museum":300,"description":58786,"tags":103351,"thumbUrl":103352,"material":692,"size":1293,"collection":84,"collections":103353,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237756,"shan-shui-tu-ce-cheng-zheng-kui-237756",[24,7,59,128,29,171,331,415,133,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e772c7ac61382334a75e4c69cdde321.jpg",[],{"id":103355,"slug":103356,"title":4724,"dynasty":54,"author":1019,"museum":300,"description":58786,"tags":103357,"thumbUrl":103358,"material":692,"size":1293,"collection":84,"collections":103359,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237753,"shan-shui-tu-ce-cheng-zheng-kui-237753",[24,7,59,128,133,132,29,130,98,99,34,131,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c90b573e17375a07170ad46780bd53c.jpg",[],{"id":103361,"slug":103362,"title":4724,"dynasty":54,"author":1019,"museum":300,"description":58786,"tags":103363,"thumbUrl":103364,"material":692,"size":1293,"collection":84,"collections":103365,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237752,"shan-shui-tu-ce-cheng-zheng-kui-237752",[24,7,59,128,27,133,208,132,29,413,130,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb21feff1a2b5e2c312f04b06ee44e84d.jpg",[],{"id":103367,"slug":103368,"title":4724,"dynasty":54,"author":1019,"museum":300,"description":58786,"tags":103369,"thumbUrl":103370,"material":692,"size":1293,"collection":84,"collections":103371,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237751,"shan-shui-tu-ce-cheng-zheng-kui-237751",[24,7,59,133,128,29,97,1337,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46725cbf9a629508b76ef848157b44f1.jpg",[],{"id":103373,"slug":103374,"title":4724,"dynasty":54,"author":1019,"museum":300,"description":58786,"tags":103375,"thumbUrl":103376,"material":692,"size":1293,"collection":84,"collections":103377,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237750,"shan-shui-tu-ce-cheng-zheng-kui-237750",[24,7,59,128,132,133,208,29,129,99,171,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd9791083dc623bc131a485f497b7648.jpg",[],{"id":103379,"slug":103380,"title":4724,"dynasty":54,"author":1019,"museum":300,"description":58786,"tags":103381,"thumbUrl":103382,"material":692,"size":1293,"collection":84,"collections":103383,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237748,"shan-shui-tu-ce-cheng-zheng-kui-237748",[24,7,59,128,133,132,29,98,331,130,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2dced4cf7a3a09a2c63df383fcda678.jpg",[],{"id":103385,"slug":103386,"title":4724,"dynasty":54,"author":1019,"museum":300,"description":58786,"tags":103387,"thumbUrl":103388,"material":692,"size":1293,"collection":84,"collections":103389,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237747,"shan-shui-tu-ce-cheng-zheng-kui-237747",[24,7,59,128,29,132,133,131,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34c6db534f42180704f67e5935fdb7a2.jpg",[],{"id":103391,"slug":103392,"title":67127,"dynasty":54,"author":17240,"museum":300,"description":26583,"tags":103393,"thumbUrl":103394,"material":692,"size":1293,"collection":84,"collections":103395,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237660,"ku-mu-zhu-shi-ce-cha-shi-biao-237660",[24,7,59,128,133,64,208,167,454,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F202b7fb3dbb6cfa369a5d00142a6688e.jpg",[],{"id":103397,"slug":103398,"title":67127,"dynasty":54,"author":17240,"museum":300,"description":26583,"tags":103399,"thumbUrl":103400,"material":692,"size":1293,"collection":84,"collections":103401,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237659,"ku-mu-zhu-shi-ce-cha-shi-biao-237659",[24,7,59,128,133,454,167,1314,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d5a05c34b258c36db7f6715c46b3bfa.jpg",[],{"id":103403,"slug":103404,"title":67127,"dynasty":54,"author":17240,"museum":300,"description":26583,"tags":103405,"thumbUrl":103406,"material":692,"size":1293,"collection":84,"collections":103407,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237658,"ku-mu-zhu-shi-ce-cha-shi-biao-237658",[24,7,59,128,133,208,167,1314,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa00fce856cc363fbea30c5eb361f7d53.jpg",[],{"id":103409,"slug":103410,"title":67127,"dynasty":54,"author":17240,"museum":300,"description":26583,"tags":103411,"thumbUrl":103412,"material":692,"size":1293,"collection":84,"collections":103413,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237657,"ku-mu-zhu-shi-ce-cha-shi-biao-237657",[24,7,59,128,133,208,454,167,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1393545f5e71ae8f0a36b52a6048b403.jpg",[],{"id":103415,"slug":103416,"title":67127,"dynasty":54,"author":17240,"museum":300,"description":26583,"tags":103417,"thumbUrl":103418,"material":692,"size":1293,"collection":84,"collections":103419,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237656,"ku-mu-zhu-shi-ce-cha-shi-biao-237656",[24,7,59,128,133,208,454,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88343beb358a62f0fe07ca2e5bfa9a9.jpg",[],{"id":103421,"slug":103422,"title":67127,"dynasty":54,"author":17240,"museum":300,"description":26583,"tags":103423,"thumbUrl":103424,"material":692,"size":1293,"collection":84,"collections":103425,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237655,"ku-mu-zhu-shi-ce-cha-shi-biao-237655",[24,7,59,128,133,208,454,167,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff78f94a082f864f1e203c6be7ea7f43c.jpg",[],{"id":103427,"slug":103428,"title":67127,"dynasty":54,"author":17240,"museum":300,"description":26583,"tags":103429,"thumbUrl":103430,"material":692,"size":1293,"collection":84,"collections":103431,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237654,"ku-mu-zhu-shi-ce-cha-shi-biao-237654",[24,7,59,128,133,208,454,167,171,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3d0626bccb9c99285e4b3764c87be2a.jpg",[],{"id":103433,"slug":103434,"title":69535,"dynasty":54,"author":22529,"museum":300,"description":44406,"tags":103435,"thumbUrl":103436,"material":692,"size":1293,"collection":84,"collections":103437,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237645,"li-yin-fang-gu-shan-shui-ce-li-yin-237645",[24,7,59,128,133,208,330,29,130,34,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabd634656657dce2f7a660e156c246fb.jpg",[],{"id":103439,"slug":103440,"title":69535,"dynasty":54,"author":22529,"museum":300,"description":44406,"tags":103441,"thumbUrl":103442,"material":692,"size":1293,"collection":84,"collections":103443,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237641,"li-yin-fang-gu-shan-shui-ce-li-yin-237641",[24,7,59,128,29,132,133,208,131,34,37,211,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b00a3cea4a6a169c1bc19de746b1087.jpg",[],{"id":103445,"slug":103446,"title":4724,"dynasty":54,"author":48234,"museum":300,"description":48235,"tags":103447,"thumbUrl":103448,"material":692,"size":1293,"collection":84,"collections":103449,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237482,"shan-shui-tu-ce-yao-song-237482",[24,7,59,128,133,132,29,171,413,98,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9279561c441fbfa0710aa559471b8984.jpg",[],{"id":103451,"slug":103452,"title":78398,"dynasty":54,"author":78399,"museum":300,"description":78400,"tags":103453,"thumbUrl":103454,"material":692,"size":1293,"collection":84,"collections":103455,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237476,"shan-shui-hua-shi-ce-wang-han-237476",[24,7,59,128,64,208,29,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a580a79438f6fc52fba142f09f95cad.jpg",[],{"id":103457,"slug":103458,"title":78398,"dynasty":54,"author":78399,"museum":300,"description":78400,"tags":103459,"thumbUrl":103460,"material":692,"size":1293,"collection":84,"collections":103461,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237475,"shan-shui-hua-shi-ce-wang-han-237475",[24,7,59,128,132,208,29,99,129,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a406c2809ed2fc58aaa63e4174e72c5.jpg",[],{"id":103463,"slug":103464,"title":78398,"dynasty":54,"author":78399,"museum":300,"description":78400,"tags":103465,"thumbUrl":103466,"material":692,"size":1293,"collection":84,"collections":103467,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237473,"shan-shui-hua-shi-ce-wang-han-237473",[24,7,59,128,133,208,29,131,1144,34,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F546360fd908b2170785d156a27de7129.jpg",[],{"id":103469,"slug":103470,"title":409,"dynasty":54,"author":64957,"museum":300,"description":64958,"tags":103471,"thumbUrl":103472,"material":692,"size":1293,"collection":84,"collections":103473,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237421,"shan-shui-ce-chen-jia-le-237421",[24,7,59,27,29,35,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0355525607918dfb4fca6fd231ec065.jpg",[],{"id":103475,"slug":103476,"title":7864,"dynasty":54,"author":38236,"museum":300,"description":38237,"tags":103477,"thumbUrl":103478,"material":692,"size":1293,"collection":84,"collections":103479,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237279,"za-hua-ce-chen-zi-237279",[164,24,7,59,27,28,61,373,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ad1b3983a211e9384e2e83ac01cbfa.jpg",[],{"id":103481,"slug":103482,"title":7864,"dynasty":54,"author":38236,"museum":300,"description":38237,"tags":103483,"thumbUrl":103484,"material":692,"size":1293,"collection":84,"collections":103485,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237278,"za-hua-ce-chen-zi-237278",[24,7,59,27,128,29,129,96,331,171,208,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35ce4804471a8d22f5713ae4234b5ba5.jpg",[],{"id":103487,"slug":103488,"title":60987,"dynasty":54,"author":223,"museum":300,"description":103489,"tags":103490,"thumbUrl":103491,"material":692,"size":1293,"collection":84,"collections":103492,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237261,"ming-chen-gu-shi-deng-xu-ti-song-ce-yi-ming-237261","此幅以图文合璧铺陈古贤治狱场景。右侧绘官员安坐，侍立者恭谨肃穆，阶下伏者惶然，数位人物神态各殊，衣纹线条清劲简洁，设色素雅克制，将朝堂断案的端严氛围尽显无遗。左页题书笔致端秀舒展，文辞追慕先贤宽以理狱、以德化民之政。图文呼应，将贤臣尚德缓刑的为政之道融于笔端，以细腻的人物刻画传递出传统吏治的人文意涵，笔墨静穆间自蕴清正高古的气韵，尽显小品叙事画的雅致格调。",[54,24,7,59,27,28,96,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F030ce34f1925d754184183bdf64b4b11.jpg",[],{"id":103494,"slug":103495,"title":60987,"dynasty":54,"author":223,"museum":300,"description":103496,"tags":103497,"thumbUrl":103500,"material":692,"size":1293,"collection":84,"collections":103501,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},237260,"ming-chen-gu-shi-deng-xu-ti-song-ce-yi-ming-237260","此作右幅绘松石林下，二人晤对，踞坐者持盏似有所言，立者抬手应和，衣袂翩然神态悠然。古松虬枝斜曳、皮皴苍古，山石以浅绛晕染，清润秀雅，晕染间尽显幽旷林下意趣。左幅行书笔墨舒展朗润，诗与画两相呼应，文气悠悠流淌。整作以淡逸笔触铺就贤士交游之景，书画合璧，将林下清谈的恬然古意晕开，尽透着古典文人雅致的审美情致，是融叙事与抒情于一体的雅致小品。",[24,7,59,27,96,1144,131,64,133,103498,103499,1367,28],"坐姿人物","立姿人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc08c1b9a60d2b5cda22d97ce61f09df4.jpg",[],{"id":103503,"slug":103504,"title":60987,"dynasty":54,"author":223,"museum":300,"description":103505,"tags":103506,"thumbUrl":103507,"material":692,"size":1293,"collection":84,"collections":103508,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237253,"ming-chen-gu-shi-deng-xu-ti-song-ce-yi-ming-237253","此作为图文合璧之作，右侧设色人物清淡雅致，人物情态鲜活分明，执扇近侍恭谨伫立，僚属俯身拜谒，安驻车舆静立一旁，将贤臣从容自持、礼贤下士的风骨铺展眼前。左侧行书题字笔力清劲舒展，文辞追述先贤仁厚忠直的高风亮节。书画相映，以具象图景与文雅题咏复刻前贤嘉行，既有清代人物画写实细腻的特质，又借笔墨传递出崇仰贤德的意蕴，是兼具叙事性与观赏性的小品佳构。",[24,7,59,27,28,96,106,170,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedbd39b0ee9c5c32f8b7b364f4d81364.jpg",[],{"id":103510,"slug":103511,"title":60987,"dynasty":54,"author":223,"museum":300,"description":103512,"tags":103513,"thumbUrl":103515,"material":692,"size":1293,"collection":84,"collections":103516,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237252,"ming-chen-gu-shi-deng-xu-ti-song-ce-yi-ming-237252","此作为诗画合璧之品，右侧绘书馆内景，层叠书阁贮满典籍，案头笔墨俨然。馆内三儒者或凝思展卷，或执烛随侍，衣袂舒展自然，器物刻画入微，静谧肃穆的氛围，生动还原贤臣夜读治事的日常，细节写实雅致。左幅题诗笔意端秀，诗文咏叹主人公勤政笃学的德行，以书映画，以诗衬人。二者相辅相融，以具象图景承载贤臣风操，将贤德品格寄于细腻绘事与清雅题咏之中，兼具叙事意趣与文史价值。",[24,7,59,27,28,96,24586,103514,5459,64,133,9603,8162,6369,9604,8565],"书架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff0edcbefe1432ad0ec3bad0c721c13d.jpg",[],{"id":103518,"slug":103519,"title":54011,"dynasty":124,"author":33653,"museum":300,"description":38271,"tags":103520,"thumbUrl":103521,"material":692,"size":1293,"collection":84,"collections":103522,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237024,"mo-mei-ce-shen-hao-237024",[24,7,59,128,133,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ed18483b311ae21d6b1332208d2d180.jpg",[],{"id":103524,"slug":103525,"title":54011,"dynasty":124,"author":33653,"museum":300,"description":38271,"tags":103526,"thumbUrl":103527,"material":692,"size":1293,"collection":84,"collections":103528,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237023,"mo-mei-ce-shen-hao-237023",[24,7,59,128,133,208,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ea840600d8eec8b20a43f6ad8d3a939.jpg",[],{"id":103530,"slug":103531,"title":54011,"dynasty":124,"author":33653,"museum":300,"description":38271,"tags":103532,"thumbUrl":103533,"material":692,"size":1293,"collection":84,"collections":103534,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237021,"mo-mei-ce-shen-hao-237021",[24,7,59,128,133,208,371,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6835c7132198604e25f5599cbc1c7b.jpg",[],{"id":103536,"slug":103537,"title":54011,"dynasty":124,"author":33653,"museum":300,"description":38271,"tags":103538,"thumbUrl":103539,"material":692,"size":1293,"collection":84,"collections":103540,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237020,"mo-mei-ce-shen-hao-237020",[24,7,59,128,133,208,371,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc38203450258d6fb0bf675122a20e6c.jpg",[],{"id":103542,"slug":103543,"title":54011,"dynasty":124,"author":33653,"museum":300,"description":38271,"tags":103544,"thumbUrl":103545,"material":692,"size":1293,"collection":84,"collections":103546,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237019,"mo-mei-ce-shen-hao-237019",[24,7,59,128,371,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc00651ac249d4b0824da8ffc05f3efb.jpg",[],{"id":103548,"slug":103549,"title":409,"dynasty":124,"author":65324,"museum":300,"description":91203,"tags":103550,"thumbUrl":103551,"material":692,"size":1293,"collection":84,"collections":103552,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237007,"shan-shui-ce-sun-ri-shao-237007",[24,7,59,128,132,29,131,34,130,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff47c4b9b7e9acfd4fa866105a01a3880.jpg",[],{"id":103554,"slug":103555,"title":409,"dynasty":124,"author":65324,"museum":300,"description":91203,"tags":103556,"thumbUrl":103557,"material":692,"size":1293,"collection":84,"collections":103558,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237005,"shan-shui-ce-sun-ri-shao-237005",[24,7,59,128,27,132,133,29,413,171,130,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84aec7d37744377ddc39a1b5d41197b1.jpg",[],{"id":103560,"slug":103561,"title":409,"dynasty":124,"author":65324,"museum":300,"description":91203,"tags":103562,"thumbUrl":103563,"material":692,"size":1293,"collection":84,"collections":103564,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237004,"shan-shui-ce-sun-ri-shao-237004",[24,7,59,128,188,133,663,228,413,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b4acdfb95abf370a91eee90b63348a4.jpg",[],{"id":103566,"slug":103567,"title":409,"dynasty":124,"author":65324,"museum":300,"description":91203,"tags":103568,"thumbUrl":103569,"material":692,"size":1293,"collection":84,"collections":103570,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},237002,"shan-shui-ce-sun-ri-shao-237002",[24,7,59,128,132,29,171,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3e9549ca88f219bcff1b8fa396147e0.jpg",[],{"id":103572,"slug":103573,"title":409,"dynasty":54,"author":64957,"museum":300,"description":97008,"tags":103574,"thumbUrl":103575,"material":611,"size":84,"collection":84,"collections":103576,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},236967,"shan-shui-ce-chen-jia-le-236967",[24,7,59,128,29,331,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce42cdbb59c09377dfb9748a5255cee4.jpg",[],{"id":103578,"slug":103579,"title":409,"dynasty":54,"author":64957,"museum":300,"description":64958,"tags":103580,"thumbUrl":103581,"material":692,"size":1293,"collection":84,"collections":103582,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},236960,"shan-shui-ce-chen-jia-le-236960",[24,7,59,128,132,29,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5bbe67ac409323a1476e03a97df03b5.jpg",[],{"id":103584,"slug":103585,"title":69606,"dynasty":54,"author":36659,"museum":300,"description":63282,"tags":103586,"thumbUrl":103587,"material":692,"size":1293,"collection":84,"collections":103588,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},236947,"jiu-ru-zhi-ji-ce-wang-gai-236947",[24,7,59,27,28,96,97,247,34,1200,13344,64,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd098e1b0c8f23343c72a75e29f3ea28b.jpg",[],{"id":103590,"slug":103591,"title":69606,"dynasty":54,"author":36659,"museum":300,"description":63282,"tags":103592,"thumbUrl":103593,"material":692,"size":1293,"collection":84,"collections":103594,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},236946,"jiu-ru-zhi-ji-ce-wang-gai-236946",[24,7,59,27,95,96,97,247,34,64,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F846d4fb822e3d381654bb52ef81d93cc.jpg",[],{"id":103596,"slug":103597,"title":59083,"dynasty":54,"author":59084,"museum":300,"description":59085,"tags":103598,"thumbUrl":103599,"material":692,"size":1293,"collection":84,"collections":103600,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},236856,"zhu-shi-ce-wang-e-236856",[24,7,59,133,128,27,167,875,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b2774c4e41427aa96fef5db542f6084.jpg",[],{"id":103602,"slug":103603,"title":33103,"dynasty":54,"author":46694,"museum":20,"description":46695,"tags":103604,"thumbUrl":103605,"material":734,"size":84,"collection":84,"collections":103606,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},236824,"fang-gu-shan-shui-ce-zhao-cheng-236824",[24,7,59,128,27,132,29,496,34,35,98,99,64,758,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1739596ae452fafa5ae111e0d004afe4.jpg",[],{"id":103608,"slug":103609,"title":65332,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":103610,"thumbUrl":103611,"material":692,"size":1293,"collection":84,"collections":103612,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},236664,"bie-you-feng-wei-ce-huang-shen-236664",[24,7,59,128,133,208,61,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F821a871674d20cc75bb1674c093d2089.jpg",[],{"id":103614,"slug":103615,"title":65332,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":103616,"thumbUrl":103617,"material":692,"size":1293,"collection":84,"collections":103618,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},236663,"bie-you-feng-wei-ce-huang-shen-236663",[24,7,59,128,133,208,230,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b866aba7949ca83ea11703709f71d69.jpg",[],{"id":103620,"slug":103621,"title":65332,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":103622,"thumbUrl":103623,"material":692,"size":1293,"collection":84,"collections":103624,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},236660,"bie-you-feng-wei-ce-huang-shen-236660",[24,7,164,59,128,132,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca5355dabdeb653fca6eda384934c84e.jpg",[],{"id":103626,"slug":103627,"title":65332,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":103628,"thumbUrl":103629,"material":692,"size":1293,"collection":84,"collections":103630,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},236659,"bie-you-feng-wei-ce-huang-shen-236659",[24,7,59,128,133,208,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7cdd455fe0ca5db9731132077fd68d2.jpg",[],{"id":103632,"slug":103633,"title":65332,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":103634,"thumbUrl":103635,"material":692,"size":1293,"collection":84,"collections":103636,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},236658,"bie-you-feng-wei-ce-huang-shen-236658",[24,7,59,128,840,208,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F298ade0387c9a368d56b3de5a4c3fef9.jpg",[],{"id":103638,"slug":103639,"title":409,"dynasty":54,"author":17240,"museum":300,"description":25958,"tags":103640,"thumbUrl":103641,"material":84,"size":84,"collection":84,"collections":103642,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},236595,"shan-shui-ce-cha-shi-biao-236595",[24,7,59,128,132,29,1337,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb74f071bc415e447038ca7fc2f9aaea.jpg",[],{"id":103644,"slug":103645,"title":409,"dynasty":54,"author":17240,"museum":300,"description":25958,"tags":103646,"thumbUrl":103647,"material":84,"size":84,"collection":84,"collections":103648,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},236592,"shan-shui-ce-cha-shi-biao-236592",[24,7,164,59,128,132,29,34,30,499,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39d2852e635d12944449bd69517b5894.jpg",[],{"id":103650,"slug":103651,"title":40723,"dynasty":124,"author":36548,"museum":20,"description":40724,"tags":103652,"thumbUrl":103653,"material":84,"size":84,"collection":84,"collections":103654,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},236567,"xiao-ke-guan-shan-shui-ce-shao-mi-236567",[24,7,59,128,188,29,171,1337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2209776338ed5db2f744503d64328f45.jpg",[],{"id":103656,"slug":103657,"title":3168,"dynasty":54,"author":38236,"museum":300,"description":55512,"tags":103658,"thumbUrl":103659,"material":84,"size":84,"collection":84,"collections":103660,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},236529,"ren-wu-gu-shi-ce-chen-zi-236529",[24,7,4437,28,27,96,171,64558,133,9521],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff54fccd32a559ffc7cfc0968776d33c9.jpg",[],{"id":103662,"slug":103663,"title":3168,"dynasty":54,"author":38236,"museum":300,"description":55512,"tags":103664,"thumbUrl":103665,"material":84,"size":84,"collection":84,"collections":103666,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},236528,"ren-wu-gu-shi-ce-chen-zi-236528",[24,7,59,27,96,133,208,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf4b5ff08bef719e19ba1f5b2ff03ce7.jpg",[],{"id":103668,"slug":103669,"title":3168,"dynasty":54,"author":38236,"museum":300,"description":55512,"tags":103670,"thumbUrl":103672,"material":84,"size":84,"collection":84,"collections":103673,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},236526,"ren-wu-gu-shi-ce-chen-zi-236526",[24,7,59,27,28,96,103671,133,208,7719,997,3490,38256,40819,64],"故事画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe368028fe9bc7dc0843d225a812d59a8.jpg",[],{"id":103675,"slug":103676,"title":3168,"dynasty":54,"author":38236,"museum":300,"description":55512,"tags":103677,"thumbUrl":103678,"material":84,"size":84,"collection":84,"collections":103679,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},236525,"ren-wu-gu-shi-ce-chen-zi-236525",[24,7,59,28,27,96,64,133,208,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8259c6e8bcaa5b9007912612ecbba4e4.jpg",[],{"id":103681,"slug":103682,"title":3168,"dynasty":54,"author":38236,"museum":300,"description":55512,"tags":103683,"thumbUrl":103684,"material":84,"size":84,"collection":84,"collections":103685,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},236524,"ren-wu-gu-shi-ce-chen-zi-236524",[24,7,59,27,96,64,208,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90875df1da6b6d7c13e4c0095f788266.jpg",[],{"id":103687,"slug":103688,"title":103689,"dynasty":54,"author":103690,"museum":300,"description":103691,"tags":103692,"thumbUrl":103693,"material":692,"size":1293,"collection":84,"collections":103694,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},236443,"qing-lu-heng-yun-shan-he-wei-pu-236443","晴麓横云扇","何维朴","何维朴 （1842年—1922年），湖南道县人。 字诗孙，晚号盘止，亦号盘叟，又号秋华居士、晚遂老人，室名颐素斋、盘梓山房。何绍基之孙。以山水画著称，宗娄东派；书摹其祖何绍基亦得其形似。",[24,7,1131,128,132,29,950,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ef9a2e0584bb0c32037ab9123c53d01.jpg",[],{"id":103696,"slug":103697,"title":103698,"dynasty":54,"author":103699,"museum":300,"description":103700,"tags":103701,"thumbUrl":103702,"material":692,"size":1293,"collection":84,"collections":103703,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},236439,"cao-lan-hua-hui-shan-cao-lan-236439","曹澜花卉扇","曹澜","此作用没骨法写藤蔓蔬果，淡彩晕染出叶片的深浅层次，将草木舒展之姿与蔬果饱满情态描摹鲜活生动。浅淡石青、赭石设色清润柔和，不见浓艳堆砌，尽显雅淡之致。\n\n画面以藤蔓牵引布局，左右舒展虚实相生，借扇面形制留白布陈，尽显空灵悠远。右侧题字笔墨清隽，书画相映成趣，晕染出文人画淡逸萧散的清幽意境。作者以日常蔬果入画，以写生之法捕捉草木生机，褪去匠气，尽显清逸脱俗的文人意趣，尽显晚清花鸟崇尚秀润雅致的审美意趣。",[24,7,1131,61,27,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd05fe420521fe53e9979b1a7bdd5eaec.jpg",[],{"id":103705,"slug":103706,"title":33103,"dynasty":54,"author":72468,"museum":300,"description":72469,"tags":103707,"thumbUrl":103708,"material":84,"size":84,"collection":84,"collections":103709,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},236362,"fang-gu-shan-shui-ce-hu-jie-236362",[24,7,59,128,132,29,131,34,208,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb8cca2a48548b9ce6cf2b16a2dd8654.jpg",[],{"id":103711,"slug":103712,"title":33103,"dynasty":54,"author":72468,"museum":300,"description":72469,"tags":103713,"thumbUrl":103714,"material":84,"size":84,"collection":84,"collections":103715,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},236359,"fang-gu-shan-shui-ce-hu-jie-236359",[24,7,59,128,27,29,331,131,34,330,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff84c4c58ccc7bb1c7aa73fd4ff501e1f.jpg",[],{"id":103717,"slug":103718,"title":33103,"dynasty":54,"author":72468,"museum":300,"description":72469,"tags":103719,"thumbUrl":103720,"material":84,"size":84,"collection":84,"collections":103721,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},236357,"fang-gu-shan-shui-ce-hu-jie-236357",[24,7,59,128,132,29,171,2271],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8a45a39466dfd043cc7b90ca8f549d7.jpg",[],{"id":103723,"slug":103724,"title":40707,"dynasty":54,"author":24258,"museum":300,"description":36452,"tags":103725,"thumbUrl":103726,"material":692,"size":1293,"collection":84,"collections":103727,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},236344,"shan-shui-shan-chen-heng-ke-236344",[24,7,1131,128,29,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2629168ce2c1a6df5da53c1c4c4d22e.jpg",[],{"id":103729,"slug":103730,"title":40707,"dynasty":54,"author":103731,"museum":300,"description":103732,"tags":103733,"thumbUrl":103734,"material":692,"size":1293,"collection":84,"collections":103735,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},236342,"shan-shui-shan-li-bin-236342","李霦","金笺纸本晕染古雅底色，整幅以平远之法铺陈丘壑。近岸乱石层叠，杂木虬曲错生，浓淡墨笔分出枝叶枯荣，苍劲中带着生机。板桥连起水榭村居，房舍掩映在林麓间，尽显山居野趣。远景山峦以淡墨轻勾晕染，留白衬出空濛天色，和近景的繁密形成虚实对照。笔墨苍秀兼具，将江南林泉的静谧闲适收拢在咫尺扇面里，方寸间见山水丘壑，把冲淡平和的隐逸意趣融在细节之中，藏着日常山居的清寂雅致，耐看且余韵悠长。",[24,7,1131,29,132,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e81413a64675c292eb0d4a30477131a.jpg",[],{"id":103737,"slug":103738,"title":7864,"dynasty":54,"author":38236,"museum":300,"description":38237,"tags":103739,"thumbUrl":103740,"material":692,"size":1293,"collection":84,"collections":103741,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},236280,"za-hua-ce-chen-zi-236280",[24,7,59,27,28,61,547,806,549,7857],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F395ee1fd5913de15f36985c494abc135.jpg",[],{"id":103743,"slug":103744,"title":7864,"dynasty":54,"author":38236,"museum":300,"description":38237,"tags":103745,"thumbUrl":103746,"material":692,"size":1293,"collection":84,"collections":103747,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},236279,"za-hua-ce-chen-zi-236279",[24,7,59,27,132,29,96,34,171,950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1be45b29909e48c758b9ea306ea4c02c.jpg",[],{"id":103749,"slug":103750,"title":7864,"dynasty":54,"author":38236,"museum":300,"description":38237,"tags":103751,"thumbUrl":103752,"material":692,"size":1293,"collection":84,"collections":103753,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},236276,"za-hua-ce-chen-zi-236276",[24,7,59,27,28,61,374,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90feac66a67b59f196868960c701ca8b.jpg",[],{"id":103755,"slug":103756,"title":91480,"dynasty":54,"author":223,"museum":300,"description":103757,"tags":103758,"thumbUrl":103759,"material":692,"size":1293,"collection":84,"collections":103760,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},236238,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236238","此扇以泥金为底，自带雍容华贵的底色，山水景致铺陈其上。山峦以披麻皴写就，层叠逶迤，苍松茂木错落点染，屋庐隐于林泉之间，晕染出幽寂空凉的山居意趣。淡赭轻敷山岩，墨色勾勒林麓，笔墨清润秀雅，将夏山翠色与静穆凉意融于盈尺扇面。书画合璧，山水与题诗相互呼应，把林泉高致藏于开合之间，抬手便可将山野幽意携于袖中，尽显悠然雅致的赏玩意趣。",[24,7,1131,27,29,132,64,663,413,723],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f5c9e0d646867a23d17ffde919391e.jpg",[],{"id":103762,"slug":103763,"title":63098,"dynasty":54,"author":16583,"museum":300,"description":29102,"tags":103764,"thumbUrl":103765,"material":692,"size":1293,"collection":84,"collections":103766,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},235949,"zhi-hua-za-hua-ce-gao-qi-pei-235949",[24,7,59,29104,128,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc96377dfcbb2bfd0e46d6ef74e4aeef.jpg",[],{"id":103768,"slug":103769,"title":409,"dynasty":54,"author":45440,"museum":300,"description":103770,"tags":103771,"thumbUrl":103772,"material":84,"size":84,"collection":84,"collections":103773,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},235941,"shan-shui-ce-qi-zhi-jia-235941","此作以淡墨晕染出空濛山居之景，近岸林木蓊郁，板桥通幽，山舍错落隐于林间野径，远山层叠烟岚轻笼，笔墨秀润苍雅，尽显林泉幽寂之致。淡赭轻施衬出山石肌理，草木丰茂间藏着隐逸闲趣。对页行书笔致清逸流畅，书画合璧文气交融，将文人林下幽居的澹远意趣融于尺幅间，观之如临静穆山居，仿佛能聆山风穿林、涧水漱石，尽显文人画的清雅逸韵。",[164,24,7,59,128,29,133,208,132,663,413,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62444a7b0ad901c5e5a68c5d10153a23.jpg",[],{"id":103775,"slug":103776,"title":4724,"dynasty":54,"author":46717,"museum":300,"description":46718,"tags":103777,"thumbUrl":103778,"material":692,"size":1293,"collection":84,"collections":103779,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},235915,"shan-shui-tu-ce-mei-chong-235915",[24,7,59,128,29,132,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6afbe29f5e172433ae7803de1cd05564.jpg",[],{"id":103781,"slug":103782,"title":7864,"dynasty":54,"author":52511,"museum":300,"description":91677,"tags":103783,"thumbUrl":103784,"material":692,"size":1293,"collection":84,"collections":103785,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},235872,"za-hua-ce-zhang-sheng-235872",[24,7,59,27,133,208,1233,230,582,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b8e671cfc84177a6224e86d98fae0ab.jpg",[],{"id":103787,"slug":103788,"title":7864,"dynasty":54,"author":52511,"museum":300,"description":91677,"tags":103789,"thumbUrl":103790,"material":692,"size":1293,"collection":84,"collections":103791,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},235871,"za-hua-ce-zhang-sheng-235871",[24,7,59,27,28,61,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac607182476e5106a624d7a1e9e00209.jpg",[],{"id":103793,"slug":103794,"title":7864,"dynasty":54,"author":52511,"museum":300,"description":91677,"tags":103795,"thumbUrl":103796,"material":692,"size":1293,"collection":84,"collections":103797,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},235869,"za-hua-ce-zhang-sheng-235869",[24,7,59,133,27,28,61,413,228,355,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9303646b9788a89a45e9193c3acca85.jpg",[],{"id":103799,"slug":103800,"title":7864,"dynasty":54,"author":52511,"museum":300,"description":91677,"tags":103801,"thumbUrl":103802,"material":692,"size":1293,"collection":84,"collections":103803,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},235868,"za-hua-ce-zhang-sheng-235868",[24,7,59,133,27,29,129,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeabb2b84d9ab7a41bb1cf875453c4bd.jpg",[],{"id":103805,"slug":103806,"title":103807,"dynasty":54,"author":223,"museum":300,"description":103808,"tags":103809,"thumbUrl":103810,"material":84,"size":84,"collection":84,"collections":103811,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},235864,"zheng-huai-shan-shui-ye-yi-ming-235864","郑淮山水页","此作取边角构图，危崖嶙峋以短皴写就，古松踞崖斜生，添得灵动野趣。山下溪石隐现，林舍错落掩映林间，远山晕染出空濛烟岚，澹雅设色晕开江南丘壑的清寂淡远。\n\n左侧题笔意疏朗秀逸，墨色浓淡相宜。诗中幽居雅意与画中林泉野趣相融，将寄情山水、不恋尘嚣的襟怀藏于尺幅之间。整幅书画合璧，简淡笔墨里尽显隽永意趣，藏着传统文人诗画共生的雅致情致。",[24,7,59,27,132,133,208,29,131,34,99,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae5c755ddcce40a103c733d5426bcf1.jpg",[],{"id":103813,"slug":103814,"title":103815,"dynasty":124,"author":223,"museum":300,"description":103816,"tags":103817,"thumbUrl":103818,"material":84,"size":84,"collection":84,"collections":103819,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},235849,"qian-gu-bao-shan-tu-ye-yi-ming-235849","钱榖宝山图页","此作为左文右图的合璧小品，淡墨轻皴绘就江岸形胜。峰峦间营寨烽堠依山排布，江岸错落停着航船，朴拙还原出当年海防要地的肃穆风貌。\n\n左侧行书笔意舒展，笔锋带着文人意趣，以文字注解实景，铺陈此地戍海过往。整作笔墨清润淡雅，不着浓艳色彩，将山海营垒的整肃与江天的开阔相融，带着纪实山水的真切质感，把宝山形胜与过往史迹娓娓道来，兼具地理纪实价值与书画审美意趣。",[24,7,4437,128,29,133,64,496,1743,34,11074,3847,10280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10ca521e9ef9ae40c8efe2cbb707f759.jpg",[],{"id":103821,"slug":103822,"title":33103,"dynasty":54,"author":78869,"museum":300,"description":78870,"tags":103823,"thumbUrl":103824,"material":692,"size":1293,"collection":84,"collections":103825,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},235747,"fang-gu-shan-shui-ce-xue-xuan-235747",[24,7,59,128,29,663,413,2271,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd0dab84e20eda7f87a68988b7e86d4b.jpg",[],{"id":103827,"slug":103828,"title":76,"dynasty":54,"author":14273,"museum":300,"description":103829,"tags":103830,"thumbUrl":103831,"material":84,"size":84,"collection":84,"collections":103832,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},235567,"hua-hui-ce-fan-ting-zhen-235567","此作以枯木为绘写主体，老干皴擦细致，斑驳纹理与嶙峋树洞尽显岁月蚀刻的沧桑。枝头以墨点攒簇成叶，虚实错落，淡墨晕染出空濛悠远的氛围。树下顽石简笔勾勒，与古木相映，衬出林泉幽寂之态。\n\n右侧题行书诗句，笔墨俊朗洒脱，诗画交融，将凌云古木的高迈意气尽显。整幅以水墨写意而成，笔法松灵却暗含劲力，淡墨层次丰富，简淡中见朴拙雅逸，尽显文人画寄情于物的意趣，将古树霜色凌天的苍古高华凝于尺幅之间。",[24,7,59,128,132,133,331,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb9c1960e6fb6c5b81f0de6eae4c90c4.jpg",[],{"id":103834,"slug":103835,"title":409,"dynasty":54,"author":223,"museum":300,"description":103836,"tags":103837,"thumbUrl":103838,"material":692,"size":1293,"collection":84,"collections":103839,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},235402,"shan-shui-ce-yi-ming-235402","此作以淡墨轻赭绘秋山峡谷，两侧崖壁以简笔皴擦勾勒，石体质朴苍劲，大片留白延展山巅，铺展出空蒙辽远的山野气象。谷间以浓墨点染丛生草木，崖顶几丛茂树错落点缀，虚实相生，将荒寒萧疏的山野意趣烘托尽致。\n\n全作用笔松灵简淡，不做琐细刻画，以意写形，尽显文人山水画的简逸之趣，疏淡悠远的林下之风扑面而来。寥寥笔墨便将山野空寂的氛围渲染到位，藏着静穆清远的文人意韵。",[24,7,59,128,132,29,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84cd5a2cf1daf5995d4dfab5a93d16ce.jpg",[],{"id":103841,"slug":103842,"title":409,"dynasty":54,"author":223,"museum":300,"description":103843,"tags":103844,"thumbUrl":103845,"material":692,"size":1293,"collection":84,"collections":103846,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},235401,"shan-shui-ce-yi-ming-235401","此作用极简淡墨勾勒皴擦，以留白摹写烟水空茫，营造出幽寂清寒的荒远之境。水面巨石孤峙，轮廓朴拙苍劲，淡墨晕染石体质感，苔点隐现，几株矮松扎根石侧，为冷寂画面添上一抹生机。\n\n远山仅以淡墨轻扫，融入烟霭之中，虚实相生，将天地悠远空阔的意趣尽数铺展。笔墨简净含蓄，舍去繁复刻画，以意驭形，尽显静穆淡远的文人画旨趣，观之如临荒寒水滨，尘嚣尽褪，独留山水间的澹泊禅意。",[24,7,59,128,29,171,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84de1cffb54e73773ccf96c3e8a1fe43.jpg",[],{"id":103848,"slug":103849,"title":409,"dynasty":54,"author":223,"museum":300,"description":103850,"tags":103851,"thumbUrl":103852,"material":692,"size":1293,"collection":84,"collections":103853,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},235400,"shan-shui-ce-yi-ming-235400","此作以淡墨晕染烟岚，枯笔皴擦勾勒石骨，浅赭轻敷山巅，尽显清润萧疏意趣。留白化作浩渺烟波，将近景碎石、中景山崖与远峰连缀成幽寂天地。山石苍朴与烟水柔润相映，无繁复点染，却以极简笔墨铺展出空寂山水之美，恍若秋日江天初霁，淡远清和，藏着文人画简淡天真的意韵。山野静穆辽远的秋意藏在浅墨轻色中，观之如临无人之境，引人沉入这份疏淡安然的诗意里。",[24,7,59,128,132,29,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee43428c884ed4a3308af41b87ca914d.jpg",[],{"id":103855,"slug":103856,"title":409,"dynasty":54,"author":223,"museum":300,"description":103857,"tags":103858,"thumbUrl":103859,"material":692,"size":1293,"collection":84,"collections":103860,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},235399,"shan-shui-ce-yi-ming-235399","此作用笔松灵萧散，以淡渴墨勾勒皴擦山体，以披麻皴意写山峦肌理，线条舒缓柔润，弱化山石棱角，尽显丘壑的温润空濛。仅以少许赭石轻染岩穴，淡墨点染山巅与坡脚的杂木，简笔错落间晕开山野生机。\n\n画面留白肆意，将山岚云气、浅滩空阔藏于其中，舍去繁复景致，以清简笔意写尽林泉幽寂，尽显文人画简淡天真的意趣。似是闲中寄兴随手点染，把空山松风、悠然丘壑藏在淡墨浅彩之间，观之如临幽寂林泉，静享山野清宁。",[24,7,59,128,27,132,29,663,413,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ec47f448ae79517daff81e3a5bc18b4.jpg",[],{"id":103862,"slug":103863,"title":409,"dynasty":54,"author":223,"museum":300,"description":103864,"tags":103865,"thumbUrl":103866,"material":692,"size":1293,"collection":84,"collections":103867,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},235395,"shan-shui-ce-yi-ming-235395","此作以枯笔皴擦写山岩嶙峋质感，危崖之上虬松横生，墨色浓淡晕染出苍劲古意。留白铺就浩渺江面，烟波空濛间，远近矶石错落排布，悄然拉开层次景深。\n\n设色浅淡素雅，笔致松秀空灵，以简淡笔墨勾勒出江渚秋容。萧散的笔意晕染出水天的清寂旷远，苍松破崖而生，为冷寂山水添一抹山野生机，将江南水岸的幽澹之景凝于尺幅之间，观之如临秋江，可感松涛轻掠、水映山容的静穆况味，尽显文人山水的萧散意趣。",[24,7,59,128,27,29,132,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a7c5a37981ef697fd24b76f1c9ab9b8.jpg",[],{"id":103869,"slug":103870,"title":409,"dynasty":54,"author":51000,"museum":300,"description":103871,"tags":103872,"thumbUrl":103873,"material":84,"size":84,"collection":84,"collections":103874,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},235376,"shan-shui-ce-mei-geng-235376","此作书画合璧，以淡墨晕染危崖孤峙，石骨瘦硬嶙峋，崖畔疏草轻曳，两位高士凭栏远眺，山岫以浅墨虚淡晕开，渺远朦胧。笔意洗练简淡，尽得山水荒萧清远之致。\n\n题跋行书苍劲舒朗，文辞描摹山境奇崛诡怪，与画面逸趣互为呼应，将山川奇崛之态与林下幽怀相融，尽显静穆萧散的文人意韵，极简笔墨勾勒出超尘绝俗的世外之境，余韵悠长。",[24,7,59,128,132,29,171,11998,96,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec20673a8b6ba474bec2f109530873d9.jpg",[],{"id":103876,"slug":103877,"title":409,"dynasty":54,"author":51000,"museum":300,"description":103878,"tags":103879,"thumbUrl":103880,"material":84,"size":84,"collection":84,"collections":103881,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},235375,"shan-shui-ce-mei-geng-235375","此作用淡墨晕染皴擦山石，以浓墨点苔写林木虬曲之姿，野水蜿蜒穿流于丘壑之间，山坳幽处隐见茅舍小筑，尽现空山岑寂之趣。\n\n搭配行书题诗，诗书相映，将踏涧寻幽的雅兴寄于尺幅。笔致松秀简淡，墨色清润空灵，带着萧散出尘的文人意韵，不尚繁饰，以极简的笔墨勾勒出林泉高致，把山行访梅的快意藏在山水丘壑之中，尽显静穆淡远的林下之风。",[24,7,59,128,29,130,99,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65b316f5ef880d455aed7b6937b4d925.jpg",[],{"id":103883,"slug":103884,"title":30254,"dynasty":54,"author":6357,"museum":300,"description":103885,"tags":103886,"thumbUrl":103887,"material":84,"size":84,"collection":84,"collections":103888,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},235363,"shan-shui-ren-wu-tu-ce-huang-shen-235363","此作用淡墨晕染出水汀空寂之境，枯笔劲写汀渚兰草，叶态舒展恣肆，野趣盎然。水鸭浮波仅以数笔点就，憨然悠然，灵动传神。右上角狂草题识，笔势与画中野逸之气相融，书画相映，更添文韵。\n全幅删繁就简，以极简写意手法勾勒乡野闲景，萧疏淡远，尽得文人逸笔之趣，将幽澹林下之思藏于水墨间，观之令人心神松弛，如临其境得享乡野闲静。",[24,7,59,128,188,29,96,1771,171,130,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60720fc54410d8b98cc92a29ba63eb4c.jpg",[],{"id":103890,"slug":103891,"title":409,"dynasty":54,"author":47695,"museum":300,"description":65170,"tags":103892,"thumbUrl":103893,"material":692,"size":1293,"collection":84,"collections":103894,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},235303,"shan-shui-ce-zhang-feng-235303",[24,7,59,27,29,129,96,171,131,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45b8c24615ddb853889919d6c3b82bc2.jpg",[],{"id":103896,"slug":103897,"title":103898,"dynasty":54,"author":103899,"museum":300,"description":103900,"tags":103901,"thumbUrl":103902,"material":692,"size":1293,"collection":84,"collections":103903,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},235163,"yu-mu-shang-xin-ce-hua-hui-ce-ye-wang-zheng-235163","娱目赏心册-花卉册页","王正","此作设色清润雅致，人物情态鲜活饱满。右侧绘文人雅集图景：凭坐长者悠然闲适，展卷文士专注沉静，仕女垂首温婉侍立，稚童绕侧娇憨灵动，将古时文人的日常闲趣铺陈于尺幅之间。衣纹勾勒轻细灵动，晕染柔和自然，把人物的气质神韵刻画入微。左侧小楷题跋笔致端秀匀整，文图相合，尽显传统文人画诗书画印一体的雅致意趣，于方寸间尽显中式古典闲雅的美学意韵。",[24,7,59,27,28,96,166,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F362167149dcbbf95bff5dcd47d39fbc3.jpg",[],{"id":103905,"slug":103906,"title":409,"dynasty":54,"author":6936,"museum":300,"description":103907,"tags":103908,"thumbUrl":103909,"material":84,"size":84,"collection":84,"collections":103910,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},235113,"shan-shui-ce-wang-yuan-qi-235113","近岸垂柳拂波，烟粉花树点缀岩岫，苍松茂林错落坡石之间，水榭隐于林木深处，汀渚蜿蜒衔接着澄澈湖面。远景云山浮空，以淡墨轻扫出氤氲烟岚，虚实相生间，晕染出江南春日的温润柔婉。\n\n笔法苍秀兼具，干笔皴擦带出山石朴拙质感，设色雅致清和，淡赭糅合花青，既不失山水的厚重沉稳，又尽显空灵悠远，将春日湖山的清润生机与静穆悠然融为一体，观之如身临林泉，尽揽春深湖山的恬然意趣。",[24,7,59,27,132,29,331,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F552ad397b5d04a2faa183b9ad446fd70.jpg",[],{"id":103912,"slug":103913,"title":409,"dynasty":54,"author":6936,"museum":300,"description":103914,"tags":103915,"thumbUrl":103916,"material":84,"size":84,"collection":84,"collections":103917,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},235112,"shan-shui-ce-wang-yuan-qi-235112","近岸乱石错落，古木虬枝舒张，自带清寒之气，溪涧隐于林麓，暗合山水有声之趣。留白晕出空濛烟岚，将远近山水晕出层次过渡，远山以干笔皴擦堆叠，浑厚苍莽，兼具沉雄与秀逸。\n\n笔墨苍润相生，干笔积墨反复皴擦山石，墨色浓淡交织，既绘出丘壑深邃，又尽显笔墨意趣。整幅画作静穆淡远，将文人书卷气融于山林丘壑，简淡中见深秀，枯涩中含温润，勾勒出林下幽居的清寂意境，尽显沉静雅致的山水意韵。",[24,7,59,27,132,128,29,131,34,37,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac6bed67edc7aa0e3519ff75ac102c9d.jpg",[],{"id":103919,"slug":103920,"title":59303,"dynasty":54,"author":223,"museum":300,"description":103921,"tags":103922,"thumbUrl":103923,"material":84,"size":84,"collection":84,"collections":103924,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},235047,"yuan-ji-za-hua-tu-ce-yi-ming-235047","这幅水墨小品，以淡墨写出蜿蜒藤蔓，枯笔牵曳卷须，似有轻扶风动之姿。浓淡墨色晕染佛手，朴拙憨态尽显，墨色层叠晕开，晕出褶皱肌理，未加藻饰却形神兼备。左侧焦墨点染蒂须，棱角利落，与佛手的柔润晕染形成虚实对照，画面层次顿生。\n\n右侧题书错落排布，笔力苍劲朴厚，诗画相映，尽显文人诗书画印合璧的雅致意趣。作者以极简水墨绘就日常风物，将寻常蔬果化为清逸脱俗的雅赏之物，笔简意足，藏着文人士大夫的澹泊意趣，尽显水墨写意的空灵淡远之美。",[24,7,59,128,133,208,22971],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f34319c35292e296d757e452358eac2.jpg",[],{"id":103926,"slug":103927,"title":59303,"dynasty":54,"author":223,"museum":300,"description":103928,"tags":103929,"thumbUrl":103930,"material":84,"size":84,"collection":84,"collections":103931,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},235046,"yuan-ji-za-hua-tu-ce-yi-ming-235046","此作用淡墨晕染残荷残影，枯笔勾勒莲蓬苍劲老辣，虬曲荷梗尽显疏朗野逸。留白空灵简约，以少胜多，将暮秋荷塘萧索清寂之意铺展开来。\n\n题诗与画境相映，将莲出泥不染的君子品格融于残败意态中，褪去妍丽粉饰，尽显水墨写意的禅寂之美。笔墨极简却意趣悠长，把残荷的冷冽疏脱之姿尽致展现，笔墨间浸透着孤傲出尘的文人风骨，以意驭笔，将物象品格与文人心性相融，是写意花鸟中借物抒怀的上乘之作。",[24,7,59,128,168,841,82,12510,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5eb409817ebe9687e3b039feff397de.jpg",[],{"id":103933,"slug":103934,"title":103935,"dynasty":54,"author":103936,"museum":20,"description":65231,"tags":103937,"thumbUrl":103938,"material":734,"size":65234,"collection":84,"collections":103939,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},235029,"bai-ying-lou-tu-ye-wang-kun-235029","拜影楼图页","王昆",[24,7,59,128,188,29,97,34,131,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd7d531f4b3bcbc8d50655f4e386cf86.jpg",[],{"id":103941,"slug":103942,"title":409,"dynasty":54,"author":23303,"museum":20,"description":82881,"tags":103943,"thumbUrl":103944,"material":84,"size":84,"collection":84,"collections":103945,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},234801,"shan-shui-ce-dong-bang-da-234801",[24,7,59,128,132,208,29,131,34,37,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff014ac10ffa26b840a34cdee7e3ca8fd.jpg",[],{"id":103947,"slug":103948,"title":409,"dynasty":54,"author":23303,"museum":20,"description":82881,"tags":103949,"thumbUrl":103950,"material":84,"size":84,"collection":84,"collections":103951,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},234795,"shan-shui-ce-dong-bang-da-234795",[24,7,59,128,132,29,129,34,415,414,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7569ec9639f6c205b4a0873ac5131de9.jpg",[],{"id":103953,"slug":103954,"title":409,"dynasty":54,"author":23303,"museum":20,"description":82881,"tags":103955,"thumbUrl":103956,"material":84,"size":84,"collection":84,"collections":103957,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},234793,"shan-shui-ce-dong-bang-da-234793",[24,7,59,128,132,29,34,131,99,98,171,130,1233,331,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0d394e3188a6393c396bd36ad031d0.jpg",[],{"id":103959,"slug":103960,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":103961,"thumbUrl":103962,"material":734,"size":84,"collection":84,"collections":103963,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},234737,"huang-shan-tu-ce-jiang-zhu-234737",[24,7,59,128,133,29,171,132,96,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19d84c59c34f592404253775634172bb.jpg",[],{"id":103965,"slug":103966,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":103967,"thumbUrl":103968,"material":734,"size":84,"collection":84,"collections":103969,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},234734,"huang-shan-tu-ce-jiang-zhu-234734",[24,7,59,188,133,208,29,171,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d8d131c6d5abfb1356e4647762a6c8f.jpg",[],{"id":103971,"slug":103972,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":103973,"thumbUrl":103974,"material":734,"size":84,"collection":84,"collections":103975,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},234731,"huang-shan-tu-ce-jiang-zhu-234731",[24,7,59,128,133,132,29,64,208,663,1314,34,98,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ab8195fb39ae85c54dc2445b7729fbd.jpg",[],{"id":103977,"slug":103978,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":103979,"thumbUrl":103980,"material":734,"size":84,"collection":84,"collections":103981,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},234729,"huang-shan-tu-ce-jiang-zhu-234729",[24,7,59,128,29,132,133,208,131,11998],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55c687d4e72fdc696dc6f7e84406df87.jpg",[],{"id":103983,"slug":103984,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":103985,"thumbUrl":103986,"material":734,"size":84,"collection":84,"collections":103987,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},234723,"huang-shan-tu-ce-jiang-zhu-234723",[24,7,59,27,29,132,30,1144,497,34,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F193c40f0f9dfbf4ba799c09fd7f729ec.jpg",[],{"id":103989,"slug":103990,"title":3717,"dynasty":54,"author":39855,"museum":20,"description":39856,"tags":103991,"thumbUrl":103992,"material":734,"size":84,"collection":84,"collections":103993,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},234722,"huang-shan-tu-ce-jiang-zhu-234722",[24,7,59,128,132,133,29,30,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea75b1ed73b80a6c96ac1728e21339dc.jpg",[],{"id":103995,"slug":103996,"title":63331,"dynasty":54,"author":103690,"museum":300,"description":103997,"tags":103998,"thumbUrl":103999,"material":84,"size":84,"collection":84,"collections":104000,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},234606,"shan-shui-wan-shan-he-wei-pu-234606","何维朴 （1842年—1922年），湖南道县人。 字诗孙，晚号盘止，亦号盘叟，又号秋华居士、晚遂老人，室名颐素斋、盘梓山房。何绍基之孙。以山水画著称，宗娄东派；书摹其祖何绍基亦得其形似。\n同治六年（1867年）乡试副贡，官内阁中书，协办侍读，江苏候补知府。\n工书、画，晚寓上海盘梓山房，以此自给。画以山水著称。宗娄东四家，清远高妙，无时流霸悍草率习气。对于古画之鉴别尤精。书摹其祖绍基，亦得其神似。少精篆刻，宗秦汉，晚年倦于酬世不复作。有印文曰清凉山下转轮僧。收藏古印甚多，有《颐素斋印存》六卷传世。卒年八十一。",[24,7,1131,128,29,132,98,99,129,130,34,496,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fead678894b438df0db08e139fb584e16.jpg",[],{"id":104002,"slug":104003,"title":104004,"dynasty":54,"author":223,"museum":300,"description":55721,"tags":104005,"thumbUrl":104006,"material":84,"size":84,"collection":84,"collections":104007,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},234560,"yu-mu-shang-xin-ce-he-jin-xiang-shan-shui-ce-ye-yi-ming-234560","娱目赏心册-何金骧山水册页",[24,7,59,128,29,331,171,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1423785ffbba5ed6ced31b86f79c9df3.jpg",[],{"id":104009,"slug":104010,"title":104011,"dynasty":54,"author":223,"museum":300,"description":104012,"tags":104013,"thumbUrl":104017,"material":692,"size":1293,"collection":84,"collections":104018,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},234439,"qing-ren-ji-xiang-tian-mu-xiang-zhou-yi-ming-234439","清人吉祥天母像轴","此作为藏传佛教护法题材佳作，主尊忿怒威严，靛蓝躯体乘黄骡奔踏血海，遍身珠宝严饰，法器具足，慑人气魄尽显护法威仪。画面以黑底铺陈，金墨勾勒流云、诸天眷属与部众，华丽金彩在沉暗底色中愈发醒目，层次分明。整体构图饱满繁复，线条精细流畅，设色沉艳厚重，将藏地唐卡极致装饰性与宗教氛围感融合一体，尽显精湛工艺，神圣庄严的护法气韵扑面而来。",[24,7,165,187,28,27,96,101,949,189,104014,104015,98790,38740,8189,104016],"装饰图案","神佛形象","线条精细","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43dd297ca66960d16e602156f312bdb9.jpg",[],{"id":104020,"slug":104021,"title":104022,"dynasty":54,"author":223,"museum":300,"description":104023,"tags":104024,"thumbUrl":104025,"material":692,"size":1293,"collection":84,"collections":104026,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},234400,"min-ning-ce-jun-qing-chen-tu-xiang-zhou-yi-ming-234400","旻宁策骏清尘图像轴","此作工笔写实，尽显雍容气度。帝王身着明黄常服，面容苍劲沉稳，端坐骏骑之上，轻握缰绳，神态从容内敛，自有九五之尊的威仪。宝马身形矫健，棕毛晕染细腻柔和，鞍鞯配饰刻画精工，朱红流苏垂坠灵动，细节处见匠心巧思。\n\n整体设色明丽雅致，线条匀净流畅，写实逼真又不失庄重典雅。画面题字与鉴藏印，更添古雅气韵，将帝王骑猎闲逸的情态定格绢素，兼具纪实精准与宫廷绘画特有的规整雍容，尽显古典肖像画的精妙。",[24,164,7,165,28,27,96,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1852ab6f6e8b805c7906aa1981b52b5.jpg",[],{"id":104028,"slug":104029,"title":104030,"dynasty":54,"author":223,"museum":300,"description":104031,"tags":104032,"thumbUrl":104034,"material":692,"size":1293,"collection":84,"collections":104035,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},234397,"min-ning-rong-zhuang-xiang-zhou-yi-ming-234397","旻宁戎装像轴","整作工致写实，画中主人公身着遍饰缠枝龙纹的华贵铠甲，头戴暖帽，神色沉稳威严，自带帝王的从容气度。他背负箭囊，缓控马缰徐行，将清代帝王重骑射、尚武勇的风貌尽显无遗。\n\n胯下骏马神骏矫健，棕黄色皮毛晕染细腻，质感逼真，鞍鞯绣饰妍丽精巧，与铠甲华纹呼应。设色雅致沉稳，线条精细流畅，既精准还原清代戎装规制，又细腻描摹出人物与坐骑的神韵，是兼具纪实性与艺术性的肖像佳作。",[164,24,7,165,27,28,96,101,104033,8600,31432,208],"戎装","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3c9179f22061ec8bcc9ae379bf4c3bd.jpg",[],{"id":104037,"slug":104038,"title":409,"dynasty":54,"author":2894,"museum":300,"description":61261,"tags":104039,"thumbUrl":104040,"material":84,"size":84,"collection":84,"collections":104041,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},234340,"shan-shui-ce-jin-ting-biao-234340",[24,7,59,27,132,133,208,29,98,99,34,9164,101,96,27907,35,4363,3269],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb35dde4c19bf31999408a992d8a81474.jpg",[],{"id":104043,"slug":104044,"title":409,"dynasty":54,"author":2894,"museum":300,"description":61261,"tags":104045,"thumbUrl":104046,"material":84,"size":84,"collection":84,"collections":104047,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},234338,"shan-shui-ce-jin-ting-biao-234338",[24,7,59,27,132,29,131,34,99,129,36,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F978b9f88e7246c4183dfa943cf46d2b4.jpg",[],{"id":104049,"slug":104050,"title":409,"dynasty":54,"author":2894,"museum":300,"description":61261,"tags":104051,"thumbUrl":104052,"material":84,"size":84,"collection":84,"collections":104053,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},234337,"shan-shui-ce-jin-ting-biao-234337",[24,7,59,128,27,29,132,30,1144,1022,415,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5555c65778c6b7dae7d67875a19994a3.jpg",[],{"id":104055,"slug":104056,"title":104057,"dynasty":18,"author":223,"museum":20,"description":104058,"tags":104059,"thumbUrl":104060,"material":151,"size":104061,"collection":84,"collections":104062,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},234022,"tian-mo-gui-fan-tu-ye-yi-ming-234022","天末归帆图页","描绘黄昏湖光山色，画面右下方长满水草，渔船横卧，远山若隐若现。 画面留白，构图简单，左边是宋高宗的提词：日终风帆何处歇，渔舟犹近何首乌。",[164,24,7,59,133,208,29,47608,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97769f76f7a68ffd8b1eb6f38d6c6d94.jpg","24.2x25.5cm",[],{"id":104064,"slug":104065,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104066,"thumbUrl":104067,"material":84,"size":84,"collection":84,"collections":104068,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233664,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233664",[164,24,7,59,188,27,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79467c8131db768645eae6eb87f16fc.jpg",[],{"id":104070,"slug":104071,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104072,"thumbUrl":104073,"material":84,"size":84,"collection":84,"collections":104074,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233663,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233663",[24,7,59,28209,27,371,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d286917e812e6d136657bf08dc3ff8d.jpg",[],{"id":104076,"slug":104077,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104078,"thumbUrl":104079,"material":84,"size":84,"collection":84,"collections":104080,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233659,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233659",[24,7,59,27,188,375,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cad01ecf7d907b61d395ee75b11dab1.jpg",[],{"id":104082,"slug":104083,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104084,"thumbUrl":104085,"material":84,"size":84,"collection":84,"collections":104086,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233657,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233657",[24,7,59,28,27,28209,61,481,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf78d73069f42dfc81366646d6def6a0.jpg",[],{"id":104088,"slug":104089,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104090,"thumbUrl":104091,"material":84,"size":84,"collection":84,"collections":104092,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233653,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233653",[24,7,59,27,28209,171,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37cd14a2dc18be10b30fba2a932ea4ae.jpg",[],{"id":104094,"slug":104095,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104096,"thumbUrl":104097,"material":84,"size":84,"collection":84,"collections":104098,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233647,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233647",[24,7,59,28209,27,61,230,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3a771dc2e4dd6376b6cd23ffc6d4145.jpg",[],{"id":104100,"slug":104101,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104102,"thumbUrl":104103,"material":84,"size":84,"collection":84,"collections":104104,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233646,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233646",[24,7,59,28209,27,4278,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96b3a9515ab83ffa5a61f1d977bfda78.jpg",[],{"id":104106,"slug":104107,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104108,"thumbUrl":104109,"material":84,"size":84,"collection":84,"collections":104110,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233644,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233644",[24,7,59,28209,27,371,231,171,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1e14ea8490da38df86f57a947469855.jpg",[],{"id":104112,"slug":104113,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104114,"thumbUrl":104116,"material":84,"size":84,"collection":84,"collections":104117,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233643,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233643",[24,7,59,27,61,371,28209,104115],"五色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6845e334dc31382c0d044aeff1810276.jpg",[],{"id":104119,"slug":104120,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104121,"thumbUrl":104122,"material":84,"size":84,"collection":84,"collections":104123,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233640,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233640",[24,7,59,28209,27,61,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5713bbed404e7ce7716c8954467e21f1.jpg",[],{"id":104125,"slug":104126,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104127,"thumbUrl":104128,"material":84,"size":84,"collection":84,"collections":104129,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233637,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233637",[24,7,59,61,27,28209,28,547,747],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf69a7432117b6b1a3d1d1bd84f5f7c9.jpg",[],{"id":104131,"slug":104132,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104133,"thumbUrl":104134,"material":84,"size":84,"collection":84,"collections":104135,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233634,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233634",[24,7,59,28209,27,128,96,171,101,1350,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bde464b6f1a59ae5b31cc01b1a57c80.jpg",[],{"id":104137,"slug":104138,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104139,"thumbUrl":104140,"material":84,"size":84,"collection":84,"collections":104141,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233631,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233631",[24,7,59,27,28209,61,371,376,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3636e71beae028e006745d6453eed3c.jpg",[],{"id":104143,"slug":104144,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104145,"thumbUrl":104146,"material":84,"size":84,"collection":84,"collections":104147,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233629,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233629",[24,7,59,28209,27,128,949,171,24171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5217130de18befad77650e80b0bccf6b.jpg",[],{"id":104149,"slug":104150,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104151,"thumbUrl":104152,"material":84,"size":84,"collection":84,"collections":104153,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":4001},233625,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233625",[24,7,59,28209,27,950,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33db5fddca42f4f2831905ccbab3b250.jpg",[],{"id":104155,"slug":104156,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104157,"thumbUrl":104158,"material":84,"size":84,"collection":84,"collections":104159,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233623,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233623",[24,7,59,27,28209,772],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ff17b4c084ec44c95f4068cf1fa2883.jpg",[],{"id":104161,"slug":104162,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104163,"thumbUrl":104164,"material":84,"size":84,"collection":84,"collections":104165,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233622,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233622",[164,24,7,59,27,28209,772,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15d4619d69a023ac688329550aa890ef.jpg",[],{"id":104167,"slug":104168,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104169,"thumbUrl":104170,"material":84,"size":84,"collection":84,"collections":104171,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233621,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233621",[24,7,59,28209,27,96,2059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bad006f4cfb8b6093c81e81a16da834.jpg",[],{"id":104173,"slug":104174,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104175,"thumbUrl":104176,"material":84,"size":84,"collection":84,"collections":104177,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233620,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233620",[24,7,59,27,61,371,376,28209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F228655e0da2f69a990f76fde2c3fe75e.jpg",[],{"id":104179,"slug":104180,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104181,"thumbUrl":104182,"material":84,"size":84,"collection":84,"collections":104183,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233619,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233619",[24,7,59,28209,27,2059,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9f427fd11f4e11a11307d5d6ba688dd.jpg",[],{"id":104185,"slug":104186,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104187,"thumbUrl":104188,"material":84,"size":84,"collection":84,"collections":104189,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233616,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233616",[24,7,59,128,27,61,722,188,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bb59a8f1a3aee6bead82080c10d3ff7.jpg",[],{"id":104191,"slug":104192,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104193,"thumbUrl":104194,"material":84,"size":84,"collection":84,"collections":104195,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233613,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233613",[24,7,59,28209,27,169,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F911340bac68d67787f3b6ec468b05ae5.jpg",[],{"id":104197,"slug":104198,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104199,"thumbUrl":104200,"material":84,"size":84,"collection":84,"collections":104201,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233612,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233612",[24,7,59,28209,27,949,2302,372,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F739e497052912e0508398d66416b9d75.jpg",[],{"id":104203,"slug":104204,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104205,"thumbUrl":104206,"material":84,"size":84,"collection":84,"collections":104207,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233609,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233609",[24,7,59,27,28209,171,61,624,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0614343551e0acce73f1482ef59b8d93.jpg",[],{"id":104209,"slug":104210,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104211,"thumbUrl":104212,"material":84,"size":84,"collection":84,"collections":104213,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233608,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233608",[24,7,59,28209,27,169,5626,230,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F540a4b24eb0b0ed7bfc5d9df6b035cf8.jpg",[],{"id":104215,"slug":104216,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104217,"thumbUrl":104218,"material":84,"size":84,"collection":84,"collections":104219,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233604,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233604",[24,7,59,28209,27,188,1337,189,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb00a30313d352187a04f0ac8bfd8c3ea.jpg",[],{"id":104221,"slug":104222,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104223,"thumbUrl":104224,"material":84,"size":84,"collection":84,"collections":104225,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233601,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233601",[24,7,59,188,27,131,950,211,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca22e328cd1a066abd1b723b1b17467.jpg",[],{"id":104227,"slug":104228,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104229,"thumbUrl":104230,"material":84,"size":84,"collection":84,"collections":104231,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233600,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233600",[24,7,59,27,28209,188,29,131,6126,211,65934],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74edbd83f11bc15b1d5c09afefc3727d.jpg",[],{"id":104233,"slug":104234,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104235,"thumbUrl":104236,"material":84,"size":84,"collection":84,"collections":104237,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233596,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233596",[24,7,59,28209,27,331,1233,171,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc2a819e83abdad2eb571c86968d1fac.jpg",[],{"id":104239,"slug":104240,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104241,"thumbUrl":104242,"material":84,"size":84,"collection":84,"collections":104243,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233593,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233593",[124,24,7,59,28209,27,413,1314,1975],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15def0fd2f9e80c7e475bb92fc80b9ed.jpg",[],{"id":104245,"slug":104246,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104247,"thumbUrl":104248,"material":84,"size":84,"collection":84,"collections":104249,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233588,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233588",[24,7,59,128,188,96,1144,171,331,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd980a8067eafd4b76cd98fecc121eb32.jpg",[],{"id":104251,"slug":104252,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104253,"thumbUrl":104254,"material":84,"size":84,"collection":84,"collections":104255,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233576,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233576",[24,7,59,27,61,171,28209,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f6237d92a1d842a14d1e25b95c3e18c.jpg",[],{"id":104257,"slug":104258,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104259,"thumbUrl":104260,"material":84,"size":84,"collection":84,"collections":104261,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233566,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233566",[24,7,59,188,29,413,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be497db11dc05ebe741b7bd724b4270.jpg",[],{"id":104263,"slug":104264,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104265,"thumbUrl":104266,"material":84,"size":84,"collection":84,"collections":104267,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":4001},233563,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233563",[24,7,59,805,28209,27,188,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc020ea58599098ed715f831a86fa4436.jpg",[],{"id":104269,"slug":104270,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104271,"thumbUrl":104272,"material":84,"size":84,"collection":84,"collections":104273,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":4001},233560,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233560",[124,24,7,59,28209,27,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e0dde468ae8e05039964f8334181036.jpg",[],{"id":104275,"slug":104276,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104277,"thumbUrl":104278,"material":84,"size":84,"collection":84,"collections":104279,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233559,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233559",[24,7,59,27,28209,169,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80ec2ba57f2099f9099607600e2a4342.jpg",[],{"id":104281,"slug":104282,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104283,"thumbUrl":104284,"material":84,"size":84,"collection":84,"collections":104285,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233557,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233557",[124,24,7,59,28209,27,96,169,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa891e950823ba4526fe3a8ff7838fb2d.jpg",[],{"id":104287,"slug":104288,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104289,"thumbUrl":104290,"material":84,"size":84,"collection":84,"collections":104291,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233549,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233549",[24,7,59,28209,27,772,950,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3317c34b313b805d4ca4e00fca068f8c.jpg",[],{"id":104293,"slug":104294,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104295,"thumbUrl":104296,"material":84,"size":84,"collection":84,"collections":104297,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233548,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233548",[24,7,59,27,28209,28,2037,549,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb45e14aba54ef992b5a73debdf792589.jpg",[],{"id":104299,"slug":104300,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104301,"thumbUrl":104302,"material":84,"size":84,"collection":84,"collections":104303,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233525,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233525",[24,7,59,28209,27,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff52a5f279a2a0098c952677cc3c25207.jpg",[],{"id":104305,"slug":104306,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104307,"thumbUrl":104308,"material":84,"size":84,"collection":84,"collections":104309,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233517,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233517",[24,7,59,28209,27,169,12997],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3a2dc6d225a975705451daac0bd0563.jpg",[],{"id":104311,"slug":104312,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104313,"thumbUrl":104314,"material":84,"size":84,"collection":84,"collections":104315,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233514,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233514",[24,7,59,28209,27,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4695ee61844a9cb72a483cc7333c226.jpg",[],{"id":104317,"slug":104318,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104319,"thumbUrl":104320,"material":84,"size":84,"collection":84,"collections":104321,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233509,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233509",[24,7,59,28209,27,169,16612,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06a3a00e57a9bd0136115af0e8f4d397.jpg",[],{"id":104323,"slug":104324,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104325,"thumbUrl":104326,"material":84,"size":84,"collection":84,"collections":104327,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233508,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233508",[7,59,28209,27,169,16612,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa042d9054d5c4558cd5794861980c7f8.jpg",[],{"id":104329,"slug":104330,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104331,"thumbUrl":104332,"material":84,"size":84,"collection":84,"collections":104333,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233504,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233504",[164,24,7,59,28209,27,169,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23e5fab6684fea753100446104de8b6d.jpg",[],{"id":104335,"slug":104336,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104337,"thumbUrl":104338,"material":84,"size":84,"collection":84,"collections":104339,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233358,"shi-zhu-zhai-pu-ce-hu-ri-cong-233358",[24,7,59,128,371,375,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25cf7e81053790cc16e9fb058c54983e.jpg",[],{"id":104341,"slug":104342,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104343,"thumbUrl":104344,"material":84,"size":84,"collection":84,"collections":104345,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233356,"shi-zhu-zhai-pu-ce-hu-ri-cong-233356",[24,7,59,128,27,371,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58fd6bc56db3fa0e16d5447874e10c02.jpg",[],{"id":104347,"slug":104348,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104349,"thumbUrl":104350,"material":84,"size":84,"collection":84,"collections":104351,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233355,"shi-zhu-zhai-pu-ce-hu-ri-cong-233355",[24,7,59,128,27,132,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0f897e981c4fcc0805b03581ab18bd2.jpg",[],{"id":104353,"slug":104354,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104355,"thumbUrl":104356,"material":84,"size":84,"collection":84,"collections":104357,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233354,"shi-zhu-zhai-pu-ce-hu-ri-cong-233354",[24,7,59,128,27,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faade93ff1f2bd4f9c452ff314d70bf35.jpg",[],{"id":104359,"slug":104360,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104361,"thumbUrl":104362,"material":84,"size":84,"collection":84,"collections":104363,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233352,"shi-zhu-zhai-pu-ce-hu-ri-cong-233352",[24,7,59,128,188,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc107fdf63bfcc83a8568343016192104.jpg",[],{"id":104365,"slug":104366,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104367,"thumbUrl":104368,"material":84,"size":84,"collection":84,"collections":104369,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233351,"shi-zhu-zhai-pu-ce-hu-ri-cong-233351",[24,7,59,128,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58864d9953a6403f484b668fae9bf0a1.jpg",[],{"id":104371,"slug":104372,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104373,"thumbUrl":104374,"material":84,"size":84,"collection":84,"collections":104375,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233350,"shi-zhu-zhai-pu-ce-hu-ri-cong-233350",[24,7,59,28,128,27,171,1771,208,805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17864883c7033a4ff0cb6157831b3d5b.jpg",[],{"id":104377,"slug":104378,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104379,"thumbUrl":104380,"material":84,"size":84,"collection":84,"collections":104381,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233345,"shi-zhu-zhai-pu-ce-hu-ri-cong-233345",[24,7,59,128,27,171,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca0abdbde8ec0cd642b95ebc302eb91.jpg",[],{"id":104383,"slug":104384,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104385,"thumbUrl":104386,"material":84,"size":84,"collection":84,"collections":104387,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233344,"shi-zhu-zhai-pu-ce-hu-ri-cong-233344",[164,24,7,59,27,171,208,188,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7b2c48c791f1a73aeb181a6c0b9e84b.jpg",[],{"id":104389,"slug":104390,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104391,"thumbUrl":104392,"material":84,"size":84,"collection":84,"collections":104393,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233343,"shi-zhu-zhai-pu-ce-hu-ri-cong-233343",[24,7,59,128,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e1668eaa5f91f77709dfa0a7517d980.jpg",[],{"id":104395,"slug":104396,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104397,"thumbUrl":104398,"material":84,"size":84,"collection":84,"collections":104399,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233342,"shi-zhu-zhai-pu-ce-hu-ri-cong-233342",[24,7,59,27,128,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F046815acbeca2e880bebbab773d8948a.jpg",[],{"id":104401,"slug":104402,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104403,"thumbUrl":104404,"material":84,"size":84,"collection":84,"collections":104405,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233341,"shi-zhu-zhai-pu-ce-hu-ri-cong-233341",[24,7,59,27,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb25d8be5187f97a1b72b277d9cbf614.jpg",[],{"id":104407,"slug":104408,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104409,"thumbUrl":104411,"material":84,"size":84,"collection":84,"collections":104412,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233340,"shi-zhu-zhai-pu-ce-hu-ri-cong-233340",[24,7,59,27,28209,208,104410,6640],"菌类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F787b5e889d8d58279a6136d2a6746b9c.jpg",[],{"id":104414,"slug":104415,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104416,"thumbUrl":104417,"material":84,"size":84,"collection":84,"collections":104418,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233339,"shi-zhu-zhai-pu-ce-hu-ri-cong-233339",[164,24,7,59,128,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F040572bede82abfe2f653b739c5811bc.jpg",[],{"id":104420,"slug":104421,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104422,"thumbUrl":104423,"material":84,"size":84,"collection":84,"collections":104424,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233338,"shi-zhu-zhai-pu-ce-hu-ri-cong-233338",[164,24,7,59,128,27,132,171,375,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda011f1739e4521e59e1add2fe88d2b0.jpg",[],{"id":104426,"slug":104427,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104428,"thumbUrl":104429,"material":84,"size":84,"collection":84,"collections":104430,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233337,"shi-zhu-zhai-pu-ce-hu-ri-cong-233337",[24,7,59,27,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb25f7e48d451cde642d52314c5bc27cd.jpg",[],{"id":104432,"slug":104433,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104434,"thumbUrl":104435,"material":84,"size":84,"collection":84,"collections":104436,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233331,"shi-zhu-zhai-pu-ce-hu-ri-cong-233331",[24,7,59,128,27,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff490adf82fb0a24ba5b3383d8f623088.jpg",[],{"id":104438,"slug":104439,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104440,"thumbUrl":104441,"material":84,"size":84,"collection":84,"collections":104442,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233317,"shi-zhu-zhai-pu-ce-hu-ri-cong-233317",[24,7,59,128,61,371,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6edf44de823f211aa921061f3762347.jpg",[],{"id":104444,"slug":104445,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104446,"thumbUrl":104447,"material":84,"size":84,"collection":84,"collections":104448,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233316,"shi-zhu-zhai-pu-ce-hu-ri-cong-233316",[24,7,59,128,61,371,211,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3547cadf6c5b04a660d64102e08ef698.jpg",[],{"id":104450,"slug":104451,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104452,"thumbUrl":104453,"material":84,"size":84,"collection":84,"collections":104454,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233315,"shi-zhu-zhai-pu-ce-hu-ri-cong-233315",[24,7,59,27,28,61,355,547,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31232d59e22bf9f4be039b0d7ae01081.jpg",[],{"id":104456,"slug":104457,"title":54369,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":104458,"thumbUrl":104459,"material":84,"size":84,"collection":84,"collections":104460,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233278,"shi-zhu-zhai-pu-ce-hu-ri-cong-233278",[24,7,59,128,167,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa89922fd452732363497873b6ddbe07c.jpg",[],{"id":104462,"slug":104463,"title":3717,"dynasty":54,"author":22607,"museum":20,"description":61325,"tags":104464,"thumbUrl":104465,"material":734,"size":61328,"collection":84,"collections":104466,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233155,"huang-shan-tu-ce-mei-qing-233155",[24,7,59,128,132,29,171,37,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8e263c5152f071c8c08bf320f732ccb.jpg",[],{"id":104468,"slug":104469,"title":63529,"dynasty":54,"author":223,"museum":20,"description":63530,"tags":104470,"thumbUrl":104471,"material":734,"size":63534,"collection":84,"collections":104472,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},233049,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-233049",[24,7,27,28,96,101,1743,29,31,496,11074],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2fc4d78ac787b3c0e3cb6d6612f123c.jpg",[],{"id":104474,"slug":104475,"title":104476,"dynasty":124,"author":104477,"museum":300,"description":104478,"tags":104479,"thumbUrl":104480,"material":611,"size":104481,"collection":84,"collections":104482,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},232824,"qi-yan-shi-li-zhou-yang-ji-sheng-232824","七言诗立轴","杨继盛","杨继盛（1516年6月16日 [1] －1555年），字仲芳，号椒山。直隶容城（今河北容城县北河照村）人。明朝中期著名谏臣。\n嘉靖二十六年（1547年），杨继盛登进士第，初任南京吏部主事，师从南京吏部尚书韩邦奇学习律吕。后官兵部员外郎。因上疏弹劾仇鸾开马市之议，被贬为狄道典史。其后被起用为诸城知县，迁南京户部主事、刑部员外郎，调兵部武选司员外郎。\n嘉靖三十二年（1553年），上疏力劾严嵩“五奸十大罪”，遭诬陷下狱。在狱中备经拷打，终于嘉靖三十四年（1555年）遇害，年四十。明穆宗即位后，以杨继盛为直谏诸臣之首，追赠太常少卿，谥号“忠愍”，世称“杨忠愍”。后人以其故宅改庙以奉，尊为城隍。有《杨忠愍文集》。",[23,7,165,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F573795b0f9d64d449ca68fae739f1e31.jpg","95×27cm",[],{"id":104484,"slug":104485,"title":104486,"dynasty":222,"author":104487,"museum":300,"description":104488,"tags":104489,"thumbUrl":104490,"material":692,"size":1293,"collection":84,"collections":104491,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},231842,"chun-ri-quan-xian-yan-ji-hui-tu-juan-9-gao-jie-long-jian-231842","春日権现验记 绘图卷-9","高阶隆兼","镰仓时代 传高阶隆兼(活跃于1309-1330年)",[23,164,7,25,27,96,101,758,187,76894,17540],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc72421c1d6759f4e6f4b4a77cf7b2b0.jpg",[],{"id":104493,"slug":104494,"title":104495,"dynasty":222,"author":223,"museum":300,"description":104496,"tags":104497,"thumbUrl":104498,"material":692,"size":1293,"collection":84,"collections":104499,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},231811,"ri-guang-shan-tu-xia-juan-yi-ming-231811","日光山图下卷","此作为全景纪行山水，以鸟瞰视角铺展河岳胜状。蜿蜒江流以流畅往复的曲线摹写水势回旋奔涌，浪纹层叠尽显烟波灵动。两岸峰石以淡墨勾廓，青灰敷色晕出山峦肌理，苍松错落植于崖畔坡地，笔致简雅秀润。\n\n整作兼具纪实性与抒情意趣，既摹绘出河湾萦回的实景地貌，又以浅设色晕染出林泉幽深的雅境，江流回转间尽显造化灵韵，淡彩轻岚晕开静穆清旷的古意，暗含悠远超脱的林下襟怀。",[23,24,7,25,27,29,31,496,1144,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0953a25ed12ed128374d5b5a49110ac6.jpg",[],{"id":104501,"slug":104502,"title":104503,"dynasty":222,"author":223,"museum":300,"description":104504,"tags":104505,"thumbUrl":104506,"material":692,"size":1293,"collection":84,"collections":104507,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},231796,"chun-ri-ji-li-xing-fu-xing-shi-zhong-juan-yi-ming-231796","春日祭礼兴福行事中卷","这卷长卷以细密的叙事铺陈出祭礼游行全景，行列从左向右次第铺展，节律井然。开篇是制式严整的幡旗仪仗，执役者衣饰齐整肃穆，旁题墨字标注职守，尽显武家仪典的规整威仪。\n中段渐入鲜活世相，随行人员衣色渐趋丰富，神态舒展各异，带着市井的烟火暖意。末段礼祭核心仪仗尽显隆重，兵器幡幢形制琳琅，色彩明快醒目，抬舆队列庄重威严，完整复刻出这场祭礼的盛大仪轨，将武家礼制与民俗祭典的融合尽显纸上。",[23,24,7,25,27,96,28,5626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba2cc0cbf58883d46c35d6edb45ba1e8.jpg",[],{"id":104509,"slug":104510,"title":104511,"dynasty":222,"author":17928,"museum":300,"description":92608,"tags":104512,"thumbUrl":104513,"material":692,"size":1293,"collection":84,"collections":104514,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},231783,"xin-gui-shan-yuan-qi-hui-juan-3-niao-yu-seng-zheng-jue-you-231783","信贵山缘起绘卷-3",[23,7,25,27,128,29,10280,34,211,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc95963f964a4df718b94fa44e04db5f1.jpg",[],{"id":104516,"slug":104517,"title":104518,"dynasty":222,"author":223,"museum":300,"description":104519,"tags":104520,"thumbUrl":104521,"material":692,"size":1293,"collection":84,"collections":104522,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},231778,"gu-hua-fen-ben-hua-ce-yi-ming-231778","古画粉本 画册","此作为水墨写意小品，笔简意丰。淡墨寥寥勾勒出驴子缓步的情态，形神兼备，简劲空灵。老者身披浅黄衣衫，造型稚拙古雅，神态悠然超脱。画面奇趣横生，将扁舟置于老者头顶，打破日常图景，揉合出行与泛舟的意象，带着老庄式的出世逍遥，尽显世外高人的放旷襟怀。浅淡设色与水墨晕染相映，留白舒朗宽和，以极简笔墨铺陈出悠远禅韵，把东方写意的留白美学发挥尽致，随性天真的笔意中，藏着文人画独有的清逸玄思，予人悠长遐思。",[23,24,7,59,128,27,96,101,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2c10766e1f1a1ce84d1a9033d6f85c0.jpg",[],{"id":104524,"slug":104525,"title":104526,"dynasty":222,"author":223,"museum":300,"description":104527,"tags":104528,"thumbUrl":104529,"material":692,"size":1293,"collection":84,"collections":104530,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},231774,"mu-hu-xiao-yun-shu-jian-juan-yi-ming-231774","木戸孝允书简卷","这件草书手卷以信札为载体，笔墨肆意奔放，线条枯润交叠，笔力苍劲圆畅。字势欹侧相生，行气连贯自然，牵丝映带间尽显草书的写意韵致。\n\n书写随性洒脱，带着尺牍独有的日常温度，字里行间可见挥毫时的情绪起伏，疏密排布毫无板滞之感，将文人尺牍的随性与书法章法融为一体，尽显率真朴拙的书卷意气。虽为日常书简，却不失为颇具法度又灵动的草书佳构，笔墨藏着书写时的松弛心境，尽显传统手札书法的独特意趣。",[23,7,64,25,840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F059912561a2be8253a160cc0650543b1.jpg",[],{"id":104532,"slug":104533,"title":104534,"dynasty":222,"author":223,"museum":300,"description":104535,"tags":104536,"thumbUrl":104537,"material":692,"size":1293,"collection":84,"collections":104538,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},231772,"mu-xia-wen-shu-juan-li-qing-cheng-qing-xian-sheng-yi-mo-yi-ming-231772","木下文书卷-立卿成卿先生遗墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[23,7,25,64,133,840,611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb74c757e73c2b0d731022f92553f47b.jpg",[],{"id":104540,"slug":104541,"title":104542,"dynasty":222,"author":223,"museum":300,"description":104543,"tags":104544,"thumbUrl":104545,"material":692,"size":1293,"collection":84,"collections":104546,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},231761,"yuan-zhou-ban-qie-wen-bing-zong-ba-shu-jian-yi-ming-231761","远州半切文并宗巴书简","此为合装的两帧尺牍手卷。左侧长卷笔势牵丝映带，纵逸连贯，线条枯润相生，字形欹侧跌宕，将日常尺牍的松弛意趣融于笔墨流转间，随性自在。\n\n右侧短幅更为简率开张，字形错落排布，墨色酣畅饱满，落笔迅疾烂漫，藏露锋颖随心切换。古纸的岁月斑驳让笔墨更添朴拙古雅，朱红印信点缀素纸，墨痕朱印相映，尽显古笔草书萧散野逸的格调，将文人尺牍的日常随性与书法的抒情性融为一体，浸着旧时光里清雅的文人气韵。",[23,64,25,840,133,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf4cef5929dd921b4f1cb497441dad54.jpg",[],{"id":104548,"slug":104549,"title":104550,"dynasty":222,"author":223,"museum":300,"description":104551,"tags":104552,"thumbUrl":104553,"material":692,"size":1293,"collection":84,"collections":104554,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},231760,"yi-neng-zhong-jing-li-zhou-yi-ming-231760","伊能忠敬立轴","青绿素绫配褐棕镶边，装裱古雅沉静，衬得素宣墨色愈发温润清透。通篇小楷清瘦劲挺，字字端稳匀净，行气舒展连贯，毫无板滞匠气。行间小字批注错落排布，疏密相生，带着手札独有的随性松弛，暗合书写时的自然心绪。收尾朱印一点，点亮整幅素净画面，晕开旧时光里的手泽温度。笔墨间藏着沉静的书写意趣，内敛古雅，兼具文书底蕴与书法审美价值。",[23,24,7,165,64,133,21937,938,840,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52668dc4e5ab653c6058332fd396f347.jpg",[],{"id":104556,"slug":104557,"title":104558,"dynasty":222,"author":223,"museum":300,"description":104559,"tags":104560,"thumbUrl":104561,"material":692,"size":1293,"collection":84,"collections":104562,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},231750,"jiang-hu-shi-dai-za-hua-ce-yi-ming-231750","江户时代杂画册","这幅白描奔马以凝练铁线勾勒形神。四蹄腾空的骏马，鬃尾随着疾风肆意飞扬，将疾驰的动感全然定格。画家舍弃繁复晕染，仅以洗练笔触，便把骏马肌肉起伏的张力、奔腾时的矫健身姿尽显无遗。寥寥数笔勾勒下，骏马御风疾驰的野性与灵动呼之欲出，留白的构图更延展了遐想空间，仿佛能听见马蹄踏破长风的脆响，尽显写意白描以形写神的精妙魅力，将奔马脱缰飞驰的蓬勃生命力永远定格在纸面之上。",[23,24,7,59,188,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8f84ea8b9dfab98ac6ce0048c9312f.jpg",[],{"id":104564,"slug":104565,"title":104566,"dynasty":222,"author":223,"museum":300,"description":104567,"tags":104568,"thumbUrl":104569,"material":692,"size":1293,"collection":84,"collections":104570,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},231727,"lian-cang-shi-dai-tian-gou-cao-zhi-ci-shu-yan-li-si-juan-yi-ming-231727","镰仓时代 天狗草纸词书延历寺卷","此卷以蓝褐晕染仿云石纹作底，水纹漫卷如云似浪晕开古雅底色。和样草书随性铺陈，墨色苍润灵动，线条舒展跳脱，兼具手札书写的松弛自在，又带着写经书法的沉静法度。字势随底色纹理错落排布，文字与背景浑然相融，将抄录文本化为流动的视觉诗篇，藏着中古东瀛艺文的幽玄意趣，尽显彼时书风的随性雅韵。",[25,7,64,840,27,29,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa24626224e7722161fd40d2d77af2042.jpg",[],{"id":104572,"slug":104573,"title":104574,"dynasty":222,"author":223,"museum":300,"description":104575,"tags":104576,"thumbUrl":104577,"material":692,"size":1293,"collection":84,"collections":104578,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},231715,"jiang-hu-shi-qi-shu-hua-he-juan-yi-ming-231715","江户时期 书画合卷","此作为书画合璧之卷，右幅绘临水古松虬曲苍劲，朱衣士人凭松而立，静览沧波。青绿淡敷远山浅岸，浪纹层叠带着古朴和风意趣，人物形神悠然，尽显幽寂闲雅的林下之致。左侧假名书法笔势舒展流丽，墨韵与画意呼应相融，整体设色温婉古雅，晕开清寂悠远的侘寂之美，书画相映间尽显旧时风雅意趣。",[23,7,25,840,27,96,29,4505,497,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febadd9c0467b29075d6488fc52a1c20f.jpg",[],{"id":104580,"slug":104581,"title":104582,"dynasty":222,"author":223,"museum":300,"description":104583,"tags":104584,"thumbUrl":104585,"material":692,"size":1293,"collection":84,"collections":104586,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},231705,"jiang-hu-shi-qi-shan-shui-ren-wu-juan-yi-ming-231705","江户时期 山水人物卷","这卷绘作融书画为一体，右侧设色山水清隽雅致，金箔晕染出水岸朦胧柔光，苍松石崖静立汀洲，笔墨轻简却带着幽远空寂的意境。左侧手书墨色温润柔雅，与绘景相映成趣，留白处金箔碎点如沙洲浮絮，晕开慵懒闲淡的侘寂氛围。整体将山水幽居之静与文思雅韵相融，淡墨轻色间藏着和风独有的闲寂意趣，晕染出一卷清和悠远的林下幽思。",[23,24,7,25,27,29,96,1144,64,133,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2414dbd1ce707a942ef33860aad41545.jpg",[],{"id":104588,"slug":104589,"title":104590,"dynasty":222,"author":223,"museum":300,"description":104591,"tags":104592,"thumbUrl":104593,"material":84,"size":84,"collection":84,"collections":104594,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},231693,"er-lao-tu-zhou-yi-ming-231693","二老图轴","此作以水墨写意铺就闲雅图景，淡墨晕染出郊野空寂底色，垂柳枝桠以枯笔扫就，简劲纵逸，疏疏几笔便牵惹出春日郊林的柔寂意韵。\n\n二老鬓发皤然，侧身凑首共览书卷，衣纹以顿挫简练的线条勾勒，宽袍博带的古雅身形呼之欲出，二人凝神静览，似为卷中字句沉醉，将忘机论道的悠然尽显。稚童垂手侍立身侧，更添松弛闲静。全作以少胜多，以简驭繁，淡墨氤氲间藏起林下雅集的隐逸真趣，把文人耽于文卷、寄情丘壑的雅致心境融于毫端。",[23,24,7,165,128,369,96,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc94e9be5995804e8d4ebe01e80791e08.jpg",[],{"id":104596,"slug":104597,"title":104598,"dynasty":222,"author":223,"museum":300,"description":104599,"tags":104600,"thumbUrl":104602,"material":692,"size":1293,"collection":84,"collections":104603,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},231649,"ji-shi-tu-juan-yi-ming-231649","记事图卷","此卷以清隽墨线勾勒世情百态，淡彩敷色古雅沉着，将中古日常铺展于泛黄绢素之上。画面人物排布错落有致，峨冠贵族席坐清谈，役人各司其职营生劳作，稚童嬉闹穿行其间，鲜活意趣藏于笔底。\n\n线条秀逸简练，带着古拙笔意，斑驳岁月痕迹里，留白与叙事交织，静静晕开市井烟火的松弛暖意，仿佛将千年前的寻常街巷铺展于眼前，让观者在古旧的温雅质感里，触摸到往昔平和的日常肌理。",[24,7,25,27,28,96,170,169,104601,711],"使用","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21abec46f773453097cc484606a57dcc.jpg",[],{"id":104605,"slug":104606,"title":104607,"dynasty":222,"author":67815,"museum":300,"description":67816,"tags":104608,"thumbUrl":104609,"material":692,"size":1293,"collection":84,"collections":104610,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},231640,"shi-ting-shi-dai-tao-jing-zhi-quan-xiang-tu-zuo-guang-xin-231640","室町时代 桃井直诠像",[24,7,165,27,96,1144,1367,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceb0291c0fa26cf81ea3b414ab00eb4d.jpg",[],{"id":104612,"slug":104613,"title":104614,"dynasty":222,"author":223,"museum":300,"description":104615,"tags":104616,"thumbUrl":104619,"material":692,"size":1293,"collection":84,"collections":104620,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},231639,"ping-an-shi-dai-ao-zhi-xi-dao-tu-juan-shang-juan-yi-ming-231639","平安时代 奥之细道图卷上卷","此卷以书为骨，以绘为韵，行草笔墨流丽舒朗，排布疏密得宜，墨色温雅古润，满卷漾着清逸书卷气。其间点缀设色小景与人物，线条简淡写意，晕染柔雅清和，将行旅心绪与沿途风物悄然融于纸间。文图相映成趣，既是一卷书法长轴，亦是一帧叙事绘卷，缓缓铺展出行途里的幽怀见闻，旧纸晕开的岁月质感里，藏着往昔漫游的风雅意趣，让千里行旅的悠悠况味，随笔墨缱绻流淌。",[25,7,840,27,96,2620,104617,369,128,6656,104618],"风物","书卷气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0af89c2ede874d3ec6811ddc9386a1e0.jpg",[],{"id":104622,"slug":104623,"title":104624,"dynasty":222,"author":223,"museum":300,"description":104625,"tags":104626,"thumbUrl":104627,"material":692,"size":1293,"collection":84,"collections":104628,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},231638,"ping-an-shi-dai-ao-zhi-xi-dao-tu-juan-xia-juan-yi-ming-231638","平安时代 奥之细道图卷下卷","此卷书画合璧，通篇以狂放行草铺陈，笔墨枯湿浓淡富于层次变化，笔势游走如龙蛇奔跃，满卷文字排布繁密却错落随性，自带舒展悠然的文人意趣。卷中缀以淡墨设色的小景与人物，茅舍山居、林下高士皆以简笔勾勒，敷色清浅柔和，寥寥数笔便神形兼备，让满卷文辞多了具象的诗意落点。文辞与绘事相映成趣，将纪行意韵与丹青雅趣相融，笔墨间漫溢古朴清寂的禅意，尽显古典长卷的雅致情致。",[25,7,128,188,96,64,19470],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed284fe5eb9b13f22338fa3c6c6085e2.jpg",[],{"id":104630,"slug":104631,"title":104632,"dynasty":222,"author":67864,"museum":300,"description":67865,"tags":104633,"thumbUrl":104634,"material":692,"size":1293,"collection":84,"collections":104635,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},231631,"shi-ting-shi-dai-zhu-zhai-du-shu-tu-zhou-wen-231631","室町时代 竹斋读书图",[24,7,165,128,133,208,29,171,331,167,96,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed4952e7551ba4aa4ca15319a1c60d38.jpg",[],{"id":104637,"slug":104638,"title":104639,"dynasty":222,"author":98631,"museum":300,"description":104640,"tags":104641,"thumbUrl":104642,"material":692,"size":1293,"collection":84,"collections":104643,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},231605,"yong-fu-hua-tie-3-ce-ce-yi-shan-tian-zhi-san-lang-231605","雍府画帖.3册（册一）","浅米纸色晕着柔淡石青余韵，古旧拓痕似偶然留存的残饰遗影。卷草虬结缠绕，线条婉转舒展，带着复古装饰的柔雅肌理。朦胧晕染的边缘消解了规整感，如同旧物辗转间留下的温柔印刻，在素朴纸面上晕开松弛沉静的氛围。\n\n全幅无浓艳着色，凭淡色余痕传递旧时光里的精致，将装饰纹样的华丽隐在浅淡朦胧中。简淡里藏着细腻工艺的余温，仿佛带着旧物摩挲过的温润质感，让静态纸面漫开悠悠复古意趣。",[7,59,27,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F129f77ef5c0c8022bdfe4d5809b38d4e.jpg",[],{"id":104645,"slug":104646,"title":104647,"dynasty":222,"author":98631,"museum":300,"description":104648,"tags":104649,"thumbUrl":104650,"material":692,"size":1293,"collection":84,"collections":104651,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},231604,"yong-fu-hua-tie-3-ce-ce-er-shan-tian-zhi-san-lang-231604","雍府画帖.3册册二）","淡赭色纸面晕着经年旧痕，浅绿拓印纹样如被时光揉碎的古雅碎片。卷草缠枝婉转舒展，柔丽线条带着斑驳残缺，似古砖旧瓦上的纹饰偶然留存。朦胧晕染色块消解了边界，将古韵融在松弛留白里，未做满幅铺陈，只以残痕传递沉静悠远的美感，将旧时光里的温柔意绪悄然定格，带着侘寂的沉静诗意，仿若一场跨越岁月的温柔邂逅，把古朴雅致的美学藏在朦胧晕染之间。",[7,59,128,27,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0c739bed165ec9297231eeb38863564.jpg",[],{"id":104653,"slug":104654,"title":58826,"dynasty":124,"author":99052,"museum":300,"description":104655,"tags":104656,"thumbUrl":104657,"material":84,"size":84,"collection":84,"collections":104658,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},231012,"hua-shou-xing-feng-xiao-231012","淡墨轻晕，慢笔勾染出老翁风神。面庞圆润褶皱舒缓，垂髯飘洒，眼含温笑，褪去仙道的凌虚高渺，尽显乡野隐者的矍铄亲和。衣纹以游丝铁线勾勒，朴拙灵动，粗麻短褐、草履造型写实，全然不见仙官华贵，俨然市井间悠游的寻常老者。\n画面搭配长篇馆阁体题咏，笔墨端稳秀雅，与人物笔意呼应相融。弃用仙桃、灵鹤这类俗套瑞物，借题咏讲述老翁醉游京师的异闻，寄寓天下康宁、与民同寿的祈愿，是雅俗相融的祝寿佳构。",[24,7,165,27,96,28,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd208b1f49ed4e564b4213a951a123af.jpg",[],{"id":104660,"slug":104661,"title":2267,"dynasty":54,"author":62318,"museum":300,"description":104662,"tags":104663,"thumbUrl":104664,"material":84,"size":84,"collection":84,"collections":104665,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},230916,"fang-gu-shan-shui-tu-cheng-fang-230916","此作取法高克恭，以淡墨晕染崖壁，浓墨点簇峰顶林木，勾勒出山崖雄峻之势，留白铺陈云气，衬出山巅空濛高远。临水处林木蓊郁，两间吊脚山居错落其间，朴拙雅致，尽得幽居野趣。\n\n整幅水墨简淡疏朗，以少胜多，将栖林遁世的闲雅襟怀藏于笔墨之间，淡墨轻皴里漾着出尘静谧的林下之风，意韵悠长，尽显文人画寄情山水的悠然意趣。",[24,7,128,2271,132,29,413,131,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4066cf35e26ef6ff299f9fad3ad8cd14.jpg",[],{"id":104667,"slug":104668,"title":104669,"dynasty":222,"author":223,"museum":300,"description":104670,"tags":104671,"thumbUrl":104672,"material":692,"size":1293,"collection":84,"collections":104673,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},230834,"da-bo-re-bo-luo-mi-duo-jing-juan-yi-ming-230834","大般若波邏蜜多經卷","泥金底色沉穆温润，墨色如点漆，通篇小楷排布齐整、行气匀停。起收含蓄内敛，笔画圆融饱满，不见潦草轻浮，尽显写经时的恭敬端严。笔墨间浸着安定清宁的禅意，将宗教仪轨的肃穆与书法的文雅融为一体。观之令人心绪沉静，仿佛能窥见抄经人澄澈无杂的书写心境，是写经书法里的上乘之作。",[64,7322,572,25,187,5459,8162,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63727f9664f70ee7f6c32e4f596e84be.jpg",[],{"id":104675,"slug":104676,"title":104677,"dynasty":222,"author":223,"museum":300,"description":104678,"tags":104679,"thumbUrl":104680,"material":692,"size":1293,"collection":84,"collections":104681,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":615},230829,"yu-zhi-mi-cang-quan-juan-di-shi-san-yi-ming-230829","禦製秘藏詮卷第十三","此作为楷书写经长卷，结体方正端稳，笔墨匀净秀雅。通篇排布齐整疏朗，字距行距错落合宜，气息庄严肃穆，尽显抄写时的恭谨虔诚。\n\n笔下笔墨凝练，笔力内敛沉稳，起收顿挫皆恪守法度，既有写经书法的典型规整意趣，又蕴含着沉静平和的禅意。墨色匀停无燥笔枯痕，将经文的肃穆内核与书法清雅气韵相融，字字端然暗含禅心，尽显古朴庄重的写经美学意韵。",[7,572,29,34,31,5459,64,187,25,28,24769],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45937a352c6a710af15a65ed9cfc3276.jpg",[],{"id":104683,"slug":104684,"title":104685,"dynasty":222,"author":223,"museum":300,"description":104686,"tags":104687,"thumbUrl":104688,"material":692,"size":1293,"collection":84,"collections":104689,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},230798,"da-bo-re-bo-luo-mi-duo-jing-juan-yi-ming-230798","大般若波罗蜜多经卷","此卷小楷写经笔致匀净秀雅，点画凝练端稳，通篇字字排布齐整，行气舒展贯通，尽显写经特有的沉静恭谨之气。书写者以至诚之心抄写般若经文，笔笔到位毫无懈怠，笔墨间饱含对佛法的敬奉。历经岁月洗礼，纸面虽泛黄残损，却更添古雅厚重的质感，静定禅意藏于工整点画之间，将宗教肃穆融于笔墨法度，尽显写经书法特有的端雅气韵。",[7,64,7322,25,5459,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa38272d3d33af2a157c48df78514930e.jpg",[],{"id":104691,"slug":104692,"title":104693,"dynasty":222,"author":65586,"museum":300,"description":65587,"tags":104694,"thumbUrl":104695,"material":151,"size":1293,"collection":84,"collections":104696,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},230572,"na-ga-xi-na-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230572","那伽犀那尊者",[23,24,7,27,28,165,187,96,949,413,131,355,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F144e096f3784ea482d460f180abc7a29.jpg",[],{"id":104698,"slug":104699,"title":104700,"dynasty":222,"author":65586,"museum":300,"description":65587,"tags":104701,"thumbUrl":104702,"material":151,"size":1293,"collection":84,"collections":104703,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},230568,"fa-du-luo-fu-duo-luo-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230568","伐阇罗弗多罗尊者",[23,24,7,27,28,187,96,234,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8dfdc68d27084d30a5d0fecce139c15.jpg",[],{"id":104705,"slug":104706,"title":104707,"dynasty":222,"author":65586,"museum":300,"description":65587,"tags":104708,"thumbUrl":104709,"material":151,"size":1293,"collection":84,"collections":104710,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},230566,"bo-tuo-luo-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230566","跛陀罗尊者",[23,24,7,165,187,28,27,96,5490,949,81,171,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4f361ef0328a78a64e1136188ce9c11.jpg",[],{"id":104712,"slug":104713,"title":104714,"dynasty":222,"author":65586,"museum":300,"description":65587,"tags":104715,"thumbUrl":104716,"material":151,"size":1293,"collection":84,"collections":104717,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},230564,"su-pin-tuo-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230564","苏频陀尊者",[23,24,7,165,187,27,28,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F184b327ff8d97c9c0db00cc9edff2d25.jpg",[],{"id":104719,"slug":104720,"title":104721,"dynasty":222,"author":223,"museum":300,"description":104722,"tags":104723,"thumbUrl":104724,"material":692,"size":1293,"collection":84,"collections":104725,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},230552,"ming-qing-gu-hua-fen-ben-3-qian-ye-hua-hui-ren-wu-juan-yi-ming-230552","明清古画粉本-3-乾也 花卉人物卷","此作用笔清简秀雅，以水墨晕染花木。折枝花以淡墨写枝，浓墨点染叶片，花瓣勾勒留白，清雅通透，将花枝柔婉之态尽显。右侧水仙以长短错落的墨叶写出舒展之姿，淡墨点瓣，意态悠然空灵。\n\n画面留白充足，尽显疏淡悠远的文人意趣。钤印与题字点缀其间，和画面融为一体，寥寥数笔便将花木的温婉雅致全然带出，尽显水墨写意以形写神的韵味，藏着东方水墨特有的极简禅意与清雅风骨。",[23,24,7,25,128,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F732d6261bfe3291470a755551af6c91e.jpg",[],{"id":104727,"slug":104728,"title":104729,"dynasty":54,"author":223,"museum":300,"description":104730,"tags":104731,"thumbUrl":104732,"material":692,"size":1293,"collection":84,"collections":104733,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},229087,"wen-ning-shu-xun-zhu-kai-peng-ce-ye-yi-ming-229087","文宁书「训著闿抨」册页","此作为泥金笺小楷，墨色乌亮莹润，与华贵底色相映成趣。书写端雅恭谨，点画精劲匀净，结体方正秀逸，通篇排布齐整疏朗，兼具馆阁体的严整法度与温润静穆的书卷意韵。笔笔不苟，锋棱内敛，将书写时的恭谨心态融于笔墨细节，字字安稳平和，尽显清逸雅致的台阁书风特质，是清代小楷工整一路的典型风貌。",[7,59,572,27,64,5459,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22bfd54ac54aafe102b17fe8860c84e3.jpg",[],{"id":104735,"slug":104736,"title":104737,"dynasty":54,"author":223,"museum":300,"description":104738,"tags":104739,"thumbUrl":104740,"material":692,"size":1293,"collection":84,"collections":104741,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},229074,"fan-gong-zhang-se-tu-ce-yi-ming-229074","燔功彰色图册","此作以宋汝窑舟形笔洗为主体，天青釉色莹润如凝脂，尽显宋瓷极简风雅。画面以缠枝纹作边框，朱红古印错落排布，古意盎然。下方工整小楷详述笔洗形制与釉色妙处，考据精细，将器物赏鉴与书画意趣相融。\n\n整体静穆清丽，装裱考究，既还原名窑古器的沉静之美，又以题跋印信烘托出浓郁文人雅韵，是赏瓷与艺文结合的精妙小品，尽显东方传统器物美学的温润内敛。",[164,24,7,59,27,12997,169,64,208,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa124bfaf58691b2504436d8643014331.jpg",[],{"id":104743,"slug":104744,"title":98785,"dynasty":54,"author":33849,"museum":300,"description":104745,"tags":104746,"thumbUrl":104747,"material":692,"size":1293,"collection":84,"collections":104748,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":956},229053,"qing-long-yue-wu-ce-qing-ren-229053","此作为黑漆底泥金书册页，回纹边框环饰，规整雅致尽显庄重礼制底色。汉满双语并列排布，汉文字笔势端凝厚重，满文线条劲挺匀整，泥金在乌沉漆色映衬下愈显华贵夺目。\n\n整幅排版匀齐严整，将文书的肃穆规制与髹饰工艺结合，笔墨间承载着仪典的厚重意蕴，尽显宫廷制式的严谨华贵，是清代礼仪文书与传统装帧髹饰工艺融合的精品，于寸尺之间尽显庄重仪范之美。",[7,64,59,39681,572,27,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ed7a4d9bddc9ab4b41d1708978da9dc.jpg",[],{"id":104750,"slug":104751,"title":104752,"dynasty":54,"author":23303,"museum":300,"description":104753,"tags":104754,"thumbUrl":104755,"material":84,"size":84,"collection":84,"collections":104756,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},228962,"dong-shan-hua-ce-shu-shu-ji-ti-dong-bang-da-228962","东山画册(舒树基题)","此作用浅绛设色写秋日湖山，以平远章法铺陈意境。留白为湖，水天相融，远山以淡墨晕染，空灵朦胧；近山石骨以枯笔皴擦，苍朴松秀，间缀丹黄点染秋叶，晕开清浅秋意。\n\n岸边杂木疏朗，枝桠简劲，残叶挂梢尽显萧寒疏淡。湖畔草庐临水而栖，孑然独立，暗合林泉高致的隐逸之思。整幅笔墨简净松灵，不做繁复刻画，以淡墨轻色营造出萧散空寂的文人心境，尽显清逸雅趣，将秋山静水的幽寂之美娓娓道来。",[24,7,59,128,27,29,1337,229,33,99,130,34,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1471484eaca0742ecb66abf0c643e65e.jpg",[],{"id":104758,"slug":104759,"title":104760,"dynasty":54,"author":223,"museum":300,"description":104761,"tags":104762,"thumbUrl":104763,"material":84,"size":84,"collection":84,"collections":104764,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},228934,"qing-yuan-ben-qin-can-tu-juan-yi-tan-yi-ming-228934","清院本亲蚕图卷 诣坛","此作工笔设色雅致秀润，以河畔宫墙铺展亲蚕仪典的肃穆图景。春柳苍松点染融融春意，淡赭水晕晕开清远氛围。青袍乌帽的官员按序伫立，仪仗俨然，将宫廷仪轨的规整庄重尽数铺陈。\n\n画师笔触精工写实，宫墙的规制细节、人物的恭谨神态皆刻画入微，既还原典制细节，又以柔婉春色柔化朝仪肃穆，于纪实叙事中晕染出古典院画特有的典雅质感，礼制威仪与工笔雅韵相融，尽显传统纪实院画的精妙手笔。",[24,7,164,25,28,27,96,758,34,3600,5323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4faf56ec5bc74fbcc1b3955070c656c0.jpg",[],{"id":104766,"slug":104767,"title":104768,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":104769,"thumbUrl":104770,"material":692,"size":1293,"collection":84,"collections":104771,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},228885,"zi-zuo-shi-juan-wen-zheng-ming-228885","自作诗卷",[23,164,24,7,25,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29a1722bb9a497fe7d0b1900cfb6c297.jpg",[],{"id":104773,"slug":104774,"title":104775,"dynasty":124,"author":92841,"museum":300,"description":92842,"tags":104776,"thumbUrl":104777,"material":692,"size":1293,"collection":84,"collections":104778,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},228419,"ji-yuan-zhong-cao-mu-shi-wu-kuan-228419","记园中草木诗",[23,7,64,133,25,208,371,375,167,376,666,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3f893f55899cbaf234dbab537549d9a.jpg",[],{"id":104780,"slug":104781,"title":9909,"dynasty":18,"author":73419,"museum":300,"description":104782,"tags":104783,"thumbUrl":104784,"material":84,"size":84,"collection":84,"collections":104785,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},227746,"chi-du-da-hui-zong-gao-227746","大慧宗杲尺牍，纸本，行书，38.0×65.5cm。日本东京国立博物馆藏（松平直亮氏寄赠）。\n\n本件是大慧宗杲放逐于梅州时寄给友人无相居士的书信，笔致富于气势，为大慧宗杲的书迹中最受重视的作品。先由江户时代初期茶道家、禅僧江月宗玩收藏，而后又归身兼茶道家的诸侯松平不昧所有。",[23,7,64,133,611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89789953bbde44774404d7149e1c0856.jpg",[],{"id":104787,"slug":104788,"title":104789,"dynasty":54,"author":104790,"museum":300,"description":104791,"tags":104792,"thumbUrl":104793,"material":692,"size":1293,"collection":84,"collections":104794,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},224583,"08-cai-xin-224583","08","蔡新","蔡新（1707～1799年），字次明，号葛山，别号缉斋，福建省漳浦（今漳浦县大南坂下楼村林西墘）人，清朝大臣。\n乾隆元年进士，授庶吉士、翰林院编修、直上书房、翰林院侍讲，累官内廷总师傅、兼理兵部尚书兼管国子监事务、礼部尚书兼理兵部尚书、吏部尚书兼国子监事务、文华殿大学士兼吏部尚书、加授太子太师。\n嘉庆四年十二月，卒于家，赠太傅，赐祭葬，谥文恭。",[54,64,572,7,59,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0b2f47c6b799f3a24d6cc1e9ea9a815.jpg",[],{"id":104796,"slug":104797,"title":104798,"dynasty":124,"author":26033,"museum":300,"description":46748,"tags":104799,"thumbUrl":104800,"material":692,"size":1293,"collection":84,"collections":104801,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":4001},224564,"shu-hua-ce-ye-6-xiao-yun-cong-wang-shi-zhen-224564","《书画册页》-6",[7,59,133,64,128,611,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1559fd17f8e83346a6cd6f722290ed2e.jpg",[],{"id":104803,"slug":104804,"title":104805,"dynasty":124,"author":26033,"museum":300,"description":104806,"tags":104807,"thumbUrl":104808,"material":84,"size":84,"collection":84,"collections":104809,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":4001},224563,"shu-hua-ce-ye-5-xiao-yun-cong-wang-shi-zhen-224563","《书画册页》-5","此帧行书题跋笔墨清隽儒雅，笔意秀逸连贯，结体舒展灵动，兼具帖学流美与文人疏淡意趣。通篇以雅致文辞追忆旧友交游、叙录昔年藏物，文墨相得益彰。点画提转自然圆融，章法排布错落有致，字字独立却气脉贯通，既有恪守的笔墨法度，又不失随性挥洒的自在。字里行间浸透着文人的风雅襟怀，沉静书卷气随笔墨流淌而出，将才情与林下意趣寄寓方寸之间，是兼备文献价值与审美价值的翰墨小品。",[7,133,128,4437,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81fb7a8619485142c30a1e2d6656bdf0.jpg",[],{"id":104811,"slug":104812,"title":104813,"dynasty":124,"author":26033,"museum":300,"description":104814,"tags":104815,"thumbUrl":104816,"material":84,"size":84,"collection":84,"collections":104817,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},224561,"shu-hua-ce-ye-26-xiao-yun-cong-wang-shi-zhen-224561","《书画册页》-26","此作为行书小品，取法晋唐尺牍意趣，笔致清隽疏朗。起笔收锋皆见潇洒之态，文字排布错落随性，行气疏宕却暗含呼应。墨色枯湿过渡自然，细劲线条裹挟温润质感，将诗句里空山幽寂、寒松伴居的清寂意绪，融于笔墨起落间。朱红古印浅缀纸面，与泛黄旧纸相映，晕开古澹沉静的书卷气息，把题诗里幽居自适的林下襟怀，借着笔墨娓娓铺陈，是兼具文心与笔韵的雅致小品。",[164,24,7,59,133,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f5803abd9e8a371c01a42b5d270819e.jpg",[],{"id":104819,"slug":104820,"title":104821,"dynasty":124,"author":26033,"museum":300,"description":104822,"tags":104823,"thumbUrl":104824,"material":84,"size":84,"collection":84,"collections":104825,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},224559,"shu-hua-ce-ye-24-xiao-yun-cong-wang-shi-zhen-224559","《书画册页》-24","这幅行书尺牍清隽疏朗，用笔灵动秀逸，起收间暗合魏晋帖学雅韵。字形欹正相生，章法错落自然，字距留白透气，尽显萧散简远的文人意趣。\n\n笔势连贯遒劲，牵丝映带间贴合诗句意境，将蜀道千峰云林的壮怀幽寂寄寓笔墨，文思与笔墨相融。浅淡古旧的笺纸配朱红古雅钤印，墨色与印色相衬，晕开明清之际文人士大夫沉静风雅的审美意趣。",[24,7,59,133,128,64,208,44054,950,9402,690,1556,3344,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3faaa018bf64f093840ed594760d1a3.jpg",[],{"id":104827,"slug":104828,"title":104829,"dynasty":124,"author":26033,"museum":300,"description":104830,"tags":104831,"thumbUrl":104834,"material":84,"size":84,"collection":84,"collections":104835,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},224555,"shu-hua-ce-ye-20-xiao-yun-cong-wang-shi-zhen-224555","《书画册页》-20","此作行书清逸隽秀，题笔朴拙雅致，二者相映成趣。起笔收锋灵动舒展，线条圆劲温润，章法错落自然，字距疏密得宜，墨色带着自然的浓淡渐变，漫出林下散逸之气。\n\n诗文与笔墨交融无间，将山水栖居的悠然隐趣藏在婉转笔意之中。笔势带着明清文人特有的简淡萧散，每一处提按转折都暗含雅致文心，尽显江南文人的林下襟怀，是一件兼具笔墨意趣与诗意内核的小品佳作。",[7,59,64,133,663,4241,372,231,104832,104833],"江湖","渔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6a0b58d3ccedeae0d9a2fcb23c9f292.jpg",[],{"id":104837,"slug":104838,"title":104839,"dynasty":124,"author":26033,"museum":300,"description":104840,"tags":104841,"thumbUrl":104842,"material":84,"size":84,"collection":84,"collections":104843,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},224553,"shu-hua-ce-ye-18-xiao-yun-cong-wang-shi-zhen-224553","《书画册页》-18","此幅行书小品，行气疏朗空灵，笔致温润清隽，带着江南文人特有的儒雅散淡。凭吊故地的诗句沉郁哀惋，笔墨与文辞意韵相融，将怅惘幽思藏在舒缓的笔锋流转间。四方朱印错落排布，朱红印晕染在浅米旧纸之上，素朴底色里更添沉静厚重的文人情致。诗书印三者相融无间，尽显旧时文人寄情笔墨、以书抒怀的淡然风骨，悠悠古意漫溢纸面。",[24,7,59,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0a219bf505e7c6e609e89ddf03746c5.jpg",[],{"id":104845,"slug":104846,"title":104847,"dynasty":124,"author":26033,"museum":300,"description":104848,"tags":104849,"thumbUrl":104850,"material":84,"size":84,"collection":84,"collections":104851,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},224550,"shu-hua-ce-ye-14-xiao-yun-cong-wang-shi-zhen-224550","《书画册页》-14","此作行书清隽秀雅，笔墨疏朗通透，起收间带着温雅散淡的文人意趣。字迹排布错落舒展，笔画瘦劲灵动，提按转合暗含章法，毫无滞涩之感。笔锋轻捷利落，筋骨暗藏，墨色枯湿自然过渡，尽显书写时的松弛随性。\n\n诗句幽寂沉郁，笔墨贴合诗文意境，将林泉间的怅惘愁绪融在笔锋起落间，浸透着沉郁的怀古幽思，尽显士人清雅澹泊的审美意趣。整幅小品书卷气盎然，书法美感与文心诗意相融，是颇具格调的文人墨痕。",[7,59,133,64,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facb2a92decd18ac405594d098ff06769.jpg",[],{"id":104853,"slug":104854,"title":104855,"dynasty":124,"author":26033,"museum":300,"description":104856,"tags":104857,"thumbUrl":104858,"material":84,"size":84,"collection":84,"collections":104859,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},224549,"shu-hua-ce-ye-13-xiao-yun-cong-wang-shi-zhen-224549","《书画册页》-13","行笔舒展灵动，牵丝映带自然圆融，墨色枯湿浓淡富于层次变化。笔画粗细跌宕，章法松弛错落，全无雕琢造作之气，尽显随性自在的文人意趣。\n字里行间浸透着萧散简远的林下之风，日常感怀诉诸笔端，笔墨与题文相得益彰，藏着旧时光里的沉静雅致。仿佛能窥见挥毫时的闲适心境，让观者在笔墨流转间，触摸到那份冲淡安然的文人审美意趣。",[164,24,7,59,133,64,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c4d8b2ab7ae65b7f6bf66172e2226af.jpg",[],{"id":104861,"slug":104862,"title":104863,"dynasty":124,"author":26033,"museum":300,"description":104864,"tags":104865,"thumbUrl":104866,"material":84,"size":84,"collection":84,"collections":104867,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},224547,"shu-hua-ce-ye-11-xiao-yun-cong-wang-shi-zhen-224547","《书画册页》-11","此幅小楷清劲秀雅，点画起收恪守法度，提按藏露暗合晋唐意趣，结体端雅宽和，通篇气息疏朗静穆。以笔墨承载酬和诗作，文辞与笔意相融，将病中提笔的清隽闲散藏于点画顾盼之间，不见雕琢匠气。温婉笔调写尽夏日幽居愁绪与文友唱和雅兴，将文人雅致心境寄寓匀净排布的字里行间，淡远萧散的意境呼之欲出，尽显明清文人的林下风流，是极具代表性的文人小楷风貌，尽显书者风骨与笔墨才情。",[7,24,64,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ef1aafcdbb9b5b83b35f19b8279251e.jpg",[],{"id":104869,"slug":104870,"title":104871,"dynasty":54,"author":4083,"museum":300,"description":104872,"tags":104873,"thumbUrl":104877,"material":84,"size":84,"collection":84,"collections":104878,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":199},224414,"shu-hua-shi-liu-kai-15-wang-shi-min-224414","书画十六开-15","此作行书笔致圆浑朴拙，点画温润遒劲，牵丝映带间尽显从容古雅的意趣。笔底无张扬锋芒，却自带静穆醇厚的文人风骨，暗合晋唐行书的潇洒意态，又藏着晚明文人特有的沉静内敛。\n诗中旧年访友的缱绻幽思，伴着春草春雨、梅村茶山的江南烟景落于笔端，书与文相得益彰。笔墨随着诗意起伏，将观景怀人的怅惘安然铺展，整体气息安和澹远，尽显文人书文合一的雅致情致，把怀旧的温柔心绪尽数凝在纸间笔墨中。",[23,7,59,133,64,650,663,1771,104874,104875,104876,413],"路","铜井","苔藓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65b54bd93047b8fa4901b35be6438f6b.jpg",[],{"id":104880,"slug":104881,"title":104882,"dynasty":54,"author":4083,"museum":300,"description":28118,"tags":104883,"thumbUrl":104884,"material":28121,"size":28122,"collection":84,"collections":104885,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":199},224410,"shu-hua-shi-liu-kai-11-wang-shi-min-224410","书画十六开-11",[23,64,133,128,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bcd928322b740a120cbe1db7fc13b99.jpg",[],{"id":104887,"slug":104888,"title":104889,"dynasty":54,"author":70407,"museum":300,"description":83637,"tags":104890,"thumbUrl":104891,"material":692,"size":1293,"collection":84,"collections":104892,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},224154,"shu-lian-zhou-zhang-zhao-224154","书联轴",[164,24,7,64,10886,165,133,27,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb8d3f54ddc1371e9d60a82d491f2952.jpg",[],{"id":104894,"slug":104895,"title":104896,"dynasty":54,"author":223,"museum":300,"description":104897,"tags":104898,"thumbUrl":104900,"material":84,"size":84,"collection":84,"collections":104901,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},223651,"gong-xiang-tu-zhou-yi-ming-223651","贡象图轴","褐绢底色晕着柔淡云气，温敦浑厚的巨象静立，肌肤晕染细腻，肌理褶皱宛然可见。象身鞍鞯华彩四溢，朱红地子缠枝宝相花繁复绮丽，青绿驮座错饰金彩，顶间宝龛玲珑剔透，珊瑚垂饰映出华贵气象。\n\n牵象胡商卷发虬髯，赤足而立，猩红披风衬着纹饰精美的革甲，神情恭谨肃穆，牵绳微绷，将驯顺的大象与肃穆仪礼融为一体。全作用笔工细，设色古雅沉厚，既带着端严规整的宫廷绘事特质，又以晕染之法晕出物象鲜活质感，将朝贡的礼制内涵，藏进一笔一彩的精致细节之中。",[23,24,7,165,27,28,96,14225,949,104899,251,1367],"鞍鞯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d20d2dda1d7683ac3ee13bb23363b19.jpg",[],{"id":104903,"slug":104904,"title":104905,"dynasty":54,"author":41583,"museum":300,"description":53116,"tags":104906,"thumbUrl":104907,"material":514,"size":53120,"collection":84,"collections":104908,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},223260,"yan-shan-ba-jing-tu-7-jin-tai-xi-zhao-zhang-ruo-cheng-223260","燕山八景图-7-金台夕照",[23,24,7,59,27,29,496,34,35,1023,3344,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94425d12777ced170c5c2c21ff98209a.jpg",[],{"id":104910,"slug":104911,"title":15896,"dynasty":54,"author":10177,"museum":20,"description":60016,"tags":104912,"thumbUrl":104913,"material":84,"size":15901,"collection":84,"collections":104914,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},223189,"geng-zhi-tu-ce-jiao-bing-zhen-223189",[164,24,7,59,28,27,95,96,35,34,23873,34836,78182,210,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7952dedad0755b789ae184fc78b1b92.jpg",[],{"id":104916,"slug":104917,"title":15896,"dynasty":54,"author":10177,"museum":20,"description":60016,"tags":104918,"thumbUrl":104920,"material":84,"size":15901,"collection":84,"collections":104921,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},223187,"geng-zhi-tu-ce-jiao-bing-zhen-223187",[164,24,7,59,28,27,96,34,34836,35,78182,104919,23454],"木桶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffebbcdc3b289cb32e594f6b2e838103a.jpg",[],{"id":104923,"slug":104924,"title":104925,"dynasty":54,"author":11383,"museum":20,"description":83729,"tags":104926,"thumbUrl":104927,"material":40,"size":83741,"collection":84,"collections":104928,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},223148,"yao-xie-shi-yi-tu-ce-di-san-kai-xin-zhong-li-hua-man-shan-hu-ren-xiong-223148","姚燮诗意图册-第三开：新种梨花满扇湖",[23,24,7,59,27,28,61,1188,2438,2918],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F780138dfbe12c343fd038241a055bde5.jpg",[],{"id":104930,"slug":104931,"title":104932,"dynasty":54,"author":23303,"museum":244,"description":41960,"tags":104933,"thumbUrl":104934,"material":104935,"size":104936,"collection":84,"collections":104937,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},223109,"fang-zhao-ling-rang-chun-shan-cui-ai-zhou-dong-bang-da-223109","倣赵令穰春山翠霭轴",[23,164,24,7,165,27,29,132,330,208,89223,37,31,129,35,131,1144,4363,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a4b13e24fcb7ef928d5dd05b077a07e.jpg","轴 纸本 设色","133.2x63.5",[],{"id":104939,"slug":104940,"title":104941,"dynasty":54,"author":23303,"museum":244,"description":41960,"tags":104942,"thumbUrl":104943,"material":637,"size":104944,"collection":84,"collections":104945,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},223108,"fang-lu-guang-song-xi-yan-ai-juan-dong-bang-da-223108","仿陆广松溪烟霭卷",[23,164,24,7,25,27,128,132,29,1144,499,10143,131,34,35,37,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a1adeb6ea1ae84d4822372e030d776c.jpg","23.5x229.5",[],{"id":104947,"slug":104948,"title":104949,"dynasty":54,"author":23303,"museum":244,"description":104950,"tags":104951,"thumbUrl":104952,"material":637,"size":84,"collection":84,"collections":104953,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},223105,"duan-qiao-can-xue-tu-gao-zong-yu-ti-dong-bang-da-223105","断桥残雪图-高宗御题","此为断桥残雪图高宗御题部分.",[23,164,24,7,29,133,64,98,1556,208,128,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e66f0aab7d9c8b28261b41d1c5ca758.jpg",[],{"id":104955,"slug":104956,"title":104957,"dynasty":54,"author":36019,"museum":224,"description":41118,"tags":104958,"thumbUrl":104959,"material":3544,"size":84,"collection":84,"collections":104960,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":956},222718,"huang-shan-ba-jing-tu-ce-7-zheng-min-222718","黄山八景图册7",[23,24,7,59,128,132,29,131,98,99,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc50a7be94e2ba511328461200f70aca0.jpg",[],{"id":104962,"slug":104963,"title":104964,"dynasty":54,"author":36019,"museum":224,"description":41118,"tags":104965,"thumbUrl":104966,"material":3544,"size":84,"collection":84,"collections":104967,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":956},222716,"huang-shan-ba-jing-tu-ce-5-zheng-min-222716","黄山八景图册5",[23,164,24,7,59,128,132,29,663,99,34,171,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe008686d9db54867c58e095398184ce9.jpg",[],{"id":104969,"slug":104970,"title":104971,"dynasty":54,"author":36019,"museum":224,"description":41118,"tags":104972,"thumbUrl":104973,"material":3544,"size":84,"collection":84,"collections":104974,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},222712,"huang-shan-ba-jing-tu-ce-1-zheng-min-222712","黄山八景图册1",[23,164,24,7,59,29,64,572,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f9609661d1d8a7ffd11d9bb449d673f.jpg",[],{"id":104976,"slug":104977,"title":104978,"dynasty":124,"author":104979,"museum":244,"description":104980,"tags":104981,"thumbUrl":104982,"material":611,"size":84,"collection":84,"collections":104983,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":199},222324,"shu-shi-er-zhang-xian-yi-222324","书诗（二）","张献翼","张献翼，[明]（1534-1604）字幼于，后更名敉，长洲人。张凤翼之弟。嘉靖中国子监生。为人放荡不羁，言行诡异，与兄凤翼、燕翼并有才名，时称“三张。”精于易，其说《易》诸作，皆平正通达，笃实不支，为人所称。",[24,7,64,59,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23dc921eeb2a973b31605ec6bbc4c3a2.jpg",[],{"id":104985,"slug":104986,"title":104987,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":104988,"thumbUrl":104989,"material":637,"size":70887,"collection":84,"collections":104990,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":3379},222303,"nan-hua-zhen-jing-56-wang-chong-222303","南华真经56",[23,7,64,133,7322,128,5459,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68af30f046ed25dfd5753b25bca500a8.jpg",[],{"id":104992,"slug":104993,"title":104994,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":104995,"thumbUrl":104996,"material":637,"size":70887,"collection":84,"collections":104997,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":3379},222301,"nan-hua-zhen-jing-54-wang-chong-222301","南华真经54",[23,7,64,133,5459,8116,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a7d76f0f4e4b040752af7cf3435674a.jpg",[],{"id":104999,"slug":105000,"title":105001,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":105002,"thumbUrl":105003,"material":637,"size":70887,"collection":84,"collections":105004,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":3379},222300,"nan-hua-zhen-jing-53-wang-chong-222300","南华真经53",[23,64,133,7322,611,8116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f47e3efbaaf8f077d26dacee9db8f59.jpg",[],{"id":105006,"slug":105007,"title":105008,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":105009,"thumbUrl":105010,"material":637,"size":70887,"collection":84,"collections":105011,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":3379},222298,"nan-hua-zhen-jing-51-wang-chong-222298","南华真经51",[23,64,7,24,611,8448,9910,5459,7322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57c4786a7c0127d9219035a7357cb57a.jpg",[],{"id":105013,"slug":105014,"title":105015,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":105016,"thumbUrl":105017,"material":637,"size":70887,"collection":84,"collections":105018,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":3379},222297,"nan-hua-zhen-jing-50-wang-chong-222297","南华真经50",[23,805,7,64,8448,133,9910,59,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf18c520abca89d0a7d8cf115b46eb7c.jpg",[],{"id":105020,"slug":105021,"title":105022,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":105023,"thumbUrl":105024,"material":637,"size":70887,"collection":84,"collections":105025,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":3379},222293,"nan-hua-zhen-jing-46-wang-chong-222293","南华真经46",[23,64,133,7322,128,7,5459,4437,10762],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dd4c58f6fdf735f7e1909bd6d21c405.jpg",[],{"id":105027,"slug":105028,"title":105029,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":105030,"thumbUrl":105031,"material":637,"size":70887,"collection":84,"collections":105032,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":3379},222292,"nan-hua-zhen-jing-45-wang-chong-222292","南华真经45",[23,24,7,64,572,133,8448,9910,611,805,5459,7322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F887ccccc44eeedf68aa4b38e94753cac.jpg",[],{"id":105034,"slug":105035,"title":105036,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":105037,"thumbUrl":105040,"material":637,"size":70887,"collection":84,"collections":105041,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":3379},222291,"nan-hua-zhen-jing-44-wang-chong-222291","南华真经44",[23,64,7,133,9910,11429,105038,105039],"毛笔书写","汉字作品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63152ec9b86134c4f46a62fc07efa538.jpg",[],{"id":105043,"slug":105044,"title":105045,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":105046,"thumbUrl":105047,"material":637,"size":70887,"collection":84,"collections":105048,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":3379},222289,"nan-hua-zhen-jing-42-wang-chong-222289","南华真经42",[23,164,24,7,64,133,7322,59,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F075e283d32b81cf101fc02d7224b44ef.jpg",[],{"id":105050,"slug":105051,"title":105052,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":105053,"thumbUrl":105054,"material":637,"size":70887,"collection":84,"collections":105055,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":3379},222288,"nan-hua-zhen-jing-41-wang-chong-222288","南华真经41",[23,64,133,611,128,124,59,7322,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0160ac10e706600a8447869c691af797.jpg",[],{"id":105057,"slug":105058,"title":105059,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":105060,"thumbUrl":105061,"material":637,"size":70887,"collection":84,"collections":105062,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":3379},222287,"nan-hua-zhen-jing-40-wang-chong-222287","南华真经40",[23,7,64,7322,4437,8448,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eb60cdc5dae3a18ec7ac1f9b0ef5b75.jpg",[],{"id":105064,"slug":105065,"title":105066,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":105067,"thumbUrl":105068,"material":637,"size":70887,"collection":84,"collections":105069,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":3379},222286,"nan-hua-zhen-jing-39-wang-chong-222286","南华真经39",[23,64,572,128,7,7322,59,9910],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9ba0081b5a68e7c9c0fc8dc3b704cc4.jpg",[],{"id":105071,"slug":105072,"title":105073,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":105074,"thumbUrl":105075,"material":637,"size":70887,"collection":84,"collections":105076,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":3379},222285,"nan-hua-zhen-jing-38-wang-chong-222285","南华真经38",[23,24,7,64,133,7322,128,59,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80addab5676191d03a7f9b82527eec32.jpg",[],{"id":105078,"slug":105079,"title":105080,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":105081,"thumbUrl":105082,"material":637,"size":70887,"collection":84,"collections":105083,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":3379},222284,"nan-hua-zhen-jing-37-wang-chong-222284","南华真经37",[23,64,7322,572,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43ff40e2362e398b4cf8c1c66f6bce65.jpg",[],{"id":105085,"slug":105086,"title":105087,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":105088,"thumbUrl":105089,"material":637,"size":70887,"collection":84,"collections":105090,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":3379},222282,"nan-hua-zhen-jing-35-wang-chong-222282","南华真经35",[23,7,64,133,7322,128,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F359924bd3b0234624c3b5a292b7d1c63.jpg",[],{"id":105092,"slug":105093,"title":105094,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":105095,"thumbUrl":105096,"material":637,"size":70887,"collection":84,"collections":105097,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":3379},222279,"nan-hua-zhen-jing-32-wang-chong-222279","南华真经32",[23,64,7,133,7322,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32170a8e9cc550423587c4f743b21ded.jpg",[],{"id":105099,"slug":105100,"title":105101,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":105102,"thumbUrl":105103,"material":637,"size":70887,"collection":84,"collections":105104,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":3379},222277,"nan-hua-zhen-jing-30-wang-chong-222277","南华真经30",[23,64,7,572,128,59,5459,133,10762],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14e9e890d2fc4b65e31252f624f593bc.jpg",[],{"id":105106,"slug":105107,"title":105108,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":105109,"thumbUrl":105110,"material":637,"size":70887,"collection":84,"collections":105111,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":3379},222275,"nan-hua-zhen-jing-28-wang-chong-222275","南华真经28",[23,64,133,128,7,59,7322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F939f2384f7f85607d8124272f321a9b6.jpg",[],{"id":105113,"slug":105114,"title":105115,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":105116,"thumbUrl":105117,"material":637,"size":70887,"collection":84,"collections":105118,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":3379},222274,"nan-hua-zhen-jing-27-wang-chong-222274","南华真经27",[23,64,133,8448,128,611,7322,805,59,7,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5dc9eb749266153b65889b2403ae535.jpg",[],{"id":105120,"slug":105121,"title":105122,"dynasty":124,"author":45431,"museum":244,"description":105123,"tags":105124,"thumbUrl":105125,"material":611,"size":84,"collection":84,"collections":105126,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},222170,"chi-du-1-zhu-zhi-fan-222170","尺牍1","朱之蕃（1575年—1624年） ，字元升，一作元介，号兰隅、定觉主人，祖籍金陵，明代大臣、书画家。万历二十三年（1595）科举状元，官终礼部右侍郎，任上曾奉命出使朝鲜。后以母丧，天启二年四月，起改为吏部右侍郎起升詹事府詹事掌南京翰林院事。工书法，善画山水花卉，传世作品有《君子林图卷》等，另有文集传世。",[7,64,133,59,208,611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef9d986ec78e5894ed82cee642a66d6a.jpg",[],{"id":105128,"slug":105129,"title":105130,"dynasty":124,"author":3619,"museum":20,"description":23062,"tags":105131,"thumbUrl":105132,"material":611,"size":53175,"collection":84,"collections":105133,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},221965,"shu-zha-ce-16-wen-zheng-ming-221965","书札册16",[23,64,133,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d57023c2b92a6b8336830e3ca33b62.jpg",[],{"id":105135,"slug":105136,"title":105137,"dynasty":124,"author":3619,"museum":20,"description":23062,"tags":105138,"thumbUrl":105139,"material":611,"size":53175,"collection":84,"collections":105140,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},221960,"shu-zha-ce-11-wen-zheng-ming-221960","书札册11",[23,64,133,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff51019c83f26658511a4b245e98e1e05.jpg",[],{"id":105142,"slug":105143,"title":105144,"dynasty":124,"author":3619,"museum":20,"description":23062,"tags":105145,"thumbUrl":105146,"material":611,"size":53175,"collection":84,"collections":105147,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},221959,"shu-zha-ce-10-wen-zheng-ming-221959","书札册10",[23,64,133,59,1590,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43de11536cc128486da3f08d40010013.jpg",[],{"id":105149,"slug":105150,"title":105151,"dynasty":124,"author":3619,"museum":20,"description":23062,"tags":105152,"thumbUrl":105153,"material":611,"size":53175,"collection":84,"collections":105154,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},221956,"shu-zha-ce-7-wen-zheng-ming-221956","书札册7",[23,64,133,59,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d7c0af4cf3ec917946d71d5266de3e4.jpg",[],{"id":105156,"slug":105157,"title":105158,"dynasty":124,"author":3619,"museum":20,"description":23062,"tags":105159,"thumbUrl":105160,"material":611,"size":53175,"collection":84,"collections":105161,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},221955,"shu-zha-ce-6-wen-zheng-ming-221955","书札册6",[23,7,64,133,59,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cbfd34accafcf94c45d811a3f36bc03.jpg",[],{"id":105163,"slug":105164,"title":105165,"dynasty":124,"author":3619,"museum":20,"description":23062,"tags":105166,"thumbUrl":105167,"material":611,"size":53175,"collection":84,"collections":105168,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},221952,"shu-zha-ce-3-wen-zheng-ming-221952","书札册3",[23,64,133,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca6fe018c5ab7f96d57f24022329d16.jpg",[],{"id":105170,"slug":105171,"title":105172,"dynasty":18,"author":99119,"museum":20,"description":105173,"tags":105174,"thumbUrl":105175,"material":611,"size":105176,"collection":84,"collections":105177,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},221654,"zhong-liu-yi-hu-tie-ye-fan-cheng-da-221654","中流一壶帖页","人与作品是不可分割的，作者的人品、诗文、绘画等都会成为其书法作品的评判要素，这就是在书法评价过程中所谓的“书以人传”。当然，少数人会因为书法留名而“人以书传”，但这个比例是极小的。弘一法师曾说：“宁可书以人传，不可人以书传。”这句话至今仍是一条真理。\n对范成大的研究、梳理中，研究者多注重其政治家、诗人的身份。他身为参知政事（副宰相），位高权重；他与杨万里、陆游、尤袤合称南宋“中兴四大诗人”，《四时田园杂兴》足以让其名传千古。而书法在范成大的整个人生历程中的的确确是件余事，但他的书法在南宋却是为数不多的典范之一。",[23,7,64,133,59,208,9910],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F296071818e9eef1eddd85ce7e24267a2.jpg","31.8×42.4cm",[],{"id":105179,"slug":105180,"title":105181,"dynasty":124,"author":16243,"museum":6892,"description":26868,"tags":105182,"thumbUrl":105183,"material":26871,"size":26872,"collection":84,"collections":105184,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":84},220714,"xing-shu-jie-quan-4-wang-chong-220714","行书借券4",[23,164,24,7,25,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa53a6dc90d65c88a541114aa117433f1.jpg",[],{"id":105186,"slug":105187,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":105188,"thumbUrl":105189,"material":11690,"size":11691,"collection":84,"collections":105190,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":84},220698,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220698",[23,24,7,59,133,64,208,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8a3b9eb821ef60513d6473b294d3d4a.jpg",[],{"id":105192,"slug":105193,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":105194,"thumbUrl":105195,"material":11690,"size":11691,"collection":84,"collections":105196,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":84},220697,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220697",[23,24,7,59,133,572,208,27,29,88230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88fc7e2fdb41c6c199ed76db807625e6.jpg",[],{"id":105198,"slug":105199,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":105200,"thumbUrl":105201,"material":11690,"size":11691,"collection":84,"collections":105202,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":84},220695,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220695",[23,59,64,133,572,208,24,7,29,17623,128,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28ef32eb014b24335bae1d80f58cf2f5.jpg",[],{"id":105204,"slug":105205,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":105206,"thumbUrl":105207,"material":11690,"size":11691,"collection":84,"collections":105208,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":84},220694,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220694",[23,24,7,59,29,64,133,572,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05f9f60d2d5b3d1d0a4e9a4b23959c64.jpg",[],{"id":105210,"slug":105211,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":105212,"thumbUrl":105214,"material":11690,"size":11691,"collection":84,"collections":105215,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":84},220693,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220693",[23,24,7,59,133,64,128,27,132,29,97,34,231,99,2478,22403,10887,3344,105213,171],"红月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb096dba09967f3165e9ac12273771f79.jpg",[],{"id":105217,"slug":105218,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":105219,"thumbUrl":105220,"material":11690,"size":11691,"collection":84,"collections":105221,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":84},220692,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220692",[23,24,7,59,133,29,88230,211,99,128,27,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f8f7b19de09ae793be988608fd8d757.jpg",[],{"id":105223,"slug":105224,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":105225,"thumbUrl":105227,"material":11690,"size":11691,"collection":84,"collections":105228,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":84},220691,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220691",[23,24,7,59,133,572,29,97,34,105226,128,27],"池沼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe11ab1f1a8c534a8aa7cb4744c0f6460.jpg",[],{"id":105230,"slug":105231,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":105232,"thumbUrl":105233,"material":11690,"size":11691,"collection":84,"collections":105234,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":84},220690,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220690",[23,59,133,64,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92a42ffdf3bde5591b35b1360c323163.jpg",[],{"id":105236,"slug":105237,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":105238,"thumbUrl":105239,"material":11690,"size":11691,"collection":84,"collections":105240,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":84},220688,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220688",[23,24,7,59,133,208,64,29,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9148f275796962b09c1eee640cb53e30.jpg",[],{"id":105242,"slug":105243,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":105244,"thumbUrl":105245,"material":11690,"size":11691,"collection":84,"collections":105246,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":84},220686,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220686",[23,24,7,59,133,208,29,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9af4658d5c3217aa616a6f56cbc1ccbb.jpg",[],{"id":105248,"slug":105249,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":105250,"thumbUrl":105251,"material":11690,"size":11691,"collection":84,"collections":105252,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":84},220683,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220683",[24,7,59,27,29,132,99162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcec59ac120c5e1926d40db140711b150.jpg",[],{"id":105254,"slug":105255,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":105256,"thumbUrl":105257,"material":11690,"size":11691,"collection":84,"collections":105258,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":84},220681,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220681",[23,24,7,59,133,208,29,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4fda7fa4d6187762b13856728fd73c5.jpg",[],{"id":105260,"slug":105261,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":105262,"thumbUrl":105265,"material":11690,"size":11691,"collection":84,"collections":105266,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":84},220680,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220680",[23,164,24,7,59,128,29,496,64172,64173,387,98,99,96,133,58713,60535,105263,105264],"墨色苍润","构图繁密","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a22bf85c7c0e917ffbba786a999d21.jpg",[],{"id":105268,"slug":105269,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":105270,"thumbUrl":105271,"material":11690,"size":11691,"collection":84,"collections":105272,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":84},220679,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220679",[23,24,7,64,133,572,208,29,99162,130,27,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3768d79d2a3a21660a05601bd9f102d6.jpg",[],{"id":105274,"slug":105275,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":105276,"thumbUrl":105277,"material":11690,"size":11691,"collection":84,"collections":105278,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":84},220678,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220678",[23,24,7,59,133,64,128,663,99162,211,2749,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4664e2523a2dbad88d786c8e0652e07.jpg",[],{"id":105280,"slug":105281,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":105282,"thumbUrl":105283,"material":11690,"size":11691,"collection":84,"collections":105284,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":84},220677,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220677",[23,24,7,64,133,128,27,59,88230,663,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40b65c70fb8e47429f15be7fe9a49906.jpg",[],{"id":105286,"slug":105287,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":105288,"thumbUrl":105289,"material":11690,"size":11691,"collection":84,"collections":105290,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":84},220676,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220676",[23,24,7,64,59,133,208,29,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82b8baceaa06bb9bc98eb992ee5f9ed5.jpg",[],{"id":105292,"slug":105293,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":105294,"thumbUrl":105295,"material":11690,"size":11691,"collection":84,"collections":105296,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":84},220675,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220675",[23,24,7,59,133,572,64,29,130,97,98,99,128,27,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7507ef328f02ffcb0b99271a4a0326ad.jpg",[],{"id":105298,"slug":105299,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":105300,"thumbUrl":105301,"material":11690,"size":11691,"collection":84,"collections":105302,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":84},220674,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220674",[23,24,7,64,59,133,29,231,331,129,128,32398,27,57836,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a55565acfa6d636154553884665f4c8.jpg",[],{"id":105304,"slug":105305,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":105306,"thumbUrl":105307,"material":11690,"size":11691,"collection":84,"collections":105308,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":84},220671,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220671",[23,24,7,64,133,128,29,99162,34,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ee32a51dd9354be4ce1d39b0c64be86.jpg",[],{"id":105310,"slug":105311,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":105312,"thumbUrl":105313,"material":11690,"size":11691,"collection":84,"collections":105314,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":84},220670,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220670",[23,24,7,59,133,64,208,29,88230,34,129,132,128,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63eda0a85ef0be666fd17ce26dc64179.jpg",[],{"id":105316,"slug":105317,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":105318,"thumbUrl":105320,"material":11690,"size":11691,"collection":84,"collections":105321,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":84},220669,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220669",[23,24,7,59,128,29,496,64172,64173,387,98,99,105319,64,133,13414,64175],"策杖人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F176492039e9c19654dbf2a5e8cea088b.jpg",[],{"id":105323,"slug":105324,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":105325,"thumbUrl":105326,"material":11690,"size":11691,"collection":84,"collections":105327,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":84},220668,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220668",[23,24,7,59,133,64,29,128,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43bd8f657673605529a01613b91be5d3.jpg",[],{"id":105329,"slug":105330,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":105331,"thumbUrl":105332,"material":11690,"size":11691,"collection":84,"collections":105333,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":84},220667,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220667",[23,24,7,59,133,29,99162,167,9404,27,64,42097],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5eb5d306472da16e58bf92fd53e38f0.jpg",[],{"id":105335,"slug":105336,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":105337,"thumbUrl":105338,"material":11690,"size":11691,"collection":84,"collections":105339,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":84},220665,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220665",[23,24,7,59,64,133,29,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80090a1c8876cd7741e8536ad4c7cadf.jpg",[],{"id":105341,"slug":105342,"title":11685,"dynasty":54,"author":11686,"museum":6892,"description":11687,"tags":105343,"thumbUrl":105344,"material":11690,"size":11691,"collection":84,"collections":105345,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":84},220663,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220663",[23,24,7,59,133,572,208,29,99162,34,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F950fa477171240f877d2b8e2dfd88a9f.jpg",[],{"id":105347,"slug":105348,"title":105349,"dynasty":182,"author":20411,"museum":99187,"description":99188,"tags":105350,"thumbUrl":105352,"material":5380,"size":99191,"collection":84,"collections":105353,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},220161,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-48-liu-gong-quan-220161","神策军碑-皇帝巡幸左神策军纪圣德碑48",[64,572,5380,7,92308,105351],"唐代书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54922ca46b5e3f2f33c9b247de8ac46e.jpg",[],{"id":105355,"slug":105356,"title":105357,"dynasty":54,"author":32801,"museum":244,"description":32802,"tags":105358,"thumbUrl":105359,"material":66,"size":32807,"collection":84,"collections":105360,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},219664,"hai-cuo-tu-di-si-ce-4-nie-huang-219664","海错图第四册-4",[24,7,59,27,28,32805,93375,93386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F202851f0cd6c4c98ea68bcb60c455187.jpg",[],{"id":105362,"slug":105363,"title":105364,"dynasty":54,"author":32801,"museum":244,"description":32802,"tags":105365,"thumbUrl":105366,"material":66,"size":32807,"collection":84,"collections":105367,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},219657,"hai-cuo-tu-di-si-ce-11-nie-huang-219657","海错图第四册-11",[24,7,59,27,28,83954,32804,32805,2166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f7dfebc0247d220f04792ad4a9e54b8.jpg",[],{"id":105369,"slug":105370,"title":105371,"dynasty":124,"author":42094,"museum":20,"description":42095,"tags":105372,"thumbUrl":105373,"material":611,"size":42099,"collection":84,"collections":105374,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},219159,"shi-han-ce-6-peng-nian-219159","诗翰册-6",[23,64,133,59,208,27,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e4494da53e6e00c7f8bdae885331f7.jpg",[],{"id":105376,"slug":105377,"title":105378,"dynasty":124,"author":42094,"museum":20,"description":42095,"tags":105379,"thumbUrl":105380,"material":611,"size":42099,"collection":84,"collections":105381,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},219158,"shi-han-ce-7-peng-nian-219158","诗翰册-7",[23,7,59,133,64,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06ae0d1e161bd84e1c3ff4e9a31db043.jpg",[],{"id":105383,"slug":105384,"title":105385,"dynasty":124,"author":7003,"museum":300,"description":105386,"tags":105387,"thumbUrl":105388,"material":611,"size":84,"collection":84,"collections":105389,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},218060,"bai-miao-jiu-ge-tu-ce-5-zhu-yun-ming-218060","白描九歌图册-5","素纸铺陈，墨线流转如诗。人物衣袂若流云舒卷，眉眼间凝着楚辞里独有的幽婉，似湘水之畔的神祇踏波而来。白描不施粉黛，却以线条的轻重缓急，勾勒出衣纹的风致、神情的怅惘。寥寥数笔，兰舟芷草的意象隐现，仿佛能听见远古歌吟在纸上游走。墨色虽淡，却筋骨暗蕴，将九歌的浪漫与缥缈凝于方寸之间。每一道笔触都藏着深情，似在诉说那些关于思念与等待的古老传说，于素净中见丰腴，于简约中显悠远，让观者在墨线起落间，触摸到楚辞深处的温柔与怅然。",[164,24,7,59,188,96,171,166,29,231,690,130,3344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F093e4ec91b5e0169d2c45a6beb14ef0b.jpg",[],{"id":105391,"slug":105392,"title":105393,"dynasty":124,"author":7003,"museum":300,"description":105394,"tags":105395,"thumbUrl":105396,"material":611,"size":84,"collection":84,"collections":105397,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},218058,"bai-miao-jiu-ge-tu-ce-6-zhu-yun-ming-218058","白描九歌图册-6","素笺铺展，墨线如灵蛇游走，或轻飏似云边鹤羽，或劲挺若崖上青松，将楚辞《九歌》的浪漫魂魄细细勾勒。神祇衣袂飘举如流风回雪，仙草脉络纤毫毕现似含露凝光，无浓彩喧扰，仅以素墨留白，便铺陈出楚地的悱恻与旷远——是山鬼倚竹的低吟，湘君踏波的凝望？旁侧题字笔势纵逸，与白描清隽相映成趣，文画交织间，古典诗意在极简笔墨里丰饶绽放，引观者于墨痕呼吸中，触碰两千年前的诗魂与画心。",[24,7,59,188,64,208,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd56d882a33b39ed8f933569c8ade0549.jpg",[],{"id":105399,"slug":105400,"title":105401,"dynasty":54,"author":31404,"museum":300,"description":88318,"tags":105402,"thumbUrl":105403,"material":66,"size":84,"collection":84,"collections":105404,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},218015,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-3-ceng-yan-dong-218015","七道子山水人物画册18帧-3",[23,24,7,59,128,132,133,208,64,29,98,1337,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5f4f5fd9ca997eaf71a741e54200a0d.jpg",[],{"id":105406,"slug":105407,"title":105408,"dynasty":54,"author":31404,"museum":300,"description":88318,"tags":105409,"thumbUrl":105410,"material":66,"size":84,"collection":84,"collections":105411,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},218012,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-6-ceng-yan-dong-218012","七道子山水人物画册18帧-6",[23,24,7,59,128,29,211,99,167,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce53c54296b2bf70a459b58e08ebb822.jpg",[],{"id":105413,"slug":105414,"title":105415,"dynasty":54,"author":31404,"museum":300,"description":88318,"tags":105416,"thumbUrl":105417,"material":66,"size":84,"collection":84,"collections":105418,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},218010,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-8-ceng-yan-dong-218010","七道子山水人物画册18帧-8",[23,24,7,59,128,132,29,34,35,131,1144,415,3427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F965361650a5dbd07ade36015dd5ec3b8.jpg",[],{"id":105420,"slug":105421,"title":105422,"dynasty":54,"author":31404,"museum":300,"description":88318,"tags":105423,"thumbUrl":105424,"material":66,"size":84,"collection":84,"collections":105425,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},218009,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-9-ceng-yan-dong-218009","七道子山水人物画册18帧-9",[23,24,7,59,128,27,96,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264f91cdfe089710b54715aa620f0272.jpg",[],{"id":105427,"slug":105428,"title":105429,"dynasty":54,"author":31404,"museum":300,"description":88318,"tags":105430,"thumbUrl":105431,"material":611,"size":84,"collection":84,"collections":105432,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},218007,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-11-ceng-yan-dong-218007","七道子山水人物画册18帧-11",[23,24,7,59,128,29,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbfff9578614eac9a7eee11e607fb6c1.jpg",[],{"id":105434,"slug":105435,"title":105436,"dynasty":54,"author":31404,"museum":300,"description":88318,"tags":105437,"thumbUrl":105438,"material":66,"size":84,"collection":84,"collections":105439,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},218003,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-15-ceng-yan-dong-218003","七道子山水人物画册18帧-15",[23,7,59,29,96,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ce01989b63e03c1ba748b35d6db9601.jpg",[],{"id":105441,"slug":105442,"title":105443,"dynasty":18,"author":39592,"museum":1941,"description":39593,"tags":105444,"thumbUrl":105445,"material":278,"size":39596,"collection":84,"collections":105446,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},217991,"shi-liu-ying-zhen-tu-3-fan-long-217991","十六应真图-3",[23,24,7,25,187,188,128,96,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05c171e49bc9fa347480014be24a4eef.jpg",[],{"id":105448,"slug":105449,"title":105450,"dynasty":18,"author":39592,"museum":1941,"description":39593,"tags":105451,"thumbUrl":105452,"material":278,"size":39596,"collection":84,"collections":105453,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},217986,"shi-liu-ying-zhen-tu-6-fan-long-217986","十六应真图-6",[23,164,24,7,25,187,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd7b5d42927619b2538990ba8d220214.jpg",[],{"id":105455,"slug":105456,"title":99337,"dynasty":18,"author":39592,"museum":1941,"description":39593,"tags":105457,"thumbUrl":105458,"material":278,"size":39596,"collection":84,"collections":105459,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},217982,"shi-liu-ying-zhen-tu-7-fan-long-217982",[23,164,24,7,25,187,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36a7ecd4f71f671703d0f6535032cadd.jpg",[],{"id":105461,"slug":105462,"title":105463,"dynasty":18,"author":39592,"museum":1941,"description":39593,"tags":105464,"thumbUrl":105465,"material":278,"size":39596,"collection":84,"collections":105466,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},217981,"shi-liu-ying-zhen-tu-8-fan-long-217981","十六应真图-8",[23,164,24,7,25,188,187,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8983cb5df1f0e6a5ca310edeeba2af79.jpg",[],{"id":105468,"slug":105469,"title":105470,"dynasty":18,"author":39592,"museum":1941,"description":39593,"tags":105471,"thumbUrl":105472,"material":278,"size":39596,"collection":84,"collections":105473,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},217976,"shi-liu-ying-zhen-tu-11-fan-long-217976","十六应真图-11",[23,24,7,188,128,187,96,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff9a81bfc29ee65d9fed6a10d66ee61.jpg",[],{"id":105475,"slug":105476,"title":105477,"dynasty":18,"author":39592,"museum":1941,"description":39593,"tags":105478,"thumbUrl":105479,"material":278,"size":39596,"collection":84,"collections":105480,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},217975,"shi-liu-ying-zhen-tu-12-fan-long-217975","十六应真图-12",[23,164,24,7,188,128,187,96,1144,9633,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a9734a74cb986d44860f93bbf18065a.jpg",[],{"id":105482,"slug":105483,"title":105484,"dynasty":18,"author":39592,"museum":1941,"description":39593,"tags":105485,"thumbUrl":105486,"material":278,"size":39596,"collection":84,"collections":105487,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},217971,"shi-liu-ying-zhen-tu-16-fan-long-217971","十六应真图-16",[23,24,7,188,96,187,722,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F334713940e2915b369011b896b2f631e.jpg",[],{"id":105489,"slug":105490,"title":105491,"dynasty":18,"author":39592,"museum":1941,"description":39593,"tags":105492,"thumbUrl":105493,"material":278,"size":39596,"collection":84,"collections":105494,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},217969,"shi-liu-ying-zhen-tu-18-fan-long-217969","十六应真图-18",[23,164,24,7,188,128,187,96,276,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09d1d948511d2fdf6b5e74586baff2ff.jpg",[],{"id":105496,"slug":105497,"title":105498,"dynasty":18,"author":39592,"museum":1941,"description":39593,"tags":105499,"thumbUrl":105500,"material":278,"size":39596,"collection":84,"collections":105501,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},217968,"shi-liu-ying-zhen-tu-19-fan-long-217968","十六应真图-19",[23,24,7,25,128,188,132,187,96,29,34,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa858a2ff1bf873c8ef3d9b661416df4e.jpg",[],{"id":105503,"slug":105504,"title":105505,"dynasty":18,"author":39592,"museum":1941,"description":39593,"tags":105506,"thumbUrl":105507,"material":278,"size":39596,"collection":84,"collections":105508,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},217964,"shi-liu-ying-zhen-tu-23-fan-long-217964","十六应真图-23",[23,164,24,7,128,132,29,131,99,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e2c17f2a596f3db7d7d45922873b855.jpg",[],{"id":105510,"slug":105511,"title":105512,"dynasty":18,"author":39592,"museum":1941,"description":39593,"tags":105513,"thumbUrl":105514,"material":278,"size":39596,"collection":84,"collections":105515,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},217962,"shi-liu-ying-zhen-tu-25-fan-long-217962","十六应真图-25",[23,24,7,188,128,132,171,497,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6141496bea847bde64e7e7527e0be78b.jpg",[],{"id":105517,"slug":105518,"title":105519,"dynasty":18,"author":39592,"museum":1941,"description":39593,"tags":105520,"thumbUrl":105521,"material":278,"size":39596,"collection":84,"collections":105522,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},217960,"shi-liu-ying-zhen-tu-27-fan-long-217960","十六应真图-27",[23,164,24,7,25,187,133,128,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd924d528aaa199c322c725836a2f9431.jpg",[],{"id":105524,"slug":105525,"title":105526,"dynasty":18,"author":39592,"museum":1941,"description":39593,"tags":105527,"thumbUrl":105528,"material":278,"size":39596,"collection":84,"collections":105529,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},217959,"shi-liu-ying-zhen-tu-28-fan-long-217959","十六应真图-28",[23,164,24,7,25,187,96,188,128,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3b7ca2d4964fa077a71396a3c95bb98.jpg",[],{"id":105531,"slug":105532,"title":105533,"dynasty":18,"author":39592,"museum":1941,"description":39593,"tags":105534,"thumbUrl":105535,"material":278,"size":39596,"collection":84,"collections":105536,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},217958,"shi-liu-ying-zhen-tu-29-fan-long-217958","十六应真图-29",[23,164,24,7,25,187,128,133,64,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe5244a4254c60248e39d82141f321cc.jpg",[],{"id":105538,"slug":105539,"title":105540,"dynasty":18,"author":39592,"museum":1941,"description":39593,"tags":105541,"thumbUrl":105542,"material":278,"size":39596,"collection":84,"collections":105543,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},217957,"shi-liu-ying-zhen-tu-30-fan-long-217957","十六应真图-30",[23,24,7,25,187,188,128,96,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff7c9d91771a2c9899a0835767126111.jpg",[],{"id":105545,"slug":105546,"title":105547,"dynasty":18,"author":39592,"museum":1941,"description":39593,"tags":105548,"thumbUrl":105549,"material":278,"size":39596,"collection":84,"collections":105550,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},217956,"shi-liu-ying-zhen-tu-31-fan-long-217956","十六应真图-31",[23,24,7,25,187,96,188,128,27,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4ef09ff6c1d2bb9988968c32b6e5baa.jpg",[],{"id":105552,"slug":105553,"title":105554,"dynasty":18,"author":39592,"museum":1941,"description":39593,"tags":105555,"thumbUrl":105556,"material":278,"size":39596,"collection":84,"collections":105557,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},217943,"shi-liu-ying-zhen-tu-quan-juan-zuo-fan-long-217943","十六应真图全卷-左",[23,164,24,7,25,187,188,128,96,29,34,497,276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd06e1f15cc2bd6ee095f4fe64f4c263d.jpg",[],{"id":105559,"slug":105560,"title":105561,"dynasty":18,"author":39592,"museum":1941,"description":39593,"tags":105562,"thumbUrl":105563,"material":278,"size":39596,"collection":84,"collections":105564,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},217940,"shi-liu-ying-zhen-tu-quan-juan-you-fan-long-217940","十六应真图全卷-右",[23,24,7,25,188,187,96,413,1314,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22e1f0fa5751be0ec826a67b0951e357.jpg",[],{"id":105566,"slug":105567,"title":105568,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":105569,"thumbUrl":105570,"material":611,"size":84,"collection":84,"collections":105571,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":956},217191,"shui-hu-quan-tu-4-du-jin-217191","水浒全图-4",[24,7,96,28,188,27,25,97,98,99,690,130,5626,101,29,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbee5d79c2e88704ca94184f23a489429.jpg",[],{"id":105573,"slug":105574,"title":105575,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":105576,"thumbUrl":105577,"material":611,"size":84,"collection":84,"collections":105578,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":956},217188,"shui-hu-quan-tu-8-du-jin-217188","水浒全图-8",[164,24,7,28,188,27,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c016752d04a4455047d9f7081068f8.jpg",[],{"id":105580,"slug":105581,"title":105582,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":105583,"thumbUrl":105584,"material":611,"size":84,"collection":84,"collections":105585,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":956},217187,"shui-hu-quan-tu-9-du-jin-217187","水浒全图-9",[24,7,28,188,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4770955fc25544f9cdbcf04be62e9ff1.jpg",[],{"id":105587,"slug":105588,"title":105589,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":105590,"thumbUrl":105591,"material":611,"size":84,"collection":84,"collections":105592,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":956},217184,"shui-hu-quan-tu-12-du-jin-217184","水浒全图-12",[24,7,59,188,128,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fe97b8361a9dd1c8d9d78eef231fef9.jpg",[],{"id":105594,"slug":105595,"title":105596,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":105597,"thumbUrl":105598,"material":611,"size":84,"collection":84,"collections":105599,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":956},217173,"shui-hu-quan-tu-21-du-jin-217173","水浒全图-21",[24,7,188,96,29,5626,11998,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff228b8784caf3abf62f49177d61835e1.jpg",[],{"id":105601,"slug":105602,"title":105603,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":105604,"thumbUrl":105605,"material":611,"size":84,"collection":84,"collections":105606,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":956},217163,"shui-hu-quan-tu-29-du-jin-217163","水浒全图-29",[24,7,59,188,96,1337,5626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43b61250a9890cfcad9ed2e4729259d5.jpg",[],{"id":105608,"slug":105609,"title":105610,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":105611,"thumbUrl":105612,"material":611,"size":84,"collection":84,"collections":105613,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":956},217161,"shui-hu-quan-tu-36-du-jin-217161","水浒全图-36",[24,7,59,188,96,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba2b8edbd0c661f915f7e9104d52d691.jpg",[],{"id":105615,"slug":105616,"title":105617,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":105618,"thumbUrl":105619,"material":611,"size":84,"collection":84,"collections":105620,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":956},217159,"shui-hu-quan-tu-33-du-jin-217159","水浒全图-33",[24,7,188,96,131,34,6640],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7913b4343c0230802110a8728b238ea.jpg",[],{"id":105622,"slug":105623,"title":105624,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":105625,"thumbUrl":105626,"material":611,"size":84,"collection":84,"collections":105627,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":956},217158,"shui-hu-quan-tu-35-du-jin-217158","水浒全图-35",[24,7,59,188,96,231,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa0f260d4e442e1dfa2bf677967fc5f.jpg",[],{"id":105629,"slug":105630,"title":105631,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":105632,"thumbUrl":105633,"material":611,"size":84,"collection":84,"collections":105634,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":956},217153,"shui-hu-quan-tu-41-du-jin-217153","水浒全图-41",[24,7,59,188,28,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89ca2b6fe7ce05cf71e4eef9a326040c.jpg",[],{"id":105636,"slug":105637,"title":105638,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":105639,"thumbUrl":105640,"material":611,"size":84,"collection":84,"collections":105641,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":956},217140,"shui-hu-quan-tu-54-du-jin-217140","水浒全图-54",[24,7,59,188,96,29,99,1337,663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf3f1ba801896438c118b9fa6ea897e3.jpg",[],{"id":105643,"slug":105644,"title":105645,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":105646,"thumbUrl":105647,"material":611,"size":84,"collection":84,"collections":105648,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":956},217135,"shui-hu-quan-tu-55-du-jin-217135","水浒全图-55",[24,7,59,188,96,171,1144,7446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01fb02be565ddd27399d144b1fd004c6.jpg",[],{"id":105650,"slug":105651,"title":105652,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":105653,"thumbUrl":105654,"material":611,"size":84,"collection":84,"collections":105655,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":956},217134,"shui-hu-quan-tu-60-du-jin-217134","水浒全图-60",[24,7,188,96,1337,666,805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb05954a45f8ae30d5848a26a7723e445.jpg",[],{"id":105657,"slug":105658,"title":105659,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":105660,"thumbUrl":105661,"material":611,"size":84,"collection":84,"collections":105662,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":956},217133,"shui-hu-quan-tu-61-du-jin-217133","水浒全图-61",[24,7,59,188,96,99,5626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f5213b7c33983bef183172905e8aa70.jpg",[],{"id":105664,"slug":105665,"title":105666,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":105667,"thumbUrl":105668,"material":611,"size":84,"collection":84,"collections":105669,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":956},217131,"shui-hu-quan-tu-64-du-jin-217131","水浒全图-64",[24,7,59,188,96,131,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bd48455727e582ada7dcf8cec9c3451.jpg",[],{"id":105671,"slug":105672,"title":105673,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":105674,"thumbUrl":105675,"material":611,"size":84,"collection":84,"collections":105676,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":956},217127,"shui-hu-quan-tu-68-du-jin-217127","水浒全图-68",[24,7,164,59,188,96,276,99,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F422b665beec57aa47303c6341327c39d.jpg",[],{"id":105678,"slug":105679,"title":105680,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":105681,"thumbUrl":105682,"material":611,"size":84,"collection":84,"collections":105683,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":956},217125,"shui-hu-quan-tu-67-du-jin-217125","水浒全图-67",[164,24,7,59,188,96,331,211,1233],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3a264a2d084f0c588dcd4580d17501c.jpg",[],{"id":105685,"slug":105686,"title":105687,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":105688,"thumbUrl":105689,"material":611,"size":84,"collection":84,"collections":105690,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":956},217124,"shui-hu-quan-tu-69-du-jin-217124","水浒全图-69",[24,7,59,188,96,34,99,229,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96016d8f22a7d5b8cc6f30fbc236232d.jpg",[],{"id":105692,"slug":105693,"title":105694,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":105695,"thumbUrl":105696,"material":611,"size":84,"collection":84,"collections":105697,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":956},217123,"shui-hu-quan-tu-71-du-jin-217123","水浒全图-71",[24,7,59,188,96,131,34,5626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18daa3b16de33b45d253bd5e5e399bff.jpg",[],{"id":105699,"slug":105700,"title":105701,"dynasty":124,"author":3559,"museum":300,"description":21342,"tags":105702,"thumbUrl":105703,"material":611,"size":84,"collection":84,"collections":105704,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":956},217120,"shui-hu-quan-tu-74-du-jin-217120","水浒全图-74",[24,7,59,188,27,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9a5ccbf35656bf1c2560a7ec124b113.jpg",[],{"id":105706,"slug":105707,"title":105708,"dynasty":54,"author":523,"museum":300,"description":12387,"tags":105709,"thumbUrl":105710,"material":611,"size":84,"collection":84,"collections":105711,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":956},217075,"bai-miao-luo-han-43-leng-mei-217075","白描罗汉-43",[24,7,59,188,187,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febe10957a4b9fde5847938e9b7124324.jpg",[],{"id":105713,"slug":105714,"title":105715,"dynasty":54,"author":223,"museum":244,"description":88534,"tags":105716,"thumbUrl":105717,"material":66,"size":84,"collection":84,"collections":105718,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},217027,"li-dai-ming-ren-tu-xiang-ce-6-yi-ming-217027","历代名人图像册-6",[24,7,59,27,188,96,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F099dc57f797722c5a722e91e63432dcb.jpg",[],{"id":105720,"slug":105721,"title":105722,"dynasty":54,"author":223,"museum":244,"description":88534,"tags":105723,"thumbUrl":105724,"material":66,"size":84,"collection":84,"collections":105725,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},217025,"li-dai-ming-ren-tu-xiang-ce-3-yi-ming-217025","历代名人图像册-3",[24,7,59,27,96,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F516e87343fe4b72dd0e3837daf823573.jpg",[],{"id":105727,"slug":105728,"title":105729,"dynasty":54,"author":223,"museum":244,"description":88534,"tags":105730,"thumbUrl":105731,"material":66,"size":84,"collection":84,"collections":105732,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},217024,"li-dai-ming-ren-tu-xiang-ce-7-yi-ming-217024","历代名人图像册-7",[24,7,59,27,96,371,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd13f1bde8899289be5425c3ecf0dee03.jpg",[],{"id":105734,"slug":105735,"title":105736,"dynasty":54,"author":223,"museum":244,"description":88534,"tags":105737,"thumbUrl":105738,"material":66,"size":84,"collection":84,"collections":105739,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},217022,"li-dai-ming-ren-tu-xiang-ce-8-yi-ming-217022","历代名人图像册-8",[24,7,59,28,27,96,439,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9c9f10af35e6843d43830ec7bee6a05.jpg",[],{"id":105741,"slug":105742,"title":105743,"dynasty":54,"author":223,"museum":244,"description":88534,"tags":105744,"thumbUrl":105745,"material":66,"size":84,"collection":84,"collections":105746,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},217021,"li-dai-ming-ren-tu-xiang-ce-11-yi-ming-217021","历代名人图像册-11",[24,7,59,27,96,28,170,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F988d07aa93e84bb7b97e4bf429cd85a9.jpg",[],{"id":105748,"slug":105749,"title":105750,"dynasty":54,"author":60332,"museum":77,"description":60333,"tags":105751,"thumbUrl":105752,"material":66,"size":60336,"collection":84,"collections":105753,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},217006,"ruan-yuan-yi-shi-shi-jing-tu-ce-8-wang-yun-217006","阮元遗事十景图册-8",[24,7,59,27,28,29,129,99,2372,22404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F275027168197b5de88c0a6a1697b5884.jpg",[],{"id":105755,"slug":105756,"title":105757,"dynasty":54,"author":60332,"museum":77,"description":60333,"tags":105758,"thumbUrl":105759,"material":66,"size":60336,"collection":84,"collections":105760,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},217005,"ruan-yuan-yi-shi-shi-jing-tu-ce-9-wang-yun-217005","阮元遗事十景图册-9",[24,7,59,27,28,29,97,34,131,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb9d46706c09846a0d72a63e99fa49df.jpg",[],{"id":105762,"slug":105763,"title":105764,"dynasty":54,"author":223,"museum":2607,"description":105765,"tags":105766,"thumbUrl":105767,"material":611,"size":84,"collection":84,"collections":105768,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":956},216847,"xi-xiang-ji-tu-ce-34-yi-ming-216847","西厢记图册-34","细笔勾勒的衣袂轻扬，墨色晕染的庭院深深，将西厢故事里的缱绻瞬间凝于纸上。或许是张生抚琴时的专注，或许是莺莺卷帘时的回眸，人物眉眼间的流转，藏着元曲里未宣之于口的情愫。花木扶疏的背景里，窗棂雕花隐现，既见古典园林的雅致，又为叙事留足留白。淡彩衬出含蓄的浪漫，线条如丝牵起旧梦，每一处细节都似在低吟那跨越时空的爱情夙愿——让观者于方寸图册间，触到《西厢记》里温柔的脉搏，醉在那千年不散的风月情长里。",[24,7,59,28,27,96,97,130,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F155334ac438ec06cbd7bfb5441f0b246.jpg",[],{"id":105770,"slug":105771,"title":105772,"dynasty":124,"author":223,"museum":300,"description":99608,"tags":105773,"thumbUrl":105774,"material":1733,"size":84,"collection":84,"collections":105775,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},216654,"xuan-da-shan-xi-san-zhen-tu-3-yi-ming-216654","宣大山西三镇图-3",[23,24,7,95,28,27,7068,97,29,690,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe72fe23d80e58adc9533d915ee983796.jpg",[],{"id":105777,"slug":105778,"title":105779,"dynasty":124,"author":223,"museum":300,"description":99608,"tags":105780,"thumbUrl":105781,"material":1733,"size":84,"collection":84,"collections":105782,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},216649,"xuan-da-shan-xi-san-zhen-tu-6-yi-ming-216649","宣大山西三镇图-6",[23,24,7,25,27,26,29,96,101,12314,758,690,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70fd59538239517f21d6b66d2c0d6e56.jpg",[],{"id":105784,"slug":105785,"title":105786,"dynasty":124,"author":223,"museum":300,"description":99608,"tags":105787,"thumbUrl":105788,"material":1733,"size":84,"collection":84,"collections":105789,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},216640,"xuan-da-shan-xi-san-zhen-tu-21-yi-ming-216640","宣大山西三镇图-21",[23,24,7,27,26,29,18265,31,111,758,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe687144edc5ee7e58ed1d446e775f48.jpg",[],{"id":105791,"slug":105792,"title":105793,"dynasty":124,"author":802,"museum":300,"description":105794,"tags":105795,"thumbUrl":105796,"material":278,"size":84,"collection":84,"collections":105797,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},216312,"xi-xiang-ji-zhen-ben-tu-ce-12-chen-hong-shou-216312","西厢记真本图册-12","笔墨里裹着西厢的风月余韵，线条如铁线般凝练又含流转之姿，人物造型虽带夸张却神韵天成。或有佳人凭栏，眉尖攒着半分愁绪半分痴；或见书生执卷，眼底藏着千般倾慕千般盼。衣纹褶皱如折古纸，既见筋骨又显飘逸，色彩淡雅却衬得情境愈浓。将古典戏曲的婉转心事凝在方寸，每一处细节都透着对《西厢记》的深解——那些欲说还休的情愫、暗转的眸光，都在古拙又灵动的笔墨里活了过来，让观者在一瞥间便触到那个年代里最缠绵的风月与最雅致的诗意。",[24,7,59,28,188,27,96,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61594b5ec32bf6325f04b03f97cb92b2.jpg",[],{"id":105799,"slug":105800,"title":105801,"dynasty":124,"author":802,"museum":300,"description":105802,"tags":105803,"thumbUrl":105804,"material":278,"size":84,"collection":84,"collections":105805,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},216301,"xi-xiang-ji-zhen-ben-tu-ce-22-chen-hong-shou-216301","西厢记真本图册-22","笔墨古拙中藏灵韵，线条如铁线盘曲，刚劲里带着柔婉韵致。人物造型简括却神形毕肖——或凝眸时眼波流转的情愫，或侧身间衣袂轻扬的姿态，寥寥几笔便道尽西厢故事的细腻心绪。背景疏窗、细竹以淡墨晕染，与浓墨勾勒的人物虚实相生，衬出清雅静谧的场景，又引观者目光聚焦于人物间悄然流动的情意。画面虽静，却似有风过竹影的轻响，与人心底的悸动共振，于方寸间铺展古典爱情的婉转低回，余味悠长。",[164,24,7,59,28,27,96,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a8484db1ecabfc136df46d8e2f88295.jpg",[],{"id":105807,"slug":105808,"title":105809,"dynasty":124,"author":802,"museum":300,"description":105810,"tags":105811,"thumbUrl":105812,"material":278,"size":84,"collection":84,"collections":105813,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},216297,"xi-xiang-ji-zhen-ben-tu-ce-26-chen-hong-shou-216297","西厢记真本图册-26","线条如铁线般苍劲却含柔韵，衣褶勾勒似古木虬枝盘结，造型夸张却神完气足。眉眼顾盼间，《西厢》里未言尽的情愫暗涌；手势起落处，戏中情境瞬间鲜活。墨色浓淡相宜，留白处余韵悠长，将戏曲的含蓄与张力融于尺幅。每一笔皆凝注对文本的深解，古拙中见灵动，变形里藏真意，既有版画刀刻的爽利，又具国画笔墨的韵味，让经典桥段在纸间永恒，风月才情扑面而来，堪称古典插图艺术的妙笔。",[805,5459,7,59,208,23848,938,572,27,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd5956f318c4822bb0021e50c449f11f.jpg",[],{"id":105815,"slug":105816,"title":105817,"dynasty":54,"author":223,"museum":77,"description":84301,"tags":105818,"thumbUrl":105819,"material":66,"size":84,"collection":84,"collections":105820,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},216240,"shi-quan-tu-ce-4-yi-ming-216240","十犬图册-4",[23,24,7,59,27,28,949,9119,1337,171,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eb8d97463015471b50f5b5ca351499e.jpg",[],{"id":105822,"slug":105823,"title":105824,"dynasty":54,"author":223,"museum":77,"description":84301,"tags":105825,"thumbUrl":105826,"material":66,"size":84,"collection":84,"collections":105827,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},216238,"shi-quan-tu-ce-6-yi-ming-216238","十犬图册-6",[23,24,7,59,28,27,133,208,949,131,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4cbb75e2bde7af1519986ee015e2c91.jpg",[],{"id":105829,"slug":105830,"title":105831,"dynasty":54,"author":223,"museum":77,"description":84301,"tags":105832,"thumbUrl":105833,"material":66,"size":84,"collection":84,"collections":105834,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},216235,"shi-quan-tu-ce-9-yi-ming-216235","十犬图册-9",[23,24,7,59,28,27,133,527,949,130,4363,229,7446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e05a7702e65d372f2bc7fcbc0204bd.jpg",[],{"id":105836,"slug":105837,"title":105838,"dynasty":54,"author":223,"museum":77,"description":84301,"tags":105839,"thumbUrl":105840,"material":66,"size":84,"collection":84,"collections":105841,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},216234,"shi-quan-tu-ce-10-yi-ming-216234","十犬图册-10",[23,24,7,59,28,27,949,171,413,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d4583e76250578185eee609f6beeac.jpg",[],{"id":105843,"slug":105844,"title":105845,"dynasty":54,"author":223,"museum":300,"description":105846,"tags":105847,"thumbUrl":105848,"material":173,"size":84,"collection":84,"collections":105849,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},216201,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-1-ce-5-yi-ming-216201","职贡图巨幅彩绘册页第1册-5","工笔彩绘铺陈万国来朝盛景，各邦人物神情毕肖，服饰器物细节入微，尽显异域风貌与朝贡礼仪之庄重。色彩绚丽雅致，线条流畅兼具写实写意之妙。册页间御笔题跋笔墨苍劲，添注皇家气象。作品既是艺术佳作，亦是清代多民族融合与对外交流的生动见证，每一笔皆凝聚对四方文化的观照与时代印记。",[23,304,7,59,64,133,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5e46018a35012c340b72707a9eed1dc.jpg",[],{"id":105851,"slug":105852,"title":105853,"dynasty":54,"author":223,"museum":300,"description":105854,"tags":105855,"thumbUrl":105856,"material":173,"size":84,"collection":84,"collections":105857,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},216199,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-1-ce-1-yi-ming-216199","职贡图巨幅彩绘册页第1册-1","此幅彩绘册页勾勒边疆族群或外邦朝贡景象，色彩浓郁雅致，线条流畅传神。画面精准呈现不同族群服饰、器物与风貌，兼具纪实性与艺术性。册页形制便于细赏，每处细节皆为清代多民族交流与对外往来的鲜活切片。虽佚名，却尽显清代绘画写实与装饰并重的风格，宏大构图与精巧刻画相得益彰，开启职贡图巨幅册页开篇。它既是艺术载体，更是研究清代民族关系、外交史与社会风貌的珍贵视觉文献，无声诉说着彼时疆域格局与文化交融。",[23,24,7,59,27,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F471e352bd6edf5c9310e24601eaf0df6.jpg",[],{"id":105859,"slug":105860,"title":105861,"dynasty":54,"author":223,"museum":300,"description":105862,"tags":105863,"thumbUrl":105864,"material":173,"size":84,"collection":84,"collections":105865,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},216196,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-1-ce-4-yi-ming-216196","职贡图巨幅彩绘册页第1册-4","这幅彩绘册页以细腻笔触勾勒边疆族群与外邦使节的朝贡风貌，色彩古朴典雅，人物服饰、器物细节皆生动还原，尽显不同文化的独特韵味。画面虽静，却似能听见使节行礼声、器物碰撞音，鲜活再现清代多民族交流与邦交往来场景。它如一部无声历史档案，承载着那个时代对边疆治理的重视与对外交流的姿态，让观者窥见清代疆域内外的多元文化图景，历史与艺术价值交织，引人驻足细品。",[23,24,7,59,27,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F089d3e8ad94328efdc5d78e7cd8d7d27.jpg",[],{"id":105867,"slug":105868,"title":105869,"dynasty":54,"author":223,"museum":300,"description":105870,"tags":105871,"thumbUrl":105872,"material":173,"size":84,"collection":84,"collections":105873,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},216179,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-1-ce-22-yi-ming-216179","职贡图巨幅彩绘册页第1册-22","画面分左右两帧，各绘人物一。左帧女子绾蓝巾，着红衫绿裙，衣袂缀精致花纹，手持物什，姿态温婉娴静；右帧男子戴宽檐帽，披紫褐斗篷，内着红蓝衣裤，足蹬皂靴，神情端庄肃穆。人物衣饰细节毕现，色彩明丽和谐，线条流畅细腻，神态刻画生动传神。此作以彩绘形式记录异域人物风貌，既展现清代绘画技艺之精湛，亦折射当时中外文化交流之景象，为研究清代对外交往与艺术审美提供珍贵视觉资料。",[23,24,7,59,27,28,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F642b2f8b034a8cb0f9ba4660b966867b.jpg",[],{"id":105875,"slug":105876,"title":105877,"dynasty":54,"author":223,"museum":300,"description":105878,"tags":105879,"thumbUrl":105880,"material":173,"size":84,"collection":84,"collections":105881,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},216168,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-1-ce-33-yi-ming-216168","职贡图巨幅彩绘册页第1册-33","彩绘册页之上，两帧人物并置，各呈殊貌。左侧人物红袍覆身，绿裙曳地，蓝帽轻戴，身姿舒缓，衣纹流转间尽显从容气度；右侧人物深褐袍服配束腰褶裙，黑袜裹足，双手交握于腹前，神态恭谨内敛。画家以细腻笔触勾勒容貌肌理，衣料纹理晕染自然，色彩雅正而不失鲜活。旁侧题跋墨迹宛然，似载其族属渊源与朝贡诸事，图文相映，既为清代边疆及外域族群风貌的直观记录，亦暗含王朝对四方来朝的认知与呈现，是研究当时民族交流与对外关系的鲜活视觉遗存。",[23,304,24,7,59,27,28,96,170,23253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6a5cdbd17e397159114116b621911c2.jpg",[],{"id":105883,"slug":105884,"title":105885,"dynasty":54,"author":223,"museum":300,"description":105886,"tags":105887,"thumbUrl":105888,"material":173,"size":84,"collection":84,"collections":105889,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},216165,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-1-ce-37-yi-ming-216165","职贡图巨幅彩绘册页第1册-37","册页展卷，两位人物鲜活立现。左侧者衣袂轻扬，蓝布覆肩，白裤赤脚，神态自若似携物而行，衣纹线条流畅，设色淡雅却藏层次。右侧老者身着蓝条纹长袍，束带于腰，手持长杆羽饰，须发微白神情沉稳，衣料纹理隐约可见，细节处尽显匠工之细。浅米色底衬得人物鲜明，无繁复背景却于简洁中传递身份情态。衣纹勾勒简练传神，设色温润雅致，每一笔触皆藏对人物风貌的细致捕捉，尽显清代职贡图写实与写意兼具的艺术韵致，让观者得以窥见彼时人文图景的鲜活一角。",[23,24,7,59,27,28,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd39374e7383a0183c9e52ee3092c9359.jpg",[],{"id":105891,"slug":105892,"title":105893,"dynasty":54,"author":223,"museum":300,"description":105894,"tags":105895,"thumbUrl":105896,"material":173,"size":84,"collection":84,"collections":105897,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},216163,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-1-ce-40-yi-ming-216163","职贡图巨幅彩绘册页第1册-40","画面分左右两帧，各绘一位边疆或异域人物。左帧女子着蓝袍长裙，发髻别致，肩扛器具，姿态娴静温婉；右帧男子短打装束，赤脚绑腿，手持物件，步履轻快质朴。色彩明丽饱和，线条细腻流畅，人物神态鲜活传神，服饰细节暗藏独特族群风貌。作为职贡图的一页，它以写实笔触记录不同群体形象，文字与图像相映成趣，既具艺术观赏性，又为清代民族交流、边疆文化研究提供直观视觉佐证，尽显当时多民族交融的生动图景。",[23,24,7,59,27,28,96,170,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F384db5f356574c5f1decd87c327b6566.jpg",[],{"id":105899,"slug":105900,"title":105901,"dynasty":54,"author":223,"museum":300,"description":105902,"tags":105903,"thumbUrl":105904,"material":173,"size":84,"collection":84,"collections":105905,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},216161,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-1-ce-42-yi-ming-216161","职贡图巨幅彩绘册页第1册-42","画面对开分绘二人，左者衣袍覆体，头巾裹面，双手合十肃立；右者冠帽长袍，持物于怀，姿态沉稳。笔墨工细，线条流畅勾勒衣褶纹理，设色淡雅却见层次，人物神情鲜活传神。旁附墨书题识，图文相衬载录异域风貌。此作承职贡图传统，以写实笔触捕捉人物特征，既具艺术审美价值，亦为清代边地与外域文化交流的图像佐证，尽显彼时对异域族群观察记录之细致。",[23,24,7,59,27,28,96,187,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1a3464cb629a9a4bce5054294b4b3d6.jpg",[],{"id":105907,"slug":105908,"title":105909,"dynasty":54,"author":223,"museum":300,"description":105910,"tags":105911,"thumbUrl":105912,"material":173,"size":84,"collection":84,"collections":105913,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},216158,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-1-ce-44-yi-ming-216158","职贡图巨幅彩绘册页第1册-44","画面纸页贴附，字迹漫漶间似藏往昔朝贡的细碎叙事。木质基底纹理交错，斑驳痕迹如时光摩挲的印记，晕染出岁月的厚重。笔触虽佚名，却以细腻线条勾勒边疆族群风貌，色彩间流淌着清代民族交流的鲜活气息。它不仅是彩绘册页，更是具象的历史切片——承载着中原与外邦的礼仪往来，映照着当时多民族交融的图景，每一处斑驳都在诉说着跨越时空的文化联结。那些模糊的轮廓与残存的色彩，将远去的朝贡场景凝练成可触的记忆，让观者得以窥见清代对外交往与民族关系的生动一隅。",[23,24,7,59,27,23253,64,133,12803],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5fe596ecfa9cc7993c9e297394caf3b.jpg",[],{"id":105915,"slug":105916,"title":105917,"dynasty":54,"author":223,"museum":300,"description":105918,"tags":105919,"thumbUrl":105920,"material":173,"size":84,"collection":84,"collections":105921,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},216157,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-4-yi-ming-216157","职贡图巨幅彩绘册页第2册-4","此幅彩绘册页以工细笔触勾勒多元风貌，人物衣饰纹样繁复精致，器物细节刻画入微，色彩晕染层次分明。画师以纪实之眼捕捉各族群的独特气质，从发式到配饰，从姿态到神情，皆蕴含丰富的文化密码。它不仅是一幅艺术佳作，更如一部鲜活的视觉史书，承载着清代多民族交流与对外邦交的生动记忆，让后世得以窥见那个时代的族群百态与邦国往来的图景。笔墨间流淌着对多元文化的细致观察，既保留纪实严谨性，又兼具艺术生动气韵，为研究清代社会风貌提供了珍贵的图像佐证。",[23,24,7,4437,27,28,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1c226daf871bc4d4374f56b90ce018e.jpg",[],{"id":105923,"slug":105924,"title":105925,"dynasty":54,"author":223,"museum":300,"description":105926,"tags":105927,"thumbUrl":105928,"material":173,"size":84,"collection":84,"collections":105929,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},216155,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-5-yi-ming-216155","职贡图巨幅彩绘册页第2册-5","彩绘晕染间，四方族群的鲜活气韵扑面而来。工笔细描的服饰纹理——从锦绣团花到粗布毡裘，从珠玉佩饰到兽皮靴履，每一处都镌刻着地域文化的印记。人物神态各异，或执贡物躬身而立，或牵驼马从容侍侧，与背景中的器物、景致相映成趣，铺展成王朝与边地、外邦往来的生动图景。色彩明丽雅致，线条流畅兼具骨力，既显写实功底，亦藏对天下秩序的温情想象。册页形制让这份历史记忆妥帖安放，静静诉说着往昔的交流与交融，岁月沉淀的厚重感，在笔墨间悄然流淌。",[23,24,7,59,27,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82e3643e667af471df798a60ce880e45.jpg",[],{"id":105931,"slug":105932,"title":105933,"dynasty":54,"author":223,"museum":300,"description":105934,"tags":105935,"thumbUrl":105936,"material":173,"size":84,"collection":84,"collections":105937,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},216124,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-36-yi-ming-216124","职贡图巨幅彩绘册页第2册-36","画面绘两异域人物，左为女子，身着粉紫暗纹长袍，头巾缀饰，手持器物，身姿温婉；右为男子，黄帕裹头，络腮胡须，橙裳白袂外覆粉褐披肩，足蹬皮靴，神情朴厚。人物刻画工细，衣纹线条流畅，色彩明丽雅致。旁附题识，详述其族属风俗。整幅画作写实生动，既展现异域风貌，又暗含清代对外域与边疆民族的认知，兼具艺术观赏性与历史文献价值，是职贡题材绘画中颇具代表性的作品。",[23,24,7,59,27,28,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb11babbfb1ec9ac919a4017bdfba6f60.jpg",[],{"id":105939,"slug":105940,"title":105941,"dynasty":54,"author":223,"museum":300,"description":105942,"tags":105943,"thumbUrl":105944,"material":173,"size":84,"collection":84,"collections":105945,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},216120,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-38-yi-ming-216120","职贡图巨幅彩绘册页第2册-38","画面分左右两帧，左帧女子衣袂明丽，黄地菱形纹长袍镶绿边，紫带束腰，发鬓轻挽，侧身微倾似作揖，姿态温婉；右帧男子着浅蓝长袍，内衬棕褐衣物，紫粉相间的腰带松束腰间，头戴绿顶宽檐帽，面容和善，手势若在交谈。旁侧墨书小字，或详载其族属风俗。画作以细腻笔触捕捉人物神态与服饰细节，衣料纹理、配饰样式皆考究入微。既呈现边疆族群的独特风貌，亦隐现清代多民族交流的图景，笔墨间藏着对异域风情的细致观察，是窥见当时民族文化交融的生动窗口，兼具艺术价值与历史意涵。",[23,24,7,59,27,28,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84545aa37284684232fc317bcfb17688.jpg",[],{"id":105947,"slug":105948,"title":105949,"dynasty":54,"author":223,"museum":300,"description":105950,"tags":105951,"thumbUrl":105952,"material":173,"size":84,"collection":84,"collections":105953,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},216069,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-7-yi-ming-216069","职贡图巨幅彩绘册页第3册-7","画面展呈两位边地或异域人物的鲜活形象，工笔彩绘细腻传神。左侧人物着黑衫红裙，手持器物，神态平和；右侧人物身佩蛇形杖与短刃，蓝裤红带，绑腿赤足，姿态刚健。人物服饰细节丰沛，纹样配色尽显族群特色，旁附文字注解身份背景。\n\n画作写实生动，既捕捉神态之真，又还原器物服饰之细，折射出清代对边疆或外域族群的观察与记录，承载着彼时民族交流与文化互鉴的鲜活印记，尽显职贡图类作品的历史价值与艺术张力。",[23,24,7,59,27,28,96,170,5626,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f9f6ba1a53bf4fa3c785d793b9c5574.jpg",[],{"id":105955,"slug":105956,"title":105957,"dynasty":54,"author":223,"museum":300,"description":105958,"tags":105959,"thumbUrl":105960,"material":173,"size":84,"collection":84,"collections":105961,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},216065,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-13-yi-ming-216065","职贡图巨幅彩绘册页第3册-13","对开册页之上，左右分呈两帧人物肖像。左幅女子蓝衫白褂，墨裙赤足，青布裹头，红带悬葫芦状器物，神态温婉质朴；右幅男子绿袖白衣，外罩彩条坎肩，手持长板，须发短粗，面容憨直。线条勾勒细腻传神，设色淡雅自然，服饰器物细节毕现。旁侧文字注解与图像呼应，既如实记录族群风貌，又暗含清代对边疆族群的观察视角，为研究当时民族文化、服饰民俗留存鲜活视觉范本，尽显纪实与艺术交融之妙。",[23,24,7,59,27,28,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F424c2cbbc6db66fda915d2dd52647ae5.jpg",[],{"id":105963,"slug":105964,"title":105965,"dynasty":54,"author":223,"museum":300,"description":105966,"tags":105967,"thumbUrl":105968,"material":173,"size":84,"collection":84,"collections":105969,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},216064,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-17-yi-ming-216064","职贡图巨幅彩绘册页第3册-17","画面分绘二人，情态各异。左者青衫绿领，红绦束腰，深裙衬朱盘，蓝胫赤足捧器而立，姿态恭谨；右者首簪羽翎，墨衣佩绿珠，紫裙系蓝带，持管吹奏神情悠然。衣纹流转细腻，色彩古雅温润，线条简练传神，尽显工笔彩绘之精致。发式、配饰、衣褶的刻画，既存族群风貌之真，又含艺术提炼之美。两侧题跋与图像相映，藏着对边地族群的观察记录，既是清代民族交流的鲜活见证，也彰显传统绘画写实与人文的双重力量。",[23,24,7,59,27,28,96,438,170,232],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14121e373b1da935253ecb6ad24769ba.jpg",[],{"id":105971,"slug":105972,"title":105973,"dynasty":54,"author":223,"museum":300,"description":105974,"tags":105975,"thumbUrl":105978,"material":173,"size":84,"collection":84,"collections":105979,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},216058,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-22-yi-ming-216058","职贡图巨幅彩绘册页第3册-22","画面分左右绘两人，皆着质朴衣装，尽显生活本真。左侧人物头裹蓝巾缀红饰，深衣宽袖，袖口露蓝边，腰间束物，步履沉稳似劳作归来；右侧者头扎蓝巾，短褐赤足，腰系蓝带，拄杖背筐，神态安然如田间休憩。线条细腻勾勒衣褶纹理，设色淡雅却见层次，人物姿态鲜活，仿佛能窥见彼时边地民众的日常风貌。画作以写实笔触，将人物衣着、神态与生活场景融于一纸，尽显民俗风情之淳厚，亦为研究当时社会生活留存珍贵视觉印记。",[23,24,7,59,27,28,96,170,304,23253,105976,4283,40819,64264,105977],"人物服饰","民族人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78dcc6ae159b7c8a6b897e9dfcfb50ce.jpg",[],{"id":105981,"slug":105982,"title":105983,"dynasty":54,"author":223,"museum":300,"description":105984,"tags":105985,"thumbUrl":105986,"material":173,"size":84,"collection":84,"collections":105987,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},216056,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-29-yi-ming-216056","职贡图巨幅彩绘册页第3册-29","画面分两帧，左帧人物紫袍束蓝带，赤脚而立，神情平和舒展；右帧则牵一驯鹿，鹿身驮鞍，手持短鞭，姿态与鹿亲昵相融。笔触细腻，衣纹线条流畅婉转，设色淡雅却层次分明。人物装束与驯鹿的搭配，生动还原了特定族群的牧猎日常，尽显质朴自然的生活气息。画作既细致捕捉异域风貌，又暗含王朝对边疆族群的观察与记录，传递出清代职贡图类作品记录四方、彰显大一统的文化意涵。整体写实传神，于细节处见匠心，是研究清代边疆族群形象与文化交流的珍贵视觉载体。",[23,304,24,7,59,27,28,23253,96,2302,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9c30f6c43dacb2a6ac93b02b1789abd.jpg",[],{"id":105989,"slug":105990,"title":105991,"dynasty":54,"author":223,"museum":300,"description":105992,"tags":105993,"thumbUrl":105994,"material":173,"size":84,"collection":84,"collections":105995,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},216042,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-1-yi-ming-216042","职贡图巨幅彩绘册页第4册-1","这幅彩绘以细腻笔触铺展朝贡图景，人物神态鲜活灵动，各族服饰、器物细节毕现——或披兽皮持猎具，或着锦袍携方物，衣纹线条流转自然，色彩晕染层次分明。画面不仅定格了朝觐的庄重瞬间，更藏着边疆族群的生活印记与邦交往来的温度。册页形制承载着这份历史记忆，每一处细节都是往昔民族交流、文化互鉴的生动注脚，让久远的天下图景在笔墨间缓缓苏醒，尽显传统绘事对世间万象的精微记录与深情观照。",[23,24,7,59,27,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a54030c817efdc9f26d14517effa76e.jpg",[],{"id":105997,"slug":105998,"title":105999,"dynasty":54,"author":223,"museum":300,"description":106000,"tags":106001,"thumbUrl":106002,"material":173,"size":84,"collection":84,"collections":106003,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},216038,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-3-yi-ming-216038","职贡图巨幅彩绘册页第4册-3","两帧画面各呈鲜活风情。左帧女子赤脚缓行，蓝裙曳地缀粉绡，肩扛渔网、腰挎竹篓，长杆轻握，神情温婉安然，尽显渔者日常之态；右帧男子赤足跨步，蓝衫飘带翻飞，身形矫健动感十足，似正疾行赶路。彩绘笔触细腻，服饰纹理与人物姿态皆传神鲜活，既勾勒出特定族群的生活剪影，亦承载着清代对边地民俗的细致观照，笔墨间流淌着多元文化的生动气息，是一幅纪实性与艺术性交融的民俗画卷。",[23,24,7,4437,27,28,96,170,23253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0930b33ff705c90d058bb2096f2e5f07.jpg",[],{"id":106005,"slug":106006,"title":106007,"dynasty":54,"author":223,"museum":300,"description":106008,"tags":106009,"thumbUrl":106010,"material":173,"size":84,"collection":84,"collections":106011,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},216027,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-18-yi-ming-216027","职贡图巨幅彩绘册页第4册-18","左侧人物着紫褐上衣，彩格围裙衬绿边裙摆，头戴小冠，手提篮筐，步态从容；右侧人物一袭蓝衣，腰佩红囊，肩背竹篓，赤足而立，神情憨朴。旁附文字注解，详述其身份地域。画作线条细腻流畅，设色明丽雅致，写实生动捕捉不同族群的服饰风貌与生活情态。作为职贡图的一部分，它既是艺术佳作，更承载记录边疆民族交往的历史信息，展现清代对多元文化的关注与呈现，具颇高艺术价值与历史文献意义。",[23,24,7,4437,27,28,23253,96,170,169,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39c415117581f61b02cec1daa64cec99.jpg",[],{"id":106013,"slug":106014,"title":106015,"dynasty":54,"author":223,"museum":300,"description":106016,"tags":106017,"thumbUrl":106018,"material":173,"size":84,"collection":84,"collections":106019,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},216021,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-20-yi-ming-216021","职贡图巨幅彩绘册页第4册-20","笔墨细腻勾勒人物百态，色彩淡雅晕染族群风情。左者蓝衣束腰，裙摆曳地，肩荷莲苞似携乡野清趣，笑意盈盈间透着质朴亲和；右者褐衫赤足，杖倚肩头，腰系蓝绦尽显随性洒脱，健硕身形里藏着山野韧劲。线条流畅描摹衣袂纹理，神态刻画入微传情——或温婉或豪放，皆鲜活如临其境。画面以写实之笔，载录不同族群的衣着风貌与生活气息，简而不陋，淡而有神，尽显清代职贡图对边疆风情记录的细致与生动，为后世留存下一段段可触可感的民族文化印记。",[23,24,7,59,27,28,96,170,168,37810,70482],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea5c192abd8d9e03a871fa22e7eecffc.jpg",[],{"id":106021,"slug":106022,"title":106023,"dynasty":54,"author":223,"museum":300,"description":106024,"tags":106025,"thumbUrl":106026,"material":173,"size":84,"collection":84,"collections":106027,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},216020,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-21-yi-ming-216020","职贡图巨幅彩绘册页第4册-21","画面分左右两帧，各绘人物一，神态鲜活，衣袂带风。左者蓝帽束发，黄褐短衫覆朱红里衣，黑裤赤足，手势似与人语，憨态可掬；右者竹笠覆首，素衣宽袖，靛蓝裤脚系青带，负物躬身前行，步履沉稳。设色淡雅却明艳有致，线条简练而形神毕肖，衣物褶皱的晕染与肌肤质感皆细致入微。笔触写实，勾勒出特定身份者的生活样貌，暗含地域文化的鲜活印记，是清代民俗图像中兼具观赏性与史料价值的佳作，于无声处传递往昔生活气息与人文温度。",[23,24,7,59,28,27,96,170,1350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fad81672bc08c329cc1b9a0e74045ad.jpg",[],{"id":106029,"slug":106030,"title":106031,"dynasty":54,"author":223,"museum":300,"description":106032,"tags":106033,"thumbUrl":106034,"material":173,"size":84,"collection":84,"collections":106035,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},216017,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-28-yi-ming-216017","职贡图巨幅彩绘册页第4册-28","左边人物绿衫衬蓝裙，发裹蓝巾，手持帛带，姿态娴静，衣褶层叠如波；右侧武士靛袍束腰，佩刃挎弓，长杆在手，神情刚毅。工笔细绘衣纹肌理，色彩清丽和谐，写实中见灵动。画面不仅再现边地族群的服饰器物特征，更以细腻笔触承载朝贡语境下的人文互动，于无声处勾勒清代多民族交往的鲜活图景，虽佚名却匠心独运，为研究彼时民族文化与对外交流留下珍贵视觉印记。",[23,24,7,59,27,28,96,170,5626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97bb3c505e13023a2f26bfb21f1b438f.jpg",[],{"id":106037,"slug":106038,"title":106039,"dynasty":54,"author":223,"museum":300,"description":106040,"tags":106041,"thumbUrl":106042,"material":173,"size":84,"collection":84,"collections":106043,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},216015,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-26-yi-ming-216015","职贡图巨幅彩绘册页第4册-26","画面铺展着两位边地人物的鲜活身影。左侧女子蓝衫黑裙，裙摆缀青绿镶边，红带轻垂，肩挎行囊赤脚而行，眉宇间藏着劳作的坚韧。右侧男子裹着蓝黄相间的条纹披肩，内着短褐，下身束白巾，躬身而立，神情质朴。笔墨细致描摹服饰纹理，设色淡雅却鲜活，线条简练却传神，将人物的姿态与神态刻画得入木三分。这幅彩绘不仅是艺术的凝萃，更似一扇窗，让观者得以窥见清代边地民族的生活风貌与多元文化的交融印记，每一处细节都藏着对异域风情的真诚记录。",[23,24,7,59,27,28,96,170,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3057be09869e66ddb3ffb8b5ddb2befa.jpg",[],{"id":106045,"slug":106046,"title":106047,"dynasty":54,"author":223,"museum":300,"description":106048,"tags":106049,"thumbUrl":106050,"material":173,"size":84,"collection":84,"collections":106051,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},216008,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-31-yi-ming-216008","职贡图巨幅彩绘册页第4册-31","画面分左右两帧，各绘一位人物。左帧人物身着彩条长裙，裙摆层叠似虹，手持团扇与串饰，姿态温婉娴静；右帧人物头戴斗笠，蓝衫束腰，裤脚扎紧，身携工具，神情质朴憨实。笔触细腻入微，衣纹褶皱与配饰细节皆清晰可见，色彩明丽饱满，尽显不同族群的服饰特色与生活气息。整幅画作以写实手法记录多元风貌，传递出清代对不同文化的观察与呈现，是兼具艺术表现力与历史参考价值的视觉文献，静静诉说着彼时的人文图景。",[23,24,7,59,27,23253,96,170,61534,71237],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F936909dacc6ba7f5ce13db4d5f15ba49.jpg",[],{"id":106053,"slug":106054,"title":106055,"dynasty":54,"author":223,"museum":300,"description":106056,"tags":106057,"thumbUrl":106058,"material":173,"size":84,"collection":84,"collections":106059,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},216007,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-37-yi-ming-216007","职贡图巨幅彩绘册页第4册-37","笔墨挺劲端稳，结体谨严有度，兼具楷法规整与韵致流动。笺纸古朴温润，墨色沉厚匀净，章法疏朗有致，行款间气息连贯如一。文字颂扬治世气象，笔锋起落间流露庄重典雅之态，左侧钤印添古朴雅韵。整幅册页既见书法精湛功底，又承载对盛世图景的咏叹，尽显清代书法典型风貌与文化内涵，堪称兼具审美价值与历史意涵的佳作。",[23,24,7,59,572,64,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e02669389c5a6ff067aad8fcf17075.jpg",[],{"id":106061,"slug":106062,"title":106063,"dynasty":54,"author":223,"museum":2607,"description":106064,"tags":106065,"thumbUrl":106066,"material":173,"size":84,"collection":84,"collections":106067,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},216002,"di-jian-tu-shuo-cai-hui-ben-5-yi-ming-216002","帝鉴图说彩绘本-5","朱红廊柱支起飞檐翘角，浅褐院墙围合一方静谧庭院。栏杆曲折间，树木葱茏，衬得殿宇愈显庄雅。人物或端坐阶前，神情肃穆；或侍立两侧，姿态恭谨；或缓步廊下，衣袂轻扬。色彩晕染温润古朴，线条勾勒细腻入微，将宫廷场景的庄重与人际互动的细腻悄然铺展。画中似在演绎古代治国典故，每一处细节皆藏劝诫之意，于静谧画面里流淌出历史的厚重与人文的温度，让人赏画时不觉沉浸于往昔的智慧与情怀中。",[24,7,59,27,95,28,96,97,130,249,34,247,1200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac052b9647b506b67b3a1abe3064c60.jpg",[],{"id":106069,"slug":106070,"title":106071,"dynasty":54,"author":223,"museum":2607,"description":106072,"tags":106073,"thumbUrl":106074,"material":173,"size":84,"collection":84,"collections":106075,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},216001,"di-jian-tu-shuo-cai-hui-ben-4-yi-ming-216001","帝鉴图说彩绘本-4","画中殿宇错落，朱檐翘角衬着青蓝小筑，松枝苍劲斜倚，添几分古意。上层廊下人影攒动，或躬身呈礼，或执礼对语，衣纹细腻，神态宛然；下层小门处二人静立，似在候命。设色雅致温润，线条工细流畅，将殿廷仪典的庄重与人物互动的鲜活融于尺幅之间。古建的规制严谨与草木的清逸相映，细节处见匠心，尽显传统彩绘的细腻韵致，帧中流转着岁月沉淀的典雅气息。",[24,7,27,28,95,59,96,97,130,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5747b6435b54bca9e3c117a95a581cc.jpg",[],{"id":106077,"slug":106078,"title":106079,"dynasty":54,"author":223,"museum":2607,"description":106080,"tags":106081,"thumbUrl":106082,"material":173,"size":84,"collection":84,"collections":106083,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215993,"di-jian-tu-shuo-cai-hui-ben-15-yi-ming-215993","帝鉴图说彩绘本-15","亭台层叠，朱门映碧瓦，古雅之气扑面而来。上层人物或立或语，神态恭谨间透着庄重；下层侍从往来、劳作场景鲜活，烟火气与仪轨感交织成趣。苍松虬劲，山水为衬，线条细腻勾勒出建筑的精巧与人物的动态，设色温润古朴，将一段历史场景凝于绢素。画面既有视觉的雅致韵致，又暗含叙事的深沉意味，仿佛能透过笔墨窥见往昔的仪范与日常，尽显传统绘画的叙事与审美之妙。",[24,7,27,28,95,96,97,34,247,1200,249,35,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71a32dcfd3f62b94ae8097adba11b615.jpg",[],{"id":106085,"slug":106086,"title":106087,"dynasty":54,"author":223,"museum":2607,"description":106088,"tags":106089,"thumbUrl":106090,"material":173,"size":84,"collection":84,"collections":106091,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215989,"di-jian-tu-shuo-cai-hui-ben-16-yi-ming-215989","帝鉴图说彩绘本-16","红墙映黛瓦，青绿点檐牙，庭院楼阁错落成一幅雅致的宫廷图景。主位人物端坐轩敞厅堂，衣著赭黄，神态雍容；两侧侍从垂立，姿态恭谨。台阶上下，数人或躬身禀报，或徐行往来，衣纹流转间似有低语随风。建筑细节勾勒入微，斗拱精巧、栏杆纹饰清晰可见，朱红与石绿的撞色，既显皇家庄重，又含彩绘鲜活韵致。人物动态鲜活，或立或行、或跪或语，悄然铺展宫廷日常的仪轨与温情，笔端细腻处，尽是旧时皇家的雍容与平和。",[24,7,59,27,95,28,96,97,130,34,1200,249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3df5d46fc656e8433be566f1113d884a.jpg",[],{"id":106093,"slug":106094,"title":106095,"dynasty":54,"author":223,"museum":2607,"description":106096,"tags":106097,"thumbUrl":106098,"material":173,"size":84,"collection":84,"collections":106099,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215987,"di-jian-tu-shuo-cai-hui-ben-20-yi-ming-215987","帝鉴图说彩绘本-20","红墙绿瓦的殿宇翘角飞檐，檐下木构精巧，阶前松柏苍劲。画面中央，君臣围聚廊下，或颔首论道，或垂目静听，神态毕肖；阶下侍从衣袂轻扬，恭立待命，动静间尽显朝堂仪轨。前景门廊玲珑，与后方殿宇呼应，疏密有致的布局勾勒出宫廷深院的层次。设色明快却不失古雅，红与绿的撞色衬出建筑庄重，人物服饰的细腻纹理更见绘者匠心。作为教化典籍配图，它以生动图景再现历史场景，让威严的朝堂故事有了可触的温度，于尺幅间藏纳治乱智慧，尽显清代绘本叙事与审美交融之妙。",[24,7,27,95,96,97,247,34,39451,1200,249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb5fce36529bb08cfe7fd9aa1a903f5e.jpg",[],{"id":106101,"slug":106102,"title":106103,"dynasty":54,"author":223,"museum":2607,"description":106104,"tags":106105,"thumbUrl":106106,"material":173,"size":84,"collection":84,"collections":106107,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215981,"di-jian-tu-shuo-cai-hui-ben-27-yi-ming-215981","帝鉴图说彩绘本-27","画面以层叠的中式殿宇为背景，上下两重空间各藏叙事。上层廊下群像姿态各异，或立或语，衣袂轻扬间似裹朝堂典故；下层阶前数人互动生动，递物躬身的细节，将日常仪节凝于细腻笔触。设色古朴雅致，朱红门窗与青蓝瓦顶相映，衬出庭院静谧；建筑纹饰、人物神情皆清晰可辨，既守工笔重彩的规整，又含生活气息。整幅画以静态场景承动态故事，仿佛从历史卷轴截取的一瞬，观者于雅致画风里，可感知古代帝王鉴戒故事的深沉韵味。",[24,7,27,28,95,96,97,34,247,1200,249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F324969b0dff735e1961c9d414b77f3cf.jpg",[],{"id":106109,"slug":106110,"title":106111,"dynasty":54,"author":223,"museum":2607,"description":106112,"tags":106113,"thumbUrl":106115,"material":173,"size":84,"collection":84,"collections":106116,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215980,"di-jian-tu-shuo-cai-hui-ben-28-yi-ming-215980","帝鉴图说彩绘本-28","红墙绿瓦的宫殿巍然矗立，檐角翘飞似欲凌云，雕花栏杆的台阶延伸而上，尽显宫廷威仪。台阶之上，人物或立或揖，衣袂翩跹间神态宛然，似正演绎一场君臣相论的场景。庭院里，数人或执器奏乐、或垂手侍立，动作错落鲜活；右侧苍松挺拔，松枝如墨痕舒展，晕染出几分古雅静谧；左侧建筑朱红与青绿交织，色彩明丽却不失温润。整幅画以细腻工笔勾勒人物动态与建筑细节，将宫廷的庄重氛围与生活的鲜活气息巧妙融合，每一处线条皆见匠心，每一抹色彩都藏韵味，尽显传统重彩画的独特魅力。",[24,164,7,59,28,27,96,97,95,42311,438,372,106114],"遣使赐恤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F835bfd2c9e287bb8fde8d1bc1f289731.jpg",[],{"id":106118,"slug":106119,"title":106120,"dynasty":54,"author":223,"museum":2607,"description":106121,"tags":106122,"thumbUrl":106123,"material":173,"size":84,"collection":84,"collections":106124,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215974,"di-jian-tu-shuo-cai-hui-ben-33-yi-ming-215974","帝鉴图说彩绘本-33","红柱托蓝瓦，飞檐翘角间藏着殿宇的精巧。朱门前列着持械侍卫，身姿如松；后殿内数人对坐，衣袂轻扬似有议事声息。阶旁松枝苍劲，石色青润，笔墨细腻勾勒出栏杆纹路，晕染出庭院生机。色彩明丽却庄重，人物神态简而传神，每一处细节都铺陈着古代宫廷的肃穆雅致，仿佛能透过画纸，触到那君臣对语的瞬间，感受那份藏在画中的朝堂气韵与古典意趣。画中景物与人物相映成趣，既见建筑的规制严谨，也显庭院的静谧鲜活，笔墨流转间，将一段尘封的宫廷图景缓缓铺展。",[24,7,27,28,95,96,97,34,1200,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6057f324f2da8d53acd2bd57c21d5c93.jpg",[],{"id":106126,"slug":106127,"title":106128,"dynasty":54,"author":223,"museum":2607,"description":106129,"tags":106130,"thumbUrl":106131,"material":173,"size":84,"collection":84,"collections":106132,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215971,"di-jian-tu-shuo-cai-hui-ben-36-yi-ming-215971","帝鉴图说彩绘本-36","红柱飞檐的殿宇中，帝王端坐中央，侍从环侍左右。阶下数人或躬身呈物，或肃立待命，似在演绎治国典故。画面色彩雅致，青蓝衬朱红，显宫殿庄穆气象；线条细腻如丝，勾出建筑精巧之态与人物鲜活神态。松枝虬劲斜逸，山石叠翠生姿，布景层次分明，既有皇家威仪，又含古雅意趣。整幅画以生动场景凝缩历史智慧，细节处见匠心，将劝诫之意融于绢素之上，尽显传统绘本的艺术韵味与文化内涵。",[24,7,59,27,28,95,96,97,34,247,249,1200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5186f9bfd121427ff4651056c57fe3be.jpg",[],{"id":106134,"slug":106135,"title":106136,"dynasty":54,"author":223,"museum":2607,"description":106137,"tags":106138,"thumbUrl":106139,"material":173,"size":84,"collection":84,"collections":106140,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215962,"di-jian-tu-shuo-cai-hui-ben-43-yi-ming-215962","帝鉴图说彩绘本-43","殿宇红柱飞檐，立于层阶之上，青灰栏杆环伺，尽显宫闱庄重。殿内君臣相对，似在论道议事；阶前侍卫持戟，姿态恭谨。人物衣饰色彩清雅，衣袂线条流转生动，建筑细节勾勒工细，花木点缀于边角，添几分古雅。画面以细腻笔触再现典故场景，构图疏密有致，设色和谐温润，既保留了绘本的叙事功能，又彰显出传统工笔的审美意趣，藏鉴戒之思于画面深处，是清代佚名画作中颇具韵味的一笔。",[164,24,7,27,95,28,96,97,34,249,1200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5767ecd02c46a30c17147980e4ac36d8.jpg",[],{"id":106142,"slug":106143,"title":106144,"dynasty":54,"author":223,"museum":2607,"description":106145,"tags":106146,"thumbUrl":106147,"material":173,"size":84,"collection":84,"collections":106148,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215959,"di-jian-tu-shuo-cai-hui-ben-45-yi-ming-215959","帝鉴图说彩绘本-45","画面分境铺陈，上层殿宇朱楹碧瓦，帘幕轻垂处，人物或坐或立，似有政事相商的沉静；下层庭院青槐倚墙，稚子携犬逐戏于阶前，井栏边人影绰绰，烟火气暗浮。青绿瓦当、朱红廊柱与碧蓝檐角相映成趣，每一处窗棂的纹路、檐下的斗拱皆细致入微，工笔重彩的精致扑面而来。既见帝王生活的仪范，亦藏市井般的鲜活，浓淡之间，晕开一段生动的往昔图景。",[164,24,7,59,27,28,95,96,97,1144,247,9119,54744,101559,1200,249,41979],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6256aced4bf6af0cc813c92dcfa62149.jpg",[],{"id":106150,"slug":106151,"title":106152,"dynasty":54,"author":223,"museum":2607,"description":106153,"tags":106154,"thumbUrl":106155,"material":173,"size":84,"collection":84,"collections":106156,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215955,"di-jian-tu-shuo-cai-hui-ben-51-yi-ming-215955","帝鉴图说彩绘本-51","朱红廊柱撑起黛瓦飞檐，厅堂内人物或伏案凝思，或对坐论道，衣袂间流转着古朴气韵。案上笔墨陈列，似有书香漫溢。下方亭榭掩映于苍松翠色间，两人凭栏而立，身影与松枝相映，添了几分清逸。青绿与丹赤交织，笔墨温婉却见庄重，构图分层而气韵连贯，上半段的肃穆与下半段的雅致相衬，拉满场景的层次感。每一处细节藏着传统绘事的细腻匠心，似在诉说往昔故事，让观者于色彩线条间，触摸沉淀的历史温度。",[24,7,59,28,27,95,96,97,130,34,1200,249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a5c9d401a12c729188ac338b5bac5d.jpg",[],{"id":106158,"slug":106159,"title":106160,"dynasty":54,"author":223,"museum":2607,"description":106161,"tags":106162,"thumbUrl":106163,"material":173,"size":84,"collection":84,"collections":106164,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215954,"di-jian-tu-shuo-cai-hui-ben-53-yi-ming-215954","帝鉴图说彩绘本-53","画中殿宇巍峨，朱红廊柱衬青瓦飞檐，上层人物衣袂翩跹，或伫立交谈，似有宴乐朝会之雅；下层市井喧阗，木架错落间人群熙攘，或劳作休憩、聚首言欢，烟火气漫溢。青绿山水为底，红蓝点缀服饰与建筑，色调古雅温润。上下场景相映成趣，庄重与鲜活交织，线条细腻勾勒出人物各异神态，无声铺展朝堂与民生的鲜活叙事，尽显古画的叙事张力与艺术韵味。",[24,7,27,28,95,96,97,130,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa461bdafc6639ba7a8581e35059eba89.jpg",[],{"id":106166,"slug":106167,"title":106168,"dynasty":54,"author":223,"museum":2607,"description":106169,"tags":106170,"thumbUrl":106171,"material":173,"size":84,"collection":84,"collections":106172,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215946,"di-jian-tu-shuo-cai-hui-ben-58-yi-ming-215946","帝鉴图说彩绘本-58","画面以双层庭院布局展开，上层亭榭内人物或立或语，衣袍规整间似有治世之议；下层连廊环绕的院落里，人影往来，器物列于廊下，动静相宜。青绿瓦当衬朱红廊柱，色调雅致中透着庄重；人物服饰色彩错落，暗合礼制秩序。笔触工细，飞檐的弧度、松枝的纹理皆刻画入微，庭院的空间感借建筑错落与林木掩映自然铺陈。整幅画既见写实的精致，又含写意的含蓄，静谧氛围里藏着对帝王治国的劝勉之意，似在以古事鉴今，让观者于画中触碰到历史深处的智慧余温。",[24,7,59,27,28,95,96,130,97,34,247,249,1200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d57fb9561ac1b38331621e49b614a60.jpg",[],{"id":106174,"slug":106175,"title":106176,"dynasty":54,"author":223,"museum":2607,"description":106177,"tags":106178,"thumbUrl":106179,"material":173,"size":84,"collection":84,"collections":106180,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215940,"di-jian-tu-shuo-cai-hui-ben-63-yi-ming-215940","帝鉴图说彩绘本-63","层楼叠榭间，上层殿宇朱栏玉砌，帝王端坐俨然，侍从环立恭谨，衣袂间流转着宫廷的华贵气韵；下层祭祀场景器物精严，人物往来有序，松姿苍劲添古雅之致。色彩晕染细腻，青绿与朱红相映成趣，明黄点缀出帝王威仪，线条勾勒精准，建筑斗拱、瓦当纹理毕现，人物神态鲜活如生。整幅画作以工笔之细腻绘就宫廷仪式的庄重肃穆，于细节处藏历史余温，既展现精湛的绘制技艺，又传递出古代礼制场景的厚重与典雅，仿佛将一段尘封的宫廷往事凝于绢素之上，引人驻足探寻。",[164,24,7,27,28,95,96,97,1144,247,249,2145,250,1200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1efca527b6fd68761982cf7fb4df9997.jpg",[],{"id":106182,"slug":106183,"title":106184,"dynasty":54,"author":223,"museum":2607,"description":106185,"tags":106186,"thumbUrl":106187,"material":173,"size":84,"collection":84,"collections":106188,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215932,"di-jian-tu-shuo-cai-hui-ben-77-yi-ming-215932","帝鉴图说彩绘本-77","画面铺展着古雅的底色，青绿点染的树石间，一行骑马人穿行市井。衣袍轻扬的身影隐于队伍中，似携着悄然的行迹；路边百姓或驻足回望，或围坐闲谈，孩童追着车马跑过石径，烟火气漫过矮檐。细劲线条勾出屋舍飞檐与衣褶纹理，设色温润不燥，土黄衬着浅蓝的山石，人物衣袍的彩调鲜活却不艳俗。远近层次分明，远景亭台隐在云气里，近景的车马、家禽与中景的行旅相映，将“微行”的悄然与市井的热闹揉成生动画卷。每处细节藏着生活本真——闲谈的老者、忙碌的妇孺，让古卷里的场景鲜活如昨，暗合着体察民情的题旨。",[24,7,164,27,28,59,96,101,34,35,97,690,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe763f2c6bed8e6eb21ac1e415069bc2a.jpg",[],{"id":106190,"slug":106191,"title":106192,"dynasty":54,"author":223,"museum":2607,"description":106193,"tags":106194,"thumbUrl":106195,"material":173,"size":84,"collection":84,"collections":106196,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215921,"di-jian-tu-shuo-cai-hui-ben-88-yi-ming-215921","帝鉴图说彩绘本-88","画面铺展于雅致庭院间，朱红廊柱撑起鎏金飞檐，瓦当勾连出古建的精巧韵致。松枝苍劲斜逸，为场景添了几分清旷。庭院中央，人群簇立，或着官袍肃立，或围聚台前凝神观看；台上演者身姿灵动，似在演绎治乱典故中的片段。台阶之上，数人凭栏而立，目光投向场中，神态间藏着对史事的思索。设色温润，衣袂的青蓝、明黄与建筑暖调相映，既显规整，又含鲜活气息。细腻笔触勾勒人物动态与建筑细节，将史事场景化为可视的生动画面，观者仿佛置身那段借古鉴今的时光里。",[24,7,27,28,95,96,97,247,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F012291df66b7bc0210957d23beea3d2f.jpg",[],{"id":106198,"slug":106199,"title":106200,"dynasty":54,"author":223,"museum":2607,"description":106201,"tags":106202,"thumbUrl":106203,"material":173,"size":84,"collection":84,"collections":106204,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215919,"di-jian-tu-shuo-cai-hui-ben-89-yi-ming-215919","帝鉴图说彩绘本-89","红檐翘角的殿宇敞亮通透，殿内君臣或对坐议事，或垂手侍立，阶下侍从躬身待命，衣袂间流动着古雅的色彩韵律。殿外草木扶疏，枝叶舒展间晕染出清润生机，远处一角蓝顶建筑隐在淡墨晕染里，与殿宇的庄重相映成趣。画面以细腻线条勾勒人物神态与建筑细节，设色明丽却不失雅致，将古代宫廷场景的肃穆与人物互动的微妙情态凝于绢素。仿佛能从衣纹褶皱、君臣姿态里，窥见一段尘封的治国典故，让观者在赏画时触摸到历史的温润质感。",[24,7,59,27,28,96,97,130,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42d6b1ac0c09b10c4765c407ecb706e3.jpg",[],{"id":106206,"slug":106207,"title":106208,"dynasty":54,"author":223,"museum":2607,"description":106209,"tags":106210,"thumbUrl":106211,"material":173,"size":84,"collection":84,"collections":106212,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215918,"di-jian-tu-shuo-cai-hui-ben-86-yi-ming-215918","帝鉴图说彩绘本-86","青绿晕染的山峦如黛，云雾轻笼处隐现屋舍几重，似有炊烟欲散未散。近景里，牵马的仆从、执礼的士人、倚门的老者衣袂流转，古雅意趣尽显。马匹鬃毛与车舆纹饰细致入微，人物神情鲜活：或躬身问候，或牵缰伫立，动静相宜间似有低语随风轻传。淡赭铺底的绢素上，树木枝叶扶苏，屋舍错落于青溪旁，山水与人物相映成趣。画面既藏自然清幽，又含人间温情，仿佛将一段尘封故事凝于方寸，每处笔触都裹着岁月余韵，引人驻足探寻那些隐于画中的古雅时光。",[24,7,59,27,28,96,101,97,34,29,35,106,131,6640],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c57c751410f1661fe1cc426f038b210.jpg",[],{"id":106214,"slug":106215,"title":106216,"dynasty":54,"author":223,"museum":77,"description":106217,"tags":106218,"thumbUrl":106219,"material":66,"size":84,"collection":84,"collections":106220,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215889,"qing-ren-hua-ce-10-yi-ming-215889","清人画册-10","画面铺展一段雅致日常：端坐者执笔落墨，粉裙蓝褂衬着案上粉瓶，几枝艳粉花朵斜倚瓶身，似与纸上字迹遥遥呼应。立者身着浅绿纹袍，俯身轻凝，衣袂垂落间藏着几分关切或欣赏。线条细腻勾勒衣褶纹理，色彩温润如旧时光里的软玉，将书房一隅的静谧与人际的温煦悄然封存。无需浓墨重彩，却以淡远笔触摹写文人生活的闲雅况味，每一处细节都似在诉说往昔岁月里，关于笔墨与陪伴的细碎美好，静静流淌着岁月沉淀的温柔与恬淡。",[24,7,59,27,28,96,19786,8629,547,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda8c3f333026caabd73245b0d7b2442c.jpg",[],{"id":106222,"slug":106223,"title":106224,"dynasty":54,"author":223,"museum":300,"description":106225,"tags":106226,"thumbUrl":106227,"material":66,"size":84,"collection":84,"collections":106228,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215877,"qing-dai-xing-fa-ji-lu-tu-ce-9-yi-ming-215877","清代刑罚记录图册-9","画面定格了清代刑罚的一幕：跪姿者红衫紫裤，双臂上举被绳索死死缚住，身躯因拉扯而紧绷如弓；两侧执绳人弓步沉腰，麻绳在手中绷成直线，力道似要穿透画面。左侧立者青袍束带，神情冷峻如旁观的监者，衣袂间透着疏离的威严。\n\n笔触简练却见筋骨，人物姿态的张力藏于线条褶皱间——跪者微蹙的眉峰、执绳者紧绷的小臂、监者微抬的下颌，皆勾勒出场景的沉重。色彩克制却有冲击力：红衫的刺目与蓝灰衣袍的沉郁形成对照，似在无声诉说惩戒的凛冽。\n\n这幅写实的记录，以具象的肢体语言与神态，还原了昔日社会治理中冷峻的一隅，让观者在静态画面里触碰到历史语境下的张力与沉重。",[24,7,59,27,28,96,304,43693],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45c1af5a234d5fe1330480ef24728cb0.jpg",[],{"id":106230,"slug":106231,"title":106232,"dynasty":54,"author":223,"museum":300,"description":106233,"tags":106234,"thumbUrl":106237,"material":66,"size":84,"collection":84,"collections":106238,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215875,"qing-dai-xing-fa-ji-lu-tu-ce-5-yi-ming-215875","清代刑罚记录图册-5","棺木敞口横陈，赤衣躯体僵卧其中，蓝裤红衫者持刃俯身猛刺，动作狠厉决绝。刃光寒冽，与棺木暗沉形成刺目对比。旁立二人，蓝衣者叉腰提笼，似观刑役卒，姿态倨傲；紫衣人持牍而立，或为案录小吏，神色漠然。画面以写实笔触勾勒刑罚场景，人物神态、动作皆细致入微：刺刃者的狰狞、观刑者的冷视、伏案者的麻木，层层铺陈出旧时代司法的酷烈底色。冰冷的线条里藏着阴森压迫感，每个细节都折射出权力对生命的漠视，仿佛能听见利刃穿木的钝响，窥见底层命运在专制铁律下的破碎悲歌，是清代社会专制统治与人性异化的无声见证。",[24,7,59,27,28,96,43693,106235,106236,1367],"刀","笼子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3733d38d37fffe0dc2da87d67cf25f1e.jpg",[],{"id":106240,"slug":106241,"title":106242,"dynasty":54,"author":223,"museum":300,"description":106243,"tags":106244,"thumbUrl":106247,"material":66,"size":84,"collection":84,"collections":106248,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215850,"qing-dai-xing-fa-ji-lu-tu-ce-26-yi-ming-215850","清代刑罚记录图册-26","画面中，华服者立于中央，衣袂褶皱间透着威严，手持锁链一端；两侧差役躬身侍立，囚徒赤脚蜷缩，锁链勒痕深嵌肌肤，神情苦楚难言。色彩明暗交织，明黄官服与灰褐囚衣形成尖锐对峙，锁链冷光似透纸而出。每一处细节皆为纪实之笔：囚徒紧绷的肩背、差役拘谨的姿态、官员淡然的神情，将尊卑秩序与压迫感刻画得入木三分。它不只是刑罚场景的定格，更是清代司法生态的切片——让百年前权力的重量、囚徒的艰涩，在墨色与色彩的交织里，成为可触的历史印记。",[24,7,59,28,27,96,169,106245,106246,304],"锁链","刑罚场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0abbc7c91b48ef356754ef535c2e7898.jpg",[],{"id":106250,"slug":106251,"title":106252,"dynasty":54,"author":223,"museum":300,"description":106253,"tags":106254,"thumbUrl":106256,"material":66,"size":99788,"collection":84,"collections":106257,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215842,"miao-zu-yao-zu-sheng-huo-tu-ce-6-yi-ming-215842","苗族瑶族生活图册-6","古朴纸面上，生活的暖意漫溢开来。左侧男子负篮携幼，粗布短褐裹着劳作的印记，稚童拽衣踮脚，憨态惹眼；右侧女子发髻玲珑，裙裾缀着彩绣纹样，手挽竹篮似低语相谈，眉眼间藏着细碎的温柔。衣褶线条轻缓，篮中物什隐约可见，每一处细节都描摹着日常的鲜活。没有刻意雕琢，却将族群服饰特色与生活本真温情凝于笔端，仿佛能听见山间软语，触到风里草木香，让久远的生活场景在眼前生动浮现。",[23,7,24,27,28,59,96,2147,106255,9671,2218,38739],"民族服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e0dd8febc9f5364c689d3a1ae6e1ea.jpg",[],{"id":106259,"slug":106260,"title":106261,"dynasty":54,"author":223,"museum":300,"description":106262,"tags":106263,"thumbUrl":106264,"material":66,"size":99788,"collection":84,"collections":106265,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215840,"miao-zu-yao-zu-sheng-huo-tu-ce-8-yi-ming-215840","苗族瑶族生活图册-8","画面铺展着一段鲜活的族群日常。背着竹筐的身影赤脚踏地，筐篓纹理似还沾着山野清露；中间孩童伸臂向前，稚态里藏着对前路的雀跃；右侧执杖者裙裾缀彩，发式挽成独特形状，每处细节都勾勒出族群的生活印记。线条朴拙却传神，淡彩晕染出岁月温厚，没有刻意修饰，却把劳作的坚韧与人际温情揉进每一笔。这不仅是幅画，更是被定格的生活片段，远去的烟火气在纸间流转，触手可及。",[23,24,7,59,27,28,96,170,9014,83731],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33c878aef01131d1d7a82f4e80ff80f1.jpg",[],{"id":106267,"slug":106268,"title":106269,"dynasty":54,"author":223,"museum":300,"description":106270,"tags":106271,"thumbUrl":106272,"material":66,"size":99788,"collection":84,"collections":106273,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215839,"miao-zu-yao-zu-sheng-huo-tu-ce-3-yi-ming-215839","苗族瑶族生活图册-3","画面铺展鲜活的民俗图景，四位身着特色服饰的人物各携器具，姿态生动传神。左侧者弯腰持网，似欲捕捉；中间二人亲昵相依，女子执扇轻掩，男子侧身贴近，眉眼间漾着日常温情；右侧人物背网提物，步履间带着收获的轻快。衣袂纹饰、裙摆斑斓，皆藏浓郁民族风情。旁侧竖排文字勾勒场景意趣——或是劳作间隙的互动，或是以物易物的日常。古朴色调晕染岁月温润，线条细腻勾勒人物情态，将少数民族生活里的鲜活与温馨，凝成一帧动人画面，尽显民俗画卷的质朴与生动。",[23,24,7,59,27,28,96,2656,1367,70949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff89e05a4bb21657788723ae100ebcadf.jpg",[],{"id":106275,"slug":106276,"title":106277,"dynasty":54,"author":223,"museum":300,"description":106278,"tags":106279,"thumbUrl":106280,"material":66,"size":99788,"collection":84,"collections":106281,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215835,"miao-zu-yao-zu-sheng-huo-tu-ce-9-yi-ming-215835","苗族瑶族生活图册-9","笔墨晕染间铺展鲜活边地日常。挑担者步履扎实，竹筐器物隐约藏着生计；持长杆者侧身随行，衣袂轻扬带起烟火余温。稚童嬉闹扑向黄犬，小狗摇尾躲闪，灵动瞬间跃然纸上。老者拄杖而立，眉眼间凝着岁月安然，似在打量前路风色。\n\n线条简练却精准勾出衣纹褶皱与神态，设色淡雅却衬出古纸温润质感。无刻意雕琢，却将民族社群的日常情态定格——劳作的坚韧、孩童的天真、老者的从容，都融在这方寸画面里。观者仿佛能听见林间脚步声、稚子笑语，触碰到那份质朴鲜活的人间真味，岁月沉淀的温暖直抵心底。",[23,304,24,7,59,27,28,96,18793,5472,527,251,2147,1367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F360e4116c6fb945b807ced8d001ee041.jpg",[],{"id":106283,"slug":106284,"title":106285,"dynasty":54,"author":223,"museum":300,"description":106286,"tags":106287,"thumbUrl":106288,"material":66,"size":99788,"collection":84,"collections":106289,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215834,"miao-zu-yao-zu-sheng-huo-tu-ce-15-yi-ming-215834","苗族瑶族生活图册-15","暖棕底色晕染出时光的温润，人物动态鲜活如跃纸上。深褐布衣裹着劳作的坚实肌理，青绿蓝衫点缀出民族风情的明艳亮色。几人围簇间，或持长杆作嬉戏之态，或俯身扶篮似接应之举，竹编器具的纹理隐约可见，似是日常劳作里的片刻欢愉场景。眉眼间的生动神态，衣袂飘动的自然姿态，将苗瑶族群生活的质朴鲜活凝于尺幅。烟火气漫过画面缝隙，族群温情藏在每处细节，让观者仿佛踏入那个生机盎然的午后，听见笑语与风穿过竹林的轻响。",[23,24,7,59,27,28,96,2147,1367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01a2e1ccce047253c5df0cb82db8313e.jpg",[],{"id":106291,"slug":106292,"title":106293,"dynasty":54,"author":223,"museum":300,"description":106294,"tags":106295,"thumbUrl":106297,"material":66,"size":99788,"collection":84,"collections":106298,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215821,"miao-zu-yao-zu-sheng-huo-tu-ce-20-yi-ming-215821","苗族瑶族生活图册-20","画面定格边地日常的鲜活片段：左畔三人或亲昵相扶，衣袂间的花纹漫着山野灵气，独特发式藏着族群密码；右侧身影肩扛器物，步履匆匆似携劳作余温。线条细腻却不刻意雕琢，色彩古雅而饱含生活质感，人物神态自然流露——或关切或随性，将苗瑶族群的质朴气息凝于纸端。每一处衣褶的起伏、每一个眼神的流转，都透着未经修饰的生动，仿佛能触到那份山野间的生活温度，让久远的日常场景在眼前缓缓苏醒。",[23,24,7,59,28,27,96,170,106296,2147],"少数民族","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa389e3e338441a06da2a663ec0c447e0.jpg",[],{"id":106300,"slug":106301,"title":106302,"dynasty":54,"author":223,"museum":300,"description":106303,"tags":106304,"thumbUrl":106305,"material":66,"size":99788,"collection":84,"collections":106306,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215806,"miao-zu-yao-zu-sheng-huo-tu-ce-38-yi-ming-215806","苗族瑶族生活图册-38","画面中四人姿态鲜活，或扬臂展袖，或侧身相携，肢体间的默契似藏着民俗舞蹈的韵律。裙摆饰有细密花纹，衣料色泽古朴却见质感，简单发式衬出质朴神情。线条简练精准，勾勒出人物动态与服饰细节，泛黄纸页晕染着时光温度，将苗族瑶族生活里的生动片段凝于画中。没有繁复技法，却以真挚笔触捕捉日常或仪式里的热闹气息，似能透过画面听见彼时的笑语与节奏，尽显民间艺术的鲜活与温情。",[23,24,7,59,27,28,96,106296,2656,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc3fceaf379c56a296dbfdf486610e5.jpg",[],{"id":106308,"slug":106309,"title":106310,"dynasty":54,"author":223,"museum":300,"description":106311,"tags":106312,"thumbUrl":106313,"material":66,"size":50475,"collection":84,"collections":106314,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215795,"min-jian-yan-zou-tu-ce-11-yi-ming-215795","民间演奏图册-11","画面中，人物身着紫衫绿裤，踞坐于饰有暗纹的粉物之上，一手握琴杆，一手引弓弦，神态专注，似正沉浸于乐声之中。淡雅的色彩晕染出悠然的市井氛围，每一处衣褶的勾勒、每一丝神情的描摹，都藏着民间生活的鲜活意趣。仿佛能听见那弦上流淌的婉转曲调，将寻常日子里的乐声与烟火气，凝作纸上生动的一瞬。这帧小画以细腻笔触捕捉民间演奏的日常，没有繁复铺陈，却让市井里的悠然与乐声，在方寸间静静流淌。",[24,7,59,28,27,96,438,50473],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bb0dbfe286ca2ddff210ee4ec1888d2.jpg",[],{"id":106316,"slug":106317,"title":106318,"dynasty":54,"author":223,"museum":300,"description":106319,"tags":106320,"thumbUrl":106321,"material":66,"size":50475,"collection":84,"collections":106322,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215794,"min-jian-yan-zou-tu-ce-4-yi-ming-215794","民间演奏图册-4","画面里的人物衣饰鲜活，粉色短衫配宝蓝立领，明黄裤脚边垂着翠色绣纹布幅，色彩明快得像巷口的春日暖阳。他一手攥鼓槌，一手托圆鼓，指节微弯似正待敲出清脆的声响，眉眼间带着几分自在的专注。线条勾勒简练却见功力，衣褶的软垂、布料的肌理藏在细腻笔触里，连鞋头的墨痕都透着生活的实感。这幅小画像截取了清代市井的一个片段，鼓点未响，却已能感受到烟火气里浮动的乐声，满是民间艺人的日常意趣与平凡中的鲜活欢愉。",[24,7,59,28,27,96,438,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f4e56376d4ecec5b09509d73e90746.jpg",[],{"id":106324,"slug":106325,"title":106326,"dynasty":54,"author":223,"museum":300,"description":106327,"tags":106328,"thumbUrl":106331,"material":66,"size":50475,"collection":84,"collections":106332,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215792,"min-jian-yan-zou-tu-ce-13-yi-ming-215792","民间演奏图册-13","素纸之上，两位清人身影鲜活如昨。立者紫袍轻垂，团扇半展，似欲随隐约的节拍轻摇；坐者红绿衣袂相映，俯身案前，指尖捻动的器物藏着市井闲趣。线条朴拙却见情致，色彩淡染而鲜活——没有繁复的装饰，只以日常的互动勾连起烟火气：或许是一曲未终的小调，或许是一段相谈甚欢的闲叙。\n\n佚名画师以细腻观照捕捉民间片刻：衣褶的起伏藏着风的痕迹，眉眼的微蹙含着专注的暖意。笔墨间没有宏大叙事，却将平凡日子里的温情与生动凝于方寸，让百年后的我们仍能触摸到那个时代里，市井角落的细碎欢愉，仿佛听见器物碰撞的轻响，混着两人低声的谈笑，漫过时光的缝隙。",[24,7,59,27,96,106329,106330,304,28],"民间生活","乐器演奏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb792b7fc748f417e6fbf50c01a2d5d0c.jpg",[],{"id":106334,"slug":106335,"title":106336,"dynasty":54,"author":223,"museum":300,"description":106337,"tags":106338,"thumbUrl":106339,"material":66,"size":50475,"collection":84,"collections":106340,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215791,"min-jian-yan-zou-tu-ce-12-yi-ming-215791","民间演奏图册-12","粉衫黄裤的身影立于素净背景前，清代民间的鲜活气息自衣褶间漫出。他手持纹饰精巧的乐器与鼓槌，指尖似凝着未散的韵律，专注的神态里藏着市井生活的热络。身旁青绿物件添了几分明快，色彩搭配质朴却鲜活。画面虽简，却将民间演奏的生动瞬间定格，仿佛能听见那穿越时光的乐声，把寻常日子里的烟火气与艺术意趣揉成一抹温暖的记忆，尽显民俗风情的动人之处。",[304,24,7,59,28,27,50473,96,438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a38900e38e0680a9c52eea4bcaa47e5.jpg",[],{"id":106342,"slug":106343,"title":106344,"dynasty":54,"author":34242,"museum":300,"description":106345,"tags":106346,"thumbUrl":106347,"material":611,"size":84,"collection":84,"collections":106348,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215783,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-11-wu-gao-zeng-215783","摹吴道子圣贤像赞图册-11","右侧圣贤像以白描勾勒，线条简练却见风骨，衣袂褶皱流转自然，人物神态端凝，似含渊深之思。左侧墨书楷书端正沉厚，赞语与画像相契，笔墨间透着对圣贤的敬慕。整幅作品图文相映，白描的清雅与书法的庄重交融，尽显古朴雅韵，仿佛能窥见圣贤的胸襟与才德，给人以沉静而深远的艺术感受。笔墨流转间，圣贤的沉潜之思、博雅之才跃然纸上，衣袂翩然里藏着守道的肃穆，墨字端稳处载着明德的光辉，让观者于古雅氛围中，触摸到跨越时光的精神力量。",[23,188,572,330,59,7,5380,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36082037aa354c60119e5e70d49e4092.jpg",[],{"id":106350,"slug":106351,"title":106352,"dynasty":54,"author":34242,"museum":300,"description":106353,"tags":106354,"thumbUrl":106355,"material":611,"size":84,"collection":84,"collections":106356,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215782,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-9-wu-gao-zeng-215782","摹吴道子圣贤像赞图册-9","墨底素线勾勒，古雅沉静中见生动意趣。右侧圣贤长袍广袖，持卷而立，身姿恭谨，神情专注。衣纹流转如行云，飘举间含吴带当风之韵，尽显儒雅气度。左侧书法笔力遒劲，字体端厚，文辞与画像相契，传递圣贤德操。摹作精准得原作神韵，线条提按转折藏灵动骨力，人物神态细腻入微，眼神中的内省与智慧直触人心。文图相映，刚柔相济，古卷气息漫溢，于赏观间感受圣贤风范的浸润，引人沉潜思索。",[23,24,7,59,188,96,330,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc38292c2bcca151b0e3d4a44d4862ca7.jpg",[],{"id":106358,"slug":106359,"title":106360,"dynasty":54,"author":77073,"museum":11952,"description":106361,"tags":106362,"thumbUrl":106366,"material":128,"size":84,"collection":84,"collections":106367,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215649,"yu-zhi-geng-zhi-tu-2-kang-xi-215649","御制耕织图-2","线描轻勾田间意，墨痕淡染农桑情。担具的纹理、农人的衣袂、田垄的秧苗，皆细腻如触。题字与图景交织，将耕织的辛劳与质朴凝于纸间。它不只是艺术的呈现，更是农耕文明的鲜活切片——承载着重农的传统，把寻常劳作化作可感的历史温度，让岁月的烟火气，在笔墨里静静流淌。每一笔线条都藏着对农桑的敬重，每一处细节都录下彼时生产的肌理，让耕织的日常，成为连接过去与当下的温柔纽带。",[23,164,24,7,59,188,96,76347,106363,15899,106364,208,64,16670,106365],"秧苗","农桑","质朴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F070885179c270863ac8178feee084fac.jpg",[],{"id":106369,"slug":106370,"title":106371,"dynasty":54,"author":77073,"museum":11952,"description":106372,"tags":106373,"thumbUrl":106374,"material":128,"size":84,"collection":84,"collections":106375,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215648,"yu-zhi-geng-zhi-tu-1-kang-xi-215648","御制耕织图-1","田垄间耕犁翻土，织机旁纤手穿梭——寻常农桑场景被凝练成兼具纪实与深意的图景。器物形制精准，人物神态鲜活，还原清代前期生产风貌，似可闻耒耜声、织梭鸣。背后是“农为邦本”的郑重书写：以笔墨为媒，将耕织之重嵌入文化记忆，让衣食之源的辛劳与智慧，映照治国初心。线条工致含温情，实用教化与审美意趣相融，成为连接庙堂与民间、历史与生活的独特载体，静静诉说着时代对根基的珍视与对生活的敬畏。",[23,24,28,27,7,96,102,13640,34836,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd887c61146e750ed40bb0e58323506.jpg",[],{"id":106377,"slug":106378,"title":106379,"dynasty":54,"author":77073,"museum":11952,"description":106380,"tags":106381,"thumbUrl":106382,"material":128,"size":84,"collection":84,"collections":106383,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215646,"yu-zhi-geng-zhi-tu-7-kang-xi-215646","御制耕织图-7","笔墨勾勒间，农桑图景徐徐铺展。提篮荷担的身影在阡陌间流动，机杼旁的专注凝注于丝线经纬，寻常劳作的细节被细腻捕捉。线条温润却不失筋骨，将田园的质朴与宫廷的雅致悄然融合。每一处衣褶的起伏、每一片草木的姿态，都藏着对民生本业的珍视——不是刻意雕琢，而是以平和视角还原耕织生活里最踏实的日常。烟火气与文气在此交融，让千年农桑的脉动，在纸页间静静流淌，成为连接传统与当下的温柔纽带。",[23,24,188,133,96,78182,35,34836,13640,304,7,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4a2e174942d7a3b1289fe3cb9333cba.jpg",[],{"id":106385,"slug":106386,"title":106387,"dynasty":54,"author":77073,"museum":11952,"description":106388,"tags":106389,"thumbUrl":106391,"material":128,"size":84,"collection":84,"collections":106392,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215643,"yu-zhi-geng-zhi-tu-6-kang-xi-215643","御制耕织图-6","笔墨间铺展着烟火气满溢的耕织日常。左幅树木荫下，农人们或协作耕作，或整理农具，屋舍错落间藏着田间辛劳；右幅屋前檐下，身影穿梭忙碌，或处理作物，或打理织物，每处动作都透着生活的踏实。纤细墨线勾勒出人物动态与景物肌理，无浓墨重彩，却以写实笔触留住农耕文明鲜活烟火。弯腰的弧度、协作的手势，藏着对土地的敬畏与生计的热忱，让静止画面流淌着岁月里的质朴勤恳。",[23,164,24,7,4437,188,18700,28,96,78182,35,34,34836,106390,90671,13640,247],"筐篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ef4b4adb6c3e7e5a372deacde31a12a.jpg",[],{"id":106394,"slug":106395,"title":106396,"dynasty":54,"author":77073,"museum":11952,"description":106397,"tags":106398,"thumbUrl":106399,"material":128,"size":84,"collection":84,"collections":106400,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215642,"yu-zhi-geng-zhi-tu-8-kang-xi-215642","御制耕织图-8","画面分帧叙说农桑意趣：左帧蚕织闲静，轩窗内巧手理丝绪，檐角飞鸟轻落，竹影婆娑映阶，静中藏着烟火暖意；右帧农耕勤谨，田舍旁农人扶耒耕作，稚子随侧递物，茅舍炊烟隐现，枯枝瘦却裹着生机。细劲线条如缕，勾摹出耕织日常的肌理，更藏着王朝重农的初心。帝王视角下，衣食之本凝入笔墨，每道笔触都诉说“民为邦本”的深蕴。不刻意炫技，却以平实之景触达人心，让农桑之事从田畴走进卷册，成为纸页上可触的民生温度。",[23,24,7,59,188,28,96,35,34,211,102,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d61d71b7532f7f1bd911d04e0e37b0b.jpg",[],{"id":106402,"slug":106403,"title":106404,"dynasty":54,"author":77073,"museum":11952,"description":106405,"tags":106406,"thumbUrl":106407,"material":128,"size":84,"collection":84,"collections":106408,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215641,"yu-zhi-geng-zhi-tu-12-kang-xi-215641","御制耕织图-12","笔墨间藏着帝王对民生的深切牵挂。端正笔锋裹着温润墨韵，每一笔都似在轻述耕织的辛劳与农桑的根本。泛黄纸页载满岁月痕迹，墨色浓淡间流露书写时的从容与关切。文字里的劝农之意，透过笔端渗入纸髓——既是艺术的雅韵，亦是治国的温度。一笔一划，连接朝堂与田间，让静默的纸页成为历史与民生对话的窗口。那些关于耕织的叮咛，在墨痕中静静流淌，晕开千年的民生情怀，也让这份书写成为兼具艺术价值与历史重量的珍贵印记。",[23,24,7,64,133,59,27,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5affcc0da4bdcdfdfcc6d89bc38b9d31.jpg",[],{"id":106410,"slug":106411,"title":106412,"dynasty":54,"author":77073,"museum":11952,"description":106413,"tags":106414,"thumbUrl":106418,"material":128,"size":84,"collection":84,"collections":106419,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215640,"yu-zhi-geng-zhi-tu-10-kang-xi-215640","御制耕织图-10","左边织室里，女子们或理丝或专注劳作，窗棂间光影轻摇，器物的纹路、衣袂的褶皱皆以细腻线条勾勒，透着生活的温润；右侧场景中，农具倚墙而立，庭院草木扶疏，质朴墨线晕染出农事的平实。整幅画以工笔之精绘就耕织日常，将农桑并重的传统深植于每处细节——织机旁的凝神、田畔的静谧，都藏着对民生根本的体察。笔触间既有绘事的严谨，更有对人间烟火的温柔观照，让平凡劳作生出静穆生机，尽显农耕文明里的生活智慧与人文关怀。",[23,188,28,24,7,59,96,35,34,131,499,34836,64,15899,106415,1009,18700,10993,38740,106416,1747,10997,78182,2983,106417,2147,666,758],"织作","田园生活","笔墨线条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38d3e1b9c4436f1397b49dbfad26d2de.jpg",[],{"id":106421,"slug":106422,"title":106423,"dynasty":54,"author":77073,"museum":11952,"description":106424,"tags":106425,"thumbUrl":106426,"material":128,"size":84,"collection":84,"collections":106427,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215638,"yu-zhi-geng-zhi-tu-11-kang-xi-215638","御制耕织图-11","画面以左右分幅铺展农桑画卷：左畔桑林蓊郁，枝叶间光影错落，采桑人携篮穿行，衣袂轻扬里藏着蚕事的殷切；右幅织室轩敞，木机横陈，织女们或理丝或投梭，指尖起落间似有经纬流转。线条以白描勾勒，细腻处见枝叶纹理、衣物褶皱，粗放处显屋舍轮廓、桑田旷远，笔致流畅却不失朴拙。题字与画面相映成趣，墨迹浓淡与线条疏密呼应，将农桑劳作的日常升华为纪实与艺术兼具的篇章。整幅作品藏着对民生本业的关切，以鲜活场景、温润笔触，定格古代耕织文明里生动的烟火气，让观者触摸到根植土地的质朴与勤勉。",[23,24,7,188,28,96,34,64027,34836,35,37513,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f7e9908103ef308f7fb222efa60235e.jpg",[],{"id":106429,"slug":106430,"title":106431,"dynasty":54,"author":77073,"museum":11952,"description":106432,"tags":106433,"thumbUrl":106434,"material":128,"size":84,"collection":84,"collections":106435,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215635,"yu-zhi-geng-zhi-tu-18-kang-xi-215635","御制耕织图-18","左帧窗下纺车轻转，女子们拈丝理线，机杼声声里织就暖衣；竹帘半掩的屋舍间，光影落在她们专注的眉眼，尽是生活的温软。右帧田埂上桔槔斜立，耕者汲水灌溉，木桶晃荡着清冽，泥土的气息漫过画面。墨线细腻勾勒出农桑日常的烟火气，每一处笔触都藏着对民生根本的珍视——从织室的经纬到田垄的翻耕，把衣食之源的厚重，化作鲜活的图景，让千年农耕文明的脉动，在纸间静静流淌。",[23,24,7,59,28,188,96,35,34836,34,31,210,78182,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d58592b2d52ed0c79359452d95b79e9.jpg",[],{"id":106437,"slug":106438,"title":106439,"dynasty":54,"author":77073,"museum":11952,"description":106440,"tags":106441,"thumbUrl":106445,"material":128,"size":84,"collection":84,"collections":106446,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215634,"yu-zhi-geng-zhi-tu-13-kang-xi-215634","御制耕织图-13","素笔勾勒的茅舍间，灯火摇曳映着蚕织人的身影，夜露沾衣仍劳作不辍。题句里的“养蚕苦”“弱躯”，道尽蚕妇晨昏不息的辛劳。线条简练却入微，从屋舍的结构到人物的姿态，皆透着对民生的体察。左侧织机旁的专注，右侧蚕筐边的忙碌，将耕织的日常化为纸上的温度。没有浓墨重彩，却以清简之笔，留存下对农桑的重视与对劳动者的体恤，让千年耕织传统在尺幅间静静流淌，每一道线条都藏着对烟火人间的深情凝视。",[23,24,7,188,28,96,97,98,99,34,23454,34836,210,247,9425,27231,666,106442,35,7875,251,106443,106444],"日常劳作","文字题跋","农耕场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feef8fdc203e96184cf1dcaf781ed53ba.jpg",[],{"id":106448,"slug":106449,"title":106450,"dynasty":54,"author":77073,"museum":11952,"description":106451,"tags":106452,"thumbUrl":106453,"material":128,"size":84,"collection":84,"collections":106454,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215633,"yu-zhi-geng-zhi-tu-16-kang-xi-215633","御制耕织图-16","画面分作两帧，左帧庭院深幽，竹篱绕舍，仕女们或理丝缕或低语相谈，衣袂翩跹间漾着生活的柔波；右帧轩窗下织机横陈，巧手穿梭经纬，木架纹理与丝线光泽相映，织出岁月静美。线条细腻如丝，勾勒器物精巧与人物温婉神态，每处细节藏着对农桑生活的细致体察。寻常劳作场景因笔墨雅致、意境悠远，成了承载重农传统的诗意画卷，观者于方寸间可触摸古代生活的温度与智慧，静听纺车轻响，看时光在经纬间缓缓流淌。",[23,24,7,59,188,28,28209,96,97,34,169,247,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a3bde067f4f48a2f6e6546088b60e55.jpg",[],{"id":106456,"slug":106457,"title":106458,"dynasty":54,"author":77073,"museum":11952,"description":106459,"tags":106460,"thumbUrl":106461,"material":128,"size":84,"collection":84,"collections":106462,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215632,"yu-zhi-geng-zhi-tu-19-kang-xi-215632","御制耕织图-19","素纸间织室烟火漫溢，木构织机经纬交错，引梭穿丝的指尖、理线调轴的身影，每一处动态都牵系桑麻脉络。笔墨以细腻线条勾勒农桑本味：织机榫卯的纹理、衣袂褶皱的弧度，皆藏着对民生根本的珍视。光影流转处，似闻梭子轻响与风声相和，将寻常劳作凝为静美诗篇——没有浓墨重彩，却以质朴笔触，写尽耕织文明里生存与传承的温厚力量，让千年农桑的烟火气，在纸页间缓缓流淌。",[23,24,7,59,188,28,96,97,234,64028,70949,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e169bae83354a62dd70d20c1bc97f2.jpg",[],{"id":106464,"slug":106465,"title":106466,"dynasty":54,"author":77073,"museum":11952,"description":106467,"tags":106468,"thumbUrl":106469,"material":128,"size":84,"collection":84,"collections":106470,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215630,"yu-zhi-geng-zhi-tu-24-kang-xi-215630","御制耕织图-24","画面分左右两帧，左帧老牛负犁缓行，农夫躬身扶辕，田埂树影婆娑，农舍隐现，勾勒出春耕劳作的踏实图景；右帧妇孺汲水浣纱，竹篱环绕，孩童嬉于侧畔，尽显桑家日常的温婉意趣。笔墨以白描见长，线条流畅细腻，人物神态鲜活，场景写实生动。作品不仅是艺术佳作，更将耕织劳作的细节娓娓道来，藏着对农本民生的深切关注，让观者窥见古代农耕文明的质朴生机，感受融于笔墨的田园温情与人文关怀。",[23,24,7,188,28,4437,102,96,34,37513,34836,106444,35,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb18b62dd8b78e496f86fbdc3369998d7.jpg",[],{"id":106472,"slug":106473,"title":106474,"dynasty":54,"author":77073,"museum":11952,"description":106475,"tags":106476,"thumbUrl":106477,"material":128,"size":84,"collection":84,"collections":106478,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215629,"yu-zhi-geng-zhi-tu-20-kang-xi-215629","御制耕织图-20","素笺之上，经纬交织的暖意徐徐铺展。左幅屋舍间，织女们俯身机前，纤手引梭，木杼轻叩，织就的不仅是绫罗，更是烟火人间的安稳；右幅庭院里，裁者执剪，缝者拈针，素布在指尖流转，将冬雪的清寒，化为贴身的温煦。线条简淡却含情，每一笔都系着对农桑的关切，对民生的体恤。寻常的纺绩裁衣场景，在素纸上晕开成一幅鲜活的生活长卷，藏着岁月的静好与人间的烟火气。",[23,24,7,59,188,28,64,208,96,758,34,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc372f2c2ec33b4a7d4f4ea0c77ece0b8.jpg",[],{"id":106480,"slug":106481,"title":106482,"dynasty":54,"author":77073,"museum":11952,"description":106483,"tags":106484,"thumbUrl":106488,"material":128,"size":84,"collection":84,"collections":106489,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215626,"yu-zhi-geng-zhi-tu-28-kang-xi-215626","御制耕织图-28","笔墨铺展田园生息的画卷，左幅水畔田埂间，农人躬身劳作，秧苗成行排列，树影婆娑映于溪面，春耕的忙碌与生机跃然纸上；右幅稻浪轻摇处，众人挥镰收割，或捆束稻禾，或担粮归途，眉眼间藏着丰收的质朴期盼。\n\n细腻线条勾勒人物动态，衣袂褶皱、农具细节皆清晰可辨，背景的树木河流与农田相映成趣，满溢乡土气息。这幅图既是劳作场景的真实记录，更承载着对农桑为本的珍视——将民生之重融入田园诗意，让观者在笔墨间触摸到古代农耕文明的温度与厚度。",[23,24,7,188,28,18700,15899,13640,106485,16670,34,98,99,98990,34836,96,106486,78183,106487,103074,304],"农民","乡村场景","灌溉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d9f297132c0f055ea47fcb9eaa25b4.jpg",[],{"id":106491,"slug":106492,"title":106493,"dynasty":54,"author":77073,"museum":11952,"description":106494,"tags":106495,"thumbUrl":106496,"material":128,"size":84,"collection":84,"collections":106497,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215625,"yu-zhi-geng-zhi-tu-26-kang-xi-215625","御制耕织图-26","画面分左右两帧，左帧水乡劳作图景鲜活，人物涉水持物，衣袂轻摆间流露生活真意；右帧牛耕场景质朴，耕者躬身扶犁，老牛缓步田埂，辛勤之态跃然纸上。纤细流畅的线条勾勒景物层次与人物神态，笔墨细腻体察农桑日常。写实笔触还原田间织户光景，烟火气中藏着对耕织并重传统的推崇，方寸间尽显农耕文明的深厚底蕴，是对民生本真的生动镌刻。每一处细节皆含温度，从人物的动态到景物的肌理，皆以细腻笔触铺展，于静谧中传递出对农桑生活的深切关照，尽显传统生活美学与人文情怀。",[23,24,7,188,28,59,64,208,96,102,98,99,35,37513,37398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6569c9920554040911e9fa864f7958a1.jpg",[],{"id":106499,"slug":106500,"title":106501,"dynasty":54,"author":77073,"museum":11952,"description":106502,"tags":106503,"thumbUrl":106506,"material":128,"size":84,"collection":84,"collections":106507,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215623,"yu-zhi-geng-zhi-tu-25-kang-xi-215623","御制耕织图-25","白描线条细腻勾勒农耕图景，左幅田埂旁树影参差，农人扶犁驱牛，新泥翻卷间漫溢春的生机；右幅耕者与牛缓步田畴，远山隐现，阡陌纵横，尽显田园静美。题字与插画相映成趣，墨色流转间藏着对农桑的珍视。作品以简淡之笔，将劳作的质朴与自然的意趣凝于纸上，既是笔墨艺术的精巧呈现，更是农耕文明的鲜活注脚，于无声中传递着对民生本真的深切观照，让观者在纤毫间触摸到古老农耕的温度与厚重。",[23,24,7,188,28,28209,18700,2983,38740,102,96,53819,34836,34,106504,35,22405,106444,106505,78182,88084,60018],"蓑衣","乡村景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d3bb90883424d005384c7333ffac334.jpg",[],{"id":106509,"slug":106510,"title":106511,"dynasty":54,"author":223,"museum":300,"description":106512,"tags":106513,"thumbUrl":106514,"material":278,"size":84,"collection":84,"collections":106515,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215622,"tian-xia-ming-shan-tu-3-yi-ming-215622","天下名山图-3","皴笔如鳞，勾勒出山峦嶙峋筋骨，层叠峰峦间藏着远近纵深感。前景溪流如带，绕乱石轻吟，几株古木枝桠虬曲，苍劲中透着疏朗。中景屋舍隐于林麓，或临流筑居，或倚山而卧，烟火气与林泉意趣悄然相融。远景峰峦愈显巍峨，留白处似有云雾流转，将视野引向天际。整幅画以线为骨，墨色分阶，布局疏密得宜：山石的厚重、流水的灵动、树木的姿态、屋宇的闲静，交织成一幅兼具雄浑与清幽的山水图景，尽显传统笔墨的意韵悠长与自然山水的灵秀之美。",[24,7,188,128,29,132,59,30,34,35,130,499,497,3269,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb38434c15960d0719926ca3fa4cffd52.jpg",[],{"id":106517,"slug":106518,"title":106519,"dynasty":54,"author":223,"museum":300,"description":106520,"tags":106521,"thumbUrl":106522,"material":278,"size":84,"collection":84,"collections":106523,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215621,"tian-xia-ming-shan-tu-4-yi-ming-215621","天下名山图-4","烟波浩渺的水面上，远山如黛层叠，线条柔和却见风骨。几处洲渚点缀其间，草木葱茏似藏着未说的幽意。扁舟轻泛，帆影与波光相映，似载着时光的闲淡缓缓游弋。近岸田畴错落，柳丝拂水，晕开几分烟火气，与远岫的旷远形成呼应。墨线勾勒简练却精准，山水的旷达与田园的温润交织，仿佛能听见桨声欸乃，看见风过林梢。整幅画以水为脉，串联起天地人景，意韵悠长，将一方山水的静谧与生机，悄然凝于纸间。",[24,7,59,188,29,99,129,34,8709,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9879080b45cf7f192509e0589b6405fc.jpg",[],{"id":106525,"slug":106526,"title":106527,"dynasty":54,"author":223,"museum":300,"description":106528,"tags":106529,"thumbUrl":106530,"material":278,"size":84,"collection":84,"collections":106531,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215616,"tian-xia-ming-shan-tu-10-yi-ming-215616","天下名山图-10","线描勾勒的山水间，山石皴纹细密如织，嶙峋体态跃然纸上。远近峰峦层叠，云雾在缝隙间游走，留白处漾开空灵气息。山间屋舍星罗，或傍崖而筑，或临溪而居；小桥卧波，溪流潺潺似携清响。林木疏朗点缀，添几分生机。构图疏密相宜，把山川的雄奇与人文的雅致揉合，绘就清幽静谧的山林胜境，藏着传统山水里“天人合一”的诗意回响。笔墨间见匠心，每一处线条都藏着对自然的敬畏与对生活的向往，尽显古典山水的含蓄之美。",[24,7,188,132,29,131,34,97,98,99,35,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F904439cdb94d15742ad8bc019e959ee1.jpg",[],{"id":106533,"slug":106534,"title":106535,"dynasty":54,"author":223,"museum":300,"description":106536,"tags":106537,"thumbUrl":106538,"material":278,"size":84,"collection":84,"collections":106539,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215611,"tian-xia-ming-shan-tu-7-yi-ming-215611","天下名山图-7","峰峦嵯峨，线条如骨，勾勒出山川的雄浑轮廓；细密皴法似织，晕染岩石肌理，尽显苍劲质感。崖畔古木虬枝横斜，山间屋宇隐现林泉，藏着隐逸之趣；近水扁舟静泊，与巍峨群山相映，动静相谐。整幅画以线为魂，墨色作韵，将名山的雄奇气象与幽寂意境融于一纸，笔墨间流淌着传统山水的雅致与深沉，引人沉醉于自然与人文交织的画境之中，感受那份跨越时光的笔墨意趣与山水情怀。",[304,24,7,59,188,29,18265,34,99,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F731d9fafcf687208cfa309bb30e7d3d2.jpg",[],{"id":106541,"slug":106542,"title":106543,"dynasty":54,"author":223,"museum":300,"description":106544,"tags":106545,"thumbUrl":106546,"material":278,"size":84,"collection":84,"collections":106547,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215601,"tian-xia-ming-shan-tu-21-yi-ming-215601","天下名山图-21","线条勾勒的峰峦错落有致，皴擦间显山石苍劲肌理。近处林木扶疏，枝叶似携微风轻摆；中景溪流蜿蜒，几椽茅舍隐于岸畔，似有烟火气却又绝尘。远处山峦淡远，与天光相融，留白处藏着无尽悠远。笔墨简淡却意韵绵长，将山林的静谧与旷远凝于纸间，仿佛踏入烟霞深处，心随山光水色悄然安放。画面层次叠嶂，从近及远的过渡自然，山石的硬朗与林木的柔润相映，溪流的灵动衬出茅舍的安然，尽显传统山水的雅致逸趣，似在诉说一段关于山林的悠然旧梦。",[24,7,59,188,128,132,29,663,34,497,1023,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16a600a22b6c13b78aa60f337641fe0b.jpg",[],{"id":106549,"slug":106550,"title":106551,"dynasty":54,"author":223,"museum":300,"description":106552,"tags":106553,"thumbUrl":106554,"material":278,"size":84,"collection":84,"collections":106555,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215575,"tian-xia-ming-shan-tu-47-yi-ming-215575","天下名山图-47","层峦叠嶂间，山巅楼阁隐于云霭，似触天阙；山腰石梁蜿蜒，人影攒动如织，似携笑语穿林。山麓处，飞檐翘角的亭台藏于林木葱茏，溪水绕阶而过，溅起细碎清响。右侧峰峦起伏，林木疏密有致，与左侧山水相映成趣。细腻笔触勾勒出山水的灵秀，建筑与人物的点缀让静谧自然多了烟火气，仿佛能引人步入这清幽世界，暂忘尘嚣。整幅画将自然之美与人文气息相融，尽显名山胜景的生机与雅致。",[24,7,59,188,128,132,29,663,97,98,96,34,758,131,1645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c2c9216afee7ded53a374e2f0a995f7.jpg",[],{"id":106557,"slug":106558,"title":106559,"dynasty":54,"author":223,"museum":300,"description":106560,"tags":106561,"thumbUrl":106562,"material":611,"size":84,"collection":84,"collections":106563,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215547,"bai-miao-jie-tou-mai-mai-hua-ce-10-yi-ming-215547","白描街头买卖画册-10","画面以白描勾勒市井一隅，数人围桌聚首，或俯身探看盆中物什，或侧耳交谈神色专注，衣袂线条简练流畅，褶皱纹理皆见笔力。无华彩设色，却以素净线条捕捉生活瞬间：人物姿态各异，或前倾或伫立，衣饰细节暗合当时风貌，盆中动静似牵众人目光。画面虽简，却满溢烟火气，仿佛能听见街头人声喧嚷，触到市井生活的温热脉搏。朴素笔触间藏着鲜活的人文气息，将平凡场景定格成耐人寻味的画卷，让观者于线条流转中，窥见彼时街头的生动与真意。",[23,24,7,59,188,96,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ebe5606fcb14e8ac3c90c2ea6c4f859.jpg",[],{"id":106565,"slug":106566,"title":106567,"dynasty":54,"author":223,"museum":300,"description":106568,"tags":106569,"thumbUrl":106570,"material":611,"size":84,"collection":84,"collections":106571,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215534,"bai-miao-jie-tou-mai-mai-hua-ce-23-yi-ming-215534","白描街头买卖画册-23","墨线轻转，勾勒出市井小贩的生动轮廓。斗笠覆顶，衣袂随步履舒展，赤足踏地的细节藏着烟火里的真切。杆上花架错落着细碎花形，似有暗香浮动；手中提篮盛着满筐鲜活，每道衣纹都晕染着日常的暖意。白描以线塑魂，不施粉黛却让人物神态毕现——眉宇间的平和，是街头叫卖中的从容。无繁复布景，却以极简之笔定格市井一角，百年前的买卖场景，在素纸淡墨里静静流淌着人间的鲜活滋味。每一笔都藏着对生活的观察，让平凡的街头买卖，成为时光里不灭的生动印记。",[23,24,7,59,188,96,1746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b011cd1f729a9a515a1c0a3bf049d69.jpg",[],{"id":106573,"slug":106574,"title":106575,"dynasty":54,"author":223,"museum":300,"description":106576,"tags":106577,"thumbUrl":106578,"material":611,"size":84,"collection":84,"collections":106579,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215533,"bai-miao-jie-tou-mai-mai-hua-ce-24-yi-ming-215533","白描街头买卖画册-24","素笔轻描间，市井烟火悄然漫溢。人物端坐桌前，衣纹简练却随动作舒展，桌上器物以淡墨勾勒，细节藏于线条深处。他低头专注的神态，似正沉浸于手头营生，每一道墨线的转折都裹着生活的温热。没有浓艳色彩，仅以线条的疏密、轻重，便将街头买卖的日常鲜活铺展——那是烟火里的平凡，也是岁月沉淀的真实。简单构图里藏着生活的肌理，仿佛能听见市井细碎声响，触到那份朴素安稳的气息，让平凡瞬间有了悠长韵味。",[23,24,7,59,188,96,169,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa570f2b6feb9008f2c7b0b293a450283.jpg",[],{"id":106581,"slug":106582,"title":106583,"dynasty":54,"author":223,"museum":300,"description":106584,"tags":106585,"thumbUrl":106586,"material":611,"size":84,"collection":84,"collections":106587,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215487,"bai-miao-jie-tou-mai-mai-hua-ce-71-yi-ming-215487","白描街头买卖画册-71","素笔勾勒的市井身影，光头着长衫，布鞋踏地，神态安然。左手提鸟笼，笼中禽鸟隐现，笼下坠一尾游鱼；右手握长杆，杆尾垂饰轻晃。线条简练却见功力，衣褶的流转、鸟笼的纹理、鱼的形态，皆以白描手法静静铺陈。没有浓墨重彩，却将街头买卖人的日常状态凝于纸面——那份从容，那份烟火气，似能透过线条嗅到旧时街巷的气息。这是对平凡生计的温柔记录，也是时光里市井图景的一抹剪影，于简淡中藏着鲜活的生活温度。",[23,24,7,59,188,96,2059,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd768301b170ac33ac77240a37e82331f.jpg",[],{"id":106589,"slug":106590,"title":106591,"dynasty":54,"author":223,"museum":300,"description":106592,"tags":106593,"thumbUrl":106594,"material":611,"size":84,"collection":84,"collections":106595,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215486,"bai-miao-jie-tou-mai-mai-hua-ce-66-yi-ming-215486","白描街头买卖画册-66","线条如行云流水，勾勒出挑担小贩的身影。斗笠檐角微翘，衣袂褶皱随步履轻摆，肩头扁担压出浅浅弧度，两侧货囊以细密线条织就纹理，虽无色彩渲染，却见物态之真。人物神态安然，似正走在巷陌间，市井烟火气从简淡笔墨中漫出。白描之妙，在于以少胜多——寥寥几笔便定格清代街头买卖的日常，衣纹的转折、扁担的质感、货囊的垂坠，皆藏着对生活细节的敏锐捕捉。没有浓墨重彩，却让平凡的生计场景有了鲜活的温度，仿佛能听见巷弄里隐约的叫卖声，触到那个时代最质朴的人间气息。",[23,24,7,59,188,96,170,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb93217be0ba0d22513339b59c91157fb.jpg",[],{"id":106597,"slug":106598,"title":106599,"dynasty":54,"author":223,"museum":300,"description":106600,"tags":106601,"thumbUrl":106602,"material":611,"size":84,"collection":84,"collections":106603,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215484,"bai-miao-jie-tou-mai-mai-hua-ce-72-yi-ming-215484","白描街头买卖画册-72","素纸间墨线流转，勾勒出市井贩夫的鲜活模样。裸肩男子微倾身躯，头顶与臂侧的圆货憨态尽显，臂膀的弧度似承着生计的分量。衣袂随步履轻摆，褶皱起伏藏着风的痕迹；赤足踏地的细节，晕开烟火气的温度。线条简练却见筋骨，肌肉纹理、侧脸微蹙的神态，皆在墨线的浓淡转合里，藏着街头买卖的日常况味。无繁复设色，仅以素笔写尽人间烟火，每道线条都是生活的注脚，将平凡生计里的坚韧与鲜活，凝作纸间的生动剪影。",[23,24,7,59,188,96,94009,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3839ca4a24ff8a2c5f1625741593da12.jpg",[],{"id":106605,"slug":106606,"title":106607,"dynasty":54,"author":223,"museum":300,"description":106608,"tags":106609,"thumbUrl":106610,"material":611,"size":84,"collection":84,"collections":106611,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215483,"bai-miao-jie-tou-mai-mai-hua-ce-74-yi-ming-215483","白描街头买卖画册-74","线条如行云流水，勾勒出市井商贩的鲜活姿态。肩扛扁担的身影，衣褶随肢体动作自然铺展，赤脚的细节更添生活粗粝。左侧筐中叠放的货物与右侧竹篮相映，扁担弧度似承载烟火重量。人物侧脸微扬，似在赶路或吆喝，虽无色彩渲染，却以极简白描留住旧时光的烟火气。寥寥数笔，将贩夫走卒的日常凝于纸上，留白处暗含市井丰饶，仿佛能听见扁担吱呀，窥见清代街头鲜活一角。",[23,24,7,59,188,96,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8a4064f23ac50884454b48c7213940f.jpg",[],{"id":106613,"slug":106614,"title":106615,"dynasty":54,"author":223,"museum":300,"description":106616,"tags":106617,"thumbUrl":106618,"material":611,"size":84,"collection":84,"collections":106619,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215480,"bai-miao-jie-tou-mai-mai-hua-ce-78-yi-ming-215480","白描街头买卖画册-78","素纸之上，墨线流转成一段市井旧影。身着布衫的买卖人立在画中，帽檐下眉眼温和，唇边短须轻翘，似刚与主顾寒暄过。手中货篮以细密线条勾勒，篮身纹理清晰可辨，仿佛能触到竹编的粗糙质感。衣褶的垂坠、布料的软硬，皆由长短不一的墨线晕染出层次——没有浓墨重彩，却将寻常生活的鲜活气尽数收揽。他站姿从容，周身似萦绕着街头巷尾的烟火余温，每一笔线条都像在低语：这是清代里弄间最寻常的片刻，是买卖人肩上的生计，也是时光里藏着的温柔烟火。",[23,24,7,59,188,96,170,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F947e67192b5ab5b4b757a6911b7720ad.jpg",[],{"id":106621,"slug":106622,"title":106623,"dynasty":54,"author":223,"museum":300,"description":106624,"tags":106625,"thumbUrl":106628,"material":611,"size":84,"collection":84,"collections":106629,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215471,"bai-miao-jie-tou-mai-mai-hua-ce-87-yi-ming-215471","白描街头买卖画册-87","墨线轻勾，晕染开一段市井旧梦。斗笠覆顶，竹筐负肩，长杆斜握的身影，步履间藏着街头买卖的细碎日常。不施粉黛的素纸之上，仅以粗细转折的墨线，便勾勒出衣袂的褶皱、竹篾的纹理，连人物眉眼间的恬淡神情，都隐在简练笔触里却鲜活如昨。\n\n线条是此帧的魂——或轻或重，或缓或急，似有若无地牵起百年前的烟火气。寻常生计的温暖，被凝在素净纸面：那竹筐里或许盛着新鲜蔬果，长杆或许是叫卖的工具，每一处细节都在默默诉说街巷里的平凡故事。时光仿佛在此刻慢下来，让观者窥见旧时光里，那些藏在白描线条中的生活本真。",[23,54,24,7,59,188,96,71237,106626,106627],"杖","筐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b9b9ab02d19464c3f26f274577983b3.jpg",[],{"id":106631,"slug":106632,"title":106633,"dynasty":54,"author":223,"museum":300,"description":106634,"tags":106635,"thumbUrl":106636,"material":611,"size":84,"collection":84,"collections":106637,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215455,"bai-miao-jie-tou-mai-mai-hua-ce-102-yi-ming-215455","白描街头买卖画册-102","淡墨细线织就清代市井的片刻闲趣。人物衣褶随坐姿舒展，帽顶小饰与衣纹暗线皆见笔致；案上器物以极简轮廓显形，茶盏的圆润、食盒的方整，皆藏于寥寥数笔。画中人神态松弛，似候客时的轻闲，又或与买者的絮语，虽无色彩渲染，却以白描的素净勾连起烟火气。线条的简练未失生动，反而让街头买卖的日常更显真切——百年前的市井声息，仿佛随纸间淡墨悄悄漫溢，将细碎的生活温度，定格成永恒的帧影。",[23,24,7,59,188,96,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa43589ac3208f2f3ed60b39bff4ec33.jpg",[],{"id":106639,"slug":106640,"title":106641,"dynasty":54,"author":223,"museum":300,"description":106642,"tags":106643,"thumbUrl":106644,"material":611,"size":84,"collection":84,"collections":106645,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215454,"bai-miao-jie-tou-mai-mai-hua-ce-103-yi-ming-215454","白描街头买卖画册-103","这幅白描作品以行云流水般的线条，勾勒出一位街头商贩的鲜活形象。宽袖短衫的褶皱随身形自然舒展，墨线简练却精准捕捉布料质感；短裤赤足的细节，尽显市井生活的质朴底色。斗笠覆顶，檐角轻翘，既遮日晒又添乡野意趣。人物双手捧竹篮，篮中货物虽寥寥几笔，却似裹挟着街头烟火气。他站姿从容，手部微张的姿态传神，仿佛正待主顾问询，眉眼间藏着生活的温厚。画面不施色彩，以极简笔墨定格清代市井一隅，将平凡买卖的日常鲜活凝于素纸。每根线条都藏着对生活的细致观察，让百年前的街头声息似能透过纸页传来，尽显白描以简胜繁的独特韵味。",[23,24,7,59,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54ea4f74775c3b018a219e5cd909f016.jpg",[],{"id":106647,"slug":106648,"title":106649,"dynasty":54,"author":223,"museum":300,"description":106650,"tags":106651,"thumbUrl":106652,"material":611,"size":84,"collection":84,"collections":106653,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215452,"bai-miao-jie-tou-mai-mai-hua-ce-105-yi-ming-215452","白描街头买卖画册-105","纤细线条勾勒市井人物的鲜活姿态，一手举物似在吆喝，一手托盘稳持生计。衣纹流转间见笔力细腻灵动，无华设色却以线塑魂，眉眼间的专注藏着街头买卖的烟火气，每道笔触都晕染平凡生活的温热。寥寥几笔凝市井风情于纸上，动静之间，仿佛听见巷陌叫卖声，窥见旧时街头生动一角。笔端的质朴与生动，让寻常生计场景有了直击人心的力量，尽显白描以简胜繁的艺术魅力。",[23,24,7,59,188,96,100073],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e2daeb41bed3882e574f4fbff762cef.jpg",[],{"id":106655,"slug":106656,"title":106657,"dynasty":54,"author":223,"museum":300,"description":106658,"tags":106659,"thumbUrl":106660,"material":611,"size":84,"collection":84,"collections":106661,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215448,"bai-miao-jie-tou-mai-mai-hua-ce-109-yi-ming-215448","白描街头买卖画册-109","素纸淡墨勾勒出市井旧影。斗笠檐角斜挑着光阴，赤足身影立于木案旁，宽衫短褐的褶皱里藏着风的痕迹。案上纹理如轻波微动，手中动作似与时光私语——是浆洗的日常，还是买卖的温柔？没有浓妆艳抹，仅以洗练线条，便将街头巷尾的烟火气凝于纸上。那些被岁月淡去的寻常片刻，在笔锋流转间苏醒，每一笔都带着生活的温度，让旧时光的气息扑面而来。寻常烟火，最是动人，这简练的白描里，藏着一段被时光珍藏的市井温柔。",[23,24,7,59,188,96,1350,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7505d92cc131e00eb57e375d361901e0.jpg",[],{"id":106663,"slug":106664,"title":106665,"dynasty":54,"author":223,"museum":300,"description":106666,"tags":106667,"thumbUrl":106668,"material":611,"size":84,"collection":84,"collections":106669,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215443,"bai-miao-jie-tou-mai-mai-hua-ce-114-yi-ming-215443","白描街头买卖画册-114","赤膊男子踞凳而坐，足踏矮架，手中长棍搅动桶中物事。墨线简练却力道暗蕴，人物肌肉的起伏、衣料的褶皱皆以流畅笔触勾勒，器物轮廓亦见朴拙之美。街头劳作的瞬间被凝注，粗粝动态里藏着市井鲜活气——仿佛能听见棍与桶壁的轻触，看见汗珠沿脊背滑落的弧度。平凡场景因线条的生动，成了时光里的鲜活切片，每一笔都沾着人间烟火的温度，将街头买卖的日常，化作可触可感的生活诗篇。",[23,24,7,59,188,96,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad4017d96cb1ad94abe9df812b512845.jpg",[],{"id":106671,"slug":106672,"title":106673,"dynasty":54,"author":223,"museum":300,"description":106674,"tags":106675,"thumbUrl":106676,"material":611,"size":84,"collection":84,"collections":106677,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215442,"bai-miao-jie-tou-mai-mai-hua-ce-115-yi-ming-215442","白描街头买卖画册-115","简淡线条晕开市井烟火气，人物赤足踏地，衣褶随步履轻晃，头顶竹筐的弧度里藏着生计的分量。扶筐的手稳而有力，竹筐编织纹理细密如织，悬垂的细绳似在微风中微动。白描以线塑形，无浓墨渲染却形神毕肖，将街头小贩的日常瞬间凝于纸面。每一道笔触都带着生活的温度，百年前的奔波身影仿佛跃然眼前，巷陌间的吆喝声似在耳畔，平凡里透着生动，质朴中藏着细腻，让旧时光的街头图景鲜活如初。",[23,24,7,59,188,96,170,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60e362f2540242ffbcdf590120635cc.jpg",[],{"id":106679,"slug":106680,"title":106681,"dynasty":54,"author":223,"museum":300,"description":106682,"tags":106683,"thumbUrl":106684,"material":611,"size":84,"collection":84,"collections":106685,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215439,"bai-miao-jie-tou-mai-mai-hua-ce-118-yi-ming-215439","白描街头买卖画册-118","寥寥数笔勾勒出市井小贩的鲜活身影。光头敞胸，裤脚轻挽，足蹬布履沾着市井尘泥；一手紧握长杆，杆身笔直似承着营生的重量，另一手攥拳微抬，像刚吆喝完半句招揽，又或正调整肩上货担的平衡。线条简练却精准，衣褶的褶皱顺着肢体动态舒展，肌肉轮廓隐在墨线里，带着劳作的气力感。无浓墨重彩，仅以素净白描便托出人物的质朴憨直——那微侧的头、紧绷的臂，藏着旧时光里街头巷陌的烟火气，每一道线条都在轻声诉说平凡生计里的鲜活与温度，似能听见巷口传来的叫卖声，混着风穿过长杆的轻响。",[23,24,7,188,59,96,1746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F925a03fd362dee44eba863493bce5abf.jpg",[],{"id":106687,"slug":106688,"title":106689,"dynasty":54,"author":223,"museum":300,"description":106690,"tags":106691,"thumbUrl":106692,"material":611,"size":84,"collection":84,"collections":106693,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215435,"bai-miao-jie-tou-mai-mai-hua-ce-123-yi-ming-215435","白描街头买卖画册-123","白描线条如行云流水，寥寥几笔便勾出街头小贩的鲜活模样。宽袍短褂的褶皱随步履轻颤，赤足的细节藏着市井生活的真实。肩头担子晃着烟火气，竹筐里堆叠的物什似还沾着清晨的露意。人物神态淡然从容，眉眼间隐现谋生的细碎日常，衣褶的起伏、手部的姿态，每一处线条都精准捕捉了动作的韵律。没有浓墨重彩的渲染，却以极简笔触定格了清代市井的鲜活切片。那些平凡的奔波与吆喝，都在素净纸页上沉淀成温暖的时光印记，让百年前的生活肌理，透过线条的温度清晰可触。",[23,24,7,59,188,96,9014,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ca21b5e0f5d8dba088fd4bb1212be22.jpg",[],{"id":106695,"slug":106696,"title":106697,"dynasty":54,"author":223,"museum":300,"description":106698,"tags":106699,"thumbUrl":106700,"material":611,"size":84,"collection":84,"collections":106701,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215429,"bai-miao-jie-tou-mai-mai-hua-ce-130-yi-ming-215429","白描街头买卖画册-130","简练白描线条勾勒出街头商贩的鲜活模样。宽檐草帽遮去烈日，肩挑扁担两头垂着竹篮，沉甸甸的货物透着市井烟火气。右手轻扶扁担稳重心，左腿前迈的步态自然流畅，衣袂褶皱随肢体摆动舒展，尽显线条的韵律感。竹篮纹理清晰可见，篮中货物以疏密线条显层次，未着彩却生动传递出日常售卖的鲜活。整幅画以素净之笔定格清代谋生者的日常瞬间，每道线条都藏着对民生百态的细腻观察，让久远的市井图景在眼前鲜活浮现，满是人间烟火的踏实与温暖。",[23,24,7,59,188,96,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffec6da3d2f76fe208c080322a9c181d7.jpg",[],{"id":106703,"slug":106704,"title":106705,"dynasty":54,"author":223,"museum":300,"description":106706,"tags":106707,"thumbUrl":106708,"material":611,"size":84,"collection":84,"collections":106709,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215427,"bai-miao-jie-tou-mai-mai-hua-ce-129-yi-ming-215427","白描街头买卖画册-129","线条简练却张力十足，衣纹流转间勾勒出人物俯身的温柔姿态，一手扶桶，一手执具，似正与身前生灵低语。两只猪憨态毕露，一抬首探向桶沿，眸光灵动；一低首蹭向食槽，鼻尖微动，短绒般的线条晕染出鲜活质感。木桶直纹与衣袍曲褶相映成趣，虚实之间，市井烟火气漫溢开来。白描以线为骨、以情为魂，无需浓墨重彩，便定格平凡生活的生动瞬间。不经意的互动、质朴的神态藏在每笔细腻勾勒里，让人窥见旧日街头鲜活一角，静赏时仿佛听见桶沿轻响与猪崽哼唧，满是人间烟火的温度。",[23,24,7,59,188,96,88769,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8cff8de64591a72516747ec6b0e09d3.jpg",[],{"id":106711,"slug":106712,"title":106713,"dynasty":54,"author":223,"museum":300,"description":106714,"tags":106715,"thumbUrl":106716,"material":611,"size":84,"collection":84,"collections":106717,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215426,"bai-miao-jie-tou-mai-mai-hua-ce-131-yi-ming-215426","白描街头买卖画册-131","简淡线条勾勒出市井生计的鲜活剪影。人物弓身前行，长杆斜指天际，腕间器物轻晃，衣袂褶皱随步履流转成流畅弧线。白描技法以线立形，发髻的盘绕、衣物的层叠、赤足的肌理，皆由精准笔触晕染出生活温度。人物侧首抬眸的专注神情，似在捕捉风里的讯息，又或是呼应街角的吆喝——动态里藏着烟火气的韵律。寥寥数笔却神形兼备，将街头买卖人的日常姿态凝为永恒，让观者于素净纸页间，触碰到清代民间生活的鲜活脉搏。",[23,24,7,59,188,96,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1b3778ba1d3a823fba72fbbd9b97578.jpg",[],{"id":106719,"slug":106720,"title":106721,"dynasty":54,"author":223,"museum":300,"description":106722,"tags":106723,"thumbUrl":106724,"material":611,"size":84,"collection":84,"collections":106725,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215425,"bai-miao-jie-tou-mai-mai-hua-ce-132-yi-ming-215425","白描街头买卖画册-132","斗笠斜覆，短衫轻拢，赤足的卖货人静立画中，双手交叠的姿态似藏着几分市井的从容。两侧竹器层层累叠，篾纹绳络皆以细劲墨线勾出，质朴中见精巧。白描手法洗练，衣褶的流畅与竹器的肌理在线条的起落间尽显。无浓墨重彩，却将街头买卖的日常瞬间凝住——那份静待主顾的闲淡，那份器物与人物的和谐，都在素净的画面里漫出烟火气，如同一帧被时光定格的清代市井剪影，鲜活而温暖。线条简练却精准，人物神态从容，衣褶垂坠与竹器质感在墨线轻重间生动呈现，尽显民间生活的真实与鲜活。",[23,24,7,59,188,96,1350,169,94009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ce106f6ac08890555be578dee8ce98a.jpg",[],{"id":106727,"slug":106728,"title":106729,"dynasty":54,"author":223,"museum":300,"description":106730,"tags":106731,"thumbUrl":106732,"material":611,"size":84,"collection":84,"collections":106733,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215421,"bai-miao-jie-tou-mai-mai-hua-ce-136-yi-ming-215421","白描街头买卖画册-136","线条如行云流水，勾勒出市井间的鲜活一瞬。背负物件者躬身前行，衣褶的曲线似风过浅滩，漾开劳作的肌理；旁侧之人伸手相扶或议价，姿态亲昵自然，烟火气从线条缝隙中漫出。白描以简胜繁，无色彩却胜千色——人物的动态、衣物的褶皱、互动的温度，皆由凝练的笔墨承载。平凡的街头买卖场景，在笔墨间化作可触的温暖，每一道线条都藏着生活的褶皱，每一个神情都映着市井的真意，恰是传统笔墨对人间烟火的温柔定格。",[23,24,7,59,188,96,1746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2ba859bbf5815cb80dceef26b896f5c.jpg",[],{"id":106735,"slug":106736,"title":106737,"dynasty":54,"author":223,"museum":300,"description":106738,"tags":106739,"thumbUrl":106740,"material":611,"size":84,"collection":84,"collections":106741,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215418,"bai-miao-jie-tou-mai-mai-hua-ce-139-yi-ming-215418","白描街头买卖画册-139","线条简练却见功力，以白描之法捕捉市井鲜活瞬间。挑担人俯身执瓢的姿态被精准定格，肩扛扁担的弧度里，双桶悬垂的重量与动作的专注感交织。衣褶随身体倾侧自然流转，赤脚沾地的细节更添质朴本真。素笔勾勒间，无浓墨重彩却让街头买卖的烟火气漫出纸面——执瓢的手势、微蹙的眉峰、扁担压肩的弧度，皆是旧时光里最生动的生活切片。简淡线条中藏着人间烟火的温热，平凡身影里映出市井生活的鲜活力量，于无声处诉说着往昔街头的细碎日常。",[23,24,7,59,188,96,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec7f54628d7f88fa73d41b81472c7304.jpg",[],{"id":106743,"slug":106744,"title":106745,"dynasty":54,"author":223,"museum":300,"description":106746,"tags":106747,"thumbUrl":106748,"material":611,"size":84,"collection":84,"collections":106749,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215417,"bai-miao-jie-tou-mai-mai-hua-ce-140-yi-ming-215417","白描街头买卖画册-140","斗笠覆顶，宽袍短褐，肩挑扁担的身影在白描线条里鲜活起来。墨线勾勒衣褶的起伏、斗笠的圆融，连扁担的沉坠感都藏在线条的轻重转折里。两侧货物——左方捆扎严实的包裹、右垂的布袋与方格物件，皆以简洁线条显其形态，似能窥见内里市井生计的细碎。人物行进步态从容，手臂微屈扶担，每一笔都浸着烟火气，仿佛下一秒便有吆喝声穿纸而出。白描以无彩之笔，凝住街头买卖人的日常瞬间，将平凡生计的鲜活与温暖，刻进墨线交织的方寸间。",[23,24,7,59,188,96,9014,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a5e19b35eaae8dcb078bfe7bca8ee77.jpg",[],{"id":106751,"slug":106752,"title":106753,"dynasty":54,"author":223,"museum":300,"description":106754,"tags":106755,"thumbUrl":106756,"material":611,"size":84,"collection":84,"collections":106757,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215412,"bai-miao-jie-tou-mai-mai-hua-ce-145-yi-ming-215412","白描街头买卖画册-145","线条简净却见功底，似不经意间捕捉到市井小贩的步履匆匆。竹笼网格细密，勾勒出谋生的重负；手中织物轻垂，漾着待售的期许。素笔无华，却将街头买卖的日常描摹得入木三分——那微躬的背脊藏着生计的奔波，低垂的眉眼凝着生活的从容。没有炫技的铺陈，唯有对人间烟火的真诚记录，让百年前的市井气息透过纸页漫溢开来，触动人心最柔软的角落。每一道线条都裹着巷弄的风，每一处姿态都藏着平凡的力量，将街头买卖的鲜活瞬间凝练成永恒的画面。",[23,24,7,59,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9fba954e7b5a8a2ae797af11d10aca8.jpg",[],{"id":106759,"slug":106760,"title":106761,"dynasty":54,"author":223,"museum":300,"description":106762,"tags":106763,"thumbUrl":106764,"material":611,"size":84,"collection":84,"collections":106765,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215410,"bai-miao-jie-tou-mai-mai-hua-ce-148-yi-ming-215410","白描街头买卖画册-148","简素线条勾勒出街头挑贩的身影，宽檐草帽半掩面容，赤足踏地沾着市井尘气，肩扛扁担压出微弯弧度，两端竹篮悬垂，筐内货物隐约可见，腰间布巾随步履轻晃。白描不着艳色，却以凝练笔触写尽生活本真：竹篮的经纬纹理、扁担的木质肌理、人物的动态神情，皆在粗细有致的线条里流转。没有浓墨重彩，却让寻常生计的烟火气扑面而来，仿佛能听见挑担的吱呀声，望见街巷的熙攘，于极简笔墨中，藏着最生动的人间烟火与生活质感。",[23,24,7,59,188,96,9014,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f2a472f4fa0a14b286b45758c7c6ca.jpg",[],{"id":106767,"slug":106768,"title":106769,"dynasty":54,"author":223,"museum":300,"description":106770,"tags":106771,"thumbUrl":106772,"material":611,"size":84,"collection":84,"collections":106773,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215408,"bai-miao-jie-tou-mai-mai-hua-ce-149-yi-ming-215408","白描街头买卖画册-149","线条简练却见筋骨，勾勒出市井小贩的鲜活身影。侧身而立的人物，眉宇间带着几分日常的平和，衣袂褶皱随身形舒展，赤足沾地的细节藏着烟火气。臂弯悬着的竹篮，纹理隐在线条里；掌心握着的器物，似是刚完成一桩买卖的余温。笔端无浓墨重彩，却将街头买卖的从容姿态凝于纸上——没有刻意的渲染，只有对俗世生活的细腻捕捉：或许是清晨市集的余韵，或许是午后巷弄的闲步，平凡日子里的生机，都在这白描的笔触里静静流淌，让旧时光里的暖，透过纸页漫出来。",[23,24,7,59,188,96,170,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F332c92d131b5bce5cf93a7e78e186728.jpg",[],{"id":106775,"slug":106776,"title":106777,"dynasty":54,"author":223,"museum":300,"description":106778,"tags":106779,"thumbUrl":106780,"material":611,"size":84,"collection":84,"collections":106781,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215407,"bai-miao-jie-tou-mai-mai-hua-ce-151-yi-ming-215407","白描街头买卖画册-151","墨线勾勒的市井人物，身形挺拔却裹着烟火气。肩扛的长杆悬着招牌，似在风中轻晃招徕主顾；手中折扇半展，又添几分奔波里的从容。线条简练却精准，衣褶的起伏、布鞋的纹理，皆藏着白描技法的细腻功底。人物神态平和，眉眼间凝着街头营生的日常况味——既需为生计奔走，也能于忙碌间隙寻得片刻悠然。素净笔触未施粉黛，却将清代商贩的鲜活模样定格：那杆上的招牌、手中的扇，都是时光里的市井注脚。没有浓墨重彩，只以清浅线条织就一幅带着温度的生活图景，让百年前的街头烟火，静静流淌在纸面之上。",[23,188,24,7,59,96,169,94009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c257cb398043907c1f347475f96ddc.jpg",[],{"id":106783,"slug":106784,"title":106785,"dynasty":54,"author":223,"museum":300,"description":106786,"tags":106787,"thumbUrl":106788,"material":611,"size":84,"collection":84,"collections":106789,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215406,"bai-miao-jie-tou-mai-mai-hua-ce-150-yi-ming-215406","白描街头买卖画册-150","宽檐斗笠遮去半面天光，长衫褶皱如流水般铺展，手中扇柄轻握，流苏垂落似凝着市井的风。白描线条简劲传神，衣袂转折、鞋履纹路皆藏于墨痕深浅间。人物侧身伫立，似刚歇下肩头行囊，又或正欲开口吆喝。肩上包裹虽无色彩晕染，却因线条勾勒显出货物分量。素净笔触定格市井买卖人的日常瞬间——烟火气随墨线漫开，如旧巷一缕清风，勾连街头巷尾的鲜活从容，让人窥见岁月里的平实暖意。",[23,24,7,59,188,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbe61eab578210f661bd485a8d936ead.jpg",[],{"id":106791,"slug":106792,"title":106793,"dynasty":54,"author":223,"museum":300,"description":106794,"tags":106795,"thumbUrl":106796,"material":611,"size":84,"collection":84,"collections":106797,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215400,"bai-miao-jie-tou-mai-mai-hua-ce-156-yi-ming-215400","白描街头买卖画册-156","墨线轻勾，晕染出市井里的鲜活片段。老者躬身持镜，眉眼间凝着专注的暖意，衣袂褶皱随体态婉转，线条简练却藏风骨。旁侧摊架上，瓶罐与托盘小物错落，笔锋精准描摹器物质感，无设色却见生活本真。白描技法以简胜繁，将街头买卖的寻常温情凝于纸间，每一道线条都似在低语俗世烟火的生动，是对日常瞬间的细腻观照，也尽显传统笔墨捕捉生活意趣的传神功力。寻常场景里藏着的人间烟火，经此笔端，便成了可触可感的岁月温度。",[23,24,7,59,188,96,169,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7828a11df1ee905deaf9f9edbc0b64e3.jpg",[],{"id":106799,"slug":106800,"title":106801,"dynasty":54,"author":223,"museum":300,"description":106802,"tags":106803,"thumbUrl":106804,"material":611,"size":84,"collection":84,"collections":106805,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215388,"bai-miao-jie-tou-mai-mai-hua-ce-169-yi-ming-215388","白描街头买卖画册-169","素纸铺展，墨线游走间晕开市井烟火。俯身劳作的身影凝注于器物，衣纹随肢体起伏流转，简练笔触竟将专注神情摹写得入木三分。身旁竹筐纹理交错，篾条质感似触手可及；小盏轮廓憨态，尽藏生活本真。不施彩墨，仅以线为骨，却让街头买卖的鲜活跃然纸上。人物动态的精准、器物细节的细腻，皆源于对众生相的深彻观察——是对平凡日常的温柔定格，也是对清时市井风貌的生动注脚。墨痕深浅里，仿佛听见器物轻响，望见烟火暖意，将街头买卖的朴素时光，酿成耐人寻味的永恒图景。",[23,24,7,59,188,96,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6b494d11d1dfa964909b76e8e7aa1c9.jpg",[],{"id":106807,"slug":106808,"title":106809,"dynasty":54,"author":223,"museum":300,"description":106810,"tags":106811,"thumbUrl":106812,"material":611,"size":84,"collection":84,"collections":106813,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215385,"bai-miao-jie-tou-mai-mai-hua-ce-170-yi-ming-215385","白描街头买卖画册-170","以清劲白描线条铺展市井鲜活图景。贩夫素衣俯身，专注打理案头果货，衣袂褶皱随动作自然舒展，神态藏于简练笔触间。案台罗列整齐，旁侧木桶与小桌相映成趣，招牌小字隐约，添几分真实烟火气。笔意简而传神，无浓墨重彩，却以极简线条定格旧时街头生计的温煦瞬间。线条流转处，市井喧嚣似在耳畔回响，寻常生活的肌理被细腻勾勒，尽显明清市井的生动质朴，让观者于素纸间触摸岁月沉淀的人间烟火。",[23,24,7,59,188,96,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00a4b93eba6dc97c33e2983666d1364c.jpg",[],{"id":106815,"slug":106816,"title":106817,"dynasty":54,"author":223,"museum":300,"description":106818,"tags":106819,"thumbUrl":106820,"material":611,"size":84,"collection":84,"collections":106821,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215384,"bai-miao-jie-tou-mai-mai-hua-ce-172-yi-ming-215384","白描街头买卖画册-172","简练白描线条如墨色流转，精准勾勒出街头小贩的鲜活姿态。光头短衫的身影里，一手持纸钱招徕主顾，一手轻拢腰侧，衣褶随肢体动态自然舒展，似能听见市井里清亮的叫卖声漫溢而出。眉眼间藏着生计奔波的熟稔，手中纸品纹理依稀，衬出旧时街头买卖的日常温度。寥寥几笔便将烟火气凝于纸上，人物鲜活如在眼前——那微微前倾的身姿、带点急切又从容的神态，尽现传统白描以线传神的妙趣，勾连起往昔街头巷尾里，那些被时光珍藏的生动市井记忆。",[23,24,7,59,188,96,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20c1653e0cf2c410541794ab144b6618.jpg",[],{"id":106823,"slug":106824,"title":106825,"dynasty":54,"author":223,"museum":300,"description":106826,"tags":106827,"thumbUrl":106828,"material":611,"size":84,"collection":84,"collections":106829,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215383,"bai-miao-jie-tou-mai-mai-hua-ce-174-yi-ming-215383","白描街头买卖画册-174","淡墨细线牵起人物的鲜活模样：交领短衫裹着利落身板，宽布腰封束出烟火气，衣褶随动作折成温柔的弧度，像风掠过市井巷陌时留下的痕。他抬手抚过头顶饰件，眉眼微垂的神态里藏着几分随性——是整理行头的细心，还是等客时的轻闲？另一只手攥着长杆，指节的弧度都透着实感，那杆或许挑着竹篮里的时鲜，或许是吆喝用的响器，未画一物，却让人生出无限联想。\n\n白描的妙处便在这“留白生趣”里：删去浓艳色彩，只凭线条的轻重缓急说话。衣纹的飘动感、指尖的力度、脚下的踏实，连布鞋沾着的微尘都似能透过纸页嗅到。他站在那里，不是静止的画，是刚从街角转过来的小贩，肩头还落着晨光，嗓眼里憋着半句没喊出口的叫卖，每一根线条都在替他诉说：这是属于街头的、热气腾腾的日子。",[23,24,7,59,188,96,169,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173b9c082bc0e692ca983540fbb7abfe.jpg",[],{"id":106831,"slug":106832,"title":106833,"dynasty":54,"author":223,"museum":300,"description":106834,"tags":106835,"thumbUrl":106836,"material":611,"size":84,"collection":84,"collections":106837,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215382,"bai-miao-jie-tou-mai-mai-hua-ce-175-yi-ming-215382","白描街头买卖画册-175","素墨线条婉转勾勒出市井一隅的身影。赤脚沾着尘泥，衣袍褶皱随体态舒展，腰间布带松垮垂落，烟管斜叼唇角，漫不经心的姿态里藏着生计间隙的松弛。木桶里圆滚物件堆叠，似是刚备好的待售食货，扁担斜倚一旁，像刚歇下肩头的重负。小桌案上的扁平物静静陈列，等待往来的目光。无华的白描没有浓彩，却以简练笔触捕捉到街头买卖的鲜活日常——那烟管轻晃的慵懒，那木桶里的暖食气息，都在墨线交织间，晕开一抹平凡却动人的烟火暖意。每一道线条都藏着生活的温度，将市井小贩的松弛与实感，凝在纸间，鲜活如昨。",[23,24,7,59,188,96,9014,94009,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1b6ebd4aebf1f3afdfca653c15a010e.jpg",[],{"id":106839,"slug":106840,"title":106841,"dynasty":54,"author":223,"museum":300,"description":106842,"tags":106843,"thumbUrl":106844,"material":611,"size":84,"collection":84,"collections":106845,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215379,"bai-miao-jie-tou-mai-mai-hua-ce-178-yi-ming-215379","白描街头买卖画册-178","线条清劲如流云，勾勒出挑担老者的佝偻身形。帽檐压着霜色，胡须垂落如银丝，粗布衣衫的褶皱里藏着市井的风。扁担横在肩头，两头竹篮坠着带露的果蔬，沾着清晨的烟火气。老者双手拢在袖间，指尖似还留着竹篮的凉，眉眼微蹙——是在算今日的收成，还是念着家中的热粥？\n\n素笔无华，却将生计的沧桑与暖意揉进每一道线条里。没有浓艳设色，仅以淡痕素影，便让巷弄的吆喝声仿佛飘在耳畔：那扁担的沉、果蔬的鲜、老者的韧，都在白描的留白里慢慢漾开，成了市井长卷里最动人的一笔。平凡的劳作日常，被凝于素纸之上，简而不单，淡而有味，藏着烟火人间的温度与力量。",[23,24,7,59,188,96,1746,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5926f4f93a746f2521f91cdbc73a6555.jpg",[],{"id":106847,"slug":106848,"title":106849,"dynasty":54,"author":223,"museum":300,"description":106850,"tags":106851,"thumbUrl":106852,"material":611,"size":84,"collection":84,"collections":106853,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215378,"bai-miao-jie-tou-mai-mai-hua-ce-179-yi-ming-215378","白描街头买卖画册-179","扁担横肩，步履微倾，市井小贩的鲜活身影自素纸间走来。白描线条简练却传神，衣褶随肢体摆动自然流转，斗笠檐角、担上器物皆以寥寥数笔定形。一手扶担稳重心，一手轻提衣摆避泥尘，眉眼间藏着赶路的匆忙，亦带生计的从容。担侧环饰悬垂，笼中物件虽无色彩，却凭线条轻重转折显质感。素净笔墨捕捉尘世烟火，极简中见丰盈，将街头买卖的日常片段，凝为兼具生活意趣与笔墨韵味的永恒瞬间。",[23,164,24,7,59,188,96,169,9014,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe602dfb1a70de2b4e344e68a568ae07b.jpg",[],{"id":106855,"slug":106856,"title":106857,"dynasty":54,"author":223,"museum":300,"description":106858,"tags":106859,"thumbUrl":106860,"material":611,"size":84,"collection":84,"collections":106861,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215376,"bai-miao-jie-tou-mai-mai-hua-ce-181-yi-ming-215376","白描街头买卖画册-181","素笺之上，线条如丝缕游走，鲜活勾画出街头商贩的身影。头戴草帽的汉子赤足前行，扁担横肩，两侧竹篮晃荡，篮中物什依稀可辨，似载着市集的烟火余温。衣袂褶皱随步履轻扬，每一笔线条都精准捕捉动态——握杆的手臂微屈藏着力道，迈开的腿弯透着矫健，处处是生活的真实肌理。白描删繁就简，却将市井气息凝于方寸：无浓墨重彩，仅素线交织，把寻常买卖的日常，酿成耐品的画面，仿佛能听见竹篮轻晃的细碎声响，触到街头巷尾的鲜活暖意。",[23,24,7,59,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dfb20c6c3b50b1a4c7e795357c0b095.jpg",[],{"id":106863,"slug":106864,"title":106865,"dynasty":54,"author":223,"museum":300,"description":106866,"tags":106867,"thumbUrl":106868,"material":611,"size":84,"collection":84,"collections":106869,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215372,"bai-miao-jie-tou-mai-mai-hua-ce-185-yi-ming-215372","白描街头买卖画册-185","淡墨线条勾勒市井一隅，布衣人物踞坐箱侧，手抚案几，姿态闲适却藏着营生的细碎心思。方箱与小桌轮廓简洁，无华彩渲染，却暗合街头买卖的质朴。白描技法洗练如话家常，不加修饰却将烟火气凝于纸间——似能听见摊主与路人的低语，见光影在器物上浅淡流转。简笔藏真意，素纸纳市井，于极简线条中，窥得旧时街头的生动切片，寻常生活的温度便在这一笔一划里缓缓流淌，让观者恍惚踏入百年前的街巷，触到那份鲜活的人间烟火。",[23,24,7,59,188,96,9014,12803],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F159aa0fb93182a0043a79e8ca3a13a7e.jpg",[],{"id":106871,"slug":106872,"title":106873,"dynasty":54,"author":223,"museum":300,"description":106874,"tags":106875,"thumbUrl":106876,"material":611,"size":84,"collection":84,"collections":106877,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215367,"bai-miao-jie-tou-mai-mai-hua-ce-189-yi-ming-215367","白描街头买卖画册-189","画面中，卖点心的小贩赤膊袒腹，腰间围素布，光头下眉眼舒展，似带几分憨态。他以手托稳头顶的木盘，盘中点心错落，隐约可见三角状糕点与圆食，仿佛能闻见街头的甜香。笔线流转间，人物的随性姿态与市井气息跃然纸上——微张的指尖似在招揽路人，步履轻缓的动态藏于简练线条中。白描技法以少胜多，不施粉黛却将街头买卖的鲜活瞬间定格，寥寥数笔便勾勒出浮生百态里的寻常一角，让百年前的烟火气至今仍可触摸。",[23,24,7,59,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0cfa3566a66bbd5ed41f43ab5a52a19.jpg",[],{"id":106879,"slug":106880,"title":106881,"dynasty":54,"author":223,"museum":300,"description":106882,"tags":106883,"thumbUrl":106884,"material":611,"size":84,"collection":84,"collections":106885,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215365,"bai-miao-jie-tou-mai-mai-hua-ce-191-yi-ming-215365","白描街头买卖画册-191","线条婉转勾勒市井小贩的鲜活模样。他站姿从容，一手稳托木盘，一手轻扶盘中物，衣袂褶皱随体态舒展，每道线条都藏着生活的肌理。盘上堆叠的物件与束起的长物（似是香烛一类），简笔却见真意，仿佛能听见街头叫卖声轻响。眉眼间的平和，是日常买卖里的从容自在。白描素净无华，以最本真的线条捕捉烟火气：无浓墨重彩，只凭笔锋起落，将百年前街头的细碎温暖凝在纸上。流畅的线、顿挫的笔，诉说平凡生活的生动，让老时光里的市井一角，在素笺上鲜活如初。",[23,24,7,59,188,96,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc09fb5d5a74b7959780ef01640455f4.jpg",[],{"id":106887,"slug":106888,"title":106889,"dynasty":54,"author":223,"museum":300,"description":106890,"tags":106891,"thumbUrl":106892,"material":611,"size":84,"collection":84,"collections":106893,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215364,"bai-miao-jie-tou-mai-mai-hua-ce-193-yi-ming-215364","白描街头买卖画册-193","素笺之上，墨线如缕，织就市井一隅的鲜活。戴帽长辫的老者伏案凝神，案头竹篮隐现“立券”二字，似牵系着街头买卖的细碎约定。旁侧竹筐堆叠，卷轴斜倚，器物轮廓皆以简练线条勾勒——衣褶的垂坠纹理、竹编的经纬脉络，尽在毫端流转生姿。白描之韵，在于以简胜繁：无华彩铺陈，却将人物专注的神态、市井生活的朴拙气息悄然晕开。每一道线条都藏着旧时光的温度，仿佛能听见竹器轻响，窥见巷尾的日常片段，静静诉说着远去的烟火故事，让观者于素净笔墨中触到岁月的柔软。",[23,24,7,59,188,96,9014,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ae510823bfd0ed80c30b9690df43aea.jpg",[],{"id":106895,"slug":106896,"title":106897,"dynasty":54,"author":223,"museum":300,"description":106898,"tags":106899,"thumbUrl":106900,"material":611,"size":84,"collection":84,"collections":106901,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215362,"bai-miao-jie-tou-mai-mai-hua-ce-196-yi-ming-215362","白描街头买卖画册-196","素纸之上，推磨的身影凝注着市井烟火气。简练线条如流水般勾勒劳作肌理——腰身微倾，握杆的力度藏在笔锋转折里，脚步错落似能听见石板轻响。磨具轮廓写实质朴，与人物动态相映，将日常劳作定格成生动瞬间。无浓墨重彩，却以白描纯粹让生活细节跃然：专注神态虽未着墨，却从线条里溢出，仿佛触到街头巷尾的温热。极简笔触捕捉生活本真模样，藏着对市井日常的温柔观照，每一笔都浸着平凡日子的鲜活气息。",[23,24,7,59,188,96,169,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98a2df883a68a98363597b44c88fd86e.jpg",[],{"id":106903,"slug":106904,"title":106905,"dynasty":54,"author":223,"museum":300,"description":106906,"tags":106907,"thumbUrl":106909,"material":611,"size":84,"collection":84,"collections":106910,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215361,"bai-miao-jie-tou-mai-mai-hua-ce-194-yi-ming-215361","白描街头买卖画册-194","墨线勾勒的匠人蹲坐于地，右臂高擎铁锤，腕间力道似凝于笔端。衣袂褶皱如流水铺展，既显动作流畅，亦藏日常辛劳。周遭砧具、风箱与铁件散落，线条寥寥却勾画出市井烟火的温热。白描技法以简胜繁，人物专注的神情隐于眉眼间，每一笔都透着生活的实感。铁锤悬停的瞬间，仿佛叮当声穿纸而来，将街头营生的鲜活与力量，定格成永恒的画面。画面留白恰到好处，让市井的质朴与匠人的坚守，在素净纸页上静静流淌。",[23,24,7,59,188,96,106908,9014],"铁器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9285188323510041a38d256bde6c6bd.jpg",[],{"id":106912,"slug":106913,"title":106914,"dynasty":54,"author":223,"museum":300,"description":106915,"tags":106916,"thumbUrl":106917,"material":611,"size":84,"collection":84,"collections":106918,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215359,"bai-miao-jie-tou-mai-mai-hua-ce-198-yi-ming-215359","白描街头买卖画册-198","匠人俯身案前，指尖凝注于手中活计。白描线条如行云流水，衣纹褶皱随姿态自然铺展，寥寥数笔便勾出专注神情。旁侧竹筐与待理的镜具，是街头买卖的寻常印记。轻重转折的线条里，藏着市井生活的细碎温度——没有华彩渲染，却将谋生的日常凝成鲜活瞬间。仿佛能触到素朴的烟火气，听见磨镜时的轻响，看见平凡日子里的认真与生动。每一道线条都在诉说：这街头的片刻，是烟火，也是生活本身。",[23,24,7,59,188,96,9014,1746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03219a17a995251887256c73d3a3958f.jpg",[],{"id":106920,"slug":106921,"title":106922,"dynasty":54,"author":223,"museum":300,"description":106923,"tags":106924,"thumbUrl":106925,"material":611,"size":84,"collection":84,"collections":106926,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215358,"bai-miao-jie-tou-mai-mai-hua-ce-199-yi-ming-215358","白描街头买卖画册-199","墨线轻描的打更人，身形敦实，步履间带着夜巡的从容。头戴小帽，短须微翘，一手攥着梆子与锣槌，一手提“五更”灯笼——灯笼上的字迹朴拙，似在低诉旧时街巷的计时日常。线条简练却传神，衣褶随动作舒展，无浓彩渲染，却以极简笔触抓牢人物神态与职业特质。静帧里仿佛飘来梆子声，穿透夜色，叩响老时光的门扉。这是市井烟火的鲜活切片，白描素净中藏着生活的温度，把街头职业的模样，定格成了能触摸到的旧时光。",[23,24,7,59,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3bcc7f3941903d7bebf4a34e9dfc9f7.jpg",[],{"id":106928,"slug":106929,"title":106930,"dynasty":54,"author":223,"museum":300,"description":106931,"tags":106932,"thumbUrl":106933,"material":611,"size":84,"collection":84,"collections":106934,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215357,"bai-miao-jie-tou-mai-mai-hua-ce-200-yi-ming-215357","白描街头买卖画册-200","扁担压肩的弧度藏着市井烟火气，墨线勾勒的衣袂褶皱与桶身轮廓简而不单。戴笠者稳步前行，双手扶担的姿态憨实生动，垂坠的绳线似随步履轻晃，仿佛能听见巷陌里的吆喝余音。白描以线塑型，寥寥几笔便定格街头商贩的日常情态：衣料质感、人物神态皆在简练线条中流转，尽显生活本真的鲜活质朴。这幅画如同一扇窗，推开便见旧时光里的人间烟火，平凡却动人，藏着最真实的生活温度。",[23,24,7,59,188,96,170,9014,100073],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a5c6eeb7102b4863e2508700f6cc212.jpg",[],{"id":106936,"slug":106937,"title":106938,"dynasty":54,"author":223,"museum":300,"description":106939,"tags":106940,"thumbUrl":106941,"material":611,"size":84,"collection":84,"collections":106942,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215354,"bai-miao-jie-tou-mai-mai-hua-ce-203-yi-ming-215354","白描街头买卖画册-203","简淡墨线里，旧时光的市井烟火悄悄漫溢。头戴宽檐草帽的买卖人，单肩挑起竹编行当：一侧轮状竹器纹理分明，一侧蓬松网状物似含风轻颤。他身姿松弛，扶担的手势藏着日常从容，仿佛巷陌吆喝声正随线条流转。\n\n白描以线塑形，衣褶流畅如溪，草帽宽边、竹器经纬皆由精准墨线勾勒，无浓彩却见生动。平凡的街头买卖场景，因这疏密有致的线条有了温度——那些被时光淡去的市井细碎，凝在素纸上，静静诉说着旧日生活的鲜活质感，每一笔都带着人间烟火的余温。",[23,24,7,59,188,96,170,9014,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb31d8dd16e8d56f767ca868f8b97ed0e.jpg",[],{"id":106944,"slug":106945,"title":106946,"dynasty":54,"author":223,"museum":300,"description":106947,"tags":106948,"thumbUrl":106949,"material":611,"size":84,"collection":84,"collections":106950,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215351,"bai-miao-jie-tou-mai-mai-hua-ce-206-yi-ming-215351","白描街头买卖画册-206","墨线简练传神，寥寥数笔勾出市井买卖人的鲜活模样。宽檐草帽下，半侧面庞似带吆喝余韵，衣褶随步履轻摆，货担上物什错落——格子筐、长壶，皆是营生家当。无华彩渲染，却以白描素净藏住街头烟火：那是走街串巷的奔波，亦是寻常日子的踏实生计。线条轻重转折间，似能听见旧时光里的叫卖声，漫过青石板路，直抵人心。素笔勾勒的不仅是身形，更是浮生里的烟火温度，让远去的市井图景在墨痕中静静流淌。",[23,24,7,59,188,96,170,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3b90523e4b36171555e83103aad371c.jpg",[],{"id":106952,"slug":106953,"title":106954,"dynasty":54,"author":223,"museum":300,"description":106955,"tags":106956,"thumbUrl":106957,"material":611,"size":84,"collection":84,"collections":106958,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215347,"bai-miao-jie-tou-mai-mai-hua-ce-210-yi-ming-215347","白描街头买卖画册-210","素纸之上，货郎身影鲜活如在眼前。光头着素袍，肩背竹担，一手握蓬松羽束如聚云，一手拈小穗似正招揽主顾。白描线条简练却传神，衣褶随步态轻晃舒展，羽翎的柔细与衣料的朴拙相映成趣。人物神态憨朴专注，虽无色彩晕染，却似能闻见街巷间的叫卖声，触到市井里的烟火气。寥寥数笔将街头买卖的日常凝于纸上，平凡人物的生动姿态藏着最真实的生活温度，让人窥见往昔市井的鲜活一隅。",[23,24,7,59,188,96,170,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabc5d877bdc41b15b45e3b206639befe.jpg",[],{"id":106960,"slug":106961,"title":106962,"dynasty":54,"author":223,"museum":300,"description":106963,"tags":106964,"thumbUrl":106965,"material":611,"size":84,"collection":84,"collections":106966,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215346,"bai-miao-jie-tou-mai-mai-hua-ce-211-yi-ming-215346","白描街头买卖画册-211","淡墨线条勾勒出挑担人的侧影，斗笠遮去半面，衣纹随步履舒展，似能感知微风掠过布衫的轻软。肩头扁担压出的弧度藏着日常劳作的分量，筐间悬垂的细物若隐若现，像是市井里未散的吆喝余韵。白描不着色彩，却以极简笔触抓住人物神态的从容——非匆忙赶路，而是带着生计的安稳。素纸之上，这抹身影成了烟火人间的缩影，每道线条都在诉说街头买卖的寻常与鲜活，让观者仿佛触到那个年代里，市井角落的温热气息。",[23,24,7,59,188,96,1350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a32156aa1cc94fcc8403c629d34fb6d.jpg",[],{"id":106968,"slug":106969,"title":106970,"dynasty":54,"author":223,"museum":300,"description":106971,"tags":106972,"thumbUrl":106973,"material":611,"size":84,"collection":84,"collections":106974,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215345,"bai-miao-jie-tou-mai-mai-hua-ce-212-yi-ming-215345","白描街头买卖画册-212","线条如行云流水，以白描之法勾勒市井小贩的鲜活身影。斗笠覆顶，赤足踏尘，手中长杆一端悬鱼（似为招揽生意的样品），另一端垂挂灯笼状器物，随步履轻晃。人物肩背微倾，持杆的手臂弧度自然，赤足舒展间，行走的动态被几笔精准捕捉。无浓墨重彩，却以极简之笔摹写日常，将旧时街头买卖的细碎光景凝于纸上。画面静中含动，仿佛能听见小贩的吆喝声隐约传来，平凡生计里藏着最真切的人间烟火气，极简线条尽显生活本真的生动意趣。",[23,24,7,59,188,96,2059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b7dfc02bb4c48cdb97917cd52f4a12.jpg",[],{"id":106976,"slug":106977,"title":106978,"dynasty":54,"author":223,"museum":300,"description":106979,"tags":106980,"thumbUrl":106981,"material":611,"size":84,"collection":84,"collections":106982,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215341,"bai-miao-jie-tou-mai-mai-hua-ce-216-yi-ming-215341","白描街头买卖画册-216","白描线条如行云流水，勾勒出僧人与鼓的生动图景。僧人衣纹简洁流畅，右臂高举鼓槌，左臂微张，似欲击鼓的瞬间被精准捕捉，动态感十足。高立的鼓架结构分明，圆鼓鼓身的纹理与铆钉细节毕现，线条的粗细转折间，器物的质感与人物的神态皆呼之欲出。无设色却韵味悠长，极简笔墨中仿佛能感知鼓鸣将起的沉浑，传递出古朴宁静的气息，尽显白描以线塑型、以形传神的独特魅力，将平凡场景定格成耐人寻味的画面。",[23,24,7,59,188,96,438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32bffaad77238377278a383dd9e4cd59.jpg",[],{"id":106984,"slug":106985,"title":106986,"dynasty":54,"author":223,"museum":300,"description":106987,"tags":106988,"thumbUrl":106989,"material":611,"size":84,"collection":84,"collections":106990,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215340,"bai-miao-jie-tou-mai-mai-hua-ce-219-yi-ming-215340","白描街头买卖画册-219","线条婉转间，市井人物的鲜活跃然纸上。前倾的身躯绷紧生活的力道，手臂弧度似拉满的弓，脚尖轻踮着营生的节奏。两个圆物与人物姿态相映，添了几分灵动。留白处藏着市井余韵，仿佛能嗅到街头烟火气。白描以简驭繁，不用浓墨重彩，却将营生的质朴真切刻入线条。每一笔都带着人间温度，把平凡瞬间凝成耐品画面，尽显传统笔墨捕捉烟火的妙趣，让街头的鲜活与质朴，在简练线条里静静流淌。",[23,24,7,59,188,96,9014,1746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf11baedc7a5fa7f096cc1946f53e5a.jpg",[],{"id":106992,"slug":106993,"title":106994,"dynasty":54,"author":223,"museum":300,"description":106995,"tags":106996,"thumbUrl":106997,"material":611,"size":84,"collection":84,"collections":106998,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215334,"bai-miao-jie-tou-mai-mai-hua-ce-222-yi-ming-215334","白描街头买卖画册-222","斗笠覆顶，扁担横肩，素笔勾勒出市井劳作者的日常剪影。简劲墨线游走纸间，衣物褶皱随步态轻晃，扁担弧度藏着力道，斗笠边缘弧线软中带挺。两侧竹篮各承物事：一侧似盈满谷物，细碎线条铺陈饱满；一侧斜插工具，轮廓利落显朴拙。无浓彩重墨，却以白描晕染烟火气——微倾的身躯、稳踏的足尖，尽是街头买卖人的辛勤与平实。墨线虽简，却将生计实感、劳者姿态凝于纸间，于极简中见丰满，让一段寻常市井片段，在淡墨里鲜活如初。",[23,24,7,59,188,96,1350,169,94009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef99436ac5d707e3d1a89e5c6dff9a7.jpg",[],{"id":107000,"slug":107001,"title":107002,"dynasty":54,"author":223,"museum":300,"description":107003,"tags":107004,"thumbUrl":107005,"material":611,"size":84,"collection":84,"collections":107006,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215332,"bai-miao-jie-tou-mai-mai-hua-ce-225-yi-ming-215332","白描街头买卖画册-225","白描线条简劲如弦，寥寥数笔便牵出街头营生的鲜活身影。人物坐于货箱之侧，一手高擎物件似在吆喝，眉眼间藏着俗世的热络；一手搭于箱上，姿态松弛却透着生计的韧劲。货箱的方整、手中物的轮廓，皆以精准勾勒显形，旁侧扇影轻晃，更添几分烟火气。素纸之上，无华彩却有温度，每一道线条都似在低语旧时光里的市井声息——那些街巷间的吆喝、往来的脚步，都凝在这简练的勾勒中，让观者于素净里触到生活的本真滋味。",[23,24,7,59,188,96,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d2588f08b170440a3bf6d0e246adb4d.jpg",[],{"id":107008,"slug":107009,"title":107010,"dynasty":54,"author":223,"museum":300,"description":107011,"tags":107012,"thumbUrl":107013,"material":611,"size":84,"collection":84,"collections":107014,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215328,"bai-miao-jie-tou-mai-mai-hua-ce-229-yi-ming-215328","白描街头买卖画册-229","竹扁担压着肩头，悬垂的禽鸟似还沾着市井烟火气。淡墨线条勾勒衣褶起伏，裤脚褶皱随步履轻晃，连竹筐纹理都透着朴拙细致。他侧身前行的姿态里，藏着街头叫卖的日常——那弯月般的镰刀，或许刚收过田间作物，又或是打理货物的小工具。没有浓彩渲染，却以极简笔触，把平凡生计的鲜活劲儿揉进每根线条。百年前的街头风物在素纸上铺展，仿佛能听见扁担吱呀轻响，看见小贩穿行巷陌的身影，让琐碎日子里的温暖，透过淡墨缓缓漫开。",[23,24,7,59,188,96,211,94009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1689e8a8ea2c3af9d0a8dcaa9c74e0c.jpg",[],{"id":107016,"slug":107017,"title":107018,"dynasty":54,"author":223,"museum":300,"description":107019,"tags":107020,"thumbUrl":107021,"material":611,"size":84,"collection":84,"collections":107022,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215325,"bai-miao-jie-tou-mai-mai-hua-ce-233-yi-ming-215325","白描街头买卖画册-233","素纸之上，墨线似裁云剪水，勾勒出市井里奔波的剪影。肩扛叠箱的身影，腰身微侧以承其重，步履虽缓却稳，衣袂的褶皱随动作自然舒展，连箱角的棱线都清晰可触。眉宇间凝着生计的笃定，不见半分懈怠，仿佛能听见他踏过巷陌的轻响，或是与路人招呼的余温。白描不施粉黛，却将人间烟火藏进每一笔：那些穿梭于街头的劳动者，用双肩挑起日常的重量，墨痕里浸透着质朴的暖意，让旧时光里的市井气息，在素笺上静静流淌。",[23,24,7,59,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd08965712130b22ef48d8ede5c0e0d0e.jpg",[],{"id":107024,"slug":107025,"title":107026,"dynasty":54,"author":223,"museum":300,"description":107027,"tags":107028,"thumbUrl":107029,"material":611,"size":84,"collection":84,"collections":107030,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215321,"bai-miao-jie-tou-mai-mai-hua-ce-236-yi-ming-215321","白描街头买卖画册-236","白描线条简练却裹着生活温度，勾勒出市井里的鲜活一幕。俯身的身影专注于手边营生，指尖似牵着旧时光的脉络，竹篮轻倚旁侧，器物静立如待语的老友。每一笔都贴着市井肌理，将街头买卖的细碎日常，晕成可触的烟火气。素净笔触未施浓彩，却让市井百态的生动，在纸间缓缓流淌开来，仿佛能听见街头的风掠过竹篮，带着营生里的踏实与鲜活。",[23,24,7,59,188,96,9014,94009,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d52c878f058fcbd35e77129229f25b7.jpg",[],{"id":107032,"slug":107033,"title":107034,"dynasty":54,"author":223,"museum":300,"description":107035,"tags":107036,"thumbUrl":107037,"material":611,"size":84,"collection":84,"collections":107038,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215320,"bai-miao-jie-tou-mai-mai-hua-ce-237-yi-ming-215320","白描街头买卖画册-237","素纸之上，线条流转间勾勒出市井匠人的专注身影。蹲坐的匠人俯身于三脚架撑起的竹伞架前，指尖轻触伞骨，似在细致校量。旁侧竹筐半敞，器物错落，尽是日常营生的痕迹。白描笔法洗练却传神，衣袂褶皱、竹材纹理皆以简练线条晕染出质感，人物眉宇间的专注神情更藏着街头买卖的烟火暖意。这幅画将寻常生计的片刻定格，于极简笔墨中晕开一段鲜活的市井旧忆，让观者仿佛能触到那个年代街头巷尾的朴素温度。",[23,24,7,188,59,96,169,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdae6cd84f8c3c78f78a17bf823a81c40.jpg",[],{"id":107040,"slug":107041,"title":107042,"dynasty":54,"author":223,"museum":300,"description":107043,"tags":107044,"thumbUrl":107045,"material":611,"size":84,"collection":84,"collections":107046,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215319,"bai-miao-jie-tou-mai-mai-hua-ce-238-yi-ming-215319","白描街头买卖画册-238","线条清劲利落，如行云流水般勾勒出人物轮廓，衣褶转折与肌肉起伏皆由简练笔触道尽，不见冗余。人物赤脚而立，衣着朴素，侧身姿态自然松弛，似正于街头缓步，眉宇间凝着市井生活的平实从容。随身营生工具斜挎肩头，简朴却藏细节，将底层劳动者的日常图景鲜活铺展。素净纸面上，无浓墨重彩，仅以白描之法捕捉生活本真，每道线条都浸着人间烟火的温度。极简笔墨里，一段平凡市井片段跃然眼前，尽显传统白描“以线传神”的精髓，读来满是鲜活生动的生活质感。",[23,24,7,59,188,96,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ffb9a01aef2811165c2268ee1a12103.jpg",[],{"id":107048,"slug":107049,"title":107050,"dynasty":54,"author":223,"museum":300,"description":107051,"tags":107052,"thumbUrl":107053,"material":611,"size":84,"collection":84,"collections":107054,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215313,"bai-miao-jie-tou-mai-mai-hua-ce-244-yi-ming-215313","白描街头买卖画册-244","白描线条如行云流水，轻勾市井一隅的闲淡。人物端坐桌旁，手持长物神态悠然，似在轻吟岁月的细碎。桌案简洁，器物静静陈列，悬挂的布幔褶皱宛然，晕开生活的温润。素净笔触里藏着旧街烟火，没有浓墨重彩，却以极简之笔将平凡瞬间凝练成静美小品。细劲线条勾勒的不仅是形，更是时光的温度，让观者于素白间触摸到市井日常的悠长韵味，仿佛旧风拂过纸面，轻叩记忆的门扉。",[23,24,7,59,188,96,9014,438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8106beaffb7dbf5d8011092034ff8c2.jpg",[],{"id":107056,"slug":107057,"title":107058,"dynasty":54,"author":223,"museum":300,"description":107059,"tags":107060,"thumbUrl":107061,"material":611,"size":84,"collection":84,"collections":107062,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215309,"bai-miao-jie-tou-mai-mai-hua-ce-249-yi-ming-215309","白描街头买卖画册-249","淡墨线条如素帛裁云，轻转间便托出挑担人的身影。肩压扁担微倾，双手扶定悬绳，步履似带巷陌风，竹篮纹理在笔尖舒展，虽无色彩晕染，却盛满市井的温热烟火。衣褶褶皱藏着劳作的印记，眉眼神态透着生活的从容，每一笔都落在实处：扁担的弧度、绳结的细节、篮沿的磨损，皆以极简白描勾勒，未加繁复铺陈，却将街头买卖的日常，凝作鲜活的时代切片。无华之笔偏能触人心弦，仿佛能听见担中器物轻晃，看见他转过街角时的背影，于素纸上铺展开一幅最生动的人间小景。",[23,24,7,59,188,96,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f5df0912f0a4640f63495068e0412a1.jpg",[],{"id":107064,"slug":107065,"title":107066,"dynasty":54,"author":223,"museum":300,"description":107067,"tags":107068,"thumbUrl":107069,"material":611,"size":84,"collection":84,"collections":107070,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215308,"bai-miao-jie-tou-mai-mai-hua-ce-248-yi-ming-215308","白描街头买卖画册-248","素纸铺展，墨线如缕，织就一幅市井小景。宽檐草帽下，买卖人的身影被简练线条勾勒得鲜活：肩头竹竿挑着日月，背篓里盛着烟火，手中格架似是待售的精巧物件，步履轻缓却藏着生计的匆忙。衣褶的垂坠、竹节的纹理、帽檐的弧度，皆以墨线的粗细转折见真章，无艳色却足显质感。眉眼间简笔带过，却透着百姓的温厚与坚韧，仿佛街巷的吆喝声正随墨痕漫出纸页。极简白描，以笔为眼，定格旧时光里街头买卖的生动一瞬，让烟火气在素净笔墨中静静流淌。",[23,24,7,59,188,96,94009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F462d8f93aa56347a40205fe8d2ee0a5d.jpg",[],{"id":107072,"slug":107073,"title":107074,"dynasty":54,"author":223,"museum":300,"description":107075,"tags":107076,"thumbUrl":107077,"material":611,"size":84,"collection":84,"collections":107078,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215307,"bai-miao-jie-tou-mai-mai-hua-ce-250-yi-ming-215307","白描街头买卖画册-250","素笔勾勒的画面里，人物躬身展布，动作连贯自然，衣纹线条随肢体起伏流转，简练却精准捕捉动态。旁侧木桶、木盆静静陈设，细节处见生活真味。无华彩渲染，却以白描之妙，将市井买卖的鲜活瞬间凝于纸上。人物神情专注，每一笔线条都藏着烟火气，似能窥见街头交易的质朴与生动，尽显民间生活的平实意趣。",[23,24,7,59,188,96,234,9014,12803,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a58a079bec708b15722512bd2a85202.jpg",[],{"id":107080,"slug":107081,"title":107082,"dynasty":54,"author":223,"museum":300,"description":107083,"tags":107084,"thumbUrl":107085,"material":611,"size":84,"collection":84,"collections":107086,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215305,"bai-miao-jie-tou-mai-mai-hua-ce-252-yi-ming-215305","白描街头买卖画册-252","宽檐帽遮去半面天光，长杆上悬垂的小玩意儿似在风中轻晃，怀中木牌的纹路藏着市井的密码。白描线条如行云流水，简练却精准勾勒出衣袂的褶皱、手部的姿态，人物神态鲜活传神——那微微前倾的身量，似正张口吆喝，将街头叫卖的烟火气凝于纸上。没有浓墨重彩，仅以素笔勾勒，却让平凡的生计场景有了温度，仿佛能听见旧巷里的吆喝声穿过时光而来，是对市井百态最细腻的捕捉与留存。",[23,24,7,59,188,96,170,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64a4c93198a050aade67901a7baebf4c.jpg",[],{"id":107088,"slug":107089,"title":107090,"dynasty":54,"author":223,"museum":300,"description":107091,"tags":107092,"thumbUrl":107093,"material":611,"size":84,"collection":84,"collections":107094,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215304,"bai-miao-jie-tou-mai-mai-hua-ce-253-yi-ming-215304","白描街头买卖画册-253","这幅白描画以洗练线条勾勒市井一隅：光头敞衣的人物坐于凳上，手持长管轻吹，腮帮微鼓的神态憨态可掬。身旁圆器与方柜简笔相映，似是买卖所用之物。无华彩渲染，仅墨线便将人物的随性自在与生活的鲜活跃然纸上。吹管的动作似有隐约乐声溢出，光头造型、宽松衣袍尽显民间人物的质朴。简淡墨色中藏着烟火暖意，寥寥几笔捕捉旧时街头的生动瞬间，如同一枚鲜活的市井切片，让人窥见往昔生活的平实与热闹。线条行云流水间，尽显白描艺术于极简中见丰盈的独特魅力，平淡中透着浓浓的生活气息。",[23,24,7,59,188,96,9014,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6a17c202be8a1fb21bd4b5a9192bef9.jpg",[],{"id":107096,"slug":107097,"title":107098,"dynasty":54,"author":223,"museum":300,"description":107099,"tags":107100,"thumbUrl":107101,"material":611,"size":84,"collection":84,"collections":107102,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215299,"bai-miao-jie-tou-mai-mai-hua-ce-258-yi-ming-215299","白描街头买卖画册-258","素笔勾勒的市井一隅，线条简劲如裁，利落间晕开烟火气。匠人端坐小凳，眉眼低垂凝注手中活计，指尖似捻着竹丝轻颤，身前工具与地上竹料错落，旁侧堆叠的竹器透着规整的匠意。无华彩渲染，却以白描的纯粹，将百年前街头手艺的专注与谋生的日常铺展眼前——每一道线条都藏着对世俗生活的细腻打量，让那些湮没在时光里的市井声响，仿佛顺着竹纹的脉络，悄然漫过眼帘。",[23,24,7,59,188,96,9014,169,12803,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fade6b29e68ef6076f5b21d78cbf254ee.jpg",[],{"id":107104,"slug":107105,"title":107106,"dynasty":54,"author":223,"museum":300,"description":107107,"tags":107108,"thumbUrl":107109,"material":611,"size":84,"collection":84,"collections":107110,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215297,"bai-miao-jie-tou-mai-mai-hua-ce-259-yi-ming-215297","白描街头买卖画册-259","素笺之上，墨线流转如行云。老者长袍宽袖，衣纹以简练线条勾勒，疏密相间间，垂坠感浑然天成。发髻轻挽，须髯微拂，眉眼间带着市井生活的从容。手中长物斜挎，似是营生之具，却在白描的素雅里，少了尘嚣，多了几分悠然。线条或疾或缓，勾勒出人物缓步的姿态，衣角似有风动，生动传神。寻常街头买卖的光景，经此简笔点染，竟成静穆诗意。无华彩浓墨，仅以线为骨，便将人物神态与生活气息凝于纸上，尽显白描技法的雅致与生命力。",[23,24,7,59,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5217a0c2d65b53b769385656af3c3bd9.jpg",[],{"id":107112,"slug":107113,"title":107114,"dynasty":54,"author":223,"museum":300,"description":107115,"tags":107116,"thumbUrl":107117,"material":611,"size":84,"collection":84,"collections":107118,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215296,"bai-miao-jie-tou-mai-mai-hua-ce-261-yi-ming-215296","白描街头买卖画册-261","清隽白描勾勒出街头卖字人的身影，线条洗练却精准传神。头戴斗笠的卖字者素袍裹身，肩背竹制笔架，手中展着墨迹隐约的卷轴。他静立街头，姿态从容，眉宇间藏着文人气，却又与市井烟火相融。卷轴上的字迹依稀可见，细节处见画师用心。极简笔触捕捉了清代文人谋生的日常，白描的含蓄力道里，藏着平凡生活的人文温度。一段消逝的市井图景，在寥寥数笔中鲜活起来，仿佛能听见当年街头的轻语，触到卷上的墨香余温。",[23,24,7,59,188,96,170,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8afaf628163e69b933eb23e7b34f9bc2.jpg",[],{"id":107120,"slug":107121,"title":107122,"dynasty":54,"author":223,"museum":300,"description":107123,"tags":107124,"thumbUrl":107125,"material":611,"size":84,"collection":84,"collections":107126,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215293,"bai-miao-jie-tou-mai-mai-hua-ce-264-yi-ming-215293","白描街头买卖画册-264","晨光漫过街头一隅，人物俯身忙碌，指尖起落间分拣颗粒状货物，大盆小桶错落排布，摊开的木板上满是待理的食材。白描线条如行云流水，简练却传神——衣褶随动作舒展，器物轮廓清晰，连盆沿纹理都透着质朴质感。没有浓墨重彩，却以素净笔触定格市井烟火的温度：每一笔藏着平凡日子的认真鲜活，仿佛能听见器物轻响，窥见买卖前的细碎准备，满是人间烟火的真切滋味，将街头劳作的日常，化作纸上生动的时光切片。",[23,24,7,59,188,96,169,1746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6222835fd4854d5d3f0a38540dc900c3.jpg",[],{"id":107128,"slug":107129,"title":107130,"dynasty":54,"author":223,"museum":300,"description":107131,"tags":107132,"thumbUrl":107133,"material":611,"size":84,"collection":84,"collections":107134,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215289,"bai-miao-jie-tou-mai-mai-hua-ce-268-yi-ming-215289","白描街头买卖画册-268","这幅白描画作用线简练流畅，衣纹转折自然，粗细得宜的线条勾勒出人物与器物轮廓，尽显笔墨功底。人物端坐矮凳旁，手持器物神态专注平和，眉宇间流露从容之态，衣袂轻垂舒展，姿态闲适。旁侧矮凳与支架造型古朴，线条简洁，与人物形成呼应，传递出市井生活的恬淡气息。画面素净无华，却以线代墨、以形传神，将街头场景中的人物情态生动呈现，于简约笔墨间藏生活意趣，尽显传统白描的雅致韵味，让人感受到平凡日常里的细腻温情。",[23,24,7,59,188,96,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae013c608468fd646c8238e419ca8841.jpg",[],{"id":107136,"slug":107137,"title":107138,"dynasty":54,"author":223,"museum":300,"description":107139,"tags":107140,"thumbUrl":107142,"material":611,"size":84,"collection":84,"collections":107143,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215288,"bai-miao-jie-tou-mai-mai-hua-ce-270-yi-ming-215288","白描街头买卖画册-270","素纸铺展，墨线轻勒出市井生计的鲜活剪影。斗笠覆顶，赤膊露脊，短褐及膝，足踏尘埃——这是街头营生的寻常模样。肩上横担的器具，手中攥握的工具，似仍沾着桐油灰的质朴气息，将旧时小贩走街串巷的姿态凝于笔端。线条简练却精准，衣褶的垂坠、肌肉的轮廓、器物的纹理，皆以利落笔触晕染出生活的温度。无浓墨重彩，仅靠白描骨力，便铺展出底层劳动者的坚韧与烟火气，仿佛巷陌间隐约的叫卖声穿纸而来，触到那份藏在平凡生计里的踏实真切。",[23,24,7,59,188,96,304,107141,94009],"街头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9f9a6840adceeb682d1270765725989.jpg",[],{"id":107145,"slug":107146,"title":107147,"dynasty":54,"author":223,"museum":300,"description":107148,"tags":107149,"thumbUrl":107150,"material":611,"size":84,"collection":84,"collections":107151,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215286,"bai-miao-jie-tou-mai-mai-hua-ce-271-yi-ming-215286","白描街头买卖画册-271","线条如行云流水，寥寥数笔便勾画出市井小贩的鲜活模样。赤脚踏地，衣袂随步履轻摆，肩上扫帚捆扎紧实，竹枝纹理依稀可辨。侧脸轮廓分明，神态间藏着生计奔波的从容，仿佛巷陌里隐约的叫卖声正透过纸页漫来，裹着旧时光的烟火气。无彩却传神，白描的张力将寻常生计的质朴与鲜活凝于纸上，每一笔都浸着人间温度，道尽市井生活的细碎真切，让人窥见旧时光里民生百态的生动一隅。",[23,24,7,59,188,96,94009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a9294bf47fb6674b07e6c96692ca288.jpg",[],{"id":107153,"slug":107154,"title":107155,"dynasty":54,"author":223,"museum":300,"description":107156,"tags":107157,"thumbUrl":107158,"material":611,"size":84,"collection":84,"collections":107159,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215283,"bai-miao-jie-tou-mai-mai-hua-ce-274-yi-ming-215283","白描街头买卖画册-274","画面以简练流畅的白描线条勾勒出一位街头卖眼镜的商贩形象。头戴宽檐草帽，身着短衫长裤，腰间束带挂物，手持长杆，杆顶悬两枚圆形眼镜，造型古朴。线条精准利落，衣褶转折、器物轮廓皆清晰可辨，寥寥数笔便将人物神态与市井从业者的日常姿态生动呈现，尽显白描技法的凝练传神。素净笔墨间无色彩渲染，却透出浓郁的街头生活气息，平凡人物的鲜活状态跃然纸上，似能窥见当时市井烟火的一角，于细微处藏着对世俗生活的细腻观照。",[23,54,24,7,59,188,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1347bb527b3592f29732f4d626bd0dfa.jpg",[],{"id":107161,"slug":107162,"title":107163,"dynasty":54,"author":223,"museum":300,"description":107164,"tags":107165,"thumbUrl":107166,"material":611,"size":84,"collection":84,"collections":107167,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215282,"bai-miao-jie-tou-mai-mai-hua-ce-275-yi-ming-215282","白描街头买卖画册-275","线条清劲洗练，如行云流水勾勒人物动态与器物轮廓。人物发髻轻挽，衣袂简括，俯身倾桶的姿态憨朴自然，眉眼间凝着专注，无色彩渲染却鲜活如生。带轮水桶的轮轴细节写实，散落的扫帚更添市井烟火气。构图疏朗留白有致，极简中藏丰盈，似能听见水注桶中的轻响，触到街头巷尾的平凡暖意。白描素净质感，让寻常劳作生出朴素诗意，每一笔都带着温度，把街头劳作的日常画成可触的烟火诗行，尽显传统绘事对生活本真的细腻捕捉与深情表达。",[23,24,7,59,188,96,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F110ce8c63d5173c0e20a2d6aa877b56d.jpg",[],{"id":107169,"slug":107170,"title":107171,"dynasty":54,"author":223,"museum":300,"description":107172,"tags":107173,"thumbUrl":107175,"material":611,"size":84,"collection":84,"collections":107176,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215279,"bai-miao-jie-tou-mai-mai-hua-ce-278-yi-ming-215279","白描街头买卖画册-278","素线轻描的市井一隅，藏着旧时光的烟火气。人物端坐凳上，指尖摩挲器物，眉眼低垂间尽是专注，似在确认手中物件的完好。身旁竹筐满溢圆器，经纬交错的筐身，透着草木的拙朴；另一侧敞口篮内，器物罗列，线条疏朗却见质感。衣褶随肢体舒展，寥寥几笔便显布衣的软韧。无浓彩渲染，仅以淡墨线条，便将街头买卖的日常，凝作鲜活的切片。每一道勾勒都藏着温度，仿佛能听见器物轻碰的细碎声响，触到摊主认真的神态，让平凡瞬间在素纸上，漾开永恒的生动。",[23,24,7,59,188,96,169,107174],"日用品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2adcf4e030a149e856bf1b590fa344e2.jpg",[],{"id":107178,"slug":107179,"title":107180,"dynasty":54,"author":223,"museum":300,"description":107181,"tags":107182,"thumbUrl":107183,"material":611,"size":84,"collection":84,"collections":107184,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215278,"bai-miao-jie-tou-mai-mai-hua-ce-279-yi-ming-215278","白描街头买卖画册-279","赤膊男子俯身于木具前，肩背线条勾出市井生计的沉实力道。桌上竹编筐静静摊开，似候着刚出炉的手艺物件。素笔白描不施粉黛，却把街头买卖的烟火气揉进每道线条里——没有炫技的色彩，只有利落笔触勾勒的日常本真。百年前的街巷尘嚣仿佛透过纸页漫来，那俯身劳作的姿态、待售的筐具，全是平凡日子里的鲜活注脚，藏着最踏实的人间烟火味。",[23,24,7,59,188,96,1746,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3efa2034102fee67e999cb22e94fcb86.jpg",[],{"id":107186,"slug":107187,"title":107188,"dynasty":54,"author":223,"museum":300,"description":107189,"tags":107190,"thumbUrl":107191,"material":611,"size":84,"collection":84,"collections":107192,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215277,"bai-miao-jie-tou-mai-mai-hua-ce-280-yi-ming-215277","白描街头买卖画册-280","笔墨以简练线条勾勒市井烟火，长衫人物光头清癯，手持物件似展似递，姿态从容间藏着生计的温软。右侧箱身“名瑞香雲”四字端凝，格中插列的物件如待售的星子；左侧箱旁倚杆垂囊，是走街串巷的行头。无彩却胜有彩，衣褶流转如风吹过，箱具纹理浅刻似时光留痕，每一笔都带着生活的温度。街头叫卖的声气似随线条漫出，百年前的市井片段凝在纸间，鲜活如昨——极简白描里，藏着旧时光里最踏实的烟火气。",[23,24,7,59,188,96,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77ee80a024ffbe990fe73e5206089cb5.jpg",[],{"id":107194,"slug":107195,"title":107196,"dynasty":54,"author":223,"museum":300,"description":107197,"tags":107198,"thumbUrl":107199,"material":611,"size":84,"collection":84,"collections":107200,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215276,"bai-miao-jie-tou-mai-mai-hua-ce-281-yi-ming-215276","白描街头买卖画册-281","竹笠覆顶，布衫轻扬，肩挑扁担的商贩步履从容。左侧竹编器物经纬分明，右侧篮中物什隐约堆叠，线条勾勒间，市井烟火气漫溢开来。白描技法极简却传神：衣褶的垂坠感、扁担的弧度、草帽的轮廓，每一笔都精准捕捉生活本真。没有浓墨重彩，仅以清劲线条勾勒形态，人物的神态与动作跃然纸上，仿佛能听见街头的吆喝声穿过时光。这幅画将寻常买卖场景定格，于细微处见生动，尽显市井生活的鲜活与白描艺术以形写神的魅力，让观者触摸到那份真实可感的人间暖意。",[23,24,7,59,188,96,170,9014,100073],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1339796ea30ecf052f4732aa2c5b8bd.jpg",[],{"id":107202,"slug":107203,"title":107204,"dynasty":54,"author":223,"museum":300,"description":107205,"tags":107206,"thumbUrl":107207,"material":611,"size":84,"collection":84,"collections":107208,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215275,"bai-miao-jie-tou-mai-mai-hua-ce-282-yi-ming-215275","白描街头买卖画册-282","墨线流转间，市井一隅的鲜活跃然纸上。戴斗笠的身影躬身木桶旁，指尖轻拈的物什似带水乡湿润，衣袂褶皱随动作舒展，每道线条都裹着生活的细碎暖意。木桶棱纹、扁担弧度，以利落笔触晕开质朴质感，无需浓墨重彩，街头买卖的烟火气便漫溢开来。留白处似有市井喧声隐约，寥寥数笔却道尽人间百态的生动。白描技法的精妙在此尽显：线条粗细相宜，勾勒出布料的柔软与木器的坚实，于简淡中藏着对日常的深情观照，让平凡场景有了直击人心的温度，仿佛能触碰到市井里那抹真实的烟火余温。",[23,24,7,59,188,96,1350,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef02c59a514dec43a65d79b040e060be.jpg",[],{"id":107210,"slug":107211,"title":107212,"dynasty":54,"author":223,"museum":300,"description":107213,"tags":107214,"thumbUrl":107215,"material":611,"size":84,"collection":84,"collections":107216,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215274,"bai-miao-jie-tou-mai-mai-hua-ce-283-yi-ming-215274","白描街头买卖画册-283","素纸之上，线条似有呼吸。宽檐斗笠压着半阙天光，衣袂的褶皱随体态流转，每一道墨线都牵着市井的烟火气——是街头叫卖的余韵，还是奔波生计的从容？手持长物若营生家什，指尖微曲的弧度、肩头隐现的沉坠，皆由极简白描托出。无华彩却传神，墨色的浓淡转折里，藏着百年前商贩的质朴模样。留白处似有余风，让这帧街头剪影，在素净中鲜活如昨，仿佛能听见彼时巷陌里的脚步声，触到生活褶皱里的温凉。",[23,24,7,59,188,96,94009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F836ae9ae92b9f4dd4ad027c440ef372f.jpg",[],{"id":107218,"slug":107219,"title":107220,"dynasty":54,"author":223,"museum":300,"description":107221,"tags":107222,"thumbUrl":107223,"material":611,"size":84,"collection":84,"collections":107224,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215273,"bai-miao-jie-tou-mai-mai-hua-ce-284-yi-ming-215273","白描街头买卖画册-284","素纸之上，细劲线条如流水般游走，勾勒出市井一隅的鲜活。人物端坐长凳，衣袂褶皱随坐姿自然铺展，指尖轻触器物的姿态专注而松弛，似在打理手头的营生。身前竹篮经纬分明，陶壶与小炉的轮廓简洁却精准，每一处细节都藏着生活的真味。白描的简约未减分毫烟火气，器物的错落、动作的缓急，皆为那个时代街头巷尾的生动切片。没有浓墨重彩，却以线条的韵律，将平凡日常的温度与质感静静传递，让观者仿佛能嗅到旧时光里的烟火气息，触碰到市井小民的生活肌理。",[23,24,7,59,188,96,169,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffacabe23fa0f493b6c5ae635ebc79d3b.jpg",[],{"id":107226,"slug":107227,"title":107228,"dynasty":54,"author":223,"museum":300,"description":107229,"tags":107230,"thumbUrl":107231,"material":611,"size":84,"collection":84,"collections":107232,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215270,"bai-miao-jie-tou-mai-mai-hua-ce-286-yi-ming-215270","白描街头买卖画册-286","墨线轻勾，织就清代市井的鲜活长卷。白描笔触简练却见真章：货担器物错落有致，商贩眉眼藏着生计温度，往来互动似闻街头吆喝。无浓墨重彩，仅以线条转折铺展烟火气——挑担弧度、布幌垂坠、孩童探头好奇，皆寥寥几笔生动传神。这帧画页如窗，让百年前市井声息穿时光而来，每道线条藏民间生活质朴热闹，是定格时代烟火的珍贵笔墨。",[23,24,7,59,188,96,1746,94009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d8af08f37696f1141c8f9b1e4cbc7f4.jpg",[],{"id":107234,"slug":107235,"title":107236,"dynasty":54,"author":223,"museum":300,"description":107237,"tags":107238,"thumbUrl":107240,"material":611,"size":84,"collection":84,"collections":107241,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215269,"bai-miao-jie-tou-mai-mai-hua-ce-287-yi-ming-215269","白描街头买卖画册-287","画面以凝练白描线条，定格日常劳作的鲜活瞬间。人物赤足而立，双手端持筛器，身形微倾间，衣物褶皱随动作自然铺展，线条如行云流水，既勾出布料质感，又显肢体动态张力。旁侧木桌与另一只筛器静静相伴，器物纹理的细致刻画，更添生活实感。无浓墨重彩，仅以素线晕染质朴烟火气——微微低垂的眉眼、稳健的姿态，似将寻常日子里的辛勤与踏实，凝在素纸之上。极简构图藏着丰盈意趣，每道线条都在诉说市井最本真的温度，让平凡劳作有了直击人心的力量。",[23,24,7,59,188,96,251,107239,304,100073],"日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad0fc795038395fb0ddda21cd5ca13aa.jpg",[],{"id":107243,"slug":107244,"title":107245,"dynasty":54,"author":223,"museum":300,"description":107246,"tags":107247,"thumbUrl":107248,"material":611,"size":84,"collection":84,"collections":107249,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215268,"bai-miao-jie-tou-mai-mai-hua-ce-289-yi-ming-215268","白描街头买卖画册-289","素纸之上，墨线似有生命般勾勒出市井的鲜活片段。人物俯身案前，手臂的弧度带着劳作的韵律，衣褶随动作轻漾，寥寥几笔便见姿态传神。竹篮的纹路、筛面的网格，皆以细密线条铺陈，质朴中藏着匠心。没有华彩渲染，仅靠白描的简练与精准，便将寻常日子里的专注瞬间凝住——那低头的模样，似能触到市井烟火的温度，听见筛动时细碎的声响。简淡的笔触里，藏着对平凡生活的细腻观察，让日常劳作的场景，在素净画面中晕开质朴而动人的韵致。",[23,24,7,59,188,96,9014,104601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49e7bc74b89b8db53b00eda896b0fa9f.jpg",[],{"id":107251,"slug":107252,"title":107253,"dynasty":54,"author":223,"museum":300,"description":107254,"tags":107255,"thumbUrl":107256,"material":611,"size":84,"collection":84,"collections":107257,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215267,"bai-miao-jie-tou-mai-mai-hua-ce-291-yi-ming-215267","白描街头买卖画册-291","素纸淡墨间，白描线条似游丝穿针，精准勾勒市井一隅的专注时刻。长袍人物俯身案前，指尖轻拈物什，目光凝注箱面墨书，神态恭谨中透着投入。数只方箱整齐列陈，其上字迹清晰，似藏文事往来的细密脉络。线条无华，却于简淡中见匠心：衣袂褶皱随动作自然起伏，箱箧棱角分明有致，连空气里的静谧都透过笔端漫开。这帧小景以极简笔触捕捉日常，旧时光的烟火气与人文温度藏于线条深处，成了往昔生活的鲜活切片。",[23,24,7,59,188,96,169,170,9014,94009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c4728163e5a91f4230420bcdfec388.jpg",[],{"id":107259,"slug":107260,"title":107261,"dynasty":54,"author":223,"museum":300,"description":107262,"tags":107263,"thumbUrl":107264,"material":611,"size":84,"collection":84,"collections":107265,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215266,"bai-miao-jie-tou-mai-mai-hua-ce-290-yi-ming-215266","白描街头买卖画册-290","白描线条简练传神，铺展市井买卖的鲜活图景。挑担者身姿微倾，长杆若承生计之重，衣袂褶皱随动作自然流转，几笔勾勒便见动态之妙。旁侧木箱书“拣选珠兰”，字迹古朴，竹筐盛物丰盈，皆为市井营生的真实印记。无冗余色彩，却以线之疏密、形之精准，凝住平凡生活的烟火气。每一道线条都藏着对人间百态的细腻观照，让久远的街头场景在素纸间苏醒，鲜活如初，尽显市井日常的生动与温情。",[23,24,7,59,188,96,9014,169,94009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ada9cb0c376279d727d1bff26b3a374.jpg",[],{"id":107267,"slug":107268,"title":107269,"dynasty":54,"author":223,"museum":300,"description":107270,"tags":107271,"thumbUrl":107272,"material":611,"size":84,"collection":84,"collections":107273,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215264,"bai-miao-jie-tou-mai-mai-hua-ce-293-yi-ming-215264","白描街头买卖画册-293","墨线轻勾，便将街头小贩的鲜活模样铺展眼前。斗笠斜遮半面，衣袂褶皱间藏着风的痕迹，双手拢于胸前似在吆喝，又像静待顾客驻足。两只网篮落地，细密的网格纹理被线条精准捕捉，仿佛能窥见篮中待售的物件，裹着市井的烟火气。白描的简洁并非单薄，反是用最凝练的笔触，刻画出平凡生计里的生动：那微蹙的眉峰、微张的唇角，都藏着巷陌间的细碎声响——或许是几声清脆的叫卖，或许是与路人的几句闲谈。时光在此定格，墨痕里流转的，是旧时光里最真切的人间烟火，是被遗忘却又鲜活的日常片段。",[23,24,7,59,188,96,1350,170,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6a0d7203a060f027dcd11060b63cbc8.jpg",[],{"id":107275,"slug":107276,"title":107277,"dynasty":54,"author":223,"museum":300,"description":107278,"tags":107279,"thumbUrl":107280,"material":611,"size":84,"collection":84,"collections":107281,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215263,"bai-miao-jie-tou-mai-mai-hua-ce-295-yi-ming-215263","白描街头买卖画册-295","墨线流转间，市井小贩的身影鲜活立现。他肩挑扁担，双手稳扶，帽檐下眉眼微凝，似在留意周遭动静。左侧担头垂挂着鼓胀的货囊，右侧悬着圆状器物与长穗饰物，物什形态简而清晰。衣物褶皱随体态舒展，线条粗细转折藏着生活质感——腰间布带的束紧，裤脚的垂落，布鞋的纹路，皆以白描笔法精准捕捉。无华彩渲染，却以素净线条织就烟火气，将街头买卖的日常瞬间凝为永恒，仿佛能听见担上物什轻晃的细碎声响，触到那个时代里最真实的市井温度。",[23,24,7,59,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7cf0fd74a14825abe16ff752f336a1f.jpg",[],{"id":107283,"slug":107284,"title":107285,"dynasty":54,"author":223,"museum":300,"description":107286,"tags":107287,"thumbUrl":107289,"material":611,"size":84,"collection":84,"collections":107290,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215262,"bai-miao-jie-tou-mai-mai-hua-ce-294-yi-ming-215262","白描街头买卖画册-294","画面里挑担商贩缓步街头，草帽覆顶，扁担压肩，两端悬着市井生计。左侧扇架层叠，扇面以细劲线条勾出纹理，如蝶翼轻舒；右侧竹篮编纹分明，筐内物什饱满，似裹着烟火鲜气。商贩步履微倾，一手扶担一手攥物，眉眼间凝着平实的生活味。白描手法以线塑型，不着色彩却形神毕肖，将寻常买卖场景定格成鲜活切片，每笔都藏着对市井的细腻观照，让百年前的街头烟火，仍在纸间流转生温。",[23,24,7,59,188,96,107288,83731,24478,71237],"扁担","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7f31ba6aefd8a3ffd36f507f18b991c.jpg",[],{"id":107292,"slug":107293,"title":107294,"dynasty":54,"author":223,"museum":300,"description":107295,"tags":107296,"thumbUrl":107297,"material":611,"size":84,"collection":84,"collections":107298,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215260,"bai-miao-jie-tou-mai-mai-hua-ce-300-yi-ming-215260","白描街头买卖画册-300","素笺上墨线轻萦，勾勒出人物端坐的安然姿态。衣纹褶皱简练却贴合身形，发间饰物与衣襟细节淡笔勾勒，已见生动。旁侧小桌陈设简素，案上物件似含生活暖意；脚边竹筐纹理清晰，尽显器物朴拙之美。无华彩渲染，仅以白描之法定格日常片刻，市井烟火气于素净中悄然漫开。墨线疏密有致，串联起人物与周遭物什的关联，平淡里藏着对生活本真的细腻观照，每一笔都似在轻诉旧时光里的平实与温煦，让寻常场景生出静雅之韵。",[23,188,24,7,59,96,9014,170,169,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f9e4da1cc5b758de550406a743ef40d.jpg",[],{"id":107300,"slug":107301,"title":107302,"dynasty":54,"author":223,"museum":300,"description":107303,"tags":107304,"thumbUrl":107305,"material":611,"size":84,"collection":84,"collections":107306,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215259,"bai-miao-jie-tou-mai-mai-hua-ce-296-yi-ming-215259","白描街头买卖画册-296","这幅画以清劲流畅的白描线条勾勒市井人物，衣纹转折间见笔力，线条粗细得宜，既精准捕捉人物步态的自然松弛，又以简练笔触交代随身器物形态，将街头买卖人的劳碌与朴实凝于尺幅。人物神态平和，背负行囊、手持工具的姿态，鲜活再现清代市井生活的烟火气，无多余渲染却于细节处藏着对日常的细腻观察，尽显民间画工以线传情的功底与对生活本真的描摹，于素净线条中藏着生动的人间况味。",[23,24,7,59,188,96,170,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4604604e9ce8e0c1958b11457b60f758.jpg",[],{"id":107308,"slug":107309,"title":107310,"dynasty":54,"author":223,"museum":300,"description":107311,"tags":107312,"thumbUrl":107313,"material":611,"size":84,"collection":84,"collections":107314,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215257,"bai-miao-jie-tou-mai-mai-hua-ce-301-yi-ming-215257","白描街头买卖画册-301","墨线轻转，晕开市井一隅的静谧。端坐者衣纹线条简练却含韵致，发饰淡描显清雅，手中物什似是营生之具，神态悠然，藏着街头买卖的日常温度。身侧立架上的物件造型独特，线条利落勾出轮廓，与人物姿态相衬，暗扣主题却无市井喧嚣。整作以白描为骨，无浓彩铺陈，凭线条疏密轻重的变幻，将人物情态与场景细节凝于素纸。简约中见细腻，素净里显真意，尽展“以线传神”的妙境，让旧时街头的烟火气与艺术的雅致悄然交融，引人回味那份藏在墨线里的生活本真。",[23,24,7,59,188,96,169,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8a8eccf4a0d85d43e885580e092b560.jpg",[],{"id":107316,"slug":107317,"title":107318,"dynasty":54,"author":223,"museum":300,"description":107319,"tags":107320,"thumbUrl":107321,"material":611,"size":84,"collection":84,"collections":107322,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215254,"bai-miao-jie-tou-mai-mai-hua-ce-304-yi-ming-215254","白描街头买卖画册-304","素纸之上，线条如缕婉转，勾勒出市井人物的日常姿态。人物端坐案前，衣袂轻垂，褶皱间藏着笔墨的细腻；手中物什微动，似在整理待售的盘盏，神态专注里透着生计的平实。案上叠放的器皿，线条简洁却形态毕肖，还原了街头买卖的朴素场景。整幅画以白描之法弃繁就简，用流畅笔触捕捉生活瞬间，静谧中漫溢着人间烟火气，将寻常日子的鲜活与温暖，凝于一纸素墨之中。",[23,24,7,59,188,96,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75e5460c558842b764ada5110eab4d96.jpg",[],{"id":107324,"slug":107325,"title":107326,"dynasty":54,"author":223,"museum":300,"description":107327,"tags":107328,"thumbUrl":107329,"material":611,"size":84,"collection":84,"collections":107330,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215253,"bai-miao-jie-tou-mai-mai-hua-ce-303-yi-ming-215253","白描街头买卖画册-303","线条清劲如裁玉，素笔勾勒出赤脚商贩的身影。肩上扁担横跨，一头挑着写有“小猪”“不用称”的木牌，一头挂着憨态可掬的幼畜笼。笼中稚兽探头，似在好奇打量街面；商贩衣着朴素，眉眼间藏着奔波的淡然，却又透着营生的笃定。没有浓墨重彩，只凭白描线条的转折提按，便将清代市井的烟火气凝于纸上。扁担晃过的，是老时光里的寻常生计，也是百年前街头最鲜活的注脚——那些写在木牌上的买卖语，那些幼畜的轻哼，仿佛仍在纸间流转，让观者触到旧岁月里温热的生活肌理。",[23,24,7,59,188,96,1746,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47f82e8e54c405819ae97c2edaff4895.jpg",[],{"id":107332,"slug":107333,"title":107334,"dynasty":54,"author":223,"museum":300,"description":107335,"tags":107336,"thumbUrl":107337,"material":611,"size":84,"collection":84,"collections":107338,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215251,"bai-miao-jie-tou-mai-mai-hua-ce-307-yi-ming-215251","白描街头买卖画册-307","画面以白描勾勒市井一隅：蹲坐的人物与壮硕耕牛相对，手部姿态透着专注，身旁木桶静静伫立。线条如行云流水，既摹牛身肌理的敦实厚重，又绘人物衣褶的自然垂坠，器物轮廓简而有致。寻常买卖场景凝于素纸，无浓墨重彩，却以清浅线条捕捉生活本真——牛的静穆与人间烟火相融，那份尘世里的从容生动，似在纸间缓缓流淌，让平凡瞬间晕开悠长韵味。",[23,24,7,59,188,96,102,9014,94009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8397c0755e73828609b3393c62183f89.jpg",[],{"id":107340,"slug":107341,"title":107342,"dynasty":54,"author":223,"museum":300,"description":107343,"tags":107344,"thumbUrl":107345,"material":611,"size":84,"collection":84,"collections":107346,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215250,"bai-miao-jie-tou-mai-mai-hua-ce-305-yi-ming-215250","白描街头买卖画册-305","素纸淡墨间，清劲线条勾勒出市井一隅的生动剪影。两个竹制容器静静伫立，编织纹理细密规整，似承载着生计的重量。蹲坐的人物身姿蜷曲，双手轻拢，指尖动作专注娴熟，眉宇间透着勤恳与淡然。白描技法以简驭繁，行云流水般的笔触，将街头买卖的日常琐碎化为具象温情。无浓墨重彩，却于细微处见真章——竹器弧度、衣袂褶皱、人物神态，皆在极简线条里流淌平凡烟火气。这帧画面如时光邮戳，印刻旧时街头的质朴鲜活，让人窥见岁月里不疾不徐的生计日常，于静默中传递生活本真的温度。",[23,24,7,59,188,96,169,94009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde2bfccef5c75774e2f4b2a9471437aa.jpg",[],{"id":107348,"slug":107349,"title":107350,"dynasty":54,"author":223,"museum":300,"description":107351,"tags":107352,"thumbUrl":107353,"material":611,"size":84,"collection":84,"collections":107354,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215249,"bai-miao-jie-tou-mai-mai-hua-ce-308-yi-ming-215249","白描街头买卖画册-308","素纸之上，线条如行云流水，勾勒出女子端坐凳上的娴静身影。她轻抬双手，指尖拢着细碎物件，目光低垂，似与掌中物私语。衣袂的褶皱随坐姿舒展，婉转线条间，织物的柔滑质感跃然纸上；发髻的挽结、耳饰的垂坠，皆以简练笔触点染，见微知著。留白处不着一字，却让人物的专注神态更显突出，仿佛周遭喧嚣尽被隔绝，只余这份静穆与温柔。白描的清隽之美在此帧尽显——无浓墨重彩，却以线条的韵律，将寻常一刻化作耐人寻味的诗意瞬间，尽显东方笔墨的含蓄力道。",[23,24,7,59,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27dd1a1ce2b5ccaa3538956861032127.jpg",[],{"id":107356,"slug":107357,"title":107358,"dynasty":54,"author":223,"museum":300,"description":107359,"tags":107360,"thumbUrl":107361,"material":611,"size":84,"collection":84,"collections":107362,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215248,"bai-miao-jie-tou-mai-mai-hua-ce-309-yi-ming-215248","白描街头买卖画册-309","素纸之上，线条如行云流水，勾勒出市井一隅的鲜活。光头小贩低头整理架上衣物，指尖轻触布料纹理，篮筐在臂弯里静候主顾。挂着的布帛有格子的规整、花纹的柔婉，衣袂褶皱随姿态舒展，每一笔都藏着生活的温度。白描以简胜繁，不施色彩却让烟火气漫出纸面：人物专注的神情、器物的细节刻画，皆在流畅笔触中鲜活起来。似能听见风掠过布幔的轻响，窥见旧时光里街头买卖的从容与暖意，平凡场景里藏着最动人的人间烟火。",[23,24,7,59,188,96,9014,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73a88365fb8103306ab57d5c48355c7a.jpg",[],{"id":107364,"slug":107365,"title":107366,"dynasty":54,"author":223,"museum":300,"description":107367,"tags":107368,"thumbUrl":107369,"material":611,"size":84,"collection":84,"collections":107370,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215243,"bai-miao-jie-tou-mai-mai-hua-ce-315-yi-ming-215243","白描街头买卖画册-315","素笔勾勒的市井小景里，人物端坐雕花方凳，衣纹流转如轻烟，发髻簪饰简约，眉眼间带几分从容。旁侧立架分层有致，上层悬垂物似零星饰物，下层盘盏静置，似是街头贩卖小食或小玩意的摊点。白描线条凝练却见功力，衣袂的褶皱、方凳的雕花、立架的榫卯，皆以精准笔触呈现，无浓墨重彩却生动传神。画面静中藏动，仿佛能嗅到街头的烟火气，听见风掠过悬物的轻响，于极简线条里，藏着市井生活的细碎温情与寻常欢喜，让观者窥见旧时光里的人间烟火味。",[23,54,24,7,59,188,96,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F231b11509fc4d2e5e44d5a7fbd572093.jpg",[],{"id":107372,"slug":107373,"title":107374,"dynasty":54,"author":223,"museum":300,"description":107375,"tags":107376,"thumbUrl":107377,"material":611,"size":84,"collection":84,"collections":107378,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215242,"bai-miao-jie-tou-mai-mai-hua-ce-314-yi-ming-215242","白描街头买卖画册-314","素笔轻描的身影静倚竹椅，青布衣衫的褶皱随坐姿婉转铺展，发间簪花隐着几分温婉。面前木桌摊开素纸，指尖似凝墨欲落，旁侧笔砚与卷册静静候着，似待路人停步相询。竹制桌椅的纹理经简练线条晕开，与人物衣袂的柔劲相映成趣。白描的清简里藏着市井的温热——无浓彩重墨，却将街头营生的专注与寻常日子的安然，凝在每道精准勾勒中。如旧巷掠过的一缕风，把市井烟火的淡远真切，刻进素净线条里，让寻常买卖场景，有了细腻动人的生活质感。",[23,24,7,59,188,96,9603,8162,6369,9604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc522672d5e7db1542182eb581e8abdab.jpg",[],{"id":107380,"slug":107381,"title":107382,"dynasty":54,"author":223,"museum":300,"description":107383,"tags":107384,"thumbUrl":107385,"material":611,"size":84,"collection":84,"collections":107386,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215240,"bai-miao-jie-tou-mai-mai-hua-ce-317-yi-ming-215240","白描街头买卖画册-317","素笺上，线条如行云般游走。垂钓者静倚岩岸，竿尖微颤，银鳞已悬于线端，眉眼间尽是悠然。衣纹随坐姿婉转，岩石纹理以疏笔点染，脚边竹篮与渔网状物，晕开几分烟火暖意。水面淡墨轻勾，似有细浪微动，寥寥数笔便拓出清旷之境。白描的意趣，正在于以简驭繁：人物的闲逸、鱼的鲜活、器物的朴拙，皆由凝练线条勾勒得淋漓尽致，于简淡中藏着旧时生活里的从容与真味。",[23,24,7,59,188,96,2059,171,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda6b449b6b3ac763eb3ece3518440542.jpg",[],{"id":107388,"slug":107389,"title":107390,"dynasty":54,"author":223,"museum":300,"description":107391,"tags":107392,"thumbUrl":107393,"material":611,"size":84,"collection":84,"collections":107394,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215237,"bai-miao-jie-tou-mai-mai-hua-ce-320-yi-ming-215237","白描街头买卖画册-320","素纸之上，墨线游走如轻烟，勾连出市井一角的鲜活。光头人物端坐凳前，素衫宽缓，手抚案上圆盘，神态专注似在整理货物或静待主顾。桌凳轮廓简括利落，器物纹理隐于线间，无华彩渲染，却以白描清劲笔力，将清代街头买卖的日常情态定格。极简的笔触里藏着烟火温度，衣褶的垂坠、手部的姿态，皆于线条中见传神。百年前的街头闲静，便在这素净画面中缓缓铺陈，让观者触到那时市井的温情与生机。",[23,24,7,59,188,96,169,9014,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c824bcaf48c2ebb47cc0ac895d5a906.jpg",[],{"id":107396,"slug":107397,"title":107398,"dynasty":54,"author":223,"museum":300,"description":107399,"tags":107400,"thumbUrl":107401,"material":611,"size":84,"collection":84,"collections":107402,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215236,"bai-miao-jie-tou-mai-mai-hua-ce-321-yi-ming-215236","白描街头买卖画册-321","线条清劲婉转，如行云流水般勾勒人物轮廓与衣褶纹理，发髻整齐，衣袂轻垂间透着温婉从容。人物手提竹篮，神态平和，似正缓步穿梭于市井巷陌，将街头买卖的日常烟火气悄然铺展。画作以极简白描之法，不施丹青却意韵饱满，于细微处捕捉生活本真，每一笔线条皆藏着对市井百态的细腻观察，让寻常买卖场景化作富有温度的艺术定格，尽显传统白描“以线立形、以形传神”的独特魅力。",[23,24,7,59,188,96,100073],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6982d2ed6fda2ce14ed3cf0cafff0c0f.jpg",[],{"id":107404,"slug":107405,"title":107406,"dynasty":54,"author":223,"museum":300,"description":107407,"tags":107408,"thumbUrl":107409,"material":611,"size":84,"collection":84,"collections":107410,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215234,"bai-miao-jie-tou-mai-mai-hua-ce-323-yi-ming-215234","白描街头买卖画册-323","笔线清劲婉转，如裁云剪水般勾勒出市井人物的鲜活模样。衣褶随身形流转，线条间藏着生活的肌理——人物手持器物，眉眼凝着专注，似正整理货品，或与路人搭话。白描素净无华，却将街头买卖的烟火气晕染开来：衣饰的纹路、手中物的轮廓，皆以极简之笔，唤出旧时光里蒸腾的市井暖意。没有浓墨重彩，唯有线条的呼吸牵动人心，让平凡生计的场景，在纸页间沉淀为沉静动人的记忆碎片，牵起观者与往昔岁月的温柔联结。那些被忽略的日常细碎，经由清简笔触，成为可触可感的烟火印记，在素纸上静静诉说着街头巷尾的生动故事。",[23,54,7,188,59,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a58a70fe0b5308a6c8b33f119baed85.jpg",[],{"id":107412,"slug":107413,"title":107414,"dynasty":54,"author":223,"museum":300,"description":107415,"tags":107416,"thumbUrl":107417,"material":611,"size":84,"collection":84,"collections":107418,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215232,"bai-miao-jie-tou-mai-mai-hua-ce-325-yi-ming-215232","白描街头买卖画册-325","线条简练而富韵致，以精准勾勒捕捉人物情态。头戴斗笠的贩鱼者，宽袖短褂衬出随性，肩挎的鱼篓纹理隐约，手持长杆斜倚身侧，步履间似带着市井晨雾的余温。神态平和，目光微侧，似在留意路人或盘算生计，每一处线条都藏着生活的细碎质感。无浓墨重彩，却以素净白描将街头买卖的烟火气凝于纸上，平实中见生动，极简里藏真味，尽显市井众生相的鲜活与温暖，于素净纸页间留存旧时光里的人间烟火。",[23,24,7,59,188,96,170,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfa259530a7fad0c7a5fc40263df24b6.jpg",[],{"id":107420,"slug":107421,"title":107422,"dynasty":54,"author":223,"museum":300,"description":107423,"tags":107424,"thumbUrl":107425,"material":611,"size":84,"collection":84,"collections":107426,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215230,"bai-miao-jie-tou-mai-mai-hua-ce-326-yi-ming-215230","白描街头买卖画册-326","以素净线条勾勒市井图景，笔触简练却力透纸背。伞骨的细密纹理、衣袂的婉转褶皱、箱笼的方正轮廓，皆由墨线精准铺陈。人物肩扛箱笼、手持长杆，步履间带着街头买卖的匆忙与鲜活，动态感呼之欲出。白描的克制中藏着滚烫的生活气息，仿佛能窥见百年前巷陌里的吆喝声，让市井烟火在素纸上静静流淌。每一道线条都是对人间百态的温柔描摹，鲜活而有温度，将街头小贩的日常定格成永恒的画面。",[23,24,7,59,188,96,9014,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F870b1cb98c2326f23e14fc6f2a46c988.jpg",[],{"id":107428,"slug":107429,"title":107430,"dynasty":54,"author":223,"museum":300,"description":107431,"tags":107432,"thumbUrl":107433,"material":611,"size":84,"collection":84,"collections":107434,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215229,"bai-miao-jie-tou-mai-mai-hua-ce-328-yi-ming-215229","白描街头买卖画册-328","这幅白描作品以凝练线条勾勒市井小贩的鲜活身影。肩上横担的竹扁担两端，垂挂着盛满货物的竹篮，小贩一手轻扶扁担维持平衡，姿态从容又带几分奔波的熟稔。衣纹用线流畅且富节奏感，竹篮的编织纹理、货物的堆叠形态皆简而传神。无色彩渲染却于素净中见生动，将清代街头买卖的日常烟火气凝于笔端。平凡的谋生场景被赋予细腻的观察与艺术表达，线条的刚柔相济间，尽显民间生活的质朴温度，是一幅留存着旧时市井鲜活图景的佳作。",[23,24,7,59,188,96,9014,94009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecac4f9df53267ec3e68126b708b822c.jpg",[],{"id":107436,"slug":107437,"title":107438,"dynasty":54,"author":223,"museum":300,"description":107439,"tags":107440,"thumbUrl":107441,"material":611,"size":84,"collection":84,"collections":107442,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215224,"bai-miao-jie-tou-mai-mai-hua-ce-334-yi-ming-215224","白描街头买卖画册-334","这幅白描以凝练线条铺展市井图景，人物端坐桌畔，一手轻抬似理鬓或拾物，衣袂褶皱随体态流转，线条如行云流水般细腻却藏着劲挺。桌案简素，旁陈器物，无色彩浓淡却于留白间生烟火气——微垂的眉眼凝着专注，轻扬的指尖带日常从容，仿佛能触到街头的风。笔意洗练却意韵饱满，将平凡买卖里的细碎温情凝于素纸，尽显白描“线生形、形传情”的妙趣，让旧时光的市井温度漫过纸面。",[23,24,7,59,188,96,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feba2b2d272e4f3ce3ed16613bb7584af.jpg",[],{"id":107444,"slug":107445,"title":107446,"dynasty":54,"author":223,"museum":300,"description":107447,"tags":107448,"thumbUrl":107449,"material":611,"size":84,"collection":84,"collections":107450,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215223,"bai-miao-jie-tou-mai-mai-hua-ce-335-yi-ming-215223","白描街头买卖画册-335","素纸铺展，墨线似有无声韵律。人物端坐椅间，衣纹线条简练却含自然褶皱，眉眼低垂时流露恬淡神态，手中所持之物虽简，却见专注之态。旁侧小桌形制精巧，椅具雕花以淡墨勾出，纹理隐现间藏着器物的质感与匠心。无艳色渲染，仅以白描之法，便将日常片刻凝为静美画面。笔意疏淡却传神，于极简中见丰富，寻常生活里的从容意趣，随这清浅线条缓缓漫开，尽显传统白描“以线塑形、以形达意”的独特韵味，淡而愈浓，静而愈远。",[23,24,7,188,59,96,169,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ad2ab29e5e54a6649d281c53e2c40f2.jpg",[],{"id":107452,"slug":107453,"title":107454,"dynasty":54,"author":223,"museum":300,"description":107455,"tags":107456,"thumbUrl":107457,"material":611,"size":84,"collection":84,"collections":107458,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215222,"bai-miao-jie-tou-mai-mai-hua-ce-336-yi-ming-215222","白描街头买卖画册-336","线条如行云流水，勾勒出市井小贩的鲜活身影。侧身而立的他，肩挎布囊，手托浅筐，筐中物什隐约，似是待售的零星货品。眉眼间藏着生计的从容，衣袂褶皱里裹着烟火的温度。无浓墨重彩，仅以素笔轻描，却将街头买卖的日常细碎凝于尺幅。每一道线条都带着生活的呼吸，仿佛能听见巷陌里的隐约叫卖，触到旧时街头的烟火气。寥寥数笔写尽市井百态的质朴生动，让远去的街头光景在素纸上静静流淌。未加修饰的线条恰是生活本真模样，于简洁中见丰盈，平淡里藏深味，将岁月里的市井温情凝作永恒。",[23,24,7,59,188,96,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9015aa350d42c893d46341806233ce7f.jpg",[],{"id":107460,"slug":107461,"title":107462,"dynasty":54,"author":223,"museum":300,"description":107463,"tags":107464,"thumbUrl":107465,"material":611,"size":84,"collection":84,"collections":107466,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215220,"bai-miao-jie-tou-mai-mai-hua-ce-337-yi-ming-215220","白描街头买卖画册-337","墨线流转如丝，勾勒出人物端坐椅上的娴静姿态。纤指轻拢慢捻，弦上意韵似欲溢出纸面。衣袂褶皱随身形舒展，线条起落间藏着衣物的柔软质感；椅具轮廓简洁利落，几笔勾勒便见器物的朴实质地。\n\n以线立形，以形传神。无浓墨重彩，却将人物专注的神情、指尖的细腻动作刻画得真切动人。弦乐器的构件细节清晰，与人物姿态相映成趣，似能闻得一缕轻缓弦音，漫过简素的画面。\n\n笔墨间藏着清人白描的含蓄意趣，于简约中见生动。画面虽简，却以凝练的线条捕捉到日常瞬间的淡然况味，仿佛时光在此刻慢下来，让观者在素净笔墨里感受到那份静穆的生活气息。",[23,24,7,188,96,438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F542b183cb3212cc8e549385d3b12f1e6.jpg",[],{"id":107468,"slug":107469,"title":107470,"dynasty":54,"author":223,"museum":300,"description":107471,"tags":107472,"thumbUrl":107473,"material":611,"size":84,"collection":84,"collections":107474,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215217,"bai-miao-jie-tou-mai-mai-hua-ce-340-yi-ming-215217","白描街头买卖画册-340","素笔勾勒的身影，肩挑竹担立于纸面。线条如行云流水，握扁担的指节微凸，赤脚沾地的姿态，将市井劳作的实感揉进每一笔。两侧竹筐叠着整齐货物，似载着沉甸甸的生计，却因白描的素净添了恬淡。无浓墨重彩，却以极简笔触捕捉街头买卖人的日常——平凡里的坚守与安然，如一缕烟火在素纸上晕开，让观者触到旧时光里最真实的生活温度。那些藏在简练线条里的细节，是对市井烟火最朴素的致敬，每一笔都在诉说着寻常日子里的踏实与鲜活。",[23,24,7,59,188,96,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94a2e7de496f99c046b5d083acefaef3.jpg",[],{"id":107476,"slug":107477,"title":107478,"dynasty":54,"author":223,"museum":300,"description":107479,"tags":107480,"thumbUrl":107481,"material":611,"size":84,"collection":84,"collections":107482,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215215,"bai-miao-jie-tou-mai-mai-hua-ce-342-yi-ming-215215","白描街头买卖画册-342","墨线勾勒的纺车轮轴分明，与女子宽袖长袍的衣褶相映，线条或挺劲或柔婉，如行云流水般晕开生活的肌理。她垂首凝眸，指尖似轻捻棉絮，眉宇间无喧嚣，唯有劳作的专注与安然，将寻常日子的恬淡娓娓道来。脚边竹篮静静伫立，似盛着刚摘的棉朵，又像藏着未纺完的纱线，处处是烟火气的注脚。整幅画无浓墨重彩，却以极简之笔捕捉市井劳作的本真，让平凡瞬间在素纸上沉淀成永恒的温柔。寻常劳作的场景被凝于素纸，没有华丽铺陈，却用细腻线条织就了一幅烟火人间的剪影，每一笔都藏着对生活最质朴的敬意。",[23,24,7,59,188,96,169,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2334b4687be68a4a2f765028a89969d7.jpg",[],{"id":107484,"slug":107485,"title":107486,"dynasty":54,"author":223,"museum":300,"description":107487,"tags":107488,"thumbUrl":107489,"material":611,"size":84,"collection":84,"collections":107490,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215213,"bai-miao-jie-tou-mai-mai-hua-ce-345-yi-ming-215213","白描街头买卖画册-345","画面以白描勾勒市井小景，人物侧身持物，动态鲜活——似欲扬起手中道具，专注神情藏于眉眼。旁侧狮子造型憨趣尽显，鬃毛与面部线条刚柔相济，灵动毕现。线条如丝缕流转，衣褶的婉转、兽面的张力，皆以极简笔触铺陈。市井烟火气随线条漫开，人物的投入、狮子的鲜活，仿佛将百年前街头杂耍的热闹拉至眼前。白描的质朴与生动在此交融，以线塑魂，于方寸间藏纳民间生活的温度与艺术的纯粹，尽显“以线传神”的独特魅力。",[23,24,7,59,188,96,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23b5320f25fdb0cc0740789efa8d6682.jpg",[],{"id":107492,"slug":107493,"title":107494,"dynasty":54,"author":223,"museum":300,"description":107495,"tags":107496,"thumbUrl":107497,"material":611,"size":84,"collection":84,"collections":107498,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215212,"bai-miao-jie-tou-mai-mai-hua-ce-344-yi-ming-215212","白描街头买卖画册-344","这幅白描画以简练流畅的线条铺陈出一方静谧的生活场景。人物端坐椅上，低头专注于手中活计，发髻轻挽，衣袂线条舒展自然，尽显娴雅之态。面前桌几上，笔管整齐排列，小器错落有致，简笔勾勒却形神毕肖。画面留白疏朗，墨线纯净无华，未施浓墨重彩，却以线的韵律传递出日常的温情与专注。整体气息平和雅致，仿佛能听见时光缓缓流淌的声音，将平凡生活里的静谧之美娓娓道来，令人沉浸于这份悠然的烟火诗意中。",[23,24,7,59,188,96,9603,8162,6369,9604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac3ea741375725f0c2fe262bbb547d20.jpg",[],{"id":107500,"slug":107501,"title":107502,"dynasty":54,"author":223,"museum":300,"description":107503,"tags":107504,"thumbUrl":107505,"material":611,"size":84,"collection":84,"collections":107506,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215211,"bai-miao-jie-tou-mai-mai-hua-ce-346-yi-ming-215211","白描街头买卖画册-346","线条洗练如行云流水，勾勒出市井小贩的鲜活身影。赤脚踏地，肩担横亘，一手轻扶扁担以稳重心，步履似带风，将街头奔波的生计气息揉进墨痕里。左筐竹纹细密，内载鲜物隐现；右桶木痕质朴，系绳垂悬。一筐一桶，是烟火日常的具象，也是生计所系的重量。素纸为卷，墨线作语，不施粉黛却胜千彩——小贩神情简笔带过，藏着谋生的坚韧；担上器物无艳色，盛着巷尾的暖。极简之笔定格百年前市井最生动的烟火，让时光里的生计与温度，随线条流转至今。",[23,24,7,59,188,96,9014,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc90cc27d01bc86c7b44145d7e9dac5fe.jpg",[],{"id":107508,"slug":107509,"title":107510,"dynasty":54,"author":223,"museum":300,"description":107511,"tags":107512,"thumbUrl":107513,"material":611,"size":84,"collection":84,"collections":107514,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215210,"bai-miao-jie-tou-mai-mai-hua-ce-347-yi-ming-215210","白描街头买卖画册-347","淡墨线条牵起市井一角的烟火。人物俯身专注的模样，似在细理鱼鲜，眉宇间藏着生计里的踏实。竹架撑起的鱼摊，鳞纹清晰如跃，竹篓的肌理粗粝却温厚，静静倚在旁侧听风里的吆喝。白描的简练不是寡淡，是把街头买卖的鲜活凝在一笔一划里——每道线条都淌过寻常日子的热乎，每处细节都藏着市井生活的本真。没有浓墨重彩，却让这买卖场景的烟火气漫出纸面，像路过巷口时撞见的那抹真实，朴素却动人。",[23,24,7,59,188,96,169,2059,9014,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01767fe5fd8bcbc00036ac5cfab798b9.jpg",[],{"id":107516,"slug":107517,"title":107518,"dynasty":54,"author":223,"museum":300,"description":107519,"tags":107520,"thumbUrl":107521,"material":611,"size":84,"collection":84,"collections":107522,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215207,"bai-miao-jie-tou-mai-mai-hua-ce-351-yi-ming-215207","白描街头买卖画册-351","素纸淡墨间，市井烟火气悄然漫开。身着布衣的手艺人端坐凳上，指尖捻动丝线，眉眼间凝着专注，似将巷陌的闲静都织进手中活计。旁侧竹架斜倚，圆扇悬垂如静月，竹编桶器敦实而立，件件物什皆以简练线条勾勒，形神毕肖，无冗余笔墨却藏着生活的肌理。白描之法删繁就简，以线塑型，淡笔勾勒的不仅是人物与器物，更是旧时街头的温煦日常。整幅画于清淡中见鲜活，仿佛能听见风过竹架的轻响，触到岁月沉淀下的市井真味，将平凡烟火里的沉静与生动，凝在素净的纸页间。",[23,24,7,59,188,96,9014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7a79fc18c47a17bf60b8e1e77e117c3.jpg",[],{"id":107524,"slug":107525,"title":107526,"dynasty":54,"author":223,"museum":300,"description":107527,"tags":107528,"thumbUrl":107531,"material":173,"size":84,"collection":84,"collections":107532,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215187,"yi-shi-ji-yao-tan-3-yi-ming-215187","医士及药摊-3","淡墨轻彩晕开市井一角，医士长袍拂过药摊旁的竹凳，与坐者低语。案上的药钵、悬着的药囊，皆裹着旧时光的温软。线条简逸却传神——医士的从容，坐者的安然，似能闻见草药的清苦漫过街巷。没有浓墨重彩的铺陈，却以平实笔触勾勒出传统医药的日常图景，每一处细节都藏着烟火里的治愈暖意，仿佛踏入百年前的街巷，触碰到那份质朴的关怀与生活的真味。",[23,24,7,27,96,169,304,107529,107530],"医士","药摊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb944b198d369bfb72c75d84ee429df02.jpg",[],{"id":107534,"slug":107535,"title":107536,"dynasty":54,"author":223,"museum":300,"description":107537,"tags":107538,"thumbUrl":107539,"material":173,"size":84,"collection":84,"collections":107540,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215181,"yi-shi-ji-yao-tan-8-yi-ming-215181","医士及药摊-8","笔墨晕染出晚清市井的一隅暖意。站者俯身专注，似在为坐者调理足疾，指尖的动作藏着医者的细致；坐者神态松弛，眉眼间透着对施治者的全然信任。旁侧药摊陈设简朴，招牌字迹依稀，挂着的布囊与摊上药具，勾勒出旧时行医的日常模样。更有英文小字隐于角落，似是中西文化悄然交汇的痕迹，为这幅日常图景添了几分时代的独特印记。整幅画以细腻笔触捕捉市井烟火，人物互动间的温情与生活气息，在清淡的色彩里缓缓流淌，让人窥见百年前街头行医的鲜活场景，寻常里藏着岁月的温度。",[23,24,7,27,96,59,9014,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67e1392de54b018951f41d536d5bccd1.jpg",[],{"id":107542,"slug":107543,"title":107544,"dynasty":54,"author":223,"museum":244,"description":94016,"tags":107545,"thumbUrl":107546,"material":173,"size":84,"collection":84,"collections":107547,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215151,"xuan-tong-yu-lan-hai-guai-tu-ji-11-yi-ming-215151","宣统御览海怪图记-11",[24,7,59,28,27,2059,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc140df1156ac4fdd693e9f5a42d424b0.jpg",[],{"id":107549,"slug":107550,"title":107551,"dynasty":54,"author":223,"museum":244,"description":94016,"tags":107552,"thumbUrl":107553,"material":173,"size":84,"collection":84,"collections":107554,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215149,"xuan-tong-yu-lan-hai-guai-tu-ji-13-yi-ming-215149","宣统御览海怪图记-13",[24,7,59,27,28,2059,94018],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8ffc90bdb7d8789dd708cc454987e6d.jpg",[],{"id":107556,"slug":107557,"title":107558,"dynasty":54,"author":223,"museum":300,"description":107559,"tags":107560,"thumbUrl":107561,"material":66,"size":84,"collection":84,"collections":107562,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},215136,"er-shi-si-xiao-tu-ce-4-yi-ming-215136","二十四孝图册-4","二十四孝图册 是一本著名的清朝绘画作品，其中描绘了传统中国文化中最重要的 二十四孝 的故事。\n\n二十四孝 指的是传统中国文化中所尊重的二十四种子孝顺父母的行为。这些行为包括孝敬父母、恭敬长辈、孝敬兄长、恭敬长辈婆婆、孝敬师长等。\n\n二十四孝图册 由佚名的艺术家绘制，每一幅画都描绘了一种孝顺行为的故事。这本图册被认为是中国传统文化中最重要的艺术品之一，并被广泛收藏。",[23,24,7,59,27,28,96,64,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25df8f7b1e5940d8cca1cf8d61dd3bb9.jpg",[],{"id":107564,"slug":107565,"title":107566,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":107567,"thumbUrl":107568,"material":66,"size":84,"collection":84,"collections":107569,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215082,"tui-bei-tu-ce-29-jiao-bing-zhen-215082","推背图册-29",[23,24,7,59,304,28,27,211,29,951,497,3651,98222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f42be726710e5ecbee2beaadaab95b3.jpg",[],{"id":107571,"slug":107572,"title":107573,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":107574,"thumbUrl":107575,"material":66,"size":84,"collection":84,"collections":107576,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215081,"tui-bei-tu-ce-28-jiao-bing-zhen-215081","推背图册-28",[23,24,7,59,28,27,30115,2035,582,549,7470],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ebee294549550e0f3b3b4d422644eee.jpg",[],{"id":107578,"slug":107579,"title":107580,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":107581,"thumbUrl":107582,"material":66,"size":84,"collection":84,"collections":107583,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215076,"tui-bei-tu-ce-33-jiao-bing-zhen-215076","推背图册-33",[23,24,7,59,28,27,9633,949,171,19189,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2484f1301ddd3803681725f6ff3e9507.jpg",[],{"id":107585,"slug":107586,"title":107587,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":107588,"thumbUrl":107589,"material":66,"size":84,"collection":84,"collections":107590,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215070,"tui-bei-tu-ce-35-jiao-bing-zhen-215070","推背图册-35",[23,24,164,7,59,28,27,96,949,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09a74eb43255e19b32031a832f79653f.jpg",[],{"id":107592,"slug":107593,"title":107594,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":107595,"thumbUrl":107596,"material":66,"size":84,"collection":84,"collections":107597,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215067,"tui-bei-tu-ce-41-jiao-bing-zhen-215067","推背图册-41",[23,24,7,59,27,28,1337,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65b1eeee07a688dbb2bc37f92c905327.jpg",[],{"id":107599,"slug":107600,"title":107601,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":107602,"thumbUrl":107603,"material":66,"size":84,"collection":84,"collections":107604,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215064,"tui-bei-tu-ce-44-jiao-bing-zhen-215064","推背图册-44",[23,24,7,164,59,28,27,95,97,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb75f9676a6020e5a3f720297335b4eea.jpg",[],{"id":107606,"slug":107607,"title":107608,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":107609,"thumbUrl":107610,"material":66,"size":84,"collection":84,"collections":107611,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215062,"tui-bei-tu-ce-45-jiao-bing-zhen-215062","推背图册-45",[23,24,7,59,27,28,96,170,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc9edf9828d794f82fc75af5e6d798b7.jpg",[],{"id":107613,"slug":107614,"title":107615,"dynasty":54,"author":10177,"museum":300,"description":14787,"tags":107616,"thumbUrl":107617,"material":66,"size":84,"collection":84,"collections":107618,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},215060,"tui-bei-tu-ce-48-jiao-bing-zhen-215060","推背图册-48",[23,24,7,59,27,28,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff312e3a8dc4c8548b3ed09b12c3f4d73.jpg",[],{"id":107620,"slug":107621,"title":2843,"dynasty":124,"author":1141,"museum":20,"description":64395,"tags":107622,"thumbUrl":107623,"material":278,"size":64398,"collection":84,"collections":107624,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},214879,"shan-shui-ce-2-wen-zheng-ming-214879",[23,24,7,59,133,128,27,29,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168cac35ed0ca925fa353e1f9a5c9365.jpg",[],{"id":107626,"slug":107627,"title":107628,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":107629,"thumbUrl":107630,"material":66,"size":10301,"collection":84,"collections":107631,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},214796,"zhi-sheng-xian-xian-ban-shen-xiang-12-yi-ming-214796","至圣先贤半身像-12",[23,24,7,59,27,96,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd363c416d1b2c0ce1180fd3fa3118025.jpg",[],{"id":107633,"slug":107634,"title":107635,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":107636,"thumbUrl":107637,"material":66,"size":10301,"collection":84,"collections":107638,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},214792,"zhi-sheng-xian-xian-ban-shen-xiang-15-yi-ming-214792","至圣先贤半身像-15",[23,24,7,164,4057,96,28,27,77119,170,34332,100302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65cabc0d3ec8e8a69904ec00d5f5c8e0.jpg",[],{"id":107640,"slug":107641,"title":107642,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":107643,"thumbUrl":107644,"material":66,"size":10301,"collection":84,"collections":107645,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},214791,"zhi-sheng-xian-xian-ban-shen-xiang-18-yi-ming-214791","至圣先贤半身像-18",[23,24,7,27,28,96,11584,77119,7876,94127,1367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbcab9f0ce8dac8c405f756dee819dc.jpg",[],{"id":107647,"slug":107648,"title":107649,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":107650,"thumbUrl":107651,"material":66,"size":10301,"collection":84,"collections":107652,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},214789,"zhi-sheng-xian-xian-ban-shen-xiang-20-yi-ming-214789","至圣先贤半身像-20",[23,164,24,7,59,27,96,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2adb65e1d3c57ba2493c87c0d0ecace3.jpg",[],{"id":107654,"slug":107655,"title":107656,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":107657,"thumbUrl":107658,"material":66,"size":10301,"collection":84,"collections":107659,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},214788,"zhi-sheng-xian-xian-ban-shen-xiang-17-yi-ming-214788","至圣先贤半身像-17",[23,24,7,27,28,96,77119,15819,11584],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe10a7dc51c43640e6a4c51ad17edc95b.jpg",[],{"id":107661,"slug":107662,"title":107663,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":107664,"thumbUrl":107665,"material":66,"size":10301,"collection":84,"collections":107666,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},214784,"zhi-sheng-xian-xian-ban-shen-xiang-24-yi-ming-214784","至圣先贤半身像-24",[23,24,7,59,27,28,96,7876,81028,77119,19173,3587,34332,8116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1be6196f90fe4bb59903f00c348c68e.jpg",[],{"id":107668,"slug":107669,"title":107670,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":107671,"thumbUrl":107672,"material":66,"size":10301,"collection":84,"collections":107673,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},214781,"zhi-sheng-xian-xian-ban-shen-xiang-26-yi-ming-214781","至圣先贤半身像-26",[23,164,24,7,59,28,27,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35474efce7fab7b7b4bc312d53d9b8d7.jpg",[],{"id":107675,"slug":107676,"title":107677,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":107678,"thumbUrl":107679,"material":66,"size":10301,"collection":84,"collections":107680,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},214775,"zhi-sheng-xian-xian-ban-shen-xiang-36-yi-ming-214775","至圣先贤半身像-36",[23,24,7,27,28,96,15819,77119,12676],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed0aa152b7766676de458810736da606.jpg",[],{"id":107682,"slug":107683,"title":107684,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":107685,"thumbUrl":107686,"material":66,"size":10301,"collection":84,"collections":107687,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},214773,"zhi-sheng-xian-xian-ban-shen-xiang-34-yi-ming-214773","至圣先贤半身像-34",[23,24,7,27,28,96,59,3490,77119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09130f77ab452239a7f115f41077338a.jpg",[],{"id":107689,"slug":107690,"title":107691,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":107692,"thumbUrl":107693,"material":66,"size":10301,"collection":84,"collections":107694,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},214771,"zhi-sheng-xian-xian-ban-shen-xiang-38-yi-ming-214771","至圣先贤半身像-38",[23,164,24,7,27,28,96,77119,100302,4057],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28132bb767de3c33f42e98325825b02d.jpg",[],{"id":107696,"slug":107697,"title":107698,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":107699,"thumbUrl":107700,"material":66,"size":10301,"collection":84,"collections":107701,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},214762,"zhi-sheng-xian-xian-ban-shen-xiang-45-yi-ming-214762","至圣先贤半身像-45",[23,24,7,28,27,96,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F981c9913a00571000de04742620f8d46.jpg",[],{"id":107703,"slug":107704,"title":107705,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":107706,"thumbUrl":107707,"material":66,"size":10301,"collection":84,"collections":107708,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},214761,"zhi-sheng-xian-xian-ban-shen-xiang-48-yi-ming-214761","至圣先贤半身像-48",[23,24,7,96,27,28,59,73964,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa281df964d1d239035ea3b69e4386569.jpg",[],{"id":107710,"slug":107711,"title":107712,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":107713,"thumbUrl":107714,"material":66,"size":10301,"collection":84,"collections":107715,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},214760,"zhi-sheng-xian-xian-ban-shen-xiang-47-yi-ming-214760","至圣先贤半身像-47",[23,24,7,59,28,27,96,73964,77119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69a932595449cb8a48153bf48aea0d91.jpg",[],{"id":107717,"slug":107718,"title":107719,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":107720,"thumbUrl":107721,"material":66,"size":10301,"collection":84,"collections":107722,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},214759,"zhi-sheng-xian-xian-ban-shen-xiang-49-yi-ming-214759","至圣先贤半身像-49",[23,24,7,59,27,28,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5f79c1c36315f925e8495e027837ad9.jpg",[],{"id":107724,"slug":107725,"title":107726,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":107727,"thumbUrl":107728,"material":66,"size":10301,"collection":84,"collections":107729,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},214758,"zhi-sheng-xian-xian-ban-shen-xiang-50-yi-ming-214758","至圣先贤半身像-50",[23,24,7,59,27,96,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1bacaa87c4ab9e7e1a59c0dd92844b1.jpg",[],{"id":107731,"slug":107732,"title":107733,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":107734,"thumbUrl":107735,"material":66,"size":10301,"collection":84,"collections":107736,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},214757,"zhi-sheng-xian-xian-ban-shen-xiang-51-yi-ming-214757","至圣先贤半身像-51",[23,164,24,7,59,28,27,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54f8715bd9f0274e5d4344d47c898b99.jpg",[],{"id":107738,"slug":107739,"title":107740,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":107741,"thumbUrl":107742,"material":66,"size":10301,"collection":84,"collections":107743,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},214756,"zhi-sheng-xian-xian-ban-shen-xiang-52-yi-ming-214756","至圣先贤半身像-52",[23,24,7,27,28,96,77119,16099,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce8c59e793b6388ed07a2272eefd7bcf.jpg",[],{"id":107745,"slug":107746,"title":107747,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":107748,"thumbUrl":107749,"material":66,"size":10301,"collection":84,"collections":107750,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},214755,"zhi-sheng-xian-xian-ban-shen-xiang-54-yi-ming-214755","至圣先贤半身像-54",[23,24,7,59,27,28,96,100302,170,1009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe9aeae52416107a1e5c5594fbe1d97d.jpg",[],{"id":107752,"slug":107753,"title":107754,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":107755,"thumbUrl":107756,"material":66,"size":10301,"collection":84,"collections":107757,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},214754,"zhi-sheng-xian-xian-ban-shen-xiang-55-yi-ming-214754","至圣先贤半身像-55",[23,24,7,59,27,28,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b145570189e0b7ba60b9c3b900226f.jpg",[],{"id":107759,"slug":107760,"title":107761,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":107762,"thumbUrl":107763,"material":66,"size":10301,"collection":84,"collections":107764,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},214753,"zhi-sheng-xian-xian-ban-shen-xiang-53-yi-ming-214753","至圣先贤半身像-53",[23,24,7,59,27,28,96,73964,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf162fe6bef43a00ce7b2c73a323eecb.jpg",[],{"id":107766,"slug":107767,"title":107768,"dynasty":182,"author":7396,"museum":20,"description":107769,"tags":107770,"thumbUrl":107771,"material":611,"size":107772,"collection":84,"collections":107773,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},214474,"da-tang-zhong-xing-song-xia-ce-8-yan-zhen-qing-214474","大唐中兴颂下册-8","由唐朝袁杰撰写，颜真卿执笔。771年6月，安禄山叛军被打败后，刻在湖南祁阳无锡河的岩壁上。左侧为素书题字，21行21字，后为黄鲁直题字，11行26-28字。铭文分两卷，共166页，每卷都是用黑色墨水在麻纸上题写的。这是第二卷。",[164,7,572,5380,64,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F772fcc749537096e0a863a5e562fd3de.jpg","29.3x15.5",[],{"id":107775,"slug":107776,"title":15906,"dynasty":54,"author":1242,"museum":56,"description":107777,"tags":107778,"thumbUrl":107779,"material":84,"size":84,"collection":84,"collections":107780,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":107781},203441,"mo-mei-tu-zhou-jin-nong-203441","这幅墨梅图枝干以焦墨纵逸挥洒，如铁骨嶙峋，虬曲盘折间尽显苍劲老辣之态；花朵以淡墨点染，疏疏落落地缀于枝间，暗香浮动的意趣跃然纸上。留白处空灵澄澈，与浓墨枝干形成虚实相生之境，意境幽远清寂。右侧题诗笔墨古朴厚重，诗画交融，尽现“诗书画印”合一的文人画韵致。梅之孤傲清雅，恰是画者品格的隐喻，冷韵袭人，风骨卓然，尽显清代文人画的逸趣与精神。",[24,7,165,128,369,64,133,208,371,582,1039],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff369e530e148657ca45396fc2e5d6b39.jpg",[],"cfc2bd",{"id":107783,"slug":107784,"title":18034,"dynasty":124,"author":125,"museum":56,"description":107785,"tags":107786,"thumbUrl":107788,"material":84,"size":84,"collection":84,"collections":107789,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":107790},203414,"liang-jiang-ming-sheng-tu-ce-shen-zhou-203414","笔墨勾勒出江南水乡的错落屋宇，河埠头帆影点点，亭台掩映在疏林间，烟火气与雅致交融。左侧题跋笔墨流转，书与画相映成趣，尽显文人意趣。画面于简淡中藏细节，水波轻漾，屋舍俨然，仿佛能听见桨声欸乃，将两江一带的风土人情凝于尺幅。无需浓墨重彩，却以清逸之笔，绘就一派平和景象，引人沉醉于这一方水土的温婉与生机。",[24,7,59,128,133,97,130,99,107787],"孤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42ab627486a65b8219e680005da174f3.jpg",[],"bdb4a8",{"id":107792,"slug":107793,"title":107794,"dynasty":54,"author":19894,"museum":56,"description":107795,"tags":107796,"thumbUrl":107797,"material":84,"size":84,"collection":84,"collections":107798,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":107799},203338,"jiu-jia-hua-ce-zheng-xie-203338","九家画册","这幅画作以水墨写意兰草，笔触简淡却意韵悠长。兰叶以流畅线条勾勒，似随风摇曳，姿态舒展自然；花朵用浓墨点染，寥寥数笔便显清雅之姿。留白处空灵通透，与墨色兰草相映成趣，尽显文人画的雅致风骨，将兰的高洁孤傲与超然气质表现得淋漓尽致，仿佛能透过纸面嗅到幽幽兰香，感受到那份远离尘嚣的静谧与淡然。",[24,7,59,128,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa529067793e8d82a0d66e1548f94254d.jpg",[],"eae0dc",{"id":107801,"slug":107802,"title":107803,"dynasty":32945,"author":5076,"museum":56,"description":107804,"tags":107805,"thumbUrl":107806,"material":84,"size":84,"collection":84,"collections":107807,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":107808},203327,"qiu-gua-tu-zhou-qi-bai-shi-203327","秋瓜图轴","藤蔓以劲挺墨线挥写，缠绕间藏灵动生机；墨叶泼洒浓淡相宜，层叠处见秋光浅深。红瓜晕染鲜亮，与墨叶相映成趣，憨态可掬。画面一隅小虫轻落，更添野趣，尽显白石老人对生活细微之美的捕捉。笔墨简括却意韵饱满，洒脱中藏着对自然生灵的温柔观照，质朴中见精妙，寻常瓜果也成妙趣横生的佳构。",[24,7,165,128,27,61,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F532630a4651a8f161bea95ac7af670ee.jpg",[],"b4aaa5",{"id":107810,"slug":107811,"title":107812,"dynasty":54,"author":16862,"museum":56,"description":107813,"tags":107814,"thumbUrl":107815,"material":84,"size":84,"collection":84,"collections":107816,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":107817},203298,"san-qing-tu-ce-li-fang-ying-203298","三清图册","此作以水墨写竹，笔致豪放洒脱，墨色层次分明。竹竿劲挺有节，暗藏不屈之姿；竹叶欹侧交错，恍若沐风而动。简括笔触中，竹的坚韧风骨跃然纸上，墨韵流转间尽显文人画的写意之趣。题字与朱印相得益彰，书画印三者合一，更添雅致意蕴。",[128,167,7,59,133,100481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ee534c2cf01abe67687db65447f6e76.jpg",[],"cebdb2",{"id":107819,"slug":107820,"title":107821,"dynasty":32945,"author":5076,"museum":56,"description":107822,"tags":107823,"thumbUrl":107824,"material":84,"size":84,"collection":84,"collections":107825,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":107826},203208,"ju-shi-tu-zhou-qi-bai-shi-203208","菊石图轴","浓墨泼洒出孤石，笔势雄浑苍劲，墨韵淋漓厚重；秋菊簇生绽放，红妍似火、黄灿如金、白洁若雪，设色鲜妍浓烈，花瓣以简劲笔触勾勒层叠之态，叶片墨色浓淡相间，野趣盎然。两只小蜂翩跹枝间，灵动俏皮，为萧瑟秋意注入鲜活生机。白石老人以老辣洒脱的笔墨，将菊之傲霜风骨与石之沉稳坚毅相融，尽显写意花鸟的生机与意趣，满纸皆是对自然生命的热忱与艺术的炉火纯青。",[24,7,61,376,171,128,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f68ebd18c07f191a7fed68459650101.jpg",[],"908a73",{"id":107828,"slug":107829,"title":76,"dynasty":54,"author":107830,"museum":56,"description":107831,"tags":107832,"thumbUrl":107833,"material":84,"size":84,"collection":84,"collections":107834,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":107835},203184,"hua-hui-ce-bao-kai-203184","鲍楷","藤蔓婉转牵绕于素纸之上，叶片层叠舒展，脉络清晰可见；粉白小花轻绽，花瓣纹理细腻，嫩荚垂悬添生机。画作以工笔勾勒见长，线条流畅精准，设色淡雅温润，将花草的自然情态描摹得淋漓尽致。旁侧题款书法秀逸，与花鸟景致相映成趣，印章点缀更添文人雅韵。整体画面清新雅致，既显写生之真，又含笔墨之趣，尽显清代花鸟册页的温婉格调与艺术匠心。",[24,7,59,27,61,28,548,1039,13257,208,9602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c0707106fa1daffd9814ce8b0afa130.jpg",[],"beb592",{"id":107837,"slug":107838,"title":14647,"dynasty":54,"author":107839,"museum":56,"description":107840,"tags":107841,"thumbUrl":107842,"material":84,"size":84,"collection":84,"collections":107843,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":107844},203178,"mei-hua-tu-ce-luo-fang-shu-203178","罗芳淑","墨干虬劲如铁，以枯润兼施之墨笔写出，顿挫转折间尽显老枝经霜之姿；粉梅点点，或含苞待放或绽蕊吐香，胭脂淡染，娇嫩中藏凛然风骨。留白处似有暗香浮动，意蕴清幽悠远。笔致简淡却神完气足，将梅花的冰洁韵致与傲岸品格融于册页尺幅间，尽显文人花鸟的雅致情韵，堪称小品中的妙构。",[24,7,59,27,61,371,8162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F243b4c26b82c7d1a1695610157c99ae9.jpg",[],"cbb897",{"id":107846,"slug":107847,"title":38135,"dynasty":32945,"author":3539,"museum":56,"description":107848,"tags":107849,"thumbUrl":107850,"material":84,"size":84,"collection":84,"collections":107851,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":107852},203121,"song-shu-tu-zhou-xu-bei-hong-203121","苍松主干挺劲，斑驳肌理经皴擦点染尽显古拙，虬枝盘曲如游龙，墨色浓淡交错间见层次。松针以焦墨簇点，疏密有致，气韵生动。融传统笔墨之洒脱与西画写实之精准，树干明暗晕染含光影感，却不失国画写意之魂。整幅画面雄健大气，松之坚韧不屈品格跃然纸上，传递出蓬勃的生命张力。",[24,7,165,128,27,132,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6cfb5ac02658ee2d2b5243e936d006a.jpg",[],"a69c8d",{"id":107854,"slug":107855,"title":107856,"dynasty":32945,"author":5367,"museum":56,"description":107857,"tags":107858,"thumbUrl":107859,"material":84,"size":84,"collection":84,"collections":107860,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":107861},203109,"shan-lin-qi-yuan-tu-zhou-pu-ru-203109","山林栖猿图轴","画面中老枝盘曲遒劲，丹枫似火点缀其间，数只猿猴于枝间嬉戏：或依偎静卧，或悬枝探身，姿态憨趣灵动，神态毕肖。山石以淡墨皴染，线条简括见骨；红叶设色清雅明丽，与墨色相生相融。上方题款笔致流畅，书意与画意浑然一体，尽显文人画的雅致韵致。整作构图疏密有致，笔墨细腻传神，既捕捉猿猴自然生趣，又蕴藉传统笔墨情味，清雅中见生机，是兼具生动性与文人气的佳作。",[24,27,9633,132,1955,131,7,2132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe658f56cc6980b9b5728797207ff1ba9.jpg",[],"d7c9af",{"id":107863,"slug":107864,"title":4071,"dynasty":54,"author":12395,"museum":56,"description":107865,"tags":107866,"thumbUrl":107867,"material":84,"size":84,"collection":84,"collections":107868,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":107869},202985,"hua-hui-tu-ce-zhang-xiong-202985","这幅画作里，牡丹开得秾丽而清雅，花瓣层叠舒展，设色温润细腻——淡粉打底，渐次晕染至深绯，将花容的丰腴柔美展现得淋漓尽致。叶片以墨绿勾勒，脉络清晰可见，墨色浓淡交错间，既有工笔的精细描摹，又藏着写意的灵动生机。枝干婉转自然，与花叶相映成趣，整体画面雅致清新，把牡丹的雍容姿态和文人画的清幽意趣融在一起，尽显花卉写生的精妙。",[27,28,61,263,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F018322c229156ee06f18e6976875f104.jpg",[],"9da393",{"id":107871,"slug":107872,"title":107873,"dynasty":32945,"author":7853,"museum":56,"description":107874,"tags":107875,"thumbUrl":107876,"material":84,"size":84,"collection":84,"collections":107877,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":107878},202960,"shuang-ju-tu-zhou-wang-zhen-202960","双菊图轴","两朵菊花绽于枝头，花瓣层叠舒展，色泽由淡黄渐晕浅粉，清雅温润。墨叶以淋漓水墨写出，浓淡交错间见笔力苍劲，与柔婉花瓣形成刚柔相济之美。枝干挺秀，线条简练骨力暗藏，绑缚细节更添自然生趣。题款笔墨流畅，与画面融成一体，尽显文人画的雅致意趣，既彰菊花傲霜之姿，亦透淡泊名利的心境。",[24,7,165,61,376,27,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F305e173db62b46e6d9c05b77b4ab720c.jpg",[],"bdb4a2",{"id":107880,"slug":107881,"title":107882,"dynasty":32945,"author":5076,"museum":56,"description":107883,"tags":107884,"thumbUrl":107885,"material":84,"size":84,"collection":84,"collections":107886,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":107887},202902,"mo-xie-tu-zhou-qi-bai-shi-202902","墨蟹图轴","这幅墨蟹图以水墨写意之法绘就，数只螃蟹姿态各异：或横行霸道，蟹腿舒张如剑；或交叠嬉戏，蟹钳轻合似语。浓墨泼洒蟹壳，厚重如铁甲；淡墨勾勒肢足，灵动若游丝。笔墨简练却形神兼备，寥寥数笔便将螃蟹的生猛鲜活跃然纸上，尽显自然之趣与生命之态。画中留白恰到好处，让蟹群的动感更显突出，足见创作者对生活观察之细致、笔墨掌控之精妙。",[24,7,128,165,208,42076],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8b1bcb7f926cacce54e06a86751ef66.jpg",[],"c1c1b3",{"id":107889,"slug":107890,"title":107891,"dynasty":32945,"author":107892,"museum":56,"description":107893,"tags":107894,"thumbUrl":107895,"material":84,"size":84,"collection":84,"collections":107896,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":107897},202787,"cang-song-tu-zhou-tang-di-202787","苍松图轴","汤涤","苍松主干挺劲，皴擦间显老干斑驳之态，墨色浓淡交织如积年风霜镌刻其上。枝桠虬曲伸展，松针以细劲笔触攒簇成簇，疏密有致，既见工致之巧，又含写意之韵。整幅以水墨写就，笔墨苍劲浑厚，将松之坚韧孤傲气质勾勒得淋漓尽致，尽显传统文人画中对松柏精神的推崇。",[24,128,165,132,28,7,372,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2927a6811074184e8e73e20f04a58e7.jpg",[],"cfc9b7",{"id":107899,"slug":107900,"title":107901,"dynasty":32945,"author":5076,"museum":56,"description":107902,"tags":107903,"thumbUrl":107904,"material":84,"size":84,"collection":84,"collections":107905,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":107906},202786,"da-shou-tu-zhou-qi-bai-shi-202786","大寿图轴","白猴抱桃，憨态毕露。淡墨晕出绒绒身躯，赭石点染面部轮廓，浓墨勾出炯炯眼神与抓桃的爪，艳红寿桃泼洒朱砂，色彩鲜活。上方篆书“大寿”古朴厚重，行书题款笔意流畅，印鉴朱红点睛，书画印三者浑然一体。白石老人以极简笔墨写尽生灵之趣，寿桃的吉祥与猴的灵动相映，尽显写意之妙，满含对生命的祝福与烂漫童心。",[24,27,9633,7,208,938,133,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9e21676ea967b2b06d22ac714972657.jpg",[],"e3e0d5",{"id":107908,"slug":107909,"title":107910,"dynasty":32945,"author":5076,"museum":56,"description":107911,"tags":107912,"thumbUrl":107913,"material":84,"size":84,"collection":84,"collections":107914,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":107915},202783,"xin-kou-wu-qiang-tu-zhou-qi-bai-shi-202783","信口无腔图轴","水墨晕染的水牛憨态可掬，浓墨勾出脊骨轮廓，淡墨铺陈身躯，寥寥几笔便显朴拙质感。牛背上幼童赤身，手持短笛信口而吹，眉眼间尽是未经世事的天真，神态鲜活如在眼前。齐白石以简练笔墨捕捉乡村生活的童趣，质朴中藏灵动，平淡里见温情，将田园间的悠然与纯真凝于尺幅，尽显其写意风格的生动传神。",[24,128,96,102,7,369,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1118c579224109e0973ca1bd94187ef1.jpg",[],"c6c0ab",{"id":107917,"slug":107918,"title":107919,"dynasty":32945,"author":5076,"museum":56,"description":107920,"tags":107921,"thumbUrl":107922,"material":84,"size":84,"collection":84,"collections":107923,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":107924},202780,"ling-xiao-hua-tu-zhou-qi-bai-shi-202780","凌霄花图轴","此图绘凌霄花攀附老干之景，笔墨纵逸灵动。老干以浓淡干湿的墨笔挥写，皴擦结合，纹理古拙苍劲；藤蔓婉转缠绕，线条如行云流水，墨色层次丰富。凌霄花以黄蓝点染，造型简括鲜活，与墨叶相映成趣。构图疏密有致，动静相生，老干的沉稳与藤蔓的柔劲、花的生机交融，尽显自然野趣与生命活力，是齐白石写意花鸟的精品。",[24,7,165,128,27,61,132,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F352365e2bb80b0d38213d049f7501c6b.jpg",[],"b6b6a5",{"id":107926,"slug":107927,"title":107928,"dynasty":32945,"author":24258,"museum":56,"description":107929,"tags":107930,"thumbUrl":107931,"material":84,"size":84,"collection":84,"collections":107932,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":107933},202776,"mo-ju-tu-zhou-chen-heng-ke-202776","墨菊图轴","墨菊数枝横斜而出，花瓣以淡墨勾勒，舒展如丝；叶片用浓墨点染，苍劲有力。笔意简括洒脱，不事雕琢，却将菊花傲霜独立之姿尽显无遗。旁题书法笔势婉转，与画作气韵相通，诗书画印浑然一体，尽显文人画的清雅意趣与风骨。寥寥数笔，意韵悠长，足见笔墨功底与文人情怀。",[24,7,165,128,61,376,133,208,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa26b3904c9e53e6dda77d3ba7849e9.jpg",[],"d6cebe",{"id":107935,"slug":107936,"title":107937,"dynasty":32945,"author":5076,"museum":56,"description":107938,"tags":107939,"thumbUrl":10,"material":84,"size":84,"collection":84,"collections":107940,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":107941},202773,"qian-niu-zha-meng-tu-zhou-qi-bai-shi-202773","牵牛蚱蜢图轴","这幅画以奔放笔墨写牵牛，浓墨泼洒的叶片与艳红花朵形成强烈对比，尽显“红花墨叶”的鲜明风格。藤蔓以流畅线条勾勒，缠绕交错间富有动感；蚱蜢刻画入微，翅脉清晰、姿态鲜活，写实与写意的结合妙趣横生。齐白石以老辣笔触捕捉自然生机，简约构图中蕴含质朴生活意趣，尽显其对花鸟虫草的深刻观察与艺术提炼。",[24,7,165,128,27,61,21158,369,28172,208,23],[],"d9d5c2",{"id":107943,"slug":107944,"title":107945,"dynasty":54,"author":6357,"museum":56,"description":107946,"tags":107947,"thumbUrl":107948,"material":84,"size":84,"collection":84,"collections":107949,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":107950},202716,"kong-sheng-xiang-tu-zhou-huang-shen-202716","孔圣像图轴","这幅画中孔圣冠带俨然，宽袍博带间尽显儒雅风骨。画家以狂草笔意入画，线条如飞白流转，刚劲中藏灵动；衣袂褶皱用粗放墨线勾勒，虚实相生，精准传递衣物垂坠之态；面容须发细劲点染，眼神深邃，流露哲思与温厚。墨色干湿互用，省去繁缛却神完气足，融圣贤庄重与文人洒脱于一纸，尽显扬州画派写意人物的独特意趣。",[24,96,128,165,7,369,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ab543ac2bf9fa9f446708b35edc8cee.jpg",[],"c9c5b6",{"id":107952,"slug":107953,"title":107954,"dynasty":54,"author":63332,"museum":56,"description":107955,"tags":107956,"thumbUrl":107957,"material":84,"size":84,"collection":84,"collections":107958,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":107959},202691,"xiao-ting-qing-feng-tu-zhou-lin-shu-202691","小亭青风图轴","亭畔流水潺潺，石上林木疏朗，远山如黛晕染出清旷之境。小亭临波而筑，檐角轻挑，似有清风穿林而来，裹挟着山水间的静谧。山石以皴法勾勒，线条兼具刚柔，墨色层次分明，淡彩晕染更添温润。近处树木姿态各异，枯荣相生，与远处葱郁的山林呼应，将自然生趣与文人闲适融于一纸。笔墨雅致，意境悠远，尽显传统山水的诗意风骨，仿佛能让人暂离尘嚣，沉醉于这方清宁天地。",[24,7,165,128,27,29,130,99,131,132,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa621f0aafa7b096f0ef5ada023023f7f.jpg",[],"d6c6b5",{"id":107961,"slug":107962,"title":6663,"dynasty":54,"author":107963,"museum":56,"description":107964,"tags":107965,"thumbUrl":107966,"material":84,"size":84,"collection":84,"collections":107967,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":107968},202673,"zhu-shi-tu-zhou-tang-mi-202673","汤密","修竹数竿凌云而立，竹叶以泼墨写意之法点染，笔触利落，墨色层次分明，疏密间藏风动之姿。旁侧奇石嶙峋，以粗犷皴法勾其肌理，浓墨点苔衬出苍劲质感。竹之清雅与石之沉雄相映成趣，笔墨简练却意境悠远，尽显文人画中对自然风骨的咏叹，满纸清雅之气。",[24,128,167,171,132,165,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35238fd6f489d0642499479546892efe.jpg",[],"a59582",{"id":107970,"slug":107971,"title":107972,"dynasty":54,"author":3403,"museum":56,"description":107973,"tags":107974,"thumbUrl":107975,"material":84,"size":84,"collection":84,"collections":107976,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":107977},202624,"qiu-ju-tu-zhou-wu-chang-shuo-202624","秋菊图轴","石侧秋菊簇生，黄瓣金灿如洒，粉蕊艳而不妖，墨叶以焦墨挥写，筋脉毕露如铁线；旁立瘦石嶙峋，淡墨皴擦显肌理，枯枝斜出缀几点红萼，似梅枝傲雪，添秋寒清韵。用笔取篆籀之劲，线条沉雄，墨色浓淡相济；设色大胆明快，藤黄点染黄菊，胭脂晕开粉瓣，对比中见和谐。秋意浓处生机不减，傲骨暗藏，尽显文人画“托物言志”之趣，笔墨间满溢苍劲烂漫的大写意风神。",[24,7,61,376,171,128,27,165,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeeb190504e60757e2c5de04d04612c1.jpg",[],"c2b9ac",{"id":107979,"slug":107980,"title":55055,"dynasty":54,"author":3403,"museum":56,"description":107981,"tags":107982,"thumbUrl":107983,"material":84,"size":84,"collection":84,"collections":107984,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":107985},202623,"mo-zhu-tu-zhou-wu-chang-shuo-202623","这幅墨竹以篆籀笔法写竹竿，圆劲如铁，节节贯气；竹叶用狂草泼墨，纵横挥洒，浓淡干湿交错间尽显苍劲生机。题跋行草与竹石笔墨浑然一体，老辣奇崛中藏灵动之趣，朱红印章点缀更添古朴意韵。整体气韵雄浑，将书法骨力注入画中，尽显海派大家以书入画的独特风貌。",[24,128,167,165,7,208,938,133,61,9602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f92856ea7a2c00f388864f7dcbb3278.jpg",[],"ceccc0",{"id":107987,"slug":107988,"title":107989,"dynasty":54,"author":107990,"museum":56,"description":107991,"tags":107992,"thumbUrl":107994,"material":84,"size":84,"collection":84,"collections":107995,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":107996},202611,"zhu-wei-bi-zhu-zhang-tu-zhou-zhang-qing-xuan-202611","朱为弼拄杖图轴","张青选","这幅立轴以白描手法绘就，线条凝练传神，将文人拄杖的悠然之姿勾勒得淋漓尽致。人物面容安闲，衣纹简洁却见动感，身旁杖影斜斜，似携山野清气而来。画面上方题跋满布，朱印点缀其间，书画印三者交融，尽显清代文人画的雅逸风骨。笔意淡远却藏深情，于素净纸本上晕开一段闲适时光，让人观之忘俗。",[188,96,165,7,208,107993,9633,23],"拄杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d32a89a81dc1769192efc6ca4532ccc.jpg",[],"d0c1aa",{"id":107998,"slug":107999,"title":108000,"dynasty":54,"author":108001,"museum":56,"description":108002,"tags":108003,"thumbUrl":108005,"material":84,"size":84,"collection":84,"collections":108006,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108007},202591,"mao-qi-ling-zhu-yi-zun-xiang-zhou-liang-bao-zhong-202591","毛奇龄朱彝尊像轴","梁宝中","画中双贤并立，毛奇龄拄杖而立，眉宇间透着不羁；朱彝尊手持书卷，神色温润儒雅。衣纹线条简练流畅，设色淡雅含蓄，面部刻画细致入微，将两位学者的气质神韵勾勒得入木三分。画面四周题跋密布，墨色浓淡相宜，与肖像相得益彰，尽显书画印一体的文人画意趣。作品以写实笔法绘就人物风神，又借题跋添文韵，是清代肖像画中融写实与写意、兼具才情与格调的精品。",[28,27,96,1429,208,7,94388,108004,41132,23],"线条流畅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a979f393b5325d1132a70e77a688ca3.jpg",[],"bea174",{"id":108009,"slug":108010,"title":108011,"dynasty":54,"author":108012,"museum":56,"description":108013,"tags":108014,"thumbUrl":108015,"material":84,"size":84,"collection":84,"collections":108016,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108017},202577,"xian-zhi-tu-zhou-zhe-zhang-202577","献芝图轴","禇章","画面中孩童捧芝篮趋前献予长者，老者神态和煦，衣袂线条流转自如，设色清雅温润，笔墨简练传神，将人物间的融洽氛围与古朴意趣生动勾勒，尽显传统人物画的温婉韵味。",[24,27,96,28,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F377b5351bafcdd9f4cb3ef19263ea278.jpg",[],"b99c81",{"id":108019,"slug":108020,"title":108021,"dynasty":54,"author":108022,"museum":56,"description":108023,"tags":108024,"thumbUrl":108025,"material":84,"size":84,"collection":84,"collections":108026,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108027},202542,"fang-xu-you-wen-shan-shui-zhou-gu-lin-shi-202542","仿徐幼文山水轴","顾麟士","此作墨气清和，意境悠远，追摹元人山水之致。层峦叠嶂间，云霭轻笼，古松倚岩而立，枝干苍劲；山间溪流潺潺，石矶错落，隐现的小径似通幽深处。笔墨以淡皴轻染山体，线条简括却见骨力，留白处藏虚灵，尽显空灵雅致之韵。画中题跋与山水相映，文气盎然，更添古朴意趣。",[24,29,128,132,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff42fb26c2802d844bbdbfea3c439a888.jpg",[],"d9cdb9",{"id":108029,"slug":108030,"title":108031,"dynasty":54,"author":17240,"museum":56,"description":108032,"tags":108033,"thumbUrl":108035,"material":84,"size":84,"collection":84,"collections":108036,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108037},202530,"shu-hua-zhou-cha-shi-biao-202530","书画轴","这幅作品书与画浑然一体，上半段行书笔墨洒脱流畅，墨韵生动自然；下半段水墨山水简淡空灵，枯树疏枝傍岸而生，孤舟蓑笠翁独泊烟水间，远山轻描淡写，留白处意境悠远。整体风格清逸雅致，尽显文人雅士的闲适心境与艺术才情，书意与画境交融，传递出清寂悠远的文人气息。",[24,7,165,128,29,129,1350,133,331,1351,1233,108034],"留","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dd35ac9295b28f4455e557035f13450.jpg",[],"cecad0",{"id":108039,"slug":108040,"title":108041,"dynasty":54,"author":84558,"museum":56,"description":108042,"tags":108043,"thumbUrl":108044,"material":84,"size":84,"collection":84,"collections":108045,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108046},202527,"shu-hua-juan-luo-mu-202527","书画卷","此卷书画合璧，墨韵苍润。山水以皴法写树石，笔致朴拙，景致疏朗见清幽；旁列书法，行笔流畅自然，与绘画面貌相契，尽显文人雅趣。书画互映，气韵连贯，藏林泉丘壑之思，蕴笔底烟霞之韵。",[24,7,25,29,133,132,128,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a29b4eaa496e83b096e8513be8c0805.jpg",[],"d0bdad",{"id":108048,"slug":108049,"title":108050,"dynasty":54,"author":3043,"museum":56,"description":108051,"tags":108052,"thumbUrl":108053,"material":84,"size":84,"collection":84,"collections":108054,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108055},202493,"hua-guo-ye-xu-gu-202493","花果页","画面中，绣球花团簇如雪球，碎笔点染的花瓣层叠蓬松，墨叶以浓淡笔触交织，尽显舒展之态；三只桃子线条简洁圆润，淡彩晕染出饱满质感，憨态可掬。古朴器皿承托花叶，造型沉稳，线条洗练。左侧题款笔力清劲，与画面相映成趣，文人雅韵扑面而来。整作笔墨灵动，设色淡雅，于简约中见精巧，冷逸中含生机，是花果题材文人画的精妙之作。",[24,7,59,128,27,61,169,28,3776,6603,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89f00c357c0e24c7134cfe6286b0343a.jpg",[],"b4a798",{"id":108057,"slug":108058,"title":108059,"dynasty":124,"author":2268,"museum":56,"description":108060,"tags":108061,"thumbUrl":108062,"material":84,"size":84,"collection":84,"collections":108063,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108064},202425,"mao-ting-si-qiu-tu-zhou-dong-qi-chang-202425","茅亭思秋图轴","画面层次错落有致，近景虬松与杂树相拥，茅舍隐于浓荫间；中景清波漾漾，浅滩奇石点缀；远景山峦层叠，云雾轻笼似含幽意。笔墨师法宋元，干笔皴擦显山石肌理，湿墨晕染出林木润泽，线条简劲却藏韵致。树木枝干以中锋勾勒，叶片点染兼具工致与写意；山石轮廓用侧锋皴擦，留白处暗合“计白当黑”之理。整体意境清旷淡远，将秋日元气凝聚于尺幅间，尽显文人画的空灵禅趣与笔墨修为。",[24,29,165,132,27,130,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6934b5f0a1ce426a17d77bf596e17770.jpg",[],"7d5b20",{"id":108066,"slug":108067,"title":108068,"dynasty":54,"author":25699,"museum":56,"description":108069,"tags":108070,"thumbUrl":108071,"material":84,"size":84,"collection":84,"collections":108072,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108073},202406,"zhu-shi-lan-hua-zhou-xi-gang-202406","竹石兰花轴","竹枝劲挺如剑，竹叶以浓淡墨色点染，疏密间藏风致；山石用枯笔皴擦，纹理苍劲古拙；兰草纤柔舒展，线条流畅灵动。三者错落布局，刚柔相济，笔墨简淡却意韵悠长。文人画的清雅之气弥漫画面，仿佛兰香暗浮，竹影婆娑，尽显自然生机与画家对物象的精妙捕捉。",[24,7,165,128,375,167,171,132,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27a8cdf51a0d26a459ecb962b007783c.jpg",[],"c4a477",{"id":108075,"slug":108076,"title":108077,"dynasty":124,"author":2268,"museum":56,"description":108078,"tags":108079,"thumbUrl":108080,"material":84,"size":84,"collection":84,"collections":108081,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108082},202397,"fang-ni-zan-shan-shui-tu-zhou-dong-qi-chang-202397","仿倪瓒山水图轴","此作追摹倪瓚筆意，構圖疏朗空靈。近景枯木參差，枝幹以簡勁線條勾勒，墨色清淡；坡石皴擦得宜，質感渟厚。中景平蕩無際，遠山以淡墨暈染，與天際相融，頗得“逸筆草草”之趣。董其昌以書法筆勢入畫，筆觸秀逸雅致，墨韻層次微妙，既傳承倪瓚蕭散簡遠之境，又蘊含自身文人氣息，營造出清曠幽寂的山水意境，體現其“以畫為樂”的藝術主張。",[24,7,165,128,132,330,29,1233,331,130,107787],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d05e6bfe6d608e5ea65f5cb5936d158.jpg",[],"9a7d42",{"id":108084,"slug":108085,"title":30245,"dynasty":54,"author":25104,"museum":56,"description":108086,"tags":108087,"thumbUrl":108088,"material":84,"size":84,"collection":84,"collections":108089,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108090},202391,"mei-hua-tu-zhou-qian-yu-ling-202391","虬枝以枯笔勾勒，转折间见苍劲风骨；疏花用淡墨点染，疏密中透清雅神韵。旁列题跋，行书流畅自然，与梅枝墨韵相映成趣，融书画于一体。整幅以水墨写就，不饰铅华，却将梅花孤高傲雪之姿淋漓展现，尽显文人画的逸气与品格，于简淡中见真味。",[24,7,165,128,371,133,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71c3c90027e57c1513a620c6246f8e81.jpg",[],"b5a186",{"id":108092,"slug":108093,"title":6663,"dynasty":54,"author":108094,"museum":56,"description":108095,"tags":108096,"thumbUrl":108097,"material":84,"size":84,"collection":84,"collections":108098,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108099},202388,"zhu-shi-tu-zhou-bi-long-202388","毕泷","水墨写竹石，淡墨皴染的孤石朴拙厚重，浓墨挥就的竹枝劲挺，竹叶如剑，疏密有致间见清劲风骨。笔墨简括却气韵生动，竹之潇逸与石之沉稳相映，尽显文人画的雅致孤傲。不事雕琢，以凝练之笔传物象精神，是对竹石品格的诗意诠释。",[24,128,167,171,7,132,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ddf198c9b62bd4eee5872d8cfe875c8.jpg",[],"beaa90",{"id":108101,"slug":108102,"title":108103,"dynasty":54,"author":6936,"museum":56,"description":108104,"tags":108105,"thumbUrl":108106,"material":84,"size":84,"collection":84,"collections":108107,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":80783},202386,"fang-cao-zhi-bai-shan-shui-tu-juan-wang-yuan-qi-202386","仿曹知白山水图卷","笔墨苍劲古拙，干笔皴擦间承袭元人遗韵。山峦层叠起伏，林木萧疏有致，溪流蜿蜒穿谷而过，孤舟隐现于烟波之中，意境清幽淡远。师法曹知白却自出机杼，山石勾勒简劲，苔点错落，墨色干湿浓淡相间，营造出深远空间与静谧山林气息。整体格调高雅，既守古法严谨，又含灵动之趣，尽显清初山水画笔墨精华。",[24,7,25,29,132,128,330,129,4438,496,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fead0bc1ab1d5bc808be238d52f9ab737.jpg",[],{"id":108109,"slug":108110,"title":108111,"dynasty":54,"author":3718,"museum":56,"description":108112,"tags":108113,"thumbUrl":108114,"material":84,"size":84,"collection":84,"collections":108115,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108116},202356,"shu-quan-xi-yan-tu-juan-hong-ren-202356","疏泉洗砚图卷","山石以清劲线条勾勒，皴法简淡却藏骨力，干笔淡墨晕染出清旷之境。萧疏树木枝干挺拔，屋舍错落于林间泉边，或有人凭窗闲坐，或有人临流洗砚，尽显文人幽居的雅趣。整幅画笔墨简洁洗练，无繁饰，山石冷峻与草木疏朗相映，传递新安画派特有的冷逸之美，将自然静谧与文人风骨融于一卷。",[24,128,132,29,9603,8162,9604,96,25,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ebf780840dba9295ef4893b81af8745.jpg",[],"c0b8b3",{"id":108118,"slug":108119,"title":108120,"dynasty":54,"author":3403,"museum":56,"description":108121,"tags":108122,"thumbUrl":108123,"material":84,"size":84,"collection":84,"collections":108124,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108125},202353,"huang-cun-du-shu-tu-zhou-wu-chang-shuo-202353","荒村独树图轴","枯树枝干以篆隶笔意挥写，虬劲如铁，墨色浓淡相间，尽显苍古之姿。几椽村舍隐于坡坳，墨线简率错落，与孤树相映成趣。淡墨晕染的远景虚渺，衬出荒村的清寂。画作以水墨为体，融书法骨力于笔墨，笔势雄健，墨韵沉厚，于简淡构图中藏深致，传递出萧散淡远的心境，是大写意山水的典型之作。",[24,128,29,331,165,7,132,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8775e9985ac0dea4e644c5d282d62027.jpg",[],"c1b2a2",{"id":108127,"slug":108128,"title":108129,"dynasty":54,"author":1219,"museum":56,"description":108130,"tags":108131,"thumbUrl":108132,"material":84,"size":84,"collection":84,"collections":108133,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108134},202337,"ye-tang-e-le-tu-zhou-ren-yi-202337","野塘鹅乐图轴","画面中鹅的形象鲜活灵动，以浓淡干湿的墨色晕染羽毛，蓬松有致；寥寥几笔勾勒喙眼，神态悠然似正梳理羽翼。下方丛草以泼墨点染，墨色交融间带青蓝浅韵，与鹅的暖褐形成冷暖对比，野塘清寂中藏生机。笔墨挥洒自如，写意中见写实，线条灵动墨色层次丰富，尽显海派花鸟的鲜活意趣，传递出自然里的闲适之乐。",[24,7,61,128,27,211,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef66cad113c1b5ed22f0664ec7933a5.jpg",[],"baafa4",{"id":108136,"slug":108137,"title":108138,"dynasty":54,"author":17240,"museum":56,"description":108139,"tags":108140,"thumbUrl":108141,"material":84,"size":84,"collection":84,"collections":108142,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108143},202332,"qi-lv-kan-shan-tu-zhou-cha-shi-biao-202332","骑驴看山图轴","淡墨轻染出远山的朦胧，枯笔皴擦间树木枝干苍劲，线条疏简却见意趣。骑驴人缓步于林麓间，古道蜿蜒，江天浩渺，远山如黛隐于云气。题跋行书流畅自然，笔墨与画面浑然一体，清幽淡远的意境扑面而来，似能感受到那份从容闲适的文人雅兴，于简淡中见深致。",[24,128,29,96,690,6005,133,165,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06ac6dbcffabc8d751ec3a696fde98bf.jpg",[],"a89075",{"id":108145,"slug":108146,"title":6663,"dynasty":54,"author":3403,"museum":56,"description":108147,"tags":108148,"thumbUrl":108149,"material":84,"size":84,"collection":84,"collections":108150,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108151},202327,"zhu-shi-tu-zhou-wu-chang-shuo-202327","墨竹以焦墨挥写，竹叶如剑戟横斜，笔力沉雄，裹挟金石篆刻的苍劲质感。枝干虬曲而挺拔，暗含凌云之势。下方孤石以淡墨晕染，线条粗犷朴拙，与浓墨修竹相映成趣，虚实间涌动生机。整幅画融书法笔意于笔墨，笔势开张，墨色层次分明，尽显文人画的洒脱风骨，仿佛竹叶簌簌之声入耳，石间坚韧之态入心。",[24,128,167,171,133,165,7,164,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7327533b37646a825914a593787a8bec.jpg",[],"ccc8bd",{"id":108153,"slug":108154,"title":108155,"dynasty":54,"author":7716,"museum":56,"description":108156,"tags":108157,"thumbUrl":108158,"material":84,"size":84,"collection":84,"collections":108159,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108160},202315,"zhong-feng-chan-shi-xiang-zhou-gai-qi-202315","中峰禅师像轴","这幅画以白描手法绘就，线条清劲婉转，如行云流水般勾勒出禅师的衣袂与坐姿。禅师面容温润，双目微阖，神态安闲沉静，似入禅定之境。衣纹的转折起伏处理精妙，既显布料质感，又衬人物沉稳气质。画面构图简洁，仅以素净背景突出主体，右侧题跋与朱红印章相映成趣，融书、画、印于一体，更添古朴雅致之韵，尽显文人画的空灵意境与宗教人物的肃穆平和。",[188,24,7,165,187,96,208,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e28d4dcb4f6a921f852761509ee959f.jpg",[],"c9c5ba",{"id":108162,"slug":108163,"title":24663,"dynasty":54,"author":3043,"museum":56,"description":108164,"tags":108165,"thumbUrl":108166,"material":84,"size":84,"collection":84,"collections":108167,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":77280},202295,"hua-hui-juan-xu-gu-202295","画面铺展四季花木，水仙清逸含露，松针如戟劲挺，菊瓣层叠吐蕊，紫藤垂丝若瀑，桃花嫣红缀枝。笔触方折灵动，侧锋勾勒物象，线条刚柔相济；设色淡雅明快，墨彩交融间生机流转。一花一叶皆凝逸趣，尽显清隽冷峭又鲜活的画风，于寻常景致中藏独特情韵。",[24,25,7,61,374,372,376,80,209,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe16db43c3046fce68ff3c2ff69f64c86.jpg",[],{"id":108169,"slug":108170,"title":108171,"dynasty":54,"author":19894,"museum":56,"description":108172,"tags":108173,"thumbUrl":108174,"material":84,"size":84,"collection":84,"collections":108175,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":77280},202287,"zhi-lan-zhu-shi-tu-zhou-zheng-xie-202287","芝兰竹石图轴","竹枝以篆隶笔意勾勒，劲挺如铁线，竹叶泼墨挥洒，浓淡交错间见灵动风神。孤石瘦硬嶙峋，皴擦简练却骨力深藏，芝兰于石隙间柔蔓舒展，与劲竹刚柔相济。墨色干湿浓淡随心流转，层次丰富自然。整幅画以简驭繁，将文人倔强清雅寄于草木山石，笔墨间尽是“胸有成竹”的意趣，尽显板桥画艺中“以书入画”的独特韵味。",[24,7,165,128,132,375,167,171,8162,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95f8fd5168c3fb448436671d5a728838.jpg",[],{"id":108177,"slug":108178,"title":38135,"dynasty":54,"author":3043,"museum":56,"description":108179,"tags":108180,"thumbUrl":108181,"material":84,"size":84,"collection":84,"collections":108182,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108183},202275,"song-shu-tu-zhou-xu-gu-202275","松枝如戟斜逸，老干斑驳嶙峋，淡墨晕染间藏苍古之韵。侧锋逆笔勾勒的松针短促劲挺，似含锋芒；浓墨点苔与干湿线条交织，于简淡中见奇崛。虽仅绘松之一隅，却尽显其坚韧孤傲之姿，松风飒飒若闻，逸趣盎然，尽展文人画清劲风骨。",[128,24,7,165,133,132,331,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd752dca4af7a42d7506ce292ceb3e560.jpg",[],"c1b09c",{"id":108185,"slug":108186,"title":3749,"dynasty":54,"author":108187,"museum":56,"description":108188,"tags":108189,"thumbUrl":108191,"material":84,"size":84,"collection":84,"collections":108192,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108193},202266,"shan-shui-san-ye-wang-jian-202266","王鑑","画面中山峦层叠，青绿设色温润雅致，勾勒皴擦间尽显宋元遗韵。近景古木虬枝，或挺拔或虬曲，枝叶疏密有致；山间云雾轻拢，若隐若现间衔接远近景致，营造出幽深静谧的山水意境。笔墨细腻，山石轮廓以中锋勾勒，皴法柔和，色彩晕染自然，将山水的秀逸与古雅融为一体，尽显传统山水画的韵味与格调。",[24,7,59,26,27,132,29,496,34,37,108190],"临","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F392a30e5f3871474862dea91539d620b.jpg",[],"d0bfb3",{"id":108195,"slug":108196,"title":108197,"dynasty":124,"author":125,"museum":56,"description":108198,"tags":108199,"thumbUrl":108201,"material":84,"size":84,"collection":84,"collections":108202,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108203},202260,"qiao-mu-ci-niao-tu-zhou-shen-zhou-202260","乔木慈鸟图轴","画面中松枝虬劲，墨色浓淡交错，松针细劲如丝，疏密得宜；枝干以简练皴法写出，显苍古之姿。慈鸟栖于枝间，羽色淡墨晕染，神态悠然，与松枝的苍劲形成动静相衬。笔墨简淡却意韵悠长，文人画的雅致与自然生机相融，松的坚韧与鸟的静谧相映，传递出清寂和谐的意趣。",[24,7,165,128,61,132,44073,108200,23],"慈鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42441c6c2a4d8ef205b62762ea9cb14e.jpg",[],"bda68a",{"id":108205,"slug":108206,"title":108207,"dynasty":124,"author":22598,"museum":56,"description":108208,"tags":108209,"thumbUrl":108210,"material":84,"size":84,"collection":84,"collections":108211,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108212},202258,"ting-gao-mu-ye-tu-zhou-chen-ji-ru-202258","亭皋木叶图轴","寒林积素，远山静默如卧，几株枯木疏枝横斜，与江畔茅亭相映成趣。水墨晕染间，山石以简括皴法勾勒肌理，笔墨苍润中透着空灵。画面无喧嚣，唯余天地间的清寂，似可听雪落簌簌，感冬日萧寒里的悠然心境，尽显文人画的淡远之致。",[24,7,165,128,132,29,130,331,171,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fa30439a67528208aefb5a352c4063c.jpg",[],"b6aa95",{"id":108214,"slug":108215,"title":6663,"dynasty":54,"author":46823,"museum":56,"description":108216,"tags":108217,"thumbUrl":108218,"material":84,"size":84,"collection":117,"collections":108219,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108220},202140,"zhu-shi-tu-zhou-wu-zhao-202140","墨竹丛生，枝干挺拔有节，竹叶层叠纷扬，笔触利落灵动，墨色浓淡交织，似含清风拂动之姿。旁侧孤石以简练线条勾勒，皴擦间显苍劲质感，与秀逸之竹相衬，暗蕴文人“竹石同心”的清雅意趣。整幅笔墨简练却气韵生动，将竹的高洁与石的沉稳融于一体，尽显传统文人画的雅致风骨。",[24,7,165,128,132,167,171,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75f91983f7f718697dee434b8ab0179c.jpg",[117],"69472f",{"id":108222,"slug":108223,"title":108224,"dynasty":54,"author":3403,"museum":56,"description":108225,"tags":108226,"thumbUrl":108227,"material":84,"size":84,"collection":84,"collections":108228,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108229},202127,"liao-hua-cheng-shan-wu-chang-shuo-202127","蓼花成扇","蓼花垂垂如缀，藤蔓缠绕间笔力苍劲尽显。墨叶以浓淡枯湿铺陈层次，红花设色明艳却不艳俗，与墨色相映成趣。笔意融篆隶筋骨，线条如铁画银钩，兼具金石气与写意韵致，老辣朴拙中藏生机。扇面咫尺空间，盎然意趣盈溢，是吴氏花鸟典型风貌——以书入画，以印入画，笔墨酣畅，形神兼备。",[24,7,1131,61,27,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5205c0366ea982811e2a2c0862801ac6.jpg",[],"b9b3a9",{"id":108231,"slug":108232,"title":6663,"dynasty":54,"author":80734,"museum":56,"description":108233,"tags":108234,"thumbUrl":108235,"material":84,"size":84,"collection":117,"collections":108236,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":80739},202004,"zhu-shi-tu-zhou-xia-hui-202004","墨竹数竿挺拔向上，竹叶以焦墨挥写，笔触劲利如削，浓淡错落间尽显层次感。竹下怪石嶙峋，淡墨晕染出石之肌理，与浓墨竹枝形成虚实对比，苍劲中见秀逸。整幅以水墨为韵，笔墨淋漓，既得竹之劲节，又显石之沉稳，尽显清雅意趣与笔墨功底，仿佛可闻竹影婆娑之声，观之令人心静。",[24,7,165,128,167,171,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7401a884d3795a951c0fd384cac228bf.jpg",[117],{"id":108238,"slug":108239,"title":15906,"dynasty":54,"author":84639,"museum":56,"description":108240,"tags":108241,"thumbUrl":108242,"material":84,"size":84,"collection":117,"collections":108243,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":84644},201994,"mo-mei-tu-zhou-tong-yu-201994","此图以水墨写梅，老干以焦墨挥写，盘曲苍劲如铁铸，笔力沉雄顿挫；新枝挺秀上扬，线条刚健洒脱。花朵以淡墨圈点，蕊萼浓墨点染，疏密相间，清气袭人。画面留白疏朗，墨色层次分明，尽显梅花“疏影横斜”的韵致。题诗与梅花相映成趣，诗画交融，文人气息浓厚。画家借梅花傲雪凌霜之姿，寄托自身高洁孤傲的情怀，笔墨间饱含对梅品的推崇，亦展现清代文人画诗书画印合一的艺术特色。",[24,165,128,371,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c03881bad34a1e6b2e3108206a049a2.jpg",[117],{"id":108245,"slug":108246,"title":15906,"dynasty":54,"author":108247,"museum":56,"description":108248,"tags":108249,"thumbUrl":108250,"material":84,"size":84,"collection":84,"collections":108251,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108252},201977,"mo-mei-tu-zhou-hu-da-chun-201977","胡大椿","梅枝盘曲如铁，墨色浓淡相宜，老干以苍劲笔触写就，皴擦间尽显嶙峋风骨；新梢轻逸，花瓣圈点简洁，或聚或散，墨韵清雅。构图疏密错落，留白处见空灵，梅之孤高淡雅溢于绢素。笔墨相生，干湿互济，将梅花迎春之姿与文人逸趣融于一体，意境幽远，尽显传统文人画的雅致情韵。",[24,7,165,128,371,208,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0a0a4be0a552b143b986971c2ece609.jpg",[],"815d2f",{"id":108254,"slug":108255,"title":108256,"dynasty":54,"author":108257,"museum":56,"description":108258,"tags":108259,"thumbUrl":108260,"material":84,"size":84,"collection":117,"collections":108261,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108262},201974,"chui-zhu-tu-zhou-shi-ming-gao-201974","垂竹图轴","史鸣皋","墨竹垂悬，枝叶纷披，浓淡干湿间尽显萧散之致。笔触洒脱不拘，竹叶或聚或散，或浓或淡，似携清风摇曳，姿态万千。枝干以枯润之墨写就，苍劲中见柔韧，留白处意蕴悠长，与右侧题款、朱印相映成趣，尽显文人画的雅致随性。整幅画作不刻意求工，简淡中藏生机，传递出清逸出尘的格调。",[24,128,165,167,208,133,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd696700f03abaaf0b230648f8d7da03d.jpg",[117],"cdbaa4",{"id":108264,"slug":108265,"title":55055,"dynasty":124,"author":108266,"museum":56,"description":108267,"tags":108268,"thumbUrl":108269,"material":84,"size":84,"collection":117,"collections":108270,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108271},201775,"mo-zhu-tu-zhou-lu-de-zhi-201775","鲁得之","墨竹枝干挺秀，竹叶以水墨挥洒，浓淡相济，疏密有致，尽显竹之劲节虚心。笔意清逸，兼具书写之趣，旁配行书题跋，书画交融，韵致天成。整幅作品简而不薄，淡而有味，于笔墨间流露文人风骨，仿佛竹影摇曳，清气满纸。",[24,7,165,128,133,167,208,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F979603b05764233a6bb02158afe9385d.jpg",[117],"bdada5",{"id":108273,"slug":108274,"title":69027,"dynasty":124,"author":125,"museum":56,"description":108275,"tags":108276,"thumbUrl":108278,"material":84,"size":84,"collection":84,"collections":108279,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108280},201645,"shu-hua-he-bi-juan-shen-zhou-201645","此卷书画合璧，左侧行书笔势流畅，结体舒展，墨色浓淡得宜，尽显文人书法之韵；右侧水墨绘菊，枝叶以写意笔法挥写，线条灵动劲健，花朵俯仰有致，淡雅中见生机。书画互衬，融诗画才情于一体，尽显文人情趣，意境清幽隽永，耐人寻味。",[133,128,61,376,7,108277],"长","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F661685d0c4ed5b22acee9a78c4d3ae71.jpg",[],"b2aa9e",{"id":108282,"slug":108283,"title":108284,"dynasty":124,"author":15464,"museum":56,"description":108285,"tags":108286,"thumbUrl":108287,"material":84,"size":84,"collection":136,"collections":108288,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108289},201466,"xue-tu-zhou-xie-shi-chen-201466","雪图轴","画面层峦覆雪，枯枝凝霜，苍莽间透着清寂。山间楼阁精巧，界画线条挺劲规整，与山水的皴擦晕染相契，既见匠作之工，又显自然之趣。林木疏密错落，墨色浓淡交织，雪的素净与树的遒劲对比鲜明，流露文人雅士居停的安闲意韵。小径隐现雪间，似有行者，为清冷之境添一丝活气。构图深远有致，笔墨兼融雄浑与细腻，将冬日山水的苍茫静谧与人间烟火的淡远融于一卷。",[24,7,165,95,29,132,97,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897995f796a687645c88f83c890b4503.jpg",[136],"6e6048",{"id":108291,"slug":108292,"title":24691,"dynasty":124,"author":1270,"museum":56,"description":108293,"tags":108294,"thumbUrl":108295,"material":84,"size":84,"collection":68,"collections":108296,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108297},201464,"ping-ju-tu-zhou-sun-ke-hong-201464","瓶插秋菊，墨痕流转间尽得清雅之致。花瓣以淡墨勾勒，层叠如丝，蕊心浓墨点染，生机暗蕴；叶片或舒或卷，墨色浓淡相衬，带露含风之态毕现。素瓶无饰，线条简括，与丛菊相映成趣。四周题跋林立，行书笔意洒脱，诗语与画境交融，彰显文人画“诗书画”合一的韵致。菊花凌霜而开，此作借其孤高之姿，抒文人淡泊心境，笔墨间既有写意的率真，又藏细腻的情味，尽显晚明文人画的雅致风骨。",[24,7,604,169,128,133,61,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b9f26333f1da2bb96e57dc890cee71b.jpg",[68],"cfbca3",{"id":108299,"slug":108300,"title":108301,"dynasty":124,"author":2268,"museum":56,"description":108302,"tags":108303,"thumbUrl":108304,"material":84,"size":84,"collection":136,"collections":108305,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108306},201438,"fang-zhao-meng-fu-qiu-shan-tu-zhou-dong-qi-chang-201438","仿赵孟頫秋山图轴","山峦层叠起伏，淡墨皴染间显深远意境，云雾缥缈缠绕峰麓，虚实相映成趣。苍松与枯树错落分布，溪流瀑布穿涧而下，动静交织；山间屋舍隐约可见，添些许生趣却不扰清宁。笔墨清润雅致，线条灵动，秋意的疏淡与悠远漫溢画面，尽显文人画的空灵韵味。",[24,7,29,128,27,132,330,99,331,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9e7848eb187a85b17e6cc15312be636.jpg",[136],"7f775e",{"id":108308,"slug":108309,"title":3629,"dynasty":54,"author":9742,"museum":56,"description":108310,"tags":108311,"thumbUrl":108312,"material":84,"size":84,"collection":136,"collections":108313,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108314},201422,"xian-shan-lou-ge-tu-zhou-wu-li-201422","画面以青绿设色晕染山峦，层叠起伏间云雾缭绕，似将仙境铺展眼前。山间楼阁隐于松荫，苍松古拙虬劲，松针细密带生机。山石用皴法勾勒，线条沉稳，设色雅致，融青绿明丽与文人清幽于一体。云雾虚实相生，使山川更显空灵。整体静谧悠远，松涛山风仿佛可闻，引观者入绝尘之境。",[26,27,29,97,132,24,165,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61e2c817d9edc4e3a893135c5a0524f2.jpg",[136],"cec2b1",{"id":108316,"slug":108317,"title":17555,"dynasty":124,"author":1058,"museum":56,"description":108318,"tags":108319,"thumbUrl":108320,"material":84,"size":84,"collection":44,"collections":108321,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108322},201411,"feng-tian-xing-du-tu-zhou-tang-yin-201411","苍松虬曲如苍龙盘卧，枝干交错间藤蔓垂悬，松针以浓墨点簇，疏密有致。石矶旁老牛徐行，牧童侧坐牛背，手持短笛，神态悠然自得。笔墨兼工带写，松干用劲挺线条勾勒，山石以皴擦表现肌理，水墨晕染层次丰富，淡墨铺陈背景，浓墨点睛，尽显雅致。构图虚实相生，苍劲古松与闲适牧童相映，传递出田园恬淡之趣，蕴含文人画的诗意与情韵。",[24,128,132,102,331,96,165,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd83ba742bff69fe1113dfbcc055c27aa.jpg",[44],"b2a79a",{"id":108324,"slug":108325,"title":108326,"dynasty":124,"author":204,"museum":56,"description":108327,"tags":108328,"thumbUrl":108329,"material":84,"size":84,"collection":44,"collections":108330,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108331},201404,"yuan-yang-shi-nv-tu-zhou-chou-ying-201404","鸳鸯仕女图轴","画面中仕女温婉伫立，衣袂轻扬间尽显娴雅之态，身旁幼童仰首，似在聆听絮语，情态毕肖。近处湖石玲珑，草木疏秀，虬枝老树斜出，枝间花叶细碎，清逸自生。笔墨工致细腻，线条流畅婉转，设色淡雅却含精致，将明代工笔人物的雅致韵味凝于尺幅。景物与人物相融，静谧悠然的氛围漫溢开来，似可触古时闲逸时光的温度。",[28,27,96,166,171,331,24,7,165,208,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8003d57393fb82b135b5e81813c1f7ea.jpg",[44],"bab2a7",{"id":108333,"slug":108334,"title":590,"dynasty":54,"author":9529,"museum":56,"description":108335,"tags":108336,"thumbUrl":108337,"material":84,"size":84,"collection":84,"collections":108338,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108339},201385,"fang-huang-gong-wang-fu-chun-shan-ju-tu-juan-wang-hui-201385","此卷追摹黄公望《富春山居图》神韵，山峦层叠绵延，以披麻皴勾勒肌理，线条温润内敛。云雾轻萦峰峦，虚实相映间营造出深远空濛的意境。林木疏密有致，墨色浓淡相宜，尽显苍润生机；溪涧蜿蜒穿谷，村落隐现于林麓之间，暗合天人合一之趣。王翚以精湛笔墨，既传承原作萧散简远的气韵，又融入自身细腻的章法布局，古意盎然却不失鲜活，为仿古山水的典范之作。",[164,24,7,25,29,128,132,108190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff802259ff543e650420dbddbb2735ea6.jpg",[],"baad93",{"id":108341,"slug":108342,"title":108343,"dynasty":54,"author":9704,"museum":56,"description":108344,"tags":108345,"thumbUrl":108346,"material":84,"size":84,"collection":136,"collections":108347,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108348},201376,"shu-hua-tu-juan-kun-can-201376","书画图卷","此卷书画相生，墨韵流转间见丘壑深心。书法以狂草写就，笔势奔腾如泉泻石罅，墨色浓淡枯润交织，尽显笔底豪情；绘卷则层峦叠嶂，皴擦点染间山石肌理分明，林木葱茏带烟霞之气，亭舍隐于溪畔，孤舟泛于碧波，一派林泉隐逸之致。山与水的呼应，书与画的交融，凝成苍浑气象，藏着文人寄情丘壑的幽怀。",[24,7,25,29,840,132,99,129,130,4438,28172,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9870b39d6ed9db60718d6d229daa3eb.jpg",[136],"ccc8c0",{"id":108350,"slug":108351,"title":94530,"dynasty":124,"author":5798,"museum":56,"description":108352,"tags":108353,"thumbUrl":108354,"material":84,"size":84,"collection":136,"collections":108355,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108356},201355,"hua-shan-zhang-hong-201355","画面以水墨皴染交织，层叠山石纹理毕现，苍劲松枝虬曲伸展。中央崖畔茅舍隐约，似有文人对坐品茗，意境清幽淡远。两侧峰峦错落，云雾轻笼其间，笔法兼具细腻勾勒与洒脱晕染，山石的嶙峋质感与松木的挺拔姿态生动传神。构图疏密有致，将山水的静谧深邃与人文的雅致闲逸相融，尽显明代文人山水的写意意趣。",[24,7,1131,128,132,29,372,23362,131,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F755acd237f16cc8bb4c5c5e4cd927210.jpg",[136],"d1c6b4",{"id":108358,"slug":108359,"title":108360,"dynasty":54,"author":108187,"museum":56,"description":108361,"tags":108362,"thumbUrl":108363,"material":84,"size":84,"collection":136,"collections":108364,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108365},201342,"fu-yan-yuan-xiu-tu-deng-shan-ye-wang-jian-201342","浮烟远岫图等扇页","近坡苍木虬劲，山石皴擦有致，肌理分明；中景溪流萦回，林木疏密相间，生机暗藏；远景峰岫连绵，烟霭轻笼如纱，渐次淡远。笔墨取法元人，干笔皴擦见古拙，湿墨晕染显空灵，墨色层次丰富，设色淡雅温润。构图于扇面有限空间内铺展开合，景致精巧却意境悠远，尽显清旷闲逸之趣，是师古而能化的山水佳构。",[1131,29,27,132,24,7,131,4438,99,171,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfb1a5198e5852418cd4fb934ee9c012.jpg",[136],"c8bcab",{"id":108367,"slug":108368,"title":108369,"dynasty":54,"author":9529,"museum":56,"description":108370,"tags":108371,"thumbUrl":108372,"material":84,"size":84,"collection":136,"collections":108373,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":77280},201339,"zhong-jiang-die-zhang-tu-juan-wang-hui-201339","重江叠嶂图卷","层峦叠嶂绵延铺展，江水蜿蜒穿流其间，长卷开合间尽显山水之胜。山石以皴法刻画肌理，笔墨苍劲又含秀逸；云雾借水墨晕染，朦胧中见深远意境。林木错落有致，亭台隐约点缀，动静相生，藏露得宜，于自然丘壑间融注人文情韵。师法宋元诸家而自出机杼，笔墨醇厚，构图深远，是清代山水画中兼具传统意蕴与个人风格的精品。",[24,25,29,128,132,130,34,496,6004,7,164,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf9d82204898ee5bcb93d43fbeb2a21d.jpg",[136],{"id":108375,"slug":108376,"title":108377,"dynasty":54,"author":44979,"museum":56,"description":108378,"tags":108379,"thumbUrl":108381,"material":84,"size":84,"collection":136,"collections":108382,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":77280},201330,"mei-hua-liu-quan-tu-juan-ye-xin-201330","梅花流泉图卷","画面以清隽淡远的笔墨铺展山水之境，寒梅疏枝绽于崖畔，流泉潺潺穿石而过，山石以简洁皴法勾勒肌理，树木萧疏尽显冬日清寂。远处云雾轻笼，屋舍隐现于林麓间，层次叠嶂间透着文人雅士的闲适意趣。笔墨秀雅，皴染结合，淡墨晕染出悠远空濛的氛围，尽显自然静谧与生机，是清初金陵画派清润画风的典型体现。",[24,7,25,29,371,128,132,108380,23],"淡远意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F777986f95ff99c8394e58b3fb4bd35b7.jpg",[136],{"id":108384,"slug":108385,"title":108386,"dynasty":124,"author":26321,"museum":56,"description":108387,"tags":108388,"thumbUrl":108389,"material":84,"size":84,"collection":44,"collections":108390,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108391},201304,"song-zhu-ren-wu-tu-zhou-li-shi-da-201304","松竹人物图轴","古松虬枝盘曲，松针墨点簇聚，苍劲之态跃然纸上；修竹亭亭玉立，竿影疏朗交错，与老松相映成趣，营造出清幽静雅的林下氛围。林间三人衣袂轻扬，或行或语，神态悠然，似在共赏松竹之韵，尽显文人雅士的林下清欢。笔墨细腻传神，松皮以皴擦显肌理，竹叶撇捺见生机，人物线条简练生动，整体意境恬淡自然，暗含对隐逸生活的向往与自然生机的赞颂。",[24,7,165,96,167,372,132,128,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7133f5c5bcf688421b35e0ed53921989.jpg",[44],"9c8f79",{"id":108393,"slug":108394,"title":108395,"dynasty":54,"author":6778,"museum":56,"description":108396,"tags":108397,"thumbUrl":108398,"material":84,"size":84,"collection":84,"collections":108399,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108400},201269,"tao-shi-mu-dan-tu-zhou-zhao-zhi-qian-201269","桃实牡丹图轴","虬干盘曲的桃树生机勃发，硕大桃实粉白相间，晕染得宜，尽显饱满圆润之态。树下牡丹开得热烈，姹紫嫣红与翠叶交叠，石体嶙峋笔墨苍劲。以篆隶笔意入画，线条刚健含金石气，设色浓艳却清雅，花卉雍容与树木古拙相融，满幅皆是富贵长寿的吉庆意蕴，尽显海派绘画的鲜活生机。",[24,7,165,61,263,2123,27,94523],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feba6d095d111a7ddc05d2d0b9edeeffa.jpg",[],"a19484",{"id":108402,"slug":108403,"title":31898,"dynasty":54,"author":1460,"museum":56,"description":108404,"tags":108405,"thumbUrl":108406,"material":84,"size":84,"collection":84,"collections":108407,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108408},201266,"mei-zhu-tu-zhou-shi-tao-201266","石涛以水墨写梅竹，梅干虬曲苍劲，墨色浓淡交错间尽显笔意纵逸；竹枝挺拔有姿，竹叶劲挺勾勒，与梅枝的婉转形成刚柔相济之趣。梅花疏影清雅，淡墨点染花瓣，似含暗香浮动。左侧题跋笔墨流畅，与画面气韵相融，朱红印章点缀，更添文人雅韵。整幅画作诗书印合一，既有自然生趣，又藏画家孤傲风骨，是其写意花鸟的典型之作。",[24,7,165,128,61,371,167,208,77186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0cd325626a545294fe0a8e93aa20161.jpg",[],"c4bcb0",{"id":108410,"slug":108411,"title":108412,"dynasty":54,"author":5879,"museum":56,"description":108413,"tags":108414,"thumbUrl":108415,"material":84,"size":84,"collection":68,"collections":108416,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108417},201262,"xin-yan-chuan-liu-tu-zhou-hua-yan-201262","新燕穿柳图轴","垂柳依依，淡墨挥写枝条，浅蓝晕染柳叶，柔丝飘拂若烟；新燕几只，或停栖柳梢梳羽，或穿飞其间振翅，墨色浓淡相宜，形神兼备。燕子羽翼以焦墨点染，笔触简括却动感十足，与柳丝温婉形成对比，春意盎然。旁附行书题跋，笔意流畅，诗画交融，尽显文人画诗书画印合一之妙。整体风格清新雅致，写意洒脱，于灵动中见生机，传递恬淡自然的春日意趣。",[24,7,128,27,61,211,133,165,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c27ce5ec0b473f649ec9d7f02eb0976.jpg",[68],"cec8c1",{"id":108419,"slug":108420,"title":108421,"dynasty":18,"author":4899,"museum":56,"description":108422,"tags":108423,"thumbUrl":108424,"material":84,"size":84,"collection":42,"collections":108425,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108426},201261,"zhou-song-shi-pian-tu-juan-ma-he-zhi-201261","周颂十篇图卷","《周颂十篇图卷》以诗画交织的长卷形式，将《诗经·周颂》的礼乐篇章化为可视的典雅图景。画家以灵动婉转的兰叶描（白描一脉）勾勒人物与景物，线条如兰叶舒展，兼具柔劲之美。画面中，祭祀的庄穆、宴乐的和融错落呈现，亭台掩映于葱郁林木间，人物神态鲜活自然，设色淡雅温润，尽显南宋文人画的清逸韵致。诗与画相映成趣，既是对经典的生动诠释，也凝聚着古代礼乐文化的精神内核，堪称诗画合璧的艺术珍品。",[25,188,27,96,130,28,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f4055e9b63dc77045d7c719f4a798a6.jpg",[42],"8e7756",{"id":108428,"slug":108429,"title":108430,"dynasty":124,"author":18090,"museum":56,"description":108431,"tags":108432,"thumbUrl":108433,"material":84,"size":84,"collection":136,"collections":108434,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":108435},201260,"dan-feng-hong-shu-tu-zhou-lan-ying-201260","丹峰红树图轴","这幅画以绚烂秋景入题，丹崖赤壁如燃，艳红树木层叠，青蓝山石与浅白枝叶相映成趣。山石勾勒刚劲，斧劈皴法显雄浑气象；树木点染细致，设色浓艳却不失清雅。山间小径蜿蜒隐现，似有人物凭栏观景，添生机意趣。整体融浙派笔力与文人雅致，色彩大胆鲜明，红树丹峰构成视觉核心，尽显秋山胜境的瑰丽多姿。",[24,7,165,27,29,132,28,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94d33ebbb47461cec7f85e4a11355ae4.jpg",[136],"786146",{"id":108437,"slug":108438,"title":53220,"dynasty":124,"author":27493,"museum":300,"description":108439,"tags":108440,"thumbUrl":108441,"material":692,"size":1293,"collection":84,"collections":108442,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":199},290972,"hua-luo-han-zhou-chen-yuan-290972","陈远，[明]字中复，一字中学，金陵（今南京）人，晚居四明（今浙江绍兴）。",[24,165,164,7,187,96,18331,27,331,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf4ad3156dd881b59658c77f50cb0b7.jpg",[],{"id":108444,"slug":108445,"title":108446,"dynasty":54,"author":223,"museum":300,"description":108447,"tags":108448,"thumbUrl":108449,"material":692,"size":1293,"collection":84,"collections":108450,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},290197,"bei-ye-hua-luo-han-bing-shu-zan-tu-ce-yuan-ban-gu-huan-bao-zang-ben-yi-ming-290197","贝叶画罗汉并书赞图册原版古欢宝藏本","是以菩提树叶为素材媒介创作的画册。将菩提叶特殊处理后，再平铺在蓝色底纸上作画。",[23,24,7,59,64,572,187,18381,18331,96,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9a0254a3ae764a3bcc3a3baf65daba0.jpg",[],{"id":108452,"slug":108453,"title":108454,"dynasty":222,"author":223,"museum":300,"description":27674,"tags":108455,"thumbUrl":108456,"material":692,"size":1293,"collection":84,"collections":108457,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},290116,"dun-huang-yi-shu-409-yi-ming-290116","敦煌遗书409",[25,64,7322,1692,840,187,65825,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cc5a6ef9ba7c827efe42584b4589c8b.jpg",[],{"id":108459,"slug":108460,"title":108461,"dynasty":222,"author":223,"museum":300,"description":27674,"tags":108462,"thumbUrl":108463,"material":692,"size":1293,"collection":84,"collections":108464,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},290041,"dun-huang-yi-shu-391-yi-ming-290041","敦煌遗书391",[1692,7322,25,7,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F672693bcc82654aa1b136562bc2cafc2.jpg",[],{"id":108466,"slug":108467,"title":108468,"dynasty":222,"author":223,"museum":300,"description":27674,"tags":108469,"thumbUrl":108470,"material":692,"size":1293,"collection":84,"collections":108471,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},289866,"dun-huang-yi-shu-382-yi-ming-289866","敦煌遗书382",[25,64,7322,1692,187,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f1b2650f75094c88cdfb2353e1f1015.jpg",[],{"id":108473,"slug":108474,"title":108475,"dynasty":222,"author":223,"museum":300,"description":27674,"tags":108476,"thumbUrl":108477,"material":692,"size":1293,"collection":84,"collections":108478,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},289863,"dun-huang-yi-shu-379-yi-ming-289863","敦煌遗书379",[1692,7322,64,572,25,187,5459,208,7,76763],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F194d02e4c2c903afc9b55ce88bf6ddd6.jpg",[],{"id":108480,"slug":108481,"title":108482,"dynasty":222,"author":223,"museum":300,"description":27674,"tags":108483,"thumbUrl":108484,"material":692,"size":1293,"collection":84,"collections":108485,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},289846,"dun-huang-yi-shu-362-yi-ming-289846","敦煌遗书362",[1692,64,7322,25,187,572,7,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e045f0fbdf5bf44cb748c047c63148c.jpg",[],{"id":108487,"slug":108488,"title":108489,"dynasty":222,"author":223,"museum":300,"description":27674,"tags":108490,"thumbUrl":108491,"material":692,"size":1293,"collection":84,"collections":108492,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},289664,"dun-huang-yi-shu-300-yi-ming-289664","敦煌遗书300",[25,1692,7322,64,572,187,5459,10762,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc86466dfcaa1aabec1b62d0083c2c2c6.jpg",[],{"id":108494,"slug":108495,"title":108496,"dynasty":222,"author":223,"museum":300,"description":27674,"tags":108497,"thumbUrl":108498,"material":692,"size":1293,"collection":84,"collections":108499,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},289661,"dun-huang-yi-shu-297-yi-ming-289661","敦煌遗书297",[1692,7,25,64,7322,572,187,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31fff868cac5309658874f9e77093c74.jpg",[],{"id":108501,"slug":108502,"title":108503,"dynasty":222,"author":223,"museum":300,"description":27674,"tags":108504,"thumbUrl":108505,"material":692,"size":1293,"collection":84,"collections":108506,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},289645,"dun-huang-yi-shu-294-yi-ming-289645","敦煌遗书294",[1692,7322,64,572,25,187,18381,5459,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3abf3ef36a9448e8b9ef6c4cf7cf8d0.jpg",[],{"id":108508,"slug":108509,"title":108510,"dynasty":222,"author":223,"museum":300,"description":27674,"tags":108511,"thumbUrl":108512,"material":692,"size":1293,"collection":84,"collections":108513,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},289632,"dun-huang-yi-shu-281-yi-ming-289632","敦煌遗书281",[1692,25,64,572,7322,187,5459,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dbe5a3794c50660c12465278fe29065.jpg",[],{"id":108515,"slug":108516,"title":108517,"dynasty":222,"author":223,"museum":300,"description":27674,"tags":108518,"thumbUrl":108519,"material":692,"size":1293,"collection":84,"collections":108520,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},289629,"dun-huang-yi-shu-278-yi-ming-289629","敦煌遗书278",[1692,7322,64,25,572,5459,7,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34a478dd43c7689ce210f8ebf543a550.jpg",[],{"id":108522,"slug":108523,"title":108524,"dynasty":222,"author":223,"museum":300,"description":27674,"tags":108525,"thumbUrl":108526,"material":692,"size":1293,"collection":84,"collections":108527,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},289434,"dun-huang-yi-shu-245-yi-ming-289434","敦煌遗书245",[1692,64,7322,572,187,5459,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9399d446ac3d52455cefdde48eb9a01e.jpg",[],{"id":108529,"slug":108530,"title":108531,"dynasty":222,"author":223,"museum":300,"description":27674,"tags":108532,"thumbUrl":108533,"material":692,"size":1293,"collection":84,"collections":108534,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},289432,"dun-huang-yi-shu-243-yi-ming-289432","敦煌遗书243",[1692,64,7322,572,187,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F229ed0aba34156647027337d8d3db042.jpg",[],{"id":108536,"slug":108537,"title":108538,"dynasty":222,"author":223,"museum":300,"description":27674,"tags":108539,"thumbUrl":108540,"material":692,"size":1293,"collection":84,"collections":108541,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},289430,"dun-huang-yi-shu-241-yi-ming-289430","敦煌遗书241",[7,25,64,7322,572,18381,65825,5459,1692],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48096cd2612e73b793fe6d9da0449eb4.jpg",[],{"id":108543,"slug":108544,"title":108545,"dynasty":222,"author":223,"museum":300,"description":27674,"tags":108546,"thumbUrl":108547,"material":692,"size":1293,"collection":84,"collections":108548,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},289411,"dun-huang-yi-shu-222-yi-ming-289411","敦煌遗书222",[1692,25,64,7322,572,187,5459,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82bcc4c823b5cb588aad73b99886629d.jpg",[],{"id":108550,"slug":108551,"title":108552,"dynasty":222,"author":223,"museum":300,"description":27674,"tags":108553,"thumbUrl":108554,"material":692,"size":1293,"collection":84,"collections":108555,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},289393,"dun-huang-yi-shu-204-yi-ming-289393","敦煌遗书204",[25,64,7322,840,1692,187,5459,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25a3881d7b5d10110465f6539302e0fc.jpg",[],{"id":108557,"slug":108558,"title":108559,"dynasty":222,"author":223,"museum":300,"description":27674,"tags":108560,"thumbUrl":108561,"material":692,"size":1293,"collection":84,"collections":108562,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},289391,"dun-huang-yi-shu-202-yi-ming-289391","敦煌遗书202",[1692,7322,64,25,572,5459,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefd76aefc7c5087a35f88940ed771861.jpg",[],{"id":108564,"slug":108565,"title":108566,"dynasty":54,"author":223,"museum":300,"description":108567,"tags":108568,"thumbUrl":108569,"material":692,"size":1293,"collection":84,"collections":108570,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},288192,"bo-lin-cai-hui-tu-ce-er-yi-ming-288192","伯麟彩绘图册(二)","此作以工笔淡彩晕染出清幽山野，奇崛山岩间古木虬劲苍郁，溪谷蜿蜒衬出林丘雅致。山道间三人情态鲜活：持锄者步履轻快，似刚辍耕而归，负货二人携物赶路，朴拙衣饰尽显边地气韵，将西南百姓耕织入市的日常烟火，融于山水诗意里。\n\n线条细腻柔和，敷色调雅，图文相映，既铺陈丘林幽境，又描摹世俗暖意，笔底藏着对黎民生计的细致体察，是纪实风物与山水意趣相融的佳作。",[24,7,59,27,96,29,131,34,15899],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4d482c844a8238d8d54750deccef42d.jpg",[],{"id":108572,"slug":108573,"title":108574,"dynasty":54,"author":223,"museum":300,"description":108575,"tags":108576,"thumbUrl":108577,"material":692,"size":1293,"collection":84,"collections":108578,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},288189,"bo-lin-cai-hui-tu-ce-wu-yi-ming-288189","伯麟彩绘图册(五)","此作以工笔彩绘定格边地族群风貌，笔触匀净细腻，设色调和明丽，带着清代职贡类绘事独有的纪实底色。画师以严谨的采风视角，铺陈边地衣冠仪范与日常情态，将西南族群的鲜活群像晕染于绢素之上，既恪守官方图录的翔实纪实性，又暗融灵动的烟火意趣，让百年前的边地风物清晰可感，在纤毫勾勒之间，藏着对异域人文的细致体察。",[24,7,59,27,96,12803],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafb9548723873c35c4770f13ce1fdf22.jpg",[],{"id":108580,"slug":108581,"title":108582,"dynasty":222,"author":223,"museum":300,"description":27674,"tags":108583,"thumbUrl":108584,"material":692,"size":1293,"collection":84,"collections":108585,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},287986,"dun-huang-yi-shu-178-yi-ming-287986","敦煌遗书178",[64,7322,25,1692,572,24611,5459,7,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19fa6cc4c65ff85f13b9f04918a1dd9c.jpg",[],{"id":108587,"slug":108588,"title":11976,"dynasty":124,"author":108589,"museum":300,"description":108590,"tags":108591,"thumbUrl":108592,"material":692,"size":1293,"collection":84,"collections":108593,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},287682,"qi-yan-lv-shi-zhang-feng-yi-287682","张凤翼","张凤翼，字伯起，号灵虚，别署灵墟先生、冷然居士。南直隶苏州府长洲（今江苏苏州）人。与弟燕翼、献翼并有才名，时人号为“三张”。嘉靖四十三年（1564）与燕翼皆中举人。\n为人狂诞，擅作曲。凤翼所著戏曲，有传奇《红拂记》、《祝发记》、《窃符记》、《灌园记》《扊扅记》、《虎符记》（以上六种，合题《阳春集》）另据傅惜华《明代传奇全目》著录，尚有《平播记》、《芦衣记》、《玉燕记》三种，均无传本。\n诗文有《处实堂集》八卷，及《梦占类考》、《海内名家工画能事》、《文选纂注》、《四书句解》、《瑞兰阁景行录》、《清河逸事》、《自订年谱》、《国朝诗管画集》等；另有《敲月轩词稿》，久已散佚。曾为《水浒传》作序。",[1131,64,133,208,7,24,11976],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cab168faf1882791c8499447edf59e7.jpg",[],{"id":108595,"slug":108596,"title":108597,"dynasty":124,"author":101725,"museum":300,"description":101726,"tags":108598,"thumbUrl":108599,"material":692,"size":1293,"collection":84,"collections":108600,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},287676,"zeng-bie-shi-wang-ao-287676","赠别诗",[7,64,165,133,208,108597],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86397b19de35584cd14cc2cd2ecd977a.jpg",[],{"id":108602,"slug":108603,"title":108604,"dynasty":222,"author":223,"museum":300,"description":27674,"tags":108605,"thumbUrl":108606,"material":692,"size":1293,"collection":84,"collections":108607,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},287515,"dun-huang-yi-shu-158-yi-ming-287515","敦煌遗书158",[64,7322,1692,572,25,24611,187,5459,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae6547a1e7957b57ac1f9fa11108139b.jpg",[],{"id":108609,"slug":108610,"title":108611,"dynasty":222,"author":223,"museum":300,"description":27674,"tags":108612,"thumbUrl":108613,"material":692,"size":1293,"collection":84,"collections":108614,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},287499,"dun-huang-yi-shu-142-yi-ming-287499","敦煌遗书142",[1692,64,25,7322,572,7,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffde25f326e144a7a63d87a1d213360b5.jpg",[],{"id":108616,"slug":108617,"title":108618,"dynasty":222,"author":223,"museum":300,"description":27674,"tags":108619,"thumbUrl":108620,"material":692,"size":1293,"collection":84,"collections":108621,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},287483,"dun-huang-yi-shu-126-yi-ming-287483","敦煌遗书126",[64,7322,1692,25,572,5459,7,18381],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8c9971bdb5ef4776701176914caa238.jpg",[],{"id":108623,"slug":108624,"title":108625,"dynasty":144,"author":223,"museum":300,"description":108626,"tags":108627,"thumbUrl":108628,"material":692,"size":1293,"collection":84,"collections":108629,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},287335,"mo-tang-wu-dao-yuan-hui-luo-han-xiang-yi-ming-287335","摹唐吴道元绘罗汉像","此作落笔追摹前贤笔意，衣袂线条灵动舒展，暗合“吴带当风”的飘逸韵致。罗汉造像沉静端严，面容慈悲安和，静坐身姿沉稳肃穆，将禅意融于笔墨间。临摹者深悟原作神髓，既忠实还原道释画的雄浑庄严，又暗含摹古的雅致用心，细节处可见描摹功力深厚，把罗汉的静定禅韵刻画入微，尽显道释题材画作的静穆禅意，是一件兼具古意与匠心的摹本佳作。",[24,7,164,165,96,187,330,18331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8381fe13b461f3f866edb316bc41ded.jpg",[],{"id":108631,"slug":108632,"title":108633,"dynasty":54,"author":223,"museum":300,"description":108634,"tags":108635,"thumbUrl":108638,"material":692,"size":1293,"collection":84,"collections":108639,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},281511,"dong-yang-duan-hua-shan-shui-bi-yi-yi-ming-281511","东洋缎画山水壁衣","清王朝时段推行剃发易服，顺治九年（1652），钦定《服色肩舆条例》颁行，从此废除了明朝的冠冕、礼服以及汉族的一切服饰，但满族服饰同时吸收了明朝服饰的纹理图案。明代男子一律蓄发挽髻，着宽松衣，穿长统袜、浅面鞋；清时则剃发留辫，辫垂脑后，穿瘦削的马蹄袖箭衣、紧袜、深统靴。但官民服饰一律泾渭分明。 清朝是以满族统治者为主的政权机构，满族八旗服饰随朝代的变更冲进关内。旗人的风俗习惯影响着广大的中原地区。从公服开始逐渐推向常服。",[108636,108637,7,29,129,34,414,3386,27,234],"缎画","壁衣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde40cdc7ddaeafeef69f38e0c6750f72.jpg",[],{"id":108641,"slug":108642,"title":108633,"dynasty":54,"author":223,"museum":300,"description":108634,"tags":108643,"thumbUrl":108644,"material":692,"size":1293,"collection":84,"collections":108645,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},281509,"dong-yang-duan-hua-shan-shui-bi-yi-yi-ming-281509",[24,7,29,128,331,99,211,1824,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb5867c7bf080bf1aaf306792ae8ba5a.jpg",[],{"id":108647,"slug":108648,"title":108649,"dynasty":54,"author":223,"museum":300,"description":108650,"tags":108651,"thumbUrl":108652,"material":692,"size":1293,"collection":84,"collections":108653,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},280314,"huang-liu-zi-shu-hua-yin-qing-tian-shi-zhang-yi-ming-280314","“皇六子书画印”青田石章","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。\n古印章和书画一样，崇尚名人效应，讲究技艺水准。一般来说，篆刻作者以及印章属主的名气大小、地位高低和作品的价值成正比。但古印章和字画、陶瓷等热门品种又有所不同。由于藏家、行家相对较少，认知能力跟不上，以至于鉴定难度加大，认可上更挑剔、更严格。因此，对于名人作品的收藏或投资，一定要慎之又慎。即不仅要真，还要真得“好”、“精”、“开门”。要注意鉴别旧仿以及改刻、添款之作。\n古印章大多都有钮饰工艺，而钮工的精粗与否将直接影响到古印章的价值。钮饰雕琢奇巧、精致传神，薄意浮雕水平高超的，附加值亦随之提升。\n古印章的石材产地多，仅寿山、青田、昌化三地就有数百种之多，其质地高下、优劣参差不齐。一般来说，衡量石质有三点：一是直观颜色漂亮明艳、亮丽抢眼；二是质感好，即符合“细、腻、温、润、结、凝”之“六德”；三是产量稀少、外貌特殊，如上品母黄、芙蓉、封门、鸡血等名品。",[208,23848,938,69385,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc600612b69b6d151a91c0dbfac60cc1a.jpg",[],{"id":108655,"slug":108656,"title":108657,"dynasty":54,"author":223,"museum":300,"description":108650,"tags":108658,"thumbUrl":108659,"material":692,"size":1293,"collection":84,"collections":108660,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},280306,"shu-hua-xiao-yin-qing-tian-shi-zhang-yi-ming-280306","“书画小印”青田石章",[208,23848,69385,69386,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eb230addee88037f9adfa828c55f321.jpg",[],{"id":108662,"slug":108663,"title":108664,"dynasty":54,"author":223,"museum":300,"description":108665,"tags":108666,"thumbUrl":108668,"material":692,"size":1293,"collection":84,"collections":108669,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},273089,"lan-di-xiu-xi-zhi-ai-e-tu-jing-xin-yi-ming-273089","蓝地绣羲之爱鹅图镜心","此作以深蓝为底，晕染出幽远沉静的底色，流云舒展留白，铺就出淡逸空濛的意境。苍松蟠曲古拙，细密针脚勾勒出鳞皴纹理与舒展松针，尽显古木苍劲。\n\n画面之中，雅士负手而立，凝神望向稚童与白鹅，神态温雅悠然，将爱鹅的文人情思藏于眉目之间。旁侧仙草棕榈错落，祥云缭绕如幻，衬出几分仙逸雅致。整幅绣作工致细腻，针脚起落间晕染出草木灵韵、人物情态，将文人雅趣融于精工绣色里，尽显清隽古雅的古典意蕴。",[13534,234,12488,27,96,1144,2146,7546,108667,7],"羲之爱鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb559ec28e8866659d01a19ec013f65c3.jpg",[],{"id":108671,"slug":108672,"title":89466,"dynasty":54,"author":223,"museum":300,"description":108673,"tags":108674,"thumbUrl":108676,"material":692,"size":1293,"collection":84,"collections":108677,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},272988,"mu-bian-mi-se-di-xiu-shan-shui-tu-wei-ping-xin-yi-ming-272988","以针代笔，沿屏铺展山水长卷。远岫晕青染蓝，似含朝岚轻笼，林麓苍郁绣出层叠深浅，云烟以浅线虚勾留白，晕开空濛清逸。下幅水纹走线柔婉，摹写浪涛舒卷，间缀汀渚矮苇。\n\n整体以刺绣复刻青绿山水意趣，套色平针细腻柔和，将山川林泉的悠远层次尽数铺陈。把文人山水的笔墨雅意藏于千丝万缕间，沉静古雅的山居意韵缓缓晕开，尽显绣艺工巧与古典山水的空灵禅意。",[24,7,29,27,26,13534,108675,496,34,99],"围屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3abc83bbf4568113d15ad06d0c90a9b.jpg",[],{"id":108679,"slug":108680,"title":108681,"dynasty":54,"author":223,"museum":300,"description":104535,"tags":108682,"thumbUrl":108683,"material":692,"size":1293,"collection":84,"collections":108684,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},272536,"cao-guan-wu-cang-shu-hua-zhou-mo-jin-jia-lv-zi-shang-yun-tou-mo-yi-ming-272536","曹冠五藏书画舟墨-金夹绿字上云头墨",[8162,938,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d2fbb580692956962a24c0b58953557.jpg",[],{"id":108686,"slug":108687,"title":108688,"dynasty":54,"author":223,"museum":300,"description":108689,"tags":108690,"thumbUrl":108691,"material":692,"size":1293,"collection":84,"collections":108692,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},270384,"xiang-ya-gu-yu-shuo-diao-shu-hua-bian-su-mian-zhe-shan-yi-ming-270384","象牙股于硕雕书画边素面折扇","这柄折扇以象牙为骨，侧边浅镌书画，刀工清隽细腻，将笔墨意趣凝于方寸牙料之上。洒金素面匀净雅致，乌色扇边利落勾勒出舒展扇面，光影之下金箔细碎流动，自带沉静华贵的质感。整体形制温婉秀雅，将文房书画意趣与象牙雕刻工艺相融，尽显旧时文人赏玩雅物的审美意韵，是兼具工艺价值与收藏价值的文房妙品。",[1131,94756,69386,7,94781],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a86b03034a63db80cf55b561c248e85.jpg",[],{"id":108694,"slug":108695,"title":108696,"dynasty":54,"author":223,"museum":300,"description":108697,"tags":108698,"thumbUrl":108700,"material":692,"size":1293,"collection":84,"collections":108701,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},270198,"zong-zhu-bian-hei-mian-ni-jin-hua-shan-shui-tu-zheng-da-jin-shu-zhe-shan-yi-ming-270198","棕竹边黑面泥金画山水图郑大进书折扇","这柄折扇以乌亮漆面作底，泥金小楷题字其上，金彩与黑釉相映，暗生华贵雅韵。小楷笔致端秀匀停，结体工稳雅致，笔墨间尽显平和内敛的文人笔意。棕竹扇骨肌理温润古朴，与扇面相得益彰，整体形制清雅规整，是清代文房清玩的典型之作。将翰墨风雅藏于怀袖，开合之间尽显旧时文人随身相伴的闲情雅趣，把书卷气融于掌中清物，尽显文人案头赏玩的雅致意趣。",[1131,7,64,108699,133,29],"泥金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f470640bce7a379531df7502c1014a8.jpg",[],{"id":108703,"slug":108704,"title":108705,"dynasty":54,"author":223,"museum":300,"description":108706,"tags":108707,"thumbUrl":108709,"material":692,"size":1293,"collection":84,"collections":108710,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},267354,"xiu-ji-chu-dai-si-tu-juan-yi-ming-267354","绣鸡雏待饲图卷","此作用绣代笔，将两只雏鸡描摹得鲜活传神。一只昂首啾啾作乞食之态，绒羽蓬松柔软，针脚细密复刻出幼雏的稚拙娇憨；另一只引颈张望，似在寻索食源，纤毫毕现的肌理将雏鸡的灵动天真尽显。\n\n左侧题诗笔意端秀温婉，与绣面呼应，借雏鸡待饲暗喻生民盼哺，让这件绣品跳出工艺本身，兼具人文寄寓。整作以丝代墨，将闺阁绣艺的精巧与文人情思相融，素绢淡色间，把稚雏情态与恤民深意织就一处，淡朴雅致，余韵绵长。",[164,7,25,108708,27,61,75863,64,208,234],"绣品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafb22976b9bcabe81071a4a8c8ad6a55.jpg",[],{"id":108712,"slug":108713,"title":101219,"dynasty":54,"author":223,"museum":300,"description":101220,"tags":108714,"thumbUrl":108715,"material":692,"size":1293,"collection":84,"collections":108716,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},242582,"zhong-ke-chun-hua-ge-tie-yi-ming-242582",[64,7,5380,1590,133,840,208,23848,938,330,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6865654d6dd9013b851486566cf00e10.jpg",[],{"id":108718,"slug":108719,"title":94813,"dynasty":124,"author":223,"museum":300,"description":108720,"tags":108721,"thumbUrl":108722,"material":692,"size":1293,"collection":84,"collections":108723,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},242576,"dong-shu-tang-tie-yi-ming-242576","此帖墨色沉凝苍润，纸面带着旧时光晕染出的泛黄痕迹。刻工精妙入微，将原作笔意尽数留存，小楷点画灵动秀雅，提转之间尽显晋人尚韵的风神，结体端稳舒展，行气匀停流畅。\n\n字口虽经传拓依旧清晰可观，既有着法帖的规整肃穆，又不失尺牍自带的萧散意趣。整帖排布疏密合宜，笔锋的粗细变化与牵丝映带皆历历在目，带着复刻古帖的隽永质感，静静铺陈出古典笔墨的雅致意趣，尽显书法传承的厚重脉络。",[7,59,5380,1590,64,572,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab57f291b3ee9b5f20ab0629c84367f7.jpg",[],{"id":108725,"slug":108726,"title":108727,"dynasty":124,"author":223,"museum":300,"description":108728,"tags":108729,"thumbUrl":108730,"material":692,"size":1293,"collection":84,"collections":108731,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},242555,"bao-xian-tang-tie-yi-ming-242555","宝贤堂帖","此帖以刀锋追摹右军笔意，线条圆劲灵动，牵丝映带间尽显草书使转之精妙，将王羲之草法的潇洒韵致凝于石上。行气疏朗跌宕，字势欹正相生，把晋人尚韵的风神尽数留存。\n\n作为集古法帖，虽为刻本却忠实复刻了笔法的提按起伏，墨色苍古沉静，带着旧拓的朴拙质感。观之如见右军挥毫时的自在神采，将东晋草书的妍美放达与文人雅趣完美复刻，尽显帖学传承的深厚底蕴。",[7,5380,840,208,1590,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde6631ede1996abb541a4c971f6d8841.jpg",[],{"id":108733,"slug":108734,"title":101219,"dynasty":54,"author":223,"museum":300,"description":101220,"tags":108735,"thumbUrl":108736,"material":692,"size":1293,"collection":84,"collections":108737,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},242531,"zhong-ke-chun-hua-ge-tie-yi-ming-242531",[64,133,840,5380,208,330,7,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa356b04a62c2e247ad07175d3aef956.jpg",[],{"id":108739,"slug":108740,"title":101219,"dynasty":54,"author":223,"museum":300,"description":101220,"tags":108741,"thumbUrl":108742,"material":692,"size":1293,"collection":84,"collections":108743,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},242528,"zhong-ke-chun-hua-ge-tie-yi-ming-242528",[7,64,840,572,5380,208,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faab8c1d0880fa076342f3579a826816c.jpg",[],{"id":108745,"slug":108746,"title":108747,"dynasty":54,"author":223,"museum":300,"description":101220,"tags":108748,"thumbUrl":108749,"material":692,"size":1293,"collection":84,"collections":108750,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},242525,"qin-ding-zhong-ke-chun-hua-ge-tie-gou-ben-yi-ming-242525","钦定重刻淳化阁帖钩本",[64,7,133,840,330,208,59,1590,5380,8162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6c10973ed89f3c847a44a0a2262a3ed.jpg",[],{"id":108752,"slug":108753,"title":108747,"dynasty":54,"author":223,"museum":300,"description":108754,"tags":108755,"thumbUrl":108756,"material":84,"size":84,"collection":84,"collections":108757,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},242523,"qin-ding-zhong-ke-chun-hua-ge-tie-gou-ben-yi-ming-242523","淡绿笺面匀净雅致，泥金晕染牡丹枝叶，柔婉的花色枝叶暗作底衬，晕出古雅书卷氛围。行书题跋随笔势流转舒展，笔画秀润间暗含劲挺骨力，牵丝映带自然灵动，尽得帖学娟秀雅逸之韵。文辞随笔墨铺展，将重镌心得娓娓道来，笔墨与题识相生相融，尽显追摹法帖的文人意趣，书画合璧，是兼具鉴藏意涵与雅致格调的小品佳构。",[7,64,133,208,1590,330,27,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe41cc4824af059d4dc7b3a26fe91db27.jpg",[],{"id":108759,"slug":108760,"title":108747,"dynasty":54,"author":223,"museum":300,"description":101220,"tags":108761,"thumbUrl":108762,"material":692,"size":1293,"collection":84,"collections":108763,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":199},242517,"qin-ding-zhong-ke-chun-hua-ge-tie-gou-ben-yi-ming-242517",[7,64,1590,5380,330,208,133,840,572,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6c857e1e1aae099c32fb627dfe5c64.jpg",[],{"id":108765,"slug":108766,"title":101219,"dynasty":54,"author":223,"museum":300,"description":101220,"tags":108767,"thumbUrl":108768,"material":692,"size":1293,"collection":84,"collections":108769,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},242509,"zhong-ke-chun-hua-ge-tie-yi-ming-242509",[7,64,1590,5380,840,208,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30844180dc88647b18e1ba0b7051534b.jpg",[],{"id":108771,"slug":108772,"title":101219,"dynasty":54,"author":223,"museum":300,"description":101220,"tags":108773,"thumbUrl":108774,"material":692,"size":1293,"collection":84,"collections":108775,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},242504,"zhong-ke-chun-hua-ge-tie-yi-ming-242504",[64,7,5380,208,840,133,938,330,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa384051da1fe85e5745ddaba506295cd.jpg",[],{"id":108777,"slug":108778,"title":101219,"dynasty":54,"author":223,"museum":300,"description":101220,"tags":108779,"thumbUrl":108780,"material":692,"size":1293,"collection":84,"collections":108781,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},242499,"zhong-ke-chun-hua-ge-tie-yi-ming-242499",[938,208,5380,330,23848,7,59,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cfb7893c117a06887e6dc576481c2a6.jpg",[],{"id":108783,"slug":108784,"title":101219,"dynasty":54,"author":223,"museum":300,"description":101220,"tags":108785,"thumbUrl":108786,"material":692,"size":1293,"collection":84,"collections":108787,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},242492,"zhong-ke-chun-hua-ge-tie-yi-ming-242492",[7,64,59,5380,1590,133,840,208,330,23848],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ac936112760263631393263bb8087c6.jpg",[],{"id":108789,"slug":108790,"title":101219,"dynasty":54,"author":223,"museum":300,"description":101220,"tags":108791,"thumbUrl":108792,"material":692,"size":1293,"collection":84,"collections":108793,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},242491,"zhong-ke-chun-hua-ge-tie-yi-ming-242491",[64,7,5380,1590,208,840,133,330,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fc7391ac8e718313e99700c0ef36cbd.jpg",[],{"id":108795,"slug":108796,"title":101219,"dynasty":54,"author":223,"museum":300,"description":101220,"tags":108797,"thumbUrl":108798,"material":692,"size":1293,"collection":84,"collections":108799,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},242486,"zhong-ke-chun-hua-ge-tie-yi-ming-242486",[7,64,5380,1590,208,133,840,59,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ac1aa51a5236fa6e6a440ab24b64bb4.jpg",[],{"id":108801,"slug":108802,"title":101219,"dynasty":54,"author":223,"museum":300,"description":101220,"tags":108803,"thumbUrl":108804,"material":692,"size":1293,"collection":84,"collections":108805,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},242484,"zhong-ke-chun-hua-ge-tie-yi-ming-242484",[5380,208,840,133,330,64,7,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F521a6693208d8820634b5e3538e8b107.jpg",[],{"id":108807,"slug":108808,"title":101219,"dynasty":54,"author":223,"museum":300,"description":101220,"tags":108809,"thumbUrl":108810,"material":692,"size":1293,"collection":84,"collections":108811,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},242482,"zhong-ke-chun-hua-ge-tie-yi-ming-242482",[64,7,133,840,5380,1590,208,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166a9593aa5b4aa36f5227334be27560.jpg",[],{"id":108813,"slug":108814,"title":101219,"dynasty":54,"author":223,"museum":300,"description":101220,"tags":108815,"thumbUrl":108816,"material":692,"size":1293,"collection":84,"collections":108817,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},242479,"zhong-ke-chun-hua-ge-tie-yi-ming-242479",[64,133,840,938,208,5380,330,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83268cebc62806ed065e1ac6170c89a0.jpg",[],{"id":108819,"slug":108820,"title":101219,"dynasty":54,"author":223,"museum":300,"description":101220,"tags":108821,"thumbUrl":108822,"material":692,"size":1293,"collection":84,"collections":108823,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},242476,"zhong-ke-chun-hua-ge-tie-yi-ming-242476",[64,7,133,840,5380,330,208,23848],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd9202242a4eb285871a502272aaaaee.jpg",[],{"id":108825,"slug":108826,"title":101219,"dynasty":54,"author":223,"museum":300,"description":101220,"tags":108827,"thumbUrl":108828,"material":692,"size":1293,"collection":84,"collections":108829,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},242473,"zhong-ke-chun-hua-ge-tie-yi-ming-242473",[7,64,133,840,938,5380,330,208,23848],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ad650e0b544cd48acdf21c520701f1a.jpg",[],{"id":108831,"slug":108832,"title":101219,"dynasty":54,"author":223,"museum":300,"description":101220,"tags":108833,"thumbUrl":108834,"material":692,"size":1293,"collection":84,"collections":108835,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},242471,"zhong-ke-chun-hua-ge-tie-yi-ming-242471",[7,64,5380,1590,330,208,133,840,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ee94fe4ac74589dff65d201bab30977.jpg",[],{"id":108837,"slug":108838,"title":101219,"dynasty":54,"author":223,"museum":300,"description":101220,"tags":108839,"thumbUrl":108840,"material":692,"size":1293,"collection":84,"collections":108841,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},242459,"zhong-ke-chun-hua-ge-tie-yi-ming-242459",[7,64,28209,208,23848,133,840,1590,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd530dd0091c42d77f45945c4f3b37d35.jpg",[],{"id":108843,"slug":108844,"title":101219,"dynasty":54,"author":223,"museum":300,"description":101220,"tags":108845,"thumbUrl":108846,"material":692,"size":1293,"collection":84,"collections":108847,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},242449,"zhong-ke-chun-hua-ge-tie-yi-ming-242449",[64,7,5380,208,330,133,840,23848,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7cab8955ec08be25f9c12e31d7b3b14.jpg",[],{"id":108849,"slug":108850,"title":101219,"dynasty":54,"author":223,"museum":300,"description":101220,"tags":108851,"thumbUrl":108852,"material":692,"size":1293,"collection":84,"collections":108853,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},242444,"zhong-ke-chun-hua-ge-tie-yi-ming-242444",[64,1590,5380,840,133,208,330,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0982fff6139ab9872de7f9fe7bc921bb.jpg",[],{"id":108855,"slug":108856,"title":101219,"dynasty":54,"author":223,"museum":300,"description":101220,"tags":108857,"thumbUrl":108858,"material":692,"size":1293,"collection":84,"collections":108859,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},242442,"zhong-ke-chun-hua-ge-tie-yi-ming-242442",[7,64,5380,208,133,840,330,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ead724d465aad35e6e64b50f8bf0dd.jpg",[],{"id":108861,"slug":108862,"title":101219,"dynasty":54,"author":223,"museum":300,"description":101220,"tags":108863,"thumbUrl":108864,"material":692,"size":1293,"collection":84,"collections":108865,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},242440,"zhong-ke-chun-hua-ge-tie-yi-ming-242440",[64,7,59,133,840,5380,330,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2108a6d532b3f8118f28a74e5b150f55.jpg",[],{"id":108867,"slug":108868,"title":101219,"dynasty":54,"author":223,"museum":300,"description":101220,"tags":108869,"thumbUrl":108870,"material":692,"size":1293,"collection":84,"collections":108871,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},242435,"zhong-ke-chun-hua-ge-tie-yi-ming-242435",[7,64,59,5380,1590,840,572,208,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb29c93db9a74c38b7263164dd2da351.jpg",[],{"id":108873,"slug":108874,"title":101219,"dynasty":54,"author":223,"museum":300,"description":101220,"tags":108875,"thumbUrl":108876,"material":692,"size":1293,"collection":84,"collections":108877,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},242434,"zhong-ke-chun-hua-ge-tie-yi-ming-242434",[64,7,59,133,840,208,330,5380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd30f35717ef690490c80e67bd96ea31c.jpg",[],{"id":108879,"slug":108880,"title":101219,"dynasty":54,"author":223,"museum":300,"description":101220,"tags":108881,"thumbUrl":108882,"material":692,"size":1293,"collection":84,"collections":108883,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},242432,"zhong-ke-chun-hua-ge-tie-yi-ming-242432",[64,7,59,5380,330,133,840,208,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd304d8c947150418463f2508d13248.jpg",[],{"id":108885,"slug":108886,"title":101219,"dynasty":54,"author":223,"museum":300,"description":101220,"tags":108887,"thumbUrl":108888,"material":692,"size":1293,"collection":84,"collections":108889,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},242416,"zhong-ke-chun-hua-ge-tie-yi-ming-242416",[64,7,5380,208,133,840,330,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4110ea758d1e884cf341d101d7a4b2a.jpg",[],{"id":108891,"slug":108892,"title":101219,"dynasty":54,"author":223,"museum":300,"description":101220,"tags":108893,"thumbUrl":108894,"material":692,"size":1293,"collection":84,"collections":108895,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},242413,"zhong-ke-chun-hua-ge-tie-yi-ming-242413",[64,1590,5380,840,133,208,330,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F689f2377f96441f8e07bb78cd5322691.jpg",[],{"id":108897,"slug":108898,"title":101219,"dynasty":54,"author":223,"museum":300,"description":101220,"tags":108899,"thumbUrl":108900,"material":692,"size":1293,"collection":84,"collections":108901,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},242406,"zhong-ke-chun-hua-ge-tie-yi-ming-242406",[64,7,5380,208,330,133,840,572,21937,938,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69499e7b195d119eba17126802a0b7b7.jpg",[],{"id":108903,"slug":108904,"title":101219,"dynasty":54,"author":223,"museum":300,"description":108905,"tags":108906,"thumbUrl":108907,"material":84,"size":84,"collection":84,"collections":108908,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},242388,"zhong-ke-chun-hua-ge-tie-yi-ming-242388","此拓墨色乌莹如漆，镌刻工致入微，将右军草书的奔放纵逸尽数留存。提按使转间，笔底牵丝映带清晰可见，晋人萧散疏朗的风流意气扑面而来。侧旁小楷释文端稳匀整，与草书形成动静相和的韵律。朱红钤印沉敛古雅，为乌墨素拓晕开一抹亮色，更添沉静古拙的意蕴。刻工精妙还原书圣笔下的偃仰向背，即便重刻，也未失原作尚韵的气度，展卷可见千载笔底风神，是传拓与镌刻技艺相融的佳构，静静铺展着帖学传承的脉络。",[7,64,1590,5380,330,840,208,938,23848],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31b5b5d55279e9889a06feefec02abaf.jpg",[],{"id":108910,"slug":108911,"title":101219,"dynasty":54,"author":223,"museum":300,"description":101220,"tags":108912,"thumbUrl":108913,"material":692,"size":1293,"collection":84,"collections":108914,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},242379,"zhong-ke-chun-hua-ge-tie-yi-ming-242379",[64,938,5380,208,330,1590,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58cce727a79bf2d834b87a9356657004.jpg",[],{"id":108916,"slug":108917,"title":101219,"dynasty":54,"author":223,"museum":300,"description":101220,"tags":108918,"thumbUrl":108919,"material":692,"size":1293,"collection":84,"collections":108920,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},242357,"zhong-ke-chun-hua-ge-tie-yi-ming-242357",[64,7,1590,5380,330,208,59,133,840,572,23848],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffed064fab26e5b21093c44c65be2cde4.jpg",[],{"id":108922,"slug":108923,"title":108924,"dynasty":54,"author":223,"museum":300,"description":108925,"tags":108926,"thumbUrl":108927,"material":692,"size":1293,"collection":84,"collections":108928,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},242344,"kuai-xue-tang-fa-tie-yi-ming-242344","快雪堂法帖","此作为小楷刻帖，墨色匀净乌亮，字势俊雅舒展。虽为刻本，却精妙留存米芾小楷的端谨风骨，褪去其行书的跳脱，尽显晋唐小楷的散淡冲和。笔画瘦劲爽利落，结体匀停秀雅，书录《东皇太一》时，将辞章的肃穆意蕴融于笔锋起落，自带清雅文气。\n黑底白字愈显沉静古雅，金石质感裹挟宋人的书法风神，尽显刻帖工艺精湛，将宋书的灵动雅致定格于石板之上，是清代刻帖中留存宋书风貌的上乘之作。",[7,64,5380,1590,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96a2da4fab5f52ad0455168fa0ade449.jpg",[],{"id":108930,"slug":108931,"title":108932,"dynasty":124,"author":223,"museum":300,"description":108933,"tags":108934,"thumbUrl":108935,"material":692,"size":1293,"collection":84,"collections":108936,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},242311,"xi-hong-tang-tie-yi-ming-242311","戏鸿堂帖","此帖复刻东坡笔意，墨色乌亮莹润，尽显宋尚意书风的隽永雅致。开篇大字端稳厚重，笔力沉实朴拙，自带庙堂文书的整饬庄重；后续小字行笔流转自然，牵丝映带之间如行云流水，将苏轼书法丰腴浑厚、舒展雍容的风神复刻得传神入微。\n\n章法排布疏密得当，字距错落合宜，既不失制诰文书的规整，又暗合文人书法的萧散意趣。碑刻工艺精良，笔画的粗细提按清晰留存，将东坡书法的韵致风骨凝于寸楮，是明代刻帖中的上乘之作，把宋人写意抒怀的笔墨意趣定格，历经岁月依旧灵动耐看。",[64,7,1590,5380,133,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6794d83a0a731128bafbce7cedb3b53.jpg",[],{"id":108938,"slug":108939,"title":101219,"dynasty":54,"author":223,"museum":300,"description":108940,"tags":108941,"thumbUrl":108942,"material":84,"size":84,"collection":84,"collections":108943,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},242309,"zhong-ke-chun-hua-ge-tie-yi-ming-242309","此作以精整小篆摹刻法帖题识，线条匀净婉通，字形端雅规整，将上古至晋人书迹的题跋以篆法重塑，尽显古雅庄重的金石气韵。排版疏朗有序，释文与篆字排布和谐妥帖，既保留了阁帖的古朴金石质感，又以篆体赋予旧帖焕然新意。刻工精细，将小篆的对称之美与匀净笔意尽数呈现，观者可于一笔一画间，触摸跨越千年的书法脉络，品味篆籀文字的典雅厚重，是兼顾书法美学与文献留存的刻帖佳制。",[938,208,1590,5380,64,330,23848,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8a8d9e99310c1950220420d5bbcf5be.jpg",[],{"id":108945,"slug":108946,"title":108947,"dynasty":124,"author":223,"museum":300,"description":108948,"tags":108949,"thumbUrl":108950,"material":692,"size":1293,"collection":84,"collections":108951,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},242298,"wan-xiang-tang-su-shu-tie-yi-ming-242298","晚香堂苏书帖","此作用行书录陶渊明《饮酒》名句，笔墨意态追摹东坡风神，结体宽绰舒展，笔力浑厚遒劲又不失灵动潇洒。线条粗细合宜，牵映顾盼间自带萧散悠然之致，与诗文隐世淡远的意境相融相合。碑刻金字沉凝温润，虽经刻拓，依旧留存了原作书写时的松弛快意，将东坡行书雍容跌宕的气质尽显无遗，把陶诗里东篱采菊、悠然忘机的林下风雅，以书法的形式诠释得淋漓尽致，尽显文人淡远出尘的书卷意趣。",[64,133,5380,1590,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb3addc26317f63045808c53f5687270.jpg",[],{"id":108953,"slug":108954,"title":108947,"dynasty":124,"author":223,"museum":300,"description":108955,"tags":108956,"thumbUrl":108957,"material":692,"size":1293,"collection":84,"collections":108958,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},242286,"wan-xiang-tang-su-shu-tie-yi-ming-242286","此帖节录宋玉《九辩》悲秋开篇，行书取东坡笔意，以铁线精摹勒石，墨色乌亮莹润，古意盎然。行笔舒展灵动，结体疏密得宜，既存东坡行书的丰腴雍容，又不失飘逸隽秀之姿，将苏书尚意的神韵复刻精妙。笔墨与文辞相融，萧瑟秋意寄于婉转笔锋，沉郁雅致的书卷气漫溢纸面。刻工精良，笔画转折间筋骨暗藏，尽显宋明递嬗之际，文人对苏式书风的追慕与传承，是兼具文辞意趣与书法美学的精巧刻帖之作。",[7,64,133,1590,5380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6a23d5caee2e08933f687e7f87445fc.jpg",[],{"id":108960,"slug":108961,"title":108947,"dynasty":124,"author":223,"museum":300,"description":108962,"tags":108963,"thumbUrl":108964,"material":692,"size":1293,"collection":84,"collections":108965,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},242285,"wan-xiang-tang-su-shu-tie-yi-ming-242285","墨底金书古雅沉静，此帖尽得东坡行书神髓。笔画圆劲舒展，结体欹侧不失端稳，将苏轼书法丰腴跌宕、散朗萧散的意韵复刻传神。尺牍文句自带文人酬唱的松弛随性，刻工精细入微，把笔墨间的起伏转折留存完好，虽为刻帖却近乎还原了原作的笔墨气韵，尽显宋代文人书法的隽逸风骨，可让观者触摸到东坡行书的疏朗雅致，是摹刻苏字的精良范本。",[64,1590,5380,133,330,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd035a2e43fd0d6584dd2b4e6da914b63.jpg",[],{"id":108967,"slug":108968,"title":108947,"dynasty":124,"author":223,"museum":300,"description":108969,"tags":108970,"thumbUrl":108971,"material":692,"size":1293,"collection":84,"collections":108972,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},242280,"wan-xiang-tang-su-shu-tie-yi-ming-242280","此帖墨色苍润沉古，草书笔意纵逸跌宕。线条舒展奔涌，牵丝映带间流转自然，字势开合相生，欹正错落尽显随性疏狂。章法匀整不失灵动，两列排布行气贯通，如行云流水一气呵成，将诗中酣饮酒意化入笔底，把东坡疏旷襟怀藏于点画。刻工精良，不失原作笔墨意趣，金石质感衬出书风雄放，既有宋人意韵，又含刻帖的古雅质感，通篇浑然舒展，尽显潇洒疏朗的文人意气。",[64,7,1590,5380,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27671664f0c50f24dc337b69ff847b52.jpg",[],{"id":108974,"slug":108975,"title":108976,"dynasty":18,"author":223,"museum":300,"description":108977,"tags":108978,"thumbUrl":108979,"material":84,"size":84,"collection":2210,"collections":108980,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},242227,"zheng-zuo-wei-tie-ce-yi-ming-242227","争坐位帖册","此作用笔恣肆开张，笔力沉凝劲悍，点画如长枪大戟，带着朴拙雄强的真气。起笔藏露互生，行笔绞翻提按之间，将郁勃意气凝注于笔墨。字势欹侧错落，行距疏密相生，似有风雷之气盈溢纸面。\n\n通篇燥润相间，枯笔如老树盘藤，苍劲老辣；润笔似惊涛拍岸，酣畅淋漓。字间牵丝映带，却不失朴茂厚重的古意，尽显率意自然的抒怀之态，将激愤难平的心绪随笔墨喷薄而出。虽为刻帖，仍能窥见原作雄浑气度，书法筋骨与文人刚正风骨相融，千载之下，字里行间的刚正气场依旧撼人心神。",[164,24,7,59,133,5380,1590,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F122a301e7c96bc9d5e60d5550c1f548f.jpg",[2210],{"id":108982,"slug":108983,"title":108984,"dynasty":54,"author":101228,"museum":300,"description":101229,"tags":108985,"thumbUrl":108987,"material":692,"size":1293,"collection":84,"collections":108988,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241684,"lin-lan-ting-shi-san-ba-zhou-long-yu-huang-tai-hou-241684","临兰亭十三跋轴",[7,64,165,133,330,208,108986],"清朝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc947017008aa73b5ef979c0ad83da601.jpg",[],{"id":108990,"slug":108991,"title":108992,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":108993,"thumbUrl":108994,"material":692,"size":1293,"collection":84,"collections":108995,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241645,"zhi-fan-zhi-shu-zha-wen-zheng-ming-241645","致繁祉书札",[64,133,128,7,124,51559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88a21a135294467a5460e0104f20f2fa.jpg",[],{"id":108997,"slug":108998,"title":108999,"dynasty":124,"author":3619,"museum":300,"description":30342,"tags":109000,"thumbUrl":109001,"material":692,"size":1293,"collection":84,"collections":109002,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241644,"zhi-yang-hu-shu-zha-wen-zheng-ming-241644","致阳湖书札",[64,133,208,7,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb3ae8a92859bbb247c1d9826f543c75.jpg",[],{"id":109004,"slug":109005,"title":101257,"dynasty":54,"author":37194,"museum":300,"description":52233,"tags":109006,"thumbUrl":109007,"material":692,"size":1293,"collection":84,"collections":109008,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241634,"zhi-lao-fu-zi-da-ren-zha-lin-ze-xu-241634",[64,133,7,128,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c6dce66fbf563861fb4f15696b2e8c0.jpg",[],{"id":109010,"slug":109011,"title":109012,"dynasty":54,"author":37194,"museum":300,"description":52233,"tags":109013,"thumbUrl":109014,"material":692,"size":1293,"collection":84,"collections":109015,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241629,"bei-chuang-tie-lin-ze-xu-241629","悲怆帖",[64,133,128,59,7,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc1bd92e5f21ff147c0153e13c0a0c3a.jpg",[],{"id":109017,"slug":109018,"title":109019,"dynasty":54,"author":223,"museum":300,"description":109020,"tags":109021,"thumbUrl":109022,"material":692,"size":1293,"collection":84,"collections":109023,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241592,"yang-shu-xing-lu-wen-ye-yi-ming-241592","杨述行录文页","此作小楷取法晋唐，字形端雅秀润，笔画凝练匀净，起收可见提按顿挫，灵动与沉稳兼而有之。章法排布疏朗匀称，字距行距错落相宜，通篇气息平和静穆，尽显文人内敛雅致的书卷意韵。\n笔墨间既有馆阁体的端整工稳，又不失帖学的隽秀灵动，将法度与意趣相融，在规整之中暗藏逸致，尽显书者扎实的书法功底与古典审美意趣，是清代小楷小品里颇具韵味的不俗之作。",[64,133,208,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F207075b00c5dbb8594948a3526bec85f.jpg",[],{"id":109025,"slug":109026,"title":109027,"dynasty":54,"author":101309,"museum":300,"description":101310,"tags":109028,"thumbUrl":109029,"material":692,"size":1293,"collection":84,"collections":109030,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241588,"lu-yu-yang-shan-ren-jie-ju-ye-cheng-jing-yi-241588","录渔洋山人截句页",[64,7,133,128,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6a2f6bec781c07ed9e2b2f40fdfda44.jpg",[],{"id":109032,"slug":109033,"title":109034,"dynasty":54,"author":101318,"museum":300,"description":109035,"tags":109036,"thumbUrl":109037,"material":692,"size":1293,"collection":84,"collections":109038,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241579,"xiao-xia-ji-er-ze-ye-zhuang-su-241579","销夏记二则页","此作用笔灵动秀逸，取法晋唐行书意韵，点画顾盼生姿，牵丝映带间自带行云流水般的韵律，章法疏朗匀净，通篇气息萧散悠然。\n\n所书文辞与笔墨意境相融，将观山小坐、静赏夏色的幽居闲趣藏于笔锋起落之中。墨色浓淡自然过渡，清润雅致，尽显文人耽于林泉、静享幽夏的澹然心境，是一件兼具笔墨意趣与文心雅致的小品佳作。",[24,7,59,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25651951ace512f209b574c80996d9ed.jpg",[],{"id":109040,"slug":109041,"title":109042,"dynasty":54,"author":223,"museum":300,"description":109043,"tags":109044,"thumbUrl":109045,"material":692,"size":1293,"collection":84,"collections":109046,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241576,"wang-ce-qi-yan-shi-juan-yi-ming-241576","王册七言诗卷","此卷行书秀雅温润，提按转合间自见法度。点画舒展灵动，映带自然，暗合晋唐行书的清逸意韵。通篇字距疏朗，行距匀停，气息舒缓连贯，长篇诗作写来毫无壅塞仓促之感。墨色浓淡过渡自然，随着书写节奏隐现起伏，可见书者挥毫时的悠然心境。\n\n卷中诗书合璧，笔下清隽的七言句，将春宵羁思、幽庭况味缓缓铺陈，笔情与诗境相融相衬，尽显旧时文人的雅致襟怀，是一件兼具笔墨意趣与文学意涵的佳构。",[7,64,25,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef2f0ba78468509fc9a8f973144713de.jpg",[],{"id":109048,"slug":109049,"title":109050,"dynasty":54,"author":47606,"museum":300,"description":95115,"tags":109051,"thumbUrl":109052,"material":692,"size":1293,"collection":84,"collections":109053,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241546,"zhi-gu-qiu-xian-sheng-shou-zha-ce-huang-yue-241546","致古球先生手札册",[54,64,133,59,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57321281c12b18f6ac9039779f43f30f.jpg",[],{"id":109055,"slug":109056,"title":69180,"dynasty":124,"author":109057,"museum":300,"description":109058,"tags":109059,"thumbUrl":109060,"material":692,"size":1293,"collection":84,"collections":109061,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241540,"shi-ye-yan-zhao-feng-241540","闫兆凤","此作行书灵动爽利，行笔提转自然，牵丝映带暗合章法，尽显尚态之美。字距疏密随心，行气贯通一体，墨色浓淡枯湿相映成趣。起笔多露锋以见精神，收笔或利落出锋，或含蓄回锋，将诗文意境与笔墨意趣相融无间。\n\n通篇气息舒缓雅致，既有帖学的秀逸灵动，又暗含劲挺骨力，尺幅虽小，却自具萧散简远的文人意韵。笔墨间浸透书写者的随性襟怀，将抒情尚意的书风尽显无余，是一件颇具文人雅致的书法小品。",[7,133,64,4437,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe9489007729d4404dc4a0ebe02eebb5.jpg",[],{"id":109063,"slug":109064,"title":101342,"dynasty":54,"author":109065,"museum":300,"description":109066,"tags":109067,"thumbUrl":109068,"material":692,"size":1293,"collection":84,"collections":109069,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241535,"qi-lv-ye-cao-xue-quan-241535","曹学佺","曹学佺（1574－1646），字能始，一字尊生，号雁泽，又号石仓居士、西峰居士，福建福州府侯官县洪塘乡人，明代官员、学者、诗人、藏书家，万历二十三年（1595）进士。清兵入闽，自缢殉节。\n曹学佺藏书万卷，著书千卷。毕生好学，对文学、诗词、地理、天文、禅理、音律、诸子百家等都有研究，尤其工于诗词。精通音律，擅长度曲，曾谱写闽剧的主要腔调逗腔，被认为是闽剧始祖之一。名联：“仗义每多屠狗辈，负心多是读书人”就出自曹学佺之手。",[7,59,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb73a1cd8ec3cd1ea20715fb31ec81ba6.jpg",[],{"id":109071,"slug":109072,"title":101358,"dynasty":124,"author":109073,"museum":300,"description":109074,"tags":109075,"thumbUrl":109076,"material":692,"size":1293,"collection":84,"collections":109077,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241533,"wu-yan-shi-er-shou-ye-yin-dao-241533","尹道","此作用笔温润秀雅，行笔间牵丝映带，笔意连贯圆融，毫无板滞之态。字形欹正相生，疏密排布得宜，于舒展之间尽显灵动韵致。章法疏朗通透，字行留白恰到好处，自带萧散简远的文人意趣。\n\n书写内容为咏松之诗，笔墨与诗意相融相合，将青松苍劲高洁的品格隐于流动笔锋之中。整幅气韵清雅悠然，观之如临清风林下，见云栖古松，书韵诗意浑然一体，尽显书写者澄澈的文人襟怀。",[7,64,133,950,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe741f4326455223649cb216d10890546.jpg",[],{"id":109079,"slug":109080,"title":74450,"dynasty":124,"author":74451,"museum":300,"description":109081,"tags":109082,"thumbUrl":109083,"material":692,"size":1293,"collection":84,"collections":109084,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241526,"wu-jue-er-shou-ce-ye-zhao-jun-241526","赵均（？~？）字灵均，南直隶苏州府吴县（今属江苏）人，赵宧光之子。从其父传六书之学，又从燕山僧见林授大梵字，并诸图字母，移日分夜，父子自相讲习。",[24,7,59,133,208,64,231,9404,747,1955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c66c3444bfbec1260d06dca1589a164.jpg",[],{"id":109086,"slug":109087,"title":62666,"dynasty":54,"author":109088,"museum":300,"description":109089,"tags":109090,"thumbUrl":109091,"material":692,"size":1293,"collection":84,"collections":109092,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241525,"qi-lv-shi-zhou-wang-guo-dong-241525","王国栋","王国栋（？—1735）字左吾，汉军镶红旗人，清朝大臣。",[24,7,165,133,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d884dd3793e60125d6929b4bb76327.jpg",[],{"id":109094,"slug":109095,"title":109096,"dynasty":124,"author":223,"museum":300,"description":109097,"tags":109098,"thumbUrl":109099,"material":692,"size":1293,"collection":84,"collections":109100,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241496,"xuan-zhen-zi-xing-qiu-ye-yong-huai-shi-juan-yi-ming-241496","玹真子行秋夜咏怀诗卷","此卷行书笔墨温婉秀雅，结体舒展灵动，尽显明人书法隽秀风神。起收停转皆循法度，点画温润秀劲，牵丝映带间如行云流水，尽显书写时的悠然畅意。\n\n通篇布局疏朗匀整，字距行距错落合宜，与卷中咏怀诗作的缱绻深情相得益彰。笔墨晕开秋夜怀人的幽柔愁思，诗书意韵融为一体，将思念辗转的细腻心绪藏在笔锋起落之间，是一件兼具笔墨审美与文学意趣的行书精品。",[7,64,25,133,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F223212f50e8705b4b44bd925e0e44a38.jpg",[],{"id":109102,"slug":109103,"title":109104,"dynasty":54,"author":223,"museum":300,"description":109105,"tags":109106,"thumbUrl":109107,"material":692,"size":1293,"collection":84,"collections":109108,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241493,"qi-yan-shi-wan-shan-yi-ming-241493","七言诗纨扇","此作为行书纨扇，笔法温婉秀润，结体舒展灵动，通篇行气连贯自然，契合纨扇的柔婉形制。书写自作七言长诗，字字顾盼有情，墨色匀净雅致，随着纸面岁月经年泛黄，更衬出沉厚的书卷意趣。没有馆阁体的刻板拘囿，尽显文人随性自在的笔墨意态，将日常襟怀寄寓点画之间，平和疏朗的气息漫溢扇面，是一件兼具书法法度与清雅文心的小品佳构。",[24,7,1131,133,64,208,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F254341c3e8c5b4b6ae57ae96a987fb99.jpg",[],{"id":109110,"slug":109111,"title":109112,"dynasty":54,"author":109113,"museum":300,"description":109114,"tags":109115,"thumbUrl":109116,"material":692,"size":1293,"collection":84,"collections":109117,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":199},241488,"shou-zha-ce-cheng-si-ze-241488","手札册","程思泽","程恩泽（1785年－1837年），字云芬，号春海，安徽歙县人，清朝政治人物、学者、诗人，进士出身。",[304,7,64,59,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22dd322b8b01a6e78f6dd4846c102f41.jpg",[],{"id":109119,"slug":109120,"title":109112,"dynasty":54,"author":109113,"museum":300,"description":109114,"tags":109121,"thumbUrl":109122,"material":692,"size":1293,"collection":84,"collections":109123,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":199},241484,"shou-zha-ce-cheng-si-ze-241484",[7,64,133,59,76388,611,8116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f08fedc167a36c14ae7b786692f02fd.jpg",[],{"id":109125,"slug":109126,"title":109112,"dynasty":54,"author":109113,"museum":300,"description":109114,"tags":109127,"thumbUrl":109128,"material":692,"size":1293,"collection":84,"collections":109129,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241482,"shou-zha-ce-cheng-si-ze-241482",[54,7,64,59,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F030ca2329595647e14e72fe9b1466d82.jpg",[],{"id":109131,"slug":109132,"title":89574,"dynasty":54,"author":89575,"museum":300,"description":89576,"tags":109133,"thumbUrl":109134,"material":692,"size":1293,"collection":84,"collections":109135,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241474,"bai-ling-shi-han-ce-zhang-bai-ling-241474",[7,64,59,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1128f557d3601e6dcd27c88c903ace0.jpg",[],{"id":109137,"slug":109138,"title":50743,"dynasty":54,"author":109139,"museum":300,"description":109140,"tags":109141,"thumbUrl":109142,"material":692,"size":1293,"collection":84,"collections":109143,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241464,"shi-zhou-wang-yi-qing-241464","王奕清","字幼芬，号拙园，江苏太仓人。清朝学者，政治人物，名门望族之裔，王时敏之孙，颛菴王掞相国之子，其曾上祖是明末万里内阁首辅王锡爵，家族不乏科考得意者，成为名副其实的簪缨之家，在江南一带被盛传“一门两宰相，父子三进士”，康熙三十年（一六九一）进士，选庶吉士，散馆翰林院编修，累官詹事府詹事兼翰林院侍读学士，曾代父赴军，历驻忒斯，雍正四年，命赴阿尔泰坐台，又十年，乾隆元年，召还，乞假葬父，翌年卒，时年七十三岁，曾奉清圣祖之命篡修康熙《钦定词谱》，善书法，工绘事篆刻。",[24,7,165,133,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd625145e44320f48adbcb8a5bc1669dd.jpg",[],{"id":109145,"slug":109146,"title":58919,"dynasty":124,"author":109147,"museum":300,"description":109148,"tags":109149,"thumbUrl":109150,"material":692,"size":1293,"collection":84,"collections":109151,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241452,"qi-jue-zhou-huang-yun-241452","黄云","黄云，明代诗人、书法家，江苏昆山人。字应龙，号丹岩。有《丹岩集》。",[7,24,64,165,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50489be84c12227ab4ba18b96ae126e0.jpg",[],{"id":109153,"slug":109154,"title":109155,"dynasty":124,"author":109156,"museum":300,"description":109157,"tags":109158,"thumbUrl":109159,"material":692,"size":1293,"collection":84,"collections":109160,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241435,"shi-shi-zha-heng-xu-zhi-yan-241435","试事札横","须之彦","须之彦（？－？），字君美，号日华，南直隶蘇州府嘉定县人，明朝政治人物。 生平[编辑]. 萬曆二十二年（1594年）甲午科应天乡试举人，二十六年（1598年）戊戌科進士",[164,24,7,25,208,133,64,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F647f5c397e3a27d97b45350275512b5e.jpg",[],{"id":109162,"slug":109163,"title":109164,"dynasty":124,"author":109165,"museum":300,"description":109166,"tags":109167,"thumbUrl":109168,"material":692,"size":1293,"collection":84,"collections":109169,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241421,"tian-xia-you-dao-zhang-ye-qian-long-xi-241421","天下有道章页","钱龙锡","钱龙锡(1579年-1645年)，字稚文，松江华亭(今上海)人，明末大臣，次辅。\n钱龙锡极力举荐袁崇焕为东北关宁（今山海关，宁远）军统帅，巩固边防。等到袁崇焕杀毛文龙，他被弹劾为与袁崇焕同谋越权擅杀大臣等多罪。遂托病辞官归乡。当时的魏忠贤余党聚谋污蔑袁崇焕为逆首，钱龙锡等为逆党，1630年袁崇焕被杀害后，钱龙锡因袁案受到牵连被判为死罪，经一些大臣极力向明思宗崇祯帝陈述求情，才免其死罪，但也被关押。结果钱龙锡被长期关押在狱。后发配戍守定海卫。福王时复官归里。不久病逝。",[64,133,208,7,59,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F654b15983dbd57d0fffc4f6146ec9105.jpg",[],{"id":109171,"slug":109172,"title":74497,"dynasty":54,"author":109173,"museum":300,"description":109174,"tags":109175,"thumbUrl":109176,"material":692,"size":1293,"collection":84,"collections":109177,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":199},241392,"qi-lv-zhou-huang-ren-241392","黄任","黄任（1683一1768）字于莘，又字莘田，因喜藏砚，自号十砚老人、十砚翁，清代著名诗人，藏砚家，永福（今福建永泰县）人。康熙四十一年举人，官广东四会知县，罢官归，船中所载惟砚石。归里后生活清苦。工诗，以轻清流丽为时人所称，七绝尤负盛名。著有《秋江集》《香草笺》。",[7,24,64,165,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e2b3cf40d1d5a17c44330e3686c88f9.jpg",[],{"id":109179,"slug":109180,"title":60702,"dynasty":54,"author":109181,"museum":300,"description":109182,"tags":109183,"thumbUrl":109184,"material":692,"size":1293,"collection":84,"collections":109185,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241384,"wu-lv-zhou-li-du-na-241384","励杜纳","励杜纳(1628-1703)，字近公，一字澹园，清直隶静海县人。初冒杜姓，为生员，精楷书。清圣祖康熙二年(1663)，廷选善书之士，应试得第一，遂被录取",[7,64,165,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bcac4b9bc78f5703e295b4c1bea12c2.jpg",[],{"id":109187,"slug":109188,"title":74497,"dynasty":54,"author":109189,"museum":300,"description":109190,"tags":109191,"thumbUrl":109195,"material":692,"size":1293,"collection":84,"collections":109196,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241372,"qi-lv-zhou-deng-zhong-yue-241372","邓钟岳","邓钟岳（1674～1748） 康熙六十年状元， 清代官员。字东长，号悔庐。东昌府人（今聊城市东昌府区人）。邓基哲子。",[24,7,165,133,64,208,167,109192,109193,104874,228,109194],"白鸥","东山","帘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0477809e4096a5437fbedbf114e5b8df.jpg",[],{"id":109198,"slug":109199,"title":62666,"dynasty":54,"author":109200,"museum":300,"description":109201,"tags":109202,"thumbUrl":109203,"material":692,"size":1293,"collection":84,"collections":109204,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241355,"qi-lv-shi-zhou-wang-hong-xu-241355","王鸿绪","王鴻緒（1645年－1723年），初名度心，中进士后改名鴻緒，字季友，号俨斋，又号橫云山人，江南华亭县（今上海松江区）人，清朝史學家，康熙帝親信。",[7,64,165,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e5f5c1eafc1dbed4e6e85c0e886ede6.jpg",[],{"id":109206,"slug":109207,"title":77743,"dynasty":54,"author":109208,"museum":300,"description":109209,"tags":109210,"thumbUrl":109211,"material":692,"size":1293,"collection":84,"collections":109212,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241329,"lu-wen-zhou-sun-yi-jing-241329","孙诒经","清钱塘（今杭州）人。清咸丰十年(1860年)进士，选翰林院庶吉士，以太平军攻占杭州，乞假归奉其母。",[7,165,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ebcd894b1e4b882be24e6c1a4704000.jpg",[],{"id":109214,"slug":109215,"title":95061,"dynasty":54,"author":109216,"museum":300,"description":109217,"tags":109218,"thumbUrl":109219,"material":692,"size":1293,"collection":84,"collections":109220,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241292,"qi-jue-er-shou-zhang-yue-yao-241292","张曰瑶","此作行书舒展灵动，用笔顿挫藏露间尽显儒雅意趣。左右两页布局各具意态，左幅纵向排布，点画粗细随心变幻，牵丝映带如行云流水，节律悠然。右幅字形大小错落，行气疏朗宽和，笔墨带着文人的散淡闲适。整体书风兼具帖学秀雅温润与内敛骨力，字字呼应有致，将诗韵与笔意相融无间，把诗作的清雅意境通过书法线条铺陈开来，笔墨晕染出从容书卷之气，尽显文人书家的审美意趣，笔情墨趣间尽显风雅品格。",[24,7,59,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50b770822aa6d8f034c2accc54ccffac.jpg",[],{"id":109222,"slug":109223,"title":109224,"dynasty":54,"author":223,"museum":300,"description":109225,"tags":109226,"thumbUrl":109227,"material":692,"size":1293,"collection":84,"collections":109228,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241291,"chun-tang-qi-lv-yi-ming-241291","春塘七律","此行书册页笔势灵动圆融，行笔提按顿挫富于节奏，牵丝映带间尽显流畅自然。左幅结字略开张，筋骨内含，右字形体稍敛，朴拙雅致。墨色浓淡枯湿相映，浓处厚重饱满，枯处见笔力苍劲，章法疏朗错落，字间行距宽绰舒缓，气息静谧雅致。\n\n页内书就七言律句，笔墨与诗文相合，尽显温婉秀雅又不失劲挺的文人风神，将文士酬唱的雅致心境藏于笔墨细节之中，是颇具意趣的清代行书小品佳作。",[304,133,64,7,59,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65a55eb51fdaea274badbe1b65f6e2fc.jpg",[],{"id":109230,"slug":109231,"title":95061,"dynasty":54,"author":109232,"museum":300,"description":109233,"tags":109234,"thumbUrl":109235,"material":692,"size":1293,"collection":84,"collections":109236,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241287,"qi-jue-er-shou-ye-ting-ying-241287","叶廷瑛","此作为行书诗翰，点画灵动温润，起收转折皆存帖学雅韵。行气疏朗连贯，章法排布错落匀停，既保有台阁书风的端稳之态，又不失文人行书的萧散意趣。墨色浓淡自然过渡，笔势间尽显从容雅逸，字里行间晕染出士人酬唱的清雅襟怀，将传统文人的书卷气融于笔墨之间，是清代文人尺牍书法中的清秀佳例。",[7,64,133,208,59,611,8116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7506bd37e0cf76a1cd68f9765f28fde6.jpg",[],{"id":109238,"slug":109239,"title":109240,"dynasty":54,"author":109241,"museum":300,"description":109242,"tags":109243,"thumbUrl":109244,"material":692,"size":1293,"collection":84,"collections":109245,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241286,"qi-lv-yan-shi-pu-241286","七律","颜时普","颜时普,字谷田,号雨亭,南海人。乾隆己酉举人,官太常寺博士",[7,133,208,59,128,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff2f43da541fd2a900abb1bc9f2e8749.jpg",[],{"id":109247,"slug":109248,"title":109249,"dynasty":54,"author":109250,"museum":300,"description":109251,"tags":109252,"thumbUrl":109253,"material":692,"size":1293,"collection":84,"collections":109254,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241283,"xiang-qi-jue-bing-jie-su-ying-241283","享七绝并解","苏应","此作为行书手札，用笔秀逸灵动，起收可见提按藏露的细腻变化，点画温润雅致，兼具帖学妍美与文人意趣。章法错落自然，字距行间疏密得宜，行气连贯畅达，虽为酬答题咏的信札，却自具萧散简远的韵致。墨色浓淡富于层次，随书写节奏自然过渡，尽显书写时松弛悠然的心境。笔墨与诗思相融，将文人酬唱的雅兴寄于笔端，尽显清代帖学一脉的典型风貌，是兼具文学性与艺术性的小品佳构。",[24,7,64,133,128,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F118e95c4727d72ec5a2abe8064efb386.jpg",[],{"id":109256,"slug":109257,"title":109258,"dynasty":54,"author":109259,"museum":300,"description":109260,"tags":109261,"thumbUrl":109262,"material":692,"size":1293,"collection":84,"collections":109263,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241272,"lun-shi-heng-chen-fu-en-241272","论诗横","陈孚恩","陈孚恩（1802—1866），字少默，号子鹤，别号紫藿。江西新城县钟贤（今黎川县中田乡）人。陈希曾次子，刘大观婿。嘉庆七年十月初八日生，同治五年正月二十二日卒。道光五年拔贡，朝考一等，由七品小官，仕至刑部、吏部、兵部尚书、军机大臣，清代著名书法家。",[7,64,133,208,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb28be6f7d2d1f4c7dbc7645e582d086.jpg",[],{"id":109265,"slug":109266,"title":109267,"dynasty":54,"author":109268,"museum":300,"description":109269,"tags":109270,"thumbUrl":109271,"material":692,"size":1293,"collection":84,"collections":109272,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241265,"gao-wei-fu-qi-jue-zhou-gao-wei-fu-241265","高为阜七绝轴","高为阜","高为阜,字守村,铅山人。雍正丙午举人,历官姚安知府。",[304,24,7,165,840,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2249663be06a51335db64939e3914cd9.jpg",[],{"id":109274,"slug":109275,"title":74497,"dynasty":54,"author":109276,"museum":300,"description":109277,"tags":109278,"thumbUrl":109279,"material":692,"size":1293,"collection":84,"collections":109280,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},241262,"qi-lv-zhou-hei-ming-feng-241262","黑鸣凤","黑鸣凤，字羽辉，号朝阳，临清州（今山东省临清县）人。中国清代康熙年间（1662～1722）穆斯林武将。回族。生卒年不详。貌温雅，性谦和，喜文好客。",[7,64,165,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc346860f617001a85f33c15f0f37cd1.jpg",[],{"id":109282,"slug":109283,"title":58919,"dynasty":54,"author":109284,"museum":300,"description":109285,"tags":109286,"thumbUrl":109287,"material":692,"size":1293,"collection":84,"collections":109288,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241259,"qi-jue-zhou-guo-fen-241259","郭棻","郭棻（1622—1690）清代官吏、学者、书法家。字芝仙，号快庵、快圃，直隶清苑（今属河北）人。顺治九年进士。历官检讨、赞善、大理寺正、内阁学士，奏疏多直言，工书法，与沈荃有南沈北郭之称，有《学源堂集》。",[24,7,165,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f2e6fb31646526f9540cb5ea8bb19c9.jpg",[],{"id":109290,"slug":109291,"title":109292,"dynasty":54,"author":109293,"museum":300,"description":109294,"tags":109295,"thumbUrl":109296,"material":692,"size":1293,"collection":84,"collections":109297,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241252,"xing-lu-wen-zhou-shen-jia-yin-241252","行录文轴","申佳胤","申佳胤（1603年－1644年4月25日），《明史》避雍正皇帝胤禛之名讳而作申佳允，申涵光之父。字孔嘉，又字濬源，号素园，北直隶永年（今河北永年）人。\n崇祯四年进士，历任知县、吏部文选司主事、吏部考功司员外郎、南京国子监博士、大理寺评事、太仆寺丞等职。甲申之变，佳胤殉国死节，赠太仆寺少卿，谥节愍。入清，褒扬忠烈，赐谥端愍。有《申端愍公诗集》、《申端愍公文集》传世。",[7,165,133,208,64,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9567bcaf2231156161a82b2f1bfc7194.jpg",[],{"id":109299,"slug":109300,"title":109301,"dynasty":54,"author":109302,"museum":300,"description":109303,"tags":109304,"thumbUrl":109305,"material":692,"size":1293,"collection":84,"collections":109306,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241196,"hu-cong-zhong-ci-ye-hu-cong-zhong-241196","胡从中词页","胡从中","胡从中，字师虞，号天放，书法家、诗人，明末清初江苏淮安人。具体生卒年已无从考证，范以煦《淮壖小记》记其是“崇祯壬午”（1642）举人，《重修山阳县志》讲其“年八十余卒” 。胡从中曾任《康熙淮安府志》的副总编篡，参与《望社》等文人社团的诗社聚会。因此，推测胡从中于明天启元年（1621）前后出生，于清康熙四十年（1701）前后去世，一生历经天启、崇祯、顺治、康熙四朝。",[54,24,7,64,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eecd899c5563ba382a6bf9f1e5f9914.jpg",[],{"id":109308,"slug":109309,"title":109310,"dynasty":54,"author":109311,"museum":300,"description":109312,"tags":109313,"thumbUrl":109314,"material":692,"size":1293,"collection":84,"collections":109315,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241192,"song-gong-yi-qi-lv-shi-shan-mian-song-gong-yi-241192","宋恭贻七律诗扇面","宋恭贻","此作为行书小品，笔意灵动舒展，以中锋行笔，线条圆劲温润，牵丝映带间尽显流转自然之态。字形欹正相生，排布错落有致，在恪守法度之余不失随性意趣。\n\n所书诗文清幽淡远，笔墨与山林闲寂诗意相融，将幽人山居的雅静图景缓缓铺展。落款小字端稳雅致，与主体行气呼应协调，朱红印章点缀其间，更添古朴雅致。\n\n整幅作品文气隽秀，既有帖学一脉的妍雅温润，又暗含文人隐世的清逸意趣，是诗书合璧的雅致之作。",[24,7,1131,64,133,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79e551b679a6e9d8c96ff9b0697dee3b.jpg",[],{"id":109317,"slug":109318,"title":76388,"dynasty":124,"author":109319,"museum":300,"description":109320,"tags":109321,"thumbUrl":109322,"material":692,"size":1293,"collection":84,"collections":109323,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241189,"shou-zha-ma-yi-long-241189","马一龙","马一龙（1499—1571）明农学家、书法家。字负图，号孟河，别号玉华子。溧阳人。马性鲁子，马从谦侄。嘉靖二十六年（1547）进士。翰林院检讨，授南京国子监司业。因母亲年老多病，五次上疏请求返里养亲，方得批准。三十八年分校礼闱，擢南少司成摄大司成事。辞官回溧阳后建务本书院，构筑馆舍，读书著述。曾捐资设义田，恢复盘龙堰，改筑盘龙桥，重建尊经阁等。招募农民垦种，采用分成制，把收获的一半给佣工，一年后荒地全部得到开垦并取得好收成。根据自己的农事经验编辑《农说》，以阴阳理论阐述农业生产，特别是水稻生产，在农学思想上占有相当重要的地位。另著有《农经》、《字帖》及《玉华子游艺集》24卷，石刻书法有《重修广化庵记》、《楷书石碑》。工书。法怀素《圣母帖》，遒劲飘逸，自谓怀素以后一人。去世后入祀乡贤祠和忠孝祠。",[23,64,133,25,7,9910],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F397258fdbf4ea5a824e0108764918f77.jpg",[],{"id":109325,"slug":109326,"title":109327,"dynasty":54,"author":223,"museum":300,"description":109328,"tags":109329,"thumbUrl":109330,"material":692,"size":1293,"collection":84,"collections":109331,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241181,"qing-ren-ji-jin-ce-he-shao-ji-zi-shu-ye-yi-ming-241181","清人集锦册-何绍基自书页","左幅行书诗文，运笔苍劲老辣，带着回腕笔法特有的沉郁顿挫，结体奇崛跌宕，将诗中江湖野逸的意趣尽数铺展。右幅尺牍小字朴拙随性，笔墨松弛舒展，尽显日常手札的悠然意韵。\n整体融碑学的厚重沉雄与帖学的灵动雅致于一身，笔画间藏着晚清书风变革的脉络，将文人疏放襟怀寄于起伏笔墨之中，尽显不拘一格的笔墨才情。",[24,7,59,133,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3fd1fcd76cc0f479a77452d050e22dc.jpg",[],{"id":109333,"slug":109334,"title":109335,"dynasty":54,"author":71842,"museum":300,"description":85092,"tags":109336,"thumbUrl":109337,"material":692,"size":1293,"collection":84,"collections":109338,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241180,"qing-ren-ji-jin-ce-lu-lin-he-jing-shi-san-shou-ye-zhang-wen-tao-241180","清人集锦册-录林和靖诗三首页",[54,7,64,59,133,84926,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c9df2d22a06caf30330b459ff52ba46.jpg",[],{"id":109340,"slug":109341,"title":109342,"dynasty":54,"author":109343,"museum":300,"description":109344,"tags":109345,"thumbUrl":109346,"material":692,"size":1293,"collection":84,"collections":109347,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241177,"qing-ren-ji-jin-ce-zi-shu-wen-ye-duan-mu-cai-241177","清人集锦册-自书文页","端木埰","端木埰（公元1816～1892年待考证），字子畴，江宁人（今江苏南京）。著名清朝文学家。清代文学家，任侍读。工书，有《赋源》等多种著作传世。",[24,7,64,59,208,128,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e8f5ded42567cc3bfc8134ec0ff8d8e.jpg",[],{"id":109349,"slug":109350,"title":109342,"dynasty":54,"author":38507,"museum":300,"description":109351,"tags":109352,"thumbUrl":109353,"material":692,"size":1293,"collection":84,"collections":109354,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241176,"qing-ren-ji-jin-ce-zi-shu-wen-ye-wang-you-dun-241176","汪由敦（1692-1758年3月1日），初名汪良金，字师苕，号谨堂、松泉居士。安徽休宁人。雍正二年（1724）进士，改庶吉士。乾隆间，先后担任了工部尚书与刑部尚书又兼署了左都御史一职。乾隆十一年（1746年）任军机大臣，吏部尚书，老诚敏慎，在职勤劳。金川用兵，廷谕皆出其手。",[7,59,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99087d017e1ed954239dcab40ed4d657.jpg",[],{"id":109356,"slug":109357,"title":109358,"dynasty":54,"author":223,"museum":300,"description":109359,"tags":109360,"thumbUrl":109361,"material":692,"size":1293,"collection":84,"collections":109362,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241175,"qing-ren-ji-jin-ce-tie-bao-lu-yu-ye-yi-ming-241175","清人集锦册-铁保录语页","此作两页风格相映成趣。右页大字开张雄放，结体宽博浑厚，笔力沉实遒劲，墨色晕染自然，行笔间尽显洒脱疏朗的意趣。左页小字行气连贯流畅，点画顾盼生姿，笔画劲挺利落，在严谨法度中不失文人雅逸之态。\n\n整作一放一收、一疏一密，既融北碑的雄健厚重，又兼帖学的灵动秀雅，将行书挥洒自如的笔意与隽秀雅致的气韵融为一体，尽显遣兴挥毫的悠然意态，藏着传统书法的意蕴之美。",[7,64,59,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc7d7088e4bfa3f63c82d216ab09a711.jpg",[],{"id":109364,"slug":109365,"title":109366,"dynasty":54,"author":19415,"museum":300,"description":67501,"tags":109367,"thumbUrl":109368,"material":692,"size":1293,"collection":84,"collections":109369,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241174,"qing-ren-ji-jin-ce-ci-ye-bian-shou-min-241174","清人集锦册-词页",[7,59,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc14007f58848141225d107a41f64f9eb.jpg",[],{"id":109371,"slug":109372,"title":71719,"dynasty":54,"author":109373,"museum":300,"description":109374,"tags":109375,"thumbUrl":109376,"material":692,"size":1293,"collection":84,"collections":109377,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241171,"wu-lv-shou-shi-zhou-ruan-yu-xuan-241171","阮玉铉","字博之，江都（今江苏扬州）人。与强瓜良、阮玉铉称三高士",[7,165,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d36ef7637782610cce5c667f3f2e5ec.jpg",[],{"id":109379,"slug":109380,"title":109381,"dynasty":54,"author":109382,"museum":300,"description":109383,"tags":109384,"thumbUrl":109385,"material":692,"size":1293,"collection":84,"collections":109386,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241160,"tie-bao-lu-yu-zhou-tie-bao-241160","铁保录语轴","铁保","董鄂·铁保（1752~1824年），字冶亭，号梅庵，本姓觉罗氏，满洲正黄旗人。清代大臣，著名书法家。\n乾隆三十七年（1772年），中进士，授吏部主事，后升为郎中、户部及吏部员外郎、翰林院侍讲学士、侍读学士、内阁学士。嘉庆四年（1799年），因弹劾官员过当被贬到盛京；不久，以吏部侍郎出任漕运总督。\n嘉庆十年（1805年），升任两江总督，赏一品顶戴，成为管辖江苏、安徽和江西三省的最高军政长官。嘉庆十四年（1809年），发生山阳县令王伸汉冒赈，鸩杀委员李毓昌事件，铁保遭到免职，流放新疆。道光初年，告病退休。道光四年（1824年），去世。\n铁保以文章和书法驰名朝野。曾任《八旗通志》总裁，并将旗人诗文编为《白山诗介》134卷，个人作品则编为《惟清斋全集》。铁保是满人中最著名的书法家，与成亲王永瑆、刘墉、翁方纲，称为“清朝四大书家”。书法早年曾学“馆阁体”，后学颜真卿，纠正“馆阁体”带来的板滞之病。他谪居吉林时仍勤于临摹古法帖，引起眼病，刻有《惟清斋帖》。",[7,64,133,165,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41f58c0aed477711d47f9eefaea52978.jpg",[],{"id":109388,"slug":109389,"title":109390,"dynasty":54,"author":109391,"museum":300,"description":109392,"tags":109393,"thumbUrl":109394,"material":692,"size":1293,"collection":84,"collections":109395,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241146,"ji-xian-guan-he-ta-ming-juan-zhou-ji-241146","集贤関鹤塔铭卷","周济","周济（1781年－1839年），字保绪，一字介存，号未斋，晚号止庵，江苏荆溪（今江苏宜兴）人，清朝词人及词论家。",[23,7,25,64,840,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febe5a529f52b069eda255e59ee7d19ab.jpg",[],{"id":109397,"slug":109398,"title":50743,"dynasty":54,"author":109399,"museum":300,"description":109400,"tags":109401,"thumbUrl":109402,"material":692,"size":1293,"collection":84,"collections":109403,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241145,"shi-zhou-fang-feng-fu-241145","方丰甫","此作用笔纵逸酣畅，字势欹正相生，牵丝映带间尽显章法灵动。整体笔力苍劲朴茂，墨色干湿浓淡富于层次，既有帖学的流美婉转，又具北碑的雄健骨力。\n\n书作内容为夜集怀友之诗，笔墨与诗境相融，将幽寂寒夜的怀人清愁，通过沉郁跌宕的笔意尽数铺展。萧散的文人情致注入挥毫之中，点画间带着深夜寄怀的沉凝思绪，是诗书合一的佳构，尽显文人写意行书的隽永意趣。",[7,165,64,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c8afe1334e576bd9fecf68619652b68.jpg",[],{"id":109405,"slug":109406,"title":109407,"dynasty":54,"author":109408,"museum":300,"description":109409,"tags":109410,"thumbUrl":109411,"material":692,"size":1293,"collection":84,"collections":109412,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241135,"ti-huang-shi-zhou-li-tian-fu-241135","题黄诗轴","李天馥","李天馥（1635年～1699年），字湘北，号容斋。科举寄籍归德府永城县 ，合肥人，其先自黄冈徙。清初文臣。\n崇祯十五年（1642年），张献忠攻陷庐州府，李天馥随家人避难永城，寓居于永城赵家。顺治十四年（1657年）中举，顺治十五年（1658年）成进士，改庶吉士，授检讨。历官少詹事、工部尚书、刑部尚书、兵部尚书、吏部尚书。康熙三十一年（1692年），拜武英殿大学士。为官期间，扬清激浊，学行俱优，深受康熙器重。康熙三十八年（1699年）去世，谥文定。著有《容斋千首诗》、《容斋诗馀》等。",[7,64,165,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e30d079197e9ffed5f6b083d1ace6ac.jpg",[],{"id":109414,"slug":109415,"title":109416,"dynasty":54,"author":109417,"museum":300,"description":109418,"tags":109419,"thumbUrl":109420,"material":692,"size":1293,"collection":84,"collections":109421,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241134,"qi-yan-shou-shi-zhou-tang-you-ceng-241134","七言寿诗轴","汤右曾","汤右曾（1656至1722）字西厓，仁和（今杭州）人。康熙二十七年（一六八八）进士，官吏部侍郎。以逸笔写山水，著墨无多，舒展自查初白（慎行）有诗称之。工行楷，遒媚似苏轼。诗与朱彝尊齐名。有怀清堂集。卒年六十七。参见《浙江通志》《国清朝别裁诗传》《敬业堂集》《分甘馀话》、畊《砚田斋笔记》《桐阴论画》《画传编韵》《清画家诗史》。",[54,7,165,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddbca2da5aa8f5a1589815d37376e739.jpg",[],{"id":109423,"slug":109424,"title":109425,"dynasty":54,"author":109426,"museum":300,"description":109427,"tags":109428,"thumbUrl":109429,"material":692,"size":1293,"collection":84,"collections":109430,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241132,"xing-qing-chi-shi-zhou-huang-ji-241132","兴庆池诗轴","黄机","字次辰，一字澄斋，号雪台。浙江钱塘（今属杭州）积善坊巷人。宋代福建莆田黄石金墩平海军节度使、赠太师谥清惠黄府十五孙。清顺治四年（1648）进士，选庶吉士，授弘文院编修，迁弘文院侍读。顺治末，诏辑《太祖、太宗圣训》，充纂修官。累迁国史院侍读学士，擢礼部侍郎。康熙初，进礼部尚书。疏陈民穷之由，主张严察地方各级官吏。寻调户部、吏部尚书。因以疏通铨法、议降补官对品除用，为人所劾。寻以迁葬乞归。十八年(1679)特召还朝，以吏部尚书衔管刑部事。次年授清光禄大夫、文华殿大学士兼吏部尚书。康熙二十五年（1686）卒。赠太傅、太师，谥文僖，赐祭葬于灵鹫山金墩武林白乐桥之南。",[24,7,165,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddd427196f2e4a1551d524e4cb8a1906.jpg",[],{"id":109432,"slug":109433,"title":109434,"dynasty":54,"author":109435,"museum":300,"description":109436,"tags":109437,"thumbUrl":109439,"material":692,"size":1293,"collection":84,"collections":109440,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241128,"liu-jia-xing-za-shu-shi-zha-he-juan-wang-xi-ru-241128","六家行杂书诗札合卷","王熹儒","王熹儒(清初),江苏兴化人。与王士祯、孔尚任交善。工书法,擅长小行楷,神似二王。其兄王仲儒与金圣叹等十七名士被牵涉到清初江南三大案之一的哭庙案而被杀。",[23,7,64,25,133,840,572,128,208,109438],"诗札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F512d5edb2cd68cd0ee86479aa4289621.jpg",[],{"id":109442,"slug":109443,"title":109444,"dynasty":124,"author":109445,"museum":300,"description":109446,"tags":109447,"thumbUrl":109448,"material":692,"size":1293,"collection":84,"collections":109449,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241122,"qi-qi-lv-er-shou-shan-mian-xu-hong-241122","起七律二首扇面","徐鸿","此作为泥金扇面行书，金底墨色相衬，愈显古雅华贵。笔墨取法帖学，点画顾盼生姿，牵丝映带圆润自然，章法顺着扇面弧度排布，行气舒展从容不显局促。\n笔墨藏露相济，时而遒劲利落，时而秀雅温婉，将文人萧散简淡的意趣融于毫端。诗书合璧，笔底带着醇厚书卷气，字句间尽显文雅闲适的襟怀。历经岁月，墨色依旧沉稳鲜亮，形制虽小，却尽显传统文人书画的隽永韵味，是一件颇为雅致的小品佳作。",[805,1131,133,64,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1010f785f02706d763e97b33884549af.jpg",[],{"id":109451,"slug":109452,"title":109453,"dynasty":124,"author":223,"museum":300,"description":109454,"tags":109455,"thumbUrl":109456,"material":692,"size":1293,"collection":84,"collections":109457,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241118,"lai-si-zhi-bing-ge-shan-mian-yi-ming-241118","来斯治兵歌扇面","此扇面以小楷录写治兵歌，笔致清劲秀雅，点画提按皆具法度，筋骨内含不失柔和。结体端稳匀整，通篇排布疏密合宜，字里行间带着从容端肃的意韵，既有台阁体的规整隽秀，又暗蕴书写者的个人笔情墨趣。泛黄纸面配沉静墨色，晕开岁月浸润的温润质感，将金戈铁马的军歌以文雅小楷呈现，融肃杀兵气与文人雅趣于一体，尽显儒将风雅，是兼备文学性与书法审美价值的小品佳作。",[1131,64,133,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1149fcd1958afcaa1f742f1096314a8.jpg",[],{"id":109459,"slug":109460,"title":109461,"dynasty":124,"author":223,"museum":300,"description":109462,"tags":109463,"thumbUrl":109464,"material":692,"size":1293,"collection":84,"collections":109465,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241114,"you-shi-ren-qi-yan-shi-shan-mian-yi-ming-241114","游士任七言诗扇面","此幅行书扇面笔意纵逸灵动，提转间牵丝映带，章法自洽。字势错落欹正，尽显尚态风貌。笔墨枯润浓淡得宜，通篇行气贯通，将诗文意境与书法意韵相融。虽无款署，却可见书家深厚帖学功底，既有晋人尺牍的隽秀风神，又不失疏放意气，扇面形制更将笔墨的舒展雅致烘托尽致，尽显文人士子的翰墨雅趣，是一件颇具格调的书法佳构。",[24,7,1131,64,133,208,8116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac86d5136e1b8387c077e183d4445f5.jpg",[],{"id":109467,"slug":109468,"title":109469,"dynasty":124,"author":223,"museum":300,"description":109470,"tags":109471,"thumbUrl":109472,"material":692,"size":1293,"collection":84,"collections":109473,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241113,"zi-xiu-qi-lv-shan-mian-yi-ming-241113","□自修七律扇面","此行书扇面笔墨顺势贴合扇骨弧度排布，行气舒展自如。用笔枯润相生，起收可见笔法法度，牵丝映带间尽显灵动意趣，兼具规整与随性之美。\n诗墨相融，将文人书卷气藏于毫端，点画流转间带着从容意韵。纸面历经岁月泛黄晕染，沉淀出沉静古雅的质感，文辞笔墨相映成趣，尽显传统小品翰墨的雅致意蕴，藏着旧时光里的文人风雅。",[1131,64,133,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18ed696c7490d5e2845999fe1cb6858b.jpg",[],{"id":109475,"slug":109476,"title":109477,"dynasty":124,"author":223,"museum":300,"description":109478,"tags":109479,"thumbUrl":109480,"material":692,"size":1293,"collection":84,"collections":109481,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241071,"sun-kuang-shi-zhou-yi-ming-241071","孙鑛诗轴","此作用笔纵放老辣，起收爽利酣畅，线条粗细随行气自然变幻。长列诗句笔势舒展流走，字字映带顾盼，通篇气韵连贯如奔泉，将诗意的清远融于笔墨章法之内。墨色枯润交织，浓处厚重饱满，淡处空灵悠远，尽显草书流动之美。落款小字沉着简约，与正文的纵逸形成动静对比，整轴张弛有度，尽显晚明草书重尚意韵的典型风貌，于率意挥洒之间蕴藏着清雅沉厚的书卷气息。",[24,7,165,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa73b05f3f1bc85d1dc8cec55e8044a8f.jpg",[],{"id":109483,"slug":109484,"title":109485,"dynasty":54,"author":223,"museum":300,"description":109486,"tags":109487,"thumbUrl":109488,"material":692,"size":1293,"collection":84,"collections":109489,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241068,"shi-han-he-juan-yi-ming-241068","诗翰合卷","此卷行书笔意兼具疏朗与跌宕，右卷大字开张朴拙，左卷小字灵动秀润，墨色干湿浓淡层次丰盈，尽显随性萧散的林下之风。\n\n整卷录赠答、纪游诸诗，将行旅烟波、林泉雅兴付诸笔端，诗与书相得益彰，带着山林文人的疏放意趣。字里行间藏着旧友寄赠、名山访道的雅致交游，笔墨游走间，把海天夜航、峰麓登眺的清景化入笔底，既有禅意清寂，又存俗世雅怀，是诗书合璧的佳构，尽显旧时文人以墨寄情的风流雅致。",[7,25,64,133,208,128,6844,10851,129,3344,231,690,130,211,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F311b1e01fb8d0cc07918139109fee4ad.jpg",[],{"id":109491,"slug":109492,"title":71815,"dynasty":54,"author":109493,"museum":300,"description":109436,"tags":109494,"thumbUrl":109495,"material":692,"size":1293,"collection":84,"collections":109496,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241066,"wu-lv-shi-zhou-wang-xi-ru-241066","王熺儒",[24,7,165,128,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dac3d23d8bee39950c01145667a53ee.jpg",[],{"id":109498,"slug":109499,"title":71815,"dynasty":54,"author":77758,"museum":300,"description":77759,"tags":109500,"thumbUrl":109501,"material":692,"size":1293,"collection":84,"collections":109502,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241064,"wu-lv-shi-zhou-yang-bin-241064",[7,64,165,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb00e5ef655220ac51cab377a416756ff.jpg",[],{"id":109504,"slug":109505,"title":66814,"dynasty":54,"author":109506,"museum":300,"description":109507,"tags":109508,"thumbUrl":109509,"material":692,"size":1293,"collection":84,"collections":109510,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241063,"qi-jue-shi-zhou-wei-xiang-shu-241063","魏象枢","魏象枢（1617—1687年），字环极（一作环溪），号庸斋，又号寒松，蔚州（今河北省蔚县。在清康熙三十二年以前隶属于山西省大同府治）人。进士出身，官至左都御史、刑部尚书。魏作为言官，敢讲真话；作为能臣，为平定三藩之乱立下大功；作为廉吏，他“誓绝一钱”，甘愿清贫；作为学者，注重真才实学。\n后人以“好人、清官、学者”六字，对他的一生进行了概括。现有魏象枢《寒松堂全集》九卷存世。",[24,7,165,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51c4909494dffc993c34ff0676a6bc85.jpg",[],{"id":109512,"slug":109513,"title":58919,"dynasty":54,"author":109514,"museum":300,"description":109515,"tags":109516,"thumbUrl":109517,"material":692,"size":1293,"collection":84,"collections":109518,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241051,"qi-jue-zhou-sun-yue-ban-241051","孙岳颁","字云韶，号树峯，吴县（今江苏苏州）人。康熙二十一年（一六八二）进士，官至礼部侍郎。",[24,7,165,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a10a2d0d35cc6c22d89b8c197e0a895.jpg",[],{"id":109520,"slug":109521,"title":50743,"dynasty":54,"author":109522,"museum":300,"description":109523,"tags":109524,"thumbUrl":109525,"material":692,"size":1293,"collection":84,"collections":109526,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241050,"shi-zhou-mou-ri-zao-241050","缪日藻","缪曰藻（1682年－1761年），字文子、一字彤子，号南有居士，江南省苏州府吴县人。清朝官员。",[304,165,64,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1df661bb840bad14c9b1f0f1ee431517.jpg",[],{"id":109528,"slug":109529,"title":81390,"dynasty":54,"author":109530,"museum":300,"description":109531,"tags":109532,"thumbUrl":109533,"material":692,"size":1293,"collection":84,"collections":109534,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241049,"lu-yu-zhou-chen-ding-241049","陈鼎","陈鼎是一位著作等身的著名历史学家、旅游文学家。原名太夏，字定九，又字九符、子重，号鹤沙，晚号铁肩道人。江阴周庄镇陈家仓人（现周西村人）。少年随叔父远至云南，长期生活在云贵高原，考察西南少数民族的风俗民情，对云南、贵州一带的地理、历史情况很有研究，后返归周庄故里定居，死后葬于砂山五峰顶北麓。",[304,24,7,165,840,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fbabd6326c8ea428b931f9187e42799.jpg",[],{"id":109536,"slug":109537,"title":109538,"dynasty":54,"author":81017,"museum":300,"description":81018,"tags":109539,"thumbUrl":109540,"material":692,"size":1293,"collection":84,"collections":109541,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241035,"jiang-chen-ying-lin-tie-zhou-jiang-chen-ying-241035","姜宸英临帖轴",[7,64,165,330,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4264635b9dbcdf4e4cafc47f025bc170.jpg",[],{"id":109543,"slug":109544,"title":109545,"dynasty":54,"author":81017,"museum":300,"description":81018,"tags":109546,"thumbUrl":109547,"material":692,"size":1293,"collection":84,"collections":109548,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241011,"mian-zhai-shuo-zhou-jiang-chen-ying-241011","勉斋说轴",[24,7,64,133,165,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e090d16e485cfe02b02b1830ef4d721.jpg",[],{"id":109550,"slug":109551,"title":109552,"dynasty":124,"author":109553,"museum":300,"description":109554,"tags":109555,"thumbUrl":109556,"material":692,"size":1293,"collection":84,"collections":109557,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241006,"gong-shu-juan-zha-zhou-zhong-jie-241006","公书卷札","周忠介","周忠介公顺昌，字景文，明朝万历年间进士，曾任吏部文选司员外郎，请假回乡到苏州居住。当时，朝内太监魏忠贤揽大权，扰乱了全国政局。曾任给事中的嘉善人魏大中得罪了魏忠贤，被捕押解经过苏州。先生到他那儿和他饮酒，第三天，把自己的小女儿许配给魏大中的孙子。魏忠贤知道了这件事，非常愤恨。御史倪文焕受了魏忠贤的指使，弹劾先生，就此被削除官籍。正当苏杭织造太监李实和曾任应天巡抚的周起元与先生有怨仇，追查周起元罪状弹劾他，把先生的名字也放进去一起弹劾。魏忠贤就派官差到苏州，要逮捕先生。先生知道这件事，却不放在心上，一点也不为其所动",[23,64,25,133,840,208,7,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe33cd583d91ee6673d5046cdfec4d184.jpg",[],{"id":109559,"slug":109560,"title":109561,"dynasty":54,"author":109562,"museum":300,"description":109563,"tags":109564,"thumbUrl":109565,"material":692,"size":1293,"collection":84,"collections":109566,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},241003,"si-jia-zha-juan-sun-qi-feng-241003","四家札卷","孙奇逢","孙奇逢（1584—1675年）明末清初理学大家。字启泰，号钟元，晚年讲学于辉县夏峰村20余年，从者甚众，世称夏峰先生。\n顺治元年（1644年）明朝灭亡后，清廷屡召不仕，人称孙征君。与李颙、黄宗羲齐名，合称明末清初三大儒。\n孙奇逢一生著述颇丰，他的学术著作主要有：《理学宗传》、《圣学录》、《北学编》、《洛学编》、《四书近指》、《读易大旨》五卷、《书经近指》。",[23,7,64,25,133,208,9910,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16afcf4394bae728613c900721d8e31e.jpg",[],{"id":109568,"slug":109569,"title":109570,"dynasty":124,"author":223,"museum":300,"description":109571,"tags":109572,"thumbUrl":109573,"material":692,"size":1293,"collection":84,"collections":109574,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240991,"shi-du-che-yi-hua-bi-shi-juan-yi-ming-240991","释读澈移画璧诗卷","此卷行书纵逸洒脱，牵丝映带间流转灵动，字形错落排布，章法疏密相宜，通篇一气呵成，尽显萧散放旷的林下意趣。\n\n笔墨枯湿浓淡富于变化，将题画诗文的山林意韵晕染开来，把画中苍璧古松的冷峭苍莽，化作笔底清逸筋骨。笔锋起落间带着文人疏朗风雅，诗与书相融相衬，仿佛将山巅云崖、松下清寒都铺展在卷上，观之如临其境，林泉高致扑面而来。",[23,164,24,7,25,128,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2622595711eb13fe87ea7c51724e66a.jpg",[],{"id":109576,"slug":109577,"title":109578,"dynasty":54,"author":109579,"museum":300,"description":109580,"tags":109581,"thumbUrl":109582,"material":692,"size":1293,"collection":84,"collections":109583,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240980,"yu-lu-zhou-di-hui-240980","语录轴","谛晖","清代灵隐寺里有一位住持僧人，法名“慧辂”，字“谛晖”。明朝天启七年（公元1627年）出生，少年出家于灵隐寺，清雍正三年（公元1725年）圆寂于灵隐寺，寿至九十八岁（虚岁九十九）。",[304,64,7,133,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feceee2d3bfe3eca008b6c7e309e92400.jpg",[],{"id":109585,"slug":109586,"title":109587,"dynasty":54,"author":109588,"museum":300,"description":109589,"tags":109590,"thumbUrl":109591,"material":692,"size":1293,"collection":84,"collections":109592,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240976,"ti-hua-jue-ju-shi-zhou-zhou-er-yan-240976","题画绝句诗轴","周而衍","周而衍，字东会，晚号白云老人。宜兴人，. 满江红·夜泊采石矶. 采石矶边，终古是、长风白浪。流不尽、百篇才思，千杯疏放。当日汉宫飞燕句，谁能谱向亭前唱。",[7,64,165,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F907a1e3cbb03da1424579c649a5677de.jpg",[],{"id":109594,"slug":109595,"title":109596,"dynasty":124,"author":109597,"museum":300,"description":109598,"tags":109599,"thumbUrl":109600,"material":692,"size":1293,"collection":84,"collections":109601,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240970,"wu-lv-shan-mian-zhang-yi-cheng-240970","五律扇面","张以诚","张以诚（1568年～1615年），字君一，号瀛海，南直隶松江府华亭县（今上海松江）人。张弼的玄孙。明神宗万历二十九年（1601年）辛丑科状元。",[1131,133,64,7,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc28b4b7a59fdb87462411dfc8b7fdde8.jpg",[],{"id":109603,"slug":109604,"title":109605,"dynasty":124,"author":11977,"museum":300,"description":109606,"tags":109607,"thumbUrl":109608,"material":692,"size":1293,"collection":84,"collections":109609,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},240962,"san-wu-mo-miao-ce-shi-wang-feng-yuan-240962","三吴墨妙册-诗","字子新，号吉山。钦佩子。擅海内书名，楷法钟繇，草法王羲之父子。",[64,7,59,133,208,9910,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a93c9f7f2ee593620a2b38781a41ef5.jpg",[],{"id":109611,"slug":109612,"title":109613,"dynasty":124,"author":109614,"museum":300,"description":109615,"tags":109616,"thumbUrl":109617,"material":692,"size":1293,"collection":84,"collections":109618,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},240959,"san-wu-mo-miao-ce-zhi-ya-yi-shi-yuan-zhi-240959","三吴墨妙册-致雅宜诗","袁袠","袁袠（zhì）（1502—1547）字永之，号胥台山人，南直隶苏州府吴县（今属江苏）人，袁鼏第四子。生于明孝宗弘治十五年，卒于世宗嘉靖二十六年，年四十六岁。",[7,64,133,59,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3002c67ed7e4c9df7f206746cfc41004.jpg",[],{"id":109620,"slug":109621,"title":109622,"dynasty":124,"author":109623,"museum":300,"description":109624,"tags":109625,"thumbUrl":109626,"material":692,"size":1293,"collection":84,"collections":109627,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},240958,"san-wu-mo-miao-ce-wei-guo-er-shi-xu-bai-chen-240958","三吴墨妙册-为果儿诗","徐白臣","此作为两开行书册页，取法晋唐意韵，用笔松灵隽秀，牵丝映带间流转自然，点画粗细错落，尽显萧散简远的林下之风。\n左页字形稍纵，笔意舒展烂漫，墨色枯润相生，古意盎然；右页布白匀停，字字顾盼生姿，行气连贯如潺潺溪流，将诗文的雅致心境寄寓在笔墨起落间。\n整作不事雕琢，以随性书写吐露襟怀，文与书相得益彰，尽显清雅散淡的文人意趣，是诗意与笔情融为一体的佳构。",[805,7,64,59,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01a9adf36d7fad0d8c0cca239a87ce4b.jpg",[],{"id":109629,"slug":109630,"title":109631,"dynasty":124,"author":75825,"museum":300,"description":109632,"tags":109633,"thumbUrl":109634,"material":692,"size":1293,"collection":84,"collections":109635,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},240957,"san-wu-mo-miao-ce-zhi-yuan-si-shi-chen-yi-240957","三吴墨妙册-致原思诗","陈毅（1469年－1538年），字鲁南、宗鲁、石亭、小坡，浙江鄞县人，南京太医院医籍，明朝文人、政治人物。正德丁丑进士，官至太仆寺卿、工诗文书画。",[7,24,59,133,208,128,231,818,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7e28e5e42b256ab2a1f736eb5736ef2.jpg",[],{"id":109637,"slug":109638,"title":109639,"dynasty":124,"author":109640,"museum":300,"description":109641,"tags":109642,"thumbUrl":109643,"material":692,"size":1293,"collection":84,"collections":109644,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},240956,"san-wu-mo-miao-ce-zhi-zi-dan-qi-jue-er-shou-xu-zhen-qing-240956","三吴墨妙册-致子儋七绝二首","徐桢卿","徐桢卿 （1479—1511）明吴县（今江苏苏州）人，字昌谷、昌国。弘治进士。授大理寺左副，后贬国子监博士。",[24,7,59,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58ae98e86d31cdf5a0f706c0e479c07f.jpg",[],{"id":109646,"slug":109647,"title":109648,"dynasty":124,"author":74565,"museum":300,"description":85212,"tags":109649,"thumbUrl":109650,"material":692,"size":1293,"collection":84,"collections":109651,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},240955,"san-wu-mo-miao-ce-chi-bi-fu-jin-cong-240955","三吴墨妙册-赤壁赋",[805,7,64,133,59,208,128,231,6004],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69b9cad30fda3171860a132b47eb199c.jpg",[],{"id":109653,"slug":109654,"title":109605,"dynasty":124,"author":109655,"museum":6892,"description":109656,"tags":109657,"thumbUrl":109658,"material":84,"size":84,"collection":84,"collections":109659,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},240954,"san-wu-mo-miao-ce-shi-zhou-lun-240954","周伦","十六世纪的吴门，地方经济与社会力量获得长足发展，本地对于教育极为重视，读书人口不断攀升，但科举中式的人数却没有得到相应的增长，于是大量有文化知识与文艺才能的读书人不得不滞留本地，他们将诗文、书画、鉴藏等文化活动作为自我追求，并藉此确认文化身份，这是吴门人才辈出的一个重要原因。而此一时期的文化消费也蓬勃发展，书画家开始出现一定的职业性，他们不仅创造出许多特殊的艺术品形制、母题与程序，在大量的文化社交中，他们也集体亮相，相互标榜，所谓“善自标致，相为引重”，流派的形成除了创作观念与手法的口传手授，也与这样的合作方式不无关系。吴门书法的影响所及，匪止苏州一地，还辐射到了三吴以及整个江南地区。文征明去世之后，这一区域的文化权威受到了严峻的挑战。尽管王世贞声称“天下法书归吾吴”，但“文氏一笔书”成为颇难回击的批评，而邻近的松江、徽州与浙江都觊觎吴门在书画与鉴定领域的独尊地位。追随流派核心人物，形成一种具有共同特点的书风，既是地域流派成熟的重要标志，也为它的式微埋下了伏笔。",[7,64,59,133,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc94b28f5db0239643f15c4c3cd4a4833.jpg",[],{"id":109661,"slug":109662,"title":109663,"dynasty":124,"author":223,"museum":300,"description":109664,"tags":109665,"thumbUrl":109666,"material":692,"size":1293,"collection":84,"collections":109667,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},240953,"san-wu-mo-miao-ce-peng-nian-zhi-ling-xu-shi-yi-ming-240953","三吴墨妙册-彭年致灵墟诗","此件行书尺牍笔墨灵动秀雅，结体宽和舒朗，暗合晋唐行书遗风。起笔收锋简约利落，牵丝映带暗含章法，字字排布错落随心却气脉贯通通篇。笔力清劲不失温润，点画顾盼生姿，既有文人疏淡散逸的襟怀，也可见信手挥毫时的松弛自在。\n\n沉静墨色晕染于泛黄笺纸，晕开旧时光晕，字里行间藏着酬唱寄怀的文人情思，亦让观者窥见江南书家将日常尺素化为书法雅事的意趣。整体意韵萧散简远，尽显晚明江南文人的审美意趣。",[64,133,208,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e58e5c693030488d3632e4855193c20.jpg",[],{"id":109669,"slug":109670,"title":109671,"dynasty":124,"author":81491,"museum":300,"description":81492,"tags":109672,"thumbUrl":109673,"material":692,"size":1293,"collection":84,"collections":109674,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},240952,"san-wu-mo-miao-ce-zhi-feng-zhou-shi-chen-liu-240952","三吴墨妙册-致凤洲诗",[7,64,133,59,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eeb3b2bd938f20775bb7cf656e0c142.jpg",[],{"id":109676,"slug":109677,"title":109605,"dynasty":124,"author":109678,"museum":300,"description":109679,"tags":109680,"thumbUrl":109681,"material":692,"size":1293,"collection":84,"collections":109682,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},240950,"san-wu-mo-miao-ce-shi-wang-tong-zu-240950","王同祖","王同祖（1497—1551）字绳武，南直隶苏州府昆山（今属江苏）人，文徵明甥。另著有《东吴水利通考》。",[7,59,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad9f49da9ff2279ea281b08886c2e08b.jpg",[],{"id":109684,"slug":109685,"title":109686,"dynasty":124,"author":16243,"museum":300,"description":68974,"tags":109687,"thumbUrl":109688,"material":692,"size":1293,"collection":84,"collections":109689,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},240949,"san-wu-mo-miao-ce-wu-jue-ju-shi-wu-shou-wang-chong-240949","三吴墨妙册-五绝句诗五首",[24,7,59,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F631f3b122c634816fc1ca4b9c7fed975.jpg",[],{"id":109691,"slug":109692,"title":109605,"dynasty":124,"author":3619,"museum":6892,"description":109656,"tags":109693,"thumbUrl":109694,"material":84,"size":84,"collection":84,"collections":109695,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},240947,"san-wu-mo-miao-ce-shi-wen-zheng-ming-240947",[64,133,572,59,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F669a08c010913cf0837785c5b3a569e0.jpg",[],{"id":109697,"slug":109698,"title":62666,"dynasty":124,"author":109699,"museum":300,"description":109700,"tags":109701,"thumbUrl":109702,"material":692,"size":1293,"collection":84,"collections":109703,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},240905,"qi-lv-shi-zhou-tao-ru-nai-240905","陶汝鼐","陶汝鼐（1601-1683）字仲调，一字燮友，别号密庵，又号石溪农，湖南宁乡人。明亡削发为僧，号忍头陀。少奇慧，工诗文词翰，海内有“楚陶三绝”之誉。文隽逸，有奇气，词赋尤工。书法初出入米芾，晚为颜鲁公，所过寺院辄为制碑铭联榜，现也宝贵。崇祯六（1633）举于乡，十六年（1643）中会试副榜、官广东教谕。明亡（1644）祝发大阳山，号忍头陀。卒年八十三。",[24,7,165,133,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F141037b63ff6220715bb10edf97eb95a.jpg",[],{"id":109705,"slug":109706,"title":109707,"dynasty":54,"author":64723,"museum":300,"description":64724,"tags":109708,"thumbUrl":109709,"material":692,"size":1293,"collection":84,"collections":109710,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240903,"lin-mi-tie-cheng-shan-zhang-ting-ji-240903","临米帖成扇",[1131,330,133,208,64,7,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4e75d4faba6c74297964c52950c77ce.jpg",[],{"id":109712,"slug":109713,"title":77743,"dynasty":54,"author":109714,"museum":300,"description":109715,"tags":109716,"thumbUrl":109717,"material":692,"size":1293,"collection":84,"collections":109718,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},240902,"lu-wen-zhou-zhang-fei-240902","张芾","张芾(1814～1862)名黼侯，字小浦。陕西泾阳人。 [1] 清道光十五年(1835)进士，选庶吉士，授编修，累迁庶子，值南书房。大考一等，擢少詹事。二十二年四月王鼎自缢后，张以门生至王家，与陈孚恩“共劝王沆”，同意由陈代改遗疏，得穆彰阿赏识，超迁内阁学士，督江苏学政。二十五年(1845)授工部侍郎，任满仍值南书房，旋调吏部；二十九年(1849)督江西学政。",[24,7,64,165,133,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dfc9d7ec624b79d7f4fc8f74ab0ccdf.jpg",[],{"id":109720,"slug":109721,"title":109722,"dynasty":54,"author":109723,"museum":300,"description":109724,"tags":109725,"thumbUrl":109726,"material":692,"size":1293,"collection":84,"collections":109727,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240893,"lu-li-tai-pu-yu-dan-ye-xu-nai-xing-240893","录李太仆语单页","许乃兴","此作为圆形扇面行书小品，笔墨清隽雅致。行笔舒展灵动，点画间牵丝映带自然流畅，尽显书写时的从容韵律。结体疏密排布得宜，既有帖学的严谨法度，又不失随性自在的姿态，将个人意趣融于录语书写之中。墨色浓淡过渡柔和，通篇气息匀和舒缓，尽显秀雅温润的文人审美意趣。整幅虽尺幅小巧，却在有限空间里铺陈出悠然沉静的文人情思，是一件兼具扎实笔墨功底与雅致书卷气的小品佳作。",[7,59,133,208,64,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97f1b597941109e0e944f93e46cfb929.jpg",[],{"id":109729,"slug":109730,"title":109731,"dynasty":124,"author":223,"museum":300,"description":109732,"tags":109733,"thumbUrl":109734,"material":692,"size":1293,"collection":84,"collections":109735,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},240885,"ju-jie-shi-zhou-yi-ming-240885","居节诗轴","此幅行书用笔爽劲老辣，起收间尽显行书灵动意趣，牵丝映带自然圆融。字形欹正相生，章法疏密错落得宜，通篇气势连贯如一，笔势层层铺展递进。墨色枯湿浓淡富于变化，枯笔苍茫遒劲，润笔腴润饱满，尽显笔墨层次变化之妙。\n\n书法与诗作浑然相合，将诗中寄情山水的疏旷闲逸诉诸笔端，文气与笔意交融共生，既有秀雅文人气韵，又暗含劲挺筋骨，尽显超逸出尘的林下之风，是一件兼备笔墨意趣与文人情致的行书精品。",[7,165,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34ffa6d87d857c36711f889a539d9f7d.jpg",[],{"id":109737,"slug":109738,"title":109739,"dynasty":124,"author":223,"museum":300,"description":109740,"tags":109741,"thumbUrl":109742,"material":692,"size":1293,"collection":84,"collections":109743,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240863,"jin-shi-xing-yuan-cheng-dao-ren-chuan-juan-yi-ming-240863","今释行元诚道人传卷","此卷以行草小字铺陈主体，间以榜书大字醒眼，疏密排布极具张力。小字灵动跳脱，牵丝映带间行气贯通，笔墨粗细随文思流转自然变化，尽显晚明尚奇抒情的书风意趣。榜书朴拙雄强，方折斩截，墨色浓郁厚重，与小字形成强烈视觉反差，节奏跌宕。\n\n通篇墨色干湿浓淡层次丰富，长卷气脉始终连贯，文字排布随心绪舒展收束，既是详实传记文稿，亦是极具感染力的书法佳作，尽显明代书法不拘成法、以笔抒情的独特品格。",[23,7,64,25,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23f8b9eb66d6270a254f689409ff77ca.jpg",[],{"id":109745,"slug":109746,"title":109747,"dynasty":124,"author":109655,"museum":300,"description":109748,"tags":109749,"thumbUrl":109750,"material":692,"size":1293,"collection":84,"collections":109751,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240849,"ku-xi-fu-xian-jiu-gu-shi-juan-zhou-lun-240849","苦媳妇贤舅姑诗卷","周伦（1463年—1542年），字伯明，晚号贞翁，江苏昆山人。弘治十二年（1499）进士，授新安知县，擢大理寺少卿，官至南京刑部尚书。卒，谥康僖。伦著有《贞翁净稿》、《西台纪闻》、《医略》等。后人赞曰：中官不私，君嘉其德。飞蝗不灾，明戴其德。",[23,24,7,25,133,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb419c6fde1ee660ff14cc4b3bf9f29e9.jpg",[],{"id":109753,"slug":109754,"title":21115,"dynasty":124,"author":109755,"museum":300,"description":109756,"tags":109757,"thumbUrl":109758,"material":692,"size":1293,"collection":84,"collections":109759,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240846,"shi-shan-mian-zhao-bing-shu-240846","赵秉枢","赵秉衡（？－？），山东东昌府临清州人。生平天启元年（1621年）辛酉科山东乡试举人，天启五年（1625年）乙丑科进士，授元城县，擢户部主事，督密云粮储。",[164,24,7,1131,133,64,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe79afd389ac5c423e561427d98eddd63.jpg",[],{"id":109761,"slug":109762,"title":109763,"dynasty":54,"author":101674,"museum":300,"description":101675,"tags":109764,"thumbUrl":109765,"material":692,"size":1293,"collection":84,"collections":109766,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240834,"fa-shi-fan-zha-tong-juan-wang-qi-sun-240834","法时帆札(通)卷",[23,64,25,133,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19ac8284e0fafd8ed0a27c2f69c11ac6.jpg",[],{"id":109768,"slug":109769,"title":109770,"dynasty":54,"author":109771,"museum":300,"description":109772,"tags":109773,"thumbUrl":109774,"material":692,"size":1293,"collection":84,"collections":109775,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240832,"xing-lu-yu-zhou-shen-feng-240832","行录语轴","沈凤","沈凤（？～1852）女，字香卿。清代江西崇仁人。陈偕灿妻。清代女诗人。通经史，工诗词，善书画。学诗从夫，互为师友。诗多灵性。",[24,7,64,165,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a6b04543951232c141acc9ec0cdb8f5.jpg",[],{"id":109777,"slug":109778,"title":109779,"dynasty":54,"author":109780,"museum":300,"description":109781,"tags":109782,"thumbUrl":109783,"material":692,"size":1293,"collection":84,"collections":109784,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240829,"lv-qian-qi-jue-shi-zhou-lv-qian-240829","呂潛七绝诗轴","呂潛","吕潜（1621-1706），字孔昭，号半隐、石山、石山农、耘叟。四川潼川州遂宁县北坝（今遂宁市船山区北固乡）人。南明永历朝兵部尚书、武英殿大学士文肃公吕大器长子 。明崇祯十五年壬午科（1642）举人，崇祯十六年癸未科杨廷鉴榜（1643）三甲第二百八十七名进士，授太常博士。明亡后，不仕。甲申（1644）受父命，奉母侨居浙江湖州府吴兴县桑苎村，后迁住扬州府泰州海陵。以蜀道险远且继有滇黔之乱，往来苕与扬者四十年。卖书画自给。清康熙二十四年（1685）冬始扶母柩旋里，并迁父柩至遂。潜于遂宁城北门外购楼三楹，题曰“课耕”，日惟徜徉山水，以诗画娱老，年八十六卒。卒葬遂宁枣子坪。入祀遂宁乡贤祠。",[7,64,165,133,208,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc2f234ec37d5234369b41e12d2f779a.jpg",[],{"id":109786,"slug":109787,"title":81184,"dynasty":54,"author":109788,"museum":300,"description":109789,"tags":109790,"thumbUrl":109791,"material":692,"size":1293,"collection":84,"collections":109792,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240814,"wu-yan-shi-ye-zhong-ru-yuan-240814","衷如瑗","此作用笔纵逸灵动，行草相生，点画粗细变幻，牵丝映带之间尽显随性舒展的意趣。字里行气连贯畅达，墨色浓枯互见，于法度之内藏挥洒松弛之态，将诗文韵律融于笔墨节奏之中。整体排布错落自然，题署与正文相映成趣，自带文人手札的雅致随性，笔墨间浸透书写时的悠然心境，尽显清人尚韵重意的书法特质。",[7,64,133,208,59,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1c8faf0aeaa8947a49e41c41706fd6e.jpg",[],{"id":109794,"slug":109795,"title":81184,"dynasty":54,"author":109796,"museum":300,"description":109797,"tags":109798,"thumbUrl":109799,"material":692,"size":1293,"collection":84,"collections":109800,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240809,"wu-yan-shi-ye-xia-da-hong-240809","夏大纮","此作为行书诗页，笔墨灵动率意，结体舒展自如。右侧正文字势欹侧相生，大开大合间透着疏宕萧散的意趣，墨色枯湿浓淡富于变化，尽显挥毫时的随性快意。左侧小字落款与朱红印章相映，章法虚实相宜，规整中见洒脱。整幅诗书相融，将文人胸中意气寄寓笔端，既有帖学的妍润灵动，又暗含些许碑意的朴拙苍劲，尽显隽雅逸韵，是颇具文人意趣的书法佳构。",[7,64,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facb02aeaa4aede70c58919ec91f06a04.jpg",[],{"id":109802,"slug":109803,"title":109804,"dynasty":54,"author":109805,"museum":300,"description":109806,"tags":109807,"thumbUrl":109808,"material":692,"size":1293,"collection":84,"collections":109809,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240804,"liu-yun-hao-xun-jie-ti-ci-ye-yang-zhao-yi-240804","刘允浩殉节题词页","杨兆仪","右侧隶书古拙厚重，笔致方正朴茂，以汉隶风神彰显沉穆庄重，暗合殉节题旨的肃穆底色。左侧行书笔意灵动，牵丝映带间不失沉稳，笔墨晕染着追思的沉郁心绪。文辞追忆逝者殉节往事，笔墨与情志相融相衬，将敬慕悼惋寄于点画起落之间。通篇书卷气盎然，书风随文气流转，以字寄情，以文显骨，凭一纸翰墨留存下对忠义之人的追思，是书情合一、文墨相生的书法佳构。",[304,64,133,208,5459,59,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ff076c4c98c8fba6a6aa3d1e8bcb70c.jpg",[],{"id":109811,"slug":109812,"title":52232,"dynasty":54,"author":109813,"museum":300,"description":27665,"tags":109814,"thumbUrl":109815,"material":692,"size":1293,"collection":84,"collections":109816,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},240794,"shu-zha-ce-li-hong-zao-240794","李鸿藻",[54,7,59,133,27,64,47620,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b19ef55ba1934eaf427f6f39b389615.jpg",[],{"id":109818,"slug":109819,"title":52232,"dynasty":54,"author":109813,"museum":300,"description":27665,"tags":109820,"thumbUrl":109821,"material":692,"size":1293,"collection":84,"collections":109822,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240793,"shu-zha-ce-li-hong-zao-240793",[24,7,59,133,188,27,96,208,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae284f792f533472b6d07e6ace2028c3.jpg",[],{"id":109824,"slug":109825,"title":52232,"dynasty":54,"author":109813,"museum":300,"description":27665,"tags":109826,"thumbUrl":109827,"material":692,"size":1293,"collection":84,"collections":109828,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240788,"shu-zha-ce-li-hong-zao-240788",[59,133,188,128,7,375,208,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff32c1b361f1e50c081c649c1e9beb749.jpg",[],{"id":109830,"slug":109831,"title":52232,"dynasty":54,"author":109813,"museum":300,"description":109832,"tags":109833,"thumbUrl":109835,"material":611,"size":84,"collection":84,"collections":109836,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240786,"shu-zha-ce-li-hong-zao-240786","李鸿藻（1820年2月14日—1897年7月24日），字兰荪，号石孙、砚斋，河北保定人。同光年间的清流领袖，晚清主战派重臣之一。咸丰二年（1852年）进士，选 同治元年（1862年），被提拔为侍讲，深受西太后慈禧的信任，累迁 同治四年（1865年），再升 光绪 历任礼部尚书、光绪二十三年（1897年）以病乞假，旋卒，享年七十八岁，清廷予谥",[24,7,59,133,64,27,109834],"葡萄叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56bdc843e8f06862526dfe3e196e66e5.jpg",[],{"id":109838,"slug":109839,"title":52232,"dynasty":54,"author":109813,"museum":300,"description":27665,"tags":109840,"thumbUrl":109841,"material":692,"size":1293,"collection":84,"collections":109842,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240781,"shu-zha-ce-li-hong-zao-240781",[7,64,133,59,27,208,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff11c63bca7edbdd8c8ce68d2bf9fbf55.jpg",[],{"id":109844,"slug":109845,"title":52232,"dynasty":54,"author":109813,"museum":300,"description":27665,"tags":109846,"thumbUrl":109847,"material":692,"size":1293,"collection":84,"collections":109848,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},240772,"shu-zha-ce-li-hong-zao-240772",[7,59,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F684dc9ee90119bfa153fa7bdf4699e47.jpg",[],{"id":109850,"slug":109851,"title":52232,"dynasty":54,"author":109813,"museum":300,"description":27665,"tags":109852,"thumbUrl":109853,"material":692,"size":1293,"collection":84,"collections":109854,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},240761,"shu-zha-ce-li-hong-zao-240761",[64,7,59,133,128,47620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c83726d6ffc901aa3264ddc65675cc5.jpg",[],{"id":109856,"slug":109857,"title":52232,"dynasty":54,"author":109813,"museum":300,"description":27665,"tags":109858,"thumbUrl":109859,"material":692,"size":1293,"collection":84,"collections":109860,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},240758,"shu-zha-ce-li-hong-zao-240758",[64,7,59,133,8116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F739b31d0794eb590eb42324fbc927815.jpg",[],{"id":109862,"slug":109863,"title":52232,"dynasty":54,"author":109813,"museum":300,"description":27665,"tags":109864,"thumbUrl":109865,"material":692,"size":1293,"collection":84,"collections":109866,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240756,"shu-zha-ce-li-hong-zao-240756",[64,7,59,133,128,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa71258447a9179725db4280c3ceb10ba.jpg",[],{"id":109868,"slug":109869,"title":52232,"dynasty":54,"author":109813,"museum":300,"description":27665,"tags":109870,"thumbUrl":109871,"material":692,"size":1293,"collection":84,"collections":109872,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240755,"shu-zha-ce-li-hong-zao-240755",[64,7,59,133,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe40ae155ba6743b754c139852450f369.jpg",[],{"id":109874,"slug":109875,"title":52232,"dynasty":54,"author":109813,"museum":300,"description":27665,"tags":109876,"thumbUrl":109877,"material":692,"size":1293,"collection":84,"collections":109878,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240754,"shu-zha-ce-li-hong-zao-240754",[24,7,59,133,840,64,128,27,62,376,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5d1f0b1f33af2ed562dd3245acdbf36.jpg",[],{"id":109880,"slug":109881,"title":52232,"dynasty":54,"author":109813,"museum":300,"description":27665,"tags":109882,"thumbUrl":109883,"material":692,"size":1293,"collection":84,"collections":109884,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240751,"shu-zha-ce-li-hong-zao-240751",[64,7,59,133,611,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47dff1855489e1c5f60574b68d7e6315.jpg",[],{"id":109886,"slug":109887,"title":52232,"dynasty":54,"author":95298,"museum":300,"description":95299,"tags":109888,"thumbUrl":109889,"material":692,"size":1293,"collection":84,"collections":109890,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},240746,"shu-zha-ce-zhang-bai-xi-240746",[7,64,59,133,208,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73bc3562508dcbe0597b0c972cfc7329.jpg",[],{"id":109892,"slug":109893,"title":52232,"dynasty":54,"author":95298,"museum":300,"description":95299,"tags":109894,"thumbUrl":109899,"material":692,"size":1293,"collection":84,"collections":109900,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},240744,"shu-zha-ce-zhang-bai-xi-240744",[304,7,59,133,64,76388,8116,611,109895,109896,105038,109897,9910,109898],"竖栏","红格","书信","竖排","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F995f989fa161980f46def34da61387a0.jpg",[],{"id":109902,"slug":109903,"title":52232,"dynasty":54,"author":95298,"museum":300,"description":95299,"tags":109904,"thumbUrl":109905,"material":692,"size":1293,"collection":84,"collections":109906,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240743,"shu-zha-ce-zhang-bai-xi-240743",[64,7,59,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb9bc19ed253f75924cd3cd0eaf69bc9.jpg",[],{"id":109908,"slug":109909,"title":52232,"dynasty":54,"author":95298,"museum":300,"description":95299,"tags":109910,"thumbUrl":109911,"material":692,"size":1293,"collection":84,"collections":109912,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240742,"shu-zha-ce-zhang-bai-xi-240742",[7,64,59,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa542b0304c55ccf2370ee69563b0e4f.jpg",[],{"id":109914,"slug":109915,"title":52232,"dynasty":54,"author":95298,"museum":300,"description":95299,"tags":109916,"thumbUrl":109917,"material":692,"size":1293,"collection":84,"collections":109918,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},240736,"shu-zha-ce-zhang-bai-xi-240736",[7,64,59,133,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa97556358f3d70477be41e7fb165788f.jpg",[],{"id":109920,"slug":109921,"title":52232,"dynasty":54,"author":81296,"museum":300,"description":81297,"tags":109922,"thumbUrl":109923,"material":692,"size":1293,"collection":84,"collections":109924,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240732,"shu-zha-ce-chong-qi-240732",[24,7,59,133,27,374,64,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F311d364b02995b20780d1c854b36f25a.jpg",[],{"id":109926,"slug":109927,"title":52232,"dynasty":54,"author":81296,"museum":300,"description":81297,"tags":109928,"thumbUrl":109929,"material":692,"size":1293,"collection":84,"collections":109930,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},240730,"shu-zha-ce-chong-qi-240730",[7,59,572,133,64,27,47620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9046e44ca34f4f8a98d65175fe3b096.jpg",[],{"id":109932,"slug":109933,"title":71775,"dynasty":54,"author":37194,"museum":300,"description":52233,"tags":109934,"thumbUrl":109935,"material":692,"size":1293,"collection":84,"collections":109936,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240717,"shi-zha-ce-lin-ze-xu-240717",[7,59,133,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc53c4cd4c097ac55634dec4d2317f5ec.jpg",[],{"id":109938,"slug":109939,"title":71775,"dynasty":54,"author":37194,"museum":300,"description":52233,"tags":109940,"thumbUrl":109941,"material":692,"size":1293,"collection":84,"collections":109942,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":199},240716,"shi-zha-ce-lin-ze-xu-240716",[7,59,133,64,128,27,6369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a302f9a4ed58efdb8e3336507df8d27.jpg",[],{"id":109944,"slug":109945,"title":71775,"dynasty":54,"author":37194,"museum":300,"description":52233,"tags":109946,"thumbUrl":109947,"material":692,"size":1293,"collection":84,"collections":109948,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},240715,"shi-zha-ce-lin-ze-xu-240715",[7,64,59,133,611,128,208,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4bf17c0688e159409e8ab888ce830cb.jpg",[],{"id":109950,"slug":109951,"title":71775,"dynasty":54,"author":37194,"museum":300,"description":52233,"tags":109952,"thumbUrl":109953,"material":692,"size":1293,"collection":84,"collections":109954,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},240713,"shi-zha-ce-lin-ze-xu-240713",[7,59,133,64,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa86ae68a9ff8b27bf723c337f8326466.jpg",[],{"id":109956,"slug":109957,"title":109958,"dynasty":54,"author":109959,"museum":300,"description":109960,"tags":109961,"thumbUrl":109962,"material":692,"size":1293,"collection":84,"collections":109963,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240687,"huang-lu-zhi-ti-su-zi-you-huang-lou-fu-ye-gui-yun-su-240687","黄鲁直题苏子由黄楼赋页","归允肃","归允肃（1642—1689）清代官员、学者。字孝仪，号惺崖，江苏常熟人。康熙十八年进士第一，状元。授修撰，官至少詹事，与议政事，持正不阿，以疾告归。工诗文，简质厚重，有《归宫詹集》等。",[304,7,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16bee2897dfd64e8aa3a8518c2d618fc.jpg",[],{"id":109965,"slug":109966,"title":109967,"dynasty":54,"author":109968,"museum":300,"description":109969,"tags":109970,"thumbUrl":109971,"material":692,"size":1293,"collection":84,"collections":109972,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240675,"fei-mi-shou-jing-tu-ti-ci-juan-fei-mi-240675","费密授经图题词卷","费密","费密（1625年8月25日—1701年10月8日），明末清初著名学者、诗人和思想家。字此度，号燕峰，四川新繁人。费经虞子。奉父流寓泰州，其父邃于经学，尽传父业，工诗文，究心兵农礼乐等学，以教授、卖文为生，当道拟举鸿博，荐修《明史》，皆为辞。费密守志穷理，讲学著述，在文学、史学、经学、医学、教育和书法等方面都有很高的造诣。费密与遂宁吕潜、达川唐甄合称“清初蜀中三杰”。后代学者评论说：“蜀中自杨升庵外，唯密著作最富，论说精辟，对后世颇有影响”。",[23,24,7,25,133,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d0ce7fc1378edcd2d9308e052e46b6b.jpg",[],{"id":109974,"slug":109975,"title":109976,"dynasty":54,"author":109977,"museum":300,"description":109978,"tags":109979,"thumbUrl":109980,"material":692,"size":1293,"collection":84,"collections":109981,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240662,"jie-lu-cai-ming-yuan-tie-zhou-liang-yan-240662","节录蔡明远帖轴","梁巘","梁巘(yǎn)（1710年——1788年后），字闻山、文山，号松斋，又号断砚斋主人。亳县（今安徽亳州）人。清朝著名书法家。",[7,64,165,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9631cf46acb05e0291fa2e844594d117.jpg",[],{"id":109983,"slug":109984,"title":109985,"dynasty":54,"author":109986,"museum":300,"description":109987,"tags":109988,"thumbUrl":109989,"material":692,"size":1293,"collection":84,"collections":109990,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240661,"cha-sheng-lin-mi-tie-zhou-cha-sheng-240661","查升临米帖轴","查升","芾顿首再启。弊居在丹徒行衙之西，翛闲堂、瀁月、佳丽亭在其后，临运河之阔水。东则月台，西乃西山，故宝晋斋之西为致爽轩。环居桐柳椿杉百十本，以药植之，今十年，皆垂荫一亩，真一亩之居也。四月末，上皇山樵人以异石告，遂视之。八十一穴，大如椀，小容指，制在淮山一品之上。百夫运致宝晋桐杉之间。五月望，甘露满石，次林木焦苇，莫不沾，洁白如玉珠。郡中图去，至今未止。云欲上，既不请，亦不止也。临米南宫帖。请诲翁年长兄先生教。海宁年弟查升。\n款署 ：“请诲翁年长兄先生教。海宁年弟查升。”钤“海宁查声山名升印”白文印、“太史之章”朱文印。鉴藏印钤“载祥欣赏”白文印、“琴娱楼藏书画”白文印。\n此帖临米芾《甘露帖》，内容记述米芾在崇宁元年（1102年）52岁时获上皇山异石“洞天一品”及其祥异之事。原帖现藏台北故宫博物院。查升书风追随董其昌，笔致流丽明快，风度爽健。",[7,24,64,165,133,330,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4680b5dd634c228210ce6cd8ca046342.jpg",[],{"id":109992,"slug":109993,"title":109994,"dynasty":54,"author":109995,"museum":300,"description":109996,"tags":109997,"thumbUrl":109998,"material":692,"size":1293,"collection":84,"collections":109999,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240657,"song-luo-lin-tie-zhou-song-luo-240657","宋犖临帖轴","宋犖","字牧仲，號漫堂，又號西陂，别署绵津山人、沧浪㝢公、西陂放鸭翁等。河南商丘人。清代政治人物、詩人。",[7,165,64,330,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad7df72262cf1c702c992ec1584451d2.jpg",[],{"id":110001,"slug":110002,"title":110003,"dynasty":54,"author":110004,"museum":300,"description":110005,"tags":110006,"thumbUrl":110007,"material":692,"size":1293,"collection":84,"collections":110008,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240654,"guo-lin-shi-zhou-guo-lin-240654","郭麐诗轴","郭麐","郭麐（lín ）（1767～1831）字祥伯，号频伽，因右眉全白，又号白眉生、郭白眉，一号邃庵居士、苎萝长者。江苏吴江人。游姚鼐之门，尤为阮元所赏识。工词章，善篆刻。间画竹石，别有天趣。书法黄庭坚。",[24,7,165,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5737748182d4ef12a211b3639794c4c6.jpg",[],{"id":110010,"slug":110011,"title":77743,"dynasty":54,"author":110012,"museum":300,"description":110013,"tags":110014,"thumbUrl":110015,"material":692,"size":1293,"collection":84,"collections":110016,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240650,"lu-wen-zhou-liu-xi-hai-240650","刘喜海","刘喜海，清代金石学家、古泉学家、藏书家，字燕庭、燕亭、砚庭、吉甫，山东诸城人，嘉庆二十一年（1816）举人，今山东省高密市柴沟镇逄戈庄，别号三巴子。\n善鉴赏金石，著有《海东金石苑补遗》《古泉汇考》《三巴金石苑》。",[572,165,64,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07feb503765cb6d3c6602407311b601f.jpg",[],{"id":110018,"slug":110019,"title":110020,"dynasty":54,"author":110021,"museum":300,"description":110022,"tags":110023,"thumbUrl":110024,"material":692,"size":1293,"collection":84,"collections":110025,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240648,"fu-ji-zhou-peng-shao-sheng-240648","佛偈轴","彭绍升","彭绍升（1740-1796年），法名际清，字允初，号尺木，江苏长洲人。彭家世清华，祖名定求（1645-1719年），字勤止，号南畇，康熙二十五年（1686）状元，官侍讲。父名启丰（1701-1784年），字翰文，号芝庭，又自号香山老人，雍正五年（1727）状元，官至兵部右侍郎。绍升自幼聪颖。年十六，为诸生。明年举于乡。又明年，捷南宫，以名进士终于家。",[24,7,165,187,572,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c76f34b8ca37bc88efcfa668a6cb5fd.jpg",[],{"id":110027,"slug":110028,"title":81270,"dynasty":54,"author":110029,"museum":300,"description":110030,"tags":110031,"thumbUrl":110032,"material":692,"size":1293,"collection":84,"collections":110033,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240639,"shu-zha-juan-qi-juan-zao-240639","祁雋藻","祁隽藻(1793～1866) 近代诗人书法家。字叔颖，一字淳甫，避讳改实甫，号春圃。山西寿阳人。清嘉庆十九年(1814)进士，由庶吉士授编修，累官至体仁",[23,7,64,25,133,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93f6827aaa6d968ef540fc02f6c71dea.jpg",[],{"id":110035,"slug":110036,"title":77743,"dynasty":54,"author":223,"museum":300,"description":110037,"tags":110038,"thumbUrl":110039,"material":692,"size":1293,"collection":84,"collections":110040,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240631,"lu-wen-zhou-yi-ming-240631","此作用笔纵逸老辣，以中锋行笔，线条枯润粗细变化自然，提按转折尽显苍劲力道。整幅章法疏密得宜，右侧主文从容铺陈，左侧落款欹侧呼应，行气连贯一体。\n墨色浓淡相宜，枯笔见筋骨，润笔含浑厚意趣，将狂放笔势与雅致文心相融，承袭晚明尚奇尚势的书风余韵。笔墨间裹挟着潇洒疏朗的文人意气，字字独立却气脉通连，尽显草书抒情达意的特质，是一件颇具文人风骨的书法佳构。",[304,165,7,64,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bc6e4d09984fd12b0b5dddd0f619d1b.jpg",[],{"id":110042,"slug":110043,"title":50743,"dynasty":54,"author":110044,"museum":300,"description":110045,"tags":110046,"thumbUrl":110047,"material":692,"size":1293,"collection":84,"collections":110048,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240617,"shi-zhou-qiu-zun-sheng-240617","裘尊生","清代画家，生卒年不详，约活动于雍正、乾隆年间。字果万，一字义门，号青萝，钱塘（今杭州）人。雍正年间（1723—1735）客淮扬（今扬州）。工人物、花鸟，尤擅墨荷。",[24,7,64,165,133,166,171,950,663,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59b8d50b4bee086ea5129e1313ca07eb.jpg",[],{"id":110050,"slug":110051,"title":50743,"dynasty":124,"author":110052,"museum":300,"description":110053,"tags":110054,"thumbUrl":110055,"material":692,"size":1293,"collection":84,"collections":110056,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240606,"shi-zhou-li-dai-wen-240606","李待问","李待问（1603—1645），字存我，南直隶松江华亭（今属上海市奉贤区西渡街道灯塔村）人，崇祯十六年进士，授中书舍人，后在抵御清兵时被杀害。工文章，兼精书法，尤善行草书，远宗二王，近受董其昌影响，书风恬淡清新。松江博物馆藏有手迹行书诗轴。著有《玉裕堂存稿》。",[24,7,64,165,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa740404f4b7b38d24e9f4ce6fd7dbb12.jpg",[],{"id":110058,"slug":110059,"title":50743,"dynasty":54,"author":110060,"museum":300,"description":110061,"tags":110062,"thumbUrl":110063,"material":692,"size":1293,"collection":84,"collections":110064,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240601,"shi-zhou-yang-yu-240601","杨堉","杨堉，福建晋江人。幼号神童，既冠，弃举子业，欲游京师，道出吴门，邃为黄氏馆甥。爱金陵江山之胜，乃卜宅焉。",[304,24,7,165,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd753538e5ea11065bb51cae08746bd6d.jpg",[],{"id":110066,"slug":110067,"title":110068,"dynasty":124,"author":223,"museum":300,"description":110069,"tags":110070,"thumbUrl":110071,"material":692,"size":1293,"collection":84,"collections":110072,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240594,"lai-fu-shi-juan-yi-ming-240594","来复诗卷","此卷行草笔墨纵横跌宕，满纸意气流转。全篇行气贯通，字势欹侧相生，牵丝映带间尽显随性洒脱。用笔枯湿浓淡变幻自然，疾笔处线条爽利劲挺，似将胸中块垒肆意挥洒；缓书时裹锋徐行，墨色温润晕染，藏着文心雅致。\n\n章法错落不拘，字距行距随诗文情绪排布，把诗作感怀融入笔墨节律。通篇酣畅淋漓，既有文人书法的书卷清气，又带着疏狂不羁的抒怀意气，诗心与笔意浑然相融，提按转折皆是心绪吐露，尽显尚态抒情的书法意趣，是以笔写心、诗书合一的佳作。",[23,7,25,64,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c089416dbfa1f2b0be8c98b02e5cdba.jpg",[],{"id":110074,"slug":110075,"title":110076,"dynasty":124,"author":223,"museum":300,"description":110077,"tags":110078,"thumbUrl":110079,"material":692,"size":1293,"collection":84,"collections":110080,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240593,"ye-sheng-shi-zhou-yi-ming-240593","叶盛诗轴","此作用笔纵逸洒脱，行书笔意婉转流丽，牵丝映带自然灵动，墨色枯湿浓淡富于层次变化。字形欹正相生，开合有度，章法纵有行横无列，错落间自具和谐意韵。将诗中壮心未泯的沉郁豪怀融于笔墨流转，枯笔见筋骨，湿墨显浑厚，藏露锋兼用，苍劲又不失朴拙质感。以笔墨载诗情，萧散雄健尽显行书意趣，把诗意与书韵相融，尽显文人书法抒情特质与传统笔墨的精神内涵。",[805,64,165,133,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F251fac5b064138eb4a01af03c31c9a52.jpg",[],{"id":110082,"slug":110083,"title":43383,"dynasty":124,"author":366,"museum":300,"description":8455,"tags":110084,"thumbUrl":110085,"material":692,"size":1293,"collection":84,"collections":110086,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240582,"za-ji-shu-zha-he-ce-xu-wei-240582",[24,7,59,128,133,840,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde8f76958764106ecc175957a38f2d5f.jpg",[],{"id":110088,"slug":110089,"title":110090,"dynasty":54,"author":110091,"museum":300,"description":110092,"tags":110093,"thumbUrl":110094,"material":692,"size":1293,"collection":84,"collections":110095,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240571,"diao-yi-nian-nu-jiao-ye-zhang-xing-yong-240571","调倚念奴娇页","张兴镛","张兴镛，字金冶，江苏华亭人。嘉庆辛酉举人。有《红椒山馆诗钞》。",[7,59,133,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4500a2a9338bdd46184cfce45e7b6bf8.jpg",[],{"id":110097,"slug":110098,"title":58867,"dynasty":54,"author":110099,"museum":300,"description":110100,"tags":110101,"thumbUrl":110102,"material":692,"size":1293,"collection":84,"collections":110103,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240568,"shi-juan-du-heng-can-240568","杜恒灿","杜恒灿，约公元一六六二年前后在世，字杜若，号苍舒，三原人。生卒年均不详，约清圣祖康熙初前后在世。顺治五年（公元一六四八年）副榜贡生。",[23,7,64,25,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F488bd1d6ef566e3aafb8317692535f27.jpg",[],{"id":110105,"slug":110106,"title":69180,"dynasty":54,"author":223,"museum":300,"description":110107,"tags":110108,"thumbUrl":110109,"material":692,"size":1293,"collection":84,"collections":110110,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240567,"shi-ye-yi-ming-240567","此作用笔温润秀雅，以小楷出之又暗含行书意趣，起笔收锋皆存晋唐小楷的端严灵秀，行笔间又带着行书舒展灵动的姿态。点画提转自然含蓄，墨色匀净饱满，粗细变化暗藏筋骨。\n\n行款排布疏朗匀停，字距行距错落合宜，通篇气息娴静安和。素纸朱印相映，古雅沉静，将文人寄兴于诗的风雅，融于尺素笔墨之中。虽无华饰，却以笔墨意韵传递出清隽书卷风神，尽显文人日常翰墨的从容意态。",[7,64,133,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1744690067c29f1b8bbee64ba593f40c.jpg",[],{"id":110112,"slug":110113,"title":69180,"dynasty":54,"author":85325,"museum":300,"description":85326,"tags":110114,"thumbUrl":110115,"material":692,"size":1293,"collection":84,"collections":110116,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240566,"shi-ye-dong-guo-hua-240566",[7,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d760ed844fb5c22fc3b370cea408322.jpg",[],{"id":110118,"slug":110119,"title":110120,"dynasty":54,"author":110121,"museum":300,"description":110122,"tags":110123,"thumbUrl":110124,"material":692,"size":1293,"collection":84,"collections":110125,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240561,"fa-shi-shan-wu-lv-zhou-fa-shi-shan-240561","法式善五律轴","法式善","法式善（1752～1813）清代官吏、文学家。姓伍尧氏，原名运昌，字开文，别号时帆、梧门、陶庐、小西涯居士。乾隆四十五年进士，授检讨，官至侍读。乾隆帝盛赞其才",[24,7,165,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad3296407780ef75fbc07a18fd4fdd88.jpg",[],{"id":110127,"slug":110128,"title":110129,"dynasty":54,"author":39855,"museum":300,"description":110130,"tags":110131,"thumbUrl":110132,"material":692,"size":1293,"collection":84,"collections":110133,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240549,"jiang-zhu-shi-ti-huang-shan-tu-ce-jiang-zhu-240549","江注诗题黄山图册","江注，字允凝，安徽歙县人。僧渐江（一六一o―一六六三）弟子，能诗画，隐于黄山。",[24,7,59,133,64,128,29,208,5490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bac60bc492d80f25f14c4ad4e05a19f.jpg",[],{"id":110135,"slug":110136,"title":101948,"dynasty":54,"author":110137,"museum":300,"description":95331,"tags":110138,"thumbUrl":110139,"material":692,"size":1293,"collection":84,"collections":110140,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240548,"ti-huang-shan-tu-ce-wang-shi-zhen-240548","王士禛",[7,59,133,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e38307b23fa26933ec38b528568023d.jpg",[],{"id":110142,"slug":110143,"title":101948,"dynasty":54,"author":110144,"museum":300,"description":110145,"tags":110146,"thumbUrl":110147,"material":692,"size":1293,"collection":84,"collections":110148,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240545,"ti-huang-shan-tu-ce-wang-zuo-lin-240545","汪作霖","此作为行书题册，笔墨舒展灵动，结体疏密随心，笔势连贯间尽显文人雅逸意趣。字迹带着晋唐行书的温润韵致，又兼具清代文人书法的书卷清气。\n\n册中以纪游文字铺陈黄山胜景，将攀越峰林、饱览烟云的壮游快意藏于笔底，把黄山奇崛挺拔的峰峦、幽壑林泉的秀色融在行间字里。朱红方印错落点缀，虚实相映，让整幅小品更添雅致层次，书文合一，将观景所得与笔墨意趣相融，尽显文墨相生的别致韵味。",[24,7,59,133,208,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F087dd6be8ea59e3802d85466f6582aaa.jpg",[],{"id":110150,"slug":110151,"title":77840,"dynasty":54,"author":110152,"museum":300,"description":110153,"tags":110154,"thumbUrl":110155,"material":692,"size":1293,"collection":84,"collections":110156,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240544,"shi-ti-huang-shan-tu-ce-tao-cheng-240544","陶澂","本名介，字昭万，明亡，弃举子业，更名澂，字季深，后以一字行，曰季。江南宝应(今属江苏)人。早负异才，潜心经史。",[7,59,133,208,128,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fea9cb3f3f1e481135c5f8a1612f853.jpg",[],{"id":110158,"slug":110159,"title":101948,"dynasty":54,"author":110160,"museum":300,"description":110161,"tags":110162,"thumbUrl":110163,"material":692,"size":1293,"collection":84,"collections":110164,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240541,"ti-huang-shan-tu-ce-yu-chun-zi-240541","俞纯滋","这帧行书册页纸面古雅温润，排布疏朗从容，笔势牵丝映带，自有雅逸之致。字迹秀润清隽，点画收放随心，既有帖学的妍美韵致，又带着题跋书法的随性松弛。墨色略有浓淡变化，随着题咏文思起伏，笔意愈见舒展自然。将对烟岚奇秀的流连意趣落于笔端，文字与笔墨相得益彰，尽显清雅文心，观之如随作者重历胜境，在尺幅间揽尽林泉雅致。",[24,7,64,133,208,29,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb854804370f1834c41a31b5666a73e8b.jpg",[],{"id":110166,"slug":110167,"title":101948,"dynasty":54,"author":110168,"museum":300,"description":110169,"tags":110170,"thumbUrl":110171,"material":692,"size":1293,"collection":84,"collections":110172,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240539,"ti-huang-shan-tu-ce-zhou-jin-ran-240539","周金然","周金然 [清]字广居，号广庵，上海人。康熙二十一年（一六八二）进士，官洗马中允。",[54,7,59,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ed2dc66a0d74bc89be1523c0063ebd3.jpg",[],{"id":110174,"slug":110175,"title":77840,"dynasty":54,"author":110176,"museum":300,"description":110177,"tags":110178,"thumbUrl":110179,"material":692,"size":1293,"collection":84,"collections":110180,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240535,"shi-ti-huang-shan-tu-ce-zhu-guan-240535","朱观","鲁端王，朱观，朱健杙、嫡一子，在位时间：1528年—1549年嘉靖七年袭封。二十八年薨。",[24,7,59,133,64,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81c0c283b28a9b224157f20f764e1ed0.jpg",[],{"id":110182,"slug":110183,"title":77840,"dynasty":54,"author":110184,"museum":300,"description":110185,"tags":110186,"thumbUrl":110187,"material":692,"size":1293,"collection":84,"collections":110188,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240534,"shi-ti-huang-shan-tu-ce-wang-lu-240534","王辂","王辂，号质庵，顺天大兴籍，浙江慈溪人，由太学考授县丞，补授江南安东县主簿，三署县篆、两摄淮安府山安河务同知印务，行水有方，治民有体，遐迩歌思勿撤。",[24,7,59,64,133,208,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff6f97cf7f9c634742575eec0ac1b77d.jpg",[],{"id":110190,"slug":110191,"title":110192,"dynasty":54,"author":110193,"museum":300,"description":110194,"tags":110195,"thumbUrl":110196,"material":692,"size":1293,"collection":84,"collections":110197,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240533,"shen-han-shi-ti-huang-shan-tu-ce-shen-han-240533","沈涵诗题黄山图册","沈涵","此行书题画诗册，用笔秀雅温润，线条灵动舒展，结体疏密自然，兼具晋唐小楷的端稳意趣与行书的萧散逸韵。诗题将黄山行旅幽怀与画中胜景相融，字里行间晕染出卧游黄海的悠然快意，笔墨与文辞相映，尽显文人题跋的雅致风神。纸面蒙着岁月斑驳的黄斑，更添旧卷沉雅质感，笔墨清和古意盎然，尽显文人书画合一的审美意趣。",[24,7,59,133,208,29,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F307c0d7a58c93b2f0ad378c76cbf75a6.jpg",[],{"id":110199,"slug":110200,"title":77840,"dynasty":54,"author":110201,"museum":300,"description":110202,"tags":110203,"thumbUrl":110204,"material":692,"size":1293,"collection":84,"collections":110205,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240532,"shi-ti-huang-shan-tu-ce-ye-fan-240532","叶藩","浙江仁和人,字登南,号古渠。乾隆十六年进士。补江西建昌知县。性狷介,多治绩。累擢广西思恩知府。去官后以授徒为生,屡为吴楚间书院院长。卒年八十。",[24,7,59,128,208,133,64,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff56c13de1c2b26d6bf49df5674b5c8f.jpg",[],{"id":110207,"slug":110208,"title":110209,"dynasty":54,"author":110210,"museum":300,"description":110211,"tags":110212,"thumbUrl":110213,"material":692,"size":1293,"collection":84,"collections":110214,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240531,"pu-yang-jin-shi-ti-huang-shan-tu-ce-pu-yang-jin-240531","濮阳锦诗题黄山图册","濮阳锦","此幅行书题诗笔墨灵动秀雅，结体舒展自然，笔势带着清隽散逸的文人意趣。行笔提转顿挫皆见法度，牵丝映带轻盈利落，墨色浓淡枯湿富于变化，将诗作里黄山烟岚灵秀与胸臆豪情相融。文字排布疏密得当，行气流畅舒缓，既有帖学的温润雅致，又暗含随性自在的书写状态，将对黄山的倾慕寄寓在笔墨之间。诗与书相映相合，尽显文人书画合一的审美意趣，字句间藏着对丘林山水的心神向往，整幅册页书卷气盎然，是诗书交融的雅致小品。",[24,7,59,133,208,29,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eb26ec695448743504e7c14fd91eda0.jpg",[],{"id":110216,"slug":110217,"title":77840,"dynasty":54,"author":110218,"museum":300,"description":110219,"tags":110220,"thumbUrl":110221,"material":692,"size":1293,"collection":84,"collections":110222,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240530,"shi-ti-huang-shan-tu-ce-yao-ting-rang-240530","姚廷让","姚廷让，男，字子逊。金山（今上海市）人。生卒年不详。清代画家。姚廷让工吟咏，善绘事。其曾画《枯木寒鸦》图，苍凉细润，颇有丹丘生笔意，萧疏秀雅。",[24,7,59,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa62e56430a4f45afc5939ae29686eeea.jpg",[],{"id":110224,"slug":110225,"title":110226,"dynasty":54,"author":110227,"museum":300,"description":110228,"tags":110229,"thumbUrl":110230,"material":692,"size":1293,"collection":84,"collections":110231,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240529,"wan-si-bei-shi-ti-huang-shan-tu-ce-wan-si-bei-240529","万斯备诗题黄山图册","万斯备","泰第七子。不事举业，隐居读书。工书法，兼精篆刻。工诗，与妇翁李邺嗣唱和二十年。",[24,7,59,133,64,29,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17119a85d1a989a39adc79b7223bb1f.jpg",[],{"id":110233,"slug":110234,"title":101948,"dynasty":54,"author":110235,"museum":300,"description":110236,"tags":110237,"thumbUrl":110238,"material":692,"size":1293,"collection":84,"collections":110239,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240528,"ti-huang-shan-tu-ce-fang-xiang-huang-240528","方象璜","方象璜（？－？），字雪岷，浙江淳安县人，清朝政治人物。",[24,7,59,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F224dd3e402d60c7d29ec698258949ce9.jpg",[],{"id":110241,"slug":110242,"title":77840,"dynasty":54,"author":110243,"museum":300,"description":110244,"tags":110245,"thumbUrl":110246,"material":692,"size":1293,"collection":84,"collections":110247,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240527,"shi-ti-huang-shan-tu-ce-qiu-yuan-wu-240527","丘元武","丘元武 （1906－1943） 名良饴，字元武，原籍安徽全椒，1906年8月17日（光绪三十二年六月二十八）生于湖南嘉禾。",[7,24,133,208,29,59,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d6b874797fe26c1825eddc8b3114488.jpg",[],{"id":110249,"slug":110250,"title":110251,"dynasty":54,"author":110252,"museum":300,"description":110253,"tags":110254,"thumbUrl":110255,"material":692,"size":1293,"collection":84,"collections":110256,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240520,"wu-su-gong-qi-lv-ti-huang-shan-tu-ce-wu-su-gong-240520","吴肃公七律题黄山图册","吴肃公","吴肃公：明末清初宣州人。江南遗民作家群中重要的学者、史学家、文学家。主要著作有：《街南文集》二十卷.《街南文集续集》七卷.《阐义》二十五卷.《明语林》十四卷.",[7,64,133,208,59,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd02cd3de246f4bd5609297fdd714edd.jpg",[],{"id":110258,"slug":110259,"title":110260,"dynasty":54,"author":110261,"museum":300,"description":110261,"tags":110262,"thumbUrl":110263,"material":692,"size":1293,"collection":84,"collections":110264,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240515,"ma-xue-yi-ti-huang-shan-tu-ce-ma-xue-yi-240515","马学衣题黄山图册","马学衣",[24,7,59,133,29,208,128,27,1429,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde0135ea0637815ea27575ecbe5e7d57.jpg",[],{"id":110266,"slug":110267,"title":110268,"dynasty":54,"author":110269,"museum":300,"description":110270,"tags":110271,"thumbUrl":110272,"material":692,"size":1293,"collection":84,"collections":110273,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240503,"zheng-nie-shi-zhou-zheng-nie-240503","正喦诗轴","正喦","此作用笔灵动萧散，枯湿浓淡相映成趣，行气连贯疏朗，将行书的流动畅达与山居野趣的诗意相融。牵丝映带间尽显笔墨情致，字字错落排布，章法清逸自然，暗合题诗里春日幽居的静穆意境。晚明帖学余韵隐于笔底，又带着清代文人特有的闲散襟怀，笔意简淡古雅，将诗文中山林野色、草木天趣寄寓在笔墨之中，观之便如踏入春日幽居，墨痕流转间尽显文人雅逸的林下风致。",[24,7,165,128,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbae7fa1b2ae3c3d4e122c47723bd5102.jpg",[],{"id":110275,"slug":110276,"title":50743,"dynasty":54,"author":110277,"museum":300,"description":110278,"tags":110279,"thumbUrl":110280,"material":692,"size":1293,"collection":84,"collections":110281,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240469,"shi-zhou-wang-ji-240469","汪楫","清（公元一六二六年至一六九九年 ）字舟次，号悔斋，安徽休宁人，寄籍江苏江都。生于明崇祯年间，卒于清圣祖康熙三十八年，年七十四岁 。性伉直，意气伟然。力学不倦，日索奇文秘籍读之。岁贡生，署赣榆训导。康熙十八年，（公元一六七九年）荐应“博学鸿儒”，试列一等。授翰林院检讨，纂修明史。著有《崇祯长编》《悔斋集》《使琉球杂录》《册封疏钞》《中州沿革志》《补天石传奇》《观海集》一卷等。",[7,165,133,208,128,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56698fc3ca1e8a5152bca243859ba4f8.jpg",[],{"id":110283,"slug":110284,"title":50743,"dynasty":54,"author":110285,"museum":300,"description":110286,"tags":110287,"thumbUrl":110288,"material":692,"size":1293,"collection":84,"collections":110289,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240444,"shi-zhou-xiong-yi-xiao-240444","熊一潇","熊一潇（1638—1706），字汉若，号蔚怀，南昌府南昌人。康熙甲辰科进士，选庶吉士。累官至工部尚书。施政务实有为。",[24,7,165,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5214565d607e4d08ed3affcc93f530e6.jpg",[],{"id":110291,"slug":110292,"title":50743,"dynasty":124,"author":102077,"museum":300,"description":102078,"tags":110293,"thumbUrl":110294,"material":692,"size":1293,"collection":84,"collections":110295,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240442,"shi-zhou-yan-yan-240442",[24,7,165,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bcc8bcfc70d78b124913c66cd41d39a.jpg",[],{"id":110297,"slug":110298,"title":50743,"dynasty":54,"author":110299,"museum":300,"description":110300,"tags":110301,"thumbUrl":110304,"material":692,"size":1293,"collection":84,"collections":110305,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240401,"shi-zhou-wang-chong-jian-240401","王崇简","字敬哉，一作敬斋，顺天府宛平（今北京市）人。明崇祯十六年（1643年）中进士。顺治三年授内翰林国史院庶吉士，历任秘书院检讨、国子监祭酒、弘文院侍读学士、詹事府少詹事、吏部侍郎、礼部尚书、太子太保等职。谥文贞。有《青箱堂文集》《青箱堂诗集》传世。",[7,165,133,64,208,650,19470,45827,231,110302,110303],"烟光","雪影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97f7a51c07a411bf2265d534cbd10a29.jpg",[],{"id":110307,"slug":110308,"title":69180,"dynasty":124,"author":110309,"museum":300,"description":110310,"tags":110311,"thumbUrl":110312,"material":692,"size":1293,"collection":84,"collections":110313,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240379,"shi-ye-zheng-da-tong-240379","郑大同","郑大同，字皆吾，号于野，生卒年不详，莆阳城关观桥书仓巷人。郑氏族联云：“家传诗教，系出荥阳。”“宋元明三朝赐命，忠孝义百世流芳。”",[7,133,64,59,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1bce10a358eac24d2d47c97cc5eb7d3.jpg",[],{"id":110315,"slug":110316,"title":69180,"dynasty":124,"author":110317,"museum":300,"description":110318,"tags":110319,"thumbUrl":110320,"material":692,"size":1293,"collection":84,"collections":110321,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240364,"shi-ye-chen-ke-240364","陈柯","陈柯（？－？），字君则，福建福州府闽县人，民籍，明朝政治人物。",[7,64,59,133,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c3859b0afbf67203f6f9674c6f37c0.jpg",[],{"id":110323,"slug":110324,"title":69180,"dynasty":124,"author":110325,"museum":300,"description":110326,"tags":110327,"thumbUrl":110328,"material":692,"size":1293,"collection":84,"collections":110329,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240362,"shi-ye-zhang-bang-yan-240362","张邦彦","张邦彦（明代），字才甫，号元洲，临朐西北涝洼庄(现属青州市王坟)人。生于明正德四年（1509）十二月十四日，嘉靖十年（1531年）举人，嘉靖二十六年（1547年）高中丁未科李春芳榜第2甲第21名进士进士，官至都察院右佥都御史，巡抚大同，卒于明隆庆三年（1569）五月至隆庆五年（1571）九月之间。",[64,133,208,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3d1e716bf87d5fede1fdbd115ccd23f.jpg",[],{"id":110331,"slug":110332,"title":110333,"dynasty":124,"author":223,"museum":300,"description":110334,"tags":110335,"thumbUrl":110336,"material":692,"size":1293,"collection":84,"collections":110337,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240359,"peng-jin-shi-ye-yi-ming-240359","彭谨诗页","这件行书诗页笔墨遒劲凝练，结体灵动舒展，字势欹正相生，提转顿挫可见深厚功底。\n通篇行气连贯匀停，布局疏朗雅致，墨色浓淡自然过渡。笔底带着沉郁端肃的气度，既兼得帖学的流美雅致，又暗含雄健朴拙的骨力。诗文与书法相得益彰，将字句里寄寓的家国忧思，藏入婉转的笔墨起伏间，古韵盎然，尽显传统书法的笔墨情致与文心内涵。",[7,64,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F627daa304c44d9c4c34d5a8c9fd6f5d5.jpg",[],{"id":110339,"slug":110340,"title":110341,"dynasty":124,"author":110342,"museum":300,"description":110343,"tags":110344,"thumbUrl":110345,"material":692,"size":1293,"collection":84,"collections":110346,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240351,"fu-de-jia-lian-shi-ye-liu-han-240351","赋得嘉莲诗页","刘汉","刘汉，字继远，山东东昌高唐（今山东高唐县）人。明朝大臣，水利学家。",[805,64,133,128,208,7,4437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F756a2147c8cb072276c84cd9e5dcef9a.jpg",[],{"id":110348,"slug":110349,"title":102194,"dynasty":124,"author":110350,"museum":300,"description":110351,"tags":110352,"thumbUrl":110353,"material":692,"size":1293,"collection":84,"collections":110354,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240349,"jia-lian-shi-ye-ma-shi-long-240349","马是龙","此作用笔温润遒劲，点画起收皆具法度，以行书间杂楷意，结体端雅舒展。字距疏朗、行列齐整，通篇气息匀净平和，牵丝映带暗含灵动，无过度妍媚之态，尽显文人书法萧散从容的意趣。书写者将诗文悠然心境融于笔墨，虽字字独立却气脉贯通，既有台阁书法的端谨，亦不失士人襟怀的清雅散淡，把咏莲诗的雅致意涵具象化，笔墨之间尽显中和醇厚的美学特质。",[7,59,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674ad348cc521b93b76547235b8b3754.jpg",[],{"id":110356,"slug":110357,"title":102194,"dynasty":124,"author":110358,"museum":300,"description":110359,"tags":110360,"thumbUrl":110361,"material":692,"size":1293,"collection":84,"collections":110362,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240348,"jia-lian-shi-ye-zhu-wan-nian-240348","朱万年","字鹤南，明朝黎平府（今贵州黎平）人。明神宗万历三十七年（公元1609年）举人，历任山东定陶知县，中城兵马司指挥，户部河南司主事，员外郎、郎中，山东莱州知府等。",[7,64,133,208,124,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe238898297a847612946d825a70575f9.jpg",[],{"id":110364,"slug":110365,"title":69180,"dynasty":124,"author":110366,"museum":300,"description":110367,"tags":110368,"thumbUrl":110369,"material":692,"size":1293,"collection":84,"collections":110370,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240346,"shi-ye-he-liang-gong-240346","何亮功","字次德，号辨斋，今属于安徽省桐城市人，清顺治十四年(1657)举人，授福建古田知县。为政宽简得宜，暇即进书院谈经讲学，一变僻俗陋风。康熙二十六年(1687)任乡试同考官。卒于任。著有《长安道集》。",[7,133,208,59,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4166cf80d3d0768d182269c4a5d50b4e.jpg",[],{"id":110372,"slug":110373,"title":110374,"dynasty":124,"author":110375,"museum":300,"description":110376,"tags":110377,"thumbUrl":110378,"material":692,"size":1293,"collection":84,"collections":110379,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240345,"yong-bing-tou-lian-shi-ye-liu-da-lin-240345","咏并头莲诗页","刘大临","此作用笔灵动秀雅，以行书书就，深得晋唐行书遗韵。提按顿挫间尽显笔法精妙，笔画粗细、墨色枯湿富于变化，行气贯通自然，结体疏密相宜。通篇排布疏朗舒展，既恪守书法法度，又不失文人写意的随性雅致，尽显明代书法尚态取势的特质。\n诗书相融一体，笔墨间晕染出文人酬唱的清雅意趣，尽显晚明士大夫的风流襟怀，是一件兼具艺术审美价值与文史意涵的行书精品。",[805,64,133,208,128,7,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c8969ec1ec1600dcf3da34f3a52d142.jpg",[],{"id":110381,"slug":110382,"title":110383,"dynasty":124,"author":223,"museum":300,"description":110384,"tags":110385,"thumbUrl":110386,"material":692,"size":1293,"collection":84,"collections":110387,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240344,"hu-lin-tu-jia-rui-shi-bing-xiao-yin-ye-yi-ming-240344","胡麟图嘉瑞诗并小引页","此页小楷清劲秀雅，结体端稳匀整，尽显明代台阁书法的中和隽秀之美。笔锋圆融温润，点画排布疏朗停匀，起收转合皆见法度。\n\n页中咏颂嘉莲祥瑞，文辞雅致，笔墨与诗意相融，尽显雅正端方的士人气韵。四方朱印错落钤盖，朱墨映带，为素净纸面晕染出疏宕古雅的装饰意趣。整体兼具诗稿的文学意韵与书法的审美价值，尽显明代文人沉静内敛的审美意趣，是一件文辞笔墨俱佳的小品佳作。",[7,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75b7bf117522debf97352c8934c8a533.jpg",[],{"id":110389,"slug":110390,"title":110391,"dynasty":124,"author":110392,"museum":300,"description":110393,"tags":110394,"thumbUrl":110395,"material":692,"size":1293,"collection":84,"collections":110396,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240342,"he-huan-lian-shi-ye-jin-jian-gao-240342","合欢莲诗页","金渐皋","金渐皋. 字梦蜚，浙江仁和人。顺治壬辰进士，官汉阳知县。著有《怡安堂集》。○怡安胜任剧邑，大吏方以才能荐，而翩然乞身，其风高矣。",[805,7,133,208,4437,8116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76bcac93b732b49dd7e12207e8977050.jpg",[],{"id":110398,"slug":110399,"title":110400,"dynasty":124,"author":110401,"museum":300,"description":110402,"tags":110403,"thumbUrl":110404,"material":692,"size":1293,"collection":84,"collections":110405,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240341,"lian-fu-sheng-shi-ye-li-wei-240341","莲祔生诗页","李囗","此作用笔纵逸苍劲，线条圆劲灵动，牵丝映带间流转自然，字势开合相生，行气贯通无碍。章法疏密相宜，随字赋形，字间顾盼呼应，尽显书写时的挥洒意气。\n墨色兼具浓淡枯湿，枯笔瘦劲见筋骨，润笔丰润含韵致，将诗文意涵与草书笔意相融，笔墨间尽显随性疏朗的文人风骨，通篇气韵酣畅淋漓，既有草书之法度，又不失抒情之灵动，将内心情志寄寓挥毫之间，笔锋辗转皆是心性舒张，尽显草书抒情尚态的特质，是笔墨功力与文人情思兼备的佳作。",[64,840,208,128,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946f1b691b635c555ba1a864782160bc.jpg",[],{"id":110407,"slug":110408,"title":110409,"dynasty":124,"author":110410,"museum":300,"description":110411,"tags":110412,"thumbUrl":110413,"material":692,"size":1293,"collection":84,"collections":110414,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240340,"yong-lang-zhao-tang-jia-lian-fu-sheng-shi-bing-xu-ye-liu-zhen-240340","咏朗照堂嘉莲祔生诗并序页","刘振","泛黄纸页晕开岁月痕迹，左侧竖幅题签墨色沉凝，笔意端稳朴拙。右侧诗帖行书错落排布，随性舒展间带着疏朗文人意趣，字间疏密自在流转，藏着咏莲寄怀的清雅心绪。\n\n纸面斑驳霉痕是时光注脚，整体书卷气浓厚，尽显文人耽于雅事、寄情笔墨的闲散雅致，将诗意心绪藏进笔墨开合疏密之中，旧纸带着沉静质感，将几百年前的清雅文思，封存在这一方册页之内。",[7,64,133,59,8116,6369,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2c043f88515e0b9423e5facce328832.jpg",[],{"id":110416,"slug":110417,"title":50743,"dynasty":54,"author":110418,"museum":300,"description":110419,"tags":110420,"thumbUrl":110421,"material":692,"size":1293,"collection":84,"collections":110422,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240296,"shi-zhou-chen-yi-xi-240296","陈奕禧","陈奕禧（1648—1709），清代书法家。字六谦，又字子文、文一，号香泉，晚号葑叟，浙江海宁盐官人。",[7,64,133,165,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68e4955c79c2de0fdb105154f69669f1.jpg",[],{"id":110424,"slug":110425,"title":110426,"dynasty":124,"author":223,"museum":300,"description":110427,"tags":110428,"thumbUrl":110429,"material":692,"size":1293,"collection":84,"collections":110430,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},240288,"wang-zhi-deng-shi-zhou-yi-ming-240288","王稺登诗轴","此作用笔纵逸灵动，以草书挥洒诗意。起收锋毫间尽显使转之妙，线条粗细随章法自然变幻，墨色干湿浓淡相生，自带萧散疏朗的文人意趣。整幅行气贯通，三列书迹错落揖让，字势开合有度，牵丝映带之间，将诗中幽庭萧秋的清冷空寂，与笔墨节奏融为一体。笔力苍劲却不失秀雅，既有明代草书尚势的典型风貌，又暗含温润书卷气，落款与钤印排布妥帖，虚实相生，气脉完整，将文字意象与书法美感合二为一，尽显文人笔墨里的雅致情致。",[805,7,64,165,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a314ab89b7d86075731e4a6d4e55888.jpg",[],{"id":110432,"slug":110433,"title":69123,"dynasty":124,"author":110434,"museum":300,"description":110435,"tags":110436,"thumbUrl":110437,"material":692,"size":1293,"collection":84,"collections":110438,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240257,"wu-jue-zhou-he-ying-rui-240257","何应瑞","何应瑞于1610年中进士，先后历任户部主事、常州知府、河南参政、副都御史、工部尚书等职，具有较高的治理政事才能，在朝内享有较高的威望。",[7,165,133,64,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4299cab4f56336f6401a50da1ee17106.jpg",[],{"id":110440,"slug":110441,"title":50743,"dynasty":54,"author":110442,"museum":300,"description":110443,"tags":110444,"thumbUrl":110445,"material":692,"size":1293,"collection":84,"collections":110446,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240254,"shi-zhou-hao-wei-ne-240254","郝帷讷","郝惟讷（1623—1683），字敏公，一字端甫，直隶霸州人，顺治四年进士，历任刑部主事、刑部郎中、通政司右参议、大理寺卿、户部侍郎、吏部侍郎、都察院左都御史、工部尚书、刑部尚书、礼部尚书、户部尚书、吏部尚书等职。康熙二十二年卒，谥恭定。《清史稿》有传。《清史稿》所载之郝维讷、郝惟讷，实为一人，地方志亦载其名为郝惟讷。",[24,7,165,572,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8aa935f5af94cbcb12bb53d4aa9826f0.jpg",[],{"id":110448,"slug":110449,"title":110450,"dynasty":124,"author":223,"museum":300,"description":110451,"tags":110452,"thumbUrl":110453,"material":692,"size":1293,"collection":84,"collections":110454,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240242,"jin-jie-qi-lv-shi-ye-yi-ming-240242","金阶七律诗页","此作为小行楷，笔势舒展温润，点画清劲雅致，结体端秀匀整，兼得唐楷谨严法度与行书灵动意趣。墨色沉朴晕染自然，古旧笺纸晕开岁月质感，整体沉静古雅，尽显文人温雅气质。\n\n诗中寄寓济世安民襟怀，笔墨文思相融，将士子理想落于笔端，是兼具艺术审美与人文意趣的书法小品，尽显明代书法尚态重韵的雅致风神。",[7,64,133,208,27,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe07a1256999424fa045ee0b53df1e5c5.jpg",[],{"id":110456,"slug":110457,"title":110458,"dynasty":124,"author":223,"museum":300,"description":110459,"tags":110460,"thumbUrl":110461,"material":692,"size":1293,"collection":84,"collections":110462,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240236,"xuan-shang-de-geng-lao-shi-de-zheng-hou-ba-ye-yi-ming-240236","宣上德耿老师德政后跋页","纸面泛黄古旧，墨色沉朴温润。此作用笔舒展灵动，结体端雅秀逸，既有台阁体的端整法度，又不失文人手札的随性意趣。行笔间节奏舒缓从容，墨色浓淡自然过渡，笔势牵连间尽显书写时的松弛自如。\n\n作为德政跋文，笔墨与文辞共情，字里行间浸透着对师长的敬慕之意。岁月磨损了纸面，却晕染出更醇厚的书卷古意，让这件小品兼具书法审美与文献价值，尽显明代士人的文雅襟怀。",[7,59,133,208,128,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d1d3497a6b96d8417553a9625a30c9a.jpg",[],{"id":110464,"slug":110465,"title":110466,"dynasty":124,"author":223,"museum":300,"description":110467,"tags":110468,"thumbUrl":110469,"material":692,"size":1293,"collection":84,"collections":110470,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240233,"zhang-jiao-qi-lv-shi-ye-yi-ming-240233","张教七律诗页","此作为行书诗页，笔墨随性温润，线条舒展柔和无刻意雕琢之感。行笔牵丝映带自然，章法疏朗行气流畅，字距错落排布却和谐自洽，尽显林下闲适意趣。\n墨色富于浓淡枯湿变化，暗合书写时的情绪起伏，诗书相融，将隐逸淡远的心境诉诸笔端，无张扬之态，却带着沉静雅致的书卷韵味，尽显晚明文人尚韵尚意的书风特质，是一件饱含文人情怀的小品佳作。",[7,24,64,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed3478389291d63a3a5f5518eb523454.jpg",[],{"id":110472,"slug":110473,"title":95563,"dynasty":124,"author":110474,"museum":300,"description":110475,"tags":110476,"thumbUrl":110477,"material":692,"size":1293,"collection":84,"collections":110478,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240230,"wu-lv-shi-ye-huang-ru-heng-240230","黄汝亨","黄汝亨（1558-1626），字贞父，钱塘人，裳子，明万历二十六年进士，官至江西布政司参议。明朝书法家、文学家.",[124,7,64,133,128,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b37d2f17ef3c50d1ee5169d5b0052b.jpg",[],{"id":110480,"slug":110481,"title":110482,"dynasty":124,"author":223,"museum":300,"description":110483,"tags":110484,"thumbUrl":110485,"material":692,"size":1293,"collection":84,"collections":110486,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240226,"qian-gu-wu-lv-shi-ye-yi-ming-240226","钱穀五律诗页","此作为行书五律诗页，笔墨温润秀雅，笔画舒展灵动，起收转合皆具法度。字里行间顾盼有情，行气连贯疏朗，将帖学的隽逸意蕴融入笔端。\n\n通篇气息沉静端方，带着明代书法尚态重意的典型特质，尽显文人书法的清雅气质。诗作心境与笔墨美感相融，落笔轻重得宜，牵丝映带自然柔和，在规整之中透出随性之趣，尽显古典书法的雅致韵味，静静诉说着旧时光里的文人情致。",[805,7,64,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cb2432d609f1f451cef703fa9468a6d.jpg",[],{"id":110488,"slug":110489,"title":95563,"dynasty":124,"author":110490,"museum":300,"description":110491,"tags":110492,"thumbUrl":110493,"material":692,"size":1293,"collection":84,"collections":110494,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240218,"wu-lv-shi-ye-hu-ying-lin-240218","胡应麟","胡应麟（1551年-1602年），字元瑞，号少室山人，后又更号为石羊生，浙江金华府兰溪县城北隅人。明代万历丙子举人，是明代中叶著名的学者、诗人和文艺批评家、诗论家，明中后期“末五子”之一。\n他在文献学、史学、诗学、小说及戏剧学方面都有突出成就。他布衣一生，却广交天下，无论贵贱。身处偃蹇而志坚若磐石，虽一生大部分时间疾病缠身，但他酷嗜藏书、阅读和著述，广涉书史，学问渊博。深谙浙东学术之真谛，吸取宇内文章之精华，终为一代学术巨匠。\n著有诗论专著《诗薮》，诗文集《少室山房集》，论学专著《少室山房笔丛》（含《四部正讹》3卷）等。",[64,133,208,7,59,128,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f4a6301c20ac5d68bb6ce438a0ce13d.jpg",[],{"id":110496,"slug":110497,"title":110498,"dynasty":124,"author":223,"museum":300,"description":110499,"tags":110500,"thumbUrl":110501,"material":692,"size":1293,"collection":84,"collections":110502,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240214,"shen-shui-hu-qi-lv-shi-ye-yi-ming-240214","沈（氵隺）七律诗页","此作用笔温润秀雅，行书笔意流畅自然，牵丝映带间尽显灵动精妙，整体气息清雅从容。诗句排布疏密得当，行气贯通舒展，单字姿态各别，收放自如，既有帖学书法的严谨法度，又不失随性文人意趣。落款小字恭谨端稳，朱红印章点缀一隅，为整幅添了一抹雅致亮色，将诗书笔墨融为一体，尽显晚明文人书法的风流隽秀，是一件韵味悠长的诗书合璧小品。",[124,64,7,133,208,6369,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b59918005e7d9e9589399694e00a640.jpg",[],{"id":110504,"slug":110505,"title":110506,"dynasty":124,"author":223,"museum":300,"description":110507,"tags":110508,"thumbUrl":110509,"material":692,"size":1293,"collection":84,"collections":110510,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240206,"shen-pian-wu-yan-shi-ye-yi-ming-240206","沈楩五言诗页","此作用笔灵动秀雅，点画圆润舒展，结体疏朗匀停，通篇气息温婉清逸，既有晋唐行书的隽逸意趣，又带着明代书法特有的温润书卷气。\n\n字距行距错落自然，墨色浓淡相宜，落款处朱印映衬素纸，虚实相生。诗与书相得益彰，将诗作清雅淡远的意境融于笔墨之间，尽显文人闲适冲淡的襟怀，是一件颇具雅致意趣的文人书法小品。",[64,133,208,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa2c6eee0b1c3709821291b702160a81.jpg",[],{"id":110512,"slug":110513,"title":110514,"dynasty":124,"author":110515,"museum":300,"description":110516,"tags":110517,"thumbUrl":110518,"material":692,"size":1293,"collection":84,"collections":110519,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240203,"shan-yin-geng-zheng-xu-ye-song-ying-chang-240203","山阴耿政序页","宋应昌","宋应昌（1536--1606），字时祥，号桐冈，明浙江仁和(今杭州)人，祖籍浙江会稽。生有异相，方面紫髯，望之如神人、剑客，天生豪杰。明世宗嘉靖四十四年(1565)，进士，授绛州知州。历济南知府、福建布政使，进副都御史。巡抚山东，上《海防事宜》，预策倭患，进选将、练兵、积粟三策。官至兵部左侍郎，加右都御史。著有《道器图说》、《朝鲜复国经略》等。",[7,64,133,572,59,5459,208,128,6369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56446832c4086f7ad25452a39f9b9cb9.jpg",[],{"id":110521,"slug":110522,"title":50743,"dynasty":54,"author":110523,"museum":300,"description":110524,"tags":110525,"thumbUrl":110526,"material":692,"size":1293,"collection":84,"collections":110527,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},240181,"shi-zhou-he-de-fan-240181","贺德藩","此作用笔老辣苍劲，以行草出之，纵有行而横无列，行气连贯畅达。字势欹侧相生，起收间顿挫利落，线条粗细变化丰富，墨色枯湿浓淡相映，时而重墨沉凝饱满，时而枯锋牵丝映带，尽显笔墨层次。\n\n通篇节奏跌宕明快，肆意挥洒间不失章法矩度，将贺寿诗的吉庆意蕴融于笔墨舒张之中，既带着豪放不羁的抒怀意气，又藏着深厚的笔墨功底，尽显书家抒情达意的才情风骨。",[64,840,165,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe236e45bb4e48744c0a11beadeb6d4e3.jpg",[],{"id":110529,"slug":110530,"title":110531,"dynasty":124,"author":223,"museum":300,"description":110532,"tags":110533,"thumbUrl":110534,"material":692,"size":1293,"collection":84,"collections":110535,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240173,"wu-kuan-li-yu-ji-qi-yang-shi-jia-jing-shi-wu-nian-gao-ming-juan-yi-ming-240173","无款李愈及妻杨氏嘉靖十五年诰命卷","此作为馆阁体小楷敕命，笔致匀停秀雅，结体方正端凝，尽显明代官方文书的严整法度。墨色清隽沉静，与朱红玺印相映成趣，朱砂沉凝古艳，晕染于泛黄绢本之上，烘托出皇权诰封的典重威仪。\n文书字句褒扬儒臣伉俪德行，记录朝廷封赏恩典，既是明代官制礼制的鲜活见证，亦尽显馆阁书法的端庄风貌，藏着明代官方书法的审美意趣与封建朝堂的仪制底蕴。",[23,64,572,208,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb234aa5197a828226993205acb2b94e6.jpg",[],{"id":110537,"slug":110538,"title":14477,"dynasty":54,"author":110539,"museum":300,"description":110540,"tags":110541,"thumbUrl":110542,"material":692,"size":1293,"collection":84,"collections":110543,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240169,"ti-hua-shi-zhou-wu-zi-240169","吴鼒","吴鼒（1755—1821），字及之，一字山尊，号抑庵，又号南禺山樵，晚号达园，安徽全椒人。清代嘉庆四年（1799）进士，官侍讲学士。善书能画，工骈体文。著《夕葵书屋集》《清画家诗史》《墨林今话》《畊砚田斋笔记》等传世。",[24,7,165,133,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fe68abd139949fdb26b4869199bd6a7.jpg",[],{"id":110545,"slug":110546,"title":110547,"dynasty":124,"author":223,"museum":300,"description":110548,"tags":110549,"thumbUrl":110550,"material":692,"size":1293,"collection":84,"collections":110551,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240125,"suo-zun-shi-ye-yi-ming-240125","所遵诗页","此作用笔秀雅温润，点画灵动舒展，牵丝映带间尽显行书流畅韵致。结体错落自然，欹正相生，既留存晋唐小楷的端雅遗意，又暗合明代行书的灵动疏朗之风。\n\n通篇墨色枯润得宜，字字顾盼有情，章法排布舒朗宽松，气息安和恬雅。笔墨与清雅高古的诗句相融，将隐逸高蹈的文人襟怀寄寓其间，无剑拔弩张之势，却自有清和隽永的书卷意趣，尽显林下之风，是一件颇具文人雅韵的行书佳构。",[805,24,7,133,64,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50333d917f290e5a17c69e8fb772f9f7.jpg",[],{"id":110553,"slug":110554,"title":110555,"dynasty":124,"author":223,"museum":300,"description":110556,"tags":110557,"thumbUrl":110558,"material":692,"size":1293,"collection":84,"collections":110559,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240105,"ye-liang-zi-yu-lu-ye-yi-ming-240105","叶良鼒语录页","此作小楷取法晋唐，笔法精劲秀雅，结体端稳匀整。字里行间气息静穆安和，提按转合间灵动尽显，点画排布疏密得宜，通篇行气连贯，将文人沉静的书卷气融于笔墨之中。\n\n作为书家自书随笔，虽属日常题跋，却将小楷隽秀工稳的特质发挥到极致。墨色清润匀净，从头至尾未见懈怠，一笔一划皆见功底，是明代台阁体之外，文人小楷的典型风貌，尽显书写者的笔墨造诣与清雅襟怀。",[64,133,208,128,5459,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b57f446f1f047e7a51bdef2a7d4efb6.jpg",[],{"id":110561,"slug":110562,"title":69180,"dynasty":124,"author":110563,"museum":300,"description":110564,"tags":110565,"thumbUrl":110566,"material":611,"size":84,"collection":318,"collections":110567,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240103,"shi-ye-ding-yao-kang-240103","丁耀亢","丁耀亢（公元1599年—1671年），字西生，号野鹤，又号紫阳道人，木鸡道人。山东诸城人，明末清初著名文学家，是郧阳兵备副史丁惟宁第五个儿子。\n丁耀亢幼年丧父，在母亲的训导下刻苦攻读，少有奇才，当时就有“山东中了丁野鹤，天下文墨数不着”的赞誉。后因困于科举，久不得志，于万历四十七年（公元1619年）出走江南，投到董其昌门下，诗文大长。归来后移居到诸城南乡的橡谷山庄隐居（今诸城皇华镇相家沟村），写《天史》十卷，献于青州名儒钟羽正，羽正大惊，称有奇才。后又写了《西湖扇传奇》、《化人游传奇》等十几部书。直至清兵入关，他先避难于斋堂岛，后到父亲的九仙山庄隐居，誓不出仕，当时山东著名诗人王渔洋就以“九仙诗人丁野鹤”誉之。\n顺治五年（公元1648年），为避地方势力的诬害，49岁的丁耀亢被迫入京，以顺天籍考取贡生，充镶白旗教习，与京师名流结交，著《陆舫诗草》，名声大噪。顺治十年（公元1653年），54岁的丁耀亢出任河北容城教谕，五年后再受命出任福建惠安知县，他以母老而不赴，又回到了离别多年的橡谷山庄。于康熙元年（公元1662年）写出了著名的《续金瓶梅》，留诗曰：“懒散六十三，妙用无人识，顺逆两相忘，虚空镇常寂。”\n康熙四年（公元1665年），66岁的丁耀亢因著《续金瓶梅》获罪下狱，度过了120天的牢监生活，回乡后双目失明，自称木鸡道人，于康熙十年（公元1671年）病死橡谷，卒年72岁，葬于庄西黄豆山之阳。\n丁耀亢一生著书颇多，有关他的传说也流传甚广，大至可分为两大类：一是赞他的才，讲他自幼聪慧，精通经史，博学多艺，著作等身，是清初江北才子的楷模，如《一诗解风波》、《狗嘴焉会吐象牙》、《芝麻字》等篇；二是誉他的德，讲他心地良善，品德端正，嫉恶如仇，乐于助人的高尚品德，如《为学友挨打》、《丁野鹤治恶僧》、《野鹤桥》、《“不可”桌子》等篇。\n丁耀亢的传说立意清晰健康，生动感人，充分塑造出丁耀亢为人正派、嫉恶扬善、勤奋做事、坦诚做人的超人才智和高尚情操。给予后人以奋发向上、效贤立德、崇尚文明的教育和熏陶，具有很高的文化价值和艺术价值。",[805,64,133,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcac14f5a3409523fabd6097ceea373bb.jpg",[318],{"id":110569,"slug":110570,"title":110571,"dynasty":124,"author":223,"museum":300,"description":110572,"tags":110573,"thumbUrl":110574,"material":692,"size":1293,"collection":84,"collections":110575,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240101,"hu-xuan-qi-lv-shi-ye-yi-ming-240101","胡瑄七律诗页","此作为行书诗页，笔致舒展灵动，起收转合暗含晋唐帖学法度，牵丝映带自然流畅，尽显婉转韵致。字间错落排布，行气贯通如一，墨色浓淡晕染间层次自生。\n\n书文为七言律句，笔墨与诗意相融，烟霞林泉之隐逸意趣跃然纸上，将文人寄情丘壑的林下襟怀凝注毫端。整幅沉静雅致，尽显明人行书尚态重韵的典型风貌，虽无署名，亦足见书写者的文人意趣与不俗笔力，铺陈出明代文人的林下风流。",[7,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42745db65f1a2bec70f9f209d2bf1503.jpg",[],{"id":110577,"slug":110578,"title":110579,"dynasty":54,"author":110580,"museum":300,"description":110581,"tags":110582,"thumbUrl":110583,"material":692,"size":1293,"collection":84,"collections":110584,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240100,"he-si-nong-shi-ye-zhang-ji-liang-240100","和四农诗页","张际亮","张际亮（1799－1843）字亨甫，号华胥大夫、松寥山人，福建建宁县溪口镇渠村人。是鸦片战争时期享有盛誉的爱国诗人，与魏源、龚自珍、汤鹏并称为“道光四子”。张际亮一生创作诗文上千卷“万余首”，还有32卷、3078首。其诗较多反映了社会现实，揭露了腐败清王朝的政敝民贫，表达自己除弊济民的愿望。其诗作主要辑录于《松寥山人集》、《娄光堂稿》等。",[54,7,64,133,59,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23c3bd08235c889bc74674338be6f6af.jpg",[],{"id":110586,"slug":110587,"title":110588,"dynasty":54,"author":110589,"museum":300,"description":110590,"tags":110591,"thumbUrl":110592,"material":692,"size":1293,"collection":84,"collections":110593,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240097,"qi-gu-shi-gao-ye-lu-yong-240097","七古诗稿页","卢湧","此作为诗札双页，左页泥金笺墨书，右页素纸行书，笔墨清隽雅致。行笔舒展从容，结体灵动雅致，墨色枯润互见，带着随性松弛的书写意趣。\n\n诗书合璧，诗文清雅意绪与翰墨风神相融，笔底既有帖学的温润法度，又不失书写时的自在性情，尽显文人的书卷襟怀。作为日常诗稿信札，无刻意雕琢的匠气，字里行间皆是文人遣兴抒怀的自然流露，是诗、书相得益彰的小品佳作。",[7,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b8e67f883514199eb3689c84f3b2fd3.jpg",[],{"id":110595,"slug":110596,"title":110597,"dynasty":54,"author":102445,"museum":300,"description":102446,"tags":110598,"thumbUrl":110599,"material":692,"size":1293,"collection":84,"collections":110600,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240095,"qi-jue-san-shou-gao-ye-huang-jue-zi-240095","七绝三首稿页",[7,64,133,208,6369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fd8c4139fb3668d42fc9660c1116e80.jpg",[],{"id":110602,"slug":110603,"title":110604,"dynasty":54,"author":102445,"museum":300,"description":102446,"tags":110605,"thumbUrl":110607,"material":692,"size":1293,"collection":84,"collections":110608,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":4001},240094,"qu-che-xing-shi-gao-ye-huang-jue-zi-240094","驱车行诗稿页",[7,64,133,208,6369,110606,89397],"诗稿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63331478395f078323c842ef7ef9dbbf.jpg",[],{"id":110610,"slug":110611,"title":110612,"dynasty":54,"author":223,"museum":300,"description":110613,"tags":110614,"thumbUrl":110615,"material":692,"size":1293,"collection":84,"collections":110616,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240093,"wan-bu-man-xing-shi-ye-yi-ming-240093","晚步漫兴诗页","此作为行书诗札，笔墨清隽简淡，行笔舒缓从容，通篇排布疏朗匀净，毫无局促壅塞之感。字迹温润凝练，无刻意雕琢修饰，尽显文人日常遣兴的松弛意趣。\n\n诗作为晚步漫兴所作，诗书合璧，将闲步郊野的悠然心境藏于笔墨间。纸面带着岁月晕染的泛黄痕迹，为这件小品更添古雅质感，整体随性雅致，带着明清文人手札特有的闲散温润，褪去馆阁体的刻板，尽显日常手书的真挚意韵，是兼具文学意趣与书法审美价值的佳品。",[572,64,128,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92ab927df32b996188564a32ff26c7fc.jpg",[],{"id":110618,"slug":110619,"title":110620,"dynasty":54,"author":110621,"museum":300,"description":110622,"tags":110623,"thumbUrl":110624,"material":692,"size":1293,"collection":84,"collections":110625,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240092,"meng-bo-shi-ye-hu-tang-240092","梦卜诗页","胡棠","此作为小楷诗页，气息温润典雅，用笔精劲细腻，起收笔暗含晋唐小楷的隽秀意趣，结体端秀雅致，虽带有馆阁体的整饬工稳，却无板滞匠气，自内而外透着清逸书卷清气。\n\n两开小幅章法舒朗疏阔，字间行距错落合宜，墨色匀净沉稳，点画排布张弛有度，将诗书意蕴融于笔底，尽显书写者不俗的笔墨功底与清雅襟怀，是清代文人小字书法中颇具意趣的可观之作。",[54,7,64,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3151549c4e7a81c55cf561e64016dcda.jpg",[],{"id":110627,"slug":110628,"title":110629,"dynasty":54,"author":110589,"museum":300,"description":110630,"tags":110631,"thumbUrl":110632,"material":692,"size":1293,"collection":84,"collections":110633,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240091,"che-qiao-ba-jing-shi-bing-xu-ye-lu-yong-240091","车桥八景诗并序页","这帧小品行书以泛黄古笺为底，墨色沉静依旧。笔致灵动秀雅，牵丝映带间尽显行云流水之妙，行气舒朗连贯，将文人随性悠然的意趣藏于字里行间。\n\n笔墨兼具晋唐行书的飘逸风神与清代帖学的温润气质，诗书相融，落笔时的悠然心境跃然纸上。岁月晕染了笺纸，却未曾减损翰墨的隽永韵味，尽显传统尺牍小品的雅致格调。",[7,64,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe12fc0e1ac305d130d2ab4028083b7a6.jpg",[],{"id":110635,"slug":110636,"title":110637,"dynasty":54,"author":110589,"museum":300,"description":110638,"tags":110639,"thumbUrl":110640,"material":692,"size":1293,"collection":84,"collections":110641,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":4001},240090,"chun-ri-feng-huai-shi-ye-lu-yong-240090","春日奉怀诗页","此件行书诗页，笔墨清隽秀雅，结体灵动舒展。两开页面对应排布，字距行距疏朗匀净，气息悠然沉静。用笔圆润温婉，起收间可见细腻法度，点画间顾盼有情，墨色带着浓淡枯湿的细微变化，尽显文人书写的松弛意趣。\n\n书写内容为春日怀人诗作，笔墨与诗意相融，将春日怀远的澹澹幽思藏于笔端，以笔抒怀风雅内敛，将抒情文字与书法形制合而为一，尽显传统士人的审美意趣，带着清雅恬和的书卷之气。",[304,7,64,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08a18387c4866e959ce628a97fdaba33.jpg",[],{"id":110643,"slug":110644,"title":110606,"dynasty":54,"author":223,"museum":300,"description":110645,"tags":110646,"thumbUrl":110647,"material":692,"size":1293,"collection":84,"collections":110648,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":4001},240088,"shi-gao-yi-ming-240088","此作为行书诗稿，笔致灵动舒展，带着行草的恣意意趣。字迹排布错落随性，字间牵丝映带自然，行气连贯却无壅塞之感，墨色浓淡晕染天然，尽显随性雅致的文人笔韵。\n\n左页落款配朱红印章，朱墨相映晕开古雅沉静的氛围。通篇以诗寄怀，笔墨兼具法度与文心，无刻意雕琢的匠气，尽是旧时文人间酬唱寄兴时的松弛挥毫，藏着以书明心、以诗传情的雅致日常，尽显清人尺牍小品的冲淡书卷气，还原了传统文人翰墨寄情的悠然风貌。",[7,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65577896e2d861aa4328285fb72f28d5.jpg",[],{"id":110650,"slug":110651,"title":110652,"dynasty":54,"author":110589,"museum":300,"description":110653,"tags":110654,"thumbUrl":110655,"material":692,"size":1293,"collection":84,"collections":110656,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240087,"tong-yang-liu-bie-shi-ye-lu-yong-240087","潼阳留别诗页","此作为行书诗页，笔墨苍润朴拙，刚柔相济，线条粗细跌宕，带着文人疏淡散逸的意气。诗作以留别为旨，将离别缱绻愁绪寄寓于笔墨间，诗书相融无间。章法排布匀整舒展，两页行气连贯自然，既有着帖学的灵动秀雅，又暗含碑意的沉厚质感，把送别时的怅惘牵念藏在笔墨起伏之中，是诗书合璧的小品佳制，尽显雅致风神。",[7,59,133,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cbeb620c4a21bcd16b5705f79dc1615.jpg",[],{"id":110658,"slug":110659,"title":110606,"dynasty":54,"author":223,"museum":300,"description":110660,"tags":110661,"thumbUrl":110662,"material":692,"size":1293,"collection":84,"collections":110663,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240086,"shi-gao-yi-ming-240086","纸页晕染着旧时光的昏黄，墨色却依旧沉润鲜亮。两帧诗稿信手书就，行笔错落随性，跳脱了馆阁体的拘谨板正，点画间带着自然的牵丝映带，藏着书写时的悠然心绪。\n诗句与笔墨相融，笔势随着文思缓急舒展，将文人日常寄兴抒怀的松弛尽显。没有刻意的经营排布，反倒将旧时文人把诗意落于尺牍的雅致全然流露。洇开的淡墨与排布的字句，皆是时光沉淀下的平淡意趣，静静诉说着往昔文人间以诗寄情的风雅日常，让观览者窥见旧时光里的文人闲情。",[7,64,133,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81604e5e1a7e636ff0120693031a8e6c.jpg",[],{"id":110665,"slug":110666,"title":110579,"dynasty":54,"author":102422,"museum":300,"description":89827,"tags":110667,"thumbUrl":110668,"material":692,"size":1293,"collection":84,"collections":110669,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":4001},240085,"he-si-nong-shi-ye-qiu-guang-ye-240085",[64,7,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f2a1e48fab950b83d4d85d24a130a84.jpg",[],{"id":110671,"slug":110672,"title":110673,"dynasty":54,"author":102422,"museum":300,"description":89827,"tags":110674,"thumbUrl":110675,"material":692,"size":1293,"collection":84,"collections":110676,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240083,"he-si-nong-fa-jie-shi-ye-qiu-guang-ye-240083","贺四农发解诗页",[54,64,7,133,611,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d1465125d6df1c707b669acfbdf2d69.jpg",[],{"id":110678,"slug":110679,"title":110680,"dynasty":54,"author":102422,"museum":300,"description":89827,"tags":110681,"thumbUrl":110682,"material":692,"size":1293,"collection":84,"collections":110683,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":4001},240079,"song-si-nong-jiang-zhi-feng-yang-shi-ye-qiu-guang-ye-240079","送四农将之凤阳诗页",[54,7,64,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2505beacf34e8a74f1ba62e15bbcd5b.jpg",[],{"id":110685,"slug":110686,"title":110687,"dynasty":54,"author":110688,"museum":300,"description":110689,"tags":110690,"thumbUrl":110691,"material":692,"size":1293,"collection":84,"collections":110692,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":4001},240076,"zhao-yan-ti-wu-yan-shi-ye-zhao-yan-ti-240076","赵延褆五言诗页","赵延褆","此行书诗页用笔秀雅温润，起收利落自然，牵丝映带暗含章法韵律，尽显从容闲适的文人笔意。字距疏朗、行距匀停，墨色带着浓淡枯湿的层次变化，将诗作清雅意境与书法温婉气质相融。\n\n通篇气息静穆平和，无欹侧跳脱的张扬之态，尽显书卷涵养，笔墨间藏着随性意趣，将吟诗寄兴的雅事以笔墨留存，文与书相得益彰，尽显传统文人的审美意趣。",[64,133,208,128,7,59,6369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98b7874b7fca7ad1065af5eb81744739.jpg",[],{"id":110694,"slug":110695,"title":110696,"dynasty":54,"author":110688,"museum":300,"description":110697,"tags":110698,"thumbUrl":110699,"material":692,"size":1293,"collection":84,"collections":110700,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":4001},240075,"zhao-yan-ti-ti-nan-you-shi-ye-zhao-yan-ti-240075","赵延褆题南游诗页","此作为诗画合璧小品，左侧以淡墨轻绘策蹇行客，线条简括洗练，寥寥数笔便勾勒出天涯羁旅之人萧散落寞的意态，留白疏朗，韵致悠然。旁侧小字题款配朱印点缀，素雅沉静。\n\n右侧题诗行书笔致清隽秀雅，线条舒展灵动，墨色浓淡自然，笔墨间尽显文人书卷之气。诗画呼应，将羁旅的愁思寄寓其中，文气与画意相融相生，尽显清代文人闲散淡远的意趣，是一件兼具笔墨情致与抒情性的精妙小品。",[304,24,7,59,133,188,128,27,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c9215f86631643a4d1eb25d09905a8b.jpg",[],{"id":110702,"slug":110703,"title":110704,"dynasty":54,"author":102445,"museum":300,"description":102446,"tags":110705,"thumbUrl":110706,"material":692,"size":1293,"collection":84,"collections":110707,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240072,"song-you-hai-shan-yang-shi-ye-huang-jue-zi-240072","送友还山阳诗页",[24,7,133,64,208,27,59,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa49c1d3779922c19dee6ac8755dc13da.jpg",[],{"id":110709,"slug":110710,"title":110711,"dynasty":54,"author":102445,"museum":300,"description":102446,"tags":110712,"thumbUrl":110713,"material":692,"size":1293,"collection":84,"collections":110714,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240068,"song-si-nong-nan-gui-shan-yang-shi-ye-huang-jue-zi-240068","送四农南归山阳诗页",[7,64,133,208,4437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc02d06e1a5abfdd3979b06dc234007f.jpg",[],{"id":110716,"slug":110717,"title":110718,"dynasty":54,"author":110719,"museum":300,"description":110030,"tags":110720,"thumbUrl":110721,"material":692,"size":1293,"collection":84,"collections":110722,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240014,"xing-qi-yan-lian-qi-jun-zao-240014","行七言联","祁寯藻",[24,7,165,10886,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa064d56d8a829dfe74ae31ea43f6e9b0.jpg",[],{"id":110724,"slug":110725,"title":110726,"dynasty":54,"author":110727,"museum":300,"description":110728,"tags":110729,"thumbUrl":110730,"material":692,"size":1293,"collection":84,"collections":110731,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},240011,"shou-zha-heng-tiao-zhang-gai-240011","手札横条","张盖","张盖，详细生卒年代待考，，一字命士，号箬庵，直隶永年（今河北省永年县）人，清初河朔诗派的重要作家，与申涵光、殷岳并称畿南三才子，以能诗闻，工草书，善鼓琴，有《柿叶庵诗选》传世。甲申之变、明清易代之际，张盖曾与申涵光、殷岳、杨思圣等人避乱隐居于沙河县西部之广阳山，并结下生死之交。",[23,64,133,840,25,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbc1afe155dc71c6135554a531a78b3a.jpg",[],{"id":110733,"slug":110734,"title":110735,"dynasty":54,"author":110736,"museum":300,"description":110737,"tags":110738,"thumbUrl":110739,"material":692,"size":1293,"collection":84,"collections":110740,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239974,"zhi-huan-weng-rong-xuan-shi-ye-zhang-ting-shu-239974","致环翁荣旋诗页","张廷枢","张廷枢，字天木。清高邮人。张守中曾孙。郡庠生。工书法，得笔资，即以供甘旨。尝游学虞山。著有《寄庵诗集》（一作《寄庵集》）。",[7,64,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61b537a14eac7c798640d67967bed4c2.jpg",[],{"id":110742,"slug":110743,"title":110744,"dynasty":54,"author":110745,"museum":300,"description":110746,"tags":110747,"thumbUrl":110748,"material":692,"size":1293,"collection":84,"collections":110749,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239972,"zhi-wei-lao-gui-li-shi-ye-liu-guo-fu-239972","致魏老归里诗页","刘国黻","刘国黻（1653~1700），字禹美，号后斋，康熙二十一年（1682年）进士，改庶吉士，授户科给事中，历督捕理事官。在户科，建言民田亩有大小，地有上中下，请具载简明赋役全书，明示天下。在督捕，详考则例刊布之。往时以逃人为根，以一累百十，以逃案为市。取所历州县官职名待劾，弊不胜诘，皆剔除之，乃裁并兵部。改授鸿胪寺卿。",[304,64,133,208,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F608977c6e693551d1681cd0f896d321d.jpg",[],{"id":110751,"slug":110752,"title":110753,"dynasty":54,"author":110754,"museum":300,"description":110755,"tags":110756,"thumbUrl":110757,"material":692,"size":1293,"collection":84,"collections":110758,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239971,"zhi-wei-nian-bo-rong-xuan-shi-ye-wu-yi-fei-239971","致魏年伯荣旋诗页","吴一蜚","吴一蜚（1639年－1713年），江苏长洲人，清朝政治人物、官至吏部尚书。\n康熙二十一年（1682年），吴一蜚中壬戌科殿试金榜二甲第三名进士出身，授庶吉士，授翰林院编修。后改行人司副。由于为人清贫，两子均因贫而丧。康熙帝得知后，擢升至刑部侍郎、刑部尚书、后改吏部尚书。死于任上，家贫不能丧。",[24,7,59,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff96b11ad80c6a0bdc0fc3b438adf97af.jpg",[],{"id":110760,"slug":110761,"title":110735,"dynasty":54,"author":110762,"museum":300,"description":110763,"tags":110764,"thumbUrl":110765,"material":692,"size":1293,"collection":84,"collections":110766,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239970,"zhi-huan-weng-rong-xuan-shi-ye-li-fu-mi-239970","李復泌","此作为行楷书诗札，笔墨温润秀雅，结体端稳舒展，笔画匀净雅致，兼得晋唐小楷的灵动意趣与馆阁体的整饬工稳。\n笔下唱和寄赠的诗文，将友人间的珍重情意藏于点画之中，字里行间漫溢书卷清气，庄重中带着文人酬唱的温厚韵致。朱红钤印与沉润墨色相映，装裱素雅清隽，尽显旧时翰札的文雅风貌，把传统士大夫的审美意趣融于尺幅之间，是兼具笔墨意趣与人文情致的小品佳作。",[64,133,208,7,59,128,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b346335adda2f7b089ceeab9b5101d4.jpg",[],{"id":110768,"slug":110769,"title":110770,"dynasty":54,"author":110771,"museum":300,"description":110772,"tags":110773,"thumbUrl":110774,"material":692,"size":1293,"collection":84,"collections":110775,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239968,"zhi-wei-lao-qi-lv-er-shou-shi-ye-jin-de-jia-239968","致魏老七律二首诗页","金德嘉","金德嘉（1630—1707），字会公，号豫斋，而德嘉是尼庵功德赐的名，广济（武穴）龙坪人，问津书院知津堂会课生，清初著名学者。著有《居业斋文集》20卷，《续纂元、明臣言行录》及别集10卷，行于世，清《国朝诗人征略》选有其作品。",[7,133,208,4437,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38df738469d62b0651f9e6b30a926b59.jpg",[],{"id":110777,"slug":110778,"title":110779,"dynasty":54,"author":110780,"museum":300,"description":110781,"tags":110782,"thumbUrl":110783,"material":692,"size":1293,"collection":84,"collections":110784,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239967,"zhi-wei-lao-rong-gui-shi-ye-wang-shen-239967","致魏老荣归诗页","王绅","王绅（1360-1400），字仲缙，室名、号继志斋，元·婺州路义乌县凤林乡（今浙江省义乌县尚阳乡）来山村人。明太祖朱元璋朝翰林待制，同知制诰兼国史院编修王祎之次子，宋濂弟子，有志于学，官国子博士，预修《太祖实录》。与方孝孺为同学，互为知交，相与友善。明·太祖、惠帝时期著名诗人。",[7,59,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d34cbfb180f53079af27852d00dab42.jpg",[],{"id":110786,"slug":110787,"title":110788,"dynasty":54,"author":110168,"museum":300,"description":110169,"tags":110789,"thumbUrl":110790,"material":692,"size":1293,"collection":84,"collections":110791,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239966,"zhi-wei-lao-jin-xuan-shi-ye-zhou-jin-ran-239966","致魏老锦旋诗页",[7,64,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa97de6e98bcc6a86e32a9c4445ba5d5b.jpg",[],{"id":110793,"slug":110794,"title":110795,"dynasty":54,"author":110796,"museum":300,"description":110797,"tags":110798,"thumbUrl":110799,"material":692,"size":1293,"collection":84,"collections":110800,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239965,"xing-zhi-wei-tai-fu-zi-gui-li-shi-ye-shi-kui-239965","行致魏太夫子归里诗页","史夔","史夔（1661～1713）字胄司，号耕岩，江苏溧阳人，史鹤龄之子，清朝诗人。生于清顺治十八年（1661）。康熙二十年辛酉（1681）举人，康熙二十一年（1682）进士，廷试二甲一名，选庶吉士，授编修，旋充康熙二十四年（1685）乙酉科会试同考官。康熙二十八年（1689）以编修充日讲起居注官，康熙三十八年（1699）出任己卯科乡试浙江考官，所选拔的很多是饱学贤能之士，如沈近思（后任都宪）、查嗣栗（后任侍讲）等。康熙四十九年（1710）受命为《康熙字典》纂修官，居于27名纂修官的第二位。康熙五十年（1711）四月以詹事府少詹事充经筵讲官，除詹事府詹事。康熙五十五年（1716）《康熙字典》编成印行，共收47035字，给后世学者极大方便。康熙五十二年（1713）卒，享年五十三岁。",[7,64,59,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1070adbf673669c0e1e02e59b6c5cef9.jpg",[],{"id":110802,"slug":110803,"title":110804,"dynasty":54,"author":110805,"museum":300,"description":110806,"tags":110807,"thumbUrl":110808,"material":692,"size":1293,"collection":84,"collections":110809,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239964,"zhi-wei-lao-rong-xuan-shi-ye-lu-jing-yuan-239964","致魏老荣旋诗页","陆经远","此小楷诗页结体端秀雅致，笔画匀整凝练，兼取晋唐小楷的隽秀意韵与馆阁体的规整气度。用笔精到克制，起收转合皆循法度，点画筋骨内含，墨色匀净沉稳，尽显书写功力。\n\n通篇排布疏密得宜，字间行气连贯舒展，虽为酬唱诗页，却自带静穆端方的书卷气。笔墨之间藏着文人间酬答寄怀的清雅情思，诠释出清代小楷工稳秀雅的典型风貌，是兼具文辞意趣与书法审美价值的小品佳构。",[64,133,208,7,128,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dff58b06b5f0787f3b7362df91ae34a.jpg",[],{"id":110811,"slug":110812,"title":110813,"dynasty":54,"author":110814,"museum":300,"description":110815,"tags":110816,"thumbUrl":110817,"material":84,"size":84,"collection":84,"collections":110818,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239962,"xun-zhi-wei-lao-gui-li-shi-ye-ruan-er-239962","询致魏老归里诗页","阮尔","此作为行书诗札，纸墨清雅静和，浅蓝镶边衬出素淡书卷气。笔法秀逸灵动，结体温婉妍丽，深得帖学隽雅意趣，牵丝映带间尽显笔锋流转之妙，字字顾盼呼应，行气舒朗贯通。\n\n题识与跋语排布错落相宜，朱红小印点缀提亮，愈发衬出通篇雅致格调。笔墨意趣暗合诗中故旧归乡的缱绻相惜，文辞心绪与温润笔意融为一体，尽显文人书家以笔寄情的风雅，是兼具笔墨审美与文人情思的小品佳构。",[7,64,133,208,59,128,27,663,372,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44b199961f56ced7ad09e710adf552d7.jpg",[],{"id":110820,"slug":110821,"title":110822,"dynasty":54,"author":223,"museum":300,"description":110823,"tags":110824,"thumbUrl":110825,"material":692,"size":1293,"collection":84,"collections":110826,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239932,"zhan-tang-zhi-lian-shang-shi-ye-yi-ming-239932","詹□堂致莲裳诗页","此作为行书诗笺，笔墨清隽秀雅，行笔舒展灵动，起转收放间尽显文人意趣。字形错落排布，章法疏朗松弛，字里行间浸着随性自然的书卷气。\n\n这一纸寄友书笺，将旧交叙怀的温情藏在笔锋起落里。落笔简淡却意韵悠长，不见刻意雕琢，只以平实笔墨，铺陈出友人之间的惦念与酬唱日常，兼融文书意趣与笔墨美感，尽显旧时文人往来酬唱的雅致风流。",[7,59,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dd8adc12198a0d7ee0a89cba5f6bde2.jpg",[],{"id":110828,"slug":110829,"title":102512,"dynasty":54,"author":95720,"museum":300,"description":110830,"tags":110831,"thumbUrl":110832,"material":692,"size":1293,"collection":84,"collections":110833,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239930,"shi-feng-lian-shang-ye-hu-sen-239930","此作用笔灵动秀逸，提转间暗含晋唐尺牍意趣，点画舒展又不失内敛，牵丝映带自然妥帖，将行书的流动感与文人气韵相融。\n\n章法排布匀整从容，字距行距疏朗透气，通篇笔墨温润雅致，每一行气脉贯通，把诗句里的缱绻酬唱情谊随着笔墨缓缓铺陈，文人雅聚的清逸意态尽显。细节间可见笔锋粗细变化细腻和谐，既不失法度，又带着随性抒怀的松弛感，将诗书共情的意韵藏于笔墨行间，尽显清人书法的文秀品格，是一件兼具笔墨意趣与情感温度的小品佳作。",[64,7,133,59,128,6369,231,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81fd624022f26200d344252304ad73c6.jpg",[],{"id":110835,"slug":110836,"title":110837,"dynasty":54,"author":110838,"museum":300,"description":110839,"tags":110840,"thumbUrl":110841,"material":692,"size":1293,"collection":84,"collections":110842,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239928,"feng-lian-shang-shi-ye-yu-rui-239928","奉莲裳诗页","裕瑞","裕瑞（1771年5月19日－1838年6月8日），字思元，爱新觉罗氏，清初第一代和硕豫亲王多铎五世孙，和硕豫良亲王修龄次子，母嫡福晋富察氏，外祖父是承恩公傅文。",[7,133,208,128,59,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5725067719608e2c844383bc668875d.jpg",[],{"id":110844,"slug":110845,"title":69180,"dynasty":54,"author":102504,"museum":300,"description":110846,"tags":110847,"thumbUrl":110848,"material":692,"size":1293,"collection":84,"collections":110849,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239926,"shi-ye-wei-xue-lian-239926","此作为行书诗页，暗纹花笺为底，格调清雅隽秀。书法取法晋唐，笔意温润秀逸，点画间顾盼有情，牵丝映带灵动自然。字势排布错落相宜，行距留白疏朗宽和，尽显帖学雅致之风。\n\n自作诗文落于笔端，笔墨与文心相融相合，笔势流转间带着文人自适随性的意趣，将诗书风雅融为一体，尽显旧时文人翰墨酬唱的悠然情态，是清代小品翰墨中的清雅之作，书家功底与文人情思在此相得益彰。",[7,59,133,128,27,3344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3516b00a352bfacfeef85b35f761ced6.jpg",[],{"id":110851,"slug":110852,"title":110853,"dynasty":54,"author":102504,"museum":300,"description":110854,"tags":110855,"thumbUrl":110856,"material":692,"size":1293,"collection":84,"collections":110857,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239925,"song-lian-shang-ye-wei-xue-lian-239925","送莲裳页","此作为朱底小楷，墨色清隽莹润，与朱笺底色相映愈显秀雅沉静。书风端匀秀逸，兼具晋唐小楷的清逸意蕴与馆阁体的端整工致，笔锋藏露得宜，点画排布停匀舒和，可见书写者扎实沉厚的笔墨功力。\n整幅以送别诗作作为内容，笔墨晕染出赠别的缱绻心绪，将文人的书卷气与惜别时的绵长意趣融于一字一画之中，静穆笔致里暗含温润深情，是兼具文情与笔致的清代书法佳构。",[54,7,64,572,59,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42b81b41c5b9894a2710c0b01f6bd417.jpg",[],{"id":110859,"slug":110860,"title":81390,"dynasty":54,"author":76243,"museum":300,"description":76244,"tags":110861,"thumbUrl":110862,"material":692,"size":1293,"collection":84,"collections":110863,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239874,"lu-yu-zhou-guo-chao-zuo-239874",[24,7,64,165,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7f3aa9f0f777bc2a0cca9c687348423.jpg",[],{"id":110865,"slug":110866,"title":110867,"dynasty":54,"author":223,"museum":300,"description":110868,"tags":110869,"thumbUrl":110870,"material":692,"size":1293,"collection":84,"collections":110871,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239868,"wu-kuan-shou-zi-zhou-yi-ming-239868","无款寿字轴","整体取菱形构图，明黄地衬红底寿字，色调华贵吉庆。浓墨楷书寿字浑厚饱满，笔力沉凝方正，筋骨尽显，稳稳居于中心，尽显福寿绵长的安稳气度。红底之上银线绘就祥龙纹，灵动盘绕于寿字四周，龙身矫健线条细腻，将寿字烘托得愈发庄重威严。龙纹寓意祥瑞护佑，与寿字呼应融合，完美诠释祈福纳祥的美好愿景。整体配色鲜明亮眼，既有书法的笔墨筋骨，又伴纹饰的精巧华美，将祝寿心意融于形制笔墨之间，典雅大气尽显传统吉庆书画的匠心意蕴。",[24,7,165,64,27,28,27116,31432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e4fd200833f083480aec8b4bad0c8fb.jpg",[],{"id":110873,"slug":110874,"title":110875,"dynasty":54,"author":95810,"museum":300,"description":95811,"tags":110876,"thumbUrl":110877,"material":692,"size":1293,"collection":84,"collections":110878,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239863,"shi-san-shou-ye-xu-xiong-fei-239863","诗三首页",[24,7,64,59,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69fe0462641aba37cfd7c798a8b3b5fc.jpg",[],{"id":110880,"slug":110881,"title":110882,"dynasty":54,"author":110883,"museum":300,"description":110884,"tags":110885,"thumbUrl":110886,"material":692,"size":1293,"collection":84,"collections":110887,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239861,"ba-zhi-gong-fu-ye-han-feng-239861","跋致功甫页","韩崶","韩崶（1758—1834），字禹三，号旭亭、桂舲，别称种梅老人，元和（今江苏省苏州市）人。",[7,64,133,128,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd9258d203d5ed809e3040d6c7a9fc48.jpg",[],{"id":110889,"slug":110890,"title":110891,"dynasty":54,"author":110892,"museum":300,"description":110893,"tags":110894,"thumbUrl":110895,"material":692,"size":1293,"collection":84,"collections":110896,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239860,"feng-dian-shi-jing-zhao-er-ye-ceng-shou-239860","奉典试京兆二页","曾绶","此作为行书尺牍，笔致秀逸灵动，提按转合间尽显温雅风骨。行笔流畅自然，毫无雕琢板滞之感，字距错落随性，行距疏朗透气，排布随势生发，尽显日常书写的松弛意趣。墨色浓淡过渡自然，带着书写时的情绪起伏，将酬答文思与笔墨意趣融为一体。既有帖学一脉的娟秀韵味，又蕴含冲淡平和的书卷清气，尽显旧时文人尺牍实用与审美兼具的特质，笔墨间流淌出内敛沉静的文人雅致。",[54,64,133,59,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd6fbf4b78a93e8edbd2175ade64c5ba.jpg",[],{"id":110898,"slug":110899,"title":69180,"dynasty":54,"author":110900,"museum":300,"description":110901,"tags":110902,"thumbUrl":110903,"material":692,"size":1293,"collection":84,"collections":110904,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239859,"shi-ye-huang-peng-nian-239859","黄彭年","黄彭年（1824—1890）清代官吏、学者。字子寿，号陶楼，晚号更生，贵州贵筑县（今贵阳市）人，黄辅辰之子。道光二十七年进士，授编修。同治元年入骆秉章四川幕府，镇压石达开军，官至湖北布政使。尝掌教关中书院、保定莲池书院。又应李鸿章聘修《畿辅通志》。官至江苏布政使。黄彭年著有《三省边防考略》、《金沙江考略》、《陶楼文钞》等。",[7,64,133,208,59,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b3603f9774a58169e2c3ecbbfef011c.jpg",[],{"id":110906,"slug":110907,"title":110908,"dynasty":54,"author":110909,"museum":300,"description":110910,"tags":110911,"thumbUrl":110912,"material":692,"size":1293,"collection":84,"collections":110913,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239858,"du-gong-fu-shi-ji-ti-shi-ye-qian-yi-ji-239858","读功甫诗集题诗页","钱仪吉","钱仪吉（1783—1850），初名逵吉，字蔼人，号衎石，又号新梧（一作心壶），浙江嘉兴人。钱陈群曾孙。嘉庆十三年(1808)进士，选庶吉士，改户部主事，累迁至工科给事中。",[54,7,59,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33e9e679b983a76a8cf5d089195d38ab.jpg",[],{"id":110915,"slug":110916,"title":110917,"dynasty":54,"author":223,"museum":300,"description":110918,"tags":110919,"thumbUrl":110920,"material":692,"size":1293,"collection":84,"collections":110921,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239856,"dan-qiu-shi-gao-ye-yi-ming-239856","□澹秋诗稿页","此两开诗稿小品，行书笔致清隽秀雅，线条舒展灵动，墨色晕染柔和自然，带着文人手稿独有的随性松弛。左侧诗页钤盖两方朱红印章，朱砂暖艳与墨色相衬，为素淡纸面晕开沉静古雅的意趣。整体装裱留白疏朗，素净衬底托出尺幅小品的雅致。此诗稿虽为随性手札，却藏着旧时文人心手相应的笔墨情致，平淡天真间尽显传统尺牍小品的清雅之美，尽显文人日常遣兴挥毫的笔墨意韵。",[64,133,208,7,59,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f6cf723c4cab5e2d79da0535c2d57da.jpg",[],{"id":110923,"slug":110924,"title":110925,"dynasty":54,"author":223,"museum":300,"description":110926,"tags":110927,"thumbUrl":110928,"material":692,"size":1293,"collection":84,"collections":110929,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239853,"xing-shi-shi-feng-gong-fu-ye-yi-ming-239853","□兴诗诗奉功甫页","这件尺牍行书笔致灵动秀雅，兼具文人随性与笔墨法度。左侧书作笔画舒展，墨色浓淡自然晕化，藏锋处内敛含蓄，露锋时爽利劲挺，自带闲适萧散的书卷意趣。右侧信札排布疏密得宜，字势随文气欹正相生，虽为日常寄怀的手札，却处处可见书写者的笔墨功底。将往来酬唱的松弛心绪融于点撇捺画之间，笔墨晕染里藏着旧时尺牍独有的雅致情味，尽显手写书信的温度与文人日常的笔墨韵致。",[7,64,133,128,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c5759cf29318bb895a5071d15a397a7.jpg",[],{"id":110931,"slug":110932,"title":110933,"dynasty":54,"author":223,"museum":300,"description":110934,"tags":110935,"thumbUrl":110936,"material":692,"size":1293,"collection":84,"collections":110937,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239852,"ting-zhao-xin-yuan-yi-shou-ji-gong-fu-ye-yi-ming-239852","□廷炤心远一首寄功甫页","这件行书尺牍小品清隽秀雅，笔墨舒展灵动，结体疏密得宜。既有晋唐小楷的端稳意韵，又带着行书特有的萧散简淡。以诗寄友，将文人酬唱的温雅情致落于笔端，平淡天真间尽显书卷意趣。泛黄信笺搭配下方朱红小印，古意盎然，尽显清代文人尺牍书法的雅致审美，把日常酬寄的闲情揉进笔墨细节里，通篇透着松弛澹远的林下之风。",[304,7,64,133,208,611,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3ff0b73d3c6639d2ae54a707f5e7b2d.jpg",[],{"id":110939,"slug":110940,"title":110941,"dynasty":54,"author":223,"museum":300,"description":110942,"tags":110943,"thumbUrl":110944,"material":692,"size":1293,"collection":84,"collections":110945,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239851,"shi-ye-yi-ming-239851","□□□诗页","这帧册页行书纸色温润古雅，两处书迹一繁一简，相映成趣。左侧笔墨清隽舒逸，行笔提按间尽显文人雅韵，结体舒展灵动，字里行间带着冲淡散淡的林下之风。右侧书迹字形稍敛，墨色沉凝，笔势连贯圆融，牵丝映带间暗藏法度，字字独立却气脉贯通。\n\n笔墨间浸透着旧时文人的日常意趣，不见刻意雕琢，纯然是心性的自然流露。浅淡的岁月痕迹晕染纸面，让整幅作品更添沉静古拙的书卷质感，仿佛能窥见伏案濡毫时的松弛心境，尽显传统尺牍书法的隽永意蕴。",[7,133,208,8162,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9bac4916c074e89fbad6dbbed388d8c.jpg",[],{"id":110947,"slug":110948,"title":110949,"dynasty":54,"author":223,"museum":300,"description":110950,"tags":110951,"thumbUrl":110952,"material":84,"size":84,"collection":318,"collections":110953,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239848,"ren-ben-ti-gong-fu-zhuan-ling-yuan-yun-xiao-zhuan-shi-ye-yi-ming-239848","□仁本题功甫撰令媛韫小传诗页","朱枝淡影晕染纸面，墨笔题字偎依花旁，文与画彼此映衬，漾开沉静雅致的书卷氛围。左侧行书诗文笔致清灵舒展，墨色层次自然柔和，将缱绻诗意藏入流转笔锋里。\n\n旧纸温黄的底色晕开时光质感，诗笺融书、画、情为一体，尽显旧时文人寄情尺牍的风雅意趣，字里画间漫溢着淡远幽柔的怀旧情思，把文人的细腻心绪晕染在方寸之间，清雅动人。",[7,64,133,208,27,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F035c654da8624a2e89960409e1789313.jpg",[318],{"id":110955,"slug":110956,"title":110957,"dynasty":54,"author":85333,"museum":300,"description":85334,"tags":110958,"thumbUrl":110959,"material":692,"size":1293,"collection":84,"collections":110960,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239837,"gong-fu-shi-ci-yuan-yun-ye-zhang-xiang-he-239837","功甫诗次原韵页",[7,64,133,59,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24b79506a15df7dd772764f71d7f91ac.jpg",[],{"id":110962,"slug":110963,"title":95802,"dynasty":54,"author":85333,"museum":300,"description":85334,"tags":110964,"thumbUrl":110965,"material":692,"size":1293,"collection":84,"collections":110966,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239834,"shi-cheng-gong-fu-ye-zhang-xiang-he-239834",[24,7,59,133,27,61,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d4c0edb56a1988e526c1e01e8b5402.jpg",[],{"id":110968,"slug":110969,"title":110970,"dynasty":54,"author":85333,"museum":300,"description":85334,"tags":110971,"thumbUrl":110972,"material":692,"size":1293,"collection":84,"collections":110973,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239833,"da-yu-bu-zhi-shi-feng-gong-fu-ye-zhang-xiang-he-239833","大雨不止诗奉功甫页",[54,7,64,133,208,59,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67d07f8ea6a8092bc4271d508ff3937a.jpg",[],{"id":110975,"slug":110976,"title":110977,"dynasty":54,"author":110978,"museum":300,"description":110979,"tags":110980,"thumbUrl":110981,"material":692,"size":1293,"collection":84,"collections":110982,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239832,"ping-zhi-gong-fu-zha-ye-li-fu-239832","平致功甫札页","李黼","此作为行书尺牍，笔墨随性舒展，行笔间牵丝映带自然精妙，笔画粗细错落尽显节奏韵律。墨色带着岁月晕染的浓淡枯湿变化，古旧纸色晕开浅黄痕迹，更添朴拙质感。\n章法上字距错落不拘，行气贯通流畅，以诗文寄赠抒怀，将文人酬唱的雅致心境融于毫端，既有帖学一脉的温润秀雅，又带着日常书写的松弛意趣，尽显尺牍书法随性自然的文人意韵，将彼时文士的交游风雅，凝于这几行笔墨之间。",[304,64,133,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf5b8c93c453f8a85233cd6bfdbe4404.jpg",[],{"id":110984,"slug":110985,"title":95802,"dynasty":54,"author":85333,"museum":300,"description":85334,"tags":110986,"thumbUrl":110987,"material":692,"size":1293,"collection":84,"collections":110988,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239828,"shi-cheng-gong-fu-ye-zhang-xiang-he-239828",[7,64,938,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2112d942b602f76e3304402524dd1fa.jpg",[],{"id":110990,"slug":110991,"title":110992,"dynasty":54,"author":110993,"museum":300,"description":110994,"tags":110995,"thumbUrl":110996,"material":692,"size":1293,"collection":84,"collections":110997,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239826,"du-gong-fu-shi-ti-er-jue-ye-zhu-shou-239826","读功甫诗题二绝页","朱绶","道光十一年（公元一八三一年）举人。尝佐梁章钜幕，章奏多出其手。又勤学敦行，廉清简默，为来所重。",[7,64,133,59,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faec077771065a3b50a7c1ca9261267b5.jpg",[],{"id":110999,"slug":111000,"title":111001,"dynasty":54,"author":95794,"museum":300,"description":111002,"tags":111003,"thumbUrl":111004,"material":692,"size":1293,"collection":84,"collections":111005,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239824,"jin-men-zhu-zhi-ge-zhi-gong-fu-ye-shen-tao-239824","津门竹枝歌致功甫页","沈涛(约1792—1855)，原名尔岐，尔政，字西雍，号匏庐，浙江嘉兴人。",[64,7,59,133,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb56f300b022d4dabf4ba636c8a4bb1dd.jpg",[],{"id":111007,"slug":111008,"title":95793,"dynasty":54,"author":95794,"museum":300,"description":111002,"tags":111009,"thumbUrl":111010,"material":692,"size":1293,"collection":84,"collections":111011,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239823,"shi-zhi-gong-fu-ye-shen-tao-239823",[7,59,133,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9135d162a6ee169d48ca271ad45a07dc.jpg",[],{"id":111013,"slug":111014,"title":111015,"dynasty":54,"author":110993,"museum":300,"description":110994,"tags":111016,"thumbUrl":111017,"material":692,"size":1293,"collection":84,"collections":111018,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239822,"feng-ti-zun-ji-zhi-gong-fu-ye-zhu-shou-239822","奉题尊集致功甫页",[24,7,59,128,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd284280f199818d4a0a0dc9b33ac8f16.jpg",[],{"id":111020,"slug":111021,"title":111022,"dynasty":54,"author":110993,"museum":300,"description":110994,"tags":111023,"thumbUrl":111024,"material":692,"size":1293,"collection":84,"collections":111025,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239821,"yi-ju-shi-jue-shi-gong-fu-ye-zhu-shou-239821","移居十绝似功甫页",[24,7,133,208,59,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d36e7f7d105eb7b1c3378b5e97e4d69.jpg",[],{"id":111027,"slug":111028,"title":111029,"dynasty":54,"author":110993,"museum":300,"description":110994,"tags":111030,"thumbUrl":111031,"material":692,"size":1293,"collection":84,"collections":111032,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239820,"zhi-gong-fu-shi-ye-zhu-shou-239820","致功甫诗页",[54,24,7,59,133,27,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09d5d84c206c3e6bb5004e7d099457f7.jpg",[],{"id":111034,"slug":111035,"title":110977,"dynasty":54,"author":110978,"museum":300,"description":111036,"tags":111037,"thumbUrl":111038,"material":692,"size":1293,"collection":84,"collections":111039,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239819,"ping-zhi-gong-fu-zha-ye-li-fu-239819","此作用行书命笔，笔势舒展灵动，墨色浓淡渐变自然，朱红笺底衬得墨色愈发沉雅温润。行笔间牵丝映带精妙，字形大小错落随性不拘，兼具法度与写意意趣。文字排布疏密有致，行气连贯畅达，既有帖学的秀逸灵动，又暗含朴拙沉稳的笔力。\n\n通篇尽显文人尺牍的随性雅致，将日常寄怀的闲散意趣，融于笔墨流转之中，尽显旧时文人的笔墨情致与风神襟怀，是清代行书小品里的不俗佳构。",[54,7,64,133,59,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd30721d37feff0f48f38ad56e793f277.jpg",[],{"id":111041,"slug":111042,"title":111043,"dynasty":54,"author":93357,"museum":300,"description":111044,"tags":111045,"thumbUrl":111046,"material":692,"size":1293,"collection":84,"collections":111047,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239818,"ci-feng-gong-fu-qin-han-ye-sun-jun-239818","词奉功甫琴涵页","通篇行书自然率意，用笔松灵秀逸，提按转合暗合晋唐帖学法度却毫无板滞之感。字势欹正相生，错落的行距留白恰到好处，墨色带着浓淡枯湿的层次变化，通篇行气贯通，尽显闲适萧散的文人意趣。\n\n作为诗书合璧的尺幅小品，笔底晕染着江南文人的清雅韵致，舒展的笔画间藏着温润书卷气，不见刻意雕琢的痕迹，将友朋酬唱的雅兴寄寓笔墨之中，随性自在的书写状态跃然纸面，尽显传统文人以翰墨修身寄情的风流雅致。",[7,64,133,208,128,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F074b9a45f454cd617f2171aad783f25f.jpg",[],{"id":111049,"slug":111050,"title":111051,"dynasty":54,"author":111052,"museum":300,"description":111053,"tags":111054,"thumbUrl":111055,"material":692,"size":1293,"collection":84,"collections":111056,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239817,"shi-feng-song-gong-fu-ye-zong-xu-chen-239817","诗奉送功甫页","宗续辰","宗稷辰（1792年－1862年），原名续辰，又名龙辰，字涤甫，一作迪甫，号越岘山民，浙江会稽人。清代政治人物和文学家。\n道光元年（1821年）举人，后连年未能考取进士，于是先后于群玉、濂溪、虎溪等书院讲学，道光十九年，补官考取军机章京，又任起居注主事、户部山东司员外郎等。咸丰元年（1851年），历任山东道监察御史、山西道监察御史、山东云河道等职。同治六年生病归乡，主持蕺山书院，同年去世。\n他自年轻时即学桐城派古文，师事李宗传，被认为文章“洁肃坚核，独抒己见，主立意不重修词，故含蓄多而奔放”。（刘声木《桐城文学渊源考》中语）。",[7,59,133,208,64,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59f9adb9f639292a8f28e5cc15f0f44.jpg",[],{"id":111058,"slug":111059,"title":69180,"dynasty":54,"author":111060,"museum":300,"description":111061,"tags":111062,"thumbUrl":111063,"material":692,"size":1293,"collection":84,"collections":111064,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239816,"shi-ye-qi-yan-huai-239816","齐彦槐","齐彦槐[清]（公元一七七四年至一八四一年），字梦树，号梅麓，又号荫三，徽州婺源（今属江西）人。生于清高宗乾隆三十九年十月十二日（公元1774年11月15日），卒于宣宗道光二十一年六月二十五日（公元1841年8月11日）。嘉庆十三年（公元1808年）召试举人。次年成进士，改翰林院庶吉士。散馆，授江苏金匮县知县，有《衙斋书壁诗》十九首，纪其治绩迁苏州同知，保擢知府，陈海运议于巡妩，得旨优奖。彦槐之诗，出入韩苏，尤长骈体律赋，兼擅书法，精于鉴藏。所著有《梅麓诗文集》二十六卷，《海运南漕丛议》一卷《北极星纬度分表》四卷，及《天球浅说》、《中星仪说》各一卷，均《清史列传》并传于世。",[24,7,133,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08675fd50922d065d58f237ec52801cd.jpg",[],{"id":111066,"slug":111067,"title":58919,"dynasty":124,"author":109699,"museum":300,"description":109700,"tags":111068,"thumbUrl":111069,"material":692,"size":1293,"collection":84,"collections":111070,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239793,"qi-jue-zhou-tao-ru-nai-239793",[24,7,165,64,840,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F340374aa69e10fb642772bb2a0868060.jpg",[],{"id":111072,"slug":111073,"title":111074,"dynasty":54,"author":111075,"museum":300,"description":111076,"tags":111077,"thumbUrl":111078,"material":692,"size":1293,"collection":84,"collections":111079,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},239748,"yong-cheng-shu-fu-zhou-yong-cheng-239748","永珹书赋轴","永珹","爱新觉罗·永珹（1739年2月21日—1777年3月10日），清朝宗室，满洲正黄旗人，乾隆帝第四子，母为淑嘉皇贵妃金佳氏。\n乾隆四年已未正月十四日卯时生，母淑嘉皇贵妃金佳氏，时为嘉嫔。\n乾隆十六年（1751年）指婚钮祜禄氏总督阿里衮之女，但该女子未出嫁即卒。后指婚伊尔根觉罗氏和硕额驸富僧额之女，乾隆十九年（1754年）正式成婚。福晋之父富僧额因备办妆奁等项，奏请借俸禄、养廉银。奉旨：不必借领，着交内务府大臣照三阿哥福晋之父之例官办。永珹福晋的妆奁照永璋福晋之例办造，共用过崇文门税务处银八千三十余两。\n乾隆二十八年（1763年）十一月，奉旨出继和硕履懿亲王允裪后，降袭履郡王。\n乾隆三十六年（1771年）十一月崇庆皇太后八旬大寿，乾隆帝率皇子、皇孙、皇曾孙、额驸等在慈宁宫彩衣进舞，皇四子永珹、皇六子永瑢、皇八子永璇、皇十一子永瑆、皇十二子永璂、皇十五子永琰、皇十七子永璘进舞。\n乾隆四十二年（1777年）丁酉二月二日辰时薨逝，终年三十九岁，以亲王礼葬，谥号为端。嘉庆四年（1799年）三月，追赠亲王。",[7,572,165,208,304,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1da7ab469159bf2bc04a1303c70c289f.jpg",[],{"id":111081,"slug":111082,"title":111083,"dynasty":18,"author":223,"museum":300,"description":111084,"tags":111085,"thumbUrl":111087,"material":84,"size":84,"collection":84,"collections":111088,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239718,"song-xian-yi-han-ce-zhang-ji-zhi-shi-han-yi-ming-239718","宋贤遗翰册-张即之诗翰","此作用笔以楷书为骨，暗融行书意趣，点画凝练饱满，骨力劲挺又不失温润质感，粗细变化自然灵动，可见书写时松弛悠然的心境。\n\n章法疏朗匀整，行气连贯圆和，墨色浓淡合宜，古雅沉静间带着舒展自在的意致。笔墨与自遣诗文相融，将闲居遣怀的散淡襟怀寄寓笔端，尽显宋贤尚意的书法风神，是书文合一的典型风貌，清雅醇厚的书卷气扑面而来，如见作者于日常闲居中安然自适的情态。",[64,572,133,59,208,104618,111086,7],"闲居自适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa08b41e239d28929590229e2023a843d.jpg",[],{"id":111090,"slug":111091,"title":111092,"dynasty":54,"author":111093,"museum":300,"description":111094,"tags":111095,"thumbUrl":111096,"material":84,"size":84,"collection":84,"collections":111097,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":199},239711,"shu-qi-lv-shi-zhou-zhang-xiang-jia-239711","书七律诗轴","张享嘉","此作用粉红蜡笺为底，墨色沉润如漆，与暖艳底色相映，古雅动人。\n书作行楷兼融，点画浑厚朴拙，起收顿挫可见腕间沉实力道，结体端稳又不失灵动，字字排布匀整舒朗，气息从容安和。所书七律寄寓追思先贤的沉郁，笔墨随文辞心境流转，将敬慕之意藏于笔底，带着清儒特有的持重雅致。\n整体诗书相合，既有馆阁体的端方规整，又具文人书法的隽逸意趣，尽显书写者的笔墨功力与襟怀。",[7,64,165,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F404ae7c125b0d90b091bd718da7264b6.jpg",[],{"id":111099,"slug":111100,"title":111101,"dynasty":54,"author":223,"museum":300,"description":111102,"tags":111103,"thumbUrl":111104,"material":84,"size":84,"collection":84,"collections":111105,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239696,"er-ge-gou-xuan-ji-yuan-jin-ce-yi-ming-239696","二格钩璇玑鸳锦册","此作为篆法示范册页，左右开页朱墨相映。右页玉筋篆取法李阳冰，线条匀挺圆融，温润劲直，结体端庄舒展，尽显小篆雅正之姿。左页奇字古奥诡谲，字形奇崛朴拙，尽显商周古文的瑰异神采。\n\n每页篆文旁配以小字释解，辨析字形流变与笔法传承，既是精妙书法范本，亦是古文字考据小品。朱墨二色静雅清隽，装裱素净古雅，尽显复古谨严的治学审美意趣，将金石考据与书法雅好相融，朴茂静穆间尽显文士沉潜向古的风骨。",[7,64,938,208,59,27,330,1590,23848],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb47a3ffb8c1942260f8506f92e06d72d.jpg",[],{"id":111107,"slug":111108,"title":34976,"dynasty":54,"author":872,"museum":20,"description":34977,"tags":111109,"thumbUrl":111110,"material":611,"size":34980,"collection":84,"collections":111111,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239606,"shi-san-zha-ce-zhu-da-239606",[64,7,59,133,840,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8089b0eaf131fda2952d8dc230d71b51.jpg",[],{"id":111113,"slug":111114,"title":7864,"dynasty":54,"author":69285,"museum":300,"description":69286,"tags":111115,"thumbUrl":111116,"material":692,"size":1293,"collection":84,"collections":111117,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239396,"za-hua-ce-zhu-xiao-chun-239396",[24,128,59,133,7,369,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9221f5cb7a01d1cba0806515b738a4e0.jpg",[],{"id":111119,"slug":111120,"title":7864,"dynasty":54,"author":69285,"museum":300,"description":69286,"tags":111121,"thumbUrl":111122,"material":692,"size":1293,"collection":84,"collections":111123,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239395,"za-hua-ce-zhu-xiao-chun-239395",[24,7,59,128,61,211,64464],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe42ec2dc433f1b4dd7dcf410d2088f70.jpg",[],{"id":111125,"slug":111126,"title":7864,"dynasty":54,"author":69285,"museum":300,"description":69286,"tags":111127,"thumbUrl":111128,"material":692,"size":1293,"collection":84,"collections":111129,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239394,"za-hua-ce-zhu-xiao-chun-239394",[24,7,59,128,96,171,1233,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F341fcd2e02099856c12d6da0e176967f.jpg",[],{"id":111131,"slug":111132,"title":7864,"dynasty":54,"author":69285,"museum":300,"description":69286,"tags":111133,"thumbUrl":111134,"material":692,"size":1293,"collection":84,"collections":111135,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239391,"za-hua-ce-zhu-xiao-chun-239391",[24,7,59,188,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6545da2c0820dde0b0bea3151a76935.jpg",[],{"id":111137,"slug":111138,"title":7864,"dynasty":54,"author":69285,"museum":300,"description":69286,"tags":111139,"thumbUrl":111140,"material":692,"size":1293,"collection":84,"collections":111141,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239390,"za-hua-ce-zhu-xiao-chun-239390",[24,7,59,128,371,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde12c5d16d6fadc7633f81b7d7e92d2c.jpg",[],{"id":111143,"slug":111144,"title":7864,"dynasty":54,"author":69285,"museum":300,"description":69286,"tags":111145,"thumbUrl":111146,"material":692,"size":1293,"collection":84,"collections":111147,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239389,"za-hua-ce-zhu-xiao-chun-239389",[24,7,59,128,29,129,1337,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c7626d3369c029324a8e26db2d18b87.jpg",[],{"id":111149,"slug":111150,"title":7864,"dynasty":54,"author":69285,"museum":300,"description":69286,"tags":111151,"thumbUrl":111152,"material":692,"size":1293,"collection":84,"collections":111153,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239388,"za-hua-ce-zhu-xiao-chun-239388",[24,7,128,59,29,331,131,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97b3ea110cc2264ae5a86ad6a2cac973.jpg",[],{"id":111155,"slug":111156,"title":7864,"dynasty":54,"author":69285,"museum":300,"description":69286,"tags":111157,"thumbUrl":111158,"material":692,"size":1293,"collection":84,"collections":111159,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239387,"za-hua-ce-zhu-xiao-chun-239387",[24,7,59,128,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71494a89ecd6b1128075bc4391e4293e.jpg",[],{"id":111161,"slug":111162,"title":7864,"dynasty":54,"author":69285,"museum":300,"description":69286,"tags":111163,"thumbUrl":111164,"material":692,"size":1293,"collection":84,"collections":111165,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239386,"za-hua-ce-zhu-xiao-chun-239386",[24,7,59,128,208,171,375,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F522d9c75ede6df650b45bdb46ab4dea4.jpg",[],{"id":111167,"slug":111168,"title":7864,"dynasty":54,"author":69285,"museum":300,"description":69286,"tags":111169,"thumbUrl":111170,"material":692,"size":1293,"collection":84,"collections":111171,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239385,"za-hua-ce-zhu-xiao-chun-239385",[24,7,59,128,133,895,355,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ff020cad56a052b7ea1a7810df6245b.jpg",[],{"id":111173,"slug":111174,"title":7864,"dynasty":54,"author":69285,"museum":300,"description":69286,"tags":111175,"thumbUrl":111176,"material":692,"size":1293,"collection":84,"collections":111177,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239384,"za-hua-ce-zhu-xiao-chun-239384",[24,7,59,188,96,34279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29862c19dbd8232cc03dea736f5dcf56.jpg",[],{"id":111179,"slug":111180,"title":48113,"dynasty":54,"author":29662,"museum":300,"description":111181,"tags":111182,"thumbUrl":111183,"material":84,"size":84,"collection":84,"collections":111184,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239375,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239375","此作用浅绛晕染山水，主峰崔嵬耸立，周遭山峦迤逦舒展，淡墨轻扫出烟岚流云，虚实相生间晕化开空濛清寂的氛围。坡岸苍松错落劲挺，浓淡墨色点染出苍郁生机，衬出山居的幽远静谧。\n\n画面右上题诗与山水相映，诗画交融，尽显文人雅致意趣。笔触秀逸温婉，不尚繁复雕琢，以简淡笔墨勾勒山川神韵，将诗意融于山色，观之如临其境，可细细体味山月之下林泉幽寂的淡然况味，尽显传统山水诗画合一的雅致美学。",[164,24,7,59,128,132,29,663,413,37,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F958c5796f71f18d054907e1f96458c19.jpg",[],{"id":111186,"slug":111187,"title":409,"dynasty":54,"author":55339,"museum":300,"description":55340,"tags":111188,"thumbUrl":111189,"material":692,"size":1293,"collection":84,"collections":111190,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239342,"shan-shui-ce-lin-fu-chang-239342",[24,7,59,128,29,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ee579e31cca71f130c924d7702e1470.jpg",[],{"id":111192,"slug":111193,"title":33103,"dynasty":54,"author":96114,"museum":300,"description":102740,"tags":111194,"thumbUrl":111195,"material":84,"size":84,"collection":84,"collections":111196,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239305,"fang-gu-shan-shui-ce-wu-lin-239305",[24,7,59,128,2271,132,29,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52fcf3648c5f33093110df5b88a4ad25.jpg",[],{"id":111198,"slug":111199,"title":409,"dynasty":54,"author":96114,"museum":300,"description":111200,"tags":111201,"thumbUrl":111202,"material":84,"size":84,"collection":84,"collections":111203,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},239048,"shan-shui-ce-wu-lin-239048","（一六九一―一七七二）字栗园，一作栗原，一字荛圃，安徽歙县籍，家江西景德镇。二、[清]字仁趾，天都（今安徽歙县）右姓，隶籍广陵（今江苏扬州）。",[164,24,7,128,132,59,29,129,34,415,7782,1824],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba687403caeef65d8c3d3f2631c6f8a9.jpg",[],{"id":111205,"slug":111206,"title":72012,"dynasty":54,"author":223,"museum":300,"description":111207,"tags":111208,"thumbUrl":111209,"material":84,"size":84,"collection":84,"collections":111210,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":199},238898,"dong-gao-chun-hua-ji-qing-ce-yi-ming-238898","这是诗画合璧的雅致册页，上下两开各以山水呼应题诗意境。上开层林蓊郁，溪桥架于浅流，山居隐于翠微之间，墨色苍润秀雅，晕染出盛春山林清润幽深的融融生机。\n\n下开枯木疏朗，村舍依水而建，淡墨轻皴晕出早春将醒的萧寒淡远。配套书法端秀工稳，与山水景致相得益彰，笔墨间兼具文人气韵与静谧禅意，将春日山林从繁茂到初醒的不同情致一一铺展，诗与画浑融无间，观之如揽春山清韵，尽得中式文人画的雅致意趣。",[24,7,59,128,29,34,27,133,132,171,99,131,1009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69442da05342a53e64e8ac9de29a7a88.jpg",[],{"id":111212,"slug":111213,"title":72012,"dynasty":54,"author":223,"museum":300,"description":111214,"tags":111215,"thumbUrl":111216,"material":84,"size":84,"collection":84,"collections":111217,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238896,"dong-gao-chun-hua-ji-qing-ce-yi-ming-238896","此作为诗画合璧的小品佳制。上方绘溪村早春，疏柳未匀新绿，板桥卧于浅溪之上，水色空濛，漫着初春清寂的淡霭；下方画沐雨春郊，耕牛就坡而憩，新芜初萌，野树含烟，尽是田家春日的恬和意趣。\n\n配笔挺秀雅的馆阁小楷，诗句与画境呼应相合。整体笔墨清浅柔润，设色淡净温丽，以极简尺幅铺展出早春的柔润清和，将郊野春景的澹远闲雅与乡居意趣相融，把春日的恬然生机藏于疏淡笔墨之间，尽显雅致温婉的小品意韵。",[24,7,59,27,29,102,413,171,133,132,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eb63941b23d36907b1802ce7750404b.jpg",[],{"id":111219,"slug":111220,"title":72012,"dynasty":54,"author":223,"museum":300,"description":111221,"tags":111222,"thumbUrl":111223,"material":84,"size":84,"collection":84,"collections":111224,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238895,"dong-gao-chun-hua-ji-qing-ce-yi-ming-238895","此作为诗画合璧的小品，分绘两幕春景。上幅里田畴漾着浅翠，牧童斜倚田埂，水牛静卧垄边，乡野放牧的闲逸随笔墨漫开，配诗呼应郊原春牧的悠然意趣，笔致朴淡疏朗，尽染田家春日松弛况味。\n\n下帧绘寒林雪岸，枯桠错落江岸，江天空濛清寂，诗句摹写春江将醒、渔樵待兴的幽谧。两景一喧一静，以浅淡设色晕染江南初春的不同情态，将乡野春思融于尺幅之间，秀雅平和的笔致，尽显以景寄情的文人雅致内核。",[24,7,59,27,29,96,34,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca9806cd2b235a3f7bb5c0db5a86353a.jpg",[],{"id":111226,"slug":111227,"title":72012,"dynasty":54,"author":223,"museum":300,"description":111228,"tags":111229,"thumbUrl":111230,"material":84,"size":84,"collection":84,"collections":111231,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},238894,"dong-gao-chun-hua-ji-qing-ce-yi-ming-238894","此作为诗画合璧小品，上下两帧各成意境。上帧枯木虬枝错落，溪岸浅滩之上，幽人闲坐濯饮，淡赭敷色晕染出料峭早春的清寂疏朗，笔墨简淡却藏悠远况味。\n\n下帧晕染春山浅黛，村居隐于茂林之间，田埂蜿蜒，将春日郊野的融融生机铺展开来。右侧行书秀润端雅，诗句衬景，诗画相映，把春日郊居的闲逸雅兴凝于尺幅，尽显含蓄隽永的文人情致。",[24,7,59,27,29,34,98,758,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe88f7b4bca5c328139aed7647428847b.jpg",[],{"id":111233,"slug":111234,"title":111235,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":111236,"thumbUrl":111237,"material":692,"size":1293,"collection":84,"collections":111238,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},238868,"wu-jia-shan-shui-ce-yuan-ying-shan-shui-ye-dong-bang-da-238868","五家山水册-袁瑛山水页",[24,7,59,128,29,132,131,34,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaf0ae3b9142c9aef5800b8a472fa493.jpg",[],{"id":111240,"slug":111241,"title":111242,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":111243,"thumbUrl":111244,"material":692,"size":1293,"collection":84,"collections":111245,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},238867,"wu-jia-shan-shui-ce-wang-bing-shan-shui-ye-dong-bang-da-238867","五家山水册-王炳山水页",[24,7,164,59,27,132,29,131,34,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8515efb9c327c0ac5cb422bb0c89a16.jpg",[],{"id":111247,"slug":111248,"title":102877,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":111249,"thumbUrl":111250,"material":692,"size":1293,"collection":84,"collections":111251,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},238865,"wu-jia-shan-shui-ce-shan-shui-ye-dong-bang-da-238865",[24,7,59,128,132,29,331,131,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0aaba185997f9b6e66978312ddb314f5.jpg",[],{"id":111253,"slug":111254,"title":102870,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":111255,"thumbUrl":111256,"material":692,"size":1293,"collection":84,"collections":111257,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},238863,"wu-jia-shan-shui-ce-li-shi-zhuo-shan-shui-ye-dong-bang-da-238863",[24,7,59,188,128,29,1337,97,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dee98636363dd19ac6a643dec84ccb8.jpg",[],{"id":111259,"slug":111260,"title":409,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":111261,"thumbUrl":111262,"material":692,"size":1293,"collection":84,"collections":111263,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238691,"shan-shui-ce-dong-bang-da-238691",[24,7,59,128,29,98,331,131,34,496,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9574b121ace885e1fedc69eb56b00aac.jpg",[],{"id":111265,"slug":111266,"title":409,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":111267,"thumbUrl":111268,"material":692,"size":1293,"collection":84,"collections":111269,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238689,"shan-shui-ce-dong-bang-da-238689",[24,7,128,59,132,29,663,228,413,98,211,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafb5e81de8681eeed35879b2e28ae6a6.jpg",[],{"id":111271,"slug":111272,"title":409,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":111273,"thumbUrl":111274,"material":692,"size":1293,"collection":84,"collections":111275,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238688,"shan-shui-ce-dong-bang-da-238688",[24,7,59,188,128,29,130,34,98,99,97,132,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febb4deb934387fb3bf61ea3812e0d305.jpg",[],{"id":111277,"slug":111278,"title":409,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":111279,"thumbUrl":111280,"material":692,"size":1293,"collection":84,"collections":111281,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238687,"shan-shui-ce-dong-bang-da-238687",[24,7,59,128,132,29,130,1337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff00d8bc1e9024651a4570d2e29fc3a6.jpg",[],{"id":111283,"slug":111284,"title":409,"dynasty":54,"author":23303,"museum":300,"description":52280,"tags":111285,"thumbUrl":111286,"material":692,"size":1293,"collection":84,"collections":111287,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238685,"shan-shui-ce-dong-bang-da-238685",[24,7,128,132,59,29,98,99,35,131,34,1337,1144,496,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f103bee86751e1d36f92cbabceda4f.jpg",[],{"id":111289,"slug":111290,"title":33757,"dynasty":54,"author":223,"museum":300,"description":111291,"tags":111292,"thumbUrl":111293,"material":692,"size":1293,"collection":84,"collections":111294,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":199},238659,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238659","全景式铺陈开苗疆山地战场，以类铜版画的刚劲线条勾勒层峦沟壑，工细写实。左侧屯城壁垒森严，甲士整列森然，山间林莽中潜行的兵卒还原出山地作战的险仄。\n诗画合璧，以笔锋刀痕凝固行军攻坚、收抚诸苗的跌宕战事。线条冷峻利落，既刻画了关山征伐的肃杀，也带出战后初定的秩序感，将平叛绥边的全过程藏于重山隘路间，以静态画面留存下那段铁血征伐的过往，兼具纪实史学价值与叙事性绘画的表现力。",[164,24,7,59,28,128,132,95,29,96,101,35165,34,131,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F410597fad851068ed990732209ec7e4e.jpg",[],{"id":111296,"slug":111297,"title":33757,"dynasty":54,"author":223,"museum":300,"description":111298,"tags":111299,"thumbUrl":111300,"material":84,"size":84,"collection":84,"collections":111301,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238657,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238657","以全景构图铺展整场战事，左侧阵列齐整的兵马摧锋直前，山麓间短兵相接，奔逃的溃军匍匐在泥泞沟壑，厮杀的张力扑面而来。村寨浓烟翻涌，火光吞噬屋舍，兵燹过后的残破尽显眼前。左侧题满细密小字，以文字补叙战事经纬，将视觉冲击与纪实叙事相融。\n全作用劲挺刚硬的铁线白描勾勒山石甲胄，线条精准刻画出战场的肃杀冷冽，不着一色却自带冷峻压迫感，将平叛战事的残酷与浩荡全然铺陈，是兼备纪实性与艺术性的战争叙事佳作。",[24,7,164,59,28,188,128,96,101,29,34,758,131,31,63532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F968a66be7cec2d0f554f352127f1b16d.jpg",[],{"id":111303,"slug":111304,"title":33757,"dynasty":54,"author":223,"museum":300,"description":111305,"tags":111306,"thumbUrl":111307,"material":84,"size":84,"collection":84,"collections":111308,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},238656,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238656","全景式铺展崇山峻岭，将山地战事的行军、攻坚排布于险隘之间。左侧官兵沿栈道攀援突进，右侧火炮摧破土寨，浓烟翻卷腾涌，动静张力尽显。\n\n线条刚劲利落，精准刻画出崖壁陡绝、兵卒悍锐，将山地作战的艰险尽数铺陈。题诗配文呼应画面叙事，以写实笔法复刻征剿战况，兼具纪实性与艺术性，既是纪功绘卷，也尽显战事版画的表现力，还原出平乱战事的紧迫悍勇。",[24,7,28,132,27,29,96,101,34,31,690,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91218a070f41f03319c4b91351a1910d.jpg",[],{"id":111310,"slug":111311,"title":33757,"dynasty":54,"author":223,"museum":300,"description":111312,"tags":111313,"thumbUrl":111314,"material":84,"size":84,"collection":84,"collections":111315,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238655,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238655","这幅以全景式构图铺展战场，层叠山峦拉开纵深，将行军队列、攻坚厮杀分置谷壑之间，排布错落有序。线条刚劲利落，嶙峋山石、苍劲林木，与军士甲胄兵器细节一一勾勒铺陈，写实还原战事的肃杀紧张。\n\n山谷间旌旗猎猎、马蹄扬尘，将领挥斥调度与士卒奋勇突进的神态动作细腻生动，既有纪实画作的精准刻画，又带着宫廷纪实版画的庄重凝练。右上角题诗纪事，图文呼应，以笔锋复刻平疆战事的宏大场面，兼具历史记录价值与古典军事画作的表现力，仿佛将那阵马蹄厮杀声复刻于眼前。",[24,7,164,304,28,132,59,29,96,101,97,34,131,690,33760,63532,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8738829ae125a47fc082bf03cb221222.jpg",[],{"id":111317,"slug":111318,"title":33757,"dynasty":54,"author":223,"museum":300,"description":111319,"tags":111320,"thumbUrl":111321,"material":84,"size":84,"collection":84,"collections":111322,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238653,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238653","这幅铜版画以全景式铺陈开山地平叛战况，嶙峋喀斯特峰峦间，山道上兵卒衔枚疾进，谷地硝烟翻涌，还原攻坚厮杀的肃杀氛围。右侧主将勒马整军，阵列严整尽显军纪森严。\n\n创作者以精细线条勾勒山石肌理，明暗晕染塑造出层叠山势的立体感，将战场的紧迫张力尽显纸面。右上角御题诗文呼应战事功过，使得作品兼具纪实征战场面的档案价值，又以中西融合的版画技法，描摹出山地征伐的壮阔图景，写实复刻出平苗一役的激烈瞬间，肃穆且极具纪功图的厚重质感。",[24,7,59,188,128,28,132,29,96,101,663,31,34,497,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F099552331f1937403457da9040e47880.jpg",[],{"id":111324,"slug":111325,"title":33757,"dynasty":54,"author":223,"museum":300,"description":111326,"tags":111327,"thumbUrl":111328,"material":84,"size":84,"collection":84,"collections":111329,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238647,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238647","以全景视角铺展苗疆崇山险壑，山道间清军策马挺进，远处营寨森然列阵，将平叛行军的肃杀氛围淋漓呈现。画面线条凌厉精细，山石皴刻尽显地势陡绝，既还原了山地平叛的艰险，也刻画出清军整肃军容。右上方题诗与图景呼应，笔墨载录克捷之功，将纪实叙事与军功宣扬融为一体，以画笔复刻王朝征伐史事，带着厚重的纪史质感。",[24,7,28,128,132,64,29,96,101,496,34,97,5626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff94fcd4e79e8f17638699ba5ca75a71b.jpg",[],{"id":111331,"slug":111332,"title":33757,"dynasty":54,"author":223,"museum":300,"description":111333,"tags":111334,"thumbUrl":111335,"material":692,"size":1293,"collection":84,"collections":111336,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238641,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238641","远景层叠峰峦铺展出辽远开阔的战地格局，近景聚焦激烈的攻城攻坚场面。清军或涉水架梯、或纵马弯弓仰攻，守军凭城据守反击，人马排布错落有致，将短兵相接的紧张凶险尽数铺陈。\n\n创作者以铜版蚀刻技法入画，线条锐利精细，山石林木的皴刻兼具写实质感与传统山水章法，光影明暗层次分明，既还原了战地细节的纪实性，又以细腻刻画渲染出冷兵器战场的肃杀之气，将战事的激烈瞬间定格于纸面，兼具历史记录价值与艺术表现力。",[304,24,7,59,28,95,132,188,128,208,96,101,29,5626,97,99,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246dbd65781bab34de8097fdbd0e8f22.jpg",[],{"id":111338,"slug":111339,"title":63529,"dynasty":54,"author":223,"museum":300,"description":111340,"tags":111341,"thumbUrl":111342,"material":84,"size":84,"collection":84,"collections":111343,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238634,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-238634","全景式铺展山地战事，层叠峰峦间，清军列阵攻坚，藤牌开路、水师呼应，番众凭隘顽抗，攻守之势跃然纸上。铜版画技法让山石林木写实逼真，军士厮杀的悍勇、阵前调度的严整皆被精细捕捉，每处细节都在还原战役的激烈壮烈。右上角题诗与画面呼应，以纪实笔触复刻平叛瞬间，将战事的紧张肃杀尽数定格，兼具纪实性与艺术性，是清代战史的鲜活注脚，尽显纪实版画的独特表现力。",[24,7,59,28,132,29,96,101,131,34,758,33760],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61b1b22678af262c9a68cf68eedb19ae.jpg",[],{"id":111345,"slug":111346,"title":63529,"dynasty":54,"author":223,"museum":300,"description":111347,"tags":111348,"thumbUrl":111349,"material":84,"size":84,"collection":84,"collections":111350,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238631,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-238631","全景式铺陈山野战事，层叠山峦勾勒出战地的险峻格局。右侧烟焰腾涌，是清军攻坚激战之处，火光翻卷渲染出破阵的焦灼；山道间兵卒次第推进，人马错落排布，行伍细节清晰详实，将奔袭驰援的紧迫节奏藏进山谷沟壑间。\n以白描版画技法绘就，兼具传统界画的工整细腻与纪实叙事的厚重感，山峦雄峙烘托出兵事的壮阔，人物排布疏密得当，把山地平叛的行军攻坚全貌复刻纸上，让观者仿若置身战地，窥见这场平乱战事的紧张瞬间，兼具历史存证价值与古典军事纪实画的审美意趣。",[24,7,59,28,132,29,96,101,34,131,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3564166c989985137854734dbad8f213.jpg",[],{"id":111352,"slug":111353,"title":81756,"dynasty":54,"author":223,"museum":300,"description":111354,"tags":111355,"thumbUrl":111360,"material":692,"size":1293,"collection":84,"collections":111361,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238614,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238614","这幅作品以全景式铺陈，将川地层叠山峦与河谷林海尽揽卷中。远景峰峦间隐见戍城，晕染出边地苍茫的战地氛围。近中景人马如潮，骑兵阵列齐整肃然，步卒、辎重依次排布，将士甲胄鲜明、战马昂然，把平叛大军的雄壮声势淋漓展现。\n\n画师以精细写实的线条，将将士的悍勇神态、战马的昂扬体态，还有山野林木的肌理逐一勾勒，纪实感浓厚，把这场平叛战事的雄浑瞬间凝于纸面，尽显军旅征伐的厚重威严。",[164,24,7,59,111356,28,96,101,29,34,497,31,496,33760,37376,38,68153,111357,111358,96248,111359,84327,37378,73927,93377,19708],"铜版画","人马队列","河流景观","岩石分布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96d911897dcf091a7b8a49017dd6bc12.jpg",[],{"id":111363,"slug":111364,"title":90599,"dynasty":54,"author":223,"museum":300,"description":111365,"tags":111366,"thumbUrl":111367,"material":692,"size":1293,"collection":84,"collections":111368,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},238589,"qing-ren-lie-quan-tu-ce-yi-ming-238589","此作设色雅致细腻，右幅绘郊荒野地，草叶萧疏远山浅淡，猛虎垂尾瑟缩，二犬气势凛然。黑犬腾身而上，张口作啮咬之势，白犬伏地蓄力，目光紧盯猛虎，将猎犬的机敏悍勇与山君的惊惶绘得淋漓尽致，动静之间尽显狩猎的紧张氛围。\n\n左侧行楷笔意潇洒流畅，题文呼应画意，诗画相映，尽显雅致意趣，工笔绘形、写意铺境，将畜兽画的精工与文人雅趣融为一体。",[24,7,59,27,28,5490,9119,949,1771,413,663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d252bffff349a9cca75be21b3c0d019.jpg",[],{"id":111370,"slug":111371,"title":90599,"dynasty":54,"author":223,"museum":300,"description":111372,"tags":111373,"thumbUrl":111374,"material":692,"size":1293,"collection":84,"collections":111375,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238588,"qing-ren-lie-quan-tu-ce-yi-ming-238588","此作工致写实，右幅绘柳下回廊之畔，细犬伏地休憩，棕白相间的毛色晕染细腻，身形舒展灵动，目光警觉有神，将猎犬温顺又不失机敏的神态勾勒得鲜活生动。垂柳依依拂动，苔草点缀阶侧，浅淡设色晕染出庭院的幽寂闲雅。左幅行书题字笔墨舒展雅致，文与图相映成趣。整作敷色柔和清雅，将灵犬神韵与庭院静景相融，既有写生的生动写实，又饱含文人雅逸意趣，尽显中式小品画作的闲静雅致之美。",[24,7,59,27,949,527,4363,171,666,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e32766fa086215c925a6a30aac8acda.jpg",[],{"id":111377,"slug":111378,"title":90599,"dynasty":54,"author":223,"museum":300,"description":111379,"tags":111380,"thumbUrl":111381,"material":692,"size":1293,"collection":84,"collections":111382,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238587,"qing-ren-lie-quan-tu-ce-yi-ming-238587","水面之上苇叶轻曳，游犬破水前行，翎鸟振翅相随。画师以细腻笔触写实景致，水波晕染清柔，将水色漾动的朦胧质感晕染得当。苍劲芦苇、矫捷猎犬与灵动水鸟皆鲜活传神，寥寥数笔便将郊野水岸的闲逸生机勾勒尽致。\n\n左侧题诗笔力隽秀舒展，诗画相映，把幽清淡雅的野趣融于尺幅之间，写实里裹挟着写意的悠然，尽显小品画的雅致意趣，将朴拙鲜活的国风美学静静铺陈，让闲淡的自然小景跃然绢上。",[24,7,59,128,28,949,1824,414,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58531c5908383d867b06b93de70bdf75.jpg",[],{"id":111384,"slug":111385,"title":90599,"dynasty":54,"author":223,"museum":300,"description":111386,"tags":111387,"thumbUrl":111388,"material":692,"size":1293,"collection":84,"collections":111389,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238586,"qing-ren-lie-quan-tu-ce-yi-ming-238586","此作以工笔绘就郊原逐猎之景，寒岸枯木虬曲苍劲，枯枝寥寥衬出旷野清寂氛围。猎犬身姿舒展矫健，肌肉线条紧绷，正疾奔扑向仓皇逃窜的野兔，将追逐瞬间的紧张张力尽数定格。画家用工细笔触刻画出猎犬的矫捷剽悍与野兔的惊惶失措，细节生动写实。左幅行书古朴苍劲，文字与画意呼应，诠释猎犬的机敏迅猛。书画合璧，将狩猎的刹那鲜活留存于绢素，尽显写生功力，把郊野逐猎的野性灵动描摹得淋漓尽致，意境悠长隽永。",[24,7,59,28,27,133,64,40960,949,1337,131,7446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82cce4918f57da0577c43a925853ae0a.jpg",[],{"id":111391,"slug":111392,"title":90599,"dynasty":54,"author":223,"museum":300,"description":111393,"tags":111394,"thumbUrl":111395,"material":692,"size":1293,"collection":84,"collections":111396,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238585,"qing-ren-lie-quan-tu-ce-yi-ming-238585","此作以工笔绘就郊野逐猎之景，寒枝衰草铺就荒疏底色，奔鹿惶急腾跃，四蹄舒展间尽显惊惧逃遁之态；猎犬弓身疾追，目光紧盯猎物，剽悍之势跃然绢上。\n\n设色清雅写实，兽毛纤毫毕现，将皮毛蓬松柔润的质感刻画入微，动感张力拉满。左侧题诗与画面呼应，文图相映，落笔既见精湛写生功底，又以狩猎野趣衬出雄健灵动之美，融工致写实与清雅文气于一体，尽显隽永意韵。",[24,7,59,27,28,64,133,208,949,2302,40960,1337,6640,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F870cdd7dcff2a1c197ab79f54aa003e1.jpg",[],{"id":111398,"slug":111399,"title":90599,"dynasty":54,"author":223,"museum":300,"description":111400,"tags":111401,"thumbUrl":111402,"material":692,"size":1293,"collection":84,"collections":111403,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238584,"qing-ren-lie-quan-tu-ce-yi-ming-238584","此作绘水岸郊野之景，两只猎犬身姿矫健灵动，一腾跃于坡岸，一疾奔前探，肌肉线条饱满流畅，将猎犬逐猎瞬间的迅猛机敏精准捕捉，尽显走兽蓬勃生姿。背景以淡赭晕染丘山，水色空濛清润，浅淡设色衬出猎犬劲捷身形，工笔写实精妙入微。\n\n左侧行书题字秀雅挺劲，笔致舒展，书画相映成趣。整体设色清隽柔和，于静谧山水间凸显出灵动张力，写实功力深厚又不失雅致意趣，在清润的山水底色中，将猎犬的矫健身姿衬托得鲜活生动，尽显传统走兽画写生传神的精妙造诣。",[24,7,59,27,28,29,949,40960,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a1529d312aae6edae22e3453fb959ea.jpg",[],{"id":111405,"slug":111406,"title":90599,"dynasty":54,"author":223,"museum":300,"description":111407,"tags":111408,"thumbUrl":111411,"material":692,"size":1293,"collection":84,"collections":111412,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238581,"qing-ren-lie-quan-tu-ce-yi-ming-238581","此作工写兼融，右侧设色绘坡岸松荫，灵缇身姿矫健，正疾奔追逐小兽，毛发晕染细腻鲜活，将猎犬的骁悍灵动尽皆展现。衬景浅草萋萋，陂陀层叠，远岫轻描淡写，晕染出清旷悠远的郊野氛围。左侧行书题笔挺秀疏朗，笔墨雅致，与画作呼应成趣，书画合璧尽显沉静雅意。整幅以写实工致的技法刻画灵缇，又佐以文人意趣的衬景与题字，将畜兽的生动神态和古典雅致的审美意韵相融，尽显清代小品画兼具写实功力与文人气韵的特色。",[164,24,7,59,304,27,28,133,949,40960,111409,34,131,6640,111410],"狐狸","水流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c15a6a20d931ae2ee6e7d685bb95f9.jpg",[],{"id":111414,"slug":111415,"title":90599,"dynasty":54,"author":223,"museum":300,"description":111416,"tags":111417,"thumbUrl":111419,"material":692,"size":1293,"collection":84,"collections":111420,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238580,"qing-ren-lie-quan-tu-ce-yi-ming-238580","此作定格郊野猎捕的一瞬：黑犬纵身腾跃，身姿矫健灵动，正疾扑奔逃的野猪，渡水追逐间张力拉满，将兽类的野性迸发尽显无遗。布景清雅写意，水岸枯木、浅滩遥山晕染出幽远空寂的郊野氛围，与动势十足的主体形成动静对比。左页小楷工整端秀，诗文咏赞猎犬英姿，诗画合璧，尽显雅致意趣。整幅工笔细腻写实，精准刻画出兽类的形态神情，以淡远布景烘托山野意韵，将狩猎的野趣与传统文人审美相融，尽显精妙笔力与审美意涵。",[24,7,59,27,28,949,40960,111418,131,34,304],"野猪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2e0775cf0585838fc8de1751b53a5bc.jpg",[],{"id":111422,"slug":111423,"title":45483,"dynasty":54,"author":13716,"museum":300,"description":13717,"tags":111424,"thumbUrl":111425,"material":692,"size":1293,"collection":84,"collections":111426,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238549,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238549",[24,7,59,28,27,95,96,97,208,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d638594cd38dd389d5bf1e7d6710680.jpg",[],{"id":111428,"slug":111429,"title":81813,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":111430,"thumbUrl":111431,"material":692,"size":1293,"collection":84,"collections":111432,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},238413,"dong-gao-hui-jing-han-hui-tu-xiao-ce-dong-gao-238413",[24,7,59,28,27,29,34,97,132,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5569b40aa374e35eed28199884f2a743.jpg",[],{"id":111434,"slug":111435,"title":81813,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":111436,"thumbUrl":111437,"material":692,"size":1293,"collection":84,"collections":111438,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},238411,"dong-gao-hui-jing-han-hui-tu-xiao-ce-dong-gao-238411",[24,7,59,27,132,29,171,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d7652f2a4ca3e69afb94d30c3cbaf0d.jpg",[],{"id":111440,"slug":111441,"title":81813,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":111442,"thumbUrl":111443,"material":692,"size":1293,"collection":84,"collections":111444,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},238410,"dong-gao-hui-jing-han-hui-tu-xiao-ce-dong-gao-238410",[24,7,59,29,129,131,27,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F761413d3fdb52bc6624c57f92130baaf.jpg",[],{"id":111446,"slug":111447,"title":81813,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":111448,"thumbUrl":111449,"material":692,"size":1293,"collection":84,"collections":111450,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},238409,"dong-gao-hui-jing-han-hui-tu-xiao-ce-dong-gao-238409",[24,7,59,128,27,29,34,496,130,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd176dc11dbfd4e54c2d9bcff942c5587.jpg",[],{"id":111452,"slug":111453,"title":81813,"dynasty":54,"author":646,"museum":300,"description":8422,"tags":111454,"thumbUrl":111455,"material":692,"size":1293,"collection":84,"collections":111456,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},238407,"dong-gao-hui-jing-han-hui-tu-xiao-ce-dong-gao-238407",[24,7,59,27,29,663,228,129,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85d5cf63d2c345c6cd6408086c8347d2.jpg",[],{"id":111458,"slug":111459,"title":409,"dynasty":54,"author":78254,"museum":300,"description":103195,"tags":111460,"thumbUrl":111461,"material":692,"size":1293,"collection":84,"collections":111462,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238180,"shan-shui-ce-song-jun-ye-238180",[164,24,7,59,128,132,29,331,131,35,31,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c985f6a7aeff76c15088f2b6724397d.jpg",[],{"id":111464,"slug":111465,"title":33018,"dynasty":54,"author":33019,"museum":300,"description":33020,"tags":111466,"thumbUrl":111467,"material":84,"size":84,"collection":84,"collections":111468,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238175,"hong-wu-yang-ju-tu-ce-hong-wu-238175",[24,7,59,28,27,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ac4632f56738082704f1a202315e495.jpg",[],{"id":111470,"slug":111471,"title":33018,"dynasty":54,"author":33019,"museum":300,"description":33020,"tags":111472,"thumbUrl":111473,"material":84,"size":84,"collection":84,"collections":111474,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238174,"hong-wu-yang-ju-tu-ce-hong-wu-238174",[24,7,59,28,27,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6096bfd551b8db62a8442089865002e.jpg",[],{"id":111476,"slug":111477,"title":33018,"dynasty":54,"author":33019,"museum":300,"description":33020,"tags":111478,"thumbUrl":111480,"material":84,"size":84,"collection":84,"collections":111481,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238173,"hong-wu-yang-ju-tu-ce-hong-wu-238173",[24,7,59,28,27,61,376,6193,304,4281,4280,111479,62],"洋菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffac69ace841a6d886296ada8bac31bdc.jpg",[],{"id":111483,"slug":111484,"title":33018,"dynasty":54,"author":33019,"museum":300,"description":33020,"tags":111485,"thumbUrl":111486,"material":84,"size":84,"collection":84,"collections":111487,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238172,"hong-wu-yang-ju-tu-ce-hong-wu-238172",[304,24,7,59,28,27,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7663462d8338773084204f07187a312.jpg",[],{"id":111489,"slug":111490,"title":33018,"dynasty":54,"author":33019,"museum":300,"description":33020,"tags":111491,"thumbUrl":111492,"material":84,"size":84,"collection":84,"collections":111493,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238171,"hong-wu-yang-ju-tu-ce-hong-wu-238171",[24,7,59,28,27,376,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c730bd120169a440c90760b47fe6ebf.jpg",[],{"id":111495,"slug":111496,"title":33018,"dynasty":54,"author":33019,"museum":300,"description":33020,"tags":111497,"thumbUrl":111498,"material":84,"size":84,"collection":84,"collections":111499,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238169,"hong-wu-yang-ju-tu-ce-hong-wu-238169",[24,7,59,28,27,61,376,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdeaf929cb333edfc3b63c6498fc24d44.jpg",[],{"id":111501,"slug":111502,"title":33018,"dynasty":54,"author":33019,"museum":300,"description":33020,"tags":111503,"thumbUrl":111504,"material":84,"size":84,"collection":84,"collections":111505,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238168,"hong-wu-yang-ju-tu-ce-hong-wu-238168",[24,7,59,28,27,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14de9559350534d936e9d01ceb2cd1a3.jpg",[],{"id":111507,"slug":111508,"title":33018,"dynasty":54,"author":33019,"museum":300,"description":33020,"tags":111509,"thumbUrl":111510,"material":84,"size":84,"collection":84,"collections":111511,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238166,"hong-wu-yang-ju-tu-ce-hong-wu-238166",[164,24,7,59,27,61,376,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b9301a848340d8b96b519ee22445eec.jpg",[],{"id":111513,"slug":111514,"title":33018,"dynasty":54,"author":33019,"museum":300,"description":33020,"tags":111515,"thumbUrl":111516,"material":84,"size":84,"collection":84,"collections":111517,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238165,"hong-wu-yang-ju-tu-ce-hong-wu-238165",[164,24,7,59,28,27,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd2377630b0104db74f1f6019cac727f.jpg",[],{"id":111519,"slug":111520,"title":33018,"dynasty":54,"author":33019,"museum":300,"description":33020,"tags":111521,"thumbUrl":111522,"material":84,"size":84,"collection":84,"collections":111523,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238164,"hong-wu-yang-ju-tu-ce-hong-wu-238164",[24,7,59,28,27,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2da44f3a1f32493f85ddd10b3b863801.jpg",[],{"id":111525,"slug":111526,"title":33018,"dynasty":54,"author":33019,"museum":300,"description":33020,"tags":111527,"thumbUrl":111528,"material":84,"size":84,"collection":84,"collections":111529,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238162,"hong-wu-yang-ju-tu-ce-hong-wu-238162",[24,7,59,28,27,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6202ff15b1178fa54e650bd6802b855.jpg",[],{"id":111531,"slug":111532,"title":33018,"dynasty":54,"author":33019,"museum":300,"description":33020,"tags":111533,"thumbUrl":111534,"material":84,"size":84,"collection":84,"collections":111535,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238161,"hong-wu-yang-ju-tu-ce-hong-wu-238161",[24,7,59,28,27,61,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8f47b24a75b59bf3f48765b99768498.jpg",[],{"id":111537,"slug":111538,"title":53908,"dynasty":54,"author":53909,"museum":300,"description":111539,"tags":111540,"thumbUrl":111541,"material":692,"size":1293,"collection":84,"collections":111542,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},238112,"yun-zi-hua-hui-ce-yun-zi-238112","此作诗画合璧，以岁寒三友入绘。虬曲梅枝缀花数朵，清竹依石而立，湖石朴拙苍润。墨色雅致秀润，梅之疏朗、竹之劲挺，与湖石的古拙相映成趣，尽显高洁之态。题诗笔意清逸，诗文与画意呼应，将文人崇尚的坚贞风骨寄寓草木之中。笔致简淡却意韵悠长，以寥寥笔墨勾勒出雅致脱俗的意境，尽显传统文人画以物言志的意趣，把清雅文思融于花木湖石之间，淡远脱俗的文人风骨扑面而来。",[24,7,59,27,167,171,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94e5d29434792d6fd7f51dd1a86786ad.jpg",[],{"id":111544,"slug":111545,"title":409,"dynasty":54,"author":55412,"museum":300,"description":55413,"tags":111546,"thumbUrl":111547,"material":692,"size":1293,"collection":84,"collections":111548,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238005,"shan-shui-ce-qin-zu-yong-238005",[24,7,59,128,29,133,663,228,130,18542,129,34,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa501a215f1a03109db62ef8cc17f7640.jpg",[],{"id":111550,"slug":111551,"title":409,"dynasty":54,"author":55412,"museum":300,"description":55413,"tags":111552,"thumbUrl":111553,"material":692,"size":1293,"collection":84,"collections":111554,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238004,"shan-shui-ce-qin-zu-yong-238004",[24,7,59,128,132,64,133,208,29,34,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf8b9d95f49c37bc8e4901d44ea2fcc5.jpg",[],{"id":111556,"slug":111557,"title":409,"dynasty":54,"author":55412,"museum":300,"description":55413,"tags":111558,"thumbUrl":111559,"material":692,"size":1293,"collection":84,"collections":111560,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238002,"shan-shui-ce-qin-zu-yong-238002",[24,7,59,128,27,29,97,98,99,34,131,130,64,133,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2bc8b0915da28b34be636867785c995.jpg",[],{"id":111562,"slug":111563,"title":409,"dynasty":54,"author":55412,"museum":300,"description":55413,"tags":111564,"thumbUrl":111565,"material":692,"size":1293,"collection":84,"collections":111566,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},238001,"shan-shui-ce-qin-zu-yong-238001",[24,7,59,128,27,29,413,130,133,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40a0791559c99178a5b28f028542553f.jpg",[],{"id":111568,"slug":111569,"title":409,"dynasty":54,"author":55412,"museum":300,"description":55413,"tags":111570,"thumbUrl":111571,"material":692,"size":1293,"collection":84,"collections":111572,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":4001},237998,"shan-shui-ce-qin-zu-yong-237998",[24,7,59,128,133,132,208,29,98,99,129,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21bff83aea346d5b127b7dcd5a909fad.jpg",[],{"id":111574,"slug":111575,"title":111576,"dynasty":54,"author":223,"museum":300,"description":111577,"tags":111578,"thumbUrl":111579,"material":692,"size":1293,"collection":84,"collections":111580,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},237963,"ke-wei-shang-shan-xia-yan-fang-ni-shan-shui-ye-yi-ming-237963","客囗（上“山”下“严”）仿倪山水页","此帧取法倪云林山水意趣，近岸枯木疏朗错落，枝桠萧索清瘦，茅庐隐于林后，远山淡晕无痕，留白铺陈出冷寂空阔的天地。\n\n以淡墨干笔勾勒皴擦，不施浓艳，尽显荒寒淡远的林下之风。左侧题诗与画境呼应，“石瘦山空树半枯”恰合画面清冷气质，将天地岑寂、幽人自适的隐逸心境融于尺幅之间，深得倪氏“逸笔草草，聊写胸中逸气”的精髓，是颇具逸致的仿古佳制。",[24,7,59,128,188,133,330,29,331,1337,3387,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe48185a14ebac8d510815a35c4b24a3b.jpg",[],{"id":111582,"slug":111583,"title":409,"dynasty":54,"author":90873,"museum":300,"description":111584,"tags":111585,"thumbUrl":111586,"material":84,"size":84,"collection":84,"collections":111587,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},237898,"shan-shui-ce-cheng-hui-hao-237898","此作用笔枯劲老辣，以焦墨勾勒山石轮廓，简括皴擦尽显嶙峋肌理。近崖怪石崚嶒，间杂虬木寒枝；中渚村居错落，隐于淡墨林峦间；远山逶迤简淡，留白作水，晕出空濛冷寂之境。\n\n笔墨弃绝繁复晕染，独取荒萧之致，画作左上题识欹宕错落，书意与画境相融相生。整幅淡去工巧雕琢，以极简意趣铺陈冬日山居幽绝，把林泉间冷清远逸的况味藏在枯笔淡墨中，直抒静穆淡远的襟怀，于简澹中见苍茫气象。",[24,7,59,128,132,133,29,131,34,1337,758,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F037b9f877b056cad51061cdf5ac74bd2.jpg",[],{"id":111589,"slug":111590,"title":86190,"dynasty":54,"author":45540,"museum":300,"description":111591,"tags":111592,"thumbUrl":111593,"material":84,"size":84,"collection":84,"collections":111594,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},237570,"wang-fu-hua-fen-yong-xiao-shi-shi-ce-wang-fu-237570","此作为行书诗册，笔墨清隽秀雅，行气疏朗自然。以小石为咏题，将拳石林泉逸致寄于笔端，诗文雅致写意，把寸石晕染出山海意趣。笔画舒展灵秀，结体错落有致，字字自带悠然意韵。文人闲逸襟怀藏于笔墨行间，诗与书相映成趣，将江南春韵的雅致融于方寸之内，尽显文人士大夫的林下风流，是文人书画合璧的雅致小品，尽显清雅不俗的文人意趣。",[59,133,64,7,208,171,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21c207d13a86e7f23c75977046f29faa.jpg",[],{"id":111596,"slug":111597,"title":86190,"dynasty":54,"author":45540,"museum":300,"description":111598,"tags":111599,"thumbUrl":111600,"material":84,"size":84,"collection":84,"collections":111601,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},237569,"wang-fu-hua-fen-yong-xiao-shi-shi-ce-wang-fu-237569","此作为诗册双页，右页行书笔致舒展俊朗，以诗文铺陈一拳小石的古拙意态，寄寓文人幽远襟怀。左页小楷端秀清劲，墨色匀净莹润，笔锋含敛雅致，暗藏藏石惜石的文人雅趣。\n\n书页装裱素洁清雅，诗书相融，将文人赏石的幽情逸致藏于点画之间。行书抒情写意，小楷端严静雅，两种书体相映成趣，尽显文人墨客的笔墨修养与寄情于物的雅致心境，尺幅之间满是文墨相融的古典意韵。",[24,7,59,133,208,171,128,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F842951d6d0788198c51dcc2b442889ff.jpg",[],{"id":111603,"slug":111604,"title":86190,"dynasty":54,"author":45540,"museum":300,"description":111605,"tags":111606,"thumbUrl":111607,"material":84,"size":84,"collection":84,"collections":111608,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},237568,"wang-fu-hua-fen-yong-xiao-shi-shi-ce-wang-fu-237568","此作为诗书合璧的小品佳作，以小楷书写纪游感怀之诗，笔致秀润温婉，结体端雅间带着灵动意趣，兼具小楷的端稳与行书的舒逸，尽显江南文人的隽秀气质。纸面带着岁月晕染的古旧质感，墨色沉凝雅致，诗中纪游抒怀的文思，与温润笔墨相融，将山河意绪与幽微情思藏入点画之间，晕开旧时文人的清雅风神，尽显清人尺牍小品的隽永意韵。",[24,7,59,133,208,128,27,171,29,413,18542,3649,1314,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09a044737524aa3e925932c871ee2ff.jpg",[],{"id":111610,"slug":111611,"title":60987,"dynasty":54,"author":223,"museum":300,"description":111612,"tags":111613,"thumbUrl":111614,"material":692,"size":1293,"collection":84,"collections":111615,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},237258,"ming-chen-gu-shi-deng-xu-ti-song-ce-yi-ming-237258","右侧设色人物刻画细腻传神，安坐长者神态端方，跪拜二人姿态恭谨，侍立者垂敛身形，人物情态各有不同。衣纹舒展圆劲，设色清雅柔和，将拜谒场景的肃穆恭敬尽显无遗。左侧行书笔力苍劲浑厚，墨色浓淡层次分明，题文与画作呼应，颂赞名臣高节。整作书画合璧，形制规整和谐，既有叙事绘形的生动鲜活，又兼具翰墨抒情的文人厚重意趣，尽显传统纪实类书画的雅致格调。",[24,7,59,133,27,28,96,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd771c893c5f3595e0a511f5ba14142b3.jpg",[],{"id":111617,"slug":111618,"title":60987,"dynasty":54,"author":223,"museum":300,"description":111619,"tags":111620,"thumbUrl":111621,"material":692,"size":1293,"collection":84,"collections":111622,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},237255,"ming-chen-gu-shi-deng-xu-ti-song-ce-yi-ming-237255","左侧行书题咏笔致舒展流丽，墨色匀净秀润，诗文咏赞名臣风骨。右侧以浅淡界画勾勒庭院一隅，工笔细绘二人场景：仆从躬身呈物，神态恭谨；官员身姿端凝肃穆，衣纹线条细劲工致，敷色清雅沉稳。\n\n整幅图文合璧，以极简的人物叙事呼应题诗意涵，将朝堂之间的持礼风貌尽藏尺幅，含蓄抒发出对贤良名臣品格的追慕，是工笔人物与书法题咏相融的雅致小品，清和古雅间尽显文人意趣。",[24,7,59,27,28,96,133,64,208,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4a0daa0e0725494076730e0833b12aa.jpg",[],{"id":111624,"slug":111625,"title":409,"dynasty":54,"author":64957,"museum":300,"description":97008,"tags":111626,"thumbUrl":111627,"material":611,"size":84,"collection":84,"collections":111628,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},236965,"shan-shui-ce-chen-jia-le-236965",[24,7,59,128,132,29,171,34,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2104caba48836b8a2cbef32986072d6.jpg",[],{"id":111630,"slug":111631,"title":409,"dynasty":54,"author":64957,"museum":300,"description":64958,"tags":111632,"thumbUrl":111633,"material":692,"size":1293,"collection":84,"collections":111634,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},236962,"shan-shui-ce-chen-jia-le-236962",[24,7,59,128,27,29,331,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bc8032235febd5780b52bc73563d89e.jpg",[],{"id":111636,"slug":111637,"title":65332,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":111638,"thumbUrl":111639,"material":692,"size":1293,"collection":84,"collections":111640,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},236665,"bie-you-feng-wei-ce-huang-shen-236665",[24,7,59,128,169,9604,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F195324fb7283915942a43eea1630c66e.jpg",[],{"id":111642,"slug":111643,"title":65332,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":111644,"thumbUrl":111645,"material":692,"size":1293,"collection":84,"collections":111646,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},236661,"bie-you-feng-wei-ce-huang-shen-236661",[24,7,59,188,128,2059,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25d948c63e9227ced00cee1f20975c73.jpg",[],{"id":111648,"slug":111649,"title":65332,"dynasty":54,"author":6357,"museum":300,"description":22265,"tags":111650,"thumbUrl":111651,"material":692,"size":1293,"collection":84,"collections":111652,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},236657,"bie-you-feng-wei-ce-huang-shen-236657",[24,7,59,128,188,15382,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde94c7757571bf383d34de4868e43505.jpg",[],{"id":111654,"slug":111655,"title":40723,"dynasty":124,"author":36548,"museum":20,"description":40724,"tags":111656,"thumbUrl":111657,"material":84,"size":84,"collection":84,"collections":111658,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},236568,"xiao-ke-guan-shan-shui-ce-shao-mi-236568",[164,24,7,59,128,27,29,171,133,208,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd4852be434f3a3766f017475219dc9a.jpg",[],{"id":111660,"slug":111661,"title":72416,"dynasty":54,"author":72417,"museum":300,"description":111662,"tags":111663,"thumbUrl":111664,"material":611,"size":84,"collection":84,"collections":111665,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},236465,"qian-shan-shui-hua-hui-ce-wang-wen-236465","此帧以大写意绘竹，运笔纵逸老辣。焦墨挥写竹叶，聚处沉郁苍劲，散处清灵疏淡，尽显错落生姿之态。竹枝挺劲爽利，带着挺拔向上的清刚风骨，虚实之间将竹的灵动生气尽藏笔底。\n\n题款书法与画风浑然相合，笔势洒脱率真，书画相映成趣。画者以意驭形，不拘泥于具象描摹，将君子寄寓于竹的清雅襟怀融于笔墨间，简淡之中自有风神，尽显文人画以形抒怀的雅致格调，寥寥数笔便勾勒出竹的清逸之态，藏着疏朗超脱的文人意趣。",[24,7,59,128,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c928867158ab148b92707d6a0f1a6b3.jpg",[],{"id":111667,"slug":111668,"title":72416,"dynasty":54,"author":72417,"museum":300,"description":111669,"tags":111670,"thumbUrl":111671,"material":84,"size":84,"collection":84,"collections":111672,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},236463,"qian-shan-shui-hua-hui-ce-wang-wen-236463","以淡墨晕染花头，虚实交融间，将牡丹含露初绽的朦胧娇柔尽显，不着艳色，却自存天香清韵。枝叶以浓淡枯湿的笔墨勾皴点染，俯仰生姿，笔意简逸洒脱，尽显灵动舒展之态。\n\n整幅画面留白疏朗，以少胜多，褪去牡丹世俗艳态，独取其清雅风骨，寥寥数笔便将花木盎然生机跃然纸上。朱红印信错落点缀，与水墨层次相映成趣，章法和谐自然，尽显文人写意画的空灵雅致，寄寓着超然脱俗的审美意趣。",[24,128,62,208,59,7,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ad74a4dc6d7c30f2fbf48095722bba0.jpg",[],{"id":111674,"slug":111675,"title":33103,"dynasty":54,"author":72468,"museum":300,"description":72469,"tags":111676,"thumbUrl":111677,"material":84,"size":84,"collection":84,"collections":111678,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},236361,"fang-gu-shan-shui-ce-hu-jie-236361",[24,7,59,128,132,330,29,1233,331,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad5e8d3d2598a51fd13954a2ba7cb132.jpg",[],{"id":111680,"slug":111681,"title":33103,"dynasty":54,"author":72468,"museum":300,"description":72469,"tags":111682,"thumbUrl":111683,"material":84,"size":84,"collection":84,"collections":111684,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},236360,"fang-gu-shan-shui-ce-hu-jie-236360",[24,7,59,128,330,132,29,131,34,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74571ce052080e0017297e7223b9659f.jpg",[],{"id":111686,"slug":111687,"title":33103,"dynasty":54,"author":72468,"museum":300,"description":72469,"tags":111688,"thumbUrl":111689,"material":84,"size":84,"collection":84,"collections":111690,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},236358,"fang-gu-shan-shui-ce-hu-jie-236358",[24,7,59,128,132,2271,330,29,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31bed5047bff8e3e780f3c558c33abe0.jpg",[],{"id":111692,"slug":111693,"title":91480,"dynasty":54,"author":223,"museum":300,"description":111694,"tags":111695,"thumbUrl":111696,"material":692,"size":1293,"collection":84,"collections":111697,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236265,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236265","此作为金笺设色山水，以赭石晕染山峦岩壑，墨点苔痕缀饰林麓，层叠丘壑间隐出宫苑屋宇，将北地山川的沉浑厚重与苑囿雅致融于咫尺扇面。草木以青绿淡施，清润鲜活，衬出殿台幽致，晕开夏日行宫的清寂消暑之景。搭配古雅棕竹扇骨，包浆温润匀和，另一面书诗作呼应，书画合璧，尽显清时精工雅致的扇制意趣，将皇家林苑的悠然景致凝于掌中，笔墨工丽温婉，尽显雅致格调。",[24,7,1131,27,29,133,496,34,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ccb34d1ce2deafb3fc51d1f66fdea55.jpg",[],{"id":111699,"slug":111700,"title":91480,"dynasty":54,"author":223,"museum":300,"description":111701,"tags":111702,"thumbUrl":111703,"material":692,"size":1293,"collection":84,"collections":111704,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236264,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236264","此扇以泥金笺为底，墨笔晕染山水。取平远之景铺陈，近岸浅渚细草点点，中麓林木蓊郁，茅庐藏于翠色间，远山淡描逶迤如黛，清寂淡远的山居意趣跃然笺上。\n书画合璧，另一面配书诗翰墨，柔润端秀的笔意与山水意境相映成趣。乌木扇骨搭配竹边，底端嵌饰绿石，工巧雅致。将林泉幽怀与文人情思敛于盈尺纨扇，尽显旧时文玩的隽雅格调。",[24,7,1131,29,27,663,413,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F968fc0145de31ffa79a746f309549a0c.jpg",[],{"id":111706,"slug":111707,"title":91480,"dynasty":54,"author":223,"museum":300,"description":111708,"tags":111709,"thumbUrl":111710,"material":692,"size":1293,"collection":84,"collections":111711,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236263,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236263","此作为金笺地山水成扇，金箔底衬得墨色愈发清润古雅，山峦层叠逶迤，以淡墨晕染出丘壑起伏，林木攒簇苍劲，点染间见山林幽寂之态，平远构图铺展出清旷辽远的景致，暗合避暑闲游的悠然意境。\n另一面诗文书笔端整秀雅，与山水意韵相得益彰。竹骨莹润匀净，形制精巧，整体融绘事与翰墨于一器，沉静中透着清隽逸趣，尽显清代小品书画的雅致格调。",[1131,24,7,29,27,132,64,133,97,34,131,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d1ba3f22a1c0e1b692652004843767b.jpg",[],{"id":111713,"slug":111714,"title":91480,"dynasty":54,"author":223,"museum":300,"description":111715,"tags":111716,"thumbUrl":111717,"material":692,"size":1293,"collection":84,"collections":111718,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236260,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236260","此扇以泥金为底，浅施色彩绘就山居幽境。屋舍错落隐于葱郁林木间，山石皴法秀雅，远山以淡墨晕染，铺展出清寂安闲的避夏佳处，笔墨温婉内敛，将林泉高致藏于盈尺扇面之中。泥金底色衬得画面更显古雅华贵，搭配匀净打磨的素竹扇骨，棕黑扇骨沉稳雅致，书画相映，尽显旧时文人幽居避暑的闲适意趣，是兼具赏玩与陈设价值的文房雅物。",[1131,24,7,29,97,27,132,95,34,131,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99d585ad04f1218e6a79592ffbbd5ad6.jpg",[],{"id":111720,"slug":111721,"title":91480,"dynasty":54,"author":223,"museum":300,"description":111722,"tags":111723,"thumbUrl":111724,"material":692,"size":1293,"collection":84,"collections":111725,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},236258,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236258","泥金笺本莹润华贵，青绿设色明雅妍丽，将林泉胜景收于纨扇之上。亭台环水错落，古塔峙于山巅，林木敷色层次丰盈，丹朱、石青、赭石交织晕染，既保有院体精工，又暗合文人山水的清逸韵致。\n\n咫尺扇面铺陈丘壑纵深，将皇家园林的雍容与江南山水的温婉相融，开合间尽览林泉清幽旷远。棕褐扇骨包浆温厚，与画面相得益彰，足见绘者深谙山水经营之妙，以小见大，尽显山水精致意趣。",[1131,24,7,27,29,97,130,211,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdbe98a2d63ad8f5c9e21d033cdca6ea.jpg",[],{"id":111727,"slug":111728,"title":91480,"dynasty":54,"author":223,"museum":300,"description":111729,"tags":111730,"thumbUrl":111731,"material":692,"size":1293,"collection":84,"collections":111732,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236257,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236257","此作为泥金扇面，自带华贵雅润底色，平畴铺展间远山衔翠，浅赭晕染山峦，墨笔点簇林木苍秀错落，将林泉夏景铺陈于方寸之间。笔触清润柔和，以写实之态描摹苑囿平林野趣，层次疏朗分明，无繁复皴法，却将避暑林泉的悠然凉意晕染开来。整体意境清和淡远，咫尺扇面尽揽山野闲趣，藏着消夏的恬然意趣，尽显传统文人寄情林泉的雅致情怀。",[24,7,1131,29,34,758,27,132,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6df8e9d7d12ef6b84177b24d50652aae.jpg",[],{"id":111734,"slug":111735,"title":91480,"dynasty":54,"author":223,"museum":300,"description":111736,"tags":111737,"thumbUrl":111738,"material":692,"size":1293,"collection":84,"collections":111739,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236255,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236255","此扇以泥金为底，墨笔绘就林泉幽居之景。近处苍松蟠曲，层林错落，山居屋舍隐现其间，似可暂避溽热，静享幽凉。中远景山峦层递，以淡墨晕染烟岚，留白虚实相生，晕出远山空濛悠远之意。水墨勾勒皴擦兼具工稳与写意，将山野清旷之境铺陈开来，一侧诗书相衬，书画合璧，尽显林下雅趣。泥金底色的华贵，中和了水墨的清雅，让画面既具富丽质感，又不失山水静穆澹远之致，轻摇间似可揽得林泉凉意，是兼具赏玩与收藏价值的雅致文玩。",[1131,24,7,29,27,132,34,131,97,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe732b75ad2a28669ee7bc0ed4c3a8102.jpg",[],{"id":111741,"slug":111742,"title":91480,"dynasty":54,"author":223,"museum":300,"description":111743,"tags":111744,"thumbUrl":111745,"material":692,"size":1293,"collection":84,"collections":111746,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236254,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236254","此作为泥金扇面，以青绿浅绛设色绘水畔名园。层叠楼阁依偎碧波，隐于繁花茂林之中，丹粉花树、靛青枝叶与赭石山石相映，色彩明丽和谐。远山以淡墨晕染，晕开空濛悠远之境，疏密布局得当，将幽居消暑的静雅意趣娓娓铺陈。\n\n书画合璧，一面绘景，一面题诗，尽显文人雅赏之韵。棕竹扇骨肌理细腻，包浆温润，古意盎然，是兼具审美与收藏价值的风雅旧物，尽显旧时清夏闲赏的悠然意致。",[24,7,1131,27,29,97,34,131,758,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F574532c10d36c9b98500beb5028c48e3.jpg",[],{"id":111748,"slug":111749,"title":91480,"dynasty":54,"author":223,"museum":300,"description":111750,"tags":111751,"thumbUrl":111752,"material":692,"size":1293,"collection":84,"collections":111753,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236253,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236253","此作为泥金扇面，浅设色绘山居胜景。暖调金底晕出雅致基调，远山层峦叠翠，林木蓊郁苍润，屋舍错落排布在林畔水滨，将山居夏凉的清旷意境收于盈尺之间，工细写实中透着文人山水的悠然意趣。诗画合璧，景致与诗书相映成趣，将园林胜景的静穆清和融于扇中，尽显清代扇画诗书画一体的雅致格调，笔墨工致细腻，晕染柔和自然，带着夏日山居的沁人凉意，是兼具观赏与收藏价值的扇画佳制。",[24,7,1131,27,29,132,133,78302,758,496,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F167b80713ade90382ad76f2bf6e6a4d3.jpg",[],{"id":111755,"slug":111756,"title":91480,"dynasty":54,"author":223,"museum":300,"description":111757,"tags":111758,"thumbUrl":111759,"material":692,"size":1293,"collection":84,"collections":111760,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236252,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236252","以泥金为底，墨色晕染出层叠山峦，苍松茂林错落掩映着屋舍板桥，将名园夏景凝缩于盈尺扇面。笔触清隽秀雅，既写实还原了林泉雅致的园居意趣，又以文人山水的笔墨意韵，勾勒出疏朗开阔的山居清凉，在金笺的华贵底色衬映下，咫尺丘壑里藏着林下幽居的澹然意趣，尽显精致工致的审美意趣。",[24,7,1131,27,29,132,64,496,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b916d94ef4389e164da30dced0ab5b3.jpg",[],{"id":111762,"slug":111763,"title":91480,"dynasty":54,"author":223,"museum":300,"description":111764,"tags":111765,"thumbUrl":111766,"material":692,"size":1293,"collection":84,"collections":111767,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236251,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236251","泥金笺底自带华贵沉稳，浅绛晕染出平林远岫之致。近岸林木苍郁，坡岸逶迤着衔起水泽幽光，远山以淡墨轻扫层叠铺展，将夏日林泉的清旷闲逸晕开。笔墨简淡秀雅，不刻意求工，却把幽寂安宁的林泉高致烘托尽致。黝黑莹润的扇骨与金底山水相映，雅致古朴，将避暑的悠然意态藏于开合之间，尽显文人清赏的雅韵风骨。",[1131,24,7,27,132,29,758,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d9ee76ef6b97b54ef2db5d64d8d8c8a.jpg",[],{"id":111769,"slug":111770,"title":91480,"dynasty":54,"author":223,"museum":300,"description":111771,"tags":111772,"thumbUrl":111773,"material":692,"size":1293,"collection":84,"collections":111774,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236248,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236248","此作为泥金扇面山水，浅绛设色晕染柔和雅致。远山层峦淡墨轻皴，将天际晕染朦胧悠远；近岸林木苍郁错落，屋舍隐于林麓间，红径蜿蜒接引通幽，水面孤舟泛波，衬出山居的清寂闲雅。笔墨简淡合宜，皴法勾勒山石肌理，既见工致又不失写意松弛，泥金底色托衬浅淡设色，更添沉静古雅氛围，将林泉避暑的悠然隐逸之趣，尽纳咫尺扇面之间，尽显文人心目中的栖居佳境。",[24,7,1131,27,29,97,34,132,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5388bb9940267fcf1eed940a56223cc.jpg",[],{"id":111776,"slug":111777,"title":91480,"dynasty":54,"author":223,"museum":300,"description":111778,"tags":111779,"thumbUrl":111780,"material":692,"size":1293,"collection":84,"collections":111781,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236247,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236247","金笺设色晕开湖山秋光，烟波漾开清寂水色，洲渚林木点染丹黄秋意，疏密交织间藏着幽居意趣。临水楼阁错落隐于林麓，石阶逶迤接岸，似能窥见山居闲凉。远山以淡墨轻笼，层峦含烟，与近景的明秀相映，虚实相生铺展出平远开阔的意境。笔墨秀润雅致，设色妍而不艳，将林泉高致藏于折幅咫尺之间，轻摇仿佛便揽得满扇山居清趣，恍若身临幽凉林泉，静享隐逸闲雅的诗意栖居之美。",[24,7,1131,27,29,97,34,28,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdef3f3dd5f2b47275a5f1b04ff58bc42.jpg",[],{"id":111783,"slug":111784,"title":91480,"dynasty":54,"author":223,"museum":300,"description":111785,"tags":111786,"thumbUrl":111787,"material":692,"size":1293,"collection":84,"collections":111788,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236246,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236246","以泥金笺为底，青绿晕染山峦叠翠，墨笔点簇林木苍茂，山居幽隐于林麓间，似可窥见山窗纳凉的清宁意趣。笔墨秀润温婉，将夏日山居的闲适静谧凝于盈尺扇面之上，青绿与泥金相映，更添雅致华贵。搭配包浆莹润的素骨，书画合璧，把消暑寄情的林下之思融于掌中清玩，尽显小品山水的温婉意韵，是案头清赏的佳妙之作。",[1131,24,7,26,27,29,4438,4605,12634,19567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e894079a0761742f2aaafae5773e9f7.jpg",[],{"id":111790,"slug":111791,"title":91480,"dynasty":54,"author":223,"museum":300,"description":111792,"tags":111793,"thumbUrl":111794,"material":692,"size":1293,"collection":84,"collections":111795,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236243,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236243","此扇以泥金为地，水墨晕染出山林幽居之境。淡墨轻扫远山，层叠轮廓似笼薄烟，漾出空濛悠远之态。近处长松郁茂，蓊然成林，掩映间茅舍静立，水泽清浅环伺，将山野间的凉寂闲适铺陈开来。\n笔墨枯湿浓淡相宜，以极简的皴染区分远近层次，将幽居避喧的隐逸意趣融于盈尺扇面。素净扇骨衬得水墨愈见清润雅致，观之如身临林泉，暑意尽散，尽显小品山水的隽永韵味。",[24,7,1131,29,97,34,27,132,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80c793f4441e4eaa665a86bcb4a8be2.jpg",[],{"id":111797,"slug":111798,"title":91480,"dynasty":54,"author":223,"museum":300,"description":111799,"tags":111800,"thumbUrl":111801,"material":692,"size":1293,"collection":84,"collections":111802,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},236242,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236242","此扇以泥金笺为底，墨笔绘就山居丘林景致。远山层叠晕染，草木华滋蓊郁，近舍错落隐于繁荫之间，笔墨苍秀清润，将山居避暑的幽旷闲静氛围尽数铺展。一侧配书诗文，书画合璧，尽显文人雅玩的审美意趣，朴雅古拙的扇骨衬得这帧小品愈显雅致。虽无名款，亦能窥见彼时山水小品的典型风貌，是兼具赏玩与收藏价值的文房清玩。",[1131,24,7,29,27,132,97,34,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e78faae2ebc8efa888f479aad353905.jpg",[],{"id":111804,"slug":111805,"title":91480,"dynasty":54,"author":223,"museum":300,"description":111806,"tags":111807,"thumbUrl":111808,"material":692,"size":1293,"collection":84,"collections":111809,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236239,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236239","此作用泥金扇面绘就，满幅晕着沉敛华贵的光泽。层林如盖，蓊郁苍润，山居屋舍错落排布于浓荫之间，隐现雅致格局。远处山峦平缓铺展，与平林烟霭相融，将山庄幽寂清宁的夏日常态铺陈眼前，笔墨工致细腻，晕染柔和清润，把山居避暑的闲雅意趣尽数藏入尺幅间。搭配古朴匀整的扇骨，与扇面书画呼应相成，整体意蕴悠然沉静，尽显传统山水小品的雅致情致，藏着旧时林下幽居的恬淡意涵。",[24,7,1131,27,29,97,34,35,64,28,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ad75937842031be1e76c63dfd0a475a.jpg",[],{"id":111811,"slug":111812,"title":91480,"dynasty":54,"author":223,"museum":300,"description":111813,"tags":111814,"thumbUrl":111815,"material":692,"size":1293,"collection":84,"collections":111816,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236236,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236236","金笺为底，以墨彩晕染出苑囿胜景。山峦逶迤叠嶂，林木苍郁错落，殿宇台榭隐现于林泉之间，平远构图铺展出开阔辽寂的林下气象。笔墨工稳秀润，设色浅淡清雅，既带着文人山水的萧散意趣，又暗合皇家园林的端严静穆，将林泉之胜与规制气度融为一体。配搭的扇骨雕琢暗纹，细腻雅致，与画面相得益彰，尽显清代造扇工艺与山水画小品的精妙融合，是一件兼具观赏与工艺价值的佳构。",[1131,24,7,27,132,29,97,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc244ed513cd4a2aa10f29b3ebe305571.jpg",[],{"id":111818,"slug":111819,"title":91480,"dynasty":54,"author":223,"museum":300,"description":111820,"tags":111821,"thumbUrl":111822,"material":692,"size":1293,"collection":84,"collections":111823,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236234,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236234","此作为泥金笺设色山水，以工细笔触绘就林泉行宫之景。楼阁排布错落雅致，界画严整工丽，屋舍隐于葱郁林木间，青绿淡染山峦，流云轻笼远岫，将林泉消暑的清幽闲雅晕染开来。泥金底色衬得设色愈发古雅华贵，笔墨温婉细腻，将园林的静谧雅致尽数铺陈。整幅扇面与配书诗章相映成趣，融山水之秀、匠艺之精于盈尺之间，尽显清隽沉静的雅致意趣，是兼具观赏与收藏价值的成扇佳制。",[24,7,1131,27,95,29,97,34,758,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb635dcf4eccd529ebb97bb063765782f.jpg",[],{"id":111825,"slug":111826,"title":91480,"dynasty":54,"author":223,"museum":300,"description":111827,"tags":111828,"thumbUrl":111829,"material":692,"size":1293,"collection":84,"collections":111830,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236233,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236233","此作为泥金笺成扇，以浅绛糅合青绿设色。远景山峦层叠，干笔皴擦勾勒岩体质感，赭石晕染出苍润秋意。近林木色鲜妍，青绿点染生机盎然，临水亭台回廊婉转，屋舍俨然排布，将林居雅意与山水野趣相融无间。\n\n线条秀雅精细，设色雅致沉稳，泥金底衬得画面愈显富丽隽秀，兼具院体工致与文人山水的清逸，尽显苑囿题材山水画的温婉意趣，将幽居避暑的闲适雅致晕染于金笺之上，藏着悠游林泉的澹澹诗意。",[24,7,1131,27,29,97,34,64,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41d19b3c62b6df4883609e067ab0a7f0.jpg",[],{"id":111832,"slug":111833,"title":91480,"dynasty":54,"author":223,"museum":300,"description":111834,"tags":111835,"thumbUrl":111836,"material":692,"size":1293,"collection":84,"collections":111837,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236232,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236232","此扇以泥金笺为底，设色绘就山居胜景，山峦层叠晕染细腻，墨色浓淡铺陈出远近层次，坡岸林木错落，点染秋红，为苍润山色添几分灵动意趣。溪上架木桥，屋舍隐于林麓间，笔墨工致又不失写意松弛，将幽居林泉的静谧雅致娓娓铺展。\n扇面书画相映成趣，整体透着温润雅致的古韵，扇骨包浆匀净，装裱完好，融汇诗书画扇工艺之美，是兼具赏玩与收藏价值的雅致佳品。",[24,7,1131,27,132,29,97,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa009aa3814c5612e1ad1e43d2cbc57d3.jpg",[],{"id":111839,"slug":111840,"title":91480,"dynasty":54,"author":223,"museum":300,"description":111841,"tags":111842,"thumbUrl":111843,"material":692,"size":1293,"collection":84,"collections":111844,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236231,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236231","泥金笺底晕开夏时湖山，淡墨轻勾远山轮廓，晕染出氤氲空蒙的暑日烟岚。近岸林木葱郁苍润，掩映着临水茅庐，静立湖滨，似藏着幽居纳凉的闲雅意趣。设色清柔雅致，浅赭铺陈山峦，翠色点染茂林，与泥金底色相衬，自带古雅华贵的质感。构图疏密有致，远近层次分明，将水岸消暑的静谧闲淡收于咫尺扇间，把文人寄情林泉的隐逸意趣融于笔墨，方寸之间尽显山水雅韵，自带沉静悠然的消暑氛围。",[1131,24,7,27,28,29,97,34,758,31,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc3c58cc2fcc4cd18228e0256819d91.jpg",[],{"id":111846,"slug":111847,"title":111848,"dynasty":54,"author":111849,"museum":300,"description":111850,"tags":111851,"thumbUrl":111852,"material":692,"size":1293,"collection":84,"collections":111853,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236230,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236230","避暑山庄三十六景图书诗成扇","王际华","王际华（1717—1776），字秋瑞，一字秋水，号白斋，浙江钱塘人，清朝官吏。\n字秋瑞，一字秋水，号白斋，浙江钱塘人，清朝官吏。乾隆十年一甲三名进士，授编修。十三年，大考翰詹，擢侍读学士、上书房行走。广东旧设两学政，十五年，以侍读程岩督广韶学政，际华督肇高学政，旋用岩议裁并，以忧归。服除，起原官。三迁至侍郎，历工、刑、兵、户、吏诸部。在兵部，疏言：“武乡会试旧例，外场挑双好、单好、合式三类入内场，双、单好列东号，合式列西号。不肖者见列西号，知不能幸中，纷纷求出。即有归号，终日喧哗。请嗣后武乡会试，但挑双、单好，毋更挑合式。”在吏部，疏请在京文武官吏议处，及各部会议外省文武官吏议处，当分别定限，皆如所议。三十四年，迁礼部尚书。三十八年，加太子少傅，调户部尚书。四十一年，卒，赠太子太保，谥文庄。赐其子朝梧内阁中书，官至山东兖沂曹道。",[1131,24,7,27,29,132,34,98,99,35,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7f6ee978b4c7e034c703942ef989c96.jpg",[],{"id":111855,"slug":111856,"title":111848,"dynasty":54,"author":111849,"museum":300,"description":111850,"tags":111857,"thumbUrl":111864,"material":692,"size":1293,"collection":84,"collections":111865,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236228,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236228",[24,7,1131,27,132,29,34,758,1515,131,4438,15552,6967,111858,2982,111859,38740,17547,111860,111861,111862,111863,25484],"风景名胜","人文建筑","扇面书画","诗画结合","写意山水","山水皴染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfbd7054811584b6ba19a28888a8ba4b.jpg",[],{"id":111867,"slug":111868,"title":111848,"dynasty":54,"author":111849,"museum":300,"description":111850,"tags":111869,"thumbUrl":111870,"material":692,"size":1293,"collection":84,"collections":111871,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236227,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236227",[24,7,1131,27,132,29,34,98,758,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25e9cad4df8ccd173640d6876a9bfd05.jpg",[],{"id":111873,"slug":111874,"title":111848,"dynasty":54,"author":111849,"museum":300,"description":111850,"tags":111875,"thumbUrl":111876,"material":692,"size":1293,"collection":84,"collections":111877,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},236224,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236224",[24,7,1131,27,132,29,34,758,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d427cc7bcec89ba38fd3ab0d9af990e.jpg",[],{"id":111879,"slug":111880,"title":111848,"dynasty":54,"author":111849,"museum":300,"description":111850,"tags":111881,"thumbUrl":111882,"material":692,"size":1293,"collection":84,"collections":111883,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},236223,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236223",[1131,24,7,27,29,34,149,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff259db676529d7e1687b6307c3b8bc2d.jpg",[],{"id":111885,"slug":111886,"title":111848,"dynasty":54,"author":111849,"museum":300,"description":111850,"tags":111887,"thumbUrl":111888,"material":692,"size":1293,"collection":84,"collections":111889,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236220,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236220",[24,7,1131,27,132,29,34,758,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b0de1425846ab8804c4dc78fb5058bf.jpg",[],{"id":111891,"slug":111892,"title":111848,"dynasty":54,"author":111849,"museum":300,"description":111850,"tags":111893,"thumbUrl":111894,"material":692,"size":1293,"collection":84,"collections":111895,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236218,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236218",[24,7,1131,27,29,34,496,758,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe024690987cc8a2cadefa3b328987373.jpg",[],{"id":111897,"slug":111898,"title":111848,"dynasty":54,"author":111849,"museum":300,"description":111850,"tags":111899,"thumbUrl":111900,"material":692,"size":1293,"collection":84,"collections":111901,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236217,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236217",[24,7,1131,27,29,97,34,415,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F499a92f1a1acb85a0d2553ce5cd44d29.jpg",[],{"id":111903,"slug":111904,"title":111848,"dynasty":54,"author":111849,"museum":300,"description":111850,"tags":111905,"thumbUrl":111906,"material":692,"size":1293,"collection":84,"collections":111907,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236216,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236216",[1131,24,7,27,132,29,131,34,97,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4883bce14a6e5154f233dc0d34281ad7.jpg",[],{"id":111909,"slug":111910,"title":111848,"dynasty":54,"author":111849,"museum":300,"description":111850,"tags":111911,"thumbUrl":111912,"material":692,"size":1293,"collection":84,"collections":111913,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236215,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236215",[1131,24,7,27,29,97,34,131,415,28,132,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4624404c63a4d696c7611db343f4e6b9.jpg",[],{"id":111915,"slug":111916,"title":111848,"dynasty":54,"author":111849,"museum":300,"description":111850,"tags":111917,"thumbUrl":111919,"material":692,"size":1293,"collection":84,"collections":111920,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},236212,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236212",[24,7,1131,128,132,29,34,35,496,31,130,27,111918],"传统山水技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57c33763959ac6a273468d7138dc0f70.jpg",[],{"id":111922,"slug":111923,"title":111848,"dynasty":54,"author":111849,"museum":300,"description":111850,"tags":111924,"thumbUrl":111925,"material":692,"size":1293,"collection":84,"collections":111926,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236211,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236211",[1131,24,7,29,128,132,27,34,35,663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6af29bb8d643489af82a711655eee27a.jpg",[],{"id":111928,"slug":111929,"title":111848,"dynasty":54,"author":111849,"museum":300,"description":111850,"tags":111930,"thumbUrl":111931,"material":692,"size":1293,"collection":84,"collections":111932,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236210,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236210",[1131,24,7,29,27,132,34,758,31,772,69386,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73c5023d403267286e948c63996b43b8.jpg",[],{"id":111934,"slug":111935,"title":111848,"dynasty":54,"author":111849,"museum":300,"description":111850,"tags":111936,"thumbUrl":111937,"material":692,"size":1293,"collection":84,"collections":111938,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236208,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236208",[24,7,1131,27,132,29,130,34,35,415,131,38,758,496,4438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe70dd77a9a5ef11c2c25960e9e480486.jpg",[],{"id":111940,"slug":111941,"title":111848,"dynasty":54,"author":111849,"museum":300,"description":111850,"tags":111942,"thumbUrl":111943,"material":692,"size":1293,"collection":84,"collections":111944,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236206,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236206",[24,7,1131,27,29,97,34,130,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdb6c6abf670e090c9e1f435acb93c0d.jpg",[],{"id":111946,"slug":111947,"title":111848,"dynasty":54,"author":111849,"museum":300,"description":111850,"tags":111948,"thumbUrl":111949,"material":692,"size":1293,"collection":84,"collections":111950,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236205,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236205",[24,7,1131,27,29,132,34,97,131,38,758,247,499,496,4438,1515,15551,28,369,15552],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4f10a8164c6e7dd20d82c0cfd297c12.jpg",[],{"id":111952,"slug":111953,"title":111954,"dynasty":54,"author":27610,"museum":300,"description":111955,"tags":111956,"thumbUrl":111957,"material":692,"size":1293,"collection":84,"collections":111958,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},236202,"hua-tian-zhu-bing-shu-hong-li-ti-tian-zhu-shi-cheng-shan-li-zong-wan-236202","画天竺并书弘历题天竺诗成扇","励宗万（1705年—1759年），字滋大，号衣园，又号竹溪，直隶静海（今天津市静海县）人，励廷仪子，清代藏书家、书画家。康熙六十年（1721年）进士，入翰林，年才十七。",[24,7,1131,133,27,12344,167,231,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86131245ea13a8290cb7aa6176f26eb0.jpg",[],{"id":111960,"slug":111961,"title":111962,"dynasty":54,"author":223,"museum":300,"description":111963,"tags":111964,"thumbUrl":111966,"material":84,"size":84,"collection":84,"collections":111967,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},235907,"yuan-ji-shan-shui-tu-ye-yi-ming-235907","原济山水图页","这幅山水以留白晕染出氤氲云气，将层叠山峦裁得分明远近。披麻皴勾勒山骨，墨色浓淡铺陈出植被苍润郁茂的质感，山峦层叠错落，兼具厚重与灵秀。\n\n两处山居隐于崖畔林间，幽僻出尘，山道上的独行旅人，为清寂山林添入灵动生息，动静相映成趣。淡设色晕染山石，浅淡清雅，将江南空山的湿润空濛尽数铺展，尽显文人山水的隐逸禅意，观之如临幽寂林泉，恍若可闻山风松涛，浸溺在物我两忘的悠然里。",[164,24,7,59,128,132,29,131,34,37,111965,23873],"山间屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e77401a54764a6509ab19cb6b7bc64a.jpg",[],{"id":111969,"slug":111970,"title":409,"dynasty":54,"author":223,"museum":300,"description":111971,"tags":111972,"thumbUrl":111973,"material":692,"size":1293,"collection":84,"collections":111974,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},235398,"shan-shui-ce-yi-ming-235398","此作取平远之景，近处坡岸怪石棱棱，苔点轻缀，暗生意趣。左侧三株寒木虬枝疏叶，孑然独立，衬出郊野空寂悠远。远景山峦以没骨淡扫，云气裹挟峰峦，虚实相生，将山野荒寒清逸缓缓铺陈。笔触松秀简淡，设色浅明净洁，以留白承接天地，把秋郊萧散淡远融于尺幅之间，尽显静穆冷逸的文人山水意趣，观之如临空寂荒寒之野，引人沉湎于这份疏淡幽远的林下诗意中。",[24,7,59,128,132,29,331,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0cfc237a7370b37bd77c37e26a6bc6.jpg",[],{"id":111976,"slug":111977,"title":409,"dynasty":54,"author":223,"museum":300,"description":111978,"tags":111979,"thumbUrl":111980,"material":692,"size":1293,"collection":84,"collections":111981,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},235397,"shan-shui-ce-yi-ming-235397","此作以淡墨晕染烟水空濛之境，近岸危石朴拙苍润，浅草缀于石畔暗生意趣。水洲之上新柳抽芽，嫩色轻敷，柔枝舒展，尽显早春萌动生机。一叶扁舟浮于烟波深处，渔人幽然泛游，似在春波里漫寻闲意。\n\n远景山峦隐没在霭霭云烟之中，虚实相生，将春日江天的空阔淡远铺陈开来。整幅笔致松秀淡雅，不施繁复皴染，以留白衬出烟水浩渺，把江南早春的柔润清和尽数写出，将文人寄情山水的幽逸心境融在淡墨轻色之中，清寂又带着融融春意，尽显平淡天真的画中逸趣。",[24,7,59,128,29,171,129,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19b419a22771b0dccddfb779b8300e5e.jpg",[],{"id":111983,"slug":111984,"title":409,"dynasty":54,"author":223,"museum":300,"description":111985,"tags":111986,"thumbUrl":111987,"material":692,"size":1293,"collection":84,"collections":111988,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},235396,"shan-shui-ce-yi-ming-235396","此作用淡墨晕染铺就沙碛荒漠，以虚渺留白勾勒出辽远空寂的天地格局。画面中顽石兀立，苍朴的石形与周遭晕染的虚柔沙地形成强烈虚实对比，沉凝的块面破开荒芜的单调。远景关隘隐现于淡墨烟霭，三两旅人驱策而行，渺小身影衬出塞外天地的阔大清冷。\n全幅设色浅淡素雅，以极简笔触勾勒行旅意象，无繁复皴擦，只以水墨晕染传递出塞下荒原的荒寒萧索，将塞外行旅的孤寂与天地浩渺的清寂融为一体，尽显悠远淡宕的山水意趣。",[24,7,59,128,27,29,171,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e4c187e3a92cc620c53b2211f654771.jpg",[],{"id":111990,"slug":111991,"title":409,"dynasty":54,"author":223,"museum":300,"description":111992,"tags":111993,"thumbUrl":111994,"material":692,"size":1293,"collection":84,"collections":111995,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},235394,"shan-shui-ce-yi-ming-235394","近景老树虬曲苍劲，枯桠疏朗舒展，经风霜的古意扑面而来，与浅皴淡染的坡石相融，自带萧疏沉静的质感。远景以淡墨晕染山峦林舍，烟岚氤氲间，林木错落隐现，村居藏于云霭之中，不见人声，却满溢山居幽寂的意趣。\n全作用笔松秀，水墨干湿互用，以浓淡层次铺展秋山空濛之境，无一笔艳色点缀，尽显简淡萧散的文人画意韵，将山野间清寂淡远的秋日山居图景缓缓铺陈，观之如临其境，仿佛能聆闻山中风声，浸染林间清润气息。",[24,7,59,128,29,1233,331,171,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e62411695dd3070f970b1b6130a6ccc.jpg",[],{"id":111997,"slug":111998,"title":409,"dynasty":54,"author":51000,"museum":300,"description":111999,"tags":112000,"thumbUrl":112001,"material":84,"size":84,"collection":84,"collections":112002,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},235380,"shan-shui-ce-mei-geng-235380","此作用枯淡之笔绘就江崖秋景，近处崖石以简练皴擦勾勒，嶙峋质感跃然纸上。留白铺展江面，淡墨晕染远山，汀渚村郭轻描淡写，寥寥数笔便将江天寥廓铺陈开来，尽显空寂淡远之致。题画行书与山水相映，诗画合璧，文气浸透纸面，尽显简淡空灵的特质。全幅以少胜多，于疏淡间写尽江崖闲寂，观之如临江风，似见落日沉江，文人山水的雅逸风神尽显无余。",[24,7,59,128,132,29,131,34,129,415,14906],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f554b7df14e4e61ee73771d006b6045.jpg",[],{"id":112004,"slug":112005,"title":409,"dynasty":54,"author":51000,"museum":300,"description":112006,"tags":112007,"thumbUrl":112008,"material":84,"size":84,"collection":84,"collections":112009,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},235379,"shan-shui-ce-mei-geng-235379","以淡墨晕染烟岚山峦，留白铺陈出空濛水气，山道林木攒簇苍郁朴拙。构图简淡清逸，以虚化实，将雨后初霁的山巅云气翻涌之态尽皆晕染。\n\n笔墨萧散松灵，尽显简淡高逸意趣，将仙山的空濛奇诡诉诸笔端。以极简勾勒渲染出山雨初歇后，流云出岫、峰峦隐现的幽寂空灵。文与画相映成趣，将游记中山川的灵秀与水墨意境相融，藏万千丘壑于尺幅间，淡而弥远，余韵悠长。",[24,7,59,128,132,64,29,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F670927c49a4a74ddb247613abdff8fbc.jpg",[],{"id":112011,"slug":112012,"title":409,"dynasty":54,"author":51000,"museum":300,"description":112013,"tags":112014,"thumbUrl":112015,"material":84,"size":84,"collection":84,"collections":112016,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},235378,"shan-shui-ce-mei-geng-235378","以淡墨轻绘寒崖，留白晕染晓雪初霁的空蒙。山石皴法松秀简淡，寥寥笔致勾勒出崖岸枯寂之态，枯草垂悬崖边，愈发衬出雪后山境的清冷淡雅。\n页间题诗与画境相融，以俊逸笔墨铺陈晓雪垂崖、云絮奔涌的奇趣，将静穆雪景晕染出奔逸动感。整体简淡疏朗，清冷萧疏的意趣漫溢纸面，淡而有味，简而意足，以诗画合璧传递出文人山水的幽绝雅兴。",[24,7,59,128,132,29,171,99,1337,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a0e93cacfc37d2010773b0746a58603.jpg",[],{"id":112018,"slug":112019,"title":409,"dynasty":54,"author":51000,"museum":300,"description":112020,"tags":112021,"thumbUrl":112022,"material":84,"size":84,"collection":84,"collections":112023,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},235377,"shan-shui-ce-mei-geng-235377","此作书画合璧，以淡墨晕染出云山空濛，留白藏云纳雾，崖间古木斜生，幽人踞坐石窍，尽显清寂萧散之致。行书题款俊逸舒展，笔致清灵，文辞与画意呼应，尽显林下风雅。整体尽显简淡意趣，以简净笔墨写尽林泉高致，将山水幽居的雅怀寄寓其中，以诗入画、以书佐画，笔墨简淡却意蕴悠长，把山居清赏的林下襟怀融在笔墨间，尽显文人画雅致格调。",[24,7,59,128,132,29,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa554c78c0b204009fe5fc75ea48ffd79.jpg",[],{"id":112025,"slug":112026,"title":59303,"dynasty":54,"author":223,"museum":300,"description":112027,"tags":112028,"thumbUrl":112029,"material":84,"size":84,"collection":84,"collections":112030,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},235048,"yuan-ji-za-hua-tu-ce-yi-ming-235048","此作用水墨写意绘就水仙与墨竹，水仙叶片修长舒展，笔意酣畅淋漓，花瓣晕染清润柔和，尽显冰姿玉骨之态。旁侧数枝墨竹劲挺清健，竹叶如刀裁般爽利，刚健之气与水仙秀雅柔婉相映，刚柔并济，意蕴悠长。\n\n画面右侧题字行笔苍劲跌宕，墨色浓淡错落，书画相映成趣，更添文雅逸气。全画不施丹青，以水墨氤氲生发意境，寥寥数笔便勾勒出幽淡出尘的氛围，将文人寄情花木、以物抒怀的意趣融于纸面，尽显清冷隽雅的审美风骨。",[24,7,59,128,374,167,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e43237e11e7c708369263e3187246c9.jpg",[],{"id":112032,"slug":112033,"title":59303,"dynasty":54,"author":223,"museum":300,"description":112034,"tags":112035,"thumbUrl":112036,"material":84,"size":84,"collection":84,"collections":112037,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},235044,"yuan-ji-za-hua-tu-ce-yi-ming-235044","此作用写意水墨绘就兰石，运笔纵逸老辣。怪石以阔笔泼墨晕染，留白勾勒纹理，浑朴厚重，苍莽质感尽显。幽兰以中锋写兰叶，笔势舒展虬曲，如锥画沙，尽显柔韧舒展之姿，淡墨点花，清雅空灵。左侧题款笔力雄健，与画面相映成趣。\n\n整体构图极简，以兰之清逸衬石之朴拙，借物抒怀尽显文人画以物明志的意趣。寥寥数笔间将君子风骨寄寓其中，简淡中见情致，尽显水墨写意的精妙韵味，古雅清幽的意境扑面而来。",[24,7,59,128,375,171,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fc2549e142b73e8a4a519e5c9296a25.jpg",[],{"id":112039,"slug":112040,"title":59303,"dynasty":54,"author":223,"museum":300,"description":112041,"tags":112042,"thumbUrl":112043,"material":84,"size":84,"collection":84,"collections":112044,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},235042,"yuan-ji-za-hua-tu-ce-yi-ming-235042","此作以水墨写意绘就蔬果雅景，淡墨轻勾圆柿，线条柔润婉转，将果实饱熟饱满之态尽显无遗，浓墨挥写枝叶，酣畅淋漓，干湿浓墨交织晕染，勃发出盎然生机。\n\n苍劲洒脱的行书题诗与画面相映成趣，诗书与绘事融为一体，借寻常果蔬寄寓文人情思。整幅画作简淡天真，寥寥数笔便捕捉到蔬果鲜活神韵，以形写神，尽显文人画雅致意趣，笔墨间浸透了闲适清逸的文人意致，虽取材日常，却自见脱俗格调。",[24,7,59,128,133,208,2037,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff52b33a1a26eec259ed14cde5951078a.jpg",[],{"id":112046,"slug":112047,"title":97822,"dynasty":124,"author":223,"museum":300,"description":112048,"tags":112049,"thumbUrl":112051,"material":692,"size":1293,"collection":84,"collections":112052,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},234573,"nv-xiang-zhou-yi-ming-234573","此作人物仪态端方沉静，眉目温婉柔和，妆容素雅得体。头顶翟冠累丝点翠，簪饰精巧华贵。一袭朱红常服沉稳明艳，胸前白鹇补子工整细腻，点明命妇品级。衣褶线条匀净流畅，晕染出织物的柔润质感，霞帔上缠枝花卉鲜活雅致，配色沉稳又不失灵动。\n\n画作写实技法精湛，既恪守明代官眷服饰仪制的规整肃穆，又将闺秀的柔润气韵藏于细节之间，把晚明仕女的仪容风骨刻画入微，尽显彼时肖像画的精妙笔力。",[164,24,7,165,27,28,96,805,3490,112050,35063,36766],"头饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b2ae7dd664d7cfb0fd9ba0eb4db0d54.jpg",[],{"id":112054,"slug":112055,"title":112056,"dynasty":54,"author":223,"museum":300,"description":112057,"tags":112058,"thumbUrl":112059,"material":692,"size":1293,"collection":84,"collections":112060,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},234452,"qing-ren-luo-han-xiang-zhou-yi-ming-234452","清人罗汉像轴","四方分置四位罗汉，上方云端趺坐佛陀。罗汉神态沉静安然，衣纹舒展雅致，朱褐配石青，设色明丽和谐。青绿山水间遍植芍药、杜鹃，灵禽瑞兽环伺左右，侍从随侍身侧。作品兼具雪域明丽色彩与汉地工笔重彩的细腻晕染，将清净禅意与盎然生机精妙融合。画面饱满富丽，尽显清代宗教绘画的华美工致，以尺幅铺陈佛门圣境的祥和宁谧，引观者体悟世外清净禅心。",[24,7,165,187,28,27,96,62,29,99,5472,169,263,3599],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F338ae108b975fbaa5b612078b2a3168a.jpg",[],{"id":112062,"slug":112063,"title":112064,"dynasty":54,"author":223,"museum":300,"description":112065,"tags":112066,"thumbUrl":112067,"material":692,"size":1293,"collection":84,"collections":112068,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},234448,"qing-ren-qing-ga-la-xiang-zhou-yi-ming-234448","清人庆嘠拉像轴","主尊白肤圆面，眉眼含威带笑，端坐神骏之上，周身珠宝璎珞环身，朱红鎏金衣纹华丽庄严。神骏鞍辔精美，四蹄腾空踏于翻涌云海之间，灵动有神。\n\n画面层次饱满，上部诸佛安坐莲台，法相慈悲静谧；下部兵将列阵呼喝，旌旗翻卷，动感迸发。背景晕染青白云霭，翠色林木点缀其间，藏地重彩技法尽显：红金配色华贵热烈，蓝绿铺陈柔润沉静，冷暖交织烘托出护法圣域的威严意境，将护法神祇的慑人气魄与极乐净土的祥和相融，尽显藏地宗教绘画的独特魅力。",[24,165,7,27,28,187,96,101,949,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e182892f155c9b869fb1bdadc239664.jpg",[],{"id":112070,"slug":112071,"title":112072,"dynasty":54,"author":223,"museum":300,"description":112073,"tags":112074,"thumbUrl":112076,"material":692,"size":1293,"collection":84,"collections":112077,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},234408,"zai-chun-seng-zhuang-xiang-zhou-yi-ming-234408","载淳僧装像轴","此作笔触细腻写实，描摹出清寂禅意的肖像场景。主人公跏趺安坐蒲团，素朴僧装以蓝白镶边勾勒雅致层次，手持缠饰如意，神态安恬沉静，温润平和的气度尽显纸面。衣纹褶皱婉转流畅，精准还原布料质感与人物松弛姿态。背景洞窟以水墨晕染皴擦，岩体质感层次分明，幽邃清冷的空间烘托出出尘意境，案头经书更添沉静肃穆的禅韵，工致写实中兼具静谧悠然的氛围感。",[24,7,165,28,27,96,187,497,3588,5459,112075,12564],"僧装","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51ec319b6641e789ca6c48cf822b14c2.jpg",[],{"id":112079,"slug":112080,"title":112081,"dynasty":54,"author":223,"museum":300,"description":112082,"tags":112083,"thumbUrl":112084,"material":692,"size":1293,"collection":84,"collections":112085,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},234401,"min-ning-yao-de-chong-wei-tu-zhou-yi-ming-234401","旻宁耀德崇威图轴","此作工致细腻，以沉厚绢底衬出主体。骑手明黄锁子棉甲纹饰规整，金饰玄甲错落排布，华贵威仪尽显，盔顶黑缨挺然，更添凛然气势。黑马神骏矫健，油亮鬃毛搭配朱红辔缨，明丽醒目，与整体色调相映。\n\n整作线条匀净精准，设色雍雅厚重。武将面容肃穆沉静，静中暗藏骑猎的飒爽张力，将骑者威严肃穆的气度与鞍马劲健姿态相融，尽显皇家仪卫的庄重堂皇，写实入微又不失庙堂礼制的规整庄重，是清代纪实鞍马肖像画中的精良之作。",[24,7,165,27,28,96,101,170,5626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3e81a4a9be8bc69abb9b0c1636169cd.jpg",[],{"id":112087,"slug":112088,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112089,"thumbUrl":112090,"material":84,"size":84,"collection":84,"collections":112091,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233672,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233672",[24,7,59,28209,27,171,168,4844],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3d2f5eebe069fd51c331cf53b85ab3c.jpg",[],{"id":112093,"slug":112094,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112095,"thumbUrl":112096,"material":84,"size":84,"collection":84,"collections":112097,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233671,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233671",[24,7,59,28209,27,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F740c8d859e1092d0de6e0a43936de530.jpg",[],{"id":112099,"slug":112100,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112101,"thumbUrl":112102,"material":84,"size":84,"collection":84,"collections":112103,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233670,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233670",[164,24,7,59,28209,128,27,171,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76d9552793abc776ef5899cceafadfa7.jpg",[],{"id":112105,"slug":112106,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112107,"thumbUrl":112108,"material":84,"size":84,"collection":84,"collections":112109,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233669,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233669",[24,7,59,28209,27,167,171,4278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03b9fc7fe501b116d5a06dbd9148616f.jpg",[],{"id":112111,"slug":112112,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112113,"thumbUrl":112114,"material":84,"size":84,"collection":84,"collections":112115,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233668,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233668",[24,7,59,28209,27,171,167,4278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fef40d58e42217723f7931aba83d47f.jpg",[],{"id":112117,"slug":112118,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112119,"thumbUrl":112120,"material":84,"size":84,"collection":84,"collections":112121,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233666,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233666",[24,7,59,28209,27,371,375,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff16f59fc9b62dc89a776e0248140e296.jpg",[],{"id":112123,"slug":112124,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112125,"thumbUrl":112126,"material":84,"size":84,"collection":84,"collections":112127,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233662,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233662",[24,7,59,28209,27,169,64,41904],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F239093cc26142dddf9ab3762bbd54a6b.jpg",[],{"id":112129,"slug":112130,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112131,"thumbUrl":112132,"material":84,"size":84,"collection":84,"collections":112133,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233661,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233661",[24,7,59,28209,27,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092ede70751e19df17627cfaf22d6695.jpg",[],{"id":112135,"slug":112136,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112137,"thumbUrl":112138,"material":84,"size":84,"collection":84,"collections":112139,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233655,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233655",[24,7,59,27,61,168,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eb6d15054c8c3a11f9e282e9517ebec.jpg",[],{"id":112141,"slug":112142,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112143,"thumbUrl":112144,"material":84,"size":84,"collection":84,"collections":112145,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233652,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233652",[164,24,7,59,28209,27,61,481,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23af65d98ca51a7836d2d9b6fccba557.jpg",[],{"id":112147,"slug":112148,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112149,"thumbUrl":112150,"material":84,"size":84,"collection":84,"collections":112151,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233650,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233650",[164,24,7,59,27,28209,481,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034f760b23b16ec51ea8ae8661681306.jpg",[],{"id":112153,"slug":112154,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112155,"thumbUrl":112156,"material":84,"size":84,"collection":84,"collections":112157,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233642,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233642",[24,7,59,28209,27,61,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa9b65b23dbd1e5a44ca0c02c0b2024a.jpg",[],{"id":112159,"slug":112160,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112161,"thumbUrl":112162,"material":84,"size":84,"collection":84,"collections":112163,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233641,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233641",[24,7,164,59,28209,27,61,371,547,2690,747],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8cab4b1543ed6a1d86bc8774e2ceaad.jpg",[],{"id":112165,"slug":112166,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112167,"thumbUrl":112168,"material":84,"size":84,"collection":84,"collections":112169,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233639,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233639",[24,7,59,27,28209,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fe0c98cf1d9f727b9fb71a431436635.jpg",[],{"id":112171,"slug":112172,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112173,"thumbUrl":112174,"material":84,"size":84,"collection":84,"collections":112175,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233638,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233638",[24,7,59,27,28209,61,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F079f8b475ed245e48a833dbafec30a24.jpg",[],{"id":112177,"slug":112178,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112179,"thumbUrl":112180,"material":84,"size":84,"collection":84,"collections":112181,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233635,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233635",[24,7,59,27,61,81,374,28209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff16d31443fd58149fcef8013e0afd2d2.jpg",[],{"id":112183,"slug":112184,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112185,"thumbUrl":112186,"material":84,"size":84,"collection":84,"collections":112187,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233633,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233633",[24,7,59,128,188,96,171,101,1350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3272e34b0a85814af532f1167443ca9.jpg",[],{"id":112189,"slug":112190,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112191,"thumbUrl":112192,"material":84,"size":84,"collection":84,"collections":112193,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":4001},233630,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233630",[24,7,59,188,27,171,772],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ed8c035c93ea71c1c6508f5b30304de.jpg",[],{"id":112195,"slug":112196,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112197,"thumbUrl":112198,"material":84,"size":84,"collection":84,"collections":112199,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233628,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233628",[24,7,59,28209,128,27,949,171,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc651fb84c4675225530d62e8461f4631.jpg",[],{"id":112201,"slug":112202,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112203,"thumbUrl":112204,"material":84,"size":84,"collection":84,"collections":112205,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":4001},233624,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233624",[24,7,59,28209,27,28,950,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6e3ed94ae151de2dd8c9f271d429040.jpg",[],{"id":112207,"slug":112208,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112209,"thumbUrl":112210,"material":84,"size":84,"collection":84,"collections":112211,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":4001},233618,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233618",[24,7,59,27,28209,61,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd137bcd9b0c00a248d7d6efe448bc5f5.jpg",[],{"id":112213,"slug":112214,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112215,"thumbUrl":112216,"material":84,"size":84,"collection":84,"collections":112217,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233615,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233615",[24,7,59,27,128,188,61,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F725ce62b0da5d99bd05ad2be0fd24fe9.jpg",[],{"id":112219,"slug":112220,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112221,"thumbUrl":112222,"material":84,"size":84,"collection":84,"collections":112223,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233614,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233614",[24,7,59,27,28209,169,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42dd429e08dc250aa5647bad6126ebcf.jpg",[],{"id":112225,"slug":112226,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112227,"thumbUrl":112228,"material":84,"size":84,"collection":84,"collections":112229,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233611,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233611",[24,7,59,188,27,28209,949,372,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09e0df70c1561629205b1b247fb39d2f.jpg",[],{"id":112231,"slug":112232,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112233,"thumbUrl":112234,"material":84,"size":84,"collection":84,"collections":112235,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233610,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233610",[24,7,124,59,28209,27,5626,9070,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50b9a6b13c6828c856882fccc854758e.jpg",[],{"id":112237,"slug":112238,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112239,"thumbUrl":112240,"material":84,"size":84,"collection":84,"collections":112241,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233606,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233606",[24,7,59,27,28209,61,481,806,950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F384bb4517f45e5900784e9ba9f750691.jpg",[],{"id":112243,"slug":112244,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112245,"thumbUrl":112246,"material":84,"size":84,"collection":84,"collections":112247,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233605,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233605",[24,7,59,27,188,413,950,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F939800c98be706b46812c70889335e7a.jpg",[],{"id":112249,"slug":112250,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112251,"thumbUrl":112252,"material":84,"size":84,"collection":84,"collections":112253,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233602,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233602",[24,7,59,28209,188,27,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F578ed6b5661afb05bd78dc6d1cf846e6.jpg",[],{"id":112255,"slug":112256,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112257,"thumbUrl":112258,"material":84,"size":84,"collection":84,"collections":112259,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233595,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233595",[24,7,59,28209,27,331,582,371,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3268f84ae0e74326c3a7ee88f3bb805d.jpg",[],{"id":112261,"slug":112262,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112263,"thumbUrl":112264,"material":84,"size":84,"collection":84,"collections":112265,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233594,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233594",[24,7,59,28209,27,413,1314,1975],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d2f8990d2c61183f3564225ac79e345.jpg",[],{"id":112267,"slug":112268,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112269,"thumbUrl":112270,"material":84,"size":84,"collection":84,"collections":112271,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233591,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233591",[24,7,59,128,29,129,211,34,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50f91ddc4cbea0f5d4f49589050d8f4e.jpg",[],{"id":112273,"slug":112274,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112275,"thumbUrl":112276,"material":84,"size":84,"collection":84,"collections":112277,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233590,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233590",[24,7,59,188,27,96,171,99,167,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53781c8caa6582ae24ef302042cc8876.jpg",[],{"id":112279,"slug":112280,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112281,"thumbUrl":112282,"material":84,"size":84,"collection":84,"collections":112283,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233589,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233589",[24,7,59,188,128,96,131,99,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e4f3f175b003e932132cd3bb5d30afd.jpg",[],{"id":112285,"slug":112286,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112287,"thumbUrl":112288,"material":84,"size":84,"collection":84,"collections":112289,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233587,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233587",[24,7,59,27,61,374,6193,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b7df8c002604ffa9fe9cb4e4720f4a0.jpg",[],{"id":112291,"slug":112292,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112293,"thumbUrl":112294,"material":84,"size":84,"collection":84,"collections":112295,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233586,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233586",[24,7,59,188,128,96,1144,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1311d0b14f60eacbae6257cd7fc1e762.jpg",[],{"id":112297,"slug":112298,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112299,"thumbUrl":112300,"material":84,"size":84,"collection":84,"collections":112301,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233585,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233585",[24,7,59,188,27,96,28209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88ee4bcb3b24152d552e475e831657b5.jpg",[],{"id":112303,"slug":112304,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112305,"thumbUrl":112306,"material":84,"size":84,"collection":84,"collections":112307,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233584,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233584",[24,7,59,188,27,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8b09288e7c038e3abc8a2e9899b0987.jpg",[],{"id":112309,"slug":112310,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112311,"thumbUrl":112312,"material":84,"size":84,"collection":84,"collections":112313,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233583,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233583",[24,7,59,27,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe46704cc0a3e3dfea6c5d1a0a3d2b4b1.jpg",[],{"id":112315,"slug":112316,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112317,"thumbUrl":112318,"material":84,"size":84,"collection":84,"collections":112319,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233582,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233582",[24,7,59,27,28209,96,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61f401fe57a540e8abd882bb4fc33ed4.jpg",[],{"id":112321,"slug":112322,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112323,"thumbUrl":112324,"material":84,"size":84,"collection":84,"collections":112325,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":4001},233581,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233581",[24,7,59,27,96,28209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86ab03dacf8016d5de5cb47da62365a6.jpg",[],{"id":112327,"slug":112328,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112329,"thumbUrl":112330,"material":84,"size":84,"collection":84,"collections":112331,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":4001},233580,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233580",[24,7,59,28209,27,96,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa26c76778ffb050da5f48b3a8e1bcf3f.jpg",[],{"id":112333,"slug":112334,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112335,"thumbUrl":112336,"material":84,"size":84,"collection":84,"collections":112337,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233579,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233579",[24,7,59,188,27,96,169,28209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa23246535f3a9e1282158da8554b6d82.jpg",[],{"id":112339,"slug":112340,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112341,"thumbUrl":112342,"material":84,"size":84,"collection":84,"collections":112343,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233578,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233578",[24,7,59,188,96,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dc8067d3eead21035afcb0d5e0269b1.jpg",[],{"id":112345,"slug":112346,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112347,"thumbUrl":112348,"material":84,"size":84,"collection":84,"collections":112349,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233577,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233577",[24,7,59,28209,27,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6aa86bb83ff20847a43d4df1e8686d.jpg",[],{"id":112351,"slug":112352,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112353,"thumbUrl":112354,"material":84,"size":84,"collection":84,"collections":112355,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233575,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233575",[24,7,59,27,28209,61,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f3c1346ef7b44dae6538fbe5ca7909e.jpg",[],{"id":112357,"slug":112358,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112359,"thumbUrl":112360,"material":84,"size":84,"collection":84,"collections":112361,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233573,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233573",[24,7,59,27,128,28209,171,1771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F486a3f5073392c8a8f8a6eda7e0ed1a6.jpg",[],{"id":112363,"slug":112364,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112365,"thumbUrl":112366,"material":84,"size":84,"collection":84,"collections":112367,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233572,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233572",[24,7,59,128,27,171,666,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F041b1fe96cb6ade8aaf99c1a0bfb024a.jpg",[],{"id":112369,"slug":112370,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112371,"thumbUrl":112372,"material":84,"size":84,"collection":84,"collections":112373,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233571,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233571",[24,7,59,188,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff664e785719f7e634d64e18cb9d2a29f.jpg",[],{"id":112375,"slug":112376,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112377,"thumbUrl":112378,"material":84,"size":84,"collection":84,"collections":112379,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233570,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233570",[24,7,59,28209,27,169,62,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3c1c322f6d7f326aa3548e2839ebc71.jpg",[],{"id":112381,"slug":112382,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112383,"thumbUrl":112384,"material":84,"size":84,"collection":84,"collections":112385,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233569,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233569",[24,7,59,27,28209,169,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e8c067c6cf59b23c107d55e9ea5a81.jpg",[],{"id":112387,"slug":112388,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112389,"thumbUrl":112390,"material":84,"size":84,"collection":84,"collections":112391,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233568,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233568",[24,7,59,28209,27,375,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69b6be4cbe14d67623d1a9957eba573e.jpg",[],{"id":112393,"slug":112394,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112395,"thumbUrl":112396,"material":84,"size":84,"collection":84,"collections":112397,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233567,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233567",[24,7,59,27,28209,375,9603,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F977f2854f668a07131f504a11d25b432.jpg",[],{"id":112399,"slug":112400,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112401,"thumbUrl":112402,"material":84,"size":84,"collection":84,"collections":112403,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233565,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233565",[24,7,59,28209,27,188,413,663,208,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2b6c68a1355ef796e63786ec27d60d.jpg",[],{"id":112405,"slug":112406,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112407,"thumbUrl":112408,"material":84,"size":84,"collection":84,"collections":112409,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233564,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233564",[24,7,59,28209,27,29,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F742d6065360853364f1ce2d1888ec9b1.jpg",[],{"id":112411,"slug":112412,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112413,"thumbUrl":112414,"material":84,"size":84,"collection":84,"collections":112415,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":4001},233562,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233562",[124,7,59,28209,27,169,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12f1969d44fca613a93afdfb2d2d460d.jpg",[],{"id":112417,"slug":112418,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112419,"thumbUrl":112420,"material":84,"size":84,"collection":84,"collections":112421,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233558,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233558",[24,7,59,28209,27,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb0ab499c68f95131406fbae6a3c0712.jpg",[],{"id":112423,"slug":112424,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112425,"thumbUrl":112426,"material":84,"size":84,"collection":84,"collections":112427,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233556,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233556",[24,7,59,28209,27,96,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feea53b6a1eb4545f67b78cec2260cf68.jpg",[],{"id":112429,"slug":112430,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112431,"thumbUrl":112432,"material":84,"size":84,"collection":84,"collections":112433,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233555,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233555",[24,7,59,188,29,171,331,208,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F548ba45a45574fa91801853f8f6a6cde.jpg",[],{"id":112435,"slug":112436,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112437,"thumbUrl":112438,"material":84,"size":84,"collection":84,"collections":112439,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233554,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233554",[124,24,7,59,28209,27,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae1693bc83743d82b8f6038b95855d62.jpg",[],{"id":112441,"slug":112442,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112443,"thumbUrl":112444,"material":84,"size":84,"collection":84,"collections":112445,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233553,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233553",[124,24,7,59,28209,27,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3d693f0dff5419fb11b340d793c7f9f.jpg",[],{"id":112447,"slug":112448,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112449,"thumbUrl":112450,"material":84,"size":84,"collection":84,"collections":112451,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":4001},233552,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233552",[124,24,7,59,28209,27,95,169,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff616476ce2359b7183d851f8a6a90af4.jpg",[],{"id":112453,"slug":112454,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112455,"thumbUrl":112456,"material":84,"size":84,"collection":84,"collections":112457,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":4001},233551,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233551",[24,7,59,28209,27,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f3499bd61df78bdef408ea98d15a20.jpg",[],{"id":112459,"slug":112460,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112461,"thumbUrl":112462,"material":84,"size":84,"collection":84,"collections":112463,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233550,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233550",[24,7,59,28209,27,772,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49086aea169dd079a1f434dd304f14db.jpg",[],{"id":112465,"slug":112466,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112467,"thumbUrl":112468,"material":84,"size":84,"collection":84,"collections":112469,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233547,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233547",[24,7,59,27,28209,2037,549,2059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd901f87f290e8a560315b036fef137ce.jpg",[],{"id":112471,"slug":112472,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112473,"thumbUrl":112474,"material":84,"size":84,"collection":84,"collections":112475,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233546,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233546",[24,7,59,28209,27,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcad6790a5bf0cd9790d912b51e6727f.jpg",[],{"id":112477,"slug":112478,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112479,"thumbUrl":112480,"material":84,"size":84,"collection":84,"collections":112481,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233545,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233545",[24,7,59,28209,27,188,169,19786],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4254a0a5aa5b608fbeea84ea63c675ca.jpg",[],{"id":112483,"slug":112484,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112485,"thumbUrl":112486,"material":84,"size":84,"collection":84,"collections":112487,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233544,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233544",[24,7,59,28209,29,129,131,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a190a8d35cbfaff43aa9cba4684b847.jpg",[],{"id":112489,"slug":112490,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112491,"thumbUrl":112492,"material":84,"size":84,"collection":84,"collections":112493,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233542,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233542",[24,7,59,28209,27,169,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83ef3e29f9d07e987a82560789077802.jpg",[],{"id":112495,"slug":112496,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112497,"thumbUrl":112498,"material":84,"size":84,"collection":84,"collections":112499,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233540,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233540",[24,7,59,28209,27,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F958ea2360210824d809bbf0a4dfd86c3.jpg",[],{"id":112501,"slug":112502,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112503,"thumbUrl":112504,"material":84,"size":84,"collection":84,"collections":112505,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233538,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233538",[24,7,59,28209,27,772,169,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37297c7013cf95810a61cea0a1d18499.jpg",[],{"id":112507,"slug":112508,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112509,"thumbUrl":112510,"material":84,"size":84,"collection":84,"collections":112511,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233537,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233537",[24,7,59,28209,27,772,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe73d07f8d8e8f0f1976c2f5ac723743.jpg",[],{"id":112513,"slug":112514,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112515,"thumbUrl":112516,"material":84,"size":84,"collection":84,"collections":112517,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233536,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233536",[24,7,59,28209,27,772,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F669ad330bbc39caf7a4536fe618478eb.jpg",[],{"id":112519,"slug":112520,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112521,"thumbUrl":112522,"material":84,"size":84,"collection":84,"collections":112523,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233535,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233535",[164,24,7,59,28209,27,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28e9b7c98711473f4ecb71e985b2a377.jpg",[],{"id":112525,"slug":112526,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112527,"thumbUrl":112528,"material":84,"size":84,"collection":84,"collections":112529,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233534,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233534",[24,7,59,28209,27,169,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa25580c0cfe5a2a967e4711bb91ec13e.jpg",[],{"id":112531,"slug":112532,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112533,"thumbUrl":112535,"material":84,"size":84,"collection":84,"collections":112536,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":4001},233532,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233532",[24,7,59,27,28209,2824,112534,169],"书册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fd57871211c0b90e621a42bf065c21f.jpg",[],{"id":112538,"slug":112539,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112540,"thumbUrl":112541,"material":84,"size":84,"collection":84,"collections":112542,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233530,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233530",[24,7,59,28209,27,9603,169,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65808cb0a74e4854d767f0d84fac975f.jpg",[],{"id":112544,"slug":112545,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112546,"thumbUrl":112547,"material":84,"size":84,"collection":84,"collections":112548,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233529,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233529",[24,7,59,28209,188,27,9603,169,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8e97266c3d0aaa5cbceae92900e878d.jpg",[],{"id":112550,"slug":112551,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112552,"thumbUrl":112553,"material":84,"size":84,"collection":84,"collections":112554,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233527,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233527",[24,7,59,27,28209,169,9602,103514],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d95502285618b7aae0ff30bf18c4350.jpg",[],{"id":112556,"slug":112557,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112558,"thumbUrl":112559,"material":84,"size":84,"collection":84,"collections":112560,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233526,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233526",[24,7,59,28209,27,169,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18a97bbd4c55505eb2046e7e2b12081e.jpg",[],{"id":112562,"slug":112563,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112564,"thumbUrl":112565,"material":84,"size":84,"collection":84,"collections":112566,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233524,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233524",[24,7,59,28209,27,169,772,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10ff5950a8017d4db4e355b55af0902f.jpg",[],{"id":112568,"slug":112569,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112570,"thumbUrl":112571,"material":84,"size":84,"collection":84,"collections":112572,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233523,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233523",[24,7,59,27,28209,169,772],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38cd946dd6a8c92b04a6f6fbeb404617.jpg",[],{"id":112574,"slug":112575,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112576,"thumbUrl":112577,"material":84,"size":84,"collection":84,"collections":112578,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233522,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233522",[24,7,59,188,28209,130,97,950,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07d08665c88adbc3734f390a86447896.jpg",[],{"id":112580,"slug":112581,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112582,"thumbUrl":112583,"material":84,"size":84,"collection":84,"collections":112584,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233521,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233521",[24,7,59,188,28209,169,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79c499fa6bcff2cf123b418ee1bf497e.jpg",[],{"id":112586,"slug":112587,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112588,"thumbUrl":112589,"material":84,"size":84,"collection":84,"collections":112590,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233520,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233520",[24,7,59,28209,27,169,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31fc9b44cbf79993cb847412c36a42ae.jpg",[],{"id":112592,"slug":112593,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112594,"thumbUrl":112595,"material":84,"size":84,"collection":84,"collections":112596,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233519,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233519",[24,7,59,28209,27,169,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01524a2ec23f51049bf6e28b03607365.jpg",[],{"id":112598,"slug":112599,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112600,"thumbUrl":112601,"material":84,"size":84,"collection":84,"collections":112602,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233518,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233518",[24,7,59,28209,188,27,169,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa4490b95c8e4c71a9646550e0edc03a.jpg",[],{"id":112604,"slug":112605,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112606,"thumbUrl":112607,"material":84,"size":84,"collection":84,"collections":112608,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233516,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233516",[24,7,59,28209,27,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec37f483b264f532a948f1357324d545.jpg",[],{"id":112610,"slug":112611,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112612,"thumbUrl":112613,"material":84,"size":84,"collection":84,"collections":112614,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233515,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233515",[24,7,59,28209,27,169,62,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe08435eeb3432595f063cb11f2c872ae.jpg",[],{"id":112616,"slug":112617,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112618,"thumbUrl":112619,"material":84,"size":84,"collection":84,"collections":112620,"showCount":48,"zanCount":1998,"manualWeight":48,"mainColor":72},233513,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233513",[24,7,59,28209,27,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e73047ef02b40e921065710a158fea2.jpg",[],{"id":112622,"slug":112623,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112624,"thumbUrl":112625,"material":84,"size":84,"collection":84,"collections":112626,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233512,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233512",[24,7,59,27,28209,169,9603,8162,547,8629,48326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd591abf0dbf74575d04a5f17545fce0a.jpg",[],{"id":112628,"slug":112629,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112630,"thumbUrl":112631,"material":84,"size":84,"collection":84,"collections":112632,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233511,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233511",[24,7,59,188,95,97,130,98,34,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd685d0d44d5d56cee9333a6609919cd1.jpg",[],{"id":112634,"slug":112635,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112636,"thumbUrl":112637,"material":84,"size":84,"collection":84,"collections":112638,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233510,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233510",[24,7,59,27,28209,169,16612,66878,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2d325622acc47b6ddce3a7c202cc65c.jpg",[],{"id":112640,"slug":112641,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112642,"thumbUrl":112643,"material":84,"size":84,"collection":84,"collections":112644,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233507,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233507",[24,7,59,27,28209,169,16612,66878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6863ee3b30f17a37c0ed0ae610a26ea.jpg",[],{"id":112646,"slug":112647,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112648,"thumbUrl":112649,"material":84,"size":84,"collection":84,"collections":112650,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233505,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233505",[24,7,59,27,28209,169,16612,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce82320c5497515554225af4660df9c3.jpg",[],{"id":112652,"slug":112653,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112654,"thumbUrl":112655,"material":84,"size":84,"collection":84,"collections":112656,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233503,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233503",[24,7,59,188,27,28209,169,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517fac65fa0dec37e820e65e7b3a0941.jpg",[],{"id":112658,"slug":112659,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112660,"thumbUrl":112661,"material":84,"size":84,"collection":84,"collections":112662,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233502,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233502",[164,24,7,59,28209,27,772,24171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6c6bbc224f11b3d95e9f63bb998902e.jpg",[],{"id":112664,"slug":112665,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112666,"thumbUrl":112667,"material":84,"size":84,"collection":84,"collections":112668,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233501,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233501",[24,7,59,28209,27,772,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc346444f3caa4f9650e43ef5da5b70e5.jpg",[],{"id":112670,"slug":112671,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112672,"thumbUrl":112673,"material":84,"size":84,"collection":84,"collections":112674,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233500,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233500",[24,7,59,188,95,97,950,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bc608c27e1ed1564c1efdaf681dd770.jpg",[],{"id":112676,"slug":112677,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112678,"thumbUrl":112679,"material":84,"size":84,"collection":84,"collections":112680,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233498,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233498",[24,7,59,28209,27,96,950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe4f8ee2a9d6f4b0acc9a36e9b4492dc.jpg",[],{"id":112682,"slug":112683,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112684,"thumbUrl":112685,"material":84,"size":84,"collection":84,"collections":112686,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233497,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233497",[24,7,59,28209,27,29,231,99,413,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25c244b76f36e2c7968d60c75f3fe605.jpg",[],{"id":112688,"slug":112689,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112690,"thumbUrl":112691,"material":84,"size":84,"collection":84,"collections":112692,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233496,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233496",[24,7,59,28209,27,29,231,99,331,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cd938d844801a9a6a736252b9bd623a.jpg",[],{"id":112694,"slug":112695,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112696,"thumbUrl":112697,"material":84,"size":84,"collection":84,"collections":112698,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233494,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233494",[24,7,59,28209,27,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd03d54a697353604723f1d6e59b195e.jpg",[],{"id":112700,"slug":112701,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112702,"thumbUrl":112703,"material":84,"size":84,"collection":84,"collections":112704,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233493,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233493",[24,7,59,28209,27,169,211,4278,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F566559e732a86e521db1175c0990d068.jpg",[],{"id":112706,"slug":112707,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112708,"thumbUrl":112709,"material":84,"size":84,"collection":84,"collections":112710,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233492,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233492",[124,24,7,59,28209,27,169,230,211,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca28fae73d5c24d6c17f49bf162aa220.jpg",[],{"id":112712,"slug":112713,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112714,"thumbUrl":112715,"material":84,"size":84,"collection":84,"collections":112716,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233491,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233491",[24,7,59,28209,27,102,169,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccbd6471a52266e3239023ced9512852.jpg",[],{"id":112718,"slug":112719,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112720,"thumbUrl":112721,"material":84,"size":84,"collection":84,"collections":112722,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233490,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233490",[24,7,59,188,27,102,169,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F371ccd7595532ed19d0b8987d370292b.jpg",[],{"id":112724,"slug":112725,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112726,"thumbUrl":112727,"material":84,"size":84,"collection":84,"collections":112728,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233489,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233489",[24,7,59,188,95,27,97,950,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bf8ed33aa837ad62a6a426fc0c39662.jpg",[],{"id":112730,"slug":112731,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112732,"thumbUrl":112733,"material":84,"size":84,"collection":84,"collections":112734,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233488,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233488",[24,7,59,188,128,61,371,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd65ca4d001da321d06cd99d65f8a832f.jpg",[],{"id":112736,"slug":112737,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112738,"thumbUrl":112739,"material":84,"size":84,"collection":84,"collections":112740,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233487,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233487",[24,7,59,188,28209,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c2aa63c366cd85a0349189dff39063c.jpg",[],{"id":112742,"slug":112743,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112744,"thumbUrl":112745,"material":84,"size":84,"collection":84,"collections":112746,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233486,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233486",[24,7,59,27,28209,61,547,747],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbce72d61cf45b06697609a74c4776405.jpg",[],{"id":112748,"slug":112749,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112750,"thumbUrl":112751,"material":84,"size":84,"collection":84,"collections":112752,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233485,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233485",[24,7,59,27,28209,61,376,62,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0504a8eaa1802e6eef069df469ea915.jpg",[],{"id":112754,"slug":112755,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112756,"thumbUrl":112757,"material":84,"size":84,"collection":84,"collections":112758,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233484,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233484",[24,7,59,188,128,29,129,34,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c5bbb070f35fd19deb7f0adcedc87f1.jpg",[],{"id":112760,"slug":112761,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112762,"thumbUrl":112763,"material":84,"size":84,"collection":84,"collections":112764,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233482,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233482",[24,7,59,128,29,413,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef79238baabeabef0df1cb77fdc3f2b.jpg",[],{"id":112766,"slug":112767,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112768,"thumbUrl":112769,"material":84,"size":84,"collection":84,"collections":112770,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233481,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233481",[24,7,59,128,188,28209,29,331,211,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F971a74b3e6a72c6c591b3e5e836abcd5.jpg",[],{"id":112772,"slug":112773,"title":63493,"dynasty":124,"author":54370,"museum":300,"description":54371,"tags":112774,"thumbUrl":112775,"material":84,"size":84,"collection":84,"collections":112776,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233480,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233480",[24,7,59,188,128,29,413,1314,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5215a9f66afc6ffcca5db152a27534eb.jpg",[],{"id":112778,"slug":112779,"title":112780,"dynasty":54,"author":223,"museum":300,"description":112781,"tags":112782,"thumbUrl":112783,"material":84,"size":112784,"collection":84,"collections":112785,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233100,"ping-ding-xi-yu-zhan-tu-ye-yi-ming-233100","平定西域战图页","《平定西域战图》又称《平定准噶尔回部得胜图》、《平定伊犁回部战图》等。册页装，一函。图版十六幅，法国铜板制印，图版下署画家、刻工姓名。本馆藏有两部，一部首为乾隆御制序，乾隆诗文墨题画上，末有大学士傅恒、尚书舒赫德、于敏中等跋；另一部前为御制序，每图后附御题诗文，后为傅恒等跋，清内府造办处木版刷印。\n清廷在入主中原后，康、雍、乾三朝屡屡用兵西北，以肃清厄鲁特蒙古噶尔部割据势力。乾隆二十年至二十六年间（公元1755-1761年），两次平定准噶尔部叛乱的战役，对于维护国家稳定起到重要作用。 为了纪念平叛的胜利，乾隆让宫廷中的西洋画家郎世宁创作了大型历史纪实组画《平定西域战图册》。并决定将它送往欧洲制作成铜版画。",[24,7,59,28,132,96,101,8771,29,131,34,48476,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb723da2ed3b51eab521b889c03dfeb98.jpg","87.3×50cm",[],{"id":112787,"slug":112788,"title":48473,"dynasty":54,"author":223,"museum":20,"description":48474,"tags":112789,"thumbUrl":112790,"material":611,"size":33763,"collection":84,"collections":112791,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233078,"ping-ding-yi-li-hui-bu-zhan-tu-ce-yi-ming-233078",[24,7,59,28,27,132,96,101,29,34,131,81750],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69be274f96d2cd8c48fa0e2ecc921bd8.jpg",[],{"id":112793,"slug":112794,"title":48473,"dynasty":54,"author":223,"museum":20,"description":48474,"tags":112795,"thumbUrl":112796,"material":611,"size":33763,"collection":84,"collections":112797,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},233076,"ping-ding-yi-li-hui-bu-zhan-tu-ce-yi-ming-233076",[164,24,7,27,28,96,101,29,34,12314,11074,496,758,81750],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc242bcbeabe68142c71f02e235c2a13.jpg",[],{"id":112799,"slug":112800,"title":112801,"dynasty":222,"author":223,"museum":300,"description":27674,"tags":112802,"thumbUrl":112803,"material":692,"size":1293,"collection":84,"collections":112804,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},232865,"dun-huang-yi-shu-91-yi-ming-232865","敦煌遗书91",[1692,7322,64,572,5459,187,25,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Face95514f1a21fad229d461f21020611.jpg",[],{"id":112806,"slug":112807,"title":112808,"dynasty":54,"author":223,"museum":244,"description":112809,"tags":112810,"thumbUrl":112811,"material":514,"size":112812,"collection":84,"collections":112813,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},232673,"xiang-yu-cong-tu-yi-ming-232673","翔玉骢图","玉骢是一个汉语词语，读音yù cōng，即玉花骢。泛指骏马。\n唐 韩翃 《少年行》：“千里斑斓喷玉骢，青丝结尾绣缠鬃。” 元 王实甫 《西厢记》第四本第三折：“柳丝长玉骢难系，恨不倩疏林挂住斜晖。” 清 赵翼 《香山夜归即事》诗：“玉骢亦解人良会，故踏花阴缓缓归。” 郑泽 《杏花》诗：“闲策玉骢游暖昼，春风红到 宋 家东。”",[164,24,7,28,27,101,949,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e3c8b4c721bc0388f04c2e9130ae1f5.jpg","292.6x257.3厘米",[],{"id":112815,"slug":112816,"title":112817,"dynasty":144,"author":8127,"museum":300,"description":112818,"tags":112819,"thumbUrl":112820,"material":692,"size":1293,"collection":84,"collections":112821,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},230963,"xie-sheng-hua-hui-ce-wang-yuan-230963","写生花卉册","王渊（公元13世纪-14世纪中叶），元代画家。字若水，号澹轩，一号虎林逸士，钱塘（今浙江杭州）人。工于花鸟、人物、山水。天历年间曾与唐棣在南京龙翔寺画过壁画，尤精于花鸟，堪称元代花鸟画巨擘。\n王渊水笔下的花鸟画，先是工笔重彩，专求黄荃风格画法，中年多是精工艳丽笔触，但流传作品极为少见。题材多以水墨花鸟竹石为多，墨色渲染，浓淡有致，以无彩胜于有彩，并于秀丽之中见得浑朴，勾勒与渲染这二种画法，各尽其妙，写实与写意都有天机溢发之感。他被誉为“元代的黄荃”，是“元代绝艺花鸟画家”。\n王渊的传世作品主要是立轴，画于至正三年（1343）的《花竹禽鸟图轴》（现藏在山西省博物馆）、至正四年的《竹石集禽图轴》（现藏上海博物馆）、《桃竹锦鸡图轴》（现藏北京故宫博物院）、以及《秋山行旅图轴》等四轴现藏在台北故宫博物院，手卷以《牡丹图卷》为佳，现藏北京故宫博物院。",[24,7,59,27,28,61,374,481,171,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5716efe6384104a79a3d1722cdf621ef.jpg",[],{"id":112823,"slug":112824,"title":112825,"dynasty":222,"author":223,"museum":300,"description":112826,"tags":112827,"thumbUrl":112828,"material":692,"size":1293,"collection":84,"collections":112829,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},230813,"da-ban-nie-pan-jing-juan-yi-ming-230813","大般涅槃経巻","通篇小楷精整端雅，笔锋劲挺匀净，字字排布齐整，墨色沉凝古朴，尽显写经者抄录时的恭谨，尽显唐人写经的典型风貌。\n\n右侧护法神祇衣袂层叠晕染，宝冠璎珞精细富丽，手持法器庄重端严，设色古雅厚重，线条勾勒凝练有神，兼具宗教的肃穆与唐人绘画的丰润气度。\n\n整卷经文与造像合一，既有释典的庄严性，又带着中古宗教艺术的沉静美感，是宗教典籍与传统书画技艺结合的佳例，承载着悠远的宗教文化意涵。",[25,7,187,96,27,28,572,7322,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd1bc5fefdc466f2a79b176a6aa8c7b5.jpg",[],{"id":112831,"slug":112832,"title":112833,"dynasty":54,"author":223,"museum":300,"description":112834,"tags":112835,"thumbUrl":112836,"material":692,"size":1293,"collection":84,"collections":112837,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},230350,"jing-guan-wan-wu-ce-yi-ming-230350","静观万物册","这幅行书大字落笔雄健浑厚，中锋行笔尽显筋骨力道。“萬”字结构紧凑，上部开张、下部敛气，稳整中见开合之姿；“物”字枯润相生，飞白处笔意流转，尽显酣畅意气。左侧小字题款与大字形成虚实对比，朱红篆刻方正端凝，墨朱相映，章法疏朗雅致。\n整幅作品带着雄阔豪迈的笔墨气势，又兼具文人书法的隽逸风神，将静观沉敛的心境寄于笔墨之中，笔底藏着悠然襟怀，尽显尚势重意的典型风貌，让观者在笔墨起伏间感知那份俯仰观照万物的沉静悠然。",[64,133,208,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8110792697ccdebddb20b1e1ac780487.jpg",[],{"id":112839,"slug":112840,"title":112841,"dynasty":54,"author":223,"museum":300,"description":104535,"tags":112842,"thumbUrl":112844,"material":692,"size":1293,"collection":84,"collections":112845,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},229654,"xiao-zhu-mo-yi-ming-229654","小朱墨",[304,27,7,8162,48326,112843],"文具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceb12c326a1747fa052f7ca3ce9f7852.jpg",[],{"id":112847,"slug":112848,"title":98785,"dynasty":54,"author":33849,"museum":300,"description":112849,"tags":112850,"thumbUrl":112851,"material":692,"size":1293,"collection":84,"collections":112852,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},229044,"qing-long-yue-wu-ce-qing-ren-229044","此册以深沉玄色为底，泥金题字点缀其上，古雅庄重。细密规整的回纹环绕板面，勾勒出端庄雅致的边框形制，尽显工整考究。汉、满双语题字笔致端方秀挺，竖排线格留白疏朗有致，暗合礼制中的规整肃穆之意。\n泥金在墨色衬托下愈显莹润亮眼，装帧工艺精湛华贵，细节间流露着宫廷仪典的庄严气度，将传统装帧美学与礼制内涵融于一体，尽显清代宫廷工艺的精妙考究，自带沉静典雅的皇家仪范。",[7,59,64,572,27,8315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a6fca3f4e593ad5ce9493a406b8eb5.jpg",[],{"id":112854,"slug":112855,"title":43899,"dynasty":124,"author":23683,"museum":300,"description":79605,"tags":112856,"thumbUrl":112857,"material":692,"size":1293,"collection":84,"collections":112858,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},228860,"wu-yan-shi-wen-peng-228860",[23,64,133,7,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F624acec994d80e5ef5b939d99a6f30da.jpg",[],{"id":112860,"slug":112861,"title":112862,"dynasty":144,"author":112863,"museum":300,"description":112864,"tags":112865,"thumbUrl":112866,"material":692,"size":1293,"collection":84,"collections":112867,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},228066,"chun-xiao-xi-tu-zou-fu-lei-228066","春消息图","邹复雷","图中有清高宗弘历诗题。钤有明黄琳，清卞永誉、安岐，清乾隆、嘉庆内府，晚清缪素筠，近人郭葆昌、金城等鉴藏印。此图为邹复雷传世的惟一画作。卷尾自题“蓬居何处索春回，分付寒蟾伴老梅，半缕消虚室冷，墨痕留影上窗来。至正庚子新秋”。钤“蓬荜居”、“复雷”二印，迎首钤“春消息”一印，按至正庚子为至正二十年即公元一三六零年。拖尾有元杨维桢、顾宴跋、元杨瑀题引首。",[23,24,7,25,128,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec7ca90749861f8ead411f199e87f0e4.jpg",[],{"id":112869,"slug":112870,"title":112871,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":112872,"thumbUrl":112873,"material":692,"size":1293,"collection":84,"collections":112874,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},227214,"dun-huang-85-yi-ming-227214","敦煌85",[24,7,1362,187,27,28,96,950,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc149a5fdbbf744563f60031641b5f151.jpg",[],{"id":112876,"slug":112877,"title":112878,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":112879,"thumbUrl":112880,"material":692,"size":1293,"collection":84,"collections":112881,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},227213,"dun-huang-84-yi-ming-227213","敦煌84",[24,7,1362,187,27,96,1692,4642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9433fe1dd24613ddd2d5f25c4f260e4b.jpg",[],{"id":112883,"slug":112884,"title":112885,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":112886,"thumbUrl":112887,"material":692,"size":1293,"collection":84,"collections":112888,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},227211,"dun-huang-82-yi-ming-227211","敦煌82",[164,24,7,1362,187,27,96,101,1692],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e77f2b51f83d01e1e6587749bbb0a72.jpg",[],{"id":112890,"slug":112891,"title":112892,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":112893,"thumbUrl":112894,"material":692,"size":1293,"collection":84,"collections":112895,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},227205,"dun-huang-76-yi-ming-227205","敦煌76",[24,7,187,96,27,1692,1362],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e319c101be358da90e96fa13e5137de.jpg",[],{"id":112897,"slug":112898,"title":112899,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":112900,"thumbUrl":112901,"material":692,"size":1293,"collection":84,"collections":112902,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},227204,"dun-huang-75-yi-ming-227204","敦煌75",[164,24,7,165,187,27,96,1692,1364,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc482346028c35002e1697ffd053681cc.jpg",[],{"id":112904,"slug":112905,"title":112906,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":112907,"thumbUrl":112908,"material":692,"size":1293,"collection":84,"collections":112909,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},227202,"dun-huang-73-yi-ming-227202","敦煌73",[24,7,4642,1692,187,27,96,1362],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8b90765944694f9f2c99af0ac7b737f.jpg",[],{"id":112911,"slug":112912,"title":112913,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":112914,"thumbUrl":112915,"material":692,"size":1293,"collection":84,"collections":112916,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},227201,"dun-huang-72-yi-ming-227201","敦煌72",[164,24,7,1362,187,27,96,30723],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3db5a31d26777e3b1c0ef4dfb94144a3.jpg",[],{"id":112918,"slug":112919,"title":112920,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":112921,"thumbUrl":112922,"material":692,"size":1293,"collection":84,"collections":112923,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},227199,"dun-huang-70-yi-ming-227199","敦煌70",[164,24,7,165,1362,187,27,96,1692,28,234,232],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff630a4cce62d3b3abbbca3c8de944aef.jpg",[],{"id":112925,"slug":112926,"title":112927,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":112928,"thumbUrl":112929,"material":692,"size":1293,"collection":84,"collections":112930,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},227198,"dun-huang-69-yi-ming-227198","敦煌69",[4642,1692,24,7,165,27,28,187,96,234,232],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2f638e53921e6e59d28faddbf90f98a.jpg",[],{"id":112932,"slug":112933,"title":112934,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":112935,"thumbUrl":112936,"material":692,"size":1293,"collection":84,"collections":112937,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},227197,"dun-huang-68-yi-ming-227197","敦煌68",[164,24,7,165,187,27,96,28,1692],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d96ef7b2dc97e8a898ba90feeb7927e.jpg",[],{"id":112939,"slug":112940,"title":112941,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":112942,"thumbUrl":112943,"material":692,"size":1293,"collection":84,"collections":112944,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},227195,"dun-huang-66-yi-ming-227195","敦煌66",[24,7,1362,187,27,96,1692,4642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bfb5bfded0f86adc95098f88ee3bc08.jpg",[],{"id":112946,"slug":112947,"title":112948,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":112949,"thumbUrl":112950,"material":692,"size":1293,"collection":84,"collections":112951,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},227194,"dun-huang-65-yi-ming-227194","敦煌65",[24,7,1362,187,95,27,96,97,62,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94e7db92240794fdb6b42658cb539992.jpg",[],{"id":112953,"slug":112954,"title":112955,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":112956,"thumbUrl":112957,"material":692,"size":1293,"collection":84,"collections":112958,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},227192,"dun-huang-63-yi-ming-227192","敦煌63",[164,24,7,1362,187,27,28,96,97,1692,4642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F505225d7e737ab2e96e57dc07f2f3845.jpg",[],{"id":112960,"slug":112961,"title":112962,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":112963,"thumbUrl":112964,"material":692,"size":1293,"collection":84,"collections":112965,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},227191,"dun-huang-62-yi-ming-227191","敦煌62",[24,7,188,949,1692],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d808141c31fbd1cc2db832fc2550a52.jpg",[],{"id":112967,"slug":112968,"title":112969,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":112970,"thumbUrl":112971,"material":692,"size":1293,"collection":84,"collections":112972,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},227190,"dun-huang-61-yi-ming-227190","敦煌61",[24,7,1362,187,27,188,96,20953],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F556cfb019c13ae67ef64ec6e12d9643a.jpg",[],{"id":112974,"slug":112975,"title":112976,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":112977,"thumbUrl":112978,"material":692,"size":1293,"collection":84,"collections":112979,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},227185,"dun-huang-56-yi-ming-227185","敦煌56",[24,7,1692,187,27,96,165,28,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be9305518999194ba274c663d58177c.jpg",[],{"id":112981,"slug":112982,"title":112983,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":112984,"thumbUrl":112985,"material":692,"size":1293,"collection":84,"collections":112986,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},227179,"dun-huang-50-yi-ming-227179","敦煌50",[24,7,9521,1692,1362,27,102,101,6300,949,96,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e0c25bb731d254761555df4d963f2b.jpg",[],{"id":112988,"slug":112989,"title":112990,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":112991,"thumbUrl":112995,"material":692,"size":1293,"collection":84,"collections":112996,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},227175,"dun-huang-46-yi-ming-227175","敦煌46",[24,7,27,28,30723,112992,6318,25926,112993,7220,9265,112994,249,34,3490,8565,61977,106443],"敦煌艺术","叙事画","宫殿建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F116a4e2727294d527ea752d0bb8e8fab.jpg",[],{"id":112998,"slug":112999,"title":113000,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":113001,"thumbUrl":113002,"material":692,"size":1293,"collection":84,"collections":113003,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},227171,"dun-huang-42-yi-ming-227171","敦煌42",[24,7,27,96,1692,28,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42eeae939040a48e4ced4d8c78566038.jpg",[],{"id":113005,"slug":113006,"title":113007,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":113008,"thumbUrl":113009,"material":692,"size":1293,"collection":84,"collections":113010,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},227170,"dun-huang-41-yi-ming-227170","敦煌41",[24,7,1692,27,28,96,101,29,130,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcabc0662fc728c911c62306327c27462.jpg",[],{"id":113012,"slug":113013,"title":113014,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":113015,"thumbUrl":113016,"material":692,"size":1293,"collection":84,"collections":113017,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},227169,"dun-huang-40-yi-ming-227169","敦煌40",[24,7,165,27,96,1692,28,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc94fb30b48164bb89ffbf78cd8533356.jpg",[],{"id":113019,"slug":113020,"title":113021,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":113022,"thumbUrl":113023,"material":692,"size":1293,"collection":84,"collections":113024,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},227167,"dun-huang-38-yi-ming-227167","敦煌38",[164,24,7,1362,187,96,27,28,4642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa484444e3d6f7fb4ba0067dca0ca9141.jpg",[],{"id":113026,"slug":113027,"title":113028,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":113029,"thumbUrl":113030,"material":692,"size":1293,"collection":84,"collections":113031,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},227166,"dun-huang-37-yi-ming-227166","敦煌37",[24,7,1362,4642,27,28,187,96,772,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc975d0e8aa2c8c816418b6979e8e466e.jpg",[],{"id":113033,"slug":113034,"title":113035,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":113036,"thumbUrl":113037,"material":692,"size":1293,"collection":84,"collections":113038,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},227165,"dun-huang-36-yi-ming-227165","敦煌36",[24,7,4642,187,96,27,28,1692,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b847573c297a9455d01a1396c12d787.jpg",[],{"id":113040,"slug":113041,"title":113042,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":113043,"thumbUrl":113044,"material":692,"size":1293,"collection":84,"collections":113045,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},227163,"dun-huang-34-yi-ming-227163","敦煌34",[24,7,187,96,27,28,1692,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1321b76ff035aabcf013c3e3b0045b0.jpg",[],{"id":113047,"slug":113048,"title":113049,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":113050,"thumbUrl":113051,"material":692,"size":1293,"collection":84,"collections":113052,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},227161,"dun-huang-32-yi-ming-227161","敦煌32",[164,24,7,1362,187,95,27,96,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e346080cd6b471a7aebf982108277c3.jpg",[],{"id":113054,"slug":113055,"title":113056,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":113057,"thumbUrl":113058,"material":692,"size":1293,"collection":84,"collections":113059,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},227159,"dun-huang-30-yi-ming-227159","敦煌30",[24,7,1362,187,27,96,1692],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe905a0e256b5b16f488827b751845e59.jpg",[],{"id":113061,"slug":113062,"title":113063,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":113064,"thumbUrl":113065,"material":692,"size":1293,"collection":84,"collections":113066,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},227158,"dun-huang-29-yi-ming-227158","敦煌29",[24,7,1362,187,96,5490,27,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fa6fcab121d6ef09980b576609f9c13.jpg",[],{"id":113068,"slug":113069,"title":113070,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":113071,"thumbUrl":113072,"material":692,"size":1293,"collection":84,"collections":113073,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},227154,"dun-huang-25-yi-ming-227154","敦煌25",[164,24,7,165,28,27,1692,187,96,949,1364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfde607f269182043dce253eed86897b.jpg",[],{"id":113075,"slug":113076,"title":113077,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":113078,"thumbUrl":113079,"material":692,"size":1293,"collection":84,"collections":113080,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},227153,"dun-huang-24-yi-ming-227153","敦煌24",[24,7,4642,1692,187,27,28,96,14225,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc09d410e4a7c5289eab4302140b7b834.jpg",[],{"id":113082,"slug":113083,"title":113084,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":113085,"thumbUrl":113086,"material":692,"size":1293,"collection":84,"collections":113087,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},227144,"dun-huang-15-yi-ming-227144","敦煌15",[164,24,7,1362,187,27,96,1692],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42a645f8c57cfb437f9840e29a6256a3.jpg",[],{"id":113089,"slug":113090,"title":113091,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":113092,"thumbUrl":113093,"material":692,"size":1293,"collection":84,"collections":113094,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},227141,"dun-huang-12-yi-ming-227141","敦煌12",[164,4642,1692,1362,24,7,28,27,8189,187,96,4204,14225,29107,4283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9a59ce19ebbf480401884b4e61c365a.jpg",[],{"id":113096,"slug":113097,"title":113098,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":113099,"thumbUrl":113100,"material":692,"size":1293,"collection":84,"collections":113101,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},227139,"dun-huang-10-yi-ming-227139","敦煌10",[164,24,7,1692,187,27,188,96,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F570644b1e3080a1160eb6138dcd2c92c.jpg",[],{"id":113103,"slug":113104,"title":113105,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":113106,"thumbUrl":113107,"material":692,"size":1293,"collection":84,"collections":113108,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},227138,"dun-huang-9-yi-ming-227138","敦煌9",[4642,1692,7,24,187,27,96,949,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16c3edded5e2813f9398a43c7cd92d8c.jpg",[],{"id":113110,"slug":113111,"title":113112,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":113113,"thumbUrl":113114,"material":692,"size":1293,"collection":84,"collections":113115,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},227137,"dun-huang-8-yi-ming-227137","敦煌8",[182,24,7,187,188,27,96,949,1692],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F926e2617a265903d96297c895c1b6df4.jpg",[],{"id":113117,"slug":113118,"title":113119,"dynasty":182,"author":223,"museum":300,"description":27674,"tags":113120,"thumbUrl":113121,"material":692,"size":1293,"collection":84,"collections":113122,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},227135,"dun-huang-6-yi-ming-227135","敦煌6",[164,24,7,187,96,27,1692,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F992ab0ded3f75c99a4a87156008a3ee9.jpg",[],{"id":113124,"slug":113125,"title":113126,"dynasty":54,"author":41583,"museum":300,"description":53116,"tags":113127,"thumbUrl":113129,"material":514,"size":53120,"collection":84,"collections":113130,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},223258,"yan-shan-ba-jing-tu-5-ji-men-yan-shu-zhang-ruo-cheng-223258","燕山八景图-5-蓟门烟树",[23,304,24,7,29,27,132,113128,34,35,59],"群山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ffe605ca6ce5e3cada2f36f19b6841e.jpg",[],{"id":113132,"slug":113133,"title":113134,"dynasty":54,"author":36019,"museum":224,"description":41118,"tags":113135,"thumbUrl":113136,"material":3544,"size":84,"collection":84,"collections":113137,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},222713,"huang-shan-ba-jing-tu-ce-2-zheng-min-222713","黄山八景图册2",[23,24,7,59,128,27,29,132,131,34,37,500,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5c16628a71a3ce28f5931e147056363.jpg",[],{"id":113139,"slug":113140,"title":113141,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":113142,"thumbUrl":113143,"material":637,"size":70887,"collection":84,"collections":113144,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":3379},222273,"nan-hua-zhen-jing-26-wang-chong-222273","南华真经26",[23,7,64,572,8448,611,9910,5459,7322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd84c12647fec6be8b251d9ec493083c3.jpg",[],{"id":113146,"slug":113147,"title":113148,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":113149,"thumbUrl":113150,"material":637,"size":70887,"collection":84,"collections":113151,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":3379},222271,"nan-hua-zhen-jing-24-wang-chong-222271","南华真经24",[23,7,64,7322,572,128,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e5cd7f39d4e035d1f7add24237b488d.jpg",[],{"id":113153,"slug":113154,"title":113155,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":113156,"thumbUrl":113157,"material":637,"size":70887,"collection":84,"collections":113158,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":3379},222270,"nan-hua-zhen-jing-23-wang-chong-222270","南华真经23",[23,64,7,7322,572,128,5459,8448,8116,76763],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5546c2e2dad25be14075f1957dff60a.jpg",[],{"id":113160,"slug":113161,"title":113162,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":113163,"thumbUrl":113164,"material":637,"size":70887,"collection":84,"collections":113165,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":3379},222269,"nan-hua-zhen-jing-22-wang-chong-222269","南华真经22",[23,7,64,7322,8448,128,611,805,4437,8116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2adbb791f1aaa88357eb2b1fa9f84775.jpg",[],{"id":113167,"slug":113168,"title":113169,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":113170,"thumbUrl":113171,"material":637,"size":70887,"collection":84,"collections":113172,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":3379},222268,"nan-hua-zhen-jing-21-wang-chong-222268","南华真经21",[23,7,64,133,7322,128,59,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2edfdc3709a13b97cdeb45b7d6c4ab40.jpg",[],{"id":113174,"slug":113175,"title":113176,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":113177,"thumbUrl":113178,"material":637,"size":70887,"collection":84,"collections":113179,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":3379},222265,"nan-hua-zhen-jing-18-wang-chong-222265","南华真经18",[23,64,8448,133,7322,128,7,5459,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd34391f7d7a71ce925449b76deb4397.jpg",[],{"id":113181,"slug":113182,"title":113183,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":113184,"thumbUrl":113185,"material":637,"size":70887,"collection":84,"collections":113186,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":3379},222264,"nan-hua-zhen-jing-17-wang-chong-222264","南华真经17",[23,64,133,7322,5459,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F021e514c6ca0964ddd9fef81d605f4ef.jpg",[],{"id":113188,"slug":113189,"title":113190,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":113191,"thumbUrl":113192,"material":637,"size":70887,"collection":84,"collections":113193,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":3379},222262,"nan-hua-zhen-jing-15-wang-chong-222262","南华真经15",[23,64,7322,8448,128,7,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c15f7d983865002d13572fb11e56903.jpg",[],{"id":113195,"slug":113196,"title":113197,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":113198,"thumbUrl":113199,"material":637,"size":70887,"collection":84,"collections":113200,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":3379},222259,"nan-hua-zhen-jing-12-wang-chong-222259","南华真经12",[23,64,7,133,7322,128,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7daf38893291720fc74561bb5c3441a.jpg",[],{"id":113202,"slug":113203,"title":113204,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":113205,"thumbUrl":113206,"material":637,"size":70887,"collection":84,"collections":113207,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":3379},222258,"nan-hua-zhen-jing-11-wang-chong-222258","南华真经11",[23,64,133,7322,7,24,128,8116,4437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F412cf683d87c4f14c4636b763d87acff.jpg",[],{"id":113209,"slug":113210,"title":113211,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":113212,"thumbUrl":113213,"material":637,"size":70887,"collection":84,"collections":113214,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":3379},222256,"nan-hua-zhen-jing-9-wang-chong-222256","南华真经9",[23,7,64,133,7322,128,59,124,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fced953e0bd2f8f9376195bd91e8f1da0.jpg",[],{"id":113216,"slug":113217,"title":113218,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":113219,"thumbUrl":113220,"material":637,"size":70887,"collection":84,"collections":113221,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":3379},222254,"nan-hua-zhen-jing-7-wang-chong-222254","南华真经7",[23,7,64,572,128,7322,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42efd495be7237677e995f2a69215e63.jpg",[],{"id":113223,"slug":113224,"title":113225,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":113226,"thumbUrl":113227,"material":637,"size":70887,"collection":84,"collections":113228,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},222253,"nan-hua-zhen-jing-6-wang-chong-222253","南华真经6",[23,7,64,133,805,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96207f399bc59b66b34abd0452b29cdb.jpg",[],{"id":113230,"slug":113231,"title":113232,"dynasty":124,"author":16243,"museum":9216,"description":33923,"tags":113233,"thumbUrl":113234,"material":637,"size":70887,"collection":84,"collections":113235,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":3379},222252,"nan-hua-zhen-jing-5-wang-chong-222252","南华真经5",[23,64,7,8448,7322,611,8116,805,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F520795ff9f360427dc8c74e7c4e09d26.jpg",[],{"id":113237,"slug":113238,"title":113239,"dynasty":54,"author":31404,"museum":300,"description":88318,"tags":113240,"thumbUrl":113241,"material":66,"size":84,"collection":84,"collections":113242,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},218013,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-5-ceng-yan-dong-218013","七道子山水人物画册18帧-5",[23,24,7,128,59,29,1337,35,415,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd6ddd48c80a6e79dcbfa24734c6f123.jpg",[],{"id":113244,"slug":113245,"title":113246,"dynasty":54,"author":31404,"museum":300,"description":88318,"tags":113247,"thumbUrl":113248,"material":611,"size":84,"collection":84,"collections":113249,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},218006,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-12-ceng-yan-dong-218006","七道子山水人物画册18帧-12",[23,54,24,7,59,128,27,29,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b845757d97e4d542967e39128e9fa0d.jpg",[],{"id":113251,"slug":113252,"title":113253,"dynasty":54,"author":31404,"museum":300,"description":88318,"tags":113254,"thumbUrl":113255,"material":611,"size":84,"collection":84,"collections":113256,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},218005,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-13-ceng-yan-dong-218005","七道子山水人物画册18帧-13",[23,24,7,59,133,64,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd26e58c67e43cbb9dce3313305ffef6d.jpg",[],{"id":113258,"slug":113259,"title":113260,"dynasty":54,"author":31404,"museum":300,"description":88318,"tags":113261,"thumbUrl":113263,"material":66,"size":84,"collection":84,"collections":113264,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},218004,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-14-ceng-yan-dong-218004","七道子山水人物画册18帧-14",[23,24,7,304,4437,29,96,27,113262],"小品画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F080ffb95713df9a4261a71761b1d90c3.jpg",[],{"id":113266,"slug":113267,"title":113268,"dynasty":54,"author":31404,"museum":300,"description":88318,"tags":113269,"thumbUrl":113270,"material":611,"size":84,"collection":84,"collections":113271,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},218001,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-16-ceng-yan-dong-218001","七道子山水人物画册18帧-16",[23,24,7,59,64,208,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F216f39b6f066a244d95e025b5e7f3fd2.jpg",[],{"id":113273,"slug":113274,"title":113275,"dynasty":54,"author":31404,"museum":300,"description":88318,"tags":113276,"thumbUrl":113277,"material":611,"size":84,"collection":84,"collections":113278,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},218000,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-17-ceng-yan-dong-218000","七道子山水人物画册18帧-17",[23,24,7,59,128,208,133,29,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f833cd551ed3b95cc24513579ddd8d0.jpg",[],{"id":113280,"slug":113281,"title":113282,"dynasty":54,"author":223,"museum":244,"description":88534,"tags":113283,"thumbUrl":113284,"material":66,"size":84,"collection":84,"collections":113285,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},217020,"li-dai-ming-ren-tu-xiang-ce-10-yi-ming-217020","历代名人图像册-10",[24,7,59,27,96,169,170,875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45c4278683f6b75235f06687c74766c1.jpg",[],{"id":113287,"slug":113288,"title":113289,"dynasty":54,"author":60332,"museum":77,"description":60333,"tags":113290,"thumbUrl":113291,"material":66,"size":60336,"collection":84,"collections":113292,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},217011,"ruan-yuan-yi-shi-shi-jing-tu-ce-4-wang-yun-217011","阮元遗事十景图册-4",[24,7,59,95,27,97,34,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a6a7cee82c60bfb921c2437b7e9d32e.jpg",[],{"id":113294,"slug":113295,"title":113296,"dynasty":54,"author":60332,"museum":77,"description":60333,"tags":113297,"thumbUrl":113298,"material":66,"size":60336,"collection":84,"collections":113299,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},217010,"ruan-yuan-yi-shi-shi-jing-tu-ce-5-wang-yun-217010","阮元遗事十景图册-5",[24,7,59,128,27,331,98,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37835948a03947cb2eca1ac136b31dcb.jpg",[],{"id":113301,"slug":113302,"title":113303,"dynasty":54,"author":60332,"museum":77,"description":60333,"tags":113304,"thumbUrl":113305,"material":66,"size":60336,"collection":84,"collections":113306,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},217007,"ruan-yuan-yi-shi-shi-jing-tu-ce-7-wang-yun-217007","阮元遗事十景图册-7",[24,7,59,27,95,29,97,34,9425,247,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe11f76b3d293153be1f0eb625318297a.jpg",[],{"id":113308,"slug":113309,"title":113310,"dynasty":54,"author":223,"museum":2607,"description":113311,"tags":113312,"thumbUrl":113313,"material":611,"size":84,"collection":84,"collections":113314,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":956},216852,"xi-xiang-ji-tu-ce-30-yi-ming-216852","西厢记图册-30","浅灰蓝的底色如浸了晨雾的素缣，布纹肌理间散落着赭黄与金褐的斑驳，似落叶轻吻纸面，又若烛火余烬的温柔沉淀。无浓墨重彩，却以淡雅之姿晕开西厢的婉转韵致——仿佛能触到崔张二人隔帘的羞怯，或是月下听琴的朦胧心事。每一处斑驳皆是时光的注脚，将古典爱情的细腻情愫凝于方寸，让千年的浪漫在这古雅的肌理里静静流淌，惹人心绪随这素净画面悄然沉醉。",[24,7,59,27,96,166,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1860fa4d72d4f04808690d74b6228d32.jpg",[],{"id":113316,"slug":113317,"title":113318,"dynasty":124,"author":223,"museum":300,"description":99608,"tags":113319,"thumbUrl":113320,"material":1733,"size":84,"collection":84,"collections":113321,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216655,"xuan-da-shan-xi-san-zhen-tu-1-yi-ming-216655","宣大山西三镇图-1",[23,24,7,95,27,29,97,690,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e843c8fdcef1dab8d72fa0b92915946.jpg",[],{"id":113323,"slug":113324,"title":113325,"dynasty":124,"author":223,"museum":300,"description":99608,"tags":113326,"thumbUrl":113327,"material":1733,"size":84,"collection":84,"collections":113328,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216651,"xuan-da-shan-xi-san-zhen-tu-4-yi-ming-216651","宣大山西三镇图-4",[23,24,7,27,26,29,7068,111,208,64,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05e6dbe79ef2a9594ceac412e31d37be.jpg",[],{"id":113330,"slug":113331,"title":113332,"dynasty":124,"author":223,"museum":300,"description":99608,"tags":113333,"thumbUrl":113334,"material":1733,"size":84,"collection":84,"collections":113335,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216650,"xuan-da-shan-xi-san-zhen-tu-7-yi-ming-216650","宣大山西三镇图-7",[23,24,7,64,133,5459,208,128,6369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F744c4ac5f8395c7b0bfc74ca35709b1e.jpg",[],{"id":113337,"slug":113338,"title":113339,"dynasty":124,"author":223,"museum":300,"description":99608,"tags":113340,"thumbUrl":113341,"material":1733,"size":84,"collection":84,"collections":113342,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216647,"xuan-da-shan-xi-san-zhen-tu-9-yi-ming-216647","宣大山西三镇图-9",[23,24,7,59,27,26,29,1743,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97bdd6f018a138ded1b33ba0377f9a8c.jpg",[],{"id":113344,"slug":113345,"title":113346,"dynasty":124,"author":223,"museum":300,"description":99608,"tags":113347,"thumbUrl":113348,"material":1733,"size":84,"collection":84,"collections":113349,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216646,"xuan-da-shan-xi-san-zhen-tu-12-yi-ming-216646","宣大山西三镇图-12",[23,24,7,27,26,95,29,758,111,57836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a91f8950dadd8eac07957971cf68a35.jpg",[],{"id":113351,"slug":113352,"title":113353,"dynasty":124,"author":223,"museum":300,"description":99608,"tags":113354,"thumbUrl":113355,"material":1733,"size":84,"collection":84,"collections":113356,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216645,"xuan-da-shan-xi-san-zhen-tu-11-yi-ming-216645","宣大山西三镇图-11",[23,24,7,27,29,18265,111,758,101,96,33,7068,95,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa79fe6499e25bb72d2e728781953366.jpg",[],{"id":113358,"slug":113359,"title":113360,"dynasty":124,"author":223,"museum":300,"description":99608,"tags":113361,"thumbUrl":113362,"material":1733,"size":84,"collection":84,"collections":113363,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216644,"xuan-da-shan-xi-san-zhen-tu-14-yi-ming-216644","宣大山西三镇图-14",[23,24,7,27,26,28,29,496,7068,96,12314,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b68c35d6c3f8f4037b4d9a0da78db41.jpg",[],{"id":113365,"slug":113366,"title":113367,"dynasty":124,"author":223,"museum":300,"description":99608,"tags":113368,"thumbUrl":113369,"material":1733,"size":84,"collection":84,"collections":113370,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216636,"xuan-da-shan-xi-san-zhen-tu-19-yi-ming-216636","宣大山西三镇图-19",[23,24,7,572,64,95,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45b5093552f21b8a45ec087514c9fe6b.jpg",[],{"id":113372,"slug":113373,"title":113374,"dynasty":124,"author":223,"museum":300,"description":99608,"tags":113375,"thumbUrl":113376,"material":1733,"size":84,"collection":84,"collections":113377,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216635,"xuan-da-shan-xi-san-zhen-tu-20-yi-ming-216635","宣大山西三镇图-20",[23,24,7,59,27,26,28,64,208,29,18265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d6da8274a50a9ce2a27e8063d6b4d2.jpg",[],{"id":113379,"slug":113380,"title":113381,"dynasty":124,"author":223,"museum":300,"description":99608,"tags":113382,"thumbUrl":113383,"material":1733,"size":84,"collection":84,"collections":113384,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216632,"xuan-da-shan-xi-san-zhen-tu-29-yi-ming-216632","宣大山西三镇图-29",[23,24,27,28,7,29,96,101,758,12314,31,690,105,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d92ac0819d6ce4ab374f04b267bb721.jpg",[],{"id":113386,"slug":113387,"title":113388,"dynasty":124,"author":223,"museum":300,"description":99608,"tags":113389,"thumbUrl":113390,"material":1733,"size":84,"collection":84,"collections":113391,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216630,"xuan-da-shan-xi-san-zhen-tu-24-yi-ming-216630","宣大山西三镇图-24",[23,24,7,59,27,26,29,690,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F972dec31c9043beca756c887970755c3.jpg",[],{"id":113393,"slug":113394,"title":113395,"dynasty":124,"author":223,"museum":300,"description":99608,"tags":113396,"thumbUrl":113397,"material":1733,"size":84,"collection":84,"collections":113398,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216626,"xuan-da-shan-xi-san-zhen-tu-32-yi-ming-216626","宣大山西三镇图-32",[23,24,7,26,27,29,572,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51adfa3b6cf653940edf3a1eb6e1432f.jpg",[],{"id":113400,"slug":113401,"title":113402,"dynasty":124,"author":223,"museum":300,"description":99608,"tags":113403,"thumbUrl":113404,"material":1733,"size":84,"collection":84,"collections":113405,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216625,"xuan-da-shan-xi-san-zhen-tu-35-yi-ming-216625","宣大山西三镇图-35",[23,24,7,27,29,64,133,132,496,690,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0be5c9e8ddb95596f817feac42e0f70.jpg",[],{"id":113407,"slug":113408,"title":113409,"dynasty":124,"author":223,"museum":300,"description":99608,"tags":113410,"thumbUrl":113411,"material":1733,"size":84,"collection":84,"collections":113412,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216624,"xuan-da-shan-xi-san-zhen-tu-31-yi-ming-216624","宣大山西三镇图-31",[23,24,7,59,27,26,29,496,31,64,572,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22393394232244a2db83b48486b24c5b.jpg",[],{"id":113414,"slug":113415,"title":113416,"dynasty":124,"author":223,"museum":300,"description":99608,"tags":113417,"thumbUrl":113418,"material":1733,"size":84,"collection":84,"collections":113419,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216623,"xuan-da-shan-xi-san-zhen-tu-33-yi-ming-216623","宣大山西三镇图-33",[23,24,7,29,27,95,496,37,758,64,805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f9bd4d58e97fd997abc2b9d45a0b1e2.jpg",[],{"id":113421,"slug":113422,"title":113423,"dynasty":124,"author":223,"museum":300,"description":99608,"tags":113424,"thumbUrl":113425,"material":1733,"size":84,"collection":84,"collections":113426,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216622,"xuan-da-shan-xi-san-zhen-tu-34-yi-ming-216622","宣大山西三镇图-34",[23,24,7,27,29,690,130,97,131,34,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0f46e74515d74dfef5abbfe2c3fbaed.jpg",[],{"id":113428,"slug":113429,"title":113430,"dynasty":124,"author":223,"museum":300,"description":99608,"tags":113431,"thumbUrl":113433,"material":1733,"size":84,"collection":84,"collections":113434,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216620,"xuan-da-shan-xi-san-zhen-tu-37-yi-ming-216620","宣大山西三镇图-37",[23,24,7,27,95,29,7068,111,34,496,113432],"军事防御工事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33eec6c8013dbcef55d3dd0bf919ad77.jpg",[],{"id":113436,"slug":113437,"title":113438,"dynasty":124,"author":223,"museum":300,"description":99608,"tags":113439,"thumbUrl":113441,"material":1733,"size":84,"collection":84,"collections":113442,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216618,"xuan-da-shan-xi-san-zhen-tu-40-yi-ming-216618","宣大山西三镇图-40",[23,24,7,27,26,28,29,18265,34,758,113440,111,57836],"营寨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd367c2cfd8cd5356e43639fd348241ee.jpg",[],{"id":113444,"slug":113445,"title":113446,"dynasty":124,"author":223,"museum":300,"description":99608,"tags":113447,"thumbUrl":113448,"material":1733,"size":84,"collection":84,"collections":113449,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216615,"xuan-da-shan-xi-san-zhen-tu-39-yi-ming-216615","宣大山西三镇图-39",[23,24,7,59,572,64,27,95,29,97,690,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F145aa8dbcdcdb9c88f94de696cf4b710.jpg",[],{"id":113451,"slug":113452,"title":113453,"dynasty":124,"author":223,"museum":300,"description":99608,"tags":113454,"thumbUrl":113455,"material":1733,"size":84,"collection":84,"collections":113456,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216613,"xuan-da-shan-xi-san-zhen-tu-48-yi-ming-216613","宣大山西三镇图-48",[23,24,7,27,26,29,663,34,96,101,111,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedbcd67142725388fec644d4e133440b.jpg",[],{"id":113458,"slug":113459,"title":113460,"dynasty":124,"author":223,"museum":300,"description":99608,"tags":113461,"thumbUrl":113462,"material":1733,"size":84,"collection":84,"collections":113463,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216610,"xuan-da-shan-xi-san-zhen-tu-47-yi-ming-216610","宣大山西三镇图-47",[23,24,7,95,572,64,27,690,97,5459,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85db0ee075e59a897d8c6ea4b5abad0a.jpg",[],{"id":113465,"slug":113466,"title":113467,"dynasty":124,"author":223,"museum":300,"description":99608,"tags":113468,"thumbUrl":113469,"material":1733,"size":84,"collection":84,"collections":113470,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216607,"xuan-da-shan-xi-san-zhen-tu-49-yi-ming-216607","宣大山西三镇图-49",[23,24,7,59,27,26,29,130,690,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f172f119c86a30da0672a3450f3b04e.jpg",[],{"id":113472,"slug":113473,"title":113474,"dynasty":124,"author":223,"museum":300,"description":99608,"tags":113475,"thumbUrl":113476,"material":1733,"size":84,"collection":84,"collections":113477,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216606,"xuan-da-shan-xi-san-zhen-tu-52-yi-ming-216606","宣大山西三镇图-52",[23,24,7,59,27,29,132,64,572,663,37,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95761663897fa7770d69370664faa68d.jpg",[],{"id":113479,"slug":113480,"title":113481,"dynasty":124,"author":223,"museum":300,"description":99608,"tags":113482,"thumbUrl":113484,"material":1733,"size":84,"collection":84,"collections":113485,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216605,"xuan-da-shan-xi-san-zhen-tu-50-yi-ming-216605","宣大山西三镇图-50",[23,24,7,27,28,95,29,7068,690,101,96,34,105,496,111,113483],"兵营","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60ab947e6351841959a4cc80a06116b4.jpg",[],{"id":113487,"slug":113488,"title":113489,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113491,"thumbUrl":113492,"material":173,"size":84,"collection":84,"collections":113493,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216588,"xuan-da-shan-xi-san-zhen-tu-58-yi-ming-216588","宣大山西三镇图-58","明万历三十一年秘阁本",[23,24,7,27,95,28,29,36,105,1743,96,101,34,31,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7e42c251d96908a25781a923ffb9517.jpg",[],{"id":113495,"slug":113496,"title":113497,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113498,"thumbUrl":113499,"material":173,"size":84,"collection":84,"collections":113500,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216587,"xuan-da-shan-xi-san-zhen-tu-57-yi-ming-216587","宣大山西三镇图-57",[23,24,7,27,26,29,7068,690,130,33760,64,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe557b4627ad06ba5104cc52df3b1b26d.jpg",[],{"id":113502,"slug":113503,"title":113504,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113505,"thumbUrl":113506,"material":173,"size":84,"collection":84,"collections":113507,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216586,"xuan-da-shan-xi-san-zhen-tu-56-yi-ming-216586","宣大山西三镇图-56",[23,64,572,208,59,7,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a08955bce8d8d30a984c920d73d95fa.jpg",[],{"id":113509,"slug":113510,"title":113511,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113512,"thumbUrl":113513,"material":173,"size":84,"collection":84,"collections":113514,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216584,"xuan-da-shan-xi-san-zhen-tu-61-yi-ming-216584","宣大山西三镇图-61",[23,24,7,164,27,26,29,64,572,98,211,96,101,131,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd40368b3ea7e888647b85bc024bdd6c2.jpg",[],{"id":113516,"slug":113517,"title":113518,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113519,"thumbUrl":113520,"material":173,"size":84,"collection":84,"collections":113521,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216580,"xuan-da-shan-xi-san-zhen-tu-63-yi-ming-216580","宣大山西三镇图-63",[23,24,7,27,29,101,690,758,64,7068],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc87952e1942798fddee310d95bc0b98a.jpg",[],{"id":113523,"slug":113524,"title":113525,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113526,"thumbUrl":113528,"material":173,"size":84,"collection":84,"collections":113529,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216579,"xuan-da-shan-xi-san-zhen-tu-60-yi-ming-216579","宣大山西三镇图-60",[23,24,7,27,95,28,663,101,758,111,36,12314,11074,113527,18265,1645],"堡寨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e863519d08e0188fc00a1b44da00ad.jpg",[],{"id":113531,"slug":113532,"title":113533,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113534,"thumbUrl":113535,"material":173,"size":84,"collection":84,"collections":113536,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216577,"xuan-da-shan-xi-san-zhen-tu-64-yi-ming-216577","宣大山西三镇图-64",[23,24,7,27,29,98,101,96,97,131,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92e438fe0b3361cb17093e79ec53379b.jpg",[],{"id":113538,"slug":113539,"title":113540,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113541,"thumbUrl":113542,"material":173,"size":84,"collection":84,"collections":113543,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216575,"xuan-da-shan-xi-san-zhen-tu-67-yi-ming-216575","宣大山西三镇图-67",[23,24,7,27,26,29,690,130,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01a283413ad5a1527d8b5d6802d026d3.jpg",[],{"id":113545,"slug":113546,"title":113547,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113548,"thumbUrl":113549,"material":173,"size":84,"collection":84,"collections":113550,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216574,"xuan-da-shan-xi-san-zhen-tu-66-yi-ming-216574","宣大山西三镇图-66",[23,24,7,29,27,64,133,30,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58d10897cdcdffd8fbd790f81eb60371.jpg",[],{"id":113552,"slug":113553,"title":113554,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113555,"thumbUrl":113556,"material":173,"size":84,"collection":84,"collections":113557,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216573,"xuan-da-shan-xi-san-zhen-tu-68-yi-ming-216573","宣大山西三镇图-68",[23,24,7,59,27,26,572,208,29,18265,690,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba046a4f3fa51532ab24e0e98da1d485.jpg",[],{"id":113559,"slug":113560,"title":113561,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113562,"thumbUrl":113563,"material":173,"size":84,"collection":84,"collections":113564,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216572,"xuan-da-shan-xi-san-zhen-tu-70-yi-ming-216572","宣大山西三镇图-70",[23,7,64,572,59,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e8f7babd054c7edb62759ef51f2b18.jpg",[],{"id":113566,"slug":113567,"title":113568,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113569,"thumbUrl":113570,"material":173,"size":84,"collection":84,"collections":113571,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216570,"xuan-da-shan-xi-san-zhen-tu-72-yi-ming-216570","宣大山西三镇图-72",[23,24,7,59,26,27,29,7068,690,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e5cdf8730794198e0df3842220d6ab4.jpg",[],{"id":113573,"slug":113574,"title":113575,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113576,"thumbUrl":113577,"material":173,"size":84,"collection":84,"collections":113578,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216569,"xuan-da-shan-xi-san-zhen-tu-71-yi-ming-216569","宣大山西三镇图-71",[23,24,7,29,26,27,64,572,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedd84360fa9c53fafe606c09adfc0b97.jpg",[],{"id":113580,"slug":113581,"title":113582,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113583,"thumbUrl":113584,"material":173,"size":84,"collection":84,"collections":113585,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216567,"xuan-da-shan-xi-san-zhen-tu-74-yi-ming-216567","宣大山西三镇图-74",[23,24,7,27,95,26,29,7068,18265,31,111,51693,64,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cc9a3536040d95c4eb74f6f6fa8c5c3.jpg",[],{"id":113587,"slug":113588,"title":113589,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113590,"thumbUrl":113591,"material":173,"size":84,"collection":84,"collections":113592,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216566,"xuan-da-shan-xi-san-zhen-tu-75-yi-ming-216566","宣大山西三镇图-75",[23,24,7,27,26,29,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14389f9ceaacad658ece334a38f562db.jpg",[],{"id":113594,"slug":113595,"title":113596,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113597,"thumbUrl":113598,"material":173,"size":84,"collection":84,"collections":113599,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216565,"xuan-da-shan-xi-san-zhen-tu-77-yi-ming-216565","宣大山西三镇图-77",[23,24,7,59,26,27,29,64,18265,111,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88a8433a3965630c64c45e858a4fe35d.jpg",[],{"id":113601,"slug":113602,"title":113603,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113604,"thumbUrl":113606,"material":173,"size":84,"collection":84,"collections":113607,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216563,"xuan-da-shan-xi-san-zhen-tu-78-yi-ming-216563","宣大山西三镇图-78",[23,24,7,27,26,29,7068,111,95,64,30,758,113605,88192,25484,2983],"地理图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eb99cdb6de9b73e8a60eecbb366286d.jpg",[],{"id":113609,"slug":113610,"title":113611,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113612,"thumbUrl":113613,"material":173,"size":84,"collection":84,"collections":113614,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216562,"xuan-da-shan-xi-san-zhen-tu-80-yi-ming-216562","宣大山西三镇图-80",[23,24,7,95,572,128,690,69101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F281319d65d11d1ee8182a00e0f79f690.jpg",[],{"id":113616,"slug":113617,"title":113618,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113619,"thumbUrl":113620,"material":173,"size":84,"collection":84,"collections":113621,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216558,"xuan-da-shan-xi-san-zhen-tu-81-yi-ming-216558","宣大山西三镇图-81",[23,24,7,27,29,690,101,758,130,211,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3c9dddc13cd804b329e704d8bd6bf7a.jpg",[],{"id":113623,"slug":113624,"title":113625,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113626,"thumbUrl":113627,"material":173,"size":84,"collection":84,"collections":113628,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216555,"xuan-da-shan-xi-san-zhen-tu-85-yi-ming-216555","宣大山西三镇图-85",[23,24,7,27,26,29,96,101,97,98,690,496,7068,34,95,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06e61fe34c7766e54a3faa3cba6d3a8e.jpg",[],{"id":113630,"slug":113631,"title":113632,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113633,"thumbUrl":113634,"material":173,"size":84,"collection":84,"collections":113635,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216554,"xuan-da-shan-xi-san-zhen-tu-89-yi-ming-216554","宣大山西三镇图-89",[23,24,7,27,95,29,7068,111,1743,18265,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1219c368455508b75ea75af7b2a8cacb.jpg",[],{"id":113637,"slug":113638,"title":113639,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113640,"thumbUrl":113641,"material":173,"size":84,"collection":84,"collections":113642,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216552,"xuan-da-shan-xi-san-zhen-tu-88-yi-ming-216552","宣大山西三镇图-88",[23,24,7,26,27,95,29,97,112,18265,57836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a264af95ac60a5b6be9f8ac15f1c853.jpg",[],{"id":113644,"slug":113645,"title":113646,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113647,"thumbUrl":113648,"material":173,"size":84,"collection":84,"collections":113649,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216550,"xuan-da-shan-xi-san-zhen-tu-90-yi-ming-216550","宣大山西三镇图-90",[23,24,7,27,95,28,29,663,758,105,64,57836,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3169cfb6337bfe0f7067cf3576deb725.jpg",[],{"id":113651,"slug":113652,"title":113653,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113654,"thumbUrl":113655,"material":173,"size":84,"collection":84,"collections":113656,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216549,"xuan-da-shan-xi-san-zhen-tu-92-yi-ming-216549","宣大山西三镇图-92",[23,24,7,64,572,95,59,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97bc3e867b379b82b843195a59d55e95.jpg",[],{"id":113658,"slug":113659,"title":113660,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113661,"thumbUrl":113664,"material":173,"size":84,"collection":84,"collections":113665,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216544,"xuan-da-shan-xi-san-zhen-tu-97-yi-ming-216544","宣大山西三镇图-97",[23,24,7,95,27,35165,51905,97,690,113662,113663],"军事建筑","城镇布局","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a4d6013ac15ffb6eefea76e6b1ec5d3.jpg",[],{"id":113667,"slug":113668,"title":113669,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113670,"thumbUrl":113671,"material":173,"size":84,"collection":84,"collections":113672,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216542,"xuan-da-shan-xi-san-zhen-tu-99-yi-ming-216542","宣大山西三镇图-99",[23,24,7,27,95,29,97,690,18265,57836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F439a570398663dce389afbdd5ddc6738.jpg",[],{"id":113674,"slug":113675,"title":113676,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113677,"thumbUrl":113678,"material":173,"size":84,"collection":84,"collections":113679,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216540,"xuan-da-shan-xi-san-zhen-tu-101-yi-ming-216540","宣大山西三镇图-101",[23,805,24,7,59,26,27,29,64,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F719d941a68a4298bfc0b3e314a855513.jpg",[],{"id":113681,"slug":113682,"title":113683,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113684,"thumbUrl":113685,"material":173,"size":84,"collection":84,"collections":113686,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216538,"xuan-da-shan-xi-san-zhen-tu-100-yi-ming-216538","宣大山西三镇图-100",[23,24,7,26,27,29,69101,64,33,663,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb148ddae35060742603d0ed4ecc61746.jpg",[],{"id":113688,"slug":113689,"title":113690,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113691,"thumbUrl":113692,"material":173,"size":84,"collection":84,"collections":113693,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216537,"xuan-da-shan-xi-san-zhen-tu-105-yi-ming-216537","宣大山西三镇图-105",[23,24,7,128,27,95,133,208,64,35165,111,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4219bfa228c8dbebb2c70fda6346cc87.jpg",[],{"id":113695,"slug":113696,"title":113697,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113698,"thumbUrl":113699,"material":173,"size":84,"collection":84,"collections":113700,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216536,"xuan-da-shan-xi-san-zhen-tu-106-yi-ming-216536","宣大山西三镇图-106",[23,24,7,27,95,29,758,7068,496,34,111,96,21398,57836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaeb081370bf902465615454555145dd.jpg",[],{"id":113702,"slug":113703,"title":113704,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113705,"thumbUrl":113706,"material":173,"size":84,"collection":84,"collections":113707,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216534,"xuan-da-shan-xi-san-zhen-tu-108-yi-ming-216534","宣大山西三镇图-108",[23,24,7,26,27,29,28,663,228,101,96,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45c6b0ef5ea43875b11600b3247a701a.jpg",[],{"id":113709,"slug":113710,"title":113711,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113712,"thumbUrl":113713,"material":173,"size":84,"collection":84,"collections":113714,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216533,"xuan-da-shan-xi-san-zhen-tu-107-yi-ming-216533","宣大山西三镇图-107",[23,24,7,27,26,29,96,101,7068,111,496,34,11074,208,95,64,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd751303c54509d0498367562e42ee8.jpg",[],{"id":113716,"slug":113717,"title":113718,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113719,"thumbUrl":113720,"material":173,"size":84,"collection":84,"collections":113721,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216531,"xuan-da-shan-xi-san-zhen-tu-113-yi-ming-216531","宣大山西三镇图-113",[23,24,7,26,27,29,690,208,64,59,758,18265,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd99326e32d0d9694f6b57386bb6a84c2.jpg",[],{"id":113723,"slug":113724,"title":113725,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113726,"thumbUrl":113727,"material":173,"size":84,"collection":84,"collections":113728,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216530,"xuan-da-shan-xi-san-zhen-tu-110-yi-ming-216530","宣大山西三镇图-110",[23,24,7,27,28,133,208,29,690,34,758,496,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2b92442dab99477c86b97be2abf9dff.jpg",[],{"id":113730,"slug":113731,"title":113732,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113733,"thumbUrl":113734,"material":173,"size":84,"collection":84,"collections":113735,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216527,"xuan-da-shan-xi-san-zhen-tu-114-yi-ming-216527","宣大山西三镇图-114",[23,24,7,25,27,26,29,7068,111,496,95,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88be8ed9861a020d3b24d406c1df26a9.jpg",[],{"id":113737,"slug":113738,"title":113739,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113740,"thumbUrl":113741,"material":173,"size":84,"collection":84,"collections":113742,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216526,"xuan-da-shan-xi-san-zhen-tu-115-yi-ming-216526","宣大山西三镇图-115",[23,24,7,27,28,26,29,96,101,8771,12314,690,15035,18265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb26ca1d28f212d5d352e4b1123162d5b.jpg",[],{"id":113744,"slug":113745,"title":113746,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113747,"thumbUrl":113748,"material":173,"size":84,"collection":84,"collections":113749,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216525,"xuan-da-shan-xi-san-zhen-tu-120-yi-ming-216525","宣大山西三镇图-120",[23,24,7,27,95,133,29,97,98,101,211,131,34,96,805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d2e384585dc9e952efef865ec686427.jpg",[],{"id":113751,"slug":113752,"title":113753,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113754,"thumbUrl":113755,"material":173,"size":84,"collection":84,"collections":113756,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216524,"xuan-da-shan-xi-san-zhen-tu-117-yi-ming-216524","宣大山西三镇图-117",[23,24,7,27,26,29,690,758,572,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa89962474616c56b81f343a77c8c2882.jpg",[],{"id":113758,"slug":113759,"title":113760,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113761,"thumbUrl":113762,"material":173,"size":84,"collection":84,"collections":113763,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216523,"xuan-da-shan-xi-san-zhen-tu-116-yi-ming-216523","宣大山西三镇图-116",[23,24,7,95,64,572,208,128,101,690,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29e3e768a500a105a6caeb23e69ea68f.jpg",[],{"id":113765,"slug":113766,"title":113767,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113768,"thumbUrl":113769,"material":173,"size":84,"collection":84,"collections":113770,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216521,"xuan-da-shan-xi-san-zhen-tu-118-yi-ming-216521","宣大山西三镇图-118",[23,805,24,7,27,95,29,96,101,35165,111,11074,1515,131,34,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff91ea779ae5a7e1c7c1e1547cd4b604c.jpg",[],{"id":113772,"slug":113773,"title":113774,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113775,"thumbUrl":113776,"material":173,"size":84,"collection":84,"collections":113777,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216520,"xuan-da-shan-xi-san-zhen-tu-121-yi-ming-216520","宣大山西三镇图-121",[23,24,7,27,26,95,64,208,29,101,96,31,12741,663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a04e9755b1dc5146d780fd1c377e5b3.jpg",[],{"id":113779,"slug":113780,"title":113781,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113782,"thumbUrl":113783,"material":173,"size":84,"collection":84,"collections":113784,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216517,"xuan-da-shan-xi-san-zhen-tu-123-yi-ming-216517","宣大山西三镇图-123",[23,24,7,59,27,26,29,690,130,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1263eee3c268ef2985958a4722411c77.jpg",[],{"id":113786,"slug":113787,"title":113788,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113789,"thumbUrl":113790,"material":173,"size":84,"collection":84,"collections":113791,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216516,"xuan-da-shan-xi-san-zhen-tu-126-yi-ming-216516","宣大山西三镇图-126",[23,805,24,7,64,572,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd55a1cbd0cb5daa9aac90e2ee204310.jpg",[],{"id":113793,"slug":113794,"title":113795,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113796,"thumbUrl":113797,"material":173,"size":84,"collection":84,"collections":113798,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216513,"xuan-da-shan-xi-san-zhen-tu-133-yi-ming-216513","宣大山西三镇图-133",[23,24,7,27,26,29,690,130,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57d881da0f4956ce256f2a3fe165ab72.jpg",[],{"id":113800,"slug":113801,"title":113802,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113803,"thumbUrl":113804,"material":173,"size":84,"collection":84,"collections":113805,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216511,"xuan-da-shan-xi-san-zhen-tu-128-yi-ming-216511","宣大山西三镇图-128",[23,24,7,27,26,59,64,208,29,97,96,101,690,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c53129aa29e963ca52b6082bf3cdb2.jpg",[],{"id":113807,"slug":113808,"title":113809,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113810,"thumbUrl":113811,"material":173,"size":84,"collection":84,"collections":113812,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216510,"xuan-da-shan-xi-san-zhen-tu-130-yi-ming-216510","宣大山西三镇图-130",[23,24,7,27,26,95,572,29,758,96,211,34,111,131,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05796afc234d9631f2df428f1a9f4fa0.jpg",[],{"id":113814,"slug":113815,"title":113816,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113817,"thumbUrl":113818,"material":173,"size":84,"collection":84,"collections":113819,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216504,"xuan-da-shan-xi-san-zhen-tu-137-yi-ming-216504","宣大山西三镇图-137",[23,24,7,59,27,26,95,28,29,96,101,36,35165,111,18265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aa43bb80950991e223373eb605c3940.jpg",[],{"id":113821,"slug":113822,"title":113823,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113824,"thumbUrl":113825,"material":173,"size":84,"collection":84,"collections":113826,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216503,"xuan-da-shan-xi-san-zhen-tu-138-yi-ming-216503","宣大山西三镇图-138",[23,24,7,26,27,29,18265,111,7068,95,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782e667bf34aa8765017d93aa20c0b45.jpg",[],{"id":113828,"slug":113829,"title":113830,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113831,"thumbUrl":113832,"material":173,"size":84,"collection":84,"collections":113833,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216502,"xuan-da-shan-xi-san-zhen-tu-139-yi-ming-216502","宣大山西三镇图-139",[23,26,27,7,29,496,31,130,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3432eaf5f7e79afc4bbd613a8b81c1df.jpg",[],{"id":113835,"slug":113836,"title":113837,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113838,"thumbUrl":113839,"material":173,"size":84,"collection":84,"collections":113840,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216499,"xuan-da-shan-xi-san-zhen-tu-145-yi-ming-216499","宣大山西三镇图-145",[23,24,7,26,27,28,29,663,98,690,130,131,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ec722a6854b8918fad84157af45aac.jpg",[],{"id":113842,"slug":113843,"title":113844,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113845,"thumbUrl":113847,"material":173,"size":84,"collection":84,"collections":113848,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216498,"xuan-da-shan-xi-san-zhen-tu-142-yi-ming-216498","宣大山西三镇图-142",[23,24,7,27,95,28,64,133,29,758,101,57836,113846,31,18265],"地图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9152291837cc32b5aa7d84081d7475fe.jpg",[],{"id":113850,"slug":113851,"title":113852,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113853,"thumbUrl":113854,"material":173,"size":84,"collection":84,"collections":113855,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216497,"xuan-da-shan-xi-san-zhen-tu-144-yi-ming-216497","宣大山西三镇图-144",[23,24,7,27,26,29,96,101,690,69101,130,758,496,95,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3398d806aaed95bdb081d879a678b1b2.jpg",[],{"id":113857,"slug":113858,"title":113859,"dynasty":124,"author":223,"museum":300,"description":113490,"tags":113860,"thumbUrl":113861,"material":173,"size":84,"collection":84,"collections":113862,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216494,"xuan-da-shan-xi-san-zhen-tu-147-yi-ming-216494","宣大山西三镇图-147",[23,24,7,27,26,29,663,228,690,130,12741,101,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02f0d3fb7925713ad0a401b5b755129d.jpg",[],{"id":113864,"slug":113865,"title":113866,"dynasty":124,"author":223,"museum":300,"description":113867,"tags":113868,"thumbUrl":113869,"material":173,"size":84,"collection":84,"collections":113870,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216492,"xuan-da-shan-xi-san-zhen-tu-154-yi-ming-216492","宣大山西三镇图-154","层叠的青绿山峦勾勒出边地地形脉络，蜿蜒驿路与隐约城墙串联起标注的堡寨，尽显边防体系的严谨布局。骑马的戍卒或信使穿梭于道路间，帐篷与聚落点染出鲜活生活气息。泛黄绢本底色上，青绿山水与赭石地貌相映成趣，古朴雅致。这幅图既承载军事舆图实用价值，又融入传统山水画意境，生动再现明代边镇地理风貌与戍守场景，是研究当时边防格局与舆图艺术的珍贵遗存。",[23,24,7,25,27,26,29,96,101,690,130,34,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf30806252a58d103aa8a28ea2e892f4.jpg",[],{"id":113872,"slug":113873,"title":113874,"dynasty":124,"author":223,"museum":300,"description":113875,"tags":113876,"thumbUrl":113878,"material":173,"size":84,"collection":84,"collections":113879,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216489,"xuan-da-shan-xi-san-zhen-tu-149-yi-ming-216489","宣大山西三镇图-149","画面采用图文互证的形式，左页以凝练墨笔详述边镇地理脉络与防务部署，右页则以青绿设色绘就山川关隘。长城如巨龙蜿蜒穿梭于层叠峰峦间，关堡错落有致，标注清晰的城池与营垒，直观呈现出边防体系的严密。山峦以写意晕染显层次，道路线条简洁精准，兼具舆图的实用价值与传统绘画的雅致韵味。整幅作品既是明代边镇军事地理的珍贵遗存，也为后人窥探当时的边防布局与地理认知，提供了鲜活而直观的视觉窗口。",[23,24,7,27,95,29,113877,758,690,663,950,111,7068],"长城","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9240adeb66a73d4907c92b83873d482.jpg",[],{"id":113881,"slug":113882,"title":113883,"dynasty":124,"author":223,"museum":300,"description":113884,"tags":113885,"thumbUrl":113886,"material":173,"size":84,"collection":84,"collections":113887,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216488,"xuan-da-shan-xi-san-zhen-tu-153-yi-ming-216488","宣大山西三镇图-153","画面以图文相契的方式铺展，左侧竖排小楷详述边镇形胜，笔意谨严；右侧青绿设色勾勒山川脉络，墨线清劲。长城如巨龙蜿蜒于峰峦间，烽燧与营堡星罗棋布，“威胡堡”的标识点明军事要冲之位。人马行迹点缀其间，似携戍守的沉凝气息。山峦以简括的青绿晕染，既具地理图籍的精准写实，又含文人画的雅致意趣。文字与图像互为表里，将边地防御格局与自然风貌融于一卷，尽显明代边镇图“实用与审美共生”的独特韵致，仿佛能窥见彼时戍边的壮阔与幽微。",[23,24,7,27,29,101,113877,663,758,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87d080458de8ebb81fb87aa42811f6ad.jpg",[],{"id":113889,"slug":113890,"title":113891,"dynasty":124,"author":223,"museum":300,"description":113892,"tags":113893,"thumbUrl":113894,"material":173,"size":84,"collection":84,"collections":113895,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216487,"xuan-da-shan-xi-san-zhen-tu-156-yi-ming-216487","宣大山西三镇图-156","这幅图以图文相映的形式呈现，左侧小楷详陈地理与防御脉络，右侧青绿设色晕染山峦，线条古朴苍劲。城池关隘以方框标识，道路蜿蜒串联其间，营帐、行旅等细节点缀，生动还原边镇风貌。画面兼具军事地理的实用记录与传统舆图的艺术意趣，青绿山水的沉稳色调与简洁勾勒相得益彰，既展现明代边镇防御体系的严谨，又蕴含舆图特有的审美韵味，是研究当时边防与视觉文化的珍贵遗存。",[23,24,7,27,26,64,29,96,101,690,758,31,208,34,15035,18265,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc96e02a74cc0ae838f3b8ea7447a235a.jpg",[],{"id":113897,"slug":113898,"title":113899,"dynasty":124,"author":223,"museum":300,"description":113900,"tags":113901,"thumbUrl":113902,"material":173,"size":84,"collection":84,"collections":113903,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216485,"xuan-da-shan-xi-san-zhen-tu-158-yi-ming-216485","宣大山西三镇图-158","这幅图将实用舆图与传统绘画巧妙融合，左侧蝇头小楷严谨详录地理沿革与戍防诸事；右侧以青绿晕染山峦，勾勒出起伏的关塞地貌，城池标识清晰，路径蜿蜒其间，偶见人物活动的细微刻画。既保留军事图籍的精准性，又蕴含山水画卷的写意韵味。纸色古雅泛黄，笔墨间沉淀着明代边塞防务的历史厚重感，图文互证的独特形式，不仅展现当时舆图绘制的精湛技艺，更折射出边镇治理的战略考量，是研究明代军事地理与视觉文化的珍贵实物。",[23,24,7,27,26,95,64,208,29,96,7068,690,496,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae4756c086925146eb8dfc36fd1e1519.jpg",[],{"id":113905,"slug":113906,"title":113907,"dynasty":124,"author":223,"museum":300,"description":113908,"tags":113909,"thumbUrl":113910,"material":173,"size":84,"collection":84,"collections":113911,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216484,"xuan-da-shan-xi-san-zhen-tu-157-yi-ming-216484","宣大山西三镇图-157","这幅图以图文交织的形式铺展边塞地理的壮阔与细节。右侧青绿晕染的山峦层叠起伏，木桥横跨云霭间，方框标注的城邑如星点缀，简劲线条精准勾勒山川形胜。左侧细密文字注记与图像互为表里，详述方位与防务布局。笔墨既有舆图的实用严谨，亦含绘事雅趣——青绿的温润、纸张的岁月肌理，让边防记录更添古朴质感。它不仅是明代边塞防务的地理密码，更以简淡生动的笔触，留存了那个时代对山河的认知与守护之心。",[23,24,7,27,28,95,29,36,496,96,101,111,31,64,57836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F689cbc3d7fd0dac7c494de660478af86.jpg",[],{"id":113913,"slug":113914,"title":113915,"dynasty":124,"author":223,"museum":300,"description":113916,"tags":113917,"thumbUrl":113918,"material":173,"size":84,"collection":84,"collections":113919,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216483,"xuan-da-shan-xi-san-zhen-tu-159-yi-ming-216483","宣大山西三镇图-159","青绿晕染的峰峦如黛，错落间一方“四海冶”城堡静立，山道上人马辚辚，帐篷与驼马相映，似见边地戍守与往来的鲜活场景。左侧题跋以工整墨字铺陈，图文交织间，勾勒出宣大山西一带的地理形胜与防务细节。画风古朴雅致，山水勾勒简练却层次分明，人物车马的描绘虽小却生动传神。这幅图籍既承载着军事地理的实用信息，又蕴含着绘画的审美意趣，图文并茂的形式尽显明代边防图籍的独特风貌，悄然传递出彼时边地的地理格局与戍边生活的点滴气息。",[23,24,7,27,26,95,59,64,29,96,101,690,130,12741,7068,496,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d8617c0c4184785e3bd87487afe1db5.jpg",[],{"id":113921,"slug":113922,"title":113923,"dynasty":124,"author":223,"museum":300,"description":113924,"tags":113925,"thumbUrl":113926,"material":173,"size":84,"collection":84,"collections":113927,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216482,"xuan-da-shan-xi-san-zhen-tu-155-yi-ming-216482","宣大山西三镇图-155","泛黄纸页间，墨笔工整铺陈宣大山西三镇的边防脉络。细密字迹里，墩台数目、边墙走向、军备调度一一浮现，似能触到明代戍边的紧张脉搏。每笔记录都凝着守土的筹谋，纸页纹理与墨痕交织，沉淀数百年边防记忆。它不止是图卷，更是鲜活的军事档案，将北疆防务细节静静诉说，让后世窥见戍卒们的坚守与岁月的厚重。",[23,7,64,572,128,151,208,57836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83148ce152fe1e9dab92f0014dd75465.jpg",[],{"id":113929,"slug":113930,"title":113931,"dynasty":124,"author":223,"museum":300,"description":113932,"tags":113933,"thumbUrl":113934,"material":173,"size":84,"collection":84,"collections":113935,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216477,"xuan-da-shan-xi-san-zhen-tu-165-yi-ming-216477","宣大山西三镇图-165","墨笔题跋与青绿山水相映成趣，左文详述边镇形胜与防务，右画勾勒山峦驿路之态。淡彩晕染的峰峦间，驿道蜿蜒如带，骑马者行色匆匆，似传军情；“阻胡堡”的标注醒目，点出戍守要冲。文字纪实与图像写意交融，既具舆图的精准，又含绘事的生动。线条简练却见筋骨，色彩清雅而富层次，将明代边塞的地理格局与军事氛围凝于尺幅，是边塞文化与艺术结合的缩影，藏着历史烽烟里的边地脉动。",[23,24,7,27,29,663,690,101,98,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53cff2654ddf8322200d957b6fb679f0.jpg",[],{"id":113937,"slug":113938,"title":113939,"dynasty":124,"author":223,"museum":300,"description":113940,"tags":113941,"thumbUrl":113942,"material":173,"size":84,"collection":84,"collections":113943,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216475,"xuan-da-shan-xi-san-zhen-tu-161-yi-ming-216475","宣大山西三镇图-161","泛黄纸页上，墨笔书就的边关经略静静铺展。山川险隘的描摹、兵力布防的详述、粮草筹谋的记载，字字透着边镇的肃杀与担当。纸间斑驳痕迹似岁月的吻痕，承载着明代守土者的智慧与艰辛。每一行字迹都是历史的切片，将宣大山西三镇的军事图景凝于方寸，无声诉说着当年疆域安危的重量，让今人品读那份跨越时空的厚重与深沉。",[23,7,64,128,59,208,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adbd3c932b19649f1d72b8199f2bfff.jpg",[],{"id":113945,"slug":113946,"title":113947,"dynasty":124,"author":223,"museum":300,"description":113948,"tags":113949,"thumbUrl":113950,"material":173,"size":84,"collection":84,"collections":113951,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216473,"xuan-da-shan-xi-san-zhen-tu-168-yi-ming-216473","宣大山西三镇图-168","右侧以青绿设色绘山峦，峰峦错落有致，山道蜿蜒穿行，井坪城居于核心，城郭形制明晰，道路连缀周边聚落，尽显地理战略之要。左侧题跋详述城防布局与军事价值，文图相契，兼具纪实性与艺术性。青绿设色温润雅致，山峦勾勒简洁有神，道路与城郭标注清晰，既承载边防舆图的实用功能，又融入文人画的审美意趣，是明代军事地理认知与艺术表达融合的佳作，尽显当时对边镇防务的细致描摹与创作巧思。",[23,24,7,27,95,29,7068,690,950,496,758,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f585f132854e74b4a11a7680a0c6fc0.jpg",[],{"id":113953,"slug":113954,"title":113955,"dynasty":124,"author":223,"museum":300,"description":113956,"tags":113957,"thumbUrl":113958,"material":173,"size":84,"collection":84,"collections":113959,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216472,"xuan-da-shan-xi-san-zhen-tu-167-yi-ming-216472","宣大山西三镇图-167","纸页泛黄，墨痕清晰，图文交织间藏着明代北疆防务的密码。右侧文字细密如网，铺陈关隘地名、驻军数目与山川走向，一笔一划皆是对边镇地理的精准描摹；左侧留白处似隐似现的图绘，与文字呼应勾勒出宣大山西三镇的军事格局。笔墨间凝注着筹边者的思虑，每一处记载都映照着当年戍卒的足迹与烽火的余温。它不仅是一幅舆图，更是一部镌刻在纸上的北疆史诗，静静诉说着明代边防的严谨与山河的壮阔，让后人得以窥见那个时代戍边生活的鲜活侧影。",[23,24,7,128,95,64,572,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9002671a79a6c27d49a75d258bcdf833.jpg",[],{"id":113961,"slug":113962,"title":113963,"dynasty":124,"author":223,"museum":300,"description":113964,"tags":113965,"thumbUrl":113966,"material":173,"size":84,"collection":84,"collections":113967,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216470,"xuan-da-shan-xi-san-zhen-tu-172-yi-ming-216470","宣大山西三镇图-172","画面采用图文对开形制，左页墨笔小楷详述地理沿革，笔力端谨；右页以青绿设色绘山川格局，峰峦叠翠间云雾轻笼，道路蜿蜒如带，怀仁城以朱栏方框醒目标出，周边散落塔寺、民居符号，简约传神。线条勾勒精准，色彩淡雅温润，既保留舆图的实用信息，又融入文人画的写意韵致。山峦用披麻皴法，层次分明；建筑与路径的简化处理，平衡写实与艺术表达。整体气息沉静古朴，似能窥见明代边关重镇的地理风貌与人文脉络，尽显传统舆图兼具实用与审美之特质。",[23,24,7,27,26,64,208,29,7068,111,758,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ea2a237905b2a0b217350340181cbfc.jpg",[],{"id":113969,"slug":113970,"title":113971,"dynasty":124,"author":223,"museum":300,"description":113972,"tags":113973,"thumbUrl":113974,"material":173,"size":84,"collection":84,"collections":113975,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216469,"xuan-da-shan-xi-san-zhen-tu-171-yi-ming-216469","宣大山西三镇图-171","左幅小楷隽秀，字间铺陈边塞地理沿革与军事要义；右幅以青绿晕染山峦，层叠间见雄浑气象。城池方正如印嵌于天地，道路蜿蜒似带串联星散的建筑符号——或为驿站，或为烽燧，皆藏戍边密码。图文相契，既守舆图严谨实用之质，又融山水雅致意趣之韵。泛黄纸页裹着岁月温度，将明代边塞形胜与防御智慧，静静铺展于尺幅之中，似能听见往昔戍鼓隐隐，望见古道驼铃悠悠。",[23,24,7,59,27,26,28,572,29,69101,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb73dc4ad01ea9891a7cff3db32da4e47.jpg",[],{"id":113977,"slug":113978,"title":113979,"dynasty":124,"author":223,"museum":300,"description":113980,"tags":113981,"thumbUrl":113982,"material":173,"size":84,"collection":84,"collections":113983,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216468,"xuan-da-shan-xi-san-zhen-tu-174-yi-ming-216468","宣大山西三镇图-174","左幅文字凝练铺陈边地地理军事脉络，右幅以青绿设色绘山峦城防。层叠峰峦墨线勾骨，敷染青绿赭石，苍润古朴；城垣关隘、道路驿站细致勾勒，标识清晰，兼具舆图实用精准与绘画审美意趣。图文相生，既载录三镇防务信息，又以传统山水画技法营造悠远意境，是明代军事舆图与艺术融合的典型之作，藏着古人对边地防务的考量与绘事匠心。",[23,164,24,7,27,29,7068,36,111,18265,34,11074,64,208,26,28,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad99002ab5411f5eeed64a47e5cb39f7.jpg",[],{"id":113985,"slug":113986,"title":113987,"dynasty":124,"author":223,"museum":300,"description":113988,"tags":113989,"thumbUrl":113990,"material":173,"size":84,"collection":84,"collections":113991,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216467,"xuan-da-shan-xi-san-zhen-tu-173-yi-ming-216467","宣大山西三镇图-173","左卷以端谨小楷详述地域沿革与防务脉络，字里行间藏着边塞的战略考量；右卷淡彩晕染山峦，青绿间显苍茫气象，道路如练串联亭台、村落与“四圣台”标识，布局简约却暗合舆图纪实性。图文相映，既为当时三镇防务提供地理参照，又以古朴笔触绘出边塞风貌，明代舆图融实用与艺术的特质尽显，仿佛能透过泛黄纸页，触摸到那个时代边地的脉动与气息。",[23,24,7,27,29,64,18265,111,758,34,130,57836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30506582e0eedffd0d112168ef5cb61e.jpg",[],{"id":113993,"slug":113994,"title":113995,"dynasty":124,"author":223,"museum":300,"description":113996,"tags":113997,"thumbUrl":113998,"material":173,"size":84,"collection":84,"collections":113999,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216466,"xuan-da-shan-xi-san-zhen-tu-177-yi-ming-216466","宣大山西三镇图-177","左侧墨楷工整细密，叙述条理分明，藏着明人治学的严谨；右侧设色山水清丽雅致，青绿山峦层叠错落，云雾轻笼山脚，尽显自然灵韵。朔州城以粉边方框醒目而立，蜿蜒驿道穿梭于山水间，旁缀小图标，似关隘、似驿站，细节生动。图文相契，既有地理图的精准实用，又含山水画的审美意趣，将边塞地域的雄浑气势与人文脉络悄然融合。古朴纸页间，往昔的地域风貌与军政图景静静铺展，是兼具史料价值与艺术美感的珍贵遗存。",[23,24,7,27,26,95,29,35165,690,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10f9506236d2162306b6f662a19d3c58.jpg",[],{"id":114001,"slug":114002,"title":114003,"dynasty":124,"author":223,"museum":300,"description":114004,"tags":114005,"thumbUrl":114006,"material":173,"size":84,"collection":84,"collections":114007,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216465,"xuan-da-shan-xi-san-zhen-tu-175-yi-ming-216465","宣大山西三镇图-175","左页墨笔恭录，详述三镇疆域沿革、关隘兵防之要，字迹端凝；右页以青绿写山水，山峦层叠间云雾轻笼，“分河堡”匾额醒目，营垒、旗帜等符号错落，既存舆图的精准实用，又含山水画的雅致意趣。整幅作品古朴沉静，将军事地理信息与传统绘画面貌相融，是明代边镇视野下的独特遗存，尽显舆图艺术的双重价值——实用与审美之合，于笔墨设色间勾勒出边地防务的鲜活图景。",[23,24,7,29,27,26,64,663,950,11074,208,57836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d9af72a0fb3f6f2353d99a1bacfb0b0.jpg",[],{"id":114009,"slug":114010,"title":114011,"dynasty":124,"author":223,"museum":300,"description":114012,"tags":114013,"thumbUrl":114014,"material":173,"size":84,"collection":84,"collections":114015,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216464,"xuan-da-shan-xi-san-zhen-tu-180-yi-ming-216464","宣大山西三镇图-180","这幅图以青绿设色铺陈山峦，层叠错落间透着古朴雅致。画面中央“浑源城”醒目，周边道路蜿蜒，串联起散落的屋宇与舟楫，清晰勾勒出区域地理脉络。左侧墨书文字与右侧图像相呼应，详述方位与军事态势，图文互证，兼具纪实性与实用性。山峦勾勒简洁有神，青绿晕染细腻，佚名之作却尽显明代舆图的精湛——既恪守地理信息的准确传递，又融入传统山水画的审美意趣，实为研究明代边防与舆图艺术的珍贵遗存。",[23,24,7,27,26,29,7068,18265,690,758,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ecdebbae8de0734be57bcd6a5dcf6c6.jpg",[],{"id":114017,"slug":114018,"title":114019,"dynasty":124,"author":223,"museum":300,"description":114020,"tags":114021,"thumbUrl":114022,"material":173,"size":84,"collection":84,"collections":114023,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216463,"xuan-da-shan-xi-san-zhen-tu-178-yi-ming-216463","宣大山西三镇图-178","图文相契，左页墨书工整，详述舆地脉络；右页丹青雅致，铺展山川格局。层峦以青绿晕染，苍翠间云雾流转，山道蜿蜒如练，城池标注清晰。笔墨兼具纪实之严谨与绘事之韵致，既呈地理之真貌，又含山水之逸趣。峰岭错落有致，道路勾连有序，尽显古代舆图绘制的匠心——于实用中藏审美，在纪实里见才情。",[23,24,7,27,26,29,59,690,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63c64e531294edd03de50cf82f859e7c.jpg",[],{"id":114025,"slug":114026,"title":114027,"dynasty":124,"author":223,"museum":300,"description":114028,"tags":114029,"thumbUrl":114030,"material":173,"size":84,"collection":84,"collections":114031,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216460,"xuan-da-shan-xi-san-zhen-tu-179-yi-ming-216460","宣大山西三镇图-179","青绿染峰峦，靛蓝皴崖岫，云雾轻笼间山峦层叠错落，中段长河如带，岸畔人影稀疏，一方“新平堡”匾额醒目立于此间，勾画出边镇的地理坐标。左侧密匝的小楷似在叙说地域沿革与戍守旧事，图文相契，将舆图的实用与绘画的雅致融于一纸。古雅的设色与沉静的笔墨，于方寸间细致描摹边关形胜，藏着对疆土的深切观照，尽显舆图类绘画兼具纪实与审美之韵。",[23,124,24,7,27,26,29,18265,31,64,133,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b9946c3175b609824ee7d8bb08c6382.jpg",[],{"id":114033,"slug":114034,"title":114035,"dynasty":124,"author":223,"museum":300,"description":114036,"tags":114037,"thumbUrl":114038,"material":173,"size":84,"collection":84,"collections":114039,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216459,"xuan-da-shan-xi-san-zhen-tu-183-yi-ming-216459","宣大山西三镇图-183","这幅舆图以图文并置的形式，展现边关要塞风貌。右侧画面中，青绿晕染的山峰层叠错落，云雾轻绕山脚，新平堡居于中央，与横跨的桥梁相映，既显军事建筑的规整，又融于自然的苍茫意境。古朴笔触勾勒出边塞独特景致，山水间透着雄浑与静谧交织的气息。左侧文字详述要塞地理与防御细节，图文互证间，既承载军事地理实用价值，又以写意山水美学传递明代边关战略格局与人文风情，是兼具史料性与艺术性的珍贵遗存。",[23,24,7,59,27,26,95,29,30,36,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf8e61cdb095e5ac1a4db665919b7a4.jpg",[],{"id":114041,"slug":114042,"title":114043,"dynasty":124,"author":223,"museum":300,"description":114044,"tags":114045,"thumbUrl":114046,"material":173,"size":84,"collection":84,"collections":114047,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216457,"xuan-da-shan-xi-san-zhen-tu-185-yi-ming-216457","宣大山西三镇图-185","此图以精准线条铺展宣大山西三镇的地理骨架，关隘、烽燧如星点布列，将明代北疆边防的战略纵深与防御体系清晰呈现。笔墨间虽无署名，却藏着绘制者对边地山川的熟稔与军事布局的考量。斑驳肌理似岁月留痕，每一处线条转折都承载着当时的边防智慧，既是实用的军事舆图，亦是窥见明代边地治理与军事思维的鲜活窗口，为后世研究那段边地风云留下了直观而珍贵的印记。",[23,24,7,25,95,27,29,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff13dbdc8d3846958ffc01439028981bc.jpg",[],{"id":114049,"slug":114050,"title":114051,"dynasty":124,"author":223,"museum":300,"description":114052,"tags":114053,"thumbUrl":114054,"material":173,"size":84,"collection":84,"collections":114055,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216456,"xuan-da-shan-xi-san-zhen-tu-187-yi-ming-216456","宣大山西三镇图-187","墨线勾勒出边防的筋骨，山川关隘如凝固的烽烟。素朴绢本上，城垣错落、烽燧排布，织就一张无声的防御网。没有浓彩重墨，却以精准笔触丈量疆土安危；不见金戈铁马，却能从疏密标注里，触摸明代边防的脉动。它是舆图，更是历史切片——时光磨淡的痕迹，仍诉说着塞防的严谨与沧桑，让观者于静默中感知古人经略边疆的智慧与坚守。每一道墨痕都藏着戍边故事，那些被岁月晕开的线条，至今仍在低语昔日的守土之责。",[23,24,7,95,133,64,59,27,97,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ec32f776e92a61d435c812c7adc3fbf.jpg",[],{"id":114057,"slug":114058,"title":114059,"dynasty":124,"author":223,"museum":300,"description":114060,"tags":114061,"thumbUrl":114066,"material":173,"size":84,"collection":84,"collections":114067,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216455,"xuan-da-shan-xi-san-zhen-tu-186-yi-ming-216455","宣大山西三镇图-186","线条勾勒山川起伏与关隘轮廓，城池堡垒错落其间，将军事防御的严谨布局与地理形胜的苍茫气势交织。笔墨兼具写实与写意之妙，既精准呈现边防要塞分布，又以古朴色调晕染出历史厚重感。每一处标注、每一道线条，都藏着明代北边防御的智慧，也透着传统舆图特有的审美意趣——实用与艺术在此相融，静止的画面成为连接过去的纽带，静静诉说着那段金戈铁马的岁月，让观者在笔墨间触摸到历史的温度与古人对空间秩序的独特把握。",[23,24,7,95,27,114062,7068,51905,32631,114063,114064,114065],"山川","地貌","城防","军事地理","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff336653a7db076e4d1a20a07987e5cbd.jpg",[],{"id":114069,"slug":114070,"title":114071,"dynasty":124,"author":223,"museum":300,"description":114072,"tags":114073,"thumbUrl":114074,"material":173,"size":84,"collection":84,"collections":114075,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216454,"xuan-da-shan-xi-san-zhen-tu-184-yi-ming-216454","宣大山西三镇图-184","这幅舆图聚焦明代北边边防，右侧墨书详注镇戍布局与军备事宜，字迹端谨，信息翔实。以功能性为核心，却藏着明代舆图规制与实用兼具的特质，笔墨间承载边镇防御的战略考量，是研究当时军事地理与边防体系的珍贵视觉文献，静静诉说往昔戍边岁月的严谨与厚重。",[23,24,7,64,208,572,234,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71e4fa73fe65d0fcfe5e90249ad5bbbf.jpg",[],{"id":114077,"slug":114078,"title":114079,"dynasty":124,"author":223,"museum":300,"description":114080,"tags":114081,"thumbUrl":114082,"material":173,"size":84,"collection":84,"collections":114083,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216453,"xuan-da-shan-xi-san-zhen-tu-188-yi-ming-216453","宣大山西三镇图-188","锦缎纹理如时光编织的密码，暗金缠枝在光影里流转，似将明时边镇的风烟藏进每一道褶皱。竖题墨字古朴端凝，与织物的柔润形成刚柔相济的韵致。作为舆图的一部分，它以精准线条勾勒关河形胜，每一处落笔都是疆土的注脚，承载着戍边的坚守与经略的智慧。岁月磨损了边角，却让这份厚重更显珍贵，静静诉说着山河表里的往昔故事。那些凝固的纹样与墨痕，不仅是艺术的装帧，更是历史的切片，在静默中晕开古雅的光泽，让观者触碰到时光深处的疆土情怀。",[23,24,7,95,27,29,97,7068,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a14863455f77d8cb8c717d20164813.jpg",[],{"id":114085,"slug":114086,"title":114087,"dynasty":124,"author":223,"museum":300,"description":114088,"tags":114089,"thumbUrl":114090,"material":173,"size":84,"collection":84,"collections":114091,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216452,"xuan-da-shan-xi-san-zhen-tu-189-yi-ming-216452","宣大山西三镇图-189","墨线勾勒的舆图片段，铺展着明代北疆边防的隐秘脉络。纸上的关隘、烽燧与山川肌理，似仍裹挟着戍边岁月的尘沙。细碎金箔点染其间，或许曾标记战略要冲的坐标，让静态疆域多了几分历史温度。作为三镇防御体系的直观载体，它不仅是地理信息的汇编，更藏着彼时守边者的筹谋与坚守。每一处线条转折，每一个符号落点，都是对明代边疆格局的生动注解，为后世触摸那段金戈铁马的岁月，留下可感的凭据。",[23,24,7,59,95,27,29,7068,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F750c31451a5330719f583917e3380fc1.jpg",[],{"id":114093,"slug":114094,"title":114095,"dynasty":124,"author":223,"museum":300,"description":114096,"tags":114097,"thumbUrl":114098,"material":173,"size":84,"collection":84,"collections":114099,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216451,"xuan-da-shan-xi-san-zhen-tu-193-yi-ming-216451","宣大山西三镇图-193","青绿晕染的山峦如黛，勾勒出边关雄浑的地貌轮廓；简洁的符号错落分布，标注着关隘与聚落的空间脉络。左页墨笔题跋字迹古朴，与右页彩绘舆图相映成趣，图文交织间，似能窥见明代边关的军事布局与地理风貌。线条勾勒精准，色彩晕染雅致，既为舆图提供清晰的空间指引，又蕴含传统绘画的审美意趣。画面古朴厚重，信息丰富，是研究明代边关防御体系与地理认知的珍贵视觉遗存，尽显历史与艺术交融的独特魅力。",[23,24,7,59,27,26,95,29,18265,15035,690,57836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff304e795bade27682222e88d5f988257.jpg",[],{"id":114101,"slug":114102,"title":114103,"dynasty":124,"author":223,"museum":300,"description":114104,"tags":114105,"thumbUrl":114106,"material":173,"size":84,"collection":84,"collections":114107,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216450,"xuan-da-shan-xi-san-zhen-tu-194-yi-ming-216450","宣大山西三镇图-194","画面左侧满布细密注记，详载山川里程、隘口险夷，尽显军事舆图的实用内核；右侧以写意笔触勾勒青黛山峦，城池、营帐与人物错落其间，虽非精准测绘，却生动铺陈边镇地理脉络与戍守氛围。笔墨简练却意涵丰沛，兼具舆图纪实性与传统山水画气韵，是明代边防舆图的典型范本，静静承载着彼时边镇的战略图景与戍卫日常，让观者得以窥见那段烽火与守望交织的边地岁月。",[23,24,7,25,27,26,29,96,101,12314,690,130,64,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7260419eb02b29b07522502ab8cec80.jpg",[],{"id":114109,"slug":114110,"title":114111,"dynasty":124,"author":223,"museum":300,"description":114112,"tags":114113,"thumbUrl":114114,"material":173,"size":84,"collection":84,"collections":114115,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216449,"xuan-da-shan-xi-san-zhen-tu-191-yi-ming-216449","宣大山西三镇图-191","这幅舆图铺展宣大山西三镇的边防图景，笔墨间凝注着边地的烽烟记忆。河流蜿蜒处标注关隘堡寨，文字详述兵力配置与防御格局，山河险厄与戍守据点交织，勾勒出明代北部边防的严密脉络。每一处线条、每段注记，皆是边防体系的鲜活切片，见证着边地军民的守御智慧，也折射出那个时代对边疆安稳的深切筹谋，为后世留存下一份珍贵的历史镜像。",[23,7,64,572,128,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2942b18b9b4fa9bf5827c8041ddc147.jpg",[],{"id":114117,"slug":114118,"title":114119,"dynasty":124,"author":223,"museum":300,"description":114120,"tags":114121,"thumbUrl":114122,"material":173,"size":84,"collection":84,"collections":114123,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216447,"xuan-da-shan-xi-san-zhen-tu-192-yi-ming-216447","宣大山西三镇图-192","左卷墨字细密，详述边塞地理要害与戍守方略，文字古雅且军情翔实；右卷青绿设色绘山川形胜，峰峦层叠间标注关隘营垒，线条简练却尽显边塞险峻之势。图文互证，既存军事图籍的实用精准，又含传统山水的写意韵味。青绿晕染的山峦与穿插的城防符号相映，将边塞的雄浑壮阔与戍守的严谨细致融于一纸，尽显明代边镇图籍的写实张力，似能窥见当年将士戍边的壮阔图景，为研究明代边镇军事与地理提供鲜活的视觉参照。",[23,24,7,26,27,95,59,29,663,31,758,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c61a568a2a9ece99aa8b84e55e1c886.jpg",[],{"id":114125,"slug":114126,"title":114127,"dynasty":124,"author":223,"museum":300,"description":114128,"tags":114129,"thumbUrl":114130,"material":173,"size":84,"collection":84,"collections":114131,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216445,"xuan-da-shan-xi-san-zhen-tu-195-yi-ming-216445","宣大山西三镇图-195","画面左右分呈，左页墨书详陈边地沿革，右页丹青绘就山河布防。青绿晕染的山峦层叠起伏，河道蜿蜒间“河会堡”标识醒目，凸显其军事枢纽地位。远处骑兵队伍旌旗微动，似携戍守的肃杀之气。图文相契，既载地理形胜之实，又传边镇防御之重。笔墨简括却生动，设色古雅而沉稳，于一纸间凝萃明代边地的战略格局与舆图艺术的独特韵味，足见当时舆图绘制的匠心与纪实精神。",[23,24,7,27,26,29,101,31,131,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2ec92543cf3f1a0ca002647ae02f502.jpg",[],{"id":114133,"slug":114134,"title":114135,"dynasty":124,"author":223,"museum":300,"description":114136,"tags":114137,"thumbUrl":114138,"material":173,"size":84,"collection":84,"collections":114139,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216442,"xuan-da-shan-xi-san-zhen-tu-200-yi-ming-216442","宣大山西三镇图-200","左页墨笔注记详述山川道里、驻军规制与防务沿革，字迹端凝条理清晰；右页设色地图以淡赭铺底，青蓝染山，墨线勾绘道路、烽燧与城垣，“本云城”方正矗立，周遭驼马络绎、人物往来，鲜活再现边镇景象。图文相契，既是实用军事舆图，又具古朴艺术意趣。简练笔触藏着明代边疆防务的缜密思考，淡雅色彩晕染出塞上边地独特风情，为后世留存兼具历史价值与审美韵味的珍贵遗存。",[23,24,7,27,95,64,133,29,7068,18265,111,758,96,5472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f95b575c765d6ce48d75b81152afd6b.jpg",[],{"id":114141,"slug":114142,"title":114143,"dynasty":124,"author":223,"museum":300,"description":114144,"tags":114145,"thumbUrl":114146,"material":173,"size":84,"collection":84,"collections":114147,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216441,"xuan-da-shan-xi-san-zhen-tu-202-yi-ming-216441","宣大山西三镇图-202","青绿设色晕染层叠峰峦，关隘壁垒与城防工事错落其间，蒙古包、巡骑点缀，鲜活还原北疆戍守图景。左侧题跋详述防务细节：城墙规制、粮饷转运、屯田事宜，文字与舆图互证，既藏军事档案的严谨，又含传统绘画的雅致韵致。线条简练却精准勾勒地理脉络，色彩古朴温润，于壮阔边疆景致里，暗蕴戍边战略智慧。作品融实用与审美于一体，是兼具文献价值与艺术魅力的珍贵遗存，尽显传统舆图的独特韵味与历史厚重感。",[23,24,7,27,26,95,28,29,663,69101,105,12314,101,758,81749],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd251369110476e168d43f27799191c4a.jpg",[],{"id":114149,"slug":114150,"title":114151,"dynasty":124,"author":223,"museum":300,"description":114152,"tags":114153,"thumbUrl":114154,"material":173,"size":84,"collection":84,"collections":114155,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216440,"xuan-da-shan-xi-san-zhen-tu-199-yi-ming-216440","宣大山西三镇图-199","此图以细密小楷缀于舆地间，将宣大山西三镇边防图景徐徐铺展。文字详载河防距度、兵备配置与城堡兴修细节——“河距二百里”的精准丈量，“兵三千”的严谨调度，“城堡兴修”的规划考量，处处彰显边镇防御的周密。笔墨间凝注着戍边者的筹谋，每一处标注皆为疆土安危的注脚，既承载实用的军事舆图功能，更藏着明代边镇治理的鲜活印记，静静诉说着那段守土卫国的沉厚岁月。",[23,805,7,64,572,5459,6369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58ed5b1ad89b2886ca86e68e109bdd09.jpg",[],{"id":114157,"slug":114158,"title":114159,"dynasty":124,"author":223,"museum":300,"description":114160,"tags":114161,"thumbUrl":114162,"material":173,"size":84,"collection":84,"collections":114163,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216438,"xuan-da-shan-xi-san-zhen-tu-203-yi-ming-216438","宣大山西三镇图-203","青绿设色的山峦叠嶂间，蓝绿晕染出苍茫边地气象，既有山水写意的韵致，又暗藏舆图的方位肌理。中间“朔州卫”题框醒目，周边散落的符号似烽燧、驿站，勾连起边镇防务的地理脉络。左侧古朴小楷详注卫所沿革与山川形胜，图文互证，实用与雅致兼具。笔墨将军事舆图的严谨与传统绘画的意趣相融，青绿色泽经岁月沉淀仍温润可观，字里行间藏着明代边镇的战略格局，是窥见当时边防体系与舆图艺术的珍贵窗口。",[23,24,7,27,26,29,57836,208,64,663,228,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8526d452f0b5dc4f65824d6dd8982567.jpg",[],{"id":114165,"slug":114166,"title":114167,"dynasty":124,"author":223,"museum":300,"description":114168,"tags":114169,"thumbUrl":114170,"material":173,"size":84,"collection":84,"collections":114171,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216435,"xuan-da-shan-xi-san-zhen-tu-207-yi-ming-216435","宣大山西三镇图-207","青绿设色的山峦如黛，层叠环绕着中央的贾家堡城寨。夯土围垣与防御工事勾勒出边塞要塞的肃穆，城寨方正矗立，似守望着一方安宁。左侧细密的小楷文字，详载此地的地理脉络与戍守旧事。图文相契，以写意山水铺展空间格局，用严谨文字补注军事民生细节，将明代边防重镇的沉雄气息凝于纸间。古朴笔触里藏着历史的厚重，青绿晕染中透着戍边的沧桑，既是地理信息的直观呈现，亦是边塞岁月的无声叙事。",[23,24,7,59,26,27,64,29,30,758,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F272a877f31f11456e2afc48279f59d9f.jpg",[],{"id":114173,"slug":114174,"title":114175,"dynasty":124,"author":223,"museum":300,"description":114176,"tags":114177,"thumbUrl":114178,"material":173,"size":84,"collection":84,"collections":114179,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216434,"xuan-da-shan-xi-san-zhen-tu-208-yi-ming-216434","宣大山西三镇图-208","画面右半以青绿设色绘山峦，峰峦叠嶂间云雾轻笼，勾勒边塞地形之险峻。水泉营标识醒目，道路蜿蜒穿山谷过平原，营垒据点隐约其间，既具地理方位的纪实性，又含传统山水画的悠远意境。左半题跋文字规整，与图绘互补，传递地域沿革与军事信息。整体画风古朴雅致，青绿设色沉稳，线条简练却精准，将边塞的雄浑气象与地理的严谨记录融于一卷。此作是明代军事舆图中实用与艺术价值兼具的代表，展现了当时对边疆地理的认知深度与绘事技艺的独特融合。",[23,24,7,26,27,29,64,663,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F427a8e511647d20f93c97e6dc3b2f73a.jpg",[],{"id":114181,"slug":114182,"title":114183,"dynasty":124,"author":223,"museum":300,"description":114184,"tags":114185,"thumbUrl":114186,"material":173,"size":84,"collection":84,"collections":114187,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216433,"xuan-da-shan-xi-san-zhen-tu-206-yi-ming-216433","宣大山西三镇图-206","画面分左右两帧，左帧墨笔小楷细密如织，详述边塞地理沿革与戍防旧事，笔致端谨；右帧以青蓝晕染峰峦，赭石勾勒路径，将层叠山川、蜿蜒道路、营垒烽燧与“得胜堡”城垣一一铺展。峰峦间营帐错落，人马往来，或驰或驻，炊烟袅袅隐现于林麓，既显边塞的雄浑苍凉，又藏生活的细腻温情。图文相映成趣，既为实用的舆图纪实，亦属饱含历史温度的艺术佳作，于古朴纸页间，再现往昔边塞的风云激荡与日常烟火。",[23,24,7,27,26,29,96,101,12314,111,95,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2311f6ff987a9524ea524b24297faea.jpg",[],{"id":114189,"slug":114190,"title":114191,"dynasty":124,"author":223,"museum":300,"description":114192,"tags":114193,"thumbUrl":114194,"material":173,"size":84,"collection":84,"collections":114195,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216432,"xuan-da-shan-xi-san-zhen-tu-209-yi-ming-216432","宣大山西三镇图-209","画面右侧以青绿设色绘山峦，造型概括有神韵，浅赭底色衬出地形脉络，长城蜿蜒其间，“独石堂”标注点明关键节点。左侧文字详述地理沿革与防务事宜，笔墨工整，叙事详实。整体画风古朴，设色淡雅却层次分明，线条流畅勾勒山川与城防。文字与图像互补，既体现边防地理的严谨性，又蕴含传统舆图的艺术韵味，兼具实用与文献价值，是研究明代边防体系与舆图绘制艺术的珍贵遗存。",[23,24,7,26,27,29,64,690,18265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3838cc0b0a295ef4402eaf57ad61b918.jpg",[],{"id":114197,"slug":114198,"title":114199,"dynasty":124,"author":223,"museum":300,"description":114200,"tags":114201,"thumbUrl":114202,"material":173,"size":84,"collection":84,"collections":114203,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216431,"xuan-da-shan-xi-san-zhen-tu-210-yi-ming-216431","宣大山西三镇图-210","画面左部竖排文字细密如织，与右侧青绿山水图景相映成趣。层叠山峦以青蓝浓淡晕染，兼具地理写实与山水画意；山间小径蜿蜒，城邑标识清晰，勾勒出边防要地的脉络。文字与图像交织，既承载军事地理实用信息，又以古朴设色与线条，传递明代边塞图籍的沉厚质感——严谨舆图功能里，藏着文人画雅致余韵，似能窥见彼时边关防务与山河形胜的交融图景。",[23,24,7,26,27,29,64,59,132,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd85405e05f2df489fcde239611ec021d.jpg",[],{"id":114205,"slug":114206,"title":114207,"dynasty":124,"author":223,"museum":300,"description":114208,"tags":114209,"thumbUrl":114210,"material":173,"size":84,"collection":84,"collections":114211,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216429,"xuan-da-shan-xi-san-zhen-tu-214-yi-ming-216429","宣大山西三镇图-214","画面分左右两帧，右帧以青绿设色晕染峰峦，层叠山峦间嵌“殺胡城”标识，蜿蜒小径穿行其间，尽显边塞地形之险；左帧墨书详述城邑沿革与地理态势，字迹古朴端正，与图绘互为表里。整体画风兼具实用与艺术质感，青绿与靛蓝交织的山峦晕染层次分明，既勾勒出边塞雄峻风貌，又暗含军事地图的严谨。文字与图像的融合，似一扇窗扉，让人窥见古时边防重镇的战略考量与地理风貌，尽显古图的独特韵味。",[23,24,7,27,26,29,7068,64,95,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfaeaeaf2a5727cca03c31cd804a19b5.jpg",[],{"id":114213,"slug":114214,"title":114215,"dynasty":124,"author":223,"museum":300,"description":114216,"tags":114217,"thumbUrl":114219,"material":173,"size":84,"collection":84,"collections":114220,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216427,"xuan-da-shan-xi-san-zhen-tu-212-yi-ming-216427","宣大山西三镇图-212","青绿山峦层叠环抱，中央镇堡清晰标识，构图对称而富有空间层次。设色古朴雅致，以青绿晕染山峦，线条勾勒轮廓，兼具地理舆图的精准与传统绘画的审美意趣。左侧题跋文字与右侧图像相映成趣，既承载军事防御的地理信息，又通过山水意境的营造，展现明代舆图艺术的独特风貌。整幅作品将实用与美学巧妙融合，是研究当时边镇防御体系与艺术表现手法的珍贵实例，笔墨间流露着对边地山川与军事重镇的细致描摹。",[23,24,7,29,26,27,133,64,496,114218],"城塞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0999da4b359dca18abdae43a685ea779.jpg",[],{"id":114222,"slug":114223,"title":114224,"dynasty":124,"author":223,"museum":300,"description":114225,"tags":114226,"thumbUrl":114227,"material":173,"size":84,"collection":84,"collections":114228,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216425,"xuan-da-shan-xi-san-zhen-tu-219-yi-ming-216425","宣大山西三镇图-219","这幅图将舆图纪实与山水意趣相融。右侧以青绿晕染山峦，层叠间见丘壑之致，线条简练却勾勒出地形肌理；城邑标注清晰，周边防线与零星人马活动，生动再现边防态势。左侧题跋以工整笔墨详述地理沿革与军事布局，图文互证，兼具实用价值与文献意义。整体画风古朴雅致，墨色与青绿相映成趣，既恪守舆图的纪实性，又暗合传统山水画的意境营造，是窥见明代边防格局与古舆图艺术特质的珍贵载体。",[23,24,7,25,27,29,96,101,496,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aed27399c1e83e6404f620ac32fc449.jpg",[],{"id":114230,"slug":114231,"title":114232,"dynasty":124,"author":223,"museum":300,"description":114233,"tags":114234,"thumbUrl":114235,"material":173,"size":84,"collection":84,"collections":114236,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216424,"xuan-da-shan-xi-san-zhen-tu-215-yi-ming-216424","宣大山西三镇图-215","画面分左右两轴，左为墨书文字，右为青绿山水舆图。右图以淡彩晕染山峦，峰峦叠嶂间云雾轻笼，道路蜿蜒穿插，“守场堡”标注清晰醒目，兼具地理精度与写意韵味；左文行楷工整，墨色沉厚，记述当与边镇防务相关，字迹古朴流畅。图文相契，既展现边疆地理风貌，又将军事舆图的实用性与传统绘画的意境美融合，于严谨中见灵动，让疆域轮廓承载人文温度，折射出彼时边镇防御的历史语境，尽显古代舆图绘制的匠心巧思。",[23,24,7,26,27,29,133,97985,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7154088a9d845e12c1bbf67d17461790.jpg",[],{"id":114238,"slug":114239,"title":114240,"dynasty":124,"author":223,"museum":300,"description":114241,"tags":114242,"thumbUrl":114243,"material":173,"size":84,"collection":84,"collections":114244,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216423,"xuan-da-shan-xi-san-zhen-tu-216-yi-ming-216423","宣大山西三镇图-216","青绿染就的峰峦如翠屏列峙，皴擦间显地形险厄。蜿蜒道路穿梭山谷，桥梁横架溪涧，关隘标注点睛，暗合军事防御的缜密布局。左侧蝇头小楷详述地理沿革与戍守要略，图文相契，既是实用边镇舆图，又具文人画雅致韵致。线条古朴简练，设色清雅沉静，边塞雄浑与绘图精细融于一纸，尽显明代舆图实用与审美兼备之妙，于笔墨间藏边地防务的深谋远虑。",[23,24,7,27,26,29,96,101,98,99,131,34,111,208,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6c00de953b33f00d92dab7e51ce0213.jpg",[],{"id":114246,"slug":114247,"title":114248,"dynasty":124,"author":223,"museum":300,"description":114249,"tags":114250,"thumbUrl":114251,"material":173,"size":84,"collection":84,"collections":114252,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216422,"xuan-da-shan-xi-san-zhen-tu-218-yi-ming-216422","宣大山西三镇图-218","画面左列墨笔题跋，详述堡寨沿革与地理形胜；右侧以青绿晕染山峦，层叠错落如翠嶂环列。中央“马坊堡”方城清晰，城垣勾勒简洁，与周遭山道、丘壑相映，既存舆图之实用精准，亦含山水之雅致韵致。青绿设色温润古朴，山石造型稚拙中见意趣，文字与图像互证，将军事要地的地理信息与传统绘画面貌融于一卷。于纪实中藏笔墨情味，在规制里见艺术巧思，尽显明代边塞舆图的独特风貌——既是戍边经略的载体，亦是笔墨传神的画卷。",[23,24,7,27,26,95,29,663,758,57836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d07e162ef6f685c32f229279858e824.jpg",[],{"id":114254,"slug":114255,"title":114256,"dynasty":124,"author":223,"museum":300,"description":114257,"tags":114258,"thumbUrl":114259,"material":173,"size":84,"collection":84,"collections":114260,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216420,"xuan-da-shan-xi-san-zhen-tu-221-yi-ming-216420","宣大山西三镇图-221","这幅作品以舆图为底，右侧满布蝇头小楷，详载宣大山西三镇的疆域沿革、关隘分布与兵防配置。字迹规整严谨，信息翔实如卷，将明代北边防御要地的地理脉络与军事布局一一铺陈。它不仅是一幅地理图籍，更藏着彼时边防的战略考量：从关隘疏密到兵力部署，字里行间皆见明代对北疆安危的深谋远虑。作为兼具实用与史料价值的遗存，它为后世触摸明代军事地理提供了直观珍贵的参照，让那段关乎边疆稳固的历史，在笔墨间清晰可感。",[23,24,7,59,128,572,64,95,7068,690,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0789e86dc164a3c32cc4f2c6a6a7116d.jpg",[],{"id":114262,"slug":114263,"title":114264,"dynasty":124,"author":223,"museum":300,"description":114265,"tags":114266,"thumbUrl":114267,"material":173,"size":84,"collection":84,"collections":114268,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216418,"xuan-da-shan-xi-san-zhen-tu-224-yi-ming-216418","宣大山西三镇图-224","此图分图文两域，左录详实注记，详述边镇地理形胜与防御布局；右绘彩绘舆图，以简洁线条勾连道路城邑，青绿晕染山峦，城郭以方框标示，烽燧关隘星罗棋布。图文相契，既为边防要务提供实用参考，亦显明代舆图绘制之独特意趣——不泥于精确比例，而重地理要素之示意与军事信息之传达。古朴笔触与淡雅设色间，藏着明代边镇防务的缜密考量，是研究当时北部边防与舆图艺术的珍贵遗存。",[23,24,7,27,26,29,496,34,690,35165,758,111,95,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaffaba8bf2ea81b49626873d183027b.jpg",[],{"id":114270,"slug":114271,"title":114272,"dynasty":124,"author":223,"museum":300,"description":114273,"tags":114274,"thumbUrl":114275,"material":173,"size":84,"collection":84,"collections":114276,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216417,"xuan-da-shan-xi-san-zhen-tu-226-yi-ming-216417","宣大山西三镇图-226","古纸泛黄如陈年素笺，墨色沉敛间，细密楷书罗列疆域、军防、屯垦之数，笔致端谨如刻，每一字皆似凝结着边关的风霜。文字间藏着戍防筹策：疆域广狭、营垒分布、粮草贮备，一一清晰，仿佛能窥见当年守将案头的深思。这不仅是一纸舆图的注记，更是明代边防智慧的载体——那些关于山河固守的细节，在泛黄纸页上静静流淌，传递着历史深处的家国情怀。纸张纹理与墨字交错，岁月厚重感扑面而来，每处墨迹都在诉说曾经的守御故事。",[23,24,7,64,572,128,27,29,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50168e41289f94a1b9c7f6e6fa81787b.jpg",[],{"id":114278,"slug":114279,"title":114280,"dynasty":124,"author":223,"museum":300,"description":114281,"tags":114282,"thumbUrl":114283,"material":173,"size":84,"collection":84,"collections":114284,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216416,"xuan-da-shan-xi-san-zhen-tu-223-yi-ming-216416","宣大山西三镇图-223","右侧青绿山峦层叠，粉晕“雁门关”关隘居于中央，山间小径蜿蜒、屋舍错落，兼具地理精准与山水逸韵。左侧墨书题跋详述关隘沿革、方位里程，图文相契，是明代军事舆图的典型样貌。设色古雅沉静，山石以青绿晕染显层次；线条简练却勾画出丘壑之势。整幅融实用测绘与传统绘艺于一炉，既为边防经略提供依据，亦彰显明代舆图独特的艺术表现力，是研究当时军事地理与视觉文化的可贵遗存。",[23,24,7,26,27,28,29,663,228,758,130,111,208,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F859ff1eebab2301b2865617223626d7b.jpg",[],{"id":114286,"slug":114287,"title":114288,"dynasty":124,"author":223,"museum":300,"description":114289,"tags":114290,"thumbUrl":114292,"material":173,"size":84,"collection":84,"collections":114293,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216414,"xuan-da-shan-xi-san-zhen-tu-227-yi-ming-216414","宣大山西三镇图-227","画面分左右两帧，右帧以青绿设色勾勒山川脉络，宣府城居于核心，城垣清晰，四周峰峦错落，道路蜿蜒串联村落与关隘，尽显边塞重镇的地理格局。左帧以工整小楷详述边镇防务，文字与舆图互补，将军政部署与自然地貌交织呈现。线条简练精准，色彩古朴雅致，青绿山水与城郭标注相映成趣，既具实用的舆图功能，又含艺术的写意韵味。作品融边塞战略地位与自然风貌于一纸，是明代边防舆图中兼具史料价值与艺术美感的佳作，绘制者对边镇地理的熟稔与严谨态度跃然纸上。",[23,24,7,114291,26,27,29,35165,51905,149,572,76154,95],"舆图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36e5915793e19d7afeb5e4c27b56e009.jpg",[],{"id":114295,"slug":114296,"title":114297,"dynasty":124,"author":223,"museum":300,"description":114298,"tags":114299,"thumbUrl":114300,"material":173,"size":84,"collection":84,"collections":114301,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216409,"xuan-da-shan-xi-san-zhen-tu-231-yi-ming-216409","宣大山西三镇图-231","左侧蝇头小楷详述地理沿革与军事要冲，文字严谨如尺牍，织就边防脉络；右侧以青绿设色晕染山峦，简洁符号标注关隘堡寨，线条古朴似简笔，勾勒边塞格局。图文互释，实用与审美兼具——既为记录地域风貌的舆图，亦含写意山水的韵致。泛黄纸页间，古朴色彩与细密文字相映，藏着往昔边塞的风云脉动，是触摸历史地理的珍贵视觉载体。",[23,24,7,27,95,29,758,57836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F586f4bfdbe76a337907f83f8c18924bf.jpg",[],{"id":114303,"slug":114304,"title":114305,"dynasty":124,"author":223,"museum":300,"description":114306,"tags":114307,"thumbUrl":114308,"material":173,"size":84,"collection":84,"collections":114309,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216408,"xuan-da-shan-xi-san-zhen-tu-233-yi-ming-216408","宣大山西三镇图-233","画面分左右二域，右以青绿设色绘山川城郭，层叠山峦用墨线勾脊，青蓝晕染肌理，归化城居于丘塬之上，周遭路径蜿蜒，串联四方烽燧，尽显边防重镇的地理态势；左列小楷详述其方位与战略要义，笔墨端整，图文互证。整体兼具舆图的实用价值与绘画的审美意趣，古朴雅致中承载着明代边防的历史记忆，是研究军事地理与传统舆图艺术的珍贵遗存。",[23,24,7,27,26,29,59,133,663,31,7068,690,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d7610432af7c5d09c426869a8f4a333.jpg",[],{"id":114311,"slug":114312,"title":114313,"dynasty":124,"author":223,"museum":300,"description":114314,"tags":114315,"thumbUrl":114316,"material":173,"size":84,"collection":84,"collections":114317,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216407,"xuan-da-shan-xi-san-zhen-tu-235-yi-ming-216407","宣大山西三镇图-235","这页边防纪要以墨笔书就，是明代宣大山西三镇防御体系的生动载体。文字间详列兵力员额、堡寨分布、山川关隘等细节，如驻军数量、堡名方位、地形险易，皆清晰可考。字里行间透着边地防御的缜密筹谋，既为军事部署的实用记录，亦折射出明廷对北疆安危的深切考量。朴素笔墨下藏着边塞安宁的历史密码，是研究明代边防与地域军事地理的珍贵一手资料，让远去的边镇防御图景在文字中渐次鲜活。",[23,24,7,64,95,572,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff33aa695a75abccf12b705600a1ed3d0.jpg",[],{"id":114319,"slug":114320,"title":114321,"dynasty":124,"author":223,"museum":300,"description":114322,"tags":114323,"thumbUrl":114324,"material":173,"size":84,"collection":84,"collections":114325,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216401,"xuan-da-shan-xi-san-zhen-tu-240-yi-ming-216401","宣大山西三镇图-240","青绿设色晕染山峦，层叠起伏间云雾轻笼，勾勒出边塞的苍茫气象。画面中央“永代堡”醒目，周边烽燧、关隘标记错落，军事地理信息隐于山水意境。左侧题跋与右侧图像互文，既是实用的舆图记录，又兼具传统山水画的笔墨意趣，在写实与写意间达成巧妙平衡，既承载着历史的厚重，又流露着艺术的雅致，尽显其独特的双重价值。",[23,24,7,27,26,28,95,133,29,496,98,37,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F503be16ffe8bed85a96b41f589560823.jpg",[],{"id":114327,"slug":114328,"title":114329,"dynasty":124,"author":223,"museum":300,"description":114330,"tags":114331,"thumbUrl":114332,"material":173,"size":84,"collection":84,"collections":114333,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216400,"xuan-da-shan-xi-san-zhen-tu-239-yi-ming-216400","宣大山西三镇图-239","画面以图文相辅的形式铺展，右侧绘青绿山峦错落，蜿蜒路径串联起标注“宣府镇”“大同镇”的城邑，墨线勾勒与淡彩晕染间，尽显边镇地理的疏密格局；左侧墨书详述区域沿革与防御态势，字迹规整凝练。整体风格古朴雅致，既承载军事舆图的实用功能，又蕴藉明代绘画的艺术意趣，生动映现当时的边防布局与地理认知，是触摸明代边镇历史脉络的珍贵视觉遗存。",[23,24,7,27,26,29,35165,31,64,208,4437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30e6db5a38f54f5e0d48bca74ea74bf8.jpg",[],{"id":114335,"slug":114336,"title":114337,"dynasty":124,"author":223,"museum":300,"description":114338,"tags":114339,"thumbUrl":114340,"material":173,"size":84,"collection":84,"collections":114341,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216398,"xuan-da-shan-xi-san-zhen-tu-244-yi-ming-216398","宣大山西三镇图-244","此卷以图文交织之态，铺展明代宣大山西三镇的边防肌理。文字间尽是边镇实务：城垣修缮的工能考量、军备存储的细致规束、边民生计的点滴描摹，每一笔都叩击着明廷北边防御的神经。虽无作者署名，然其对边镇运作的精准刻画，足见绘者深谙戍防之道。\n\n它是明代九边军事体系的微观切片——从城防砖石的肌理到戍卒值守的日常，从边贸隐现的脉络到军情传递的暗线，皆化为卷上鲜活印记。于今观之，仍能带领观者穿越时空，触摸那个时代戍边的艰辛与边防体系的智慧。它不仅是地理图籍的分支，更是一段段边防往事的无声见证，历史重量与人文温度历久弥新。",[23,7,64,572,95,128,59,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F104c887c86cf2587bac8c395ea0b9609.jpg",[],{"id":114343,"slug":114344,"title":114345,"dynasty":124,"author":223,"museum":300,"description":114346,"tags":114347,"thumbUrl":114348,"material":173,"size":84,"collection":84,"collections":114349,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216396,"xuan-da-shan-xi-san-zhen-tu-246-yi-ming-216396","宣大山西三镇图-246","纸页泛着旧时光的暖黄，墨痕与朱印错落其间，似在低语边镇往昔的风云。细观文字，或勾勒山川隘口的形胜，或详述戍守布防的筹谋，每一笔都系着明时疆土的安稳考量。斑驳肌理如岁月履痕，将边地的烽烟气、戍卒的守望意凝于方寸纸端。无需喧哗，只凭这古朴的纸色、沉敛的笔墨，便足以让今人品读时触碰到历史的厚重温度，窥见那段与家国安危共生的边镇记忆。",[23,24,7,95,208,64,133,5459,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0562030f3a6a1ccda826d182fd6811.jpg",[],{"id":114351,"slug":114352,"title":114353,"dynasty":54,"author":223,"museum":77,"description":84301,"tags":114354,"thumbUrl":114355,"material":66,"size":84,"collection":84,"collections":114356,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216237,"shi-quan-tu-ce-7-yi-ming-216237","十犬图册-7",[23,24,7,59,27,28,949,9119,29,663,1314,6640,133,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42821c2ded2f3c0a5df350ae387cd3da.jpg",[],{"id":114358,"slug":114359,"title":114360,"dynasty":54,"author":223,"museum":77,"description":84301,"tags":114361,"thumbUrl":114362,"material":66,"size":84,"collection":84,"collections":114363,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216236,"shi-quan-tu-ce-8-yi-ming-216236","十犬图册-8",[23,24,7,59,27,28,5490,9119,949,6640,663,413,133,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6e3a8912712fcfcbc24300e48f97c67.jpg",[],{"id":114365,"slug":114366,"title":114367,"dynasty":54,"author":223,"museum":300,"description":114368,"tags":114369,"thumbUrl":114370,"material":173,"size":84,"collection":84,"collections":114371,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216198,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-1-ce-2-yi-ming-216198","职贡图巨幅彩绘册页第1册-2","彩绘册页以细腻笔触勾勒，设色温润雅致。画面铺展各族群朝贡图景：衣冠形制各异，或锦绣华服缀以纹饰，或简素袍带衬出质朴，器物陈设别具地域风情，每一处细节皆藏文化印记。线条工致如丝，将使者的恭谨姿态、贡物的鲜活形态娓娓道来——既显王朝威仪下的庄重邦交，又含多民族相遇时的人文温度。绘卷似一扇窗，叩开清代多民族交融与边疆邦交的岁月图景，让远去的往来故事在色彩与线条间静静流淌，成为触摸彼时社会风貌的生动注脚。",[23,24,7,59,27,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29a731aa1921cab6d377c281ee9d4ec2.jpg",[],{"id":114373,"slug":114374,"title":114375,"dynasty":54,"author":223,"museum":300,"description":114376,"tags":114377,"thumbUrl":114378,"material":173,"size":84,"collection":84,"collections":114379,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216195,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-1-ce-8-yi-ming-216195","职贡图巨幅彩绘册页第1册-8","这幅彩绘册页笔墨生动，以浓淡相宜的色彩铺陈邦交图景，细腻线条勾勒异域风情与朝贡百态。人物衣饰纹理毕现，神情鲜活传神，从发饰器物到姿态互动，皆见匠心。晕染层次分明，既守纪实之严谨，又含艺术之灵动，仿佛能触到彼时的交流温度与生活气息。多元文化的描摹藏于尺幅间，传统绘画的韵味与时代印记交融，尽显这幅作品的历史价值与艺术魅力。",[23,24,7,59,27,28,96,170,572,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9cef55baa485d5491dddf9673748d90.jpg",[],{"id":114381,"slug":114382,"title":114383,"dynasty":54,"author":223,"museum":300,"description":114384,"tags":114385,"thumbUrl":114386,"material":173,"size":84,"collection":84,"collections":114387,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216187,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-1-ce-14-yi-ming-216187","职贡图巨幅彩绘册页第1册-14","这幅彩绘册页以细腻笔触勾勒出两位人物的鲜活形象。左侧人物身着蓝衫配橙黄纹裙，黑裳覆足，手持花枝似欲呈献；右侧人物白衣宽袖，衣间星点若隐，紫裤轻露，抬手回应间神态温和。衣袂纹饰、发式细节皆刻画入微，尽显不同地域的服饰特色与生活气息。画面传递出友好交流的氛围，既是对彼时民族往来场景的生动记录，亦以精湛的设色与造型，展现了清代彩绘艺术捕捉人物神韵与文化风貌的独特功力。",[23,24,7,59,27,28,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e81ba30fda69bcc0517b002e6e434db.jpg",[],{"id":114389,"slug":114390,"title":114391,"dynasty":54,"author":223,"museum":300,"description":114392,"tags":114393,"thumbUrl":114394,"material":173,"size":84,"collection":84,"collections":114395,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216181,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-1-ce-19-yi-ming-216181","职贡图巨幅彩绘册页第1册-19","画面绘两位异域人物，左侧着青绿上衣、粉红下裙，肩披红巾手提竹篮，姿态自然；右侧红衣绿袖，持杖而立，服饰色彩鲜明，尽显异域风情。人物形象生动，笔触细腻，背景文字说明兼具艺术价值与历史意义。此作展现清代对异域族群的观察，是研究当时文化交流与族群形象的珍贵视觉资料，古朴色彩中传递多元文化交融的印记。",[23,24,7,59,28,27,96,170,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfa42c109215316a33bac060a396deae.jpg",[],{"id":114397,"slug":114398,"title":114399,"dynasty":54,"author":223,"museum":300,"description":114400,"tags":114401,"thumbUrl":114402,"material":173,"size":84,"collection":84,"collections":114403,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216160,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-1-ce-43-yi-ming-216160","职贡图巨幅彩绘册页第1册-43","册页铺展，边疆各族与外邦使节的风貌如鲜活图景次第绽开。彩绘笔触细腻入微，衣袂间的刺绣纹样、腰间佩饰的形制，皆精准勾勒不同族群的文化特质；人物神态各异，或携贡物肃立，或执礼器相向，传递出朝贡场景的庄重与生动。巨幅尺幅容得下丰富层次，从服饰色彩的浓淡晕染到器物细节的精描，皆见匠心。它既是艺术创作，更是清代民族交往与中外交流的视觉注脚，每一处彩绘都藏着彼时的文化脉络，让遥远的风土人情在纸页间悄然重生。",[23,24,7,59,27,28,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F234886165821f9cea60c29ddb0a895eb.jpg",[],{"id":114405,"slug":114406,"title":114407,"dynasty":54,"author":223,"museum":300,"description":114408,"tags":114409,"thumbUrl":114410,"material":173,"size":84,"collection":84,"collections":114411,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216156,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-1-yi-ming-216156","职贡图巨幅彩绘册页第2册-1","彩绘铺展间，族群群像跃然纸上。工笔细描的衣饰纹样，藏着地域风土的密码；器物上的斑驳肌理，凝着跨域交流的印记。人物神态各异，或恭谨执礼，或从容携物，每一处细节都在诉说边疆与中原的牵系。巨幅尺幅承载的不仅是斑斓色彩，更是清代多民族共处的生动切片。它以视觉语言定格朝贡场景，让那些远去的身影在笔墨中鲜活，成为映照时代格局与文化交融的珍贵镜鉴。笔触勾连起族群轮廓，色彩晕染出时代温度，每一笔都似在低语：这是多元文化的交响，是历史深处的鲜活注脚。",[23,24,7,59,27,96,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F464699159df4a04c4693604e07b19fb4.jpg",[],{"id":114413,"slug":114414,"title":114415,"dynasty":54,"author":223,"museum":300,"description":114416,"tags":114417,"thumbUrl":114418,"material":173,"size":84,"collection":84,"collections":114419,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216151,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-7-yi-ming-216151","职贡图巨幅彩绘册页第2册-7","此幅册页以双栏呈现，右为端雅楷书，左为流畅满文，笔墨规整间见文书之庄重。文字内容关乎朝贡诸事，记载详实入微，似在勾勒清代边疆与中央的联系脉络。古朴的纸张纹理承载着往昔民族交流的印记，每一笔都藏着那个时代疆域治理与文化交融的温度，静静诉说着邦交往来的故事，是历史与笔墨艺术交织的珍贵载体。",[23,24,7,59,572,64,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb70b43b0210b3f717014d8bdd696a9fe.jpg",[],{"id":114421,"slug":114422,"title":114423,"dynasty":54,"author":223,"museum":300,"description":114424,"tags":114425,"thumbUrl":114426,"material":173,"size":84,"collection":84,"collections":114427,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216150,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-8-yi-ming-216150","职贡图巨幅彩绘册页第2册-8","笔墨端凝规整，墨色沉厚匀净，尽显清代书风的谨严气象。文字铺陈四方来朝之盛景，“外梯航奉”“东西殊俗纪共球”等句，勾勒疆域一统、万邦臻聚的恢弘图景，字里行间流淌着对盛世朝贡体系的颂赞。行笔间见馆阁体的端庄雅正，排布疏朗有致，与职贡图主题相契。每一字皆含历史厚重感，既为书法佳作，亦为当时邦交盛事的文字注脚，图文互映间，尽显时代的恢弘与雅韵。",[23,304,572,208,64,59,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29148f7ff3c435279214060d63b4a96f.jpg",[],{"id":114429,"slug":114430,"title":114431,"dynasty":54,"author":223,"museum":300,"description":114432,"tags":114433,"thumbUrl":114434,"material":173,"size":84,"collection":84,"collections":114435,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216138,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-18-yi-ming-216138","职贡图巨幅彩绘册页第2册-18","画面以工笔彩绘铺陈，人物情态鲜活生动。左侧者身披缀羽兽皮，腰束蓝带，赤足而立，神态从容沉稳；右侧者着青绿草裙，手持器物，腰间佩刀，姿态自在舒展。线条细腻勾勒身形与衣物质感，兽皮的蓬松、草裙的柔韧皆跃然纸上；设色淡雅古朴，色调和谐中见层次。留白处题识与图像相映，似为族群风俗注记，承载着对边疆风貌的细致观察。作品兼具纪实性与艺术性，既是形象的民俗志，亦折射出当时多元文化交流的图景，笔墨间藏着对异域风情的描摹与人文温度。",[23,24,7,59,27,28,96,1367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb02a8c68a9a1c9346c31571b4fd18c3e.jpg",[],{"id":114437,"slug":114438,"title":114439,"dynasty":54,"author":223,"museum":300,"description":114440,"tags":114441,"thumbUrl":114442,"material":173,"size":84,"collection":84,"collections":114443,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216135,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-24-yi-ming-216135","职贡图巨幅彩绘册页第2册-24","画面分左右两帧，各绘人物一。左帧女子着绛红长袍，裙摆缀紫蓝纹样，尖顶软帽下长发垂落，身姿温婉；右帧男子一袭橙黄织纹长衣，腰束白绦，红顶小帽衬络腮胡须，神态悠然。人物衣饰细节丰盈，色彩沉稳雅致，线条流畅精准，将地域服饰风貌与情态刻画得形神毕肖。旁侧题跋文字似为风俗记录，与图像相映成趣，尽显清代绘事对异域风情的细致描摹，亦折射出当时民族交流的鲜活图景。笔墨间藏着对多元文化的观照，每一处衣纹褶皱都凝着绘者的用心，让久远的风情在纸页上鲜活如初。",[23,24,7,59,27,28,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd10271015910341594922f2836842b5.jpg",[],{"id":114445,"slug":114446,"title":114447,"dynasty":54,"author":223,"museum":300,"description":114448,"tags":114449,"thumbUrl":114450,"material":173,"size":84,"collection":84,"collections":114451,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216133,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-27-yi-ming-216133","职贡图巨幅彩绘册页第2册-27","画面分绘二人，俱着长袍、顶红帽，尽显别样风貌。左侧者衣色深褐，身形微侧，右手抬举似持物，神态鲜活灵动；右侧者衣呈玄黑，腰间束彩绦流苏，须髯垂面，姿态沉稳庄重。笔触工细，婉转勾勒衣褶纹理，设色古朴雅致，于细微处见人物性情与服饰特色。此作不仅是形象记录，更藏着彼时民族交往的鲜活印记，以细腻笔墨留存独特文化风貌。",[23,24,7,59,27,28,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0fb5d81fff6cefd51b94033d6c31ef8.jpg",[],{"id":114453,"slug":114454,"title":114455,"dynasty":54,"author":223,"museum":300,"description":114456,"tags":114457,"thumbUrl":114458,"material":173,"size":84,"collection":84,"collections":114459,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216132,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-29-yi-ming-216132","职贡图巨幅彩绘册页第2册-29","画面绘两位人物，左侧着青绿色宽袖长袍，长发垂肩，衣袂轻扬间神态闲雅；右侧深褐长袍束蓝带，尖顶帽下须髯分明，身姿稳健尽显质朴。人物衣纹线条细腻流畅，色彩晕染自然，衣料质感与褶皱层次皆生动可感。旁附题识，图文相映，精准记录边疆族群风貌。画作以写实笔触，传递出清代多民族交往的鲜活图景，兼具艺术审美与历史纪实价值，为研究当时民族服饰与文化交流提供了直观参照。",[23,24,7,59,28,27,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F261c990db8ebbce2e329df06dae58536.jpg",[],{"id":114461,"slug":114462,"title":114463,"dynasty":54,"author":223,"museum":300,"description":114464,"tags":114465,"thumbUrl":114466,"material":173,"size":84,"collection":84,"collections":114467,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216131,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-28-yi-ming-216131","职贡图巨幅彩绘册页第2册-28","画面分左右两帧，各绘人物一。左者着粉紫缠枝纹长袍，双辫垂肩，红帽束发，身姿温婉；右者衣明黄团花长褂，腰系彩绦，宝冠饰羽，神态端肃。笔触细腻，织物纹理与配饰精巧毕现，设色妍雅。旁附墨书注记人物身份习俗。画作以写实笔触捕捉族群服饰风貌与神情，既是清代民族文化交流的视觉见证，也彰显了当时绘画传神兼具的技艺，方寸间承载多元文化交融的生动图景。",[23,24,7,59,27,96,170,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf2616fe5c4024e6a67da8a5af7288e7.jpg",[],{"id":114469,"slug":114470,"title":114471,"dynasty":54,"author":223,"museum":300,"description":114472,"tags":114473,"thumbUrl":114474,"material":173,"size":84,"collection":84,"collections":114475,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216130,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-26-yi-ming-216130","职贡图巨幅彩绘册页第2册-26","画面绘两身异域装束的人物，左者着深褐长袍，衣袂垂坠间显沉稳，右手持物拢于袖中；右者蓝绿袍身缀细密纹样，腰束同色带，姿态恭谨。二人皆戴尖顶软帽，足蹬朱红履，衣饰细节见族群特色。旁附墨书题识，详述其族属风俗，图文互证，既具艺术观赏性，又为研究清代边疆族群交流提供鲜活图像佐证，尽显职贡图类作品“存形纪实”的价值。",[23,164,24,7,59,27,28,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bad60b0e70b14dd7fb04364718e8908.jpg",[],{"id":114477,"slug":114478,"title":114479,"dynasty":54,"author":223,"museum":300,"description":114480,"tags":114481,"thumbUrl":114482,"material":173,"size":84,"collection":84,"collections":114483,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216129,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-30-yi-ming-216129","职贡图巨幅彩绘册页第2册-30","画面绘两位人物，左侧者着翠绿暗纹长袍，朱履鲜明，头戴彩纹暖帽，手势舒展似在言说；右侧老者衣紫地浅点长褂，束素帛腰封，银髯垂胸，神态端凝。人物线条工细流畅，设色雅致明快，衣纹褶皱与帽饰细节皆刻画入微。旁附墨书题识，当是对人物身份、地域或习俗的注记。整幅画作既具艺术表现力，又承载着清代记录边疆民族风貌的历史意涵，以生动视觉语言再现彼时人文交流图景，是兼具审美价值与史料价值的绘画面卷。",[23,24,7,59,27,28,96,170,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9890c614ed9668b7860665da2ecdecdc.jpg",[],{"id":114485,"slug":114486,"title":114487,"dynasty":54,"author":223,"museum":300,"description":114488,"tags":114489,"thumbUrl":114490,"material":173,"size":84,"collection":84,"collections":114491,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216128,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-25-yi-ming-216128","职贡图巨幅彩绘册页第2册-25","画面分左右两帧，各绘一人。左者身着宝蓝色长袍，衣袂垂坠间线条流畅，头戴尖顶白帽，帽沿饰红边，身姿微侧，神情平和；右者着绛紫色长袍，腰间束带，同式白帽下露虬髯，足蹬黑靴，站姿稳健，神态端肃。二人服饰具鲜明地域特征，尖顶帽与宽袍尽显族群风貌。设色雅致温润，蓝紫二色对比和谐，线条勾勒细腻传神，人物姿态生动自然。背景留白简洁，衬出人物形象鲜明突出。画作以写实笔触描摹容貌服饰，传递清代对边疆族群的细致观察，尽显职贡图纪实性与艺术性，虽佚名却见功底，为研究清代民族文化提供直观参照。",[23,24,7,59,27,28,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0911c975d0845c58f4080d51a2b51317.jpg",[],{"id":114493,"slug":114494,"title":114495,"dynasty":54,"author":223,"museum":300,"description":114496,"tags":114497,"thumbUrl":114498,"material":173,"size":84,"collection":84,"collections":114499,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216127,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-35-yi-ming-216127","职贡图巨幅彩绘册页第2册-35","画面绘两立姿人物，左者着翠绿长袍，朱红腰束，下覆粉红裳，足蹬宝蓝靴，帽簪羽翎，神态温雅；右者裹青绿绒帽，披藏蓝厚袍，毛领环颈，足踏棕褐皮靴，腰间佩饰悬垂，面容沉毅。人物旁书墨笔注记，详述其族属风俗。画作线条细腻，设色明丽，衣纹褶皱自然，靴履配饰刻画入微，既显不同族群的服饰特色，亦传递出各自的精神气质，是清代边疆民族风貌的鲜活写照，尽显职贡图记录异域风情的独特价值。",[23,24,7,59,27,96,28,170,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3ba013da8f228118015f3395348a80f.jpg",[],{"id":114501,"slug":114502,"title":114503,"dynasty":54,"author":223,"museum":300,"description":114504,"tags":114505,"thumbUrl":114506,"material":173,"size":84,"collection":84,"collections":114507,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216126,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-33-yi-ming-216126","职贡图巨幅彩绘册页第2册-33","画面分左右两帧，各绘一人。左者着靛蓝长袍，交领微敞，衣袂垂坠自然，神态温婉娴静；右者披朱红宽衫，束素白腰带，头戴尖顶帽，须髯微张，姿态随性洒脱。人物线条勾勒细腻，衣纹褶皱流畅，色彩古朴雅致，尽显服饰质感与人物神韵。作为职贡图的一页，画作以写实笔触捕捉不同族群风貌，既是艺术的鲜活呈现，也暗藏彼时民族交流与文化互鉴的印记，静静诉说远去岁月里的人文故事。",[23,24,7,59,27,96,28,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d8583e5fecf3ee0c391a67d273b66af.jpg",[],{"id":114509,"slug":114510,"title":114511,"dynasty":54,"author":223,"museum":300,"description":114512,"tags":114513,"thumbUrl":114514,"material":173,"size":84,"collection":84,"collections":114515,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216125,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-31-yi-ming-216125","职贡图巨幅彩绘册页第2册-31","画面分左右二帧，各绘人物一躯。左帧女子身着紫袍，衣缘饰蓝紫渐变纹，袖口叠映彩边，发髻轻挽，神态温婉端凝，步履间似携江南柔韵。右帧男子头戴朱红尖顶帽，棕褐长袍裹身，腰间白巾飘垂，青蓝袖口微露，胡须疏朗，手势舒展，尽显边地民气之质朴。线条细劲流畅，设色清雅而不失鲜明，衣纹褶皱与配饰细节皆刻画入微，于方寸间勾勒出不同族群的服饰风貌与精神气质，暗合职贡图“存异俗之真”的初衷，是清代写实画风下民族文化交流的生动注脚。",[23,24,7,59,27,28,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd90ca0ccda67375cd30bd4f2c5d3d493.jpg",[],{"id":114517,"slug":114518,"title":114519,"dynasty":54,"author":223,"museum":300,"description":114520,"tags":114521,"thumbUrl":114522,"material":173,"size":84,"collection":84,"collections":114523,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216122,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-34-yi-ming-216122","职贡图巨幅彩绘册页第2册-34","画面呈现两幅人物肖像，左者衣饰层叠，蓝帽下露出青绿内衬，墨绿外袍垂坠，浅蓝裙摆衬布鞋，神态温婉沉静；右者红帽蓄须，棕褐长袍束绿带，蓝裤配黄靴，姿态随性自然。人物刻画细腻入微，衣纹线条流畅舒展，色彩古朴雅致，尽显清代职贡图对各族群服饰样貌的写实记录，传递出多元文化交融的生动气息，是研究当时民族交流的鲜活视觉资料。",[23,24,7,59,27,28,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8d8961dfd9028d70f1fc4e11e4a8123.jpg",[],{"id":114525,"slug":114526,"title":114527,"dynasty":54,"author":223,"museum":300,"description":114528,"tags":114529,"thumbUrl":114530,"material":173,"size":84,"collection":84,"collections":114531,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216121,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-37-yi-ming-216121","职贡图巨幅彩绘册页第2册-37","画面左侧女子衣袂轻扬，粉袍蓝履衬出温婉身姿，头饰精巧，眉眼含柔；右侧男子红衣绿裳，毡帽束腰，神情肃穆中透着质朴。笔墨细腻勾勒衣纹褶皱，设色雅致晕染人物神态，尽显清代绘事之工。旁附题识以墨笔书就，详述族群风貌，图文相映成趣。此作既为艺术佳构，更藏着清代多民族交往的鲜活印记——各族群的服饰特色、仪礼姿态凝于绢素，似在无声诉说彼时边疆与中原的文化交融，是窥见清代民族关系与多元文化图景的一扇窗。",[23,164,24,7,59,27,28,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6703b67fa905c3f1c9f516eaed2b0ea.jpg",[],{"id":114533,"slug":114534,"title":114535,"dynasty":54,"author":223,"museum":300,"description":114536,"tags":114537,"thumbUrl":114538,"material":173,"size":84,"collection":84,"collections":114539,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216119,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-41-yi-ming-216119","职贡图巨幅彩绘册页第2册-41","此页以满汉双文并置，墨笔雅致，文字间流淌着清代职贡体系的规整气象。汉文详述外邦部族朝觐之仪，封爵赐服、鞍马冠带的规制，尽显天朝怀柔远人的姿态；满文对应译述，彰显多民族治理的格局。书页古朴的质感与严谨的文字排布，承载着对边疆部族往来的细致记录，是研究清代民族关系与朝贡制度的珍贵文献，于静默中诉说着往昔的邦交图景。",[23,24,7,59,572,64,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F761ad7ffa3531a8eaa5d0a1e8f96ad8a.jpg",[],{"id":114541,"slug":114542,"title":114543,"dynasty":54,"author":223,"museum":300,"description":114544,"tags":114545,"thumbUrl":114546,"material":173,"size":84,"collection":84,"collections":114547,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216115,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-43-yi-ming-216115","职贡图巨幅彩绘册页第2册-43","彩绘晕染间，各族人物风貌跃然册页。辫发长袍的牧民携皮毛而来，椎髻短褐的蛮僚捧珍果而至——服饰纹饰的繁复、器物形制的精巧，皆凝注着地域独有的文化印记。巨幅规制让场景铺陈更显恢弘，人物神态的细腻捕捉，让百年前的朝贡场景仿佛触手可及。每一笔勾勒不仅是异域风情的再现，更是清时多民族共融的鲜活注脚：既有边疆的粗犷豪迈，亦含南国的灵动精巧，藏着一个时代的民族记忆与家国气象。",[23,24,7,59,27,23253,28,96,170,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F846bf2a6a2e95817361ba336a6148ce7.jpg",[],{"id":114549,"slug":114550,"title":114551,"dynasty":54,"author":223,"museum":300,"description":114552,"tags":114553,"thumbUrl":114554,"material":173,"size":84,"collection":84,"collections":114555,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216055,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-28-yi-ming-216055","职贡图巨幅彩绘册页第3册-28","这幅彩绘册页以细腻笔触勾勒人物形象，左侧人物身着浅褐长袍，蓝带束腰，足蹬黄履，手势似在传语；右侧人物白衣覆身，皮帽缀毛，腰间佩饰醒目，姿态微躬若行礼。画面色调柔和，服饰纹理刻画入微，毛皮的蓬松、布料的垂坠感皆生动呈现。人物神态各异，或专注或恭谨，形神兼备间再现边疆民族或外邦朝贡者的风貌，隐现清代多民族交流与邦交往来的鲜活图景，兼具艺术审美与历史纪实价值。",[23,24,7,59,27,28,96,170,5626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1490dd8a5d058bdaeaa61d0a499f8a3.jpg",[],{"id":114557,"slug":114558,"title":114559,"dynasty":54,"author":223,"museum":300,"description":114560,"tags":114561,"thumbUrl":114562,"material":173,"size":84,"collection":84,"collections":114563,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216054,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-25-yi-ming-216054","职贡图巨幅彩绘册页第3册-25","画面分左右两帧，左帧人物赤足而立，衣袂缀蓝边，手中鱼获鳞光隐现，神态憨朴；右帧舟子执桨驾竹筏，筏身纹理分明，水波轻漾间尽显渔猎劳作之态。笔触细腻入微，人物动态鲜活，衣饰、舟楫的细节勾勒逼真，色彩淡雅却富生机。整幅画作以纪实之笔捕捉边地族群风貌，于日常场景中藏生活真趣，既具史料价值，又显艺术匠心，仿佛将彼时边地与中原的交流图景凝于尺幅之间，生动可感。",[23,24,7,4437,27,28,96,2059,129,1351,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94d3cbae44c9ff1f26d00fc30b74e68b.jpg",[],{"id":114565,"slug":114566,"title":114567,"dynasty":54,"author":223,"museum":300,"description":114568,"tags":114569,"thumbUrl":114570,"material":173,"size":84,"collection":84,"collections":114571,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216053,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-30-yi-ming-216053","职贡图巨幅彩绘册页第3册-30","此页以双语并置，汉文楷书端凝规整，满文墨笔流畅自如，二者相映成趣，尽显文书之严谨。文字间详述边疆土目名数、朝贡事宜，点滴记载皆为清代边疆治理与民族交流的鲜活注脚。虽未展全貌彩绘，然文字承载的职贡实况，已足见其历史文献的厚重价值——既是对边地风貌的细致勾勒，亦是王朝怀柔远人的生动见证，于笔墨间藏着一段段被时光封存的民族故事。",[23,24,7,59,572,64,5459,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2141a46f17bc0a45b47da84fd3c4e8ab.jpg",[],{"id":114573,"slug":114574,"title":114575,"dynasty":54,"author":223,"museum":300,"description":114576,"tags":114577,"thumbUrl":114578,"material":173,"size":84,"collection":84,"collections":114579,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216050,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-31-yi-ming-216050","职贡图巨幅彩绘册页第3册-31","画面分绘两位人物，左者身着翠色宽袍，红顶软帽缀绛色飘带，身姿温婉娴雅；右者身披宝蓝长衫，同戴红顶帽，腰间系黄绿相间的饰带，足蹬褐色短靴，神态沉稳端凝。衣纹勾勒流畅细腻，设色清雅古朴，人物形象鲜明生动。此作以细腻笔触捕捉不同族群的服饰风貌，既具艺术审美价值，又承载着对边疆民族或外邦朝贡场景的记录，折射出清代多民族交流与中外往来的历史图景，于静默的画面中传递着往昔文化交融的深厚意蕴。",[23,24,7,59,28,27,23253,96,170,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecdf6514a731cae5503eee67420c643e.jpg",[],{"id":114581,"slug":114582,"title":114583,"dynasty":54,"author":223,"museum":300,"description":114584,"tags":114585,"thumbUrl":114586,"material":173,"size":84,"collection":84,"collections":114587,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216049,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-35-yi-ming-216049","职贡图巨幅彩绘册页第3册-35","画面铺展两幅人物肖像，左侧衣袂翩跹，蓝绿白三色衣料层叠错落，手持器物的姿态透着温婉；右侧装束粗犷，深色斗篷裹挟身形，绑腿与腰间红绦勾勒豪迈气度。笔触细腻处，衣纹褶皱、饰品细节皆清晰可辨，神态鲜活如临其境。画作以写实之笔捕捉不同族群风貌特质，从服饰形制到肢体语言，藏着地域文化密码。它似一扇窗，让观者窥见往昔民族交往的鲜活图景，于色彩线条间，承载多元文化交融的印记。",[23,24,7,59,27,28,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F616e4b33ed9a8227f1064db142fdecc8.jpg",[],{"id":114589,"slug":114590,"title":114591,"dynasty":54,"author":223,"museum":300,"description":114592,"tags":114593,"thumbUrl":114594,"material":173,"size":84,"collection":84,"collections":114595,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216048,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-33-yi-ming-216048","职贡图巨幅彩绘册页第3册-33","画面分左右绘两人，左者着浅褐长袍，头戴蓝帽，衣袂宽博，神态温雅沉静；右者裹巾持杖，短褐束蓝带，足蹬皮靴，尽显质朴悍勇之态。线条勾勒简练传神，衣纹褶皱流畅自然，设色淡雅温润，人物姿态鲜活生动。此作以具象笔触记录不同族群风貌，既显绘画技法的细腻写实，又暗藏清代多民族交往的历史图景，于方寸间见文化交融之态，是兼具艺术审美与历史价值的佳作。",[23,24,7,59,27,28,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F963056c45f2a39c9e2008f10d3c0df21.jpg",[],{"id":114597,"slug":114598,"title":114599,"dynasty":54,"author":223,"museum":300,"description":114600,"tags":114601,"thumbUrl":114602,"material":173,"size":84,"collection":84,"collections":114603,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216047,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-34-yi-ming-216047","职贡图巨幅彩绘册页第3册-34","画面展呈两位边地人物风貌。左侧人物绿衫缀红领，粉紫长裙随步轻扬，赤足踏地，发梢自然垂落，神态温婉平和；右侧人物蓝袍束腰，红巾裹头，紫裳及膝，腰间红绦摇曳，面容带着朴拙的山野之气，赤足而立身姿稳健。画作以细腻线条勾勒衣褶肌理，设色清雅明快，人物姿态鲜活传神，于简淡笔墨中捕捉族群衣着与神情特质。虽无繁复布景，却以具象形象再现特定族群的生活风貌，是窥见清代边地文化交流与族群特征的鲜活载体，笔墨间藏着对异域风情的细致体察，让久远的族群形象跃然纸上，留存着历史的生动印记。",[23,304,24,7,59,27,28,96,170,23253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9cddb9a660a7696fcdbd1738188e168.jpg",[],{"id":114605,"slug":114606,"title":114607,"dynasty":54,"author":223,"museum":300,"description":114608,"tags":114609,"thumbUrl":114610,"material":173,"size":84,"collection":84,"collections":114611,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216045,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-36-yi-ming-216045","职贡图巨幅彩绘册页第3册-36","笔墨端雅匀整，墨色清润，尽显清代书风之规整雍容。文字勾勒万国梯航、翼戴亲朝的盛景，与职贡图所绘外邦朝贡景象呼应，传递天朝怀柔远人、四海归一的意涵。书页文字既是书法艺术的呈现，亦承载清代对外交流的历史印记，笔墨间流淌庄重气度，为职贡图册添注深厚文化底蕴与历史重量。",[23,24,7,59,27,64,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf860c5a31f144b9316f204dc8b11a22.jpg",[],{"id":114613,"slug":114614,"title":114615,"dynasty":54,"author":223,"museum":300,"description":114616,"tags":114617,"thumbUrl":114618,"material":173,"size":84,"collection":84,"collections":114619,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216044,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-38-yi-ming-216044","职贡图巨幅彩绘册页第3册-38","彩绘笔触如细流，勾勒出朝贡者的鲜活模样——服饰纹样似地域勋章，手中贡物藏着远方故事。神态或谦或朴，眉眼间流转跨山越海的风尘，却又带着对礼仪的敬重。设色温润如午后绢上的阳光，线条既有法度又含柔意，将族群差异与交流温情融于一纸。静帧之中，仿佛能听见驼铃轻响，看见礼官相迎，为那段多元共生的岁月，留下可触的温度与生动注脚。",[23,24,7,59,27,96,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2df1b040df57ab45125cd41e8da776a0.jpg",[],{"id":114621,"slug":114622,"title":114623,"dynasty":54,"author":223,"museum":300,"description":114624,"tags":114625,"thumbUrl":114626,"material":173,"size":84,"collection":84,"collections":114627,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},216043,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-37-yi-ming-216043","职贡图巨幅彩绘册页第3册-37","遒劲笔触勾勒端稳结体，沉厚墨色晕染庄重气韵。笔墨流转间，四方来朝的盛景如在眼前——远人赴玉府、万国奉玉帛，天朝威仪与四海宾服的气象尽藏字里行间。两页对开的册页布局疏朗有致，书法之美与历史厚重交相辉映，仿佛透过纸页窥见昔日邦交繁华，实为艺术与历史交融的珍贵遗存。",[23,24,7,59,27,96,64,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2f28834ac33700f2fdd230ab69326a2.jpg",[],{"id":114629,"slug":114630,"title":114631,"dynasty":54,"author":223,"museum":300,"description":114632,"tags":114633,"thumbUrl":114634,"material":173,"size":84,"collection":84,"collections":114635,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216033,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-6-yi-ming-216033","职贡图巨幅彩绘册页第4册-6","画面分左右两帧，各绘一人。左者粉裳黑裤，发束高髻，怀抱素袋赤足而立，神态平和温婉；右者蓝衫束腰，黑裤赤足，肩扛布袋身形微俯，姿态憨实有力。彩绘笔触细腻，衣纹线条婉转流畅，色彩淡雅却鲜活，人物神情与动态刻画入微。整幅作品兼具纪实性与艺术性，于方寸间再现特定群体风貌，尽显传统绘画写实功力与人文意趣，笔墨间藏着对生活本真的捕捉，让观者可窥彼时鲜活的人文图景。",[23,24,7,59,27,28,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b44c6b26fe240fd16a492883053f37b.jpg",[],{"id":114637,"slug":114638,"title":114639,"dynasty":54,"author":223,"museum":300,"description":114640,"tags":114641,"thumbUrl":114642,"material":173,"size":84,"collection":84,"collections":114643,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216024,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-14-yi-ming-216024","职贡图巨幅彩绘册页第4册-14","画面分左右两帧，各绘一位边疆族群人物。左帧人物衣袂轻盈，粉色上衣衬以黑色绣纹长裙，裙摆彩条斑斓，赤足而立，神态温婉；右帧人物身着毛皮短褐，蓝裤绑腿，手持杖具，头巾束发，神情质朴。笔墨细腻工致，线条勾勒精准，服饰纹样繁复精巧，色彩晕染层次分明。画作以纪实之笔捕捉不同族群的文化风貌，人物神态鲜活自然，既展现了清代工笔彩绘的精湛技艺，也为研究当时边疆民族的服饰与生活提供了珍贵的视觉佐证，兼具艺术价值与历史文献意义。",[23,24,7,59,27,28,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f7a16df508852abfe819046b70927de.jpg",[],{"id":114645,"slug":114646,"title":114647,"dynasty":54,"author":223,"museum":300,"description":114648,"tags":114649,"thumbUrl":114650,"material":173,"size":84,"collection":84,"collections":114651,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216019,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-24-yi-ming-216019","职贡图巨幅彩绘册页第4册-24","画面分左右两帧，各绘一位劳作中的人物。左帧人物赤足，黄衣裹身，蓝巾覆肩，背竹筐、持布袋，步履轻捷间神态安然；右帧人物扛长柄农具，紫裳配黄裾，身形稳健，姿态憨朴。线条勾勒简练传神，衣褶纹理细腻自然，设色明快雅致，尽显人物鲜活情态。画作以写实笔触捕捉不同劳作场景，既展现日常风貌，又暗含对生活本真的刻画，于细节中见生动，于质朴中显意趣，是窥见清代民俗与绘画风格的鲜活载体。",[23,24,7,59,27,28,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26522519105ff52058f9bf8679560ef4.jpg",[],{"id":114653,"slug":114654,"title":114655,"dynasty":54,"author":223,"museum":300,"description":114656,"tags":114657,"thumbUrl":114658,"material":173,"size":84,"collection":84,"collections":114659,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216014,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-27-yi-ming-216014","职贡图巨幅彩绘册页第4册-27","画面分左右两帧，各绘一人。左者黑衣蓝裙，腰束红带，手持弯刀，衣袂褶皱细腻，神态沉静内敛；右者蓝衣蓝帽，背负弓箭，手持长杆，身形挺拔，器物纹理清晰可辨。人物刻画写实生动，服饰细节各具特色，色彩古朴雅致，尽显清代职贡图记录边疆民族风貌的特质。笔墨间传递出不同族群的生活气息与文化印记，既是富有表现力的艺术创作，亦是研究清代民族交流的珍贵视觉佐证。",[23,24,7,59,27,28,96,170,5626,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a5376beebaf9506106d6f522403ab32.jpg",[],{"id":114661,"slug":114662,"title":114663,"dynasty":54,"author":223,"museum":300,"description":114664,"tags":114665,"thumbUrl":114666,"material":173,"size":84,"collection":84,"collections":114667,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216013,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-32-yi-ming-216013","职贡图巨幅彩绘册页第4册-32","彩绘笔触细腻，人物鲜活如生。左侧人物着条纹布裙，肩披宝蓝长巾，赤足而立，神态平和，衣袂间似有微风轻拂；右侧人物腰束蓝布，背负箭囊，手持长矛，腰挎短刀，步履稳健，肌肉线条勾勒出剽悍之气。画面以素净背景衬出人物，细节处见匠心——衣料纹理的褶皱、兵器形制的精巧，皆细致入微。整幅作品不仅是族群风貌的形象记录，更藏着清代对多元文化的观察与呈现，每一处姿态、每一缕色彩，都在诉说远方的故事，让观者触摸到那个时代文化交融的温度。",[23,24,7,59,27,28,96,170,5626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8715ca4860df9e7961cba9052242193.jpg",[],{"id":114669,"slug":114670,"title":114671,"dynasty":54,"author":223,"museum":300,"description":114672,"tags":114673,"thumbUrl":114674,"material":173,"size":93949,"collection":84,"collections":114675,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215912,"qing-ren-xiao-xiang-tu-ce-4-yi-ming-215912","清人肖像图册-4","画面中人物端坐于朱红栏杆围合的台榭之上，红顶小帽与靛蓝长褂相映成趣，衣袂间暗纹隐现，手持书卷似在凝思片刻闲静。左侧石案上青瓷盆兰舒展叶片，旁侧虬枝翠叶点缀生姿，石阶铺陈细碎卵石，背景木构檐角与浅褐墙面晕染出古朴温润的气息。人物神态沉静温婉，衣饰色彩对比鲜明却不失雅致格调，环境陈设简净中见文心。笔墨细腻勾勒出清代文人生活的闲雅意趣，每一处细节皆藏着对日常情境的诗意捕捉，似能窥见彼时文人于庭院间读书品茗的悠然时光。",[24,7,27,28,96,97,249,8091,171,375,170,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3227d2e6bf21158682719350b10e112e.jpg",[],{"id":114677,"slug":114678,"title":114679,"dynasty":54,"author":223,"museum":300,"description":114680,"tags":114681,"thumbUrl":114682,"material":173,"size":93949,"collection":84,"collections":114683,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215910,"qing-ren-xiao-xiang-tu-ce-5-yi-ming-215910","清人肖像图册-5","端坐的人物头戴朱红顶帽，宝蓝长袍覆身，衣料质感厚重却不失飘逸，黑裤坠地更显身形端稳。案上棋盘静静铺展，似待对弈之人；旁侧茶具温润，小摆件玲珑，隐透文人日常雅趣。背景以淡墨晕染山石轮廓，疏花点缀其间，清雅氛围悄然包裹人物。笔触细腻处，面部神情刻画入微，眉宇间藏着从容；衣纹线条流畅，尽显笔墨功底。整幅画作于简约构图中见精巧，人物气度与环境雅韵相融，生动传递出清代肖像画的传神与雅致之美。",[24,7,27,28,96,169,170,376,171,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09674573595ccfb3888dc3a20ef94d89.jpg",[],{"id":114685,"slug":114686,"title":114687,"dynasty":54,"author":223,"museum":300,"description":114688,"tags":114689,"thumbUrl":114690,"material":173,"size":93949,"collection":84,"collections":114691,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215901,"qing-ren-xiao-xiang-tu-ce-14-yi-ming-215901","清人肖像图册-14","人物端坐雕花椅上，素袍衬细白滚边，朱红顶帽映得面容沉静温和。左侧案几，青瓷瓶插长柄器物，红座相衬；右侧小桌，白瓷茶具列陈，清简雅致。背景暖黄素净，岁月痕迹添古朴。笔触写实细腻，衣料垂坠、木椅纹理、器物光泽皆刻画入微。既显人物从容内敛的气度，亦藏清代文人仕宦阶层的生活意趣，静谧间透着古典雅致与庄重。画面以写实见真章，于细节处藏韵味，将彼时人物的身份气质与生活场景凝于一纸，古朴中含着细腻的温度。",[24,7,59,28,27,96,170,169,9603,12803],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F859dfe66d325f2c81289dec067d9c2f8.jpg",[],{"id":114693,"slug":114694,"title":114695,"dynasty":54,"author":223,"museum":300,"description":114696,"tags":114697,"thumbUrl":114698,"material":66,"size":99788,"collection":84,"collections":114699,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215831,"miao-zu-yao-zu-sheng-huo-tu-ce-13-yi-ming-215831","苗族瑶族生活图册-13","画面中三人身影鲜活，蓝布帽檐压着额角，衣袂绣纹沾着山野气息。中间者怀中揽物，侧身与同伴相语；左侧人肩挎布囊，指尖轻触衣襟似在整理行装；右侧人背负渔网状器具，腰间短刃鞘身磨得发亮，脚步沉稳。人物衣饰下摆缀着彩绣，裙摆垂落处露出赤足，沾着细碎泥点，仿佛刚从田埂或山林走来。整体笔触朴拙却传神，将日常劳作或出行的瞬间定格，每一处细节都藏着族群生活的温度，似能听见他们交谈的乡音，嗅到林间草木的清芬，尽显边地民族的质朴与鲜活。",[23,24,7,59,27,28,96,170,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F773c54fcb0632cac27e6dd011e2edfaf.jpg",[],{"id":114701,"slug":114702,"title":114703,"dynasty":54,"author":223,"museum":300,"description":114704,"tags":114705,"thumbUrl":114709,"material":66,"size":99788,"collection":84,"collections":114710,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215828,"miao-zu-yao-zu-sheng-huo-tu-ce-19-yi-ming-215828","苗族瑶族生活图册-19","画面里的山地日常，像被阳光浸过的老布，质朴却暖得入心。持犁者弓腰拽绳，臂膀的线条绷成拉满的弓；挎篮人侧身回望，竹篮的纹路里晃着细碎的烟火；负童的老者唇间斜插草茎，连风都带着几分悠然。孩童扒在大人肩头，小手攥着衣角，眼里是对世界的好奇。衣饰上的纹样虽简，却藏着族群的印记；土黄的底色衬着褐、蓝的衣料，像把山间的泥土与溪水都揉进了画里。没有刻意的修饰，每一笔都落在生活的褶皱里——劳作的力度、相视的温柔、片刻的松弛，都被妥帖地收进这方尺幅，让远去的族群生活，有了可感的温度与鲜活的模样。",[23,24,7,59,27,28,96,114706,114707,16670,114708,34836,3490],"苗族","瑶族","犁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03ecdf3b7cf79ea6843e91fb46171623.jpg",[],{"id":114712,"slug":114713,"title":114714,"dynasty":54,"author":223,"museum":300,"description":114715,"tags":114716,"thumbUrl":114717,"material":66,"size":99788,"collection":84,"collections":114718,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215826,"miao-zu-yao-zu-sheng-huo-tu-ce-21-yi-ming-215826","苗族瑶族生活图册-21","画面里，老者挎篮扬手似在叮咛，后生肩扛长竿、身背竹笼，稚童提桶仰头张望，四人衣袂轻扬，神态鲜活如在眼前。青褐衣袍衬着简单饰物，发髻挽成独特样式，处处透着族群生活印记。竹笼、木桶、带网长竿，是渔猎采集的寻常工具，铺展开日常劳作的温馨。笔墨朴拙却细腻，设色淡雅温润，人物互动藏着浓浓生活气息，仿佛能嗅到山间清风，听见乡野笑语，尽显民族风情的质朴与鲜活，将苗瑶族群的烟火日常凝作一方动人的民俗剪影。",[23,24,7,59,27,28,96,170,169,16670],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a2888347ed5f2f6bcd6d57548614414.jpg",[],{"id":114720,"slug":114721,"title":114722,"dynasty":54,"author":223,"museum":300,"description":114723,"tags":114724,"thumbUrl":114726,"material":66,"size":99788,"collection":84,"collections":114727,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215823,"miao-zu-yao-zu-sheng-huo-tu-ce-22-yi-ming-215823","苗族瑶族生活图册-22","山野的晨昏被揉进笔墨里。靛蓝裙摆扫过田埂，银饰叮咚随脚步轻晃，竹篓茶芽还沾着露水。火塘边捻麻线的手指，绣绷上渐显的蝶纹，檐下悬着的金黄玉米串，木桥上担柴的背影——每处细节都牵着苗瑶人家的烟火气。没有浓墨重彩铺陈，只将日常鲜活静静铺展：溪畔捣衣碎响，山间赶圩喧闹，饭甑漫出竹香，纸页间流转成温暖注脚。仿佛伸手可触布帛纹理，听见山歌掠过梯田余韵，让时光里的民俗风情，在眼前缓缓苏醒。",[23,24,7,59,27,28,96,170,9014,99786,1367,114725],"日常场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfa8902d0385f3a497487e629d18bedb.jpg",[],{"id":114729,"slug":114730,"title":114731,"dynasty":54,"author":223,"museum":300,"description":114732,"tags":114733,"thumbUrl":114735,"material":66,"size":99788,"collection":84,"collections":114736,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215815,"miao-zu-yao-zu-sheng-huo-tu-ce-31-yi-ming-215815","苗族瑶族生活图册-31","身着民族服饰的人们，在古朴的画面里铺展一段鲜活日常。老者端着圆盘缓步而立，脸上的纹路藏着岁月的温厚；旁侧几人围聚，或低语浅笑，或相互依偎，衣袍上的斑斓纹饰与素朴底色相映，晕开生活的暖意。婉转的线条勾勒出人物神态与衣褶层次，淡润的色彩晕染出古朴氛围，将少数民族邻里间的亲昵瞬间定格。似能听见轻声问候，触到质朴烟火气，窥得一段鲜活的民族生活剪影，藏着不加修饰的人间温情。",[23,24,7,59,28,27,96,170,114734],"生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fbb334a8f3034055f888d494efeb426.jpg",[],{"id":114738,"slug":114739,"title":114740,"dynasty":54,"author":223,"museum":300,"description":114741,"tags":114742,"thumbUrl":114743,"material":66,"size":99788,"collection":84,"collections":114744,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215809,"miao-zu-yao-zu-sheng-huo-tu-ce-36-yi-ming-215809","苗族瑶族生活图册-36","画面铺展苗瑶先民的日常肌理：衣袂刺绣如跃动星河，靛蓝朱红交织山野炽热。田间身影弓成岁月弧度，竹筐作物坠着晨露清辉；檐下妇人指尖捻线，线轴转着四季轮回。孩童追蝶跑过青石板，银饰脆响落进风里。笔触不刻意雕琢，却把烟火气揉进每道线条——一碗酸汤的热气，腰间猎刀的冷光，每处细节低语族群与土地的羁绊。那些未经修饰的鲜活如山涧清泉淌过纸页，将遥远生活的温度递至眼前。劳作的坚韧、家常的温柔，凝作时光切片，让民族烟火与土地呼吸至今可触。",[23,24,7,59,27,96,99786,28,304,2147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c3e4824f02936e10435cb9771f8a964.jpg",[],{"id":114746,"slug":114747,"title":114748,"dynasty":54,"author":223,"museum":300,"description":114749,"tags":114750,"thumbUrl":114751,"material":66,"size":50475,"collection":84,"collections":114752,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215793,"min-jian-yan-zou-tu-ce-14-yi-ming-215793","民间演奏图册-14","画面晕开烟火气的乐韵：竹笛清越穿林，二胡弦音绕檐，锣鼓轻叩着乡野的节拍。人们围聚在老树下，或坐或立，指尖起落间是岁月沉淀的默契。眉眼间的笑意漫过衣角褶皱，空气里浮着麦香与乐声交织的暖。没有刻意雕琢的精致，却把民间演奏的鲜活揉进每一笔：孩童踮脚张望的好奇，老者闭目轻和的安然，乐器上磨亮的木纹是时光的印记。这是生活里长出的歌，每一个音符都带着泥土芬芳，每一张脸庞都写着平凡日子里的欢喜，把民间艺术的质朴生命力藏进方寸之间。",[24,7,59,27,96,438,50473],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d8a53765878d7252dd9ce5a53a0a66f.jpg",[],{"id":114754,"slug":114755,"title":114756,"dynasty":54,"author":34242,"museum":300,"description":114757,"tags":114758,"thumbUrl":114759,"material":611,"size":84,"collection":84,"collections":114760,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215787,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-3-wu-gao-zeng-215787","摹吴道子圣贤像赞图册-3","素墨勾勒的背影，宽袍缓履间透着圣贤的沉静气象。负笈行囊压不弯挺然风骨，帽檐下的剪影似在遥想古今文脉。左侧端楷如磐石，字字叩问大道根柢，笔墨沉厚与白描的清劲相映成趣。黑底衬白描，浓淡交织间晕开对先贤的追慕。线条流转若行云，每一笔都藏着对圣贤行迹的敬意，行旅中的思索与笔墨里的虔诚，在方寸间凝成跨越时空的对话。墨色浓淡间，仿佛能触到千年以来对圣贤的追思，白描的简洁中，尽是对道统传承的深挚礼赞。",[23,24,7,59,188,330,572,96,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e808d0905c24acb58280cfd7fb02b80.jpg",[],{"id":114762,"slug":114763,"title":114764,"dynasty":54,"author":34242,"museum":300,"description":114765,"tags":114766,"thumbUrl":114767,"material":611,"size":84,"collection":84,"collections":114768,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215786,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-1-wu-gao-zeng-215786","摹吴道子圣贤像赞图册-1","斑驳封面似时光镌刻的笺页，褐痕深浅间藏着岁月的低语。残墨漫漶的旧签、边角磨蚀的纹理，诉说着曾被反复翻阅的温度。虽未展阅内页圣贤画像，却可遥想摹绘时的笔意——或承吴道子“吴带当风”的飘逸韵致，或摹圣贤面容的庄重神情，线条流转间满是对古贤的敬慕与笔墨的薪传。封底的藏书票叠印着历史的印记，让这本图册不仅是艺术的载体，更是时光沉淀的见证。每一处磨损皆为与过往对话的注脚，静静诉说着跨越时空的文化回响。",[23,24,7,59,330,96,188,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5e038e9a1be2772de84d2454b1e3bc2.jpg",[],{"id":114770,"slug":114771,"title":114772,"dynasty":54,"author":34242,"museum":300,"description":114773,"tags":114774,"thumbUrl":114775,"material":611,"size":84,"collection":84,"collections":114776,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215785,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-4-wu-gao-zeng-215785","摹吴道子圣贤像赞图册-4","纸页泛着旧时光的黄，岁月痕迹如墨晕轻散。线条似风拂杨柳般灵动，勾勒圣贤的儒雅风骨——衣袂飘举若流云，眉宇间凝着沉敛的睿智。摹本承吴门笔意，每一笔都循着古法，将先贤的气韵藏于方寸。虽非真迹，却以虔诚之心传递艺术传承：图像与赞文相生（虽文未显，韵已藏），简淡中见深致，仿佛能触到千年前的笔墨温度，于静默处回响圣贤哲思与文脉赓续。",[23,24,7,59,330,208,96,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe93bee402d2364d6fc9247f26303ff16.jpg",[],{"id":114778,"slug":114779,"title":114780,"dynasty":54,"author":34242,"museum":300,"description":114781,"tags":114782,"thumbUrl":114783,"material":611,"size":84,"collection":84,"collections":114784,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215784,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-8-wu-gao-zeng-215784","摹吴道子圣贤像赞图册-8","墨地衬出白描圣贤像，线条如行云流水，勾勒长袍宽袖的飘逸与拱手而立的庄重。衣袂褶皱间笔力流转，似含“吴带当风”遗韵，将古贤儒雅沉潜的气质尽现。左侧题赞书法笔力遒劲，与画像相映成趣，文墨相辉间，尽显“志存祖述”的胸襟与“务学道长”的气象。整幅作品墨色浓淡相宜，白描清雅，书法端凝，于方寸间融绘像与题咏为一体，传递出深沉的文化底蕴与圣贤品格的感召力，观之令人心生敬意。",[23,188,330,64,208,96,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F867a1513f077eed800155810f61375bc.jpg",[],{"id":114786,"slug":114787,"title":114788,"dynasty":54,"author":34242,"museum":300,"description":114789,"tags":114790,"thumbUrl":114791,"material":611,"size":84,"collection":84,"collections":114792,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215781,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-7-wu-gao-zeng-215781","摹吴道子圣贤像赞图册-7","摹作追蹑前贤笔意，线条如行云流水，暗合“吴带当风”之韵致。圣贤形象于笔墨间立现：衣袂飘举似携清风，眉目含光隐蕴仁智，神态庄重而不失温厚，尽显圣贤气象。图与赞语相生，文气浸于墨痕，每一处线条转折皆见匠心——非止于形似，更求神韵的传续。纸页虽染时光痕迹，却藏着对经典的敬畏与对先贤的追慕。观者静心品察，便能透过摹本笔触，触摸跨越时空的文化脉动，感受圣贤精神与艺术匠心的交融共鸣。",[23,24,7,59,330,96,188,187,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F857a81bc07eb6d4334b04d5930d488b5.jpg",[],{"id":114794,"slug":114795,"title":114796,"dynasty":54,"author":34242,"museum":300,"description":114797,"tags":114798,"thumbUrl":114799,"material":611,"size":84,"collection":84,"collections":114800,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215780,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-14-wu-gao-zeng-215780","摹吴道子圣贤像赞图册-14","墨色沉郁的拓本里，左文右图相映成趣。右侧线描圣贤衣袂翩然，手持卷册的姿态儒雅庄重，简练线条勾勒出温润风骨，须发间藏着岁月沉淀的智慧。左侧书法笔力遒劲，文字与画像呼应，似在低语圣贤的德行篇章。拓印肌理带着时光厚重感，文图共生间，既有线条艺术的凝练之美，又传递对圣贤的深切敬仰。笔墨虽简，却将圣贤的精神气韵娓娓道来，仿佛能透过沉郁墨色，触摸古代先贤的儒雅灵魂，是兼具审美意趣与文化温度的佳作。",[23,24,7,59,188,64,572,96,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ecc21a6d54e7507adf6e4495f39900e.jpg",[],{"id":114802,"slug":114803,"title":114804,"dynasty":54,"author":34242,"museum":300,"description":114805,"tags":114806,"thumbUrl":114807,"material":611,"size":84,"collection":84,"collections":114808,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215779,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-10-wu-gao-zeng-215779","摹吴道子圣贤像赞图册-10","墨线如缕，牵曳出圣贤衣袂的翩然风致，衣纹流转似春水，暗承“吴带当风”的盛唐遗韵。人物立姿端凝，眉宇间蕴藉书卷清气，手持卷轴的姿态从容儒雅，风骨毕现。左页赞语以楷体书就，笔力沉厚，与右页画像的灵动线条刚柔相济。墨色浓淡相宜，古纸肌理晕染着时光温润，图文相映成趣。摹写者以虔诚匠心，将对圣贤的敬仰凝注笔端，虽为摹本，却让盛唐画魂于纸间鲜活如初，静穆中藏生动，古雅里见深情。",[23,7,59,188,330,64,572,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F230d0b92afff1503ed0b9fbf5b13ad7c.jpg",[],{"id":114810,"slug":114811,"title":114812,"dynasty":54,"author":34242,"museum":300,"description":114813,"tags":114814,"thumbUrl":114815,"material":611,"size":84,"collection":84,"collections":114816,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215778,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-12-wu-gao-zeng-215778","摹吴道子圣贤像赞图册-12","墨痕流转间，圣贤威仪尽显；笔锋起落处，儒风古韵悠长。画面右侧，人物衣袂如行云舒展，手持礼器，神态雍容沉静，眉宇间藏着教化天下的仁厚。线条勾勒灵动又庄重，似承吴带当风之韵，将圣贤儒雅气度凝于纸上。左侧书法笔力沉厚，字字端庄，与画像线条相映成趣，图文共叙圣贤之道。整幅作品墨色浓淡相宜，动静相生，既见摹古精工，又传圣贤德馨，仿佛千年前的儒风拂面而来，让人沉浸于那份庄重与温润的文化意蕴里。",[23,24,7,59,188,572,330,5380,96,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F830ce559db68f875e2c4e6ea7995f920.jpg",[],{"id":114818,"slug":114819,"title":114820,"dynasty":54,"author":34242,"museum":300,"description":114821,"tags":114822,"thumbUrl":114823,"material":611,"size":84,"collection":84,"collections":114824,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215775,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-17-wu-gao-zeng-215775","摹吴道子圣贤像赞图册-17","墨线勾勒的圣贤立像，衣袂如卷云舒卷，暗合“吴带当风”的灵动韵致。眉眼间凝着沉静的智光，似藏千卷诗书的底气，举手投足间透着儒雅风骨。左侧楷书题字笔势端稳，墨色沉厚，与右侧线描相映成趣，笔墨交织间藏着对先贤的敬慕。整幅作品以简驭繁，将人物风骨与文字庄重融为一体，素净纸面上铺展悠远怀想，让观者于方寸间触摸古典人文的温润力量，感受圣贤胸中学海丘壑与儒宗正道的绵长回响。",[23,24,7,59,188,96,330,572,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc0d461692e03a1bec2d234051ebdd68.jpg",[],{"id":114826,"slug":114827,"title":114828,"dynasty":54,"author":34242,"museum":300,"description":114829,"tags":114830,"thumbUrl":114831,"material":611,"size":84,"collection":84,"collections":114832,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215774,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-15-wu-gao-zeng-215774","摹吴道子圣贤像赞图册-15","左幅墨书笔力遒劲，字字端凝如磐石；右畔圣贤立像以白描勾勒，衣纹流转若流云舒卷，尽显飘逸灵动之态。人物神态肃穆温润，眉眼间藏着智者的深邃与仁厚，仿佛能洞见古今。文字与画像相映成趣，墨色浓淡相宜，线条简练传神，将圣贤的儒雅风骨与道统传承的庄重感融为一体。观之如沐古风，千年文脉的厚重与艺术的清逸在此交织，令人心生敬慕，仿佛能触摸到那份跨越时空的文化温度。",[23,24,7,59,188,330,572,96,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F997163a105c5ddab18299fba44e3a406.jpg",[],{"id":114834,"slug":114835,"title":114836,"dynasty":54,"author":34242,"museum":300,"description":114837,"tags":114838,"thumbUrl":114839,"material":611,"size":84,"collection":84,"collections":114840,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215773,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-18-wu-gao-zeng-215773","摹吴道子圣贤像赞图册-18","画面左书右像，笔墨相映成趣。右侧圣贤像以线描勾勒，衣袂飘举如清风拂柳，墨线婉转间藏着儒雅风骨，尽显吴带当风的韵致。左侧题字笔力端稳，字句凝着对先贤的敬慕，与画像交织出文气氤氲的氛围。虽为摹本，却将原作风神传递得真切，古雅墨色里仿佛能触到千年前圣贤的温度，观者于笔墨流转间，可感文脉延续与先贤遗风，让圣贤的德行与风骨在尺幅间静静流淌。",[23,24,7,59,188,572,96,330,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e4d648b864b6887272fc2df52fd1f1b.jpg",[],{"id":114842,"slug":114843,"title":114844,"dynasty":54,"author":34242,"museum":300,"description":114845,"tags":114846,"thumbUrl":114847,"material":611,"size":84,"collection":84,"collections":114848,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215771,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-23-wu-gao-zeng-215771","摹吴道子圣贤像赞图册-23","墨线轻勒出背身伫立的人物，衣袍褶皱如流水舒展，帽檐低垂的侧影藏着沉静哲思。手中器物斜倚，添几分古贤从容气度。左侧题字笔锋端雅，与人物清逸神韵相映，墨色浓淡相宜，晕开沉静书卷气。整幅画以简胜繁，线描简练中藏细腻神态，图文交织间似能听见纸上传来的赞咏声，古雅气息漫溢，耐人品味那份跨越时光的圣贤风骨。",[23,24,7,59,188,572,96,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c2b12adecb45b9ae2c7c8020ca0771c.jpg",[],{"id":114850,"slug":114851,"title":114852,"dynasty":54,"author":34242,"museum":300,"description":114853,"tags":114854,"thumbUrl":114855,"material":611,"size":84,"collection":84,"collections":114856,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215768,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-22-wu-gao-zeng-215768","摹吴道子圣贤像赞图册-22","画面分帧呈现，右帧圣贤端坐，墨线勾勒衣袂如流云飘举，衣褶间藏古雅气韵；左帧楷书赞语笔力端严，墨色沉凝，字句颂扬耿介不苟、言行无猜的品格。文图相契，线描得“吴带当风”之妙，摹古却不失鲜活：人物形神兼备，眉眼间见清正风骨；赞语与画像呼应，将圣贤品格凝于笔墨。观者既可品线描的流畅劲道，亦能感文字中的人格光辉，尽显追慕先贤的文心与摹古传真的匠意，一纸之间，风骨与意趣共生。",[23,24,7,59,188,96,64,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2acd571827e4b5bc059f4ab7b60f96d0.jpg",[],{"id":114858,"slug":114859,"title":114860,"dynasty":54,"author":34242,"museum":300,"description":114861,"tags":114862,"thumbUrl":114863,"material":611,"size":84,"collection":84,"collections":114864,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215767,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-21-wu-gao-zeng-215767","摹吴道子圣贤像赞图册-21","画面以黑底白线构制，左右分呈圣贤造像与题赞文字，古雅肃穆。右侧圣贤像线条清劲流畅，衣纹婉转如行云，神态端凝沉静，简笔间尽现儒雅风骨与内在气度，摹绘中藏着对原迹神韵的深透把握。左侧题字楷书端方稳健，笔力沉厚，文辞与图像相契，传递圣贤哲思与德行。整体风格古朴庄重，黑底衬白线更显清逸，笔墨间流淌古典文化厚重感，观之令人心生敬畏，是兼具艺术韵味与文化内涵的摹本佳作，尽显对圣贤的敬仰与传统文化的传承。",[23,54,330,188,96,64,572,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b40227941d7c645dac13ced939ea297.jpg",[],{"id":114866,"slug":114867,"title":114868,"dynasty":54,"author":34242,"museum":300,"description":114869,"tags":114870,"thumbUrl":114871,"material":611,"size":84,"collection":84,"collections":114872,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215766,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-27-wu-gao-zeng-215766","摹吴道子圣贤像赞图册-27","纸页泛黄如陈年书卷，斑驳的纹理似时光亲手勾勒的年轮，残缺处藏着往昔的神采。隐约可见的勾勒虽历经磨损，仍能捕捉到笔势的流转与圣贤像的端凝气韵——摹吴道子之风，当是取其“吴带当风”的灵动与线条的劲健，即便如今画面模糊，那份对圣贤的敬慕与艺术的传承仍透过纸背漫溢而出。每一道折痕、每一处褪色，都是岁月与艺术的对话，让观者在残损中触摸到往昔文化的脉搏，感受摹绘者对经典的虔诚追慕，以及古画所承载的厚重底蕴。",[23,24,7,59,188,27,96,187,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe79458d85b4aea3fad292bcb5739b7bc.jpg",[],{"id":114874,"slug":114875,"title":114876,"dynasty":54,"author":34242,"museum":300,"description":114877,"tags":114878,"thumbUrl":114879,"material":611,"size":84,"collection":84,"collections":114880,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215765,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-29-wu-gao-zeng-215765","摹吴道子圣贤像赞图册-29","墨条如碑，沉凝古拙，隐现圣贤端肃之姿；赞语金书，笔致清劲，暗契画圣遗韵。摹本虽非原作，却得神髓：线条洗练不浮华，墨色浓淡见层次，文字与图像相衬，既存吴道子的飘逸风骨，又显摹者的敬谨匠心。一页之间，绘事与文辞交融，圣贤之德昭然，画圣之韵流转，堪称承古开新的艺苑珍赏，于方寸中见大境界——墨痕载道，金语传心，尽展传统绘事与文辞结合的雅致，为艺林添一帧可品可藏的小品。",[23,7,59,330,64,572,5380,96,188,187,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F028d7e7a60c6e0465148aecc606ff74d.jpg",[],{"id":114882,"slug":114883,"title":114884,"dynasty":54,"author":34242,"museum":300,"description":114885,"tags":114886,"thumbUrl":114887,"material":611,"size":84,"collection":84,"collections":114888,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215763,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-30-wu-gao-zeng-215763","摹吴道子圣贤像赞图册-30","墨痕凝香，纸页含古。竖排字迹如溪流蜿蜒，笔锋藏锋处见恭敬，婉转间显追慕。岁月在纸边晕染浅淡痕迹，却让每字的敬意更显深沉。赞语里的圣贤风骨，透过笔墨脉络跨越时空而来。仿佛能触到昔人摹写时的指尖温度，听见对先贤德行的轻声咏叹。泛黄纸页裹着时光温度，将千年前的敬仰，通过文字的肌理悄然传递。这份藏在纸墨间的虔诚，让古籍不仅是文字载体，更成连接古今的精神纽带，字里行间皆为文脉延续的注脚。",[23,24,7,59,330,572,96,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3245dda1919110ea50a6698ac2d3dc97.jpg",[],{"id":114890,"slug":114891,"title":114892,"dynasty":54,"author":34242,"museum":300,"description":114893,"tags":114894,"thumbUrl":114895,"material":611,"size":84,"collection":84,"collections":114896,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215762,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-25-wu-gao-zeng-215762","摹吴道子圣贤像赞图册-25","墨底之上，白描线条如银梭织就，勾勒出圣贤持卷凝思的儒雅身姿。衣袂翩然间藏吴带当风之遗韵，眉眼低垂处露沉潜向学之神情。左侧楷书题字笔力遒劲，楷法端严，与人物清逸风骨相映成趣。文图相契，于素净墨色中见醇厚底蕴，简笔勾勒里藏深情万种。每一笔线条皆为心性流露，每一字墨痕都是文脉传承。整幅作品以极简之法传递圣贤温润气象，尽显传统书画合璧的古雅韵致，让人于方寸间触摸到千年文脉的温润温度。",[23,24,7,59,188,572,96,330,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79ad8eb183792efd9cb5531a7648ad2a.jpg",[],{"id":114898,"slug":114899,"title":114900,"dynasty":54,"author":34242,"museum":300,"description":114901,"tags":114902,"thumbUrl":114903,"material":611,"size":84,"collection":84,"collections":114904,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215761,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-26-wu-gao-zeng-215761","摹吴道子圣贤像赞图册-26","画面以墨底衬白描圣贤像，衣袂飘举如流云渡水，线条流转若风过青筠，尽显飘逸灵动之态，暗合“吴带当风”的笔墨神韵。左侧题字笔力劲挺，墨色沉凝，与画像的线韵相映成趣——文图共生间，圣贤的儒雅风骨与内在气度缓缓流露。虽为摹本，却深攫原作神髓：线描的简洁洗练，书法的苍劲端方，交织成古朴庄重又不失灵动的氛围。笔墨间似有先贤低语，让人于静默中触摸到传统文化的深厚底蕴，感受到圣贤人格的温润力量。",[23,24,7,59,188,330,96,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feabdec836524938d0cc8ff5997dc63c2.jpg",[],{"id":114906,"slug":114907,"title":114908,"dynasty":54,"author":34242,"museum":300,"description":114909,"tags":114910,"thumbUrl":114911,"material":611,"size":84,"collection":84,"collections":114912,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215759,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-32-wu-gao-zeng-215759","摹吴道子圣贤像赞图册-32","黑底如凝墨，金字若嵌星，竖排字迹在册页间流转，似将圣贤风骨与哲思缓缓铺展。笔墨遒劲处见敬仰，婉转处藏温情，每一字皆承载着文脉的重量。线装的古朴形制，让时光的痕迹隐约可触，典籍的温度透过纸页漫溢开来。这里不仅是书法艺术的呈现，更是文化传承的载体——圣贤的智慧借笔墨留存，传统的韵味随字迹延续，静静诉说着跨越时空的文脉回响，引人沉浸于那份庄重而悠远的文化氛围里。",[23,7,59,330,572,5380,64,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45c4085c365344eff9b69601cbc1874a.jpg",[],{"id":114914,"slug":114915,"title":114916,"dynasty":54,"author":34242,"museum":300,"description":114917,"tags":114918,"thumbUrl":114919,"material":611,"size":84,"collection":84,"collections":114920,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215758,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-33-wu-gao-zeng-215758","摹吴道子圣贤像赞图册-33","黑底如缁，金字若曦，衬得满纸庄肃之气。笔致清劲挺拔，每一字皆如劲松立崖，风骨凛然。赞文词句间，敬仰之情沛然流转，似与圣贤隔空对语。版式对称匀整，左右文字相呼相应，尽显章法之美。沉厚的墨色与明润的金色交织，将静态的文字晕染出动态的崇敬，仿佛能听见笔尖划过纸页时，那份对先贤的追慕与礼赞。这般作品，既是文字的凝萃，亦是心意的传扬，静默中藏着千百年的文化温度。",[23,24,7,59,572,330,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F105137afb197bd60a8623e5e9537d493.jpg",[],{"id":114922,"slug":114923,"title":114924,"dynasty":54,"author":34242,"museum":300,"description":114925,"tags":114926,"thumbUrl":114927,"material":611,"size":84,"collection":84,"collections":114928,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215754,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-37-wu-gao-zeng-215754","摹吴道子圣贤像赞图册-37","黑底如墨凝，金字似鎏金，对比间尽显古雅厚重。笔力端严中藏秀韵，结构谨密里透风骨，每一字皆含对圣贤的崇仰之情，传递儒家仁礼之道的深邃。版式规整，章法有序，行款疏密得宜，墨色沉凝与金粉璀璨交相辉映，既有庙堂庄严肃穆，又具文苑清雅韵致。仿佛能透过纸面，窥见圣贤精神风貌，触摸穿越时空的文化温度，令人心安神静，顿生敬畏与向往，沉醉于这份跨越千年的人文情怀里。",[23,24,7,59,330,188,27,96,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F448fecc1eaaa018485251ea67da08ea6.jpg",[],{"id":114930,"slug":114931,"title":114932,"dynasty":54,"author":34242,"museum":300,"description":114933,"tags":114934,"thumbUrl":114935,"material":611,"size":84,"collection":84,"collections":114936,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215753,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-39-wu-gao-zeng-215753","摹吴道子圣贤像赞图册-39","素笺泛黄如陈年酿的蜜色，斑驳痕迹似时光指尖划过的浅痕。摹绘的笔墨虽经岁月磨洗，仍可窥见追蹑古贤画韵的执着——线条或灵动如流风，圣贤仪态想必端凝里藏温煦，赞语与画像相契，在旧纸肌理间流转着往昔的敬意。每一道折痕都裹着光阴的私语，每一处墨斑都藏着艺术传承的脉络，仿佛能触到昔年笔锋的轻颤，感知那份对经典的虔诚追摹，让久远的画魂在这页残笺上悄然苏醒。",[23,24,7,59,330,188,96,100302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F340e2d0562abfddd23a1b0ed1e9bb70a.jpg",[],{"id":114938,"slug":114939,"title":114940,"dynasty":54,"author":34242,"museum":300,"description":114941,"tags":114942,"thumbUrl":114943,"material":611,"size":84,"collection":84,"collections":114944,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215752,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-40-wu-gao-zeng-215752","摹吴道子圣贤像赞图册-40","笔墨间流淌着画圣遗韵，线条如吴带当风般灵动，勾勒圣贤形貌时，端肃里藏温情，沉敛中见风骨。圣贤或凝眸深思，或拱手立言，衣袂飘举处犹存盛唐气象余绪；虽为摹本，却将古贤仁智气度传递得入木三分。像侧赞文笔墨端谨，与画像相映成趣，一文一图载圣贤德范，显摹古匠心——非深谙吴门笔意与圣贤典故者，不能臻此境。册页经岁月摩挲，纸间斑驳添沧桑雅韵，是兼具艺术张力与文化厚度的摹古佳作。",[23,24,7,59,330,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92eb6860660f7fd8f506f8f47fb6a6c8.jpg",[],{"id":114946,"slug":114947,"title":114948,"dynasty":54,"author":34242,"museum":300,"description":114949,"tags":114950,"thumbUrl":114951,"material":611,"size":84,"collection":84,"collections":114952,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215751,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-38-wu-gao-zeng-215751","摹吴道子圣贤像赞图册-38","泛黄的纸页如被时光浸软的旧笺，斑驳痕迹是岁月吻过的印记，细碎黑点与浅渍似在低诉过往。右侧一方篆刻印章，朱文线条古朴苍劲，字间藏着内敛力道，方寸间凝萃文脉厚重。简素页面因旧纸与印章交织，晕开沉静古雅韵致，仿佛能触到往昔展卷时的温度，静静沉淀时光里的故事，让每一次凝视都似与岁月温柔对谈。",[23,24,7,59,330,208,96,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff30e4a74e936b9059a89db4bb0ec3153.jpg",[],{"id":114954,"slug":114955,"title":114956,"dynasty":54,"author":34242,"museum":300,"description":114957,"tags":114958,"thumbUrl":114959,"material":611,"size":84,"collection":84,"collections":114960,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215748,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-44-wu-gao-zeng-215748","摹吴道子圣贤像赞图册-44","右侧颜回立像，衣纹线条如流云拂袖，尽显“吴带当风”的飘逸韵致，发髻整肃，面容沉静，眉宇间藏着圣贤的温良与笃定。左侧赞文墨色沉凝，字迹古朴端严，字句间满是对颜回德操的称颂。图文相契，以线塑神，以文传意，将颜回安贫乐道、敏而好学的品格具象化。摹本承古意却自具韵致，线条简练却气韵生动，于尺幅间凝萃圣贤气象，融画艺与文思于一体，尽显图册的文化深度与艺术张力。",[23,24,7,59,188,330,96,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F686adbc7d2ec5bb5993f261961aad73a.jpg",[],{"id":114962,"slug":114963,"title":114964,"dynasty":54,"author":34242,"museum":300,"description":114965,"tags":114966,"thumbUrl":114967,"material":611,"size":84,"collection":84,"collections":114968,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215747,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-43-wu-gao-zeng-215747","摹吴道子圣贤像赞图册-43","圣贤端坐台座之上，衣纹线条流转若行云，褶皱层叠间尽显古朴庄重。面容慈穆中透着睿智，须髯垂落彰显儒雅风范。头戴儒巾，双手交叠腹前，姿态沉稳恭谨，尽展圣贤仁厚气度。台座纹饰精致，与人物衣纹的细腻线条相呼应，更衬主体尊贵。整体以白描勾勒，黑底衬白线，简洁处见功力，古朴典雅间传递儒家文化的庄重深邃，仿佛圣贤谆谆教诲犹在耳畔，令人肃然起敬。",[23,24,7,59,188,96,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab5c8f015952034a954fb1ba53d044af.jpg",[],{"id":114970,"slug":114971,"title":114972,"dynasty":54,"author":34242,"museum":300,"description":114973,"tags":114974,"thumbUrl":114975,"material":611,"size":84,"collection":84,"collections":114976,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215745,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-46-wu-gao-zeng-215745","摹吴道子圣贤像赞图册-46","黑底衬白篆，铁线匀劲如丝，字形古雅端凝，金石气扑面而来。摹写之笔追原迹神韵，藏尽匠心：线条转折刚柔相济，似冰纹刻玉，尽显篆书肃穆庄重。圣贤赞文借笔墨传敬慕，每一笔都透着对先贤的尊崇。朱红印章错落其间，与黑白相映成趣，如时光遗落的朱砂痣，添几分沧桑韵致。整页虽无图像，却以书法之力勾勒圣贤气象，让经典在摹写中延续温度，墨色间藏着跨越时空的文化传承。",[23,7,59,938,208,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9c61d0aaa597333eeae262a78956aa1.jpg",[],{"id":114978,"slug":114979,"title":114980,"dynasty":54,"author":34242,"museum":300,"description":114981,"tags":114982,"thumbUrl":114983,"material":611,"size":84,"collection":84,"collections":114984,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215743,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-48-wu-gao-zeng-215743","摹吴道子圣贤像赞图册-48","画面以沉凝墨色铺展，圣贤立于右侧，衣袂线条如行云流水，既得吴带当风之遗韵，又显摹者笔力之精到。宽袍博带间身姿端凝肃穆，眉宇间藏着济世沉潜与智慧微光。左侧赞文以工整楷体书就，墨痕如刻，与画像相映成趣，文图共叙圣贤风骨。整幅作品古雅庄重，线条刚柔相济，将圣贤人格气象凝于尺幅间，既传递对先贤的崇仰，也彰显传统人物画与书法结合的独特韵味，仿佛能透过纸页，触摸到千年前的圣贤气息。",[23,24,7,59,188,330,64,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb558952f8f554892d30db9e1f45e4954.jpg",[],{"id":114986,"slug":114987,"title":114988,"dynasty":54,"author":34242,"museum":300,"description":114989,"tags":114990,"thumbUrl":114991,"material":611,"size":84,"collection":84,"collections":114992,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215742,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-52-wu-gao-zeng-215742","摹吴道子圣贤像赞图册-52","墨痕沉敛的版页间，左幅书法笔致端严，字句里漫溢圣贤气象；右方线描勾勒的身影，衣袂飘举似承吴带当风遗韵，须发纹理皆见摹绘者的敬慎。线条流转如行云，衣褶转折藏筋骨，冠带垂坠显雅致，每一笔都浸着对古圣风骨的追慕。赞文与肖像相映成趣，墨色里似有跨越时空的对话——摹者以笔为桥，将盛唐画圣的笔意与清代文人的崇仰凝于方寸。岁月虽在纸页留痕，却未减画面气韵：线的刚柔相济，字的方正含情，共同塑就圣贤庄重超脱之姿，静默中传递着文脉绵续与对仁智之道的永恒崇仰。",[23,54,24,7,59,188,330,64,572,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31b7c9c341cc3b6145b7a04736641aaf.jpg",[],{"id":114994,"slug":114995,"title":114996,"dynasty":54,"author":34242,"museum":300,"description":114997,"tags":114998,"thumbUrl":114999,"material":611,"size":84,"collection":84,"collections":115000,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215740,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-50-wu-gao-zeng-215740","摹吴道子圣贤像赞图册-50","画面右为白描圣贤像，衣纹线条流转如丝，得吴带当风之韵，人物身姿端肃，眉目沉静间透着智者的温润与笃定。左栏题赞以楷书书就，笔力沉厚稳健，墨色匀净，与右侧画像相映成趣。文图相契，既以简练线条勾勒出圣贤的精神风骨，又借题字传递出追慕古贤的拳拳之心。线描的灵动与书法的端庄相融，整体气息古朴雅致，尽显传统人物画的笔墨意趣与文化内涵，于方寸间见圣贤气象。",[23,24,7,59,188,330,572,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff523a56d13ec5497b43a2d500980aca2.jpg",[],{"id":115002,"slug":115003,"title":115004,"dynasty":54,"author":34242,"museum":300,"description":115005,"tags":115006,"thumbUrl":115007,"material":611,"size":84,"collection":84,"collections":115008,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215737,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-57-wu-gao-zeng-215737","摹吴道子圣贤像赞图册-57","黑底如凝墨，白字似铺霜，版式严整却藏疏朗之致。文字排布错落有序，题款间圣贤篇目罗列如珠玉串联，庄重中透着雅致。清劲端方的字迹似在低语先贤故事，字里行间满是对圣哲的尊崇。摹本以文字为骨，暗蕴对原作风神的追慕，将圣贤像赞的文韵与图魂凝于一纸。既有古籍版式的古朴之美，又融儒家文化的厚重底蕴，静静铺展着传统文脉的温度，让观者于笔墨间触摸到先贤身影与文化传承的脉络。",[23,164,24,7,59,330,188,128,572,64,96,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ffe1120f82901b8db880f54c4fa512.jpg",[],{"id":115010,"slug":115011,"title":115012,"dynasty":54,"author":34242,"museum":300,"description":115013,"tags":115014,"thumbUrl":115015,"material":611,"size":84,"collection":84,"collections":115016,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215734,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-56-wu-gao-zeng-215734","摹吴道子圣贤像赞图册-56","墨线勾勒的圣贤身影，衣袂如流云轻飏，尽得“吴带当风”之韵。面容肃穆，眉宇间凝着仁智的辉光，举手投足皆显圣贤气度。旁侧楷书题赞笔锋刚劲沉稳，字里行间流露对圣贤品格的敬慕——“不欺不傲”的操守，“力学进德”的追求，与画像的庄重相映成趣。黑底白线的装帧更衬出古雅清寂的氛围，仿佛能透过纸页，触摸到那份跨越时空的圣贤风骨与人文温度。整幅作品以线为骨，以文为魂，将圣贤的精神风貌凝于尺幅之间，尽显传统书画融合的雅致与深意。",[23,24,7,59,188,572,330,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde38cadaa4ad442b5522e9257d1eec50.jpg",[],{"id":115018,"slug":115019,"title":115020,"dynasty":54,"author":34242,"museum":300,"description":115021,"tags":115022,"thumbUrl":115023,"material":611,"size":84,"collection":84,"collections":115024,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215733,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-59-wu-gao-zeng-215733","摹吴道子圣贤像赞图册-59","此摹本承吴门画韵风骨，线条流转如行云出岫，勾勒圣贤端方气象。或敛眉凝思藏千古智思，或展袂欲言含万斛深情，衣袂褶皱间力道暗蕴，隐隐见“吴带当风”的灵动韵致。纸页泛着时光沉淀的微黄，墨痕经岁月摩挲仍清晰，似以笔墨为桥，连接古今艺术脉络。圣贤像赞本是文脉载体，摹本更以细腻笔触，留存对先贤的追慕与敬仰。展卷时，千年的艺术灵气与文化厚重感扑面而来，古雅的质感里，藏着文脉接续的温度，每一处细节皆为时光与艺术的共鸣。",[23,24,7,59,330,96,208,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F864e33444a6631d78988584698fcd78f.jpg",[],{"id":115026,"slug":115027,"title":115028,"dynasty":54,"author":34242,"museum":300,"description":115029,"tags":115030,"thumbUrl":115031,"material":611,"size":84,"collection":84,"collections":115032,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215732,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-55-wu-gao-zeng-215732","摹吴道子圣贤像赞图册-55","白描勾勒的圣贤身影，线条清劲如流云泻石，衣纹转折间见古朴气度。手持竹杖，步履沉稳，眉宇间藏着岁月沉淀的智慧与从容。左侧题赞笔墨沉雄，楷法端严，墨色浓黑如漆，与右侧人物画像相映成趣，文图相契，尽显传统书画合一的雅致。整幅作品简素却意蕴丰沛，仿佛能触摸到古人对圣贤的追慕之心，笔墨间流淌着文脉的温润与厚重，是对先贤精神的无声致敬。",[23,24,7,59,188,330,96,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0f6d217bde5d6854785dd27c8d696f5.jpg",[],{"id":115034,"slug":115035,"title":115036,"dynasty":54,"author":34242,"museum":300,"description":115037,"tags":115038,"thumbUrl":115039,"material":611,"size":84,"collection":84,"collections":115040,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215731,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-63-wu-gao-zeng-215731","摹吴道子圣贤像赞图册-63","墨底衬白描，线条如缕婉转，勾勒出古贤宽袍博带之姿。衣袂带风，笔力简劲，虽无华彩渲染，却以素净线条显人物端凝气度。旁列楷书题赞，笔墨沉实端严，文辞与画像相映——“夜行减燭不改其容”，“知非寡过愈恭愈謙”，字句间映现圣贤的坚守与自省。画像与题跋相契，墨色静穆，线条清疏，摹古之中见匠心，素朴里藏风骨。简素画面承载的，是对先贤品格的追慕，亦是跨越岁月的精神回响，于无声处传递着深沉的文化共鸣。",[23,59,188,572,64,208,96,330,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F834ca97b23d6564ceceee5489c2fb31f.jpg",[],{"id":115042,"slug":115043,"title":115044,"dynasty":54,"author":34242,"museum":300,"description":115045,"tags":115046,"thumbUrl":115047,"material":611,"size":84,"collection":84,"collections":115048,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215730,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-60-wu-gao-zeng-215730","摹吴道子圣贤像赞图册-60","纸页泛黄如陈年素笺，肌理间藏着时光的掌纹——边缘磨损似岁月轻吻的痕迹，斑驳墨点与细纹如历史遗落的星子。摹古之作为心追手摹的结晶，将先贤笔墨气韵凝于方寸。经流年洗练，仍可窥见对经典的敬畏：每道纹理诉说传承故事，每处斑驳晕染古雅余韵。笔墨余痕若隐若现，仿佛触到跨越时空的艺术脉搏，观者于沧桑中感知不朽人文温度。",[23,24,7,59,330,96,188,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa38626379328bb69173b5dadbc1128.jpg",[],{"id":115050,"slug":115051,"title":115052,"dynasty":54,"author":34242,"museum":300,"description":115053,"tags":115054,"thumbUrl":115055,"material":611,"size":84,"collection":84,"collections":115056,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215729,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-61-wu-gao-zeng-215729","摹吴道子圣贤像赞图册-61","纸页泛黄如陈年的月光，斑驳肌理里藏着时光的絮语。摹写圣贤的笔意追慕古贤风致，线条流转间，先贤风骨跃然纸上——或端凝如岳，或朗润如川，每道勾勒都藏着对古贤气象的敬慕。赞语与画像共生，文墨厚重与丹青灵动相映，在尺幅间织就跨越时空的精神长卷。那些旧藏印记与标签，是时光留下的邮戳，见证典籍辗转与守护，让圣贤光影在岁月里愈发清晰。每一次凝视，都似与古贤灵魂遥遥相契，在纸页的温度里触摸精神的传承脉络。",[23,24,7,59,330,96,208,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F767e677373cdcbf15f0b1fc67688b149.jpg",[],{"id":115058,"slug":115059,"title":115060,"dynasty":54,"author":34242,"museum":300,"description":115061,"tags":115062,"thumbUrl":115063,"material":611,"size":84,"collection":84,"collections":115064,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215727,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-66-wu-gao-zeng-215727","摹吴道子圣贤像赞图册-66","墨底之上，右侧线描圣贤身影，衣纹流转如吴带当风，手持书卷尽显儒雅庄重；左侧题字笔力沉稳，词句清逸，与画像相映成趣。线描简括却神韵毕现，书法端整更添雅致，图文合璧间，圣贤的高洁风骨与笔墨的清雅情韵交融，尽显古朴庄重之美。画面以极简之笔勾勒深邃意境，每一处线条皆藏匠心，每一字句俱含敬意，尽显传统文人对圣贤的追慕与笔墨的精妙。",[23,24,7,59,188,572,64,96,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1224336b076522e67b9e94991d8e8c2a.jpg",[],{"id":115066,"slug":115067,"title":115068,"dynasty":54,"author":34242,"museum":300,"description":115069,"tags":115070,"thumbUrl":115071,"material":611,"size":84,"collection":84,"collections":115072,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215726,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-62-wu-gao-zeng-215726","摹吴道子圣贤像赞图册-62","笔意承袭画圣遗风，墨线婉转间圣贤形象呼之欲出。或端方持重，或温润含光，神态毕肖处见虔诚匠心。纸页虽染岁月黄痕，斑驳间仍存线条的灵动与风骨，似将千年前的圣贤德韵凝于尺幅。摹本之妙，不仅在复刻形神，更在以笔墨为桥，连接古今对先贤的敬仰与对经典艺术的传承。每一道斑驳痕迹都是时光的注脚，将圣贤德辉与艺术脉络悄然串联，静静诉说着对文化根脉的守望与追慕。",[23,24,7,59,330,188,96,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f74d578b16897e921794ac1332c9e40.jpg",[],{"id":115074,"slug":115075,"title":115076,"dynasty":54,"author":34242,"museum":300,"description":115077,"tags":115078,"thumbUrl":115079,"material":611,"size":84,"collection":84,"collections":115080,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215725,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-67-wu-gao-zeng-215725","摹吴道子圣贤像赞图册-67","墨底铺陈间，左侧楷书题赞笔力端凝，字句里藏着对圣贤的敬慕；右侧白描人物衣袂翩然，线条简练却筋骨分明，眉眼间透着智者的沉静。长袍褶皱如行云流水般舒展，手持器物衬出庄重仪态。图文相映，墨色的厚重与线描的轻盈形成微妙平衡，既保留传统白描的古朴雅致，又借题赞文字赋予画像更深的文化意蕴。仿佛能透过流畅的线条触摸到圣贤的治学心境，沉静庄重的气息漫溢开来，尽显人文之美与传统艺术的雅致风骨。",[23,24,7,59,188,330,96,572,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1a4aceddf053bf394bfb1956d875477.jpg",[],{"id":115082,"slug":115083,"title":115084,"dynasty":54,"author":34242,"museum":300,"description":115085,"tags":115086,"thumbUrl":115087,"material":611,"size":84,"collection":84,"collections":115088,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215724,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-64-wu-gao-zeng-215724","摹吴道子圣贤像赞图册-64","墨地之上，白描线条如丝缕流转，勾勒出圣贤的峨冠博带与温润神情。人物身姿挺拔，手持卷册似欲展读，衣袂轻扬间暗合“吴带当风”的遗韵。旁侧题字笔力端稳，与画像相映成趣，赞语文辞典雅，将圣贤品格融入笔墨。摹本精准捕捉原作风神，线条的粗细转折、神态的细微刻画，皆见摹者功底。图文交融处，古贤的儒雅风骨与精神气度跃然纸上，尽显传统白描人物画的凝练与生动，为观者打开一扇窥见经典的窗棂。笔墨间传承的不仅是形象，更是千年文脉中圣贤的精神回响。",[23,24,7,59,188,96,330,64,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fa5e798d4753d7c8087fc01823b80e0.jpg",[],{"id":115090,"slug":115091,"title":115092,"dynasty":54,"author":34242,"museum":300,"description":115093,"tags":115094,"thumbUrl":115095,"material":611,"size":84,"collection":84,"collections":115096,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215723,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-70-wu-gao-zeng-215723","摹吴道子圣贤像赞图册-70","画面以浓黑为底，左侧楷书端严挺秀，墨色沉厚如漆；右侧圣贤像以白描勾勒，线条流转若风，衣袂飘举间尽显“吴带当风”的韵致。人物拱手而立，神情恭谨肃穆，眉宇间藏着沉静的智慧。图文相映，赞语与画像互为表里，既传递出对圣贤的敬仰之情，又以线墨的交融展现传统艺术的雅致与庄重。每一笔线条都凝练摹绘者的匠心，将吴道子画派的灵动与楷书的端稳完美结合，构成兼具文史意涵与视觉美感的佳作。线描的转折自然，书法的笔力匀净，黑底的衬托更让画面古意盎然，仿佛能透过纸页触摸到千年文脉的温度。",[23,24,7,59,188,330,96,572,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75302dad27b8c9453562e55bf52e7dcd.jpg",[],{"id":115098,"slug":115099,"title":115100,"dynasty":54,"author":34242,"museum":300,"description":115101,"tags":115102,"thumbUrl":115103,"material":611,"size":84,"collection":84,"collections":115104,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215722,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-69-wu-gao-zeng-215722","摹吴道子圣贤像赞图册-69","墨底衬素笔，白描线条如流水般勾勒出圣贤的儒雅身姿。宽袍褶皱舒展自然，拱手而立的姿态藏着谦谨之态，眉眼间凝着智者的沉静。旁侧题字笔锋端正，与画像的清雅气质相融，文画相契，晕开古雅的圣贤气象。无浓彩渲染，却以极简笔墨载着深厚的人文意韵，墨白交织间，似能触到古人对圣贤品格的敬慕，沉静中满是古典的余味，让观者于素净里感知那份跨越时光的人文温度。",[23,59,188,64,330,96,572,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F022f6e350ff2708f464fa0da32b0d79c.jpg",[],{"id":115106,"slug":115107,"title":115108,"dynasty":54,"author":34242,"museum":300,"description":115109,"tags":115110,"thumbUrl":115111,"material":611,"size":84,"collection":84,"collections":115112,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215721,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-72-wu-gao-zeng-215721","摹吴道子圣贤像赞图册-72","白描线条轻拢慢捻，勾勒出圣贤持卷沉思的儒雅身形，衣纹流转如行云，眉宇间凝着治学的沉潜与笃定。左侧墨书笔力沉雄，字字如矶，与画像相映成趣——文述圣贤之志，图绘圣贤之姿，文图共生，将“容止外渊、圭璧内治”的风骨具象化。画面墨色浓淡相宜，古朴气息漫溢，白描的简洁传神与书法的遒劲有力交织，既显传统艺术韵致，又承载对圣贤精神的追慕。驻足观之，仿佛能触到那份治学虔诚与人格温润，让人心生敬慕，于静默中感受文化传承与智慧回响。",[23,24,7,59,188,330,96,64,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3eac067c2742e3d1e2b4efacc234a2d2.jpg",[],{"id":115114,"slug":115115,"title":115116,"dynasty":54,"author":34242,"museum":300,"description":115117,"tags":115118,"thumbUrl":115119,"material":611,"size":84,"collection":84,"collections":115120,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215720,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-71-wu-gao-zeng-215720","摹吴道子圣贤像赞图册-71","墨底之上，银线勾勒的圣贤立于右侧，衣袂翩然如流风回雪，线条婉转间尽现端庄气象。人物神态沉静，眉宇藏智者深邃，怀中器物似承千年文脉重量。左侧书法笔力苍劲，墨字与白描相映，墨色浓淡相宜，古雅之气扑面而来。线条如灵蛇游走，既守圣贤肃穆，又含笔墨灵动，仿佛能透过纸页触摸先贤胸襟。每一笔浸着对古贤的追慕，观者在笔墨交织里，感受人文厚重与艺术隽永，窥见先贤智慧与胸襟的余温。",[23,24,7,59,188,96,330,572,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdeff4c643e129d745c9c3d5e0d7bd918.jpg",[],{"id":115122,"slug":115123,"title":115124,"dynasty":54,"author":34242,"museum":300,"description":115125,"tags":115126,"thumbUrl":115127,"material":611,"size":84,"collection":84,"collections":115128,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215719,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-76-wu-gao-zeng-215719","摹吴道子圣贤像赞图册-76","黑底之上，白描线条清劲如篆，人物衣袂翩然却含庄重之态，手持卷册似凝思典籍，眉宇间藏着笃学深思的气度。左侧题字笔力沉厚，字句述尽圣贤“好学不倦”“笃力深造”的品格，与人物形象相映成趣，浑然一体。笔墨间将先贤的儒雅风骨与内在修为融于方寸，墨色浓淡交织出古朴典雅之韵，仿佛能透过线条窥见其治学精神，沉静肃穆中尽显传统人物画的神韵与文化底蕴，令人心生敬慕。",[23,24,7,59,188,330,96,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc96abd7b5f944a83e39caec58d0f1fa.jpg",[],{"id":115130,"slug":115131,"title":115132,"dynasty":54,"author":34242,"museum":300,"description":115133,"tags":115134,"thumbUrl":115135,"material":611,"size":84,"collection":84,"collections":115136,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215718,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-68-wu-gao-zeng-215718","摹吴道子圣贤像赞图册-68","黑底如凝漆，白字若敷霜，笔墨沉实间见筋骨。笔画遒劲利落，转折处方劲藏锋，既存唐人雄健气象，又含摹写时的谨严韵致。圣贤赞文与书法相契，庄肃之气溢于纸间。虽为摹本，却能传原迹神韵，笔端可见对先贤的敬慕，亦显摹者功底。文字排布整饬而不失灵动，黑白色调对比强烈，仿佛圣贤风骨透过笔墨徐徐铺展。一页之间，融书法之美与文化之敬，尽显摹古之诚与艺术之韵。",[23,24,7,59,572,64,5380,330,5459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31a49675abd4625fd12f83e30f1d1de6.jpg",[],{"id":115138,"slug":115139,"title":115140,"dynasty":54,"author":34242,"museum":300,"description":115141,"tags":115142,"thumbUrl":115143,"material":611,"size":84,"collection":84,"collections":115144,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215717,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-75-wu-gao-zeng-215717","摹吴道子圣贤像赞图册-75","画面以墨线勾勒出神形兼备的圣贤风姿，衣袂翩然如带当风，尽显吴派画韵的飘逸灵动。人物神情肃穆儒雅，姿态从容端方，似含谆谆教化之韵。左侧书法笔力沉厚端庄，墨色浓淡相宜，与画像相得益彰。摹作追摹古意却不失鲜活，线条流转间藏着对先贤的敬慕。图文相佐，布局雅致均衡，既显笔墨艺术的精妙，又传递出圣贤文化的厚重温润，仿佛跨越时空与先贤对话，感受那份穿越千年的德韵清风。",[23,24,7,59,188,96,64,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8534673b763629c5962bed055a67d50.jpg",[],{"id":115146,"slug":115147,"title":115148,"dynasty":54,"author":34242,"museum":300,"description":115149,"tags":115150,"thumbUrl":115151,"material":611,"size":84,"collection":84,"collections":115152,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215716,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-74-wu-gao-zeng-215716","摹吴道子圣贤像赞图册-74","墨线勾勒的圣贤立像，衣袂翩跹如清风拂柳，线条流畅婉转，尽显飘逸气韵。人物手持书卷，神态专注，眉宇间藏着儒雅智慧，仿佛正沉浸于典籍的深邃世界。旁侧题字笔力劲挺，墨色沉厚，与画像相映成趣——文辞的典雅与线条的灵动交融，古意盎然。整幅作品以黑底衬白描，对比鲜明却不失和谐，将圣贤的端庄风范与笔墨的雅致之美凝于一纸。读之观之，皆能感受到那份穿越时空的文化厚重与艺术张力，仿佛与千年前的圣贤对话，静享片刻文心雅韵。",[23,54,330,188,64,96,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbda479fff9044ac3cebcf8fdab15cfe.jpg",[],{"id":115154,"slug":115155,"title":115156,"dynasty":54,"author":34242,"museum":300,"description":115157,"tags":115158,"thumbUrl":115159,"material":611,"size":84,"collection":84,"collections":115160,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215715,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-78-wu-gao-zeng-215715","摹吴道子圣贤像赞图册-78","笔墨流转间，追摹画圣笔意的古雅气韵漫溢纸间。泛黄素笺上，斑驳痕迹如岁月轻吻的印记，每一丝纹理都藏着时光的呢喃。朱红钤印点缀其间，与浅褐纸色相映，更添古朴意趣。虽为摹本，却将圣贤像赞的庄重风骨与灵动神采悄然承续——线条未显全貌，然气韵贯通，仿佛能窥见画中人的仁厚气度。摹者以细腻笔触勾连古今，让画圣的笔墨精神在纸页间苏醒，每一处晕染都凝注着对传统的敬畏。这幅图册页如时光的切片，静静铺展着传统绘画的隽永魅力，让观者于方寸间触摸到千年艺术的脉搏。",[23,24,7,59,330,208,96,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb123537de2acf49c8f18165156ed7bd.jpg",[],{"id":115162,"slug":115163,"title":115164,"dynasty":54,"author":34242,"museum":300,"description":115165,"tags":115166,"thumbUrl":115167,"material":611,"size":84,"collection":84,"collections":115168,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215714,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-77-wu-gao-zeng-215714","摹吴道子圣贤像赞图册-77","左列楷字笔力遒劲，墨色沉凝如石，字句间蕴圣贤风骨；右侧线描人物衣袂翩跹似风，身姿端然如松，手持器物，眉目间藏儒者雅度。线条清逸与墨字厚重相映成趣，将圣贤端庄气度与文脉传承融于一纸。古雅之气漫溢，仿佛触到千年前儒雅风致，文字图像共生共辉，尽显传统艺术含蓄深韵，让人于笔墨间感知圣贤品格与文化底蕴。",[23,54,24,7,59,188,572,64,96,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc91a4f363d8c10e5e18db9d818e5beeb.jpg",[],{"id":115170,"slug":115171,"title":115172,"dynasty":54,"author":34242,"museum":300,"description":115173,"tags":115174,"thumbUrl":115175,"material":611,"size":84,"collection":84,"collections":115176,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215711,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-80-wu-gao-zeng-215711","摹吴道子圣贤像赞图册-80","这幅摹本以灵动线条勾勒圣贤仪态，笔墨间暗合吴道子“吴带当风”的韵致。人物形神兼备，衣袂流转若有气脉，眉宇间透着沉敛的圣贤气象。纸页泛黄的肌理似藏岁月沉淀，每一道笔触都承载着对经典的敬畏——既忠实于原作的精神内核，又在摹写中融入细腻体悟。圣贤的庄重与笔墨的洒脱相映，仿佛能窥见古人心目中的理想人格。整幅作品虽为摹本，却于细节处见真章，是对唐代画圣风格的传神追摹，亦彰显出传统人物画的教化与审美价值。",[23,24,7,59,330,96,188,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac00ab1d0e622cf4a6eb0c990ff5e26.jpg",[],{"id":115178,"slug":115179,"title":115180,"dynasty":54,"author":34242,"museum":300,"description":115181,"tags":115182,"thumbUrl":115183,"material":611,"size":84,"collection":84,"collections":115184,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215710,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-81-wu-gao-zeng-215710","摹吴道子圣贤像赞图册-81","古朴封面浸着岁月沉香，泛黄肌理间，竖排题字笔力端凝，似牵起古贤与今人的文脉之线。藏书标签红墨相叠，新旧印记如时光叠影，右上角篆刻印章线条古拙，藏着旧时光里的文雅余韵。纸页斑驳磨损处，是岁月留下的温柔痕迹，每道褶皱都在低语它曾被翻阅的故事——或许曾在书斋晨光里摊开，或许曾伴深夜烛火，封面之后的圣贤画像与赞语，静静承载着跨越时空的精神回响，让过往的温度在纸页间悄然流转。",[23,7,59,330,96,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42ac3ebf59b1a3117916865123bc639f.jpg",[],{"id":115186,"slug":115187,"title":115188,"dynasty":54,"author":34242,"museum":300,"description":115189,"tags":115190,"thumbUrl":115191,"material":611,"size":84,"collection":84,"collections":115192,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215709,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-84-wu-gao-zeng-215709","摹吴道子圣贤像赞图册-84","右侧圣贤立像以白描勾勒，衣袂线条如流云舒卷，暗合吴带当风之遗意，人物神态端凝，眉宇间凝着自省的沉静；左侧墨书赞语笔力沉厚，文辞间藏着对圣贤探源得绪的智慧、恒常自省的品格的推崇。黑底衬出的笔墨古朴雅致，似陈年书卷般耐人寻味，每道线条都在低语圣贤风骨，每个字都浸着对传统德行的追慕，静静铺展成连接古今的精神画卷，让观者于笔墨间触摸那份跨越时光的敬仰与传承。",[23,24,7,59,188,572,96,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe813e3bb57a943850ff8af5ed8b34199.jpg",[],{"id":115194,"slug":115195,"title":115196,"dynasty":54,"author":34242,"museum":300,"description":115197,"tags":115198,"thumbUrl":115199,"material":611,"size":84,"collection":84,"collections":115200,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215706,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-82-wu-gao-zeng-215706","摹吴道子圣贤像赞图册-82","纸页泛着暖黄的古意，如被光阴浸过的琥珀，斑驳处似时光的指纹轻覆。摹笔追摹先贤神韵，线条流转间藏着“吴带当风”的遗韵，圣贤像的端庄眉眼凝着肃穆威仪，赞语的墨痕虽淡却文气暗涌，图像与文字在纸间织就一场雅集。册页的装帧痕迹如岁月的榫卯，锁住往昔的笔墨温度，页边的磨损似轻声讲着流转的故事。追摹的用心融在每一笔勾勒里，不张扬却见传承的力量，圣贤的精神与艺术的韵味在古纸之上流淌，让观者触碰到跨越时空的敬意与笔墨深情。",[23,24,7,59,330,188,96,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6803bb631367ea3bb705fac01be5915a.jpg",[],{"id":115202,"slug":115203,"title":115204,"dynasty":54,"author":34242,"museum":300,"description":115205,"tags":115206,"thumbUrl":115207,"material":611,"size":84,"collection":84,"collections":115208,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215704,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-90-wu-gao-zeng-215704","摹吴道子圣贤像赞图册-90","墨色沉凝如漆，笔锋挺劲似削玉，每一字皆端稳有筋骨，章法严整却气脉暗通。文字间似淌着对圣贤之道的追慕，笔意里藏着对古贤风骨的敬慕。纸面覆着时光薄痕，更衬出笔墨的沉厚力量，仿佛将千年前的圣贤气象凝于方寸。一笔一划皆是对传统的守望，一字一句皆为对文脉的接续。读来见书法之工，更感古意之悠，仿佛与书写者同溯圣贤之境，心随字动，神与文游，墨香里浸着对先贤的礼敬，纸页间藏着文脉的温度。",[23,7,59,330,572,5380,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f286ce9bf106538a60a333dc925582.jpg",[],{"id":115210,"slug":115211,"title":115212,"dynasty":54,"author":34242,"museum":300,"description":115213,"tags":115214,"thumbUrl":115215,"material":611,"size":84,"collection":84,"collections":115216,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215703,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-86-wu-gao-zeng-215703","摹吴道子圣贤像赞图册-86","画面以浓墨为底，线描圣贤像立于右侧，衣纹流转如流云拂水，身姿端凝间透着温润儒雅。人物冠带齐整，眉宇含敛，似在默悟圣道真意。左侧书法笔力沉厚，字字端方如磐石，墨色凝润与人物淡泊气质相映成趣。文与画交织成韵，线条的轻转重落间，勾勒出圣贤风骨；笔墨的浓淡晕染里，晕开古典静谧。每一处细节皆见匠心，既藏着对先贤的敬慕，又显笔墨的雅致功底。整体氛围古朴庄重，仿佛能触到那份沉淀千年的文化底蕴，让观者于方寸间感知圣贤精神的绵长回响。",[23,24,7,59,188,330,64,572,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F405bbb02403aa96a8a0db4fbe87b0247.jpg",[],{"id":115218,"slug":115219,"title":115220,"dynasty":54,"author":34242,"museum":300,"description":115221,"tags":115222,"thumbUrl":115223,"material":611,"size":84,"collection":84,"collections":115224,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215701,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-88-wu-gao-zeng-215701","摹吴道子圣贤像赞图册-88","白描线条轻转重折，勾勒出圣贤庄重立姿，衣袂飘举如吴带当风遗韵，神情肃穆似藏千古智慧。左侧楷书赞语笔力端稳，文辞恳切颂其贤德与深远影响。摹本虽非原迹，却承画圣白描精髓，线条的韵律与文字的方正相映成趣。黑底衬出的素白痕迹，似凝岁月沉淀的沉香，人物风骨与文字厚重交织，既展视觉之美，又传对古贤的敬仰，让观者于笔墨间触碰传统文脉的温度，感受圣贤气象的绵长回响。",[23,188,330,572,7,59,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7abf5e4403a66224001e4e81e8374598.jpg",[],{"id":115226,"slug":115227,"title":115228,"dynasty":54,"author":34242,"museum":300,"description":115229,"tags":115230,"thumbUrl":115231,"material":611,"size":84,"collection":84,"collections":115232,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215698,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-94-wu-gao-zeng-215698","摹吴道子圣贤像赞图册-94","墨底铺陈间，白描勾勒的圣贤身影立于右侧，衣袂线条婉转如流，暗携吴带当风的遗韵。手持卷册的姿态儒雅沉敛，眉宇间藏着智者的深邃。左侧楷书题赞笔力端劲，字句间凝着对圣贤的敬慕与哲思。图文相契，似将千年前的智慧气息封存于此。摹本虽承后世之手，却把原迹的风骨神韵尽纳其中，让圣贤的气度与箴言在墨线白字间静静流转，引观者于方寸间触碰到跨越时空的哲思温度。",[23,59,330,188,572,96,64,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41b7623f5c759f16830dd3e8239c0773.jpg",[],{"id":115234,"slug":115235,"title":115236,"dynasty":54,"author":34242,"museum":300,"description":115237,"tags":115238,"thumbUrl":115239,"material":611,"size":84,"collection":84,"collections":115240,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215694,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-95-wu-gao-zeng-215694","摹吴道子圣贤像赞图册-95","线描勾勒的圣贤形象衣袂翩跹，如吴带当风般流畅灵动，人物神态庄重沉稳，尽显智者风骨。旁侧墨书题赞笔力浑厚，文字与画像相映成趣，文图共生间传递出对圣贤品格的敬仰。拓本的斑驳质感，更添岁月沉淀的韵味，仿佛跨越时空与古贤对话。整体风格古朴典雅，线韵与墨香交织，既藏艺术之精妙，亦含人文之深蕴，在黑白方寸间，尽显传统图文结合的独特魅力。",[23,24,7,59,188,96,330,572,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc06395decc3c77eae0aaf3256eed47e0.jpg",[],{"id":115242,"slug":115243,"title":115244,"dynasty":54,"author":34242,"museum":300,"description":115245,"tags":115246,"thumbUrl":115247,"material":611,"size":84,"collection":84,"collections":115248,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215693,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-100-wu-gao-zeng-215693","摹吴道子圣贤像赞图册-100","右侧线描人物衣袂轻扬却见沉敛风骨，袍袖褶皱间藏着圣贤的儒雅气象，简练线条勾勒出庄重神态，形神兼备。左侧楷书笔力端稳，墨色沉厚，赞语文字与画像相映成趣，笔墨间浸透着对先贤的敬慕之情。整幅作品以黑白为底，线条为骨，图文共生，既显书法的严谨法度，又彰绘画的传神之妙，将圣贤的人格魅力与文化底蕴凝于一纸，耐人细细品味。",[23,24,7,59,188,96,330,64,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e1979d394ff4f024d90c06064a58137.jpg",[],{"id":115250,"slug":115251,"title":115252,"dynasty":54,"author":34242,"museum":300,"description":115253,"tags":115254,"thumbUrl":115255,"material":611,"size":84,"collection":84,"collections":115256,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215692,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-102-wu-gao-zeng-215692","摹吴道子圣贤像赞图册-102","纸页泛着岁月浸养的暖黄，斑驳痕迹如时光的掌纹轻覆其上。右上角印章虽已淡褪，却似一枚文化印信，封存着往昔的恭敬与匠心。摹写的线条隐于纸间肌理，虽经光阴磨洗，仍能窥见对“吴带当风”神韵的追摹——圣贤端方气度，仿佛随每道隐现笔触流转，将千载前人文风骨递到今人的眼前。这册页不只是画，更是时光与匠心交织的载体，每处斑驳都诉说着对经典的敬畏，让古老的圣贤形象在岁月沉淀中，依旧散发着温润的文化光泽。",[23,24,7,59,188,96,208,330,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff16192a30736e015b470242fbd2b015c.jpg",[],{"id":115258,"slug":115259,"title":115260,"dynasty":54,"author":34242,"museum":300,"description":115261,"tags":115262,"thumbUrl":115263,"material":611,"size":84,"collection":84,"collections":115264,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215691,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-97-wu-gao-zeng-215691","摹吴道子圣贤像赞图册-97","画面分左右二帧，右帧白描圣贤立像，线条清劲得吴道子“吴带当风 ”之韵——衣袂翩然似携清风拂过，须发苍劲如凝岁月霜华；眉眼间藏儒者仁厚，身姿端凝却含灵动之态，举手投足皆显雍容气度｡左帧以浓墨楷书题赞,笔势沉稳方正,墨色匀净如漆,与画像飘逸线条形成刚柔相济之美｡图文相契处,既见圣贤品格之端方,亦显摹绘者对古贤风韵之精准把握,融线描生动与题跋庄重于一卷,尽展古典艺术“形神兼备､诗书合璧”的雅致意趣与深沉底蕴｡",[23,24,7,59,188,572,64,96,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e02232a00daf8e31a46812e6e3a4687.jpg",[],{"id":115266,"slug":115267,"title":115268,"dynasty":54,"author":34242,"museum":300,"description":115269,"tags":115270,"thumbUrl":115271,"material":611,"size":84,"collection":84,"collections":115272,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215690,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-98-wu-gao-zeng-215690","摹吴道子圣贤像赞图册-98","黑底白线勾勒的圣贤像，线条如行云流水般舒展，衣袂飘举间藏“吴带当风”遗韵。人物面容端肃却含温润，手持方匣似蕴典籍，身姿挺拔沉稳，尽显儒雅风骨。旁列墨书赞语，笔力沉厚与线描灵动相映，文图共生古意盎然。摹绘者得原作精髓，以精炼笔触捕捉圣贤内在气度，黑白碰撞简洁却张力十足，凝传统人物画笔墨神韵与文化底蕴于方寸，读之如见先贤风貌，心生敬慕。",[23,7,59,188,330,64,96,100302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6362471a2857d48493cb2adc510d59b4.jpg",[],{"id":115274,"slug":115275,"title":115276,"dynasty":54,"author":34242,"museum":300,"description":115277,"tags":115278,"thumbUrl":115279,"material":611,"size":84,"collection":84,"collections":115280,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215689,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-106-wu-gao-zeng-215689","摹吴道子圣贤像赞图册-106","左幅墨痕沉厚，题赞文字笔力端凝，古雅之韵隐于笔画间；右幅线描人物衣袂流转若流云，尽得“吴带当风”的灵动。人物神情肃穆，手持器物姿态庄重，圣贤沉静气度跃然纸上。图文相契，笔墨间既见摹古的精工，又藏气韵的生动。黑底衬白描清劲，朱印点缀添古意，整体氛围肃穆典雅，似能触碰到往昔圣贤的风骨，与文脉流转的温度。",[23,24,7,59,188,330,96,64,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F913c24f08bf1afacf29b9a92114a7f88.jpg",[],{"id":115282,"slug":115283,"title":115284,"dynasty":54,"author":34242,"museum":300,"description":115285,"tags":115286,"thumbUrl":115287,"material":611,"size":84,"collection":84,"collections":115288,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215688,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-99-wu-gao-zeng-215688","摹吴道子圣贤像赞图册-99","墨拓肌理间，白描圣贤身姿儒雅，衣纹线条如吴带当风般灵动，简劲中藏飘逸韵致。左侧楷字端严沉厚，字句述颜氏孝悌家风与世德传承，笔墨与画像相映成趣，尽显先贤庄重气象。黑底衬出的白痕似凝岁月沉香，每一笔皆含对古圣的敬慕，让观者于古朴质感里，触摸到文脉传承的温润力量，仿佛与先贤隔空对话，感知那份跨越时空的精神共鸣。",[23,24,7,59,188,572,64,96,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faad94c927cdeebbf2f364e2d4d7e9abf.jpg",[],{"id":115290,"slug":115291,"title":115292,"dynasty":54,"author":34242,"museum":300,"description":115293,"tags":115294,"thumbUrl":115295,"material":611,"size":84,"collection":84,"collections":115296,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215687,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-103-wu-gao-zeng-215687","摹吴道子圣贤像赞图册-103","这幅摹本承画圣吴道子遗韵，线条勾勒间尽显圣贤端庄气象。岁月侵蚀留下斑驳痕迹，却未掩摹写者的匠心——笔意古朴流畅，似追摹“吴带当风”之姿，圣贤形象的肃穆仁厚隐于其间。赞图相契，图文互证，传递出儒家对圣贤的敬仰与教化深意。吴高增以虔诚之心摹绘，既保留原作精神内核，又融入清代摹古审美意趣，是研究古代圣贤图像传播与摹古风尚的珍贵遗存，历经时光仍散发古典艺术的沉静魅力。",[23,24,7,59,188,96,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cb93f0a84e65acf2542bf2eaa5508d4.jpg",[],{"id":115298,"slug":115299,"title":115300,"dynasty":54,"author":34242,"museum":300,"description":115301,"tags":115302,"thumbUrl":115303,"material":611,"size":84,"collection":84,"collections":115304,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215686,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-104-wu-gao-zeng-215686","摹吴道子圣贤像赞图册-104","纸页泛黄如陈酿的时光，斑驳纹理间藏着岁月的私语。手写墨迹与贴存的藏书标签，似过往藏家的低语，印刻着文脉流转的痕迹。“圣贤像赞”四字古朴沉厚，隐约可见圣贤风骨与人文温度。那些深浅不一的印记，是时光摩挲的佐证，也是历史与当下的对话。翻开它，仿佛能触到古人对圣贤的敬仰，感受到文脉传承的绵长。每一处磨损、每一枚印记，都在诉说着它走过的岁月，成为连接古今的静默桥梁，让圣贤的精神在时光里静静流淌。",[23,24,7,330,59,96,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0188fc4c26bcf461596cf337fa04482.jpg",[],{"id":115306,"slug":115307,"title":115308,"dynasty":54,"author":34242,"museum":300,"description":115309,"tags":115310,"thumbUrl":115311,"material":611,"size":84,"collection":84,"collections":115312,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215685,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-105-wu-gao-zeng-215685","摹吴道子圣贤像赞图册-105","追摹画圣笔意，凝萃圣贤风神。纸页泛黄间，犹见端庄肃穆之姿；墨痕隐现处，暗藏雅正深沉之韵。圣贤像与赞文相映，图文并茂中，承载儒家文脉的厚重传承。每一笔勾勒皆含敬意，每一处留白俱藏哲思，于岁月沉淀的古朴气息里，铺展一段跨越时空的文化对话。笔底藏千秋，纸间蕴万意，尽显摹本的艺术诚意与经典的永恒魅力。",[23,59,330,188,96,187,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc35fca3329a059c56fb17e42309bfbce.jpg",[],{"id":115314,"slug":115315,"title":115316,"dynasty":54,"author":34242,"museum":300,"description":115317,"tags":115318,"thumbUrl":115319,"material":611,"size":84,"collection":84,"collections":115320,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215684,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-108-wu-gao-zeng-215684","摹吴道子圣贤像赞图册-108","右畔圣贤立像以白描勾勒，线条圆劲流畅，衣袂翩然若流云垂落，人物拱手而立，神态恭谨温厚，眉宇间藏着智者的沉静与豁达。左页墨书赞语笔力遒劲，字体端雅古朴，字句与画像呼应，似在诉说先贤典故。黑底之上，白描的清逸与墨书的厚重相映成趣，简素画面中，圣贤的儒雅风骨与文字的古朴意趣交融，满溢着对先贤的敬仰，尽显古典人文之美。",[23,24,7,59,188,572,330,96,100302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c709ffd793d1326fdd1c9491aceec82.jpg",[],{"id":115322,"slug":115323,"title":115324,"dynasty":54,"author":34242,"museum":300,"description":115325,"tags":115326,"thumbUrl":115327,"material":611,"size":84,"collection":84,"collections":115328,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215683,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-107-wu-gao-zeng-215683","摹吴道子圣贤像赞图册-107","左幅楷书题赞笔力沉厚，字字端严；右绘圣贤立像，衣纹线条如吴带当风，流转自然。人物峨冠博带，神情温雅肃穆，手持卷册似欲传道授业，眉宇间藏着经世济民的睿思。文与图相映成趣，赞语的庄重与画像的传神交织，将圣贤的儒雅气度与深邃哲思凝于一纸。墨线虽简，却足见摹绘者功力，既保留原作风骨，又透出古朴韵味，让人仿佛能触摸到千年前圣贤的风范，于静默中体悟那份穿越时空的精神力量。",[23,24,7,59,188,572,64,330,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f1180d2f4ae4963e0a3ddf47595531a.jpg",[],{"id":115330,"slug":115331,"title":115332,"dynasty":54,"author":34242,"museum":300,"description":115333,"tags":115334,"thumbUrl":115335,"material":611,"size":84,"collection":84,"collections":115336,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215681,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-113-wu-gao-zeng-215681","摹吴道子圣贤像赞图册-113","画面以墨底白描铺展，右侧圣贤像衣纹线条流转如行云，承吴带当风之韵，人物眉目间凝儒雅沉静之态，手持书卷似欲诉经义之奥。左侧题字笔力端稳，与画像相映成趣，墨色浓淡间见古朴质感。整幅作品融线描之灵动与书法之庄重，于方寸间勾勒圣贤风骨，传递古典文化的沉静韵味，仿佛能窥见千年前圣贤授业的雅境，虽经岁月沉淀，仍显笔墨间的人文温度，是书画合璧、摹古见心的佳作。",[23,7,59,188,330,572,64,96,5380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F018804e3c1656f84ae83b96fbb5b2d5a.jpg",[],{"id":115338,"slug":115339,"title":115340,"dynasty":54,"author":34242,"museum":300,"description":115341,"tags":115342,"thumbUrl":115343,"material":611,"size":84,"collection":84,"collections":115344,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215680,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-109-wu-gao-zeng-215680","摹吴道子圣贤像赞图册-109","画面以黑底衬出白描人物与墨书，线描如行云流水，衣纹婉转若风拂杨柳，圣贤立于案侧，眉宇间藏书卷沉潜，衣袂裹智者从容，神态专注似与典籍私语。左侧书法笔力端稳，字字方正如磐，与人物儒雅风骨相映成趣。整幅融书画于一体，墨色浓淡见古朴韵味，线条起落显笔墨深情，既传“吴带当风”之韵，又含圣贤像赞的庄重文气，仿佛将千年前智者风骨凝于一纸，让观者在笔墨间触摸文脉温度。",[23,59,188,330,572,5380,7,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a12fd745f62e0a1ffc7a10014f5679a.jpg",[],{"id":115346,"slug":115347,"title":115348,"dynasty":54,"author":34242,"museum":300,"description":115349,"tags":115350,"thumbUrl":115351,"material":611,"size":84,"collection":84,"collections":115352,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215679,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-110-wu-gao-zeng-215679","摹吴道子圣贤像赞图册-110","墨地衬映下，白描圣贤像线条流转如行云，衣袂翩然带吴门画韵遗风，面容端凝间见仁礼气象。旁侧楷书赞语笔力沉厚，字句间颂至孝之行、守礼之节，文图相契，共显圣贤品格。摹绘者以细腻笔意追摹吴道子白描神韵，线条劲挺中含灵动，人物姿态庄重却不板滞，似将先贤风骨凝于纸端。整幅作品古朴雅致，文与画共生，既见笔墨艺术之美，更载圣贤文化之厚重，让人于观瞻间感遇先贤气韵，体悟传统人文的深沉力量。",[23,188,330,572,64,96,59,5380,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1765f19a2ab2662a335bc55df29b209.jpg",[],{"id":115354,"slug":115355,"title":115356,"dynasty":54,"author":34242,"museum":300,"description":115357,"tags":115358,"thumbUrl":115359,"material":611,"size":84,"collection":84,"collections":115360,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215676,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-112-wu-gao-zeng-215676","摹吴道子圣贤像赞图册-112","黑底如凝脂，白字似镂玉，墨色沉厚如夜，笔锋挺劲若松。赞语词句庄重，书法端严规整，每一笔都透着对圣贤的虔敬。虽为摹本，却得原作风神，文字与画像（册中图文相契）相映，仿佛能窥见圣贤们的仁风德韵。纸页间古意盎然，墨痕如刻，岁月未减其辉，尽显摹刻之精工。展卷即见儒韵流转，圣贤气象跃然纸上，令人心生敬畏与追慕。笔锋转折处，似有千年文脉流淌，古雅肃穆的氛围，将观者拉回对圣贤之道的沉思里。",[23,7,59,330,572,5380,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac0b608259ef8d6625334a3bc7b9afa2.jpg",[],{"id":115362,"slug":115363,"title":115364,"dynasty":54,"author":34242,"museum":300,"description":115365,"tags":115366,"thumbUrl":115367,"material":611,"size":84,"collection":84,"collections":115368,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215675,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-115-wu-gao-zeng-215675","摹吴道子圣贤像赞图册-115","墨底之上，白描人物与楷书题赞相映成趣。右侧圣贤手持书卷，衣纹线条如行云流水，兼具灵动与庄重，眉眼间流露专注儒雅之态。左侧题字笔力沉厚，结体端严，与人物清雅气韵相得益彰。整体布局疏密有致，图文互衬，既保留碑刻古雅质感，又以细腻线条勾勒生动情态。墨色浓淡相宜，线条转折自然，将圣贤端庄与书卷气融于一体，传递沉静内敛的文化意蕴，尽显传统艺术的笔墨神韵与人文情怀。",[23,24,7,59,188,330,572,64,96,100302,5380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0104ce360705c720e820504675e92bc8.jpg",[],{"id":115370,"slug":115371,"title":115372,"dynasty":54,"author":34242,"museum":300,"description":115373,"tags":115374,"thumbUrl":115375,"material":611,"size":84,"collection":84,"collections":115376,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215674,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-120-wu-gao-zeng-215674","摹吴道子圣贤像赞图册-120","黑底之上，白描线条如流云泻地，勾勒出圣贤宽袍博带的身形，衣袂飘举间藏着吴带当风的遗韵。左侧题赞笔墨苍劲，与画像相映成趣，字里行间的敬仰与画像中的庄重气质交融。墨色浓淡相宜，既保留了古本的沉静质感，又透过细腻线条凸显人物的儒雅风骨。圣贤面容温润，眼神深邃，似含千年智慧，整幅作品在黑白交织中，将圣贤的德范与艺术的韵致凝于一纸，尽显古典雅韵与人文底蕴。",[23,24,7,59,188,330,96,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923087e2079c1bb00146da411a4a8784.jpg",[],{"id":115378,"slug":115379,"title":115380,"dynasty":54,"author":34242,"museum":300,"description":115381,"tags":115382,"thumbUrl":115383,"material":611,"size":84,"collection":84,"collections":115384,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215672,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-121-wu-gao-zeng-215672","摹吴道子圣贤像赞图册-121","画面以碑拓质感铺展，右侧圣贤像线条流转如行云，衣袂翩然若带风，手持书卷躬身而立，神态恭谨中藏着儒雅锋芒。左侧墨字清劲如刻，赞语与画像相契，似在低语圣贤教化之道。整幅韵致古雅，线描承吴道子笔意，虽为摹本却神形兼备，将圣贤的庄重与温润凝成方寸气韵。图文交融处，仿佛能触到千年前文脉回响，尽显对圣贤风骨的敬仰与传承。",[23,188,330,96,572,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95ff2652d57b247b3811e6232fb2ee10.jpg",[],{"id":115386,"slug":115387,"title":115388,"dynasty":54,"author":34242,"museum":300,"description":115389,"tags":115390,"thumbUrl":115391,"material":611,"size":84,"collection":84,"collections":115392,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215671,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-119-wu-gao-zeng-215671","摹吴道子圣贤像赞图册-119","墨地之上，白描圣贤与金书题赞相映成趣。人物线条简练却神形兼备，衣袂轻扬间显端方气度，手持书卷似在沉思，眉宇间藏着儒者的温厚与肃穆。左栏金文字迹遒劲，笔锋起落间见功力，文句与画像互衬，道尽圣贤风骨。整幅作品以墨为底，白描与金书形成强烈视觉对比，古雅厚重中透着灵动。每一笔线条都凝着敬慕，每一字金墨都载着深情，仿佛将先贤的智慧与德行，凝刻在这方寸之间，让观者于静默中感受传统艺术的典雅与精神的传承。",[23,54,7,59,188,96,330,572,100302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc12b1a1fcff75e04b3a6584c71643c80.jpg",[],{"id":115394,"slug":115395,"title":115396,"dynasty":54,"author":34242,"museum":300,"description":115397,"tags":115398,"thumbUrl":115399,"material":611,"size":84,"collection":84,"collections":115400,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215669,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-122-wu-gao-zeng-215669","摹吴道子圣贤像赞图册-122","这幅图以黑底衬出白描圣贤像，线条清劲流畅，衣纹婉转间尽显儒雅气度。人物侧身而立，神情肃穆中藏着温润，似携山泽浩气，又含秋月澄明。左侧书法笔力遒劲，墨色沉厚，赞语与画像呼应，文图相融。黑白对比鲜明，布局疏朗有致，既见笔墨之妙，又含圣贤品格之颂。每一笔线条都似在诉说风骨，每一字墨痕都藏着敬意，整体透着古朴庄重的气息，是艺术与文化的凝练呈现，于静默中传递出深远的精神意蕴。",[23,24,7,59,188,572,96,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fbaad52f17b6561a79f6278554f1407.jpg",[],{"id":115402,"slug":115403,"title":115404,"dynasty":54,"author":77073,"museum":11952,"description":115405,"tags":115406,"thumbUrl":115408,"material":128,"size":84,"collection":84,"collections":115409,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215631,"yu-zhi-geng-zhi-tu-23-kang-xi-215631","御制耕织图-23","这幅作品以图文交织的形式，承载着对农桑之本的深切关注。笔墨间既有帝王御笔的端庄气度，又流淌着对民生衣食的拳拳之心。耕织场景的写实勾勒，与题跋中对农桑重要性的阐释相映成趣，将重农固本的治国理念具象为可视可感的画面与文字。它不仅是艺术创作，更是清代前期推动农桑生产、传播耕织知识的官方载体，凝聚着统治者对天下衣食丰足的期许，也彰显了传统社会以农为本的文化内核。",[23,304,7,133,23848,208,59,8116,115407],"朱印","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F293c92ed9711fc065ade6fd1f1934e3a.jpg",[],{"id":115411,"slug":115412,"title":115413,"dynasty":54,"author":77073,"museum":11952,"description":115414,"tags":115415,"thumbUrl":115416,"material":128,"size":84,"collection":84,"collections":115417,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215628,"yu-zhi-geng-zhi-tu-22-kang-xi-215628","御制耕织图-22","墨痕与线条交织成农桑的生动画卷。或绘田畴间扶犁深耕的专注，或描织室里拈线穿梭的勤勉，人物姿态鲜活，器具形制毕肖。题诗笔墨浑厚雅致，与插画相映成趣，字里行间藏着对稼穑艰辛的体恤，对衣食本源的敬畏。纸页间漫溢着劝课农桑的深意，将对民生的关切融于丹青。每一处细节皆见匠心：犁铧的弧度，织机的经纬，乃至农人的衣纹褶皱，都经细致描摹。这不仅是笔墨艺术的佳作，更是承载农耕文明记忆的载体，让千年农桑的温度与智慧，在纸墨间静静流淌，引人回望衣食所系的本源之美。",[23,24,7,64,133,128,59,96,13640,34836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F514e010f93dff88dedba42bba5e99258.jpg",[],{"id":115419,"slug":115420,"title":115421,"dynasty":54,"author":223,"museum":300,"description":115422,"tags":115423,"thumbUrl":115425,"material":278,"size":84,"collection":84,"collections":115426,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215619,"tian-xia-ming-shan-tu-2-yi-ming-215619","天下名山图-2","笔墨清劲，勾勒出山水的绰约风姿。左峰巍峨，岩石层叠间草木葱茏，观水峰的题字隐于丘壑，似藏幽意；右麓溪流蜿蜒，人家错落，林木扶疏间透着烟火气。远近景致相映，险峻与平和交织，简淡笔触里藏着悠远意境，将名山的灵秀与生机凝于一纸，尽显传统山水的笔墨意趣与自然情致。",[24,7,188,29,132,663,1314,413,99,495,758,31,115424],"岩崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedcaa7bf1af7789de333dd73b0196aea.jpg",[],{"id":115428,"slug":115429,"title":115430,"dynasty":54,"author":223,"museum":300,"description":115431,"tags":115432,"thumbUrl":115433,"material":278,"size":84,"collection":84,"collections":115434,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215615,"tian-xia-ming-shan-tu-11-yi-ming-215615","天下名山图-11","明黄底色如鎏金倾泻，龙纹隐现于云涛间，或昂首腾跃，鳞爪张弛带劲风；或蜿蜒穿梭，身姿矫健藏威仪。祥云以朱红、墨褐、浅灰交织，卷舒间既有飘逸之态，又含厚重质感，与龙形相生相映。织物纹理细密，色彩晕染自然，每处线条都凝着匠人的巧思，将龙的霸气与云的灵动揉成气韵生动的画卷。既显皇家气象的庄重，又含天地灵韵的鲜活，仿佛能听见龙啸云涌，让人沉浸在跨越时空的震撼里。",[24,7,27,28,29,772,1975],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7abfc668db6fe63f0b0df10e26004dc.jpg",[],{"id":115436,"slug":115437,"title":115438,"dynasty":54,"author":223,"museum":300,"description":115439,"tags":115440,"thumbUrl":115441,"material":278,"size":84,"collection":84,"collections":115442,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215614,"tian-xia-ming-shan-tu-9-yi-ming-215614","天下名山图-9","墨线勾勒山峦筋骨，层叠起伏间见丘壑纵深。劲挺线条下，山体轮廓分明，转折处藏自然肌理；峰顶疏木点缀，添几分生机意趣。云雾以柔婉曲线晕染，与硬朗山形相映，缥缈中见沉稳。峰峦间题署小字，似与山川私语，藏古雅余韵。整幅以简驭繁，素纸之上铺展清旷山水，凝练传统笔墨神韵，尽显自然与人文交织的静谧之美。",[24,7,164,304,188,132,29,30,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F463a8c20ae5b93bf59ddf366e3c36edd.jpg",[],{"id":115444,"slug":115445,"title":115446,"dynasty":54,"author":223,"museum":300,"description":115447,"tags":115448,"thumbUrl":115449,"material":278,"size":84,"collection":84,"collections":115450,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215610,"tian-xia-ming-shan-tu-16-yi-ming-215610","天下名山图-16","这幅山水图以细腻墨线勾勒山峦脉络，皴法交错间尽显山石嶙峋肌理。层峦叠嶂如浪涛翻涌，远近错落间营造出深远空间感。山间亭台掩映于松荫之下，古木虬枝添几分苍劲。题款错落分布于峰峦幽谷，笔墨与山川相映成趣，隐现文人寄情山水的雅致。整体画风清逸，意境幽远，既展现自然山川的雄浑之美，又蕴含人文意趣的温润质感，似可窥见古人对名山胜景的向往与描摹。",[24,7,188,29,663,44054,34,97,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22efdb52057a6e8e11ec555f4ef41ebb.jpg",[],{"id":115452,"slug":115453,"title":115454,"dynasty":54,"author":223,"museum":300,"description":115455,"tags":115456,"thumbUrl":115457,"material":278,"size":84,"collection":84,"collections":115458,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215609,"tian-xia-ming-shan-tu-15-yi-ming-215609","天下名山图-15","画面以白描织就山水清韵，左幅烟波浩渺，远山如黛层叠向云际，水纹细劲似鳞，漾开一片空寂；右幅峭壁嶙峋，皴笔如斧劈石骨，几处楼宇嵌于翠嶂间，古木虬枝斜出，藏着烟火与禅意。疏密线条勾勒虚实相生之境，远山的淡墨晕染与近石的刚劲笔触相映，静水的留白与峻岭的密线交织。极简笔墨里透出名山的雄浑与灵秀，似能闻山风穿林、水声拍岸，引观者步入那片悠远清旷的天地，触摸岁月沉淀的山水情怀。",[24,7,59,188,95,29,97,30,34,497,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7152fb149bafa97c5505e4e0064a66a.jpg",[],{"id":115460,"slug":115461,"title":115462,"dynasty":54,"author":223,"museum":300,"description":115463,"tags":115464,"thumbUrl":115465,"material":278,"size":84,"collection":84,"collections":115466,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215608,"tian-xia-ming-shan-tu-14-yi-ming-215608","天下名山图-14","笔墨勾勒的峰峦如剑戟般刺破云霭，线条如流水游走于山石肌理间，皴擦点染藏着草木的低语。近景峭壁纹理清晰，似能触到岩石冷硬；中景山势层叠，隐现的屋宇漏出人间烟火；远景云气缭绕，将天地连成浩渺一片。整幅画以线为骨、以意传神，静穆中透着山河壮阔，仿佛能听见山风穿峡的回响，看见云雾在峰尖缓缓流动。每一笔都凝着对自然的敬畏，把名山的雄奇与灵秀收于尺幅，让观者心随画游，沉醉在这片笔墨构筑的山水秘境里。",[24,7,188,29,663,950,34,1022,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94287d078c1957cca19cd0f5038dfe0d.jpg",[],{"id":115468,"slug":115469,"title":115470,"dynasty":54,"author":223,"museum":300,"description":115471,"tags":115472,"thumbUrl":115473,"material":278,"size":84,"collection":84,"collections":115474,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215607,"tian-xia-ming-shan-tu-18-yi-ming-215607","天下名山图-18","这幅白描山水以清劲婉转的线条勾勒天地丘壑。奇峰罗列，或陡峭如削，或层叠如垒，山间林木葱茏，松枝苍劲、杂树扶疏，姿态各显生机。左下角亭台隐于林麓，与自然景致相融；溪流蜿蜒穿涧而过，添几分灵动韵致。笔墨简练却意韵丰厚，构图开合有致，远近层次分明，咫尺间见千里之势。峰峦的雄浑与草木的纤秀相映，静岩与流泉相衬，尽显山川灵秀与人文意趣，于素净线条中藏天地大美。",[24,7,188,29,131,34,97,99,38,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F205d74ceaf9020f3503fd62295d027ec.jpg",[],{"id":115476,"slug":115477,"title":115478,"dynasty":54,"author":223,"museum":300,"description":115479,"tags":115480,"thumbUrl":115481,"material":278,"size":84,"collection":84,"collections":115482,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215606,"tian-xia-ming-shan-tu-17-yi-ming-215606","天下名山图-17","笔墨轻挥间，山水之韵徐徐铺展。前景溪流蜿蜒，岸线层叠，水纹细劲如丝，似有潺潺声入耳。中景坡地起伏，林木疏密有致，几椽屋舍隐于其间，添了烟火气却不失清幽。背景山峦巍峨，轮廓刚劲含柔，山间留白若云雾缭绕，将远岫的深邃悄然晕开。线条简练却见功底，皴擦点染皆合章法，简淡中藏深远，平实处生奇趣。整幅画如无声的山水诗，把自然静谧与人文闲适融于尺幅，引人入胜，心生向往。",[164,24,7,59,188,128,132,29,34,415,7509,497,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e7b0bab5cf9e908df16329dcb37bf07.jpg",[],{"id":115484,"slug":115485,"title":115486,"dynasty":54,"author":223,"museum":300,"description":115487,"tags":115488,"thumbUrl":115489,"material":278,"size":84,"collection":84,"collections":115490,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215605,"tian-xia-ming-shan-tu-13-yi-ming-215605","天下名山图-13","线痕勾勒层峦脉络，皴擦间藏山石苍劲肌理。云雾似轻纱漫过峰巅，晕染出远近丘壑的虚实层次。山顶亭台隐于云霭，如遗落的仙踪；林麓溪涧藏于深谷，似有潺潺声入耳。细密笔触铺展林木，葱茏间透着生机；劲挺线条刻画石崖，嶙峋中显风骨。整幅画以线为骨，以意传神，凝名山雄浑与灵秀于一纸。静穆里带着悠远气息，仿佛牵引观者踏入烟霞深处，尽览丘壑间的万千意趣——山石的沉稳、云雾的轻盈、草木的鲜活，皆在笔墨流转中，化作可感的山水诗行。",[24,7,188,132,29,663,950,34,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd8394b00c27a1825ce9e44ffccd130e.jpg",[],{"id":115492,"slug":115493,"title":115494,"dynasty":54,"author":223,"museum":300,"description":115495,"tags":115496,"thumbUrl":115499,"material":278,"size":84,"collection":84,"collections":115500,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215603,"tian-xia-ming-shan-tu-23-yi-ming-215603","天下名山图-23","笔墨晕染出山川灵秀风骨，峰峦叠嶂隐于烟霞缥缈间，溪涧蜿蜒绕林麓。线条苍劲古拙，墨色浓淡藏虚实相生之妙，尽显清代山水含蓄韵致。每一笔触似诉名山千年底蕴，烟岚浮动中，松涛阵阵可闻，飞瀑流泉如见。虽佚名，却以自然之笔绘就天地大美，观者于尺幅间神游万仞，心寄烟霞，沉醉于那份古朴静谧的山水诗意里，不知归处。",[164,24,7,29,128,114062,500,29970,39619,115497,13602,115498,84570,20575],"林麓","松涛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf6a0b9248f3d7c0896470902e898923.jpg",[],{"id":115502,"slug":115503,"title":115504,"dynasty":54,"author":223,"museum":300,"description":115505,"tags":115506,"thumbUrl":115507,"material":278,"size":84,"collection":84,"collections":115508,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215599,"tian-xia-ming-shan-tu-19-yi-ming-215599","天下名山图-19","峰峦如削，劲挺线条勾勒出山石嶙峋轮廓，皴擦点染间显肌理苍古。云雾轻笼，淡墨晕染与留白相映，层叠山岩似浮于烟霭之上。山间隐现亭榭，小径行人缓步，为雄奇景致添几分生活意趣。笔墨细腻却藏力道，线条精准而富变化，既绘出山川壮阔气象，又含林泉高致清雅之韵。整幅画以线立骨、以墨生韵，将自然奇秀与文人情怀融于一纸，尽显传统山水的笔墨匠心与意境之美。",[24,7,188,29,132,30,34,97,99,98,96,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5563039e1aa92ca9812b376ef1e688c5.jpg",[],{"id":115510,"slug":115511,"title":115512,"dynasty":54,"author":223,"museum":300,"description":115513,"tags":115514,"thumbUrl":115515,"material":278,"size":84,"collection":84,"collections":115516,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215598,"tian-xia-ming-shan-tu-30-yi-ming-215598","天下名山图-30","墨线勾勒的峰峦层叠如浪，自远及近铺展成壮阔山景。近山林木错落，枝叶简笔点染，添几分生机；远山轮廓淡远，似隐于云雾间。山间小径蜿蜒穿梭，连接标注地名，藏着古人踏访的足迹。整幅画以极简笔墨揉合长白山的雄奇与静谧——既有群峰竞秀的磅礴，又有林径幽寂的清雅。笔墨虽简，却道尽山川神韵：仿佛能听见山风掠树梢，看见云雾绕山脊，是古人对自然的敬畏与诗意凝萃，让观者于尺幅间触摸到山川的魂魄。",[24,7,59,188,128,29,663,413,690,99,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0d0a5dd1bce0fa60dc5b609ffbf60b0.jpg",[],{"id":115518,"slug":115519,"title":115520,"dynasty":54,"author":223,"museum":300,"description":115521,"tags":115522,"thumbUrl":115523,"material":278,"size":84,"collection":84,"collections":115524,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215597,"tian-xia-ming-shan-tu-28-yi-ming-215597","天下名山图-28","画面以清劲线条勾勒山水神韵，层峦叠嶂如黛染屏，皴擦间见石骨嶙峋。左侧峰麓，几椽屋宇隐于苍松翠柏，石阶蜿蜒入林，似藏烟霞逸趣。右侧平畴开阔，溪流如练，三五行人策蹇徐行，衣袂轻扬间添几分人间烟火。远近林木疏密有致，或挺拔如盖，或虬曲含姿，与山势相映成趣。整幅图于简淡中见深远，既有山川雄秀，又含隐逸清寂，更兼市井鲜活，尽展名山灵韵与人文之味。",[24,7,59,188,29,663,413,98,99,101,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a3a6bd166d4db149c98e1e329f9b8e9.jpg",[],{"id":115526,"slug":115527,"title":115528,"dynasty":54,"author":223,"museum":300,"description":115529,"tags":115530,"thumbUrl":115531,"material":278,"size":84,"collection":84,"collections":115532,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215596,"tian-xia-ming-shan-tu-26-yi-ming-215596","天下名山图-26","峰峦如聚，皴笔勾勒山石筋骨，苍劲中见细腻；林木若织，墨线轻描草木灵韵，繁密里藏疏朗。近观层岩叠翠间隐现亭台，似有隐逸者凭栏；远眺烟波浩渺中浮着扁舟，恰如江湖客放怀。构图疏密有致，近景沉实与远景空灵相映成趣；笔墨刚柔相济，山石硬朗线条与水面柔婉波纹相得益彰。整幅画如无声山水诗，既有山川雄浑气象，又含文人清雅情韵，引人徜徉其间，忘尘嚣而醉心自然之美。",[24,7,128,188,132,59,29,129,34,30,97,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceb3eef3d9f407d4d6317c74cc7c7bfc.jpg",[],{"id":115534,"slug":115535,"title":115536,"dynasty":54,"author":223,"museum":300,"description":115537,"tags":115538,"thumbUrl":115539,"material":278,"size":84,"collection":84,"collections":115540,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215595,"tian-xia-ming-shan-tu-27-yi-ming-215595","天下名山图-27","笔墨勾勒层峦叠嶂，峰岫间飞瀑流泉倾泻而下，汇入蜿蜒溪流。岸边草木扶疏，几间屋舍隐于林麓，似有人家栖居。水面波纹细密，与山石线条相映，尽显山水清幽雅致。构图疏密有致，远近层次分明，自然之趣与人文之境相融。虽无色彩渲染，却以线条韵律传递山川静谧生机，恍若置身其间，听泉声、观云起，得一份尘外之闲。",[24,7,59,188,132,29,99,98,495,34,131,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d5c6121a4d69b45f219c480c48ac97.jpg",[],{"id":115542,"slug":115543,"title":115544,"dynasty":54,"author":223,"museum":300,"description":115545,"tags":115546,"thumbUrl":115547,"material":278,"size":84,"collection":84,"collections":115548,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215593,"tian-xia-ming-shan-tu-29-yi-ming-215593","天下名山图-29","墨线勾勒的山水间，峰峦层叠如浪涌，或峭拔入云，或缓坡延绵，皴擦细腻见骨力。山间亭台藏于林麓，依岩傍水，似有幽径通幽。溪流如带蜿蜒，串起几处洲屿：其上草木扶疏，小筑错落，偶见人影往来，添了烟火气却不失清雅。远景云雾轻笼，山影朦胧若幻；近景笔触精到，石纹、松枝皆细致入微。构图虚实相生，远近层次分明，墨色虽简却意境深远——仿佛能闻涧水潺潺，听松风阵阵，尽展古人寄情山水的诗意与哲思，于尺幅间藏纳天地之阔。",[24,7,188,95,128,29,97,130,34,31,18265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ad24d600c153d1accb837e9c82f778.jpg",[],{"id":115550,"slug":115551,"title":115552,"dynasty":54,"author":223,"museum":300,"description":115553,"tags":115554,"thumbUrl":115555,"material":278,"size":84,"collection":84,"collections":115556,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215591,"tian-xia-ming-shan-tu-35-yi-ming-215591","天下名山图-35","峭壁以劲挺线条勾勒，层叠峰峦似攒剑列戟，尽显山川雄奇之势。几处亭台楼阁隐于岩岫间，或踞高崖俯瞰深谷，或倚苍松半遮半露，与疏密错落的林木、蜿蜒隐现的小径相映成趣。下方平坡缓涧，林木疏朗，似有溪流漱石之声。整幅以线为骨，无墨渲染却见山水精神：皴擦寥寥而嶙峋毕现，布局疏密得宜暗藏章法。于简淡勾勒中藏万千丘壑，既有自然山川的壮阔之美，又含人文栖居的雅致之趣，仿佛可踏入画中寻幽探胜，听山风穿林，感天地悠然。",[24,7,188,29,97,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbce7c5f2bd586a3ccf7226a3c1310b7.jpg",[],{"id":115558,"slug":115559,"title":115560,"dynasty":54,"author":223,"museum":300,"description":115561,"tags":115562,"thumbUrl":115563,"material":278,"size":84,"collection":84,"collections":115564,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215590,"tian-xia-ming-shan-tu-33-yi-ming-215590","天下名山图-33","这幅山水图以水墨勾勒铺陈，山峦层叠绵延，远近错落间尽显章法。墨线或轻或重，勾勒出峰峦的轮廓与肌理，淡墨晕染处似有云雾氤氲，添了几分空濛。山间林木以简笔点染，疏密有致，仿佛能闻得松风轻吟。画面中几处题字标注峰名，与山水相映成趣，更添古雅之韵。整体构图舒展，笔墨古朴苍劲，虽无浓艳色彩，却以黑白灰的层次变化，营造出悠远静谧的山林意境，尽显传统山水的笔墨意趣与自然之美。",[24,7,59,29,128,132,663,228,34,30,31,19769,496,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56c78dda31f83ddbcaa9c31a4bdeb156.jpg",[],{"id":115566,"slug":115567,"title":115568,"dynasty":54,"author":223,"museum":300,"description":115569,"tags":115570,"thumbUrl":115571,"material":278,"size":84,"collection":84,"collections":115572,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215588,"tian-xia-ming-shan-tu-34-yi-ming-215588","天下名山图-34","线描为骨，勾勒层峦叠嶂的奇崛之势。峰岫错落间，古洞隐于深崖，飞檐亭阁嵌于山坳，似藏仙踪。山间小径蜿蜒，樵夫行旅缓步，添几分人间烟火；溪上石拱桥横跨，流水潺潺隐于林麓，藏几许清寂幽趣。树木或苍劲或疏朗，与山石线条的转折相映，虚实相生间，山川雄秀与隐逸清幽交织。笔墨简练却含细腻，仿佛能闻松风穿谷，见云气绕峰，将名山胜景的灵韵凝于尺幅，引人遐想那谷中岁月、洞外春秋。",[24,7,59,188,29,97,98,96,34,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c7a13f541d4c36b9e36b0e1e1884dcf.jpg",[],{"id":115574,"slug":115575,"title":115576,"dynasty":54,"author":223,"museum":300,"description":115577,"tags":115578,"thumbUrl":115579,"material":278,"size":84,"collection":84,"collections":115580,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215587,"tian-xia-ming-shan-tu-36-yi-ming-215587","天下名山图-36","线条如行云流水，勾勒出山峦的起伏褶皱。层岩叠嶂间，皴笔细密交织，尽显山体肌理的苍劲质感。古松虬枝斜出，墨线凝练中藏着灵动，似与山风相和。旁侧林木以疏密线条铺陈，葱郁之意跃然纸上。画面虽无设色，却以墨线的浓淡变化，铺展出山林的幽深静谧——仿佛松涛阵阵入耳，云雾隐现于峰峦缝隙，尽显传统山水的笔墨意趣。于简洁勾勒中蕴含深远意境，让人窥得古人笔下山川的雄浑与秀逸，笔墨间流淌着对自然的敬畏与诗意描摹。",[24,7,188,29,59,663,1144,497,415,18700,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93e9806ce3da1fff4a7a4d1a5092a6de.jpg",[],{"id":115582,"slug":115583,"title":115584,"dynasty":54,"author":223,"museum":300,"description":115585,"tags":115586,"thumbUrl":115587,"material":278,"size":84,"collection":84,"collections":115588,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215586,"tian-xia-ming-shan-tu-37-yi-ming-215586","天下名山图-37","画面以危崖为轴，一侧平远湖山如展卷，烟波轻笼岸树，远山层叠成淡墨剪影；一侧崖壁如削，线条勾勒出嶙峋肌理，皴擦间见山石苍劲。崖巅数人衣袂轻扬，凭栏望断湖山，似与风语，又或沉醉于天地清旷。笔墨古雅，以线塑形，墨色深浅晕染出山水层次，将文人寄情丘壑的闲逸与山水壮阔融于尺幅。每一笔藏着旧时光的温润，每处留白盛着悠远意境，尽显古典山水的雅致与深远，仿佛踏入画中，同赏这名山胜景里的岁月清欢。",[24,7,188,132,29,96,34,11998,415,5323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2c377219a7cbda13df694934a0c1b75.jpg",[],{"id":115590,"slug":115591,"title":115592,"dynasty":54,"author":223,"museum":300,"description":115593,"tags":115594,"thumbUrl":115595,"material":278,"size":84,"collection":84,"collections":115596,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215585,"tian-xia-ming-shan-tu-42-yi-ming-215585","天下名山图-42","画面以远近层次铺展山水意趣，左畔峰峦用劲挺线条勾勒，皴笔叠染出石骨的雄浑；中间曲径蜿蜒，似引观者深入林泉秘境。右方远岫轻笼云气，墨色渐淡处显天地悠远；近坡林木疏密有致，枝叶细笔点染，藏着几分生机；平畴间隐约田垄，添了人间烟火气。整幅画以线为骨、以墨为韵，将山川的巍峨与幽寂揉合，似在诉说天地间的静谧悠远——峰峦携云气，小径牵林泉，每一处线条都藏着对自然的敬畏，每片墨色都晕染出山水的灵韵，让人心生向往，愿寄身于此间，听风过林梢，看云卷云舒。",[24,7,188,128,132,29,663,34,23873,99,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97c6d3356dda4d925952f22f06b54d3b.jpg",[],{"id":115598,"slug":115599,"title":115600,"dynasty":54,"author":223,"museum":300,"description":115601,"tags":115602,"thumbUrl":115603,"material":278,"size":84,"collection":84,"collections":115604,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215584,"tian-xia-ming-shan-tu-39-yi-ming-215584","天下名山图-39","这幅山水以简练线条勾勒，左侧山崖陡峭，皴法简洁却显嶙峋之势，几株林木点缀其间，添了生机。右侧江面开阔，波光粼粼间数艘小船悠然，或行或泊，尽显水乡闲意。远处山峦叠嶂，隐约可见屋宇错落，似藏人间烟火。整体构图疏密有致，山崖的凝重与水面的空灵相映成趣，笔墨虽简，却将山水的雄奇与悠远意境尽纳其中，让人仿佛置身于这方山水之间，听风观水，心生宁静。",[24,7,188,29,171,129,34,18332,5323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff53faa2f72235d5cf33680a3576e2c0c.jpg",[],{"id":115606,"slug":115607,"title":115608,"dynasty":54,"author":223,"museum":300,"description":115609,"tags":115610,"thumbUrl":115611,"material":278,"size":84,"collection":84,"collections":115612,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215583,"tian-xia-ming-shan-tu-41-yi-ming-215583","天下名山图-41","山峦层叠如浪涌，线条勾勒出嶙峋肌理，似能触到山石的苍劲质感。左畔碧水蜿蜒，如丝带绕峰，柔化了峰岭的刚硬。山间文字与丘壑错落相衬，既有山川壮阔的气象，又藏着文人式的雅致。远近虚实间，远峰淡隐如墨晕，近山浑厚似可攀，天地间的雄奇与灵秀，便静静铺展在这一纸之上。笔墨间藏着对山河的敬畏，也晕染着古典山水的诗意，将自然之美与人文意趣融于方寸，读来如临烟霞深处。",[24,7,59,188,132,29,18265,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e321d787b99495ce5770508dfac310a.jpg",[],{"id":115614,"slug":115615,"title":115616,"dynasty":54,"author":223,"museum":300,"description":115617,"tags":115618,"thumbUrl":115619,"material":278,"size":84,"collection":84,"collections":115620,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215582,"tian-xia-ming-shan-tu-38-yi-ming-215582","天下名山图-38","墨线勾勒的群峰如浪涌层叠，峰峦间墨书题识错落，似与山川私语。纤细线条藏骨力，勾出岩岫肌理与林木萧疏。山间溪涧、台地隐于留白，无设色却见丘壑幽深。构图饱满而疏密有致，高低峰峦间尽显名山雄浑秀逸。题字与山水交织，既是地理标识，亦成笔墨趣味，铺开一卷山川记忆图谱，观者可在墨痕中触摸古人对山河的敬畏与细腻描摹。",[24,7,188,128,29,59,132,30,497,34,99,130,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1a44719881d7514404d2ba4ff575f1c.jpg",[],{"id":115622,"slug":115623,"title":115624,"dynasty":54,"author":223,"museum":300,"description":115625,"tags":115626,"thumbUrl":115627,"material":278,"size":84,"collection":84,"collections":115628,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215581,"tian-xia-ming-shan-tu-40-yi-ming-215581","天下名山图-40","墨线勾勒的山峦层叠错落，或巍峨耸峙，或连绵逶迤，尽显丘壑之美。林间掩映着亭台楼阁，一座宝塔立于丘巅，与葱郁草木相映成趣，人文气息融于自然景致。近岸岩石纹理细腻，河水蜿蜒流淌，几叶小舟轻泛波上，添了几分灵动。整幅画以简淡笔触绘出山水之幽、林木之秀、舟行之闲，仿佛能闻林间风语，听流水潺潺，尽显古雅清逸的意境，让人沉浸于这份静谧悠远的山水之趣中。",[24,7,59,188,128,132,29,663,228,34,18542,129,97,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5efab62252911f9966f29ff4a9d04f23.jpg",[],{"id":115630,"slug":115631,"title":115632,"dynasty":54,"author":223,"museum":300,"description":115633,"tags":115634,"thumbUrl":115635,"material":278,"size":84,"collection":84,"collections":115636,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215580,"tian-xia-ming-shan-tu-45-yi-ming-215580","天下名山图-45","层岩叠嶂以线条勾勒，皴擦纹理间漫溢山野苍劲。中央孤峰如鬼斧削成，孑然挺立于烟霞缭绕处，形态奇崛夺目。轻逸墨线绘就的云雾，牵起远近峰峦的呼应，铺展深远空间。山间小径蜿蜒，数木姿态悠然，二三行者曳杖徐行，微小人影却为静穆山水注入鲜活烟火。笔墨细腻处见匠心，既显自然雄奇之态，又藏文人寄情山水的雅趣，似在低语三衢山的灵秀悠远，引人沉醉其间。",[164,24,7,59,188,29,131,34,96,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d1640d52992b8c625642bacf845623e.jpg",[],{"id":115638,"slug":115639,"title":115640,"dynasty":54,"author":223,"museum":300,"description":115641,"tags":115642,"thumbUrl":115643,"material":278,"size":84,"collection":84,"collections":115644,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215579,"tian-xia-ming-shan-tu-44-yi-ming-215579","天下名山图-44","细笔勾勒的山水间，奇峰拔地而起，层岩如浪叠涌，山腹幽洞隐现，小径蜿蜒向深处。近岸流水轻漾，林木疏朗点染，远山含黛，云雾若有若无，似藏仙踪。构图疏密相宜，山石纹理精细，草木点缀得宜，简淡笔墨中透出山川灵秀之气。仿佛能闻涧水潺潺，见烟霞绕峰，引人踏入这清幽深远的胜境，探寻隐于林泉间的恬淡与空灵。",[24,7,59,188,29,663,228,98,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff46b4cb5330500972434417d2e4d542e.jpg",[],{"id":115646,"slug":115647,"title":115648,"dynasty":54,"author":223,"museum":300,"description":115649,"tags":115650,"thumbUrl":115651,"material":278,"size":84,"collection":84,"collections":115652,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215577,"tian-xia-ming-shan-tu-43-yi-ming-215577","天下名山图-43","层峦叠嶂间，云雾似轻纱漫卷，隐现峰脊的朦胧轮廓。线条以枯润相济之笔勾勒山石肌理，疏密交错铺陈远近层次——近山皴法细密，显嶙峋质感；远山淡墨轻描，融于烟霭。溪涧蜿蜒穿谷，潺潺水声似在耳畔，岸边古木虬枝舒展，枝叶以点染之法晕开，与山石刚劲形成柔化对比。画面无艳色，却以墨色浓淡、线条虚实，晕染出山水的空灵静谧，仿佛置身烟霞深处，听风过林梢，观云卷云舒，尽得传统山水“以形写神”的韵致，将自然清幽与文人逸趣融于尺幅之间。",[24,7,59,188,132,29,663,228,34,497,499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F106674d8fb39a71b15171189f61e4da4.jpg",[],{"id":115654,"slug":115655,"title":115656,"dynasty":54,"author":223,"museum":300,"description":115657,"tags":115658,"thumbUrl":115660,"material":278,"size":84,"collection":84,"collections":115661,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215576,"tian-xia-ming-shan-tu-46-yi-ming-215576","天下名山图-46","笔墨勾勒层峦叠嶂，山石皴法简练却显肌理，如披苍苔。楼阁依山就势，或隐于松荫，或踞于峰巅，飞檐翘角间藏着古雅意趣。山间小径蜿蜒，似引观者步步深入林泉。近景石桥古朴，桥下流水虽未着色，却能想见潺潺之声；岸边树木姿态各异，枝桠舒展如活。整体构图疏密相宜，近景的烟火气与中远景的清寂相融，将自然之秀与人文之韵凝于一纸。无彩却见生机，无声似闻松风，仿佛踏入这片山林，便能暂忘尘嚣，沉醉于那份静谧悠远的雅致之中。林间清幽、山居闲适、峰峦悠远，尽在黑白线条里流转，尽显传统山水的独特韵味。",[24,7,59,188,128,132,95,29,97,130,98,99,34,131,690,115659],"城桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8530e81a6265541cc7f38617990f21a7.jpg",[],{"id":115663,"slug":115664,"title":115665,"dynasty":54,"author":223,"museum":300,"description":115666,"tags":115667,"thumbUrl":115669,"material":278,"size":84,"collection":84,"collections":115670,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215574,"tian-xia-ming-shan-tu-52-yi-ming-215574","天下名山图-52","层峦叠嶂间，流水如带蜿蜒穿引，将远近景致连缀成卷。左侧峰岭耸峙，松竹点缀其间，添几分清逸；岩麓深处藏幽洞，洞内屋宇隐约，似有隐者栖居。右侧山巅塔影孤耸，与云气相融；岸畔亭台错落，碧波轻漾中倒映着树影天光。笔墨简练却骨力暗藏，山石勾勒用线刚劲，草木点染显生机。小径隐于林莽，炊烟袅袅于村舍，动静相宜间，尽显名山之幽秀灵韵——仿佛能闻松涛与溪水潺潺，观云气漫过峰尖，引人沉醉于这清寂淡远的山水意境里。每一处细节皆藏巧思，于简淡中见深致，道尽自然与人文相融的妙趣。",[24,7,128,132,29,663,1314,34,31,758,130,18542,690,115668,1645],"岩洞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb099a48a91f18deedfb4e9d75466c7a8.jpg",[],{"id":115672,"slug":115673,"title":115674,"dynasty":54,"author":223,"museum":300,"description":115675,"tags":115676,"thumbUrl":115677,"material":278,"size":84,"collection":84,"collections":115678,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215573,"tian-xia-ming-shan-tu-49-yi-ming-215573","天下名山图-49","画面以白描手法铺展，线条遒劲中见细腻。层峦叠嶂如奔如涌，高崖之上亭台隐现，似藏钟磬之音；山间飞瀑倾泻，溅起的水雾仿佛透过纸页氤氲开来。近景水波纹理细密，如鳞如绸；中景屋宇错落，与苍松翠柏相映成趣，尽显人文与自然的交融。远景山峦渐淡，云雾轻笼，将视野引向悠远。整幅图既绘出山川的雄奇壮阔，又藏着林泉的清幽雅致，仿佛能让人听见山风过松、水流潺潺，踏入一片远离尘嚣的仙境。",[24,7,59,188,29,663,228,97,130,34,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bf9c63b189ec40629285b5dc01fc438.jpg",[],{"id":115680,"slug":115681,"title":115682,"dynasty":54,"author":223,"museum":300,"description":115683,"tags":115684,"thumbUrl":115685,"material":278,"size":84,"collection":84,"collections":115686,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215572,"tian-xia-ming-shan-tu-50-yi-ming-215572","天下名山图-50","白描勾勒的峨眉山，峰峦层叠如攒，峭壁嶙峋若削。山间瀑布垂练，或细缕轻悬，或飞泉溅玉；林木疏朗，点染出清寂之气。山腰楼阁隐现，檐角与云气相融，平添几分仙意。线条简练却见筋骨，山石皴法虽淡，仍显肌理；流水柔婉，暗合自然之韵。构图疏密有致，高处峰巅孤傲，低处林泉相依，动静相生间凝萃峨眉“秀”与“幽”。素笔淡墨里，似闻涧水潺潺、松风阵阵，于尺幅间窥得天下名山的灵秀风骨。",[24,7,59,188,29,663,495,34,97,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8987c75d90e688ce2a5f634b005ca18.jpg",[],{"id":115688,"slug":115689,"title":115690,"dynasty":54,"author":223,"museum":300,"description":115691,"tags":115692,"thumbUrl":115693,"material":278,"size":84,"collection":84,"collections":115694,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215571,"tian-xia-ming-shan-tu-53-yi-ming-215571","天下名山图-53","层岩叠嶂间，林木扶疏，溪流蜿蜒穿绕。数匹骏马散落其间：或悠然伫立溪畔，或扬蹄欲驰坡前，动静相谐，生气盎然。近岸水纹细腻，远岫轮廓简练，山石皴法与树木枝桠交错，尽显自然野趣。线条勾勒见功底，墨色淡而层次明，将山野牧歌景致铺展得淋漓尽致。既见山林幽寂，亦闻骏马嘶鸣，一派天人相融的野逸氛围，仿佛能嗅到草木清香，感受到风过林梢的轻响，沉醉于这方自在天地。",[24,7,59,188,29,101,34,131,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c1df2e88fcffac04e86a7b212f9ba41.jpg",[],{"id":115696,"slug":115697,"title":115698,"dynasty":54,"author":223,"museum":300,"description":115699,"tags":115700,"thumbUrl":115701,"material":278,"size":84,"collection":84,"collections":115702,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215570,"tian-xia-ming-shan-tu-51-yi-ming-215570","天下名山图-51","山峦层叠如浪涌，以劲挺线条勾勒骨相，皴擦间显石质肌理。溪涧蜿蜒穿谷，墨线交织处似有波光流动。近坡茅舍依岩而筑，旁植疏木，枝叶扶苏若带清风。远山攒峰列岫，或陡峭如削，或缓坡披林，层次由近及远渐淡，拓开天地纵深。整幅以线为骨，无设色却藏丘壑精神，静穆中山水含灵，似笼烟霞气，又带人间烟火。将名山雄奇与林泉雅致融于一纸，可观可游，如入清寂之境，引人遐思。",[24,7,188,59,29,663,228,34,130,1023,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4f0b91692f6eee1fe9bd4ff56eac67.jpg",[],{"id":115704,"slug":115705,"title":115706,"dynasty":54,"author":223,"museum":300,"description":115707,"tags":115708,"thumbUrl":115709,"material":278,"size":84,"collection":84,"collections":115710,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215569,"tian-xia-ming-shan-tu-54-yi-ming-215569","天下名山图-54","墨线游走如笔底生风，勾勒出峰峦的刚劲与草木的柔婉。涧水潺潺隐于岩隙，虬木苍苍立于崖边，小径蜿蜒牵起远近丘壑。咫尺画卷间，山的巍峨、林的幽邃、云的轻逸交织成幅，似能闻得松涛与泉鸣，见得烟霞与天光。笔触细腻处显山石嶙峋，留白疏朗间藏云气流动，构图疏密有致，远峰淡逸近岩厚重，墨色浓淡晕染出山林的层次与生机，尽藏古人对山水的敬畏与眷恋，于方寸间铺展天地之阔、林泉之幽。",[24,7,59,188,29,131,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F049b2c68642eee0447fec114670fa730.jpg",[],{"id":115712,"slug":115713,"title":115714,"dynasty":54,"author":223,"museum":300,"description":115715,"tags":115716,"thumbUrl":115717,"material":278,"size":84,"collection":84,"collections":115718,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215566,"tian-xia-ming-shan-tu-60-yi-ming-215566","天下名山图-60","峰峦嵯峨，以劲挺线条勾勒嶙峋骨相，或拔地耸峙，或错落相依。山间溪流蜿蜒穿石，石矶横陈，水波以细劲笔触摹写，清冽之态毕现。林木疏朗，枝桠扶疏，岩畔树间隐现茅舍，似藏幽人逸趣。构图开合有致，远近层次分明，笔墨简而意足。留白处含烟云之韵，勾勒间见丘壑之奇，于方寸间尽显山水清幽旷远。仿佛可闻林泉漱石之声，窥见隐者抱膝之居，尽显传统山水雅韵，藏纳自然与人文交融的静谧之美。",[164,24,7,59,188,29,131,34,499,496,1023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2114518a42d45b973aa01b136bf1e62b.jpg",[],{"id":115720,"slug":115721,"title":115722,"dynasty":54,"author":223,"museum":300,"description":115723,"tags":115724,"thumbUrl":115725,"material":278,"size":84,"collection":84,"collections":115726,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215565,"tian-xia-ming-shan-tu-58-yi-ming-215565","天下名山图-58","峰峦错落，皴笔勾勒出岩骨的苍劲肌理，层叠丘壑间藏着幽邃林泉。孤峰拔地而起，似擎天之柱，与周遭起伏山峦相映成趣。溪流蜿蜒穿石而过，携细碎清响隐入谷中，几株苍松点缀峰顶，添了几分清逸。笔墨间晕染山水灵秀，线条疏密有致，墨色层次分明，将山川静谧与深远凝成画面。仿佛踏入烟霞深处，听松风与溪流和鸣，看云气在峰峦间流转，暂忘尘嚣，只余山水清幽旷远在心间荡漾。",[24,7,59,188,128,132,29,131,99,34,1144,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F815165367d50b71269a52f96a0eaf656.jpg",[],{"id":115728,"slug":115729,"title":115730,"dynasty":54,"author":223,"museum":300,"description":115731,"tags":115732,"thumbUrl":115733,"material":278,"size":84,"collection":84,"collections":115734,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215563,"tian-xia-ming-shan-tu-55-yi-ming-215563","天下名山图-55","笔墨以线立骨，勾勒峰峦如剑戟森然，皴擦间隐现云气流动之姿。几椽屋宇嵌于林麓，白墙黛瓦与苍岩翠木相映，似闻山风过檐、泉声漱石。近景苔点繁密，尽显山石肌理；远景峰岫渐淡，留白处藏深远之境。构图开合有致，咫尺间铺展层峦叠嶂之势，林木扶疏中见生机，岩壑峥嵘里显古意。整幅画以简驭繁，线韵悠长，将名山深幽之致与隐逸之趣融于一纸，观之如临烟霞深处，顿生尘外之想。",[164,24,7,188,29,30,97,34,497,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b63b522f892797b5318b0f651dd8d0e.jpg",[],{"id":115736,"slug":115737,"title":115738,"dynasty":54,"author":223,"museum":300,"description":115739,"tags":115740,"thumbUrl":115741,"material":278,"size":84,"collection":84,"collections":115742,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215562,"tian-xia-ming-shan-tu-61-yi-ming-215562","天下名山图-61","展卷见层峦隐于烟岚，墨色浓淡间藏尽丘壑之奇。峰岫错落如攒眉，涧水无声似带寒；林麓间樵径隐现，引目光探向深幽。用笔不刻意求工，却于皴擦点染中见经营之妙：云气以淡墨晕染，若流若驻，与硬挺山骨成柔刚相济之趣。清人绘山水重意境，此幅尤甚——无车马喧阗，唯余山水静穆，仿佛松风穿谷、涧泉漱石之声可闻。咫尺间纳千里之势，将名山雄浑与灵秀凝于一纸，观之忘尘，心生向往。",[24,7,59,29,27,132,496,34,130,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fe20d7373801a2037baecd01c240376.jpg",[],{"id":115744,"slug":115745,"title":115746,"dynasty":54,"author":223,"museum":300,"description":115747,"tags":115748,"thumbUrl":115749,"material":278,"size":84,"collection":84,"collections":115750,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215561,"tian-xia-ming-shan-tu-63-yi-ming-215561","天下名山图-63","这幅山水以清劲线条勾勒山峦肌理，层岩叠嶂间藏曲径通幽之趣。山间林木疏朗，或虬枝旁逸，或丛竹点缀，偶见隐者行迹于溪畔石边，添得几分生趣。笔墨简淡却蕴藉深远，线条的粗细转折间，既显山石的嶙峋质感，又衬出云雾的轻逸缥缈。空间疏密有致，远近层次分明，虽无设色浓艳，却以线条韵律与留白之妙，营造出山林的静谧旷远。仿佛可闻涧水潺潺、松风阵阵，尽显传统山水“以线立骨”的神韵，引人步入这方清幽天地，感受自然与笔墨交融的雅致之境。",[24,7,59,188,29,663,1314,413,99,12108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d2940245604a676b5051fd8a5a5e25e.jpg",[],{"id":115752,"slug":115753,"title":115754,"dynasty":54,"author":223,"museum":300,"description":115755,"tags":115756,"thumbUrl":115757,"material":278,"size":84,"collection":84,"collections":115758,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215560,"tian-xia-ming-shan-tu-66-yi-ming-215560","天下名山图-66","层峦叠嶂间，栈道蜿蜒穿林越岫，隐现的楼阁与幽邃洞穴相映，似藏仙踪。笔墨劲挺灵动，皴擦勾勒出山石苍劲肌理，云雾以淡墨晕染，虚实相生间拓开深远意境。山间林木疏密有致，清泉或隐或现，整体构图错落有致，于细节处见匠心。画面既透着山水的雄浑壮阔，又含着隐逸的清幽雅致，仿佛能让人听见林间风声、涧水潺潺，窥见仙境一角的静谧与神秘。",[24,7,188,29,663,228,98,34,97,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7da59a9c7a69cde462c4dc7b76776f38.jpg",[],{"id":115760,"slug":115761,"title":115762,"dynasty":54,"author":223,"museum":300,"description":115763,"tags":115764,"thumbUrl":115765,"material":278,"size":84,"collection":84,"collections":115766,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215557,"tian-xia-ming-shan-tu-64-yi-ming-215557","天下名山图-64","线条婉转勾勒层峦叠嶂，山岩肌理若隐若现，松影婆娑于峰侧，添几分清逸。林麓间茅舍隐现，似藏幽人逸趣；下方水色空濛，或为溪流或平湖，映带山林，更显静谧。整幅图景以简淡之笔写山水真意，无浓墨重彩却见丘壑深致，流露着文人山水的清雅与隐逸之思，仿佛可闻林间风吟、涧水潺湲，引人入这一方悠然天地。",[24,7,59,188,132,29,1144,131,499,34,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31dc816dc6edde9e138fae4d59f6bddf.jpg",[],{"id":115768,"slug":115769,"title":115770,"dynasty":54,"author":223,"museum":300,"description":115771,"tags":115772,"thumbUrl":115773,"material":173,"size":84,"collection":84,"collections":115774,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215185,"yi-shi-ji-yao-tan-7-yi-ming-215185","医士及药摊-7","淡彩晕染的画境中，医士长衫宽绰，手势间似有絮语轻递；孩童稚态盎然，仰头望之的模样，藏着几分懵懂信赖。背景药摊轮廓隐约，器物错落间，漫出旧时市井的温软烟火气。笔触温婉不迫，将医患间细碎温情、街头行医的日常光景，悄悄织入每一缕线条。无浓墨喧嚣，只以柔和色调与细腻情态，勾勒清代市井里关于健康与关怀的平凡片段。时光仿佛在此慢淌，静静诉说往昔生活的质朴暖意，让观者不经意间，便触碰到那帧岁月里的烟火余温。",[23,24,7,59,27,28,96,107529,107530,251,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28c53ef9057759d76da6cafedde54e06.jpg",[],{"id":115776,"slug":115777,"title":115778,"dynasty":54,"author":223,"museum":300,"description":115779,"tags":115780,"thumbUrl":115781,"material":173,"size":84,"collection":84,"collections":115782,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215178,"yi-shi-ji-yao-tan-16-yi-ming-215178","医士及药摊-16","画面铺展一方市井小景：医士与路人相对而立，药摊旁的互动暗合着问诊抓药的日常。药摊陈设简素却见用心，或悬有隐现的药幡，或置错落的陶罐药包；医士手持物什似在答疑，路人侧耳凝神，神态间藏着对安康的期许。线条疏淡却精准勾勒人物情态，设色清雅如淡茶晕染，将民间行医的寻常片刻定格成帧。没有浓墨重彩的铺陈，却以细腻笔触捕捉市井烟火里的温情与生计——仿佛能听见药碾轻转、问语低回，让百年前的生活气息，悄然跃然纸上。",[23,24,7,59,27,28,96,107530,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dfb8fce393eb38ee4529dadb2969e0c.jpg",[],{"id":115784,"slug":115785,"title":115786,"dynasty":54,"author":223,"museum":300,"description":115787,"tags":115788,"thumbUrl":115789,"material":173,"size":84,"collection":84,"collections":115790,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215173,"yi-shi-ji-yao-tan-18-yi-ming-215173","医士及药摊-18","素笺上的淡彩晕开清时市井的片段：医士执杖凝眸，似在细辨病患的诉语；对面身影微躬，将病痛说与风听。旁侧药摊的布旗轻展，隐约载着草药的清芬，笔触里的晕染像老茶余韵，漫出烟火气。没有张扬的色彩，却把行医日常酿成温润故事——那些俯身问诊的专注，那些药囊轻晃的声响，都在素净线条里，藏着旧时光的暖。淡墨浅彩揉进市井的晨昏，让寻常的医患对语，成了岁月里静静沉淀的温柔注脚。",[23,24,7,59,27,96,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef679d592178329c097ba794ac83336.jpg",[],{"id":115792,"slug":115793,"title":115794,"dynasty":54,"author":223,"museum":300,"description":115795,"tags":115796,"thumbUrl":115797,"material":173,"size":84,"collection":84,"collections":115798,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},215167,"yi-shi-ji-yao-tan-26-yi-ming-215167","医士及药摊-26","淡雅的墨色与浅彩交织，晕开一室静谧。人物围坐案前，姿态各有专注——或倾身细语，或凝眸思忖，似在切磋医理，又若共研药方。背景的屏风与墙面装饰，以简淡笔触勾勒，添了几分文气，衬得医者们的儒雅气质愈发鲜活。没有浓墨重彩的铺陈，却以质朴线条捕捉住日常医事里的温度，每一处细微的动态，都藏着传统医家对技艺的执着与交流的意趣。这幅画以生活化的视角，定格了一段医界切磋的时光，于平实中见真味，似能让观者嗅到旧时光里草药的淡香，触到医者仁心的温热，是窥见清代医人风貌的一抹生动剪影。",[23,24,7,59,27,96,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d235d2b2fe87e3942e994047060ffc7.jpg",[],{"id":115800,"slug":115801,"title":115802,"dynasty":54,"author":223,"museum":300,"description":107559,"tags":115803,"thumbUrl":115806,"material":66,"size":84,"collection":84,"collections":115807,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215133,"er-shi-si-xiao-tu-ce-5-yi-ming-215133","二十四孝图册-5",[23,24,7,304,59,27,28,96,16099,115804,11552,115805,18700],"家庭互动","民间故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd6c38e51c42da9207928a0441718343.jpg",[],{"id":115809,"slug":115810,"title":115811,"dynasty":54,"author":223,"museum":300,"description":107559,"tags":115812,"thumbUrl":115813,"material":66,"size":84,"collection":84,"collections":115814,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215132,"er-shi-si-xiao-tu-ce-3-yi-ming-215132","二十四孝图册-3",[23,24,7,59,27,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F559d59fdd4eb383c4162f4032a5a62fd.jpg",[],{"id":115816,"slug":115817,"title":115818,"dynasty":54,"author":223,"museum":300,"description":107559,"tags":115819,"thumbUrl":115820,"material":66,"size":84,"collection":84,"collections":115821,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215131,"er-shi-si-xiao-tu-ce-2-yi-ming-215131","二十四孝图册-2",[23,24,7,59,27,28,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d69328b9073952752689bdc6d789e29.jpg",[],{"id":115823,"slug":115824,"title":115825,"dynasty":54,"author":223,"museum":300,"description":107559,"tags":115826,"thumbUrl":115827,"material":66,"size":84,"collection":84,"collections":115828,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215129,"er-shi-si-xiao-tu-ce-9-yi-ming-215129","二十四孝图册-9",[23,24,7,59,28,27,96,64,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3f7aca2678ac037c3d27ee1b8668d62.jpg",[],{"id":115830,"slug":115831,"title":115832,"dynasty":54,"author":223,"museum":300,"description":107559,"tags":115833,"thumbUrl":115836,"material":66,"size":84,"collection":84,"collections":115837,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215127,"er-shi-si-xiao-tu-ce-7-yi-ming-215127","二十四孝图册-7",[23,24,7,59,27,96,29,2059,11552,115834,115835],"二十四孝","卧冰求鲤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F088457047a29373dc145db01c11068f4.jpg",[],{"id":115839,"slug":115840,"title":115841,"dynasty":54,"author":223,"museum":300,"description":107559,"tags":115842,"thumbUrl":115843,"material":66,"size":84,"collection":84,"collections":115844,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215126,"er-shi-si-xiao-tu-ce-10-yi-ming-215126","二十四孝图册-10",[23,24,7,59,27,128,96,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4211361796e5f84f9cb1da720d572e8d.jpg",[],{"id":115846,"slug":115847,"title":115848,"dynasty":54,"author":223,"museum":300,"description":107559,"tags":115849,"thumbUrl":115850,"material":66,"size":84,"collection":84,"collections":115851,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215125,"er-shi-si-xiao-tu-ce-8-yi-ming-215125","二十四孝图册-8",[23,24,7,59,27,96,167,64,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c421679aee20b560e67e827f9c46b39.jpg",[],{"id":115853,"slug":115854,"title":115855,"dynasty":54,"author":223,"museum":300,"description":107559,"tags":115856,"thumbUrl":115857,"material":66,"size":84,"collection":84,"collections":115858,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215124,"er-shi-si-xiao-tu-ce-15-yi-ming-215124","二十四孝图册-15",[23,24,7,59,27,96,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7905d40f07d098031e482e924bdb1a7.jpg",[],{"id":115860,"slug":115861,"title":115862,"dynasty":54,"author":223,"museum":300,"description":107559,"tags":115863,"thumbUrl":115864,"material":66,"size":84,"collection":84,"collections":115865,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215123,"er-shi-si-xiao-tu-ce-14-yi-ming-215123","二十四孝图册-14",[23,24,7,27,59,28,96,375,439,170,2824],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf460b574c797a8b2ec3688e2fc487cc.jpg",[],{"id":115867,"slug":115868,"title":115869,"dynasty":54,"author":223,"museum":300,"description":107559,"tags":115870,"thumbUrl":115871,"material":66,"size":84,"collection":84,"collections":115872,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215122,"er-shi-si-xiao-tu-ce-16-yi-ming-215122","二十四孝图册-16",[23,24,7,59,27,96,211,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff838914b9fd53c6fd7f58d27f27c7b1e.jpg",[],{"id":115874,"slug":115875,"title":115876,"dynasty":54,"author":223,"museum":300,"description":107559,"tags":115877,"thumbUrl":115878,"material":66,"size":84,"collection":84,"collections":115879,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215121,"er-shi-si-xiao-tu-ce-17-yi-ming-215121","二十四孝图册-17",[23,24,7,59,27,28,96,5490,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5f6d45fa8cbdeacfe90f8f642e2ccf4.jpg",[],{"id":115881,"slug":115882,"title":115883,"dynasty":54,"author":223,"museum":300,"description":107559,"tags":115884,"thumbUrl":115885,"material":66,"size":84,"collection":84,"collections":115886,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215120,"er-shi-si-xiao-tu-ce-18-yi-ming-215120","二十四孝图册-18",[23,24,7,59,27,96,64,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd08e2450b02fb71725b50a54d9efc14.jpg",[],{"id":115888,"slug":115889,"title":115890,"dynasty":54,"author":223,"museum":300,"description":107559,"tags":115891,"thumbUrl":115892,"material":66,"size":84,"collection":84,"collections":115893,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215119,"er-shi-si-xiao-tu-ce-13-yi-ming-215119","二十四孝图册-13",[23,24,7,59,27,28,64,572,96,169,9014,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f2692812adcc5ecaa2b17cf0daf32d.jpg",[],{"id":115895,"slug":115896,"title":115897,"dynasty":54,"author":223,"museum":300,"description":107559,"tags":115898,"thumbUrl":115899,"material":66,"size":84,"collection":84,"collections":115900,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215116,"er-shi-si-xiao-tu-ce-19-yi-ming-215116","二十四孝图册-19",[23,24,7,59,27,28,96,170,169,8091,104919,37810,2824],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde72d8d9fa68bb8e08f62c4a5f5ff1ac.jpg",[],{"id":115902,"slug":115903,"title":115904,"dynasty":54,"author":223,"museum":300,"description":107559,"tags":115905,"thumbUrl":115906,"material":66,"size":84,"collection":84,"collections":115907,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215114,"er-shi-si-xiao-tu-ce-24-yi-ming-215114","二十四孝图册-24",[23,24,7,59,27,28,96,663,211,64,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11e0a88dfdc426e2e8e9497d537c9e80.jpg",[],{"id":115909,"slug":115910,"title":115911,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":115912,"thumbUrl":115913,"material":66,"size":10301,"collection":84,"collections":115914,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},214777,"zhi-sheng-xian-xian-ban-shen-xiang-32-yi-ming-214777","至圣先贤半身像-32",[23,24,7,59,28,27,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf0341644d52880b2ad0f2c891478475.jpg",[],{"id":115916,"slug":115917,"title":115918,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":115919,"thumbUrl":115920,"material":66,"size":10301,"collection":84,"collections":115921,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},214776,"zhi-sheng-xian-xian-ban-shen-xiang-31-yi-ming-214776","至圣先贤半身像-31",[23,24,7,59,27,28,96,170,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41ab81dddf580743b525229b1cd55b81.jpg",[],{"id":115923,"slug":115924,"title":115925,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":115926,"thumbUrl":115927,"material":66,"size":10301,"collection":84,"collections":115928,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},214774,"zhi-sheng-xian-xian-ban-shen-xiang-33-yi-ming-214774","至圣先贤半身像-33",[23,24,7,59,27,96,28,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e0184fa64e2f3185af623aaa5d9800e.jpg",[],{"id":115930,"slug":115931,"title":115932,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":115933,"thumbUrl":115934,"material":66,"size":10301,"collection":84,"collections":115935,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},214772,"zhi-sheng-xian-xian-ban-shen-xiang-35-yi-ming-214772","至圣先贤半身像-35",[23,24,7,59,27,28,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4233c01e720ca36f9428a4e94542bfe.jpg",[],{"id":115937,"slug":115938,"title":115939,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":115940,"thumbUrl":115942,"material":66,"size":10301,"collection":84,"collections":115943,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},214769,"zhi-sheng-xian-xian-ban-shen-xiang-42-yi-ming-214769","至圣先贤半身像-42",[23,24,7,27,28,96,77119,16099,115941],"传统肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd44bd75268336895527db5f028651e17.jpg",[],{"id":115945,"slug":115946,"title":115947,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":115948,"thumbUrl":115949,"material":66,"size":10301,"collection":84,"collections":115950,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},214768,"zhi-sheng-xian-xian-ban-shen-xiang-39-yi-ming-214768","至圣先贤半身像-39",[23,24,7,59,27,96,28,16099,77119,100287],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff307a5257ea7292df48a05152f85b09d.jpg",[],{"id":115952,"slug":115953,"title":115954,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":115955,"thumbUrl":115956,"material":66,"size":10301,"collection":84,"collections":115957,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},214767,"zhi-sheng-xian-xian-ban-shen-xiang-40-yi-ming-214767","至圣先贤半身像-40",[23,24,7,59,27,28,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a586f75cb8e50209467ed23cd2193f9.jpg",[],{"id":115959,"slug":115960,"title":115961,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":115962,"thumbUrl":115963,"material":66,"size":10301,"collection":84,"collections":115964,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},214765,"zhi-sheng-xian-xian-ban-shen-xiang-44-yi-ming-214765","至圣先贤半身像-44",[23,24,7,59,28,27,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf0019572b6fabc16f53d7defa0c4d18.jpg",[],{"id":115966,"slug":115967,"title":115968,"dynasty":144,"author":223,"museum":244,"description":10298,"tags":115969,"thumbUrl":115970,"material":66,"size":10301,"collection":84,"collections":115971,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},214764,"zhi-sheng-xian-xian-ban-shen-xiang-41-yi-ming-214764","至圣先贤半身像-41",[23,164,24,7,27,28,96,77119,4057],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5b23460c40933d9efd3340693759921.jpg",[],{"id":115973,"slug":115974,"title":33103,"dynasty":124,"author":2268,"museum":56,"description":115975,"tags":115976,"thumbUrl":115977,"material":84,"size":84,"collection":136,"collections":115978,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":100408},203449,"fang-gu-shan-shui-ce-dong-qi-chang-203449","此帧山水取境疏阔，笔墨简淡却含韵致。山峦以干笔皴擦出苍劲纹理，近坡孤石错落，几株树木点染随意，得自然生趣。平远水面上隐现茅舍，添了几分幽居静谧。画风承袭北宋山水雄浑气象，却以秀逸笔墨诠释，仿古中融个人意趣，尽显文人画的清雅格调。",[23,24,7,59,128,132,133,208,29,663,413,35,228,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F190e1a059a1fdd2b311866ba7533fd21.jpg",[136],{"id":115980,"slug":115981,"title":115982,"dynasty":54,"author":646,"museum":56,"description":115983,"tags":115984,"thumbUrl":115985,"material":84,"size":84,"collection":84,"collections":115986,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":115987},203410,"qiao-ju-shi-yong-ce-dong-gao-203410","樵具十咏册","山间云雾轻笼，峭壁如削，几株苍劲的树木扎根于乱石之间，小径蜿蜒隐现于草木深处。笔墨以水墨为底，淡设色晕染出清润氛围，山石用皴法勾勒肌理，线条挺劲中见秀雅。右侧行书题咏与画面相映，诗画交融间，尽显文人山水的雅致意趣。整幅作品虽篇幅不大，却将山林的幽远意境凝于尺幅，仿佛能感知到樵夫穿行的悠然，笔墨间藏着传统山水的含蓄情韵。",[24,29,128,27,132,7,208,59,133,131,37,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d74ad07da170abbee566bcc9dee06b7.jpg",[],"b1a383",{"id":115989,"slug":115990,"title":61065,"dynasty":32945,"author":40286,"museum":56,"description":115991,"tags":115992,"thumbUrl":115993,"material":84,"size":84,"collection":84,"collections":115994,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":115995},203315,"shui-xian-zhu-shi-tu-zhou-chen-shi-ceng-203315","大块墨色泼写的湖石奇崛嶙峋，笔力沉雄，浓淡墨韵间见苍劲质感；石边劲竹数竿，竹叶简劲利落，尽显挺拔之姿；旁侧水仙疏朗有致，花茎纤细灵动，花朵淡雅出尘。整幅以水墨写意，笔墨洒脱自然，石之朴拙、竹之坚韧、水仙之清逸相映成趣，气韵生动，饱含文人画的雅致意趣与精神风骨。",[24,128,369,171,167,374,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9a706abaaf5af89a8080854d46c4e5e.jpg",[],"a09584",{"id":115997,"slug":115998,"title":62361,"dynasty":32945,"author":29045,"museum":56,"description":115999,"tags":116000,"thumbUrl":116001,"material":84,"size":84,"collection":84,"collections":116002,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116003},203207,"shu-hua-cheng-shan-wu-hu-fan-203207","扇面之上，山水意境悠然铺展。皴笔勾勒山峦轮廓，墨色浓淡交织间显丘壑层次，浅绛设色晕染出雅致温润的氛围；林木错落，或浓墨点染或淡笔轻描，生机暗藏于方寸之间。一侧书法笔力沉稳流转，与画面相映成趣，书画合璧，将文人雅趣凝于咫尺扇骨间。笔墨流转见匠心，咫尺纳万象，尽显传统艺术的精妙韵味。",[1131,29,27,132,64,496,4438,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e48dcd80a50556b5c5eeec5127996fe.jpg",[],"bab0a3",{"id":116005,"slug":116006,"title":62361,"dynasty":32945,"author":29045,"museum":56,"description":116007,"tags":116008,"thumbUrl":116009,"material":84,"size":84,"collection":84,"collections":116010,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116011},203206,"shu-hua-cheng-shan-wu-hu-fan-203206","扇面山水布局精巧，近景林木葱郁，枝干以劲笔写出，叶片疏密有致；山石用皴法勾勒肌理，墨色浓淡相间。远景山峦以淡墨晕染，云雾轻笼，添了朦胧之美。设色浅淡雅致，于方寸间营造出悠远静谧的意境，尽显传统山水的笔墨神韵与文人雅趣。",[24,7,1131,29,27,132,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9162f97a9c71a8733e64e4f7e9d1fd84.jpg",[],"b3ada6",{"id":116013,"slug":116014,"title":7359,"dynasty":54,"author":116015,"museum":56,"description":116016,"tags":116017,"thumbUrl":116018,"material":84,"size":84,"collection":84,"collections":116019,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116020},203100,"mei-hua-ce-jin-jun-ming-203100","金俊明","这幅作品以水墨为骨，右侧梅枝虬曲如篆，笔力苍劲似铁，枝间梅花或点染或白描，疏影横斜间透着清冷孤高之态；左侧行书题跋笔墨流转洒脱，与梅的清逸相映成趣，书画一体，尽显文人画的雅致风骨。整幅作品于简约中见神韵，将梅的傲岸与书的洒脱融于册页之中，传递出深沉的文人意趣。",[24,128,188,371,133,7,59,100481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11b7b9efa5479ef558f30574c110a65d.jpg",[],"d7d4cd",{"id":116022,"slug":116023,"title":116024,"dynasty":54,"author":108187,"museum":56,"description":116025,"tags":116026,"thumbUrl":116027,"material":84,"size":84,"collection":84,"collections":116028,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116029},203097,"shan-shui-ji-jin-ce-wang-jian-203097","山水集锦册","画面以水墨皴染勾勒山水景致，近景坡石错落，林木疏朗，枝干挺拔间见苍劲笔力；中景山峦层叠，皴法细密，墨色浓淡相宜，显丘壑之幽深；远景峰岫隐现于烟霭中，留白处似有云雾流转，拓展了空间意境。整体笔墨温润醇厚，兼具宋元山水的秀逸与苍莽，于咫尺册页间营造出清旷悠远的山水气象，尽显传统文人画的雅致意趣。",[24,7,59,128,132,29,171,99,94168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0f6a40601042dc257b043d2ea89213d.jpg",[],"dbd6d1",{"id":116031,"slug":116032,"title":62361,"dynasty":32945,"author":29045,"museum":56,"description":116033,"tags":116034,"thumbUrl":116035,"material":84,"size":84,"collection":84,"collections":116036,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116037},203084,"shu-hua-cheng-shan-wu-hu-fan-203084","扇面为笺，书画相和。一侧山水笔墨温润，丘壑隐于咫尺，墨色晕染间见清润之致，尽显雅致蕴藉；另一侧行书笔势舒展，墨韵生动，文气与笔意相融，风骨尽显。二者合璧，将文人诗意凝于扇骨轻摇之际，方寸间藏纳天地意趣，是近代书画合璧的佳例，尽显传统艺术的隽永魅力。",[1131,7,29,133,128,27,28172,2132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02245af74fd876c47afa0143608e5f3e.jpg",[],"c4bfb5",{"id":116039,"slug":116040,"title":116041,"dynasty":54,"author":116015,"museum":56,"description":116042,"tags":116043,"thumbUrl":116044,"material":84,"size":84,"collection":84,"collections":116045,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116046},203055,"qun-fang-he-bi-ce-jin-jun-ming-203055","群芳合壁册","画面分左右两帧，右帧以水墨绘松梅，松针苍劲如攒，梅枝疏朗含蕊，笔墨简淡却见生趣；左帧行书题跋，笔势流畅，与画作相映成趣，尽显文人雅韵。整体笔墨清雅，书画合璧，意趣盎然，传递出传统文人对自然花木的钟爱与诗意情怀。",[24,128,133,59,7,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e3e75604955ff4be2fd3ecf779740af.jpg",[],"d1c3b3",{"id":116048,"slug":116049,"title":4724,"dynasty":124,"author":27311,"museum":56,"description":116050,"tags":116051,"thumbUrl":116053,"material":84,"size":84,"collection":84,"collections":116054,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116055},203021,"shan-shui-tu-ce-li-liu-fang-203021","右帧山水以淡墨皴染山石，纹理朴拙自然；树木枝干虬劲，墨色层次分明，树下顽石堆叠，茅舍隐于林间，似有清寂之趣。左帧行书题跋笔意洒脱，与山水笔墨呼应，书画相融尽显文人雅韵。整幅画作简淡空灵，山石、树木、茅舍等景物营造出幽远意境，笔墨间流露对自然的真切体悟，尽显文人画的清雅意趣。",[24,7,59,128,29,132,133,131,34,116052],"茅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17c6c0422ef364a471af7632e5d6175e.jpg",[],"d8d3ca",{"id":116057,"slug":116058,"title":116059,"dynasty":32945,"author":40286,"museum":56,"description":116060,"tags":116061,"thumbUrl":116062,"material":84,"size":84,"collection":84,"collections":116063,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116064},202950,"zhi-tou-xiao-niao-tu-zhou-chen-shi-ceng-202950","枝头小鸟图轴","枯木虬枝，苍劲中见生趣。枝干以浓淡墨笔写就，线条老辣，皴擦间显树皮纹理；枝桠疏朗，几片丹红秋叶点缀，于萧瑟里透暖意。小鸟栖于枝上，墨块勾勒身形，羽翼层次分明，喙啄叶之态鲜活灵动，眼神顾盼有神。笔墨写意，兼施淡彩，尽显文人画雅致意趣。题跋书法与画面相映，书卷气盎然，传递出悠然闲适的心境。",[24,7,165,128,27,61,1233,331,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28bbf74259489cd19b5af68c5382201c.jpg",[],"cbc1b1",{"id":116066,"slug":116067,"title":116068,"dynasty":32945,"author":40286,"museum":56,"description":116069,"tags":116070,"thumbUrl":116071,"material":84,"size":84,"collection":84,"collections":116072,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116073},202900,"da-mo-xiang-tu-zhou-chen-shi-ceng-202900","达摩像图轴","朱红袈裟在素净纸面上格外醒目，达摩端坐于地，衣纹以写意笔触挥洒，褶皱间尽显笔墨韵律。背景淡墨皴染出斑驳石壁，右侧留白处缀疏枝片叶，愈衬出禅境空寂。人物面容简括传神，须眉间藏着笃定沉静，似在参透天地玄机。构图虚实相映，笔墨兼具文人意趣与禅画空灵，将达摩面壁的专注超脱凝于尺幅之间，耐人寻味。",[24,27,96,128,187,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0145e2c37376a5ce8fdd87e5ba2c4736.jpg",[],"c4b29d",{"id":116075,"slug":116076,"title":116077,"dynasty":32945,"author":3539,"museum":56,"description":116078,"tags":116079,"thumbUrl":116080,"material":84,"size":84,"collection":84,"collections":116081,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116082},202845,"liu-que-tu-zhou-xu-bei-hong-202845","柳雀图轴","画面中柳枝以淡墨长丝勾勒，随风摇曳，线条轻盈灵动，如烟雨朦胧。三只麻雀栖于枝上，造型写实生动，羽毛晕染层次分明，眼神顾盼有情，尽显活泼之态。柳枝的疏朗与麻雀的聚散相映成趣，笔墨简洁却意境悠远，融传统水墨的写意韵致与西方写实的精准造型于一体，将柳间雀语的春日闲情描绘得惟妙惟肖。",[24,128,61,211,165,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10fe27cc48ce0e5053b9ffc0e4f7c003.jpg",[],"e3d7b0",{"id":116084,"slug":116085,"title":116086,"dynasty":32945,"author":5076,"museum":56,"description":116087,"tags":116088,"thumbUrl":116089,"material":84,"size":84,"collection":84,"collections":116090,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116091},202829,"shou-jiu-tu-zhou-qi-bai-shi-202829","寿酒图轴","酒坛以淡墨晕染，线条简练却见厚重质感；寿桃以胭脂泼洒，艳红间缀明黄，饱满多汁似可触；墨叶用焦墨挥写，笔触老辣奔放，与花果形成浓淡对比。构图疏朗，意境吉祥，朴拙中透着盎然生机，尽显写意花鸟的独特韵味。",[24,7,165,27,61,128,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69ffd005a5abc310c58fa3887fbeaca4.jpg",[],"eae8dc",{"id":116093,"slug":116094,"title":116095,"dynasty":32945,"author":1069,"museum":56,"description":116096,"tags":116097,"thumbUrl":116098,"material":84,"size":84,"collection":84,"collections":116099,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116100},202807,"ling-gui-tu-zhou-wang-yun-202807","灵龟图轴","墨色晕染间，群龟姿态各异，或伸颈探首，或摆尾游移，简括笔触勾勒出龟之憨态与灵趣。浓淡相济的水墨层次，衬出龟甲的纹理与质感，虽无背景铺陈，留白处却似含天地之广，让观者于简约中感知生机流动，尽显中式水墨的空灵意韵。",[24,128,7,165,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7ad9ba0c96801ac2121c8dd778f8965.jpg",[],"e4e2d4",{"id":116102,"slug":116103,"title":84738,"dynasty":54,"author":77452,"museum":56,"description":116104,"tags":116105,"thumbUrl":116106,"material":84,"size":84,"collection":84,"collections":116107,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116108},202730,"song-mei-tu-zhou-zhang-peng-chong-202730","画面下幅以水墨绘就松梅景致：苍松虬枝盘曲，松针劲挺细密，墨色浓淡交错，尽显古木苍劲之态；旁侧疏梅枝桠横斜，寒花点点，清雅脱俗。上幅书法笔力沉稳，结体端方，与下方画作相映成趣，诗书画印融于一体，流露文人雅韵。松梅并置，寓意坚韧高洁，笔墨间饱含对自然生机与品格的赞颂，尽显传统文人画的意趣与风骨。",[24,7,165,128,372,371,572,64,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4385d1bb31ef2491a9f36bb9474ece.jpg",[],"d0c2ab",{"id":116110,"slug":116111,"title":116112,"dynasty":54,"author":108187,"museum":56,"description":116113,"tags":116114,"thumbUrl":116115,"material":84,"size":84,"collection":84,"collections":116116,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116117},202662,"fang-chen-ru-yan-shan-shui-tu-zhou-wang-jian-202662","仿陈汝言山水图轴","此作山峦层叠，皴擦细腻，山石轮廓分明，墨色浓淡相宜。草木葱茏间，亭台隐现于林麓，小桥流水蜿蜒其间，树木姿态各异，疏密有致。笔墨兼具苍劲与秀润，既承陈汝言山水清逸之致，又融自家浑厚华滋之韵，营造出静谧悠远的山林意境，尽显文人画的雅致与深邃，于临摹中见己意，堪称清代山水临摹佳作。",[29,132,130,98,128,330,165,24,164,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F403a5e27d59bcbd7aa2d1616fd184e27.jpg",[],"cebcbe",{"id":116119,"slug":116120,"title":116121,"dynasty":54,"author":116122,"museum":56,"description":116123,"tags":116124,"thumbUrl":116125,"material":84,"size":84,"collection":84,"collections":116126,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116127},202601,"su-su-xiao-ying-tu-zhou-yu-li-202601","苏苏小影图轴","俞礼","此图绘稚童一袭素衣，挎篮携果，神态憨趣可人。笔墨写意传神，衣纹线条简练洒脱，墨色层次分明；鲜果设色淡雅却鲜活，与素净衣装相映成趣。画面捕捉孩童天真烂漫之态，以简驭繁，尽显生活意趣与笔墨温情，传递出质朴真切的人文关怀。",[24,96,128,27,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30197a10d1f657edbf70acfd1e7a31de.jpg",[],"cebda9",{"id":116129,"slug":116130,"title":116131,"dynasty":54,"author":116132,"museum":56,"description":116133,"tags":116134,"thumbUrl":116135,"material":84,"size":84,"collection":84,"collections":116136,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116137},202515,"qiao-zi-tu-zhou-hong-li-202515","乔梓图轴","弘历","水墨写意绘两树并立，一苍劲如父、一秀挺似子，枝桠牵挽间藏父子相依之喻。干笔皴擦树干纹理，墨色浓淡晕染枝叶，简淡中见意趣。坡地苔点疏落，留白处显空灵。笔墨随性却含雅韵，借乔梓意象寄寓亲情，于简洁构图中传递深挚人文意蕴，尽显清逸格调。",[24,128,165,331,7,132,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0f37441b86cf2f94995a9315a2b8ac9.jpg",[],"dcd2cb",{"id":116139,"slug":116140,"title":116141,"dynasty":54,"author":3403,"museum":56,"description":116142,"tags":116143,"thumbUrl":116144,"material":84,"size":84,"collection":84,"collections":116145,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116146},202442,"jiu-tan-pan-tao-tu-zhou-wu-chang-shuo-202442","酒坛蟠桃图轴","这幅画以大写意手法铺陈，酒坛造型古朴，劲健墨线勾勒轮廓，裹身网纹交错如篆籀盘绕，金石之趣尽显；旁侧蟠桃枝桠横斜，果实晕染温润，叶片以焦墨挥洒，苍劲中见灵动。笔墨间融篆隶笔意，线条老辣雄浑，墨色浓淡层次分明，设色淡雅却藏生机。题款书法与画面相得益彰，气韵贯通，传递出文人雅士的闲逸情致，尽显独特艺术风貌。",[24,7,165,128,27,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc4795a3cc672098ec546f83e78a611b.jpg",[],"ccc7b6",{"id":116148,"slug":116149,"title":15906,"dynasty":54,"author":1242,"museum":56,"description":116150,"tags":116151,"thumbUrl":116152,"material":84,"size":84,"collection":84,"collections":116153,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116154},202422,"mo-mei-tu-zhou-jin-nong-202422","这幅墨梅以古朴笔法写就，枝干如篆隶入画，苍劲盘曲似铁，线条瘦硬却含韧劲，尽显老辣风骨。花朵圈点有致，墨色浓淡相衬，疏落枝间，清雅中带野逸之趣。构图空灵留白，枝干斜逸不拘，文人画的疏朗意境扑面而来。金农借梅抒怀，以梅花孤高映己品格，笔墨间藏着对自然的体悟与文人逸气，是清代墨梅题材的佳作。",[24,7,165,128,371,164,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8cb9291d2eb21a4f7ed741cfe92afdc.jpg",[],"8a7b5a",{"id":116156,"slug":116157,"title":52005,"dynasty":54,"author":29297,"museum":56,"description":116158,"tags":116159,"thumbUrl":116160,"material":84,"size":84,"collection":84,"collections":116161,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116162},202404,"cai-ju-tu-zhou-jiang-pu-202404","这幅画作笔墨清雅疏淡，构图虚实相生。苍松虬劲立左，枝干以皴法写出，显老辣质感；右侧茅亭掩映，亭中人物闲坐清谈，神态悠然。远山含烟，云雾轻笼，溪流隐于石间，一派悠然山居景致。画面融山水与人物于一体，辅以行书题跋，诗画相映，尽得文人闲适超脱之韵，尽显传统书画同源之妙。",[24,7,128,29,372,130,96,133,132,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6f3c2e71d4a749332efe3155f802a1e.jpg",[],"ac9c84",{"id":116164,"slug":116165,"title":116166,"dynasty":54,"author":69568,"museum":56,"description":116167,"tags":116168,"thumbUrl":116169,"material":84,"size":84,"collection":84,"collections":116170,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116171},202349,"xiang-man-pu-tang-tu-zhou-hu-yuan-202349","香满蒲堂图轴","画面绘夏日水泽之景，蒲草劲挺丛生，荷叶以浓淡墨晕染，层次分明；荷花亭亭玉立，花瓣施以淡粉，清雅脱俗。笔墨兼工带写，线条灵动洒脱，水墨与淡彩交融，尽显清逸雅致之韵。蒲草的苍劲、荷花的柔媚相映成趣，营造出静谧悠然的氛围，仿佛可闻荷香四溢，沁人心脾。整体风格清新自然，笔墨生动传神，尽显传统花鸟之逸趣。",[24,7,165,128,27,168,81,61,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1e163c5a69a743781dee0b219222e45.jpg",[],"c0b8a7",{"id":116173,"slug":116174,"title":4332,"dynasty":124,"author":116175,"museum":56,"description":116176,"tags":116177,"thumbUrl":116179,"material":84,"size":84,"collection":84,"collections":116180,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116181},202348,"lan-hua-tu-zhou-xue-su-su-202348","薛素素","画中幽兰数茎，叶片以流畅墨线勾勒，婉转舒展如临风飘举；花瓣淡墨点簇，清雅有致。孤石以枯笔皴擦，古拙质朴，与兰草相映愈显空谷幽独之态。行书题跋错落其间，笔墨灵动，朱红印章点缀，更添章法之妙。整幅以水墨写意，简而传神，韵致清幽，尽显兰之高洁品格与文人画的雅致情韵。",[24,128,375,171,133,208,7,369,116178,23],"雅趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f125116d7f19c95c88480658d6c296d.jpg",[],"b2a89c",{"id":116183,"slug":116184,"title":116185,"dynasty":54,"author":1219,"museum":56,"description":116186,"tags":116187,"thumbUrl":116188,"material":84,"size":84,"collection":84,"collections":116189,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116190},202325,"pu-tang-qun-ya-tu-zhou-ren-yi-202325","蒲塘群鸭图轴","画面中群鸭于蒲塘间嬉戏，姿态各异：或引颈衔草，或结伴游弋，动态鲜活。笔墨运用洒脱自如，浓墨勾勒鸭羽的厚重质感，淡墨晕染水面的朦胧意境，橙黄点染鸭喙添灵动，青绿点出荷叶显生机，设色清雅和谐。背景蒲草以写意笔触扫出，疏朗间营造出自然野趣的空间感。整幅画作生机盎然，尽显画家对自然生灵的细致捕捉与写意功底，是晚清海派花鸟的典型佳作。",[24,7,165,128,27,61,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445e7ad96e6f3c8fcc2e42dbec44977d.jpg",[],"ccc0b3",{"id":116192,"slug":116193,"title":116194,"dynasty":54,"author":108187,"museum":56,"description":116195,"tags":116196,"thumbUrl":116197,"material":84,"size":84,"collection":84,"collections":116198,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116199},202300,"jiang-guan-dao-bi-yi-tu-zhou-wang-jian-202300","江贯道笔意图轴","此作取法江贯道笔意，山峦叠嶂以皴法写就，墨色浓淡相宜，尽显江南山水之秀润。近景坡岸树木葱茏，枝干虬曲；中景溪流蜿蜒，村落隐现于林麓间；远景峰峦起伏，云雾轻笼，意境清幽淡远。笔墨精谨，皴擦点染间兼具古雅与自然之趣，尽显对传统山水的深刻领悟与精湛技法。",[24,29,132,7,165,128,99,331,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8bb17d7f88aaeb704803fa03e55f9c0.jpg",[],"9a8971",{"id":116201,"slug":116202,"title":116203,"dynasty":54,"author":6957,"museum":56,"description":116204,"tags":116205,"thumbUrl":116209,"material":84,"size":84,"collection":84,"collections":116210,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116211},202270,"ke-zhai-ji-gu-tu-juan-ren-xun-202270","愙斋集古图卷","这幅图卷以精谨之笔摹绘历代古器物，鼎彝尊爵、壶卣觚觯罗列有序，形制各异。线条勾勒精准，纹饰细节毕现，墨色晕染层次分明，既还原青铜礼器的古朴厚重，又以绘画之韵赋予器物生动气息。画面间缀题跋印章，考据与艺术交融，尽显古雅之趣。整卷布局疏密得当，器物与文字相映成趣，是兼具文献价值与审美意趣的佳作。",[25,28,188,16612,66878,116206,116207,116208,42468,208,7,24,83755,1421],"爵","鼎","尊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c8a0fc57d240683d9bbce5932fe11f8.jpg",[],"908977",{"id":116213,"slug":116214,"title":116215,"dynasty":124,"author":2268,"museum":56,"description":116216,"tags":116217,"thumbUrl":116218,"material":84,"size":84,"collection":84,"collections":116219,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116220},202252,"wu-song-jiang-shui-tu-zhou-dong-qi-chang-202252","吴淞江水图轴","此图以水墨写意出吴淞江一带的山水神韵，山峦起伏间云雾氤氲，林木萧疏错落，村舍隐于丘壑侧畔，意境淡远空灵。笔墨上，山石用披麻皴轻染，线条秀逸而含骨力，树木姿态苍劲却不失灵动，尽显文人画的雅致情韵。题跋与印章相映成趣，书画交融间，将自然景致转化为诗化的笔墨语言，传递出董氏“平淡天真”的艺术追求，是其文人山水画的典型之作。",[29,128,132,7,208,34,37,165,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0db5f56041d1340a4dcec70f58ad6096.jpg",[],"9e9485",{"id":116222,"slug":116223,"title":116224,"dynasty":54,"author":9742,"museum":56,"description":116225,"tags":116226,"thumbUrl":116227,"material":84,"size":84,"collection":84,"collections":116228,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116229},202249,"wei-xiao-yin-qiu-tu-zhou-wu-li-202249","渭篠吟秋图轴","墨竹倚孤石而生，枝叶纷披间墨色浓淡交织，或浓黑沉凝，或浅淡如烟，晕染出秋意萧疏之境。竹叶笔触挺劲洒脱，错落有致，似携风而动；山石以淡墨皴擦勾勒，纹理苍古朴拙，与浓墨修竹形成虚实对比，愈显竹之清劲气节。画面简括却意蕴悠长，清雅中藏文人风骨，秋的静谧与竹的生机相融，耐人寻味。",[24,128,167,171,132,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ebade044342e43a923c71e37adc6af2.jpg",[],"91806f",{"id":116231,"slug":116232,"title":20347,"dynasty":54,"author":23051,"museum":56,"description":116233,"tags":116234,"thumbUrl":116235,"material":84,"size":84,"collection":84,"collections":116236,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116237},202073,"shan-shui-tu-zhou-zhang-ci-ning-202073","画面以水墨写意绘就，上部山峦叠嶂，墨色浓淡交错，皴擦间显山石肌理；中部江面开阔，波纹轻漾，一蓑笠翁独驾孤舟，悠然于烟波之上，尽显渔隐之趣；下部林木葱茏，掩映着几间茅舍，笔墨疏朗却生机盎然。整幅作品虚实相生，意境清旷淡远，于简淡中见深致，传递出文人画特有的闲适与超脱。",[24,7,165,128,369,132,29,129,1350,23362,4438,3649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d4f89cc3b2c515e1089f3ed06611eed.jpg",[],"af9c85",{"id":116239,"slug":116240,"title":116241,"dynasty":54,"author":91120,"museum":56,"description":116242,"tags":116243,"thumbUrl":116246,"material":84,"size":84,"collection":84,"collections":116247,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116248},201985,"xi-shan-ping-yuan-tu-zhou-sheng-dun-da-201985","溪山平远图轴","近景松石错落，虬松枝干遒劲，疏木点缀其间，山石以皴笔勾勒纹理，自然有致；半角屋舍隐于林间，藏露生趣。中景水域开阔，烟波轻漾，与远山相接，层次分明。远景山峦起伏，墨色清淡晕染，尽显平远之境，空灵雅致。整幅笔墨温润，设色淡雅，构图疏密得当，将溪山静谧悠远的文人意趣传递得淋漓尽致，悠然闲适的心境溢于画间。",[24,7,165,29,128,27,132,116244,387,116245],"松石","平","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac3309adb528c2c7ce6ee854c863af60.jpg",[],"ab967a",{"id":116250,"slug":116251,"title":6663,"dynasty":54,"author":24277,"museum":56,"description":116252,"tags":116253,"thumbUrl":116254,"material":84,"size":84,"collection":117,"collections":116255,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94361},201966,"zhu-shi-tu-zhou-zhu-sheng-201966","修竹数竿挺拔如君子，竹叶纷披似翠羽轻飏，墨色浓淡相济，笔力劲健洒脱，尽显竹之清劲气节。旁侧孤石以淡墨皴擦，纹理自然苍劲，与修竹相映成趣，营造出静谧清幽的文人意境。整幅画作气韵生动，将竹的坚韧与石的沉稳融为一体，尽显传统文人画的雅致风骨与自然意趣。",[24,7,165,128,167,171,132,369,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2e8778857423e510ff1efe4d9c11724.jpg",[117],{"id":116257,"slug":116258,"title":6663,"dynasty":54,"author":107963,"museum":56,"description":116259,"tags":116260,"thumbUrl":116261,"material":84,"size":84,"collection":117,"collections":116262,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":107968},201894,"zhu-shi-tu-zhou-tang-mi-201894","画面中竹竿劲挺修长，竹叶以浓淡错落的墨笔挥写，笔触灵动如随风摇曳，尽显竹之清逸姿态。山石轮廓粗犷，皴擦结合的笔墨勾勒出嶙峋肌理，坚硬质感与竹的柔韧相映成趣。竹石相依相衬，营造出清雅孤高的文人意境，笔墨间流露自然生机与风骨。整幅作品气韵生动，墨色层次丰富，将自然物象与文人情怀相融，传递出静谧悠远的审美意趣。",[24,128,167,171,132,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c5cd39c9b6b96d1e1d01a3748f6216b.jpg",[117],{"id":116264,"slug":116265,"title":116266,"dynasty":54,"author":116267,"museum":56,"description":116268,"tags":116269,"thumbUrl":116270,"material":84,"size":84,"collection":84,"collections":116271,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116272},201867,"shan-shui-dou-fang-ping-di-cheng-ji-201867","山水斗方屏","翟成基","这幅画中亭榭隐于翠木之间，荷塘荷叶田田，笔墨细腻工致，设色清雅柔和，尽显江南景致的温婉静谧。上方行书题跋笔意流畅，书画相融，传递出文人雅士寄情山水的悠然心境，观之令人心生恬淡。",[24,7,29,28,27,130,168,77186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50484438f535936faa907a112f040df0.jpg",[],"cec1a6",{"id":116274,"slug":116275,"title":29129,"dynasty":54,"author":108012,"museum":56,"description":116276,"tags":116277,"thumbUrl":116278,"material":84,"size":84,"collection":84,"collections":116279,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116280},201813,"mo-mei-zhou-zhe-zhang-201813","一枝墨梅自画面下部斜逸而上，枝干以枯润相济的墨笔写就，虬曲交错如铁骨铮铮，尽显苍劲古拙之态。花朵疏疏落落，淡墨点瓣、细笔勾蕊，于留白处暗涌清气，似有暗香浮动，暗合“疏影横斜”的诗意。笔墨极简却神完气足，不施色彩而风骨自现，尽显文人画清雅意趣，将梅之坚韧高洁品格凝于笔端。留白背景更衬出梅的孤高淡远，予人悠远想象，仿佛雪落枝头、清寂绝尘之境就在眼前。",[24,128,371,165,208,7,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5abf8286f12d7e2894febf81696562a6.jpg",[],"cfbeaa",{"id":116282,"slug":116283,"title":116284,"dynasty":124,"author":802,"museum":56,"description":116285,"tags":116286,"thumbUrl":116287,"material":84,"size":84,"collection":84,"collections":116288,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116289},201807,"song-xi-fang-yan-tu-zhou-chen-hong-shou-201807","松溪放眼图轴","画面以苍劲古松为核心，虬枝盘曲如铁铸，松针攒簇似银线密织，笔力沉雄凝练；石矶旁溪流宛转，清浅映石。松下雅士凭松远眺，衣袂轻扬，神情悠然若思。远处山峦层叠，淡墨晕染间隐现烟霭，与近景浓墨枯松形成虚实相生的韵致，空间感悠远。整体笔墨简括却意韵深幽，古雅清逸中透着超尘之趣，仿佛松风与流水和鸣，引观者步入林泉高致的幽境，体悟文人寄情山水的淡泊心境。",[164,24,7,29,372,128,165,132,96,499,415,1314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc72dbf859e2981067baa6e6e7a2758d9.jpg",[],"8c775d",{"id":116291,"slug":116292,"title":116293,"dynasty":54,"author":81240,"museum":56,"description":116294,"tags":116295,"thumbUrl":116296,"material":84,"size":84,"collection":136,"collections":116297,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":77280},201646,"shu-jiang-shan-shui-er-duan-he-juan-fang-xun-201646","蜀江山水二段合卷","蜀江蜿蜒如练，缠裹着层峦叠嶂。淡墨晕染出远山含烟的朦胧，皴笔勾勒山石肌理，尽显丘壑幽深之态。近岸苔痕点点，汀洲上孤舟静泊，渔翁披蓑戴笠隐于光影间，似闻水声潺潺。林间亭台隐约，飞鸟掠过长空，意境空灵悠远。笔墨清润雅致，融诗意于山水，寄闲情于烟霞，观之如入清寂之境，心随江波缓流。",[128,132,29,129,99,130,211,25,7,24,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F204d901dc85f9677e3cf323baba03b62.jpg",[136],{"id":116299,"slug":116300,"title":116301,"dynasty":124,"author":49389,"museum":56,"description":116302,"tags":116303,"thumbUrl":116304,"material":84,"size":84,"collection":44,"collections":116305,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116306},201596,"lin-song-ren-ren-ma-tu-juan-wen-cong-jian-201596","临宋人人马图卷","这幅临作取法宋人，既葆有写实工致的传统，又融入文人画的雅逸气质。人物着红衣立岸，衣纹线条流畅婉转，设色清丽；马匹或静立或卧饮，造型精准，鬃毛蹄足勾勒细腻，神态鲜活。背景树石以皴染结合，枝叶婆娑有致，水面留白映出清旷之境。笔墨间兼具细腻描摹与洒脱意趣，虽为临摹却暗含作者对宋画精髓的体悟，尽显人马相依的闲逸氛围，传递出古典画韵中的悠然情致。",[24,7,25,330,96,101,28,132,27,171,413,133,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F728f69b3fe8b3702dd685e79d0d3d319.jpg",[44],"e1cfb8",{"id":116308,"slug":116309,"title":55055,"dynasty":124,"author":80648,"museum":56,"description":116310,"tags":116311,"thumbUrl":116312,"material":84,"size":84,"collection":84,"collections":116313,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":32950},201495,"mo-zhu-tu-zhou-zhu-lu-201495","这幅墨竹图以水墨写意手法绘就，笔势洒脱灵动。竹竿线条简练却骨力内蕴，挺劲如矢；竹叶以浓淡干湿之墨挥洒，或聚或散，交错有致，似有风过梢头的清逸之姿。画面留白空灵，与墨竹的苍劲形成虚实相生之趣，尽显文人画淡泊风骨。题款书法与竹画相得益彰，朱印点缀更添雅致，整体气韵生动，将君子之竹的坚韧与神韵诠释得淋漓尽致。",[24,128,167,165,7,100481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c79cf9f2851d630cd23649e664e2ea5.jpg",[],{"id":116315,"slug":116316,"title":30898,"dynasty":124,"author":1141,"museum":56,"description":116317,"tags":116318,"thumbUrl":116319,"material":84,"size":84,"collection":117,"collections":116320,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116321},201363,"hua-niao-shan-wen-zheng-ming-201363","这幅扇面以水墨写意见长，笔致清逸。孤石嶙峋，以淡墨皴染出苍劲肌理；竹枝挺秀，竹叶浓淡相间，尽显柔韧风骨；旁生兰草，线条柔婉摇曳。构图疏密有致，留白空灵，笔墨兼具工细与洒脱，于简淡中见生机。无浓艳色彩，仅靠墨色层次营造意境，将自然之趣与文人清雅情怀相融，传递出静谧淡远的心境，是文氏花鸟小品中颇具代表性的佳作。",[24,7,1131,128,171,167,375,132,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2bc327a75e8032446c02245f98b76bf.jpg",[117],"c3b59a",{"id":116323,"slug":116324,"title":116325,"dynasty":54,"author":55,"museum":56,"description":116326,"tags":116327,"thumbUrl":116328,"material":84,"size":84,"collection":45,"collections":116329,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116330},201345,"shu-hua-shan-yun-shou-ping-201345","书画扇","这幅扇面以恽寿平标志性的没骨法绘就，鱼群灵动游弋于水草丛间，荷叶轻展，水草柔曼，色彩淡雅却层次丰盈。画家不用墨线勾勒轮廓，直接以色彩晕染物象，鱼的鳞光、叶的脉络皆显自然生机，形神兼备间尽显“恽派”花鸟的清逸雅致。左侧题诗文与画面相映，笔墨相生，文气盎然，是文人书画合璧的典范，于方寸间藏天地之趣，观之令人心境澄明。",[1131,60,27,2059,81,24,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F855abeee7446c80aec3ade04f2cede5c.jpg",[45],"dcd1c2",{"id":116332,"slug":116333,"title":116334,"dynasty":54,"author":38394,"museum":56,"description":116335,"tags":116336,"thumbUrl":116337,"material":84,"size":84,"collection":136,"collections":116338,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116339},201340,"jiang-gan-feng-yu-tu-zhou-fan-qi-201340","江干风雨图轴","淡赭设色晕染江天，山峦以披麻皴勾勒苍润纹理。近坡枯树虬枝盘桓，笔意老辣；中景江面帆影摇曳，舟楫浮沉于烟波；岸边屋舍错落，小桥上人物行色匆匆，烟火气与自然景交融。远景层峦叠嶂，云雾缭绕间与江水相映，意境悠远。整幅画作工细中见写意，将江干风雨之态与人间百态凝于笔墨，尽显江南水乡的温婉苍茫。",[24,29,27,132,6004,1743,496,98,34,28,96,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3076d4023f1435585cb0b04ae9e08e73.jpg",[136],"ae8557",{"id":116341,"slug":116342,"title":116343,"dynasty":124,"author":24089,"museum":56,"description":116344,"tags":116345,"thumbUrl":116346,"material":84,"size":84,"collection":136,"collections":116347,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":77280},201333,"hun-lun-tu-juan-zhu-de-run-201333","浑沦图卷","《浑沦图卷》以水墨写意入笔，笔墨苍劲洒脱，意境浑融无迹。山峦在氤氲墨气中隐现，草木萧疏却藏生机，孤石兀立见古拙之趣。书画相生，行书题跋流畅自然，与画面的简逸风格相映成趣，尽显文人画的哲思与逸韵。",[128,369,133,29,171,25,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d3b128fa58c462e1ce41c0ff6a2dd2d.jpg",[136],{"id":116349,"slug":116350,"title":116351,"dynasty":54,"author":1019,"museum":56,"description":116352,"tags":116353,"thumbUrl":116354,"material":84,"size":84,"collection":136,"collections":116355,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116356},201307,"tu-wu-shan-rong-tu-zhou-cheng-zheng-kui-201307","突兀山容图轴","山石勾勒简练而骨力尽显，皴擦结合摹其突兀之态，墨色晕染间藏丘壑纹理。松杉亭亭，枝叶以墨点簇生，浓淡交错见疏密之趣。山脚下屋舍错落，流水蜿蜒，似有闲云野鹤之境，清寂中含生活意趣。笔墨疏朗雅致，意境淡远空灵，尽显文人画的超然风骨，将自然之美与心境相融，引人入静谧悠远之境。",[24,7,165,29,128,132,131,34,99,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c581f2ad2c2560e1f48caf527e2aa02.jpg",[136],"decdbb",{"id":116358,"slug":116359,"title":116360,"dynasty":54,"author":17240,"museum":56,"description":116361,"tags":116362,"thumbUrl":116363,"material":84,"size":84,"collection":136,"collections":116364,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116365},201305,"fang-huang-gong-wang-fu-chun-sheng-lan-tu-zhou-cha-shi-biao-201305","仿黄公望富春胜览图轴","这幅画作追摹黄公望《富春山居图》的萧散意趣，构图层次丰富，远山叠嶂隐于淡墨晕染中，近水潺潺绕岸而过。山石以披麻皴勾勒纹理，笔墨疏朗却见苍劲；树木姿态各异，或苍松挺拔，或疏枝横斜，尽显文人画的清逸之韵。山间亭台隐约，溪上小桥卧波，景致错落间透出悠远空灵的意境。整幅画以水墨为基调，淡远中见深厚，既承黄公望的简远风骨，又融自身的淡宕才情，是新安画派摹古出新的佳作，尽显文人山水的清幽雅致与笔墨意趣。",[24,128,29,132,98,130,330,7,165,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8f386151bb1cff80e5fca45316f4799.jpg",[136],"aea997",{"id":116367,"slug":116368,"title":116369,"dynasty":124,"author":16846,"museum":56,"description":116370,"tags":116371,"thumbUrl":116372,"material":84,"size":84,"collection":136,"collections":116373,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116374},201299,"ju-qu-lin-wu-tu-zhou-wen-bo-ren-201299","具区林屋图轴","画面层峦叠嶂，山石以细密皴法晕染勾勒，纹理交错间尽显苍劲质感。林木扶疏，枝丫虬曲，墨色浓淡相宜，虽见秋冬萧索却暗藏生机。山间屋舍隐于林麓，溪流蜿蜒穿石而过，意境清幽雅致。整幅画兼具吴门画派的秀逸与笔墨精细之态，将江南山水的灵秀与文人居隐的意趣融于笔端，精谨中透着自然野趣，是明代文人山水画的典型佳作。",[24,29,132,99,171,34,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15178265548b14a80610a6815efedc5e.jpg",[136],"b1a19a",{"id":116376,"slug":116377,"title":12323,"dynasty":54,"author":85178,"museum":56,"description":116378,"tags":116379,"thumbUrl":116380,"material":84,"size":84,"collection":136,"collections":116381,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":77280},201295,"shan-shui-tu-juan-zou-zhi-lin-201295","画面层峦逶迤，以水墨皴染出山石肌理，线条灵动中见苍劲。山间林木错落，或挺拔虬曲，村舍隐于林麓间，流水绕岸而过，一派清幽旷远之致。远山淡墨晕染，与近景浓淡相衬，拓展空间纵深。整体笔墨简括却意韵丰厚，尽显文人山水的雅致与野趣。",[24,29,128,132,25,7,99,4438,6437,415,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31a7db4bb9b1c602b6bade4eb854a0c3.jpg",[136],{"id":116383,"slug":116384,"title":116385,"dynasty":124,"author":16032,"museum":56,"description":116386,"tags":116387,"thumbUrl":116388,"material":84,"size":84,"collection":44,"collections":116389,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116390},201294,"tan-mei-tu-juan-xiang-sheng-mo-201294","探梅图卷","画面以水墨写意，老梅枝干虬劲横斜，花苞点点蕴生机。文人宽袍俯身，凝神探梅，姿态痴憨尽显对梅的钟爱。旁侧孤石嶙峋，竹影疏淡，衬出清寂雅致之境。笔墨简劲，枝干用皴法勾染，苍劲中见柔韧；梅蕊点染精巧，暗藏春意。右侧题跋满布，行书笔意洒脱，诗画相映，印信点缀，尽显诗书画印合一的文人雅趣，传递传统文人对梅的清雅追求与精神寄托。",[24,128,96,371,171,133,64,208,132,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38a28f4fc260a01fd004c1ee1438556e.jpg",[44],"d1c5a6",{"id":116392,"slug":116393,"title":43160,"dynasty":124,"author":116394,"museum":56,"description":116395,"tags":116396,"thumbUrl":116398,"material":84,"size":84,"collection":117,"collections":116399,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116400},201292,"za-hua-juan-zhang-jie-201292","张杰","此卷以水墨为底韵，错落铺陈兰草、修竹、菊丛与顽石等景致，笔意疏朗洒脱。兰叶纤韧含露，竹叶劲挺带风，菊枝傲立伴石，墨色浓淡相生，尽显文人画的清逸风骨。其间穿插行书题跋，笔墨流转与画意相融，文气与画韵交织成趣。每段景致独立却连缀成篇，似诉说文人雅集的闲情，或对自然草木的钟情。线条简练却神形兼备，留白处更添悠远意境，尽显传统书画“以形写神”的妙谛。",[24,7,25,128,375,167,376,1314,133,2132,369,1429,20038,116397,28172,23],"以形写神","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F672565e1c59f4b28247fb52e8f8379b3.jpg",[117],"ccb394",{"id":116402,"slug":116403,"title":116404,"dynasty":124,"author":48293,"museum":56,"description":116405,"tags":116406,"thumbUrl":116407,"material":84,"size":84,"collection":84,"collections":116408,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116409},201290,"you-ge-ting-quan-tu-juan-zhang-yan-201290","幽阁听泉图卷","此卷铺展山峦叠嶂之景，峰岩峻秀，林木森然，幽阁依岩筑立，隐于苍翠间。溪流蜿蜒穿林，似闻泉声泠泠，引观者入清寂之境。笔墨运用娴熟，皴擦勾勒尽显山石肌理，树木枝干虬劲，松针繁密有致。构图疏密得当，远近层次分明，咫尺间见深远。整体意境清幽淡远，传递出文人雅士寄情山水、静听泉声的闲适心境，尽显明代山水画的雅致韵致。",[164,24,7,25,29,128,132,97,99,4438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea012e0db724fe1aab4c7cfca46e3d6f.jpg",[],"82826c",{"id":116411,"slug":116412,"title":100929,"dynasty":124,"author":12302,"museum":56,"description":116413,"tags":116414,"thumbUrl":116415,"material":84,"size":84,"collection":136,"collections":116416,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116417},201287,"tian-xiang-shen-chu-tu-zhou-du-qiong-201287","画面层次分明，近景松枝挺秀，茅舍隐于林间，小桥流水绕屋而过；中景平湖开阔，远山含黛；远景峭壁飞瀑，动静相生。笔墨苍润，山石以皴法写就，纹理有致；树木敷色淡雅，尽显生机。整幅画将自然之清幽与文人之闲适融于一体，意境超然，传递出明代文人寄情山水的雅致情怀。",[24,7,165,29,132,372,98,99,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe41a9eb5b6e831d3bf7a8b42b6260aeb.jpg",[136],"bfbbb3",{"id":116419,"slug":116420,"title":116421,"dynasty":124,"author":125,"museum":56,"description":116422,"tags":116423,"thumbUrl":116424,"material":84,"size":84,"collection":136,"collections":116425,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116426},201283,"ye-weng-zhuang-tu-juan-shen-zhou-201283","野翁庄图卷","画面铺展江南林泉之趣，山石以披麻皴写就，线条苍润，苔点错落，尽显丘壑秀逸。茂林修竹间，屋舍隐现，溪流蜿蜒穿林而过，小桥衔接幽径，一派静谧村居气象。笔墨融注文人逸致，构图疏密有致，虚实相生，既见自然野趣，又含林下风致，尽显吴门画派的苍劲与雅致。",[24,7,25,29,132,27,98,99,34,387,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71d7af389af095d82c19a93d4a9c25cb.jpg",[136],"a59c8b",{"id":116428,"slug":116429,"title":116430,"dynasty":54,"author":19894,"museum":56,"description":116431,"tags":116432,"thumbUrl":116433,"material":84,"size":84,"collection":84,"collections":116434,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116435},201282,"ji-shi-lan-hua-tu-zhou-zheng-xie-201282","棘石兰花图轴","淡墨撇兰，叶态舒展如含风，花姿清雅绰约；焦墨勾棘石，线条刚劲老辣，皴擦间显苍劲质感。柔兰与硬石相映成趣，刚柔相济间生机盎然。题跋以“六分半书”挥就，笔墨纵横跌宕，诗书画印浑然一体，尽显文人画逸韵。兰花寄寓高洁，棘石隐喻坚韧，笔墨间暗藏画家淡泊孤介之性情，亦咏叹自然生机与精神风骨。",[24,7,165,128,375,1314,133,132,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb2ce92234805b6e37ae56bcca00ad28.jpg",[],"b8a990",{"id":116437,"slug":116438,"title":116439,"dynasty":54,"author":9529,"museum":56,"description":116440,"tags":116441,"thumbUrl":116442,"material":84,"size":84,"collection":136,"collections":116443,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116444},201281,"song-shan-cao-tang-tu-zhou-wang-hui-201281","嵩山草堂图轴","近景林木扶疏，山石错落，小桥连岸，茅亭隐于其间；草堂依林而建，窗明几净似有书香溢出。中景水面浩渺，与远景层叠山峦呼应，笔墨清润雅致。山石以皴法写就，肌理分明；树木枝干虬劲，墨色浓淡相衬，既得传统山水之章法，又含自然野趣，勾勒出文人栖居的静谧天地，尽显寄情林泉的闲适意韵。",[24,7,165,29,128,132,98,34,131,15999,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05ca6fa256f3e038fc027fbc76a802b3.jpg",[136],"a99f98",{"id":116446,"slug":116447,"title":116448,"dynasty":124,"author":1058,"museum":56,"description":116449,"tags":116450,"thumbUrl":116451,"material":84,"size":84,"collection":136,"collections":116452,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116453},201272,"tao-qian-shang-ju-tu-tang-yin-201272","陶潜赏菊图","画面绘陶潜于松荫石畔赏菊，宽袍博带，神态悠然。童子或捧物趋行，或侍立侧旁，姿态生动。山石用皴法表现肌理，古松枝繁叶茂，垂藤摇曳；秋菊点缀其间，清韵袭人。设色淡雅温润，线条流畅细腻，将隐士的淡泊心境与自然之美交融，笔墨间尽显文人雅致意趣，传递出超脱尘俗的隐逸情怀。",[24,7,96,29,376,27,28,132,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F302fb5f52a18346ceaf06db6c4416385.jpg",[136],"a1865d",{"id":116455,"slug":116456,"title":116457,"dynasty":54,"author":1460,"museum":56,"description":116458,"tags":116459,"thumbUrl":116460,"material":84,"size":84,"collection":117,"collections":116461,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116462},201255,"lan-zhu-shui-xian-tu-zhou-shi-tao-201255","兰竹水仙图轴","画面以水墨写意绘就，孤石旁兰草疏朗舒展，竹叶劲挺有姿，水仙隐现其间。笔墨洒脱淋漓，墨色浓淡相生，线条抑扬顿挫，兼具刚柔之美。石之苍劲与草木之秀雅相映成趣，题跋与朱印错落点缀，更添文人意韵。整体气韵生动，风骨清逸，尽显超然物外的雅致情怀。",[24,7,165,128,375,167,374,171,369,208,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f1ffa73d0c04cab03af3e110aedeae3.jpg",[117],"c1b5a0",{"id":116464,"slug":116465,"title":116466,"dynasty":54,"author":1219,"museum":56,"description":116467,"tags":116468,"thumbUrl":116469,"material":84,"size":84,"collection":44,"collections":116470,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116471},201250,"shen-tong-shi-xiang-zhou-ren-yi-201250","沈铜士像轴","画面中老者素衣宽袍，面容慈和，眼神含蕴，衣纹以淡墨线条简括勾勒，尽显儒雅气度。旁侧墨竹数竿，竹叶以浓墨泼洒，干湿相济，苍劲挺拔，与人物的沉静形成呼应。整作水墨淋漓，形神兼备间流露文人风骨，题款印章错落有致，更添传统书画的雅致韵味。",[24,7,165,128,96,167,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd3f284b6317da8efff6a42cf32b9aca.jpg",[44],"d0c5b4",{"id":116473,"slug":116474,"title":116475,"dynasty":54,"author":872,"museum":56,"description":116476,"tags":116477,"thumbUrl":116478,"material":84,"size":84,"collection":68,"collections":116479,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116480},201247,"gua-niao-tu-zhou-zhu-da-201247","瓜鸟图轴","淡墨晕染的瓜形朴拙圆润，边缘以简笔勾勒，墨色浓淡间显自然质感；鸟雀以焦墨挥写，羽毛层次分明，白眼斜睨的神态藏着孤傲韵致。画面留白空灵，无多余笔墨却意境悠长，尽显水墨写意的极简之美与文人画的独特情味。",[24,128,61,208,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4acc01a970b442aca1b4d467273fde6.jpg",[68],"bbb2ab",{"id":116482,"slug":116483,"title":80751,"dynasty":124,"author":3619,"museum":56,"description":116484,"tags":116485,"thumbUrl":116486,"material":84,"size":84,"collection":117,"collections":116487,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116488},201242,"lan-zhu-tu-zhou-wen-zheng-ming-201242","这幅兰竹图以水墨写意，笔墨疏朗而富有韵致。竹枝挺拔，竹叶如笔走龙蛇般撇捺舒展，兼具书法的骨力与画意的灵动；兰草纤叶柔婉，随风摇曳，似携清幽之气；孤石以淡墨勾廓，皴擦相间，朴拙中见古雅。兰竹相依于石畔，三者相生相衬，营造出清雅绝尘的意境。左侧题款笔墨流畅，书画交融，尽显文人画托物言志之趣，传递出高洁淡远的品格追求。",[24,128,375,167,171,165,132,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d677683b0f84962d5ca7b47884c0e69.jpg",[117],"c7c1b7",{"id":116490,"slug":116491,"title":116492,"dynasty":351,"author":223,"museum":56,"description":116493,"tags":116494,"thumbUrl":116495,"material":84,"size":84,"collection":44,"collections":116496,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116497},201236,"zha-kou-pan-che-tu-juan-yi-ming-201236","闸口盘车图卷","此卷以界画之精工勾勒楼阁桥栏，线条挺劲如铁线，结构比例精准入微；水车盘转、舟楫往来间，船夫卸货、工匠劳作，人物动态鲜活传神。古雅设色晕染绢素，器物细节毕现，既展水利设施之巧思，亦现古代市井劳作之生动图景。构图疏密相济，将建筑之美与生活气息相融，写实笔触中藏五代绘画的精湛技艺与对日常烟火的细腻捕捉。",[95,27,96,97,28,25,24,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f2026e884c6217030ffbbff426f5ac5.jpg",[44],"8e7755",{"id":116499,"slug":116500,"title":116501,"dynasty":54,"author":3718,"museum":56,"description":116502,"tags":116503,"thumbUrl":116506,"material":84,"size":84,"collection":84,"collections":116507,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116508},201234,"mei-hua-mao-wu-tu-zhou-hong-ren-201234","梅花茅屋图轴","画面以干笔淡墨勾勒，山峦叠嶂间，几椽茅屋隐于梅枝疏影下，小桥横架溪上，流水潺潺。山石用折带皴，线条刚劲如铁，尽显冷峻之态；梅枝以简练笔触点染，暗香浮动。笔墨简淡却意蕴深远，清冷孤绝的意境中，藏着画家超然物外的心境，尽显新安画派高古简远之韵。仿佛山风携梅香漫溢，溪水伴松涛轻吟，引人步入那片静谧绝尘的天地。",[24,128,14727,116504,29,711,98,99,371,131,7,116505],"折带皴","立","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77a26e219c0f533bbc57d7cbb6f53b1f.jpg",[],"b9aa96",{"id":116510,"slug":116511,"title":12323,"dynasty":124,"author":116512,"museum":56,"description":116513,"tags":116514,"thumbUrl":116515,"material":84,"size":84,"collection":136,"collections":116516,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116517},201230,"shan-shui-tu-juan-gu-zheng-yi-201230","顾正谊","这幅山水图卷以水墨皴染绘就，笔墨清逸雅致。近景岩岫嶙峋，皴法细腻勾勒出丘壑肌理；中景林木错落，枝干挺劲与山石相映成趣；远景峰峦叠嶂，淡墨晕染间隐现平远之致。水域开阔，串联起远近景致，构图开合有度，层次分明。画作兼具对自然山水的细致观察与文人寄情林泉的心境，笔墨虚实相生，尽显明代文人山水画的清雅意韵。",[24,25,29,128,132,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc57daccd755af0abe2ca34ebc1b28912.jpg",[136],"7d7865",{"id":116519,"slug":116520,"title":116521,"dynasty":124,"author":2268,"museum":56,"description":116522,"tags":116523,"thumbUrl":116524,"material":84,"size":84,"collection":136,"collections":116525,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116526},201228,"fang-bei-yuan-shan-shui-zhou-dong-qi-chang-201228","仿北苑山水轴","此作笔墨清润疏朗，师法北苑董源的披麻皴意，山峦以淡墨层层皴染，线条柔中带刚，尽显江南山水的温润秀逸。林木葱茏古雅，疏密有致，溪流蜿蜒穿石而过，动静相宜。构图虚实相生，留白处意蕴悠长，融入“以书入画”的笔墨情趣，传递出文人画特有的静谧悠远之境，师古而不泥古，尽显董其昌对传统山水的深刻领悟与空灵超脱的艺术追求。",[24,7,29,132,128,330,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82dd38617b513c78f65225aa59acf5db.jpg",[136],"b6a48f",{"id":116528,"slug":116529,"title":42436,"dynasty":54,"author":108187,"museum":56,"description":116530,"tags":116531,"thumbUrl":116532,"material":84,"size":84,"collection":136,"collections":116533,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116534},201227,"xi-qiao-ce-zhang-tu-zhou-wang-jian-201227","画面山峦层叠，皴法细腻灵动，笔墨苍润浑厚，尽显古雅气象。溪流蜿蜒穿谷而过，溪上小桥卧波，岸边林木葱茏，错落间掩映着村舍人家。近处山石嶙峋，树木姿态各异，笔墨细致入微；远处峰峦起伏，云雾轻笼，意境悠远。整体构图疏密有致，虚实相生，传递出静谧恬淡的山水之趣，尽显传统山水画的笔墨神韵与文人意趣。",[24,29,132,98,99,128,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6bae899c2cafcfd4b9509e3bc8824ad.jpg",[136],"9a8d81",{"id":116536,"slug":116537,"title":116538,"dynasty":54,"author":3403,"museum":56,"description":116539,"tags":116540,"thumbUrl":116541,"material":84,"size":84,"collection":68,"collections":116542,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116543},201226,"lan-shi-tu-zhou-wu-chang-shuo-201226","兰石图轴","墨韵流转间，幽兰倚石而生，兰叶以篆隶笔意挥洒，线条如铁线盘曲，刚劲中含婉转，尽显金石入画的苍劲风骨。山石泼墨晕染，苍浑厚重，与兰草焦墨劲笔形成虚实相映，清雅逸趣扑面而来。兰叶交错纵横，似有风动，姿态灵动；孤石嶙峋，泼墨间藏肌理，与幽兰相衬，传递孤傲高洁之韵。整幅画雄浑中见秀逸，笔力老辣却韵致天成，是文人写意的经典之作。",[24,128,375,171,7,61,165,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fab5d86dcc3cd2d18d603b440c76012.jpg",[68],"c2bbad",{"id":116545,"slug":116546,"title":5945,"dynasty":54,"author":675,"museum":56,"description":116547,"tags":116548,"thumbUrl":116549,"material":84,"size":84,"collection":68,"collections":116550,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116551},201221,"sui-chao-tu-zhou-qian-wei-cheng-201221","瓶梅虬枝疏绽，暗香浮动间报晓新春；蔬果清供、烛台茗具列于侧，简素陈设中藏纳康宁吉庆。笔墨兼工带写，线条凝练如白描，墨色淡雅显意蕴，书画题跋相映成趣，文人书卷气扑面而来。岁朝时节的雅致温馨，尽融于这尺幅之间，既见传统清供的审美意趣，亦显画者对新年的美好寄寓。",[24,7,165,128,188,28,371,169,133,61,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6383e1023e53052c1ecc7ecc6b8adc8.jpg",[68],"988e7a",{"id":116553,"slug":116554,"title":116555,"dynasty":124,"author":223,"museum":56,"description":116556,"tags":116557,"thumbUrl":116558,"material":84,"size":84,"collection":117,"collections":116559,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":116560},201218,"mei-zhu-shi-tu-juan-yi-ming-201218","梅竹石图卷","画面疏朗有致，左侧竹丛墨叶纷披，劲挺如戟；中部老梅虬枝盘曲，花蕊点点，与嶙峋怪石相依，竹枝穿插其间，生机暗涌；右侧孤竹孑立，细枝疏叶见风骨。笔墨简练传神，梅枝以中锋写就，遒劲中含柔韧；竹叶侧锋撇捺，灵动洒脱；怪石淡墨皴染，形质兼备。整体意境清雅绝尘，藏“岁寒三友”之韵，于简淡中见深远情致，尽显文人画的高洁意趣。",[24,25,371,167,1314,128,7,132,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1b9987bbda5e433911e090923a49f9b.jpg",[117],"b3aa92",1777535686307]